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Original wall paintings at the church of the Saviour in Chvabiani (Upper Svaneti, Georgia) and Byzantine art at the turn of the tenth to eleventh centuries
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The article deals with a little known ensemble of wall paintings at the
Church of the Saviour in Chvabiani, Upper Svaneti, Georgia. The initial
decoration of the church dated to 978- 1001 has survived mainly in the apse.
The badly preserved Theophany in the conch attracted the attention of
scholars who analyzed its iconography. The Apostles in the lower zone,
however, were considered to be repainted at a later date. Our examination of
these wall paintings revealed no traces of later additions. Through the
analysis of technique and style we aim to prove that the both compositions
belong to the turn of the tenth to eleventh century. These wall paintings
show unusually high quality and close affinities with Byzantine art of this
period. In our view, they could be a work of a visiting artist, probably a
Georgian trained at some major Byzantine artistic center. He may well have
been among the artists working on wall paintings at the cathedrals built and
decorated by order of kings and church hierarchs during the late tenth to
early eleventh centuries, in Tao-Klarjeti or other lands of the Georgian
kingdom still under formation.
Title: Original wall paintings at the church of the Saviour in Chvabiani (Upper Svaneti, Georgia) and Byzantine art at the turn of the tenth to eleventh centuries
Description:
The article deals with a little known ensemble of wall paintings at the
Church of the Saviour in Chvabiani, Upper Svaneti, Georgia.
The initial
decoration of the church dated to 978- 1001 has survived mainly in the apse.
The badly preserved Theophany in the conch attracted the attention of
scholars who analyzed its iconography.
The Apostles in the lower zone,
however, were considered to be repainted at a later date.
Our examination of
these wall paintings revealed no traces of later additions.
Through the
analysis of technique and style we aim to prove that the both compositions
belong to the turn of the tenth to eleventh century.
These wall paintings
show unusually high quality and close affinities with Byzantine art of this
period.
In our view, they could be a work of a visiting artist, probably a
Georgian trained at some major Byzantine artistic center.
He may well have
been among the artists working on wall paintings at the cathedrals built and
decorated by order of kings and church hierarchs during the late tenth to
early eleventh centuries, in Tao-Klarjeti or other lands of the Georgian
kingdom still under formation.
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