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Browsing Book by Author "გაიპარაშვილი, ზურაბ / Gaiparashvili, Zurab"

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    ანთიმოზ ივერიელის გერბი
    (საარი, 2005) გაიპარაშვილი, ზურაბ / Gaiparashvili, Zurab
    Anthimoz Iverieli (Antim Ivireanul) was the Metropolitan of Romania from 1708 till 1716. The heraldry of Iverieli marks an important interest in his life. His coat of arms is depicted in the "Statutes of Atim Monastery" which dates to 1713. The coat of arms has a stylized German simple shield which is red, with a snail on it. In the cultures of ancient peoples, a snail used to be the symbol of the moon and fertility. Owing to its spiral shell and its tentacles, which show from time to time, it also symbolizes cyclic processes such as renaissance and resurrection. It also symbolizes Christ's resurrection. A snail on the branches of a tree is a symbol of obstinacy, and perseverance - even if the progress is persued slowly- to the end. A crawling snail stands for carefulness and shrewdness. Aesthetically a snail attracts attention by its exceptional beauty and the harmony of its spiral house. According to W. Cecil Wade's dictionary of heraldic symbols, the shell of a snail symbolizes protection by providence. The snail on Anthimoz Iverieli's coat of arms is depicted vertically, with its head approaching a six-axis star, and almost touching it with its tentacles. A star is one of the most ancient symbols of the mankind. It used to embody eternity from the very start. On Anthimoz Iverieli's coat of arms the biblical six-axis star of Bethlehem, the symbol of Messiah, light, the hope and the faith of the mankind is depicted. Scholars have no doubt that the coat of arms was created by Iverieli himself. Above the shield there is the Metropolitan's mitre. This kind of mitre can be seen on the coat of arms of Mogila, the Metropolitan of Kiev in 1639 and of Nikon, Patriarch of Russia in 1659. This tradition is continued in the church heraldry of modern Romania and Russian. Images of mitre adorn the octagonal stamp of the Cathalokos of Georgia Domenti and the oval stamp of the Cathalikos of Georgia, Bessarion. On the reverse side of the shield of Anthimoz Iverieli's coat of arms there is a cross and a crozier crossing each other. It is remarkable that exactly the same image is common for the Georgian stamps too (17th-18th cc). The similar cross and double-headed crozier is reflected on the coats of arms of the Metropolitan of Kiev - Peter Mogila, Patriarch of Russia - Nikon, the metropolitans and bishops of Romania. On top of the crown there is a hat with two lances and two brushes. A similar hat is on the coat of arms of Petre Mogila as well. According to A. Lakier, the famous Russian specialist of heraldry, this hat is Moldavian. The coat of arms has one more element, a palm-tree crown. It frames the sides and the lower part of the shield, and this decorative element is also given in Anthimoz Iverieli's other works. At the bottom of the coat of arms there is a motto: "Let every soul praise the Lord, says the prophet, and the snail rises up its horns, thus teaching us all to praise the Lord."
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    ჰერალდიკური არაბესკები
    (ივანე ჯავახიშვილის სახელობის თბილისის სახელმწიფო უნივერსიტეტის გამომცემლობა, 2016) გაიპარაშვილი, ზურაბ / Gaiparashvili, Zurab
    წიგნში განხილულია ქართული ჰერალდიკის ყველაზე მნიშვნელოვანი ნაწარმოებები, რომელთა ბლაზონირება და შექმნის მოტივის გააზრება საშუალებას იძლევა, გაკეთდეს დასკვნა, რომ ევროპიდან გერბის, როგორც კულტურული ფენომენის, ჩვენს ქვეყანაში შემოსვლა და დამკვიდრება ქრისტიანულ რელიგიასთან, საქართველოს ეკლესიის წიაღში მიმდინარე მოვლენებთან, ევროპული სამყაროსკენ სწრაფვასთან, დაშლილი სახელმწიფოს აღორძინების მცდელობასთან, კულტურულ აღმავლობასა და იმ მსოფლმხედველობრივ პლასტებთან არის დაკავშირებული, რომლებიც ზემოჩამოთვლილ პროცესებს განაპირობებს და ახლავს. The book considers the basics of creation of heraldics and the evolutionary route of its development in western Europe; retracing the analysis of common or distinctive features of secular and clerical heraldics, the seals of Georgian Catholicoses have been studied as artifacts with heraldic features and a conclusion has been reached, stating that the first features of Georgian heraldics appeared on the seals of the clergy. Several important milestone artifacts have been selected from the heraldic heritage and a generalized conclusion was drawn regarding the appearance and reasons of the development of heraldry in Georgia, its role and importance in the development of Georgian culture and statehood. The Role of Romanian theologian Anthim the Iberian in the creation of the Bagrationi Coat of Arms has been presented in the book from a new, different angle. In this regard, a sphere of work of Anthim the Iberian, such as heraldry, has been studied and introduced into the Georgian scientific literature. After the analysis of the samples of the Georgian coats of arms a conclusion has been made regarding the Georgian artifacts created as a result of merging and influence of European and Georgian cultures. As a result of the analysis of introduction and removal of the robe symbolic within the chronological frame of reference, the ideological basis, stated (claimed) by the respective institutions of heraldry of the Russian Empire, in this particular case, have been considered. The coats of arms of the first Georgian University and the Georgian Patriarchy have been studied for the first time in Georgian historiography. The Development of Heraldics in Europe is divided into five periods. Similar periodization is based upon the historic-cultural processes that have been taking place in Europe. Georgian science refers to three main stages of heraldry development.Naturally, the stages of development of Georgian heraldics do not coincide with the European. Crests appeared here after having gone through three evolutionary periods in Europe. Although, on the one side, it is still possible to draw parrallels between the first period of Georgian heraldics and II and III periods of European heraldics, on the other. In coats of arms created in Georgia at that time religious themes stand out and symbolic allegorical features become prominent. It is a well adapted form of expression of the state politics and worldview of the Georgian public of the period, effectively reflecting the aspiration of the `Minor Renaissance~ epoch in Georgia. The first period of heraldry developed, undoubtedly, in close connection with the European culture. An attempt to introduce and establish the `noble art~ of heraldry is a minor but important nuance in the history of Georgian-European relationship. Still, the periods of development of heraldry in Georgia were based on the issue of state independence and not on the cultural-artistic style. The existing periodization is based upon the analysis of the origination of Georgian Coats of Arms, although from the beginning of XXI century, the art of coats of arms began to develop so intensively (namely, in the military sphere and territorial-administrative entities) that it would be expedient to add the fourth, post Soviet, stage to the periodization of the Georgian heraldry development. The independent stage of development of heraldry in Georgia was so short that the gradation of heraldry display methods was missed. Georgian culture received ready heraldry clichés from Europe. Coats of arms created in the period of independence are not characterized by the excess of figures. While tracing the heraldry common rules, the distinction of these norms from country to country points to the fact that the national models of heraldry, used to be created on the basis of culture and history of a particular nation, a thorough study of which is practically impossible without the consideration of the national heraldry. Major works of the Georgian heraldry rest upon a cultural-worldview basis. As it is known, the creation of heraldry is linked with the development and merging of three ideas. Initially, only simple private bearing of individual features or symbols came to existence. Later, an idea of decorative marking of the property appeared, which was realized by means of a seal, hallmark. Finally, finding means of personal identification and presentability of the warriors became necessary, when armour made it impossible to recognize them. Heraldics, which derived from the merging of these three cultural-domestic streams, got symbols and emblems from them and incorporated into a scientific system. Georgian heraldry has not gone through similar development stages. It, being on a certain step of development, appeared in Georgia, turning into an interesting part of the Georgian culture. The introduction of the coat of arms, as a cultural phenomenon, and gaining foothold is linked with the Christian religion, events taking place in the Georgian Church, attempts at the restoration of the disintegrated state, cultural growth and the world view layers, which determine and follow the abovementioned processes. The consideration of the important artifacts, created by the Georgian heraldry, allows us to express the view that the development of heraldry in Georgia, on one hand, is connected with the inflow of European culture, restoration of severed ties with the European countries and, on the other hand, with the Christian religious institutions. At various stages of development the principal basis for the creation of the Georgian heraldic works was the cultural-worldview background characteristic of the relevant epoch.