Black Nazarene

The Black Nazarene (; ), officially and liturgically known as ' (; ) and often shortened to Jesús Nazareno, is a Roman Catholic title referring to a life-sized dark statue of Jesus Christ carrying the True Cross. The venerated image is enshrined in the Minor Basilica and National Shrine of Jesus Nazareno in Quiapo, Manila, Philippines.

Pious devotees believe that physically touching the image can grant miracles and cure diseases. The original image, or its replica, is brought out in procession three times a year:

January 9 – the Feast of the Black Nazarene, the octave day of the traditional Feast of Most Holy Name of Jesus, which is the original dedication of Quiapo Church. It is now declared the national liturgical feast day. The Traslación  is the name of the procession reenacting the 18th century transfer of the image from Intramuros. It is also called the Walk of Thanksgiving or the Thanksgiving Procession.

Name and description

The image derives its official name from "Nazarene", a title of Christ identifying him as a native of Nazareth, along with its dark complexion (unusual for depictions of Jesus, even in the Philippines, but can be found in Mexico where the statue was carved).

The image wears a braided wig made of dark, dyed abacá, along with a golden Crown of Thorns. Attached to the Crown are the traditional "Tres Potencias" ("three powers") halo, variously understood as symbolising the three powers of the Holy Trinity; the faculties of will, memory, and understanding in Christ's soul; or his exousia (authority), dunamis (power), and kratos (strength). These three rayos ("rays"), likely an angular variant of the cruciform halo, are used exclusively for and proper to images of Jesus Christ in traditional Filipino and Hispanic iconography to signify his divinity. The original image has lost several fingers over the centuries.

Jesus is shown barefoot and in a genuflecting posture, symbolising the agony and the weight of the Cross, along with the overall pain Christ endured during his Passion. The Cross itself is of black wood tipped with flat, pyramidal brass caps.

Composition and main replicas

300px|thumbnail|right|The Señor Vicário being lifted onto its ándas at the start of the 2012 Traslación. The peana or base of the image can be seen under the hem of its robes.

There is no singular complete image of the Jesús Nazareno, as the original one was broken into several pieces, and combined in two main replicas: The Señor Cabeza is a famed image previously maintained by the Catholic priest Father Emmanuel del Rosario of the Diocese of Cubao, who also was a devotee of the Jesús Nazareno. After his death, the image was donated to the church as callejero on 26 October 2022.

Vestments

The image is dressed in a heavy velvet tunic of maroon, embroidered with floral and plant designs using gold thread, and trimmed with a matching set of white lace collar and cuffs. Around the waist is a gold-plated metal belt embossed with the word "NAZARENO", while a golden chain ending in spheres is looped around the neck and held in the left hand, representing the Flagellation of Christ.

The vestments of the image are changed in the rite of Pabihis (English: Vesting the image), which is presided over by a Catholic priest vested in an alb, red cope and stole. Devotees watching the ceremony either sit inside the basilica, or follow along outside in Plaza Miranda. The rite comprises with several hymns, the reading of scriptural lessons, the recitation of prayers, and then the blessing of the new vestments. As a sign of modesty and reverence, a curtain is raised to shield the statue from public view as the male attendants called Hijos change its vestments, and then it is dropped once the actual changing is complete. The old vestments are folded and presented to the faithful, who queue to kiss and touch these in the belief these bear the image's miraculous properties. The rite of vesting is officiated five times a year in preparation for major religious occasions; since 2022, a few of the vesting day rites are also livestreamed online.

List of authorized replicas

The Quiapo Church also donates official replicas of the Nazareno to churches and shrines in the Philippines and abroad to spread devotion to the image. Currently, 39 approved replicas are in Catholic territories nationwide, and eight are enshrined overseas. Nevertheless, it can be assumed the image was already in the Philippines before the mid-17th century, since Pope Innocent X authorized the Cofradía del Nuestro Padre Jesús Nazareno (Confraternity of Our Lord Jesus the Nazarene) on April 20, 1650. The dark coloration of the image hints to Catholic and indigenous Mexican syncretism, as the Christ of Chalma (Señor de Chalma), is also made of similar material and color.

The image was first enshrined in the Church of San Juan Bautista of the Augustinian Recollects in Bagumbayan, Luneta, then it was transferred to the Church of San Nicolás de Tolentino (popularly known as the "Recoletos Church") inside Intramuros. It was enshrined in the or high altar of the church, leaving only for a procession on Palm Sunday. Both the church and the image were destroyed in the Allied bombardment of Manila during its liberation in 1945.

Replica and alleged vandalism

thumb|The image enshrined above the [[high altar of the Minor Basilica and National Shrine of Jesus Nazareno, Manila.]]

During his tenure as Archbishop of Manila (1767-1787), Basílio Sancho de Santa Justa y Rufina ordered the Augustinian Recollect priests to transfer a copy of the image to the Quiapo Church. The reason was to give devotees greater access to the image, and secure the safety of Intramuros from outsiders. Contrary to popular belief that this transfer occurred on 9 January 1787, which became the basis of Feast of the Jesus Nazareno celebrated by the faithful every January 9 through a procession (the Traslación), there is no available historical record specifying the date of its transfer from Intramuros to Quiapo.

There is an urban legend of a fanatical Iglesia ni Cristo member who allegedly shot at the image, triggering hysteria that led to his death, and left a gunshot mark on the left cheek of the Nazareno that is still unrestored by pious, popular demand. However, public historian Xiao Chua interviewed Eugenio “Boy” Jongco, former president of the Hijos de Nazareno - Central, who was an eyewitness to the event. While he did confirm there was a shooting incident and commotion as the procession passed an Iglesia ni Cristo locale along Concepcion Aguila Street in the mid-1980s, he clarified the gun was not aimed at the image. He added that the “hole” in the image's face was a dent already present since its carving, revealed over time as the wood dried and aged. For most of the Spanish Era, indigenous Filipinos were barred from Holy Orders, while confraternities were groups of laymen and thus an open option for religious life.

Pope Pius VII granted the image his apostolic blessing in 1880, which granted a plenary indulgence to those who piously pray before the Christological image.
Pope John Paul II issued a Pontifical decree which raised the shrine to the status of Minor Basilica on 11 December 1987. The decree was signed and notarized by the Vatican Secretary of State, Cardinal Agostino Casaroli.

Pious cult and veneration

300px|thumb|A replica of the Nuestro Padre Jesús Nazareno at [[Plaza Miranda during the 2011 Traslación.]]

300px|thumb|Devotees raise their hands to receive blessings of the Nuestro Padre Jesús Nazareno after Mass at [[Quiapo Church.]]

Veneration of the Nuestro Padre Jesús Nazareno is rooted among Filipinos who strongly identify with the passion and suffering of Christ the image depicts. Many devotees of the venerated image relate their poverty and daily struggles to the Passion of Christ.

Some believers practice walking in barefoot as a form of piety while others make an effort to ride on the carriage in the belief of obtaining graces from the devotional image. Prior to the Second Vatican Council, procession of the image was relatively solemn and peaceful. The rowdy and massive nature of the procession began in the 1960s as the population grew and greater hype surrounded the image.

While the actual patron saint of the basilica is John the Baptist (making its feast day June 24, concurrent with the secular Araw ng Maynila), the Jesús Nazareno and its Traslación are more popular.

At the end of each Mass said in the basilica, devotees pay homage to the image by clapping their hands. In addition to the novena, Traslación, Pahalík, and the Pabihis, the Pasindí ("lighting") or lighting of votive candles is another popular devotion, as is the decades-old, reverential custom of creeping on one's knees down the main aisle towards the altar and image.

The Friday of each week in the year (except Good Friday, the image's liturgical commemoration) is colloquially known in Metro Manila as "Quiapo Day", since the novena for the image is held on this day nationwide. As with Wednesday (which is comparably called "Baclaran Day"), this day is associated with heavy traffic around the basilica due to the influx of devotees and pilgrims.

The attached Nazarene Catholic School (formerly the Quiapo Parochial School) reflects the devotion of school authorities; its official newsletter is likewise named "The Nazarene", with pupils called "Nazareñans."

The largest annual procession for the Nuestro Padre Jesús Nazareno is the January 9 Traslación procession on the Feast of Jesús Nazareno, attracting millions of Catholic devotees, who try to touch or get their towel wiped by the image carriers on the image to attain its blessings and power. Along with Santo Niño (Child Jesus), it is the most popular object of devotion in the Philippines. In 2011, over six million Catholic devotees flocked to the Feast of Jesús Nazareno.

Music

The hymn Nuestro Padre Jesús Nazareno was composed by National Artist of the Philippines, Lucio San Pedro to honor the image. It is used by the basilica as the official anthem to the image and associated rites.

The image is also prominently featured on the front cover of Pabasa books, a Lenten manual hymn commemorating the life and Passion of Jesus Christ.

Claims of indigenous idolatry

According to the rector of the basilica, Father José Clemente Ignacio, the image's procession and devotional practices reflect the "Filipino trait to want to wipe, touch, kiss, or embrace sacred objects if possible", and reflect indigenous belief in "the presence of the Divine in sacred objects and places."

According to Jaime Laya, these practices are a modern form of indigenous idolatry, a continuation of the pre-Christian act of revering sacred objects through pious touching (Filipino: hipò, himas). Elizabeth Pisares also states that this is a revision of the idolatry from the pre-colonial era, and suggests its link with social disparities among Filipinos.

According to Mariano Barbato, the debate over the icon comes down to personal interpretations of what constitutes idolatry.

Notes

References

External links

Quiapo Church Website Minor Basilica of the Black Nazarene – Parish of Saint John the Baptist • Quiapo • Manila
GMA NEWS.TV, Emergency: Pista ng Nazareno - 01/12/2008
GMA NEWS.TV, Gma News Research, The Black Nazarene
Pinoys celebrate 405th anniversary of the Black Nazarene 2012
Inquirer News | Philippine Catholic pilgrims defy terror alert
Manila Bulletin | Devotees defy threat