DOI Page / Citation link:
https://doi.org/10.11588/diglit.43337#0427
424 I THE WALL PAINTINGS OF AKHTALA MONASTERY
is a figure in a monk’s mantle shown against a mountain. This recounts
the first miraculous finding of the saint’s head when the monk Inno-
kentios, wishing to build a church, dug up a clay vessel which contained
the concealed head of the Baptist160. In the Akhtala composition two
traditional scenes, «The Execution» and the «Invention of the Head of
John the Baptist», were thus combined: the martyr’s death is naturally
linked to a posthumous miracle which probably was intended to stress
the saint’s special position among those who died for the faith.
The Baptist cycle at Akhtala is distinguished by its attention to de-
tail. All the most important compositions have been included. It begins
with the earliest and ends with the very last scene (the «Annunciation»
and the «Invention of the Head»), both of which are often absent in
other versions of this cycle. The scenes are strictly divided into two
equal parts. The scenes in the south slope deal with the miraculous
birth while those on the north face depict the saint’s death. We may
recall that on the arch separating the south arm of the domed cross
from the southwest compartment there was a large composition of the
«Baptism» on the west slope of the vault. In our view, the author of the
iconographic programme intended a visual and symbolic connection
to be made between the depictions on the vaults located close to one
another. The hagiographic cycle on the southwest vault can be thought
of as a kind of commentary to the «Baptism» which was the main event
in the life of John the Baptist and that which determined his great im-
portance in the history of salvation.
It was quite unusual for the Baptist cycle to be located in the south-
west compartment. In the 9-13th-century murals such cycles were
traditionally depicted in the prothesis or diaconicon chapels as, for in-
stance, in St Sophia in Ochrid, the Savior in Nereditsa and certain oth-
er monuments161. Sometimes the cycle was located in the narthex162 163.
160 On the three inventions of the head and the history of this precious relic, see Mirkovic L.
Liturgika. Belgrade, 1961, pp. 122-129.
161 See BabicG. Les chapelles annexes des eglises byzantines.Fonction liturgique et programmes
iconographiques. Paris, 1969, pp. 121-127.
162 For scenes from the life of St.John the Baptist in Byzantine monumental art, see Mijovic P.
Menolog. Historical and artistic research. Belgrade, 1973, p. 423. - In Serbian.
163 The Greek Church of Episcopi in Santorini (turn of the 12th century) provides an interesting
through not complete analogy. Three scenes from the Life of the Saint on the vaults of its
southwest chapel include an extremely rarely met «Dormition of John the Baptist». See
Skawron K.M. The Development of Middle Byzantine Fresco Painting in Greece. Pretoria, 1982,
pp. 41,161-162.
is a figure in a monk’s mantle shown against a mountain. This recounts
the first miraculous finding of the saint’s head when the monk Inno-
kentios, wishing to build a church, dug up a clay vessel which contained
the concealed head of the Baptist160. In the Akhtala composition two
traditional scenes, «The Execution» and the «Invention of the Head of
John the Baptist», were thus combined: the martyr’s death is naturally
linked to a posthumous miracle which probably was intended to stress
the saint’s special position among those who died for the faith.
The Baptist cycle at Akhtala is distinguished by its attention to de-
tail. All the most important compositions have been included. It begins
with the earliest and ends with the very last scene (the «Annunciation»
and the «Invention of the Head»), both of which are often absent in
other versions of this cycle. The scenes are strictly divided into two
equal parts. The scenes in the south slope deal with the miraculous
birth while those on the north face depict the saint’s death. We may
recall that on the arch separating the south arm of the domed cross
from the southwest compartment there was a large composition of the
«Baptism» on the west slope of the vault. In our view, the author of the
iconographic programme intended a visual and symbolic connection
to be made between the depictions on the vaults located close to one
another. The hagiographic cycle on the southwest vault can be thought
of as a kind of commentary to the «Baptism» which was the main event
in the life of John the Baptist and that which determined his great im-
portance in the history of salvation.
It was quite unusual for the Baptist cycle to be located in the south-
west compartment. In the 9-13th-century murals such cycles were
traditionally depicted in the prothesis or diaconicon chapels as, for in-
stance, in St Sophia in Ochrid, the Savior in Nereditsa and certain oth-
er monuments161. Sometimes the cycle was located in the narthex162 163.
160 On the three inventions of the head and the history of this precious relic, see Mirkovic L.
Liturgika. Belgrade, 1961, pp. 122-129.
161 See BabicG. Les chapelles annexes des eglises byzantines.Fonction liturgique et programmes
iconographiques. Paris, 1969, pp. 121-127.
162 For scenes from the life of St.John the Baptist in Byzantine monumental art, see Mijovic P.
Menolog. Historical and artistic research. Belgrade, 1973, p. 423. - In Serbian.
163 The Greek Church of Episcopi in Santorini (turn of the 12th century) provides an interesting
through not complete analogy. Three scenes from the Life of the Saint on the vaults of its
southwest chapel include an extremely rarely met «Dormition of John the Baptist». See
Skawron K.M. The Development of Middle Byzantine Fresco Painting in Greece. Pretoria, 1982,
pp. 41,161-162.