MARY: “HAND MADE” by God – Solemnity of the Assumption of the Blessed Virgin Mary

- Ceiling of the Assumption of Mary in Santa Maria Immacolata, Rome
MARY: “HAND MADE” by God – Solemnity of the Assumption of the Blessed Virgin Mary
Solemnities are of the highest degree in the liturgy of the Church and are usually reserved for the most important mysteries of faith. The word comes from Latin sollemnitas, derived from sollus (whole) and annus (year), indicating an annual celebration. There are 17 solemnities inscribed in the General Roman Calendar which are observed throughout the Latin Church . The Assumption of the BVM, is one of the seventeen.
On November 1, 1950, Pope Pius XII formally defined and promulgated the dogma of the Assumption in his encyclical Munificentissimus Deus. The world was living in a post-World War II era and the Pope clearly wanted to express his hope that meditation on Mary’s assumption would lead the faithful to a greater awareness of our common dignity as the human family.
Pope Pius XII defined the Assumption of Mary to be a dogma of faith: “We pronounce, declare and define it to be a divinely revealed dogma that the immaculate Mother of God, the ever Virgin Mary, having completed the course of her earthly life, (note the silence regarding her death) was assumed body and soul to heavenly glory.” The Church never explicitly says Mary did not die.
Make no mistake; Pope Pius XII did not just wake up one day to pronounce this definition as claimed by the Pentecostals. The tradition of the Assumption goes back to as early as the sixth century when we find homilies on the Assumption. In 749 St. John Damascene recorded an interesting story concerning the Assumption: “St. Juvenal, Bishop of Jerusalem, at the Council of Chalcedon (451), made known to the Emperor Marcian and Pulcheria, who wished to possess the body of the Mother of God, that Mary died in the presence of all the Apostles, but that her tomb, when opened, upon the request of St. Thomas, was found empty; wherefrom the Apostles concluded that the body was taken up to heaven” (Second Homily on the Dormition of Mary)
THE MASTER OF THE SEA: ‘Jesus walks on water’ by Ivan Aivazovsky
THE MASTER OF THE SEA: ‘Jesus walks on water’ by Ivan Aivazovsky
Undoubtedly, one of the greatest marine artists of all times is Ivan Aivazovsky. His paintings reflect his ability to capture the ever changing moods of the sea with brilliance and conviction. A Russian Romantic painter, he was born in the Black Sea port of Feodosia in 1817. Situated on the southern coast of the Crimean peninsula, he grew up literally by the waves. Thus began his affair with the wonders of the waters. In the mid – 1840’s, he was appointed the main painter of the Russian Navy.
When Aivazovsky began his career, the world of art was dominated by Romanticism. Well, for those who are new to artistic nuances, the word Romanticism has nothing to do with the Romans. Nor has it anything to do with adorable cupids, cruised in the clouds, poised with bows and arrows ready to make two people fall in love.
Rather Romanticism was an intellectual, literary, artistic and musical movement that originated in Europe in the late 18th century. It reached its peak in the 1850’s. Romantic art stressed on emotions, feelings, individualism, spirituality, imagination and fervour. In most of his paintings, Aivazovsky deals with Dark Romanticism. This lays emphasis on feelings of fear, uncertainty, obscurity, horror, despair, pain, and loneliness.
In today’s painting, Aivazovsky features the duality of Romanticism. On one end are the apostles in a precarious position. The atmosphere is sinister and the men at peril. As strong winds wage the sea, the gloominess of the horizon suggests that the weather is going to worsen. On the opposite end stands hope. Christ categorically calms the apostles and the storm by His extraordinary presence. Thus collide the dialectics of Romanticism, of turbulence and peace.
Desperation to deliverance- Saturday, 18th week in ordinary time- Matthew 17: 14 – 20
Desperation to deliverance- Saturday, 18th week in ordinary time- Matthew 17: 14 – 20
The Italian High Renaissance master, Raffaello Sanzio da Urbino, in his last earthly masterpiece, captured this narrative in the lower register of the great painting of the Transfiguration. In the upper register of the painting and dominating it, is the narrative of the Transfiguration; and then there is this story, in the bottom register. While the painter may have subordinated this narrative to the great narrative of the Transfiguration, he certainly understood the importance of the issue at stake. Faith after all, is no trivial matter.
Jesus has taken Peter, James and John up the mountain. It is here that they experience the Transfiguration. Already we get a sense of a personal transformation, as a result of the Transfiguration experience. Petulant Peter, who had been chastised in Caesarea Philippi for harbouring his own ambitions, is now a humbled man. He address Jesus as “Lord” not teacher and is now submissive and suggestive; “If you wish, I will make three dwellings.”
The nine other apostles were still at the foot of the mount. They had no idea what had just taken place and are blissfully unaware of the deep personal experience of the three apostles. While this great mystical experience was taking place on the mount, they were struggling to heal an epileptic on the plains. It’s ironic that they could not heal the boy, for they had already received in chapter ten, the power to cast out demons. What then seemed to be the problem?
Interestingly, what the disciples failed to recognize, the father of the boy with epilepsy did. He does not greet Jesus with the customary “rabbi” but calls Jesus “Lord”. This is the same title that Peter greeted the transfigured Lord. This simple man of faith had not trudged with Jesus over the Galilean countryside as He preached and healed; he must have simply heard of Jesus, had faith and believed.