{"id":1187,"date":"2020-12-04T07:11:21","date_gmt":"2020-12-04T07:11:21","guid":{"rendered":"http:\/\/arthistory.tsu.ge\/murals\/?post_type=painting&p=1187"},"modified":"2021-12-29T07:41:40","modified_gmt":"2021-12-29T07:41:40","slug":"murals-of-church-of-ateni-sioni-second-layer","status":"publish","type":"painting","link":"https:\/\/arthistory.tsu.ge\/murals\/painting\/murals-of-church-of-ateni-sioni-second-layer\/","title":{"rendered":"Ateni, Murals of Sioni Church. Second Layer"},"content":{"rendered":"
\n\n\n\n\n\n\n\n\n
<\/td>\n<\/td>\n<\/tr>\n
Building:<\/strong><\/td>\nAteni Sioni Church<\/a><\/td>\n<\/tr>\n
Layer of the Murals:<\/strong><\/td>\nSecond Layer<\/a><\/td>\n<\/tr>\n
Date\/Period:<\/strong><\/td>\nSecond half of the 11th century<\/td>\n<\/tr>\n
Donor(s):<\/strong><\/td>\nUnknown<\/td>\n<\/tr>\n
Painter(s):<\/strong><\/td>\nUnknown<\/td>\n<\/tr>\n
\"Building\"<\/a><\/td>\n\"Gallery\"<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table><\/div>\n
[toc]<\/div>\n
<\/div>\n
\n

Inscription(s)<\/h4>\n

of the Donor(s)<\/h6>\n
of the Painter(s)<\/h6>\n\n
\n

Description<\/h4>\n

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<\/sup> century (only the semicircular niches leading from the hall into the corner rooms were left unplastered and, accordingly, unpainted \u2013 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).<\/p>\n

 <\/p>\n

Dome<\/h6>\n

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 \u2013 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 \u2013 it represents the Nile (with an inscription \u10ac\u10a8\u10aa\u10ad\u10b1\u10a8<\/strong> \u2013<\/strong> Nile<\/strong>); the Pishon is depicted in the south-east squinch (with an inscription [\u10b4\u10a8\u10b1]<\/strong>\u10ad\u10ac\u10a8 <\/strong>\u2013 <\/strong>Pishon<\/strong>). 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.<\/p>\n

 <\/p>\n

Chancel<\/h6>\n

The painting in the chancel of the church is distributed in three registres (it totally covers the bema too).<\/p>\n

An inscription runs along the triumphal arch of the east apse \u2013 quote from the Book of Psalms (Ps. 92: 3-5).<\/p>\n

Christ Pantocrator inscribed in a medallion is depicted in the vault of the chancel bema (<\/strong>\u1f38<\/strong>(<\/strong>\u03b7\u03c3\u03bf<\/strong>\u1fe6<\/strong>)<\/strong>\u03c2 <\/strong>||<\/strong> \u03a7(\u03c1\u03b9\u03c3\u03c4<\/strong>\u1f78<\/strong>)<\/strong>\u03c2 <\/strong>\u2013 <\/strong>Jesus Chirst<\/strong>). 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 (\u10bc<\/strong>(\u10a8\u10ac\u10a0\u10b1)\u10bc(\u10a0\u10b0\u10ab\u10a4\u10b2\u10b7\u10b3\u10a4)\u10aa\u10a8 <\/strong>| <\/strong>\u10a8(\u10ad\u10a0)\u10ac\u10a4<\/strong> || [\u10ac\u10a0]<\/strong>\u10a7\u10aa\u10a8<\/strong>[\u10b1\u10ab\u10ba\u10a4]<\/strong>\u10ab\u10a4\u10aa<\/strong>[<\/strong>\u10a8<\/strong>] \u2013 <\/strong>Saint John the Baptist<\/strong>) 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 (\u10bc<\/strong>(\u10a8\u10ac\u10a0\u10b1)\u10bc(\u10a0\u10b0\u10ab\u10a4\u10b2\u10b7\u10b3\u10a4)\u10aa\u10a8<\/strong> || <\/strong>\u10a3<\/strong>(\u10a0\u10a5\u10a8)<\/strong>\u10a7 <\/strong>\u2013<\/strong> Prophet<\/strong> David<\/strong>).<\/p>\n

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 (\u039c(\u03ae\u03c4\u03b7)\u03c1 <\/strong>||<\/strong> \u0398(\u03b5\u03bf)<\/strong>\u1fe6<\/strong> \u2013<\/strong> Mother of God<\/strong>) with the Child flanked by Archangel Michael (on the north; the inscription is lost) and Gabriel (on the south \u10ab<\/strong>(\u10a7\u10a0\u10a5\u10a0\u10b0\u10a0\u10ac\u10a2\u10a4\u10aa\u10ad)<\/strong>\u10a6\u10a8<\/strong> \u10a2(\u10a0)\u10a1(\u10b0\u10a8\u10a4)[\u10aa] <\/strong>\u2013 <\/strong>Archangel Gabriel<\/strong>).<\/p>\n

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 ([<\/strong>\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong>] <\/strong>\u10ae\u10a4\u10b2<\/strong>|<\/strong>\u10b0\u10a4 <\/strong>\u2013 <\/strong>Saint Peter<\/strong>), St. Mathew (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> || <\/strong>\u10ab\u10a0\u10a7\u10a4 <\/strong>\u2013 <\/strong>Saint Mathew<\/strong>), St. Mark (the inscription is damaged), St. Andrew (the inscription is damaged), an unidentified image, St. Phillip ([<\/strong>\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong>] <\/strong>\u10b4\u10a8\u10aa\u10a8<\/strong>|<\/strong>\u10ae\u10a4 <\/strong>\u2013 <\/strong>Saint Philip<\/strong>). North wall: St. Paul (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> || <\/strong>\u10ae<\/strong>[\u10a5\u10aa\u10a4] <\/strong>\u2013 <\/strong>Saint Paul<\/strong>), St. John ([<\/strong>\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong>] <\/strong>\u10a8(\u10ad\u10a0)\u10ac\u10a4 <\/strong>\u2013 <\/strong>Saint John<\/strong>), St. Luke (the inscription is damaged), St. Simon (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2 <\/strong>|| \u10b1\u10a8\u10ab(\u10ad)\u10ac<\/strong> \u2013 <\/strong>Saint Simon<\/strong>), St. James ([<\/strong>\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong>] <\/strong>\u10a8<\/strong>(\u10a0)\u10a9(\u10ad)\u10a1<\/strong> \u2013 <\/strong>Saint James<\/strong>), St. Thomas (the inscription is damaged). The row of the holy apostles is extended by a scene on each side \u2013 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.<\/p>\n

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 \u2013 on the edges of the apse and two \u2013 in each bema. South wall: St. John Chrysostom (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> \u10a8(\u10ad\u10a0)\u10ac\u10a4<\/strong> || <\/strong>\u10ad\u10b5\u10b0<\/strong>[\u10ad\u10ae\u10a8\u10b0\u10a8] \u2013 <\/strong>Saint John Chrysostom<\/strong>), St. Nicholas of Myra (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> ||<\/strong> \u10ac(\u10a8)\u10a9(\u10ad\u10aa\u10ad)\u10a6 <\/strong>\u2013 <\/strong>Saint Nicholas<\/strong>), St. Gregory of Nyssa (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> \u10a2(\u10b0\u10a8)\u10a2(\u10ad)\u10aa\u10a8<\/strong> || <\/strong>\u10ac\u10ad\u10b1\u10a4\u10aa\u10a8 <\/strong>\u2013 <\/strong>Saint Gregory of Nyssa<\/strong>), St. Athanasius of Alexandria (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> || [\u10a0\u10a7\u10a0]<\/strong>\u10ac\u10a0\u10b1\u10a4 <\/strong>\u2013 <\/strong>Saint Athanasius<\/strong>); north wall \u2013 St. Gregory the Theologian (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> || <\/strong>\u10a2(\u10b0\u10a8)\u10a2(\u10ad)\u10aa\u10a8 <\/strong>\u2013 <\/strong>Saint Gregory<\/strong>), St. Basil the Great (the inscription is damaged), St. Gregory of Neocaesarea the Miracle-Worker ([<\/strong>\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong>] <\/strong>\u10a2(\u10b0\u10a8)\u10a2(\u10ad)\u10aa\u10a8<\/strong> \u10b1\u10a0\u10a9\u10c3\u10c2<\/strong>|<\/strong>\u10b0\u10a5\u10a4\u10aa\u10a7\u10ab\u10ad<\/strong>|<\/strong>\u10b5\u10ab\u10a4\u10a3\u10a8 <\/strong>\u2013 <\/strong>Saint Gregory the Wonderworket<\/strong>), an unidentified figure, St. Blaise of Sebastia ([<\/strong>\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong>] <\/strong>\u10a5\u10aa\u10a0\u10b1\u10a8 <\/strong>\u2013 <\/strong>Saint Blaise<\/strong>). 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.<\/p>\n

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.<\/p>\n

 <\/p>\n

Aisle<\/h6>\n

A fresco inscription runs along the triumphal arch of the south arm<\/strong> \u2013 the text represents a quote from the book of St. Habakkuk the Prophet (Habakkuk 3:3).<\/p>\n

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\u2019s Offering<\/em> (the inscription is damaged); Taunt of Joachim <\/em>(\u22ee<\/strong> \u10a0\u10b7\u10c3\u10a4<\/strong>[\u10a3]<\/strong>\u10b0\u10a4\u10a1\u10b1<\/strong> \u10a8\u10ad\u10a5\u10a0\u10a9\u10a8\u10ab<\/strong> | <\/strong>\u10a0\u10ac\u10ac\u10a0\u10b1<\/strong> \u10b3\u10c3<\/strong>[\u10b8\u10a5\u10a8\u10aa\u10ad]<\/strong>\u10a1\u10a8\u10b1\u10a0\u10a7\u10c3\u10b1<\/strong> \u2013<\/strong> Joachim complains for Anna being childless<\/strong>); the Annunciation to Anne <\/em>([\u10a0\u10ac\u10a2]<\/strong>\u10a6\u10a8<\/strong> \u10a0\u10be<\/strong>(<\/strong>\u10a0<\/strong>)<\/strong>\u10b0<\/strong>(<\/strong>\u10a4<\/strong>)<\/strong>\u10a1\u10b1<\/strong> \u10a0\u10ac\u10ac\u10a0\u10b1 <\/strong>\u2013<\/strong> The Angel is Annunciate to Anne<\/strong>), the Annunciation to Joachim <\/em>([\u10a0<\/strong>(<\/strong>\u10ac<\/strong>)<\/strong>\u10a2<\/strong>(<\/strong>\u10a4<\/strong>)<\/strong>\u10aa<\/strong>(<\/strong>\u10ad<\/strong>)<\/strong>]<\/strong>\u10a6\u10a8<\/strong> \u10a0\u10be<\/strong>(<\/strong>\u10a0<\/strong>)<\/strong>\u10b0<\/strong>[<\/strong>(<\/strong>\u10a4<\/strong>)<\/strong>\u10a1\u10b1<\/strong>]<\/strong> \u10a8\u10ad\u10a5\u10a0\u10a9\u10a8\u10ab\u10b1 <\/strong>\u2013 <\/strong>The Angel Annunciate to Joachim<\/strong>.<\/p>\n

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<\/em> (\u10a8\u10ad\u10a5\u10a0\u10a9\u10a8\u10ab\u10a3\u10a0\u10a0\u10ac\u10c2<\/strong>|<\/strong>\u10b1\u10a0\u10ab\u10a1\u10ad\u10b0\u10a8\u10b1\u10b7\u10b4\u10a0\u10c2 <\/strong>\u2013 <\/strong>\u10d8\u10dd\u10d0\u10d9\u10d8\u10db \u10d3\u10d0 \u10d0\u10dc\u10d0\u10e1 \u10d0\u10db\u10d1\u10dd\u10e0\u10d8\u10e1\u10e7\u10dd\u10e4\u10d0\u10d8<\/strong>), the Nativity of the Virgin<\/em> (\u22ee<\/strong>\u10b8\u10ad\u10a1\u10a0\u10c2<\/strong> \u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a8)<\/strong>\u10b1\u10a0<\/strong> \u10b6<\/strong>(\u10ab\u10b0)<\/strong>\u10a7\u10a8\u10b1\u10ab\u10b8\u10ad<\/strong>|<\/strong>\u10a1\u10a4\u10aa\u10a8\u10b1\u10a0\u10c2 <\/strong>\u2013 <\/strong>Birth of the Holy Virgin<\/strong>), Virgin First Seven Steps<\/em> (the inscription is damaged), the Presentation of the Virgin<\/em> (the inscription is damaged).<\/p>\n

The cycle continues in the third registre of the apse \u2013 again four scenes: east to west: the Annunciation <\/em>(the inscription is damaged), Visitation of Mary to Elizabeth<\/em> (the inscription is damaged), Trial by Bitter Water<\/em> (the inscription is damaged), St. Joseph\u2019s Dream<\/em> (the scene has a vast inscription which starts with \u22ee<\/strong>\u10a0\u10ac\u10a2<\/strong>(\u10ad)<\/strong>\u10a6\u10a8<\/strong> \u10a8\u10b2\u10b7\u10c3\u10b1<\/strong> \u2013 <\/strong>The Angel Says <\/strong>and ends with a quote from Mathew 1:20.<\/p>\n

The fourth registre of the apse represents a large scene; on the east – the Nativity\/ Adoration of the Magi <\/em>(with an inscription above the Magi (\u10ab\u10ad\u10a2\u10b3\u10c3\u10a8 \u10ab\u10a4\u10b4\u10a4\u10ac\u10a8 <\/strong>\u2013 \u10db\u10dd\u10d2\u10e3\u10dc\u10d8 \u10db\u10d4\u10e4\u10d4\u10dc\u10d8<\/strong>); on the west \u2013 the Dormition <\/em>(the inscription is damaged).<\/p>\n

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 (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> || <\/strong>\u10a9\u10ad\u10a6\u10ab(\u10a0)\u10ac <\/strong>\u2013 <\/strong>Saint Cosmas<\/strong>); west projection: unknown, St. Artemis (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> || <\/strong>\u10a0\u10b0\u10b2\u10a4<\/strong>[\u10ab\u10a8] \u2013 <\/strong>Saint Artemis<\/strong>), unknown.<\/p>\n

A fresco inscription runs along the triumphal arch of the north arm<\/strong> \u2013 the text is a quote from the Book of Psalms (Ps. 88:13).<\/p>\n

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 \u2013 they are not demarcated with frames either. East to west: the Presentation of Jesus at the Temple<\/em> (the inscription is damaged; St. Anna the Prophet is holding an open scroll – origin of the text is unclear); the Barren Fig Tree<\/em> (inscription \u2013 quote from the Gospel (Matthew 3:10; Luke 3:9) \u2013 damaged); the Baptism<\/em> (the inscription is damaged). It is presumed the Barren Fig Tree<\/em> is part of the composition of the Baptism.<\/p>\n

The second registre of the painting shows four scenes; west to east: the Transfiguration<\/em> (the inscription is damaged); the Raising of Lazarus <\/em>([\u10aa\u10a0\u10a6]<\/strong>\u10a0\u10b0\u10a4\u10b1<\/strong> \u10a0\u10b6<\/strong>[\u10a3\u10a2]<\/strong>\u10a8\u10ac\u10a4\u10a1\u10a0\u10c2 <\/strong>\u2013 <\/strong>the Raising of Lazarus<\/strong>); Jesus\u2019 Entry into Jerusalem<\/em> (the inscription is damaged).<\/p>\n

The third registre of the painting depicts the scenes selected from the cycles of Christ\u2019s passions and resurrection. West to east: the Last Supper<\/em> (the inscription is damaged); the Crucifixion<\/em> (\u2756<\/strong> \u10bf\u10c3\u10a0\u10b0\u10b1<\/strong>||<\/strong>\u10ba\u10b3[\u10ab\u10a0\u10c2]<\/strong> |<\/strong>\u10b5<\/strong>(\u10b0\u10a8\u10b1\u10b2)<\/strong>\u10a4<\/strong>[\u10b1\u10a8] \u2013 <\/strong>The Crucifixion of Christ<\/strong>); an explanatory inscription has survived at the image of St. John the Theologian (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> \u10a8\u10ad<\/strong>(\u10a0\u10ac)<\/strong>\u10a4<\/strong> \u10ab\u10a0\u10be<\/strong>|<\/strong>\u10a0\u10b0\u10a4\u10a1<\/strong>(\u10a4\u10aa)<\/strong>\u10aa\u10a8 <\/strong>\u2013 <\/strong>Saint John the Theologian<\/strong>); the Descent into Hell<\/em> (the inscription is damaged); Holy Mothers at the Tomb of Christ (the inscription is damaged).<\/p>\n

Two large scenes are depicted in the fourth registre of the painting: on the west \u2013 the Ascension <\/em>(the inscription is damaged); on the east \u2013 the Pentecost<\/em> (+<\/strong>\u10b1<\/strong>(<\/strong>\u10b3<\/strong>)<\/strong>\u10aa\u10a8\u10b1\u10a0\u10bc(\u10ab\u10a8\u10a3)\u10a8\u10b1\u10a0\u10ab\u10ad\u10b1\u10aa\u10a5\u10a0\u10c2<\/strong> \u10ab\u10ad\u10ba\u10a8\u10b5\u10b3\u10aa\u10a7\u10a0<\/strong> \u10a6(\u10a4\u10a3)\u10a0<\/strong> > \u2013 The Descent of the Holy Spirit on the Apostles<\/strong>).<\/p>\n

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\u2019 west projection: St. Arsenius (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> || <\/strong>\u10a0\u10b0\u10b1\u10a4\u10ac\u10a8 <\/strong>\u2013<\/strong> Saint Arsenios<\/strong>), Unedified Saint, St. Sabas (\u10b1<\/strong>[<\/strong>\u10a0<\/strong>]<\/strong>\u10a1\u10a0 <\/strong>\u2013 <\/strong>Sabas<\/strong>).<\/p>\n

A fresco inscription runs along the triumphal arch of the west arm<\/strong> – the text is a quote from the Book of Psalms (Ps. 112:3).<\/p>\n

The painting in the west arm is composed of four registres. The first three are dedicated to the composition of the Last Judgment<\/em>, 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\u2019s 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<\/em>, 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 \u2013 extend into the bema). An Angel Rolling up the Sky<\/em> is represented in the vault of the bema.<\/p>\n

The Hetoimasia <\/em>with guardian angels is depicted in the center of the second registre of the painting; a gospel and the Holy Cross (with an inscription \u2013 \u1f38<\/strong>(<\/strong>\u03b7\u03c3\u03bf<\/strong>\u1fe6<\/strong>)<\/strong>\u03c2<\/strong> || <\/strong>\u03a7<\/strong>(<\/strong>\u03c1\u03b9\u03c3\u03c4<\/strong>\u1f78<\/strong>)<\/strong>\u03c2 <\/strong>\u2013<\/strong> Jesus Christ<\/strong>) are placed on the throne. Adam\u2019s and Eve\u2019s figures (with an inscription \u2013 [<\/strong>\u10a4]\u10a5\u10a0<\/strong> \u2013 <\/strong>Eve<\/strong>) related to the depiction are moved down to the third registre \u2013 on both sides of the only window of the arm. There is an inscription \u2013 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 ([<\/strong>\u10a2<\/strong>(<\/strong>\u10b3<\/strong>)<\/strong>\u10ac<\/strong>]<\/strong>\u10a3\u10a8<\/strong> \u10ab\u10a0\u10ab\u10a0\u10ab\u10a7\u10a0\u10a5\u10a0\u10b0\u10a7\u10a0\u10c2<\/strong>> \u2013 <\/strong>The Host of Forefathers<\/strong>); they are followed by a host of prophets (\u10a2\u10b3\u10c3\u10ac\u10a3\u10a8<\/strong> \u10bc(\u10a8\u10ac\u10a0)\u10bc(\u10a0\u10b0\u10ab\u10a4\u10b2\u10b7\u10b3\u10a4)\u10aa\u10a7\u10a0\u10c2 > \u2013 <\/strong>The Host of Prophets<\/strong>). The row corresponding to the registre is impossible to observe presently.<\/p>\n

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 (\u10a2\u10b3\u10c3\u10ac\u10a3\u10a8<\/strong> \u10bc[(\u10ab\u10a8\u10a3\u10a0)\u10a7]\u10a0 \u10ab\u10b6\u10a3(\u10a4)\u10aa\u10a7\u10ab\u10ad\u10bb\u10b6(\u10b3)\u10a0\u10b0\u10a7\u10a0\u10c2 > <\/strong>\u2013\u10d2\u10e3\u10dc\u10d3\u10d8 \u10ec[(\u10db\u10d8\u10d3\u10d0)\u10d7]\u10d0 \u10db\u10e6\u10d3(\u10d4)\u10da\u10d7\u10db\u10dd\u10eb\u10e6(\u10e3)\u10d0\u10e0\u10d7\u10d0\u10f2<\/strong>), a host of holy monks (\u10a2\u10b3\u10ac\u10a3\u10a8 \u10bc(\u10ab\u10a8\u10a3\u10a0)\u10a7\u10a0 \u10ab(\u10a0)\u10ab\u10a0\u10a7\u10a0\u10c2 <\/strong>\u2013 <\/strong>The Host of Holy Fathers<\/strong>), a host of holy mothers (\u10a2\u10b3\u10ac\u10a3\u10a8 \u10bc(\u10ab\u10a8\u10a3\u10a0)\u10a7\u10a0 \u10a3(\u10a4)\u10a3\u10a0\u10a7(\u10a0)\u10c2<\/strong>><\/strong> \u2013 <\/strong>The Host of Holy Mothers<\/strong>). A row of saints facing towards the bema terminates the row (with an inscription \u2013 [\u10b1\u10a0\u10ab\u10ad]\u10a7\u10be\u10a4\u10b1 <\/strong>\u10b8\u10a4\u10ab\u10a0\u10a5\u10a0\u10aa\u10a8<\/strong> \u2013 [\u10e1\u10d0\u10db\u10dd]\u10d7\u10ee\u10d4\u10e1 \u10e8\u10d4\u10db\u10d0\u10d5\u10d0\u10da\u10d8<\/strong>). Abraham\u2019s Bosom <\/em>is represented along the registre in the bema (Abraham\u2019s figure has an explanatory inscription \u2013 <\/strong>\u10ab\u10a0\u10ab\u10a0\u10ab\u10a7<\/strong>(\u10a0\u10a5\u10a0)<\/strong>\u10b0<\/strong>[<\/strong>\u10a4<\/strong>]<\/strong>|<\/strong> \u10a0\u10a1\u10b0\u10a0\u10c0\u10a0\u10ab <\/strong>\u2013 <\/strong>Forefather Abraham<\/strong>).<\/p>\n

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 (\u10bc<\/strong>(\u10a8\u10ac\u10a0\u10b1)\u10bc(\u10a0\u10b0\u10ab\u10a4\u10b2\u10b7\u10b3\u10a4)\u10aa\u10a8 <\/strong>||<\/strong> \u10a4\u10a6\u10a4\u10a9\u10a8\u10a4\u10aa<\/strong> \u2013<\/strong> Prophet Ezekiel<\/strong>)<\/strong> is carrying a large scroll with a quote from his book (Ezekiel 37:5-6); St. Prophet Habakkuk (\u10bc<\/strong>(\u10a8\u10ac\u10a0\u10b1)\u10bc(\u10a0\u10b0\u10ab\u10a4\u10b2\u10b7\u10b3\u10a4)\u10aa\u10a8 <\/strong>|| <\/strong>\u10a0\u10ab\u10a1\u10a0\u10a9\u10b3\u10c3\u10ab <\/strong>\u2013<\/strong> Prophet Habakkuk<\/strong>) 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 (\u10a4\u10b0\u10a4\u10ab\u10a8\u10a0 <\/strong>\u2013 <\/strong>Jeremiah<\/strong>) 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 (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> || <\/strong>\u10a8<\/strong>(\u10ad\u10a0\u10ac)<\/strong>\u10ac\u10a4<\/strong> | <\/strong>\u10b6<\/strong>(<\/strong>\u10ab\u10b0<\/strong>)<\/strong>\u10a7\u10a8<\/strong>|<\/strong>\u10b1\u10ab\u10a4\u10b2\u10b7<\/strong>(<\/strong>\u10a5\u10a4<\/strong>)<\/strong>\u10aa\u10a8 <\/strong>\u2013<\/strong> Saint John Chrysostom<\/strong>); St. Prophet Elijah (\u10bc<\/strong>(\u10a8\u10ac\u10a0\u10b1)\u10bc(\u10a0\u10b0\u10ab\u10a4\u10b2\u10b7\u10b3\u10a4)\u10aa\u10a8<\/strong> || <\/strong>\u10a4\u10aa\u10a8\u10a0 <\/strong>\u2013 <\/strong>Prophet Elijah<\/strong>).<\/p>\n

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 \u2013 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 \u2013 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.<\/p>\n

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<\/strong>, Unidentified saint,<\/strong> St. Eustathius; west projection Unknown<\/strong> St. James the Persian (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> \u10a8<\/strong>(<\/strong>\u10a0<\/strong>)<\/strong>\u10a9<\/strong>(<\/strong>\u10ad<\/strong>)<\/strong>\u10a1<\/strong> || <\/strong>\u10a3\u10a0\u10bd\u10b0\u10a8\u10aa\u10a8 <\/strong>\u2013 <\/strong>Saint James the Persian <\/strong>Intercisus<\/strong>), St. Eustathios (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> || <\/strong>\u10a4\u10a5\u10b1\u10b2\u10a0\u10a7\u10a8 <\/strong>\u2013 <\/strong>Saint Eustathios<\/strong>).<\/p>\n

The painting demonstrates nearly all the ornamental motifs characteristic to the Georgian wall painting of the 11th-12th centuries.<\/p>\n

 <\/p>\n

Daiting<\/h6>\n

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.<\/p>\n

In his report presented in 1941, Shalva Amiranashvili identified the figures of the donors with historical persons of the late ninth \u2013 early tenth centuries and, consequently, dated the painting by 904-906 (Shalva Amiranashvili, \u201cAtenis Sionis kedlis mkhatvrobis dat\u2019arighebisat\u2019vis\u201d [\u201cConcerning the Dating of the Ateni Sioni Wall Paintings\u201d], in Sakart\u2019velos metsnierebat\u2019a akademiis sazogadoebriv metsnierebat\u2019a ganq\u2019op\u2019ilebis sametsniero sesia. mushaobis gegma da mokhsenebat\u2019a t\u2019ezisebi [Session of the Social Sciences\u2019 Department of the Georgian Academy of Sciences, Programme and Abstracts of the Papers<\/em> (Tbilisi, 1941), 3, 5-7). The scholar repeated this opinion in \u2018The History of Georgian Wall Painting\u2019, volume I (Shalva Amiranashvili, Istorija gruzinskoj srednevekovoj monumental\u2019noj zhivopisi [History of Medieval Georgian Monumental Painting]<\/em> I (Tbilisi, 1957), 77-101) and in all the editions of \u2018The History of Georgian Art (last edition (Shalva Amiranashvili, K\u2019art\u2019uli khelovnebis istoria [History of Georgian Art]<\/em> (Tbilisi, 1971)5<\/sup>, 189-5).<\/p>\n

Shalva Amiranashvili\u2019s 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, \u201cAtenis Sionis mkhatvrobis dat\u2019arighebis sakit\u2019khisat\u2019vis\u201d [\u201cConcerning the Dating of the Ateni Sioni Wall Paintings\u201d], Sakartvelos metsnierebat\u2019a akademiis moambe [Bulletin of the Georgian Academy of Sciences]<\/em> VIII, \u21164 (1947): 261-8). Shalva Amiranashvili\u2019s opinion was criticized by Giorgi Chubinashvili and Tinatin Virsaladze (Giorgi Chubunashvili, T\u2019inat\u2019in Virsaladze, \u201cKniga o starom gruzinskom iskusstve\u201d [\u201cA Book on Old Georgian Art\u201d], Iskusstvo [Art]<\/em> 6 (1951), 88-9).<\/p>\n

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\u2019eimuraz Barnaveli, \u201cAtenis Sionis mkhatvrobis t\u2019arighis shesakheb\u201d [\u201cConcerning the Date of the Ateni Sioni Wall Paintings\u201d], Sakartvelos metsnierebat\u2019a akademiis moambe [Bulletin of the Georgian Academy of Sciences]<\/em> XVII, \u21163 (1956): 281-6; idem, Atenis Sionis tsartserebi [Inscriptions of Ateni Sioni]<\/em> (Tbilisi, 1957), 5-7, 20). At the time this opinion was shared by Tinatin Virsaladze (T\u2019inat\u2019in Virsaladze, \u201cAtenis Sionis mokhatuloba\u201d [\u201cMurals of Ateni Sioni\u201d], in K\u2019art\u2019uli khelovnebis istoriis institutis XIII sametsniero sesia. T\u2019ezisebi [13th Session of the Institute of Georgian Art History. Abstracts]<\/em> (Tbilisi, 1958), 8-9).<\/p>\n

Guram Abramishvili did not accept Teimuraz Barnaveli\u2019s 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, \u201cShenishvnebi Atenis Sionis mkhatvrobis shesakheb\u201d [\u201cNotes on the Ateni Sioni Murals\u201d], Sak\u2019artvelos metsnierebat\u2019a akademiis moambe [Bulletin of the Georgian Academy of Sciences]<\/em> XXX, \u21165 (1963): 685-90). The scholar read this inscription anew in 1966 \u2013 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<\/sup> -14th<\/sup> centuries (Guram Abramishvili, \u201cAtenis Sionis saktitoro tsartsera\u201d [\u201cDonor Inscription of Ateni Sioni\u201d], Dzeglis megobari [Monument\u2019s Friend]<\/em> 19 (1969): 30-7).<\/p>\n

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.<\/p>\n

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\u2019s mother \u2013 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 \u2018Life\u2019 and military campaigns of Turk-Seljuks by 1068. Furthermore, she determined the notion of the scene of the donors\u2019 row by King Bagrat IV\u2019s entrusting of his heir, the future king Giorgi II to St. Giorgi Mtatsmindeli. This suggestion provided by Tinatin Virsaladze was published repeatedly (T\u2019inat\u2019in Virsaladze, \u201cAtenis Sionis mkhatvrobis dat\u2019arighebisa da ktitor\u2019ta portretebis identip\u2019ikatsiis sakit\u2019khisat\u2019vis\u201d [\u201cTowards the Dating of Ateni Sioni Murals and Identification of Donor Portraits\u201d], sabchota khelovneba [Soviet Art]<\/em> 6 (1988): 88-104; idem, \u201cAtenis Sionis mkhatvrobis dat\u2019arighebisa da ktitor\u2019ta portretebis identip\u2019ikatsiis sakit\u2019khisat\u2019vis\u201d [\u201cTowards the Dating of Ateni Sion Murals and Identification of Donor Portraits\u201d], Ars Georgica<\/em> 10\u2013A (1991): 103-42; idem, \u201cAtenis Sionis mokhat\u2019uloba\u201d [\u201cThe Murals of Ateni Sioni\u201d], in id., K\u2019art\u2019uli mkhatvrobis istoriidan [From the History of Georgian Painting]<\/em> (Tbilisi, 2007), 202-41).<\/p>\n

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 \u2013 are included in the row of donors. This opinion of Guram Abramishvili has repeatedly been published (Guram Abramishvili, \u201cAtenis Sionis ktitort\u2019a identip\u2019ikatsia\u201d [\u201cIdentications of the Ateni Sioni Donors\u201d], Sabchot\u2019a khelovneba [Soviet Art]<\/em> 5 (1982): 86-101; idem, \u201cK datirovke rospisi Atenskogo Siona\u201d [\u201cTowards the Dating of Ateni Sioni Murals\u201d], IV mezhdunardonyj simpozium po gruzinskomu iskusstvu [Offprint from the Fouth International Symposium on Georgian Art]<\/em> (Tbilisi, 1983); idem, \u201cLa datation des fresques de la cath\u00e9drale d\u2019At\u00e9ni\u201d, Zograf <\/em>14 (1983): 17-21; idem, \u201cKidev ert\u2019khel atenis sionis mokhatulobis t\u2019arighsa da ktitort\u2019a identip\u2019ikatsiis sakithebze\u201d [\u201cOnce Again About the Issues of the Dating of Ateni Sioni Wall Paintings and Identification of the Donors\u201d], Khelovnebis sakhelmts\u2019ip\u2019o muzeumis narkvevebi [Bulletin of State Art Museum]<\/em> V (1999): 72-88; idem, Atenis Sioni. Adreuli shua saukuneebis tsentralur-gumbat\u2019ovani khurot\u2019modzghvruli tipis istoriidan [Ateni Sioni. From the History of Early Medieval Central-Domed Architectural Type]<\/em> (Tbilisi, 2012), 158-81).<\/p>\n

Guram Abramishvili\u2019s 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\u2019s mother (?)), Queen Isdukht \u2013 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<\/em> (Pennsylvania University Press, 1998), 43-58). This opinion was shared by Nino Simonishvili too (Nino Simonishvili, \u201cNikopeis tipis ghmrt\u2019ismshoblis gamosakhulebisa da ktitort\u2019a jgup\u2019uri portretis urt\u2019iert\u2019mimart\u2019ebis sakit\u2019khisat\u2019vis atenis sionis mokhatulobashi\u201d [\u201cAbout the Link Between the Nicopeia Type Image of the Virgin and the Group of Donor Portraits in the Ateni Sion Murals\u201d], Khelovnebat\u2019mtsodneoba [Studies in Art History]<\/em> 5 (2003): 189-235).<\/p>\n

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.<\/p>\n

<\/h6>\n\n
\n

Bibliography<\/h4>\n

Shalva Amiranashvili, \u201cAtenis Sionis kedlis mkhatvrobis dat\u2019arighebisat\u2019vis\u201d [\u201cConcerning the Dating of the Ateni Sioni Wall Paintings\u201d], in Sakart\u2019velos metsnierebat\u2019a akademiis sazogadoebriv metsnierebat\u2019a ganq\u2019op\u2019ilebis sametsniero sesia. mushaobis gegma da mokhsenebat\u2019a t\u2019ezisebi [Session of the Social Sciences\u2019 Department of the Georgian Academy of Sciences, Programme and Abstracts of the Papers<\/em> (Tbilisi, 1941), 3, 5\u20137.<\/p>\n

Rene Shmerlingi, \u201cAtenis Sionis mkhatvrobis dat\u2019arighebis sakit\u2019khisat\u2019vis\u201d [\u201cConcerning the Dating of the Ateni Sioni Wall Paintings\u201d], Sakartvelos metsnierebat\u2019a akademiis moambe [Bulletin of the Georgian Academy of Sciences]<\/em> VIII, \u21164 (1947): 261\u20138.<\/p>\n

Giorgi Chubunashvili, T\u2019inat\u2019in Virsaladze, \u201cKniga o starom gruzinskom iskusstve\u201d [\u201cA Book on Old Georgian Art\u201d], Iskusstvo [Art]<\/em> 6 (1951), 88-9.<\/p>\n

T\u2019eimuraz Barnaveli, \u201cAtenis Sionis mkhatvrobis t\u2019arighis shesakheb\u201d [\u201cConcerning the Date of the Ateni Sioni Wall Paintings\u201d], Sakartvelos metsnierebat\u2019a akademiis moambe [Bulletin of the Georgian Academy of Sciences]<\/em> XVII, \u21163 (1956): 281\u20136.<\/p>\n

T\u2019eimuraz Barnaveli, Atenis Sionis tsartserebi [Inscriptions of Ateni Sioni]<\/em> (Tbilisi, 1957), 5\u20137, 20.<\/p>\n

Shalva Amiranashvili, Istorija gruzinskoj srednevekovoj monumental\u2019noj zhivopisi [History of Medieval Georgian Monumental Painting]<\/em> I (Tbilisi, 1957), 77\u2013101.<\/p>\n

T\u2019inat\u2019in Virsaladze, \u201cAtenis Sionis mokhatuloba\u201d [\u201cMurals of Ateni Sioni\u201d], in K\u2019art\u2019uli khelovnebis istoriis institutis XIII sametsniero sesia. T\u2019ezisebi [13th Session of the Institute of Georgian Art History. Abstracts]<\/em> (Tbilisi, 1958), 8\u20139.<\/p>\n

Guram Abramishvili, \u201cShenishvnebi Atenis Sionis mkhatvrobis shesakheb\u201d [\u201cNotes on the Ateni Sioni Murals\u201d], Sak\u2019artvelos metsnierebat\u2019a akademiis moambe [Bulletin of the Georgian Academy of Sciences]<\/em> XXX, \u21165 (1963): 685\u201390.<\/p>\n

Guram Abramishvili, \u201cAtenis Sionis saktitoro tsartsera\u201d [\u201cDonor Inscription of Ateni Sioni\u201d], Dzeglis megobari [Monument\u2019s Friend]<\/em> 19 (1969): 30\u20137.<\/p>\n

Shalva Amiranashvili, K\u2019art\u2019uli khelovnebis istoria [History of Georgian Art]<\/em> (Tbilisi, 1971)5<\/sup>,189\u201395.<\/p>\n

T\u2019inat\u2019in Virsaladze, \u201cNekotorye voprosy obshchej kompozitcii rospisi Atenskogo Siona\u201d [\u201cSome Issues of the General Composition of the Ateni Sioni Wall Paintings\u201d], in Srednevekovoe iskusstvo: Rus\u2019, Gruzija [Medieval Art: Rus, Georgia]<\/em> (Moscow, 1978), 83\u201391.<\/p>\n

Guram Abramishvili, \u201cAtenis Sionis ktitort\u2019a identip\u2019ikatsia\u201d [\u201cIdentications of the Ateni Sioni Donors\u201d], Sabchot\u2019a khelovneba [Soviet Art]<\/em> 5 (1982): 86\u2013101.<\/p>\n

Guram Abramishvili, \u201cK datirovke rospisi Atenskogo Siona\u201d [\u201cTowards the Dating of Ateni Sioni Murals\u201d], IV mezhdunardonyj simpozium po gruzinskomu iskusstvu [Offprint from the Fouth International Symposium on Georgian Art]<\/em> (Tbilisi, 1983).<\/p>\n

Adol\u2019f Ovchinnikov, \u201cKopija-rekonstruktcija kak metod vosstanovlenija utrachennoj ikonografii (Na primere kompozitcii \u2018Strashnogo Suda\u2019 iz Ateni)\u201d, [\u201cCopy-Reconstruction as a Method for Restoring the Lost Iconography (On the Example of the Last Judgment from Ateni)\u201d], IV mezhdunardonyj simpozium po gruzinskomu iskusstvu [Off-print from the Fouth International Symposium on Georgian Art]<\/em> (Tbilisi, 1983).<\/p>\n

Guram Abramishvili, \u201cLa datation des fresques de la cath\u00e9drale d\u2019At\u00e9ni\u201d, Zograf <\/em>14 (1983): 17\u201321.<\/p>\n

T\u2019inat\u2019in Virsaladze, Atenis sionis mokhatuloba [Murals of Ateni Sioni] <\/em>(Tbilisi, 1984).<\/p>\n

Doula Mouriki, \u201cObservations on the Style of the Wall Paintings of the Sion Church at Ateni, Georgia\u201d, in Maria Stella Calo\u2019Mariani ed., L\u2019arte georgiana dal IX al XIV Secolo, Atti del Terzo simposio internazionale sull’arte georgiana [Collana di saggi e testi. Sezione sesta, Storia dell\u2019arte: III]<\/em> I (Galatina, 1986), 173\u201387, Reprinted in id., Studies in Late Byzantine Painting<\/em> (London, 1995), 443\u201373.<\/p>\n

T\u2019inat\u2019in Virsaladze, \u201cAtenis Sionis mkhatvrobis dat\u2019arighebisa da ktitor\u2019ta portretebis identip\u2019ikatsiis sakit\u2019khisat\u2019vis\u201d [\u201cTowards the Dating of Ateni Sioni Murals and Identification of Donor Portraits\u201d], sabchota khelovneba [Soviet Art]<\/em> 6 (1988): 88\u2013104.<\/p>\n

Srdjan Djuri\u0107, \u201cAteni and the Rivers of Paradise in Byzantine Art\u201d, Zograf <\/em>20 (1989): 22\u20139.<\/p>\n

K\u2019art\u2019uli ts\u2019arts\u2019erebis korpusi: III, P\u2019reskuli ts\u2019arts\u2019erebi I: Atenis Sioni, <\/em>gamosatsemad moamzades, gamokvleva da sadzieblebi daurt\u2019es Guram Abramishvilma da Zaza Aleksidzem [Corpus of Georgian Inscriptions: III,<\/em> Fresco Inscriptions I: Ateni Sion, <\/em>Edited by Guram Abramishvili and Zaza Aleksidze (Tbilisi, 1989).<\/p>\n

T\u2019inat\u2019in Virsaladze, \u201cAtenis Sionis mkhatvrobis dat\u2019arighebisa da ktitor\u2019ta portretebis identip\u2019ikatsiis sakit\u2019khisat\u2019vis\u201d [\u201cTowards the Dating of Ateni Sion Murals and Identification of Donor Portraits\u201d], Ars Georgica<\/em> 10\u2013A (1991): 103\u201342.<\/p>\n

Antony Eastmond, Royal Imagery in Medieval Georgia<\/em> (University Park, Pennsylvania, 1998), 43\u201358.<\/p>\n

Guram Abramishvili, \u201cKidev ert\u2019khel atenis sionis mokhatulobis t\u2019arighsa da ktitort\u2019a identip\u2019ikatsiis sakithebze\u201d [\u201cOnce Again About the Issues of the Dating of Ateni Sioni Wall Paintings and Identification of the Donors\u201d], Khelovnebis sakhelmts\u2019ip\u2019o muzeumis narkvevebi [Bulletin of State Art Museum]<\/em> V (1999): 72\u201388.<\/p>\n

Nino Simonishvili, \u201cNikopeis tipis ghmrt\u2019ismshoblis gamosakhulebisa da ktitort\u2019a jgup\u2019uri portretis urt\u2019iert\u2019mimart\u2019ebis sakit\u2019khisat\u2019vis atenis sionis mokhatulobashi\u201d [\u201cAbout the Link Between the Nicopeia Type Image of the Virgin and the Group of Donor Portraits in the Ateni Sion Murals\u201d], Khelovnebat\u2019mtsodneoba [Studies in Art History]<\/em> 5 (2003): 189\u2013235.<\/p>\n

T\u2019inat\u2019in Virsaladze, \u201cAtenis Sionis mokhat\u2019uloba\u201d [\u201cThe Murals of Ateni Sioni\u201d], in id., K\u2019art\u2019uli mkhatvrobis istoriidan [From the History of Georgian Painting]<\/em> (Tbilisi, 2007), 103\u2013202.<\/p>\n

Guram Abramishvili, Atenis Sioni. Adreuli shua saukuneebis tsentralur-gumbat\u2019ovani khurot\u2019modzghvruli tipis istoriidan [Ateni Sioni. From the History of Early Medieval Central-Domed Architectural Type]<\/em> (Tbilisi, 2012), 158\u201381.<\/p>\n\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":3398,"menu_order":0,"template":"","meta":[],"layer":[302],"period":[446],"acf":[],"_links":{"self":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/painting\/1187"}],"collection":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/painting"}],"about":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/types\/painting"}],"author":[{"embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/users\/2"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/media\/3398"}],"wp:attachment":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/media?parent=1187"}],"wp:term":[{"taxonomy":"layer","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/layer?post=1187"},{"taxonomy":"period","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/period?post=1187"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}