DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.27365#0128
116
CCWCtMVOA'
These findings confirm the importance of the Akhtaia murafs for the history of
Byzantine, Armenian and Georgian art. Taken as a whole, the murals cannot be
attributed to any single artistic tradition. They can only be correctly understood as a
monument of Armenian-Chalcedonian art that achieved an original blend of elements
drawn from Armenian, Georgian and Byzantine culture. Easily discerned in an analysis
of both the iconographic programme and the stylistic manners of the church, this
merging of three cultures forms the most characteristic feature of the monument.
Study of the murals suggests that the art of the Armenian-Chalcedonians can be
distinguished within mediaeval Eastern Christian art as a whole. We shall only reach a
full appreciation of this phenomenon, however, when all the remaining monuments
associated with this ethno-confessional culture have been identified and thoroughly
investigated.
CCWCtMVOA'
These findings confirm the importance of the Akhtaia murafs for the history of
Byzantine, Armenian and Georgian art. Taken as a whole, the murals cannot be
attributed to any single artistic tradition. They can only be correctly understood as a
monument of Armenian-Chalcedonian art that achieved an original blend of elements
drawn from Armenian, Georgian and Byzantine culture. Easily discerned in an analysis
of both the iconographic programme and the stylistic manners of the church, this
merging of three cultures forms the most characteristic feature of the monument.
Study of the murals suggests that the art of the Armenian-Chalcedonians can be
distinguished within mediaeval Eastern Christian art as a whole. We shall only reach a
full appreciation of this phenomenon, however, when all the remaining monuments
associated with this ethno-confessional culture have been identified and thoroughly
investigated.