In 2001, an exceptionally valuable Georgian artefact, which had been considered lost since 1991, unexpectedly appeared at a Christie’s auction in Geneva. This outstanding ivory work, known as the Okoni Triptych Icon, had disappeared from the Tskhinvali Museum. At that time, Georgian jurisdiction no longer extended over the territory, and the loss was not officially reported by the museum.

Melaani is a village in the Gurjaani Municipality of Kakheti Province. Its history spans centuries, as evidenced by archaeological finds dating back to the late Bronze and Iron Ages.

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.

A remarkable Georgian enlightener of the late feudal period, Sulkhan-Saba Orbeliani was born in 1658 in the village of Tandzia. His father, Vakhtang Orbeliani, served as the secretary of the King of Kartli, and his mother, Tamar, was the daughter of Zaal, Eristavi of Aragvi, who ruled over the mountainous region of Kartli. Sulkhan spent his childhood in Tandzia, where he was raised with his brothers. Later, he lived mainly in Dmanisi. From childhood, Sulkhan was particularly close to the sons of King Vakhtang V Shahnavaz (r. 1658-1675), especially Giorgi (the future King Giorgi XI of Kartli).

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.

Throughout history, Gergeti Trinity Church has played a vital role in Georgia’s religious life, over the centuries functioning both as the treasury of Mtskheta and as a place of refuge. At one time, the Cross of Saint Nino was kept there—a privilege it shared with the Svetitskhoveli Cathedral and Tbilisi’s Sioni Cathedral.

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.

“The Georgian alphabet is a remarkably refined instrument for conveying the full richness of the sounds of the Georgian language: its letters express each individual sound with precision and clarity, and, in this respect, no other alphabet can rival it.”

Mtsvaneqvavila is a neighborhood in Kutaisi, located on an elevated plateau on the left bank of the Rioni River. In the Middle Ages, it was a suburban village and only became part of the city in the nineteenth century.

The portraiture of the Georgian nobility created in Tbilisi during the first half of the nineteenth century—known as the Tiflis Portraiture School—represents a landmark phenomenon in the history of Georgian art. The finest works produced within this creative circle stand out for their individuality and exceptional artistic quality, while also conveying a pronounced sense of national identity. It is noteworthy that the emergence of the Tiflis Portraiture School coincided with the broader development of modern Georgian art and the rise of easel painting in the country.

The name Apollon as perhaps symbolic, since he went on to commit his life to art and to contribute significantly to the development of contemporary Georgian fine art. His artistic legacy has been extensively acknowledged, appreciated, and honored with several titles and honorary orders

Ambrosius (secular name: Besarion) Khelaia came from a family of priests and missionaries. His father, Zosime Khelaia, and his grandfather, David Khelaia, were active missionaries in Abkhazia. Ambrosius’ father served at one of the most revered shrines of western Georgia, the Church of St. George in Ilori. In the Georgian imagination, Ilori has been shrouded in a mystical veil since ancient times.

Tusheti is located in the far northeastern corner of Georgia. Its high-mountainous communities, which have sprung up on either side of the Caucasus Range, are renowned for their distinctive architecture, traditional crafts, folklore, and traditions, as well as their unique terrain. Tusheti is a border region, sharing boundaries with the Kakheti Plain to the south, Chechnya-Ingushetia to the north, Pshav-Khevsureti to the west, and Dagestan to the east.

Borjomi, well known for its mineral waters, developed into a popular spa town in the second half of the nineteenth century. Among the buildings from that period, one of the most remarkable is the New Cavalry House. It is located in the historic Remmert Park, now named after Merab Kostava. The park was established in the 1870s on the initiative of Adolf Remmert, head of the Caucasus Mineral Waters Office, who played a significant role in the development and promotion of Borjomi.