It is customary to depict the Mother of God with her hands raised and palms open on icons of the ‘Sign’ type. This gesture symbolizes prayer for all Christians, including sinners, and intercession before Christ. Emmanuel — Christ as a teenage boy — is depicted on the chest of the Virgin in a round medallion. Such an image was supposed to remind parishioners of the dual nature of Jesus: he was not only God but also a man — he grew up and came of age like an ordinary child.
The icon from the collection of the Bishop’s House is painted in uncharacteristically bright colors — blue, red, green instead of the usual muted and dark tones of Russian icon painting. The Virgin wears a red tunic with a gold border at the collar. Her head and shoulders are covered with a maphorium — a blue veil with golden trim and three stars that are located on the forehead and shoulders of the Mother of God: they symbolize her purity before, during, and after the birth of Jesus. The maphorium was most often depicted in red; the blue color of this item is rare in Russian icons.
Emmanuel is depicted in a circle, the border of which is marked with white dots. Christ wears a pink chiton and a blue himation (cloak). In one hand, he has a scroll. He seems to hold his other hand in the gesture of blessing. His whole figure is surrounded by light, and there is a radiant halo around the head of the Mother of God.
Most of the small details of the icon have a special religious meaning. For example, golden brocade cuffs symbolize the allegiance to Christ and the church. The red and gold colors in the attire of the Mother of God serve as a symbol of her divine power over believers.
The face and figure of the Mother of God are painted in an unusual way: her neck looks massive, her face is wide, the facial features are heavy, and the inward slant of the eyes makes her look like the women of Siberian nomadic peoples. Christ, the Mother of God, and saints were often depicted in such a way if the icon was intended for different ethnic groups. Women were painted with a Mongoloid eye shape, and men often acquired long hanging mustaches like those that the Tatars had. At the same time, their robes remained the same, similar to the Greek ones.
The icon from the collection of the Bishop’s House is painted in uncharacteristically bright colors — blue, red, green instead of the usual muted and dark tones of Russian icon painting. The Virgin wears a red tunic with a gold border at the collar. Her head and shoulders are covered with a maphorium — a blue veil with golden trim and three stars that are located on the forehead and shoulders of the Mother of God: they symbolize her purity before, during, and after the birth of Jesus. The maphorium was most often depicted in red; the blue color of this item is rare in Russian icons.
Emmanuel is depicted in a circle, the border of which is marked with white dots. Christ wears a pink chiton and a blue himation (cloak). In one hand, he has a scroll. He seems to hold his other hand in the gesture of blessing. His whole figure is surrounded by light, and there is a radiant halo around the head of the Mother of God.
Most of the small details of the icon have a special religious meaning. For example, golden brocade cuffs symbolize the allegiance to Christ and the church. The red and gold colors in the attire of the Mother of God serve as a symbol of her divine power over believers.
The face and figure of the Mother of God are painted in an unusual way: her neck looks massive, her face is wide, the facial features are heavy, and the inward slant of the eyes makes her look like the women of Siberian nomadic peoples. Christ, the Mother of God, and saints were often depicted in such a way if the icon was intended for different ethnic groups. Women were painted with a Mongoloid eye shape, and men often acquired long hanging mustaches like those that the Tatars had. At the same time, their robes remained the same, similar to the Greek ones.
