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                  <text>This collection of photographs was initially based upon pictures taken during fieldwork in May-July 2013, with the addition of some material from earlier research trips. The information gathered at this time has been added to and expanded over the course of the project fieldwork, most notably during long periods spent in Georgia in 2016 and 2017. The aim of the resource is to make available a range of images of early Georgian churches in order to study their form, function and architectural evolution, as well as to act as a record of their state of preservation at this particular moment in time. The fashion for rebuilding ecclesiastical monuments post-Communism is currently a serious threat to the architectural heritage of Georgia and these images record sites that are so far untouched as well as others that have already been modified.</text>
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Peter Leeming</text>
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Peter Leeming</text>
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Peter Leeming</text>
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                  <text>This collection of photographs was initially based upon pictures taken during fieldwork in May-July 2013, with the addition of some material from earlier research trips. The information gathered at this time has been added to and expanded over the course of the project fieldwork, most notably during long periods spent in Georgia in 2016 and 2017. The aim of the resource is to make available a range of images of early Georgian churches in order to study their form, function and architectural evolution, as well as to act as a record of their state of preservation at this particular moment in time. The fashion for rebuilding ecclesiastical monuments post-Communism is currently a serious threat to the architectural heritage of Georgia and these images record sites that are so far untouched as well as others that have already been modified.</text>
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Peter Leeming</text>
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                <text>Zedazeni is the monastery associated with St. Ioane Zedazneli, who is referred to in Georgian hagiographical sources as the leader of the Thirteen (As)Syrian Fathers. He is believed to have retreated to the mountains of Kvemo Kartli north of Mtskheta with a band of local followers such as Elia Diakoni (Elia the Deacon) and founded a monastery there. A tomb in the north aisle of the small church is believed by the faithful to be his shrine. Although art historians and archaeologists have argued that some elements of the church at the site date back to the sixth century, the evidence for this has yet to be published and it is difficult to make out the chronology of the building which has been heavily restored over the centuries. As with many ancient Christian sites in Georgia, in particular those associated with saintly figures, the foundation has been re-established since the fall of communism and is now home to an ultra-orthodox religious community who are on the fringes of the Georgian Orthodox church. This extremist tendency is illustrated by the fashioning of a giant cross from a disused electricity pylon and the construction of a giant wall of icon reproductions several hundred metres from the monastery compound.</text>
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Peter Leeming</text>
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                <text>Martqopi is monastery in the Kvemo Kartli region of Georgia to the north east of Tbilisi. As with several other ancient monasteries, the village named Martqopi is now some kilometres distant from the monastery of that name as the monastery and accompanying settlement have divided over time and the monastery is known as &lt;em&gt;Gvtaeba&lt;/em&gt;. The site is named for St. Anton Martqopeli, believed to have been one of the Thirteen (As)Syrian Fathers and who is believed to have brought the Holy Tile of Edessa (the&amp;nbsp;&lt;em&gt;Keramidion&lt;/em&gt;) to Georgia. Although the&amp;nbsp;&lt;em&gt;Keramidion&amp;nbsp;&lt;/em&gt;is believed to be a miraculous imprint made on a tile by the&amp;nbsp;&lt;em&gt;Mandylion&lt;/em&gt;, the miraculous cloth that Christ left an imprint of his face on and therefore a secondary icon after the&amp;nbsp;&lt;em&gt;Mandylion&lt;/em&gt;, in Georgia this story has become confused and St. Anton is now often said to have brought the&amp;nbsp;&lt;em&gt;Mandylion&lt;/em&gt; itself to Georgia. The saint is often referred to as a 'Stylite' as he repudedly lived alone in a tower above the main monastery for some years. This building is now closed to visitors but is referred to interchageably as a '&lt;em&gt;koshki&lt;/em&gt;' (tower) or '&lt;em&gt;sveti&lt;/em&gt;' (pillar or column). As at Ubisa this dwelling resembles a tower house rather than the Syrian-style column found at Qal'at Seman and Semandağ. There is also a modern tomb at this site reorted to be that of St. Anton, replicating the situation across a number of sites associated with the Thirteen (As)Syrian Fathers where relatively recent shrines have been constructed.</text>
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                  <text>This collection of photographs was initially based upon pictures taken during fieldwork in May-July 2013, with the addition of some material from earlier research trips. The information gathered at this time has been added to and expanded over the course of the project fieldwork, most notably during long periods spent in Georgia in 2016 and 2017. The aim of the resource is to make available a range of images of early Georgian churches in order to study their form, function and architectural evolution, as well as to act as a record of their state of preservation at this particular moment in time. The fashion for rebuilding ecclesiastical monuments post-Communism is currently a serious threat to the architectural heritage of Georgia and these images record sites that are so far untouched as well as others that have already been modified.</text>
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Peter Leeming</text>
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                <text>The Church of St. Stepane Khirseli is actually located in the modern village of Tibaani, rather than the eponymous Khirsa in Kakheti. This is the easternmost site associated with the Thirteen (As)Syrian Fathers and, as with many other of the sites, has little if any evidence of early Christian occupation with the church dating to the medieval period and having been substantially renovated in the seventeenth century. As with a number of these sites a shrine around the saint's purported grave seems to be a relatively new phenomenon.</text>
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Peter Leeming</text>
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                  <text>The Early Christian Architecture of Georgia</text>
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                  <text>This collection of photographs was initially based upon pictures taken during fieldwork in May-July 2013, with the addition of some material from earlier research trips. The information gathered at this time has been added to and expanded over the course of the project fieldwork, most notably during long periods spent in Georgia in 2016 and 2017. The aim of the resource is to make available a range of images of early Georgian churches in order to study their form, function and architectural evolution, as well as to act as a record of their state of preservation at this particular moment in time. The fashion for rebuilding ecclesiastical monuments post-Communism is currently a serious threat to the architectural heritage of Georgia and these images record sites that are so far untouched as well as others that have already been modified.</text>
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                  <text>Emma Loosley&#13;
Peter Leeming</text>
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              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
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                  <text>Metadata and all media released under a Creative Commons BY-NC-SA International licence unless otherwise indicated</text>
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                <text>Nekresi</text>
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                <text>Nekresi is a complex of churches in the foothills of the Caucasus near the border with Dagestan. In the valley beneath, archaeologists have found the remains of a sun temple and it is popularly believed that the early Christians appropriated an earlier sacred site, possibly a Zoroastrian high place, in building a church in the C4th at this location. However this belief has been disproved by archaeological excavation which has found no evidence of pre-Christian occupation at the site and has redated the 'C4th' building to the C6th. This structure has entrances on the north, south and east sides and is open to the elements on all sides. It has an undercroft that was used for burials suggesting that this was possibly built as a funerary chapel. The complex also includes a C6th-C7th basilica, known in Georgia as a triple basilica as the narthex opens onto three aisles, but the south aisle does not communicate with the main body of the church and both the north and south aisles are semi-open to the elements with arched arcades to the north and south. There is also an C8th-C9th centrally-planned church that shows a strong Persian influence in its design. The rest of the monastery complex is medieval and a series of early Georgian inscriptions excavated nearby are displayed within them. Nekresi is also associated with one of the Thirteen (As)Syrian Fathers St. Abibos Nekreseli who was reputedly martyred for his resistance to Zoroastrianism.&lt;br /&gt;As with Dolochopi and Dzveli Gavazi, a further visit to the site in the company of Professor Nodar Bakhtadze in August 2017 has led to discussion of the relative dating scheme applied to the "three church basilica" and the centrally-planned domed church and raised questions as to whether or not they were necessarily built that far apart in time. As with Dzveli Gavazi, the centrally-planned church at Nekresi is something of an anomaly given the ubiquity of the "three church basilica" type in Kakheti. In fact this church appears to be an experimental early version of a domed "three church basilica" as it has two apsed side aisles to the north and south of the central church. The northern aisle has a window to the east and is closed off, whereas the south aisle and the narthex in the west both have two arches and are open to the elements. The west and south arcades also have pilasters on the internal wall, as encountered at Areshi large basilica and Kindzmareuli. Inside the main part of the church the dome has windows to the east, south and west, but not on the north side. The dome itself is supported to the west by two squinches, whereas at the east there are what can only be referred to as 'proto-pendentives' - an arrangement also found in the later church of Khirsa Stepantsminda. There is also one other window placed in the apse. If this &lt;span style="text-decoration: underline;"&gt;is&lt;/span&gt;&amp;nbsp;an&amp;nbsp;early attempt at a domed basilica, then it is likely to pre-date c.630 and the building of Tsromi to the west in Shida Kartli. It also raises questions as to why two variant forms of centrally-planned church were being experimented with perhaps almost at the same time in the same vicinity. Moving on to the "three church basilica" it is a large example of this type and has open arcades of two arches on both the north and south sides. There is a door to the north aisle from the main nave, but a corresponding door on the south aisle seems to have been sealed centuries ago as medieval frescoes now cover the area where the door once stood. As at Shilda, the entire construction took place as one project and the north and south aisles are firmly tied to the central nave. In the sixth century mortuary chapel (referred to in Georgian as the&amp;nbsp;&lt;em&gt;akeldama&lt;/em&gt;) it is clear that this was intially tied to another structure in the sixth century - possibly the refectory - and the later intervening space between the ossuary trench and the other building only became used as a burial ground for wealthy patrons and their families in the middle ages. The&amp;nbsp;&lt;em&gt;marani&lt;/em&gt;/refectory complex extant today dates from the twelfth century, as do the cells and work area excavated to the north of the main complex. The tower is sixteenth century, as is the tower at Shilda.&lt;span style="text-decoration: underline;"&gt;&lt;br /&gt;&lt;/span&gt;</text>
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                <text>Emma Loosley</text>
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                <text>2013-06-15</text>
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                <text>2017-08-21</text>
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                <text>Emma Loosley&#13;
Peter Leeming</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="673">
                <text>Metadata and all media released under a Creative Commons BY-NC-SA International licence unless otherwise indicated</text>
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