Parjiani’s Gospels simultaneously exude the scent of the Middle Ages, and in parallel bear the features of modern culture, uniting in one the canonical iconography of hand-written religious books with the independent interpretations of the artist. It is incredible that Soviet Georgia allowed the creation of a unique version of the Gospel that has no analogue. Parjiani acts like a copyist of the Medieval Gospels
– a feature he may have inherited from his ancestors of the school of copyists in Svaneti. This is the only occurrence of copying and illustrating the Gospel in Georgian painting since the Middle Ages. This act becomes even more remarkable when we recall that in the Soviet Union, working on the Gospel was dangerous for an artist, and the presentation of such a book remained completely unimaginable in the existing environment at that time.