Our Lady of Kazan

The Our Lady of Kazan icon is my individual interpretation of one of the most recognisable and venerated Marian images in the tradition of Eastern Christianity. The work was hand-painted by Monika Żurowska in the Monnci Art studio while preserving the characteristic iconographic relationship between the Virgin Mary and Christ Child.

The icon was created using the traditional technique of egg tempera on a lime wood panel and enriched with hand-applied gold leaf. Gold creates a space of light and spiritual presence around the figures while emphasising the sacred character of the image.

The work is presented in a richly ornamented wooden frame that forms an integral part of the composition. Its decorative, classical character complements the gilded areas of the icon and gives the entire work an almost reliquary-like presence.

Our Lady of Kazan icon – symbolism and meaning

The image of Our Lady of Kazan holds an important place among the Marian icons of Eastern Christianity. The composition concentrates attention on the closeness between the Virgin and Christ, avoiding an elaborate narrative background in favour of an intimate encounter with the sacred figures.

Mary turns towards Christ, while her calm and contemplative expression gently guides the viewer’s gaze towards the Child. Christ is presented frontally, with His hand raised in blessing. The simplicity of this arrangement gives the image a particular strength and transforms the icon into a space of prayer, silence and spiritual reflection.

In my interpretation, I preserved the canonical character of the composition and the symbolic expressions of the Virgin and Christ while introducing a more personal dimension through subtle modelling of light, delicate tonal transitions and harmonious relationships between colours.

Egg tempera, colour and the light of gold

This hand-painted Our Lady of Kazan icon was executed using the traditional technique of egg tempera, allowing colour to be developed gradually through successive translucent layers of pigment.

Particular attention was given to the modelling of the faces of Mary and Christ. The delicate highlights are not intended to create a naturalistic portrait, but rather to reveal the spiritual character of the figures and preserve the stillness characteristic of traditional icon painting.

The deep blues of the Virgin’s garments are balanced by warmer tones in the faces and Christ’s robe. The gilded halos introduce another dimension of light, changing subtly according to the angle of view and surrounding illumination.

In the iconographic tradition, gold is not merely decorative. It symbolises a light belonging to the spiritual realm rather than to a particular time of day or a natural source.

Hand-worked gilding and ornament

One of the most demanding and time-consuming aspects of this icon was the meticulous treatment of the gilded areas.

The richly ornamented halos were created entirely by hand using relief techniques and engraved decoration inspired by historical sacred art. Each ornamental element required precision, patience and a carefully structured, multi-stage process.

Fine details, rhythmic lines and decorative textures allow the gilded surface to respond differently to changing light. Viewed closely, the precision of the handwork becomes visible; from a distance, the ornament forms a unified luminous space surrounding the sacred figures.

It is this meticulous and labour-intensive treatment of the gold that gives the icon its distinctive character and transforms it from a repetition of a traditional model into an individual, original artwork.

Tradition and individual interpretation

In painting this icon, it was important for me to preserve the spiritual and iconographic character of the traditional image while introducing my own sensitivity to colour, light and detail.

The Our Lady of Kazan icon therefore combines traditional technique and sacred symbolism with an individual approach to light, facial modelling and ornamentation.

It may become part of a private prayer space, but it can also function as an exceptional work of sacred art within an elegant interior. The richly decorated frame, gold and deep colour palette give the work a strong visual presence while preserving an atmosphere of silence and contemplation.

The icon was presented in December 2025 as part of the group exhibition “IKONA – święte spojrzenie” at the Diocesan Museum in Tarnów, Poland. Its exhibition history now forms part of the story of this individual work and adds to its distinctive, collectible character.

Artist: Monika Żurowska
Studio: Monnci Art
Title: Our Lady of Kazan
Technique: egg tempera, 24-karat gold leaf
Support: lime wood panel
Icon dimensions: 35 × 46 cm
Dimensions with frame: 50 × 60 cm
Year: 2025
Exhibition: “IKONA – święte spojrzenie”, Diocesan Museum in Tarnów, 2025
Availability: original artwork availably

Discover more hand-painted icons by Monnci Art in the gallery, learn more about Monika Żurowska, or enquire about a commissioned icon.