DOI Page / Citation link:
https://doi.org/10.11588/diglit.43337#0399
396 I THE WALL PAINTINGS OF AKHTALA MONASTERY
holding in his left hand the cross which recalls his sacrifice. With the
right hand he blesses Adam and through him gives salvation to all
humanity. Most important here in the symbolic sense are the ruined
gates of hell. In a familiar comparison that then found reflection in
theological texts, Christ opened the «gates of heaven» by destroying
the gates of hell, and in so doing laid the way to salvation97.
In the upper right corner of the composition there is a rare detail
directly linked to the idea of salvation. An angel flying down from
heaven holds out his hands covered by a cloth to Christ as one who is
receiving communion. Undoubtedly this motif was prompted by the
liturgy and brought communion closer to the theme of resurrection.
The author of the iconographic programme was striving to emphasise
an idea that is important for understanding the entire cycle. There is
a characteristic interest, noted in other compositions as well, in re-
vealing the liturgical contents of the gospel scene. The iconographic
themes of the Akhtala murals reflect a general trend in 13th-century
art whereby increasing attention was paid to detail and narrative, and
to «mystical realism». This reached its culmination in the Palaeolo-
gean period. In the «Descent into Hell» from the Grachanitsa mu-
rals (c. 1320) the angels not only make liturgical gestures but are now
dressed as deacons with rhipidia in their hands»98.
There is much that is unusual in the Akhtala «Holy Women at the
Sepulchre»99. An untraditional depiction of two apostles by the tomb
has been introduced. The appearance of the second angel, pointing to
the sepulchre, is linked to the text of St John’s gospel (20:1-12). The
gestures of St Peter and the second angel reinforce the pointing arm
of the chief angel who has appeared to the myrrh-bearing women.
The author emphasises the importance of the open tomb which, from
early Christian times onwards, was interpreted as a prototype of the
sanctuary. It is thus with good reason that in certain versions of this
scene, for example in the iconographic type of «The Holy Sepulchre»,
a ciborium appears above the sepulchre or even a depiction of the
Anastasis Church in Jerusalem.
However, the most important role in the Akhtala composition is
played by the depiction of the first angel who is distinguished both
in size and in his central position. The special status of this portrayal
is emphasised by the relatively rare motif of a high mountain to be
seen behind the angel. This is both an indication of the burial place
holding in his left hand the cross which recalls his sacrifice. With the
right hand he blesses Adam and through him gives salvation to all
humanity. Most important here in the symbolic sense are the ruined
gates of hell. In a familiar comparison that then found reflection in
theological texts, Christ opened the «gates of heaven» by destroying
the gates of hell, and in so doing laid the way to salvation97.
In the upper right corner of the composition there is a rare detail
directly linked to the idea of salvation. An angel flying down from
heaven holds out his hands covered by a cloth to Christ as one who is
receiving communion. Undoubtedly this motif was prompted by the
liturgy and brought communion closer to the theme of resurrection.
The author of the iconographic programme was striving to emphasise
an idea that is important for understanding the entire cycle. There is
a characteristic interest, noted in other compositions as well, in re-
vealing the liturgical contents of the gospel scene. The iconographic
themes of the Akhtala murals reflect a general trend in 13th-century
art whereby increasing attention was paid to detail and narrative, and
to «mystical realism». This reached its culmination in the Palaeolo-
gean period. In the «Descent into Hell» from the Grachanitsa mu-
rals (c. 1320) the angels not only make liturgical gestures but are now
dressed as deacons with rhipidia in their hands»98.
There is much that is unusual in the Akhtala «Holy Women at the
Sepulchre»99. An untraditional depiction of two apostles by the tomb
has been introduced. The appearance of the second angel, pointing to
the sepulchre, is linked to the text of St John’s gospel (20:1-12). The
gestures of St Peter and the second angel reinforce the pointing arm
of the chief angel who has appeared to the myrrh-bearing women.
The author emphasises the importance of the open tomb which, from
early Christian times onwards, was interpreted as a prototype of the
sanctuary. It is thus with good reason that in certain versions of this
scene, for example in the iconographic type of «The Holy Sepulchre»,
a ciborium appears above the sepulchre or even a depiction of the
Anastasis Church in Jerusalem.
However, the most important role in the Akhtala composition is
played by the depiction of the first angel who is distinguished both
in size and in his central position. The special status of this portrayal
is emphasised by the relatively rare motif of a high mountain to be
seen behind the angel. This is both an indication of the burial place