In 1960s Tbilisi, the name Elguja Amashukeli quickly became famous. It was impossible to be in the city without hearing about him, and even more impossible not to notice his public works. They became instant landmarks, and have remained as symbols of the city ever since.
The 1960s were marked by the Khrushchev Thaw—a time in Soviet history when the state's process of liberalization brought a certain degree of creative freedom. This shift signaled the beginning of a departure from the rigid principles of socialist realism, making it possible to explore national and historical themes. Georgia seized this opportunity, and in 1958, it celebrated the 1500th anniversary of Tbilisi's founding with great fanfare. The celebrations were marked by numerous festive events, one of which was the erection of a monumental statue on Narikala, overlooking the city. The statue, dubbed The Mother of Kartli, quickly became an iconic symbol. Its meaning is well known: a Georgian woman holds a cup of wine in one hand to greet guests, while in the other, she holds a sword ready to defend against the enemy. This statue was created by 30-year-old Elguja Amashukeli.
Bas-relief in the interior of the underground station "The Rustaveli". 1965
That same year, his obelisks adorned with reliefs were erected at the northern and southern entrances to Tbilisi, designed by architects T. Kandelaki, A. Bakradze, and N. Jobadze. At the start of Rustaveli Avenue, his memorial bas-relief of an imagined portrait of Rustaveli was placed on the facade of the Simon Janashia State Museum. Amashukeli's minimalist symbolic images also appeared on badges and commemorative medallions for the jubilee. In this way, Elguja Amashukeli's name became firmly linked with Tbilisi.
Bas-relief in the interior of the underground station "The Rustaveli". 1965
Bas-relief in commemoration of the 1500th anniversary of foundation of Tbilisi
Around this time, a competition was held for a monument to Vakhtang Gorgasali, the 5th-century king who declared Tbilisi the capital of Georgia. Elguja Amashukeli won this challenging competition, and, in 1967, his sculpture of the king on horseback was erected in front of the Metekhi Church, on the cliff overlooking the Mtkvari River (architects T. Kandelaki, D. Morbedadze).
As a result of these achievements, Elguja Amashukeli, along with writer Konstantine Gamsakhurdia, artist Lado Gudiashvili, and poet Irakli Abashidze, was among the first to be awarded the newly established Shota Rustaveli State Prize in 1965.
The monument to King Vakhtang Gorgasali, Tbilisi. 1959-1967
The portrait of Vakhtang Gorgasali.1966.
In 1969, on the highway leading to Tbilisi, in the Digomi district, a statue by Amashukeli titled The Tiger and the Brave Young Man was erected. The monument, an illustration of the popular Georgian folk poem of the same name, was carved in stone.
Tiger and Brave Young Man, Tbilisi. 1985
In 1975, the sculptor made a monument to Pirosmani, showing the artist kneeling and holding a lamb in his hands - an Easter symbol of purity which Pirosmani frequently painted. Another of Amashukeli's symbolic works is the Monument to the Mother Tongue, titled Knowledge Bell, which was unveiled in 1983. It is devoted to every Georgian child’s first and most significant textbook, titled Mother Tongue.
The Bell of Knowledge (Monument of ABC Book), Tbilisi. 1983
These and several other sculptures by Elguja Amashukeli form a captivating route through Tbilisi. Some are easily accessible, immediately catching your eye as soon as you enter the city, while others are more subtle, yet these too are positioned in busy public spaces. Regardless of their location, each is a symbolic representation of themes and figures that are historically significant to the Georgian people. The sculptor chose these themes simply, without external pathos. They are monumental yet poetic, with generalized faces that convey strength through their energy, captured in simple, laconic forms.
Amashukeli’s works are distinguished by their symbolic language, conciseness, monumental forms, coherent silhouettes, and their harmonious integration with the surrounding space. His modern vision is evident in all his works, which have earned a place not only in Tbilisi and other Georgian cities, but also abroad.
Monument to King Davit Agmashenebeli, Kutaisi. 1995
Although lesser known, Amashukeli’s smaller sculptures and easel works are equally significant. They clearly showcase his abstract thinking. Alongside his affinity for monumentalism, it was this inclination toward abstraction that became the foundation for his unique artistic style.
Elguja Amashukeli. Musical Forms. Paper, mixed media. 48x40,5cm. 1990. ATINATI Private Collection
Elguja Amashukeli. Musical Forms. Paper, mixed media. 47x39cm. 1990. ATINATI Private Collection
Elguja Amashukeli developed an original artistic language by reinterpreting archaic statues and ancient oriental sculptural forms. This approach was particularly crucial at a time when the transition from socialist realism to more abstract artistic styles was underway, and classical academic training alone could no longer meet the evolving artistic demands. It was precisely these "non-academic" influences that allowed Amashukeli to simplify his forms, abstract from reality, and express himself through concise, laconic shapes.
The unveiling of each monument by Elguja Amashukeli – from The Mother of Kartli (1958) to The Monument to the Mother Tongue (1983) was always a grand public celebration, whether in Tbilisi, Telavi (Erekle II), Poti (The Monument to the Heroic Sailors), Gori (Victory Memorial), or other locations. Once a monument was unveiled, it often faced public scrutiny until it settled into its surroundings and became a natural, integral part of the environment.
The Mother of Georgia, 1995
The Memorial of Victory, Gori. 1979
Elguja Amashukeli was a student of Nikoloz Kandelaki, one of the founders of the Georgian school of sculpture. Under Kandelaki’s guidance, Amashukeli graduated from the Sculpture Faculty of the Tbilisi State Academy of Arts (1946-1955, including postgraduate studies). He received numerous awards and titles, including People's Artist of Georgia and Honored Artist of the USSR. Elguja Amashukeli married the renowned poet Lia Sturua, with whom he shared a deep spiritual bond.
Elguja Amashukeli believed that monumentalism is an innate, sixth sense. In recognition of this, in 1987, his book The Sixth Sense was published. Clearly, this insight came from his own personal experience.
