Hodegetria (front side) 1350

Curator: Here we have a tempera on panel, “Hodegetria”, painted around 1350. Editor: There’s something deeply sorrowful in her eyes… a weight that time and perhaps harsh handling has only amplified. Curator: Indeed. "Hodegetria" means "She who points the way," and it’s a classic depiction of the Virgin Mary holding the Christ Child, inviting the viewer to connect with them. The Byzantine aesthetic favoured these stylized, iconic representations to inspire devotion. Editor: It's fascinating how the gold leaf, or what remains of it, hints at the icon’s preciousness and purpose. You know, these panels weren't just objects; they were crafted meticulously, each layer of gesso, pigment, and varnish applied by hand… labour-intensive, costly, and devotional. Curator: Exactly, and this contributes to the feeling that every line, every carefully chosen pigment resonates with the faith embedded in it. There’s a fragility to it, as if the faith itself is something both powerful and easily broken. Editor: Looking at it now, I see not just the iconic mother and child but also a record of materials procured, skilled labour employed, and a social need for tangible spirituality that fueled artistic production in 14th century Byzantium. Did the commissioners influence these artistic and material choices? Curator: No doubt at all. Consider the precious materials that attest to the importance and value that was conferred on this work. I love the way the tempera, through all of its cracking, gives a textured effect of timelessness. Editor: Yes, it truly emphasizes both age and fragility. Curator: So next time you are in Athens, be sure to come see this fascinating artwork! Editor: Well, seeing it here today has definitely deepened my appreciation for not only Byzantine iconography, but also the socio-economic elements that shaped its production. Thank you.