Medieval Georgian Christian Art Research Papers

Ani that Georgians say Karis Kalaki (the city of door) is from near at hand Kars that we think as research subject, is faced with its original products although in all political confusion. This study that is named ‘’Georgian art in 10-... more

Bookmark
Download
- by Fevzi ÇELEBİ
- •
- 9
  Art History, History of Art, Sanat Tarihi, Georgian art

The monumental painting of early medieval Armenia is hardly mentioned in the studies of art history. It’s partly explained with the fact that the monumental painting on the territory of historical Armenia is mostly lost and among the... more

The image of the so-called “senmurv”, a fantastic winged creature with a dog’s protome and a peacock tail, was widely used in the late Sasanian art of the 6th–7th centuries on silver vessels, textiles, decorative stucco, etc. The... more

The image of the so-called “senmurv”, a fantastic winged creature with a dog’s protome and a peacock tail, was widely used in the late Sasanian art of the 6th–7th centuries on silver vessels, textiles, decorative stucco, etc. The identification of the “senmurv” with the mythic bird Saena (Saena-Muravo) of the Avesta and the “senmurv” of the late Zoroastrian sources was made for the first time by K. Trever in the 1930s. This idea was strongly fixed in scholar tradition until the end of the century. According to that identification, the image of the “senmurv” in Iranian art embodied the deity of fertility which, according to Zoroastrian mythology, was the protector of three elements. It lived on the “Tree of all Seeds”, guarantying the fecundation of the nature. The image of “senmurv” was soon borrowed by the early Islamic culture and appeared in Armenia and eastern Christian countries. Its symbolism on the Islamic and Christian monuments was considered in the frame of Trever’s theory.
But the linguistic studies and archeological discoveries of the two last decades showed the groundlessness of the traditional interpretation of that image and revealed its tie with Khwarenah (Farn), the deity of fortune, divine protection and providence. The latter interpretation was also confirmed by the inscriptions on Sogdian countermarks of the 7th–8th centuries which accompany the depiction of “senmurv”. Today the majority of specialists agrees, that the Sasanian dog-birds are the embodiments of Farn, alongside with the aries, the falcon and the fire nimbus. However, the new hypothesis is not without some disputable aspects, especially because of the existence of various iconographic versions of such creatures in Sogdian art.
In this context, the examination of the image on Armenian, Georgian and Byzantine monuments is especially relevant in the light of the newest interpretations. It is important to take into consideration that the earliest depiction of “senmurv” in Cristian art was recently testified on column’s capital of the drum of the Echmiadzin Cathedral. It dates back to 620 AD, and so it is contemporary with the Sasanian images. The next relief sculpture depicting “senmurv” (one with a fish tail) can be seen on the Church of the Holy Cross on the Aghtamar Island (915–921), shown as a see monster in the scene of the Prophet Jonah. This example has a great significance for tracing back the origin of the Iranian creature to Antique sea monsters. The “senmurvs” dating from the 10th century are represented on the façade of the church of Ateni Sion and on the cathedrals of Martvili. There are “senmurvs” in medallions depicted on the frescoes of the Church of Tigran Honents in Ani (1215), etc. The detailed study of these images in the context of Armenian medieval culture and their comparison with Byzantine examples have shown that the “senmurv” was borrowed by Christian art as the commonly understandable symbol of the divine presence, protection and glory.

Georgian art in the Hermitage Museum: the history and study of the collection This article offers an overview of the history of the formation of the collection of Georgian medieval art in the State... more

სტატიაში შევეცადეთ თანამედროვე საკრალურ სივრცეში მართლმადიდებლური ხატის როლი განგვესაზღვრა და გამოვავლინეთ, რომ ხატის რაობის განმსაზღვრელი „კანონიკურობა“, რომელიც თავის მხრივ, ღვთისმეტყველთა და ხელოვნებათმცოდნეთა მიერ განსხვავებულად... more

სტატიაში შევეცადეთ თანამედროვე საკრალურ სივრცეში მართლმადიდებლური ხატის როლი განგვესაზღვრა და გამოვავლინეთ, რომ ხატის რაობის განმსაზღვრელი „კანონიკურობა“, რომელიც თავის მხრივ, ღვთისმეტყველთა და ხელოვნებათმცოდნეთა მიერ განსხვავებულად განიმარტება, თანამედროვე სივრცეში ბუნდოვან ელფერ იძენს. ეს პროცესი განსაკუთრებულად აისახა ცალკეულ გამოსახულებებში, რომლებიც პირობითად „უცნაურ ხატებად“ მოვიხსენიეთ. თავისი შინაარსით ისინი სრულიად ახალია და გარკვეულ წინააღმდეგობაში მოდის ხატის ტრადიციულ გაგებასთან, თუმცა საკრალური სახე-ხატის ფუნქციით იტვირთება და სატაძრო სივცეშიც აღწევს.
ვნახეთ, რომ ხატის თამედროვე ალტერნატივა ფოტო და პორტრეტი ხდება, რომელიც მორწმუნე საზოგადოების გარკვეული ნაწილის მხრიდან კრიტიკულად არ აღიქმება და ბუნებრივად თავსდება საკრალურ გარემოში. აღვნიშნეთ ისიც, რომ ხატის გავრცელების არეალი იმდენად გაიზარდა, რომ მას არატრადიციულ გარემოში, პროფანული სახე-ხატების პარალელურად ვხვდებით.
განვიხილეთ ხატის რეპროდუცირებადობის საკითხიც, რამაც საკრალური გამოსახულების აღქმის პრინციპის შეცვლაზე მნიშვნელოვანი გავლენა მოახდინა.
სტატიამ მოგვცა საშუალება წამოგვეჭრა ის მნიშვნელოვანი საკითხები, რომლებიც ჩვენი აზრით, შეკითხვების სახით ჩნდება და უფრო სიღრმისეულ და მასშტაბურ შესწავლას საჭიროებს. უფრო მკაფიოდ უნდა დადგინდეს ხატის ფუნქცია თანამედროვე საკრალურ სივრცეში და ამის საფუძველზე განისაზღვროს მისი სამომავლო განვითარების გზები.

სტატია წარმოადგენს ამავე სახელწოდების სამაგისტრო ნაშრომის ნაწილს. ხელმძღვანელი: ანნა მგალობლიშვილი
სტატიის რედაქტორი: დიმიტრი თუმანიშვილი

The following paper traces the origins and increased interest in the cultural heritage of Georgia on behalf of the local intelligentsia in the 19th century. After describing the circumstances that may have led the new generation of... more

VIII-XIII centuries constitute an extremely significant period in the history of Georgia, comprising the consolidation of Arab sway, Georgian "Reconquista", repulse of Byzantine aggression, fight against the Seljuks, unification of the... more

VIII-XIII centuries constitute an extremely significant period in the history of Georgia, comprising the consolidation of Arab sway, Georgian "Reconquista", repulse of Byzantine aggression, fight against the Seljuks, unification of the country, creation of the strongest state in the South Caucasus, unprecedented golden age of culture, and finally, the Mongol conquest of major part of the country. Baghwashis (and their main branches-Kakhaberisdzes and Orbelis), one of the strongest feudal families in the country appeared on the historical scene in this period. They possessed (at least from time to time) Argveti, Racha and Takveri, Trialeti, Ateni area, Kvemo Kartli, then Sivnieti (Syuinik) and its adjacent territories, had the titles of Eristavi and Eristavt-Eristavi, Spasalari and Amirspasalari, Mandaturtukhutsesi, Atabagi. They worked in the bosom of the church (especially the representatives of the Syunic branch of the Orbelis), ordered church books, wrote their own works, were the ktitors of numerous churches, both within Georgia and in the Near East. They fought the Byzantines and Arabs; resisted the aggression of the Kingdom of Tashir-Dzoraketi; attempted to annex the Emirate of Tbilisi to Georgia and actually almost twice achieved this goal; fought the Seljuks; sided with David IV the Builder, Demetre I, and George III in their military-political activity, participated in battles against the Mongols; then in a conspiracy against them. At the same time the Baghwashis (including the Kakhaberisdzes and Orbelis) took an active part in the internal conflicts of the Bagrationis-between David I Kouropalates and Nasra Bagrationi, between David III Kouropalates and Bagrat III, in the battle between Bagrat IV and prince Demetre (son of George I), participated in the revolt of the prince Demetre (Demna) (son of David V) against George III, in the conflict between David VII Ulu and David VI Narin. The Baghwashis fought against Bagrat IV, George II, David IV the Builder (representatives of the main branch), against David VI Narin (Kakhaber Kakhaberisdze). In Georgian chronicles and, consequently, in Georgian historiography, Baghwashis are usually mentioned negatively, one-sidedly, their merits are not taken into account, one of the main postulates of jurisprudenceaudiatur et altera pars-is ignored. The literature on Baghwashis is sufficiently abundant, though there are some gaps as well. In particular, the genealogy of this family is not systematized; their onomastics is unclear, the data about them are fragmentary at best; and the area of their activity is not specified either. The presented collection of articles is quite diverse. The following issues are discussed in the articles: genealogy of Baghwashis, Kakhabesridzes, Orbelis; onomastic issues; psychological characterization; legal assessment; activities in and outside Georgia; some artistic aspects of the church built by them; relations with other historical figures. Working in the field of history, art history, law, and psychology, the authors of the articles in this volume have an international background: they represent the Korneli Kekelidze Georgian National Centre of Manuscripts and other institutions in Georgia as well as abroad, in Austria, and Armenia. We cherish hope that this volume will facilitate the Baghwashi studies, contributing to further research in this direction.

Bookmark
Download
- by Nina Chichinadze
- •
- 5
  Medieval Studies, Medieval Art, Christian Iconography, Byzantine art

The present article focuses on medieval Georgian cult icons covered with precious metal repoussé revetment. The practice of sheathing of painted images in precious metal has a complex character and one of the explanations of this... more

The Church of the Holy Sign of Haghpat monastery was built and painted by Bagratids. From this early layer of murals only the very small fragments have been preserved. During the second rise of the monastery under the Zacharids, when the... more

This paper is a continuation of the poster which examines some types of weapons and armors by analyzing written sources which was presented at the conference: "Nouvelles recherches sur l'Arménie ancienne / New Research on Ancient Armenia,... more

The author investigates the problem of dating of the unique mural cycle of the chapel of David Narin in the Gelati Cathedral in Georgia and considers these frescoes in the general artistic context of the epoch. In the course of the study,... more

Catalogue of the exhibition held at the Byzantine and Christian Museum, October 2001-January 2002; Co-editors: E. Papastavrou, M. Evangelatou, P. Skoti; Contributors: Tania Velmans, Werner Seibt, Anna Ballian, Anika Skovran, Elena... more

Situated between the mountain ranges of the Caucasus, the country of Georgia was constantly exposed to contacts with both nearby cultures and such far-away realities as the Eastern Mediterranean and Western Europe. Constant political... more

Bookmark
Download
- by Thomas Kaffenberger
- •
- 6
  Cultural Studies, Iconography, Caucasus, Georgia

Bookmark
Download
- by Maria Lidova
- •
- 8
  Byzantine Iconography, Christian Iconography, Virgin Mary, Byzantine art

Les trésors monastiques médiévaux représentent un phénomène complexe et hétérogène et pour l'étudier, il faut utiliser une approche particulière. L'importance des trésors est immense et contient à la fois des aspects économiques et... more

Bookmark
Download
- by Nina Chichinadze
- •
- 5
  Medieval History, Identity (Culture), Monastic Studies, Icons

ქართველოლოგი # 26 / The Kartvelologist # 26

A stylistic analysis of the frescoes in the St. Nicholas church of the Kintsvisi monastery through the artistic approaches (features of drawing and modes of modeling) constitutes the principal object of this paper. The preliminary... more

The theme of hunting occupies an important place in a diverse iconographic repertoire of relief sculpture in medieval Christian art. Hunting compositions of St. Eustace were very popular both in Eastern and Western Christian arts. We find... more

The theme of hunting occupies an important place in a diverse
iconographic repertoire of relief sculpture in medieval Christian art. Hunting
compositions of St. Eustace were very popular both in Eastern and Western
Christian arts.
We find relief scenes with images of hunter-horsemen in different forms
and interpretations in continuity from the 6th-7th to the 16th centuries in Georgia.
Georgian Christian art presents a specific visual representation – a hunter and its
victim – which is mainly represented in St. Eustace Placida’s compositions. In
addition, we also meet compositions, where a hunter is depicted in an atypical
context, for example, in Oshki, Bagrati, Tkoba-Erdi, Sadgeri where we have an
image of a hunter-archer. In this case, the task of the study is also to determine
the content of the compositions and their meaning.
The aim of the article is collection, definition of interconnection and
thorough investigation of the compositions of hunting scenes and scenes of the
images of hunter-horsemen together with zoomorphic figures presented in the
Georgian Christian art of the Middle Ages, explanation of semantic-symbolic
meaning of distinctly expressed features of the compositions, searching of their
analogies in the neighbor countries or in the Western European Christian art, and
their artistic-stylistic analysis in comparison with them.
Parallel to the hunting scenes of Saint Eustace existing in Georgian art,
hunting scenes of Saint Hubert are found in Western European art. Studying and
stylistic-semantic analysis of these two phenomena from a single iconographic
viewpoint is a novelty.
The article is based on the scientific works of various researchers. Their
reflections reinforce our considerations and make the research more profound.
saqarTvelos istoriis institutis Sromebi. XIV
114
Hunters and victims, archers are present in Western European art,
especially in the 12th-16th centuries France. But here, along with Placida’s
hunting, the episode of St. Hubert’s hunting is also relevant. The scene of the
vision of St. Hubert narrated in literary sources is similar to that of the vision of
St. Eustace. Iconographic schemes of the compositions depicted on the
cathedrals are also analogous with slight differences.
It is worth of note that various approaches have been formed in the
artistic and stylistic resolution of the compositions of St. Eustace due to
different historical conditions and local traditions.
Relief scenes with the images of hunter-horsemen and zoomorphic
creatures existing in medieval Georgian and French art are collected in the
present article. We made an attempt to group these compositions, examine their
contents and symbolic, carry out artistic-stylistic analysis of their iconographic
schemes and reveal their peculiarities.
Comprehensive, fundamental study of material shows us this direction of
Georgian art in the broader geographic, historic and the world art history
context.

In 2011, a monograph long anticipated by art historians with an expertise in Old Russian and Byzantine art was published by Ljudmila Pekarska. The main subject of the monograph – the history of a hoard of jewellery found in Kiev in 1906,... more

In 2011, a monograph long anticipated by art historians with an expertise in Old Russian and Byzantine art was published by Ljudmila Pekarska. The main subject of the monograph – the history of a hoard of jewellery found in Kiev in 1906, and as luck would have it is today divided between the British Museum and the Metropolitan Museum of Art. The author, however, did not limit her study to the analysis of objects from this hoard. She used an extensive amount of comparative materials from collections in many Western, Ukrainian, and Russian museums. L. Pekarska focuses mainly on the cloisonné enamels, an impressive example of exquisite medieval luxury. Welcoming
the publication of this book, and being interested in the research, as well as its author, I do not envy the hard work that it would take for a person to write a scholarly review on this publication. The book contains so many specific features, so many politicized statements, so many altered facts that an unprepared reader, and even a professional, will not always be able to understand these “sleights of hand”. For this reason, I chose only three pages from the book of Ljudmila Pekarska that discuss a collection of cloisonné enamels of Alexandr Zvenigorodsky and its fate
(now almost the entire collection is kept in the Metropolitan Museum of Art). I hope that my article will help the reader in understanding the nuances of L. Pekarska’s book and, besides that, off ers the reader more detailed information about the unique collection of Zvenigorodsky and the reasons it is now in Western museums. In this article, the author includes biographical facts about Alexander Zvenigorodsky; it shines a light on the history of Zvenigorodsky’s ownership of the cloisonné enamels, and criminal origin of the collection taken from Georgian monasteries.
Also included is information on the publication of the collection by its owner – the famous book issued in three languages
in 200 copies each: in Russian, in German, and in French. The book has long since become a rare example of the highest quality of printing and refi ned luxury. A considerable attention is paid to the fate of the collection after the death of its owner; the reason it was secretly sold to John Pierpont Morgan; a negative role in this sale of the infamous collector Michail Botkin. A seemingly private matter about Zvenigorodsky’s collection of enamels has raised numerous problems of ethical, methodological, and, in some degree, even cultural and political nature.

Bookmark
Download
- by Yuri Pyatnitsky
- •
- 31
  Byzantine Studies, Provenance, History of Art, Byzantine Archaeology

the illustrations are better in my draft.

The Pseudepigraphical Prophesies on the Virginal Birth: From the Slavonic, Greek, and Georgian to the Second Temple Jewish Background, Scripta & e-Scripta 19 (2019) 87–108 + figs. 1-4.

The empire of the Persian Sasanids (224-651 AD) extended from today's Iran, Iraq, Azerbaijan, Pakistan to Afghanistan. The Caucasus regions were also under its political influence. Many elements of Sasanian art and culture can be found in... more

Bookmark
Download
- by Nina Chichinadze
- •
- 16
  Art History, Medieval Studies, Identity (Culture), Monastic Studies

Medieval Georgian Christian Art

Log In