Images of the Virgin with raised hands in prayer, palms facing forward, known as “Orans” (Latin orans — “to pray”), appear as early as the catacomb period. This hand position has Jewish origins: in the Exodus book, the prophet Moses raised his hands to heaven during the battle with the Amalekites, and as long as his hands were held up, the Israelites prevailed (Exod. 17:11–12).

The iconographic type “Virgin of the Sign” first appears in the 11th–12th centuries, depicting the Virgin Mary in the Orans position, with a mandorla on her chest that contains Emmanuel. The title “Sign” is derived from the Book of the Prophet Isaiah (Isa. 7:14): “Behold, a virgin shall conceive and bear a son, and shall call his name Immanuel.” Scholars suggest that the icon represents the Annunciation moment (Luke 1:38) when Mary learned of her divine pregnancy. Emmanuel is depicted as still unborn, symbolizing His presence within the Mother. His mandorla signifies heavenly glory, and He is usually shown blessing with both hands or holding a scroll in His left hand.

Since the 18th century, depictions have increasingly shown the Virgin with her hands prayerfully clasped before her chest (“Helper in Childbirth”), or with a gesture of supporting Emmanuel. This type closely resembles the iconography of the Virgin of the Nikopéia, though the latter holds the fully-born Christ without the mandorla, unlike the “Sign” version, where Emmanuel is depicted as an infant.

The “Virgin of the Sign” is symbolically linked to the image of the Burning Bush, which appears in the Old Testament (Exod. 3:2). This symbol became a prefiguration of the Virgin carrying the Lord within her. Due to the thematic similarity, “Virgin of the Sign” often replaces the Burning Bush in Old Testament illustrations. In Byzantine tradition, she is commonly placed at the center of the prophetic row in the iconostasis, emphasizing her role as the Burning Bush. To reinforce this symbolism, the icon is often round, with carvings evoking fire or plant motifs.

In 19th-century folk iconography, the “Sign” image became particularly popular. It was sometimes placed in the doorway above the Royal Doors in the iconostasis.

An intriguing aspect of 17th–18th-century book graphics is the depiction of the “Sign” as one of the Seven Sacraments, often showing the priest administering communion to monks or to a dying person. These compositions frequently combined Eucharistic symbols, where Christ’s blood flowed from His wounds into the Eucharistic chalice or into a mandorla.

The feast of the “Virgin of the Sign” is celebrated on December 10.

Mykhailo Skop