The serene face of Jesus looks upon us with compassion and love from this very beautiful icon. With His right hand raised He offers His blessings, while holding the Holy  More »

The serene face of Jesus looks upon us with compassion and love from this very beautiful icon. With His right hand raised He offers His blessings, while holding the Holy Bible. The inscription reads," I give you the new law". On the border at bottom is written, "Everything is trembling." This icon is typical of a style popular in the 18th-19th Century, used for private worship at home and placed in a part of the house known as the "red corner". Each person who entered the home was expected to pay their respects to the image by removing their hat and making the sign of the cross. Christ's character of inner strength, essential humanity and wisdom is beautifully represented by an artist whose skill and piety is abundantly demonstrated. - (PF.5204)Christ Pantocrator - PF.5204Origin: Russia Circa: 1750 AD to 1900 ADDimensions: 8" (20.3cm) high x 6.5" (16.5cm) wide Collection: Russian Icons Style: Russian Orthodox Medium: Oil on Wood Panel   « Less

Christ is seen here seated on a throne in the role as "Pantocrator," or supreme judge of the world. He holds an open book while offering His blessings. Though His face is  More »

Christ is seen here seated on a throne in the role as "Pantocrator," or supreme judge of the world. He holds an open book while offering His blessings. Though His face is stern, His eyes are full of compassion. Surrounding Him, clockwise from middle left, is the Virgin Mary, Archangel Michael, Saints John, Peter, Paul, Nicholas, Archangel Gabriel, and John the Baptist ('the Forerunner'), with local saints prostrating themselves at Christ's feet. Those standing all have their heads bowed in reverence, beseeching Christ to intercede for the dammed. Their faces are full of expression, subtly revealing emotion from within, giving the icon a feeling of humility and piety, albeit with an underlying sense of exaltation. - (PF.5258)Christ the King in Heaven - PF.5258Origin: Russia Circa: 1750 AD to 1900 ADDimensions: 27" (68.6cm) high x 22.5" (57.2cm) wide Collection: Russian Icons Style: Russian Orthodox Medium: Oil on Wood Panel   « Less

The use of an 'encasement' of silver, known as 'Oklad', over an oil painting was particularly popular in Russia for religious works of art. Jesus' beautifully ornate  More »

The use of an 'encasement' of silver, known as 'Oklad', over an oil painting was particularly popular in Russia for religious works of art. Jesus' beautifully ornate vestment, book and halo give a three dimensional effect, with the result that Christ's face and persona stand out more vividly. The inscription on the book reads, "I give you the new law, to love each other." He offers His blessings to the viewer with his right hand raised, as his intense eyes stare with great depth and limitless compassion. The contrast between the glittering gilt and the more somber oil painting, reminds us of the beauty of the temporal world versus the more humble, but much more beautiful, life of the spirit. - (PF.5259) Christ Pantocrator - PF.5259Origin: Russia Circa: 1750 AD to 1900 ADDimensions: 10.25" (26.0cm) high x 8.5" (21.6cm) wide Collection: European Style: Russian Orthodox Medium: Oil on Wood Panel   « Less

Three separate scenes occupy the center square of this multi-faceted icon. At the top is the graphic representation of Christ's descent into Hell (Anastasis). Below, he  More »

Three separate scenes occupy the center square of this multi-faceted icon. At the top is the graphic representation of Christ's descent into Hell (Anastasis). Below, he ministers to His kneeling disciples, surrounded by a glowing nimbus. In a touching scene Jesus preaches to a follower at the Sea of Galilee, while two others sit listening in a boat. The other scenes, depicting the 16 major feast days, from upper left clockwise, are-- Birth of the Virgin Mary; presentation of Mary to the temple; the Holy Trinity; the Annunciation; the Nativity; Baptism of Christ by St. John the Forerunner in the river Jordan; Christ's Transfiguration; exaltation of the Holy Cross; Dormition ('falling asleep') of the Virgin Mary; the beheading of St. John the Baptist; the vision of God in the flames of fire; protecting of the Virgin Mary's veil; the Ascension of Christ to Heaven; the Holy Trinity in the form of angels; Jesus' entry into Jerusalem; His presentation as an infant to the temple. Though such icons were intended, in part, to promote Russian Orthodoxy as the basis for the power of royal Russian dynasty; the sheer weight and power of the collected images overshadows worldly concerns, emphasizing the most beautiful aspects of Christianity. - (PF.5262) The Resurrection and Descentinto Hell with Feasts - PF.5262Origin: Russia Circa: 1750 AD to 1900 ADDimensions: 20.5" (52.1cm) high x 17.5" (44.5cm) wide Collection: Russian Icons Style: Russian Orthodox Medium: Tempera on Wood   « Less

With brilliant gold as a background and surrounded by an ornate border, various scenes from the life of Christ and the Virgin Mary are depicted on this beautiful icon. Twelve  More »

With brilliant gold as a background and surrounded by an ornate border, various scenes from the life of Christ and the Virgin Mary are depicted on this beautiful icon. Twelve panels surround the central portion, representing the events honored by the major feast days of the church calendar, which shows Christ ascending into heaven surrounded by saints; with His baptism by St. John the Forerunner at lower right. A second Baptism is seen in the fifth panel, (clockwise from upper left), as is another Ascension scene below. The Dormition of the Virgin Mary is beneath the Ascension with Christ floating above his dying mother, enveloped in a red nimbus, as He is in other depictions of Him in the purely spiritual state. Other scenes include Jesus' entry into Jerusalem and the Nativity; joining together with the entire sequence of images to create a vivid impression of the life of Christ. - (PF.5287)The Resurrection and Descent into Hell with Feasts - PF.5287Origin: Russia Circa: 1750 AD to 1900 ADDimensions: 12" (30.5cm) high x 10.25" (26.0cm) wide Collection: Russian Icons Style: Russian Orthodox Medium: Oil on Wood Panel   « Less

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the  More »

Russians inherited the tradition of icon painting from Byzantium, where it began as an offshoot of the mosaic and fresco tradition. During the 8th and 9th centuries, the iconoclastic controversy in the Orthodox Church called into question whether religious images were a legitimate practice or sacrilegious idolatry. Although the use of images was in the end permitted, a thorough distinction between profane art intended to depict reality and sacred art designed for spiritual contemplation was established. That difference is one of the reasons that the artistic style of icons can seem so invariant. Certain kinds of balance and harmony became established as reflections of divinity, and as such they invited careful reproduction and subtle refinement rather than striking novelty. Although this philosophy resulted in a comparatively slow evolution of style, icon painting evolved considerably over the centuries. Unlike the pictorial traditions of the west that aspire towards increased realism and naturalism, the essence of Russian icon painting is not about the representation of physical space or appearance. Icons are images intended to aid in contemplative prayer, and in that sense, are more concerned with conveying meditative harmony than with laying out a realistic scene. They were not painted to please the eye of the mind, but to inspire reflection and self-examination. The Mother of God Pokrov - PF.5299Origin: St.Petersburg, Russia Circa: 1750 AD to 1900 ADDimensions: 15.75" (40.0cm) high x 13.25" (33.7cm) wide Collection: Russian Icons Style: St. Petersburg School Medium: Oil on Wood Panel   « Less

Christ occupies the central area of this intriguing icon, with two saints standing on flattened hills either side, at an equal level with Jesus. The scene shows the  More »

Christ occupies the central area of this intriguing icon, with two saints standing on flattened hills either side, at an equal level with Jesus. The scene shows the miraculous moment when Christ manifested His divine nature to his disciples Peter, John and James on Mount Tabor (Matthew xvii,1-13). This supernatural event is represented by His flowing white garment, white rays radiating from His body and the three red rays shooting out from His legs and feet, as if He is lifting upwards. This icon cleverly depicts a metaphysical phenomenon in such a way that we do not lose sight of it having been a momentous human drama. - (PF.5300)The Transfiguration of Christ - PF.5300Origin: Russia Circa: 1750 AD to 1900 ADDimensions: 13.75" (34.9cm) high x 22" (55.9cm) wide Collection: Russian Icons Style:Russian Orthodox Medium: Oil on Wood Panel   « Less

nseparable from the liturgical tradition, religious art is seen by Orthodox Christians as a form of pictorial confession of faith and a channel of religious experience.  More »

nseparable from the liturgical tradition, religious art is seen by Orthodox Christians as a form of pictorial confession of faith and a channel of religious experience. Because the icons provide a direct personal contact with the holy persons represented on them, these images should be objects of veneration, in either a public or private setting, and were even believed to have the ability to heal.This is a touching portrait of mother and child. Mary softly holds Jesus by the bottom as he reaches to grasp her orange garment. Mary, however, is given much more prominence just in relation to the size of their heads. The entire composition is imbedded with an extreme harmony of line and form. Mary’s halo and hood both parallel each other. The arc at her the bottom of her neck follows the circle of the halo. The style is derived from Byzantine works, including the elongated, thin nose and the treatment of the infant Christ’s drapery. Most interesting is the decorations around the Virgin’s headdress. The soft golden color has been punctuated by a series of circles and dots; perhaps this is an attempt by the artist to imitate the pattern of lace. The colors of the work are vibrant and luminous. The reddish orange of the border is echoed in the lighter orange of Mary’s robe. Her inner garment is a rich purple that stand out against the orange, as does the green outline of Jesus’ robe. Above all, this is an intimate scene between mother and child. We see our own selves in them. - (PF.5595)   « Less

Inseparable from the liturgical tradition, religious art is seen by Orthodox Christians as a form of pictorial confession of faith and a channel of religious experience.  More »

Inseparable from the liturgical tradition, religious art is seen by Orthodox Christians as a form of pictorial confession of faith and a channel of religious experience. Because the icons provide a direct personal contact with the holy persons represented on them, these images were objects of veneration, in either a public or private setting, and were even believed to have the ability to heal. The oil painting of this icon is extremely realistic. However, only the flesh of the two holy figures has been painted, the rest of this extraordinary work is encased in a brass oklad. A repoussee technique in high relief has been utilized to produce the folds and curves of the figures drapery. The metal has also been engraved to depict the floral patterns of the Virgin’s robes as well as the sun burst luminescence that radiated from both of their heads. The borders of the oklad have also been elaborated by an engraved abstract motif. To represent Jesus and Mary’s halos, an additional engraved oklad with perforated edges has been attached to the icon. The metal not only imitates the elegance of gold, but also contrasts and emphasizes the softness of the painted flesh. Here, Christ raises his right hand in a sign of benediction as the Virgin holds him close. This is an intimate scene between a mother and child. In them, we see our own selves. Like many icon paintings, this work attempts to combine the familiar and the divine into one. They are both mother and child and Mary and Christ. They are both human, like us, and yet holy, worthy of our adoration and veneration. - (PF.5599)   « Less

Inseparable from the liturgical tradition, religious art is seen by Orthodox Christians as a form of pictorial confession of faith and a channel of religious experience.  More »

Inseparable from the liturgical tradition, religious art is seen by Orthodox Christians as a form of pictorial confession of faith and a channel of religious experience. Because icons provide direct personal contact with the holy persons represented on them, these images were objects of veneration, in either a public or private setting, and were even believed to have the ability to heal. The majority of this icon is covered in a gilded brass oklad, a treatment traditionally reserved for only the most sacred icons. The brass has been molded in a technique known by the French term repoussé to reproduce the folds of his drapery as well as the mass of the book he holds. Only the painted body of Christ has not been covered. This adds a tremendous softness and warm to his flesh. Although he is depicted as Christ Pantocrator, the awesome ruler of the universe, there is also something quite human and sympathetic in his appearance. He gazes at us with huge chestnut eyes, holding the Bible in one hand and forming a sign of benediction in the other. He is a shepherd guiding the prayers of his flock of followers towards heaven. This is a powerful, touching icon. We are naturally drawn to the figure of Christ, towards his eyes, and he welcomes us. He is both simultaneously divine and human. We naturally identify with his humanity and aspire towards his divinity. Through proper veneration, this icon will bring the worshipper that much closer toward heaven and God. - (PF.5600)   « Less