{"id":1693,"date":"2020-12-13T18:35:40","date_gmt":"2020-12-13T18:35:40","guid":{"rendered":"http:\/\/arthistory.tsu.ge\/murals\/?post_type=painting&p=1693"},"modified":"2022-01-10T08:46:06","modified_gmt":"2022-01-10T08:46:06","slug":"gareji-udabno-monastery-murals-of-refectory-first-layer","status":"publish","type":"painting","link":"https:\/\/arthistory.tsu.ge\/murals\/painting\/gareji-udabno-monastery-murals-of-refectory-first-layer\/","title":{"rendered":"Gareja, Udabno Monastery, Murals of Refectory. First Layer"},"content":{"rendered":"
\n\n\n\n\n\n\n\n\n
<\/td>\n<\/td>\n<\/tr>\n
Building:<\/strong><\/td>\nGareja, Udabno Monastery, Refectory<\/a><\/td>\n<\/tr>\n
Layer of the Murals:<\/strong><\/td>\nFirst Layer<\/a><\/td>\n<\/tr>\n
Date\/Period:<\/strong><\/td>\nSecond half of the 11th 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
of the Painter(s)<\/h6>\n\n
\n

Description<\/h4>\n

Paintings adorn only certain sections of the walls of the refectory; the ceiling is left unpainted too. Frescos are laid out in a single register placed quite high. The iconographic scheme of painting is distinguished by its laconic character. The scenes of the Old and New Testaments that are directly connected to the refectory and eucharist had been specially selected for its iconographic programme.<\/p>\n

 <\/p>\n

The Eastern Wall<\/h6>\n

The chancel is carved out in the southern part of the east wall of the interior of the refectory; the apse has a three-figure representation of the Deesis<\/em>: The Virgin (\u10a3(\u10a4)\u10a3(\u10a0\u10c2)<\/strong>: |<\/strong>\u10b6<\/strong>(\u10ab\u10b0)<\/strong>\u10a7<\/strong>(<\/strong>\u10a8<\/strong>)<\/strong>\u10b1<\/strong>|<\/strong>\u10c2 <\/strong>\u2013 Mother of God<\/strong>) and St. John the Baptist (the inscription is lost) flank the Savior seated on a sumptuous throne with back and pedestal in supplication (the explanatory inscription is lost: the inscription on the open codex of the Savior is unreadable). This composition seems to have been fully renovated at least once.<\/p>\n

Composition of the Last Supper<\/em> is depicted on the northern half of the east wall (the inscription is lost); the left part of the scene shows enthroned Christ. The center of the scene is occupied by a rather big-size table full of food and the apostles sitting at it<\/p>\n

 <\/p>\n

The Northern Wall<\/h6>\n

The arched niche of the father superior is cut into the central section of the north wall; paintings of the niche were renovated later. A three-figure composition of Deesis bordered by the imitation of marble at the bottom and represented above the opening arranged in the north wall of the niche belongs to the first layer. Composition of the Annunciation<\/em>, depicted above the niche, as well as the full-length figure of St. Davit\u2019 Garejeli in Orans, depicted left of the niche, must be contemporaneous with that of the Deesis<\/em>. Fragments of the murals that are best visible – the Mandylion<\/em> glorified by angels on the head of the niche, the smaller-scale Deesis<\/em> in the niche, archangels and the cross encircled in a medallion depicted in the center of the niche arch and archangels on the sides of the niche \u2013 belong to a later period, presumably the early 13th century.<\/p>\n

The Hospitality of Abraham <\/em>(the inscription is damaged) is depicted in the arch cut into the eastern part of the north wall of the refectory. The center of the composition shows a clothed table with food and three angels sitting at it. On their left is Abraham (\u10a0\u10a1\u10b0<\/strong>(<\/strong>\u10a0<\/strong>)<\/strong>\u10c0<\/strong>(<\/strong>\u10a0<\/strong>)<\/strong>\u10ab <\/strong>\u2013<\/strong> Abraham<\/strong>; the inscription was renovated later), on their right \u2013 Ismail (the inscription is lost). Intradoses of the arch are painted too: on the east \u2013 a domed ciborium with a veil; there is a pitcher in its door and a city with domed structures on the west.<\/p>\n

Stylites are depicted on the southern walls of the columns of arched doors leading into the refectory: St. Simeon of Aleppo (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0)<\/strong>\u10c2<\/strong> || <\/strong>\u10b1\u10c3\u10a8\u10ab\u10a8\u10ad\u10ac<\/strong> : <\/strong>\u10a0\u10aa<\/strong>(<\/strong>\u10a4<\/strong>)<\/strong>\u10a1\u10a4\u10aa\u10a8 <\/strong>\u2013<\/strong> Saint Simeon of Aleppo)<\/strong> and St. Simeon the Miracle-Worker (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0<\/strong>)<\/strong>\u10c2<\/strong> || <\/strong>\u10b1\u10c3\u10a8\u10ab\u10a8\u10ad\u10ac<\/strong> : <\/strong>\u10b1\u10a0\u10a9\u10c3\u10a8\u10b0\u10a5<\/strong>(<\/strong>\u10a4<\/strong>)<\/strong>|<\/strong>\u10aa\u10a7\u10ab\u10ad\u10b5\u10ab\u10a4\u10a3\u10a8<\/strong>: \u2013<\/strong> Saint Simeon the Miracle-Worker<\/strong>); on the intrados of the middle arch \u2013 St. Euthymius the Great (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0<\/strong>)<\/strong>\u10c2<\/strong> || <\/strong>\u10a4\u10b4\u10a7\u10c3\u10c2\u10ab<\/strong>|<\/strong>\u10a4 <\/strong>\u2013<\/strong> Saint <\/strong>Euthymius the Great<\/strong>) and St. Davit\u2019 Garejeli (\u10bc<\/strong>(\u10ab\u10a8\u10a3\u10a0<\/strong>)<\/strong>\u10c2<\/strong> || <\/strong>\u10a3\u10a0\u10a5\u10a8\u10a7 <\/strong>\u2013 Saint David<\/strong>).<\/p>\n

 <\/p>\n

Dating<\/h6>\n

The main layer of the paintings of the refectory of Udabno monastery is dated in two ways \u2013 by the turn of the 10th-11th centuries (Aneli Vol\u2019skaja, Rospisi srednevekovykh trapeznykh Gruzii [Murals of Medieval Georgian Refectories]<\/em> (Tbilisi, 1974), 3-76, 79-87) and mid-11th century (\u0410ntony Eastmond, Zaza Skhirtladze, \u201cUdabno Monastery in Georgia: Innovation, Conservation and the Reinterpretation of Medieval Art\u201c, Iconographica<\/em> VII (2008), 35-7) \u2013 simultaneously with the murals of the main church of Udabno Monastery.<\/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 of Gareja Murals\u201d], Gelat\u2019is metsnierebat\u2019a akademiis shromebi [Proceedings of Gelati Academy of Sciences]<\/em> V (2019): 400\u20131.<\/p>\n

Georgij Chubinashvili, Peshchernye monastyri David-Garedzhi, [Cave Monasteries of David Garedji]<\/em> (Tbilisi, 1948), 75\u20138.<\/p>\n

Shalva Amiranashvili, Istorija gruzinskoj srednevekovoj monumental\u2019noj zhivopisi [History of Medieval Georgian Monumental Painting]<\/em> I (Tbilisi, 1957), 53\u201364.<\/p>\n

Guram Abramishvili, Davi\u2019t garejelis tsikli k\u2019art\u2019ul kedlis mkhatvrobashi [The Cycle of Davit Garejeli in Georgian Wall Paintings]<\/em> (Tbilisi, 1972), 143\u20135.<\/p>\n

Aneli Vol\u2019skaja, Rospisi srednevekovykh trapeznykh Gruzii [Murals of Medieval Georgian Refectories]<\/em> (Tbilisi, 1974), 3\u201376, 79\u201387.<\/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), 142\u20133.<\/p>\n

\u0410ntony Eastmond, Zaza Skhirtladze, \u201cUdabno Monastery in Georgia: Innovation, Conservation and the Reinterpretation of Medieval Art\u201c, Iconographica<\/em> VII (2008): 35\u20137.<\/p>\n

Aneli Volkaia, Dimitri Tumanishvili, Marine Bulia, Davitgareji Monasteries: Laura, Udabno<\/em> (Tbilisi, 2008), 80\u201393.<\/p>\n

Lado Mirianashvili, \u201cNon-Traditional Iconography of The Hospitality of Abraham from the Refectory of Udabno Monastery in David-Gareji, Georgia\u201c, Ikon: Journal of Iconographic Studies<\/em> 6 (2013): 109\u201314.<\/p>\n\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":3461,"menu_order":0,"template":"","meta":[],"layer":[300],"period":[446],"acf":[],"_links":{"self":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/painting\/1693"}],"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\/3461"}],"wp:attachment":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/media?parent=1693"}],"wp:term":[{"taxonomy":"layer","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/layer?post=1693"},{"taxonomy":"period","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/period?post=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}