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Our Lady of the Rosary of Chiquinquirá or the Virgin of Chiquinquirá is a title given to the Blessed Virgin Mary in the northern Andean region of South America. She is the patron saint of Colombia, the Venezuelan state of Zulia, and the town of Caraz in Peru. The image is painted on a cotton support, is kept in the Basílica of Our Lady of the Rosary in Chiquinquirá, where thousands of pilgrims arrive not only for the Feast Day on July 9, but also every Sunday, when they celebrate masses and processions. On 9 January 1910, Pope Saint Pius X authorised the Canonical Coronation to the image, which was further approved by Pope Benedict XV for 9 July 1919. On July 3, 1986, Pope John Paul II visited the sanctuary and prayed for peace in Colombia at the feet of the Virgin Mary's image. The title given to the Virgin is from the city of Chiquinquirá, where the first of the Virgin's miraculous manifestations occurred, and where the original image from the sixteenth century is kept. A later image of the Virgin of Chiquinquirá, painted on wood, can be found at the Basílica of Maracaibo, in Maracaibo, Venezuela, where it is also called ''La Chinita''. Every November 18, the city celebrates the traditional Feast of La Chinita with masses and processions in honor of the Virgin. ==Colombia== Pursuant to a commission received from Antonio de Santana, who had received in 1560 an encomienda of the Indians of Suta, a Spanish painter named Alonso de Narváez painted a portrait of the Virgin of the Rosary on a homespun piece of cotton woven by the Indians.〔 Painting in tempera, he used mineral and organic pigments taken from the soil and from herb and flower juices of the region.〔("Colombia: Our Lady of Chiquinquirá", Marian Titles in the Popular Religiosity of South America, Marian Library, Univ. of Dayton )〕〔Magdalena Vences Vidal, ''La Virgen de Chiquinquirá, Colombia'', 2008, Museo de la Basílica de Guadalupe, coll=''Estudios en torno de arte'' vol. 2, pp.36f.〕 In 1562 the portrait was placed in a chapel with a roof that leaked, and in time the humidity, air and sun, had so damaged the painting that it was impossible to recognize the subject. In 1577 the damaged painting was moved to Chiquinquirá and left abandoned in a room that had formerly been a family oratory. Eight years later, Maria Ramos, a pious woman from Seville in Spain, cleaned and refurbished the modest chapel and placed in it the faded canvas that had once borne Mary's image. Tradition has it that a miraculous restoration of the painting occurred on Friday, December 26, 1586 which gradually closed the scratches and holes in the cloth, overlaying them with color and light. The image stood out again, having recovered its colors and brightness.〔 The Virgin of the Rosary in the center of the painting is approximately three feet high. She looks towards her left as if to call attention to the nearly naked Child in her arms. The image has a calm countenance with a delicate smile. Both her face and the Child's are pale. The Child has a little brightly colored bird tied to his thumb and a rosary hangs from his left hand. Our Lady is supported by a crescent moon in a position suggesting the woman of the Apocalypse.〔"And a great sign appeared in heaven, a woman clothed with the sun, with the moon under her feet, and on her head a crown of twelve stars", Apocalypse, chapter 12:1〕 A white veil covers her hair and her rose-colored robe is covered by a sky blue cape. With the little finger of her left hand she holds a rosary which hangs in front of her, and in her right hand she has a scepter. On her right stands the figure of St. Anthony of Padua, and on her left that of the Apostle St. Andrew. These were the patron saints respectively of Antonio de Santana, the Spanish colonist who had commissioned the painting, and the Dominican friar, Andres Jadaque, who had arranged for de Narváez to paint it.〔 The figures appear blurred when looked at closely, but seem clearer at when viewed at a distance. The painting has markedly deteriorated through various causes which were assessed by Cecilia Alvarez White in course of a technical examination of the painting in 1986. These include the lack of any prepared ground to size the cotton support, the method of painting, and the nature of the pigments used which tend to degrade through exposure to light and humidity. Alvarez White concluded that the single greatest cause of pictorial degradation occurred over the 50 years preceding her examination, when the painting was exposed to more or less continuous intense electric light.〔Alvarez White, Cecilia, ''Chiquinquirá arte y milagro'', Bogotá, Presidencia de la Republica/Museo de Arte Sacro, 1986, quoted and summarized in Vences Vidal, Magdalena, ''La Virgen de Chiquinquirá, Colombia'', Museo de la Basílica de Guadalupe, coll=''Estudios en torno al arte'' vol. 2, at pp.63, 147f.〕 In addition, for three hundred years the image of Our Lady of the Rosary of Chiquinquirá was exposed to the faithful without any protection, permitting thousands to touch the flimsy cloth. Since 1897 a thick glass has protected the painting from inclement weather and from excesses of pilgrim fervor.〔("Our Lady Of The Rosary Of Chiquinquira, Patroness Of Columbia",''Family Online'', The Society of Mary (Marianists), Vol. 3, No. 19, September 28, 2004 )〕 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「Our Lady of the Rosary of Chiquinquirá」の詳細全文を読む スポンサード リンク
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