International congress of byzantine studies belgrade, 22 27 august 2016

Arpine Asryan
National Academy of Sciences of Armenia, Institute of Art, Yerevan, Armenia; 
[e-mail]
Acanthus Ornament in the Wall Sculpture of Tayk/Tao in the 10
th
-11
th
Centuries
Tayk/Tao made a part of historical Armenia in early Middle Ages, after joint united Georgian 
kingdom (present Turkey). In the X-XI centuries the region was undergoing a period of cultural 
flourishing based on the traditions of three cultures: Armenian, Georgian and Byzantine. Particularly 
it was connected with Byzantine orientation of local governor David III Bagratuni (961-1001), and 
with the political and geographical situation of the region.
In the 10
th
-11
th
centuries Tayk/Tao was considered as а theme of Byzantine Empire the rulers of 
which had Byzantine titles. Tayk/Tao used to keep its autocracy, at the same time being a stronghold 
for Byzantium to protect its eastern borders against Arabic invasions. Under such self-governing 
conditions it is natural that a unique culture with rich traditions has formed in Tayk.
The reliefs used especially in the outside décor of the monasteries of Tayk/Tao have their parallels 
in the monuments of the late Antiquity and the Early Christian periods, while more developed ones are 
comparable to the choicest Byzantine and Sasanian samples. The most common patterns for relief deco-
rations here are vegetal and geometric ornaments and their various configurations. An original style that 
was created in the region, based on the layers of Armenian, Georgian and Byzantine richest cultures, is 
particularly evident through geometrical and vegetal ornaments. The acanthus ornamentation that had 
newly florished in Byzantine decoration art in the 9
th
-11
th
cc. was especially remarkable (Church of St. 
Gregory Theologian in Thebes, Monastery Hosios Lukas in Phocis, etc.). It is presented here in two forms: 
realistic and stylized, where acanthus has almost lost its vegetal origin. Acanthus motifs are depicted on 
the most vivid and significant parts of the façade: window and door frames, tympanums, drums. 
In the studies published up to date the ornamentation was considered only as a means of 
emphasizing the architectural forms. However, the ornaments that appear independently have deep 
symbolism and their own way of development. Acanthus ornament at monasteries Ishkhan (Ishkhani 
(in Georgian)) and Chordvan (Ot’ht’a Eklesia (in Georgian), Dörtkilise (in Turkish)) has iconographic 
parallels especially in the Byzantne art, in particular on the pavement, reliefs, in smaller architectural 
forms, metal works and evidently in manuscript decoration.