“Dicsőségbe öltözött” – A görög katolikus identifikáció tükröződése a máriapócsi (nemzeti) kegyhely irodalmi ábrázolásaiban

Földvári, Sándor (2012) “Dicsőségbe öltözött” – A görög katolikus identifikáció tükröződése a máriapócsi (nemzeti) kegyhely irodalmi ábrázolásaiban. In: Lét- és önértelmezés a Biblia tükrében. Arianna könyvek (5). ELTE BTK Régi Magyar Irodalom Tanszék, Budapest, pp. 31-42. ISBN 978-963-284-292-9

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Abstract

The baroque cults of the Holy Virgin raised and spread in connection to the tearing images of her in the late 17th and early 18 cc. One of the most specific sacred images was the icon of the Mother of God (Hodegetreia) in Mariapoch, the small village in East Hungary with inhabitants of Greek Cahtolic Church (i.e. Uniates, Catholics followed the Byzantine Rite). The tears were connected to the decline (or at least the sad position) of the Hungarian people. The Habsburg Emperor Leopold I made it carried to Vienna where it inspired a cult of another type. It become a symbol and tool of private spirituality while the cult in East (later the entire) Hungary was a way to express the collective memory and patriotism. Numerous other images of the Holy Virgin were centres of cults connected to patriotism, although on not so pregnant ways. The tears of Virgin Mary as defenders of the patria from the barbarians appeared in the Christian tradition in Byzantium, after the siege of the Avars in 696 and became a literary topos as e.g. in hymn by the George of Pisidia. The question is, have the late baroque western cult of tearing Virgin origins in the Byzantine tradition, or it was an absolutely independent and new phenomenon in West Europe. The possible answer may be done by studying the narratives, too, connected to the cults in the Byzantine Catholic inhabitants in Hungary. A brief description of the painting and its history is given in the paper, focusing on the cultural contacts but not on the piet approach to the subject.

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