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Mikelanjeloning "Sistine Chapel" tavani

Mikelanjeloning

Miloddan avvalgi 1508 yilda Papa Florentsiyalik haykaltarosh va rassom Mikelanjeloga (milodiy 1475-1564) Vatikanning Sistin ibodatxonasi shiftidagi sahnalarni chizishni buyurdi. Cherkov devorlari Uyg'onish davrining eng buyuk rassomlari tomonidan bezatilgan edi, lekin to'rt yillik mehnatda, Mikelanjelo o'zining g'ayratli va texnik mahorati bilan barchasidan ustun bo'lib, har qanday asr G'arb san'atining eng aniq asarlaridan birini yaratdi. Ko'p panelli ship Yaratilishdan Nuhgacha va Buyuk To'fongacha bo'lgan Ibtido haqidagi hikoyani ko'rsatadi. Asosan, sahnalarda insoniyatning yaratilishi, inoyatdan qulashi va nihoyat qutqarilish ko'rsatiladi.

Komissiya

Rimdagi Vatikan saroyi majmuasidagi Sistine ibodatxonasi Papa Sixtus IV (mil. 1474-1481 yillar) tomonidan qurilgan. Bino faqat v. Miloddan avvalgi 1481 yil, lekin 1504 yilda shiftdagi katta yoriqning paydo bo'lishi ta'mirlash ishini talab qildi, bu esa badiiy bezatilgan interyerga yana san'at asarlarini qo'shish imkoniyatini berdi. Sandro Botticelli (mil. 1445-1510) va Pyotro Perugino (taxminan 1450-1523) kabi ustalar tomonidan yaratilgan Iso Masih va Musoning hayotidan lavhalar ko'rsatiladigan devor freskalari mukammalligiga mos keladigan asar talab qilingan. Idoralar). Bir odam san'at olamida hamma narsadan ustun turar edi, rassom o'zining rasmlari va haykallari bilan, ayniqsa milodiy 1504 yilda Dovudning ulkan haykali bilan nishonlagan edi, u hozir o'zining tug'ilgan shahri Florensiyaning ochiq havosida turgan edi. Bu odam Mikelanjelo di Lodoviko Buonarroti edi va Papa Yuliy II (milodiy 1503-1513 yillar) uni bu ishga qabul qilishga qat'iy qaror qilgan.

Ish davom etar ekan, Mikelanjelo hech kimga uning rivojlanishini ko'rishga ruxsat bermadi, hatto ish tugaganini ko'rishga sabr qilmagan Papa ham.

Dizayn va texnika

Yuliy II va Mikelanjelo rassomga Papa qabrini yasashga topshiriq berilgach, birlashdilar. Miloddan avvalgi 1505 yil mart oyida boshlangan bu loyiha hech qanday muammosiz o'tdi. Patron va rassom bir paytlar 40 ta marmar haykalni o'z ichiga olgan ulug'vor dizayni uchun janjallashishgan. Shartnomalar bir necha bor qayta yozildi, dizayn tobora shuhratparast bo'lib qoldi va ish dastlab ko'zda tutilgan vaqt oralig'idan ancha uzoqlashdi. Bir paytlar Mikelanjelo loyihani "qabr fojiasi" deb ta'riflagan va oxir -oqibat Rimni tark etgan; uning shogirdlari keyinchalik bu ishni tugatishadi.

Shu nuqtai nazardan, nima uchun Mikelanjelo Papa bilan boshqa loyihani amalga oshirishni xohlamasligini tushunish oson, lekin u nihoyat o'zining mashhur karerasidagi eng qiyin topshiriqni qabul qildi. Shartnoma miloddan avvalgi 1508 yil may oyida imzolangan bo'lib, ko'k osmon va yulduzlar bo'yalgan Sistine ibodatxonasining hozirgi shiftini almashtirishi kerak edi. Buning o'rniga, endi loyiha shiftning yon tomonidagi 12 havoriyning rasmlarini chizish va ichki makonni me'moriy naqshlar bilan to'ldirish edi. Biroq, Mikelanjelo ko'p o'tmay, bu rejalarini bekor qildi va ancha shuhratparast narsaga intildi, uning o'lchami 39x13.7 metr (128x45 fut) bo'lgan shiftni qoplab, qariyb 800 kvadrat metr maydonni o'z ichiga oladi.

Keyingi to'rt yil mobaynida usta, asosan, yolg'iz va tez-tez o'zini bo'yashda o'z tasavvurini amalga oshirish uchun qurgan ko'prikka o'xshash iskala ustidagi noqulay holatda ishlaydi. Rassom borgan sari, u iskala bo'ylab kiraverishdan oxirgi manziliga - qurbongoh devoriga o'tdi. Ish davom etar ekan, rassom hech kim, hatto uning ishini ko'rishga sabrsiz bo'lgan Papaga ham uning rivojlanishini ko'rishga ruxsat bermadi.

O'sha davrdagi boshqa shunga o'xshash asarlar bilan taqqoslaganda, shift juda tez yakunlandi. Freskalar juda yorqin ranglarda, ba'zan juda katta bo'laklarda bo'yalgan. Bundan tashqari, bir necha metr pastda turishi kerak bo'lgan tomoshabinga yordam berish uchun Mikelanjelo bir -biriga qarama -qarshi ranglar texnikasini qo'lladi. Bu ba'zi ranglarni o'zlaridan ko'ra yorqinroq ko'rinishga olib keladi va soya effektini yaratadi, bu esa bir xil rangdagi quyuqroq va ochroq soyalarga bo'lgan ehtiyojni kamaytiradi, bu uslubni ibodatxona tagidan ko'rib chiqilsa, qadriga yetmaydi. Rassom, shuningdek, bashoratli va istiqbolli usullarni qo'llaydi, chunki uning ishi uchun mo'ljallangan tomoshabinlar pastdan sahnalarga qarashlarini yaxshi bilishadi.

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Ibtido hikoyasi

Shift - bu xristian tasvirlarining deyarli ko'p qismi. Shiftning yon tomonlarida etti payg'ambar va beshta sibillar bor, ular bir -birini almashtirib turadi. Xristian an'analariga ko'ra, bu ikkala guruh ham Iso Masihning kelishini bashorat qilgan. Besh sibil - Delfi, Kumae, Liviya, Fors va Eritreyaliklarning vakillari. Etti payg'ambar - Yunus, Doniyor, Ishayo, Zakariyo, Yo'el, Eremiyo va Hizqiyol. Yunus haqida alohida aytib o'tish joiz, chunki qurbongoh tepasida paydo bo'lgan va uni yutib yuborgan katta baliq bilan ko'rgan Mikelanjelo, bu rasm orqaga qarab ketayotganini ko'rsatdi, bu effekt faqat shiftning aynan shu qismi oldinga siljishi bilan ta'kidlangan. Bunday istiqbolli hiyla -nayranglarni shiftdagi bir nechta raqamlarda ko'rish mumkin.

Shuningdek, qirralarning atrofida, yarim doira oynalarida derazalar ustida Masihning an'anaviy ajdodlari tasvirlangan. To'rtta katta burchakli panelda Dovud va Go'liyot, Judit va Xolofernesning kirish qismida, Homonning o'limi, Musoning va qurbongoh ilonining qurbongoh uchida tasvirlangan sahnalari bor. Shiftning tashqi qirralarida bo'yalgan osmonning ingichka bo'laklari bor, bu shift tashqi tomondan teshiklar borligini tasavvur qilish uchun.

Shift uzunligi bo'ylab to'qqizta asosiy markaziy panel mavjud. Panellarning o'zi me'moriy asosda yaratilgan va ikki o'lchamda almashtirilgan. Bu panellarda Injilning Ibtido kitobidan Nuh davriga qadar yaratilish haqida hikoya qiluvchi epizodlar ko'rsatilgan. Qizig'i shundaki, Momo Havoning yaratilishi Odam Atoning emas, balki markaziy panelidir, garchi bu qurbongoh devoridan boshlangan sahnalar xronologik bo'lgani uchun ham bo'lishi mumkin. Biroq, Yaratuvchi aniq o'ylab topgan asarda Momo Havoning markazda bo'lishining yanada ishonchli dalili shundaki, Momo Havo Sistine ibodatxonasi bag'ishlangan Bokira Maryamning ekvivalenti yoki arxetipi sifatida taqdim etiladi.

Bibliya hikoyasining xronologiyasi qurbongoh devoridan boshlangan bo'lsa -da, sahnalarni to'g'ri ko'rish uchun, qurbongohga qarab turish kerak. Shunday qilib, xonaga kirib, qurbongoh tomon yurganida, odam voqeaning teskarisini ko'radi, bu tomoshabinni Yaratilish nuqtasiga qaytaradigan qasddan orqaga qaytarish effekti. Asosiy panellarning har birining burchaklarida to'rtta ignudi Diniy hikoyaga hech qanday aloqasi bo'lmagan, ammo Mikelanjeloning dadil tasvirlangan figuralarga dramatik pozalarda muhabbatini ko'rsatadigan yalang'ochlar. Birinchi navbatda, ibodatxona kirish joyidan ko'rinib turibdiki, panellar:

  • Nuhning mastligi
  • Buyuk To'fon
  • Nuhning qurbonligi
  • Odam Ato va Momo Havoning vasvasasi va jannatdan quvilishi
  • Momo Havoning yaratilishi
  • Odam Atoning yaratilishi
  • Xudoning erni suvdan ajratishi
  • Quyosh, oy va sayyoralarning yaratilishi
  • Xudo nurni zulmatdan ajratadi

Mutaxassislar o'rtasida ba'zi raqamlarni aniq aniqlash bo'yicha munozaralar davom etmoqda. Masalan, Nuhning qurbonligi aslida Hobilning qurbonligi bo'lishi mumkin. Oxirgi talqin shiftning xronologiyasiga mos keladi va Mikelanjeloning dastlabki biograflarining sharhlariga mos keladi. Shu bilan birga, Nuh va Odam Ato o'rtasidagi munosabatlar rassom tomonidan tan olingan va mustahkamlangan. Ikkala odamning insoniyatning avlodi va inoyatdan yiqilgani kabi parallel hikoyalari bor. Voqealardagi bunday takrorlanish Mikelanjeloning Odam Ato va Nuhni Odam Atoning Yaratilishi va Nuhning Mastligi kabi o'xshash pozalarda tasvirlangani bilan namoyon bo'ladi.

Yaratilish panellarining katta energiyasi ta'sirli. Xudoning qat'iyatli yuzi, egilgan tizzalari va aylanib yurgan liboslari, Quyosh va sayyoralarni yaratish uchun zarur bo'lgan kuchdan dalolat beradi. Quyosh-bu yaqindan ko'rilganda qiziqarli tafsilot va u har qanday impressionist rasmga osonlikcha mos tushadi. "Odam Atoning Yaratilishi" paneli yana Xudoni o'z kuchida baquvvat qudratli shaxs sifatida tasvirlab berdi, Odam esa, aksincha, yaratuvchisidan hayot baxsh etuvchi kuchni kutayotgan sust holatda ko'rsatilgan. Keyingi sahnada sodir bo'ladigan ikkita barmoq tegib turgan muhim lahzaga, fon dunyosining to'liq yo'qligi, ikki olam orasidagi haqiqiy jarlik ko'proq kuch bag'ishlaydi.

Shkala kattalashadi va raqamlar panelda ko'proq joy beradi, chunki Nuhdan Xudo bilan o'sha panellarga o'tib, tomoshabin tajribasiga yana bir bor kuch va quvvat bag'ishlaydi. Yakuniy panelga etib borganimizda, albatta, birinchi bo'lib, Xudo ancha aniqroq tasvirlangan va deyarli hech narsaga yaramay, u sof energiyaning jingalak qiyofasiga aylangan.

Qabul

Bu ish darhol muvaffaqiyat qozondi, deyarli hamma ko'rdi, lekin norozilik ovozlari eshitildi. Asosiy e'tiroz yalang'ochlikning miqdori va ayniqsa, jinsiy a'zolarining bir nechta raqamlarda tasvirlanishi edi. Bu keyinchalik Mikelanjeloga o'zining oxirgi qiyomat versiyasi bilan ibodatxonaning bitta devorini bo'yashni buyurishni to'xtatmadi. Miloddan avvalgi 1536 yildan 1541 yilgacha ishlagan bu fresk shiftdan ham ziddiyatli edi. Isoning odatiy soqoli bo'lmaganligi va odatdagidan ko'ra yoshroq ko'rinishi, shuningdek yalang'ochlikning ko'rinishi, ayniqsa, ruhoniylarning ba'zi a'zolarini g'azablantirdi.

Badiiy texnika nuqtai nazaridan, Mikelanjeloning Sistine ibodatxonasidagi ishlari G'arb san'atining rivojlanishida muhim qadam bo'ldi va miloddan avvalgi 16 -asrda rassomlar tomonidan o'rganilgan. Keyingi asrlarda, Mikelanjeloning ishi buyuk rassomning eng yuksak cho'qqisidagi asari sifatida baholandi. Odam Atoning barmog'iga tegib turgan bulutlar orasidan Xudoning markaziy tasavvuri hamma vaqtlarning eng ko'p takrorlangan tasvirlaridan biriga aylandi va ibodatxona Italiyaning eng ko'p tashrif buyuriladigan diqqatga sazovor joylaridan biri bo'lib qolmoqda.

Miloddan avvalgi 20 -asrning oxirida shiftni qora qora tuman ortidagi freskani yashirgan tutun qoldiqlari va changni tozalash uchun yaxshilab tozalash ishlari olib borildi. Eritma paxta tayoqchalari yordamida nozik tarzda qo'llanildi va asta-sekin Mikelanjeloning rang-barangligi avvalgi yorqin shon-shuhratiga qaytdi.


Cherkovga tashrif

Shakl 2. Boshqa fresklarga nisbatan shiftni ko'rsatadigan Sistine ibodatxonasining ichki qismi.

Mikelanjeloning Sistine ibodatxonasiga tashrif buyurgan har bir kishiga ikkita xususiyat darhol va shubhasiz ravshan bo'ladi: 1) shift haqiqatan ham baland, 2) u erda ko'plab rasmlar bor.

Shu sababli, asrlar bizga Mikelanjeloning yelkasida yotgan qiyofasini topshirdi, u yildan -yilga mehnat qilib, yuzlab oyoqlarini osmonda to'xtatib, ko'zlaridan ter va gipsni artib, hech qachon qilmagan topshirig'ini bajonidil bajarib berdi. birinchi navbatda qabul qilmoqchi edi.

Yaxshiyamki, Mikelanjelo uchun bu to'g'ri emas. Ammo bu hech narsani kamaytirmaydi, chunki omborni to'liq egallagan freskalar dunyodagi eng muhim rasmlardan biridir.


Mikelanjelo, Oxirgi hukm, Sistine ibodatxonasi

Mana shu. Hamma masihiylar ham umid, ham qo'rquv bilan kutayotgan payt. Bu vaqtning oxiri, abadiylikning boshlanishi, o'lmas o'lmaslikka aylanganda, tanlanganlar Masihga samoviy shohligida qo'shilishganda va la'natlanganlar do'zaxning cheksiz azoblariga tashlanishadi. Qanday qiyin vazifa: er yuzidagi mavjudlikning oxirini tasavvur qilish - va bundan tashqari, buni Papa saroyining shaxsiy ibodatxonasi - Sistine ibodatxonasida qilish, cherkov rahbarlari cherkov rahbarlari, bayram kuni liturgiyalarini nishonlash uchun to'planishdi, bu erda papaning jasadi bor edi. uning dafn marosimidan oldin davlat qo'yilgan va qaerda - shu kungacha - Kardinallar kolleji keyingi papani saylash uchun yig'ilishadi.

Tarixiy va tasviriy kontekstlar

Titan, Papa Pol III portreti, c. 1543, tuvaldagi yog ', 113,3 x 88,8 sm (Museo di Capodimonte, Neapol)

Tarkibi

Mikelanjelo, Oxirgi hukm, Sistine ibodatxonasi, qurbongoh devori, fresk, 1534-1541 (Vatikan, Rim)

Masih, Maryam va azizlar (batafsil), Mikelanjelo, Oxirgi hukm, Sistine ibodatxonasi, qurbongoh devori, fresk, 1534-1541 (Vatikan, Rim)

Farishtalar (batafsil), Mikelanjelo, Oxirgi hukm, Sistine ibodatxonasi, qurbongoh devori, fresk, 1534-1541 (Vatikan, Rim)

Tanlanganlar (osmonga ketadiganlar)

O'lganlar qabrlaridan ko'tarilib, osmonga suzib ketishadi, ba'zilari esa farishtalar yordamida. O'ng yuqori burchakda er -xotin tasbehli munchoqlar bilan osmonga tortiladi va pastda tirilgan jasad zo'ravonlik bilan tortiladi (batafsil), Mikelanjelo, Oxirgi hukm, Sistine ibodatxonasi, qurbongoh devori, fresk, 1534-1541 (Vatikan, Rim) freskasi, 1534-1541 (Vatikan shahri, Rim)

La'natlanganlar (do'zaxga tushganlar)

Jinlar la'natlanganlarni do'zaxga tortadilar, farishtalar esa taqdiridan qochish uchun kurashayotganlarni urishadi (batafsil), Mikelanjelo, Oxirgi hukm, Sistine ibodatxonasi, qurbongoh devori, fresk, 1534-1541 (Vatikan, Rim)

Charon la'natlanganlarni do'zax qirg'oqlariga olib boradi va o'ng pastki burchakda eshak quloqli Minos (batafsil), Mikelanjelo, Oxirgi hukm, Sistine ibodatxonasi, qurbongoh devori, fresk, 1534-1541 (Vatikan, Rim)

Masih bilan birga

Chapda: Suvga cho'mdiruvchi Yuhanno o'ngda: Aziz Pyotr (batafsil), Mikelanjelo, Oxirgi hukm, qurbongoh devori, Sistine ibodatxonasi, fresk, 1534-1541 (Vatikan, Rim)

Garchi bunday tafsilotlar tomoshabinda qo'rquvni qo'zg'atmoqchi bo'lsa -da, Mikelanjeloning rasmlari birinchi navbatda Masihning g'alabasi haqida. Osmon olami hukmronlik qiladi. Tanlanganlar Masihni o'rab olishadi, ular birinchi navbatda katta rasm chizishadi va rasm chizig'ining chuqurligigacha cho'zilib, rasm tekisligining chegarasini eritib yuborishadi. Ba'zilar o'z shahidlik asboblarini ushlab turishadi: X shaklidagi xoch, xoch shaklidagi Lourens, Sent-Sebastyan o'qlar to'plami, bir nechtasini nomlash.

Ayniqsa, Masihni chapga va o'ngga yonboshlagan va uning ulkan nisbatlarini baham ko'radigan Aziz Yuhanno Baptist va Sankt -Peter. Oxirgi payg'ambar bo'lgan Yuhannoni tuya po'stlog'i bilan aniqlab, uning dumg'azasini yopadi va oyoqlari orqasida osilib turadi, birinchi papa Butrus esa Masihga qaytaradigan kalitlari bilan aniqlanadi. Uning Osmon Shohligining kalitlarini saqlovchi vazifasi tugadi. Bu imo -ishora Papaga uning Masihning boshlig'i sifatida hukmronligi vaqtinchalik ekanligini aniq ko'rsatdi, oxir -oqibat u ham Masihga javob berishga tayyor bo'ladi.

O'ng va chap yuqori burchakda (yarim dumaloq bo'shliqlarda) farishtalar Masihning ehtiros asboblarini namoyish etishadi va shu tariqa bu tantanali daqiqani Masihning qurbonlik o'limi bilan bog'laydilar. Devorning bu qismi bir oyoq oldinga siljiydi, bu ruhoniyga quyida qurbongohda ko'rinadi, chunki u Eucharist liturgiyasida Masihning qurbonligini xotirlaydi.

Masihning ehtiros asboblarini ko'targan farishtalar bilan tushlik, (batafsil), Mikelanjelo, Oxirgi hukm, Sistine ibodatxonasi, fresk, 1534-1541 (Vatikan shahri, Rim)

Tanqidiy javob: asarmi yoki janjalmi?

1541 yilda ochilganidan ko'p o'tmay, Mantua shahridagi kardinal Gonzaganing rim agenti shunday xabar berdi: "Bu asar shunchalik go'zalki, sizning hukmdoringiz uni qoralaydiganlar kam emasligini tasavvur qila oladi. . . . Mening fikrimcha, bu hech kimga o'xshamaydigan ish. " Ko'pchilik bu asarni eng yaxshi asar sifatida baholadi. Ular Mikelanjeloning o'ziga xos figurali uslubini, uning murakkab pozalari, haddan tashqari bashoratli va kuchli (ba'zilari haddan tashqari ko'p) mushaklari bilan, mavzuga ham, joylashuvga ham munosib ko'rdilar. Bu muskul yalang'ochlarning jismoniy jismoniyligi katoliklarning tana tirilishi haqidagi ta'limotini tasdiqladi (qiyomat kuni o'liklar tanada emas, balki jismlardek tiriladi).

Chapda: Apollon Belvedere, O'ngda: Masih (batafsil), Mikelanjelo, Oxirgi hukm, Sistine ibodatxonasi, fresk, 1534-1541 (Vatikan shahri, Rim)

Avtoportret

Aziz Bartolomey (batafsil), Mikelanjelo, Oxirgi hukm, Sistine ibodatxonasi, fresk, 1534-1541 (Vatikan shahri, Rim)

Epik rasm

O'zining buyuk dostonidagi Dante singari, Ilohiy komediya , Mikelanjelo hozirgi ulug'vorlikka loyiq epik rasm yaratishga intildi. U o'z mavzusini bezash uchun metafora va ishorani ishlatgan. Uning bilimli tomoshabinlari uning vizual va adabiy havolalaridan xursand bo'lishadi.

Soat yo'nalishi bo'yicha: Sent Blez, Sent Ketrin va Sent -Sebastyan (batafsil), Mikelanjelo, Oxirgi hukm, Sistine ibodatxonasi, fresk, 1534-1541 (Vatikan, Rim)


Mikelanjelo

Bo'lgandi Papa Yuliy II bezatish uchun Mikelanjelo Buonarrotini tanlagan Sistine ibodatxonasining shipi. Mikelanjelo shiftlarni bezashni atigi 4 yil ichida yakunladi.

Dastlab, u faqat 12 havoriyning raqamlarini tushunishi kerak edi, lekin ish oxirida ular bor edi rassom tomonidan chizilgan 300 dan ortiq figuralar.

SISTIN CHAPELINING ISHLARI
Ishlarning boshlanishi juda sekin edi, chunki Mikelanjelo hech qachon Sistine ibodatxonasidan oldin freskalarni chizmagan. Qiyinchiliklar bundan ham kattaroq edi, chunki sirt egilgan va u perspektivaning "sirlarini" o'rganishi kerak edi.

Ba'zilar Mikelanjeloning orqasida yotib rasm chizganiga ishonishadi, lekin bu to'g'ri emas, chunki u ishni osonlashtirish uchun iskala tizimini o'ylab topgan.

Shiftdagi freskalardan tashqari, Mikelanjeloning eng mashhur va qadrli Sistine ibodatxonasining ishi - bu Oxirgi hukm, 1535-1541 yillar oralig'ida bo'yalgan.

MICHELANGELO O'limidan keyin
Mikelanjelo hayotining so'nggi yillarida janjal u uchun Vatikanda boshlandi butunlay yalang'och erkaklar va ayollarning rasmlari.
1564 yilda, u vafot etgan yili, freskalari uchun tsenzura qonuni tasdiqlangan.

Rassom Daniele da Volterra yalang'ochlikni ba'zi kiyimlar bilan yopish vazifasi qo'yildi. Bugungi kunda asl freskka qoyil qolish mumkin, chunki ba'zi restavratsiyalardan so'ng tanqidlar olib tashlandi.


Sistine ibodatxonasi

Tahririyatimiz siz yuborgan narsalarni ko'rib chiqadi va maqolani qayta ko'rib chiqish kerakligini aniqlaydi.

Sistine ibodatxonasi, Vatikan saroyidagi papa ibodatxonasi, u 1473–81 yillarda me'mor Jovanni Dey Dolchi tomonidan Papa Sixtus IV (shuning uchun uning nomi) uchun qurilgan. U Mikelanjeloning Uyg'onish davri freskalari bilan mashhur.

Sistine ibodatxonasi-bu to'rtburchaklar shaklidagi g'ishtdan yasalgan bino, har birida ikkita asosiy (yoki yon) devorning oltita kamar oynasi va bochkali gumbazli ship. Cherkovning tashqi ko'rinishi bejirim va bezaksiz, lekin uning ichki devorlari va shipi Florensiya Uyg'onish davrining ko'plab ustalari freskalari bilan bezatilgan. Cherkovning yon devorlaridagi freskalar 1481 yildan 1483 yilgacha chizilgan. Shimoliy devorda Masih hayotidan voqealarni aks ettiruvchi oltita fresko, Perugino, Pinturikkio, Sandro Botticelli, Domeniko Girlandaio va Kosimo Rosselli tasvirlangan. Janubiy devorda Perugino, Pinturikkio, Botticelli, Domeniko va Benedetto Girlandaio, Rosselli, Luka Signorelli va Bartolomeo della Gatta Muso hayotidan voqealarni aks ettiruvchi yana oltita freska bor. Bu asarlar tepasida derazalar orasidagi kichikroq freskalarda turli papalar tasvirlangan. Tantanali marosimlarda yon devorlarning eng past qismlari Xushxabar va Havoriylarning Havoriylari voqealarini aks ettiruvchi gobelenlar bilan qoplangan. Ular Rafael tomonidan ishlab chiqilgan va 1515-1919 yillarda Bryusselda to'qilgan.

Cherkovdagi eng muhim san'at asarlari - Mikelanjeloning tavanda va qurbongoh orqasidagi g'arbiy devoridagi freskalari. "Sistine shift" deb nomlanuvchi shiftdagi freskalar 1508 yilda Papa Yuliy II tomonidan buyurtma qilingan va 1508-1512 yillarda Mikelanjelo tomonidan chizilgan. Ularda Eski Ahddagi voqealar va shaxslar tasvirlangan. The Oxirgi hukm G'arb devoridagi fresk 1534-1541 yillar mobaynida Mikelanjelo tomonidan Papa Pol III uchun chizilgan. Bu ikkita ulkan fresk G'arb rasmining eng katta yutuqlaridan biridir. 1989 yilda tugatilgan Sistine shiftini 10 yillik tozalash va tiklash ishlari bir necha asrlar davomida to'plangan axloqsizlik, tutun va laklarni yo'q qildi. Qutini tozalash va tiklash Oxirgi hukm 1994 yilda qurib bitkazilgan.

Papaning shaxsiy cherkovi sifatida, Sistine ibodatxonasi asosiy papa marosimlari o'tkaziladigan joy bo'lib, muqaddas kardinallar kolleji tomonidan vakansiya bo'lganda yangi papani saylash uchun ishlatiladi.


Sistine ibodatxonasi

Sistine ibodatxonasi butun Evropadagi eng mashhur va bezatilgan cherkovlardan biridir. Italiyada Cappella Sistina nomi bilan tanilgan Uyg'onish davri san'atining eng yaxshi asari Apostollar saroyining bir qismi, Papaning Vatikandagi rasmiy qarorgohi. Yillar mobaynida keng maydon papalik konklavlar, ommaviy va sayohatlar joyi bo'ldi.

Vatikan muzeylarining bir qismi bo'lgan Vatikandagi bu ajoyib ibodatxona, agar bayram bo'lmasa, ko'p kunlar tashrif buyurish uchun ochiq. Bitta chipta besh kun davomida Sistine ibodatxonasiga, shuningdek, Tarixiy muzey va Papalik kvartiralarga kirishga imkon beradi. Bolalar va talabalar uchun maxsus tariflar mavjud.

O'z-o'zidan sayohatlar bilan bir qatorda, siz gobelen galereyasi, Pio Klementino muzeyi, Candelabras galereyasi, Geografik xaritalar galereyasi va Rafael xonalari bilan birga ibodatxonaga tashrif buyurishni o'z ichiga olgan ekskursiyalarni bron qilishingiz mumkin. Alohida bog 'va badiiy sayohatlar, shuningdek, Sistine ibodatxonasi tarixini batafsil bayon qilish taklif etiladi.

Rim xaritasi

Rimdagi Sistine ibodatxonasiga kelganingizdan so'ng, chiptalarni himoya qilish juda yaxshi, chunki ular juda ko'p. Siz mustaqil ravishda yoki gid bilan kashf qilishni rejalashtiryapsizmi, siz dunyo boyliklaridan birini ko'rish imkoniyatiga ega bo'lasiz. Sistine ibodatxonasining tarixi XV asrga borib taqaladi, chunki Papa Sixtus IV o'rta asrlardagi Cappella Magna zalini tiklagan rassomlar guruhini boshqargan. Botticelli, Domenico Girlandaio va Pietro Perugino Muso va Masihning hayotini aks ettiruvchi freskalarni yaratdilar.

Sistine ibodatxonasi tarixidagi eng mashhur bob bir necha o'n yillar o'tgach, Mikelanjelo Papa Yuliy II tomonidan qabrni qayta bo'yashga topshirilganida boshlangan. Dastlab ko'k osmonda yulduzlar sifatida bo'yalgan Sistine ibodatxonasining shiftini usta ko'rish va tirishqoqlik bilan san'at asariga aylantirdi.

Rimdagi Sistine ibodatxonasi, Mikelanjelo tufayli, Rafael portretlari va Mona Liza bilan birga Uyg'onish davri san'atining eng zo'r va buyuk namunalaridan biridir. Leonardo da Vinchining sirli asarlari hozir Frantsiyadagi Luvr muzeyidir. Mikelanjeloning bir nechta sahnalari Ibtido kitobidan ilhomlangan, shu jumladan odam Xudoning qo'liga cho'zilgan "Odam Atoning yaratilishi". Boshqa rasmlarda Bibliya va Rim payg'ambarlari, Isoning nasabnomasi va sizning e'tiboringizga loyiq bo'lgan boshqa ko'plab mayda -chuydalar tasvirlangan.

Qurbongoh devoriga Rimdagi Sistine ibodatxonasining yana bir o'ziga xos san'at asari "Oxirgi hukm" chizilgan. Mikelanjeloning ulkan freskasi shiftdan 30 yil o'tgach, 1541 yilda tugatilgan.

Sistine ibodatxonasi tarixidagi muhim bob ancha yaqin. Mikelanjeloning makonni o'zgartirganidan qariyb 500 yil o'tgach, Sistine ibodatxonasining tiklanishi rasmlarni asl qiyofasini tikladi. Ko'p asrlik xiralik ehtiyotkorlik bilan olib tashlandi, bu rassom yaxshi bilgan yorqin ranglarni ochib berdi. Shiftlar va freskalar, shu jumladan "Oxirgi hukm" yanada yorqinlashdi.

Sistine ibodatxonasidan tashqari, Vatikan va uning atrofidagi Rimda imonlilar, tarix ixlosmandlari va san'at ixlosmandlari uchun ko'p narsalar mavjud. Avliyo Pyotr maydoni, Sankt -Petr Bazilikasi va liturgik voqealar ko'pchilikni suveren anklavga jalb qiladi. Rimning madaniy diqqatga sazovor joylari ro'yxatiga ming yillar davomida muhim bo'lgan saytlar kiritilgan. Kolizey, Trevi favvorasi, Rim yo'llari va son -sanoqsiz muzeylar - bu boshlash uchun bir necha joy.


Papaning chaqiruvi

1503 yilda yangi papa tayinlandi: o'zini dunyoviy Papa Yuliy II, o'zini kuch, urush va san'atni sevuvchi deb e'lon qildi. Uning hukmronligi davrida Rim turli loyihalarda ishlayotgan ko'plab rassomlar va me'morlar bilan ajoyib salonga o'xshardi. Yuliyning qo'shilishi bilan Florensiyadagi 17 metr balandlikdagi hayratlanarli "Dovud" ni haykaltarosh qilib ishlagan yosh Mikelanjelo erta tug'ilganligi papaning quloqlariga etib bordi. 1505 yilda Yuliy uni bo'lajak qabri ustida ishlash uchun uni Rimga chaqirdi, bu komissiya tez orada Sankt -Peterburg Bazilikasining o'zini qayta qurish ishlarini boshladi.

Fitna nazariyasi

Mikelanjelo shunday deb yozgan edi: "Papa Yuliy bilan men o'rtasida yuzaga kelgan barcha kelishmovchiliklar Bramante [Yuliyning bosh me'mori] va rassom Rafaelning hasadidan kelib chiqqan". Mikelanjeloning birinchi biografi bo'lgan Askanio Kondivining nazariyasi boshqacha edi: Bramante Sikstin shiftini bo'yash uchun Mikelanjelo nomini ilgari surdi, lekin bunga qaramay, Mikelanjelo rasm chizishni boshlaganida, uning tajribasizligi fosh bo'ladi va karerasi tugaydi deb hisoblaydi. Giorgio Vasari, uning so'zlarida Eng zo'r rassomlar, haykaltaroshlar va me'morlarning hayoti, bu dalilga ham amal qiladi. Mikelanjelo rassomlik qobiliyatiga shubha bilan qaragan, shuning uchun nazariya uzoqqa cho'zilmasligi mumkin. Tarix shuni ko'rsatadiki, Bramantening taktikasi ajoyib natija berdi.

Mikelanjelo biografi Endryu Grem-Dikson "megalomaniak fantaziya, ego, mag'rurlik va kuchning odobsiz yodgorligi" deb atagan papa qabri, shunga qaramay, olxo'ri komissiyasi edi. Materiallar uchun pul to'lamaslik uchun Papa bilan janjallashgandan so'ng, Mikelanjelo nafratlanib Rimni tark etdi. Yuliya, xatosini tushunib, rassom uning uchun ishlashda davom etishini talab qilib, unga yana bir jozibali yangi loyihada ishlashni buyurdi: Sistine ibodatxonasining shipidagi freskalar.

Mikelanjelo 1508 yilda Rimga qaytganida, Papaning bosh me'mori Donato Bramante va Mikelanjeloning qasmi dushmani, Sankt -Peterning yangi Bazilikasida ish bilan band edi. 1546 yilda, keksa odam bo'lganida, Mikelanjelo yangi Sankt -Peterburgning bosh me'mori etib tayinlanadi, u nihoyat 1615 yilda qurib bitkaziladi, ammo bu kelajakda yotadi. Rafael, boshqa raqib, papaning shaxsiy xonalarida freskalar ustida ishlay boshladi va bunday buyuk loyihalar yonida tashqi ko'rinishi oddiy bo'lgan Sistine ibodatxonasi kichikroq loyihaga o'xshab ko'rinishi mumkin edi.

Tashqi ko'rinishi aldamchi edi, chunki u ichkaridagi maxsus bino edi: bir necha o'n yillar ilgari Papa Sixtus IV tomonidan qayta tiklangan (uning ismi), bu Vatikanning Vatikanga yordam berish uchun ajratilgan qismi. Papa o'zining ruhiy vazifalarida. Bugun bu konklavning joylashuvi, bu erda kardinallar yangi papani tanlaydilar. Papa Yulius bezakni faqat bitta rassom bajarishini xohlaganiga qat'iy ishongan va ular avvalgi janjallariga qaramay, bu ishni Mikelanjeloga topshirgan.


Chapelning shiftini yaqindan ko'rish imkoniga ega bo'lgan har bir kishi ikkita narsani payqagan bo'lishi kerak. Birinchidan, bu shift baland va u, albatta, ko'plab rasmlar bilan to'ldirilgan. Tasavvur qilish qiyinki, bitta rassom besh yil ichida hammasini uddalagan va bu bilim Mikelanjeloning yelkasiga yotib, bir yildan keyingisiga mehnat qilganda, uning rasmini esga soladi. Uning shiftining tarixdagi eng muhimlaridan biri bo'lishini bilishiga shubha yo'q, lekin keyin Mikelanjelo nihoyatda iste'dodli rassom edi.

Avvaliga rassomga yulduzlar bilan ajratilgan ko'k Chapelning shiftini almashtirish uchun qandaydir geometrik belgi chizish buyurilgan. Bu 1508 yilda, Mikelanjelo Papa Yuliy II qo'lida bo'lganida edi. Buning o'rniga, rassom shiftni Eski Ahd sahnalari bilan bezatishni tanladi, bu dunyo bugun biladi va qadrlaydi.

Freskoslarning tavsifi

Freskalar nafaqat ko'zni hayratga soladigan bezaklardir. Bu sahnalar bir hikoya - insoniyatning boshidanoq hikoya qiladi. Ular boshqa barcha hikoyalar paydo bo'lishidan oldin mavjud bo'lgan voqeani - yaratilish hikoyasini aytib berishadi. Uch qismga bo'linib, sahnalar xronologik tartibda joylashtirilgan va hikoyaning birinchi qismi qurbongoh ustida bo'yalgan. Bu erda uchta rasm topiladi - Osmon va Yerning yaratilishi, Odam Ato va Momo Havoning yaratilishi va nihoyat Adan bog'idan quvilish. Keyin Mikelanjelo hech qanday qiyinchiliksiz Nuh va Buyuk To'fon rasmini davom ettirdi.

U xuddi o'sha eski hikoyani dunyoga aytib beradi, lekin rassom har bir kishi tasavvur qila olmaydigan ko'p narsalarni o'z freskalarida tasvirlaydi. Mikelanjelo o'z xabarini ifodalash uchun ignudi (yalang'och yoshlik) dan foydalanib, Masihning tug'ilishi haqidagi xabarni va'z qiladi va uni insonning yaratilishi bilan bog'lashning yo'lini topadi.

Amaldagi texnikalar

Uning rasmlarining aksariyatida hikoya tafsilotlari bor, chunki ular kichik o'lchamlarda bo'yalgan bir nechta figuralarni ko'rsatadi. Bu o'ziga xos freskani boshqalardan ajratib turadi - Odam Atoning yaratilishi. Bu freskda raqamlar monumental bo'lib, ular bo'shliq bo'ylab bir -biri bilan uchrashish uchun cho'zilgan. Uning boshqalardan farqli o'laroq, rasmni boshqalardan ajratib turadigan narsa bo'lishi mumkin, lekin tasvirlanmaganiga qaramay, bu rasmdagi tafsilotlar hali ham ajoyib. Mikelanjeloning "To'fon" kartinasi ancha tafsilotlarni o'z ichiga oladi. Bu erda u osmon va suvni chizadi va bo'sh joydan foydalanib, to'rtta hikoyani tasvirlaydi.

Rasmda yomg'irdan saqlanishga urinayotgan odamlar guruhi vaqtinchalik ob'ekt ostidan boshpana topgani ko'rsatilgan. Chap tomonda ko'tarilgan suvlardan qochish uchun toqqa yugurayotganlar ko'proq. Rasmning markazida yomg'ir va bo'ronli dengizning birgalikdagi kuchi bilan yengilgan ko'rinadi. Biroq, bu rasmning fonida najot bor, chunki kichik guruh kemaning qurilishini tugatadi, bu rasmda fojia tasvirlangan, lekin inson kelajagiga umid qiladigan yagona nur bor. O'limga yaqin bo'lganlar umidsizlikka tushib, kuzatuvchidan hamdard bo'lishga chaqirishadi.

Rasm odamni Xudoning adolati haqida o'ylashga majbur qiladi, chunki u butun dunyoni butunlay qaytadan boshlashi mumkin edi. Ammo Nuhni va uning oilasini qutqarishda Mikelanjelo Xudoning najotini haqiqiy qiyofasida tasvirlaydi. Sistine ibodatxonasining shiftini yaqindan kuzatganda aniq bo'lgan yana bir tafsilot bor. Xuddi ikki xil rassom chizgan ikki xil bo'lim bor. Bu, ehtimol, mehnat paytida, Mikelanjelo 1510 yilda bir yillik tanaffus oldi. "To'fon" kabi tasvirlarda biz odamlar suv toshqini paytida halok bo'lishini ko'rishimiz mumkin, lekin hissiy holatini aniqlash qiyin. Mikelanjelo tor doiradagi odamlarni tasvirlab, kuzatuvchi va uning rasmidagi qahramonlar o'rtasidagi aloqani qurbon qildi.

Uning keyingi asarlarida yuzi aniq va aniq xususiyatlarga ega bo'lgan ko'proq monumental figuralar ishlatiladi, bu esa odamlarning rasmlar bilan bog'lanishini osonlashtiradi. Masalan, Odam Atoning yaratilishini olsak, biz Odam Atoning yuzini dangasa va yengil qilib, ozgina intizorlik tuyg'usini topa olamiz. We can also make out the face of God to be serious as if he is hard at work in making his creation. One can perceive this even from the floor of the chapel. There is a little detail, but really, the superiority of Michelangelo's work after he took his break lies in the simplicity that he came to employ.

Nine Scenes from the Book of Genesis
Twelve Prophets and Sibyls
Ancestors of Christ
Pendentives
Spandrels
Ignudi
Medallions

The Connection Observable in His Paintings

The paintings focus on the story that has been told in the book of Genesis, but there are forms that have been interpreted to portray the image of the Christ child. In the Creation of Adam, this child figure has been included to mean that even if man is created in the image and likeness of God, there is still room for sin and that God foresaw this sin. The frescos connect the Old Testament to the New Testament in a way that had never been done before. Michelangelo found a way to put this connection into art. He found a whole new way of presenting the scenes from the Bible, including the idea that Adam was brought to life through the simple touch of God's finger.

In an attentive order, the painter silently narrates the tale of Adam from the perfection that he was during creation to the sinner that his children became after the fall of mankind. There are nine narrative paintings on this ceiling, but the perspective used on the subjects is on a point that if one looks closely enough, they can almost see the figure rearing out of the ceiling wall. The characters used are ancient, yes, but after viewing these images, observers go out into the real world with vivid imaginations of what was and what is.

Michelangelo breached the gap between the past innocence, the present sinfulness, and the future redemption of mankind, making it all seem like one continuous story when it was in fact realised in centuries. It is possible that the painter's mind did not quite extrapolate this far when he was toiling away at the ceiling, but the idea just seems to fit so much that one cannot help but imagine what Michelangelo was thinking – imagine how the world would interpret his final masterpiece.

What was Michelangelo's Motivation?

It is not clear what inspired him to paint the ceiling, in fact, one might say that Michelangelo was anything but inspired when he started decorating the Sistine Chapel. Pope Julius II practically forced him to do it, so in a way, the Pope was his inspiration. The country during that time had been broken by war, and in an attempt to unite the people once again, the Pope saw it fit to have the chapel ceiling and walls repainted. The ceiling was meant to inspire divine servitude, so by using the power granted to the church, the Pope commissioned Michelangelo to paint 12 frescos that showed images of the 12 apostles of Christ.

These apostles were supposed to be painted in a geometric fashion. The painter was not inspired by this original commission, so he proposed that the scenes from the Old Testament story of creation be painted instead. He knew that the apostles of Christ had led poor lives and, therefore, hesitated to paint them in the glories of the world. This painter liked a challenge, and to him, painting 12 figures over such a big space didn't present much of a challenge. He instead opted to paint the 300 or so complex figures that now dominate the chapel ceiling.

It is said that a number of people, including the Pope's cousin Marco Vigerio Della Rovere inspired the design of the Sistine Chapel ceiling, but this is just a theory. As one enters the chapel, the images of the rise of mankind are painted in reverse. This has been interpreted to mean that as one moves closer to the altar, they are moving closer to the glory of God – moving closer to his salvation.

At the entrance, one can see Noah in his drunkenness, and at the altar, one can see God as he separates the light from the dark. As an observer walks down to the altar, the story tells itself in reverse, and the very centre of the ceiling one can see God as he gives life to the first man, Adam. Painting these frescoes permanently damaged Michelangelo's spine, and while it might have been easy for him to paint the figures, it must have been difficult for him to give these figures the voice that they still pose even to this day.

The reversed order in which the frescoes are painted is, in a way, symbolic. Going towards the altar is going towards God and the rise of mankind, but going away from the altar and back into the outside world represents a walk that leads to the sinfulness and eventual fall of mankind.

The Style Used

The high-key colours used by the painter are extremely helpful to anyone who hopes to decipher the contents of the Sistine Chapel from 60 feet below. The colours are now brash and bright as compared to how they were before the ceiling was restored. There is a general white backdrop that brings out the yellows, the pinks, and the greens that the painter used to paint his characters to life. The use of old prophets and ancient sibyls has been interpreted in different ways over the years.

Sibyls foretold the birth of a saviour in the ancient times, but for the modern Christian, the birth of Christ was foretold by ancient prophets in the Old Testament. Michelangelo used sibyls and prophets to point to the same salvation that would be afforded to the entire human race. He paints one particular Sibyl in an interesting fashion, Libyan Sibyl. She is made to appear in the form of sculpture, much like all the characters that this artist portrayed. This sibyl's body is somewhat twisted as she sits on a garment looking over her shoulder towards the direction of the altar. Her image seems to fit perfectly in the environment that it has been placed.

There are triangular panels that are placed to the side of the central chapel panels. Within these triangular panels are figures that represent the ancestors of Christ. Separating these panels are representations of five sibyls and the seven prophets. The four corners of the chapel show four scenes inspired by the Old Testament. After he had finished painting Noah's drunkenness, Michelangelo looked at the images again, and after realising that they were not as imposing as he had intended, he opted to make them grander. So, as one walks towards the altar, the images become larger and larger. His work is religious in all fronts. The paintings, especially the deep sense of emotion evident in some of the character's faces, are a proof of Michelangelo's piety.

Finally came the Last Judgement that Michelangelo created 20 years after he had finished all the other paintings on the ceiling. This last image is located on the altar wall of the Sistine Chapel, and comparing how it was made versus how all the other images were made to appear, one can begin to understand why not much thought is given to it by observers. The talent employed in this picture is just as outstanding, but the Last Judgement carries around a concept of bleakness. This painting shows the second coming of Christ, and although the inspiration comes from the Bible, the artist used his vivid imagination to create the radiant picture filled with saints and angels. This painting shows the ultimate end of the human race after centuries of sin and disobedience.

The reason that most observers have deemed it to be a show of hopelessness is that Christ is seen to be plunging a majority of people into the damned fires of hell, it is only a few that are rising into heaven. Some figures are cowering before the son of God as he passes his final judgement. The images are somewhat disturbing and very realistic as the Saint Bartholomew holds out his skin and the Saint Andrew holding the cross that he was crucified on.

Michelangelo was to art what Shakespeare was to literature. These two characters in history represented new ideas. The painter tried to push forth a new idea of what was meant to be. Through these images, the religious world view he had becomes clear to the world. Michelangelo painted not to blind us to his perspective, but to give us a glimpse into his mind – into the world that he imagined. He painted and left his work free of interpretation, giving any observer the chance to drink in this marvellous creation and make their conclusions.

Right from the entrance of the chapel, the painter shows us a vision of what it was like for a man to meet the touch of God during creation. He shows us this in a bold and energetic way, using images of ancient prophets and seers to include the concept of the future. Looking at the Sistine Chapel ceiling is looking directly at the divine not through the eyes of Michelangelo, but through those of every human being ever created. These paintings are not limited by what has been preached, and they go beyond the rules that have been set about religion and fully express an idea of God that most people could not dare imagine.

More than 500 years down the line and the modern world is still in awe each time we look at Michelangelo's creation. After the chapel was cleaned, the real complexity of the artist's palette was exposed, and since then, the Sistine Chapel has become some school and inspiration for everyone around the world. At 33, this artist unwillingly started out on this commission to paint the pope's private chapel only for it to become the best thing he ever created. For a sculptor who insisted that he was not a painter, the work he did on the Sistine Chapel ceiling comes awfully close to perfect.

The period of 1508-1512 represented a key time in the career of Michelangelo as he set about constructing an array of frescos across the ceiling of the Sistine Chapel.

This monumental task was to be completed with such immense creativity and technique that the artist himself was to become a household name from then on.

Certain specific elements of the overall piece are considered masterpieces in their own right, and to see them all together is truly extraordinary.

The popularity of Michelangelo's work is also shown in the fact that he was invited back some years later to complete The Last Judgement painting which sat on the altar wall, close to his previous work.

Michelangelo was an artist with huge confidence as well as technical ability which was necessary in order to take on such a challenging request, which had come from Pope Julius II.

The complex combinations of figures across the ceiling has helped many budding artists to understand the true skills of the artist in capturing the human body in a manner of different ways. His understanding of anatomy was impressive and necessary to produce such lifelike and believable portraits.

All of Michelangelo's work on the ceiling is now over 500 years old and so it has been very necessary to continuously protect the frescos and plaster work from all natural elements as well as enthuastic tourists who have been flocking to the Chapel for centuries.

There have also been restorative work in recent generations to remove darkening effects from natural elements that can never be entirely guarded against. The nature of this large artwork also means that it is harder to look after than a normal sized standard painting or sculpture.

The art within the Sistine Chapel, which also includes work by many other notable Italian artists, underlines the wealth and status of the Pope and Christianity itself at that time. Quite simply, it could attract and afford commissions with the finest artists of that time and Michelangelo was clearly around the top of that list.


Exhibit Featuring Michelangelo’s Sistine Chapel Ceiling Coming to the Albany Capital Center

A display from the 'Michelangelo - A Different View' exhibit, which will be coming to the Albany Capital Center at the end of July.

No need to spend $1,700 on airfare and travel 13 hours by plane to visit the Sistine Chapel at the Vatican. The Albany Capital Center (ACC) will have the world-famous fresco on display at the ACC this summer from July 29–August 23—or rather, a licensed version of it—when they host the exhibit, Michelangelo – A Different View.

Michelangelo spent four years on scaffolding under the 70-foot-high vaulted ceiling of the chapel painting his interpretation of the history of creation. Basically, what a ticket-holder is seeing is a high-resolution image of the fresco, licensed from the Vatican, that has been transferred to fabric webs. In other words, audiences can see the intricacies they might miss looking at the work in an art history book or even at the chapel itself, which one is usually ushered into for only a set amount of time. One also has to crane his or her neck upward in order to see it in the chapel itself. For the exhibit, the artwork is positioned on walls and flooring, so that it’s much more easily viewed.

“The format of this event is ideal for our facility given our expansive space,” says Doug McClaine, general manager of the ACC. “We can accommodate large numbers comfortably and safely so guests can enjoy the artwork while maintaining social distance. The pieces that will be on display are incredible and will be a must-see for all art lovers.”

Following the restoration of the chapel between 1982-1994, a Japanese team of photographers received permission to film the newly resplendent ceiling. Photo slides were made of the frescoes in a 200x250mm format, which since have been guarded by the Vatican Museums under lock and key.

Tickets to Michelangelo – A Different View will be available for purchase on June 1 at 10am and are priced from $8-$17, with group discounts and family packs available. Tickets will be sold in sessions to allow for staggered entrance and to maintain social distance. For more information on ticket prices and session times, click here.


Videoni tomosha qiling: Michelangelo, The Slaves (Dekabr 2021).