{"id":1311,"date":"2020-12-04T15:56:42","date_gmt":"2020-12-04T15:56:42","guid":{"rendered":"http:\/\/arthistory.tsu.ge\/murals\/?post_type=painting&p=1311"},"modified":"2022-01-10T09:06:59","modified_gmt":"2022-01-10T09:06:59","slug":"gareji-monastery-of-st-john-the-baptist-murals-of-small-church","status":"publish","type":"painting","link":"https:\/\/arthistory.tsu.ge\/murals\/painting\/gareji-monastery-of-st-john-the-baptist-murals-of-small-church\/","title":{"rendered":"Gareja, Monastery of St. John the Baptist, Murals of Small Church"},"content":{"rendered":"
\n\n\n\n\n\n\n\n\n
<\/td>\n<\/td>\n<\/tr>\n
Building:<\/strong><\/td>\nGareja, Monastery of St. John the Baptist, Small church<\/a><\/td>\n<\/tr>\n
Layer of the Murals:<\/strong><\/td>\nOne Layer<\/a><\/td>\n<\/tr>\n
Date\/Period:<\/strong><\/td>\nEnd of 10th century<\/td>\n<\/tr>\n
Donor(s):<\/strong><\/td>\nFather Superior Ioane <\/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

A vast inscription of a historical person on the right section of the composition of the Presentation<\/em> on the north wall was almost completely destroyed in the 1980s: […]\u02dc\u10b0|[…]\u10b5 \u02dc\u10ab|[…]\u02dc\u10ad\u10ac | \u10ab\u10a4\u10ad[-] | \u10a4\u10b5\u10ab\u10a4\u10ac | \u10c2\u10ad\u10a5\u10a0|\u10ac\u10a4 \u10ab<\/strong>[<\/strong>\u10a0<\/strong>]<\/strong>\u10ab\u10a0|\u10b1\u10a0\u10be\u10aa\u10a8|\u10b1\u10b1\u10a0 \u10a3\u10b6[…]<\/strong> (Zaza Skhirtladze, \u201cIoane mamasakhlisis saktitoro moghvatseoba garejis mtavalmt\u2019is nat\u2019limstsemlis monastershi\u201d [\u201cThe Donor Activity of Father Superior Ioane at Natlismtsemeli Monastery in the Gareja Desert\u201d], in Zaza Shirtladze ed., Desert Monasticism. Gareja and the Christian East [Proceedings of the Gareja Studies Centre: II]<\/em> (Tbilisi, 2001), 146-7). The text had been preserved almost intact in 1913 and 1921; it was fully read by Ek\u2019vt\u2019ime T\u2019aq\u2019aishvili and Sargis Kakabadze; according to the copies made by them the text can be restored in the following way: The Presentation of Jesus Christ. Simeon, the God-receiver, intercede for Ioane, the governor on the Judgment Day.<\/strong><\/p>\n

 <\/p>\n

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

Description<\/h4>\n

Trace of plastering has survived on different sections of the interior; fragments of the painting can be observed in the chancel and the north wall of the hall.<\/p>\n

 <\/p>\n

Chancel<\/h6>\n

Only the central niche was painted in the chancel; the extant fragments allow us to presume that an image of the cross was represented in the niche.<\/p>\n

 <\/p>\n

Aisle<\/h6>\n

In the hall the painting on the north wall<\/strong> has survived relatively better. A three-figure composition of the Presentation<\/em> is depicted under the eastern half of the suspended arch. A multi-line donor inscription was laid out on the right part of the composition (see above).<\/p>\n

Like the pictorial icon, the three-figure composition depicted below the foot of the hanging arch is contained in a square framing. Only small fragments have survived, but it is still possible to identify a rather large frontal image in the center of the composition, as well as single figures flanking it and facing the central figure. The iconographic scheme of the composition demonstrates that a scene of the Raising of St. Conon by St. Simeon the Stylite<\/em> must be represented on the mural: St. Simeon the Stylite in the center, flanked by St. Martha, the saint\u2019s mother, and St. Conon \u2013 the closest disciple of the saint. Explanatory inscriptions \u2013 vertically \u10b1|\u10a7|\u10ab|[-]|\u10ab|\u10a7|[-]|[-], <\/strong>and horizontally \u10ab\u10a8<\/strong> are made in the upper left-hand corner of the composition.<\/p>\n

The scene of the Raising of St. Conon by St. Simeon the Stylite <\/em>was re-painted later, in the 12th<\/sup> -13th<\/sup> cc., and an inscription was added to the previous explanatory one. It reads ([…]|\u10a0 \u10ab\u10ad\u10be\u10b3\u10ba\u10a4|\u10a1\u10b3|\u10aa|[…]<\/strong> \u2013 [\u2026] elderly [\u2026]).<\/strong><\/p>\n\n

\n

Bibliography<\/h4>\n

Zaza Skhirtladze, \u201cIoane mamasakhlisis saktitoro moghvatseoba garejis mtavalmt\u2019is nat\u2019limstsemlis monastershi\u201d [\u201cThe Donor Activity of Father Superior Ioane at Natlismtsemeli Monastery in the Gareja Desert\u201d], 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\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":3470,"menu_order":0,"template":"","meta":[],"layer":[298],"period":[446],"acf":[],"_links":{"self":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/painting\/1311"}],"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\/3470"}],"wp:attachment":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/media?parent=1311"}],"wp:term":[{"taxonomy":"layer","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/layer?post=1311"},{"taxonomy":"period","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/period?post=1311"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}