Sericulture in Georgia has a long-standing tradition. In the nineteenth century, recognizing the economic importance of the industry, Russian authorities took steps to promote its development. In the early 1880s, the idea arose to establish a silk farming station in Tbilisi. In 1886, the plan was finalized. The organization of the station was entrusted to biologist Nikolay Shavrov, who went on to lead it for many years.

Robert Sturua (Senior, 1918–1982) left behind a remarkable creative legacy, distinguished by his contributions to both monumental and easel painting. While studying at the Tbilisi Academy of Arts, the upcom

Kote Marjanishvili's artistic journey spanned 43 years—10 as an actor and 33 as a director. He passed away unexpectedly at the age of 61. The ingratitude of his Georgian students, coupled with the constraints of the Soviet system, ultimately led to the demise of an outstanding visionary who played a pivotal role in the evolution of contemporary theatrical art. A true devotee of the stage, Marjanishvili was, metaphorically, “killed” by his unwavering passion for the theater, ultimately succumbing to a myocardial infarction.

The Bedia Monastery is one of the most famous and revered Christian sites in Georgia. It is located in western Georgia, in the historical region of Abkhazeti, once a kingdom of medieval Georgia. Bedia played an important role in both the history of Abkhazeti and that of the country as a whole

The creative period of the artist Guram Gelovani (1928–1986) fell within the so-called “post-Stalinist” era, a time when cultural developments in Georgia were still largely shaped by the ideological politics of the totalitarian state. While socialist realism remained the dominant artistic doctrine, a slight cultural “thaw” began to emerge.

The life of Valerian Sidamon-Eristavi unfolded during a challenging turning point in Georgia's history. A devoted patriot, his deep love for his homeland can be seen reflected throughout his artistic legacy.

The village of Kortskheli is located in the Samegrelo region, approximately eight kilometers northeast of Zugdidi. The Church of the Mother of God stands on the edge of the village, surrounded by subtropical trees. Over the past two centuries, a cemetery has been developed around it.

When Avto Varazi was first introduced to the writer Guram Rcheulishvili, Guram told his friend of his new acquaintance as they were saying goodbye: “This man is really a true artist.” Rcheulishvili, an outstanding writer, had recognized a kindred spirit in Varazi. Indeed, the word “true” perfectly captures Avto Varazi’s personality, as expressed in his art.

Borjomi Central Park, formerly known as Mineral Waters Park, is situated in the narrow gorge of the Shavtskala (Borjomula) River. Its history is closely tied to that of the Borjomi spa itself.

Temo Japaridze is one of the most prominent representatives of Georgian Soviet art. Although he belonged to the generation of the 1960s and 1970s, he greatly differed from his contemporaries in his courage, exploration of existentialism, intuitive coherence in relation to time, and immense individuality. From the 1950s to the restoration of Georgia's independence, several Soviet artists experienced "artistic crucifixion" or "Golgotha."

Some artists live lives so entwined with their work that the two become inseparable. Gayane Khachaturian is one such artist—a woman who, from the moment she emerged on the artistic stage, captivated attention. Her paintings invite viewers into a phantasmagoric realm, breaking free from the constraints of everyday reality and guiding them on an endless, dreamlike journey.

Batumi, Georgia’s maritime gateway, boasts a long and rich history. In the Late Middle Ages, the city fell under Turkish control, and became part of the Ottoman Empire, a status it retained until 1878, when it was taken over by the Russian Empire. During the final years of Ottoman rule, Batumi was home to a diverse, multiethnic population, including a sizeable Orthodox Christian community that was primarily made up of Greeks. Between 1865 and 1871, this community built a church in their neighbourhood that was dedicated to St Nicholas, located at the present-day intersection of King Parnavaz and Zviad Gamsakhurdia streets.

Nikoloz (Koka) Ignatov (1937–2002) was the key figure in Georgian art and culture during the 1960s -1980s. His first well-known work was the 1965 production of the play ‘The Wisdom of Lies’ at the Rustaveli Theater, which was directed by Nana Khatiskatsi and Tengiz Maghalashvili and was based on the fables of Sulkhan Saba Orbeliani. With its vibrant colors and creative expressiveness, the artist's background panel for this performance, which depicted a fairy-tale metaphor of the Georgian terrain, prompted audience applause as soon as the curtain opened.

During and after the October Revolution of 1917, Georgia, and particularly Tbilisi, became a refuge for exiled, gifted artists, many of whom had a significant impact on the development of Georgian fine arts. Among them was the renowned Russian painter and graphic designer Vasily Shukhaev.

In the old Georgian language, Vani implies a residence, dwelling, or monastery. As a name signifying a location in Imereti, it first appeared in recorded data in the 1870s. This is how the "Vani Gospels" inscription, as well as the descriptions of the German traveler Guldenstedt, refer to the village, which is now known as "Upper Vani" and is famous for the Archangel Church erected during the 11th and 12th centuries. According to Vakhushti Bagrationi, an 18th-century Georgian historian and geographer, Vani was known as "Sachino."