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| Name | | Our Lady of Tenderness |
| Price, USD | | 425.00 |
| Status | | For sale, check |
| Size, cm
| | 20.3 x 20.3 cm /switch |
| Artist | | Peter Wilke |
| Year made | | 1994-01-01 |
| Edition | | Original |
| Style | |
Symbolism |
| Theme | |
Spirituality |
| Media | |
Tempera |
| Description | |
Mother Of God Of Tenderness
Fedorovskaja
"The serpent with whom we had a share in the deification of untruth, and thus were made similar to irrational creatures, failed to penetrate this paradise. The only-begotten Son of God who is himsef "God and of the same substance as the Father formed himself man from this Virgin and this earth. Thus, I, man have become god; 1, mortal being, have become immortal; I have discarded the wrap of skin, I have divested myself of corruption, I find I am enwrapped in the attire of divinity. "
-- John Damascene
About the icon...
In 431 the Council of Nicea attributed to Mary the title "Theotokos," "Mother of God." It is a title which Eastern Tradition has preserved down through the ages. The Mother of God of Tenderness is one of the oldest canonical icons. Here Mary is captured as her Son reveals to her his passion and death. In that look which is at once sweet and tender, sad andjoyful, penetrating and all -understanding, the Virgin is revealed as Mother and Person par excellence who sums up every human feeling and turns it into prayer, St. Sergius of Radoncz commented: "When I am sad, the Mother of God cries with me; happy, the Mother of God smiles with me; a sinner, the Mother of God intercedes for me."
The Child, whose arm clasps his Mother's neck as he leans towards her face, appears here as the Consoler, the merciful Savior who bends down to his creature: in Mary Adam's sin is redeemed and pardoned without reserve, as Romanus the Melodious proclaims: "God did not despise him who was deprived of paradise through deceit and thus stripped of the clothes that God himself had woven. Once more he went to meet him, calling out to the distressed sinner: 'Adam, where are you? Hide no longer. Naked and wretched though you are, I want to see you. Be ashamed no longer now that I myself have become like you. For all your desire to become God you were unable to do so while I have freely become flesh. Come show yourself to me."'
This Icon was first painted in 1239. It was commissioned by prince Vasily Kvasnia of Kostroma, the recipient of a miraculous vision during a hunt. It received its denomination (Fedorovskaja) from the church it was placed in and which was dedicated to Theodor (Fedor) Startilate. Michail Fedorovic, the, first sovereign of the Romanov dynasty (crowned 14 March 1613) was blessed with this Icon. It became the patron of the Romanovs who venerated it in the chapel of the Winter Palace in Petersburg.
Background on Iconography...
Icon comes from the Greek word that means image. It is the same word that is used in the Old Testament Book of Genesis to express the idea that humanity is made in the image of God, the same word used by St. Paul when he says that Jesus Christ is the image of the invisible God. Icons are images of a greater reality than we now experience.
According to Eastern tradition, the first iconographer was St. Luke. It is not accidental that he is both an evangelist and an iconographer, because the preached and written Word are considered by the Eastern Word as equal, two facets of the same Truth. One does not "paint" an Icon, one "writes" an Icon. The grace of God is not limited to the intellect: it can enter the soul intuitively through the eyes as well. The Icon is a language all of its own, not in words, but in color and symbol. The language of Icons must be learned before the beholder can be touched by them, for without interpretation they are without meaning. The language of Icons is the language of the heart, the language of intuition, the language of one soul speaking to another -- and that is their first meaning. Observers don't look at the figures in the Icon, they look out at all humanity with love and compassion.
There are a number of peculiarities unique to this language of Icons. There is no sense of direction of light in an Icon, as the light is God's light coming from behind -- or beyond -- the figure in the Icon. In a way it is as if the figure in the Icon is "transfigured" by Divine Light. There are no shadows in Icons as there are none in- the kingdom of God. The background is gold,(or a golden hue), the gold of eternal life. In the same way, there is no attempt to make the person in the Icon look real (as we find in Western religious art) the figure is distorted intentionally, elongated, so that it cannot be confused with a real person. So it is that the eyes of an Icon are large and luminous, for they have seen the glory of God. The nose is narrow, the mouth is small because the presence of God lessens the need for sensual satisfaction.
The Icon is an image: the worshiper is focused not on what is seen in the Icon, but rather on what is seen through it. What is seen through the Icon is the love of God, expressed through His creatures. Expressed through the Archangel Michael, shown with his sword and adorned with ribbons, antenna symbolizing his attentiveness to divine commands. Expressed through Mary, known as the Theotokos or God-bearer, seen always as serene and tender, wearing a cloak of red with the eight pointed star of the new covenant. Expressed through the Christ child, whom she holds, who is never depicted as a helpless baby but larger than life, touching her and touching all of us.
Icons are not painted to be beautiful, they are painted to express Truth. The Iconographer does not paint according to hi's/her own whims, but follows a detailed technique and design that follows a Canon or Code of laws governing it. The iconographer begins with a period of prayer and fasting before beginning work on the Icon, for divine inspiration is necessary in order to produce something that will be inspirational. Prayer and reflection upon the subject are an integral part of the process of writing an Icon. Icons are doorways into stillness, into closeness with God. If we sit with them long enough, we too can enter into that stillness, into that communion. And if we listen to them closely enough, with our hearts, we will hear the voice of God.
Icons are created using sto ne ground pigments suspended in an egg tempera solution. The paint is floated on in successive layers adding more light each time. Twcnty-three karat gold leaf is applied to tl,e Icon and finally it is sealed making all the layers of paint translucent.
No Icon is perfect because our lives arr not perfect -- we strive perfection but we do not attain it in this life.
This Icon was created by Peter B. Wilke. Peter was born in California was a long time resident of South Dakota. |
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| Artist Peter Wilke |
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| Peter Wilke was born in California and has resided in South Dakota for many years. Peter has been interested in religious art for many years. While growing up he was influenced by ... |
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