In the history of Georgian repoussé art, the 17th century represents a significant period, marked by the establishment of a goldsmith's workshop amid the challenges and upheavals of the era. The workshop, founded by the prominent Prince of Odishi (Samegrelo), Levan Dadiani, a distinguished figure of the time, has garnered considerable interest. To what extent did the strained family relations within the Dadiani family affect the works produced in this workshop? It is worth recalling how he treated his first wife, the daughter of Sharvashidze. Without apparent reason, he accused her of betrayal, having fallen in love with Nestan-Darejani, the beautiful wife of his uncle, Giorgi Lipartiani. Subsequently, he abducted his aunt and married her.

The notion that epochs are created by great individuals, giants who carry the enormous weight of an era’s destiny on their shoulders, is a widely held belief in our time. Although the 20th century did not lack thinkers and influencers, most of the distinguished people from this century encountered ordeals of different kinds. Included among these exceptional individuals is the flag-bearer of Georgian culture, Dimitri Shevardnadze.

One of the most prominent representatives of abstract art, Wassily Kandinsky, said “The more frightening the world becomes…the more art becomes abstract.” In Europe of the 1910-20s, abstract or objectless art served as a “preface” to the First and Second World Wars, while in America of the 1940-50s, it was a post-traumatic condition caused by WWII, which also played a transitional role in postmodernism. In Georgia, abstraction emerged as a post-traumatic response to Stalinist art and as a “prophetic” expression of the country’s independence, against the backdrop of the civil war.