Artistic and Semantic Aspects of Graphic Images of the Mghvimevi Cave

Recent studies of prehistoric art of the rocks on the territory of Georgia, which is represented by geometric and figurative images engraved, carved and ochre painted, also known as petroglyphs, are a cause of increasing social interest, for that reason, alongside archeological studies, multidisciplinary researches are being conducted. When tracing back the beginnings of discovery of artistic and semantic meanings encapsulated in petroglyphs, special value is given to the artefacts the significant part of which was found in the West Georgia, mostly Imereti region (Sagvarjile, Gvarjila rock, Taro rock, Deviskhvreli, Sakazhia, Djrutchula, Ortvala Klde - the so-called two- eyed rock, Satsurblia, Dzudzuana, Oondo, Bneli the so-called dark rock) and Abkhazia (Agtsa, Aphiancha, Khupinipshakhva the so-called cold cave). The object of our study is a rather bizarre engraving found in a picturesque place of Mghvimevi cave, which dates back to the Upper Paleolithic Age. The discovery was made near Chiatura, road heading to Sachkhere, on the
right riverbank of Rvr. Kvirila on the elevated massif of limestone cliffs. A sketch made by the XIX century French traveler DuBois De Montperreux not only conveys with photographic precision the view of Mghvimevi
cave and monastery constructions erected on the cliff, but also the mystic ambiance of the site. As if, Montperreux had an insight about supernatural powers of the site. Graphic images engraved with specific handaxes in the 7 grottos of Mghvimevi cliff massif were discovered on quite prolonged 40-meter and 8 to 9 meter wide bulge of the 5th cave, its central and northern areas. lithic tools, with which the petroglyphs were carved and scraped are analogous to the tools of the same era in different countries. Presently, this example of most ancient art is being gradually covered by calcite and therefore is on the verge of disappearance. Although, precisely the stalagmite crust enables the calculation and attribution of the graphic images to the Upper Paleolithic Age. The identification of the age of the Mghvimevi cave is also made possible.
through comparison of the petroglyphs attributed to the same period of time from around the world: France, Spain, Mediterranean, predominately Italy and also, so-called France’s North African archaeological sites. On the walls of the Mghvimevi cave about ten, very schematic geometric figures are present on the uneven surface, with deeply carved, sharply clear imagery and gently scraped strokes. Here and there one can observe repeatedly made carves. Straight, horizontal or diagonal intercrossing lines create crosses, nets, so-called beam segments, sometimes parallel strokes are tilted toward each-other creating a triangular “sketch”. It was by comparison of the Mghvimevi cave graphic images with the analogous ones from the Upper Paleolithic Age of the above-mentioned countries and sites, mostly Southern France, Northern Spain, Eastern part of the Mediterranean and through revealing of similarities between them that it became evident, they are far from being meaningless and accidental. In fact, each graphic image is a certain meaningful symbol or an index. The art of Mghvimevi cave deserves special attention due to the variety and diversity of the expression forms of a cross symbol. The sacredness of its semantic magnitude has remained intact for centuries, despite the fact that the cross symbol may signify different meanings, whether in new or ancient religions. The symbols present in Mghvimevi cave: different types of cross shapes, also a dot, an oval-shape notch, circle and intercrossing lines, so-called beam segments, all refer to an astral universe and more precisely the solar symbols. The indication of this is that from the above-mentioned symbols, the dot, the oval and the circle hollows point out to the roundness of the Sun and also to its static state. The diagonally intercrossed lines, the so-called beam segments embody sunbeams, whilst cross is meant to underline one of the most significant features of this celestial body-motion. The moving process of the sun was depicted by a human mostly by different combination of short carved lines, highlighting the most significant moments of the celestial body during its appearance in the sky – sunrise, zenith and sundown and further integrating them into one image. Similar to this, yet another petroglyph of a cross was discovered in one of the caves of so-called Dark Rock (Bneli Klde). The equally-armed cross, carved on an argillite stone was discovered in Tsona cave in the Middle Paleolithic layer and is ascribed to Neanderthal art. Prolonged bone pendant discovered in Dzudzuana cave, which is attributed to the Upper Paleolithic Age materials is also decorated with carvings placed one above the other. It is well worth mentioning that each of the above-mentioned symbols bear the protective AKA apotropaic functions as they are meant to ward off evil spirits, therefore they embrace magical aspects and point out to the mascot role of the pendant. The almost ubiquitous appearance of the cross symbols in the Upper Paleolithic Age underlines its universalism. The symbols of cross are found in France; La Ferrassie, Abri Cellier, Lascaux, Chauve, La Roche-Cotard caves. In Italy; Romanelli (AKA Castro), Grotta del Ciovetto caves. North Africa; South Germany; The cross most similar to Georgian is found in Tata, Hungary’s hunters’ settlement. On the oval shaped stone engraved is a cross with equal arms, which, alike its Georgian relative from Tsona cave was extracted from the Mousterian layer and is also a piece created by Neanderthal. The inner wall of the Agtsa grotto (Abkhazia, near village Anukhua), which is the closest analogue to the Mghvimevi cave, being attributed to the Upper Paleolithic Age, covered with lines and strokes creates a rather unusual spectacle. The fact that Mghvimevi is a typical monument of an Upper Paleolithic Age is reassured by the likelihood with petroglyphs found not only on the territory of Georgia but in other countries as well. By their comparison to Mghvimevi, what is revealed is a structural similarity of carves on the wall And all of this, in its turn, should point out to the fact that, all of the cave art monuments that include wall paintings, evolved on the grounds of similar beliefs and perceptions. Through study of the caves with the analogous petroglyphs throughout the world, it was deducted, that those must have been sacred sites, where worshiping ritual took place to please natural forces and to achieve desirable
course of events by means of magic. It is believed, that according to belief system of a prehistoric human, through undergoing those rituals he’d achieve fertility. A cross, as an image of the Sun was not its conditional symbol or an index it was its icon. To conclude there was no distinction between the myth and or reality. Therefore, an image was not a conditioned sign or a symbol it was an absolute reality and was far from being schematic and abstract. It was an icon. The painted, carved, engraved images were literal objects and by depicting them, a prehistoric human had no intention of creating an aesthetic phenomenon, the image surpassed aesthetical categories. For that reason, it was pure magic and not an artistic creative act. But because in the end an image was created, it automatically would fall into a category of a fine arts at its primal stage It is only fair to conclude that petroglyphs of the Mghvimevi cave, easily fall into category of fine arts, due to many of their peculiar characteristics. It is indeed rare, to find such a degree of schematics and concise geometricity as in images found in the cave. Although, the carvings in this case are in the first place distinguished by the utmost ascetic, conditional expression of forms. And yet, at the same time, it is exactly the point that the thought presented in such a form is the “binding” and unifying element of this chaotic composition. The significance of Mghvimevi cave does not end there. It extends from the remote past into a future, for the reason, that it is most likely a major source of artistic motifs and themes native to Georgian art. Moreover, the roots of Georgian mythology and cosmogony are also to be sought here.