Upper Svaneti. Medieval mural painting

148 Pages·2010·268.525 MB·English

by  M. Kenia

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Upper Svaneti
Medieval Mural Painting
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Album concept,
text and translation Dr. Marine Kenia
Design George Demetrashvili
Nata Kipiani
Natalia Ghlonti
Map George Dzamoev
Photo material used in the album: S. Kobuladze Monuments Photo Recording Laboratory of G. Chubinashvili National Research
Centre for Georgian Art History and Heritage Preservation [O. Kobaliani, G. Khamashuridze: (1981) 65-77; 103-106; 108-
109; 111; 113; (1985) 49-50; 52; 54(2); 55-56; 59-63; 182-187. 0. Kobaliani, G. Gersamia: (1986) 38-39. 0. Kobaliani, Yur.
Sivenkov: (1986) 194-195(1); 199; 235-238; 240-241. Mir. Kiladze: (2008) 12-15; 20-21; 36-37; 102; 107; 110; 112; 114-121;
166-173; 188-193; 195(2)-198; 200-209; 226-234; 250-269]; Mir. Kiladze [(2005) 160; (2006) 127; 139-143]; N. Vacheishvili
[(2007) 40-48; 51; 53; 54(1); 57-58; 64; 82-85; 90; 126; 128-131; 138; 161; 271-285] and G. Demetrashvili [(2008) 5; 16-19;
22-35; 78-81; 86-89; 91-101; 122-125; 132-137; 144-159; 162-16S; 1 4-181, 210-225; 242-249; 270; 286-287; 294-295].
Special thanks are due to Illarion, Bishop of Mestia and Upper Svaneti for support; we express our gratitude to the staff of Mestia
Municipality Unit of Culture, Education, Monuments Protection, Tourism, Sport and Youth Affairs for assistance; thanks to Dr.
Nikoloz Vacheishvili for the provided photomaterial.
©2010 M. Kenia
©2010 G. Chubinashvili National Research Centre for Georgian Art History and Heritage Preservation
All rights reserved
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On the cover: Matskhvarishi. Entry into Jerusalem (detail)
UDC( 'J>J) 75.052( 479.22)
ISBN 978-9941-0-1692-9 a-43
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8MJMd.>~;:JO'ZJ~O 608'Zl d<>J.>MOO - 33om3<>~ b.;Ro6M;:JO b b3.;6;:im do cl;:i;j860 u3.;6::imclo - O'i3Mc>MOLI m0Mo63'b;:i~ob (1096), ~c>0'ZJMJ.>U 3od::i~ob 8b003MMOOLI ;:JMm330M 30M~0303~M00b ~0 c,Mll;:JOOm (XVII b.); ;JU, b0'bM30~M d6;:i~o;:J~MOOLI tJ03b, 00Mm06
8M8'Jd<>3;) 8b.;03<>Mm.> 6.;('.?3<>\7ob 'ZJ<>('.?M;:Jll 8M.>3<>~'i3;:JMM36::io.;u (\78. J30MoJ;:ib0 ~0 \78. o3~o00u DJ~::ibo0 Jc>~000, 1112) ~0 bb30M00ll 3;:icnou 3b0030M mo3~MM;:Jll 603M('.?30\70Mou306. 30oMob~::i<'>o~ J03ooMo01i01i0000~ ~0, b00M~MM~, b0J'Zlm0M
~0 'ZJ0S'ZJ<>MO ~0b0'ZJM00 U<>J'Jm<>MO 8b.;03M'Z)~O b.;bou 8;jM6;:J 60JO'i3c>MOLI :x,3M03ob ;:JJ~;:JLIO;:JOOUc> (1130); u080308 8o1io b0b::i~o 600.;6~MO~o300, MM3 3o;j::i~ 30('.?~c>J;:J~ob \7Mob 60j'Z)jdO R<>J;)00~ J'Zlmb::iclo O;:J3M;j3;:J~;:JOOmo o830~b::ioob
u .,5 Mo cnoM\7::JM'ZJ~o LIJM~ou .;Mu;:ioMoob.,. .,8 UJM~ou ~0 8Mb<>0'ZJ~M00m0 d;:JJ86oU 'b0b00 m0MO('.?;)OO ODWJ33060b0, 3Mb00'ZJ~MO;:JOdO - 6::i'b3'Z]6ob 30obM30Mo (II cn;:i60), Q;)~Oll ;:JMm330Mo 306.;3~::ioob 0;)~;)300 cl;:iod~;:io0 OSMLI. m'ZJ300, ;:Jll
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3.;63om.>M;:JO<> 'i3<>MmM JMM6M~M30'ZJM b.;'b('.?3M;:JOdO m.;3b~;:JO<>, M00, m03oum.;30~, 8;:i0<>~ ocl300mo0 000 U<>'ZJJ'ZJ6:JaOO'u ;j0Mm0~ 300 bM3<>MO, R3000060 b m0Mo63 'b;:i~o, ~0('.?c>3o u 300 bM3<>MO ll'Z)~c>O c,M c>J6o6::iob 03 3Mb00'ZJ~M00m.> 3b003M'Z)~ ('.?OMLl;:JO;:JOLI
IX-X ll<>'ZJJ'ZJ6;:J;:J00~06 XVII ll<>'ZJJ'ZJ6;:J3~;:i ~., ub30~.;ub3.;330M 8b003MM00do. m;:i3~MM;:JU \7M~;:JO<> - "8::icnob ob.;030Mo" Cd3::i~0 ::JJ~::iboou II cn::i60) - 3;:i00~ b00600M0bM ~., - obo6o ll<>J'Jmc>MO ~MMOLI 0::J3M36::ioob0 m'Zl 'i3MM80m306o~ob
8Mb<>0'ZJ~MO;:JOLI 8MOQ<>3ll - ;:JJ~;:JUO.>m.> 060::JMO;:JMOLI, cn0b.;~m.; - b08;:icnM Jc>Mm06 8ou bo.;b~M3;:JU0 ~0 80('.?c>~ 30003'b;:i m.;3oboo'ZJMO b0bom 3Md;:J~~;)Oc> ob 0b.;~o do::io::ioo, M00 03b0b3::i~o 300<>~ m03ob::io'ZJMO, 3M030~8bM03 llc>S'ZJM<>~('.?;:JOM
m'Zl J<>6J;:i~m.; cl;:i8.;8JMO;:J~ll. 6.;0M330MMOOU 30M~0, .>M.>6.>J~;:JO 8;:i0m::i~;:iou. 8M('.?3"V::JMOOU b06ou 30m30~o'h\706noom, 030 3od::i~ou o;:iaMJ3;:J~;:JOc>dO ~0ou0b0. 60\70M3M;:JO;:J000.
860 cl36;:J~M3.>60.; cl;:i8MMR;:J60~ .;6u.;8o~m.; M.>M~;:J6MOM030 30MM30 II-ob (1072-1089) 06 \78. ~03om IV 0('.?8<>7:l;:i6;:io~ou m.;3.;Mob OM\7so630~::i ;:J3MJ0 'b;:i8M b306::imcloo 8000~ 'b::i8M b306::im clo d;:J3M60 b'ZJ~O d'Jc> llc>'Z)J'ZJ6M3.>60 3b003MMOO b
uo8~o~M;:JO - «u::JM\7;:JM'ZJ~O UJM~OU 3.;63om0M;:ioob SM3::J~O (1089-112s) Jc>Mou 8b0030Mo 06~0 sMcno~osM. 36ocl36;:i~C'J3060 3Mb00'ZJ~MO;:JOOLI - dc>~OdOU 30obM3Mob0 3::J0"~ 36ocl36;:J~M306 3~0b0b ::J·V· b0~b0Mo 3Mb00'ZJ~Mo060
D0.;3o 8M b.;0'ZJ~MO.>m.> 8M.;3.;~MOO bM3.;60 '.X,3 'ZJ'i3::JOOm0.> m;:i3~MM;:J 0~0M~ 0.;8MMR;:i0~o 6ojoU, 008MJ3;Jmo~.;~ ~0 iJc>3'JdOLI 30obM3Mob ;:JJ~;:JLIOc>m.> - cl;:i;j36om c>('.?06006.;. ;j36ob. b3.;6::imo o3om0000 003MMR;:i0~o, MM8 806 03030M
\7.;M8M~3;:i60~0, MM8::i~6oo 6.;m~.;~ 330R3;:i6::iou ub3.;~.;bb3.; 06~03o~'ZJ<>~'ZJMO, 0~30~.;~ o6MO.>~O b::i~\7;:JMOU 8;jM6;:J 30Mm0~00, obo6o d~O;:JM ~0'b0M0~~.) iJc>3m0 uo.;3ob306, 803M03 .;6b03o~m0 3Mo::J~O VS ::JOc> cl;:i3M3306.; b0 - XII llc>'ZJJ'Zl6o~06
~MMLI b306::imclo 808~06.>M;:J cl;:i8M;j8;:i~::ioomo 3MM(3;:Jll;:JOOLI Mll0<>000. 8ouo'ZJ~O, J~c>UOJ'Z)Mc>~ UM'ZJ~SM«uO~ o ~0 ~('.?;:Jllc>O, li06.;b;:J3MM~ \70MbMoo~-30cl03oo'ZJ~O, 0603ocnM::JOLI 3MSM~;:JO'ZJ~O Co<>~~c>dOU 30obM30Mo, dc>~oclob m0Mo63'b::i~o,
.>M.>;:JMm86ocl36;:i~M36;:io.;u.; ~.) boMm'ZJ~;:Jll. 8M6'ZJ8060'ZJMO, 8d~03Mo, d~O;:JMO 006.;3.;60 3'Jb0ou 360 b3::i~ b 'i3MM30m.; d0M3M6o0~MOom0 ~., 0.;3M3u0 b3;:J~Moom. \7 30M3o b :x,0M.;0-RM0060), XIII llc>'Z)J'Z)DO b (~.;b 0 cl~o b
7
6
0105~0~-0106050'b::i~o, b::iu 00600~0 (va. 006006::iu ::JJ~::iuo0), u3o'l30 u '.j\':36030) 05 ab(")~(")(")~::i5 0::J(")a::i06o'ZJ~O U.') b::i::ioo01 Upper Svaneti, a region of amazing beauty in the western church), all belong to the same group of early paintings; some
XIV u00Jz:i5ou0 (~::Jcl6::J6ou J0ocl::i-01063~::J'b::J60 (va. 0aJ(")0~5::i5 (tJ00005ou ~0a0600, j(")b'Zl~~ou a0ob(")3060, Georgian highlands - grandly uprising peaks covered with the of them are more or less fully preserved, others are considerably
a010306053::J~(")'b010 ::JJ~::iuo0) ~0 XV u0'ZJJ'Zl5ou (~::ib0103ou a00 b3060 clo u 0106053 'b::i~o). eternal snow, colourful Alpine valleys, roaring fierce rivers, fragmented, visible in the parts, where the superimposed murals
~0a0600) l'\0013~001. 3M(")<n::JUO'Z)~O 305uv03~ou 06ad(")5::i, u305::i01ou ;JJ~;JUO;JOa.') a0010 0cl::i5::io0-a(")b003ou a(")0103::i010 villages scattered over the mountain slopes or sheltering in the of later date had fallen down in the course of the time. These early
ub30~0ub30 30d05::ioou, (")u000010 ao::i6 cl::ida5o~o ::iu 010 a00::i5::io::i~-a(")ab003::J~ (")u000010 u0b::i~::iooo o::ia(")33050b0. depth of the river gorges, towers reaching the sky and small stone decorations reflect intense creative strivings laying a foundation
a(")b06'ZJ~(")o05o 00S3::J3::Jou a50b3::i~u 01'l3::J'ZJ~(") 0103ou 'b(")30 a001305ou ~30v~'b::i ab(")~(")(")~::i5 'l3M;JUJ';'j~O 05 churches ... From the time immemorial, Svaneti formed part to the establishment of the school of painting as a unity of
'Zl'B~::Joo01, U0b;J010 O(")ob0~0 a::J0SJ::J~;J0001, .')~.')~O ~030~.')M'ZJ~O v06v::i6::ioo 01'ZJ a(")33001b6(Y)OU .')U;J of the Colchis Kingdom, later - of the Egrisi-Lazika Kingdom, certain artistic approaches, to the formation of a specific artistic
ao0ao0(Y)0001, 305o~ou uov6<n::i~o01, ao5oa0~'Z)MO 33::JO'ZJ~(")001, M(")a 5::i'b3'Z]5ou a0ob(")36ou ;JJ~;JUOOU 03::io0 ~.') while from the 8'h c. it was turned into one of the eristavates "language", due to which "Svanish provenance" of the murals,
U0d'Z)0~::JO;J0001 a0duoa0~'Z)MO ab0036'Z]~O ::J'B::Jd0ou cl::ida5ou aouo u0J0601b::i3~ou ab0036(")0001 o::iaJ(")00 o::icld::i5ou "3060010 (dominion) of the Apkhazeti-Western Georgian Kingdom. In the created over the entire history of this school and visualising
05060010 010 'B::JM010 uob0~ouo01. ~.') 'l30Uo01" a(")ab~060, ab003060 JO 30(")630 S(")'B0~0; 11 ,h_1 5,h cc. Svaneti eristavate had preserved its significance in the tastes and trends of diverse epochs, is so easily recognized. It is
a(")b00'ZJ~(")O;J0001 00d06010 056::JMO;JMOU d;JaJ(")OOU 30~~0, l'\300005ou a0ob(")36ou ;JJ~;JUO.') 003(") ~.') aouo U0J'Z)M01b;J3::J~O political life of the country within the united Georgian Kingdom. noteworthy that, apart from the interior mural decorations, this
u305::i01clo a(")a0cl03::J (")u000::ioo <n0u0~010 ab0036(")0001 a(")ob000 u0a010 da0010 - oo5~o, 0a6(")~.') ~.') aod0::i~ - From the 1 S'h c., after the disintegration of the united Georgian group also unites paintings embellishing facades and chancel
00ao3::i5::io0 'b::io 'b60503~5::i5. 0a ab6o300 'b::ia(") u305::i01a0 a::i00~ 0a6(")~::i05010 010(")u5(")oom; b(")~(") ~0006J0, aovoud36ou305 Kingdom, Svaneti became an independent princedom, retaining barriers of the churches, accordingly, on this initial stage already
u0050::i6::iu(") ~0 a~o~060 a::iaJ30~6::i(")o0 o::ia(")33050b0,6(")a::J~oo "~06~3::J'Z]~o", 056(")5ou cl3o~a0 30(")63oa 30500b~0. ub30010 traditional division into communities, which has come up to our discernible are all major directions, in which the mural painting
~M(Y)OU.') 01'ZJ ~06-03~6ou 'b::ia(")da::i~::J0001 S3::J~0'b::i a::i00~.').') V3~0~0U ';')J3~03u0s(')<n.')~ 060 a060(") v06v::i6::ioo, 060a::i~ days. This historic province is one of the significant centres of the developed over the entire history of the school- no other region
~.') 'bo05::JO'ZJ~O. Du a(") b00'ZJ~(Y)0.')5o u305'Z)MO 'B::JMV ::JM'ZJ~O 3(")666::i6::iooo a(")'Z)0103u::ioo001 ;JJ~;JUO;JOdO - 30(")630 ~.') medieval Georgian culture. Over the centuries, it was an abode of of Georgia has preserved exterior and chancel-barrier painted
UJ(")~OU 305300106::ioou SJ;J~.') do60010~ ::i003u a(")oo03u (X u.: aod0::i~ "30~06(")'b01/ M;J~O::J'l3'ZJMO 'l30~::JOO ~'ZJ.3.')U ;JJ~;JUOOU the unceasing creative life - indigenous, marked with the clear-cut decorations in such an abundance and wide chronological range.
0oou 0106053'b::i~o, 50JO'l30MOU x36030; XI-XII uu-ou aox50: 'l30U0~'b::i; J30MOJ;J a0a0u0b~ouo, "6(")a::i~a05 ~o~o a(")Qjo630 individuality, rooted in the local artistic traditions and, at the same Flourishing of the Svanish school (late 11 ,h_ early 13'h cc.) is
,3.')~0dOU x36030 (u(")'B::J~clo); XII u.: 'B.')MOU u3o'l30U x36030, ... 'b::i~3(Y)a.')Q b0030b" a0ob306oclou a0ob(")36ou ;JJ~;JUOOU time, closely linked with the general development of art in other mainly linked with the names of two great artists - royal painter
O'l3M0MOU 0106053'b::i~o; XII-XIII uu-ou aox50: o'Bbou x36030; a(")b00'ZJ~(")o0clo; 0d3;:i0, ~;Ja::J06::J I -ou a::J'B::J~J';'.1601b::i3ou regions of Georgia. It is an inseparable part of the greater unity Tevdore and Mikel Maglakeli. This stage is represented by the
XIV u-ou cl00b050: ~0~0aou a0ob(")3060 ('b::i~0 ::JJ~::iuo0); 'ZJ50J0~'ZJM uo::i50clo 30a(")u0b';'j~O, u03060'Z)~(")~, ab0636(Y)OOU of the Georgian art, leading its own tune in this harmonious highest number of preserved murals.
XIV-XV uu-ou aox50: ~0cl01b3::i6ou 0106053'b::i~o; XVI u.: a(")a3::io::i~o, u305::i01ou 06ou01030 306~05oud::i; aod::i~ l'l::i3005o, polyphony. Such a combination of the common-Georgian traits Royal painter Tevdore is the author of three ensembles in
a0ob306oclou 0106053'b::i~o; XVII u.: l'l0tJ0dOU a0ob(")3060). .3.')~0dOU a0ob(")36ou ;JJ~ouoou :k!Jocl)(")60; d0~30 do6docl~o05o, and features characteristic of this region only contributes to the Svaneti - those in the Iprari church of the Archangels (1096),
a5ocl35::i~(")30500, 6(")a <n0b~010 ab00360~ 30'l3(")6a::io0clo ~.')~.')aou a0ob(")36ou 'b::i~.') ;JJ~;JUOOU a00::i5::io::i~o (v06v::i60~05 uniqueness, which marks any work of art created in Svaneti - Lagurka (church of St. Cerycus and St. Julitta in Kala, 1112) and
3b3~::ioo01 ou::i01 0103ou::io06 5ocl5::iou, 6(")a::i~oo u0Ja0(")~ 30::io0~(")001, 6(")a a(")b000~(")oou a(")a3::io::i~o 00~30u aa0, be it secular and ecclesiastical architecture, metalwork, mural and Nakipari church of St. George (1130); all of them have brought to
003000100 d'ZJ.') U0'Z)J'ZJ5::J;JOOU d0M01'ZJ~ J;J~~ou ab0036(Y)O.')do; 5::id::i os(")) ~.') 'l30MOU u3o'l30U x3603ou ;JJ~;JUOOU a;J(")M;J~ icon painting or wood carving. us his name and the exact date of their execution, which is quite a
0U;J0100, a030~0010~, UJ'Z)~36'ZJM'ZJ~O ~.') 'B::JMV::JM'ZJ~O a(")ab063::i~o; aod::i~ 03;]~~0050, 6(")a::i~a00 "0~30cl::i5::i ... Medieval mural painting is one of the important branches of rare case in the medieval Georgian mural painting. Tevdore's title
~;JJ(")MOU ;JM01005 J(")a3(")'booo0~ 300'b6::io0 (50JO'l30MOU ~03b00::i, b000010 ~.') '.j\';'Z)0M001.') a(")3J0'ba{ ab::i6ou ;JJ~;JUO.') art preserved in Svaneti. Mural decorations of diverse chronology - royal painter - points to his connection with the royal court and
x36030), 'l30U0~'b::i 00M00aou u0'Zla0601a(")S30M;J(")OOU ('l30MOU (o(")~-cl3o~u0 ~0 6d0~0105 ::i6010~ v06a(")~3::J5o~o); and differing artistic merits reflect extremely rich legacy left by great distinction. Taking the period of his activity into account,
u3o'Bou x36030), 0~0a ~0 ::J30u 3063::J~0(")~3001 ~00::iaou 056(")5 'ZJ'l3M005o, 'Zl~3.')~0U ;JJ~;JUOOU "0~a00::i5::io::i~o" the painters working in Svaneti - those, who had received perfect Tevdore seems most likely to have been the court painter of the
(~0~0aou a00 b(")3060)' 30360(")00~0 3::J~M;JOOu b00::ioo u 6030 u (0103ou da0u0105, aod0::i~0105, ::i6010~); ~::ia::i06::J l'\0601(")~050, professional training, as well as modest folk craftsmen - vividly king George II (1072-1089) or St. David IV the Builder (1089-
U.') bo01 ( O'l3M0MO u 0106053 'b::i~o, O'l3 bo u x36030, a00 b3060 do u ~::ib0103ou ~0a0600U ;JJ~;JUOOU "a00::i5::io::i~o", a0u0105 ;JM01.')~ testifying to the existence of the Svanish school of painting 1125).
a0ob(")3060) 30a(")u0b30. u000~ouba(")0, 6(")a d3::i~o 010 JO, - 30650010~ x0<n06od::i (u03060'Z)~(")% 0a030 OJ~;JUOOU with its own artistic identity. Development of this school, Tevdore is definitely a painter of the distinguished talent and
0b0~0 0~01daou uo-zw::i6::ioou 306~0, u305::i01ou u0'B0u0~(") d000(")60, 60~305 030 ;JJ~;JU0001 b::i~clo OS(") 30a(")u0b'Z)~o), spread over a vast chronology starting from the 9'h-1 O'h cc. up easily recognisable manner marked with his clear-cut individuality.
ab0036(Y)O.')dO U0::JM(") 01::ia000J0U00 3b::i~0301 - "0ao605- aouo 30tJ;JOO (~(")~0~.'), 0305::i, .')U~05) ~.') .')U-;')~5o (xoa0~clo, to the 17'h c. included, comprises varied paintings embellishing His painting, classically refined and monumental, displaying
~06::ix05005ou" u03ao6(") ;J3(")UOU ;J30'b(")~;JOO ~0cl01b3::i6ou tJ(")MtJ(")O, a0600ao 05 a06::i b ~.') a;J(")01 b::i .') U'Z)~O, M(")a~o u interiors, facades and chancel-barriers of the churches. Apart vigorous, passionate spirit,is emphatically expressive and extremely
0106053'b;J~OU.') ~.') l'l0tJ0dOU a0ob(")36ou ;JJ~;JUO;JOdO - 600 u0 b::i~o 0~06 o::ia(")3361'\0). from the diversity, of no lesser importance is the abundance of impressive in its potent emotionality. Mural decorations created
ub30305 06u0~ 33b3~;J00 u0d06013::i~(")dO. l'l3::i5u .')~O(")ado u305::i01clo ~0'Z)5'.j\';::JO'ZJ~O aCV>b00'ZJ~(")005o the preserved ensembles - each stage in the development of by him make it possible not only to trace his creative life over quite
J05J;J~01.') a(")b00'ZJ~(")0.') d'Z)0U0'Z)J'ZJ5(")305o ab0036(Y)OOU d6(")5(")~(")30'ZJMO 603ou ao~::i35::ioo0100 v06a(")~305o~o, the school is represented by numerous groups bearing eloquent a long spell, but also to speak of his particular significance for the
JO~::i3 ::i6010 01030u ::io060 ~.') a6030~ab603 u0s060~~::io(") 60~305, clod~::ioou~033060~, v06a(")f\::i5o~os(") cl00u0'ZJJ'Zl5(")305o testimony to the complexity of the creative processes taking place development of Svanish school. In his creative activity, Tevdore,
5006u0b;J(Y)0.').') 'b::ia(") u305::i01clo. 'Zla::i0::iuvo~0~, J05J;J~01.') ab0036(")oou a6030~0306(")00 <n::i6v::i60~0 UJ(")~ou in Svaneti in various epochs. as no one else, managed to accumulate and generalise established
a(")b0030 ;JJ~;JU0.')01.') 056::JMO;JMOU 01050~M(")'ZJ~.')~ b~;JO(Y)~.') 305300106::ioou 01001(")::J'Zl~ ::i603'bo. a06010~00, a01::i~o aouo The earliest mural decoration in Svaneti, adorning the chancel traditions, to further develop a potential set in the work of the
~.') ouo5oo 00d6ou 'B::JMV::JM'ZJ~O ~;JJ(")MOU 305'Z)S(")'B::J~ uoa~o~6::J, 0d, ob0~00, 3::i6 0ou0b0, a0360a, oa::i~o0, ::iu 0~o(")ao of the Nezguni church of the Saviour, is dated to the 9'h-10'h old masters, bringing it to the acme of the artistic perfection and
50vo~0~ 3000'b6::io(Y)~.'). ~;JJ(")M.')6o'ZJ~O a(")003::ioou 306~0, JO~::J3 ::i601bo~ d;J0bu::i5::iou 'l30M01(") u0'b(")30~M;J00U l'l3::i5010 cc.; besides, a long sequence of the 10'h c. murals - those of the organically linking it with the demands of his epoch. Eminence
J05J;J~;JO'b;J b05 a(")v0a::i vao5~05::iou (o<nM.')MOU 0106053 'b::i~o, d30~010 50~30vu, ~.').')'BOJM;JOU U0J'Z)010M 30U'Z)boua3::io~(")00'b::i Chvabiani church of the Saviour, Atsi church of the Archangels, of Tevdore as a painter lies in the fact that, to a certain extent,
~03-;')MJ0, 50JO'l30MOU x36030, J'ZJM.')dOU x36030, l'l0tJ0dOU aouo ~0030·cl::i5061'\'Zl5::JOOU013ou, a(Y).')U'ZJM3::JOU 300030 ao03(")U Ipkhi church of St. George, Hadishi church of St. George (outside he had marked the grand completion of the long process of final
a0ob(")3060), b05 va. a010306053::i~(")'b01 (b::iu 00600~0, S3::J~.') a001, 3050 b::i~o 30a(")O~(") aou cl::ibda5::i~.')~ ~.') the village), Pkhotreri church of the Archangels, Kurashi church formation of the Svanish school.
~.')~0aou a0ob(")3060) 01'ZJ vo50uv06a::i0m::i~01 ('l3b(")06::i6ou cl::iouao5(")u O(")V(")~;Jo0, 6(")a;J~oo :X,;JM JO~J3 XII u0'ZJJ'ZJ5;Jclo of St. George, Zhibiani church of the Virgin and Pari Svipi church Principles manifested in Tevdore's painting are also discernible
0106053'b::i~o, ~::ib0103ou ~0a0600) 30a(")u0b03~5::i5, b0500 05~::i6do3001 ~03306(")30 J30MOJ;J a0a0u0b~oua0 - " of St. George - as well as the early 11, h c. painting in the Lagami in the mural decorations of his artistic circle - those of the Tsvirmi
a001 u0a(")01b::i'b::i aoa05ocl5::io::i~o ao3::i5o::i6o ao::i50M::J'ZJ~O d;JOJMd0~001 b00'ZJ~O, M(")a::i~ 'B::JMO 06 ~.').')J~(")u". church of the Saviour (initial mural decoration of the lower church of the Saviour (painted by Tevdore's disciple) and Tsvirmi
(")650a::i50::ioo01 (Q::i50clou Q05o, ~.')~.')aou a0ob(")3060, 'l30MOU
8 9
church of the Archangels (in Chobani quarter); however, despite important peculiar characteristic of these murals is that traits of Old and New Testament subjects, secular themes are also found the church in his hands), together with his sons (Dodila, Ivane,
obvious efforts to devotedly follow art of the great master, set as the new style are found in different form and quantity in each in the facade mural decorations of Upper Svaneti - episodes Aslan) and daughters Gimadshi, Zhorzhoi, Mariam [or Marekh]
a model for imitation, none of the followers managed to achieve individual decoration - what is quite developed in one painting, of the epic ''Amiran-Darejaniani" in Lashtkhveri church of the and fourth daughter, whose name is lost).
artistic magnificence comparable with the royal painter Tevdore. might be either quite modestly discernible or even entirely ignored Archangels and Chazhashi church of the Saviour - which can be Mural decorations preserved in Upper Svaneti are presented
Mikel Maglakeli, who had painted Matskhvarishi church of in the other, but all together are seen nowhere. found nowhere else in Georgia. in the chronological order in our album, in order to show possibly
the Saviour in 1140, is a painter of quite a different individuality Late Middle Ages are presented by the lowest number of the Painted decorations of the chancel-barriers are one more whole diversity of the medieval mural painting on each stage of
and inclinations. Boldly striving for the dynamic unity of the preserved ensembles in Upper Svaneti-those of the Ugvali church peculiar and most remarkable typology of the medieval painting development of the Svanish school. Although, its entire richness
painted ensemble, and in this sense, marking new trends, he is of St. George (1 S'h c.), Matskhvarishi church of the Archangels in Upper Svaneti. In the majority of cases, chancel-barriers were could not be reflected here, we still hope that our album would be
more alienated from the traditions of his predecessors, but, on (16'h c.), Chazhashi church of the Saviour (17'h c.). This might be painted simultaneously with tl1e decoration of the church interior, one more reminder of the legacy of our ancestors, would make
the other hand, still remains faithful to the artistic principles of caused by the decreased creative impulses in the region, where, forming its inseparable part. Apart from the decorative motifs, one think about his personal responsibility for its preservation,
the past, reflected in the character of the figures and stylistic at this time of the general hardship, nourishing connections with chancel-barrier paintings include images of St. Martyrs (Iprari would inspire respect for all those, who had spared no efforts for
peculiarities of his manner. These particular traits - application of the lowlands were gradually weakening and, finally, brought to church of the Archangels, Lagurka, N akipari church of St. George, its creation and remember words of Dean Kvirike, uttered in the
the established norms and, at the same time, certain progressive nought. However, this does not diminish artistic merits of these Kurashi church of St. George, Chazhashi church of the Saviour), 12'h c. and left as his last will to the posterity - " ... take care of
innovative strivings - all precondition a somewhat transitional murals - they are quite remarkable, characteristic samples of their or of the Archangels (Khe church of St. Barbara, Lagami upper the painting, so that colours are not spoilt".
character of Mikel's work and its essential difference from that epoch, manifesting its tastes and tendencies. church of the Saviour), or of the Prophets (Pkhotreri church of
of the royal painter Tevdore. The so called folk paintings form quite an important group of the Archangels, Lekhtagi church of the Virgin), in some cases
It is noteworthy that in the mural decorations of Mikel's the medieval mural painting in Upper Svaneti. Svaneti is definitely they are covered with the splendid plant ornamentation indicative
artistic circle - those of the Nezguni church of the Saviour distinguished by the abundance and wide chronology of the of the Paradise (Yenashi church of the Prophet Jonah, Lagami
(2°d layer), Yeli church of the Saviour, Chvabiani church of the preserved murals ascribable to this trend - starting from the upper church of the Saviour, Pari Svipi church of St. George) or
Archangels, Lagami church of the Saviour (2°d layer painting of 12'h c. (Tsaldashi church of the Saviour, Hadishi church of the diverse geometrical ornaments (Zhibiani church of the Virgin,
the lower church) - innovative strivings discernible in the creative Archangels, Tsvirmi church of St. George [in Chobani quarter]) Chokhuldi church of the Saviour, Matskhvarishi church of the
activity of Mikel Maglakeli, find most interesting and peculiar and including ensembles of the 13th c. (Tangili church, Khe church Archangels).
continuation. of St. Barbara), 14'h c. (Geshteri church of the Archangels [Svan. Svaneti churches have also preserved names of their donors and
In Svaneti, "Golden Age" of I<ing Tamar is marked with most Kaishe-Targlezeri]) and 15'h c. (Lekhtagi church of the Virgin). builders or painters. Contributions of some of them are known
remarkable mural decorations - those of the Hadishi church These murals created by the craftsmen who had received modest from the lapidary or fresco inscriptions only-thus, one learns that
of the Saviour and Zhamushi church of the Saviour. Although or no professional training impress the visitors by their unusual erection of the Nesguni church of the Saviour and painting of its
severely damaged by the time, even today, half-deteriorated and freedom, lively expressiveness of faces, ingenuous naivety, chancel was achieved with the "bread and money" of Beshken,
blackened, they still amaze the visitors by their harmonious forms sincerity of feeling, ability of achieving maximal artistic effect and the painter was Giorgi; construction of the Chvabiani church
and refined expressiveness. using minimal means and gay colourfulness. of the Saviour and painting of its chancel was initiated by three
Equally impressive are the 13,h c. murals preserved in Upper Apart from the interior mural decorations, painters working in brothers - Bende, Amrola and Mikael Amroleani; while Giorgi,
Svaneti - those of the Pkhotreri church of the Archangels (2°d Upper Svaneti also took care of embellishing exterior walls of the son of Anton, had renovated Lagurka, "decomposed" by the
layer), Puzdi church in Mestia, Chokhuldi church of the Saviour, churches. In this respect, Svaneti has preserved most interesting earthquake. Contribution of others is commemorated not only by
Zhibiani church of the Virgin (2°d layer) and Tsvirmi church of and rich heritage, particularly damaged by the severe climate and the inscriptions, but also by the donor portraits preserved in the
the Archangels (in Zagari quarter) - greater majority of which is, time. These murals comprise all major stages in the development churches - relief plaques with the figures of Giorgi and Mikael
regretfully, in quite a vulnerable state now. However, despite this, of the Svanish school (10th c.: Atsi church of the Archangels, "masons" on the facade of the Luha church; Dean Kvirike, "who
both lovers and scholars of the medieval painting are still attracted Nakipari church of St. George; 11 ,h_12'h cc.: Hadishi church of had spared no efforts ... supervising the painting" in the murals
by their multifariousness, plastic flow of lines, spirituality and, in St. George [in the village]; 12"1 c.: Pari Svipi church of St. George, of the Matskhvarishi church of the Saviour; here, in the unique
some cases, naive expressiveness of the faces. Iprari church of the Archangels; turn of the 12'h to the 13th c.: scene of the coronation of the king Demetre I, supposed donor
The so called Paleologan paintings - those of the Yenashi Ipkhi church of St. George; mid 14'h c.: Lagami church of the of the painting, Vardanisdze, eristavi (governor) of Svaneti, is
church of the Prophet Jonah (turn of the 13,h to the 14'h c.), Saviour (upper church); turn of the 14'h to the 15'h c.: Lashtkhveri also depicted; Mikel Chegiani, donor of the Hadishi church of
Lagami church of the Saviour (upper church), Mkheri church church of the Archangels; 16th c.: Matskhvarishi church of the Saviour; Shalva I<irkishliani, who had commissioned building
(both mid 14tl1 c.), Pari Svipi church of St. George (2°d layer, late the Archangels; 17'h c.: Chazhashi church of the Saviour). It is of the upper church of the Saviour in Lagami (as indicated in the
14'h c.), Lashtkhveri church of the Archangels (chancel, mid noteworthy that exterior mural decorations show certain specific inscription, donor of the mural decoration was Neke, Shalva's
14'h c; naos, turn of the 14th to the 1 S'h c.) - show a somewhat traits, which are quite rare in the medieval Georgian mural painting, brother) and repainting of the Pari Svipi church of St. George;
"nostalgic" return to the past experience. The painters try to e.g., combination of the sculptural and painted decor into a single Mikel Iveldiani, who "had built ... painted and adorned with
preserve old architectonic system, clothing it with the new artistic composition (Nakipari church of St. George), depiction of the icons and crosses" Mkheri church (depicted together with his
fabric. This is the basic approach shared by the paintings of this Abraham's Hospitality (Pari Svipi church of St. George), Fall of wife, son and daughter-in-law); Anton Upriani, "builder" of the
epoch, considerably differing from one another by the individual Adam and Eve (Lagami upper church of the Saviour), as well as U gvali church (he is represented together with his brother, Mikael
inclinations and manner of their authors; this is the leading enlarged Deesis represented as a sequence of icons (Iprari church in the interior of the church); Demetre Chartolani, "builder" of
principle, which preconditions peculiarities of the transformation of the Archangels, Ipkhi church of St. George, Matskhvarishi the Lekhtagi church of the Virgin and Pirnatel Japaridze (most
of the new style introduced from the Byzantium. Another church of the Saviour). It should be noted that, apart from the likely, also the donor of this church, since he was depicted with
10 11
Nezguni Church of the Saviour
Initial Mural Decoration. 9th _ J Qth cc.
a.)obM3Moli m;:r~p5o7JMO ~o~oo.). 9a. 8MOOJ7Jc:?;5o
Theophanic Glory of the Lord. Holy Apostles
13
a.,obM3MoU Ol;JM'B.'>60';'JMO ~O~;JO.'>. fl30~;:i~o (:?8Mmo1.i8aMO;J~O
Theophanic Glory of the Lord. The Virgin and Child.
14
Chvabiani Church of the Saviour
Initial Mural Decoration. 10th c.
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