The Shemokmedi Monastery was founded in the 15th century as a seat of one of the three bishoprics of the Principality of Guria, the other two being Jumati and Khino. At the same time, the monastery served as a burial ground to the Gurieli princely dynasty. The surviving tombs belong to Rostom Gurieli (died 1564) and Mamia III Gurieli (died 1714).
After the death of Metropolitan Bishop Ioseb Takaishvili in 1794, the Shemokmedi sea became dormant; the bishop of Jumati became a titular Shemokmedeli, while the monastery and its possessions passed to Kaikhosro Gurieli, an influential member of the ruling dynasty of Guria, who eventually lost his estates for leading an insurrection against the Russian Empire in 1820. During the conflict, Shemokmedi was stormed by the Russian troops, its fortifications were demolished and environs devastated.
The Shemokmedi monastery was reinstated as a bishopric see, uniting the parishes of Batumi and Shemokmedi, in 1920. The Shemokmedi Diocese was as a separate eparchy was re-established in 1995.
The Shemokmedi monastery consists of two architecturally simple churches—those of the Redeemer and the Transfiguration otherwise known as Zarzma. The third structure, a bell tower, is built upon the fence of the monastery. This complex is located on a small hill on the left bank of the Bzhuzhi river, overlooking the village of Shemokmedi.
The church of the Redeemer is a three-nave basilica with the dimensions of 10 × 13 m. It is an ashlar structure, lined with bluestone, and with a white marble floor. An ornate curving follows the contour of a window on the western façade. The interior was once entirely frescoed. The surviving fragments depict Mamia II Gurieli (died 1627), Prince of Guria, and his wife Tinatin, with respective identifying inscriptions in Georgian.
The church of the Transfiguration was constructed at the behest of Prince Vakhtang I Gurieli in the late 1570s to house the venerated 9th-century Icon of the Transfiguration of Jesus rescued from the Zarzma Monastery in the Ottoman-occupied Principality of Samtskhe; hence comes the other name of the church, 'Zarzma'. This church is smaller than that of the Redeemer, with the dimensions of 9 × 7 m. it is a single-nave design crowned with an octagonal dome. The edifice is lined with brick and ashlar. Fragments of Georgian and Greek inscriptions as well as fresco depiction of the first bishop of Shemokmedi, Besarion Machutadze, survive on walls. A bell-tower built upon the church fence was originally constructed in the 16th century and renovated in 1831. All structures of the complex bare traces of multiple reconstructions.
Over centuries, the Shemokmedi cathedral became a safe-house of ecclesiastic treasures and accumulated a large collection of various religious objects and manuscripts from other churches and monasteries of Georgia. In 1873, the church was visited and the first scholarly description of its collection was compiled by Dimitri Bakradze. Subsequently, the monastery was subjected to a series of robberies. The surviving treasures were catalogued by Nikodim Kondakov on his visit to the monastery in 1889. Since 1924, most of the extant items have been in the collections of the Georgian National Museum.References:
The Garden Kingdom of Dessau-Wörlitz, located in Saxony-Anhalt in the Middle Elbe Region, is an exceptional example of landscape design and planning from the Age of the Enlightenment in the 18th century. Its diverse components – the outstanding buildings, English-style landscaped parks and gardens, and subtly modified expanses of agricultural land – served aesthetic, educational, and economic purposes in an exemplary manner.
The grounds, which had been divided into four parts since the constructions of a railway line and the Bundesautobahn 9 in the 1930s, were designated a World Heritage Site by UNESCO in 2000.
For Prince Leopold III Friedrich Franz of Anhalt-Dessau (1740-1817) and his friend and adviser Friedrich Wilhelm von Erdmannsdorff (1736-1800), the study of landscape gardens in England and ancient buildings in Italy during several tours was the impetus for their own creative programme in the little principality by the rivers Elbe and Mulde. As a result, the first landscape garden in continental Europe was created here, with Wörlitz as its focus. Over a period of forty years a network of visual and stylistic relationships was developed with other landscape gardens in the region, leading to the creation of a garden landscape on a unique scale in Europe. In the making of this landscape, the designers strove to go beyond the mere copying of garden scenery and buildings from other sites, but instead to generate a synthesis of a wide range of artistic relationships. Among new and characteristic components of this garden landscape was the integration of a didactic element, arising from the philosophy of Jean-Jacques Rousseau (1712-1778), the thinking of Johann Joachim Winckelmann (1717-1768), and the aesthetics of Johann Georg Sulzer (1720-1779). The notion of public access to the buildings and grounds was a reflection of the pedagogic concept of the humanisation of society.
Proceeding from the idea of the ferme ornée, agriculture as the basis for everyday life found its place in the garden landscape. In a Rousseauian sense, agriculture also had to perform a pedagogic function in Anhalt-Dessau. Through the deliberate demonstration of new farming methods in the landscape garden, developments in Anhalt-Dessau were not merely theoretical, but a practical demonstration of their models in England. It is noteworthy that these objectives - the integration of aesthetics and education into the landscape – were implemented with outstanding artistic quality. Thus, for instance, the buildings of Friedrich Wilhelm von Erdmannsdorff provided important models for the architectural development of Germany and central Europe. Schloss Wörlitz (1769-73) was the first Neoclassical building in German architectural history. The Gothic House (from 1774) was a decisive influence on the development of Gothic Revival architecture in central Europe. Here, for the first time, the Gothic style was used to carry a political message, namely the desire for the retention of sovereignty among the smaller Imperial territories. The churches in Riesigk (1800), Wörlitz (1804-09), and Vockerode (1810-11) were the first Neoclassical, ecclesiastical buildings in Germany, their towers enlivening the marshland, floodplain landscape in which they served as waymarkers. In parts of the Baroque park of Oranienbaum, an Anglo-Chinese garden was laid out, now the sole surviving example in Europe of such a garden in its original form from the period before 1800. The development of stylistic eclecticism in the 19th century had its roots in the closing years of the 18th century.
Another feature of the landscape is the integration of new technological achievements, such as the building of bridges, an expression of a continuing quest for modernity. Through the conscious incorporation of the older layouts at Oranienbaum and Mosigkau into a pantheon of styles, the landscape became an architectural encyclopaedia featuring examples from ancient times to the latest developments. Nowhere else in Germany or Europe had a prince brought such an all-embracing and extensive programme of landscape reform into being, particularly one so deeply rooted in philosophical and educational theory. With the unique density of its landscape of monuments, the Garden Kingdom of Dessau-Wörlitz is an expression of the enlightened outlook of the court at Dessau, in which the landscape became the idealised world of its day.
Through the conscious and structured incorporation of economic, technological, and functional buildings and parks into the artistically designed landscape, the Garden Kingdom of Dessau-Wörlitz became an important concourse of ideas, in that it facilitated the convergence of 18th century grandeur of design with the beginnings of 19th century industrial society. The reforming outlook of this period brought about a huge diversity of change in the garden layout, and this legacy can still be experienced today.