DOI Page / Citation link:
https://doi.org/10.11588/diglit.43337#0386
CHAPTER TWO. THE ICONOGRAPHIC PROGRAMME | 383
the Temple played an exceptional role in this iconographic conception.
While depicting the historical architectural detail of Herod’s Temple
and recalling specific aspects of Jewish ritual, the iconographic pro-
gramme also gave an artistic, symbolically conceived and historically
accurate depiction of the «Mother of God as the Church», the central
theme of the Akhtala murals. It showed the inseparable unity of the
Temple and the Church; the role of the Virgin in confirming the litur-
gical mystery; and, last of all, the special significance of the church’s
dedication to the Mother of God.
THE NATIVITY OF CHRIST
The Virgin cycle and Christological cycle are united in the vast de-
piction of the «Nativity of Christ» which occupies all of the south lu-
nette80. In the centre the Mother of God is shown against the dark blue
background of a large cave, lying on a reddish purple couch. To her
right is the richly decorated crib containing the swaddled figure of the
infant Christ. The ox and the ass bow their heads towards him. To the
left there runs a large inscription in Georgian asomtavruli letters, «The
Nativity of Christ». An eight-pointed star above the Virgin’s head casts
a ray of light on the Infant.
The special significance of the image of the Virgin is also empha-
sised by the angels shown in the upper part of the composition, exactly
reproducing the Gospel reference to the heavenly host praising God
(Luke 2:13-14). To either side of the Archangel Michael, who is shown
full face, there are two angels who point with their right hands to the
Mother of God.
There are several other scenes located around the cave. To the right
the angel brings the good tidings to the shepherds of whom there are
two, as is traditional, and a seated youth playing the flute and graz-
ing sheep are also depicted here. In the lower part of the composition
is shown the bathing of the infant, with a Georgian inscription «The
bathing of Christ». To the left there is a pensive Joseph who name is
written in both Greek and Georgian: the Greek letters, moreover, form
a decorative cryptogram. The surrounding figures are considerably
smaller than the Mother of God, thus creating a kind of frame and in-
tensifying the similarity to the «Nativity of the Virgin» in the opposite
the Temple played an exceptional role in this iconographic conception.
While depicting the historical architectural detail of Herod’s Temple
and recalling specific aspects of Jewish ritual, the iconographic pro-
gramme also gave an artistic, symbolically conceived and historically
accurate depiction of the «Mother of God as the Church», the central
theme of the Akhtala murals. It showed the inseparable unity of the
Temple and the Church; the role of the Virgin in confirming the litur-
gical mystery; and, last of all, the special significance of the church’s
dedication to the Mother of God.
THE NATIVITY OF CHRIST
The Virgin cycle and Christological cycle are united in the vast de-
piction of the «Nativity of Christ» which occupies all of the south lu-
nette80. In the centre the Mother of God is shown against the dark blue
background of a large cave, lying on a reddish purple couch. To her
right is the richly decorated crib containing the swaddled figure of the
infant Christ. The ox and the ass bow their heads towards him. To the
left there runs a large inscription in Georgian asomtavruli letters, «The
Nativity of Christ». An eight-pointed star above the Virgin’s head casts
a ray of light on the Infant.
The special significance of the image of the Virgin is also empha-
sised by the angels shown in the upper part of the composition, exactly
reproducing the Gospel reference to the heavenly host praising God
(Luke 2:13-14). To either side of the Archangel Michael, who is shown
full face, there are two angels who point with their right hands to the
Mother of God.
There are several other scenes located around the cave. To the right
the angel brings the good tidings to the shepherds of whom there are
two, as is traditional, and a seated youth playing the flute and graz-
ing sheep are also depicted here. In the lower part of the composition
is shown the bathing of the infant, with a Georgian inscription «The
bathing of Christ». To the left there is a pensive Joseph who name is
written in both Greek and Georgian: the Greek letters, moreover, form
a decorative cryptogram. The surrounding figures are considerably
smaller than the Mother of God, thus creating a kind of frame and in-
tensifying the similarity to the «Nativity of the Virgin» in the opposite