St. Nazar Metropolitan Church in Khoni

Standing in the municipal center of Khoni within the Imereti region, the St. Nazar Metropolitan Church commands the town's central square. Khoni itself lies on the Kolkhida Lowland, characterized by its fertile soil and historical role as an agricultural and trading hub. This modern ecclesiastical structure contrasts with the ancient cathedrals of western Georgia, functioning instead as a poignant memorial to the turbulent ecclesiastical history of the early twentieth century.

This edifice honors Nazar Lezhava, the Metropolitan of Kutaisi-Gaenati, who became a central figure in the Georgian Orthodox Church's resistance against the aggressive secularization policies of the 1920s. Following the Red Army invasion of Georgia in 1921, religious institutions faced systematic dismantling. The church marks the profound ideological conflicts that reshaped the Imeretian landscape, moving beyond mere architecture to embody a significant era of cultural preservation.

Built close to the town's bustling central park and the historic Khoni St. George Cathedral, the sanctuary organically integrates into the daily life of the local community. The location was intentionally selected to ensure the memory of the August Uprising of 1924 and the subsequent executions remains central to the region's historical consciousness.

The Martyrdom of Metropolitan Nazari

Nazar Lezhava was born in 1872 in the neighboring village of Didi Jikhaishi. After pursuing theological studies, he rose to the prominent position of Metropolitan in 1918, precisely when Georgia briefly regained its statehood. His tenure coincided with immense political instability, culminating in the Bolshevik occupation.

In August 1924, a nationwide rebellion erupted against Soviet rule. Although Metropolitan Nazari was primarily engaged in spiritual duties and consecrating local parishes, the authorities accused him and other clerics of anti-Soviet agitation. Without a formal trial, he was executed in the Sapichkhia Forest near Kutaisi alongside several other priests.

For decades, the exact location of his unmarked grave remained a tightly guarded secret of the Soviet security apparatus. It was only after the collapse of the Soviet Union that his remains were exhumed, leading to his formal canonization by the Georgian Orthodox Church in 1995. The decision to construct a dedicated sanctuary in Khoni serves as a direct response to those decades of enforced silence.

Architectural Composition and Ecclesiastical Design

Unlike the medieval basilica forms typical of the wider Imereti region, this church employs a modern interpretation of classical Georgian ecclesiastical architecture. The designers aimed for an aesthetic of somber dignity, utilizing locally sourced, light-colored stone that reflects the regional geology.

Key architectural elements include:

• Hall-style floor plan: A straightforward, unembellished spatial arrangement that directs focus toward the eastern apse.
• Pitched roofing: Clad in durable materials designed to withstand the heavy precipitation characteristic of western Georgia's subtropical climate.
• Precision masonry: The exterior walls showcase exact stone-cutting techniques, creating a seamless facade that emphasizes structural solidity.

Inside the nave, natural light is carefully controlled through narrow arched windows, fostering an environment of deep contemplation. The focal point is the custom-crafted iconostasis, constructed from a blend of carved wood and polished stone, which separates the sanctuary from the main hall.

Iconography and Cultural Resonance

The interior visual program is dedicated primarily to the New Martyrs of Georgia, a group of clerics and laypeople who perished during the political purges of the 1920s and 1930s. At the center of this iconographic cycle are the newly painted frescoes depicting scenes from the life and execution of Metropolitan Nazari.

These frescoes employ traditional Byzantine and Georgian stylistic conventions—flattened perspective, vivid natural pigments, and elongated figures—while addressing distinctly modern historical events. This creates a fascinating juxtaposition where twentieth-century political history is rendered through medieval artistic techniques.

The church operates not just as a site of weekly liturgy but as an active center for historical memory in Khoni. It anchors a broader understanding of how the Imereti region navigated the complex transition from a brief period of independence into seven decades of totalitarian rule, ultimately reclaiming its religious heritage in the post-Soviet era.