The journal 'Academia' is published by Tbilisi State Academy of Arts from 2001. The journal is dedicated to the arts, architecture, history of art and other humanities. Academia publishes original papers that have not been published previously (scientific articles and reviews) in Georgian with a summary in English and issued once a year.
Niko Pirosmanashvili and Old Oriental Art (Stating The Issue)
The article describes correlation of N. Pirosmanashvili’s art to the Mesopotamian culture. Georgian art historians, ethnologists, folklorists and researchers of artist’s creative work present importance of the Mesopotamian space for Georgian culture from different angles and analyze details revealed not only in art of Pirosmanashvili, but in memorial monuments and artifacts preserved in the ethnographic areas as well. At the same time, the emphasis is made on those essential features of Georgian reliefs from the Middle Ages, which are paradigmatically expressed in the art of the Ancient East. The same article manifests specificity directed not at any particular object, but towards the “constant observations” present in the Sumerian and Mari sculptures, in the “amazement” of Georgian temple reliefs and, finally, reflected in a similar approach of Pirosmanashvili’s “Fisherman in a Red Shirt”.
One Aspect of the Tbilisi Water Supply System in the 19th Century
From early medieval times onward Tbilisi was supplied by water either from Mtkvari river, wells, or the ceramic pipes from Tsavkisi, Okrokana and Sololaki ravines Mtkvari being the major source among those three. The water was delivered by professionals who were united in a guild of people called “Tulukhchi”. They collected water from designated places into special leather vessels called “Tulukhi”. Tulukhi were delivered to the customers by horses or donkeys. Some of the Tulukhchis also carried ceramic jars by themselves. By the end of the 19th century the carriages with barrels were introduced to the business, however all water delivery persons still maintained their title “Tulukhchi” until the early 20th century. The first modern water supply system of Tbilisi was built in 1861. Steam engines pumped water from the river Mtkavri to supply it through the 5,5 km long iron pipes to the main artery of the city – the Golovin avenue. In 1887 Tbilisi was added several additional pump stations and water supply systems. But those newly built systems still could not meet the needs of the city. Therefore, until the beginning of the 20th century the capital mostly relied on a traditional, medieval supply system. In 2012 Tbilisi Municipality initiated some infrastructure works on the Mtatsminda slope which overlooks the Mtasminda district. This area of the town was developed in the second half of the 19th century. The mountain slope with its numerous natural trails remains a very popular recreational zone among the Tbilisi citizens. Construction of the recreational infrastructure in 2012 resulted in some parts of the natural trails being paved with the cobble stones. Unfortunately, the works were conducted without any archeological supervision and unexpectedly revealed ceramic pipes which used to be part of the old water supply system. Some of them were damaged, some of them were just made visible on territory of the trails. The author of the article studied the area and discovered there two different lines of ceramic pipes. One of them starts next to a spring that is in use even nowadays and runs down towards the “Adamo” hotel (4 Polikarpe Kakabadze street). Another line originates next to an already dried spring and moves in the same direction. The scholar registered the GPS coordinates of both. It is hard to say when those two ceramic water supply lines were built. One can only speculate with certain level of certainty that they were built in the second half of the 19th century when Tbilisi started to expand and the area of the Moscow street was built in the Mtatsminda district beneath the pipelines in question. According to another theory everything started with only one water supply line, however, its source dried out hence creating need for an additional pipe. This would explain the fact that both lines are constructed into the same direction. Unfortunately, location where the water supply lines would reach their meeting point (according to the assumption there should have been a point of the water collection) has gone through drastic changes and developments. Once again, nowadays one can only speculate that the upper part of the Moscow street housed a public water source which supplied the whole area by potable water. If the assumptions and theories turn out to be correct, it will become obvious that the medieval water supply systems were still in use in the second half of the 19th century. Naturally further studies and if possible, archeological excavations are needed to collect more evidence and establish the facts about who and when built those water supply lines and how they were used.
The Latest Trends of the Georgian Artistic Ceramics
Inexhaustible plastic possibilities of clay, the use of pictorial elements and the ability to scale transformation in space allow ceramics to remain an urgent material used in the modern era. Starting from the 1960s Georgian ceramics took a long way to become part of the global production – an act reflected in the problems that are common to the field. The issue of interaction between a form, a space and a function is of a special urgency remaining the most important problem for all areas of plastic arts in the modern age of the 21st century and the multimedia synthesis when they become the most relevant elements. During the recent years artistic trends of the Georgian ceramics manifest this issue in different ways. Moreover, since the 1960s the Georgian school of ceramic production has already started to create a narrative about the innovations at the same time demonstrating the true nature of ceramic materials. It restored the connection with the past and introduced national traditions into the modern style. Therefore, the latest artistic trends are based on accomplishments of the local school and are genetically linked to the past. Monumental character of the works is strengthened through making conditional forms of artworks symbolic and acquiring the role of a designer of space within the boundaries of utilitarian ceramics. This happens despite the state ideology. The artists use the attributes and elements that are characteristic to functionalism and minimalism while Georgian ceramic remains of a quest for its origin in the realm of generalized cosmopolitan trends and basically tries to maintain its indigenous appearance.
The Scenes of the Feasts in Georgian Modernist Painting – Aspects of Space and Time
The theme of a feast is one of the most important and popular ones in the Georgian modernist painting. In this sense one is immediately referred to the paintings of Niko Pirosmanashvili, where the feast is presented as a universal, sacred event, a ritual of symbolic meaning with no beginning or end. Pirosmani's parties always take place in the open-air settings, air, vineyards, fields, in front of the shops, but not in the interiors. They never happen at the specific locations. The environment always remains conditional and hosts an epic event which is impersonal, eternal, and infinite. The works of the modern artists from the post-Pirosmani generation have changed dramatically when universality and constancy of the universe, the feeling of eternity became violated, some contrasts emerged and sense of resistance and subjectivity increased, the unity of the universe dissolved into different aspects. Unlike the impersonal intersectings by Pirosmani, the modernist artists introduced different, sometimes paradoxical, and synthetic spectrum of a personal space and time. However, even in their works the feasts continued to remain a mystery with all artists attempting to transform it in a subjective way at the same time maintaining the main line of presenting it as a philosophical image of the universe, which originated from the Middle Ages and Pirosmani’s works. The image serves as a symbol of the seventh day of commemoration, when the world was destroyed mercilessly and an eternal, absolute reality became part of the memories. The topic of the holiday can also be perceived as a symbol of Georgian Modernism since a feast is related to the openness of the Georgian culture. The Georgian and Tiflis avant-garde has solemnly brought together different cultures of celebration to create the unity of the opposites.
On the Interrelation of Form and Meaning in the Works of Merab Abramishvili
This paper aims to examine evolving of artistic forms, the ways of their manifestation and essential meanings that condition the process. This task will be accomplished through observation of a gradual transformation of specific themes and motives in Merab Abramishvili’s work, analysis of the artistic forms and interpreting of their meanings. Abramishvili’s work is characterized by an insistent perfection of form and an intense quest for the equivalence between that form and its content. He continues his search until the form reflects completely and turns into an exact counterpart of the content. Each motive and image are developed in detail. Consequently, though it might not be so clear at first glance, the artistic form evolves in individual manner producing totally different depictions of the same objects. Furthermore, the artist not only uses the same motives but also focuses on the same images over the several years. The process of shaping the artistic language and essential meanings expressed through that language are inter-conditioned: the form (the image) becomes more specific in accordance with development of the world perception; on the other hand, the meanings are shaped in the process of creation. One observes a paradoxical coexistence of mutually exclusive features, including a vivid, convincing depiction that grows more and more distant from the model and becomes subject to a gradual shift from a vague image to a clear, distinct and vivid manifestation that remains within the framework of generalization. The late works of the artist are characterized by lightful, transparent colors that create a sense of space (spaciousness), as well as subtle tonal combinations created by applying only a few colors. In consequence of increasing specification of the image, late works also reveal a trend to separate a figure from the background simultaneously unifying these two elements by light. One can say that the main theme of Abramishvili’s work is existentialism, and the main issue that interests the painter is life - not everyday life, but life in its existential dimension. That is why he appears fascinated by different forms of life – a phenomenon which is inevitably linked with death. In Abramishvili’s work it is comprehended through the understanding of death when endless struggles with it led to forming of his paradigm. Finally, the artist’s anxiety, observed in his early works, is transformed into an intensified sense of life, into a new world full of light and delight that is seen in his late paintings.
Architectural Heritage of the 20th Century – Tbilisi Metro Stations
The first subway opened in Georgia’s capital Tbilisi on January 11, 1966, back when the country was incorporated into the Soviet Union as one of its Soviet Republics. The first subway stations were designed when the Soviet Modernism, a new stage in Soviet Georgian architecture, gained a foothold to replace the style introduced in the period of Stalinist empire. This transition was related to certain domestic policy changes and a relative degree of freedom allowed under the totalitarian regime. Chronologically, the stations in Kyiv, Ukraine and Baku, Azerbaijan (1958-1967) are the closest ones to those designed in Tbilisi compared to the stations from any other Soviet city. Notably, however, old trends are most vividly reflected in the architecture of the Kyiv stations. The Tbilisi subway consists of two lines, with the second one added in 1979, still under the Soviet rule. In terms of architectural design, the stations built along these two routes differ from each other: architectural composition of the stations from the 1960s features both overground and underground sections, while the stations on the second line showcase only overground structures. The present article distinguishes three architectural types of Tbilisi subway stations: 1) overground stations without underground sections (Didube and Elektrodepo (modernday Gotsiridze) Stations, both designed by architects Nikoloz Lomidze and Givi Modzmanishvili); 2) Stations with both overground and underground sections, with the overground structures incorporated into the other buildings (Train Station Square (modern-day Station Square) designed by architects Revaz Bairamashvili and Davit Morbedadze, also Lenin Square (modern-day Freedom Square) designed by architects Revaz Bairamashvili, Vladimer Aleksi-Meskhishvili, and Ketevan Kobakhidze, and the other stations), and 3) stations with standalone overground pavilions designed near or directly in garden squares. For example, Rustaveli (architects: Levan Janelidze and Otar Kalandarishvili), 300 Aragveli (architects: Tamaz Tevzadze and Giga Batiashvili), Nadzaladevi (architects: Tamaz Tevzadze and Ramaz Kiknadze), and Isani (architects: Nikoloz Lomidze and Givi Modzmanishvili). What makes the architecture of Tbilisi’s subway stations different from their counterparts is their individualistic approach. They usher in modernist trends in the Georgian architecture of that time: simplicity of form, large open glass facades facilitating active communication between the natural environment and interior architecture, and the use of thin-shell architecture technology - all these features were new to both: Georgian and Soviet architecture. All stations share one common decorative feature - relief sculpture, which is made of stone and metal panels, the latter being especially popular during this period because of the growing interest in medieval Georgian metal sculpting. Using metal reliefs is a characteristic Georgian architectural décor of the 1960s. Equally noteworthy is employment of color ceramic panels and mosaics. The subway stations are useful for studying the period of the Soviet Modernism from the ideological and national points of view and considering the subsequent changes in the post-Soviet era.
The study was inspired by the paper of Dr. Alexey Yuditsky, who interpreted the description of Noah’s Ark from the Dead Sea Scrolls with the use of the word “ne’esefet” (gathered) to describe the height of the construction. Dr. Yuditsky interprets this text as the one describing the “ribs” (beams) of the ark that come together at the top and give the “roof” some quasi pyramidal shape. Dr. Yuditsky also refers to “Septuagint” - a Greek word with a similar meaning used in the same paragraph, and to Maimonides, who also states that at its upper end the Ark ended in a “point.” Jewish, Greek and Georgian sources contain the similar descriptions: Noah built a 2-3 story arch with 137.4 x 22.9 x 13.7 (in meters) dimensions out of logs that were bundled in sections, narrowed it to the top to 0.5m size, and cut a door on its side. The graphic representations of the Ark, mostly medieval, rarely match the aforementioned text and show a ship-like wooden structure with a double-pitched roof. It is difficult to imagine the structure of the Ark in its entirety. However, similar wooden structures narrowed towards the top, known as “Gvirgvini” in Georgian culture (“a dome” or “a crown”) are found in different shapes or designs in the areas where Noah’s descendants spread during the last thousands of years between Pamir, Caucasus (including Georgia) and all the way to the Iberian Peninsula. The difference can be found in the shape and height of the dome. Its substructure also varies (bearing on 1, 2, 3 or 4 pillars, on the walls, on wooden pylons along the wall, etc.). As the author of the article observed the domed housing structures which is typical for Georgia/Caucasus they bear certain similarities with the structure of the Ark. Gvirgvini is topped with “Erdo” (oculus, on average approximately 0.5m wide), which lets the light and air in, and the smoke out. In some houses Erdo was used as the main entrance and had various other uses, such as for praying to the God, star observation and divination, passing gifts to the first foot. Although animals and poultry lived together with humans, typically a Darbazi dwelling had no other sources of light or air besides Erdo and the main entry door. There was a curious tradition practiced in Georgia and some areas of the Caucasus where domed houses were considered a common structure. If a family moved to a new location, it organized a special ritual/prayer, followed by disassembling of Darbazi and taking the Dedabodzi (often the main support of girder and Gvirgvini dome) with it. The ritual demonstrated respect towards the ancestors and continuous strength of the family. As Noah and his companions depended on God’s will, their main concern focused on the strength of the Ark and its protection from water penetration rather than its navigation. We believe that a domed construction with an oculus and not the stereotypical representation of the Ark with double-pitched roof would provide it with better water-tight structure since the probability of the water inflow through the highest point Erdo would be low. At the same time, Erdo would allow sufficient light and air for day-to-day life, as proved by the dwellings that lasted for thousands of years. Based on the above information and facts the author of the article presents a schematic model of the Ark and believes that it had a dome-like roofing with oculus. Bearing on pillars and Darbazi houses carry inherited properties of Noah’s Ark which are expressed not only in spiritual and domestic connections, but in structural design as well.
Implementation of Multimedia at the Museums
The article discusses use of new multimedia technologies as an additional tool of designing the expositions at the museums and during the exhibitions. It notes importance and benefits of more advanced connection between the exhibits and the visitors which can be created through introduction of the multimedia shows. The author suggests some ideas for arranging of new interactive displays at the specific museums of Georgia and recommends the tasks and programs that could be useful for the students of the Tbilisi State Academy of Arts.
Electronic i.e. Digital Publishing. Interactive Learning
The paper discusses the nature of electronic, or digital publishing, the parameters necessary for its preparation, and what such publications serve. It describes the digital edition which is a digital version of the traditional publishing activity used for iPad, iPhone, Android, iBook, E-Book, web pages and blogs. The work focuses on multimedia as an interactive system that provides work with dynamic and static computer graphics, dynamic video, sound, and text and presents it as a modern art form conveyed by digital technologies and saturated with creative ideas. The article also discusses the benefits of interactive learning and its ability to make students more active.
Use of the Oriental Meditation Techniques during the Process of Studying Photography
In December 2018 Mariam Davitashvili published the book dedicated to her PHD research “The Role of Digital Photography and Augmented Reality in the Hypertext and Hypermedia”. When she finished working on the monograph, she analyzed (guess) the fact, that the book was based on the Western (European-American) experience. In the publication she presented the experiments realized during the study and used the European and American literature to research the topics of her dissertation. Consequently, when the book has already been finished Davitashvili had a possibility to read Kenneth Goldsmith’s book Uncreative Writing where the author as a “multimedia artist and executive manager of words, offers a provocative manifesto for writing in the digital era, with a treasure trove of ideas, techniques, and examples that allow us to make in new - again!” In parallel, in this article the author also introduces the Orange Book by Osho. She passed a Yoga course and is deeply impressed by the meaning of the oriental meditative techniques after having discovered that the oriental perception of universe is a very important experience for improvement of gaze concentrations. Photography is a source of permanent connections with the sense of “here and now” and the meditative techniques offer rare possibility to avoid the tension, achieve condition of “here and now” and discover inner possibilities.
Usefulness, Inclusion and Accessibility of Culture for the Ethnic Minorities of Georgia
Georgia is ethnically, culturally, and religiously diverse country where people of different ethnicities and religions have coexisted and lived peacefully side by side for centuries. Migration is as old as the history of mankind with groups of people historically moving from one place to another for a variety of reasons (military, political, social, religious). Numerous declarations and conventions on the protection of the rights of ethnic minorities have been adopted so far with the state and independent institutions established to permanently monitor and ensure their implementation in public, political and economic life. On April 1, 2006, Georgia acceded to the Convention for the Protection of National Minorities, which obliges the countries to fulfil their commitments in a fair manner and to promote integration of ethnic minorities in everyday life of a country they live in. According to the 2014 census of the National Statistics Office of Georgia (Geostat), 86.8% of the Georgian population is comprised of the Georgians, 6.3% Azerbaijanians, 4.5% Armenians, 0.7% Russians, 0.4% Ossetians, 0.3% Yazidis, 0.2% Kists, 0.2% Ukrainians, 0.1% Greeks and 0.1% Assyrians. In Georgia attention towards the ethnic minorities and protection of their rights is improving on a yearly basis. One should comprehend that while talking about the cultural monuments of a specific ethnic minority, we should not focus on the fact that they are not produced by ethnic Georgians but acknowledge that they are part of the Georgia's cultural heritage and their existence is important for the cultural diversity of the country. The Georgian government should encourage and support the diversity of cultural self-expression. Specifically, it should create relevant educational programs to recognize important cultural contribution and promote role of cultural associations and organizations, initiate the other complementary measures to give the population access to various forms of cultural self-expression (including vocational and continuing education).
On the Semantics of the Trialeti Petroglyphs
The article discusses Trialeti petroglyphs - prehistoric rock art discovered in the Southern Georgia, Tsalka district of the Kvemo Kartli (Eng. Lower Kartli) region, village of Gantiadi (Eng. Dawn). They were found in the canyon-like valley of the Avdriskhevi river on the bare rocks of the river terraces. According to the typological characteristics of the lithics they date back to the Mesolithic period, as well as the early and late Bronze Age. The study which started in the late 1990s focuses on the Trialeti petroglyphs. Results of the research were published in 2001 in the book “Georgia I” being the first attempt to analyze the bare rock scraped images from the art historical point of view. The images from different periods revealed that for an extended period this massive rocky area, historically known as Trialeti, served as a sacred (holy) site. Based on the semantic structure of the scraped images, it became clear, that the scholars were dealing with conventional forms, i. e. the images conditioned by the social customs and the belief systems of their creators. The petroglyphs should not be understood as direct illustrations (mimesis) of hunting scenes, but rather a depiction of sacred and symbolic essence of hunting. Pictorial language of the Trialeti petroglyphs is very laconic and schematic with no analogues found in the world. All discovered details point to a continuous presence of a certain tradition on the territory. It takes its origin from the ancient times and demonstrates unbroken and consistent development over a long period of time.
Development of a solid house structures since the Neolithic period is evidenced in the South Caucasus by archaeological materials which indicate that the process was facilitated by the local relief and abundance and variety of building materials in this mountainous and forested region. Based on the discovered samples of the materials and genetic analysis the scholars confirmed material connections, including genetic connections of the Kartvelian ethnos that lived in the South Caucasus and its neighboring areas in the Neolithic era with the ancient civilizations of the peoples from the entire Middle East region. Since the Kartvelian ethnos was able to preserve its ancient language up to these days, in addition to analyzing material connections, it is interesting also to focus on linguistic links that undoubtedly existed since the Neolithic period between the Georgian language and the languages of the ancient peoples of the region. For this purpose, the scholars analyzed the words related to the sun, mountains, water, shepherding, blacksmithing, agriculture, as well as toponyms, ethnonyms, and the names of the deities. Identified linguistic phenomena revealed genetic or typological similarities of the Kartvelian languages with ProtoTigris and Proto-Euphratean languages, and in general with various ancient languages of the region.
Historical Aspects of the Royal Emblem and the Georgian Stone Reliefs of the 11th Century
The goal of the present research is to study symbolical reliefs that were part of the facade decoration in Georgia at the beginning of the 11th century. The reliefs from the churches, in particular Khtsisi and Bagrati Cathedral in Kutaisi that are built as a result of the royal order bear the zoomorphic elements which were characteristic to the period of their construction. Eastern facade of the Khtsisi church (built in 1002) demonstrates a composition with four figures. There, two large griffins are grabbing the smaller figures of a single lion and a griffin. The content of the composition is apparent: one creature captures and owns another. In the Byzantine studies identical reliefs are considered to represent the emblems of victory. Another example deals with the relief on the porch of the Bagrati Cathedral (consecrated in 1003). It consists of two abstract representations. Despite the compositional and typological differences, here as well, a griffin captures or defeats another figure. Flanked with single figures of the eagles, the composition contains two zoomorphic fantastic characters tightly connected to each other. The griffin in the upper section of the surface catches a hoofed tetrapod with an anthropomorphic head. Contextually and compositionally dominating griffin is a popular “classical” character of Georgian stone reliefs of that period. The associated attributes give the figure a supreme hierarchical significance. The symbol derives from Sassanian Iran and is related to the Byzantine royal court. Since the middle of the 10th century it appears in the same context on the monuments of the revived Tao-Klarjeti School. Bearing the royal semantics, the flanking eagles continue the same conceptual line. The reliefs contain one more figure that shares traditions of pre-Christian Georgian sculpture, classical and Hittite art. To understand the context that is synchronous with the symbolic meaning of the representation, one should consider the Islamic tradition of depicting the horsewoman. Muhammad’s horse al-Burāq is a winged womanheaded creature. During the Night Journey it takes Muhammad from Mecca to Jerusalem. Within the span of the battle against the Arab annexation, when the ancient capital Tbilisi remained the political unit of the emirate, the master who executed the royal order, rendered the figure as a symbol of religious significance. The artist who worked at the cathedral in the capital of the united Georgia, decorated it with an emblem of a king’s victory.
The Gravestone of Bishop Parthenoz of Kharchashani
The Chapel of Divinity, built as a family mausoleum for bishop Parthenoz of Kharchashani, is located near the village of Pichkhovani in Akhmeta municipality. North-west of the church interior houses a long and narrow crypt underneath the floor. It serves as the tomb of Bishop Parthenoz of Kharchashani. A gravestone laid on the floor above the crypt depicts a relief of Bishop Parthenoz. It is now preserved inside the palatine chapel of the King Erekle II in Telavi. According to the building's inscription, the bishop of Kharchashani, the “teacher of teachers Parthenoz” died on May 3, 1713. Therefore, we can claim with confidence that the gravestone should also be dated back to 1713. The gravestone of Parthenoz of Kharchashani consists of a large rectangular grey tile (255x76x21cm). The lifesized depiction of the Bishop almost fills the entire area of the surface showing Parthenoz dressed in episcopal vestments. The relief sculpture is executed with highly refined artistic skills and great mastery. It stands as one of the examples of a professional stream of the 18th century relief sculptures. Unfortunately, the written sources provide rather scarce information about the bishop. The unique appearance of the tomb indicates at his noble origin, possibly from the Cholokashvili family. It is worth noting that Akhmeta was the land inherited by the Cholokashvilis and a few of the bishops of Kharchashani belonged to this family. As noted earlier, we know of no analogous tomb from Medieval period found in Georgia. Stylistically it stands closer to contemporary mural paintings and the later embroidered tomb covers. The relief sculpture of the Bishop of Kharchashani is a continuation of the best traditions of relief sculpture of the Middle Ages. These are treasured among the highly distinguished artworks of the so called “Renaissance” (such as Ananuri, David Gareja, the Church of Peter and Paul in Sagarejo, the Deesis of the eastern facade of Svetitskhoveli). Yet, at the same time, the tomb also reveals new secular trends of the time. They are most apparent in the diligently particularized, highly nuanced, and detailed depictions of the figure of the bishop and his vestment. The image along with the monumental experience of a form and high level of generalization well known during the Middle Ages, also bears the individual features of a portrait. In the relief sculpture of the bishop, we can obviously discern those secular tendencies characteristic to the Orthodox art of the time, which refer to orientation towards the European works of art.
The Problem of Tradition and Novation in Contemporary Icon Painting
The main challenge faced by the new iconography is renewal. Debates over the true nature of the icons unfolded in Russia since the end of 19th century, giving impetus to rethinking of the essence of the church painting of that time, while 1910s marked the period of re-discovery of the icon and the church art of Middle Ages in general. This period in Russia is regarded as the one of liberating from the norms of art dictated by the European renaissance and turning to Byzantine, i. e. spiritual art forms. Opinion that protecting the purity of icon meant protection from the influence of Catholic art was openly expressed in Russian church back in 1900. In order to substantiate this opinion and support the latter with theological grounds, the priest Pavel Florensky thoroughly studied the principles of Italian renaissance painting and contrasted them with those of Byzantine/old Russian church art. Based on these comparative studies, Florensky developed his works about a specific system of building the icon’s space. Moreover, he argued that icon should be created by special means of expression, which should be called “canonical forms”. Hence, the contours of the theory, which later defined the canonicity of iconography, first appeared in the pre-revolution Russian church. In 1925 the Russian diaspora in Paris established a society called “Ikona”, where the Orthodox icon and its canonicity were taught. Within this society, the phenomenon of icon was in fact rediscovered and the original Russian culture started to identify itself with it. The works dedicated to iconography, written by Russian emigrants living in Europe were created here, the most remarkable of those being Leonid Ouspensky’s book Theology of the Icon. According to Ouspensky’s theory, the language of “symbolic realism” of icons, i. e. Middle Ages Byzantine-Russian means of expression are the essential aspect of canonicity of iconography. The concept of symbolic realism regarding canonicity of icon painting was translated into Greek and published twice in Athens in 1948 by iconographer Photis Kontoglou who is considered a founder of the new Greek church art. The Greek church even divides the history of its art as before and after Kontoglou. This fundamental work of Ouspensky has likewise been translated into many languages of Western and Eastern Europe and remains a principal guidebook on canonicity in iconography. At the beginning of the era of Modernism it has become necessary to define the specificity of Orthodox icon and the signs, which differentiates it from secular painting. At present, there is a widely recognized opinion, that contemporary icon painting experiences a deep crisis globally, being manifested in similar forms in various Orthodox churches, all associated with the need of renewal of the tradition of church painting. Christian masters of the new era failed to become the heirs of old iconographers, since the cornerstone of the tradition turned out lost. According to the latest prevailing opinion the present rules of icon painting (canon) do not offer proper guidelines and this way produce the above-mentioned results. The crisis of modern icon painting is revealed mainly in multiplying hand-made copies of old patterns. The pieces created because of mechanical reproduction of old icons/murals are regarded as new originals. This tendency is characteristic to the new art of all Orthodox churches. At the same time, the last decades show, that the main factor contributing to mechanical reproduction of old art works is prompted by demand coming from the modern-day customers. Icon painters try to adopt their practical experience to the requirements of the theory of “symbolic realism” and thus point to the root cause of the problem. They are united in the motivation to replace the mainstream of similar lifeless copies of church paintings with impressive art works. Murals of Didube and Sioni churches from 1980s clearly indicated a two-way approach, which later has become a trend and which, unfortunately, hinders the process of development of modern iconography in various forms. In his public lecture from 2016, Dimitry Tumanishvili stated that one group of icon painters choose the form of modern subjectivism and try to keep the church art in the mode of renaissance, while the representatives of another group try to get free from this vision and as a result bury themselves in the past. To overcome the crisis, first of foremost, we must put aside the externally imposed theory on existence of canonical mandatory means of expression. We should not be afraid of using any artistic forms, if they will help to achieve the main goal - depiction of the deified man, - a primary function of icon.
Starting from the 19th century return to the style of the Byzantine art has gained new urgency in Europe. The article examines political, aesthetic, theological outlooks of the Neo-Byzantine style and analyzes different phases of its evolution including modernity. The issue of Byzantine prototypes is discussed on the examples of church architecture, ecclesiastic painting (Ravenna churches, Hagia Sophia of Constantinople) and the role of Medieval Georgian Christian art in shaping of Neo-Byzantine style.
Leniniana – the Forgotten Phantom of Georgian Painting
In 1920s, in the Soviet Union including Georgia the name of Vladimir Lenin became the herald of a new propagandistic culture. It is impossible to imagine the Soviet culture of totalitarianism without the phenomenon of Leniniana – a project that was based on a cult of a leader. This conjunctural project was launched in mid1920s, however official collections were formed a bit later, in the 1930s. Leniniana was related to the privileged artistic circles which united a small group of famous, well-paid, influential artists with connections to the official authorities. Unlike thousands of the ordinary artists, these propagandist elite enjoyed monopoly on procuring and distributing the profitable state commissions and awards. However, regardless of social hierarchy the Soviet Leniniana required from the artists to strictly follow certain common iconography. Universal standardization of Lenin’s image led to industrial production of Leniniana paintings which were created by several generations of artists in culturally differentiated fraternal republics. The unified art of Leniniana should have served as a basis for cultural consolidation of multinational Soviet Union. It is noteworthy to mention that these were not artistic but the social categories of Leniniana (which had become a kind of lever for cultural politics) that became worth of paying attention – a fact that is not surprising if we consider its contribution to the ideological upbringing which made it an essential feature of the Soviet culture. Formed under the auspices of the Socialist Realism, the “Georgian Soviet Art” was not based solely on unsightly ballast of mass production as many talented professional artists were interested in nomenclative thematic too. Their creative work determined the artistic significance of commissions made by the Communist Party, since ideology and local experience of artistic expression were organically merged in the best propagandistic works. In Georgia the normative schemes for Leniniana paintings were “selective” in nature. The preference was given to certain thematic frameworks and ideological focus of the art works was altered according to the history of the regional Communist Party. Iconographic images originating from the metropolis of Moscow were “replaced” by cultural codes of Georgia. The latter feature is particularly noticeable in Leniniana paintings which initially included imitative elements that were later replaced with original creative content. Despite long-standing “Leninian” interventions, Leniniana did not manage to become part of the national identity in Georgian art.
Gottfried Boehm’s Hermeneutical Inspiration and Modernist Portraits
The article examines the hermeneutic vision of the Swiss philosopher and art historian Gottfried Boehm in the study of art and discusses the main methodological postulates set forth in his book "Portrait and Individual", the aesthetics of reception. During analyzing of portraiture, Gottfried Boehm says that the so-called sovereign, "independent" portrait originates from Renaissance and represents the features and categories characteristic to this type of painting. Perceptual psychology, as well as the psychological or historical and social state of the visitor, restoration of cultural, historic, and social context of the work of art are especially important when characterizing these categories. This so-called "independent" portrait emerges on the example of Georgian painting in the modern era. The article discusses examples of Georgian modernist portraits (mainly self-portraits of Elene Akhvlediani), and provides the analysis of their perception based on G. Boehm’s method. As a result, it shows that individuality of reflection and individuality of the image (nature) in the portrait are interdependent and created by each other. The means of individual reflection and the individuality of nature are often intertwined.
„Simulation is Simulation, is Simulation, is Simulation…“
Anna K.E.'s artworks can be seen as an assemblage of communication flows aimed at overcoming the hermeneutic boundaries established between different disciplines. The hybrid works combine objects, drawing, video, installation, sound, texts, famous visual codes, self-images... In the works which are "written" in different languages of visual art, the border between the mediums is blurred and the interdependence of elements is suspended. Through the "foreign" language which is created by Anna K.E. herself, the artist researches existing cultural, social, and artistic structures. Her irrational approach to the visual language (languages) shifts the observer to a new, unexplored territory, where the views of both - the author and the recipient are deterritorialized.
Some Aspects of Curatorial Work in Art Museums and Galleries
In modern art museums and galleries curators play an important role not only in managing artefacts and collections, reviving, and interpreting them, but also developing a variety of exhibitions and art projects. The difficulty of implementing such projects in parallel to the scientific initiatives, requires other types of knowledge (philosophical, religious, aesthetic, etc.) as their success largely depends on the curator, who, in fact, often takes over the role of a manager as well. Exhibitions in art museums are often curated by the people who at the same time are the staff members, although these responsibilities can be delegated to the professionals who work at the other institutions and may be specifically invited to participate in the project. Sometimes such functions can be entirely suggested to the others, such as the artists, educators, or art critics. The situation in this regard has changed considerably over the last twenty years: now there exists a pool of freelancers or independent curators who are not affiliated with any specific institution and use their own idiosyncratic ways of organizing exhibitions. They are invited to administer special exhibitions or are offered curation of a wide range of projects both inside and outside the system of the institution or online. Obviously, the specifics of curatorial activities within diverse institutions (museums, galleries, festivals, contemporary art biennials) differ from each other and have their own features that determine direction of art projects, methods and means of their implementation. The article discusses these features and characteristics, as well as the main trends of modern curatorial practice on the examples of several curatorial projects implemented at the European Art Institute and Albertina Museum (Vienna, Austria: Niko Pirosmanashvili's exposition Niko Pirosmani - A Wanderer Between Worlds. Curator: Bice Curiger, 2018-2019).
Different Approaches Towards the Site Reconstruction: Modern Trends
Recently Georgia initiated reconstruction of several historic architectural monuments of cultural heritage of the national and local importance. This fact motivated the author of the article to investigate a bigger picture and explore the trends and assessments of reconstruction of historic properties, especially those recognized as the World Heritage Sites under protection of UNESCO. Researchers who carried out the studies of the issue note that assessments and judgements produced by the World Heritage Centre are not always consistent, often become subject to political lobbying and not occasionally follow unclear guidelines. The author argues that Georgia sometimes also comes face-to-face with the described challenges.
Importance of Mineralogical and Petrographic Study of the Plasters
The examples presented in the article demonstrate importance of the study of building materials that use peaceful and petrographic methods. Their analysis makes it possible to determine not only the composition of the materials, but in some cases also the manufacturing technology.
Restoration, Conservation, and the Exhibition Standards
The world's leading conservation centers may introduce different approaches to the restoration and conservation however, they still share the common general principles. Our reality is full of examples when lack of knowledge about them creates certain difficulties. When a restorer makes a decision, he should take into account degree of damage of the item, its structural conditions, the reversibility of the used methods and materials. One must note, that small museums do not have the luxury of having their own restorer and conservator, who will be able to assess the risks, develop recommendations and then take effective measures to prevent or at least mitigate the disastrous consequences. Therefore, effective communication between the museums and organizations that can provide advice and make any recommendations on conservation is of an essential character.
Importance of Research into the Gaji-Plaster for the Wall Painting Technology
Adequate understanding of plaster supports of the wall paintings is of essential importance for their conservation. While it is commonly convenient to categorise plasters according to their binders such as lime, gypsum, or earth, these groupings contain extraordinary heterogeneity. One example of a complex plaster material is Gaji - a term used in Georgia for plaster that contains substantial proportions of both gypsum and clay minerals, which are present naturally in the quarried rock. Similar materials have been used in Central Asia, Middle East and across the Caucasus under various names, such as Gunch, Gaaj, etc. Uses of such material as plaster support for wall painting technology can be traced since medieval period in Georgia, in particular in David Gareja Monastery complex and in 19-20th century residential and religious buildings. The historic and current use of Gaji plasters across Georgia means there is a pressing need to better understand the material and in particular to address urgent conservation needs of wall paintings on Gaji plasters. The absence of understanding of original plaster technology and conservation methodology for Gaji plasters was brought into sharp relief by the discovery of the wall paintings of the Church of St. Demetrios of Thessaloniki in 2015. This prompted the authors of the article to start a pioneering international collaborative research project concerning Gaji plaster. Unfortunately, the project was significantly curtailed by the effects of the Covid-19 pandemic. This paper draws upon early investigations within that project as well as the conservation project of the Church of St. Demetrios of Thessaloniki. In discussing the project at this stage, the scholars hope to outline the urgent need for further research into Gaji plasters and compatible conservation materials. The composition of historic Gaji and commercially produced Gaji in Georgia was investigated as part of an effort to develop compatible conservation materials. It was found that generally newly produced Gaji is gypsum rich and poor in clay minerals, while composition of historic Gaji showed higher concentration of clay and lower concentration of gypsum. An interesting finding was presence of charcoal inclusions in original Gaji plaster, which can be linked to the Gaji firing process or use of it as an additive. A more detailed comparison of modern and historic Gaji materials and construction methods in Georgia will be the subject of the further research.
Proactive Management and the Scale of Cultural Projects
The topic Proactive Management and the Scale of Cultural Projects discusses the importance of identifying target groups and striving for continuous collaboration on the example of large-scale and successful projects in the field of culture. Based on timely and implemented research, the „Voice of the Market“ and „What the Customer Wants“ is revealed, which provides us with key information, but is not enough to create a successful project and product. When developing a customer relationship strategy, it is important to consider the specifics of the products in the field of culture and to manage customer attitudes. When dealing with employees, sponsors, partners, customers, and other stakeholders, managers of the organization should be guided by Victor Vrum’s theory, which links motivation to expectations. To manage the expectations of consumers interested in culture and art is a challenge for organizations operating in the field of culture and requires appropriate efforts. It should be noted that the product itself needs to be deepened, offering a strategy and motivating activities that help boost customer confidence. At the initial stage, it is important to analyze the current situation, which will help the creative team to form a vision for the future and improve the result achieved. Products and projects in the field of culture have an educational/cognitive function, which goes beyond „strengthening market positions“ and is not limited to „justifying customer expectations.” Focusing on a successful outcome is based on developing a loyal program that is a prerequisite for a continuous relationship with the customer. In the field of culture, the transformation of an ordinary consumer into a loyal consumer is achievable if the organization does not limit the possibility of individual self-expression. In the topic, attention is paid to the importance of proactive management and its advantages compared with reactive management. With proactive management are created successful projects which leaves a mark and are long regarded as a barometer of success.