DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.27365#0034
Chapter Two
THE ICONOGRAPHIC PROGRAMME
Originally almost the entire interior of the church was decorated with frescoes. The
only exception were the side chapels in the chancel, the protasis* and Jiacofhco?;: in
accordance with the architectural traditions of the Christian Caucasus these areas were
left unpainted.
The paintings of Akhtala have reached us in comparatively good condition. The
images on the north, south and west walls and in the altar apse have all to a
considerable extent been preserved. The walls are framed by protruding borders which
protected the paintings when part of the roof collapsed. Only insignificant fragments
survive, however, on the walls and and vaults in the arms of the domed cross. The
paintings on the west wall of the southwest compartment have been well-preserved
but those that once adorned its vault and other walls have been almost entirely
obliterated. Nothing remains from the northwest compartment. During renovation
work the walls were rebuilt and all the frescoes there irretrievably lost. In the middle
ages the cupola collapsed, perhaps as the result of an earthquake, and only traces of
plaster can now be found on scattered pieces of masonry. Among serious damage to
other parts of the church we must mention the canon-hole in the conch of the altar
apse which de$troyed the upper part of the depiction of the Virgin Enthroned.
Despite these tangible losses, the surviving murals of Akhtala offer a clear idea of
the iconographic programme. Our reading of this sequence begins with the cupola and
the altar apse, the most important parts of the church's decoration. Anyone entering
the building is immediately aware of the depiction of the "Virgin Enthroned" which
occupies almost all of the disproportionately large conch of the altar apse. Beneath it a
broad tier shows the "Communion of the Apostles". In the two lowest tiers of the apse
we see the frontal figures of the holy bishops, the upper row of which is interrupted by
three large centrally-placed windows. The decoration of the vault of the hewc was not
separated from the apse images and so forms part of the overall scheme.
Next in importance is the naox, the three arms of the domed cross. The end walls,
like the altar apse, are also divided into four tiers of murals. In the uppermost range of
the north arm there is a cycle devoted to the Mother of God, and a large composition
of the "Nativity of the Virgin" is located in the lunette of the north wall. In the lunette
of the south wall a still more imposing scene of the "Nativity of Christ" is to be found.
Dimensions and location link and distinguish these two works from the series of
scenes depicted around them: in scale they can only be compared to the "Mother of
God" in the conch and the enormous ' Deesis" in the west lunette.
Abutting the "Nativity of Christ" in the south arm of the cross there are depictions
of the "Presentation of Christ in the Temple", the "Baptism" and the "Transfiguration",
events commemorated in thb great church festivals. The life of Christ is continued in
scenes of His Passion and Resurrection which form distinct cycles in the iconographic
THE ICONOGRAPHIC PROGRAMME
Originally almost the entire interior of the church was decorated with frescoes. The
only exception were the side chapels in the chancel, the protasis* and Jiacofhco?;: in
accordance with the architectural traditions of the Christian Caucasus these areas were
left unpainted.
The paintings of Akhtala have reached us in comparatively good condition. The
images on the north, south and west walls and in the altar apse have all to a
considerable extent been preserved. The walls are framed by protruding borders which
protected the paintings when part of the roof collapsed. Only insignificant fragments
survive, however, on the walls and and vaults in the arms of the domed cross. The
paintings on the west wall of the southwest compartment have been well-preserved
but those that once adorned its vault and other walls have been almost entirely
obliterated. Nothing remains from the northwest compartment. During renovation
work the walls were rebuilt and all the frescoes there irretrievably lost. In the middle
ages the cupola collapsed, perhaps as the result of an earthquake, and only traces of
plaster can now be found on scattered pieces of masonry. Among serious damage to
other parts of the church we must mention the canon-hole in the conch of the altar
apse which de$troyed the upper part of the depiction of the Virgin Enthroned.
Despite these tangible losses, the surviving murals of Akhtala offer a clear idea of
the iconographic programme. Our reading of this sequence begins with the cupola and
the altar apse, the most important parts of the church's decoration. Anyone entering
the building is immediately aware of the depiction of the "Virgin Enthroned" which
occupies almost all of the disproportionately large conch of the altar apse. Beneath it a
broad tier shows the "Communion of the Apostles". In the two lowest tiers of the apse
we see the frontal figures of the holy bishops, the upper row of which is interrupted by
three large centrally-placed windows. The decoration of the vault of the hewc was not
separated from the apse images and so forms part of the overall scheme.
Next in importance is the naox, the three arms of the domed cross. The end walls,
like the altar apse, are also divided into four tiers of murals. In the uppermost range of
the north arm there is a cycle devoted to the Mother of God, and a large composition
of the "Nativity of the Virgin" is located in the lunette of the north wall. In the lunette
of the south wall a still more imposing scene of the "Nativity of Christ" is to be found.
Dimensions and location link and distinguish these two works from the series of
scenes depicted around them: in scale they can only be compared to the "Mother of
God" in the conch and the enormous ' Deesis" in the west lunette.
Abutting the "Nativity of Christ" in the south arm of the cross there are depictions
of the "Presentation of Christ in the Temple", the "Baptism" and the "Transfiguration",
events commemorated in thb great church festivals. The life of Christ is continued in
scenes of His Passion and Resurrection which form distinct cycles in the iconographic