My work began with transferring the traditional drawing (podlinnik) onto the panel and refining it by hand. I then prepared the surface for gilding by applying three layers of yellow bole mixed with shellac. After the bole had properly dried, I laid the gold leaf, which was later sealed and gently cleaned.
The painting itself was created using natural earth and mineral pigments. Mary’s maphorion was painted with burnt sienna and red ochre, gradually modeled with light and shadow to give the garment depth and softness. The garments of Christ and the Archangels were built using red ochre and cadmium yellow, while the blue areas were developed over a base of green umber.
The faces were painted in multiple layers - from darker underpainting to lighter glazes. I used golden ochre, umber, and natural sienna to create smooth transitions between light and shadow, allowing the figures to carry a quiet inner luminosity. The final stage involved refining details and contours to preserve harmony and a calm spiritual expression.
Each stage of the work required time, concentration, and patience. For me, the process of creating an icon is always a journey - slow, attentive, and deeply meaningful.
