they fully reveal the independent process of the evolution of Georgian enameling art, which follows the pattern of development of Georgian art as a whole. Georgian cloisonné enamels kept in the Museum of Fine Art belong to the 7th – 13th centuries. During the 8th century, Georgian enamel is still in a relatively primitive stage marked by a minimal number of folds and drapes, overly simplified faces, enamel backgrounds, and muddy coloring based on emerald and dark brown. This can be seen well in a quadrifolium depicting the Crucifixion on the Khakuli Triptych.
The quadrifolium with the Crucifixion (Khakhuli triptych)
8th century, Georgian.
The Georgian enamels of 10th centuries are characterized by rhythmic lines, sharp and long folds, partitions which carefully bind figures, wine-colored shades of flesh; and expressionistic but simply treated elements. A Highlight from the 10th century is the Quadrifolium with the Crucifixtion from Shemokmedi.
The Quadrifolium with the Crucifixion from Shemokmedi.
10th century, Georgian
Georgian enamels of the 10th century are mainly executed against a gold background. Only two examples from this period have the enameled backgrounds customary in earlier enamels… The cross on the Katskhi icon.
10th century, Georgian.
Medallions of the Vardzia icon of the Virgin
10th century, Georgian.
During the 11th century we see a more pro-Byzantine attitude permeate both the Georgian enamels and the country as a whole. This leveling of styles makes it more difficult to determine which pieces can absolutely be classified as Georgian during this time period. There are three oval medallions on the Khakhuli triptych which can be credited to 11th century Georgia with confidence. They were made in a set, each one depicting the same queen character with her bright brightly colored clothes, round face, and lyrical gestures.
Three oval medallions (Khakhuli triptych.)
11th century, Georgian.
Distinctly Georgian enamels of the 12th and 13th centuries posses a vigorous spirit, devoid of stern religious dogmatism. There is, for instance, an entire series of individualized saints which could easily pass for actual lively portraits (.e.g. the Savior for Gelati).
The plaque if the Presentation at the Temple is an example of highly developed enamelwork, complete with intricate swirling drapery, subtle color shifts, fluid gestures, and architectural detail in the background. There is a free and playful aura within the image.
The plaque of the Presentation at the Temple
12-13th century, Georgian
