The Lavra of Oshki, Murals of the Church of St. John the Baptist. Second Layer
| Building: | The Lavra of Oshki, Church of St. John the Baptist |
| Layer of the Murals: | Second Layer |
| Date/Period: | 1036 |
| Donor(s): | Patrikios Jojik |
| Painter(s): | Unknown |
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Inscription(s)
of the Donor(s)
The fresco inscription is executed in the chancel; it plays the role of a frieze bordering the second and the third registres in the three-registre scheme of the chancel and folds on the lintel of the central window of the chancel:
[-]ႬႢ(Ⴀ)ႬႥ(Ⴀ)Ⴘ(ႳႤ)ႬႤ ႣႠ Ⴘ(ႤႥႠႫ)ႩႥႤ Ⴒ(Ⴀ)Ⴛ(Ⴀ)ႰႨ Ⴜ(ႫႨ)ႣႨႱႠ Ⴜ(Ⴈ)Ⴌ(Ⴀ)Ⴋ(Ⴍ)ႰႡ(Ⴄ)Ⴃ(Ⴈ)Ⴑ(Ⴀ)Ⴢ Ⴑ(Ⴀ)Ⴔ(Ⴀ)ႱჂႧႠ ႱႳႪႩ(Ⴓ)ႰႧႾ(ႤႳ)ႪႨႱႠ ႿႭႿႨႿ Ⴎ(Ⴀ)ႲႰ(Ⴈ)Ⴉ(Ⴈ)Ⴑ(Ⴀ)ჂႧႠ ႠႩ(ႳႰႧ)ႾႤႬ Ⴖ(ႫႤႰႧႫႠ)Ⴌ ႣႠ ႠႣ(Ⴈ)Ⴃ(Ⴄ)Ⴌ Ⴕ(Ⴍ)Ⴐ(Ⴍ)Ⴌ(Ⴈ)Ⴉ(Ⴍ)ႬႱႠ ႱႬႥ Ⴁ(Ⴄ)ႰႻ(Ⴄ[Ⴌ])ႧႠ […] – […] Beatified and embellished the church of the Holy Precursor with the contribution of soul-blessed Jojik the Patrikios, be [he] blessed by God and exalted. Chronikon [was] SNV (=256) of Greek […] (Ek’vt’ime Taq’aishvili, tkhzulebani [Collected Studies] 1 (Tbilisi, 2018), 352).
of the Painter(s)
Description
The interior of the church, which was ornamented with colorful décor simultaneously with its construction, was completely covered in murals after six decades. The painting of the dome, sub-dome areas and the vaults of the arms had been destroyed in early times. A fresco inscription outlined in asomtavruli ran around the bottom of the drum. Ek’vt’ime T’aq’aishvili identified ႰႪႨ ႺႾႳႰ in the inscription. Presently, fragments of the murals can be observed in the chancel, as well as in the south and north apses.
Chancel
In the chancel the painting was divided into three registres.
In the conch (the line of whose registre did not foresee the foot of the conch and considerably extended below it) was represented Christ in Majesty, depicting the Savior seated on a luxurious throne with a pedestal and flanked by two archangels.
The second registre of the painting of the chancel was lined by a row of holy apostles in the middle of which the Virgin Orans was depicted standing on a pedestal and St. John the Baptist on her right (the Greek explanatory inscription was outlined in white paint: (ΟΑ [-] – Ὀ Ἅ(γιος) – Saint) was portrayed holding an open scroll (the asomtavruli inscription executed on the scroll contained at least fifteen lines; Ek’vt’ime T’aq’aishvili identified ႬႠႧႤႪႭ Ⴑ(Ⴍ)ႴႪႨႱႠ – you are the light of the world; reading of the inscription needs specification). On both sides of the Virgin and St. John the Baptist are St. Peter and St. Paul (inscriptions according to Ek’vt’ime T’aq’aishvili – Ⴜ(ႫႨႣႠ)Ⴢ ႮႤႲႰႤ; Ⴜ(ႫႨႣႠ)Ⴢ ႮႠႥႪႤ პავლე – Saint Peter; Saint Paul). Figures of the rest of the apostles had been largely destroyed by the second decade of the 20th century.
The third registre of the painting in the chancel represented a row of holy bishops which was separated from the upper registre by a frieze with a donor inscription. The registre must have comprised nine church fathers.
On the south wall: unidentified (between the windows), St. John Chrysostom (Ⴜ(ႫႨႣႠ)Ⴢ ႭႵႰႭႮႨႰႨ ოქროპირი – Saint Chrysostom), St. Peter of Alexandria (on the eastern jamb of the south window (Ⴜ(ႫႨႣႠ)Ⴢ Ⴎ(ႤႲႰ)Ⴄ || ႠႪႤႵႱ|ႠႣႰႨႤ|ႪႨ – Saint Peter of Alexandria), unidentified; on the north wall: St. James of Jerusalem, brother of Jesus (Ⴜ(ႫႨႣႠ)Ⴢ | ჂႠ|ႩႭ|Ⴁ || ႻႫႠ|Ⴢ | Ⴍ(ႴႪႨႱႠ)Ⴢ – Saint James, brother of God), the unidentified. Saint deacons are portrayed on the headers of the central window; on the south – unidentified (only Ⴜ(ႫႨႣႠ)Ⴢ – Saint can be discerned from its explanatory inscription, on the north – St. Stephen the First Martyr (Ⴜ(ႫႨႣႠ)Ⴢ | ႱႲ(Ⴄ)|Ⴔ(Ⴀ)|ႬႤ | Ⴎ(Ⴈ)ႰႥ(Ⴄ)|ႪႨ Ⴋ(Ⴍ)Ⴜ(Ⴀ)| ႫႤ – Saint Stephen the First Martyr). Western lintel of the south window of the chancel shows a chandelier with a lit candle, while the painting on the northern lintels cannot be discerned any more. Ek’vt’ime T’aq’aishvili pointed to presence of the image of St. Catherine in the chancel.
Aisle
In the south arm painting has been preserved only in the lower half of the walls; furthermore, part of the frescos is still covered by a thin coat of plaster. Fragments of murals are fully visible between two windows of the apse, as well as along them on two sides. A large donor composition is represented between the windows. In the center is a frontal figure of St. John the Baptist holding an open scroll which has a multi-line asomtavruli inscription outlined in black paint: ႩႰ(Ⴀ)ႥႭ Ⴖ(ႫႰ)Ⴇ(Ⴈ)Ⴑ(Ⴀ) | Ⴑ(Ⴍ)ႴႪႨႱႠ Ⴚ(Ⴍ)ႣႥ(Ⴀ)ႧႠ ႠႫႾ(Ⴓ)Ⴋ(Ⴄ)ႪႭ | Ⴂ(Ⴄ)Ⴅ(Ⴄ)ႣႰ(Ⴄ)ႡႨ, Ⴅ(ႨႧႠႰႺ)Ⴀ | Ⴜ(Ⴈ)Ⴌ(Ⴀ)Ⴋ(Ⴍ)ႰႡ(Ⴄ)ႣႨ ႣႠ Ⴋ(Ⴄ)Ⴂ)ႭႡ(Ⴀ)ႰႨ, ႨႾႨႪႤ ႳႻႪ|ႳႰ(Ⴄ)Ⴁ(Ⴀ)Ⴢ Ⴂ(Ⴍ)Ⴌ(Ⴄ)Ⴁ(Ⴈ)Ⴑ(Ⴀ)Ⴢ, Ⴐ(ႭႫႤႪ)ႨႺႠ Ⴘ(ႤႨ)ႫႭႱႤ, ႳႪႾႨႬႤ | Ⴋ(Ⴈ)Ⴒ(Ⴄ)Ⴅ(Ⴄ)Ⴁ(Ⴀ)ႧႠ Ⴅ(Ⴈ)Ⴇ(ႠႰႺ)Ⴀ Ⴖ(ႫႤႰႧ) [Ⴞ(Ⴀ)Ⴐ [-] – Lamb of God, I, precursor and kinsman beseech you, Reliever of sins, behold the wickedness and forgive them by interceding with God […] (John 1:29, paraphrase). Two donors stand before the Forerunner – a bishop in omophorion on the left, and a secular person in a turban-like headdress on the right (in 1917 an asomtavruli inscription written in white paint could be identified on top of this figure: ႿႭႿႨႩ[-] – Jojik; It is a portrayal of the donor of the painting – Jojik Patrikios.
A large fragment of the scene of the Crucifixion has survived left of the donor composition, on the east wall of the apse. One can observe part of the arm of the cross, as well as figures of St. John the Theologian, centurions and Jews depicted against the architectural background).
There is fragment of a historical scene right of the donor composition on the west wall; fragment of its left half, presumably the middle section has survived; it shows two groups of secular men directed to the right. Only the lower half has been preserved of the image of Bana Cathedral depicted in the center as the background of the scene. A two-line asomtavruli inscription outlined in white paint runs at the bottom of the image along the socle: ႡႠႬႠႱႠ ႤႩႪႤႱႨႠჂ ႣႠႫ[-][…] – The Church in Bana was […]. Left of Bana Cathedral was depicted the main church of the Lavra of Otkhta Eklesia – only the lower part of its long wall erected upon a two-stepped socle and articulated with vertical lines has survived. This part is also bordered by a two-line asomtavruli inscription executed in white paint: ႭႧႾႧႠ ႤႩႪႤ[ႨႠჂ] | […] – Otkhta Eklesia [-] […]. It is expectable that a representation of another church existed in the right part of the composition.
There are different opinions with regard to the historical event reflected in the scene: it is suggested that the composition must express crowning of King Bagrat IV (1027) and/or his marriage to Elena, niece of Emperor Romanos Argyros (1032), which took place in Bana Cathedral. In addition, the fact of bringing of the Holy Nail to Georgia together with other relics as queen Elena’s dowry must have provided basis for depicting the scene of the crucifixion opposite the scene on the south wall of the apse (Nicole Thierry, “Peintures historiques d’Osk’i (T’ao)”, Revue des études géorgiennes et caucasiennes 2 (1986): 135-71; Antony Eastmond, Royal Imagery in Medieval Georgia (Pennsylvania University Press, 1998), 41-3; Mariam Didebulidze, “Shua saukuneebis k’art’uli kedlis mkhatvrobis dzeglebi tao-klarjet’shi” [“The Monuments of the Georgian Medieval Wall Painting in the North-East Turkey”], Sak’art’velos sidzveleni [Georgian Antiquities] 19 (2016): 54); it cannot be excluded that the scene was linked with military hostilities between Byzantium and Georgia in 1021-1022 and 1027-1028 (Wachtang Djobadze, “Four Deesis Themes in the Church of Oški”, Oriens Christianus 72 (1988), 177; Wachtang Djobadze, “Four Deesis Themes in the Church of Oški”, Oriens Christianus 72 (1988): 168–82; Reprinted in id., oshkis tadzari [Oshki Church] (Tbilisi, 1991), 65-6). It is also considered that the fresco expressed King Bagrat IV’s return from Byzantium to Tao and festive meeting of the nobles of Tao Zaza Skhirtladze, Otkht’a eklesiis p’reskebi [The Frescoes of Ot’kht’a Eklesia] (Tbilisi, 2009), 33–4; Zaza Skhirtladze, “The Oldest Murals at Oshki Church: Byzantine Church Decoration and Georgian Art”, Eastern Christian Art 7 (2010): 101). There is an opinion that the composition must depict festive welcome of various relics brought by Queen Elena (Marine Bulia, “Shua saukuneebis sak’art’veloshi ts’minda nats’ilebis t’aq’vanistsemis zogi t’aviseburebis shesakheb” [“On Some Peculiarities of the Veneration of Relics in the Medieval Georgia”], Sak’art’velos sidzveleni [Georgian Antiquities] 21 (2018): 163-9). Specification of the event reflected in the scene is the matter of the future.
Separate figures of holy mothers were represented on the lintels of the windows of the arm. Two of them have survived: St. Tekla (Ⴜ(ႫႨႣႠ)Ⴢ || ႧႤႩႪ[Ⴈ] – Saint Thecla) – on the west lintel of the east window, and St. Marine (წ~ჲ მ(ა)რ(ი)ნე – Saint Marina) eastern lintel of the west window).
In the south arm painting has been preserved only in the lower half of the walls; furthermore, part of the frescos is still covered by a thin coat of plaster. Fragments of murals are fully visible between two windows of the apse, as well as along them on two sides. A large donor composition is represented between the windows. In the center is a frontal figure of St. John the Baptist holding an open scroll which has a multi-line asomtavruli inscription outlined in black paint: ႩႰ(Ⴀ)ႥႭ Ⴖ(ႫႰ)Ⴇ(Ⴈ)Ⴑ(Ⴀ) | Ⴑ(Ⴍ)ႴႪႨႱႠ Ⴚ(Ⴍ)ႣႥ(Ⴀ)ႧႠ ႠႫႾ(Ⴓ)Ⴋ(Ⴄ)ႪႭ | Ⴂ(Ⴄ)Ⴅ(Ⴄ)ႣႰ(Ⴄ)ႡႨ, Ⴅ(ႨႧႠႰႺ)Ⴀ | Ⴜ(Ⴈ)Ⴌ(Ⴀ)Ⴋ(Ⴍ)ႰႡ(Ⴄ)ႣႨ ႣႠ Ⴋ(Ⴄ)Ⴂ)ႭႡ(Ⴀ)ႰႨ, ႨႾႨႪႤ ႳႻႪ|ႳႰ(Ⴄ)Ⴁ(Ⴀ)Ⴢ Ⴂ(Ⴍ)Ⴌ(Ⴄ)Ⴁ(Ⴈ)Ⴑ(Ⴀ)Ⴢ, Ⴐ(ႭႫႤႪ)ႨႺႠ Ⴘ(ႤႨ)ႫႭႱႤ, ႳႪႾႨႬႤ | Ⴋ(Ⴈ)Ⴒ(Ⴄ)Ⴅ(Ⴄ)Ⴁ(Ⴀ)ႧႠ Ⴅ(Ⴈ)Ⴇ(ႠႰႺ)Ⴀ Ⴖ(ႫႤႰႧ) [Ⴞ(Ⴀ)Ⴐ [-] – Lamb of God, I, precursor and kinsman beseech you, Reliever of sins, behold the wickedness and forgive them by interceding with God […] (John 1:29, paraphrase). Two donors stand before the Forerunner – a bishop in omophorion on the left, and a secular person in a turban-like headdress on the right (in 1917 an asomtavruli inscription written in white paint could be identified on top of this figure: ႿႭႿႨႩ[-] – Jojik; It is a portrayal of the donor of the painting – Jojik Patrikios.
A large fragment of the scene of the Crucifixion has survived left of the donor composition, on the east wall of the apse. One can observe part of the arm of the cross, as well as figures of St. John the Theologian, centurions and Jews depicted against the architectural background).
There is fragment of a historical scene right of the donor composition on the west wall; fragment of its left half, presumably the middle section has survived; it shows two groups of secular men directed to the right. Only the lower half has been preserved of the image of Bana Cathedral depicted in the center as the background of the scene. A two-line asomtavruli inscription outlined in white paint runs at the bottom of the image along the socle: ႡႠႬႠႱႠ ႤႩႪႤႱႨႠჂ ႣႠႫ[-][…] – The Church in Bana was […]. Left of Bana Cathedral was depicted the main church of the Lavra of Otkhta Eklesia – only the lower part of its long wall erected upon a two-stepped socle and articulated with vertical lines has survived. This part is also bordered by a two-line asomtavruli inscription executed in white paint: ႭႧႾႧႠ ႤႩႪႤ[ႨႠჂ] | […] – Otkhta Eklesia [-] […]. It is expectable that a representation of another church existed in the right part of the composition.
There are different opinions with regard to the historical event reflected in the scene: it is suggested that the composition must express crowning of King Bagrat IV (1027) and/or his marriage to Elena, niece of Emperor Romanos Argyros (1032), which took place in Bana Cathedral. In addition, the fact of bringing of the Holy Nail to Georgia together with other relics as queen Elena’s dowry must have provided basis for depicting the scene of the crucifixion opposite the scene on the south wall of the apse (Nicole Thierry, “Peintures historiques d’Osk’i (T’ao)”, Revue des études géorgiennes et caucasiennes 2 (1986): 135-71; Antony Eastmond, Royal Imagery in Medieval Georgia (Pennsylvania University Press, 1998), 41-3; Mariam Didebulidze, “Shua saukuneebis k’art’uli kedlis mkhatvrobis dzeglebi tao-klarjet’shi” [“The Monuments of the Georgian Medieval Wall Painting in the North-East Turkey”], Sak’art’velos sidzveleni [Georgian Antiquities] 19 (2016): 54); it cannot be excluded that the scene was linked with military hostilities between Byzantium and Georgia in 1021-1022 and 1027-1028 (Wachtang Djobadze, “Four Deesis Themes in the Church of Oški”, Oriens Christianus 72 (1988), 177; Wachtang Djobadze, “Four Deesis Themes in the Church of Oški”, Oriens Christianus 72 (1988): 168–82; Reprinted in id., oshkis tadzari [Oshki Church] (Tbilisi, 1991), 65-6). It is also considered that the fresco expressed King Bagrat IV’s return from Byzantium to Tao and festive meeting of the nobles of Tao Zaza Skhirtladze, Otkht’a eklesiis p’reskebi [The Frescoes of Ot’kht’a Eklesia] (Tbilisi, 2009), 33–4; Zaza Skhirtladze, “The Oldest Murals at Oshki Church: Byzantine Church Decoration and Georgian Art”, Eastern Christian Art 7 (2010): 101). There is an opinion that the composition must depict festive welcome of various relics brought by Queen Elena (Marine Bulia, “Shua saukuneebis sak’art’veloshi ts’minda nats’ilebis t’aq’vanistsemis zogi t’aviseburebis shesakheb” [“On Some Peculiarities of the Veneration of Relics in the Medieval Georgia”], Sak’art’velos sidzveleni [Georgian Antiquities] 21 (2018): 163-9). Specification of the event reflected in the scene is the matter of the future.
Separate figures of holy mothers were represented on the lintels of the windows of the arm. Two of them have survived: St. Tekla (Ⴜ(ႫႨႣႠ)Ⴢ || ႧႤႩႪ[Ⴈ] – Saint Thecla) – on the west lintel of the east window, and St. Marine (წ~ჲ მ(ა)რ(ი)ნე – Saint Marina) eastern lintel of the west window).
The Dormition is depicted between two windows of the north arm; out of the large, presently damaged scene one can observe details of the architectural background, the Virgin’s deathbed, which is flanked by groups of mournful apostles, flying angels and the Savior as personification of the Virgin’s soul. A large multi-line asomtavruli inscription containing presently blackened graphemes can be seen between the Savior’s figure and the flying angel on His west (only separate graphemes are legible). St. Elena is depicted on the western lintel of the east window (Ek’vt’ime T’aq’aishvili made out St. Elena near the figure). A saint is depicted on the eastern lintel of the west window too.
The painting has survived fragmentarily in the royal niche arranged east of the south-west sub-dome pier; it has a frontal representation of St. John the Baptist, which is considerably damaged. The image must have been partly repainted later.
Bibliography
Ek’vt’ime Taq’aishvili, 1917 ts’lis ark’eologiuri ek’speditsia samkhtret’ sak’art’veloshi [1917 Southern Georgia Archeological Expedition] (Tbilisi, 1960); reprinted in id., tkhzulebani [Collected Studies] 1 (Tbilisi, 2018), 329–31.
Nicole Thierry, “Peintures historiques d’Osk’i (T’ao)”, Revue des études géorgiennes et caucasiennes 2 (1986): 135–71.
Wachtang Djobadze, “Four Deesis Themes in the Church of Oški”, Oriens Christianus 72 (1988): 168–82; Reprinted in id., oshkis tadzari [Oshki Church] (Tbilisi, 1991), 54–66.
Nicole Thierry, “A propos des Deisis d’Oški”, Oriens Christianus 76 (1992): 227–34.
Zaza Skhirtladze, “Eklesia-monastert’a gamosakhuebebi shua saukuneebis k’art’ul sakhvit’ khelovnebashi. Oshki” [“Images of Churches and Monasteries in Medieval Georgian Art. Oshki”] Khelovneba [Art] 1-2 (1992): 11–22.
Zaza Skhirtladze, “The Oldest Murals at Oshki Church: Byzantine Church Decoration and Georgian Art”, Eastern Christian Art 7 (2010): 97–133.
Ekaterine Privalova, “Zogi ram tao-klarjet’is mokhatulobebis shesakheb” [“Regarding the Wall Paitings of Tao-Klarjeti”], in Valeri Asatiani ed., Akhaltsikhisa da tao-klarjet’is epark’ia [Diocese of Akhaltsikhe and Tao-Klarjeti] (Tbilisi, 2013), 737–8.
Mariam Didebulidze, “Shua saukuneebis k’art’uli kedlis mkhatvrobis dzeglebi tao-klarjet’shi” [“The Monuments of the Georgian Medieval Wall Painting in the North-East Turkey”], Sak’art’velos sidzveleni [Georgian Antiquities] 19 (2016): 52–5, ill. 22–3.
Zaza Skhirtladze, Otkht’a eklesiis p’reskebi [The Frescoes of Ot’kht’a Eklesia] (Tbilisi, 2009), 33–4.
Marine Bulia, “Shua saukuneebis sak’art’veloshi ts’minda nats’ilebis t’aq’vanistsemis zogi t’aviseburebis shesakheb” [“On Some Peculiarities of the Veneration of Relics in the Medieval Georgia”], Sak’art’velos sidzveleni [Georgian Antiquities] 21 (2018): 163–9.