{"id":1196,"date":"2020-12-04T08:14:50","date_gmt":"2020-12-04T08:14:50","guid":{"rendered":"http:\/\/arthistory.tsu.ge\/murals\/?post_type=painting&p=1196"},"modified":"2022-01-10T06:23:02","modified_gmt":"2022-01-10T06:23:02","slug":"aci-murals-of-church-of-st-archangels-taringzel","status":"publish","type":"painting","link":"https:\/\/arthistory.tsu.ge\/murals\/painting\/aci-murals-of-church-of-st-archangels-taringzel\/","title":{"rendered":"Atsi, Murals of the Church of Holy Archangels"},"content":{"rendered":"
\n\n\n\n\n\n\n\n\n
<\/td>\n<\/td>\n<\/tr>\n
Building:<\/strong><\/td>\nAtsi, Church of Holy Archangels (\"Taringzel\")<\/a><\/td>\n<\/tr>\n
Layer of the Murals:<\/strong><\/td>\nOne Layer<\/a><\/td>\n<\/tr>\n
Date\/Period:<\/strong><\/td>\n10th c.<\/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 is completely painted. The chancel screen is decorated with painting as well.<\/p>\n

 <\/p>\n

Chancel<\/h6>\n

Christ in Majesty<\/em> is depicted in the conch. The composition is distributed in an unusual way: the half-length figure of the Savior with the blessing right hand and an open codex (only \u2013 \u10a6\u10c2|\u10a5\u10c2<\/strong> is legible out of the multi-line inscription) is depicted above the window. Full-length figures of saint archangels (with their right palms in front and left hands on their hearts) are represented on both sides of Christ (along His shoulders); they are represented on the level of both registres and also occupy the areas adjacent to the lower section of the window. A seraph (north) and a tetramorph (south) are depicted below Christ\u2019s half-length figure, on two sides of the window in the lower registre. The composition is represented against the flame-colored background; the face of the background is patterned – double white circles with four dots painted inside each. A similar background is used in the hall of the church near the scenes and figures depicted on the south and west walls.<\/p>\n

 <\/p>\n

Chancel Screen<\/h6>\n

The three-span chancel screen and the triumphal arch are completely covered with large uniform floral ornaments.<\/p>\n

 <\/p>\n

Aisle<\/h6>\n

Equestrian figures of St. George and St Theodore facing each other are depicted on the southern<\/strong> side<\/strong> of the vault and the first registre of the wall (lower part of the composition has preserved fragmentary images of Diocletian and a dragon); the second registre has a three-figure scene of Jesus Laid in the Tomb<\/em>.<\/p>\n

The west wall<\/strong> represents church fathers. There are two frontal figures of holy bishops on the north of the window and one \u2013 on the south; the full-length figures of the church fathers are depicted with the blessing right hand and a closed book.<\/p>\n

The north wall<\/strong> is completely occupied by the multi-figure composition of the Ascension.<\/em><\/p>\n\n

\n

Bibliography<\/h4>\n

Nicole Thierry, \u201cNotes d\u2019un second voyage en Haute Svan\u00e9tie (G\u00e9orgie)\u201d, Bedi Kartlisa<\/em> (1980): 38, pl. 5.<\/p>\n

Tat\u2019jana Shevjakova, Monumental\u2019naja zhivopis\u2019 rannego srednevekov\u2019ja Gruzii [The Monumental Painting of the Early Medieval Georgia]<\/em> (Tbilisi, 1983), 18\u201320.<\/p>\n

Natela Aladashvili, Gajane Alibegashvili, Aneli Vol\u2019skaja, Zhivopisnaja shkola Svaneti [The Painting School of Svaneti]<\/em> (Tbilisi, 1983), 19\u201323.<\/p>\n

Rusudan Q\u2019enia, Nat\u2019ela Aladashvili, Zemo svanet\u2019i (shua saukuneebis khelovneba). Gzamkvlevi [Upper Svaneti (Medieval Art). A Guidebook] [Sak\u2019art\u2019velos megzuri [Guide of Georgia]: 2] <\/em>(Tbilisi, 2000), 63\u20134.<\/p>\n

Marine Q\u2019enia, \u201cGamosakhvis kherkhebi svanet\u2019is adreul mokhatulobebshi (Laghamis k\u2019veda eklesiis mokhatulobis magalit\u2019ze)\u201d [\u201cModes of Expression in Early Georgian Murals (On the Example of the Initial Mural Decoration in the Lagami Church of the Saviour)\u201d], Sak\u2019art\u2019velos Sidzveleni [Georgian Antiquities]<\/em> 9 (2006): 58\u20139.<\/p>\n

Marine Q\u2019enia, \u201cAdreul k\u2019art\u2019ul mokhatuloba\u2019ta programebis t\u2019aviseburebat\u2019a gamo\u201d [\u201cOn the Pecularities of Programmes of Early Georgian Murals\u201d], Sak\u2019art\u2019velos Sidzveleni [Georgian Antiquities]<\/em> 11 (2007): 53\u20134.<\/p>\n

Marine Q\u2019enia, \u201cMkhatvrobis saert\u2019o sistemis gadats\u2019q\u2019vetis t\u2019aviseburebani adreuli khanis Svanet\u2019is mokhatulobebshi\u201d [\u201cPecularities of the General Arrangement of the Decoration System in Early Medieval Murals in Svaneti\u201d], Sak\u2019art\u2019velos Sidzveleni [Georgian Antiquities]<\/em> 12 (2008): 129\u201331.<\/p>\n\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":3399,"menu_order":0,"template":"","meta":[],"layer":[298],"period":[446],"acf":[],"_links":{"self":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/painting\/1196"}],"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\/3399"}],"wp:attachment":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/media?parent=1196"}],"wp:term":[{"taxonomy":"layer","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/layer?post=1196"},{"taxonomy":"period","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/period?post=1196"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}