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Relevant bibliographies by topics / Georgian Icons

Academic literature on the topic 'Georgian Icons'

Author: Grafiati

Published: 27 July 2024

Last updated: 29 July 2024

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Journal articles on the topic "Georgian Icons"

1

Voell, Stéphane. "Oath of Memory: The Taking of Oaths on Icons in Svan Villages of Southern Georgia." IRAN and the CAUCASUS 17, no. 2 (2013): 153–69. http://dx.doi.org/10.1163/1573384x-20130203.

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In the late 1980s, Georgian Svans were first resettled from the highlands of Svaneti to a rather plain region in the south. The resettlement took place because of natural disasters in the 1980s and continued thereafter because of economic problems. In their new environment the Orthodox Svans regularly perform oaths on icons and swear to stand together and to respect their “traditions”. Oaths on icons are an important constituent of the Svan traditional law. In so called “Free Svaneti”, the oath of unity was until the 19th century an important vow of solidarity. The local segmentary society managed to resist being incorporated into neighbouring principalities and Tsarist Russia. But while the oath of unity in “Free Svaneti” was performed to bind people together in an autonomous region with no central executive, today, in Southern Georgia, the oath binds the people to a mythologised Svaneti. It ties them to a nostalgic conception of their Svan homeland.

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Chichinadze, Nino. "Precious metal revetments on Georgian medieval painted icons: some observations on a devotional practice." Caucasus Journal of Social Sciences 1, no. 1 (November 10, 2023): 259–79. http://dx.doi.org/10.62343/cjss.2008.13.

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The embellishment of sacred images with precious metal was a widespreadreligious practice throughout the Byzantine world over manycenturies. The cladding of Christian images in precious metal has longbeen an act of piety on the part of the faithful, representing theirgratitude to their heavenly protectors for performed assistance.Georgian medieval icons encased in revetments of precious metal thatcarry their donors’ supplicatory inscriptions, throw additional light onthe ways in which such icons were used and venerated.

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Nakhutsrishvili, Luka. "Peasant Oaths, Furious Icons and the Quest for Agency: Tracing Subaltern Politics in Tsarist Georgia on the Eve of the 1905 Revolution. Part II: Agents and Items of (Counter)Insurgent Political Theology on the Imperial Borderland." Praktyka Teoretyczna 39, no. 1 (May 22, 2021): 43–72. http://dx.doi.org/10.14746/prt2021.1.3.

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This two-part transdisciplinary article elaborates on the autobiographical account of the Georgian Social-Democrat Grigol Uratadze regarding the oath pledged by protesting peasants from Guria in 1902. The oath inaugurated their mobilization in Tsarist Georgia in 1902, culminating in full peasant self-rule in the “Gurian Republic” by 1905. The study aims at a historical-anthropological assessment of the asymmetries in the alliance formed by peasants and the revolutionary intelligentsia in the wake of the oath as well as the tensions that crystallized around the oath between the peasants and Tsarist officials. In trying to recover the traces of peasant politics in relation to multiple hegemonic forces in a modernizing imperial borderland, the article invites the reader to reconsider the existing assumptions about historical agency, linguistic conditions of subjectivity, and the relationship between politics and the material and customary dimensions of religion. The ultimate aim is to set the foundations for a future subaltern reading of the practices specific to the peasant politics in the later “Gurian Republic”. The second part of the article delves into Uratadze’s account of the aftermath of the inaugural oath and the conflicts it triggered between peasants, intelligentsia and the Tsarist administration.

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Chichinadze, Nino. "Fresco-Icons on Façades of Churches in Upper Svaneti (Georgia)." Kadmos 6 (2014): 50–94. http://dx.doi.org/10.32859/kadmos/6/50-94.

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The present article focuses on exterior mural decoration imitating icons, which are placed on the south facades of the Church of the Archangels in Iprari and St. George church in Ipkhi (Upper Svaneti), dating from the 13th century. The iconography of these fresco-icons constituting the Deesis is interpreted as a visual reference to the chancel barrier. The facade murals discussed in the article play a role in the complex relations between individual parts of the Christian church. The templon imagery, intended for those for whom the sanctuary is not accessible, is a liminal marker. I argue that the facade fresco-icons depicting the Deesis function as templon imagery addressing the space in front of them.

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CHICHINADZE, Nina. "Icons as Symbols of Power in Medieval Georgia." Le Muséon 122, no. 3 (December 31, 2009): 405–22. http://dx.doi.org/10.2143/mus.122.3.2045876.

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Cannon, Mae Elise, and Kevin Vollrath. "Spiritual Synchronicity: Icon Veneration in Evangelical and Orthodox Religious Practices in the 21st Century." Religions 12, no. 7 (June 24, 2021): 463. http://dx.doi.org/10.3390/rel12070463.

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Much scholarship in the dialogue between evangelical and Orthodox believers focuses on doctrinal compatibility. This article contributes to that literature by giving an example of a spiritual practice (icon veneration) that creates additional space for ecumenical dialogue and unity. Some US-evangelicals in the 21st century have incorporated the use of icons into their personal faith practices. Icon veneration is ripe with ecumenical potential for evangelical–Orthodox relations because of its prominence in Orthodox communions while at the same time appealing to a growing number of evangelicals. This article considers three sites of evangelical icon use in turn: the Evangelical Baptist Church of Georgia (EBCG), Icons of Black Saints, and an evangelical ministry called “Heart of the Artist”. Each site adopts a slightly unique understanding of icons that may appeal to evangelical believers. Although Orthodox and evangelical believers may understand theologies of icon veneration differently, the emergence of icon veneration among evangelicals remains a spiritual synchronicity, and ought to be recognized as such. Evangelicals continue to receive the gift of icon veneration from their Orthodox siblings in ways in line with the EBCG, Black Orthodox icons, and Heart of the Artist, so icon veneration has potential to further resource ecumenical dialogue.

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Nakashidze, Malkhaz. "2019 global review of constitutional law: Georgia." International Journal of Constitutional Law 18, no. 2 (July 2020): 596–604. http://dx.doi.org/10.1093/icon/moaa035.

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Saenkova, Elena. "A Newfound Icon “Sophia the Wisdom of God with Miracle-Working Icons of the Mother of God” of the Late 17th — Early 18th Century: Aspects of the Iconographic Programme." ISTORIYA 12, no. 5 (103) (2021): 0. http://dx.doi.org/10.18254/s207987840015810-0.

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The article discusses the unique theological programme of an icon painted in the town of Vologda at the turn of the 17th to the 18th century. The icon combines the image of Sophia the Wisdom of God with the miraculous icons of the Mother of God: “The Lamenting Virgin”, “Our Lady of Georgia”, “The Virgin Eleousa” and “Our Lady of the Kievan Caves”. The image of Sophia the Wisdom of God has a number of significant differences from the classical iconography that became widespread in the Russian art of the 16th and 17th centuries: there is no image of Jesus Christ and the figure of the fiery-faced angel is inscribed as “IC XC”. The study of this icon provides new information for the interpretation of the theme of Sophia the Wisdom of God in Russian culture of the 17th — 18th century.

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D. Ioseliani, G. Balarjishvili, N. Kalabegashvili, N. Nonikashvili, L. Samkharadze, and I. Javakhishvili. "Adsorptive removal of zinc icons from aqueous solutions in the presence of Georgia minerals." World Journal of Advanced Research and Reviews 22, no. 3 (June 30, 2024): 438–44. http://dx.doi.org/10.30574/wjarr.2024.22.3.1701.

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The article represents the new chemically active natural minerals of Georgia – travertine and limestone. In this work, for the first time there have been studied adsorptive properties of the mentioned minerals in the process of aqueous solution purification from zinc ions. Materials under study are represented by unprocessed forms of travertine and limestone. Factors having an impact on sorption capacity of these minerals are analyzed based on the experiments. The dependence of degree of adsorption and adsorptive capacity on adsorbent dosage, time contact, adsorbate concentration and solution pH has been studied. Optimum conditions for aqueous solution purification from zinc ions have been selected. Under the mentioned conditions, the maximum efficiency of degree of adsorption and adsorptive capacity has been 89,8% and 29 mg/g for travertine and 82% and 28 mg/g for limestone.

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Sukina, Liudmila B. "GEORGIAN ICON OF OUR LADY. TRAVELING SHRINE IN RUSSIA OF THE 17TH CENTURY." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 5 (2020): 57–70. http://dx.doi.org/10.28995/2686-7249-2020-5-57-70.

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Books on the topic "Georgian Icons"

1

Burčulaże, Nana. Kʻartʻuli xatebi: Georgian icons. Tʻbilisi: Kʻarčʻxażis gamomcʻemloba, 2016.

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Tʻeimuraz, Saqvareliże, and Alibegashvili Gai͡ane Vladimirovna, eds. Kʻartʻuli xatebi: Georgian icons = Georgische Ikonen = Gruzinskie ikony. Tʻbilisi: "Xelovneba", 1994.

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Ponomarenko, Artemiĭ. Mozdokskai︠a︡ ikona Bozhieĭ Materi: Materialy po istorii Mozdokskogo chudotvornogo obraza Presvi︠a︡toĭ Bogorodit︠s︡y i Uspenskogo Sobora goroda Mozdoka. Vladikavkaz: Ir, 2020.

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Akaki, Megrelišvili, ed. Sakʻartʻvelos sicmindeebi. Tʻbilisi: "Apolon 95", 2003.

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Mariam, Didebulidze, ed. Kʻartʻuli kʻristianuli xelovneba. 2nd ed. Tʻbilisi: G. Čʻubinišvilis sax. Kʻartʻuli xelovnebis istoriisa da żegltʻa dacʻvis kvlevis erovnuli cʻentri, 2010.

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6

Rhodes, Don. Georgia icons: 50 classic views of the Peach State. Guilford, Conn: Globe Pequot Press, 2011.

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7

Christopher, Merrill, and Bradbury Ellen, eds. From the faraway nearby: Georgia O'Keeffe as icon. Reading, Mass: Addison-Wesley Pub. Co., 1992.

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Christopher, Merrill, and Bradbury Ellen, eds. From the faraway nearby: Georgia O'Keeffe as icon. Albuquerque: University of New Mexico Press, 1998.

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Gecaże, Tʻeimuraz. Ančisxati: Tao-Klarjetʻidan gabrcqinebuli Sakʻartʻvelo. Tʻbilisi: [s.n.], 2008.

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Šua saukuneebis kʻartʻuli xatcera: Xi-XIV saukuneebis pʻerceruli xatebi Svanetʻidan. [Tbilisi]: Ministry of Culture and Monument Protection, 2011.

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Book chapters on the topic "Georgian Icons"

1

Iamanidze, Nina. "Icons of Ritual: The Earliest Georgian Templa Programs." In Millennium-Jahrbuch (2010), 343–66. Berlin, New York: DE GRUYTER, 2010. http://dx.doi.org/10.1515/9783110223057.343.

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Eastmond, Antony. "Greeks Bearing Gifts: The Icon of Xaxuli and Enamel Diplomacy between Byzantium and Georgia." In The Medieval South Caucasus. Artistic Cultures of Albania, Armenia and Georgia, 88–105. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.convisup-eb.5.131084.

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"Icons and Agency in the Georgian Orthodox Church." In Religious Narrative, Cognition and Culture, 229–46. Routledge, 2014. http://dx.doi.org/10.4324/9781315729299-18.

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"The Georgian House: The Making of a Heritage Icon." In Valuing Historic Environments, 171–92. Routledge, 2016. http://dx.doi.org/10.4324/9781315548449-17.

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"Georgi R. Parpulov The Date of Two Icons from Sinai." In Wonderful Things: Byzantium through its Art, 169–74. Routledge, 2016. http://dx.doi.org/10.4324/9781315233451-20.

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Louth, Andrew. "‘Truly Visible Things Are Manifest Images of Invisible Things’." In Selected Essays, Volume I, 162—C16P21. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192882813.003.0017.

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Abstract Dionysios the Areopagite became for subsequent Christian thought, both in the Greek East and the Latin West (and also among Armenians and Georgians), determinative for understanding the visible world as disclosing, through visible images, the invisible, spiritual world. The defence of icons by the iconodules—especially John Damascene, but also Theodore the Studite and Nikephoros—contains an appeal to the conceit of the great fourth-century rhetor-preachers of regarding the visual as more immediate, more compelling than mere words, however eloquent. There seems to be a transition from a rhetorical to a visual culture. Dionysios can be seen as playing a fundamental role in this transition: with his characterization of the written text of John’s Gospel as radiance, his emphasis on glory and beauty, his sense of the inadequacy of the conceptual, and his openness to the symbolism of sound and scent, and enthusiasm for the apophatic.

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Garland-Thomson, Rosemarie. "Breasts." In Staring How We Look, 141–59. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195326796.003.0010.

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Abstract Breasts are ubiquitous cultural icons. From the sacred fount of the Maria Lactans, the titillating cleavage of Miss America, the ample bosom of Mammy, to the erotic blast of the Playboy centerfold, the sight of breasts signifies woman. As both symbol and flesh, no other bodily mark of sexual identity is so routinely or ritualistically offered up to the public eye. Even though the penis and vagina carry perhaps equal cultural significance, representations tend to finesse the way we see these parts of our bodies. The penis stands in for phallic power but seldom shows itself in public. Michelangelo’s famous statue, for example, expresses David’s masculinity through his commanding demeanor and musculature, not the incidental bit of flesh between his potent thighs. Phallic forums, such as the Washington Monument, are stylized rather than mimetic representations of penises. Vaginas appear even less often in respectable representations. Artists such as Georgia O’Keeffe, Judy Chicago, or Eve Ensler rework the vagina’s image as a dark, secret snare into flamboyant flowers, dinner plates, or storytellers. Symbolic hotspots as they are, penises and vaginas for the most part demurely decline stares. Breasts, by contrast, are in your face.

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"Chapter 2. Eye-tracking research of reading mechanisms: processing of letters, words, sen- tences and texts." In THE GAZE OF SCHROEDINGER’S CAT: EYE-TRACKING IN PSYCHOLINGUISTICS, 45–127. St. Petersburg State University, 2018. http://dx.doi.org/10.21638/11701/9785288059292.04.

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In Сhapter 2 we describe how verbal information is processed at different linguistic levels, from recognizing single letters to reading and comprehension of coherent texts. We present the results of several experimental studies on reading in Russian which has specific features like Cyrillic script, rich morphology and flexible word order. First, we show some features of Cyrillic letters recognition of different font types in the experiment with invisible boundary. Our results reveal that the font type affects the recognition of crowed letters (letters in Courier New were harder to identify than the ones in Georgia), while recognition efficiency of isolat- ed letters remains at the same level. Since crowded letters imitate real reading, we claim that Georgia is more readable font than Courier New. Second, we describe the lexical, syntactic and referential ambiguity processing emphasizing the role of semantic context. Thus, we show that the processing of ambiguous words does not depend on the type of their meaning (literal or non-literal) …, and the referential ambiguity advantage effect. Third, we compare the process- ing of literal and non-literal expressions in Russian. We try to tease apart different approaches to idioms as well as to give a better explanation of what units may be stored in the mental lex- icon and how syntactic processing may proceed. Finally, we demonstrate the influence of the text type, functional style and reading skills on text processing. We show that the text type is among the readability categories and it influences the effect of reading perspective: eye-track- ing parameters of reading a static text (descriptive sentences) and a dynamic text (sequence of events following swiftly on one another) differ a lot.

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Conference papers on the topic "Georgian Icons"

1

Grigorova, Totka. "THE THEME OF CYRIL AND METHODIUS IN THE WALL-PAINTINGS AT THE ARAPOVO MONASTERY." In THE PATH OF CYRIL AND METHODIUS – SPATIAL AND CULTURAL HISTORICAL DIMENSIONS. Cyrillo-Methodian Research Centre – Bulgarian Academy of Sciences, 2023. http://dx.doi.org/10.59076/2815-3855.2023.33.22.

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The following paper is an attempt at a complete analysis of the theme of Cyril and Methodius in the iconography at the Arapovo Monastery. In 1864 in the cella of the “St. Nedeliya” church, ten paintings, depicting the work of the Slavic teachers, were painted. They have been examined numerous times over the years, but different publications offer different interpretations of depiction for each of the scenes. The paper presents the current condition, as well as content, of said depictions. An attempt has been made to provide a background for the scenes depicted, based on available texts from the 19th century. One of the paintings depicts St. Cyril as the one who converted the Bulgarian ruler to Christianity, which contradicts the legend of Methodius, that was popular during the Bulgarian National Revival. The depiction of St. Cyril in this role could be based on “The Legend of Thessalonica” (better known in Bulgarian as “Solun”), “The Dormition of Cyril” and “The Czech Legend”, which were available in publications dating from the early 19th century. The examples lead to the conclusion that the switch of roles in the conversion scene was an intentional choice, representing the patriotic understandings of young painter Georgi Danchov regarding the fight for an independent church which was occurring during that decade. A thematically identical scene, which depicts St. Methodius in the role of baptizer, was painted in the monastery’s holy spring. The paper also provides an image with initials present, according to which, the painting was done in 1870 by Aleksi Atanasov. It depicts the Thessalonica Brothers as they are compiling the alphabet, surrounded by their pupils. There are nine people present, as opposed to the usual seven, usually referred to as the “Seven Saints”. A brochure, put out in 1857 by the bishop Polycarp, provides an explanation for that number. In publications from 1988 and 2008, there are mentions of painted figures, identified as St. Cyril and St. Methodius. These depictions serve as basis for two hypotheses for identifying them that the paper explores. The more likely of the two is the one that connects these depictions to St. Cyril and St. Athanasius of Alexandria. The monastery’s katholikon features depictions of St. Cyril and St. Methodius at the southern entrance, as well as two icons, signed by Georgi Danchov in 1866 and Nikola Danchov in 1871.

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