Hidden Neuroanatomy in the Sistine Chapel: Did Michelangelo Encode a Brain, or Do We Construct It?

This article examines the claim that Michelangelo's The Creation of Adam contains an anatomical depiction of the human brain. By integrating semiotic theory and neuropsychology, it explores how meaning in visual art emerges through the interaction between artistic form and perceptual processes. While semiotics emphasizes that symbols gain meaning through interpretation rather than fixed reference, neuropsychology shows that perception is constructive, shaped by predictive processing, pattern recognition, and phenomena such as pareidolia. The analysis suggests that the hidden brain may reflect either intentional symbolic design or the observer's cognitive tendency to impose structure on ambiguous imagery. Ultimately, the study argues that meaning arises relationally between artwork and viewer rather than residing exclusively in either.