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Baris 30:
Di Gereja Ortodoks dan [[Gereja-Gereja Katolik Timur]], pengangkatan Maria ke surga disebut ''[[Dormisi Bunda Allah|Tertidurnya Bunda Allah]]''. Hari peringatan Tertidurnya Bunda Allah tidak termasuk hari besar utama, karena dasarnya bukanlah Alkitab melainkan tradisi Gereja.
 
== Gelar-gelar terkait karya seni rupa ==
==Descriptive titles of Mary related to visual arts==
{| class="wikitable"
! width=200| ImageRagam Typecitra !! width=100| Typical Art StyleLanggam !! DescriptionPenjelasan
|-
|align="center"|[[File:Vladimirskaya ikona.jpg|100px|center]]
'''''[[EleusaIkon iconEleusa|Eleusa]]'''''<br />
"Bunda Yang Lemah Lembut"
"Our Lady of Tenderness"
|align="center"|[[ByzantineKekaisaran Romawi Timur|Romawi Timur]]
|Di dalam ikon dari abad ke-12 yang tidak diketahui nama pembuatanya ini, Maria tampak menyentuhkan pipinya pada wajah Kanak-Kanak Yesus, cerminan kelemah lembutan seorang ibu. Dua abad kemudian, ragam penggambaran semacam ini ditiru seniman besar Rusia, [[Andrei Rublev]]. Sepanjang sejarahnya, ikon asli karya Andrei Rublev sudah beberapa kali luput dari kehancuran. Sesudah [[Revolusi Rusia]] ikon ini disimpan di [[Galeri Tretyakov]] di [[Moskwa]], tetapi wakil-wakil [[Gereja Ortodoks Rusia]] mengupayakan agar ikon ini kembali dipajang di sebuah gereja di dekat galeri tersebut;
|In this 12th c. depiction by an unknown artist, Mary holds her baby's face to her cheek as an expression of maternal tenderness. The evocative pose was copied two centuries later by the great Russian painter [[Andrei Rublev]]. The original was saved from destruction several times in its history. After the [[Russian Revolution]] it was housed in the [[Tretyakov Gallery]] in [[Moscow]], but representations from the [[Russian Orthodox Church]] ensured it is once again in a nearby church, where services are held;
|-
|align="center"|[[File:Odigitriya Smolenskaya Dionisiy.jpg|100px|center]]
'''''[[Hodegetria]]'''''<br />
"Sang Mursyidah"
"She Who Shows the Way"
|align="center"|[[Byzantine]]
|Mary holds Christ in her left hand and with her right hand she "shows the way" by pointing to Him;
|-
|align="center"|[[File:Presbyter Martinus Madonna als Sedes Sapientiae.jpg|100px|center]]
'''''[[SeatTakhta of WisdomKebijaksanaan|Sedes Sapientiae]]'''''<br />
"Takhta Kebijaksanaan"
"Throne of Wisdom"
|align="center"|[[RomanesqueSeni rupa art|Romanesque|Romanik]]
|Kristus duduk di pangkuan ibunya, sehingga Maria pun diumpamakan sebagai singgasana Kristus, Sang Hikmat;
|Christ is seated in His mother Mary's lap, symbolically the "Throne of Wisdom";
|-
|align="center"|[[File:Toledo Virgen Coro.jpg|100px|center]]
Baris 58:
|-
|align="center"|[[File:Giovenone Madonna del latte Trino.jpg|100px|center]]
'''''[[Madonna LactansMenyusui]]'''''<br />
"Our Lady Nursing"
|align="center"|Gothic and [[Renaissance art|Renaissance]]
Baris 65:
|align="center"|[[File:Lippo memmi, madonna della misericordia, Chapel of the Corporal, Duomo, Orvieto.jpg|100px|center]]
'''''Mater Misericordiae'''''<br />
"[[Virgin of Mercy|Virgin/MotherBunda ofYang MercyBerbelas Kasihan]]"
|align="center"|[[Gothic art|Gothic]], [[Renaissance]], [[Baroque]]
|A regal, celestial Mary is depicted covering the faithful in her protective mantle; first arose in the late 13th century in Central Europe and Italy; depiction is commonly associated with [[Plague (disease)|plague]] monuments.{{sfn|Jeep|2001|p=393}}
Baris 73:
"Majesty"<br />
of the '''''Virgo Deipara'''''<br />
"Perawan Yang Melahirkan Allah"
"Virgin God-bearer"
|align="center"|[[Gothic art|Gothic]]
|Mary is seated in majesty, holding the Christ Child; based on Byzantine ''Nikopoia'' iconography;
Baris 81:
"Pity"<br />
of the '''''[[Mother of Sorrows|Mater Dolorosa]]'''''<br />
"Bunda Yang Berdukacita"
"Mother of Sorrows"
|align="center"|[[Renaissance sculpture|Renaissance]]
|Mary cradles the dead body of Jesus Christ after his crucifixion; this type emerged first in the 13th century in Germany as an ''[[Andachtsbild]]'' or devotional icon relating to grief; Italian ''Pietàs'' appeared in the 14th century;<ref>Watts, Barbara. "Pietà". Grove Art Online. Oxford University Press, Retrieved 17 February 2008, http://www.groveart.com/</ref> Michelangelo's ''[[Pietà (Michelangelo)|Pietà]]'' (1498&ndash;1499) is considered a masterpiece;
Baris 88:
'''''Mater Amabilis'''''<br />
"Loving Mother"<br />
commonly, "'''[[Madonna anddan ChildKanak-Kanak]]'''"
|align="center"|[[Renaissance painting|Renaissance]], [[Baroque]]
|Iconic Western depiction with many variations; based loosely on Byzantine ''Glykophilousa'' ("sweet kisses") iconography; Mary turns her gaze away from the Christ Child as she contemplates His future [[Passion (Christianity)|Passion]]; Renaissance emphasis on classical ideal types, realistic human anatomy, and [[linear perspective]] are evident;
Baris 94:
|align="center"|[[File:Raphael Madonna della seggiola.jpg|100px|center]]
'''''Madonna della seggiola'''''<br />
"Madonna of the ChairKursi"<br />
|align="center"|[[Renaissance painting|Renaissance round painting]]
|Mary with toddlers Jesus and his cousin, [[John the Baptist]], looking on, painted 1513-1514 during [[Raphael]]'s Roman period. The unusual non-linear style and colouring is more reminiscent of [[Titian]] and [[Sebastiano del Piombo]] and bears out their influence. This painting has been greatly admired by many people, including [[Nathaniel Hawthorne]], and by subsequent painters of the stature of [[Ingres]].<ref>[http://www.royalcollection.org.uk/media/pdf/cp%20zoffany2.pdf Zoffany] {{webarchive|url=https://web.archive.org/web/20141018010145/http://www.royalcollection.org.uk/media/pdf/cp%20zoffany2.pdf |date=2014-10-18 }}, RoyalCollection.org, retrieved 18 October 2014</ref>
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