Virgin of Mercy from Stara Sil’ (c.1600 – c.1625) by Orthodox Icons

Virgin of Mercy from  Stara Sil' - Orthodox Icons - c.1600 - c.1625

Artwork Information

TitleVirgin of Mercy from Stara Sil'
ArtistOrthodox Icons
Datec.1600 - c.1625
Art MovementGalicia-Volyn school

About Virgin of Mercy from Stara Sil'

The artwork titled “Virgin of Mercy from Stara Sil'” is a significant piece attributed to Orthodox Icons, created between approximately 1600 and 1625 during the cultural flourishing of the Galicia-Volyn school. This icon is part of the series “Holydays and Events of Sacred History” and falls within the genre of religious iconography. It embodies the spiritual sensibilities and stylistic traits characteristic of this period and region.

The artwork depicts the Virgin Mary in a central, commanding position, with her arms outstretched wide, enveloped in a deep red maphorion (cloak), which symbolically extends protection to a gathering of faithful followers assembled beneath. The protective mantle is grand, dominating the composition and drawing the viewer’s focus directly toward the Virgin. This gesture of mercy and shelter reflects the title of the piece, signifying the Virgin’s role as a divine intercessor and protector of humanity.

Swathes of the cloak cascade down, sheltering an assembly of worshippers and clerical figures, who are clustered closely, their faces turned upwards towards the Virgin with expressions of reverence and supplication. This intimate portrayal of the figures suggests a personal connection between the divine and the mortal, highlighting the Virgin’s compassionate nature. The use of gold in the background and the halos signifies the divine light and the sacredness of the scene.

The figure of the Virgin herself is rendered with serenity and grace, her face embodying a sense of tranquil benevolence. The inscription above provides a textural element that further roots the work in the liturgical traditions of the Orthodox faith.

This icon’s essence lies not only in its portrayal of the religious narrative but also in its reflection of the intricate relationship between the sacred and the earthly realms as perceived in Eastern Orthodox Christianity. The artwork’s place within its series “Holydays and Events of Sacred History” underscores its role not just as an object of veneration but also as a teaching tool for the faithful, illustrating key theological concepts and moments of divine intervention in human affairs.

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