Orthodox iconography of the Virgin. Our Lady of Oranta

One of ancient images The Mother of God is considered an icon Mother of God"Oranta" (Prayer). Often there is another name - the icon of the Mother of God "Panagia" (All-holy). According to the iconographic type, the icon "Great Panagia" goes back to the famous Blachernae Icon Mother of God from Constantinople.

In Russia, the most ancient in this way is the Yaroslavl Oranta (Great Panagia) icon, which, according to legend, was painted by the first Russian icon painter, St. Alypy, a monk Caves monastery in Kyiv.

Description of the icon

Traditionally, on the icon of the Mother of God "Oranta" the Mother of God is depicted with arms raised and outstretched to the sides, with Christ Emmanuel in a circle on her chest, also spreading her arms in a blessing gesture, which is rare: as a rule, on the icons of the Mother of God, the Infant or Child Christ is blessed with one hand .

The name "Emmanuel" bears any image of the Savior in adolescence, including on the icons of the Mother of God. His gaze is full of childish seriousness, and the gaze of the Mother of God is meekness and humility before the Will of God.

Subsequently, the same type of iconography became characteristic of the icons of the Mother of God "The Sign", "Life-Giving Spring" and "Inexhaustible Chalice".

The Panagia Sumela icon belongs to a slightly different iconographic type, which is also referred to as the Oranta (Panagia) type. This is a half-length image of the Mother of God with Jesus on her knees.

This icon has its own dramatic story. Tradition says that this face was painted by St. Luke himself. Miraculously, the icon ended up on a bare rock ledge, and the Mother of God herself ordered two Greek monks to build an Orthodox monastery here, which was called Sumela. This happened in the 4th century, and since then it has become widely known as the abode of the Virgin of the Black Mountain.

The meaning of the icon of the Mother of God "Oranta"

In iconography, each element of the image has its own meaning. So, on the icon “Theotokos Oranta”, the raised hands of the Mother of God are turned with palms to Heaven, which symbolizes her intercession before the Creator for every, even sinful, soul.

On the sleeves of the Mother of God there are cuffs in the form of wide ribbons with cords that tighten the sleeves at the wrist.

This element of the liturgical vestments of priests symbolizes the patronage and service of the Orthodox Church.

In view Orthodox icon"Panagia" expresses the main Christian dogmas, which include the virgin birth and the two essences of Jesus Christ - Divine and Human. Here Christ Emmanuel personifies the Eucharist - the main church sacrament of communion with the Body and Blood of Christ.

What do the icons "Oranta" ("Panagia") help with?

The Mother of God has always been the Heavenly Intercessor, Patroness, for this they turn to Her, praying for the salvation of the soul, for the healing of physical and mental ailments, for support in moments of difficult life trials, and she really helps.

Icons "Oranta" - "Panagia" have an incredible power of influence: they help to gain a clear understanding of the true path, bestow spiritual enlightenment, protect from the evil thoughts of enemies. The power of the “Oranta” icon is so great that it is able to protect entire countries from enemy attacks, it is not without reason that the Queen of Heaven appears on it in all Her majesty and power.

Prayer icon

Oh, our glorified intercessor, the Most Holy Theotokos! We offer our prayers to You! Our only hope is in you! Come to the aid of us sinners, help us cope with grief and sorrow! Save us from evil, protect our homeland from enemies and do not let us lose heart, O Holy Virgin! Lead on the path of righteousness, fill our souls with light! Cast out the darkness from our hearts, and the demons that have settled in our bodies! You are our only protector! Our salvation is in You! Pray before the Lord for our sins, grant us repentance and forgiveness! Be near and do not leave us, for we will glorify your name, Queen of Heaven! May it be the will of God. In the name of the Father, and the Son, and the Holy Spirit. Amen.

We will give just one example to illustrate that the language of iconology has complexity and depth in revealing the teachings of the Church. We all know the many revered icons of the Mother of God - ancient, famous for miracles, beautiful and very diverse. These icons have names, as a rule, according to the place of finding or wonderworking. For example, the icons of the Virgin - Vladimirskaya, Donskaya. Tikhvinskaya, etc.
But most of the icons of the Virgin are united by a common idea for all of them - the relationship of the Mother of God and the Infant (Logos of Jesus Christ). The relationship between the Mother of God and the Child is an image of the growth of the Christ Child in the soul of a Christian.

"Tenderness" is the first type of icons of the Most Holy Theotokos.

The first type - "Tenderness", includes icons where the Mother and the Baby embrace each other. The Mother of God supports the Child with both hands. The baby is still very attached to the Mother and dependent. She nourishes and protects Him from the world. For us, these relationships are important, because on the spiritual path, every Christian goes through a stage of churching, when his soul meets (gives birth) to the Logos, when a person discovers the possibility of faith and is touched, and feels some kind of inner joy and love, and compassion for the world. At this time, it is especially clear to a person what the icon of the Mother of God shows “tenderness” and he especially wants to pray before Her.

"Hodegetria" - the second type of icons of the Most Holy Theotokos.

Under the second type, icons can be combined, where the relationship between the Virgin and Christ emphasizes His growth. Christ is more addressed to the one who prays. The Mother of God holds Him with one hand, and with the other she points to Him. The baby holds a scroll with the Teaching in one hand, and blesses with the other hand. Icons of this type are also diverse and have many names (according to the place of acquisition), but they are all united by the name "Hodegetria", which translates as "guide". At this stage, the believer begins to realize his spiritual path- service, he is striving to know the depths of his faith.

37. Icon of the Mother of God "Hodegetria", Smolensk.	38. Icon of the Mother of God "Hodegetria", Georgian.	39. Icon of the Mother of God "Hodegetria".

"Oranta" is the third type of icons of the Most Holy Theotokos.

The third type of icons of the Virgin - Mother and Christ - Logos can be combined common name"Oranta" (in Russian "Sign"). On icons of this type, the Mother of God does not hold the Child with her hands. She stands in prayer, reveals Him to the world as the Savior. The baby blesses with both hands. For a Christian, this is such a state of life when he can say in the words of the Apostle Paul: I do not live, but Christ lives in me". All the aspirations of the believer's soul are directed to the service of God and the salvation of man.

43. Icon of the Mother of God "The Sign" - "Oranta the Great Panagia".	44. Icon of the Mother of God "The Sign".	45. Icon of the Mother of God "The Sign".	46. ​​Icon of the Mother of God "The Sign".

"Beginning" and "End" of a row of icons of the Most Holy Theotokos.

In addition to the three main types of icons Holy Mother of God, there are icons on which an intermediate state is expressed. A row of the three types of icons of the Mother of God mentioned above should be supplemented with icons that, as it were, complement this row from the “beginning” and from the “end.” From the “beginning” you can place icons symbolizing the “Annunciation” (virginal conception of the Infant).

And complete the row of icons with icons of Christ in Glory, on the throne, where the Mother of God stands before Christ, the King of Glory.

The Mother of God is higher than the angelic ranks.

The Orthodox Church places special emphasis on the fact that the Mother of God - the Virgin Mother is higher angelic ranks, and Her Glory is greater than all men, since through Her Christ, the Son of God, was incarnated and incarnated, uniting again human nature with its Creator.

This is shown by the icon "Assumption", where not death, but assumption brings the Soul to Christ, and He comes and delights Her into the Kingdom of Heaven.

Sources.

Gallery of Icons of the Blessed Virgin Mary - Iconostasis.

(Click on thumbnail below to view larger image)

"Oranta" - Mother of God praying for people

This iconographic scheme, also known as the "Sign" (in honor of the defense of Novgorod from the regiments of Andrei Bogolyubsky) or "Panagia" - "All Saint", belongs to the earliest.

It is easy to identify this type by the open hands of the Virgin, which are raised to the sky. This variety is also often associated with the virtue of faith. The Mother of God gave birth to the Savior, who came to heal all of humanity, and the Orthodox believe in this fact.

The Mother of God is depicted on the icon from the front, usually to the waist, with her hands raised to the level of her head, spread apart and bent at the elbows. (Since ancient times, this gesture means prayer appeal to God). In Her bosom, against the background of a round sphere, Spas Emmanuel.
Icons of this type are also called "Panagia" (Greek "all-holy").

On Russian soil, this image was called "The Sign", and this is how it happened.
On November 27, 1169, during the assault on Novgorod by the squad of Andrei Bogolyubsky, the inhabitants of the besieged city brought an icon to the wall. One of the arrows pierced the image, and the Mother of God turned her face to the city, shedding tears.
Tears fell on the phelonion of the Novgorod Bishop John, and he exclaimed:

“Oh wonderful miracle! How do tears flow from dry wood? Queen!
You give us a sign that you are praying before your Son for the deliverance of the city.

Encouraged Novgorodians repulsed the Suzdal regiments...

AT Orthodox church images of this type are traditionally placed at the top of the altar.
The main meaning of the icons of the Sign moved from the intercessory intercessory prayer of Our Lady Oranta to the Incarnation of Christ. A sign is, in a certain sense, an image of the Annunciation and an omen of the Nativity and the gospel events following it, up to the Second Coming.

In the St. Sophia Cathedral in Kyiv (XI century) there is one of the most famous mosaic images of Oranta (the height of the figure is 5 m 45 cm). One of the epithets assigned to this image is "Indestructible Wall".

Oranta is distinguished from other iconographic types of the image of the Virgin Mary by majesty and monumentality. Her posture is extremely static, the composition is symmetrical, which corresponds to the ideas of wall paintings and mosaics, arts and crafts, while in icon painting, independent images of the Virgin Oranta without the Child are used extremely rarely. This image is part of complex compositions, for example, in the iconography of the holidays of the Ascension or the Intercession.

In Byzantine and Old Russian ecclesiastical art, the image of the Mother of God Orans with the Christ Child in the iconography of Emmanuel was popular (Heb. - God is with us - one of the prophetic names of God the Son, used in the prophecy of Isaiah (Is VII, 14), represents Christ the lad). Usually Christ is depicted in a round medallion, or slightly visible (translucent) at the level of the Mother's chest.

On the icons in the iconography of the Sign, the Mother of God can be depicted both in height and waist-high.

The development of the iconography of the Sign was the composition of such icons as the Inexhaustible Chalice.

Mentions of such a prayer posture are found in the Old Testament, and the first drawings of the Virgin Mary with arms raised and outstretched to the sides are already found in the Roman catacombs. The shrine looks majestic and monumental, therefore a static and symmetrical composition is often included in wall paintings and mosaics - for example, the Cathedral of St. Sophia of Kyiv in the 11th century is decorated like this.

Similar relics are shoulder or waist, but sometimes there are figures in full height. In addition, the icon of the Mother of God "Oranta" is traditionally placed in the upper part of the altar. It can be an element of more complex works dedicated to the Feasts of the Protection of the Intercession or the Ascension, or it can be supplemented by the face of Christ Emmanuel, inscribed in a round medallion at the level of the Madonna's chest.

The meaning of this image is the intercessory prayer of the Blessed Virgin, Her protection and patronage. Also, this shrine reminds believers of the Annunciation, the Nativity of Christ and subsequent events, up to the Second Coming.

This is the most theologically rich iconographic type and is associated with the theme of the Incarnation. The iconographic scheme is based on two texts: from Old Testament- the prophecy of Isaiah: "So the Lord himself will give you a sign: behold, the Virgin in the womb will receive and give birth to a Son, and they will call His name: Emmanuel" (Is. 7.14) and from the New Testament - the words of the Angel in the Annunciation: "The Holy Spirit will find on you and the power of the Most High will overshadow you, therefore the Holy One who is being born will be called the Son of God" (Luke 1.35). These words reveal to us the mystery of the Incarnation, the birth of the Savior from the Virgin, the birth of the Son of God from an earthly woman.

This finds its expression in the iconographic scheme: Mary is represented in the pose of Oranta, that is, praying, with her hands raised to the sky; at the level of Her chest there is a medallion (or sphere) with the image of the Savior Emmanuel, who is in the womb of the Mother. The Mother of God can be represented full-length, as in the Yaroslavl Oranta, Great Panagia icon, or waist-length, as in the Kursk Root or the Novgorod Sign, this is not so significant. More important is the combination of the figures of the Mother of God and the (half-figure) of Christ, which conveys one of the deepest revelations: the birth of God in the flesh, Mary becomes the Mother of God through the incarnation of the Logos. At the moment of contemplation of the icon, the holy of holies, the inner Mary, in the bowels of which the God-man is conceived by the Holy Spirit, is revealed to the praying one. "Your womb is more spacious" - this is how the Mother of God is called in the Akathist. We see her at the moment of standing before God: "Behold the servant of the Lord, let it be done to me according to thy word" (Luke 1.38). Her hands are raised in prayer (this gesture is described in Exodus 17.11). In the Yaroslavl "Oranta" this gesture is repeated in the figure of the Child, only Her palms are open, and the position of Emmanuel's fingers is different - they are folded in blessing. In other versions of the Sign, the Child holds a scroll in one hand - a symbol of teaching, and blesses with the other. The clothes of the Mother of God are traditional - a red maforium and a blue undergarment. These are the clothes of the Mother of God on all icons (with rare exceptions), and, we recall, their colors symbolize the union in Her of Virginity and Motherhood, Her earthly nature and her heavenly calling. In the Yaroslavl "Oranta" the clothes of the Virgin are flooded with golden light (depicted as a large assist), which is an expression of the streams of grace of the Holy Spirit, which poured out on the Blessed Virgin at the moment of conception. On both sides of Mary, heavenly forces are depicted - either archangels with mirrors in their hands (Yaroslavl "Oranta"), or a blue cherub and a fiery red seraphim. The presence in the composition of angelic and heavenly powers means that the Mother of God, by her humble consent to participate in the act of the Incarnation, raises humanity to a step above the angels and archangels, for God, according to St. fathers, did not take on the angelic form, but put on human flesh. In the hymn glorifying the Mother of God, it is sung like this: "The most honest cherub and the most glorious seraphim without comparison."

The iconographic scheme of the "Sign" can be very simple, as in the Novgorod version, or it can be developed and complicated, as in the case of the Yaroslavl "Oranta". The composition of the latter, for example, includes a rarely seen detail that reveals the liturgical aspect of this image. This is an eagle - a rug under Mary's feet, such are used in bishops' worship. In this case, the eagle symbolizes the cosmic service of the Mother of God, which is before God for the entire human race. The Mother of God stands on an eagle as if on a cloud amid golden radiance God's glory- The Mother of God is a new creature, a transfigured creation, new person. The scheme of the Kursk Root Icon is supplemented by the image of the prophets, interconnected by the likeness of a flourishing vine. The prophets have the scrolls of their prophecies in their hands. All this symbolizes that the Mother of God and God's Son, born of Her, is the fulfillment of all Old Testament prophecies and aspirations. So, in different iconographic variants, in the presence of a common iconographic core, the same theme of the Incarnation is revealed, therefore the iconographic type "Sign" is sometimes called "Incarnation".

One of the variants of the iconography of the "Sign" is "Oranta". In this case, the Mother of God is presented without the Child in the same position, with her hands raised. An example of such a variant is the image "Our Lady - the Indestructible Wall" from St. Sophia of Kyiv (mosaic, 10th century). Here the Mother of God is presented as a symbol of the Church. For the first time Augustine saw in the Mother of God - the Church. This association has received a wide range of interpretations in the history of theological thought.

How does the icon "The Sign of the Most Holy Theotokos" help?

She protects the house and family from any hardships, troubles and problems, supports in difficult times, gives hope and new strength. Varieties of this relic are the "Indestructible Wall", "Inexhaustible Chalice", Kursk, Novgorod, Yaroslavl shrines.

The figure of the Mother of God, depicted in full growth with the Divine Infant, is called "Great Panagia", which means "All Saints".

Half-length images of icons of the "Great Panagia" type in ancient Russian icon painting became widespread and became known as "The Sign". One of the values Slavic word a sign is a miracle. And indeed, the image of the infant Christ in the bosom of the Virgin is a symbol of the greatest miracle, the miracle of the Incarnation, when the Beginningless and Uncontainable God fit into human body. The word sign is akin to the Slavic verb I sign - I convene, I call to worship. This reveals the second deep meaning of this iconography: the raised hands of the Mother of God, as a symbol of prayer; the infant Christ in a circle as a symbol of the Eucharist; the entrustments in the hands of the Mother of God are a symbol of the co-service of the entire Church to its Heavenly Primate.

Since pagan times, our ancestors have asked for the intercession of Mother Beregini, the goddess of the forces of the earth, raising their hands to heaven in a prayer pose. Later, with the spread of Christianity, the images of the Proto-Slavic beliefs faded, changed their appearance, new symbols of faith arose, but people still raised their hands to heaven and asked for help. This is how the image of the Christian Mother Goddess was formed - the patroness of a person with his fears, sorrows, and prayers, the Intercessor, who lifts up a prayer through raised hands from an earthly person further to heaven and to God.

Our Lady of Oranta: the origins of the image

This gesture, traditional in iconography and monumental art, dates back to the period of early Christianity and is a symbol of intercessory prayer, stamina, indestructible spiritual strength, and spiritual warriors. It has been known since ancient times, when Moses gave strength to his people in the battle with Amalekites holding hands up to God.

Since early Christianity 2nd-4th centuries in the Roman catacombs, images of women were found (presumably the first images of the Virgin) with their hands raised in prayer, they are far from the canonical image of Oranta, but they stand at the origins of one of the most common traditions of the image of the Virgin.

The image of Oranta in the "cubicule of the five saints" - a small room with burials in the walls, found in the Catacomb of St. Callistus (Rome, early 4th century). Source - Wikipedia.

Our Lady of Oranta in Latin means "praying". Since ancient times, her image has been associated with intercession, protection of the city, and church hymns organically gave the image of Oranta the epithet “the kingdom is an indestructible wall” (akathist to the Mother of God).

In the Byzantine system of church painting, the image of Our Lady of Oranta was traditionally placed at the top of the altar. Oranta is majestic and monumental, calm and harmonious.

The appearance of Oranta in St. Sophia of Kyiv

At the beginning of the 11th century, with the appearance of a Greek metropolitan in Kyiv Grand Duke Yaroslav the Wise began the construction of a large cathedral Hagia Sophia- in honor of the long-awaited victory over the Pechenegs, at the site of the decisive battle. The central mosaic, located in the semicircular part of the Temple above the altar, was made by Greek masters in accordance with the canons of the capital's churches of Constantinople. It's about about the mosaic of Our Lady Protector Oranta, or the "Indestructible Wall", raising her hands to the Almighty Savior in the dome of the Temple. In accordance with the canons of the Byzantine model, the Mother of God began to be perceived not only as a patroness, wise, a guide from earthly people (prayers) to God (to heaven, to the dome of the Temple), a source of Grace, but also began to be considered patroness of the city, the defender of its fortress walls. The perception of the city as "protected by God" had great importance also for secular life, as it strengthened people's faith in invincibility and chosenness, gave strength in the fight against enemies, encouraged the development of society, construction, and the adoption of laws.

View of St. Sophia Cathedral from the inner monastery courtyard

Symbols of Kyiv Oranta

The central mosaic of the Temple immediately catches the attention of the incoming one. The simplicity of the image characteristic of early Christianity makes it close common man, harmonious, natural and as if alive. Oranta is adamant, strong, confidently standing, while her face is clear and serene. The Mother of God seems to shine against the background of the golden smalt framing her. Blue chiton- Byzantine tradition - symbolizes heavenly perfect purity, virginity. Golden Armlets(detail of the vestments of priests) - a symbol of co-service to the High Priest Christ. Behind the red belt we see a piece of fabric ( lention) - according to beliefs, the Mother of God wipes the tears of those who pray with it. Cover, falling on the shoulders and covering the hair - a symbol of mercy and protection. The cover of gold color is a symbol of light, purity, glory. Three stars on the shoulders and on the brow - traditional elements of the iconography of the Virgin - a symbol of ever-virginity - the Virgin before the birth of Christ, during and after. Shining halo. The combination of gold and red colors in the clothes of the Virgin ( purple boots, red belt) is a sign of her Royalness, since in ancient times these were the colors of the rulers. Red color in the Eastern Christian tradition, it is also a symbol of the human principle.

Mosaic "Our Lady of Oranta" in Hagia Sophia (source - Wikipedia)

Our Lady of Oranta stands on a quadrangular golden stone - an unshakable foundation. Interestingly, in the ancient Christian perception, along with the interpretation of the angle as a figure of stability and foundation (remember the meaning of the concept of “cornerstone”), the angle was considered at the same time as a figure vulnerable, in need of cover or protection.

Along the curve of the arch framing Oranta, there is an inscription in Greek:

God is in his midst; he will not hesitate: God will help him early in the morning. Psalter. Psalm 45:6.

It is about opposing the world chaos of the indestructible City in which God dwells.

Icon "Oranta" - one of the most famous icons depicting the Mother of God. special treatment connects Russian Orthodox person with the Mother of God. From time immemorial, she has become an intercessor and patroness for Russia. main temples Russian state were dedicated specifically to her, therefore the image of the Virgin is always especially revered in Russian Orthodox churches. In the entire pantheon of Orthodox saints, there is no one to whom so many icons and monumental paintings are dedicated.

The meaning of the icon

The iconography of the Mother of God has evolved since the first centuries of Christianity, and during this time several types of her image have developed. One of the most common and ancient types of this iconography is the image called the "Sign" Yu or the icon "Oranta", where the Mother of God is alone and depicted in full growth. These icons are very large in size, in Ancient Russia in temples they played the same role as mosaics and frescoes in the Byzantine temple. Yaroslavl icon early 13th century "Our Lady of Oranta great panagia", which means "All-holy" - one of the most famous and revered images of the Virgin. On the icon "Oranta" the Blessed Virgin is depicted in a prayer pose with her hands raised to heaven. At the level of her chest, in a medallion or sphere, an infant is placed, as it were, in the womb of the mother The icon represents to those praying the great mystery of the birth of God in the flesh.The gesture of the raised hands of the Mother of God symbolizes her inexpressible humility.

History of the icon

Yaroslavl "Oranta", the icon of the Mother of God, was painted for the Assumption Cathedral by order of the Rostov prince Konstantin Vsevolodovich, son of Grand Duke Vsevolod the Big Nest. There are still disputes about this holy image in art history. Many consider it written here, in Russia, they believe that this is the first representative of the whole school of Yaroslavl icon painting. Others argue that this icon is not directly related to the named school, but was painted in Rostov, where it was located until the 18th century. She was once placed in the altar on a high place, towering over the throne. The Virgin Mary is distinguished by the special solemnity of her entire appearance. The Mother of God stands on a richly ornamented carpet. Such rugs are used in churches for hierarchical services. Here it is a symbol of the coming of the Blessed Virgin to God in prayer for all people. Depicted in royal robes, Christ Emmanuel repeats the gesture of his mother. But if her palms are open, then the baby folded her fingers.

Description of the icon

The figure of the Mother of God Oranta on the icon is placed in the radiance of a golden background. Gold, which prevails in the color of the icon, is a symbol of the heavenly world, eternity, in which the Mother of God resides. The golden color also prevails in the medallion depicting the Savior Emmanuel. The medallion in which it is placed appears to be an invincible shield, a symbol of invincibility. Christian faith. In the upper corners of the "Oranta" icon there are medallions of smaller diameter with half-figures of archangels. Their clothes are also generously covered with gold.

White is the second most important color in the icon, it symbolizes holiness and purity. This color is used in the halos of the Mother of God, the Infant God, as well as in the halos and robes of the archangels. The faces of the Blessed Virgin and Christ are made using the technique of overlaying paints in several layers. This creates clarity and contrast of the image, so that the iconic faces become clearly visible even from a considerable distance from which those who were in the temple contemplated the Yaroslavl "Oranta" - the icon of the Mother of God.

Novgorod and Kursk icons

Among other icons belonging to the "Sign" type, we can recall the miraculous and the Kursk Root. In the 12th century, the miraculous icon of Novgorod saved Ancient Novgorod from the Vladimir army of Prince Andrei Bogolyubsky, which was later described in the unique battle icon "The Battle of Novgorodians with Suzdal".

"Kursk Root" got its name due to the fact that it was found near the root of a tree. The icon is known for its participation in the religious processions that once took place from Kursk to the place of its miraculous acquisition, where from then to this day a miraculous spring beats and where the monastery founded in antiquity stands. This Procession known to all by the famous painting by Repin. The Kursk icon became the only shrine against which a terrorist act was committed. At the beginning of the 20th century, a local revolutionary planted an infernal machine on miraculous icon located in the main cathedral of the city. However powerful explosion did her no harm.

Humility is the basis of Christian spirituality

It is important to understand the sacred, sacred meaning that lies in this image of the Mother of God. Nowadays it is fashionable to talk about spirituality. But what is spirituality in the Orthodox sense? The basis of spirituality, according to the teachings of the Holy Fathers of the Church, is humility. Humility is a person's complete acceptance of the will of God for the sake of realizing his salvation. This is exactly what the Blessed Virgin depicted on the icon "Oranta" revealed. Every Christian should know about this.