წმინდა გიორგი დიდების მხედარი

1605 8 6567 1 18242 document 6567 giorgi_paata.pdf application/pdf 6b9ba30ece9e0374a50577d98af9d027 MD5 3838482 2014-12-03 04:37:50 http://eprints.iliauni.edu.ge/1605/1/giorgi_paata.pdf 1605 1 1 application/pdf text ge public

giorgi_paata.pdf

6569 2 18249 document 6569 lightbox.jpg image/png de644aa5d80f1037c8a625fab5193ae7 MD5 12146 2014-12-03 04:49:08 http://eprints.iliauni.edu.ge/1605/3/lightbox.jpg 1605 3 3 image/png other Thumbnails conversion from text to thumbnail_lightbox ge public

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http://eprints.org/relation/isVersionOf http://eprints.iliauni.edu.ge/id/document/6567 http://eprints.org/relation/isVolatileVersionOf http://eprints.iliauni.edu.ge/id/document/6567 http://eprints.org/relation/issmallThumbnailVersionOf http://eprints.iliauni.edu.ge/id/document/6567 archive 107 disk0/00/00/16/05 2014-12-03 07:09:02 2014-12-03 07:09:02 2014-12-03 07:09:02 monograph show ბუხრაშვილი პაატა paata@iliauni.edu.ge წმინდა გიორგი დიდების მხედარი pub D111 fac_med public other Saint George the great Knight (Summary) A distinctive Georgian Christianity, incorporating national ideology as well as religion, developed and spread in medieval Georgia. At this time, according to some, religious and national ideals were not separable (Z. Gamsakhurdia). One prominent feature of Georgian Christianity is the cult of the warrior saint, in particular, that of St. George, which emerged in the official Georgian Orthodox Church in the 9th century (K. Kekelidze), and which some specialists have linked to the consolidation of the feudal monarchical order and its promotion of an idealized notion of the warrior. The evolution of this cult found expression in the Georgian art of the period. In this respect, we wish to draw attention to a specific motif in medieval Georgian iconography: the representation of St. George driving his spear through the Roman emperor Diocletian. This motif is distinctive to Georgia (G. Chubinashvili), and appears in 11th and 12th-century icons of St. George. The figure of Diocletian, dressed in a cape and wearing an imperial crown, is shown at the feet of a mounted St. George, being pierced by the warrior’s lance. As is well known, in the first third of the 11th century conflicts emerged between Georgia and the Byzantine Empire, whose expansionist ambitions led it to seek sovereignty over Georgia. Byzantium sought to impeded the unification and strengthening of Georgia, as well as gain control of its border regions. Tensions led to armed conflict, culminating in the campaign of Emperor Basil II (known as the Bulgar-Slayer) and the Battle of Shirimni of 1021. The defeated Georgian king Giorgi I was forced to agree to onerous terms of peace. Conflict with the Byzantines continued during the reign of Giorgi’s son Bagrat IV. The young king’s opposition with their Byzantine coreligionists drew the support of the Georgian Orthodox Church, as manifested in the campaign of the bishop Saba of Tbeti against the Byzantine forces. It is entirely likely that the bitter conflict of the Georgian state against the fellow-Orthodox Byzantines found expression in Georgian iconography. 2014 ამირანი თბილისი ISSN 1512-0449 კავკასიოლოგიის საერთაშორისო სამეცნიერო კვლევითი ინსტიტუტი