Icons called “All of
Creation Rejoices in Thee” appeared in Russia in the late 15th century. This type of icon was designed by Russian painters as an illustration
of a liturgical hymn. It is based on a troparion glorifying the Virgin Mary,
All of Creation Rejoices in Thee
All of Creation rejoices in thee, O full of grace: the angels in heaven and the race of men, O sanctified temple and spiritual paradise, the glory of virgins, of whom God was incarnate and became a child, our God before the ages. He made thy body into a throne, and thy womb more spacious than the heavens. All of creation rejoices in thee, O full of grace Glory be to thee.
The troparion was written by St. John of Damascus, a famous hymnographer who lived in the second half of the 7th century and the first half of the 8th century.
Each element of the icon corresponds to a certain image mentioned in the hymn. In the center, there is a mandorla — an almond-shaped aureole of light — with the Virgin Mary seated on a throne with the Christ Child. The throne is surrounded by archangels, with humans depicted below them. Among the saints, there is a person wearing red clothing — this is John of Damascus, placing a scroll with the text of the hymn at the feet of the Virgin Mary.
The human race is represented by saints: prophets, Old Testament kings, archpriests, venerable saints, hermits, Church Fathers, apostles, and male and female martyrs. Angels, people of all ages, trees, and birds all rejoice, praising the Virgin Mary.
“All of Creation Rejoices in Thee” features an elaborate composition that consists of traditional motifs. It represents a complex theological concept of the Incarnation of God. The concept refers to God the Word being conceived in the womb of a woman, the Virgin Mary, and arriving in our world to save humanity and atone for original sin. In the light of this concept, all events in the world gain meaning and are filled with content.
Churches in such icons usually feature different
architectural details. They have white or pink walls, with domes covered in
dark, polished tiles above the arches and the altar, a patterned frieze on the
outside wall dividing the surface, windows, and relief images on the walls
between them. In depicting this scene, icon painters could draw inspiration
from any architectural prototypes, but all such images featured details and
decorations of expensive church buildings. These details symbolize paradise as
a place where religious services take place constantly, which corresponds to
the ideas of the Orthodox Church and other Christian denominations about the
Kingdom of Heaven.


