The event of the Lord’s Entry into Jerusalem is described in all four canonical Gospels. In the Gospel of Matthew (21:1–11):​ “Now when they drew near to Jerusalem and came to Bethphage, to the Mount of Olives, Jesus sent two disciples, saying to them, ‘Go into the village in front of you, and immediately you will find a donkey tied, and a colt with her. Untie them and bring them to me. If anyone says anything to you, you shall say, “The Lord needs them,” and he will send them at once.’ This took place to fulfill what was spoken by the prophet, saying, ‘Say to the daughter of Zion, “Behold, your king is coming to you, humble, and mounted on a donkey, on a colt, the foal of a beast of burden.”‘ The disciples went and did as Jesus had directed them. They brought the donkey and the colt and put on them their cloaks, and he sat on them. Most of the crowd spread their cloaks on the road, and others cut branches from the trees and spread them on the road. And the crowds that went before him and that followed him were shouting, ‘Hosanna to the Son of David! Blessed is he who comes in the name of the Lord! Hosanna in the highest!’ And when he entered Jerusalem, the whole city was stirred up, saying, ‘Who is this?’ And the crowds said, ‘This is the prophet Jesus, from Nazareth of Galilee.'”​

In the Jewish religious perception during Jesus’ time, there was a belief that the Messiah would come specifically during the Passover to deliver the people from foreign oppression. In Jerusalem, rumors were spreading about numerous miracles performed by Jesus, particularly the resurrection of Lazarus. This led to a massive and solemn reception of the Savior upon His entry into the city. To emphasize the peaceful nature of His mission, Christ entered on a donkey—according to Near Eastern tradition, such an animal symbolized a peaceful arrival, in contrast to a horse, which was associated with war.​

In classical iconographic compositions of the Lord’s Entry into Jerusalem, the central figure is Christ seated on a donkey. He blesses the people to whom He approaches. Often, Jesus is depicted in a half-turn, facing the apostles who follow Him. At the donkey’s feet, children are traditionally shown laying their garments and palm branches before the Savior. In the background, palm trees with children climbing them are depicted. To the right, stylized city gates are shown, from which Jerusalem’s inhabitants emerge to greet the Messiah. At the forefront are representatives of the ruling elite and nobility. In the depth of the composition, a cityscape, rocks, and palm trees are visible. Starting from the second half of the 17th century, mirrored versions of the composition appear, where the city towards which Christ proceeds is depicted on the left.​

The Ukrainian rendition of this subject is of particular interest. The classical composition is enriched with numerous individual features that allow for the observation of regional specifics, particularly elements of daily life and architecture. First and foremost, the architecture is noteworthy: despite stylization, in most cases (up to the 19th century), artists depict real cities in which they lived or for which they executed commissions. A vivid example is a 17th-century icon from the Church of St. Paraskeva in Lviv, where the cityscape of Lviv is recognizable: the town hall, defensive fortifications, and characteristic bell towers.​

A comparison of two 17th-century icons reveals similarities in the depiction of architectural elements. Despite different authorship and the time gap between the creation of the works, a number of details are nearly identical, indicating the depiction of the same city.​

The inhabitants of Jerusalem, as presented in the icons, are also a significant element for analysis. Children, women, and representatives of various social strata are depicted in clothing and appearances characteristic of the artist’s own era, rather than of the Jewish period. Thus, we gain insight not only into the fashion trends of that time but also, to some extent, into the ethnic identity of the depicted figures. At the forefront of the townspeople, an elderly man with a gray beard in luxurious attire is most often depicted—presumably a representative of the local nobility (sometimes Jewish) or a city official.​

M. Skop