The Blessed Virgin Mary is certainly the most recognized woman in history. The tender images of the Madonna and Christ Child have inspired artists across all ages and arts-forms. Most of us are familiar with her conventional depictions in art – fair-skinned, blue-eyed, blonde and cloaked in blue. She is an epitome of virtues that endears to every soul.

However, lesser-known is the contentious representation of the Blessed Virgin called the Black Madonna. We may at once gravitate naturally to question – ‘Why is she black?’ But before we associate faith to colors, let’s understand the background and devotion towards the icon of the Black Madonna of Czestochowa, also known as, Our Lady of Czestochowa.

The painting is executed in tempera on primed canvas. The Blessed Virgin is seen in a standing posture with Christ Child in her arms. She bears an oval face distinguished by a long narrow nose, tiny lips, and deeply expressive eyes. The half-closed eye-lids lend an almost melancholic and contemplative expression to her beautiful face.

The Blessed Virgin gazes at us while pointing to her Son as the source of salvation. This traditional theme was well known in the East and was called ‘Hodegetria’ – meaning – ‘the One Who Shows the Way’. In turn, Christ Child extends his right hand in benediction while in His left hand He holds a closed book symbolizing Wisdom. The fact that the Infant Jesus holds a codex as opposed to the earlier scroll could serve as an indication that the symbol was a later addition.

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 The words ‘Seminary’ and ‘Sports’ can hardly be mentioned in the same breath. For isn’t the Seminary a supposed island of holiness, a field of prayer and a reservoir of theology? Can sports share any space in a pious place? The answer is a hearty yes! The formation of a seminarian includes over-all personality development and the Parel Seminary did believe that games provided not only healthy entertainment but also valuable insights into a seminarian’s character. Their motto was ‘mens sana in corpore sano’, Latin for ‘a healthy mind in a healthy body’.

Games were compulsory for the Parel Seminarian. Volleyball, hockey, basketball, and football were played in the season. Long walks were mandatory on Thursdays. The seminarian had to enlist on the ‘Sport’s Board’ for the game of one’s choice. Even those who preferred the library to the playground were obliged to spend some time on the volleyball or the hockey field. For those who couldn’t play, regular physical exercises were highly recommended.

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With this text we come to the end of Luke’s Sermon on the Plain. Jesus is addressing his would be followers and rounds up this discourse with three examples; a tree that bears fruit, the treasure of our heart and the foundations on which a house ought to be built. These three examples seek to serve as a litmus test of true discipleship.

Jesus begins with a categorical statement that leaves no room for ambiguity. If you are a good tree the fruit will be good, period! The people at the time of Jesus would have no problem in recognising the examples that Jesus cited. Fig trees were a symbol of fertility, peace and prosperity while the grape was a symbol of joy (no prizes for guessing why). Opposed to this imagery was bramble and the thorns whose usefulness was limited to it being used as firewood. 

What we produce is also a reflection of what we are fed with. The sermon on the plain was a call to the disciples who wished to follow Jesus, the reconstituted Israel. Their way and manner of life was to be lived in conformity to the teachings of Jesus as reflected in Luke 6: 20-38. Effective compliance to this teaching can only come from a heart that has been converted to a gracious God as proclaimed by Jesus. However we may comply with some teachings and leave out those that truly challenge us. What are the teachings I avoid that hinder the output of my spiritual fruit?

Each tree is known by its fruit; ask yourself, what do I produce? But even more every choice I make in life also determines the output and quality of the fruit one bears. Are we truly happy with the fruit we produce? A mere superficial conversion will not produce even tiny fruit leaving us with only leaves.

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 The arts have been ruled by great artists like Leonardo Da Vinci, Michelangelo, Raphael, Botticelli, etc. but the ‘father figure’ they sought began his life as a shepherd boy. He used his brush to bring the Bible to life and made art more natural, more real. His name was Giotto. It is important to note that although Giotto was not a full-fledged Renaissance painter, he is still regarded as the ‘Father of the Renaissance’, because of his undeniable contribution to its origin.

One of Giotto’s greatest masterpieces is the Ognissanti Madonna painted for the Church of Ognissanti (All Saints) in Florence. The painting was commissioned by an obscure religious order called the Humiliati who were known to use art to stimulate devotion. The ten-feet painting was initially placed at the front of the Church as an altarpiece. Today it is on display in the Galleria Degli, Uffizi in Florence.

Now the theme of the canvas is similar to the previous painting by Cimabue. The Ognissanti Madonna represented Mary in Majesty, popularly called the Maestà. Adhering to the Italio-Byzantine traditions, Giotto presents the Blessed Mother against flat gleaming gold. Its shine and splendor solemnly mirror heaven. Retaining the hierarchy of the scale, the artist centralizes the Madonna and the Child and depicts them larger than the surrounding angels and saints. We are clearly in a space beyond time.

Intriguingly Giotto breaks tradition here. He attempts to accord human attributes to divine characters, thus bridging the gap between the temporal and the spiritual and revolutionizing western art forever. Let’s understand this newfound naturalism through the painting.

The Blessed Virgin is seen seated on a Gothic throne representing a Tabernacle. Scripturally the attribute acknowledges the Blessed Virgin as the new Ark of the new Covenant. However, unlike the paper-like, flat Gothic representation, Giotto depicts the Blessed Mother and Christ Child with volume. The drawing seems more sculptural. The Madonna is monumental, solid, and occupies space. Her knees are foreshortened while her drapery is rendered with modeling enhancing the transition of light and shadow as well as the illusion of space.

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critique YES criticise NO – Luke 6:39-42

Jesus has gathered a reconstituted Israel in the appointment the twelve. Today’s pericope forms part of Luke’s ‘sermon on the plain’ Chapter 6:17-49 is a reinforcement of the parabolic messages of verses 20-38 where one is exhorted to love one’s enemies and not be quick in judging others. This is the code by which the reconstituted Israel is to live its calling.

The text is an invitation to a personal examination of our lives. Jesus is exhorting one to remove the plank from one’s eye rather than be focused on the splinter in another’s. In no way are the words of Jesus to be misconstrued as a denial of failings in the life of others. Everyone has their failings but what is essential is to be able to identify my own blind spot first.  

When I become aware of my inadequacies, I become gentler with dealing with others and think the best of others rather than the worst. Such an attitude helps me to hold off criticism till I have cleaned my own slate. In short, Jesus is challenging the way we evaluate people and the yard sticks we use.

For the apostles and the disciples of Jesus, self-examination was to be an important part in their role as leaders. One can’t lead others if one is lost themselves and if they attempt to do so they will both fall in a pit. Verse 39 is not a text meant to be read in reference to false leaders in Luke community but rather Luke wants to reiterate that the disciples are blind as long as they do not open their eyes to the teachings of Jesus.

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