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Arabesque

The arabesque is a form of artistic decoration consisting of "surface decorations based on rhythmic linear patterns of scrolling and interlacing foliage, tendrils" or plain lines, often combined with other elements. Another definition is "Foliate ornament, used in the Islamic world, typically using leaves, derived from stylised half-palmettes, which were combined with spiralling stems". It usually consists of a single design which can be 'tiled' or seamlessly repeated as many times as desired. Within the very wide range of Eurasian decorative art that includes motifs matching this basic definition, the term "arabesque" is used consistently as a technical term by art historians to describe only elements of the decoration found in two phases: Islamic art from about the 9th century onwards, and European decorative art from the Renaissance onwards. Interlace and scroll decoration are terms used for most other types of similar patterns.

Arabesques are a fundamental element of Islamic art. The past and current usage of the term in respect of European art is confused and inconsistent. Some Western arabesques derive from Islamic art, however others are closely based on ancient Roman decorations. In the West they are essentially found in the decorative arts, but because of the generally non-figurative nature of Islamic art, arabesque decoration is often a very prominent element in the most significant works, and plays a large part in the decoration of architecture.

Claims are often made regarding the theological significance of the arabesque and its origin in a specifically Islamic view of the world; however, these are without support from written historical sources since, like most medieval cultures, the Islamic world has not left us documentation of their intentions in using the decorative motifs they did. At the popular level such theories often appear uninformed as to the wider context of the arabesque. In similar fashion, proposed connections between the arabesque and Arabic knowledge of geometry remains a subject of debate; not all art historians are persuaded that such knowledge had reached, or was needed by, those creating arabesque designs, although in certain cases there is evidence that such a connection did exist. The case for a connection with Islamic mathematics is much stronger for the development of the geometric patterns with which arabesques are often combined in art. Geometric decoration often uses patterns that are made up of straight lines and regular angles that somewhat resemble curvilinear arabesque patterns; the extent to which these too are described as arabesque varies between different writers.

Islamic arabesque
The Islamic arabesque was probably invented in Baghdad around the 10th century. It first appeared as a distinctive and original development in Islamic art in carved marble panels from around this time. What makes Islamic arabesque unique and distinct from vegetal decorations of other cultures is its infinite correspondence and the fact that it can be extended beyond its actual limits. The arabesque developed out of the long-established traditions of plant-based scroll ornament in the cultures taken over by the early Islamic conquests. Early Islamic art, for example in the famous 8th-century mosaics of the Great Mosque of Damascus, often contained plant-scroll patterns, in that case by Byzantine artists in their usual style. The plants most often used are stylized versions of the acanthus, with its emphasis on leafy forms, and the vine, with an equal emphasis on twining stems. The evolution of these forms into a distinctive Islamic type was complete by the 11th century, having begun in the 8th or 9th century in works like the Mshatta Facade. In the process of development the plant forms became increasingly simplified and stylized. The relatively abundant survivals of stucco reliefs from the walls of palaces (but not mosques) in Abbasid Samarra, the Islamic capital between 836 and 892, provide examples of three styles, Styles A, B, and C, though more than one of these may appear on the same wall, and their chronological sequence is not certain. Though the broad outline of the process is generally agreed, there is a considerable diversity of views held by specialist scholars on detailed issues concerning the development, categorization and meaning of the arabesque. The detailed study of Islamic arabesque forms was begun by Alois Riegl in his formalist study Stilfragen: Grundlegungen zu einer Geschichte der Ornamentik (Problems of style: foundations for a history of ornament) of 1893, who in the process developed his influential concept of the Kunstwollen. Riegl traced formalistic continuity and development in decorative plant forms from ancient Egyptian art and other ancient Near Eastern civilizations through the classical world to the Islamic arabesque. While the Kunstwollen has few followers today, his basic analysis of the development of forms has been confirmed and refined by the wider corpus of examples known today. Jessica Rawson has recently extended the analysis to cover Chinese art, which Riegl did not cover, tracing many elements of Chinese decoration back to the same tradition, the shared background helping make the assimilation of Chinese motifs into Persian art after the Mongol invasion harmonious and productive.

Many arabesque patterns disappear at (or "under", as it often appears to a viewer) a framing edge without ending and thus can be regarded as infinitely extendable outside the space they actually occupy; this was certainly a distinctive feature of the Islamic form, though not without precedent. Most but not all foliage decoration in the preceding cultures terminated at the edge of the occupied space, although infinitely repeatable patterns in foliage are very common in the modern world in wallpaper and textiles.

Typically, in earlier forms there is no attempt at realism; no particular species of plant is being imitated, and the forms are often botanically impossible or implausible. "Leaf" forms typically spring sideways from the stem, in what is often called a "half-palmette" form, named after its distant and very different looking ancestor in ancient Egyptian and Greek ornament. New stems spring from leaf-tips, a type often called honeysuckle, and the stems often have no tips, winding endlessly out of the space. The early Mshatta Facade is recognisably some sort of vine, with conventional leaves on the end of short stalks and bunches of grapes or berries, but later forms usually lack these. Flowers are rare until about 1500, after which they appear more often, especially in Ottoman art, and are often identifiable by species. In Ottoman art the large and feathery leaves called saz became very popular, and were elaborated in drawings showing just one or more large leaves. Eventually floral decoration mostly derived from Chinese styles, especially those of Chinese porcelain, replaces the arabesque in many types of work, such as pottery, textiles and miniatures.

Significance in Islam
The arabesques and geometric patterns of Islamic art are often said to arise from the Islamic view of the world (see above). The depiction of animals and people is generally discouraged, which explains the preference for abstract geometric patterns.

There are two modes to arabesque art. The first mode recalls the principles that govern the order of the world. These principles include the bare basics of what makes objects structurally sound and, by extension, beautiful (i.e. the angle and the fixed/static shapes that it creates—esp. the truss). In the first mode, each repeating geometric form has a built-in symbolism ascribed to it. For example, the square, with its four equilateral sides, is symbolic of the equally important elements of nature: earth, air, fire and water. Without any one of the four, the physical world, represented by a circle that inscribes the square, would collapse upon itself and cease to exist. The second mode is based upon the flowing nature of plant forms. This mode recalls the feminine nature of life giving. In addition, upon inspection of the many examples of Arabesque art, some would argue that there is in fact a third mode, the mode of Islamic calligraphy.

Instead of recalling something related to the 'True Reality' (the reality of the spiritual world), Islam considers calligraphy a visible expression of the highest art of all; the art of the spoken word (the transmittal of thoughts and of history). In Islam, the most important document to be transmitted orally is the Qur'an. Proverbs and complete passages from the Qur'an can be seen today in Arabesque art. The coming together of these three forms creates the Arabesque, and this is a reflection of unity arising from diversity; a basic tenet of Islam.

The arabesque may be equally thought of as both art and science. The artwork is at the same time mathematically precise, aesthetically pleasing, and symbolic. Due to this duality of creation, the artistic part of this equation may be further subdivided into both secular and religious artwork. However, for many Muslims there is no distinction; all forms of art, the natural world, mathematics and science are seen to be creations of God and therefore reflections of the same thing: God's will expressed through his creation. In other words, man can discover the geometric forms that constitute the arabesque, but these forms always existed before as part of God's creation, as shown in this picture.

There is great similarity between arabesque artwork from very different geographic regions. In fact, the similarities are so pronounced that it is sometimes difficult for experts to tell where a given style of arabesque comes from. The reason for this is that the science and mathematics that are used to construct Arabesque artwork are universal. Therefore, for most Muslims, the best artwork that can be created by man for use in the Mosque is artwork that displays the underlying order and unity of nature. The order and unity of the material world, they believe, is a mere ghostly approximation of the spiritual world, which for many Muslims is the place where the only true reality exists. Discovered geometric forms, therefore, exemplify this perfect reality because God's creation has been obscured by the sins of man.

Mistakes in repetitions may be intentionally introduced as a show of humility by artists who believe only Allah can produce perfection, although this theory is disputed. Arabesque art consists of a series of repeating geometric forms which are occasionally accompanied by calligraphy. Ettinghausen et al. describe the arabesque as a "vegetal design consisting of full...and half palmettes [as] an unending continuous pattern...in which each leaf grows out of the tip of another." To the adherents of Islam, the Arabesque is symbolic of their united faith and the way in which traditional Islamic cultures view the world.

Terminology and Western arabesque
Arabesque is a French term derived from the Italian word arabesco, meaning "in the Arabic style". The term was first used in Italian, where rabeschi was used in the 16th century as a term for "pilaster ornaments featuring acanthus decoration", specifically "running scrolls" that ran vertically up a panel or pilaster, rather than horizontally along a frieze.

According to Ralph Nicholson Wornum in 1882: "The western arabesque which appeared in the 15th century derived from Roman remains of the early time of the empire, not to any style derived from Arabian or Moorish work. Arabesque and Moresque are really distinct; the latter is from the Arabian style of ornament, developed by the Byzantine Greeks for their new masters, after the conquests of the followers of Mahomet; and the former is a term pretty well restricted to varieties of cinquecento decoration, which have nothing in common with any Arabian examples in their details, but are a development derived from Greek and Roman grotesque designs, such as we find them in the remains of ancient palaces at Rome, and in ancient houses at Pompeii. These were reproduced by Raphael and his pupils in the decoration of some of the corridors of the Loggie of the Vatican at Rome: grotesque is thus a better name for these decorations than Arabesque. This technical Arabesque, therefore, is much more ancient than any Arabian or Moorish decoration, and has really nothing in common with it except the mere symmetrical principles of its arrangement. Pliny and Vitruvius give us no name for the extravagant decorative wall-painting in vogue in their time, to which the early Italian revivers of it seem to have given the designation of grotesque, because it, was first discovered in the arched or underground chambers (grotte) of Roman ruins—as in the golden house of Nero, or the baths of Titus. What really took place in the Italian revival was in some measure a supplanting of the Arabesque for the classical grotesque, still retaining the original Arabian designation, while the genuine Arabian art, the Saracenic, was distinguished as Moresque or Moorish."

The book Opera nuova che insegna a le donne a cuscire … laqual e intitolata Esempio di raccammi (A New Work that Teaches Women how to Sew … Entitled "Samples of Embroidery"), published in Venice in 1530, includes "groppi moreschi e rabeschi", Moorish knots and arabesques.

From there it spread to England, where Henry VIII owned, according to an inventory of 1549, an agate cup with a "fote and Couer of siluer and guilt enbossed with Rebeske worke", and William Herne or Heron, Serjeant Painter from 1572 to 1580, was paid for painting Elizabeth I's barge with "rebeske work". The styles so described can only be guessed at, although the design by Hans Holbein for a covered cup for Jane Seymour in 1536 (see gallery) already has zones in both Islamic-derived arabesque/moresque style (see below) and classically derived acanthus volutes.

Another related term is moresque, meaning "Moorish"; Randle Cotgrave's A Dictionarie of the French and English Tongues of 1611 defines this as: "a rude or anticke painting, or carving, wherin the feet and tayles of beasts, &c, are intermingled with, or made to resemble, a kind of wild leaves, &c." and "arabesque", in its earliest use cited in the OED (but as a French word), as "Rebeske work; a small and curious flourishing". In France "arabesque" first appears in 1546, and "was first applied in the latter part of the 17th century" to grotesque ornament, "despite the classical origin of the latter", especially if without human figures in it—a distinction still often made, but not consistently observed.

Over the following centuries, the three terms "grotesque", "moresque", and "arabesque" were used largely interchangeably in English, French, and German for styles of decoration derived at least as much from the European past as the Islamic world, with "grotesque" gradually acquiring its main modern meaning, related more to Gothic gargoyles and caricature than to either Pompeii-style Roman painting or Islamic patterns. Meanwhile, the word "arabesque" was now being applied to Islamic art itself, by 1851 at the latest, when John Ruskin uses it in The Stones of Venice. Writers over the last decades have attempted to salvage meaningful distinctions between the words from the confused wreckage of historical sources.

Peter Fuhring, a specialist in the history of ornament, says that (also in a French context): "The ornament known as moresque in the fifteenth and sixteenth centuries (but now more commonly called arabesque) is characterized by bifurcated scrolls composed of branches forming interlaced foliage patterns. These basic motifs gave rise to numerous variants, for example, where the branches, generally of a linear character, were turned into straps or bands. ... It is characteristic of the moresque, which is essentially a surface ornament, that it is impossible to locate the pattern's beginning or end. ... Originating in the Middle East, they were introduced to continental Europe via Italy and Spain ... Italian examples of this ornament, which was often used for bookbindings and embroidery, are known from as early as the late fifteenth century."

Fuhring notes that grotesques were "confusingly called arabesques in eighteenth century France", but in his terminology "the major types of ornament that appear in French sixteenth century etchings and engraving ... can be divided into two groups. The first includes ornaments adopted from antiquity: grotesques, architectural ornaments such as the orders, foliage scrolls and self-contained elements such as trophies, terms and vases. A second group, far smaller than the first, comprises modern ornaments: moresques, interlaced bands, strapwork, and elements such as cartouches"—categories he goes on to discuss individually.

The moresque or arabesque style was especially popular and long-lived in the Western arts of the book: bookbindings decorated in gold tooling, borders for illustrations, and printer's ornaments for decorating empty spaces on the page. In this field the technique of gold tooling had also arrived in the 15th century from the Islamic world, and indeed much of the leather itself was imported from there. Small motifs in this style have continued to be used by conservative book designers up to the present day.

According to Harold Osborne, in France, the "characteristic development of the French arabesque combined bandwork deriving from the moresque with decorative acanthus foliage radiating from C-scrolls connected by short bars". Apparently starting in embroidery, it then appears in garden design before being used in Northern Mannerist painted decorative schemes "with a central medallion combined with acanthus and other forms" by Simon Vouet and then Charles Lebrun who used "scrolls of flat bandwork joined by horizontal bars and contrasting with ancanthus scrolls and palmette." More exuberant arabesque designs by Jean Bérain the Elder are an early "intimation" of the Rococo, which was to take the arabesque into three dimensions in reliefs.

The use of "arabesque" as an English noun first appears, in relation to painting, in William Beckford's novel Vathek in 1786. Arabesque is also used as a term for complex freehand pen flourishes in drawing or other graphic media. The Grove Dictionary of Art will have none of this confusion, and says flatly: "Over the centuries the word has been applied to a wide variety of winding and twining vegetal decoration in art and meandering themes in music, but it properly applies only to Islamic art", so contradicting the definition of 1888 still found in the Oxford English Dictionary: "A species of mural or surface decoration in colour or low relief, composed in flowing lines of branches, leaves, and scroll-work fancifully intertwined. Also fig[uratively]. As used in Moorish and Arabic decorative art (from which, almost exclusively, it was known in the Middle Ages), representations of living creatures were excluded; but in the arabesques of Raphael, founded on the ancient Græco-Roman work of this kind, and in those of Renaissance decoration, human and animal figures, both natural and grotesque, as well as vases, armour, and objects of art, are freely introduced; to this the term is now usually applied, the other being distinguished as Moorish Arabesque, or Moresque."

Printing
A major use of the arabesque style has been artistic printing, for example of book covers and page decoration. Repeating geometric patterns worked well with traditional printing, since they could be printed from metal type like letters if the type was placed together; as the designs have no specific connection to the meaning of a text, the type can be reused in many different editions of different works. Robert Granjon, a French printer of the sixteenth century, has been credited with the first truly interlocking arabesque printing, but other printers had used many other kinds of ornaments in the past. The idea was rapidly used by many other printers. After a period of disuse in the nineteenth century, when a more minimal page layout became popular with printers like Bodoni and Didot, the concept returned to popularity with the arrival of the Arts and Crafts movement, Many fine books from the period 1890–1960 have arabesque decorations, sometimes on paperback covers. Many digital serif fonts include arabesque pattern elements thought to be complementary to the mood of the font; they are also often sold as separate designs.

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Theotokos

Theotokos (Greek: Θεοτόκος) is a title of Mary, mother of Jesus, used especially in Eastern Christianity. The usual Latin translations are Dei Genitrix or Deipara (approximately "parent (fem.) of God"). Familiar English translations are "Mother of God" or "God-bearer" – but these both have different literal equivalents in Greek, Μήτηρ Θεοῦ and Θεοφόρος ("Who gave birth to one who was God", "Whose child was God", respectively).

The title has been in use since the 3rd century, in the Syriac tradition (as ) in the Liturgy of Mari and Addai (3rd century) and the Liturgy of St James (4th century). The Council of Ephesus in AD 431 decreed that Mary is the Theotokos because Her Son Jesus is both God and man: one divine person from two natures (divine and human) intimately and hypostatically united.

The title of Mother of God (Greek: Μήτηρ (τοῦ) Θεοῦ) or Mother of Incarnate God, abbreviated ΜΡ ΘΥ (the first and last letter of each word in Greek), is most often used in English, largely due to the lack of a satisfactory equivalent of the Greek τόκος. For the same reason, the title is often left untranslated, as "Theotokos", in Orthodox liturgical usage of other languages.

Theotokos is also used as the term for an Eastern icon, or type of icon, of the Mother with Child (typically called a Madonna in western tradition), as in "the Theotokos of Vladimir" both for the original 12th-century icon and for icons that are copies or imitate its composition.

Etymology
Theotokos is an adjectival compound of two Greek words Θεός "God" and τόκος "childbirth, parturition; offspring". A close paraphrase would be "[she] whose offspring is God" or "[she] who gave birth to one who was God". The usual English translation is simply "Mother of God"; Latin uses Deipara or Dei Genitrix.

The Church Slavonic translation is Bogoroditsa (Russian/Serbian/Bulgarian Богородица). The full title of Mary in Slavic Orthodox tradition is Прест҃а́ѧ влⷣчица на́ша бцⷣа и҆ прⷭ҇нод҃ва мр҃і́а (Russian Пресвятая Владычица наша Богородица и Приснодева Мария), from Greek Ὑπεραγία δέσποινα ἡμῶν Θεοτόκος καὶ ἀειπάρθενος Μαρία "Our Most Holy Lady Theotokos and Ever-Virgin Mary". German has the translation Gottesgebärerin (lit. "bearer of God"). In Arabic, there are two main terms which are widely used at the general level, first one is: "Walidatu-liilahi" (وَالِدَةُ ٱلْإِلَـٰهِ) and "Ùmmu-'llahi" or "Ùmmu-l'iilahi" (Arabic: أُمُّ ٱللهِ or أُمُّ ٱلْإِلَـٰهِ, lit.'Mother of God').

"Mother of God" is the literal translation of a distinct title in Greek, Μήτηρ τοῦ Θεοῦ (translit. Mētēr tou Theou), a term which has an established usage of its own in traditional Orthodox and Catholic theological writing, hymnography, and iconography. In an abbreviated form,, it often is found on Eastern icons, where it is used to identify Mary. The Russian term is Матерь Божия (also Богома́терь).

Variant forms are the compounds Θεομήτωρ (translit. Theomētōr; also spelled Θεομήτηρ, translit. Theomētēr) and Μητρόθεος (translit. Mētrotheos), which are found in patristic and liturgical texts. The theological dispute over the term concerned the term Θεός "God" vs. Χριστός "Christ", and not τόκος (genitrix, "bearer") vs. μήτηρ (mater, "mother"), and the two terms have been used as synonyms throughout Christian tradition. Both terms are known to have existed alongside one another since the early church, but it has been argued, even in modern times, that the term "Mother of God" is unduly suggestive of Godhead having its origin in Mary, imparting to Mary the role of a Mother Goddess. But this is an exact reiteration of the objection by Nestorius, resolved in the 5th century, to the effect that the term "Mother" expresses exactly the relation of Mary to the incarnate Son ascribed to Mary in Christian theology.

Theology
Theologically, the terms "Mother of God", "Mother of Incarnate God" (and its variants) should not be taken to imply that Mary is the source of the divine nature of Jesus, who Christians believe existed with the Father from all eternity.

Within the Orthodox and Catholic tradition, Mother of God has not been understood, nor been intended to be understood, as referring to Mary as Mother of God from eternity — that is, as Mother of God the Father — but only with reference to the birth of Jesus, that is, the Incarnation. To make it explicit, it is sometimes translated Mother of God Incarnate. (cf. the topic of Christology, and the titles of God the Son and Son of man).

The Niceno-Constantinopolitan Creed of 381 affirmed the Christian faith on "one Lord Jesus Christ, the only-begotten Son of God, begotten of the Father before all worlds (æons)", that "came down from heaven, and was incarnate by the Holy Ghost and of the Virgin Mary, and was made man". Since that time, the expression "Mother of God" referred to the Dyophysite doctrine of the hypostatic union, about the uniqueness with the twofold nature of Jesus Christ God, which is both human and divine (nature distincted, but not separable nor mixed). Since that time, Jesus was affirmed as true Man and true God from all eternity.

The status of Mary as Theotokos was a topic of theological dispute in the 4th and 5th centuries and was the subject of the decree of the Council of Ephesus of 431 to the effect that, in opposition to those who denied Mary the title Theotokos ("the one who gives birth to God") but called her Christotokos ("the one who gives birth to Christ"), Mary is Theotokos because her son Jesus is one person who is both God and man, divine and human. This decree created the Nestorian Schism. Cyril of Alexandria wrote, "I am amazed that there are some who are entirely in doubt as to whether the holy Virgin should be called Theotokos or not. For if our Lord Jesus Christ is God, how is the holy Virgin who gave [Him] birth, not [Theotokos]?" (Epistle 1, to the monks of Egypt; PG 77:13B). But the argument of Nestorius was that divine and human natures of Christ were distinct, and while Mary is evidently the Christotokos (bearer of Christ), it could be misleading to describe her as the "bearer of God". At issue is the interpretation of the Incarnation, and the nature of the hypostatic union of Christ's human and divine natures between Christ's conception and birth.

Within the Orthodox doctrinal teaching on the economy of salvation, Mary's identity, role, and status as Theotokos is acknowledged as indispensable. For this reason, it is formally defined as official dogma. The only other Mariological teaching so defined is that of her virginity. Both of these teachings have a bearing on the identity of Jesus Christ. By contrast, certain other Marian beliefs which do not bear directly on the doctrine concerning the person of Jesus (for example, her sinlessness, the circumstances surrounding her conception and birth, her Presentation in the Temple, her continuing virginity following the birth of Jesus, and her death), which are taught and believed by the Orthodox Church (being expressed in the Church's liturgy and patristic writings), are not formally defined by the Church.

Early Church
The term was certainly in use by the 4th century. Athanasius of Alexandria in 330, Gregory the Theologian in 370, John Chrysostom in 400, and Augustine all used theotokos.

Origen (d. 254) is often cited as the earliest author to use theotokos for Mary (Socrates, Ecclesiastical History 7.32 (PG 67, 812 B) citing Origen's Commentary on Romans), but the surviving texts do not contain it. It is also claimed that the term was used c. 250 by Dionysius of Alexandria, in an epistle to Paul of Samosata, but the epistle is a forgery of the 6th century.

The oldest preserved extant hymn dedicated to the Virgin Mary, Ὑπὸ τὴν σὴν εὐσπλαγχνίαν (English: "Beneath thy Compassion," Latin: Sub tuum praesidium,) has been continually prayed and sung for at least sixteen centuries, in the original Koine Greek vocative, as ΘΕΟΤΟΚΕ. The oldest record of this hymn is a papyrus found in Egypt, mostly dated to after 450, but according to a suggestion by de Villiers (2011) possibly older, dating to the mid-3rd century.

Third Ecumenical Council
The use of Theotokos was formally affirmed at the Third Ecumenical Council held at Ephesus in 431. It proclaimed that Mary truly became the Mother of God by the human conception of the Son of God in her womb:

"Mother of God, not that the nature of the Word or his divinity received the beginning of its existence from the holy Virgin, but that, since the holy body, animated by a rational soul, which the Word of God united to himself according to the hypostasis, was born from her, the Word is said to be born according to the flesh."

The competing view, advocated by Patriarch Nestorius of Constantinople, was that Mary should be called Christotokos, meaning "Birth-giver of Christ," to restrict her role to the mother of Christ's humanity only and not his divine nature.

Nestorius' opponents, led by Cyril of Alexandria, viewed this as dividing Jesus into two distinct persons, the human who was Son of Mary, and the divine who was not. To them, this was unacceptable since by destroying the perfect union of the divine and human natures in Christ, it sabotaged the fullness of the Incarnation and, by extension, the salvation of humanity. The council accepted Cyril's reasoning, affirmed the title Theotokos for Mary, and anathematized Nestorius' view as heresy. (See Nestorianism)

In letters to Nestorius which were afterwards included among the council documents, Cyril explained his doctrine. He noted that "the holy fathers... have ventured to call the holy Virgin Theotokos, not as though the nature of the Word or his divinity received the beginning of their existence from the holy Virgin, but because from her was born his holy body, rationally endowed with a soul, with which the Word was united according to the hypostasis, and is said to have been begotten according to the flesh" (Cyril's second letter to Nestorius).

Explaining his rejection of Nestorius' preferred title for Mary (Christotokos), Cyril wrote: "Confessing the Word to be united with the flesh according to the hypostasis, we worship one Son and Lord, Jesus Christ. We do not divide him into parts and separate man and God as though they were united with each other [only] through a unity of dignity and authority... nor do we name separately Christ the Word from God, and in similar fashion, separately, another Christ from the woman, but we know only one Christ, the Word from God the Father with his own flesh... But we do not say that the Word from God dwelt as in an ordinary human born of the holy virgin... we understand that, when he became flesh, not in the same way as he is said to dwell among the saints do we distinguish the manner of the indwelling; but he was united by nature and not turned into flesh... There is, then, one Christ and Son and Lord, not with the sort of conjunction that a human being might have with God as in a unity of dignity or authority; for equality of honor does not unite natures. For Peter and John were equal to each other in honor, both of them being apostles and holy disciples, but the two were not one. Nor do we understand the manner of conjunction to be one of juxtaposition, for this is insufficient in regard to natural union.... Rather we reject the term 'conjunction' as being inadequate to express the union... [T]he holy virgin gave birth in the flesh to God united with the flesh according to hypostasis, for that reason we call her Theotokos... If anyone does not confess that Emmanuel is, in truth, God, and therefore that the holy virgin is Theotokos (for she bore in a fleshly manner the Word from God become flesh), let him be anathema. (Cyril's third letter to Nestorius)"

Nestorian schism
The Nestorian Church, known as the Church of the East within the Syrian tradition, rejected the decision of the Council of Ephesus and its confirmation at the Council of Chalcedon in 451. This was the church of the Sasanian Empire during the late 5th and early 6th centuries. The schism ended in 544, when patriarch Aba I ratified the decision of Chalcedon. After this, there was no longer technically any "Nestorian Church", i.e. a church following the doctrine of Nestorianism, although legends persisted that still further to the east such a church was still in existence (associated in particular with the figure of Prester John), and the label of "Nestorian" continued to be applied even though it was technically no longer correct. Modern research suggests that also the Church of the East in China did not teach a doctrine of two distinct natures of Christ."

Reformation
Lutheran tradition retained the title of "Mother of God" (German Mutter Gottes, Gottesmutter), a term already embraced by Martin Luther; and officially confessed in the Formula of Concord (1577), accepted by the Lutheran World Federation.

Whilst Calvin believed that Mary was theologically speaking rightly qualified as "the mother of God", he rejected common use of this as a title, saying, "I cannot think such language either right, or becoming, or suitable. ... To call the Virgin Mary the mother of God can only serve to confirm the ignorant in their superstitions."

20th century
In 1994, Pope John Paul II and Patriarch of the Assyrian Church of the East Mar Dinkha IV signed an ecumenical declaration, mutually recognizing the legitimacy of the titles "Mother of God" and "Mother of Christ." The declaration reiterates the Christological formulations of the Council of Chalcedon as a theological expression of the faith shared by both Churches, at the same time respecting the preference of each Church in using these titles in their liturgical life and piety.

Liturgy
Theotokos is often used in hymns to Mary in the Eastern Orthodox, Eastern Catholic and Oriental Orthodox churches. The most common is Axion Estin (It is truly meet), which is used in nearly every service.

Other examples include Sub tuum praesidium, the Hail Mary in its Eastern form, and All creation rejoices, which replaces Axion Estin at the Divine Liturgy on the Sundays of Great Lent. Bogurodzica is a medieval Polish hymn, possibly composed by Adalbert of Prague (d. 997).

The Solemnity of Mary, Mother of God is a Roman Catholic feast day introduced in 1969, based on older traditions associating 1 January with the motherhood of Mary.

Iconography
One of the two earliest known depictions of the Virgin Mary is found in the Catacomb of Priscilla (3rd century) showing the adoration of the Magi. Recent conservation work at the Catacombs of Priscilla revealed that what had been identified for decades as the earliest image of the Virgin and Child was actually a traditional funerary image of a Roman matron; the pointing figure with her, formerly identified as a prophet, was shown to have had its arm position adjusted and the star he was supposedly pointing to was painted in at a later date. The putative Annunciation scene at Priscilla is also now recognized as yet another Roman matron with accompanying figure and not the Virgin Mary. Recently another third-century image of the Virgin Mary was identified at the eastern Syrian site of Dura Europos in the baptistry room of the earliest known Christian Church. The scene shows the Annunciation to the Virgin.

The tradition of Marian veneration was greatly expanded only with the affirmation of her status as Theotokos in 431. The mosaics in Santa Maria Maggiore in Rome, dating from 432 to 40, just after the council, does not yet show her with a halo. The iconographic tradition of the Theotokos or Madonna (Our Lady), showing the Virgin enthroned carrying the infant Christ, is established by the following century, as attested by a very small number of surviving icons, including one at Saint Catherine's Monastery in Sinai, and Salus Populi Romani, a 5th or 6th-century Byzantine icon preserved in Rome. This type of depiction, with subtly changing differences of emphasis, has remained the mainstay of depictions of Mary to the present day. The roughly half-dozen varied icons of the Virgin and Child in Rome from the 6th to 8th centuries form the majority of the representations surviving from this period, as most early Byzantine icons were destroyed in the Byzantine Iconoclasm of the 8th and 9th century, notable exceptions being the 7th-century Blachernitissa and Agiosoritissa.

The iconographic tradition is well developed by the early medieval period. The tradition of Luke the Evangelist being the first to have painted Mary is established by the 8th century.

An early icon of the Virgin as queen is in the church of Santa Maria in Trastevere in Rome, datable to 705-707 by the kneeling figure of Pope John VII, a notable promoter of the cult of the Virgin, to whom the infant Christ reaches his hand.

The earliest surviving image in a Western illuminated manuscript of the Madonna and Child comes from the Book of Kells of about 800 (there is a similar carved image on the lid of St Cuthbert's coffin of 698). The oldest Russian icons were imports from Byzantium, beginning in the 11th century.

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title: Theotokos


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Alain Prost

Alain Marie Pascal Prost (born 24 February 1955) is a French retired racing driver and Formula One team owner. A four-time Formula One World Drivers' Champion, from 1987 until 2001 he held the record for most Grand Prix victories until Michael Schumacher surpassed Prost's total of 51 victories at the 2001 Belgian Grand Prix.

Prost discovered karting at the age of 15 during a family holiday. He progressed through motor sport's junior ranks, winning the French and European Formula Three championships, before joining the McLaren Formula One team in 1980 at the age of 24. He finished in the points on his Formula One debut – at the San Martín Autodrome in Buenos Aires, Argentina, where he took his first podium a year later – and took his first race victory a year later at his home Grand Prix in France, driving for the factory Renault team.

During the 1980s and early 1990s Prost formed a fierce sporting rivalry, mainly with Ayrton Senna but also Nelson Piquet and Nigel Mansell. In 1986, at Adelaide in the last race of the season, he beat Mansell and Piquet of Williams to the title, after Mansell retired late in the race and Piquet was pulled in for a late precautionary pit stop. Senna joined Prost at McLaren in 1988 and the two had a series of controversial clashes, including a collision at the 1989 Japanese Grand Prix that gave Prost his third Drivers' Championship. A year later at the same venue they collided again, but this time Prost, driving for Ferrari, lost out. Before the end of a winless 1991 season Prost was fired by Ferrari for his public criticism of the team. After a sabbatical in 1992, he joined the Williams team, prompting Mansell, the reigning Drivers' Champion, to leave for CART. With a competitive car, Prost won the 1993 championship and retired from Formula One driving at the end of the year.

In 1997, Prost took over the French Ligier team, running it as Prost Grand Prix until it went bankrupt in 2002. From 2003 to 2012 he competed in the Andros Trophy, an ice racing championship, taking 38 race victories and winning the championship three times. Prost employed a smooth, relaxed style behind the wheel, deliberately modelling himself on personal heroes like Jackie Stewart and Jim Clark. He was nicknamed "The Professor" for his intellectual approach to competition. Though it was not a name he particularly cared for, he would admit later that it was an appropriate summation of his approach to his racing. Skilled at setting up his car for race conditions, Prost would often conserve his brakes and tyres early in a race, leaving them fresher for a challenge at the end.

Early life
Alain Prost was born in the commune of Lorette near the town of Saint-Chamond, in the département of Loire close to Saint-Étienne, France to André Prost and Marie-Rose Karatchian, born in France of Armenian descent. Prost had one older brother called Daniel, who died of cancer in September 1986. Prost was an active and athletic child, who enthusiastically took part in diverse sports, including wrestling, roller skating and football. In doing so he broke his nose several times. He considered careers as a gym instructor or a professional footballer before he discovered kart racing at the age of 14 while on a family holiday. This new sport quickly became his career of choice.

Prost won several karting championships in his teens. In 1974, he left school to become a full-time racer, supporting himself by tuning engines and becoming a kart distributor. His prize for winning the 1975 French senior karting championship was a season in French Formula Renault, a category in which he won the title and all but one race in 1976.

Prost went on to win the 1977 Formula Renault European championship before moving up to Formula Three (F3) in 1978. In 1979, he won both the French and European F3 championships, by which time he was on the shopping lists of several Formula One teams. After carefully considering his options, he chose to sign with McLaren for. He surprised the British team by declining their offer of a race drive in a third car at the final race of the 1979 season at Watkins Glen — reasoning that the token effort would benefit neither him nor the team. Prost felt that it would be a mistake to race in Formula One without being fully prepared: "..in the end I said, 'No' to Marlboro. I asked them to understand that I didn't want to make a mistake; I didn't know Watkins Glen and I didn't know the car. I said I thought it would be a better idea to organise a test."

McLaren (1980)
Prost began his career with McLaren (being run by Teddy Mayer) in 1980 alongside Ulsterman John Watson. On his debut in Buenos Aires, Argentina, he finished in sixth place, earning one point, something achieved by only a handful of drivers. Prost added four more points to his tally during the season, scoring points at Interlagos, Brands Hatch and Zandvoort. Prost finished the year 15th in the Drivers' Championship, equalling points with former world champion Emerson Fittipaldi. Despite the encouraging debut season, Prost had several accidents, breaking his wrist during practice at Kyalami and suffering a concussion during practice at Watkins Glen. He also retired from the previous round in Montreal a week earlier because of rear suspension failure. At the end of the season, despite having two years remaining on his contract, he left McLaren and signed with Renault. Prost has said that he left because of the large number of breakages on the car and because he felt the team blamed him for some of the accidents.

Renault (1981–83)
Prost was partnered with fellow Frenchman René Arnoux for. Motor sports author Nigel Roebuck reports that there were problems between Prost and Arnoux from the start of the season, Prost being immediately quicker than his more experienced teammate. He did not finish the first two Grands Prix, due to collisions with Andrea de Cesaris in Long Beach and Didier Pironi at Jacarepaguá, but scored his first podium finish at Buenos Aires. He also did not finish in the next four races, and then won his first Formula One race at his home Grand Prix in France at the fast Dijon circuit, finishing two seconds ahead of his old teammate John Watson.

For Prost, his debut victory was memorable mostly for the change it made in his mindset. "Before, you thought you could do it," he said. "Now you know you can." Prost led from the start the next 5 races, and won two more races during the season, took his first pole position in Germany and finished on the podium every time he completed a race distance. He won again in Holland and Italy, and finished fifth in the Drivers' Championship, seven points behind champion Nelson Piquet.

Prost won the first two Grands Prix of the 1982 season in South Africa, where Prost recovered from losing a wheel, and Brazil, where he finished 3rd but was awarded the win after Piquet (1st) and Keke Rosberg (2nd) were disqualified. He finished in the points on four other occasions, but did not win again. Despite retiring from seven races, Prost improved on his Drivers' Championship position, finishing in fourth, but with nine fewer points than the previous year. His relationship with Arnoux deteriorated further after the French Grand Prix. Prost believes that Arnoux, who won the race, went back on a pre-race agreement to support Prost during the race. His relationship with the French media was also poor. He has since commented that "When I went to Renault the journalists wrote good things about me, but by 1982 I had become the bad guy. I think, to be honest, I had made the mistake of winning! The French don't really like winners."

In November 1982, three years before it became a round of the F1 World Championship, Prost, along with fellow F1 drivers Jacques Laffite and Nelson Piquet, made the trip to Melbourne, Australia to drive in the non-championship 1982 Australian Grand Prix at the short (1.609 km (1.000 mi)) Calder Park Raceway. Driving a Formula Pacific spec Ralt RT4 powered by a 1.6 litre Ford engine, Prost sat on pole for the race with a time of 39.18. He then led every lap to win what would be the first of 3 Australian Grand Prix wins. He finished 15.32 seconds clear of Laffite, with 1981 Australian Grand Prix winner, young Brazilian driver Roberto Moreno finishing third.

Arnoux left Renault in and American Eddie Cheever replaced him as Prost's partner, allegedly because of Renault's desire to sell more road cars in North America (three of the season's 15 races were on the North American continent). Prost earned a further four victories for Renault during the season and finished second in the Drivers' Championship, two points behind Nelson Piquet. Piquet and the Brabham team overhauled Prost and Renault in the last few races of the season. Prost, who felt the team had been too conservative in developing the car, found himself increasingly at odds with Renault's management, who made him the scapegoat for failing to win a championship. In addition to that, the French fans recalled the bitter fight that had caused their favourite, Arnoux, to leave the team. Prost said in an interview with ESPN during the final race that his car was "not competitive" and that he "didn't lose by my own fault" Renault fired Prost only two days after the South African race. He re-signed for McLaren for the 1984 season within days and moved his family home to Switzerland after Renault factory workers burned the second of 2 of Prost's cars, one of them being a Mercedes-Benz.

1984–1986
Prost joined double world champion Niki Lauda at McLaren (now being run by Ron Dennis) in, driving the John Barnard designed McLaren MP4/2 which used a 1.5 litre TAG-Porsche V6 engine. He lost the world championship to Lauda in the final race of the season in Portugal by half a point, despite winning seven races to Lauda's five, including winning in Portugal. The half point came from the, where Prost had been leading, albeit with Ayrton Senna (Toleman) and Stefan Bellof (Tyrrell) closing on him rapidly, when Clerk of the Course Jacky Ickx stopped the race at half distance due to heavy rain, which was controversial, for Ickx displayed the red flag without consulting the race officials. Under Formula One regulations, Prost received only half of the nine points normally awarded for a victory. Prost's seven wins in 1984 equalled the record set by Jim Clark in.

In Prost became the first French Formula One World Champion. He won five of the sixteen Grands Prix during the season. He had also won the San Marino Grand Prix, but was disqualified after his car was found to be 2 kg underweight in post-race scrutineering. Prost finished 20 points ahead of his closest rival, Michele Alboreto. Prost's performance in 1985 earned him the Légion d'honneur distinction in France.

Niki Lauda retired for good at the end of 1985, and was replaced at McLaren by World Champion Keke Rosberg for. Prost successfully defended his title, despite his car struggling against the Honda-powered Williams cars driven by Nelson Piquet and Nigel Mansell. Until the latter stages of the final race of the 1986 season, the, Prost appeared set to finish second in the Championship, behind Mansell. Prost had the same number of wins as Piquet, but he had four second places to Piquet's three, thus placing him second before the final race. While running third behind Piquet, and directly behind Prost on the road (3rd was all he needed to win the title), Mansell suffered a rear tyre failure at 180 mph and crashed out. The Williams team then pitted Piquet to change tyres as a safety precaution, while Prost had already pitted earlier due to a puncture and did not need to change his tyres again. He then held the lead ahead of a charging Piquet to the chequered flag and the Championship. Prost became the first driver to retain the title since Jack Brabham in 1960.

Another memorable race that year for Prost was at the. He was cruising to victory when his car began to run out of fuel three corners from the chequered flag. Frantically weaving the car back and forth to slosh the last drops of fuel into the pickup, he managed to keep it running just long enough to creep over the line and win the race. Prost commented after the race that when his car started running dry he immediately thought to himself "shit, I am going to lose this race again", referring to his 1985 disqualification at Imola. It happened again at the : while running in fourth position, Prost's car ran out of fuel on the finishing straight of the last lap. Instead of retiring at a time in the season when points were critical, Prost got out of his car and tried to push it to the finish, to great applause from the crowd. The finish line was too far, though, and he never reached it. He was eventually classified sixth in the race, as the seventh-placed car (the Brabham-BMW of Derek Warwick) was a lap behind. Prost also finished sixth at the, where he collided with Gerhard Berger in the Benetton. As a result, the car's front suspension and engine mountings were bent, which badly affected its handling. It would behave one way in left hand corners and a completely different way in right hand corners. McLaren Technical Director John Barnard said afterwards that the car was "bent like a banana" upon the teams' post-race inspection of the car.

1987
With Rosberg retiring from Formula One at the end of 1986 season, underrated Swede Stefan Johansson filled the McLaren seat alongside Prost for the season. Even though McLaren had introduced the new Steve Nichols designed MP4/3 after three seasons with the MP4/2 model (Barnard had departed for Ferrari), the TAG engines were not the force they had been previously, lagging behind in power and with unreliability previously unseen. He never gave up though and challenged Piquet and Mansell almost until the end, winning three races and breaking Jackie Stewart's record for race victories by winning for the 28th time at the Portuguese Grand Prix. "People might not believe me," said Stewart at the time. "But I'm glad to see Alain take my record. I am glad that he has done it because he's the one that deserves it. There is no doubt in my mind that he is the best race driver of his generation." Prost considers his win in the opening round in Brazil as his best and most rewarding race ever. The Williams-Hondas had been dominant during qualifying, and Prost started fifth on the grid with a time three seconds slower than Mansell's pole time. Knowing he didn't have the qualifying speed, he instead worked on his race set-up, and with everyone else going for a high-downforce set-up, he went the other way. The set-up meant less tyre wear, thanks to slower speeds in the corners while going fast down the straights. With his car having less tyre wear than his rivals, Prost was able to get through the 61 laps of the abrasive Jacarepaguá Circuit with only two stops compared to the three or more by his rivals (Piquet pitted for tyres 3 times within the first 40 laps). Prost finished 40 seconds in front of Piquet, with Johansson a further 16 seconds back in third.

"When you win a race like this the feeling is very, very good. There have been times when I have been flat-out to finish sixth, but you can't see that from the outside. In I finished three or four times in seventh place. I pushed like mad, yet everyone was gathered around the winner and they were thinking that I was just trundling around. But that's motor racing. So in fact the only thing you can judge in this sport is the long term. You can judge a career or a season, but not one race."

Prost finished the 1987 season in fourth place in the championship behind Piquet, Mansell and Lotus driver Ayrton Senna. Prost finished 30 points behind champion Nelson Piquet. Other than his debut season in 1980 and, it was the furthest away he would finish a season from the championship lead.

Despite a slightly disappointing 1987 season, nevertheless by the end of that year Prost had the honour of notching up his 4th consecutive No.1 driver of the year by the editor of the Autocourse annual, matching Niki Lauda's run of No.1's from 1975 to 1978 in the same annual. Writing in 1987, the Autocourse editor mentioned that despite driving a down on power engine (compared to the Honda's) "Prost should have won at least 6 races in 1987 – but he won't moan about it. Despite being out of championship contention, 1987 was a memorable year for Prost. His win at Estoril was exceptional." In 1985, the Autocourse editor wrote of Prost: "In the long run, Ayrton Senna may be the better driver, but in 1985 for speed and consistency Prost had no equal", while in 1986, the Autocourse editor commented on Prost's season "Alain had an almost faultless year. 1986 was a year of Prost's outstanding all round ability."

1988

Despite Nelson Piquet winning the 1987 Drivers' Championship and Williams winning the Constructors' Championship, Honda decided not to supply the team with their engines, reportedly due to Williams's refusal to dump Nigel Mansell and hire Japanese driver and Honda test driver Satoru Nakajima (who debuted with Lotus in 1987), and instead supplied the McLaren team for. Prost had convinced Ron Dennis to sign Ayrton Senna to a three-year contract, which played a role in luring Honda (Senna's ability had been highly regarded by the Japanese giant when using their engines with Lotus in 1987 and both were keen to continue their association). However, this began the rivalry that pushed two of the sport's greatest drivers to unprecedented heights of success and controversy. McLaren-Honda dominated the season, winning 15 out of 16 races. Prost finished first or second in every race other than his two retirements at Silverstone and Monza. He won seven races and in total outscored his new teammate Senna by 11 points, despite Senna winning one more race than him. However, only the 11 best results from the season counted toward the championship total, and this gave Senna the title by three points. Prost went on to be a proponent of essentially the 1990s scoring system: all points counting toward the final results, with a race winner scoring 10 (rather than 9).

In November of that year, Prost had a meeting with the head of Honda's R&D department and F1 racing program, Nobuhiko Kawamoto in Geneva. He expressed his feelings that Honda was giving Senna preferential treatment, and Kawamoto then confirmed Prost's fears, explaining that the Honda engineers were of a new generation, and that they liked Senna's panache and "samurai"-like driving. Senna had already developed a close relationship with the Honda engineers during the 1987 season when he was at Lotus. Kawamoto was able to convince Prost that he would work something out on the Honda end of the McLaren-Honda partnership for the 1989 season, but this was not to be.

1989
McLaren's domination continued throughout, and the struggle between Prost and Senna for supremacy put them on a collision course. Mutual admiration turned to all-out hatred, with Prost accusing Senna of "dangerous driving" and of receiving more than a fair share of attention from both McLaren and Honda. For his part, Senna accused Prost of being in the pocket of FISA's French president Jean-Marie Balestre. The animosity between the two drivers came to a head at Round 2 in San Marino. The drivers made an agreement between them that whoever won the start would not be challenged by the other going into the first turn (in this case, the Tosa bend on the Imola circuit). Prost kept to the agreement after Senna won the first start. Prost however won the restart (caused by Gerhard Berger's fiery crash in his Ferrari), but was passed by Senna under brakes for Tosa. Prost went to a friend of his, a French journalist, and told him about the broken agreement between him and Senna. Against Prost's wishes, the journalist went public with the story. During testing at Pembrey in Wales, Senna denied in public any such agreement had ever existed between Prost and himself, but Prost's claim was backed up by Marlboro's John Hogan who had been present when the agreement was made.

Prost had the firm belief that Honda and Ron Dennis viewed Senna as the future of the team. Prost recalled that by the he had one car with maybe four or five mechanics, while his teammate had two cars and 20 people around him. Before the race Prost, who had announced in July 1989 that he would depart from McLaren, announced he was joining Ferrari. Prost was forced to make a public apology to both McLaren and Honda over his Monza comments. However, Prost received support from Nigel Mansell (who would be his teammate at Ferrari), and former teammate Rosberg who claimed that once it became known they would not be using the Japanese engines the next season, their Honda engines did not seem to work as well as was once normal. Until that point Prost's MP4/5 had not been a match for Senna's on Monza's long straights, which had many, especially those in the press, wondering if there was actually truth to Prost's claim that his Honda engines were not as good as the ones Senna was able to use. Prost actually won the Italian Grand Prix, after Senna's engine blew with only 9 laps remaining. To the delight of the tifosi whose team he signed for the 1990 season, at the rostrum Prost dropped his driver's trophy into the crowd, to the anger of Dennis who since changed McLaren's policy requiring that all trophies won by drivers belong to the team. Dennis was in fact so incensed at Prost that he threw his constructor's trophy at Prost's feet on the rostrum. Prost had a replica trophy made for Dennis but it sat in a cupboard for over 6 years.

As 1989 wore on, Prost continually claimed his Honda V10s were not producing the same amount of power as those in Senna's car. It actually got to the point where Honda F1 boss Osamu Goto felt compelled to speak to the specialist British media on the matter. He claimed that Senna's foot-tapping style with the accelerator helped keep the RA109-E's revs up in the engine's mid-range where most of the power was, while Prost's smoother style dropped the engines into low revs where they had a pick-up problem. Apparently the talk was convincing until most of those present noticed Goto continually called them Ayrton and Prost respectively (per Japanese customs, addressing a person by their first name rather than the surname shows a much higher degree of familiarity and confidentiality). Evidence to support Prost's claims was seen during the. His car was running less wing than Senna's which theoretically would give him greater top speed, Prost's McLaren was not able to pass Senna's on the long front straight even though he came off the final Peraltada Curve clearly faster than Senna and also had the benefit of a tow. In stark contrast, late in the race when Senna was lapping Prost (who was on fresh tyres), Senna was easily able to power past Prost on the straight.

Their embittered season ended as many pundits had feared. In the at the end of lap 46, Senna made his move at the Casio Chicane. Prost, turning into the corner, turned into his teammate's path resulting in a collision and the cars sliding interlocked down the escape road. Prost, thinking the World Championship was over, climbed out of his stalled car. To separate the cars, the marshals pushed Senna's McLaren backwards onto the track. This left it in a dangerous position, so they pushed it forwards again. As they did so, Senna bump-started the engine. He drove through the chicane and rejoined. The nose of Senna's car was damaged and he had to pit, but he rejoined only five seconds behind the Benetton of Alessandro Nannini. On lap 50, Ayrton sliced past Nannini at the chicane to take the lead and won the race. But it was Nannini who appeared on the top step of the podium, race officials having excluded Senna for missing the chicane. McLaren appealed the decision, but the FIA Court of Appeal not only upheld the decision but fined Senna US$100,000 and gave him a suspended six-month ban. Thus, Prost clinched his third driver's title in controversial circumstances, later stating "Ayrton Senna came behind me, I didn't see him come and I couldn't do anything to avoid him. I am very sorry to have to finish the championship on such an incident".

Ferrari (1990–1991)
Prost signed to join Ferrari in 1990, becoming the first driver signed to the team after the death of team founder Enzo Ferrari in 1988. He replaced Gerhard Berger at Ferrari and was partnered with Britain's Nigel Mansell for (Berger took Prost's seat at McLaren). As reigning world champion, Prost took over as the team's lead driver and was said to have played on this status. Mansell recalls one incident where at the 1990 British Grand Prix, the car he drove didn't handle the same as in the previous race where he had taken pole position, and later found out from team mechanics that Prost saw Mansell as having a superior car and had them swapped without Mansell knowing. Prost won five races for Ferrari that year, in Brazil, Mexico, France, Britain and Spain. Notable among these was the Mexican Grand Prix, where he won after starting in 13th position. In both the Mexican and Spanish races, he led Mansell to Ferrari 1–2 finishes. The championship once again came to the penultimate round of the season in Japan with Prost trailing his McLaren adversary, Ayrton Senna, by nine points. As in 1989, a controversial collision between the two settled the race. At the first corner Senna, as admitted a year later, intentionally drove his race car into Prost's, taking them both out of the race and sealing the title in his favour. "What he did was disgusting," Prost said. "He is a man without value." Prost finished the season seven points behind Senna, and his Ferrari team were runners-up to McLaren.

Mansell left the Scuderia due to his unstable relationship with Prost, to rejoin Williams for the 1991 Formula One season. Mansell's replacement was Frenchman Jean Alesi, who had been impressive during the previous two years at Tyrrell. Ferrari had entered a downturn, partially as their famous V12 engine was no longer competitive against the smaller, lighter and more fuel efficient V10s of their competitors. The Ferrari chassis, despite a major revision by the French Grand Prix (F-643) was also not up to the level of the McLaren and the Williams models. Prost won no races, only getting onto the podium five times. He took this out on the team, publicly criticising the team and the Ferrari 643, and subsequently had his contract terminated before the end of the season, immediately prior to the. He was replaced by Italian driver Gianni Morbidelli for the final race of the 1991 season and by another Italian, Ivan Capelli, for the following season. Despite being sacked, Prost received a significant payment from Ferrari to not drive for any other team.

Williams (1993)
Prost went on a sabbatical year in, which was dominated by Nigel Mansell in a Williams-Renault. Prost performed pre-season testing for Ligier early in 1992 and later turned down an offer to drive for the team. After hearing that Prost would be his teammate again in 1993, Mansell left Williams to race in the CART series for Newman/Haas Racing. Prost had a clause in his contract which prevented rival Ayrton Senna from joining the team that year. Prost was part of a new-look driver line-up at Williams, with test driver Damon Hill coming in to replace Riccardo Patrese, who had left to join Benetton.

Prost won his fourth and final title in a year when he was regularly challenged by teammate Hill and by Ayrton Senna. Shortly before the Portuguese Grand Prix in October 1993, Prost announced he would not defend his world title, because the clause in his contract did not extend to 1994 and Senna would be able to join Williams for the upcoming season, and instead opted to retire. At the season's end Prost held the record for most Grand Prix victories, a record that stood for almost a decade. On the podium in Adelaide in 1993, Prost's last race, he and Senna embraced. Prost was surprised by the gesture, as Senna had declined a handshake at the previous race. Prost's performances earned him an OBE.

German Michael Schumacher broke Prost's record of 51 Grand Prix wins during the 2001 season. He also shares the record for starting every race of a season from the front row (16, in ), with Ayrton Senna and Damon Hill. , he is the last Frenchman to have won his home Grand Prix.

Helmet

Prost used a helmet design based on the three colours of the French flag, blue, white and red, with his name along the side. During his early career Prost used a basic design of white all over with some blue detail around the visor (blue helmet with a white 180° flipped Y and red lines in the lower branch of the flipped Y and in the upper branch, surrounding the top). During Prost's time at Renault, he used more blue details, most notably around the rear of his helmet. Prost's helmet changed in 1985, as his helmet now had the blue detail around the front, surrounding the visor (with also a blue stripe on the side region, making the white area become a P) and a white ring with red lines surrounding the top (forming a white circle with a blue half in the rear of the top). Prost kept a similar design for his entry at Ferrari and Williams. Sometimes Prost used variants of his helmet design. In 2007 he used his original design, but with the circle top all red and a red line in the lower chin area. In 2010, he used a pearl white helmet with silver flames and a blue-white-red-white-blue stripe on the visor, designed by Kaos Design.

Career legacy
Prost is widely regarded as one of the greatest ever Formula One drivers, and is considered by some to be the greatest Formula One driver of all time. In 2009, an Autosport survey taken by 217 Formula One drivers saw Prost voted as the fourth greatest Formula One driver of all time. In October 2020, The Economist ranked champion drivers by the relative importance of car quality to driver skill. According to this ranking, Prost is Formula One's third best driver of all time. In November 2020, Carteret Analytics used quantitative analysis methods to rank Formula One drivers. According to this ranking, Prost is Formula One's eighth best driver of all time. A 2022 mathematical analysis of all F1 drivers by f1-analysis.com put Prost as the 4th greatest driver of all time, and the second greatest once differences between different eras had been corrected for. In November 2023, Autosport ranked Prost as the statistical fifth best driver of all time.

Rivalry with Ayrton Senna
Prost's battles with Ayrton Senna were widely covered. The rivalry originated in 1988, when Senna joined Prost at the McLaren team. At the Portuguese Grand Prix, Senna tried to block Prost from taking the lead by forcing him to run close to the pit wall at around 280 km/h. Prost managed to edge Senna outwards, taking the lead as they went into the first corner, but remained angered by Senna's manoeuvre.

The rivalry intensified after the 1989 San Marino Grand Prix, where the two drivers had an agreement that neither would get in each other's way to the first corner. At the start, Senna took the lead and Prost followed him through the first corner. Gerhard Berger's crash on lap four stopped the race. At the restart, Prost got away the better of the two but Senna forced his way past him at the first corner, breaking the pair's agreement at the start of the race, leaving Prost furious. Senna argued that the agreement did not include any restart. Prost himself was angered by McLaren apparently favouring Senna because of Senna's better relationship with engine supplier Honda, so he announced in mid-season that he had signed to race for Ferrari the following season. Prost mentioned many times during 1989 that he believed his car was not as competitive as Senna's, and even that this was confirmed to him by the CEO of Honda when Prost traveled to Japan. The information was actually confirmed during the French GP press conference when Ron Dennis said that Prost's car was consistently using more fuel, but not getting more power, than Senna's engine.

The rivalry reached its peak at the end of 1989, when the title was to be decided between Senna and Prost at Suzuka. The two McLarens collided at the Casio Triangle chicane when Prost blocked an attempted pass by Senna. Prost walked away while Senna returned to the track. Senna went on to win the race, but was later disqualified because his car was pushed through the road around the chicane. After an unsuccessful appeal by McLaren, Senna received a further US$100,000 fine and a six-month suspension, leading him to accuse FIA president Jean-Marie Balestre of favouring his compatriot Prost.

The following season saw the two drivers collide again. With Senna leading Prost, now in a Ferrari, in the world Drivers' Championship, Prost qualified second for the penultimate race of the season in Suzuka with Senna on pole. Senna was apparently told by a Steward that the pole position would be on one side of the track but discovered before the race that it would be actually be on the other side. Senna complained that no longer being on the racing line, his side of the grid was dirty, meaning he would get less grip (and therefore a slower start) than Prost who had been moved to the clean side of the grid. Senna's appeal was rejected. At the start of the race, Prost got the better start of the two, but while braking for the first corner Senna did not brake and collided with Prost at 160 mi/h, clinching the title for himself. Prost almost retired from the sport, saying "What he did was disgusting. He is a man without value." A year later, Senna admitted that the move was premeditated, in retaliation for the collision at the chicane on the same course the previous year.

There was another controversial incident in. Prost's inferior Ferrari was unable to put up a challenge regularly to Senna's front running McLaren. At the German Grand Prix at Hockenheim, Prost battled Senna for 4th place, but he felt Senna defended too aggressively and at the first chicane forced Prost to take avoiding action by using the escape road. Prost stalled his car rejoining the race. Coincidentally, Senna ran out of fuel on the last lap at the very same point. At the following race, in Hungary, the FISA ordered a sit-down meeting between the two men, not wanting any repeats of the incidents from the previous two years.

Prost took a sabbatical in after being fired from Ferrari for publicly criticizing the car and the team, and Senna struggled, because McLaren was no longer competitive with Williams. Prost announced his signing with Williams for the upcoming 1993 season. Senna too had wanted to join Williams, as they were the most competitive, but Prost had a clause in his contract excluding Senna as a teammate. An infuriated Senna called the Frenchman a "coward" during a press conference at Estoril, and decried his unwillingness to compete for the Drivers' Championship on equal sporting terms:

"I think if Prost wants to be called the sole champion, three-times world champion, come back in a sportive way, maybe win another championship, he should be sportive. The way he's doing, he's behaving like a coward. And if he wants to be sportive, he must be prepared to race anybody, at any condition, at equal terms."

During the 1993 season, Prost and Senna continued their on-track rivalry. Prost was escorted by police to the Interlagos circuit for the 1993 Brazilian Grand Prix due to the hostility of Brazilians towards him. The two continued their on-track battles at Silverstone where Senna aggressively defended his position against Prost. At Prost's last Grand Prix, the 1993 Australian Grand Prix, he was pulled up by Senna onto the top step of the podium for an embrace.

On 1 May 1994, Senna was killed during the. Prost was a pallbearer at his funeral. Speaking four years after Senna's death, Prost told Nigel Roebuck that he had "always refused to speak about him". Prost stated that when Senna died "a part of himself had died also", because their careers had been so bound together. Senna had also felt the same when Prost had retired at the end of 1993, when he admitted to a close friend that he had realised how much of his motivation had come from fighting with Prost. Only a couple of days before his death, when filming an in-car lap of Imola for French television channel TF1, he greeted Prost, by then a pundit on the channel: "A special hello to my...to our dear friend, Alain. We all miss you Alain." Prost said that he was amazed and very touched by the comment.

Later life
During 1994 and 1995, Prost worked as a pundit for the French TV channel TF1. He also worked for Renault doing public relations and promotions. Prost went back to his old team McLaren, working as a technical adviser; he also completed L'Étape du Tour, an annual mass-participation bike ride that takes place on a stage of the Tour de France.

Prost Grand Prix
During 1989 Prost began to contemplate starting his own team, as his relationship with his McLaren teammate, Ayrton Senna, had turned sour. Prost and John Barnard, formerly chief designer at McLaren, came close to founding a team in 1990; but a lack of sponsorship meant that this was not possible, so Prost moved to Ferrari and Barnard left Ferrari to join Benetton. After falling out with the Italian team at the end of 1991, Prost found himself without a drive for 1992; after the failure of extensive negotiations with Guy Ligier about buying his Ligier team, Prost decided to join Williams for 1993. By 1995, when Prost was working for Renault, people had assumed that a Prost-Renault team would be formed. Renault refused Prost's request to supply engines for his team, ending the speculation. On 13 February 1997, Prost bought the Ligier team from Flavio Briatore and renamed it "Prost Grand Prix". The day after he bought the team, Prost signed a three-year deal with French car manufacturer Peugeot, who would supply the team with engines from until. For the team's first season, Prost kept one of Ligier's 1996 drivers, Olivier Panis, who had won the Monaco Grand Prix the previous year; Japanese driver Shinji Nakano was signed to partner Panis. The team raced with the Mugen-Honda engines used by Ligier the previous season, while the car was actually the originally intended Ligier JS45, but was renamed the Prost JS45. Things looked promising at the start of the season, as the team picked up two points on its Grand Prix debut in Australia when Olivier Panis finished fifth. The team scored a further 13 points before Panis broke his leg in an accident during the Canadian Grand Prix. He was replaced by Minardi's Jarno Trulli. From there, things started to go downhill slightly, the team scored only five points during Panis's recovery. He came back at the end of the season to race in the last three Grands Prix. Prost GP finished sixth in the Constructors' Championship in its first season, with 21 points.

Prost became the president of Prost Grand Prix at the start of 1998. With Peugeot supplying the engines for Prost GP, Mugen-Honda decided to supply the Jordan team. Prost GP scored a single point during the season when Jarno Trulli finished sixth in Belgium.

was a crucial year for Prost GP. Prost hired John Barnard as a technical consultant, Barnard's B3 Technologies company helping Loic Bigois with the design of the Prost AP02. Panis and Trulli agreed to stay on with the team for the season. The car was not a major concern but the Peugeot V10 engine proved to be heavy and unreliable.

Peugeot's final year as Prost's engine supplier in 2000 saw some optimism. Prost hired his 1991 Ferrari teammate Jean Alesi to drive the lead car and German Nick Heidfeld, who had won the 1999 Formula 3000 championship, to partner him. The season proved to be yet another disastrous one: the AP03 proved to be unreliable and ill handling. Things weren't helped when the drivers collided with each other in the Austrian Grand Prix. Newly hired technical director Alan Jenkins was fired midway through the year. Prost restructured the team, hiring Joan Villadelprat as the managing director and replacing Jenkins with Henri Durand as the team's new technical director.

In Ferrari agreed to supply engines for the season. The money ran out at the start of the season and Prost was out of business, leaving debts of around $30 million.

Other roles
During 2002, Prost spent time with his family and competed in eight bicycle races, finishing third in the Granite – Mont Lozère. The Frenchman raced in the Andros ice race series in 2003, finishing second in the championship behind Yvan Muller. In 2003 and 2004, Prost took part in the Étape du Tour. Prost also became an Ambassador for Uniroyal, a position he would keep until May 2006. Prost continued to compete in the Andros Trophy, winning the title with Toyota in 2006/07, 2007/08 and with Dacia in 2011/2012.

For the 2010 Formula One season, the Sporting Regulations were changed so that a former driver sits on the stewards' panel. Prost was the first such driver to take on this role, at the 2010 Bahrain Grand Prix. Prost also took part in the Race of Champions in 2010, a race organised for legends of motor sport to compete in equal machinery. In February 2012, Prost was named as Renault's new international ambassador, representing the company in sports demonstrations and at events organized or attended by Renault. Prost has finished the Absa Cape Epic, an eight-day 700 km mountain bike race in South Africa, twice. He first completed the race in 2012 with partner Sebastien di Pasqua and then again in 2013, and started but did not finish the race in 2014.

In October 2013, it was announced that Prost would join forces with Jean-Paul Driot's DAMS racing team to form e.dams, a team which would compete in the FIA Formula E Championship for electric racing cars from its commencement in September 2014. In June 2014, the team announced that its initial driver line-up would consist of Nicolas Prost and Sébastien Buemi. The team went on to win the inaugural Formula E teams championship. In 2017, he was employed as a special adviser for the Renault Formula One Team. Since July 2019, he took up a non-executive director role with Renault Sport. During the 1000th Formula One race, the 2019 Chinese Grand Prix, Prost had the honor of waving the chequered flag as Mercedes driver Lewis Hamilton crossed the line to take his 75th career victory. Prost continued in his role within Renault Formula One Team, renamed "Alpine F1 Team" in 2021, until January 2022, when his departure from the team was announced.

Personal life
Prost was married to Anne-Marie (born 14 February 1955), but they divorced sometime later. They have two sons, Nicolas (born 18 August 1981) and Sacha Prost (born 30 May 1990). Prost also has a daughter, Victoria, born in 1996 from his relationship with Bernadette Cottin. From 2014 to 2018, Nicolas raced in Formula E for e.dams Renault, a team partially run by his father. Prost lived in his hometown, Saint-Chamond, until he and his Renault team fell out in the early 1980s. In April 1983 the Prost family moved to Sainte-Croix, Switzerland, and shortly after to Yens, Switzerland. They moved to Switzerland after Renault workers went to Prost's house in France and burned his Mercedes-Benz and another one of his road cars. They lived there until November 1999, when they moved to Nyon in the same country. Through Nicolas, Prost has two grandsons named Kimi (born November 2015) and Mika (born December 2020). Through Sacha, he has another grandson named Liam (born June 2018).

In 1986, Prost was awarded the Légion d'honneur by the French President, François Mitterrand; he was promoted from Chevalier to Officier rank in 1993. In addition, he was awarded an honorary British OBE in 1994, and the Brazilian Order of the Southern Cross in 1999. He was also inducted into the International Motorsports Hall of Fame and the FIA Hall of Fame in 1999 and 2017 respectively.

Besides his native French language, Prost also speaks fluent English and Italian.

Complete European Formula 3 results
(key) (Races in bold indicate pole position) (Races in italics indicate fastest lap)

Complete Formula One World Championship results
(key) (Races in bold indicate pole position, races in italics indicate fastest lap) † Did not finish, but was classified as he had completed more than 90% of the race distance. ‡ Race was stopped with less than 75% of laps completed, half points awarded.

Formula One non-championship results
(key) (Races in bold indicate pole position) (Races in italics indicate fastest lap)

title: Alain Prost