Svaneti Museum 9789941938023, 9941938024

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VANE TI MUSEUM

Texts by: Archaeology Leila Pantskhava Nino Lordkipanidze

Nu mis matics Maia Pataridze

M ed ieval Art Rusiko Koc hkiani Nina Kitovani

M anuscripts Darejan Gogashvili

Ethnography Manana Khizanishvi li

English Language Editor: Mary Ellen Chatwin Translators: !Ariane Chanturia,I Manana Odisheli, Natia Khuluzauri Designer: Tornike Lordkipani dze Photographer: Mirian Kiladze Special thanks to: Ekaterina Gamkrelidze Coordinator: Sa lome Guruli Printed in Georgia, Printing house: CEZANNE

Georgian National Museum expresses its gratitude to the Municipality of Mestia for the support.

Front cover: Saviour, Icon of the Forty Martyrs of Sebaste. l 2'h century. detail Back cover: The Tviberi Four Gospels, decorated w ith a braided floral cross. 1O'h- 11 'h centuries. Paint on parchment

© Georgian Natio nal Museum, 2014 www.museum.ge Svaneti Museum, 7 Avtandil loseliani Street, Mestia, 3200 Georg ia ISBN 978-9941-9380-2-3

CONTENTS Introduction

6

Archaeology

18

Numismatics

52

Medieval Art

74

Manuscripts

148

Ethnography

208

Bibliography

260

iven its geographic location, Georgia has long been a natural crossroads for many powerful cultures. Nevertheless, the country's own cultural identity has remained intact, while the country steadily developed an interest in the Western world. Today - as Georgia is putting itself on the world map again - our goal is to develop common values and participate in global processes, to encourage diversity and tolerance while building bridges with other cultures. At the same time Georgia will maintain its unique cultural identity. I believe the mountainous region of Svaneti and its renovated museum will play a major role in preserving our cultural identity.

G

It is difficult to find a context anywhere else in the world where nature and cultural herita ge have been preserved so completely and merged so organically. Since ancient times fo reign travelers and historians have evoked the region as unique, and every visitor is amazed by the Svanetian towers and mountains, which remain symbols of that fusion of natural and cul tural heritage. The region has been a strateg ic gateway to the country throughout the long and stormy history of Georgia. It is associated with the treasury keeping - and while Svaneti is not only the loyal guard of Georgian treasures, it is an organic part of a united Georgian culture, and - despite its geographic location it has played an active role in global processes.

Mestia Commune, vi ll age and snowy Mount Gunai Dimitri Erm akov photo-co llection. Georgian National Museum

6

Today's Svans are the descendants of one of several ancient Kartvelian tribes, and the Svan language was the first to separate from a common Kartvelian parent language. It has thus preserved more of the archaic features of the Kartvelian language group than related languages like Georgian. The parent language began to divide into Svan and Georgian-Zan units around the end of the 3rd millennium BC. Traces of human existence on Svanetian territory date back 7-8000 years. From the Bronze Age it became an important center of early metallurgy - indeed artifacts discovered here prove that mining for ore was intensive in the region. Most have heard the myth of the Greek Argonauts. According to stories told by ancient Greek authors, Jason and the Argonauts sailed to Colchis in search of the Golden Fleece. Archaeological discoveries in western Georgia provide evidence of an advanced culture in the area, and show that the mythical land of Colchis was indeed a real country, rich in gold . In Svaneti, known by the Greeks as mountainous Colchis, the traditional tech nique of extracting gold from rivers using a sheepskin is still practiced, indicating this tradition is the probable basis of the myth of the Golden Fleece. Based on Hellenistic cultural trends, new intellectual centers appeared in the bosom of Eastern Christianity with their own national scripts and cultural traditions influenced by East-West civilizations. The Byzantine world was created by the integration and merging of those cultures and this process occurred in

Dimitri Erm akov and Ekvtim e Takaishvili w ith th e members of the expedition Svaneti, 1910 Dimitri Erm akov ph oto-co ll ection . Georg ian National Museu m

Georgia, too. After Georgia became a Christian country in the 4 th century and developed its own alphabet, it could better maintain its identity. It is surprising that Svanetian churches and unique examples of very early Christian art - samples of global cultural heritage are little known within international scientific circles today. I believe that Svaneti will soon be acknowledged as a unique island of early European culture that has survived until the present time. Research and photographic records of Svane tian history, ethnography and artworks began to be preserved in churches by the 191h cen tury. In 1910 Ekvtime Takaishvili t raveled to Svaneti with Dimitri Ermakov and described the work of goldsmiths that was kept in Sva netian churches. Interdisciplinary scientific research on Svanetian antiqu ities started in 1931 when the Georgian Museum organized an expedition to the region, with the participation of G. Chubinashvili, S. Kaukhchishvili ,

7

P. lngorokva and R. Shmerling. Since that time, many scientific studies have been carried out on Svanetian heritage. The history of the Svaneti Museum started in 1936 when the founders of the humanities in Georgia, realized the importance of establishing a museum to protect and study the cultural heritage of Svaneti. Egnate Gabliani became the first Director of the Museum, which was created to house ancient objects that had been kept at the Seti St. George Church in Mestia. Under his supervision the collections were enriched , and while at first the collection was small, gradually objects were donated from different sources. For

Nina Kitovani, Conservator of t he Georgian Nat ional Museum: conservation treatment

8

example in 1948, G. Chubinashvili, founde r of the Georgian School of Art History and Theory, led an expedition to Upper Svaneti, and with support from the local population t hey transferred ancient manuscripts, icons and many other unique objects to the Museum . In the 1970s other important scientific work was carried out by a special committee from the Georgian Academy of Sciences' Janash ia State Museum of Georgia during a scientific expedition led by Mikheil Chartolani, to carry out an inventory and study ancient objects in Svaneti. The preservation, enrichment and maintenance of the collections of the Svanet i Museum was led by its Director, Tsiala Char-

Re novated Storage of Manusaip

tolani, who headed the Museum for 30 years, beginning in 1977. Under her leadership, in 2003 the collections were moved into a new building designed by architects R. Kiknadze and G. Metreveli.

In 2004 the Svaneti Museum of History and Ethnography came under the umbrella of the Georgian National Museum. The mission of the National Museum is to gather objects of Georgian cultural heritage - as well as important intellectual and scientific material - to effectively manage their preservation and to govern national treasures - all within a united system. The National Museum implemented several preservation programs funded by international partner and donor organizations (such as the Georgian National Committee for UNESCO, the US Ambassador's Fund for Cultural Preservation, Italian Embassy in Georgia and Swiss Embassy in Georgia) so that by 2005 conditions in the Svaneti Museum corresponded to modern museum standards. These multi-disciplinary activities included the restoration and conservation of collections, the creation of a new database and, of course, scientific research . However, further investigations revealed that the Museum building would not ensure the security of the collections, nor permit their appropriate presentation to visitors or modern visitor-oriented services. Thus, in 2011 a fundamental renovation of the Svaneti Museum building began, which involved members of the Georgian National Museum as well as international colleagues within a multifaceted project. Importantly, the European Union's Twinning project permitted a partnership between the Prussian

Th e visit of His Ho lin ess and Beatitude Catholicos-Patriarch of All Georgia Ilia II in the renovated museum

Cultural Heritage Foundation/State Museums of Berlin (Germany) and the Georgian National Museum. This program included support to the institutional development of the Georgian National Museum and close collabora tion with the State Museums of Berlin in several directions. Approximately 100 specialists were involved in the rehabilitation of the Svaneti Museum. Rusiko Kochkiani, Head of the Museum supervised the project locally, while Nino Kalandadze, Head of the Collection Management and Restoration-Conservation Department of the Georgian National Museum oversaw the restoration and conservation of the Svaneti Museum objects. Salome Guruli, Head of the Project Management Unit was the General Coordinator of the Program. Works were carried out in harsh conditions in Svaneti, which were followed with inte-

9

Vak htang Khoshtaria, Conservator of th e Georgi an National Museum: installing exhibition

rest by the public. His Holiness and Beatitude Catholicos-Patriarch of All Georgia Ilia II and the local diocese united with the local and central government to support the work. The Svaneti Museum project was a success story of how united support can bring outstanding results. This unanimous cooperation illustrated a synthesis of belief, knowledge, education, art and science - indeed it is an example of how living values and traditions continue in Georgia .

10

The building's modern architecture, designed by Gaga Kiknadze, blends naturally into the local landscape. Museography by Lina Maria Lopez and zoning of the exposition space (Architectural Consultant Laurent Guinamard) was developed around the Museum collections. The effects are striking - the Museum is visitor-frien dly, aesthetic and yet modest in style. Archaeological, numismatic, medieval art and ethnographic collections are exhibited in six

halls. A chronological voyage back into history starts in the archaeological hall named after Shota Chartolani. From the archaeological hall with natural lighting, visitors enter a small dark space where individually lit coins and numismatic treasures create an aura of mystery, and each coin can be observed in minute detail. From the muted lights of the numismatic hall, visitors enter a bright room where unique Christian icons from the 1 ph to 141h centuries are showcased . This hall was created as a reflection of a sacred space, an exhibit of liturgical and other meaningful objects that belonged to Georgian kings, religious and spiritual figures, the aristocracy and the local population.

preservation of manuscripts and books. This creates a sensation of privacy for the visitor who can quietly examine manuscripts that have been translated, rewritten and painted in cultural and educational centers of the Middle Ages that functioned under the guidance of Churches and Monasteries. The audiovisual presentation on the wall of the hall provides information on the manuscripts and books. The exhibition ends with an ethnographic presentation of Svaneti, where objects of material culture are presented in new ways. For a more complete immersion into the Svanetian way of life, visitors can also explore the Margiani family complex machubi, or tower house, which is also part of the Svaneti Museum .

The historical context has been reconstructed by presenting objects made locally, for example in Svanetian schools, and in leading Georgian cultural centers. At the same time masterpieces of Byzantine, Oriental and European origin from Svaneti Museum's col lections are presented in another particular type of showcase. The hall of manuscripts is dark - the dim lighting is essential for the

Museum storage facilities and a restoration laboratory have been created and equipped according to modern international standards. A temporary exhibition hall allows thematic exhibitions to be created. In addition to the exhibitions, the Svaneti Museum Educational Center and the Media Library are significant educational resources for seasonal or conti -

Darejan Gogashvili, Conservator of the Georgian Nationa l Museum:

Lighting regulation process by the lu xmetre

mounting exh ibition

11

nuing education programs. The new auditorium accommodates 100 persons and permits the organization of lectures, presentations, meetings, movie sessions, concerts and conferences. In summer the Museum courtyard can host cultural-educational events in the open air. The renovated Svaneti Museum of History and Ethnography has become a 21' 1 century cultural-educational center that also encourages scientific research and the education of future generations. The treasures preserved within the museum also offer rich stores

12

of knowledge for international scientific research . I recall the words of St. Clement of Alexandria, who once said: For he is the true servant ofGod who spontaneously subjects himself to His commands. And he who already, not through the commandments, but through knowledge itself, is pure in heart, is the friend of God. We sincerely hope that the renovated Svaneti Museum of History and Ethnography closely echoes this wisdom through its activities. Professor David Lordkipanidze

General Director of the Georgian National Museum

: . 00 ..

: ·.. .... ··--

0 ,,

New Exhibition Galleries

lJ

.... .

I.I~ I

The architects wished to build the museum at the outskirts of the city of Mestia, and in order to make it accessible they also created a project for a pedestria n A call for proposals to design a new building for the

bridge connecting the museum to the city centre.

Svaneti Museum of History and Ethnography was announced in 1972, and the mandate was awarded to two young architects, Ramaz Kiknadze and Givi Metreveli.

The large structure of the new museum would be divided into seven units of different dimensions and heights. The project was innovative and modern for its time, and the architects managed to blend it well into existing buildings, both in size and appearance - the fa ./ ' .

-r1Tr'

I

I

41 Treasure of circulating coins l 3'h-l 6'h centuries

Kirmaneuli Tetri, coin of Samtskhe-Saatabago (Principality of Samtskhe), Sheikh Oveis Jalairi, diminished Georgian coins of l S'h century, token

71

MEDIEVAL

C

hristianity spread to Svaneti in the early Middle Ages. The earliest churches surviving in their original forms date back to the 9 1h-101h centuries.

ART

bold and daring colour schemes and a laconic art istic manner using simple techniques - most are pa inted directly on a wooden board without canvas. Svan icons have much in

They were small single-chamber buildings called

common with Svan church painting, suggesting there was

darbazi. These chu rches were believed to be sacred places, or

a local art school in the region. Th e most outstand ing icons were painted in the workshops of the La tali, Pari, Svipi and lpari regions (cat. Nos 48; 59; 60; 66; 77). The inimi able be-

'God's House; and they contained important treasures given by believers. Apart from liturgical items, a large number of items were donated to the churches by Georgian kings, ec-

auty of the Svan icons resides in the fact t hat they are spe-

clesiastical figures, feudal barons and individuals. Donations

cifically local yet in tune with the style and characte ris ics o

included specially commissioned icons for the repose of one's soul, crosses, liturgical items, precious vessels, armour, coins, jewellery, gems and archaeological objects. Among the do-

other Georgian icon painting.

nations are the 'Chronicles of Souls; listing the anniversaries

The surviving chased icons and crosses enab le us to t race the uninterrupted development of Georg ian meta lwor ,

of individuals who had rendered some service or made a do-

most of them created by Svan goldsmiths. The most ou s-

nation to the church. These church treasures have survived

tanding works were produced by three gene rat ions of the

almost intact until today.

Svaneti Museum of History and Ethnography. The collec-

same family-Asan, Theodor and Giorgi Gvazavaisdze (cat. Nos 18; 19; 20). Others were created by Tavd idisdze (cat. No 29), lvane Oqromchedeli, Tomaniani and othe rs. The chased icons were made using a combination of techn i-

tions include artifacts from Upper Svaneti as well as from

ques (chasing, repousse, embossing, cutting, mo ul ding,

cultural centres elsewhere in Georgia (cat. Nos 24; 30; 31; 33; 34; 38; 39; 40; 50; 53; 61), Europe (cat. Nos 7; 51 ), countries of the Christian East (cat. Nos 1; 2; 3; 4; 5; 8) and from other

engraving, punching etc.). In order to achieve a co lou-

Medieval Christian monuments are an important part of the

Eastern countries (cat. Nos 36; 84; 87; 88) .

rful effect, craftsmen would also use gilding, niel lo and precious gemstones. The inscriptions accompan ying the icons constitute rich epigraphic material tha t reveals t he names of the individuals who had comm iss ioned, dona-

The artifacts cover a wide time span, from the 61h to 181h cen-

ted, executed or decorated the icons* (ca t. Nos 29; 44; 6;

tury, indicating that in the Middle Ages Georgia had close links with the cultural and religious centres of Byzantium as well as with the East and European countries. The icons of the 9th to 161h centuries are distinguished by their high artis-

50; 53; 58; 61; 73; 86).

Another special feature of icons fro m Sva net i is the selection of images of specific saints. St George, St Ba rbara, and

tic quality and reflect the main tendencies of Byzantium in

the Archangels were the most popu lar and have some con-

terms of style, refinement of craftsmanship and richness of iconographic scenes (cat. Nos 37; 38; 39; 53; 61 ).

nection to the ancient religious be liefs and the pre-Christian gods of Svaneti. Ornately carved wooden gates and doors figure among the rare objects that have survived over time and they bear witness to a ri ch t rad ition of carving. The collection includes significant early exam ples of Svan woodcarving (cat. Nos 1O; 11 ).

Local craftsmen and icons created by Svan painters hold a prominent place in the museum collections. These expressive icons are drawn with slightly distorted proportions, have

~

Christ th e Saviour, Lo rd of Hosts. Sva n school. 12'h-13'h centurie s. detail

* The texts for inscriptions have been revised and prepared for publication; some of the inscriptions have been read and interpre ted in a new way.

1-5

Incense burners, with scenes from the life of Christ decorated with geometric motifs Syria. 5 th _7th centuries Bronze 1. Height: 9 cm; diameter: 5.5 cm 2. Height: 10 cm; diameter: 10 cm 3. Height: 8.5 cm; diameter: 8.5 cm 4. Height: 10.5 cm; diameter: 9.6 cm 5. Height: 9 cm; diameter: 10 cm

2.

3.

4.

76

7

6

9

8

6

7

8

9

Shana icon 1O'h century

Pendant cross with image of Crucifixion Europe. 1O'h century

Reliquary pendant cross, with an

St Pa ul 1O'h century

Silver-g ilt S x 3cm

Si lver, niello, gem ston e S x 4cm From lpari Com mune

image of the Crucifixion 9'h century

Bronze 7 x 4cm

Partly silver-gilt 14.7x 5.l cm Fro m lpari Commune

77

10

Gate of the Church of the Archangels

Atsi village, lpari Commune 101h century Wood 170 x 87 cm

78

11 Pulpit 11 th century Wood 124x46.5 cm From Mestia Commune

79

12 Virg in and Child with St Barbara Svan school. 1O'h-11 th centuries Wood, gesso, tempera SS x 45.7 cm From lpari Commune • St Barbara, detail

80

l;J The Saviour, Lord of Hosts

11 th century Wood, silver 50.5 x44cm From lpari Commune

82

14 Icon of the Saviour, Lord of Hosts 11 th century

Wood, silver and silver-gilt 57 x 48.7 cm

83

15 Altar cross

11 th century Wood, si lver-gilt, gem stone 90x51 cm From Latali Comm une a. front ~ b. back St Barbara, detail

84

16 Liturgical fan (flabellum}

9 century Silver partial ly gilt 29.7 x 24.7 cm From Mest ia Commune a. front b. back

a.

b.

86

17

Liturgical fan (flabellum) Zarzma (?), South Georgia 11,h century Silver partially gilt

50 x 44 cm From Mestia Commune a. front b.back

b.

87

St George spea ring . 21 Diocletian 11 th century Silver 20 x 13 cm From Mest'ia Commune

A

ZZ

rchangel Ga b riel . 11th century Wood, silver 13 x 10 cm

From Latal"1 Commune

zz

90

24

23 St Ba r ba ra 11 .. ce11 ry Silver-gil 16.8 x 15.5 cm From lpari Commune 2 Enthroned Savior 11 th century

Wood, silver-gilt, gem-stones 22x17.2cm From lpari Commune

25 Icon of Our Savior Enthroned 11 th century

25

Woo d, silver-gilt, gem-stones 16.8 x 15.5 cm From lpari Co mmune

91

26

26 Deesis and St George slaying Diocletian Donated by Parjani and Mepni. 11 'h century ood, silver-gilt 565x43cm From lpari Commune

27

27 St George. With an inscription by Bedan 11 'h century

Wood, silver partially gilt 56 x 43.5 cm From lpari Commune

The inscription in the background reads: 'S(ain)t G(eorg)e of

The inscription reads: 'St George, help redeem the soul

lpar'i) redeem Pa (r)j(a)ni and Mepni A(me)n'.

ofBedan.'

92

28

29

28

29

St Anne 11 th century

Archangel Gabriel Artist: Tavdidisdze. 11 th century

Wood, silver-g ilt

Wood, silver-gilt

54 x 39.5 cm

45 x 34.6 cm

From Latali Commune

From Mestia Commune The inscription on the lower margin reads: 'Ch. S(ain)t G(abrie)I: bring towards you the donors Nas (... ): was chased: by (Mi)chae/ Achors (.. .): a: during Abarmadoba: by the hand of the gold(smith) Tavdidisdze:

93

a.

JO Reli quary with an icon of the Crucifixion 11 2th centuries

lh_,

Wood, g esso, tempera, si lver-gi lt

275x 20.8 cm From Tskh umari Commune a. Reliquary w ith an icon

b. Reliquary ~

detail

94

b.

96

31

St Nicholas

12'h century Wood, gesso, tempera, silver-gilt 24 x 17.3 cm From Tskhumari Commune

32 Fragment of an icon with scenes from the life of Christ: the Circumcision and the Raising of Lazarus

Byzantium. 11 th_12'h centuries Steatite, gold sheet 8.8 x 8 cm From lpari Commune

97

JJ The Forty Martyrs of Sebaste 12'h century Wood, canvas, gesso, gold sheet, tempera 68 x 52.5 cm From Latali Commune

98

34

Archangel Gabriel 11 th_12'h centuries Wood, canvas, gesso, tempera 71.5 x 46.4 cm From Latali Commune

99

J5 Anastasis. Embroidered Icon

Byzantium(?). 12'h century Wood, linen, silk, gold and silver thread, gem-stones 57

x 44 cm

From Latali Commune ~

Adam and Eve: detail

101

36 Wrapping for a pre-altar cross Syria (?). 11th_12'h centuries (?) Silk 132 x 42 cm From lpari Commune ~

Images of griffin: detail

102

J7

J7

Annunciation of the Virgin Mary

12'h century Wood, canvas, gesso, gold sheet, tempera 65 x 46.1 cm From Latali Commune ~

Virgin Mary, detail

J8 The Raising of Lazarus

12'h century Wood, canvas, gesso, tempera, gold sheet 64.5 x46 cm From Latali Commune

J'3 Ascension of Christ 12th century Wood, canvas, gesso, gold sheet, tempera 64.5 x 46.S cm From Latali Commune

104

J8

40

The icon of Our Saviour, Lord of Hosts 12•h_l 3'h centuries

Wood, gesso, tempera 51 x32.Scm From Latali Commune

106

41 The Prophet Jonah

Svan School. 12'h-13'h centuries Wood, tempera 79 x 52.8 cm From Latali Commune

107

4J Icon of Archangel Michael With an extensive dedicatory inscription 13'h century

Wood, candle and resin paste, silver-gi lt, niello, gem-stones, intaglio 31 x 23 cm From Latali Commune a. front, b. back Inscription on the back: 'Ch. Holy Archangel of Mukheri, not made by human hand, glorify the Bagrationi kings, and the Dadiani and the nobles and the whole of Georgia and all the Svans and Latali Gorge and raise the one who raises you: the village of LaiIi and all who praise thee. Amen.' 'God forgive me, the sinful Elder and Deacon A(bram).'

a.

b.

110

a.

44 Finial of the banner (Lem) of united Svaneti Depicted : St George of Seti, the Prophet Jonas of Latali, the Archangel of Ushguli and the dedicatory inscription of Grigol Kopadze, the Abbot of the 'Great Monastery' Svan school. 13'h century Silver partially gilt 23 x 12 cm From Mestia Commune a. front, b. back Inscription: 'Ch. Our Lord, give happiness to the whole gorge of a joyful Svaneti; this lion and the finial with a banner from my Great Monastery/, Abbot Grigol Kopadze, dedicate, to be commemorated.'

b.

111

45

Altar Cross 121h century

Wood, silver-gilt 147x89cm From lpari Commune

• detail 46

Altar Cross (used for blessing baptismal water)

13'h century Wood, silver 84x41 cm From Mestia Commune

47 St George 13'h century Wood, gesso, tempera 58 x 37.5 cm From lpari Com mune 48 The Holy Warriors, St George and St Theodore 13"' century Wood, silver 50.9 x 39.9 cm From La ali Commune '3

St Th eodo re · 3 ce UI) ood s· er 60.5 X ,:2.2 cm From Latali commune

47

48

4'3

113

a.

b.

52 Triptych icon of the Deesis, with donor's inscription on the back 13'h century Wood, gesso, tempera, silver and silver-gilt

12.5 x 20 cm (open) From lpari Commune a. front, b. back Inscription on the back: 'Our Saviour and Mother of God and the Baptist, Saints Peter and Paul intervene on my behalf and protect me, your embellisher lovane son of lovane Totisashvili'.

118

5J Central part of a triptych. Icon of Virgin and Child a. Virgin and Child, 13'h century b. Socket, 14'h century Wood, gesso, gold sheet, tempera, si lver-gilt, niello a. 16.7 x 13.5 cm; b. 44 x 35.5 cm From Tskhumari Commune ..,. Nativity of Christ, detail The inscription on the back: 'Most holy Mother of God, redeem the most sinful Demetre donor to Ephemia and forgive his sins'.

55

54

54

St Onophrius Icon with an inscription of Sasan Vardanasdze 13 1h-14'h centuries Wood, silver-gilt 13 x 8.5 cm From Lenjeri Commune The inscription on the back reads: 'Saint Onophrius, pray to God to help and protect your worshipper Sasan Vardanasdze and my wife Khatuta'. 55

Pendant medallion depicting St George 12th- 13'h centuries Wood, si lver-gilt Diameter: 5.5 cm 56

Vi rgin and Child. Nikopea 13th-14'h centuries Wood, silver 11.2 x 9.5 cm From Latali Comm une

120

56

57

St George of 'Kholmi ' with inscription of Jinjikh Jincharadze , 13'h century Wood, gesso, tempera, silver-gilt 10.5 x 7.8 cm The inscription on the lower margin reads: 'St George redeem Jinjikh Jincharadze'. 58

Praying icon of the Virgin Mary With a verse of Queen Borena on the back 13'h ce ntury Wood, silver, niell o 12.5 x 11 cm From Lenjeri Commune a. front, b. back The inscription on the back reads: 'You who paid Eve's debt by saying to Gabriel : 'I am the Lord 's slave; and I am your guest wa lking on this land, destroyed by force drunk with b lood : Virgin, rescue me, the sufferer: Borena'

57

a.

b. 58

121

122

59

Icon of the Assembly of the Archangels Svan School. l 2'h- l 3'h centuries Wood, gesso, tempera 108 x 90.5 cm From Latali Commune

60 Icon of the Archangels Svan School. l 2'h- l 3'h centuries Wood, gesso, tempera 81 x 54.4 cm From Latali Commune

123

61

Reliquary icon with the scenes from the life of Christ Donated by Sil ikhan, w ho was broug ht up by the Queen of Queens Rusudan 131h century

Wood, canvas, gesso, gold sheet, tempera, si lver-gilt, gems

46 x 35 cm From Latali Co mmune The inscription reads: 'By the word of God, forgive the sinner Silikhan, his humble services, who was brought up by Queen of Queens Rusudan and grant me a Day of Judgment' ~

detail

124

62 Virgin and Child Svan School. 121h - 131h centuries Wood, gesso, tempera From Latali Commune

126

6J Our Saviour, Lord of Hosts

Svan School. 12'h-13'h centuries Wood, gesso, tempera 82

x 52.5 cm

From lpari Commune

127

64

Virgin and Child Svan School. 12'h century Wood, gesso, tempera 107 x 61.5 cm From Lenjeri Commune

65 Virg in and Child Svan School. l 2'h century Wood, tempera 79.5 x 61 .5 cm From Mu lakhi Commune 66

Warrior Saints (fragment ) Svan School. 13'h century Wood, gesso, tempera 104 x 25 cm From lpari Commune ~

64

65

128

66

detail

67

68

67 St Theodore equestrian Svan School. 13'h cent ury Wood, gesso, tempera 49 x 34cm From lpari Commune

68 St. George equestrian Svan School. 13'h century Wood, gesso, tempera SO x 33.S cm From lpari Commune ~

detail

69 Archangel Svan School. 13rh century Wood, gesso, tempera 49.S x 34.S cm From lpari Commune

130

69

70

70

71

Prophet Jonah

St George

Svan School. 13'h century Wood, tempera

Svan School. 13'h century Wood, tempera 27.5 x 22 cm Form lpari Commune

33.5 x 25 cm From lpari Commune

1J2

71

7J

72

72

7J

St Theodore equestrian

St George of Qash veti

Svan School. 13'h century

13'h centu ry

Wood, tempe ra 52.7 x 38.8 cm From lpari Commune

Wood, gesso, tempera 27.3 x 20.2 cm From Lenjeri Commune

74 St George

Svan School. 13'h century Wood, gesso, tempera 68 x 49.5 cm From lpari Commune

134

76

75

75

76

St George Svan School. 13,h_14th centuries

St Geo rge

Svan School. 13'h centu ry

Wood, gesso, tempera

Wood, gess o, t empera

80 x 68 cm

46.5 x 36.5 cm

Fro m lpari Commune

From lpari Co mmu ne

135

77 Warrior Saints Svan School. 13'h century Wood canvas, gesso, tem pera 124 x 74cm From lpari Comm une ~

detail

136

78 Our Saviour, Lord of Hosts Svan School. 13•h-14•h centuries

Wood, gesso, tempera 82 x 58.9 cm From lpari Commune

138

79

John the Baptist Svan School. 14'h century Wood, gesso, tempera 64 x 46.5 cm From lpari Commune

139

81

80

80 St George spearing Diocletian 1S'h century

Wood, silver-gilt 30.8 x 22.7 cm From lpari Commune

81

Crucifixion

13 century Silver-gilt 24x 17 cm From Lenjeri Comm une ~

detail

140

83

82

83

82 Processional cross, with an inscription of Bakhatul Martskhiani 14'h-15'h centuries Iron, silver and silver-gilt, gem-stone 55 x 38 cm From Latali Commune a. front, b. back

a. front, b. back

The inscription reads: 'O Son of God, help and protect me the embellisher of . ..., God redeem Bakhatul Martskhiani, God redeem him'.

~ The Church Fathers: St Basil the Great and St John Chrysostom . detail.

Liturgical fan (flabellum) 16'h century Wood, silver-gilt 43.5 x 44 cm From Mestia Commune

14J

85

84

84 Pitcher Iran. 1O'h-11 th centuries Bronze Height 39 cm, circumference 64 cm From Mestia Commune

85 Ritual drinking horn, with an inscription of Arona 11 th century Horn, gilt-copper Diameter: 9.5 cm; length: 69 cm From Latali Commune The inscription reads: 'S(ain)t Jonah, redeem your slave Aron a.'

86 86

Pitcher, donated by Giorgi Ill 12'h century Silver, gilding, niello Height: 39 cm; circumference 66.5 cm From Mestia Commune The inscription reads: 'God grant happiness to the King of Kings, the equal of God George, from his servant Amira Qavtar:

144

88

87

87 Pitcher, donated by Queen Tama r Iran. 13'h century Silver, gold inlays, Dama scene wor Height 37.5 cm; circu mference 62 cm From Mestia Commune

88 Cup decorated with openwork knobs and gems Iran (?). Meddle ages Si lver, gi lding, inlays Height: 10 cm; diameter: 45 cm From Mestia Commune

89

89 Pitcher (fragment) with an inscription of Katsia 1?'h centu ry Si lver, gold in lay, Damascene work Height 34.5 cm; diamet er 29.S cm Fro m Mesti a Commune The in scription read s: 'This pitcher was dedicated by my nephew Katsia and his brothers.'

145

'30

Candlestick, donated by King Bag rat of lmereti 1667 Silver Height: 27 cm; diameter: 15 cm

From Mestia Commune The in scription reads: 'This candlestick belongs to Oeismama Jolia: donated' 'Donated by the King of Kings and our pa tron Bag rat and his spouse and our Lady Tamar during our reign to St George of Seti: and the date was qks (Georgian chronological system qoronikoni): three hundred fifty.'

'31

Pitcher, donated by King Bagrat of lmereti 1667 Silver Height: 41 cm, circumference: 58 cm

90

From Mulakhi Commune The inscription reads: 'Here we donate: the King of Kings our lord Bag rat and his spouse the Queen and Our Lady Tamar: bequeathed to Our Saviour of Mulakhi: qks (Georgian chronological system qoronikoni): three hundred fifty five.' 91

'32 Cup-like vessel (chaqva), with inscription by Vameq Dadiani 17'h century

Silver, gem stone 23 x 12.S cm From Mestia Commune The inscription reads: 'We, King of Kings, the ruler and Lord Vameq Dadiani and Queen of Queens, Lady Elene, dedicate this chalice to you, St George of Seti, to pray for our long lives and victory: and for our children's well- being.'

'32

146

94

93

a.

93 Drinking bowl with Levan Dadiani's inscription and signature 17'h cent ury Silver Height: 6.5 cm; diameter: 33.5 cm

95

94 Drinking bowl with inscription by Chikvan Liparteliani 1?'h century Silver Height 5 cm; diameter 16 cm From Latali Commune

Drinking lad les Late middle ages Silver, silver-plated copper From Latal i Commune a. length: 46 cm; diameter: 12,2 cm b. length : 40 cm; diameter: 14 cm

c. length : 40.2.; diameter: 14 cm

The inscription reads: 'O mighty Saviour of Tsalenjikha, we, Lord of our land Levan Dadiani

95

The inscription reads: 'O majestic Saviour of Latali,

dedicate this cup to pray thee for long life and victory

this cup is an unworthy donation, from Chikvan

and to assist our souls in eternity: Levan.'

Lipartiani and Lord George for our wel/being and for the redemption of my sinful soul.'

147

MANUSCRIPTS 'The hand of a labourer might perish but the fruit of his labour survives'*

T

he spread of Christianity stimulated

of hymns written in the artful, ancient Georgian

literacy in Georgia. Medieval monas-

Nuskhuri script. Manuscripts of the Svaneti Museum reveal long-standing cultural and rel igious relationships between Svaneti and the seats of

teries served as cradles of culture and enlightenment, where some of the most important cultural and historical written

texts were translated, written and illuminated. The art of the manuscript had a long tradition in Georgia, and developed in stages from the 5th through the 181hcentury when both religious and

monastic culture and education in Georgia, and elsewhere in Christendom, for example the Gospels of Lah ii, or the Lahili Four Gospels copied in Jerusalem and dedicated to the Mukheri Chu rch of the Archange l.

secu lar manuscripts were created. The collection also contains printed books fro m The manuscripts preserved in the Svaneti Mu- the 181h and 191h centuries, and documents writ seum were created between the gih and the 181h ten on wood concerning the history of Svaneti, centuries and cover several stages of Christian li- created in the 141h and 151h centuries. Apart fro m terature, for example manuscripts written in the scriptoria ofTao-Klarjeti and Jerusalem, with their

the notes on wood, Svan historical documents were written in the margins of manuscripts, on

silver-gilt covers and decorated with chased and embossed ornaments. One early 81h-to-91hcentury

empty pages, or on separate sheets. The docu-

collection consists of Georgian translations of Byzantine repertoires - unique richly decorated Gospels, liturgical books and ancient collections

i

ments contain decrees and resolutions of Svan communes called khevi, agreements withi n the communes, or between the communes and private individuals.

St. Matthew the Evangeli st. Mestia Four Gospels. 1033. Mi niature on parc hment. fo l. 7v., 18,Sxl 4,5 cm

· H-507, A note on a ma nu script, preserved in the Nati onal Centre of Ma nu scripts.

The Adishi Four Gospels. 897

Parchment. Georgian Asomtavruli script. 30 x 27 x 14 cm

The Four Gospels were among the first books translated into Georgian after the country's conversion to Christianity. The Gospels represent the

The Ad ishi Four Gospels constitute the earliest surviving manuscript, decorated in an artistic style characteristic of the g,h_, 01h centuries. The title page has an equal-armed cross (quadrifolium) . The miniatures are presented all together before the w ritten text. Illuminations depict the Evangelists and the manuscript begins with Canon Tables and ciboria. It w as written in Shatberdi, commissioned by the Abbot of the Sophron Monastery and was bound by the Deacon Michael. The text represents a different and separate edition of the Gospels which includes an additional document relating the 14,h century history of Svaneti.

Ad ishi Four Gospels

Blind-stam ped leather cover decorated with a silver cross on the upper part of the cover ~ Adishi Fou r Gospels. Ciborium. Painting on parchment. fol. Sv., 23x18 cm

150

canonical New Testament containing four gospels ascribed to the Evangelists Matthew, Mark, Luke and John . The earliest translations of the Gospels are found on 5ih_7,h century palimpsests (re-cycled parchment).

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Adishi Four Gospels St. Mark the Evangelist

Miniature on parchment. fol. 2r., 22x18 cm

Adishi Four Gospels St. Luke and St. John the Evange lists Miniature on parchment. fol. 2v., 22xl 8,5 cm • Adishi Four Gospels

St. Luke the Evangelist Min iature on parchment, detail

152

Adishi Four Gospels Canon Tables. Painting on parchment

fol. 4v., Sr., 24.5 x 18.5 cm; 25 x 18.5 cm

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lenashi Four Gospels St Luke t he Evange list . fol.124v., 23.4 x 15.5 cm Headpiece. Title page, the Gospel of St Luke. Painting on parchment fol. 125r. The text of Psal m s, copied and illuminated by Iona is inscribed

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lenashi Fo ur Gospels Decorative ca pit al letters Pa rchment a. fo l. 58 V.

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The Lah iii Four Gospels 14 century. Georgian Nuskhuri script. Parchment. 27 x 18 x 7.5 cm

Copied at th e church of the Resurrection in Jerusalem and donated to the church built in the name of the Archangel of Mukheri. Copyist: lovane, son of Kstskhiani. Svan historical document s of the 141h- l S1h centuries are appended.

Lah iii Four Gospels The Gos pel of John, 'The Gospel, Chapter of lovane' Georgian Nuskhuri script. Parchment. fol. 89r. Lah iii Four Gospels Virgin Mary and child, lower part of chased book-cover. detail Chased book-cover of the manuscript, kept in the church of St George at Lah iii ~ Lahili Four Gospels. Contents (zanduki). Georgian Nuskhuri script. Parchment.

200

fol. 190r.

Kondakion a liturgical book or scroll describing evening psalm s and order of service.

12

Kondakion 1s•h century. Scroll. Georgian Nu skhuri script. Parchment. 195 x 20 cm

202

IJ

Kondakion 1S'h century. Scroll. Georgian Nuskhuri script. Illuminated capita l letters Parchment. 157 x 20 cm

203

14

Document of Kala Ravine (fragment)

Svan historical documents: texts of Georgian diplomacy inscribed on wood . In Georgia such documents are found only in Svaneti, in the Kala commune. The documents are compiled according to rules observed in every region of Georgia and contain common decisions and resolutions of a certain Ravine, the deals agreed within communes or between communes and private individuals. The agreements are in two forms: crosses or - more rarely- signatures. Many documents are anonymous, and in most cases the names of the scribes are not mentioned.

14'h-1 S'h centuries. Geo rg ian Mkhedruli script. Inscribed on four-edged trimmed wood. 28 cm 15

Document of Kala Ravine, concerning a dispute between residents of Kala 14m-15•h centu ries. Georgian Mkhedruli script. Inscribed on three-edged trimmed wood. 30 cm 16

Document from Kha Ide Khevi (gorge) Confirming the unification of the Lotkipanisdze family and the Kha Ide community

14•h-15•h centuries. Georgian Mkhedruli script. Inscribed on five-edged trimmed wood. 39.5 cm

15 16

204

205

17 Psalter Printed in the 18'h century. Georgian Nuskhuri script Paper, blind- stamped leather cover, upper part 17.Sx 11 x 3.Scm

The first Georgian printed book: A Georgian-Italian Dictionary and the Georgian Alphabet with Prayers were printed in Rome in 1629, with the help of King Teimuraz I's Ambassador, Nikoloz Choloqashvili (Nikiphore lrbach). The first European-style printing-press in the Caucasus was assembled in Georgia in 1709. The Georgian Gospel and the Psalter, educational and scientific books were published in the printing house ofVakhtang VI (1709-1722). The poem The knignt in the Panther's Skin by the famous Georgian medieval poet Shota' Rustaveli was also printed here. In 1743, a Bible known as Bakar's Bible, was published in Moscow at the initiative of Prince Ba kar. A printing house set up by King Erekle II and the Catholicos Anton I functioned in Tb ilisi between 1749 and 1795. In 1799 King Solomon II of lmereti established an lmeretian printing house that worked until 1817.

206

18

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18

Psalms Published in Kutaisi in 1807 Georgian Nuskhuri script. Paper 14 x 10.5 x 5 cm l'l

Horologion Printed in the 18'h century Georgian Nuskhuri script Paper. 18 x 10 x 5.5 cm

207

ETHNOGRAPHY he ethno-cultural heritage of Svaneti

Rituals were usually celebrated in the Svanetian

includes specific crafts that reflect the material culture of the Georgian people while at the same time they reveal regional particularities. The fact that objects

home (machub), near the hearth or at a window

T

of everyday life in Svaneti were mostly made by local craftsmen illustrates the region's highly de-

neti only, where up to 200 inhabited towe rs were inventoried in the 1970s. The oldest house with a tower is in the district of Chajhash in Ushg uli,

veloped craftsmanship. Many ethnographic artifacts include utilitarian, artistic as well as religious

listed as a UNESCO World Heritage Site.

characteristics, and were sometimes offered to churches. The t radition of church offerings deri-

The co-existence of pagan and Christian ritu als and the practice of offering objects to sacred shri-

ves from a pre-Christian era . Elements of earlier

nes played a significant role in the preservation of

religious practices later co-existed with Chris-

the cultural heritage of Svaneti. The ethnograph ic expedition by the Simon Janashia State Museum

tianity. Today public festivals in Svaneti are still dedicated to the cult of ancestors or to fertility, to insure a good harvest and the well -being of fa-

of the Georgian Academy of Sciences, directed by Mikheil Chartolani in the 1970s to 1990s, contri-

milies. Until the 1950s there were 160 feast days

buted to the discovery and study of the objects of

celebrated in Upper Svaneti, which reveal the an-

Svanetian cultural heritage, and has sign ificantly enriched Georgian museum exhibits and reserves.

cient religious beliefs of Georgians.

~

in the eastern wall. The inhabited towers (kor) still survive from the 101h- l l th centuries in Upper Sva-

Chest. 19'h ce ntury. detail

b.

A traditional garment for Svanetian men was called the chokha, a knee-length coat with a draped or folded skirt. The accompanying under-garment called akhalukhi, was shorter and fastened with loops and buttons. Svan men formerly wore shoes (pachichebi), and knee pads (lekvertkhi) fastened with colourful straps. Low pointed boots called tserakv were padded with dry mountain grass. Svanetian hats had narrow brims in earlier times and made of thick white, black or grey felt, and good quality hats were waterproof. A kaitan (a twisted silk braid) was attached on the top of the hat. The kabalakhi (a type of balaclava hood) was also worn for certain purposes.

210

J

2

4

Chokha 19m century

Wool Length: 103 cm

a. front, b. bac 2 Akhalukhi 19"' cen ury Cotton, sil Length: 89 cm

The chokha had cylindrical gunpowder containers called masra in the chest area, each of which at first held enough gunpowder for one

J M asra 19mcentury Wood, si lver, niello Lengt h: 13 cm

shot, with finials made of horn, bone, ivory or silver. The masra gradually evolved into an adornment of the chokha.

Svanetian ha t 19'h century

Felt

211

· Women's clothin g

a. Cotton -li ned dress with chaprast ·9--century Co on, silver Length: 120 cm b. Upper garment, blouse 19· century Silk Length: 75 cm c. Skirt 19'h century Cotton Length : 85 cm

5

The main elements of the dress of Svanetian women were long and short dresses called

kab w hich had silver hooks and eyes called chaprasts in front, fastened with belts of cloth or silve r. In winter they wore a dress lined with cotton. They covered their heads with a veil-like scarf (/echak) . Married women wore two lechaks. There was a special magical significance attached to some lechaks, related to receiving a blessing or a curse, or making a truce.

212

Svanetian traditional jewellery was lavishly decorated with ornaments and niello. Some of the jewellery pieces were directly attached to garments, for example, hooks and eyes or chaprasts; bodice decorations with buckles or as/ors. Traditional necklaces were called

kebzar and braided chains nako/s.

6

8

'3 7

6

7

8

'3

Chaprasts with crosses

Chaprasts

Chaprasts

Chaprasts

19'h century

19'h century

19'h century

19'h century

Made in Svaneti Silver, niello Length: 12 cm

Made in Svaneti Silver, niello Length: 12 cm

North Caucasian Wool, silver, gold thread Length : 16 cm

North Caucasian Silver Length : 10 cm

21J

10

11

12

10

11

Kebzar jewellery

Kebzar jewellery

Beads

19 century Made in Svaneti Silver, niello Length : 45 cm

l 9'h century

20'h century

Made in Svaneti Silver Length: 38 cm

Silver, niello Length: 62 cm

214

12

l;J

Kharai/a jewellery 191h century North Caucasian Silver, jet Length: 151 cm

215

Aslar jewellery 19: century Made in Svaneti Silver, niello Leng th: 38 cm

216

16

15

l'l

18

17

15

16

17

18

l'l

Zilpi women's temple

Temple ornament 20'h century

Earrings 20'h century

Earrings 19'h century

Ring 20'h century

ornament 19'h century

Made in Svaneti

Silver, coral

North Caucasian

North Caucasian

Silver, glass

Silver

Length: 3 cm

Silver, niello

Silver, sardonyx

Length: 7 cm

Diameter: 2.8 cm

Diameter: 1.8 cm

2.5 x 1.5 cm

217

20

21

22

24

25

20

22 Buckle of a woman's belt 20'h century

24

Silver-g ilt, leath er, turqu oise, fil igree

famous silversmiths in well

Hallmark 84. 78 x 5 cm

North Caucasian Silver, niello 26 x 12 cm

Hallmark 84. 90 x 4 cm

established centres of me-

21 Woman's belt

2J Woman's belt

25

talworking. Jewellery made

19 century Silver, textile, fil igree 72 x4 cm

191h century

20'h cent ury North Caucasian Silver, coloured glass in lays 21 x 13cm

Woman's belt 19th ce ntury

Silver gi lt, leather, t urquoise, filigree

218

North Ca ucasia n Silver, niell o, leath er 78 x 4 cm

Woman's belt

19'h century

Buckle of a woman's belt

Silver openwork belts with hallmarks were made by

in Svaneti and Kubachi in the North Caucasus were especially popular in Svaneti.

Common embellishments of the chokha were a dagger, a sword and a silver-buckled leather belt with various additions: a purse, butto ns, fli nts, and other ornaments, etc. The best products of Georgian silversmiths were orn ate silver belt s.

26 Man's belt with buckle 19'h cent ury Leather, si lver, niello 149x3cm

27 Man's belt 19'h centu ry Si lver, niello 95 x4cm

219

Before firearms appeared, one of the main components of the armoury of Svan fighters wa s the flanged mace /akhti. There were metal finialed, flanged and ceremonial mace, attached to wooden or iron rods. The western Georgian openwork /akhti had a peculiar shape adorned with a stylized sword. Some lakhti served as images of power and were used as scepters.

28 Flanged mace l 6th-1 7•h centuries

Iron, wood Length: 52 cm

220

29

Flanged mace l 6'h- 171h centuries Openwork, iron, wood Length : 46 cm

JO Sceptre 17th century Wood, pa int Length: 44 cm 31

Battle axe IT cen ury Wood, iron, leather, me al inlays Leng h:62 cm

29

JO

221

The bow and arrow is one of the oldest weapons, and although rifles appeared in Georgia from the 17th century, archery lingered long in Svaneti. The most remarkable types were 'three-part bows' made from different kinds of materials, still found in Svaneti. Arrows for hunting birds, animals, and fish - and war arrows for shooting fire - were found, presented as offerings in the church of Sts Julitta and Quiricus in Kala.

JZ Three-part bow 16'h-17'h cen tu ries Made in Svaneti Bark, horn, bone, animal tendons, leather Length: 148 cm

222

JJ

Bow 17'h century Made in Svaneti Bark, bone, leather, horn, animal tendons Length : 150 cm J4

Arrows for fighting and hunting 16'h-19'h centuries Wood, iron a. 77 cm; b. 77 cm; c. 78 cm; d. 75 cm; e. 72 cm

a.

223

a.

35

In addition to weaponry, defensive armour was produced in Svaneti. Chain mail made from steel rings was also manufactured by women . The technology of chain mail production was well developed in Svaneti. According to a legal document the Svans once paid to the Japaridze family 300 different kinds of coats of mail for striking a truce. Arm ou r included a head dress (chapkhuti) placed over a Svanetian hat which reduced the force of a blow. Arms were protected by armour called khelnavi.

224

A single-note battle horn from the 161h century has survived in the Christ Church in Jham ushi village in the Mulakh i commune. Horns were used to announce battles, hunt ing exped itions, fea sts and gatherings and were used until recent ly.

Svanetian shields were mad e from leather attached to wood w it h t hin metal straps. The Svanetian sh ield is the very earliest type of Georg ian shield. They were kept in chu rches as sacred objects and exh ibited on feast days when they were suspended on walls and arrows shot at them .

J Armou r: a. chain mail, b. khelnavi arm protection, c. chapkhut i helmet

Length : a. 83 cm; b. 49 cm; c. 25 cm J6 Horn 14 cen ury

Made in Svaneti Copper Length: 83 cm, diameter: 18 cm J7 Svanetian shield l 6 1h-17•h centuries

Woo d, leather, steel Diameter: 53 cm

225

The sword had a special place in Svan material culture. Boys w ere allowed to carry swords w hen they reached manhood. They were also one of t he symbols of royalty. The essential part of the ceremony at the inauguration of a ki ng was the fastening of the king with t he sword by the senior feudal lord who had special privileges due to his high status at the royal court. One such inauguration is shown on a fresco in the church of Our Saviour at Latali, where King Demetre, the son of King David the Builder, is presented with a sword by the Svan Lord Vardanisdze. The hiltless 'Lezgian' swords made by local Svan craftsmen are distinguished by the characteri stic decoration of thei r handles and scabba rds.

;]8

Sword and scabbard l 8'h cent ury Made in Svaneti St eel, horn, si lver, leather, wood Length: 91 cm

226

227

39 Sword with scabbard and baldric for carrying 1a•h- 19,h centuries

Lezgian Steel, horn, silver, leather Length: 101 cm 40

Sword l B'h- 19,h centuries Made in Svaneti Stee l, horn, silver Length: 92 cm

228

41

Sword l 8'h-19ih centuries Made in Svaneti Steel, horn, silver Length: 94 cm

229

42

Ceremonial shield with an Arabic inscription 18th century Turkish. Brass Diameter: 55 cm

230

43

sword and sc:abbard

, s•n centut'f Iranian type

Steel, horn , brass, 1eathef. wood Length: S9 cm

Swords and daggers were produced in Tbilisi, Akhaltsikhe, Zugdidi, Kutaisi, Gori and Sighnaghi, and swords were also made and decorated by local Svan craftsmen. The Svaneti Museum collection includes swords and daggers made by renowned Georgian goldsmiths. Caucasian swords and daggers were inseparable parts of Caucasian clothing, yet ceremonial swords differed from battle swords by the ir blades and decoration.

44 Sword and scabbard 191h century. Made in Svaneti Steel, silver, niello, horn, leather, wood Length: 52 cm

232

233

45

Sword and scabbard 1g ih century Silver-gilt, wood, steel, leather, horn, filigree Length : 53 cm Made by Dzadzamidze

46

Sword and scabbard Belonged to Constantine Dadeshkeliani 191h century Steel, silver, niello, horn, leather, wood

48

Sword and scabbard 2Q'h century. Made by Pantsulaia Silver-gilt, steel, filigree

49 Sword and scabbard 19'h-2Q 1h centuries. North Caucasian

48

Silver, niello, horn, leather, wood, steel Length: 52 cm

Length: 62 cm

47 Sword and scabbard 19'h-2Q'h centuries Steel, silver, niello, horn, leather, wood

Length : 49 cm

t

234 235

50 Sword and scabbard 19m_20,h centuries North Caucasian w ith an Arabic inscriptio n Silver-gilt, steel Length : 49 cm

235

51

52

51

Sword and scabbard 20'h century North Caucasian Silver, niello, steel Length: 48 cm

52 Sword and scabbard l 9'h century North Caucasian Silver, niello, steel Length: 45 cm

237

Svanet i produced high quality flint-lock rifles in the 17'h-18'h centuries. Svanetian rifles ha d distinctive, simply ornamented narrow butts, most with ivory inlays at the base of the butt. Rifles were incrusted with silver inlays in geometric and floral patterns, and although barrels were made locally, the best barrels were imported from abroa d via Crimea. The rifles assembled from them were called kirimil or khirim. Barrel -making has disappeared from Georgian everyday life, however two barrel -maki ng tools have been preserved. One of these belonged to a famous gunsmith fro m Tskhumari, Lemi Kaldani, and is exhibited at the Svaneti Museum.

5J Barrel-making device Wood, steel Length : 256 cm

238

239

57

55

58 54

Barrel of a flint-lock rifle, detail 19'h century Iron

A rare example of a flint-lock rifle with a Georgian hallmark.

55

56

Flint-lock rifle 19'h-2Q'h century

Gunpowder horn 19'h century

Made in Svaneti Steel, wood, bone, metal inlay Length : 148 cm, barrel length: 110 cm

Made in Svaneti Wood, bone, horn, leather Diameter: 12 cm

240

57

58

Flint-lock khirim rifle 19'h century

Gunpowder pouch 19'h century

Steel, silver, wood, iron Length : 135 cm

Caucasian Leather of stingray, silver 17 x 14 cm

241

60

59

59

60

Flint-lock rifle 19'h century

Flint-lock rifle 19'h century

Made in Svaneti

Made in Svaneti Steel, silver, wood Length: 136 cm

Steel, silver, wood, leather, bone, metal inlays Length : 150 cm, barrel length: 108 cm

243

Gun production began in Georgia in the l 81h century in the well-established centres of Ajara, Tbilisi and Akhaltsikhe. Guns mad e in Dagestan and Circassia were also popular. Those made in Svaneti were decorated with floral and geometric patterns an d sometimes inscribed with their owner's name. Almost every region of Svaneti produced gunpowder and bullets. The ingredients included sulphur, potassium nitrate (saltpetre) and charcoal, which were all easily available. Local gunmakers produced containers for carrying gunpowder and measures to mete out enough gunpowder for a single shot; the measures were different sizes for guns and rifles. Gunpowder horns were mostly horn-shaped, but round and oval horns were also common, with lids made from horn and the measure and a lock attached.

61

6J

61

Gun 19'h centu ry

Steel, si lver, iron, wood Length : 52 cm

244

62 Gun 19th century Steel, silver, iron, wood Length : 55 cm

6J

64

Flint-lock rifle 181h century

Flint-lock rifle 191h century

Steel, silver, iron, wood Length : 54 cm

Steel, silver-gilt, iron, wood Length : 52.5 cm

65

67

65

66

Gunpoweder horn 19'h century North Caucasian Horn, silver, bone Height: 18 cm

Gunpowder horn 19'h century Made in Svaneti Horn, bone, leather Diameter: 9 cm

68 Gunpowder horn 19'h century Horn 11 x 9cm

67

69

Gunpowder horn 19'h century Made in Svaneti Horn, bone, steel Diameter: 11 cm

Gunpowder horn 19'h century North Caucasian Horn, steel 7 x 4cm

245

The Svaneti Museum has a rich collection of saddles, including a lady's saddle belonging to the Dadeshkeliani family. This saddle is made up of pommel, seat, cushion, accessories, wings and stirrups - all of the Caucasian type. Saddlemaking was a specialized craft in Georgia. The craftsman would also make whips that could be used in battle. Whips were made of cowhide, with handles of steel, wood or bone and decorated with mother-of-pearl or metal inlays and niello.

70

70

71

Whip 19'h century Wood, silver, leather handle: 65 cm

71 Saddle 19'h century Leather, wood, silver Length: 62 cm, height of pommel : 38 cm

246

Oval and circular snow-shoes were common in Svaneti, used in winter fo r compressing snowy paths and for hunting. These special shoes (bandula) were practical for mountain walks. These were made of leathe r, joined to braid ed rawhide straps, and provided security when wal king on ice or clim bing rocks. They were lined with grass to keep feet warm and d ry, and made by men from pig- or goat-skin.

72

72 Snow shoes 19· cen ury Wood, rope 30x 10cm

Bandu/a shoes 19th century Leather, grass Length: 28 cm 7;J

The finial of a spear of St George Ri t ual object. 17th century 7;J

Wood Height: 35 cm

247

A staff (mijvra) was the symbol of the morvil or ju dge-mediator who was selected by the council of a commune. Svans believed in the god li ness of the chosen morvils because they could prevent blood vendettas. The guarantee for the fulfilment of a verdict was an oath sworn on an icon known as khati, and incisions cut on the staff of the mediator.

74

75

74 A judge-mediator's staff 19'h century

75

Wood, bone, mother-of-pearl inlays Length: 136 cm

Wood Length : 124 cm

A judge-mediator's staff 19'h century

The Svanetian armchair sakurtskhili was an indispensable feature of the Svanetian house. They were of sophisticated construction and had a refined shape. The armcha ir was the designated seat of the head of the family alone, an elder cal led kora makhvsh. The sakurtskhili was the symbol of the power of the head of the family. Placed before the hearth, in the men's part of the house, the elder male presided over discussions of problems relating to a family or clan. Sometimes a place in the sakurtskhili was offered to an honoured guest of the family. The practice of dedicating such chairs in churches

76 Chair sakhirtskhili 191h century

thrones, or seats of potentates found elsewhere in Georgia, in that its ornamental pat-

Wood

tern included astral symbols, reflecting the ancient cosmological beliefs of Svans.

61

x 69 cm

speaks of its religious connotations in the context of ancestor cults. It differs from the

249

Svanetian furniture resembles furniture from other mountainous regions of Georgia, but has regional characteristics. A long bench with a high back called a lergim, designed for men, was very popula r and was also called 'immoveable'. It was placed in the men's area of the house beside the sakurtskhi/i and decorated with religious imagery and astral symbols. Ethnographic research attests to the role of the lergim in festival ritual s.

250

77 Lergim bench with a high back 1g ih century

Wood 272 x 155 cm

251

Chests or t runks were common features of Svaneti households and used for keeping grain, flo ur and bread. Ritual chests were deemed pure, and designed to keep offerings li ke brea d and flour for holy festivals. 'Pure' chests were offerings to churches and painted in different colours with magical apotropaic or magical imagery including geometric and astral symbols, and occasionally schematized images of humans and animals. They represent the best of Georgian woodcarving traditions.

78 Chest 19rn century

Wood 72 x 105 cm

252

79

Chest 19'h century Wood 72 x 124cm

80 Chest belonging to the Dadeshkeliani family 19'h century. Syrian Wood, mother-of-pearl inlay

80

66 x 132 cm

25J

In Svaneti a w oman's dowry included a chest for garments, with a small wooden box attached (satr) to the inner right corner of the chest. The satr was an independent hand-box and could be plain or ornate, of a variety of shapes and sizes. Most hand-boxes exhi bited in the museum were offerings to the Church of St La maria in Ushguli and conta ined thread, jewellery and make-up kits. Most were decorated with geometric an d zoomorphic patterns painted in black and red. Apart from their practical use, these boxes had a ritual meaning, as they were part of the offerings placed on the table for t he dead. Similar boxes were also widespread in Racha, Lechkhumi and Ajaria.

81

Box satr 19th cen tury Wood, pa int 39 x 5 cm

254

Hymns and folk dances in Svaneti were accompanied by the m usical in struments changi and chun iri-chianuri.

The changi is a harp-like stringed instrument that has survived only in Svaneti, simi lar to those used by t he Sumerian s. The word changi is mentioned in written sources of the 10 century and borrowed from Persian, probably meaning a lyre. The Svanetian word for changi is shime vshe ('broken hand') and thereby hangs a ale:

a bereaved father who ha d lost his only son in war, made a musical instrument from his son's hand, with his golden hai r as string s, and played sad melodies on it night and day. The chuniri-chianuri is also one of the most ancient musical instruments and was common throughout Georgia. The chuniri was an instrument used in the ritual of 'returning the dead'. When someone had died far away an d the body was carried back home, the relatives would start prayers to 'return the soul'; the best musician would be taken to the place of death together with a cockerel and the musician would play the chunir until the cockerel started to crow, thought to be the sign of the retu rning soul. The same ritual was characteristic of th e Ra cha region. The chunir in folk music was an instrumen of grief and was played during th e fu neral.

82 Lyre changi 20'h century

Wood, horse hair, brass 75 x 62 cm 8J Chuniri

20'h century Wood, leather, horsehair Length: 49 cm

255

An iron stand or hearth containing fire was situated in the centre of the Svanetian house (machub). Later the place itself was called a hearth, and associated with it were household objects such as an iron chain (nacho), on which a cauldron was suspended from the ceiling above the hearth, a lamp (lamtvaral}, tongs, or skewers. An iron hearth was considered symbolic of the wealth and influence of a family. Many magic-apothropaic traditions were conducted near the hearth, in belief that they would influence the well being and prosperity of the family. The most ancient beliefs are manifested in the stylized images of wild and domestic animals decorating the lamps (lamtvaral) suspended above the hearth. Besides suspended lamps there were free-standing lamtvaral, usually in temporary dwellings. Iron household objects were made by local craftsmen . The traditions and beliefs surrounding blacksmiths and iron workshops reveal the ancient history of metallurgy in Svaneti.

256

85

84

Hearth 191h century Iron 70

x 33 cm

85

Lamtvaral hanging candle holder 19'h century Iron Hei ght: SO cm, lower diameter: 33 cm

86 Lamtvaral standard candle holder 19'h century Iron

86

Height: 11 O cm, diameter: 40 cm

257

A large cauldron (lelghen) was used to cook sacrificed animals, and made from 52 sheets of copper welded and fastened together with the aid of large rivets arranged symmetrically on the outside surface of the cauldron. A lelghen seldom belonged to one family and was usually the property of a community or a church. On feast days the cauldron was carried to the village square or to the churchyard, and poles inserted through the handles to lift it and place it on the fire. The slaughtered oxen would be boiled in the huge vessel. The cauldron was designed for one or two oxen or three cows. The cauldron (lelghen) was stored in an extension of the church where it was available for rent. These were costly objects - the amount of wheat or oats equivalent to the capacity of the vessel, or a day's work in a large field. The existence of locally produced /elghen in the museum collections attest to the highly developed sectors of mining and metallurgy in Svaneti.

87

Lelghen cauldron 19m cent ury Copper Height: 11O cm, diameter : 97 cm, weight: 100 kg.

258

88 Platter 19'h century Copper Diameter: 49 cm

89 Water jug 19'h century

90 Sieve 201h century

Copper Height: 57 cm

Wood Diameter: 62 cm

88

89

The tradition of obtaining gold in the basin of the River Engu ri is still practiced. Sa nd containing grains of gold is washed and sieved with the help of brass pans. 90

259

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G306o010G 501'\oc::,""00010 do 0c::, 0oo. oG8f'1MOc)C::,O G00cJ01JOO (!/0 GcJc::>010 8080060000, 01ooc::,0Go 1986.

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CSCO - Corpus Scriptorum Christianorum Orientalium

AN ET I

MUSEUM

RENOVATION

PROJECT

Director.

Curatorial:

NodarKokoev

David Lordki pa nidze

Darejan Gogashvili

Nana Kvarackhelia

Manana Khizanishvili

Nana Lilua shvili

Coordinato r:

Nina Kitovani

Nana Lomsadze

Rusi o Kochkiani

Ru siko Kochkiani

Nino Macharashvili

Salom e Guruli

Nino Lordkipanidze

Misha Marr

Maia Pataridze

Manana Mchedlishvili

Collectio n Management and Conservation:

Leila Panckhava

Nino Kala ndadze

Mariam Mchedlishvili Rusudan Merabishvili

Exhibition Installat ion Team:

Zaza Meskhi

Architect:

lrakli Bakradze

Sofio Mikadze

Gaga Kiknadze

Vakhtang Khoshtaria

Luka Naveriani

Pridon Lobjanidze

Nino Sanadiradze

Exhibiti on Design:

Giorg i Mindorashvili

lrakli Sharabidze

Li na Ma ria Lopez

Levan Mindorashvili

Temur Sharikadze

Temur Pharjanadze

Gia Sosanidze

Mamuka Sagharadze

Nino Tabucadze

Project Pa rticipants:

Thea Tordia

Lig hti ng :

Nino Tavartkiladze

Jean Lo uis Tartarin Svan eti Museum Team :

Irina Abesadze

Zizi Torti adze

Anje lin a Avaliani

Tata Aghapishvili

Michael Tsereteli

Neli Ava liani

Nino Andriashvili

Magda Tsotskhalashvili

Zemera Avaliani

Nino Baqanidze

David Tsvariani

Baju Chartolani

Zviad Bedoshvili

Gia Turashvili

Ekaterine Chartolani

Marika Beridze

Grigol Tvalchrelidze

Ekaterine Chartolani

lrakli Bokeria

Ano Verulashvili

Mano Chartolani

Nana Burchuladze

Ma rta Chartolani

Michael Chumburidze

Company 'Arqiteqtorebi.ge'

Anna Elizbarashvili

Nino Datunashvili

Ltd 'Zimo'

Natia Gigani

Amiran Demurishvili

Ltd 'Golden Hands'

Magdalina Gogoladze

lrakli Devdariani

Ltd ' New Electrical Service Company'

Chatu Gujejiani

Mariam Dvali

Company ' En Phase'

Jimsher Gujejiani

Levan Dzneladze

Eter Guledani

Darejan Dzotsenidze

The Project was supported by:

Natia Japaridze

Ekaterina Gamkrelidze

The Georgian National Commi ssion for UNESCO

Makvala Japaridze

Nugzar Gikorashvili

Rusuda n Japaridze

Magda Gogolashvili

Stiftung Preussischer Kulturbesitz I Staatliche Museen zu Berlin

Jemal Japaridze

Dali Gogorishvili

U.S. Ambassador's Fund for Cultural Preservation

Slavika Japaridze

Elizbar Grigolia

Italian Embassy in Georgia

Dariko Jhorj holiani

Paata Grigolia

Swiss Embassy in Georgia

Tamar Ka khberidze

Tamar lashvili

The Municipality of Mestia

anu li Kvitsiani

Zaza lashvili

Giorgi Mat skepladze

Sergo lliadi

Vakhtang Na veriani

Mzia Janjalia

atela Pakelia ni [

Nana Jashiashvili

Dali Phalian i

Tinatin Kakhelishvili

David Paliani

Mamuka Kapianidze

E er Paliani

Leri Kereselidze Natia Khuluzauri lrakli Khutsishvili Tsisia Kiladze Thea Kintsurashvili