The Heavenly Coronation of the Virgin Mary represents the final episode of the Assumption, symbolizing the unification of her soul and body in Heaven. This narrative is venerated in Catholicism and, to a lesser extent, in the Eastern Church. Neither the final days of Mary’s life nor her Assumption are described in the canonical Gospels. One of the earliest references to the Assumption appears in Glory of the Martyrs by Gregory of Tours and the writings of Saint Jerome. The Coronation gained particular prominence thanks to The Golden Legend by Jacobus de Voragine (1260). According to this legend, Mary entered paradise as a Queen, led to the throne by the heavenly host. This narrative is based on allegories from the Psalms (Ps. 44:10-15: “…the queen stands at your right hand in gold of Ophir…”), Song of Songs (4:8: “Come with me, chosen one, to my throne”), and the story of Bathsheba, Solomon’s mother (2 Kings 2:19: “The king rose to meet her, bowed to her, and sat on his throne. Then he had a throne brought for the king’s mother, and she sat at his right hand”). In Revelation (Rev. 12:1), the Virgin is described as “clothed with the sun, with the moon under her feet, and a crown of twelve stars on her head.”

Iconography

In Ukrainian iconography, the Coronation of the Virgin Mary appears from the mid-17th century. Like many other themes, it was borrowed from Western artistic traditions, likely influenced by imported engravings. This motif gained its greatest popularity in the 18th and 19th centuries. Such icons typically depict the New Testament Trinity: Christ in a crimson robe with a cross, God the Father with a globe and scepter, and the Holy Spirit as a dove, with the Virgin Mary in the center, hands folded in prayer. The Father and the Son hold a crown above Mary’s head, symbolizing her coronation.

Interestingly, the Virgin is most often portrayed with an uncovered head, a symbol of her purity, which aligns more closely with Western iconography. At her feet, the moon or a serpent may appear, while around her head, twelve stars illustrate the description from Revelation. Angels, symbolizing the Heavenly Host, are often present, as the legend suggests they escorted Mary to the heavenly throne. Sometimes, angels hold symbols associated with Mary, such as a lily, heart, or wreath as tokens of purity.

Since the Coronation is a continuation of the Assumption, icons often combine the two themes—the Coronation in the upper part and the Assumption in the lower part. This combination is characteristic of the 18th century. The popularity of this iconographic type in Ukrainian iconography is attributed not only to the adoption of Western European art but also to the profound veneration of the Mother of God. Thus, the Coronation of the Virgin Mary sometimes became more popular than depictions of the New Testament Trinity due to the presence of Mary. It is no surprise that many such icons have survived. Furthermore, the spread of the Coronation cult in the latter half of the 17th century influenced other Ukrainian Marian icons, with crowns either appearing or becoming more prominent.

Mykhailo Skop

Icons of “The Coronation of the Virgin Mary”