St. Prince Alexander Nevsky (c.1750) by Orthodox Icons

St. Prince Alexander Nevsky - Orthodox Icons - c.1750

Artwork Information

TitleSt. Prince Alexander Nevsky
ArtistOrthodox Icons
Datec.1750

About St. Prince Alexander Nevsky

The artwork entitled “St. Prince Alexander Nevsky,” attributed to the category of Orthodox Icons, is believed to have been created around the year 1750. It falls within the iconographic tradition that venerates saints, thus placing it in the “Saints” series of such religious depictions. This icon represents an integral piece of religious art, reflecting the cultural and spiritual values of the time.

The artwork illustrates a saintly figure, clearly intended to be St. Prince Alexander Nevsky, mounted upon a horse. The figure is adorned in elaborate garments that signal regal authority and ecclesiastical significance, with patterning and colors that are typical of traditional Orthodox iconography. The golden halo that surrounds the saint’s head signifies holiness and is a common element used to denote sanctity in religious art. In the artwork, St. Nevsky is depicted riding across a landscape that suggests motion, possibly hinting at his historical role as a warrior and a defender of his people. The background includes architectural features that resemble those of a city or a fortified settlement, contributing to the narrative and historical context of the saint’s life.

Moreover, the use of color and the stylization of the figures are characteristic of the Orthodox icon tradition, with a focus on conveying spiritual meaning rather than naturalistic representation. The text overlay within the art probably offers identification and perhaps an inscription related to the saint’s life or his significance within the Orthodox Christian tradition, though the exact content of the text cannot be discerned from the description.

The overall composition of the artwork is designed to inspire reverence and contemplation, serving not only as an aesthetic object but also as a tool for spiritual reflection. Its creation during the mid-18th century indicates that it is likely a continuation of long-established practices in iconography, seeking to preserve and disseminate theological teachings through imagery.

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