This scene was introduced in Russia in the 16th century. In this period Moscow, which had recently declared itself the ‘Third Rome’, following the Fall of Constantinople in 1453, was a ferment of theological and iconographical activity, due to the presence of Greek scholars and theologians, and a number of new themes were introduced into the iconographical canon. (See N.P. Kondakov 'Mystical and Didactic Subjects' in The Russian Icon, Oxford, 1928).

On a wave-contoured red ground decorated with golden clouds in between the points of two superimposed diamonds are Angels and Archangels who represent divine powers: 'the angel spirit who flies to earth for the coming Doomsday', 'the angel spirit of trembling and dreadful suffering who will pour out the overflowing bowl of the wrath of God', ' the angel spirit of the fear of God whose sword will pronounce the future Judgement', the angel spirit of the power of snow and whose voice creates righteousness', 'the angel spirit of frost'. (In popular tradition the icon was regarded as a protector against fire, and even as a quencher of fire).

The flower-like ground is situated within a golden band with the same wavy contour and on it is a red four-pointed star in whose points are the symbols of the Four Evangelists. Superimposed over this is a dark blue four-pointed star with minute gold crosses and dots representing the starry heavens and containing miniature medallions with angelic representations.

At the centre are the Virgin and Child with images alluding to the Old Testament: the Ladder of Jacob, and the Image of Melchisidech. They are encircled by a red band containing six-winged bodyless Seraphim.

Within the border are Old Testament allusions: Moses and the Burning Bush (upper left corner), The Rod of Jesse (bottom centre), Jacob’s Ladder (lower right corner), Jacob and the Angel (upper right corner), the Vision of Ezekiel (lower left corner).

In a medallion on the upper border is God the Father, the Ancient of Days.

The 4th century Cappadocian Bishop St Gregory of Nyssa was the first theologian who saw, in Moses' encounter with God at the Burning Bush, a typology for the Mother of God. Early Byzantine icons showed a straightforward narrative: Moses removing his sandal on Mount Sinai. The Burning Bush is seen in Orthodoxy as a typological prefiguration of the Virgin Mary. Just as the bush burned with fire without being consumed, the Virgin Mary gave birth to Jesus Christ while remaining a virgin. Here, in the later development, the design incorporates an elaborate cosmological and theological ensemble with all the elements drawn together into an abstract, geometric symbolism somewhat reminiscent of a Tibetan mandala.