Georgian (Georgia)English (United Kingdom)
Zakro Maisuradze-the Artist-Ceramist and Researcher
Kiti Machabeli
George Chubinashvili National Research Centre for Georgian Art History and Heritage Preservation

The paper discusses the merit of Zakro Maisuradze-the artist-ceramist and researcher-in the formation and development of Georgian professional ceramics. His work reflected a very important historical stage of artistic and technological searching in new Georgian ceramic art.
Zakaria Maisuradze and Georgian Folk Art
Nana Kiknadze
Tbilisi State Academy of Arts

The paper presents one of the important issues in the work of a famous artist, ceramist and researcher-Zakaria Maisuradze. Namely, the impulse occurred as a result of the professional artist’s engagement in folk art and its transformation in his work.
Architectural décor of the small clay of west Georgian plastic of late bronze - early iron period

Maia Izoria
Art critic Docto

1. In our country’s archeological findings anthropomorphic and zoomorphic clay small plastic belongs to monuments of ancient religious rituals and its drawing point represents ancient belief symbols. In such way it is connected with space-volume forms which presentation begins from early bronze period and from beginning of cultural-ritual everyday usable things (Keriis supports) by synthesis is established in Mtkvar-Araks cultural residence area.

Sergo Kobuladze
Mariam  Gachechiladze
George Chubinashvili National Research Centre for Georgian Art History and Heritage Preservation

Sergo Kobuladze (Georgian national artist, the correspondent of the Academy of Arts of the USSR, the laureate of Shota Rustaveli  award; graphics maker,  painter)    He is one of the distinguished member of  the first year graduated generation of the Tbilisi State Academy of Arts .
The article aims to understand the historical context of the artist's creative portrait and its role and place in the Georgian cultural heritage, as from today, it is even more obvious the role of Sergo Kobuladze, as an artist and citizen’s personal and professional dignity.
Conceptual Art (Theory, Practice, Criticism)
Natia Ebanoidze
George Chubinashvili National Research Centre
for Georgian Art History and Heritage Preservation

“All art (after Duchamp) is conceptual (in nature) because art only exists conceptually”-stated Joseph Kosuth in his essay “Art after Philosophy” (1969). This idea suggested a completely different interpretation as opposed to modernist conception of art as universal and aesthetically valued phenomenon.
For the History of Georgian Artistic Porcelain
Sophio Chitorelidze
George Chubinashvili National Research Centre
for Georgian Art History and Heritage Preservation

The paper discusses main stages in the development of Georgian artistic porcelain. Formed during the 1930s, it was ceased after a short while, in the 1980s.
Three main stages can be conditionally distinguished in the history of Georgian porcelain.
The main goal on the first stage (1930-1940s) was the renewal and improvement of Georgian ceramics in general (red clay, porcelain).  A great achievement of that time should be considered the following: building the first experimental factory (in the town of Ozurgeti), composing individual recipes of Georgian porcelain and the attempt to work out original means for the decorative design, the introduction of which into production could not be managed then.
Pirosmani’s “Big Still Life”-On the Problem of Space
Nodar Aronishidze
MA student at the Tbilisi State Academy of Arts

Considering a large number of the works by Niko Pirosmanashvili, it is necessary to study them separately. Basing on the analyses of a particular work, the paper attempts to present the peculiarity of Pirosmanashvili’s art. By means of analyzing “Big Still Life”, there are revealed certain artistic means, such as: colour, form, composition and finally, the space.
Terra sigillata - antique technology and it’s applying contemporary georgian ceramic
George Yashvili,
Full Professor at the Faculty of Design, head of the Department of Ceramics  Tbilisi St. Academy of Art

Pottery and ceramic – traditionally developed field in our country has gone through difficult times for the last 2 decades. In addition to other objective reasons focus of heavy industry on import of raw materials – mostly white high temperature clays that were used by big soviet stile factories built in our country played significant role. After collapse of unitary state of Soviet Union utilization of imported raw materials from neighbor post soviet countries became unprofitable. Factories were closed. The industry was collapsed. We see the way out from the existing situation in going back to wide utilization and further analysis of possibilities of local red clays. Testing of Terra Sigillata technology using local clays represents only a small part of possible activities in this direction.

Clays utilized in classical Terra Sigillata are of low-temperature, high plasticity, containing iron oxide (Fe2O3). Regions of Caucasus, particularly Georgia are rich with deposits of such clays.

In this  article we shortly describe our theoretical  study of technology  “Terra Sigillata”: history, method, use. Also practical and updated by experiments  method of  preparing  the “Terra Sigillata” solution based on local row material, red “Ksany”  clay.
“Terra Sigillata” represents lasting, shining coating of ceramic crock visually very much similar to glaze. Having gone through generations of potters and having reached its perfection, present technology got lost in Europe in first centuries of our Age. Many scientists, technologists and potters at different times tried to reveal the secret of this magic technology, but it remained undiscovered.
Only approximately 1500 years later in the middle of the XX century it became possible to understand main points of Terra Sigillata preparation technique.
In this regard clay tested by us provides unlimited space for further experimenting making present material very promising.
Having started work related to use of Terra Sigillata to say honestly, I was,  doubtful that selected local material as well as other related clays from Georgia that are widespread in grounds of our country could have appeared to be of narrow abilities for creating high quality Terra Sigillata, due to natural qualities. It might have lacked versatility and refinement which we observe in works of the Mediterranean ancient craftsmen.  Complete lack of precedent of similar researches with local clays was also alerting.
To everyone’s satisfaction our work had positive outcome.
Accessibility of the required material and its prevalence make it tempting both for artists and entrepreneurs occupied in this business.
Obtained results of activities motivate us and our colleagues to perform a more indebt research of this technology, conducting methodological experiments with other clays that are widespread in Georgia.
At this stage we can make following conclusions
1.    Theoretical information collected and analyzed at the Department of Ceramic of State Academy of Art on methodology of Terra Sigillata preparation made possible to correctly apply present methodology to local clay in practice.

2.    Local Ksany clay like all red clays gives in to Terra Sigillata technology and at the same time carries the best qualities features and high potential for creating high quality end product and in terms of quality is one of the best natural raw materials. for this technology.

3.    Ksany deposit clay suits and can be successfully used in mass production of ceramics and can have competitive cost price.

4.    Using Ksany clay Terra Sigillata solitude can be produced for industrial purposes by local enterprises.

5.    Terra Sigillata methodology tested and adapted to local clays by us can be successfully mastered and used by individual ceramic artists for creative purposes, scope of utilization of Terra Sigillata based on local clay is not limited to ceramics in its ordinary meaning, it is extremely practical in sculpture, architecture and interior design.
I would like to take this opportunity and thank everyone who assisted me in this work, colleagues from the Department, students, especially MFA students who at the decision of Academic Board now are studying methodology of Terra Sigillata technology developed by our department and are full of enthusiasm and are contributing to the research process of this grateful, ancient and promising technology.
სანჩო პანსა - გუბერნატორი | Print |
There are no translations available.

დალი ლებანიძე
გიორგი ჩუბინაშვილის სახელობის ქართული ხელოვნების ისტორიისა
და ძეგლთა დაცვის კვლევის ეროვნული ცენტრი

შემოქმედებითი პროცესი რთულ ფენომენს წარმოადგენს. მისი შეცნობა მრავალმა თაობამ სცადა, მაგრამ ამომწურავი პასუხი ჯერ არ არის ნაპოვნი. რა იწვევს ამა თუ იმ მხატვრული სახის გაჩენას და რა საფუძველი არსებობს მისი ზემოქმედებისა?
მოქანდაკე გულდა კალაძე (1932.29.08 - 1974.15.08) | Print |
There are no translations available.

მერი მაცაბერიძე
საქართველოს თეატრის, მუსიკის, კინოსა და
ქორეოგრაფიის სახელმწიფო მუზეუმი

გულდა კალაძის შემოქმედება სავსეა ძიებებით, სხვადასხვაგვარი, ხშირად ერთმანეთისაგან ძალზე განსხვავებული მიგნებებით, მაგრამ, ყველა შემთხვევაში, აქ ჩანს ერთი მხატვრული ხედვა, გამოვლინებული თავის მრავალგვარობაში. ის გამოდის რეალობიდან, მაგრამ ყოველთვის აზოგადებს მას. მის მიერ შექმნილი კომპოზიცია მკაფიოდ აგებული, ტექტონურია - იქნება ეს გამოქანდაკებული ტორსი თუ წიგნის დეკორი. განზოგადებულად მოცემული  ფორმები   პლასტიკური  ხასიათისაა კონტურული ნახატით გადმოცემის და მკვრივი მასალით ძერწვის დროსაც. მშვიდი განწყობით შესრულებული ნაწარმოების გვერდით ვხედავთ ემოციურს, რეალისტურ-პლასტიკური ფორმის გვერდით კი - მკაფიოდ სტილიზებულ და დეკორატიულ ფორმებს. 
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