ჩვილედი ღმრთისმშობლის სახე სვეტიცხოვლის დასავლეთ ტიმპანის მხატვრობაში და მისი მომგებლის საკითხის შესწავლისათვის

Abstract

The aim of this paper is to study the composition of the Virgin with Child depicted on the western tympanum of Svetitskhoveli Cathedral. Not much has been written about the icon in scientific literature. Researchers associated the image with the famous Portaitissa Icon from the Iveron Monastery on Mount Athos. However, no thorough research exists. The inscription in Mkhedruli script mentions that the entire gate was renovated by Varlam Exarchos (a Georgian by origin, son of David, the Duke of Ksani), and also records the date: October 1, 1813. I believe that, at the time, the appropriate course of action would have been to renew and restore the existing painting rather than to create an entirely new composition. This view is supported by a detailed study and analysis of the iconography, artistic technique, and historical evidence – particularly the identification of the donor as a 17^th-century figure. The southern wall of the gate contains a stone commemorating Catholicos Domentius, indicating the date of his death as 1676. Paleographers and historians have identified him as Doment’ius III, Catholicos-Patriarch of Georgia (1660-1676) and a cousin of Vakhtang V, a representative of the Mukhrani branch of the Bagrationi dynasty. It appears that the painting on the western tympanum of the temple dates to this period and may, in fact, represent a copy or renewal of an earlier work. I attribute the donorship to Ashotan Mukhranbat’oni, the brother of Doment’ius III, who rose to prominence during the reign of George XI and was actively involved in activities on Mount Athos between 1672 and 1688. It is reasonable to assume that during this period, the Athonite type of the Virgin’s iconography appeared in Svetitskhoveli, and its presence in the church known as Sioni is perceived as entirely natural. In 1892, the composition was repainted and restored together with the altar decoration.
In earlier periods, the image of the Virgin as the Theotokos (God-bearer) evolved into that of the Heavenly Queen, the “Supernatural Protector”, becoming a visual symbol associated with victory, intercession and salvation. This is why her icon was depicted at the main entrance of the church.
At the same time, it is important to note that at the beginning of the 16^th  century, a period of renewed activity and restoration also commenced on Mount Athos. Notably, between 1500 and 1504, under the patronage of the atabeg (governor) of Samtskhe, the icon of Portaitissa – also known as the Iviron icon – was adorned with a carved cover. This iconographic type, featuring the Archangels Michael and Gabriel worshipping the Virgin and the Christ Child, became widely disseminated. Scholars who study the relics, manuscripts, and other artifacts of Mount Athos have identified compelling parallels in this context. Athos is called “The garden of the Virgin” (this name has been established since the early 16^th century), and the icons of the Virgin, in miraculous traditions and narratives, are referred to as the “flowers of this garden”. If we recall, according to ,,The Life of Saint Nino“ the king decided to build a temple in the royal garden, and rightly so, the “pillar of life” was erected here.
Thus, it becomes clear that the conceptual connection between the triumphal, solemn composition of the Virgin with Christ and the Archangels serves as an expression of heavenly glorification, welcoming us before we enter the temple and guiding us toward that paradise, where the “pillar of life” sprouted and was established, like a new “tree of life.” There, the robe of the Lord was buried – an object that, according to tradition, the Savior will wear at the Second Coming.