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A Christmas Card
from Mary
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A Christmas Card from Mary Most Catholics are familiar with the story of how the Blessed Virgin appeared to Juan Diego and his uncle Juan Bernardino, converted to Christianity at the time of the Spanish conquest of Mexico. They know that Mary put into Juan Diego’s cloak some roses that grew even though it was winter and that on opening his cloak before the Bishop on it appeared the image of Our Lady of Guadalupe. Here are some other interesting facts about the image that they may not know. Juan Diego and Juan Bernardino possessed no special social standing. Yet they had central roles in the conversion of Mexico. Juan Diego represented the bulk of the nation, the group to which Mary, the mother of God, wanted to address herself. Juan Bernardino was a community elder whose standing was presumably damaged by his conversion to Christianity. He represented the collective knowledge and identity of the indigenous community. Mary called herself “Guadalupe” in her appearances, a name that was known to the Spaniards because of a Black Madonna found in the thirteenth century on the banks of the Guadalupe River. The Royal Monastery of Santa Maria de Guadalupe was built in the Virgin’s honor. Mary’s choice of this name signified her mission to unite both the Spanish and the indigenous peoples of Mexico in one faith. That seemed impossible at the time principally because of the abusive treatment of the natives by the Spanish conquistadores. Juan Diego’s Indian name was Cuauhtlatoatzin (eagle that speaks). In the Aztec culture the eagle played an important symbolic role. According to Aztec mythology in the fourteenth century the people migrated south to the valley of Mexico. An eagle sitting on a cactus marked the site of their future capital city, Tenochtitlan (place of the nopal cactus rock). The eagle was revered as a symbol of the sun god. At the Virgin’s behest Juan Diego, the eagle that speaks, is designated as the messenger of the beginning of a new civilization. The apron-like cloak, called a tilma, on which Mary appears, was made of rough maguey cactus. Normally such a tilma would last no longer than a few decades particularly in the salty and humid climate of Tepeyac, but this one has lasted for 478 years, “something completely beyond scientific explanation” according to researcher and physicist Dr. Adolfo Orozco. The tilma was exposed for approximately 116 years without any kind of protection like a glass cover, receiving infrared and ultraviolet radiation from tens of thousands of candles near it. The tilma survived two remarkable events that might have destroyed it. In 1875 a worker accidentally spilled a 50 percent nitric acid solvent on the right side of the cloth. Beyond any natural explanation the acid did not destroy the fabric; indeed it did not destroy the colored part of the image. The second event in 1921 during a period of anticlericalism was the explosion of a bomb deliberately concealed in a flower vase at the base of the image. The bomb blast broke marble floors and windows 150 meters distant but no damage was done to the image and its glass case. Science is unable to explain the origin of the coloration of the image nor how it was painted. From a distance of 3-4 inches from the image one sees only the cactus fibers; the color disappears. The colors seem to float above the surface of the tilma. There are no vestiges of brush strokes or any other known painting technique. The stars that appear on Mary’s mantle reflect the exact configuration and positions that could be seen in the sky of Mexico on the day the miracle occurred. On the right side parts of southern constellations have been identified: Ophiuchus, Libra, Scorpio, Lupus, Hydra, the Southern Cross, and Centaurus. On the left side of the mantle one sees the northern constellations: a fragment of the Herdsman, Great Bear (Big Dipper), Berenice’s Hair, Hunting Dogs, Thurban (the brightest star of the Draco constellation), part of Auriga and Taurus. Forty-six of the most brilliant stars in their proper places that can be seen on the horizon of the Valley of Mexico are identified. An engineer, Jose Aste Tonsmann, magnified both the Virgin’s eyes about 1/3rd inch in size 2,500 times and found images of thirteen human figures. The figures are found in each eye. Apparently the figures are optically correct representations of the persons who first witnessed the image when Juan Diego opened his tilma. They could not have been painted by a human hand and are a forceful proof of an origin beyond nature. The tilma is highly symbolic, much like an Aztec codex or document. The image itself depicts a detail from Revelation 12:1: “A great sign appeared in the sky, a woman clothed with the sun, with the moon under her feet.” The sun and the moon are no longer to be considered as gods but as objects under Mary’s governance.
The Virgin wears a black band at her waist, symbolizing pregnancy. She wanted her Son to be born in the three Americas, in the heart of each American. The clouds around her would have elicited respect from the Aztecs who spoke about supernatural things as coming from the fog or clouds. At her feet there is an angel who is bald but with the face of a child, symbolizing both wisdom and innocence. The angel has the wings of an eagle decorated by a rainbow of blue, green, white, and red feathers. The eagle was the herald of the Aztec civilization. Mary would bring to America a new civilization. The blue-green color of Mary’s mantle had imperial associations. Only the Aztec emperor wore a blue mantle, typically festooned with emeralds symbolizing the heavens. At her feet there are two pieces of clothing, her tunic and mantle, held up by an eagle-angel. This symbolized her reign over the cosmos. She is pictured as an Aztec princess but her posture and bowed head suggest that she is praying to someone greater than she. Prayer was not only practiced in word but, among the Aztecs, by dance. The Virgin has her weight on one foot while the other knee is bent, a prayer dance position. Mary’s skin color is neither white like the Spaniards nor dark like the Indians. She is a mestiza, a combination of the two. She thus identifies herself completely with what the people of Mexico would become. Mary wears a brooch with a bare cross which points to her Son’s victory over death in the resurrection. The gold flower design on Mary’s tunic was not merely decorative, but symbolic. The four-petaled jasmine flower depicting the four directions (north, east, south and west) represented God. This flower, appearing only once, was positioned over the womb just below her pregnancy belt thus signifying that her child was divine. The eight-petaled flower which appears eight times symbolizes a new beginning and harmony among the spheres. The cluster of heart shaped flowers which appears nine times contains Aztec glyphs that stand for civilization. One cluster is placed above her clasped hands indicating an intercessory role for Mary. There is much more symbolism in the tilma. Mary is the first evangelist in that she was the first to present Christ to the world and she evangelizes here in language and symbols that the natives could comprehend. They understood Mary’s expression of God’s love and responded to it. Previously only few natives were converted, but eventually 8 million were baptized. So many natives wanted baptism that the priests petitioned Rome for permission to use a shortened form. It is time for this generation of Americans to respond to the love letter that is the image of Our Lady of Guadalupe. Printed December, 2009
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St. Mary's Church Pastor & Vicar
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