Artistic Features and the Time of Creation of the Ani Cathedral Paintings

Anna L. Makarova

doi:10.18688/

Authors

Anna L. Makarova Moscow State University of Civil Engineering Author

DOI:

https://doi.org/10.18688/

Keywords:

wall paintings, Armenian frescoes, architect Trdat, Transcaucasia, the Ani Cathedral, altar apse, Bagratids, Theophania

Abstract

The study was carried out with the financial support of the Russian Science Foundation (project No. 22–18–00354-П, https://rscf.ru/project/22–18–00354 Architecture and monumental art of Ani as a phenomenon of world artistic culture. Formation of the metropolitan school of Armenian architecture in the 10^th–14^th centuries), at the National Research Moscow State University of Civil Engineering.

The architecture of the Ani Cathedral, built at the turn of the 10^thand 11^th centuries by the Armenian architect Trdat, has been the subject of intense research since its discovery in the 19^th century. However, traces of painting in the church’s apse have received only general comments. This was due to the state of preservation, as the paintings were under a layer of later whitewash. Regarding the dating of the paintings, there are two theories. Nicole Thierry believed that all surviving paintings from the Ani settlement, including those of the cathedral, date to the late 12^th to early 13^th centuries. Nikolai Kotanjian was the first to suggest that the cathedral’s paintings could well have been created shortly after construction was completed in 1001. Among the most recent studies, an article by Cristina Maranci (2021) is devoted to the paintings. This article also allows for an early creation of the paintings, but does not draw definitive conclusions.

This article analyzes the style of the paintings of the Ani Cathedral. Based on the obtained results, the hypothesis regarding the early dating of the painting is confirmed. The temple decorations of the neighboring principality of Tao-Klarjeti are considered the closest analogies. This is supported by the similarity of the design, color scheme, and ornamentation, as well as the general approach to compositional construction. The presence of a classicizing line in the cathedral painting is close to the frescoes of the Church of the Savior in Chvabiani (978–1001, Svaneti).

Author Biography

Anna L. Makarova, Moscow State University of Civil Engineering

Makarova, Anna L. — Ph. D., researcher. Moscow State University of Civil Engineering, Yaroslavskoye Shosse, 26, 129337 Moscow, Russian Federation; SPIN-код: 9060-3144, ORCID: 0000-0002-1262-4967; Scopus ID 57205694786.

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