The Triptych of Hahuli and Martha-Maria Alania

Abstract

The fast spread of Islam and founding of an Arab Emirate in Tbilisi, the capital city of Georgia, in the 7th century led to a flourishment in the ancient Tao Klarceti region, which covered today's Artvin, Ardahan, Erzurum and partly Kars. While the region was transformed to be a religious center thanks to the monasteries established by the Priest Grigol Handzta and his disciples, it also gained political significance with the reign of Ashot I, who founded the Bagratuni Kingdom at the beginning of the 9th century, making Ardanuc the capital. As a result the control of trade routes for a time led to economic prosperity. Such socio-political environment facilitated also the flourishment of art, and monasteries in particular became centers for artistic creation in addition to development of theology and exact sciences. The subject of the study here is the central panel of a triptych, that was produced in the Hahuli Monastery, (second half of the 10th century) found in Bagbasi Village of Uzundere, Erzurum. This study will trace history and artistic value of the triptych, as well as the imperial couple placed on the top part of it amongst many holy figures.

The imperial couple, the only visible scene left when side panels of the triptych are closed over many holy figures, attracts attention. This subject had been considered significant and was published many times. Each study, however, analyses the subject concerning a certain aspect, some presenting only superficial information. There are some unprecedented arguments, including one suggesting that placement of scenes in opposite directions observed thematic correspondence. Here whole related studies have been meticulously reviewed and Maria's life, the triptych and the political and social environment of the period are discussed in conjunction.