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The Blessed Virgin Mary has been one of the major subjects of Christian Art, Catholic Art and Western Art for many centuries. Literally hundreds of thousands of pieces of Marian art in the Catholic Church covering a range of Marian artistic topics have been produced, from masters such as Michelangelo and Botticelli to humble peasant artists.〔Timothy Verdon, 2006, ''Mary in Western Art'' ISBN 978-0-9712981-9-4〕 Although Marian art items may at times be viewed from an artistic perspective and sold at auctions, or discussed from an academic viewpoint in the context of art history, from a religious viewpoint they form part of the very 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 Virgin of Guadalupe'' by Maxwell E. Johnson 2003 ISBN 0-7425-2284-9 pp. 41–43〕 The study of Mary via the field of Mariology is thus inherently intertwined with Marian art.〔Caroline Ebertshauser et al. 1998 ''Mary: Art, Culture, and Religion through the Ages'' ISBN 978-0-8245-1760-1〕 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. ==Blending of art, theology and spirituality== Art has been an integral element of the Catholic identity since the very beginning.〔''Distinctively Catholic: an exploration of Catholic identity'' by Daniel Donovan 1997 ISBN 0-8091-3750-X pp. 96–98〕 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.〔Janusz Rosikon, 2001, ''The Madonnas of Europe: Pilgrimages to the Great Marian Shrines'' ISBN 978-0-89870-849-3〕〔Edel 2006, ''Madonna: Sacred Art And Holy Music'' ISBN 9783937406404〕〔University of Dayton Marian Music http://campus.udayton.edu/mary/marymusic.html〕〔Peter Mullen ''Shrines of Our Lady'' ISBN 978-0-312-19503-8〕 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'').〔''The Mystery of the Rosary: Marian Devotion and the Reinvention of Catholicism'' by Nathan Mitchell 2009 ISBN 0-8147-9591-9 pp. 37–42〕〔''The road from Eden: studies in Christianity and culture'' by John Barber 2008 ISBN 1-933146-34-6 p. 288〕 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.〔(Catholic encyclopedia )〕 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.〔Ann Ball, 2003 Encyclopedia of Catholic Devotions and Practices ISBN 0-87973-910-X pp. 431–433〕 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.〔(Vatican website: Pope John Paul II in the Philippines )〕〔''Culture and customs of the Philippines'' by Paul A. Rodell 2001 ISBN 0-313-30415-7 p. 58〕〔''Relations between religions and cultures in Southeast Asia'' by Donny Gahral Adian, Gadis Arivia 2009 ISBN 1-56518-250-2 p. 129〕 Devotions to the icon have spread from the Philippines to the United States, and remain popular among Asian-Americans in California.〔''Asian American religions'' by Tony Carnes, Fenggang Yang 2004 ISBN 0-8147-1630-X p. 355〕〔''Religion at the corner of bliss and nirvana'' by Lois Ann Lorentzen 2009 ISBN 0-8223-4547-1 pp. 278–280〕 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.〔''The encyclopedia of Christianity, Volume 3'' by Erwin Fahlbusch, Geoffrey William Bromiley 2003 ISBN 90-04-12654-6 p. 339〕〔''Our Sunday Visitor's Catholic Almanac'' by Matthew Bunson 2008 ISBN 1-59276-441-X p. 123〕〔''The Mystery of the Rosary'' by Nathan Mitchell 2009 ISBN 0-8147-9591-9 p. 193〕〔''China's Catholics'' by Richard Madsen 1998 ISBN 0-520-21326-2 pp. 6–7〕 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.〔''Mercer dictionary of the Bible'' by Watson E. Mills, Roger Aubrey Bullard 1998 ISBN 0-86554-373-9 pp. 520–525〕〔''Lord Jesus Christ: Devotion to Jesus in Earliest Christianity'' by Larry W. Hurtado 2005 ISBN 0-8028-3167-2 pp. 113, 179〕〔''II Corinthians: a commentary'' by Frank J. Matera 2003 ISBN 0-664-22117-3 pp. 11–13〕 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 image of St Francis'' by Rosalind B. Brooke 2006 ISBN 0-521-78291-0 pp. 183–184〕 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.〔''The tradition of Catholic prayer'' by Christian Raab, Harry Hagan, St. Meinrad Archabbey 2007 ISBN 0-8146-3184-3 pp. 86–87〕 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 vitality of the Christian tradition'' by George Finger Thomas 1944 ISBN 0-8369-2378-2 pp. 110–112〕〔''La vida sacra: contemporary Hispanic sacramental theology'' by James L. Empereur, Eduardo Fernández 2006 ISBN 0-7425-5157-1 pp. 3–5〕〔''Philippines'' by Lily Rose R. Tope, Detch P. Nonan-Mercado 2005 ISBN 0-7614-1475-4 p. 109〕 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.〔Arthur Calkins, Marian Consecration and Entrustment in Burke, Raymond L.; et al. (2008) Mariology: A Guide for Priests, Deacons, Seminarians, and Consecrated Persons ISBN 978-1-57918-355-4 pp. 725–737〕 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.〔''Life in Renaissance France'' by Lucien Febvre 1979 ISBN 0-674-53180-9 p. 145〕 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.〔''Saint Alphonsus Liguori'' by Saint Alfonso Maria de' Liguori, Richard Paul Blakeney 1852 p. 20〕 In his apostolic letter ''Archicoenobium Casinense'' in 1913, Pope St. 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".〔''Acta Apostolicae Sedis'' 5, 1913, pp. 113–117〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Marian art in the Catholic Church」の詳細全文を読む スポンサード リンク
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