მხატვრები შუა საუკუნეების საქართველოში

mxatvrebi Sua saukuneebis saqarTveloSi

PAINTERS IN MEDIEVAL GEORGIA

Tbilisi 2022

giorgi CubinaSvilis saxelobis qarTuli xelovnebis istoriisa da ZeglTa dacvis erovnuli kvleviTi centri

mxatvrebi Sua saukuneebis saqarTveloSi

Tbilisi 2022

kvleva ganxorcielda SoTa rusTavelis saqarTvelos erovnuli samecniero fondis finansuri mxardaWeriT (granti # FR 17 271)

The research was supported by Shota Rustaveli National Science Foundation of Georgia (SRNSFG) (Grant No FR 17 271)

Ggamosacemad moamzades Edited by mariam didebuliZem da qeTevan miqalaZem Mariam Didebulidze, Ketevan Mikeladze inglisuri Targmani: nino sayvareliZe English translation by Nino Sakvarelidze dizaini: dali jvareiSvili Design by Dali Javareishvili wignSi gamoyenebulia giorgi CubinaSvilis saxelobis qarTuli xelovnebis istoriisa da ZeglTa dacvis erovnuli kvleviTi centris fotolaboratoriis, zurab cercvaZis, mariam didebuliZis, nika vaxanias, mirian kilaZis, nana kupraSvilis, Tamar xosroSvilis fotoebi

Photography Credits: George Chubinashvili National Research Centre For Georgian Art History and Heritage Preservation, Zurab Tsertsvadze, Mariam Didebulidze, Tamar Khosroshvili, Mirian Kiladze, Nana Kuprashvili, Nika Vakhania.

garekanze: ifraris mTavarangelozTa eklesiis kankeli. Front Cover: Iprari. Church of the Archangels. Chancel barrier.

© CubinaSvilis centri, 2022 Chubunashvili Centre, 2022

Sinaarsi winaTqma 7 qeTevan miqelaZe Sua saukuneebis mxatvarTa warwerebi 10 qeTevan miqelaZe cnobebi Sua saukuneebis mxatvrebis Sesaxeb (ferweruli warwerebis mixedviT) ............................................................... 77

Tamar xosroSvili mxatvarTa Sesaxeb cnobebi istoriul sabuTebsa da naratiul wyaroebSi ..................................................... 86

qeTevan miqelaZe mxatvris sazogadoebrivi mdgomareoba Sua saukuneebis saqarTveloSi ............................................................ 100 mariam didebuliZe `qadageba ferebiT da xazebiT~ ............................................................ 121 mariam didebuliZe dakveTa – qtitorebi da mxatvrebi ..................................................... 139 mariam didebuliZe Sua saukuneebis ostatTa SemoqmedebiTi Tavisufleba ......... 165

danarTi warwerebis katalogi I qarTuli warwerebi (giorgi gagoSiZe) ...................................................... 198 II berZnuli warwerebi ....................................................................................... 252

PAINTERS IN MEDIEVAL GEORGIA (Summary) 260 bibliografia .................................................................................................307

winaTqma

Sua saukuneebis xelovnebis mkvlevarTaTvis Zalian cotaa cnobili im mxatvarTa, sazogadod, ostatTa Sesaxeb, romelTa Semoqmedebasac ikvleven. Cven ar mogvepoveba iseTi Txzuleba, rogoricaa, magaliTad, jorjo vazaris cnobili wigni renesansis epoqis italiel mxatvrebze, arc Tundac mSrali biografiuli cnobebi, rom araferi vTqvaT ostatTa Canawerebze an TanamedroveTa mosazrebebze maT Sesaxeb. metic, Cveulebriv, ostatTa vinaobac ucnobia, radgan isini Tavis nawarmoebebs iSviaTad awerdnen xels. arada interesi Sua saukuneebis xelovanTa mimarT didia – vin iyvnen, rogor cxovrobdnen, sad da rogor profesiul ganaTlebas iRebdnen, rogor qmnidnen TavianT namuSevrebs, ra adgili ekavaT Sua saukuneebis sazogadoebaSi, rogori urTierToba da TanamSromloba hqondaT damkveTebTan, rogor afasebdnen maT da maT mier Seqmnil xelovnebas garSemomyofni, upirvelesad qtitorebi, ramdenad Tavisufalni iyvnen isini Tavis SemoqmedebaSi da sxva. am problemaTa kvlevas isaxavda miznad Cveni proeqti – Sua saukuneebis mxatvrebi saqarTveloSi, romelic SoTa rusTavelis erovnuli samecniero fondis dafinansebiT giorgi CubinaSvilis saxelobis qarTuli xelovnebis istoriisa da ZeglTa dacvis erovnul kvleviT centrSi ganxorcielda da romlis Sedegebicaa Tavmoyrili winamdebare naSromSi.

Sua saukuneebis ostatTa socialur statuss, sazogadoebriv mdgomareobas, damkveTisa da ostatis TanamSromlobas da sxva sakiTxebs didi xania, Seiswavlian bizantiuri xelovnebis mkvlevrebi. ukanasknel wlebSi am problemebiT qarTveli mecnierebic dainteresdnen. am

mxriv aRsaniSnavia 2012 wels gamocemuli wigni `mSenebeli ostatebi Sua saukuneebis saqarTveloSi~ (d. TumaniSvili, n. nacvliSvili, d. xoStaria), romelSic ganxilulia Sua saukuneebis xuroTmoZRvarTa sazogadoebrivi mdgomareoba da socialuri statusi, damkveTisa da mSeneblis rolebi, sakuTriv mSeneblobasTan dakavSirebuli sakiTxebi da sxva. am naSromma gvibiZga, amave kuTxiT Segveswavla Sua saukuneebis mxatvrebic. Cven mxolod kedlis mxatvrobis ostatebiT SemovifargleT. Sua saukuneebis mSenebeli ostatebis, xelnawerTa gadamwerebisa da momxatvelebisgan (ix. v. beriZe, Zveli qarTveli xuroTmoZRvrebi, Tbilisi, 1956; d. TumaniSvili, n. nacvliSvili, d. xoStaria, dasax. naSr.; e. maWavariani, i. gaCeCilaZe, q. tatiSvili, n. xizaniSvili, qarTuli xelnaweri wignis momxatvel ostatTa Semoqmedeba, Tbilisi, 2022) gansxvavebiT, kedlis mxatvrobis ostatebTan dakavSirebuli cnobebi aqamde ar yofila Sekrebili. SevecadeT, Segvevso es lakuna da Tavi movuyareT mxatvarTa Sesaxeb arsebul informacias. naSromi narkvevebis krebuls warmoadgens. kvlevis sirTules Sua saukuneebis mxatvarTa Sesaxeb cnobaTa simwire ganapirobebs. ZiriTadi wyaro qarTul kedlis mxatvrobaSi SemorCenili is warwerebia, romlebSic mxatvrebi arian dasaxelebulni. amitom warwerebs, maT Sinaarssa da funqcias didi adgili daeTmo (q. miqelaZe, Suasaukuneebis mxatvarTawarwerebi). calkea warmodgenili Sua saukuneebis mxatvarTa Sesaxeb cnobebi ferweruli warwerebisa (q. miqelaZe) da naratiuli wyaroebis mixedviT (T. xosroSvili). sagangebod aris ganxiluli mxatvris adgili Sua saukuneebis sazogadoebaSi (q. miqelaZe) da Sua saukuneebis mxatvris SemoqmedebiTi Tavisufleba (m. didebuliZe), mxatvrisa da momgeblis roli mxatvrobis Seqmnis procesSi (m. didebuliZe, dakveTa – qtitorebi da mxatvrebi), rasac uSualod ukavSirdeba iseTi sakiTxebi, rogoricaa Sua saukuneebis xelovnebis daniSnuleba, saeklesio kanonika, pirvelsaxis mniSvneloba da sxva (m. didebuliZe, ‘qadageba ferebiT da xazebiT’). wignSi danarTis saxiT aris warmodgenili warweraTa katalogi (qarTuli warwerebi gamosacemad moamzada giorgi gagoSiZem). qarTul kedlis mxatvrobaSi SemorCenili berZnulenovani warwerebi, romlebSic mxatvrebi arian dasaxelebulni, TinaTin yauxCiSvilis naSromis (saqarTvelos berZnuli warwerebis korpusi, Tbilisi, 2009) mixedviT aris moyvanili.

dabolos, gvinda visargebloT SemTxveviT da madliereba gamovxatoT maT mimarT, vinc proeqtze muSaobis dros didi daxmareba gagviwia. sagangebo madlobas vuxdiT giorgi CubinaSvilis saxelobis erovnuli kvleviTi centris mecnier TanamSromels, q­n mzia janjalias araerTi sayuradRebo da sasargeblo SeniSvnisa da rCevisTvis, madlobas vuxdiT amave centris TanamSromels q­n natalia CitiSvils: is bevrjer dagvexmara CvenTvis saWiro samecniero literaturisa da vizualuri masalis mopovebaSi; fotomasalis mowodebisTvis guliTad madlobas movaxsenebT centris fotolaboratoriis xelmZRvanels q­n marina fancxavas. Cveni samecniero eqspediciebis mudmivi wevri fotografi b­ni zura cercvaZe fotoebis gadaRebis garda did daxmarebas gviwevda savele samuSaoebis dros, risTvisac mas madlobas vuxdiT. did madlobas movaxsenebT q­n nino sayvareliZes naSromis momzadebis dros gaweuli konsultaciebisTvis da teqstis inglisurad TargmnisTvis.

Sua saukuneebis mxatvarTa warwerebi

Sua saukuneebis qarTul naratiul wyaroebSi, iseve rogorc, hagiografiul literaturaSi eklesiis momxatvel ostatebTan dakav Sirebuli cnobebi TiTqmis ar mogvepoveba. mxatvarTa Taobaze calkeul cn obebs aqa ­ iq mxolod gviani Sua saukuneebis dokumentebSi Tu gadaeyrebi 1 . informaciis ZiriTad wyaros Sua saukuneebis mxatvarTa Sesaxeb kedlis mxatvrobis Tanmxlebi is warwerebi warmoadgens, romlebSic mxatvrebi arian dasaxelebulni. mxatvrebTan dakavSirebuli informaciis simwires bizantiuri xelovnebis mkvlevrebic uCivian, Tumca bizantiuri, gansakuTrebiT postbizantiuri xanis masala qarTulTan SedarebiT mainc ufro mdidaria. epigrafikis garda mxatvarTa Sesaxeb cnobebi istoriul wyaroebSic dasturdeba, hagiografiul literaturaSic, korespondenciaSic da iuridiul dokumentebSic2. am mxriv gansakuTrebiT mniSvnelovania kreteli mxatvrebisa da maTi damkveTebis notariuli xelSekrulebebi Tu mxatvarTa anderZebi3. mxatvarTa Taobaze sakmao informacia moipoveba rusul wyaroebSic4. metad mniSvnelovania novgorodSi arqeologiuri gaTxrebis dros aRmoCenili XII saukunis mxatvris, olisei greCinis saxe­

1 am sakiTxze ix. aqve, T. xosroSvili, mxatvarTa Sesaxeb cnobebi istoriul sabuTebsa da naratiulwyaroebSi.

2 Kazhdan, Maguire, Byzantine Hagiographical Texts, 1–20; Mango, The Art of the Byzantine Empire, 159, 229–233, 249–250.

3 Vassilaki, The Painter Angelos, misive, Looking at Icons, 101–116.

4 magaliTad, XVII s­is ‘Сказание об иконописцах’, romelSic 24 mxatvris biografia Sevida. Языкова, Богословие Иконы,142; cnobebi calkeul mxatvrebze ix. Православная энциклопедия; asve, Лазарев, Древнерусские художники; Преображенский, О некоторых формах выражения.

losnoc Tavisi inventariT (saxatavi mowyobilobebi, xatwerisTvis saWiro nivTebi da sxva)5. Sua saukuneebis mxatvarTa warwerebs, maT mniSvnelobasa da daniSnulebas, iseve rogorc, mxatvrebTan dakavSirebul mTel rig sakiTxebs, rogoricaa maTi sazogadoebrivi mdgomareoba da socialuri statusi, TviTaRqma, mxatvrisa da damkveTis urTierToba da sxva didi xania ikvleven bizantiuri xelovnebis mkvlevrebi6. am problemebiT ukanasknel wlebSi qarTveli mecnierebic dainteresdnen7. mxatvris saxelis Semcveli warwerebi (maTi didi nawili) paleografiuli da istoriul­wyaroTmcodneobiTi TvalsazrisiT didi xania Seswavlilia, zogierT maTgans sagangebo gamokvlevac eZRvneba8; cxadia, isini ganxilulia im monografiebsa da gamokvlevebSic, romlebic im mxatvarTa Semoqmedebis saxelovnebaTmcodneo kvlevas eZRvneba, romelTa `xelmowerebicaa~ SemorCenili9. magram mxatvarTa saxelis Semcveli warwerebi ar aris gaSuqebuli rogorc wyaro Sua saukuneebis mxatvarTa Taobaze; CvenTvis isini, pirvelyovlisa, swored am kuTxiTaa mniSvnelovani da sayuradRebo. rogorc cnobilia, Sua saukuneebis aRmosavleTqristianuli xelovnebis erT­erTi damaxasiaTebeli niSani misi anonimurobaa. marTlac,

5 Колчин, Хорошев, Янин, Усадьба новгородского художника, 114–129, 136–155; Гиппиус, К биографии Олисея Гречина, 104–106; Vassilaki, The Portrait of Artist, 7–10. 6 am sakiTxebTan dakavSirebuli vrecli da kargad cnobili literatura arsebobs. mogvyavs rCeuli maSromebi: Kalopissi-Verti, Painters, misive, Painters’ Information, misive, Painters’ Portraits; misive, Καλοπίση-Βέρτη, Οι ζωγράφοι; Todić, “Signatures”, misive, Лични записи; misve, Надписи художников; misive, Српски сликари; Drpić, Painter as Scribe; Marković, Painters in the Late Byzantine World; Χατζηδάκης, Έλληνες ζωγράφοι, 1; Χατζηδάκης, Δρακοπούλου, Έλληνες ζωγράφοι, 2; Δρακοπούλου, Υπογραφές; misive, Ζωγράφοι; Vassilaki, The Portrait of Artist, misive, The Painter Angelos; Lidova, Manifestation of Authorship; misive, The Artist’s Signature; Куюмджиева, ‘Рукою грешнаго изуграфа’; Преображенский, О некоторых формах выражения; ix. aseve krebulebi: Barral y Altet (ed.), Artistes, artisans; Βασιλάκη, Το Πορτραίτο; Bacci (ed.), L’artista a Bisanzio; aseve, The Oxpord Dictionary of Byzantium, 1, 196–201.

7 Chichinadze, “King’s Painter”, misive, Self-Representations of Artists, misive, Representing identities; sxirtlaZe, mRvdelmonazoni markos; miqelaZe, xelovan­momxatvelTa warwerebis mniSvneloba; misive, Greek Painters

8 magaliTad, araerTi mxatvris saxelis Semcveli warwera aqvs Seswavlili v. silogavas, z. sxirtlaZes da sxv. silogava, svaneTis werilobiTi Zeglebi, II; sxirtlaZe, sabereebis freskuli warwerebi, misive, taZris momxatavi ostatis aRmniSvneli terminisaTvis; kavlelaSvili, mxeris eklesiis mxatvari.

9 Вирсаладзе, Фресковая роспись художника Микаела Маглакели; Аладашвили, Алибегашвили, Вольская, Живописная школа; Лорткипанидзе, Роспись в Цаленджиха; lorTqifaniZe, janjalia, walenjixa; WiWinaZe i., soris wminda giorgis eklesiis moxatuloba; Привалова, Новые данные da sxva.

mxatvrebi iSviaTad tovebdnen `xelmowerebs~. gavrcelebuli mosazrebiT bizantiaSi mxatvarTa warwerebSi dasaxelebis SemTxvevebi XIII saukunemde iSviaTad gvxvdeba; isini ufro metad gvianbizantiursa da gansakuTrebiT postbizantiur xanaSi gavrcelda10. raodenobrivadac, cxadia, ufro meti warwera am epoqidan aris SemorCenili, Tumca rogorc s. mango SeniSnavs bizantieli mxatvrebi XII saukunidan iwyeben `anonimurobidan gamosvlas~11. magram epigrafika mowmobs, rom mxatvrebi TavianT nawarmoebebs ufro adrec (IX­XI ss.) `awerdnen xels~ da maT qtitorebic axsenebdnen warwerebSi. amis araerTi SemTxveva gvxvdeba kapadokiis12, samxreT italiis13, saqarTvelos kedlis mxatvrobis ZeglebSi. unda aRiniSnos, rom saqarTveloSi xuroTmoZRvarTa, oqromWedelTa, xelnaweri wignis gadamwerTa da momxatvelTa `xelmowerebi~ Tu maTi saxelebis Semcveli saqtitoro warwerebi X saukunidan mainc dasturdeba14 Cveni naSromi mxolod kedlis mxatvrobis ostatTa saxelis Semcveli ferweruli warwerebiT Semoifargleba, romelTa uadresi nimuSebi saqarTveloSi sabereebis samonastro kompleqsis III, IV, VII da VIII eklesiebis IX­X saukuneebiT daTariRebulma moxatulobebma Semoinaxa, Tumca z. sxirtlaZis mosazrebas Tu gaviTvaliswinebT, SesaZloa fermwers ekuTvnodes Telovanis jvarpatiosnis eklesiis afsidis VIII saukunis moxatulobis warwerac15 warwerebi sakmaod did qronologiur periods – IX­XVII saukuneebs moicavs16. qarTul kedlis mxatvrobaSi SemorCenilia berZnuli warwerebic, romlebic Camosul, berZnulenovan mxatvrebs miekuTvnebaT17 da, romelTac pirobiTad berZen mxatvrebs vuwodebT, pirobiTad, rad­

10 Kalopissi-Verti, Painters’ Information, 56–57, Βασιλάκη, Το Πορτραίτο, 7; Δρακοπούλου, Υπογραφές 129–134; Chouliaras, Painter’s Cultural, 82.

11 Mango, The Art of the Byzantine Empire, 183.

12 Wharton Epstein., Tokali Kilise, 35; Thierry, Mentalité, 88–89.

13 Safran, The Medieval Solento, 94; Pace, By the Hand of the Painter.

14 Sua saukuneebis sxvadasxva dargis ostatTa nusxa da maTi saxelebis Semcveli warwerebi ix. beriZe, Zveli qarTveli ostatebi, misive, Zveli qarTveli xuroTmoZRvrebi; maWavariani, gaCeCilaZe, tatiSvili, xizaniSvili, qarTuli xelnaweri wignis momxatvel ostatTa Semoqmedeba.

15 sxirtlaZe, adreuli Sua saukuneebis qarTuli kedlis mxatvroba, 20, nax. 12, 14. mogvyavs warweris z. sxirtlaZis gadmonaweri: `l[ ] moi£seneT~.

16 warwerebi da maT Sesaxeb bibliografia, ix. aqve, warwerebis katalogi, I qarTuli warwerebi.

17 berZnuli warwerebi Seswavlili da gamocemulia T. yauxCiSvilis mier, T. yauxCiSvili, saqarTvelos berZnuli warwerebis korpusi. warwerebi mogvyavs am naSromidan, ix. aqve, warwerebis katalogi, II berZnuli warwerebi.

gan berZeni, metadre postbizantiur xanaSi, eTnikur kategorias ki ar gulisxmobs, aramed kulturul wres, romelsac saerTo berZnuli ganaTleba da ena aerTianebs18

mxatvris saxelis Semcveli warwerebis tipebi

Sua saukuneebis mxatvrebi ZiriTadad ori tipis – saqtitoro da sakuTriv maT warwerebSi saxeldebian, romelTac pirobiTad mxatvris `xelmowerebs~ vuwodebT. mxatvarTa vinaoba umTavresad swored maTive `xelmowerebidan~ aris cnobili. qtitorebi maT SedarebiT iSviaTad axseneben. uadresi saqtitoro warwera, romelSic mxatvaria dasaxelebuli zemo svaneTSi nezgunis macxovris saxelobis eklesiis sakurTxevlis afsidis X saukunis moxatulobam Semoinaxa (#5, sur. 1)19. gamorCeuli mniSvnelobisaa kvlav zemo svaneTis ifraris mTavarangelozTa (1096), lagurkisa (1111) da nakifaris wm. giorgis (1130) eklesiaTa saqtitoro warwerebi (#6, #7, #8), radgan samive maTgani iuwyeba, rom eklesiebi `...moixata £eliTa Tevdore mefisa mxatvrisaiTa...~ (sur. 2, 3, 4). Tevdores moxatulobaTa saqtitoro warwerebi Tavisi SinaarsiTa da struqturiT erTi tipisaa, yvelgan erTnairi formulebia gamoyenebuli; dasaxelebulia qtitori, TariRi da mxatvari. mxatvris saxelis Semcveli saqtitoro warwerebi sxvaganac gxvdeba (gremi /1577/, berZ. #4, erTawminda /1654/, #31). saqtitoro warwerebSi mxatvris dasaxelebis erTgvari wesic ikveTeba – misi saxeli, Cveulebriv, teqstis bolos iwereba, risTvisac sayovelTaod miRebuli formulas iyeneben: `moixata xeliTa~. aseTive tradicia iyo bizantiaSic20 mxatvarTa `xelmowerebis~ yvelaze damaxasiaTebeli da gavrcelebuli tipi martivi da lakoniuri savedrebeli warwerebia, romlebic mxatvris saxelisa da savedrebeli formulisgan (qriste Seiwyale, meox eqmen da sxva) Sedgeba da aRniSnulia misi xelobac. am rigis warwerebi kedlis mxatvrobis adreul etapzeve dasturdeba, magaliTad, sabereebis VII da VIII eklesiebis X saukunis warwerebi: `mwerali glaxaki k¢[irike]

18 Χατζηδάκης, Έλληνες ζωγράφοι, 1, 12.

19 nezgunis eklesiaSi mxatvrobis ori fenaa: sakurTxevlis afsidis – X s­iT, danarCeni moxatuloba XII s­iT TariRdeba, Аладашвили, Алибегашвили, Вольская, Живописная Школа, 13­15. 20 Kalopissi-Verti, Painters, 147.

Semiwyale RmerTo]~ (#3) da `macxovar, Semiwyale mona¡ Seni mwerali locva yavT...~ (#4, sur. 6, 7). orive SemTxvevaSi `mwerali~, ra Tqma unda, mxatvris mniSvnelobiTaa gamoyenebuli21. martiv savedrebel warwerebs momdevno saukuneebSic vxvdebiT, magaliTad: mxeris mTavarangelozTa eklesiis warwera: `macxovaro, meox eqmen daviTs mxatvarsa~ (XIV s., #21), martvilis warwera: `yovlad wmindao, Seiwyale giorgi mxatvari~ (XVI s., #29), nikorwmindis (XVI s. #28), kalauris (XVI s., #27a) mxatvarTa warwerebi. aseTive tipis warwerebs miekuTvneba mxatvar giorgi joxtoberiZis (XVI s.) `xelmowerac~. joxtoberiZe im mxrivacaa sayuradRebo, rom misi oTxi warweraa SemorCenili (wiTelxevi, ilemi, obCa, gelaTis wm. elias eklesia). iseTi STabeWdileba iqmneba, rom man TiTqos erTxel SeimuSava `xelmowera~ da oTxive Tavis moxatul eklesiaSi erTnairi `avtografi~ dasva: `amis mxatvarsa giorgis joxtoberiZes Seundos RmerTman, amin~ (#23a, #24, #25, #26). aris SemTxvevebi, roca mxatvrebi ufro vrcel warwerebsac akeTebdnen, magram isini gavrcobilia ara maT Sesaxeb informaciis, aramed qtitoris an TariRis dasaxelebis xarjze, magaliTad, mcxeTis sveticxovlis kaTedralis `cxoveli svetis~ mxatvari grigol guljavarasSvili Tavis warweraSi qtitors kaTolikoss, nikolozs (amilaxvari, 1678­88; 1692­95) asaxelebs (#33), samTvneli episkoposi melitoni, romelmac givi amilaxoris brZanebiT moxata samTavisis taZris sakurTxevlis afsidi, warweraSi TariRs (1679) aRniSnavs (#32)22.

21 a. volskaia miiCnevs, rom sabereebis VII da VIII eklesiebis moxatulobebi wignis momxatvelTa mier aris Sesrulebuli, raki maT warwerebSi `mwerlebad~ moixsenies Tavi (volskaia, garejis ferweruli skolis istoriisTvis, 30). marTalia, `mwerali~ da `wera~ upirvelesad samwignobro saqmianobasTan dakavSirebuli terminebia, magram `mwerali~ mxatvris, xolo `wera~ da misgan nawarmoebi terminebi (daiwera, moiwera da sxva) Sua saukuneebSi xatvis mniSvnelobiTac ixmareboda. X s­is svanur mravalTavSi (A 19) taZris momxatvelTa aRsaniSnavad taZris mweralni ixmareba (sakiTxavi daviT iakobisi, Tqmuli iovane oqropirisa¡ taZris mweralTaT¢s), maWavariani, Zvel qarTul xelnawer wignTa Semkulobis, 112­114; misive, wignis xelovneba, 30­32; sxirtlaZe, taZris momxatavi ostatebis aRmniSvneli terminisaTavis, 221­224; misive, sabereebis freskuli warwerebi, 6870; m. surgulaZe, Zveli qarTuli paleografiuli terminebi, 8­19; mesxia, saistorio Ziebani, I, 144­146. aseTi mniSvneloba aqvT am terminebs berZnul enaSic, Drpić, Painter as Scriebe. 22 givi amilaxoris saqtitoro warwera ([d]aixata wmida sakurTxevelsa amas brZanebiTa givis amilaxorisiTa, RmerTman Seundvnes, amin) moTavsebulia Crdilo­aRmosavleT burjze, samTavneli episkoposis melitonis warweris gaswvriv. givi amilaxori Tavis TanamecxedresTan erTad sakurTxevlis konqis warweraSic aris moxseniebulni, soxaSvili, samTavisi, 100­103.

erTi SexedviT, mxatvars ekuTvnis macxvariSis macxovris saxelobis eklesiis moxatulobis (1140 w.) warwerac: `mo¡xata saydari ese mefobasa demetresa welsa ie, £eliTa miqael maRlakelisaTa~ (#10), magram is ar Seicavs savedrebels, romelic iSviaTi gamonaklisis garda yovelTvis axlavs mxatvris warweras da ufro saqtitoro warwerisTvis damaxasiaTebel formulas imeorebs, vgulisxmobT TariRsa da ostatis saxels, romelsac teqstis bolos ganaTavsebdnen (magaliTad, `...moixatadasabamiTganTawelTax£,qoronikonsativ,£eliTaTevdoremefisamxatvrisaiTa...~). miqael maRlakelis warweras mTliani moxatulobis konteqstSi Tu SevxedavT, mis SeqmnaSi kvirike mamasaxlisis monawileoba gamoikveTeba, romlis portretic da ori warwerac aris macxvariSis eklesiaSi. kvirikes roli mxolod eklesiis moxatvis gaZRoliT, zedamxedvelobiT ar unda Semoifarglebodes rogorc amas misi gamosaxulebis Tanmxlebi warwera (`ese ars k¢irike mamasaxlisi, romelman didi mo¡Wirva amis eklesiisa zedgoma¡ xatvasa, amin~23) iuwyeba, aramed is, rogorc Cans, moxatulobis erT­erTi momgebeli, `meoradi qtitoric~ iyo24. kvirike rom mxolod samuSaos zedamxedveli yofiliyo, vfiqrobT, misi portreti eklesiis kedelze ver `aRmoCndeboda~, miT ufro, mefis gamosaxulebis siaxloves (vgulisxmobT, CrdiloeT kedelze gamosaxul demetre I­is mefed kurTxevis scenas). kvirikes meore warwera (`vinca amas eklesiasa Sigan mamasaxlisi iyo, kvamlisgan Se¡krZaleT xatuli romel feri ar daaklos~25) miqael maRlakelis warweris simetriulad, CrdiloeTi kedlis qveda registrSia moTavsebuli. isini kompoziciuradac erTnairad

23 silogava, svaneTis werilobiTi Zeglebi, II, 77–78, 15.

24 T. virsalaZe moxatulobis damkveTad demetre I­is mefed kurTxevis scenaSi gamosaxul erT­erT erisTavs miiCnevs; kvirikes ki _ moxatulobis xelmZRvanelad (Вирсаладзе, Фресковая роспись художника Микаела маглакели, 162–163). e. istmondis mosazrebiT, kvirike qtitoric iyo (Eastmond, Royal Imagery, 74, 192). rasac Cvenc viziarebT. amas gvafiqrebinebs kvirikes warweraSi naTqvami: `...didimo¡Wirvaamiseklesiisazedgoma¡xatvasa~, romelic ornairad SeiZleba gavigoT _ rom man gaWirvebiT iSroma, an rom didi gaWirvebiT gadaixada moxatvis safasuri. upiratesoba am versias mivaniWeT. `moWirveba~­s ramdenime mniSvneloba aqvs _ moTmena, gaWirvebis atana (qarTuli enis ganmartebiTi leqsikoni V, 1088, 748. sulxan­saba orbeliani, leqsikoni qarTuli, I, 513) garja (abulaZe, Zveli qarTuli enis leqsikoni, 290), magram mas xarjis gaRebis mniSvnelobac hqonda, rasac epigrafikis Zeglebic mowmobs, silogava, svaneTis werilobiTi Zeglebi II, 44, 91–92, 23. Tu kvirikes mxolod zedamdgomlad miviCnevT, maSin gamodis, rom samuSaoTa gamZRols eklesiis kedelze warweraTa gakeTebac SeeZlo da Tavisi portretis gamosaxvac. sxvaTa Soris, yuradsaRebia, rom oSkis taZris zedamdgomi grigolic mxolod warweridan ar aris cnobili, aramed, rogorc varaudoben, karibWis rvawaxnaga burjze misi reliefuri gamosaxulebac aris moTavsebuli, v. jobaZe, adreuli Sua saukuneebis, 127. 25 silogava, svaneTis werilobiTi Zeglebi, II, 79, 16.

aris agebuli da Tanabari mniSvnelobiTacaa warmoCenili (sur. 5). maRlakelis warwera kvirike mamasaxlisis warwerebSi gadmocemuli informaciis damasrulebel nawilad aRiqmeba. cxadia, kvirikes portreti da warwerebi misi dakveTiT Seiqmna. is gvauwyebs, rom misi mecadineobiTa da, albaT, xarjiTac moixata macxvariSis eklesia da momaval mamasaxlisebs anderZadac utovebs moxatulobis movlas da, Cveni varaudiT, kvirikes da ara mxatvris iniciativiT daiwera vin da rodis moxata eklesia. calke jgufad SeiZleba gamoiyos martivi savedrebeli warwerebi, romlebSic avtoris xeloba an misi Rvawli ar aris aRniSnuli, magram isini mxatvrebs miewerebaT. ratom unda mivakuTvnoT am tipis warwerebi maincadamainc da upirobod mxatvrebs, roca aseT savedreblebs eklesiis kedlebze sxvebic werdnen, Tundac momlocvelebi. am SemTxvevaSi warweraTa atribucias imdenad Sinaarsi ar gansazRvravs ramdenadac sxva faqtorebi _ mdebareoba, Sesrulebis dro, ferwerul fenasTan mimarTeba, paleografiuli maxasiaTeblebi, xelwera, gamoyenebuli saRebavi. swored am garemoebaTa gaTvaliswinebiT ivarauda, Tavis droze, z. sxirtlaZem, rom sabereebis III eklesiis amJamad Zlier dazianebuli warwera: `Zmano, locvasa go¢edia~ (IX s., #1) mxatvars unda ekuTvnodes. is paleografiuladac moxatulobis sxva warwerebs hgavs da sakmaod maRlacaa moTavsebuli (CrdiloeT kedelze), ris gamoc `piligrimul minawerad ver CaiTvleba~ (sur. 8)26.

am rigis warwerebs miekuTvnebaT beTaniis RvTismSoblis taZris moxatulobis (`qriste, Seiwyale demetre~, XII s., #12a), ozaanis amaRlebis eklesiis XII­XIII ss­is ferweruli fenis (`qriste RmerTo, Seundven miqaels, amin~ (#13)27, gelaTis RvTismSoblis taZris 1550­ian wlebSi Sesrulebuli moxatulobis (`qriste, Seiwyale suli eliasi,~ #22e), Woxuldis macxovris eklesiis (XIII s., #14), kalauris wm. giorgis eklesiis (XVI s. #27b, g) savedrebeli warwerebi. beTaniis da ozaanis warwerebi sakurTxevlis afsidSia moTavsebuli; beTaniaSi _ dasajdomelSi gamosaxuli ornamentis yvavilze wvrili asoebiT aris miwerili (sur. 9, 10), ozaanSi _ afsidis TaRis samxreT

26 sabereebis samonastro kompleqsis eklesiebi danomrilia g. gafrindaSvilis naxazis mixedviT. ix. Zveli xelovneba dRes, 04, 2013, 44, 45. III eklesia Seesabameba z. sxirtlaZis numeraciis V eklesias, sxirtlaZe, sabereebis freskuli warwerebi, 12, 24–26. 27 ozaanis eklesiaSi moxatulobis ramdenime fenaa, Привалова, Роспись церкви «Вознесения»

pirze (sur. 11, 12). cxadia, am warwerebs mxolod is dawerda vinc afsidis moxatulobas asrulebda.

eWvs ar iwvevs, rom gelaTis zemoxsenebuli warwerac mxatvars, vinme elias ekuTvnis. is Zili mowafeTa scenaSia Cawerili, romelic Zalian maRla, dasavleTi kedlis lunetSia gamosaxuli, sadac mxolod mxatvari Tu SeZlebda warweris daweras; Tanac is paleografiuladac da xelweriTac am scenis zedwerilebis analogiuria da igive TeTri saRebaviTaa Sesrulebuli (sur. 13).

Woxuldis macxovris eklesiis moxatulobaSi (XIII s.) warwera (`Zeo RmrTisao, saRir Seiwyale~ #14) suliwmidis mofenis scenaSi, mociqulTa samoszea dawerili, kalauris wm. giorgis eklesiaSi sakurTxevlis afsidSi. orive SemTxvevaSi warwerebi moxatulobaTa Tanadroulia da paleografiuladac sxva warwerebs hgavs. saintereso SemTxvevaa varZiis RvTismSoblis miZinebis taZris moxatulobis (XII s.) warwera, romelic amJamad aRar ikiTxeba28. is sakurTxevlis afsidis ornamentuli zolis calkeul segmentebSi (yvavilebSi) iyo ganawilebuli da, cxadia, mas sxva vin dawerda, Tu ara is, vinc am ornaments xatavda (#11). varZiis warwera mxatvarTa aqamde ganxiluli warwerebisgan gansxvavdeba. is erTmaneTisgan daSorebuli grafemisgan Sedgeba (`g¡~, `W~ da `r~ – giorgi Wari) da, faqtiurad, monogramas warmoadgens. warwera Tavisebur kriptogramadac SeiZleba miviCnioT. mxatvris am tipis sxva warwera qarTul kedlis mxatvrobaSi ar dasturdeba, Tumca vin icis iqneb sadme aris kidec mimaluli. rogorc Cans, mxatvris `xelmowerasTan~ gvaqvs saqme safaris monastris wm. sabas taZris moxatulobaSic. aq samxreT kedelze samcxis aTabagTa jayelTa jgufuri portretia (XIV s. dasawyisi) gamosaxuli. bolo, meoTxe mamakaci, romelic jayelTa saxlis erT­erTi wevri unda iyos ramdenadme mogvianebiTaa damatebuli29. swored mis kabazea miwerili warwera. mamakacs wiTeli kaba mosavs, qvemodan wiTeli ornamentiT Semkuli TeTri perangis qoba mouCans, romelzec stilizebuli mxedruliT Sesrulebuli warweraa datanili. grafemebi isea gadaxlarTuli, rom ornamentad aRiqmeba (sur. 14, 15). amitom misi gaSifvra ar aRmoCnda

28 warweris Sesaxeb ix. meliTauri, varZiis samSeneblo­xuroTmoZRvruli Seswavlis sakiTxebi, 13. ix. aqve, warweraTa katalogi I, 11. 29 xuciSvili g., safaris kedlis mxatvroba, 72­73; miqelaZe, jayelTa portretebi, 221222.

ioli. warwera sami sityvisgan Sedgeba: `ptrT:. Zesa: Tgrets ... (an ) Tdrets~, romlebic wiTeli, Savi da wiTeli saRebaviTaa Sesrulebuli. g. gagoSiZe misi wakiTxvis sam variants gvTavazobs. samive SemTxvevaSi mxatvris saxeli Teodoretad aris gaSifruli. sayuradReboa g. gagoSiZis mier gamoTqmuli varaudi, kerZod, xom ar iyo Teodoreti (Teodorite) berZnuli warmomavlobis mxatvari, radgan misi saxeli berZnuli JReradobisaa30. am sakiTxis garkveva safaris moxatulobis specialur kvlevasac saWiroebs da sakuTriv warweris kidev ufro safuZvlian Seswavlas. amjerad mxolod is SeiZleba iTqvas, rom warwera da safaris saqtitoro portretis bolo figura mxatvar Teodorets ekuTvnis. qarTul kedlis mxatvrobaSi aris ramdenime SemTxveva, roca mxatvris warwera qtitoris portretis siaxlovesaa moTavsebuli (wvirmi­Cobanis wm. giorgis eklesiis moxatuloba (XII s.), (sur. 16), nikorwmindis karbiWis moxatuloba (XVI s.), sur. 17), magram gamosaxulebaze datanili `xelmowera~ safaris garda sxvagan ar SemorCenila. Sua saukuneebis bizantieli mxatvrebisTvis saxelis an inicialebis moxatulobis sxvadasxva gamosaxulebebze miwera ucxo ar iyo. am mxriv, pirvel rigSi, mixeili da evtixi astrapa unda gavixsenoT, Tumca am xerxs sxvebic mimarTavdnen31. magram safarisa da berZen mxatvarTa Soris arsebiTi sxvaobaa. berZenbi wmindanTa gamosaxulebebze (maT samosze, iaraRze, zogjer siuJeturi scenebis nagebobebze, WurWelze) werdnen TavianT saxels an inicialebs, riTac rogorc b. todiCi aRniSnavs, uSualod maT mimarTaven vedrebiT, maSinac ki, roca warwerebs savedrebeli ar erTvoda, maT mainc Sesawyaleblis daniSnuleba hqondaT32. safaris warweras aseTi funqcia ver eqneboda, radgan is saero piris gamosaxulebazea datanili, rac mas marTlac avtografis mniSvnelobas aniWebs. am STabeWdilebas portretuli rigis mTliani konteqstic uwyobs xels. mxatvars safaraSi ukve daxvda jayelTa (sargis I (saba), beqa da sargis II) gamosaxulebebi da mas mxolod erTi portreti unda daematebina, rac

30 ix. aqve, warwerTa katalogi I, #16. varaudi, rom es warwera mxatvars ekuTvnis pirvelad istorikosma T. jojuam gamoTqva v. beriZis 100 wlisTavisadmi miZRvnil samecniero konferenciaze (2014) warmodgenil moxsenebaSi: samcxis mTavarTa qtitoruli portretebi. jojuas versiiT aq ikiTxeba saxeli `petre~.

31 Todić, “Signatures”, 650. 32 Todić, “Signatures”; misive, Лични записи, 515–518.

Seasrula kidec. dazianebis miuxedavad mainc gairCeva, rom es ukanaskneli beqasa da sargis II­is gamosaxulebebisgan TiTqmis ar gansxvavdeba; samive erTnairi poziTa da msgavsi kabiT aris warmodgenili. mxatvarma Tavisi daxatuli portreti jayelTa adrindeli gamosaxulebebisgan TiTqos `xelmoweriT~ gamoarCia, riTac man, Tu SeiZleba iTqvas, Tavisi avtoroba daadastura, es portreti Teodoretma daxatao. Tavisi Sesrulebis xasiaTiT warwera istoriuli sabuTebis xelrTvebsac mogvagonebs. qarTul kedlis mxatvrobaSi mxatvris warweris ramdenime uCveulo SemTxvevac gvaqvs, vgulisxmobT, beTaniis RvTismSoblis taZris or warweras. erTi maTgani sakurTxevlis afsidis qveda registrSia moTavsebuli; mas ekaterine privalova zemoxsenebul mxatvar demetres miakuTvnebs33. warwera Tavisi SinaarsiTa da poeturi formiT iqcevs yuradRebas (`ar marto var, Savpiri, WeSmaritad. msajulo yovelTao, nu martomqmenyovelTaqristianeTawmidaTaSenTagan~ (#12 b). am tipis mxatvris sxva warwera qarTul kedlis mxatvrobaSi ar SemorCenila. moulodneli Sinaarsisaa beTaniis meore warwera: `ufalo, nu Seundob sofroms~ (#12g). misi mdebareoba ueWvels xdis, rom is mxatvris dawerilia. warwera sakmaod maRla, taZris samxreTi mklavis dasavleTi sarkmlis wirTxlSi, wm. aaronis figuris fexebTan aris TeTri saRebaviT miwerili. am adgilas da aseT simaRleze mxatvris garda veravin gaakeTebda warweras. aRsaniSnavia isic, rom aqve Savi saRebaviT mcire zomis mamakacis daCoqili figuraa mixatuli, romelsac e. privalova mxatvarTan aigivebs34. warweris teqsti ornairad SeiZleba gavigoT, rom avtori ufals SesTxovs vinme sofroms ar Seundos codvebi an, rom Tavad sofromi imdenad codvilad miiCnevs Tavs, rom ufals evedreba ar Semindo, amisi Rirsi ar varo. e. privalovam swored am versias mianiWa upiratesoba da warwera mxatvris ukiduresi morCilebisa da damcrobis gamoxatulebad miiCnia, Tumca Sua saukuneebis epigrafikasa Tu xelnawerTa minawerebSi iseTi SemTxvevebicaa cnobili, romlebic visame wyevlas Seicavs35.

33 Привалова, Новые данные, 16.

34 iqve, 16–17.

35 silogava, svaneTis werilobiTi Zeglebi, II, 215–216.

adgilobrivi mxatvrebis msgavsad saqarTveloSi Camosuli mxatvarTa vinaobac ZiriTadad maTi `xelmowerebidan~ aris cnobili36; saqtitoro warweraSi berZeni ostatis dasaxelebis SemTxveva mxolod gremis mTavarangelozTa taZris moxatulobaSia (1577) SemorCenili (berZ. #4). yvela mxatvris warwera berZnul enazea Sesrulebuli, garda gelaTis RvTismSoblis Sobis saxelobis gumbaTis mxatvrebis `xelmowerebisa~ (1520­iani ww.), romlebic qarTuli asomTavruliTaa dawereili; walenjixaSi orenovani – berZnul­qarTuli warwerebi gvaqvs. berZen mxatvarTa `xelmowerebSi~ mokle da lakoniuri warwerebic gvxvdeba (gelaTis RvTismSoblis Sobis taZris samxreT mklavis moxatulobaSi (1550­ww.) – `moixata Cemi mdabali da codvili timoTeosis xeliT welsa [...]~ (berZ. #2, ix. aseve bobnevis mxatvris warwera (1683), berZ. #6) da ufro gavrcobilic, romelSic qtitoria dasaxelebuli (biWvintis RvTismSoblis taZris samxreT­dasavleT kapelis warweraSi moxsenebulia dasavleT saqarTvelos (afxazeTis) kaTolikosi evdemon I (CxetiZe, 1557­1578), berZ. #3); aris uCveulo an aratradiciuli warwerebis SemTxvevebic. am ukanasknels mivakuTvneT konstantinopoleli mxatvris, manuel evgenikosis berZnuli warwera walenjixis macxovris saxelobis eklesiis moxatulobaSi (1384­1396) da maRalaanT eklesiis kankelis momxatvelis – apostoles warwera (1680­iani ww. berZ. #5)37 walenjixaSi, rogorc cnobilia, manuel evgenikosi sam warweraSia dasaxlebuli (sur. 22, 23, 24). maTgan erTi (Crdilo­dasavleT burjze) bermonazon maxarebeli qvabaliasa da andronike gabisulavas ekuTvnis38 (#20b), romlebic vamey dadianma mxatvris Camosayvanad konstantinopols gagzavna. evgenikosis berZnuli (berZ. #1) da qarTuli (#20a) warwerebi erTmaneTis gverdiT samxreT­dasavleT burjzea moTavsebuli da arsebiTad erTsa da imave ambavs gvauwyebs, rom taZari manuel evgenikosma moxata, romelic odiSis erisTavTerisTavisa da mandaturTuxucesis vamey dadianis (1384­1396) nebiT Camovida konstantinopolidan. qarTul warweraSi naTqvamia: `...dadianisa vameyis brZanebiTa mov[edi] kosTantipovliTmxatvarikirmanuelievienikosdadavxa[te]ese[eklesia]~ (#20a).

36 berZeni mxatvrebisa da maTi warwerebis Sesaxeb ix. Mikeladze, Greek Painters. 37 iqve, 176­85.

38 qvabalia da gabisulava rom bermonazvnebi iyvnen evgenikosis berZnuli warweridan aris cnobili, ix. aqve, berZ. #1

berZnul warweraSi damatebiT isicaa aRniSnuli, rom evgenikosis Camosayvanad vameyma konstantinopols qvabalia da gabisulava gagzavna: `vedreba RvTis monisa da codvilisa manuel evgenikosisa, mxatvrisa, romelmac moxata es taZari konstantinepolidan mosulma, [sadac] gagzavna bermonazvnebi [am taZris] Sesamkobad [erisTavTerisTavma?], romlis saxelia vamey, xolo [bermonazonTa] saxelebia qobalia maxarebeli da andronike gabisulava...~ (berZ. #1). am informaciis qarTul warweraSi gameorebis aucilebloba ar iyo, radgan vameyis mier konstantinopolSi mxatvris Camosayvanad wargzavnili qvabalia­gabisulava am ambavs Tavis warweraSi aRniSnaven (#20b). evgenikosis berZnuli warwera Sua saukuneebis mxatvris tradiciul lakoniur `xelmoweras~ ar warmoadgens, romelic ostatis saxeliT da savedrebliT Semoifargleba, is arc mxolod qtitoris dasaxelebis xarjzea gavrcobili, rogorc, magaliTad, biWvintis (berZ. # 3), sveticxovlis (# 32) mxatvarTa warwerebi, an Sors rom ar wavideT TviT evgenikosis qarTulenovani warwera, aramed aq misi saqarTveloSi Camosvlis mTeli istoriaa gadmocemuli. aseTi TxrobiToba ufro saqtitoro warwerisTvisaa damaxasiaTebeli, rac gvafiqrebinebs, rom evgenikosis warwera vameyis surviliT Seiqmna; am azrs amyarebs warweraTa mdebareoba da sazeimod warmoCena, rac aseve saqtitoro warwerisTvisaa damaxasiaTebeli.

winarexis maRalaanT eklesiis kankelis warwera (berZ. #5) berZeni mxatvris, apostoles siTamamiT iqcevs yuradRebas. warwera kankelisa da misi moxatulobis (1680­iani ww­is bolo) momgeblis, mcxeTis sveticxovlis taZris qadagis, nikoloz maRalaZis39 dedis, elenes memoriul portrets axlavs da mis sulis mosaxseniebels, faqtobrivad, epitafias warmoadgens (`moixsene, qriste, suli mxevlisa Senisa elenesi da ganawese igi samoTxesa Sina, sada wmidaTa gundni, ufalo, da marTalni

39 cnoba imis Sesaxeb, rom nikoloz maRalaZe kankelisa da misi moxatulobis momgebeli iyo ar gvaqvs, magram maRalaanT eklesiis (XIII s.) aRmosavleT fasadis warwera mowmobs, rom man 1677 wels eklesia aRadgina. radgan kankelis arqiteqturuli Taviseburebebi da misi moxatulobis stili XVII s­s miuTiTebs, amitom maT damkveTadac nikoloz maRalaZea miiCneuli, beriZe, winarexel maRalaZeTa mSenebloba, 199–200; Шмерлинг, Малые Формы, 207–208, 263–265; gagoSiZe T., `kualad uvlinebdnen, 5–15; misive, XVII saukunis moxatuloba, 124–129.

gamoabrwyineben, rogorc varskvlavni sulsa mxevlisa Senisa elenessa damisminecodvilsadauRirssamonasaSensaAapostolemxatvarsa~ (berZ. #5, sur. 35, 36). apostolem swored am warweraSi CarTo Tavisi savedrebeli, rac Sua saukuneebis ostatis mxridan warCinebuli qalbatonis mimarT erTgvar familiarul damokidebulebas avlens. warwera, uTuod, apostoles SeTxzuli unda iyos. gelaTis RvTismSoblis taZris gumbaTis moxatulobis (1520­iani ww.) mxatvarTa qarTul warwerebSi daSvebuli Secdomebi (`simeon gamdeli ese~, `da Sroma simdable Teodoro xeli wera ese~, `simeon saqme aqa~ (#22, a, b, g, d) gvafiqrebinebs, rom isini qarTulis armcodnes, savaraudod berZen ostats ekuTvnis40. warwerebi gumbaTis yelSi winaswarmetyvelTa gamosaxulebebis qvemoTaa moTavsebuli (sur 27, 28, 29, 30). isini erTi xeliTaa Sesrulebuli. SesaZloa mxatvarTagan erT­erTma icoda qarTuli anbani; xelwera aradamajerebelia, ostats TiTqos uWirs qarTuli grafemebis gamoyvana. Secdomebisa da winadadebaTa gaumarTaobis miuxedavad mxatvrebma mainc moaxerxes azris gadmocema – rom gumbaTi vinme simeonsa da Teodores mouxatavT. qarTul kedlis mxatvrobaSi SemorCenili warwerebi saSualebas gvaZlevs davaskvnaT, rom mxatvris `xelmoweris~ tradicia saqarTveloSi IX­X saukuneebSi Caisaxa; sabereebis samonastro kompleqsis oTxi eklesiis daaxloebiT erTi epoqis (IX­X ss.) moxatulobaTa warwerebi gvafiqrebinebs, rom aq mxatvris `xelmowera~ gavrcelebuli, TiTqos miRebuli iyo; mxatvarTa warwerebs saukuneebis manZilze Sinaarsisa da formis mxriv arsebiTi cvlilebebi ar ganucdiaT. upiratesobas martiv da lakoniur savedrebels aniWebdnen; am tipis mxatvarTa warwerebi farTod iyo gavrcelebuli bizantiursa da postbizantiuri xanis xelovnebaSic41. rogorc aRiniSna, saqtitoro warwerebSi mxatvars iSviaTad asaxelebdnen. ase iyo es bizantiaSic42.

40 miqelaZe, xelovan­momxatvelTa warwerebis mniSvneloba, 155–156; misive, Greek Painters, 177–180. gumbaTis mxatvrebs berZnebad miiCnevs i. mamaiaSvili, i. mamaiaSvili, gelaTis RvTismSoblis taZris XVI saukunis mxatvroba, 208–209.

41 magaliTebi ix. Kalopissi-Verti, Painters, 139–144; Χατζηδάκης, Έλληνες ζωγράφοι, 1. 42 Kalopissi-Verti, Painterss’ Information, 57.

mxatvarTa warwerebis funqcia da maTi adgili eklesiis sivrceSi eklesiis kedlebze moTavsebuli warwera iqneba es ganmartebiTi Tu istoriuli xasiaTisa mTeli ferweruli ansamblis Tu nagebobis Semadgeneli da ganuyofeli nawilia. amitom misi mniSvnelobisa da daniSnulebis gageba SeuZlebelia im garemos gaTvaliswinebis gareSe, romlisTvisac is Seiqmna; am mxriv SinaarsTan erTad didi mniSvneloba aqvs warweraTa mdebareobas, zomas, mxatvrul­kompoziciur gadawyvetas, kedlis mxatvrobis SemTxvevaSi mis mimarTebas gamosaxulebebTan. rogorc aRiniSna, Sua saukuneebis mxatvari Tavis nawarmoebs iSviaTad `awerda xels~ da arc qtitori axsenebda mas xSirad warweraSi, ris gamoc Sua saukuneebis xelovneba, faqtobrivad, anonimuria. es, erTi mxriv, am xelovnebis daniSnulebiT, xolo, meore mxriv, damkveTis saqtitoro saqmianobis da Semsrulebeli ostatis Tavisi Sromis, mis mier Seqmnili nawarmoebis mimarT damokidebulebiT da sakuTriv warweraTa funqciiTaa gapirobebuli.

cnobilia, rom Sua saukuneebSi miiCnevdnen, rom eklesia uflis nebiTa da xeldasxmiT Sendeboda, ixateboda da imkoboda, raTa iq wirva­locva aRsrulebuliyo. taZrisa da saxviTi xelovnebis forma ki wminda werils, wminda mamaTa Txzulebebsa da saeklesio tradicias efuZneboda. qtitori, dRevandeli termini rom gamoviyenoT, sponsori, samuSaos damfinansebeli iyo, romelic uflis nebiT axorcielebda eklesiis mSeneblobasa Tu mis moxatvas.

VII saeklesio krebis (787) erT­erTi ganCinebis Tanaxmad xatis koncefcia wminda mamebs ekuTvnis da eklesiis mieraa dakanonebuli; mxatvari mxolod Semsrulebeli iyo43. sxvanairad rom vTqvaT, wminda gamosaxulebaTa avtori eklesiis mamebi iyvnen, mxatvars maT mier `SeTxzuli~ xatebis ferebiTa da xazebiT Sesrulebis unari Seswevda, romelic mas RvTisgan hqonda boZebuli. amas Tavad mxatvrebic aRniSnaven, magaliTad, xelobaTa codnas RvTis wyalobad miiCnevs XIV saukunis kaligrafi da mxatvari avgaroz bandaisZe: `wyalobiTa RmrTisa¡Ta momeca T¢nier moZRurisa £elovneba¡ eseviTari...~ da CamoTvlis Tavis xelobebs, romel­

43 Деяния

225–226; Mango, The art of the Byzantine Empire, 172; Тодиħ, Лични записи, 499; misive, Надписи художников, 202

Ta Soris `£eli meequse mxatvrobisa¡~ aris44; igive azri gamoxata Tavis warweraSi (RvTis ZRveni ioanes xelidan) peCis sapatriarqos wm. demtres taZris mxatvarmac (1322­1324)45; XVI saukunis serbi mxatvari, longini xatvis unars ufalsa da mfarvel wmindanebs umadlis: `gixaroden etien da nikoloz, rameTu uflis madliTa da Tqveni SemweobiT viswavle ise rogorcSevZeli.gixarodenCemodidomeoxeno,mfarvelnodawmindanno radgan Tqveni wminda xatebi bevrjel davxate Cemi xeliT~46. albaT SemTxveviTi ar aris, rom warwerebSi xSirad aRniSnulia ara is, vinc daxata, aramed, visma xelma daxata (`...me beSqen movwere...sakurTxeveli....£eliTa giorgisiTa~ (nezgunis warwera, Xs., #5), `...moixata... £eliTa Tevdore mefisa mxatvrisaTa...~ (ifrari 1096, #6), `mo¡xata... £eliTa... miqael maRlakelisaTa~ (macxvariSi, 1140, #10), `daixata... £eliTa samTavnel episkoboz melitonisiTa~ (samTavisi, 1679, #32) da sxva).

ase rom, Sua saukuneebis mxatvari Tavis saqmianobas wminda aqtad miiCnevda, romelsac is uflis mimadlebuli niWiT, misi nebiT, momgeblis davalebiT da eklesiis dadgenili kanonebis dacviT asrulebda. SeiZleba iTqvas, rom xelovnebis Seqmnis procesSi is bolo adgilze iyo RmerTis, eklesiisa da qtitoris Semdeg47. amdenad, mxatvari iyo ara Semoqmedi, aramed Semsrulebeli. Sesabamisad is arc Tavis nawarmoebs miiCnevda saavtoro namuSevrad da, cxadia, verc misi warwera iqneboda saavtoro xelmowera, avtografi. SemTxveviTi ar aris, rom Sua saukuneebis mxatvris warweras, Cveulebriv, savedreblis forma aqvs. b. todiCis samarTliani SexedulebiT, is mxatvris privatul savedrebels warmoadgenda48; mas uflisadmi (wmindanisadmi) `miwerili~ Sesawyaleblis funqcia hqonda. Sua saukuneebis mxatvari `xelmoweras~ Tavisi pirovnebis, individualobis warmosaCenad ar akeTebda. amitom savsebiT viziarebT zogierTi mecnieris SeniSnavs, rom Sua saukuneebis mxatvris warweris saxeldeba xelmowerad ar aris swori49 da Cvenc mas mxolod pirobiTad vuwodebT xelmoweras. aseTive funqcia hqonda sxva dargis ostatTa savedrebel warwerebasac. xuroTmoZRvari iqneba, oqromWedeli, xatmweri

44 qarTul xelnawerTa aRweriloba, A­II2, 190; beriZe, Zveli qarTveli ostatebi, 15.

45 warwera bevrjeraa gamocemuli, mag., Kalopissi-Verti, Painters, 139; Тодиħ, Лични записи, 509.

46

Тодиħ,, Лични записи, 518, misive, “Signatures”, 658–659.

47 Тодиħ, Лични записи, 499.

48

49

Тодиħ, Лични записи, misive, “Signatures”.

Тодич, Надписи художников, 202; Bacci, the mystic cave, 144.

Tu wignis gadamweri Tavisi `xelmoweriT~ is pirvelyovlisa codvaTa Sendobas SesTxovs ufals50. mxatvrisa da saqtitoro warwerebs garkveuli TvalsazrisiT erTnairi daniSnulebac aqvT. Sua saukuneebis qtitors swamda, rom taZris aSenebiT, moxatviT, xatis an sxva nivTis eklesiisTvis SewirviT codvebs gamoisyidda da sasufevelSi daimkvidrebda adgils. momgebeli warweraSi Tavis damsaxurebas, eklesiisTvis gaRebul ZRvens ganacxadebs, ris sanacvlodac uflisgan keTildReobasa da sulis xsnas moelis. magram is, Cveulebriv, Tavis sazogadoebriv mdgomareobasa da regaliebsac aRniSnavda, rac misi amqveyniuri didebis demonstrirebas emsaxureboda. mxatvari, Cveulebriv, mxolod mokrZalebuli savedrebliT Semoifargleba, Tumca nebiT Tu uneblied eklesiis winaSe Tavis Rvawlsa da damsaxurebas isic gamoxatavs, roca aRniSnavs eklesia me movxateo. is Tavisi SromiT emsaxureba eklesias, esaa misi donacia da amisTvis moelis uflis wyalobas. epigrafikaSi mravlad aris SemTxvevebi, roca ostati ara mxolod Tavisi Sromis safasurs, aramed, Tu SeiZleba iqvas, Tavis naSroms swiravs eklesias (`...me k¢rike CemiTa kalatozobiTa Sevswire amas eklesiasa ke dramai~ /zemo krixis warwera, XI s./; `wmidao giorgi, Seiwyale mona Seni giorgi galatozi da Svilni misni – ese sueti ufasod aages~, `wmidao giorgi, Seiwyale faldoni galatozi da Svilni misni ese sueti ufasod Seqmna~ /jruWis eklesiis warwera, XI s./)51. momgeblisgan gansxvavebiT, ostatis mizans, rogorc Cans, amqveyniuri pativis moxveWa ar warmoadgenda, radgan mas, rogorc avgaroz bandaisZis (XIV s.) anderZidanac kargad Cans, gacnobierebuli hqonda, rom: `naSromihgiesdamSromeliwarvals~ (A 575, 154v)52. igives ambobs XVI saukunis mRvdeli ioane kratovodan: `xeli, romelmac dawera saflavSi lpeba, wigni ki marad iarsebebs~53. Tavisi saqmis mimarT aseT damokidebulebas XVIII­XIX saukuneebis ostatebic inarCuneben, rasac xelnawerTa gadamnusxvelebis anderZ­minawerebi mowmobs (`mSromeliwarvalsdaaha, naSromi hgiebs~ (A 1048, 703r, XVIII s.).

50 warwerebis magaliTebi ix. TumaniSvili, nacvliSvili, xoStaria, mSenebeli ostatebi, 59–60.

51 TumaniSvili, nacvliSvili, xoStaria, mSenebeli ostatebi, 60. sainteresoa, rom mxatvari da xatmweri alimpii (XI–XII ss.) uars ambobda gasamrjelos miRebaze, an mas samad anawilebda (xatebisTvis, SeWirvebulTaTvis da sakuTari saWiroebebisTvis), Древнерусские патерики, 173.

52 qarTul xelnawerTa aRweriloba, A­II2, 190.

53 Тодиħ, Лични записи, 496.

amdenad, Sua saukuneebis qtitorisTvisac da mxatvrisTvisac mTavari da mniSvnelovani taZris mxatvrobiT Semkoba iyo, xolo visi xeliT ganxorcieldeboda es saqme – meorexarisxovani. amitomac mxatvari, sazogadod, ostati Tavis namuSevars iSviaTad `awerda xels~ da qtitoric ar miiCnevda aucileblad mis xsenebas warweraSi. Sua saukuneebis xelovnebis anonimurobas misi daniSnuleba, momgeblisa da mxatvris Tavisi saqmisadmi damokidebuleba ganapirobebda. unda iTqvas, rom anonimurobas avtografebisa Tu mxatvrebTan dakavSirebuli cnobaTa raodenobrivi simcire ise ar ganapirobebs, rogorc warwerebSi gadmocemuli metismetad mwiri informacia. Sua saukuneebis mxatvari imden informacias gvawvdis Tavis Sesaxeb ramdenic mas da misi warweris mkiTxvels sWirdeboda. amasTan dakavSirebiT bunebrivia wamoiWreba sakiTxi vin kiTxulobda warwerebs.

ukanasknel wlebSi didi yuradReba eTmoba Sua saukuneebis eklesiaTa, xatebisa Tu sxva nivTebis warweraTa (iqneba es istoriuli, ganmartebiTi Tu liturgikuli xasiaTis warwerebi) mniSvnelobisa da daniSnulebis, warwerisa da im obieqtis urTierTmimarTebis kvlevas, romelsac is ekuTvnis; mraval problemaTa Soris mkvlevarTa interess iwvevs warweraTa vizualuri aspeqtebi, maTi mkiTxveli, ramdenad farTo iyo misi wre Sua saukuneebSi, saerTod Tu kiTxulobdnen kedlebze daweril teqstebs, an rogor aRiqvamdnen maT gaunaTlebeli, wera­kiTxvis ucodinarni, ra daniSnuleba hqondaT im warwerebs, romelTa danaxva Zneli, zogjer SeuZlebelic iyo eklesiaSi Tavisi mdebareobis gamo; an, magaliTad, rogor aRiqvamdnen kriptogramul warwerebs, romelTa gaSifvra ar iyo ioli. am problemebs araerTi sagulisxmo gamokvleva eZRvneba54. vfiqrobT, am kiTxvebze erTmniSvnelovani pasuxis povna ar aris ioli. yovel konkretul SemTxvevas Tavisi axsna moeZebneba. Sua saukuneebSi, rogorc cnobilia, saWiro gaxda saRvTismetyvelo ideis ori saSualebiT – vizualuri da verbaluri, gamosaxulebiTa da teqstiT gadmocema. raki ganmartebiTi Tu istoriuli warwerebis gakeTebis tradicia Camoyalibda, cxadia, maT mkiTxvelic hyavdaT. amas isic mowmobs, rom marTlmadidebel qveynebSi, sadac bizantiur ikonografiul Temebsa da sqemebs 54 am sakiTxebTan dakavSirebiT vrceli literaturaa arsebobs, davasaxelebT ramdenimes: Papalexandrou, Text in Context, misive, Echoes of Orality; James, ‘And Shall These Mute Stones Speak?’; Rhoby, The Meaning of Inscriptions, misive, Text as Art?; Eastmond, Textual icons; Lauxtermann, Byzantine Poetry; Drpić, Epigram; kr­bi: James L. (ed.), Art and Text; Eastmond (ed.), Viewing inscriptions; Berti et al (eds.), Writing Matters.

iziarebdnen da iqauri nimuSebiTac sargeblobdnen, zedwerilebs adgilobriv enaze werdnen, rac, cxadia, adgilobrivi mkiTxvelisTvis keTdeboda. magaliTad, saqarTveloSi berZen mxatvarTa mier Sesrulebul kedlis mxatvrobaSic (walenjixa, gremi, bobnevi, maRalaanT eklesiis kankeli da sxva) qarTuli, an berZnul­qarTuli warwerebia55. istoriuli xasiaTis warwerebic, metadre, roca avtori mkiTxvels locvaSi moxseniebas SesTxovs imas mowmobs, rom maT kiTxulobdnen. warwerebs ori – zeciuri da miwieri mkiTxveli hyavda. es ukanaskneli maT sxvadasxvagvarad, Tavisi ganaTlebis donis Sesabamisad aRiqvamda; cxadia, isic, rom yvela da yovelTvis ar an ver waikiTxavda warwerebs. ramdenadac Cvens interess mxatvris saxelis Semcveli warwerebi warmoadgens, amitom yuradRebas maTze gavamaxvilebT. eklesiis kedlebze dawerili mxatvrisa Tu qtitoris warwera, erTi mxriv, da, upirvelesad, uflisTvis iyo gankuTvnili da misi mTavari `mkiTxvelic~ is iyo, meore mxriv, miwieri adamianisaTvis; d. TumaniSvilis gansazRvreba rom gamoviyenoT, arsebobda `saTaviso~ da `saCino~ 56 , `sasxvi so~ warwerebi. roca warweraTa mkiTxvelzea saubari mxedvelobaSi unda miviRoT garemo, romelSic isini arseboben – eklesia­monastrebi, Sua saukuneebis ganaTlebis ZiriTadi kerebi; wera­kiTxva soflis ubralo mRvdelmac icoda da, cxadia, momgeblebmac da farTo sazogadoebis raRac nawilma mainc. unda aRiniSnos isic, rom Tu saqtitoro warweris, zogierTis mainc, wakiTxvaca da misi, zogjer sakmaod rTuli Sinaarsis gageba ar iyo ioli, mxatvris `xelmoweris~ amokiTxva, Tundac amocnoba ar gauWirdebodaT, radgan is sayovelTaod cnobili savedrebeli formulisgan Sedgeboda (qriste Seiwyale, macxovaro, meox eqmen da sxva), romelsac ubralo momlocvelic werda eklesiis kedelze. rogorc e. istmondi erTgan SeniSnavs, gaunaTlebel mkiTxvels SeiZleba ver amoekiTxa qtitoris saxeli, magram is amoicnobda teqsts, rogorc konkretuli adamianis vedrebas, romlis saxelic RmerTs ecodineboda57

55 qarTul kedlis mxatvrobaSi berZnuli warwerebi gvxvdeba gragnilebze, calkeul scenaTa da gamosaxulebaTa zedwerilebSi; aris orenovani, berZnul ­ qarTuli ganmartebiTi warweris SemTxvevebic, mag., gelaTis RvTismSoblis Sobis taZris CrdiloeT karibWis moxatulobaSi (XVI s.), romelic, savaraudod, berZeni ostatis naxelavia.

56 TumaniSvili, nacvliSvili, xoStaria, mSenebeli ostatebi, 74­75.

57 Eastomond, Textual Icons, 79.

bizantiaSi zogi warwera eklesiaSi xmamaRladac ikiTxeboda58. CvenTvis cnobil qarTul wyaroebSi amis Taobaze cnobebi ar gvaqvs, magram, albaT, ar SevcdebiT Tu aseTi praqtikis arsebobas saqarTveloSic vivaraudebT. warweraTa avtori xSirad mRvdels an ubralo mkiTxvels locvaSi moxseniebas SesTxovs, rac imas mowmobs, rom man icoda, rom mis vedrebas waikiTxavdnen. ase magaliTad, sabereebis III eklesiis mxatvari, rogorc Cans, monastris saZmos mimarTavs misTvis ilocon (#1), petriwonis monastris saZvalis mxatvari, ioane iberopulosi59, walenjixaSi manuel evgenikosi, manuel da ioane foka60 mkiTxvels SesTxoven locvaSi moxseniebas61. saintereso informacias Seicavs sofrom mwignobris anCis oTxTavis anderZi (XII­XIII ss.). mas oTxTavi Tavisi Zmis, s¢meonis salocvelad anCis eklesiisTvis Seuwiravs, risTvisac anCelma episkoposma Tevdorem mosaxseniebeli: `s¢meons da ZmaTa misTa, Seundven RmerTman ganuwesa da kedelsacazedadawera¡~ aRuTqva62. yuradRebas iqcevs is garemoeba, rom sofromi xazgasmiT aRniSnavs, rom mas mosaxseneblis eklesiis kedelze daweras Sehpirdnen. amasTan dakavSirebiT, Tavis droze, metad sagulisxmo mosazreba gamouTqvams dimitri TumaniSvils, kerZod, rom `kedelsaca zeda dawera¡~ gulisxmobs ara warweris, aramed gamosaxulebis kedelze daweras, daxatvas, radgan, rogorc sabereebis VII da VIII eklesiebis mxatvarTa warwerebTan dakavSirebiT ukve iTqva, `wera~­s xatvis mniSvnelobac aqvs63. gamodis, rom sofroms anCis taZarSi gamosaxulebis daxatvas Sehpirdnen. anderZis teqsti orivenairi wakiTxvis saSualebas iZleva, magram eklesiis kedelze s¢meonisa da misi Zmebis savedrebeli ewereboda Tu maTi gamosaxulebebi, orive SemTxvevaSi mizani erTi iyo –maTi saukuno xsovna da sulis SendobisTvis locva.

58 Papalexanrdou, Text in context, misive, Echos of Orality; A. Rhoby, Text as Art, 270.

59 Bakalova, Korolova, Popov, Todorov, The Ossuary of Bachkovo Monastery, Plovdiv 2003, 09; PanayotovaPuguet, Les peintures de Bačkovo; warweris qarTuli Targmani ix. sxirtlaZe, mRvdelmonazoni markos, 314, Sen. 6.

60 Gouma-Peterson, Manuel and John Phokas, 160–161, 170.

61 sxva magaliTebi ix. Kalopissi-Verti, Painters, 144; Drakopoulou, Inscriptions de la ville, 22–24.

62 silogava, svaneTis werilobiTi Zeglebi II, 174–176; silogava, Sengelia, tao­klarjeTi, 58–61; asaTiani, vaWaraZe, anCis saxareba, 487–993.

63 d. TumaniSvilis es mosazreba CvenTvis cnobili gaxda q. asaTianisa da a. vaWaraZis naSromidan (asaTiani, vaWaraZe, anCis saxareba, 490, Sen. 7). rogorc Cans, man is zepiri saubris dros gamoTqva.

eklesiis kedelze daweril savedrebels didi mniSvneloba hqonda masSi dasaxelebuli adamianisTvis, radgan man icoda, ramdenjerac warweras waikiTxavdnen, imdenjer aRavlendnen misi sulis xsnis vedrebas. warweris daniSnulebasa da mis mkiTxvels, konkretul adresatsac ki didwilad misi lokalizaciac gansazRvravda. istoriuli xasiaTis warwerebis eklesiis interiersa Tu mis fasadebze ganTavsebaSi raime kanonzomiereba ar Cans. maT ar aqvT fiqsirebuli adgili. ufro myari tradicia saqtitoro warwerebSi SeiniSneba. isini xSirad eklesiis Sesasvleli karis Tavze, an mis siaxloves arian moTavsebulni, Tumca dakanonebuli adgili arc maT hqondaT. mxatvarTa `xelmowerebs~ yvelgan gadaeyrebi. maTgan gansxvavebiT qtitorTa warwerebisTvis ufro kargad mosaxilveli mdebareoba da ufro reprezentaciuli xasiaTia damaxasiaTebeli, Tumca isic aucileblad unda aRiniSnos, rom mxatvrebi, Cveulebriv, sruliad gaazrebulad SerCeul adgilas `awerdnen xels~ da xSirad arc maT warmoCenas eridebodnen. roca mxatvrebi eklesiis Znelad dasanax adgilas an ornamentSi werdnen TavianT savedreblebs, isini maT am gziT ki ar malavdnen, aramed mxatvarTa mizans warweraTa sajarod warmoCena ar warmoadgenda; es warwerebi kerZo, `saTaviso~ savedreblebi iyo, romlebic zeciuri mkiTxvelisTvis iyo gankuTvnili. niSandoblivia, rom am warwerebSi ostati mkiTxvels, Cveulebriv, arc SesTxovs locvaSi moxseniebas, radgan icis, rom is mas ver dainaxavs. varZiis sakurTxevlis afsidis moxatulobaSi (XII s.) mxatvar giorgis ornamentSi moqceuli warwera sakurTxevelSi myof mRvdelsac ki SeiZleba ver SeeniSna, an misi erTmaneTisgan daSorebuli grafemebi ver gaeSifra iseve rogorc beTaniaSi mxatvar demetres sakurTxevlis afsidSi, dasajdomlis ornamentSi wvrili asoebiT Cawerili warwera (XII s.), magram maT, uTuod, dainaxavda ufali. mxatvarTaTvis mniSvnelovani iyo savedreblis swored sakurTxevlis afsidSi `datoveba~. Sua saukuneebis mxatvrebi aq xSirad aTavsebdnen TavianT warwerebs. amis uadresi nimuSebi saqarTveloSi sabereebis IX­X saukuneebis moxatulobebSia (IV da VIII eklesiebi) SemorCenili, gvxvdeba XII­XIII ss­isa (varZia, beTania, ozaani) da ufro gviani xanis (biWvinta, wiTelxevi, Cxari, yvela XVI s.) ZeglebSic. sakurTxevlis afsidSi mxatvarTa warwerebis moTavseba kargad aris cnobili bizantiursa da postbizan­

tiur kedlis mxatvrobaSic64. amave mizniT aq qtitorebic werdnen TavianT warwerebs65. sakurTxevlis afsidSi arsebuli warwerebis potenciuri mkiTxveli sasuliero pirebic iyvnen. albaToba imisa, rom wirvis dros aq Sekrebili samRvdeloeba warwerebSi dasaxelebul pirebs locvaSi moixseniebda didi iyo; es locvaSi moxseniebis garantia iyo66. mxedvelobis miRma ar darCebodaT sabereebis IV eklesiis mxatvarTa warwera, romelic afsidis qveda registrSi konqisa da afsidis moxatulobis gammijnavi ornamentuli zolis qveSaa moTavsebuli, miuxedavad imisa, rom grafemebi mcire zomisaa. uTuod wakiTxvazea orientirebuli ozaanis mxatvar miqaelis warwera (XII­XIII ss.). sakurTxevelSi, trapezis win mdgomi mRvdlis TvalTaxedvaSi aucileblad moeqceva misgan marjvniv, afsidis TaRis wina pirze TiTqmis adamianis simaRleze moTavsebuli xuT striqonad ganawilebuli Savi saRebaviT Sesrulebuli moxdenili warwera, romelic dekoratiuli `wanazardebiTaa~ gaformebul­aqcentirebuli (sur. 11, 12). SeuZlebelia yuradRebis miRma darCes giorgi joxtoberiZis `xelmowera~ wiTelxevis wm. giorgis eklesiis sakurTxevlis afsidSi. didi zomis Savi grafemebiT Sesrulebuli oTxstriqoniani warwera moxatulobis (XVI s.) qveda registrSi eklesiis mamaTa Soris qvis trapezis Tavze gamosaxuli miZinebis xatis Tavzea moTavsebuli da masTan erTobliobaSi aRiqmeba (sur. 18, 19). amitom is, nebiT Tu uneblied, yovelTvis Seaxsenebda mRvdels joxtoberiZis SendobisTvis locvas. isic unda aRiniSnos, rom wiTelxevis calnaviani eklesia metismetad mcire zomisaa; aq erTdroulad ramdenime adamiani Tu daeteva. aRsavlis karis gaRebisas joxtoberiZis warweras miZinebis xatTan erTad eklesiaSi Sekrebili mrevlic mohkravda Tvals. aranakleb mniSvnelovania isic, rom warwera uSualod aris dakavSirebuli miZinebis xatTan da liturgikul scenaSia CarTuli. eWvs ar iwvevs, rom joxtoberiZem ganzrax SearCia es adgili Tavisi savedrebeli warwerisTvis. sxvaTa Soris, warweris aseT mniSvnelovan adgilas Tamami ganTavseba joxtoberiZes,

64 magaliTebi ix. Kalopissi-Verti, Painters, 143; misive, Dedicatory Inscriptions, 82, 92-93. Drakopoulou, Inscriptions de la ville, 21-24; Тодиħ, Лични записи, 522–524, Choulariás, The Work of the Painter, 71.

65 Gerstel, Beholding the Sacred Mysteries, 13; Drakopoulou, Inscriptions de la ville, 21. momgebelTa warwerebis sakurTxevlis afsidSi moTavsebis SemTxvevebi saqarTveloSic gvxvdeba (nezguni (#5), gelaTi (Меписашвили, Архитектурный ансамбль Гелати, 8, Sen. 20, 9, Sen. 24), bulia, janjalia, axtalis moxatuloba, 189–190, 194.

66 Gerstel, Beholding the Sacred Mysteries, 13; Drakopoulou, Inscriptions de la ville, 21; Тодиħ, Лични записи, 522.

SesaZloa, erTma garemoebamac ubiZga. saqme isaa, rom wiTelxevis sakurTxevlis afsidSi eklesiis mamaTa rigSi istoriul pirTa, rogorc Cans, moxatulobis TanaqtitorTa portretebia CarTuli, rac uCveuloa qarTuli kedlis mxatvrobisTvis67. rac Seexeba TvalsaCino adgilas moTavsebul warwerebs, isini zeciurTan erTad amsofliur mkiTxvelsac gulisxmobda. magaliTad, sabereebis III eklesiis mxatvris warwera eklesiaSi Sesasvlelzea orientirebuli, mis mopirdapire, CrdiloeT kedelzea ganlagebuli. mxatvari iTxovs kidec (Zmano locvass go¢edia...) mis wakiTxvas (sur. 8), anda sabereebis VII eklesiis mxatvris warwera (X s.), romelic CrdiloeTi mklavis aRmosavleT kedelze sakmaod dablaa moTavsebuli. kargad moixilveba sabereebis VIII eklesiis mxatvris warwerac (X s.). is sakurTxevlis afsidis konqSi qristes didebis kompoziciaSia CarTuli (sur. 6). warweraTa TvalsaCinod warmodgena ufro damaxasiaTebeli gviani Sua saukuneebis mxatvrebisTvis gaxda, gansakuTrebiT xalxuri mimarTulebis ostatebisTvis. isini am mxriv ufro met siTamames iCenen. ase magaliTad, giorgi joxtoberiZis `xelmowera~ gelaTis wm. elias eklesiaSi dasavleT kedelze, karis aswvrivaa moTavsebuli, sakmaod didi zomis grafemebiTaa gamoyvanili da moCarCoebiTacaa gamoyofil­gamijnuli mis orsav mxares gamosaxul wmindanTa figurebisgan (sur. 20); asevea gadawyvetili martvilis mxatvris (XVI s.) warwerac, romelic samxreTi afsidis moxatulobis zeda registrSi sarkmlis Tavzea moTavsebuli (sur. 21). ufro adreuli xanis mxatvarTaTvis warweraTa adgilis SerCevisa da maTi aqcentirebis mxriv meti mokrZalebaa damaxasiaTebeli. eklesiis sivrceSi warweris lokalizaciis TvalsazrisiT saqarTveloSi Camosuli mxatvrebi adgilobrivi ostatebisgan ar gansxvavdebian, Tumca zogierTi maTganisTvis xazgasmulad sazeomo xasiaTia damaxasiaTebeli. am mxriv gansakuTrebiT gamoirCava da gancalkevebiTad dgas walenjixis warwerebi. magram berZeni mxatvrebis warwerebTan dakavSirebiT, pirvel rigSi, sxva sakiTxi wamoiWreba _ visTvis keTdeboda

67 sakurTxevlis afsidSi, savaraudod, adgilobrivi mRvdlebi (warweraTa mixideviT _ ivane faiqriZe da saba kvirikaZe) arian gamosaxulni. eklesiis moxatulobis momgebelni TurmaniZeebi iyvnen, rasac am ukanasaknleTa portretebi da saqtitoro warwera mowmobs. wiTelxevSi aris moxatulobis radenadme gviani fenac (XVI s­is bolo) Sesrulebuli demetraZeTa ojaxis dakveTiT. am fenas ganekuTvneba warwera, romelic, savaraudod, mxatvars unda ekuTvnodes; ix. aqve, 23b. aseve, xuskivaZe, qarTul eklesiaTa gviani Sua saukuneebis `xalxuri~ moxatulobani, 77–110.

berZnulenovani warwerebi, vin waikiTxavda maT saqarTveloSi. rogorc marTlmadidebel qveyanaSi berZnuli aq, cxadia, icodnen, pirvelyovlisa sasuliero pirebma; mas saero sazogadoebis zogierTi warmomadgenelic flobda, magram es iyo viwro wre. warweraTa wakiTxva ar gauWirdebodaT iseT monastrebsa da eklesiebSi, rogoric iyo gelaTi, biWvinta Tu gremi da arc Tavisi ganswavliT cnobil bobnevis eklesiisa da maRalaanT eklesiis kankelis moxatulobaTa damkveTebs – Tbilisis episkoposs iosebs (tfileli, saakaZe)68 da mcxeTis sveticxovlis qadags, nikoloz maRalaZes69, magram berZnuli warwerebis wakiTxvas yvela da yovelTvis ver SeZlebda – verc yvela sasuliero piri da miT ufro mrevli an vinme sxva eklesiaSi misuli. bunebrivia, rom berZenma mxatvrebma mSobliur enaze `moaweres xeli~, Tanac isini xom upirvelesad uflisTvis iyo gankuTvnili da, cxadia, enas mniSvneloba ar hqonda, magram Cvens SemTxvevaSi yuradRebas sxva momentebi ipyrobs, saxeldobr, ra saWiro iyo saqtitoro warweris berZnulad dawera gremSi, miT ufro, rom aq moxatulobis zedwerilebi qarTulia70, an ra aucilebeli iyo berZnuli warweris gakeTeba walenjixaSi, roca misi Sinaarsi evgenikosisa da qvabalia­gabisulavas qarTul warwerebSicaa gacxadebuli. aRsaniSnavia isic, rom berZeni mxatvrebis mier moxatul eklesiebSi mTavar da yvelaze mniSvnelovan informacias – momgeblis vinaobas (walenjixaSi mxatvris vinaobasac) adgilobrivi sazogadoeba qarTuli warweris, an saqtitoro portretis (zogan orivea) meSveobiT Seityobda. eWvs ar iwvevs, rom walenjixaSi swored am mizniT gakeTda qarTuli warwerebi.

68 bobnevis eklesiaSi ioseb Tbilelis ori saqtitoro warweraa: samxreT fasadze, karis Tavze qvaze kveTili warwera, romelic iuwyeba, rom eklesia ioseb tfilelis dakveTiT aigo (firaliSvili, bobnevis moxatuloba, 10–11) da eklesiis interierSi samxreT kedelze ferweruli warwera: †s[ax]el[iTa] [RmrTisa¡Ta ]isa | l[ ]ds | Scn[ ]if | da miaTvale Zed ma[ ]m | ad S(e)nda i(oan)e ma[xareblisa] m | same[o]den [ ] St[ ]iT[ ][a]Rva | Sene eklesi(a)¡ ese me c[od]v(il)m(a)n tf[i] |l(e)lm(a)n saakaZe ioseb da [ ] [mov(a)xati] | ne da Se[vamk]e x(a) tebiT [ ]C | f[ ] m(a)T da i d ie | d[avaweri]ine wignebi Se[ ]| v[ ]Se[ ]d |[ ]s | [ ] toa. warweras boloSi erTvis TariRi _ `toa~ (1683). warwera mogvyavs g. gagoSiZis gadmonaweriT, romelic ramdenadme gansxvavdeba adrindeli wakiTxvisgan, Sead. firaliSvili, bobnevis moxatuloba, 12. iosebma, rogorc Cans, bobnevis eklesia Tavis saZvaled aaSena da Seamko. ioseb tfilelis Sesaxeb ix. fircxalaiSvili, ioseb tfileli.

69 nikoloz maRalaZis Sesaxeb ix. beriZe, winarexel maRalaZeTa mSenebloba; gagoSiZe T., `kualad uvlinebdnen; xaindrava, maRalaZeTa sagvareulos istoriisTvis.

70 gremSi berZnuli zedwerilebic aris, ix. yauxCiSvili, saqarTvelos berZnuli warwerebis korpusi, 319–331.

walenjixaSi yuradRebas iqcevs is garemoeba, rom aq ar aris vamey dadianis saqtitoro warwera, Tumca aris misi portreti da kidev erTi warwera, romelic, faqtiurad, mis sadidebels warmoadgens71, maSin roca, vameyisgan konstantinopols wargzavnili qvabalia­gabisulavas warwerac aris (sxvaTa Soris, isini ar axseneben vameys) da taZris maSenebelTa da mzareulTa savedrebelic72. vfiqrobT, saqtitoro warweris funqcia aq evgenikosis warwerebma SeiTavses, romlebic upirvelesad vamey dadianis Rvawls warmoaCenen. konstantinopolidan mxatvris Camoyvanis samive warweraSi xazgasmac misi damsaxurebis Cvenebas emsaxureboda. bizantiis dedaqalaqidan mxatvris mowveva arc rigiTi movlena iyo da arc ioli saqme. konstantinopoleli mxatvrisTvis moxatulobis dakveTa vameyisTvis mniSvnelovani, uTuod, sapatio da saamayo iqneboda miT ufro Tu gaviTvaliswinebT mis ambiciur xasiaTs73. SemTxveviTi arc warwerebisTvis SerCeuli adgilia. isini, rogorc iTqva, burjebzea ganlagebuli da moxatulobis saerTo konteqstidan gamoyofilia, riTic maTi mniSvneloba ufro xazgasmulia. iSviaTad moiZebneba warwera, romelic ase ipyrobdes yuradRebas. maT gverds ver auvli. taZris centraluri, dasavleTi karidan SesvlisTanave, vidre moxatulobas moixilav, dasavleT burjebze adamianis simaRleze moTavsebuli vrceli da sazeimo xasiaTis warwerebi ipyrobs mnaxvelis mzeras, TiTqos gaiZulebs maT wakiTxvas (sur. 22, 23, 24). gansakuTrebiT berZnulenovani warwera gamoirCeva, romelsac burjis farTo waxnagi eTmoba. advilad mosaxilvel adgilas moTavseba da reprezentaciuli xasiaTi, rogorc aRiniSna, qtitoris warwerisTvisaa damaxasiaTebeli da walenjixis warwerebi, am mxrivac, saqtitoro warwerebs emsgavseba, maT utoldeba. ar aris gamoricxuli, rom, Tavis droze, gelaTis RvTismSoblis taZarSic orenovani warwerebi yofiliyo. samxreT­dasavleT gumbaTqveSa burjze mxatvar timoTeosis warweris gayolebaze meore berZnuli warweraa, romelic iuwyeba, rom taZari imereTis mefis bagrat III­is

71 warwera: q. adide RmerTman patroni erisTavT erisTavi da mand[aturTuxucesi] [? vamey] dedofali... moTavsebulia gumbaTqveSa dasavleT TaRze. warwera waikiTxa g. gagoSiZem.

72 maSenebelTa,galatozTadaxelisufalTadamzareulTayovelTaSeundvnesRmerTman, amin, amin, amin, Лорткипанидзе, Роспись в Цаленджиха, 13. T. sanikiZe, walenjixis macxovris taZris istoriisaTvis, 177–178.

73 Лорткипанидзе, Роспись в Цаленджиха, 110; lorTqifaniZe, janjalia, walenjixa, 5–6; Kalopissi-Verti, Painters, 146–147, misive, Paniters’ Information, 66; Тодиħ, Лични записи, 500.

SewevniT moixata (sur. 26)74. am warweraTa simetriulad, Crdilo­dasavleT burjze ki ori qarTuli warweraa moTavsebuli, romelTagan erTSi kvlav bagrat III­ea moxsenebuli (sur. 25). marTalia, teqsti berZnuli warweris analogias ar warmoadgens, magram, yovel SemTxvevaSi, oriveSi bagratia dasaxelebuli. meore qarTuli warwerisgan TiTqmis aRaraferia SemorCenili. vin icis, iqneb aq, Tavis droze, mxatvaric iyo dasaxelebuli75. sxvaTa Soris, arc is aris gamoricxuli, rom gelaTSic, walenjixis msgavsad, mxatvar timoTeosis warwera qtitoris, bagrat III­is surviliT daiwera. am STabeWdilebis Seqmnas xels uwyobs maTi warwerebis erTmaneTis gverdiT mdebareobaca da erTnairi mxatvrul­kompoziciuri gadawyvetac, ris gamoc isini erTmaneTs daukavSirda da Tanabari mniSvneloba SeiZina (sur. 26). timoTeosis warwera, romelic TariRsac Seicavda (amJamad dazianebulia), faqtiurad, bagrat III­is warweris damasrulebel nawilad aRiqmeba. gremis taZarSi berZnulenovani saqtitoro warweris mTavari gzavnili gamosaxulebiTaa gadmocemuli, vgulisxmobT, levan kaxTa mefis (1518­1574) saqtitoro portrets (sur. 32). erT­erT svetze ki saqtitoro warweraSi moxsenebuli winamZRvari sabac aris gamosaxuli. orive portrets qarTuli zedwerilebi axlavs. bobnevis eklesiaSi samxreT kedelze momgeblis, ioseb tfilelis portretia gamosaxuli da iqve misi qarTuli saqtitoro warwerac, romelSic eklesiis moxatvazea saubari (sur. 33). warwera, amJamad, naklulia76. ar aris gamoricxuli masSi aToneli mxatvari danielic yofiliyo dasaxelebuli, romlis berZnulenovani `xelmowera~ mopirdapire CrdiloeT kedelzea moTavsebuli (sur. 34). orenovani warwerebis arseboba gvibiZgebs vivaraudoT, rom qarTuli teqstebi adgilobrivi sazogadoebisTvis iyo gankuTvnili. berZnuli ki _ qtitorTaTvis iyo mniSvnelovani da, SesaZloa maTi surviliTve iwereboda. isini mxatvris warmomavlobis utyuari dasturi iyo, maT avtografis Zala hqondaT, moxatulobaze konstantinopolur, aTonur,

74 yauxCiSvili, saqarTvelos berZnuli warwerebis korpusi, 157–158.

75 pirvel warweraze ikiTxeba: mefeTa mefesa bagrats Seundos RmerTman. meore Zalze dazianebul warweraSi r. mefisaSvilma, Tavis droze, amoikiTxa ori aso: `of~, romelic `dedofali~­is nawilad miiCnia da warwera, savaraudod, aRadgina rogorc `dedofalTa dedofali elene~ (bagrat III­is Tanamecxedre), Меписашвили, Архитектурный ансамбль, 8, Sen. 20), Tumca ar viciT, ramdenad sarwmunoa es versia.

76 warwera ix. aqve, Sen. 68.

Tesalonikur damRas niSnavda, Tu SeiZleba iTqvas, xarisxis niSani iyo. momgebelTaTvis berZnuli warwerebi, SesaZloa, im mxrivac iyo mniSvnelovani, rom vinZlo vinme berZens an berZnulis mcodnes Semoevlo eklesiaSi, isic Seityobda, rom man berZen mxatvars moaxatvina taZari. qarTul kedlis mxatvrobaSi, rogorc aRiniSna, berZnuli zedwerilebi drodadro gvxvdeba, magram istoriuli xasiaTis berZnuli warwerebi mxolod im moxatulobebSi dasturdeba, romlebic berZnulenovani mxatvrebis mieraa Sesrulebuli77. rac Seexeba qarTul­berZnul istoriuli warwerebs, amis kidev erTi SemTxvevaa walenjixaSi, sadac isini moxatulobis ganmaaxleblis episkopos evdemon jaianis portrets (XVII s.) axlavT78. qarTul­berZnul saqtitoro warwerebs Seicavs ierusalimis wm. jvris monastris moxatulobac. T. virsalaZis SexedulebiT, orenovani warwerebi aq imisaTvis gakeTda, rom isini gasagebi yofiliyo qarTvelebisTvisac, berZnebisa da laTinTaTvisac79. TvalsaCino adgilas ganTavsebis gamo, da asea walenjixaSi, gelaTSi, maRalaanT eklesiis kankelze (sur. 22, 25, 35), berZnuli warwerebi farTo sazogadoebis mxedvelobis miRmac ver darCeboda. isini Tavisi zomiTa da mxatvruli gaformebiTac miiqcevdnen yuradRebas da ucxo da `ucnauri~ aso­niSnebis gamoc. am SemTxvevaSi unda gaviziaroT Sexeduleba imis Taobaze, rom Sua saukuneebSi warwera vizualur zemoqmedebasac axdenda. is mayurebelze wakiTxvis gareSec moqmedebda, maSinac, roca misi verbaluri mniSvnelobis gagebis unari ar Seswevda. warweras magiuri Zalac hqondaT da zogjer dekoris funqciasac iTavsebda80. safiqrebelia, rom qarTuli kedlis mxatvrobis berZnuli warwerebic farTo auditoriaze swored vizualur STabeWdilebas moaxdenda. e. istmondi X saukunis eklesiaTa safasado warwerebTan (kumurdo, iSxani, oSki) dakavSirebiT SeniSnavs, rom isini Seiqmna wasakiTxadac da sacqerladac; maT `teqstualuri xatis~ funqcia hqon­

77 bulia, janjalia, axtalis moxatuloba, 194. 78 Лорткипанидзе, Роспись в Цаленджиха, 26–27; yauxCiSvili, saqarTvelos berZnuli warwerebis korpusi, 95. 79 Вирсаладзе, Роспись Иерусалимского крестного монастыря, 17, 47. sxvaTa Soris, berZnulenovan saqtitoro warweraSi mxatvrebic arian dasaxelebulni, Т. Вирсаладзе, dasax. naSr., 17–19; ix. aseve: qarTuli qristianuli Temi wminda miwaze, 197–198; iqve, gagoSiZe g., wminda miwis qarTuli warwerebi, 59–62.

80 Rhoby, The Meaning of Inscritions, 733, 751–752, misive, Text as Art?; Jamse, ‘And Shall; Drpić, Epigram, 188–219.

daT da iseve zemoqmedebdnen rogorc namdvili xati81. istmondis mier ganxiluli Zeglebi, cxadia, walenjixisa Tu sxva mxatvarTa warwerebis pirdapir paralelad ver gamodgeba, Tumca zogierTi maTgani `teqstualur xatTan~ asociacias mainc iwvevs. es gansakuTrebiT walenjixis berZnulenovan warweras exeba. lokalizaciam da mozrdilma zomam TiTqos dajabna misi Sinaarsi. is feradovnebiTac aqcentirebulia. marTkuTxa formatSi moqceuli TeTr fonze Savi saRebaviT dawerili mwyobri warwera wiTeli moCarCoebiTaa gamoyofili. daaxloebiT aseT STabeWdilebas axdens gelaTis RvTismSoblis taZarSi timoTeosisa da bagrat III berZnuli warwerebi, Tumca aq es naklebi simZafriT aris gamoxatuli. isini amjeradac burjebzea moTavsebuli da moxatulobisganac gamijnulia, magram walenjixaSi warwerebTan uSualo kontaqti myardeba, radgan isini dablaa moTavsebuli, gelaTSi ki zeda registrSia ganTavsebuli da zomiTac ufro mcirea, Tumca feradovani aqcentebiTaa gamoyofili (warweraTa foni wiTeli, yviTeli da mwvane zolebisgan Sedgeba), rac maT sazeimo iersa da mniSvnelovnebas aniWebs (sur. 25, 26). amdenad, vfiqrobT, rom qarTuli kedlis mxatvrobis berZnul warwerebs farTo sazogadoeba, Tumca gaugebar, magram mniSvnelovani informaciis matareblad aRiqvamda. isic gasaTvaliswinebelia, rom adgilobriv mayurebels berZnul warwerebze ase Tu ise Tvali gaCveulic hqonda, Tundac qristesa da RvTismSoblis monogramebze an jvris gamosaxulebis tradiciul berZnul warwerebze. erTaderTi berZnuli warwera, romelic TiTqos ufro Znelad amosacnobia bobnevis mxatvris danielis `xelmoweraa~ (1683). erTstriqoniani warwera medalionebSi moqceul wmindanTa naxevarfigurebs Sorisaa ganawilebuli, rac mis erTian wakiTxvas TiTqos aferxebs. iseTi STabeWdileba iqmneba, rom mxatvarma Taviseburi kriptograma gaakeTa. magram, meore mxriv, daniels warweris damalva rom sdomeboda, is ufro saimedod gadamalavda mas (Tundac sadme maRla ganaTavsebda). warwera CrdiloeT kedelze moxatulobis qveda registrSi, sakmaod dablaa moTavsebuli da mi s pirdapir ganlagebul eklesiis Sesasvlelzea orientirebuli, saidanac Semosuli sinaTlis sxivi uSualod mas anaTebs.

81 Eastmond, Textual icons.

Zneli saTqmelia ratom mianiWes upiratesoba qarTul `xelmowerebs~ gelaTis RvTismSoblis taZris gumbaTis berZenma mxatvrebma, magram vfiqrobT, maT imitom iwvales qarTuli warwerebis daweriT, rom isini monastris RvTismsaxurT Tu mrevls waekiTxa. qarTuli warwerebi mxatvrebs locvebSi moxseniebis imedsa da garantias aZlevdaT. isini SeumCnevelic ver darCeboda, miuxedavad imisa, rom warwerebi maRla, gumbaTis yelSia moTavsebuli. maT dainaxavdnen da waikiTxavdnen ara mxolod imitom, rom sakmaod didi zomis TeTri grafemebi mkafiod gamoikveTeba muq lurj fonze, aramed taZris interieris kargi ganaTebis gamoc. warwerebi Sori manZilidanac kargad ikiTxeba (sur. 27, 28, 29, 30). gumbaTis yelis aRmosavleT da dasavleT monakveTebze ganTavseba warweraTa gardauval wakiTxvas uzrunvelyofda. or maTgans sakurTxevlisken mipyrobili mlocveli xedavs, xolo oris moxilva sakurTxevlis afsididan xerxdeba. maSasadame, sakurTxevlis winaSe locvis drosac da sakurTxevelSi RvTismsaxurebis Jamsac mxatvarTa warwerebi rogorc mRvdelTmsaxurTa, aseve mrevlis mxedvelobis areSi eqceva. SesaZloa, swored amitom moaweres mxatvrebma xeli gumbaTis yelis orive mxares. aqve SevniSnavT, rom saqarTveloSi mxatvris warwera gumbaTis moxatulobaSi mxolod gelaTis RvTismSoblis taZarSia Semonaxuli, Tumca gasaTvaliswinebelia, rom simeonma da Teodorem, SesaZloa, mxolod gumbaTi moxates da, cxadia, iqve `moaweres xeli~82

Sua saukuneebis mxatvrebi TavianTi savedrebeli warwerebisTvis konkretul ikonografiul scenebsa da gamosaxulebebsac arCevdnen. ase magaliTad, rogorc aRiniSna, sabereebis VIII eklesiis mxatvarma `xelmowera~ sakurTxevlis afsidis konqSi warmodgenil qristes didebis kompoziciaSi moaqcia. warweris pirveli striqoni macxovris terfebs Soris, misi saydris ornamentul zolSia Cawerili, momdevno xuTi ki macxovris marcxena terfis gverdiT mis fexsadgamzea dawerili (sur. 6, 7). qristes gamosaxulebis ferxTiT warweris moTavsebiT mxatvarma Tavisi Sewyalebis vedreba uSualod mas daukavSira, rac sityvieradac gamoxata: `macxovar Semiwyale mona¡ Seni mwerali...~. gamosaxuleba da teqsti

82 gelaTis RvTismSoblis taZari XVI s ­ is ganmavlobaSi etapobrivad ixateboda, mefisaSvili, virsalaZe, gelaTi; TumaniSvili, xuskivaZe, miqelaZe, janjalia, gelaTi 900, 259 ­ 260; mamaiaSvili, gelaTis monastris RvTismSoblis taZris XVI saukunis mxatvroba.

aq erTmTlianobaSia moyvanili. sabereebis mxatvris warwera jruWis II oTxTavis (H 1667, XII s.) miqaelis warweras (`qriste, Seiwyale miqael da daicev~) mogvagonebs, romelic zaqes moqcevis scenaSi (180v) macxovris saydris ornamentSia Cawerili. oRond am SemTxvevaSi is SefarviTaa dawerili, Zalian mcire zomis grafemebiTaa Sesrulebuli da ise erwymis ornaments, rom misgan garCeva Wirs83. marTalia, sabereebis VIII eklesiis mxatvarmac warwera ornamentSi moaqcia, magram is mkafiod ikiTxeba, radgan ornamenti martivi geometriuli naxatisgan aris Sedgenili, romlis TiToeul segmentSi nacrisfer fonze Savi saRebaviT Sesrulebuli erTi an ori grafemaa Cawerili (sur. 6, 7). gelaTis RvTismSoblis Sobis taZris moxatulobis (1550­iani ww.) erT­erTma mxatvarma warwerisTvis `Zili mowafeTa~ scena SearCia; Tanac man sabreebis VIII eklesiis ostatis msgavsad Tavisi Sesawyalebeli sruliad mizanmimarTulad macxovris figuras daukavSira – locvad muxlmoyrili qristes gamosaxulebis zurgs ukan dawera da mas Seavedra: qriste Seiwyale suli eliasio (sur. 13). soris wm. giorgis eklesiis moxatulobaSi (XIV s.) mxatvarma Tavisi warwera CrdiloeT kedelze, moxatulobis qveda registrSi gamosaxuli eklesiis patroni wmindanis, wm. giorgis fexebTan miawera (sur. 38). am Zlier dazianebuli da nakluli warweris mecnierTa mier SemoTavazebuli aRdgenili varianti ufro saqtitoro warweras hgavs: `SevamkveT ese eklesia... [Sewevni]Ta mRvdelmsa[xurT da] WarelisZe girgisiTa, [£] eliTa.... daviTisiTa da mnaTes S[vi]lisa iv[an]esiTa...~ (#18)84, Tumca, Cveni azriT, is mxatvrisgan unda iyos dawerili, rasac misi mdebareobac gvafiqrebinebs. saqtitoro warweras, Cveulebriv, warmosaCen adgilas ganaTavsebdnen, Tanac sorSi warweraSi dasaxlebuli giorgi WarelisZe samxreT kedelzea gamosaxuli da ufro mosalodneli iyo saqtitoro warwerac iqve moeTavsebinaT, vidre wm. giorgis figuris fexebTan SeumC­

83 barnaveli, jruWis meore kodeqsis ori warwera, 636–637; maWavariani, wignis xelovneba, 46; maWavariani, gaCeCilaZe, tatiSvili, xizaniSvili, qarTuli xelnaweri wignis momxatvel ostatTa Semoqmedeba, 89, sur. 81. ornamentSi warweris Cawera xelnawerTa gadamwerebisa da mxatvrebisTvisaa damaxasiaTebeli, maWavariani, iona gadamweri, 14, 16; misive, gadamwersa da mxatvars Soris Sromis ganawilebis sakiTxisaTvis, 19–20.

84 WiWinaZe i., soris wminda giorgis eklesiis moxatuloba, 55–56; sxirtlaZe, soris eklesia, 18.

nevlad mieweraT. Cveni varaudiT, warwera SeiZleba ase aRdgeniliyo: `Seimko ese eklesia... £eliTa....daviTisiTa...~ (da ara `SevamkveT ese eklesia...£eliTa...~). am SemTxvevaSi is daviTis dawerili gamovidoda. macxovris, RvTismSoblis an romelime wmindanis gamosaxulebis siaxloves savedrebel warwerebs Sua saukuneebis sxva ostatebic xSirad werdnen. es gansakuTrebiT damaxasiaTebelia xatebisTvis. sabereebis VIII eklesiis moxatulobis msgavsi SemTxvevebi gvaqvs, magaliTad, ielis macxovris Wedur xatze (XI s.), sadac ostatis, Tevdore gvazavaisZis warwera qristes saydris orsav mxaresaa ganawilebuli; lanCvalis xatze (XI s.) qtitorisa da oqromWedlis warwerebi macxovris saydris fexebTan aris miwerili85 da sxva. wmindanTa gamosaxulebs warwerebs xSirad ukavSireben xelnaweri wignis gadamwer­momxatvelnic86. beTaniaSi zemoxsenebulma mxatvarma demetrem Tavisi savedrebeli golgoTis jvris gverdiT dawera87. jvari, sikvdilze gamarjvebisa da kacTa modgmis xsnis simbolo samoTxis wiaRSia moqceuli, romelic simbolurad mcenareuli ornamentis saxiTaa gadmocemuli. mxatvarma sasufevelSi damkvidrebis imediT swored am garemoSi datova Tavisi savedrebeli. jvari da masTanve demetres warwera amavdroulad liturgikuli scenis centrSia moqceuli, mis orsav mxares eklesiis mamebi arian gamosaxulni (sur. 9). am konteqstSi jvari evqaristiuli msxverplis simbolocaa. am mxriv beTaniaSi igive sazrisia gamoxatuli, rac wiTelxevSi, aseve biWvintis RvTismSoblis taZris samxreT­dasavleTi kapelis moxatulobaSi (XVI s.), sadac berZenma mxatvarma, paraskevam warwera sakurTxevlis afsidSi eklesiis mamaTa rigSi patara niSis zemoT moaTavsa,

85 Чубинашвили, Грузинское чеканное искусство, 379, 382, sur. 375. 86 magaliTebi ix. gaCeCilaZe, tatiSvili, xizaniSvili, qarTuli xelnaweri wignis momxatvel ostatTa Semoqmedeba, 35, 108-109, sur. 29, 106. 87 istoriuli xasiaTis warwerebis, maT Soris, mxatvarTa savedreblebis jvris siaxloves ganTavsebis araerTi SemTxveaa cnobili Sua saukuneebis xelovnebaSi. es jer kidev kapadokiis anikonur moxatulobebSi dasturdeba (mag. sinasosis wm. basilis eklesiis saqtitoro warwera /IX­X ss./, romelSic mxatvaric aris dasaxelebuli, Thierry, Mentalité, 88–89; warweris qarTuli Targmani ix. sxirtlaZe, adreuli Sua saukuneebis qarTuli kedlis mxatvroba, 59) da mogvianebiTac xSirad gvxvdeba, mag. oxridis wm. siofiis taZris wm. ioane naTlismcemlis kapelis moxatulobaSi (1347­1350) mxatvrebma konstantinem da misma Svilma ioanem golgoTis jvris gverdiT da mis qvemoT daweres Tavisi warwerebi, Суботић, Охридски Сликар; Тодиħ, Лични записи, 512. jvris gamosaxulebas savedrebel warwerebs xSirad ukavSireben xelnawerTa momgebelni, gadamewerebi da momxatvelni, maWavariani, gaCeCilaZe, tatiSvili, xizaniSvili, qarTuli xelnaweri wignis momxatvel ostatTa Semoqmedeba, 159–160, sur. 38, 80.

romelSic aseve jvaria gamosaxuli88. mxatvrebi, TavianTi savedreblis afsidis qveda registrSi daweriT, iq, sadac liturgikul­evqaristiuli xasiaTis scenebia warmodgenili, TiTqos evqaristiis Tanaziarni xdebian. SemTxveviTi ar aris, rom bizantiursa da postbizantiur kedlis mxatvrobaSi araerTi SemTxvevaa, roca mxatvari evqaristiuli scenas urTavs Tavis saxels89 erTi SexedviT moxatulobis konteqstidan gamijnulia gerasimes warwera ubisis wm. giorgis eklesiaSi, sadac is satriumfo TaRis Sida viwro pirze, mis centrSia moTavsebuli, magram, meore mxriv, is macxovris xelTuqmneli xatis gamosaxulebasa da satriumfo TaRs gayolebul warweras (fsalmunni, 112, 3) Sorisaa moqceuli. gerasimes warwera xati xelTuqmnelis gamosaxulebas `ekvris~, riTac mas ukavSirdeba. isic unda aRiniSnos, rom warwerisTvis SerCeuli adgili – satriumfo TaRi – mas mniSvnelovnebas aniWebs (sur. 37). zemoT ukve aRiniSna, rom saqtitoro warwerebs sazeimo xasiaTi da TvalsaCino lokalizacia axasiaTebT. isini, Cveulebriv, moCarCoebiTacaa gamokveTili, xSirad zomiTac sakmaod mozrdilia da kompoziciuri da mxatvruli gadawyvetiTac aqcentirebuli. amis saukeTeso nimuSia ifrarisa da nakifaris warwerebi. ifraris mTavarangelozTa da nakifaris wm. giorgis eklesiebSi mefis mxatvarma Tevdorem saqtitoro warwerebisTvis kankelebi SearCia. istoriuli xasiaTis warwerebis kankelze ganTavseba sakmaod gavrcelebulia Sua saukuneebSi; aq warwerebs zogjer ostatebic werdnen (lenjeris mxeris eklesiis, maRalaanT eklesiis kankelebi, zedazenis kankelis reliefuri fila (XI s.)90 da sxva). ifrarisa da nakifaris sustad ganaTebul eklesiebSi (gansakuTrebiT ifrarSi) kankeli yvelaze naTeli adgilia, sinaTlis sxivi dasavleT kedelSi gaWrili karidan da sarkmlidan uSualod mas ecema. orive eklesiaSi SesvlisTanave TvalsawierSi afsidis konqSi gamosaxuli vedrebis monumenturi da STambeWdavi kompozicia da masTan erTad afsidis win aRmarTuli qvis moxatuli kankeli da mis karnizs gayolebuli warwerebi

88 vinaidan biWvintis taZris adgilze naxvis SesaZleblobas moklebulni varT amitom veyrdnobiT T. yauxCiSvilisa da l. ServaSiZis naSromebs, yauxCiSvili, saqarTvelos berZnuli warwerebis korpusi, 60–61; Шервашидзе, Средневековая монументальная живопись Абхазии, 172–190.

89 Todić, “Signatures”, 650–652, misive, Лични записи. 90 Шмерлинг, Малые формы, 113.

eqceva (sur. 39). TeTri saRebaviT dawerili orstriqoniani asomTavruli warwerebi mkafio kaligrafiiTaa gamoyvanili da naTlad gamoikveTeba muq mwvane fonze91. kankelTa antablementze orive eklesiaSi wmindaTa welzeda figurebia gamosaxuli. kankelze warwerebis ganTavsebas didi mniSvneloba hqonda92. es maT gardauval wakiTxvasac ganapirobebda da, maSasadame, maTSi dasaxelebul pirTa moxseniebasac. Tevdores warwerebis SemTxvevaSi eklesiaTa mcire zomebic gasaTvaliswinebelia. aq didi raodenobiT mrevli ver daeteva. warwerebis ZiriTadi mkiTxveli RvTismsaxurni iqnebodnen, magram maT, ra Tqma unda, eklesiaSi Sekrebilnic (Tundac mcire raodenobis) miaqcevdnen yuradRebas; wirva­locvis dros mrevli swored kankeliskenaa mipyrobili.

Tevdores saqtitoro warwerebTan SedarebiT ufro mokrZalebulad gamoiyureba mxeris mTavarangelozTa eklesiis mxatvar daviTis, amJamad, Zlier dazianebuli, warwera (XIV s.), romelic kankelis karnizze ki ara aris moTavsebuli, aramed mis qveda nawilSi, samxreTi filis kidezea dawerili (sur. 40) lagurkaSi saqtitoro warwerisTvis Tevdorem dasavleTi kedeli SearCia miuxedavad imisa, rom kankeli aqac aris, magram is ifrarisa da nakifaris kankelebisgan struqturuladac gansxvavdeba da arc karnizi aqvs93, xolo antablementze wmindanTa welzeda gamosaxulebaTa zemoT warwerisTvis sakmarisi adgili ar rCeba (sur. 41, 42). amas garda, lagurkaSi kankelis win sakurTxevliswina jvari dgas, romelic Tavisi zomisa da moelvare zedapiris (jvari moWedilia mooqruli vercxlis firfitebiT) gamo eklesiis interieris mxatvrul dominantad iqceva94. monumenturi jvris ukan kankelis warwera dakargavda Tavis mniSvnelobas da verc misi erTianad aRqma moxerxdeboda95. vfiqrobT, lagurkaSi

91 nakifaris warwera dazianebulia da cudad gairCeva, ix. aqve, N8.

92 kankelis warwerebis mniSvnelobisa da daniSnulebis Sesaxeb, ix. Pallis, Messages from a Sacred Space, 145–148.

93 Шмерлинг, Малые формы, 227, 230–231, 234–235, 246–247.

94 iqve, 227.

95 lagurkisgan gansxvavebiT, ifrarisa da nakifaris eklesiebSi sakurTxevliswina jvrebi ar aris, Tumca SesaZloa isini, Tavis droze, iyo kidec. magram am SemTxvevaSi gasaTvaliswinebelia maTi zoma da mdebareoba. svaneTis eklesiebSi sakurTxevliswina jvrebi xSirad kankelis kideebSi idga da isini mas mTlianad ar faravda. r. Semrlings ifraris kankelis rekonstruqciis naxazze sakurTxevliswina jvari CrdiloeTiT aqvs datanili, misi simaRle ar swvdeba kankelis karnizs, Шмерлинг, Малые формы, 227, 231, nax. 25.

warweris kankelze ganTavsebaze Tevdorem uari imitom Tqva, rom aq arc misi adgili iyo da is verc kargad aRqmadi iqneboda. dasavleT kedelze mdebare warwera kankelis warwerebTan SedarebiT nakleb sazeimoa, Tumca misi mniSvneloba mainc aqcentirebulia. eklesiidan gasvlisas yuradRebas iqcevs karis Riobis Tavze TeTri saRebaviT dawerili samstriqoniani warwera, romlis zemoT eklesiis patroni wmindanebi – kvirike da ivlitaa gamosaxuli, xolo qvemoT karis orsav mxares wm. barbare da wm. eketarine (sur. 42)96. saqtitoro warwerebi sazeimod da reprezentatulad aris warmodgenili gremis mTavarangelozTa taZarSic da gansakuTrebiT erTawmindis wm. evstates eklesiaSi. gremSi is saqtitoro warwerisTvis tradiciul adgilas, Sesasvleli karis Tavzea moTavsebuli, mis zemoT RvTismSoblis miZinebis didi kompoziciaa (sur. 31). erTawmindaSi warwera aRmosavleT kedelze, samkveTlos karis Tavze, sakmaod dabla mdebareobs, mozrdili zomisacaa da zedmiwevniTac aris gaformebuli ornamentiTa da dekoratiuli moCarCoebiT (sur. 43). aq, cxadia, yvela warweras ver SevexebodiT, aramed ganvixileT, Cveni azriT, sagulisxmo da saintereso nimuSebi, romelTa safuZvelzec SeiZleba davaskvnaT, rom mxatvrebi TavianT warwerebs SemTxveviT adgilas ki ar miawerdnen, iq, sadac mouxerxdebodaT, aramed sagangebod arCevdnen adgilsac eklesiis sivrceSi da konkretul scenebsa da gamosaxulebebsac. am TvalsazrisiT isini imave tendencias avlenen rogorsac sazogadod Sua saukuneebis bizantieli mxatvrebi, romlebic scenebSic werdnen TavianT warwerebs, wmindanTa gverdiTac da sulac maT gamosaxulebebzec ki97. rac Seexeba, saqtitoro warwerebs, maT mxatvarTa `xelmowerebisgan~ gansxvavebiT reprezantatiuloba axasiaTebT da eklesiis sivrceSi ufro dominanturi mniSvnelobac aqvT.

96 Tevdores warweraTa interpretaciis Taobaze, ix. Chichinadze, King’s Painter.

97 Todić, ‘Signatures’, misive, Лични записи; Kalopissi-Verti, Painters, 142–143.

sur. 2 ifraris mTavarangelozTa eklesia. sakurTxevlis konqis da kankelis moxatuloba. saqtitoro warwera. 1096 w

Iprari. Church of the Holy Archangels. Sanctuary conch and chancel barrier. Murals, donor inscription. 1096.

sur. 4. lagurka (wm. kvirikesa da wm. ivlitas eklesia). dasavleTi kedeli. wm. kvirike da wm. ivlita. saqtitoro warwera. 1111 w. Kala. Church of Sts. Cyriacus and St. Julitta (Lagurka). West wall. Sts. Cyricus and Julitta, donor inscription. 1111.

sur. 5. macxvariSis macxovris eklesia. CrdiloeTi kedeli. wm. ekaterines gvirgvindeba. kvirike mamasaxlisis da miqael maRlakelis warwerebi. 1140 w. Matskhvarishi. Church of the Saviour. North wall. Coronation of St. Catherine, inscriptions of Kvirike Mamasakhlisi and Michael Maglakeli. 1140.

sur. 6. sabereebis monsatris VIII eklesia. konqis moxatuloba. qristes dideba. X s. Sabereeby Monastery. Church VIII. Sanctuary conch. Christ in Majesty. 10th c.

sur. 7. sabereebis VIII monastris eklesia. mxatvris warwera. detali. X s. Sabereeby Monastery. Church VIII. Inscription of the painter. Detail.10th c.

sur. 8. sabereebis monastris III eklesia. CrdiloeTi kedlis moxatuloba. mxatvris warwera. IX s. Sabereeby Monastery. Church III. North wall. Murals, inscription of the painter. 9th c.

sur. 9. beTaniis RvTismSoblis Sobis eklesia. sakurTxevlis afsidis moxatuloba. XII s. Betania. Church of the Nativity of the Virgin. Sanctuary apse. Murals. 12th c.

sur. 10. beTaniis RvTismSoblis Sobis eklesia. afsidi. demetres warwera. XII s. Betania. Church of the Nativity of the Virgin. Sanctuary apse. Inscription of Demetre. 12th c.

sur. 11. ozaanis amaRlebis eklesia. sakurTxevlis afsidis moxatuloba. XII­XIII ss. Ozaani. Church of the Ascension. Sanctuary apse. Murals. 12th-13th cc.

sur. 12. ozaanis amaRlebis eklesia. sakurTxevlis afsidi. miqaelis warwera. XII­XIII ss. Ozaani. Church of the Ascension. Sanctuary apse. Inscription of Michael. 12th-13th cc.

sur. 13. gelaTis RvTismSoblis Sobis taZari. dasavleTi kedeli. Zili mowafeTa. 1550­iani ww. Gelati. Church of the Nativity of the Virgin. West wall. Agony in Gethsemane. 1550s.

sur. 14. safaris wm. sabas eklesia. samxreTi kedeli. jayelTa portreti. XIII­XIV ss. Sapara. Church of St. Sabas. South wall. Portrait of the Jaqeli. 13-14th c. sur. 15. safaris wm. sabas eklesia. samxreTi kedeli. Teodoretis warwera. XIV s. Sapara. Church of St. Sabas. South wall. Inscription of Theodoret. 14th c.

sur. 16. wvirmi­Cobanis wm. giorgis eklesia. dasavleTi kedeli. qtitori. XII s. Tsvirmi-Chobani. Church of St. George. West wall. The donor. 12th c.

sur. 17. nikorwmindis wm. nikolozis eklesiis karibWis moxatuloba. qtitorebi da mxatvarTa warwera. XVI s. Nikortsminda. Church of St. Nickolas. West porch. Donors and painters’ inscription. 16th c.

sur. 18. wiTelxevis wm. giorgis eklesia. afsidis moxatuloba. XVI s. Tsitelkhevi. Church of St. George. Sanctuary apse. Murals. 16th c.

sur. 19. wiTelxevis wm. giorgis eklesia. xati miZinebisa da giorgi joxtoberiZis warwera. XVI s. Tsitelkhevi. Church of St. George. Man of Sorrow, inscription of Giorgi Jokhtoberidze. 16th c.

sur. 20. gelaTis wm. elias eklesia. dasavleTi kedlis moxatuloba, giorgi joxtoberiZis warwera. XVI s. Gelati. Church of St. Elias. West wall. Murals, inscription of Giorgi Jokhtoberidze. 16th c.

sur. 21. martvilis taZari. samxreTi mklavis moxatuloba, giorgis warwera. XVI s. Martvili Cathedral. South apse. Murals, inscription of Giorgi. 16th c.

sur. 22. walenjixis macxovris eklesia. xedi aRmosavleTisken. moxatuloba da warwerebi. 1384­1386 ww.

Tsalenjikha. Church of the Saviour. View to the East. Murals and inscriptions. 1384-1396.

sur. 23, 24. walenjixis macxovris eklesia. warwerebi burjebze. 1384­1396 w. Tsalenjikha. Church of the Saviour. Inscriptions on the piers. 1384-1396.

sur. 25. gelaTis RvTismSoblis Sobis taZari. xedi dasavleTisken. Gelati. Church of the Nativity of the Virgin. View to the West.

sur. 26. gelaTis RvTismSoblis Sobis taZari. samxreT­dasavleTi burji. bagrat III­is da mxatvar timoTeosis warwerebi. 1550­iani ww. Gelati. Church of the Nativity of the Virgin. South-west pier. Inscriptions of King Bagrat III of Imereti and of the painter Thimoteos. 1550-s.

sur. 27. gelaTis RvTismSoblis Sobis taZari. gumbaTis moxatuloba. 1520­iani ww.

Gelati. Church of the Nativity of the Virgin. Dome. Murals. 1520s.

sur. 28. gelaTis RvTismSoblis Sobis taZari. gumbaTi. winaswarmetyvelebi. 1520­iani ww.

Gelati. Church of the Nativity of the Virgin. Dome. Prophets. 1520s.

sur. 29. gelaTis RvTismSoblis Sobis taZari. gumbaTi. ww. solomoni, simeonis warwera. 1520­iani ww.

Gelati. Church of the Nativity of the Virgin. Dome. Prophet Solomon, inscription of Simeon. 1520s.

sur. 30. gelaTis RvTismSoblis Sobis taZari. gumbaTi. ww. daviTi, Teodores warwera. 1520­iani ww. Gelati. Church of the Nativity of the Virgin. Dome. Prophet David, inscription of Theodore. 1520s.

sur. 31. gremis mTavarangelozTa eklesia. dasavleTi kedeli. miZineba, saqtitoro warwera. 1577 w. Gremi. Church of the Holy Archangels. West wall. Dormition, donor inscription. 1577.

sur. 33. bobnevis wm. ioane maxareblis eklesia. samxreT kedeli. ioseb tfilelis portreti da warwera. 1683 w. Bobnevi. Church of St. John the Evangelist. South wall. Portrait and inscription of Ioseb Tpileli. 1683.

sur. 35. winarexis maRalaanT eklesiis kankeli. 1680­iani ww. Tsinarekhi. Magahlaant Eklesia. Chancel barrier.1680s.

sur. 36. maRalaanT eklesiis kankeli. elene maRalaZe da mxatvris warwera 1680­iani ww. Magahlaant Eklesia. Chancel barrier. Elene Maghaladze, inscription of the painter. 1680s.

sur. 37. ubisis wm. giorgis eklesia. afsidis moxatuloba. XIV s. Ubisi. Church of St. George. Sanctuary. Murals. 14th c.

sur. 38. soris wm. giorgis eklesia. CrdiloeT kedeli. wm. giorgi, daviTis warwera. XIV s. Sori. Church of St. George. North wall. St. George, inscription of David. 14th c.

sur. 39. ifraris mTavarangelozTa eklesia. xedi aRmosavleTisken. Iprari. Church of the Holy Archangels. View to the East.

sur. 40. mxeris mTavarangelozTa eklesia. afsidis da kankelis moxatuloba. XIV s. Mkheri. Church of the Holy Archangels. Sanctuary apse and chancel barrier. Murals. 14th c.

sur. 41. lagurka. xedi aRmosavleTisken. Lagurka (Church of Sts. Cyriacus and St. Julita). View to the East.

sur. 42. lagurka (wm. kvirikesa da wm. ivlitas eklesia). dasavleTi kedeli. Kala. Lagurka. (Church of Sts. Cyriacus and St. Julitta). West wall.

sur. 43. erTawmindis wm. evstates eklesia. moxatuloba da saqtitoro warwera. 1654 w. Ertatsminda. Church of St. Eustathius. Murals and donor inscription. 1654.

cnobebi Sua saukuneebis mxatvrebis Sesaxeb (ferweruli warwerebis mixedviT)

IX­XVII saukuneebis qarTul kedlis mxatvrobaSi SemorCenili mxatvris saxelis Semcveli warwerebi ZiriTadi wyaroa Sua saukuneebis mxatvarTa Taobaze. erTi saerTo niSani, romelic metad Tu naklebad yvela drois warwerebs axasiaTebT informaciis metismeti simwirea, rac, rogorc Cans, maTi funqciiT iyo gapirobebuli1. saqtitoro warwerebica da mxatvarTa `xelmowerebic~, umTavresad, mxolod mxatvris saxelis aRniSvniT Semoifargleba. ra Tqma unda, vinme giorgis, Tevdores, demetres, giorgi joxtoberiZis da sxvaTa saxelebi arafers matebs Cvens codnas Sua saukuneebis mxatvarTa Sesaxeb. magram warwerebSi drodadro mainc gamokrTeba xolme sayuradRebo cnobebi. mxatvrebTan dakavSirebuli informaciis simwires Tu gaviTvaliswinebT arcTu cota da, rac mTavaria, uaRresad mniSvnelovani cnobebi mogvepoveba mxatvar Tevdoreze. marto is rad Rirs, rom saqtitoro warwerebidan danamdvilebiT viciT, rom man zemo svaneTis sami (ifraris mTavarangelozTa (1096), kalas wm. kvirikesa da ivlitas (lagurka, 1115) da nakifaris wm. giorgis (1130)) eklesia moxata; viciT TiToeulis Sesrulebis zusti TariRica da momgebelnic (xevis aznaurebi da mosaxleoba), magram gansakuTrebiT mniSvnelovani mainc is faqtia, rom samive warweraSi Tevdore mefis mxatvrad aris dasaxelebuli. Tevdore Sua saukuneebis erTaderTi mxatvaria saqarTveloSi, romelic aseTi wodebiTaa cnobili. varaudoben, rom is warmoSobiT svani iyo, romelic dedaqalaqSi an gelaTis monasterSi daxelovnda2.

1 am sakiTxze ix. aqve, q. miqelaZe, SuasaukuneebismxatvarTawarwerebi. 2 Аладашвили, Алибегашвили, Вольская, Живописная школа, 100–101; Вирсаладзе, Фресковая роспись художника Микаела Маглакели, 222.

radgan Tevdores samive moxatuloba TariRiania, es saSualebas iZleva Tvali gavadevnoT mis Semoqmedebas 34 wlis (1096­1130) ganmavlobaSi. amave dros, es imasac mowmobs, rom Tevdore, yovel SemTxvevaSi, nakifaris eklesiis moxatvis (1130) dros axalgazrda ver iqneboda. cnobebi Sua saukuneebSi mxatvris xelobis swavlebis sistemis Taobaze qarTul wyaroebSi ar mogvepoveba. am mxriv arc bizantiuri masalaa mdidari, Tumca XIV­XV saukuneebis kreteli da gansakuTrebiT renesansis mxatvarTa Sesaxeb arsebuli dokumentebisa da cnobebis mixedviT, irkveva, rom Sua saukuneebSi mxatvris xelobis Seswavla xuTidan rva wlamde grZeldeboda. damoukidebel muSaobas 20­25 wlis an cota ufros asakSi iwyebdnen3 safiqrebelia, rom daaxloebiT aseTi sistema iqneboda saqarTveloSic4. ifraris eklesia Tevdorem 1096 wels moxata, magram, is, uTuod, ufro adrec moRvaweobda, radgan aq is ukve mefis mxatvrad Cans da mas rom es Tanamdeboba/wodeba moepovebina gamocdilebis dagroveba, saxelis moxveWa dasWirdeboda, rac garkveul dros iTxovda5. gamodis, rom Tevdorem nakifaris wm. giorgis eklesia sadRac 60­65 wlisam moxata. miuxedavad imisa, rom monumenturi mxatvroba sakmaod Sromatevadi saqmea, Sua saukuneebis mxatvrebi zogjer 40­50 wlis ganmavlobaSic ki muSaobdnen. am mxriv Tevdore ar aris gamonaklisi. magaliTad, XVII saukunis berZeni mxatvari konstantine 50 wlis ganmavlobaSi moRvaweobda6. sayuradRebo cnobas gvawvdis mcxeTis sveticxovlis sakaTedro taZris `cxoveli svetis~ warwerac, romelSic mxatvari grigol guljavarasSvili (1678­1688) moqalaqed gvecnoba: `...davxate me, friad codvilma moqalaqemguljavarasSvilmagrigol...~ (#33). moqalaqis wodeba gvian Sua saukuneebSi (XVI­XVII ss.) mefis brZanebiT mxolod dedaqalaqis, Tbilisis mosaxleobis garkveul fenas, umTavresad, vaWrebsa da xelosnebs eniWebodaT, magram ara ganurCevlad yvelas. moqalaqeobis mopovebis ZiriTadi piroba TbilisSi mudmivi sacxovrebeli, uZravi qoneba da xazinaSi gadasaxadis Setana iyo7. maSasadame, grigol guljavarasSvili Tbilisis moqalaqe iyo, mas uZravi qonebac hqonda da saxazino gadasaxadsac ixdida.

3 Marković, Painters in Late Byzanitie World.

4 XVIII­XIX ss­is qarTuli dokumentebidan cnobilia, rom amqrebSi xelobis Seswavlas 8­10 an 13 wlis asakSi iwyebdnen; swavla 3–10 weli grZeldeboda, mesxia, saistorio Ziebani, II, 365–568.

5 gamoTqmulia mosazrebebi Tevdores mier Seqmnili sxva namuSevrebis Taobaze, burWulaZe, monumenturi da dazguri mxatvrobis urTierTmimarTebis sakiTxisaTvis, 122–129; oqropiriZe, sveticxovlis sakurTxevlis moxatulobisTvis, 23–28.

6 Drakopoulou, Remarques, 55.

7 mexia, saistorio Ziebani, II, 296–312.

sagulisxmoa, rom XVI­XVII saukuneebis ramdenime warweraSi maRali ierarqiis sasuliero pirebi arian mxatvrebad dasaxlebulni. samTavisis taZris sakurTxeveli 1679 wels samTavnelma episkoposma melitonma, erTawmindis wm. evstates saxelobis eklesia ierusalimis jvris monastris winamZRvarma, jvaris mamam meletiosma 1654 wels, xolo gremis wm. mTavarangelozTa taZari – protosingelozma zaqariam (1577) moxates. kedlis mxatvrebis warweraTa wyalobiT viciT, rom Sua saukuneebis saqarTveloSi berZnulenovani mxatvrebic moRvaweobdnen. maT mieraa moxatuli walenjixis macxovris saxelobis eklesia (1384­1396), biWvintis RvTismSoblis taZris samxreT­dasavleTi kapela (1557­1578), gelaTis RvTismSoblis Sobis taZari berZeni ostatebis monawileobiT 1520­ian (gumbaTi) da 1550­ian wlebSi moixata, gremis mTavarangelozTa taZari (1577), bobnevis ioane maxareblis eklesia (1683) da winarexis maRalaanT eklesiis kankeli (1680­iani ww.). aranakleb mniSvnelovania ramdenime warweraSi dasaxelebuli mxatvris warmomavlobac: walenjixaSi konstantinopoleli manuel evgenikosi, gremSi Tesalonikeli zaqaria da bobnevSi aTonis mTis bermonazoni danieli. warmomavlobas Tu mSobliur kuTxes berZeni mxatvrebi warwerebSi, Cveulebriv, sxva qveyanaSi an Tavisi sacxovreblidan moSorebiT muSaobis dros aRniSnavdnen8. sxvaTa Soris, warwerebSi eTnikur kuTvnilebas qarTuli warmomavlobis mxatvrebic usvamdnen xans, roca ucxoeTSi xatavdnen eklesiebs – petriwonis monastris saZvalis mxatvari ioane qarTvelad (iberopulosi) saxeldeba (`moixatayovladwmidaeklesiasrulad,xeliTaioanesi,istoriografosisa,iberopulosisa,dawamkiTxvelnoevedreTCemTvisufals~)9, aTonis mTis ivironis monastris kaTolikonis XVI saukunis mxatvari mRvdelmonazoni markosi iverielad (`samgzis netari ufali markoz iverieli da mxatvari~)10, maSin roca, adgilobrivi mxatvrebis warwerebSi warmoma­

8 Kalopissi-Verti, Painters, 148–149; misive, Painters’ Information, 58–61; Δρακοπουλου, Υπογραφές, 131.

9 Panayotova-Puguet, Les peintures de Bačkovo, 187–197; Bakalova, Korolova, Popov, The Ossuary of Bachkovo Monastery, 109. warweris qarTuli Targmani ix., sxirtlaZe, mRvdelmonazoni markos, 314, Sen. 6.

10 Τσιγαρίδας, Ο ζωγράφος Μάρκος, 275–280; sxirtlaZe, mRvdelmonazoni markos, 303–338. aqvea sruli bibliografiac da warweris qarTuli Targmanic. warwera markosis gamosaxulebas axlavs, romelic saqtitoro kompoziciaSia CarTuli (moxatuloba XVI s­saa da ganaxlebulia XIX s­Si). aRsaniSnavia, rom mxatvris portretul gamosaxulebas Sua saukuneebis saxviT xelovnebaSi paralelebi ar moeZebneba, Tumca mxatvrebi zogjer siuJetur kompoziciebSia gamosaxuli, sxirtlaZe, mRvdelmonazoni markos, 314, 316; Sen. 7. aqvea miTiTebuli am sakiTxTan dakavSirebuli samecniero literaturac.

vlobis, an geografiuli punqtis aRniSvnis SemTxvevebi ar dasturdeba. berZeni mxatvrebis warwerebSi dasaxelebuli geografiuli punqtebi im mxrivac mniSvnelovania, rom isini dokumenturad adastureben Sua saukuneebis saqarTveloSi qristianuli aRmosavleTis mowinave kulturul­religiuri centrebidan Camosuli mxatvrebis moRvaweobas, rac am centrebTan mWidro urTierTobasac mowmobs. berZen mxatvarTa warwerebi da moxatulobebi mianiSnebs, rom maTi nakadi saqarTveloSi XVI­XVII saukuneebSi matulobs. amave periodSi kaxeTis samefoSi Camodian moskoveli mxatvrebic. ucxoel ostatTa momravlebas, rogorc Cans, obieqturi da subieqturi mizezebi hqonda. esaa periodi, roca saqarTvelo osmaleTis imperiisa da iranis brZolis velad iqca da mZime politikur da ekonomikur mdgomareobaSi aRmoCnda. gamudmebuli omebisgan dangreul­darbeul qveyanaSi SemoqmedebiTi impulsebic iwureboda da, albaT, mxatvarTa an iqneb ufro swori iqneboda gveTqva, profesiuli ganswavlis ostatebis naklebobac iyo, rasac, qarTveli mefe­didebulebic uCiodnen da am mxriv daxmarebasac iTxovdnen. meore mxriv, bizantiis imperiis dacemas (1453) berZen mxatvarTa didi migracia mohyva. osmaluri batonobis pirobebSi isini samuSaos ZiebaSi sxvadasxva qveynebSi mimoifantnen; postbizantiur xanaSi maTi ricxvi sagrZnoblad gaizarda balkaneTis qveynebSi11. SesaZloa amave mizeziT CamoaRwies maT saqarTveloSic da ufro advilad xelmisawvdomnic gaxdnen. magram arc is aris gamoricxuli, rom ucxoel mxatvrebs sagangebodac iwvevdnen. Cven mxolod walenjixis warwerebidan viciT, rom vamey dadianma qvabalia da gabisulava konstantinopolSi mxatvris Camoyvanis mizniT gagzavna. ar viciT maT maincdamainc manuel evgenikosis Camoeyvana evalebodaT, Tu is qvabalia­gabisulavam SearCies, magram faqti isaa rom, mxatvari vameyis mowveviT Camovida12. mxatvris mowveva arc XVI­XVII saukuneebis qtitorebs gauWirdebodaT – levan kaxTa mefesa (1518­1574)

11 am sakiTxs mravali naSromi eZRvneba. davasaxeleb ramdenimes: Garidas, La peinture; Χατζηδάκης, Έλληνες ζωγράφοι; Χατζηδάκης, Δρακοπούλου, Έλληνες ζωγράφοι; Δρακοπούλου, Ζωγράφοι, misive (Dracopoulou), Remarques.

12 gamoTqmulia varaudi, rom qvabalia da gabisulava mxatvrebi iyvnen (amiranaSvili, qarTuli xelovnebis istoria, 359, 361; Velmans, Le décor; 203; sanikiZe, walenjixis macxovris taZris istoriisTvis, 182), rasac ar viziarebT, Tumca maTi roli walenjixaSi konstantinopolidan mxatvris CamoyvaniT ar unda Semoifarglebodes; ar aris gamoricxuli, rom maT materialuri wvlili Seitanes taZris moxatvaSi. raki qvabalia da gabisuvvlava sasuliero pirebi iyvnen, isini SeiZleba moxatulobis ikonografiuli programis SedgenaSic monawileobdnen.

Tu mis Zes aleqsandre II­s (1574­1601) gremSi13, miT ufro, Tu gaviTvaliswinebT, rom isini aTonis mTis eklesia­monastrebzec zrunavdnen14. ar gauWirdebodaT mxatvris mowveva arc dasavleT saqarTvelos kaTolikos evdemons (1557­1578) biWvintis taZris samxreT­dasavleTi kapelis da arc mcxeTis sveticxovlis qadags, nikoloz maRalaZes (1680­iani ww.) maRalaanT eklesiis kankelis mosaxatad; ioseb tfilelisTvisac (16201688) ar iqneboda rTuli aTonis mTidan moewvia bermonazoni danieli bobnevis eklesiis mosaxatad, romelic man, rogorc Cans, Tavis saZvaled aago da Seamko. moskoveli mxatvrebis gamoCena kaxeTis samefosa da ruseTs Soris politikur­diplomatiuri urTierTobebis Camoyalibebas mohyva Tan. amave periodSi gaaqtiurda evropaSi mimosvla da evropuli kulturiTa da mxatvrebiT dainteresebac15. ucxoel mxatvarTa mimarT interesi, cxadia, mxolod adgilobrivi ostatebis naklebobiT ver aixsneba. bolos da bolos am ukanasknelTa moxatuli eklesiebi sWarbobs kidec Camosul mxatvarTa mier Sesrulebul moxatulobebs. momgebeli mxatvars eTnikuri niSniT, cxadia, ar airCevda, magram misi konstantinopoleloba an aTonis mTaze moRvaweoba uTuod mniSvnelovani iqneboda. araferia cnobili saqarTveloSi Camosulma mxatvrebma ramden xans dahyves aq, rogori anazRaureba hqondaT, an sad da rogor cxovrobdnen da sxva. am mxriv, gamonaklisia maRalaanT eklesiis kankelis mxatvari, apostole, romelic, erT­erT sabuTis Tanaxmad qalaq mcxeTaSi cxovrobda16. aqve, mcxeTaSi, moRvaweobda apostoles damkveTic, nikoloz maRalaZe sveticxovlis taZris qadagis Tanamdebobaze. is gare­

13 gremSi garkveuli Seusabamobaa saqtitoro warweraSi (berZ. #4) aRniSnul moxatulobis Sesrulebis TariRsa (1577) da qtitoris, levan kaxTa mefis zeobis (1518­1574) wlebs Soris. vfiqrobT, taZris moxatva levanis sicocxleSi daiwyo da misi gardacvalebis Semdeg, aleqsandre II­is dros (1574­1605) dasrulda. mxatvroba ramdenjermea restavrirebuli, savaraudod, XVII s­Si moskoveli mxatvrebis mier da ufro gvianac, amiranaSvili, qarTuli xelovnebis istoria, 382; Вачнадзе, Некоторые особенности, 10; vaCnaZe, levan kaxTa mefe, 129. S. amiranaSvilis varaudiT, saqtitoro warweraSi dasaxelebuli saba mxatvari iyo (Ш. Амиранашвили, История грузинского искусства, 270), Tumca warweris mixedviT saba winamZRvaria. t. velmansma Tesalonikeli beri moxatulobis damkveTad miiCnia, magram ar gamoricxavs, rom is amavdroulad mxatvaric iyo, Velmans, Contribution, 304, 308

14 levanma da aleqsandrem aTonis mTaze ganaaxles filoTeosis monasteri, aaSenes da moxates satrapezo, gabaSvili, mimosvla, 37, 38; Григорович-Барский, Второе посещение; levan kaxTa mefisa da aleqsandre II­is aTonze moRvaweobasTan dakavSirebiT ix. aseve: sxirtlaZe, mRvdelmonazoni markos, 321–323, vaCnaZe, levan kaxTa mefe, 123–127.

15 janjalia, tradicia da siaxle.

16 qarTuli samarTlis Zeglebi, III, 806.

moeba, rom apostole mcxeTaSi cxovrobda, gvafiqrebinebs, rom mas saqarTveloSi sxva dakveTebic unda Seesrulebina. SeiZleba vivaraudoT, rom gelaTis RvTismSoblis taZris gumbaTis mxatvrebic erTxans mainc cxovrobdnen saqarTveloSi, radgan maTi qarTulenovani warwerebi mowmobs, rom maT cota qarTulis swavlac moaswres. berZeni mxatvrebis saqarTveloSi Seqmnili moxatulobebis garda sxva namuSevrebi ar aris cnobili17. ra Tqma unda, maT aqac da TavianT samSobloSic sxva eklesiebic eqnebodaT moxatuli, zogierTi, SesaZloa, xatis an xelnawerTa miniatiurebis avtoric yofiliyo. vin icis, romelime maTganis nawarmoebi sadme iZebnebodes kidec. zemo krixis mTavarangelozTa eklesiaSi mxatvar­restavratoris, vinme CubiniZes warweraa SemorCenili (#15), romelmac XI saukunis moxatulobis, calkeuli dazianebuli adgilebi ganaaxla (XIII­XIV ss.)18 warweraTa dazianebis gamo zogierT maTganSi mxatvris saxeli aRar SemorCa. maT rigs miekuTvneba sabereebis monastris moxatulobaTa warwerebi. magram VII da VIII eklesiebis mxatvarTa `xelmowerebSi~ erTi sayuradRebo cnobaa gadarCenili, kerZod, aq mxatvris aRsaniSnavad sityva `mweralia~ gamoyenebuli, rac kedlis mxatvrobaSi sxvagan arsad dasturdeba. ferweruli warwerebi mxatvrebze, Tu SeiZleba iTqvas, arapirdapir cnobebsac gvawvdis. magaliTad, T. virsalaZis varaudiT, macxvariSis macxovris saxelobis eklesiis mxatvari, miqael maRlakeli warmoSobiT quTaisis maxloblad mdebare sofel maRlakidan iyo, radgan gvari maRlakeli ar arsebobs da is am soflis mkvidrs, an am gvaris am soflidan warmomavlobas mianiSnebs. rogorc Cans, miqaelis winaprebi imereTidan zemo svaneTSi gadasaxlebulan, radgan is rogorc mxatvari adgilobrivi samxatvro skolis warmomadgenelia, rasac macxavriSis moxatulobis ikonografiuli da stiluri niSnebica da warweraTa fonetikac miuTiTebs19.

XVI saukunis xalxuri mimarTulebis mxatvrobis tipiuri warmomadgeneli giorgi joxtoberiZe mefis mxatvar TevdoresTan erTad Sua saukuneebis im iSviaT mxatvarTa ricxvs miekuTvneba, romlis ramdenime

17 hans beltingis varaudiT, manuel evgenikoss ekuTvnis sinas mTis wm. ekaterines monastris gardamoxsnis xati, Belting, Le peitre Manuel Eugenikos, 111–120.

18 Вирсаладзе, Фресковая роспись в церкви архангелов, 35–37.

19 Вирсаладзе, Фресковая роспись художника Микаела Маглакели, 163–165.

xelmowerilma moxatulobam moaRwia Cvenamde. joxtoberiZis mier moxatuli eklesiebi misi moRvaweobis geografiuli arealis gansazRvris SesaZleblobasac iZleva. yvela eklesia (wiTelxevis wm. giorgis, gelaTis wm. elias, ilemis wm. giorgis da obCis wm. giorgis eklesiebi20) erT regionSi, imereTSi, erTmaneTisgan sakmaod axlos mdebareobs. moxatulobaTa momgebelni adgilobrivi Tavad­aznauroba da mRvdlebi iyvnen, romlebic joxtoberiZes soflis mcire eklesiebis moxatvas ukveTavdnen21. iseTi STabeWdileba iqmneba, rom giorgi joxtoberiZis saqmianoba imereTiT Semoifargleboda. is, savaraudod, aqauri mkvidri iyo, iqneb am mxareSi saxelganTqmuli mxatvaric. radgan giorgi joxtoberiZe eklesiebs sxva ostatebTan erTad xatavda, rasac moxatulobaTa Sesrulebis manera da xelwera cxadyofs, i. xuskivaZis varaudiT, is mxatvarTa `saZmos an iqneb artelis xelmZRvaneli iyo~22 erTi mxatvris mier `xelmowerili~ ramdenime moxatuloba im mxrivacaa mniSvnelovani, rom es garkveuli periodis manZilze mxatvris SemoqmedebiT ganviTarebaze dakvirvebis saSualebas iZleva; rogor udgeboda is yovel axal dakveTasa da amocanebs, rogor kompozicias qmnida sxvadasxva arqiteqturuli sivrcisTvis an rogor usadagebda mas da sxva. interesmoklebuli ar unda iyos imis aRniSvnac, rom warwerebSi eklesiis moxatvis procesTan dakavSirebuli erTi­ori cnobac aris SemorCenili. nezgunis macxovris eklesiis saqtitoro warwera (X s., #5) erTaderTi SemTxvevaa, sadac mxatvris gasamrjelos Taobazea saubari. momgebeli, vinme beSqeni ityobineba, rom eklesiis sakurTxeveli `...puriTa da fasiTa CemiTa~ movxateo, rac imas niSnavs, rom man mxatvar giorgis samuSao naturiTac aunazRaura da, rogorc Cans, fulic (fasiTa) gadauxada, magram ramdens Seadgenda es anazRaureba ucnobia. samuSaos mTlianad an nawilobriv naturiT anazRaureba sakmaod miRebuli praqtikaa Sua saukuneebis saqarTveloSic23, bizantiaSic da postbizantiur samyaroSic24. magram qarTul wyaroebSi mxatvris gasamrjelos raodeno­

20 obCis eklesiaSi amJamad moxatulobis ramdenime umniSvnelo fragmenti da joxtoberiZis warweris nawilia SemorCenili (#26), xuskivaZe, qarTul eklesiaTa gviani Sua saukuneebis `xalxuri~ moxatulobani, 75, Sen. 1.

21 xuskivaZe, qarTul eklesiaTa gviani Sua saukuneebis `xalxuri~ moxatulobani. 22 iqve, 135–136.

23 silogava, svaneTis werilobiTi Zeglebi, II, 17–18; surgulaZe, ‘mwerali’, 122.

24 Kalopissi-Verti, Painters’s Information, 64; Панић, Бабић, Богородица Љевишка, 23–27; Тοдић, Лични записи, 493; Bogevska, Les peintres-moines, 183–184, Sen. 15.

bisa da ragvarobis Sesaxeb informacia ar mogvepoveba25. erTgan gvxvdeba cnoba, rom qaSoeTis daxatvisTvis mxatvars `saaxalSene miwa~ miuRia26. nezgunis warwera kidev erT cnobas Seicavs, kerZod, rom mxatvar giorgis sakurTxevlis afsidi maisSi mouxatavs. aseTive informacias Seicavs gremis saqtitoro warwerac (berZ. #4), romelSic naTqvamia, rom eklesiis moxatva 1577 wlis 29 agvistos dasrulda. samTavisis mxatvari episkoposi melitoni Tavis warweras (#31) 1679 wlis oqtombriT aTariRebs. rogorc cnobilia, eklesiis moxatva, Cveulebriv, weliwadis Tbil (gazafxuli­Semodgoma) periodSi xdeboda. Tu gaviTvaliswinebT, rom nezgunSi giorgim mxolod sakurTxevlis afsidi Seamko ferweriT27, maSin, safiqrebelia, rom misi moxatva maisSi ganxorcielda; samTavisis afsidic, rogorc Cans, zafxul­Semodgomis periodSi moixata. rac Seexeba gremis sakmaod didi zomis gumbaTian taZars, is SesaZloa etapobrivad, sulac wlebi imkoboda ferweriT da 1577 wlis agvistoSi dasrulda28. Sua saukuneebis mxatvrebTan dakavSirebiT qarTulTan SedarebiT met informacias gvawvdis bizantiuri da postbizantiuri epigrafika, sadac drodadro mxatvarTa Taobaze saintereso detalebi gvxdeba, magaliTad, mxatvari asaxelebs Tavis maswavlebels, mowafes, zogjer mama­Svili an mxatvari Zmebi arian dasaxlebulni da sxva29. saqarTveloSi sul erTi­ori SemTxvevaa, roca mxatvari qtitoris garda vismes sxvas moixseniebs. soris wm. giorgis eklesiis mxatvari daviTi warweraSi asaxelebs meore ostats, giorgis, romelic mnaTes Svili yofila (#18), ori mxatvari – vaJizbeda kekulaZe da ioane javaxaZe `awers xels~ nikorwmindis karibWis moxatulobas (XVI s. #28). aRsaniSnavia ubisis wm. giorgis eklesiis moxatulobis (XIV s.) warwera: `saxeliTa RmrTisa¡Ta, moixata monasteri ese. £eliTa codvilisa, damianes gazrdilisa, gerasimesiTa~ (#17). teqstis mixedviT damiane gerasimes gamzrdeli yofila, rac, mSobels, moZRvars, maswavlebels SeiZleba gulisxmobdes; magram warweraSi ar Cans, rom damiane maincdamainc gerasimes profesiuli aRmzrdeli iyo. misi profesia, iseve rogorc misi roli ubisis moxatulobaSi arc sakurTxevlis afsidSi moTavsebul warweraSi ikveTeba, romelSic kvlav da­

25 mesxia, saistorio Ziebani, I, 146­147.

26 qarTul xelnawerTa aRweriloba, A­II2, 189; beriZe, Zveli qarTveli ostatebi, 17. 27 nezgunis eklesia orjel moixata X s­Si (sakurTxevlis afsidi) da XII s­Si (eklesiis danarCeni sivrce), Аладашвили, Алибегашвили, Вольская, Живописная Школа, 13–15.

28 ix. aqve, Sen. 13. 29 magaliTebi ix. Kalopissi-Verti, Painters, 144, 149, misive, Painters’ Information, 63; Ћурић, Радионица митрополита,18–33; Тοдић, Лични записи, 503.

mianea dasaxelebuli30. gelaTis RvTismSoblis taZris gumbaTis berZen mxatvarTa warwerebidan erT­erTSi vinme simeoni gamzrdelad („simeon gamdeli ese) aris moxsenebuli. mis gverdiT meore warweraa (`da Sroma simdable Teodoro £eli wera ese~ (# 22 a, b) moTavsebuli. vfiqrobT, am SemTxvevaSi gamzrdeli xelobis maswavlebels unda gulisxmobdes da, maSin simeoni Teodores maswavleblad unda miviCnioT31. Sua saukuneebis mxatvrebi warwerebSi xSirad asaxelebdnen Tavis maswavlebels, romlis saxelic win uZRoda mxatvrisas32. simeoni rom mxatvaria gelaTis gumbaTis kidev erTi warwerac adasturebs, romelSic naTqvamia, rom simeons aq `saqme~ gaukeTebia (# 22, g), rac am SemTxvevaSi, uTuod, xatvas gulisxmobs. unda aRiniSnos, rom saqarTveloSi ar SemorCenila warwera, romelSic mxatvari Tavisi ojaxis wevrebis Sewyalebas iTxovs, risi araerTi SemTxveva dasturdeba gvianbizantiursa da postbizantiur ZeglebSi33. sul es aris, rac IX­XVII saukuneebis qarTul kedlis mxatvrobaSi SemorCenili warwerebidan SeiZleba amovkriboT Sua saukuneebis mxatvrebTan dakavSirebiT. informaciis simwiris miuxedavad es masala mainc amdidrebs Cven codnas ara mxolod adgilobriv, aramed zogadad qristianuli aRmosavleTis Sua saukuneebis mxatvarTa Taobaze.

30 damianes vinaobasTan dakavSirebiT sxvadasxva mosazrebaa gamoTqmuli. S. amiranaSvili mas ubisis mxatvrad miiCnevda (amiranaSvili, ubisi, 10. misive, qarTveli mxatvari damiane, 12­13.). v. beriZem warweraTa analizis safuZvelze damajereblad daasabuTa, rom mxatvari damiane ki ara gerasimea (beriZe, gerasime, da ara damiane), rac sxva mecnierebmac gaiziares. gamoTqmulia varaudi, rom damiane monastris winamZRvari da moxatulobis momgebeli iyo (burWulaZe, ubisis monastris xatebi, 154, Sen. 1, 179­180; lorTqifaniZe, `saidumlo serobis~ scena, 271­272, Sen. 2; miqelaZe, xelovan­momxatvelTa warwerebis mniSvneloba, 154­157). gerasimes damianes mowafed miiCnevs s. kalopisi­verti, Tumca imasac SeniSnavs aqamde gaurkvevelia damiane mxatvari iyo Tu sasuliero pirio, KalopissiVerti, Painters, 149, Sen. 90.

31 ase esmoda warwera b. lominaZesac, Teodore masac simeonis mowafed miaCnda, lominaZe, gelaTi, 47–48.

32 Houliaras, The Work of the Painter, 71.

33 Kalopissi-Verti, Painters, 144, 149, misive, Painters’ Information, 63.

mxatvarTa Sesaxeb cnobebi istoriul sabuTebsa da naratiul wyaroebSi

mxatvrebTan dakavSirebuli cnobebi mxolod gviani Sua saukuneebis (XVI­XVII ss.) qarTul istoriul sabuTebsa da naratiul wyaroebSi mogvepoveba, Tumca maTi raodenoba ar aris didi. am mxriv, pirvel rigSi erTawmindis wm. evstates taZris momxatveli, ierusalimis jvris monastris winamZRvari, jvaris mama meletiosi (meleti) unda vaxsenoT, romelmac saqtitoro warweris Tanaxmad taZari ioram, ionaTam da iese kargareTelebis dakveTiT 1654 wels moxata1. istoriuli sabuTebisa da erTawmindis warweridan irkveva, rom meletiosi 1654­1675 wlebSi ierusalimis jvris monastris winamZRvari iyo. is jvris monastris qonebas ganagebda; cnobilia, rom mas TbilisSi saxli hqonda2. sabuTebi meletioss uRirs adamianad axasiaTebs. mas, saqarTveloSi Segrovili saierusalimo Tanxis, ierusalimis jvris monastris Sesawiris, gaflangvaSi adanaSauleben; ierusalimSi Turqebis batonobis dros meletiosi sapyrobileSic ki moxvda3. misi rogorc mxatvris Sesaxeb sxva araferia cnobili, garda erTawmindis moxatulobisa. Sua saukuneebis sxva mxatvrebis msgavsad arc is viciT, sad da rogori ganaTleba miiRo man. erTawmindis moxatuloba gvafiqrebinebs, rom meletioss mxatvris xeloba profesiul doneze hqonda Seswavlili (sur. 1, 2) aRsaniSnavia, rom erTawmindis moxatulobaSi qarTulTan erTad arabuli ganmartebiTi warwerebic aris. arabulenovani warwerebi XVI­XVII ss­is qarTul xelovnebaSi sakmaod xSirad gvxvdeba4. erTawmindaSi isini, rogorc Cans, meletiosis mier

1 mamasaxlisi, erTawmindis taZris moxatulobis TariRi, 32–34.

2 xuciSvili n., ierusalimis jvris monastris miwaTmflobeloba, 85–87, 116; mamasaxlisi, erTawmindis taZris moxatulobis TariRi, 34–36.

3 xuciSvili, ierusalimis jvris monastris miwaTmflobeloba, 87.

4 aleqsiZe, xonis wm. giorgis eklesiis moxatuloba, 14; CixlaZe n., sveticxovlis moxatulobani, 251–252; burWulaZe, arabulwarweriani xatebi, 201­202; mesxi, xonisa da samTavisis eklesiaTa freskebis arabuli warwerebis warmomavlobisTvis, 422–433.

aris Sesrulebuli, romelic Tavis gacemul sabuTebsac arabul enaze amtkicebs, xolo mis beWedze samenovani, qarTuli, berZnuli da arabuli warwerebia (`mama jvarisa meletioz~) datanili5 maRalaanT eklesiis kankelis mxatvari, apostole, uTuod, kaTolikos­patriarqis anton I­is 1748 wlis wyalobis wignSi xsenebuli berZeni mxatvari `abistole~ unda iyos, romelic amave sabuTis mixedviT mcxeTaSi cxovrobda da iq saxlebic hqonda6, rac imas niSnavs, rom apostole mcxeTaSi iyo damkvidrebuli; es ki, Tavis mxriv, gvafiqrebinebs, rom mas saqarTveloSi sxva dakveTebic unda Seesrulebina (sur. 3). unda aRiniSnos, rom aqve, mcxeTaSi, moRvaweobda maRallaanT eklesiis kankelis momgebelic, nikoloz maRalaZe, romelic sveticxovlis taZris qadagi iyo. XVI­XVII saukuneebis wyaroebSi sakmao informacia moipoveba kaxeTis samefoSi Camosul rus mxatvrebTan dakavSirebiT. maTi Camosvla garemoebebma ganapiroba, kerZod, ruseTTan politikuri urTierTobebis Camoyalibebam. rogorc cnobilia, XVI­XVII saukuneebSi saqarTvelo mahmadianur saxelmwifoebs – osmaleTis imperiasa da sefianTa irans Soris moeqca da maTi brZolis velad iqca. mdgomareobas arTulebda centralizebuli xelisuflebis moSla, qveynis calkeul samefoebad da samTavroebad daSla. iranTan gamudmebulma omebma da gamahmadianebis saSiSroebam kaxeTis mefeebs gadaawyvetina erTmorwmune ruseTisTvis mfarveloba eTxova. Tavis mxriv ruseTsac garkveuli interesebi amoZravebda. vinaidan XVI saukunis bolos ruseTsa da osmaleTs Soris urTierToba gansakuTrebulad gamwvavda, is mokavSireebs imiersa da amierkavkasiaSi eZebda7. 1587 wels kaxeTis mefem aleqsandre II­m (15741601, 1601­1605) ruseTTan xeldebulebis fici dado. moskovTan diplomatiuri urTierTobebis damyarebasa da elCebis mimosvlas ukavSirdeba rusi mxatvrebis kaxeTSi Camosvla. isini ruseTis elCobas Camohyavda kaxeTSi da maT Sesaxebac elCebis muxlobrivi aRwerilobebidan aris cnobili8. rus mxatvrebTan dakavSirebuli cnobebi, Tavis droze, Sekriba da Seiswavla m. polievqtovma9. mas Semdeg axali

5 xuciSvili n., ierusalimis jvris monastris miwaTmflobeloba, 87.

6 qarTuli samarTlis Zeglebi, III, 806–807; miqelaZe, xelovan­momxatvelTa warwerebis mniSvneloba, 169­171; misive, Greek Painters, 194.

7 berZeniSvili, saqarTvelos istoriis sakiTxebi, IV, 11–12.

8 rusi elCebis muxlobrivi aRwerilobebi ix.: Белокуров, Сношения России с Кавказом, miSeckisa da diaki kluCarevis elCoba; Материалы.

9 Полиевктов, Новые данные.

dokumenturi informacia rusi mxatvrebis saqarTveloSi moRvaweobis Taobaze ar gamoCenila. sagangebod unda aRiniSnos, rom rusi mxatvrebis `xelmowerili~ moxatulobebi ar aris SemorCenili. elCebis Canawerebidan cnobilia, rom aleqsandre II­isa da Teimuraz I­is zeobaSi rusi xelmwifeni Tavis mxatvrebs (isini dokumentebSi mefis mxatvrebad saxeldebian) kaxeTSi gzavnidnen. mxatvrebs saxatavi masalac CamohqondaT, rasac xSirad kaxeTis mefeebic iTxovdnen. 1591 da 1637 wlebis dokumentebi ruseTidan Camotanili masalis, misi raodenobisa da safasuris CamonaTvals Seicavs10. aleqsandre II­is dros moskoveli mxatvrebi samjer Camovidnen kaxeTSi. 1589 wels elCobas sami mxatvari: posniki dermini da misi ori amxanagi Camohyva11, romelTagan erTs ivan tarasievTan aigiveben12; 1591 wels aleqsandre II­is boris godunovisadmi gagzavnili werilis safuZvelze elCebTan erTad maqsim terentiev bazarovi, iuri minini da Sigalei vasilievi, xolo 1601 wels pervuSa bariSnikovi da trofim larionovi Camovidnen13. momdevno wlebSi, kaxeT­ruseTs Soris diplomatiuri urTierTobebi Sewyda da aRarc rusi mxatvrebi Camosulan, vidre 1638 wlamde, roca ruseTis morig elCobas ori mxatvari semen savini (senka savinis vaJi) ostafiev kazaneci da ivan (ivaSko) danilov kostromitini Camohyvnen14. XVI­XVII saukuneebis rusul dokumentebSi dasaxelebulia oTxi eklesia, sadac moskovel mxatvrebs umuSaviaT. esenia: ToRa, zagemi, Teimuraz I­is sasaxlis maxloblad mdebare eklesia gremSi da alaverdi. ToRas eklesiaSi moxatuloba aRar SemorCa15, zagemisa16 da gremis eklesiebi

10

Полиевктов, Новые данные, 11–13; Белокуров, Сношения России с Кавказом, 238–239, Материалы, 165–166.

11

12

Белокуров, Сношения России с Кавказом, 124–125.

Полиевктов, Новые данные, 9, 10.

13 Белокуров, Сношения России с Кавказом, 227, 234, 238–239, 342–343; Полиевктов, Новые данные, 9.

14 Материалы, 165–168. Полиевктов, Новые данные, 10.

15 ToRas Sesaxeb ix., Белокуров, Сношения России с Кавказом, 124–124, 170–171. ToRas igive maWiscixis kompleqsSi Semavali wm. nikolozis saxelobis eklesia lagodexis nakrZalSi, istoriuli hereTis teritoriaze mdebareobs. XV­XVII ss­Si maWi kaxeTis mefeTa sazamTro rezidencia iyo (marjaniSvili, hereTi, 14­16).

16 rusi elCebi zagemis moxatulobas ar axseneben. mxolod imas aRniSnaven, rom simon ostafievma am eklesiisTvis xis samweroblebi moxata (Материали, 399). zagemi, igive bazari kaxeTis erT­erTi sataxto qalaqi iyo. axla is azerbaijans ekuTvnis. aq levan kaxTa mefis agebuli gumbaTiani eklesia (XVI s. dasawyisi) idga, romelic 1971 wels aafeTqes (ivanecki, baxTalos Zveli eklesia, 1­2); g. CubinaSvilis cnobiT, eklesiaSi mxolod sakurTxevlis konqi iyo moxatuli (Чубинашвили, Архитектура Кахетии, 460). zogi mecnieris cnobiT zagemSi slavuri warwerebi iyo, edili, saingilo, 168­169).

dangreulia17. rac Seexeba alaverdis wm. giorgis sakaTedro taZars, moskoveli elCebis cnobebis garda18, rusi mxatvrebis mier Sesrulebul moxatulobas aq dResac miedevneba Tvali19 (sur. 4), Tumca saxeldobr romelma mxatvrebma miiRes monawileoba alaverdis moxatvaSi gaurkvevelia20. rusi elCebis CanawerebSi araferia naTqvami ra pirobebSi cxovrobdnen moskoveli mxatvrebi saqarTveloSi. gasamrjelos maT, rogorc Cans, kaxeTis mefeebi uxdidnen21; zogierTi maTgani aq daqorwinda kidec; bevri samudamod darCa da aqve gardaicvala22. rig SemTxvevebSi mxatvrebi ukmayofilonic Canan. 1649 wels samSobloSi dabrunebulma ostafievma ruseTis xelmwifes aja gaugzavna, romelSic jildos iTxovs im mZime samuSaosTvis, romelic saqarTveloSi gaswia. misi TqmiT ruseTis elCebis kaxeTSi yofnis dros Teimurazma mxatvrebi sapyrobileSi gamoketa. ganTavisuflebis Semdeg ki ficis dadeba mosTxova, rom arsad gaiqceodnen23. Tavisi bediT ukmayofilo iyo ivane danilovic, romelic rostom mefis (1632­1658) karze aRmoCnda, roca es ukanaskneli qarTl­kaxeTis mefe (1646­1656) iyo. danilovma 1651 wels somex vaWars, quTaisSi myof rus elCebTan, toloCanovsa da ievlevTan werili gaatana, romelSic is `tyveobidan gamosyidvas an raime sxva saSualebiT ganTavisuflebas” iTxovda. elCebi mas ver daexmarnen, radgan somexi vaWrebisgan Seit­

17 gremSi Teimurazis sasaxlis maxloblad mdebare eklesiis Sesaxeb ix., miSeckisa da diaki kluCarevis elCoba, 156. eklesia 1930­ian wlebSi daingra (zaqaraia, naqalaqar gremis arqiteqtura, 51).

18 Белокуров, Сношения России с Кавказом, 124–125, 170–173, Материалы, 284, 365. Tavadi miSeckis da diaki kluCarevis elCoba, 140–141.

19 alaverdSi sxvadasxva drois ramdenime ferweruli fenaa SemorCenili. amis Sesaxeb ix., virsalaZe, alaverdis kaTedralis axlad gaxsnili mxatvroba, 201–214; burWulaZe, mefeTa portretebi, 53–62; Преображенский, Русские живописцы, 172–267. moxatulobis nawils mxatvrul­stiluri Taviseburebebis safuZvelze rus mxatvrebs miakuTvneben da mas XVI­XVII ss­is mijniT (Преображенский, Русские живописцы), an XVII s­is 30­iani wwiT aTariReben (virsalaZe, alaverdis kaTedralis axlad gaxsnili mxatvroba, 207). T. virsalaZes miaCnia, rom rusma mxatvrebma moxatuloba mxolod ganaaxles. alaverdis moxatuloba dRemde ar aris fundamenturad Seswavlili. vidre aseTi kvleva ar Catardeba, rac aucileblad mis teqnikur kvlevasac unda moicavdes, mtkice daskvnebis gamotana ferwerul fenaTa raodenobasa da maTi Sesrulebis droze Znelia.

20 Преображенский, Русские живописцы, 212.

21 miSeckisa da diak kluCarevs (kaxeTSi iyo 1640­43 ww­Si) daevalaT gaerkviaT Tu miiRes mxatvrebma kaxeTis mefisgan anazRaureba, miSeckisa da diaki kluCarevis elCoba, 45. М. Полиевктов, Новые данные, 6.

22 Полиевктов, Посольство, 142.

23 Полиевктов, Новые данные, 14.

yves, rom danilovi rostom xanis qristiani colis (mariam dedofali) brZanebiT TbilisSi eklesias xatavda da mas mcvelebi darajobdnen24. ar aris gamoricxuli, rom am mxatvarTa `saCivrebSi” bevri rame gadaWarbebulia mefisgan wyalobis miRebis imediT. rus elCebs moskovis xelisufleba mxatvrebis ukan, samSobloSi dabrunebas avalebda, magram kaxeTis mefeebi maT gaSvebas ar Tanxmdebodnen. gansakuTrebuli moTxovna posnik derminze iyo25, romelic, rogorc Cans, ruseTSi cnobili xatmweri iyo26. elCebs is aucileblad unda waeyvanaT samSobloSi, magram aleqsandre II­m dermini ar gauSva27. mogvianebiT verc Teimuraz I Seelia 1638 wels Camosul mxatvrebs (ostafievs da danilovs) da isini elCebs ar gaatana, Tumca dapirda, rom maT momdevno elCobas gaayolebda. Teimurazma oTxi wlis Semdeg Camosuli elCebic uariT gaistumra. man mxatvrebi gadamala da elCebs ganucxada, rom isini imereTis mefe aleqsandresTan (aleqsandre III) imyofebodnen da misTvis eklesias xatavdnen. ise dabrundnen elCebi samSobloSi, rom mxatvrebs ver Sexvdnen, magram is ki Seityves, rom isini kaxeTSi daqorwinebuliyvnen da saxnav­saTesi miwebic hqondaT boZebuli28. Cven ar viciT sinamdvileSi ra moxda – Teimurazs Sepyrobili hyavda mxatvrebi, rogorc amas ostafievi werda rusTa xelmwifes, Tu imereTSi iyvnen gagzavnilni. erTi ram cxadia, kaxeTis mefeebi aleqsandreca da Teimurazic yvela Rones xmarobdnen moskoveli mxatvrebi Tavis samefoSi daetovebinaT, risi mizezic kargad Cans aleqsandre mefis sityvebidan, roca man elCebs mxatvrebi ar gaatana: `...urwmunoebma bevri monasteri da eklesia daangries...me ki minda Cems sicocxleSi yvelaferi uwindeli saxiT aRvadgino. amitom vTxove xelmwifes xatmwerTa gamogzavna. man Cemi Txovna Seasrula, magram arc isinia sakmarisi... me... damatebiT mxatvrebs gTxovT, Tqven ki amaTac marTmevT...~29. aleqsandre ruseTis xelmwifes Tedore I­s Tavis sigelSic ganumartavs, rom dacarielebul eklesiebSi

24 toloCanovis imereTSi elCobis muxlobrivi aRweriloba, 77, 195–196. stolniki toloCanovisa da diaki ievlevis elCoba, 44. 25 Белокуров, Сношения России с Кавказом, 280; Полиевктов, Новые данные, 10.

26 cnobilia derminis mier saqarTveloSi Camosvlamde Sesrulebulia ori xati, Антонова, Московский иконник, 144–152; Словарь русских иконописцев XI-XVII веков http://rusico. indrik.ru/artists/d/dermin–posnik–ivanov–rostovec/index.shtml?adm=dd04628f09e78dbf37b3db16d6f65752; Преображенский, Русские живописцы, 194.

27

Белокуров, Сношения России с Кавказом, 124–125, 245.

28 Материали, 328–331; miSeckisa da diaki kluCarevis elCoba, 88, 138, 142, 160.

29

Белокуров, Сношения России с Кавказом, 124–125, 219.

mxatvroba dazianebulia, Tqveni gamogzavnili mxatvrebic amboben, rom Cven yvelafris SekeTebas ver auvalTo da damatebiTB kidev sami mxatvris gamogzavnas iTxovs30

XVI saukuneSi, mefe levanis (1518­1574) da misi Zis aleqsandre II­is (1574­1605) zeobis periodi kaxeTis samefos aRmavlobis xanaa. sataxto qalaqi gremi ekonomikurad erT­erTi yvelaze ganviTarebuli da ayvavebuli qalaqia. levani da aleqsandre saaRmSeneblo­saqtitoro saqmianobas ewevian, kaxeTSi adgilobrivebTan erTad berZeni mxatvrebic xataven eklesiebs (gremi, savaraudod nekresi da sxva); maT karze saoqromWedlo saxelosnoc aris, rasac levanisa da aleqsandres dakveTiT Sesrulebuli Weduri xatebi mowmobs31. aleqsandre II­s TiTqos ar unda hqonda mxatvarTa gaWirveba, Tumca rusuli dokumentebi sapirispiros mowmobs. safiqrebelia, rom aleqsandres miswrafebebsa da moTxovnebs, misive sityvebiT rom vTqvaT – `yvelaferi uwindeli saxiT~ aRedgina –adgilobrivi ostatebi ver audiodnen da amitomac cdilobda damatebiTi ostatebis mozidvas. sxva viTarebaa Teimuraz I­is mmarTvelobis periodSi (1606­1648). ra gasakviria Sah abas I­is damangreveli laSqrobebisgan mooxrebul kaxeTSi yvelaferTan erTad mxatvrebis naklebobac yofiliyo; iranTan samwliani (1614­1617) omis dros asi aTasi kaci daiRupa da orasi aTasi tyved waiyvanes. niSandoblivia, rom vidre Teimuraz mefe ruseTTan diplomatiur urTierTobebs ganaaxlebda man evropaSic scada mokavSireebis povna, rac uSedegod damTavrda, magram, amjerad, CvenTvis sxva ramaa sagulisxmo. 1631 wels Teimurazma italiel misioners, patr avitabiles italiidan mkurnalebisa da mxatvrebis Camoyvana daabara, `raTa ukanasknelT sparseTisgan gafuWebul­dangreuli eklesiebi SeekeTebinaT~, magram isini `ver iSoves~32 moskovel mxatvrebTan dakavSirebiT kidev erTi ram ipyrobs yuradRebas. rusi elCebis muxlobrivi aRwerilobebi eWvs aRZravs, rom am mxatvrebis saqmianoba saqarTveloSi mxolod mxatvrobiT ar Semoifargleboda; isini sxva davalebasac asrulebdnen. elCebis Canawerebi mowmobs, rom mxatvrebi Zeglebis aRweraSic iRebdnen monawileobas. magaliTad, erT­erT dokumentSi mxatvrebis (derminis, ostafievisa da

30 iqve, 225–226. 31 sayvareliZe, XIV­XIX saukuneebis qarTuli oqromWedloba, 113. 32 TamaraSvili, istoria kaTolikobisa, 120­121.

danilovis) mosazreba­Sefasebebia motanili alaverdSi nanaxi xatebis Taobaze33. rusi mxatvrebi zogjer erTgvar agentebadac warmoCndebian. ivan danilovi zemoxsenebul werilSi, romelSic rus elCebs gaTavisuflebas sTxovs, sanacvlod maT mefe Teimurazisa da mefe aleqsandres Sesaxeb saxelmwifo mniSvnelobis informaciis gadacemas hpirdeba34. danilovi moskovisTvis sasargeblo cnobebs TbilisSi 1652 wels Camosul arseni suxanovsac awvdis, romelsac is Tarjimnobasac uwevda35. mxatvari ostafievi ki, mefe mixeil I­s werilSi atyobinebs, rom man Teimuraz mefisgan icoda uflis kvarTis Sesaxeb. mcxeTaSi daculi uflis kvarTi ruseTisTvis Zalze mniSvnelovani iyo. cnobilia, rom 1625 wels ruseTis mefes Sah­abasma motyuebiT TiTqosda mcxeTidan wamoRebuli uflis kvarTi gadasca. mefe didad iyo dainteresebuli namdvili kvarTi hqonoda36. am mxriv sagulisxmoa, rom Tavad miSeckis kaxeTSi gamomgzavrebamde daevala Sahisa da Teimurazis urTierTobebis garkveva, xom ar iyo Seryeuli marTlmadidebluri rwmena saqarTveloSi, isev Tu idga mcxeTad wodebuli taZari, romelSic kvarTi inaxeboda da Tu aResruleboda iq wirva37. elCi rom aseTi davalebiT gamoegzavna ruseTis xelmwifes ar aris gasakviri, magram faqtia isic, rom im dros kaxeTSi myofi rusi mxatvrebic am yvelafris saqmis kursSi iyvnen da am informaciebiT spekulirebdnen kidec. moskovel mxatvrebs samegrelos mTavari levan II dadianic iTxovda. 1640 wels man ruseTis mefes saRebavebiT, oqroTi da vercxliT aRWurvili mxatvrebis gamogzavna sTxova38, Tumca, rogorc Cans, misi Txovna ar daakmayofiles. yovel SemTxvevaSi Cvenamde levanis dakveTiT Sesrulebul rusi mxatvrebis namuSevars ar mouRwevia. rusi elCebis aRwerilobaSi yuradRebas iqcevs kidev erTi cnoba, kerZod, 1637 wels ruseTidan Camosulma arqimandritrma alaverdSi yofnis dros mefis boqaulisgan Setyo, rom eklesiis marjvena mxare (e.i. samxreTi) rusma, marcxena (e.i CrdiloeTi) ki germanelma mxatvrebma moxates. a. preobraJenskis germaneli mxatvris monawileoba alaverdis

33 Полиевктов, Новые данные, 19–20; Белокуров, Сношение России с Кавказом, 157; Материалы, 267.

34 tolCanovis imereTSi elCobis muxlobrivi aRweriloba, 77, 195–196. stolniki toloCanovisa da diaki ievlevis, 44; Полиевктов, Новые данные, 21.

35 Проскинитарий Арсения Суханова, 105-109.

36 amis Sesaxeb ix., bubulaSvili, saqarTvelos eklesiis siwmindeebi, 56–71.

37 miSeckisa da diaki kluCarevis elCoba, 45.

38 Белокуров, Сношения России с Кавказом, 301.

taZris moxatvaSi `fantastikurad~ eCveneba da boqaulis naTqvams Targmnis dros daSvebul Secdomad miiCnevs39. ra Tqma unda, dRes verafers vityviT vinme germanelma imuSava Tu ara alaverdSi, miT ufro, rom marcxena mxares (CrdiloeT kedelze) moxatuloba TiTqmis mTlianad warxocilia. meore mxriv, Tuki, Teimuraz I mxatvrebis italiidan Camoyvanas cdilobda, ratom ar SeiZleba davuSvaT, rom alaverdSi germanel mxatvars rame samuSao Seesrulebina. gasaTvaliswinebelia, rom es ambebi XVII saukuneSi xdeba.

XVII saukune is xanaa, roca saqarTveloSi evropuli kulturisadmi interesi izrdeba. amas didad Seuwyo xeli kaTolike misionerebis mimosvlam da moRvaweobam; maT evropuli wignebi, xatebi, suraTebi da sxva nivTebi CamohqondaT. cnobilia, rom zogierTi misioneri (arqanjelo lamberti, juzepe judiCe milaneli, kristoforo de kasteli) xatavda kidec40. gansakuTrebiT mniSvnelovani is aris, rom saqarTvelo, Tu SeiZleba iTqvas, evropuli siaxlis miRebisTvis mzad aRmoCnda41; sazogadoebis maRal wreebs, erTi SexedviT, misTvis TiTqos ucxo, `axali xelovneba~ izidavda. am mxriv, gansakuTrebiT levan II dadiani (1611­1657) gamoirCeoda. arqanjelo lambertis cnobiT mis karze italiaSi naswavli mxatvaric iyo42. cnobilia, rom levan dadianma samegreloSi myof evropel misionerebs araerTi suraTi daaxatvina. don juzepe judiCe milaneli gvamcnobs, rom dadianma `don arqanjelos ubrZana suraTi daexata italiur yaidaze~43, romelic dedofalsac Zalian moewona da man brZana, rom ganzraxuli aqvs arqanjelo lambertis eklesia moaxatvinos.44 ramdenime wlis Semdeg, samegreloSi myof don kristoforo de kastelisTvis levan II dadians zugdidis mTavar eklesiaSi erTi ucnauri freskis Sesruleba uTxovia45. ai, ras wers kristoforo kasteli am moxatulobis Sesaxeb: `...[levan dadianma] momaxatvina zugdidis mTavari eklesia,

39 Преображенский, Русские живописцы, 199.

40 kastelis mxatvruli memkvidreobis Sesaxeb ix. CixlaZe m., kaTolike misionerTa rezidenciebi, 29–73; sxirtlaZe, CixlaZe m., dasavleTevropuli mxatvruli stili, 127–164; kasteli, cnobebi.

41 janjalia, tradicia da siaxle, 156–169.

42 lamberti, samegrelos aRwera, 41.

43 juzepe judiCe milaneli, werilebi, 38.

44 iqve, 41.

45 z. sxirtlaZis da m. CixlaZis azriT zugdidis mTavar eklesiaSi vlaqernis RmrTismSoblis saxelobis samegrelos mTavris karis eklesia unda igulisxmebodes, romelic dResdReobiT aRar arsebobs. mis adgilas 1825­1830 wlebSi agebuli eklesia dgas (sxirtlaZe, CixlaZe m., dasavleTevropuli mxatvruli stili, 138, 140).

da gamomasaxvina misi Tanamecxedris, dedoflis dauZlurebis istoria da gardacvaleba, kedelze, freskad. es iyo adamianTa al naturaleTi gadmocemuliistoriadedoflisuZlurebisadagardacvalebisa,sadac asaxuliiyomTavaridameuRleigimWmunvare,garemoculiqalebiT,eqimebiT, da Cveni mamebi wamlebiT xelSi, raic im mxareTa berZen mxatvarTa TqmiT, Zalian kargi gamovida, romlebic yuradRebiT akvirdebodnen Cvens, romaul mxatvrobas, radgan berZenTa naxatebi mSrali, usulo da usicocxloa; imave mxatvrebma didad Semaqes, da Tqves, rom aRmosavleTSiarmoiZebnebodaCemebrimxatvari,darommepirveliviyaviasedaxelovnebulifunjisxmarebasadamxatvrobaSi,darommTavarsundaeboZa CemTvis yoveli, rasac movisurvebdi, raTa guli Cemi moenadirebina, da raTa mxatvrobiT Sememko qveyana misi~46. aSkaraa rom, swored aseTi, al naturaleTi anu iluzorulad Sesrulebuli gamosaxulebani xiblavda levan II dadians da safiqralia, rom ara mxolod mas, aramed bevr mis Tanamedrovesac. kasteli wers, rom mTavari yvela stumars aCvenebda am freskas. aranakleb mniSvnelovania isic, rom freska berZen mxatvrebsac moswonebiaT. rogorc am relaciidan vigebT, maT xotba SeusxamT kristoforo kastelisTvis, rogorc daxelovnebuli mxatvrisTvis, romelic `usulo da usicocxlo~ `berZenTa naxatebis~ nacvlad `romaul mxatvrobas~ qmnida `al naturaleSi~. `berZeni mxatvrebi~ an `berZenTa naxatebi~ aq ar unda gulisxmobs eTnikur kuTvnilebas, aramed – marTlmadideblur xelovnebasa da mis Semqmnel ostatebs. evropuli mxatvroba mxolod levan II dadians rodi xiblavda. sanam kristoforo kasteli samegrelos ewveoda, igi sxva patrebTan erTad guriaSi imyofeboda. dasavleT saqarTvelos kaTolikos­patriarqma malaqia II gurielma maT Tavis rezidenciasTan axlos misca bina da xis eklesiac auSena, romelic `patrebma Seamkes mxatvrobiT~.47 ai ras wers, amis Taobaze kristoforo kasteli: `... [mamiagurieli]Tavadgveaxlaara erTxel sanaxavad Cveni mesisa da eklesiisa, romelic momexata, da ganacxada daufaravad berZnebis winaSe: es ar aris Cveni miwebidan gasaSvebi kaci, radgan misebri aq aravin aris …da ubrZana Tavis xalxs, waeRoT Cveni yvela nivTi da aeRoT nawilebad eklesia, romelic xisgan iyo, da daadgmevina igi Tavisi sasaxlis win... yvela eklesiis sanaxavad mihyavda, ro46 iqve. 47 TamaraSvili, istoria kaTolikobisa, 154.

melic maTi, berZenTa, wmindanebiT momexata, raTa meCvenebina Tanacxovreba maTTvis, da maTTan erTad fexze mdgomi moxuci, samocdaaT wels miaxloebuli, idga sakurTxevelTan da akvirdeboda yovelives didi yuradRebiT, eswreboda da qebas asxamda”48. am Canaweridan naTlad Cans mamia gurielis damokidebuleba am axleburi mxatvrobis mimarT. cnobilia, rom don kristoforo de kasteli sagangebod miiwvia TavisTan imereTis mefe aleqsandre III­m, didi pativiT miiRo igi da misi namuSevrebiTac Zlier moixibla: `radgan patri kastelim mxatvroba icoda, mefem ramdenime wmindanis xati daaxatvina. raki Zlier moewona, kvalad sTxova Tavisi da dedoflis saxis gadaxatvac, ris gamo mefe didad kmayofili darCa~49. rusi elCebis muxlobrivi aRwerilobebi da evropel misionerTa Canawerebi, werilebi Tu relaciebi, ra Tqma unda, sruliad sxvadasxva xasiaTisaa; magram CvenTvis saintereso sakiTxTan, mxatvrebTan dakavSirebiT erTi saerTo momenti iqcevs yuradRebas. rogorc kaxeTis mefeebis, ise levan dadianis SemTxvevaSi araerTxel meordeba, rom isini mxatvrebis naklebobas ganicdidnen da cdilobdnen moezidaT ucxoeli ostatebi. amas garda, maT, uTuod, raRac siaxlis Semotanac surdaT. meore mxriv, ruseTis elCobis dokumentebsa da evropel misionerTa nawerebSi arsebiTi sxvaobac aris. pirvel SemTxvevaSi ar Cans kaxTa mefeebis damokidebuleba moskoveli mxatvrebis, maTi naRvawis mimarT, maSin roca kastelisa da judiCe milanelis CanawerebSi levan dadiani, gurieli Tu imereTis mefe aleqsandre III moxiblulebi arian maTi xelovnebiT. XVIII saukunis dasawyisidan evropuli mxatvrobisadmi interesi kidev ufro izrdeba50.

unda aRiniSnos, rom winare xanasTan SedarebiT, XVIII saukunis sigel­gujrebSi mxatvarTa Sesaxeb cnobebic ufro metia. am periodis mxatvarTa Taobaze Zvirfas cnobebs gvawvdian XIX s. da XX saukunis dasawyisis avtorebic.

48 sxirtlaZe, CixlaZe m., dasavleTevropuli mxatvruli stili, 135. avtorTa azriT Zneli saTqmelia iyo es freskebi Tu xatebi. kastels rom xatebic hqonda daxatuli es mis relaciebSic aSkaravdeba, sadac wm. nikolozis, wm. ioane naTlismcemlis, RmrTismSoblisa da iesos “al naturaleTi” Sesrulebuli xatebia naxsenebi.

49 TamaraSvili, istoria kaTolikobisa, gv. 216. 50 janjalia, tradicia da siaxle, 169.

sur. 1. erTawmindis wm. evstates taZari. aRmosavleTi kedeli. wm. evstates ojaxis wameba. 1654 w. Ertatsminda. Church of Eustathius. East wall. Martyrdom of St. Eustathius’s Family. 1654.

sur. 2. erTawmindis wm. evstates taZari. aRmosavleTi kedeli. wm. giorgi. 1654 w. Ertatsminda. Church of Eustathius. East Wall. St. George. 1654.

sur. 3. winarexis maRalaanT eklesiis kankelis moxatuloba. detali. 1680­iani ww. Tsinarekhi. Maghalaant Eklesia. Chancel barrier. Murals. Detail. 1680s.

sur. 4. alaverdis taZari. samxreTi afsidis moxatuloba. detali. XVI s. Alaverdi. Cathedral. South apse. Murals. 16th c.

mxatvris sazogadoebrivi mdgomareoba Sua saukuneebis saqarTveloSi

qarTul istoriul wyaroebSi Sua saukuneebis mxatvarTa, sazogadod, ostatTa sazogadoebrivi mdgomareobis Sesaxeb cnobebi ar mogvepoveba; dokumenturad araferia cnobili arsebobda Tu ara mxatvarTa Soris rame saxis ierarqia; rogori urTierTdamokidebuleba hqondaT momgebelsa da mxatvars; ar gvaqvs cnobebi maTi saqmiani TanamSromlobis Taobaze, ra kriteriumebiT irCevda damkveTi mxatvars, ramdenad afasebda mis Sromasa Tu mis mier Seqmnil nawarmoebs, ra konkretul davalebas aZlevda mas, an ra valdebulebebs iRebda damkveTi da mxatvari da sxva. am mxriv arc bizantiuri masalaa mdidari, Tumca iq mainc meti cnobaa Semonaxuli, Tundac gvianbizantiuri da postbizantiuri xanis mxatvarTa da damkveTTa xelSekrulebebi da sxva1. informaciisa da faqtobrivi masalis naklebobis gamo am sakiTxebze msjeloba arapirdapiri monacemiT gviwevs. am mxriv, mniSvnelovania mxatvris saxelis Semcveli warwerebic. Sua saukuneebis xuroTmoZRvarTa sazogadoebriv mdgomareobasTan dakavSirebiT mecnierebi samarTlianad SeniSnaven, rom es sakiTxi jer kidev sakvlevia2, Tumca es erTnairad exeba yvela dargis ostats da, maT Soris, mxatvrebsac.

mxatvris xeloba Sua saukuneebSi, ra Tqma unda, damoukidebeli profesia iyo. avgaroz bandaisZe (XIV s.) largvisis paraklitonis minawerSi Tavis aT xelobas CamoTvlis, romelTa Soris mxatvris profesiasac asaxelebs: wyalobiTa RmrTisa¡Ta momeca T¢nier moZRurisa £elovneba¡ eseviTari: pirvelad £eli – swava¡ xucobisa¡, £eli meore – mwignobrobi­

1 magaliTad, kreteli mxatvrebisa da maTi damkveTebis xelSekrulebebi, Vassilaki, The Painter Angelos, misive, Vassilaki, Looking at Icons.

2 TumaniSvili, nacvliSvili, xoStaria, mSenebeli ostatebi, 67.

sa¡, £eli mesame – wera¡ xucurisa¡, £eli meoTxe – Seqmna¡ etratisa¡, £eli mexuTe – Sekrva¡wignisa¡,£elimeequse – mxatvrobisa¡,£elimeS¢de – mkervlobisa¡, £eli merve – tyavis kervisa¡, £eli mecxre – xurovnobisa¡, £eli meaTe – yovlisave msoflio¡sa muSaobisa¡ (A 575, 155r)3. sayuradReboa, rom avgarozi erTdroulad ramdenime xelobas flobda. aseTi mravalprofiliani ostatebi, uTuod, sxvebic iqnebodnen. rogorc Cans, maT ricxvs miekuTvneboda avgarozis Svili grigolic, romelsac mxatvris xeloba, albaT, mamisgan honda Seswavlili. imave larvgisis paraklitonis minawerSi grigoli ambobs, rom man largvisis taZris karibWec moxata da dazianebuli xatebic aRadgina4 mxatvris sazogadoebriv mdgomareobasTan dakavSirebiT uaRresad mniSvnelovania ifraris (1096), lagurkisa (1111) da nakifaris (1130) moxatulobaTa saqtitoro warwerebi, romlebSic Tevdore mefis mxatvrad aris dasaxelebuli. istoriul dokumentebSi Sua saukuneebis saqarTveloSi mefis mxatvris institutis, an aseTi wodebis arseboba ar dasturdeba, magram Tevdores moxatulobaTa warwerebi am varaudis gamoTqmis uflebas mainc iZleva, yovel SemTxvevaSi, misi moRvaweobis periodSi (1096­1130), romelic daviT IV aRmaSeneblisa (1089­1125) da demetre I­is (1125­1156) zeobis xanas emTxveva, aseTi Tanamdeboba/wodeba saqarTveloSi, uTuod, arsebobda, winaaRmdeg SemTxvevaSi Tevdore warwerebSi ar/ver ityoda mefis mxatvari varo. zarzmis RvTismSoblis miZinebis taZris erT­erT warweraSi `mxatvarTuxucesi~ ikiTxeba, kerZod, sargis II jayelis (1308­13334) portretis zedwerili iuwyeba: `samcxis spasalari sargil da mxatuarT uxuces~ (sur. 1, 2). `mxatvarTuxucesi~ istoriul wyaroebSi ar gvxvdeba. Tavis mxriv, zarzmis warwera kiTxvebs wamoWris: ramdenad gvaZlevs is mtkice varaudis safuZvels, rom sargis II, samcxis aTabagi da spasalari, mxatvarTuxucesobasac iTavsebda da, rom Sua saukuneebis saqarTveloSi aseTi Tanamdeboba arsebobda. saqme is aris, rom zarzmaSi jayelTa droindeli mxatvroba (XIV s.), faqtobrivad, ar SemorCa. dRevandeli

3 qarTul xelnawerTa aRweriloba, A­II2, 190; beriZe, Zveli qarTveli ostatebi, 14­17. 4 xelnawers (A 575) grigolis minaweri aklia, magram is m. brosesa da T. Jordanias naSromebidan aris cnobili, qarTul xelnawerTa aRweriloba, A­II2, 189; Jordania, qronikebi, II, 204­205; beriZe, Zveli qarTveli ostatebi, 16–17. largvisis moxatuloba ar aris SemorCenili. Cxaris wm. giorgis eklesiis Zlier dazianebul ferweruli warweridan (XVI s.) ise Cans, rom eklesia kalatozma grigolma moxata: `..grig[ol kala] |t(o)z: dax[ata]...~ (#31).

moxatuloba, arsebiTad, XVI saukuneSia Sesrulebuli, misi calkeuli nawilebi ki XX saukunis dasawyisSia ganaxlebul­gacxovelebuli5. zarzmis Tavdapirveli moxatuloba jayelTa portretebs, albaT, Seicavda, magram Cven ar viciT ra mdgomareobaSi daxvda isini XVI saukunis mxatvars da ra da rogor gaimeora man, an ra cvlileba ganicada ferweram XX saukunis dasawyisSi Catarebuli sarestavracio samuSaos dros. amitom dabejiTebiT ver vityviT, rom Tavdapirvel moxatulobaSi sargis II­is portretis gverdiT `mxatvarTuxucesi~ ewera da, Sesabamisad, verc imas daviCemebT, rom mas es Tanamdeboba ekava. Cveni varaudiT, sargis II­is Tanmxleb warweraSi moxatulobis ganaxlebis dros Secdoma `gaipara~6 –`mxatvarTuxucesi~ `mandaturTuxucesis~ nacvlad daweres. es Tanamdeboba ki anCis xatis warweris Tanaxmad sargis II­s namdvilad ekava7 da ar aris gamoricxuli, rom, Tavis droze, mis portretsac zarzmaSi `mandaturTuxucesi~ axlda. rac Seexeba mxatvarTuxucesis Tanamdebobas, vfiqrobT, is, yovel SemTxvevaSi, gvian Sua saukuneebSi mainc saqarTveloSi arsebobda. zarzmis mxatvar­restavratori ver dauSvebda aseT Secdomas, ver dawerda `mxatvarTuxucess~ misTvis rom is ucxo yofiliyo. zarzmis `mxatvarTuxecesi~ Soreul, misgan droiT didad daSore­

5 zarzmis moxatulobis daTariRebasTan dakavSirebiT sxvadasxva mosazreba arsebobs. Cven viziarebT m. janjalias TariRs, janjalia, zarzmis moxatulobis TariRisTvis, 63–91. zarzmis portretebis Sesaxeb, ix. miqelaZe, jayelTa portretebi, 236–240. 6 eq. TayaiSvilis varaudiT, warweraSi Secdomaa daSvebuli _ `mxatvarTuxuces~­is nacvlad `msaxurTuxucesi~ unda yofiliyoo (АЭРЗ, I, 47–48, Sen. 1). S. mesxias da g. xuciSvilis SexedulebiT, warweraSi Secdoma ar aris `gaparuli~ da sargis II mxatvarTuxucesic iyo (mesxia, saistorio Ziebani, I, 147–149; xuciSvili g., safaris kedlis mxatvroba, 123­124). aRsaniSnavia, rom g. xuciSvili cnobiT, S. mesxias aeWvebda sargis II­is mxatvarTuxucesoba da is moxatulobis restavraciis dros daSvebul Secdomad miaCnda, risi garkvevac mas `ar dascaldao~ (xuciSvili g., dasax. naSr., gv. 123). savaraudod, mesxiam es mosazreba zepiri saubris dros gamoTqva, radgan Cvens mier damowmebul Tavis naSromSi is sapirispiros wers (mesxia, dasax. naSr., 147–149). xuciSvils ki mesxias gamoqveynebuli mosazreba ratomRac gamorCa. samwuxarod, Tavis droze, Cven daveyrdeniT xuciSvilis cnobas da mesxias Sexeduleba gamogvrCa (miqelaZe, jayelTa portretebi, 239­240, Sen. 78). v. beriZis mosazrebiT, miuxedavad imisa, rom sityva `mxatvarTuxuces~ sargis II­is gamosaxulebas axlavs, is yuaryuara jayels unda ekuTvnodes, romelic sargisis ukan aris gamosaxuli (beriZe, samcxis xuroTmoZRvreba, 125, Sen. 1). vfiqrobT, `mxatvarTuxuces~ sargis II­s miemarTeba, Tumca amas, amjerad, arsebiTi mniSvneloba ar aqvs. aRsaniSnavia, rom zarzmis moxatulobis warwerebSi araerTi Secdomacaa (magaliTad, `sargil~ sargisis nacvlad, sityvas `mxatvarTuxuces~ aklia bolo `i~ da sxva), rasac Tavis droze v. beriZem miaqcia yuradReba. 7 anCis xatis warwera ix., amiranaSvili, beqa opizari, 9–10.

bul iberiis samefoSi gvabrunebs. samTavros samarovansa da mcxeTaSi aRmoCenili stelebis (IV­V ss.) berZnulenovani warwerebi, romelTagan aq erT­erTs moviyvanT, mxatvarTuxucess Seicavs: `avrelios aqoliosi mxatvarTuxucesi da xuroTmoZRvari~...8; magram es warwerebi sxva sinamdvileSi, sxva istoriul garemoSia Seqmnili da, cxadia, maT zarzmis warwerasTan ver davakavSirebT. amas garda, berZnuli αρχιζογράφος sityvasityviT mTavar mxatvars niSnavs, rac TinaTin yauxCiSvilma qarTulad gadmoitana rogorc mxatvarTuxucesi9 da SesaZloa is mxatvarTuxucesis rogorc moxelis zusti Sesatyvisi arc aris. sayuradReboa T. yauxCiSvilis SeniSvna, rom termini αρχιζογράφος berZnul mwerlobaSi naklebad aris gavrcelebuli, rac imas mowmobs, rom `...qarTul sinamdviles sWirdeboda aseTi terminio~10. am sakiTxis kvleva Cven kompetencias scdeba. aq mxolod imas davamatebT, rom ramdenadac CvenTvisaa cnobili, bizantiur da postbizantiur epigrafikaSic aseTi termini ar gvxvdeba. SemTxveviTi ar aris, rom mcxeTis sveticxovlis sakaTedro taZris `cxoveli svetis~ mxatvarma grigol guljavarasSvilma Tavis warweraSi (1678­1688) aRniSna moqalaqe varo (#33, sur. 2, 3). amiT man Tavis sazogadoebriv mdgomareobasa da socialur statuss gausva xazi, radgan moqalaqis wodeba gvian Sua saukuneebSi im Tbiliseli vaWrebisa da xelosnebis privilegia iyo, romelnic aq uZrav qonebas flobdnen da saxazino gadasaxads ixdidnen11. grigoli, rogorc Cans, garkveuli SeZlebis kacic iyo. `moqalaqeoba~ rom sapatio da mniSvnelovani iyo XVIII saukunis cnobili kaligrafisa da mxatvris aleqsi mesxiSvilis anderZ­minawerebidanac Cans. aleqsi yvelgan xazs usvams, rom is Tbilisis `moqalaqe qmnilis~, mxatvris grigolis Svilia: `...werad xelvyav tfilurTa moqalaqe qmnilis £eloanis mxatvris grigor mRudlis Zeman, dekanozaman aleqsim~ (H 1671, 321v, 1752 w.)12. sagulisxmoa isic, rom aleqsisTvis mxatvris Svilobac saamayo iyo; is yovelTvis sagangebod aRniSnavs `£eloan mxatvris~ Ze varo (H 1666, 145r, H 1671, 321v, A 1093, S 4748, 214v).

8 yauxCiSvili, saqarTvelos berZnuli warwerebis korpusi, 230, 256.

9 iqve, 230, 256.

10 iqve, 30.

11 mexia, saistorio Ziebani, II, 296­312.

12 qarTul xelnawerTa aRweriloba, H­ IV, 100. grigol mesxiSvilis Sesaxeb ix.: karbelaSvili, Zveli anCisxatis taZari; gaCeCilaZe, qarTul xelnawerTa amagdarni; 32­40; maWavariani, gaCeCilaZe, tatiSvili, xizaniSvili, qarTuli xelnaweri wignis momxatvel ostatTa Semoqmedeba, 77­78.

Cvens mier moxmobili faqtebi, vfiqrobT, saSualebas iZleva vivaraudoT, rom mxatvarTa Soris garkveuli ierarqia arsebobda _ viRac mefis mxatvari iyo, viRac moqalaqe, rac maT sxva rigiTi ostatebisgan gansxvavebul sazogadoebriv mdgomareobas ganapirobebda. savaraudod, arsebobda mxatvarTuxucesis Tanamdebobac. cxadia, ar iyo aucilebeli mxatvarTuxucesi TviTonac mxatvari yofiliyo13

Cven ar mogvepoveba cnobebi Sua saukuneebis mxatvarTa amqrebisa Tu saxelosnoebis Taobaze14. arc eklesiis momxatvel ostatTa Sromis organizebis Sesaxeb gvaqvs cnobebi. am mxriv, yuradRebas iqcevs macxvariSis moxatulobaSi (1140) kvirike mamasaxlisis warwera, romlis Tanaxmadac is eklesiis moxatvis zedamdgomi iyo15, magram Cven dazustebiT ar viciT ra Sedioda mis movaleobebSi. oSkis taZris cnobili warweris mixedviT zedamdgomlad dasaxelebuli grigolis saqmianoba samSeneblo samuSaos gaZRolas, gasamrjelos gadaxdas da masaliT uzrunvelyofas gulisxmobda16. macxvariSSi cota sxvagvarad aris saqme – kvirike mamasaxlisi, rogorc Cans, amavdroulad moxatulobis erT­erTi momgebelic, `meoradi qtitoric~ iyo17 da Zneli saTqmelia, asrulebda Tu ara is im saqmes, romelsac oSkSi grigoli, magram cxadi isaa, rom kvirikem, marTlac `didi moiWirva~ eklesiis mxatvrobiT SemkobisTvis da amitomac sTxovs eklesiis momaval mamasaxlisebs: ...`kvamlisgan Se¡krZaleT xatuli romel feri ar daaklos~... kvirikesTan dakavSirebiT mxedvelobidan ar unda gamogvrCes, rom is sasuliero piri iyo (portretze samonazvno kabiTaa warmodgenili (sur. 4), eklesiis mamasaxlisi da, SesaZloa, is eklesiis moxatvasac xelmZRvanelobda da moxatulobis koncefciis SeqmnaSic monawileobda.

rogorc cnobilia, Sua saukuneebSi eklesiis momxatvelni, iseve rogorc sxva dargis ostatebi sasuliero pirebic iyvnen da eriskacnic. roca warwera amasTan dakavSirebul informacias ar Seicavs Znelia mxatvari romelime wres miakuTvno, Tumca calkeul SemTxvevebSi varaudis gamoTqma maincaa SesaZlebeli, magaliTad, sabereebis mxatvrebi, uTuod,

13 mexia, saistorio Ziebani, I, 147­148.

14 ostatTa gaerTianebebze, saxelosnoebsa, Tu amqrebze informacia mxolod XVII­XVIII saukuneebis dokumentebSi dasturdeba, Tumca varaudoben, rom saqarTveloSi ostatTa gaerTianebebi X­XI ss­Si warmoiSva, mexia, saistorio Ziebani, I, 507­532.

15 silogava, svaneTis werilobiTi Zeglebi, II, 77­78, N 15.

16 TumaniSvili, nacvliSvili, xoStaria, mSenebeli ostatebi, 63; jobaZe, adreuli Sua saukuneebis qarTuli monastrebi, 156­157.

17 ix. aqve, miqelaZe, SuasaukuneebismxatvarTawarwerebi, Sen. 24.

adgilobrivi berebi iyvnen; Znelia ar ivaraudo, rom monazoni iyo demetre, beTaniis mxatvari, rasac gansakuTrebiT misi erT­erTi warwera (#12, b) gvafiqrebinebs; SesaZloa beri iyo ubisis mxatvari gerasimec18 rogorc Cans eriskacebi iyvnen mefis mxatvari Tevdore, miqael maRlakeli, giorgi joxtoberiZe da sxva. XVI­XVII saukuneebis kedlis mxatvrobis warwerebi mowmobs, rom mxatvris profesias maRali rangis sasuliero pirebic flobdnen: episkoposi (samTavisi), monastris winamZRvari (erTawminda), protosingelozi (gremi). CvenTvis ucnobia rogori iyo mxatvris samuSaos safasuri Sua saukuneebSi, arada ekonomikuri mdgomareoba, ra Tqma unda, garkveulwilad mainc gansazRvravda mis socialur statuss. gvianbizantiuri xanis bizantiis urbanul centrebSi mxatvarTa socialuri statusis amaRlebis tendencias sazogadoebis axlebur diferencirebasTan akavSireben, romelic finansur kriteriums emyareboda. xilandaris monastris 1304 wlis aqtebidan irkveva, rom yvelaze pativsacem mxatvrad wodebuli miqael proeleusi sakmaod SeZlebuli kaci yofila – Tesalonikis maxloblad miwebsa da saxls flobda da RvTismSoblis eklesiis qtitoric iyo19; mxatvari giorgi kaliergisi ki nasyidobis dokumentSi (1322) mowmed Cndeba20. saqarTveloSi garkveuli SeZlebis mxatvrebad SeiZleba miviCnioT XVII saukunis mxatvrebi – grigol guljavarasSvili, romlis Sesaxebac zemoT ukve iTqva da maRalaanT eklesiis kankelis berZeni mxatvari apostole, romelsac mcxeTaSi ori saxli hqonda21. SeiZleba dauSvaT isic, rom Tevdores, rogorc mefis mxatvris Sromis anazRaurebac ufro maRali iyo, vidre rigiTi mxatvrisa, iseve rogorc konstantinopolidan sagangebod Camoyvanili manuel evgenikosisa. rogorc cnobilia, Sua saukuneebSi saqtitoro saqmianobas, iqneba es aRmSenebloba, taZarTa moxatva da sxva sazogadoebis umaRlesi saero da sasuliero wre – xelmwifeni, didmoxeleni, aristokratia da RvTismsaxurni warmarTavdnen. ase iyo es Sua saukuneebis saqarTveloSic, sazogadod, qristianul aRmosavleTSi da dasavleT saqristianoSic22 Tumca momgeblebad xSirad rigiTi mosaxleoba, Temi an sofeli, zogjer

18 TumaniSvili, nacvliSvili, xoStaria, mSenebeli ostatebi, 80.

19 Бабиħ, Михаило Проелевсис; Kalopossi-Vreti, Painters, 150.

20 Kalopossi-Vreti, Painters, 150; Tsigaridas, L’activité artistique.

21 qarTuli samarTlis Zeglebi, III, 806.

22 TumaniSvili, nacvliSvili, xoStaria, mSenebeli ostatebi, 52.

ubralo glexebic gvevlinebian. ase rom, Sua saukuneebis xelovnebis momgebelTa socialuri wre sakmaod farTo iyo. Sesabamisad mxatvrebsac sazogadoebis sxvadasxva fenis damkveTebTan uwevdaT muSaoba. mxatvarTagan gansxvavebiT, qtitorTa Sesaxeb sakmao informacia gvaqvs. bevri maTgani naratiuli wyaroebidan da sxva werilobiTi dokumentebidan kargad aris cnobili. magram es cnobebi, ZiriTadad maT politikursa Tu sazogadoebriv cxovrebas exeba; saqtitoro moRvaweobasTan dakavSirebuli informacia ki, Cveulebriv, zogadi xasiaTisaa da momgeblis naRvawis warmoCenas emsaxureba. ama Tu im piris saqtitoro saqmianobaze, mis masStabsa da ragvarobaze warmodgenas epigrafika, qtitorTa portretebi da sakuTriv Zeglebi, Cvens SemTxvevaSi, kedlis mxatvrobac gviqmnis. ra Tqma unda, warwerebi momgeblebze ufro met informaciasac Seicavs (saxelis garda aRniSnulia maTi sazogadoebrivi mdgomareoba, regaliebi, maTgan eklesiisTvis gaRebuli donacia da sxva) vidre mxatvrebze. qtitori, cxadia, yovelTvis ar aris cnobili. ase magaliTad, ucnobia sabereebis samonastro kompleqsis kedlis mxatvrobis (IX­X ss.) momgebelTa vinaoba. qtitoris portreti VIII eklesiis samxreTi egvteris moxatulobaSi ivaraudeba. sasuliero piris gamosaxulebis identificireba dazianebis gamo ver xerxdeba, magram mas am egvterisa da VIII eklesiis moxatulobis momgeblad miiCneven23. Tu portretze marTlac istoriuli piria warmodgenili, maSin safiqrebelia, rom is adgilobrivi beria, romelic VIII eklesiis mxatvris, `mwerlis~ damkveTi iyo, an sulac Tavadve iyo momxatvelic. sazogadod, safiqrebelia, rom sabereebis eklesiebs monastris saZmo Tavad amkobda ferweriT. araerTi SemTxveva SeiZleba gavixsenoT, roca qtitoris Sesaxeb misi saxelis garda araferi viciT, rac bevrs verafers matebs Cvens codnas mis Sesaxeb. magaliTad, ucnobia vin iyo an ras warmoadgenda nezgunis macxovris eklesiis sakurTxevlis afsidis moxatulobis (X s.) momgebeli beSqeni, an mxeris mTavarangelozTa eklesiisa da misi moxatulobis qtitori iveldiani da mravali sxva.

23 sxirtlaZe, sabereebis freskuli warwerebi, 127, 130–132, nax. 73; volskaia, garejis ferweruli skolis istoriisaTvis, 29­30. fiqroben, rom sabereebis VI eklesiaSi, CrdiloeTi mklavis aRmosavleT kedelze fragmentulad SemorCenili mamakacis gamosaxulebac moxatulobis momgebelia, sxirtlaZe, sabereebis freskuli warwerebi, 39. migvaCnia, rom es gamosaxuleba kidev saWiroebs kvlevas.

saqtitoro warwerebis Tanaxmad, mefis mxatvar Tevdores samive moxatuloba koleqtiur dakveTas warmoadgens. isini xevis aznaurTa da mosaxleobis iniciativiT Sesrulda. koleqtiuri qtitoroba ar aris iSviaTi Sua saukuneebSi24. Cven ar viciT ram ganapiroba svaneTis mcire zomis eklesiaTa moxatvaSi mTeli xevis mosaxleobis monawileoba. am gziT, albaT, samuSaos safasuri nawildeboda. amave dros eklesiis SemkobaSi wvlilis SetaniT adgilobriv mosaxleobas sulis moxseniebis imedic eZleoda. magram Tevdores warwerebi sxva mxrivaa ufro yuradsaRebi, kerZod, rom mefis mxatvari qveynis centraluri regionebidan moSorebiT, zemo svaneTSi adgilobrivi aznaurebisa da xevis mosaxleobis, romelSic, cxadia, ubralo glexebic Sediodnen, dakveTebs asrulebda25. miuxedavad imisa, rom Tevdores mier ganxorcielebul samefo dakveTebs Cvenamde ar mouRwevia, eWvs ar iwvevs, rom mas, rogorc mefis mxatvars, mefis karzec umuSavia26. gamodis, rom Tevdore samefo dakveTebsac asrulebda da aznaurebsa da Temsac emsaxureboda. niSnavs Tu ara es, rom mefis mxatvars nebismieri socialuri fenis dakveTa SeeZlo Seesrulebina, rom es wodeba/Tanamdeboba mas xels ar uSlida ubralo damkveTebTan emuSava, Tu garemoebaTa gamo aRmoCnda Tevdore svaneTSi. am kiTxvebze pasuxi jerjerobiT ar gvaqvs27.

24 koleqtiuri qtitorobis magaliTebi, ix. TumaniSvili, nacvliSvili, xoStaria, mSenebeli ostatebi, 41­51; silogava, svaneTis werilobiTi Zeglebi, II, 37­39.

25 lagurkisa da nakifaris warwerebSi momgebelni diferencirebulni arian rogorc aznaurebi da xevis mosaxleoba (`...amis £evisa aznaurTa da yovelTa...~, `..aznaurTa amisa £evisaTa yovelTa erTobiTa...~). ifraris warweraSi ki naTqvamia: `...amis £evisa yovelTa, didTa da mcireTa...~, rac aseve sxvadasxva socialur fenas – maRalsa da dabals unda gulisxmobdes. koleqtiuri patronaJis SemTxvevebSi momgebelTa erTmaneTisgan gamijvna rogorc didi da mcire an patara bizantiuri wris ZeglebSi xSiria, rac maT Soris socialur sxvaobas mianiSnebs, Kalopissi-Verti, Church Foundation 336–337; koleqtiuri patronaJis Sesaxe ix. aseve: Kalopissi-Verti, Collective Patterns, 125­140. 26 gamoTqmulia mosazrebebi Tedores mier Sesrulebul sxva nawarmoebebze, ix. burWulaZe, monumenturi da dazguri mxatvrobis urTierTmimarTebis sakiTxisaTvis, 122129; oqropiriZe, sveticxovlis sakurTxevlis moxatulobisTvis.

27 zogierTi mecnieri mefis mxatvris zemo svaneTSi moRvaweobasa da warwerebSi Tevdores am tituliT dasaxelebas politikur WrilSi ganixilavs da svaneTSi samefo Zalauflebis ganmtkicebis gamoxatulebad miiCnevs, abramiSvili, kidev erTxel atenis sionis, 18­19. Cveni azriT, am varaudisTvis sakmarisi mtkicebulebebi da argumentebi ar gagvaCnia. gasaTvaliswinebelia isic, rom Sua saukuneebis zemo svaneTis istoria da misi urTierToba centralur xelisuflebasTan jerac ar aris srulyofilad Seswavlili. ix. aseve, Chichinadze, “King’s”. fiqroben, rom Tevdore Tanaqtitoric iyo, Chichinadze, dasax. naSr., 33.

sagulisxmoa, rom Tevdores mefis mxatvroba saqtitoro warwerebSia aRniSnuli, riTac momgebelTa ambiciaa gamoxatuli; maTTvis, ra Tqma unda, saamayo da iqneb pativic iyo, rom maT dakveTas mefis mxatvari asrulebda. meore mxriv, arc isaa gamoricxuli, rom Tevdores Tavisi surviliTa da iniciativiT Caewera Tavisi wodeba/Tanamdeboba; mefis mxatvroba xom misTvisac sapatio iqneboda. bizantiuri xelovnebis mkvlevarTa Soris damkvidrebulia mosazreba, rom Sua saukuneebSi mxatvris socialuri statusi dabali iyo da, rom is ubralo xelosani iyo28. amis dasturad xSirad eparqosis wigni (X s.) mohyavT, romelSic mxatvrebi sxva xelosnebTan (durgali, mlesavi, kalatozi, zeinkali...) erTad arian dasaxelebulni29. eparqosis wigni, rogorc cnobilia, konstantinopolis xelosanTa gildiebs exeba, romelSic damqiraveblisa da ostatis movaleobebi da valdebulebebia gawerili30 da mxatvrebisa da xelosnebis erT CamonaTvalSi moqceva, vfiqrobT, ar unda iyos maincdamainc imis maCvenebeli, rom mxatvari, yovel SemTxvevaSi, yvela mxatvari rigiTi xelosani iyo. ra Tqma unda, Sua saukuneebis ierarqiul principze damyarebuli sazogadoebrivi wyobis gaTvaliswinebiT, mxatvari da xelosani erT fenas ganekuTvneboda da maTi socialuri statusic dabali iyo. magram, vfiqrobT, yvela mxatvari Tanabar mdgomareobaSi ar unda yofiliyo; arc sazogadoebas, pirvel rigSi, maT damkveTebs eqnebodaT yvelas mimarT erTnairi damokidebuleba. mxatvris dabali socialuri statusis Sesaxeb warmodgena ar SeiZleba ganzogaddes31. Zneli warmosadgenia, magaliTad, mefis mxatvarsa da ubralo durgals erTnairi statusi hqonodaT. Sua saukuneebSi xelovan­ostatebs pativs rom scemdnen hagiografiul literaturaSi gabneuli cnobebic mowmobs. magaliTad, wm. serapion zarzmelis `cxovrebaSi~ naTqvamia, rom zarzmis eklesiis asaSeneblad `£elovnebiTa ganTqmuli~ kaci moiwvies, giorgi merCules cnobiT ki xanZTaSi wm. giorgis `axali~ eklesia `yovliTa sibrZniT~ ganasrula xuroTmoZRvarma amonam32. rogorc d. TumaniSvili aRniSnavs, `wminda

28 am sakiTxs araerTi mkvlevari exeba. davasaxelebT ramdenimes: Kalopossi-Vreti, Painters, 150; misive, Painters’ Information, 57; Gouma-Peterson, Manuel and John Phokas, 159–160.

29 Kalopossi-Vreti, Painters, 150; misive, Painters’ Information, 57.

30 Koder (ed.), Das Eparchenbuch, 138–143.

31 Marković, Painters in the Late Byzantine World.

32 TumaniSvili, nacvliSvili, xoStaria, mSenebeli ostatebi, 71.

berTa `cxorebebSi~ aseTi gansazRvrebebis gaCena garkveul, fesvgadgmul Sexeduleba­Sefasebis arsebobas unda mowmobdes~33. ostatis mimarT damokidebulebas kargad warmoaCens anCis saxarebis minaweri, romelSic beqa opizarze naTqvamia: movaWedine RmrTisa mier kurTxeuls, Rirssa oqro¡s mqandakebelsa beqasa. miuxedavad imisa, rom mxatvrebTan dakavSirebiT aseTi cnobebi ar mogvepoveba, vfiqrobT, ostatis mimarT damokidebuleba, xelobis miuxedavad mainc met­naklebad sayovelTao iqneboda da mis Rirsebebze iyo damokidebuli. Tumca, Cveni varaudiT, Sua saukuneebSi xuroTmoZRvari, iseve rogorc xelnaweri wignis mwerali/ gadamnusxveli (SesaZloa oqromWedelic) mxatvarze metad privilegirebulni iyvnen da ar aris gamoricxuli, rom maTi socialuri statusic ufro maRali yofiliyo34.

33 iqve, 71. 34 xuroTmoZRvris sazogadoebrivi mdgomareobis Sesaxeb ix. TumaniSvili, nacvliSvili, xoStaria, mSenebeli ostatebi, 61­81. mSenebel ostatTa mimarT gansakuTrebul damokidebulobas mowmobs isic, rom qristianuli aRmosavleTis sxva qveynebisgan gansxvavebiT saqarTveloSi farTod gavrcelda da sakmaod adreuli xanidanac (VI­VII ss) maTi qandakovani gamosaxulebebi; SemorCenilia mSeneblis ferweruli gamosaxulebac (XV s.) daviTgarejis naTlismcemlis monastris erT­erT samartomyofeloSi (TumaniSvili, nacvliSvili, xoStaria, mSenebeli ostatebi, 95­127). didi pativiT sargeblobdnen da gansakuTrebuli uflebebic hqondaT mwerlebs, wignis gadamnusxvelebs (javaxiSvili, qarTuli paleografia; surgulaZe, `mwerali~, 113­129; maWavariani, wignis xelovneba, maWavariani, gaCeCilaZe, tatiSvili, xizaniSvili, qarTuli xelnaweri wignis momxatvel ostatTa Semoqmedeba). werilobiT wyaroebSi cnobebi samSeneblo saqmianobasTan dakavSirebiTac mogvepoveba da xelnaweri wignis Seqmnis procesis Taobazec, maSin roca, eklesiis moxatvis procesis Sesaxeb informacia ar gvaqvs. naratiul wyaroebsa (`qarTlis cxovrebis~ saistorio Txzulebebi) da sabuTebSi eklesiis moxatvis mxolod mSral faqts Tu gadaeyrebi da isic arcTu xSirad. Cveni varaudiT, saqme is aris, rom samSeneblo samuSao rTulicaa da xangrZlivic, met xarjsac iTxovs. qtitorisTvisac, pirvelyovlisa, taZris aSenebaa mniSvnelovani da sapatio. eklesiis moxatva, Tu SeiZleba iTqvas, meore rigis saqme iyo, `yovelTa samkaulTagan~ erT­erTi. taZari Tavis funqcias moxatulobis gareSec Seasrulebda. mSeneblobasTan SedarebiT eklesiis moxatva ufro ioli saqmec iyo da nakleb drosa da xarjsac iTxovda. xelnaweri wigni koleqtiuri Sromis (etratis damzadeba, gadawera, moxatva, akinZva, Semosva...) nayofia da misi Seqmnis procesi xangrZlivi da Sromatevadi iyo. am procesSi mTavar `rols~ mwerali asrulebda. umTavresi wignis gadaweraa. misi mxatvruli gaformeba­dasuraTeba teqstis morTulobaa, sasurveli, magram ara gardauvalad aucilebeli. wigns suraTebis gareSec aqvs funqcia. SesaZloa swored es faqtorebi ganapirobebda xuroTmoZRvrisa da mwerlis gansakuTrebul dafasebas Zvel saqarTveloSi. mxatvrebTan SedarebiT gacilebiT meti mSenebeli ostatis, mwerlisa da wignis mxatvar­gamformeblis vinaobacaa cnobili (mSenebel ostatTa nusxa ix.: v. beriZe, Zveli qarTveli xuroTmoZRvrebi, misive, Zveli qarTveli ostatebi; TumaniSvili, nacvliSvili, xoStaria, mSenebeli ostatebi, 245–258; xelnawerTa mxatvar­gamformebelTa nusxa ix. maWavariani, gaCeCilaZe, tatiSvili, xizaniSvili, qarTuli xelnaweri wignis momxatvel ostatTa).

Cvens xelT arsebuli mwiri monacemebic ki gvafiqrebinebs, rom mxatvrebi Tanabar mdgomareobaSi ar iyvnen. maT Soris iyo ubralo xelosanic da xelovanic da damkveTebic, uTuod, asxvavebdnen, Sesabamisad aRiqvamdnen da afasebdnen maT. am mxriv metad sayuradRebo informacias gvawvdis bizantiuri werilobiTi wyaroebica da epigrafikac. Teodore prodrome XII saukunis mxatvrebs eulaliossa da xenaross saxelganTqmul mxatvrebad moixseniebs35; veriis macxovris saxelobis taZris moxatulobis (1314/1315) warweraSi giorgi kaliergisi `Tesaliis saukeTeso” mxatvrad aris wodebuli36, miqael proeleuss `yvelaze pativsacem mxatvars~ uwodebdnen37. qarTul epigrafikasa Tu werilobiT wyaroebSi mxatvarTa qebisa da xotbis SemTxvevebi ar dasturdeba, magram amis miuxedavad, eWvs ar unda iwvevdes, rom, magaliTad, Tevdores, rogorc mefis mxatvrisa da rigiTi ostatis sazogadoebrivi mdgomeroba erTnairi ar iqneboda da maT arc erTnairad aRiqvamda damkveTica da sazogadoebac. cxadia, manuel evgenikossac aravin miiCnevda ubralo xelosnad, Tundac imitom, rom is sagangebod Camoiyvanes bizantiis dedaqalaqidan. mis mimarT damokidebuleba walenjixis qarTulenovan warwerebSic gacxadda, sadac mis saxels erTvis `kir~ (`kirmanuel~). berZnuli `kir~ (κΰρ, κύριος­is Semoklebuli forma) ufals, batons niSnavs38. bizantiaSi is maRali sazogadoebis, aristokratiis mimarT gamoiyeneboda; magram `kir~­iT, gansakuTrebiT gvianbizantiur xanaSi saSualo da zogjer dabali fenis wevrebsac, maT Soris, cnobil mxatvrebsac mimarTavdnen maTdami pativiscemis niSnad39. walenjixis SemTxvevaSic `kir~ konstantinopoleli mxatvris pativiscemas gamoxatavs. mas aq, albaT, ase mimarTavdnen. ra Tqma unda, protosingeloz zaqarias, romelmac gremSi samefo dakveTa Seasrula da bobnevis eklesiis mxatvar daniels maTi warmomavloba – Tesalonikeloba, metadre, aTonis mTis bermonazvnoba gansakuTrebul mniSvnelobas aniWebda da, uTuod, maT mimarT pativiscemasac ganapirobebda. aTonis mTidan Camosuli beri a priori `qarizmiT iyo mosili~. SemTxveviTi ar aris, rom, magaliTad, mxatvari giorgi mitrofanoviCi (XVII s.) warwerebSi yovelTvis aRniSnavda, rom mTawmindeli beria40.

35 Mango, The Art of the Byzantine Empire, 229–230.

36 giorgi kaliergisis warwera bevrgan aris gamoqveynebuli. ix. mag., Drpić, Epigram, 72–73.

37 Бабиħ, Михаило Проелевсис, 59–61.

38 Lampe (ed.), A Patristic Greek Lexicon, 788.

39 Κοντογιαννοπούλου, Η προσηγορία κυρ, 209–226; Drpić, Epigram, 47.

40 Тодиħ, Лични записи, 504–506.

amdenad, Cvens mier dasaxelebuli mxatvrebi sxva mravalTagan gamorCeulni iyvnen; maTi socialuri statusi ubralo ostatTan SedarebiT ufro maRali iqneboda, romelTac arc iseTi epiTetebiT amkobdnen rogorc kaliergisa Tu proeleuss da arc manuel evgenikosis msgavsad `kir~­iT mimarTavdnen; cxadia, Tevdores mefis mxatvris wodeba sxva ostatebTan upirates mdgomareobaSi ayenebda, iseve rogorc, grigol guljavarasSvils moqalaqeoba. warwerebSi iseTi detalebis aRniSvna rogoricaa maRali sasuliero wodeba. mefis mxatvari, mxatvari moqalaqe, warmomavloba mxatvris identobis Taviseburi gamoxatulebacaa, is amiT sxva ostatebisgan gamoirCeoda. mxatvarTa erT­erTi damkveTi, rogorc cnobilia, eklesia iyo. sasuliero pirebs mxatvris mimarT ar SeiZleboda ar hqonoda pativiscema Tundac imitom, rom bevrma maTganma kargad icoda rogor SromasTan da garjasTan iyo dakavSirebuli taZris moxatva, icoda, radgan xSirad TviTonve xatavdnen eklesiebs. sofia kalopisi­vertis mosazrebiT, bizantiaSi saqtitoro Tu miZRvniT warweraSi mxatvari maSin saxeldeboda, roca is Tavad iyo momgebeli an, roca damkveTisa da mxatvris socialur ierarqiaSi mcire an sulac ar iyo sxvaoba, ZiriTadad provinciul eklesiebSi, sadac momgebeli Temi an soflis mosaxleoba iyo41; is faqti, rom gvianbizantiuri xanis warCinebul qtitorTa dakveTiT Sesrulebul moxatulobaTa warwerebSi mxatvrebi ar moixsenebian, mecnieris SexedulebiT damkveTsa da ostats Soris socialuri sxvaobiTa da mxatvris dabali statusiT aixsneba42. am wesis gamonaklis SemTxvevad kalopisi­verti veriis macxovris eklesiisa da walenjixis warwerebs asaxelebs da miiCnevs, rom `Tesaliis saukeTeso mxatvris~ giorgi kaliergisisa da konstantinopoleli manuel evgenikosis dasaxelebiT qtitorebi amayobdnen da Tavis prestiJs aamaRlebdnen43, rasac Cvenc viziarebT44. magram walenjixis moxatuloba ar aris gamonaklisi SemTxveva Sua saukuneebis saqarTveloSi. qarTuli

41 Kalopissi-Verti, Painters, 145–146, 151; misive, Painters’ Information, 57; misive, Dedicatory Inscriptions, 26.

42 Kalopissi-Verti, Painters, 145–146; misive, Painters’ Information, 57. kalopisi­vertis es mosazreba sakamaTod miaCnia m. lidovas (Lidova, Manifestations of Authorship, 101, Sen. 35), rasac Cvenc viziarebT.

43 Kalopissi-Verti, Painters, 146–147; misive, Painters’ Information, 65–66; ix. aseve: Тодиħ, Личн записи, 500; misive, Надписи, 205–206. kaliergisis Sesaxeb ix. aseve: Tsigaridas, L’activité artistique; Drpić, Epigram, 72–75.

44 Mikeladze, Greek Painters, 183–184.

xuroTmoZRvreba, kedlis mxatvroba, sazogadod, saxviTi xelovneba sxva realobas warmoaCens. zog SemTxvevaSi, albaT, marTlac ar iyo didi socialuri sxvaoba mxatvarsa da moxatulobis momgebels Soris, magaliTad, nezgunSi qtitor beSqensa da mxatvar giorgis, an mxatvar daviTsa da momgebel iveldians Soris mxeris eklesiaSi, magram sapirispiro SemTxvevebic mravlad gvaqvs. ostats umaRlesi saero Tu saeklesio xelisufalnic da sxva warCinebuli qtitorebic axsenebdnen warwerebSi, is maTi saxelis gverdiTac saxeldeboda da maTi dakveTiT Seqmnil nawarmoebsac `awerda xels~. amis adreuli (X­XI ss.) nimuSebi mTeli rigi warwerebiT dasturdeba, romlebSic xuroTmoZRvrebi da oqromWedlebi ixseniebian45. kedlis mxatvrobam ufro gviani, XIV­XVII saukuneebis nimuSebi Semoinaxa: gremsa da erTawmindaSi mxatvrebi saqtitoro warwerebSi levan kaxTa mefesTan (1620­1674) da rostom (1633­1658) mefesTan erTad arian dasaxelebulni. sagangebod unda aRiniSnos, rom gelaTis RvTismSoblis taZarSi bagrat III­is nebiT Sesrulebul rogorc 1520­iani, ise 1550­iani wlebis moxatulobebs oTxi mxatvris – Teodores, simeonis, timoTeosisa da elias `xelmowerebi~ axlavT. timoTeosisa da bagrat III­is warwerebi erTmaneTis gverdiTac aris moTavsebuli. mxatvarTa `xelmowerebi~ axlavT didmoxeleTa, feodalTa (walenjixaSi vamey dadiani (1384­1396), samTavisSi – givi amilaxori) da maRali ierarqiis sasuliero pirTa (bobnevSi Tbilisis episkoposis iosebi /saakaZe/, 1620­1688), maRalaanT eklesiaSi – mcxeTis qadagi nikoloz maRalaZe, sveticxovlis taZarSi (`cxoveli svetis~ moxatuloba) – kaTolikosi nikolozi /amilaxori/) dakveTiT Sesrulebul moxatulobebs. ase rom, Sua saukuneebis saqarTveloSi mxatvrebi sazogadoebis umaRlesi wris saqtitoro warwerebSic saxeldebian da isini maT mier dakveTil moxatulobebsac `aweren xels~. rac Seexeba im faqts, rom qtitorebi mxatvrebs TavianT warwerebSi iSviaTad axseneben, es imdenad am ukanasknelTa dabali socialuri statusiT ki ar unda yofiliyo gapirobebuli, aramed momgebeli gind warCinebuli, gind dabali fenis warmomadgeneli, misi dasaxelebis aucileblobas ver xedavda. qtitorisTvis mTavari uflisa da eklesiisTvis donaciis gaReba iyo, xolo visi xeliT ganxorcieldeboda es – meorexa­

45 umaRlesi ierarqiis saero da saeklesio pirTa gverdiT xuroTmoZRvarTa dasaxelebis Sesaxeb, ix. TumaniSvili, nacvliSvili, xoStaria, mSenebeli ostatebi, 71–75; mesxia, saistorio Ziebani, I, 21; aseTive SemTxvevebia Weduri xatebis warwerebSic, magaliTebi ix. beriZe, Zveli qarTveli ostatebi, 31, 46, 62 da sxva.

risxovani; mizezi ufro es aris da ara imdenad mxatvris dabali socialuri statusi an, rom isini ubralo xelosnebad miaCndaT. ver gaviziarebT mosazrebas imis Taobaze, rom mxatvrebs warCinebuli qtitorebis `TandaswrebiT~ `gamoCena~ eridebodaT da maTi dakveTiT Sesrulebul moxatulobebSi an ar akeTebdnen warwerebs, an `mokrZalebul `xelmowerebs~, ubralo savedrebels tovebdnen eklesiis mimalul adgilebSi46, rogorc, magaliTad, mixeilisa da evtixis SemTxvevaSi wmindanTa samossa da iaraRze miwerili warwerebia, Tumca am warwerebs, rogorc b. todiCma daasabuTa, privatuli savedreblis funqcia hqondaT da maT mizans sayovelTao warmoCena arc warmoadgenda47. Tamar mefis patronaJiT Seqmnili varZiisa da beTaniis moxatulobaTa ostatebis –giorgi Warisa da demetres sakurTxevlis afsidis moxatulobis ornamentSi Cawerili warwerebic ar gvaZlevs imis Tqmis saSualebas, rom isini Tamar mefis `TandaswrebiT~ (orive eklesiaSi xom misi portretebicaa gamosaxuli) ver `Cndebian~, an rom arsebobda mxatvris `xelmoweris~ raime SezRudva. Tamaris `brZanebiTa da nivTisa boZebiT~ Seqmnil anCis xatis moCarCoebis warweraSi anCeli episkoposi ioane Tamaris gverdiT oqromWedel beqa opizars Tamamad axsenebs. giorgi Warisa da demetres warwerebi varZiasa da beTaniaSi uflisTvis iyo gankuTvnili da ara sxvaTa dasanaxad. momgeblebi rom mxatvarTa `xelmoweris~ winaaRmdegni ar iyvnen maTi eklesiis sivrceSi ganlagebac adasturebs. isini xSirad advilad mosaxilvel adgilas arian ganTavsebulni, ris gamoc qtitorebs mxatvarTa warwerebi mxedvelobidan ar gamorCebodaT. asea, magaliTad, walenjixaSi, gelaTSi, martvilSi da sxva. rogor SeiZleba yuradReba ar mieqcia da interesi ar gamoewvia sveticxovlis taZarSi uflis kvarTis dafvlis adgilas aRmarTul `cxovel svetze~ moTavsebul warweras (sur. 2); nikoloz maRalaZes ver gamorCeboda dedamisis portretis Tanmxlebi warwera maRalaanT eklesiis kankelze, romelSic mxatvarma apostolem Tavisi sulis mosaxseniebeli Cawera. sagulisxmoa isic, rom mxatvrebi TavianT warwerebSic Tamamad ixsenieben maRali ierarqiis momgeblebs, magaliTad, biWvintis samxreT­dasavleTi egvteris berZeni mxatvari paraskeva kaTolikoss evdemon CxetiZes asaxelebs, grigol guljavaras­

46 Kalopissi-Verti, Painters, 139–140, 151.

47 Тодиħ, Лични записи, misive, ’Signatures’. papadopoulo miiCnevs, rom mixeili da evtixi wmindanTa iaraRze `xelmoweriT~ iaraRis xelosnebs hbaZavdnen, romelTaTvisac damaxasiaTebelia Tavisi saxelosnos saxelis dawera iaraRze, Papadopoulos, Signatures.

Svili _ kaTolikos nikolozs. zog SemTxvevaSi mxatvarTa warwerebis Sinaarsi da ganlageba maT SeqmnaSi momgeblis monawileobasac gvafiqrebinebs (magaliTad, walenjixis, gelaTis timoTeosis, macxvariSis miqael maRlakelis warwerebi (amis Sesaxeb ix. aqve, q. miqelaZe, Sua saukuneebis mxatvarTa warwerebi). saqtitoro warweris teqsts, ra Tqma unda, mxatvari ar adgenda, is mxolod Semsrulebeli iyo. cxadia, is arc Tavisi iniciativiT Cawerda Tavis saxels, aramed es qtitoris nebiT Tu moxdeboda. momgeblis mier warweraSi mxatvris xseneba misi dafasebis gamoxatulebad unda miviCnioT. qtitorebi mxatvrebs aSkarad ganasxvavebdnen, rasac isic mowmobs, rom saqtitoro warweraSi, Cveulebriv, erT mxatvars asaxeleben (yovel SemTxvevaSi qarTul kedlis mxatvrobaSi mxolod aseTi SemTxvevebia SemorCenili), maSinac, roca moxatuloba ramdenime fermweris mieraa Sesrulebuli (magaliTad, gremSi, erTawmindaSi). maSasadame, momgebeli erT mxatvars aniWebda upiratesobas, magram Cven ar viciT ra kriteriumebi gansazRvravda mis arCevans. SesaZloa, qtitori mTavar an saxelganTqmul mxatvars asaxelebda, mas, vinc misi SexedulebiT maRali ostatobiT gamoirCeoda, an iqneb visac gaurigda samuSaos Sesrulebaze. magram ver daviCemebT, rom mxatvris saqtitoro warweraSi `moxvedris~ winapiroba maincdamainc misi saxelganTqmuloba an maRali saSemsruleblo done iyo, Tuki amis damadasturebeli dokumenti ar gvaqvs, rogorc, magaliTad, giorgi kaliergisis SemTxvevaSi. Zneli saTqmelia ris mixedviT SearCia mxatvrebi, magaliTad, imereTis mefem, bagrat III­m gelaTis RvTismSoblis taZarSi. berZeni mxatvrebis mier Sesrulebuli gumbaTis moxatuloba (1520­iani ww.), Cveni SexedulebiT, maRali ostatobiT ar gamoirCeva, piriqiT, ufro xelosnuri namuSevaria, 1550­iani wlebis ferweruli fena ki profesiuli ganswavlis ostatebis, maT Soris, timoTeosis mieraa Sesrulebuli, magram orives momgebeli bagrat III iyo48; orive moxatulobas mxatvarTa `xelmowerebi~ axlavs. ise Cans, rom bagrats mxatvrebi profesionalizmis mixedviT ar SeurCevia, magram es Cveni dRevandeli Sefasebaa da viciT ki, rom is 48 gelaTis sakurTxevlis afsidSi aris bagrat III­is, dedofal elenesa da maT ZeTa mosaxseniebeli warwera, romelic afsidis moxatulobis pirvel fenas (1520­iani ww.) ganekuTvneba da gumbaTis moxatulobis Tanadroulia. afsidSi aris ufro gviani (XVI s­is meore naxevari, nawilobriv gadawerili XVIII s­Si) xanis ferweruli Sreebic.

Sua saukuneebis damkveTis Sefasebas emTxveva an rom igive bagrat III­is kriteriumi mxatvris saSemsruleblo done iyo? sulac ar aris gamoricxuli, rom misTvis, maTi berZnuli warmomavloba ufro mniSvnelovani da gadamwyveti yofiliyo49.

unda aRiniSnos, rom damkveTis, metadre, Tu is umaRlesi saero an saeklesio xelisufali iyo, warweraSi mxatvris saxelis xseneba, am ukanasknelisTvis, uTuod, sapatio iqneboda; es, maT iseve rogorc, mefis mxatvris an moqalaqis wodeba, sxva ostatebTan SedarebiT, romelnic saqtitoro warwerebSi ar saxeldebian, upirates mdgomareobaSi ayenebda da maT TviTSefasebasac aamaRlebda.

49 Mikeladze, Greek Painters, 194.

sur. 1. zarzmis RvTismSoblis taZari. samxreTi kedeli. samcxis aTabagaTa portreti. XVI s. Zarzma. Church of the Virgin. South wall. Rulers of Samtshke. 16th c.

sur. 2. zarzmis RvTismSoblis taZari. samxreTi kedeli. sargis II. XVI s. Zarzma. Church of the Virgin. South wall. Sargis II. 16th c.

sur. 3. mcxeTis sveticxovlis kaTedrali. `cxoveli sveti”. 1678­1688 ww. Mtskheta. Svetistkhoveli Cathedral. “Life-Giving Pillar”. 1678-1688.

sur. 4. mcxeTis sveticxovlis kaTedrali. `cxoveli sveti”. detali. 1678­1688 ww. Mtskheta. Svetistkhoveli Cathedral. “Life-Giving” Pillar. Detail. 1678-1688.

sur. 5. macxvarSis macxovris eklesia. samxreTi kedeli. kvirike mamsaxlisi. 1140 w. Matskhvarishi. Church of the Saviour. South wall. Mamasakhlisi Kvirike. 1140.

`qadageba ferebiT da xazebiT~

Sua saukuneebis mxatvarTa Sesaxeb msjelobisas SeuZlebelia maT mier Seqmnili nawarmoebebis bunebis, funqciisa da imdroindeli sazogadoebis mier maTi aRqmis xasiaTis ugulebelyofa. Sua saukuneebSi gamosaxulebas – xats1 gansakuTrebul mniSvnelobas aniWebdnen da is sazogadoebis cxovrebis ganuyofeli nawili iyo2. xelovnebis nawarmoebi, gansakuTrebiT xati gaiazreboda rogorc amqveyniuri codvili samyarodan zecisken, RmerTisken mimavali gza: materiis da sulis damakavSirebeli, RmerTTan ziarebis saSualeba (sur. 1.) xelovneba ar ganixileboda damoukideblad, rogorc mxolod esTetikur­mxatvruli anda sulac dekoratiuli funqciis mqone – igi didebuli qristianuli msoflwesrigis ganuyofeli nawili iyo. xati ara mxolod mogviTxrobda wminda werilis ambebs, aramed ganmartavda kidec maT. amitomac uwodebdnen mas `qadagebas ferebiT da xazebiT~. xelovnebas saganmanaTleblo funqciac hqonda. rogorc eklesiis didi mamebi ambobdnen, es iyo `biblia uwignurTaTvis~. xati aris pirvelsaxis warmomadgeneli, misi energiis da Zalis matarebeli, Tumca ar udris mas arsobrivad. gamosaxuleba dogmatur mniSvnelobas iZens da aris utyuari dasturi gankacebisa, romlis gareSe adamianTa xsna warmoudgenelia3 Tayvaniscemis sagania ara xati, aramed misi arqetipi anu `pirmSoi xati~, rogorc Zvel qarTul teqstebSi ewodeboda4. basili didi ambobs: `pativi xatisa pirmSoisa mis saxisa mimarT miiwevis~5.

1 teqstSi termini `xati~ ixmareba zogadi mniSvnelobiT, qristianuli Sinaarsis mqone yovelgvari mxatvruli gamosaxulebis aRsaniSnavad.

2 Cormack, Writing in Gold, 11.

3 Преподобный Иоанн Дамаскин, Три защительных слова, Kazhdan, Maguire, Byzantine Hagiographical Texts, 9–12.

4 Kazhdan, Maguire, Byzantine Hagiographical Texts, 11.

5 eqvTime mTawmindeli, mcire sjulis kanoni, 63.

iudeur samyaroSi uxilavi da zedrouli RmerTis gamosaxva mkrexelobad iTvleboda. qristianobaSi ki piriqiT _ Tuki RmerTma ineba gankaceba, Seimosa fizikuri sxeuliT da aq, am miwaze, adamianebs Soris qristed mogvevlina, misi xiluli saxis aRbeWdva ara Tu dasaSvebia, aramed aucilebelic ki aris, radgan rogorc qristem Tavis gankacebiT aRadgina pirvelcodviT gawyvetili kavSiri adamiansa da RmerTs Soris, aseve wminda gamosaxuleba – xati aris gza RmerTisa da saukuno sauflosken. gamosaxulebis mniSvnelobaze da mis arsebobaze kamaTi – xatmebrZoleoba lamis saukuneze meti azanzarebda bizantiis imperias6. es ar iyo wminda xelovnebis sferos sakiTxi; mas gacilebiT ufro metad dogmaturi mniSvneloba hqonda. amitomac religiur gamosaxulebaTa aRdgenas 843 wels marTlmadideblobis zeimi ewoda, rac kidev erTi mtkicebulebaa, Tu raoden didi iyo mxatvruli gamosaxulebis adgili, funqcia da mniSvneloba Sua saukuneebSi. VII saeklesio krebis ganCineba acxadebs, rom xati aris gankacebis ueWveli dasturi: `WeSmaritad gamosaxva¡ xatTa¡ Tanamowame ars qadagebisa mis saxierebisa dasamtkiceblad WeSmaritebisa, ra¡Ta aravin saocrad Sehracxos gan£orcieleba¡ sityv¢sa RmrTisa¡~7. mniSvnelovani wyaro Cveni codnisa Sua saukuneebis xelovnebis konceptualuri mxaris Sesaxeb aris eklesiis mamaTa Txzulebebi, ekfrazisebi, qadagebebi. magaliTad, ioane damaskelis, Teodore studielis, patriarq fotiusis da mravali sxva saeklesio moRvawis Tu RvTismetyvelis Txzulebani; pirvel rigSi, ioane damaskelis moZRvreba `sami sityva xatTa Sesaxeb~8, romelic yvelaze mniSvnelovani da gavleniani Txzulebaa gamosaxulebis arsze da funqciaze qristianobaSi, Tumca konkretulad am gamosaxulebaTa Semqmnel ostatTa Sefaseba an daxasiaTeba, an maT mimarT konkretuli moTxovnebi ar aris mocemuli9 saqarTveloSi xatis Teologiur­dogmatur mniSvnelobas RmrTismetyvelebi sagangebo yuradRebas uTmobdnen. am mxriv gansakuTrebiT sayuradReboa X saukuneSi eqvTime mTawmindelis mier Sedgenili mcire sjulis kanoni, romlis or TavSi ganxilulia xatis Tayvaniscemis saRv­

6 Bryer, Herrin (eds.), Iconoclasm; Успенский, Богословие иконы, 77-87; Cormack, Writing in Gold, 95–140; Лазарев, История Византийской живописи, 53–61; Языкова, Богословие Иконы, 48 – 57; Бельтинг, Образ и Культ, 169–212; Бычков, Византийская Эстетика, 452–498.

7 eqvTime mTawmindeli, mcire sjulis kanoni, 127.

8 Преподобный Иоанн Дамаскин, Три защительных слова, 1–22, 43–62, 85–117.

9 Kazhdan, Maguire, Byzantine Hagiographical Texts, 1–2.

Tismetyvelo safuZvlebi10: VI saeklesio krebis wes­gangeba da Zegliswera sarwmunoebisa, gamosaxulebis sazrisi. Txzulebis es nawilebi eTmoba xatebis Tayvaniscemis sxvadasxva aspeqtebs da sakmaod amomwuravad gadmoscems xatis TayvanismcemelTa moZRvrebebs: V­VI trulis krebis dadgenileba acxadebs `da gamovsaxavT mas ara saxed tarigisa, aramed saxiTa miT kacobrivisa xatisa¡Ta, romeli cxovrebisaTvis Cuenisa Seimosa~11. eqvTime mTawmindelis Txzuleba mniSvnelovani nawarmoebia xatTa arsis, maTi Tayvaniscemis da sxva msgavsi sakiTxebis gansaxilvelad, rac im droindel saqarTveloSi am sakiTxebisadmi gansakuTrebul interess da maT Rrma codnas mowmobs. xatTa Tayvaniscemis sakiTxi arsen iyalToelis mierac ixsenieba da ruiss­urbnisis ZeglisweraSicaa ganxiluli (muxli 19)12. hagiografiul nawarmoebebs Soris yvelaze mniSvnelovani da mravlismTqmeli aris basili zarzmelis mier Sedgenili `serapion zarzmelis cxovreba~. am TxzulebaSi swored uflis feriscvalebis xati gvevlineba mTavar `gmirad~ da mTeli Txroba misken aris mimarTuli. saistorio wyaroebSic ikveTeba informacia xatebis Tayvaniscemis Taobaze, magaliTad, leonti mrovelis `cxovreba qarTvelTa mefeTai~, romlis CanarTSi moTxrobilia awyuris xatis istoria (sur. 2), anu wm. andrea pirvelwodebulis mier mariamis xelTuqmneli xatis qarTlSi CamobrZanebis ambavi13. bevri sxva werilobiTi wyaro SeiZleba dasaxeldes xatTa Teologiur­sarwmunoebriv mniSvnelobasTan dakavSirebiT, maT Soris, xelTuqmneli xatis – mandilionis Taobaze arsebuli teqstebi. Tumca, samwuxarod, araferia Tqmuli uSualod CvenTvis saintereso Temaze – saqarTveloSi kedlis mxatvarTa moRvaweobis sxvadasxva aspeqtebze, xatis Semqmnel ostatebze, TviT xatis Seqmnis procesze, dakveTis xasiaTze da a.S. samonastro tipikonebSi, iseve rogorc wyaroebSi da hagiografiul nawarmoebebSi dafiqsirebulia im saeklesio nivTebis CamonaTvalebi, romlebic mavanma momgebelma gaiRo ama Tu im monastrisa Tu eklesiisTvis. magaliTad, petriwonis monastris tipikonSi (Tavi XXXIV) sakmaod grZeli siaa sxvadasxva tipis xatebis, liturgikuli WurWlis, Sesamoslis da sxva, Tumca aq araferia Tqmuli kedlis mxatvrobis Sesaxeb14

10 eqvTime mTawmindeli, mcire sjulis kanoni.

11 iqve, 67.

12 didi sjulis kanoni, 543–560.

13 leonti mroveli, qarTlis cxovreba, I, 38.

14 SaniZe, qarTvelTa monasteri bulgareTSi, 118­119.

qarTul istoriul wyaroebSi sakmaod bevri cnobaa mSeneblobaze, romlebsac qveynis xelisufalni (saero Tu saeklesio) awarmoebdnen. Tumca, samwuxarod, qronikebi aseTive interess ar iCenen kedlis mxatvrobis damkveTebis an, miT umetes, Semsruleblebis mimarT. dokumentebSi aris ramdenime xseneba moxatulobis dakveTis Taobaze, magaliTad, daviT aRmaSenebeli Sio mRvimis monastrisadmi Sewirulobis wignSi ibarebs, rom axali eklesia moleson da moxaton, anda SeiZleba davasaxeloT 1687 wlis sveticxovlis Sewirulobis wignSi nikoloz amilaxvaris Canaweri, rom man Tbilisis anCisxatis taZari moaxatvina15, Tumca Cveni TemisTvis saintereso informacia, rogorc Cans, ar iZebneba. iTvleba, rom bizantiur samyaroSi hagiografiul TxzulebebSi ekfrazisebTan SedarebiT meti informacia iZebneba xatebis mimarT damokidebulebaze, maT funqciaze, maTi Seqmnis istoriebze, imis Sesaxeb, Tu ras gulisxmobdnen arqetipTan msgavsebasa da `realizmSi~16 calkeuli miTiTebebi mxatvrebisTvis eklesiis didi mamebis TxzulebebSic gvxvdeba, magaliTad, wm. ioane oqropiris TxzulebaTa qarTul TargmanSi aris miTiTeba mxatvrebisadmi: `hbaZveT si£elovniTa xatsa sulierTasa da Sezavebad ferTa daamsgavsebd xatsa, viTarca­igi ixilnis £orcielni da gamoswereT kacTa da pirutyuTa~17 patriarq fotiusis saxelganTqmuli qadageba aia sofias sakurTxevelSi Cviledi RmrTismSoblis gamosaxulebasTan dakavSirebiT, lamisaa saxelovnebaTmcodneo kvlevis Sedevrad gvevlineba18. qadageba Zalian STambeWdavia, rogorc nawarmoebis, aseve mxatvris dafasebis mxriv. fotiusis TqmiT, fermweris xelovnebam, zegardmo STagonebulma, aq Seqmna cocxali damajerebeli saxe, romelSic Seicnoba rogorc qalwuli, aseve deda, misi mSveniereba ganasaxierebs WeSmarit arqetipso. fotiusi acxadebs, rom mxatvars formebis da ferebis saSualebiT SeuZlia gadmosces gamosaxulebis Rrma sulieri Sinaarsi. igi saubrobs STagrZnobaze, rac xelovnebis esTetikuri aRqmis umTavresi komponentia. Tavis cnobil qadagebaSi fotiusi ambobda: etyoba mxatvris xelovneba STagonebuli iyo zecidan ise kargad baZavs sinamdviles19, misi fizikuri mSveniereba Cvens suls aamaRlebs zegrZnobadi WeSmaritebis silamazemdeo20.

15 TumaniSvili, nacvliSvili, xoStaria, mSenebeli ostatebi, 26­29.

16 Kazhdan, Maguire, Byzantine Hagiographical, Texts, 20.

17 abulaZe, mamaTa swavlani, 22; maWavariani, wignis xelovneba, 31.

18 Cormack, Writing in Gold, 149–150; Бельтинг, Образ и Культ, 194–197.

19 Бычков, Византийская Эстетика, 497.

20 Бельтинг, Образ и Культ, 195.

erTi mniSvnelovani wyaro Cveni codnisa Sua saukuneebis xelovnebis konceptualuri mxaris Sesaxeb aris saeklesio krebebis dadgenilebebi da ganCinebebi (sur. 3), romlebmac Zalian gaaZlieres saxviTi xelovnebis prestiJi da mniSvnelovneba, Tumca ar exebodnen uSualod SemoqmedebiT process da iSviaTad iZleodnen miTiTebebs, Tu rogor unda xatos ostatma. Svidi msoflio saeklesio krebidan uSualod xelovnebis sakiTxebi ganxilul iqna orze, kerZod, 692 wlis mexuTe­meeqvse krebaze konstantinopolSi (Quinisext ­ Trulis kreba. qarTul teqstebSi – gumbadsa Sina sameufeosi palatisas Sina21), romelic iustiniane II dros Catarda. es kreba win uZRoda xatebis Tayvaniscemis oficialur akrZalvas da epasuxeboda saukuneTa ganmavlobaSi mimdinare kamaTs gamosaxulebis bunebisa da funqciis Taobaze, rac, cxadia, ganapirobebda saxviTi xelovnebis sakiTxebis ganxilvas. am saeklesio krebas ar gaaCnda msoflio krebis statusi. faqtobrivad es iyo mexuTe (553) da meeqvse (680) krebebis gagrZeleba­dajameba. mTlianobaSi dadginda 102 kanoni. 72­e exeboda eklesiaTa iatakze jvris gamosaxulebis akrZalvas, 82­e kanoni krZalavda qristes gamosaxvas kravis an sxva raime simboluri saxiT22. kanoni 100 acxadebs, rom gamosaxulebas Zlieri zemoqmedeba aqvs mnaxvelze. amitom ikrZaleba iseTi gamosaxulebebis Sesruleba, romlebic aRZravs adamianSi uwmindur, qvena, xorciel grZnobebs, izidavs mzeras, azianebs gonebas. amitom dauSvebelia da ikrZaleba eklesiis mier23. 68­e kanoni krZalavs Zveli xelnawerebis dazianebas an ganadgurebas, Tu isini isedac ar aris ukve gamouyenebeli. kanonebSi sagangebod xazgasmulia xatebis mniSvneloba marTlmadideblobisTvis 24 .

am kanonebs Soris yvelaze mniSvnelovani 82­e kanoni iyo. es ar aris ubralod konkretuli ikonografiuli saxis akrZalva­gauqmeba (qristes simboluri gamosaxva kravis saxiT), aramed am akrZalvis Rrmad Teologiuri safuZvlis ganxilva. kanoni ambobs, rom uflis simboluri gamosaxulebebi ganvlili etapia eklesiis istoriasa da uflis wvdomaSi mas mere, rac sityva gankacda, adamianebs Soris cxovrobda, qadagebda, miiRo sikvdili jvarze. amitom ukve simboloebi aRar aris saWiro, qriste

21 didi sjulis kanoni, 365–418, 419–431.

22 Cormack, Byzantine Art, 81–83.

23 Kazhdan, Maguire, Byzantine Hagiographical Texts, 10.

24 Cormack, Byzantine Art, 81–83.

unda gamoisaxos uSualod, radgan SesaZlebeli gaxda misi xilva, aRwera, aRqma, gamosaxva. Zvelma simboloebma dakarges azri da Seiqmna aucilebloba pirdapiri, uSualo saxe­xatis Seqmnisa. 82­e kanoni gvaZlevs qristes saxis dogmatur dasabuTebas da swored amaSi aris am kanonis arsi da mniSvneloba. es iyo pirveli gancxadeba xatis qristologiuri safuZvelisa25. krebis ganCinebaSi xazgasmulia gamosaxulebis kidev erTi mniSvnelovani aspeqti, rac ukve wminda mxatvrul sakiTxebs moicavs: anu rogor unda gamoisaxos macxovari ise, rom gamosaxuleba mxolod mis kacebriv pirovnebas ki ar asaxavdes, aramed mis RvTaebriv didebasac. naTlad unda Candes, rom es aris RmerTkaci. saxviTi xelovnebis yvela saSualeba unda iyos gamoyenebuli imisTvis, rom gviCvenos konkretuli istoriuli saxe da masSi gaxsnas sxva realoba – sulieri da RvTaebrivi realoba (sur. 4). WeSmariteba ara mxolod unda iTqvas, aramed naCvenebic unda iyos. Ees Zalian maRal mizans usaxavs xelovnebas26. xatmebrZoleobis mwvaleblobis rTuli sakiTxis ganxilva cdeba Cveni kvlevis farglebs, amitom mokled SeiZleba aRvniSnoT, rom xatmebrZoleTa pretenzias, rom xatze qristes gamosaxvisas mxolod mis fizikur, kacebriv formas vxedavT, vinaidan warmoudgenelia RvTaebrivi bunebis gadmocema, upirispirdeba mtkiceba, rom xati (gamosaxuleba) asaxavs qristes pirovnebas, romelic am orive bunebas aerTianebs, anu gancxadebulia ganRmrTobili sxeulis idea27. qristes sxeulis gamosaxvisas didi sifrTxilea saWiro, radgan is unda iyos Zalian msubuqi, nakleb xorcieli, TiTqmis gamWvirvale28. mexuTe­meeqvse saeklesio kreba, romelic iustiniane II dros Catarda, dominirebs bizantielebis inteleqtualur azrovnebaSi29. am krebam gza gauxsna xelovnebis ganviTarebas, qristes uSualo gamosaxvas adamianis formiT da gaaZliera rwmena xatebis da saerTod gamosaxulebis RmerTTan da wmindanebTan dakavSirebis da kontaqtis SesaZleblobaSi30. 787 wlis nikeis VII msoflio krebam daagvirgvina qristologiuri 25

61–67; Cormack, Writing in Gold, 99, 101. 27

463–467 28 Kazhdan, Maguire, Byzantine Hagiographical Texts, 10. 29 Cormack, Writing in Gold, 98. 30 Cormack, Writing in Gold, 99, 101.

dogmatebis saboloo Camoyalibeba­damtkiceba, maT Soris, xatebis Tayvaniscemis TvalsazrisiT. TviT kanonebis teqstebSi es sakiTxebi ar Cans, ufro ganCinebebSi an aqtebSi aisaxa, romlebic ZiriTadad Rirsi ioane damaskelis Teoriebs efuZneboda da aseve saeklesio gadmocemebs da praqtikas. krebam daadgina, rom uxilavi RmerTis gamosaxva SeuZlebelia da dauSvebeli, magram gankacebuli RmerTis gamosaxva iesu qristes saxiT SesaZlebelia da aucilebelic, miT umetes, rom arsebobs mis mierve Seqmnili xelTuqmneli xati – mandilioni. xatis Wvreta mlocvels konkretuli ambis monawiled aqcevs. xatebs Tayvans vcemT, magram pativi, romelsac mivagebT xatebs, ekuTvnis pirvelsaxes31 krebis mier gamocemul aqtebSi mkafiod aris gacxadebuli wminda gamosaxulebaTa mniSvneloba, maTi gansxvaveba kerpebisgan, maTi kavSiri pirvelsaxesTan. anaTemas gadascemen, vinc wminda gamosaxulebebs gamoitans taZridan an aigivebs kerpebTan da a.S.32. krebam daadgina, rom informaciulobis TvalsazrisiT ferweruli gamosaxuleba adekvaturia verbaluri teqstisa – `rasac Txroba gvamcnobs sityvebiT, imasve mxatvroba gadmogvcems ferebiT~33. krebam sruli identoba ganacxada teqstsa da gamosaxulebas Soris da dionise areopagitelis mixedviT gansazRvra isini rogorc `grZnobadi simboloebi~. es Zalian did funqcias aniWebda saxviT xelovnebas, misi mniSvneloba Zalian maRal doneze aiyvana, gansxvavebiT antikuri xanisgan, sadac platonis mixedviT xelovneba iyo `Crdilis Crdili~34. gamosaxuleba ganmartavs kidec teqsts da aRrmavebs mis gagebas, axdens mis ferwerul interpretacias anu saxiTmetyvelebas35. amave dros, VII saeklesio krebam daadgina, rom sityvieri aRwera ar iZleva iseT Zlier emociur efeqts, rogorc vizualuri STabeWdileba, romelic ufro Zlieria, vinaidan vizualuri informacia ufro amaxsovrdeba adamians36.

Cveni ZiriTadi TemisTvis gansakuTrebul interess warmoadgens am krebis erT­erTi ganCineba, romelic uSualod exeba mxatvrebs, mxat­

31

32

Преподобный Иоанн Дамаскин, Три защительных слова, 117.

Бельтинг, Образ и Культ,161–162.

33 Бычков, Византийская Эстетика, 464.

34 platoni, saxelmwifo, 360–361, 364–367.

35 Бычков, Византийская Эстетика, 464; Бельтинг, Образ и Культ, 173.

36 Бычков, Византийская Эстетика, 466, 480.

vrobas da maT funqcias37. aniWeben ra sakulto gamosaxulebas esoden maRal Rirsebas, krebis mamebi acxadeben, rom am gamosaxulebaTa `Canafiqri da Seqmna~ eklesiis mamaTa saqmea, mxatvrebi ki mxolod teqnikur mxares axorcieleben. mTavari iyo gamosaxulebis zneobriv­religiuri gaazreba, anu nawarmoebis Semoqmedad faqtobrivad RvTismetyveli miiCneoda. krebebis dadgenilebebSi araferia naTqvami wminda mxatvruli saSualebebis specifikur sakiTxebze – es mTlianad mxatvris saqme iyo38 da amiT mxatvrebs aZlevdnen srul SemoqmedebiT Tavisuflebas39. amave dros, saeklesio krebebis aqtebSi mocemul am wess ar gaaCnda kanonis Zala, is ubralod asaxavda gavrcelebul praqtikas da sulac ar iyo mimarTuli mxatvrebis nebis Tu Tavisuflebis SezRudvisken. es aqti miznad isaxavda xatebis (zogadad gamosaxulebis) adgilis da funqciis ganmtkicebas taZris sakralur sivrceSi da mimarTuli iyo xatmebrZoleTa winaaRmdeg, amtkicebda ra, rom gamosaxulebebi mxatvarTa piradi Semoqmedebis da `TviTnebobis~ Sedegi ki ar iyo, aramed Teologebis mier SemuSavebuli koncefcia da marTlac ar gulisxmobda mxatvrebis SezRudvas da maTze raime saxis kontrolis dadginebas40. sainteresoa, rom miuxedavad zemomoyvanili gancxadebisa, faqtobrivad, araferi viciT im saeklesio pirTa Tu Teologebis (`konsultantebis~) Sesaxeb, romlebsac ekuTvnoda gamosaxulebaTa `Canafiqri da Seqmna~. mxolod varaudebi SeiZleba gamoiTqvas, rom, magaliTad, Teodore metoqiti, albaT, xelmZRvanelobda horas monastris moxatulobaTa programebis SemuSavebas da ikonografiis SerCevasac ki. aseve savaraudod unda vifiqroT, rom sxvadasxva eklesiebis warwerebSi moxseniebulma qtitorebma raRac roli iTamaSes maT mier mogebuli moxatulobis Sinaarsis dadgenaSi; rom yincvisis moxatulobis programis SedgenaSi aqtiurad monawileobda misi qtitori, Wyondideli mRvdelmTavari antoni, romlis piradma survilma ganapiroba wm. nikolozis Temis esoden gaSla da qarTvel wmindanTa sagangebo gamosaxva (sur. 5),41 magram es umetesad mxolod varaudebia.

37 Деяния Вселенских Соборов, 225-226.

38 mxolod mexuTe­meeqvse krebis 82­e kanonis ganmartebebi nawilobriv exeba mxatvruli formis da gamosaxvis maneris sakiTxs.

39 Языкова, Богословие Иконы, 15; Cormack, Byzantine Art, 81-83; Бычков, Византийская Эстетика, 464; Cutler, Visual Memory, 38.

40 Cutler, Visual Memory, 40.

41 didebuliZe, saRvTismetyvelo polemikis asaxvisaTvis, 116_146.

samagierod mxatvrebis moRvaweobis Sesaxeb sruliad konkretuli materialuri mtkicebulebebi gvaqvs, kerZod, maTi xeliT Seqmnili nawarmoebebi – moxatulobebi, xatebi, miniatiurebi. zogjer maTi saxelebic viciT, magram Tundac ar vicodeT, Cven SegviZlia arsebul konkretul nawarmoebSi amovikiTxoT mxatvris individualuri stili, ganswavla, tradiciebi, romelzec gaizarda, misi xasiaTi, temperamenti, gemovneba, ostatobis done, mxatvruli azrovneba, aseve Teologiuri sakiTxebis codnis siRrme da sxva. marTlac, mecnierTa naSromebis umetesobaSi mxatvari (ZiriTadad wamyvani mxatvari) sakmaod cocxlad warmogvidgeba. misi individualoba mkafiod ikiTxeba42. zogjer naTlad Cans kidec, rom wamyvani mxatvari yovelgvari karnaxis gareSe TviT agebda programas da TviTve Seasxamda xorcs43 da es sulac ar uWirda, vinaidan mxatvrebi da maT mier gansaxierebuli ideebi saerTo safuZvels emyareboda – saerTo rwmenas, msoflmxedvelobas, formaTgancdas. qristianuli xelovnebis nawarmoebis esTetikuri aspeqti misi sulierebisa da religiuri funqciis ganuyofeli nawilia. nawarmoebis raime waxnagis ignorireba ki misi gaRaribeba iqneboda. Tanac yvela nawarmoebi xom raime formis saxiT arsebobs, forma misi `komunikaciis~ gakeTebis saSualebas iZleva, rasac qristianuli xelovnebis ganviTarebis mTeli istoria adasturebs. es rom ara, maSin sqemad qceul, mxatvrulad sruliad identur, erTgvarovan, stereotipul gamosaxulebebTan gveqneboda saqme. radgan qristianuli dogmebi da ideebi `gaformebulia~, anu xiluli forma aqvT miniWebuli, maSasadame, es forma maTi ganuyofeli nawili xdeba. sityvisgan gansxvavebiT, romelsac `cnebiTi~ xasiaTi aqvs, saxviTi xelovnebis nawarmoebi Tavis Sinaarss mxatvruli formis saSualebiT gadmogcems da ar mgonia, misi xasiaTi da Rirebuleba araarsebiTi iyos ideis swori gadmocemisaTvis. wm. grigol noseli ferad suraTebs eklesiis kedlebze adarebs wigns, romelsac saubris Zala aqvs: ferweram, romelic utyvia, icis rogor isaubros kedlidano44 VII msoflio saeklesio krebis aqtebSi Zalian sayuradReboa mimezi­

42 Привалова, Роспись Тимотесубани, 141–147; virsalaZe, atenis sionis moxatuloba, 177–201; Аладашвили, Алибегашвили, Вольская, Живописная Школа, 77–91.

43 Demus, The Mosaics of Norman Sicile, 135–145.

44 Maguire, Art and Eloquence, 9.

sis moTxovna anu pirvelsaxesTan msgavseba, rac gamosaxulebis ueWvelobis, WeSmaritebis garantia unda iyos45. `realizmi~ erTi im cnebaTagania, romelSic Sua saukuneebis da dRevandeli adamianebi sruliad gansxvavebul Sinaars deben. Cvens droSi am terminiT gansazRvraven gamosaxulebis srul vizualur identurobas arsebul realobasTan, garegnul msgavsebas bunebriv mocemulobasTan. sul sxva iyo am cnebis Sua saukuneebis Teologebis, mxatvrebis da saerTod sazogadoebis gageba, rac gaxda kidec safuZveli mravalricxovani `aslebis~, gameorebebis, gadaxatvis da sxva. yovelive amis safuZveli ki SemoqmedebiTobis nakleboba ki ara, aramed qristianuli gamosaxulebis sazrisi da funqciaa. Sua saukuneebis RmrTismetyvelebaSi realizmis moTxovna gulisxmobs im pirvelsaxis gameorebas, romelic realuri, cocxali modelidan iyo daxatuli. TeologebisTvis mTavari iyo saxis auTenturoba, anu msgavseba arqetipTan. es ki garkveul ucvlelobas, ganmeorebadobas iTxovda swored saxe­xatis WeSmaritebis dasturad. Tumca amas araferi hqonda saerTo mxatvrebze `zewolasTan~, maT brma morCilebasa da araSemoqmedebiTobasTan. aqedan modioda survili da aucilebloba Zveli nimuSebis mibaZvisa, raTa saxis `auTenturoba~ garantirebuli yofiliyo. sjerodaT, rom odesRac wmindani viRacam sicocxleSive daxata, an xilvaSi eCvena46. igulisxmeboda ara mxatvruli TvalsazrisiT `namdviloba~, aramed arqetipis mibaZva da mimsgavseba da Tu qristes WeSmariti saxe erTxel ukve iqna gamosaxuli, sxvagvari saxe `WeSmariti~ veRar iqneboda47. iTvleba, rom pirvelad wm. lukam sicocxleSive daxata mariami da Cvili qriste, rac xazs usvamda am saxe­xatis auTenturobas da amave dros igi gankacebis dasturi iyo. IX s­Si samma patriarqma daadastura, rom TviT mariamma moiwona wm. lukas mier daxatuli xati da akurTxa igi48 faqtobrivad, aq Cadebulia portretis, anu uSualod realuri modelidan daxatuli gamosaxulebis idea, romelic Semdgomi xatebis nimuSi

как таковым.

искусства

реализм. Это значит: Церковь, «столп и утверждение Истины», требует только одного – истины. В старых ли или новых формах Истина, Церковь о том не спрашивает.....” Флоренский, Канонический реализм иконы, 169. 46 Kazhdan, Maguire, Byzantine Hagiographical Texts, 5–8 47 Бельтинг, Образ и Культ, 33. 48 Tumca ioane evbeelis cnobiT, aris sxva legendac, rom mogvebma Tan Camoiyvanes mxatvari, romelmac aRbeWda mariami da Cvili, Бельтинг, Образ и Культ, 70–71.

xdeba da swored amaSi aris am gamosaxulebis `realizmi~49. ierusalimis sapatriarqos biblioTekis xelnawerSi gamosaxulia wm. luka, romelic molbertTan zis da xatavs mis win cocxlad mjdom Cviled mariams50 bizantiur xelnawerebSi SemorCenilia ramdenime gamosaxuleba mxatvrisa, romelic an naturidan xatavs51 anda ixatavs mis win dabrZanebul erT­erTi wmindanis xats52. cocxali modelidan xatva etyoba sakmaod miRebuli iyo, rac Semdgom TaobebisTvis wmindanis `ueWvelobis~ Rirsebas uzrunvelyofda. wm. Teodore sikionelis cxovrebidan cnobilia, rom konstantinopolis erT­erTi monastris berebma moiwvies mxatvari wmindanis portretis dasaxatad. mxatvari malulad uTvalTvalebda wmindans da ise Seasrula suraTi. wmindans xati moewona da daloca kidec, Tumca sayveduri uTxra mxatvars unebarTvod da malulad TvalTvalisTvis, radgan gamosaxuleba garkveulad originalis raRac nawils `iparavs~, miisakuTrebs, anu misi identuri xdeba53. es Zalian mniSvnelovani mosazrebaa, vinaidan aq Cadebulia xatis Teologiis ZiriTadi idea – arqetipis da misi gamosaxulebis urTierTdamokidebulebis Taobaze. wm. nikonis cxovrebaSi aRwerilia, rom wmindanis gardacvalebis mere sakmaod saxelganTqmul mxatvars daukveTes misi xati, Tumca miuxedavad sityvieri aRwerisa mxatvars gauWirda misi daxatva, radgan arasdros enaxa wmindani. mxolod wminda nikonis xilvaSi naxvis mere SeZlo man xatis Sesruleba. mnaxvelebma aRiares, rom gamosaxuleba marTlac Zalian hgavda wmindans54 wmindanis gamosaxulebis amocnobadoba da arqetipTan msgavseba Zalian mniSvnelovani iyo, vinaidan es iyo gza masTan kontaqtisa da misi meSveobiT RmerTTan kavSiris damyarebisa55. gamosaxulebis `realizmi~ mdgomareobs imaSi, rom is rac gamosaxulia, realuradac arsebobs an arsebobda56. amave dros, mxatvrebi cdilobdnen, mnaxvels ar daviwyeboda,

49 Бельтинг, Образ и Культ, 70–71, 77–78.

50 Maguire, The Icons of their Bodies, 8, sur. 2.

51 mag., VI s­is dioskoridis xelnawerSi, Kalopissi-Verti, Painters’ Portraits, 129, sur. 1.

52 Cod. Par. gr. 923 xelnaweris oleebze aseve gamosaxulia mxatvari, romelic nimuSidan ixatavs xats, Maguire, The Icons of their Bodies, 12, sur. 5.

53 Cormack, Writing in Gold, 39; Maguire, The Icons of their Bodies, 7.

54 Kazhdan, Wharton Epstein, Changes, 200.

55 Бельтинг, Образ и Культ, 93.

56 Бычков, Византийская Эстетика, 478.

rom uyurebs kacs, romelic aris RmerTi. amitom sruliad realistur maneraSi qristes arasdros gamosaxavdnen57. sxvadasxva hagiografiuli nawerebidan Cans, rom mxatvris win pozireba ar iyo raRac miuRebeli, xolo roca wmindani didi xnis gardacvlili iyo, mxatvari eyrdnoboda am wmindanis gamosaxvis tradicias, Zvel nimuSebs, an xSirad sulac xilvebs, mniSvnelovani iyo gamosaxulebis `gamocnobadoba~, wmindanis definiciis SesaZlebloba da sizuste 58. Tu wmindani aRar iyo cocxali da arc xilvaSi ecxadeboda mxatvars, swored aq Semodis tradiciis cneba, ukve aprobirebuli gamosaxulebebis mibaZva/gameorebis aucilebloba, raTa gamosaxuleba iyos namdvili da WeSmariti59. portretuli gamosaxulebisadmi Tanamedrove da Sua saukunovani midgoma arsebiTad gansxvavdeba. Sua saukuneebis adamianebi Tavisi wmindanebis `portretebSi~ ar eZiebdnen garegan, iluzionistur msgavsebas, aramed definiciis sizustes. am sizustes ganapirobebda Semdegi kriteriumebi: wmindanTa romel kategorias ganekuTvneba gamosaxuli pirovneba, samosis specifika (maT Soris feradovnebac), fiziognomuri maxasiaTeblebi, maT Soris, asakic, atributebi, dabolos warwera. bizantielebisTvis swored es maxasiaTeblebi ganapirobebdnen portretis `realobas~. uZvelesi droidan SemorCenili xatebi ukve iZleoda garkveul informacias wmindanis garegnobaze, xolo misi `cxoreba~ iZleoda informacias, rogor ecva da ra atributebi unda hqonoda da sxva60. swored es midgoma ganapirobebda Zveli nimuSebis gamoyenebis moTxovnilebas, raTa ar yofiliyo daSvebuli Secdoma. Sua saukuneebSi `realizmi~ iyo rogorc Teologiuri, aseve esTetikuri koncepti, namdvilobis dasturi; dasavleTSi ufro win wamovida stilis, anu wminda esTetikuri sakiTxebi61 patriarqi nikifore Tvlida, rom mxatvrebs SeuZliaT vizualuri saSualebebiT gaaerTianon da gamosaxon pirvelsaxis xiluli da uxilavi arsi. mxatvari ki ar yofs am or arss, aramed aerTianebs erT saxeSi, erT pirovnebaSi. Teodore studeili saubrobs `xasiaTze~ (anabeWdi, damRa),

57 Maguire, The cycle, 121–151, 128.

58 Maguire, The Icons of their Bodies, 5–7.

59 iqve, 9–12.

60 iqve, 16–17.

61 Maguire, The Cycle, 307.

anu faqtobrivad ikonografiul sqemaze. Tu obieqtis Sinagani eidosi (misi msgavseba, misi xasiaTi) ucvleli da mudmivi ram aris, maSin am obieqtis yvelanairi gamosaxuleba, gind sxvadasxva masalaSi, gind sxvadasxva mxatvruli gadawyvetiT unda inarCunebdes am eidosis Sesatyvis mdgrad niSnebs. mxatvris amocanaa Sinagani eidosis da ara garegnuli cvladi niSnebis asaxva62. es aris safuZveli ikonografiis kanonikurobisa: gamosaxuleba da arqetipi erTi msgavsebaa da erTi dasaxeleba, magram sxvadasxvaa arsi63. xatis (gamosaxulebis) Teologia Zalian rTuli sakiTxia, romelic mokle mimoxilvaSi srulad da amomwuravad, cxadia, ver ganixileba. am SemTxvevaSi mTavaria imis Cveneba, raoden seriozuli da sapasuxismgeblo amocanis winaSe idgnen Sua saukuneebis mxatvrebi da ramdenad didi iyo maTi qmnilebebis adgili da roli imdroindeli sazogadoebis sulier da kulturul cxovrebaSi64, Sesabamisad maTi statusi da maTi saqmianobis dafaseba da maTi TviTaRqmac.

62 В. Бычков, Византийская Эстетика 469, 474, 484, 497.

63 Cutler, Makers and Users, 307.

64 qristianuli xatis Teologiur­dogmaturi arsis da masTan dakavSirebuli problemebis Taobaze uamravi naSromia Seqmnili; aq vasaxelebT mxolod im mcire nawils, romelic muSaobis dros gamoviyeneT: Cormack, Byzantine Art; Cormack, Writing in Gold; Лазарев., История Византийской живописи; Safran (ed.), Heaven on Earth; Бычков, Византийская Эстетика; Флоренский, Обратная Перспектива; Мейендорф, Византийское Богословие; Belting, Bild und Kult; Языкова, Богословие Иконы; Успенский Л. А., Богословие иконы; alibegaSvili, sayvareliZe, qarTuli xatebi; WiWinaZe, xati: kulti da xelovneba, burWulaZe, qarTuli xatebi da sxva.

sur. 2. awyuris RvTismSoblis xati. XVI s. S. amiranaSvilis sax. xelovnebis muzeumi. Atskuri Icon of the Virgin. 16th c. Amiranashvili Museum of Fine Arts. .

sur. 3. gelaTis RvTismSoblis Sobis taZris narTeqsi. msoflio saeklesio krebebi. XII s.

Gelati. Church of the Nativity of the Virgin. Murals of the Narthex. Ecumenical Councils. 12th c.

sur. 4. varZiis RvTismSoblis miZinebis taZari. piri uflisa. XII s. Vardzia. Church of the Dormition. Mandylion. 12th c.

sur. 5. yincvisis wm. nikolozis taZari. sakurTxevlis afsidi. wm. nikolozi. XIII s. Kintsvisi. Church of St. Nickolas. Sanctuary apse.St. Nickolas. 13th c.

dakveTa – qtitorebi da mxatvrebi

Sua saukuneebis ostatTa moRvaweobis erTi mniSvnelovani aspeqti aris maTi urTierToba damkveTTan. damkveTi­mxatvris urTierTobebis garkveva im ukiduresad mwir masalaze dayrdnobiT, romelic qarTulma wyaroebma Semogvinaxa, TiTqmis SeuZlebelia, Tumca zog SemTxvevaSi TviT nawarmoebis programa, saqtitoro Tu mavedrebeli warwerebi, istoriul dokumentebSi gaelvebuli saxeli an ambavi garkveuli daSvebebis safuZvels gvaZlevs. sruliad cxadia, rom im dros mxatvarTa saqmianobas, yovel SemTxvevaSi kedlis mxatvrobis sferoSi, umetes SemTxvevaSi dakveTa gansazRvravda. damkveTebad gvevlineba maRali ierarqiis saero da sasuliero pirebi, monasterTa da eklesiaTa winamZRvrebi, calkeuli kerZo pirebic da zogjer mTeli Temi. isini, cxadia, cdilobdnen saxelmoxveWili da kargi `reputaciis~ ostatebi moewviaT da, albaT, saTanadodac afasebdnen maT materialuri TvalsazrisiTac. zogi maTgani qtitorebad gamoisaxeba eklesiaTa kedlebze, zogis saxelic ki aravin icis, iseve rogorc maTi Rvawli da wvlili. mxatvarTa naRvawi ki jerac amSvenebs eklesiaTa kedlebs. unda gaviTvaliswinoT, rom aRmosavleTqristianuli samyaros uzarmazar teritoriaze uamravi eklesia­monasteri Sendeboda da funqcionirebda; yovel maTgans esaWiroeboda moxatva, an ukve arsebuli moxatulobis ganaxleba rom aRaraferi vTqvaT taZarTa Semamkobel xatebze da liturgiisTvis aucilebel xelnawerTa dasuraTebaze. amitom mxatvrebze didi moTxovna iyo, maT, savaraudod, mTel amqrebs, sxvadasxva adgilebSi epatiJebodnen, zogjer sxva qveynebSic (mag., italiaSi, normanul siciliaze, saqarTveloSi, balkanur qveynebSi, ruseTSi da sxv.). yovelive es gvafiqrebinebs, rom maT garkveuli pativi miegebodaT.

miuxedavad imisa, rom X saukunis konstantinopolur `eparqosis wignSi~1, romelic sxvadasxva sferoSi aregulirebs xelSekrulebebis sakiTxebs damkveTsa da Semsrulebels Soris, mxatvrebi xelosanTa socialur jgufSi arian Setanilni, maT udavod meti pativi da dafaseba eqnebodaT, vidre Cveulebriv durgalsa an meTunes. mxatvrebs maRali zneobrivi avtoriteti hqondaT, gansakuTrebiT xatmwerebs, radgan es saqme RmrTis winaSe `saTnod~ iyo miCneuli. xatis Seqmnas zogjer evqaristiuli saidumlos aRsrulebas adarebdnen – gardasaxvis saidumlos. rusuli xatweris dednebSi xatmwers xSirad RmrTismsaxurTanac aigivebdnen; aqedan modioda moTxovna, rom xatmwerebs imave wesiT ecxovraT, rogorc mRvdelmsaxurebs an berebs2. Sua saukuneebSi mza mxatvruli nawarmi gasayidad iSviaTad keTdeboda, Tu ar CavTvliT sxvadasxva saxis suvenirebs. SesaZloa zogi xatmweri dakveTis gareSec qmnida xatebs da Semdeg sTavazobda msurvelebs. Tumca am nawarmisTvis saWiro masalaTa siZviris gaTvaliswinebiT es, albaT, iSviaTad xdeboda da Cveulebriv praqtikas ar warmoadgenda. nawarmoebebi, maT Soris xatebic, da miT umetes kedlis mxatvroba, ZiriTadad mainc konkretuli dakveTis safuZvelze sruldeboda. es iyo piradi urTierToba damkveTsa da Semsrulebels Soris. ar aris gamoricxuli, rom winaswar Canaxatebs an monaxazebs ostati dakveTamdec asrulebda3 dakveTa da Sesruleba ekonomikur faqtorsac moicavda, Tumca `investicia~ xelovnebaSi rodi gulisxmobda finansur­ekonomikur mogebas. aq ufro metad fasobda prestiJis, saxelis da, rac mTavaria, sulieri `sargeblis~ mopoveba. cxadia didi dakveTebi damokidebuli iyo damkveTis ekonomiur resursebze (magaliTad, tao­klarjeTSi didi masStabis samSeneblo da samxatvro moRvaweobas swored bagrationTa gvaris mmarTvelebi warmarTavdnen (sur. 1); IX­X saukuneebSi bizantiaSi Zlevamosili da mdidari imperatorebi moRvaweobdnen: Teofilosi, basili I, basili II, konstantine porfirogenetosi da mniSvnelovani dakveTebi swored maTgan modioda). sainteresoa, ramdenad zemoqmedebda damkveTis pirovneba da xasiaTi, misi finansuri statusi xelovnebis nawarmoebis Sinaarsze an miT umetes mis mxatvrul formaze4.

1 Markovic, Painters in Late Byzantium, 2.

2 Успенский, Семиотика Иконы,. 227, Sen. 17.

3 Cormack, Patronage, 610.

4 iqve, 611–612.

xSirad xdeba, rom damkveTi cnobilia, Semsrulebeli ki ara. SeiZleba damkveTis pirovneba sxvam, ufro aqtiurma adamianma daCrdilos, magaliTad, patriarq fotiusis roli aia sofias sakurTxevlis konqis mozaikis SeqmnaSi sxvadasxvanairad aris xolme interpretirebuli, Tumca warweraSi mxolod RvTismosavi mmarTvelebi (imperatorebi) arian naxsenebi5. marTlac, ram ganapiroba am mozaikis mxatvruli saxe – inteleqtuali patriarqis xasiaTma da survilma, Tu ori imperatoris pragmatulma miswrafebebma? xelovnebis nawarmoebi am martivi urTierTobiT (damkveTi­Semsrulebeli) ar Semoifargleba da ufro farTo kulturuli velis amsaxvelia. inovaciebic ufro farTo masStabis movlenebiT unda aixsnas da ara mxolod damkveTis xasiaTiTa Tu surviliT. axali ikonografiuli programebi sainteresoa ara imdenad rogorc patronis survilis, aramed mTlianad im drois Teologiuri azrovnebis fokusebis da aqcentebis asaxva6. `Sua saukuneebis mxatvari mRebavi rodia, romelic damkveTis moTxovniT rasac gnebavs dagixatavT. igi Tavis samuSaos pativiscemiT ekideboda, mas wmidad miiCnevda~7. sxvadasxva qveynis da rangis mmarTvelTa erToblivi `proeqtebis~ magaliTebic arsebobs. XII saukuneSi bizantieli imperatoris manuel komnenosis, ierusalimis jvarosani mefis amalrik pirvelisa da beTlemis mTavarepiskoposs ralfs Soris TanamSromloba beTlemis taZris Semkobis mizniT sakmaod iSviaTi da gamorCeuli magaliTia8 aqve unda davazustoT, rom damkveTi, anu momgebeli, erTi mxriv da ideis da programis avtori (konsultanti, mrCeveli) meore mxriv, aucileblad erTi da igive pirovneba ar iqneboda. maTi Carevis xarisxi da xasiaTi nawarmoebis saboloo saxis SeqmnaSi gansxvavebuli iyo. damkveTs da Teologs (mrCevels) mniSvnelovani roli eniWebodaT mTliani programis koncefciis SemuSavebaSi, Tumca am Canafiqris mxatvruli da ara mxolod mxatvruli interpretacia da xedva mTavari mxatvris prerogativa iyo. marTlac, rogorc Cans, ganviTarebul Sua saukuneeb­

5 Cormack, Patronage 615.

6 iqve, 613.

7 virsalaZe, iSxani, 94.

8 Bacci, the mystic cave, 140.

Si sakmaod didi SemoqmedebiTi Tavisufleba sufevda, rasac mowmobs Sedevrebis didi raodenoba, romelTagan arc erTi ar hgavs da ar imeorebs erTmaneTs9

Sua saukuneebis qristianisTvis kedlis mxatvrobaSi gamJRavnebuli simboluri sazrisis aRqmisTvis aranairi mniSvneloba ar hqonda nawarmoebis TariRs an damkveTis vinaobas. uSedegoa siaxleebis wyaro mxolod momgebeli­damkveTis pirovnebaSi veZioT anda vimarCieloT es siaxle pirvelad vin moigona10. Uudavoa, rom bevr SemTxvevaSi damkveTi Tavis survils gamoxatavda moxatulobis programis Semadgenlobis da ideis mimarT, ikonografiis mimarTac, SesaZloa, raime konkretuli nimuSebis mxatvruli saxis mibaZvac moeTxova. amave dros, es misi survilebi zogadad im drois kulturul­mxatvruli prioritetebiTac iyo ganpirovnebuli, magaliTad, IX–X saukuneebSi bizantiaSi klasikuri xelovneba `modaSi~ iyo da mxatvrebisgan am Zveli tradiciebis mibaZvasac iTxovdnen11. patronaJis xasiaTiT ver aixsneba yvela is cvlileba, romelic marTlmadidebluri samyaros xelovnebaSi sxvadasxva etapze SeiniSneba; patronaJi ar iyo inovaciebis mTavari mamoZravebeli Zala. didi wili am procesSi swored mxatvrebs ekuTvnodaT. gadamwyveti mainc wamyvani mxatvari iyo, romelic Teologis Canafiqrs mxatvrul formaSi ganaxorcielebda, axdenda programis gaxsnas, interpretacias, dasmuli amocanis mTlianobaSi ganxilvas da Semdgom ukve kompoziciurad ganawilebas eklesiis sakralur sivrceSi12. ganviTarebuli Sua saukuneebis saukeTeso nawarmoebebs Teologiuri koncefciis farglebSi gamoarCevT warmosaxvis gaqaneba da SemoqmedebiTi Tavisufleba13. miuxedavad imisa, rom damkveTisa da mxatvris urTierTobis amsaxveli dokumentebi ar gagvaCnia, mxatvrobis Seqmnis rTul procesSi maTi rolebis gadanawilebaze garkveuli hipoTezebis gakeTebaSi SeiZleba TviT nawarmoebebi dagvexmaron. `gamoviyenoT xelovneba, rogorc istoriuli dokumenti”14. ase magaliTad, qarTul saistorio wyaroebSi araferia naTqvami yincvisis wm. nikolozis taZris mSeneblobasa da moxatvaze, Tumca sakmaod

9 Привалова, Роспись Тимотесубани, 142.

10 Cormack, Patronage, 623–624.

11 iqve, 625–626.

12 Привалова, Роспись Тимотесубани, 142.

13 iqve, 142.

14 Kazhdan, Wharton Epstein, Changes, xxi.

bevri faqti aris moTxrobili qtitoris, antoni glonisTaviZis Sesaxeb15. analebSi moTxrobilia qarTlis kaTolikosis miqael mirianis Zis mier antonis `moveragebisa~ da Wyondidlobisa da mwignobarTuxucesobis Tanamdebobebidan misi gadayenebis ambavi, ris gamoc Tamar mefem antonis saSvelad moixmo ierusalimSi ganridebuli kaTolikosyofili nikoloz gulaberiZe, romelic aqtiurad CaerTo antonis uflebebis dacvaSi. am ambavTan dakavSirebiT istorikosi nikoloz gulaberiZes uwodebs `nikolaus, msgavsi sexnisa Tvisisa~16. swored es gansazRvreba nebas gvaZlevs vivaraudoT, rom yincvisis kedlis mxatvrobis programa antonis mier iqneboda Sedgenili, radgan aq wm. nikolozis Tema aris sagangebod gamokveTili da xazgasmuli, rac erTgvari madlierebis gamoxatva iyo nikoloz gulaberiZis mimarT. programaSi uSualod kaTolikosyofili ar aris arc gamosaxuli, arc dasaxelebuli, magram am programis Zalian bevri aspeqti swored nikoloz gulaberiZeze mianiSnebs; mis mier aris STagonebuli, Tundac taZris saxeloba, wm. nikolozis sagangebo gamosaxva afsidis zeda registrSi, RmrTismSoblis gamosaxulebis qveS (sur. 2); erovnul wmindanTa gamoyofa, gansakuTrebiT ki wm. ninosi (sur. 3); jvris Temis mTeli ansamblis Sinaarsobriv `karkasad~ gamoyeneba da sxva17. Tamar mefis gamosaxvac mamasTan da ZesTan dinastiur rigad uTuod antonis gadawyvetileba iqneboda (sur. 4), radgan qtitorad, damkveTad swored is gvevlineba, radgan wm. nikolozis winaSe eklesiiT xelSi swored is aris gamosaxuli. ase rom, TviT mxatvroba gvauwyebs, rom, Tumca swored bagrationTa dinastiuri portreti aris moxatulobaSi esoden gamokveTili da xazgasmuli, realuri qtitori antoni Wyondidelia da, rac CvenTvis sainteresoa, programis avtoric namdvilad is iqneboda, rac erTgvari madlierebis gamoxatva iyo nikoloz gulaberiZis mimarT. patronaJis TvalsazrisiT aseve saintereso sakiTxi wamoiWreba varZiis moxatulobis SemTxvevaSi. rogorc cnobilia, varZiaSi Tamar mefe gamosaxulia xelSi taZris (an cixe­simagris) modeliT, rac TiTqosda ueWvels xdis mis qtitorobas, mas rogorc damkveTs da momgebels (sur.

15 basili ezosmoZRvari, cxovreba mefeT mefisa Tamarisa, 117­123; istoriani da azmani SaravandedTani, 32­33, 69­72; sxirtlaZe, istoriul pirTa portretebi, 60­70; vaCeiSvili, yinwvisis maSeneblis gamosaxulebis Sesaxeb, 745­752.; Eastmond, Royal Imagery, 93­184; didebuliZe, saRviTismetyvelo polemikis asaxvis sakiTxisaTvis, 136­138. 16 basili ezos moZRvari, cxovreba mefeT mefisa Tamarisa, 117­118. 17 didebuliZe, saRviTismetyvelo polemikis asaxvis sakiTxisaTvis, 136­140.

5). Tumca imave CrdiloT kedelze, oRondac dasavleT monakveTSi gamosaxuli rati suramelis warwera erTgvarad eWvqveS ayenebs mis am rols18. Tumca Tamari, SesaZloa, taZris gamokafvis, `aSenebis~ damkveTi iyo, xolo moxatuloba ki rati suramelis moRvaweobis Sedegia. magram araferi migvaniSnebs, rom moxatulobis programis SedgenaSi swored rati monawileobda. ufro damajerebeli Cans mosazreba, rom programa mxatvris Semoqmedebis nayofia. miTumetes Tu gaviTvaliswinebT mis programaSi xelmwifis, meufis Temis gamokveTas da mis uaRresad maRal da unikalur mxatvrul dones19. damkveTis monawileobaze moxatulobaTa programebis SemuSavebaSi (yovel SemTxvevaSi ZiriTadi koncefciis CamoyalibebaSi) saintereso magaliTs warmoadgens taoSi oTxTa eklesiis sakurTxevlis moxatuloba, romelic mkvlevarTa azriT daviT kurapalatis dakveTiT da misi uSualo monawileobiT unda gakeTebuliyo rogorc erTgvari vizualuri mtkiceba bagrationTa warmomavlobisa bibliuri mefeebis daviTisa da solomonis xaziT, gansakuTrebiT ki paraleli solomonTan, rogorc ierusalimis taZris mSenebelTan20. TviT oTxTa eklesiis im droisTvis anaqronuli bazilikuri tipi swored ierusalimis sionis taZris analogiiT iqna SerCeuli. ase rom TviT mxatvroba xSirad bevrs rasme gviambos, gagvandobs misi patronaJis Taobaze, Tumca damkveTi­mxatvris urTierTobisa da TanamSromlobisa konkretuli formebi mainc sakmaod bundovania da mxolod hipoTezebiT gvixdeba Semofargvla. am mxriv sagulisxmoa e.w. xalxuri mimarTulebis moxatulobaTa programebze dakvirveba. rogorc cnobilia, am moxatulobaTa mxatvruli `ena~ sakmaod martivia, uSualobiT da erTgvari miamitobiTac gamorCeuli, Tumc ki Zalian eqspresiuli. am gamartivebul mxatvrul enas TiTqos ar Seesatyviseba moxatulobaTa sakmaod rTuli Teologiuri Sinaarsi21

18 `hoi RmrTisa dedao miiTuale.... msaxureba¡ Cem mier monisa Senisa rati erisTavT­erisTavisa da qarTlisa erisTvisagan, romelman vigulsmodgine da moxatviT aRvamkve wmida¡ ese taZari didebisa Senisa¡/ da nacval mege winaSe Zesa Sensa da RmerTsa Cuensa dResa mas didsa saSjelisasa da amas sofelsa Sina ZeTa CemTa Tana mcvelada da mfarvelad meqmen~, gafrindaSvili, varZia, 64.

19 kldiaSvili, varZiis RvTismSoblis miZinebis eklesiis moxatulobis programisaTvis, 35–49.

20 mgalobliSvili, axali ierusalimebi saqarTveloSi, 96­100; sxirtlaZe, oTxTa eklesiis freskebi, 201­214.

21 xuskivaZe, qarTuli eklesiebis gviani Sua saukuneebis `xalxuri” moxatulobani, 367–377.

safiqrebelia, rom mavani saeklesio moRvawe monawileobda programis ZiriTadi Temebis da saerTo suliskveTebis gansazRvraSi. cxadia, ver gamovricxavT nimuSebis gamoyenebas, Tumca ufro savaraudoa, rom mxatvris garda kidev sxvac monawileobda programis SedgenaSi, Tanac es `sxva~ maincdamainc laSxiSvilebis an abaSiZeebis ojaxebis wevri ar iqneboda, aramed sworedac saeklesio moRvawe, mRvdelmsaxuri. meore mxriv, moxatulobis qveda registrSi qtitorTa rigSi vin iqneboda gamosaxuli, albaT, swored laSxiSvilebi da abaSiZeebi wyvetdnen. patronaJis formebis TvalsazrisiT sagulisxmoa walenjixis taZris moxatulobis istoria. freskul warwerebSi sakmaod dawvrilebiTi informaciaa vamey dadnianis mier konstantinopoleli mxatvris manuel evgenikosis mowvevis Taobaze. igi, albaT, saTanado Tanxebsac gaiRebda, magram ramdenad `moiclida~ vameyi saxelovani mxatvrisTvis `instruqciebis~ misacemad, gaurkvevelia. Tanac moxatulobis programis bevri aspeqti udavod miuTiTebs, rom evgenikosi TviT iyo am, qarTuli ferweruli tradiciisTvis cota `ucxo~ programis avtori (sur. 6)22. damkveTis rolis Sesaxeb moxatulobis organizaciasa da zedamxedvelobaSi `dokumenturi~ mowmobis erT iSviaT nimuSad SeiZleba miviCnioT macxvariSis macxovris eklesiis mamasaxlisis kvirikes warwera: `ese ars k(virik)e mamasaxlisi romelman didi moiWirva (am)is eklesiisa zedgoma¡ xatvasa amin~. kvirikes es da meore warwerac gamsWvalulia iseTi siyvaruliT, zrunviT da TayvaniscemiT mxatvrobis mimarT, rom TavisTavad iqmneba azri misi monawileobis Sesaxeb Tundac programis SemuSavebaSi, an wmindanTa SerCevaSi23, Tumca demetre I­is mefedkurTxevis ritualis gamosaxuleba (sur. 7), albaT, marTlac im adgilobrivi svani erisTavebis survili iyo (da moTxovnac), vinc mefedkurTxevis dadgenili wesis Tanaxmad am ritualSi iRebdnen monawileobas24 damkveTis vinaobis TvalsazrisiT saintereso problemas gvTavazobs ubisis wm. giorgis eklesiis moxatulobis warwerebi da ubisis taZris moxatulobisa da xatebis avtoroba (sur. 8). xatebis damkveTi cnobilia – bablak lasxiSvili. ubisis kedlis mxatvrobis Semsruleblis saxeli cnobilia – gerasime. aseve cnobilia meore saxeli – damiane, savaraudod, misi maswavlebeli, gamzrdeli an meore mxatvari. gamoTqmulia

22 lorTqifaniZe, janjalia, walenjixa, 7–8.

23 Вирсаладзе, Фресковая роспись художника Микаела Маглакели,162–163.

24 iqve, 147–152.

azri, rom kedlis mxatvrobas da xatebs bevri saerTo ikonografiuli, programuli da stiluri niSnebi aqvT25. ase rom iqneb bablak lasxiSvili kedlis mxatvrobis damkveTadac warmovidginoT. Tumca es romc dauSvaT, misi monawileobis Sesaxeb moxatulobis programis SemuSavebaSi verafers vityviT. ufro damajereblad JRers kedlis mxatvrobis momgeblad swored damiane miviCnioT, miT umetes Tu gaviTvaliswinebT mis moxseniebas saidumlo serobis warweraSi sakurTxevelSi, gamosaCen adgilas26. SeiZleba davasaxeloT saintereso magaliTi xuroTmoZRvrebis sferodan, romelSic mkafiod Cans damkveTis – daviT aRmaSeneblis mTavari da ucilobeli roli taZris garegnuli saxis mxatvrul gadawyvetaSic, Tavis mxriv, wm. giorgi mTawmindelis qadagebis gavleniT. d. TumaniSvilis azriT, gelaTis mTavari taZris xazgasmulad sada, `puristuli~, CuqurTmebs moklebuli mxatvruli saxe, iseve rogorc TiRvisa, swored damkveTis survilis da ganwyobis gamoxatulebaa27. cxadia, gelaTis sakurTxevlis mozaikiT Semkoba damkveTis survili iqneboda, Tumca am SemTxvevaSi mxatvrobis am nawarmoebis mxatvruli saxe ramdenad ganpirobebulia damkveTis moTxovniT, Zneli saTqmelia (sur 9). TviT Semsruleblis warmomavlobazec sxvadasxva azri arsebobs, yvelaze damajerebeli q­n Tina virsalaZis mosazrebaa bizantiaSi ganswavlul­gazrdili qarTvelo ostatis avtorobis Taobaze, rasac am gamosaxulebis mkacri xazobrioba miuTiTebs28. udavod damkveTis (TviT daviTis an misi Zis, demetres) survili unda yofiliyo taZris narTeqsSi msoflio saeklesio krebebis gamosaxva, rac im drois aRmosavleTqristianuli samyaros kedlis mxatvrobaSi unikaluri nimuSia. ar aris gamoricxuli, am programis SedgenaSi giorgi Wyondidelis gavlenac da uSualo monawileobac ki. aseTive STabeWdileba iqmneba, rodesac beTaniis taZris kedlis mxatvrobas vuyurebT, kerZod ki XII s­Si sumbat didis dros Sesrulebul RmrTismSoblis bibliur winaswaruwyebebis did cikls samxreT kedelze

25 burWulaZe, ubisis monastris xatebi, 159.

26 miqelaZe, xelovan­momxatvelTa warwerebis mniSvneloba, 154–157; lorTqifaniZe, `saidumlo serobis~ scena, 271–272; burWulaZe, ubisis monastris xatebi, 149–154.

27 TumaniSvili, XII saukunis qarTuli xuroTmoZRvrebis erTi tendenciis gagebisaTvis, 107–121; rCeuliSvili, TiRva, 99­100.

28 mefisaSvili, virsalaZe, gelaTi, 10.

(sur. 10). axla ver daviCemebT, rom am programis idea maincdamainc sumbats ekuTvnoda da misi SemuSavebuli iyo, Tumca mainc safiqrebelia, rom misi brZanebiT an TxovniT im drois gamorCeulma saeklesio moRvawem SeimuSava. marTlac, amgvari cikli am periodSi mTels samarTlmadidebloSi Zalze iSviaTia, Tu unikaluri ara. Semdgom xanaSi, gansakuTrebiT paleologosTa stilis gamefebis an postbizantiur xanaSi es Tema ufro aqtualuri xdeba, magram ara XII saukunis meore naxevarSi29. mxatvris garda moxatulobis programis SemuSavebaSi damkveTis an gareSe piris monawileoba SeiZleba davuSvaT TanRilis eklesiis XIII saukunis mxatvrobis SemTxvevaSi, romelic e.w. xalxur mimarTulebas ganekuTvneba Tavisi Zalze gamartivebuli ferweruli maneriT, Zlieri deformaciiT, uSualobiT, mTliani ansamblis `xaliCiseburi~ gadawyvetiT, martivi feradovnebiT, figuraTa Zlieri disproporciiT da sxva niSnebiT. am fonze gasaocaria bzobis scenis saxiTmetyvelebiTi gadawyveta – qristes figuris ukan, mTaze safexurovani gabrwyinebuli jvari da patara samlocvelo mis gverdiT – golgoTa, risi paralelic Znelad Tu moipoveba30. cxadia, SesaZloa es aixsnas ubralod raime nimuSis gamoyenebiT Y(Tundac xelnaweri wignis), magram mainc damafiqrebelia da Znelia warmovidginoT, rom mxolod mxatvris mier iyo `mofiqrebuli~. amgvari iribi miniSnebebi, cxadia, kedlis mxatvrobis Seqmnis rTul procesSi damkveT­ostats Soris arsebuli urTierTobebis met­naklebad srulad warmodgenisTvis ar aris sakmarisi, Tumca es swored is sferoa, romelSic ostatis xasiaTi, fsiqologia da TviTaRqma mniSvnelovan rols TamaSobda. ramdenad harmoniuli iyo maTi urTierToba, ramdenad iTvaliswinebda ostati damkveTis survilebs Tu miTiTebebs, Tundac isini mis sakuTar ganwyobas da mosazrebebs ar Seesatyviseboda – yovelive amis codna Zalze saintereso suraTs Segviqmnida Sua saukuneebis ostatebis da maTi moRvaweobis Taobaze. samwuxarod, Zalze cota ram viciT Sua saukuneebis qristianuli xelovnebis brwyinvale nawarmoebebis SemoqmedTa Sesaxeb. radgan ar gvaqvs arc maTi vrceli biografiebi, arc maT mier datovebuli mogonebebi anda maTi TanamedroveTa mier konkretulad maT Sesaxeb gamoTqmuli mosazrebebi da informacia, gvi­

29 Привалова, Новые данные, 8–9. 30 Аладашвили, Роспись Церкви Тангил, 17–37; Velmans, Le Peintures de L’église; Gagoshidze, Jerusalem, 135, 137.

xdeba erTgvari `iribi~ mowmobebiT sargebloba, raTa garkveuli STabe Wdileba SeviqmnaT Sua saukuneebis kedlis mxatvrobis ostatebis TviTaRqmis da identobis Taobaze. sagulisxmo masalas gvawvdis ostatTa warwerebi31, gansakuTrebiT isini, romlebic mxatvris saxeliT, pirvel pirSi aris Seqmnili. aseve mniSvnelovania ekfrazisebis, hagiografiuli Txzulebebis, istoriul wyaroebSi, tipikonebSi arsebuli monacemebi, Tumca qarTuli masala, samwuxarod, Zalian mwiria. am mxriv damxmared SeiZleba danarCen aRmosavleTsaqristianoSi (e.w. bizantiur samyaroSi) Semonaxuli informaciac gamoviyenoT, iseve rogorc sxva, momijnave dargebis monacemebi. amitom Cveni mosazrebebi ufro hipoTezuri xasiaTis iqneba, Tumca zogi ram am mwire monacemebis mixedviTac SeiZleba davaskvnaT. es sakiTxebi ganekuTvneba SemoqmedebiTi fsiqologiis sakmaod rTul sferos, miT umetes, roca saqme gvaqvs mravali saukunis winandel adamianTa fsiqologiasTan. upirveles yovlisa, Sua saukuneebis mxatvrebis TviTaRqmis Sesafaseblad gasaTvaliswinebelia, Tu ra mniSvnelobas aniWebdnen isini Tavis saqmianobas, rogor aRiqvamdnen Tavis funqcias. Sua saukuneebis aRmosavleTqristianul samyaroSi, da gansakuTrebiT samarTlmadidebloSi gamosaxulebas udidesi mniSvneloba eniWeboda. rogorc cnobilia, gamosaxulebas mraval funqcias aniWebdnen: saganmanaTleblo, saxiTmetyvelebiTi, anagogiuri da, rac mTavaria, igi ganixileboda rogorc damakavSirebeli gza adamiansa da ufals Soris, gankacebisa da, Sesabamisad, adamianis modgomis aRdgomisa da xsnis dasturi. cxadia, am funqciebis realizebisTvis mowodebuli adamianebi (yovel SemTxvevaSi, saukeTesoni) acnobierebdnen Tavis misias da gasakviri ar iqneboda, rom erTgvari siamaye (ara ampartavneba) amis gamo dauflebodaT. ase rom mxatvrebis TviTaRqma sakmaod maRali SeiZleba yofiliyo. Sua saukuneebis mxatvarTa sakmaod maRal TviTaRqmas isic ganapirobebda, rom wm. luka maxarebeli amavdroulad mxatvaric iyo da mxatvarTa mfarvel wmindanadac iyo miCneuli. aseve, sakmaod siamayes da TviTpativiscemas iwvevda bibliuri legendaruli ostati – beseleili, romelic ufalma gamoarCia sawameblis karvis Sesaqmnelad, rogorc gamorCeulad aRvsili uflis madliT. ufa31 miqelaZe, xelovan­momxatvelTa warwerebis mniSvneloba, 149–177.

li moses warudgens beseliels: `aRvavse igi suliTa saRmrToTa, sibrZnisaTa da gulis£mis­yofisa da £elovnebisaTa da yovlisa saqmisa~ da CamoTvlis mis mravalricxovan niWsa da unarebs xelovnebis sxvadasxva dargSi (gamosvlaTa, 31: 1­11; 35: 30­35). TviT misi saxeli niSnavs `uflis wyalobis qveS myofi~32 ostati­Semoqmedis (am SemTxvevaSi xuroTmoZRvris) sulieri mdgomareobis SesaniSnav aRweras gvaZlevs giorgi CubinaSvili wromis Sesaxeb gamokvlevaSi: “Не может быть сомнения в том, что молитва в так созданном помещении церкви – при дневном свете, широко проникавшем через оконные отверствия, или вечером при тусклом свете свечей и лампад перед алтарем, в котором ярко блестело мозаичное изображение, богато снабженное золотом, – была полна строгости и глубины религиозного чувства, которое вообще характеризует ранее христианство; мы должны себе представить архитектора Цроми как человека, который жил в своей вере и творил по своим убеждениям“33 . axali drois ostatebisgan gansxvavebiT, Sua saukuneebis mxatvrebisTvis, Semoqmedeba ar iyo TviTdamkvidrebis forma, Tavisi `me~­s gamoCenis saSualeba. maTTvis es iyo msaxureba am sityvis yvelaze maRali gagebiT da amgvar ganwyobaSi araferi iyo damamcirebeli. kanonikurobis principTan erTad `umaRlesi STagonebis~ idea aris Sua saukuneebis ostatebis SemoqmedebiTi meTodis safuZveli34. miiCneva, rom bizantiuri xelovneba iyo impersonaluri da anonimuri35, Tumca Cvens dromde SemorCenili mwiri masalac gvarwmunebs, rom es arcTu srulad Seesabameba sinamdviles. ase magaliTad, oqsfordis bizantiis enciklopediur leqsikonSi (Oxford Dictionary of Byzantium) xelovnebis sxvadasxva dargSi moRvawe ostatebis sakmaod didi siaa, rac mizanmimarTul anonimurobas eWvs qveS ayenebs36, Tumca arc es siaa sruli. arsebobs mosazreba, rom Sua saukuneebis mxatvrebi Tavis Tavs mxolod uflis instrumentad aRiqvamdnen da amitom arc axseneben TavianT

32 sxvaTa Soris, beseleilTan Sedarebuli aris wm. nino pirveli eklesiis mSeneblobis Jams mcxeTaSi. roca wm. nino gamousaxavda mSeneblebs eklesiis saxes `viTarca axali beselieli~ da xelmZRvanelobda pirveli eklesiis agebas, wminda nino embazi qarTlisa¡, 244; CakvetaZe, eklesiis dafuZnebis scena, 84–94. 33 Чубинашвили, Цроми, 8. 34 Бычков, Византийская Эстетика, 498.

35 Mango, Byzantium, 256.

36 Oxford Dictionary of Byzantium, 196–201.

saxelebs37. Tumca es sruliad ar uSlida xels, rom yoveli maTgani ganumeorebeli individualoba yofiliyo, ganumeorebeli xelweris da mxatvruli azrovnebis mqone, WeSmariti Semoqmedi. am mxriv sagulisxmoa Sua saukuneebis qarTuli Weduri xelovnebis erT­erTi ostatis, daviT kurapalatis jvris Semqmnelis erTgvari wodeba, romelis warweraSi aris dadasturebuli: asaT moqmedi, anu Semoqmedi38. aseve bevris mTqmelia anCisxatis Weduri CarCos Semqmneli ostatis beqa opozaris Sesxma ioane anCelis mier anCis oTxTavis minawerSi: `RmrTisa mier kurTxeulisa Rirsi oqroismqandakebeli~39. meore mxriv, mxatvris srul damokidebulebas uflis nebaze da mis erTgvar uunarobas RmerTis daxmarebis gareSe raimes Seqmnisa mowmobs mandilionis istoria. marTalia, am ambis mTavari sazrisi sul sxvaa (xatis da pirvelsaxis urTierTdamokidebuleba da TviT qristes mier gamosaxulebis nebadarTulobis, dasturi rogorc gankacebis da xsnis dogmis aucilebeli pirobisa40), faqtobrivad pirveli xatis Seqmna mainc RmerTis mier xdeba da ara mxatvris. avgarozis legendebSi, mis mier wargzavnilma mxatvarma ver daxata qriste, vinaidan ver gauswora Tvali mis didebas da amitom qristem TviT Seqmna Tavisi xelTuqmneli xati, romelsac Tavisive saswaulmoqmedi aslebis (mag. keramioni) Seqmnis unari hqonda41. alaverdis oTxTavSi CarTul avgarozis werilSi naTqvamia: `mxatvari gamohsaxvida xatsa missa da ver eZlo, rameTu ver ganicdida msgavsebasa missa, maSin moyuasma misman hrqva mas: miec xilvaT igi xelTa misTa, xolo ufalman miiRo xilvai igi da daedva pirsa zeda Tvissa da meyseulad gamoesaxa xati misi mas zeda~42. sagulisxmoa rom mxatvarTa warwerebSi xSirad gamoyenebulia termini `moixata xeliTa.......~. TiTqos isini erTgvarad distancireben Tavisive qmnilebisgan, TiTqos am xels sxva xeli warmarTavs, Tavad mxatvris pirovneba ki ar monawileobs. amave dros, aseT warwerebSi mxatvris 37 Авериинцев, Золото в системе символов, 44–46.

38 Чубинашвили, Грузинское Чеканное Искусство, 163.

39 sayvareliZe, anCisxatis karedi, 77–91.

40 Бельтинг, Образ и Культ, 237–242; miqelaZe, xelTuqmneli xatis gamosaxuleba, 20–33; Skhitladze, Canonizing the Apocrypha, 69–93; Gedevanishvili, The Representation, 11–31; yaraulaSvili, edesis mandilioni, 54–70.

41 Бельтинг, Образ и Культ, 241.

42 maWavariani, wignis xelovneba, 27.

saxeli aris xolme miTiTebuli, rac mis monawileobas am saRvTo saqmeSi sajarod ganacxadebs da gadascems kidec momaval Taobebs. am mxriv sagulisxmoa XII saukunis bizantieli poetis Teodore prodromosis monayoli mis Tanamedrove mxatvarze, evlaliusze. is hyveba, rom mociqulTa taZris mozaikebiT Semkobis dros mxatvris xels RmrTismSobeli mariami warmarTavda. amis ormagi interpretacia SeiZleba gakeTdes: erTi, rom nawarmoebis avtori faqtiurad mariamia, meore – evlaliusi imdenad kargi mxatvari iyo, rom mariamis dafaseba da daxmareba daimsaxura43.

warmodgena mxatvarze, rogorc uflis xelSi morCil instrumentze, Cveni gadasaxedidan TiTqos ostatis SemoqmedebiTobis dakninebaa, Tumca iqneb im drois adamianebisTvis es didi pativi da pasuxismgebloba iyo – maT unarze iyo damokidebuli, ramdenad sworad ganaxorcielebdnen uflis nebas. Tanac amaSi vlindeboda erTgvari TviTmomwoneobac da siamayec, radgan ufalma swored is airCia Tavisi nebis gamosaxatavad. zogs eamayeba uflis instrumentad yofna, zogi ki ukiduresad ikninebs Tavs da Tavis uRirsobas usvams xazs. amgvari `ormagi~ da winaaRmdegobrivi damokidebuleba da TviTaRqma mxatvarTa warwerebSic Cans. `codvili, uRirsi, mdabali~ da sxva epiTetebis gamoyeneba zedwerilebSi sulac ar niSnavs, rom am warwerebis avtorebs dabali TviTSefaseba hqondaT. es ufalTan urTierTobis erTgvari forma iyo, erTgvari rituali; warweris ganTavsebis adgili ki ufro naTlad miuTiTebs, sinamdvileSi rogori iyo maTi TviTaRqma. magaliTad, mefis mxatvar Tevdores warwerebi sagangebod gamoCenil adgilebze aris datanili da mxolod misi saxeli ki ar aris damowmebuli, aramed misi statusic – mefis mxatvari. aseve maRali TviTSefasebis asaxva unda iyos ubisis taZris sakurTxevlis TaRze mxatvar gerasimes warweris ganTavseba, yovelmxriv gamokveTili da TvalSi sacemi. XVI saukunis ostati giorgi joxtoberiZe, oTxi moxatulobis avtori da, etyoba, sakmaod saxelmoxveWili mxatvari, Tavis warwerebs sagangebod gamosaCen adgilas ganaTavsebs da igrZnoba kidec, rom mSvenivrad grZnobs raoden dafasebulia da sulac ar `morcxvobs~. `cxoveli svetis~ momxatveli grigol guljavarasSvili saerTod pirvel pirSi asaxelebs Tavs `..davxate me friad codvilma mo43 Преображенский, О некоторых формах выражения, 68.

qalaqem guljavaraSvilma...~. am warweraSic gamosWvivis erTgvari siamaye Tavis statusiTac da miRebuli dakveTis mniSvnelovnebiTac. aki warwerac sakmaod TvalsaCinod aris ganlagebuli. mxatvris sakmaod maRal TviTSefasebas da aseve mis maRal prestiJsac mowmobs beTlemis Sobis taZris 1169 wlis mozaikuri dekoris warwerebi mTavari afsidis samxreT kedelze, romlebSic dasaxelebulia mxatvari efraimi: ganxorcielda xeliTa efraimisa, beris, mxatvris da mozaiCistis. gansakuTrebiT sagulisxmoa, rom berZnulenovan warweraSi igi dasaxelebulia imperator manuel komnenosis win, rom aRaraferi vTqvaT amalrikze, ierusalimis mefeze da beTlemis episkoposs ralfze44 zogi mxatvari Tavis saxels saqmianobis miTiTebis gareSec ki, sxvebisTvis SeumCnevel adgilas tovebs, magaliTad, beTaniaSi, demetre, anda ozaanSi miqaeli45. aq ukve sul sxva TviTaRqmaa – am mxatvrebs TiTqos sulac ar ainteresebT `aqauri~ dafaseba, maTTvis mTavari zecaTa sasufevelSi damkvidrebaa da iq Sendobis miReba. peCis monastris XIV saukunis momxatveli akeTebs warweras: `RmerTis ZRveni ioanes xeliT~, rac gulisxmobs, rom am mxatvrobaSi WeSmariti Semoqmedi aris RmerTi. meore mxriv, am warweriT mxatvari Tavis Tavis prezentaciasac axdens, erTgvari TviTdamkvidreba, rogorc RmerTis instrumentad yofnis Rirsisa. anu aq gamosWvivis sakuTari Tavis da sakuTari xelovnebis maRali Sefaseba. Tanac es warwera sakurTxevlis afsidSi TvalSisacem adgilas aris ganTavsebuli46. XI­XII saukuneTa mijnaze sinas mTaze moRvawe qarTveli beris ioane Toxabis magaliTic bevris mTqmelia ostatis TviTaRqmis Taobaze. mis mier Seqmnil eqvskaredze, misi gamosaxulebebic aris da warwerebic. beri ioane donoric iyo, mxatvaric da SesaZloa epigramebis avtoric, Tanac orjer gamosaxa Tavi: aRsaydrebuli mariamis ferxTiT da gankiTxvis dRis kompoziciaSi, samoTxis karibWesTan47. amgvari gadawyveta mravalgvari interpretaciis safuZvels iZleva. meore mxriv, arsebobs warwerebi, romlebSic ostati ukiduresad damakninebeli formiT moixseniebs Tavs. am mxriv unikaluri da ucnau­

44 Bacci, the mystic cave, 140.

45 miqelaZe, xelovan­momxatvelTa warwerebis mniSvneloba, 156–158.

46 Drpić, Painter as Scribe, 334.

47 sxirtlaZe, ioane Toxabi, 61–72; Galavaris, An Eleventh Century Hexaptych, 25–43, ill. 1, 15; Lidova, Creaating a Liturgical Space, 226–233, misive, The Artist’s Signature da sxv.

ri warweraa mignebuli beTaniis taZris XII saukunis samxreTi kedlis moxatulobaSi, winaswarmetyvel aaronis fexTan mixatul muxlmodrekil pawawina figurasTan TiTqmis SeumCneveli warwera: `ufalo, nu Seundob sofroms~48. erTgvarad msgavsi ganwyobiTaa gamsWvaluli liobostinias monastris momxatvelis makariosis, mRvdlisa da mxatvris warwera, romelSic makariosi moxsenebulia rogorc uRirsi da Tavmdabali49. sazogadod, Sua saukuneebis ostatebs ar sCveodaT Tavisi gandideba, TviTqeba, ufro mokrZalebiT moixseniebdnen Tavs50. marTlac, ar Cans, rom Sua saukuneebis mxatvrebs hqondaT is pativmoyvareoba da ampartavneba, rac renesansis droindel da Semdgomi drois mxatvrebs, romlebic ukve uflis xelSi ubralo instrumentad ki ar aRiqvamdnen Tavs, aramed WeSmarit Semoqmedad, anu faqtobrivad edarebodnen ufals. amis tragikul Sedegs vxedavT miqelanjelos bolo nawarmoebebSi; am mxriv gansakuTrebiT sulisSemZvrelia e.w. rondaninis pieta, romelic am ampartavnebis msxvrevis brwyinvale da amavdroulad tragikuli gansaxierebaa51.

Sua saukuneebis ostatebs amgvari fsiqologiuri ganwyoba namdvilad ar hqondaT – isini uflisTvis iRwvodnen da uflis sityvas xilul formebSi uziarebdnen adamianebs, raTa maT ukeT gaegoT da gaeTavisebinaT wminda werili. faqtia, rom Sua saukuneebis ostatTa TviTaRqma gansxvavdeboda axali drois mxatvarTa TviTaRqmisgan, Tumca Zneli saTqmelia, es TviTdakninebis, uaRresi Tavmdablobis gamoxatuleba iyo Tu raRac sxva movlenasTan gvaqvs saqme, magaliTad, ufalTan urTierTobis garkveul formasTan.

XI­XII saukuneebis cnobili bizantieli saeklesio moRvawe, aTenis mitropoliti miqael xoniati Tvlida, rom sazogadoebriv­sajaro aRiareba da `aplodismentebi~ arafers SesZens brZen adamians. xelovanis genias es ki ar STaagonebs, aramed sikeTis codna da saTnoeba52. Tavmdablobisa da uflis msaxurebisken mouwodebs mxatvars dionise furnelis `herminias~ Sesavali da sagangebo locvis teqsts sTavazobs mxatvrebs53

48

Привалова, Новые данные, 16–17.

49 Drpić, Painter as Scribe, 335.

50 Bacci, the mystic cave, 144

51 Дворжак, История итальянского искусства, 44, 138.

52 Kazhdan, Wharton Epstein, Changes, 197.

53 The “Painter’s Manuel”, 1–4.

sagulisxmoa, ruseTis saeklesio krebis `stoglavis~ miTiTeba ostatis qcevis da saTanado ganwyobis Taobaze sakraluri gamosaxulebebis Seqmnis periodSi (Tavi 43)54. am dokumentSi sagangebod aris aRwerili da dadgenili xatmweris cxovrebis wesi, maT Soris, am gansakuTrebuli moRvaweobisTvis saTanado momzadebis aucilebloba marxviT da locviT.

Cveni drois gadasaxedidan, albaT, cota Znelia mTeli sisavsiT gavigoT Sua saukuneebis mxatvarTa fsiqologiuri ganwyoba da TviTaRqma, Tumca, rogorc vnaxeT, maTi Seqmnili brwyinvale nawarmoebebi gvexmareba odnav mainc CavixedoT Sua saukuneebis mxatvarTa TviTgancdisa da TviTaRqmis rTul samyaroSi. 54 Успенский, Семиотика Иконы, 227, Sen. 17.

sur. 2. yincvisis wm. nikolozis taZari. sakurTxevlis afsidis moxatuloba. XIII s. Kintsvisi. Church of St. Nickolas. Sanctuary apse. Murals. 13th c.

sur. 3. yincvisis wm. nikolozis taZari. wm. nino. XIII s. Kintsvisi. Church of St. Nickolas. St. Nino. 13th c.

sur. 4. yincvisis wm. nikolozis taZari. CrdiloeTi kedeli. Tamar mefe da giorgi III. XIII s. Kintsvisi. Church of St. Nickolas. North wall. Queen Tamar and George III. 13th c.

sur. 6. walenjixis macxovris taZari. sakurTxevlis konqi. RvTismSoblis dideba. 1384­1396 ww. Tsalenjikha. Church of the Saviour. Sanctuary conch. Glory of the Virgin. 1384-1396

sur. 7. macxvariSis macxovris eklesia. CrdiloeTi kedeli. demetre I mefed kurTxeva. 1140 w. Matskhvarishi. Church of the Saviour. North wall. Coronation of King Demtre II. 1140.

Sua saukuneebis ostatTa SemoqmedebiTi Tavisufleba

Sua saukuneebis mxatvarTa moRvaweobis ganxilvisas erTi mniSvnelovani sakiTxi maT SemoqmedebiT Tavisuflebas exeba. swored es aspeqti gaxda Sua saukuneebis mxatvrobis `xelovnebad~ armiCnevis safuZveli, TiTqosda misi Semoqmedni SeboWilni iyvnen mkacri akrZalvebiT da ikonografiuli kanonebiT, mxolod sxvisi dakveTiT da miTiTebebiT muSaobdnen da araviTari kreatiuloba ar gaaCndaT. es pozicia namdvilad ar aris swori, vinaidan, Tu gadavxedavT msoflio xelovnebis istorias, vnaxavT, rom yvela epoqas Tavisi moTxovnebi hqonda xelovanTa mimarT, Tavisi kanonebi, Tavisi mxatvruli gemovneba da `moduri~ Temebi, an Tugind, aloiz riglis gansazRvrebiT, Tavisi `kunstwollen~1. TviT renesansis epoqaSic, romelic evropelTa warmodgenaSi adamianis SemoqmedebiTi Tavisuflebis da TviTgamoxatvis saukeTeso dro iyo, xelovanTa Semoqmedebas sakmaod mkacri kanonebi gansazRvravda, kerZod, bunebrivisa da Tvalxilulis zedmiwevniT swori asaxvis aucilebloba. evropelTa warmodgeniT, Sua saukuneebis mxatvarTa SemoqmedebiTi Tavisuflebis erT mniSvnelovan damabrkolebel da SemzRudav faqtors damkveTi da dakveTa warmoadgenda. Tumca, Tu davakvirdebiT, sxva epoqebSic, renesansis drosac da merec, sakmao xans, umeteswilad damkveTi gansazRvravda ra unda yofiliyo gamosaxuli da ra unda `eTqva~ gamosaxulebas. Tumca amas ratomRac ar miiCneven xolme ostatis SemoqmedebiTi Tavisuflebis SezRudvad. marTlac, uamravi faqti aris cnobili, roca idea, koncefcia da Sinaar1 Riegl, Stilfragen, 20.

si damkveTisgan modioda, mxatvari ki Tavisi SesaZleblobebiT da Tavisi `stiliT~ xorcs asxamda am SemoTavazebas. gavixsenoT, magaliTad, miqelanjelosa da siqstes kapelis Weris moxatulobis istoria2. saeWvoa rubenss maria mediCis triumfis sazeimo panoebis idea TviTon gasCenoda da Tavisi nebiTa da surviliT Seeqmna, Tumca am panoebis mxatvruli ena misi sakuTari iyo3. aris SemTxvevebi, roca xelovansa da damkveTs Soris urTierTgageba ikargeba, magaliTad, rembrandtis `Ramis guSagis~ istoria4

es Semoqmedebis fsiqologiis sakiTxia: rodis grZnobs ostati, rom misi SemoqmedebiTi Tavisufleba SezRudulia? albaT maSin ara, roca kanonis an dakveTis moTxovnebi zustad epasuxeba mis Sinagan moTxovnebs. mainc ra SeiZleba miviCnioT Sua saukuneebis mxatvarTa SemoqmedebiTi Tavisuflebis niSnebad? rogorc cnobilia, VII saeklesio krebam daadgina, rom gamosaxulebis Canafiqri, koncefcia da Sinaarsi eklesiis moRvaweTa, mRvdelmsaxurTa saqmea, mxatvari ki maT Canafiqrs Sesabamis da Sesatyvis mxatvrul formas aniWebs. es gancxadeba mravalnairad SeiZleba iyos interpretirebuli. erTi mxriv, aq TiTqosda dakninebaa mxatvris mniSvnelobisa da funqciis. meore mxriv, Tu CavufiqrdebiT, saeklesio krebebis ganCinebebi arafers ambobs nawarmoebis mxatvrul formaze (garda imisa, rom gamosaxulebam metismetad xorcieli vnebebi ar unda aRZras), anu faqtobrivad srul damoukideblobas aniWebs mxatvrebs swored xelovnebis sferoSi. aqve unda aRiniSnos, rom damkveTis survili da moTxovna ar iyo mTavari da gadamwyveti nawarmoebis (mag., kedlis mxatvrobis) arc koncefciis da miT umetes, arc mxatvruli saxisTvis.

Sua saukuneebis kedlis mxatvarTa damoukidebeli SemoqmedebiTi azrovnebis da moRvaweobis erT mniSvnelovan sferos moxatulobis programa warmoadgenda. igi garkveuli koncefciis gansxeuleba iyo, romelic vrceldeboda mTels samarTlmadidebloSi da ar iyo mxolod erTi konkretuli damkveTis mier inspirirebuli. swored es aspeqti iyo mxatvris aqtiuri monawileobis da moRvaweobis sfero. mxatvris Tavi­

2 Wőlfflin, Classic Art, 50.

3 Фромантен, Старые Мастера, 80–81.

4 iqve, 205–226.

sufleba gamoixateboda imaSi, Tu ramdenad SeeZlo Tavisi Sexedulebebis da mxatvruli amocanebis morgeba damkveTis survilisTvis. amave dros, misi SemoqmedebiTi Tavisufleba, misi piradi arCevani vlindeboda imaSic, Tu rogor SearCevda kedelze gansaTavsebel gamosaxulebebs, ramdenad moargebda arsebul arqiteqturul garemos, ramdenad gaiTvaliswinebda tradicias, `socialur mexsierebas~, romelic saerTo iyo sazogadoebis sakmaod farTo wrisTvis (sur. 1). konceftebi da ideebi ufro advilad rCeba mexsierebaSi, ufro advili dasamaxsovrebelia, vidre gamosaxulebis detalebi. SemoqmedTa naRvawSi is, rac ucvleli iyo, SeiZleba ganisazRvros rogorc `ena~, anu kulturulad Camoyalibebuli da socialurad gaziarebuli niSanTa sistema, xolo is garegnuli forma, romelSic is ganacxadebs Tavs sxvadasxva nawarmoebSi da sxvadasxva momentSi, SeiZleba ganisazRvros rogorc `sityva~5. cvlilebebi da siaxleebi ikonografiaSic xdeboda da mxatvrul enaSic da zogjer gapirobebuli iyo imiTac, Tu visTvis keTdeboda nawarmoebi (mamakacisTvis, qalisTvis, eriskacisTvis Tu saeklesio pirisTvis da sxva)6. araerTxel aRiniSna, rom mxatvruli formebis is simravle da mravalferovneba, romelsac Sua saukuneebis mxatvrobaSi vxedavT, gamoricxavs im dros moRvawe ostatebis `araSemoqmedebiTobas~, maTi SemoqmedebiTi Tavisuflebis SezRudvas eklesiis mkacri kanonebiT da am kanonebis mimarT `brma~ daqvemdebarebas. gavixsenoT, magaliTad, Tamaris epoqis brwyinvale moxatulobebi varZiis (sur. 2), beTaniis (sur. 3), yincvisis, berTubnis (sur. 4), daviTgarejis naTlismcemlis, timoTesubnis (sur. 5,6) taZrebSi. yoveli maTgani udavod maRali patronaJis qveS Sesrulda, samefo, saerisTavo, Tu saepiskoposo dakveTiT. cxadia, saukeTeso ostatebs da amqrebs miiwvevdnen. yoveli maTgani mkafiod individualuri, ganumeorebeli, TviTmyofadi nawarmoebia. araviTari gameoreba an mibaZva – arc programa, arc feradovneba, arc Sesrulebis manera ar meordeba. cxadia, garkveuli saerTo niSnebi ikiTxeba, is rac epoqis mxatvruli gemovnebis, anda drois Teologiuri azrovnebis anareklia, magram yove­

5 Cutler, Visual Memory, 46. 6 iqve, 40­41.

li maTgani sruliad Tavisufali mxatvruli Semoqmedebis nayofia7; an gavixsenoT, magaliTad, atenis sionis XI saukunis moxatuloba, romlis programa marTlac unikaluria, kerZod, tetrakonqis oTxive mklavis moxatuloba, erTi mxriv, damoukidebeli Sinaarsisaa, meore mxriv, ki ostaturad aris gaerTianebuli (gansakuTrebiT samxreTi da CrdiloeTi afsidebi) (sur. 7, 8). aseve unikaluria gumbaTis moxatulobaSi CarTuli samoTxis mdinareTa personifikaciebi. samoTxis oTx mdinaresTan oTxi maxareblis gaigiveba sakmaod gavrcelebuli iyo adreqristianuli xanidan, Tumca atenisnairi versia namdvilad `saavtoro~ gadawyvetaa8. aq, cxadia, gvaxsendeba dasavleTY afsidis qveda registrSi gamosaxuli samefo rigis TavSi maTi gamZRoli saeklesio moRvawe (iqneba es giorgi mTawmindeli Tu giorgi Wyondideli9). orive SemTxvevaSi misi monawileoba saerTo koncefciis CamoyalibebaSi, an Tundac ufro detaluri ikonografiuli da saxiTmetyvelebiTi sakiTxebis SemuSavebaSi eWvs ar iwvevs10. Sua saukuneebis kedlis mxatvarTa SemoqmedebiTi unari upirveles yovlisa programis agebulebaSi da konkretul arqiteqturul sivrcis monacemebTan mis SesatyvisobaSi vlindeba. magaliTad, zemo krixis moxatuloba (XI s.) mTavari mxatvris Zalze kreatiuli azrovnebis saintereso da sagulisxmo nimuSs warmoadgens (sur. 9). zemo krixis eklesiis kedlebi ucnaurad danawevrebulia mimdebare kedlebidan gadmosuli marTkuTxa formis kedlis monakveTebiT, romlebic erTgvar `damatebiT~ sibrtyeebs qmnian. mxatvari am sibrtyeebs ostaturad iyenebs gverdiTi kedlebis kompoziciaTa nawilebis maTze gasavrcobad, riTac aerTianebs kidec kedlebis mxatvrobas, da Tanac kompoziciaTa CamokveTac aRar uxdeba. amgvarad danawevrebul kedlebze kompoziciebis ganawilebis T. virsalaZis mier gakeTebuli analizi gamoiricxavs raime `gareSe~ monawileobas am gadawyvetaSi – damkveTis, an Tundac mRvdelmsaxuris `Careva~ praqtikulad SeuZlebelia. moxatulobis sistemis es ostaturi, gonebamaxviluri da unikaluri kompoziciuri struqtura da agebuleba

7 Привалова, Роспись Тимотесубани, 125–145.

8 virsalaZe, atenis sionis moxatuloba, 176–188.

9 iqve, 202–240; abramiSvili, atenis sionis moxatulobis ktitorTa identifikacia, 86–100.

10 virsalaZe, atenis sionis moxatuloba, 239.

mTlianad da eqskluziurad ostatis damsaxurebaa11. SeiZleba davasaxeloT aseve ubisis wm. giorgis eklesiis kamaris moxatuloba (XIV s.), rogorc ostat gerasimes SemoqmedebiTi midgomis brwyinvale dadastureba – gumbaTuri programis morgeba darbazuli eklesiis kamaraze da samebis dogmis originaluri vizualuri versiis Seqmna12 (sur. 10), anda suliwmindis tradiciuli kompoziciuri sqemis Secvla meored mosvlis Temis aqcentirebis mizniT aWis wm. giorgis eklesiis moxatulobaSi13 mxatvris Tavisufali neba gamoixateboda ara mxolod programebis gadawyvetaSi, aramed erTi da igive nawarmoebSi sxvadasxva personaJisTvis sxvadasxva mxatvruli maneris gamoyenebaSic (magaliTad, vladimiris RmrTismSoblis xatze RmrTismSobeli mariamis saxe da Cvili qristes saxe14). ostatebi xSirad Segnebulad cvlidnen Tavis maneras damkveTis warmomavlobis gaTvaliswinebiT (magaliTad, kreteli ostatebi berZnebisTvis berZnuli, venecielebisTvis ki italiuri maneriT xatavdnen15). garda amisa, erTi da igive mxatvari sxvadasxva personaJs xSirad sxvadasxva maneriT xatavda, magaliTad, beTaniis moxatulobaSi wm. mariam megviptelis ziarebaSi wm. dedis saxe da figura, romelic ukiduresi askezis asaxulobaa (sur. 11) kardinalurad gansxvavdeba wm. dedebis sxva gamosaxulebebisgan, romlebic pirsavse, moxdenili da lamazi garegnobiT gamoirCevian16.

Sua saukuneebis ostatTa SemoqmedebiToba da damoukidebeli mxatvruli azrovneba maT mier Sesrulebuli nawarmoebebis bevr aspeqtSi aisaxeba. mxatvarTa `SemoqmedebiTi~ midgomis da damoukidebeli azrovnebis erT­erTi mowmoba maT mier taZris sivrceSi ganTavsebuli gamosaxulebebis mnaxvelis mier vizualuri aRqmis TaviseburebaTa saTanado gaTvaliswinebaa17. magaliTad, SeiZleba gavixsenoT figuraTa proporciebis cvla atenis sionis afsidebis moxatulobis registrebSi, 11 Вирсаладзе, Фресковая роспись в церкви Архангелов, 51–62.

12 Лордкипанидзе, О некоторых художественных особенностях, 2­3; lifSici, ubisis wm giorgis eklesiis, 204–207.

13 Иосебидзе, Роспись Ачи, 27–30.

14 Kzhdan, Maguire, Byzantine Hagiographical Texts, 3.

15 Преображенский, О некоторых формах выражения, 78–79.

16 oqropiriZe, beTaniis mxatvroba, 23–26.

17 mefisaSvili, virsalaZe, gelaTi, 10.

anda ganaTebis specifikis gaTvaliswineba taZris Sida sivrcis sxvadasxva nawilebSi timoTesubanSi (sur. 6). Sua saukuneebis mxatvrebi wminda mxatvruli saSualebebiT saTanado Sinaarsobriv aqcentebs svamdnen da damatebiTi sazrisic SehqondaT. Sua saukuneebis ostatTa SemoqmedebiTi Tavisuflebis kidev erT `irib~ mtkicebulebad SeiZleba davasaxeloT mefis mxatvar Tevdores moRvaweoba. mis mier moxatul svanur eklesiebSi arsebuli warwerebi mas mefis mxatvris maRali tituliT moixseniebs. es iZleva safuZvels dauSvaT, rom am tituliT igi bevri sxva, maT Soris, samefo dakveTis Semsrulebeli iqneboda. arsebobs kidec mosazreba, rom SesaZloa igi daviT aRmaSeneblis karze muSaobda da rom qriste­pantokratoris grandiozuli figura sveticxovlis sakurTxevelSi swored mis mier Seqmnili gamosaxulebis XIX saukuneSi gakeTebuli Zalze susti imitaciaa18. ras vxedavT Tevdores mier moxatul svanur eklesiebSi: unatifesi gancda arsebuli xuroTmoZRvruli monacemebisa da sivrcis. aTormeti dResaswaulis tradiciuli ciklis `amputireba~ oTx scenamde Zalze gabeduli gadawyvetilebaa, Tanac samive eklesiaSi sruliad Taviseburad interpretirebuli. es moxatulobebi, romlebic monumenturobis araCveulebrivi gancdiT aris gamsWvaluli, eWvs ar iwvevs, rom programis da sistemis amgvari gadawyveta Tevdores ekuTvnis, misi SemoqmedebiTi geniis gamovlinebaa (sur. 12)19. cxadia, Sua saukuneebis yvela ostati rodi iyo amgvari niWiT dajildoebuli, Tumca qarTulma mxatvrobam bevri nimuSi Semogvinaxa, romlebic mowmobs maTi Semqmnelebis sruliad TviTmyofad, damoukidebel mxatvrul Tu saxiTmetyvelebiT azrovnebas. kidev mravali magaliTi SeiZleba davasaxeloT rogorc qarTuli, aseve bizantiuri wris xelovnebis nimuSebidan. erTi ram cxadia: Sua saukuneebis mxatvrebi swored Tavis sakuTar mxatvrul sferoSi iyvnen Tavisufalni. da Tu erTgulad misdevdnen kanonikas, umetesad es maTsave Sinagan rwmenas Seesatyviseboda, Sinaganad gacnobierebuli hqondaT, sxvagvarad verc warmoedginaT. mxatvruli Semoqmedeba xom erToblivi rwmeniTi aqtis da codnis nawili iyo, sayovelTao saeklesio WeSmaritebis gamoxatuleba.

18 oqropiriZe, sveticxovlis sakurTxevlis moxatulobisTvis, 25. 19 Аладашвили, Алибегашвили, Вольская, Живописная Школа, 77–91.

formis TvalsazrisiT mxatvruli nawarmoebi `produqtia~ erTdroulad ramdenime saxis stilisa – individualuris, epoqaluris, erovnulis, romelic ostatis aracnobierSi ZirZveli mxatvruli tradiciebis daleqvis Sedegia20. am tradicias efuZneba kanoni, romelic borkili ki ar iyo, aramed gzis maCvenebeli. Sua saukuneebis xelovnebis kanonikuroba misi `SezRudulobis, konservatiulobis, aranovaciurobis~, eklesiis diqtatis mTavar mizezad saxeldeba. Tumca kanonikuroba arcTu martivi sakiTxia da arc mxolod Sua saukuneebis xelovnebas axasiaTebs. ra igulisxmeba, roca Sua saukuneebis xelovnebaSi kanonze vsaubrobT? iyvnen ki mxatvrebi SezRudulni mkacri saeklesio kanonebiT? da Tu iyvnen, ra doziT, ra xarisxiT? mxatvrebisTvis maT mier xorcSesxmuli ideebi maTive Sinagani rwmenis gamoxatuleba iyo; isini ver xedavdnen raime winaaRmdegobas da araviTari Zaldataneba ar iyo saWiro, raTa, magaliTad, xareba gamoesaxaT ise, rogorc amas tradicia aswavlida. sxva saqmea, rogor mxatvrul interpretacias miscemdnen am dadgenil sqemas an Tundac ra Sinaarsobriv aqcentebs gaakeTebdnen. kanonis gageba Sua saukuneebSi sxvagvari iyo, vidre, magaliTad, pusenisTvis mis mierve Seqmnil maTematikurad normirebuli kanonebisa21. aq SegviZlia mxolod mivaniSnoT, rom yvela epoqa da kulturuli wre Tavis `akrZalvebs~ amkvidrebs. magaliTad, imave renesansis periodis, humanisturi idealebis da adamianis Tavisuflebis apoTeozis epoqaSi, mxatvrebs sakmaod mkacri kanonebis gaTvaliswineba uxdebodaT – maT xom bunebis, xiluli samyaros utyuari suraTi unda SeeqmnaT, arc proporcia daerRviaT, arc feradovneba, arc perspeqtivis normebi. ase Tu SevxedavT, Sua saukuneebis ostatebi mxatvruli TvalsazrisiT bevrad ufro `Tavisufalni~ iyvnen – gind daagrZelebdnen figuras, gind gaabrtyelebdnen, axlos mdgoms patarad daxatavdnen, Soreuls – didad da a.S. axalma drom magaliTad, XX s. ki sxva, ufro dabali donis, magram aseve mkacri kanonebi moitana – siaxlis aucilebloba, komerciuli kon¡un­

20 iungi, analizuri fsiqologiis safuvlebi, 56–64.

21 Белтинг, Образ и Культ, 155.

qtura, skandali rogorc xelovnebis mamoZravebeli Zala da sxva22. ase rom, rodis iyo Semoqmedeba ufro `Tavisufali~ jer kidev gasarkvevia, da, miT umetes, gasarkvevia, risgan.23. qristianuli xelovnebis sayovelTao xasiaTi marTlac saerTo mxatvruli kanonebiT aris gapirobebuli. magram religiuri xelovneba (da saerTod yovelgvari maRali xelovneba) aucileblad kanonikuria24, rac sulac ar gulisxmobs SemoqmedebiTi Tavisuflebis SezRudvas25 piriqiT, kanoni ganapirobebs xelovnebis uaRresad maRal xarisxs rogorc formaluri, aseve Sinaarsobrivi TvalsazrisiT, mis universalurobas, mniSvnelovnebas. kanoni gulisxmobs Zalian maRali miznis dayenebas, igi aris „gamowveva“, „niWis salesi qva”, mama pavle florenski TqmiT: ‘Художественному творчеству канон никогда не служил помехой и трудные канонические формы во всех отраслях искусства всегда были оселком на котором ломались ничтожества и заострялись настоящие дарования. Подымая на высоту достигнутую человечеством, каноническая форма высвобождает творческую энергию художника к новым достижениям, к творческим взлетам. Требование канонической формы есть освобождение, а не стеснение’26 .

Sua saukuneebis mxatvrebis erTgvari `araSemoqmedebiToba~ evropelTa TvalSi ganpirobebuli iyo ara imdenad mxatvrobis wesebiT, ramdenadac maTi sazRvrebiT. am sazRvrebs SigniT Sua saukuneebis mxatvrebs sakmarisi sivrce da SesaZlebloba hqondaT yovelgvari variaciebisTvis da bevri siaxlec SemohqondaT igive ikonografiul redaqciebSi. Tumca iyo SemTxvevebi, roca mxatvris TviTneburi gadawyveta scdeboda am sazRvrebs. amgvari nimuSi aRwerilia Teodore studielis werilSi erTi beris mimarT, romelmac dauSva ikonografiis uxeSi da miuRebeli darRveva: eklesiis sarkmelSi jvarcmuli qristes garSemo gamosaxul iqna

скандалом'', Гальцева, Ответственность художника, 155. 23 ‘В каждой эпохе дается собственная мера творческой свободы и даже самые талантливые гении не могут перепрыгнуть границы этой свободы’, Кандинский, О духовном в искусстве, 99.

24 Gombrich, The Story of Art, 471–72.

25 Лосев, О понятии художественного канона, 6–15. 26 Флоренский, Иконостас, 105.

jvarcmuli angelozebi, Tanac qristec da angelozebic xandazmulad iyvnen warmodgenili. Teodore afrTxilebs, rom amgvari gamosaxulebebi ufro eSmakeulisgan aris STagonebuli, vidre uflisgan27. iTvleba, rom qristiani ostatebis mier cnobili xatebis mravalricxovani aslebis Sesruleba swored kanonikurobis mkacri moTxovnebiT iyo gapirobebuli. am TvalsazrisiT sainteresoa rogori iyo aslis gageba Sua saukuneebSi. Cven droSi asli aris nawarmoebis garegnuli saxis zusti, zedmiwevniTi gameoreba, gamoyenebuli masalis CaTvliT, xSirad sagangebo laboratoriuli analizebis safuZvelze, mxatvrul­formaluri donis zusti garegnuli mibaZva. Sua saukuneebSi mxatvrebi imeorebdnen nawarmoebis mTavar sazriss, ikonografias, ramdenime gamorCeul niSans da detals. sxva mxriv ki originalisa da aslis mxatvruli saxe SesaZlebelia sakmaod gansxvavebuli yofiliyo. ase rom, Tu dakveTa iTxovda ama Tu im saxelganTqmuli xatis Tu freskis `aslis~ Seqmnas, ostati sulac ar iyo SezRuduli Tavis mxatvrul SemoqmedebaSi, mxatvrul gadawyvetaSi. swored amitom vxedavT aseT mravalferovnebas TiTqosda erTgvarovani siuJetebis gamosaxvaSi28; saxelganTqmuli saswaulmoqmedi xatebis, Tundac portaitisas – iveriis RmrTismSoblis xatis mravalricxovani aslebi Tavisi mxatvruli gadawyvetiT sakmaod mravalferovania: kanonika daculia, mxatvruli saxe ki originaluri da ganumeorebeli29. xatebis (gamosaxulebebis) gadaxatva, aslebis gakeTeba erTgvarad gagebul iyo rogorc wminda werilis mraval nusxad gadaweris msgavsi procesi. Mmxatvari ixatavs im saxes, romelic tradiciuli pirvelsaxis mravalgzis gameorebiT uzrunvelyofda am saxis `realobas~30 ikonografiuli kanonebi TandaTanobiT yalibdeboda da viTarde­

27 Maguire, The Cycle, 124.

28 cnobilia ramdeni arqiteqturulad sruliad gansxvavebuli taZari iqna agebuli uflis saflavis eklesiis aslad rogorc aRmosavleT, ise dasavleT saqristianoSi, Krautheimer, Introduction to an Iconography, 116­130; xoStaria, nimuSi da asli, 27–48.

29 Успенский, Семиотика Иконы, 222–223; Ćurčić, Architecture as Icon, 13; Архимандрит Рафаил, О языке православной иконы, 67­68. ivironis monasterSi Camoyalibda mTeli saxelosno iveriis RmrTismSoblis – portaitisas xatis aslebis Sesaqmnelad sxvadasxva dakveTiT, mxatvrebs Soris, am mxriv, wamyvani yofila iamvliqi romanozis Ze, Евсеева, Греческая икона 117.

30 Drpić, Painter as Scribe, 338.

boda, isini xatis saRvTismetyvelo gagebidan amoizrdeboda da amitom kanoni iyo ara sqema da CarCo, aramed is RerZi, romelzec igeboda gamosaxuleba. kanoni ki ar zRudavda mxatvars, aramed exmareboda mas31. Sua saukuneebis mxatvarTa SemoqmedebiTi Tavisuflebis sakiTxi mWidrod ukavSirdeba e.w. nimuSTa wignebis, ufro sworad ikonografiuli dednebis gamoyenebas32. evropul mecnierebaSi swored isini saxeldeba Sua saukuneebis mxatvrebis SemoqmedebiTi `monobis~ erT­erT damadasturebel da `mamxilebel~ faqtorad. bizantiuri xelovnebis warmodgena, rogorc araSemoqmedebiTis, stereotipulis, arainovaciuris, gayinulis da Teologebis Zlier kontrols daqvemdebarebuli movlenis didwilad sworad aseTi dednebis gamo gaxda. isini mxatvarze garedan kontrolis gawevis mTavar instrumentad ganixileba33, magram ikonografiuli dednebis arseboba gvian Sua saukuneebamde TiTqmis ar mtkicdeba. am mxriv sainteresoa eklesiis mesveurTa pozicia, gansakuTrebiT iseTi didi moRvawis, rogoric iyo ioane sineli, klimaqsi (kibisaRmwereli): `uSuer ars moZRvari igi, romeli weriliTgan oden aswaveben, da mxatvari, romeli magaliTsa T¢nier ver gamoxatavdes~34 . sinamdvileSi, evropelTa mosazrebebi efuZneboda gviani xanis, ufro XVIII­XIX saukuneebSi aRmoCenil ikonografiul dednebs da saxelmZRvaneloebs, romlebic im periodSi Seiqmna, roca bizantia aRar arsebobda da misi mxatvrul­kulturuli tradiciebi gayinul, klasicistur sqemebad iqna kodirebul­Senaxuli.

ruseTSi 1551 wlis „asTavianma“ krebam savaldebulod gamoacxada mxatvrebisTvis dadgenili nimuSebis dednebis – erTgvari ikonografiuli enciklopediebis – gamoyeneba. aman ki kanonis sqemad gadaqceva gamoiwvia, igi aRar iyo Sinagani RerZi, sayrdeni, aramed usicocxlo sqema35. amgvari nimuSebi arcTu mravlad SemogvrCa. ZiriTadad, es aris dasavleli ostatebis mier `gadmoxatuli~ bizantiuri nawarmoebebis CanaxatTa krebulebi.

31 Языкова, Богословие Иконы, 16.

32 Scheller, Exemplum; Cormack, Painter’s Guides, 11– 29.

33 Cormack, Painter’s Guides, 11.

34 wm. ioane sineli klimaqsi, 371 (am pasaJis mowodebisTvis madlobas vuxdi q­n asmaT oqropiriZes).

35 Языкова, Богословие Иконы, 129; Бычков, Русская Средневековая Эстетика, 344.

ras warmoadgenda e.w. mxatvarTa saxelmZRvaneloebi, nimuSTa wignebi, Canaxatebis albomebi, eskizebisa da motivebis krebulebi da, rac mTavaria, ikonografiuli dednebi? upirveles yovlisa saWiroa dazustdes da gaimijnos erTmaneTisgan, Tu ra igulisxmeba am terminebis qveS, radgan isini gansxvavdebian Sinaarsobrivad, formismierad da, rac mTavaria, funqciurad36.

mxatvarTa saxelmZRvanelo ZiriTadad warmoadgens teqsts, romelic moicavs mxatvris profesiuli saqmianobisTvis sasargeblo rCevebsa da rekomendaciebs (rogoricaa, magaliTad, Cenino Ceninis `xelosnis sakiTxavi~) rogor momzaddes baTqaSi, misi dadebis wesebi, pigmentebis Tvisebebi da maTi damzadeba, mxatvrobis sxvadasxva etapebis aRwera, saWiro masalaTa da meTodebis daxasiaTeba da sxva37. sxva funqcia aqvT nimuSTa wignebs. am krebulebSi teqsti naklebad aris gamoyenebuli; isini ZiriTadad vizualuri masalisgan Sedgeba –Tavmoyrilia sxvadasxva drois da dargis mxatvrobidan aRebuli nimuSebi – kompoziciebis, calkeuli figurebisa Tu motivebis Canaxatebi. es wignebi gamiznuli iyo ostatebis dasaxmareblad saWiro nimuSebis SeTavazebiT. aseTi krebulebis arseboba ufro dasavleT evropaSi dasturdeba, rogorc dasavleTevropeli mxatvrebis ganswavlis saSualeba, romelic umetesad bizantiuri nimuSebidan aris gadmoRebuli. sxvaTa Soris, nimuSebad xSirad dasuraTebul xelnawerebsac iyenebdnen38. sxva jgufs miekuTvneba sakuTriv mxatvarTa piradi Canaxatebis albomebi, an calkeuli furclebi, romlebsac SeiZleba nimuSTa wignebi, ufro ki eskizebisa da Canaxatebis krebuli vuwodoT (mag. fraiburgisa da hohenbiutelis furclebi da sxva). Cvens dromde moRweuli am tipis albomebi Tu furclebi saintereso informacias gvawvdis Sua saukuneebis ostatTa SemoqmedebiT procesze, maT interesebsa da xedvebze. mxatvarebis CanaxatTa furclebi (mcire raodenobiTaa SemorCenili) aseve gaxda Sua saukunovan ostatTa mier nimuSebis aucilebeli gamoyenebis dadastureba. magaliTad, monte kasinos ostatTa kalmiT Sesrule­

36 Scheller, Exemplum.

37 Winfield, Middle and Later, 63-136.

38 maWavariani, wignis xelovneba, 49.

buli ikonografiuli sqemebi39. aseTi wignebis/furclebis XII saukuneze adrindeli nimuSebi ar SemorCenila40. isini sxvadasxva nawarmoebebis fragmentTa krebulebs warmoadgens, romlebsac ostatebi Tavis moRvaweobis ganmavlobaSi sxvadasxva nimuSebidan agrovebdnen41. maT praqtikuli funqcia hqondaT – mxatvris piradi saWiroebebisTvis keTdeboda da ar gaaCndaT dadgenili kanonisa da aucilebeli rekomendaciis mniSvneloba, rogorc gvian Sua saukuneebSi. isini aqtiurad gamoiyeneboda dasavleli ostatebis mier rogorc nawili bizantiel ostatebTan swavlebisa42 ikonografiuli dednebi, e. w.

gansakuTrebiT XVII­XVIII saukuneebSi ruseTSi gavrcelda da erTgvarad `sakanonmdeblo normis~ Zala eniWeboda43. rogorc aRiniSna, swored aseTi dednebi iqna miCneuli Sua saukuneebis mxatvarTa SemoqmedebiTi SezRudulobis safuZvlad. maT mier mowodebuli informacia imdenad rCeva ki ar iyo, ramdenadac erTgvari brZaneba, moTxovna. aseTi krebulebi ufro gvian saukuneebSi iqmneba da am didi qristianuli xelovnebis daiss moaswavebs. bizantiur periodSi amgvari imperatiuli xasiaTis mqone ikonografiuli dednebi, dionise furnelis herminias an rusuli иконописный подлинник­ebis msgavsi, ar dasturdeba44. Tumca sxvadasxva tipis da daniSnulebis `nimuSTa wignebi~, ufro ki saxelmZRvaneloebi (rCevebis krebulebi) adrebizantiuri xanidanac aris SemorCenili. magaliTad, e.w. lukkas xelnaweri (VIII s). masTan aris dakavSirebuli Mappea Clavicula – traqtati Sua saukuneebSi gavrcelebuli teqnologiebis, masalebis da maTi gamoyenebis meTodebis Sesaxeb, romlis ramdenime IX da XII sauku­

39 Demus, Byzantine Art and the West, 26–27; sur. 25–27. 40 magaliTad, vatikanis muzeumis furceli (daax. 1200 w.) Zveli aRTqmis scenebiTa da winaswarmetyvelTa figurebiT germaneli mxatvris Canaxatebi, (Demus, Byzantine Art and the West, 32; sur. 34), Canaxati fraiburgis Augustiner muzeumidan (Demus, Byzantine Art and the West, sur. 36), e.w. volfenbiutelis nimuSTa albomi (Wolfenbűttel pattern book), XIII s­is saqsoneli mxatvris Canaxatebi, romlis wyarod gamoyenebulia xelnawerTa dasuraTeba da kedlis mxatvrobac (Demus, Byzantine Art and the West, 36, sur. 39, 41, 43), hohenburgis monastris abatisas mier Sedgenili nimuSTa wigni, e.w. Hortus Deliciarum, romliTac is Tavis monazvnebs xatvas aswavlida (Demus, Byzantine Art and the West, 36, 38, 40, sur. 44).

41 Demus, Byzantine Art and the West, 38.

42 iqve, 31.

43 Лидов, Иконы, 14–15; Успенский, Семиотика Иконы, 119, 233.

44 Cormack, Painter’s Guides, 24–28

neebiT daTariRebuli laTinurenovani nusxaa SemorCa45; kidev erTi XII s­is laTinuri saxelmZRvanelo (De Diversis Artibus) ekuTvnis Teofiluss46. ufro cnobilia Cenino Ceninis XIV saukunis laTinurenovani traqtati, ostatissaxelmZRvanelo (Il libro dell’ arte,)47, romelSic sakmaod dawvrilebiTi instruqciebi da rCevebia kedlis mxatvrobis teqnologiebis Taobaze. meti aqcenti teqnikur meTodebze da masalebze keTdeba da naklebad gamosaxatavi Temebis aRweraze48 zemodasaxelebuli traqtatebis umetesoba laTinur enazea dawerili da dasavleT evropaSia Seqmnili, magram gamoricxuli ar aris, rom isini im dros arsebul berZnul saxelmZRvaneloebs efuZnebodes, radgan avtorTa mier aRwerili meTodebi da masalebi sworedac berZnuli (bizantiuri) mxatvrobis tradiciebs da meTodebs emsagvseba. sakuTriv aRmosavleTqristianul samyaros ganekuTvneba dionise furnelis herminia49, mxatvris gzamkvlevi50, romelic XVIII saukunis bolosaa Sedgenili da faqtobrivad ukve Semwydari tradiciis mSral sqemas warmoadgens. herminiaSi kodificirebulia teqnikuri meTodebi, gamosaxulebaTa Temebi, maTi ikonografia, gamoyenebis arealebi da sxva, magram is ar Seicavs vizualur masalas rogorc es rusul dednebSi iyo Cadebuli sqemis saxiT. wminda teqnologiuri sakiTxebi da praqtikuli rCevebi, albaT, sakmaod axlos asaxaven bizantiur praqtikas. cxadia, am nawarmoebSi ufro adrindeli dokumentebis amonaridebic iqneboda. magram am saxis dedani etyoba TviT bizantiaSi ar arsebobda da ufro postbizantiuri xanisTvis iyo tipiuri51 werilobiTi wyaroebSi da dokumentebSi mxatvarTa Canaxatebis xseneba, faqtobrivad, mxolod XV saukunidan gvxvdeba. magaliTad, kreteli mxatvris angelos akotantosis anderZSi, romelSic is Svils utovebs Tavis skiasmata­s (Canaxatebs), rogorc Cans, sakmaod did koleqcias. Tumca gaurkvevelia, es Canaxatebi nimuSTa wignebi iyo, Tu Tavad mxatvris

45 Parker Johnson, Notes on some manuscripts, 72–81.

46 Winfield, Middle and Later, 64.

47 Cennino Cennini, Il libro dell’ arte.

48 Winfield, Middle and Later, 64-65; 75.

49 Didron, Manuel d’iconographie; Papadoupoulos-Kerameus, Dionysios of Fourna.

50 Winfield, Middle and Later, 67.

51 Белтинг, Образ и Культ, 32–34.

samuSao eskizebi/Canaxatebi52. rogorc Cans, XV saukuneSi amgvar Canaxatebs didi mniSvneloba eniWeboda, radgan anderZebSi iyo Setanili. am teqstebis mixedviT Tu vimsjelebT, es TviT mxatvrebis Canaxatebi iyo. saintereso da mniSvnelovania swored aseTi Canaxatebis funqcia. safiqrebelia, rom im drois ostatebs Tavis saxelosnoebSi aseTi krebulebi hqondaT. safiqrebelia isic, rom ufro adreul saukuneebSic Canaxatebis da eskizebis keTeba mxatvris profesiuli saqmianobis nawili iyo: erTi, rogorc savarjiSo da wvrTna53, meore – mexsierebis da codnis `sacavis~ Seqmnis mizniT. swavlebis da wvrTnis erT­erT formad Zveli nimuSebis kopirebac miiCneoda. nimuSebi da Canaxatebi ufro adrec arsebobda, magaliTad, kievo­peCoris lavraSi XI saukuneSi momuSave bizantieli ostatebis gardacvalebis Semdeg maTi wignebi da gragnilebi darCa54. britaneTis muzeumis xelnawerTa koleqciaSi inaxeba orTodoqsi beris nimuSTa wigni, gviani periodisa, romelSic calkeuli detalebis Canaxatebic aris da mTeli kompoziciebisac55.

modelebis Tu CanaxatTa wignebis magaliTi saqarTveloSic aris mikvleuli. amis nimuSad Salva amiranaSvils mohyavs ramdenime furceli56. rogorc Cans, es aris sagangebod damzadebuli saxelmZRvanelo dedani monumenturi mxatvrobisTvis. Zveli xelnaweris furclebze, romelzec asomTavruli teqsti gairCeva, datanilia saRebavebiT Sesrulebuli figurebi (mariami, angelozebi, maxareblebi, wmindanebi). am gamosaxulebebs etyoba gadakeTebebi, moniSvnebi, anu garkveuli Ziebebi, rac adasturebs, rom es ar aris saboloo nawarmoebi, aramed XII saukunis nawarmoebebis mixedviT XVI­XVII ss­is mxatvris mier Sedgenili erTgvari savarjiSo, romelic Tavisi piradi saWiroebisTvis daumzadebia57. isic unda gaviTvaliswinoT, rom qaRaldis sayovelTao gavrcelebamde mxatvrebs gamarTuli nimuSTa wignebis Sedgena gauWirdebodaT,

52 Cormack, Painter’s Guides, 16–19.

53 Scheller, Exemplum, 1–2.

54 Лаазарев, Древнерусские художники, 25.

55 Winfield, Middle and Later, 83.

56 amiranaSvili, qarTuli kedlis mxatvrobis dasuraTebuli dednis fragmentebi, 71–94, sur. I­VIII.

57 iqve, 88.

Tundac etratis siZviris gamo. amitom aris, rom is cotaodeni rac SemorCa, umetesad erT furcelze mravali, xSirad urTierTdaukavSirebeli fragmentebis SemTxveviTi erTobliobaa saxeldaxelod Caxatuli. am masalis esoden mcire raodenobiT SemorCenac imas mowmobs, rom mas wminda damxmare­samuSao funqcia hqonda, adviladac ziandeboda da maincdamainc arc ufrTxildebodnen. zogi mecnieri metismetad azviadebs modelebis wignebis mniSvnelobas, TiTqos TviT stilis ganviTarebac ki maT gareSe ver xdeboda. Tumca es ase ar aris. cxadia, romeliRac ostati, misTvis saintereso kompoziciebs, figurebs an detalebs, maT Soris, mxatvruli stilis Tu maneris niSnebsac, Tu Zalian moewoneboda, CainiSnavda da gamoiyenebda kidec sakuTar nawarmoebSi58. saboloo jamSi, nawarmoebis SeqmnaSi mTavari iyo TviT mxatvari, misi ganswavla da cocxali tradicia da ara nimuSTa wignebi. rogorc ikonografiuli, aseve mxatvruli evoluciis ZiriTadi faqtori mxatvari iyo, romelic, Cveulebriv, am dargis garemoSi da cocxal tradiciaze izrdeboda da yalibdeboda rogorc ostati59.

ra Tqma unda, mxatvrebi gansxvavdebodnen Tavisi niWiT, warmosaxvis unariT, kreatiulobiT, gamocdilebiT, ganaTlebiT60. zogi, albaT, TavisiT marTlac verafers qmnida, Tu rame nimuSs ar uyurebda, magram bevri mowmobaa imisa, rom Sua saukuneebis ostatebi yovelgvari nimuSebis gareSec xatavdnen kedelze. cxadia, es mxatvris niWierebiTa da gamocdilebiT iyo gapiribebuli. magaliTad, cnobilia, rom Teofane berZeni nimuSis gareSe muSaobda61 nakleb dasaSvebia, rom mxatvrebi erTgulad ixatavdnen nimuSebs da mxolod nimuSiT xelSi muSaobdnen. gamocdilebaze da kulturul tradiciebze dafuZnebiT es `nimuSebi~ maT mexsierebaSi iyo aRbeWdili62. am sakiTxebTan mimarTebaSi mniSvnelovania iseTi aspeqtis gaTvaliswineba, rogoricaa `mexsiereba~63. Sua saukuneebis ostat­mxatvars ar sWirdebo­

58 Winfield, Middle and Later, 94–95.

59 iqve, 96.

60 iqve, 96; Cutler, Visual Memory, 44.

61 Алпатов, Феофан Грек, 13–14.

62 Cutler, Visual Memory, 38.

63 Cormack, Painter’s Guides, 25; Cutler, Visual Memory, 38.

da aucileblad nimuSTa wignebis gamoyeneba, raTa daexata is kompoziciebi, romlebic wlebis manZilze CaibeWda mis gonebaSi. DSua saukuneebSi (iseve rogorc sxva kulturebSi) mxatvars gaaCnda dagrovebis da nanaxis kvlav gamoyeneba­gadakeTebis unari. es mexsierebis sferoa, didwilad socialuri mexsierebis64. maxsovrobas Zalian didi mniSvneloba hqonda mxatvarTa SemoqmedebaSi. cnobilia, rom Teofane berZenma epifane brZenis TxovniT konstantinopolis wm. sofias gamosaxuleba yovelgvari nimuSis an Canaxatis gareSe daxata, Tanac sakmaod zustad, mxolod Tavisi mexsierebiT65 kedlis mxatvrobis ostatebi bevrs mogzaurobdnen sxvadasxva adgilas mdebare eklesiebis mosaxatad; bevrs naxulobdnen, imaxsovrebdnen nanaxs, maT hqondaT unari yovelive es Tavisive adre qmnilTan erTad moergoT konkretuli, umetesad gansxvavebuli garemoebebisTvis. rogorc Cans, mxatvrebi sakmaod SemoqmedebiTad udgebodnen am nimuSebs, advilad gadaakeTebdnen da maT adaptacias axdendnen66. amdenad, aucilebeli, kanonis Zalis mqone nimuSTa dednebis arseboba bizantiur xanaSi ar Cans da arc maTi `umTavresoba~ SemoqmedebiT procesSi, miT umetes eklesiisa da damkveTTa mxridan maTi mxatvarze zewolis da kontrolis instrumentad gamoyeneba67. mxatvris Tavisuflebaze amgvari zewola, aseTi zemoqmedeba dasavleT evropis Sua saukuneebis xelovnebaSi ufro dasturdeba68. TviT ostatebi mxatvrul­formalur mxareze TiTqos arc ki fiqrobdnen da, amave dros, swored aq iCenda Tavs maTi individualoba, niWi da SemoqmedebiToba69 arsebuli nawarmoebis an dednis mixedviT gakeTebul namuSevars ruseTSi uwodebdnen Targmans – перевод, rac sworad gadmoscems am movlenis arss: dadgenil, WeSmaritebad aRiarebul Sinaarss `Targmindnen~ sakuTar mxatvrul dialeqtze. es ganapirobebda mxatvarTa Tavisuflebas mxatvruli gadawyvetis da gamomsaxvelobis mxriv70. sxvisi saxe­xatis

64 Cutler, Visual Memory, 38.

65 Алпатов, Феофан Грек, 13–14.

66 Kitzinger, Mosaics of Monreale, 64 –68.

67 Cormack, Painter’s Guides, 21, 29.

68 Cutler, Visual Memory, 32.

69 Успенский, Семиотика Иконы, 119.

70 iqve, 240.

gameoreba an misi `gadaTargmna~ ar iTvleboda `qurdobad~ da plagiatad, iseve rogorc garkveuli teqnikuri da teqnologiuri meTodebis gadmoReba71.

mainc ra iyo cvlilebis, inovaciis genezisi, mizezi? erT­erTi iyo Tanadrouli politikuri, Tu ufro metad, religiuri azrovnebis cvlilebebi, mwvaleblobaTan dapirispireba. aseve damkveTis survili, aseve garkveuli azris ufro mkafiod da STambeWdavad gamosaxvis mcdeloba, sxva qveyanaSi an Tundac sxva eklesiaSi miRebuli axali STabeWdileba, dasuraTebuli xelnaweri wignis gavlena da sxva72 ikonografiuli an stiluri inovaciebi yvelaze metad mxatvris mier iqmneboda, `socialuri mexsierebiT~ miRebuli tradiciis Taviseburi interpretaciis, adaptaciis da `Targmanebis~ safuZvelze, axali aqcentebis dasmiT, garkveuli aspeqtebis gamZafrebiT da a.S. es misi Tavisuflebis domenia. es misi auTenturi xmaa. maSinac, roca ar viciT misi saxeli73. Sua saukuneebis mxatvarTa SemoqmedebiTi Tavisuflebis problemas ukavSirdeba mxatvrobis erovnuli formis sakiTxic, romelic agreTve dakavSirebulia SemoqmedebiTi fsiqologiis sferosTan. Tumca es sakiTxi xSirad miaCniaT sruliad ararelevanturad qristianul xelovnebasTan mimarTebiT74. msoflio xelovnebis xangrZlivi ganviTarebis istoriisTvis erTi Tvalis gadavlebac ki gvarwmunebs, rom erovnuli Taviseburebebi uTuod arsebobs da namdvilad aqtualuria xelovnebis nawarmoebisaTvis. gavixsenoT Tundac is, rom ucnobi avtoris nawarmoebis atribuciis dros mas advilad miakuTvneben swored romelime erovnul skolas. albaT, imis gaxsenebac sakmarisia, ramdenad gansxvavdeba franguli goTika inglisurisa an germanulisagan, italiuri renesansis nawarmoebe­

71 Cutler, Visual Memory, 44.

72 iqve, 45.

73 iqve, 48.

74 xelovnebis nawarmoebis erovnul xasiaTze saubari meore msoflio omis Semdeg karga xans iyo tabuirebuli. faSizmis SemaZrwunebeli tragediis pirispir termini `nacionaluri~ safrTxobelasaviT moqmedebda dasavleTis mecnierebze, romlebic yovelnairad gaurbodnen mas, TumaniSvili, Sua saukuneebis qarTuli xuroTmoZRvrebis erovnuli erTianobis Sesaxeb, 73; misve, erovnulobis Sesaxeb xelovnebaSi, 288–292; didebuliZe, erovnuli formis sakiTxi, 211–238.

bi amave drois da aseve renesansuli germanuli nimuSebisgan da sxva. XX saukunis erTi udidesi xelovnebis istorikosis, hainrix v¡olflinis klasikuri naSromi italiuri da germanuli renesansis Sesaxeb brwyinvaled aCvenebs xelovnebis nawarmoebSi erovnuli niSnebis arsebobas75. is, rasac Cven erovnul formas vuwodebT, TavisTavad Cndeba SemoqmedebiT procesSi, ostatisgan damoukideblad da Sepirobebulia im kulturuli wriTa da tradiciiT, romlis wiaRSic Camoyalibda da ganviTarda. erovnuli formaTSegrZnebis impulsebi sxvadasxva xarisxiT da odenobiT ganapirobeben nawarmoebis mxatvrul saxes rogorc garegans, ise Sinagans. es impulsebi gaucnobiereblad monawileobs nawarmoebis Seqmnis aqtSi da mxolod misi aRqmis dros iCens Tavs. xelovnebis nawarmoebis erTi ZiriTadi maxasiaTebeli aris is, rom mas viRac `aRiqvams~, rogorc arsebuls, mas hyavs `aRmqmeli~. mxatvruli fantaziis saxe­xatTa gansaxiereba da obieqtivacia bgeriT da mxedvelobiT formebSi xdeba76. Semoqmedi (mxatvari) xSirad verc ki xsnis ratom mimarTa ama Tu im xerxs an saSualebas77. gamocdileba gviCvenebs, rom mxatvrul enas yovel erovnul kulturul garemoSi aqvs Tavisi „gramatika“ da am gramatikis gansxvavebuli wesebis gamovlena sulac ar uSlis xels da, miT umetes, ar ewinaaRmdegeba zogadqristianuli Sinaarsis swor da adekvatur asaxvas, anu saeklesio xelovnebis nawarmoebis mTavari da ZiriTadi funqciis Sesrulebas. Tu ara da, maSin unda davsvaT sakiTxi, ganekuTvneba Tu ara saerTod religiuri nawarmoebi xelovnebis sferos, anu ramdenad koreqtulia mRvdelmsaxurebisTvis gamiznuli qmnilebis xelovnebis

которые остаются одинаковыми в течении веков. Разумеется, это не постоянные величины в математическом смысле, но установление национального типа фантазии является необходимой вспомогательной конструкцией для историка». Г. Вельфлин, Искусство Италии и Германии, 279. 76 uzanaZe, warmosaaxvis fsiqologia, 598, 601. 77 Юнг, Психология и поэтическое творчество, 118; iungi, analizuri fsiqologiis safuvlebi, 205; o. Spengleri `kulturis morfologiis~ Seswavlis sagnad ideebs ki ara, aramed swored formebSi aragamiznuli Sinagani mocemulobebis gamovlenas saxavda, romlebic principulad `gamouTqmelia~ – gaucnobierebeli: ritmi, taqti, kompoziciuri struqtura, ferTa Sexameba, plastikuri Jesti da sxva, Аверинцев, Предварительные заметки , 381.

nawarmoebad ganxilva. iqneb is principulad ar eqvemdebareba saxelovnebaTmcodneo analizs? qarTvelma mxatvrebma marTlac mniSvnelovani wvlili Seitanes saerTo aRmosavlurqristianuli xelovnebis saganZurSi. maTi moRvaweobis Zvirfasi Sedevrebi kvlavac brwyinavs eklesia­monastrebis sakralur sivrceebSi. roca vsaubrobT Sua saukuneebis qarTul qristianul xelovnebaze, vgulisxmobT saerTo qristianuli kulturis saganZurSi qarTuli mxatvruli `enis~ arsebobas, romelic saerTo­qristianul WeSmaritebebs Taviseburi formiT gvicxadebs, romelic mravalsaukunovani kulturuli tradiciis wiaRSi Camoyalibda da ganviTarda. igi saerTo marTlmadidebluri kulturis mravalxmianobaSi erTi xmaTagania, uflis sadideblad aJRerebuli, Tavisi tembris, JReradobis, diapazonisa da tonalobis mqone (sur. 13).

sur. 1. yincvsis wm. nikolozis taZari. Sida sivrcis moxatuloba. XIII s. Kintsvisi. Church of St. Nickolas. Murals in the interior. 13th c.

sur. 3. beTaniis RmrTimSoblis Sobis taZari. sakurTxevlis afsidis moxatuloba. XI­XII ss. Betania. Church of the Nativity of the Virgin. Sanctuary apse. Murals. 11th-12th cc.

sur. 4. berTubnis RvTismSoblis taZari. kamara. jvris amaRleba. XIII s. Bertubani. Church of the Virgin. Vault. Ascension of the Cross. 13th c.

sur. 7. atenis sioni. samxreT afsidi. RmrTismSoblis cxovrebis cikli. XI s. Ateni. Sioni Church. South apse. Life Cycle of the Virgin. 11th c.

sur. 8. atenis sionis taZari. dasavleTi afsidi. gankiTxvis dRe. marTalTa gundebi. XI s. Ateni. Sioni Church. West apse. Last Judgment. Fragment. 11th c.

sur.9. zemo krixis mTavarangelozTa eklesia. sakurTxevlis moxatuloba. XI s. Zemo Krichi. Church of the Holy Archangels. Sanctuary apse. Murals. 11th c.

sur. 10. ubisis wm. giorgis eklesia. kamaris moxatuloba. XIV s. Ubisi. St. George Church. Vault Murals. 14th c.

sur. 11. beTaniis RmrTimSoblis Sobis taZari. wm. mariam megviptelis ziareba. XII s. Betania. Church of the Nativity of the Virgin. Communion of St. Mary of Egypt. 12th c.

sur. 12. nakifaris wm. giorgis eklesia. sakurTxevlis afsidi. vedreba. 1130 w. Nakipari. Church of St. George. Sanctuary apse. Deisis. 1130

sur. 13. iSxnis kaTedrali. gumbaTi. jvris amaRleba. angelozi. detali. 1032 w. Ishkhani. Cathedral. Dome. Ascension of the Cross. Angel. 11th c.

danarTi

warwerebis katalogi

qarTuli

warwerebi

1 sabereebis III eklesiis mxatvris warwera. IX s. (sur. 1)

sabereebis kldeSi gamokafuli samonastro kompleqsis III eklesiis1 interierSi CrdiloeT kedlis aRmosavleT kuTxeSi, iatakidan 215 sm­is simaRleze, wm. mxedarTa heraldikur kompoziciis marjvena nawilSi Savi saRebaviT xuTstriqoniani asomTavruli warweraa datanili. warwera Zlier dazianebulia. vinaidan is iatakidan sakmaod maRlaa moTavsebuli, amitom, vfiqrob, marTebulia z. sxirtlaZis varaudi, rom warwera SesaZlebelia eklesiis momxatav ostats ekuTvnis, radgan mis dasawerad xaraCo iqneboda saWiro2. amas garda, is Zalian hgavs konqSi gamosaxuli macxovris gadaSlili wignis warwerasa da afsidis qveda registris gamosaxulebaTa zedwerilebs da savaraudod erTi xeliTaa Sesrulebuli3. warwera moxatulobis Tanadroulia da Sesabamisad IX saukuniT TariRdeba. warweris zomebi: 10,8X14,4sm; udidesi grafema: 1,9 sm, umciresi – 1,6 sm. qaragmis niSani, mokle horizontaluri xazi4. z. sxirtlaZe warweras ase kiTxulobs, rasac sruliad viziareb. Zma|no loc|va.a g.| .edi|a a~n Zma|no loc|va[s]a g[o|¢]edi|a a(mÀ)n go¢edia, gvedia _ zmnis `vedreba~ erT­erTi formaa5. gamocema: z. sxirtlaZe, sabereebis freskuli warwerebi, 24­27.

1 sabereebis samonastro kompleqsis gamoqvabulebi danomrilia g. gafrindaSvilis naxazis mixedviT, ix. ZvelixelovnebadRes, 04, 2013, 44­45. z. sxirtlaZis numeraciiT III eklesia Seesabameba V eklesias, sxirtlaZe, sabereebis freskuli warwerebi, 12. 2 sxirtlaZe, dasax. naSr., 26, nax. 11.

3 iqve, 26.

4 warweris paleografiuli monacemebi ix.: sxirtlaZe, dasax. naSr., 24–26.

5 iqve, 25.

sabereebis IV eklesiis mxatvris warwera. IX s. sabereebis samonastro kompleqsis IV eklesiis6 sakurTxevlis afsidis qveda registrSi, samxreTiT konqis moxatulobis gammijnavi ornamentuli zolis qvemoT Zlivs gairCeva Savi saRebaviT Sesrulebuli erTstriqoniani asomTavruli warweris anabeWdi. warwera moxatulobis Tanadroulia da IX s­iT TariRdeba. warweris zomebi: 51,1X6,7 sm; grafemebis simaRle: 2,7–2,5 sm. warweris wakiTxvis z. sxirtlaZis varianti: [....] ates [......] e [..]a Rirs vi| [qmen] [...]7 z. sxirtlaZe warweris pirvel sityvas aRadgens rogorc `[mox]ates~, rac savsebiT dasaSvebia da warweras mxatvars miakuTvnebs8 warweris amJamad SemorCenili fragmentebia: ………...a Rirsvi ………... ............a Rirs vi(qmen)..... gamocema: sxirtlaZe, sabereebis freskuli warwerebi, 41­42. 3 sabereebis VII eklesiis mxatvris warwera. X s. (sur. 2) Savi saRebaviT Sesrulebuli erTstriqoniani asomTavruli warwera eklesiis CrdiloeTi mklavis aRmosavleT kedelze, iatakis donidan 170 sm­is simaRlezea moTavsebuli. warwera Zlieraa dazianebuli da dRes kedelze mxolod misi anabeWdiRaa SemorCenili. z. sxirtlaZis mier gakeTebul aslsa da fotoze kargad moCans warweris pirveli aso­niSani `m~, romelic dRes aRar arsebobs9. warwera kedlis mxatvrobis Tanadroulia, X saukunisa. warweris zomebi: 64X6 sm. grafemebis simaRle: 4,9X2sm. werali glaxaki k [m]werali glaxaki k¢[irike Semiwyale RmerTo]10

6 z. sxirtlaZis numeraciis IV eklesia Seesabameba VI­s, sxirtlaZe, dasax. naSr., 37.

7 iqve, 42, nax. 21.

8 iqve, 42.

9 iqve, 67–68, nax. 39, sur. 14.

10 z. sxirtlaZis ganmartebiT “k¢” –ze dawyebuli saxelebia: k¢rike, k¢rile, k¢riake, k¢priane, k¢rine, k¢ros, Tumca saqarTveloSi popularobiT k¢rike gamoirCeva, sxirtlaZe, dasax. naSr. 68

termini `mwerali~ am SemTxvevaSi, iseve rogorc, VIII eklesiis warweraSi (N4) mxatvris mniSvnelobiTaa naxmari11

gamocema: sxirtlaZe, sabereebis freskuli warwerebi, 67–71; misive, taZris momxatavi ostatis aRmniSvneli terminisaTvis, 221­224. 4

sabereebis VIII eklesiis mxatvris warwera. X s. (sur. 3) sabereebis VIII gumbaTiani eklesiis sakurTxevlis afsidis konqSi gamosaxuli qristes didebis kompoziciaSi Cawerilia nusxurnarevi kuTxovani asomTavruli eqvsstriqoniani, Savi saRebaviT Sesrulebuli warwera. is Zlier dazianebulia. misi pirveli striqoni aRsaydrebuli macxovris terfebs Soris geometriul ornamentul zolSia Cawerili, bolo ki, xuT striqonad eSveba kompoziciis marjvena kideSi. warwera moxatulobis Tanadroulia, X s­isa. warweris zomebi: 72X20 sm; udidesi grafema: 3 sm, umciresi – 1 sm. gankveTilobisa da qaragmis niSnebi ar axlavs. warweris pirveli gamomcemeli paleografi Teimuraz barnaveli mas fotosuraTiT kiTxulobs. misi ganmartebiT warwera mxatvris vedrebas warmoadgens. mkvlevari warweris boloSi, garkveuli eWviT qoronikonsh; (rJ) – 970 wels aRadgens12. z. sxirtlaZe asworebs T. barnavelis mcdar wakiTxvas; misi varaudiT, T. barnavelma sxva warweris grafemebi SecdomiT sakvlevi warweris qoronikonis aRmniSvnel asoniSnad miiCnia13. mxatvris aRsaniSnavad warweraSi termini `mwerali~ ixsenieba, iseve rogorc VII eklesiis mxatvris warweris (#3) SemTxvevaSi14. z. sxirtlaZe warweris bolo sityvis savaraudo gaxsnas ar gvTavazobs, Tumca, varaudobs, rom aq ostatis saxeli ewera15. arsebiTad viziareb mis mier SemoTavazebul wakiTxvas, oRond bolo 11 iqve, 68–70; misive, taZris momxatavi ostatis aRmniSvneli terminisaTvis, 221–224.

12 T. barnaveli samonastro kompleqs azerbaijaneli mwyemsebis Serqmeul saxels – maRazans uwodebs, ix. kaxeTis istoriuli Zeglebis warwerebi, 58. aqvea warwerac: ‘...[....m] mxatovar[i] Semiwyalen, cod[vani] S[emindven] mweral[i] l[o]cv[asa] (momixseneT); qoron[ikonsa] h; (rJ) – 190+780+970 w. (?).

13 sxirtlaZe, sabereebis freskuli warwerebi, 115.

14 sxirtlaZe, dasax, naSr., 114; misive, taZris momxatavi ostatis aRmniSvneli terminisaTvis, 221–224.

15 sxirtlaZe, sabereebis freskuli warwerebi, 116.

sityvas vkiTxulob ara `i[­]irn[­]?~, rogorc z. sxirtlaZe varaudobs16, aramed `iW?irn[a]~. warwera: m..xovar Sm..wya.e mona|Á S..i mw|eral|i l…...| yav. | iW?irn. m[ac]xovar S(e)m[i]wya[l]e mona|¡ S[en]i mw|eral|i l[ocva] | yav[T] | iW(?) irn[a]...

bolo sityva srulad ver ikiTxeba. misi meore grafemis SemorCenili zeda nawili da qvemoT marcxniv mimarTuli kauWi TiTqos asomTavrul `S~ – `S~­s, `W~ – `W~­s, an nusxur `b~ – `b~­s gvagonebs. ufro savaraudoa grafema `W~­s aRdgena. am SemTxvevaSi es sityva SeiZleba wavikiTxoT rogorc `[mo] iWirn[a]~ da maSin miviRebT: `macxovar Semiwyale mona¡ Seni mwerali. locva yavT......moiWirna(?)~. moWirne niSnavs – uZluri, sneuli, avadmyofi17; Wirveba – wvaleba, garja18, moWirveba – moTmena, gaWirvebis atana19. warwera unda gavigoT an rom misi avtori – `mwerali~ sneuli iyo, an ufro, rom man didi garjiTa da gaWirvebiT iSroma. gamocema: kaxeTis istoriuli Zeglebis warwerebi, 58; sxirtlaZe, sabereebis freskuli warwerebi, 115­116; misive, taZris momxatavi ostatis aRmniSvneli terminisaTvis, 221­224.

5

nezgunis macxovris eklesiis saqtitoro warwera. X s. (sur. 4) eklesiis sakurTxevlis afsidSi iatakidan 200 sm­is simaRleze, moxatulobis damasrulebeli ornamentis qveS, wiTeli saRebaviT naweri erTstriqoniani asomTavruli warwera afsids Semouyveba da sakurTxevlis sarkmlis RiobiT or nawilad aris gayofili. warwera ramdenjermea gamocemuli Cven srulad viziarebT v. silogavas wakiTxvas20.

16 m[ac]xovar, S(e)m(i)wyale mona¡ S[eni] mwerali. l[(o)cva] yav[T] i[­]irn[­]?, sxirtlaZe, sabereebis, 115.

17 abulaZe, Zveli qarTuli enis leqsikoni, 290.

18 iqve, 557.

19 qarTuli enis ganmartebiTi leqsikoni, 1088.

20 silogava, svaneTis werilobiTi Zeglebi, II, 15­20, 67­68.

warweris sigrZe: 560 sm.; asoebis simaRle: 4­5 sm. qaragma: ganivi mokle klaknili xazi.

...iTa RTi...…Ta da ... adlebiTa wdisa macovrisaÁTa me ... en movwere w~Á ese sakuÂrTxeveli poÂriTa da fs..a | CemiTa salocvelad Tavisa Cemisa da mosaÃsenebelad mSobelTa CemTa slisaTuÂis ÃeliTa gisiTa .... T~a maisa an [† saxel]iTa R(mr)Tisa¡Ta da [mom]adlebiTa w(mi)disa mac[x]ovrisa¡Ta me [beSq]en21 movwere w(mida)¡ ese sakurTxeveli puriTa da f[a]s[iT]a CemiTa salocvelad Tavisa Cemisa da mosa£seneblad mSobelTa CemTa s(u) lisaTuis £eliTa gi(orgi)siTa ... T(ue)sa mai(s)sa, amen.

warweris mixedviT nezgunis eklesiis sakurTxeveli mxatvarma giorgim maisis TveSi moxata, magram aRar SemorCa TariRi. afsidis moxatuloba X s­iT TariRdeba22 da vinaidan amave ferwerul fenas miekuTvneba warwerac, es ukanasknelic X saukuneSia Sesrulebuli. amave periods miuTiTebs warweris paleografiuli niSnebic23. qtitori beSqeni, rogorc Cans, sofel nezgunis mkvidri iyo. misi saxeli (beSgene) eklesiis aRmosavleT fasadzecaa amokveTili24

gamocema: silogava, svaneTis werilobiTi Zeglebi II, 15­20, 67­68.

6

ifraris mTavarangelozTa eklesiis saqtitoro warwera. 1096. (sur. 5) eklesiis kankelis arqitravis darbazisken mimarTul pirze, mwvane fonze TeTri saRebaviT Sesrulebulia orstriqoniani asomTavruli saqtitoro warwera. igi dazianebulia; aris monakveTebi, sadac teqsti mTlianad daRupulia. miuxedavad amisa warweris Sinaarsi gasagebia. warweris zomebi: 140X10 sm; asoebis simaRle: 3,5­3sm; qaragma bolowertilovani, mokle horizontaluri xazi, gankveTilobis niSani: ori da sami wertili.

21 saxeli `beSqeni~ aRdgenilia v. silogavas mier, silogava, dasax. naSr., 67–68.

22 Аладашвили, Алибегашвили, Вольская, Живописная Школа, 13-14.

23 silogava, dasax. naSr., 19­21.

24 iqve, 17.

warwera ase ikiTxeba: sax~liTa R~TisaÁTa moixata da Seimko wmidaÁ ese eklesia ...... amis Ãevisa y~lTa didTa da mc~rTa Svl~Ta da momavlTa maTTa da sl~sa m~cvlblTa mTT~isa | wm~dno mT~vrangl~zno : Se~n oriTave cxorebiTa a~n:. mo . mT~gn~Ta welTa xà qr~niknsa:. tiv: ÃeliTa T~e mefisa mxt~vrsaiTa w~no mTvra..elz~no Se~T:. sax(e)liTa R(mr)Tisa¡Ta moixata da Seimko wmida¡ ese eklesia[¡ s(a)l(o) cv(e)l(a)d] amis £evisa y(ove)lTa didTa da mc(i)r(e)Ta Sv(i)lTa da momav(a) lTa maTTa da s(ul)isa m(i)cv(a)l(e)b(u)lTa m(a)TTisa | wm(i)d(a)no mT (a) v(a)rang(e)l(o)zno S(eiwyal)en orTave cxorebiTa a(me)n. mo[ixata dasaba] m(i)Tg(a)nTa welTa x£ q(o)r(o)nik(o)nsa tiv £eliTa T(evdor)e mefisa mx(atvr(i)saiTa. w(mida)no mT(a)v(a)ra[ng]e(o)zno S(eiwyal)eT. warwera mravalgzisaa gamoqveynebuli. Cveni wakiTxva mcire SesworebiT, arsebiTad, v. silogavas wakiTxuli teqstis variants mihyveba25. meore striqonSi mefis mxatvar Tevdores daSvebuli aqvs Secdoma `...dasab]m(i)Tgan welTa x£..~. v. silogava qoronikonis mixedviT asworebs teqsts da ambobs, rom `unda iyos £R (7600)=1096~26, Tumca pativcemuli mkvlevari cdeba. teqstSi unda iyos ara `£R~, aramed `xR~ – 6700­5604=1096, romelic Seesabameba warweraSive miTiTebul qoronikons `tiv~ – 316+780=1096.

gamocema: TayaiSvili, arqeologiuri eqspedicia leCxum­svaneTSi, 199–200; Амиранашвили, История грузинской монументальнй живописи, 134–135; Аладашвили, Алибегашвили, Вольская, Живописная школа, 30–31. silogava, svaneTis werilobiTi Zeglebi, II, 29–34, 70–71. 7

kalas wm. kvirikesa d ivlitas eklesiis (lagurka) saqtitoro warwera. 1111 w. (sur. 6)

TeTri saRebaviT mwvane fonze Sesrulebuli samstriqoniani asomTavruli warwera mdebareobs eklesiis dasavleT kedelze, karis zemoT. warwera Zlieraa dazianebuli da amJamad TiTqmis isevea SemorCenili, rogorc v.

25 silogava, dasax. naSr. 70­71. 26 iqve, 71. amave naSromis 33­e gverdze silogava msjelobs ifraris warweris orgvari daTariRebis (dasabamiTgan da qoronikoni) SeuTavseblobaze, Tumca iqac msgavs Secdomas uSvebs.

silogavas aqvs gamoqveynebuli27. Cveni wakiTxva arsebiTad silogavas wakiTxvis msgavsia umniSvnelo gansxvavebebiT. warweris farTobi: 240X30 sm., grafemebis zoma: 4,5­5sm. gankveTilobis niSani ori wertili; qaragmis niSani – kidurwertilovani ganivi xazi. warwera ase ikiTxeba: saxliT. RTsa ... ixata da Seimko w~Á ese ekles ... sadd~ebeld | amis Ãevisa aznaÂrTa: da : yl~Ta: r~lni aSeneben ama…... | …...a dasab~mTg~nTa welTa :xRie: qrn.ns sax(e)liT[a] R(mr)T(i)sa[¡Ta].......[mo]ixata da Seimko w(mida)¡ ese ekles[ia¡].......sad(i)debel(a)d | amis £evisa aznaurTa da y(ove)lTa r(ome) lni aSeneben ama... | ...a dasabam(i)Tg(a)nTa welTa xRie (6715­5604=1111 w.) q(o)r(o)n[iko]ns[a]...

pirvel striqonSi veRar ikiTxeba wm. kvirikes saxeli. aRar aris SemorCenili warweris bolo nawili, sadac ewera `qoronikonsa tla” da ixsenieboda `mefis mxatvari Tevdore~28.

gamocema: Амиранашвили, История Грузинской монументальной живописи, 138; Аладашвили, Алибегашвили, Вольская, Живописная школа, 31; silogava, svaneTis werilobiTi Zeglebi, II, 34­36; 73–74.

8 nakifaris wm. giorgis eklesiis saqtitoro warwera. 1130 w. (sur. 7) TeTri saRebaviT naweri orstriqoniani asomTavruli warwera mdebareobs eklesiis kankelis arqitravze. warwera Zlier dazianebulia, acvenilia saRebavis fena, romlis qveSac moCans kankelis Zveli ferweruli dekori – wiTeli saRebaviT daxatuli geometriuli figurebi (X s.). warweris farTobi: 330X17sm. asoebis zoma: 5­7sm. gankveTilobis niSani –ori wertili, qaragma – bolowertilovani ganivi xazi. xeliTa RTisÁTa: moixta: da Seimko: saydari: ese: wdisa: gÁ: ......isa: aznarTa…a Ã~vsTa y~lTa e.TbT | o: gÁ: m~Tavrmo Sen: da aaSenen: an: moixata: da onsa liTa Te: mefsa: mx~tvrsaTa [sa]xeliTa R(mr)Tis(a)¡Ta moix(a)ta da Seimko saydari ese w(min)disa

27 silogava, dasax. naSr., 73­74. 28 Амиранашвили, История грузинской монументальной живописи, 138.

g(iorgis)¡ ...isa azna(u)rTa ...a £(e)v(i)s(a)Ta y(ove)lTa e[r]T(o)b(i)T | [w]o g(iorg)¡ mTav(a)rm(mowame)o S(eiwyal)en da aaSenen a(me)n. moixata da ...... [qor]on(iko)nsa ...[£e]liTa T(evdor)e mef(i)sa mx(a)tvr(i)saTa. warweris TariRis aRmniSvneli grafemebi, romlebic warweris pirveli gamomcemlis, amiranaSvilis dros jer kidev nawilobriv Canda “...qoronikonsa tn... “ da, romelic 1130 wels Seesabameba, dRes aRar aris SemorCenili. warweris Sesaxeb dawvrilebiT ix. silogava, svaneTis werilobiTi Zeglebi, II, 36–39, 74, 75. gamocema: Амиранашвили, История Грузинской монументальной живописи, 143; Аладашвили, Алибегашвили, Вольская, Живописная школа, 32; silogava, svaneTis werilobiTi Zeglebi, II, 36­39, 74­75. 9 wvirmi-Cobanis wm. giorgis eklesiis warwera. XII s. sofel wvirmis qveda ubnis (Cobani) wm. giorgis eklesiis dasavleT kedelze, karis marcxniv (samxreTiT) gamosaxulia saero piri. gamosaxulebis Tavisa da mxris areSi, marjvniv bundovnad moCans Svidstriqoniani (?) asomTavruli warwera, romelic Savi saRebaviTaa naweri. warweraSi erTgan SeimCneva gankveTilobis niSani – ori wertili da qaragma – mokle, swori horizontaluri xazi. saxeliTa RmrT | Ta moi .... a: w~i e | le ....... k ris | a as Zisa Ãe | zviadi | ao | Ssa saxeliTa RmrT[isa¡] | Ta moi...a: w(minda)i e[k] | le[sia] ...k ris|a as Zisa £e|... zviadi | ...aobi...| Ssa.

am Zlier fragmentirebuli warweridan vadgenT, rom warweraSi laparakia eklesiis moxatvaze da ixsenieba vinme „zviadi“. es warwera pirvelad amoikiTxa e. TayaiSvilma. mis naSromSi motanilia asomTavruliT dawerili teqstis mxedruli transliteracia: saxeliTa RmrTisa | Ta moixata wmidai | ese eklesia¡ | guxafaTis £e|liTa zviadisa | £elosnobasa | paiSisa (?) qtitoris gamosaxulebis marcxniv TayaiSvili garkveuli eWviT kiTxulobs ­ `ese ars T[av]adi aaron...“29

29 TayaiSvili, arqeovlogiuri eqspedicia leCxum­svaneTSi, 214­215.

warweris wakiTxva XX saukunis ormocian wlebSi scada xelovnebaTmcodne TinaTin virsalaZem30. aSkaraa, rom im dros warwera ukeT ikiTxeboda. Cvens xelTaa virsalaZis Canaxati, romlis meore striqonSi Cans sityva _ “moixta” – „moix(a)ta“, mexuTe striqonSi ikiTxeba saxeli „zviad“. n. aladaSvilisa da a. volskaias azriT guxafisZe mxatvaria31. r. yenias da n. aladaSvili miiCneven, rom eklesia moixata guxafis Zis zviadis xeliT32. mxatvrad miaCnia guxafaTi silogavasac. misi azriT zviadi svanTa erisTavia33

1987 wels warweris wakiTxva scada xelovnebaTmcodne e. kavlelaSvilma da mogvianebiT gamoaqveyna warweris aslic: „saxeliTa RmrT(i)Ta moixta w(mida)i eklesi(ai) karis(a)¡ g(u)SafisZisa £eliTa zviadis...ao...Ssa.“ qtitoris marcxena (samxreT) mxares „ese ars Tavad aaron.“ kavlelaSvili TayaiSvilisgan gansxvavebiT kiTxulobs guSafisZes. mas miaCnia, rom mxatvris saxelia zviadi, aaron guSafisZe ki adgilobrivi feodalia. vfiqrob, kavlelaSvilis daskvnebi misaRebia, Tumca dRes am wakiTxvis gadamowmeba misi mZime mdgomareobis gamo SeuZlebelia, radganac grafemebi isea gadacrecili, rom fonisgan aRar ganirCeva.

gamocema: TayaiSvili, arqeologiuri eqspedicia leCxum­svaneTSi, 214215; aladaSvili, volskaia, zemo svaneTis kedlis mxatvrobis Zeglebi, 34; silogava, svaneTis werilobiTi Zeglebi, II, 93­94; kavlelaSvili, mxeris eklesiis mxatvari, 99; yenia, aladaSvili, zemo svaneTi, 60. 10 macxvariSis macxovris eklesia. miqael maRlakelis warwera. 1140 w. (sur. 8) mxatvar miqael maRlakelis TeTri saRebaviT naweri aTstriqoniani asomTavruli warwera mdebareobs eklesiis CrdiloeT kedelze, sakurTxev­

30 T. virsalaZis Canaxati inaxeba g. CubinaSvilis sax. erovnuli kvleviTi centris arqivSi, g.C.c./f/ T. v. – 63/131

31 aladaSvili, volskaia, zemo svaneTis kedlis mxatvrobis Zeglebi, 34. 32 yenia, aladaSvili, zemo svaneTi, 60.

33 silogava, svaneTis werilobiTi Zeglebi, II, 94.

lis afsidis maxloblad, kedlis dekoraciuli TaRis marjvena, aRmosavleT nawilze. warweris saRebavis fena nawilobriv dazianebulia. warweris farTobi: 61X31 sm. asoebis simaRle: 4–4,5 sm. gankveTilobis niSani – ori wertili, qaragma – ganivi swori xazia. moÁxata sa | ydari ese m | efobasa | demetres | a wlsa | :i~e: Ãeli | Ta mql | maR. | akeli | saTa mo¡xata sa|ydari ese m |efobasa | demetres| a w(e)lsa ie: £eli|Ta m(i)q(ae)[l] |maR[l]|akeli|saTa. mexuTe striqonSi gamorCenilia sityva wlsa – w(e)lsa, romelic SedarebiT momcro asoebiT, Semdeg meeqvse striqonzea dawerili. warwera TariRdeba demetre mefis zeobis me­15 wliT (i~e­i~e =15), rac 1140 welia. gamocema: TayaiSvili, arqeologiuri eqspedicia leCxum­svaneTSi, 350, Вирсаладзе, Фресковая роспись художника Микаела Маглакели, 176; silogava, svaneTis werilobiTi Zeglebi, II, 76­77. 11 varZiis RvTismSoblis taZari. giorgi Waris warwera. XII s. (sur. 9) warwera amJamad aRar gairCeva. is, Tavis droze, waikiTxa k. meliTaurma. mis naSromSi gamoqveynebulia warweris fotoc34. meliTauris aRweriT sakurTxevlis afsidis konqisa da qveda registris moxatulobis gammijnavi ornamentuli zolis calkeul segmentebSi erTmaneTisgan daSorebuli ramdenime asomTavruli grafema iyo Cawerili: `CrdiloeTiT mRvdelmTavar elefTerisa da ioane oqropiris Suaxazs aswvriv moTavsebul yvavilSi~ ewera “gi” – `g¡~, `...im yvavilSi, romelic sakurTxevlis aRmosavleTi sarkmlis aRmosavleT wibos aswvriv mdebareobs~ – aso­niSani “W” ­ `W~ , xolo `am yvavilis gverdiT erTi raportis gamoSvebiT yvavilSive~ “r” – `r~35 meliTaurma warwera sabolood gamarTa rogorc `giorgi Wari~ da is taZris momxatvelad miiCnia36.

34 meliTauri, varZiis samSeneblo­xuroTmoZRvruli Seswavlis sakiTxebi, 13, sur. 10, 11. meliTauris cnobiT 1940 wels mxatvarma g. TvalavaZem Seasrula ornamentis piri, romelic Semdgom daikarga, meliTauri, dasax. naSr., 13. Sen. 4. varZiis warweris fotos (sur.9) vaqveynebT meliTauris wignidan.

35 iqve, 13. 36 iqve, 13.

gamocema: meliTauri, varZiis samSeneblo­xuroTmoZRvruli Seswavlis sakiTxebi, 13, gafrindaSvili, varZia, 129. 12

beTaniis RvTismSoblis Sobis taZari. demetres da sofromis warwerebi. XII s. (sur. 10) beTaniis warwerebis adglze Seswavlis saSualeb ar mogveca. amitom isini mogvyavs e. privalovas naSromis mixedviT37 a) erTstirqoniani Savi saRebaviT Sesrulebuli asomTavruli warwera sakurTxevlis afsidSi, dasajdomelis ornamentzea dawerili Zalze patara grafemebiT: qe Se dte q(rist)e S(eiwyal)e d(eme)t(r)e warweris mdebareobis gaTvaliswinebiT e. privalova mas mxatvar demetres miakuTvnebs38

b) warwera moTavsebulia sakurTxevlis afsidSi demetres warweris (#12 a) maxloblad. e. privalova masac demetres miakuTvnebs39. warwera: ar marto var, Savpiri, WeSmaritad. msajulo yovelTao, nu martoqmen yovelTa qristianeTa wmidaTa SenTagan. aRsaniSnavia, rom warweras leqsis forma aqvs.

g) TeTri saRebaviT Sesrulebuli asomTavruli warwera mdebareobs eklesiis samxreTi mklavis dasavleTi sarkmlis wirTxlSi, sakmaod maRla. is wm. aaronis figuris qvemoTaa miwerili. warwera: ufalo, nu Seundob sofroms. lokalizaciis gaTvaliswinebiT e. privalova warweras mxatvars miakuTvnebs, romelic mas Tavad sofromi miaCnia40.

gamocema: Привалова, Новые данные, 16­17.

37 Привалова, Новые данные, 16-17 38 iqve. 39 iqve. 40 iqve, 16­17.

ozaanis amaRlebis eklesia. miqaelis warwera. XII-XIII ss. (sur. 11)

Savi saRebaviT naweri xuTstriqoniani asomTavruli warwera mdebareobs sakurTxevlis afsidis TaRis pirze, iatakidan 170 sm­is simaRleze. moCarCoebulia wvrili Savi xaziT; striqonebi wvrili Savi xaziTaa gamijnuli, romlebic Savi dekoratiuli `wanazardebiTaa~ gaformebuli. warweris farTobi _ 45X15 sm. gankveTilobis niSani ori wertilia, qaragma – bolowertilovani, ganivi, klaknili xazi. grafema “a”­“a”­s uReli tansaa mocilebuli, rac XII saukunidan SeiniSneba.

q~e: R~o| Snd | ven | mqls | amn q(riste) R(merT)o | S(eu)nd|ven | m(i)q(ae)ls | am(e)n.

gamocema: kaxeTis istoriuli Zeglebis warwerebi, 124­126, Чубинашвили, Архитектура Кахетии, 357; Привалова, Роспись церкви «Вознесения», 123­124. 14 Woxuldis macxovris saxelobis eklesia. saRiris warwera. XIII s. (sur. 12) erTstriqoniani Savi saRebaviT Sesrulebuli asomTavruli warwera eklesiis dasavleT kedlis qveda registrSi, karis marcxniv, suliwmidis mofenis kompoziciaSia Cawerili. warwera dazianebulia. zomebi: grafemebis simaRle 4–4.5 sm. qaragma – kidurwaisruli, ganivi xazi. warweris adgilze Seswavla ver moxerxda. warmovadgenT v. silogavas gadmonawers:

Zo R~Ti s~Rr Se Z(e)o R(mr)Ti(sao), s(a)R(i)r S(eiwyal)e41. warweris calkeuli sityvebi: `RTi~ da `sRr~ mociqulTa samosze Savi saRebaviT Semoxazul zemoTken Tavgaxsnil wreebSia moqceuli. pirvel (`Zo~) da bolo (`Se~) sityvebis Sesaxeb silogava ambobs `TiTqos ikiTxebao~42. warweris v. silogavas SemoTavazebuli wakiTxva sarwmunod gveCveneba, ma41 silogava, dasax. naSr. 72. 42 iqve, 72.

gram ver gaviziarebT mis mosazrebas, rom is SeiZleba ukavSirdebodes amave, dasavleT kedelze, karis marjvniv gamosaxul qtitors43. Cveni varaudiT, warwera mxatvars, saRirs ekuTvnis. v. silogava warweras XI s. – XII s­is I naxevriT aTariRebs da mas moxatulobis Tanadroulad da imave mxatvris Sesrulebulad miiCnevs, romelmac eklesia moxata44, magram Woxuldis moxatuloba XIII saukuniTaa daTariRebuli45 da warwerac am periods unda ekuTvnodes. gamocema: v. silogava, svaneTis werilobiTi Zeglebi, I, 23, 72­73. 15

zemo krixis mTavarangelozTa eklesia. mxatvris warwera. XIII-XIV ss. zemo krixis eklesia da misi moxatuloba 1991 wels miwisZvris dros dazianda. maSin ganadgurda mxatvris warwerac, romelic CrdiloeT kedelze qtitris gamosaxulebis fexebTan iyo miwerili. zemo krixis moxatuloba XI s­iT TariRdeba, warwera ki XIII­XIV ss­s ganekuTvneboda da is im mxatvris, vinme CubiniZis, mier iyo Sesrulebuli, romelmac Tavdapirveli moxatulobis, calkeuli dazianebuli adgilebi ganaaxla (XIII­XIV ss.)46. aTstriqoniani nusxuri warwera ramdenjermea gamoqveynebuli da is aq am naSromebis mixedviT mogvyavs: [mo]ixata w(mida)i ese ekle | siai dekanozobas | g(iorg)i korcani(sZis)asa | asisTavobasa i(oa)ne | lomaisZisasa | da i(oa)ne deviZisi(sa) | Se(iwyale)n w(mida)no mTavar | angeloz(no) | amisa m(o)xa(t) | (v)isa C(u) [binisZe]47

gamocema: boWoriZe, raWa­leCxumis istoriuli Zeglebi, 163; Вирсаладзе, Фресковая роспись в церкви архангелов, 35­37.

43 iqve, 23. 44 iqve, 73. 45 Аладашвили, Алибегашвили, Вольская, Живописная школа, 124; yenia, ansamblis agebis Taviseburebani, 78­80.

46 Вирсаладзе, Фресковая роспись в церкви архангелов, 35-37. 47 iqve, 35.

safaris wm. sabas taZari. Teodoretis warwera. XIV s. (sur. 13) safaris wm. sabas taZris samxreT kedelze, saqtitoro rigis meoTxe gamosaxulebis samosis – TeTri perangis qobaze datanilia erTstriqoniani stilizebuli mxedruli warwera. mamakaci, romelic jayelTa saqtitoro rigis bolo figuraa mogviano xanaSi amoqolil karzea daxatuli da is ar aris identificirebuli. SemorCenilia warweris sami sityva, romlebic erTmaneTisgan gankveTilobis niSnebiTaa gamoyofili. es niSnebi ori xaziT Semovlebuli ori da sami mcire wrea (warweris farTobia: 65,5X12,5 sm. grafemebis zomaa: 10 sm – 2 sm). warwera mcenareuli ornamentis STabeWdilebas tovebs da mas warwerad mxolod dakvirvebis Semdgom Seicnob. pirveli sityva muqi wiTeli, meore _ Savi, xolo mesame sityva isev muqi wiTeli saRebaviTaa naweri. warwera qtitoris perangis vertikaluri naoWebis aRmniSvneli mwvane feris xazebzea datanili da perangis qobis ornamentuli gaformebis saxe aqvs. warweris grafemebi ori xaziTaa Semoxazuli, mcenareuli wanazardebi ki erTi konturiT. samecniero sazogadoebas am warweris Sesaxeb, pirvelad istorikosma da epigrafikosma Temur jojuam amcno. misi winaswaruli monacemebiT saqme gvaqvs mxatvris warwerasTan, mxatvris saxeli `petrea”. marTlac, iatakidan 217 sm­ze Sesrulebuli es warwera mxolod mxatvars SeiZleba daewera. grafemebi Zlier stilizebulia da damatebiTi mcenareuli morCebiT da ylortebiTaa gaformebuli, amdenad asoniSnebis amocnoba rTulia da Cveneul wakiTxvasac sruli ueWvelobis pretenzia ar aqvs. warwera: ptrT:. Zesa: : Tgrets ... (an ) Tdrets... Tu vigulisxmebT, rom ukanaskneli sityvis meore asoniSani asomTavruli “d”“d” aris, maSin es saxeli gaixsneba, rogorc – Tdret – Teodoret (?): p(a)tr(e)T Zesa T(eo)d(o)rets [Seundven RmerTman] (?) an p(a)tr(a)T Zesa T(eo)d(o)rets [Seundven RmerTman] (?) andac p(e)tr(e)T Zesa T(eo)d(o)rets [Seundven RmerTman] (?)

pirveli sityva, vfiqrob, unda gaixsnas rogorc: p(a)tr(a)T an Pp(a)tr(e)T an p(e) tr(e)T, Tumca gadaWriT Tqma Tu ra saxelidanaa nawarmoebi igi gamiWirdeba; es saxeli maxsenebs ierusalimis jvris monastris samxreT­dasavleTi burjis dasavleT waxnagze mociqulebis wm. petresa da wm. pavles figurebs Soris gamosaxuli drandeli mTavarepiskoposis gabrielis gvars – patraZes, savaraudod igi XIV s­Si moRvawe piri unda iyos. kedlis mxatvroba XVI s­iT TariRdeba48. ar aris gamoricxuli am sityvaSi SevicnoT berZnuli sityva, πατέρ – mama, radganac berZnuli JReradobis saxeli Teodoreti (Teodorite), romelic nakleb popularulia qarTvelTa Soris `kargad moergeba” am viTarebas. xom ar SeiZleba davuSvaT, rom berZeni warmoSobis mxatvarma, daxata safaris wm. sabas eklesiaSi es saqtitoro gamosaxuleba?! gamovricxav pirveli sityvis amgvar – `p(a)tr(o)nT” – gaxsnas. 17 ubisis wm. giorgis eklesia. gerasimes warwera. XIV s. (sur. 14) erTstriqoniani asomTavruli warwera satriumfo TaRze mdebareobs; Sesrulebulia TeTri saRebaviT muq lurj fonze. misi calkeuli nawilebi dazianebulia. qaragmis niSani – horizontaluri klaknili xazi, gankveTilobis niSani – oTxi, zogan sami wertili. .:saxeliTa:. R~Ti~siTa:: moix~ta mon~st~ri:. ese: ÃeliTa.: codvilsa: dmanes:. g~zrdlisa:. gersimsiTa:. saxeliTa R(mr)Tis(a)iTa moix(a)ta mon(a)st(e)ri ese £eliTa codvil(i)sa d(a)m(i)anes g(a)zrd(i)lisa ger(a)sim(e)siTa. S. amiranaSvilma warwera damianes miakuTvna, romelic taZris sakurTxevlis afsidSi gamosaxul saidumlo serobis scenaSi CarTul warweraSicaa dasaxelebuli da is miiCnia ubisis eklesiis mxatvrad49. v. beriZem es versia uaryo. man yuradReba miaqcia imas, rom winadadeba isea gamarTuli – (`moixata £eliTa...gerasimesiTa~), rom mxatvari gerasimea. damiane rom yofiliyo mxatvari, maSin dawerdnen `damianesiTa~ (moixata £eliTa damianesiTa) da ara `damianes~50.

48 Didebulidze, Janjalia. Wall Paintings, 61. 49 amiranaSvili, ubisi, 10; misive, qarTveli mxatvari, gv. 12­13 50 beriZe, gerasime da, ara damiane.

gamocema: amiranaSvili, ubisi, 10; amiranaSvili, qarTveli mxatvari damiane, 13; beriZe, gerasime da, ara damiane. 18 soris wm. giorgis eklesia. daviTis warwera. XIV s. muq lurj fonze TeTri saRebaviT, gakruli xeliT Sesrulebuli mxedruli warwera eklesiis CrdiloeT kedelze, dasavleTidan meore pilastris marcxniv, wm. giorgis figuris fexebTan mdebareobs iatakidan 107 sm­is simaRleze. warwera Zlieraa dazianebuli. g. boWoriZis cnobiT, romelmac raWaSi 1925­27 wlebSi imogzaura, soris es warwera cametstriqoniani yofila, magram is ukve dazianebuli iyo51. dRes adgilze SemorCenilia warweris mxolod cxra striqoni (farTobi ­ 44X21 sm.), moCans calkeuli grafemebi, romelTa moxazuloba bundovania, ver dgindeba warweris sazRvrebi, gankveTilobis niSani ori wertilia. warweris nawils aRvadgenT arsebuli publikaciebis mixedviT: ....Rvdel.........WarelisZe g |│....OeliTa f│[riad | codv]ilisa d│[avi]Tisisa da mnaTes S│[vilis] iv | anesiTa da vinca │ [Sendo]ba brZanoT│ Tqvenca Segindvnes R(mer)Tm(a)n.

i. WiWinaZem warwera sabolood ase gamarTa: [q. SevamkveT ese eklesia mravalZalis] | wmida giorgisa...[SwevniTa] | Ta mRvdelms[axurTa da] WarelisZe g˜i~[si]Ta | [£]eliTa f(riad)d codvi[lisa da(vi)Tisisa da mnaTes | S[vi]lisa iv[an]esiTa da vinca] | S[endo]ba brZano[T] | [Tqvenca] Segi[nd | vnes] R[merT]Tman52. gamocema: kakabaZe, winaswari cnoba, 108; boWoriZe, raWa­leCxumis istoriuli Zeglebi; WiWinaZe i., soris moxatuloba, 55­56; sxirtlaZe, soris eklesia, 17, 19.

51 boWoriZe, raWa­leCxumis istoriuli Zeglebi, 217­218. 52 WiWinaZe i., soris wm. giorgis eklesiis moxatuloba, 55­56.

Wules wm. giorgis eklesia. arsenis warwera. 1381 w. (sur. 15) Wules wm.giorgis eklesiis mxatvris warwera Crdilo­dasavleTi gumbaTqveSa burjis samxreT gverdze, iatakidan 240 sm­is simaRleze TeTri saRebaviTaa naweri. asomTavruli warwera xuTstriqoniania (warweris farTobi: 55X34 sm.) da siganeSi burjis samxreTi gverdis lilvebs Soris ganiv zomas mTlianad faravs. warweris yoveli striqoni ori gakawruli xaziT moniSnul velSia Cawerili; zeda oTxi striqoni Tanabaria, mexuTe striqoni ki gansxvavebulia, zeda striqonebTan SedarebiT mcirea. asomTavruli warweris grafemebis duqtusi sagrZnoblad wagrZelebulia, asoebi SewiaRebulia, qaragmis niSani horizontaluri klaknili xazia, gankveTilobis niSani _ ori wertili, warweris bolos sami wertili da mZimis msgavsi horizontaluri buniaa dasmuli. warweris me­4 da me­5 striqonebis didi nawili nalesobis acvenis gamo daRupulia. warwera ase ikiTxeba: Sewe.nTa: RTsaÁTa da w~sa gi WuÂlisaÁ |Ta srul iqmna eklesiai: ese WuÂeisai xa | tbiTa ÃeliTa mxtvrisa: arseni T |………………………….ia: S~ns: R~n: | aÁTa :. Sewe[v]n(i)Ta: R(mr)T(i)sa¡TaU da w(midi)sa g(iorg)i Wulisa¡ |UTa srul iqmna eklesiai: ese Wueisai xa | t(e)biTa O£eliTa mxatvrisa: arseniT |...............................ia: S(eu)n(do)s R(merTma)n | ............................................a¡Ta:. warweris teqstSi SeiniSneba Secdoma. meore striqonSi toponim „Wules“ gadmocemisas asoniSan „l“­s nacvlad ratomRac „e“ aris dawerili. asoniSnebis forma, moxazuloba, stili XIII saukunis miwurulisa da XIV saukunis farglebSi eqceva. warwera araerTxelaa gamoqveynebuli. pirvelad mas yuradReba mari brosem miaqcia, romelmac 1847 wels imogzaura samcxeSi. Wules warwera maSin ukeT iyo Semonaxuli, warweris bolos ikiTxeboda: „qks UTa:“, rac eklesiis moxatvis TariRs aRniSnavs – 1381 w53. amave dros, mxatvris saxelis – arseni Semdgom asoniSan „T“­s gaswvriv grafema „f“­s kiTxulobs da miiCnevs, rom Wule arseni Tfilelis moxatuli yofila. p. uvarovas, romelic WuleSi XIX s­is dasasruls iyo, gamoqveynebuli aqvs mxatvar arsenis warweris asli, romelzec garkveviT Cans qoronikoni 53 Brosset, Rapports, IIe rapp., 136.

„Ta“ (1381 w.); amave dros, mxatvris saxelis marjvniv arsebuli asoniSan „T“s ZirSi aRniSnulia marjvniv ganziduli xazi54, rac SesaZlebelia T­sTan SewiaRebuli „b“­s fexi iyos. eq. TayaiSvili srulad iziarebs Wules warweris broseseul teqsts da daTariRebas. mxolod mcire koreqtivi Seaqvs, kiTxulobs – arseni Tbilels55 giorgi boWoriZe Wules mxatvar arsenis Torel episkoposad moiazrebs 56 . S. amiranaSvili `Torels~ an `Tmogvels~ kiTxulobs 57 . warweraSi mxatvris saxelis Semdgom arsebuli „T“ grafema interpretirebisTvis did asparezs ar iZleva, amdenad, am sakiTxs Riad vtoveb. rac Seexeba TariRs – 1381 w. – mis sisworeSi eWvis Setana ar aris marTebuli, radganac amas dokumenturad adastureben – m. brose, p. uvarova da eq. TayaiSvili; amave dros, warweris paleografiuli monacemebi sruliad eTanxmeba aRniSnul TariRs. v. beriZe vrclad ixilavs aRniSnul warweras da brose­TayaiSvilis wakiTxvas iziarebs58

gamocema: Brosset, Rapports, IIe rapp., 136; МАК, IV, 65, nax. 51; АЭРЗ, I. 107; beriZe, samcxis xuroTmoZRvreba, 150–151; boWoiZe, mogzauroba, samcxe­javaxeTSi, 155. 20

walenjixis macxovris eklesia. manuel evgenikosis, qvabaliasa da gabisulavas warwerebi. 1384-1396 ww. (sur. 16,17)

walenjixis macxovris jvr­gumbaTovani eklesiis gumbaTqveSa dasavleT burjebze Savi saRebaviT Sesrulebuli ori qarTuli warweraa, romlebic eklesiis moxatvasTan dakavSirebul cnobebs Seicavs. a) samxreT­dasavleT burjis Crdilo­dasavleT waxnagze Cvidmetstriqoniani asomTavruli warweraa. dRes misi meTormete striqoni aRar arsebobs, am adgilas Selesiloba Camomtvreulia. warweras wiTeli feris moCarCoeba evleba. teqsti burjis kapitelis Sezneqili zedapiridan iwyeba da burjis bazisken eSveba. warweris bolo striqonsa da bazas Soris darCe­

54 МАК, IV, 65, nax. 51.

55 АЭРЗ, I, 107.

56 boWoriZe, mogzauroba, samcxe­javaxeTSi, 155.

57 amiranaSvili, beqa opizari, 10.

58 beriZe, samcxis xuroTmoZRvreba, 150, 151.

nil areze mcenareuli ornamentia gamosaxuli. gankveTilobis niSnad ori, sami da oTxi wertilia naxmari. qaragma – horizontaluri klaknili xazia. asoebi zogan SewiaRebulia. striqonebi ori gakawruli xaziT moniSnul velSia Cawerili. warwera ase ikiTxeba: † patronisa | e~T:erTvsa: da | mndatrT:ox | cesisa: dadianisa| vamyis: brZa|nebiTa: mov….... | kosTantip|vliT: mxatvari: | kirmanoeli: | evienikos: | da davxt e~se | .... RmrT | a Sn ... | ZanoT | nca: S~ds: | a~n: a~n: a~n † patronisa│e(risTav)T er(is)T(a)v(i)sa da│m(a)ndat(u)rT ux│(u)cesisa dadianisa│vameyis brZa│nebiTa mov[edi]│kosTantip│(o)vliT mxatvari│ kirmanueli│ evienikos │ da davx(a)t[e] ese [eklesia]│ RmrT...│[vinc]a S(e) n│[doba br]ZanoT ... │[Tqve]nca S(egin)d(vne)s [RmerTman]│a(me)n, a(me)n, a(me)n.

sityva `davx(a)t[e]~ amJamadac TiTqmis srulad ikiTxeba. `davxate~ aqvs gadmowerili, Tavis droze, m. brosesac59. sxva gamocemebSi am sityvis mxolod dasawyisi – `da~ aris gadmowerili, Tumca gaziarebulia m. boroses versia60. warweris gverdiT, amave burjis dasavleT waxnagze moTavsebulia manuel evgenikosis berZnuli warwera (ix. aqve, berZ. 1).

gamocema: Brosset, Rapports, IXe rapp., 16–17; TayaiSvili, arxeologiuri mogzaurobani, 211; Лорткипанидзе, Роспись в Цаленджиха, 14; lorTqifaniZe, janjalia, walenjixa, 5.

b) CrdiloeTi burjis samxreT­dasavleT waxnagze Cvidmetstriqoniani Savi saRebaviT Sesrulebuli warweraa. mas samxreT burjis warweris parametrebi aqvs – iwyeba burjis kapitelis Sezneqili zedapiridan da sruldeba waxnagis qveda monakveTSi. warweris merve, mecxre da meaTe striqoni dazianebulia; am adgilas Selesiloba Camomtvreulia. gankveTilobis niSani – ori, sami da oTxi wertili; qaragma ­ horizonta59 Brosset, Rapports, IXe rapp., 17. 60 Лорткипанидзе, Роспись в Цаленджиха, 14­15; lorTqifaniZe, janjalia, walenjixa, 5; sanikiZe, walenjixis macxovris taris istoriisaTvis, 176­177. eq. TayaiSvili gansxvavebulad aRadgens warweras, kerZod sityva `mov[edi]­is nacvlad – `mo[viyvane]~­s, xolo `davx(a) t[e]~­s magivrad `davaxatvine~ aqvs (TayaiSvili, arxeologiuri mogzaurobani, 211), rac ar aris swori, radgan, maSin gaugebaria visgan aris dawerili warwera. TayaiSvilis mosazreba, Tavis droze, gaiziara q. miqelaZemac, miqelaZe, xelovan­momxatvelTa warweraTa mniSvneloba, 167.

luri klaknili xazia. asoebi SewiaRebulia. striqonebi ori gakawruli xaziT moniSnul velSia Cawerili. warwera ase ikiTxeba: † warvegzvnT: | macxovrisa: | SewvniTa: ko | stntipovle | s: da moviyvn | eT: mxatvri: e|se: kirmanoel: | Cven: | on | maxarebelmn: | qvabalia: da: and |ronike: gabisola|va: da vevedrebiT:| macxovarsa: r~aTa: | gvixsnas: Cvenca: | didsa: dResa: m~as: ga|nkiTxvisasa: an: an: an † warvegz(a)vn(e)T│macxovrisa│Sew(e)vniTa ko│st(a)ntipovle│s da moviyv(a)n│eT mxatv(a)ri e│se kirmanoel│ Cven....│on...│maxarebelm(a)n│ qvabalia da and│ronike gabisula│va da vevedrebiT│ macxovarsa raTa│gvixsnas Cvenca│ didsa dResa mas ga│nkiTxvisasa, a(me)n, a(me)n, a(me)n. publikaciebSi `maxarebelm(a)n”­is mxolod dasawyisi `ma~ aris gadmowerili da is aRdgenilia rogorc `ma[xarobeli]~61, Tumca dRemde SemorCenili aso­niSnebi `maxarebelman~­is aRdgenis saSualebas iZleva. walenjixis warwerebis grafemaTa moxazulobaze dakvirvebam dagvanaxa, rom orive maTgani erTi xeliT, qarTuli mwignobrobis mcodne piris mieraa naweri, aSkaraa, rom qarTuli misi mSobliuri enaa. CrdiloeTi burjis warwera, rogorc dasawyisSive mravlobiT formaSi gadmocemuli zmna „warvegzavneT...“ da nacvalsaxeli „Cven“ gvatyobinebs, maxarebeli qvabaliasa da andronike gabisulavas saavtoro teqstia. samxreTi burjis warwera manuel evgenikosisaa, is pirvel pirSia dawerili, magram, rogorc Cans, konstantinopoleli mxatvari, savaraudod, berZnulad karnaxobda teqsts qarTvel ostats. aqedan gamomdinare warweraSi vlindeba berZnuli fonetikisTvis damaxasiaTebeli niSnebi, rac qarTuli bgerebis darbilebaSi gamoixateba, magaliTad, kosTantipovli, an mxatvris gvari evienikos – evgenikosis nacvlad; da, rac mTavaria, es gvarsaxeli saxelobiT formaSi qarTuli „i“ sufiqsis gareSea naxmari. wesiT, warweris es monakveTi gamarTuli qarTuliT ase unda yofiliyo „...movedi... mxatvari kirmanoel evgenikosi...“. Tavis mxriv, evgenikosi Tavis berZnul warweraSi (berZ. #1) qarTul gvarsaxelebs (andronike gabisulava da qvabalia) berZnuli formiT wers62

61 Лорткипанидзе,

, 13­14: lorTqifaniZe, janjalia, walenjixa, 5; sanikiZe, walenjixis macxovris taris istoriisaTvis, 177; miqelaZe, xelovan­momxatvelTa warweraTa mniSvneloba, 167. `maxarebeli~ aqvs m. brosesac da eq. TayaiSvilsac, Brosset, Rapp. IX, 17–18; TayaiSvili, arxeologiuri mogzaurobani, II, 211–212. 62 yauxCiSvili, saqarTvelos berZnuli warwerebis korpusi, 94­95; Velmans, Le décor, 202.

Crdilo­dasavleT burjze qvabaliasa da gabisulavas warweris qvemoT, SemorCenilia Savi saRebaviT naweri Svidstriqoniani asomTavruli warwera, romelic adgilmdebareobiT samxreT­dasavleTi burjis warweris qveviT gamosaxul mcenareul ornaments Seesabameba. warwera ase ikiTxeba: ek ma ... | SenebelTa: | galatozTa: | da: xelisofa|lTa: da: mzar|olTa yTa: Ss: R ... | an: an: an: ek[lesiisa ma] | SenebelTa │galatozTa│da xelisufa│lTa da mzar[e]│ulTa y(ovel)Ta S(eundvne)s R[merTman] │ a(me)n, a(me)n, a(me)n. warweraSi mSeneblebis da galatozebis xseneba migvaniSnebs, rom XIV saukunis miwuruls, vamey dadianis dros eklesiis moxatvis paralelurad samSeneblo saqmianobac mimdinareobda. gamocema: Brosset, Rapports, IXe , 17–18; TayaiSvili, arxeologiuri mogzaurobani, 211–212; Лорткипанидзе, Роспись в Цаленджиха, 14; lorTqifaniZe, janjalia, walenjixa, 5; sanikiZe, walenjixis macxovris taZris istoriisaTvis, 177. 21 mxeris mTavarangelozTa eklesia. daviTis warwera. XIV s. daviT mxatvris asomTavruli warwera mdebareobs eklesiis kankelis samxreTi filis zeda kideze. warwera wiTeli saRebaviTaa Sesrulebuli da Zlieraa dazianebuli. warwera pirvelad gamoaqveyna e. kavlelaSvilma. mkvlevari aRniSnavs, rom warwera dazianebulia, Tumca mas srulad kiTxulobs. 2018 wlis agvistoSi, warwera mniSvnelovnad dazianebuli dagvxvda. misi nawili Selesilobis Camocvenis gamo ganadgurebulia. amdenad, teqsts aRvadgen e. kavlelaSvilis mixedviT. gankveTilobis niSnebad naxmaria ori wertili. :macx…ro:…viTs: mx…arsa: macx[ova]ro [meox eqmen da]viTs mx[atv]arsa. warweris grafemebi moyvanilobiT hgavs eklesiis saqtitoro portretis Tanmxlebi warweris asoniSnebs da XIV saukuniT TariRdeba. gamocema: kavlelaSvili, mxeris eklesiis mxatvari, 96–100.

gelaTis RvTismSoblis Sobis taZari. Teodores, simeonis da elias warwerebi. 1520-iani ww., 1550-ani ww. (sur. 18, 19, 20, 21, 22)

gelaTis RvTismSoblis Sobis saxelobis taZris gumbaTis yelSi, sarkmelTSoris kedlebze fexze mdgomi winaswarmetyvelTa gamosaxulebebis fexis terfebis qveS, sarkmlis rafis zonaSi muq lurj fonze TeTri saRebaviT Sesrulebuli asomTavruli warwerebia. warweraTa grafemebi moxazulobiT zedmiwevniT hgavs winaswarmetyvelTa ganmartebiTi warwerebis asoniSnebs, rac migvaniSnebs, rom isini erTi xeliTaa naweri da kedlis mxatvrobis droindelia (1520­iani ww.). warwerebi gumbaTis yelis sxvadasxva arezea datanili da oTx jgufad nawildeba mis aRmosavleT da dasavleT monakveTze. gankveTilobis niSnad ori wertilia naxmari.

a) aRmosavleTiT ww. solomonis figuris qveS, orstriqoniani asomTavruli warwera: simeon: gam|deli: ese: simeon gam | deli ese

b) ww. solomonis figuris gverdiT (samxreTiT) ww. daviTis gamosaxulebis qvemoT samstriqoniani asomTavruli warwera: da Sroma: smdable: | Teodoro | xeli: wera ese da Sroma s(i)mdable | Teodoro | xeli wera ese.

g) gumbaTis yelis dasavleT nawilze, ww. ionas gamosaxulebis qvemoT orstriqoniani asomTavruli warwera: Simeon: | saqme: aqa: simeon | saqme aqa. d) ww. ionas gverdiT, amJamad, TiTqmis mTlianad CamoSlili winaswarmetyvelis gamosaxulebis qvemoT Zlier dazianebuli samstriqoniani asomTavruli warweraa. SemorCenilia mxolod misi marjvena monakveTi; mesame striqonis grafemebi zeda orTan SedarebiT mcire zomisaa da sarkmlis moCarCoebis wiTel zolze gadadis: s(?) Te | ori | Rlb (?) ...s(?) Te | ori | Rlb (?)

es sakmaod bundovani Sinaarsis warwerebi mdebareobis mixedviT, rogorc Cans, mxatvrebs ekuTvniT. erT­erT warweraSi ixsenieba vinme simeoni, romelic savaraudod, meore warweraSi dasaxlebuli Teodores gam(z)deli yofila. warwerebi, rogorc Cans, Teodorem Seasrula. aSkaraa, rom is ar aris qarTveli, sxva mxriv gaurkveveli iqneboda agvexsna Tu ratomaa warwerebSi amdeni gramatikuli Secdoma. magaliTad, Teodores warweris sityvaTa wyoba _ `Teodoro xeli wera~ gamarTuli qarTuliT ase iqneboda: `xeli Teodoresi~ an `daiwera/moiwera xeliTa TeodoresiTa~. savaraudod Teodores esmoda elementaruli qarTuli da qarTuli anbanic icoda, magram ar SeeZlo damoukideblad gamarTuli qarTuli teqstis Sedgena. Teodoresa da simeons berZen mxatvrebad miiCneven63. Teodores warweris `wera~, aq xatvis mniSvnelobiTaa naxmari. ZvelqarTulSi es termini gamoxatavs teqstis werasac da xatvasac.

gamocema: Brosset, Rapp. XIe, 13; Церетели, Полное собрание, 232­233; Мефисашвили, Архитектурный ансамбль, 10; mamaiaSvili, gelaTis, monastris RvTismSoblis taZris XVI saukunis mxatvroba, 125. e) mxatvars unda ekuTvnodes TeTri saRebaviT Sesrulebuli orstriqoniani asomTavruli warwera, romelic taZris dasavleTi mklavis dasavleT kedlis zeda registrSi gamosaxuli ZilimowafeTa kompoziciaSi qristes muxlmoyril figurasTan aris miwerili. gankveTilobis niSani _ sami wertili. q~e : Siwyl: soli | eliasi: q(rist)e S(e)iwy(a)l(e) suli | eliasi warwera paleografiuladac da xelweriTac amave scenis zedwerilebis analogiuria da moxatulobis Tanadroulia, 1550­iani wlebisa. gamocema: i. mamaiaSvili, gelaTis monastris monastris RvTismSoblis taZris XVI saukunis mxatvroba, 144. 63 miqelaZe, xelovan­momxatvelTa warweraTa mniSvneloba, 155, misive, Greek Painters, 178179. Aavtoris varaudiT, warwera `xeli wera~ berZnulidan aris gadmoqarTulebuli; berZeni mxatvrebi xSirad akeTeben `xelmoweras~, romelic Sedgeba sityvisgan `xeli~ da mxatvris saxelisgan (mag., `xeli mixeilis evtixis~ (χειρ Mιχαηλ Ευττυχιου); `Teodoro~­c (Teodoro) berZnuli Θεοδώρου­dan unda iyos gadmotanili. mxatvarma, rogorc Cans, berZnuli χείρ Θεοδώρου (xeli Teodoresi) gadmoitana. `o/u~ (o) daboloeba berZnuli `u~­danaa (ου) gadmotanili. ix., Mikeladze, Greek Painters, 179, Sen. 20. aRsaniSnavia, rom Secdomebia daSvebuli gumbaTSi gamosaxuli winaswarmetyvelebis ganmartebiT warwerebSic. sityva `winaswarmetyveli~ berZnulad weria, sakuTari saxelebi ki qarTulad, oRond xan berZnuli daboloebiT (moisis, ionas da sxva) xan SecdomebiT (ostati ‘¢’­s da ‘f’ urevs – dfid (daviT), so¢onias (sofonia), yauxCiSvili, saqarTvelos berZnuli warwerebis korpusi, 159­160.

wiTelxevis wm. giorgis eklesia. giorgi joxtoberiZis warwera. XVI s. (sur. 23)

Savi saRebaviT Sesrulebuli oTxstriqoniani asomTavruli warwera sakurTxevlis afsidSi, sarkmlis qveS, xatimiZinebis gamosaxulebis Tavze mdebareobs. warwera viwro Savi da wiTeli xazebiTaa moCarCoebuli. qaragma – bolowertilovani swori ganivi xazia. gankveTilobis niSani – sami wertilia. amis: mxtvra | rgis: j~oxber | Se~ods Rme | am~n amis mx(a)tv(a)r(s)a | [gio]rgis joxt(o)be[riZes] | Seu(n)dos Rme[rTman] | amen.

gamocema: burWulaZe, deviZeebis eklesiis kedlis mxatvrobis Sesaxeb, 53; xuskivaZe, qarTul eklesiaTa gviani Sua saukuneebis `xalxuri~ moxatulobebi, 96. eklesiis CrdiloeT kedlis aRmosavleT monakveTSi, qveda registris ZirSi moxatulobis mogvianebiT (XVI s­is bolos) datanil fenaze kidev erTi warweraa, romelic i. xuskivaZis varaudiT, am periodis mxatvars (gabriel ryeSelaSvils)64 ekuTvnis, rac savsebiT SesaZlebelia, Tumca warwera, iseve rogorc, misi mimarTeba moxatulobasTan kidev iTxovs kvlevas. asomTavruli warwera wiTeli saRebaviTaa Sesrulebuli:

Ro dwmo grg Swtle soli | gbrelsa rtSlSvsa d vinca S |ndoba brZna Tqc Sen |iqmeniT R(erT)o d(a) wm(ida)o g(io)rg(i) S(ei)wy(a)le suli | g(a)br(i)el(i) sa rty(eSe)(l(a)Sv(ili)sa65 d(a) vinca S(e) | ndoba brZ(a)na Tq(ven)c Send(obil) | iqmeniT~.

gamocema: xuskivaZe, qarTul eklesiaTa gviani Sua saukuneebis `xalxuri~ moxatulobani, 84­85

64 iqve, 84­85. 65 xuskivaZe kiTxulobs – tyeSelaSvils, xuskivaZe, qarTul eklesiaTa gviani Sua saukuneebis `xalxuri~ moxatulobani, 84­85.

gelaTis wm. elias eklesia. giorgi joxtoberiZis warwera. XVI s. (sur. 24) wiTeli saRebaviT Sesrulebuli samstriqoniani asomTavruli warwera dasavleT kedlis zeda registrSi karis aswvriv, sarkmlis qveS aris moTavsebuli. SemosazRvrulia wiTeli moCarCoebiT. gankveTilobis niSani – sami wertili, qaragma – horizontaluri klaknili xazi.

amisa: mx~tvr~sa| g~iog~s:jx~t: beriZ~s | Seonds: Rme~Tn: am~n amisa mx(a)tv(a)rsa | gio(r)g(i)s joxt(o)beriZ(e)s | Seund(o)s Rme(r)T(ma)n am(e)n. gamocema: Мефисашвили, Архитектурный алнсамбль, 162; xuskivaZe, qarTul eklesiaTa gviani Sua saukuneebis `xalxuri~ moxatulobebi, 111. 25

ilemis wm. giorgis eklesia. giorgi joxtoberiZis warwera. XVI s. mxatvar giorgi joxtoberiZis warwera amJamad aRar aris SemorCenili. i. xuskivaZis cnobiT, is eklesiis (samnaviani bazilika) Sua navis CrdiloeTi pilastris kapitelze iyo moTavsebuli66. mogvyavs i. xuskivaZis gadmonaweri: amis mxatv(arsa) giorgis joxtoberiZes Seundos RmerTman, amin. gamocema: xuskivaZe, qarTul eklesiaTa Sua saukuneebis `xalxuri~ moxatulobebi, 135. 26 obCis wm. giorgis eklesia. giorgi joxtoberiZis warwera. XVI s. (sur. 25) mxatvar giorgi joxtoberiZis warwera eklesiis samxreTi kedlis dasavleT monakveTSi, qveda registrSi mdebareobs. wiTeli saRebaviT Sesrulebuli erTstriqoniani asomTavruli warweridan mcire fragmentia SemorCenili. g. boWoriZis dros jer kidev gairCeoda gvari – joxtoberiZe. qaragmis niSani – grZeli klaknili xazi. 66 xuskivaZe, qarTul eklesiaTa Sua saukuneebis `xalxuri~ moxatulobebi, 135.

warwera dRevandeli saxiT ase ikiTxeba: eo Rm~Tn am~n ... eu Rm(er)T(ma)n am(e)n boWoriZis gadmonaweri: `...joxt(a)b(e)rs S[eundos] Rm(er)T(ma)n~ giorgi joxtoberiZis sxva warwerbis (#23, 24, 25) gaTvaliswinebiT i. xuskivaZem obCis warwera ase aRadgina: `amisa mxatvarsa giorgis joxtoberiZes Seundos RmerTman, amin~. gamocema: boWoriZe, imereTis istoriuli Zeglebi, 60–61; xuskivaZe, qarTul eklesiaTa gviani Sua saukuneebis `xalxuri~ moxatulobani, 75, Sen. 1.

27

kalauriს wm. giorgis eklesiis warwerebi. XVI s. (sur. 26) kalauris wm. giorgis saxelobis sameklesiiani bazilikis centraluri navis moxatulobis istoriuli xasiaTis warwerebidan samecniero literaturaSi oTxi iyo cnobili. 2009 wels moxatulobis sarestavracio samuSaos dros gamovlinda aqamde ucnobi ramdenime warwera da gamosaxuleba da dazustda zogierTi adre wakiTxuli warwerac. miuxedavad imisa, rom es warwerebi mxatvarTan dakavSirebul cnobebs ar Seicavs, maTi aq warmodgena mainc mizanSewonilad miviCnieT. yvela warwera asomTavruliTaa dawerili da arafriT gansxvavdeba kedlis mxatvrobis ganmartebiTi warwerebisgan, msgavsi xeliTaa naweri da misi Tanadrouli, XVI s­isaa. warwerebSi qaragmisa da gankveTilobis niSnebi msgavsia: qaragma mokle klaknili horizontaluri xazia, gankveTilobis niSani – sami wertili. ramdenime warweris boloSi ori wertili da maT Soris mokle horizontaluri xazia datanili. a) mxatvarTa warwera eklesiis Sua navis CrdiloeTi kedlis aRmosavleT monakveTze, sakurTxevlis afsidis maxloblad, gverdiTa navSi (samkveTloSi) gasasvleli Riobis Tavze, moxatulobis qveda registrSia moTavsebuli. TeTri saRebaviT muq lurj fonze, iatakidan 209 sm­is simaRleze datanili orstriqoniania asomTavruli warwera mogvianebiT aRmarTuli qvis kankelis arqitraviTaa dazianebuli. warweris farTobi: 61X18 sm, udidesi grafema – 9 sm, umciresi grafema: 5, 5sm. amisa : mxtvrTa | S~s: R~n: amisa mx(a)tv(a)rTa | S(eundvne)s R(merTma)n.

gamocema: xuskivaZe, qarTul eklesiaTa gviani Sua saukuneebis `xalxuri~ moxatulobani, 331.

b) sakurTxevlis afsidis CrdiloeT kalTaze, qveda registrSi, mcire niSis qveS muqi wiTeli saRebaviT Sesrulebuli orstriqoniania asomTavruli warwera (farTobi: 17X38sm, udidesi grafema: 5,5sm, uciresi: 4sm). goliasa | S~s R~n guliasa | S(eundo)s R(merTma)n.

g) am warweris qvemoT, iatakidan 58 sm­is simaRleze meore orstriqoniani asomTavruli warweraa (farTobi: 15,5X9,5sm, udidesi grafema: 8 sm, umciresi _ 4sm.) gogas S~s | R~n gogas S(undo)s | R(merTma)n. es ori warwera erTmaneTisgan ar aris gamijnuli. CrdiloeTi kedlis warweraSi (a) sityva mxatvari mravlobiT ricxvSia mocemuli, rac imas gvauwyebs, rom eklesia erTze metma mxatvarma moxata. SesaZlebelia mxatvarTa saxelebia sakurTxevlis afsidis kedelze erTmaneTis qvemoT datanil warwerebSi (b, g) naxsenebi gulia da goga. d) sakurTxevlis afsidis samxreT kalTaze, ziarebis kompoziciis qvemoT, iatakidan 207 sm­is simaRleze wiTeli saRebaviT Sesrulebuli erTstriqoniani asomTavruli warweraa. misi dasawyisi gadaSlilia (farTobi: 182X10sm, udidesi grafema – 10 sm, umciresi – 5sm.) ami :… ... som....nesa marTlad S~s R~n ami[s]...:…som...nesa marTlad S(eundo)s R(merTma)n67. warwerebi (b, g, d) gamoqveynebuli aqvs T. barnavels, Tumca wakiTxvaSi daSvebulia Secdomebi. marTebuli ar aris arc maTi XIX s­iT daTariReba68 e) sarestavracio samuSaos dros, sakurTxevlis afsidis moxatulobis Wvartlisgan gawmendis Semdeg, qveda registrSi CrdiloeTiT, wm. mRvdelmTavarTa gamosaxulebebs Soris istoriuli piris portreti da misi Tanmxlebi warwera gamovlinda. wiTeli saRebaviT Sesrulebuli xuTstriqoniani asomTavruli warwe67 i. xuskivaZis wakiTxva: `...marTlad S/eundo/s R/merTma/n~, xuskivaZe, qarTul eklesiaTa gviani Sua saukuneebis `xalxuri~ moxatulobani, 320. 68 kaxeTis istoriuli Zeglebis warwerebi, 107­108.

ra gamosaxulebis TavTan, mis orsav mxares aris ganawilebuli (farTobi: 24X23sm, udidesi grafema – 7,5 sm, umciresi – 3,5 sm) a~qa gv~is | Seods | R~n maTe| dekan |ozs: aqa g(i)vis Se(n)d(o)s | R(merTma)n maTe | dekan | ozs [Seundos RmerTman].

v) sarestavracio samuSaos Sedegad samxreT kedlis aRmosavleT monakveTze, sarkmlis aRmosavleTi wirTxlis aRmosavleTiT, iatakidan 190 sm­ze, muqi wiTeli saRebaviT Sesrulebuli oTxstriqoniani asomTavruli warwera gamovlinda (farTobi: 38X25 sm, udidesi grafema: 9sm, umciresi _ 4 sm.) mo~ra | vsa: e|lozs | S~n R~n mo(u)ra | vsa e | l(i)ozs | S(eundve)n R(merTma)n.

kalauris moxatulobis warwerebidan gamovlindnen aqamde ucnobi saero da sasuliero pirebi: mouravi eliozi da maTe dekanozi, savaraudod, maTi ZalisxmeviT unda moxatuliyo eklesia. 28

nikorwmindis wm. nikolozis taZari. vaJizbeda kekulaZis da ioane javaxaZis warwera. XVI s. (sur. 27) nikorwmindis taZris dasavleTi karibWis CrdiloeT kedelze, qtitorTa portretis Tavze, iatakidan 230 sm­is simaRleze wiTeli saRebaviT Sesrulebuli eqvsstriqoniani asomTavruli warweraa (warweris farTobi: 44X34 sm). warwera wiTelive saRebaviT Semoxazul CarCoSia Cawerili: amisa mxatv | arTa vaJizb | edasa kikolaZesa da ioans | javaxaZesa S~s R~n | vnca: brZanoT | Tqnca: S~s: R~n: a~n: amisa mxatv|arTa vaJizb|edasa kekulaZesa da ioan(e)s | javaxaZesa S(eundo)s R(merTma)n | v(i)nca brZanoT | Tq(ue)nca S(egindvne)s R(merTma) n a(me)n. gamocema: kakabaZe, winaswari cnoba, 104.

martvilis taZari. giorgis warwera. XVI s. (sur. 28)

Savi saRebaviT Sesrulebuli oTxstriqoniani asomTavruli warwera mdebareobs eklesiis samxreTi mklavis sarkmlis Tavze, wiTeli xaziT Semovlebul moCarCoebaSi. gankveTilobis niSani sami wertilia, qaragma – horizontaluri, mokle klaknili xazi. w: yo~lad: wo: | S~e: g~rg~i: m|xa~vari a~n | ..a yo(v)lad w(minda)o | S(eiwyal)e g(io)rgi m|xa(t)vari a(me)n |..a69 gamocema: TayaiSvili, arxeologiuri mogzaurobani, II, 123; CixlaZe, martvilis taZris moxatulobaTa fenebi, 98. 30 Cxaris wm. giorgis eklesia. grigolis warwera. XVI s. (sur. 29) wiTeli saRebaviT naweri Svidstriqoniani asomTavruli Zlier fragmentirebuli warwera mdebareobs eklesiis sakurTxevlis afsidSi centralur da CrdiloeT sarkmlebs Soris areze. gankveTilobis niSani ­ ori da sami wertilia, „u“ grafema mxedruladaa dawerili. warwera pirvelad waikiTxa g. boWoriZem – „e mumiW~| grig(ol) (?) ka[la]| t(o)z(s) (?) d(a)x(a)ta | mer­u S(eiwya) | le (?) suli.. | gulisa...| mukar...70. 2019 wlis 28 ivliss warwera ufro metad dazianebuli dagvxvda, warweris grafemebi gadaSlilia. mxedrul transliteraciaSi kvadratul frCxilebSi momaqvs g. boWoriZis mier amokiTxuli grafemebi: e:. mumiW | grig | tz: dax | me ru | le:. sa (?) | gulis | euyares e:. mumiW... | grig[ol kala] |t(o)z: dax[ata]|... me ru [Seiwya]| le sa (?)...| ...gulis...| ...euyares... warweris teqsti bundovania, irkveva kalatozis saxeli grigoli. g. boWoriZis wakiTxviT aqve weria sityva „daxata“, Tumca ra kavSiria am sityvasa da grigol kalatozs Soris gaurkvevelia; dabejiTebiT imis Tqmac SeuZlebelia _ grigoli aris Tu ara kalatozi, radganac boWoriZis cnobiT CrdiloeT kedelze gamosaxuli iyo didebulis samosiT mosili piri, romelsac

69 eq. TayaiSvili warweris mdebareobas SecdomiT uTiTebs CrdiloeT afsidSi, TayaiSvili, arxeologiuri mogzaurobani, II, 123. 70 boWoriZe, imereTis istoriuli Zeglebi, 199.

axlda warwera: „aqa grigols Seundos RmerTman“71. es gamosaxuleba, romelic g. boWoriZis drosac fragmentebis saxiT iyo SemorCenili da misi warwera amJamad aRar arsebobs.

gamocema: boWoriZe, imereTis istoriuli Zeglebi, 199. 31 erTawmindis wm. evstates taZari. saqtitoro warwera. 1654 w. (sur. 30) muq fonze, TeTri saRebaviT Sesrulebuli asomTavruli warwera mdebareobs samkveTlos karis Tavze. mas figuruli moCarCoeba sazRvravs, romelic mogvagonebs ierusalimis wm. Teklas monastris qaixosro zedginiZis warweris (XV­XVI ss­is mijna) moCarCoebas72. warwera (farTobi: 110X54 sm, grafemebis zoma: 6sm ­ 2,5sm; qaragma horizontaluri mokle klaknili xazia, gankveTilobis niSani – sami wertili; calkeuli asoniSnebi SewiaRebulia) cxra striqoniania, bolo mecxre striqoni moCarCoebis qveda kidedan gasulia, TariRi vertikalurad weria warweris marcxena gverdTan. † adide: R~o: mefeT:mefe:ptr|oni: rostm: da: Ta: mecxedre: mTi |dedofli:ptrni: m~rm: m~T: JamTa: nbiTa| da: SewvniTa: Ris~Ta:da: mxebiTa: wi~sa: evstTisiTa:| br~ZneTa: pt~rns: ioramisiTa: Cn: kargreTelmn | ionaTam: da: iese: davaxtvineT: sy~dri : ese: Ãli|Ta: iÀl~ms: jis: monastris: mR~dlmo~nsa: | meletiosesTa: slisa : Cnisa: saÃsrad: da cdvaT. :|CnTa: Sesandoblad: vinca: miemTxneT: Sendoba: TqviT| qksa: tmb † adide R(merT)o mefeT mefe p(a)tr|oni rost(o)m da T(an)a mecxedre m(a)Ti | dedof(a)li p(a)tr(o)ni m(a)r(ia)m. m(a)T JamTa n(e)biTa | da SewevniTa R(mrT)is(a¡)Ta da m(eo)xebiTa w(m)i(di)sa evst(a)TisiTa | brZ(a) ne(bi)Ta p(a)tr(o)n(i)s ioramisiTa C(ue)n karg(a)reTelm(a)n73 | ionaTam da iese davax(a)tvineT £eli|Ta iÀ(rusa)l(e)m(i)s j(vr)is monastris mR(v) d(e)lmo(nazo)n(i)sa| meletioses(i)Ta s(u)lisa C(ue)nisa sa£srad da c(o) dvaT[a] | C(ue)nTa Sesandoblad. vinca miemTx(vi)neT Sendoba TqviT74 | q(oroni)k(on)sa tmb (1654 w.).

gamocema: mamasaxlisi, erTawmindis taZris moxatulobis TariRi, 31­39.

71 iqve, 199.

72 gagoSiZe, wminda miwis qarTuli warwerebi, 43, nax. 34

73 am sityvis meore grafema `a” mxedruladaa dawerili.

74 sityva `TqviT~ gamorCa i. mamasaxliss, romelsac es warwera aqvs gamoqveynebuli, mamasaxlisi, erTawmindis taZris moxatulobis TariRi, 32.

samTavisis taZari. meliton samTavnelis warwera. 1679 w. (sur. 31) samTavisis eklesiis gumbaTqveSa samxreT­aRmosavleT burjze iatakidan sakmaod maRla mdebareobs yviTel fonze TeTri saRebaviT naweri Svidstriqoniani asomTavruli warwera, romelic wiTeli saRebaviT moxazul moCarCoebaSia moqceuli. gankveTilobis niSnad sami wertili, xolo qaragmad mokle horizontaluri, klaknili xazia gamoyenebuli. :dax~ta: w~da: | :sakrTxlsa | amas ÃlTa | :samTvl ep|kbz melto | oÂvn~dn~s: R~Tn: | tÁ~z: T~a: okbsa da(i)x(a)ta w(mi)da |sak(u)rTx(eve)lsa | amas £(e)l(i)Ta | samT(a)v(ne)l ep | (is)k(o)b(o)z mel(i)to(nisiTa) | [Se]uvndn(e)s R(mer)T(ma)n | t¡z T(ues)a ok(tom)b(er)sa. `b~ ­ nusxaxucuri grafemiTaa aRniSnuli, „t~ asoniSans fexi marcxniv aqvs mitrialebuli. warweridan vigebT, rom samTavisis eklesiis sakurTxeveli 1679 wels (qoronikonsa t¡z) mouxatavs samTavnel episkoposs melitons. aRsaniSnavia, rom saxeli melitonis bolo bgerebi Sekvecil­daqaragmebulia, aseve „araswori moxazuloba aqvs `t“ grafemas. taZris Crdilo­aRmosavleT burjze moTavsebulia meore asomTavruli warwera, romelic iuwyeba, rom sakurTxeveli givi amilaxoris brZanebiT moixata. gamocema: soxaSvili, samTavisi, 100–104, sur. 56, 57. 33

sveticxovlis kaTedralis `cxoveli sveti”. grigol guljavarasSvilis warwera. 1678-1688 ww. (sur. 32, 33) sveticxovlis taZris interierSi mdebare svetis (`cxoveli svetis~) fanCaturis or – samxreT­dasavleT da samxreT­aRmosavleT svetze Savi saRebaviT dawerilia samstriqoniani asomTavruli warwera. warweris pirveli striqoni samxreT­dasavleTi svetis dasavleTi waxnagidan iwyeba da samxreT­aRmosavleT svetze gadadis, asevea gawyobili warweris meore striqonic, bolo ori aso mesame striqonzea ganTavsebuli. qaragma hori­

zontaluri mokle klaknili xazia, gankveTilobis niSani ori wertilia. stilizebuli grafemebi rig SemTxvevaSi SewiaRebulia.

†: o~o: Senisa: didebsTvs: brZanebiTa: ko~zis: nikolozisiTa: dvxte: me: f~d: cvilma: moqlqem: goljvrs: | Svilma: grigol: sveti: ese: raodenTa: aRmCxrikoT: ….. Sendoba: brZoT: Tqenca: mogtens: cdv|ni: † u(fal)o Senisa dideb(i)sTv(i)s brZanebiTa k(aTalik)ozis nikolozisiTa d(a)vx(a)te me f(ria)d c(od)vilma moq(a)l(a)qem gulj(a)v(a)r(i)s | Svilma grigol sveti ese raodenTa aRmCxrikoT ..... Sendoba brZ(an)oT Tq(u)enca mog(e)te(v)n(e)s c(o)dv(a)|ni.

warweraSi gviani Sua saukuneebis qarTuli warwerebisTvis maxasiaTebeli erTi detali gvxvdeba – asomTavruliT Sedgenil teqstis yvela `a” grafema mxedruladaa dawerili. msgavsadaa dawerili ierusalimis jvris monastris 1643 wliT daTariRebuli saRebaviT Sesrulebuli warwerebis umetesoba.75 warwera kaTolikos nikoloz amilaxoris zeobiT (1678­1688 ww.) TariRdeba.

gamocema: beriZe, mcxeTis kaTedralis “sveti cxoveli”, 141­142. 34

vejinis amaRlebis eklesiis warwera. XVI-XVII ss. vejinis eklesiis samxreT kedelze iatakidan 130 sm­is simaRleze, moxatulobis registrebis gamyofi wiTeli xazis zeviT TeTri saRebaviT Sesrulebuli Zlier dazianebuli erTstriqoniani asomTavruli warweraa, romelSic, savaraudod, mxatvaria dasaxelebuli.

.rls: Si...ramaz: ...rls Si... ramazs.

75 gagoSiZe g., wminda miwis qarTuli warwerebi, 60, 61.

sur. 1. sabereebis monastris III eklesia. CrdiloeTi kedeli. mxatvris warwera. IX s. Sabereeby Monastery. Church III. North wall. Inscription of the painter. 9th c. sur. 2. sabereebis monastris VII eklesia. aRmosavleTi kedeli. mxatvris warwera. X s. Sabereeby Monastery. Church VII. East wall. Inscription of the painter. 10th c.

sur. 3. sabereebis monastris VIII eklesia. sakurTxevlis afsidis konqi. mxatvris warwera. X s. Sabereeby Monastery. Church VIII. Sanctuary conch. Inscription of the painter. 10th c.

sur. 4. nezgunis macxovris eklesia. saqtitoro warwera. detali. X s. Nezguni. Church of the Saviour. Sanctuary apse. Donor inscription. Detail. 10th c.

sur. 5. ifrarais mTavarangelozTa eklesia. kankeli. saqtitoro warwera. 1096w. Iprari. Church of the Holy Archangels. Chancel barrier. Donor inscription. 1096.

sur. 6. lagurka. dasavleTi kedeli. saqtitoro warwera. 1111 w. Kala. Lagurka. (Church of Sts. Cyriacus and Julita). West wall. Donor inscription. 1111.

sur. 7. nakifaris wm. giorgis eklesia. kankeli. saqtitoro warwera. 1130 w. Nakipari. Church of St. George. Chancel barrier. Donor inscription. 1130.

sur. 8. macxvariSis macxovris eklesia. CrdiloeTi kedeli. miqael maRlakelis warwera. 1140 w. Matskhvarishi. Church of the Saviour. North wall. Inscription of Michael Maghlakeili. 1140.

sur. 9. varZiis RvTismSoblis miZinebis taZari. sakurTxevlis afsidi. giorgi Waris warwera. XII s. Vardzia. Church of the Dormition. Sanctuary apse. Inscription of Giorgi Jari. 12th c. sur. 10. beTaniis RvTismSoblis Sobis taZari. sakurTxevlis afsidi. demetres warwera. XII s. Betania. Church of the Nativity of the Virgin. Inscription of Demetre. 12th c.

sur. 11. ozaanis amaRlebis eklesia. sakurTxevlis afsidi. miqaelis warwera. XII­XIII ss. Ozaani. Church of the Ascension. Sanctuary apse. Inscription of Michael. 12th-13th cc.

sur. 12. Woxuldis macxovris eklesia. dasavleTi kedeli. saRiris warwera. XIII s. Jokhuldi. Church of the Saviour. West wall. Inscription of Saghir. 13th c.

sur. 13. safaris wm. sabas taZari. samxreTi kedeli. Teodoretis warwera. XIV s. Sapara. Church of St. Sabas. South wall. Inscription of Theodoret. 14th c.

sur. 14. ubisis wm. giorgis eklesia. sakurTxevlis TaRi. gerasimes warwera. XIV s. Ubisi. Church of St. George. Sanctuary arch. Inscription of Gerasime. 14th c.

sur. 16. walenjixis macxovris eklesia. samxreT­dasavleTi burji. manuel evgenikosis warwera. 1384­1396 ww. Tsalenjikha. Church of the Saviour. South-west pier. Inscription of Manuel Eugenikos. 1384-1396.

sur. 17. walenjixis macxovris eklesia. Crdilo­dasavleTi burji. qvabalias da gabisulavas warwera. 1384­1396 ww. Tsalenjikha. Church of the Saviour. North-west pier. Inscription of Kvabalia and Gabisulava. 1384-1396.

sur. 18. gelaTis RvTismSoblis Sobis taZari. gumbaTi. simeonis warwera. 1520­iani ww. Gelati. Church of the Nativity of the Virgin. Dome. Inscription of Simeon. 1520-s. sur. 19. gelaTis RvTismSoblis Sobis taZari. gumbaTi. Teodores warwera. 1520­iani ww. Gelati. Church of the Nativity of the Virgin. Dome. Inscription of Theodore. 1520-s.

sur. 20. gelaTis RvTismSoblis Sobis taZari. gumbaTi. simeonis warwera. 1520­iani ww. Gelati. Church of the Nativity of the Virgin. Dome. Inscription of Simeon. 1520-s. sur. 21. gelaTis RvTismSoblis Sobis taZari. gumbaTi. mxatvris warwera. 1520­iani ww.

Gelati. Church of the Nativity of the Virgin. Dome. Inscription of the painter. 1520-s.

sur. 22. gelaTis RvTismSoblis Sobis taZari. dasavleTi kedeli. elias warwera. 1550­iani ww. Gelati. Church of the Nativity of the Virgin. West wall. Inscription of Elias. 1550-s.

sur. 23. wiTelxevis wm. giorgis eklesia. sakurTxevlis afsidi. giorgi joxtoberiZis warwera. XVI s.

Tsitelkhevi. Church of St. George. Sanctuary apse. Inscription of Giorgi Jokhtoberidze. 16th c. sur. 24. gelaTis wm. elias eklesia. dasavleTi kedeli. giorgi joxtoberiZis warwera. XVI s.

Gelati. Church of St. Elias. West wall. Inscription of Giorgi Jokhtoberidze. 16th c.

sur. 25. obCis wm. giorgis eklesia. samxreTi kedeli. giorgi joxtoberiZis warwera. XVI s. Obcha. Church of St. George. South wall. Inscription of Giorgi Jokhtoberidze. 16th c.

sur. 26. kalauri wm. giorgis eklesia. CrdiloeTi kedeli. mxatvarTa warwera. XVI s. Kalauri. Church of St. George. North wall. Inscription of the painters. 16th c.

sur. 27. nikorwmindis wm. nikolozis taZari. dasavleTi karibWe. vaJizbeda kekulaZisa da ioane javaxaZis warwera XVI s. Nikortsminda. Church of St. Nickolas. West porch. Inscription of Vazhisbeda Kekuladze and Ioane Javakhadze. 16th c.

sur. 28. martvilis kaTedrali. samxreTi mklavi. giorgis warwera. XVI s. Martvili. Cathedral. South apse. Inscription of Giorgi. 16th c.

sur. 29. Cxaris wm. giorgis eklesia. sakurTxevlis afsidi. grigolis warwera. XVI s. Chkhari. Church of St. George. Sanctuary apse. Inscription of Grigoli. 16th c.

sur. 31. samTavisis taZari. Crdilo­aRmosavleTi burji. meliton samTavnelis warwera. 1679 w. Samtavisi. Cathedral. North-east pier. Inscription of Bishop Meliton. 1679.

sur. 32. sveticxovlis kaTedrali. `cxoveli sveti~. grigol guljavarasSvilis warwera. detali. 1678­1688 ww. Mtskheta. Svetitskhoveli Cathedral. Inscription of Grigol Guljavarasshvili on the ‘Life-Giving Pilar ’. 1678-1688.

sur. 33. sveticxovlis kaTedrali. `cxovli sveti~. grigol guljavarasSvilis warwera. detali. 1678­1688 ww. Mtskheta. Svetitskhoveli Cathedral. Inscription of Grigol Guljavarasshvili on the ‘Life-Giving Pilar ’. 1678-1688.

berZnuli warwerebi

Sua saukuneebis qarTul kedlis mxatvrobaSi eqvsi berZnulenovani warweraa SemorCenili, romelSic mxatvrebi arian dasaxelebulni. isini sxva berZnul warwerebTan erTad fundamenturad aris gamoikvleuli TinaTin yauxCiSvilis mier. aq warmodgenili warwerebi ucvlelad mogvyavs misi monografiidan (saqarTvelos berZnuli warwerebis korpusi, Tbilisi, 2009), sadac TiToeuli maTganis sruli dokumentacia, teqnikuri monacemebi, paleografiuli da lingvistikuri maxasiaTeblebia mocemuli.1 1 walenjixis macxovris eklesia. manuel evgenikosis warwera. 1384-1396 ww. (sur.1). konstantinopoleli mxatvris manuel evgenikosis TxuTmetstriqoniani warwera moTavsebulia taZris samxreT­dasavleTi burjis dasavleT waxnagze. Sesrulebulia Savi saRebaviT TeTr fonze. †[Δ]έησι[ς τοῦ] δούλου τοῦ θ[εο]ῦ καὶ | ἁμαρτωλοῦ Μανουὴλ τοῦ Εὐγενι] | κοῦ καὶ ζωγράφου τοῦ στ[ορήσαν] | τος τὸν ναὸν ἐτοῦτ[ον καὶ] | ἐλθόντος ἀπὲ τὴν [Κωνσταν]| τηνόπολιν ἤγ[ουν ... μο] | ναχοὺς ἔστειλε … | τοῦ κόσμου ἕ[νεκα ὁ … | Βάμεκ ὀνόματι τῶν[δὲ μοναχῶν] | τὰ ὀνόματα ταῦτα: Κο[παλίας] | ὁ Μαχαρεβέλης καὶ Ἀν[δρόνι] | κος ὁ Καπισουλὰς καὶ ὁ [βλέπων] | τὴν γραφὴν ταύτην ἀσεύε[σαι] | μοῦ τοῦ ἁμαρτωλοῦ π[άν] | των τῶν Χριστιαν[ῶν]. [ἀμήν]. q. vedreba RvTis monisa da codvilisa manuel evgenikosisa, mxatvrisa, romelmac moxata es taZari konstantinepolidan mosulma, [sadac] gagzavna bermonazvnebi [am taZris] Sesamkoblad [erisTavTerisTavma?], romlis saxelia vamey, xolo [bermonazonTa] saxelebia: qobalia maxarebeli da andronike gabisulava, xolo vinc naxos es mxatvroba, Cemi yovelTa qristianTa Soris codvilisa, Semiwynaros amin2

1 winamdebre gamocemisTvis masala moamzada q. miqelaZem.

2 zogi mecnieri warweris bolo winadadebas yauxCiSvilisgan gansxvavebulad kiTxulobs (Sead. yauxCiSvili, dasax. naSr. 157; Belting, Le peintre Manuel Eugenikos, 105–106; Velmans, Le décor, 202; Kalopissi-Vert, Painters, 147), Tumca maT Soris arsebiTi sxvaoba ar aris; warweris ZiriTadi Sinaarsi igivea. Cven srulad viziarebT yauxCiSvilis versias. ix. Mikeladze, Greek Painters, 182, Sen. 28.

warweris gverdiT amave burjis viwro waxnagze moTavsebulia evgenikosis qarTuli warwera. evgenikosi ixsenieba Crdilo­dasavleTi burjis warweraSic (ix. aqve, 20a, b).

gamocema: yauxCiSvili, saqarTvelos berZnuli warwerebis korpusi, 94–95, 51. 2 gelaTis RvTismSoblis Sobis taZari. timoTeosis warwera. 1550-iani ww. (sur. 2) mxatvar timoTeosis samstriqoniani warwera mdebareobs taZris samxreTdasavleT gumbaTqveSa burjze, patronikes Riobis gverdiT gamosaxuli wm. mowamis figuris qvemoT. warwera TeTri saRebaviT aris dawerili samfer (yviTeli, mwvane, TeTri) fonze. † ἱστορί[στην διὰ χει]ρὸς ἐμοῦ τοῦ [ταπεινοῦ καὶ] ἁμαρτωλοῦ Τιμο[θέου] (ἔτει – ?) q. moixata Cemi mdabali da codvili timoTeosis xeliT, welsa..... warweraSi aRar SemorCa TariRi. dazianebis gamo mxatvris saxeli yauxCiSvils savaraudod aqvs aRdgenili.

gamocema: yauxCiSvili, saqarTvelos berZnuli warwerebis korpusi, 157, 131.

3

biWvintis RvTismSoblis taZris samxreT-dasavleTi kapela. paraskevas warwera. XVI s-is meore naxevari.

biWvintis RvTismSoblis gumbaTiani taZris (X s.) narTeqsis samxreT nawilSi mcire zomis samlocveloa (XVI s.) CaSenebuli. mxatvris oTxstriqoniani warwera moTavsebulia sakurTxevlis afsidis qveda registrSi, mRvdelmTavarTa rigSi, CrdiloeTiT, mcire niSis Tavze.

q. moixsene, ufalo, mona RvTisa paraskeva mxatvari, romelmac gaakeTa salocavi da gumbaTi meufe kaTalikosis evdemonis gamgeblobaSi, ufalo, Sen uwyi yoveli da miage (maT) amisTvis. welsa 7..... warwera Zlier dazianebuli iyo jer kidev, roca mas TinaTin yauxCiSvili ikvlevda. warweraSi dasaxelebulia dasavleT saqarTvelos (afxazeTis) kaTolikosi evdomon I (CxetiZe, 1557­1578), romelic, rogorc Cans, moxatulobis momgebeli iyo3 gamocema: yauxCiSvili, saqarTvelos berZnuli warwerebis korpusi, 60–61. 4 gremis mTavarangelozTa eklesia. saqtitoro warwera. 1577 w. (sur. 3) Savi saRebaviT Sesrulebuli oTxstriqoniani saqtitoro warwera moTavsebulia taZris dasavleT kedelze, karis Tavze, miZinebis kompoziciis qvemoT. †ἀνηγέρθη κ[αὶ] ἀνεκ[αι]νίσθη ὁ θεῖος κ[αὶ] πάνσεπτος ναὸς τῶν πανμεγίστων Μιχαὴλ κ[αὶ] Γαβριὴλ διὰ συ[νδρ]ομῆς κ[αὶ] ἐξόδου κόπου τε κ[αὶ] μόχθου τοῦ ἐνδοξοτάτου βασιλέου Λεόνι. ἀρχιερατεύοντ[ος] Νικ[ολάου] … ἔ[τει] ΖΠΕ ἐν μηνὶ αὐγούστου εἰς τὰς κθ ἡμέρα [δ]. κ[αὶ] ἡγουμενέβοντ[ος] Σάββ[α], [ἱστορήθη διὰ χειρὸς Ζα]χαρίου ἱερομοναχοῦ κ[αὶ] πρ[ω]τοσυγκέλου Σσαλονικ[αὶ]ος

q. aRimarTa da ganaxlda RvTaebrivi da yovlad wmida taZari yovelTa udidesTa miqaelisa da gabrielisa, saxelovani mefis leonis SemweobiT, xarjiT, gulsmodgineobiTa da SromiT, maSin rodesac mRvdelmTavari

3 T. yauxCiSvilma, Tavis droze, yuradReba miaqcia, rom warweraSi dasaxelebuli paraskeva qalis saxelia, Tumaca man is mainc mamakacTan gaaigiva, risi safuZvelic gaxda is, rom saqarTvelos mTaSi gvxvdeba mamakacis saxeli paraskeva. Cems mier Jurnal Byzantinoslavica­Si wardgenili statiis (K. Mikeladze, Greek Painters) erT­erTma recenzentma mimiTiTa, rom warweraSi saxeli paraskeva naTesaobiT brunvaSia mocemuli da is mamakacis saxels Seesabameba (Παρασκεβᾶς: Παρασκεβᾶ), Mikeladze, Greek Painters, 180, Sen. 25. yauxCiSvilis mosazrebiT paraskeva adgilobrivi qarTveli mxatvaria, rasac misi warwera mowmobs, romelic `..ara Tu berZnis, aramed berZnulis safuZvlianad mcodnis mierac araa gakeTebuli~ (yauxCiSvili, dasax. naSr. 42). warweris enobriv normebze ver vimsjeleb; es didad scdeba Cem kompetencias. mxolod imas SevniSnav, rom aucilebeli ar aris mxatvari maincdamainc eTnikurad berZeni yofiliyo. vfiqrob, biWvntaSi mainc Camosul berZnulenovan mxatvarTan gvaqvs saqme. vinaidan biWvintis taZari afxazeTSi mdebareobs da misi adgilze naxvisa da Seswavlis SesaZlebloba ar gvaqvs, amitom ver vimsjeleb sakuTriv moxatulobis xasiaTze.

iyo nikolozi, welsa 7085 (1577), agvistos Tvis 29­s, meoTxe dRes, rodesac winamZRvari iyo saba. moixata Tesalonikeli bermonazvnisa da protosingelozis zaqarias xeliT.

warweris meoTxe striqoni, sadac mxatvaria dasaxelebuli ufro wvrili SriftiT aris miwerili. mxatvris saxeli dazianebulia. yauxCiSvili mas aRadgens `makarios~­ad an `zaqaria~­ad, magram upiratesobas am ukanasknels aniWebs. warweraSi dasaxelebuli mefe leoni kaxeTis mefe levanTan (15181574) aris gaigivebuli.

gamocema: yauxCiSvili, saqarTvelos berZnuli warwerebis korpusi, 322, 337. 5

winarexis maRalaanT eklesiis kankeli. apostoles warwera. 1680-iani ww. (sur. 4)

Cvidmetsriqoniani warwera kankelis moxatulobis qveda registrSi, nikoloz maRalaZis dedis, elenes portretis gverdiT (marcxniv) aris miwerili TeTri saRebaviT muq lurj fonze. †μνήσθητι, Χ[ριστ]έ, τὴν ψυχὴν τῆς δούλη[ς] σου Ἑλένας καὶ κατάταξ[ον] αὐτὴν ἐν παραδείσῳ ὅπου χόρου τῶν ἁγίων κ[ύρι]ε καὶ οἱ δίκαιοι ἐκλά[μ]ψουσιν ὡς φωστῆρες τὴν ψυχὴν τῆ[ς] δούλη[ς] σου Ἑλένας καὶ ἐπάκουσον ἐμοῦ τοῦ ἁμαρτωλοῦ καὶ ἀναξίου δούλου τοῦ [Ἀ]ποστόλου τοῦ ζωγράφου.

q. moixsene, qriste, suli mxevlisa Senisa elenesi da ganawese igi samoTxesa Sina, sada wmidaTa gundni, ufalo, da marTalni gamoabrwyineben, rogorc varskvlavni sulsa mxevlisa Senisa elenessa da mismine codvilsa da uRirssa monasa SensaA apostole mxatvarsa.

gamocema: yauxCiSvili, saqarTvelos berZnuli warwerebis korpusi, 206, #179.

bobnevis wm. ioane maxareblis eklesia. danielis warwera. 1683 w. (sur. 5) erTstriqoniani warwera eklesiis CrdiloeTi kedlis qveda registrSi medalionebSi moqceul wmindanTa naxevarfigurebs Sorisaa ganawilebuli lurj fonze, Sesrulebulia Savi saRebaviT. [Δέη] σι [ς τοῦ ἁμαρτω]λοῦ (τοῦ) [δού]λου τοῦ θ[εο]ῦ Δανιὴλ ἱερομονάχ[ου] ἁγιορείτ[ου] τοῦ στορ[ή]σ[αντος τὸν ναόν]

q. vedreba codvilisa RvTis monisa danielisa, mTawmindeli bermonazvnisa, am taZris momxatvelisa.

gamocema: yauxCiSvili, saqarTvelos berZnuli warwerebis korpusi, 200, #170.

sur. 1. walenjixis macxovris eklesia. samxreT­dasavleTi burji. manuel evgenikosis warwera. 1384­1396 ww.

Tsalenjikha. Church of the Saviour. South-west pier. Inscription of Manuel Eugenikos. 1384-1396.

sur. 2. gelaTis RvTismSoblis Sobis taZari. samxreT­dasavleTi burji. timoTeosis warwera. 1550­iani ww. Gelati. Church of the Nativity of the Virgin. South-west pier. Inscription of Timotheos. 1550s.

sur. 3. gremis mTavarangelozTa eklesia. saqtitoro warwera. 1577 w. Gremi. Church of the Holy Archangels. West wall. Donor inscription. 1577.

sur. 4. bobnevis wm. ioane maxareblis eklesia. danielis warwera. 1683 w. Bobnevi. Church of St. John the Evangelist. North wall. Inscription of Daniel. 1683.

sur. 5. winarexis maRalaanT eklesiis kankeli. apostoles warwera. 1680­ani ww. Tsinarekhi. Maghalaant Eklesia. Chancel barrier. Inscription of Apostolos. 1680s.

Painters in Medieval Georgia (Summary)

Preface and Acknowledgements

Historians of medieval art are facing the challenge of information scarcity when dealing with issues concerning the medieval painters. Unfortunately, very little information is known on the artists that are the subject of their research; there are practically no narrative resources available, such as, for example, Giorgio Vasari’s famous book on artists of the Italian Renaissance. Indeed, we have no biographies of medieval painters or other artists, and virtually no factual biographical notes, not even in the form of some scarce personal data, nor their own accounts or records, nor those of any of their contemporaries. Even the names of the artists remain unknown, since painters rarely signed their works. In this context, some important questions arise, such as who these medieval painters were, in which environment they lived and worked, or where and how they were educated and how they produced their works of art. Further questions may be posed, as to which status and position painters had in medieval society; what kind of relationship they had with their commissioners; how they regarded their own works of art, and how much freedom they enjoyed in their creative activities. Finally, it would be of utmost importance to clarify how the artists and their works were perceived by their contemporaries, above all, by their commissioners.

The investigation of the above-mentioned issues was the object of our research project

– Medieval Painters in Georgia –, supported by the Shota Rustaveli National Science Foundation of Georgia, based and implemented at the George Chubinashvili National Research Centre for Georgian Art History and Heritage Preservation. The present publication, in the form of a collected volume with individual contributions, is the result of this joint project.

The social position and status of medieval artists, the interaction and especially the working relationship between artists/painters and their commissioners/donors have been thoroughly investigated for decades, in the field of Byzantine studies. In recent years this

topic has increasingly drawn the attention also of Georgian scholars. Noteworthy in this regard is the publication by D. Khoshtaria, N. Natsvlishvili, D. Tumanishvili, Master Builders in Medieval Georgia, Tbilisi, 2012. Here the social position and status of medieval master builders or architects, the role of the commissioners and that of the master builders, the issues regarding the building process in particular, etc., are addressed. This study was an important source of inspiration for our research, the goal of which was to have a closer look at similar processes with regard to medieval painters. Our research, however, has been limited specifically to the painters of church murals.

By contrast with medieval master builders, scribes, or manuscript illuminators (V. Beridze, Old Georgian Master Builders, Tbilisi, 1956; D. Khoshtaria, N. Natsvlishvili, D. Tumanishvili, Master Builders in Medieval Georgia; E. Machavariani, I. Gachechiladze, K. Tatishvili, N. Khizanishvili, The Work of Painters of the Georgian Manuscript Book, Tbilisi, 2022), no systematic study of information about medieval painters had been made. It was this lacuna that our project sought to fill, with the aim of systematizing and analysing the existing materials. What has resulted from these endeavours is a collection of the several individual contributions presented here.

The greatest challenge was a lack of evidence on medieval artists. In this regard, it is the inscriptions on Georgian church murals mentioning painters that serve as the most significant witness and invaluable source of information. Thus, the inscriptions, their content and function came to have a prominent place in this investigation (K. Mikeladze, Medieval Painters’ Inscriptions). A special study is dedicated to the information about painters according to inscriptions (K. Mikeladze) as well as evidenced in historical documents and narrative sources (T. Khosroshvili). The volume covers a range of topics, such as the status and position of painters in medieval society (K. Mikeladze, Painters’ Social Status and Position in Medieval Georgia), as well as those regarding the painters’ creative freedom (M. Didebulidze, Medieval Painters’ Artistic Freedom), or the role of the commissioners and painters in the process of creating and producing the works of art (M. Didebulidze, Painters and Their Commissioners). These issues are connected with questions such as the role and function of medieval art, Church canonicity, importance of the prototype, etc. (M. Didebulidze, “Preaching Through Colours and Lines”).

A catalogue of inscriptions is provided in the Appendix. Georgian inscriptions are prepared for publication by Giorgi Gagoshidze; the Greek inscriptions mentioning painters, preserved in Georgian wall paintings, are cited according to the edition by Tinatin Quakhchishvili (The Corpus of Greek Inscriptions in Georgia, Tbilisi, 2009).

Finally, we owe a great debt to all those who have been supportive of this project in one way or another, thus making our task much easier. We would like to take the opportunity to thank them all. For valuable comments and useful advice we would like to express our sincere gratitude to Mzia Janjalia, researcher at the George Chubinashvili National Research Centre; special thanks to the researcher of the same institution, Natalia Chitishvili, for supplying vital bibliography and visual materials over the timespan of the project. For photo materials we are very thankful to the Head of photo laboratory, Marina Pantskhava.

Also to Zura Tsertsvadze we are especially indebted for providing photographs, and for his great support during fieldworks. Finally, we also wish to thank Nino Sakvarelidze for helpful suggestions and for the English translation.

Medieval Painters’ Inscriptions

In Georgian narrative sources and hagiographic literature, there are practically no references to medieval painters. Although information about painters can be found in historical documents of the Late Middle Ages (from the 16th to the 17th century), only a small number of such sources is preserved. Thus, it is the inscriptions of medieval painters on Georgian church murals that serve as the most significant witness and invaluable source of information regarding the painters in general.

A considerable number of inscriptions with painters’ names have been thoroughly investigated as epigraphic, historical and historiographical sources.

Painters’ inscriptions are of particular interest in our research, because they provide important information about medieval painters in general.

As is well known, inscriptions mentioning the painters’ names were spread predominantly in the late Byzantine and the post-Byzantine period. Indeed, a considerable number of inscriptions is preserved from this period. Yet, as is evidenced in epigraphic sources, painters used to leave their ‘signatures’ also in earlier times (in the 9th and the 10th century); the latter are mentioned by their commissioners as well. Remarkable examples of this are found in church murals in Cappadocia, South Italy and Georgia. It should be noted that inscriptions including the names and ‘signatures’ of architects, goldsmiths, scribes and manuscript illuminators are attested in Georgia from the 10th century onwards.

Our research, however, is limited to painters’ inscriptions in Georgian murals, the earliest examples of which are preserved in the monastery complex in Sabereebi (churches III, IV, VII, VIII). The wall paintings of Sabereebi are dated to the 9th and the 10th century.

The inscriptions in question cover a wide chronological span from the 9th through the 17th century. Among the inscriptions of Georgian wall paintings mentioning the painters, there is a group of Greek inscriptions by foreign artists who were active in medieval Georgia. They are here conventionally referred to as Greeks.

Typology of Inscriptions

Medieval painters are usually mentioned either in donor inscriptions or painters’ inscriptions; to the latter the term painters’ ‘signatures’ is here applied. Painters’ names are mostly preserved in their ‘signatures.’ Commissioners mention them much less frequently.

The earliest surviving donor inscription to include the painter’s name is found in the 10th-century murals of the sanctuary apse in the Church of the Saviour in Nezguni. Of special significance are donor inscriptions in the church murals in Upper Svaneti: in the Church of the Holy Archangels in Iprari (1096), in the Church of St. Cyriacus and St. Julitta (Lagurka) in Kala (1111), and in St. George’s Church in Nakipari (1130), since all the three inscriptions name the painter as a ‘King’s Painter’ (Royal Painter) (“…painted by the hand of Thevdore, the King’s Painter.”). Donor inscriptions with painters’ names are also found in the later period, such as those in Gremi (1577) and Ertatsmida (1654).

One of the most widespread types of painters’ ‘signatures’ is represented by short and laconic invocatory inscriptions which contain painters’ names and invocatory formulae, including the indication of the artists’ profession. Some remarkable examples are found in the 10th -century murals in the monastery churches (VII, VIII) in Sabereebi. For example: “Have mercy, o God, on the poor scribe …”. It is of special note that the term “scribe” (in Georgian: mtserali) apparently is treated here as a synonym for the term “painter.” Painters’ short invocatory inscriptions can be seen in the later period as well, for example: “Holy Virgin, have mercy on Giorgi the painter” (Martvili (16th c.), see also the inscription in Mkheri (14th c.), or inscriptions of the painter Giorgi Jokhtoberidze (16th c.)). There are also extended inscriptions, extended not by providing information about the painters themselves, but by naming a commissioner or indicating the date. For example, the creator of the murals of the ‘Life-Giving Pillar’ in the Cathedral of Svetitskhoveli in Mtskheta, Grigol Guljavarasshvili, mentions his commissioner, Catholicos Nikoloz (Amilakhvari, 1678–1688; 1692–1695), whereas Bishop Meliton who executed the murals in the sanctuary apse of the Samtavisi Church indicates in his inscription the exact date (1679), etc.

Another group is represented by short invocatory inscriptions, in which the author’s profession is not mentioned at all, yet they are all ascribed to painters. These are, for example, painters’ inscriptions in Betania (“Christ, have mercy on Demetre. Amen!” (12th c.), or in Ozaani (“Christ, o God, have mercy on Michael. Amen!” (12th–13th c.), in the Church of the Nativity of the Holy Virgin in Gelati (“Christ, have mercy upon the soul of Elias” (1550s), etc. The attribution of these inscriptions is determined not by content, but

rather by the location, the date of execution, relation to the murals’ layer, paleographic characteristics, etc. The inscriptions of the murals, placed in the sanctuary apse in the churches in Betania and Ozaani, are of the same layer as that of the wall paintings in the apse. The inscription in the upper register of the west wall in Gelati is inscribed in the scene of the Agony in Gethsemane. It can be assumed that all these inscriptions were done by the same painters who executed the murals.

One of the depictions of the donor portraits in St. Sabas Church in Sapara bears the painter’s “signature,” accompanying specifically the fourth male figure of the representation of the Atabags (rulers) of Samtskhe, from the house of Jaqeli (13th-14th). The person depicted here seems to be a member of the Jaqeli house, and is added later. The proper name Theodoret is written on the edge of his white shirt. It is very similar to signatures preserved in historical documents. The graphemes are “interlaced” in such a manner that they may be perceived as an ornament.

Now and then, Medieval painters placed their names or initials on the figures of the saints, too. Byzantine painters Michael and Eutychius Astrapas may be mentioned in this context. Yet, there is a remarkable difference between the Greek artists and the painter of the Sapara church murals. Greek painters usually left their signatures on the representations of saints, thus addressing their supplications directly to the latter, as noted by B. Todic. The Sapara inscription could not have such a function, since it is found on the representation of a layman, and this makes it truly an autograph.

Our knowledge about Greek painters active in Georgia can be gleaned primarily from their own ‘signatures’, as is our knowledge about local artists. Among donor inscriptions, that of the murals in the Church of the Holy Archangels in Gremi (1577) is almost unique.

All inscriptions by Greek painters are written in Greek, with the exception of the murals in the dome of the Church of the Nativity of the Holy Virgin at the Gelati Monastery. Here the inscriptions (1520s) in Georgian asomtavruli script are preserved.

Among Greek painters’ “signatures” one can find short and laconic inscriptions, such as the one accompanying the murals in the Church of the Nativity of the Holy Virgin at the Gelati Monastery (“Painted by the hand of humble and sinful Timotheus”) (1550s), or the inscription executed on the murals in the Church of St. John the Evangelist at Bobnevi (1683).

Some extended inscriptions are preserved as well, in which the commissioners are mentioned, such as the painter’s inscription in the 16th-century murals in the south-western chapel of the Bijvinta domed church. Here the Catholicos of West Georgia, Apkhazia, Evdemon I (1557–1578) is mentioned as the commissioner.

There are some unusual or non-traditional inscriptions, for example, the Greek inscription by the Constantinopolitan painter Manuel Eugenikos in the murals (1384–1396) of the Church of the Saviour in Tsalenjikha. The inscription by Apostole (Apostolos), the painter of the murals on the chancel barrier of the Maghalaant Church, may also be attributed to the same type.

In Tsalenjikha, Manuel Eugenikos is mentioned in three inscriptions. One of them belongs to the hieromonks Makharebeli Kvabalia and Andronike Gabisulava, who were sent by Grand Duke Vameq Dadiani to Constantinople to bring painters to Georgia. The Greek and Georgian inscriptions by Eugenikos are located side by side on the south-west pier of the church, conveying more or less the same message – that Eugenikos arrived from Constantinople to decorate the church upon the invitation from Vameq Dadiani (1384–1396). However, unlike the Georgian text, the Greek one also says that Vameq had sent monks Kvabalia and Gabisulava to Constantinople to bring Eugenikos. There was no need to mention this fact in the Georgian inscription, since it was noted in Kvabalia and Gabisulava’s inscription on the north-west pier. The Greek inscription by Eugenikos is far from being a medieval painter’s traditional “signature,” usually consisting of the painter’s name and supplication. Eugenikos not only included the name of the donor but also provided a detailed account of his arrival in Georgia. Painters’ inscriptions are not usually characterized by such long narratives. It is rather donor inscriptions that bear narrative features of this kind. Thus, it seems plausible that the inscriptions might have been executed on the initiative of Vameq Dadiani. It would have been of crucial importance to Vameq to have invited a painter from Constantinople, because having Constantinopolitan paintings in his church would have been regarded as a matter of pride and reputation.

The inscription of the murals on the chancel barrier in Tsinarekhi is remarkable for the artist’s free spirit: the murals of the chancel barrier (end of the 1680s) were commissioned by Nikoloz Maghaladze, a preacher at the Svetitskhoveli Cathedral in Mtskheta. This inscription accompanies a memorial portrait of Helena, mother of the commissioner, and has a commemorative function: it is actually an epitaph for Helena Maghaladze. Incorporating the painter’s supplication into the text is a bold statement on the part of the medieval painter, a sign of somewhat excessive familiarity towards a noblewoman. It is no doubt that the text was composed by the painter Apostolos himself.

The inscriptions preserved in Georgian murals allow us to assume that the tradition of painters’ “signatures” originated in the 9th and the 10th century. With regard to their content and form, these inscriptions underwent throughout the centuries neither significant changes

nor essential transformation. Preference was given to short and laconic supplicatory inscriptions. Painters are rarely mentioned in donor inscriptions.

The Function and the Location of the Inscriptions in the Church Space

In order better to understand the function and significance of inscriptions, it is first necessary to look at the space for which they are meant. Along with the content, the location of the inscriptions, their size, arrangement and artistic solution, as well as interaction between inscriptions and murals/images are all of special significance.

As is well known, medieval painters rarely signed their works and, for this reason, Medieval art is commonly regarded as impersonal and anonymous. On the one hand, this is due to the function of this art. On the other hand, it has to do with the commissioners’ role as well as the artists’ attitude towards their works of art, and, finally, the special function of inscriptions.

As is well known, churches in the Middle Ages were meant to be built and adorned according to God’s will in order primarily to serve God. They were created, above all, for liturgical celebration. As for the form of church and religious art, it was Holy Scripture, patristic works and ecclesial tradition that served as its foundation. The commissioner, in modern terms the sponsor, the person who sponsored the work, was believed to be the one who commissioned the erection and decoration of the church according to God’s will.

According to the decrees of the 7th Ecumenical Council (787), the concept of icons went back to the Church Fathers and their dogmatic content was rooted entirely in ecclesiastical tradition, while their manifestation in visible forms, that is to say, the production of holy images, seems to have been exclusively the task of artists. In other terms, painters artistically and technically bring to bear, through colours and lines, the concepts elaborated by theologians, thus making their God-given gift manifest. This is witnessed also by painters themselves. For example, artistic knowledge, the artists’ professional skills are considered as God’s grace by the 14th-century calligrapher and painter, Avgaroz Bandaisdze: “By the grace of God I am granted these artistic skills, without ever having any tutor.” All skills are listed and among them, the “painting skill.” The same message is found in the inscription (1322–1324) by the painter in St. Demetrius’ Church in Peč: “God-given gift from the hand of John.”

Thus, the artistic activity of the medieval painter is treated by the painter himself as a holy action, a holy task that was to be carried out by God’s grace and His will, as well

as by the artist’s God-given talent and with the support of a commissioner, and, finally, in full accordance with Church canons. From this perspective, the painter is regarded not as an author or a creator per se, but rather the one who could adequately carry out his task and thus realize God’s will. Similarly, the painter’s work seems to be considered by the painter himself not as his own creative work, neither his inscription as his “own, authentic signature,” his own autograph.

It is not by chance that the medieval painters’ inscriptions include a supplicatory formula. As noted by Todic, these inscriptions might be described as a painter’s private supplication. Painters’ inscriptions primarily had a private function – these were supplications addressed (“written”) to God and to Saints. Thus, the medieval painters’ inscription could not be regarded as a true “signature.”

Painters’ and donors’ inscriptions have, to some extent, a common function. Medieval commissioners believed that by their donation for building and decorating of churches they would earn redemption of sins and a place in heaven. The donors asserted their contribution to the church via inscriptions, and in return expected well-being and blessing. In addition to that, the inscriptions boosted their reputation in medieval society. That is why they indicated their social status and titles/insignia. Painters’ inscriptions are usually limited to a very short and humble supplication. Yet, willingly or unwillingly they also convey a message about painters’ own contribution, as stated in a form of the following formula: “I painted this church.” The painter serves the Church through his own work, which may be considered as his own donation, a contribution on his part. Apparently, it was not the worldly fame that the painter was striving for. As we learn from the colophon of Avgaroz Bandaisdze (14th c.), “the work remains, and the ‘worker’ (creator, painter) passes”.

Thus, for both the medieval commissioners and the painters, the most important task was to adorn the church with painting. Less important was the question of who would carry out this task. For this reason, painters rarely signed their works, and also commissioners mention them less frequently in their inscriptions. The anonymity of the medieval art is thus connected to its function, as well as to the attitudes of both the commissioner and the artist towards their respective roles.

The dearth of information about painters seems to be due to this very function of the painters’ “signatures.” Medieval painters delivered in their inscriptions just the information they considered necessary for themselves and for the readers of their inscriptions. In this regard, the question arises as to who were the potential readers of the inscriptions. Inscriptions by all means had an audience in that very environment in which they emerged

and in which they continue to exist, that is to say, in churches and monasteries. Even a simple village priest was literate. The ‘potential readers’ may have included laymen as well. Yet not everyone would have been able to read.

It is of special note that it would not have been easy at all to read and understand a donor inscription, especially of some of them with a somewhat complex content. Yet, it seems to be much easier to recognize the painter’s “signature,” since it usually contained a short and laconic supplication formula, well known to everybody (“O Saviour, have mercy upon me, O Saviour, grant your support to...”).

The supplication displayed on church walls might have been of special significance to the mentioned person, since this person was aware of the fact that each time his inscriptionsupplication would be read, the reader would pray for him.

The significance and function of inscriptions, as well as the potential readers of inscriptions are, to a certain extent, defined by the place they are assigned in the church.

There is no consistency and homogeneity to be observed in the arrangement of historical inscriptions within the church space and its walls. Painters’ “signatures” did not have an established place. More rigidity in terms of the location can be seen in the case of donors’ inscriptions, though they also had no set place; the most traditional location is above the entrance to the church or nearby. Painters’ inscriptions can be found practically anywhere, whereas donor inscriptions are usually in visible areas of churches, where they could be seen easily and not missed. Donors’ inscriptions also stand out for their solemn appearance. It should be noted that painters mostly signed deliberately in their chosen areas.

The inscriptions in less visible areas of the church, or inscribed in ornaments primarily had a private intent and were mainly invocations to the Lord. The inscriptions of painters in the murals of the sanctuary apse of the churches in Vardzia and Betania, written quite small and inscribed in ornaments, might have remained unnoticed even by the celebrants of liturgy. Yet, these would be seen by God. It was the placing of their “signatures” in the sanctuary apse that appears to have been of crucial importance to the painters. Thus, medieval painters quite often left their inscriptions in the apse. In Georgian monumental painting the earliest evidence of painters’ inscriptions set in the sanctuary apse can be found from the 9th and 10th century, in the church murals in Sabereebi (churches IV and VIII), in the 12th- and 13th-century paintings (Vardzia, Betania and Ozaani); and later (Bijvinta, Tsitelkhevi, Kalauri, all dated to the 16th century). Placing painters’ inscriptions in the sanctuary apse was widespread in Byzantine and post-Byzantine church murals, too.

Potential readers of the inscriptions displayed on the walls of the sanctuary apse might have also been clergy. The painters and commissioners mentioned in these inscriptions would have been remembered in prayers.

There is no doubt that the inscription placed at the viewer’s eye level in the apse of Ozaani Church by the painter Michael (12th–13th c.) was meant to be read as well. It is almost impossible to pass by without noticing the “signature” of Giorgi Jokhtoberidze, in the sanctuary apse of St. George’s Church in Tsitelkhevi: it is located in the lower register of the murals (16th c.), above the image of the Man of the Sorrow that is depicted between the representation of the Church Fathers, and would be perceived within this entire context. Due to the location, this image would willingly or unwillingly remind the celebrant to pray for Jokhtoberidze. Of no less importance is the fact that this inscription is related to the image of the Man of the Sorrow and integrated into the whole liturgical scene. It is beyond doubt that Jokhtoberidze may intentionally have chosen this very place for his invocatory inscription: “May God have mercy on Giorgi Jokhtoberidze the painter.”

As for the inscriptions placed in the most visible areas, they were meant both for heavenly and earthly readers. For example, the painter’s inscription in the church (III) in Sabereebi seems to be oriented towards the church entrance while arranged on the north wall of the church, opposite the entrance.

Also, the inscription in the murals (10th c.) of the conch of the sanctuary apse in the church VIII in Sabereebi would immediately capture the viewer’s attention: it is integrated into the composition of the Christ in Majesty.

It is typical for inscriptions by painters in the Late Middle Ages to be arranged in the most visible areas of the church. It is especially found in the so-called ‘vernacular’ murals: these artists seem to experience more freedom and boldness, such as is observed in the examples of the Giorgi Jokhtoberidze’s “signature” in St. Elias Church at Gelati, or in the painter’s inscription in Martvili (16th c.). The painters of the earlier period usually appear to show more delicacy, humbleness and humility.

One of the most important questions that may be asked when dealing with Greek inscriptions is the following: Who were the potential readers of Greek inscriptions in Georgia? Greek was certainly known in Orthodox Georgia, primarily by ecclesiastical authorities, as well as by some laymen (mostly by a few learned individuals), yet this was a limited circle. Greek inscriptions by all means had an audience at Gelati, one of the most significant monastic, cultural and educational centres in medieval Georgia, as well

as at the Bijvinta Monastery and in Gremi. Yet, not everyone, either in the clergy or in the community, or among occasional visitors, would always be able to read the Greek.

It is obvious that Greek painters “signed” their works in their mother tongue and, since their “signatures” were addressed primarily to God, the language would matter less. Yet, what was the need of having a donor inscription in Greek at Gremi? It is worth noting that the inscriptions accompanying the compositions and the figures featured in the murals are written in Georgian. A similar question arises regarding Tsalenjikha: Why was it necessary to have a Greek inscription at Tsalenjikha, if there were Georgian inscriptions in the church that carried the same message? It is to be noted that the local beholder could easily recognize one of the most important messages – the personality of the donor – without reading the Greek inscriptions – either through a Georgian inscription or a donor’s portrait displayed on a church wall, or both. Without a doubt, that was the very purpose of Eugenikos’ Georgian inscription at Tsalenjikha.

Of special note is that in Tsalenjikha a donor inscription (of Vameq Dadiani) is missing, although his portrait is preserved. Thus, it can be suggested that inscriptions by the painter Eugenikos were to reveal the function of the donor inscriptions. Through their monumental and solemn character as well as their location, these inscriptions gained great importance that makes them as much prominent as the donor inscriptions are. One can rarely find an inscription that could capture the viewer’s attention as do the Tsalenjikha inscriptions.

Upon entering the church through the main western door, the inscriptions located in the lower zone of the western piers draw the beholder’s eye to them. Most distinguished here is the Greek inscription, which is displayed on a broad surface of the pier.

It is not excluded that the murals of the Church of the Holy Virgin in Gelati may also bear bilingual inscriptions, yet, due to the lack of evidence this may be merely assumed. Placed on the south-west pier, alongside the painter Timotheos’ inscription, another Greek inscription is depicted, which names King Bagrat III of Imereti as a commissioner of the church murals. Aligned to the inscriptions on the north-west pier are two Georgian inscriptions, one of which also mentions Bagrat III of Imereti. Almost nothing remains of the second Georgian inscription, but it is not excluded that it may have included the name of the painter. The key message of the Greek donor inscription at Gremi is rendered through an image, i.e. the donor portrait of King Levan of Kakheti (1518–1574). At Bobnevi, the portrait of Ioseb Tpileli, the commissioner of the murals, is accompanied by the Georgian inscription concerning the decoration of the church. This damaged inscription may have

contained a reference to Daniel, a painter from Mount Athos, whose Greek “signature” can be seen on the north wall.

It can be suggested that the Georgian inscriptions were meant for the local communities, whereas their Greek counterparts would have been important to local donors, and might have been written even according to the commissioners’ wish. They were convincing proof of the painter’s provenance, had the power of an “autograph” and seemed to serve as Constantinopolitan, Athonite, Thessalonian “stamps” on the murals (according to the Bobnevi inscription, the painter Daniel, the hieromonk, came from Mount Athos while the inscription in Gremi mentions the painter of Thessalonian origin). Another plausible reason donors may have appreciated the Greek inscriptions is that they apparently wished that any Greek visitor or any beholder with some knowledge of Greek would know that it was a Greek painter who was responsible for the murals.

Due to their location in visible areas of churches, the examples of which can be seen in the churches of Tsalenjikha, Gelati and Gremi, as well as on the chancel barrier of the Maghalaant Church in Tsinarekhi, inscriptions stayed within the broad audience’s field of vision. In certain cases, they attracted attention thanks to their large size, but above all, perhaps, owing to their unfamiliar and “bizarre” foreign lettering. It seems highly probable that, as suggested by scholars, medieval inscriptions made a visual impact on the viewer even without being read, or even if the latter was unable to read and understand the verbal meaning of the texts: however, they would serve as “textual images”, “textual icons”. The bilingual inscriptions in Tsalenjikha, especially the Greek one, might be mostly associated with the “textual icons”. Thus, although Greek inscriptions remained undecipherable to most, they were most probably perceived as bearers of significant information.

It is hard to judge why the Greek painters responsible for the decoration of the dome of the Gelati Church of the Nativity of the Holy Virgin were so enthusiastic about leaving Georgian “signatures”. It may be assumed that these inscriptions were meant primarily for the local clergy, the local monastic and lay communities. It was the locals who seem to be addressed in the Georgian inscriptions by Greek artists. Featured on church walls, the inscriptions would have ensured the painters’ commemoration in the prayers. The inscriptions could not remain unnoticed despite their location higher in the drum of the dome. They would be seen and read effortlessly from afar, not only thanks to the fairly large white graphemes creating a sharp contrast against the dark blue background, but also due to the strong light the interior received.

In some cases, medieval painters’ inscriptions appear to be related to certain images. The painter of the church (VIII) murals in Sabereebi (10th c.) integrated his “signature” into the iconographic composition of the Christ in Majesty, depicted in the conch of the sanctuary apse. The “signature” is placed at Christ’s feet. In this manner, the painter pleads directly with Christ to save his soul, thus putting his supplication verbally in the following wording: “O Saviour, have mercy on Your servant, the scribe …”. Both image and text represent here a single harmonious unity.

The inscription of the wall paintings (1500s) in the Church of the Nativity of the Holy Virgin in Gelati is inscribed in the scene of the Agony in Gethsemane. The painter seems to have chosen this concrete place for his inscription almost intentionally, relating it directly to the figure of Christ: his supplication is set behind the Lord’s back, while the latter (Jesus Christ), is praying in a kneeling position in Gethsemane.

The painter of the murals in Sori (14th c.), for example, placed his inscription at the feet of St. George, the patron of this church. The supplicatory inscription of the painter Demetre can be viewed in the sanctuary apse in the Church at Betania, in close proximity to the Golgotha Cross; at the same time, the inscription is arranged in the very centre of the liturgical scene, with Church Fathers on both sides. The murals in Betania seem to convey the same message as those in Tsitelkhevi (16th c.), or the wall paintings of the south-western chapel of the Church of the Holy Virgin in Bijvinta (16th c.), and other church murals, in which the inscriptions are placed in the sanctuary apse, alongside the representations of Church Fathers. By placing their names in the lower register of the sanctuary apse, which features liturgical scenes, the painters were supposed to become an integral part of the eucharistic community.

As mentioned above, the donor inscriptions stand out for their festal character and remarkable location.

In the churches of Upper Svaneti, in the Church of the Holy Archangels in Iprari as well as in St. George’s Church in Nakipari, the chancel barriers are chosen for the donor inscriptions by the “King’s Painter” Thevdore.

In the churches that are in general poorly lit, this is, above all, the chancel barrier that is mostly lit with the rays coming through the west door opening and the window. Upon entering both churches, the monumental composition of Deesis, located in the apse conch, together with the painted stone chancels, and the inscriptions alongside the cornices, would immediately draw the viewer’s attention to them. The arrangement of the inscriptions on

the chancel barrier would ensure that the inscriptions would be read, and their authors commemorated.

For the donor inscription in Lagurka (Church of St. Cyriacus and St. Julitta), the painter Thevdore chose the west church wall, although the chancel barrier is also found here. The inscription located on the western wall, is less festal by contrast with the inscriptions on the chancel barrier. Nevertheless, it remains significant. Upon leaving the church building, one can find an inscription above the door opening, comprising three lines, in white lettering against the background in green.

Donor inscriptions in the Church of the Holy Archangels in Gremi (1577), and especially those in St. Eustatius’ Church in Ertatsmida (1654), stand out for their solemn character. It is worth noting that the inscription in Ertatsmida is set into a decorative frame.

To sum up, the location for the inscriptions is usually not chosen haphazardly: the medieval painters tended to choose intentionally not only certain places within the church space, but respective iconographic images and scenes as well. The same tradition may be observed in Byzantine and post-Byzantine wall paintings. By contrast with the painters’ “signatures,” the donor inscriptions with their representativeness definitely dominated the entire church space.

Information About Medieval Painters

(According to Inscriptions in Georgian Murals)

Historical inscriptions mentioning painters in 9th-17th-century Georgian church murals seem to have one common feature: probably due to their function, they provide only scarce information about medieval painters, who are mentioned either in donor inscriptions or in painters’ “signatures.” Yet they include some important data, thus serving as a valuable source of information regarding the painters in general.

Among the inscriptions including painter’s names, significant information is found about a certain Theodore. From donor inscriptions, it is evident that three church murals in Upper Svaneti (Church of the Holy Archangels in Iprari, 1096, Church of St. Cyriacus and St. Julitta (Lagurka) in Kala, 1111, and St. George’s Church in Nakipari, 1130) were painted by this same Theodore. The exact date as well as the commissioners – the local nobility (aznauri, the local ‘lower feudals’) and the whole community of the Valley (Khevi) – are preserved. Of special note is that in all the three inscriptions, not only the painter’s name Theodore, but also his title, ‘King’s Painter’ (‘Royal Painter’), is mentioned. This is a unique witness to the painter’s title ‘Royal Painter’ in medieval Georgia.

The inscription accompanying the wall paintings (1678–1688) of the ‘Life-Giving Pillar' in the cathedral at Mtskheta (Svetitskhoveli), gives the name of the painter Grigol Guljavarasshvili along with the title ‘citizen’ (mokalake in Georgian), indicating his social status (‘… painted by the citizen Guljavarasshvili Grigol …’). In the Late Middle Ages (16th–17th century), the title ‘citizen’ was granted, at the king’s command, to a certain social group in Tbilisi, mostly artisans, craftsmen, and merchants. The requirement for granting this title was a permanent residence and real property in Tbilisi, as well as payment of taxes. Thus, it may be assumed that Grigol Guljavarasshvili was a citizen of Tbilisi who owned property and paid taxes there.

In some 16th- to 17th-century inscriptions, highly ranking clergymen referred to as painters, for example, Bishop Meliton in the Samtavisi Church, or a certain Meletius,

the Hegoumenos of the Holy Cross Monastery in Jerusalem in St. Eusthatius’ Church at Ertatsmida, or Protosynkellos Zacharias from Thessaloniki, in the Church of Holy Archangels in Gremi.

Among the inscriptions in Georgian wall paintings, including painter’s names, there is a group of inscriptions that attest to the presence and activity of Greek painters in medieval Georgia. The murals of the Church of the Saviour in Tsalenjikha (1384–1396), or those of the south-western chapel of the Church of the Holy Virgin in Bijvinta (1557–1578) as well as the wall paintings in the Holy Archangels Church at Gremi (1577), in the Church of St. John the Evangelist at Bobnevi (1683), and those of the chancel barrier of the Maghalaant Eklesia (the Maghaladze Church) in Tsinarekhi (1680s), are the work of Greek painters; the latter were involved in the execution of the murals (dated to 1520s and 1550s) in the Church of the Nativity of the Holy Virgin in Gelati.

Some of the inscriptions indicate the artist’s place of origin, for example, Manuel Eugenikos from Constantinople (in Tsalenjikha), Zacharias from Thessaloniki (in Gremi), and a certain Daniel, a hieromonk at Mount Athos (in Bobnevi).

Greek painters usually mentioned their provenance in their ‘signatures’ when working outside their home country, far from their homeland. The same is true also for Georgian painters working abroad, for example, John Iberopoulos, at the Petritsoni Monastery/ Bachkovo/ or a certain Markos the Iberian (16th century), a hieromonk and the painter of the Catholicon of the Iviron Monastery at Mount Athos. Remarkably, none of the inscriptions left by local painters includes their place of origin or any other toponym.

Inscriptions by Greek painters mentioning their place of origin may serve as proof of the presence of painters from the most advanced religious and cultural centres of the Christian East in medieval Georgia.

Inscriptions of Greek painters attest to the fact that most intensive migration of Greek artists to Georgia took place in the post-Byzantine era, in the 16th to 17th century.

From the Tsalenjikha inscriptions alone, we learn that Hieromonks Kvabalia and Gabisulava were sent by Grand Duke Vameq Dadiani (1384–1396), chief of internal affairs at the Royal Court (mandaturtukhucesi) and the ruler of Odishi, to summon the painter from Constantinople. However, other local commissioners, too, could easily have afforded bringing in painters from abroad: for example, King Levan of Kakheti (1518–1574) or his son Alexander II (1574–1578), could have done so for the commission of the Gremi murals; or Catholicos Evdemon I (1557–1578), for that of the wall paintings of the south-

western chapel of the Church of the Holy Virgin in Bijvinta; the same may be assumed with respect to Nikoloz Maghaladze, the preacher of the Svetitskhoveli Cathedral in Mtskheta, for commissioning the chancel barrier (1680s) of the Maghalaant Church; or Ioseb Tbileli, Bishop of Tbilisi, for that of the church murals (1683) of Bobnevi.

It should be noted that the painters’ inscriptions accompanying the murals include some ‘indirect evidence’ as well. For example, there is a remarkable note preserved in the painters’ ‘signatures’ of 10th century in the churches VII and VIII at the Sabereebi Monastery: here the term mtserali, literally ‘scribe’, is treated as a synonym for the term ‘painter’.

Among the inscriptions in Georgian church murals, the donor inscription (10th c.) in the Church of the Saviour in Nezguni represents an almost unique example, witnessing to fees paid to painters: in the words of a certain Beshken, the commissioner, the sanctuary apse of the church was painted ‘through his bread and at his costs’.

Remarkably, painters usually mention their commissioners, and no-one else, in their inscriptions. Few exceptions can be found in the inscriptions in Sori (14th century) and Ubisi (14th century), as well as in those (dated to 1520s) of the dome of the Gelati Cathedral.

Scarce yet important information about painters can thus be gathered from inscriptions preserved in 9th–17th-century Georgian wall paintings, enriching our knowledge of not only local artists’ activity, but of that of medieval painters of the Christian East in general, as well.

Information About Medieval Painters

According to Historical Documents and Narrative Sources

Information about painters is to be found mainly in Georgian historical documents and narrative sources of the Late Middle Ages (16th to 17th century). Yet only few such sources are preserved. For example, St. Eusthatius Church in Ertatsmida was painted, according to the donor’s inscription, in 1654 by a certain Meletius (Meleti), the Abbot of Holy Cross Monastery in Jerusalem. As is known from the historical documents, this Meletius was supposed to have owned property in Tbilisi. He is considered as an unworthy person, since he was said to have spent the entire donation for the Holy Cross Monastery in Jerusalem. This donation had been a benefaction collected in Georgia. During Ottoman rule in Jerusalem, he appears to have been imprisoned. We know almost nothing about other works by Meletius, except for the Ertatsmida wall paintings.

The Greek painter of the murals (1680s) on the chancel barrier of Magalaant Church, Apostole, may be identified with a certain Abistole mentioned in one of these documents. According to this source, he lived in Mtshkheta and owned property there. He thus seems to have had a residence in Mtskheta, at least for a time.

16th- and 17th-century sources provide a considerable amount of information about Russian painters active in the Kingdom of Kakheti. Political and diplomatic relations between Russia and Kakheti might have started the trend of bringing Russian painters to Georgia. They were brought by Muscovite diplomatic missions and this fact is witnessed by the reports of diplomatic personnel. These reports attest to the artistic activities of the Muscovite painters in Georgia, during the reign of Kings Alexander II (1574–1605) and Teimuraz I (1606–1648) of Kakheti. They are even mentioned by their proper names. Four church murals are mentioned that are said to be the product of their artistic work. These are Togha, Zagemi, a church on the site of the royal palace of King Teimuraz I in Gremi, and one in Alaverdi. As for St. George’s Cathedral in Alaverdi, it seems highly probable that Russian painters had a hand in decorating this church (namely, in executing the murals

in the south apse), but it is still unclear exactly which painters were active in creating the Alaverdi murals, since no ‘signature’ is preserved here.

From the 17th century onward, an increased interest in European culture can be observed in Georgia, as well. This was largely influenced by the activities of Catholic missionaries’ in Georgia around this time. Some missionaries appear to have been painters as well. It should be noted that European culture and art attracted a great deal of attention, above all among the Georgian aristocracy and royal authorities. In this context, one of the most remarkable figures is Levan II Dadiani of Samegrelo (1611–1657). He was said to have made frequent commissions of European missionaries residing in Samegrelo, yet, unfortunately, none of these works have survived.

The reports of the Russian diplomatic authorities differ greatly from the notes and records of European missionaries, yet they have one thing in common: according to the records of European missionaries and travellers, as well as Muscovite diplomatic missions of that time, Georgian royal authorities and noblemen complained about the lack of painters and asked for assistance. However, commissioning foreign artists to decorate churches in Georgia came about not only due to the shortage of local painters, but rather, more likely, because donors were searching for fresh ideas.

The reports of the Russian diplomatic missions tell us almost nothing about the attitude of the rulers of Kakheti towards the works of art by Muscovite painters, whereas according to the records of European missionaries – for example, those by Castelli or Guiseppe Guidiche from Milan – it becomes evident that Levan Dadiani or King Alexander II of Imereti (1639–1660) were thrilled about the European artists’ work. From the 18th century onward, interest in European painting increased even more. By contrast with the earlier period, 18th-century historical charters contain more information about artists.

Painters’ Social Status and Position in Medieval Georgia

The social position and status of painters and, in a broader sense, of artists in medieval Georgia are not in any way documented in Georgian historical sources. We have almost no information on the interaction and, especially, on the working relationship between artists/painters and their commissioners/donors; virtually nothing is known about whether a hierarchy among the painters existed, or about the criteria according to which painters were chosen by the commissioners; we know nearly nothing about the attitude of the commissioners towards the work of the painters, nor about the exact format of the commission, the commission agreement, and the duties and obligations of the parties.

Information is scarce within the Byzantine tradition as well, although here more information can be found, such as for example, agreements between commissioners and artists. Due to the scarcity of resources and the lack of the documented evidence, we have to limit our research and analysis to some indirect witnesses. In this regard, painters’ and donor inscriptions are of special importance.

In the Middle Ages, painting was probably considered a professional skill in itself. For example, in the marginal gloss found in the Largvisi Parakletikon (A575), ten professional skills are listed, including that of painting. It is especially noteworthy that the author of this colophon, the 14th-century calligrapher and painter Avgaroz Bandaisdze, possesses multiple professional skills. It can be assumed that there was a number of multi-skilled professionals like Avgaroz who were engaged to produce works of art.

With regard to the social status of the painters, the donor inscriptions of the church murals in Iprari (1096), Lagurka (1111), and Nakipari (1130), in which the King’s Painter Thevdore is mentioned, are of crucial significance.

Among historical sources, this is a unique witness to the existence of a painter’s royal title or position in medieval Georgia. However, Thevdore’s inscriptions allow us to assume that this kind of title certainly existed, at least in the period of Thevdore’s professional

career (1096–1130), during the reign of King David the Builder (1089–1125) and King Demetre I (1225-1256). Otherwise, Thevdore would not have felt free to refer to himself as the King’s Painter

In the Church of the Dormition in Zarzma, the inscription accompanying the portrait of the Atabag (ruler) of Samtskhe, Sargis II Jaqeli (1308–1334) reads as follows: “Sargil Spasalar (local commander) of Samtskhe, and mkhatvartukhuces.” The term mkhatvartukhucesi ‘chief of painters’ is not found in any historical sources. In Zarzma, there are no surviving wall paintings from the Jaqeli era (14th century). The surviving murals are dated to the 16th century, with some pieces restored in the beginning of the 20th century. It may be assumed that during the renovation of the murals the term mandaturtukhucesi (‘chief of internal affairs’) might have been erroneously written as mkhatvartukhucesi (‘chief of painters’). According to the inscription of Anchis khati, icon from Ancha, Sargis II held the position of mandaturtukhucesi. We cannot exclude the possibility that his portrait in Zarzma may initially have included exactly this title (‘mandaturtukhucesi’).

As for the position of mkhatvartukhucesi, it can be suggested that this certainly existed in Georgia, at least in the Late Middle Ages. The renovator of the Zarzma murals could not have ‘misspelled’ the term, replacing, even erroneously, one term with another, if he had never heard of this notion before.

The ‘chief of painters’ from Zarzma obviously reminds us of the ancient Kingdom of Iberia: the Greek inscriptions on the tomb steles, discovered in the necropolis in Mtskheta and Samtavro (dated to the 4th - 5th century) mention a ‘chief of painters’ (“Aurelios Acholios, the chief of painters and architect”). Yet, these inscriptions were created in a rather different historical context, so they cannot be easily related to the Zarzma inscription. Besides, the Greek term ἀρχιζωγράφος literally ‘chief painter’, was rendered into Georgian by Tinatin Qaukhchishvili as mkhatvartukhucesi (‘chief of painters’) The term might not exactly correspond to mkhatvartukhucesi as a position. As noted by the above-mentioned scholar, the Greek ἀρχιζωγράφος is rarely used in Greek written sources.

The creator of the wall paintings of the ‘Life-Giving Pillar’ in Svetitskhoveli Cathedral in Mtskheta, Grigol Guljavarasshvili, refers to himself as a ‘citizen’ (mokalake in Georgian) in his inscription (dated to 1678–1688), thus emphasizing his upstanding social status. In the Late Middle Ages, ‘citizens’ were a privileged urban social group in the capital city (Tbilisi).

Based on the factual information presented above, we may suggest that there might have been a certain hierarchy among the painters, thus some of them being, for example, a ‘royal painter’, while the others were ‘citizens’, etc. This would make this social group somehow special, endowed with a special status different from that of other ordinary artists.

It is well known that medieval painters who were engaged in executing the church murals could be either clergy or laymen; this is also true for master builders and other artists. The absence of these data in a number of inscriptions makes it hard indeed to ascertain to which group the painter belonged. Nevertheless, certain suggestions may be put forward in this regard. For example, the painters of the murals at the monastery in Sabereebi would have certainly been the local monks. Demetre, the painter of Betania (12 th c.), was most probably also a monk: this assumption is based especially on one of his inscriptions. The painter of the Ubisi church murals (14 th c.), Gerasime, is likewise assumed to have been a monk. As for the King’s Painter Thevdore, or Michael Maghlakeli (Matskhvarishi, 1140), Giorgi Jokhtoberidze (Tsitekhevi, Ilemi, Obcha, Church of St. Elias in Gelati), and others, appear to have been laymen. As is witnessed by the inscriptions in the 16th- and 17thcentury church murals, the profession of a painter was not unknown among high-ranking clergymen, among them a bishop (in Samtavisi Church), hegoumenos (in Ertatsmida), or protosynkellos (in Gremi).

Unfortunately, nothing is known about the workshops and guilds of medieval painters; we have not any information on the pattern of the organization of artists’ work, either.

We know almost nothing about the fees paid to painters in medieval Georgia. The economic factor would have, to a certain extent, determined their social status. Some painters may have been considered to have been basically wealthy. Examples are the 17thcentury painters, such as Grigol Guljavarasshvili (mentioned above) and the Greek painter Apostole, the painter of the chancel barrier in Maghalaant Church, who, according to a surviving document, owned two houses in Mtskheta. We may suggest that Thevdore was better paid as a King’s Painter than were other, ordinary painters; this is true also for the painter Eugenikos, who was specially brought in from Constantinople.

As is well known, commissions in the Middle Ages, either of church buildings or church decoration, were governed by high-ranking secular and ecclesiastical authorities. This is true both for medieval Georgia in particular, and for the Christian East and West in general. Commissioners were also to be found among the ordinary population, in the community, or in a village, among simple peasants, etc. Thus, the social group of the art

commissioners in the Middle Ages covers a broad range, and consequently, the painters had to communicate with diverse social strata.

By contrast with painters, much more information is available concerning the donors. Many of them are known from narrative sources and other written documents. Yet the information found in these sources refers primarily to their political and social life, whereas the information regarding their activity as commissioners is vague, the primary aim being to demonstrate the commissioners’ merits. Some knowledge about the activity of the donors as well as the volume and the quality of their commissions, may be gained from epigraphic evidence and donor portraits. Donor inscriptions usually contain more information: references are made to the donors’ social status, insignia, the amount of donation, etc.

The identity of the commissioner is not always known. For example, we do not know who commissioned the murals of monastery complex in Sabereebi. The donor portrait is supposed to be depicted in the southern chapel of the church VIII (10th c.). Because of damage to the murals, it was not possible to identify the ecclesiastical figure depicted here. It should be a local monk, who might be also a painter. It cannot be excluded that the monastic community in Sabereebi adorned churches with murals of their own.

In some cases, we know practically nothing about the donor, except for his proper name. This probably will not be of much help. For example, who was the donor of the 10thcentury murals in the sanctuary apse in the Church of the Saviour in Nezguni, of whom we know nearly nothing except for his name, Beshken? According to the inscriptions, all three murals by the King’s Painter Thevdore were a collective patronage; they were carried out on the initiative of the local aznauri (‘lower feudals’) and the community of the Valley (Khevi); a collective patronage was not rare in the Middle Ages. We do not know what the reason was for a whole community to take part in decorating the small churches in Svaneti. It is likely that the fees for the commission were shared, with their contribution to the decoration of the church ensuring that their souls were commemorated.

Thevdore’s inscriptions are remarkable in many ways. Specifically, the King’s Painter worked on commission of the local feudals and the community of Khevi, in the peripheral region, far away from the central part of the country. Although no royal commission done by Thevdore is preserved, there is no doubt that he might have worked at the royal court. He would have certainly worked for what was commissioned by the king, and at the same time, he also served the lower feudals and the community of the village. It is evident that he was working for all different social classes, and that his title or position would not have prevented him from getting commissions from the simple commissioners, too. Besides, it

is not excluded that he moved to Svaneti due to certain circumstances. These questions still remain unsolved.

It is worth noting that Thevdore’s title the King’s Painter is mentioned in donor inscriptions that would obviously stress the commissioner’s ambition: to donors, commissioning the King’s Painter would have been a matter of honour and pride, though it cannot be excluded that Thevdore indicated his title on his own initiative, since he would have considered it a privilege to hold this special title.

As is commonly acknowledged in the field of Byzantine Studies, medieval painters had a lower social status and were regarded as simple craftsmen. Although both a painter and a craftsman would certainly represent the same social group, according to the hierarchical structure of the medieval society, both were of lower social status, this might not even be applicable to all of them. Painters neither all had the same position in society, nor did society show the same attitude towards all painters without exception. It is hard to imagine that, for example, a royal painter and a simple craftsman would both have experienced the same social status.

The assumption that medieval artists might have generally enjoyed respect can be witnessed by some notes scattered in hagiographic literature. For example, in the Vita of St. Serapion of Zarzma, one finds the following remark: “A person famous for his art was invited to build the church of Zarzma.” Meanwhile, according to Giorgi Merchule (10th c.), St. George’s “new” church in Khandzta was completed by the master builder Amona, owing to his full wisdom. As noted by D. Tumanishvili, “such definitions in the vitae of holy Monks would indicate the existence of certain attitude and perception rooted in tradition.”

A certain attitude towards artists can be observed in a marginal note of the Ancha Gospel, which reads as follows: “I have commissioned the God-blessed worthy goldsmith Beka to create this repoussé icon.” Although we do not possess similar notes regarding the painters proper, it can be suggested that this kind of attitude and perception was common in those days, referring to all categories of artists. However, in the Middle Ages, master builders as well as scribes might have definitely enjoyed a privilege, by contrast with painters of murals. They would have probably had a higher social status.

Even the scarce information which we possess allows us to assume that not all painters were of equal social status. Among them, one can find simple artisans, craftsmen, and real artists. This sort of differentiation is reflected in the differentiated attitude of the commissioners towards the artists, too.

In this regard, remarkable material can be found in Byzantine written sources and epigraphic evidence. Theodoros Prodromos mentions the 12th-century artists Eulalios and Chenaros and names them as famous painters. In the inscription accompanying the murals of the Church of the Saviour from Veroia (1314–1315), the painter Kallierges is named as “the best painter in all Thessaly” while Michael Proeleusis is celebrated as the most “honorable and venerable painter.”

Praise for painters is not attested in Georgian epigraphic and literary sources, yet it is beyond doubt that, for example, Thevdore, as the King’s Painter, would have definitely enjoyed the higher social status than other artists. It is obvious that Manuel Eugenikos could not have been regarded as a simple artisan, since he was specially brought from the capital of Byzantium, and this very special attitude towards him may be found in the Georgian inscriptions in Tsalenjikha, in which his proper name Manuel is accompanied by the title Kyr (Kyrmanuel). The painter’s name is thus preceded by the Greek word Kyr, meaning ‘Lord’ or ‘Master’, a term commonly applied to aristocracy in Byzantium – yet Kyr was also applied to the middle and lower classes, including famous painters, as a sign of respect, especially in the Late Byzantine period. It is in this sense that the word is used at Tsalenjikha, where Eugenikos was most probably addressed as Kyr Manuel. Another piece of information provided in the inscriptions is related to the social status of certain Greek painters. The origin of Greek painters such as protosynkellos Zacharias from Thessaloniki, who had a royal commission to decorate Gremi Church (1577), or hieromonk Daniel, who arrived from Mount Athos to execute the wall paintings in Bobnevi (1683), is explicitly indicated. This seems to emphasize the importance of their work even more. They might have been highly esteemed in local society.

It may thus be assumed that the above-mentioned painters held a privileged position in contemporary society: their social status was higher than that of the simple craftsmen, and many others. The latter would not have been praised with venerable epithets as Kallierges or Proeleusis were, or addressed with the title Kyr as in the case with Manuel Eugenikos. The title and position of the King’s Painter Thevdore would have put him in a privileged position by contrast with other artisans. The same is true of the title citizen which was granted to Grigol Guljavarasshvili. Details such as the titles discussed above (the King’s Painter, citizen), the origin of the painters, or their ecclesiastical rank, etc., may therefore be regarded as signs of the painters’ identity, that is to say, their own ‘signature’ that marked their identity as painters.

According to Kallopisi-Verti, the painter’s name is attested in donor or dedicatory inscriptions only when the painter himself is the commissioner, or when the social status of the painter is equal to that of the donor who commissioned him: this was common especially in provincial churches. The fact that painters are not mentioned in the inscriptions of highranking donors of the Late Byzantine period may be explained, as noted by KallopisiVerti, in terms of their lower social status or a substantial difference between the status of the commissioner and that of the painter.

As some exceptions from this rule, Kallopisi-Verti refers to the inscription in the Church of Veroia identifying the painter Georgios Kallierges as the “best painter of all Thessaly” as well as to the inscriptions of Tsalenjikha murals mentioning the Constantinopolitan painter Manuel Eugenikos. As Kallopisi-Verti states, the donors would have regarded this as a matter of prestige. We agree with this on the whole, though it should be noted that the Tsalenjikha murals are no exception in the wall paintings of medieval Georgia.

Georgian architecture, wall painting, and fine arts in general are grounded in a different context, reflecting a completely different reality. Here, painters and artists are mentioned by high-ranking commissioners, as well; they are even mentioned together with the donors. The painters even ‘signed’ their works which were commissioned by high-ranking officials, etc. The earliest examples (10th and 11th century) are found in a number of inscriptions in which master builders and goldsmiths are mentioned, while later witnesses are preserved in 16th–17th-century wall paintings. The dedicatory inscription of the King Levan of Kakheti (1518–1574) at Gremi names the painter Zacharia, while the painter Meletios is mentioned along with King Rostom (1633–1658) in the inscription of the murals in the Church of St. Eustathius at Ertatsminda.

The painters’ ‘signatures’ accompany the church murals commissioned by the king Bagrat of Imereti (1510-1565) in Gelati and the high feudals and officials, such as, for example, Vameq Dadiani (1384-1396) in Tsalenjikha and Givi Amilakhvari in Samtavisi (1679). Similarly, church paintings accompanied by painters’ inscriptions, the donors of which were the high-ranking ecclesiastical authorities, are found, for example, in Bijvinta in the south-western chapel of the Church of the Holy Virgin (commissioned by the Catholicos of West Georgia, Evdemon (1557-1568)); in Bobnevi (by Bishop of Tbilisi Ioseb (1620–1688)), or in Mtskheta, on the “Life-Giving Pillar” in the Cathedral of Svetitskhoveli (by Catholicos Nikoloz Amilakhvari (1678-1688)). Thus, painters in medieval Georgia are

mentioned in donor inscriptions of the high secular and ecclesiastical hierarchy, and they signed works commissioned by the latter, too.

The fact that the donors would rarely mention the painters in their inscriptions may be explained, above all, by their attitude towards and perception of a commission. There was no need to mention the author of the work; to the donor, it appears to be of utmost importance to donate to church and above all, to the Lord. Who carried out the task was regarded as secondary. This might have been the reason for not mentioning the painters, and not that the painters were considered as being of lower status or as equal to simple craftsmen.

We cannot agree with the view that painters did not ‘present’ themselves in the murals commissioned by high-ranking donors, and that in such cases they merely signed their works with simple, supplicatory “signatures” in invisible parts of the church. Murals executed under the patronage of Queen Tamar (1184–1213) in the churches of Betania and Vardzia – namely, the inscriptions by Giorgi Jari and Demetre inscribed into the ornamental segments of the sanctuary apse – do not allow us to conclude that the painters are reserved about presenting themselves at the side of the Queen Tamar (whose portraits are found in both churches). Neither does it seem plausible that there should have been any restriction on the painter’s signature. In an inscription on the frame of the Ancha icon executed at Queen Tamar’s “command and donation”, the Bishop of Ancha freely mentions the goldsmith Beka along with Queen Tamar. The inscriptions of Giorgi Jari and Demetre were primarily meant for the Lord and not for demonstrating the artists.

That donors were not opposed to painters leaving their ‘signatures’, is also attested by the location of the inscriptions within the space of church: the painter’s ‘signatures’ are often presented in areas where they would be easily seen and not missed.

Certainly, the content of the donor’s inscription was not determined by the painter: the painter was merely the one who carried out the task. He would not have placed his name on his own initiative, but at the commissioner’s wish. Mentioning a painter in an inscription may be regarded as a way for donors to show their appreciation for and recognition of the painter. The commissioners had their preferences when choosing the artist. This is witnessed by the fact that, as a rule, they mention only one painter in their inscriptions. This holds true at least for Georgian wall paintings. Even when the murals were executed by several painters, only one painter is mentioned. The commissioner would thus have given preference to a certain painter. Yet we do not know by which criteria exactly donors’ preferences were determined. The donor might well have mentioned the chief painter or

some famous painter who, in his opinion, was distinguished for his mastery or whom he had commissioned. Still, especially when this information is lacking, it cannot be proved with certainty that the painter’s professional skills or his reputation would have been a condition for being mentioned in donor inscription. For example, it is hard to judge the criteria according to which painters were chosen by the King Bagrat III of Imereti for the Church of the Holy Virgin in Gelati. The dome murals of Greek painters (1520s) do not stand out with their high quality, whereas the layer of wall paintings dated to the 1550s reveals the far more professional level of post-Byzantine paintings. The commissioner of both was Bagrat III. Both murals are accompanied by the painters’ ‘signatures’. Bagrat III seems to have chosen the painters for reasons other than their professional qualities. But this is merely our modern approach. Are we sure that our way of assessing is the same as that of the medieval donors; or can we assert with certainty that Bagrat’s main criterion for selecting a painter was the artist’s professional level?

It should be noted that for the painters, being mentioned in donor inscriptions, especially if the commissioners were high-ranking secular or ecclesiastical authorities, would have certainly been a matter of honour. Additionally, it would have increased their self-esteem.

“Preaching Through Colours and Lines”

The nature and function of works of art and how they were perceived by their contemporary society are issues of particular interest in the study of medieval painters’ work in general.

As is well known, visual representation (image) had a vastly important place in social and cultural life during the Middle Ages. Indeed, it became an almost inseparable part of medieval society. The icon was understood as a path leading from this earthly and sinful world to heaven, to the divine realm, to God; it was regarded as the space in which body and soul are inseparably united, and above all, as the realm of communication with God, that is to say, of living participation in God and in the Divine. Art was never considered as having a purely artistic, aesthetic, or, decorative function, but primarily as an integral part of the entire universal, cosmic order and harmony.

Image was not only narrative, but also had an implied interpretive and iconological meaning. That is why it may be called “Preaching through Colours and Lines.” Art had an educative function as well: according to Church Fathers, it would serve as Holy Scripture for the non-literate. The icon is recognized, above all, as an image and representation of the archetype, and a bearer of the energy and power of the latter, although these two components, the image and archetype or prototype, are by no means identical according to their essence. Visual representation thus has a dogmatic dimension as well, serving as witness to the mystery of the Incarnation which is the foundation for our salvation. It is of special note that within the context of this relationship between the image and the archetype, the honour, the veneration, paid to the image belongs primarily to the archetype as the source of the image: this archetype or prototype is unigenitus (‘only-begotten’) or primogenitus (‘firstborn’), as is attested in ancient written sources, among them ones in Georgian tradition (the corresponding Georgian term is pirmshoy khati). In St. Basil the Great’s words, for example, the honour, the veneration of the image is transferred to its prototype.

According to a canon of the Seventh Ecumenical Council, icons are to be interpreted as a legacy of the Incarnation, and are open to theological speculation owing to the Divine Word becoming incarnate.

The rich patristic heritage serves as the most important source for our understanding of the conceptual aspect of medieval art. One of the most influential works in this context is St. John Damascene’s Three Sermons on Holy Images. Yet, in this work, no references to artists nor concrete requirements toward painters are to be found.

Similarly, within the whole Georgian tradition, much attention was paid to the special theological and dogmatic significance of icons. Theological premises of veneration of holy images are addressed in St. Euthymius Hagiorites’ famous work, The Lesser Nomokanon.

A considerable amount of information concerning building initiatives of Georgian rulers, both of ecclesiastical and secular authorities, is to be found in Georgian historical and historiographical sources. Unfortunately, the chronicles show far less interest in the donors/commissioners of wall paintings and artists/painters who were involved in this process.

Knowledge of the concept of medieval art in general, may, to some extent, be gained from the canons and decrees of the Ecumenical Councils. The legislative and authoritative nature of the latter surely enhanced the prestige and significance of medieval art, but here, too, special issues concerning the creative process of producing works of art as well as painters’ function and role received less attention.

Important issues concerning religious art were addressed at the so-called Quinisext Council, i.e. the Fifth-Sixth Council/Penthekte Synod, also known as the Council in Trullo, held in 692 at Constantinople (as is attested in written sources, “in the dome (τρούλος [troullos]),” that is to say, in the Domed Hall of the Imperial Palace). The council was convoked in the period prior to the official prohibition of the veneration of images, reflecting long-standing debates and controversies about the nature and the function of the image. This seems to be necessarily related to artistic aspects, as well. This assembly did not have the canonical status of an Ecumenical Council, although it was intended to be a continuation of, and thus complementary to, the Fifth (553) and Sixth (680/681) Ecumenical Councils. It issued 102 disciplinary canons, among which Canon 82 is of particular interest, since it represents the first canonical norm on the manner of the depiction of Jesus Christ.

It is noteworthy that this canon did not merely place a restriction on a specific image (the symbolic representation of Christ as a Lamb), but rather elaborated on the theological aspects of this topic. It is intended to ensure that He who is depicted is the Word of God,

Son of Man, Jesus Christ – the Word truly made flesh, who truly lived among men, preaching and teaching, and was truly crucified and died. After this, there is no longer any need for visible symbols. Christ may be depicted in the form in which he made himself visible. Canon 82 attempts to give a dogmatic argument for this, thus offering the first Christological basis for the image. It is also related to purely artistic issues, namely how our Lord and Saviour should be depicted in such a manner that would unite both his human and divine natures in the single hypostasis of the God-Man, Who is truly both God and Man, maintaining a balance between two whole realities, between the visible and the invisible, between the human image and the divine prototype which is the divine glory of Christ. The image thus represents the single person of the divine Word Incarnate, in which both of these natures are united while remaining intact. This Christological foundation paves the way for a Soteriology, and in the context of images, it means that the icon reveals the concept of the transformation of the body to the divinized and spiritual body.

The theological elaboration of these Christological themes achieved its culmination at the Seventh Ecumenical Council, held in Nicaea in 787, with regard to holy images as well. We venerate holy images, but the honour paid to the images belongs to the prototypes/ archetypes.

Of particular note is one of the decrees/canons of this Council concerning painters, painting and the function thereof. The true creator of religious works of art is believed by Church Fathers to be, in the first instance, the theologian, while artists/painters artistically and technically bring to bear the concepts elaborated by theologians.

The decrees of the Council tell us almost nothing about specific artistic solutions. This may have been entirely up to the painter, guaranteeing his artistic freedom. The main goal was to enhance the place and function of the images even more greatly within the entire sacred space of a church. It was directed, above all, against iconoclasts, in order to argue against their heretical views, and by no means intended to impose intentional restrictions on artists.

Unfortunately, we know almost nothing about the clergymen or theologians who might have been involved in this process as advisers, and who seem to have been authors of the initial idea and concept of the commission.

It can only be suggested that the donors and commissioners mentioned in church inscriptions might have played a certain part in determining the content of their own commissions. For example, a certain Bishop Anton of Jqondidi, the donor of the murals in Qincvisi, appears to have intensely involved in the conceptual elaboration of the

iconographic programme, and it must have been according to his personal wish that a very elaborated version of the Life Cycle of St. Nicholas as well as specific representations of Georgian saints are to be found there.

As for painters, concrete material evidence is, to some extent, provided by works of art produced by these artists: frescoes, icons, etc. Some painters are mentioned by name. But even if we did not have any specific names, we could probably recognize the respective painter’s style, milieu, traditions, etc., through his work. This is true also of the painter’s temperament and taste, artistic thinking and skills, theological education and schooling. All in all, it is obvious that the painter’s work of art as a product of his creative activity reveals his own individual handwriting.

One of the most important issues addressed in the canons and decrees of the Seventh Ecumenical Council is the clear demand for a resemblance (mimesis) to the prototype that would assure the truth of the representation. The notion of ‘realism’ may also be applicable to this context, but our modern approach differs completely from that of the medieval society. In medieval theology, demand for realism would have implied a similarity with the prototype/archetype, a replication of the true, real model. It was the authenticity of the image that appears to have been of crucial importance to the theologians. Witnessing to the same and single truth of the prototype would have thus resulted in repetitiveness and unchangeability of the images. But this had nothing to do with an intentional pressure on artists on the part of donors, or with a slavish adherence to prescriptions and noncreativity on the part of the painters themselves. The desire and even need to create imitations, that is to say, reproductions of old models in order to guarantee the authenticity of the image seem to originate from this very attitude.

As is well known, St. Luke is believed to be the first to have depicted Holy Mary and Infant Jesus Christ. This certainly served to demonstrate the authenticity of the image, and at the same time, as a witness to the Incarnation. It was of paramount significance to be able to approach to the image of a saint and recognize its resemblance to the archetype, since this was seen as a path leading to God or a way of true communication with God. The ‘realism’ of the image implied the true and real existence of the person depicted in it. The painter would broadly apply old models and patterns, and often visions, as well, to achieve a true similarity with the archetype. The existing tradition of representation of the respective saint served as a foundation for him. In producing his work of art, the artist was aiming, above all, to make his image recognizable.

The overall approach to the portrayal of images in the Middle Ages differs substantially

from that in our contemporary society. Medieval viewers were not supposed to seek an outward illusory resemblance in “portrayals” of saints: rather, they searched for an exactness of definition, which may be formulated as follows: classification of the type of saint, specifics of dress and colouring, physiognomic characteristics (including age, attributes), and finally, inscriptions.

These criteria appear to the Byzantines as essential features of the realism of the portrayal. Some important information was provided by the long-standing tradition of icons, preserved through ages – such as for example, concerning the appearance of a saint, whereas the life of a saint would supply some further significant data, regarding the dress, attributes, etc. Such an approach may, to some extent, clarify why it was absolutely necessary for medieval artists to use old models: apparently, above all, to avoid errors.

In the Middle Ages, ‘realism’ served as a theological as well as an aesthetic concept, and, moreover, as a witness to the truth. In the view of Patriarch Nikephoros, for example, painters could bring the visible and invisible components of the prototype together through visual means and, in this way, represent them together in unity.

A painter is commonly called upon not to divide and separate, but rather to unite and harmonize these two realities, these two essences, into a single undivided and inseparable whole – to harmonize the two in the single person. This is seen as the foundation for the canonicity of iconography: image and prototype/archetype are one and the same resemblance and designation, but different according to their essence.

It would definitely go beyond the scope of this short survey to give in-depth insights into this very complex realm of the theology of images/icons. In order to gain a better understanding of the topic, it is essential to highlight the great responsibility of painters and the importance of their duties in medieval times, and what a significant part their works played in the entire cultural and spiritual life of society at the time.

PAINTERS AND THEIR COMMISSIONERS

The relationship between artists/painters and their commissioners/donors, that is to say, their close interaction, is one of the most important issues regarding the medieval artists’ activity in general. It is hard to discuss this topic in depth based merely on the very little and limited information preserved in Georgian sources, but in certain cases we still possess some useful data that enable us to proceed to some suggestions and considerations. Thus, a number of testimonies, such as donor and supplicatory inscriptions, or names and events mentioned in the documents, as well as iconographic programmes of the works etc., permit us to reconstruct some important details of this very complex issue, thus laying a foundation for further reflections.

It is obvious that donation was often absolutely determinative for medieval artists’ activity, especially in wall paintings: it played a key role in this process of producing works of art. As donors there were laymen and clergymen of high rank, bishops and abbots as well as ordinary laity and whole communities. The donors were eager to invite artists of good reputation, who were to be rewarded in an appropriate way, including financially. Some donors are depicted in church murals, while others remain almost anonymous and we know nothing about them whereas the works of painters stil stand out on the walls of churches.

In vast areas of the Christian East, a great number of churches were built, which of course needed to be adorned, painted, renovated, etc. Icons needed to be painted and liturgical manuscripts illustrated. Therefore, artists were very much in demand and they enjoyed great authority, especially the icon painters, since icon painting is believed to be pleasing to God: it was regarded as a sort of eucharistic mystery, that is to say, the mystery of transformation

Donating and commissioning and, consequently, the employment of artists might suggest economic benefits as well, but investing in art does not necessarily mean financial or economic benefits. Rather they were for prestige and above all for spiritual enrichment.

The volume of commissioning depended to a great extent on economic resources of the commissioner. For example, it is widely known that in Tao-Klarjetien, the Bagrationi royal family was in charge of major building and painting activities.

The donor, the commissioner, on the one hand, and the advisor, the author (designer) of the concept and programme, on the other hand, might not necessarily be one and the same person. The degree and the nature of their participation and contribution with regard to the final form of the work vary greatly. The commissioner and the theologian played an important part in developing the concept of the programme, while the artistic (and not only artistic) realization was entirely the prerogative of the artist himself. It should especially be noted that great artistic freedom in medieval times is evident, and this is attested by a great number of masterpieces, each of them revealing strong individual features and thus being absolutely unique.

It is almost clear that the donor usually intervened in the iconographic concept and the programme, however, many of his requirements would certainly have reflected the artistic and cultural needs of his time.

Although we do not possess documents that could cast light on donor-artist relationships, we may assume some points with regard to the role they play in this process, based on their works. For example, Georgian sources do not contain any indications regarding the building and painting of St. Nicholas’ Church in Qincvisi, but they tell us a lot about the donor of the church, Anton Gnolistavisdze, and also about Catholicos Michael, the son of Mirian who deposed Anton from his position as Jqondideli and mtsignobartukhutsesi. Queen Tamar then summoned the former Catholicos Nikoloz Gulaberisdze to intervene in Anton’s case in favour of the latter. Tamar’s historian calls Nikoloz Gulaberisdze ‘Nicholas [Nikoloz], like his namesake’. It can be assumed that Anton Gnolistavisdze, wishing to express his gratitude towards Nikoloz Gulaberisdze, built a church in his name and, as is observed, the iconographic programme of the church seems to be influenced by Nikoloz Gulaberisdze’s ideas.

One outstanding example of the donor’s intervention in elaborating the programmes and concepts is the 12th century painting of Otxta Eklesia in Tao. The painting is supposed to have been created as a result of the commissioning and direct intervention of Davit Kuropalates, as a sort of visual testimony to the biblical origin of the Bagrationi-dynasty, thus showing parallels especially with King Solomon as the builder of the Temple of Jerusalem. The anachronistic church type of Otxta Eklesia (namely basilica) was chosen because of its being analogous to Jerusalem’s Sion.

One of the documented witnesses to the organizing and supervising role of commissioners in artistic concepts etc. is an inscription in the Church of the Saviour in Matskhvarishi: “ Here is Kvirike mamasakhlisi [the hegoumenos], who toiled at supervising the painting of this church.” Kvirike’s inscriptions show much love, care and respect towards painting in general; this allows the assumption that Kvirike himself would have had authority in the painting programme of the church, although the depiction of the Coronation of King Demeter I seems to have been according to the wish of those local Svanetian Eristavi who participated in this ceremony.

An example of the donor’s special intervening and influential role in the artistic rendering of the church may be seen in the 12th-century main church of the Gelati Monastery: by contrast with 12th-century Georgian architecture as a whole, which is lavishly adorned with stone reliefs and rich ornamentation, the façades of the Gelati Church, are bare of any ornamentation and very puristic in their artistic rendering. In this concept of church decoration, we can observe how the preachings of St. George the Athonite influenced the donor, King David the Builder.

It might have been on the initiative of the commissioners, that is to say, of King David the Builder or Demeter I that the Ecumenical Councils were depicted in the narthex of the Gelati Church thus representing an almost unique case in that period paintings of the Christian East. Also, St. Giorgi Jqondideli might have been involved in this process.

Such indirect indications do certainly not suffice to show fully the relationship between the commissioner and the artist, but i t is in this very realm that an artist’s character, psychology, and sense of self- awareness play an important part. Some questions arise , such as how harmonious the relationship between the commissioner and the artist might have been, or whether the commissioner’s wishes and suggestions would have been taken into consideration, particularly if they were not in accordance with those of the artist, etc. Clarif ication of these details would have enabled us somehow to reconstruct a holistic picture of this interrelation. However, we unfortunately have very little information on artists of m edieval Christian a rt, since we possess no biographies of them, nor their accounts or memoi r s or diaries, nor those of any of their contemporaries. Therefore, we have to limit our study and investigation to some indirect witnesses , in order to get some impression of the painters' self-awareness and self - identity. These issues belong to the complex realm of psychology, moreover, the psychology of personalities from the past. Regarding this aspect, it is most important to explore the artists’ sense of self-awareness, that is to say, their view of how they

themselves consider ed their own activit ies and define d their own place and function in the process of producing works of art .

There is no doubt that some of these artists, at least the best among them, recognized their mission and thus it would not be surprising if they had had a high degree of selfesteem. Besides, their self-image might have been influenced by the example of St. Luke, who himself was painter and is commonly considered as the patron of painters. By contrast with modern artists, the creative activities of medieval painters were by no means for their self-realization, for highlighting their “ego” but seen rather as true service (to God) in the broadest sense of the word.

As is well known, Byzantine art is commonly regarded as impersonal and anonymous, but even the very limited information on painters that is available may serve as witness to some exceptions. For instance, a long list of references to artists is found in the Oxford Dictionary of Byzantium, which is far from complete and does not comprise the names of Georgian medieval artists, but which makes it clear that painters did not deliberately choose to remain anonymous.

Medieval artists are sometimes considered as merely instruments in the hands of God. Such an attitude towards the painters in general may explain the fact that they are rarely mentioned by their proper names. However, remaining anonymous did not prevent them from being great artists and individuals, true artists, each unique and possessing individual artistic imagination.

The creator of the frame of the repoussé icon from Ancha, Beka Opizari, is praised by Ioane Ancheli in the marginal glosses of the Ancha Four Gospels (Tetraevangelium): worthy goldsmith, blessed by God.

It is worth noting that in the painters’ inscriptions a remarkable term, namely painted by hand of ... is frequently attested. It may be regarded as a sort of self-distancing of the painters from their own works, as if their hand were led by some other hand, independently of the painter himself.

Yet, at the same time, some of these inscriptions include painters’ names that highlight the artists’ leading role and main function in the process of producing works of art, highlights his participation in this God-blessel activities and passes his name to future generations.

An artist as an instrument in the hands of God, totally obedient to and dependent on Him, may appear as most humiliating to the artist’s personality, and almost incompatible with his own artistic creativity, but that would be an attitude from the perspective of our modern world and life, reflecting our contemporary perceptions and views. As for those

medieval painters we are dealing with, it seems, rather, to have been a great honour and a huge responsibility to be so gifted through God’s grace. It would then be their own task to make this God-given talent manifest, and thus they would worthily realize God’s will.

How did painters react to the perception that God chose precisely this person to realize His will, this being a special honour and gift for the painter? Some artists were certainly proud of this, but others tended to humiliate themselves to the extreme, emphasizing their own unworthiness. This bipolar and contradictory position within artists’ sense of selfawareness, may be observed in painters’ inscriptions: the commonly used terms such as sinful, unworthy, humble, etc. do not necessarily mean that the authors of these selfreferences had little self-confidence; rather, this may be regarded as showing how they related to and communicated with God, that is to say, as a sort of sacred ritual

As for the place of an inscription in a church, this could well indicate what the painter really felt with regard to his sense of self. For instance, the inscriptions of the ‘King’s Painter ’ Thevdore, appear intentionally in the most visible places in the church: it should be noted that not only his name, but also the title, King’s Painter, is mentioned. Similarly, the painter Gerasime’s name is set in one of the most noticeable and venerable places in the Ubisi Church, namely on the altar arch.

Some painters “leave their names” in a less visible place, without even indicating their role, for example, in Betania the painter Demetre, or in Ozaan the painter Michael. Here the artists’ completely different sense of self-awareness may be perceived, one that highlights their main goal: no recognition in this world, but a reward in heaven, through God’s mercy on them.

One of the most remarkable examples of donor depictions with inscriptions is that of Ioane Tokhabi of Mount Sinai, dated to the turn of the 11th and 12th centuries. Both the depiction of Ioane and his inscription, are preserved: Ioane the monk was not only a donor, but also an icon painter, and he depicted himself twice on the famous Hexaptych: in a kneeling position before the Enthroned Mother of God, and also within the scene of the Day of (the Last) Judgement, at the threshold of Paradise.

There are some inscriptions in which painters mention themselves in an extremely humiliating form. As an example of this humiliating style, a remarkable and almost unusual inscription is represented in the Betania Church, in the south wall murals of the 12th century: a small figure, depicted at the prophet Aaron’s feet, is accompanied by scarcely noticeable inscription: Lord, do not have mercy on Sophron!

Medieval painters scarcely had a sense of ambition and conceit like Renaissance artists, who considered themselves not as an instrument in the hands of God, but as true creators, almost competing with God. An example of the most tragic consequences of such an attitude may be seen in Michelangelo’s late works, for instance, in his celebrated Pietà Rondanini, as a brilliant but tragic example of human conceit. The medieval artists’ attitude toward these issues appears to be completely different, since they believed in producing their works of art, above all, for God’s glory. Their works seem to convey God’s word in visible forms, so that the observers might better comprehend Holy Scripture. This sense of self-awareness differs greatly from our modern artists’ attitude and views. However, it is hard to judge whether this should be seen as an extreme expression of self-humiliation or as some other phenomenon, for example, some form of painters’ communication with God.

From the modern perspective, it is extremely difficult to assess medieval artists’ psychological condition, their sense of self-awareness, self-consciousness and self-esteem, but their great works do, to a certain extent, give some insights into this very complex, manifold and fascinatingly mysterious world.

MEDIEVAL PAINTERS’ARTISTIC FREEDOM

The fundamental question which may be asked when dealing with medieval artists’ activities is the following: can the term ‘artistic freedom’ be applied to medieval artists as well? This issue seems crucial for clarifying the assumption about whether medieval art can be defined as “art” as such.

It has been generally accepted that medieval artists were bound by strict rules and iconographic canons, working mostly on commission and thus showing almost no creativity. Yet, as is well known, each epoch in art history has its own challenges and needs and, thus, its own cultural dynamics, including canons, artistic style and trends, that is to say, its unique “Kunstwollen”, according to the concept of Alois Riegl. Consequently, each period has its own requirements also for artists. Even during the Renaissance, which was commonly regarded as the locus per se for artistic expression and creativity, artists were probably limited by certain rules. As for the Middle Ages, from the European perspective, it was widely acknowledged that commissioners were major determiners of restrictions on artistic freedom of expression. But this is true also for the Renaissance: it was the commissioner who had to define what was to be represented in works of art and what the concept was to express.

Within the realm of artists’ psychology, one can explore how artists themselves felt about their own creative freedom: we can assume that a painter hardly felt himself bound and restricted when his artistic vision was in accordance with the commissioner’s requirements or iconographic canons. As is well known, according to the Canons of the Seventh Ecumenical Council (Nicaea II, 787), the concept and content of the image were to be left entirely to the ecclesiastical authorities and Church hierarchy, while the realization of them in visible forms seems to have been the artists’ task exclusively.

The creative ability of medieval painters finds its full expression, above all, in their creating suitable artistic forms, while developing the iconographic programme and adapting it to the existing architectural space, as well as extending it to tradition and the ‘social memory’, that is to say, to the shared collective experience.

The great diversity of artistic forms found in medieval murals would definitely disprove the theory regarding artists’ noncreativity and, consequently, slavish adherence to rules and guidelines. Here we may refer to some striking examples of 12th–13th century Georgian wall paintings during the reign of Queen Tamar in the churches of Vardzia, Betania, Qincvisi, Bertubani, and of St. John the Baptist in Davitgareji or Timotesubani. All of them were produced under royal and high-class patronage, both secular and ecclesiastical. Some of the best artists and craftsmen were asked and engaged to create them. Some are thought to have been involved in several activities. Of special note is that neither repetition nor replication nor imitation is to be observed; it seems that neither the programme, nor the colour palette, nor the style is repeated. Each work is practically unique. Although they share some common features, reflecting artistic trends or theological ideas of the respective epoch, it is beyond doubt that each of them is a product of artistic freedom. Here the unique wall paintings of Ateni Sioni, dated to the 11th century, should be addressed: on the one hand, the wall paintings of each of the four apses or arms of the Tetraconch seems to bear different content; on the other hand, they are all united into a homogeneous whole, thus interconnected and interdependent, with regard to both the content and the artistic rendering. This was almost certainly personal and “authorial” decision of the painter himself.

One of the most striking examples of the painter's creativity is to be found in the 11thcentury murals of the Zemo Krikhi Church. The compositions are displayed on the walls of rather peculiar and odd structure in such a manner that any kind of outside intervention, that is to say, by the commissioner or even by the clergy, must be excluded. The masterfully created unique composition seems to be a product exclusively of the painter himself. The vault painting of St. George’s Church in Ubisi, dated to the 14th century, serves to demonstrate a brilliant artistic solution by the painter Gerasime: the dome programme, in its adaptation to the vault of the single-nave church, and a unique version of the doctrine of the Trinity. The artists’ free will might have been expressed not only by their choosing models and patterns, but also by applying diverse artistic rendering to diverse figures or components of the same work, for example, in the 12th-century wall paintings in Betania, in the scene of Communion of St. Mary of Egypt, the face and the figure of the saint with accentuated ascetic features are cardinally different from the representations of other holy women who are depicted as full-faced, beautiful and elegant.

Further, somewhat indirect evidence of the medieval artists’ freedom is ‘King’s Painter ’ Thevdore’s art (11th to12th century). Reducing the cycle of Twelve Feasts to four scenes seems to have been a bold solution, yet, at the same time, in all the three churches

that are adorned with his paintings, each of the programes is interpreted quite differently. There is no doubt that the artistic solution of the programme as also the concept, go back to Thevdore himself, as the full expression of his genius.

Georgian wall paintings has preserved numerous outstanding examples, witnessing to more or less free artistic rendering and the iconological thinking of their creators. More references may be provided from Georgian as well as Byzantine art. It is quite obvious that medieval artists and painters appear to have been almost free within the realm of their artistic activity and, although they generally followed strict rules and canons regarding the content, the latter would have reflected their own inner state and spirit of faith. They acted absolutely intentionally, deliberately and self-confidently, aspiring to unite and harmonize two important aspects: keeping to the given rules and, at the same time, developing their own artistic creativity. It is precisely in this realm of the painters’ activities that they achieved the fullest expression of the unity of their faith, knowledge and experience, as well as their self-reflection as being a part of the whole entire Church, and thus serving the universal ecclesiastical truth.

As to the form or shape, works of art may be considered the product of many different styles: e.g. an individual style, an epochal one, a national one, – as a result of diverse ancient artistic traditions, precipitated in artists’ subconscious mind. This all served as a foundation for the canon, which should by no means be regarded as fetters, chains or bonds but rather as a guideline and an aid.

The canonical character of medieval art has been presumed as a reason of rather limited, conservative and non-innovative character of the latter. But canonicity as a very complex phenomenon, is characteristic not only of the Middles Ages. The approach to the canon varied in diverse epochs, for example, in medieval art, on the one hand, and in the canons of Poussin, dominated by mathematics, on the other hand. We may argue that each epoch and, respectively, each cultural milieu seems to have established its own restrictions. It is still to be specified in which cases the artist seems to be more liberated from external influences, and from which influences specifically.

The universal character of Christian art is provided by common artistic canons. Religious art, as well as any kind of art in general, is necessarily canonical, which in no way implies a restriction on artistic freedom. On the contrary, the canon promotes the highest quality of art, concerning both the content and the artistic form; it is determinative of its universal character, its significance and impact in general. The canon serves not to limit or restrict, but to liberate; it is much more of an aid than an obstacle.

It is widely acknowledged that the existence of such a great number of copies, as produced by medieval artists, was due to the principle of canonicity. But a copy appears to a medieval painter not just as an exact replica and an imitation, but rather as a representation of the very essence of the original. The exact form of the original and the copy may differ greatly. Thus, if the commissioner ordered the artist to make a copy of a certain icon or fresco, the artist would in no way be limited in his creativity and freedom. That is why we are confronted with such a diversity of representations of nearly the same scenes. Suffice to mention the famous miracle-working icon of the Iviron Mother of God, Portaitissa – there are numerous copies of this icon, very different in artistic rendering but similar from a canonical point of view.

Closely connected with the issue of medieval artists’ creative freedom are the socalled ‘model-books’, which should here be addressed. In European scholarship these iconographic model-books are recognized as witnessing to the medieval artists’, or an artist’s slavish adherence to approved examples. But there is no evidence of the existence of the model-books in the Middle Ages. With regard to this, the position of the clergy is of special significance. For example, according to Saint John Climacus (Sinaites), also known as “John of the Ladder”, it is inappropriate for a teacher to teach merely from the text and, similarly, for a painter to be unable to express himself without a model or pattern.

The hypothesis of the European researchers was based on the late iconographic originals, dated to the 18th and 19th centuries, that is to say, on painters’ guides or guidebooks. These model-books were created in the period following the fall of Byzantium, as the Byzantine Empire as such had ceased to exist, but its artistic and cultural traditions remained codified and preserved in rigid classicist schemes. Painters’ guides, model-books, pattern-books, collections of sketches and notes, and iconographic guides differ from each other, in content as well as in function. A painter ’s guide or guidebook is a text, a sort of guideline, containing useful information on the professional activity of a painter, for example, Cennino Cennini’s

The Craftsman’s Handbook.

As for model-books, they comprise mostly visual materials, selected compositions of artists from diverse epochs and fields, patterns of respective figures and motifs, etc. Another group is represented by painters’ personal notes and sketches, separate folios, which may be called pattern-books, or rather a collection of sketches and drawings (for example, folios (of pattern-books) from Freiburg and Hohenbüttel). Iconographic originals, the so-called

, became especially widespread in the 17th- to 18th century Russia, and were raised even to the status of the legislative norm. Such originals were used

to prove the hard restrictions on the medieval artist’s creativity, since the information they provided seems to be a demand rather than advice.

Herminia by Dionysius of Fourna, a painter’s guidebook, produced at the end of the 18th century, is to a certain degree a scheme, taken over from a tradition that had ceased to exist. In Herminia, certain technical methods, topics of representations, as well as iconography are codified, while visual material is missing.

In written sources and documents, references to painters’ pattern-books (sketches and notes) are found from the 15th century onward, for example, in the will of the Cretan painter Angelos Akotantos, according to which his son was to inherit his skiasmata, a vast collection of his sketches, although it is not absolutely clear whether these sketches were meant to represent pattern-books or just working sketches and drawings by the painter.

It can be suggested that artists of that period were in possession of such collections in their studios, while producing sketches would have been part of a painter’s professional activity in general, as also in earlier times; on the one hand, it was a sort of training for artists and, on the other hand, it served to create a kind of reservoir of memory.

An example of a model-book is discovered also in Georgia. Shalva Amiranashvili, for example, refers in this regard to some folios from an ancient manuscript book, which may serve as a guidebook with models, created especially for monumental painting. In the folios, which show a text in Georgian asomtavruli (uncial) script, the figures of the Blessed Virgin Mary, angels, evangelists and saints are depicted in colour. These representations show traces of alterations, of seeking solutions, etc. which allows the assumption that this was not a final product but a sort of practice book, produced by some artist of the 16th to the 17th century for personal purposes, who presumably used the ancient patterns from around the 12th century.

All in all, for producing works of art, the painter himself and his education definitely played a key role; and it was the living tradition that would have been of the utmost significance, and not model-books at all. The main factor for iconographic and artistic development seems to have been the painter himself, who would have been shaped as an artist by his environment and the inherited cultural tradition.

It seems less probable that painters almost slavishly followed the models and patterns or, exclusively worked with patterns. Grown out of inherited cultural traditions and longstanding experience, these ‘models’ and ‘patterns’ would have been imprinted on their memory. Medieval artists would not have needed to use model-books in order to produce scenes firmly imprinted on their memory. They succeeded in doing so through their

amazing faculty of keeping and preserving in their memory what they had once seen, their imagination and applying it later, at a certain moment, to new contexts and areas.

As is well known, painters used to move constantly from one place to another for work purposes. They were able to preserve living memories from their rich experience, each time creatively adapting them to new conditions.

Iconographic and stylistic innovations might have been initiated by painters themselves, by means of their own individual interpretation, adaptation and a sort of visual ‘translation’ of the ‘collective cultural memory’ which they had inherited from the past. Such innovations may be seen in their highlighting new aspects, placing emphasis on the relevant aspect of the whole work, etc.; this is the realm of the painter’s individual freedom, in which the artist’s own, authentic voice may be recognized, even if he is not mentioned by name and thus remains anonymous.

These important aspects of the painter’s artistic freedom are closely associated, as to the artistic forms, with issues of the mode of national identity. This factor also belongs to the realm of the artist’s psychology, although within the context of Christian art, it is somehow unusual to acknowledge its very special significance. Yet, it is beyond doubt that some essential elements of national artistic forms may be recognized in works of art; that is what makes each of them unique and exceptional. Some significant features of national identity find their expression in concrete artistic forms These features may be observed also in the process of the creative activity of artists, frequently occurring almost independently of artists themselves and being based on the relevant cultural tradition in which the work of art emerged, or its creator was educated. The artistic form of the work of art, the inward as well as the outward form, is mostly defined by impulses of the artist’s individual perception of national identity: These impulses are present, although in latent form, in the very act of creating a work of art, becoming then more activated and thus perceptible in the process of beholding the work.

Georgian painters contributed significantly to enriching the treasury of world art with their exceptional works of art. The sacral, sacred spaces of numerous churches and monasteries in and beyond Georgia are richly adorned with their brilliant works.

When dealing with Georgian Christian art, the special character of the Georgian artistic language should be highlighted, revealing common Christian values in a unique form, having been shaped in the milieu of the ancient and long-standing cultural tradition. Within the polyphonic context of the entire Christian cultural tradition, it resonates its own unique voice with its refined timbres and tones, sounds and colours, in praise of the Lord.

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