DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.43337#0405
402 I THE WALL PAINTINGS OF AKHTALA MONASTERY
108 See Velmans T. L’image de la Dei-
sis dans les eglises de Gdorgie et dans
celles d’autre regions du monde byz-
antin // Cahiers Archeologiques, 29
(1980-1981), pp. 42-102.
109 See Aladashvilli N.A. Composition of
the altar conch in Svaneti churches //
IVе symposium internationale sur L’art
georgien. Tbilissi, 1983, pp. 1-21.- In
Russian, see Bibliography.
110 For a study of these monogra-
phic motifs see Lafontaine-Dosogne J.
Theophanies visions aux-quelles par-
ticipent les prophetes dans l’art byzan-
tin apres la restauration des images //
Synthronon. Paris, 1968, pp. 135-143.
The surviving monuments permit us to speak of a distinct Geor-
gian tradition in interpreting the «Last Judgement» that also found ex-
pression in Akhtala. Without changing the fundamental content and
composition of the chosen images, this tradition introduced nuances
into the interpretation that derived from Georgian culture. The great
importance attached to the Deesis was linked to the special interest
shown in this composition in Georgia108. From the earliest times it had
been interpreted there as an image of the heavenly glory of Christ, the
ruler of the universe. Quite often it was painted in the conch vault of
the altar apse, thereby offering a worthy substitute for the more archa-
ic «Christ in Glory»109. The stress on the coming in triumph and the
glorification of Christ is retained in the Deesis scene from the «Last
Judgement» and in the Georgian murals acquires a demonstratively
solemn character. Possibly the exceptional attention given to the theme
of paradise was prompted not just by theological but also by aesthetic
considerations. The dramatic depictions of the Greek tradition where
heavenly bliss was demonstratively contrasted with the torments of hell
was not popular in Georgia. There the perfect beauty of the whole was
more appreciated. This aesthetic ideal was better served by a lauding of
the triumphal conclusion of the history of salvation than by moralising
comparisons between good and evil.
Certain other distinguishing features of the Akhtala «Last Judge-
ment» were also due to Georgian influence. Full-length figures of
saints occupy the first tier of the west wall. This was not typical in Byz-
antine art where the entire west wall was usually given up to depicting
the «Last Judgement». However, direct analo-
gies of the Akhtala composition can be found
in early 13th-century compositions from the
Georgian churches of Betania, Timothesou-
bani and Ozaani. All that varies is the rank
of saint depicted: in Akhtala they are holy
monks, in Betania martyrs and in Timothe-
soubani, holy warriors. The symbolic concept
is easily understandable. These saints would
be inhabitants of the paradise so vividly de-
picted in the second tier. At Akhtala the series
of holy monks constituted an important part
of the overall composition of the murals. It
108 See Velmans T. L’image de la Dei-
sis dans les eglises de Gdorgie et dans
celles d’autre regions du monde byz-
antin // Cahiers Archeologiques, 29
(1980-1981), pp. 42-102.
109 See Aladashvilli N.A. Composition of
the altar conch in Svaneti churches //
IVе symposium internationale sur L’art
georgien. Tbilissi, 1983, pp. 1-21.- In
Russian, see Bibliography.
110 For a study of these monogra-
phic motifs see Lafontaine-Dosogne J.
Theophanies visions aux-quelles par-
ticipent les prophetes dans l’art byzan-
tin apres la restauration des images //
Synthronon. Paris, 1968, pp. 135-143.
The surviving monuments permit us to speak of a distinct Geor-
gian tradition in interpreting the «Last Judgement» that also found ex-
pression in Akhtala. Without changing the fundamental content and
composition of the chosen images, this tradition introduced nuances
into the interpretation that derived from Georgian culture. The great
importance attached to the Deesis was linked to the special interest
shown in this composition in Georgia108. From the earliest times it had
been interpreted there as an image of the heavenly glory of Christ, the
ruler of the universe. Quite often it was painted in the conch vault of
the altar apse, thereby offering a worthy substitute for the more archa-
ic «Christ in Glory»109. The stress on the coming in triumph and the
glorification of Christ is retained in the Deesis scene from the «Last
Judgement» and in the Georgian murals acquires a demonstratively
solemn character. Possibly the exceptional attention given to the theme
of paradise was prompted not just by theological but also by aesthetic
considerations. The dramatic depictions of the Greek tradition where
heavenly bliss was demonstratively contrasted with the torments of hell
was not popular in Georgia. There the perfect beauty of the whole was
more appreciated. This aesthetic ideal was better served by a lauding of
the triumphal conclusion of the history of salvation than by moralising
comparisons between good and evil.
Certain other distinguishing features of the Akhtala «Last Judge-
ment» were also due to Georgian influence. Full-length figures of
saints occupy the first tier of the west wall. This was not typical in Byz-
antine art where the entire west wall was usually given up to depicting
the «Last Judgement». However, direct analo-
gies of the Akhtala composition can be found
in early 13th-century compositions from the
Georgian churches of Betania, Timothesou-
bani and Ozaani. All that varies is the rank
of saint depicted: in Akhtala they are holy
monks, in Betania martyrs and in Timothe-
soubani, holy warriors. The symbolic concept
is easily understandable. These saints would
be inhabitants of the paradise so vividly de-
picted in the second tier. At Akhtala the series
of holy monks constituted an important part
of the overall composition of the murals. It