DOI Page / Citation link:
https://doi.org/10.11588/diglit.27365#0084
72
/CCWOGR/)/W/C PROGRAMME
As we can see, all the surviving depictions of hoiy hermits are given very individuai
interpretations. In each case typical details are emphasised that evoke direct
associations with the texts of their hagiographies. This is particularly striking when we
compare this with the treatment of the stylites who are shown making identical
gestures and all in similar dark mantles. While the stylites are shown as representatives
of a higher monastic order and embody the idea of absolute holiness the depiction of
the hermits indicates that there are many ways to attain spiritual perfection.
In conclusion we should note one interesting feature shared by all the holy monks
of the south wail. Each is shown as a priest-monk with epitrachelions over their
breast. The idea of their priesthood, however, is nowhere stressed in the hagiographies
of these saints. This interpretation at Akhtala probably has special meaning: by
providing them with the symbols of office which entitled them to celebrate the liturgy
the holy monks were also included in the general liturgical context of the naos.
Georgian van:tv
The series of six Georgian holy monks depicted in the first register of the west wall
deserve separate study. Three are shown to the south of the main entrance, and three
to the north. Those in the southern series are, according to the Georgian inscriptions,
Shio Mgvimeli (of the Cave), Ioann Shuvamdinareli (of Mesopotamia) and St Evagre.
Such a composition cannot be found in other murals of the same period. The central
figure in this series, St Ioann, led the "thirteen Syrian fathers" who came to Georgia^
in the 6th century. He introduced monasticism there and became one of the most
revered of Christian teachers: "a father to the fathers and a great monk," it says in his
Life, "who came to be an adornment of the Georgian people"^. He is the only
Georgian holy monk to be shown holding the Gospel in his hand, to emphasise his
special status as a teacher and founder of the tradition. Twelve of his disciples
confirmed the true faith throughout all Georgia. The most well known of them was
Shio Mgvimeli, who was famous for the numerous ascetic feats and miracles he
performed. As the beloved disciple, he is shown on the right hand of St Ioann while
his own disciple, St Evagre, is to the left. Three generations of hermits are thus shown
here, and the holy monks of the southern series embody the idea of the beginnings of
the Georgian monastic tradition.
Interesting details in the Akhtala composition derived from the Lives of the saints
depicted here, establish the links between the first Georgian monks. They are all
shown, unlike those to the north of the door, with covered heads which echoes the
description in the hagiography of the arrival of the holy fathers "in cowls as is the
custom of Syrian monks"i39. ^ the Akhtala murals these become the koukoulions of
the great schema and indicate the higher order of the saints in the southern series.
137 For the latest studies of this popular theme in Kartvelology see B. Martin-Hisard, "Le 'Treize
saints peres'. Formation et evolution d'une tradition hagiographique georgienne (Vt-XHe siecles)",
RFGC, 1 (1983), 2 (1986), PF. 92-110.
13S gee Sabinin, Po/noe zTHznecpt.s'ante, Pt. 1, p. 89, and D.M. Lang, Liver and Legendr pfi/te Georgian
3aintr, London, 1936.
139 Sabinin, op. cit., p. 71.
/CCWOGR/)/W/C PROGRAMME
As we can see, all the surviving depictions of hoiy hermits are given very individuai
interpretations. In each case typical details are emphasised that evoke direct
associations with the texts of their hagiographies. This is particularly striking when we
compare this with the treatment of the stylites who are shown making identical
gestures and all in similar dark mantles. While the stylites are shown as representatives
of a higher monastic order and embody the idea of absolute holiness the depiction of
the hermits indicates that there are many ways to attain spiritual perfection.
In conclusion we should note one interesting feature shared by all the holy monks
of the south wail. Each is shown as a priest-monk with epitrachelions over their
breast. The idea of their priesthood, however, is nowhere stressed in the hagiographies
of these saints. This interpretation at Akhtala probably has special meaning: by
providing them with the symbols of office which entitled them to celebrate the liturgy
the holy monks were also included in the general liturgical context of the naos.
Georgian van:tv
The series of six Georgian holy monks depicted in the first register of the west wall
deserve separate study. Three are shown to the south of the main entrance, and three
to the north. Those in the southern series are, according to the Georgian inscriptions,
Shio Mgvimeli (of the Cave), Ioann Shuvamdinareli (of Mesopotamia) and St Evagre.
Such a composition cannot be found in other murals of the same period. The central
figure in this series, St Ioann, led the "thirteen Syrian fathers" who came to Georgia^
in the 6th century. He introduced monasticism there and became one of the most
revered of Christian teachers: "a father to the fathers and a great monk," it says in his
Life, "who came to be an adornment of the Georgian people"^. He is the only
Georgian holy monk to be shown holding the Gospel in his hand, to emphasise his
special status as a teacher and founder of the tradition. Twelve of his disciples
confirmed the true faith throughout all Georgia. The most well known of them was
Shio Mgvimeli, who was famous for the numerous ascetic feats and miracles he
performed. As the beloved disciple, he is shown on the right hand of St Ioann while
his own disciple, St Evagre, is to the left. Three generations of hermits are thus shown
here, and the holy monks of the southern series embody the idea of the beginnings of
the Georgian monastic tradition.
Interesting details in the Akhtala composition derived from the Lives of the saints
depicted here, establish the links between the first Georgian monks. They are all
shown, unlike those to the north of the door, with covered heads which echoes the
description in the hagiography of the arrival of the holy fathers "in cowls as is the
custom of Syrian monks"i39. ^ the Akhtala murals these become the koukoulions of
the great schema and indicate the higher order of the saints in the southern series.
137 For the latest studies of this popular theme in Kartvelology see B. Martin-Hisard, "Le 'Treize
saints peres'. Formation et evolution d'une tradition hagiographique georgienne (Vt-XHe siecles)",
RFGC, 1 (1983), 2 (1986), PF. 92-110.
13S gee Sabinin, Po/noe zTHznecpt.s'ante, Pt. 1, p. 89, and D.M. Lang, Liver and Legendr pfi/te Georgian
3aintr, London, 1936.
139 Sabinin, op. cit., p. 71.