Icona Madonna di Vladimir polacca media
Icon of Our Lady of Vladimir hand painted with hand chiselled oakland in silvered copper.
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Icon of Our Lady of Vladimir hand painted with hand chiselled oakland in silvered copper. These icons are the result of the work of a limited number of Polish artisan artists, we import these beautiful icons for over 30 years, personally choosing each piece. The Madonna of Vladimir, also known as the Madonna of Tenderness, is certainly the most famous and beautiful of all the Mother of God's tenderness that differ from the others in the closeness of the cheek to cheek between the Madonna and baby Jesus.The Virgin of Vladimir is very different from the Western madonnas, because she is penetrated by a different spirit, severe and hieratic: she shows a mother who affectionately holds her son against her chest, but her face does not express joy: her deep eyes, full of sadness, look straight at the viewer and have a mysterious and afflicted expression. The Child's face also reflects gravity and concentration. Tradition has it that the Virgin of Vladimir, like many other icons, was painted by Saint Luke. It was to be transferred, around 450, from Jerusalem to Constantinople, where it would remain until the twelfth century. Subsequently, after alternate vicissitudes, Jurij Dolgorukij, Prince of Kiev, entrusted her to the monastery of the city of Vyšgorod. Later, the same prince gave the city and the monastery to his son, Prince Andrej. It was at this time that the icon began to work miracles and attracted many believers. One day Prince Andrej, seeing the icon remain in the air, suspended in the middle of the church, understood that the Virgin had chosen another place, different from the one where she was. So the prince, following the people who were leaving for the North of Russia, decided to found a new principality in the city of Rostov and in the middle of the night he headed north, carrying with him the icon of Vyšgorod. When he got to Vladimir, he saw that the horses were refusing to advance. He had an office (moleben) celebrated in honour of the Mother of God and decided to have a church built there. Two years later, in 1160, the construction was already completed and the icon, richly decorated by Prince Andrej, was exposed to the veneration of the faithful. Since then it has been named after the town. Like all the other icons of Mary, it bears the inscription "Mother of God". It is this title, the greatest ever given to a woman, which offers us the key to understanding the dignity of Mary, intimately linked to the mystery of the Word made man. The fascination that this icon exerts is not only explained by its artistic qualities or by the role it played in the history of Russia. The enigmatic gaze of Mary seems to introduce us into the mystery of her divine motherhood: it is not that of a proud mother of an exceptional child, but a gaze that radiates and directs towards us all the interior richness of the one who has contemplated her Son all her life. It is a look of faith, because she conceived God in her heart before conceiving God in her body. With one hand she holds her Son to herself, while the other raises herself up towards him, with a delicate and respectful gesture, as if she wanted to support him and at the same time direct our attention to him. In fact, although the Virgin occupies the central place of the icon, her presence is all for the Son: the inclination of the head, the slightly turned bust, the gesture of the hands around the Son, make her the place of the presence of the Incarnate Word. He is the Lord of all times, the glory of God. Everything in Him is luminous. On her forehead and shoulders, the Mother bears a brilliant star, symbol of her virginity before, during and after the birth of her Son, a virginity that penetrates her whole being: it is the total availability to the divine Spirit that makes her an instrument of God's creative power. Being a mother and being a virgin are no longer incompatible realities, but complement each other and are necessarily linked to one another. In the Virgin of Vladimir everything takes deep meaning from the Child: her face does not reflect the happiness of a child very close to her mother: her big eyes are full of anguish and transform the movement of tenderness into a movement of fear. Under the gaze of the Son, even the eyes of the Virgin seem to be veiled with sadness, because the Mother knows the fate of the Son. She knows that he became man to suffer the passion.
- Dimensioni icone dipinte
- cm 20X23