DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.43337#0408
CHAPTER TWO. THE ICONOGRAPHIC PROGRAMME | 405
Having shown how closely these murals follow those in Georgian
churches, we should also note distinctive features of the Akhtala «Last
Judgement». These are chiefly to be found in an intensifying of the
purely liturgical aspects, something that is typical of the entire icono-
graphic programme at Akhtala.
The interpretation of the Hetoimasia deserves comment. It was the
importance and great significance attached to this symbol that deter-
mined its location at the very heart of the composition117. The Hetoima-
sia originally meant the «prepared throne» on which Christ would be
seated on the Day of Judgement. It thus recalled the coming salvation
of mankind, to which there is an unambiguous reference in the pres-
ence of Adam and Eve who bow before it. The cross and instruments
of suffering shown on the throne symbolise the expiatory sacrifice of
Christ, the central event in the history of salvation. The depiction of
the dove of the Holy Spirit permits us to look on the Hetoimasia as
a symbolic embodiment of the Holy Trinity which implemented the
ekonomia of salvation. By uniting all the main dogmatic ideas, the He-
toimasia provides a concentrated image of salvation that organically
includes the scenes of the «Last Judgement» within the overall system
of the murals.
The liturgical context of this image is also quite clear. The Gospel
lying on the cloth which covers the throne directly recalls the altar and
the Eucharistic mystery as the indispensable condition for «attaining
the life eternal». This also accounts for the appearance of the Hetoima-
sia in certain versions of the «Officiating Bishops» where it replaces
the depiction of the altar118. In early liturgical interpretations, we may
recall, the altar was proclaimed «the throne of God on which the Lord,
borne by cherubim, took his bodily repose»119.
Any representation of the Hetoimasia has liturgical content but in
Georgian versions of the «Last Judgement» it is in no way emphasised.
The idea of glorification remains of greatest importance. On either side
of the Hetoimasia are usually shown two archangels standing like the
guards of the imperial throne. They are also present in Akhtala. In ad-
dition, however, there are also two angels bending towards the throne
who are painted on the jambs of the south and north windows. They
reach out hands covered with a cloth towards the Hetoimasia, thereby
repeating the liturgical gesture in the sanctuary. The composer of the
iconographic programme was recalling the mystic unity of the altar
Having shown how closely these murals follow those in Georgian
churches, we should also note distinctive features of the Akhtala «Last
Judgement». These are chiefly to be found in an intensifying of the
purely liturgical aspects, something that is typical of the entire icono-
graphic programme at Akhtala.
The interpretation of the Hetoimasia deserves comment. It was the
importance and great significance attached to this symbol that deter-
mined its location at the very heart of the composition117. The Hetoima-
sia originally meant the «prepared throne» on which Christ would be
seated on the Day of Judgement. It thus recalled the coming salvation
of mankind, to which there is an unambiguous reference in the pres-
ence of Adam and Eve who bow before it. The cross and instruments
of suffering shown on the throne symbolise the expiatory sacrifice of
Christ, the central event in the history of salvation. The depiction of
the dove of the Holy Spirit permits us to look on the Hetoimasia as
a symbolic embodiment of the Holy Trinity which implemented the
ekonomia of salvation. By uniting all the main dogmatic ideas, the He-
toimasia provides a concentrated image of salvation that organically
includes the scenes of the «Last Judgement» within the overall system
of the murals.
The liturgical context of this image is also quite clear. The Gospel
lying on the cloth which covers the throne directly recalls the altar and
the Eucharistic mystery as the indispensable condition for «attaining
the life eternal». This also accounts for the appearance of the Hetoima-
sia in certain versions of the «Officiating Bishops» where it replaces
the depiction of the altar118. In early liturgical interpretations, we may
recall, the altar was proclaimed «the throne of God on which the Lord,
borne by cherubim, took his bodily repose»119.
Any representation of the Hetoimasia has liturgical content but in
Georgian versions of the «Last Judgement» it is in no way emphasised.
The idea of glorification remains of greatest importance. On either side
of the Hetoimasia are usually shown two archangels standing like the
guards of the imperial throne. They are also present in Akhtala. In ad-
dition, however, there are also two angels bending towards the throne
who are painted on the jambs of the south and north windows. They
reach out hands covered with a cloth towards the Hetoimasia, thereby
repeating the liturgical gesture in the sanctuary. The composer of the
iconographic programme was recalling the mystic unity of the altar