Primordial history of Mary: iconography and art

The primordial history of Mary in Christian iconography: the catacombs of Priscilla (2nd century), mosaic absides, and the Virgin OrantThe encolpia and processional crosses of Palestinian art from the 6th century, contemporary with the last great era of religious literature about Mary, that of the Calcedonian Assumptionists, not only reveal the origins of Marian iconography but also confirm what has been attested by the sources we have examined. The first iconographic type is that of the Theotokos or Blachernitissa, in which Mary is linked to the Cross. The second is the Chalcopratía, in which Mary appears as Co-Redemptrix as the Blood of the Son flows from the Cross to Adam’s skull preserved in the Treasure Cave of Calvary. The third is that of the Intercessory Mother, who on Calvary intercedes for the Church. These models are depicted in smaller artifacts, such as reliquaries, eulogias, amphoras, crosses, individually or in cycles of five, seven, nine, or twelve scenes, calculated according to the liturgical calendar.For example, there is a cycle of five scenes on the lid of a 6th-century relic box, obviously Palestinian, once preserved in the Sancta Sanctorum of the Lateran and now in the Vatican. Another similar cycle is found on a silver encolpio-cross from the 8th to 9th centuries, which reached Italy from Palestine and is now preserved in Vicopisano. On the lid, around the Chalcopratía, there are Marian images of the Resurrection and Nativity, Ascension and Baptism of Jesus, grouped in pairs. In the encolpio, always around the same model, we have the Annunciation, the Baptism of Jesus, the Nativity, and the Presentation in the Temple. On the reverse, we see Mary witnessing the Ascension with the Apostles, and in another scene, the Descent into Hell. From this iconography, the news of the Gospel of the Hebrews is confirmed, which in the 2nd century stated that Jesus was baptized at the counsel of his Mother. Furthermore, the affirmation of an appearance of the Risen One to the Mother and her presence at the Ascension of the Son, as well as her knowledge in vision of the post-mortem journey of that, is corroborated.The Palestinian iconography is replicated in numerous works influenced by it, such as the ampolas (vases) of Bobbio or Monza, as well as various icons from Sinai. For the ampolas of Bobbio, I cite numbers 17, 18, and 19. The first has a cycle of seven mysteries with the Resurrection at the center: to the right, are visible the Crucifixion, Baptism, and Visitation; while to the left, now disappeared, were represented the Ascension, Annunciation, and Nativity. The second ampola has the Crucifixion in the center, below the Resurrection, above the Ascension, and on the sides the Annunciation, Visitation, Baptism, Nativity, Adoration of the Shepherds, and Adoration of the Magi. The third ampola, also fragmented, has nine scenes related to the Mount of Olives, not the Calvary as in the others: in the center is the Ascension, surrounded by the Annunciation, Visitation, Baptism, Nativity, Adoration of the Shepherds, and Adoration of the Magi. Missing are the Crucifixion and Resurrection, now lost.As for the ampolas of Monza, I cite number 2. They come from Bethlehem and contain in the center the Nativity, symmetrically surrounded by the Annunciation and Visitation, Baptism and Crucifixion, Resurrection and Ascension. Corresponding to this ampola are the enamel cross of the popes Symmachus, Sergius I, and Paschal, preserved in the Vatican, and the fragment of icon B 41 from Sinai. Both come from Bethlehem. They also have the Nativity in the center. The cross depicts the Annunciation, Visitation, Journey of Mary to Bethlehem, Adoration of the Magi, Presentation in the Temple, and Baptism of Jesus. Adding up all these scenes, we have twelve mysteries related to Mary’s life, which were synthesized in the Middle Ages in other representations. The basis was the Palestinian liturgy, which historicized all the mysteries, reviving them in the places where they occurred: Calvary, Bethlehem, the Mount of Olives.Outside the boundaries of Palestine, the late antique Christian art before Constantine also constitutes an important source of documentation. The figurative themes converge with the literary ones and integrate them, corroborated as much as archaeological findings. The catacomb, cemetery, and funeral art, though due to circumstances has a limited number of representative types, is inspired by the accounts of the Infancy, both biblical and apocryphal, attesting to their circulation: Annunciation, Nativity, Adoration of the Magi, the most frequent representation, and the symbolic image of Mary with Balaam/Isaiah. The earliest representations of the Adoration of the Magi and Mary with Balaam/Isaiah are from the 2nd century in the Catacomb of Priscilla. According to Origen, the Magi descended from Balaam, who prophesied about the Messiah in Nm 24, 17. In general, in typological art, Mary is presented in prayer, without the Child and with her arms raised, as the image of the Church. In a golden glass from the 3rd-4th centuries, Mary is depicted between Peter and Paul.Deepen your studies: explore Mariology, Marian theology, Marian apparitions, and the Graduate Program in Mariology.To deepen the study of Mary in the origins of Christianity, consult the Encyclical Redemptoris Mater by Pope John Paul II.