| This outstanding icon has survived in
two pieces, unskillfully joined together with wire. It
represents the Virgin enthroned, supporting the Child
Christ in her lap and flanked by two warrior Saints,
the bearded St. Theodore Stratelates on the right and
the beardless St. George on the left, both standing in
formal pose. Two Archangels are pictured behind the
central group, their wide-open eyes staring with awe
at the hand of God which descends from heaven emitting
a beam of light towards the head of the Holy Virgin.
Portrayed frontally, on a slightly larger scale than
the rest of the figures composing the icon, the Virgin
is seated on the red cushion of the pearl-studded
throne, dressed in a dark blue maphorion (veil), her
feet in purple shoes resting on a golden footrest
adorned with pearls. An intense realism is reflected
in the Virgin's white and pink face painted with ample
highlights and greed shades, in her strongly
accentuated features and large dissimilar eyes with
their vivid glance. The Christ Child is pictured
seated in a remarkably easy and comfortable pose on
His mother's lap. The two Archangels, with their
different haloes but otherwise perfectly uniform
treatment and classical rendering, form a splendid
complement to the central group.
Generally speaking, this icon
presents a synthesis of the hieratic character of
religious art and the profound meaning of theological
doctrine. It symbolizes the mystery of the incarnation
of Christ made man and the glory of the Mother of God.
This justifies the intense expression of the
countenances, the solemn attitudes of the Saints
present at the glory of the Mother of God, the awed
attention of the Archangels who "behold" the
mystery of the incarnation.
The icon is dominated by the formal
severity and hieratic character of monumental art in
Justinian's age. It also reflects the splendor of the
imperial court, particularly in the Saints' attires,
and clearly betrays the continuation of Hellenistic
tradition in the treatment of the Archangels. This
masterpiece, therefore, has been dated by most
scholars in the age of Justinian and attributed to an
imperial atelier of Constantinople. However, it should
be noted that some other scholars maintain that this
icon is a Syro-Palestinian work.
It was painted using the encaustic
technique and is believed to date to the 6th century.
(.70 X .49 meters)
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