In wood, pigment paints, and matte lacquer. Measures 46.9 cm x 41.3 cm (18 ½" x 16 ¼"), weighs nearly 5 ½ lbs. In icons of the Resurrection of Christ, the ancient canonical Orthodox iconography shows not the mystery of the Resurrection itself but the descent of Our Lord Jesus Christ into Hell. Up until the end of the XVI century this was the only iconographic solution for depicting Christ's resurrection. In the center of this composition, Christ stands on the broken gates of Hell above its black abyss and the gaping toothy maw of a giant monster representing Satan. On both sides

In wood, pigment paints, and matte lacquer. Measures 46.9 cm x 41.3 cm (18 ½" x 16 ¼"), weighs nearly 5 ½ lbs. In icons of the Resurrection of Christ, the ancient canonical Orthodox iconography shows not the mystery of the Resurrection itself but the descent of Our Lord Jesus Christ into Hell. Up until the end of the XVI century this was the only iconographic solution for depicting Christ's resurrection. In the center of this composition, Christ stands on the broken gates of Hell above its black abyss and the gaping toothy maw of a giant monster representing Satan. On both sides of Christ are the righteous who are being rescued from Hell. Adam and Eve are kneeling, led by Christ out of their graves. Behind them to the left, we see King Constantine and his mother Queen Helena. They were the first emperors who recognized Christianity as an official religion and built shrines on the cites of Jesus in the Holy Land. To the right, we see John the Baptist and one of the Eastern wisemen (volkhvy), who had predicted the coming of Christ as the Messiah.

The complexity of the iconography of the Resurrection is associated with the need to show Christ not only as the Risen One but also as the Resurrector. It speaks of why God came to earth and accepted death. This icon depicts the moment of the turning point, the moment of the meeting of two opposing but unified actions: the ultimate point of the Divine descent becoming the starting point for human ascension.

This beautiful complex icon reflects the transformation happening in the iconography of XVII - XVIII centuries. The rich ornamentation, mixed shades of clothing, precious stones in crowns make the imagery of the icon more secular in the nature of its details, bringing it close to the art of secular painting.

In good condition. The reverse shows areas where wood knots have partially fallen out as well as some very thin and superficial cracks, not reaching deep into the wood. The crossbars holding the boards together are intact keeping the icon straight. The glue between the boards is rock solid. The obverse shows a small area of craquelure on top left and some overall deterioration of the paint where the underlying primer is showing through. However, this only adds character and a sense of authentic antiquity to the icon.

Please note that the pen in our photos is for size reference.
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