{"id":1402,"date":"2020-12-10T14:13:41","date_gmt":"2020-12-10T14:13:41","guid":{"rendered":"http:\/\/arthistory.tsu.ge\/murals\/?post_type=painting&p=1402"},"modified":"2021-12-20T08:41:18","modified_gmt":"2021-12-20T08:41:18","slug":"parkhali-murals-of-the-basilica","status":"publish","type":"painting","link":"https:\/\/arthistory.tsu.ge\/murals\/painting\/parkhali-murals-of-the-basilica\/","title":{"rendered":"Parkhali Monastery, Murals of the Church of St. John the Baptist"},"content":{"rendered":"
\n\n\n\n\n\n\n\n\n
<\/td>\n<\/td>\n<\/tr>\n
Building:<\/strong><\/td>\nParkhali Monastery, Church of St. John the Baptist<\/a><\/td>\n<\/tr>\n
Layer of the Murals:<\/strong><\/td>\nOne Layer<\/a><\/td>\n<\/tr>\n
Date\/Period:<\/strong><\/td>\n980s<\/td>\n<\/tr>\n
Donor(s):<\/strong><\/td>\nDavid Kuropalates and Ioane, Father Superior of Parkhali Monastery<\/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

The fresco inscription was placed on the south wall of the apse; it ran in two lines along this section of the wall.<\/p>\n

 <\/p>\n

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

\u10b5. \u10b8(\u10a4)\u10bc(\u10a4)\u10a5\u10ac(\u10a8\u10a7)\u10a0 \u10b6(\u10ab\u10b0\u10a7\u10a8\u10b1\u10a0)\u10c2\u10a7\u10a0 \u10ab\u10a4 \u10a2\u10aa(\u10a0)\u10be(\u10a0)\u10a9\u10ab(\u10a0)\u10ac \u10a8(\u10ad)\u10a5(\u10a0)\u10ac\u10c1 \u10ab(\u10a0)\u10ab(\u10a0)\u10ab(\u10a0)\u10ac \u10a2(\u10a0)\u10ac\u10a5(\u10a0)\u10b1[-]<\/strong> | <\/strong>\u10bc(\u10ab\u10a8\u10a3\u10a0)\u10ac\u10ad \u10b6(\u10ab\u10b0)\u10a7\u10a8\u10b1(\u10a0)\u10ac\u10ad \u10b1(\u10a8)\u10b7(\u10b3\u10a0)\u10b0(\u10b3)\u10aa\u10a8\u10b1(\u10a0)\u10a7\u10c3\u10b1 \u10b6(\u10ab\u10b0)\u10a7\u10a8\u10b1\u10a0 \u10ab(\u10ad\u10ab\u10a8)\u10c4\u10b1(\u10a4)\u10ac[-] <\/strong>\u2013 <\/strong>\u10e5<\/strong>. <\/strong>\u10e8<\/strong>(<\/strong>\u10d4<\/strong>)<\/strong>\u10ec<\/strong>(<\/strong>\u10d4<\/strong>)<\/strong>\u10d5\u10dc<\/strong>(<\/strong>\u10d8\u10d7<\/strong>)<\/strong>\u10d0<\/strong> \u10e6<\/strong>(<\/strong>\u10db\u10e0\u10d7\u10d8\u10e1\u10d0<\/strong>)<\/strong>\u10f2\u10d7\u10d0<\/strong> \u10db\u10d4,<\/strong> \u10d2\u10da<\/strong>(<\/strong>\u10d0<\/strong>)<\/strong>\u10ee<\/strong>(<\/strong>\u10d0<\/strong>)<\/strong>\u10d9\u10db<\/strong>(<\/strong>\u10d0<\/strong>)<\/strong>\u10dc<\/strong> \u10d8<\/strong>(<\/strong>\u10dd<\/strong>)<\/strong>\u10d5<\/strong>(<\/strong>\u10d0<\/strong>)<\/strong>\u10dc\u10f1<\/strong> \u10db<\/strong>(<\/strong>\u10d0<\/strong>)<\/strong>\u10db<\/strong>(<\/strong>\u10d0<\/strong>)<\/strong>\u10db<\/strong>(<\/strong>\u10d0<\/strong>)<\/strong>\u10dc,<\/strong> \u10d2<\/strong>(<\/strong>\u10d0<\/strong>)<\/strong>\u10dc\u10d5<\/strong>(<\/strong>\u10d0<\/strong>)<\/strong>\u10e1<\/strong>[-] <\/strong>\u10ec<\/strong>(<\/strong>\u10db\u10d8\u10d3\u10d0<\/strong>)<\/strong>\u10dc\u10dd<\/strong> \u10e6<\/strong>(<\/strong>\u10db\u10e0<\/strong>)<\/strong>\u10d7\u10d8\u10e1<\/strong>(<\/strong>\u10d0<\/strong>)<\/strong>\u10dc\u10dd<\/strong> \u10e1<\/strong>(<\/strong>\u10d8<\/strong>)<\/strong>\u10e7<\/strong>(<\/strong>\u10e3\u10d0<\/strong>)<\/strong>\u10e0<\/strong>(<\/strong>\u10e3<\/strong>)<\/strong>\u10da\u10d8\u10e1<\/strong>(<\/strong>\u10d0<\/strong>)<\/strong>\u10d7\u10f3\u10e1<\/strong> \u10e6<\/strong>(<\/strong>\u10db\u10e0<\/strong>)<\/strong>\u10d7\u10d8\u10e1\u10d0<\/strong> \u10db<\/strong>(<\/strong>\u10dd\u10db\u10d8<\/strong>)<\/strong>\u10f4\u10e1<\/strong>(<\/strong>\u10d4<\/strong>)<\/strong>\u10dc<\/strong>[-]<\/strong> (Ek\u2019vt\u2019ime Taq\u2019aishvili, \u201c1917 ts\u2019lis ark\u2019eologiuri ek\u2019speditsia samkhtret\u2019 sak\u2019art\u2019veloshi\u201d [1917 Archeological Expeditionin in Southern Georgia], in Id., tkhzulebani [Collected Studies]<\/em> 1 (Tbilisi, 2018), 410, pl. 1443<\/sub>).<\/p>\n

 <\/p>\n

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

Description<\/h4>\n

Only the chancel and, sometime later, the niche of the pier were painted in Parkhali basilica.<\/p>\n

 <\/p>\n

Chancel<\/h6>\n

The painting in the chancel of Parkhali basilica comprised five registres.<\/p>\n

The inner face of the triumphal arch of the conch represented ascension of the Savior by angels (Christ\u2019s figure was surrounded by the medallion). This composition was flanked on both sides by the half-figures Christ\u2019s ancestors encircled in medallions. Christ in Majesty<\/em> was depicted in the conch: the center of the conch was reserved for the image of the Savior in the mandorla, seated on a sumptuous, ornamented throne with a pedestal, while the rest of the areas were filled by numerous figures of hosts of angels.<\/p>\n

The second registre of the chancel painting was separated from the conch composition by a broad ornamental frieze composed of rosettes. The second registre was occupied by a row of apostles in the middle of which the Virgin Orans and St. John the Baptist were depicted.<\/p>\n

The third registre of the painting was separated from the row of apostles by a narrow line and it was dedicated to the images of prophets.<\/p>\n

The fourth registre of the chancel painting was separated from the row of prophets by a wide ornamental frieze. This registre featured (left to right): the Annunciation, Meeting of the Mary with Elizabeth, the Nativity, the Presentation in the Temple, the Baptism, the Transfiguration, the Raising of Lazarus, the Entry into Jerusalem<\/em> (?). The lintel of the only wide window of the chancel was occupied by an image of personification of the Holy Zion contained in a medallion, while its jambs had a depiction of Melchizedek before the chancel (north jamb) and that of Moses receiving the Tablets of the Law (south jamb).<\/p>\n

The fifth registre of the painting was isolated from the fourth by an ornamental frieze comprising rosettes. This registre, too, should have had a range of the scenes of Twelve Great Feasts: in the northern half \u2013 five scenes from Christ\u2019s passions (left to right: the Last Supper, the Carrying of the Cross, the Crucifixion, the Deposition from the Cross, the Entombment<\/em>); on the south wall \u2013 five scenes from the cycle of resurrection. The fifth registre of the painting was bordered by a wide ornamental frieze composed of floral motifs. Rich and diverse ornamental decoration embellished chancel profiles. Some sections of the chancel must have been painted too.<\/p>\n

 <\/p>\n

Dating<\/h6>\n

Paintings of the church have not been studied monographically; the fact that in the 20th century the chancel painting was covered with a thick coat of paint makes the discussion about the frescos complicated. In recent years, after removing this layer, it became clear that hardly anything had survived from the painting; therefore, several photo negatives of the South Georgian expedition of 1917 headed by Ek\u2019vt\u2019ime Taq\u2019aishvili remain the primary figural source for the study (among them one of the most important is the photo of a fresco inscription of Father Superior Ioane of Parkhali); the same is true for diversely remarkable photo negatives of Nikolai Okunev\u2019s expedition of the same year of 1917; they make it possible to reconstruct the pictorial programme and specify the essence of certain figures or scenes.<\/p>\n

No different opinions have been expressed about dating of the paintings of the church, which was, first of all, conditioned by its being covered with later paint and the fact that Okunev\u2019s negatives had not been published until recently.<\/p>\n

It is important to consider the colophon of the Parkhali Gospel while dating the painting; according to this colophon, by 973, construction of Parkhali church is likely to have been finished. Nothing seems unusual in the fact that, shortly after this date, the chancel of the basilica was embellished with paintings (Zaza Skhirtladze, Otkht\u2019a eklesiis p\u2019reskebi [The Frescoes of Ot\u2019kht\u2019a Eklesia]<\/em> (Tbilisi, 2009), 212-3). In this case the most important factor to be taken into consideration is reference of the paintings of Parkhali basilica to the frescos of Otkhta Eklesia, which are presumed to be executed in the early 980s. Otkhta Eklesia was one of the projects of King Davit\u2019 Kuropalates<\/em> according to which construction of Parkhali basilica is presumed; apart from similarities in architecture, there is striking resemblance between the paintings of these two churches which is reflected both in the rendering of the scheme and the artistic style. Chronological interrelationship of these two paintings is the matter of future investigation.<\/p>\n\n

\n

Bibliography<\/h4>\n

T\u2019inat\u2019in Virsaladze, \u201cX\u2013XI saukuneebis zogiert\u2019I tao-klarjuli mokhatuloba\u201d, in id., K\u2019art\u2019uli mkhatvrobis istoriidan [From the History of Georgian Painting] <\/em>(Tbilisi, 2007), 27\u20138.<\/p>\n

Zaza Skhirtladze, Otkht\u2019a eklesiis p\u2019reskebi [The Frescoes of Ot\u2019kht\u2019a Eklesia]<\/em> (Tbilisi, 2009), 212\u20133.<\/p>\n

Mariam Didebulidze, \u201cShua saukuneebis k\u2019art\u2019uli kedlis mkhatvrobis dzeglebi tao-klarjet\u2019shi\u201d [\u201cThe Monuments of the Georgian Medieval Wall Painting in the North-East Turkey\u201d], Sak\u2019art\u2019velos sidzveleni [Georgian Antiquities]<\/em> 19 (2016): 41\u20132.<\/p>\n

Anna Zakharova, Svetlana Mal\u2019tseva, \u201cThe Materials of Nikolai Okunev\u2019s Expedition of 1917 on the Wall Paintings of Parkhali\u201d, in Actual Problems of Theory and History of Art<\/em> 7 (2017), 679\u201388, 788\u201390.<\/p>\n

Ek\u2019vt\u2019ime Taq\u2019aishvili, \u201c1917 ts\u2019lis ark\u2019eologiuri ek\u2019speditsia samkhtret\u2019 sak\u2019art\u2019veloshi\u201d [1917 Archeological Expeditionin in Southern Georgia], in Id., tkhzulebani [Collected Studies]<\/em> 1 (Tbilisi, 2018), 410, pl. 144.<\/p>\n

Anna Zakharova, Svetlana Mal\u2019tceva, \u201cNovye dannye o rospisjakh X\u2013XI vv. v Tao-Klardzheti po materialam ehskspeditcii N.L. Okuneva 1917 g.\u201d [\u201cNew Materials on the 10th\u201311th Century Tao-Klardjeti Wall Paintings from N. Okunev\u2019s Expedition of 1917\u201d], vizantijskij vremennik <\/em>102 (2018): 288\u2013317. \u10d3\u10d0\u10e1\u10d0\u10db\u10d0\u10e2\u10d4\u10d1\u10d4\u10da\u10d8\u10d0 \u10e1\u10d0\u10d8\u10e2\u10d8\u10e1 \u10e5\u10d0\u10e0\u10d7\u10e3\u10da\u10d8 \u10d5\u10d4\u10e0\u10e1\u10d8\u10d8\u10e1 \u10d1\u10d8\u10d1\u10da\u10d8\u10dd\u10d2\u10e0\u10d0\u10e4\u10d8\u10d0\u10e8\u10d8<\/p>\n\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":5,"featured_media":3448,"menu_order":0,"template":"","meta":[],"layer":[298],"period":[446],"acf":[],"_links":{"self":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/painting\/1402"}],"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\/5"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/media\/3448"}],"wp:attachment":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/media?parent=1402"}],"wp:term":[{"taxonomy":"layer","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/layer?post=1402"},{"taxonomy":"period","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/period?post=1402"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}