{"id":1251,"date":"2020-12-10T12:30:36","date_gmt":"2020-12-10T12:30:36","guid":{"rendered":"http:\/\/arthistory.tsu.ge\/murals\/?post_type=painting&p=1251"},"modified":"2022-01-10T08:24:56","modified_gmt":"2022-01-10T08:24:56","slug":"gareji-sabereebi-murals-of-church-of-%e2%84%966","status":"publish","type":"painting","link":"https:\/\/arthistory.tsu.ge\/murals\/painting\/gareji-sabereebi-murals-of-church-of-%e2%84%966\/","title":{"rendered":"Gareja, Sabereebi, Murals of the Church \u21166"},"content":{"rendered":"
\n\n\n\n\n\n\n\n\n
<\/td>\n<\/td>\n<\/tr>\n
Building:<\/strong><\/td>\nGareja, Sabereebi, Church \u21166<\/a><\/td>\n<\/tr>\n
Layer of the Murals:<\/strong><\/td>\nOne Layer<\/a><\/td>\n<\/tr>\n
Date\/Period:<\/strong><\/td>\nSecond half of the 9th 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

 <\/p>\n

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

A badly damaged asomtavruli<\/em> text outlined on the south wall of the chancel, below the ornament marking off the conch and the lower registre must belong to the artist: […]\u10a0\u10b2\u10a4\u10b1 [- – – – – – -]\u10a4 [- -] \u10a0 \u10b6\u10a8\u10b0\u10b1 \u10a5\u10a8<\/strong>|<\/strong>[- – – -] […] <\/strong>\u2013 [\u2026]ates [- – – – – – -]e [–] a was made worthy [\u2026] <\/strong>(Zaza Skhirtladze, Sabereeebis p\u2019reskuli ts\u2019arts\u2019erebi [Fresco Iscriptions of Sabereebi] [sak\u2019art\u2019velos istoriis ts\u2019q\u2019aroebi: 35 [Sources for History of Georgia: 35]<\/em> (Tbilisi, 1985), 41-2).<\/p>\n\n

\n

Description<\/h4>\n

The domed church, its south chapel and the south chamber are decorated with murals.<\/p>\n

 <\/p>\n

Church<\/h6>\n

The chancel and the north arm were painted; only a small fragments can be discerned of the badly damaged painting, although it is still possible to reconstruct the programme.<\/p>\n

 <\/p>\n

Chancel<\/h6>\n

In the chancel painting is structured in two registres \u2013 it is a short version of the Christ in Majesty<\/em>. Enthroned Christ with the right hand raised in blessing and an open book in the left hand is depicted in the centre of the conch (only two graphemes are now legible out of the vast inscription on the book \u2013 \u10a2\u10a3<\/strong> \u2013 GD<\/strong>). Both archangels flanking Christ \u2013 Michael (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)\u10c2<\/strong> | \u10ab<\/strong>(<\/strong>\u10a8<\/strong>)<\/strong>\u10b5<\/strong>(<\/strong>\u10a4<\/strong>)<\/strong>\u10aa <\/strong>\u2013 Saint Michael<\/strong> and Gabriel (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)\u10c2<\/strong> | \u10a2<\/strong>(<\/strong>\u10a0<\/strong>)<\/strong>\u10a1<\/strong>(\u10b0\u10a8\u10a4\u10aa)<\/strong> \u2013 Saint Gabriel<\/strong>) are glorifying Him with one hand and holding an unrolled scroll in the other. Four large apocalyptic stars are depicted around the Savior represented without a mandorla.<\/p>\n

A figure, probably a deacon, is depicted under each impost on the edges of the conch. Only fragments of the face and the hand have survived from the figure represented below the north impost. It is likely that the fresco featured a half-figure of a saint.<\/p>\n

The second registre has the Virgin (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)\u10c2<\/strong> \u10ab[(\u10a0\u10b0\u10a8\u10a0)\u10ab)] <\/strong>\u2013 Saint Mary<\/strong>) flanked by rows of apostles; fragments of the heads and nimbs of the figures have survived (left of the Virgin \u2013 \u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)\u10c2<\/strong> [- – – – -] <\/strong>\u2013 Saint Peter, <\/strong>right \u2013 \u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2 <\/strong>\u2013 \u10ec(\u10db\u10d8\u10d3\u10d0)\u10f2 <\/strong>– Saint – <\/strong>are identifiable). Figures of three apostles on the edge of the north wall are completely obliterated.<\/p>\n

The registres are separated from each other by a folded ornament.<\/p>\n

 <\/p>\n

Aisle<\/h6>\n

In the north arm<\/strong> the composition of the Crucifixion<\/em> is depicted in the eastern half of the north wall; it is surrounded by a wide folded ornament. Crucified Christ is depicted wearing a long colobium (lower half of the figure has survived). Crucified thieves are depicted on both sides of the Savior in the upper part of the scene; right of Christ (on the west) is a frontal figure of the Roman centurion Longinus ([…] || […<\/strong>]<\/strong>\u10a4 || […<\/strong>]<\/strong>\u10c2 <\/strong>\u2013 […<\/strong>]E [<\/strong>…<\/strong>]I<\/strong>) wearing a long robe and with his hands raised \u2013 holding a long spear in a vertical position. Right of crucified Christ (on the east) another soldier is depicted ([…] | | […] || […][-]\u10a4\u10c2 <\/strong>\u2013 […<\/strong>]<\/strong>[<\/strong>–<\/strong>]<\/strong>EI<\/strong>); he is facing the Savior with his head and right hand raised towards Christ (he might be holding a sponge put on a reed \u2013 poor condition of the painting makes accurate identification impossible). The Virgin is depicted next to Longinus (on the left), and St. John the Theologian \u2013 next to the sponge (on the right); they are facing Christ (upper parts of the figures are erased).<\/p>\n

The image of a donor which is perceived on the eastern wall of the north arm as part of the composition of the Crucifixion<\/em> is separated from the latter by a three-side folded ornament. The painted layer is damaged, but one can identify a full-length frontal figure with the hands raised in supplication.<\/p>\n

 <\/p>\n

Southern Porch<\/h6>\n

Only the chancel and the north wall are decorated with murals in the chapel.<\/p>\n

Enthroned Virgin Hodegetria<\/em> is depicted in the chancel <\/strong>conch (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2 | \u10ab<\/strong>(\u10a0\u10b0\u10a8\u10a0)<\/strong>\u10ab <\/strong>\u2013 Saint Mary<\/strong>). The Virgin is flanked by frontal figures of archangels \u2013 St. Uriel (<\/strong>\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2 \u10b3\u10b0[<\/strong>\u10a8<\/strong>]\u10a4\u10aa <\/strong>\u2013 Saint Uriel<\/strong>) and St. Suriel (<\/strong>\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2 | \u10b1\u10ad|\u10b0\u10a8|\u10a4\u10aa <\/strong>\u2013 Saint Suriel). <\/strong>The angels have one hand raised towards the beholder, and, presumably, an unrolled scroll in the other.<\/p>\n

The southern edge of the apse has a badly damaged image of St. Nathan the Prophet (<\/strong>\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2 | [<\/strong>\u10ac\u10a0<\/strong>]|[<\/strong>\u10a7\u10a0\u10ac<\/strong>] | \u10bc\u10a8|\u10ac\u10a0\u10b1|\u10bc\u10a0\u10b0|\u10ab\u10a4\u10b2|\u10b7\u10a5\u10a4|\u10aa\u10a8 <\/strong>\u2013 Holy Prophet Nathan.<\/strong><\/p>\n

 <\/p>\n

Southern Chamber<\/h6>\n

A pair of holy riders was depicted on the north wall of the presently destroyed chamber. Only a fragment of one figure has survived.<\/p>\n\n

\n

Bibliography<\/h4>\n

Aneli Vol\u2019skaja, \u201cRannie rospisi Garedzhi\u201d [\u201cEarly Paintings of Gareja\u201d], IV Mezhdunarodnij simpozium po gruzinskomu iskusstvu [Offprint from the Fourth International Symposium on Georgian Art]<\/em> (Tbilisi, 1983).<\/p>\n

Tat\u2019jana Shevjakova, Monumental\u2019naja zhivopis\u2019 rannego srednevekov\u2019ja Gruzii [The Monumental Painting of the Early Medieval Georgia]<\/em> (Tbilisi, 1983), 9\u201311.<\/p>\n

Zaza Skhirtladze, Sabereeebis p\u2019reskuli ts\u2019arts\u2019erebi [Fresco Iscriptions of Sabereebi] [sak\u2019art\u2019velos istoriis ts\u2019q\u2019aroebi: 35 [Sources for History of Georgia: 35]<\/em> (Tbilisi, 1985), 37\u201355.<\/p>\n

Aneli Vol\u2019skaja, \u201cRospisi peshchernjkh monastyrej David Garedzhi\u201d [\u201cMurals of the David Gareji Cave Monasteries\u201d], in Konstantine P\u2019itskhelauri ed., Gareji [Kakhet\u2019is ark\u2019qeologiuri ek\u2019speditsiis shromebi: VIII [Kakheti Archeological Expedition Studies: VIII]<\/em> (Tbilisi, 1988), 134\u20135.<\/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<\/em> [Georgian Antiquities] 11 (2007): 47\u201350, 52\u20133.<\/p>\n\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":3413,"menu_order":0,"template":"","meta":[],"layer":[298],"period":[444],"acf":[],"_links":{"self":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/painting\/1251"}],"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\/3413"}],"wp:attachment":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/media?parent=1251"}],"wp:term":[{"taxonomy":"layer","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/layer?post=1251"},{"taxonomy":"period","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/period?post=1251"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}