Icon of Mother of God Smolenskaya-Shuiskaya Odigitria Central Russia, last quarter of XIX century.

Icon of Mother of God Smolenskaya-Shuiskaya Odigitria Central Russia, last quarter of XIX century.
Icon of Mother of God Smolenskaya-Shuiskaya in a cut-back centre portion of the icon panel, scholastic painting, gold leaf on halos, adhesive compound applied to the paint layer under the gold. Panel is single, hand-cut.

The very finely painted faces and hands testify to the skill of the iconographer, who was guided by Old Russian icons. The iconographic feature of the Shuiskaya icon, which distinguishes it from other Odigitria icons, is the characteristic position of the arms and legs of the Divine Child: the feet of His right leg stands on the knee of the left one, with His left hand supporting His heel. In Christ's right hand there is a rolled up scroll. The Mother of God supports the left leg of the Child with Her right hand.

The first icon of this version was painted in 1654 in Shuya, Ivanovo region, by the iconographer Gerasim Ikonnikov at the request of the parishioners of Resurrection Church to save them from a plague epidemic. During the creation of the image as a replica of the Smolenskaya icon of the Mother of God, its iconography miraculously changed. After prayers before the new icon, the plague left the city. In 1666-1667 the reports of numerous healings from the icon attracted the attention of the country leadership and the Church, after which a specially created church commission verified these reports and officially recognized the icon as wonderworking. In 1922 in Shuya the wonderworking Shuiskaya icon of the Most Holy Mother of God was withdrawn from the temple, and since then its location is not known.

Preservation: good preservation of painting. Noticeable restoration of the enveloping robe in the area of the shoulder of the Most Holy Mother of God with intrusion to the background. The inserts on the shoulders are modified in color. Faces, hands and legs not covered by dress are authorial authentic. Loss of upper strip of wood on the back of an icon, small collapses of the gesso on the edges and in the lower left corner.

Book dimensions: 25х30.

Central Russia, last quarter of XIX century. Shuya or Vladimir region icon-painting villages (Palekh, Mstera).

 Experts’ consultation:

Belik Zhanna Grigoryevna, Ph.D. in Art history, senior official of the department of expertise and art appreciation decisions of Andrey Rublev Museum, certified expert of the Ministry of Culture Trufanova Olga Evgenyevna, manager of scientific restoration department of Andrey Rublev Museum, associate professor of restoration chair of St.Tikhon's Orthodox University.

天主之母圣像，“斯莫连斯克-舒伊斯克奥季吉特里亚”。中俄罗斯，十九世纪最后四分之一。天主之母圣像斯莫 连斯克-舒伊斯克在凹型板子里，专业学校写作，金箔，金箔银箔细线条。单片木板，手工切割。非常精细的面部 和手部画作证明了圣像画家的技艺，他以古代俄罗斯样本为指导。舒亚圣像与其他 奥季吉特里亚圣像的不同之处在于圣婴手臂和腿的特征位置：右腿的脚在左腿的膝盖上，他支撑着脚后跟用他的左 手。在基督的右手中有卷轴。 上帝之母用她的右手支撑着圣婴的左腿。第一个这种类型的圣像于 1654 年在伊万诺沃地区舒亚市由圣像画家格拉西姆 伊孔尼科夫绘制，受复活教堂教区居民的委托，以消除瘟疫。在作为斯摩棱斯克圣母圣像的复制品创建图像期间， 其图像奇迹般地发生了变化。在新圣像前祈祷后，瘟疫离开了这座城市。1666 年至 1667 年，圣像治愈的无数报道引起了国家和教会领导人的注意，之后专门成立的教会委员会核实了这些报道，并正式承 认圣像具有神奇功效。1922年，在舒亚，圣母圣母的神奇舒亚圣像被从教堂移走，此后位置不详。

情况：绘画保存完很好。圣母肩部和背景中的衣服明显恢复。肩膀上的插入物改变颜色了。神圣的人物- 作者的正品。上木销损失，沿着边缘与左下角是白底漆已塌下来。

像图书尺寸：25х30厘米。

中俄罗斯，十九世纪最后四分之一。舒亚或者弗拉基米尔市的圣像绘画的农村（帕列赫, 姆斯捷拉）。

专家建议：

别利克然纳，艺术学副博士，安德烈鲁布烈夫博物馆的鉴定部门和艺术学鉴定的负责人。文化部认证专家。

特鲁法诺瓦奥利加，安德烈鲁布烈夫博物馆的科学修复部主任，东正教神圣吉洪人文大学的修复教研组副教授。