This 16th-century icon is one of the oldest images of Our Lady of Yaroslavl which have survived to this day. It is a copy of the miracle-working icon created in the 13th century. Legend has it that the original image was the family and devotional icon of the Saint Princes Konstantin and Vasily, along with Christ Pantocrator. Most likely, it was lost during a fire in the cathedral, and the copy on display became venerated as much as the original relic.
June 8 (21), the day when the relics of the princes were uncovered, also became the day when this icon is commemorated. In 1803, the craftsman Ivan Smirnov created a majestic frame for this ancient icon. It portrays the Yaroslavl Princes Vasily and Konstantin and features border scenes depicting the miracles of Theotokos and icons of the Mother of God.
This icon belongs to the style of the Eleusa, or the Virgin of Tenderness, and shows the Infant Jesus Christ nestled against the Virgin Mary’s cheek. This image, filled with love between the Mother and the Son, tenderness and sorrow, was one of the favorites of Russian icon painters. In this case, the artist emphasizes that the Mother of God wishes to protect Jesus from suffering. She does not only hold him gently but also covers him with the edge of her omophorion. The image of Child Jesus nestled against his Mother and touching her chin is imbued with tenderness and trust.
The Mother of God is wearing dark-cherry clothes. The cherry color is a mix of majestic purple and dark blue which symbolizes contemplation. It belongs to the traditional colors for depicting the Virgin Mary. The intentional darkening of the paints and the angular lines on the omophorion contribute to establishing a strict color palette.
The clothes of Child Jesus are depicted in a softer manner, with smoother folds and contours. In the 15th century, Jesus was traditionally depicted wearing a white tunic with a light floral ornament and an ochreous himation with golden contours. This icon depicts only a long ocher-colored tunic with gold hatching. The right sleeve of Christ’s tunic and his belt are dark green.
Despite its small size, the icon has a monumental appearance. This may be explained by the fact that the artist imitated certain elements of the lost original icon.
June 8 (21), the day when the relics of the princes were uncovered, also became the day when this icon is commemorated. In 1803, the craftsman Ivan Smirnov created a majestic frame for this ancient icon. It portrays the Yaroslavl Princes Vasily and Konstantin and features border scenes depicting the miracles of Theotokos and icons of the Mother of God.
This icon belongs to the style of the Eleusa, or the Virgin of Tenderness, and shows the Infant Jesus Christ nestled against the Virgin Mary’s cheek. This image, filled with love between the Mother and the Son, tenderness and sorrow, was one of the favorites of Russian icon painters. In this case, the artist emphasizes that the Mother of God wishes to protect Jesus from suffering. She does not only hold him gently but also covers him with the edge of her omophorion. The image of Child Jesus nestled against his Mother and touching her chin is imbued with tenderness and trust.
The Mother of God is wearing dark-cherry clothes. The cherry color is a mix of majestic purple and dark blue which symbolizes contemplation. It belongs to the traditional colors for depicting the Virgin Mary. The intentional darkening of the paints and the angular lines on the omophorion contribute to establishing a strict color palette.
The clothes of Child Jesus are depicted in a softer manner, with smoother folds and contours. In the 15th century, Jesus was traditionally depicted wearing a white tunic with a light floral ornament and an ochreous himation with golden contours. This icon depicts only a long ocher-colored tunic with gold hatching. The right sleeve of Christ’s tunic and his belt are dark green.
Despite its small size, the icon has a monumental appearance. This may be explained by the fact that the artist imitated certain elements of the lost original icon.
