SoTa rusTavelis qarTuli literaturis instituti - Tbilisi State University

From Byzantium to Bulgaria and to Georgia – Modifications and Typological Similarities between
Old Bulgarian and Georgian Hymnography
names of hymnographers have reached us, namely: Constantine, the bishop of Preslav; St.
Clement of Ohrid; and St. Naum of Ohrid. The vicissitudes of history have deprived us of
Slavic hymnographic manuscripts from that early epoch.
In Georgian hymnography, whose beginning is usually considered to be in the 8 th c.
(Kекеlidze 1944; Grigolashvili 1979: 174), the 10th c. is defined as the climax (classical
period) of original chant poetry. By virtue mostly of the unique hymnographic miscellany
preserved until the present day and compiled in the years 978–988 by the Georgian hymnographer
Mikael Modrekili, more than a few names of Georgian hymnographers from
that epoch have reached us, including those of Ioane Minchkhi, bishop Ioane Mtbеvаri,
Kurdanai, Ezra, Stepane (Sananoisdze), the bishop of Chkondidi, Ioane Konkozisdze, and
Mikael Modrekili. Like original Slavonic chant poetry from that time, Georgian hymnography
was concentrated mainly in Georgia and more specifically in the monasteries in the
Kingdom of Tao-Klarjeti (Grigolashvili 1979: 175–176; Dzhgamaya 2000: 406).
One of the most typical motivations to compose original chants was, of course, the
need for liturgical services for the newly canonized national saints. This need remained
valid for practically the whole time frame encompassing the existence of original hymnography.
In Slavic literature, already in the 9th c. the disciples of Cyril and Methodius wrote
services in honor of their teachers, whom the Church considers equal to the Apostles.
Four such works are known today: a service for St. Methodius written by Constantine of
Preslav, a canon for the same by St. Clement of Ohrid, an anonymous service for St. Cyril,
and an anonymous canon for the two brothers (Istoriya: 124). In Georgian hymnography,
scholars have determined that the first original work was a chant by Ioane Sabanidze from
the 8th c. about the martyrdom of the Arab Abo Tbileli, who was converted to Christianity
(Kekelidze 1944).
The creative attitude towards adopted Byzantine hymnography can be clearly seen
in the fact that both Slavic and Georgian hymnographers from the 9th–10th c. composed
plenty of chants in honor not only of national saints, but also for ecumenical feasts, for
which Greek liturgical masterpieces already existed. Thus, in reference to original Old
Bulgarian hymnography for Christmas and Epiphany (a canon for Christmas by Constantine
of Preslav, an anonymous canon for Epiphany, pre-festive and post-festive stichera),
Georgi Popov – the discoverer of many of these chants – noted: “It is interesting that like
the Old Bulgarian hymnographers, the Georgian writers have also composed a number of
works in similar genres in honor of the feasts of Christmas and the Epiphany. For example,
the iambic canons for the pre-festive Christmas cycle by Ioane Mtbevari – the Georgian
hymnographer from the 10th c. – are well known, as are his stichera for Christmas, Epiphany
and others” (Popov 2002: 380–381). *
We also can identify another parallel between the two chant traditions from the
9th–10th c. in the Menaion repertoire. They include a canon for St. Euthymius the Great
by St. Clement of Ohrid (Stanchev, Popov 1988: 120–129, 170–181) and a canon (preserved
in the tropologion of Mikael Modrekili) for the same saint by the Georgian hym-
* In the original: “Интересен е фактът, че подобно на старобългарските песнописци грузинските книжовници
създават редица сходни в жанрово отношение творби, посветени на празниците Рождество Христово
и Богоявление. Така например известни са ямбически канони на грузинския песнописец от Х в.
Йоан Мтбевари за предпразничния Рождественски цикъл, негови стихири за Рождество Христово, за
Богоявление и др.”
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