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213:. Each icon depicts the lives of three months of the year and represents all martyrs at the instant of their cruel death, while the other saints are depicted frontally, standing full-size. Each saint is accompanied with a caption bearing their name and specifying either their martyrdom or peaceful death. John's icon of the
132:. John extensively used Georgian inscriptions on his icons. Such combination of Greek and Georgian languages in the inscriptions of the icons indicates that John belonged to Byzantine culture, but at the same time he underlined his nationality. He was most probably active and educated in one of the monasteries of
239:
which was a palladium of the
Byzantine capital. All inscriptions reveal that John was also the donor of the icons. John, with his complex panel wanted to explicitly demonstrate that, together with Christian dogmas and theological ideas, the icons manifest the identities of people. Some of the images
294:. It is unknown when these icons appeared on Sinai, or who donated them to St. Catherine's Monastery, but it is highly probable that this very monastery was an original “destinatiion” for the icons, for a large Georgian colony that had been active there for centuries, well-documented since
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Lord, Jesus Christ, make me, who ardently made the icon of the Second Coming and of all your saints, worthy to be on your right, during your Second Coming in Glory. Unworthy priest monk Ioane (i.e. John) Tohabi.
123:
Little is known about early life of John. He calls himself in
Georgian texts, "humble John"; “wretched old man”, "pitiable old man" and “miserable among monks” in Greek. He declares his adherence to the
290:
Taking into account the accompanied
Georgian and Greek inscriptions, it could be supposed that the icons were intended either for the bilingual monastic brethren or a Georgian monastery outside of the
911:
Lidova, Maria (2009) The Artist’s
Signature in Byzantium. Six Icons by Ioannes Tohabi in Sinai Monastery (11th-12th century); Opera Nomina Historiae. Giornale di cultura artistica;
945:(2014) Zaza Skhirtladze: The Image of the Virgin on the Sinai Hexaptych and the Apse Mosaic of Hagia Sophia, Constantinople; Vol. 68, pp. 369–386; Trustees for
333:
302:
chapel, which was the primary sanctuary of their community. The very donation of John's icons served to enhance the standing of their group at the monastery. A
298:. Increasing the presence of the Georgians on Mount Sinai seems to have been important in the tenth and eleventh centuries when improvements were made to the
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971:
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24:
991:
217:
is now damaged, but its constituent motifs may still be determined. The reverse of all six icons has a Greek epigram written in
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896:
209:
John's every calendar icon is divided in nine horizontal stripes, each of them usually displaying ten small scenes on the
265:
John has two self-portraits on his icons depicting himself prostrated and praying. His prayer written in the
Georgian
225:
and the Last
Judgment panels, have bilingual Georgian-Greek inscriptions. Georgian is written with medieval monastic
912:
136:, and would later move to live at the Saint Catherine's monastery. The meaning behind his family name or nickname
108:
930:(2017) Nina Chichinadze: Representing Identities, The Icon of Ioane Tokhabi from Sinai; 130 (3-4), 401–420.
986:
981:
885:
Kalopissi-Verti, Sophia (1994) Painters' Portraits in
Byzantine Art, Χριστιανική Αρχαιολογική Εταιρεία;
252:. He used sophisticated and poetic words on his icons. It's been suggested that John might have painted
115:
and its monastic community, originally all displayed together for the decoration of the entire church.
129:
125:
75:
920:
961:
905:
Lidova, Maria (2011) Иконы Иоанна Тохаби из собрания Синайского монастыря; Indrik
Publishing,
408:
941:
313:
254:
8:
900:
170:
John left extensive tradition and legacy of icon painting. His
Christological cycle, the
156:, showing saints of December, January and February, painted by John Tohabi, 11th century
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291:
184:
399:
within western art, white turbans with tassels hanging down were used to identify the
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35:
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in her lap for forgiveness of his sins. The upper detail from John's icon, the
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133:
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375:
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John portrays himself as a kneeling worshipper at the feet of the enthroned
403:. Figures with turbans "in the lake of fire" are found in the image of the
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script, characteristic of the eleventh century. The icon includes the
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235:, representing the Virgin with the caressing standing Child, and
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and
Nicolette Trahoulia to the first half of the 12th century.
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and Maria Sotiriou date John's icons late 11th century, while
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400:
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meter style, while individual figures, compositions on the
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which was later reinforced or completed by his heir, King
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remains unknown. It is not recorded in any other sources.
85:
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of John might have influenced the commissioning of the
240:
created by John are similar to the depictions from the
891:
Bhalla, Niamh (2021) Experiencing the Last Judgement,
395:. Although turbans were primarily used to designate
269:
script in seven lines is placed below the enthroned
244:
monastery. Some of his figures are depicted wearing
194:
of John preserved on Sinai. Four of them constitute
953:
162:, kept at the Saint Catherine's Monastery, in
68:
128:and is extremely concerned for his personal
200:(calendar icons) and the fifth depicts the
967:Religious leaders from Georgia (country)
147:
972:Christian monks from Georgia (country)
954:
887:National Documentation Centre (Greece)
391:and Byzantine citizens as a matter of
89:late 11th - early 12th century) was a
352:. Sinai, Saint Catherine’s monastery.
977:Byzantine people of Georgian descent
13:
14:
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913:Scuola Normale Superiore di Pisa
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103:whose works were donated in the
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342:. He appears appealing to the
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370:Historians of Byzantine art,
152:Detail of the calendar icon,
258:, which is missing from his
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281:on the Last Judgment icon:
109:Saint Catherine's Monastery
16:Georgian priest and painter
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845:Lidova (2011), pp. 351-352
936:10.2143/MUS.130.3.3259747
188:, is one of six icons or
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818:Lidova (2011), p. 336
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557:Lidova (2011), p. 335
530:Lidova (2011), p. 350
476:Lidova (2011), p. 355
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314:David IV the Builder
255:Crucifixion of Jesus
409:Gračanica Monastery
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292:Kingdom of Georgia
185:Life of the Virgin
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897:978-1-000-42734-9
872:Lidova, pp. 94-95
863:Lidova, pp. 89-98
809:Le Muséon, p. 410
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467:Le Muséon, p. 403
458:Dumbarton, p. 369
449:Le Muséon, p. 407
310:Khakhuli triptych
272:Christ in Majesty
93:ordained priest,
48:of John with his
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296:late antiquity
275:and above the
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219:dodecasyllable
215:Last Judgement
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101:icon painter
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81:ioane toẖabi
70:იოანე თოჴაბი
60:
59:
49:
345:Child Jesus
113:Mount Sinai
61:John Tohabi
956:Categories
419:References
278:Hetoimasia
237:Hodegetria
223:menologium
211:tetraptych
197:menologium
159:tetraptych
154:Menologium
927:Le Muséon
921:2036-8755
389:Georgians
318:Demetre I
305:polyptych
300:St George
191:hexaptych
130:salvation
76:romanized
312:by King
267:Nuskhuri
228:Nuskhuri
176:and the
173:Miracles
91:Georgian
65:Georgian
51:khelrtva
407:in the
397:Muslims
393:fashion
246:turbans
107:to the
919:
907:Moscow
895:
262:icon.
138:Tohabi
67::
358:Notes
286:Amen.
164:Egypt
144:Icons
917:ISSN
893:ISBN
401:Jews
250:hell
119:Life
99:and
932:doi
248:in
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111:on
86:fl.
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83:;
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44:A
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63:(
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