Abstracts - International Initiative for Georgian Cultural Studies

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1974 wels italiis qalaq, bergamoSi, gaimarTa qarTuli xelovnebisadmi miZRvnili saerTaSoriso simpoziumi. am samecniero Tavyrilobis iniciatorebi iyvnen Cveni italieli kolegebi – Sua saukuneebis evropuli da bizantiuri xelovnebis cnobili mkvlevari paolo verZone, bergamos universitetis profesori, italiaSi mcxovrebi Cveni Tanamemamule nino yauxCiSvili, arqiteqtorebi adriano alpago novelo da enco hibSi. am saintereso oTxeuls mxarSi edga, bunebrivia, vaxtang beriZe, gamoCenili qarTveli mecnieri da sazogado moRvawe, romelmac aramarto Rirseulad gaagrZela Tavisi didi maswavleblis, giorgi CubinaSvilis mier dasaxuli farTo samecnierokvleviTi programa, aramed gansakuTrebuli Rvawli dasdo qarTuli xelovnebisa da qarTuli xelovnebaTmcodneobis saerTaSoriso asparezze gatanas. bergamos simpoziums mohyva kidev xuTi aseTi saerTaSoriso simpoziumi, ori isev italiaSi, sami saqarTveloSi. samive am simpoziumis moTave da gamZRoli (saorganizacio Tu samecniero sakiTxebis mosagvareblad) vaxtang beriZe gaxldaT. mis gverdiT iyo, cxadia, imxanad ukve giorgi CubinaSvilis saxelobis qarTuli xelovnebis istoriis instituti, aqtiurad iyo CarTuli saqarTvelos mecnierebaTa akademia da humanitaruli profilis yvela instituti, saqarTvelos muzeumebi, galereebi; gvqonda didi mxardaWera da xelSewyoba respublikis xelmZRvanelobis mxridan. samive es qarTuli simpoziumi bevrad farTo da masStaburi iyo warmomadgenlobiTobiTac, Camosul stumarTa da momxsenebelTa saerTo odenobiTac, moxsenebaTa Tematikuri mravalferovnebiT da gamotanili Zeglebis qronologiuri diapazoniT. sxvadasxva qveynis cnobil xelovnebis istorikosebs SesaZlebloba miecaT uSualod adgilzeve gacnobodnen saqarTvelos kulturas, Zveli Tu axali qarTuli xelovnebis sxvadasxva dargis nimuSebs. ucxoel da qarTvel specialistTa am Sexvedrebs da daaxloebas mohyva is, rom evropis qveynebSi – italiaSi, safrangeTSi, germaniaSi, belgiaSi, gaCnda qarTuli xelovnebis Semswavleli centrebi; sxvadasxva qalaqebSi leqciebis wasakiTxad iwveven qarTvel mecnierebs, amave misiiT saqarTveloSic Camodian specialistebi sazRvargareTidan; gamoqveynda qarTuli xelovnebis Sesaxeb Cveni ucxoeli kolegebis werilebi, narkvevebi, katalogebi, didtaniani wignebic, albomebic. araerTi gamofena gaimarTa evropis, amerikis, ruseTis sxvadasxva muzeumebSi. xolo italiasa da saqarTveloSi gamarTuli simpoziumebi qarTuli xelovnebis da qarTuli xelovnebaTmecnierebis sayovelTao aRiarebis aSkara dadasturebad da namdvil zeimad iqca. “qarTuli xelovneba TandaTan marTlac imkvidrebs im adgils xelovnebis zogadi evoluciis suraTSi, romelic mas ekuTvnis Tavisi Zeglebis didi mxatvruli da istoriuli Rirebulebis gamo. Cven ki jer kidev Zalian bevri ram gvaqvs gasakeTebeli “Sin da gareT~. qarTuli xelovneba amouwuravia. kidev bevri Zegli gamoCndeba, bevri problema wamoiWreba, istoriis axali furclebi gaSuqdeba, zogi ukve cnobili furceli, albaT, axlebur gaSuqebas moiTxovs... ar unda Seneldes qarTuli xelovnebis propaganda aqve, CvenTan, saqarTveloSi, da ucxoeTSi. kargad dawyebuli saqme unda gagrZeldes da ganmtkicdes”. - vaxtang beriZis am mowodebis imediani gamoZaxilia dRevandeli simpoziumi. Teimuraz sayvareliZe g. CubinaSvilis sax. qarTuli xelovnebis istoriis da ZeglTa dacvis erovnuli kvlevis centri, saqarTvelo 19
FOREWORD Vakhtang Beridze is a person who does not need to be introduced. As undoubtedly one of the most distinguished Georgian art historians; the teacher of a number of generations of art historians, architects, painters, directors, and actors; and the originator of and participant in many initiatives, he will never vanish from the memory of Georgian society. He was also famous overseas: colleagues knew him as a distinguished scholar, whereas others, who have ever met him, found him to be a widely educated intellectual and a fascinating person. His broad-mind was what supported him in his relations with people of different professional backgrounds, ages and nationalities. It was this feature that helped determine the success that Vakhtang’s and his Italian friends, Adriano Alpago-Novello’s and Nino Kaukhchishvili’s (great appreciators of Georgian culture), had in organizing the International Scientific Meetings on Georgian Art History time after time. As it is widely recognized, the symposiums of Georgian art were held six times from 1974-1989. Three of them, initiated by the G. Chubinashvili Institute of Georgian Art History and its director V. Beridze, were held in Georgia and judging by their reception, their popularity equaled that of the Kartvelologian congress. Because of this, nobody was surprised, when during the 2007 Symposium in New York – a joint project of Columbia University, Georgian Arts and Culture Center and the Tbilisi State Academy of Art – the idea of establishing the annual meeting of scholars of Georgian art was launched. The suggestion to revive the tradition of the symposiums and dedicate them to the memory of V. Beridze followed. Only the future will show how productive the cooperation between Georgian and overseas art researchers will be, and also what will be the frequency and format of the symposiums. Yet, the most significant fact is that the first steps toward the rebirth of the collaboration have already taken place, and it is now up to our enthusiasm and long term vision to determine how successful and fruitful it becomes. 20 Dimitri Tumanishvili Chairmen of Symposium Scientific Council G. Chubunashvili National Center of Georgian Art History and Monuments Protection
Page 2 and 3: vaxtang beriZis saxelobis qarTuli x
Page 4 and 5: Sinaarsi misalmeba nikoloz vaCeiSvi
Page 6 and 7: maria lidova. liturgiuli sivrcis Se
Page 8 and 9: CONTENTS Preface Nikoloz Vacheishvi
Page 10 and 11: Irine Abesadze. From Georgian Moder
Page 12 and 13: keTili iyos Tqveni mobrZaneba saqar
Page 14 and 15: I would like to wish you all a warm
Page 16 and 17: simpoziumi madlobas uxdis saqarTvel
Page 18 and 19: ACKNOWLEDGEMENTS Organizational Com
Page 22 and 23: In 1974, in Bergamo, Italy, an inte
Page 24 and 25: nino jayeli saqarTvelos erovnuli mu
Page 26 and 27: uZvelesi saqarTvelo Suabrinjaos xan
Page 28 and 29: uZvelesi saqarTvelo saqarTvelos ”
Page 30 and 31: uZvelesi saqarTvelo mis Tanadroul C
Page 32 and 33: uZvelesi saqarTvelo mamakacis muxle
Page 34 and 35: uZvelesi saqarTvelo Teimuraz bibilu
Page 36 and 37: uZvelesi saqarTvelo dasavleT xmelTa
Page 38 and 39: I SECTION ANCIENT GEORGIA
Page 40 and 41: ANCIENT GEORGIA Nino Shanshashvili,
Page 42 and 43: ANCIENT GEORGIA Mikheil Abramishvil
Page 44 and 45: ANCIENT GEORGIA Nino Gomelauri G. C
Page 46 and 47: ANCIENT GEORGIA the fourth arch (pl
Page 48 and 49: ANCIENT GEORGIA Teimuraz Bibiluri M
Page 50 and 51: ANCIENT GEORGIA Merab Khalvashi Bat
Page 52 and 53: II seqcia Sua saukuneebis saqarTvel
Page 54 and 55: Sua saukuneebis saqarTvelo xiluli d
Page 56 and 57: Sua saukuneebis saqarTvelo SeiZleba
Page 58 and 59: Sua saukuneebis saqarTvelo irine ma
Page 60 and 61: Sua saukuneebis saqarTvelo am relie
Page 62 and 63: Sua saukuneebis saqarTvelo jon vilk
Page 64 and 65: Sua saukuneebis saqarTvelo daviT xo
Page 66 and 67: Sua saukuneebis saqarTvelo mxat vru
Page 68 and 69: Sua saukuneebis saqarTvelo adreqris
Page 70 and 71:
Sua saukuneebis saqarTvelo ufro ber
Page 72 and 73:
Sua saukuneebis saqarTvelo Tavis wa
Page 74 and 75:
Sua saukuneebis saqarTvelo izolda m
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Christopher Haas Villanova Universi
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from the 15th-18th c compare with i
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define the place of action and emph
Page 82 and 83:
MEDIEVAL GEORGIA masters: Sometimes
Page 84 and 85:
MEDIEVAL GEORGIA the different Poly
Page 86 and 87:
Markus Bogisch University of Copenh
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Edith Neubauer University of Leipzi
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carving. The study of Georgian repo
Page 92 and 93:
MEDIEVAL GEORGIA Nino Kavtaria Nati
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sastendo moxsenebebi / Poster Prese
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III seqcia modernizmi saqarTveloSi
Page 98 and 99:
modernizmi saqarTveloSi gadawyvetas
Page 100 and 101:
modernizmi saqarTveloSi aRniSnuli t
Page 102 and 103:
modernizmi saqarTveloSi sacxovrebel
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modernizmi saqarTveloSi maTi Semdgo
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modernizmi saqarTveloSi ganviTarebi
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modernizmi saqarTveloSi dakavSirebu
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Gaston Buachidze de l’Académie d
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MODERNISM IN GEORGIA Nana Kipiani G
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MODERNISM IN GEORGIA Georgian Art N
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MODERNISM IN GEORGIA Mzia Chikhradz
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MODERNISM IN GEORGIA Tea Urushadze
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IV seqcia restavracia/konservacia b
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estavracia/konservacia gadawyvetile
Page 124 and 125:
estavracia/konservacia Selesilobis
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estavracia/konservacia franCesko im
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estavracia/konservacia da spilenZis
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estavracia/konservacia Tea kinwuraS
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Maia Shavishvili Department of Cult
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RESTORATION/CONSERVATION Nicholas,
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RESTORATION/CONSERVATION Francesco
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RESTORATION/CONSERVATION Mari Claud
Page 140 and 141:
sastendo moxsenebebi / Poster Prese
Page 142 and 143:
knut gerberi GTZ. germania kulturul
Page 144 and 145:
kulturuli turizmi TovliT dafarul mw
Page 146 and 147:
kulturuli turizmi 4. uRimRamoa turi
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kulturuli turizmi mqone biznesmeneb
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kulturuli turizmi medali - evropa n
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V SECTION CULTURAL TOURISM
Page 154 and 155:
CULTURAL TOURISM enjoy its riches.
Page 156 and 157:
CULTURAL TOURISM state and private
Page 158 and 159:
suggesting well-defined itineraries
Page 160 and 161:
At the same time, the inclusive nar
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Abstracts - International Initiative for Georgian Cultural Studies

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