Who Created Adam?

A rhetorical analysis by Robert Hellmuth

Throughout the history of humankind, various forms of art have been used to present
arguments and influence decisions. For the purposes of this rhetorical analysis, two specific
pieces of artistic images will be reviewed: The Creation of Adam by Michelangelo di Lodovico
Buonarroti Simoni, commonly known as Michelangelo, and Touched by His Noodly Appendage
by Arne Niklas Jansson. Both of these are in a sense religious art, and although the latter is a
satirical piece which incorporates a critical aspect of the former, the overall message is quite
different. The incorporation of The Creation of Adam into Touched by His Noodly Appendage,
presents a far stronger argument which is based in logic rather than Michelangelos which is
based in unfalsifiable claims and aesthetic appeal. To understand the incorporation of the original
into the satirical, we must first review the biblical message displayed in the original.
Artistic depiction of biblical scenery is a tradition that was initiated by the Roman
Catholic Church in the European Middle Ages, also known as the Medieval Times, which later
flourished in the Italian Renaissance and has maintained popularity to this day within various
sectors of the Christian religion (Bentley & Ziegler, 2011). In addition, the biblical story of the
creation of Adam is the integral, foundational facet of which the explanation of human existence
is based upon in various branches of Christianity, especially literalist sects, id est sects that
recognize and accept all of the happenings recited in the Holy Bible as literal, absolute truths
(e.g., Catholicism and Creationism). Given the significance of such an essential event in
religious history, it is without surprise that this event has been artistically portrayed many times
throughout the ages, however, The Creation of Adam painted by Michelangelo, is likely the most
well-known and impactful to date (Bertman, 1999). Spanning approximately 171 square feet on
the Sistine Chapel roof, this fresco created by Michelangelo circa 1511 portrays a remarkable
depiction of the creation of Adam described in the Book of Genesis, found in the old testament
of the Holy Bible (ArtBible).
To begin analyzing the meaning and message relayed in The Creation of Adam, may we
begin with the broad and narrow our focus as we progress. First, we must notice where this
fresco was placed amongst all the others religious pieces (all painted by Michelangelo) in the
Sistine Chapel. The Creation of Adam is the centerpiece amongst the bunch (Porter, 2013). This
signifies the importance of this scene, suggesting that is essential to all of the other scenes
depicted. The meaning displayed here is without the creation of Adam by God, mankind cannot
exist. Given Michelangelos strong adherence to the Catholic faith (Porter, 2013), it is no
surprise that he would classify this as the most significant of all the biblical events displayed in
the Sistine Chapel, because without it, none of the others could exist.
As we delve into the fresco, we can notice distinguishable similarities between the
physical attributes of Adam and God. A since of symmetry can be found between the two of
them. This is a critical message that suggests mankind was created as a reflection of God
himself. There is however a noticeable difference between the two of them: while the character
God displays great strength in his posture, Adams is contrarily languid and limp. The message
here is displayed as we narrow our focus to the focal point of the fresco: Gods finger stretched
out to reach Adams which is also quite limp, but they have not yet touched. This was likely
portrayed to engender suspense, this is the final step of the creation of man. It is speculated that
when they touch, it will bring life, soul, and intellect to Adam (Bertman, 1999; Meshberger,
2011; Porter 2013). There is evidence to suggest that intellect was the integral gift of god to man.
As you can see, Adam is grounded to earth as terrestrial being, and god is untethered from
physical reality, as a celestial being hovering in the sky. When we look closer at the shape of god
and the angels he is surrounded by, we can notice that the images shape is that of a brain
(Meshberger, 2011; Porter, 2013). This suggests that intellect is the greatest gift from god to man
(Meshberger, 2011). There are many other details to be speculated upon in this picture, such as
Gods arm wrapped around a specific angel, which is hypothesized to be Eve or possibly the
Virgin Mary (Bertman, 1999; Porter, 2013), and his hand rests upon the shoulder of an infant,
who is hypothesized to be Jesus Christ, and this detail foreshadows his birth (Bertman, 1999;
Porter, 2013). Overall though, this fresco in its entirety, displays a grand message, or argument
of sorts relayed by Michelangelo: that man is the creation of god, and we were created as a
reflection of himself, and without this event, humanity could not exist.
The message displayed in the Pastafarian image Touched by his Noodly Appendage by
Arne Niklas Jansson illustrates an entirely different argument than that displayed in The Creation
of Adam which is incorporated in this piece, and satirized. However, to understand the message
relayed by the image, one must first understand what the Flying Spaghetti Monster is, and one
must understand His religion, Flying Spaghetti Monsterism, also known as Pastafarianism.
Pastafarianism is a parody religion that was created in 2005 by Bobby Henderson, in an open
letter response and protest to the Kansas State Board of Educations (KSBE) decision to allow
the Intelligent Design theory of evolution (the Creationist theory of evolution) to be taught
alongside the heavily researched Darwinian theory of evolution (Henderson, 2010). Although
Henderson claims the religion is totally legit and further recites Anything that comes across
as humor or satire is purely coincidental., this is obviously an element of the satirical piece
(Henderson, 2010). The letter written by Henderson begins with him agreeing that it is important
that students may hear various theories of evolution so they may decide for themselves, however,
he then goes to state his fear that only one theory of Intelligent Design will be taught, when there
are in fact more (Henderson, 2005). He goes on to state that he and millions of others have held
secretive beliefs that a Flying Spaghetti Monster, resembling its name, is the grand creator of the
universe (Henderson, 2005). He argues that this should be taught alongside the Creationist theory
of Intelligent Design, because like the Creationist theory, the Pastafarian theory is also based on
science (Henderson, 2005). This is a brazen sarcastic statement that actually does hold some
truth, that the Pastafarian and Creationist theories of Intelligent Design are both based on the
exact same amount of evidence, absolutely none at all (Every Evolutionary Biologist, 2014).
Henderson then recites further pieces of evidence including that pirates were the original
Pastafarians who were once peace-loving peoples, however, since their decline, there has been an
increase of average global temperature, indicating a negative correlation which suggests that the
increase in natural disaster is a result of The Flying Spaghetti Monsters response to the
population reduction of His believers (Henderson, 2005). Now that we have a general idea of
what Pastafarianism and the Flying Spaghetti Monster are, may we move onto an analysis of the
image created by Jansson titled Touched by His Noodly Appendage. (For further information on
pastafarianism, visit http://www.venganza.org/).
Touched by His Noodly Appendage is a piece of parody art, which incorporates Adam
from the Creation of Adam by Michelangelo, however, instead of featuring Michelangelos
Catholic God, essentially the same god that Creationists believe in, it features a hovering entity
composed of spaghetti, meatballs, and two eyes. This is the Pastafarian God, the Flying Spaghetti
Monster. The purpose of incorporating Michelangelos Creation of Adam is one of satire, which
results in inheritance of a nearly identical meaning of the portrait as well, that man was created
by a celestial being, however, instead of the Christian God, in this case the grand creator is the
Flying Spaghetti Monster. Instead of God reaching out his finger to spark a synapse of life into
Adam, the Flying Spaghetti Monster reaches out his noodly appendage to do so, hence Touched
by His Noodly Appendage. Although the surface meaning of this image is a direct inheritance of
that of Michelangelos, there is a far different overall meaning.
The overall argument is the same as Bobby Hendersons letter, a protest against the
teaching of Intelligent Design to elementary school students. It is a ridicule of the Kansas State
Board of Educations decision to allow the Creationist theory of evolution to be taught alongside
the Darwinian, when the Creationist theory is built upon not scientific evidence, but unfalsifiable
claims, rendering its entire argument a logical fallacy in itself, that is the unfalsifiability fallacy.
It is clear that Janssons argument is identical to Hendersons because his painting is based upon
the Flying Spaghetti Monster which Henderson created in his letter. The incorporation of
Michelangelos peace further displays a unique argument from Hendersons letter, that the
creation of Adam by the Flying Spaghetti Monster is just as likely as the creation of Adam by the
Christian God. Neither are rooted in scientific evidence, yet they are both rooted in a book
written by people many years ago.
Overall, the argument displayed by Jansson displays a much more powerful argument
than that of Michelangelo; that both ideas are equally ridiculous, and that if one should be
acknowledged as truth and be allowed to be taught in opposition to science, then all should
whereas Michelangelos argument is that we were created by one of the millions of gods created
by humans throughout the ages, that is the Catholic God. Janssons argument, although based in
parody, is also has a strong basis in logic. Michelangelos is based upon unfalsifiable claims and
aesthetical appeal.

References

Art and the Bible. The Creation of Adam. Art and the Bible: 2014. Retrieved from
http://www.artbible.info/art/large/66.html
Bentley, J. H., & Ziegler, H. F. (2011). Traditions & encounters: a global perspective on the past.
McGraw-Hill.
Bertman, S.L. (1999). Michelangelo, the creation of Adam. Literature, Arts, and Medicine Database.
New York University: 2013. Retrieved from
http://litmed.med.nyu.edu/Annotation?action=view&annid=10326
Henderson, B. (2005). Open Letter to Kansas School Board. Retrieved from
http://www.venganza.org/about/open-letter/
Henderson, B. (2010). About. Church of the Flying Spaghetti Monster: 2010. Retrieved from
http://www.venganza.org/about/
Meshberger, F.L. (2011). An interpretation of Michelangelos Creation of Adam based on
neuroanatomy. News to Use: The Creation. Wellcorps International: 2011. Retrieved from
http://www.wellcorps.com/files/TheCreation.pdf
Porter, R. (2013). A reflection and analysis of the Creation of Adam Sistine Chapel fresco. Retrieved
from: http://www.biblicaltheology.com/Research/PorterR04.pdf