DOI Page / Citation link:
https://doi.org/10.11588/diglit.43337#0433
430 | THE WALL PAINTINGS OF AKHTALA MONASTERY
compositions on the southern wall vividly depicted the glorification
of the angles and of mortals who were the equals of the angels. Among
those of angel-like status were not only the Mother of God but also Eli-
jah the Prophet and John the Baptist and scenes from their Lives were
located nearby. Together the thematic compositions of the southwest
compartment created an image of elevated holiness.
JOSHUA BEFORE THE ARCHANGEL MICHAEL
Only the upper part of this composition has been preserved. In the
centre is visible the enormous figure of the archangel with wings
spread. In his right hand he holds a raised and naked sword, in his left
the scabbard. In the upper left-hand corner a building is depicted that
recalls a church with a high drum and an umbrella-shaped cupola. Not
a fragment of the depiction of Joshua below the church has survived.
The source of the composition was the famous text from The Book of
Joshua (5:13-15) which recounted as the «lord of the hosts of The Loru»
appeared to the Judean commander beneath the walls of Jericho.
The «Joshua before the Archangel Michael» was shown as a part of
the Archangel Michael cycle and also as an individual scene in East
Christian monumental painting. As V. Djuric showed, the scene ac-
quired a deep symbolic content as a separate composition in mono-
graphic programmes174. Joshua was interpreted as the prototype of
the righteous ruler who received the help of the Lord in the struggle
against the pagans. This comparison was more clearly expressed in the
compositions where the scene was compared with the portrait of the
donor. For example, in the 10th-century murals from the Cappadocian
church of Nicephcros Phocas in Cavucin «Joshua before the Archan-
gel Michael» is located immediately below the emperors’ triumphal
portrait which recalled Niciphoros Phocas defeat of the Arabs175. The
same was true of the church of the Mother of God in the monastery
of Hosios Loukas in Greece where the composition was placed on the
facade next to the donors portrait again in order to praise his feats in
battle176. The main content of the scene was unchanged even when not
accompanied by portraits of the benefactors. The idea of a triumphal
victory over the pagans was vividly expressed in this composition
among the murals of Iprari (1096) in Svaneti where the Old Testament
compositions on the southern wall vividly depicted the glorification
of the angles and of mortals who were the equals of the angels. Among
those of angel-like status were not only the Mother of God but also Eli-
jah the Prophet and John the Baptist and scenes from their Lives were
located nearby. Together the thematic compositions of the southwest
compartment created an image of elevated holiness.
JOSHUA BEFORE THE ARCHANGEL MICHAEL
Only the upper part of this composition has been preserved. In the
centre is visible the enormous figure of the archangel with wings
spread. In his right hand he holds a raised and naked sword, in his left
the scabbard. In the upper left-hand corner a building is depicted that
recalls a church with a high drum and an umbrella-shaped cupola. Not
a fragment of the depiction of Joshua below the church has survived.
The source of the composition was the famous text from The Book of
Joshua (5:13-15) which recounted as the «lord of the hosts of The Loru»
appeared to the Judean commander beneath the walls of Jericho.
The «Joshua before the Archangel Michael» was shown as a part of
the Archangel Michael cycle and also as an individual scene in East
Christian monumental painting. As V. Djuric showed, the scene ac-
quired a deep symbolic content as a separate composition in mono-
graphic programmes174. Joshua was interpreted as the prototype of
the righteous ruler who received the help of the Lord in the struggle
against the pagans. This comparison was more clearly expressed in the
compositions where the scene was compared with the portrait of the
donor. For example, in the 10th-century murals from the Cappadocian
church of Nicephcros Phocas in Cavucin «Joshua before the Archan-
gel Michael» is located immediately below the emperors’ triumphal
portrait which recalled Niciphoros Phocas defeat of the Arabs175. The
same was true of the church of the Mother of God in the monastery
of Hosios Loukas in Greece where the composition was placed on the
facade next to the donors portrait again in order to praise his feats in
battle176. The main content of the scene was unchanged even when not
accompanied by portraits of the benefactors. The idea of a triumphal
victory over the pagans was vividly expressed in this composition
among the murals of Iprari (1096) in Svaneti where the Old Testament