 | Scientific Work of Zaqaria Maisuradze
Leila Khuskivadze
Scientific Work of Zaqaria Maisuradze (1912-1971)
(Abstract)
Zaqaria Maisuradze was a prominent ceramist and scientist of the 20th century. He initiated scientific research in this realm in Georgia. His works refer to ancient as well as modern ceramics. Basing on the research of 11-13th century Georgian ceramics, Zaqro Maisuradze outlined a general picture of its development and revealed its national features. Consideration of the study of medieval ceramic works in other countries contributed greatly to this work. Zaqro Maisuradze performed great services for revealing the original technology (receiving black surface by means of covering it with soot) of creating black sparkling vessel discovered during archeological excavation. Using this technology he created small bowls which did not differ from ancient samples in terms of their artistic effect. The scientist studied other realms as well, like modern sculpture, stone relief and textile. Zaqro Maisuradze was particularly interested in folk art that defined the new stage in the creative work of this remarkable ceramist. ...
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| Samples of Architectural Ceramics from the Churches of Shida Kartli
Tamar Khundadze
George Chubinashvili National Research Centre for Georgian Art History and Heritage Preservation
The presented paper is about the 8th -9th centuries' architectural ceramics samples with relief images that were discovered in the churches of Shida Kartli villages: Tsirkoli, Kabeni of Kanchaeti and Kurta-the territory occupied by Russia at present.
In Tsirkoli 8th century church these ceramic tiles were placed on the roof, as for Kabeni of Kanchaeti, the initial tiles from the 8th-9th centuries seem to have secondarily been used for the 8th century renovated church. As a kind of relics, they had been inserted in the walls of the church and became visible when the dome and the walls were damaged.
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| 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.
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| 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.
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| 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.
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| 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.
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| Davit Gabashvili 100
Mariam Gachechiladze
George Chubinashvili National Research Centre for Georgian Art History and Heritage Preservation
November 18, 2014, was the 100th anniversary of the artist Davit (Duda) Gabashvili.
On this occasion, the memorial exhibition of the artist was organized in the exhibition hall of George Chubinashvili National Research Centre for Georgian Art History and Heritage Preservation.
The presented memoir is based on the records made during the meeting with the artist.
I think, his opinions about some issues connected to the artistic life of our country will be interesting for the society interested in art history.
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| 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.
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| 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.
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| 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.
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