The name “Michael” derives from Ancient Hebrew and translates to “Who is like God?” It is also interpreted as “Senior messenger, empowered by God.” Michael is described as the leader of the heavenly host. His name is mentioned in the Book of Daniel (Dan. 10:13, 21; Dan. 12:1), where he is called a prince. Furthermore, there is a hypothesis that Michael is referenced in several biblical episodes, such as the appearance of an angel to Balaam (Num. 22:22), the rescue of the youths from the fiery furnace (Dan. 3:95), and his appearance to Joshua (Josh. 5:13–15).

In the Bible, Michael is explicitly referred to as an archangel only once, in the Epistle of Jude (Jude 1:9): “Yet Michael the archangel, when contending with the devil about the body of Moses, did not dare to bring against him a railing accusation but said, ‘The Lord rebuke thee!’” This is because the term “archangel” (meaning “senior messenger”) is of Greek origin and was incorporated into Jewish tradition at a relatively late stage.

Michael’s most famous feat is his victory over Lucifer and his angels. In the Bible, this event is mentioned in the Gospel of Luke (Luke 10:18): “And He said to them, ‘I beheld Satan as lightning fall from heaven.’” It is also detailed in the Book of Revelation (Rev. 12:7–10): “And there was war in heaven: Michael and his angels fought against the dragon, and the dragon fought and his angels, and prevailed not; neither was their place found anymore in heaven. And the great dragon was cast out, that old serpent called the devil, and Satan, who deceives the whole world; he was cast out into the earth, and his angels were cast out with him.” According to Christian tradition, Michael will gather and judge souls on the Day of Judgment. The Gospel of Nicodemus mentions that after Christ’s descent into Hades, He entrusted Michael to carry the souls of the righteous to Paradise, solidifying Michael’s role as the patron of the dead.

Iconography

The first depictions of Michael date back to the VI century. From this time, he is frequently portrayed in imperial robes—dalmatics and a loros (a wide strip adorned with gemstones). In his right hand, he holds a staff or labarum (the emperor’s battle standard), and in his left, a globe depicted as a translucent sphere. This sphere typically contains the monogram of Christ (“Χ” or “ΙC ΧC”) or a mandorla with the image of Christ. Konrad Onasch draws a parallel between this imagery and the ancient Greek statue of Nike, who holds a figure of the emperor in her hand. The imperial symbols in Michael’s hands signify authority granted by God.

From the XII century, a new tradition emerged, depicting Michael as a military commander in armor. This likely stems from the iconography of “Michael’s Appearance to Joshua,” where the Archistrategos was initially accompanied by the smaller figure of Joshua, later removed to create an independent scene.

In Ukrainian iconography, Michael frequently appears in the Deesis row, on the Deacon’s doors of iconostases, as a standalone church icon, or in scenes of the Last Judgment. From the XVI century onward, depictions of Michael in military attire began to supplant those in imperial robes. During this period, the Archistrategos is most often portrayed in contemporary armor, resembling that of a noble warrior, with a red cloak. In one hand, he holds a sword, and in the other, a scabbard or scales. Frequently, he is shown standing on a footstool or a symbol of infinity (∞). Icons with narrative scenes became increasingly popular, usually featuring Old Testament events such as the Expulsion from Paradise, Jacob’s Struggle, the Rescue of the Three Youths, and the Destruction of Sodom, as well as later themes like the Apparition to the Myrrh-Bearing Women or the Miracle at Chonae. By the second half of the XVII century, icons often depicted Michael trampling an evil figure and/or holding scales with souls. The fiery sword became a common attribute by the XVIII century.

Mikhail Skop