Sabereebi (საბერეები) is a captivating monastic complex nestled in the Gareji Desert, located 15 kilometers from the David Gareji Monastery in the Sagarejo district of Kakheti. Constructed around the 9th century, this site was likely abandoned following the invasion of Shah Abbas in the 17th century. It presents itself as a long chain of caves carved into clay, with some remnants of frescoes still adorning its walls. The unique feature of Sabereebi is its remoteness from conventional roads, which contributes to its infrequent visitation. There are very few descriptions of this hidden gem, yet its beauty is undeniable.
As is well-known, the Gareji Desert became a sanctuary for monks starting in the latter half of the 6th century, when David of Gareji established the first monastery here. In 2019, Azerbaijan claimed that the Albanians had some connection to this history, though they did not provide evidence to substantiate this assertion. Among the vast number of caves in Gareji, nearly half were constructed in that very 6th century. The arrival of the Arabs halted cave construction for a time, but by the early 9th century, the Kingdom of Kakheti had regained its independence, allowing for new building endeavors.
During this period, in the first half of the 9th century, a Georgian named Hilarion resided in Kakheti. He witnessed the defeat of iconoclasm in Byzantium in 843. In 855, he founded the Akura Monastery in Kakheti. He occasionally lived at the David Gareji Monastery and is believed to have contributed to the establishment of another complex: Sabereebi itself. Thus, these caves symbolize the post-Arab renaissance and the resurgence of creativity following the iconoclastic controversies. This was a time when cities were rapidly constructed in Georgia, new fields were cultivated, and viticulture began to flourish on an industrial scale, although these changes scarcely affected the Gareji Desert.
The Gareji Desert likely saw the formation of ridges stretching from west to east during the post-glacial period, sometimes featuring steep southern slopes. One such ridge, approximately 6 to 7 kilometers long, is located in the eastern part of the desert, near the Iori River. Along its steep southern slope, around 12 caves have been excavated. It can be challenging to define what constitutes a distinct cave and how to number them; typically, they are numbered from east to west. The main road leads from the village of Keshalo to the eastern edge of the ridge, which is likely why the closest cave to the road is considered the first. There is another road leading to the western edge, but for some reason, it is rarely used.
Since the 19th century, the Sabereebi ridge has been divided into two sections: Upper Maghazano and Lower Maghazano.
All the caves are carved from clay, except for one or two that are hewn from compacted gravel. Almost all of them can be accessed via steep debris slopes. It is evident that the caves were once larger, but over time, the slope has eroded, causing the facades of the caves to disappear. It is estimated that about half of the caves have been lost, although in some places, small fragments of what were once large chambers remain.
An intriguing feature of the caves is the absence of ceramic shards both within and around them. If people lived here for an extended period—perhaps 500 years—one would expect a significant accumulation of debris. Yet, none can be found in any substantial quantity. Perhaps the caves collapsed during a later period, and the current debris conceals broken pottery beneath it. It would be fascinating to excavate this debris and see what lies hidden beneath.
Now, let’s list the caves in order from east to west.
First Cave: This cave is prominently visible as you approach the ridge from the east, recognizable by its arches reminiscent of those in Vardzia near the central temple. The ascent to this cave is the most challenging of all. It’s advisable to know the trail, which is steep and, at times, loose. The cave itself is small and contains no frescoes. The walls show traces of the material used for carving, suggesting that plaster was never applied here, nor were there any paintings. There is no clearly defined temple, just something resembling a niche for a chapel.
Second Cave: Located about a kilometer west of the first, this cave is identifiable by another cave slightly to the left. The second cave is deeper than the first and features a fairly large main chamber, followed by what resembles a small temple with an altar niche.
There are no frescoes, and the walls are roughly finished. On the left side, there is a chamber with a blackened ceiling and small depressions for jars. This was likely a living cave, where a modest chapel served personal needs. If you find yourself wandering on foot, this cave is a convenient place to spend the night if necessary.
Third Cave: Located nearby, this cave is distinctive as it is carved into gravel layers rather than clay. The ceilings and arches are rough, but in the left section of the cave, there was once a temple, likely plastered and adorned with frescoes. Remnants of plaster can still be seen, indicating that it was mixed with straw, although some suggest it might have been manure. A faint, almost faded figure remains from the original paintings.
Both the second and third caves serve as useful landmarks: directly south of them lies a spring, approximately 800 meters away in a straight line. This spring, known as the “Monastic Spring” (ბერების წყალი), is identifiable by the trees and livestock that come to drink. It is possible that the monks of old utilized this water source. Coordinates for the spring are: 41°27’18″N 45°35’17″E.
Fourth Cave: Situated about 300 meters to the west, this cave is significantly damaged and offers little of interest.
Following this, there is a stretch of approximately 1500 meters with nothing noteworthy. While small caves may exist in the slope, they are unlikely to be of any significance. Then, you will encounter a farm. Be cautious, as aggressive dogs may be present, making it unwise to approach on foot. Beyond the farm, around 400 to 500 meters away, lies the Fifth Cave, which is officially referred to as the Seventh Cave.
Fifth (Seventh) Cave: This cave represents the most valuable part of the Sabereebi caves. It is a complex of several caves, featuring actual temples with frescoes.
The right temple, or the first cave on the right, boasts a dome-shaped ceiling supported by squinches. The altar niche is adorned with paintings, though the scene is difficult to decipher.
The squinches under the dome are particularly intriguing. They are not structurally necessary, as by the 9th century, sails were already known in Georgia. However, the builders seemed unaware of these modern developments and opted for a dome with decorative squinches in the corners to create the appearance of a genuine stone structure.
Take note of the angel figure in the right photograph; its unusually large hands are noteworthy. In art history, this style is associated with the 9th century, a time when the rejection of Hellenistic forms began, and artists sought to establish their unique identities.
Central Temple: This area also features a dome and frescoes, which are more intricate and contain more inscriptions than those in the right temple. In the altar niche, Christ Pantocrator is depicted surrounded by angels, with angelic thrones represented as red wheels with eyes at the bottom. In Christ’s hands is a Gospel, which should contain the words “Come to me, all you who are weary,” but the text is now difficult to decipher.
On the northern wall, a complex composition illustrates the Crucifixion, the Virgin Mary, and the two thieves. Traditionally, the good thief is depicted on Christ’s right side, but here, the faces are damaged, making it impossible to discern who is who based on their expressions. The vault on the right side also contains many inscriptions, but the dark corner makes it challenging to read their content.
In Armenian art history, there exists a theory that this cave was painted by Armenian Chalcedonians. The validity of this theory remains uncertain.
Left Cave: This cave appears to lack a vault, resembling a hall-like temple. The frescoes are poorly preserved, with only the figure of an angel being clearly discernible.
Beyond this complex, further west, there are supposedly two additional caves, but nothing particularly remarkable has been noted there.
The Sabereebi caves may not be as visually striking as the Tetri Udabno caves near the Lavra, and the frescoes have not withstood the test of time well. Therefore, if you do not possess a specific interest in frescoes from the 9th to 10th centuries, the complex itself may not leave a strong impression, especially after a long journey through summer heat and the expense of fuel. However, if you are embarking on a trek through the Gareji Desert, this site will serve as a delightful highlight along your route, providing a refreshing cultural diversity after hours spent amidst bushes and rocks.
Accessing Sabereebi requires a reliable off-road vehicle. You will need to drive approximately 70 kilometers on asphalt to the village of Badiauri, turn south, pass through the Azerbaijani village of Keshalo, and then navigate into the litter-strewn desert beyond the village, following a map and GPS. The total distance to be covered is 95 kilometers, of which 25 kilometers are on gravel roads, taking about 2.5 hours.
For the adventurous, it is possible to take an off-road route from the David Gareji Monastery and the village of Udabno, which involves about 15 kilometers of gravel roads.
Alternatively, you could opt for a hike from a nearby location, which can also be quite rewarding. However, be mindful of the water situation; it can be challenging to find reliable sources. Close to the caves, there is a spring, and about 4 to 5 kilometers to the east, the Iori River flows. All logistics should be planned with these conditions in mind. While there may be water available at Azerbaijani farms, it is advisable to avoid approaching them due to the presence of untrained, aggressive dogs.