Abstracts - International Initiative for Georgian Cultural Studies

carving.
The study of Georgian repousse ornaments should be conducted in many different directions: the
chronological grouping of ornamental motives, definition of their function, symbolic meaning, style,
peculiarities, techniques, a search for a wide and rich parallel material, as well as their links with Georgian
architectural decoration. As a consequence the conclusions of these studies will define the worth place of
Georgian repousse ornament in the Georgian and world history of ornamental decoration.
Maria Lidova
Scuola Normale Superiora. Italy
Creating a Liturgical Space: the Sinai Complex of Icons by Ioannes Tsohabi.
This paper deals with six icons from the collection of St. Catherine’s monastery on Mount Sinai in Egypt.
Four of the panels are calendar icons. A fifth represents the Last Judgment while the last one bears a unique
representation of five miraculous icons of the Virgin and a narrative cycle dedicated to the miracles and passions
of Christ. A range from the late eleventh early twelfth century has been proposed for the dating of these
images.
This group of icons is one of several testimonies pointing to the active presence of Georgian monks on
Sinai in the Middle Byzantine period. The Georgian origin of these images is confirmed not only by a particularly
expressive style that still awaits detailed analysis and comparison with Georgian paintings, but also
by bilingual inscriptions (every Greek name is complemented by its Georgian equivalent). A short Georgian
inscription under the throne of Redeemer in the scene of the Last Judgment records the priest Ioannes Tsohabi
as a commissioner of the icon. The same name, Ioannes, is cited in four large Greek epigrams that decorate
the reverses of the icons. These Greek inscriptions are a work of a master poet, a great connoisseur of Greek
texts and literature.
Though these icons have already been discussed by various art historians, several problems remain unresolved.
Previous studies have generally treated the icons individually. In this paper, I will analyze the icons
as a single and coherent project. In my view, it is quite probable that all six were displayed together and thus
created and defined a particular liturgical space. Their unity is confirmed by the sophisticated Greek epigrams,
their original iconographic programs, and their stylistic and typological similarity. Through a comparison
with illuminated manuscripts and monumental paintings, it is possible to demonstrate that the Sinai complex
of icons had specific liturgical meanings. Finally, these icons are of great importance for understanding the
mutual relations between Georgian and Byzantine art.
Nana Burchuladze
Georgian National Museum. Georgia
MEDIEVAL GEORGIA
Georgian Icons at St. Catherine’s Monastery on Mount Sinai (To Georgian-Byzantine
Interrelations)
The Mount Sinai and the monastery of St. Catherine are among the most important spiritual centers
of the Christian East. Georgians were always attracted to this sacred site – traces of their presence can be
detected from the 6 th century.
The activities of Georgians were especially intense between the ninth and tenth centuries as evident
from the amount of translated ecclesiastic literature and icons painted by Georgian monks. The Sinai collection
of icons also comprised these relics brought from Georgia. Recently Georgian scholars were given
the opportunity to study Georgian manuscripts kept on the Mount Sinai. The catalogue of this treasure was
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