Tbilisi “Blue Monastery”

Every Christian church has it’s own, special history. History of church equals to the history of country, thus every church with its  own story  is a narrator of the history itself.

“Blue Monastery” of Tbilisi has its special history. Built in XII century, it was damaged for several times, during the reign of Russian Empire it was used as ammunition storage; though church service was recovered very soon, but after sovietization, the church was used as saw-mill, then Museum of Medical History. Traces of saw-mill can be seen on the church walls even now!

In post soviet countries destiny of churches (even of people) in the country is something special with its tragedies and absurdity, destroyed churches, turned into the buildings with different functions, lost and vanished church belongings, antiquities, interrupted church service . .  this is the reality of that time.  

 Christian church is not only architectural creation, it is alive! Choir of believers and their prayers give life to the church.  The most important role is given to the Christian art, without which Christian life would not be absolute.    

During Soviet Era, church constructions, painting, sculpturing, forging, embroidering activities stopped and vanished for seventy years.

And in 90s, after abolishing of totalitarian regiment, church service was renewed in churches and began relevant functioning, but church belongings, such as crosses, icons, antiquities, etc were no longer in church possession.  Many things have disappeared and lost in those years, the rest survived by diligent efforts of Georgian public persons, found their place in museums. Everything was to begin from its very origins. 

Church service was renewed in Blue Monastery as well! Twenty years passed, years which are written on the pages of modern history of Georgia by now.

Today, person interested in modern Christian art will enjoy with beautiful expositions and distinguished art any active church of Georgia. Only in church you can feel the pulse of modern ecclesiastical art.   

Almost everything is brand new in Blue Church – painted chencel -barier, icons, altar ,  crosses, ets . . . mural painting is creating right in front of our eyes.   

National characteristics are stressed in paintings, with long cycle of lives of St. Andrew and St. Nino. Painting of chencel-barier also bears national lines, on one side with “Raising of  Lazarus”, depicting the special role of the  church of Georgia  according to the work of Ioane Zosime "Praise and Exaltation of the Georgian Language". but This kind of novelty that can be considered as visiting card of the paintings of the church of Georgia, presented with the forms borrowed from various epochs and countries.

“The Tree of Jesse” represented on  the triumphal arch repeated the depiction of  the triumphal arch of Anchiskhati  chancel.  “Christ- Ancient of Days” is like “Christ- Ancient of Days” on Ubisi church. Imige of the cross at The Dome  reminds the cross of Timotesubani, it’s angels are like Ishkhani angels.   Anchiskhati, Ubisi, Timotesubani, Kintsvisi churches is just short list, the more we review, the more equal things appear.  There will be many details reminding you familiar and favorite images, and at times maybe you will need some effort to reminding where you have seen this or that form used in that image. Blue Monastery repeates not only earlier, but modern examples as well, such as the painting of the Dome, structure and details of which are identical to the Dome of  holly Trinity church in Vake, painted couple of years ago.        

In Blue Monastery, you will see the Icon of  St. Andrew the First-Called in the central part. The icon is painted in 90s, as it seems so naïve and needs some refinement. Maybe this was one of the first icons at newly sanctified church. Twenty years had passed, during this time examples of ecclesiastical art changed significantly, proved by many icons placed on the walls of Blue Monastery. Among these icons you may see other icon of St. Andrew painted little later, which is created more professionally, indicating us on important technical progress. But behind this high level of work, we can still see borrowed details from earlier images, which are made in so called Paleolog style.  Most of the images placed in Blue Monastery is painted according to the style of various periods.  Icon of Jesus Christ is exact copy of the Greek icon, Icon of St. David and st. Constantine is copied from XIX book painting of Mikhail Sabinini, Icon of St. David Agmashenebeli is the copy of fresco of Gelati Monastery, icons of iconostasis are painted according to the icons from Svaneti. Among these icons are three icons from XIX centuries – Jesus Christ, Virgin Mary and St. Seraphim of Sarov. The models of that period had strange fate. Many think that these icons are non-canonical. Sharp European influences were dangerous for ecclesiastical  art of that time, it is true that there are many issues to think about, but is it right to announce them as non-canonical and ignore them?  And to approve everything as canonical, which was created pursuant to the images of Middle Ages? During this twenty centuries, many such  models was destroyed, some of them are hidden away and even museums do not care about them; but there are churches, priests of which think differently and found places for these icons, including Blue Monastery! 

From these review, a question arises, whether how we estimate Christian images and how we announce them as canonical or non-canonical, or whether there exists any estimation criterion or not. If the estimation criterion is comparison with some classical example, then it is no doubt that only earlier forms will be recognized as genuine forms.  But what about the fact that imitation in any period of history was called as formalizm? Maybe skilful and professional performance is the main criterion? Is it possible that only mastered person be referred to as the creator? As creation considers only the birth of something brand new!  

Thus was born Altar  of Blue Monastery! – unique not only for perfect techniques or some special painting methods (though it is well refined technically), or innovative content or quest for forms, but the image of altar  genuinely coincides with earlier examples and even is equal to them, but not with various forms and details, but with its attitude and mood. With this image containing signs of christianiti and individuality in general, where each form and detail is fitted to the content and not to some “laws” or “rules” established today; as Christian art is the word of God, content of Holy Bible shaped in form, having expressed its views in various forms and that is the real goal!    

As Altar  included Cherubs, trees of Eden, rivers, grapes were not copied from ancient images it was criticized by many. This images fits with eternal  content  completely differently and with novelties, which is very sharp, clear and purposeful at the same time.

As altar  is one of the most important belongings of the church, where is performed the great mystery. In this case, by depicting cherubs on the altar , the main idea of the sculptor was as such “Altar as the Throne, where is  Christ  enthroned on cherubims forever, diligently praised by the angels”.

Each details of the interior of Blue Monastery depicts current trends in the Modern ecclesiastical art and up-to-date history as well.  As every church whith its own story is the narrator of  history itself.