Archangel Raphael as protector, demon tamer, guide and healer. Some aspects of the Archangel’s activities in Nubian painting (2024)

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Title: Archangel Raphael as protector, demon tamer, guide and healer. Some aspects of the Archangel's activities in Nubian painting

Magdalena Łaptaś

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Between the Cataracts. Proceedings of the 11th Conference of Nubian Studies, Warsaw 27 August – 2 September 2006, t. 2,2. Red. Włodzimierz Godlewski, Adam Łajtar. Warsaw: Warsaw University Press, 673-680.

"Archangels as Protectors and Guardians in Nubian Art"

2010 •

Magdalena Łaptaś

Archangels in Nubian Christianity played a very important role as protectors of people and intermediaries between them and the God. Therefore they were often presented in Nubian painting. The aim of this paper was to describe different scenes of archangels’ protections, with an attempt to enumerate several types of compositions and showing their iconological background.

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2021 •

Magdalena Łaptaś

People in the Nile Valley lived in the constant fear of monsters, demons and other misfortunes threatening them. Therefore, they had to turn to God for protection. God however was far in the Heavens, while his angelic messengers were closer, moving between celestial and earthly spaces. To ensure their protection, their images and names were placed wherever the exposure to the evil forces was the greatest. An attribution of these protective functions is not always clear from the way the archangels were depicted in art. The figures are shown frontally, frequently freestanding. For the most part, it is the context or accompanying inscriptions that allow an image to be identified as an archangel in its apotropaic function. Therefore, for this chapter, three groups have been chosen connected with the protection of buildings and their interiors; protection of the bodies of living Nubians and finally with deceased. Writing this paper, the author was aware that the subject is so rich that the presented material and its interpretations are only an introduction to further research, which will be gradually undertaken.

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TRAVAUX ET MEMOIRES Tome XXV 2, Inventer les anges de l'Antiquité à Byzance, ed. D. Lauritzen

APOTROPAIC FUNCTION OF THE ARCHANGELS IN NUBIAN ART (FULL TEXT)

2021 •

Magdalena Łaptaś

People in the Nile Valley lived in the constant fear of monsters, demons and other misfortunes threatening them. Therefore, they had to turn to God for protection. God however was far in the Heavens, while his angelic messengers were closer, moving between celestial and earthly spaces. To ensure their protection, their images and names were placed wherever the exposure to the evil forces was the greatest. An attribution of these protective functions is not always clear from the way the archangels were depicted in art. The figures are shown frontally, frequently freestanding. For the most part, it is the context or accompanying inscriptions that allow an image to be identified as an archangel in its apotropaic function. Therefore, for this chapter, three groups have been chosen connected with the protection of buildings and their interiors; protection of the bodies of living Nubians and finally with deceased. Writing this paper, the author was aware that the subject is so rich that the presented material and its interpretations are only an introduction to further research, which will be gradually undertaken.

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Polish Archaeology in the Mediterranean 29/2)

“Eternal Bodies”: images of archangels in the upper parts of Nubian buildings.

Images of archangels painted in the upper parts of buildings and on structural elements were popular in Christian Nubian painting, as the discoveries made recently in Church SWN.B.V on the citadel in Old Dongola have shown. These images, which derive from pre-Christian art, depict the eternal nature of the archangels and angels. Presenting a select group of images, the author traces their origins in an effort to highlight the role of archangels as intermediaries between God and mankind. As spiritual beings they move freely between the Heavens and the Earth, making air and cosmic space their natural surroundings. Moreover, archangels govern the forces of nature, the planets, and the seven skies. Therefore, their sanctuaries were located on hill summits, in the upper chapels, on structural elements of ecclesiastical buildings, etc. The Nubian tradition is therefore part of a broader Mediterranean tradition, the roots of which should be sought in the Near East.

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St Andrews University Journal of Art History and Museum Studies

The cult and Representation of the Archangel Raphael in Sixteenth-Century Venice

2011 •

Joseph Hammond

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The Archangel Saint Raphael

Raphael Mary

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Colnaghi Foundation Journal

Finding Michael: Tracing a lost image of an Archangel

2024 •

Till-Holger Borchert

The article is discussing reflections of a lost work of Jan van Eyck through panel painting and book illumination in the Low Countries from 1430 to c. 1530

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A FEAST OF THE ARCHANGEL MICHAEL

Magdalena Łaptaś

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Archangel Raphael in inscriptions from the Upper Church at Banganarti [in:] B. Żurawski et alii, Kings and Pilgrims. St. Raphael Church II at Banganarti, mid-eleventh to mid-eighteenth Century [= Nubia V/Banganarti 2], Warsaw 2014, pp. 261-283

Adam Łajtar

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Archangel Raphael as protector, demon tamer, guide and healer. Some aspects of the Archangel’s activities in Nubian painting (2024)
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