DOI Page / Citation link:
https://doi.org/10.11588/diglit.43337#0404
CHAPTER TWO. THE ICONOGRAPHIC PROGRAMME | 401
104 Thierry N., Le Jugement Dernier
dAhtaLa, pp. 147-68.
105 On the formation of the Byzantine
traditions for representing the Last
Judgement, see Brenk B. Die Anfange
der byzantinishen Weltgericht-darstel-
Lung // Byzantinische Zeitschrift, 57, 1
(1964), pp. 106-126.
106 See Andreescu I. Torcello //Dumbar-
ton Oaks Papers, 26 (1972), pp. 185-223.
107 See Privalova E.L. Timotesubani
wall paintings. Tbilisi, 1980, pp. 91-97
(in Russian). The-same book offers con-
cise descriptions of other Georgian
representations of the Last Judgment
(pp. 223-228).
The interpretation, however, is not entirely traditional. This becomes
apparent when we compare the Akhtala «hast Judgement» to the ap-
proximately contemporary mosaics in Torcello which have long been
regarded as a characteristic example of Byzantine composition106. The
significance of the «Deesis» is stressed at Akhtala by surrounding it
with a host of angels and devoting the entire large lunette to this sub-
ject. The scenes of paradise are also allotted an exceptionally important
and central place in the composition, taking up the entire length of
the second tier. The themes of «Christ’s triumphal appearance» and of
the attainment of heavenly bliss are thus especially emphasised in the
iconographic programme at Akhtala. By comparison with Byzantine
monuments the ideas of judgement and retribution for sins receives
virtually no emphasis.
The nearest analogues to the Akhtala «Last Judgement» are to be
found in early 13th-century Georgian murals. The church of Timo-
thesoubani offers the closest parallel: there the «Last Judgement» on
the west wall only has two tiers, the upper showing the Deesis and the
lower, scenes of paradise107. The other scenes are transferred to the
walls of the west arm of the domed cross. The scenes chosen to rep-
resent the theme of paradise in the two churches, moreover, coincide.
One difference is that at Timothesoubani the Hetoimasia is depicted
in the centre of the tier showing scenes of paradise, directly below the
throne of Christ in the Deesis. However, the prominent position al-
lotted to the depiction of the Hetoimasia at Akhtala, between the two
windows in the third tier and separating the Deesis and the scenes of
paradise, can also be seen as the focal point of
the entire composition. While there are cer-
tain differences in the way they are depicted
the «Last Judgement» in the two churches are
structurally and symbolically ordered around
the inter-relation of these three themes, Dee-
sis, the Hetoimasia and Paradise. It was not
characteristic of Byzantine wall-paintings to
link the scenes of paradise so strongly with
those of the Deesis and the Hetoimasia: there,
instead, they were dramatically counterposed
to scenes of torment in hell and, as a rule, were
auxiliary in function.
104 Thierry N., Le Jugement Dernier
dAhtaLa, pp. 147-68.
105 On the formation of the Byzantine
traditions for representing the Last
Judgement, see Brenk B. Die Anfange
der byzantinishen Weltgericht-darstel-
Lung // Byzantinische Zeitschrift, 57, 1
(1964), pp. 106-126.
106 See Andreescu I. Torcello //Dumbar-
ton Oaks Papers, 26 (1972), pp. 185-223.
107 See Privalova E.L. Timotesubani
wall paintings. Tbilisi, 1980, pp. 91-97
(in Russian). The-same book offers con-
cise descriptions of other Georgian
representations of the Last Judgment
(pp. 223-228).
The interpretation, however, is not entirely traditional. This becomes
apparent when we compare the Akhtala «hast Judgement» to the ap-
proximately contemporary mosaics in Torcello which have long been
regarded as a characteristic example of Byzantine composition106. The
significance of the «Deesis» is stressed at Akhtala by surrounding it
with a host of angels and devoting the entire large lunette to this sub-
ject. The scenes of paradise are also allotted an exceptionally important
and central place in the composition, taking up the entire length of
the second tier. The themes of «Christ’s triumphal appearance» and of
the attainment of heavenly bliss are thus especially emphasised in the
iconographic programme at Akhtala. By comparison with Byzantine
monuments the ideas of judgement and retribution for sins receives
virtually no emphasis.
The nearest analogues to the Akhtala «Last Judgement» are to be
found in early 13th-century Georgian murals. The church of Timo-
thesoubani offers the closest parallel: there the «Last Judgement» on
the west wall only has two tiers, the upper showing the Deesis and the
lower, scenes of paradise107. The other scenes are transferred to the
walls of the west arm of the domed cross. The scenes chosen to rep-
resent the theme of paradise in the two churches, moreover, coincide.
One difference is that at Timothesoubani the Hetoimasia is depicted
in the centre of the tier showing scenes of paradise, directly below the
throne of Christ in the Deesis. However, the prominent position al-
lotted to the depiction of the Hetoimasia at Akhtala, between the two
windows in the third tier and separating the Deesis and the scenes of
paradise, can also be seen as the focal point of
the entire composition. While there are cer-
tain differences in the way they are depicted
the «Last Judgement» in the two churches are
structurally and symbolically ordered around
the inter-relation of these three themes, Dee-
sis, the Hetoimasia and Paradise. It was not
characteristic of Byzantine wall-paintings to
link the scenes of paradise so strongly with
those of the Deesis and the Hetoimasia: there,
instead, they were dramatically counterposed
to scenes of torment in hell and, as a rule, were
auxiliary in function.