Tbilisi State Academy of Arts

The supply of acoustic materials in Brazil has grown significantly over the last decade, combining acoustic insulation performance, conditioning and aesthetics. The current market offers variety of solutions that combine acoustic efficiency with sophisticated design, allowing integrated acoustic comfort and design premise. However, many professionals are still unaware of the potential of these materials, resulting in projects that prioritize aesthetics without considering the NRC (Noise Reduction Coefficient) and/or Rw (Sound Reduction Index) of the products. The objective is to carry out a qualitative and quantitative analysis of products offered by three suppliers in the last decade in Brazil. The greater the diversity of materials with high acoustic performance available on the market, the greater the likelihood of their application in architectural and interior design projects. It is expected that this study will lead to the dissemination of materials that have acoustic performance and design, so that they can become popular among construction professionals and society. It can be concluded that in recent years there has been a significant growth in products with performance associated with a notable aesthetic evolution, making it possible not only to include acoustic comfort in the project, but also making it the protagonist.

The article discusses the ornamental motif – a heart shape – found on a glazed ceramic jar preserved at the N. Berdzenishvili Kutaisi State Historical Museum. The bowl was discovered during the archaeological excavations of medieval Kutaisi conducted between 1984 and 2010 and is currently held in the museum’s archaeological collection. The heart-shaped motif of the glazed ceramic jar is examined through stylistic, symbolic, and intercultural analysis. The novelty of the research lies in its interdisciplinary approach: it presents an analysis of the historical and artistic transformation of the heart-shaped leaf motif from antiquity through the Middle Ages, carried out through comparison with ceramic decoration from neighboring regions and by tracing parallels in miniature painting, stone reliefs, repoussé icons, decorative enamels, and textiles. As a result of the research, it has become evident that the work of medieval Georgian masters of ceramic art was not isolated from the production centers of neighboring countries; their connections and, more broadly, intercultural influences are apparent. It is proposed that the origin of the heart-shaped leaf motif is linked to the stylization of the ivy leaf, which in the cultures of different peoples possesses not only decorative but also distinct symbolic meaning. The painter of the Kutaisi ceramic jar, however, offers his own original artistic vision and interpretation.

The Kutaisi State Historical Museum preserves ornamented fragments of medieval glazed ceramic vessels, which were mainly discovered as a result of archaeological research of the ancient city. Most of the artifacts are decorated with plant, zoomorphic, abstract and other ornamental motifs. The aim of the present study is to discuss the astral-cosmogonic symbol depicted on the ceramic vessels of the Kutaisi collection – the leprechaun and the rotating motifs, through its manifestation from the early era, comparison with the ornamentation of ceramics of neighboring regions, and search for analogues and analysis of parallels on other monuments (monumental and miniature painting, stone reliefs, embossed icons, textiles). The following methods were used to research the issue: visual analysis of artistic style, palette, and composition; historical and cultural analysis to establish connections with other archaeological finds; comparative analysis with samples from collections in Georgia and foreign countries and the search for analogies. The research revealed that the “borjgali” has been an important apotropaic symbol in Georgian culture since ancient times, it was considered an image of the sun and was expressed in various forms and found reflection in different materials. This symbol has become so firmly established in Georgian reality that it has not lost its relevance even at the modern stage. The search for similar foreign materials revealed the similarity of the nature of the local ornament and decorative schemes with the Crimean, Asia Minor and Eastern (Samarkand, Kashan, Nishapur) ceramics. This undoubtedly confirms that Georgian ceramic craftsmanship did not develop in isolation and behind closed doors, but on the contrary, there were cross-cultural influences and connections with ceramic production centers in the East, West, and North. The results of the study contribute to a deeper understanding of Georgia's historical-cultural context and artistic heritage.

Gaji is the Georgian name both for a gypsum-and-clay-containing soft rock found in eastern Georgia, and for the plaster traditionally derived from it. Gypsum-earth plasters have a long history of use across Caucasia, central Asia, and the Middle East. Gaji has been used in the preparation of mortars, plasters and decorative finishes, and as a support for Georgian religious and secular wall paintings together spanning the 9th – 20th centuries. Little research has been conducted into its properties, however, and within the context of wall painting conservation neither its influence on condition nor its implications for treatment have been adequately explored. Using the Church of St. Demetrios of Thessaloniki, rediscovered in 2015, at the monastic complex of David Gareji as an example, this paper explores the use of gaji plaster technology and the conservation challenges it presents.

The author admits that he cannot recall any other occasion when representatives of different religious denominations tried to elaborate on their respective theological positions with such benevolence and mutual respect, and find points of convergence. The correspondence is a dialogue in the most positive sense of the word. People engaging in it make joint efforts to find paths leading to the Truth.