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espanolCiertos tipos iconograficos marianos se han mostrado especialmente propicios a las representaciones de la Virgen en relacion con algunos elementos naturales. La Madre de Dios se encuentra, a menudo, en contacto directo con la tierra en numerosas imagenes de la Virgen de la Humildad y en un jardin, rodeada de flores, en la Virgen de la Rosaleda; mientras que, tras su Asuncion, lirios y rosas asoman del sepulcro vacio. En todos estos casos, segun podemos inferir de su estudio iconografico, a partir de las fuentes patristicas y teologicas, la naturaleza es un simil de las virtudes de la Virgen, aunque no siempre. En algunas imagenes de la Scala Salutis, el suelo permite fijar a Maria en su condicion humana, a diferencia de Cristo, con quien comparte espacio. En conclusion, el elevado numero de imagenes donde la naturaleza, por una u otra razon, se encuentra asociada a la Madre de Dios, no son producto de la casualidad, ni anecdoticos, sino fruto de una compleja retorica visual. EnglishCertain Marian iconographic subjects have proved to be especially propitious to the representations of the Virgin in relation with some natural elements. The Mother of God is, often, in direct contact with the land in numerous images of the Virgin of Humility and in a garden, surrounded with flowers, in the Virgin of the Rose Garden; whereas, after her Assumption, lilies and roses bloom in the empty sepulcher. In all these cases, as we can figure out from their iconographic study, based on the Patristic and theological sources, the nature is an analogy of the virtues of the Virgin, but not always. In some images of the Scala Salutis, the ground allows to fix Mary in her human condition, unlike Christ, with whom she shares space. In conclusion, the high number of images where the nature, for any reason, is associated with the Mother of God, are not even neither casual or anecdotal, but a product of a complex visual rhetoric.

'In altum mittis radices humilitatis'. Un estudio de las imágenes de María en contacto con la naturaleza