Hortus Conclusus: A Mariological Symbol in Some Quattrocento Annunciations, According to Church Fathers and Medieval Theologians (original) (raw)

Hortus Conclusus—A Mariological Metaphor in Some Renaissance Paintings of the Annunciation in the Light of Medieval Liturgical Hymns

Religions

This article seeks to shed light on the doctrinal meanings of the closed garden included in some Renaissance paintings of the Annunciation. To justify the iconographic interpretations that we will give of these paintings, we will base them on the analysis of many medieval liturgical hymns that poetically designate the Virgin Mary through the metaphorical expression hortus conclusus (closed garden) with which the Husband or Bridegroom requisites the Wife or Bride in the Song of Songs. We will divide our article into two parts as a strategy for analysis. First, we will analyze an extensive series of fragments of liturgical hymns that repeatedly praise Mary through this biblical metaphor. In the second part, we will examine some artistic representations of the Annunciation that, in the Italian Renaissance, depict a closed garden in the scene. From this double comparative analysis, textual and iconic, we will conclude that, in direct and essential correlation, those hymnic texts and tho...

Flos campi et lilium convallium. Third interpretation of the lily in the iconography of The Annunciation in Italian Trecento art from patristic and theological sources

Eikón Imago, 2014

This paper (which complements two previous works of our authorship) proposes to interpret the bouquet of lilies in medieval images of The Annunciation in two essentially intertwined dogmatic meanings, related to Christology and Mariology. Contradicting conventional “explanations” of such flower in this Marian scene, we found our proposal in many and consistent testimony of some prestigious Church Fathers and medieval theologians, glossing the biblical sentence Ego sum flos campi et lilium convallium. Such lyrical expression is seen by those authors as a clear metaphor that identifies Christ, the incarnate Son of God, and that, as such, also refers to Mary, in whose virginal womb the Son of God's incarnation is produced. Thus, based on the solid patristic and theological tradition on this biblical sentence, we dare to interpret the bouquet of lilies in paintings of the Annunciation (illustrated here by nine paintings of the Italian Trecento) as a double metaphor, which means both the supernatural human incarnation of God the Son and the virginal divine motherhood of Mary.

The temple in images of the Annunciation: a double dogmatic symbol according to the Latin theological tradition (6th-15th centuries)

De Medio Aevo 14, 2020

This article2 aims to unveil the doctrinal meanings that many Church Fathers and theologians have deciphered in some Old Testament terms such as templum, tabernaculum, domus Sapientiae, arca and other similar expressions related to sacred spaces or containers. In many specific cases, they have interpreted these expressions as metaphors or symbols of the Virgin Mary's womb and Christ's human nature. As a consequence, these interpretive approaches are reflected in some images of the Annunciation of the 14th and 15th centuries. So this article will analyze first a selected set of patristic, theological, and liturgical texts, and secondly, will examine eight paintings of the Annunciation with a temple-shaped house to see if there is an essential relation between those exegetical texts and these pictorial images. Based on that double analysis, it seems reasonable to conclude that the temple depicted in these Annunciations is a visual metaphor that illustrates the doctrinal meanings decrypted by the Fathers and theologians in their interpretations of the textual metaphors mentioned above. [es] The temple in images of the Annunciation: a double dogmatic symbol according to the Latin theological tradition (6th-15th centuries) Resumen. Este artículo tiene como objetivo desvelar los significados doctrinales que muchos Padres y teólogos de la Iglesia han descifrado en algunos términos del Antiguo Testamento, como templum, tabernaculum, domus Sapientiae, arca y otras expresiones similares relacionadas con espacios o contenedores de lo sagrado. En muchos casos específicos, interpretaron estas expresiones como metáforas o símbolos del vientre de la Virgen María y la naturaleza humana de Cristo. Como consecuencia, estos enfoques interpretativos se reflejan en algunas imágenes de la Anunciación de los siglos XIV y XV. Por lo tanto, este artículo analizará primero un selecto conjunto de textos patrísticos, teológicos y litúrgicos, y en segundo lugar analizará ocho pinturas de la Anunciación con una casa en forma de templo, para ver si hay alguna relación esencial entre esos textos exegéticos y esas imágenes pictóricas. Basado en ese doble análisis, parece razonable concluir que el templo representado en estas Anunciaciones es una metáfora visual que ilustra los significados doctrinales descifrados por los Padres y teólogos en sus interpretaciones de las metáforas textuales antes mencionadas. Palabras clave: Anunciación; templum Dei; Patrística Latina; encarnación de Cristo; maternidad divina de María. Contents: 1. Introduction. 2. Analysis of patristic, theological, and liturgical texts on the figure of templum Dei and other similar metaphors. 2.1. The interpretive tradition in Church Fathers and medieval theologians since the 6th century. 2.2. Doctrinal tradition on the figure of templum Dei and other similar metaphors in medieval Latin liturgical hymnals. 3. Analysis of some images of the Annunciation (ss. XIV-XV) with the house of Mary in the form of a temple, 4. Conclusions. 5. References. 5.1. Primary sources. 5.2. Bibliography. How to cite: Salvador-González, J. M. (2020). The temple in images of the Annunciation: a double dogmatic symbol according to the Latin theological tradition (6th-15th centuries). De Medio Aevo 14, 55-68.

The House/Palace in Annunciations of the 15th Century. An Iconographic Interpretation in the Light of the Latin Patristics and Theological Tradition

Eikón Imago, 2021

This article seeks to highlight the doctrinal meanings enclosed in the representation of the house of Mary in the form of a palace or an aristocratic residence in seven images of the Annunciation of the 15th century. To justify our iconographic interpretations in this sense, we based on the analysis of many exegetical comments with which many Latin Fathers and theologians interpreted several metaphorical expressions with dogmatic projection, such as domus Sapientiae, domus Dei, aula regia, palatium Regis, domicilium Trinitatis, and other analogous terms. As a methodological strategy, we use here a double comparative analysis: in the first instance, analyzing a series of patristic and theological texts that exegetically interpret the metaphors above; secondly, relating these exegetical texts with the eight Annunciations explained here. Resumen. Este artículo busca poner de relieve los significados doctrinales encerrados en la representación de la casa de María en forma de palacio o residencia aristocrática en siete imágenes de la Anunciación del siglo XV. Para justificar nuestras interpretaciones iconográficas en tal sentido nos basamos en el análisis de muchos comentarios exegéticos con los que numerosos Padres y teólogos latinos interpretaron con proyección dogmática varias expresiones metafóricas, como domus Sapientiae, domus Dei, aula regia, palatium Regis, domicilium Trinitatis, y otros términos análogos. Como estrategia metodológica nos basamos aquí en un doble análisis comparativo: en primera instancia, analizando una serie de textos patrísticos y teológicos que interpretan exegéticamente las metáforas antes mencionadas; en segunda instancia, relacionando esos textos exegéticos con las ocho Anunciaciones explicadas aquí.

Sicut lilium inter spinas. Floral metaphors in late medieval Marian iconography from patristic and theological sources

Eikón Imago, 6 (2014 / 2), ISSN-e 2254-8715, 2014

This paper proposes an interpretation of the flowers and other plant motifs present in some late medieval images of four Marian themes: the Virgin Enthroned with Child, the Virgin of Humility, the Sacra Conversazione and the Coronation of the Virgin. By supplementing certain unjustified conventions that, without any argument, see these flowers as natural symbols of Mary’s love or virginity, our iconographic proposal is based on multiple evidence by prestigious Church Fathers and medieval theologians. By commenting some significant passages of the Old Testament, all of them praise the Mother of the Savior in terms of flowers and plants as metaphors for her holiness and virtue. Thus, on the basis of a solid patristic and theological tradition, this paper attempts to interpret these botanic elements as symbolic figures of purity, humility, charity, sublimity of virtue and absolute holiness of Mary and, as the essential core, her perpetual virginity and virginal divine motherhood. Key Words: Medieval art, iconography, Mariology, Patrology, late medieval painting. Resumen: El presente artículo propone interpretar las flores y otros motivos vegetales presentes en algunas imágenes bajomedievales de cuatro temas marianos: la Virgen entronizada con Niño, la Virgen de la Humildad, la Sacra Conversazione y la Coronación de la Virgen. Complementando ciertas convenciones injustificadas, que, sin ofrecer argumentos, ven dichas flores como símbolos naturales de la virginidad o del amor de María, nuestra propuesta iconográfica se funda en múltiples testimonios de prestigiosos Padres de la Iglesia y teólogos medievales. Todos ellos, comentando significativos pasajes del Antiguo Testamento, elogian a la Madre del Salvador en términos de flores y plantas como metáforas de su santidad y sus virtudes. Así, basándonos en una sólida tradición patrística y teológica, intentamos interpretar esos elementos vegetales como figuras simbólicas de la pureza, la humildad, la caridad, la excelsitud de virtudes y la santidad absoluta de María y, como núcleo esencial, su virginidad perpetua y su virginal maternidad divina.

Latin theological interpretations on templum Dei A double Christological and Mariological symbol (6th-15th centuries

Teología y Vida, 2021

This article aims to underline the exegetical comments given from the 6th to 15th centuries by some Latin Fathers, theologians, and hymnographers on several metaphorical expressions, such as templum Dei, tabernaculum, domicilium Deitatis, arca, and other similar terms referring to spaces or containers reserved for the godhead. The article uses as a methodological strategy the comparative analysis of Latin Christian primary sources: the writings of the Church Fathers and theologians and the medieval liturgical hymns. After collecting the large set of exegetical comments in this regard, the comparative analysis of these texts confirms that all the Latin Christian sources analyzed here coincide in interpreting the metaphorical expressions above as eloquent symbols of God the Son's incarnation in Mary's virginal womb. However, beyond this significant concordance, these Christian thinkers brought during these ten centuries three different, inherently interconnected, and complementary exegetical variants: one, strictly Mariological; a second one, strictly Christological; the third, as a binary option, Mariological and Christological at the same time.

Iconographic Interpretation of the Temple as a Theological Symbol in Images of the Annunciation of the 14th and 15th Centuries

Fenestella. Inside Medieval Art, 2020

This article seeks to highlight the essential symbolic Christian meanings hidden in some textual metaphors of the Old Testament, such as templum Dei, «house of Wisdom», aula regia, Sancta Sanctorum, «tabernacle», «altar», «ark».To make our approach clearer: first of all, we will analyze some exegesis offered on these metaphorical terms by certain Fathers and theologians of the Eastern and Western Churches; second, we will analyze some pictorial images of the Annunciation of the 14th and 15th centuries that include a temple or chapel in the scene. From this double analysis of texts and images, it will be possible to conclude that the temple painted in those images constitutes a visual metaphor that illustrates the Christological and Mariological meanings brought to light by the Fathers and theologians when interpreting the aforementioned Old Testament textual metaphors.

Flos de radice Iesse. A hermeneutic approach to the theme of the lily in Spanish Gothic painting of The Annunciation from patristic and theological sources

Eikón Imago, nº 4 (2013 / 2), Universidad Complutense de Madrid, 2013, pp. 183-222, 2013

Contradicting the superficial and unjustified conventional interpretation of the lily in the images of the Annunciation, this paper proposes two new deep theological explanations of that flower in this biblical episode. Based on the analysis of an abundant amount of quotes of the Church Fathers and medieval theologians, which show a well-established doctrinal tradition about this issue, we will try to demonstrate that the stem of lilies at the scene of the Annunciation symbolizes both the Mary’s virginal divine motherhood and the supernatural human incarnation of God the Son, Christ. The current paper seeks also to relate these textual analyses of patristic and theological sources to twelve Spanish Gothic Annunciations which include a stem of lilies.

The Eve/Mary parallelism/antithesis in the light of Christian theological tradition and its reflection in the iconography of the Annunciation (15th century

Volynskyi Blahovisnyk , 2021

This article's relevance derives from having documented the generic thesis of the parallelism between Eve and the Virgin Mary. For reaching these result, we have drawn on the solid doctrinal tradition established by countless exegetical texts of Greek and Latin Church Fathers and medieval theologians, as well as numerous liturgical hymns of the Middle Ages. The current article aims to undertake three mains goals: first to find out and explain some exegetical comments from Church Father and medieval theologians on the parallelism/antithesis between Eve and Mary, and, as a consequence, between Adam and Christ; second to analyze iconographically some paintings of the Annunciation of the 15th century that include in the scene the figures of Adam and Eve; third to prove the possible relation between these doctrinal texts and those pictorial images. For achieving these goals, we will use two complementary methodological strategies: above all, the in-depth analysis of the patristic and theological comments, as well as some medieval liturgical hymns, to emphasize their eventual mutual concordances or discrepancies; in the second term, the iconographic analysis of several paintings of the Annunciation with Adam and Eve based on the millenarian patristic and theological tradition on this matter. As a credible conclusión, we can confirm that these pictorial images of the Annunciation with our first parents reflect the established doctrinal tradition on the parallelisms/antitheses between Eve and Mary, between Adam and Christ, as well as between sin-death and redemption-life. Finally, the current partial approach to the issue under study is just a first step for extensive and in-depth research that one can, and must, undertake over this complex subject, whose relevance is essential both for Mariology and Christology.

The Virgin Mary as a model of obedience in the patristic tradition and her representation in the late medieval iconography of the Annunciation

Oxford Academic Studies Press (OASP) Social Sciences and Humanities Journal (SSHJ), Vol. 10 | No. 8 | Aug 2015, p. 2-23, 2015

Within the countless writings on the iconography of the Annunciation there are many that describe the presence and function of its protagonists (Mary, the angel Gabriel, the Holy Ghost in the form of a dove, sometimes God the Father), or the symbolic meaning of some elements present in the scene (a bouquet of lilies, a book of prayers, etc.). On the other hand, the studies that deal in depth and in an exclusive manner with the feelings and moral qualities exhibited by the Virgin in this significant episode are very scarce, as far as we know. The current paper aims to highlight the unrestricted obedience expressed by Mary when declaring herself " the handmaid of the Lord " and when demanding that the divine will would be accomplished in her, just when she agrees to be chosen by God as virginal mother of his divine Son incarnate. Our study will be conducted on a double, complementary strand: textual and iconic. In a first block, we will delve into primary sources a large set of exegetical passages of Church Fathers and medieval theologians, who interpreted the obedience of Our Lady in function of clear mariological and christological meanings. In a second block we will analyze ten late medieval paintings of the Annunciation in order to determine the objective means and the visual symbols through which each one of these ten artists visualized the confident obedience which, according to the aforementioned patristic and theological exegesis, Mary showed when receiving the divine message by means of the angel Gabriel.