Abstracts - International Initiative for Georgian Cultural Studies

century). Notwithstanding the specificity of a scroll design, the artist pursues the specified standards of a
scroll design, as seen in the abundantly illustrated Gospels. For example, on the scroll from Svetistskhoveli,
the text narrating the story of the Eucharist is divided horizontally by three horizontal compositions: “Christ
with the Apostles,” “Eucharist” initially with bread (“Sephiskveri”), and than with wine (“Zedashe”).
We can also compare the Georgian Liturgical Scrolls with those of Byzantine, which confirms that, on
the one hand, Georgian culture absorbs the accomplishments of the region’s leading country, and on the
other hand, formed stable national traditions. For example, unlike the Byzantines, the Georgian artist never
uses the letter “Q” as a medallion and does not represent an image in it; Georgian artist makes it oval instead
of circular and depicts Christ above it as a lord – dominant and all-mighty.
Consequently, the design of the Liturgical Scrolls acquires the determined structure over centuries: the
text is written in one column in Nuskhuri, has a cover page and capital letters on the marginal spaces.
Izolda Melikishvili
Georgian National Museum. Georgia
The Symbolic Meaning of Color and Form of the Ecclesiastic Vestments
Georgian artistic embroidery is most amply represented by the collection of the Georgian National Museum:
Sh. Amiranashvili Art Museum. This collection in divided in two groups: secular and ecclesiastic
embroidery, the latter unites the vestments of both clergy and ritual objects. According to the Old Testament,
the clothing which the Lord approved to Aaron and other priests was to demonstrate their distinction
from other humans. Likewise, the New Testament church established specific clothing for clergy, the
origins of which date back to the period of Apostle’s .
Many assumptions exist regarding the outline and color of ancient worshiping vestment; however, one
trait commonly mentioned (both in ecclesiastic and scientific literature) is that the ancient garment was
white, like the “robes of angels”. The right to wear this kind of vestment was and still is determined by the
canons of Ecumenical Councils, which defined three types of ecclesiastic clothing and the number of clothing
each religious figure should wear according to a pre-determined hierarchy (a deacon three, a priest five
and an archbishop seven pieces). These vestments symbolize the clothing worn by the Savior during his
earthly life and passions. Hence, the meaning of the outline and color of ecclesiastic vestments should be
analyzed in this context.
The study of the ecclesiastic vestments kept in the collection of Georgian State Museum gives rise
to the following possible conclusions:
1. Like the rest of the orthodox world, the outline of Georgian ecclesiastic vestment draws upon
two major outlines: the cross-the symbol of earthly and heavenly life-and the circle-a representation of
perpetuity of existence, continuity, infinity and integrity.
2. The symbolic meaning of vestment rests upon the use of sacred numbers, which is connected
with the notion of “duality”, “trinity” and “seveniity”.
3. Color, which played an important role in the eastern Christian World, has significant symbolic
meaning in Georgian ecclesiastic vestment as well. The palette of seven major colors was already formed
by the sixth century Byzantine color canonic; similarly, the vestment palette in Georgia also draws upon the
structure of these colors.
4. The Georgian ecclesiastic vestment is distinguished by its modest and harmonious color
spectrum. Color, with its symbolic meaning, is an important way of representing the infinity and chastity of
service established by the Savior and St. Fathers and the verity of the true faith.
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MEDIEVAL GEORGIA