Creation of Adam

Figure 372: Ceiling painting „The Creation of Adam”. Adam in red marking can be seen in this fresco as the recipient of a creative spiritual message sent by God. The special sitting posture of Adam, with his bent left leg and the outstretched left arm in yellow marking, which both together show a parable „T” as a sign for Christ and a divine spiritual transmission via the Eros phenomenon, as also the naked and brightly representation, which is evidently to be interpreted as a succession of sins purity of Christ, helps to understand the perception of a successfully carried out spiritual transmission from God to Adam.

However, this also makes it clear, that the transference in this episode only takes place in one direction, namely from God to Adam. The image of the naked Adam with a brightly background stands for a sin-reduced person in the following of Christ, who is obviously provided with new knowledge, wisdom and innovative knowledge by God and his angels. The dark blue marking shows the pink-clad god in a symbolic, wine-red painted human cerebral cortex, whereby both color features should possibly also guarantee the protection of the picture content. The present fresco, however, has nothing to do with a bodily creation of Adam, Michelangelo, 1511-1512, Sistine Chapel, Vatican, Rome.

Figure 373: „The creation of Adam” in detail with a floating god depicted in a human cerebral cortex against a wine-red background. Red marks the important involvement of angels in the spiritual transmission of messages, knowledge and wisdom to the recipient Adam, who acts as the representative of the men in this scene. The involvement of angels in conveying divine messages to Adam is affirmed by the positioned, left index finger of God on the right shoulder of an angel. The outstretched finger of God is marked in light blue in the symbolism of a spiritual transference taking place from God to Adam, which, with the bent leg and raised finger of Adam, illustrates the important prerequisite for spiritual transference: the eros phenomenon, which is caused by sexual instincts and lust of a man regarding a woman, can cause to have an erection in a man and thus, as a result, can help cognitive perception of creative messages.

The pink clothing of the male God, instead of the always female Mother of God, who correctly should be depicted there, and who is the sole ruler of heaven and world and also the sole source of knowledge, gives to understand, that she is also responsible for male desires and lust towards women. This makes it clear that God is not male, but the female Mother of God, Michelangelo, 1511-1512, Sistine Chapel, Vatican, Rome.

Figure 409: The Libyan Sibyl in the presentation of the Angel of Our Lady on her throne in light blue marking. Her main task includes the nocturnal and creative prophecies to the men in the bedstead, which are passed on to the men via the angel Eros, which is visible on her left elbow and in yellow marking. As a parable attribute of the transmission of spiritual messages to men, Angel Eros holds a scroll in his left arm, which in a figurative sense is supposed to correspond to the Eros phenomenon with the development of an erection, in order to be able to receive the spiritual messages of creation.

Below her throne is another angel marked in dark blue with her name tag and a specific arm gesture to perceive the right-sided shoulder issue with the Mother of God, presumably also to identify the fundamental task of the Mother of God: the reconstruction of the spiritual rebirth from the original sin guilt. Because only with the help of the restored spiritual rebirth of past lives can people shape their new future. So, the future of humanity lies in their past, Michelangelo, 1511-1512, Sistine Chapel, Vatican, Rome.

Creative prophecies in bed:

Libyan Sibyl, Michelangelo, 1511-1512

Figure 412: Left: Prophet Jeremiah in light blue marking with crossed legs and a disappointed look at his throne, which was designed by Michelangelo as a self-portrait. The sad impression of the prophet is probably caused by the sexual guilt of sins committed by men on women, and who passed to Jeremiah. This can also be interpreted by the female bare-breasted bearer of Jeremiah's name tag in yellow marking and through the right-sided view to the sinful Boaz. A perception of Jeremiah's right shoulder and also back pain can be recognized by the dark paint on his right shoulder in light blue marking. Relief or healing can then be possibly come about the two angelic women standing behind him, Michelangelo, 1511-1512, Sistine Chapel, Vatican, Rome.

Figure 413: Right: The Prophet Jeremiah in detail in light blue marking with a diseased right shoulder or back and a noteworthy finger pointing in his lap to identify the most common guilty sins among men: the sexual misconduct in dealing with women in red marking. This important detail marks the abuse of the eros phenomenon in favor of sexual acts and consequently prevents the execution of creative works. However, the shortened upper body of the prophet Jeremiah, designed and shortened by Michelangelo, is also significant, and in a foresight by Michelangelo he reveals considerable consequences for the returning Bartholomew Christ. Due to the passed over guilt of sins, which are resulting mainly from sexual misconduct and abuse of men against women, the reborn again Bartholomew Christ will have a shortened upper body in a prophecy by Michelangelo as a permanent handicap and stigmatization. Michelangelo, 1511-1512, Sistine Chapel, Vatican, Rome.