Its form Virgin Mary It is a timeless pillar in the Greek consciousness, an omnipresent figure that goes beyond the limits of religious faith to become a deeply rooted cultural symbol. Art, in all its manifestations, became the vehicle for the expression of this deep relationship. From the strict theology of the icon to the human pain of poetry and the comforting melody of the song, the Virgin Mary unites the divine with the human, faith with emotion. Its form, as the most adorable face of Orthodoxy after the Holy Trinity, was first designed by the Apostle and Evangelist Luke, who created the standards for all the subsequent images. This primitive relationship is the starting point of its timeless presence in art. The transition of the form of Our Lady from the strictly religious context of the Byzantine icon to the most personal, secular world of poetry and song is not a mere secularization, but a process of deep cultural assimilation. Our Lady does not lose its divine dimension, but is enriched with human characteristics that allow faithful – or just the people – to approach it in a more direct and personal way.
Image Theology: Illustrative types and symbols
Byzantine art was not just a means of aesthetic enjoyment, but it was primarily aimed at making images effective in their worship, acting as a deeply anthropocentric and “military” medium. The historical evolution of Byzantine hagiography is divided into periods, with the gloomy times of iconoclasm (724-843 AD) being a critical moment that has stopped its course. The definitive end of the dispute in 843 AD By restoring images led to a regeneration of Orthodox hagiography
Through this course, various iconographic types of Theotokos were developed and codified, each with his own theological statement:
- Our Lady of Odigitria: It is the most common iconographic formula. It depicts the Virgin Mary upright or in a bust, to hold Christ with one hand and to indicate him with the other, stating that he is the path to salvation. The image of the Guide Monastery in Constantinople, which was attributed to Apostle Luke, became “Holy Palladium” and was used in ceremonies and in war conflicts.
- Our Lady of Glycofilousa / Eleousa: This type highlights the mother tenderness and the human dimension of the mother-vibrant relationship. The Virgin Mary is depicted bringing her cheek close to the child, while Christ repays tenderness by embracing his mother. The name
- Our Lady as Platera: It is usually depicted in the conch of the temples of the temples. It symbolizes the mediation of the Virgin Mary between heaven and earth, as she “sparked” the endless God in her belly. This theological property captures the Virgin Mary as a “heavenly scale”, the bridge through which God came into the world.
The evolution of iconographic types indicates a different theological approach. While the Driver focuses on Christ as the ‘dogmatic’ path, the Sweetheart and the Eleusa They emphasize maternal compassion. Comparison with Western Renaissance (eg works by Leonardo da Vinci or Raphael) shows a common theme, but with a different interpretation, as Western art began to attribute the Virgin Mary with greater realism, even as a common mortal.
Poetry of pain and hope
The form of the Virgin Mary was a top source of inspiration for religious poetry, both Byzantine and Modern Greek.
Byzantine hymnography
THE Unscrupulous hymn It is the leading work of Byzantine hymnography, a triumphant hymn that praises the incarnation of God through Theotokos. It consists of 24 houses on alphabetical nozzle and describes events from the life of the Virgin Mary and theological issues, such as birth, evangelism and Ypapanti. In contrast to the Akathist, the “Fatalism of Our Lady” It is a moving, anthropocentric lament for the crucifixion of Christ, seen through the eyes of the tragic mother. This folk tuition is chanted around the Epitaph on Good Friday, using phrases of genuine human pain such as “Oh my sweetheart, my sweet child, which is your beauty?” This dichotomy between the triumphant hymn and the religious fatalist is the foundation stone for the poetic approach of the Virgin Mary.
Our Lady in Modern Greek Poetry
Modern Greek poets, by clicking on this tradition of popular mourning, turning the Virgin Mary into a human symbol:
THE Giannis Ritsos She perceives her as a simple woman in the village, walking “silent under the trees”. In
THE Kostas Varnalisin the poem “The Pains of Our Lady”she uses her form to express the human pain of the mother, with bad courts for the fate of her child. She sees her crying “like the fate of the East”.
THE Ulysses Elytis It connects the Virgin Mary with nature, light and Greek identity. She calls it “Pantanassa, my Canal, Drosiani”, using the local names of popular worship. In his poems, he connects it with Earth, Light and Hope, making the eternal symbol of the Greek landscape.
The Melody of the Soul: From the Psalms to the Song
Melody and rhythm have always been an integral part of the worship of Our Lady. Byzantine hymns, such as “Agni Virgin Despina” and “Axion Estin”, continue to be chanted and interpreted by choirs, maintaining the connection with the past. At the same time, a rich folk music tradition was developed.
In traditional songs, the form of the Virgin Mary often appears as a symbol of help at important moments of life, such as marriage (eg “I descended Lady Panagia” from Leros). In the modern era, Our Lady becomes a common theme in folk song. Tolis Voskopoulos sings for “Blonde Favorite Our Lady”, using it as a transfer for a lost love, while Eleni Vitali personally invokes her in her song “My Lady”.
The song is the most direct and personal expression of the relationship with Theotokos. While the image is an object of worship and poetry an internal process, the song is a public, emotional confession. The use of the names of the Virgin Mary (eg Hozoviotissa, Prousiotissa, Sumela) shows the connection of faith with local identity and collective memory. Her presence in folk song proves that the Virgin Mary is not a distant, unmistakable divine character, but a form that can provide consolation in human, secular pains, such as separation and loneliness.