DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.43337#0431
428 | THE WALL PAINTINGS OF AKHTALA MONASTERY
THE DORMITION OF THE VIRGIN
On the southern wall of the southwest compartment opposite the Eli-
jah cycle are two large compositions: the «Dormition of the Virgin»
and «Joshua before the Archangel Michael». The right hand side of the
first composition has been preserved. Below may be seen the outlines
of figures in chitons and himatias who form a group of apostles. Above
them is a building in the window jambs of which may be seen female
busts with lowered heads, and hands pressed to their faces in gestures
of sorrow. Above are a throng of flying angels and nearest to the centre
one of them holds out hands covered with a cloth. The depiction of the
sorrowing women and the throng of angels are not obligatory in the
«Dormition» although they are frequently encountered.
The Akhtala composition is given a thoroughly traditional interpre-
tation. However, it is extremely interesting that this theme should be
placed in the southwest compartment and surrounded by quite un-
accustomed scenes. As a rule, in ll-13th-century iconographic pro-
grammes the «Dormition» was located in the naos. For it not only
recalled an important Christian festival but also the culminating mo-
ment in the history of salvation: when the earthly life of the Virgin
came to an end and she was reunited with Christ in heaven, the earthly
church merged with the celestial. Byzantine theologians singled out
this symbolic meaning as the most important, for instance in John of
Damascus’ «Sermon on the Dormition»170. Such an understanding of
this theme permitted the authors of iconographic programmes to dis-
tinguish the «Dormition» even among the great festivals. For instance,
they devoted the whole west wall to this composition where it was tak-
en as a boundary that divided the two stages in the history of salva-
tion. The image of the deceased Mother of God completed the theme
of incarnation while the image of Christ appearing from the heavens
opened the theme of the Second Coming.
Undoubtedly then there was a special reason for the location of the
Akhtala «Dormition». The authors of the programme were trying to
emphasise other meanings of this complex theme that were of partic-
ular relevance to the murals of the southwest compartment. It is quite
easy to establish the symbolic tie between this composition and that
exactly opposite it, the «Ascension of Elijah». The «Dormition» also
conveyed the idea of ascension. In the Byzantine homilies on the Dor-
THE DORMITION OF THE VIRGIN
On the southern wall of the southwest compartment opposite the Eli-
jah cycle are two large compositions: the «Dormition of the Virgin»
and «Joshua before the Archangel Michael». The right hand side of the
first composition has been preserved. Below may be seen the outlines
of figures in chitons and himatias who form a group of apostles. Above
them is a building in the window jambs of which may be seen female
busts with lowered heads, and hands pressed to their faces in gestures
of sorrow. Above are a throng of flying angels and nearest to the centre
one of them holds out hands covered with a cloth. The depiction of the
sorrowing women and the throng of angels are not obligatory in the
«Dormition» although they are frequently encountered.
The Akhtala composition is given a thoroughly traditional interpre-
tation. However, it is extremely interesting that this theme should be
placed in the southwest compartment and surrounded by quite un-
accustomed scenes. As a rule, in ll-13th-century iconographic pro-
grammes the «Dormition» was located in the naos. For it not only
recalled an important Christian festival but also the culminating mo-
ment in the history of salvation: when the earthly life of the Virgin
came to an end and she was reunited with Christ in heaven, the earthly
church merged with the celestial. Byzantine theologians singled out
this symbolic meaning as the most important, for instance in John of
Damascus’ «Sermon on the Dormition»170. Such an understanding of
this theme permitted the authors of iconographic programmes to dis-
tinguish the «Dormition» even among the great festivals. For instance,
they devoted the whole west wall to this composition where it was tak-
en as a boundary that divided the two stages in the history of salva-
tion. The image of the deceased Mother of God completed the theme
of incarnation while the image of Christ appearing from the heavens
opened the theme of the Second Coming.
Undoubtedly then there was a special reason for the location of the
Akhtala «Dormition». The authors of the programme were trying to
emphasise other meanings of this complex theme that were of partic-
ular relevance to the murals of the southwest compartment. It is quite
easy to establish the symbolic tie between this composition and that
exactly opposite it, the «Ascension of Elijah». The «Dormition» also
conveyed the idea of ascension. In the Byzantine homilies on the Dor-