Russian School (Late 19th Century) Icon
Artist: Russian School (Late 19th Century).
Title: Fyodorobskaya Icon of The Mother of God.
Medium: Oil and enamel on wooden panel.
Size: Height 22 cm x Width 26.5 cm x Depth 2.3 cm.
Condition: The Icon is in good condition, wear is consistent with age and use.
Provenance: Private Collection London.
About: Russian antique icon showing the Resurrection and Anastasis (Decent into Hell) with The Great Twelve Feasts. The Gospels do not describe Christ’s resurrection from the tomb, subsequently, the concept was not adopted by medieval Orthodox iconography with the Anastasis (Descent into Hell) being portrayed instead.
By the 16th and 17th centuries under Western influence, the Resurrection came to be employed by the Russian Orthodox iconographers. Usually, Russian icons of this period combine both the Descent into Hell and the Resurrection.
Artist: Russian School (Late 19th Century).
Title: Fyodorobskaya Icon of The Mother of God.
Medium: Oil and enamel on wooden panel.
Size: Height 22 cm x Width 26.5 cm x Depth 2.3 cm.
Condition: The Icon is in good condition, wear is consistent with age and use.
Provenance: Private Collection London.
About: Russian antique icon showing the Resurrection and Anastasis (Decent into Hell) with The Great Twelve Feasts. The Gospels do not describe Christ’s resurrection from the tomb, subsequently, the concept was not adopted by medieval Orthodox iconography with the Anastasis (Descent into Hell) being portrayed instead.
By the 16th and 17th centuries under Western influence, the Resurrection came to be employed by the Russian Orthodox iconographers. Usually, Russian icons of this period combine both the Descent into Hell and the Resurrection.
Artist: Russian School (Late 19th Century).
Title: Fyodorobskaya Icon of The Mother of God.
Medium: Oil and enamel on wooden panel.
Size: Height 22 cm x Width 26.5 cm x Depth 2.3 cm.
Condition: The Icon is in good condition, wear is consistent with age and use.
Provenance: Private Collection London.
About: Russian antique icon showing the Resurrection and Anastasis (Decent into Hell) with The Great Twelve Feasts. The Gospels do not describe Christ’s resurrection from the tomb, subsequently, the concept was not adopted by medieval Orthodox iconography with the Anastasis (Descent into Hell) being portrayed instead.
By the 16th and 17th centuries under Western influence, the Resurrection came to be employed by the Russian Orthodox iconographers. Usually, Russian icons of this period combine both the Descent into Hell and the Resurrection.