Based on the presented texts, it can be concluded that true following of Christ is determined not so much by the form of external worship, but by the inner spiritual life and transformation that occurs under the influence of the Holy Spirit. For example, one of the texts states:
Based on the materials provided, as a gift for the refugee doctor from Kurchan, it is recommended to present the Kursk Icon of the Mother of God. In one of the excerpts, it is described that during the organization of a panikhida, instructions were given to conduct a prayer service before this icon, as it is said that many experienced miraculous help thanks to prayers to this icon:
Icons depicting male and female figures in the traditional sense carry a deep symbolic charge that helps create a unique atmosphere of sacred space. For instance, the female figure, rendered in the style of "Maria Oranta," is traditionally perceived as a symbol of maternal protection and patronage, as well as a sign of a prayerful state for the medieval viewer. On the other hand, the male figure, presented, for example, in the form of a crucified image, symbolizes human suffering and serves as a sign of a redemptive deed through the sacrifice of the Theanthropos.
This icon is presented not merely as a work of visual art, but as a profound spiritual-artistic symbol that serves as a conduit between man and the divine. It embodies not only the depiction of a sacred figure, but also the expression of what lies beyond ordinary visual perception. The icon is seen as a "channel of divine light" and a "silent voice of eternity," through which a true dialogue takes place between the holy and the believer, inviting the latter to engage in personal communion with the Divine.
Determining the canonicity of an icon in a religious context involves a careful analysis of whether it conforms to the established ecclesiastical canon—a system of internal norms built on theological understandings of imagery and the traditions of Orthodox culture. This canon is not an external, rigid framework but rather an inner spiritual standard that has been formed over centuries through creative activity and theological reflection. An icon must express a “vision of the images of the Divine world,” be crafted in accordance with specific aesthetic and symbolic requirements, and simultaneously avoid excessive naturalism and sensuality in order to preserve its sacred function and ascetic quality.