Among the manuscript heritage preserved at the National Centre of Manuscripts of Georgia (https://manuscript.ge/?lng=eng), Georgian secular manuscripts – both original and translated – are distinguished for their varied content and style. They reflect the convergence of various cultural and artistic trends of the Near East, including diverse traditions of book production, and the different stages in the development of secular miniatures.
The present article introduces two manuscripts examined as part of the project “The 17th Century Secular Miniatures in the Georgian Manuscript Heritage Translated from Persian Sources and Original Literary Works”, preserved at the National Centre of Manuscripts of Georgia.
In the sixteenth century, a national cultural-creative movement known as the “Georgian Renaissance” began in Georgia. During the Renaissance, there emerged a renewed sense of national identity, along with intensified interactions with the East and the West. Cultural communications were strengthened, and translational activities gained widespread promotion (Abuladze, Giunashvili, 2021, 174).
During the Renaissance, poetry and verse were given more attention than other forms of literature. Epics, romantic and, historical writings, biblical texts, and even the lives of the saints composed centuries ago were versified. In this period of incomparable Georgian literary expression, the twelfth-century poet, Shota Rustaveli’s epic poem, Vepkhist’qaosani “The Knight in the Tiger’s Skin” became the main source for literary fables and imitations. In this context, a group of Georgian poets were fascinated with translating Persian poetic works and were also influenced by Rustaveli’s poetic thought and techniques (Abuladze, Giunashvili, 2021, 174-175, note 5).
The sixteenth to eighteenth centuries witnessed a significant reflection of Oriental, particularly Persian, cultural influences across various aspects of Georgian art and material culture. These foreign influences were predominantly evident in Georgian national miniatures, manuscript illustrations, and ornamentation, which aligned with the artistic tastes and demands of the period.
Georgian secular manuscript painting emerged as a distinct branch in the sixteenth century, shaped by the country’s political and cultural context. It drew upon the styles found in religious manuscripts and fresco paintings produced in Georgian monasteries (Chkhikvadze, 2010, 108).The development of this art form was also significantly influenced by the so-called folk stream within the culture. Having said that, the Georgian manuscripts from this period predominantly exhibit influences of Persian manuscript illustrations (Khuskivadze, 1976, 9; Chkhikvadze, 2010, 109; Kavtaria, 2024, 108-116).
Consequently, there were two primary categories of Georgian secular miniatures from the sixteenth and eighteenth centuries: 1) fine illustrations created entirely in the Oriental (Persian) style using a meticulous miniature technique, which are distinguished by refinement of drawing and color and marked with formal achievement (Khuskivadze, 1976, 10; Khuskivadze, 2018, 30-33; 79; Giunashvili, 2025); 2) paintings created on folk or national grounds being free from such influences (Khuskivadze, 1976, 10-11; Khuskivadze, 2018, 32-34, 81; Giunashvili, 2025).
The most eminent examples of Georgian secular miniatures are present in illustrations of the epic poem “The Knight in the Tiger’s Skin”, found in a manuscript, H-599, preserved at the National Centre of Manuscripts of Georgia.
The renowned Georgian calligrapher, poet, and miniaturist of the seventeenth century, Mamuka Tavakalashvili (also known as Tavakarashvili), created this manuscript in 1646 (Khuskivadze, 1976, 30-43; Khuskivadze, 2018, 30; 79; Chkhikvadze, 2010, 100-103; Kavtaria, 2022,70-71; 167-168, 258, N64; 259, N 65; Kavtaria, 2024, 110).
Tavakalashvili initially served as a secretary in the court of Alexander, the King of Imereti, a historical region in central-west Georgia. He later worked as a calligrapher at the court of Levan II Dadiani, the Prince of Mingrelia (also known as Samegrelo, a historic province in western Georgia that was formerly referred to as Odishi), who reigned from 1611 to 1657.
The manuscript of the “Knight in the Tiger’s Skin” and its miniatures were commissioned by Levan II Dadiani.
The manuscript H-599 contains 267 folios, measuring 27 x 19 cm. It is written on paper in Mkhedruli, the Georgian alphabet developed during the 10th century.
The name Mkhedruli means “cavalry” or “military” and comes from the word “mkhedari”, which means “horseman”, “knight” or “warrior”. From the beginning, Mkhedruli was used only for secular writing. The manuscript is illustrated with 39 full-page miniatures (Kavtaria, 2022, 70-71; 167).
The scribe’s calligraphy is notable for its pronounced decorative quality. The miniatures, on the other hand, are characterized by their compositional simplicity, a strong influence of folk art, sharp dynamics, and exclusive handwriting (Khuskivadze 1976, 30-43).
Photo 1, H -599, 15 v
(Khuskivadze, 2018, 28-29; Kavtaria, 2022, 259, N 64; Chkhikvadze, 2010, 103).
The representation of the characters and the setting effectively captures the essence of western Georgia in the seventeenth century. The heroes are depicted in traditional Georgian attire from the period, while the weapons and surroundings were painted to reflect the realities of the time. Additionally, the characters’ faces evoke those found in Georgian fresco paintings.
Photo 2, H -599, 2 r
(Chkhikvadze, 2010, 102; Kavtaria, 2022, 259, N 65)
In addition to “The Knight in the Tiger’s Skin”, Tavakalashvili also copied and illustrated “Utrutian-Saamiani”, another significant Georgian literary work that consists of prose translations and adaptations of selected sections from the esteemed Persian epic, the “Shahnameh” by Ferdowsi (940-1020), (Abuladze, Giunashvili, 2021, 177; Chkhikvadze, 2010,110-111; J. Giunashvili, 1980-81, 863-865; J. Giunashvili, 2005; J. Giunashvili, 2012, 37-44; Kavtaria, 2024, 111-112; Kobidze, 1974; Zhorzholiani, 2010, 28-29; Zhorzholiani, 2016, 11-13). This was completed in 1647 under the commission of Levan II Dadiani (Kavtaria, 2022, 71; 168)
One of the most famous surviving manuscript versions of this text is catalogued as S-1594 and also preserved at the National Centre of Manuscripts of Georgia. It is a shorter manuscript, containing 148 folios. It measures 31 x 20.5 cm, and is written on paper in black ink in Mkhedruli.
The manuscript comprises stories of kings and nobles (Pahlavāns) following the main theme of the “Shahnameh”.
The electronic version of the critical edition of “Utrutian-Saamiani” (Kobidze, 1974) was prepared in 2001 and 2007 and is available on the following site:
https://titus.fkidg1.uni-frankfurt.de/texte/etca/cauc/mgeo/sahn/sahn3b/sahn3.htm
This manuscript is illustrated with 65 miniatures and contains stories from the time of the legendary Gaioumars (Kayumars) to the birth of Zaal (Zāl) (Zhorzholiani, 2016, 11). Miniatures abound in this manuscript, with several full page paintings and near-full page paintings occupying both sides of folios. Most of these illustrations are multi-figure compositions that depict battles between legendary Persian kings, their warriors (Pahlavāns) and their adversaries. The miniatures are predominantly rendered in shades of brown (Kavtaria, 2022, 71; 168).
Miniatures of this manuscript are created in the Georgian folk style, which is defined by flatness and convention: two-dimensional images are used in place of more classical, realistic perspective; figures are outlined with distinct lines; decorative elements, such as geometric or plant ornaments on clothing or in the background, are actively used; and forms can be enlarged or simplified (such as the hero’s hands or weapons) to highlight his strength and importance. This is how battle scenes, warriors, Dēvs (evil spirits), and kings are portrayed.
The following are some first-ever instances of S-1594 manuscript miniatures:
Photo 3, 39r-40v; dimensions: 9978 X 7543 pixels; resolution: 600 dpi
Photo 4, 50r-51v; dimensions: 10120 X 7543 pixels; resolution: 600 dpi
Photo 5, 95r-96v; dimensions: 5251 X 7543 pixels; resolution: 600 dpi
Photo 6, 027r; dimensions: 5185 X 7480 pixels; resolution: 600 dpi
References
Tamar Abuladze, Helen Giunashvili, “Georgia and Iran: Historical-Cultural Context and Tendencies of Georgian Renaissance (According to Georgian Handwritten Heritage)”, Pro- Georgia. Journal of Kartvelological Studies, vol. 31, 2021: 173-192.
Nestan Chkhikvadze (ed.), Georgian Manuscript Book.5th-19th Centuries. Online Album, prepared by Maia Karanadze, Lela Shatirishvili, Nestan Chkhikvadze with participation of Tamar Abuladze, Tbilisi, National Centre of Manuscripts of Georgia, 2010 (in Georgian).
Jamshid Giunashvili, “The Georgian Versions of “Shahnameh”, Āyande 6, number 9-12, Tehran, 1980-81 (1359): 863-65 (in Persian).
Jamshid Giunashvili, “Šāh-nāma Translations ii. Into Georgian”, Encyclopaedia Iranica, online edition, 2005: http://www.iranicaonline.org/articles/sah-nama-translations-ii-into-georgian
Jamshid Giunashvili, “Ferdowsi’s Shahnameh in Georgia”, Selected Essays on Iranian Studies and Georgian-Iranian Historical-Cultural Relations, Tbilisi, Universal, Edition of the Cultural Section of Embassy of Iran in Georgia. Series of Georgian-Iranian Association for Cultural and Scientific Collaborations, N 11, 2012: 37-44 (in Persian).
Jamshid Giunashvili, Helen Giunashvili (eds.), Shota Rustaveli’s Poem “The Knight in the Tiger’s Skin” in Iran, Tbilisi, publication of the Georgian-Iranian Society for Scientific and Cultural Relations and Cooperation, “Universalis”, 2016 (2017) (in Persian).
Helen Giunashvili, Medieval Georgian Manuscripts of Shahnameh Translations with Miniatures at the National Centre of Manuscripts of Georgia (“Rostomiani”), The Digital Orientalist, 2025.
Nino Kavtaria, The Work of Painters of the Georgian Manuscript Book (X-XIX cc), Tbilisi, Korneli Kekelidze Georgian National Centre of Manuscripts, 2022 (in Georgian and English).
Nino Kavtaria, Illuminating Georgian Manuscripts, in A Story of Encounters. Georgia’s Cultural, Artistic, and Historical Heritage, edited by Bernard Coulie and Nino Simonishvili. Hannibal Publishers, 2024: 108-116.
Iuza Khuskivadze, Georgian Secular Miniature. XVI-XVIII Centuries, Tbilisi, Metsniereba, 1976 (in Georgian, summary in Russian and English).
Iuza Khuskivadze, Islam in Georgian Fine Arts and Architecture, Tbilisi, Sezan, 2018 (in Georgian and English).
Davit Kobidze (ed.), The Georgian Versions of the “Shah-Name”, vol. III. Tbilisi, Tbilisi State University press, 1974 (in Georgian).
Buba Kudava (ed. in chief), Shota Rustaveli.The Man in the Panther’s Skin. Heritage of Manuscripts. Tbilisi, the National Centre of Manuscripts, 2013 (in Georgian and English).
Lili Zhorzholiani, Manuscripts and Editions of the Ancient Georgian Translations of the “Shah-Nameh”, Gozaresh e Mirās, N 39, Tehran, 2010 (1389): 28-29 (in Persian).
Lili Zhorzholiani, Ferdowsi’s “Shah-nameh” in Georgia, Tbilisi, Universal, 2016 (In Georgian and Persian).
