Lithography – Antique Painting Technique – Virgin Mary Sweet Kiss

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Virgin Mary Sweet Kiss, who loves her Son affectionately, is one of the most popular icons of Byzantine iconography. The lithography in antique painting technique is hand-finished and is completed with the technique of artificial aging.

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Lithography in antique painting technique with Virgin Mary Sweet Kiss

Virgin Mary Sweet Kiss is always in bust and with her face very close to the face of her child who nests scared in her arms. She wears her mourning overcoat, while Christ is dressed in a gray-green cloak and a light-haired himation. His gaze turns to the Virgin Mary.

Virgin Mary Sweet Kissi, Panagia Glykofillousa, holds her son affectionately in her arms. Her stance underlines her human side. She leans her head and her face touches the face of her beloved son. The tightness of the two forms of the icon is an external point of the sorrow and mourning experienced by the Virgin during the Crucifixion of her son.

The icon of Panagia Glykofillousa also shows the love of the Virgin Mary to her son from her purely human side. Jesus touches the face of the Virgin, like every child in his mother’s arms, to feel the warmth and security of the maternal embrace.

Virgin Mary Sweet Kiss: Why is it so called?

The particular name of the Virgin Mary comes from the iconographic type of the Virgin, which is portrayed to be fond of her head on the cheek of little Christ and, mother and son, to be tenderly embraced.

Lithography: Characteristics

Using a lithographic copy of Byzantine art, the hagiographer, a monk of Mount Athos, created this work following the traditional method of artificial aging, followed by the monks in the Virgin Mary’s Garden.

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