DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.27365#0035
DOMED 5R4CE
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programme. Three compositions from each are shown in the second tier of the north
and south waiis. Above and beiow them in the first and third tiers are two series of
styiites and holy monks. The scenes from the Passion of Christ and the Resurrection
scenes are separated from the great church festivals by two tall windows in the third
tiers of both walls. The latter clearly mark off the groups of thematic compositions
devoted to various stages in the history of salvation.
Almost all the walls and vaults of the west arm are occupied by scenes of the "Last
Judgement". These depictions of the Second Coming of Christ, as the final stage in
the history of mankind's salvation, form a logical continuation of the narrative begun
in the north and south arms of the domed cross. Between the "Last Judgement" scenes
and the great church festivals there is a striking, large composition, the "Descent of the
Holy Spirit", on the southern wall of the west cross-arm. Both visually and
symbolically, it unites the images of the south and west arms.
The complex of images in the architecturally separate southwest compartment has
a particular autonomy and expands the iconographic programme of the three cross
arms. The hagiographic scenes here depicted on the vault combine particular
compositions and murals of saints on the walls of this compartment.
The murals of the church in Akhtala are distinguished by the clarity of their
structure, which is well adapted to its architectural divisions. Behind this visible order
lies a rich and original world of symbolic images in which the different scenes and
figures depicted interact in complex patterns. To reach an understanding of their
meaning the viewer must make a detailed study of all the iconographic themes. We
shall follow the logic of their disposition throughout the church by beginning with the
domed space and then proceeding to the altar apse, the naos and the southwest
compartment.
1. The Domed Space
The cupola of the church has not survived. We can still reconstruct its iconographic
programme, however, by looking at wall paintings of the same date in the Christian
Caucasus*. Usually either a cross in a medallion surrounded by angels was depicted in
the dome, as in early 13th-century Georgian churches, or the Byzantine "Ascension",
as in the Armenian-Chalcedonian wall paintings of the church of Tigran Honents in
Ani. Perhaps here the themes were combined, just as they were in the Armenian-
Chalcedonian wall paintings of the Kirants Monastery: the Mother of God is there
shown below the cross in the medallion being raised by the angels in accordance with
the iconography of the "Ascension of Christ ". No matter which particular iconography
was chosen it is clear that the main symbolic theme of the cupola frescoes was the
Praising of the Lord reigning eternally in the heavens^.
* On the iconographic programmes of the dome, see S. Dufrenne, "Les programmes
iconographiques des coupoies dans tes egiises du monde byzantin et postbyzantin", L'm/ormanon
d'Awtofre dc t'art, 1965, X, N 5, pp. 185-199.
" From the symboiicai viewpoint, the mandorta around the figure of Christ or the Cross is of special
importance, as the ancient sign of power and eternity. See L'Orange, Vd/dicr, pp. 88-102.
2
23
programme. Three compositions from each are shown in the second tier of the north
and south waiis. Above and beiow them in the first and third tiers are two series of
styiites and holy monks. The scenes from the Passion of Christ and the Resurrection
scenes are separated from the great church festivals by two tall windows in the third
tiers of both walls. The latter clearly mark off the groups of thematic compositions
devoted to various stages in the history of salvation.
Almost all the walls and vaults of the west arm are occupied by scenes of the "Last
Judgement". These depictions of the Second Coming of Christ, as the final stage in
the history of mankind's salvation, form a logical continuation of the narrative begun
in the north and south arms of the domed cross. Between the "Last Judgement" scenes
and the great church festivals there is a striking, large composition, the "Descent of the
Holy Spirit", on the southern wall of the west cross-arm. Both visually and
symbolically, it unites the images of the south and west arms.
The complex of images in the architecturally separate southwest compartment has
a particular autonomy and expands the iconographic programme of the three cross
arms. The hagiographic scenes here depicted on the vault combine particular
compositions and murals of saints on the walls of this compartment.
The murals of the church in Akhtala are distinguished by the clarity of their
structure, which is well adapted to its architectural divisions. Behind this visible order
lies a rich and original world of symbolic images in which the different scenes and
figures depicted interact in complex patterns. To reach an understanding of their
meaning the viewer must make a detailed study of all the iconographic themes. We
shall follow the logic of their disposition throughout the church by beginning with the
domed space and then proceeding to the altar apse, the naos and the southwest
compartment.
1. The Domed Space
The cupola of the church has not survived. We can still reconstruct its iconographic
programme, however, by looking at wall paintings of the same date in the Christian
Caucasus*. Usually either a cross in a medallion surrounded by angels was depicted in
the dome, as in early 13th-century Georgian churches, or the Byzantine "Ascension",
as in the Armenian-Chalcedonian wall paintings of the church of Tigran Honents in
Ani. Perhaps here the themes were combined, just as they were in the Armenian-
Chalcedonian wall paintings of the Kirants Monastery: the Mother of God is there
shown below the cross in the medallion being raised by the angels in accordance with
the iconography of the "Ascension of Christ ". No matter which particular iconography
was chosen it is clear that the main symbolic theme of the cupola frescoes was the
Praising of the Lord reigning eternally in the heavens^.
* On the iconographic programmes of the dome, see S. Dufrenne, "Les programmes
iconographiques des coupoies dans tes egiises du monde byzantin et postbyzantin", L'm/ormanon
d'Awtofre dc t'art, 1965, X, N 5, pp. 185-199.
" From the symboiicai viewpoint, the mandorta around the figure of Christ or the Cross is of special
importance, as the ancient sign of power and eternity. See L'Orange, Vd/dicr, pp. 88-102.
2