The use and making of icons entered Kievan Dating russian icons’ following its conversion to Orthodox Christianity in AD 988. The personal, innovative and creative traditions of Western European religious art were largely lacking in Russia before the 17th century, when Russian icon painting became strongly influenced by religious paintings and engravings from both Protestant and Catholic Europe. Russian icons are typically paintings on wood, often small, though some in churches and monasteries may be much larger. Some Russian icons were made of copper.

Many religious homes in Russia have icons hanging on the wall in the krasny ugol, the “red” or “beautiful” corner. There is a rich history and elaborate religious symbolism associated with icons. Icons are considered to be the Gospel in paint, and therefore careful attention is paid to ensure that the Gospel is faithfully and accurately conveyed. Icons considered miraculous were said to “appear. A true icon is one that has ‘appeared’, a gift from above, one opening the way to the Prototype and able to perform miracles”. His most famous work is The Old Testament Trinity. Russians often commissioned icons for private use, adding figures of specific saints for whom they or members of their family were named gathered around the icon’s central figure.

Marian icons are commonly copies of images considered to be miraculous, of which there are hundreds: “The icons of Mary were always deemed miraculous, those of her son rarely so”. Icon of the Crucifixion, Novgorod School, c. Because icons in Orthodoxy must follow traditional standards and are essentially copies, Orthodoxy never developed the reputation of the individual artist as Western Christianity did, and the names of even the finest icon painters are seldom recognized except by some Eastern Orthodox or art historians. Icon painting was and is a conservative art, in many cases considered a craft, in which the painter is essentially merely a tool for replication. As the painter did not intend to glorify himself, it was not deemed necessary to sign an icon. Later icons were often the work of many hands, not of a single artisan. Nonetheless some later icons are signed with name of the painter, as well as the date and place.