Georgian (Georgia)English (United Kingdom)
2011
UNKNOWN PAINTING BY GIORGI GABASHVILI UNKNOWN PAINTING BY GIORGI GABASHVILI
MAIA TSITSISHVILI
George Chubinashvili National Research Centre
for Georgian Art History and Heritage Preservation
Ivane Javakhishili Tbilisi State University


Lovers of Georgian art are familiar with the creative work of one of the founder’s of Georgian easel painting – Gigo Gabashvili. Up to date, he is known as original realist artist with distinguished talent in painting, the supporter of Russian School of Peredvizhniks.
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 FOR STUDY OF MODERN GEORGIAN ART (Summary) FOR STUDY OF MODERN GEORGIAN ART (Summary)
DIMIRTI TUMANISHVILI
G. Chubinashvili National Research Centre for Georgian Art History
and Heritage Preservation
Ap. Kutateladze Tbilisi State Academy of Art


This article concerns two issues, which in the author’s opinion are topical and would have to be resolved: a) Complete historical picture of the Soviet times fine art should be reconstructed and evaluated with an objective approach, free from political interference and conjectures; b) Chronological of Niko Pirosmanashvili’s art works should be established, and authenticity of the paintings known by now are to be verified.
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CHARACTER OF STAGING DECISIONS ON THE GEORGIAN STAGE IN 1940-1950s CHARACTER OF STAGING DECISIONS ON THE GEORGIAN STAGE IN 1940-1950s
TEA URUSHADZE
The University “lLITERA”

In the process of Georgian staging development 1940-1950 years represent the most important part, which link with consolidation of new aesthetic principles of the stage ensuing from the political regime and require new estimations from the present standpoint.
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EXPRESSIONISTCONSTRUCTIVIST STRIVINGS IN GEORGIAN STAGE DESIGN OF THE FIRST DECADES OF THE 20th CENTURY EXPRESSIONISTCONSTRUCTIVIST STRIVINGS IN GEORGIAN STAGE DESIGN OF THE FIRST DECADES OF THE 20th CENTURY
TAMAR BELASHVILI
George Chubinashvili National Research Centre
for Georgian Art History and Heritage Preservation
Tbilisi State Academy of Arts


The first decades of the 20th century are in many ways exceptional period. In the history of Georgian culture and art; in this respect, stage design is not an exception. By Kote Marjanishvili’s initiative, during the Season of 1923-24, the Rustaveli Theatre troupe started intensive work on Expressionistic plays.
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 TBILISI RESIDENTIAL HOUSE (51, Tabukashvili Str.) (Summary) TBILISI RESIDENTIAL HOUSE (51, Tabukashvili Str.) (Summary)
Lali Andronikasvili

The exterior of the residential house at 51, Tabukashvili Street is not distinguished with high artistic qualities. But the interior demonstrates the uniqueness of the building. Isarlishvily family built the house at the end of 19th century that can be confirmed by the design of the house stored in the family of Isarlishvili descendents.  The story of Isarlishvili noble family as well as the history of this house has close links with dramatic events taking place in Georgia during 19th century.



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LITERARY RELATIONS – ONE OF THE BASES OF THE IDENTITY IN THE PROCCESS OF EUROPEANIZATION OF GEORGIA (19th CENTURY) LITERARY RELATIONS – ONE OF THE BASES OF THE IDENTITY IN THE PROCCESS OF EUROPEANIZATION OF GEORGIA (19th CENTURY)
TAMAR SHARABIDZE
Ivane Javakhishili Tbilisi State University

In Georgia, the Europeanization process started from the 19th century. This process was expressed in returning to the Christian mentality, supported by the literary relations, formed in the country during this period.
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TO THE GENESIS OF MODERNIST MODELS IN GEORGIAN “CREATIVE SPACE” TO THE GENESIS OF MODERNIST MODELS IN GEORGIAN “CREATIVE SPACE”
TAMAR PAICHADZE
Ivane Javakhishili Tbilisi State University

The issue of integration of Avant-gardism with Georgian literature was periodically rising in the culturological studies but, on different stages, averaged approach was formed, characterized by dual position: positive and negative perception of the problem.
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MODERN GEORGIAN SOCIETY AND MUSICAL IDENTITY MODERN GEORGIAN SOCIETY AND MUSICAL IDENTITY
RUSUDAN TSURTSUMIA
V. Sarajishvili Tbilisi State Conservatoire

This paper is aimed at finding out what/which music helps modern Georgian society in self-identification and what is the social psychological basis of this phenomenon.
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 FASHION OF “NEP” PERIOD AND CULTURAL GUIDELINES OF GEORGIAN CINEMATOGRAPHY FASHION OF “NEP” PERIOD AND CULTURAL GUIDELINES OF GEORGIAN CINEMATOGRAPHY
OLIKO ZHGHENTI
Batumi Art Teaching University

The Cinematography of “NEP” (New Economic Policy) epoch (1921-1927), as the form of cultural memory, was rarely considered in the view of national identity. Therefore, it was hardly a subject of art historical research,
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ნეპის პერიოდის მოდა და ქართული კინოს ფსიქო-სოციალური მოდელი (ნაწილი II) ნეპის პერიოდის მოდა და ქართული კინოს ფსიქო-სოციალური მოდელი (ნაწილი II)
There are no translations available.

ოლიკო ჟღენტი
ბათუმის ხელოვნების სასწავლო უნივერსიტეტი

ნეპის პერიოდის კინოში აქტიურდება ბულვარული რომანის, კრიმინალური და სენსაციური ქრონიკის მოტივები და სიუჟეტები: საბედისწერო ვნება, ტრფობა და დუელი, შურისძიება თუ მკვლელობა, ცოლ-ქმრული ღალატი (რევოლუციამდელი რუსული თუ ევროპული კინოს ეს ტრადიციული  პასაჟები ექსცენტრიკულად არის გათამაშებული ფილმში „ჩემი
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BOOK ILLUMINATION: METAMORPHOSIS PAR EXCELLENCE? (MODERN GEORGIAN MINIATURE PAINTING: TRADITION AND IDENTITY) BOOK ILLUMINATION: METAMORPHOSIS PAR EXCELLENCE? (MODERN GEORGIAN MINIATURE PAINTING: TRADITION AND IDENTITY)

NINO CHINCHARAULI
George Chubinashvili National Research Centre
for Georgian Art History and Heritage Preservation
Tbilisi State Academy of Arts

During the last decade, artistic phenomenon executed in miniature technique and style can be singled out. The miniaturists hardly introduce any stylistic innovations, basing their creative work, mainly, on medieval art.

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20th CENTURY GEORGIAN STAGE DESIGN: TRADITION AND INNOVATIVENESS 20th CENTURY GEORGIAN STAGE DESIGN: TRADITION AND INNOVATIVENESS
MARIANA OAKLEY
George Chubinashvili National Research
Centre for Georgian Art History and Heritage Preservation


The 20th century Georgian stage design occupies an important place not only in the history of Georgian art and theatre but also in the research of stage design in general.
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THE RESEARCH OF LINKS BETWEEN THE PROBLEM OF ETHNICAL IDENTITY AND CULTURAL INTEGRATION AMONG GEORGIAN ART AND SOCIAL ORGANIZATION IN THE BEGINNING OF XX CENTURY THE RESEARCH OF LINKS BETWEEN THE PROBLEM OF ETHNICAL IDENTITY AND CULTURAL INTEGRATION AMONG GEORGIAN ART AND SOCIAL ORGANIZATION IN THE BEGINNING OF XX CENTURY
IRINE ABESADZE
Shota Rustaveli Theatre and Film Georgian State University

The subject of approach to mental heritage of ethnical minority of Tbilisi has always been important for the politics of “The Association of Georgian Art Men”.
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CIVILISATION IDENTITY OF GEORGIA IN TERMS OF RETROSPECTIVE AND MODERN REALITY CIVILISATION IDENTITY OF GEORGIA IN TERMS OF RETROSPECTIVE AND MODERN REALITY
EMZAR KAKHIDZE
Batumi State Maritime Academy

Georgian civilization was formed in the presence of ancient oriental hegemony, although our region has not become its organic part.
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THEATRE IN THE NONTHEATRICAL SPACE THEATRE IN THE NONTHEATRICAL SPACE
KETEVAN SHAVGULIDZE
Tbilisi State Academy of Arts
Grigol Robakidze University
Ivane Javakhishili Tbilisi State University


“The idea of theatre is lost because it is content with the status of a spectator, an observer… Accordingly, indifference of the audience towards the theatre and interest in the cinema and music hall is understandable.” Antonin Artaud
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“KIMERIONI” IN 1919-1920 - ART CAFE OF DECADENT ARTISTS OR THE TEMPLE OF “NEW ART”? “KIMERIONI” IN 1919-1920 - ART CAFE OF DECADENT ARTISTS OR THE TEMPLE OF “NEW ART”?
NINO CHIKHLADZE
Georgian National Museum. Museum of Fine Arts

In the early 20th century artistic café clubs and café cabarets, as the places of gathering for art leaders’ and venues of creativity events, were spread in Europe and Russia. Similar places were also available in Tbilisi
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 FROM THE INTENTION TO THE REALISATION – THE PRINCIPLE OF ARTISTIC CONCEPT OF MICHAEL TUMANISHVILI’S PLAYS, ACCORDING TO THE OPINION OF THE STAGE DIRECTOR FROM THE INTENTION TO THE REALISATION – THE PRINCIPLE OF ARTISTIC CONCEPT OF MICHAEL TUMANISHVILI’S PLAYS, ACCORDING TO THE OPINION OF THE STAGE DIRECTOR
ELENE TUMANISHVILI
George Chubinashvili National Research Centre
for Georgian Art History and Heritage Preservation


The problem, discussed in the paper concerns the following issues:
1. What was the creative creed of a theatre director M. Tumanishvili? What kind of theatre was he aspired to create? To what an extent were these plays, their ideas and messages, up to date and responding to the reality?
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ჩანაფიქრიდან რეალიზაციამდე, მიხეილ თუმანიშვილის სპექტაკლების მხატვრული გადაწყვეტის პრინციპი  (რეჟისორის მოსაზრებათა მიხედვით) (ნაწილი II) ჩანაფიქრიდან რეალიზაციამდე, მიხეილ თუმანიშვილის სპექტაკლების მხატვრული გადაწყვეტის პრინციპი (რეჟისორის მოსაზრებათა მიხედვით) (ნაწილი II)
There are no translations available.

ელენე თუმანიშვილი
გიორგი ჩუბინაშვილის სახელობის ქართული ხელოვნების ისტორიისა
და ძეგლთა დაცვის კვლევის ეროვნული ცენტრი

რუსთაველის თეატრთან შედარებით გაცილებით მცირე ზომის კინომსახიობთა თეატრი და მისი სცენა უფრო კამერულ, ინტიმურ გადაწყვეტას ითხოვს, მაყურებელთა დარბაზთან მაქსიმალურად მიახლოებული ფიცარნაგიდან, როგორც ხელისგულზე, ისე მოჩანს მსახიობის
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Avtandil (Avto) Popiashvili Avtandil (Avto) Popiashvili
March 10th 1944 - was born in Georgia
1961-64 - studied at the I. Nikoladze Tbilisi School of Art; teachers: David Urushadze, Valentine Shuhaev.
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Giorgi (Gogi) Roinishvili (1921–2000)  Giorgi (Gogi) Roinishvili (1921–2000)
Honoured artist of Georgia. Member of Artists Union and Journalist Federation.
He graduated from the Academy of Arts – fine arts department in 1946.
From 1947 he participated in many exhibitions in Tbilisi, Moscow, Warsaw, Vilnius.
He worked in graphic design, painting, film, theatre and book illustration.
From 1947 he worked in the children’s magazine "Dila" ("Morning").
From 1962–2000 he was its chief art-editor.

Georgian artist Giorgi (Gogi) Roinishvili (1921–2000) was born in Tbilisi.
In 1939 he entered the Academy of Arts – fine arts department. He participated in the Second World War. After the war he continued studying in Academy of Arts under Ucha Japaridze. His art-masters also were such artists of standing reputation as Joseph Sharleman, David Kakabadze, Sergo Kobuladze. In 1946 he graduated from the Academy of Arts and began to work in the children’s magazine "Dila" ("Morning"), where he was art editor for a long time.
From 1947 he was a regular participant in All-Unio
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