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Epitaphion. Lamentation. Sachkhere, West Georgia. Central scene 14th century, inscription 1510-1565

Georgian Embroidery and Textiles Collection

Project > Mariam Gvelesiani
Decorative and applied arts have played an important role in the development of Georgian art. Georgian embroidery is an important yet
understudied area of traditional arts and largely unknown to the general public. Most Georgian embroidery collections are kept at the Shalva
Amiranashvili Museum of Fine Arts, part of the Georgian National Museum.

he museums collection was initiated in the second half of the 19th

century, linked to the activities of
two former organizations, the Society
for Spreading Literacy and the Georgian
Historical and Ethnographic Society. Later the collection received items from
the Church Museum, donations by private individuals and items purchased
by the Museum. Some of these were
acquired by Ekvtime Takaishvili and
Giorgi Bochoridze during their expeditions to various parts of Georgia. Today
the embroidery items in the collection

Epigonation. Composition Descent of the Holy Spirit.

East Georgia. Second half of the 17th century

number more than 5,000 and are typologically divided into two groups: 1)
church-related items and clothing for
clergy, and 2) secular items.
Georgian embroidery masters, most
of whom were noblewomen, used their
creative imagination, religious imagery
and exquisite artistic skills and fine
taste to create world class works of art
infused with national specificities. The
artistic value of these objects of Georgian cultural heritage is so high that
they have become part of the world's
cultural heritage.

Mitre. East Georgia. 16th-17th centuries

Epitaphion. Lamentation. Tsilkani, East Georgia. 1686

After the Embroidery and Textiles Collection was separated

from the Treasury Department
of the Museum of Fine Arts
in 1979, a separate storage space was allocated for the collection. However,
the insufficient
number
of
wooden cabinets in the facility did not ensure
adequate
storage,
and hundreds of pieces of
embroidery, most adorned
with gemstones, were stored
tightly packed on top of each
other and folded, causing damage to the fragile gold and silver threads often used in embroidery.
In 2006, the Georgian National
Museum submitted a project for a
grant announced by the US Embassy
Ambassadors Fund for Cultural Preservation that envisaged the preservation
and conservation of the Embroidery
and Textiles Collection of the Shalva
Amiranashvili Museum of Fine Arts. This
project was funded and implemented
in 2006-2008. It meant that artifacts
* Apparel. Christ the Saviour. Georgia. 18th century

were placed in new iron cabinet

facilities that comply with modern norms of textile storage.
The database of artifacts
was digitized and restoration and conservation activities
saved hundreds of unique
embroidery
items. In June
2008, an exhibition of embroidery and textiles, I
Embroidered This Glory,
was held at the Museum of
Fine Arts. In addition to the
items themselves, photos of
the reconstruction and restora*
tion works in progress were on display. The exhibition showing Georgian
embroidery was the first presented on
such a large scale, and generated great public interest. The exhibition was
followed by the publication of a catalogue and two illustrated monographs,
an educational booklet and cards. These activities demonstrated the great
significance of this discipline of Georgian art, which is important for both its
aesthetic and historical value.

Sakkos. Composition "The Twelve Great Church Festivals". Asomtavruli explanatory inscription. Imereti,
Georgia. First half of the 18th century