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Russia, ca. late 19th century CE. A special icon of St. Seraphim of Sarov, the most renowned 19th century saint of Russia. Seraphim was a healer and famous staret possessing the gift of cardiognosis (the ability to 'read' hearts). Ordained to the priesthood in 1793, he left at age 35 to become a hermit in the wilderness, as we see in this icon, kneeling in prayer donning a simple white tunic, birchbark clogs, and a cast bronze crucifix, holding a rosary for the Jesus Prayer around his wrist. Size: 8.75" W x 10.5" H (22.2 cm x 26.7 cm)

He blesses himself before his beloved icon of the Mother of God hanging in the tree above. At his feet are a hat, bread sack, gloves, and axe. The strongly modeled visage as well as the perspectival background suggest that the painter of this icon was very much influenced by Western art. Providing a nice contrast to this naturalism is the decorative border of faux enamelwork derived from Russian folk art on the borders. The borders are meticulously incised and painted to simulate enamel.

According to Curator Jeanne Marie Warzeski, "This icon probably was part of someone’s home. In the early Byzantine Empire, the home became the primary base for the development of icon veneration. Throughout the ensuing centuries, icons continued to receive honor in homes and churches. To this day, many Orthodox Christians create for prayer and meditation in their home a krasny ugol, or “beautiful corner,” where family icons are placed. Guests entering a house customarily honor the icons in the corner by crossing themselves before the objects. An oil lamp is set near the icons and is lit daily, according to Orthodox tradition."

About St. Seraphim's biography Warzeski writes, "Saint Seraphim (1759-1833) was the most renowned 19th century saint in Russia. At the age of 66 Seraphim began his career as a spiritual elder. Emerging from his trial of prayer and vigil, he turned to the suffering world as a healer, visionary and spiritual master. He was known as a hard but compassionate taskmaster who taught that every man could achieve Christian perfection in his ordinary life through the practice of prayer.



Exhibited in "Windows Into Heaven: Russian Icons from the Lilly and Francis Robicsek Collection of Religious Art" at the Mint Museum of Art, Charlotte, North Carolina (December 20, 2003 through February 22, 2004) and the North Carolina Museum of History (October 4, 2013 through March 5, 2014) which presented highlights of one of the world's great artistic traditions through an extraordinary group of sixty-five 18th and 19th century Russian icons on loan from the private collection of Lilly and Francis Robicsek. Published in the catalogue accompanying the North Carolina Museum of History exhibition by curator Jeanne Marie Warzeski (p. 19).

Icons (icon means "image" in Greek) are sacred objects within the Eastern Orthodox Christian tradition. Found in homes as well as churches, these painted images depict holy persons and saints as well as illustrate scenes from the Scriptures. Icons are not worshiped, but are instead venerated for their ability to focus the power of an individual's prayer to God. As such they are truly "windows into heaven."

The “Windows Into Heaven” exhibition profiled a magnificent chapter of Russian artistry, the embrace of the Russian Orthodox faith of religious icons during the Romanov centuries. The Russian religious faith was an offshoot of Byzantine Christianity, which in 1054 parted ways from Roman Catholicism. Icons were and continue to be religious images created for veneration. As a focus for prayers and meditation for believers, icons serve as “windows into heaven.”



Provenance: Ex-Francis & Lilly Robicsek Collection, Charlotte, NC, part of the Museum Exhibition, Windows into Heaven - Russian Icons from the Lilly and Francis Robicsek Collection of Religious Art, North Carolina Museum of History, Raleigh, NC. Published in the catalogue accompanying the North Carolina Museum of History exhibition (p. 19).

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#119463

Surface wear with losses to faux enamel border, the painted surfaces (most significantly at lower left), and gold leaf borders and halo as shown. Verso shows minor losses, fissures, and wire for suspension.