Georgian (Georgia)English (United Kingdom)
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.
The second stage includes the late 1940s and the 1950s. In those years students of the academy of arts were provided the possibility to work in the porcelain factories of Russia, Ukraine and Riga and to implement materially new forms achieved through their artistic quest (diploma and course works). This practice was not pursued later, except some exceptions.
The third stage lasted between the late 1950s and the 1990s and was limited to prefabricated serial production. The artists could produce things according to their sketches in local industries (Tbilisi ceramic centre (Navtlughi), Tbilisi glazed tiles factory (Ghrmaghele ), Tbilisi brick factory (Saburtalo), Zugdidi porcelain factory).
Georgian artist-ceramists sought for implementing several artistic ideas in porcelain works. Their main goal was to create national forms that would have been close to the century-old tradition of Georgian ceramics. But porcelain was a strange material for them that resulted in some kind of unavoidable negative results.
The practice of porcelain art in Georgia was ceased on its stage of experimental quest. Although, this quest can be pursued in future and find appropriate place in the history of Georgian applied art.

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