XXXI Международный конгресс ИИСАА. 23–25 июня 2021 г. Т. 1

168 XXXI Международный Конгресс по источниковедению и историографии стран Азии и Африки Секция V David IV, Demetrius I) mostly wore robes that were sewn with heavy fabrics and richly adorned with precious stones, we do not see the same attire on the frescoes of King Lasha Giorgi 1 . However, in our opinion, this is conditioned by certain circum- stances. Three frescoes depicting Lasha Giorgi have survived to this day: in Kintsvisi, Bertubani and Betania. In the last mentioned fresco, Lasha, at the end of the row, stands next to his grandfather and mother. His attire, including the crown, is very plain compared to the imposing and resplendent crown and kerchief worn by Tamar the Great 2 . Lasha's headdress is so modest that it cannot truly be called the crown of a King, as such it would appear that Lasha is presented in more princely clothes and is wearing the appropriate headgear (intended for Batonishvili) (Illustration 14). It is logical that in medieval Georgia, as in Europe, there was an institution of the prince with proper attributes and clothing. That is why we never see Lasha's robes sewn with heavy fabrics or decorated with ornaments; the artist painted him on the frescoes as a prince and co-ruler, not as a King dressed in royal clothes... Lasha Giorg’s royal clothes as depicted in the frescoes of Bertubani and Kintsvisi are particularly noteworthy. In Bertubani, Lasha is wearing a very elegant robe with delicate, perfectly executed ornaments, the colours of which adhere to Georgian rules of depiction that have analogies found nowhere else. The embroidery of the king’s apparel, crown and sleeves is similar, implying that the shape, style and embroidery of the costume were presumably created especially for the Georgian king (Illustration 15). Tamar’s son’s clothes are covered in fur, pleated at the back, while at the front there is a rectangular shape cut out (Illustration 16). Ivane Javakhishvili also paid special attention to Lasha-Giorgi's costume, and wrote: “Lasha-Giorgi's clothes (Bertubani) are the most noticeable among the attire of kings; it is very difficult to say what kind of dress it is or what name it has. It looks like a robe or costume (Kabacha) that was not only meant for noblemen. This costume is fastened at the front. It is characterized by a double-pleated fold and a strange cut” 3 The exact same costume (Kabacha) is worn by Lasha Giorgi in the fresco of Kintsvisi, but in this case the colour of the robe is different and it is not adorned with embroidery over the whole, although the shape and hem are rectangular (illus- tration 17). It seems that during the reign of Tamar and Lasha-Giorgi, members of the royal family or high-ranking feudal lords who were very close to the King also had the right to wear this elegant dress (that is why Ivane Javakhishvili remarked: “This costume was not meant only for Kings”). 1 George IV, also known as Lasha Giorgi (1191–1223), of the Bagrationi Dynasty, was a king of Georgia from 1213 to 1223. 2 Tamar the Great (c. 1160 — 18 January 1213) reigned as the Queen of Georgia from 1184 to 1213, presiding over the apex of the Georgian Golden Age. 3 Javakhishvili I. Mentioned work. P. 38.