“Shelter of the World, More Spacious Than a Cloud” Two Types Of

Roksolana Kosiv “Shelter of the World, More Spacious than a Cloud” Two Types of Iconography of Virgin Mother of Mercy in Western Ukrainian Icons on Canvas and Church Banners of the 1670–1730s UDC: 75.05(477)”16/17” Roksolana Kosiv Lviv National Academy of Arts, Lviv, Ukraine [email protected] In the second half of the 17th and the 18th century the theme of the Intercession of the Theotokos gained considerable popularity in Ukrainian lands and featured various iconography. At that time a new image emerged, borrowed from Latin West, of the Virgin Mary Mother of Mercy spreading her cloak over faithful Christians. Under the influence of the liturgical texts dedicated to the Virgin and the cult of the Protection of the Theotokos, two main images of the Mother of Mercy appeared in Western Ukrainian iconography. The first and the most prevalent is the image of Mater Omnium representing Virgin Mary as a patroness of all people – rulers, the imprisoned, sinners and disabled. In the Mater Omnium image, people are standing on both sides of Mary Mother of God. The second variant represents people in need as reflected in the words from the sticheron “O Joy of all the afflicted”. Keywords: image of Virgin Mary Mother of Mercy, iconography, icons on canvas, church banners, Western Ukrainian icon painting of the 1670-1730s This study attempts to present the emergence, development and variants of the Virgin Mary Mother of Mercy theme in Western Ukrainian art in the second half of the 17th and the first half of the 18th century, and its de- pendence on and relationship to the liturgical texts and the religious and political situation of that time. Through the example of this image, a combination of typical Latin iconography and Eastern liturgical texts can be traced. It should be pointed out that Western Ukrainian lands were located across Western and Eastern Christian cultures, the ecclesiastical rite was traditionally Orthodox and adapted from the Byzantine. From the 17th century on the influence of Latin art was becoming increasingly noticeable in the culture and art of the region. Sometimes the Latin influence combined with local traditions and church services to form synthesized variants of iconography with its local features. The image of the Virgin Mary Mother of Mercy is one such variant. The idea of Mary’s intercession is eloquently visualized in the image of the Mother of Mercy with her cloak spread over those who need her care and protection. One can find various titles on the Ukrainian icons which are mainly epithets - “All Suffering Virgin”, “Our Lady of Perpetual Help”, “Intercession of the Theotokos” - that convey the idea of the image. The first epithet is taken from the famous verse, part of the Octoechos, Menaia and Prayer Service to the Mother of God. The designation of the Mother of Mercy that we use does not occur on the icons we investigated; it is rather a scholarly delineation of iconography that distinguishes it from the traditional Inter- cession of the Virgin with St Romanus the Melodist. Attention will be paid to Western Ukrainian icons on canvas and church banners of the 1670-1730s, where the image of the Virgin Mother of Mercy contains local features. As previously noted, the basic scheme of iconography was adapted from Western patterns. However, specific versions of this image were developed locally, and they were closely connected with liturgical texts and social features. Such direct analogues are not found in Latin iconography. The image of Our Lady Mother of Mercy has received less scholarly attention than the medieval iconography of the Protection of the Virgin in Ukrainian art.1 The period of interest is the time when this iconography appeared in Ukrainian churches and started its particular 387 IKON, 10-2017 development. From the middle of the 18th century this image began to lose its popularity. In the Boyko and Lem- ko regions and Galicia,2 which are now part of the Lviv and Ivano-Frankivsk regions in Ukraine and of the Lesser Poland Voivodeship, a special iconographic image of Our Lady Mother of Mercy appeared that was unknown in other Ukrainian lands of that time. Among of the extant works, the image is better represented by icons on canvas and church banners which were also painted on canvas.3 The image of Our Lady Mother of Mercy can be seen on contemporary icons on wood as well, but it is often presented in a shortened iconographic version. According to researchers, the image of Our Lady of special care of the faithful appeared in the lands of Kyivan Rus at the end of the 12th century4 and in the first third of the 13th century in Western European art.5 Images of the Virgin Mary Mediatrix had different sources of iconography. The first is based on the vision of the Byzantine holy man St Andrew the Blessed Fool-for-Christ, who lived in Constantinople († 936),6 and the second, mostly on the vision of the Bernadine monk Caesarius of Heisterbach (c. 1180-c. 1240) described in his treatise Dialogus miracu- lorum (c. 1230).7 In the art of Kyivan Rus and later, as indicated by the signatures, the name of the scene was The Protection of the Virgin Mary and in Western European art it was often called The Virgin Mother of Mercy (Mater Mi- sericordiae).8 In Western Europe, various versions of the iconography of Mater Misericordiae were developed. Under the cloak of the Virgin of Mercy only monks of one order could be portrayed. The Virgin could cover an entire city and its citizens with her cloak, often with the intention of protecting them from an epidemic, and members of a family or sailors and sometimes various symbolic motifs, such as allegories of deadly sins, were added to the scene. The Virgin could also be presented as the Intercessor for the people to her Son, who was ready to shoot arrows of anger at sinners, or as the Virgin Mediatrix in the Last Judgment. Besides the Virgin with her cloak, different patron saints and angels could be depicted.9 One of the oldest examples of the Virgin Mary deploying her cloak dates from the end of the 13th or the beginning of the 14th century – the baptistery fresco in Padua,10 a miniature in Speculum Humanae Salvationis (1330)11 or two seals of the Bernadine monks (1330–1350’s).12 Written sources testify that the image appeared much earlier. It was shown on a banner from c. 1267 that belongs to the brotherhood of the Vir- gin Care founded by St Bonaventure.13 It is believed that in Western Europe, development of the cult of the Virgin Mary Mother of Mercy was often associated with epidemics of plague and church processions that needed protection and invoking of her intercession.14 In Ukrainian culture in general, the image of the Protection of Our Lady, in particular Mother of Mercy, is of more military and social importance as this was a period of frequent military confrontations between neighbors and the Turkish raiders. The social context of this image conveys the inclusion of people of different social classes depicted in the clothes of the time and with actual needs. In the second half of the 17th century, Ukrainian theologians were particularly interested in the Marian theme. At that time, a separate literary genre became prominent. These were stories about the Virgin Mary and her miracles where the Virgin was glorified as Patroness and Queen of Heaven. The Virgin Mary was praised by such Ukrainian bishops as Ionykiy Halyatovskyi in his work New heaven (Небо новоє, 1665), Dmytriy Tuptalo in his treatise Fleece bedewed (Руно орошенне, 1680), Anthoniy Radyvylovskyi in Garden of the Virgin Mary (Огородок Марії Богородиці, 1676), and Lazarus Baranovych in The Trumpets of Preaching Words (Труби на дні нарочитиє, 1674). In the period of the Cossack Hetmanate and the Zaporizhian Sich, where Ukrainian Cossacks were situated, the Inter- cession became a national holiday. Portraits of the Cossacks were painted among the figures in the scenes of the lower registers. This is characteristic of compositions with St Andrew the Blessed Fool-for-Christ and images of the Virgin Mary Mother of Mercy as well. In the literature such images are called the “Cossack Intercession.”15 Akathists published in the 17th and 18th centuries in various printing houses were of great importance in the development of the iconography of the Virgin, particularly scenes of her intercession. The first Ukrainian edition of Akathists was published in Kyiv in 1625. The texts were illustrated with miniatures, where the Virgin of Protection is shown in various versions. We assume that texts of Moleben (Prayer Service) to The Mother of God and separate Marian sticherons also had a significant impact on the iconography of the Virgin Mary Mother of Mercy in the Ukrai- nian lands. The text of Moleben with the Greek title Paraklesis is included in the Akathists, printed in Univ in 1660.16 Moleben to The Mother of God with the same definition was written in Akathists printed in Kyiv in 1677.17 388 Kosiv, “Shelter of the World, More Spacious than a Cloud” Before outlining art works with the image of Our Lady Mother of Mercy in the second half of the 17th and the 18th centuries, it should be noted that the idea of Mater Omnium was expressed in the Ukrainian art of princely times (11th-13th c.) with an image of the Orans. According to the Byzantine tradition, the image was often portrayed in a conch of sanctuary apses in churches.

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