Artwork

Icoana este pictată pe sticlă, având tema "Plângerea lui Iisus"; în registrul secund este ilustrat Iisus întins pe lințoliu, în jurul lui aflându-se un grup de cinci persoane, în mijlocul lor fiind reprezentată Sfânta Fecioară. Pe verso, de rama din lemn, pentru a proteja icoana, sunt prinse câteva scânduri. Rama este realizată din lemn de brad cu elemente profilate pe latura interioară, grunduită. Cromatica: alb; negru; roșu; galben; albastru; culoarea patinată a lemnului (rama).

Icoana este pictată pe sticlă, având tema "Plângerea lui Iisus"; în registrul secund este ilustrat Iisus întins pe lințoliu, în jurul lui aflându-se un grup de cinci persoane, în mijlocul lor fiind reprezentată Sfânta Fecioară. Pe verso, de rama din lemn, pentru a proteja icoana, sunt prinse câteva scânduri. Rama este realizată din lemn de brad cu elemente profilate pe latura interioară, grunduită. Cromatica: alb; negru; roșu; galben; albastru; culoarea patinată a lemnului (rama). is a drawing by Unknown. It dates from 1850 and is held in the collection of the ASTRA National Museum Complex. This religious image is painted on glass, depicting the Lamentation of Christ.

About this work

Overview

The composition centers on Christ’s body laid upon a shroud, surrounded by five mourners, with the Virgin Mary positioned centrally among them.

This religious image is painted on glass, depicting the Lamentation of Christ. The composition centers on Christ’s body laid upon a shroud, surrounded by five mourners, with the Virgin Mary positioned centrally among them. The scene is framed in weathered pine wood, reinforced from behind with wooden planks for protection. The use of glass as a support is characteristic of certain Eastern European devotional traditions.

Subject & Meaning

The image illustrates Christ’s body after the Crucifixion, surrounded by mourners in a moment of quiet grief. The Virgin Mary, placed at the heart of the group, embodies sorrow and maternal devotion. The figures, with clasped hands and solemn expressions, convey reverence and mourning. The yellow background, marked by a cross and Latin inscriptions, reinforces the sacred context, linking the scene to liturgical tradition.

Technique & Style

Painted in opaque pigments on glass, the image employs a limited palette: white, black, red, yellow, blue, and the natural tone of aged wood. Figures are rendered with simplified forms and flat planes, typical of folk iconography. The lack of perspective and stylized drapery emphasize spiritual rather than naturalistic representation. The glass surface enhances luminosity, allowing light to interact with the pigments in a way unique to this medium.

History & Provenance

The work originates from a region where glass icon painting was practiced for devotional use, likely in the 18th or 19th century. The wooden frame, made of spruce and internally profiled, suggests local craftsmanship. Reinforcing planks on the reverse indicate practical care to preserve the fragile glass support. Its survival implies continuous veneration, possibly within a household or small chapel setting.

Context

Painting on glass was a regional alternative to wood panel icons, particularly in areas where materials or resources were limited. This practice persisted in rural Orthodox communities, blending Byzantine iconographic conventions with local aesthetics. The inclusion of Latin text alongside Orthodox imagery hints at cultural intersections in border regions, where religious traditions overlapped.

Legacy

This object exemplifies a modest but enduring tradition of glass iconography in Eastern Europe. Though less documented than panel paintings, such works reflect the adaptability of religious art in everyday contexts. Its preservation offers insight into how devotional practices were sustained through accessible materials, preserving spiritual expression beyond urban centers and major workshops.