DOI Page / Citation link:
https://doi.org/10.11588/diglit.43337#0325
322 | THE WALL PAINTINGS OF AKHTALA MONASTERY
The monograph research uses the modern methods of the interpre-
tive iconography, which instead of a mere description is intended to
distinguish the original elements by the way of comparison; the in-
terpretation of these elements in context of the spiritual culture of the
epoch provides some valuable research findings.
The third chapter is generally aimed to define and sequentially char-
acterizes the Akhtala murals’ stylistic manners. The frescoes’ inscrip-
tions help to find out the origin of the major masters of the Akhta-
la paintings, epigraphic data promotes a technological and historical
analysis of the murals. The study of the individual manners corre-
sponding to the different stylistic trends and national traditions con-
tributes a deeper understanding of some general issues of the Eastern
Christian monumental art’s development.
ACKNOWLEDGEMENTS
I take this opportunity to express my appreciation to those, who helped
me with my work on the thesis and monograph. In the first place I am
indebted to Dr. Paruir Muradian for the invaluable assistance in the
reading of ancient Georgian and Armenian epigraphy. I would also
like to express gratitude to Gia Zhorzheliani and Aleksan Akopian,
who assisted in the translation of Armenian and Georgian texts, which
do not exist in European languages. I thank my colleagues and friends
Viada Arutyunova-Fidanyan and the deceased Karen Yuzbashian for
a long multiyear discussion on the medieval history of the Caucasus,
and especially on the history and culture of the Chalcedonian Arme-
nians. With the warmest feelings I remember the deceased Tatyana Iz-
mailova from the State Hermitage Museum and my Serbian friends
and colleagues Vojislav Djuric and Gordana Babic, with whom I had
numerous conversations about various themes relating to my work.
Besides, I should also mention the restorers of the Yerevan laboratory
to the preservation of Armenian monuments, who in 1986-87 created
perfect conditions for the research: they made it possible to inspect
the murals from the scaffolding and to record, without any exagger-
ation, every square inch of the paintings. The employees of the Rus-
sian Research Institution of Restoration Yury Grenberg and Svetlana
Pisareva greatly helped me to carry out a physicochemical testing of
The monograph research uses the modern methods of the interpre-
tive iconography, which instead of a mere description is intended to
distinguish the original elements by the way of comparison; the in-
terpretation of these elements in context of the spiritual culture of the
epoch provides some valuable research findings.
The third chapter is generally aimed to define and sequentially char-
acterizes the Akhtala murals’ stylistic manners. The frescoes’ inscrip-
tions help to find out the origin of the major masters of the Akhta-
la paintings, epigraphic data promotes a technological and historical
analysis of the murals. The study of the individual manners corre-
sponding to the different stylistic trends and national traditions con-
tributes a deeper understanding of some general issues of the Eastern
Christian monumental art’s development.
ACKNOWLEDGEMENTS
I take this opportunity to express my appreciation to those, who helped
me with my work on the thesis and monograph. In the first place I am
indebted to Dr. Paruir Muradian for the invaluable assistance in the
reading of ancient Georgian and Armenian epigraphy. I would also
like to express gratitude to Gia Zhorzheliani and Aleksan Akopian,
who assisted in the translation of Armenian and Georgian texts, which
do not exist in European languages. I thank my colleagues and friends
Viada Arutyunova-Fidanyan and the deceased Karen Yuzbashian for
a long multiyear discussion on the medieval history of the Caucasus,
and especially on the history and culture of the Chalcedonian Arme-
nians. With the warmest feelings I remember the deceased Tatyana Iz-
mailova from the State Hermitage Museum and my Serbian friends
and colleagues Vojislav Djuric and Gordana Babic, with whom I had
numerous conversations about various themes relating to my work.
Besides, I should also mention the restorers of the Yerevan laboratory
to the preservation of Armenian monuments, who in 1986-87 created
perfect conditions for the research: they made it possible to inspect
the murals from the scaffolding and to record, without any exagger-
ation, every square inch of the paintings. The employees of the Rus-
sian Research Institution of Restoration Yury Grenberg and Svetlana
Pisareva greatly helped me to carry out a physicochemical testing of