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Explore the mystical world of María Fernández Coronel, a Spanish mystic & artist known for her bilocation accounts & visionary art. Discover her unique works & legacy.

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2 4ステップ中の2番目

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Corner sample of the WhiteWrap canvas edge finish, stretched on 無垢材 bars
白の側面仕上げ ¥1
Corner sample of the BlurSideWrap canvas edge finish, stretched on 無垢材 bars
エッジぼかし仕上げ ¥1
Corner sample of the ExtendedWrap canvas edge finish, stretched on 無垢材 bars
回り込み仕上げ ¥1
Corner sample of the P118B picture frame: 成型ポリスチレン, 5 cm wide and 3 cm thick
P118B ¥10
Corner sample of the P118H picture frame: 成型ポリスチレン, 5 cm wide and 3 cm thick
P118H ¥10
Corner sample of the P118W picture frame: 成型ポリスチレン, 5 cm wide and 3 cm thick
P118W ¥10
Corner sample of the P438Z picture frame: 成型ポリスチレン, 5.5 cm wide and 3.5 cm thick
P438Z ¥10
Corner sample of the P508JH picture frame: 成型ポリスチレン, 7 cm wide and 3.5 cm thick
P508JH ¥12
Corner sample of the P508YH picture frame: 成型ポリスチレン, 7 cm wide and 3.5 cm thick
P508YH ¥12
Corner sample of the P805H picture frame: 成型ポリスチレン, 5 cm wide and 3.5 cm thick
P805H ¥10
Corner sample of the P805Z picture frame: 成型ポリスチレン, 5 cm wide and 3.5 cm thick
P805Z ¥10
Corner sample of the P919BZ picture frame: 成型ポリスチレン, 7 cm wide and 3.5 cm thick
P919BZ ¥10
Corner sample of the P919G picture frame: 成型ポリスチレン, 7 cm wide and 3.5 cm thick
P919G ¥10
Corner sample of the P919XJ picture frame: 成型ポリスチレン, 7 cm wide and 3.5 cm thick
P919XJ ¥10
Corner sample of the P959ZH picture frame: 成型ポリスチレン, 5 cm wide and 3 cm thick
P959ZH ¥10
Corner sample of the P968JZ picture frame: 成型ポリスチレン, 6 cm wide and 4 cm thick
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Corner sample of the W106C picture frame: 無垢材, 5 cm wide and 3 cm thick
W106C ¥8
Corner sample of the W218G picture frame: 無垢材, 5 cm wide and 3 cm thick
W218G ¥10
Corner sample of the W218JH picture frame: 無垢材, 5 cm wide and 3 cm thick
W218JH ¥8
Corner sample of the W218Y picture frame: 無垢材, 5 cm wide and 3 cm thick
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Corner sample of the W307PJ picture frame: 無垢材, 6 cm wide and 3 cm thick
W307PJ ¥10
Corner sample of the W316G picture frame: 無垢材, 6 cm wide and 3 cm thick
W316G ¥10
Corner sample of the W316PJ picture frame: 無垢材, 6 cm wide and 3 cm thick
W316PJ ¥8
Corner sample of the W316Y picture frame: 無垢材, 6 cm wide and 3 cm thick
W316Y ¥10
Corner sample of the W398PJ picture frame: 無垢材, 5 cm wide and 3 cm thick
W398PJ ¥8
Corner sample of the W4111J picture frame: 無垢材, 6.5 cm wide and 3.5 cm thick
W4111J ¥10
Corner sample of the W500HY picture frame: 無垢材, 7 cm wide and 5 cm thick
W500HY ¥15
Corner sample of the W500JH picture frame: 無垢材, 7 cm wide and 5 cm thick
W500JH ¥15
Corner sample of the W692G picture frame: 無垢材, 8 cm wide and 4 cm thick
W692G ¥12
Corner sample of the W849H picture frame: 無垢材, 5 cm wide and 3 cm thick
W849H ¥8
Corner sample of the W940BG picture frame: 無垢材, 7.5 cm wide and 4.5 cm thick
W940BG ¥15
Corner sample of the W953PJ picture frame: 無垢材, 6 cm wide and 3.5 cm thick
W953PJ ¥8
Corner sample of the H24-GOLD picture frame: ジェッソ仕上げの木彫, 10 cm wide and 6 cm thick
H24-GOLD ¥30
Corner sample of the H24-SILVER picture frame: ジェッソ仕上げの木彫, 10 cm wide and 6 cm thick
H24-SILVER ¥30
Corner sample of the H36-GOLD picture frame: ジェッソ仕上げの木彫, 15 cm wide and 6.5 cm thick
H36-GOLD ¥45
Corner sample of the H36-SILVER picture frame: ジェッソ仕上げの木彫, 15 cm wide and 6.5 cm thick
H36-SILVER ¥45
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作者は誰?

世界中への配送()は、通常の5週間ではなく、3〜4週間でお届けいたします。(7 11月)。品質には一切妥協いたしません。

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刻印入りブロンズプレートの詳細

This elegant plaque features the artist's name and the title of the artwork, finely engraved for a timeless presentation.

It is made from bronze with a refined, elegant finish. The text is precisely laser-engraved for a sharp and permanent result. Measuring 9x2 cm, the plaque is compact yet easy to read. It's built to be durable and scratch-resistant, offering a professional, museum-quality look. Mounting is simple thanks to the included adhesive backing.

透明アクリル銘板の詳細

The plaque includes essential engraved details such as the artist's name, the title of the artwork, the date it was created, the type of media used-like oil on canvas or watercolor-a brief description of the piece, and a QR code that links to the complete artwork information.

It is crafted from clear acrylic, offering a sleek, modern appearance. The text is UV-engraved in black to ensure strong visual contrast. With a size of 10x15 cm, it ensures optimal readability. It comes equipped with two metal hooks for secure wall mounting. The plaque is designed to be weather-resistant, making it suitable for various environments, and it includes interactive features that work seamlessly with smartphone scanning.

黒アクリル製銘板の詳細

This elegant plaque includes engraved information such as the artist's name, the title of the artwork, the date it was created, the type of media used (like oil on canvas or watercolor), a short description of the artwork, and a QR code for quick access to more information.

The plaque itself is made from refined black acrylic with a premium finish. The text is laser-engraved in white for high contrast and readability. Its size is 10x15 cm, designed to be easy to read. It comes with two metal hooks for professional mounting. The design is sleek and fits any interior style. It is also weather-resistant and durable, with built-in digital integration for mobile compatibility.

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本キットは、経験豊富なプロの額装師が、木工用ボンド(別売)、キャンバス用プライヤー、およびボンドの乾燥時に桟を直角に保持するためのクランプを使用して、組み立ておよびキャンバスの張り作業を行う必要があります。不適切な組み立てやキャンバスの張りの不均一は、作品に永久的な損傷を与える恐れがあり、弊社の保証対象外となります。

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重要:
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世界中への配送()は、通常の5週間ではなく、3〜4週間でお届けいたします。(7 11月)。品質には一切の妥協を許しません。

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込み

合計金額

¥ 41621

合計金額 ¥ 41621

ガラスオプションは、110cm未満のサイズでのみご利用いただけます。

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María Fernández Coronel

María Fernández Coronel

1602 - 1665, Spain

作家プロフィール

A Life Shrouded in Mysticism: María Fernández Coronel

María Fernández Coronel, known as Mary of Jesus of Ágreda, was a figure both celebrated and controversial during the tumultuous 17th century. Born on April 2nd, 1602, in the small Spanish town of Agreda, nestled between Navarre and Aragon, her life became inextricably linked with profound religious experiences and an extraordinary claim: that of bilocation. From a young age, she exhibited signs of deep piety, receiving her First Communion at an unusually early age. This devotion led her to enter the Franciscan convent in 1620, taking the name María de Jesús. Her family’s fervent faith—her father and brothers also entering religious orders—created an environment steeped in spiritual intensity that would shape her destiny. In 1627, at just twenty-five years old, she was unexpectedly elected Abbess of the monastery, a position she held for nearly forty years, save for a brief respite. It wasn’t merely her administrative skills or piety that distinguished her; it was the burgeoning reputation for miracles and visions that began to draw attention from all levels of Spanish society.

The Power of Revelation: Writings and Correspondence

María de Jesús became renowned as a mystic writer, though her path to publication was not without its challenges. Her initial attempt at a comprehensive history of the Virgin Mary, an *Introduction to the History of the Most Blessed Virgin*, was destroyed under the guidance of one confessor due to concerns about its content. It was later, under another Franciscan confessor, Andrés de Fuen Mayor, that she embarked on her most ambitious project: The Mystic City of God. This sprawling work, completed over several years, purported to be a series of divine revelations detailing the life of Mary, filled with apocryphal history, scholasticism, and vivid imagery. Despite facing criticism for its historical inaccuracies—and even being placed on the Index Librorum Prohibitorum (List of Prohibited Books) in 1681—the book remained popular within Spain, valued as a powerful ascetic and mystical treatise. However, it was her correspondence with King Philip IV that truly cemented her influence. Beginning in 1643, she engaged in an extensive exchange of over six hundred letters with the monarch, offering spiritual counsel and discussing matters of state. This unique relationship elevated her status beyond the cloistered walls of Agreda, making her a trusted advisor to one of Europe’s most powerful rulers.

Bilocation and Missionary Zeal: A Journey Across Continents

The most extraordinary aspect of María de Jesús' life—and the source of much debate—was her claim of bilocation. Beginning around 1620, she reported experiencing visions in which she was transported instantaneously to New Spain (modern-day Mexico and the southwestern United States), appearing among the Jumano Indians of central New Mexico and West Texas. These journeys, she claimed, occurred while remaining physically present within her monastery. Reports surfaced from Franciscan missionaries working in the region who spoke of a “Lady in Blue”—a woman dressed in the habit of her order—who had appeared to the native populations, teaching them about Christianity in their own language and urging them to seek baptism. While skepticism abounds, the detailed knowledge she possessed of the geography and customs of these distant lands fueled belief in her extraordinary ability. She is said to have made over 500 such journeys within a single year, acting as an unseen evangelist across vast distances. This missionary zeal, whether physically realized or spiritually inspired, profoundly impacted the early efforts to convert indigenous populations in North America.

Legacy and Enduring Symbolism

María Fernández Coronel died on May 24th, 1665, leaving behind a complex legacy. She remains a significant figure in Spanish religious history, revered by many as a saintly mystic and visionary. Her writings continue to be studied for their insights into the spiritual climate of the 17th century, offering a glimpse into the intense devotion and fervent beliefs that characterized the era. The image of “The Lady in Blue” has become deeply ingrained in popular culture, particularly in the southwestern United States, where she is remembered as a protector and guide to the indigenous peoples. Her story—a blend of faith, political influence, and extraordinary claims—continues to captivate and inspire debate centuries after her death.

Artistic Contributions

While primarily known for her writings and spiritual life, María Fernández Coronel’s artistic contributions are often overlooked. The painting Otomi Grammar, attributed to her, provides a fascinating glimpse into her intellectual pursuits beyond religious texts. This vintage Spanish work features intriguing text—likely related to the Otomi language—suggesting an interest in linguistics and cross-cultural communication. The very act of documenting this indigenous language through art speaks to her engagement with the cultures she claimed to visit during her bilocations, offering a unique perspective on her missionary efforts. The painting serves as a tangible reminder that María de Jesús was not simply a passive recipient of divine revelations but an active scholar and observer of the world around her.