Elena Rossi
The Virgin Mary is a central figure in Christianity as the mother of Christ and humanity, and her clothing in art and sculpture is a reflection of her virtues. The colour blue is most commonly associated with her, with the term 'Marian blue' referring to a deep, rich shade often used in representations of her. This tradition dates back to Byzantine art in 500 AD when blue was the colour of an empress, reflecting Mary's status as the Queen of Heaven and Mother of God. The blue pigment was derived from lapis lazuli, a stone imported from Afghanistan that was once more valuable than gold. Artists would also depict Mary wearing red, which was the colour worn by influential Jewish women of her time, to represent traits connected with motherhood, including love, passion and devotion.
| Characteristics | Values |
|---|---|
| Colour | Blue, red, white, black, gold, green |
| Material | Lapis lazuli, silver, azurite, gold leaf, fabric, stone |
| Garment type | Cloak, chemise, tunic, veil, mantle, sash, crown, belt, robe, gown, vestments |
| Symbolism | Purity, motherhood, divinity, passion, devotion, faith, love, constancy, faithfulness, royalty, strength, compassion |
| Notable depictions | Gentile da Fabriano’s Nativity (1420-22), Madonna Surrounded by Seraphim and Cherubim (1452), The Rest on the Flight into Egypt (1512-15), Madonna of Altötting, Virgin of Loreto, Our Lady of Czestochowa, Madonna of Einsiedeln, Virgin of Mariazell |
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What You'll Learn
Blue: Purity, divinity, royalty, and tranquillity
The colour blue has been used to depict the Virgin Mary in art and sculpture for centuries. The shade, known as "Marian blue", is a tone of ultramarine, derived from the rock lapis lazuli. This stone was imported from Afghanistan and was once more precious than gold.
The association between Mary and the colour blue is thought to have originated in the Byzantine Empire around 500 AD, when blue was the colour of an empress. This association elevated Mary's image and cemented her status as the Queen of Heaven and the mother of all humanity. The colour blue also symbolises the sky and heaven, further emphasising Mary's divine status.
In art, the Virgin Mary is often depicted wearing a white robe and a blue veil, cloak, or sash. Sometimes, she is shown wearing a blue robe with a red chemise underneath. The colour red symbolises traits connected with motherhood, including love, passion, and devotion.
The use of blue to represent Mary is not just about divinity and royalty. It also symbolises purity, modesty, faith, and Mary's other virtues. Light blue, in particular, is often used to convey gentleness, purity, and tenderness. Dark blue, on the other hand, is associated with majesty and glory and reflects Mary's dignity and the profound mystery of her motherhood of Christ.
The colour blue has been used to portray the Virgin Mary for so long that it has taken on a life of its own. It has become a symbol of her identity and significance, with the mere mention of "Marian blue" evoking a sense of reverence and awe.
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Red: Motherhood, love, passion, and devotion
The Virgin Mary is often depicted wearing blue, a colour associated with royalty, divinity, and the sky in Renaissance art. The blue pigment was derived from lapis lazuli, a stone imported from Afghanistan that was once more valuable than gold. The use of blue in Mary's garments emphasizes her purity, modesty, and divinity as the Mother of Christ and all humanity.
Red is another significant colour in depictions of Mary, symbolizing motherhood, love, passion, and devotion. Classical artists like Botticelli, Raphael, and DaVinci frequently portrayed Mary wearing a red tunic under a blue mantle. The colour red was chosen because it was worn by influential Jewish women during Mary's time. In some images, Mary is dressed in blue above and red below, symbolizing how she was invested with divine grace, bringing divinity into her humanity.
The combination of red and blue in Mary's garments can also be interpreted in multiple ways, reflecting the complex readings of these colours. The colours red and blue, male and female, continue to uphold Christian-defined gender norms in art.
In certain Marian shrines, the Virgin Mary's statue or painting may be "covered" with an "overcoat" or "over" dress, often made of precious fabrics or metals. These coverings may symbolize specific dates, solemnities, or the symbolism depicted in the covering itself. The original form of the statue or painting is still visible, and the "over" dress serves to embellish and protect the image of Mary.
The colours and garments of the Virgin Mary in art and shrines are not random but carry profound theological meanings and political symbolism. Artists have used colour to express the multifaceted aspects of Mary's character, including her strength, compassion, and significance in the life of Christ.
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White: Purity, innocence, and reverence
White has been a symbol of purity and innocence for millennia, and this is no different when it comes to the Virgin Mary. In fact, in many depictions of Mary, she is shown wearing a white robe, and in some instances, a white veil. In one example, Jean Fouquet's Madonna Surrounded by Seraphim and Cherubim (1452), the Virgin's skin is blanched so that she appears albino, with her white flesh framed by the sumptuous blue of her gown.
The colour white is also associated with reverence, and this is reflected in the way that Mary is often dressed in art. In the Sanctuary of Our Lady of Altötting, Germany, the robes of the Virgin are described as "magnificent", with gilded fabrics and precious stones on a black background. The statue of the Virgin of Loreto in Italy is similarly described as "precious", with a rigid form that hides her arms, and a play of colours between black and gold. In these instances, the colour white is not present, but the reverence for the Virgin Mary is clear.
In the context of Marian shrines, the Virgin Mary is often depicted wearing a "double dress". This means that an icon or statue of the Virgin Mary is "covered" with an "overcoat", which can be made of precious fabric or metal. In the case of the statue of the Madonna in Einsiedeln, Switzerland, the statue of the Madonna is shown wearing priestly vestments that vary from gold, red, and blue to white. In this instance, the white of the priestly vestments reflects the purity and innocence associated with the colour, as well as the reverence felt for the Virgin Mary.
The colour white is also significant in the apparitions of the Virgin Mary. For example, at Lourdes and Fatima, Mary is said to have appeared wearing white. In these instances, the colour white not only symbolises Mary's purity and innocence but also the divine nature of her apparitions.
Overall, the colour white plays an important role in the iconography of the Virgin Mary, reflecting her purity, innocence, and the reverence felt for her by the faithful.
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Gold: Divinity and royalty
Gold has long been associated with divinity and royalty, and its use in art and iconography serves to emphasise these qualities. In the context of the Virgin Mary, gold is often used in conjunction with blue—a colour associated with the Virgin—to signify her elevated status as the Queen of Heaven and Mother of God.
Gold has been used in art to represent divinity and royalty for centuries. In ancient times, gold was a symbol of the sun and, therefore, of supreme power and divinity. In Christian art, gold often represents the divine light of Heaven and is used to evoke a sense of awe and reverence.
In depictions of the Virgin Mary, gold is sometimes used as an accent colour, providing a rich contrast to the predominant use of blue. In the statue of the Madonna and Child in Einsiedeln, Switzerland, for example, the Virgin Mary is depicted wearing priestly vestments adorned with gold, red, white, and blue. Similarly, the robes of Our Lady of Altötting, Germany, are described as "gilded fabrics and precious stones on an elegant black background".
Gold is also used as a covering or "overcoat" for icons and statues of the Virgin Mary. In the Marian shrine of Czestochowa, for instance, the ancient icon of Mary is covered with precious metal laminate studded with small golden decorations. This practice of covering religious images is known as "dressing" or "clothing" the icon and is done to honour and venerate the figure depicted.
The use of gold in these contexts serves to emphasise the divinity and royalty associated with the Virgin Mary, reflecting her elevated status within Christianity and her role as the Queen of Heaven and Mother of God. The combination of gold and blue in her garments symbolises the fusion of the divine and the earthly, highlighting her unique role as the bringer of divinity into humanity.
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Black: Solemnity and mystery
Black, a colour often associated with solemnity and mystery, has been used in the garments of the Virgin Mary in some artistic depictions. In one instance, the Virgin Mary is described as wearing a black belt, specifically the Aztec Maternity Belt, symbolising that she was "with child". The statue of the Virgin of Loreto in Italy is described as wearing a garment with a play of colours between black and gold. The Madonna's robes in the Cathedral of Our Lady of Altötting, Germany, are also described as having an elegant black background embellished with gilded fabrics and precious stones.
In addition to black, the Virgin Mary's garments in art and sculpture are often depicted in blue, a colour that has become known as "Marian blue". This tradition can be traced back to the Byzantine Empire around 500 AD when blue was the colour of an empress. The colour blue is also associated with the sky and divinity, reflecting Mary's role as the Queen of Heaven and the Mother of Christ. Artists have used different shades of blue in their depictions of Mary to convey various aspects of her identity and significance. Dark blue, for example, is associated with majesty and glory, while light blue conveys gentleness, purity, and tenderness.
Red is another colour that is sometimes used in the Virgin Mary's garments, particularly in combination with blue. In some images, Mary is clothed in blue to represent divinity and grace, while the red underneath symbolises the "flesh" and humanity brought into the world through her womb. Renaissance painters chose red because it was the colour worn by influential Jewish women of her time.
The use of different colours and shades in the garments of the Virgin Mary is not random but carries profound theological and political symbolism. Artists have used colour to express the multifaceted aspects of her character, including her strength, compassion, purity, modesty, and her significance in the life of Christ and the divine plan of salvation.
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Frequently asked questions
The colour blue is associated with the Virgin Mary as it is the colour of heaven and the divine. In the Old Testament, Mary is compared to the Ark of the Covenant, which was draped in blue cloth for protection. As the mother of Christ, Mary is also seen as protected by heaven. The colour blue also represents Mary's purity, modesty, and royalty.
The blue pigment used in paintings of the Virgin Mary is ultramarine, derived from the rock lapis lazuli. Lapis lazuli was a costly stone imported from Afghanistan that was more valuable than gold. As such, the use of ultramarine in paintings of the Virgin Mary was an expression of devotion and glorification.
Yes, the Virgin Mary is also often depicted wearing white to symbolise her purity and innocence, or red to represent her love, passion, and devotion as a mother. In some cultures, blue is associated with masculinity, and the Virgin Mary is instead depicted wearing pink, which is considered a more feminine colour.
Yes, in some Marian shrines, there is the tradition of covering icons or statues of the Virgin Mary with precious materials, such as silver or gold. These coverings are known as "overcoats" or "over" dresses and are meant to embellish the underlying figure while also protecting it.
