SKU: 4354071854

Our Lady Theotokos of Kazan icon.

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Our Lady Theotokos of Kazan icon.Orthodox icon of the original icon of our Lady Theotokos of Kazan. Icon of 16 cent. Russia Feast Days: July 24 and November 4 The icon of Our Lady of Kazan is said to have come to Russia from Constantinople in the 13th century. After the Tatars besieged Kazan and made it the capital of their khanate in 1438, the icon disappeared, and it is not mentioned again until the 16th century, some years after the liberation of Kazan by Ivan the Terrible in

Orthodox icon of the original icon of our Lady Theotokos of Kazan. Icon of 16 cent. Russia

Feast Days: July 24 and November 4

The icon of Our Lady of Kazan is said to have come to Russia from Constantinople in the 13th century. After the Tatars besieged Kazan and made it the capital of their khanate in 1438, the icon disappeared, and it is not mentioned again until the 16th century, some years after the liberation of Kazan by Ivan the Terrible in 1552.

After a fire destroyed Kazan in 1579, the Virgin appeared in a prophetic dream to a 10-year-old girl named Matrona and told her where to find the precious image again. As instructed, Matrona told the archbishop about her dream, but he would not take her seriously. After two more such dreams, on July 8, 1579, the girl and her mother themselves dug up the image, buried under the ashes of a house, where it had been hidden long before to save it from the Tatars. The unearthed icon looked as bright and beautiful as if it were new. The archbishop repented of his unbelief and took the icon to the Church of St. Nicholas, where a blind man was cured that very day. Hermogen, the priest at this church, later became Metropolitan of Kazan. He brought the icon to Kazan's Cathedral of the Annunciation and established July 8 as a feast in honor of the Theotokos of Kazan. It is from Hermogen's chronicle, written at the request of the tsar in 1595, that we know of these events.

By 1612, when Moscow was occupied by Polish invaders, Hermogen had become Patriarch of Moscow and All Russia. From prison, he called for a three-day and ordered the icon of Our Lady of Kazan to be brought to Princes Minin and Pozharsky, who were leading the resistance to the occupation. This icon—possibly the original, but more likely a copy—was carried before their regiments as they fought to regain the capital from the Poles. When the Polish army was finally driven from Moscow on October 22, 1612, the victory was attributed to the intercession of the Mother of God, and the Kazan icon became a focal point for Russian national sentiments. Later that year, when Tsar Mikhail Feodorovich came to the throne, he appointed both July 8 and October 22 feasts in honor of Our Lady of Kazan.

The victorious Prince Dmitry Pozharsky financed the construction of a small wooden church dedicated to the Virgin of Kazan in the Moscow Kremlin. The icon was kept there until the small church burnt down in 1632. The tsar ordered the construction of a larger brick cathedral to replace it. After its completion in 1638, the icon remained there in Moscow's Kazan Cathedral for nearly two centuries. It was regularly borne in solemn liturgical processions along the city walls as the protectress of Moscow. The intercession of Our Lady of Kazan was successfully invoked against a Swedish invasion in 1709, and again when Napoleon invaded Russia in 1812. To commemorate this latter victory, the Kazan icon was moved to the new Kazan Cathedral in St. Petersburg in 1821.

By this time, the Kazan icon had achieved immense popularity, and there were nine or ten separate miracle-working copies of the icon around the country. There is considerable disagreement about which of these, if any, was the original. Some claim the original remained housed in Kazan, while others hold that the one moved from Moscow to St. Petersburg was the original. Many experts, however, believe the original was lost and both of the venerated Kazan icons were early copies. In any case, both icons disappeared in the early 20th century. The one in Kazan was stolen in 1904 and probably destroyed by the thieves, who were more interested in its jeweled gold covering. The one in St. Petersburg disappeared after the October Revolution of 1917. Some say it was smuggled out of the country to protect it from the Bolsheviks, while others suggest the Communists themselves hid it and later sold it abroad. But during World War II, an icon of the Virgin of Kazan surfaced in Leningrad to lead a procession around the fortifications of the Nazi-besieged city.

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SKU: 4354071854

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4.4 ★★★★★
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Basket Case
Cuba, US
★★★★★ 5
An ageless classic !
I hadn't re-watched this movie since the first time I saw it, when it came out in 1985. Back then, it had stricken the public with its fatalistic and pessimistic view of an overwhelming bureacracy, a suggested characteristic of fully-centralised power in a controlled society in the future. Today, we can still admire some of its validity and premonitory qualities (and the sarcastic humour !). The dream-like scenes and symbols used in the film are also ageless. Ever-growing computer systems govern today the relationships we hold with banks, government departments, utilities, phone companies, etc. Who hasn't experienced the frustration of dealing with their 'machines' and/or incompetent & robotic bureaucrats when problems or errors arise in their service? 'Brazil' will seem so familiar! The omni-presence of screens in our lives, everywhere and incessantly offering us products or services, or used to control our movements and behaviour, is also a well-guessed futuristic scenario by Gilliam & co. And what to say about the 'terrorism' and the 'permanent state of fear' portrayed back then? Sounds familiar today? I recommend this movie to anyone interested in the threats of an unbridled, arrogant and all-powerful bureaucracy in human society. The film can be a bit 'heavy' at times, though. Not everyone's cup of tea. Watch it first, before sharing with friends or family.
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Reviewed in the United States on February 19, 2012
J
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johnf
Chelsea, US
★★★★★ 5
The music is lovely, Catherine Deneuve is beautiful and the story will tear you apart.
The word "Masterpiece" is thrown about often in the worlds of film and music but in this case this is the real thing. The Umbrellas of Cherbourg is one of those rare instances where everything came together in a film in a serendipitous way that would never be duplicated. Not only that, but made by two up and coming young men who had only done two films before with a cast of mostly unknowns. Then, to top it all off, it would not just be a musical, but a film sung completely through like opera, something completely unique and untried. Try selling a concept like that to one of today's studios. Fortunately the early sixties was a much looser time with many movie studios and open minds willing to try new things. The director was Jacques Demy, whose first film, Lola (1961) included music but was shot in the more usual black and white. His co-creator was Michel Legrand, already known as a jazz pianist who had had hit albums and even toured America. The music would be light,, but not operetta; it would be updated to include strong influences of chanson, pop and jazz with a little Baroque counterpoint thrown in (Legrand had been classically trained). This time the film would be shot in super-saturated color with sets painted vibrant, almost expressionist colors. And it all would center around a young and virtually unknown Catherine Deneuve and Nino Castelnuovo as Genevieve and Guy, the very personification of young love in a rainy Spring. The resulting film is completely transporting. The story is very old, the treatment very new and the end result is something to be experienced. The singing somehow seems completely natural, more natural in a way, than films with spoken dialogue that break into songs from time to time. Here in a world of continuous music, love has turned everything into a dizzily colored poem that peaks when Guy is to be sent away to fight in the war in Algeria. Fate takes a big hand in the consequences creating unforseen results. The supporting cast are as good as the principals, with Anne Vernon (Madame Emery) the veteran of many films and Marc Michel (Roland Cassard) coming in having played the same character in Lola, a signature quirk of the director. The music produced two early sixties hits, I Will Wait For You and Watch What Happens. Mr. Legrand's familiarity with the worlds of pop and jazz kept everything fresh-sounding and up to date. You also note subtle touches like the opening jazzy music set in 1957 is very brassy and big band sounding while in the 1963 final scene it's the cool jazz of that time. The colors are so captivatingly brilliant that when establishing shots of the actual Cherbourg are shown it seems like another world. If you like romances, this is one of the classics. If you are open to musicals you will have no trouble with the fact that the entire film is sung. This is a most memorable and worthy film.
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Reviewed in the United States on January 31, 2016
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Todd7
Dallas, US
★★★★★ 5
My favorite movie musical
The Umbrellas of Cherbourg (1964, Jacques Demy, Director) is a very straightforward love story that’s fairly predictable, but that doesn’t take away from its absorbing allure. In fact, I love this film so much that I’m willing to overlook some of the minor flaws in the blu ray transfer from Criterion. This transfer is somewhat grainy/hazy in picture quality, and the sound isn’t exactly clear; in fact, it can be slightly muffled at times. However, I’m not going to dwell on these few minor imperfections. Now, for the heart of the review: The Umbrellas of Cherbourg is so unique in that all of the dialogue is sung. This is definitely an acquired taste, but about 15-20 minutes in, I was used to it and all-in. The next thing that becomes obvious is its rich color; it’s sort of pastel-like, with some backgrounds that are quite striking. Finally, the last thing that jumps out is the continuous upbeat music in the film, with the exception of the main theme, which is an emotionally-charged melancholy number by Michel Legrand that is the heartbeat of the film. This film is really a heartfelt love story where fate is the prevailing narrative and force. It’s a film about important decisions and their outcomes. Along the way, there are familial issues, death, rebuilding with emotional crutches, and some humor injected at just the right times. Some of the dialogue is cliched, but I guess that’s par for the course in a love story? Finally, while watching this film, I could definitely see where the 2016 film, La La Land took so much inspiration from, especially the ending sequence and the upbeat musical numbers. Overall, The Umbrellas of Cherbourg is a masterpiece of a film that’s essential to your blu ray collection. The Criterion Collection usually does a stellar job with resorting older films, but for some reason this isn’t their best work. I was expecting better quality. The blu ray also contains some nice special features.
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Reviewed in the United States on July 22, 2025
J
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JHB-4
Belleville, US
★★★★★ 5
Gorgeous Legrand music in a superb film
One of the lovliest films ever made! It's a "jazz opera" with superb Michel Legrand music and more. And the finale will melt the hearts of any "family" person who experiences it.
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Reviewed in the United States on November 26, 2025
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Anna Thalman
West Palm Beach, US
★★★★★ 5
Excellent disc and movie
This is one of the great films of the last century. If you haven’t seen it, buying this expensive blu ray is still a bargain. Love Criterion’s high quality publication and bonus materials!
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Reviewed in the United States on October 10, 2025

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