Null Russian school, workshops of the Old Believers, 18th-19th century.


"The V…
Description

Russian school, workshops of the Old Believers, 18th-19th century. "The Virgin of All Sorrows". Tempera, gold leaf on panel. Measurements 31 x 26 cm. The Virgin of All Sorrows is a type of Marian iconography venerated in the Russian Orthodox Church, and is considered miraculous. The canon appeared in 1688 in Moscow in the Church of the Virgin of All Sorrows, also known as the Church of the Transfiguration, although other earlier versions are known, but with different iconography. The final typology of the icon was formed in Russia under a strong Western influence. It is possible to perceive similarities with the iconography of Mercy, of the Immaculate Conception or Maestà. In this sense, the icon corresponds to the traditional canon. In addition to the Virgin Mary depicted in the central register of the image, in a larger size than the other figures, the icon includes images of people afflicted by illness and pain, and of angels performing good deeds in the Virgin's name. The Mother of God is depicted full-length, standing on clouds, in a mystical mandorla and surrounded by angels, with the Christ Child in her left arm, although she can also be depicted alone with open arms, and holding a rosary in her right hand. In the upper register, in the clouds, the Sebaoth is depicted, although versions with the Trinity are also accepted. The scenes of the icon are accompanied by numerous inscriptions, which are prayers and blessings to all the sorrowful, the sick and the suffering.

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Russian school, workshops of the Old Believers, 18th-19th century. "The Virgin of All Sorrows". Tempera, gold leaf on panel. Measurements 31 x 26 cm. The Virgin of All Sorrows is a type of Marian iconography venerated in the Russian Orthodox Church, and is considered miraculous. The canon appeared in 1688 in Moscow in the Church of the Virgin of All Sorrows, also known as the Church of the Transfiguration, although other earlier versions are known, but with different iconography. The final typology of the icon was formed in Russia under a strong Western influence. It is possible to perceive similarities with the iconography of Mercy, of the Immaculate Conception or Maestà. In this sense, the icon corresponds to the traditional canon. In addition to the Virgin Mary depicted in the central register of the image, in a larger size than the other figures, the icon includes images of people afflicted by illness and pain, and of angels performing good deeds in the Virgin's name. The Mother of God is depicted full-length, standing on clouds, in a mystical mandorla and surrounded by angels, with the Christ Child in her left arm, although she can also be depicted alone with open arms, and holding a rosary in her right hand. In the upper register, in the clouds, the Sebaoth is depicted, although versions with the Trinity are also accepted. The scenes of the icon are accompanied by numerous inscriptions, which are prayers and blessings to all the sorrowful, the sick and the suffering.

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