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**Dating violence and abuse** - In this system, forms that applicants filled out were processed by an. 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.\
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The has been one of the major subjects of for centuries. Numerous pieces of Marian art in the Catholic Church covering a range of topics have been produced, from masters such as and 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 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 and 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 is thus inherently intertwined with Marian art. The body of teachings that constitute consist of four basic : , , and , derived from , the writings of the , and the traditions of the Church. Other influences on Marian art have been the of the Church, , and popular devotions such as the , the , or total consecration, and also , and. 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 , and has thus interacted with them, creating a force that has shaped Catholic Mariology over the centuries. 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. An example of the interaction of Marian art, culture and churches is , a key Marian icon in Rome at , the earliest Marian church in Rome. The practice of crowning the images of Mary started at in Rome by Pope in the 17th century. In 1899 Eugenio Pacelli later said his first Holy Mass in front of it at the. Fifty years later, he physically crowned this picture as part of the first Marian year in Church history, as he proclaimed the. 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. 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 held mass at the 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 and spirituality. The widespread Catholic use of replicas of the statue of emphasizes devotions to the and the , both reported in the Lourdes messages. To Catholics, the distinctive blue and white Lourdes statues are reminders of the emphasis of Lourdes on and the millions of pilgrimages to the 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 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 as depicted in scenes such as 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 are another example of the blending of art and devotions among Catholics. In the 12th century in France used the motif of the protective mantle of the Virgin Mary which shielded the kneeling abbots and abbesses. In the 13th century was also aware of this motif, which eventually led to the iconography of the and an increased focused on the concept of Marian protection. By the beginning of the 16th century, depictions of the were among the preferred artistic items in households in the Paris area. In the 18th century Saint attributed his own recovery from near death to a statue of the Virgin of Mercy brought to his bedside. The by 1433 has been described as one of the most innovative devotional images from the early. } 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 , , , , or the and their doctrinal implications. The Earliest fresco of the Virgin Mary, in the from the middle of the 2nd century Early veneration of Mary is documented in the. 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 on her lap. The Priscilla catacomb also includes the oldest known fresco of the , dating to the 4th century. After the in 313 Christians were permitted to worship and build churches openly. The generous and systematic patronage of 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 , 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. The Virgin Mary has since become a major subject of Western Art. Masters such as , , , , and others produced masterpieces with Marian themes. Mary's status as the is clear in the Gospels, and the theological implications of this were defined and confirmed by the 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 after the Council of Ephesus in 431, when her status as was confirmed; this had been a subject of some controversy until then, though mainly for reasons to do with. In in in Rome, dating from 432-40, just after the council, she is not yet shown with a , and she is also not shown in Nativity scenes at this date, though she is included in the. 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 in. 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 , her and her above other humans. At this period the of the Nativity was taking , that it has retained up to the present day in , and on which Western depictions remained based until the. Other narrative scenes for Byzantine cycles on the were being evolved, relying on sources to fill in her life before the. By this time the political and economic collapse of the meant that the Western, Latin, church was unable to compete in the development of such sophisticated , and relied heavily on Byzantine developments. The earliest surviving image in a Western of the comes from the of about 800 and, though magnificently decorated in the style of , 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 , and images of the Virgin were slow to appear in large numbers in manuscript art until the was devised in the 13th century. Nativity of Jesus Representation of the Nativity on the Throne of Maximianus in The 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. 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 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 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 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 of 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: , 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. Madonna Main article: The depiction of the 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 , 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 , under 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. 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 by , , the Netherlands. 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, is the patron saint of several countries such as and. It is represented as the Virgin Mary wounded by seven swords in her heart, a reference to the prophecy of Simeon at the. The term Our Lady of Sorrows is also used in other contexts, without a Madonna, e. Some Madonnas become the subject of widespread devotion, and the Marian shrines dedicated to them attract millions of pilgrims per year. An example is in Brazil, whose shrine is surpassed in size only by in , and receives more pilgrims per year than any other in the world. Latin America 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 gaining fame in 1582. It is the second most visited pilgrimage shrine in Mexico, after. The devotion started by the 15th century Portuguese navigators, praying for a safe return to their homes and then spread in Brazil. Images of, and devotions to, Madonnas such as Our Lady of San Juan de los Lagos have spread from Mexico to the United States. Mary in the Life of Christ Main article: 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 , , , and less specific scenes of Mary and Jesus with his cousin , sometimes with John's mother. Gatherings of the whole extended family of Jesus form a subject known as the , popular in the. Mary appears in the background of the only incident in the from the later childhood of Jesus, the. A non-scriptural subject of before going to at the start of his Passion was often painted in 15th- and early 16th-century Germany. Mary is placed at the by the Gospels, and is almost invariably shown, with Saint , in fully depicted works, as well as often being shown in the background of earlier scenes of the. The cross common in medieval Western churches had statues of Mary and John flanking a central. Mary is shown as present at the and his Entombment; in the late Middle Ages the 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. After the Ascension, she is the centrally-placed figure in depictions of , which is her latest appearance in the Gospels. The main scenes above, showing incidents celebrated as by the church, formed part of cycles of the though the selection of scenes in these varied considerably , as well as the. The dogma means that Mary was a virgin before, during and after giving birth to. The 2nd-century work originally known as the pays special attention to Mary's virginity. This dogma is often represented in Roman Catholic art in terms of the to Mary by the that she would conceive a child to be born the Son of God, and in Nativity scenes that include the figure of. The Annunciation is one of the most frequently depicted scenes in Western art. Annunciation scenes also amount to the most frequent appearances of Gabriel in medieval art. The depiction of Joseph turning away in some is a discreet reference to the fatherhood of the Holy Spirit, and the doctrine of Virgin Birth. The oldest fresco of the annunciation is a 4th-century depiction in the in Rome. In most but not all Catholic, and indeed Western, depictions Gabriel is shown on the left, while in the Eastern Church he is more often depicted on the right. Annunciation mosaic, , Rome, 1291. It has been one of the most frequent subjects of Christian art particularly during the and Renaissance. The figures of the Virgin Mary and the Archangel Gabriel, being emblematic of purity and grace, were favorite subjects of many painters such as , , , and among others. In many depictions the angel may be holding a , symbolic of Mary's virginity. The mosaics of in in Rome 1291 , the of in the in 1303 , 's fresco at the church of in 1486 and 's gilded sculpture at the church of 1435 are famous examples. The natural composition of the scene, consisting of two figures facing each other, also made it suitable for decorated arches above doorways. But with support from popular opinion, the and theologians such as , the popularity of the doctrine increased and a feast-day for it was promoted. Swiss emblem, 16th century. Part of that earlier Mass was revived in the Mass that ordered to be used on the feast and that is still in use. In the 16th century there was a widespread intellectual fashion for in both religious and secular contexts. These consisted of a visual representation of the symbol pictura and usually a Latin ; frequently an explanatory epigram was added. Drawing on the emblem tradition, established an iconography that influenced artists such as Murillo, and others. This style of representation of the immaculate Conception then spread to the rest of Europe, and has since remained the usual depiction. The of Immaculate Conception was performed by in his , in 1854. Depiction of the Immaculate Conception Immaculate Conception, 1505 From an art historical perspective, the depiction of the Immaculate Conception involves a number of interesting issues. Many artists in the 15th century faced the problem of how to depict an abstract idea such as the , and the problem was not fully solved for 150 years. This gave a rather cluttered subject, and usually was impossible to combine with correct perspective, so never caught on outside Germany and the. In this loveliest of mysteries Our Lady should be painted as a beautiful young girl, 12 or 13 years old, in the flower of her youth... And thus she is praised by the Husband: tota pulchra es amica mea, a text that is always written in this painting. She should be painted wearing a white tunic and a blue mantle... She is surrounded by the sun, an oval sun of white and ochre, which sweetly blends into the sky. Rays of light emanate from her head, around which is a. An imperial crown adorns her head, without, however, hiding the stars. Under her feet is the moon. Although it is a solid globe, I take the liberty of making it transparent so that the landscape shows through. This particular representation of The Immaculate Conception has since remained the best known artistic depiction of the concept: in a heavenly realm, moments after her creation, the of Mary in the form of a young woman looks up in awe at or bows her head to. Additional imagery may include clouds, a golden light, and. In some paintings the cherubim are holding and , flowers often associated with Mary. Assumption, 1516 The Catholic doctrine of the states that Mary was transported into Heaven with her body and soul united. Although the Assumption was only officially declared a by in his in 1950, its roots in Catholic culture and art go back many centuries. While Pope deliberately left open the question of whether Mary died before her Assumption, the more common teaching of the early Fathers is that she did. An early supporter of the Assumption was Saint 676—794 , a who is often called the Doctor of the Assumption. Saint John was not only interested in the Assumption, but also supported the use of holy images in response to the edict by the Byzantine Emperor , banning the worship or exhibition of holy images. David, her ancestor, leaps, and with him the angels lead the dance. The Orthodox tradition is clear that Mary died normally, before being bodily assumed. The Orthodox term for the death is the. Byzantine depictions of this were the basis for Western images, the subject being known as the in the West. As the nature of the Assumption became controversial during the High Middle Ages, the subject was often avoided, but depiction continued to be common until the Reformation. The last major Catholic depiction is 's of 1606. Meanwhile, depictions of the Assumption had been becoming more frequent during the late Middle Ages, with the Gothic school a particular source. By the 16th century they had become the norm, initially in Italy, and then elsewhere. They were sometimes combined with the , as the waited in the clouds. The subject was very suited to Baroque treatment. Pius XII also declare the first Marian year and a number of rededications took place, e. Yet, long before 1954 the had been the subject of a good number of artistic works. Some of these paintings built on the third phase of the Assumption of Mary in which following her Assumption, she is crowned as the. This icon has two Gospel passages written on it. The first one is, Mark 14:72. Immediately the rooster crowed the second time. The second one is, John 21:15-19. Very truly, I tell you, when you were younger, you used to fasten your own belt and to go wherever you wished. But when you grow old, you will stretch out your hands, and someone else will fasten a belt around you and take you where you do not wish to go. This means that from the time when Peter denied Jesus and the rooster crowed on Holy Thursday, till the time when Jesus appeared to his disciples for the third time after he was raised from the dead and asked him three times if he loves Him, no one was in charge of the church characterized by the faithful and the apostles, but instead of Peter, Mary the Mother of Jesus was in charge of it, and that is why this icon depicts her with two keys in her hands given to her by Jesus Himself depicted as a child to show that this was already planned by God the Father beforehand. The statue of includes several Catholic elements, such as being apparition-based, being a crowned statue and holding a. One of the bullets that wounded in in 1981 was placed in the crown of the statue. Roman Catholic devotion to Mary has at times been driven by religious experiences and visions of simple and modest individuals in many cases children on remote hilltops which in time have created strong emotions among large numbers of Roman Catholics. Examples include Saint in 1531 as , Saint as in 1858 and , and as in 1917. Although every year over five million pilgrims visit Lourdes and Guadalupe each, the volume of Roman Catholic art to accompany this enthusiasm has been essentially restricted to popular images. Hence although apparitions have resulted in the construction of very large Marian churches at and they have not so far had a similar impact on Marian art. Yet images such as and the 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 and flew Guadalupan flags as their protector, and Zapata's men wore the Guadalupan image around their necks and on their. Depictions of the Virgin of Guadalupe continue to remain a key unifying element in the Mexican nation, and as the main national symbol of Mexico. Apparition-based art is at times considered miraculous by Catholics. Replicas of the distinctive blue and white statue of are widely used by Catholics in devotions, and small grottos with it are built in houses and Catholic neighborhoods worldwide and are the subject of prayers and petitions. The Catholic approach to Marian art is quite distinct from the way other Christians such as the Protestant and the treat the depictions of the Virgin Mary. From the very beginning of the its leaders expressed their discomfort with the depictions of saints in general. While over time a Protestant tradition of art developed, the depictions of the Virgin Mary within it have remained minimal, given that most Protestants reject Marian veneration and view it as a Catholic excess. The use of Marian such as the is a distinguishing feature of Catholic art. Unlike the majority of the Protestants, the Eastern Orthodox Church venerates Marian images, but in a different manner and with a different emphasis from the Catholic tradition. While statues of the Virgin Mary abound in Catholic churches, there are specific prohibitions against all three-dimensional representations of Mary or any other any saints within the Orthodox Church, for they are regarded as remnants of pagan idolatry. Hence the Orthodox only produce and venerate two-dimensional images. Catholic Marian images are almost entirely depictions and do not have an official standing within liturgy, but Eastern icons are an inherent part of Orthodox liturgy. In fact, there is a three way, carefully coordinated interplay of prayers, icons and within Orthodox liturgy, at times with specific feasts that relate to the Theotokos icons and the. To some Eastern Orthodox the natural looking Renaissance depictions used in Catholic art are not conducive to meditation, for they lack the needed for Orthodox contemplation. The rich background representation of flowers or gardens found in Catholic art are not present in Orthodox depictions whose primary focus is the Theotokos, often with the. Apparition-based images such as the statues of the accentuate the differences in that they are based on apparitions that are purely Catholic, as well as being three-dimensional representations. And the presence of such as the and the on the statues of emphasize a totally Catholic form of Marian art. Apart from stylistic issues, significant doctrinal differences separate Catholic Marian art from other Christian approaches. Three examples are the depictions that involve the , and the. Given that the Immaculate Conception is a mostly Catholic doctrine, its depictions within other Christian traditions remain rare. The same applies to Queen of Heaven, for long an element of Catholic tradition and eventually the subject of the encyclical but its representation within themes such as the continue to remain mostly Catholic. While the Eastern Orthodox support the , they do not support the Catholic doctrines of the and hence their depictions of the dormition are distinct and the Virgin Mary is usually shown sleeping surrounded by saints, while Catholic depictions often show Mary rising to Heaven. Garden of the Renaissance: Botanical Symbolism in Italian Painting. Firenze: Casa Editrice Leo S. The iconography of the Immaculate Conception in the Middle Ages and early Renaissance. College Art Association of America. From Giotto to Cézanne. Landmarks of Western Art. Art of the Byzantine Era. Mills, Roger Aubrey Bullard 1998 pp. Meinrad Archabbey 2007 pp. Empereur, Eduardo Fernández 2006 pp. Archived from on 2009-10-10. Gambero, Mary and the Fathers of the Church trans. Buffer San Francisco: Ignatius, 1991 , p. The Encyclopedia of Angels Second ed. Archived from on 2008-12-11. Katz and Robert A. John Damascene on Holy Images, Followed by Three Sermons on the Assumption London, 1899. The Encyclopedia of Saints. Gordon Melton 2007 ISBN pp. McPherson , 2002 p.
