The Council of Ephesus declared in 431 as a dogma of the Christian faith that Mary is “Mother of God, not that the nature of the Word or his divinity received the beginning of its existence from the holy Virgin, but that, since the holy body, animated by a rational soul, which the Word of God united to himself according to the hypostasis, was born from her, the Word is said to be born according to the flesh” (cited by the Catechism of the Catholic Church, 466).
Theotokos or Greek for “God-bearer” was a Marian title in widespread use in the fourth century. It was used by Saint Athanasius of Alexandria (c. 296-298 to 373) in 330, Saint Gregory Nazianzen (329-390) in 370, Saint John Chrysostom (347-407), and Saint Augustine of Hippo (354-430). The title appears in the Liturgy of Saints Mari and Addai (East Syriac rite) in the third century and in the Liturgy of Saint James (West Syriac or Syro-Antiochian rite) in the fourth.
“It is truly just to proclaim you blessed, O Mother of God, who are most blessed, all pure and Mother of our God. We magnify you who are more honorable than the Cherubim and incomparably more glorious than the Seraphim. You who, without losing your virginity, gave birth to the Word of God. You who are truly the Mother of God” (Saint John Chrysostom, Hymn for the Eucharistic Prayer for the Mass). See:
https://www.ewtn.com/catholicism/teachings/mother-of-god-148
—Father William Saunders, “Mother of God,” EWTN, originally published in The Arlington Catholic Herald (December 22, 1994)
Theotokos and Christ, standing between Emperor John II Komnenos and his wife Empress Irene of Hungary
“Theotokos and Christ with John II Komnenos and Irene” appears along the high walls of the South Gallery of Hagia Sophia in Istanbul, Turkey. Ninety percent of the mosaics in the South Gallery had been destroyed since 1850, so that today only ten figures remain.
Hagia Sophia had stood as the center of the Eastern Orthodox Church for 916 years, from 537 to 1453, when it fell to the Ottomans. The original church was built by the Emperor Constantine in 325. Today Hagia Sophia remains an important symbol and center of Eastern Orthodoxy despite its conversion to a mosque from 1453 to 1934, when it began to serve as a museum, and its reconversion to a mosque in 2020.
The image of the Theotokos occupies a central place in Eastern Orthodoxy.
“The image of Mary in the Byzantine icon is always related to her motherhood, to the primal concept of the theological title ‘Theotokos,’ bearer of God. She points to her Son showing the way in an icon called the Hodegetria. She embraces her Son, flesh to flesh, motherly care touching godly care in the icon called the Eleousa. She entreats her Son with out-stretched arms in prayer at the foot of the cross and often from the left side of the Royal Gates on the icon screen of an Orthodox church, called the Deesis. If we assign Christological terms to these Marian images, we say the Hodegetria demonstrates her Son’s divinity, the Eleousa demonstrates His humanity, and the Deesis shows us Mary, Christ’s mother, petitioning her Son’s help, thereby indicating the Son as the source of salvation.
“…Standing center in Orthodox tradition concerning the Virgin Mary is a singular concept. She is the Theotokos, the woman who bore the life-giving God into human life. Any other title or characterization of this woman, who bore Christ, has to stand on this core truth. The major feasts of the Church, those which celebrate the events of Christ’s life, all have a Marian element. In the traditional liturgical year’s cycle of these events, there is always a “synaxis” on the day that follows an event of salvation history. For instance, the synaxis of the Feast of the Nativity celebrates the motherhood of Mary. Within the Divine Liturgy, Mary is always granted esteem because she is the Theotokos. Immediately following the Anaphora (lifting up of gifts) and the Consecration in the Divine Liturgy of St. Chrysostom, the famous hymn Axion Estin is always sung, recognizing Mary’s role in the miracle of the Eucharist.”
https://udayton.edu/imri/mary/o/orthodox-tradition-and-mary.php
—Virginia M. Kimball “Mary in the Orthodox Tradition,” Living with Mary Today Symposium, University of Dayton, July 26-29, 2006, University of Dayton
“The bond between mother and child is mysteriously close. The bond between the Theotokos and Christ is unprecedented. It is a one-time miraculous event in God’s plan of Salvation for all humanity. Therefore, the Theotokos is the only one who has this unique connection to our Savior through her unwavering faith, willingness and obedience providing humanity to our Lord in His incarnation. It is for this reason that we can ask her to speak to her Son to save us from eternal sin and death.”
https://www.engageorthodoxy.net/concerning-the-theotokos
—Father Paul Kaplanis, “Concerning the Theotokos,” Engage Orthodoxy, January 2019
Also known as “Blue Virgin,” this stained glass window at the Chartres Cathedral, France, shows Mary crowned as the Queen of Heaven with the Child Jesus who sits in her lap blessing the people with his right hand. Above the Blessed Virgin, the Holy Spirit emanates rays of light signifying grace, as on her right and left angels honor Mary and the child. Cropped in this photo, four angels carrying load-bearing columns support her throne.
Chartres Cathedral was built from 1190 to 1220. Most windows that have survived to the present time date from the early thirteenth century.
“Notre-Dame de Chartres Cathedral, located in the Centre-Val-de-Loire region, is one of the most authentic and complete works of religious architecture of the early 13th century. It was the destination of a pilgrimage dedicated to the Virgin Mary, among the most popular in all medieval Western Christianity. Because of the unity of its architecture and decoration, the result of research of the first Gothic era, its immense influence on the art of Middle Age Christianity, Chartres Cathedral appears as an essential landmark in the history of medieval architecture. The outstanding stained-glass ensemble, monumental statuary of the 12th and 13th centuries and the painted decorations miraculously preserved from the ravages of humankind and time, make Chartres one of the most admirable and the best-preserved examples of Gothic art.”
https://whc.unesco.org/en/list/81/
—“Chartres Cathedral,” UNESCO World Heritage Convention
Veneration of Mary as “Queen of Heaven” by the Christian faithful predates the Patristic period in the Church—that is, the devotion antecedes the beginning of the third century. It was commonplace by the sixth century. Two popular liturgical hymns citing this title, Salve Regina and Regina Coeli, originate in the eleventh and twelfth centuries, respectively.
The Cistercians, founded in 1098, were especially devoted to Mary under the title, Queen of Heaven.
“All Cistercian houses were dedicated to the Virgin, under the title of the Assumption, ‘Queen of Heaven and Earth’, and throughout its history the Order was closely identified with its devotion to her cult. This special relationship with Mary was visually represented in sculptures, paintings and stained glass, and from 1335 the General Chapter prescribed that the official seal of every monastery should bear her image.” [J. M. Canivez, Statuta Capitulorum Generalium Ordinis ab anno 1116 ab anno 1786 8 vols (Louvain, 1933-41), III: 1335:2]
https://www.dhi.ac.uk/.../spirituality/virgin_mary/index.php
—“Devotion to the Virgin Mary,” The Cistercians in Yorkshire
Devotion to Mary as “Queen of Heaven” is a core religious belief and practice of the Roman Catholic and Eastern Orthodox Churches today.
Every September 4, the Orthodox Church celebrates the “Most Holy Theotokos the Unburnt Bush Icon.” In the Orthodox tradition of iconography the burning bush (Exodus 3:2-5) is understood to prefigure the Blessed Virgin Mary, because just as the bush was not consumed by the fire, so Mary gave birth to Jesus without losing her virginity.
Father McNichols’ icon of Theotokos the Burning Bush is rendered according to classic Greek iconography with modernist elements. It is highly stylized, linearly drawn, basically two-dimensional yet brought into three-dimensional relief in various parts by contrasting strong shadows with sharp highlights, all smoothly blending together. Most striking are the sinuously decorative outspreading pattern of the burning bush that is superimposed upon the Virgin’s torso and her outsize, expressive, dramatic eyes, a feature that is very characteristic of the artist’s subjects. McNichols’ unusual color palette is modernist. The overall effect is radiant.
https://oddsandendsgonzalinhodacosta.blogspot.com/2024/04/favorite-images-of-joseph-and-mary.html
Our Lady of Guadalupe
Veneration of Our Lady of Guadalupe originates from one of the most notable and unusual Marian apparitions. The Blessed Virgin miraculously imprinted her picture on the cloak of an Aztec peasant. It was the image of an indigenous woman visibly with child. On at least two counts it stands out—the woman is not European; and she is pregnant. True, pregnant images of the Blessed Virgin abound today, but it was not so in sixteenth-century Europe or anytime before.
The Story
“The Virgin of Guadalupe, like the shroud of Turin, appears on a piece of fabric. Both are sacred objects, hundreds of years old, and both depict an image said to be miraculous. The Virgin of Guadalupe was declared Queen of Mexico and is Patron of the Americas.
“…Our Lady of Guadalupe first introduced herself as the Mother of God and the mother of all humanity when she appeared on the hill of Tepeyac in Mexico in 1531. An indigenous peasant, Juan Diego, saw a glowing figure on the hill. After she had identified herself to him, Our Lady asked that Juan build her a shrine in that same spot, in order for her to show and share her love and compassion with all those who believe.
“Afterwards, Juan Diego visited Juan de Zumárraga, who was Archbishop of what is now Mexico City. Zumárraga dismissed him in disbelief and asked that the future Saint provide proof of his story and proof of the Lady’s identity.
“Juan Diego returned to the hill and encountered Our Lady again. The Virgin told him to climb to the top of the hill and pick some flowers to present to the Archbishop.
“…Although it was winter and nothing should have been in bloom, Juan Diego found an abundance of flowers of a type he had never seen before. The Virgin bundled the flowers into Juan's cloak, known as a tilma. When Juan Diego presented the tilma of exotic flowers to Zumárraga, the flowers fell out and he recognised them as Castilian roses, which are not found in Mexico.
“What was even more significant, however, was that the tilma had been miraculously imprinted with a colorful image of the Virgin herself.
“…This actual tilma, preserved since that date and showing the familiar image of the Virgin Mary with her head bowed and hands together in prayer, represents the Virgin of Guadalupe. It remains perhaps the most sacred object in all of Mexico.
“The story is best known from a manuscript written in the Aztec’s native language Nahuatl by the scholar Antonio Valeriano. It was written sometime after 1556.
“Over 20 million people visit the Basilica of Our Lady of Guadalupe each year, now situated on the very same hill on which she appeared.”
—Francesca Merlo, “The story of Our Lady of Guadalupe,” Vatican News, December 11, 2018
Our Lady of Guadalupe is also Patroness of the Philippines, which at one time together with Mexico was part of the Spanish Empire.
Is She Pregnant?
“In the image, Mary is shown with a black ribbon around her waist. The Spanish expression for ‘pregnant’ is encinta, literally meaning ‘adorned with ribbon.’ A doctor examined the image, and found that Mary’s stomach was the exact dimensions of an expectant mother in the ninth month of pregnancy.”
—“5 Things You Didn’t Know About Our Lady of Guadalupe,” Verso Ministries, December 12, 2019
“Our Lady of Guadalupe appears as a pregnant woman, probably very near to giving birth (which makes sense, given that the apparitions took place only a few weeks before Christmas). Her pregnancy is apparent, not only because of her rounded abdomen, but because of the black sash she wears around her waist, which indicates that she is with child.
“It’s still rare today to see images of Our Lady during her pregnancy—she is usually shown after giving birth—and it was even less common at that time. Mary’s choice to appear as an expectant mother is an act with great significance for all pregnant women.
“When expectant mothers see an image of Our Lady of Guadalupe, they see someone who is walking in their shoes, quite literally. Pregnancy is replete with aches and pains, especially in the later months.”
https://aleteia.org/2020/12/12/how-our-lady-of-guadalupe-is-a-mother-to-all-mothers
—Theresa Civantos Barber, “How Our Lady of Guadalupe is a mother to all mothers,” Aleteia, December 12, 2020
The icon of Our Lady of Perpetual Help is among my favorites. Besides arousing deep, sincere devotion, it’s a masterpiece of the Byzantine style, highly stylized, finely delineated, symbolic, and fraught with subliminal significance. Harmonious nearly primary colors, bright and compelling, accent the picture throughout, even as the Blessed Virgin’s sorrowful gaze radiates pathos and the innocence of the Child Jesus alluringly engages devotees. So renowned globally is this icon that today it transcends cultures; it is world heritage.
“The icon (about 54 x 41.5 centimeters) depicts our Blessed Mother Mary, under the title ‘Mother of God,’ holding the Child Jesus. The Archangels Michael and Gabriel, hovering in the upper corners, hold the instruments of the Passion—St. Michael (in the left corner) holds the spear, the wine-soaked sponge, and the crown of thorns, and St. Gabriel (in the right corner) holds the cross and the nails. The intent of the artist was to portray the Child Jesus contemplating the vision of His future Passion. The anguish He feels is shown by the loss of one of His sandals. Nevertheless, the icon also conveys the triumph of Christ over sin and death, symbolized by the golden background (a sign of the glory of the resurrection) and the manner in which the angels hold the instruments, i.e. like trophies gathered up from Calvary on Easter morning.
“In a very beautiful way, the Child Jesus grasps the hand of the Blessed Mother. He seeks comfort from His mother, as He sees the instruments of His passion. The position of Mary’s hands—both holding the Child Jesus (who seems like a small adult) and presenting Him to us—convey the reality of our Lord’s incarnation, that He is true God who became also true man. In iconography, Mary here is represented as the Hodighitria, the one who guides us to the Redeemer. She also is our Help, who intercedes on our behalf with her Son. The star painted on Mary’s veil, centered on her forehead, highlights her role in the plan of salvation as both the Mother of God and our Mother.”
—“What is the story behind the image of Our Lady of Perpetual Help?” Catholic Straight Answers
“Authorised by the Holy See to remain open 24/7 days all year, the National Shrine of Our Mother of Perpetual Help (also known as Baclaran Church), is one of the largest known Marian shrines in the Philippines.
“Our Lady of Perpetual Help is informally known in the country as the Holy Virgin of Baclaran, and is widely venerated by Filipino Catholics and Overseas Filipino communities. A German copy of the icon is venerated in the National Shrine of Our Mother of Perpetual Help in Baclaran, Parañaque, Metro Manila. Pope John Paul II once said Mass at the shrine as cardinal, and later prayed before the icon during his first pastoral visit to the country in February 1981.
“All Catholic churches and chapels in the Philippines enshrine a replica of the icon, often on a side altar, with many congregations holding recitations of the rosary and the icon’s associated novena, Benedictions, and Holy Mass every Wednesday in its honour. Copies are also commonly displayed in houses, businesses, and public transport. Devotees today still use the same Novena booklet first published by Irish Redemptorist priests, who introduced the icon and its devotion to the Philippines in the 1900s. The Filipino Diaspora [has] also preserved observance of the Wednesday Novena, organising and participating at the novena services in their respective parishes.”
https://www.cssr.news/perpetual-help/the-devotion/
—“The Devotion,” Redemptorists International
I am particularly enamored of this image because it communicates the constant solicitude of the Blessed Virgin, who has been gifted to humanity in so many ways that cannot be adequately detailed in a small space.
When the number of those attending Mass visibly increases, in relation to other weekdays, during the regular Wednesday celebrations, it is a sight that blesses, uplifts, and consoles.
https://oddsandendsgonzalinhodacosta.blogspot.com/2024/04/favorite-images-of-joseph-and-mary.html
PHOTO CREDITS
ReplyDeleteNotre Dame de la Belle Verrière
Photo courtesy of Stephen Zucker
https://www.flickr.com/photos/profzucker/5581529565
Our Lady of Perpetual Help
Image courtesy of RufflesDeQueijo
https://en.wikipedia.org/wiki/Our_Lady_of_Perpetual_Help#/media/File:Nossa_Senhora_do_Perpetuo_Socorro_HD.jpg
FAIR USE
Theotokos and Christ, standing between Emperor John II Komnenos and his wife Empress Irene of Hungary
Theotokos “The Burning Bush” by Father William Hart McNichols
PUBLIC DOMAIN
Our Lady of Guadalupe
Gonzalinho
THEOTOKOS OF THE SIGN
ReplyDeletehttps://www.blessedmart.com/shop/hand-painted-icons/virgin-mary-icons/theotokos-of-the-sign-icon/
The icon shows the Mother of God from the waist up, facing us, with her hands lifted up to the level of her head, elbows bent. From time immemorial this gesture has signified a prayerful appeal to God. The Christ-child, Emmanuel, is depicted in a circle of light at her bosom. Icons of this type were, and still are sometimes, called Oranta (Latin for praying). …our attention is drawn – as always with icons of the Theotokos – to her Son, our Saviour.
In the Russian land, this image acquired the name Our Lady “of the Sign” (Znamenie – Знамение). It is sometimes thought – quite understandably, given the Icon’s composition – that this name refers to the prophecy of Isaiah:
Therefore the Lord Himself will give you a sign:
Behold, the virgin shall conceive and bear a Son,
And shall call His name Immanuel
(Isaiah 7:14)
However, the origin of the name in Russia can also be traced to a specific historical event, when through the Oranta icon, God wrought a miracle. On November 27, 1165 in the midst of the assault on the city of Novgorod by the forces of Prince Andrew of Bogolubovo, the citizens of the besieged town brought the Icon to the city wall. One of the arrows pierced the icon and the Most Holy Mother of God turned her face to the city and shed tears. The tears dropped on the phelonion of Bishop John of Novgorod, who exclaimed: “O wonder of wonders! How can tears be streaming from dry wood! O Queen! You are giving us a sign that you are entreating your Son that the city be spared.”
Inspired by the wonderful sign, the people of Novgorod repelled the attacks of the Suzdal forces. To this day, the whole of the Russian Church celebrates the Feast of the Icon “Znamenie” on this day, December 10, which is November 27 in the Old Julian Calendar.
https://iconreader.wordpress.com/2010/12/10/the-theotokos-of-the-sign-icon/
—“The Theotokos ‘of the Sign’ Icon,” A Reader's Guide to Orthodox Icons, December 10, 2010
A powerful visual statement that Mary is truly the Mother of God. The mysteries of God transcend our understanding.
Gonzalinho