Nina Chichinadze Ilia State University, Tbilisi, Georgia;
nchichinadze@yahoo.com
Self-Representations of Artists in Medieval Georgia
Works of the religious art could be considered as one of the main markers of identities in
the Byzantine world. The issues of identities of patrons and artists are widely discussed in recent
scholarly publications. However the complex, multi-facet social inter-relations developed within
Orthodox Christian culture still needs further investigation. In this connection it is important to
consider self-representations of artists in visual arts of medieval Georgia as this material sheds more
light on dynamics of formation and expression of identities in pre-modern societies.
The textual and visual material demonstrates various forms and strategies applied by artists for
declaration of their self-identification. The identities of artists/masters are revealed not only through
their inscriptions placed on the works of art, but also by various tools involving sophisticated
interplay of inscriptions and imagery, spatial constructions and liturgical reenactment. I will try to
reconstruct the environment of artists and to retrace the correlation between their identities and
works of art created by them.
The artists’ “autographs” (inscriptions) preserved on their works communicate the information
about them, which was intended to be viewed by “present” and future beholders. The indication
of artists’ (masters’) identities facilitated their public recognition and involvement in the religious
ceremonies (liturgies, commemorational services, etc.) even in their physical absence or after their
deaths. A special attention will be paid on formation of verbal and visual patterns demonstrating
the artists’ identities. I will argue that together with religious (redemptive) motivation the tradition
of placing of the masters’ inscriptions on the works of religious art was determined by their desire
to demonstrate their status and recognize their place in the strictly hierarchical feudal society. Self-
identities of mentioned individuals are intended both for terrestrial (laymen and clergy) and heavenly
realms. In other words artists designed and displayed their identities for those who perform church
services and those, who attend/participate in them. Such investigation provides additional material
for the study of devotional practices and elucidates new aspects of interactions between officials and
other members of medieval society.
Comparative study of Byzantine and Georgian inscriptions of artists will allow to retrace
shared patterns of their self-presentation, as well as to single out local peculiarities conditioned by
social, historical and cultural developments taking place in both countries.