In addition to the natural gems of Bakuriani, you have the opportunity to explore architectural wonders, such as the ancient monastic complex of Timotesubani, constructed in the 10th century. This remarkable site is renowned for its ancient frescoes, which are considered some of the finest examples of Georgian religious art from the medieval period. The sacred structure is situated within the ruins of the monastery of the same name, located in the northeastern region of the Georgian province of Samtskhe-Javakheti, approximately 11 kilometers southeast of the administrative center of the Borjomi municipality—Borjomi itself.
Officially named the Church of the Assumption of the Blessed Virgin Mary, the church received its title after being consecrated in honor of the corresponding Orthodox feast day, celebrated annually by the Georgian Church on August 28. This day commemorates the Assumption and burial of the Mother of God, a moment when, according to church tradition, the apostles miraculously converged from different lands to ancient Jerusalem.
The construction of the Timotesubani church dates back to the turn of the 12th and 13th centuries, specifically between 1195 and 1225. It was built upon the ruins of an earlier cult structure from the 8th century, within the boundaries of a monastery established in the 12th century.
This religious edifice owes its existence to the landowners of the Torali region, two brothers named Shalva and Ivane Torieli, who valiantly fought for the Christian faith during the reign of Queen Tamar of the Bagrationi dynasty. This era is often referred to as the “Golden Age,” one of the most prosperous periods in Georgian history. However, the fate of these warrior leaders was tragic—Ivane was killed in battle, while Shalva was captured by Muslims and subjected to brutal torture for refusing to abandon his faith, ultimately leading to his execution. The church canonized Shalva as a martyr, and he is revered by Georgians as a national hero.
Historical records about the Timotesubani church are scarce, with only mentions of its existence found in the 16th-century registry of the Gurjistan province, the works of Vakhushti Bagrationi from the 18th century, and a few modest accounts by 19th-century travelers. The walls and frescoes of the church bear no inscriptions, or if they ever existed, they have not survived the passage of time.
Since 1994, services have been regularly held at the church. Today, this historical and architectural monument attracts not only tourists but also pilgrims. Visitors can come for a couple of hours or choose to stay for several days to soak in the serene atmosphere.
Visitors enter the ancient monastery through an arched passage of an elongated stone structure, which researchers believe served as a support for the bell tower, flanked by two-story monastic buildings that have since been destroyed. The remaining ruins testify to the existence of other constructions.
The domed church of Timotesubani occupies the central position of the former monastery. It is built from a distinctive light pink brick typical of Georgia, a rarity for the 12th and 13th centuries. The structure features the typical architecture of a religious building from that period, with overall dimensions of 19 by 11 meters and a height reaching 28 meters.
The façade of the church is quite austere, lacking excessive ornamentation or decorative elements. The three apses located on the eastern side of the church appear slightly rounded from the outside. The two narthexes (extensions before the entrances on the west and south) were added later. The exterior of the light drum, crowned by a conical dome, showcases ceramic crosses in azure blue. Twelve elongated window openings encircle the structure, creating an effect of upward movement.
Inside the Timotesubani church, the space is wide and airy. The pointed arches and vaults have a clear profile, and the limited number of windows creates a dimly lit ambiance that is pierced by bright rays of daylight.
The ancient wall and ceiling paintings have remarkably well-preserved, considering they were created in the early 13th century. Thanks to these unique frescoes, which were hidden under a “patina of time” until recently, the church has become a popular destination for tourists. In the early 2000s, significant financial assistance was allocated for the reconstruction of the building and the restoration and conservation of the ancient paintings, coming from several global and state institutions. This attention arose after researchers developed a keen interest in the ancient frescoes of Timotesubani.
Restorers successfully revealed the faded images on the church’s walls and ceilings. They cleaned, saturated, and stabilized the frescoes, breathing new life into them. The distinctive polychrome painting serves as a vivid testament to the artistic style prevalent in the 12th and 13th centuries. It is characterized by fluid lines, graceful movements, elongated figures, and an absence of harsh monumentality.
Today, the Timotesubani church stands as both a subject of scholarly research and a significant cultural-historical monument. Despite the fact that specialists believe the frescoes were created by different masters, their narrative forms a cohesive whole—carefully crafted and interwoven. The imagery depicts a harmonious blend of biblical events alongside scenes of the heroic struggle of Saint Shalva for his faith.
A particularly important aspect of the frescoes is the unique dome painting. In the conch (semi-dome) of the altar apse, a majestic depiction of the Virgin Mary with the infant Jesus is presented, accompanied by images of prophets and archangels. Various sections are dedicated to themes from the Virgin Mary cycle, culminating in the “Last Judgment,” alongside depictions of Christ’s miracles and Old Testament scenes (which have survived only in fragments), as well as images of saints, prophets, and apostles.
On one hand, the pictorial ensemble adheres to ancient Byzantine stylistic directions, while on the other, it showcases local, distinctive features. Researchers assert the extraordinary skill of the artists involved and regard the frescoes here as among the most complex and profound examples of Georgian art from that time.
Adjacent to the monastery, there is a shop where visitors can purchase various church utensils and symbols, as well as intriguing monastic wine.
The monastery is accessible by public transport, private car, or as part of an organized tour group. In the village of Tsagveri, you’ll find a narrow-gauge railway station, established over a century ago to facilitate the movement of vacationers and the transportation of mineral water. Today, small trains run on a schedule between Borjomi and Bakuriani, with timetables available at the Borjomi-Gruziya and Bakuriani railway stations. Passengers should disembark at Tsagveri and then either walk 4 kilometers or hire a local taxi service to reach the monastery.