{"id":1274,"date":"2020-12-10T18:50:01","date_gmt":"2020-12-10T18:50:01","guid":{"rendered":"http:\/\/arthistory.tsu.ge\/murals\/?post_type=painting&p=1274"},"modified":"2021-12-29T06:32:21","modified_gmt":"2021-12-29T06:32:21","slug":"gareji-monastery-of-the-martyr-murals-of-small-church","status":"publish","type":"painting","link":"https:\/\/arthistory.tsu.ge\/murals\/painting\/gareji-monastery-of-the-martyr-murals-of-small-church\/","title":{"rendered":"Gareja, Tsamebuli Monastery, Murals of the Small Chapel"},"content":{"rendered":"
\n\n\n\n\n\n\n\n\n
<\/td>\n<\/td>\n<\/tr>\n
Building:<\/strong><\/td>\nGareja, Tsamebuli Monastery, Small Chapel<\/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

Only the conch of the chancel apse was decorated with paintings in a small single-nave church on the eastern massif of Tsamebuli monastery; presently, the church is filled with earth up to the haunch of the conch.<\/p>\n

 <\/p>\n

Chancel<\/h6>\n

The Deesis<\/em> is depicted as a conch composition. The center of the composition features the Savior seated on a throne with a back and a pedestal, set with gems (the explanatory inscription cannot be read any more). His right hand is raised to the chest in blessing, and an open codex with an asomtavruli<\/em> inscription (John 8:12) is propped on His knee with His left hand.<\/p>\n

Christ is flanked by the Virgin (on the left) and St. John the Forerunner (on the right) in supplication. A seraph is inserted between the three figures.<\/p>\n

The Virgin (\u10a3(\u10a4)\u10a3(\u10a0)\u10c2<\/strong> | <\/strong>\u10b6(\u10ab\u10b0\u10a7\u10a8\u10b1\u10a0)\u10c2<\/strong> \u2013 Mother of God<\/strong>) has an unrolled scroll in her hand. The scroll features an asomtavruli<\/em> inscription whose beginning and end are missing: ([-] <\/strong>\u10b9\u10a4\u10ab\u10ad<\/strong> | <\/strong>\u10b1\u10ad\u10b4<\/strong>|<\/strong>\u10aa\u10a8\u10b1\u10a0<\/strong>|<\/strong>\u10a7\u10b3\u10c3\u10a8\u10b1<\/strong> | <\/strong>\u10a2\u10a4\u10a5\u10a4<\/strong>|[-] <\/strong>\u2013 [-] I pray to you for the world<\/strong>. <\/strong>It is a dialogic epigram known by the name the Virgin\u2019s \u2018prayer of thanksgiving\u2019 and is the earliest example of application of this text in medieval Georgia.<\/p>\n

St. John the Baptist (<\/strong>\u10bc(\u10ab\u10a8\u10a3\u10a0)\u10c2<\/strong> \u10c2\u10ad<\/strong>|<\/strong>\u10a5\u10a0\u10ac\u10a4\u10ac<\/strong>|<\/strong>\u10a0\u10a7\u10aa\u10a8\u10b1<\/strong>|<\/strong>\u10ab\u10ba\u10a4\u10ab\u10a4\u10aa\u10a8<\/strong> :.<\/strong> \u2013 Saint John the Baptist<\/strong>) is holding an unrolled scroll with a fifteen-line asomtavruli<\/em> inscription (Mathew 3:3; Mark 1:3; Luke 3:4); the middle part of the text is missing.<\/p>\n

A figure of a living creature is depicted between the figures of the Savior, the Virgin and St. John the Forerunner; on the left \u2013 a seraph (the inscription is lost); on the right \u2013a cherub (\u10b5<\/strong>|<\/strong>\u10a4<\/strong>|<\/strong>\u10b0<\/strong>|<\/strong>\u10a0<\/strong>|<\/strong>\u10a1\u10a8<\/strong>|<\/strong>\u10ac\u10a8 <\/strong>\u2013 Cherub<\/strong>).<\/p>\n

The conch composition is framed by ornamental bands with patterns of floral motifs.<\/p>\n\n

\n

Bibliography<\/h4>\n

Georgij Chubinashvili, Peshchernye monastyri David-Garedzhi [Cave Monasteries of David Gareji]<\/em> (Tbilisi, 1948), 46\u20137.<\/p>\n

Givi Gap\u2019rindashvili, \u201c1089 ts\u2019lis ts\u2019arts\u2019era mits\u2019idzvris shesakheb garejis ts\u2019amebulis udabnos \u2018kharitonis k\u2019uabidan\u2019\u201d [\u201c1089 Earthquake Inscription from the \u201cKhariton Cave\u201d in the Tsamebuli Monastery of Gareja\u201d], Sak\u2019art\u2019velos metsnierebat\u2019a akademiis mats\u2019ne: istoriis, ark\u2019eologiis, etnograf\u2019iisa da khelovnebis istoriis seria [Proceedings of the Georgian Academy of Sciences: Series of History, Archeology, Ethnography, and Art History]<\/em> 2 (1976): 177\u201386.<\/p>\n

Aneli Vol\u2019skaja, \u201cRannie rospisi Garedzhi\u201d [\u201cEarly Paintings of Gareja\u201d], IV Mezhdunarodnij simpozium po gruzinskomu iskusstvu [IV International Symposium on Georgian Art]<\/em> (Tbilisi, 1983), 5.<\/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), 138\u20139.<\/p>\n

\u201cGarejis mravalmt\u2019is monastrebi. Dasavlet\u2019i masivis gamok\u2019vabuli monastrebis ark\u2019itek\u2019turis, kedlis mkhatvrobisa da epigrp\u2019ikis sruli p\u2019oto da grap\u2019ikuli p\u2019ik\u2019sats\u2019ia\u201d [\u201cMonasteries of the Gareja Desert. Photo and Graphic Survey of the Western Massive Cave Monasteries”], in Nikoloz Vacheishvili ed., Erovnuli kulturuli memkvidreobis programa \u2013 1997 [National Cultural Heritage Programme \u2013 1997]<\/em> (Tbilisi, 1997), 40\u20131, pl. 46\u20137, xxxvi\u2013xxxvii (with annotations).<\/p>\n

Aneli Vol\u2019skaja, Dimitri T\u2019umanishvili, Marine Bulia, T\u2019eimuraz Jojua, Davitgarejis monastrebi: Nat\u2019lismtsemeli, Bert\u2019ubani<\/em> (Tbilisi, 2011), 64\u20135.<\/p>\n\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":3426,"menu_order":0,"template":"","meta":[],"layer":[298],"period":[446],"acf":[],"_links":{"self":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/painting\/1274"}],"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\/3426"}],"wp:attachment":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/media?parent=1274"}],"wp:term":[{"taxonomy":"layer","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/layer?post=1274"},{"taxonomy":"period","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/period?post=1274"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}