Mother of God

This iconographic image of the Mother of God is inscribed within a gilded, openwork carved frame. Featured inside a circular medallion, the Virgin is depicted holding the Infant Christ, conforming to the Eleusa (Tenderness) iconographic type, which prefigures Christ's future sacrifice on the cross and the earthly sorrow of the mother for the fate of her son, who gives himself for the salvation of humanity. The image of the Mother of God with Child was one of the most popular and revered, emphasising the connection between mundane life and the sacred realm. The Mother of God gently inclines her head towards the Infant Jesus, who presses against her cheek and embraces her neck. The face of the Virgin is serene and focused, her gaze directed towards the viewer. The emotional substance of the image lies in the synthesis of maternal tenderness and restrained dignity. The rich red-cherry colour of the Virgin's maphorion contrasts with the cool tones of blue and white in the garments of mother and child. Smooth transitions of light and shadow in the modelling of the faces and hands of the saints bear witness to the master's familiarity with academic techniques that penetrated the Ukrainian icon from the Baroque tradition. Concurrently, the figurative restraint, the idealised nature of the image, and the symbolism of colour remain within the boundaries of the Byzantine canon. The carved golden background of the medallion, adorned with a delicate vegetal pattern, transports the depiction beyond the limits of earthly time.
The carved frame features an openwork vegetal ornament composed of scrolls, acanthus-like leaves, and floral motifs. Situated around the medallion, this lush decoration creates an illusion of radiance. The dynamics of the carving elements and the richness of forms are characteristic of Western Ukrainian masters of the Baroque era. The impression of weightlessness and solemnity of the depiction is enhanced by the contrast between the substantial carving and the delicate, almost openwork pattern of the frame. This iconographic representation demonstrates a high level of artistic culture during a period when icon painters and woodcarvers worked in close interaction, and sacred art seamlessly combined painting, carving, and gilding.

Borys Voznytskyi Lviv National Art Gallery