Eastern iconography (icons, miniatures)

3.2 - Eastern iconography (icons, miniatures)

3.2.1 - Byzantine Origins

Early icons in Late Antiquity and Justinianism

The Eastern iconography of St Michael has its roots in Late Antiquity and was consolidated in the Justinian period (6th century), when the Byzantine Empire developed a profound visual theology. The earliest representations of the Archangel in the Byzantine sphere depict him as an imperial dignitary, adorned with the loros and crucigerous globe, symbols of celestial power and Christian kingship.

An extraordinary example is the Archangel Michael Diptych (6th cent., British Museum), in carved ivory, where the Archangel is already likened to a heavenly, judging figure.

The Iconography of Michael in the Michaelion and in St. Sophia

The Michaelion was one of the earliest and most important shrines dedicated to the Archangel, founded in Chalcedon (modern-day Istanbul) during the reign of Constantine. Here St Michael is venerated as a healer and military protector, and his iconography soon spread to the great imperial basilicas, such as St Sophia in Constantinople, where he is portrayed in mosaics between the figures of Christ and the Virgin.

Role in the sacred art of the Eastern Roman Empire

Saint Michael, together with Gabriel, is one of the main angelic iconographic subjects of the Byzantine Empire. His cult is strongly linked to his apocalyptic and militant role: protector of cities, companion of souls and symbol of divine justice. Byzantine icons follow strict but theologically dense canons, developed since the Council of Nicaea II (787), which sanctioned the legitimacy of the sacred image.

Sources and references

• Grabar, André, Byzantine Painting, Einaudi.

• Ostrogorsky, Georg, History of the Byzantine Empire, Turin, Einaudi.

• British Museum, Michael's Diptych: https://www.britishmuseum.org

• Treccani, entry 'Icon': https://www.treccani.it/enciclopedia/icona/

• Museum With No Frontiers, iconographic collections: https://www.museumwnf.org/

3.2.2 - Iconographic canons and liturgical function

• Painting techniques (tempera, gold ground, levkas)

Byzantine icons are made using codified techniques that reflect a deep spirituality. Egg tempera is the main technique: natural pigments are mixed with egg yolk diluted in water and vinegar, creating vivid and lasting colours. The support is a wooden board prepared with levkas, a mixture of chalk and animal glue that provides a smooth surface for painting. The golden background, obtained by applying gold leaf, symbolises divine light and eternity.

Symbolic meaning of postures, colours and attributes

Every element in the icons has a theological significance:liturgiabizantina.it

• Postures: the figures are often frontal, with fixed gazes, representing eternity and the divine presence.

• Colours:

Blue: transcendence and divine mystery.

Red: humanity and sacrifice.

White: purity and divine light.

Green: life and renewal.

Gold: royalty and celestial glory.

• Attributes: St Michael is often depicted with a sword (justice), scales (judgement of souls) and in military dress, emphasising his role as defender of the faith.

Liturgical and devotional use of angel icons

In the Orthodox tradition, icons are not simply works of art, but instruments of prayer and contemplation. St Michael, in particular, is venerated as the protector and guide of souls. Icons of the Archangel are often placed in churches and homes, used during liturgies and personal prayers, acting as a 'window' to the divine.

Sources and references

Holyart Holy icons: the complete Blog - guideHolyart+1Holyart+1

Byzarticon - The icon techniqueabyzarticon.gr

Wikipedia Wikipedia, - Icon (art)the free encyclopaedia

AnimaThe colour message of iconsAnima.TV .TV-

Holyart Blog - Egg Tempera: how icons are paintedHolyartsacred

3.2.3 - The Archangel in Slavic Orthodox Art

• Russian icons: Novgorod, Moscow, Palekh

Novgorod School (12th-16th century)

The Novgorod School is renowned for its brightly coloured icons with stylised lines. St Michael is often depicted frontally, with outstretched wings and richly decorated robes, a symbol of celestial authority. These icons reflect Byzantine influence while maintaining a strong spirituality and compositional simplicity.

Moscow School (15th-17th century)

The Moscow School, influenced by artists such as Andrej Rublëv, presents icons of St. Michael with greater expressiveness and refined details. The Archangel is often depicted in scenes of the Last Judgement, emphasising his role as psychopomp and judge of souls.

Palekh (18th-19th century)

The Palekh tradition is famous for its miniatures on a black background and the use of bright colours. The St. Michael icons of this school display rich ornamentation and detailed narrative, combining religious elements with Russian folk art.

rs Serbian and Bulgarian production between the Middle Ages and the 19th century

In medieval Serbian art, St. Michael is often depicted in frescoes and icons as a celestial warrior, armed with sword and shield, a symbol of divine protection. In Bulgaria, the iconography of the Archangel developed with similar characteristics, emphasising his function as defender of the faith and guide of souls.

The iconostasis and the position of Michael among the warrior saints

In the Orthodox iconostasis, St. Michael holds a prominent place among the warrior saints, like St. George and St. Theodore. His presence symbolises the fight against evil and the protection of the Church. He is often placed next to the royal doors, indicating his role as messenger and guardian between the earthly and divine worlds.

Sources and references

• Treccani - Constantinian architecture and iconography in Serbia and BulgariaTreccani

• Russian Palekh Religious Icon Icon Collection - ArtRussian Icon Collection

• Wikipedia Novgorod - schoolWikipedia

• The City of Man Iconography - Warrior Saints and the Spirit of the Crossatalacittadelluomo- .it

3.2.4 - Oriental Miniatures and Codices

• Armenian, Georgian and Syriac codices with depictions of Michael

Armenia

Armenian miniature painting developed from the 10th century onwards, influenced by Byzantine and Syriac art. The Matenadaran of Yerevan preserves numerous illuminated manuscripts, including the Evangeliary of Etchmiadzin (6th century), which features depictions of St. Michael as a psychopomp and defender of the faith. Other examples include the Gospel of Zeytun (13th century) and the Homilary of Mouch (12th century), which show the Archangel in scenes of struggle against evil.

Georgia

The Georgian tradition of miniatures developed between the 9th and 14th centuries, with Byzantine and local influences. St Michael is often depicted in military dress, with sword and shield, a symbol of divine protection. Georgian miniatures are distinguished by the use of bright colours and a strong expressiveness of the figures.

Syria

Syriac codices, dating back to the 6th century, present depictions of St Michael in apocalyptic and liturgical scenes. Syriac miniatures are characterised by the use of intense colours and a stylisation of the figures, with the Archangel often depicted in the act of defeating the dragon, symbol of evil.

Theological and narrative function in oriental miniatures

Oriental miniatures are not just decoration, but theological and narrative tools. St Michael is often depicted as judge of souls, guide of the dead and protector against evil. The scenes depicted in manuscripts served to illustrate and reinforce theological concepts, making sacred stories accessible to the faithful.

Common elements and cultural specificities Common elements

• Depiction of St Michael as a celestial warrior.

• Presence in apocalyptic and judgement scenes.

• Use of bright colours and gold to emphasise sacredness.

Cultural specificities:

• Armenia: Byzantine influence with local elements, emphasis on liturgical function.

• Georgia: More expressive and dynamic style, with strong characterisation of figures.

• Syria: Stylisation of figures and use of symbolism to convey theological messages.

Sources and references

Wikipedia - Byzantine miniatureWikipedia, the free encyclopedia+1Wikipediafree encyclopedia+1, the

Matenadaran - Collection of Armenian miniaturesWikipedia, the free encyclopaedia+1Academia+1

University of Bologna - The Development of the Armenian Miniature of Cilicia (12th century) Academia

Treccani - ArmeniansTreccani

3.2.5 - The icon of the Archangel as 'Psychopomp'

• Scenes of the Last Judgement and the weighing of souls

In Christian iconography, St Michael the Archangel is often depicted during the Last Judgement in the act of psychostasy, the weighing of souls. In these depictions, the Archangel holds scales to evaluate the actions of the dead, while the devil attempts to alter the weight in order to obtain souls. This scene symbolises divine justice and the struggle between good and evil.

The Archangel as heavenly guide in death

St Michael is also venerated as a psychopomp, i.e. a guide of the souls of the deceased to the afterlife. This function is emphasised in the liturgy of the dead, where the Archangel is invoked to accompany souls to the eternal light. In iconography, he is often depicted with scales and a sword, symbols of his role as judge and protector.

Theological connections with the liturgy of the dead

In the Christian liturgy, St Michael is invoked during masses for the dead, particularly at the offertory, with the prayer: 'Signifer sanctus Michael repraesentet eas in lucem sanctam' ('The holy standard-bearer Michael presents them in holy light'). This invocation emphasises the Archangel's role as intercessor and guide of souls towards eternal salvation.

Sources and references

• Treccani - Michael the Archangel, saintTreccani+1Wikipedia, the free encyclopaedia+1

• Holyart - The cult of St Michael the ArchangelHolyart

• Compagnia dei Romei - San Michele, the psychopompagniadeiromei.it

• Diocese of Pistoia - The Last Judgement in ArtDiocese of ChristianPistoia

3.2.6 - Miraculous icons and popular worship

• Michael's thaumaturgic icons (e.g. Mantamados - Lesvos)

One of the most famous miraculous icons of St Michael can be found in the monastery of Taxiarchis in Mantamados on the island of Lesvos, Greece. According to tradition, in the 10th century, during a pirate attack, all the monks were killed except one, who fashioned the icon with a mixture of earth and the blood of martyrs. The icon is venerated for its miraculous powers, and is said to change expression depending on the person approached: showing a serene face to the devout and a stern one to sinners.

Pilgrimages, relics and legends associated with icons

The cult of St Michael is associated with numerous sacred places and pilgrimages. In Italy, the Sanctuary of Monte Sant'Angelo on the Gargano is one of the most important destinations, linked to legends of apparitions of the Archangel. Pilgrimages to this shrine have been documented since the Middle Ages and continue to this day, with pilgrims travelling along the 'Via Sacra Langobardorum'.

Continuity of devotion in contemporary Orthodoxy

In contemporary Orthodoxy, devotion to St. Michael remains alive through the veneration of his icons, the celebration of liturgical feasts and the construction of new churches dedicated to him. In Russia and other Orthodox countries, the Archangel is considered the 'Supreme Commander of the Heavenly Hosts' and his icons can be found in many churches and private homes .

Sources and references

• OrthodoxWiki - Archangel Michael of Mantamados

• Icon and Light - Archangel Michael of Mantamados

• Archangel Michael Blogspot - St. Michael in Russia and other Orthodox countries

• MIDA Foundation - The micaelico cult in the province of SalernoBridgeman

3.2.7 - Collections and Museums of Oriental Iconographic Art

Icons of Michael in Byzantine museums

Byzantine and Christian Museum in Athens

The Byzantine and Christian Museum in Athens houses one of the most significant collections of Byzantine icons in the world. Prominent among them is an icon of St. Michael the Archangel from the 14th century, from a workshop in Constantinople. The Archangel is depicted frontally, looking solemn, dressed in a red tunic and a blue cloak, holding a sceptre and a crucigerous orb.

Museum of Byzantine Culture in Thessalonica

The Museum of Byzantine Culture in Thessalonica holds a large collection of icons, including numerous depictions of St. Michael the Archangel. These works, dated between the 13th and 18th centuries, show the stylistic evolution of the Archangel's iconography in the Byzantine and post-Byzantine tradition.

r¡ Russian collections

Tretyakov Gallery, Moscow

The Tretyakov Gallery in Moscow has one of the most important collections of Russian icons. Prominent among them is the icon of St. Michael the Archangel attributed to Andrei Rublev, part of the famous Deesis of Zvenigorod. The Archangel is depicted with delicate features and a serene expression, typical of Rublev's style.

State Hermitage Museum in St. Petersburg

The Hermitage Museum in St. Petersburg holds a large collection of icons, including several depictions of St. Michael the Archangel. The works, dated between the 14th and 18th centuries, come from various Russian iconographic schools and show the Archangel in different poses and with different attributes, reflecting the richness of the Russian iconographic tradition.

Digitisation and online databases

Warburg Institute Iconographic Database

The Warburg Institute offers an extensive iconographic database that includes numerous images of St. Michael the Archangel from different artistic traditions. The database is a valuable tool for scholars and enthusiasts of iconography.

Europeana

Europeana is a digital platform that collects millions of cultural objects from institutions across Europe. These include several icons of St. Michael the Archangel, such as the 14th century icon preserved in the Byzantine and Christian Museum in Athens.

3.2 - Eastern iconography (icons, miniatures)

3.2.1 - Byzantine Origins

Early icons in Late Antiquity and Justinianism

The Iconography of Michael in the Michaelion and in St. Sophia

Role in the sacred art of the Eastern Roman Empire

Recommended multimedia content

Images

Video

Sources and references

3.2.2 - Iconographic canons and liturgical function

• Painting techniques (tempera, gold ground, levkas)

Symbolic meaning of postures, colours and attributes

Liturgical and devotional use of angel icons

Recommended multimedia content

Images

Video

Sources and references

3.2.3 - The Archangel in Slavic Orthodox Art

• Russian icons: Novgorod, Moscow, Palekh

Novgorod School (12th-16th century)

Moscow School (15th-17th century)

Palekh (18th-19th century)

The iconostasis and the position of Michael among the warrior saints

Recommended multimedia content

Images

Sources and references

3.2.4 - Oriental Miniatures and Codices

• Armenian, Georgian and Syriac codices with depictions of Michael

Armenia

Georgia

Syria

Theological and narrative function in oriental miniatures

Common elements and cultural specificities Common elements

Recommended multimedia content

Images

Sources and references

3.2.5 - The icon of the Archangel as 'Psychopomp'

• Scenes of the Last Judgement and the weighing of souls

The Archangel as heavenly guide in death

Theological connections with the liturgy of the dead

Recommended multimedia content

Images

Sources and references

3.2.6 - Miraculous icons and popular worship

• Michael's thaumaturgic icons (e.g. Mantamados - Lesvos)

Pilgrimages, relics and legends associated with icons

Continuity of devotion in contemporary Orthodoxy

Recommended multimedia content

Images

Sources and references

3.2.7 - Collections and Museums of Oriental Iconographic Art

Icons of Michael in Byzantine museums

Museum of Byzantine Culture in Thessalonica

r¡ Russian collections

Tretyakov Gallery, Moscow

State Hermitage Museum in St. Petersburg

Digitisation and online databases

Warburg Institute Iconographic Database

Europeana

Recommended multimedia content

Images