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Amir Kakabadze was one of the most notable players on the Georgian art scene throughout the second half of the 20th century. He was born in 1941 to the family of David Kakabadze, a well-known Georgian artist. Eter Andronikashvili-Kakabadze, his mother, was also an artist. As a result, Amir had a natural affinity for drawing at a young age. Following his graduation from the I. Nikoladze Art School in 1961, he was enrolled in the Tbilisi Academy of Arts, where he first studied theatrical painting at the Faculty of Fine Art, in 1967, under the guidance of P. Lapiashvili. He continued his postgraduate studies in 1972.
Triptychs, three-panel icons, constitute a distinct category of Christian devotional images. This type of icon allows the depiction of multiple figures and compositions, conveying complex theological concepts. The Seti triptych, named after the St. George Church in Seti, Mestia, Upper Svaneti, where it was housed, is a striking example of this type of icon.
“Georgia has always been and must continue to be a country of bread and wine...” - Ilia II, Catholicos-Patriarch of All Georgia, 2006 These words were spoken in a significant and historical context in December 2025, when UNESCO added “Georgian Wheat Culture: Traditions and Rituals” to the Representative List of the Intangible Cultural Heritage of Humanity. The decision to do so was made during the 20th Session of the Intergovernmental Committee held in New Delhi.
In his farewell letter to David (Duda) Gabashvili (1914-1995)- painter, graphic artist, sculptor, teacher, Honored Artist of Georgia, and People’s Artist of Georgia - the art historian and Academician Vakhtang Beridze noted that Gabashvili was an artist of impeccable taste and refinement, possessing the highest artistic culture and professionalism. Art historian Gogi Khoshtaria, meanwhile, argues that David Gabashvili’s art has not received the recognition it deserves. Rather than appealing through superficial effects, it demands a thoughtful and discerning viewer capable of engaging with its deeper artistic and intellectual dimensions.
In 1970s Soviet Georgia, the pressure of socialist realism propaganda and censorship had lessened significantly, but nonconformist artists were still unable to take advantage of state benefits. Without large orders, they were unable to buy cars, apartments, or country homes with party lists, nor could they hope for a personal exhibition or widespread recognition. Yet, locked in their studios, they retained their creative freedom, refused to praise their leaders, and in doing so, learned to expect, no accolades from them. Half-starved, they continued to produce true art.
Opposite the ridge which boasts the oldest monastery in the Gareji Desert - the Lavra of St. David of Gareji, founded in the 6th century, is a rock-hewn monastery commonly known as Udabno (said to have been called Tsamebuli until the 19th century). Emerging at the turn of the 10th- 11th centuries, and active until the 14th century, Udabno comprises several dozen caves that house large and small churches, chapels, hermit cells, and utility chambers.
The Knight in the Panther’s Skin (ვეფხისტყაოსანი) is the greatest work of Georgian literature and one of the defining works of Georgian culture. For centuries, the poem has inspired artists to imagine its characters, landscapes, and legendary stories. From early illustrated editions to contemporary interpretations, these works reveal how Rustaveli’s epic has been visualized across generations—each artist offering a new perspective on one of Georgia’s most enduring literary masterpieces.
In the late 1950s, few knew who young Alexander (Shura) Bandzeladze (1927-1992) was. Indeed, they failed to realize that the painting that headed the renowned Galaktioni’s burial procession to the Mtatsminda Pantheon in 1959 was his: he had painted it a few years prior, in 1952.
Vernissage Gallery hosted Zura Sekhniashvili’s (1945–2021) solo exhibition entitled LABYRINTH. During the 1970s, Zura Sekhniashvili became a member of the nonconformist movement. This was a period when a new visual language emerged beyond the oversight of the Soviet regime.
Before discussing one of the greatest recognitions of Georgian culture, it is worth recalling how a new understanding of cultural heritage emerged globally and evolved within the framework of modernity.
Nakipari church of Saint George - ნაკიფარის წმინდა გიორგის სახელობის ეკლესია The Church of St. George, located in the village of Nakipari in Upper Svaneti, was built in the 10th century. Its remarkable murals were painted in 1130 by Tevdore, the King’s painter.
In October 2025, Tbilisi hosted the Georgian Wrestling World Championship. One hundred athletes from 25 countries around the world competed for the prestigious wrestling title. The competition featured participants from a diversity of countries, including among them Turkey, Greece, Mongolia, Egypt, Brazil, Japan, Iran, and Estonia. The celebration of this national sport culminated in a fascinating compelling master class, where Georgian wrestlers demonstrated showcased traditional techniques and unique technical aspects moves to the visiting athletes. Behind this achievement lies centuries of experience and a rich cultural heritage.
The exhibition brings together works by six contemporary Georgian artists — Tamo Jugheli, Beso Uznadze, Nina Kintsurashvili, Nina Akhobadze, Nino Sakandelidze, and Nino Meje.
