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.

Lev Bayakhchev was an artist of the 1960s, a generation of artists that eagerly embraced the air of freedom leaking through the cracks of the "Iron Curtain" that had descended between the Soviet Union and the rest of the world in the aftermath of the post-Stalin liberalization of the 1950s. In doing so, this generation successfully assimilated many global cultural trends.

In the tenth century, the mountainous province of Khevi experienced a surge in construction activity. One of the most important churches built during this period is located on the edge of the village of Sioni, 10 km southwest of Stepantsminda, the administrative center of the Kazbegi municipality.

A Soviet underground artist, Chkhartishvili produced works that captured the social and aesthetic dimensions of unofficial art. The worldview and visual language of underground artists were radically different from the conventions of socialist realism. Though, by that time, the system had begun to weaken and unravel, it still held significant ideological weight and influence.

What is regarded as a flaw in our wine is actually its strength. And if our wine ever reaches the world market, it will be because of this virtue. Ilia Chavchavadze 1887

Akaki Tsereteli is unquestionably Georgia’s most beloved poet of the people. Indeed, he is known and loved more deeply than any other poet in the country. This extraordinary popularity stems from both his character and deep regard for his people, and, most importantly, from the uniqueness of his work. Tsereteli was a poet who was open, honest, simple, compassionate, and occasionally self-deprecating; who never shone the spotlight on himself; who used poetic forms that were popular and easy to understand; who creatively understood what people were saying; who skillfully adapted metaphors and idioms to fit the context; and who ruthlessly exposed political and social vices and human weaknesses through his creations. Tsereteli’s inexplicably profound compassion for the misery of his fellow citizens succeeded in piquing not only the interest of his contemporary society, but that of future generations too.

In 2024, the Dimitri Shevardnadze National Gallery hosted the exhibition "Beyond the Homeland." The project was initiated by the Chardin Gallery, which showcased the work of four Georgian émigré artists—Mikheil Bilanishvili, Felix Varlamishvili, Vera Pagava, and Vano Enukidze. Although each artist reached Paris by a different path in the early 20th century, France ultimately became their second homeland. Their lives and creative legacies diverged in many ways, yet the exhibition once again demonstrated how significantly émigré artists contributed to the development of Georgian modernism. Notably, each artist’s work has a unique link to Georgian culture. Several of the displayed pieces were shown to the public for the first time.

The environs of the village of Kalauri in Kakheti are particularly rich in Medieval architectural monuments. The Church of St. George stands approximately one kilometer south of the village, in an old cemetery surrounded by large deciduous trees.

Shimmering glass, soft colors, silvery surfaces and distinctive packaging. Twelve Christmas tree ornaments, carefully placed in boxes of deep burgundy—the color of the state flag of the First Republic of Georgia—bore an engraved inscription: “Christmas is Coby.” Through this emotionally charged brand message, their creator, a Georgian immigrant, wished Americans a Merry Christmas.

It is difficult to find anyone in Georgia who is unfamiliar with Shota Rustaveli’s iconic 12th-century poem The Knight in the Panther’s Skin (Vephistkaosani). The poem recounts the exploits of the main characters, Tariel (who is the knight in the panther's skin) and Avtandil, in their quest for love.

Beno Gordeziani is regarded as one of the most prominent figures in Georgian avant-garde art. His name is most closely identified with the Dadaist-Futurist group known as 'H2SO4.' This literary-artistic association was established in 1924. In a similar way to the effect of sulfuric acid (the chemical formula of which is reflected in the group’s name), its members aspired to destroy everything old and outmoded in the creative world.

The Shaliani Icon is preserved in the most important shrine of Upper Svaneti — the Church of St. Kvirike (Lagurka). This modest, hall-type church is situated atop a mountain in the community (temi) of Kala, on the left bank of the Enguri River. Although architecturally unassuming, the church occupies a prominent place in the history of medieval Georgian art. Its interior is adorned with remarkable 12th-century frescoes attributed to the renowned royal artist Theodore. The church treasury houses exceptional examples of medieval Georgian goldsmithing, among them the Shaliani Icon, a masterpiece of Byzantine origin.

The church is dated to the 10th c. and is built of well-cut ashlar. It is a single nave church with a projecting apse and an ambulatory. The western façade is decorated with thick blind arches that imbue the small building with an air of monumentality. The sanctuary is separated from the hall by a five-arched chancel-barrier.

Albert Dilbaryan, known as Dilbo, emerged from the generation of the 1960s. His pictorial mise-en-scènes, shaped by a melancholic yet romantic worldview, stand apart from both the dominant styles of his contemporaries and the broader post-Stalinist canon. Though he never openly opposed Soviet ideology, Dilbo remained a quiet dissenter within his own “artistic shell.” For him, depicting unrealistic or fantastical imagery became a means for escaping the constraints of a collectivistic society.