The Immaculate Conception is the belief that the Virgin Mary was free of original sin from the moment of her conception. It is one of the four Marian dogmas of the Catholic Church. Debated by medieval theologians, it was not defined as a dogma until 1854, by Pope Pius IX in the papal bull Ineffabilis Deus. While the Immaculate Conception asserts Mary's freedom from original sin, the Council of Trent, held between 1545 and 1563, had previously affirmed her freedom from personal sin.
In art, a Madonna is a representation of Mary, either alone or with her child Jesus. These images are central icons for both the Catholic and Orthodox churches. The word is from Italian ma donna 'my lady' (archaic). The Madonna and Child type is very prevalent in Christian iconography, divided into many traditional subtypes especially in Eastern Orthodox iconography, often known after the location of a notable icon of the type, such as the Theotokos of Vladimir, Agiosoritissa, Blachernitissa, etc., or descriptive of the depicted posture, as in Hodegetria, Eleusa, etc.
The Assumption of Mary is one of the four Marian dogmas of the Catholic Church. Pope Pius XII defined it on 1 November 1950 in his apostolic constitution Munificentissimus Deus as follows:
We proclaim and define it to be a dogma revealed by God that the immaculate Mother of God, Mary ever virgin, when the course of her earthly life was finished, was taken up body and soul into the glory of heaven.
Catholic Mariology is Mariology in Catholic theology. According to the Immaculate Conception taught by the Catholic Church, she was conceived and born without sin, hence Mary is seen as having a singular dignity above the saints, receiving a higher level of veneration than all angelic spirits and blessed souls in heaven. Catholic Mariology thus studies not only her life but also the veneration of her in daily life, prayer, hymns, art, music, and architecture in modern and ancient Christianity throughout the ages.
Marian devotions are external pious practices directed to the person of Mary, mother of God, by members of certain Christian traditions. They are performed in Catholicism, High Church Lutheranism, Anglo-Catholicism, Eastern Orthodoxy and Oriental Orthodoxy, but generally rejected in other Christian denominations.
Our Lady often refers to:
The Assumption of the Virgin is an oil on canvas painting by Greek-born artist Doménikos Theotokópoulos, known as El Greco in 1577–1579. The painting was a central element of the altarpiece of the church of Santo Domingo el Antiguo in Toledo, Spain. It was the first of nine paintings that El Greco was commissioned to paint for this church. The Assumption of the Virgin was El Greco's first work in Toledo and started his 37-year career there. Under the influence of Michelangelo, El Greco created a painting that in essence was Italian, with naturalistic style, monumental figures and a Roman school palette. The composition of El Greco's depiction of Assumption of the Virgin resembles Titian's Assumption in the Basilica dei Frari in Venice with Virgin Mary and angels above and the apostles below. On the painting Virgin Mary floats upward which symbolizes her purity, while apostles gathered around her empty tomb express amazement and concern.
Holy Family is a Christian term for Jesus, the Virgin Mary and St. Joseph.
Nativity or The Nativity may refer to:
The Coronation of the Virgin or Coronation of Mary is a subject in Christian art, especially popular in Italy in the 13th to 15th centuries, but continuing in popularity until the 18th century and beyond. Christ, sometimes accompanied by God the Father and the Holy Spirit in the form of a dove, places a crown on the head of Mary as Queen of Heaven. In early versions the setting is a Heaven imagined as an earthly court, staffed by saints and angels; in later versions Heaven is more often seen as in the sky, with the figures seated on clouds. The subject is also notable as one where the whole Christian Trinity is often shown together, sometimes in unusual ways. Crowned Virgins are also seen in Eastern Orthodox Christian icons, specifically in the Russian Orthodox church after the 18th century. Mary is sometimes shown, in both Eastern and Western Christian art, being crowned by one or two angels, but this is considered a different subject.
Mariology is the theological study of Mary, the mother of Jesus. Mariology seeks to relate doctrine or dogma about Mary to other doctrines of the faith, such as those concerning Jesus and notions about redemption, intercession and grace. Christian Mariology aims to place the role of the historic Mary in the context of scripture, tradition and the teachings of the Church on Mary. In terms of social history, Mariology may be broadly defined as the study of devotion to and thinking about Mary throughout the history of Christianity.
The history of Catholic Mariology traces theological developments and views regarding Mary from the early Church to the 21st century. Mariology is a mainly Catholic ecclesiological study within theology, which centers on the relation of Mary, the Mother of God, and the Church. Theologically, it not only deals with her life but with her veneration in life and prayer, in art, music, and architecture, from ancient Christianity to modern times.
The Mariology of the popes is the theological study of the influence that the popes have had on the development, formulation and transformation of the Roman Catholic Church's doctrines and devotions relating to the Blessed Virgin Mary.
Lutheran Mariology or Lutheran Marian theology is derived from Martin Luther's views of Mary, the mother of Jesus and these positions have influenced those taught by the Lutheran Churches. Lutheran Mariology developed out of the deep Christian Marian devotion on which Luther was reared, and it was subsequently clarified as part of his mature Christocentric theology and piety. Lutherans hold Mary in high esteem, universally teaching the dogmas of the Theotokos and the Virgin Birth. Luther dogmatically asserted what he considered firmly established biblical doctrines such as the divine motherhood of Mary while adhering to pious opinions of the Immaculate Conception and the perpetual virginity of Mary, along with the caveat that all doctrine and piety should exalt and not diminish the person and work of Jesus Christ. By the end of Luther's theological development, his emphasis was always placed on Mary as merely a receiver of God's love and favour. His opposition to regarding Mary as a mediatrix of intercession or redemption was part of his greater and more extensive opposition to the belief that the merits of the saints could be added to those of Jesus Christ to save humanity. Lutheran denominations may differ in their teaching with respect to various Marian doctrines and have contributed to producing ecumenical meetings and documents on Mary.
The veneration of Mary in the Catholic Church encompasses various devotions which include prayer, pious acts, visual arts, poetry, and music devoted to her. Popes have encouraged it, while also taking steps to reform some manifestations of it. The Holy See has insisted on the importance of distinguishing "true from false devotion, and authentic doctrine from its deformations by excess or defect". There are significantly more titles, feasts, and venerative Marian practices among Roman Catholics than in other Western Christian traditions. The term hyperdulia indicates the special veneration due to Mary, greater than the ordinary dulia for other saints, but utterly unlike the latria due only to God.
The Pietà is a subject in Christian art depicting the Virgin Mary cradling the dead body of Jesus.
Virgin Mary, or Mater Dolorosa, is a 1597 oil on canvas painting by El Greco, now in the Museo del Prado in Madrid. It is considered as a weaker replica of a painting on the same subject now in the Musée des Beaux-Arts of Strasbourg.
The Immaculate Conception with St John the Evangelist is a c. 1585 oil on canvas painting of the Immaculate Conception by El Greco.
The Virgin Mary, also known as Mater Dolorosa, although this title is now considered misleading, is a late 1590s or early 1600s painting by the Greek born, Spanish Mannerist painter Doménikos Theotokópoulos. It is on display in the Musée des Beaux-Arts of Strasbourg, France. Its inventory number is 276. A similar looking canvas in the Museo del Prado is considered a weaker replica.
