DOI Page / Citation link:
https://doi.org/10.11588/diglit.27365#0083
ARM5 OF 7WF DOMED CPG5.S
71
when threatened by sudden death. We may recall that this was a constant danger for
Ivane Mkhargrdzeli, the ktetor of the paintings, since he directly took part in many
battles and military campaigns.
On the north wall only two depictions of holy hermits have been well preserved, in
the window jambs. In the western window is shown St Barlaam, the confessor of the
Indian prince Joasaph (joint feast day, 19 November). Our attention is drawn to the
strange garments worn by this grey-bearded elder: he wears an extremely simple and
crudely woven short-sleeved yellow shirt which reaches to his knees, over which is
slung a dark blue epitrachelion, and on his head a pointed cap. His hands are held
palm outwards in front of his breast in the gesture of receiving grace. The rough shirt
which appears to have been made from stems was probably intended to recall the
tropical climate of India where St Barlaam was a hermit. These unusual garments
also have another meaning. They are the subject of an important episode in the "Story
of Barlaam and Joasaph" since they played a role in the conversion of the Indian
prince. On seeing these pitiful rags which hardly concealed the emaciated body of the
hermit, Joasaph was moved to tears and begged the saint to give them to him. They
then became a symbol of spiritual succession in the worship of God. The appearance
of St Barlaam among the selected hermits of the Akhtala frescoes was entirely justified
since the "Story" was exceptionally popular in the mediaeval Caucasus^
Only insignificant fragments remain of the second depiction on the west jamb of
this window. We can still see a brown mantle, an epitrachelion and a cross held in the
right hand. It is natural to suggest that this is Prince Joasaph who was traditionally
depicted in monk's garments beside his teacher Barlaam. We find a characteristic and
very near contemporary example of their joint depiction in the murals of the main
church at Studenica (1208).
On the eastern window jamb we see the 5th-century saint John Kalibitos (feast
day, 15 January). After many years of wandering he returned unrecognised to his
father's house and settled in a wretched hut (kcffbu): later a church was erected on the
site. Under the saint's monastic cloak we can clearly see a priest's epitrachelion. In his
right hand he holds a cross and in his left, a richly-decorated Gospel. The last detail
refers to the story in his Life of the Gospel given to him by his parents which he kept
all his life. Before his death he revealed his identity t his parents and pointing to the
Gospel said it was this book which had taught him to love God more than anyone else
in the world.
Only a few fragments have survived of the second figure on the window jamb.
They permit us to conclude that a grey-bearded hermit dressed in skins was depicted
here. His right hand is raised in the orant gesture while his left is held to one side with
the palm facing upwards. A Greek inscription with the name "BENEFOROS" has been
completely preserved. However, we know of no saint by that name. It cannot be
excluded that this was the teacher of John Kalibitos who encouraged him to monastic
feats.
136 See PovasF o MaWaame ; /ora/e (The Story of Barlaam and Josaph), ed. LN. Lebedeva,
Leningrad, 1985, p. 25. This edition gives a detailed review of historical research into the origin of the
tale, which was translated from Georgian into Greek in the 11th century.
71
when threatened by sudden death. We may recall that this was a constant danger for
Ivane Mkhargrdzeli, the ktetor of the paintings, since he directly took part in many
battles and military campaigns.
On the north wall only two depictions of holy hermits have been well preserved, in
the window jambs. In the western window is shown St Barlaam, the confessor of the
Indian prince Joasaph (joint feast day, 19 November). Our attention is drawn to the
strange garments worn by this grey-bearded elder: he wears an extremely simple and
crudely woven short-sleeved yellow shirt which reaches to his knees, over which is
slung a dark blue epitrachelion, and on his head a pointed cap. His hands are held
palm outwards in front of his breast in the gesture of receiving grace. The rough shirt
which appears to have been made from stems was probably intended to recall the
tropical climate of India where St Barlaam was a hermit. These unusual garments
also have another meaning. They are the subject of an important episode in the "Story
of Barlaam and Joasaph" since they played a role in the conversion of the Indian
prince. On seeing these pitiful rags which hardly concealed the emaciated body of the
hermit, Joasaph was moved to tears and begged the saint to give them to him. They
then became a symbol of spiritual succession in the worship of God. The appearance
of St Barlaam among the selected hermits of the Akhtala frescoes was entirely justified
since the "Story" was exceptionally popular in the mediaeval Caucasus^
Only insignificant fragments remain of the second depiction on the west jamb of
this window. We can still see a brown mantle, an epitrachelion and a cross held in the
right hand. It is natural to suggest that this is Prince Joasaph who was traditionally
depicted in monk's garments beside his teacher Barlaam. We find a characteristic and
very near contemporary example of their joint depiction in the murals of the main
church at Studenica (1208).
On the eastern window jamb we see the 5th-century saint John Kalibitos (feast
day, 15 January). After many years of wandering he returned unrecognised to his
father's house and settled in a wretched hut (kcffbu): later a church was erected on the
site. Under the saint's monastic cloak we can clearly see a priest's epitrachelion. In his
right hand he holds a cross and in his left, a richly-decorated Gospel. The last detail
refers to the story in his Life of the Gospel given to him by his parents which he kept
all his life. Before his death he revealed his identity t his parents and pointing to the
Gospel said it was this book which had taught him to love God more than anyone else
in the world.
Only a few fragments have survived of the second figure on the window jamb.
They permit us to conclude that a grey-bearded hermit dressed in skins was depicted
here. His right hand is raised in the orant gesture while his left is held to one side with
the palm facing upwards. A Greek inscription with the name "BENEFOROS" has been
completely preserved. However, we know of no saint by that name. It cannot be
excluded that this was the teacher of John Kalibitos who encouraged him to monastic
feats.
136 See PovasF o MaWaame ; /ora/e (The Story of Barlaam and Josaph), ed. LN. Lebedeva,
Leningrad, 1985, p. 25. This edition gives a detailed review of historical research into the origin of the
tale, which was translated from Georgian into Greek in the 11th century.