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Ateni, Murals of Sioni Church. Second Layer

Building: Ateni Sioni Church
Layer of the Murals: Second Layer
Date/Period: Second half of the 11th century
Donor(s): Unknown
Painter(s): Unknown
Building Gallery

Inscription(s)

of the Donor(s)
of the Painter(s)

Description

The interior of the church, decorated by imitation of masonry and painted images of flourishing crosses in the seventh century, was covered with a thin coat of plaster and fully painted in the second half of the 11th century (only the semicircular niches leading from the hall into the corner rooms were left unplastered and, accordingly, unpainted – they had retained pearl-color, a little darkened plaster of the previous layer, which later played the role of spatial intervals between the fully painted arms).

 

Dome

The arms of the relief cross stone-built in the masonry of the dome vault of the church which had been painted red on the old layer, were painted anew on this layer, but in the form of ascension of the cross; the red cross was replaced by a sumptuous cross set with pearls whose part was depicted within a multi-layered mandorla, and another part – against the starry sky. Arms of the cross were probably held by four angels. The composition placed in the dome was bordered by a step-like ornament that folded on the squinches of the second row. The biggest squinches of the third row had personifications of the paradise rivers depicted on them; the image on the north-east squinch is the best discernable – it represents the Nile (with an inscription ႬႨႪႭႱႨ – Nile); the Pishon is depicted in the south-east squinch (with an inscription [ႴႨႱ]ႭႬႨ – Pishon). Images of four evangelists are supposed to have been represented on four sections below the squinches, although their bad condition makes it hard to speak about it with certainty.

 

Chancel

The painting in the chancel of the church is distributed in three registres (it totally covers the bema too).

An inscription runs along the triumphal arch of the east apse – quote from the Book of Psalms (Ps. 92: 3-5).

Christ Pantocrator inscribed in a medallion is depicted in the vault of the chancel bema (Ἰ(ησοῦ)ς || Χ(ριστὸ)ς – Jesus Chirst). Four figures of the holy prophets are represented on the southern and northern panels of the bema vault under the medallion: on the southern panel: St. Zacharia (the inscription is damaged), St. John the Forerunner (Ⴜ(ႨႬႠႱ)Ⴜ(ႠႰႫႤႲႷႳႤ)ႪႨ | Ⴈ(ႭႠ)ႬႤ || [ႬႠ]ႧႪႨ[ႱႫႺႤ]ႫႤႪ[Ⴈ] – Saint John the Baptist) the Forerunner is holding an open scroll and the inscription on it is fragmentary (presumably, it is a periphrasis of Mathew 3:2); on the northern panel: St. Prophet Aaron (the inscription is damaged), St. Prophet David (Ⴜ(ႨႬႠႱ)Ⴜ(ႠႰႫႤႲႷႳႤ)ႪႨ || Ⴃ(ႠႥႨ)Ⴇ – Prophet David).

The chancel conch composition (it considers the level of the conch foot) represents Glory of the Virgin: in the center there is a standing figure of the Virgin Nicopeia (Μ(ήτη)ρ || Θ(εο)ῦ – Mother of God) with the Child flanked by Archangel Michael (on the north; the inscription is lost) and Gabriel (on the south Ⴋ(ႧႠႥႠႰႠႬႢႤႪႭ)ႦႨ Ⴂ(Ⴀ)Ⴁ(ႰႨႤ)[Ⴊ] – Archangel Gabriel).

The second registre of the painting of the chancel is occupied by a row of holy apostles. It is made up of twelve figures and the cross depictProphet ed in the center of the registre divides the row into two groups. South wall: St. Peter ([Ⴜ(ႫႨႣႠ)Ⴢ] ႮႤႲ|ႰႤ – Saint Peter), St. Mathew (Ⴜ(ႫႨႣႠ)Ⴢ || ႫႠႧႤ – Saint Mathew), St. Mark (the inscription is damaged), St. Andrew (the inscription is damaged), an unidentified image, St. Phillip ([Ⴜ(ႫႨႣႠ)Ⴢ] ႴႨႪႨ|ႮႤ – Saint Philip). North wall: St. Paul (Ⴜ(ႫႨႣႠ)Ⴢ || Ⴎ[ႥႪႤ] – Saint Paul), St. John ([Ⴜ(ႫႨႣႠ)Ⴢ] Ⴈ(ႭႠ)ႬႤ – Saint John), St. Luke (the inscription is damaged), St. Simon (Ⴜ(ႫႨႣႠ)Ⴢ || ႱႨႫ(Ⴍ)Ⴌ – Saint Simon), St. James ([Ⴜ(ႫႨႣႠ)Ⴢ] Ⴈ(Ⴀ)Ⴉ(Ⴍ)Ⴁ – Saint James), St. Thomas (the inscription is damaged). The row of the holy apostles is extended by a scene on each side – it is difficult to identify them due to their poor condition. These scenes are presumed to be identified with the communion of the Apostles with both kinds.

The third registre of the chancel painting is dedicated to the row of holy bishops made up of eight frontal figures. A figure is represented on each of two spaces between the three windows, two – on the edges of the apse and two – in each bema. South wall: St. John Chrysostom (Ⴜ(ႫႨႣႠ)Ⴢ Ⴈ(ႭႠ)ႬႤ || ႭႵႰ[ႭႮႨႰႨ] – Saint John Chrysostom), St. Nicholas of Myra (Ⴜ(ႫႨႣႠ)Ⴢ || Ⴌ(Ⴈ)Ⴉ(ႭႪႭ)Ⴆ – Saint Nicholas), St. Gregory of Nyssa (Ⴜ(ႫႨႣႠ)Ⴢ Ⴂ(ႰႨ)Ⴂ(Ⴍ)ႪႨ || ႬႭႱႤႪႨ – Saint Gregory of Nyssa), St. Athanasius of Alexandria (Ⴜ(ႫႨႣႠ)Ⴢ || [ႠႧႠ]ႬႠႱႤ – Saint Athanasius); north wall – St. Gregory the Theologian (Ⴜ(ႫႨႣႠ)Ⴢ || Ⴂ(ႰႨ)Ⴂ(Ⴍ)ႪႨ – Saint Gregory), St. Basil the Great (the inscription is damaged), St. Gregory of Neocaesarea the Miracle-Worker ([Ⴜ(ႫႨႣႠ)Ⴢ] Ⴂ(ႰႨ)Ⴂ(Ⴍ)ႪႨ ႱႠႩჃჂ|ႰႥႤႪႧႫႭ|ႵႫႤႣႨ – Saint Gregory the Wonderworket), an unidentified figure, St. Blaise of Sebastia ([Ⴜ(ႫႨႣႠ)Ⴢ] ႥႪႠႱႨ – Saint Blaise). Headers of the side windows of the three ones in the chancel are decorated with ornamental motifs, while frontal figures of two holy stylites are depicted on the jambs of the central window. The row is terminated by a frontal portrayal of two holy deacons represented on the lower part of the western face of the arm projections.

The painting on the arm projections is composed by two registres: lower registres are occupied by a figure of holy deacons each; upper registres have two holy martyrs-riders (?) whose explanatory inscriptions are lost.

 

Aisle

A fresco inscription runs along the triumphal arch of the south arm – the text represents a quote from the book of St. Habakkuk the Prophet (Habakkuk 3:3).

The painting in the south arm is composed by four registres. The apse is dedicated to the life cycle of the Virgin. A half-length figure of the Archangel inscribed in a medallion is depicted on the keystone of the conch of the arm (explanatory inscription is lost). Four scenes not separated from each other are represented in the conch of the apse; east to west: the Rejection of Joachim’s Offering (the inscription is damaged); Taunt of Joachim (⋮ ႠႷჃႤ[Ⴃ]ႰႤႡႱ ႨႭႥႠႩႨႫ | ႠႬႬႠႱ ႳჃ[ႸႥႨႪႭ]ႡႨႱႠႧჃႱ – Joachim complains for Anna being childless); the Annunciation to Anne ([ႠႬႢ]ႦႨ ႠႾ(Ⴀ)Ⴐ(Ⴄ)ႡႱ ႠႬႬႠႱ – The Angel is Annunciate to Anne), the Annunciation to Joachim ([Ⴀ(Ⴌ)Ⴂ(Ⴄ)Ⴊ(Ⴍ)]ႦႨ ႠႾ(Ⴀ)Ⴐ[(Ⴄ)ႡႱ] ႨႭႥႠႩႨႫႱ – The Angel Annunciate to Joachim.

The cycle continues in the second registre of the apse where there are also four scenes; east to west: the Immaculate Kiss beneath the Golden Gate (ႨႭႥႠႩႨႫႣႠႠႬჂ|ႱႠႫႡႭႰႨႱႷႴႠჂ – იოაკიმ და ანას ამბორისყოფაი), the Nativity of the Virgin (⋮ႸႭႡႠჂ Ⴜ(ႫႨႣႨ)ႱႠ Ⴖ(ႫႰ)ႧႨႱႫႸႭ|ႡႤႪႨႱႠჂ – Birth of the Holy Virgin), Virgin First Seven Steps (the inscription is damaged), the Presentation of the Virgin (the inscription is damaged).

The cycle continues in the third registre of the apse – again four scenes: east to west: the Annunciation (the inscription is damaged), Visitation of Mary to Elizabeth (the inscription is damaged), Trial by Bitter Water (the inscription is damaged), St. Joseph’s Dream (the scene has a vast inscription which starts with ⋮ႠႬႢ(Ⴍ)ႦႨ ႨႲႷჃႱ – The Angel Says and ends with a quote from Mathew 1:20.

The fourth registre of the apse represents a large scene; on the east – the Nativity/ Adoration of the Magi (with an inscription above the Magi (ႫႭႢႳჃႨ ႫႤႴႤႬႨ – მოგუნი მეფენი); on the west – the Dormition (the inscription is damaged).

The painting on the projections of the arm is composed of three registres; it is dedicated to the images of holy martyrs. East projection: an unknown rider, an unknown rider, St. Cosmas (Ⴜ(ႫႨႣႠ)Ⴢ || ႩႭႦႫ(Ⴀ)Ⴌ – Saint Cosmas); west projection: unknown, St. Artemis (Ⴜ(ႫႨႣႠ)Ⴢ || ႠႰႲႤ[ႫႨ] – Saint Artemis), unknown.

A fresco inscription runs along the triumphal arch of the north arm – the text is a quote from the Book of Psalms (Ps. 88:13).

The painting in the north arm is made up of four registres. A half-length figure of the Archangel inscribed in a medallion is depicted on the keystone of the conch (the explanatory inscription is lost). Three scenes are represented in the chancel conch – they are not demarcated with frames either. East to west: the Presentation of Jesus at the Temple (the inscription is damaged; St. Anna the Prophet is holding an open scroll – origin of the text is unclear); the Barren Fig Tree (inscription – quote from the Gospel (Matthew 3:10; Luke 3:9) – damaged); the Baptism (the inscription is damaged). It is presumed the Barren Fig Tree is part of the composition of the Baptism.

The second registre of the painting shows four scenes; west to east: the Transfiguration (the inscription is damaged); the Raising of Lazarus ([ႪႠႦ]ႠႰႤႱ ႠႶ[ႣႢ]ႨႬႤႡႠჂ – the Raising of Lazarus); Jesus’ Entry into Jerusalem (the inscription is damaged).

The third registre of the painting depicts the scenes selected from the cycles of Christ’s passions and resurrection. West to east: the Last Supper (the inscription is damaged); the Crucifixion (❖ ႿჃႠႰႱ||ႺႳ[ႫႠჂ] |Ⴕ(ႰႨႱႲ)Ⴄ[ႱႨ] – The Crucifixion of Christ); an explanatory inscription has survived at the image of St. John the Theologian (Ⴜ(ႫႨႣႠ)Ⴢ ႨႭ(ႠႬ)Ⴄ ႫႠႾ|ႠႰႤႡ(ႤႪ)ႪႨ – Saint John the Theologian); the Descent into Hell (the inscription is damaged); Holy Mothers at the Tomb of Christ (the inscription is damaged).

Two large scenes are depicted in the fourth registre of the painting: on the west – the Ascension (the inscription is damaged); on the east – the Pentecost (+Ⴑ(Ⴓ)ႪႨႱႠႼ(ႫႨႣ)ႨႱႠႫႭႱႪႥႠჂ ႫႭႺႨႵႳႪႧႠ Ⴆ(ႤႣ)Ⴀ > – The Descent of the Holy Spirit on the Apostles).

The painting on the arm projections is composed of three registres; it is dedicated to the images of holy martyrs and monks. East projection: unknown, unknown, unknown’ west projection: St. Arsenius (Ⴜ(ႫႨႣႠ)Ⴢ || ႠႰႱႤႬႨ – Saint Arsenios), Unedified Saint, St. Sabas (Ⴑ[Ⴀ]ႡႠ – Sabas).

A fresco inscription runs along the triumphal arch of the west arm – the text is a quote from the Book of Psalms (Ps. 112:3).

The painting in the west arm is composed of four registres. The first three are dedicated to the composition of the Last Judgment, in which the registres are not separated with ornamental borders, but sequence of the rows is still maintained. The conch of the apse of the arm represents a huge figure of enthroned Christ the Judge depicted against a mandorla (there is a big explanatory inscription at Christ’s feet which is hard to identify); the Holy Virgin and John the Baptist implore the intercession of the Savior. Hosts of heavenly forces are depicted around the Deesis, and the Apostles seated on a high-back throne are represented on both sides of the scene (two on both sides inside the conch, and the rest – extend into the bema). An Angel Rolling up the Sky is represented in the vault of the bema.

The Hetoimasia with guardian angels is depicted in the center of the second registre of the painting; a gospel and the Holy Cross (with an inscription – Ἰ(ησοῦ)ς || Χ(ριστὸ)ς – Jesus Christ) are placed on the throne. Adam’s and Eve’s figures (with an inscription – [Ⴄ]ႥႠ – Eve) related to the depiction are moved down to the third registre – on both sides of the only window of the arm. There is an inscription – quote from the Gospel (Matthew 25:41; 25:46) referring to the descent of the sinful into hell – above the arch of the window. The Righteous and Hell are depicted on both sides of Hetoimasia. The scenes of hell are almost completely erased. The first among the crowds of the righteous are bishops ([Ⴂ(Ⴓ)Ⴌ]ႣႨ ႫႠႫႠႫႧႠႥႠႰႧႠჂ> – The Host of Forefathers); they are followed by a host of prophets (ႢႳჃႬႣႨ Ⴜ(ႨႬႠ)Ⴜ(ႠႰႫႤႲႷႳႤ)ႪႧႠჂ > – The Host of Prophets). The row corresponding to the registre is impossible to observe presently.

The south wall of the third registre of the painting of the arm again shows groups of the righteous, west to east: a host of holy bishops (ႢႳჃႬႣႨ Ⴜ[(ႫႨႣႠ)Ⴇ]Ⴀ ႫႶႣ(Ⴄ)ႪႧႫႭႻႶ(Ⴓ)ႠႰႧႠჂ > –გუნდი წ[(მიდა)თ]ა მღდ(ე)ლთმოძღ(უ)ართაჲ), a host of holy monks (ႢႳႬႣႨ Ⴜ(ႫႨႣႠ)ႧႠ Ⴋ(Ⴀ)ႫႠႧႠჂ – The Host of Holy Fathers), a host of holy mothers (ႢႳႬႣႨ Ⴜ(ႫႨႣႠ)ႧႠ Ⴃ(Ⴄ)ႣႠႧ(Ⴀ)Ⴢ> – The Host of Holy Mothers). A row of saints facing towards the bema terminates the row (with an inscription – [ႱႠႫႭ]ႧႾႤႱ ႸႤႫႠႥႠႪႨ – [სამო]თხეს შემავალი). Abraham’s Bosom is represented along the registre in the bema (Abraham’s figure has an explanatory inscription – ႫႠႫႠႫႧ(ႠႥႠ)Ⴐ[Ⴄ]| ႠႡႰႠჀႠႫ – Forefather Abraham).

Southern part of the fourth registre of the painting of the arm is dedicated to the images of prophets, west to east: Prophet Daniel (the inscription is damaged) is carrying a large scroll with a quote from his book (Daniel 7:9-10); St. Prophet Ezekiel (Ⴜ(ႨႬႠႱ)Ⴜ(ႠႰႫႤႲႷႳႤ)ႪႨ || ႤႦႤႩႨႤႪ – Prophet Ezekiel) is carrying a large scroll with a quote from his book (Ezekiel 37:5-6); St. Prophet Habakkuk (Ⴜ(ႨႬႠႱ)Ⴜ(ႠႰႫႤႲႷႳႤ)ႪႨ || ႠႫႡႠႩႳჃႫ – Prophet Habakkuk) is carrying a large scroll with a quote from his book (Habakkuk 3:3); the fifth figure is completely obliterated, although according to the fragmentary inscription (ႤႰႤႫႨႠ – Jeremiah) it is presumed to be the image of St. Prophet Jeremiah. The row of the prophets is extended into the bema by images of the righteous represented in paradise: Forefather Enoch (the inscription is damaged) St. John Chrysostom (Ⴜ(ႫႨႣႠ)Ⴢ || Ⴈ(ႭႠႬ)ႬႤ | Ⴖ(ႫႰ)ႧႨ|ႱႫႤႲႷ(ႥႤ)ႪႨ – Saint John Chrysostom); St. Prophet Elijah (Ⴜ(ႨႬႠႱ)Ⴜ(ႠႰႫႤႲႷႳႤ)ႪႨ || ႤႪႨႠ – Prophet Elijah).

Northern half of the fourth registre of the painting of the arm is occupied by a line of donors represented by seven figures; east to west: on the wall of the bema – an unknown monk, an unknown secular person; they are blessed by the half-length figure of the Savior set in the segment on the right edge of the bema); on the apse wall – an unknown king, Duke Sumbat, Ashot, son of Duke Sumbat, unknown (the figure is lost), an unknown queen. These figures are blessed by a half-length figure of the Virgin set in the segment on the eastern edge of the apse. The explanatory inscriptions survived near the figures are very fragmentary.

The painting on the projections of the arm is composed of three registres; the painting is dedicated to the images of holy martyrs and monks. South projection: Unidentified saint, Unidentified saint, St. Eustathius; west projection Unknown St. James the Persian (Ⴜ(ႫႨႣႠ)Ⴢ Ⴈ(Ⴀ)Ⴉ(Ⴍ)Ⴁ || ႣႠႽႰႨႪႨ – Saint James the Persian Intercisus), St. Eustathios (Ⴜ(ႫႨႣႠ)Ⴢ || ႤႥႱႲႠႧႨ – Saint Eustathios).

The painting demonstrates nearly all the ornamental motifs characteristic to the Georgian wall painting of the 11th-12th centuries.

 

Daiting

Date of executing the second layer of the painting of Ateni Sioni became the subject of lengthy discussion in the last century. Nevertheless, determining the presumable period of execution of the painting still remains debatable.

In his report presented in 1941, Shalva Amiranashvili identified the figures of the donors with historical persons of the late ninth – early tenth centuries and, consequently, dated the painting by 904-906 (Shalva Amiranashvili, “Atenis Sionis kedlis mkhatvrobis dat’arighebisat’vis” [“Concerning the Dating of the Ateni Sioni Wall Paintings”], in Sakart’velos metsnierebat’a akademiis sazogadoebriv metsnierebat’a ganq’op’ilebis sametsniero sesia. mushaobis gegma da mokhsenebat’a t’ezisebi [Session of the Social Sciences’ Department of the Georgian Academy of Sciences, Programme and Abstracts of the Papers (Tbilisi, 1941), 3, 5-7). The scholar repeated this opinion in ‘The History of Georgian Wall Painting’, volume I (Shalva Amiranashvili, Istorija gruzinskoj srednevekovoj monumental’noj zhivopisi [History of Medieval Georgian Monumental Painting] I (Tbilisi, 1957), 77-101) and in all the editions of ‘The History of Georgian Art (last edition (Shalva Amiranashvili, K’art’uli khelovnebis istoria [History of Georgian Art] (Tbilisi, 1971)5, 189-5).

Shalva Amiranashvili’s suggestion was not shared by Rene Schmerling; based on the paleographical data of the explanatory inscriptions represented on the frescos, and according to the re-identification of the figures of donors, the scholar considered the second half of the eleventh century, specifically, the period after the death of King Bagrat IV (1072) as the date of executing the painting (Rene Shmerlingi, “Atenis Sionis mkhatvrobis dat’arighebis sakit’khisat’vis” [“Concerning the Dating of the Ateni Sioni Wall Paintings”], Sakartvelos metsnierebat’a akademiis moambe [Bulletin of the Georgian Academy of Sciences] VIII, №4 (1947): 261-8). Shalva Amiranashvili’s opinion was criticized by Giorgi Chubinashvili and Tinatin Virsaladze (Giorgi Chubunashvili, T’inat’in Virsaladze, “Kniga o starom gruzinskom iskusstve” [“A Book on Old Georgian Art”], Iskusstvo [Art] 6 (1951), 88-9).

In 1954, Teimuraz Barnaveli identified the name of Giorgi Novelisimos and the indication of the year in one of the fresco inscriptions depicted near the figures, on the edge of the row of the holy prophets in the west apse of Ateni Sioni. The scholar concluded that the church must have been painted in 1080, during the eighth year of the reign of King Giorgi II. The scholar published this finding as a separate article, and later entered it into the book dedicated to the inscriptions of Ateni Sioni (T’eimuraz Barnaveli, “Atenis Sionis mkhatvrobis t’arighis shesakheb” [“Concerning the Date of the Ateni Sioni Wall Paintings”], Sakartvelos metsnierebat’a akademiis moambe [Bulletin of the Georgian Academy of Sciences] XVII, №3 (1956): 281-6; idem, Atenis Sionis tsartserebi [Inscriptions of Ateni Sioni] (Tbilisi, 1957), 5-7, 20). At the time this opinion was shared by Tinatin Virsaladze (T’inat’in Virsaladze, “Atenis Sionis mokhatuloba” [“Murals of Ateni Sioni”], in K’art’uli khelovnebis istoriis institutis XIII sametsniero sesia. T’ezisebi [13th Session of the Institute of Georgian Art History. Abstracts] (Tbilisi, 1958), 8-9).

Guram Abramishvili did not accept Teimuraz Barnaveli’s opinion; in 1961, the scholar paid attention to the fact that the inscription which Teimuraz Barnaveli considered to belong to 1080 roughly overlaps the presently lost figure depicted at the edge of the row of the holy prophets. In addition, Guram Abramishvili did not agree with interpretation of the graphemes denoting the date in the text (Guram Abramishvili, “Shenishvnebi Atenis Sionis mkhatvrobis shesakheb” [“Notes on the Ateni Sioni Murals”], Sak’artvelos metsnierebat’a akademiis moambe [Bulletin of the Georgian Academy of Sciences] XXX, №5 (1963): 685-90). The scholar read this inscription anew in 1966 – it became clear that the text did not include indications about King Giorgi II and the year 1080. The inscription talks about the renovation of the painting of the west wall of the church by Grigol, brother of Liparit Toreli; according to the paleographical data, the inscription was dated to the 13th -14th centuries (Guram Abramishvili, “Atenis Sionis saktitoro tsartsera” [“Donor Inscription of Ateni Sioni”], Dzeglis megobari [Monument’s Friend] 19 (1969): 30-7).

Subsequently, the discussion about the date of the painting returned to the period of the second half of the eleventh century again; the following stage of determining the date was related to identification of the images of the donors. Different opinions were expressed this time too.

According to Tinatin Virsaladze, in the row of donors the images from east to west probably were: St. Giorgi Mtatsmindeli; Giorgi II, prince and the heir to the throne; his father Bagrat IV; local duke Sumbat and his son Ashot; King Bagrat IV’s mother – Queen Mariam, who had become a nun; Queen Gurandukht, sister of King Bagrat IV. The scholar exactly dated these portraits according to canonization of St. Giorgi Mtatsmindeli, creation of his ‘Life’ and military campaigns of Turk-Seljuks by 1068. Furthermore, she determined the notion of the scene of the donors’ row by King Bagrat IV’s entrusting of his heir, the future king Giorgi II to St. Giorgi Mtatsmindeli. This suggestion provided by Tinatin Virsaladze was published repeatedly (T’inat’in Virsaladze, “Atenis Sionis mkhatvrobis dat’arighebisa da ktitor’ta portretebis identip’ikatsiis sakit’khisat’vis” [“Towards the Dating of Ateni Sioni Murals and Identification of Donor Portraits”], sabchota khelovneba [Soviet Art] 6 (1988): 88-104; idem, “Atenis Sionis mkhatvrobis dat’arighebisa da ktitor’ta portretebis identip’ikatsiis sakit’khisat’vis” [“Towards the Dating of Ateni Sion Murals and Identification of Donor Portraits”], Ars Georgica 10–A (1991): 103-42; idem, “Atenis Sionis mokhat’uloba” [“The Murals of Ateni Sioni”], in id., K’art’uli mkhatvrobis istoriidan [From the History of Georgian Painting] (Tbilisi, 2007), 202-41).

A different suggestion was proposed by Guram Abramishvili. In his opinion, the donor portraits of Ateni Sioni were to be restored as follows (east to west): Giorgi, archbishop and royal chancellor of Chkondidi, King David the Builder, King Bagrat IV, Sumbat, son of Ashot, and his son Ashot, King Giorgi II, His consort queen (?). The scholar believed that this row of donors should reflect the events that took place in the royal court in 1089 under the leadership of Giorgi Chkondideli, while the painting must have been executed in 1094, after banishment of the Baghvashis and revival of the household two of whose representatives -Sumbat and Ashot – are included in the row of donors. This opinion of Guram Abramishvili has repeatedly been published (Guram Abramishvili, “Atenis Sionis ktitort’a identip’ikatsia” [“Identications of the Ateni Sioni Donors”], Sabchot’a khelovneba [Soviet Art] 5 (1982): 86-101; idem, “K datirovke rospisi Atenskogo Siona” [“Towards the Dating of Ateni Sioni Murals”], IV mezhdunardonyj simpozium po gruzinskomu iskusstvu [Offprint from the Fouth International Symposium on Georgian Art] (Tbilisi, 1983); idem, “La datation des fresques de la cathédrale d’Aténi”, Zograf 14 (1983): 17-21; idem, “Kidev ert’khel atenis sionis mokhatulobis t’arighsa da ktitort’a identip’ikatsiis sakithebze” [“Once Again About the Issues of the Dating of Ateni Sioni Wall Paintings and Identification of the Donors”], Khelovnebis sakhelmts’ip’o muzeumis narkvevebi [Bulletin of State Art Museum] V (1999): 72-88; idem, Atenis Sioni. Adreuli shua saukuneebis tsentralur-gumbat’ovani khurot’modzghvruli tipis istoriidan [Ateni Sioni. From the History of Early Medieval Central-Domed Architectural Type] (Tbilisi, 2012), 158-81).

Guram Abramishvili’s version of identification of the donor portraits of Ateni Sioni was somehow changed by Antony Eastmond. He suggested that the headmost figure in the row must be King Giorgi II, who had been consecrated a monk, followed by: King David IV the Builder, King Bagrat IV, local noblemen, an unknown figure (presumably Bagrat IV’s mother (?)), Queen Isdukht – sister of King Giorgi II. Such identification of the donor portraits allows the scholar to deduce that the painting was executed in 1089-1090; it must reflect the changes that took place in the royal court in 1089 (Antony Eastmond, Royal Imagery in Medieval Georgia (Pennsylvania University Press, 1998), 43-58). This opinion was shared by Nino Simonishvili too (Nino Simonishvili, “Nikopeis tipis ghmrt’ismshoblis gamosakhulebisa da ktitort’a jgup’uri portretis urt’iert’mimart’ebis sakit’khisat’vis atenis sionis mokhatulobashi” [“About the Link Between the Nicopeia Type Image of the Virgin and the Group of Donor Portraits in the Ateni Sion Murals”], Khelovnebat’mtsodneoba [Studies in Art History] 5 (2003): 189-235).

The problem of dating of the second layer of the painting of Ateni Sioni is yet to be specified. However, there is now general consensus that it must belong to the last third of the eleventh century. Apart from the donor portraits, the iconographic program marked with a lot of novelties and stylistic features of the murals also contain remarkable indications about the date of the painting. Given all this, it can be suggested that the presumable time period of creating the painting of the church must be limited to the last decade of the eleventh century.

Bibliography

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T’inat’in Virsaladze, “Atenis Sionis mokhat’uloba” [“The Murals of Ateni Sioni”], in id., K’art’uli mkhatvrobis istoriidan [From the History of Georgian Painting] (Tbilisi, 2007), 103–202.

Guram Abramishvili, Atenis Sioni. Adreuli shua saukuneebis tsentralur-gumbat’ovani khurot’modzghvruli tipis istoriidan [Ateni Sioni. From the History of Early Medieval Central-Domed Architectural Type] (Tbilisi, 2012), 158–81.