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7. The Mother of God with Child - Anonymous

This painting is called The Mother of God, and it is an Eleusa-type orthodox icon created in the Banat region in the 18th century. Its author is anonymous.

In the Orthodox tradition, the Mother of God holds a central role, defined both by the theology of the Church and by the devotional practice of the faithful. Her importance is closely connected to the title Theotokos, meaning Bearer of God. This name emphasizes the fact that Mary gave birth to Jesus Christ, the incarnate Son of God, and that through her the bond between the divine and the human was accomplished.

Eleusa is one of the most sensitive and easily recognizable iconographic types of the Mother of God in the Orthodox Christian tradition. The name comes from the Greek language and translates as “The Merciful” or “She Who Shows Mercy.” What defines the Eleusa icon is the gesture of intimate tenderness between the Virgin Mary and the Christ Child. For this reason, it is also popularly known as The Icon of the Tender Embrace. Beyond the emotion it conveys, the composition of this type of icon has a profound theological meaning. On the one hand, it highlights the full humanity of Christ, through His need for maternal comfort and protection, and on the other hand, the Virgin Mary’s awareness of her Son’s destiny. Her face is often marked by a gentle melancholy, suggesting that she is conscious of Christ’s future Passion for the salvation of the world. The Eleusa is the supreme symbol of compassion and divine mercy, the Virgin being the one who, through her mercy and prayers, constantly intercedes for humankind.

This type of work represents the central pieces of the iconostasis and is called imperial icons. The iconostasis is a wall that separates the altar from the nave. It can be made of wood or masonry and symbolizes the separation between the unseen—the altar—and the visible—the nave. It serves as a kind of display space for icons, which have a clear order in Orthodox churches: an icon of Jesus Christ, always placed on the right, one of the Mother of God with the Child, on the left, an icon dedicated to that specific church, depicting its patron saint, and often, an icon of the Holy Archangels Michael and Gabriel.

In the icon, two figures are represented: the Virgin Mary, that is, the Mother of God, and Jesus Christ, the Child. The background has a matte texture, over which small graphic elements are superimposed: stars and explanatory inscriptions. The stars are depicted simply, with thin raised lines that intersect in the middle like an “X.” The style of surrounding the figures in icons with stars is of Eastern, Byzantine origin, symbolizing the divine nature of the represented figures.

In the upper left corner, the letters M and R are written in relief, in ancient Greek. They represent the first and last letters of the word Mater, meaning “Mother.”

Inscriptions were essential on icons to identify the figures and to validate the spiritual meaning of the image, distinguishing it from simple artistic portraits. The icon is considered theology in colors, and the inscriptions are part of that theology. The abbreviation of sacred names is a technique used in early Christian manuscripts and icons: nomina sacra. It was a way of expressing veneration and absolute respect for those names—the names of the Savior and the Mother of God were considered too holy to be written in full.

In the upper right corner, the letters T and U are written, that is, the beginning and end of the word Teou—God—completing the expression Mater Teou, meaning “Mother of God.” Also on the left side, slightly lower, we find the letters I ELEUSA. The translation from ancient Greek is “The Merciful One.” On the right side, near the Child’s head, we find the letters IC and XC, that is, the first and last letters of the name Jesus Christ in Greek. All these letters are rendered in relief.

The figures in the icon are positioned centrally and cover most of the work. The Virgin Mary is represented frontally, from the top of the head to the waist. She holds Jesus in her arms. The Virgin wears a garment that covers her head and body, rendered with a fine texture. Around her head, Mary has a halo. It is depicted through a circular outline marked by a raised line, and its surface is smooth. The Virgin Mary’s face is also represented with a smooth texture, and the facial features are rendered with a raised line: eyes, nose, mouth, chin. Around her head, a small part of her hair is visible, tucked under her veil. The strands are orderly, neat, and represented with thin raised lines. The Mother’s head is turned toward the Child, but her gaze is directed into the distance. She has a neutral facial expression. In icons, the Mother never looks directly at the Child or at the viewer but maintains a contemplative expression, as if reflecting. She holds the Child without embracing Him, as one would present something sacred brought as an offering.

The Child is held with the Mother’s left hand. He has the size of a child but the appearance of an adult. This standard of representation in icons conveys the message that Jesus was born complete in His divine and spiritual nature. By depicting Him with a high forehead, a mature gaze, and adult proportions in miniature, the painter shows that the Child already carries within Himself all the authority and wisdom He would manifest as a Teacher at the age of thirty. The Child’s face and hands are represented with a smooth texture and a raised-line contour. His facial expression is neutral, and the hair is depicted with thin lines. Around His head, in the shape of a circle, there is a halo, represented with a smooth texture and a raised outline. The Child’s halo is divided by thin lines into sections forming a cross, and on one of them is written in relief the letter H, symbolizing the word “Christ.” The Child is dressed in a robe with a rough texture. His right hand has the index and middle fingers raised.

The gesture of Christ’s hand in icons, known as the gesture of blessing, is a profound language, a theological formula addressed by the Savior to the viewer. His fingers do not suggest earthly victory but reveal His sacred identity.

This hand position actually forms the abbreviation of His name, IC XC (Jesus Christ). The straight index finger outlines the first letter of Jesus (Iota), while the slightly curved middle finger represents the last letter, an S (Sigma). At the same time, the ring finger and the thumb join to form the first and last letters of Christ (X and S).

Through this subtle interplay of the fingers, Christ pronounces His own Name, and the raising of the two fingers (index and middle) affirms another mystery: He is fully Human and fully Divine, uniting the two natures in a single gesture. In His left hand, the Child holds a scroll of parchment, an object that affirms His divine authority as Teacher even in infancy. In the lower part of the mantle, the Child’s feet are also represented, with the same glossy texture specific to skin and the contour marked by a raised line.

This work illustrates the synthesis of Byzantine and Brâncovenesc influences characteristic of the 18th-century religious art of the Banat region. Through its composition and theological symbols, the icon illustrates the importance of Orthodox tradition and the cultural influences of Banat at that time.