Sign in to use this feature.

Years

Between: -

Subjects

remove_circle_outline
remove_circle_outline
remove_circle_outline
remove_circle_outline
remove_circle_outline
remove_circle_outline
remove_circle_outline

Journals

Article Types

Countries / Regions

Search Results (2)

Search Parameters:
Keywords = Queen T’amar of Georgia

Order results
Result details
Results per page
Select all
Export citation of selected articles as:
12 pages, 13916 KiB  
Article
New Insights in Metallurgical Manufacturing in the Caucasian Area: The Case Study of Artefacts from the Samshvilde Citadel Ruins (South Georgia)
by Natalia Rovella, Maria Pia Albanese, Maria Francesca Alberghina, Salvatore Schiavone, Michela Ricca, David Berikashvili, Levan Kvakhadze, Shota Tvaladze, Alberto Figoli and Mauro Francesco La Russa
Minerals 2024, 14(5), 444; https://doi.org/10.3390/min14050444 - 24 Apr 2024
Viewed by 1564
Abstract
An archaeometric approach was applied to the study of the hoard found in the Samshvilde fortress, one of the richest areas of archaeological artefacts in Caucasian Georgia, since it is representative of the historical events from the Neolithic period until the most recent [...] Read more.
An archaeometric approach was applied to the study of the hoard found in the Samshvilde fortress, one of the richest areas of archaeological artefacts in Caucasian Georgia, since it is representative of the historical events from the Neolithic period until the most recent epochs. In this context, four coins dated back to the 12th–13th centuries AD to the reign of King Giorgi III, Queen Tamar, and King Giorgi IV of Georgia underwent different analytical methods to collect information about the technological production process, the probable forge location, and their conservation state. Optical microscope observations provided details about the decorations, the stylistic aspects, and a preliminary evaluation of the conservation state. Portable X-ray fluorescence and scanning electron microscopy coupled with energy-dispersive X-ray spectroscopy analysis revealed a composition consisting almost exclusively of copper with a lower amount of tin, lead, and silver. Moreover, degradation products (copper chlorides and sulphates) and cuprite patina were identified. The metal-supplying areas could be related to the nearby Bolnisi Mining District, and the forge location could coincide with the hoard location in Samshvilde, but further data and analyses are necessary. Full article
Show Figures

Figure 1

11 pages, 2327 KiB  
Entry
T’amar Bagrationi (1184–1210)
by Irakli Tezelashvili
Encyclopedia 2022, 2(3), 1483-1493; https://doi.org/10.3390/encyclopedia2030100 - 15 Aug 2022
Viewed by 2887
Definition
T’amar Bagrationi, Queen of Georgia (1184–1210). T’amar Bagrationi was the ninth monarch from the royal house of Bagrationis who ruled over the united Georgian Kingdom. She reigned as a co-monarch alongside her father, Giorgi III, from 1178, assuming full authority in 1184. During [...] Read more.
T’amar Bagrationi, Queen of Georgia (1184–1210). T’amar Bagrationi was the ninth monarch from the royal house of Bagrationis who ruled over the united Georgian Kingdom. She reigned as a co-monarch alongside her father, Giorgi III, from 1178, assuming full authority in 1184. During her reign, dynastic legitimacy necessitated the appearance of the monumental royal portraits displaying the monarch with immediate predecessors and heirs. T’amar’s gender required introduction of meticulous visual language that would re-gender her with all signs of a male ruler and justify her status and sole right to rule. This notion was embodied in her portraits that were carefully incorporated in the overall programmes of the churches. T’amar’s five monumental depictions survive where she is identified in inscriptions; two other monumental images are presumed to depict her. Of all the depictions, only one can be determined to have been commissioned directly by her. T’amar’s imagery relies on Byzantine elements and adheres to established Georgian models for the local royal portraiture; however, it also adopted sophisticated visual means that was aptly used for manifesting royal power and manipulating authority over the nobility. Full article
(This article belongs to the Collection Encyclopedia of Medieval Royal Iconography)
Show Figures

Figure 1

Back to TopTop