DOI Page / Citation link:
https://doi.org/10.11588/diglit.43337#0334
INTRODUCTION | 331
small church appeared after the death of Shahanshah, about 126131. The
murals in the main church were painted earlier, probably between 1225
and 1250, immediately after the monastery was given to the Chalcedo-
nian Armenians.
The Kirants Monastery is not mentioned in any historical sources,
however, indirect evidence suggests that it was founded by the Chalce-
donian Avag, the son and heir of Ivane Mkhargrdzeli. The wall paint-
ings there can thus be dated to the 1230s or 1240s32.
The above-mentioned historical descriptions suggest a number
of conclusions. The donors of the paintings were rulers of Zakharid
Armenia who were Chalcedonians either by conversion or by birth.
The appearance of such murals was a direct result of the conversion of
Monophysite monasteries to Chalcedonian Creed. In the 13th century
wall paintings were regarded as a compulsory and, one might even say,
distinguishing feature of a Chalcedonian church.
In spite of the dissimilarity in appearance of some monuments,
the iconography, style and character of the frescoes’ inscriptions show
the common generic features indicating their affiliation to a specific
culture of the Chalcedonian Armenians.
small church appeared after the death of Shahanshah, about 126131. The
murals in the main church were painted earlier, probably between 1225
and 1250, immediately after the monastery was given to the Chalcedo-
nian Armenians.
The Kirants Monastery is not mentioned in any historical sources,
however, indirect evidence suggests that it was founded by the Chalce-
donian Avag, the son and heir of Ivane Mkhargrdzeli. The wall paint-
ings there can thus be dated to the 1230s or 1240s32.
The above-mentioned historical descriptions suggest a number
of conclusions. The donors of the paintings were rulers of Zakharid
Armenia who were Chalcedonians either by conversion or by birth.
The appearance of such murals was a direct result of the conversion of
Monophysite monasteries to Chalcedonian Creed. In the 13th century
wall paintings were regarded as a compulsory and, one might even say,
distinguishing feature of a Chalcedonian church.
In spite of the dissimilarity in appearance of some monuments,
the iconography, style and character of the frescoes’ inscriptions show
the common generic features indicating their affiliation to a specific
culture of the Chalcedonian Armenians.