The assumption of the Virgin Mary

Brief tour through some details of the painting

The Assumption of Mary (Siglo XVII) by Unknown artistSanta Clara Museum

The assumption of the Virgin Mary was a belief that cause one of the biggest controversies in the Catholic Church after the Council of Trent (1545-1563). The disagreements were supported by the fact that the death of Mary, like several scenes in her life, is not referenced in the Bible, although it is mentioned in the Liber de Transitu Virginis, a Latin text of the second century.

According to the Liber, the apostles and some devout women witnessed how, three days after her burial, the body of the Virgin was taken to heaven by angels. In this work, however, not only the assumption is depicted, but also the moment when Mary is received in Heaven.

A group of men and women surround the Virgin’s tomb, in which the shroud barely remains, and on top of it some flowers. More numerous, stand out in the group the twelve apostles, whom we see moved by the event they witness.

Despite the absence of iconographic attributes makes it difficult to identify each apostle, we recognize in the group only one young face, which we can associate with John. Standing in the right corner of the composition, this apostle holds one corner of the shroud.

Three women kneeling in front of the tomb, each with very different gestures, complete the group. Their identity has not been clarified. Some texts associate them with widows or maidens who accompanied Mary in her last years.

The figure of the Virgin is in the center of the composition. A white tunic and a blue cloak dress her body, raised to heaven by angels and cherubs that protrude from the clouds. One of them crowns with flowers her head.

The elements described so far were recurrent in the iconography of the assumption, which was set in the 15th century.


However, in the upper right corner of this work of the Santa Clara Museum, there is an unusual figure in the representations of this mariological scene: Christ. With his arms open and covered by a red cloak, which symbolizes the Passion, the Son receives the Virgin body and soul in heaven.

The presence of Christ refers us to a second scene: that of the reception of Mary in the heavenly environment, whose representation was scarce in the colonial art of New Granada.

Even though the dogma of the assumption of Mary was officially established until 1950 with Pope Pius XII, this event used to be celebrated as part of the liturgical calendar since the 6th century. In Spain, as well as in Colombia and other territories that were former Hispanic colonies, this religious event continues to be an important holiday for some faithful and takes place on August 15th of each year.

Credits: Story

Museum Director
María Constanza Toquica Clavijo
 
Museology
Manuel Amaya Quintero
 
Curation
Anamaría Torres Rodríguez
María Isabel Téllez Colmenares
 
Collection Management
Paula Ximena Guzmán López
 
Editorial
Tanit Barragán Montilla
 
Communications
Valentina Bastidas Cano

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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