Migration of Texts: Liturgical Representations in Byzantium and Georgia

From the 12th century onwards, with the growing visualization of central components of the liturgy, the image gained relevance within sacred space for its ability to interweave and superimpose different temporal levels. A complex network emerged comprising liturgical texts and commentaries, rites, mural cycles, sacred objects, manuscripts, and architectural structures. These elements were closely interrelated and enabled the worshipper to enter into a dialogical relationship with the images present in the space. Thus, the image was not merely an object of contemplation; it integrated the viewer as an active participant within a theological and spatial framework shaped by deeper liturgical and doctrinal reflections. With the development of new visual forms closely connected to the liturgy, questions of transfer and mobility also arose. These innovative visual concepts spread both within and beyond the Byzantine Empire, contributing to the formation of shared iconographic traditions. A crucial role in this process was played by the spiritual and cultural centre on Mount Athos. From Athos, numerous liturgical and theological texts were disseminated and translated into other languages, facilitating the transmission of ideas and images. This phenomenon is particularly significant for the Georgian context. Since the 10th century, at the Iviron Monastery on Mount Athos, many liturgical and philosophical writings were translated into Georgian and subsequently circulated throughout the country. This textual tradition directly influenced the iconographic repertoire of Georgian art. The striking parallels between Byzantine and Georgian imagery can therefore only be explained by reference to the same written sources, which served as the foundation for new visual creations and testify to the profound theological and artistic exchange between Byzantium and Georgia.