[11][20][34] The icon has three feast days held throughout the year in celebration to specific events it is associated with:[12], Our Lady of Vladimir is on display at the Church of St. Nicholas in Tolmachi. She cradles her Child in her right hand, and with her left calls the viewer’s attention to him. Perhaps the chipped paint and scars on the Vladimirskaya’s surface serve as a veil to us who are wounded and not yet fitted for the beatific vision. The Child’s face is brighter than his mother’s, but the Virgin’s face also blossoms with pink and red tones. [1] The photograph included here is a public domain image, found online at .https://commons.wikimedia.org/wiki/File:Vladimirskaya.jpg (accessed May 13, 2016). They embrace cheek to cheek, with the child gazing towards and reaching for Mary. It goes to the essential of the work in an educational way. Anglican theologian and Archbishop of Canterbury Rowan Williams, in his reflection on the Vladimirskaya, notes that the Child’s “boisterous” movement toward his Mother, “seizing handfuls of her clothing and nuzzling his face against hers,” shows us that God is, not ashamed to be our God, to be identified as the one who is involved with us; here, though, it is as if he is not merely unashamed but positively shameless in his eagerness, longing to embrace and be embraced. See David Wagner, “Peirce, Panofsky, and the Gothic,” Transactions of the Charles S. Peirce Society, 48:4 (Fall 2012), pp. Found in the collection of the State Tretyakov Gallery, Moscow. [42], In preparation for the 1980 Summer Olympics, a chapel was constructed for athletes to be able to pray before competition which hosted a copy of the icon. Through its mimetic performance “the icon uncovers a divine vision by giving it a material being—textures that can be grasped and sensorially experienced. [52] García-Rivera writes that, theology can discern the beautiful in the agonized face of a crucified man not as a sadistic exercise or as an expression of deep despair but because theology recognizes that Beauty shines through its communal dimension. Icons: Windows on Eternity: Theology and Spirituality in Colour (Geneva: WCC Publications, 1990), pp. “The best example is iconography: it can be analyzed and understood theologically only if we take into consideration the ‘incarnation’ of art in the subject matter, colours, lines, expressions, etc.”[18] In other words, to understand icons theologically and liturgically, attention must be paid to each particular icon’s subject but also its formal and material qualities—the means through which Christ, the saints, or, in our case, the Theotokos, become present to a particular gathered liturgical community. After a brief return to Vladimir, the icon was set up in 1480 in the Uspenski (Dormition) Cathedral in the Moscow Kremlin—a cathedral, again, which was built specifically to house it. That difference from ordinary, expected wear foregrounds the icon’s devotional use, confronting the viewer with evidence of a storied history that must be considered part of the icon as much as the wood, paint, and gold leaf. García-Rivera carries this point further: the Incarnation is foundational to a theology of art, all art, not only icons or religious art. But something in this image further testifies that it was also not protected from human touch. A theology of art ought to understand the whole rather than the parts.”[4] Thus he seeks to develop a theological aesthetics that, sees a true continuity in the beautiful. Hall Museum Church of St Nicholas, Moscow. [11][22] This was first described by Moscow city official Viktor Volokhov in his book Муниципальная милиция в Российской Федерации. 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