The term Black Madonna or Black Virgin tends to refer to statues or paintings in Western Christendom of the Blessed Virgin Mary and the Infant Jesus, where both figures are depicted with dark skin.[1] Examples of the Black Madonna can be found both in Catholic and Orthodox countries.
The paintings are usually icons, which are Byzantine in origin or style, some of which were produced in 13th or 14th-century Italy. Other examples from the Middle East, Caucasus or Africa, mainly Egypt and Ethiopia, are even older.Script error: No such module "Unsubst". Statues are often made of wood but are occasionally made of stone, painted, and up to Template:Convert 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 180 Vierges Noires in Southern 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 with miracles and attract substantial numbers of pilgrims.
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 by Jungian scholar Ean 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 the Song of Solomon, “I am black, and I am beautiful” to the Queen of Sheba.[2] Recently, however, interest in this subject has gathered more momentum.
Important early studies of dark-skinned holy images in France were by Camille 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 the American 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 a Roman legion and, therefore, not a reflection of the current population's skin colour.[3]
In the cathedral at Chartres, there were two Black Madonnas: Script error: No such module "Lang"., a 1508 dark walnut copy of a 13th-century silver Madonna, standing atop a high pillar, surrounded by candles; and Script error: No such module "Lang"., a replica of an original destroyed during the French Revolution. Restoration work on the cathedral resulted in the painting in 2014 of Script error: No such module "Lang"., 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 Saint Louis 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.[26]
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.
File:Vierge noire de Toulouse 2.jpgBlack Madonna of ToulouseToulouse: The basilica Notre-Dame de la Daurade in Toulouse, 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 the Place 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[37]
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 the Holy Land c. 345 by St. Eusebius.
Gubbio, Italy: The Niger-Regin square, discovered carved in the cave of Sibilla Eugubina on Mount Ingino, is considered to be a word 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.[38][39][40]
Positano (Campania): Located in the church 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.
Andújar (Province of Jaén): Script error: No such module "Lang". (Our Lady of Cabeza), named after the mountain, Script error: No such module "Lang". or Script error: No such module "Lang"..
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