DOI Page / Citation link:
https://doi.org/10.11588/diglit.27365#0082
70
/CYWOG1M/WC /'KOGR/IMME
If the preceding saints are among those most widely depicted in Eastern Christian
art the two portraits in the western window jambs are extremely rare. St Benedict of
Nursia (feast day, 14 March) is shown as a stylite although he never practised this
form of asceticism. Evidently this was how the author of the iconographic programme
strove to emphasise the holiness and especial merits of the founder of Western
monasticism. The introduction of Benedict, a saint canonised both by the Catholic and
the Orthodox churches, in this rare and unusual interpretation may be explained as
part of that desire to stress the unity of the Christian confessions: its importance in the
iconographic programme was shown when we studied the holy bishops depicted in the
altar apse.
There are certain difficulties in identifying the stylite shown opposite St Benedict in
the western window aperture. The saint's name is given in an abbreviated form of two
letters "SN" below the tilde and the word "MANDRAELI", also written in <3.w/72tcvmA',
is in a Georgian form that suggests a geographical name explaining the origin of the
stylite. The search for a Georgian toponym was unsuccessful, however. As a Greek
name, on the other hand, the interpretation was more successful. The word "mandra"
which basically means "enclosure " was used as the name of monasteries arising near
the pillars of stylite saints '^. In the Akhtala murals the pillars on which the stylite
saint who lived in such a monastery are depicted were intended to recall distinctive
aspects of those communities. Only here, it is interesting to note, is the summit of the
pillar crowned with a suggestion of monastery walls that exactly repeats the analogous
detail of Symeon the Younger's pillar. Perhaps therefore the author of the composition
wanted to indicate a link between this saint and the monastery-mandra of St Symeon.
We can decipher the abbreviation "SN" as "Stephen". Among holy monks of this
name the qualification "Mandraeli" is most suited to the 8th-century saint of that name
(feast day, 14 January). With the aim of imitating the great holy monks St Stephen
travelled around all the major monasteries of the East. By showing him beside the
founder of Western monasticism this depiction served as a reminder of the numerous
ascetic feats of Eastern monasticism, since he is famous for repeating them.
Apart from the stylites there are also certain hermits shown in the third tier. One of
the first and most revered anchorites, Onuphrios the Great (feast day, 12 June),
appears on the south wall. He is depicted in the narrow space to the left of the eastern
window. The long-bearded elder stands full length and naked, his body covered by the
thick hair that, according to his Life, replaced his clothes. He is turned three-quarter
face and, with his arms raised in prayer, points to Christ in the "Crucifixion", the
contours of which can still be discerned on the eastern wall of the south cross arm.
The series of holy monks is thus linked to the scenes of the Christological cycle. The,
author of the iconographic programme was recalling that the sufferings of the stylites
and hermits repeated the sufferings of Christ on the cross. Like His sacrifice, they
were also the necessary condition for salvation. The image of Onuphrios was a quite
deliberate choice here. In the Christian tradition the story of this saint who was
repeatedly save from inevitable death proved the "providence of God" and the idea that
the prayer of the righteous person was effective. Eastern Christians appeal to the saint
See Bd. 9, cot 413.
/CYWOG1M/WC /'KOGR/IMME
If the preceding saints are among those most widely depicted in Eastern Christian
art the two portraits in the western window jambs are extremely rare. St Benedict of
Nursia (feast day, 14 March) is shown as a stylite although he never practised this
form of asceticism. Evidently this was how the author of the iconographic programme
strove to emphasise the holiness and especial merits of the founder of Western
monasticism. The introduction of Benedict, a saint canonised both by the Catholic and
the Orthodox churches, in this rare and unusual interpretation may be explained as
part of that desire to stress the unity of the Christian confessions: its importance in the
iconographic programme was shown when we studied the holy bishops depicted in the
altar apse.
There are certain difficulties in identifying the stylite shown opposite St Benedict in
the western window aperture. The saint's name is given in an abbreviated form of two
letters "SN" below the tilde and the word "MANDRAELI", also written in <3.w/72tcvmA',
is in a Georgian form that suggests a geographical name explaining the origin of the
stylite. The search for a Georgian toponym was unsuccessful, however. As a Greek
name, on the other hand, the interpretation was more successful. The word "mandra"
which basically means "enclosure " was used as the name of monasteries arising near
the pillars of stylite saints '^. In the Akhtala murals the pillars on which the stylite
saint who lived in such a monastery are depicted were intended to recall distinctive
aspects of those communities. Only here, it is interesting to note, is the summit of the
pillar crowned with a suggestion of monastery walls that exactly repeats the analogous
detail of Symeon the Younger's pillar. Perhaps therefore the author of the composition
wanted to indicate a link between this saint and the monastery-mandra of St Symeon.
We can decipher the abbreviation "SN" as "Stephen". Among holy monks of this
name the qualification "Mandraeli" is most suited to the 8th-century saint of that name
(feast day, 14 January). With the aim of imitating the great holy monks St Stephen
travelled around all the major monasteries of the East. By showing him beside the
founder of Western monasticism this depiction served as a reminder of the numerous
ascetic feats of Eastern monasticism, since he is famous for repeating them.
Apart from the stylites there are also certain hermits shown in the third tier. One of
the first and most revered anchorites, Onuphrios the Great (feast day, 12 June),
appears on the south wall. He is depicted in the narrow space to the left of the eastern
window. The long-bearded elder stands full length and naked, his body covered by the
thick hair that, according to his Life, replaced his clothes. He is turned three-quarter
face and, with his arms raised in prayer, points to Christ in the "Crucifixion", the
contours of which can still be discerned on the eastern wall of the south cross arm.
The series of holy monks is thus linked to the scenes of the Christological cycle. The,
author of the iconographic programme was recalling that the sufferings of the stylites
and hermits repeated the sufferings of Christ on the cross. Like His sacrifice, they
were also the necessary condition for salvation. The image of Onuphrios was a quite
deliberate choice here. In the Christian tradition the story of this saint who was
repeatedly save from inevitable death proved the "providence of God" and the idea that
the prayer of the righteous person was effective. Eastern Christians appeal to the saint
See Bd. 9, cot 413.