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Not to be confused with .
Illustration of the woman of the Apocalypse in
(redrawing of an illustration dated c. 1180), depicting various events from the narrative in Revelations 12 in a single image.
The Woman of the Apocalypse (or Woman clothed in the Sun, γυν? περιβεβλημ?νη τ?ν ?λιον; Mulier amicta sole) is a figure from Chapter 12 of the
(written ca. AD 95).
In this narrative the woman gives birth to a male child that is attacked by the Dragon identified as the
and . When the child is taken to heaven, the woman flees into the wilderness leading to "" in which the angels cast out the Dragon. The Dragon then attacks the woman who is given wings to escape, and then the dragon proceeds to attack her with a flood of water from his mouth, which is subsequently swallowed by the earth. Frustrated, the dragon initiates war on "the remnant of her seed" identified as the righteous followers of Christ.
The Woman of the Apocalypse is widely identified as the . This interpretation is held by the
as well as in the medieval and modern Roman Catholic Church. This view does not negate the alternative interpretation of the Woman representing the , as in modern Catholic dogma, Mary is herself considered both the
(while in Reformed theology and traditions that are averse to , the interpretation of the Woman represents the naturally predominate church).
has original text related to this article:
has original text related to this article:
The text describes "a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars" (12:1). The woman is pregnant and about to give birth, "travailing in birth, and pained to be delivered" (12:2).
Then there is "a great red dragon, having seven heads and ten horns, and seven crowns upon his heads" (12:3) who is about to "devour her child as soon as it was born" (12:4). But her child is "caught up unto God" (12:5), and the woman herself is "fled into the wilderness, where she hath a place prepared of God, that they should feed her there a thousand two hundred and threescore days." (12:6)
Then there is a description of "" of the angels against the dragon, and "the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him." (12:9)
The woman is again mentioned in 12:13, as she is persecuted by the dragon, and " two wings of a great eagle" are given to her to escape (12:14). The dragon attacks her by "water as a flood" emerging from his mouth (12:15), but the flood is swallowed up by the earth (12:16), so the dragon went "to make war with the remnant of her seed, which keep the commandments of God, and have the testimony of Jesus Christ" (12:17).
has been depicted as the Woman of the Apocalypse since the 16th century.
Ancient witnesses to the Marian interpretation include St. Epiphanius, Tychonius (who heavily influenced St. Augustine), the unknown author of the ,
(a disciple of St. Augustine),
(Complexiones in Apocalypsi, written c. 570 AD), and the Greek Fathers
(6th c.) and
In modern times, the Marian interpretation has been affirmed by , , , and .
The woman's "male child," is a reference to
(Revelation 12:5), since he is destined to "rule all nations with a rod of iron" (Revelation 12:5). The dragon trying to devour the woman's child at the moment of his birth (Revelation 12:4) is a reference to 's attempt to kill the infant Jesus (Matthew 2:16). Through his death and resurrection, Jesus "was snatched up to God and to his throne" (Revelation 12:5). In the interpretation of
(1904), the birth not that of Jesus but "surely ours", i.e. that of the
"yet detained in exile, are still to be brought forth to the perfect love of God and eternal happiness".
(1950) makes explicit the reference to the . And
(1987) to the
interpretation of Genesis 3:15, and by extension the symbolic identification of the Woman with both Mary and .
For an assessment of the logical and theological reasons for identifying the Woman of Revelation 12 with Mary Mother of God, see Brunero Gherardini,
(2012) and D'Argon J-L, "The Apocalypse" in
A baroque Mondsichelmadonna (Madonna on the Crescent Moon) painting by , main altarpiece of the high altar at
(c. 1625). The Virign is depicted as wearing a white dress and blue mantle while crushing a serpent under her foot.
Both Marian veneration and the interpretation of the Woman of the Apocalypse are recorded since at least the 4th century, but the specific veneration of Mary in this form becomes tangible only in the medieval period. Iconographically, Marian figures associated with the Revelations narrative are recognizable by the astronomical attributes, specifically her standing on a , and the crown of twelve stars (while the description "clothed with the sun" is sometimes rendered by rays emanating from her figure). Association of Mary with a single star is recorded from the early medieval period, in the hymn . Many depictions of Mary from the
(14th to 16th century) show her standing on a
inspired by the association of Mary with the woman of the Apocalypse. The motif became so popular in 15th-century Germany that pre-existing Madonna figures were refitted with a crescent (e.g. Madonna of , c. 1300, refitted in the 15th century). The
was depicted as the Madonna of the Apocalypse since at least the 16th century.
(1654), shown with crescent moon and solar rays, portal of
monastery church.
Statue of Mary in
(1859) with a crown of twelve stars.
The Madonna of the Apocalypse became associated with , the "crown of twelve stars" being identified with a "rosary of twelve privileges" of Mary. The Virgin of the Rosary is frequently shown with the crown or halo of twelve stars (but not the crescent moon) in modern depictions (since the 19th century). A notable example is the . An anecdote (first published in the 1980s) connects the design of the
(1955) to this aspect of Marian iconography.
"Madonna with Child" as the woman in Revelation 12:1; Rotonda di San Lorenzo, Mantua, Italy, 14th century.
Commentators who adhere to Reformed Theology and are
identify the woman as the Church, and the man-child she gives birth to are the saints. According to this interpretation, Revelation 12:17 describes the remnant of the
as those who keep the commandments of , and have the testimony of . The offspring of the Woman, the Woman's seed, then refers to the . The man child "who shall rule the nations with a rod of iron" is a symbol of the faithful members of the Church. In Revelation 2:18-29, the
is promised that the faithful shall rule the nations with a rod of iron. In Revelation 19:15 the same thing is stated of Jesus. In Galatians 4:26,
refers to the "" as "our mother", and in Revelation 21:2 and Ephesians 5:21-32 the New Jerusalem and the Church is portrayed as the .
has traditionally identified itself as the end-time "" described in Revelation 12:17.
recognizes the 'woman' as Mary the Mother of the Christ and the Church. The Church acknowledges what it considers an invitation in the holy verses for the reader to ponder the mysteries between The
also interprets the woman to be the Church, and the man-child to be the political kingdom that will grow out of the Church pri this interpretation is made clear by
of the twelfth chapter of Revelation.
Dispensational , and Amillennialists who believe in multiple valid interpretations will often identify the woman as the nation of . There are several reasons given to support this interpretation. The woman is said to be clothed with the sun, the moon under her feet, and twelve stars. These symbols are drawn from Genesis 37:9–11, in which
has a dream of the sun and moon symbolizing his father and mother, and stars representing his eleven brothers, which bow down to him. The Old Testament's prophets referred to Israel as a "woman" (Isaiah 54:5-6; Jeremiah 4:31; Micah 4:9-10). The woman flees into the wilderness where she is nourished for 1260 days, the equivalent of three and a half years or forty-two months (cf. Rev. 11:1-3). According to this interpretation, these terms are used prophetically in Scripture either for the first half or the last half of the "," in Daniel 9:24-27, a prophecy specifically addressed to
and his people, Israel (Dan. 9:24). In the latter part of the seventieth week, a remnant of Israel will flee into the wilderness to escape the persecution of , who is called "," "the lawless one," and "whose coming is in accord with the activity of " (2 Thess. 2:1-12; cf. Rev. 12:4,9). , in the , warned the people of this time which would occur just prior to His return to set up His earthly, Millennial kingdom (Matt. 24:15-22). Further,
is called the guardian over the sons of Israel in Dan. 12:1. And he will arise at that time of national Israel's tribulation (Dan. 12:1; cf. Rev. 12:7).
Amillennialist belief can also interpret this passage as the nation of Israel, however this belief as expressed by amillennialists refers, not to the modern Israel, but to the Ancient religious state of Israel(Judea) as it existed in the time of Christ. The Child is Christ, born into the then existing state of Israel, and of Israel's lineage.
The remnant or sons of Israel is, in this understanding, the followers of Christ, the followers of the true religion of Israel as it exists after the coming of the messiah. The "," and prophecy of the , in this belief, are ascribed as concerning the first coming of Christ, the destruction of Jerusalem in 70 A.D(During which enforced emperor worship occurred in the temple of Jerusalem, which was later almost totally destroyed, and many Jews were made slaves in distant lands resulting presumably in their remaining families not knowing what happened to them or where they were), and the establishment of Christ's Church, as it currently exists, both on earth and in heaven.
Lutheran scholar Craig Koester, for example, says, "The woman encompasses the story of Israel, from whom the Messiah was born, as well as the story of the church, which was persecuted after Jesus' death and resurrection... John's visionary account of the threat against the woman and the woman's preservation uses imagery that encompasses many moments in the story of God's people. This allows the story to apply to people in many times and places."
Russian Orthodox theologian
() in his interpretation of Revelation notes of the astronomical attributes of the woman in Babylonian, Persian, Greek and Egyptian mythologies. He takes the crown of twelve stars as representing the . In his interpretation, astronomical attributes of a pagan goddess are here "translated into the language of Christian theology and assume the new symbolism
(1875), the foundational text of , presents the woman in the Apocalypse as symbolizing "generic man, the spiritual idea of G she illustrates the coincidence of God and man as the divine Principle and divine idea...the spiritual idea of God's motherhood." The man child represents "Christ, God's idea, [which] will eventually rule all nations and peoples - imperatively, absolutely, finally - with divine Science."
Some Catholic commentary, such as Haydock's Catholic Bible Commentary (1859) allows for the interpretation of the woman as either the Church or Mary. The commentary of the
(the official Roman Catholic Bible for America) states that "The woman adorned with the sun, the moon, and the stars (images taken from Gn 37:9–10) symbolizes God’s people in the Old and the New Testament. The Israel of old gave birth to the Messiah (Rev 12:5) and then became the new Israel, the church, which suffers persecution by the dragon (Rev 12:6, 13–17); cf. Is 50:1; 66:7; Jer 50:12."
Brading, D.A. Mexican Phoenix. Our Lady of Guadalupe: Image and Tradition Across Five Centuries. Cambridge University Press: Cambridge, 2001.
Adversus Haereses 78, 11; PG 42, 716 B-C. [PS]Epiphanius in his Homilia in laudes Mariae deiparae makes a direct equation between the Woman of Revelation and Mary
Tychonius view is transmitted by Cassiodorus, Complexiones in A PL, 70, 1411
The author intermixes portions of the infancy Gospel of Luke with Revelation 12. See The History of Joseph the Carpenter 6
Oecumenius in his commentary states that the woman is the Theotokos and that she is present in heaven bodily and describes her as consubstantial with us (i.e. of the same human nature). See The Fathers of the Church, Commentary on the Apocalypse by Oecumenius, translated by John N. Suggit,
St. Pius X, Ad diem illum. ASS 36. 458 - 59: "No one of us does not know that that woman signifies the Virgin Mary, who brought forth our Head with her virginity intact. But the Apostle continues: 'And being with child, she cried out, laboring in birth, and was in pain to be delivered. ' Therefore John saw the Most Holy Mother of God already enjoying eternal happiness, and yet laboring from some hidden birth. With what birth? Surely ours, we who, being yet detained in exile, are still to be brought forth to the perfect love of God and eternal happiness."
Pius XII, Munificentissimus Deus. AAS 42. 762-63: "We frequently find theologians and preachers who, following the footsteps of the Holy Fathers, use words and events from sacred Scripture with some freedom to explain their belief in the Assumption... . And furthermore, the Scholastic doctors have considered the Assumption of the Virgin Mother of God as signified not only in the various figures of the Old Testament, but also in that woman clothed with the sun, whom the Apostle John contemplated on the island of Patmos."
Paul VI, Signum Magnum, May 13, 1967 AAS 59: "The great sign which the Apostle John saw in heaven, 'a woman clothed with the sun' is interpreted by the sacred liturgy, not without foundation, as referring to the most Blessed Mary, the Mother of all men by the grace of Christ the Redeemer."
John Paul II, Redemptoris Mater, March 15, 1987. Vatican Translation. #24: "... she who was the one 'full of grace' was brought into the mystery of Christ in order to be his Mother and thus the Holy Mother of God, through the Church remains in that mystery as 'the woman' spoken of by the Book of Genesis (3:15) at the beginning and by the Apocalypse (12:1) at the end of the history of salvation."
Modello for the painting of the altarpiece for the high altar of the cathedral at , The J. Paul Getty Museum, Los Angeles, acc. no. 85.PB.146.
"Drawn by the Brush: Oil Sketches by Peter Paul Rubens." bampfa.berkeley.edu , accessed 2 December 2006
Michael Rohrmayer, Marianisches Wallfahrtsbuch, 1844, .
there are examples of Baroque-era predecessors of this iconographic tradition, e.g. , .
Arsène Heitz (), one of the designers who had submitted proposals for the flag's design, in 1987, following the adoption of the flag by the EEC, laid claim such a religious inspiration. Heitz also made a connection to the date of the flag's adoption, 8 December 1955, coinciding with the Catholic
of the . The French satirical magazine
reacted to Heitz' statement with an article entitled L’Europe violée par la Sainte Vierge ("Europe Raped by the Blessed Virgin") in the 20 December 1989 edition. Carlo Curti Gialdino, I Simboli dell'Unione europea, Bandiera - Inno - Motto - Moneta - Giornata. Roma: Istituto Poligrafico e Zecca dello Stato S.p.A., 2005. , pp. 80-85 ().
Koester, Craig R., Revelation and the End of All Things, Grand Rapids: Eerdmans, 2001.
pp. 123-124.
Sergei Bulgakov, 00The Apocalypse of St. John (published 1948),.
Baker Eddy, Mary (1910). Science and Health with Key to the Scriptures. Boston, MA: Christian Science Publishing Society. pp. 561–562.  .
Baker Eddy, Mary (1910). Science and Health with Key to the Scriptures. Boston, MA: Christian Science Publishing Society. p. 565.  .
Wikimedia Commons has media related to .
Chivalric precursors to St. George and the Dragon, 14 images under
Immaculata as
126 images under
Scriptural parturition imagery of Revelation chapter 12, 24 images under
Eastern icon of the type Matka Boska Ostrobramska, 28 images
at the Eastern Gate, Vilnius, Lithuania
: Hidden categories:Android 如何预置APK M-android100学习网
Android 如何预置APK M
正文 1, 如何将带源码的 APK 预置进系统？2, 如何将无源码的APK预置进系统？3, 如何预制APK使得用户可以卸载？4, 如何使得用户在将预置的 APK 卸载后，恢复出厂设置
1, 如何将带源码的 APK 预置进系统？
2, 如何将无源码的APK预置进系统？
3, 如何预制APK使得用户可以卸载？
4, 如何使得用户在将预置的 APK 卸载后，恢复出厂设置时能恢复？
[SOLUTION]
一、如何将带源码的APK预置进系统？
1) & & 在 packages/apps 下面以需要预置的 APK的 名字创建一个新文件夹，以预制一个名为Test的APK 为例
2) & & 将 Test APK的Source code 拷贝到 Test 文件夹下，删除 /bin 和 /gen 目录
3) & & 在 Test 目录下创建一个名为 Android.mk的文件，内容如下：
LOCAL_PATH:= $(call my-dir)
include $(CLEAR_VARS)
LOCAL_MODULE_TAGS := optional
LOCAL_SRC_FILES := $(call all-subdir-java-files)
LOCAL_PACKAGE_NAME := Test
include $(BUILD_PACKAGE)
4) & & 打开文件 build/target/product/${Project}.mk （其中 ${Project} 表示工程名）
将 Test 添加到 PRODUCT_PACKAGES 里面。
5) & & 重新 build 整个工程
二、如何将无源码的 APK 预置进系统？
1) & & 在 packages/apps 下面以需要预置的 APK 名字创建文件夹，以预制一个名为Test的APK为例
2) & & 将 Test.apk 放到 packages/apps/Test 下面
3) & & 在 &packages/apps/Test 下面创建文件 Android.mk，文件内容如下：
LOCAL_PATH := $(call my-dir)
include $(CLEAR_VARS)
# Module name should match apk name to be installed
LOCAL_MODULE := Test
LOCAL_MODULE_TAGS := optional
LOCAL_SRC_FILES := $(LOCAL_MODULE).apk
LOCAL_MODULE_CLASS := APPS
LOCAL_MODULE_SUFFIX := $(COMMON_ANDROID_PACKAGE_SUFFIX)
LOCAL_CERTIFICATE := PRESIGNED
include $(BUILD_PREBUILT)
4) & & 打开文件 build/target/product/${Project}.mk （其中 ${Project} 表示工程名）
& & 将 Test 添加到 PRODUCT_PACKAGES 里面。
5) & & 将从Test.apk解压出来的 so库拷贝到alps/vendor/mediatek/${Project}/artifacts/out/target/product/${Project}/system/lib/目录下，若无 so 库，则去掉此步；
6) & & 重新 build 整个工程
三、如何预置APK使得用户可以卸载？
有两种方法：
7) & & 在 packages/apps 下面以需要预置的 APK 名字创建文件夹，以 预制一个名为Test的APK为例
8) & & 将 Test.apk 放到 packages/apps/Test 下面；
9) & & 在 &packages/apps/Test 下面创建文件 Android.mk，文件内容如下：
LOCAL_PATH := $(call my-dir)
include $(CLEAR_VARS)
# Module name should match apk name to be installed
LOCAL_MODULE := Test
LOCAL_MODULE_TAGS := optional
LOCAL_SRC_FILES := $(LOCAL_MODULE).apk
LOCAL_MODULE_CLASS := APPS
LOCAL_MODULE_SUFFIX := $(COMMON_ANDROID_PACKAGE_SUFFIX)
LOCAL_CERTIFICATE := PRESIGNED
LOCAL_MODULE_PATH := $(TARGET_OUT_DATA_APPS)
include $(BUILD_PREBUILT)
10) & 打开文件 build/target/product/${Project}.mk （其中 ${Project} 表示工程名）
& & 将 Test 添加到 PRODUCT_PACKAGES 里面。
11) & 将从Test.apk解压出来的 so库拷贝到alps/vendor/mediatek/${Project}/artifacts/out/target/product/${Project}/system/lib/目录下，若无 so 库，则去掉此步；
12) & 重新 build 整个工程
注意：这个比不能卸载的多了一句
LOCAL_MODULE_PATH := $(TARGET_OUT_DATA_APPS)
4） 将需要预置的 apk 拷贝到：
vendor/mediatek/${Project}/artifacts/out/target/product/${Project}/data/app/
5） 重新 build 整个工程
注意：如果没有相应目录则需手动创建。
四、如何使得用户在将预置的 APK 卸载后，恢复出厂设置时能恢复？
为了让用户在将预置的 APK 卸载后，恢复出厂设置时能恢复，敝司做了一个 Feature，但在ALPS.GB.TDFD.MP.V1.7和 ALPS.GB.FDD2.MP.V4.7版本后支持，若贵司版本低于此版本，请申请 Patch ALPS；
大致的做法是：
& - 在vendor/mediatek/project_name/artifacts/out/target/product/project_name/system目录下新建一个名为appbackup的文件夹，将该应用的apk文件copy到appbackup文件夹下
& - 在mediatek/config/project_name/ProjectConfig.mk文件中添加定义：MTK_SPECIAL_FACTORY_RESET=yes
& &- 在vendor/mediatek/project_name/artifacts/out/target/product/project_name/data/app下创建一个.restore_list，并且在其中添加语句：
/system/appbackup/xxx.apk（注意，.restore_list中的每一行都要以"/system” 开头）
当卸载了data/app下的apk后，再恢复出厂设置，系统会从 .restore_list 中读取apk的名字，然后从 appbackup 文件中把apk重新拷贝到data/app下，从而恢复data/app下已经卸载了的apk。
以上操作过程，DCC 上面也有相应的文档可供参考，文档的名字叫： Android SD upgrade application note.docx，里面有一项：MTK special factory reset，就详细地介绍了以上操作步骤。