Davidgareja, one of the most remarkable religious and cultural centres of feudal Georgia, is a cave monastic complex, situated in a rocky mountainous terrain in the historical region of Gareja, 60-70km south-east of Tbilisi. The Monastery was founded in the first half of the 6th century by David Garejeli, one of the Assyrian Fathers. The Holy Father came to the Gareja wilderness with his disciple Lukiane and took up his abode in a small, natural cave, thus laying the foundation to a monastery which, in later centuries, came to be known as St David’s Lavra. St David’s Lavra was the centre of the monastic life in gareja. In the course of time it was joined by new monasteries whose number, at a certain time, reached twelve. The appelation "The Twelve Gareja Monasteries" must have come down from that time.
The activity of the David Gareja Monasteries was an important part of the religious, as well as, cultural life of the Georgian people. In the early 12th century King David IV, the Builder, made the monasteries royal property, freed them from taxes, and facilitated their advancement. In 1265 Davidgareja and its environs were sacked and ravaged by the Mongol hordes led by Berka Khan. In the first half of the 14th century, during the reign of King Giorgi the Illustrious, Davidgareja yielded a potent political and economic power. The helmsmen of the monasteries were members of the Royal Council, and took part in the government of the Georgian Church. The monastic life was disrupted at Davidgareja by numerous invasions of Tamerlane at the close of the 14th century. In 1424 King Alexander 1, the Great, donated Davidgareja to the Patriarchal Church of Svetitskhoveli in Mtskheta.
After the ravage wrought by the Persians during the invasion of 1616-1617 the Monasteries ceased to exist. In 1629 King Teimuraz I revived the monastic life here. In the 18th century Davidgareja came under direct royal protection again. It owned extensive estates and villages, the peasants living in them were considered monastic serfs. The monastic life at Davidgareja did not stop till the close of the 19th century. The monastic construction at Davidgareja reached its peak during the cultural, political, and economic upswing in Georgia, in late 12th and early 13th centuries. Davidgareja developed its own way of life, style of construction, and school of mural painting.
The appearance of the Davidgareja monasteries of this epoch was totally different from the monastic style of the previous centuries. The former simplicity and spontaneity of the main Churches and refectories gave way to magnificence and grandour, to a tendency towards more free space. The murals on the walls of these Churches, and common refectories intensified the impression. The importance of the Davidgareja murals is heightened by the numerous portraits of the contributors, including the portraits of the Georgian royalty: Queen Tamar and her son Giorgi Lasha (the Bertubani Church). The size of the donors’ portraits is much larger than that of the religious personages, which demonstrates the freedom of the Georgian master from the rules set by the Byzantine art. The frescos of the Bertubani refectory are remarkable for the solemn and magestic impression they create. The frescos in the main Udabno Church depict episodes from David Garejeli’s life. The frescos in the apse of Udabno’s Ascension Church are equally interesting with the vital ity and expressiveness of their characters.In late feudal times the monastic complexes communicated by means of watch and signal towers, which came down to us in ruins. Some of the 17th and 18th century caves present a certain interest for their plaster embellishments. Davidgareja was an influential cultural and enlightenment centre. Prominent men of letters were engaged in scholarly work here at various times.
