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Topics: Black Nazarene, Quiapo, Manila, Quiapo Church Pages: 7 (2226 words) Published: February 10, 2014
Etymology
The Black Nazarene derives its name from Jesus' hailing from Nazareth in Galilee, and the image's very dark complexion unusual among most Philippine religious images. Adorning the statue's head are the traditional "Tres Potencias" ("three powers") halo, symbolizing the three powers of the Holy Trinity. The three rayos ("rays") are used to exclusively identify Christ in traditionalHispanic iconography, and are an angular evolution of the common cruciform halo. The importance of the holy relic lead to a procession through the streets of Manila. The event is taken from the Spanish term translation (Spanish: Traslación) referring to "Passage" or "Movement." The term was later modernized or adapted from English in the Latin root form "Trans" or "Port" (Transport/to move or carry) in addition to the prefix of the word "Translacion" to move the image from one place to another parading around the city in a certain specific sequence. The word "Translacion" is often mistaken as the Spanish or Tagalog word for "translation," however both "Traslacion" and "Translacion" are applicable accordingly for the holy event. Ándas

The image's wooden base is referred to as the peana, while its carriage or carroza used in processions is called the Ándas (from the Spanish andar, "to move forward"). Until the latter part of the 20th century, the Ándas, as the name implies, was a silver-plated platform borne on two poles called pinga. Today it is pulled by devotees using a pair of 50-metre long ropes, which had evolved from the pinga. History

The image enshrined in the high altar of the Minor Basilica of the Black Nazarene, Manila. The statue was made by an anonymous Mexican sculptor, and the image arrived in Manila via galleon fromAcapulco, Mexico, sometime in the first decade of the 1600s. Folk tradition attributes the dark colour of the statue to a fire on the ship that charred the originally white skin. The surviving image has been enshrined in the Minor Basilica for centuries, withstanding several fires, earthquakes and war. A common misconception among devotees is that this copy is the same as the lost image from the Church of Saint Nicholas of Tolentino, which belonged to the Recollects in what is now Rizal Park outside Intramuros. The Quiapo image was available for physical veneration by devotees, while the Recollects always kept their copy above the retablo mayor (high altar) away from crowds. The present-day statue enshrined in Quiapo Church is in fact a composite of the original head and a replica body, the latter sculpted by renowned Filipino Santero (saint-maker) Gener Manlaqui. A second composite statue of the original body and the Manlaqui replica's head is enshrined in a different location, emerging only for the three major annual processions. This arrangement began in the 1990s because of security concerns for the image; up to that point, the original image in its entirety was processed.

Sculpture
The Black Nazarene is constructed from ivory kneeling with the height of 5'5 along with the halo and the cross of 6'0. The image is built during the early 1600's transporting from Mexico by theManila Galleon route founded by Andres de Urdaneta fouded in 1565. The image is dressed in a heavy velvet maroon tunic, embroidered with floral or plant emblems in gold thread, and with lace trimmings on the collar and cuffs. Around its waist, a gold-plated metal belt embossed with the word "NAZARENO" while a golden chain and ball loops around the neck and is held in its left hand, representing the Flagellation. The barefooted statue is in a genuflectingposture, symbolizing the agony and the weight of the cross with the pain Jesus Christ went through during His crucifixion. The statue's original body has lost several fingers over the years, and the original head has since been transferred several times onto a full-scale replica body by renowned Filipino sculptor Gener Manlaqui as commissioned by the Archdiocese of Manila. The...
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