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.

Positive tendency means the very fact that Avant-gardism was present in the 20th century Georgian culture and it was considered as the ready model “inserted” in Georgian Belles-lettres space. Negative viewpoint about this issue was more rough and radical. According to the latter, Avant-gardism in Georgia was considered as artificial step towards the demonstration of mannerism and originality. Some issues connected with the classification of Georgian Modernist schools and problem of its systemic nature are associated with such approaches as well as culturological and methodological unclearness. We must note that, in general, Modernism and Avant-gardism in Georgian culture are mainly, associated with the Symbolism, that is to say, Georgian School of Symbolism was representing all in one: Avant-gardism, groupings of the 1920s and methodological novelties. We believe that such “representative dependence” is a result of inadequate information about the history of Georgian Modernism. Modernism has different artistic images in different countries. Nevertheless, methodological scheme of sequence of Avant-gardism trends is as follows in all culturological publications: Symbolism_> Impressionism_> Expressionism_> Futurism_> Dadaism_> Cubism_> Surrealism (main trends are presented here). Each of these embodiments of Modernist mentality played important role in the cultural life and art theory of the country. Their “emphases” continued for several decades.
This strategy turned out to be different for Georgia. The mentioned methodological scheme is deranged in Georgian creative reality and it looks more or less like this:
1. Symbolism; 1913-1928
2. Dadaist Tendencies; 1920s
3. Futurism; 1920s
4. Impressionism and Expressionism;
1920s Theoretical analytics of Modernism in Georgia explicitly brought to light the fact that it could be perceived as artistic creative method, i.e. literature of the method, which, unlike the European examples, never acquired political loading and never claimed to replace the public life style values. Moreover, similar to other artistic trends, it was met by years old foundation of Georgian art, cultural traditions, mentality and artistic “thinking”. Any maximalist tendency, radicalism, categoricalism and orthodoxism went through certain transformation and turned into national liberal trend, not only as the Weltanschauhung, but as the artistic method. Therefore, modern studies more and more accept the viewpoint that Symbolism, Futurism, Dadaism, Expressionism and Impressionism is rather a working terminology to determine these artistic trends in Georgian creative environment, than certain classical analogy, reflecting development
of these schools.