Nikoloz Mikadze, Archpriest of Sion Church in Tbilisi (1720-1780) Artistic Grouping and Purposeful Accents of Transcribed and Painted Books

Abstract

The aim of the study is to present the artistic work of Nikoloz Mikadze, Archpriest of the Tbilisi Zion Cathedral, as a miniaturist and designer of handwritten books, providing a complete retrospective by examining his creative output. The study includes a thematic grouping of manuscripts painted by him, which reveals the deliberate artistic choices in his fine creations from an artistic perspective. The relevance of the issue lies in the frequent discussion of Archpriest Nikoloz Mikadze's work in academic spaces, where his contributions are typically studied from philological and liturgical perspectives. However, no one has yet explored Nikoloz as a calligrapher, an artist of handwritten books, and an illustrator. The scientific novelty of this study lies in the chronological observation of the manuscripts he copied. It shows that Nikoloz’s artistic activity gradually diminished over time—the enthusiasm for manuscript painting that characterized his youth began to fade. I believe this shift was influenced not only by the difficult historical conditions and the demands and challenges of his patrons but also by his active involvement in printing, which illustrates the collaborative relationships between calligraphers and the newly established printing houses of the 17th and 18th centuries, based on specific examples. The research methods involved a comparative analysis of the works of Archpriest Nikoloz Mikadze, highlighting his artistic goals as an 18th-century miniaturist. His work shows a closeness to both European and Georgian Christian painting, revealed through artistic-stylistic analysis. His creations feature traditional forms, with a synthesis of Georgian-Eastern elements in some instances and a vibrant, bold color palette in others. In certain cases, his illustrations reflect a deep understanding of the text's content. When writing Asomtavruli, Khutsuri, or Mkhedruli texts, Nikoloz avoids overly binding letters or overloading them with ornamental decoration. In this respect, he is very moderate and prudent, as the books he transcribed were mainly of religious content and used during worship, often read by candlelight at different times of the day and night. Therefore, each letter needed to be clearly distinguishable so as not to hinder the reader during the service. As a result of studying the manuscripts transcribed by Nikoloz, three groups of manuscripts can be distinguished based on their artistic decoration. All of these manuscripts are preserved at the National Center of Georgian Manuscripts named after Korneli Kekelidze: 1.           Manuscripts that are unpainted, where the decorative system consists only of singular decorations of the paragraphs and upper letters. 2.   Manuscripts that feature black-and-white, graphic, headpiece decorations, analogous to the decoration style of books printed at the Vakhtang VI printing house.