This article is about the Christian depiction of the Virgin Mary. For the DJ formerly known as The Black Madonna, seeThe Blessed Madonna. For other uses of the term, seeBlack Madonna (disambiguation).
The termsBlack Madonna andBlack Virgin refer to statues or paintings in WesternChristendom of theBlessed Virgin Mary and theInfant Jesus, where both figures are depicted with dark skin.[1] Examples of the Black Madonna can be found both inCatholic andOrthodox countries.
The paintings are usuallyicons, which areByzantine in origin or style, some of which were produced in 13th or 14th-century Italy. Other examples from theMiddle East,Caucasus orAfrica, mainlyEgypt andEthiopia, are even older.[citation needed] Statues are often made of wood but are occasionally made of stone, painted, and up to 75 cm (30 in) tall. They fall into two main groups: free-standing upright figures or seated figures on a throne. About 400–500 Black Madonnas have been recorded in Europe, with the number related to how they are classified. There are at least 180Vierges Noires inSouthern France alone. There are hundreds of copies made since the medieval era. Some are displayed in museums, but most are in churches or shrines and are venerated by believers. Some are associated withmiracles and attract substantial numbers ofpilgrims.
Black Madonnas come in different forms. Speculations behind the basis of the dark hue of each individual icon or statue vary greatly and some have been controversial. Explanations range from the Madonnas being made from dark wood, Madonnas that have turned darker over time, due to factors such as aging or candle smoke, to a study byJungian scholarEan Begg into the potential pagan origins of the cult of the black Madonna and child or the intent to reflect the darker-skinned populations indigenous to certain parts of the world.[2]Another suggestion is that dark-skinned representations of pre-Christian deities were re-envisioned as the Madonna and child.[3]
Research into the Black Madonna phenomenon is limited. Begg links the refrain from theSong of Solomon, “I am black, and I am beautiful” to theQueen of Sheba.[2] Recently, however, interest in this subject has gathered more momentum.
Important early studies of dark-skinned holy images in France were byCamille Flammarion (1888),[4] Marie Durand-Lefebvre (1937), Emile Saillens (1945), and Jacques Huynen (1972).
The first notable study in English of the origin and meaning of the Black Madonnas appears to have been presented by Leonard Moss at a meeting of theAmerican Association for the Advancement of Science on December 28, 1952. Moss divided the images into three categories: (1) dark brown or black Madonnas with physiognomy and skin pigmentation matching that of the indigenous population; (2) various art forms that have turned black as a result of certain physical factors such as deterioration of lead-based pigments, accumulated smoke from the use of votive candles, and accumulation of grime over the ages, and (3) miracle-worker Madonnas, the focus of the study, Black Madonnas found in areas of aRoman legion and, therefore, not a reflection of the current population's skin colour.[3]
In the cathedral atChartres, there were two Black Madonnas:Notre Dame de Pilar, a 1508 dark walnut copy of a 13th-century silver Madonna, standing atop a high pillar, surrounded by candles; andNotre Dame de Sous-Terre, a replica of an original destroyed during theFrench Revolution. Restoration work on the cathedral resulted in the painting in 2014 ofNotre Dame de Pilar, to reflect an earlier 19th-century painted style. The statue is no longer a "Black Madonna" and the restoration was severely criticized for wiping away the past.[5][6]
Some scholars have chosen to explore the significance of the dark-skinned complexion to pilgrims and worshippers rather than focusing on whether this depiction was intentional. By virtue of their unusual presence, the Black Madonnas have sometimes acted to make their shrines revered pilgrimage sites.Monique Scheer attributes the importance of the dark-skinned depiction to its connection with authenticity. The reason for this connection is the perceived age of the figures.[7]
Le Puy-en-Velay: In 1254 when passing through on his return from the Holy Land SaintLouis IX of France gave the cathedral an ebony image of the Blessed Virgin clothed in gold brocade (Notre-Dame du Puy). It was destroyed during the Revolution, but replaced at the Restoration with a copy that continues to be venerated.[27]
Limeuil (Dordogne): Sainte Catherine d'Alexandrie á Limeuil. This XVII century statue was broken and thrown in the Dordogne during the French Wars of Religion (1562 - 1598) but recovered and returned to the church.
Black Madonna of ToulouseToulouse: The basilicaNotre-Dame de la Daurade inToulouse, France had housed the shrine of a Black Madonna. The original icon was stolen in the fifteenth century, and its first replacement was burned by Revolutionaries in 1799 on thePlace du Capitole. The icon presented today is an 1807 copy of the fifteenth century Madonna. Blackened by the hosts of candles, the second Madonna was known from the sixteenth century as Our Lady La Noire[38]
Tindari Madonna Bruna: restoration work in the 1990s found a medieval statue with later additions.Nigra sum sed formosa, meaning "I am black but beautiful" (from theSong of Songs, 1:5), is inscribed round a newer base.Street performer in Black Madonna costume inVenice
Casale Monferrato (Piedmont): Our Lady of Crea. In the hillside Sanctuary at Crea (Santuario di Crea), a cedar-wood figure, said to be one of three Black Virgins brought to Italy from theHoly Land c. 345 bySt. Eusebius.
Gubbio,Italy: The Niger-Regin square, discovered carved inthe cave of Sibilla Eugubina onMount Ingino, is considered to be aword square form of the "Black Queen". Seemingly of neo-Templar origin, it is dated between 1600–1800 CE, was discovered in 2003, and destroyed by vandalism in 2012.[39][40][41]
Positano (Campania): Located in thechurch of Santa Maria Assunta, the story of how it got there—sailors shouting "Posa, posa!" ("Put it down, put it down!")—gave the town its name.
^Scheer, Monique (2002). "From Majesty to Mystery: Change in the Meanings of Black Madonnas from the Sixteenth to Nineteenth Centuries".The American Historical Review.107 (5):1412–1440.doi:10.1086/532852.JSTOR10.1086/532852.
^"Algiers".interfaithmary.net. Archived fromthe original on 2017-08-11. Retrieved2014-08-06.
^"Senegal".interfaithmary.net. Archived fromthe original on 2017-08-11. Retrieved2014-08-06.
^"Soweto".interfaithmary.net. Archived fromthe original on 2017-08-11. Retrieved2014-08-06.
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