Samson Lejava
PhD in Art History
The G. Chubinashvili National Research Centre for Georgian Art History
and Heritage Preservation
Chief Research Fellow
Tbilisi, Georgia
Samson Lejava
PhD in Art History
The G. Chubinashvili National Research Centre for Georgian Art History
and Heritage Preservation
Chief Research Fellow
Tbilisi, Georgia
On the Architectural Detail of the Raphiel Eristavi House Museum*
The fact that open-type dwellings with open balconies existed in Georgia even before the 19th century has been well-researched by V. Beridze, M. Garakanidze, V. Tsintsadze, L. Rcheulishvili, M. Mania, and others. In this regard, the data of the sources are important, based on which the conclusions of the mentioned researchers are firmly grounded.
As for the analysis of architectural details, there is much to be clarified. In this case, the lattice of the balcony railing, with its ordered row of balusters (the same “suraya”), which, in addition to its function, is undoubtedly characterized by a certain spectacular aesthetic value, is of interest.
Overall, the "picturesqueness" associated with a series of balusters combines the "activity" of highly organized, differentiated forms and the "dialectical" interconnectedness of spatiality that seems to "surround" each of the balusters. So, what similarities can we find between the hand-carved ceramic mold and the characteristic shape of the baluster? In both cases, there is a common organization of the circular motion of the pottery wheel in the process of compressing the mold. The former involves molding and shaping, while the latter involves carving and grooving. Perhaps the term "suraya" is explained precisely by the association with pottery, and in itself - the similarity between a vertically, "high" raised baluster and a voluminous and "symmetrical-sculptural" vessel - is quite real and visible.
The image of the baluster may be found already in the church of Bana, although there is no doubt about the decoration of Bagrati Cathedral. Its steady character has repeatedly been mentioned by researchers (M. Garakanidze, V. Tsintsadze).
In this case, significantly, the painting by Mamuka Tavakarashvili depicts a row of balusters (I. Khuskivadze). This is the late feudal era, and its painting gives us information about the artifact in existence. The artist may have depicted a balcony lattice here, but the lattice of the "screen" used in the interior may be also meant.
It is worth noting that we also have another example from Chasing Art published by G. Chubinashvili. Both examples are specific: a “ball-shaped” key area expands both upward and downward and adheres to well-defined shapes. It is crucial for us that the form of such balusters seems to have "resurfaced" in R. Eristavi's late residence in the form of balcony decoration, which proves the stability of this "configuration" over the centuries - the context changes to some extent, but mostly - the reflective form remains unchanged.
Keywords: Raphiel Eristavi, House Museum, Architecture, church, art.
* This report was prepared within the framework of the Georgian National Science Foundation project named after Shota Rustaveli: “Traditional residence in Eastern and Southern Georgia” (FR-23-569)