This large single nave church with a three-sided extension is located in the village of Yenashi, in the Latal community. The church has two distinct construction phases — the 10th century (the church itself) and the 13th century (the extension and the characteristic design of the facades).
The church in Yenashi is fully painted, though the decorative painting has suffered considerable damage and fragmentation over time, with strong traces of later repainting. The murals, which adorn not only the interior but also the chancel-barrier, are dated to the 13th-14th centuries, marking them as one of the earliest examples of Paleologan wall painting preserved in Svaneti.
The overall iconographic program of the murals (including prayer, the figures of the church Fathers and deacons in the sanctuary, the twelve feasts cycle, the miraculous deliverance of Jonah, and various individual saints in the hall) includes several notable innovations that appear for the first time in Svaneti wall painting, namely:
In the chancel, depiction of the the Church Fathers in 3/4 view, holding open scrolls inscribed with liturgical texts.
The design of the vault, with two specially highlighted compositions at its center (Ascension, Christ of the Ancient of Days).
Both of these features are repeated in other mural ensembles of the same group. Furthermore, it is important to note that the iconographic program is underpinned by a general eschatological theme, similar to that seen in other murals of this group, reflecting the spiritual trends characteristic of this era. This connects the wall painting of Yenashi to similar wall painting programs in other regions of Georgia, such as in Achia, Ubisi, and the Vamek Dadiani tomb in Khobi.
The murals of Yenashi are particularly significant because they feature a portrait of King Constantine I of Likhtimereti (reigning from 1293-1327). In 1305, Constantine oversaw the restoration and repainting of the Jerusalem Cross Monastery, which had been returned to the Georgians. This portrait of the king is now heavily damaged, but was once accompanied by a seal issued by Goshkhoteli, as part of a commemoration of Constantine on the feast day of Constantine the Great. The king’s attire is unusual, being a maniak-loron robe, but short and tied at the waist (this attire is also seen in his depiction in the frescoes of the Ruispiri (historical Artosani) St. Shio Church). In addition to the king’s portrait, there is a second patron portrait of a local noble, Beshken, with his young son, although the family name of Beshken is not preserved.
On the lower register of the north wall, there are minor remnants of earlier painting (a small fragment of a figure's face and an inscription "Barklian," which suggests the existence of another patron portrait, though the date of its creation remains uncertain).
Useful information
| Location | In Latali, near the central road |
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| Key holder | The key is kept at the Yenashi Monastery with the local priest – Father Egnate |
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