Eleusa icon in the context of "Theotokos of Vladimir"

The perpetual virginity of Mary is a Christian doctrine that Mary, the mother of Jesus, was a virgin "before, during and after" the birth of Christ. In Western Christianity, the Catholic Church adheres to the doctrine, as do many Lutherans, some Anglicans, Reformed, and other Protestants. In Eastern Christianity, the Oriental Orthodox Churches and the Church of the East both adhere to this doctrine as part of their ongoing tradition, and Eastern Orthodox churches recognize Mary as Aeiparthenos, meaning "ever-virgin". It is one of the four Marian dogmas of the Catholic Church. Most modern nonconformist Protestants, such as the Plymouth Brethren, reject the doctrine.

The extant written tradition of the perpetual virginity of Mary first appears in a late 2nd-century text called the Protoevangelium of James. The Second Council of Constantinople in 553 gave her the title "Aeiparthenos", meaning Perpetual Virgin, and at the Lateran Synod of 649 Pope Martin I emphasized the threefold character of the perpetual virginity, before, during, and after the birth of Christ. The Lutheran Smalcald Articles (1537) and the Reformed Second Helvetic Confession (1562) codified the doctrine of perpetual virginity of Mary as well.

In Christian art, a Madonna (Italian: [maˈdɔnna]) is a religious depiction of the Blessed Virgin Mary in a singular form or sometimes accompanied by the Child Jesus. These images are central icons for both the Roman Catholic and Orthodox churches. The word is from Italian ma donna 'my lady' (archaic). The Madonna and Child type is very prevalent in Christian iconography, divided into many traditional subtypes especially in Eastern Orthodox iconography, often known after the location of a notable icon of the type, such as the Theotokos of Vladimir, Agiosoritissa, Blachernitissa, etc., or descriptive of the depicted posture, as in Hodegetria, Eleusa, etc.

The term Madonna in the sense of "picture or statue of the Virgin Mary" enters English usage in the 17th century, primarily in reference to works of the Italian Renaissance. In an Eastern Orthodox context, such images are typically known as Theotokos. "Madonna" may be generally used of representations of Mary, with or without the infant Jesus, where she is the focus and central figure of the image, possibly flanked or surrounded by angels or saints. Other types of Marian imagery that have a narrative context, depicting scenes from the Life of the Virgin, e.g. the Annunciation to Mary, are not typically called "Madonna".

Virgin Glykofilousa is an egg tempera painting by Andreas Karadinos. Karadinos was a Greek painter active from 1680 to 1740. He was a prominent member of the Heptanese school and a representative of the island of Kefalonia. His teacher was famous painter Stephanos Tzangarolas. Karadinos was an Archpresbyter. He was active during the Neo-Hellenikos Diafotismos and Greek Rococo period. One fresco and twenty-two of his paintings have survived. He was also a goldsmith. A unique inscription on a holy table at the church of Agios Spyridon in Kefalonia features important details about his life.

Paintings of the Virgin Mary and child Jesus were extremely common in Greek-Italian Byzantine art. A very common position of child Jesus is the glykofilousa (Virgin of the sweet kiss) or eleusa (tenderness or showing mercy) position. Famous Greek painter Angelos Akotantos created many works in the style. Karadinos follows the prototype of his teacher Stephanos Tzangarolas. Tzangarola's painting Virgin Glykofilousa with the Akathist Hymn is very similar to Karadinos's work. Historians believe that the specific style of painting evolved in the late 1500s. Tzangarola and Karadinos may have copied an existing work that was on the island of Kefalonia around their time. The original painting did not survive but historical documents name the work of art. Historians refer to it as the Venier. It was in the Monastery Fanenton.

Mariology is the Christian theological study of Mary, mother of Jesus. Mariology seeks to relate doctrine or dogma about Mary to other doctrines of the faith, such as those concerning Jesus and notions about redemption, intercession and grace. Christian Mariology aims to place the role of the historic Mary in the context of scripture, tradition and the teachings of the Church on Mary. In terms of social history, Mariology may be broadly defined as the study of devotion to and thinking about Mary throughout the history of Christianity.

There exist a variety of Christian (and non-Christian) views on Mary as a figure ranging from the focus on the veneration of Mary in Roman Catholic Mariology to criticisms of "mariolatry" as a form of idolatry. The latter would include certain Protestant objections to Marian devotion. There are also more distinctive approaches to the role of Mary in Lutheran Mariology and Anglican Marian theology. As a field of theology, the most substantial developments in Mariology (and the founding of specific centers devoted to its study) in recent centuries have taken place within Roman Catholic Mariology. Eastern Orthodox concepts and veneration of Mary are integral to the rite as a whole, (the theotokos) and are mostly expressed in liturgy. The veneration of Mary is said to permeate, in a way, the entire life of the Church as a "dimension" of dogma as well as piety, of Christology as well as of Ecclesiology. While similar to the Roman Catholic view, barring some minor differences, the Orthodox do not see a need for a separate academic discipline of Mariology, as the Mother of God is seen as the self-evident apogee of God's human creation.