Monuments of Georgia's Cultural Heritage

ISBN 978-9941-0-2725-3
9 789941 02 725 3
UDC () 7.078+719] (479.22)

- 842
teqstis avtori:
Tanaavtorebi: , ,
TEXT BY: Dimitri Tumanisvili in cooperation with Nikoloz Vacheishvili,
Maka Shavishvili, Mamuka Chkhaidze
Targmani:
TRANSLATED FROM GEORGIAN BY: Peter Dgebuadze

2010
Programme for Georgias Cultural Heritage
Preservation for the Year 2010
fotoebi: , , , ,
, ,
PHOTOS: Shalva Lejava, Kutsna Amirejibi, Mirian Kiladze, Nikoloz Vacheishvili,
Diana Bolotashvili, Giorgi Gagoshidze, David Tkeshelashvili

National Agency for Cultural Heritage Preservation of Georgia
/CONTENTS
4/7
9
11/13
15/17
19/20
23/25
27/29
31
33/38
43/47
49/51
53/55
57/61
63/65
67/71
73/76
79/81
83/84
87/89
91/92
95/97
99/101
105/107
109/112
115/117
119/121
123
123/129
133/135
137/139
141/145
/INTRODUCTION
/TBILISI
/Anchiskhati
/Sioni
/Metekhi Temple
/Blue Monastery
. /
Kashueti St. George Church
/SHIDA KARTLI
/SvetiTskhoveli
/Samtavro Temple
. /Holly Cross Monastery
.
/Kaloubani St. George Church
/Shiomgvime Monastery
/Zedazeni Monastery
/Samtavisi Tample

/The Magalaanti Church
/Kvatakhevi Monastery
. /Metekhi Church
. .
/St. Eustathius Church
.
/Ikvi St. George Church
/Rkoni Monastery
/Ateni Sioni Church
.
/Urbnisi St. Stephaney Cathedral
/Kintsvisi Monastery
/Samtsevrisi Church
/Tsromi Cathedral
147
149/153
157/159
161/163
165/169
171/172
175/177
179/181
183/184
187/189
191/193
195/197
199/201
203/206
209/213
215
217/219
221/222
225/227
229/231
233/234
237/240
243/245
247/251
253/254
257
259/261
263/265
267/269
273/275
/QVEMO KARTLI
/Bolnisi Sioni
/Lower Bolmisi Church
/Samshvilde
/Dmanisi
277/279
281/263
285/287
289
291/295
297/298
301/303
305
307/309
311/314
317/319
/KAKHETI
-/David Gareji
/Gremi
/Katsareti Holly Trinity Church
/Ninotsminda
/Gurjaani Kvelatsminda
/Sanagiri Church
/Vachnadziani Kvelatsminda
-/Akura Mamadaviti
/The OLd Shuamta
/The New Shuamta
/Ikalto Monastery
/Kvetera Castle
/Alaverdi Cathedral
/Nekresi
-
SAMTSKHE-JAVAKHETI
/Kvabiskhevi
/Khvilisha Church
/Tsunda Temple

/Vardzia Monastery
/Zeda (Upper) Vardzia Monastery
/Kumurdo Kathedral
. /Vale Mother of God Church
/Sapara Monastery
/Zarzma Monastery
/IMERETI
.
/Ubisa St. George Monastery
/Bagrati Cathedral
/Gelati Monastery
. .
/St. George and St. Nicolas Churches
.
/Savane St. George Church
/Katskhi Church
/Mgvimevi Nunnery
/RACHA
/Nikortsminda
/Zemo Krikhi
/Barakoni
/SAMEGRELO
/Martvili
/Khobi
/Tsalenjikha

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SEesavaliKAKHE FOREWORD
ather few of things can represent the

country and the nation as eloquently and
explicitly as its art. The best characters of
Georgian people are the most distinctly revealed
through its artistic works, where, together with
poetry and music, the medieval church architecture holds one of the most prominent places.
Thousands of churches have been constructed
during the 16-century-long period in Georgia.
Certainly, only a small part of them is represented in this particular publication, and even not all
of artistically valuable constructions are entered
in here. However, with no aim of comprehensiveness and full coverage, this selection has the
only primary goal of providing the representatives
of other nations with general review of artistic
heritage of Georgians, enabling imagination and
understanding of its splendor and basic features.
Georgia- one of the oldest Christian countries
is located between the southern slopes of the
Great Caucasus Range and Black See, while politically and geographically it borders with Russia,
Armenia, Azerbaijan and Turkey.
This country, with relatively modest territory
surprises both the local and the visitor with highly
versatile landscape and diverse ethnography.
Considering the present administrative arrangement of the country on the Western and Eastern parts with Likhi (Surami) dividing range in
between and on the consecutive, smaller regions
of each of them its clear that not only the basic
but the regional division as well is broadly based
upon the cultural and historical traditions and
experience. Several major regions can be distinguished in Eastern Georgia, that are as follows:
Kakheti (the easternmost part), Inner Kartli (on
the West), Lower Kartli (Southeastwards), Khevi,
Pshav-Khevsureti and Tusheti (on the North).
As for Western Georgia it contains the major
regions of Imereti (on the East), Samegrelo (on
the West), Guria-Achara (on the Southwest),
Abkhazeti (on the Northwest) and Svaneti (on the
North). Several regions of the historical Georgia
have become parts of other states. For instance
the extreme eastern lands of Kakheti currently
6
Sesavali FOREWORD
belong to Azerbaijan, while the south-western

territories of historical Georgia are within the
Turkish boundaries.
The human being has inhabited the territory of
Georgia since the prehistory. The initial stages of
cultural traditions that gradually have become the
essentials of Georgian culture can be seen as
early as in the mid-Sixth Millennium BC, which,
to some extent of relativity can mostly be attributed to the activities of Kartvelian tribes. Closing
quarter of the II Millennium BC is the dawn of formation of Georgian statehood. This process was
completed in the mid-I-st Millennium BC when
the kingdoms of Kolkheti (called Egrisi in ancient
Georgian) in the West Georgia and that of Iberia
(called Kartli in ancient Georgian) in the East
emerged. At all times they had to defend themselves against the powerful neighboring states
of Assyria, Achaemenid and consequently the
Parthian and Sasaniyan Iran, Hellenistic States,
Pontus Kingdome and Rome or its successorByzantium, they had to learn to stay alive in the
company of those giants permanently struggling
for the dominance and superiority. Certainly,
those Georgian states had their ups and downs,
sometimes being the considerable force, sometimes just the opposite- being diminished to the
statute of a province of some almighty empire.
For instance in the beginning of VI c AD the
Kingdome of Kartli was engulfed by the Sasaniyan Iran. A senutry later the same fate came to
the West-Georgian Kingdome of Egrisi (called
Lasika by those times), that became a province
of the Byzantine Empire. For the mid VII c. AD
although with still abolished monarchy, but with
its own local governance restored in the II-nd half
of the VI c AD the West Georgian territories fall
to Arabs. But, despite several of their devastating raids (the most severe of which took place
in 735-736, under the command of Murvan ibn
Muhammad, called by the locals Murvan the
Deaf for his astonishing cruelty) at the closing decades of VIII c Arabs were holding only the shred
of once huge state the rather shrank Tbilisi
Emirate. In parallel to those processes several
important events took please - a new Georgian
Kingdome under the ruling dynasty of the Bagra-
tionis was founded in south-western Georgia,

bordering with another Georgian Kingdome of
Abkhazia located in Western Georgia. The
Principality of Kakheti was established as well,
having incorporated the easternmost of Georgian
territories (There were several others, although
less important political entities as well). During
the following IX and X centuries all these states
had severe and merciless struggle between each
other and against the Arabs for undisputable superiority in the region and every step in this flow
of events was aimed at the only one absolute
goal- foundation of the United Georgian National
State.
The very first and clear step towards this grand
objective was taken in 978 when King Bagrat,
the hair of the dynasty of Bagrationis was
enthroned on the empty throne of the west
Georgian Kingdome of Abkhazia, the relm of his
mother. King Bagrat was the suzerain who for the
end of his successful reign had managed to unite
almost all Georgian lands under his crown.
The final political unification of the country did
not happen all of a sadden. Lots of obstacles
were still to be overcome, including internal
confrontations, opposition of Muslim rulers of the
city of Tbilisi and of other large Georgian towns
coupled with the great danger and press from
Turk-Seljuks who had been the dominating force
since 1065 ...However, existence of national
consciousness and self-identity has been an
undeniable fact from the II half of the X c. Creation of strong feudal state was finally completed
in the early XII century, during the rule of King
David IV the Builder (1089-1125). From that
period onwards Georgia had been remaining the
leading state of the whole of Middle East Region
for more then one century, with its summit and
highest prosperity achieved during the reign of
Queen Tamar (1184-1207)- King Davids granddaughter.
The first deadly blow to prosperity and welfare
of Georgia was the invasion of the Khorezmians that took place in 1225, shortly followed by
the almost a century-long rule of the Mongols

(1235-1330-ies). The conditions had particularly
worsened through the period of 1386 1403,
when the wrathful monarch from Samarkand,
Tamerlane invaded the country nothing more
then eight times, considerably shrinking the
population of the country and leading to final
abandonment of many settlements. The united
Georgian feudal monarchy fall apart in the last
days of XV c and independent kingdoms of Kartli,
Kakheti, Imereti and principalities of SamtskheSaatabago, Samegrelo (Odishi), Guria and
Abkhazia emerged on its ruins. Being under
the constant pressure of powerful neighboring
Muslim countries Ottomans and Sefavid Iran
since then, these political entities had gradually
fallen in the sphere of interests of the third and
the youngest of the empires -Russia. From early
XVII c Georgian states were considering Russia
as the reliable ally first of all due to the common confession. That was the decisive reason
why the suzerain of than united Kartli Kakhetian kingdom, famous commander, King Erekle
II and King of Imereti, Solomon I appealed to
Russia for protectorate in the end of the XVIII c.
Russian leaders took an opportunity and used
this appeal as good excuse for the abolition of
Georgian states in the beginning of the XIX c
and their consecutive attachment to the empire
as ordinary provinces.
During the whole of XIX c Georgian society had
been trying to survive and to fulfill the extraordinarily complicated tasks- to overcome the
backwardness caused by countless wars and
their inevitable result- internal instability on one
hand and to restore the united Georgian state on
the other. The Great Russian Revolution of 1917
made it possible and on May 26, 1918 Georgia
became an independent Republic. Unfortunately,
its free state did not last for long and in 1921 the
formations of the Red Army of the Soviet Russia occupied Georgia. Only after 70 years, and
again, thanks to great historical events and shifts
the independence of Georgia was restored and
officially declared on April, 9-th, 1991
SEesavaliKAKHE FOREWORD

TBILISI

MONUMENTS OF GEORGIAS CULTURAL HERITAGE
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Tbilisi is one of the ancient Georgian cities, where by the end of
V c. AD King Vakhtang Gorgasali removed the capital of the East
Georgian Kingdom. Despite lots of ordeals during its long history
(Arabs and then other Muslims had been holding the city from VIII c.
till 1122), Tbilisi has always been the centre of East Georgia, from XII
c extending its leading position both in the country and the whole of
the Caucasus.
Current historical part of the city basically was peveloped in XIX c.
whilst the earlier buildings and palaces were destroyed during countless raids and invasions of conquerors. The latest of those rides took
place in 1795, when Persian army brutally devastated so called Old
City. Only few medieval churches have luckily survived up to now.
Like many other ancient cities, especially in the Orient, Tbilisi is the
place where prayer houses of many different people and confessions do exist almost next to each other. The fact of dominance of
that Orthodox churches here seems quite natural for the capital of
the state where the Orthodoxy has been leading confession for more
then fifteen centuries.
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Tbilisi TBILISI
ANCHISKHATI
nchiskhati is the earliest of Tbilisi churches. It is located on the right

bank of the Kura River in Kala, one of the neighborhoods of the old
city.The original building built of neatly hewn stones is dated back
by the early VI c. AD. Mother of God church of Anchiskhati was built by the
heir and successor of King Vakhtang Gorgasali Rati, also known as Rati
Ujarmeli. Current name of the church Anchiskhati was given to it in XVII
c. after the increate icon of the Virgin adorned with the preciouse metal coating coined by the brilliant XII c goldsmith Beka Opizari was rested there being transferred from Anchi Monastery located in southern Georgia, occupied
by Turks by those times and consequently incorporated into the Ottoman
Empire. In XVIII c. the church was one of the leading centers of education
and culture a theological seminary was functioning in there. The original
building has suffered many reconstructions during its long lifespan. Entire
upper sections of the construction were restored in XVII c, when bricks were
used instead of initial stones. Totally incompatible and ill-fitted dome was
constructed in XIX c. coupled with rather ugly and rough bell-tower attached
to the building from the west. Several new windows cut through the walls at
the same time, even more worsened the entire condition of the construction.
Current brickwork bell-tower, one of the most interesting monuments of late
medieval Georgian architecture was constructed in 1675, under the patronage of Patriarch Domentios. The most resent restoration of the monument
started in 1958, when under the leadership of architect Mr. R. Gverdtsiteli all
XIX c. additions and superstructures were removed and the monument has
been restored at the possible closest to its original features (for instance the
entrance and southern nave windows were restored). The church is typical
three nave basilica with three entrance openings thorough the lateral and
western walls. The original apse of the altar is hidden by the rectangular
outline of the church. A pair of separate rooms, one at each side of the apse
clearly indicates that tri-sectional developed type of the sanctuary was well
known in Early Christian Georgian architecture. Initially the whole of internal
space had been split by three pairs of cross-shaped columns. Two new pairs
of round in shape columns were added to them in XVII c. that significantly
changed original features of the interior. Fragments of wall painting performed in 1683, in times of Patriarch Nickolas are preserved in the sanctuary
and front of the apse. Some other fragments of wall painting conducted in the
first half of XIX c. are preserved on the middle nave arch and walls.
13
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Tbilisi TBILISI
SIONI
ioni is Tbilisi Cathedral Temple. Built in the mane of Dormition of The

Mother of God in the Old City, on the river bank, it has been destroyed
several times, the most devastating of which took place in 1225, during the invasion of the Khorezmians. Apparently the original building was built
sometime in the turn of VI-VII cc.(supposedly, the neatly hewn stonework
revealed on the very bottom of the tri-apse sanctuary could be the remaining
part of that original building or perhaps those remains are of later times, purportedly of XII c.). Current building has got the recorded cross configuration. From the outside it is a rectangular construction with arms extending from
the dome, thus making the shape of cross. Arms are covered by two-pitched
roofs, while the lower sections between them have got single pitched covers.
The dome is rested on one pair of columns and apse edges. Internal layers of
the temple are built of brick. Arches, typical for Islamic architecture are of later
times, possibly of XVI-XVII cc., apparently contemporaneous of restoration
activities, launched by King Vakhtang VI in 1710 when the dome and upper
sections of the building were faced with neatly hewn yellow tuff adorned with
fretwork and risings. As for the lower sections- they were faced in XIX c with
the same rocks but of totally different character. The early XIX c. is one of
the milestones in the history of Sioni Cathedral one of the greatest sacred
objects of Georgian Orthodox Church the cross of St. Nino the convertor of
Georgians - made of vine rods tied with her own braid for some time kept in
Russia was returned back to Georgia and rested with honors in the Cathedral. The sanctuary, arms and dome of the Cathedral are covered with paintings performed in 1850-ies by a famous Russian military and artist Gregory
Gagarin, who also was the author of the sketch for the Iconostases, designed
in the Byzantine stile. It had stood in the temple until 1980-ies consequently being replaced by a stone arcaded one, traditional for Georgian art. In the same
times well-known Georgian artist Levan Tsutskiridze painted the inter-arm
spaces of the cathedral interior. Slightly earlier, during the restoration activities
the southern brickwork chapel was faced with stone slabs. This chapel rebuilt
in XVII c. by Archbishop of Tbilisi Elyse (Saginashvili), was restored according
to the remains of the earlier, XIII-century chapel.Several graves of outstanding
persaons are arranged within the Cathedral for instance of XVIII c. famous
churchman St. John of Manglisi. All patriarchs of Georgian Orthodox Church
late after 1917 are buried here as well.
17
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METEKHI TEMPLE
bilisi Metekhi Temple is located in one of

the old neighborhoods of the city Avlabari. According to the legend the temple
was built in the reign of King Vakhtang Gorgasali in the end of V c.AD. The legend claims as
well St. Martyr Shushanik, spouse of Varsken
- Pitiakhshi of Kartli to be buried in here. Her life
is narrated by Monk Jacob in his Martyrdom of
St. Shushanik the earliest of Georgian original
compositions dated back by Vc., but neither
the fact of construction of the church nor of the
interment of St. Shuranik is confirmed by any
other more or less reliable sources. However,
it is doubtless that current church is not the
initial. For instance, in times of Queen Tamar, in
the end of XII c. a church stood there together
with the fortress and the royal palace located
nearby. The Head of Tbilisi garrison ordered to
burn the palace and the church in 1235, during
the invasion of Mongols. Current building was
erected in 1278-1289, in times of King Demetre
Tavdadebuli (Dmitry the Sacrificed). As a result,
the current domed construction is of XIII c. with
the layout strongly influenced by that of the
previous church as far as the design with three
extended apses and four independently erected
dome suporting columns is absolutely unknown
for the referred above period of construction of
the temple. Facades faced with neatly hewn
20
Tbilisi TBILISI
stones indicate formation of the new decorative

system: walls are parted by horizontal strips/
belts or small niches arranged on northern and
western facades. At the same time the system
with a huge cross and a couple of fretwork
squares already used in earlier times- for instance in case of Samtavisi temple of XI c, has
been repeated on the exterior of the extended
apse of the sanctuary. Metekhi temple is richly
adorned with fretwork performed by good
professionals, although this decoration lacks
expressive plasticity so common for previous
centuries.
During its long lifespan the temple has been reconstructed for many times. There are several
layers of brickwork refurbishment conducted in
XVI, XVII, XVIII and XIX cc. traces of which are
easily noticeable on the construction body.
Following the establishment of Russian rule in
Georgia remains of the stone wall surrounding
the temple had been destroyed and a prison
was built instead. After the Soviets took over,
the prison was abolished in 1934 and the whole
of the space together with the church was rearranged as the art museum. Afterwards, when
the museum has been relocated, the church
was emptied. In different times it was used as
an artistic workshop, and finally -as a theater.
Currently the temple is active again.
21
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Tbilisi TBILISI
BLUE MONASTERY
urji Monastery (Blue Monastery) is a small church built in the name of

Andrew the First Called. Most likely, the name is of folk origin, directly
linked to its roof, finished with tile glazed blue. It is located in the central
part of Tbilisi, between the end part of Kiacheli Street and Vere Square. The
current building has undergone repeated reconstructions and contains several
construction layers. Built in the end of XII c. the original church was crowned by
a dome, had a pair of dome-bearing columns and an extended apse. According
to the rather informative inscription on the tympanum the church was built by
Archbishop Basily, brother of Abulasan one of the grandees of those times.
Only an apse with large windows adorned with fretwork faming, lower half of
southern wall and couple of stone rows of western and northern facades of the
original structure are preserved up to now.
Heavily damaged building was restored in XVII c. as a tree-nave brickwork basilica. In the second half of XIX c. a dome was re-constructed without changing
the interior simply the central nave arch was cut and the bottom of the dome
barrel was arranged there. In soviet times the church was used for different purposes once even a factory was arranged here, then a warehouse and finally
the Museum of Georgian Medicine. In early nineties of XX c. public services
were restored in Lurji Monastery. In 1995 the earlier round dome, rather unnatural for Georgian churches was removed and new, conical one was erected
instead.
25
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Tbilisi TBILISI
KASHUETI
ST. GEORGE
CHURCH
ashueti St. George Church is located on the edge of the main street of
Tbilisi Rustaveli Avenue. According to a legend the first church was
erected here as early as in VI c. in the times when famous Georgian
hermit St. David Garejeli still was a monk in Tbilisi. It is supposed that the
original building had four apses, a plain tetra-conch design with the dome
erected in the middle. A temple built here in 1735 by famous political and military figure of XVIII Prince Givi Amilakhvari had exactly the same shape- quite
unique and strange for those times, so that it is a broadly accepted idea, that
this church simply was a duplicafion of the original one. By the early XX c.
the XVIIIc.-church had turned in a bed repair it was totally cracked and
the current building was built instead. The new church design was prepared
by a German architect citizen of Tbilisi Leopold Bilfelder. Fretworks were
conducted by brothers Agladze, famous craftsmen of those times. According
to the will of Georgian nobility and clergy the XI-century Samtavisi Temple
served as a model for the new church. A crypt-like independent prayer space
arranged on the basement floor of Kashueti church for the purposes of
rescuing of old graves makes the main difference between the original and
duplication. There are several minor changes as well Kashueti windows are
larger and cut slightly lower compared to the original, thus interrupting artistic
logic of the building to some extent. Construction activities were completed
in 1910. Shortly after the end of World War II then patriarch of Georgia
Kalistrate II have commissioned one of the most celebrated Georgian artists
Lado Gudiashvili to adorn the church interior with wall painting. This task was
fulfilled only partially, the artist was able to adorn only the sanctuary. After
the interruption of Communist regime any further advance towards that aim
became impossible. The porch envisaged by Leopold Bilfelders initial design
has been annexed to the main building from the west in recent years. Several
historically important tombs are there in the church. For instance Grigol Orbeliani on of the most famous XIX c. Georgian poet and public personality is
buried here.
29

SHIDA QARTLI

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37
MTSKHETA. SVETI TSKHOVELI
tskheta had been the capital of the

East Georgian Kingdom of Kartli from
II c. BC till the end of V c. AD. Following the removal of the capital to Tbilisi that took
place in the reign of King Vakhtang Gorgasali,
Mtskheta have remained the spiritual centre
of the country with the residence-cathedral of
the head of Georgian Orthodox Church Catoliocos-Patriarch of Georgia located there. The
very beginning of Georgian Christian architecture is related to this city. The first church built
by the convertor of Georgians- St Nino, strongly
supported by the ruler of Kartli King Mirian
was erected in Mtskheta. The legend claims
that this first church was built on the plot where
the part of the Holly Tunic of Chris was buried,
brought there by Elioz Mksketa Jew (first Jewish settlement in Kartli was founded long before
the birth of Christ). Just on this place a miracle
working, myrrh issuing and healing holly tree
had bloomed, later named as Sveti Tskhoveli
Alive Column.
A large three-nave basilica with arches in the
interior rested on cross-shaped columns was
constructed here in the reign of King Vakhtang
Gorgasali. The construction had an extended
apse with faceted exterior and lateral chapels
(remains of the basilica together with its layout
were revealed during archaeological excavations of the area conducted in 1960-70-ies and
in 2006). Apparently, in the course of time this
earlier building suffered heavy damages and
in the beginning of XI c. a domed temple was
erected instead that till stands there, although
considerably reconstructed. Catolicos-Patriarch
of Georgia Melkisedek initiated the construction. History has saved the name of an architect
of the temple Arsukisdze. According to the
architects decision rather large sections of longitudinal walls of the initial basilica of Gorgasali
times were incorporated in the new structure
(first of all within the western section), coupled
38
with column foots adorned with fretwork and

sculptures of bull heads fixed on the external
facing of the Sanctuary. The new temple basically collides with the layout of the previous
basilica, only the sanctuary is added. In fact
Arsukisdzes temple is recorded cross-type
building with long, three-nave western arm. A
gallery was arranged above the lateral sections of western arm and internal narthex (that
currently constitutes the extreme section of this
arm). It seems that for the purposes of optical
convergence of the dome and the sanctuary
the western arm is widened eastwards. The
whole of the space, enveloped by the structure
built of neatly hewn stones is directed forward
and tends to heavens. It has the respective
and compatible external settings facades are
split by rod arcades (with deep depressions in
upper sections of western arm), window frames
and triangular niches in eastern wall, etc. At
list western and eastern fronton edges were
adorned with risings. The same type of decoration is missing on eastern fronton seemingly it
is lost forever, while the western one is decorated with the image of Christ on the Throne
surrounded by the host of Angels. Current
reliefs of different sizes scattered on almost
every section of the temple walls indicate that
initially its exterior was sumptuously adorned
with sculptured decoration.
Both interior and exterior of the temple sanctuary best reveal initial features of Arsukisdzes
creation the whole solemnity, scale and
monumentality of XI-century cathedral can fully
and comprehensively be experienced while
looking at that particular part of the gorgeous
construction. Svetitskhoveli cathedral of The
Twelve Disciples was adorned with wall painting shortly after completion of its construction.
Only tiny fragments of the original wall painting
have survived till now. Even the sanctuary wall
painting, with its most part devoted to the fresco
39
qarTliKAKHE KARTLI
40
qarTli KARTLI
of Christ in Full Glory with enormous figure of

Christ, was re-painted in the end of XIX c.
The temple suffered significant damages in the
turn of XIV-XV cc, when during the invasion of
Tamerlan the dome with barrel, western supporting columns and arches were destroyed.
Following the restoration of peace and order in
the country, during the reign of King Alexander
the Great Svetitskhoveli Temple was restored
thanks to the devotion of the King himself and
his grandmother Rusa Amirejibi. The restored
temple differed from the original to some extent.
For instance: the galleries were never rebuilt,
neither was the closing rib of western arm
twice as wide new arch has been constructed
instead. Many other innovations occurred on
facades, western entrance was totally newly
faced, etc. In later times, following the order
and will of King Rostom of Kartli and Queen
Mariam- the dome of the temple was renewed.
Finally, all chapels arranged along the longitudinal walls of the temple were demolished.
Some fragments of XVI-XVII cc wall painting are preserved in the interior of the temple
(including the fresco of Queen Mariam and his

son Prince Otia). Painting of small arch of the
Alive Column erected inside the building is of
XVII c, with scenes narrated in Gospels and
several basic moments related to the enlightenment of Kartli. Paintings were performed by an
artist Grigol (Gregory) Gularjishvili, commissioned by Patriarch Nicolas (Amilakhvari).
Floor of the temple is covered with many
tombs, majority of which have historical significance - Kings Vakhtang Gorgasali, Erekle II,
and Giorgi XIII, are buried here with the grave
stones renewed in 1960-ies. Martyr of VI c. St.
Evstati, King of Georgia Demerte II and many
other statesmen were honored to find here the
last refuge.
Current defensive wall around Svatitskhoveli
was constructed in XVIII c., with remains of the
residence of Patriarch Melkisedek of the first
halt of XI c incorporated into it. The two-storied
main entrance built (or faced) by this highest
clerical, with so called Solemn Arch on the
ground floor and triple arcade on the first has
also been incorporated into the fortification.
41
42
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45
46
qarTli KARTLI
SAMTAVRO TEMPLE
amtavro Temple located in Mtskheta is

directly linked with deeds of St. Nino,
converter of Georgians. Samtavro
temple is the central structure of the Nunnery
established here in XIX-th c while in earlier
times is had been the residence of the Archbishop of Kartli. According to the legend the
huge blackberry shrub stood theire the refuge
and dwelling place of St. Nino upon her arrival
to the capital of the Kingdom of Kartli from Cappadocia. A small domed chapel was erected
on the place where the bush had bloomed. It
is rather simple construction with rectangular
dome and apse attached from the west. The
rubble stone temple had suffered numerous
reconstructions (interior is adorned with XIX c
wall paining, reflecting all significant aspects of
St. Ninos earthly life).
of Georgian church architecture.

Two chapels are attached to the building from
north and south first of which is earlier and another is contemporaneous to the main building.
There is a minor porch attached to the church
from the west. Although eastern faade of the
building adorned with several triangular niches
and fife-ribbed arcade is common for the first
third of XI c, the southern and northern arm facades have got absolutely unique decoration. In
both cases tri-arcade motive is essential for the
embellishment. The southern arm is animated
through the plasticity of small niches, formed by
the range of facing stones with slanting cut, creating multicolor flesh of light and shadow. As for
the northern arm its expressiveness is achieved
through the tense mixture of floristic-ornamental
lines and coils and spools.
Tracing the history of the monastery development is rather complicated a task for today.
Quite possibly the earliest layers of the temple
could be dated back even by IV c.
These absolutely original compositions with

neither direct predecessor nor subsequent
samples clearly reveal peculiar gifts of the architect sculptor. Several other sections of the
building also reveal the same trends towards
adornment, for instance: in decoration of arches
of southern porch and even in the interior of
the building, as well as in shaping of windows
from the internal side. A stone iconostasis of
XV c. adorned with fretwork is still safe. Several
fragments of XVII c. wall painting are preserved
as well. Some large portions of facing were
renewed in XIX c, whilst the dome and its barrel
had been restored in XIII-XIV cc. A porch-bell
tower of the turn of XV-XVI cc built of neatly
hewn stone slabs stands north-westward of the
temple. Another construction-a round in shape
tower erected next to it was apparently built in
XVIII c.
Christ the Savior temple built in the first half

of XI c is the main construction of Samtavro
Monastery although doubtless it had incorporated many sections of the earlier building.
Even the ruins of early Christian basilica were
found beneath its foundation. According to the
legend the first Christian ruling couple of the
Kingdom of Kartli, canonized King Mirian and
his spouse Queen Nana are buried here. This
recorded cross-shaped structure with a pair of
free standing dome bearing columns can be
regarded as the very first sample of the referred
above canonical architectural type that had
remained constant throughout the whole history
47
48
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50
MTSKHETA HOLLY
CROSS TEMPLE
he domed temple of Mtskheta Holly

Cross Monastery stands above Mtskheta, on top of the mount just across Aragvi
River. This temple immortalizes several consequential facts related to the enlightenment
of the Kingdome of Kartli. According to Georgian manuscripts this is the very place where
St. Nino had erected a big wooden cross that
stood there for rather a long time, until the high
governor of Kartli - Erismtavari Guaram built
The Holly Cross Minor Church in the second
half of VI c. (In those times the monarchy in
western Georgia was annulled by Persians).
The three-particle structure, built of neatly
hewn stone is finished with cross-shaped arch
contains a central apse and contains the room
for standing audience from south and a porch
from north (that later has been reconstructed).
The special niche with the image of blossomed
live cross, apparently designed as the place for
privileged and honorable persons is arranged in
the interior of the building. Soon after those undertakings of Guaram, his son and heir Stephanoz I launched construction of a monumental
domed temple that would serve as a kind of
repository of Holly relics- of the Holly Cross in
this particular case. Construction activities were
in progress through 586-604 AD. Octagonal
pedestal of the Holly Cross still stands in the
centre of the temple interior. The architect hired
for those purposes have chosen the tetraconch
as the basic configuration of the construction
the pattern that had already been well-known
in Georgia. For the purposes of gaining more
space cross-shaped rooms were arranged
in between the apses, while the separated
sections were connected by means of niches
with configuration of of the circle that were
arranged along the diagonal of the sub-dome
square. This combination is a new word in the
history of architecture- a new Mtskheta Jvari

type of architecture has been created. Thanks
to genius of the designer, external shape of the
construction perfectly correlates with and corresponds to its totally balanced internal space
where main pre- sanctuary axes is being highlighted. The whole construction is presented as
the unified and solid system of faceted interrelated elements. The construction, crowned with
the dome neither presses the earth nor seems
to have lost contact with it full of grace and
tranquility it stands on the edge of the Earth
and Heavens. Perfection of ratio between the
volumes are even more highlighted by means
of sculptural ornamentation of the exterior
upper sections of window frames adorned with
floristic foils, rising images of church builders
on the sanctuary and southern facades and
risings with the scenes of Elevation of the Holly
Cross and Ascension of Jesus Christ above
the southern entrance. Highly specific risings
with their own compositional and linear rhythm
outline basic axes and tectonic elements of the
building, its architectural structure.
Full compatibility and incorporation of the temple with the surrounding landscape clearly demonstrates the sophisticated intuition and tast of
the architect one hardly can imagine that the
mount had ever existed without the temple on
its summit. The concordance between them is
that strong that its even hard to claim for sure
which of the origins is determiner the manmade structure or the natural rising.
Partially survived defensive wall is much younger as well as the hermit sell located southwestwards of the temple (currently destroyed
southern entrance was also a structure of later
times with negligible significance).
51
52
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53
54
KALOUBANI
ST. GEORGE
CHURCH
aloubani St. George Church is located on top of

a high hill at the edge of the Kura river-bed, 5
km north of Mtskheta. It is a small rubble stonework building with rather simple, single-nave configuration and a two-storied tower-like annex from the west
that gains some kind of peculiarity and specific expression to this modest building, attractive for its perfect
proportions. Interior of the church evokes the interest
due to its low brickwork barrier and fragments of an old
stele once used as an alter.
The most significant part of the church interior is XIIcentury wall painting that entirely covers the surface.
Paintings are considerably damaged.
The access road to Kaloubani church starts from the
point where roads do separate and the main one leads
to Shiomgvime Monastery.
55
56
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59
60
SHIOMGVIME MONASTERY
he famous Shiomgvime Monastery is

located in the Kura river gorge, in a distance of 12 km. north-west of Mtskheta,
on the very foot of crumbly rocks with the edges
resembling an ancient amphitheatre spotted with
lots of once used hermit sells. All essential buildings of the monastery are grouped around John
the Baptist church built in 50-60-ies of VI c by
one of the13 Assyrian Fathers, stringent hermit
St. Shio Mgvimeli (Shio of the Cave). Heaving
the configuration of free cross (with very deep
apse, long western arm and short lateral arms),
particularity of this temple is determined by its
specific location- half of it is beneath the lend
surface and only upper sections of walls and the
dome, that is in fact a bunch of arches, are the
above-ground sections of the construction built
of rubble stone. The building has not changed
for senturies thus its original features are preserved allmost untouched (interior is covered
with XIX c wall painting of low artistic and historical significance, although the beautiful and perfectly safe stone iconostasis of XI c with rising
ornamentation is exhibited in Sh. Amiranashvili
State Museum of Art of Georgian National Museum in Tbilisi). Several constructions and rooms
were attached to the main church from the West
in course of time, so that almost every century,
inclusive XVIII-th, has left its footprint on the
monastery. This very first temple of the complex
creates the impression of harshness and archaism. Another large church of the Assumption
of Virgin of the beginning of XII c. built by King
David IV The Builder stands slightly upwards of
the main temple of John the Baptist. Only some
sections of this domed brickwork church particulary the sanctuary and small parts of the
load bearing walls have survived up to now from
times of David the Builder. Current lengthy building of three-nave basilica configuration with one
pair of columns was built in 1678. The initiators
and donnors of restoration of the old building
were Prince Givi Amilakhvari and his spouse
Tamar- daughter of King of Kartli Vakhtang V
(called Shah-Navaz). The tower that adjoins the
church from the west is of the same times. Wall

painting was performed in the turn of XIX XX
cc. Large arched brickwork refectory built on the
slope, slightly lower of the main church gradient
still has got some fragments of wall painting,
scattered here and thee. This building incorporates shreds of earlier, XII-century construction
that had been built of neatly hewn stones. Refectory has the entrance cut through the western
wall. From this point forward, if go through a long
corridor, one will get upon the pit where St. Shio
spent the last year of his earthly life. A will is
arranged outside the monastery, that since XII c
until recently had been serving as the gathering
vessel for spring water supplied by means of a
water pipe system from the village of Skhaltba
located over the range. A small, single-nave
church of Elevation of the Holly Cross stands on
top of a hill with some fragments of XIII c. wall
painting in the interior. Another small church of
relatively later times is located above the road
that leads to the monastery. It is built just over
that small cave where St. Shio lived in the early
period of his hermitage until his fame spreaded
all over the country leading to the formation of a
large congregation at Shiomgvime. Religious life
of the monastery had not been interrupted until
XIX c. when this save heaven was annulled due
to repeated devastating rides of Dagestan tribes.
The period of termination of montic arctivities
were ended at the very fell of XIX c., when the
famous clergyman of that times Bishop Alexander (Okropiridze) restored the Monastery. Wall
painting of the Virgin Assumption church and
several of new hermit cells are contemporaneous to the Bishops deeds (the Bishop himself is
painted on one of the frescoes performed by the
artist Gigo Zazashvili). Very few monks lived in
the monastery until the 60-ies of the last century,
when, after their death the place was repeatedly abandoned. Roughly three decades later, in
1990-ies the hermits gradually began to appear
here and there. Since than the monastery has
been developing more or less sustainably with
permanently growing number of monks.
61
62
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64
ZEDAZENI MONASTERY
ounded in VI c. AD by the head of th e13 Assyrian Fathers - St. Ioane Zedazneli, (John of
Zedazeni), Zedazeni Monastery is located north-east of Mtskheta, on the slope of a hill
covered with dense virgin forest. The tradition clames that , St. John deliberately choose
this place, where the heathen idol had ones stood and did not abandon a small cave - modest
place of his hermitry even after his disciple Tateh built a real monastery in close proximity of the
cave. According to the original manuscript narrating the life and deeds of the saint father, after
his death he was buried in the cave, as was his last will. Shortly afterwards a small church was
built over St. Johns grave (apparently sometime in the turn of VI-VII cc), later incorporated into
a larger church of St. John the Baptist, constructed in the end of VIII c. under the patronage of
Patriarch Clementios.
Up to now the church is the central building of the monastery. This three nave basilica with two
pairs of roof-bearing columns is built of mixed material rubble stone, gallstone and brick. Eastern section of the northern nave incorporates the remains of the earlier, neatly hewn stonework
structure with horseshoe-shape arches. Here, next to the northern wall, St. John Zedaznelis
grave is arranged ( a gravestone embossed with beautiful risings had been erected there, the survived original parts of which are currently exhibited in the museum, while its duplicate has been
returned to the initial place). The church has got a rather peculiar rectangular sanctuary, while the
conchs are arranged over the tromps constructed in the corners. Quite possibly the building initially had an opening from the west, most probably an arch, imitating the church of Saint Grave
in Jerusalem. A well is arranged in the main temple, in western section of its northern nave, where
the spring, created by the force of St. Johns blessing and prayer is still pouring through. Central
nave of the church strongly differs from the other two. It is higher, better illuminated and treated
(a decorative arcade is arranged above the arches that split tree naves) as if it were a separate
hall, while the darkened southern nave with a square room in its eastern end gives the impression
of some kind of internal porch. The survived fragments of Zedazeni wall painting seemingly are of
later times most likely of XVII c. A stone iconostasis adorned with rising ornamentation donated
to the monastery by the Princes of Kakheti in XI c. had once been standing here. Its survived
slabs were taken to Sh. Amiranashvili Georgian State Museum of Art of Georgian National Museum and are exhibited in the permanent exposition.
Exterior of the basilica is rather plain and simple, almost ill-featured with only two slabs ornamented with crosses (one arranged on the top section of the sanctuary window frame and another
-over the frontal section of an attic). Originally the basilica had only one southern entrance that
is overlapped by the neatly hewn stonework arched porch of IX-X cc (western door was cut within
the scope of refurbishment activities undertaken by Bishop Alexander (Okropiridze) in XIX c.)
with XVIII c bell-tower arranged on its top apparently added in times of Patriarch Domenti.The
defensive wall and hermit sell remains are of the same period. Western door was arranged in XIX
c. In 90-ies of the last century the monastery, abandoned for long time was brought back to life.
65
66
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70
36
qarTli QARTLI
SAMTAVISI TAMPLE
amtavisi temple of Christ the Savior

stands close to the main highway
towards west Georgia, in the middle of
a fenced yard that dominates the centre of the
village. The barrel of its dome erected to the
heavens is noticeable even from a long distance, but real merits and beauty of the temple
can only be perceived at its close look.
Apparently Samtavisi have become the center
of eparchyin earlier times - one of the13 Assyrian Fathers, St Illarion settled here in VI c
AD. So, by all means the church should have
been built there in those times. The remains
of a large basilica excavated on the territory
adjacent to the current church from the south
perhaps belong to that initial church. The present construction built in 1030 is made of neatly
hewn stone. It is a domed building with so
called incorporated cross configuration heawing four columns supporting the dome. The
construction inscription curved on the stone
slab narrates a history of the church foundation Bishop Illarion son of the local nobleman Vache Kanchaeli was the church building
donor. Quite possible that the referred above
Bishop Illarion was not only the donor, but also
the church designer. Anyway this clerical could
have built the church in a nearby village of
Ashuriani, current configuration of which has
unfortunately been almost totally altered.
Provided the aforementioned assumptions
are true we do know the name of one of the
outstanding medieval architects of Georgia.
Despite the fact that the Cathedral has not
been survived in its original state it suffered
considerable damages in XV c. (the dome,
western faade and north-western column in
the interior were restored or rebuilt shortly after
the destruction took place) and even though
only southern porch had avoided affects of
those hard times, general artistic features of the
temple are unchanged the entire construction
is admirably light, proportionate and rised. This
temple has got particular historical significance
it is the very fist of so called inscribed cross

type domed churches, which have become
common for Georgian art from that point
onward. External outline of the temple is close
to square-shape, interior is rather simple and
laconic, distinguished for multitude of panorama
achieved through an optical intersection of
arches and supporting columns.
Decoration of the eastern faade created by the
architect of Samtavisi is of the particular importance. This is the depiction of three crosses
a symbolic repetition of the scene of Mount
Calvary Crucifixion actively used in Georgian
church architecture since VIII c as the essential
element for the decoration of the sanctuary
exterior. In this particular case the tri-cross
decoration of Samtavisi is represented as absolutely unified composition created by means
of thoroughly interdependent elements. Repetitions or variations of such kind of decoration
can be seen on number of Georgian churches.
Fretwork used for decoration of Samtavisi
window framings, crosses or upper sections of
the facades considerably determine the impression created by the entire construction. Highly
expressive floristic ornamentation coupled with
matchless craftsmanship of its performance,
plasticity, and beauty and at the same time
tangibility and strength of the ornament is quite
rare even for X-XII cc the period that abounds
with samples of perfect fretwork. Very expressive small sculpture of a griffon apparently the
defender and guard of the Paradise, cut in the
corner of eastern faade gains eloquence to the
construction.
The sanctuary of the temple interior is adorned
with XVII c. wall painting performed by the
Bishop of Samtavisi Meliton. The porch with the
ball-tower on top incorporated into the defensive stone wall should be of the same period
The same should be stated regarding the
Bishops residence now in ruins.
71
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75
THE MAGALAANTI CHURCH
he Magalaant Church is located on the

left bank of the Kavtura River, in a distance of 2,5 km southwards of Tsinarekhi
village, Kaspi Municipality, in the historical
province of Kartli. The architectural complex
of feudal times stands on the slope of a hill.
Besides the church itself the complex contains
bell towers, defensive towers, so called pharmacy, stone fence and ruins of several other
constructions outside the fence. The mane of
this place is related to the family name of the
local nobles the Maghaladzes (Magalashvilis
in later version) that reached their climax in XV
c when became retinue of the Patriarch of the
Kingdome of Kartli.
The church devoted to The Mather of God from
the Bethlehem was built in turn of the XII-XIII
cc and has got a single nave configuration
with the chapel attached all along the southern faade. The church is built of neatly hewn
yellowish sandstone cubes. The entrance is cut
through the southern load bearing wall.
All facades of the church are richly adorned
with fretwork. Windows are framed with wide
decorated stone slabs. Central sections of
76
eastern and western facades are ornamented

with tri-arcades. The cornice of the construction
coupled with friezes over the arcades of lateral
walls are decorated as well.
Magalaant church is one of the best samples
of the single-nave constructions in Georgia.
The structure with perfect proportions creates
impassion of harmony and lightness. Development of facade decoration, fine fretwork and
perfect compatibility of two types of rocks used
for better reflection of the adornment eloquently
highlights independence and creativity of an
architect.
Wall painting preserved in the interior contains
two layers. The earlier one preserved only in
small fragments is contemporaneous to the
church, whereas the other layer was performed
in 1677, when one of the Magaladze Nicolas,
then the herald and famous preacher at Svetitskhoveli Cathedral had restored his ancestral
church, adorned its interior with wall painting
and erected the iconostasis in there. A belltower with XVII c. wall painting and a defensive
tower located close to the church were built
through XVII-XVIII cc.
77
78
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80
44
qarTli QARTLI
KVATAKHEVI
MONASTERY
vatakhevi monastery is located deep in Kavtura Gorge, upstream of the river, in a

proximity of Tsinarekhi Village. Several constructions have been erected here, all
of different times. For instance, the tower should be of XVII-XVIII cc., refectory
and dwelling constructions obviously are of XIX c, a bell-tower was built in 1872 and the
central construction of the complex Mother of God domed church was built in XII-XIII cc
- the golden era in Georgias history, so called Queen Tamars Epoch. It is the representative sample of the whole group of the churches with so called recorded cross configuration. This particular one with elevated proportions and two supporting columns has got the
layout that is close to square. The interior is characterized with permanent confrontation of
lower and higher sections and constant row of bright illumination with the condition where
light is faded almost to twilight. General simplicity of the exterior is disturbed with the range
of floristic fretwork cut on the curved surfaces of coating, coupled with large crosses,
arcades used as the decorative elements and, cornice also ambossed with fretwork. The
construction is crowed with a dome that rests on the barrel faced with profiled slabs and
frames adorned with fretwork. The end of XIV c. is the most dramatic period in the history
of the Monastery, when soldiers of Tamerlane have massacred the whole community of
nuns.
Significance of the restoration of the monument carried out in 1854 is worth of mentioning.
Although the sphere-shaped dome was arranged upon the barrel it turned to be absolutely
incompatible to the church (the defect corrected during the second major round of restoration conducted in 1970-ies),still, all damaged sections of the coating and profiles where
carefully made up with new slabs were free of fretwork so XIX c. restorers had applied
the methodology recommended by current best practices of restoration.
81
82
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83
METEKHI
CHURCH
f set off towards the Rkoni Monastery from the city of

Kaspi, shortly after the beginning of the journy a narrow
dome will become noticeable all of a sudden at higher
altitudes, across the Kura River. This is the dome of Metekhi
Mother of God church. A stone wall of XVII-XVIII cc with builtin towers encircles the monument. An arched bell-power was
arranged on top of one of the towers in late XIX c. The church
constructed in XIII c. have gone through many ordeals that
put their footprints on its almost totally altered configuration,
deteriorated because of several late-time reconstructions.
The church has got recorded cross configuration with the
standard set of elements - a pair of columns, tri-partial sanctuary and the respective niches on the western faade - the layout typical for the period, when the church was constructed.
All elements of external decoration are typical as well large crosses between the framed windows, fretwork cones
etc., but the facing is so disturbed that reconstruction of the entire unified picture of external decoration is currently
impossible (for instance an arcade cant be seen ant more). Its even hard to say whether or not those elements are of
one and the same period, or they are simply performed by masters with different levels of craftsmanship. Alteration of
the dome barrel that is the most noticeable of all changes supposedly took place in XV c. It is absolutely incongruous
to the rest of the construction. There is one noteworthy rising, currently fixed on the western door tympanum, with the
scene of Dormition of the Virgin.
84
85
86
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87
88
ST. EUSTATHIUS
CHURCH
nother historical building that stands along the road to Rkoni is St. Eustathius
church in the village of Ertatsminda. This construction with better preserved
original features compared to the referred above Metekhi church has also suffered
many changes, that are most noticeable in case of its dome. These two churches are
synchronic and both have got the recorded cross configuration. The only difference is
that St. Eustathius church has got slightly elongated layout. Most likely, adornment of the
church in Ertatsminda was both quantitatively and qualitatively richer than that of Metekhi church. The whole system of decoration is based on the curves arranged along the
corners of the construction and on horizontal belts arranged between them. Lateral walls
of the church arms are decorated with the suit of small arches. Other elements of decoration system are grouped around the window and door framings. Festoons of eastern wall
niches are adorned with fretwork as well. Small risings on the sanctuary section of external
facing are integral parts of the decoration system and should also be mentioned in this
context. Some fragments of XVII c wall painting are preserved in the interior. The church
deposits one relic of historical significance head of Paata Saakadzede is buried there.
History narrates that Paatas father, Giorgi Saakadze by than the commander in chief of
Parisian Army was forced to live his son at the court of Persian Shah Abbas I as a hostage during the ride to Georgia ordered by the Shah. Goirgi Saakandze, Georgian himself
joined his compatriots and Persians were defeated. The Shah revenged him by beheading
his son and sending him this valuable present.
89
90
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91
IKVI ST. GEORGE CHURCH
f follow th epass thet runs in depth of Tedzami river gorge Ikvi St. George church will be
encountered standing on higher grounds,
on the right bank of Shabistskali river, tributary
of Tedzami. This small, beautiful and highly
sophisticated construction has got so called
semi-free cross configuration where the western arm is stretched and the rest of three arms
are unified in one space due to tri-partiality of
the sanctuary. The construction attracts ones
attention because of unnaturally tall dome barrel with its loftiness even more increased when
looking at its arch from the interior. Just this tallness makes the church bautiful and attractive.
Trumpet vault-like spaces are arranged on
western corners of the construction with small
niches beneath them, most likely designated for
92
the prayers standing outside. Church facades entirely faced with hewn slabs are richly decorated.
The whole system of adornment contains arcade
pattern, coupled with fretwork slabs fixed on the
dome barrel vaults, windows and door framings
and tympanums.
If take a look at tympanum risings itll become
doubtless, that craftsman at Ikvi was highly
skilled professional who despite the improvised
changes and alterations of the dcor keeps the
unity and cohesion of the whole composition
of well tempered, highly symmetrical decoration. Perfect wall paining of XII c is preserved
in the church interior, which, besides the canonic scenes comprises several episodes of
St. Georges life, grouped in Northern arm, thus
making them particularly interesting for scholars.
93
94
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96
RKONI
MONASTERY
f go back to Tedzami gorge and cross the river, one will see the
path that runs along its bank. Passing a point with the remains of
ancient Prayer Lime-tree the path leads to Rkoni Monastery- wellknown from the history of Georgia. A slightly shortened three-nave
basilica of Mother of God with two pairs of columns is the central
construction of the save heaven. It seems that this building has been
repeatedly reconstructed columns have different shape and laying, stones with risings are scattered at random, etc. Remains of
VII-VIII c. initial building adorned with niches and picked windows
cut between them (with traces of once reddish paint in niche shells)
currently constitute western faade of the construction - artistically the
most sophisticated and completed part of the church. Western porch
of XIII c with two rooms and large external opening supported by
wide arch is rather well-preserved. A chapel attached to the basilica
from the south is contemporaneous to the porch.The former has got
the layout common for the single-nave churches.
A single nave St. John the Baptist church stands southward of the
main construction. All these constructions are faced with hewn stone
slabs adorned with decorative arcades, crosses and fretwork.. Fragments of wall painting of different periods are preserved in the interior
of the main church and its southern attachment. Almost the whole of
the basilica interior and the diaconicon are adorned with XII c. wall
painting whereas the protheses wall painting is of XIII-XIV with some
sections performed at the fell of XVII c.
Three other stonework buildings an elongated and arched refectory
of the turn of XIII-XIV c., a three-storied residential tower and XVIIXVIII cc bell tower crowned with the brickwork structure located close
to the entrance coupled with the ruins of several other buildings are
situated on the territory of the monastery.
Rather mixed features of the basilica and disturbed and frequently interrupted adornment of other churches are the best
proofs of hard times occurring every now and then in the long lifespan of Rkoni Monastery. The most devastating of all
previous and following ordeals was the invasion of Tamerlan in 1400 when the whole community of Rkoni clericals where
massacred and the Monastery itself was destroyed to ashes...
A single arch bridge of XII-XIII cc is preserved in the monastery outskirts, coupled with XVII century residential tower
for monks with Simon the Stylite chapel arranged on its top floor with tiny traces of once perfect wall paining in the
interior. Rkoni castle of XIII-XIV cc dominates the surroundings. There are several buildings inside the defence wall of the
fortress including one single-nave stonework church built in XIII c with preserved wall painting.
97
98
82
qarTli QARTLI
atenis sioni
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100
ATENI SIONI CHURCH
teni Sioni church is located some 12 km

from the city of Gori and stands in the
outskirts of Ateni village, on the left bank
of Tana River, upon the rock deliberately reinforced by special underground structures. This
church of the first half of VII century replicates
Mtskheta Holly Cross Monastery architecture,
hence, its layout is tetra-conch with the internal
space enlarged by means of lateral niches and
corner rooms, where the strict equilibrium of
design and symmetrical configuration of the
building are mitigated to some extent by slight
extension of longitudinal axes. The dome vault
adorned with rising cross rests on the apse corbels and is connected with the central square
through the system of trumpet arches. Facades
of the church, faced with neatly hewn sandstone slabs are adorned with rising images of
the saints, church building donors and animals.
It seems that an architect of this church was
very much influenced by the fame of Mtskheta
Holly Cross Monatery. Following the sample,
Ateni western faade has not been split-up
as well. This is absolutely logical in case of
Mtskheta, where a steep rock adjoins to it from
that side. Neither a door has been cut thorough
western wall, although the access road in case
of Sioni is perfect from this side. However the
artist tried to alter some other proportions that,
as an outcome of the experiments have led to
the less differentiated integrity of the building.
But its doubtless that Ateni Sioni church still
has got artistically completed features, basically
determined by natural harmony and flexibil-
ity of that type of construction. The church

bears footprints of several reconstructions
and refurbishments, the most fundamental of
which was conducted in the II-nd half of X c,
when the activities were headed by Armenian
craftsman, somebody Todosak. Majority of the
church risings were made at those times except
one image of the herd of thirsty dears drinking
from the spring of the life, arranged above the
northern entrance. This particular decoration
is much earlier then others. Interior of Ateni
Sioni is the most impressive because of the
perfect frescoes performed in XI c. They are
one of the best samples of Georgian medieval
monumental painting. Although the structure of
wall painting follows traditional path of Georgian
iconography, in this particular case it has been
guided and at least to some extent determined
by the dedication of this church to one of the
greatest Orthodox holidays Dormition of the
Virgin. St Marry is the central figure here and
the great number of frescos narrate the history of her earthly life. In conclusion, numerous
inscriptions both stone curved epigraphs
and performed in paint should be mentioned.
They contain many interesting historical notes
and messages (for instance: about the invasion of Bugha the Turk in the II-nd half of IX c,
or the information concerning the development
of the city in Ateni and construction of hospitals
and hotels there in the reign of Bagrat IV, etc.).
Being closed for the prayers and believers for
many years Ateni Sioni is now active again.
101
102
103
104
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105
106
URBNISI ST.
STEPHANEY
CATHEDRAL
he cathedral stands in the centre of a village

spread on the high grounds of the Kura River
bank. In early VI c AD, during the construction
of the cathedral a large developed ancient city had
existed here, finally devastated and perished in VIII
c. after the invasion of the Arabs headed by Mervan
the Deaf a strict commander and brutal conqueror.
Some good proofs of the existence or that city were
found during the archaeological excavations. The
cathedral has got the three-nave basilica configuration
with four pairs of cross-shaped columns and tri-partial
sanctuary, so the apse has got lateral rooms. This
type of layout is worth to be mentioned as far as until
the very fell of V c. AD no churches have got such
kind of rooms. The original sections with horseshoeshaped vaults, better preserved in the interior than
on rather mixed and reconstructed faades, are built
of neatly hewn stones. Among numerous reconstructions, (for instance, according to an inscription curved
on a stone slab one of them was conducted in the turn
of IX-X cc), the refurbishment carried out by Marry,
Queen of Kartli, in 1668 was the most important.
Upper sections of the building vaults of the interior
coupled with several other elements, and the central
nave walls with huge crosses outlined by means of
brick laying tecnique were made at those times. Not
even a single part of the original ambulatory encircling the building from three sides have survived, but
the initial majesty of the construction can unmistakably be defined through monumentality and distant
solemnity of internal vaults. A well tempered threestoried porch with residential rooms and a ball-tower
on the first and top floors respectivelly, constructed
in 1706 by King of Kartli Vakhtang VI, the poet and the
legislator, stands westward of the church.
107
108
72
qarTli QARTLI
yincvisis
monasteri

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110
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111
KINTSVISI MONASTERY
intsvisi monastery is located in the

narrow and calm wooded gorge, in a
distance of 10 km from the namesake
village, Kareli Municipality. The earliest building
of the complex, a semi-destroyed single-nave
church of Mother of God stands in the northeasternmost corner of the yard. This construction with tall proportions most likely built in X c,
has been affected by a landslide tall sanctuary with wall paining of the second half of XIII c.
is the only survived part, while the rest of it is
beneath the current land surface in a depression that have appeared after the landslide.
Wall painting, with the scenes of some miracles
of Christ is quite unnatural for the sanctuary.
Apparently it is the indication to salvation and
eternal life. No matter the colors are almost
gone the remains of fresco of the Virgin with
child depicted in the conch still impresses the
viewer due to its dramatic expression.
Two other minor constructions on the territory of
Khintsvisi Monastery the semi-destroyed twostoried porch and a small single-nave chapel
of the turn of XIV-XV cc are less significant in
comparison to the main building the famous
domed temple devoted to St. Nicolas. Frescoes of the Queen of Georgia Tamar and her
son and heir Crowon-Prince Giorgi IV Lasha
performed on the northern wall of the interior
clearly indicate the time of the church construction turn of XII-XIII cc. Kintsvisi church desian
differs from the common trends dominating in
the architecture of those times, when almost
all designers were tended towards building the
stone churches dressed with neatly hewn slabs.
Usually they had so called recorded cross
configuration with a pair of dome supporting
columns. In case of Kintsvisi brick is used as
the main construction material and the way of
the arrangement of the church internal space
is modified. In particular, the corner vaults of
western sections of theinscribed cross type
112
interior are situated perpendicular, but not

parallel to the arms. That is why, eastern part of
western section of the church with the shape
of laterally extended large hall contrasts to the
rest of the internal space - loafty, well illuminated and rather tall. A narthex opened by means
of large vaults, attached to the main body of
the church with a spacious arched room on its
top, apparently used as a dwelling premise is
quite distinctive as well. From this point it was
possible to observe the public service inside
the church through the open door. The architect
has settled the problem of articulation of the
brickwork building as well. This effect has been
achieved through enlargement and elongation
of the openings and narrowing of the barrel
towards the dome, thus gaining the dynamics
so much desirable for any other craftsman of
his times striving for fame and glory.
When speaking about Kintsvisi its wall painting is being considered almost every time, as
far as it is really one of the masterpieces of
ancient Georgian wall painting being simultaneously monumental and dynamic. Paintings are
distinguished for their harmony, flexibility and
plasticity of lines and expressiveness, accord
and compatibility of colors, stressing high level
of their lyricism. Sky-blue color is dominant
here with flashes of cinnabar, golden-yellowish,
light green flashes on its background.
The fresco of Resurrection with an Angel sitting
on Christs tombstone painted on the northern
wall has long ago become the classic sample
for students and perfect source of excitement,
imagination and creativity for Georgian poets,
novelists and artists. There are some wall
paintings in the narthex of Kintsvisi that were
performed in later times in XV and XVI c.
Those paintings were ordered by the house of
Panaskerteli-Tsitsishvili local noblemen and
landlords of the surrounding areas.
113
114
samwevrisis
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115
116
SAMTSEVRISI
CHURCH
amtsevrisi small church initially built in the

name of the Holly Cross but later re-consecrated in the name of St. George stands on top of
a hillock 4 km westwards from Kareli. The church that
is one of the most beautiful samples of VII c. Georgian
architecture had been destroyed by strong earthquake of 1940 and was restored applying anastylosis
methodology. The stonework construction of so called
free cross configuration is crowned with the tromped
dome, quite typical for times of its construction. It
should be mentioned that despite the relative simplicity of the construction, the designer had achieved
equilibrium that does not awoke feeling of stringency
and rigidity of the building, where neither the tectonic
sections nor the elements of decoration,
basically represented by arched and peaked top
sections of window framings are depressed and
shaded. All elements here are distinct that gains to
the construction solidity and monumentality despite its
small sizes.
A small single-nave brickwork church of XV c stands
near Samtsevrisi church attracting attention due to
its roofing covered with the enameled decorative tile
adorned with figure compositions.
117
118
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120
TSROMI
CATHEDRAL
sromi Cathedral is located on the left bank of Kura River, some 3

km. away from Gomi railway station, in the village that administrativelly belongs to Kashuri Municipality. Tsromi Christ the Savior
cathedral was built in the first half of VII c, on the spot where close relative of King Vakhtang Gorgasali, St. Razhden had been martyred in the
II-nd half of V c AD
The church has got the recorded cross configuration thus making it the
earliest sample with that kind of design in Georgia and one of the earliest in the whole Christian world. Four free- standing columns support
the dome. The western narthex with the gallery that partially occupies
western inter-arm spaces responds the apse. There are some additional
spaces once connected with stoas, destroyed long time ago. Many essential elements of eastern faade that make the wall lighter and at the
same time reveal the structure of the sanctuary, that would be so notable
for many Georgian churches of the folowing times were first applied at
Tsromi cathedral. During the whole following period of the development
of Georgian architecture that covers vast period of time from X to XIII cc
all these elements are almost necessary for all domed, and not only for
domed temples. They can be encountered in Svetitskhoveli, Samtavro,
Samtavisi and many other cathedrals. First of all Tsromi cathedral is
purely an architectural monument, where the designer achieves the
desired impression through clear lines of the monuments tectonic elements and their perfect correlation coupled with the compatibility of neatly
hewn stone laying with beautiful forms of particular details. The architect
uses elements of adornment as well fretwork slabs at upper sections
of the window and door frames, several narrow fretwork strips in doors
or niches, images of crosses as if depicted by paint brash on entrance
tympanum and fronton picks. All of them are highly impressive and gain
eloquence to huge wall surfaces and large openings. Interior is also faced
with neatly hewn stone slabs that would have been very impressive due
to flashes of gilded mosaic in the apse conch, only small parts of which
have survived till nowadays currently exhibited at Sh. Amiranashvili
State Museum of Art of Georgian National Museum in Tbilisi. The cathedral has suffered several destructions, the latest of which was caused
by strong earthquake of 1940. Reconstruction of this monument carried
out through 60-90-ies of the last century were implemented with variable
intensity. As a result, the dome and several other sections of the construction were reconstructed.
121

QVEMO QARTLI

124
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127
128
BOLNISI
SIONI
olnisi Sioni church is located some

70 km south of Tbilisi, in the historical
province of Kvemo (Lower) Kartli, on
the left bank of Poladauri river, in the village
of Bolnis-Khachini.
As all other churches and cathedrals in
Georgia known under the mane of Sioni,
this one is also dedicated to the Virgin.
Bolnisi temple is one of the largest basilicas
in Georgia. It is the important and famous
monument for many aspects with enormous
historic significance and artistic influence that
lasted for centuries. At the very first glance
the sight is captured by the astonishing color
of its large walls, faced with neatly hewn
turquoise greenish tuff slabs. The whole
construction is massive, lengthy, deeply
rooted in the earth. Pitched roof and solid
walls create impression of strength and stability. At the same time there is no feeling of
pressing weight just the opposite, despite
their solidity these dazzling walls radiating
joy and buoyancy.
Bolnisi Sioni is a three-nave basilica with the
extended semi-circle apse of the sanctuary,
with open arched gallery on the whole length
of northern faade, coupled with minor
arched gallery and baptizing room on the
south. Naves are split by five pairs of crossshape columns. A small chapel attached to
the church from the east is dated back to VIII
c. It is well known, that the church was heavily damaged in 1643, during the invasion of
Persians, when all vaults and partially the
western wall were destroyed. Entire upper
129
130
sections of the church together with vaults and

other decayed sections were restored in the
first half of XVII c., shortly after the invasion
when basically brick was used as the construction material. Reconstruction was initiated by
King of Kartli Rostom and his spouse Queen
Mariam. Western door has been cut through
in those times, notable on the background of
a huge wall due to its brickwork framing and
sagittal arch.
In the closing decades of XVII c, Bishop of
Bolnisi Nickolas once again refurbished the
temple, when its interior was adorned with
wall painting and a bell-tower was constructed
next to it. In early XVIII c Bolnisi Eparchy was
annulled due to almost total alteration of the
population in this region, caused by harsh
history and consequential massacre and/or
resettlement of local Georgians.
Bolnisi Sioni has got several architecturally
specific features, first of which is revealed in
roofing system, where all three naves share a
common two-pitched roof and the basilica-like
profile is achieved by means of additional one
pitched roofs covering the attached galleries.
Second peculiarity is location of entrances,
when the openings are cut through the longitudinal walls- one southwards and the other
two northwards instead of their traditional
arrangement on western side (as it has been
mentioned above, the western door was cut
as late as in XVIIc.) Due to such positioning
of the entrances internal space seems to be
equally divided and both sides look congruent,
as in the centric buildings. There are couple
of other signs, common not only for basilicas
but also for other constructions of those early
times: neither protheses nor diaconicon exist,

the baptizing room is separated from the rest of
the internal space of the church; 3. There are
open lunettes over the entrances; 4. arches and
vaults are horseshoe shape.
Besides purely architectural characteristics,
Bolnisi Sioni is rather interesting monument due
to its ornamentation. It is the first time when
both sculptural and fretwork elements are used
simultaneously in the construction decoration
system. Their distribution is preplanned and
follows the exact pattern in the middle nave
only columns adjacent to the sanctuary have
got adorned caps. This definitely indicates the
desire of an architect to make and spread several separate stresses. Risings reflect animal
images of course rather relatively, even the
full scenes with animals. At the same time attention is focused around the cross a symbol
of the new faith. Both risings and fretwork have
got geometric and floristic patterns that are absolutely mature artistically, indicating to sophisticated taste of the craftsmen. Another reason
of Bolnisi Sioni fame is the earliest survived
Georgian inscriptions, preserved on the walls of
the temple. One of the inscriptions fixed on the
eastern faade, just over the sanctuary window
mentions Bishop David, initiator and organizer
of the construction, while another one, adjusted
above the northern-eastern entrance, mentions
other historical persons and indicates duration of construction works. According to that
message the church was built in between 478
- 493 AD After more then two hundred years of
absolute abandonment the church has become
active. In the late 80-ies of the last century
Bolnisi Eparchy was re-established.
131
132
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133
134
LOWER
BOLNISI
CHURCH
he church is located at a foot of a hill next to

the road heading from Bolnisi towards Bolnisi
Sioni temple. The construction faced with neatly
hewn tuff slabs is one of the earliest samples of so
called tree-church basilicas. This type of configuration has been spread only in Georgia, the sole country
where this design has become the object of artistic
and compositional (and perhaps functional- liturgical) researches. Only here it has been developed into
an independent architectural form, although several
alike constructions can be met at random in other
countries as well. The basic peculiarity of this kind of
configuration is the external outline of the basilica that
envelopes rooms split by the partition walls instead of
containing the space divided by the rows of supporting columns. This particular construction is the most
simple of its kind. Three elongated arched rooms are
attached to each other, where the middle one is wider
and has got an extended apse. External side of southern nave was opened by means of the double-arched
construction.
Rised decoration of the church deserves particular
attention. Both doors of the central nave, cut through
southern wall once were adorned with rising decorations affixed just above them one with the scene
of Ascension of Christ and another with the scene
of Ascension of the Virgin. These two risings were
preformed in a way inclined to graphics, the style
traditional for the times when the church was built. Unfortunately these risings were on purpose destroyed in
early 20-ies of the last century and currently only their
outlines are preserved there.
135
136
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SAMSHVILDE
amshvilde settlement is located some 70 km

southwestwards from Tbilisi and covers the
cape raised at the point of confluence of R.R.
Ktsia and Chivchavi. History of this well developed and
fortified settlement begins as early as in Pre-Christian
Era and lasts till the beginning of XVIII c AD. During its
long lifespan the city had always played its important
role in political and economic history of Kartli. Numerous churches are located on the territory of Samshvilde
a basilica of IX-X cc, a large single-nave church of
IX-X cc with some fragments of wall painting, etc. But
Samshvilde Sioni church, built in 759-777 by the local
grandees, Varaz-Bakuri, his brother Johan and sister
Deborah, called the Queen of Samshvilde, direct
descendents of Pitikhshi of Kartli is the most significant
of all other cult building remains. Its worth of mentioning that the reign of the Byzatine Emperors Konstantin
V Koprinimus and Leon IV the Khazar is indicated in the
church built in the country where the Arabs had been
rulling. This fact hardly can be regarded as accidental
it rather reveals political tendency, perhaps a protest
against the Arabs. The architecture of the church strictly
and openly follows VII century Tsromi Cathedral in all of
its basic details, thus highlighting loyalty to national and
Christian traditions. Although the architect of Samshvulde does not simply duplicates the original the ratio
between the dome and the entire space of the church
has been changed, narthex is rejected, whereas the
western shoulder is slightly elongated and divided into
three naves. A pair of rooms are arranged at each side
of the sanctuary apse, and respectively the number of
niches is increased up to four instead of two. This gains
dynamics to the internal space of the church. But the
most important feature of Samshvilde Sioni is its highest
artistic value even today when only sanctuary has partially survived, the sophisticated forms of its walls and
rooms, coupled with the perfect laying of neatly hewn
stonework vaults strongly impresses the viewer.
139
140
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143
144
DMANISI
manisi settlement is located some 100

km south-westward of Tbilisi, on the
high cape created at the confluence
of R.R. Mashvera and Pinezauri. For almost
one mycelium - from IX -th till XVII century AD
Dmanisi had been a developed city and the
centre of trade with the dense mixed population
of many nationalities and confessions.
images curved on neatly hewn stone slab

background is the most impressive of the later
attachments to the church. Each of its facades
has got two pairs of small niches and the whole
structure is crowned with a dome supported
by slim columns from the east. Wall projections
hold the dome from the west. Both elements
give the porch a cross-like shape.
In the centre of the internal fortress a rather

large single nave Sioni church with the extended semi-circle apse was constructed for the orthodox part of the locals. Internal space, divided
by massive rectangular projections and deep
vaults in the walls, dark rubble stone masonry
with reddish sections incerted on the facades
create peculiar impression of austere monumentality. The construction seems to be built
in IX-X cc with some traces of refurbishments
carried out in later times. Due to southern and
northern younger chapels attached to the main
body the church has got some resemblance of
three-church basilica. The porch built during the
reign of Giorgi IV Lasha (1213-1222) adorned
with fretwork and raised decoration and cross
Apparently XIII c Georgian craftsmen have

found the original way for reconsideration of
architectural motifs of Armenian Gavits. Small
fragments of wall painting currently preserved
only on the sanctuary and northern wall
surfaces should be contemporaneous of the
porch. Despite they are perished to the level
of discolored remains, those fragments still
preserve high artistic value.
A rather huge structure used as a bell-tower
is located westwards of the church, coupled
with XVIII c. small, single-nave chapel situated
north-westwards of it. Different rocks used for
its construction make this tiny building multicolor.
145

KAKHETI

148
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kaxeTiKAKHE KAKHETI
151
152
DAVID
GAREDJI
avid-Gareji desert occupies south-eastern part of East Georgia,

with its closest edge in a distance of some 60 km soth-east from
Tbilisi. This is a very specific area with multicolor hillocks, dry gorges and gullies, small areas of green land with trees and shrubs. This place
had been inhabited since the Pre-Christian era, but afterwards humans
abandoned it, until the VI c. AD, when one of the 13 Assyrian fathers, St
David, called Garejeli choose that area as a place of his hermitry. St David
came together with his disciple Lukian and they settled in a small natural
cave. Shortly after this many other hermits joined them so by the times
when St. David was still alive three new cut in the rock save heavens were
established St, Davids Laura, so called Dodorka Monastery of the Virgin,
founded by one of St. Davids disciple St. Dodo on the horn-shape rock
extension and John the Baptist Monastery. The very first church was also
constructed here in times when St. David was sill alive. One local noble layman, certain Bubakar, converted into orthodoxy and baptized by St. David
built a small church on the lower terrace of the nowadays Laura, dedicated
to one of the greatest Christian miracles Saint Metamorphoses. After
their death David and Lukian were burrier in this church.
Both the initial and the very first of subsequent hermit sells were simple in
shape and small in size, almost undistinguishable from natural caves. The
situation changed in mid-IX century when the monk very famed both in
Georgia and Byzantium, St. Illarion the Georgian (who continued his hermitry in Thessaloniki where he passed away) was elected the head of David
Gareji brotherhood. The most importantly, he has extended the initial
small church of St. Metamorphoses to its current configuration - a singlenave structure with the room attached from the north. Following this initial
modification this church should have been reconstructed for several times,
the latest of which took place in early XIX c. The protheses, entire southern wall and some other less significant elements are as well of the later
times. All consequent builders of the monastery considered this design as a
sample to be followed. And truly, all main churches of other save havens of
David-Gareji are almost identical to or alikeof this first sample. However,
in each particular case features of the main space and northern room may
differ to some extent from the original (as in case of Didorka X c. church
with configuration resembling two-nave construction). Thanks to Illarion the
Georgians efforts, a new, cut in the rock small complex was constructed on
Laura territory with pilasters, capitals, etc. This was the outset of tradition of
establishing of that kind of churches with strong architectural features as if
they were built, not cut in the rock spaces. They were typical in the second
kaxeTiKAKHE KAKHETI
153
half of IX beginning of X c. A group of so

called domed churches is the most interesting among those cut in rock structures. There
are perfect samples of that kind of domed
churches in Dodorka and Sabereebi complexes
and in several other places. Cutting of refectories, several auxiliary rooms and other spaces
in rock could have been started in the same
period. Famous Gareji wall painting school
was founded in those times, with numerous first
class samples performed during its lifespan,
interrupted in the fell of XIII c. Paintings of the
early period of this school that fells on turn
of IX-X cc are preserved in Dodorka domed
church, several temples of Sabereebi complex
and other places.
From the late X-th century the nature of construction in the monastery alters once again,
when the ensembles gain complexity and their
diversity increases. In parallel to this process
less attention is paid to tidiness and clarity
of cut. Main temples of Udabno Monastery
of the first half of XI c, or of John the Baptist
shelter of XI c and of so called Bertubani
ensemble of XIII c are all unsettled and inaccurate from architectural point. The only exclusion
from this flow is a relatively large single-nave
church of John the Evangelist of the turn of
XII-XIII cc, located on the upper terrace of the
Laura monastery.
It seems that in this period main religious,
expressive and artistic stress is focused on
wall painting. The best of its samples are represented in the above mentioned main churches
of the monastery complexes coupled with wall
paintings of Udabno and Bertubani monastery refectories.
Several other minor constructions have been
adorned with wall paintings as well, for instance
minor churches (Ascension and Annunciation
XIII-century churches of the of Udabno monastery), hermit sells and small chapels (lots of
samples of XI-XII cc wall painting can be found
154
kaxeTi KAKHETI
in Udano and John the Baptist Monasteries).

Apart of eleboration of highly original way of
delivery of canonic religious scenes and use
of paints obtained from local clay layers- the
main culprits in achieving absolute exclusivity
of colors, artists of Gareji have invented a new
style of iconography as well. In particular, the
rule of expressing of almost all important moments of St. David Garejelis life was invented
and followed here that is the most noticeable
at Udabno main church and Bertubani refectory. The solid tradition of painting of all church
building donors has been established in Gareji
as well frescoes of the suzerains of Kakheti
and Kings of Georgia that ruled the country in
XII c, namely of David IV the Builder, Demerte
I, George III and perhaps of Queen Tamar with
the Prince -Consort and the Crown-Prince can
be seen in the main temple of Udabno monastery, coupled with the portraits of Queen Tamar
and her son- King Giorgi IV Lasha in the main
temples of St John the Baptist and Bertubani
monasteries. Portrait of Demetre II the Devoted, performed in the end of XIII c can be seen
in Annunciation church of Udabno monastery.
The period from X to XIII century is the peak of
the monastic activities at Gareji, with at least
12 active monasteries within the area. Turn
of XIII-XIV cc is the beginning of sufferings
descended upon this safe heaven. From that
period onwards gradual abandonment of the
monasteries had been taking place. Udabmo
and Bertubani complexes vere closed as a
result. Final devastation of Gareji took place
in 1616, after the invasion of Persians led
by Shah Abbas I. Several attempts of Georgian kings towards possible restoration of the
monastery all vent in vane, until the very end of
XVII century, when in 1690 the monk Onopre
Machutadze was granted the position of the
head of the monastery. St Davids Laura, St.
John the Baptist and Dodorka monasteries were
restored at that time. Development and restoration activities, certainly with various intensity had
been in progress till the very beginning of XIX c.
For instance defective walls of the Laura and of

John the Baptist monasteries were refurbished
in1695, a bell-tower of John the Baptist church
was erected in the beginning of the XIX c etc.
Particularly many hermit sells in all of the three
above mentioned monasteries were either built
or restored in this period. Many of them were
adorned with fretwork performed on the calcium
gypsum surface; in some cases the ornamentation was performed by paint or by means of mirror incrustation. Many of them were damaged
or perished in XX century as was the decoration
of King David XIIs (II-nd half of the XVIII c)
room in the Laura. The special Gareji-type low
iconostases were invented here as well, made
of calcium gypsum and adorned with frescoes
(unfortunately all of them are in bad repair, with
only small sections preserved till now). Partially
survived adoration of the same type can be
seen in King Alexanders tower located on the
upper terrace of the Laura.
It should be mentioned that since the very moment of its restoration in the final decade of XVII
century, Gareji Monastery had become and till
the last days of independent Georgian Kingdom
remained the most influential centre of Georgian
spiritual literature and education. All of the patriarchs of Kartli, many high rank clericals, theologians and canonists previously were members
of Gareji community. Despite uninterrupted
attempts of Georgian Kings towards reanimation
of David-Gareji, its full scale restoration has
never been achieved. Moreover, the Dodorka
monastery was repeatedly annulled in the II-nd
half of XVIII century
The rest of two monasteries kept their activities
through XIX century however with gradually
decaying significance both for the country and
the church. In 1919, in the chaos followed after
the revolution David-Gareji has been absolutely
abandoned until the early 1990-ies, when the
new community of hermits re-appeared in the
monastery.
kaxeTiKAKHE KAKHETI
155
156
gremi

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kaxeTiKAKHE KAKHETI
157
158
GREMI
remi settlement is located close to

the city of Kvareli. The capital city of
Kakhetian Kingdom throughout XVI
century it was rather rich, well developed town
for that times. The city was devastate and
turned into aches in 1616, during the invasion
of Persian Shah Abbas I. Currently only several
ruins of the old city are preserved, coupled with
some survived churches the central of which
is the orthodox church of the Archangels. This
church stands on top of the high hillock and
with acute outline attracts attention of any
of the passer-by. It was built in 1565 in the
reign of King Levan of Kakheti. This building
has Recorded cross configuration with two
round-in shape columns supporting the dome.
With oblonged upwards proportions, ogives of
Islamic type, use of brick as construction material, adornment of the exterior with flat decorative vaults and the outlines of huge crosses
obtained by omission of brick in laying - the
church is the representative sample of Kakhetian brickwork churches of the mid-XVI century.
Absolute compatibility and incorporation of this
manmade monument in the surrounding landscape is the greatest achievement of Gremi architect, when the church has become absolutely
necessary and leading element of the area.
The church is adorned with contemporaneous wall painting. An impressive monumental
three-storied tower stands next to it, with a large
arched room on the ground floor quite possibly the royal reception hall. Small bell-tower
that completes the tower is the lealest of all constructions of the ensemble.
kaxeTiKAKHE KAKHETI
159
160
kawareTis
sameba

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kaxeTiKAKHE KAKHETI
161
.
1518 .
- ,
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162
kaxeTi KAKHETI
KATSARETI HOLLY
TRINITY CHURCH
atsareti Holly Treinity Church is one of the oldest cathedrals of Georgian Orthodox Church. Bishop of this area is first mentioned as early
as in the early years of VI c AD The temple itself is almost contemporaneous to the mentioned period the turn of V-VI cc. The construction
represents quite large three-nave basilica built of the mix of selected rubble
stone and cobblestone. Neatly hewn slabs are also used for construction of
some of its parts vaults, imposts, rising ornamentation on capitals of the
triumphal arches, very rare for Kakheti. The entire internal space is divided
into three by four pairs of columns and horseshoe shaped arches. The apse
layout and top curves of the windows are horseshoe shaped as well. To the
height of vaults the church interior is definitely original; only roofing structures
have been restored coupled with some other elements with negligible effects
on the entire building.
(In VIII-IX cc middle of the northern nave wasreshaped as a small domed
chapel, but after some time walls separating this section of the church from
the rest of its space were removed and original state was restored; partitions
were constructed in eastern endings of lateral naves thus separating rooms adjacent to the apse; in XVI-XVIII cc walls were built in between the nave separating
arches, several niches for the icons were arranged as well, etc).
Exterior of the church faced in XV-XVI cc with neatly hewn stone slabs is
decorated with a huge image of the cross on eastern faade. Western porch
that outlines western door of the church was constructed in the same period.
Apparently from the very beginning this has been the main point of access
into the church, however there is another door as well, the western one. The
sanctuary windows immediately attract attention due to their rather large
sizes in comparison to other openings of the building, creating impression of
compressed internal space of the church. Wall painting dated back to 1518
is preserved in the interior. Remains of several large residential buildings can
be seen south-eastwards of the temple, one of which belongs to once a twostoried palace with a huge fireplace. A two storied porch of later times is
located west of the temple.
kaxeTiKAKHE KAKHETI
163
164
ninowminda
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kaxeTiKAKHE KAKHETI
165

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17741777 ,
1743-1745
1780-
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167
168
NINOTSMINDA
inotsminda village located some 2-3 km from Sagarejo, is one of

the most beautiful places in Gare (Outer) Kakheti. There is a plot in
the village encircled with a stone wall that envelopes several constructions a Cathedral minster centre of an Eparchy, a bell-tower of XVI
century, a residential house of Bishop Sabah Tusisshvili and several other
buildings that are currently in ruins.
St. Nino church built in VI c AD has got tetraconch configuration that is
slightly complicated compared to the traditional type of that kind of design.
The architect has been given a task to built a large minster not a small
church for only the locals. For the purposes of enlargement of the sub-dome
space builder has cut-off corners of the central square of the tetra-conch
and placed four additional small rooms just between four apses, along the
diagonal axes of the building, thus increasing the dome diameter and consequently - the entire sub-dome space.
The whole western section of the minster as well as its dome is currently destroyed, but in times when its integrity was not disturbed and both the interior
and facades were faced with the porous stone slabs the temple should have
been rather impressive. Apparently, the artistic effect was totally based on
a principle of distinct differentiation of its parts and their strict subordination
according to their significance.In 1671 a porch was attached to the temple
from south, built by Bishop Nikolas (Andronikashvili). Wall painting of mid XVI
century is partially preserved in the sanctuary.
Ninotsminda temple is the significant monument from the point of the history of architecture it is an important sample of promoted and complicated
version of traditional simple tetraconch and is the direct predecessor of the
whole range of monuments with so called Mtskheta Holly Cross Monastery
configuration.
Ninotsmonda bell tower is one of the best samples of XVI-XVII cc brickwork
architecture. Its well tempered shape and sizes, coupled with architecturaldecorative development reveal the maturity of an architect. Faade compositions ogives, rhombs, crosses outlined by means of brick lying are well
arranged and conceptualized. This four-storied bell-tower is one of the largest
of its kind in Georgia.
Bishops residence was built by Mithropolit Sabah Tusisshvili in1774-1777.
This clerical was the head of the eparchy from 1743 since the mid-eighties
of XVIII c. Design of the house is similar to that of the enfilade-type palaces,
traditional in Georgia, whereas its decoration is more close to adornment
common for XIX c residential houses.
kaxeTiKAKHE KAKHETI
169
170
gurjaanis
yvelawminda

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kaxeTiKAKHE KAKHETI
171
,

,
,

,

.

GURJAANI
KVELATSMINDA
velatsminda church stands absolutely

lonely on the left slope of a narrow,
calm and quiet gorge covered with thick
woods, in a distance of 2 km from the village of
Gurjaani. This church of Dormition of the Virgin,
built in VIII c is the only two-domed construction
in Georgia. Its design is complex the body is
three-nave basilica crowned with two domes.
The middle nave is two storied. This second
floor is constructed over the lateral naves and
internal narthex. The low-barrel domes are
differently perceived than traditional domes of
single-domed churches in this particular case
there is an impression as if the up-directed
nave vault has got two bubbles. Western wall
open with arched spans is even more expressive.
External outlines of the church create the
shape of the basilica with rather tall central
nave crowned by two almost identical domes.
Each of the church facades is organized in
different way that indicates independence and
unrestricted creativity of an architect. Eastern
172
kaxeTi KAKHETI
faade the very first that can be seen while

approaching the church, is more decorated
then others. Following the tradition established
for basilica profile the architect highlights three
basic spaces, the central of which is higher and
wider compared to the lateral ones. A huge
cross has once been depicted in the middle,
with currently missing upper arm.
Sothern faade of the church is also quite specific with large vaults on the second floor. Just
here, above the door adorned with the cross
image, some kind of flat-roofed construction
had been erected, with still unidentified destination, gaining secrecy to this particular monument and evoking the sense of mystery so
common for the modern man who looks at this
church or encounters any feature of Georgias
ancient past with many aspects that are yet to
be revealed.
Nowadays Gurjaani Kvelatsminda is the main
church of the monastery that has been restored
recently.
173
174
sanagiris
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kaxeTiKAKHE KAKHETI
175
176
SANAGIRI
CHURCH
anagiri Mother of God Church, currently hidden

in thick woods and apparently once being the
main temple of the monastery abandoned long
time ago is located in a distance of 2-3km from the
village of Vazisubani. This construction is a very specific type of basilica externally its design resembles
that of the domed church whilst from the interior one
can see the sequence of short and wide vaults with
unexpected extension of the interior just in front of
the sanctuary. A narthex, in general rather unusual for
Georgian basilicas looks even more surprising due to
the faceted room arranged on its first floor, supposedly
used for dwelling purposes. Evidently this detail is borrowed from the arsenal of domed architecture.
Exterior of Sanagiri church also has several peculiarities being a mixture of cobble stone, gallstone
and brick, it offers lots of rare details complicated
cornices for instance. Eastern Facade is the most
interesting in this regard. Three extended apses built
of consequential row of brick and stone reveal some
resemblance to the laying technique common for
the distant Byzantium. At the same time builders of
Sanagiri church do not follow the regularity, so characteristic for the Byzantine art, just the opposite, they
offer totally different solution by framing the windows
with wide gallstone slabs. Just the profiles of those
facing slabs indicate the exact time of the church construction that should have taken place sometime in the
very beginning of XI-th century. In later times, particularly in XIII c. the latest southern and northern chapels
were attached to the church. Originally the interior was
adorned with wall painting, currently represented only
by couple of sections with the negligible artistic value.
kaxeTiKAKHE KAKHETI
177
178
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VACHNADZIANI
KVELATSMINDA
n ancient monastery located some 7-8 km away from the village of

Kalauri on the woody slopes, should once have been an important
centre of spiritual life. This conclusion is supported by a large number
of buildings, currently in ruins (a refectory, eastern part of a large tree-nave
basilica, etc), however, all known sources and manuscripts say nothing in
their regard. A domed church known as Vachnadziani Kvelatsminda (All
Saints) is the most outstanding construction of the monastery complex.
This church dated back to IX c is one of the most brilliant representatives of
so called Transitional Period in the history of Georgian architecture, with
compositional elements as distinct and singular, that neither direct predecessors nor descendants of the church can be found throughout the country. The
construction has got thc cuppel-halle layout, with most of its space enveloped
by an elongated nave with a dome in its centre rested upon the protuberances of longitudinal walls. This main part of the construction is encircled with
the ambulatory that has got a gallery. Tri-conch type pastophoriums are arranged at eastern endings of the gallery, so that this building can be considered as a transformed and revised type of three-nave basilica.
The church has got very impressive interior where proportions and distribution of light emphasizing both its oblong shape and sublimity, creating the
impression of the utmost charge and energy. Due to creative use of the mix of
simplest construction material rubble stone, porous gallstone and brick the
architect builds the body of the structure and sharply and exactly highlights
all of the forms (corners, vaults, arches etc.), so that even its purely technical
elements have gained esthetic value.
The church is relatively well preserved only some sections of roofing construction are missing coupled with western section of the ambulatory, almost
totally reconstructed in XV c. Facing of the dome barrel is of the same period
as well as the wall painting in the interior, that is currently diminished to the
negligible state.
kaxeTiKAKHE KAKHETI
181
182
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183
AKURA MAMADAVITI
amadaviti church built in the name

of St. David, the founder of Gareji
Monastery is located some 1.5 km
from the village of Akura. This structure built
of brickwork and stonework mixture is highly
specific type of basilica. Only one pair of columns is erected there (hence the structure has
got two arches between the naves at each side)
and what is the most important, a partition is
arranged in the northern nave that splits it into
two arched bays. Due to that kind of design,
distribution of light and height of the central
nave, the whole of the interior looks as if it were
one grand hall with vaulted and arched deepening on both sides. The architect of Akura church
shows high level of creativity when adorning the
exterior of the construction rather high cavities are arranged within the longitudinal walls
whilst the eastern faade is decorated with
arches outlined by some narrow rods constituting the earliest type of the faade arcades,
that would become so popular decoration
184
kaxeTi KAKHETI
pattern in the centuries to come. Even painting

is incorporated in the faade adornment very
unusual images are partially preserved on the
sanctuary wall medallions with heads of some
men and the imige of Christ the True Sun and
Illuminator of the Universe between them.
Couple of rather large remains of XIV-XV cc
wall painting are noticeable on the western wall
of the church interior.
Several architectural peculiarities indicate that
Akura church was built in IX c. Quite possible
the church has even been built by St. Illarion
the Georgian, where his mother and sister
found safe shelter. No ancient document has
been preserved regarding the church, but being
under the patronage of Kakhetian Kings and
nobility it is absolutely positive that a nunnery
had been functioning there throughout the XVI
c. as a section and subsidiary of Gareji Mravalmta Momastery.
185
186
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kaxeTiKAKHE KAKHETI
187
188
OLD SHUAMTA
ld Shuamta Monastery is located in

Kakheti, some 7 km from the town of
Telavi. The architectural ensemble of
three churches stands in a lonely woody area.
A small church dated back to V c AD - earliest of those three, is the prefect sample of the
very first attempts of construction of basilicas in
Georgia. Its space is not elongated towards the
east-west axes that would have been natural
for that type of architecture, naves are divided
by a pair of arches rested on columns, with the
width of the arch spans colliding with that of
the entrance doors. Due to this the middle nave
is perceived as a high hall, while the lateral
ones, connected by a doorway arranaed on the
west are sooner the narrow ambulatories then
naves.
Another church of the ensemble built in VII c is
Mtskheta Holly Cross Monastery-type building,
but compared to the latter, depths of apses and
bems are decreased here, thus emphasizing
the importance of dome barrel against the en-
tire space of the building and its basic constructional segments. The corner rooms here have
simple quadrangular configuration in contrast to
that of Mtskheta monument, with cross-shaped
outlines.
The third church of the Old Shuamta Monastery
was also built in VII c. It is a small construction
crowned with the dome. Its design basically
duplicates essential segments of Mtskheta Holly
Cross Monastery architecture and of other alike
monuments apses are arranged at all four
sides of the central square, corner niches are
arranged as well, but corner rooms are missing
here, that in other similar monuments are regarded to be the root cause for the arrangement
of those niches. In this particular case they have
only one aim - division of the space. All three
churches are built of cobble stone and are free
of any decoration but very simple eyebrows
above the windows. Well-tempered sizes and
perfect proportions are the only merits of all
three monuments of the Monastery.
kaxeTiKAKHE KAKHETI
189
190
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kaxeTiKAKHE KAKHETI
191
192
NEW
SHUAMTA
ew Shuamta church of the Birth of Mother of

God is located close to Telavi, in a distance of
some 2-3 k from Old Shuamta Monastery. The
building is erected on the open plane surrounded by
the defensive wall. There are a bell tower and some
other auxiliary constructions beyond the wall... The
church was built in XVI c in times of the reign of King
of Kakheti Levan and his spouse Queen Tinatin.
According to chronicles the Queen herself chose the
place for the future church that she had seen in a
dream as a child. Here she found her last shelter as
well.
New Shuamta church has the recorded Cross
configuration with one pair of columns arranged in
the western section of the interior. The cross-shaped
construction is crowned with a dome that has got
a deliberately high barrel gaining peculiarity to the
church and giving to it almost the Gothic appearance.
Initial building was provided with the ambulatory that
enveloped the main body from three sides Unfortunately it is totally missing nowadays.
Exterior of the brickwork church is adorned with large
arches, and outlines of the cross and other decorative
elements all arranged by means of brick laying technique. The interior is adorned with contemporaneous
wall painting most of which is well preserved.
The bell-tower is contemporaneous to the church. Its
second floor had been used as the residential area
where Queen Tinatin spent her days after the admission to monastic vows. The monastery closed in Soviet Times now hosts the nunnery reestablished here
after the fall of communism.
kaxeTiKAKHE KAKHETI
193
194
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IKALTO
MONASTERY
kalto Monastery is constructed on the elevation of a small range that

divides Turdo river gorge and Alazani Velly. Like Alaverdi and Artozani
(Ruispiri) St. Shio monasteries, its foundation is also linked to the activities of one of the 13 Assyrian Fathers St. Zenon; hence the monastery was
built in the second half of VI c. Only a small Holly Trinity church can, with the
considerable degree of relativity, be regarded as a construction survived from
the initial times, however it has got strong footprints of several rounds of later
reconstruction. This cobble-stone construction with a two storied attachment
from the west is covered with two-pitched roof. With three short shoulders
arranged almost in the thickness of walls, very deep apse with a pair of large
niches with the configuration of of circle the internal space of thr church
has got some resembles with Mtskheta Holly Cross Monastery minor temple.
Initially the church should have had a shoulder with four pediments, as well
as a dome rested on a barrel. Hence, the building in question is a sample of
architecture common for the turn of VI-VII cc but risings included in the facing
are of later times, apparently of VIII-IX cc.
The church known under the name of Ghvtaeba (Deity) is the main building
of the Monastery. Supposedly it was constructed in IX c. This cobblestone
building with typical recorded cross configuration has got four columns.
Besides the main hall it has got a narthex divided into three parts, a standing
platform for the abbot arranged above the narthex and three large porches
from the west, south and north (southern and western ones are crowned with
domes rested on tromps). The church built just over the tomb of St. Zeno has
basically survived without any considerable alterations (horse-shoe shape of
almost all of the arches and of the apse is characteristic). Only the dome and
sub-dome constructions were restored in XIX c, when brick was used as the
main construction material. This has changed the appearance of the church
to some extent - almost certainly the initial dome was much lower and apparently it was rested on the tromps.
A large cobblestone building with several huge halls, fireplaces and windows
stands in ruins in the southern section of the monastery. This are the refectory remains built in X-XII cc, that apparently has got several construction layers. A massive hall is attached to it from the west a classroom of an ancient
Academy, according to a legend graduated by the greatest of Georgian poets
Shota Rustaveli.
kaxeTiKAKHE KAKHETI
197
198
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kaxeTiKAKHE KAKHETI
199
200
KVETERA
FORTRESS
vetera Fortrerss is located in Ilto gorge, on top

of the range, in a distance of some 36 km from
the sity of Telavi. Heaving been a central point
of once large and well-fortified settlement, it is a rather
interesting monument, but from the point of the church
architecture a small domed gallstone church erected
within its citadel is the most noteworthy construction
of the area. By all means it is aither a citadel or a
family church. Two-storied palace, apparently contemporaneous to the church stands westward of it.
During the construction of this particular monument
a designer apparantly have followed a sample the
small church of Old Shuamta Monastery a building
with the tetraconch configuration and narrow niches at
the corners. But a skillful master of X century slightly
changed the layout and by means of its moderate
alteration has created a very distinguished monument.
Through enlargement of corner niches tertaconch
configuration of the church has been substituted to a
star-shaped layout. Strong impression of motion and
dynamics is created by the arrangement of shafts and
imposts in every internal and external corner, their interweave coupled with the arrargement of tromps with
hanging out corners. All thies elements have totally
diminised any trace of tranquility and proportionality
so common for the monuments built at early stages
of architectural development. With almost no another
equally beautiful monument alike, this almost literally
modeled construction gives an impression of being
alive due to perfectly selected colors yellowish of
gallstone is combined with the navy-blue glaze of the
tile undoubtedly making this church one of the most
attractive monuments of Georgian architecture.
kaxeTiKAKHE KAKHETI
201
202
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203
204
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kaxeTiKAKHE KAKHETI
205
ALAVERDI CATHEDRAL
laverdi Cathedral is located in Kakheti,

on the left bank of Alazani River, in a
distance of 18 km from the city of Telavi.
With its upright outlines it is easily noticeable
on the marvelous background of Alazani valley,
encircled by gorgeous mountains of Tusheti.
The monument was built in the first quarter of
XI c, in times of so called Great Cathedrals,
during the rapid risie and development of the
country. This temple has been erected instead
of the earlier one, built in VI century by St.
Joseph Alaverdeli, one of the thirteen Assyrian
Fathers. According to some assumptions this
place, then covered with virgin forests, apperently had been the point of worship of the
pagans and the Church deliberately choose it
for the purposes of facilitation of conversion of
the locals already used to worshipping here,
into the new faith.
Constructions that make the entire Alaverdi
ensemble are of various periods and destination. They are as follows: a chamber, palace
of Peikhar-Khan, refectory, military barracks,
a vine caller, a bathhouse outside the defensive wall and others. The chathedral has got
tri-conch configuration, what means that it is
a cross-shaped structure. Three arms of the
cross are ended by semi-circular apces and the
forth one is slightly alongated and rectangular
in shape with a gallery arranged therein. All
three apses do not exceed the area of rectangle of the external walls. Well illuminated
through wide doors and windows, with strongly
elevated interior the church is almost literally
reaches the heavens and is one of the most
majestic temples in Georgia. Three gallery-like
porches were attached to the main body of the
construction from the west, south and north.
Two of them northern and southern ones
were destroyed in XIX c. At the same time, after
206
kaxeTi KAKHETI
annexation of Georgia by Russia both interior

and exterior of the church were plastered and
whitewashed, a huge iconostases was erected
in the sanctuary dividing it from the rest of the
internal space (currently the iconostases is
removed).
Decoration of facades is relatively restrained
that is common for Kakhetian region. Wide
surfaces of huge walls are basically adorned
with arches and niches within the eastern wall.
Some rare fretwork only underline splendor of
the construction.
The temple has been restored for several
times. All sub-dome vaults and the dome barrel
made of brick were re-built in the last quarter of
XV c during the reign of King Alexander and
Queen Ann. No doubt the reconstructed dome
has most closely replicated the shape of the
original one. Another grand reconstruction initiated by Queen Tamar, mother of King Erekle II,
carried out in XVIII c was aimed at remediation
of affects of strong earthquake.
While cleaning the interior walls in 1966, several layers of wall painting were revealed. The
earliest is contemporaneous of the temple itself
and is dated back to XI c. Later samples were
apparently performed in XV-XVII cc. Plaster
and whitewash were removed from the exterior
in 80-ies of the last century.
The bishops residence-palace is the most significant of all other constructions of the ensemble. From south it is attached to the defense
wall. Its ground floor is the most interesting part
of this repeatedly reconstructed building, because of XVI c refectory preserved almost untouched, with the arches adorned by decorative
patterns borrowed from Islamic architecture.
207
208
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209
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211
212
NEKRESI MONASTERY
ekresi Monastery is located close to the

sity of Kvareli. Standing on top of a high
hill, it dominates Alazani Valley and the
whole complex is easily noticeable from a distance. A rather large city had existed at the foot
of a hill at the outset of the new age. Not much
is known in its regard yet. Excavations are still
in progress, and remains of several important
ancient buildings of an early Christian basilica
and pagan temple or palace were revealed, but
they have not yet been dated finally. From the
very date of its foundation till the end of XVIII
c Nekresi Monastery had been the the centre
of the episcopate. The most outstanding figure
of local clergy was father Abybos of VI c AD,
one of the 13 Assyrian Fathers, canonized for
his martyrdom for Christianity. He propoagated
against the official confession of the Sassanid Persia Worship of Fire, cultivated by
Persians, who dominated western Georgia by
those times. Another well known spiritual leader
was Father Ambrosi Nekreseli, highly educated
man of XVIII c and skillful orator, whose preachers are outspending samples of Georgian
homiletics.
Several buildings of different epochs are
preserved in Nekresi Monastery, each heaving
particular significance. The earliest of them, apparently constructed in IV c AD or at the beginning of V c the latest- is a small, rough stonework church that stands on the upper section
of the complex. Originally the church consisted
of three parts high and narrow middle section
with the apse of the same configuration and
wider and lower extreme sections externally
opened through three-sided horseshoe-shaped
vaults. External outline of this uncommon construction (with an undercroft arranged beneath)
resembles a basilica, although its structure is
totally different. That kind of situation could only
have existed on the earliest stages of spread
of Christianity, when the basics of liturgy and
church architecture were at their initial stage of
development.
Mother of God temple constructed at the turn of
VI-VII cc. stands westward of this small church.

It is a three-church basilica type construction
is built of cobblestone and rubble stone mixture.
This main church of the monastery has got a
central hall, an apse, eastern rooms deteched
to the apse and elongated rooms grouped on
south and north of the central hall and connected by western doorway. Central hall is the
most distinguished of all other rooms because
of its height, width and much better illumination. Exterior of its western wall is adorned a
huge cross is outlined within a flat niche by
means of laying technique. In XVI c, during the
reign of King Leon and according to his orders
the temple was adorned with wall painting. The
sovereign and his spouse are depicted on the
southern wall of the interior. Currently the wall
painting is in rather bad repair.
The third significant church of the monastery,
besides several small chapels with negligible
architectural value, is erected slightly lower, on
the place where the slope turns into a plain.
This is a domed construction with square configuration and extended apse. The ambulatory
opened by means of arches encircles the building from three sides. Western part of the dome
rests upon tromps, while its eastern section is
supported by horizontally arranged stones. The
church with highly proportionate vertical main
space and narrow and shallow niches used as
decoration pattern of the dome, boldly contrasts
horizontally stretched gallery. Supposedly this
church should be of IX c. as are several other
structures of the monastery (a refectory for instance, that stands close to the domed church)
the most outstanding of which is a two-storied
palace built next to the main church at the very
edge of the slope. A grand hall on the first floor
almost totally open by the huge horseshoe
shaped arches is the most impressive part of
this building, heaving some resemblance with
German medieval palaces. This building is
dated back to IX-X cc. In later times, most likely
in XVII c a tall observation tower was erected in
its middle.
kaxeTiKAKHE KAKHETI
213

SAMTSKHE-JAVAKHETI

216
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samcxe-javaxeTi SAMTSKHE AVAKHETI
217
218
KVABISKHEVI
he remains of Kvabiskhevi monastery

stand on top of the rocky elevation in a
depth of a small gorge that joins the Kura
Gorge from the left. The monument is located
in a distance of some 20 km from to the city of
Borjomi. This church currently called Mariamtsminda (St. Marry) is a small basilica with one
pair of columns dividing the naves. The construction is mostly build of rubble stone. Only
columns, arches rested on them and simple
decoration of western window three crosses
within the medallions are made of white hewn
stone. Eastern window is free of decoration because it faces the slope. Several traces of XIII
c wall painting (with portraits of laymen someone Shota and Ia) are still noticeable in the chapel arranged within the eastern end of southern
nave. This simple construction that stands in the
middle of the forest eloquently reveals the spirit
and mood of IX c ascetic monasteries.
219
220
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.
,
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.
,
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VIII-IX
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1970-
.
221
KHVILISHA CHURCH
small temple known as Kvilishi church stands at the edge of the road, on the outskirts of Aspindza village.
It is a single nave construction with a small north-eastern attachment. The building is made of rough
basalt blocks, however upper sections of window frame, corners, several constructional elements in the
interior, pilasters and other parts are made of hewn slabs. Simply decorated window eyebrows, raised proportions, plasticity of the extended pilasters, peculiar blend of overall austerity of the construction with the desire
of its decoration makes the monument the perfect sample of VIII-IX cc (more likely of IX c) Javakheti school of
south Georgian architecture. The church had survived with missing vault and wall upper sections, rebuilt in 70ies of XX century.
222
223
224
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225
226
TSUNDA TEMPLE
sunda Temple, is a relatively large, single-nave construction erected on top of the

rocky elevation close to the Kura River, in the outskirts of Vardzia. According to
Georgian annals, in the first centuries of the New Age Tsunda was the large city, but
currently nothing is known about that. Certainly the church itself is not that old. Its builder,
someone Ichkit Gurgenisdze, mentioned in the construction inscription should be contemporaneous of Queen Tamar (turn of XII-XIII cc). On the other hand decoration of this
church - fretwork, bunches of grapes along the corner rods and other motives arranged
on the background of the hewn stone facing, may indicate the later date of its building, however in any case is should not go beyond XIII c. Although Tsunda monastery is
definitely not a masterpiece of Georgian architecture, its builders seem to be highly skillful
masrers. This assumption is backed by the proportions of the simple arched space, clarity
and lightness of neatly hewn facing and fretwork decoration. Perfect selection of the place
for the church that stands between the edge of the Kura River bank cliffs and its floodplain
best reveal their maturity, providing perfect incorporation of the church into the surrounding
landscape.
227
228
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230
VARDZIA
MONASTERY
ardria rock-cut monastery is one of the well-known monuments

of Georgian architecture. The site is located some 30 km
away from the regional centre of Aspindza, on the left bank of
the Kura River. Hundreds of rooms cut in almost vertical rock sells,
halls, auxiliary spaces (for instance a stable), aqueduct arranged on
the slope, create the impression as if Vardzia were even a city. The
complex was created in the second half of XII c. Commenced by
King George III it was completed by his daughter and hair Queen
Tamar the most famous of all Georgian sovereigns who has almost
became the legend during her life. The large single-nave temple
dedicated to the Assuimption of the Virgin easily distinguishable from
all other buildings is the main construction and the main temple of the
monastery. Initially it had a chapel attached from the west that was
partially destructed by strong earthquake in XIII c (frontal sections of
many caves and sells should have been destroyed then as well). An
arched wall was built instead, that became its faade. Wall painting of this church performed in 1184-86 is one of the best samples
of monumental painting of those times. Along with religious scenes
some portraits of historical persons King George III, Queen Tamar
and a nobleman Rati Surameli are performed there. The chapel is
also adorned with wall painting. There is another church in Vardzia
adorned with wall painting so called Ananuri. It is a tinny chapel
with rather large frontal space (apparently enlarged in later times).
Wall painting here can be divided into two segments: the external
and internal. The former is of early XIII c, with the portrait of King
Lasha- Giorgi, Queen Tamars hair, while the latter is of the end of
XVc , already with Post-Byzantine features. A ball-tower erected in the
centre of the built architecture of the monastery is another outstanding monument of the second half of XIII century (only the ground floor
has survived). Vardzia monastery, famous for its prosperity and riches
being accumulated during several
centuries was devastated in 1552, when Persian Shah Tahmaz I invaded Georgia. The monastery has never been restored
since then, but in the second half of XIX c every now and then several monks lived there. Some traces of revival of the
monastery life are noticeable even nowadays.
231
232
zeda
varZia
, 4 ,
,
.

.
,
,
.
.
,

. ;
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,
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.
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1970- .
233
ZEDA (UPPER) VARDZIA

MONASTERY
nother spiritual centre currently known

as Zeda (Upper) Vardzia that is earlier
compared to Vardzia Monastery is located north-westward of the latter, in the middle
of a small gorge, upstream the Kura River. Its
main construction-Mother of God church has
survived till nowadays. This monument made
of hewn stone blocks has got two naves and
a porch with arched openings attached from
the south that gives to the whole of the construction some resemblance of a three-nave
temple. Besides, the structure is covered with
a safe double-pitched roof. This type of roofing is determined by hiding shelters arranged
over the arches of lateral wings. Two columns
separate high and proportionate southern
nave- the main one from the secondary, very
narrow and dark northern nave, that almost
literally serves as a beckground for a lovely
234
arcade with decorated capitels erected in the

main nave. Church facades are also decorated
with fretwork window and door frames, porch
column capitals etc. The frame of the southern entrance, with unbelievebly clean and fine
fratwork image of cross set on its top is the
most impressive of all other details of decoration. According to the construction inscription
curved on the stone slab XI c almighty feudal
Liparit Eristavt-Eristavi was the church building donor. Wall painting of the church might be
of the same period, although due to the very
small portion of the survived frescoes that are
in a poor condition, their more accurate dating seems difficult. In the course of time the
building itself suffered some damages-southern
porch had turned in ruins, but in 70-ies of the
last century the church was reconstructed to its
original condition.
235
236
kumurdos
saepiskoposo
taZari
,
12 -
, ,

.
,
964
,
,
.

,
,
,

.
;
,
,
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-,
,
.
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237
238

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.

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XI

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.
, XVI
.
X
.
239
KUMURDO KATHEDRAL
uins of Kumurdo cathedral stand on the

background of an ill-favored and barren
landscape of Javakheti plateau, in a
distance of 12 km from Akhalkalaki. The extensive inscription curved on the stone slab that
fortunately preserved up to now tells that the
threshold of the cathedral was placed in May,
964 AD. According to that inscription the Bishop
of Kumurdo John has initiated church construction. Name of an architect was Sakotsari. After
reconsideration of the six-apse design five-apse
configuration of the church was obtained, with
lateral apses placed parallel, instead of being
situated radial. Western rectangular arm of
the church is three-nave, with internal narthex
and three-sided gallery arranged in its western
end. External layout of the church is crossshaped; in response to tree-partite sanctuary
two triangular niches are arranged on western
faade, coupled with two others, one at each
lateral facade. A porch-chapel is erected in
front of the main entrance - the eastern one,
with a tiny shrine arranged in the thickness
of the load-bearing wall. Despite of the relative simplification of the design Sakotsari has
managed to preserve all integral elements of
the six-apse construction and provide sufficient
dynamics through trapezoidal bemas running
along the lateral apses and column-like protrusions that support sub-dome sagittal arches. All
the aforementioned provides general elevation of the internal space and creates strong
impression of motion and charge of life. All
elements of decoration window headers and
framings adorned with light, open-work-type
fretwork, a complex, large frame of the sanctuary window, cornices decorated with different
240
images are scattered over the vast surfaces of

the building exterior, faced with most accurately
hewn stones. Adornment is so perfect, clear
and clean that they may be perceived as the
embroidery incrusted on the metal surfaces.
Several risings still well noticeable on eastern
sub-dome tromps include images of the church
construction donors Queen Gurandukht, her
brother King Leon of Abkhazs and her spouse
King Gurgen of Georgians. All of those images coupled with those incorporated in the
sanctuary window decoration are plain and
tabular, while the heads or possibly the faces
of archangels placed in the niches and over the
southern porch, on the contrary, are rounded
and volumetric. Motion is sensible even in symmetrical elements inscription over the western faade is slanted northwards, interlocked
tromp-like spaces are arranged on the corners
of the church arm exteriors. Even today, with
missing dome and western arm the monument is perhaps as gorgeous and splendid as
it was upon the completion of its construction.
The temple has got several sections that were
added to its body at later times the most important of which is southern porch constructed
along the western arm. This attachment of
the first third of XI c was initiated by Queen
Marry of Georgia. All preserved fragments of
wall painting, for instance within the sanctuary
are relatively younger then the building itself.
It seems, frescoes of the north-western apse
were performed sometime in XIII c. Western
porch of the cathedral bears footprints of XVI c
refurbishment. Two X c steles are erected close
to the temple.
241
242
sofeli
vale

.
,
. ,

.
XVI , , 1560 , ,
(.. )
, ,
.

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),
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X
.
243
244
VALE
MOTHER
OF GOD
CHURCH
relatively large church of Mother of God

stands in the village of Vale located
in proximity of the city of Akhaltsikhe.
Today this construction is comparatively short
three-nave basilica with one pair of columns,
but originally it had been a recorded crosstype domed church with two columns. After
the reconstruction of considerably damaged
original church carried out in 1560-ies under the
patronage of Lady Dedisimedi- spouse of the
ruler of Samtskhe (Southern Georgia) Atabek Kaikhosro, the construction got its current
shape. Eastern section of the initial church has
been preserved up to now coupled with some
other of its parts, such as lower sections of
walls and several stones with risings. Thanks to
their secondary use during the reconstruction
we now can learn about its original shape and
are able to define time of its construction. Some
of the risings are more linear and expressive
(for instance the scene of Annunciation fixed
over the sanctuary window with the image of the
donor Lady Kravai, is so clear, that remainds
the metalwork icons), others are definitely tend
to sculptural shapes (pairs of saint raiders on
western and southern door tympanums), while
the images of wildlife and/ or strange masks cut
on the cornices remind of Roman capitals. Such
highly versatile decoration, its nature and style
of performance clearly indicate time of their
performance, that is the second half of X c.
245
246
safaris
monasteri

, 1012 - ,
,
,
.
X ;
XIII
. .
X
,

(

, .
).

,
, ,
,

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, .
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247
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XII XIII
I

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XIV-XVI
. (-
,
VII
).
,
. XVI
XIX
.
,
,
.

1980-
.
248
249
250
SAPARA MONASTERY
apara Monastery is located in Southern

Georgia, in a distance of some 10-12 km
from the town of Akhaltsikhe, deep in the
gorge, away from any residential arrears, on
the plot hidden by surrounding mountains. The
monastery was founded in X century the latest.
By XIII c the monastery is the possession and
one of the residences of the noble house of
Jakeli-owners and rulers of Samtskhe, with their
ossuary arranged therein. A single-nave church
of Dormition of Mother of God constructed in
X-th century is the earliest monument of the
complex that is country- famous for its iconostases richly adorned with the most sophisticated
rising sculptures, several fragments of which
are exhibited in Sh. Amiranashvili State Museum of Art of the National Museum of Georgia.
The church itself is one of the most interesting
monuments of its epoch with the sanctuary built
of precisely hewn stones. Sanctuary window
is framed with the perfect sample of fretwork
craftsmanship. The construction with an original
cornice has got a simple, proportional and very
expressive interior divided by pilasters. There is
a gallery arranged in the western section of the
interior.
St. Sabahs church of the end of XIII c. is the
main temple of the monastery. As for the bell
tower and the palace, they were constructed
at the turn of XIII-XIV cc. At those times Beka
Mandaturtukhutsesi (Chief of Police in medieval Georgia, something similar to the modern
Minister of Interior) son of Sargis was the real
ruler of the historical region of Samtskhe. The
members of this noble family, Sargis, Beka and
his two sons Sargis II and Kvarkvare are painted on the walls of St. Sabah church. Fortunately the name of the architect of this church has
survived till nowadays. His name Parezasdze
is mentioned in the inscription curved on one of
the windoframing slabs fixed over the western
porch. St Sabah church has got the recorded
cross configuration. It is faced with neatly hewn

stone slabs. Just in contrast to highly sophisticated and richly decorated architectural monuments of the end of XII-first half of the XIII centuries there are lots of empty,smooth areas on
the exterior of this particular church. All proportions of the construction are relatively lowered.
The seven century-long tradition of decoration
of eastern facades with niches has dissapeared
here at once. Neither fretwork of rather good
quality bears the sign of creativity and real
craftsmanship of previous times. Interior of the
church is adorned with almost contemporaneous although eclectic wall painting.
Sapara Monastery ball tower is very close to
the early Georgian bell towers. Its lower section
with cube-like configuration is crowned with
light construction opened with vaults. An ossuary was arranged on the ground floor, whilst
the bell tower itself was set above the first
level. The ossuary decorated with wall painting
belonged to the noble family of LasurisdzeChamberlains of the House of Jakeli. All other
chapels and prayer houses scattered on the
territory of the monastery are also built of neatly
hewn rocks. All of them were biult in between
XIV-XVI cc. (One of the constructions has got a
rising decoration with the image of Holly Cross
Elevation, that is apparently of VII c)
The fortress with massive stone wall had once
dominated the surrounding landscape. The
monastery abandoned by the end of XVI c was
re-occupied in XIX c, when Russian monks
came here and re-established recluse life. Several new buildings were erected and some of
the old ones were repaired and refurbished at
those times in some cases making their shape
and features ugly. The monastery repeatedly
abolished by the Soviets regained its old function only by the end of the 80-ies of the last
century
251
252
zarzmis
monasteri

, ,

6-7 - ,
. , , VIII
. .
.
,

. X

,
.

.
,

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XIII-XIV

.
.
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II-
.
-
,
. ,

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253

,

.

,
. 1577
, I
.
.

,
1980-
.
ZARZMA MONASTERY
arzma monastery founded in VIII c by

St. Serapion of Zarzma is located in
the historical province of Meskheti, in
the namesake village, that is in a distance of
some 6-7 km from Adigeni, one of the regional
centers of southern Georgia. The initial construction of Zarzma has not survived. The stone
slab set just above the entrance of the small
prayer house next to the bell-tower is the earliest of all historical monuments of the monastery. An inscription of the end of X c is curved
on that slab that narrates the real historical
fact the ride of Georgian forces supporting
the Byzantine Emperor against the rebelled
Barda Skliyaroses commander of one of
the Byzantine armies. This inscription, earlier
then the construction itself was brought there
from another, currently destroyed building. The
monastery complex contains a domed church,
a bell tower and several single-nave churches,
all built of neatly hewn stones. The first two of
the mentioned constructions were built in XIV
c in times of Beka Mandaturtukhutsesi the
Prince of Samtskhe. The temple of the Holly
Metamorphoses of Zarzma monastery has got
the recorded cross configuration. The church
is one of the most important monuments of the
epoch with all characteristic features common for Georgian architecture of those times
that where partially considered previously, in
concern of St. Sabah church of Sapara mon254
astery. Wall painting of the church has survived

till nowadays with the mix of traditional religious
motifs and portraits of the members of the
noble house of Jakeli owners and rulers of
Samtskhe, coupled with the portraits of several
historical persons, King Bagrat II of Imereti for
instance and of several others. A beautiful stoaporch open from the front with three-fold arcade
runs along the southern faade of the building. This part of the church can be a survived
piece of an earlier temple. In early XX c Grand
Duke George, younger brother of the Russian
Emperor and his mother launched the refurbishment reconstruction of Zarzma monastery
and of its wall painting. As a result of those
activities the wall painting flavor and stylistic
peculiarities were damaged to some extent. As
for the bell-tower of Zarzma Monastery, it is one
of the largest constructions of its kind throughout the country. Actually its lower section had
been a porch with the entrance opening cut
through the defensive stone wall. The bell tower
was arranged just above that lower section. In
later times new owners of Zarma monastery,
the family of Khurtsidze decided to build-up all
open arches of the bell-tower ground floor and
transform it into the church of John the Evangelist. This took place in 1577. Zarzma Monastery
was re-activated in late 80- ies of the last century, as were many other previously abandoned
monasteries and churches in Georgia.
255

IMERETI

258
ubisis
wm. giorgis
monasteri
.

, .
. IX
20- .

,

. .

,
. ,

,

( -
,
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-
.

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,

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,

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imereTi IMERETI
259
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),
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, , 1141 , .
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260
imereTi IMERETI
UBISA ST. GEORGE

MONASTERY
bisa St. George monastery is located

close to the main highway that runes
all across the country till the Black
Sea shore. It stands on the slope descanting
towards Dzirula riverbed. The monastery was
founded in 20-ies of IX c. At the insistence of
the King of Abkhazs Demetre II this place has
been selected by St. Grigol (Gregory) of Khandzta, famous clerical and founder of many monasteries and save heavens in southern Georgia. A rather lengthy single-nave temple faced
with gallstone slabs is the main construction
of Ubisa monastery. It is contemporaneous of
St Grigol Khandztel. The construction is rather
simple with shallow wall arches in the interior
and triangular decoration arranged just over the
sanctuary window from the outside - the only
adornment of the monastery exterior (besides
the mentioned decoration patterns , there are
several slabs with inscriptions, performed within
the fretwork frame, or on slabs with images, for
example of a lion). Columned iconostases in
the church interior on of the best samples of
architrave iconostases in Georgia, also seems
to be of the initial times. Later on chapels were
attached to the large main hall of the church
from three sides. The western one with the
configuration of domed church in the most noteworthy of all three annexes, where the ossuary
of the late-time owners of Ubisa the noble
house of the Prince Abashidzes was arranged.
In XVI c one of the representatives of the
same House, someone Demetre built another
attachment from the west, richly adorned with
fretwork. Wall painting preserved in the interior of the church is one of the most precious
adornments of Ubisa monastery. These XIV
c paintings performed by the artist Gerasim,
apparently representative of the local artistic
school is one of the best samples of so called
Palaeologus style church painting.
All painted icons, two of which are with doors,

coupled with a range of plea icons - integral
parts of the iconostas, ordered by someone
Bablak Laklakisdze should be contemporaneous to wall painting as far as they reveal strong
closeness to it both artistically and principally
(the icons are currently exposed in Sh. Amiranashvili State Museum of Art of the National
Museum of Georgia). There are several other
buildings on the territory of Ubisa monastery
with different degrees of damages. The residential tower is the most important of them. According to the construction inscription curved on
one of the stone slabs Svimeon the archbishop
of Chkhondidi built the tower in 1141. This forestoried building contains the residental area
(with a large fireplace and a dressing/rest room)
a shrine and a square for training and contests.
This construction faced with gallstone slabs
and with the exterior adorned with brickwork
arcades or hoops is one of the best and perfectly preserved samples of Georgian medieval
secular architecture.
261
262
quTaisi
bagratis
taZari

,

. IX ..
, X
1122 IV
,

, ,

- . X-XI

,
III-,
,
,
,

,
. -
1003 ,
,
.
XVII-XVIII

,

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,
;
,

;

imereTi IMERETI
263
(- ),
. ;
, ,
,
,
,
.
,
. ,
III-
, , ,
, XI 10-20- .
, .
264
imereTi IMERETI
KUTAISI
BAGRATI CATHEDRAL
utaisi is the second important and the

most ancient cities in Georgia. Quite
possible the city was founded even
in times of the Kingdome of Ancient Colchis.
Whatever the truth is the city has definitely
been existing from the pre-Christian times.
From IX c AD it is the capital of west Georgian
Kingdome- so called Kingdom of Abkhazs.
From the end of the X century till the year of
1122, when after the defeat of the coalition of
Muslim countries King David the Builder fought
back the city of Tbilisi, Kutaisi had been the
capital of Georgian Kingdome and thus one
of the most important centers of political reunion of the country that was gradually moving towards unification. King Bagrat III who by
then had already unified western and eastern
Georgia and was holding the most part of the
historical province of Kartli ordered to built a
cathedral on the left bank of Rioni River as tangible and visible monument of spiritual and cultural unity of the whole of Georgia. This temple
of Dormition of Mother of God still bears its folk
name in gratitude to the King - the donor and
initiator of its construction. Every Georgian reffers to it as to the Bagrati Cathedral. According
to one of its inscriptions curved on ther stone
slab the floor was laid in 1003, so the whole of
the construction process was completed by that
year.
Repeatedly shelled during XVII-XVIII cc the
semi-destroyed Bagrati Temple has not only
preserved its majesty and impassiveness
but gives the perfect possibility to imagine its
entire original splendor. The temple has got
tri-conch configuration with four free columns
in the centre supporting the dome. The western arm of the cathedral was tree-nave with
the gallery arranged at its edges and over the
narthex. Stoas were attached to western arm

from tree sides (with built-in tower-like residential construction in north-western section).
Some time later two porches were attached to
the arm from south and west. External shape
of the cathedral is cross-like. In response to
the tri-partial sanctuary linearity of the western fasade is interrupted by triangular niches,
while the decorative arcades are arranged on
each faade. Those arcades are not similar
everywhere and have some differences. For
instance, the western arm arcades are as if
cut-in or curved upon the wall surface, while
the rest of them arranged on other facades are
outlilned by means of rod bunches attached
upon the surfaces. This difference reveals
some kind of shift in the construction process,
however this diversity does not cause any
disorder in the artistic unity of the monument.
Even today it is easy to imagine and price all
the grandeur of Bagrati cathedral that at the
same time gives the feeling of astonishing
lightness and splendid harmony of its massive
elements. Allowing on the aforementioned and
coupled with the most sophisticated and fine
fretwork of the exterior, risings on stoas and two
sculptural heads on southern faade so much
resembling the Sharttre sculptures, together
with slightly younger fretwork and animal images arranged on two porches attached to the
temple in early XI century with their underlined
inclination towards plasticity and sculpture it is
easier to imagine all the skillfulness and highest
degree of craftsmanship of masons members
of the team of cathedral builders working for
King Bagrat III and his descendants. According
to annals the cathedral was also adorned with
mosaic painting, although unfortunately nothing
of it has survived till our times.
imereTi IMERETI
265
266
gelaTis
monasteri

,
,
,

.
1106 IV
(..
,
)

.
,
,

. ( X ,

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, ,
,
(
).
, ,

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,
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IV
.. 1125 ,
, I- .

(
)
imereTi IMERETI
267
. XII-XIII
. - , , .. XIII
( ); (
, ) XVI-XVII .
-, ,
. , XIX ,
.
268
imereTi IMERETI
GELATI
MONASTERY
f take a look northward of Bagrati Cathedral the sight will be captured by white
outlines of sunk in green structures of
Gelati Monastery, located in a distance of
some 12 km from Kutaisi, on a flattened
area of a high hill. Gelati monastery, found
in 1106 by King David IV the Builder initially
was thought to be under the direct subordination of the King himself, not of the
Bishop. At the same time a higher education institution - the Gelati Academy was
founded there. In parallel to this, construction of the main church of the monastery
in honor of the Birth of Mother of God was
commenced, where the miracle-working
Khakhuli plique-a-jour icon of the Virgin
was rested as the main sacred object (the
icon itself was written in X c but after its
solemn arrival to Gelati the internal surface
of its doors were newly embossed and
adorned with lots of precious stones and
plique-a-jour). The temple crowned with a
dome has got the recorded cross configuration with two columns, the design quite
common for the temples of those times.
The narthex attached from the west is the
only deviation from that wide spread layout.
But on the other hand unnatural width of
imereTi IMERETI
269
the dome barrel, thickness of columns and

highest level of illumination has created absolutely unique space, that differs from all other
internal spaces very extended and lengthy,
free and unburdened, with its huge surfaces as
if enveloping a huge cosmic space. Quite interestingly the exterior surfaces also differ from
the common tradition they are almost free of
fretwork decoration, although the impressive
and voluminous arcades on the arms, coupled
with window frames with rather complex profiles
gain considerable degree of sculptural features
to those fretwork. The temple was completed in
the life of King David, hence before 1125 - the
year of his death. Wall painting was performed
in the reign of his son and hair Demetre I. Only
the mosaic of the sanctuary conch (The Virgin
with child and archangels in front of them) and
frescoes in the narthex reflecting the Ecumenical Councils are of the original times. Several
chapels were attached to the temple through
XII-XIII centuries. One of these chapels built in
the closure of XIII century, in the reign of King
David Narini is adorned with contemporaneous
wall painting that contains the kings portrait.
Wall painting of the main church with portraits
of King David the Builder and of other historical
persons as well as frescoes of other chapels is
270
even of later times. Most of them were performed in XVI-XVII cc. Gelati monastery was
one of the richest establishments of its kind with
lots of icons and crosses, manuscripts, different
things useable in liturgy and other services and
numerous memorabilia. Part of this collection
has been lost at earlier times, while its considerable portion was gone during the XIX c
so that currently only the remains of this once
huge monastic deposits are exhibited in Kutaisi
and Tbilisi museums.
There are several other interesting and important monuments in the surroundings of Gelati
monastery that are worth to be mentioned.
Some of them are contemporaneous to it (for
instance, so called Sokhasteri, now turned in
ruins), while some are of later times (St. Sabah
single-nave church now in very bad repair, or
St. Elijah the Prophet church with XVI c wall
painting performed in typical folk stile).
Gelati monastery closed after the establishment of the Soviet regime was restored in early
1990-ies and since then services are being
provided uninterruptedly. Several monks have
appeared here as well.
271
272
wm. giorgisa da
wm. nikolozis
eklesiebi
XIII
.
, ,
(
,
XVI ); .
,
,

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),
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,
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,
1990-
, .
imereTi IMERETI
273
274
imereTi IMERETI
ST. GEORGE
AND
ST. NICOLAS
CHURCHES
ther churches of Gelati monastery where built

in XIIIc. A small St. George church with the
recorded cross configuration and one pair of
columns is one of them. Some fragments of contemporaneous frescoes are preserved in the porch, while
most of its space is adorned with XVI c wall painting.
Another minor church devoted to St Nicolas is a twostoried building; one more structure of the monastery
is a bell-tower with a spring pouring from its basement.
Architectural patterns and even the construction material (hewn white stone) of all of the aforementioned
constructions just duplicate the tradition of the main
church. The building of the Academy is preserved as
well. Only its roof had been missing until its recent
successful reconstruction. This building is basically
made of rubble stone, only its XIII c porch adorned
with fretwork and risings is built of neatly hewn stone.
The old gate of the monastery where King David the
Builder was buried according to his will is still preserved. All descendents of King David had found their
last shelter in Gelati monastery as had the Kings of
Imeretian Kingdome since the beginning of XVI c. They
did all their best Gelati episcopate to be founded and
as a result, in the second half of XVI c Gelati became
the permanent residence of the Patriarch - head of the
West Georgian church.
imereTi IMERETI
275
276
savanis
wm. giorgis
eklesia
.
.
,
.

.
; 1046 ,
.

, ,
(
)
,

.

(, XIX )
XI .
imereTi IMERETI
277
278
imereTi IMERETI
SAVANE
ST. GEORGE
CHURCH
avane St. George church stands in the middle

of the village. This is a single-nave construction
with the porch of relatively later times attached
to the building from south. The construction inscription curved on the stone slab narrates that the church
was built in 1046 by Eristavt-Eristavi Giorgi with the
help and support of the residents of Savane village.
According to the same inscription the architects name
was Harabah. The builder of Savane church achieves
the desirable impression through measures that are
relatively simple at the first glance. For instance the
impression of extensiveness of the interior adorned
with flat arches is gained by the set of vaults, while the
feeling of completeness and sophistication of faades
is achieved thanhs to rising images of lions, decorative arcades, fretwork facing (with the richest fretwork
decoration of southern entrance framing) and the
cornice.
Despite the damages of cut on gypsum iconostases
that is contemporaneous to the church (IX c) its craftsmanship is equal to that of the external adornment.
Most of those damages took place in XIX c.
imereTi IMERETI
279
280
kacxis
gumbaTiani
taZari

.
,

.

.
X

10101014 .

, .
,
XIX

(, ).

,

,
.

,
.
-
XIV-XV
.
imereTi IMERETI
281
282
KATSKHI CHURCH
atski domed church is located in the namesake village. Currently the church stands in the
middle of the cemetery encircled with the stone wall. The late medieval porch incorporated
into the wall is the only access point to the mon ument. . The church has got six apses and
several ambulatories of relatively later times arranged around its perimeter. The practice of building
of the temples with six apses was common only in X century and this particular construction is one of
the latest of the suite. According to the construction inscription the church was build between 10101014 the latest. The same inscription curved on the stone slab states that the representative of the
ancient noble house of Bagvashi, the almighty feudal Rati Eristavt-Eristavi funded construction activities. Apparently, the original exterior of the church was richly adorned, but in XIX c its upper sections
were substituted and only outlines of the initial ornamentation were replicated (arcade and huge
crosses). Perfect adornment of entrances, image of The Holly Cross Elevation on the internal side
of the ambulatory, several sculptures and fretwork decoration of the referred ambulatory are clear
indicators of original beauty of the church. Despite reconstruction carried out in later times internal
space of the building has been mostly spared it is still perfectly illuminated and as if whirls around
the centre of the elevated dome. Some remains of XIV-XV cc wall painting are still noticeable in the
extreme southwestern part of the building.
imereTi IMERETI
283
284
mRvimevis
dedaTAa
monasteri

, .

XIII
.
,
,
( XIX
,
),
XIX

-
.
,
(
)

.
,
(,

; ,
.
VI

- )
, .
.

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-
, ,
imereTi IMERETI
285
.
XI

, (.
) ,
.

,
( XVI
)
. ,

XI
XI

( ,
, .
,

.
286
). , XI

,
,

,

,

- ..

.

.

XIII XVI (..
) .
XVIII
,
-
.
MGVIMEVI NUNNERY
omewhere on the halfeay to the summit of the limestone high rock that is
erected on the right bank of Kvirila
River, in Western outskirts of the city of Chiatura several white buildings hang over the cliff.
These are parts of XIII c Gvimevi Monastery
where the nunnery has been arranged recently.
A pathway leads to the monastery. The porch
is the first manmade construction that will be
encountered on the way to the core buildings of
this save heaven. The dwelling quarters built
in XIX c coupled with the remains of the first
two stories of an old bell tower made of neatly
hewn stones are located in the yard. Another
XIX c building a bell-lower built of white
stone cubs is also located there. There is an
arched opening through the ground floor of
the latter leading to a narrow pathway towards
two churches the main constructions of the
monastery. Perfect compatibility of the buildings
with local landscape surprises the visitor. Both
churches have got arched main halls with half
of their spaces running in natural caves, so that
northern walls are completely arranged within
those cavities. Churches are of XIII c. The main
church dedicated to the Virgin is a two-nave
construction (a single column divides the main,
southern nave from the northern, secondary,
narrower one. Both naves are completed by
the extended apses with faceted exteriors.
Churches with two nave configuration have
been common in Georgia since VI c AD. Mgvimevi church is one of the latest samples of that
type of architecture. Another smaller chapel
of St Katherine stands westwards of the main
church. It is a single-nave construction with no
apse. Both churches are built of neatly hewn
stones. They are richly adorned with decorated
arches, multi-shape facing stones around doors
and windows, crosses, fretwork cornices. Most
likely the architect had some kind of manual or
guidance at list he was following the layout
common for the domed churches, most likely

of Bagrati cathedral and even of Nicortsmionda
temple (see beneath). It is even possible that
originally the church was crowned with dome.
Some resemblance to domed churches could
have been stipulated or even conditioned by
the construction donor the Eristavi of Racha
Rati Kakhaberiszde, painted together with
his family on the wall of northern nave of the
church (frescoes were re-painted in XVI c). The
fact that for quite a long time the XI c metalwork
icons of Supplication brought from the historical province of Racha had been resting in this
church definitely can not be regarded as a mere
accident. The same can be said in respect of
the wooden incrusted door (the icons are now
exhibited in Georgian State Art Museum of the
National Museum of Georgia, while the door
is deposited in S. Janashia Georgian State
Museum of the National Museum of Georgia).
Unfortunately the integrity so common for all
monuments of XI c. has not been achieved
here no clear rhythm of separate elements of
the church can be seen, not even a single part
of adornment is performed with enough craftsmanship, and neither constructions lined along
the edge of the cliff nor buildings running into
the caves can be perceived as a single whole.
Only the diversity of separate elements of the
main church, lightness and cleanness of its fretwork decoration coupled with the same features
of the church interior vaults can be noticed.
The small shrine is not as good as of the main
church definitely the craftsmen here were less
skillful. Fragments of XIII and XVI c wall painting are preserved in the Mother of God church.
The painting is the representative sample of so
called folk stile of painting. Turned wooden
iconostases of XVIII c stands in the interior of
the church with the icons performed under the
influence of Russian- European new style of
icon-painting.
imereTi IMERETI
287

RACHA

290
nikorwminda
010-1014
.
XIX

.
,
.

.
,

.

,
..
, ,
, -

.
.,

,

,
XIII
.

,

, (
),
,
,

raWa RA HA
291
.
,
, ,
.
, -
, . , XVI
1991 1990- . ,
.
292
raWa RA HA
293
294
NIKORTSMINDA
ikortsminda St Nickolas cathedral built

between 1010-1014 stands in the
middle of a large yard coupled with a
beautiful and neat bell-tower constructed in
XIX c. Other buildings should also have been
constructed there, but nothing of them has survived till now. Internal space of Nikortsiminda
temple is composed of five radial apses and
rectangular western arm. Several lateral rooms
are arranged within the arm and the sanctuary.
External configuration of the temple is crossshaped. This has created some kind of embarrassment several windows have got slanted
outlines, faade arcades are asymmetrical etc.
It seems that decoration is the strongest point
of Nikortsminda architect and truly he can easily compete with any other artist in Georgia in
this regard. He creates several new elements
of decoration for instance internal parts of
faade arches are adorned with decorated
strips and what is the most important a new
system of comprehensive adornment of the
dome barrel with fretwork and decorative belts
are first invented here that had remained traditional decoration pattern till the very end of the
XIII century. Perfect sculptors had been working
during the construction of the temple- each
detail of the ornamentation, each of its leaf and
bend is performed as if it were real sculpture
and this knitted decoration is naturally interwoven with figured risings the compositions
arranged within the pediments all dedicated to

the Glory of God, coupled with the images on
the entrance tympanums, and figures of wildlife
cut at the bottom of the dome barrel. The porch,
contemporaneous to the temple, is also richly
adorned with fretwork. Nikortsminda is an
outstanding monument of Georgian architecture
not only for its adornment with numerous rising- perhaps no other Georgian monument can
compete with it in this regard but also for the
highest artistic level of those risings, from the
point of their compatibility with the architecture,
their plasticity and linear rhythm they are the
very best samples of Georgian sculpture art.
Nikortsminda temple has basically preserved
its initial features but merciless passage of time
still has laid its footprint on the monument
especially on its northern faade where many
elements have been mixed. The monument has
undergone two main rounds of reconstruction
one of which took place in XVI c while another
was carried out in 90-ies of the last century
as a mitigation measure against the damages
caused by 1991 earthquake. Interior of the
church is fully adorned with the late-medieval
wall painting. Rather high iconostasis stands in
the interior. The roofed gallery arranged on top
of the holly table is adorned with wall painting
as well. Both the gallery and the painting are of
the late Middle Ages.
295
296
zemo krixi

,

. .
X
,
,
-

. ,

(.,
) (
,
.).
, XI ,
,
( )
( )
.
,
,

,
.
,

.
.
,
,

,

. , XX
, 1991

(1960-70-
XIX
)
.

,
,

.
raWAa RA HA
297
ZEMO KRIKHI
his small in size but still very important

monument is located in the highland
village of Zemo (Upper) Krikhi in the
historical province of Racha. Dedicated to the
Archangels, the church was built in X-th century. The construction with an extended apce
that is provided with two niches - one at each
side, has got very tall, almost tower-like main
hall where the walls are decorated with vaults.
Both the exterior (tympanum of the southern
entrance) and interior (column capitals, lion images cut at the bottom of the apce ,etc.) of this
specific and lovely building are richly adorned
with perfect fretwork and stone-cut images.
Several decades after its completion, sometime
in the first third of XI c. the Eristavs of Racha
attached two porches to the church from south
and west. This latter is currently in ruins while
the former is still in good repair. Both porches
were adorned with the richest fretwork, basically of floral motifs. Those decorations are
eloquent proves of the highest level of craftsmanship of masons who had worked on that
monument. The existence of local, Racha
school of fretwork is almost doubtless, as far as
the adornment and decoration of monuments
298
raWa RA HA
in that part of Georgia positively differ from the

respective contemporaneous samples whether
in Kartli or Imereti.
Following the construction of the aforementioned two porches, the church interior was
adorned with wall paining. Containing the
scenes of all great religious holidays, and several separate frescoes of the saints, it also had
a row with the images of the church building
donors, thus making this particular wall painting one of the best samples of the medieval
Georgian monumental painting. Unfortunately
in mid-XXc heavy rainfalls seriously damaged
the wall painting. Alas, the worth had yet to
come and the church was half-destructed by
the earthquake of 1991, when almost all frescoes spared by rain were perished (during the
restoration activities carried out through 60-70ies of XX c the mid-XIX c western attachment
to the main body of the church was removed).
Currently there is a theoretical possibility of full
scale reconstruction of the building but the ratio
between the original paintings survived and the
internal space of the restored building is yet to
be specified.
299
300
barakoni

. 1753
,

,

( )
.
( )

(
),

, .

. ,

,
. ,

,
,
,

. ,
.
raWAa RA HA
301
302
BARAKONI
arakoni Mother of God domed church located in the village of Tsesi is one of the
most significant monuments in Racha. The church construction initiated and supported by Rostom Eristavi of Racha, one of the most famous military and political
figure of his time, was carried out in 1753 by the architect apparently invited from east
Georgia someone David Shulavreli. According to his name he should have come from
Shulaveri the still existing village in Kvemo (Lower) Kartli. It is doubtless that either the
architect himself or quite possibly the initiator and donor of the construction were definitely
guided by the samples of ancient Georgian architecture traditional design (so called
recorded cross with two separately erected columns) of the church together with its fretwork decoration performed in old stile, crosses etc. clearly indicate the disposition towards
the imitation of classic monuments. However, despite all efforts and diligence applied, no
artistic influence common for old originals has been achieved in this particular case the
niches arranged within the eastern faade are so narrow that they are deprived of any
constructional or artistic-compositional sense. Despite the aforementioned, high level of
craftsmanship of all masons and fretwork specialists is more then surprising allowing on
all tragic events that were common in that terrible period of Georgian history. The feeling
of surprise becomes even stronger when looking at high, painted iconostasis contemporaneous to the church.
raWAa RA HA
303

SAMEGRELO

306
martvili
( )
,
,

.

. ,
,
.

,
VII
.
,

( X ,
),
( X
,

).
,

,
.
,

.
,
-
.
(
),

samegrelo SAME RELO
307

.
(XIV
,
XVI-XVIII
, XIII

);
( !)

,

.

(

),

XI

.

,

.
XIX
, 1970 .
308
samegrelo SAME RELO
MARTVILI
artvili (Chkondidi) cathedral stands

just above the village, on the flatten
top of a hill that dominates the area
and offers perfect background wives of vast
spaces of Kolkhida plain. Only two churches
and a dwelling tower of once vast monastery
complex have survived till nowadays. Mother
of God church with the free cross configuration is the main building of the ensemble. It
replicates the shape of Mtskheta Holly Cross
Monastery. There are different opinions regarding the period of its building, but the first half of
VII century is widely accepted to be the most
probable date of its construction. The church
suffered several rounds of reconstruction so its
original configuration has considerably been
changed the dome is of later times, longitudinal facades are rectified by flat walls (all this
changes were apparently made in X century),
and the western porch with very impressive rising image of Blessing Christ in the front section
of the pediment was attached to the church in
X-th century. Current facing of the construction
is even of later times. Despite the aforementioned it is obvious that an architect of Martvili
has employed creative attitude in regard of
to his adorable sample-Mtskheta Holly Cross
Monastery. In this particular case the dome is
reduced in size and internal niches arranged in
the corners are enlarged. The whole range of
overhanging arches were introduced instead
of traditional tromps. Arrangement of externally
fife-faceted apse instead of the traditional threefaceted one is a noteworthy innovation coupled
with the placement of all rising decorations
next to each other in one consecutive row on

the upper section of apses, thus making a kind
of decorative strip or belt. These elements do
gain the church new type of lightness making it different from more solid and calm
contemporaneous churches of East Georgia.
The risings reflecting events narrated bothin the
Old and the New Testaments are of particular
significance. Some of them are cut on the apse
cornice corbels, however all reveal clear commonalities with early Christian plastics of Mediterranean region. Wall painting preserved in the
church interior is of different periods. Paintings in the sanctuary were performed in XIV
c., while the apse was adorned in XVI- XVIII
cc. There are few fragments of XIII c frescoes
coupled with some small sections of preserved
mosaic. The whole range of frescoes of the
Grand Princes of Mengrelia- representatives of
the house of Dadiani is noteworthy from both
historical and artistic points some of them are
already the portraits in the post-renaissance
understanding of this word. A smaller, two
storied domed church is located north of the
main temple. The stile of dome adornment and
treatment of the apse arcades clearly indicate
that the construction most probably was built in
early XI c. So called Pillar located westwards
of the main temple is of the same period. Actually it is a tower, crowned with a small singlenave church adorned with fretwork, where
hermits of the monastery led their ascetic lives.
Half-destroyed in XIX c the tower was resorted
in 1970-ies.
309
310
xobi

,
,
-.

. ,
,

. ,

,
.
,
, -

. , XIII
-
,
-
.
,
(
,
, .
)
,

. XIV
,

, ,

.
,
samegrelo SAME RELO
311
.
, (
). , XVII
( XVIII ),
( .
, ) .
. - ,
. , .
.
312
samegrelo SAME RELO
313
KHOBI
hobi Mother of God Monastery stands on

the top of a hillock close to the village.
A late-time porch with the bell-tower
arranged on its top is the access point to the
large yard where the church stands a rather
unique construction for Georgian architecture.
It is a cross-shaped building with lower rooms
arranged between the arms and with chapels
attached from south and west. Absence of the
dome in the middle of the cross-shaped church
is strange enough as far as its presence would
have been more natural for Georgian traditional
architecture. So much, Khobi church is a singlenave construction with the essential elements
as follows: major spaces arranged along the
main east-west axes coupled with slightly
lower transept and rooms at the corners. The
church built in the second half of XIII c. has got
the exterior adorned with profiled and fretwork
facing slabs coupled with rod-like and stairlike frames along the arm edges. According
to the church building donor portraits, cut on
the facing stone slabs, one of wich is currently
deposited at Sh. Amiranashvili State Art Museum of the National Museum of Georgia, the
very first construction layer of the monastery
has been built under the patronage of Shergil
and Giorgi Dadiani - the members of the ruling
hose of the historical province of Samegrelo.
Another representative of the same House,
Vamikh the outstanding political-military
figure of the second half of XIV c arranged his
314
grave in eastern section of the arched porch

that had already existed at those times. Marble
slabs of the early Byzantine period obtained by
this mighty feudal as the spoils of war after his
successful expedition to the North Caucasus
were used for the adornment of this grave. Wall
paintings of the same period are still preserved
in this small chapel, with the portraits of Vamikh
Dadiani and his spouse Marekhi. In the course
of time internal space of the church has been
changed for instance, initially rooms in the
western corner were independent, but later
on all of them were incorporated into the main
space. A gallery was arranged above those
rooms afterwards. Wall painting preserved in
the church interior is mostly rather new-it was
performed in XVII c, however there are some
sections with relatively early paintings coupled
with some other parts re-painted in XVIII c.
Frescoes of Levan Dadiani and Nikiphore
Cholokhashvili (at various times being an abbot
of the Holly Cross Monastery in Jerusalem and
Bishop of Khobi Episcopate, famous diplomat
and scholar) are preserved there. Current
iconostasis of the church is even of the later
times. Many icons, crosses, sacred objects
and other church goods had been preserved
in Khobi Monastery- some of them being even
earlier than the church itself. Currently majority
of its collection is exhibited either in Tbilisi State
Museum of Art of Georgian National Museum or
in Zugdidi Museum.
315
316
walenjixa

, .
(.,
,
, ),
.
,

(, ,
).
.
,
.
,
XIII-XIV .

,

XIV

. ,
,
, , ..
,

.

. XVI-XVII

.

.

-
XVII -,

( ).
samegrelo SAME RELO
317
318
TSALENJIKHA
salenjikha Temple of Christ the Savior stands on

top of a hillock that dominates the village.
Initially the church was surrounded by other
constructions, one of which the palace of the rulers of Samegrelo- Grand Princes Daniani- is now
in ruins, whilst another building- a bell-tower of later
times is in good repair. The church itself is crowned
with the dome and has got so called recorded cross
configuration and extended apses attached from the
west. The sanctuary apse is faceted externally while
the pastophorium apses are semicircular. The dome
is supported by a pair of columns with bishops throne
attached to the southern one from the east. All features
of the church plain gallstone facing indicate that the
building was constructed in XIII-XIV c. The church is
famous for its wall painting, performed in XIV c. by the
group of artists headed by someone Kir Manuil Eugenykos an artist, on purpose invited from Byzantium
by Vamikh Dadiani. Hence, the frescos of Tsalenjikha
Temple of Christ the Savior first of all are the samples
of Greek-Byzantium art of so called Palaeologus
Epoch, although, quite possible, at list one of the artists represented the local school of wall painting. The
arched ambulatory that envelops the church from three
sides has been built in relatively later times. During
XVI-XVII cc this roofed space was consecutively split
by stonework partitions transforming those separatedspaces into burials. In the course of time these
partitions were covered with portraits of persons buried
there. In the central part there are portraits of church
building donors Vamikh Dadiani and his family coupled with the fresco of Bishop of Tsalejikha Eudemon
(Jaiani), the historical person of XVII c, who renewed
and completed wall paintings.
samegrelo SAME RELO
319
: , VIII .
On the c
er
ur
ni K e ts in
ISB
:
E it r E
dizaini / DESI
u
:S
sh i i
THESIS
. VIII c. S uthern

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ISBN 978-9941-0-2725-3

UDC () 7.078+719] (479.22)

ather few of things can represent the

belong to Azerbaijan, while the south-western

tionis was founded in south-western Georgia,

the almost a century-long rule of the Mongols

nchiskhati is the earliest of Tbilisi churches. It is located on the right

ioni is Tbilisi Cathedral Temple. Built in the mane of Dormition of The

bilisi Metekhi Temple is located in one of

stones indicate formation of the new decorative

urji Monastery (Blue Monastery) is a small church built in the name of

Sida qarTliKAKHE SHIDA KARTLI

Sida qarTli SHIDA KARTLI

Sida qarTli SHIDA KARTLI

Sida qarTliKAKHE SHIDA KARTLI

MTSKHETA. SVETI TSKHOVELI

tskheta had been the capital of the

Sida qarTli SHIDA KARTLI

with column foots adorned with fretwork and

of Christ in Full Glory with enormous figure of

(including the fresco of Queen Mariam and his

Sida qarTliKAKHE SHIDA KARTLI

Sida qarTliKAKHE SHIDA KARTLI

Sida qarTliKAKHE SHIDA KARTLI

amtavro Temple located in Mtskheta is

of Georgian church architecture.

These absolutely original compositions with

Christ the Savior temple built in the first half

Sida qarTliKAKHE SHIDA KARTLI

Sida qarTliKAKHE SHIDA KARTLI

Sida qarTli SHIDA KARTLI

he domed temple of Mtskheta Holly

history of architecture- a new Mtskheta Jvari

Sida qarTliKAKHE SHIDA KARTLI

aloubani St. George Church is located on top of

Sida qarTliKAKHE SHIDA KARTLI

Sida qarTliKAKHE SHIDA KARTLI

Sida qarTliKAKHE SHIDA KARTLI

he famous Shiomgvime Monastery is

church from the west is of the same times. Wall

Sida qarTli SHIDA KARTLI

Sida qarTliKAKHE SHIDA KARTLI

Sida qarTliKAKHE SHIDA KARTLI

Sida qarTli SHIDA KARTLI

amtavisi temple of Christ the Savior

it is the very fist of so called inscribed cross

Sida qarTliKAKHE SHIDA KARTLI

Sida qarTliKAKHE SHIDA KARTLI

Sida qarTliKAKHE SHIDA KARTLI

THE MAGALAANTI CHURCH

he Magalaant Church is located on the

Sida qarTli SHIDA KARTLI

eastern and western facades are ornamented

Sida qarTliKAKHE SHIDA KARTLI

vatakhevi monastery is located deep in Kavtura Gorge, upstream of the river, in a

Sida qarTliKAKHE SHIDA KARTLI

f set off towards the Rkoni Monastery from the city of

Sida qarTliKAKHE SHIDA KARTLI

Sida qarTli SHIDA KARTLI

Sida qarTliKAKHE SHIDA KARTLI

Sida qarTliKAKHE SHIDA KARTLI

IKVI ST. GEORGE CHURCH

Sida qarTli SHIDA KARTLI

Sida qarTli SHIDA KARTLI

Monuments of Georgia's Cultural Heritage

Monuments of Georgia's Cultural Heritage