This large single nave church, with three-sided annexes (the northern annex now ruined), is located in the village of Nakipari, in the Ipari community. Built in the 10th century, the church is adorned with both wall paintings and sculptural decoration, dating from various periods. The first layer of paintings on the chancel-barrier and the murals on the eastern façade—as well as the reliefs on both the eastern and western façades—date to the 10th century. The interior wall paintings, including the second painted layer of the chancel-barrier, were created in the early 12th century.
The interior decoration of Nakipari Church, according to the inscription, now fragmentary preserved on the chancel-barrier, have been painted in 1130 by Theodore, a royal painter. The inscription reads:
"In the name of God, this church of St. George was painted and adorned in glory and for the prayers of the noblemen of this valley, by the unity of all. Holy George, great martyr, have mercy and strengthen them. Amen. This church was painted and adorned in the chronicle year 'TN' by the hand of Theodore, painter of the king."
This church features the third and final known mural cycle signed by the royal painter Theodore. The survival of three wall painting cycles attributed to a single named artist is quite rare in medieval mural art. Of particular importance is Theodore’s title—painter of the king—which confirms his connection to the royal court. Just as significant, however, is the fact that the painting of Nakipari Church was not commissioned by a single patron or noble family, but collectively by the noblemen of the entire Ipari community, which encompassed five villages. This offers valuable insight into the cultural and social context of medieval Georgia.
As in his other known works, Theodore applies the same compositional principles in Nakipari, reflecting a refined continuation and reinterpretation of earlier approaches found in the formative period of the Svanetian painting school. These align with broader artistic tendencies of the time, common not only in Georgian but also in Byzantine wall painting.
A notable aspect of the iconographic program is the limited selection of feast scenes—only four are depicted from the cycle of the Lord’s feasts—while special focus is given to the Life of St. George, making it one of the earliest visual narrations of the saint’s life in Georgian wall painting. The selected scenes highlight St. George’s martyrdom and heroic faith.
Particularly striking is the grand conch composition above the apse—the so-called Deesis Vision. Alongside the traditional motifs, it includes a multitude of angelic hosts and prophetic visions. Together with the intercessory theme of the Deesis, this composition strongly emphasizes the majesty and glorification of the Lord. The fusion of Deesis and the Theophanic Glory of the Lord into a single composition has no known direct parallel; however, some individual elements are found in both early Svanetian and Tao-Klarjeti mural painting, indicating a clear connection between these two important schools of Georgian art.
The first layer of paintings on Nakipari’s chancel-barrier, as well as the decoration of the eastern façade, represent some of the earliest examples of the traditional direction of the Svanetian painting school. Additionally, the façade decoration is a rare and outstanding case of combining both painted and sculptural elements into a unified composition.
Useful information
| Location | The church is located in the village cemetery |
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| The Key Holder | The key is kept at Khvistanis\' Family |
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