MAIN TRENDS OF CONTEMPORARY GEORGIAN ICON PAINTING

Abstract

An analysis of the works of scholars of ancient Georgian art confirms that the best examples in the tradition of Georgian icon painting are those in which a specific theological idea is expressed using the aesthetics and pictorial techniques of the same epoch. This approach aligns with the Decree of the Seventh Ecumenical Council, approving the veneration of icons.
Georgian icon painting was replaced with the Russian School in the 19th century. In 1947 and 1980-1988, Patriarchs Kalistrate and Ilia II attempted to revive traditional icon painting. Analysis of the murals they initiated, and studies of archival documents, show that they followed the abovementioned principles. We call this the „traditional trend“.
In the 1990s, a new trend emerged in Georgia based on the belief that only icon painting adhering to artistic forms of the Byzantine-Russian Middle Ages could be considered canonical. We termed this trend „reproductive“, due to its focus on replicating ancient originals. Its prevalence is caused by an increased demand for icons in post-Soviet Georgia, alongside an increase in the production of church items. A comprehensive analysis of the theological underpinnings of this process has yet to be undertaken.
Contemporary Georgian ecclesiastical art displays the coexistence of traditional and reproductive tendencies, often reflecting a master's adaptability, artistic training, and customer preferences. The most exemplary traditional Georgian icon paintings result from meticulous planning, emphasizing both theological and artistic solutions to create unique and impactful works. This article presents some of such exemplary works.