Virgin Mary

This small-scale polychrome wooden sculpture of the Virgin Mary is executed in the traditions of folk carving. The small format of the work lends it a sense of intimacy and was clearly intended for viewing from a close distance. The image presents a mourning figure who was likely part of a Crucifixion group. The figure is depicted in a prayerful posture – hands folded upon the chest, the head slightly inclined towards the left shoulder, and a gaze directed to the side that imparts a distinct spiritual resonance to the composition. In accordance with the characteristic compositional scheme of sacred wooden plastic art, the figure is carved vertically in a frontal pose with a subtle tilt of the torso.
The master does not strive for anatomical accuracy: the saint's figure is somewhat stocky, with the head disproportionately large relative to the body. The facial features are rendered in large planes without detailed elaboration. The generalised plasticity of the forms is primarily subordinated to emotional expressiveness. Particularly eloquent are the expressive eyes and the laconically treated large nose and narrow lips. Thanks to this, the saint's countenance acquires a concentrated expression. The composition of the work is structured around the gesture of the hands and the facial expression, ensuring that even a sculpture of such small dimensions possesses a significant concentration of imagery.
The aspiration towards emotional persuasiveness and the ultimate materialisation of the image is a characteristic feature of folk art. The Virgin Mary’s garments are modelled with shallow vertical folds rhythmically delineated on the chiton and maphorion of blue and red colours, which creates a restrained polychrome scheme, accentuating the plasticity of the figure. The small size does not diminish the monumentality of the image but rather enhances its chamber-like, intimate atmosphere. The folk artisan concentrates attention on the essential – the prayerful gesture, the direction of the gaze, and the overall spirituality of the subject. The distinction of the work lies in the combination of a simplified plastic form, expressive polychromy, and emotional immediacy. In the hands of a folk craftsman, the canonical sacred image has received an individual, sincere, and unique interpretation. In this compact depiction of the Mother of God, decorativeness, iconographic symbolism, and authorial expression are organically united.

Borys Voznytskyi Lviv National Art Gallery