Abstract
The purpose of the article is to analyze the process of borrowing the iconography of the image of the mother of God. The connections of the Eastern Christian image and teaching, the liturgical texts of the Orthodox Church are under the study. For this purpose, the study of the main cultural and theological aspects of formation and their symbolic and symbolic design in the iconography is carried out. At the same time, the author pre-sents visually similar images that have received different content, which influenced their under-standing in Western European and Eastern Christianity. The goal assumes an interdisciplinary nature of the research, the comparative-historical method is the main one, which allows, among other things, to track the dynamics of the phenomenon, and semiotic analysis for the interpretation of symbolic aspects of the image. The author presents the development of the Russian iconography of the Mother of God «Joy of All Who Sorrow» based on a review of Western European iconographic sources and texts. As a result, the author emphasizes that in the culture of Modern times Russian icon painters gave the Western European iconographic pattern a different theological interpretation by imitating it.
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