The artistic and cultural life of Tiflis¹— the capital of independent Georgia between 1918 and 1921 — represents a distinctive chapter in the history of modern Georgian art. During this period, Georgian artists actively embraced emerging Western trends, successfully transplanting them into the local cultural context. As a result, a rapid evolution took place—moving from academic art, which arrived in Georgia relatively late, to modernist forms of expression.

The cult of the Cross of Golgotha, the instrument of Christ’s Passion, dates back to the time of Constantine the Great (272–337), leading to the creation of various practices, including the veneration of fragments of the Golgotha Cross and the production of their reliquaries.

When one thinks of Georgia, the associations may vary, yet certain shared impressions tend to emerge: the cradle of wine, a land of rich cultural heritage, a mountainous country with diverse natural landscapes, a country at the crossroads of Europe and Asia, an ancient Christian nation with its own unique script, friendly and hospitable people, delicious and vibrant cuisine, polyphonic folklore, and fiery dances. For some, however, the first association is Stalin.