History Etched in Stone
Beyond written history, another undeniable chronicler of Akhmeta’s past is its history carved in stone. Across every inch of its land, from expansive plains to remote mountain peaks, lie stone imprints—unique monuments of cultural heritage, ancient settlements, temples, fortresses, and dwellings that echo the creative and historical essence of different epochs.
The Abode of Giants
The journey through Akhmeta’s past begins in Matani, a village nestled along the banks of the Matniskhevi River, where archaeological excavations have unearthed one of the region’s oldest settlements. In 2012, near the village, on a remote and densely forested hill, the remains of a Cyclopean settlement, locally known as the ‘Abode of Giants’, were discovered buried beneath the earth. These structures date back to the 3rd–4th millennia BCE and are attributed to the Megalithic culture. Megaliths are monumental constructions created by ancient civilizations using massive stone blocks for both ritualistic and practical purposes. The dry-stone fortresses built with enormous boulders were associated by the ancient Greeks with the mythical Cyclopes. In Georgian tradition, their construction is linked to giants, or ‘Devi’, giving the site its evocative name, the ‘Abode of Giants’.
Erelaant Church
Just a few kilometers away from the ancient cyclopean settlement, to the southwest of the village, on the sprawling fields stands one of the first and most remarkable monuments of early Christian architecture – the Erelaant Church. Built in the 5th-6th centuries and dedicated to the Virgin Mary, this miniature cruciform-domed structure is a masterpiece of its time. The church is constructed from cobble stone and irregular limestone slabs. Inside the church, fragments of frescoes adorn its monumental walls. Among these remnants, one can discern linear shadows dominated by red hues – an artistic signature attributed to the renowned “folk” painting school of the late Middle Ages. This distinctive style is characterized by its remarkably free brushstrokes, which imbue the depicted figures with an unforgettable expressiveness.
Matani’s Tskhrakara (Nine-Gates) Monastery
The Monastery complex, built in between 5th-8th centuries, is an architectural rarity. Constructed from cobble and limestone, the monastery comprises several interlinked churches that merge into one unified structure. The complex, with its diverse arches, architectural interweaving, preserved frescoes, and underground chambers, is so remarkable that in the 21st century, it has gained the status of a cultural heritage monument of national significance.
St. Nicholas Church in Matani
The 16th-century domed church of St. Nicholas stands out for its exceptionally refined architecture. The dome’s drum and pyramid-shaped roof are crafted from brick, while the rest of the structure is built with cobble stone and finished with locally sourced limestone slabs. The church features three entrances—on its southern, western, and northern sides—and rises proudly on an inaccessible wooded hilltop.
Much like the small yet significant village of Matani, the entire Akhmeta municipality is adorned with a rich array of diverse churches. These include the 8th-9th century Church of St. John the Baptist in Pichkhovani, the All-Holy Hall Church in Argokhi, the Church of St. John the Baptist in Alvani, the Trinity Church in Ozhio, and many more. Among these treasures is another masterpiece of the early-Christian era, awaiting discovery:
The Akhmeta Monastery of the Deity
North of the town of Akhmeta lies the Monastery of the Deity, a 6th-century complex that, though partially preserved, still bears traces of the grandeur of early Christian monuments. The centerpiece of the complex, a three-aisled basilica dedicated to the Deity, was complemented by a hall-style church, a vast wine cellar, a two-story palace, and various auxiliary buildings. Constructed from cobble stone and limestone slabs, the monastery showcases intricate arches and sculpted columns that add exceptional architectural value to the entire site. According to a legend, the monastery’s establishment is tied to one of the 13 Assyrian Fathers, Saint Anton of Martkopi. It is believed that this site was his first dwelling while preaching in Georgia. Until the 8th century, the monastery served as a prominent episcopal center, playing a vital role in the region’s religious and cultural life.
The temples built on the lively lands of Akhmeta, no matter how small, have never been merely places of worship. From their very inception, they served as driving forces for the spiritual, educational, and cultural development of the region, and, indeed, the entire country. This profound idea and creative legacy found its most striking expression in the historic fortress-city of Kvetera during the 8th-11th centuries.
Kvetera: A Fortress at the Crossroads
On the right bank of the Ilto River, perched atop a mountain near the Akhmeta-Tianeti highway, stand the ruins of the eminent Kvetera fortress. From this vantage point, the remnants of fortified city watch over the landscape, just as once, from the steadfast walls and battlements, sentries, standing guard looked down on one of the country’s most vital and historic crossroads.
The name of Kvetera first appears in historical sources in the 11 century, though Prince Vakhushti Batonishvili’s studies suggest its development began as early as the 8th century. Accordingly, in the years 1010-1037, when the Kingdom of Kakhet-Hereti was divided into seven duchies, Kvetera had already established itself as a key regional center. The fortress was built on an inaccessible mountaintop, offering a commanding view of the routes between the Alazani Valley and the mountain regions, making it an ideal strategic location. This advantageous geographic positioning granted the fortress-city significant strategic value, allowing it to absorb sudden attacks from the north and shield the inner regions from imminent threats. Such strategic importance gradually transformed Kvetera into one of the foremost centers of the Kakheti principality (later kingdom).
The grand ruins of Kvetera are spread across the mountaintop, encircled by a defensive wall built with river stones and rock face-stones. These walls feature buttresses, circular and rectangular towers, and wooden battle platforms. The entire fortress-city is divided into the lower and inner citadels, with a vertical difference of 35 meters between them. The citadel, occupying the highest fortified area, spans approximately 3500 square meters and houses a palace, a hall church, utility rooms, and the remnants of a water reservoir. At its center, on a vast field, stands with monumental grandeur the heart of Kvetera – a 10th century miniature domed church that remains a unique masterpiece of Georgian culture. The small church’s layout forms a cross with four apses, crowned by a dome. The drum of the dome is adorned with an overlapping system of arches, and its light filters through six distinctive arched windows. The unknown medieval architect employs minimal decoration, favoring a pure simplicity and a minimalist style, yet achieves an exceptional aesthetic effect through the interplay of light and bare structure. The pale-yellow limestone walls, accented with a roof of azure-glazed tiles, make Kvetera’s church a perfect harmony of stone that has withstood the test of centuries.
In 1968, archaeological excavations at Kvetera uncovered not only the main historical, cultural, and military heritage but also numerous glass vessels, glazed tiles, fragments of faience, bracelets, copper coins, and pottery-related artifacts, all suggesting that Kvetera had its own pottery production and craft industry during the Middle Ages. After the 13th century, traces of urban life in Kvetera began to disappear and references to the city in later historical records are sparse. However, during the centuries when Kvetera thrived, the pulse of the kingdom beat strongest within its walls, shaping the region’s historical, cultural, military, and economic legacy.
The revival that started in Kvetera ultimately reached its pinnacle in the 11th century, when the cornerstone of Georgian history, culture, and religion, the Alaverdi Monastery was consecrated. This architectural marvel, rising from the immense Alazani plains against the snow-capped peaks of Caucasus, marked the beginning of a new chapter, profoundly influencing the future trajectory of the nation.
Alaverdi Monastery – Treasury of Georgian Spiritual Heritage
As early as the 6th, Joseph of Alaverdi—one of the 13 legendary Syrian Fathers—preached on the lands of Kakheti. The Abbot erected a small chapel dedicated to Saint George on these plains. Since then, numerous historical upheavals have swept through these lands, ultimately merging into the inevitable process of unifying the Georgian principalities. This transformative era brought a revolutionary evolution in Georgian architecture, ideology, and culture. Between the 10t and 11th centuries, within a span of just 50 years, iconic masterpieces arose almost simultaneously: the Bedia Cathedral in Abkhazia, Bagrati Temple in Kutaisi, Svetitskhoveli Cathedral in Mtskheta. Following this legacy, in the early 11th century, under King Kvirike of Kakheti, the small chapel built by Joseph of Alaverdi on Alazani valley, was transformed into the grand Alaverdi Cathedral.
The new temple’s scale and architectural design were so monumental and groundbreaking that it immediately secured a prominent place not only in Georgian but also in Caucasian architectural heritage. Towering over 50 meters with its dome, the cathedral is one of the largest in Georgia. Constructed with cobblestones and faced with squared limestone blocks, the cathedral’s floor plan is based on a triconch design. The façade is characterized by restrained decoration; its massive walls are divided only by arches and niches, creating an impression of a cross not outlined only at ground level, but formed in the space itself through the building’s volumes. The spatial perception of the interior is equally striking, not only for its height but also for the perfect harmony between its architectural elements. Light floods the walls through 16 windows in the drum of the dome, giving the space a shimmering quality. Externally, the cathedral conveys grandeur through its emphasis on soaring proportions, accentuated vertical lines, restrained decoration of its monumental facades, a hallmark of Kakhetian architecture. Originally, the structure was roofed with large, azure-glazed ceramic tiles, relics of which remain to this day. On the inside walls fragments of unique frescoes have survived, ranging from the oldest 11th to the 15th–17th centuries. The predominant tones of these paintings include pale pink, crimson, white, gray, and ochre.
Since its consecration, Alaverdi has played a pivotal role in Georgia’s history—not only as a religious and political center but also as a driving force behind cultural, literary, and artistic developments in the region and beyond. The monastery became home to an educational center where renowned Georgian scholars and philosophers studied and worked. It also housed a literary hub with a priceless library that became a safe haven for writers, calligraphers, and scholars. Among those who contributed to this vibrant intellectual life were figures such as Philip of Alaverdi (16th–17th centuries), Archbishop Zebede (18th century), Nikifore Irbachi (18th century), and Mariam-Makrine Bagrationi (18th century).
Alaverdi Monastery is also deeply tied to flourishing viticulture and winemaking tradition, an art elevated to its highest form within this sacred site. Within the cathedral itself, near the altar, an intricate ornament is carved into the columns—a series of large grape clusters intertwined with vine scrolls. These intricate depictions symbolize the enduring significance of viticulture in the region. For centuries, the monks, cloaked in black, crafted wine following secret and sacred methods, using large clay vessels, qvevris, buried in the monastery’s wine cellars.
Alaverdi and its estates also hosted one of Georgia’s grandest festivals—Alaverdoba, held annually in late September and lasting for three weeks. This festival drew 15,000–20,000 pilgrims from across the region. Since its founding, the Alaverdi Monastery complex has continued to grow. As a result, within its fortified walls stand several historically significant structures built in different epochs; there are: a bell tower erected on the Alazani Valley, a chamber, Feikar Khan’s palace, a bathhouse, wine storage rooms, a cellar, and, most importantly, the grand Cathedral of Saint George. Beneath the temple rest the remains of Georgian kings and Joseph of Alaverdi himself. Today Alaverdi Monastery welcomes all kinds of visitors and pilgrims to share the unbroken story of life and tradition that has flourished on these sacred lands over the centuries.
Sachino: A brilliant Legacy of a Brilliant Era
Perched atop a lofty mountain south of the village of Akhaldaba stands the exquisite cross-domed Church of the Virgin Mary, a beacon of architectural and spiritual brilliance from the early 14th century. Built during the illustrious reign of King George V (1314–1346), the church epitomizes the grandeur of its time.Rising to approximately 40 meters, the church’s exterior is entirely clad in finely crafted limestone slabs, while its interior construction incorporates carved limestone blocks, river stones, and bricks. Designed as a square-plan structure, the church originally featured three entrances: the western door remains functional to this day, whereas the southern and northern entrances ceased to operate due to the passage of time and historical events. The diaconicon of the church includes a staircase leading to chambers situated above the sanctuary. On the upper tier of the eastern façade, a four-line inscription in old Georgian script – ‘Asomtavruli’ commemorates Zurab, son of Sagin, believed to be the church’s patron and builder. In scholarly literature, the church is often referred to as simply Sachino (meaning well-seen), a name given by locals. The designation likely reflects its strategic geographical location, positioned on a commanding plateau encircled by ancient settlements, fortifications, and churches. This mountain not only oversaw the Alazani Valley’s key perimeters but also served as a visible landmark from the plains below, a testament to its prominence in both history and landscape.
Beyondremarkable churches and monasteries, Akhmeta’s lands are dotted with numerous and diverse dwellings, towers, and fortresses. From the late Middle Ages onward, the area saw an increase in true fortification outlines. The architecture of Akhmeta vividly narrates the turbulent historical past of the country, illustrating how its people preserved life’s essential cycles and crafted a unique culture amidst upheaval. One such striking example of this era is the rare architectural phenomenon known as Tower-Winery (tower-cellar).
Tower-Winery
In the courtyard of the Upper Khodasheni Monastery stands an unusual structure—an architectural curiosity. According to an inscription on the church, ‘winery with a fortress’ (koshk-marani) was constructed between 1760–1784 by Kozma the Monk, the steward of the Khodasheni estates and vineyards, donated to the Athonite Philotheou Monastery. The three-story structure consists of two uneven sections joined into a single solid mass. It served a triple purpose: a defensive stronghold with battlements and arrow slits, a monk’s dwelling, and a wine cellar. The cellar is equipped with wine presses and over 20 qvevris (large clay wine vessels) embedded in the ground. A standout feature of this tower-winery is its rare dual-section winepress, allowing for the simultaneous pressing of two grape varieties—perhaps Saperavi and Rkatsiteli. Situated in one of the region’s most esteemed winemaking areas, the tower-winery overlooks the once-renowned vineyards known as the “Monks’ Vines,” celebrated for their exceptional quality in ancient times.
Pankisi Fortress
Mention of Akhmeta’s fortresses invariably brings to mind the name of one that still stands proudly on a high hill, overlooking the breathtaking Pankisi Gorge. This is the Pankisi Fortress, also known as Torgva’s or Margaani Bastion. This fortification, with its surviving imposing walls and three distinct names testify to its enduring legacy and historical importance as a defensive center. Historical sources indicate that Pankisi Fortress frequently changed hands as a symbol of power. During the High Middle Ages, it served as the focal point of the Pankisi Duchy and often bore the brunt of regional conflicts, standing as a steadfast bulwark amidst the storms of war.
Cholokashvili Family Fortress-Palace
To the west of Akhmeta, in the Uto district, stands the ancestral fortress of the Cholokashvili family. Within its courtyard rises the famed Church of the Church of the Holy Cross, known as “Jvarpatiosani”. According to an inscription on the church wall, the fortress was built in 1756 by Grigol Cholokashvili, the royal chamberlain. Legend has it that in the distant 4th century, through the intercession of Saint Nino, three holy crosses were crafted from the wood of the Life-Giving Tree. One was erected in Mtskheta, another placed on Mount Tkhoti, and the third was enshrined in Ujarma. Eventually, this third cross was later relocated to the Cholokashvili family church and became known as Jvarpatiosani – Holy Cross. This revered relic endowed both the church and the fortress with exceptional significance and power. The fortress was originally a rectangular structure, with cylindrical towers crowning its four corners. Today, only fragments of the southeast tower remain. Nevertheless, the remnants of the three-story building reveal its original layout. Notably, traces of a fireplace and wall frescoes make this fortress unique, as fresco art has not been observed in any other towers in the Kartl-Kakheti region. The western section of the fortress was entirely occupied by the owner’s two-story residence. Additionally, the estate featured a vast wine cellar and, on the opposite side, a traditional bread-baking oven (tone), further highlighting the fortress’s historical significance as both a defensive stronghold and a noble dwelling.
Bakhtrioni Fortress, a sacred place of Uprising – 1659
On a raised hill at the confluence of the Alazani and Ilto rivers, lie the remnants of an old stronghold. This is the legendary Bakhtrioni Fortress, a name etched into the history of Georgia. Without Bakhtrioni, it is hard to imagine Akhmeta, and perhaps neither Kakheti nor Georgia, as we know them, might have existed. It was built presumably around the late 1650s under the orders of Shah Abbas II of Iran. In the mid-17th century, the Persian shah openly sought to turn the Kingdom of Kakheti into a Persian khanate, evicting the local population of Kakheti from their land and replacing them with nomadic herding tribes, eventually numbering up to 80 000 settlers. To secure Persian dominance, Shah Abbas commissioned the construction of powerful Bakhtrioni fortress. This dire situation foreboded total devastation for Kakheti, all of eastern Georgia, and the highland communities. The very survival of Georgia’s ancient culture and identity was at stake. From the plains of Kakheti to the inaccessible mountain peaks, from humble peasant homes to noble palaces, an unstoppable wave of rebellion swept across the land, culminating in a full-scale common uprising in the month of July 1659. Zaal, the duke of Aragvi, with his son Zurab, the dukes of Ksani Shalva and Elizbar, and the distinguished prince of Kakheti Bidzina Cholokashvili took the lead of the uprising. Alongside them, detachments of free mountain warriors from Tusheti, Pshavi, and Khevsureti joined the uprising. According to oral tradition, on a moonlit night, the rebels quietly and unexpectedly surrounded the fortress of Bakhtrioni. The year 1659 marks one of the bloodiest episodes in Georgian history. During these fierce battles, the enemy’s sizeable garrisons were nearly wiped out, and Bakhtrioni Fortress was reduced to rubble. The rebellion claimed the lives of countless heroic fighters, with all its main leaders ultimately dying as martyrs at the hands of the enemy. In recognition of their sacrifice, the prince of Kakheti Bidzina Cholokashvili, and the dukes of Ksani Elizbar and Shalva, were eternally enshrined among the saints of the Georgian Church. Despite these significant losses, the core idea of preserving freedom and the identity of Kakheti survived. The Bakhtrioni uprising became such an inspirational event that it immediately passed into Georgian mythology, folklore and literature. And to this day, at the confluence of the Alazani and Ilto rivers, atop Bakhtrioni Hill, stand proudly the ruins of three surviving towers, tangible reminders of a story that preserved an entire nation.
Compared to the legendary Bakhtrioni Fortress, other fortresses, towers, and slate -built houses are far better preserved, clinging to the mountain slopes like swallows’ nests. These architectural marvels are nestled in the realm of eagles, in the upper tier of Akhmeta’s land—Tusheti, a region rich in history and breathtaking geography.
Tusheti as a Living Pictogram
Set high on the northern slopes of the Caucasus, this extraordinary place has always been home to the Tush, an ethnographic group of Georgian highlanders. Over time, for various reasons, many Tush families moved to the lowlands and now primarily reside in Upper and Lower Alvani. However, they remain deeply connected to their origins. During the spring and summer, the mountains of Tusheti come alive with returning families, preserving a centuries-old way of life and reviving the unique stone-built world. Tusheti’s remarkable natural environment has profoundly shaped the Tush lifestyle and cultural heritage. Tusheti’s architecture blends so naturally with its surroundings that the boundary between man-made and nature’s artistry becomes indistinguishable. Tusheti is truly a paradise of landscape architecture. For example, Dartlo, a village set gracefully upon a mountainside, stands as a protected architectural reserve and is one of Tusheti’s largest settlements. The village features a church, at its center, the erratic pagan-Christian sanctuary of Iakhsari, and two striking watchtowers with pyramid-shaped roofs. On the outskirts, a unique structure, ‘Sabcheo’ – the open-air courtroom, features 12 intricately carved stone seats arranged in a circle for 12 jurors. At its core stands a high-backed chair reserved for the presiding judge and a “truth stone” for oaths. The origins of Dartlo’s Council Hall are traced back to the 16th–17th centuries. These stones chronicle Tusheti’s legal history, where no death penalty existed; but the most severe punishment was exile from the community. Remarkably, for a decade, a woman served as the head judge of the Council. The sunsets in Dartlo are unforgettable. As the sun dips below the horizon, the slate roofs and stone-built houses glow against the backdrop of verdant meadows, creating an enchanting spectacle.
Next in line stand the neighboring villages of Parsma, Girevi, and Hegho, with tightly clustered houses, sacred shrines, and impregnable towers perched on steep cliffs like mountain goats. Although Tushetian towers were built in the late feudal era, sharp eyes can spot ancient stones – pictograms embedded within their walls. The pictograms represent mythological, cosmic symbols and images that generally depict stories of world creation. These engravings imbue the Tushetian stone universe with an even deeper mysticism, enveloping it in a veil of legends and enigma.
Tusheti boasts Bochorna, Europe’s highest inhabited village, at 2,345 meters above sea level, as well as the cliff-top village of Dochu, famously known as the ‘warrior’s village on the mountaintop.’ Another gem of the mountains is Old Diklo Fortress, a stern sentinel of the past. Its ruins hint at its former architectural splendor, befitting its role as the last frontier of the country. From Diklo, the neutral territory leading to Russia begins, and from its heights, the slopes of Dagestan come into view.
All roads in Tusheti ultimately converge at the Keselo Fortress. Built in the 18th century on a rocky hill, this stronghold is constructed of flat slate in a dry masonry technique, featuring arrow slits, windows, and five quartz crystals embedded in the eastern wall. According to legend, during the time of Shamil and the great invasions of the Lezgins, locals sought refuge within these walls and defended their lives from its battlements. Perched on a hill, Keselo watches over Tusheti’s center—the historic village of Omalo—serving as its timeless guardian.
Overall Tusheti resembles a vast stone monolith, adorned with mystical symbols—a living pictogram intricately woven into Akhmeta’s cultural fabric.