Mariam Didebulidze

Dr. Mariam Didebulidze (მარიამ დიდებულიძე)  graduated from the Department of Art History  at the Tbilisi State Academy of Fine Arts. Since then she is a Leading researcher  of  G. Chubinashvili National Research Center for History of Georgian Art history and Heritage Preservation;, (Tbilisi, Georgia). In 2008-2018 she was  a director of  the Chubinashvili Centre. In 1997-2002 Dr. Didebulidze was a Deputy Director of The Fund for Preservation of Cultural Heritage of Georgia (the World Bank Project). Since 1989 Dr. Didebulidze has been professor of the Tbilisi Theological Academy. (lectures on the History of Byzantine Painting);

Main field of her academic  research is Medieval Christian art and architecture in Georgia; medieval mural painting in particular. Dr. Didebulidze’s activities cover the field of cultural heritage preservation as well. She is professor of the Tbilisi Theological Academy (History of Byzantine Painting)..

Most of her  academic works – books and articles deals with the issues of the Georgian  medieval art, as well as with  its relations with the Byzantine art in general:

  1. The Tradition of Representation of  the Mother of God in Medieval Georgian Art,   in the Book: The Tradition of the Adoration of the Theotokos in the Orthodox Church, editor D. Muskhelishvili, Nova publishers, NY, 2020, pp. . 205-220.

  2. Representation of Architecture in Medieval Georgian Murals, Bulletin of the Georgian National Academy of Sciences, vol. 13, no.3,2019. pp 150-156.

  3. Cultural interaction in Caucasus and Beyond: investigation issues, in Cultural Interactions in medieval Georgia; ed. by M. Bacci, Th. Kaffenberger, M. Studer, Wiesbaden, 2018, pp. 27-45

  4. Medieval painting in Abkhazia), in Kulturuli memkvidreoba okupaciis pirobebshi (cultural heritage under occupation), proceedings of the scientific conference, Tbilisi, 2015, 53-68. (in Georgian)

  5. Tao-Klarjeti murals; Interaction of Cultural Traditions, in: Synergies in visual culture, Festschrift für Gerhard Wolf,  München, 2013; 215-228

  6. Wall Paintings of the Holy Cross Monastery in Jerusalem, (with M. Janjalia), Iberica Caucasica, vol.2,  London, Bennet and Bloom, 2014, pp. 46-66

  7. Ancient Georgian Art (with D. Tumanishvili), Tbilisi, 2008.

  8. ST. Nicholas in the 13th c. mural painting of Kintsvisi church, Georgia, ICONOGRAPHICA, Firenze, VI, 2007, (61-77)

  9. Atrisic aspects of the 13th c. wall paintung of the St Nicholas church at Kintsvisi, Ph.D Thesis, 2006 (ij Georgian)

Articles

The second half of the 19th century and the early 20th century are thought of as a significant period in the development of the humanities in Georgia. During this time,

Sergo Chakhoiants belonged to the generation of artists of the 1950s, though it wasn’t until the 2000s that he gained recognition. His son, Alexander Chakhoiants, shared that the artist’s lifelong

Bediani is a small town in Tsalka Municipality, located in the historic province of Trialeti. It was established in 1954 in connection with the construction of the Khrami Hydroelectric Power

Nikoloz Kandelaki is one of the most outstanding representatives of modern Georgian art, and the development of realistic sculpture in Georgia is associated with both he and Iakob Nikoladze. In

In the nineteenth-century, Kutaisi was the second-largest city of Georgia and a center of governance within the Russian Empire. By the end of the century, the construction of administrative and

Paris, autumn 1959. The Galerie Charpentier is getting ready for its traditional exhibition of artists – graduates from the Paris School. But then Raymond Naceta the gallery’s director, decides to

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