Works of art can carry a certain hidden meaning, which can sometimes be deciphered. We offer you a selection of ten masterpieces of painting in which secret signs were found.
1. "Mona Lisa": there is a hidden code in her eyes
As a rule, the power of the Mona Lisa is attributed to the intriguing smile depicted on the woman’s face. However, historians from Italy have discovered that if you look at Gioconda's eyes under a microscope, you can see letters and numbers in them.
Experts say these subtle numbers and letters represent something like the Da Vinci Code real life: the letters “LV” are visible in the right eye, which may well mean the name of the artist, Leonardo da Vinci, and there are also symbols in the left eye, but they have not yet been identified. It is very difficult to see them clearly, but most likely they are either the letters "CE" or the letter "B".
In the arch of the bridge in the background you can see the number 72, or it could be the letter "L" and two. In addition, the painting shows the number 149 with the four erased, which may indicate the date of creation of the painting - da Vinci painted it during his stay in Milan in the 1490s.
It is important to remember that the painting is almost 500 years old, so the hidden signs are not visible as clearly and clearly as they might have been immediately after its creation.
2. “The Last Supper”: hidden in the picture are mathematical and astrological puzzles and a musical melody
« last supper"is the subject of much speculation, usually centered on supposed hidden messages and hints encrypted in the painting.
Slavisa Pesci, an information technologist, achieved an interesting visual effect by superimposing a mirrored, translucent version of the painting on top of the original. As a result, two Templar-like figures appeared at both ends of the table, and another person became visible to the left of Jesus - possibly a woman holding a baby in her arms.
Italian musician Giovanni Maria Pala pointed out that the position of the hands and bread can be interpreted as notes in piece of music, and if read from right to left, as was typical of Leonardo’s writing style, then they form a musical composition.
Vatican researcher Sabrina Sforza Galizia says she has deciphered the "mathematical and astrological" puzzle contained in The Last Supper. According to her, the artist predicted a global flood and the coming end of the world, which would begin on March 21, 4006 and end on November 1 of the same year - she believes that this will be the beginning new era for humanity.
3. “The Creation of Adam”: the divine origin of intelligence
"The Creation of Adam" by Michelangelo has stood the test of time not only as the most famous fresco Sistine Chapel, but also as one of the most iconic images in human history.
Michelangelo is recognized as one of greatest artists and sculptors of the era Italian Renaissance, however, it is not so widely known that he carefully studied anatomy and, at the age of 17, dismembered corpses dug up in a church cemetery.
American neuroanatomy experts believe that Michelangelo actually used some anatomical knowledge when working on the frescoes of the Sistine Chapel.
Although some may consider this a coincidence, experts suggest that Michelangelo could hardly have painted something like this in the painting by accident: in the fresco you can even see the outlines of such complex parts brain, such as the cerebellum, optic nerve and pituitary gland. And in the very figure of Adam, stretching out his hand to God, one can see the outlines of the pons and spine.
4. Sistine Chapel frescoes: some of them show parts of the human brain
As with the Creation of Adam, among the frescoes of the Sistine Chapel there is another painting of the figure of God containing a secret message.
Experts have noticed that God's chest and neck have anatomical irregularities that no other human figure in the paintings has. In addition, while most of the figures are illuminated diagonally from the lower left edge, the sun's rays fall on God's neck at a right angle - the researchers came to the conclusion that the genius made such an inaccuracy intentionally.
If we superimpose the image of God's strange neck on a photograph of a human brain, it becomes clear that the contours of both images are almost exactly the same, and the strange rectangle of tissue extending to the center of God's robe may symbolize the spinal cord.
Michelangelo also depicted other anatomical features in some places on the ceiling, particularly the kidney, which was of particular interest to Michelangelo because the artist suffered from kidney stones.
5. “Madonna with Saint Giovannino”: UFO traces
“Madonna with Saint Giovannino” by Domenico Ghirlandaio has an interesting detail: a strangely shaped drop is floating in the sky above Mary’s left shoulder.
In this place of the picture, a board-shaped object, possibly shiny, is clearly visible - the artist depicted this object to the smallest detail, trying to place it in his work so that it catches the eye. In addition, on the right side of the picture we see a man who brought right hand to the eyes, showing how bright this object is, and in the upper left corner we see an object similar to the sun.
Madonna with Saint Giovannino is just one of many medieval paintings that depict strange, disturbing unidentified flying objects hovering in the skies.
6. “The Prophet Zechariah”: the power of religion
The tension between Pope Julius II and Michelangelo is documented in historical documents. Historians note that Michelangelo depicted the pope in one of his paintings as the prophet Zechariah, and one of the angels behind him shows an extremely obscene gesture.
The figure in which the fingers of a lovely little child are folded is called a “fig”, but its meaning is not at all as sweet as the name: holding thumb between the index and middle fingers, it shows an old world gesture that has retained its meaning to this day. In the West, the gesture is not so common, but in Russia its meaning is well known.
7. “David and Goliath”: mystical signs of Kabbalah
Analyzing the arrangement of figures on the ceiling of the Sistine Chapel, which covers an area of 1,300 km², scientists have discovered shapes similar to Hebrew letters: for example, the figures of David and Goliath form the letter “gimel”, symbolizing “strength” in the mystical tradition of Kabbalah.
Researchers believe that Michelangelo was introduced to Judaism while at the court of Lorenzo de' Medici in Florence, and the entire Sistine Chapel, perhaps built to the same proportions as the Holy Temple in Jerusalem, is a "lost mystical message of universal love" intended for decryption.
8. “Flemish Proverbs”: the film contains 112 Dutch idioms
Flemish Proverbs is an oil on oak panel painting by Pieter Bruegel the Elder, filled with symbols relating to Dutch proverbs of the time.
A total of 112 idioms were found and deciphered in the picture: some of them are still used, for example, “swim against the tide”, “ big fish eats small fish,” “banging your head against the wall,” and “arming yourself to the teeth.”
Other proverbs point to human stupidity. Some symbols seem to convey the meaning of more than one figure of speech, for example, the man shearing sheep to the left of center at the bottom of the picture sits next to a man slaughtering a pig, and this scene symbolizes the expression "Someone is shearing sheep, and someone else is - pigs,” which means that one person has an advantage over others. The scene can also mean “Cut, but don’t skin,” that is, it warns not to go too far when using your abilities.
9. “Supper at Emmaus”: Christian vow of silence
"Supper at Emmaus" - painting by Caravaggio, Italian artist Baroque era. The painting depicts the moment when the resurrected Jesus is incognito in the city of Emmaus, but meets two of his disciples there and breaks bread with them, after which they recognize him.
The picture is unusual in that the figures of people are depicted on a dark empty background in life-size, and at the very edge of the table there is a basket of food, which seems about to fall. There is also a strange shadow, similar to the silhouette of a fish, which may indicate a vow of silence as obligatory for Christians.
10. “Portrait of Young Mozart”: signs of the Masons
Of course, works of art have not avoided the theme of Freemasonry: portraits of people hiding their hands can indicate dedication or level of hierarchy. An example is the portrait of Mozart painted by Antonio Lorenzoni.
The painting of the Sistine Chapel by the great Michelangelo Buanorotti in the Sistine Chapel is, of course, first and foremost an outstanding work of art. Including the fresco “The Creation of Adam” with two main characters: God the Father and the newly created Adam.
This fresco was created in 1511 (or thereabouts). It became the fourth of nine central compositions on the ceiling of the Sistine Chapel, dedicated to nine scenes from the book of Genesis of the Old Testament.
Let's remember the line related to this fresco:
And God created man in His own image
(Gen. 1:27)
However, this is not entirely accurate. In a good way, here man has already been created, and therefore new nuances appear in the interpretation of the fresco.
It is very likely that there is a third in the plot of this work of art. main character, and it has direct relevance to neuroscience and neuroscience. Dr. Frank Lynn Meshberger, gynecologist from Medical center St. John in Anderson, Indiana, in an article published in 1990 in the Journal of the American Medical Association, An Interpretation of Michelangelo's Creation of Adam Based on Neuroanatomy, believes that this hero is the human brain.
Indeed, all of Michelangelo’s works in the field of fine art - both painting and sculpture - speak of the master’s excellent knowledge of human anatomy. Just remember the amazing elaboration of the human body in “David”. Even in his Lives of Artists, Michelangelo's contemporary and colleague Giorgio Vasari recalls that the artist often observed autopsies. This is what made it possible for Meshberger to suggest the presence of some hidden message in this fresco.
Here's what he writes himself:
The Creation of Adam fresco shows Adam and God moving towards each other, their hands outstretched, their fingers almost touching. One can imagine the “spark of life” jumping from God to Adam through the “synapse” between the index fingers. However, Adam is already alive, his eyes are open, and he is fully formed; but nevertheless, the picture tells us that Adam “receives” something from God. I believe there is a third "protagonist" in the fresco that has not previously been recognized. I will try to show using anatomical drawings by Frank Netter from The CIBA Collection of Medical Illustrations, Volume I - The Nervous System.
Let's follow Meshberger's thought.
Here are four drawings, numbered 1 to 4:
As you can see, the first and second drawings are very similar, as are the third and fourth. Numbers 1 and 3 are drawings from Frank Netter's atlas of neuroanatomy. 
Figure 6 (numbered according to the cited article) shows the left lateral surface brain and the sulci and convolutions that are present in the hemispheres. The Sylvian fissure, or lateral fissure, is a fissure that separates the hemispheres of the brain. Figure 1 - outline this illustration.
Figure 8 is a cross-section of the brain and spinal cord shown in Figure 7. Figure 3 is obtained from Figure 8 by removing the cerebellum and midbrain structures, as well as “bending” the spinal cord back from the “standard” anatomical position.
And now - surprise! Figures 2 and 4 are drawn... from the image of God and angels in Michelangelo's fresco. Figure 2 is obtained by drawing the outer “shell” and grooves, and Figure 4 is the outer “shell” and large lines on the figures of God and angels.
Don't believe me? See:
Thus, Meshberger believes that main meaning the frescoes are not the creation of Adam as such, but the endowment of him with reason, so that he “would be able to plan the best and highest” and “try to achieve everything.”
The most famous fragment of the ceiling painting of the Sistine Chapel is the Creation of Adam, a fresco painting painted by Michelangelo Buonarroti.
The greatest emphasis is placed on the figures of God and Adam. God is shown, as it were, in a form floating in the fog, composed of draperies and other figures. The form rests on angels who fly without wings. Their movement is visible from the drapery that flutters beneath them. God is depicted as an elderly but muscular man with gray hair and a long beard, which also emphasizes forward movement. This image is very different from the imperial images of God that have been created in the West since late antiquity. Instead of the royal robes of an all-powerful ruler, he wears a light tunic that leaves most of his arms and legs exposed. You could say it's much closer to an ordinary person a portrait of God, because he is not shown as an untouchable person far from ordinary people.
In contrast to the active figure of God, Adam is depicted as almost inactive. He responds sluggishly to God's inevitable touch. A touch that will not only give Adam vitality, but will also give life to all humanity. Adam's body forms a concave shape, which seems to reflect the shape of God's body, which is, on the contrary, in a convex position. Perhaps this correspondence of forms emphasizes the idea that man is like God and was created in the image and likeness of God.
Many people wonder - who is depicted in the picture to the right of God? The female figure is presumably important given her privileged location - under the hand of God. The traditional thought is that this is Eve, Adam's future wife, who waits on the sidelines until she is created from his rib. Later, another theory emerged that it was actually the Virgin Mary who occupied this place of honor. Next to her is a child, possibly the Christ child. This view is supported by the placement of God's fingers on the child. This is the type of finger movement the priest would use to lift the Eucharist during Mass. Since Catholic theology holds that the Eucharist is the Body of Christ, this theological understanding can be embodied in this painting. If this last interpretation is correct, then the Creation of Adam is also connected with the future coming of Christ, who comes to reconcile man with God after Adam committed sin.
Overall, the painting shows several characteristic features of Michelangelo's painting style: excellent rendering of the position and movement of bodies, and the use of muscular, semi-rotated figures, which are often found in sculpture. It is important to remember that Michelangelo was also a good sculptor.
The Creation of Adam is one of the great gems of Western art, although it and the rest of the Sistine Chapel ceiling suffered from the effects of centuries of smoke, causing significant darkening of the ceiling. Cleaning of the ceiling began only in 1977. The result after its completion in 1989 was amazing. Everything that seemed dark and monotonous became bright and acquired its former liveliness. The difference in the appearance of the frescoes before and after cleaning was so great that some, at first, refused to believe that these were the same unrestored works by Michelangelo. Today we have a wonderful opportunity to admire the colorful palette of Michelangelo and reflect on the events that he beautifully painted on the ceiling of the Sistine Chapel.
The fresco painting measures 570 cm x 280 cm, painted around 1511, in Italy, in the Vatican.
Hands (fragment).
“The Creation of Adam” is one of 9 frescoes painted according to biblical stories and forming the compositional center of the Sistine Chapel. Its author is Michelangelo Buonarroti (1475-1564).
Background
Michelangelo is a famous painter and sculptor of the Renaissance. He lived a long and fruitful life. Born in 1475, already in the late 80s of the 15th century he began to study sculpture and fine arts, and in the early 90s created his first independent works. Even in these youthful works (the author is 15-17 years old), the makings of a future genius are noticeable. By the beginning of the 16th century, Michelangelo was already quite
In 1505, he invited him to create his own tomb, work on which lasted almost 40 years. But the painting of the vaults of the Sistine Chapel, commissioned by the same Julius II, was completed by Michelangelo in a record short terms. It took him only 4 years to create dozens of frescoes with a total area of 600 m², which depict more than 300 figures. The fresco “The Creation of Adam” is one of the central ones in the entire composition.
Art critics note that Michelangelo took on painting the vaults with great reluctance. He proposed entrusting this matter to Raphael, but Julius II was adamant. Gradually, the artist became captivated by the work, and a masterpiece of monumental art was created.
Sistine Chapel
The chapel building was built at the end of the 15th century by order of Pope Sixtus IV. Today it is one of the most important places in the Catholic world. It is in this building that the conclave of archbishops and cardinals meets to choose a new pope.
According to Sixtus IV, the chapel was supposed to appearance resemble a fortress, symbolizing the impregnable center, the heart of the Catholic Church, and interior decoration demonstrate the power of the Pope.
The building was built by the architect from Florence Giorgio de Dolci, and Botticelli, Rosselli, Perugino, Michelangelo and others were involved in painting and decorating the interior. famous artists of that time. The beauty and grandeur of biblical characters captivates the Sistine Chapel at first sight. “The Creation of Adam” is a fresco that occupies one of the central places in the painting, and is also one of the most expressive.
Vaults of the Sistine Chapel
On the ceiling of the chapel, Michelangelo created a grandiose ensemble, in the center of which there are 9 scenes from the first scene - “The Separation of Light from Darkness”, the last - “The Intoxication of Noah”. The central place in the composition is occupied by the frescoes “The Creation of Adam”, “The Creation of Eve” and “The Fall”.
Along the perimeter of the frescoes of the central field, figures of young men and girls, prophets and sibyls are depicted, and the sides of the vault are painted with scenes from the Old Testament and represent the predecessors of Jesus Christ.
When Michelangelo began painting, he had neither knowledge nor experience in making frescoes. Specialists from Florence were invited to help him. But very soon the sculptor surpassed them in technique. Having driven away his assistants, he single-handedly completed the painting of the huge ceiling.
The grand opening of the ceiling of the Sistine Chapel was timed to October 1512. The first viewers were struck by the beauty and titanic images, the colossal size of the painting, distinguished by the unity of the plot. However, five centuries later this work continues to fascinate and delight.
"The Creation of Adam" (Michelangelo). Description
The plot was taken from The Bible says that God created man in his own image and likeness. The image can be divided into 2 parts. The Lord is placed at the top and to the right. He appears in the form of a gray-haired, but full of physical strength old man. He is surrounded by a host of angels. Red drapes complete the look. They enhance the impression, conveying a feeling of energy and strength.
Below and to the left is the figure of Adam. This is a wonderful young man. His strength has not yet been awakened; he reaches out to God with a weak hand. The right hand of the Lord is about to touch it and transfer life energy to the person. When the two hands touch, the act of creation is complete.
Features of the painting
The fresco "The Creation of Adam" stands out among others created by Michelangelo. It was probably this story that particularly excited him. It is noteworthy that it does not depict the physical creation of man, but the transfer to him vital energy- souls, sparks of God. The artist managed to show the dynamics and drama of the scene.
Art critics note that Michelangelo’s Adam reaches out with his hand not only to God, but also to Eve. She has not yet been born, the Almighty covers her with his left hand.
Until recently, Michelangelo was considered a poor colorist, noting that the images he created were more reminiscent of painted statues. However, restoration work made it possible to restore the original color of the frescoes. For the “Creation of Adam” scene, rich tones of various shades were used. In terms of painting technique, this work can be placed on a par with those created by his predecessors Michelangelo, Giotto and Masaccio.