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Showing posts with label painting. Show all posts
Showing posts with label painting. Show all posts

Monday, December 12, 2011

OUR LADY OF GUADALUPE

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Our Lady of Guadalupe 
 (Spanish: Nuestra SeƱora de Guadalupe), also known as the La Guadalupana , La Morenita , Virgin of Guadalupe (Spanish: Virgen de Guadalupe; Nahuatl: Tonantzin Guadalupe) is a celebrated Catholic icon of the Virgin Mary. Under this title, she is officially proclaimed by the Catholic Church as the Patroness of Americas, Empress of Latin America and Protectress of the Unborn Children.
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According to Catholic tradition, on December 9, 1531, Juan Diego, a recently converted Aztec indigenous peasant, had a vision of a young woman while he was on a hill in the Tepeyac desert, near Mexico City. The lady asked him to build a church exactly on the spot where they were standing. He told the local Bishop Juan de Zumarraga, who asked for proof in exchange.
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Juan Diego went back later and saw the lady again. He told her that the bishop wanted proof, and she instructed Juan Diego to go to the mountain top, where he found Castillian roses, which were native to Bishop Juan de Zumarraga's hometown and could not possibly bloom during wintertime. Juan Diego cut the roses, placed them in his apron-like tilma and returned to the bishop; an imprint of the Blessed Virgin Mary appeared on the tilma from the residue of the soil and roses.

Today, the icon is displayed in the nearby Basilica of Guadalupe, now one of the most visited Catholic shrines in the world. The Virgin of Guadalupe is Mexico's most popular religious and cultural image, with the titles "Queen of Mexico", "Empress of the Americas", and "Patroness of the Americas". Both Miguel Hidalgo (in the Mexican War of Independence) and Emiliano Zapata (during the Mexican Revolution) carried flags bearing the image of Our Lady of Guadalupe, and Guadalupe Victoria, the first Mexican president, changed his name in honor of the icon.
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From Wikipedia
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AZTEC PRAYER
TO THE MOTHER OF THE GODS
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Teleoinan was the Mother Goddess of
the Aztec people and patroness of midwives
and childbirth. It was near the site of
Teleoinan's old temple at Tepeyacac in Mexico
that the Virgin of Guadalupe appeared to
Juan Diego, the dark-skinned native.
This version of the hymn to Teleoinan has been
adapted from Daniel Brinton's
Rig Veda Americanus, 1890.
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Hail to our Mother, who caused
the yellow flowers to blossom,
who scattered the seeds of the
maguey as she came forth from Paradise.
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Hail to our Mother, who poured
forth flowers in abundance,
who scattered the seeds of the
maguey as she came forth from Paradise.
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Hail to our Mother, who caused
the yellow flowers to blossom,
she who scattered the seeds of the
maguey as she came forth from Paradise.
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Hail to our Mother, who poured
forth white flowers in abundance,
who scattered the seeds of the
maguey as she came forth from Paradise.
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Hail to the goddess
who shines in the thorn bush
like a bright butterfly.
Lo! She is our Mother,
the goddess of the earth.
She supplies food in the desert
to the wild beasts,
and causes them to live.
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Thus, thus, you see her
to be an ever-fresh model
of liberality toward all flesh.
And as you see
the goddess of the earth
do to the wild beasts,
so also she does toward
the green herbs and the fishes.
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From Healing Prayers by
Joanne Asala
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Wednesday, June 1, 2011

THE SACRED ART OF NAVAJO SANDPAINTING

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Navajo Sandpaintings, also called dry paintings, are called "places where the gods come and go" in the Navajo language. They are used in curing ceremonies in which the gods' help is requested for harvests and healing.
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The figures in sand paintings are symbolic representations of a story in Navajo mythology. They depict objects like the sacred mountains where the gods live, or legendary visions, or they illustrate dances or chants performed in rituals.
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Sandpaintings are but one rite in a ceremonial. From the distinct set of paintings that belong to a specific chant, the chanter selects those that will best heal the patient, never using the entire repertoire of paintings on a single occasion. In the two-night form of a chant, one sandpainting is made, while the last four days of a nine-night ceremonial would have sandpaintings. After its sanctification, the patient sits on the painting while the chanter performs a ritual to enhance the absorption of its healing power. Immediately afterward, the remains of the painting are taken outside to an area north of the hogan, where they are returned to the earth.
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According to Navajo belief, a sandpainting heals because the ritual image attracts and exalts the Holy People; serves as a pathway for the mutual exchange of illness and the healing power of the Holy People; identifies the patient with the Holy People it depicts; and creates a ritual reality in which the patient and the supernatural dramatically interact, reestablishing the patient's correct relationship with the world of the Holy People ( GriffinPierce 1992:43). For the Navajo, the sandpainting is a dynamic, living, sacred entity that enables the patient to transform his or her mental and physical state by focusing on the powerful mythic symbols that re-create the chantway odyssey of the storys protagonist, causing those events to live again in the present. The performative power of sandpainting creation and ritual use reestablish the proper, orderly placement of the forces of life, thus restoring correct relations between the patient and those forces upon which the patient's spiritual and physical health depend. The sandpainting works its healing power by reestablishing the patient's sense of connectedness to all of life ( Griffin-Pierce 1991:66).
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Sunday, January 16, 2011

MAGDALENE IN THE MIRROR

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Title: 'The Repenting Magdalene'
Artist: Georges de La Tour

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Date: late 1630'sIncident shown: Mary surveys the mirror,
symbol of her former vanity and preoccupation
with worldly things. It casts a large shadow.
Her beauty remains, but she has clearly become
aware of the fact that there is more to life
than earthly pleasure.
Now, in the stillness of night,
she reflects on past events, and on her own
transformation through the encounter
she has had with Jesus.

Bible reference: None

Comment: The skull in Mary's lap reminds
her that Death is inevitable for all creatures,
and will come to her as well.
It suggests that she should think about
the hereafter as well as the present.
George de la Tour excelled in the use of light
and shadow, and the meditative mood that
night brings to all creatures.There is another version of this scene painted
by Georges de la Tour (see image below). In this,
the sexual undertone is more explicit -
Mary's legs and shoulder are bared,
as if she has just finished servicing a client.
But the mood of introspection and regret
are the same.
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An excellent site for religous art images/art education,
particularly re: women in biblical art.
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Friday, April 16, 2010

A CHILD'S VOLCANO POEM & PAINTING

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Violent eruptions renewing the earth
Objects melting from the boiling liquid
Lava flowing, destroying everything in its path
Carnage rages in nearby cities
Actions are taken, some foolish, some wise
Nothing else on Earth can match its strength
Observers watch in wonder and awe
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Alonzo
From Mrs. Kimura's 4th Grade Class
Kamili'i Elementary School
Kihei, Hawaii
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