The iconography of the “cloud” version of the Dormition of the Mother of God is based on apocryphal tales and hymns, primarily on the “Account of St. John the Theologian of the Dormition of the Mother of God” and the “Account of John of Thessalonica”, attributed to Pseudo-Dionysius the Areopagite. The icon’s symbolism combines the historical and spiritual meanings of these texts: the Apostles bid goodbye to the Virgin Mary as they weep around her deathbed, and at the same time they arrive on clouds brought by angels from various parts of the world to Jerusalem, the site of the Dormition. Such images of the Dormition have been known in ancient Russian art since the end of the 11th century and the beginning of the 12th century.

Icons with such an elaborate composition were intended to be placed in the local, lower rows of the iconostasis which included Christ, the Virgin Mary, and saints particularly revered in that area. “Cloud” icons of the Dormition began to be used as main church icons during the last quarter of the 15th century. The most famous of these is considered to be the icon of the Dormition of the Mother of God from the Dormition Cathedral in Moscow (1479).

In expanded versions of such icons, the image of the Soul of the Mother of God can vary. In some versions, Jesus holds Her Soul, bringing Her to the Heavenly Kingdom, while in others, She is depicted in glory among the apostles who arrive at the site of the Dormition on clouds.

The icon from the Dormition Cathedral in Dmitrov, Moscow Oblast, follows traditional iconography. In the center, there is the Virgin Mary lying on Her deathbed, with Christ standing behind Her, surrounded by glory. Apostles and angels can be seen at Her bed. In the background, Jerusalem wives and four saints dressed in white omophoria weep over Mary.

In the upper part of the icon, there is the Soul of the Virgin Mary shown in white robes symbolizing righteousness and perpetual bliss. Two angels carry Her to the gate of paradise. This is a rare iconographic variation. More often, She is depicted wearing a cherry-colored omophorion.

The white robes of the Virgin Mary’s Soul can be found in the icon of the same type from the Pavlo-Obnorsky Monastery, which was created by the painter Dionysius around 1500. Nowadays, the icon is kept at the Vologda Museum-Reserve. These icons are characterized by similar restrained gestures, facial expressions, and complex color palettes. The similarity in style leaves no doubt that this icon from the Andrei Rublev Museum was painted in Dionysius’ workshop and possibly with his direct involvement.