{"id":1290,"date":"2020-12-04T08:42:41","date_gmt":"2020-12-04T08:42:41","guid":{"rendered":"http:\/\/arthistory.tsu.ge\/murals\/?post_type=painting&p=1290"},"modified":"2022-01-10T09:02:41","modified_gmt":"2022-01-10T09:02:41","slug":"gareji-monastery-of-st-dodo-murals-of-church-of-st-dodo","status":"publish","type":"painting","link":"https:\/\/arthistory.tsu.ge\/murals\/painting\/gareji-monastery-of-st-dodo-murals-of-church-of-st-dodo\/","title":{"rendered":"Gareja, Monastery of St. Dodo, Murals of the Burial Church of St. Dodo"},"content":{"rendered":"
\n\n\n\n\n\n\n\n\n
<\/td>\n<\/td>\n<\/tr>\n
Building:<\/strong><\/td>\nGareja, St. Dodo Monastery, Burial Church of St. Dodo<\/a><\/td>\n<\/tr>\n
Layer of the Murals:<\/strong><\/td>\nOne Layer<\/a><\/td>\n<\/tr>\n
Date\/Period:<\/strong><\/td>\n9th 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 chancel conch and the middle of the north wall of the north arm had been decorated with painting.<\/p>\n

 <\/p>\n

Chancel<\/h6>\n

In the conch of the chancel there is a composition of Christ in Majesty<\/em>: Christ (\u10a8<\/strong>(\u10a4\u10b1)<\/strong>\u10c3 <\/strong>|| <\/strong>\u10b5<\/strong>(\u10b0\u10a8\u10b1\u10b2)<\/strong>\u10c1<\/strong> \u2013 <\/strong>Jesus Christ<\/strong>) flanked by archangels Michael (\u10ab<\/strong>(\u10a8)\u10b5(\u10a0\u10a4)<\/strong>\u10aa <\/strong>\u2013 <\/strong>Michael<\/strong>) and Gabriel (\u10a2<\/strong>(\u10a0)<\/strong>\u10a1<\/strong>(<\/strong>\u10b0\u10a8\u10a4)<\/strong>\u10aa <\/strong>\u2013 <\/strong>Gabriel<\/strong>). Enthroned Christ is inscribed in an oval multi-layer mandorla; He is holding an open book in the left hand. In the middle of the 20th century trace of the inscription on the book was still discernable. The archangels are represented full-length holding a scepter and sphere (fragmentarily preserved). A tetramorph and a seraph are depicted between Christ and the archangels. Asomtavruli<\/em> (capital) inscriptions are identified between the seraphs and Christ (\u10bc(\u10ab\u10a8\u10a3\u10a0) (\u10a0)\u10b0\u10b1<\/strong> \u10bc(\u10ab\u10a8\u10a3\u10a0) (\u10a0)\u10b0\u10b1 <\/strong>|<\/strong> \u10bc(\u10ab\u10a8\u10a3\u10a0\u10a0)\u10b0\u10b1<\/strong> || <\/strong>\u10b3<\/strong>(\u10b4\u10a0\u10aa)<\/strong>\u10a8<\/strong> \u10b1\u10a0\u10a1<\/strong>(\u10a0\u10ad)[\u10a7]<\/strong> \u2013<\/strong> Holy, Holy, Holy The Lord All-Powerful<\/strong>; <\/strong>\u10bc(\u10ab\u10a8\u10a3\u10a0) (\u10a0)\u10b0\u10b1<\/strong> \u10bc(\u10ab\u10a8\u10a3\u10a0) (\u10a0)\u10b0\u10b1 <\/strong>| <\/strong>\u10bc(\u10ab\u10a8\u10a3\u10a0) (\u10a0)\u10b0\u10b1<\/strong> \u10b3<\/strong>(\u10b4\u10a0\u10aa)<\/strong>\u10a8 <\/strong>|<\/strong> \u10b1<\/strong>(<\/strong>\u10a0<\/strong>)<\/strong>\u10a1<\/strong>(\u10a0\u10ad)<\/strong>\u10a7<\/strong> \u2013<\/strong> Holy, holy. Holy. The Lord All-Powerful<\/strong> (Isaiah 6:3). The blessing right hand and a dove are descending from the semi-circular segment of the sky depicted on the keystone of the conch. Two medallions are placed on both sides of Christ\u2019s nimbus with a cross: the left side has a bust portrayal of female figure with a point of a crescent above her head; on the right is a bust portrayal of a youth sholding a lit torch \u2013 they are personifications of celestial bodies. An asomtavruli<\/em> inscription runs along the triumphal arch : \u10b1\u10a0\u10be\u10aa\u10b1\u10a0<\/strong> : <\/strong>\u10b8\u10a4\u10ac\u10b1\u10a0<\/strong> : <\/strong>\u10b8\u10b3\u10c3\u10a4\u10ac\u10a8\u10b1<\/strong>: <\/strong>\u10b1\u10a8\u10bc\u10ab\u10a8\u10a3\u10a4<\/strong> : <\/strong>\u10ad\u10c3<\/strong>[\u10b4\u10a0\u10aa\u10ad \u10b1\u10a8\u10a2\u10b0\u10bb\u10a4\u10b1\u10a0 \u10b8\u10a8\u10ac\u10a0 \u10a3\u10b6\u10a4\u10a7\u10a0\u10b1\u10a0] \u2013<\/strong> \u10e1\u10d0\u10ee\u10da\u10e1\u10d0 \u10e8\u10d4\u10dc\u10e1\u10d0 \u10e8\u10d5\u10d4\u10dc\u10d8\u10e1 \u10e1\u10d8\u10ec\u10db\u10d8\u10d3\u10d4 \u10e3[\u10e4\u10d0\u10da\u10dd \u10e1\u10d8\u10d2\u10e0\u10eb\u10d4\u10e1\u10d0 \u10e8\u10d8\u10dc\u10d0 \u10d3\u10e6\u10d4\u10d7\u10d0\u10e1\u10d0]<\/strong> (Ps. 92:3-5).<\/p>\n

 <\/p>\n

Aisle<\/h6>\n

The north arm<\/strong> had representations of holy riders: St. George (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> \u10a2(\u10a8\u10ad\u10b0\u10a2)\u10a8<\/strong> \u2013 Saint George<\/strong>) and St. Theodore (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> \u10a7(\u10a4\u10a5\u10a3\u10ad\u10b0)\u10a4<\/strong> \u2013 <\/strong>Saint Theodore<\/strong>). Presently the painting is completely destroyed. Only a colored sketch made by Eugene Lanceray in 1921 has survived.<\/p>\n

 <\/p>\n

Dating<\/h6>\n

There are different opinions about creating the painting of the church. Presence of the painted chancel screen of the late medieval period in the church made some scholars presume that the murals in the chancel were executed in a later period: Georgij Chubinashvili, Peshchernye monastyri David-Garedzhi [Csve Monasteries of David Gareji]<\/em> (Tbilisi, 1948), 101; Dmitrij Gordeev, \u201cMonastyri Garedzhi (1919)\u201d [\u201cGareja Monasteries (1919)\u201d], in Zaza Skhirtladze, \u201cGarejis mravalmt\u2019is samonastro gaert\u2019ianebis mokhatulobat\u2019a sametsniero kvlevis istoriidan\u201d [\u201cExcerpts on the History of Scientific Research on Gareja Murals\u201d], Gelat\u2019is metsnierebat\u2019a akademiis shromebi [Proceedings of Gelati Academy of Sciences]<\/em> V (2019): 375-7). According to iconographic and stylistic features of the painting, as well as the paleography of the explanatory fresco inscriptions, Shalva Amiranashvili dated the murals in the chancel by the seventh -eighth centuries, while the 14th<\/sup> century was suggested for the figure of the monk depicted on the north wall. The scholar did not specify the date of the holy riders depicted on the same wall (Shalva Amiranashvili, Istorija gruzinskoj srednevekovoj monumental\u2019noj zhivopisi [History of Medieval Georgian Monumental Painting]<\/em> I (Tbilisi, 1957), 31-3). The date of the frescos determined by Shalva Amiranashvili was shared by Krista Imm (Christa Ihm, Die Programme der christlichen Apsismalerei: vom 4. Jahrhundert bis zur Mitte des 8. Jahrhunderts<\/em> (Stuttgart, 1992)2<\/sup>, 43), whereas Victor Lazarev dated the frescos by the ninth century (Viktor Lazarev, Istorija vizantijskoj zhivopisi<\/em> (Moscow, 1986)2<\/sup>, 58-9). Tatiana Shevjakova considered the murals of the chancel to be contemporaneous with the cave complex of Sabereebi and presumed they had been created in the ninth century. Based on the manner of execution and the applied colors, the scholar considered the saints\u2019 figures represented on the north wall to be contemporaneous with the chancel composition (Tat\u2019jana Shevjakova, Monumental\u2019naja zhivopis\u2019 rannego srednevekov\u2019ja gruzii [Monumental Painting of the Early Medieval Georgia]<\/em> (Tbilisi, 1983), 16). Tinatin Virsaladze dated the chancel composition by the ninth century (Tinatin Virsaladze, \u201cOsnovnye etapy razvitija gruzinskoj srednevekovoj monumenta\u2019noj zhivopisi\u201d [\u201cMain Stages of Development of Medieval Georgian Monumental Painting\u201d], II Mezhdunarodnij simpozium po gruzinskomu iskusstvu [II International Symposium on Georgian Art]<\/em> (Tbilisi, 1977), 6; Reprinted in id., Izbrannye trudy [Collected Studies]<\/em> (Tbilisi, 2007), 12\u20133). Anel Volskaja dated the painting by the ninth century on the basis of its stylistic features and regarded the monument as the one different from the murals of Sabereebi complex and that related to metropolitan trend marked with Hellenistic motifs (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), 9; 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); Zaza Skhirtladze dates the painting by the ninth century Zaza Skhirtladze, \u2018Garejis ts\u2019. dodos monastris gumbat\u2019iani eklesiis mokhatulobis sistemisat\u2019vis\u201d [\u201cConcerning the System of Painting of the Domed Church in St. Dodo\u2019s Monastery in Gareja\u201d], Sak\u2019art\u2019velos metsnierebat\u2019a akademiis moambe [Bulletin of the Georgian Academy of Sciences]<\/em>144, \u21161 (1991): 109; Zaza Skhirtladze, Adreuli shua saukuneebis kart\u2019uli kedlis mkhatvroba. <\/em>T\u2019elovanis jvarpatiosani [Early Medieval Georgian Monumental Painting. Telovani Church of the Holy Cross]<\/em> (Tbilisi, 2008), 26-8).<\/p>\n

According to iconographic and stylistic features, as well as paleographic data of the fresco inscriptions, the painting of the chancel of the church where St. Dodo is rested can be dated to the ninth century \u2013 it is one of the earliest and remarkable examples of formation and adoption of painting traditions within the Gareja monastic space.<\/p>\n\n

\n

Bibliography<\/h4>\n

Dmitrij Gordeev, \u201cMonastyri Garedzhi (1919)\u201d [\u201cGareja Monasteries (1919)\u201d], in Zaza Skhirtladze, \u201cGarejis mravalmt\u2019is samonastro gaert\u2019ianebis mokhatulobat\u2019a sametsniero kvlevis istoriidan\u201d [\u201cExcerpts on the History of Scientific Research on Gareja Murals\u201d], Gelat\u2019is metsnierebat\u2019a akademiis shromebi [Proceedings of Gelati Academy of Sciences]<\/em> V (2019): 375\u20137.<\/p>\n

Georgij Chubinashvili, Peshchernye monastyri David-Garedzhi [Csve Monasteries of David Gareji]<\/em> (Tbilisi, 1948), 101.<\/p>\n

Shalva Amiranashvili, Istorija gruzinskoj srednevekovoj monumental\u2019noj zhivopisi [History of Medieval Georgian Monumental Painting]<\/em> I (Tbilisi, 1957), 31\u20135.<\/p>\n

Shalva Amiranashvili, K\u2019art\u2019uli khelovnebis istoria [History of Georgian Art]<\/em> (Tbilisi, 1971): 194\u20135.<\/p>\n

Tinatin Virsaladze, \u201cOsnovnye etapy razvitija gruzinskoj srednevekovoj monumenta\u2019noj zhivopisi\u201d [\u201cMain Stages of Development of Medieval Georgian Monumental Painting\u201d], II Mezhdunarodnij simpozium po gruzinskomu iskusstvu [II International Symposium on Georgian Art]<\/em> (Tbilisi, 1977), 6; Reprinted in id., Izbrannye trudy [Collected Studies]<\/em> (Tbilisi, 2007), 12\u20133.<\/p>\n

Jacqueline Lafobntaine-Dosogne, \u201cRecherches sur les programmes decoratifs des \u00e9glises m\u00e9di\u00e9vales en G\u00e9orgie en relation avec la peinture monumentale byzantine\u201d, IIe Symposium International sur l\u2019art G\u00e9orgien <\/em>(Tbilisi, 1977), 2\u20133.<\/p>\n

Tat\u2019jana Shevjakova, Monumental\u2019naja zhivopis\u2019 rannego srednevekov\u2019ja gruzii [Monumental Painting of the Early Medieval Georgia]<\/em> (Tbilisi, 1983), 14\u20136.<\/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), 9.<\/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

Viktor Lazarev, Istorija vizantijskoj zhivopisi<\/em> (Moscow, 1986)2<\/sup>, 58\u20139.<\/p>\n

Aneli Volskaia, Merab Buchukuri, \u201cMetsnierebuli asli-rekonstruk\u2019tsia da misi roli shua saukuneebis kedlis mkhatvrobis shests\u2019avlashi (davit\u2019 garejis dodos rk\u2019is monastris IX s. mkhatvrobis magalit\u2019ze\u201d [\u201cScientific Copy-Reconstruction and its Role For the Study of Medieval Painting (On the Example of (9th-Century Painting in the Dodork\u2019a Monastery of Davit\u2019 Gareja\u201d], spek\u2019tri <\/em>2 (1999): 53\u201363.<\/p>\n

Zaza Skhirtladze, \u2018Garejis ts\u2019. dodos monastris gumbat\u2019iani eklesiis mokhatulobis sistemisat\u2019vis\u201d [\u201cConcerning the System of Painting of the Domed Church in St. Dodo\u2019s Monastery in Gareja\u201d], Sak\u2019art\u2019velos metsnierebat\u2019a akademiis moambe [Bulletin of the Georgian Academy of Sciences]<\/em>144, \u21161 (1991): 109\u201312.<\/p>\n

Christa Ihm, Die Programme der christlichen Apsismalerei: vom 4. Jahrhundert bis zur Mitte des 8. Jahrhunderts<\/em> (Stuttgart, 1992)2<\/sup>, 43.<\/p>\n

Merab Buchukuri, \u201cGarejis p\u2019reskebis restavratsia: shedegebi da perspek\u2019tivebi\u201d [\u201cRestoration of Gareja Murals: Results and Prospects\u201d],\u201c, in Zaza Shirtladze ed., Desert Monasticism. Gareja and the Christian East [Proceedings of the Gareja Studies Centre: II]<\/em> (Tbilisi, 2001), 256\u20139.<\/p>\n

Zaza Skhirtladze, Adreuli shua saukuneebis kart\u2019uli kedlis mkhatvroba. T\u2019elovanis jvarpatiosani [Early Medieval Georgian Monumental Painting. Telovani Church of the Holy Cross]<\/em> (Tbilisi, 2008), 26\u20138.<\/p>\n

Nino Chikhladze, Dzveli sak\u2019art\u2019velos monumenturi p\u2019erts\u2019era da misi moamageni [Old Georgian Monumental Painting and its Guardians]<\/em> (Tbilisi, 2017), ill. 12\u20135.<\/p>\n\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":3408,"menu_order":0,"template":"","meta":[],"layer":[298],"period":[444],"acf":[],"_links":{"self":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/painting\/1290"}],"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\/3408"}],"wp:attachment":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/media?parent=1290"}],"wp:term":[{"taxonomy":"layer","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/layer?post=1290"},{"taxonomy":"period","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/period?post=1290"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}