Our Lady of the Sign

This painted image of the Mother of God is inscribed within a circular medallion, framed by lush carved ornamentation in the form of symmetrical, rhythmically curved volutes that rise on both sides and terminate in dynamic carving at the top. Such iconographic depictions within a carved cartouche were widespread in the embellishment of Ukrainian churches during the eighteenth century. The painted image served as the semantic centre of a larger architectural and decorative complex, specifically its upper tier. The medallion presents the iconographic type of the Virgin of the Sign – Mary with the Christ Child inside a mandorla upon her breast. The frontal, half-length figure of the Mother of God is depicted in a prayerful gesture with arms raised and palms facing outwards. Upon her breast, within a circular medallion-glory, is the figure of the Child Christ, whose arms are likewise raised upward. This iconographic composition traces its roots back to the Byzantine tradition, embodying the concept of Mary as the living Incarnation, symbolically linked to Isaiah's prophecy of Emmanuel, and as the intercessor for humankind before God. The pictorial execution is distinguished by a soft style close to the folk icon painting tradition. The rounded face, large almond-shaped eyes, graphically outlined eyebrows, and delicately rendered lips with a subtle smile imbue the image with lyrical concentration. The gaze is directed at the viewer while simultaneously appearing self-absorbed. The head of the Virgin is covered by a terracotta-red maphorion, edged with a thin golden ribbon, beneath which a blue chiton is visible. Her head is encircled by the golden radiance of a halo, contrasting with the blue background that lends the image the depth of celestial space. The circular medallion is enclosed by a narrow profiled rim, from which wide symmetrical volutes, reminiscent of vegetal motifs, diverge to the sides. The carving is executed in relief with sharp delineation of details. The artwork is characterised by a synthesis of Baroque plasticity and the local iconographic tradition, demonstrating a high level of collaboration between carvers and icon painters in creating a unified sacred image.

Borys Voznytskyi Lviv National Art Gallery