| Location: | Częstochowa, Poland |
| Date: | Attested as early as 14th century |
| Type: | Wooden icon, bejewelled |
| Attributes: | Black Madonna in Hodegetria form, Infant Jesus, fleur-de-lis robes, slashes on right cheek |
| Patronage: | Poland |
The Black Madonna of Częstochowa (Polish: Czarna Madonna z Częstochowy; Latin: Imago thaumaturga Beatae Virginis Mariae Immaculatae Conceptae, in Claro Monte|lit=Miraculous Image of the Immaculate Conception, the Blessed Virgin Mary in the Crystal Mountain), also known as Our Lady of Częstochowa (Polish: Matka Boska Częstochowska) is a venerated icon of the Blessed Virgin Mary housed at the Jasna Góra Monastery in Częstochowa, Poland.
Pope Clement XI issued a Pontifical decree of canonical coronation to the image on 8 September 1717 via the Vatican Chapter. It has also merited three Pontifical golden roses.
The icon is venerated by both Catholics and Eastern Orthodox Christians.
The original painting (122 centimeters × 82 centimetres)[1] displays a traditional composition well known in the icons of Orthodox Christianity. The Virgin Mary is shown as the "Hodegetria" version (meaning "One Who Shows the Way" or “Οδηγήτρια” in Greek). In it, Mary directs attention away from herself, gesturing with her right hand toward Jesus as the source of salvation. In turn, the child extends his right hand toward the viewer in blessing while holding a book of gospels in his left hand. The icon shows Mary in fleur-de-lis robes.[2]
The origins of the icon and the date of its composition are still contested among scholars.[3] One difficulty in dating the icon is due in part to its original image being painted over after being severely damaged by robbers in 1430. The wooden panel backing the painting was broken, and the image slashed. Medieval restorers unfamiliar with the encaustic method found that the paints they applied to the damaged areas "simply sloughed off the image", according to the medieval chronicler Risinius. Their solution was to erase the original image and repaint it on the original panel. The original features of an Orthodox icon were softened; the nose was made more aquiline.[2]
The icon of Our Lady of Częstochowa has been intimately associated with Poland for the past 600 years. Its history before it arrived in Poland is shrouded in numerous legends that trace the icon's origin to Luke the Evangelist, who painted it on a cedar table top from the Holy Family house.[4] [5] The same legend holds that the painting was discovered in Jerusalem in 326 by Helena, who brought it back to Constantinople and presented it to her son, Constantine the Great.[6]
The oldest documents from Jasna Góra state that the picture traveled from Constantinople via Belz.[5] Eventually, it came into the possession of Władysław Opolczyk, Duke of Opole, and adviser to Louis of Anjou, King of Poland and Hungary. Ukrainian sources state that earlier in its history, it was brought to Belz with much ceremony and honors by King Lev I of Galicia and later taken by Władysław from the Castle of Belz when the town was incorporated into the Polish kingdom. A famous story tells that in late August 1384, Ladislaus was passing Częstochowa with the picture when his horses refused to go on. He was advised in a dream to leave the icon at Jasna Góra.
Art historians say that the original painting was a Byzantine icon created around the sixth or ninth century. They agree that Prince Władysław brought it to the monastery in the 14th century.
See main article: The Most Holy Virgin Mary, Queen of Poland. In August 1382, the hilltop parish church was transferred to the Paulites, a hermitic order from Hungary. The golden fleur-de-lis painted on the Virgin's blue veil parallel the heraldic azure, semée de lis, or of the French royal coat of arms and the most likely explanation for their presence is that the icon had been present in Hungary during the reign of either Charles I of Hungary or Louis the Great, the Hungarian kings of the Anjou dynasty. They probably had the fleur-de-lis of their family's coat of arms painted on the icon. This would suggest that the image was probably originally brought to Jasna Góra by the Pauline monks from their founding monastery in Hungary.The Black Madonna is said to have miraculously saved the monastery of Jasna Góra (English: Bright Mount) from a Swedish invasion.[5] The Siege of Jasna Góra took place in the winter of 1655 during the Second Northern War, as the Swedish invasion of the Polish–Lithuanian Commonwealth is known. The Swedes were attempting to capture the Jasna Góra monastery in Częstochowa. The sacred icon was replaced with a copy and the original moved in secret to the castle in Lubliniec, and later to the Pauline monastery in Mochów between the towns of Prudnik and Głogówek.[7] Seventy monks and 180 local volunteers, mostly from the Szlachta (Polish nobility), held off 4,000 Swedes for 40 days, saved their sacred icon and, according to some accounts, turned the course of the war. This event led King John II Casimir Vasa to give what has become known as the Lwów Oath. He submitted the Polish Commonwealth under the protection of Our Lady and proclaimed her Queen of Poland in the cathedral of Lwów on April 1, 1656. Before this event, several royal nobilities have offered crowns to the image throughout the years, replacing its iron sheet crown riza with one in gold with several jewels. In later years, various gemstones were interchanged and repositioned around the image to preserve the icon's aesthetic by replacing the stolen crowns.[8]
The legend concerning the two scars on the Black Madonna's right cheek is that the Hussites stormed the Pauline monastery in 1430, plundering the sanctuary. Among the items stolen was the icon. The Hussites tried to get away after putting it in their wagon, but their horses refused to move. They threw the portrait down to the ground, and one of the plunderers drew his sword upon the image and inflicted two deep strikes. When the robber tried to inflict a third strike, he fell to the ground and writhed in agony until his death. Despite past attempts to repair these scars, they had difficulty covering up those slashes as the painting was done with tempera infused with diluted wax.[4]
Częstochowa is regarded as the most popular shrine in Poland, with many Polish Catholics making a pilgrimage there every year. Since 1711, a pilgrimage leaves Warsaw every August 6 for the nine-day, 140-mile trek. Elderly pilgrims recall stealing through the dark countryside at great personal risk during the Nazi occupation. Pope John Paul II secretly visited as a student pilgrim during World War II.[9]
The feast day of Our Lady of Częstochowa is celebrated on August 26.[10]
See also: Catholic Mariology. Several pontiffs have recognized the image:
Orthodox Christian believers in Ukraine and Belarus as former parts of the Polish–Lithuanian Commonwealth.[11] Ukrainians have a special devotion to the Madonna of Częstochowa. The icon is often mentioned in Ukrainian folk songs from the 16th and 17th centuries.[5]
Our Lady of Czestochowa Roman Catholic Church in Houston, Texas has a copy hanging inside the church to the left of the altar. This version of the icon does not have the heavily gilded gold over the initial image.[12]
The American National Shrine of Our Lady of Czestochowa is located in Doylestown, Pennsylvania.[13] Another shrine of the image is located in Garfield Heights, Ohio; erected on October 1, 1939, by the Sisters of St. Joseph of the Third Order of St. Francis.[14]
In Australia, the Shrine of Our Lady of Mercy, Penrose Park, located in the Southern Highlands of New South Wales is dedicated in her honour. The title Our Lady of Mercy is used as remembrance of times throughout history that prayers for protection have been responded to through appeal to Our Lady of Częstochowa, as adherents believe.[15]
Due to its appearance, the icon has been syncretized by some Vodou practitioners to the deity Ezilí Dantor, the main loa of the Petro family in Haitian Vodou. It is hypothesized that the image was introduced into Haiti by the reproductions of the Black Madonna brought by Polish soldiers who sided with the rebels during the Haitian Revolution.
pl:Wojciech Kurpik
. Wydawnictwo Konserwatorów Dzieł Sztuki, Wydawnictwo Bernardinum. Łódź-Pelplin. 2008. 302. pl, en, hu. 20 March 2011. https://web.archive.org/web/20110518040626/http://www.ksiegarnia.bernardinum.com.pl/Czestochowska_Hodegetria-170.html. 18 May 2011. dead.