The Museum of the History of World Cultures and Religions has a whole section devoted to the Dagestani jewelers of the Magomedov-Izabakarov dynasty. Eleven generations of Magomedovs were jewelers and passed their tools and craftsmanship down the male line. Manaba Magomedova was the first female goldsmith, and her daughter Leyla Izabakarova continued the family tradition. One of Leyla’s works is the oval plaquette “Archangel Michael”, executed in the artist’s favorite technique — artistic enameling.
Plaquettes are small souvenir medals, which started to be crafted during the Renaissance period. Leyla Izabakarova and Manaba Magomedova often turned to this form in their work. The plaquette “Archangel Michael” is framed by the filigree technique of twisted silver thread. On a light background with stars is Archangel Michael wearing a chiton, a long tunic decorated with the ceremonial attire of Byzantine emperors typical of the images of the supreme angelic powers. This is the loros, a long broad strip of hard brocade embroidered with embossed coins and semi-precious stones. The historic Roman garment entered the system of angelic iconography after the lines of Scripture about the vision of the heavenly powers appeared: “Out of the temple came the seven angels dressed in clean, shining linen and wore golden sashes around their chests.”
The artist used bright, variegated strokes to paint the Archangel’s wings. They are light and quick, for angels herald God’s will, and Michael is the senior messenger of God. On the head of the Archangel is a diadem — a symbol of power and sacred service. In antiquity, the diadem was a white ribbon tied around the head as a sign of royal regalia. The diadem was also a priestly item, and the largest gem was placed in the center of it over the forehead.
In his left hand, Archangel Michael holds a labarum — an ancient Roman military standard, a state cross banner with the monogram of Jesus Christ. Above the head of Archangel Michael is a halo, a symbol of divine grace. Traditionally, the halo is delineated by two lines: the dark turquoise border symbolizes the impregnability of the divine, and the light golden one represents the divine light that comes into the world.
Plaquettes are small souvenir medals, which started to be crafted during the Renaissance period. Leyla Izabakarova and Manaba Magomedova often turned to this form in their work. The plaquette “Archangel Michael” is framed by the filigree technique of twisted silver thread. On a light background with stars is Archangel Michael wearing a chiton, a long tunic decorated with the ceremonial attire of Byzantine emperors typical of the images of the supreme angelic powers. This is the loros, a long broad strip of hard brocade embroidered with embossed coins and semi-precious stones. The historic Roman garment entered the system of angelic iconography after the lines of Scripture about the vision of the heavenly powers appeared: “Out of the temple came the seven angels dressed in clean, shining linen and wore golden sashes around their chests.”
The artist used bright, variegated strokes to paint the Archangel’s wings. They are light and quick, for angels herald God’s will, and Michael is the senior messenger of God. On the head of the Archangel is a diadem — a symbol of power and sacred service. In antiquity, the diadem was a white ribbon tied around the head as a sign of royal regalia. The diadem was also a priestly item, and the largest gem was placed in the center of it over the forehead.
In his left hand, Archangel Michael holds a labarum — an ancient Roman military standard, a state cross banner with the monogram of Jesus Christ. Above the head of Archangel Michael is a halo, a symbol of divine grace. Traditionally, the halo is delineated by two lines: the dark turquoise border symbolizes the impregnability of the divine, and the light golden one represents the divine light that comes into the world.
