Abstract:
The 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.
