{"id":1738,"date":"2020-12-28T08:26:48","date_gmt":"2020-12-28T08:26:48","guid":{"rendered":"http:\/\/arthistory.tsu.ge\/murals\/?post_type=painting&p=1738"},"modified":"2021-12-29T07:13:19","modified_gmt":"2021-12-29T07:13:19","slug":"akura-murals-of-the-church-of-st-david-garejeli-first-layer","status":"publish","type":"painting","link":"https:\/\/arthistory.tsu.ge\/murals\/painting\/akura-murals-of-the-church-of-st-david-garejeli-first-layer\/","title":{"rendered":"Akura, Murals of the Church of St. David Garejeli. First Layer"},"content":{"rendered":"
\n\n\n\n\n\n\n\n\n
<\/td>\n<\/td>\n<\/tr>\n
Building:<\/strong><\/td>\nAkura, Church of St. David Garejeli<\/a><\/td>\n<\/tr>\n
Layer of the Murals:<\/strong><\/td>\nFirst Layer<\/a><\/td>\n<\/tr>\n
Date\/Period:<\/strong><\/td>\nMid-9th 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

The painting of the first layer can be identified on the east fa\u00e7ade. Part of the fresco inscriptions on the west fa\u00e7ade must belong to the same period.<\/p>\n

 <\/p>\n

Fa\u00e7<\/strong>ade<\/h6>\n

On the east fa\u00e7ade<\/strong> above the central window, in the central area of a decorative two-stepped niche arranged in the fa\u00e7ade masonry and formed by concentric circles, there is the face and neck of the Savior without a halo painted with cinnabar and light pink paint (moreover, the circular form of the niche can be perceived as a halo). The inner area of the circular niche has short radial lines painted with cinnabar. Four relatively small faces can be identified on four sides around the central image (presently two of them are badly damaged). The circular niche is surrounded by a travertine-built shaft which is also perceived as the framing of the composition.<\/p>\n

On the west fa\u00e7ade<\/strong> inscriptions of different periods have been preserved. Two supplicatory inscriptions engraved on the band of plaster in the lower section of the decorative arch arranged in the fa\u00e7ade masonry are regarded as contemporaneous with construction of the basilica. Grooves of the graphemes had been painted red, just like the narrow framing around the inscription, while some letters seem to have been executed with paint: \u10b5 \u10bc(\u10ab\u10a8\u10a3\u10a0)<\/strong> \u10b6(\u10ab\u10b0)\u10a7(\u10a8)\u10b1\u10ab\u10b8(\u10ad)\u10a1(\u10a4)\u10aa\u10ad, \u10b8(\u10a4\u10a8\u10bc\u10b7\u10a0\u10aa)\u10a4 \u10b2\u10a1\u10aa \u10a3\u10a0 \u10b8\u10a5(\u10a8)\u10aa|\u10ac\u10a8 \u10ab\u10a8\u10b1\u10ac[\u10a8] \u10ab\u10ad\u10b1\u10bc\u10b0\u10a0\u10b4<\/strong>(<\/strong>\u10a4\u10a1\u10a0<\/strong>)<\/strong>\u10c2 \u10b5\u10ab[\u10ac\u10a0 \u10a3\u10a0] \u10a0\u10b6(\u10a0)\u10b8\u10a4\u10ac[\u10a0 \u10bc(\u10ab\u10a8\u10a3\u10a0)\u10c2] \u10a4\u10b1\u10a4 \u10b1\u10a0\u10b7[\u10a3(\u10a0)\u10b0\u10a8] |<\/strong> \u10b8\u10a4\u10ac\u10c2<\/strong>\u2013 \u10e5. \u10ec(\u10db\u10d8\u10d3\u10d0)\u10dd \u10e6(\u10db\u10e0)\u10d7(\u10d8)\u10e1\u10db\u10e8(\u10dd)\u10d1(\u10d4)\u10da\u10dd, \u10e8(\u10d4\u10d8\u10ec\u10e7\u10d0\u10da)\u10d4 \u10e2\u10d1\u10da \u10d3\u10d0 \u10e8\u10d5(\u10d8)\u10da\u10dc\u10d8 \u10db(\u10d8)\u10e1\u10dc[\u10d8], \u10db\u10dd\u10e1\u10ec\u10e0\u10d0\u10e4(\u10d4\u10d1\u10d0)\u10f2 \u10e5\u10db[\u10dc\u10d0 \u10d3\u10d0] \u10d0\u10e6(\u10d0)\u10e8\u10d4\u10dc[\u10d0 \u10ec(\u10db\u10d8\u10d3\u10d0)\u10f2] \u10d4\u10e1\u10d4 \u10e1\u10d0\u10e7[\u10d3(\u10d0)\u10e0\u10d8] \u10e8\u10d4\u10dc\u10f2.<\/strong><\/p>\n

\u10bc(\u10ab\u10a8\u10a3\u10a0)\u10ad \u10b6(\u10ab\u10b0)\u10a7(\u10a8)\u10b1 \u10ab\u10b8(\u10ad)\u10a1(\u10a4)\u10aa(\u10ad) | \u10b8(\u10a4\u10a4\u10bc\u10a8)\u10a4 [\u10a4](\u10b0\u10a8\u10b1\u10a7\u10a0\u10a5\u10a7) [\u10a4](\u10b0\u10a8\u10b1\u10a7\u10a0\u10a5\u10b1\u10a0) (?) \u10a3\u10a5\u10aa\u10a7\u10a0 (?) | [\u10a3\u10a0 \u10bb\u10a4\u10a7\u10a0] \u10ab\u10a8\u10b1\u10a7\u10a0 | [——] \u10b0\u10a0\u10a0|\u10b0\u10c2\u10b1[—]\u10b0\u10a0[—]\u10b8\u10a0[—] <\/strong>\u2013\u10ec(\u10db\u10d8\u10d3\u10d0)\u10dd \u10e6(\u10db\u10e0)\u10d7(\u10d8)\u10e1 \u10db\u10e8(\u10dd)\u10d1(\u10d4)\u10da(\u10dd) \u10e8(\u10d4\u10d4\u10ec\u10d8)\u10d4 [\u10d4](\u10e0\u10d8\u10e1\u10d7\u10d0\u10d5\u10d7) [\u10d4](\u10e0\u10d8\u10e1\u10d7\u10d0\u10d5\u10e1\u10d0) (?) \u10d3\u10d5\u10da\u10d7\u10d0 (?) [\u10d3\u10d0 \u10eb\u10d4\u10d7\u10d0] \u10db\u10d8\u10e1\u10d7\u10d0 [- – – – – -]\u10e0\u10d0 \u10d0\u10e0\u10f2\u10e1[- – -]\u10e0\u10d0[- – -]\u10e8\u10d0[- – -].<\/strong><\/p>\n

Only fragments of paint can be discerned in the first line of the inscription executed in red paint; thick letters of the second line are decorated with floral motifs: [\u10a0\u10a3]\u10a8\u10a3\u10a4<\/strong> \u10b1~\u10b3\u10aa(<\/strong>\u10a8<\/strong>)\u10a7 <\/strong>\u2013 Glorify by soul.<\/strong><\/p>\n\n

\n

Bibliography<\/h4>\n

T\u2019eimuraz Barnaveli, Kakhet\u2019is istoriuli dzeglebis ts\u2019arts\u2019erebi [The Inscriptions of the Historical Monuments of Kakheti]<\/em> (Tbilisi, 1962), 7\u201310.<\/p>\n

Tat\u2019jana Shevjakova, Monumental\u2019naja zhivopis\u2019 rannego srednevekov\u2019ja Gruzii [The Monumental Painting of the Early Medieval Georgia]<\/em> (Tbilisi, 1983), 8.<\/p>\n

Marine Gvelesiani, \u201cMze-kristesa da zhamt\u2019a gamoskhulebebis shesakheb akuris bazilikis aghmosavlet\u2019 p\u2019asadze\u201d [\u201cConcerning the images of Sun-Christ and Times on the Eastern Fa\u00e7ade of the Akura Basilica\u201d], Literatura and Khelovneba [Literature and Art]<\/em> 1\u20132 (1997): 59\u201392.<\/p>\n

Fleur Devdariani, T\u2019amaz Dvali, \u201cAkura. dedat\u2019a monasteri\u201d [Akura. Nunnery], in Sakart\u2019velos istoriisa da kulturis dzeglt\u2019a aghts\u2019eriloba [The Survey of the Historical and Cultural Monuments of Georgia]<\/em> III (Tbilisi, 2015), 147.<\/p>\n\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":3472,"menu_order":0,"template":"","meta":[],"layer":[300],"period":[444],"acf":[],"_links":{"self":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/painting\/1738"}],"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\/3472"}],"wp:attachment":[{"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/media?parent=1738"}],"wp:term":[{"taxonomy":"layer","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/layer?post=1738"},{"taxonomy":"period","embeddable":true,"href":"https:\/\/arthistory.tsu.ge\/murals\/wp-json\/wp\/v2\/period?post=1738"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}