Liturgy and architecture : Constantinopolitan rite and changes in the architectural planning of Georgian Churches

Title: Liturgy and architecture : Constantinopolitan rite and changes in the architectural planning of Georgian Churches
Variant title:
  • Liturgie a architektura : konstantinopolský ritus a proměny v architektonickém plánování gruzínských kostelů
Source document: Convivium. 2021, vol. 8, iss. Supplementum 1, pp. [64]-89
  • ISSN
    2336-3452 (print)
    2336-808X (online)
Type: Article
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In the first half of the eleventh century, the Georgian Church standardized liturgy and church architecture, a process that had begun at the end of the preceding century. Literary evidence indicates that this shift, from the Hagiopolite tradition to the Constantinopolitan Liturgical Rite, was gradual and related to the presence of Georgians on Mount Athos, in particular to the Great Synaxarion edited by George Hagiorites between 1044 and 1056. Architectural evidence indicates a similar, gradual, process of transformation of sanctuaries in keeping with the new regulations in monastic, parish, and cathedral churches of Georgia. This paper argues that the process was taking place among the monasteries of T'ao-K'larjeti and speculate that the Studite Rite, which served as a basis for the Constantinopolitan Rite, was translated and practiced by Georgian monks in the Oshk'i, Otkhta Ek'lesia, and P'arkhali monasteries before the foundation of Iviron Monastery on Mount Athos.
I would love to express my thanks to all those who kindly supported this research. Initial findings were presented at the Seminar "Eastern Christianity: Historical, Theological, & Cultural Heritage" in 2018, in Oxford, where I spent a year as a visiting scholar (Shota Rustaveli National Science Foundation of Georgia, No. uo_08_6-2016), later in 2019, at a session "Georgia as a Bridge Between Cultures: Dynamics of Artistic Exchange",  organized by Manuela Studer-Karlen and Thomas Kaffenberger at the Forum Kunst des Mittelalters in Bern, but the final shape the paper got at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut library. My special gratitude goes to Nino Bagrationi, who never spared her time and energy while helping me to accomplish the drawings.