ხატმებრძოლთა წინააღმდეგ პოლემიკის ასახვა ქართულ ჰიმნოგრაფიაში

dc.contributor.authorსულავა, ნესტან
dc.date.accessioned2022-05-04T08:15:50Z
dc.date.available2022-05-04T08:15:50Z
dc.date.issued2014
dc.descriptionhttps://geohistory.humanities.tsu.ge/ge/procedings/83-shromebi/161-shromebi-8.htmlen_US
dc.description.abstractThe article is dedicated to the reflection of image-worshipping in the Georgian hymnography. The topic of iconoclasm has no place in the Georgian theological writings, because iconoclasm as such never existed in Georgia. Nevertheless, there are some signs of the polemics against iconoclasts, since Georgia, like other Orthodox Christian countries, always fought different heresies. The theme of the Vernicle Icon became extremely popular after iconoclasm as a reaction of image-worshippers against it, though the icon had been existing since the last days of the Savior’s worldly life. The Vernicle Icon was the strongest evidence of image-worshippers in their battle against iconoclasts who tried to conceal any trace of it in the written sources.The Keramion (Vernicle Icon of the Savior) was brought to Georgia in 6th c. by St. Anton Martkopeli, whereas the Mandilion (known also as the Image of Edessa) was moved to Constantinople in 944. According to the works of St. Basil, St. John of Damascus, and Theodore the Studite, who tell much about the icons, an icon was worshipped because of the image depicted on it. The problem of image-worshipping and the polemics against iconoclasts are reflected in 12th-13th cc. Georgian hymnography, mainly in the songs by Ioanne Ancheli, Arsen Bulmaisimisdze, and Saba Sungelos. The struggle against iconoclasts was reflected only in those church songs which were dedicated to icons. For example, Ioanne Ancheli in the song dedicated to the Anchiskhati Icon, Arsen Bulmaisisdze and Saba Svingelozi in the songs dedicated to the Vernicle Icon of the Savior expressed the struggle of imageworshippers against iconoclasts. These songwriters condemned any kind of heresy, especially Monophysitism and iconoclasm. Very important is that the problem was reflected in the songs dedicated to the Vernicle Icon of the Savior. The Christian hymnography developed corresponding style and vocabulary to reveal heretics, and to strengthen the Orthodox religion.en_US
dc.identifier.citationივანე ჯავახიშვილის სახელობის თბილისის სახელმწიფო უნივერსიტეტის საქართველოს ისტორიის ინსტიტუტის შრომები, VIII, თბილისი, 2013-2014, გვ. 66-79 / Ivane Javakhishvili Tbilisi State University Institute of Georgian History Proceedings, VIII, Tbilisi, 2013-2014, pp. 66-79en_US
dc.identifier.issn1987–9970
dc.identifier.urihttps://dspace.tsu.ge/handle/123456789/1509
dc.language.isogeen_US
dc.publisherმერიდიანიen_US
dc.subjectჰიმნოგრაფიაen_US
dc.subjectხატმებრძოლეობაen_US
dc.subjectიოანე ანჩელიen_US
dc.subjectსაბა სინგელოზიen_US
dc.subjectარსენ ბულმაისისძეen_US
dc.titleხატმებრძოლთა წინააღმდეგ პოლემიკის ასახვა ქართულ ჰიმნოგრაფიაშიen_US
dc.title.alternativeTHE REFLECTION OF THE POLEMICS AGAINST ICONOCLASTS IN THE GEORGIAN HYMNOGRAPHYen_US
dc.typeArticleen_US
Files
Original bundle
Now showing 1 - 1 of 1
Loading...
Thumbnail Image
Name:
005. Nestan Sulava.pdf
Size:
203.32 KB
Format:
Adobe Portable Document Format
Description:
License bundle
Now showing 1 - 1 of 1
No Thumbnail Available
Name:
license.txt
Size:
1.71 KB
Format:
Item-specific license agreed upon to submission
Description:
Collections