The veneration of the Mother of God in Georgia spans many centuries. The perception of the Mother of God as the
protector of humankind is further deepened by the belief that she is the patron saint of the Georgian land.
In medieval Georgian art, images of the Mother of
God are remarkable for their richness and diversity. Georgian artistic tradition made a unique
contribution to the interpretation of Marian
themes. Her image appears across various
branches of art, and embossed icons present several iconographic types,
including the enthroned Mother of God with the Child, the Hodegetria, and the
Orans.
Chukuli Triptych Icon of the Mother of God (10th
century)
Chikhareshi Triptych Icon of the Mother of God, 10th century
Jakhunderi Triptych Icon of the Mother of God, 10th century
The earliest Georgian embossed icons of the
Mother of God date back to the 10th century. Particular attention should be given to several Hodegetria icons
created in Svaneti and placed in the central panels of silver triptych icons from Chukuli, Chikhareshi, and
Jakhunderi. In these works, the enthroned
Mother of God is flanked by archangels and the chief apostles Peter and Paul. Such compositions strongly emphasize the concept of Mary as the Queen of
Heaven.
Tsageri Icon of the Mother of God, early 11th
century
Among the embossed icons of the early 11th
century, the silver icon from Tsageri preserves a striking image
of the Mother of God. The icon makes a powerful impression through its monumentality and sculptural
modeling of form. This depiction of the Mother of God is distinguished by emotional
depth and harmonious balance. The frame is adorned with medallions; five along
the upper border form a Deesis composition, while the remaining medallions contain half-length figures of the
Evangelists and various saints.
Chukuli Icon of the Mother of God, early 11th
century
The Chukuli icon of the Mother
of God, created in the same period, shares many similarities with the Tsageri icon. Although their compositional
structures are comparable, they differ
significantly in artistic expression and emotional
intensity. The Chukuli icon is distinguished by the severity and grandeur of
Mary’s face compared to the Tsageri image. Notably, the
Georgian inscription accompanying the
image of St. Mary appears alongside a Greek
inscription, indicating the influence of a Byzantine prototype on the icon’s creator.
Labechini Icon of the Mother of God, early 11th
century
Sakdari Icon of the Mother of God, early 11th
century
The silver embossed icons of the Mother of God
from Labechini and Sakdari belong to the same group. These works, unified by a
shared compositional scheme, allow us to form an understanding of the
individual and creative approaches of Georgian goldsmiths working within the established boundaries of
canonical iconography.
The depiction of the standing Mother of God with
the Child is comparatively rare in Georgian
embossed icons. The earliest example of such an icon in Georgia is the 10th-century gilded bronze Hodegetria
from Martvili Monastery, a Byzantine work distinguished by exceptional artistic
skill. The same
monastery also preserved a golden copy of
this icon, produced in the 11th century by a
Georgian master. This represents a rare
instance in which a Byzantine bronze original and its local replica were kept together within a single
monastery.
Icon of Hodegetria. Byzantium. Gilded bronze. 10th century
Martvili Icon of the Mother of God. Gold. 11th
century
The embossed icon of the Martvili Mother of God
retained its significance for centuries. As a mark of particular veneration, in the 18th century, it was incorporated into an enamel-adorned
icon placed at the center of a large triptych, commissioned by Metropolitan Gabriel of
Chkondidi, and richly
embellished with precious stones, enamel, and gold.
Mother of God Small
Orans. Yale
Mother of God Small
Orans. Becho.
In the 10th–11th
centuries, small silver icons of the Mother of God, known as the Small Orans
("The Intercessor"), were widespread in Georgia and intended for private devotion. These icons depict a half-length
figure of the Mother of God with her hands outstretched in prayer before her
chest, symbolizing her intercession for humankind. Particularly
common in Svaneti, these small silver icons carried strong protective and
patronal significance.
The wide variety of embossed icons of the Mother
of God demonstrates that Georgian art developed in close dialogue with the great Christian
centers. Georgian goldsmiths were well acquainted with the full range of
Christian iconographic traditions, and, working within canonical
frameworks, created sacred images of the Mother of
God, distinguished by exceptional artistic
refinement.
