No full-text available
To read the full-text of this research,
you can request a copy directly from the author.
An Interpretation of Michelangelo's Creation of Adam Based on Neuroanatomy
Abstract
THE BRILLIANT Italian Renaissance artist Michelangelo Buonarroti painted magnificent frescoes on the ceiling of the Vatican's Sistine Chapel, laboring from 1508 to 1512. Commissioned by Pope Julius II, Michelangelo performed this work himself without assistance. Scholars debate whether he had any guidance from the Church in the selection of the scenes, and what meaning the scenes were to convey. In the fresco traditionally called the Creation of Adam, but which might be more aptly titled the Endowment of Adam, I believe that Michelangelo encoded a special message. It is a message consistent with thoughts he expressed in his sonnets. Supreme in sculpture and painting, he understood that his skill was in his brain and not in his hands. He believed that the "divine part" we "receive" from God is the "intellect." In the following sonnet, Michelangelo explains how he creates sculpture and painting and how, I believe, God himself gave man the gift of intellect1:
... Among the most famous Buonarotti's artworks, in which you can see the detail size used in the representation of the human figure, are the sculptures "David" and "Moses", and the frescoes painted in the Sistine Chapel ceiling (MELO, 1989;MESHBERGER, 1990). These were commissioned by Pope Julius II and painted by Michelangelo between the years 1508 and 1512. ...
... These were commissioned by Pope Julius II and painted by Michelangelo between the years 1508 and 1512. Currently, there is discussion if the paintings are only representations made from the sacred guidance of the church at the time, or if there are other meanings hidden in the images (MESHBERGER, 1990). ...
... The first work found in our research that relates the Michelangelo's artworks with anatomical structures was published in 1990 by Frank Lynn Meshberger in Journal of the American Medical Association (MESHBERGER, 1990). In this study the author correlated elements from "The Creation of Adam" with structures of the central nervous system. ...
The Renaissance was a period of extensive scientific and cultural production, which occurred between the fourteenth and sixteenth centuries. One of the exponents of this artistic period was the poet, architect, sculptor and painter Michelangelo Buonarroti, who was born and lived in Italy between 1475 and 1564. Among his best known artworks are the frescoes painted on the Sistine Chapel ceiling. Currently, there is discussion if the paintings are only representations made from the sacred guidance of the church at the time, or if there are other meanings hidden in the images. From this context, we analyzed studies that associated the frescoes painted on the Sistine Chapel ceiling with anatomical structures hidden in the images, taking into account their significance, importance, and if these structures are not simply an imaginative interpretation of the researchers. This study was performed aiming to complement the work published by Ellwanger, Mohr and Campos (2012) in this journal.
... Michelangelo produced this work unaided between the years of 1508 and 1512, at the request of Pope Julius II. Regarding those frescos, there is some debate as to the extent to which they conform to the teachings of the Catholic Church at the time and the intention of the artist (Meshberger, 1990;Barreto and Oliveira, 2004). Among those frescoes the most widely known is probably "The Creation of Adam" fresco. ...
... Among those frescoes the most widely known is probably "The Creation of Adam" fresco. Meshberger (1990) noted how "The Creation of Adam" represented in the Sistine Chapel shows God surrounded by a drape that has the shape of what he believed to be the sagittal section of a human brain. According to Meshberger this was an encoded message from Michelangelo, signifying a belief that the "divine part" humans receive from God is the intellect, and not life-an interpretation strengthened, in his opinion, by the fact that Adam, moments before his creation, is already alive, with his eyes open and completely formed (Strauss and Marzo-Ortega, 2002). ...
... We chose the point precisely halfway between the pointing finger of the image of God and that of Adam as the division between the two lines because we assume it represents the point at which Adam receives the "divine part," i.e., the intellect, from God (Meshberger, 1990;Strauss and Marzo-Ortega, 2002). ...
Michelangelo Buonarroti (1475-1564) was a master anatomist as well as an artistic genius. He dissected numerous cadavers and developed a profound understanding of human anatomy. Among his best-known artworks are the frescoes painted on the ceiling of the Sistine Chapel (1508-1512), in Rome. Currently, there is some debate over whether the frescoes merely represent the teachings of the Catholic Church at the time or if there are other meanings hidden in the images. In addition, there is speculation regarding the image of the brain embedded in the fresco known as "The Creation of Adam," which contains anatomic features of the midsagittal and lateral surfaces of the brain. Within this context, we report our use of Image Pro Plus Software 6.0 to demonstrate mathematical evidence that Michelangelo painted "The Creation of Adam" using the Divine Proportion/Golden Ratio (GR) (1.6). The GR is classically associated with greater structural efficiency and is found in biological structures and works of art by renowned artists. Thus, according to the evidence shown in this article, we can suppose that the beauty and harmony recognized in all Michelangelo's works may not be based solely on his knowledge of human anatomical proportions, but that the artist also probably knew anatomical structures that conform to the GR display greater structural efficiency. It is hoped that this report will at least stimulate further scientific and scholarly contributions to this fascinating topic, as the study of these works of art is essential for the knowledge of the history of Anatomy. Clin. Anat., 2015. © 2015 Wiley Periodicals, Inc.
© 2015 Wiley Periodicals, Inc.
... In 1990, Meshberger startlingly suggested that Michelangelo used images of the human brain in his depiction of the Creation of Adam to represent God (Meshberger 1990). In 2000, Eknoyan proposed that Michelangelo concealed the shape of a bisected right kidney in the mantle of the Creator in the painting of the Separation of Land and Water in the Sistine ceiling, which is immediately adjacent to the Creation of Adam (Eknoyan 2000). ...
... Meshberger concluded that Michelangelo introduced a mid-sagittal cross section of the brain (Meshberger 1990) in the image surrounding God and the angels. The large drapes resemble the contour of the human brain and a "cerebral mantle," which in our interpretation encloses the ventricular cavities (Fig. 6). ...
Michelangelo’s unparalleled frescoes in the Sistine Chapel have been traditionally construed to represent the traditional, Roman Catholic interpretation of the Seven Days of Creation in the Book of Genesis and the Last Judgement. Indeed, in September 2018, Pope Francis I offered a benediction for the Vatican’s art treasures and for “those who contributed to the Church’s history through art.” A number of studies have suggested that Michelangelo concealed anatomic information about the human brain in his renderings of God and biblical prophets and saints. Was the anatomic content of these images purposeful or coincidental? Was the anatomy intentionally concealed? Is there a common pattern with symbolic connotations in the anatomic representations? Was Michelangelo sending an encoded message? In this study, we analyze the imagery in the Sistine frescoes in light of the literature surrounding Michelangelo’s artistry with a particular interest in the relationship between the certain purported anatomic depictions and details demonstrable using scientific and anatomic techniques available during the High Renaissance.
... The Renaissance artists showed a great deal of interest in human anatomy and especially, the brain. An example of this is the fresco 'Creation of Adam' by Michelangelo Buonarroti, which brilliantly describes brain anatomy (Meshberger 1990). ...
... [4][5][6][7][8], and right olfactory tract (Fig. 4-9) with olfactory bulb(Fig. 4-10). ...
The object of this research is a drawing by Peter Paul Rubens, a copy of ,,The Battle of Anghiari’’ performed by Leonardo da Vinci in 1503-1506. This work, dating from 1603, was based on an engraving of 1553 by Lorenzo Zacchia, which was taken from a cartoon by Leonardo da Vinci. The original fresco itself is lost. Since the individual details of the drawing matched the anatomical elements of the human brain we decided to perform an anatomical interpretation. With the help of the program Paint X we were able to move 23 elements of the drawing. The comparison revealed the similarity between the details of the obtained image and the anatomical elements of the brain. Our research shows that the Peter Paul Rubens’s copy of ,,The Battle of Anghiari’’ by Leonardo da Vinci is a harmonious mix of Art and Anatomy. We have established that the copy of the lost fresco, which was created six centuries ago, includes double content. By moving 23 details of the drawing in which the battle is depicted, an image is obtained. This image accurately describe the anatomical elements of the brain in the lateral view.
... (Condivi 1903, Vasari 1998 The brainstem in pictorial representation would therefore feed and exist as an integral part of the soul. The entire brain itself as discovered by Meshberger (1990), hidden in the "Creation of Adam" panel, would also exist in this upper spiritual realm. (Meshberger 1990, Suk 2010 In Figure 6, the solid arrows in neoplatonism as well as Puritanical Christianity, outline this upward movement, just as the upper spinal cord represents a gateway to the Divine. ...
... The entire brain itself as discovered by Meshberger (1990), hidden in the "Creation of Adam" panel, would also exist in this upper spiritual realm. (Meshberger 1990, Suk 2010 In Figure 6, the solid arrows in neoplatonism as well as Puritanical Christianity, outline this upward movement, just as the upper spinal cord represents a gateway to the Divine. In 1954, Clements explained that the higher Ideal Form can also conversely affect and control the hand. ...
Upon discovery of Michelangelo’s concealed neuroanatomical images in “Separation of Light from Darkness,” by Suk and Tamargo in 2010, there remained a compelling need to investigate in greater detail the reasoning behind Michelangelo’s depiction of imagery of the brain, brainstem, spinal cord, eyeballs and optic nerves in the Sistine Chapel. At cursory glance, “Separation of Light from Darkness” depicts God’s first act of Genesis 1:3-5 (King James Bible), in which he creates light and separates it from the darkness, enveloping the world he has just created. It is a seemingly simple, conspicuous act, but careful analysis reveals that Michelangelo used his artistic, academic, and poetic genius to embed layers of symbolic meanings. The authors believe that the great artist infused a visual metaphor of a scene from Plato’s “Allegory of the Cave” in Book VII of The Republik (~380BC) to represent his key ideologies in Neoplatonism and pious convictions
Michelangelo painted the Sistine Chapel during the flourishing period of High Renaissance (~1475–1527). High Renaissance art followed and reflected the period of ‘rebirth’ in which philosophy, literature, art, and sciences drew on ancient knowledge from Classical Antiquity, principally the ancient Greeks. The Renaissance was a period of rapid growth where people applied new found knowledge to the Classical Greek studies of Socrates, Plato, and Aristotle (from about the 4th to 3rd century BC). One of the most influential ancient philosophers was Plato (~428-348 BC) whose teachings propagated throughout Athens for about two centuries around his lifetime, through his established school, the Academy. His philosophy of Neoplatonism was resurrected by an Italian baron, Cosimo I de Medici who employed Marsilio Ficino (1433-99) to lead the Florentine Platonic Academy (of which Michelangelo was a student) and translate all of Plato’s writings into Latin
Through analysis of Michelangelo’s paintings, his preliminary sketches, poems, written letters, and the political and religious context of his time, the authors attempt to provide key evidence to reveal the meaning and symbolism behind Michelangelo’s concealed anatomic representations
... The main subject of discussion is the space between the hands, and various theories have been produced on this. Later on, this artwork was adapted to neuroanatomy [63]. Furthermore, if we look at the Statue of David (1501-1504), one of Michelangelo's works of art, what draws our attention here is that David's right hand is incompatible with his body. ...
... The main subject of discussion is the space between the hands, and various theories have been produced on this. Later on, this artwork was adapted to neuroanatomy [63]. Furthermore, if we look at the Statue of David (1501-1504), one of Michelangelo's works of art, what draws our attention here is that David's right hand is incompatible with his body. ...
The evolutionary process of the development of hands and fingers has been one of the most distinctive properties of the human species. While no hand, or even fingers of the same hand, is alike, there is no standard size and proportion due to gender, race, geography, repetitive occupations, and genetics. However, generally accepted hand proportions can be used in clothing design, ergonomic design of hand tools, implants used in hand surgery, biomechanical prosthesis development, and forensic research. Some hand characteristics may be similar in some specific populations, especially people with genetic disorders. Additionally, hand anthropometry may change, especially in musicians and sportspeople, because of constantly repetitive movements. Furthermore, hand anatomy has also been a source of inspiration for
many artists. They emphasized hands in their art pieces using different methods according to the scope of art movements with which they were impressed. This review aimed to assess the anatomic, medical, and artistic implications of hand proportions.
... Research suggests that the ribs hidden in Adam's body image may be related to the first group of traditional views of human origins articulated in Jewish Kabbalah [8]. In the theory proposed by Medical Doctor Frank Lynn Meshberger, Michelangelo composed the painting with sufficient knowledge of anatomy in mind [9]. As people can see in the picture, the cloudy structure in the painting where God and his angles occupy resembles the structure of a human brain. ...
The Renaissance was an intellectual and cultural movement that took place in Europe from the mid-14th century to the 16th century, and profoundly influenced European intellectual life in the early modern period. Beginning in Italy and spreading to the rest of Europe in the 16th century, its influence is reflected in art, architecture, philosophy, literature, music, anatomy, etc. The Creation of Adam is one of the important works of this period. Michelangelo's rigorous judgment of the body on the basis of anatomy, coupled with the use of clairvoyance skills, paints a unique human beauty with a sense of power. Renaissance scholars adopted a humanistic approach in their studies and looked for realism and human emotions in art. Based on The Creation of Adam, this article provides a case study and literature analysis of the connection between art and science, especially the embodiment of anatomy in The Creation of Adam. This article offers contemporary historians and artists some thoughts on the visual language of science, including how to understand science as a craft or even as an art, understand which works are both scientific and artistic, and how to develop a new visual language for science.
... Com a execução do olhar,temos a silhueta, entre outros aspectos, que enunciam um cérebro humano. Se caracterizamos isso, associado à memória discursiva do pintor italiano, podemos dizer que se trataria de uma convenção da ideia de perfeição transmitida a Adão, segundoMeshberger (1990Meshberger ( , p. 1841), na forma "[...] do intelecto, e, dessa forma, o homem poderia 'arquitetar o melhor e o mais elevado' e 'por em prática todas as coisas adquiridas'" 9 . A propriedade dessa observação mistura o credo científico com o espiritual. ...
A vida de Nossa Senhora é conhecida a partir do Evangelho de São Lucas. A devoção e o culto a Mãe de Deus, que se desenvolve no seio cristão, será objeto de inúmeros questionamentos, o que levará a Igreja a reflexões que culminaram na proclamação dos quatro dogmas de fé: a Maternidade divina, a Imaculada Conceição, a Assunção de Nossa Senhora ao céu e a Virgindade Perpétua de Maria. Além dos dogmas, os registros das aparições da Virgem Maria, trazem consigo diferentes formas de como sua vestimenta se presentifica aos fiéis videntes. Neste contexto, a comunicação tem como ponto de partida o estudo do conjunto de mantos de Nossa Senhora da Conceição Aparecida, pertencente ao Santuário Arquidiocesano de Nossa Senhora Aparecida, edificação construída para abrigar a Imagem Peregrina que esteve no IV Congresso Eucarístico Nacional de 1942, visando discutir como estes mantos foram elaborados, como atuam no sentido devocional e a questão da imaterialidade, bem como do ponto de vista artístico e material aos quais correspondem, no contexto do patrimônio cultural têxtil eclesiástico.
... Meshberger (1990). On this question and newer research: www. ...
Dante was exempt from the 15–16th century Renaissance humanists’ general distrust of the medieval heritage. Among many other factors, one reason for this was the experience of shared Florentine pride and destiny. In his time, Michelangelo was considered one of the best-qualified Dante-experts. Already in his lifetime (and with his knowledge), the literature began to thoroughly explore the influence of his predecessor on Michelangelo’s sculptures, paintings and poems. The paper discusses a new aspect of this influence. It seeks an answer to the question of how the representations of God can nevertheless be radically different in the Commedia and the ceiling fresco of the Sistine Chapel. How sacred geometry (the circles of the Trinity) is transformed into a vigorous old man, who directs the events of the creation like an aerial acrobat. The answer may be found in the Platonic theology and cosmology of Ficino’s Academy, which is the continuation of the Christian trend represented by Dionysius the Areopagite and Eriugena. The Father is in motion because, along with the world and man, He also creates himself; in contrast with the “outsider” claim of ego dominus et non mutor ; he is also part of the “concert”.
... Furthermore, some of the most prominent artists in history, like Michelangelo and Leonardo DaVinci, engaged in human dissection and depicted their direct observations through art. The Creation of Adam by Michelangelo, arguably one of the most famous art works of all time, can be interpreted as a coded representation of the brain and parts of the nervous system (Meshberger, 1990). In addition, caricatures of neurological conditions and facial expressions were used to convey the physical manifestations of illness and how the mind expressed emotion (Lorusso, 2008). ...
Introduction
There is a history of overlap between art and science education, particularly in anatomy and other related medical specialties. Technological advances have increased exposure to visual images and creation and sharing of image-based content is commonplace.
Statement of the Problem
The use of visual content and activities in education typically declines after early childhood, after which most teaching and learning relies heavily on text-based curricula. Incorporating visual content into education makes optimal use of human cognition; visual and verbal processing channels can operate independently, so using both allows for dual coding and enhanced memory.
Literature Review
In this paper, we review the literature on the use of visual techniques in teaching undergraduate neuroscience.
Teaching Implications
Image-based content can offer learners an additional cognitive resource and also engage English language learners and those with reading challenges, which might not benefit as much from a solely text-based approach.
Conclusion
We recommend educators consider the use of (1) learner-generated drawing, (2) 3-D modeling, and (3) infographics to improve learning outcomes among undergraduate neuroscience students. We provide resources and practical suggestions for implementing the aforementioned techniques.
... Accordingly, the specialist literature describes the renowned Renaissance artist Michelangelo Buonarroti (1475-1564) as one of the greatest anatomist-artists of his time (1). Therefore, over the years, as well as historians, many doctors and anatomists have attempted to better understand the inspirations, and even the possible diseases that affected this genius of human anatomy (1)(2)(3)(4)(5)(6)(7). Thus, the specialist literature (1,(8)(9)(10)(11)(12) has pointed out that Michelangelo's various self-portraits and self-caricatures contained in various of his works produced at different stages of his life may offer some insight into Michelangelo's physi-cal form and, consequently, provide evidence of his health at different stages of his life. ...
The scientific literature has shown that the renowned Italian Renaissance artist and genius of human anatomy Michelangelo Buonarroti (1475-1564) included his self-portrait into some of his most famous works. It has been suggested that the various self-portraits and self-caricatures the artist used in his works over the years may offer some insight into Michelangelo's physical form and, consequently, provide evidence of his health at different stages of his life. Accordingly, this manuscript presents new evidence [based on facial features described by Daniele of Volterra (1509-1566) and Giorgio Vasari (1511-1574)] that Michelangelo may have inserted his self-portrait into one of the figures that make up the Epifania cartoon, made by the artist in 1553, which is currently in the collection of the British Museum in London, England. Thus, the information contained in this manuscript is not only useful for future analyses of Michelangelo's health [based on facial features] when he was approximately 78 years old, but also how the artist, who was known for being very introspective, saw himself physically in his old age.
... Sechzig Jahre später wird Giorgio Vasari, der Hofmaler der Medici, sich über Buonarrotis anatomische Darstellungvor allem der Extremitäten -"als seien sie vom ersten und höchsten Schöpfer selbst erschaffen" äußern [1]. Dies war nur der Beginn medizinischer Betrachtungen dieses Freskos bis hin zu Parallelen in Form und Farbgebung mit dem menschlichen Gehirn in der Neuzeit [2]. Somit wurde das Gemälde aus der spirituellen in eine fachliche, die medizinische Ebene transportiert und begeistert. ...
... This God was ( . . . ) the true Christian God, in contrast with the God who wishes men to be humble, willing to accept ( . . . ) the suffering" (Viroli 2012, p. 1). In Michelangelo Simoni's (1475Simoni's ( -1564 fresco, the Creation of Adam, the image surrounding God and the angels had the shape of a human brain meaning an encoded message from Michelangelo that the divine part humans receive from God is the intellect, and not life (Meshberger 1990). Martin Luther believed that the word of God should speak directly to the reader in an understandable way (sola scriptura) (Washington 1986). ...
This study presents a review about what great figures of history thought about the existence of God and a worldwide comparison between religious believers and non-believers using the World Social Survey (WSS) database, comprising a sample of 90,350 respondents. Results reveal that most people believe in the existence of God and consider that God is important and very important in their lives. Believers are mainly women; younger than non-believers; mostly married; less educated than non-believers; most of whom work, though fewer hours than non-believers; and perceive themselves as belonging to the middle class. There are more believers with no formal education than non-believers. The diversity of religious believers and non-believers, visible in the perspectives of humanity’s important personalities, mirrors the diversity of ordinary people towards the relevance of God. The results obtained point to a correlation between the belief in God and the studied sociodemographic variables but also suggest that the difference between believers and non-believers may be artificial, having resulted from the adopted methodology. The relationship found between being a believer and defending traditional values also corroborates with previous studies, suggesting that humankind needs God to give meaning to the world around them, namely, in morality and conduct terms.
... This report is not the first to highlight concealed anatomical imagery in Renaissance artworks, with fascinating reports regarding hidden imagery within frescoes and paintings being previously published [2]. Meshberger [5] asserted that Michelangelo concealed the image of a brain in The Creation of Adam, whereas Eknoyan [6] argued that in the Separation of Land and Waters, Michelangelo incorporated the image of a bisected right kidney in the mantle around God. Suk and Tamargo [7] suggested that Michelangelo incorporated a ventral view of the brainstem within the image of God in The Separation of Light From Darkness. Tranquilli et al. [8] interpreted the shape of the robe of God in The Creation of Adam as a post-partum uterus. ...
Sandro Botticelli was one of the most renowned artists of the 15th century. He was based in Florence during the flourishing of the Renaissance, a time when anatomical knowledge of ancient times was reclaimed through cadaveric dissection. This report proposes that such knowledge enabled Botticelli to enhance the iconography of his masterpieces, Madonna of the Pomegranate, by incorporating a concealed image of the heart and cardiac anatomy within it. © The Author(s) 2018. Published by Oxford University Press on behalf of the European Association for Cardio-Thoracic Surgery. All rights reserved.
... In this context, perhaps the best-known interpretation is that provided in 1990 by Frank Meshberger. Meshberger suggests the mantle of God could represent a medial sagittal slice of the skull and the encephalon contained therein (Meshberger, 1990). However, such interpretations suggesting the depiction of anatomical structures within this scene remain tentative, mainly because the structures in question do not relate in any obvious way to the traditional Biblical narrative. ...
The fresco The Creation of Adam (1511), painted on the ceiling of the Sistine Chapel by the great genius of human anatomy Michelangelo Buonarroti (1475–1564), represents one of the most emblematic and best‐known scenes in the world. This fresco illustrates a key passage from the Book of Genesis: the moment when God creates the first man, Adam. Since its completion, this work has been intensively studied by many scholars of art, and by several anatomists, who have pointed out signs of anatomical representations contained in the scene. However, there is still some uncertainty regarding this famous scene, especially in relation to its complete iconography. In an attempt to understand Michelangelo's purpose better regarding this emblematic scene, this article presents unpublished evidence that the artist could have concealed within the figure of Adam the anatomical image of a rib which, according to traditional Biblical accounts, is iconographically associated with the origin of Eve, Adam's companion. Curiously, this hidden rib in Adam's body figure could be related to the traditional view of the origin of the first humans expounded in the Jewish Kabbalah. Clin. Anat. 32:648–653, 2019. © 2019 Wiley Periodicals, Inc.
... In this context, the present article could serve to facilitate analyses of the physical form and even of the state of health of the artist, whom many authors consider to be among the foremost anatomists of his time (Meshberger, 1990;Eknoyan, 2000;Blech and Doliner, 2008;Vasari, 2011;De Campos et al., 2016). It was by studying the human body that he elaborated the anatomical details of the characters that composed his works of art with such perfection (De Campos and Da Costa Oliveira, 2018). ...
The discovery was recently announced in the scientific literature of a self‐caricature of the great Renaissance artist and genius of human anatomy, Michelangelo Buonarroti (1475–1564), concealed in a drawing from 1525. This drawing is held in the collection of the British Museum in London, England. In it, the artist portrayed the Marchesa di Pescara, Vittoria Colonna (1490–1547). The present article considers evidence that Michelangelo may have depicted himself in another portrait of Vittoria Colonna, dated to approximately 1522, which is currently in the collection of the Ashmolean Museum in Oxford, England. This concealed silhouetted figure displays physical features strikingly similar to those depicted in portraits of Michelangelo by his contemporaries, and in the description of the artist by Michelangelo's biographer, Giorgio Vasari (1511–1574): the large body, the shape of the face, the beard and the flattened nose. In this context, the present article could serve to facilitate analyses of the physical form and even of the state of health (from 1522) of one of the foremost anatomists of the Renaissance. Clin. Anat., 2018. © 2018 Wiley Periodicals, Inc.
... In addition, several specialized references (Ackerman, 1986;Meshberger, 1990;Eknoyan, 2000;Strauss and Marzo-Ortega, 2002;Bondeson and Bondeson, 2003;Barreto and Oliveira, 2004;Tranquilli et al., 2007;Blech and Doliner, 2008;Suk and Tamargo, 2010;Malysz et al., 2015;Di Bella et al., 2015;De Campos et al., 2016;De Campos et al., 2017) have described how some of Michelangelo's works show the insertion of occult symbols and even mathematical properties, especially the Golden Ratio (De Campos et al., 2015a,b). The literature also presents evidence that some of his works contain symbols alluding to teachings considered sacred in the Jewish mystical tradition, the Kabbalah, so they could be related to some mystical properties of the gematria of the Hebrew alphabet (Blech and Doliner, 2008). ...
According to Giorgio Vasari (1511‐1574), the great genius of anatomy, Michelangelo Buonarroti (1475‐1564), in painting the frescoes on the ceiling of the Sistine Chapel (1508‐1512), demonstrated to the world a new dimension/perspective of painting, especially in the sublime manner with which the artist represented the anatomical details of the characters that made up his frescoes. Since then, the Sistine Chapel has received millions of tourists annually, who marvel at the anatomical beauty of the characters depicted on its ceiling. It has also received many scholars of art and even anatomists, who have often tried to infer theses and explanations regarding Michelangelo’s real intentions in elaborating this great work. However, even after five centuries, the Vatican's own official explanations of the true intentions of the artist remain quite uncertain. In an attempt to elucidate Michelangelo’s possible intentions in the design of this memorable work, this article presents unpublished evidence that all the frescoes on the ceiling of the Sistine Chapel were organized by the artist according to a code based on the number of characters in each fresco, the gematria of the Hebrew/Greek alphabet, and the Golden Ratio. This decoding process could reveal a key factor influencing the artist’s intentions in ordering the elements in this work.
This article is protected by copyright. All rights reserved.
... Também o autor foi "atrevido e corajoso" em tentar descobrir desenhos de estruturas anatômicas escondidas em várias das pinturas dos três artistas estudados, que só foram reveladas agora, cinco séculos depois de pintadas. Em 1990, o ginecologista Frank Lynn Meshberger (Angier 1990;Meshberger 1990) interpretou a imagem de Deus e os anjos no afresco "A Criação de Adão" (Figuras 3, 4 e 5), como ilustrando um corte sagital mediano do encéfalo (Paluzzi, Belli et al. 2007). Esse médico tentou correlacionar algumas partes da pintura com estruturas bem conhecidas do encéfalo, (Angier 1990;Palmer 2008). ...
As novas descobertas apresentadas neste livro estimulam uma reanálise da obra de Leonardo da Vinci, Michelangelo e Rafael. A revolucionária mistura de arte e ciência observada nas pinturas “São Jerônimo no Deserto”, “A Criação de Adão”, “Madona de Foligno”, entre outras, e as habilidades manifestadas no desenho de detalhes neuroanatômicos por esses mestres, ainda não descritos até então, fazem desses gênios renascentistas pioneiros na retratação das primeiras imagens do conteúdo intracraniano, incluindo o cérebro.
Leonardo, Michelangelo e Rafael usaram a arte também como forma de protesto, ironizando a igreja ao colocar em obras consideradas sacras, ou no próprio teto da Capela Sistina, imagens eróticas, desenhos de estruturas anatômicas estudadas durante dissecação de cadáveres humanos e imagens simbolizando o Judaísmo. Surpreendente é o fato dessas imagens permanecerem “imperceptíveis” por cerca de cinco séculos e, ao escrever as seguintes palavras, o próprio Leonardo da Vinci já antevia o fenômeno:
“Há três tipos de pessoas: aqueles que veem; os que veem quando para eles é mostrado; e aqueles que nada veem."
... Many authors have pointed out that most of Michelangelo's works include various hidden symbols often associated with pagan, Neoplatonic beliefs, mathematical properties, and anatomical representations (Ackerman, 1986;Meshberger, 1990;Eknoyan, 2000;Strauss and Marzo-Ortega, 2002;Bondeson and Bondeson, 2003;Barreto and Oliveira, 2004;Tranquilli et al., 2007;Blech and Doliner, 2008;Suk and Tamargo, 2010;Reis et al., 2012;De Campos et al., 2015a,b;Malysz et al., 2015;Di Bella et al., 2015;De Campos et al., 2016). In addition, the artist left poems and personal letters that explained some of these works and, at the end of his life, he dictated some of his memories to his amanuensis, Condivi, to elucidate many of his artistic intentions (Blech and Doliner, 2008). ...
The specialized literature has described how the great anatomist par excellence, Michelangelo Buonarroti (1475-1564), like many other renowned artists of his time, included a self-portrait in many of his works. This article presents novel evidence that Michelangelo inserted his self-portrait into a sketch of his close friend, Vittoria Colonna (1490-1547). This work, made by Michelangelo in 1525, is currently in the collection of the British Museum in London, England. This self-portrait of Michelangelo can serve as a tool for analysing the artist's probable bodily dimensions and even his state of health during this period of his life. This article is protected by copyright. All rights reserved.
... Several classic descriptions have shown that the works of the great Renaissance genius, Michelangelo Buonarroti (1475-1564), incorporated a style characterized essentially by the recurrent connection between architecture and human anatomy (Ackerman, 1986;Ferro, 2016). In addition, Michelangelo often surreptitiously inserted pagan symbols into his works of art, many of them possibly associated with anatomical representations (Meshberger, 1990;Eknoyan, 2000;Strauss and Marzo-Ortega, 2002;Bondeson and Bondeson, 2003; Barreto and Oliveira, 2004;Tranquilli et al., 2007;Blech and Doliner, 2008;Suk and Tamargo, 2010;Reis et al., 2012;De Campos et al., 2015a,b;Malysz et al., 2015;Di Bella et al., 2015;De Campos et al., 2016). ...
Numerous studies have shown that many works of art from the Renaissance period contain hidden symbols and codes that could have religious, mathematical and/or pagan significance and even anatomical allusions. In this context, the present manuscript offers new evidence that the great genius of anatomy, Michelangelo Buonarroti (1475-1564), included pagan symbols associated with female anatomy in the funerary monuments found in the Sagrestia Nuova/Medici Chapel (1519-1533) in Florence, Italy. The interpretation of the symbols provided in this study will interest those with a passion for the history of anatomy. This article is protected by copyright. All rights reserved.
... One of the most popular paintings in the world, Michelangelo's "Creation of Adam" painted 1508 -1512 as central part of the ceiling of the Sistine Chapel, has been a pioneering issue here. When Frank Meshberger (1990) watched this picture he received a revealing message: Michelangelo had not just depicted God and several angels in front of a kind of curtain; no, he had depicted a brain. So, the finger of creative power making Adam alive comes out of the brain, the brain is the seat of God. ...
In order to show that the current movement of neurologization is a rather conservative and traditional endeavor, in this chapter several examples for parallels between current developments and incidents from the history of science are focused on. As an example the interplay between the sciences and art is given special attention. Instead of formally criticizing the incorrect speaking and superficial reporting that are typical features of the neuro-hype it is argued that only an interpretation of the role the neurosciences play in the history of science can help to understand the implicit motivations behind their success. The neurosciences in their most advanced forms are interpreted to be the current stature of the European search for salvation, trying to finally verify the formula that “man is machine.” Considerations on the importance these interpretations might have for the field of applied ethics deliver some methodological backing for the expressed claims and arguments.
... Upon analyzing the central span, we noticed the presence of bull/ram skulls associated with the triangles containing the families dominated by the maternal figure (Fig. 1). In this context, although there have been numerous detailed descriptions published in the literature (Meshberger, 1990;Eknoyan, 2000;Strauss and Marzo-Ortega, 2002;Bondeson and Bondeson, 2003;Barreto and Oliveira, 2004;Blech and Doliner, 2008;Kemp, 2010;Suk and Tamargo, 2010;Lydiatt and Bucher, 2011), the true meaning of these skulls has not yet been explained. However, according to our interpretation of these images we can infer that the real meaning of these skulls may be directly related to the figure of the female internal anatomy (the uterus and uterine tubes). ...
A number of published articles have suggested that each element of Renaissance art contains an inner meaning. Some of these elements include the choice of theme and protagonists, faces selected for the characters, colors used, species of flowers and trees chosen, animals depicted, positions of the elements, posture of the characters and their gestures, juxtapositions in the scenes, and even the very scenario or landscape. All of these elements are thought to have hidden meanings. In this context, this manuscript presents a new hypothesis suggesting that Michelangelo Buonarroti (1475-1564) may have concealed symbols associated with female anatomy in the ceiling of the Sistine Chapel (painted 1508-1512) in Rome. Thus, this paper is useful to better understand the history of anatomy and corroborates recent descriptions that have suggested the possible existence of anatomic figures concealed in many of Michelangelo's works. This article is protected by copyright. All rights reserved.
... 1516-1559), вместе с ним вскрывал трупы систематически и, по гипотезе Ф.Л. Мешбергера [10], символически воплотил в сцене «Сотворение Адама» в силуэте Бога и группы ангелов вокруг него на своде Сикстинской капеллы (названной в честь разрешившего аутопсию папы Сикста IV) очертания человеческого мозга как высшего регулятора (рис. 5). ...
... But where Jung used paper and kept his strange visions relatively private, Bowie, as an artist, intuitively recorded his own 'Red Book' in spiral grooves of vinyl, adorned the sounds and visions of his dreams and fears with glitter and dye, and shared them with a youth hungering for new manifestations of old myths. Intriguingly, the American Medical Journal reported that the portrait of God appears to conform deliberately to the neuro--anatomical shape of the brain, its Sylvian Fissure (associated with Jung in 'Drive in Saturday') clearly evident, suggesting Michelangelo, a student of mystic esoterica, may have intentionally conflated theology and neurology with the spark of consciousness, and adding further layer to the strange archetypal associations between Bowie, the brain and Jung's idea of the spontaneous manifestation of the collective Unconscious (Meshberger 1990(Meshberger : 1837Blech & Doliner 2008). ...
[ Full Chapter available on www.tanjastark.com ]
... 3,4 The most common interpretation, however, is the concept of the "Brain-God," which is based on the similarity of the shape painted behind the figure of God with that of a human brain. 5,6 However, in our opinion, this interpretation does not marry with the painting title, and the proposed significance remains to be fully explicated. ...
This article describes what we believe to be the key to interpreting the concept represented by Michelangelo's painting the Creation of Adam. This fresco, one of his most famous masterpieces, is situated in the heart of the Sistine Chapel and is viewed by millions of people every year. A man of many talents, Michelangelo's proficiency in anatomical dissection is reflected in his artwork. As such, analyses of hidden meanings in this fresco have been ascribed, including the concept of the "Brain-God." However, we see a postpartum uterus and adjacent anatomy, justifying our interpretation that Michelangelo was depicting something far more fundamental: the birth of mankind.
Copyright © 2015 Mayo Foundation for Medical Education and Research. Published by Elsevier Inc. All rights reserved.
The intersection of medicine and art, often explored in numerous articles, delves into detailed depictions of diseases or concepts within the medical field. These depictions aim to speculate on disease effects and patterns of interaction, sometimes reaching scientific conclusions. However, artistic representations may pose scientific, conceptual, and methodological challenges, defining the complex boundary between medicine and art. This article broadens the perspective by examining the relationship between medicine and sculpture, focusing on how these fields can be classified in relation to each other. Rather than concentrating on individual works, the study categorizes the language, methods, and approaches used in works resulting from the intersection of art and medicine. The historical continuum is explored to understand the scope and connections between sculpture and medicine from the past to the present. Using search terms like "art," "sculpture," and "medicine" on platforms such as PubMed, Scopus, and Taylor & Francis Online, the research aims to convey how medicine is reflected in artistic practices. The article highlights the potential for collaboration and mutual enrichment between medicine and art, emphasizing the diverse use of art, particularly sculpture, in various contexts related to medical themes.
Bu çalışmada Rönesans sanatçısında mikrokozmos kavramı, hümanizmin temel kaynaklarının yorumlanışları üzerinden incelenmektedir. Çalışmanın amacı felsefî olan mikrokozmos kavramının Rönesans dönemi sanatçılarında nasıl bir yaratılış ve yaratıcılık algısı oluşturduğunu incelemektir. Bu kavram aynı zamanda dönemin sanat felsefesinin de odak noktalarından biridir. Yeni-Platoncu metinler, Kabala ve Hermetik külliyatın tercümeleri ile kendini yukarıdaki tanrısal dünya ile aşağıdaki süflî dünya arasında bağ olarak gören, ilahî olanı aşağıya ileten bir insan figürü Rönesans insanı için model olmuştur. Marsilio Ficino, Pico della Mirandola, Leonardo da Vinci, Michelangelo Buonarroti ve Andrea Palladio gibi Rönesans'ın felsefî temelini oluşturan isimlerinin yazdıkları metinler ve bazı sanat eserleri, sanatçının ilham alma ve tanrılaşma kavramlarının ana yapısını ve kendisini mikrokozmos olarak görme eğilimini ortaya koymaktadır. Sanatçı, ruhunun gözüyle metafizik âlemlere ulaşabilmektedir. Hümanist düşünce, insanı her şeyin merkezine koymakta ve bir anlamda tanrılaştırmaktadır. Antik felsefeden Rönesans düşüncesine aktarılan Makrokozmos-mikrokozmos analojisi, evrendeki her şeyin insanda mevcut olduğu fikrini, dolayısıyla da tanrılık makamına ulaşabileceğini açıklamaktadır. https://www.artsurem.com-http://www.idildergisi.com-http://www.ulakbilge.com-http://www.nesnedergisi.com © 2023 idil. Bu makale Creative Commons Attribution (CC BY-NC-ND) 4.0 lisansı ile yayımlanmaktadır.
Since the beginning of the Enlightenment science and its application have remade our world. This change has been built on a concurrent change in our values and sensibility by which the idea of progress evolved and replaced the idea of providence associated with the increasing sovereignty of reason. Although this has over time proved beneficial to large numbers of our population by increasing their standard of living, it has not come about without associated problems. This series of essays argues that William Blake, who was critical of these changes, summed them up in the phrase, “May God us keep from Single vision and Newton’s sleep.” By unpacking Blake’s phrase, the book traces the history of the scientific revolution back to the philosopher David Hume and the removal of imagination from the scientific process. The book traces Hume’s thinking as promulgated by twentieth century thinkers such as Karl Popper and Friedrich Hayek the result of which was to objectify the world in a manner that downplays and dismisses natural capital at the expense of environmental sustainability. The book takes an eclectic approach seeing the romantic poets as a reaction towards this monochrome way of thinking. Drawing on the work of twentieth century philosophers such as Hannah Arendt, Jacob Bronowski, Paul Feyerabend and Bruno Latour the book argues that the university as an institution is a place whereby new approaches can be developed to address the increasingly pressing environmental problems that we all face in the twenty-first century.
Leonardo da Vinci conducted many anatomical studies during his life. Today, almost the complete set of these anatomical drawings and comments is owned by the British Crown and resides in the Royal Library at Windsor Castle, United Kingdom.
Through the program Paint X, we moved two details on the painting “Saint John the Baptist.” The moving details are circled along the faint contour by Leonardo da Vinci himself. We obtained heart and aortic arch imaging.
Neurotheology can open new spaces of exploration and synthesis for human understanding. In his systematic book, Neurotheology (2018), Andrew Newberg compiles research of science that touches upon the sacred, making a strong case for an approach open to both neuro- and -theology. The following paper deals with the insights, methodology, and implications of this multidisciplinary approach. The first portion defines ‘neurotheology’ and its current scope for research. The second portion argues for the benefit of this systematic approach, which utilizes the scientific method and Hegelian sublation. The final portion explores the implications for humanity and for epistemology, particularly in the post-modern, post-religious milieu and for science as an emerging amicus theologiae. The hope of this project is to engage our ‘big questions’ once more in their complexity – to curiously explore experiences and creation, in order to peek into the efficacious Mystery we call God.
A arte e a anatomia humana caminham juntas, de várias maneiras, ao longo do tempo, como percebemos em diversos desenhos anatômicos, esculturas e afrescos, isto tudo ainda no século XVI, muito por conta das mentes extraordinárias de Leonardo Da Vinci e Michelângelo Buonarotti pois desenvolveram inúmeras criações que são apreciadas até os dias de hoje. Objetivo: apontar um olhar filosófico para as obras A Criação de Adão de Michelângelo Buonarotti e O Homem Vitruviano de Leonardo Da Vinci. Método: Retirando, através de um quebra-cabeças, o ponto-chave destes afrescos com intuito de questionar se, com tal mudança perde-se a sublime beleza ou não há alterações significativas. Conclusão: Embora os conceitos de beleza possam mudar com o tempo, a impressionante falta de "uma peça" muda completamente o significado das obras, mas não diminui a genialidade dos artistas.
Neuroarte é uma disciplina das Neurociências onde arte e ciências/medicina se misturam. Grandes nomes como Leonardo da Vinci, Michelangelo, Vesalius usaram da arte da ilustração para documentar a anatomia humana. Neste artigo comentamos sobre estruturas anatômicas ocultas nos afrescos de Michelangelo encontrados na Capela Sistina. Também mostramos imagens de dois homens com expressão de dor unilateral e agitação, sugerindo cefaleia em salvas.
Context.—Many myths, theories, and speculations exist as to the exact etiology of the diseases, drugs, and chemicals that affected the creativity and productivity of famous sculptors, classic painters, classic music composers, and authors.
Objective.—To emphasize the importance of a modern clinical chemistry laboratory and hematology coagulation laboratory in interpreting the basis for the creativity and productivity of various artists.
Design.—This investigation analyzed the lives of famous artists, including classical sculptor Benvenuto Cellini; classical sculptor and painter Michelangelo Buonarroti; classic painters Ivar Arosenius, Edvard Munch, and Vincent Van Gogh; classic music composer Louis Hector Berlioz; and English essayist Thomas De Quincey. The analysis includes their illnesses, their famous artistic works, and the modern clinical chemistry, toxicology, and hematology coagulation tests that would have been important in the diagnosis and treatment of their diseases.
Conclusions.—The associations between illness and art may be close and many because of both the actual physical limitations of the artists and their mental adaptation to disease. Although they were ill, many continued to be productive. If modern clinical chemistry, toxicology, and hematology coagulation laboratories had existed during the lifetimes of these various well-known individuals, clinical laboratories might have unraveled the mysteries of their afflictions. The illnesses these people endured probably could have been ascertained and perhaps treated. Diseases, drugs, and chemicals may have influenced their creativity and productivity.
Die entzauberte Welt der Gegenwart kennt keine Epiphanien mehr. Jede metaphysische (Re-)Volte gegens Bestehende muss sich folglich dem Verdacht ausgesetzt sehen, nicht ganz von dieser Welt zu sein. Das spätantike Projekt einer gnostisch inspirierten Weltflucht erscheint vor diesem Hintergrund ebenso verrückt wie der mystisch induzierte Versuch eines Aufgehens im ganz Anderen. Gerade weil seinstranszendierende Erfahrungen innerhalb der Spannweite von mysterium tremendum und innerweltlichem Exodus heute diagnostisch profaniert zu werden drohen, eröffnen sich ihnen, mit ihnen, andere Räume. Zu diesen zählen auch Graphic Novels – als unmögliche, weil imaginär bestimmte Orte der Welt-Deutung von einem territorial, kulturell oder habituell bedingten Außerhalb aus. In Artikel werden einzelne Sequenzen aus Will Eisners „Ein Vertrag mit Gott“ ([1978] 1984), „Robert Crumbs Genesis“ ([2007] 2009) und Marjane Satrapis „Persepolis“ ([2000] 2004) sowie drei Karikaturen des armenischen Zeichners Samuel Abgaryan analysiert. Dabei handelt es sich um Darstellungen, die ihren Ausgang an den Grenzen dieser Welt nehmen. Sie lassen die Frage nach dem unde malum nicht ungestellt und formulieren auch ihre je eigenwilligen Antworten darauf. Demnach lassen sich die Positionen der genannten Graphic Novel-Autor_innen innerhalb des Spektrums von kritischer Distanznahme über die Möglichkeit zur weltlichen Konversion bis hin zur zornigen Negation von Gott und/oder Welt bestimmen.
Michelangelo Buonarroti (1475 - 1564) is considered one of the greatest artists in history. He studied in detail the human anatomy through corpses dissection, practice until then relegated for religious reasons. Since the physician Frank Lynn Meshberger published in 1990 his interpretation of the fresco “The Creation of Adam” based on neuroanatomy, where he compared the image of God with a sagittal section of the human brain, many authors have found various hidden anatomical references in the work of Michelangelo. In the present paper we expose the finding of a hidden lesson on liver anatomy in the fresco The Drunkenness of Noah of the Sistine Chapel.
El arte y la medicina han permanecido ligados desde tiempos inmemoriales por estar intrínsecamente relacionados con el hombre y su existencia, como puede deducirse de las múltiples obras artísticas y, de manera muy especial, de la pintura. Desde muy temprano y a lo largo de la historia, los pintores han dejado plasmadas en sus producciones las características de la piel y sus cambios durante la vida y, por supuesto, muchas enfermedades –en especial, las dermatológicas por ser la mayoría–, visibles y palpables. Muchos médicos en diferentes latitudes, interesados en el permanente proceso de culturización, han realizado importantes trabajos en búsqueda de las manifestaciones de la piel en la pintura, y presento este artículo como un aporte a ese propósito, enfocado en los aspectos fisiológicos de la piel, sus cuidados y los cambios en ella producto del correr del tiempo y de factores externos.
The aim of present report was to briefly review the history of the anatomical studies during the Italian Renaissance and to outline their relationship to the figurative arts, focusing, in particular, on neuroanatomical studies that have been at the center of the medical and philosophical debate from the 14th to 16th centuries. Therefore, we have presented the interpretation of different Renaissance masterpieces for which some references to brain anatomy have been previously reported. We propose a new interpretation, in neuroanatomical key, of the fresco of the universal judgment in the vault of San Giorgio's Cathedral in Ferrara, Italy, painted around the end of the 16th century.
Der Beitrag widmet sich den Erinnerungsschleifen, die, so soll argumentiert werden, auf verschiedenen Ebenen der Serie Westworld deren einendes Prinzip darstellen. Menschwerdung, so wird anhand der folgenden Interpretation der Serie deutlich, vollzieht sich im Prozess des Erinnerns, dessen Anfang und Ende jedoch ebenso wenig auszumachen sind wie die Rückseite eines Möbiusbandes. Um die Zuschauer*innen der Serie an diesem höchst komplexen Prozess des Erinnerns teilhaben zu lassen, versetzt Westworld auch sie in derartige Schleifen. In zwei Teilen diskutiert der Artikel zunächst unter der Überschrift „Wie wird man Mensch? – Being on the Loop“ den Zusammenhang zwischen Menschwerdung und Erinnerungsschleifen bevor er sich im zweiten Teil der Frage „Was ist der Mensch? – In Our Image“ zuwendet – einer zentralen Frage für jegliche Menschenerschaffungsphantasien.
Sandro Botticelli was one of the most esteemed painters and draughtsmen among Renaissance artists. Under the patronage of the De' Medici family, he was active in Florence during the flourishing of the Renaissance trend towards the reclamation of lost medical and anatomical knowledge of ancient times through the dissection of corpses. Combining the typical attributes of the elegant courtly style with hallmarks derived from the investigation and analysis of classical templates, he left us immortal masterpieces, the excellence of which incomprehensibly waned and was rediscovered only in the 1890s. Few know that it has already been reported that Botticelli concealed the image of a pair of lungs in his masterpiece, The Primavera. The present investigation provides evidence that Botticelli embedded anatomic imagery of the lung in another of his major paintings, namely, The Birth of Venus. Both canvases were most probably influenced and enlightened by the neoplatonic philosophy of the humanist teachings in the De' Medici's circle, and they represent an allegorical celebration of the cycle of life originally generated by the Divine Wind or Breath. This paper supports the theory that because of the anatomical knowledge to which he was exposed, Botticelli aimed to enhance the iconographical meaning of both the masterpieces by concealing images of the lung anatomy within them.
The premise of this book is that our environmental dilemmas are products of biological and sociocultural evolution, and that through an understanding of evolution we can reframe debates of thought and action. The purpose is to explain the wide variety of environmental worldviews, their origins, commonalities, points of contention, and their implications for the modern environmental movement. In three parts covering the origins, evolution and future of environmentalism, it offers instructors and students a framework on which to map theory, case studies and classical literature. It is shown that environmentalism can be described in terms of six human values-utility, stability, equity, beauty, sanctity, and morality-and that these are deeply rooted in our biological and cultural origins. In building this case the book draws upon ecology, philosophy, psychology, history, biology, economics, spirituality, and aesthetics, but rather than consider these all independently it integrates them to craft a mosaic narrative of our species and its home. From our evolutionary origins a story emerges; it is the story of humankind, how we have come to threaten our own existence, and why we seem to have such difficulty in acting together to ensure our common future. Understanding our environmental problems in evolutionary terms gives us a way forward. It suggests an environmentalism in which material views of human life include spirituality, in which our anthropocentric behaviors incorporate ecological function, and in which environmental problems are addressed by the intentional relation of humans to the nonhuman world and to one another. Aimed at students taking courses in environmental studies, the book brings clarity to a complex and, at times, confusing array of ideas and concepts of environmentalism.
During the Renaissance, a period of ‘rebirth’ for humanities and science, new knowledge and speculation began to emerge about the function of the human body, replacing ancient religious and philosophical dogma. The brain must have been a fascinating mystery to a Renaissance artist, but some speculation existed at that time on the function of its parts. Here we show how revived interest in anatomy and life sciences may have influenced the figurative work of Italian and Flemish masters, such as Rafael, Michelangelo and David. We present a historical perspective on the artists and the period in which they lived, their fascination for human anatomy and its symbolic use in their art.
Prior to the 16th century, knowledge of the brain was limited and influenced in a dogmatic way by the teachings of Galen ¹ who, as we now know, conducted his anatomical studies not on humans but on animals. ² Nemesus, Bishop of Emesa, in around the year 400 was one of the first to attribute mental faculties to the brain, specifically to the ventricles. He identified two anterior (lateral) ventricles, to which he assigned perception, a middle ventricle responsible for cognition and a posterior ventricle for memory. 2 , 3 After a long period of stasis in the Middle Ages, Renaissance scholars realized the importance of making direct observations on dissected cadavers. Between 1504 and 1507, Leonardo da Vinci conducted experiments to reveal the anatomy of the ventricular system in the brain. He injected hot wax through a tube thrust into the ventricular cavities of an ox and then scraped the overlying brain off, thus obtaining, in a simple but ingenious way, an accurate cast of the ventricles. 2 , 4 Leonardo shared the belief promoted by scholarly Christians that the ventricles were the abode of rational soul.
We have several examples of hidden symbolism in Renaissance paintings, but the influence of phrenology and this rudimentary knowledge of neuroanatomy on artists of that period is under-recognized. In the absence of documentary or scientific evidence as to the real intentions of these painters, the notion of such commixture of sacred and profane remains speculative and probably controversial, but at the same time fascinating and provocative. Here we present three examples of Renaissance masterpieces where such symbolism may have been used, although probably many more exist. Conducting an artistic, philosophical and anatomical analysis of the paintings can be an intriguing exercise, but the interpretation will inevitably be conjectural.
El 10 de octubre de 1990, The Journal of the American Medical Association (JAMA) publicó un singular artículo del neuroanatomista Frank Lynn Meshberger sobre el fresco del genial Michelangelo Buonarotti, conocido como La creación de Adán, que se encuentra en la bóveda de la Capilla Sixtina, en el Vaticano. Meshberger la sometió a un exhaustivo análisis y descubrió que la imagen de Dios con los ángeles representa, con gran detalle, un cerebro y su unión con la columna vertebral. Casi cinco siglos después de La Creación…, más precisamente en el año 1991, la artista conceptual inglesa Helen Chadwick desarrolló una transparencia fotográfica en la que se ven las dos manos de una mujer sosteniendo un cerebro, y que lleva el sugestivo título de Self-Portrait (Autorretrato). Esta obra representa la siguiente idea: el cerebro constituye el centro de nuestra identidad. En otras palabras, nuestro yo es, esencialmente, nuestro cerebro. Todas nuestras percepciones, nuestros sentimientos, nuestras creencias y nuestros pensamientos son producciones de nuestro cerebro. En este sentido, tanto el análisis neuroanatómico de Meshberger en torno a la obra de Michelangelo, como así también el trabajo de Chadwick, son un fiel reflejo del impacto que la neurociencia ha venido teniendo en la cultura durante las últimas décadas. De hecho, transitamos una época en que la neurociencia se ha apropiado del liderazgo que antes tuvieron la física y la genética entre las disciplinas científicas. La abrumadora cantidad de nuevos éxitos en este campo ha generado un nivel de expectación en cuanto a su capacidad explicativa como pocas veces se ha visto (tanto en la comunidad científica como en la opinión pública). Dichos éxitos están directamente relacionados con el avance de las matemáticas, la física, la biología y la informática, pero sobre todo, con el desarrollo de las nuevas técnicas de neuroimagen. Así, la neurociencia ha experimentado, desde los años ochenta, una auténtica revolución tecnológica. Desde aquellos años se ha abierto un vasto horizonte de posibilidades para las investigaciones sobre el Sistema Nervioso. Difícilmente encontremos un aspecto de la naturaleza humana que haya permanecido ajeno a ese campo de investigación. Prueba de ello ha sido la aparición de líneas de investigación que apenas treinta años atrás hubieran resultado inimaginables: neuroeconomía, neuroeducación, neuroarte, neuropolítica, neurohistoria, neuroderecho y neuromarketing (entre muchas otras… ¡hasta neurogastronomía!). Como es de imaginar, las experiencias religiosas, dada su extraordinaria importancia en la vida de los individuos y de las sociedades, no quedaron al margen del auscultamiento de la neurociencia. De esto tratará, en efecto, el presente artículo. ¿Es aceptable la idea de una neuroteología? ¿Cómo convendría definir dicho término? ¿Es razonable suponer que la neuroteología constituye la mejor fuente de explicación de las experiencias religiosas? ¿Qué aporta de interesante y qué peligros entraña? ¿Qué configuración epistemológica y metodológica debería poseer para no incurrir en fáciles reduccionismos? ¿Cuáles han sido sus hallazgos más significativos hasta el momento? ¿Qué disciplinas científicas deberían tomar parte en sus investigaciones? ¿Sólo la neurociencia, o también podrían incluirse otras? ¿Cuáles son sus posibilidades? ¿Cuáles son sus límites? Lo que sigue a continuación es un intento por responder a estas complejas preguntas que, básicamente, se compendian en siete apartados. El primero aborda el problema semántico y presenta el status quaestionis. El segundo se centra en la dimensión interdisciplinar y propone el desarrollo de una neuroteología holística siguiendo las directrices sugeridas por Aldous Huxley (el creador del término). El tercero examina la noción de experiencia religiosa atendiendo especialmente a su modo de comprensión en el marco de las investigaciones neuroteológicas. El cuarto consiste en una revisión historiográfica de la disciplina. En ese contexto, describe
Various changes in the sociopolitical milieu of Italy led to increasing tolerance of the study of cadavers in the late Middle Ages. Mondino de Luzi (1276-1326) and Guido Da Vigevano (1280-1349)'s efforts led to an explosion of cadaver-centric studies in centers such as Bologna, Florence, and Padua during the Renaissance period. Legendary scientists from this era including Leonardo Da Vinci, Andreas Vesalius, Bartolommeo Eustachio, and Costanzo Varolio furthered the study of neuroanatomy. The various texts produced during this period not only helped increase the understanding of neuroanatomy and neurophysiology, but also led to the formalization of medical education. With increased understanding came new techniques to address various neurosurgical problems from skull fractures to severed peripheral nerves. The present study aims to review the major developments in Italy during the vibrant Renaissance period that led to major progress in the field of neurosurgery.
Research on the relationship between physical activity and mental health reveals that physical activity exerts beneficial effects on emotional and cognitive functioning. Studies clearly indicate that aerobic exercise is neuroprotective. It seems that the activity-dependent production of nitric oxide (NO) and the anti-inflammatory effects of regular exercise may play an important role in the production of brain-derived neutrophic factor (BDNF) that occurs in response to exercise. With regard to behavioral functioning, most studies focus on the influence of physical activity on depressive symptoms or affective disorders. Physical exercise upregulates the production of several neurotransmitters which like serotonin are associated with mood enhancement and reduced depressive symptoms. The positive effects of physical activity on anxious mood and anxiety disorders are also well documented. Thereby cytokine-induiced effects on nitric oxide formation and activity of indoleamine 2,3-dioxygenase (IDO) as well as the formation of tetrahydrobiopterin (BH4), cofactor of several amino acids monooxygenases, seem to be special relevance. Improved self-esteem and self-efficacy seem to play an important part. Physical activity also affects the endocrine stress-regulation system: trained people exhibit stronger reactivity and quicker regeneration when faced with stressful events. However, aerobic exercise does not improve mental health in every case, as seen for instance in over-trained athletes associated with fatigue, disturbed mood and signs of depression might emerge. Recent research has provided exciting evidence for the influence of dietary factors on specific molecular systems and mechanisms that maintain mental function, for instance, a diet that is rich in omega-3 fatty acids.
The convergence and consilience in education (hereafter, interdisciplinary education) is receiving great attention from societies. This study aims to investigate the works of scientists and artists who have intended to combine science with the arts in the modern era, to take into account the socio-philosophical setbacks during the period, and to suggest pedagogical implications of science education as interdisciplinary education. The concept of interdisciplinary education stems from Plato's thought, idea, as a comprehensive and invariant truth. The renaissance, full of enrichment about scientific achievement, was based on Neo-Platonism pursuing holistic-synthetic approach. During the time, scientists presented in this study tried to find comprehensive principles and borrow useful method from the arts. In such a context, scientists not only made use of the arts for expression of scientific knowledge, but also drew conclusion by analogical reasoning between science and the arts. Artists, as well, relied upon anatomy and optics especially, to elaborate linear perspective and even developed their own scientific knowledge through personal experience. Hence, contemporary science education should encourage students to hold a holistic viewpoint about science and the arts, articulate explicit goals and outcomes as interdisciplinary education, implement meta-disciplinary instruction about science and the arts, and develop assessment framework for collaborative learning. There may be good examples for inter-disciplinary education as listed: illustrating scientific ideas through the arts and vice versa, organizing collaborative works and evaluations criteria for them, and stressing problem solving on a daily basis.
ResearchGate has not been able to resolve any references for this publication.