136 - Dormition of the Mother of God with silver riza - Late 18th century

Dormition of the Mother of God with silver riza - Late 18th century Egg tempera on panel Height x width: 17 x 15 cm Known in the Eastern tradition as Uspenie (the Dormition), this is one of the most solemn and theologically rich liturgical subjects in Eastern Christianity. It is presented here within an exquisite metal frame—technically termed a basma—adorned with *repoussé* (embossed) work. The composition follows the rigid yet captivating canons set forth in traditional manuals of sacred painting, skillfully dividing the visual space between the earthly realm of the Virgin’s passing and the celestial realm of theophany. At the center lies the lifeless body of the Virgin Mary, stretched out on a funeral bier and draped in her characteristic dark maphorion. Surrounding the bier is an assembly of the Apostles, captured in expressions of profound grief and prayer; their figures in the foreground are marked by hieratic faces and golden, finely punched halos that draw the viewer’s gaze toward the dramatic focal point of the scene. Directly behind Mary’s body stands the monumental, hieratic figure of Jesus Christ, enveloped in a radiant mandorla—an almond-shaped aura of divine light—symbolizing Celestial Glory. Here, the Savior does not appear as an apocalyptic judge; instead, He gently holds a small, white, swaddled figure in His hands, representing the pure soul of His Mother—her anastasi—ready to be assumed into heaven. Flanking Christ in the upper section are angels and Church hierarchs witnessing the mystery, while in the background rise complex, elegant, and stylized architectural structures. In the Byzantine-Russian tradition, these elements serve not merely as a perspectival backdrop, but as a symbolic representation of the Heavenly Jerusalem. From a technical and formal perspective, the icon’s execution reveals remarkable skill, most notably in the delicate highlights applied over the darker tones of the flesh areas and the vibrant rendering of the gold used for the haloes. A feature of exceptional decorative interest is the rich metal basma (cladding) that adorns all four sides of the icon, leaving only the central painted panel exposed. This border is decorated with repoussé and chased work, featuring a dense pattern of floral scrolls and blossoms—an ornamental repertoire influenced by the Russian Baroque style, which was widely prevalent in the applied arts of the period. The small fastening nails still visible along the edges attest to the original, authentic craftsmanship involved in mounting the metalwork onto the wooden panel. Taken as a whole, the piece demonstrates the extraordinary ability of Russian workshops to blend the theological continuity of ancient prototypes with the sculptural ornamentation of later eras, resulting in an object of great visual impact and profound devotional significance. H.E. Most Rev. Francisco-Javier Lozano Sebastián, Titular Archbishop of Penafiel and Apostolic Nuncio Emeritus. Item condition grading: *** fair.The lot is in a fair state of preservation with the wear and defects commensurate with its age and use over time; there are numerous missing sections and restorations to the riza.