The Icon of Virgin Mary Glykofilousa (The Sweet Kiss) from New Skete

The revered Icon of the Virgin Mary resides in the proskinitarion of the northeastern column of the main temple of New Skete. The multitude of offerings that nearly veil the figure of the Virgin attests to the miraculous properties attributed to this icon by believers.

Description of the Icon

The Virgin Mary is depicted holding Jesus on her right hand, tenderly embracing Him with both arms as if to shield Him. Her melancholic gaze is directed towards the devotees. Mary's purple attire is embellished with gold embroidery. Christ is seen reaching out his left hand to the Virgin’s chin, while with his right, He touches Her right hand. He is clothed in a white shirt, a green tunic, and a red maphorion. Beside Mary's halo are two full-length angel figures, holding open scrolls that read: "Rejoice, for you are the Throne of the King; Rejoice, for you bear Him who bears all." The names "Michael" and "Gabriel" are inscribed in gold letters next to the angels. The icon is labeled "Glykofilousa", with remnants of its silver riza seen on the halos and hands of the two figures.

Iconography Insights

From an iconographic perspective, the New Skete’s icon represents a modified version of the Virgin of Tenderness, as she encloses Christ in her embrace. A distinctive feature is the depiction of the Divine Infant, especially the positioning of his hands. The movement of Christ's left hand beneath His Mother's chin is a key characteristic of this icon type, also found in all icons of the Virgin Pelagonitissa. This modified iconography finds its roots in the 12th-century icon of Virgin of Tenderness, T137, from the Byzantine Art Museum in Athens, and gains popularity in various architectural monuments and portable icons primarily in Kastoria, Macedonia, and works of the Cretan school starting from the 15th century.

Theological and Artistic Significance

Of particular interest in the iconography of Christ is His transparent shirt, which might be seen as a manifestation of Western influence. However, such attire also appears in mid-Byzantine art, influencing Western iconography. This imagery of the Infant's attire traces back to Byzantine iconography, associated with the theological notion of the Incarnation. Undoubtedly, the linkage between the Nativity and Christ's Passions originates from hymns and is expressed in iconographic themes like the Presentation into the Temple, the Christ Anapeson, and the Vrefokratousa type.