Small icon of the Madonna with silver oklad

Small icon of the Madonna with silver oklad
Cell enamel in the style of Pavel Ovchinnikov
Otradnoe 1830 – 1888 Moscow
Beadwork of river pearls
Silver oklad marked (Moscow? 1886, fineness “84”, master’s mark)
Tempera or oil on metal
Icon 7 x 5.5 cm
Wooden display case 9.2 x 8 x 3 cm

This fine icon is comparable to the Mother of God of Kazan. This is one of the most important Marian icons in Russia. She is considered the patron saint of the country and is associated with the liberation of Moscow from Polish occupation in 1612. The icon shows Mary with her head bowed and the Christ Child facing her, blessing her with his right hand in the Byzantine tradition. Icons play a central role in the Orthodox Church as mediators between the earthly and heavenly worlds. They are venerated, kissed and carried in processions. The Mother of God of Kazan was particularly widespread as a domestic icon but can also often be found in churches and chapels.

The oklad of the present icon shows characteristics of the style of Pavel Ovchinnikov (1830-1888), one of the leading Russian goldsmiths of the 19th century. Ovchinnikov was purveyor to the Tsar’s court and was known for his masterly workmanship of silver and enamel. His workshop specialized in the production of iconoclasts, liturgical objects and ornate tableware in the Russian national style. The cell enamel technique, which he perfected in the tradition of old Russian goldsmithing, is particularly characteristic of his work. The icons from his workshop were often decorated with pearls, precious stones or gilded ornaments.

Cell enameling is an elaborate technique in which fine gold wires or silver rods are soldered onto a metal surface to form small cells. These are filled with different colored enamel pastes and fired at high temperatures. The technique was perfected in Russia, particularly in the 19th century, by masters such as Ovchinnikov. The oklad (Russian “oklad” = “cover”) shown here is made of finely crafted silver with cellular enamel. There is also a textile with pearl trimming under the oklad. Beads symbolize purity and immortality and were often used to decorate sacred objects.

Oklads had a dual function: on the one hand, they served to protect the painted surface of the icon from wear and tear caused by contact and smoke from candles and oil lamps. Secondly, they enhanced the icon both materially and spiritually. Particularly precious oklads made of precious metal with enamel or gemstones were a sign of the donor’s veneration and wealth. Icons of particular value or liturgical significance were often placed in display cabinets or cases. This not only served to protect them from physical damage, but also to emphasize their sacred function. The display case prevented excessive wear and tear caused by kissing or touching the icon and at the same time emphasized its high esteem as a sacred object.

This icon reminiscent of the Mother of God of Kazan with its magnificent oklad combines masterly goldsmithing with deeply felt Orthodox piety. The combination of silver, cellular enamel and pearl trimming points to the high level of craftsmanship of 19th century workshops and the central role of icon worship in Russia. The stylistic reference to Pavel Ovchinnikov underlines the importance of this icon as an outstanding example of Russian religious art and goldsmith tradition.