The Archangel Raphael

Why this icon

My first iconography teacher, Piet van der Ploeg, has nurtured his passion for the art of the icon for more than forty years. Through his work, he introduced me to other iconographic traditions, including Asian icons inspired by Mughal art.

Among them, this depiction of the Archangel Raphael caught my eye. The delicacy of its details, the richness of its colours and the beauty of the whole inspired me to write it in turn.

About this icon

Raphael, whose name means “God heals”, is the angel who accompanies the young Tobias in the Book of Tobit. Travelling under a human appearance, he guides and protects him, and helps bring healing to his family. This icon presents him alone, with the fish that recalls this biblical story.

The large fish refers to the one Tobias catches in the River Tigris at Raphael’s instruction. Its gall is later used to restore his father Tobit’s sight. Rather than a simple decorative attribute, the fish recalls the unexpected means through which healing comes, and Raphael’s mission of accompaniment and care.

The figure’s slender silhouette, richly patterned robe, flame-like headdress and multicoloured wings suggest an affinity with Persian and Mughal miniature painting. A possible comparison is the tradition of angels holding a fish found in Mughal India around 1590–1600, where biblical themes encountered Persian-influenced court painting. This comparison is a research lead: the exact model for this icon, its place of origin and its date have not yet been established.

The flowering branches surround Raphael like a garden. Their fine lines echo the ornament of his garment and give the composition a sense of abundance and renewed life. The water and stones at his feet recall a riverbank and can evoke the journey in the Book of Tobit. The large wings identify his heavenly nature, while their vivid feathers bring movement to the scene.

The golden ground unifies the flowers, clothing and wings in a luminous space. Red, blue and green create a joyful rhythm around the figure. Through this meeting of a biblical subject and a visual language suggestive of Asian miniature painting, the icon invites trust in God’s healing presence and in the companionship offered along life’s journey.