86 - Mother of God of the Burning Bush (Neopalimaya Kupina) - Late 18th century

Mother of God of the Burning Bush (Neopalimaya Kupina) - Late 18th century Egg tempera on panel Height x width: 31 x 26 cm This sophisticated iconography is rooted in the prophetic visions of the Old Testament—most notably the burning bush seen by Moses, which remained unconsumed (Exodus 3:2). Patristic tradition interprets this as a definitive prefiguration of the Virgin Mary, who received the fire of the Divinity into her womb without being consumed by it. At the heart of this complex geometric architecture stands the Mother of God with the Child in her lap; in her right hand, Mary holds Jacob’s theophanic ladder and an image of a palace or temple—further Marian symbols representing a divine passageway and dwelling place. The composition is dominated by an intricate eight-pointed star, formed by the superimposition of two crossed rhombi (or star-shaped squares), which in turn rest upon a four-lobed background. The darker rhombus—typically green or midnight blue—symbolizes the bush itself and earthly nature, while the vibrant red rhombus superimposed upon it represents the divine, celestial fire. Within the points of the star and the lobes behind them unfolds an elaborate celestial hierarchy, teeming with angelic figures—rendered with the exquisite, painstaking detail characteristic of miniature painting—that govern natural elements (such as winds, lightning, and dew) in submission to the incarnate Logos. In the four outer corners surrounding the central composition, the key prophetic visions from the Old Testament are finely depicted: Moses before the burning bush (top left), Isaiah’s vision of the seraph and the burning coal (top right), Ezekiel’s closed gate, and Jacob’s ladder. Stylistically, the work reveals a miniature-like execution characteristic of a high-level devotional tradition, featuring a somber, deep palette in which cinnabar reds and dark greens create a chromatic contrast of extraordinary mysticism against the original gilded background. The wooden panel remains in an authentic, well-preserved state, marked by a pronounced vertical split running through the upper center—a natural fissure in the wood, stabilized over time—as well as widespread losses to the gilding and the underlying paint layer, which reveal the original gesso (levkas) preparation. This clear evidence of aging, combined with a rich, period patina, only enhances the piece’s archaeological allure and devotional authenticity, making it a lot of immense interest to scholars and collectors of antique Russian icons—works deeply imbued with theological and symbolic significance. H.E. Most Rev. Francisco-Javier Lozano Sebastián, Titular Archbishop of Penafiel and Apostolic Nuncio Emeritus. Item condition grading: **** good.The lot is in a good state of preservation with the normal wear and defects commensurate with its age and use over time. Losses and restorations.