I gained my PhD degree in History of Art from the George Chubinashvili Institute of History of Georgian Art in 2005. Working on my theses I spent a month in Oxford at Keble College as a fellow of Oxford Colleges Hospitality Scheme. Before joining the Russian and East European Studies department of the School of Interdisciplinary Area Studies (SIAS) I had been teaching Medieval Georgian Art and Architecture at the Archaeology department of Bilkent University, Ankara. Since 2010 I have been a research fellow at Chubinashvili National Centre for Georgian Art History and Heritage Preservation and involved in Tbilisi State University project: Georgian Heritage of Ani. For the past three years I worked at the evaluation of restoring Georgian monument Ishkhani (Iṣan) in Turkey. My research interests include the art and architecture of medieval Georgia, especially the Cultural Heritage of Georgia within the Turkish borders and its interconnections with neighbouring Armenia, Byzantium and the Islamic world.
The Georgian Kingdom and Georgian Art – Cultural Encounters in Anatolia in Medieval Period, Symposium Proceedings, 15 May 2014, Ankara, 2021
This book, comprising the proceedings of the 2014 Symposium “The Georgian Kingdom and Georgian Ar... more This book, comprising the proceedings of the 2014 Symposium “The Georgian Kingdom and Georgian Art” of symposium series on “Cultural Encounters in Anatolia during the Middle Ages” organized at Koç University's Vehbi Koç Ankara Studies Research Center, fills an important research gap in the historical principality of Tao-Klarjeti.
Tao-Klarjeti is a term coined in the 19th century by the academic language of the 19th century to define medieval Georgian heritage and movable and immovable objects, relating to the historic Georgian provinces of T'ao, K'larjeti, Shavsheti, Erusheti, K'ola, Oltisi, and Sp'eri. Nowadays the majority of the archaeological sites and architectural remains of Tao-Klarjeti are located in the northeastern regions of the Republic of Turkey, in Erzurum, Artvin, and Ardahan. Most of the movable pieces — sculptures, manuscripts, icons, and other liturgical objects — are preserved in museums and repositories in Georgia.
This volume consists of two sections. The first is dedicated to the publication of the conference papers and essays by the leading and young scholars in the field. The second section covers three different aspects of Tao-Klarjeti Heritage: 1) annexes of thirty-one most important sites with the emphasis on history and art and architecture, 2) sculptures and 3) a catalog of seventy-two manuscripts that were related to Tao-Klarjeti.
Book provides a substantial bibliographical survey, and is richly illustrated with the map, drawings, and photos, in total 535 images.
This work offers invaluable help for all those working on the medieval art and architecture of Georgia and its cultural encounters in Anatolia.
Table of Contents
Transliteration Table Monuments in Historic Tao-Klarjeti, Table Foreword by Filiz Yenisehirlioglu Introduction by Irene Giviashvili
Part 1 Fahriye Bayram, Tao-Klarjeti: A Brief History and Surveys K. Kutgün Eyüpgiller, Tuğba Barlık Vardı, Serda Torus, Two Outstanding Medieval Buildings in North-East Anatolia: Ishkhani and Oshk’i Churches Nino Simonishvili, A Visual Concept of Royal Legitimacy: The Sculpted Program of St. John the Baptist Church of Oshk’i David Khoshtaria, Builders of the Churches of Tao-Klarjeti: Some Preliminary Notes Osman Aytekin, Archaeological Discoveries at Shavsheti Castle from the Bagrat’ionis Rule to the Ottoman Period Selda Uygun Yazıcı, Facade Articulation and Architectural Ornamentations of the Yeni Rabat Monastery Church
Part 2 Irene Giviashvili & Natia Khizanishvili, Medieval Georgian Monuments of Tao-Klarjeti Turgay Yazar, Stone Ornaments in Tao-Klarjeti Architecture Nikoloz Zhghenti, Tao-Klarjeti: Heritage of Manuscripts
ACADEMIA, Scientific peer-reviewed Journal of Apollon Kutateladze Tbilisi State Academy of Art, 2023
Ishkhani Cathedral (located in Historic Tao, modern-day Artvin, Turkey) served as one of the lead... more Ishkhani Cathedral (located in Historic Tao, modern-day Artvin, Turkey) served as one of the leading bishopric centers of Medieval Georgia. Its history is linked to Georgian kings and provides a window into the issue of patronage under their rule. The churches in Ishkhani are extremely rich with inscriptions recording the history of the site, and with ornamental decorations distributed on facades and in the church interiors, although all of these are rather limited with figurative reliefs. This paper aims to understand the meaning of the few figurative reliefs that are preserved in the context of these historical events. A large donor inscription placed on the tympanum stone on the south of the main entrance, for example, mentions King Giorgi I (1014-1027). Analysing the tympanum stone relief depicting a donor in a long, plain dress over trousers holding a small chapel in front of Hodigitria (an image of the Mother of God), this paper argues that the relief depicts King Giorgi I, who is represented without Byzantine garments, as an illustration of his anti-byzantine politics. Another stone relief, on the south facade over the entrance depicts a massive, almost three-dimensional dragon with a twisted body. A lion stands over it, slapping his paw in its face. The dragon-slaying lion can be interpreted as a symbolic representation of St George. St. George played had a significant role as the protector of Georgia and often had political connotations for the Georgian Kings. The lion thus semantically reflects the image of St. George, on one hand, and of a King on the other. In this case, the lion can also be interpreted as King Giorgi I, a pious warrior himself. Thus, this paper concludes, both figural reliefs in Ishkhani depict the Georgian King Giorgi I, on tympanum stone as a donor presented in front of Mother of God and a second time, symbolically, as dragon slayer king-warrior.
Medieval Svaneti Objects, Images, and Bodies in Dialogue with Built and Natural Spaces, 2023
Tall towers, fortified dwellings, and small churches that also served as depositories for numerou... more Tall towers, fortified dwellings, and small churches that also served as depositories for numerous medieval Byzantine, Georgian, and local-made crosses and icons have shaped the architectural landscape of the villages of Svaneti, the most remote and isolated region of Georgia located on the southwestern slopes of the Caucasus Mountains. Being connected with both western Georgian (Lazica/Colchis, EgrisiAbkhazia) and eastern Georgian (Iberia) states in different periods of its history, Svaneti became an integral part of the united Georgian Kingdom right after its establishment in 1008. The paper argues that the changes in political alliances and connections with the lowlands can also be traced in the developments of Svan church architecture, which maintained its cultural exchange with the rest of Georgia. Correspondingly, the research is carried out in the context of different architectural styles developed in other regions of Georgia, even though it is particularly focused on the architecture of Upper Svaneti. The article offers a general introduction to the building traditions of Svaneti, a description of each architectural type, both secular and church, and attempts to give an insight into their shared architectural forms and dual defensive and sacred functions, determining the dates of construction.
Convivium Supplementum, Georgia as a Bridge between Cultures Dynamics of Artistic Exchanges, 2021
Liturgy and Architecture: Constantinopolitan Rite and Changes in the Architectural Planning of Ge... more Liturgy and Architecture: Constantinopolitan Rite and Changes in the Architectural Planning of Georgian Churches In the first half of the eleventh century, the Georgian Church standardized liturgy and church architecture, a process that had begun at the end of the preceding century. Literary evidence indicates that this shift, from the Hagiopolite tradition to the Constantinopolitan Liturgical Rite, was gradual and related to the presence of Georgians on Mount Athos, in particular to the Great Synaxarion edited by George Hagiorites between 1044 and 1056. Architectural evidence indicates a similar, gradual, process of transformation of sanctuaries in keeping with the new regulations in monastic, parish, and cathedral churches of Georgia. This paper argues that the process was taking place among the monasteries of T'ao-K'larjeti and speculate that the Studite Rite, which served as a basis for the Constantinopolitan Rite, was translated and practiced by Georgian monks in the Oshk'i, Otkhta Ek'lesia, and P'arkhali monasteries before the foundation of Iviron Monastery on Mount Athos.
ANADOLU – KAFKASYA İLİŞKİLERİ ARAŞTIRMALARI DİZİSİ: 1 TARİH BOYUNCA ANADOLU - GÜRCİSTAN İLİŞKİLERİ Sempozyumu, 2020
Abstract: Oshki monastery and its church of St John the Baptist served as a turning point in the ... more Abstract: Oshki monastery and its church of St John the Baptist served as a turning point in the history of medieval Georgian art and architecture. Oshki church was commissioned in the second half of the 10thc by King David III Bagrationi and his brother Bagrat. Since the early 9th century Bagrationi royal family established themselves in the south-western part of medieval Georgia after the Arab invasion of Tbilisi. Enclosed by the Islamic world on the one hand, and sharing borders with the Byzantine Empire on the other, the Bagrationi Kings played a crucial role in changing the political and cultural landscape of the country. King David III Curopalates (958 -1001) altered Georgian history with his diplomatic, military, political, economic, educational and cultural achievements. David was widely regarded as the mastermind behind the unification of Georgia. Monasteries and churches of Tao were built or renovated during David’s reign: Oshki (Öşk, Çamlıyamaç), Khakhuli (Haho, Bağbaşı Kilisesi), Parkhali (Barhal), Otkhta Eklesia (Dört Kilise, Tekkale) and Ishkhani (İşhan). Architecturally Oshki (963-973) represents a cross-domed structure. It is the largest church of its time in the whole Byzantine and eastern Christian world. Oshki survives a great number of inscriptions in old Georgian script of Asomtavruli describing construction process, it gives the report of expenses spent during a year, also indicating the exact day of commemoration of the church, names of builders, donors, and their Royal patrons. Oshki is the richest with the number of high-quality sculptures, presenting the portraits of donors and saints, also images from the Christian iconography. Oshki church served as a model for the church architecture in Georgia and marked its influence even on the state buildings of the 20th c.
BULLETIN OF THE GEORGIAN NATIONAL ACADEMY OF SCIENCES, 2020
The monasteries of Otkhta Eklesia and Parkhali are located in historic Tao on the very bordering ... more The monasteries of Otkhta Eklesia and Parkhali are located in historic Tao on the very bordering points of the "Kingdom of Georgians". The aim of this publication is to present the construction stages of these two monuments based on comparative analysis and historical background. Long term observations show that Otkhta Eklesia had at least three stages of construction and Parkhali had two. The walls of Otkhta Eklesia built in the Opus-Mixtum technique, remain from the original church. It could be remnant of the "Triple Church Basilica", similar to one founded by Grigol of Khandzta in Nedzvi, in the 9 th c. or even from an earlier establishment. At the second stage, the central nave was rebuilt with the new columns and the upper parts of the walls were added. This reconstruction is related to King David III and took place before 965. Soon, another grand reconstruction was carried out seeing the space of the apse enlarged due to replacement of the first pair of columns to the east. The height of the central nave and the apse was increased. We can assume that the changes to the plan came as a result of the new typicon and the liturgical order that was introduced to the Georgian Church from Mount Athos. Third stage of reconstruction of Otkhta seems to have happened simultaneously with the construction of Parkhali. According to the "Parkhali Gospel" church was constructed by the year 973. Later the roof was redone, that must have happened simultaneously with the embellishment of the facades by Bishop Ioane (980-1001). The western narthexes to both churches were added later on, but exact date is not clear.
David IV Bagrationi (1089–1125) transferred Khakhuli Icon from Khakhuli monastery to his newly es... more David IV Bagrationi (1089–1125) transferred Khakhuli Icon from Khakhuli monastery to his newly established monastery Gelati. What was the reason of transferring exactly the Khakhuli Icon is a question. Khakuli icon is a triptych of the Mother of God Icon and is one of the largest enamel works of the Byzantine world. The gilded frames and wings made of floral and geometric ornamentation includes a large number of enamel icons, reliquaries of Georgian and Byzantine work. Originally Icon was created in the 10th c and was in the Church of Khakuli Monastery, built by the King David III Curopalates (+1001) in the Southern region of Tao, the central place of Georgian Kingdom at that time. David IV, inherited nation ravaged by Seljuk Turks. The King only had power over the western and small parts of central Georgia. The capital city Tbilisi was under Arab control, and Kutaisi, second largest city was where the King ruled. The kingdom was going under turmoil inside and outside of the borders. However, Davit IV managed to change course of his country. Before he started construction of Gelati Monastery, Davit already put the country through numerous successful reforms. The state, the army, and the church were fully reformed and the Georgian Kingdom was economically and politically uprising. With the effective military expeditions, Davit managed to unify Georgian lands including the capital city of Tbilisi. Furthermore, he liberated Armenia and Albania from the Muslim control. Davit IV broke away from Byzantine shadow by declining the royal titles in favor of the Georgian ones. Georgia was transformed into an influential kingdom. Surrounded by Islamic nations, Davit promoted himself as a Christian leader in the region. To legitimize his ideals Davit founded a new monastery, regarded as “the second Jerusalem and another Athens” and was “much superior to all previously constructed”. Gelati is built outside of Kutaisi on an evaluated hill. Church is dedicated to St Virgin Merry and “filled it with holy things, relics of the saints, holy images and holy vessels that were totally glorious.” But the most valuable gift to the church was the Khakhuli Icon. According to the recorded will, Davit IV gifted the church a piece of True cross. King Demetre I (r. 1125-54) who owned this relic was responsible for the embellishment of the Khahuli Icon with the gilded silver wings that was indicated in the inscription on the lower bands of the icon.
Arte medievale, Periodico annuale IV serie - anno IV, 2014 , 2014
It was the second time that the international conference dedicated to the multi- disciplinary stu... more It was the second time that the international conference dedicated to the multi- disciplinary studies of Tao-Klarjeti took place. Tao-Klarjeti, the term coined by scholars of the 20th century, refers to the heritage of the medieval Georgian kingdoms of Klarjeti and Tao covering a vast region in North-Eastern Turkey. The cultural heritage of Tao-Klarjeti has a wide understanding; on the one hand are the architectural structures mostly dating back to the 9-10th cc. when the Georgian kingdom flourished in its south-western provinces of Tao, Klarjeti, Shavsheti, Erusheti, Kola etc.; on the other hand the term comprises all cultural issues and objects related to this region, among which a rich collection of manuscripts, icons and liturgical objects are kept in different museums of Georgia.
სტატია დაიბეჭდა კრებულში "სპექტრი", თბილისი, 2008, გვ 31-36 Paper was published in Speqtri 2008, Tbilisi, 2008:31-36, 2008
The Gorge of Machahela was divided in between the Georgia and Turkey. Being a border region Turki... more The Gorge of Machahela was divided in between the Georgia and Turkey. Being a border region Turkish Machahela was closed for scholars or travelers. Legends and stories of the region and its heritage were retold by the Georgian historian Z. Chichinadze in late 19th c.
There were several medieval bridges in Khertvisi, Mindieti, Vatsieti and in Evfrat two places of old churches are also known. According the legends, the main church and most powerful ecclesiastical centre of the region was in Evfrati. The Church was almost destroyed in 19th c, but the new mosque building on the place of medieval Georgian Church was erected in 1958. The two curved stones typical to mid 10th c. of Tao-Klarjeti architectural school are reused at the entrance wall of the modern building; basement of the church and of the bell tower are still visible. Some other stones indicate that the building had the murals and were covered with the stone roof tiles.
The number of well preserved dwellings and the well build spring, old terraces and the wine tree also indicates that the area was once an important settlement may be a monastic centre.
The name Evfrati is mentioned in medieval Georgian texts. The manuscript regarding the Machahela region due to the lack of information was regarded as a property of neighboring Tbeti Cathedral. The further research of the site and the manuscript may give more evidence to argue about the medieval ecclesiastical establishment of Evfrati and its antiquities.
The Georgian Kingdom and Georgian Art – Cultural Encounters in Anatolia in Medieval Period, Symposium Proceedings, 15 May 2014, Ankara, 2021
This book, comprising the proceedings of the 2014 Symposium “The Georgian Kingdom and Georgian Ar... more This book, comprising the proceedings of the 2014 Symposium “The Georgian Kingdom and Georgian Art” of symposium series on “Cultural Encounters in Anatolia during the Middle Ages” organized at Koç University's Vehbi Koç Ankara Studies Research Center, fills an important research gap in the historical principality of Tao-Klarjeti.
Tao-Klarjeti is a term coined in the 19th century by the academic language of the 19th century to define medieval Georgian heritage and movable and immovable objects, relating to the historic Georgian provinces of T'ao, K'larjeti, Shavsheti, Erusheti, K'ola, Oltisi, and Sp'eri. Nowadays the majority of the archaeological sites and architectural remains of Tao-Klarjeti are located in the northeastern regions of the Republic of Turkey, in Erzurum, Artvin, and Ardahan. Most of the movable pieces — sculptures, manuscripts, icons, and other liturgical objects — are preserved in museums and repositories in Georgia.
This volume consists of two sections. The first is dedicated to the publication of the conference papers and essays by the leading and young scholars in the field. The second section covers three different aspects of Tao-Klarjeti Heritage: 1) annexes of thirty-one most important sites with the emphasis on history and art and architecture, 2) sculptures and 3) a catalog of seventy-two manuscripts that were related to Tao-Klarjeti.
Book provides a substantial bibliographical survey, and is richly illustrated with the map, drawings, and photos, in total 535 images.
This work offers invaluable help for all those working on the medieval art and architecture of Georgia and its cultural encounters in Anatolia.
Table of Contents
Transliteration Table Monuments in Historic Tao-Klarjeti, Table Foreword by Filiz Yenisehirlioglu Introduction by Irene Giviashvili
Part 1 Fahriye Bayram, Tao-Klarjeti: A Brief History and Surveys K. Kutgün Eyüpgiller, Tuğba Barlık Vardı, Serda Torus, Two Outstanding Medieval Buildings in North-East Anatolia: Ishkhani and Oshk’i Churches Nino Simonishvili, A Visual Concept of Royal Legitimacy: The Sculpted Program of St. John the Baptist Church of Oshk’i David Khoshtaria, Builders of the Churches of Tao-Klarjeti: Some Preliminary Notes Osman Aytekin, Archaeological Discoveries at Shavsheti Castle from the Bagrat’ionis Rule to the Ottoman Period Selda Uygun Yazıcı, Facade Articulation and Architectural Ornamentations of the Yeni Rabat Monastery Church
Part 2 Irene Giviashvili & Natia Khizanishvili, Medieval Georgian Monuments of Tao-Klarjeti Turgay Yazar, Stone Ornaments in Tao-Klarjeti Architecture Nikoloz Zhghenti, Tao-Klarjeti: Heritage of Manuscripts
ACADEMIA, Scientific peer-reviewed Journal of Apollon Kutateladze Tbilisi State Academy of Art, 2023
Ishkhani Cathedral (located in Historic Tao, modern-day Artvin, Turkey) served as one of the lead... more Ishkhani Cathedral (located in Historic Tao, modern-day Artvin, Turkey) served as one of the leading bishopric centers of Medieval Georgia. Its history is linked to Georgian kings and provides a window into the issue of patronage under their rule. The churches in Ishkhani are extremely rich with inscriptions recording the history of the site, and with ornamental decorations distributed on facades and in the church interiors, although all of these are rather limited with figurative reliefs. This paper aims to understand the meaning of the few figurative reliefs that are preserved in the context of these historical events. A large donor inscription placed on the tympanum stone on the south of the main entrance, for example, mentions King Giorgi I (1014-1027). Analysing the tympanum stone relief depicting a donor in a long, plain dress over trousers holding a small chapel in front of Hodigitria (an image of the Mother of God), this paper argues that the relief depicts King Giorgi I, who is represented without Byzantine garments, as an illustration of his anti-byzantine politics. Another stone relief, on the south facade over the entrance depicts a massive, almost three-dimensional dragon with a twisted body. A lion stands over it, slapping his paw in its face. The dragon-slaying lion can be interpreted as a symbolic representation of St George. St. George played had a significant role as the protector of Georgia and often had political connotations for the Georgian Kings. The lion thus semantically reflects the image of St. George, on one hand, and of a King on the other. In this case, the lion can also be interpreted as King Giorgi I, a pious warrior himself. Thus, this paper concludes, both figural reliefs in Ishkhani depict the Georgian King Giorgi I, on tympanum stone as a donor presented in front of Mother of God and a second time, symbolically, as dragon slayer king-warrior.
Medieval Svaneti Objects, Images, and Bodies in Dialogue with Built and Natural Spaces, 2023
Tall towers, fortified dwellings, and small churches that also served as depositories for numerou... more Tall towers, fortified dwellings, and small churches that also served as depositories for numerous medieval Byzantine, Georgian, and local-made crosses and icons have shaped the architectural landscape of the villages of Svaneti, the most remote and isolated region of Georgia located on the southwestern slopes of the Caucasus Mountains. Being connected with both western Georgian (Lazica/Colchis, EgrisiAbkhazia) and eastern Georgian (Iberia) states in different periods of its history, Svaneti became an integral part of the united Georgian Kingdom right after its establishment in 1008. The paper argues that the changes in political alliances and connections with the lowlands can also be traced in the developments of Svan church architecture, which maintained its cultural exchange with the rest of Georgia. Correspondingly, the research is carried out in the context of different architectural styles developed in other regions of Georgia, even though it is particularly focused on the architecture of Upper Svaneti. The article offers a general introduction to the building traditions of Svaneti, a description of each architectural type, both secular and church, and attempts to give an insight into their shared architectural forms and dual defensive and sacred functions, determining the dates of construction.
Convivium Supplementum, Georgia as a Bridge between Cultures Dynamics of Artistic Exchanges, 2021
Liturgy and Architecture: Constantinopolitan Rite and Changes in the Architectural Planning of Ge... more Liturgy and Architecture: Constantinopolitan Rite and Changes in the Architectural Planning of Georgian Churches In the first half of the eleventh century, the Georgian Church standardized liturgy and church architecture, a process that had begun at the end of the preceding century. Literary evidence indicates that this shift, from the Hagiopolite tradition to the Constantinopolitan Liturgical Rite, was gradual and related to the presence of Georgians on Mount Athos, in particular to the Great Synaxarion edited by George Hagiorites between 1044 and 1056. Architectural evidence indicates a similar, gradual, process of transformation of sanctuaries in keeping with the new regulations in monastic, parish, and cathedral churches of Georgia. This paper argues that the process was taking place among the monasteries of T'ao-K'larjeti and speculate that the Studite Rite, which served as a basis for the Constantinopolitan Rite, was translated and practiced by Georgian monks in the Oshk'i, Otkhta Ek'lesia, and P'arkhali monasteries before the foundation of Iviron Monastery on Mount Athos.
ANADOLU – KAFKASYA İLİŞKİLERİ ARAŞTIRMALARI DİZİSİ: 1 TARİH BOYUNCA ANADOLU - GÜRCİSTAN İLİŞKİLERİ Sempozyumu, 2020
Abstract: Oshki monastery and its church of St John the Baptist served as a turning point in the ... more Abstract: Oshki monastery and its church of St John the Baptist served as a turning point in the history of medieval Georgian art and architecture. Oshki church was commissioned in the second half of the 10thc by King David III Bagrationi and his brother Bagrat. Since the early 9th century Bagrationi royal family established themselves in the south-western part of medieval Georgia after the Arab invasion of Tbilisi. Enclosed by the Islamic world on the one hand, and sharing borders with the Byzantine Empire on the other, the Bagrationi Kings played a crucial role in changing the political and cultural landscape of the country. King David III Curopalates (958 -1001) altered Georgian history with his diplomatic, military, political, economic, educational and cultural achievements. David was widely regarded as the mastermind behind the unification of Georgia. Monasteries and churches of Tao were built or renovated during David’s reign: Oshki (Öşk, Çamlıyamaç), Khakhuli (Haho, Bağbaşı Kilisesi), Parkhali (Barhal), Otkhta Eklesia (Dört Kilise, Tekkale) and Ishkhani (İşhan). Architecturally Oshki (963-973) represents a cross-domed structure. It is the largest church of its time in the whole Byzantine and eastern Christian world. Oshki survives a great number of inscriptions in old Georgian script of Asomtavruli describing construction process, it gives the report of expenses spent during a year, also indicating the exact day of commemoration of the church, names of builders, donors, and their Royal patrons. Oshki is the richest with the number of high-quality sculptures, presenting the portraits of donors and saints, also images from the Christian iconography. Oshki church served as a model for the church architecture in Georgia and marked its influence even on the state buildings of the 20th c.
BULLETIN OF THE GEORGIAN NATIONAL ACADEMY OF SCIENCES, 2020
The monasteries of Otkhta Eklesia and Parkhali are located in historic Tao on the very bordering ... more The monasteries of Otkhta Eklesia and Parkhali are located in historic Tao on the very bordering points of the "Kingdom of Georgians". The aim of this publication is to present the construction stages of these two monuments based on comparative analysis and historical background. Long term observations show that Otkhta Eklesia had at least three stages of construction and Parkhali had two. The walls of Otkhta Eklesia built in the Opus-Mixtum technique, remain from the original church. It could be remnant of the "Triple Church Basilica", similar to one founded by Grigol of Khandzta in Nedzvi, in the 9 th c. or even from an earlier establishment. At the second stage, the central nave was rebuilt with the new columns and the upper parts of the walls were added. This reconstruction is related to King David III and took place before 965. Soon, another grand reconstruction was carried out seeing the space of the apse enlarged due to replacement of the first pair of columns to the east. The height of the central nave and the apse was increased. We can assume that the changes to the plan came as a result of the new typicon and the liturgical order that was introduced to the Georgian Church from Mount Athos. Third stage of reconstruction of Otkhta seems to have happened simultaneously with the construction of Parkhali. According to the "Parkhali Gospel" church was constructed by the year 973. Later the roof was redone, that must have happened simultaneously with the embellishment of the facades by Bishop Ioane (980-1001). The western narthexes to both churches were added later on, but exact date is not clear.
David IV Bagrationi (1089–1125) transferred Khakhuli Icon from Khakhuli monastery to his newly es... more David IV Bagrationi (1089–1125) transferred Khakhuli Icon from Khakhuli monastery to his newly established monastery Gelati. What was the reason of transferring exactly the Khakhuli Icon is a question. Khakuli icon is a triptych of the Mother of God Icon and is one of the largest enamel works of the Byzantine world. The gilded frames and wings made of floral and geometric ornamentation includes a large number of enamel icons, reliquaries of Georgian and Byzantine work. Originally Icon was created in the 10th c and was in the Church of Khakuli Monastery, built by the King David III Curopalates (+1001) in the Southern region of Tao, the central place of Georgian Kingdom at that time. David IV, inherited nation ravaged by Seljuk Turks. The King only had power over the western and small parts of central Georgia. The capital city Tbilisi was under Arab control, and Kutaisi, second largest city was where the King ruled. The kingdom was going under turmoil inside and outside of the borders. However, Davit IV managed to change course of his country. Before he started construction of Gelati Monastery, Davit already put the country through numerous successful reforms. The state, the army, and the church were fully reformed and the Georgian Kingdom was economically and politically uprising. With the effective military expeditions, Davit managed to unify Georgian lands including the capital city of Tbilisi. Furthermore, he liberated Armenia and Albania from the Muslim control. Davit IV broke away from Byzantine shadow by declining the royal titles in favor of the Georgian ones. Georgia was transformed into an influential kingdom. Surrounded by Islamic nations, Davit promoted himself as a Christian leader in the region. To legitimize his ideals Davit founded a new monastery, regarded as “the second Jerusalem and another Athens” and was “much superior to all previously constructed”. Gelati is built outside of Kutaisi on an evaluated hill. Church is dedicated to St Virgin Merry and “filled it with holy things, relics of the saints, holy images and holy vessels that were totally glorious.” But the most valuable gift to the church was the Khakhuli Icon. According to the recorded will, Davit IV gifted the church a piece of True cross. King Demetre I (r. 1125-54) who owned this relic was responsible for the embellishment of the Khahuli Icon with the gilded silver wings that was indicated in the inscription on the lower bands of the icon.
Arte medievale, Periodico annuale IV serie - anno IV, 2014 , 2014
It was the second time that the international conference dedicated to the multi- disciplinary stu... more It was the second time that the international conference dedicated to the multi- disciplinary studies of Tao-Klarjeti took place. Tao-Klarjeti, the term coined by scholars of the 20th century, refers to the heritage of the medieval Georgian kingdoms of Klarjeti and Tao covering a vast region in North-Eastern Turkey. The cultural heritage of Tao-Klarjeti has a wide understanding; on the one hand are the architectural structures mostly dating back to the 9-10th cc. when the Georgian kingdom flourished in its south-western provinces of Tao, Klarjeti, Shavsheti, Erusheti, Kola etc.; on the other hand the term comprises all cultural issues and objects related to this region, among which a rich collection of manuscripts, icons and liturgical objects are kept in different museums of Georgia.
სტატია დაიბეჭდა კრებულში "სპექტრი", თბილისი, 2008, გვ 31-36 Paper was published in Speqtri 2008, Tbilisi, 2008:31-36, 2008
The Gorge of Machahela was divided in between the Georgia and Turkey. Being a border region Turki... more The Gorge of Machahela was divided in between the Georgia and Turkey. Being a border region Turkish Machahela was closed for scholars or travelers. Legends and stories of the region and its heritage were retold by the Georgian historian Z. Chichinadze in late 19th c.
There were several medieval bridges in Khertvisi, Mindieti, Vatsieti and in Evfrat two places of old churches are also known. According the legends, the main church and most powerful ecclesiastical centre of the region was in Evfrati. The Church was almost destroyed in 19th c, but the new mosque building on the place of medieval Georgian Church was erected in 1958. The two curved stones typical to mid 10th c. of Tao-Klarjeti architectural school are reused at the entrance wall of the modern building; basement of the church and of the bell tower are still visible. Some other stones indicate that the building had the murals and were covered with the stone roof tiles.
The number of well preserved dwellings and the well build spring, old terraces and the wine tree also indicates that the area was once an important settlement may be a monastic centre.
The name Evfrati is mentioned in medieval Georgian texts. The manuscript regarding the Machahela region due to the lack of information was regarded as a property of neighboring Tbeti Cathedral. The further research of the site and the manuscript may give more evidence to argue about the medieval ecclesiastical establishment of Evfrati and its antiquities.
Georgian Art in the Context of European and Asian Cultures, Proceedings, Vakhtang Beridze 1st International Symposium of Georgian Culture, June 21-29 2008, Georgia, , 2009
Cafe Fantasy, also known with popular name Octopus is a functional sculpture created by the leadi... more Cafe Fantasy, also known with popular name Octopus is a functional sculpture created by the leading Georgian architect Giorgi Chakhava and the designer Zurab Kapanadze back in 1975. The Octopus represents a construction resting upon eight ‘Octopus’ arms with eight arched openings between them. It is an iron structure, pulled together and welded on the spot according to a special plan. In architecture it is known as double shell or gridshell structure. The surface is covered with colorful mosaics. Construction methods, decoration are similar to those applied by the designers of Octopus were employed by renowned architects and artists throughout the world. The Batumi Octopus can be attributed to Hippie Art rather than Soviet Art as this polychromic, cheerful, individual and unaggressive creation really stands out from the Soviet art of that period. In 2000 the café ceased functioning and since then it has been abandoned. Consequently its surface was damaged. In addition, the building has not yet been placed on the list of immovable cultural heritage monuments. Future of Octopus is vague.
Presented are minor memoirs on Prof.Hilary Richardson, art historian, a scholar of the medieval I... more Presented are minor memoirs on Prof.Hilary Richardson, art historian, a scholar of the medieval Irish art; they are supplemented with the Georgian translation of the paper on the IV International Symposium on Georgian Art, held in Tbilisi and published by H. Richardson in 1983.
REES Georgian Studies Programme Seminar Series at St Anthony’s College, University of Oxford.
The... more REES Georgian Studies Programme Seminar Series at St Anthony’s College, University of Oxford. The Programme is supported by the Shota Rustaveli National Science Foundation.
7 th Seminar on Armenian and Eastern Christian Art Organised by: Aldo Ferrari Stefano Riccioni Marco Ruffilli Beatrice Spampinato
Ishkhani Cathedral: Stages of Construction
Abstract
The medieval church complex of Ishkahi, locat... more Ishkhani Cathedral: Stages of Construction Abstract The medieval church complex of Ishkahi, located among the remote mountains of Çoruh valley in the village of Ishan (modern north-eastern Turkey), strikes visitors with its impressive qualities of art and architecture. According to Vita of Grigol Khantsteli, the Georgian Hagiographical text of the early 10th c., the Construction of the first church is attested to Catholicos Nerses (mid 7th c.), a native of village Ishkan. In Armenian history, he is known as Nerses Shinogh, the builder of the Cathedral of Zvarnotz, who had a confessional relationship with the Byzantium. According to the same source, the establishment of the Georgian Diocese of Ishkani and next stage of church construction is related with the Grigol’s disciple, Bishop Saba (30-40-ies of the 9th c). The church underwent several reconstructions and redecorations initiated by Bishop Anton in the 11th century, as it is recorded in several inscriptions. The abandoned and half-ruined church was partially used as a mosque later in the 20th c. In Recent years Ishkani was rehabilitated. In the context of different layers of construction, the paper will focus on several related aspects, namely, scholarship, history, archaeological findings, liturgical objects, restoration, politics, and cultural heritage management, as well as issues of people's religious and emotional affiliations to the place.
Tuesdays, 5:00-6:30 PM, The Allan and Overy room, Pembroke College, Oxford
Conveners: Dr Hratch... more Tuesdays, 5:00-6:30 PM, The Allan and Overy room, Pembroke College, Oxford
Conveners: Dr Hratch Tchilingirian (Oriental Institute) and Prof Theo Maarten van Lint (Oriental Institute)
Eastern Christianity: Historical, Theological, & Cultural Heritage -- While small in numbers relative to global Christianity, multi-ethnic Eastern Christian communities are amongst the most ancient natives in the Middle East and the wider West Asia region. Four of the five most important hierarchical centres in Christianity are in this region, whose roots go back to two millennia. These lecture seminars are part of the series on Eastern Christianity held in the last four years, which highlight the rich historical, theological, literary and cultural heritage of Eastern family of churches.
This popular article (in English and in Georgian) covers Ankara's brief history and highlights it... more This popular article (in English and in Georgian) covers Ankara's brief history and highlights its most prominent architecture and landmarks. It tells on lifestyle and simply encourages you to visit Ankara when traveling in Turkey.
თურქეთის დედაქალაქ ანკარაში არაერთი საინტერესო მუზეუმია, მათ შორისაა საქველმოქმედო ფონდების ხელოვ... more თურქეთის დედაქალაქ ანკარაში არაერთი საინტერესო მუზეუმია, მათ შორისაა საქველმოქმედო ფონდების ხელოვნების ნიმუშთა მუზეუმი. მუზეუმში დაცულია დივრიღის მეჩეთის ფრაგმენტები, ხეზე ნაჩუქურთმევი 5 დისკო, რომლის შემქნელიც არის Aḥmad ibn Ibrāhīm al-Tiflīsī, ოსტატი თბილისიდან.
Hopefully, the active process will not begin until the Turkish and Georgian teams review the proj... more Hopefully, the active process will not begin until the Turkish and Georgian teams review the projects together. It must be said that there is need of extra geological survey to define the level of stability of construction (walls, the dome); besides, archeological excavations and analyses of mural paintings for further conservation must be done. Only after these works, it can be decided what kind of rehabilitation is appropriate for Ishkhani or for Oshki: consolidation, conservation or restoration.
"it is extremely interesting and valuable to identify the previous layers of the church. From the... more "it is extremely interesting and valuable to identify the previous layers of the church. From the book by Giorgi Merchule about the Life of Holy Father Grigol Khandzteli, we know that the Church in Ishkhani went through several reconstructions. The first one was in the 7th c, second - in 9th c. What we see here is mostly the 10th - 11th cc., as the inscriptions indicate.
Tranches dug during recent weeks, show new valuable information. It needs a precise documentation and conservation along with its further archeological survey. These details, mostly visible on the western facade, as well as in many different places of the building, have to be preserved, retaining their authentic face."
“Restoration” of Ishkhani - 11th century Georgian Cathedral in northeastern Turkey turned into a ... more “Restoration” of Ishkhani - 11th century Georgian Cathedral in northeastern Turkey turned into a shocking event.The verbal agreement between Turkey and Georgia was achieved based on the cooperation of the group of experts on rehabilitation of Ishkhani and Oshki. The document was to be signed. However...
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Tao-Klarjeti is a term coined in the 19th century by the academic language of the 19th century to define medieval Georgian heritage and movable and immovable objects, relating to the historic Georgian provinces of T'ao, K'larjeti, Shavsheti, Erusheti, K'ola, Oltisi, and Sp'eri. Nowadays the majority of the archaeological sites and architectural remains of Tao-Klarjeti are located in the northeastern regions of the Republic of Turkey, in Erzurum, Artvin, and Ardahan. Most of the movable pieces — sculptures, manuscripts, icons, and other liturgical objects — are preserved in museums and repositories in Georgia.
This volume consists of two sections. The first is dedicated to the publication of the conference papers and essays by the leading and young scholars in the field. The second section covers three different aspects of Tao-Klarjeti Heritage: 1) annexes of thirty-one most important sites with the emphasis on history and art and architecture, 2) sculptures and 3) a catalog of seventy-two manuscripts that were related to Tao-Klarjeti.
Book provides a substantial bibliographical survey, and is richly illustrated with the map, drawings, and photos, in total 535 images.
This work offers invaluable help for all those working on the medieval art and architecture of Georgia and its cultural encounters in Anatolia.
Table of Contents
Transliteration Table
Monuments in Historic Tao-Klarjeti, Table
Foreword by Filiz Yenisehirlioglu
Introduction by Irene Giviashvili
Part 1
Fahriye Bayram, Tao-Klarjeti: A Brief History and Surveys
K. Kutgün Eyüpgiller, Tuğba Barlık Vardı, Serda Torus, Two Outstanding Medieval Buildings in North-East Anatolia: Ishkhani and Oshk’i Churches
Nino Simonishvili, A Visual Concept of Royal Legitimacy: The Sculpted Program of St. John the Baptist Church of Oshk’i
David Khoshtaria, Builders of the Churches of Tao-Klarjeti: Some Preliminary Notes
Osman Aytekin, Archaeological Discoveries at Shavsheti Castle from the Bagrat’ionis Rule to the Ottoman Period
Selda Uygun Yazıcı, Facade Articulation and Architectural Ornamentations of the Yeni Rabat Monastery Church
Part 2
Irene Giviashvili & Natia Khizanishvili, Medieval Georgian Monuments of Tao-Klarjeti
Turgay Yazar, Stone Ornaments in Tao-Klarjeti Architecture
Nikoloz Zhghenti, Tao-Klarjeti: Heritage of Manuscripts
Index
DISTRIBUTED FOR Koc University Press by University of Chicago University Press
https://press.uchicago.edu/ucp/books/publisher/pu3432596_3432597.html
What was the reason of transferring exactly the Khakhuli Icon is a question.
Khakuli icon is a triptych of the Mother of God Icon and is one of the largest enamel works of the Byzantine world. The gilded frames and wings made of floral and geometric ornamentation includes a large number of enamel icons, reliquaries of Georgian and Byzantine work. Originally Icon was created in the 10th c and was in the Church of Khakuli Monastery, built by the King David III Curopalates (+1001) in the Southern region of Tao, the central place of Georgian Kingdom at that time.
David IV, inherited nation ravaged by Seljuk Turks. The King only had power over the western and small parts of central Georgia. The capital city Tbilisi was under Arab control, and Kutaisi, second largest city was where the King ruled. The kingdom was going under turmoil inside and outside of the borders. However, Davit IV managed to change course of his country. Before he started construction of Gelati Monastery, Davit already put the country through numerous successful reforms. The state, the army, and the church were fully reformed and the Georgian Kingdom was economically and politically uprising. With the effective military expeditions, Davit managed to unify Georgian lands including the capital city of Tbilisi. Furthermore, he liberated Armenia and Albania from the Muslim control. Davit IV broke away from Byzantine shadow by declining the royal titles in favor of the Georgian ones. Georgia was transformed into an influential kingdom. Surrounded by Islamic nations, Davit promoted himself as a Christian leader in the region. To legitimize his ideals Davit founded a new monastery, regarded as “the second Jerusalem and another Athens” and was “much superior to all previously constructed”.
Gelati is built outside of Kutaisi on an evaluated hill. Church is dedicated to St Virgin Merry and “filled it with holy things, relics of the saints, holy images and holy vessels that were totally glorious.” But the most valuable gift to the church was the Khakhuli Icon.
According to the recorded will, Davit IV gifted the church a piece of True cross. King Demetre I (r. 1125-54) who owned this relic was responsible for the embellishment of the Khahuli Icon with the gilded silver wings that was indicated in the inscription on the lower bands of the icon.
There were several medieval bridges in Khertvisi, Mindieti, Vatsieti and in Evfrat two places of old churches are also known. According the legends, the main church and most powerful ecclesiastical centre of the region was in Evfrati. The Church was almost destroyed in 19th c, but the new mosque building on the place of medieval Georgian Church was erected in 1958. The two curved stones typical to mid 10th c. of Tao-Klarjeti architectural school are reused at the entrance wall of the modern building; basement of the church and of the bell tower are still visible. Some other stones indicate that the building had the murals and were covered with the stone roof tiles.
The number of well preserved dwellings and the well build spring, old terraces and the wine tree also indicates that the area was once an important settlement may be a monastic centre.
The name Evfrati is mentioned in medieval Georgian texts. The manuscript regarding the Machahela region due to the lack of information was regarded as a property of neighboring Tbeti Cathedral. The further research of the site and the manuscript may give more evidence to argue about the medieval ecclesiastical establishment of Evfrati and its antiquities.
Tao-Klarjeti is a term coined in the 19th century by the academic language of the 19th century to define medieval Georgian heritage and movable and immovable objects, relating to the historic Georgian provinces of T'ao, K'larjeti, Shavsheti, Erusheti, K'ola, Oltisi, and Sp'eri. Nowadays the majority of the archaeological sites and architectural remains of Tao-Klarjeti are located in the northeastern regions of the Republic of Turkey, in Erzurum, Artvin, and Ardahan. Most of the movable pieces — sculptures, manuscripts, icons, and other liturgical objects — are preserved in museums and repositories in Georgia.
This volume consists of two sections. The first is dedicated to the publication of the conference papers and essays by the leading and young scholars in the field. The second section covers three different aspects of Tao-Klarjeti Heritage: 1) annexes of thirty-one most important sites with the emphasis on history and art and architecture, 2) sculptures and 3) a catalog of seventy-two manuscripts that were related to Tao-Klarjeti.
Book provides a substantial bibliographical survey, and is richly illustrated with the map, drawings, and photos, in total 535 images.
This work offers invaluable help for all those working on the medieval art and architecture of Georgia and its cultural encounters in Anatolia.
Table of Contents
Transliteration Table
Monuments in Historic Tao-Klarjeti, Table
Foreword by Filiz Yenisehirlioglu
Introduction by Irene Giviashvili
Part 1
Fahriye Bayram, Tao-Klarjeti: A Brief History and Surveys
K. Kutgün Eyüpgiller, Tuğba Barlık Vardı, Serda Torus, Two Outstanding Medieval Buildings in North-East Anatolia: Ishkhani and Oshk’i Churches
Nino Simonishvili, A Visual Concept of Royal Legitimacy: The Sculpted Program of St. John the Baptist Church of Oshk’i
David Khoshtaria, Builders of the Churches of Tao-Klarjeti: Some Preliminary Notes
Osman Aytekin, Archaeological Discoveries at Shavsheti Castle from the Bagrat’ionis Rule to the Ottoman Period
Selda Uygun Yazıcı, Facade Articulation and Architectural Ornamentations of the Yeni Rabat Monastery Church
Part 2
Irene Giviashvili & Natia Khizanishvili, Medieval Georgian Monuments of Tao-Klarjeti
Turgay Yazar, Stone Ornaments in Tao-Klarjeti Architecture
Nikoloz Zhghenti, Tao-Klarjeti: Heritage of Manuscripts
Index
DISTRIBUTED FOR Koc University Press by University of Chicago University Press
https://press.uchicago.edu/ucp/books/publisher/pu3432596_3432597.html
What was the reason of transferring exactly the Khakhuli Icon is a question.
Khakuli icon is a triptych of the Mother of God Icon and is one of the largest enamel works of the Byzantine world. The gilded frames and wings made of floral and geometric ornamentation includes a large number of enamel icons, reliquaries of Georgian and Byzantine work. Originally Icon was created in the 10th c and was in the Church of Khakuli Monastery, built by the King David III Curopalates (+1001) in the Southern region of Tao, the central place of Georgian Kingdom at that time.
David IV, inherited nation ravaged by Seljuk Turks. The King only had power over the western and small parts of central Georgia. The capital city Tbilisi was under Arab control, and Kutaisi, second largest city was where the King ruled. The kingdom was going under turmoil inside and outside of the borders. However, Davit IV managed to change course of his country. Before he started construction of Gelati Monastery, Davit already put the country through numerous successful reforms. The state, the army, and the church were fully reformed and the Georgian Kingdom was economically and politically uprising. With the effective military expeditions, Davit managed to unify Georgian lands including the capital city of Tbilisi. Furthermore, he liberated Armenia and Albania from the Muslim control. Davit IV broke away from Byzantine shadow by declining the royal titles in favor of the Georgian ones. Georgia was transformed into an influential kingdom. Surrounded by Islamic nations, Davit promoted himself as a Christian leader in the region. To legitimize his ideals Davit founded a new monastery, regarded as “the second Jerusalem and another Athens” and was “much superior to all previously constructed”.
Gelati is built outside of Kutaisi on an evaluated hill. Church is dedicated to St Virgin Merry and “filled it with holy things, relics of the saints, holy images and holy vessels that were totally glorious.” But the most valuable gift to the church was the Khakhuli Icon.
According to the recorded will, Davit IV gifted the church a piece of True cross. King Demetre I (r. 1125-54) who owned this relic was responsible for the embellishment of the Khahuli Icon with the gilded silver wings that was indicated in the inscription on the lower bands of the icon.
There were several medieval bridges in Khertvisi, Mindieti, Vatsieti and in Evfrat two places of old churches are also known. According the legends, the main church and most powerful ecclesiastical centre of the region was in Evfrati. The Church was almost destroyed in 19th c, but the new mosque building on the place of medieval Georgian Church was erected in 1958. The two curved stones typical to mid 10th c. of Tao-Klarjeti architectural school are reused at the entrance wall of the modern building; basement of the church and of the bell tower are still visible. Some other stones indicate that the building had the murals and were covered with the stone roof tiles.
The number of well preserved dwellings and the well build spring, old terraces and the wine tree also indicates that the area was once an important settlement may be a monastic centre.
The name Evfrati is mentioned in medieval Georgian texts. The manuscript regarding the Machahela region due to the lack of information was regarded as a property of neighboring Tbeti Cathedral. The further research of the site and the manuscript may give more evidence to argue about the medieval ecclesiastical establishment of Evfrati and its antiquities.
The Octopus represents a construction resting upon eight ‘Octopus’ arms with eight arched openings between them. It is an iron structure, pulled together and welded on the spot according to a special plan. In architecture it is known as double shell or gridshell structure. The surface is covered with colorful mosaics. Construction methods, decoration are similar to those applied by the designers of Octopus were employed by renowned architects and artists throughout the world. The Batumi Octopus can be attributed to Hippie Art rather than Soviet Art as this polychromic, cheerful, individual and unaggressive creation really stands out from the Soviet art of that period.
In 2000 the café ceased functioning and since then it has been abandoned. Consequently its surface was damaged. In addition, the building has not yet been placed on the list of immovable cultural heritage monuments.
Future of Octopus is vague.
ტექსტი: გიორგი კალანდია
ფოტო: გოგა ჩანადირი
რედაქტორი: ირინე გივიაშვილი
Good Travel, თბილისი, 2013
The Programme is supported by the Shota Rustaveli National Science Foundation.
Abstract
The medieval church complex of Ishkahi, located among the remote mountains of Çoruh valley in the village of Ishan (modern north-eastern Turkey), strikes visitors with its impressive qualities of art and architecture. According to Vita of Grigol Khantsteli, the Georgian Hagiographical text of the early 10th c., the Construction of the first church is attested to Catholicos Nerses (mid 7th c.), a native of village Ishkan. In Armenian history, he is known as Nerses Shinogh, the builder of the Cathedral of Zvarnotz, who had a confessional relationship with the Byzantium. According to the same source, the establishment of the Georgian Diocese of Ishkani and next stage of church construction is related with the Grigol’s disciple, Bishop Saba (30-40-ies of the 9th c). The church underwent several reconstructions and redecorations initiated by Bishop Anton in the 11th century, as it is recorded in several inscriptions. The abandoned and half-ruined church was partially used as a mosque later in the 20th c. In Recent years Ishkani was rehabilitated.
In the context of different layers of construction, the paper will focus on several related aspects, namely, scholarship, history, archaeological findings, liturgical objects, restoration, politics, and cultural heritage management, as well as issues of people's religious and emotional affiliations to the place.
Conveners: Dr Hratch Tchilingirian (Oriental Institute) and Prof Theo Maarten van Lint (Oriental Institute)
Eastern Christianity: Historical, Theological, & Cultural Heritage -- While small in numbers relative to global Christianity, multi-ethnic Eastern Christian communities are amongst the most ancient natives in the Middle East and the wider West Asia region. Four of the five most important hierarchical centres in Christianity are in this region, whose roots go back to two millennia. These lecture seminars are part of the series on Eastern Christianity held in the last four years, which highlight the rich historical, theological, literary and cultural heritage of Eastern family of churches.
Tranches dug during recent weeks, show new valuable information. It needs a precise documentation and conservation along with its further archeological survey. These details, mostly visible on the western facade, as well as in many different places of the building, have to be preserved, retaining their authentic face."