Marian art in the Catholic Church
Iconographic deciption of Virgin Mary in Catholic Churches
Top 10 Marian art in the Catholic Church related articles
- 1 Blending of art, theology and spirituality
- 2 The diversity of Marian art
- 3 Early veneration
- 4 Mother of God
- 5 Perpetual virginity
- 6 Immaculate Conception
- 7 Assumption of Mary
- 8 Queen of Heaven
- 9 Our Lady of the Keys and of the end of Times
- 10 Apparitions
- 11 Distinguishing characteristics
- 12 Galleries of Marian art
- 12.1 Perpetual virginity
- 12.2 Birth of Jesus
- 12.3 Adoration of the shepherds
- 12.4 Adoration of the Magi
- 12.5 Madonna paintings
- 12.6 Madonna frescos
- 12.7 Madonna statues
- 12.8 Mary in the Life of Christ
- 12.9 Immaculate Conception
- 12.10 Assumption into Heaven
- 12.11 Queen of Heaven
- 12.12 Apparitions
- 13 See also
- 14 Notes
- 15 References
- 16 Further reading
- 17 External links
The Blessed Virgin Mary has been one of the major subjects of Western Art for centuries. Numerous pieces of Marian art in the Catholic Church covering a range of topics have been produced, from masters such as Michelangelo and Botticelli to works made by unknown peasant artisans.
Marian art forms part of the fabric of Roman Catholic Marian culture through their emotional impact on the veneration of the Blessed Virgin. Images such as Our Lady of Guadalupe and the many artistic renditions of it as statues are not simply works of art but are a central elements of the daily lives of the Mexican people. Both Hidalgo and Zapata flew Guadalupan flags and depictions of the Virgin of Guadalupe continue to remain a key unifying element in the Mexican nation. The study of Mary via the field of Mariology is thus inherently intertwined with Marian art.
The body of teachings that constitute Roman Catholic Mariology consist of four basic Marian dogmas: Perpetual virginity, Mother of God, Immaculate conception and Assumption into Heaven, derived from Biblical scripture, the writings of the Church Fathers, and the traditions of the Church. Other influences on Marian art have been the Feast days of the Church, Marian apparitions, writings of the saints and popular devotions such as the rosary, the Stations of the Cross, or total consecration, and also papal initiatives, and Marian papal encyclicals and Apostolic Letters.
Each of these fundamental Mariological beliefs has given rise to Roman Catholic Marian art that has become part of Mariology, by emphasizing Marian veneration, being celebrated in specific Marian feasts, or becoming part of key Roman Catholic Marian churches. This article's focus is primarily on how the artistic component of Roman Catholic Mariology has represented the fundamental Marian doctrines of the Catholic Church, and has thus interacted with them, creating a force that has shaped Catholic Mariology over the centuries.
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Marian art in the Catholic Church Intro articles: 79
Blending of art, theology and spirituality
Art has been an integral element of the Catholic identity since the very beginning. Medieval Catholicism cherished relics and pilgrimages to visit them were common. Churches and specific works of art were commissioned to honor the saints and the Virgin Mary has always been seen as the most powerful intercessor among all saints—her depictions being the subject of veneration among Catholics worldwide.
Roman Catholic Mariology does not simply consist of a set of theological writings, but also relies on the emotional impact of art, music and architecture. Marian music and Marian shrines interact with Marian art as key components of Mariology, e.g. the construction of major Marian churches gives rise to major pieces of art for the decoration of the church.
In the 16th century, Gabriele Paleotti's Discourse on Sacred and Profane Images became known as the "Catechism of images" for Catholics, given that it established key concepts for the use of images as a form of religious instruction and indoctrination via silent preaching (muta predicatio). Paleotti's approach was implemented by his powerful contemporary Saint Charles Borromeo and his focus on "the transformation of Christian life through vision" and the "nonverbal rules of language" shaped the Catholic reinterpretations of the Virgin Mary in the 16th and 17th centuries and fostered and promoted Marian devotions such as the Rosary.
An example of the interaction of Marian art, culture and churches is Salus Populi Romani, a key Marian icon in Rome at Santa Maria Maggiore, the earliest Marian church in Rome. The practice of crowning the images of Mary started at Santa Maria Maggiore in Rome by Pope Clement VIII in the 17th century. In 1899 Eugenio Pacelli (later Pope Pius XII) said his first Holy Mass in front of it at the Santa Maria Maggiore. Fifty years later, he physically crowned this picture as part of the first Marian year in Church history, as he proclaimed the Queenship of Mary. The image was carried from Santa Maria Maggiore around Rome as part of the celebration of the Marian year and the proclamation of the Queenship of Mary.
Another example is Our Mother of Perpetual Help. Catholics have, for centuries, prayed before this icon, usually in reproductions, to intercede on their behalf to Christ. Over the centuries, several churches dedicated to Our Mother of Perpetual Help have been constructed. Pope John Paul II held mass at the National Shrine of Our Mother of Perpetual Help in the Philippines where the devotion is very popular and many Catholic churches hold a Novena and Mass honoring it every Wednesday using a replica of the icon, which is also widely displayed in houses, buses and public transport in the Philippines. Devotions to the icon have spread from the Philippines to the United States, and remain popular among Asian-Americans in California. As recently as 1992, the song The Lady Who Wears Blue and Gold was composed in California and then performed at St. Alphonsus Liguori Church in Rome, where the icon resides. This illustrates how a medieval work of art can give rise to feast days, Cathedrals and Marian music.
The use of Marian art by Catholics worldwide accompanies specific forms of Marian devotion and spirituality. The widespread Catholic use of replicas of the statue of Our Lady of Lourdes emphasizes devotions to the Immaculate Conception and the Rosary, both reported in the Lourdes messages. To Catholics, the distinctive blue and white Lourdes statues are reminders of the emphasis of Lourdes on Rosary devotions and the millions of pilgrimages to the Rosary Basilica at Lourdes shows how Churches, devotions and art intertwine within Catholic culture. The Rosary remains the prayer of choice among Catholics who visit Lourdes or venerate the Lourdes statues worldwide.
Historically, Marian art has not only impacted the image of Mary among Catholics, but that of Jesus. The early "Kyrios image" of Jesus as "the Lord and Master" was specially emphasized in the Pauline Epistles. The 13th century depictions of the Nativity of Jesus in art and the Franciscan development of a "tender image of Jesus" via the construction of Nativity scenes changed that perception and was instrumental in portraying a softer image of Jesus that contrasted with the powerful and radiant image at the Transfiguration. The emphasis on the humility of Jesus and the poverty of his birth depicted in Nativity art reinforced the image of God not as severe and punishing, but himself humble at birth and sacrificed at death. As the tender joys of the Nativity were added to the agony of Crucifixion (as depicted in scenes such as Stabat Mater) a whole new range of approved religious emotions were ushered in via Marian art, with wide-ranging cultural impacts for centuries thereafter.
The spread of devotions to the Virgin of Mercy are another example of the blending of art and devotions among Catholics. In the 12th century Cîteaux Abbey in France used the motif of the protective mantle of the Virgin Mary which shielded the kneeling abbots and abbesses. In the 13th century Caesarius of Heisterbach was also aware of this motif, which eventually led to the iconography of the Virgin of Mercy and an increased focused on the concept of Marian protection. By the beginning of the 16th century, depictions of the Virgin of Mercy were among the preferred artistic items in households in the Paris area. In the 18th century Saint Alphonsus Liguori attributed his own recovery from near death to a statue of the Virgin of Mercy brought to his bedside.
In his apostolic letter Archicoenobium Casinense in 1913, Pope Pius X echoed the same sentiment regarding the blending of art, music and religion by comparing the artistic efforts of the Benedictine monks of the Beuron Art School (who had previously produced the "Life of the Virgin" series), to the revival of the Gregorian chant by the Benedictines of Solesmes Abbey and wrote, "...together with sacred music, this art proves itself to be a powerful aid to the liturgy".
Marian art in the Catholic Church Blending of art, theology and spirituality articles: 36
The diversity of Marian art
Roman Catholic Marian art has expressed a wide range of theological topics that relate to Mary, often in ways that are far from obvious, and whose meaning can only be recovered by detailed scholarly analysis. Entire books, academic theses or lengthy scholarly works have been written on various aspects of Marian art in general and on specific topics such as the Black Madonna, Our Lady of San Juan de los Lagos, Virgin of Mercy, Virgin of Ocotlán, or the Hortus conclusus and their doctrinal implications. 
Some of the leading Marian subjects include:
Marian art in the Catholic Church The diversity of Marian art articles: 18
Early veneration of Mary is documented in the Catacombs of Rome. In the catacombs paintings show the Blessed Virgin with her son. More unusual and indicating the burial ground of Saint Peter, was the fact that excavations in the crypt of Saint Peter discovered a very early fresco of Mary together with Saint Peter. The Roman Priscilla catacombs contain the known oldest Marian paintings, dating from the middle of the second century In one, Mary is shown with the infant Jesus on her lap. The Priscilla catacomb also includes the oldest known fresco of the Annunciation, dating to the 4th century.
After the Edict of Milan in 313 Christians were permitted to worship and build churches openly. The generous and systematic patronage of Roman Emperor Constantine I changed the fortunes of the Christian church, and resulted in both architectural and artistic development. The veneration of Mary became public and Marian art flourished. Some of the earliest Marian churches in Rome date to the 5th century, such as Santa Maria in Trastevere, Santa Maria Antiqua and Santa Maria Maggiore, and these churches were in turn decorated with significant works of art through the centuries. The interaction of Marian art and church construction thus influenced the development of Marian art.
Marian art in the Catholic Church Early veneration articles: 10
Mother of God
Mary's status as the Mother of God is clear in the Gospels, and the theological implications of this were defined and confirmed by the Council of Ephesus (431). Different aspects of Mary's position as mother have been the subject of a large number of works of Catholic art.
There was a great expansion of the cult of Mary after the Council of Ephesus in 431, when her status as Theotokos was confirmed; this had been a subject of some controversy until then, though mainly for reasons to do with arguments over the nature of Christ. In mosaics in Santa Maria Maggiore in Rome, dating from 432 to 40, just after the council, she is not yet shown with a halo, and she is also not shown in Nativity scenes at this date, though she is included in the Adoration of the Magi.
By the next century the iconic depiction of the Virgin enthroned carrying the infant Christ was established, as in the example from the only group of icons surviving from this period, at Saint Catherine's Monastery in Egypt. This type of depiction, with subtly changing differences of emphasis, has remained the mainstay of depictions of Mary to the present day. The image at Mount Sinai succeeds in combining two aspects of Mary described in the Magnificat, her humility and her exaltation above other humans.
At this period the iconography of the Nativity was taking the form, centred on Mary, that it has retained up to the present day in Eastern Orthodoxy, and on which Western depictions remained based until the High Middle Ages. Other narrative scenes for Byzantine cycles on the Life of the Virgin were being evolved, relying on apocryphal sources to fill in her life before the Annunciation to Mary. By this time the political and economic collapse of the Western Roman Empire meant that the Western, Latin, church was unable to compete in the development of such sophisticated iconography, and relied heavily on Byzantine developments.
The earliest surviving image in a Western illuminated manuscript of the Madonna and Child comes from the Book of Kells of about 800 and, though magnificently decorated in the style of Insular art, the drawing of the figures can only be described as rather crude compared to Byzantine work of the period. This was in fact an unusual inclusion in a Gospel book, and images of the Virgin were slow to appear in large numbers in manuscript art until the book of hours was devised in the 13th century.
Nativity of Jesus
The Nativity of Jesus has been a major subject of Christian art since the early 4th century. It has been depicted in many different media, both pictorial and sculptural. Pictorial forms include murals, panel paintings, manuscript illuminations, stained glass windows and oil paintings. The earliest representations of the Nativity itself are very simple, just showing the infant, tightly wrapped, lying near the ground in a trough or wicker basket.
A new form of the image, which from the rare early versions seems to have been formulated in 6th-century Palestine, was to set the essential form of Eastern Orthodox images down to the present day. The setting is now a cave - or rather the specific Cave of the Nativity in Bethlehem, already underneath the Church of the Nativity, and well-established as a place of pilgrimage, with the approval of the Church.
Western artists adopted many of the Byzantine iconographic elements, but preferred the scriptural stable to the cave, though Duccio's Byzantine-influenced Maestà version tries to have both. During the Gothic period, in the North earlier than in Italy, increasing closeness between mother and child develops, and Mary begins to hold her baby, or he looks over to her. Suckling is very unusual, but is sometimes shown.
The image in later medieval Northern Europe was often influenced by the vision of the Nativity of Saint Bridget of Sweden (1303–1373), a very popular mystic. Shortly before her death, she described a vision of the infant Jesus as lying on the ground, and emitting light himself.
From the 15th century onwards, the Adoration of the Magi increasingly became a more common depiction than the Nativity proper. From the 16th century plain Nativities with just the Holy Family, become a clear minority, although Caravaggio led a return to a more realistic treatment of the Adoration of the Shepherds.
The perpetual character of Mary's virginity, namely that she was a virgin all her life and not only at her virginal conception of Jesus Christ at the Annunciation (that she was a virgin before, during and after giving birth to him) is alluded to in some forms of Nativity art: Salome, who according to the story in the 2nd-century Nativity of Mary received physical proof that Mary remained a virgin even in giving birth to Jesus, is found in many depictions of the Nativity of Jesus in art.
The depiction of the Madonna has roots in ancient pictorial and sculptural traditions that informed the earliest Christian communities throughout Europe, Northern Africa and the Middle East. Important to Italian tradition are Byzantine icons, especially those created in Constantinople (Istanbul), the capital of the longest, enduring medieval civilization whose icons, such as the Hodegetria, participated in civic life and were celebrated for their miraculous properties. Western depictions remained heavily dependent on Byzantine types until at least the 13th century. In the late Middle Ages, the Cretan school, under Venetian rule, was the source of great numbers of icons exported to the West, and the artists there could adapt their style to Western iconography when required.
In the Romanesque period free-standing statues, typically about half life-size, of the enthroned Madonna and Child were an original Western development, since monumental sculpture was forbidden by Orthodoxy. The Golden Madonna of Essen of c. 980 is one of the earliest of these, made of gold applied to a wooden core, and still the subject of considerable local veneration, as is the 12th century Virgin of Montserrat in Catalonia, a more developed treatment.
With the growth of monumental panel painting in Italy during the 12th and 13th centuries, this type was frequently painted at the image of the Madonna gains prominence outside of Rome, especially throughout Tuscany. While members of the mendicant orders of the Franciscan and Dominican Orders are some of the first to commission panels representing this subject matter, such works quickly became popular in monasteries, parish churches, and later homes. Some images of the Madonna were paid for by lay organizations called confraternities, who met to sing praises of the Virgin in chapels found within the newly reconstructed, spacious churches that were sometimes dedicated to her.
Some key Madonnas
A number of Madonna paintings and statues have gathered a following as important religious icons and noteworthy works of art in various regions of the world.
Some Madonnas are known by a general name and concept rendered or depicted by various artists. For instance, Our Lady of Sorrows is the patron saint of several countries such as Slovakia and Philippines. It is represented as the Virgin Mary wounded by seven swords in her heart, a reference to the prophecy of Simeon at the Presentation of Jesus. Our Lady of Sorrows, Queen of Poland located in the Sanctuary of Our Lady of Licheń (Poland's largest church) is an important icon in Poland. The term Our Lady of Sorrows is also used in other contexts, without a Madonna, e.g. for Our Lady of Kibeho apparitions.
Some Madonnas become the subject of widespread devotion, and the Marian shrines dedicated to them attract millions of pilgrims per year. An example is Our Lady of Aparecida in Brazil, whose shrine is surpassed in size only by Saint Peter's Basilica in Vatican City, and receives more pilgrims per year than any other Roman Catholic Marian church in the world.
There is a rich tradition of building statues of the Madonna in South America, a sampling of which is shown in the galleries section of this article. The South American tradition of Marian art dates back to the 16th century, with the Virgin of Copacabana gaining fame in 1582. Some noteworthy examples are:
- Our Lady of Navigators is a highly venerated Madonna in Brazil. The devotion started by the 15th century Portuguese navigators, praying for a safe return to their homes and then spread in Brazil.
Italy and Spain
Central and Northern Europe
- The Black Madonna of Częstochowa is Poland's holiest relic, and one of the country's national symbols.
Mary in the Life of Christ
Scenes of Mary and Jesus together fall into two main groups: those with an infant Jesus, and those from the last period of his life. After the episodes of the Nativity, there are a number of further narrative scenes of Mary and the infant Jesus together which are often depicted: the Circumcision of Christ, Presentation of Jesus at the Temple, Flight into Egypt, and less specific scenes of Mary and Jesus with his cousin John the Baptist, sometimes with John's mother Elizabeth. Leonardo da Vinci's Virgin of the Rocks is a famous example. Gatherings of the whole extended family of Jesus form a subject known as the Holy Kinship, popular in the Northern Renaissance. Mary appears in the background of the only incident in the Gospels from the later childhood of Jesus, the Finding in the Temple.
Mary is then usually absent from scenes of the period of Christ's life between his Baptism and his Passion, except for the Wedding at Cana, where she is placed in the Gospels. A non-scriptural subject of Christ taking leave of his Mother (before going to Jerusalem at the start of his Passion) was often painted in 15th- and early 16th-century Germany. Mary is placed at the Crucifixion of Jesus by the Gospels, and is almost invariably shown, with Saint John the Evangelist, in fully depicted works, as well as often being shown in the background of earlier scenes of the Passion of Christ. The rood cross common in medieval Western churches had statues of Mary and John flanking a central crucifix. Mary is shown as present at the Deposition of Christ and his Entombment; in the late Middle Ages the Pietà emerged in Germany as a separate subject, especially in sculpture. Mary is also included, though this is not mentioned in any of the scriptural accounts, in depictions of the Ascension of Jesus. After the Ascension, she is the centrally-placed figure in depictions of Pentecost, which is her latest appearance in the Gospels.
The main scenes above, showing incidents celebrated as feast days by the church, formed part of cycles of the Life of the Virgin (though the selection of scenes in these varied considerably), as well as the Life of Christ.