In the art of the Middle Ages, the identities of artists and craftsmen remain largely unknown. Nevertheless, some individuals attract significant interest due to their exceptional talent and remarkable skills. Among these, the distinguished goldsmith Beka Opizari and his elder contemporary, Beshken Opizari, were highly esteemed in Georgia.
Beka Opizari, an outstanding artist from the era of Shota Rustaveli and Queen Tamar, lived and worked during the late 12th and early 13th centuries. Although little is known about his life and career, his exceptional artistic qualities and technical skills are evident in his works, suggesting he was a favored artist for commissions from the nobility close to the royal court.
Two of Opizari’s works have survived to this day. One is the chased cover of the Tsqarostavi Gospel, once kept in Gelati (Tab. 1) and now preserved in the K. Kekelidze National Center of Manuscripts (Q 907). The other is the frame of the Ancha Icon of the Savior (Tab. 2), which now adorns the triptych of Anchiskhati in the Shalva Amiranashvili Art Museum. This piece is created using a unique encaustic technique (Tab. 3).
Cover embellishment of Tskarostavi gospel
Opizari’s name also appears on another work: the cover of the Gospel of Anchiskhati, which was previously housed in Tsalka. Although the cover and images of it have not survived, a gloss in the manuscript provides evidence of the repoussé cover and identifies its creator, Beka Opizari, as a ‘goldsmithʼ rather than just ‘a smith,’ highlighting the high regard in which his skills were held. The estimated date for this repoussé work, 1193-1206/7, is derived from the glosses in the Anchiskhati Gospel, created after the completion of the Savior repoussé icon from Ancha, during the reigns of Queen Tamar and Lasha, while David Soslan was still alive.
Both the repoussé cover and the glosses in the manuscript reveal that the Gospel of Tsqarostavi and its chased cover were created in 1195. Ioane Mtbevari, the Bishop of Tbeti, commissioned the work, with Ioane Pukaralidze and Giorgi Setaisdze serving as scribes. The goldsmith Beka Opizari chased the cover and received 23 drachmas for his work, as noted in one of the glosses.
The cover of the Tsqarostavi Gospel consists of two gilded silver plaques: the front depicts the Crucifixion, while the back features the Deesis. The strictly balanced and symmetrical compositions adhere fully to the decorative-ornamental concept. In the Tsqarostavi Gospel, the role of ornamentation is more pronounced compared to works from the previous epoch. Featuring a main frame filled with ornamental motifs, the composition also includes artistic and elegant Asomtavruli inscriptions.
The decoration is arranged in segments alternating with rectangular planes, with some areas embellished with precious stones. While the ornamentation is neatly arranged, it may be considered somewhat restrained.
The decorative-ornamental arrangement closely aligns with the artistic-stylistic trends of the epoch in which Beka Opizari worked. A notable trend of the time was a declining interest in the plastic-sculptural representation of figures. However, the compositions in the Tsqarostavi Gospel stand out for their exceptional execution quality and expressiveness.
Framing of Anchiskhati Savior
These features are also evident in Opizari’s other known work, the frame of the Savior of Anchiskhati (Tab. 2), one of the layers of the well-known repoussé Ancha icon. The Anchiskhati triptych is of great artistic and historical importance. The layer in question dates back to the 12th century and was intended for an ‘acheiropoietosʼ (Not-Made-By-Hands) icon from the 6th-7th century, created using the ancient and rare encaustic technique.
An inscription on the lower edge of the frame reveals that the Bishop of Ancha, Ioane Rkinaeli, commissioned the work with donations from Queen Tamar. The inscription does not provide a date for the chasing. While the precise dates of Ioane Rkinaeli's birth and death are not known, it is certain he died prior to Queen Tamar. We also know that Bishop Ioane wrote a hymn dedicated to the Ancha icon. Given Beka Opizari’s esteemed reputation, it is not surprising that he was entrusted with such an important commission.
The frame of the Ancha Savior icon is substantial, divided into five segments, and features alternating plaques adorned with both decorative and representational imagery. The role of ornamentation in the design of the Anchiskhati frame became more prominent. The ornamentation in the larger sections has considerably changed the interaction between the figures and the decorative elements. On a smooth, neutral background with substantial relief, the figures seem to serve as supplementary components to the ornamental frame. The lack of attention to sculptural detail in the figures is evident in their treatment: they are depicted with stiff poses, irregular body forms, and a flat, lifeless quality. However, the high level of craftsmanship is evident in the meticulous depiction of individual bodily features and the precise, weighty folds of the garments, showcasing exceptional skill. The decoration and carving of each leaf and twig reveal the master’s refined sense of form.
The size of the stylized leaf, enclosed within three concentric circles, overshadows the scale of the figures. The ornament, set against a matte background, is both spatially defined and applied with great precision; everything is measured with exact mathematical accuracy. Despite the overlapping rings of the ornament, each ring is distinct due to its static quality, enhanced by its encasement within the twisting relief frame. Volumetric shapes are applied to the leaf's folded edges. While the ornamental design on the frame maintains a consistent overall pattern, the artist created numerous variations of the individual leaves, adhering to Georgian tradition.
Anchiskhati Triptych
The ornamentation of the Anchiskhati Savior frame captures the prevailing artistic trends of its time, making it a remarkable example of both visual appeal and masterful craftsmanship.
Beka Opizari, emblematic of the Golden Age of Georgian art, undoubtedly merits the ongoing recognition and acclaim he receives.
