A Madonna ( Italian: Ã, [ma'dnna] ) is a representation of Mary, either alone or with his son Jesus. These images are central icons for Catholic and Orthodox churches. The word comes from the Italian ma donna , which means 'my lady'. The type Madonna and Child is very prevalent in Christian iconography, divided into many traditional subtypes, especially in Eastern Orthodox iconography, often known after the famous iconic locations of its kind, such as Theotokos of Vladimir > Agiosoritissa , Blachernitissa , etc., or descriptive of the posture depicted, as in Hodegetria , Eleusa , etc.
The term Madonna in the sense of "picture or statue of the Virgin Mary" entered the use of English in the 17th century, especially in reference to the works of the Italian Renaissance. In the context of the Eastern Orthodox, such images are usually known as Theotokos . "Madonna" may be commonly used for Mary's representation, with or without the infant Jesus, the focus and central figure of the image, perhaps flanked or surrounded by angels or saints. Another type of image of Mary has a narrative context, which depicts scenes from Virgin Life , eg The Annunciation to Mary , not usually called "Madonna".
The earliest depictions of Mary's date are still Early Christianity (2nd to 3rd centuries), found in the Catacombs of Rome. It exists in a narrative context. The classical image of "Madonna" or "Theotokos" evolved from the fifth century, when the devotion of Mary rose to great importance after the Council of Ephesians officially affirmed its status as "Mother of God or
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Terminology
The liturgy which describes Mary as a powerful intercessor (such as Akathist ) was brought from the Greek into Latin tradition in the 8th century. The Greek title of ???????? ( Despoina ) was adopted as Latin Domina "Lady". Medieval Italian Ma Donna pronounced [ma'dnna] ("I'm Lady" ) reflects Mea Domina , while Nostra Domina (????????????) is adopted in French, such as Nostre Dame "Our Lady".
These names signify both the increasing importance of the virgin cults and the superiority of art in service to the devotion of Mary during the late medieval period. During the 13th century, in particular, with the increasing influence of knights and aristocratic culture on poetry, song, and visual art, Madonna is represented as the queen of Heaven, who often reigns. Madonna intended more to remind people of theological concepts that place a high value on purity or virginity. It is also represented by the color of his clothes. The blue color symbolizes purity, virginity, and royalty.
While the Italian term Madonna aligns the English Mary in the latter medieval devotion of Marian, it was imported as a term art history into the use of English in the 1640s, from the Italian Renaissance. In this sense, "Madonna", or "Madonna with Child" is used for certain works of art, historically most of the works of Italy. A "Madonna" can also be called "Virgin" or "Our Lady", but "Madonna" is not usually applied to eastern work; eg Theotokos of Vladimir may be in English called "Our Lady of Vladimir", while it is unusual, but unheard of, to refer to it as "Madonna of Vladimir".
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Representation mode
There are different types of Madonna representations.
- One type of Madonna shows Mary herself (without the child of Jesus), and stands up, generally glorified and with a praying, blessing or prophesying movement. This type of image occurs in a number of ancient apsidal mosaics.
- The complete standing image Madonna more often includes a baby Jesus, who turns to the viewer or raises his hand in blessing. The most famous Byzantine image, Hodegetria was originally of this type, although most of the copies were half-length. These types of images often appear in sculptures and can be found in fragile ivory carvings, in limestone on doorposts in many cathedrals, and in polychrome casting of wood or casts in almost every Catholic Church. There are a number of famous paintings depicting Madonna in this way, especially Madonna Sistina by Raphael.
- The Madonna's throne is a type of image dating from the Byzantine period and was used extensively in medieval and Renaissance times. This representation of Madonna and Children often takes the form of large altarpieces. They also occur as frescoes and apsidal mosaics. In Medieval examples, Madonna is often accompanied by angels who support the throne, or by a row of saints. In Renaissance paintings, especially High Renaissance paintings, saints can be grouped informally in a type of composition known as Sacra conversazione.
- The Madonna of humility refers to the depiction in which Madonna sits on the ground, or sits on a low pillow. He may hold the Son of Jesus in his lap. This style is a product of Franciscan piety, and probably because of Simone Martini. It spread rapidly through Italy and in 1375 examples began to appear in Spain, France and Germany. It was the most popular among the early Trecento artistic period styles.
- Half-length Madonna is the most frequently taken form by the iconic Eastern Orthodox painting, where the subject is so formulated that each painting expresses a special attribute of the "Mother of God." Half-length paintings of Madonna and Child are also common in Italian Renaissance paintings, especially in Venice.
- Sitting Madonna and Child is an image style that became very popular during the 15th century in Florence and replicated elsewhere. These representations are usually of a small size suitable for small altars or household use. They usually show Mary holding the baby Jesus in an informal way and mother. These paintings often include symbolic references to the Passion of Christ.
- Loving Madonna is a popular type during the Renaissance. These images, usually small and devoted to personal devotion, show Mary kneeling in the cult of the Son of Christ. Many such images are produced in glass terracotta as well as paint.
- Madonna breastfeeding refers to Madonna's portrayal of breastfeeding the baby Jesus.
History
The early representation of Madonna and Child is probably a wall painting in the Catacomb of Priscilla, Rome, where Madonna is sitting suckling the Son, who turns to stare at the audience.
The most consistent mother and son consistent representation was developed in the Eastern Empire, where despite the iconoclastic tension in the culture that rejected the physical representation as an "idol", honoring a respected image is expressed in a repetition of a narrow range of very high convention types, known as icons ("images" of Greece). On a visit to Constantinople in 536, Pope Agapetus was accused of opposing theotokos worship and the depiction of his image in the churches. The eastern examples show Madonna reign, even wearing a crown of Byzantine-covered pearls with a pendant, with Christ's Son in her lap.
In the West, the hierarchical Byzantine model was followed closely in the Early Middle Ages, but with the growing importance of worshiping the Virgin in the 12th and 13th centuries, various types were developed to meet the more intense flood of piety forms.. In the usual Gothic and Renaissance formulas, the Virgin Mary sits with the Baby Jesus on her lap, or embraces in her arms. In the previous representation, the Virgin reigns, and the Son may be fully conscious, raising his hand to offer blessings. In the 15th century Italian variations, a baby John the Baptist was seen.
The Late Gothic Statues of the Virgin and the Child can show the virgin standing with the child in her arms. Iconography varies between public images and personal images supplied on a smaller scale and is intended for personal devotion in the room: The Virgin Suckling Children (such as Madonna Litta ) are images that are mostly limited on the private reflection icon. Initial image
There was a great expansion of the cult of Mary after the Council of Ephesus in 431, when his status as Theotokos ("God-bearer") was confirmed; this has been the subject of some controversy up to that point, though primarily for reasons related to the argument about the nature of Christ. In the mosaic at Santa Maria Maggiore in Rome, dating from 432-40, right after the council, he has not been shown with a halo, nor is he shown in the Jesus Birth scene on this date, even though he belongs to the Adoration of the Magi.
In the next century, the iconic portrayal of the Virgin who brought the infant Christ was established, as in the example of the only iconic group that survived this period, at the Monastery of Saint Catherine in Egypt. This type of depiction, with the subtlety of subtly altered emphasis, remains the mainstay of Mary's portrayal to date. The image on Mount Sinai successfully combines the two aspects of Mary described in the Magnificat, his humility and his exaltation over other human beings, and has the Hand of God above, to where the angel is seen. An early icon of the Virgin as queen was in the church of Santa Maria in Trastevere in Rome, can be declared up to 705-707 by the kneeling figure of Pope John VII, a prominent cult promoter of the Virgin, to whom the infant Christ reaches his hand. This type is long imprisoned in Rome. About half a dozen varied icons of Virgin and Son in Rome from the 6th - 8th centuries formed most of the surviving representations of this period; "The isolated images of Madonna and Son... are very common... to this day in the Catholic and Orthodox traditions, that it is difficult to restore the sense of novelty of such drawings in the early Middle Ages, at least in Western Europe".
In this period the iconography of Jesus Birth took shape, centered on Mary, which has been preserved to this day in Eastern Orthodoxy, and where Western portrayals remained based up until the Middle Ages. Another narrative scene for the Byzantine cycle on the Virgin Life is evolving, depending on apocyphal sources to fill its life before the Annunciation to Mary. At 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 sophisticated iconography, and depended heavily on Byzantine developments.
The earliest surviving images in the westernized Madonna and Child manuscript are from the Book of Kells about 800 (there are similar carvings on the lid of St. Cuthbert's coffin in 698) and, although decorated with the Insular style. art, the pictures can only be described as somewhat roughly compared to the Byzantine works of that period. This is actually an unusual inclusion in a Gospel book, and the images of the Virgin are slow to appear in large numbers in the art of manuscripts until the clock book was made in the 13th century.
The Madonna of humility by Domenico di Bartolo, 1433, is considered one of the most innovative reflection images of the early Renaissance.
Byzantine influence in the West
Very few early images of the Virgin Mary survive, though Madonna's depictions have roots in ancient drawing and sculptural traditions that tell the earliest Christian communities across Europe, North Africa and the Middle East. Essential for the Italian tradition is the Byzantine icon, especially made in Constantinople (Istanbul), the longest and lasting medieval civilization capital whose iconic participation in civilian life and celebrated for its miraculous nature. Byzantium (324-1453) saw himself as a true Romans, in Greek, a Christian kingdom with an Italian colony living among his people, participating in a Crusade on the border of his land, and finally, looting many churches, palaces and monasteries his treasure. Later in the Middle Ages, the Cretan school was the main source of icons for the West, and the artists there could adapt their style to Western iconography when needed.
While burglary is one way that Byzantine images make their way to the West to Italy, the relationship between the Byzantine icon and the Italian image of Madonna is much richer and more complicated. Byzantine art plays a long and important role in Western Europe, especially when the Byzantine region includes parts of Eastern Europe, Greece, and much of Italy itself. The Byzantine, ivory, gold, silver, and luxury textiles are distributed throughout the West. In Byzantium, Mary's usual title is Theotokos or Mother of God, rather than the Virgin Mary and it is believed that salvation is given to the faithful at the moment of God's incarnation. The theological concept takes the pictorial shape in the image of Mary holding her baby boy.
However, what is most relevant to the Byzantine heritage of Madonna is twofold. First, the earliest independent image of the Virgin Mary is found in Rome, the center of Christianity in the medieval West. One of them is the ownership of Santa Maria in Trastevere, one of the many Roman churches dedicated to the Virgin Mary. The other, the divided and repainted ghost of his old self, was glorified in the Pantheon, the great architectural wonder of the Ancient Roman Empire, which was revered to Mary as an expression of the Church's triumph. Both evoked the Byzantine tradition in terms of their medium, the techniques and materials of the painting, where they were originally painted in tempera (egg yolks and ground pigments) on wood panels. In this case, they share the legacy of Ancient Rome from the Byzantine icon. Second, they share iconography, or subject matter. Each picture emphasizes the role of the mother Mary played, representing her in relation to her infant son. It is difficult to measure the dates of these early drawing groups, however, they seem to be primarily works of the 7th and 8th centuries.
Medieval end period
It was not until the resurrection of monumental panels painting in Italy during the 12th and 13th centuries, that the image of Madonna increasingly famous outside Rome, especially throughout Tuscany. While members of the precursor order of the Franciscan and Dominican Order were the first to assign panels representing this subject, such works quickly became popular in monasteries, parish churches and homes. Some images of Madonna are paid by lay organizations called Confraternity, which meet to sing the praises of the Virgin in the chapels found in the newly reconstructed large churches, which are sometimes dedicated to her. Paying for such work may also be seen as a form of devotion. The expenditure list uses thin sheets of genuine gold leaf in all the non-coated paint sections, a visual analog not only with expensive sheaths used by medieval goldsmiths to decorate the altar but also the means to surround Madonna's image with lighting from oil lamps and candles. More precious is a bright blue coat with lapis lazuli, stone imported from Afghanistan.
This is the case of one of the most famous, innovative and monumental works that Duccio executed for Laudesi at Santa Maria Novella in Florence. Often the scale of work shows much about its original function. Often referred to as Rucellia Madonna (c 1285), a panel of towers over the audience, offers a visual focus for members of the Laudesi companions to assemble before they sing praises for the picture. Duccio makes a more magnificent image of the reigning Madonna for the high altar of Siena's cathedral, her hometown. Known as Maesta (1308-11), the image symbolizes the couple as a densely populated central court in the middle of an intricate work that raises the court on predella (altar altar) Scenes narration and figures that stand out from the prophets and saints. In turn, a simple image of Madonna as a half-length figure holding her child in very close portrayals can be found in the National Gallery of London. This is clearly made for the personal devotion of a Christian rich enough to hire one of the most important Italian artists of his day.
The privileged owner does not have to go to the Church to pray or ask for salvation; all he had to do was to open the tabernacle tabernacle in an act of personal revelation. Duccio and his colleagues inherited an early pictorial convention that was retained, in part, to tie their own work with the authority of tradition.
Despite all the innovations of the Madonna painter during the 13th and 14th centuries, Mary is usually recognizable by her dress. Usually when she is represented as a young mother of her newborn baby, she wears a very saturated blue cape over red clothing. This coat usually covers her head, where sometimes, people may see linen, or later, a transparent silk veil. He holds the Son of Christ, or Baby Jesus, who shares his halo and his steadfastness. Often his views are directed at the audience, serving as an intercessor, or channel for prayer that flows from the Christian, to him, and only later, to his son. However, the late medieval Italian artists also followed the trend of iconic Byzantine paintings, developing their own methods to describe Madonna. Sometimes, Madonna's complex bond with her little boy takes the form of intimate moments that are close and full of tenderness in sadness where she only has eyes for her.
While the focus of this entry currently emphasizes Madonna's portrayal in panel painting, it should be noted that the image also appears in mural decorations, whether mosaics or fresco paintings on the exterior and interior of the sacred buildings. He is found high above the apse, or the eastern end of the church where the liturgy is celebrated in the West. He is also found in sculptured form, whether a small ivory for personal devotion, or a relief of a large statue and a freestanding statue. As a participant in sacred dramas, his image inspires one of the most important fresco cycles in all Italian paintings: the Giotto narrative cycle in the Chapel Arena, next to the Scrovegni family palace in Padua. This program comes from the first decade of the 14th century.
Italian artists of the fifteenth century onwards are indebted to a tradition founded in the 13th and 14th centuries in their representation of Madonna.
Renaissance
While the 15th and 16th centuries were a time when Italian painters expanded their repertoire to include historical events, independent portraits and mythological material, Christianity maintains a firm grip in their careers. Most of the artworks of this era are sacred. While the various subjects of religion include the subject of the Old Testament and the image of saints whose cult comes from biblical codification, Madonna remains a dominant subject in the Renaissance iconography.
Some of the leading 16th century Italian painters to move on to this subject are Leonardo da Vinci, Michelangelo and Raphael, Giorgione, Giovanni Bellini and Titian. They developed the basics of a 15th century Marian drawing by Fra Angelico, Fra Filippo Lippi, Mantegna and Piero della Francesca in particular, among many others. The subject is just as popular in the early Dutch and the rest of Northern Europe.
The subject that retains the greatest power of all men remains a bond of motherhood, though other subjects, especially the Annunciation, and then the Immaculate Conception, produce more paintings that represent Mary alone, without her son. As a warning picture, PietÃÆ' is an important subject, only freed from the previous role in the narrative cycle, in part, the result of popular piety statues in Northern Europe. Traditionally, Mary is portrayed as expressing compassion, sadness and love, usually in high-powered emotional art, though Michelangelo's earliest known work hampers the signs of mourning. The tenderness that an ordinary mother feels about her beloved son is captured, evoking a moment when she first picked up her infant son, Christ. The audience, however, is meant to sympathize, to share in the despair of the mother holding the body of her crucified son.
Modern drawings
In some European countries, such as Germany, Italy, and Poland, Madonna statues are found outside of houses and town buildings, or along streets in small cages.
In Germany, the statue placed outside the building is called Hausmadonna . Some date back to the Middle Ages, while some are still made today. Usually found at the level of the second floor or higher, and often in the corner of the house, such statues are found in large numbers in many cities; Mainz, for example, should have had more than 200 of them before World War II. The variety in the statues is as great as the other Madonna drawings; one finds Madonna holding the wine (referring to the Song of Songs 1:14, translated as "My Beloved to me bunch of flower girlfriends" in NIV), "neat" pure Madonna, perfect white with no children or accessories, and Madonna with roses symbolizing his life as determined by the mystery of faith.
In Italy, the street of the Madonna is a common sight both on the side of the building and along the road in a small cage. It is expected to bring spiritual help to those who pass through it. Several of the Madonna statues were placed around Italian towns and villages as a matter of protection, or as a warning of reported miracles.
In the 1920s, the American Revolutionary Daughter placed statues called the Coastal to Coastal Madonna of the Trail, marking the old National Pathway and the Santa Fe Trail.
Islamic View
The first important meeting between Islam and the image of Madonna is said to have occurred during the conquest of the Prophet Muhammad against Mecca. At the height of his mission, in AD 629, Muhammad conquered Mecca with the Muslim army, with his first act of "cleansing" or "purifying" the Ka'bah, where he removed all the pre-Islamic idols and idols from within the Temple. According to reports compiled by Ibn Ishaq and al-Azraqi, Muhammad, however, protectively put his hands on the paintings of Mary and Jesus, and the paintings of Abraham to keep them from being wiped out. In the words of the historian Barnaby Rogerson, "Muhammad raised his hand to protect the icon of the Virgin and the Son and the painting of Abraham, but otherwise his friends cleaned up the inside chaos of treasure, cult, sculpture and hanging charm." Islamic scholar Martin Lings recounts the event is in the biography of the Prophet: "Christians sometimes come to honor Abraham's Holy Place, and they are welcomed like others.In addition, a Christian is allowed and even encouraged to paint the icon of the Virgin Mary and the child of Christ on the inner wall of Ka ' even in contrast to all other paintings, but the Quraysh are more or less sensitive to this distinction: for them it is only a matter of increasing the number of idols by the other two, and that is partly their tolerance that makes them so impenetrable. Regardless of the icon of Our Lady and Son of Jesus, and the painting of an old man, it is said to be Abraham, the walls in it has been covered with images of pagan gods. Placing his hand protectively above the icon, the Prophet told Uthman to see that all other paintings, except the paintings of Abraham, had been removed. "
Type and work of famous individuals
There are a large number of articles on individual works of various kinds in the Category: Virgin Mary in its arts and sub-categories. See also Incomplete Imagery and Childhood description list. The term "Madonna" is sometimes used to refer to the representation of Mary that was not created by the Italians. A few examples include:
- The Gold Madonna of Essen , the earliest large-scale sculpture example in Western Europe and a precedent for a wood polychrome procession statue from Romanesque France, a type known as the Throne of Wisdom./li>
- Madonna of humility depicting a Madonna sitting on the ground, or a low cushion
- Madonna and Child , a painting by Duccio in Buoninsegna, from about 1300.
- The Black Madonna of Cz? stochowa ( Czarna Madonna or Polka Boska Cz? stochowska in Polish), which, according to legend, is painted by St. Luke the Evangelist on the cypress table from the House of the Holy Family.
- Madonna and Child with Flowers , probably one of two works started by the artist.
- Madonna Eleusa (softness) has been described both in Eastern and Western churches.
- Madonna of the Steps , was relieved by Michelangelo.
- Madonna della seggiola , by Raphael
- Madonna with Long Neck , by Parmigianino.
- Madonna of Port Lligat , the names of two paintings by Salvador DalÃÆ' were created in 1949 and 1950. Painting
- Metropolitan Museum: The Virgin Mary in the Middle Ages
- Madonna in the Arts in Project Gutenberg by Estelle M. Hurll (First printed 1897)
- Madonna in Art
Statue
Manuscript and cover
See also
References
External links
Source of the article : Wikipedia
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