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The overt subject matter of the ceiling is the doctrine of humanity's need for Salvation as offered by God through Jesus. It is a visual metaphor of Humankind's need for a covenant with God. The old covenant of the Children of Israel through Moses and the new covenant through Christ are represented around the walls of the chapel. The main components of the design are nine scenes from the Book of Genesis. At either end, and beneath the scenes are the figures of twelve men and women who prophesied the birth of Jesus. The narrative elements of the ceiling illustrate that God made the World as a perfect creation and put humanity into it, that humanity fell into disgrace and was punished by death and by separation from God. Humanity then sank further into sin and disgrace, and was punished by the Great Flood. Through a lineage of Ancestors – from Abraham to Joseph – God sent the saviour of humanity, Christ Jesus. The coming of the Saviour was prophesied by Prophets of Israel and Sibyls of the Classical world. Traditionally, the Old Testament was perceived as a prefiguring of the New Testament. Many incidents and characters of the Old Testament were commonly understood as having a direct symbolic link to some particular aspect of the life of Jesus or to an important element of Christian doctrine or to a sacrament such as Baptism or the Eucharist. Jonah, for example was readily recognisable by his attribute of the large fish, and was commonly seen to symbolised Jesus' death and resurrection. While much of the symbolism of the ceiling dates from the early church, the ceiling also has elements that express the specifically Renaissance thinking which sought to reconcile Christian theology with the philosophy of Humanism.The Humanist vision of humanity was one in which people responded to other people, to social responsibility and to God in a direct way, not through intermediaries, such as the Church. This conflicted with the Church's emphasis. While the Church emphasized humanity as essentially sinful and flawed, Humanism emphasized humanity as potentially noble and beautiful. These two views were not necessarily irreconcilable to the Church, but only through a recognition that the unique way to achieve this "elevation of spirit, mind and body" was through the Church as the agent of God. In the ceiling of the Sistine Chapel, Michelangelo presented both Catholic and Humanist elements in a way that does not appear visually conflicting. The inclusion of "non-biblical" figures such as the Sibyls is consistent with the rationalising of Humanist and Christian thought of the Renaissance. The iconography of the ceiling has had various interpretations in the past, some elements of which have been contradicted by modern scholarship and others – such as the identity of the figures in the lunettes and spandrels – continue to defy interpretation. Modern scholars have sought, as yet unsuccessfully, to determine a written source of the theological program of the ceiling, and have questioned whether or not it was entirely devised by the artist himself, who was both an avid reader of the Bible and a genius. Also of interest to some modern scholars is the question of how Michelangelo's own spiritual and psychological state is reflected in the iconography and the artistic expression of the ceiling. Exerpts from Wikipedia. |