REVEALING OF NATIONAL IDENTITY IN LITURGICAL MUSIC (ON THE EXAMPLE OF GEORGIAN ECCLESIASTICAL CHANT)

Abstract

In the article, Georgian ecclesiastical chanting art is represented as the original part of Christian art of chanting; here originality is discussed in the context of national identity. As the art of chanting, Georgian people created original system of self-expression based on general Christian norms and regularities. This originality is seen in hymnographic works, in old Georgian musical terminology, in the structure of hymnographic works, systems of musical writing, musical texture and liturgical, chanting traditions. The paper discusses where original approaches are manifested in the afore-mentioned spheres of Georgian chant and attempts to explain these peculiarities. Similar manifestation of national identity, self-expression are also encountered in other spheres of Christian art (temple architecture and icon writing, mural painting and relief) where artistic peculiarities are marked out, conditioned by national worldview, aesthetics and peculiarities of historical development. Development and dissemination of Christian culture in Europe was one of the first stages of globalization. But the Georgians transformed this culture in the context of national culture. This way emerged Georgian national Christian culture, which became the basis of Georgian nation’s originality and identity.