英国艾塞克斯大学论文代写：绘画浅析

 The painting is generally considered a portrayal of the reference in Genesis that God created human in his own image. It is often suggested that Michelangelo may have drawn the inspiration for the painting from a vignette depicting an undressed Augustus Caesar who riding a Capricorn. Cardinal Domenico Grimani owned the cameo, which currently resides at Northumberland’s Alnwick Castle. A fact that Grimani and Michelangelo were friends tends to be supportive of the theory. After Da Vinci, Michelangelo has been considered to be one of the few historical master painters to have possessed an accurate knowledge of science and anatomy.
The reddish-brown outlining border in which God and some figures under his protection are positioned has been hypothesised as holding a concrete resemblance to human anatomy A detailed scrutiny of the hypothesis has suggested that the painting’s outlining borders correlate to the primary cerebrum’s sulci, within the outer and inner part of the human brain, basilar artery, frontal lobe, brain stem, optic chiasm and pituitary gland. The reddish brown cloth serving as the background border of the position of God in the painting has been alternatively suggested to bear a resemblance to human uterus and that the greenish scurf which hangs out may be a depiction of a newly cut umbilical cord, suggestive of a new birth or life.

It is an anatomical portrayal of human birth that explains the navel on Adam’s body, but resides in contrast with the theory that Adam was created by God and not born of a woman. However, a distinct hypothetical analysis of the painting suggests that the incident depicted in the painting is a sublime blend of past, present and future, which resides in accordance with the creation of humanity by God mirroring his own images, followed by the systematic continuity of the process of human birth and life to have begun thereupon.