Palmette Motıfs in the Chrıstıan Relıgıous Archıtecture of the Tao-Klarceti Regıon

Abstract

It is observed that the Georgian Bagrationi dynasty was dominant in the region, which is located in the North East Anatolian Region. It is known as the "Tao-Klarceti" according to historical sources and it the provinces of Artvin, partly Erzurum, and Ardahan between the 8th and 14th centuries. The Christian belief, that started to spread in the region from the 4th century, was also reflected in the religious architecture. In addition to the plan features of the buildings, there were also various changes in the concept of decoration. Herbal compositions attract attention in the decoration program of Tao-Klarceti architecture, in which geometric and herbal motifs were also used except for the scenes in which religious issues were discussed. This tradition continued throughout the Middle Ages, starting with the Opiza (Bagcilar) and Dolishana (Bathroom) Monastery churches, which are among the oldest Christian monuments in the region. Herbal decoration compositions consisting of numerous palmette and rumi motifs come to the forefront on the facades of monastery churches. When these motifs within the structures are compared with the neighboring art environment, the presence of interaction elements are also remarkable. In this article, it was attempted to focus on the examples of palmette motifs found in the structures of the Georgian Christian religious architecture in the provinces of Artvin and Erzurum, that have survived to the present day. The aim of the study was to examine the form features of the palmette motif observed in Georgian religious architecture and to provide information about its use in buildings. Furthermore, it can also be expressed as addressing the similar and different aspects of it with neighboring art environments. In the introduction section of the study, in order to make a general evaluation to define the palmette motif, the term meaning of the motif is emphasized and various form features that it has gained over time are mentioned. Explanations are given about the usage patterns of palmette motifs observed in the structures examined within the scope of the study, and their current situation in the structures. Comparisons were made through similar and different examples observed in neighboring art environments and attention was drawn to the interaction elements of the motifs. These activities have shaped the method of the study. The palmette motif, which is used especially in the structures of the Georgian religious architecture, was arranged in different ways depending on its location. The palmettes used in the decoration program generally end with the apex of leaves placed symmetrically around a stem on the axis. It can be said that rumi motifs are a determining factor in defining the form feature of palmettes. As a result of the studies, it was observed that the palmette motif was used in different forms, in different cultures and its reflections on architecture varied.