{"id":661,"date":"2026-02-04T11:58:23","date_gmt":"2026-02-04T11:58:23","guid":{"rendered":"https:\/\/eng.gch-centre.ge\/?p=661"},"modified":"2026-02-04T12:25:56","modified_gmt":"2026-02-04T12:25:56","slug":"didebulidze-mariam","status":"publish","type":"post","link":"https:\/\/eng.gch-centre.ge\/index.php\/2026\/02\/04\/didebulidze-mariam\/","title":{"rendered":"Didebulidze Mariam"},"content":{"rendered":"\t\t
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Art Historian, Senior Researcher of the Centre, Prof. Dr.<\/span><\/strong><\/p>\n

Research field<\/strong>: History of the medieval mural painting, rehabilitation of ancient towns, conservation of the medieval painting.<\/span><\/p>\n

Activity<\/strong>: Lectures on Byzantine Painting at Tbilisi Theological Academy; lectures on the History of the Medieval Georgian Fine Art at Tbilisi Academy of Arts; Member of the Scientific Counsel at the Centre of Christian Architecture, Art and Restoration at the Georgian Patriarchate; Coordinator of the Fund for Protection of Georgian Cultural Heritage.<\/span><\/p>\n

    \n
  1. The Tradition of Representation of\u00a0 the Mother of God in Medieval Georgian Art,\u00a0\u00a0 in the Book: The Tradition of the Adoration of the Theotokos in the Orthodox Church, editoru D. Muskhelishvili, Nova Publishers, NY, 2020, 205-220;<\/strong><\/li>\n
  2. Representation of Architecture in Medieval Georgian Murals, Bulletin of the Georgian National Academy of Sciences, vol. 13, no.3, 2019. 150-156;<\/strong><\/li>\n
  3. M. Didebulidze. D. Tumanishvili, Christian Era, in GEORGIA. History. Culture. Ethnography, editor Anzor Erkomaishvili, NOVA SCIENCE Publishers, 2018. 75-114;<\/strong><\/li>\n
  4. Cultural interaction in Caucasus and Beyond: investigation issues, in Cultural Interactions in medieval Georgia; ed. by M. Bacci, Th. Kaffenberger, M. Studer, Wiesbaden, 2018, 27-45;<\/strong><\/li>\n
  5. \u10d8\u10d4\u10e0\u10e3\u10e1\u10d0\u10da\u10d8\u10db\u10d8\u10e1 \u10ec\u10db. \u10ef\u10d5\u10e0\u10d8\u10e1 \u10db\u10dd\u10dc\u10d0\u10e1\u10e2\u10e0\u10d8\u10e1 \u10e2\u10d0\u10eb\u10e0\u10d8\u10e1 \u10d9\u10d4\u10d3\u10da\u10d8\u10e1 \u10db\u10ee\u10d0\u10e2\u10d5\u10e0\u10dd\u10d1\u10d0 (Murals of the main church of the Holy Cross Monastery in Jerusalem), Jvari Vazisa, N<\/span> 1, Tbilisi,\u00a0 2017, 138-147;<\/strong><\/li>\n
  6. Art and Architecture in Rustaveli Era, in The Knight in the Panther’s Skin. A Masterpiece in World Literature, ed.\u00a0 D. Shemoqmedeli,\u00a0 Nova Publishers, N.Y. 2017. 213- 228;<\/strong><\/li>\n
  7. \u10e8\u10e3\u10d0 \u10e1\u10d0\u10e3\u10d9\u10e3\u10dc\u10d4\u10d4\u10d1\u10d8\u10e1 \u10e5\u10d0\u10e0\u10d7\u10e3\u10da\u10d8 \u10d9\u10d4\u10d3\u10da\u10d8\u10e1 \u10db\u10ee\u10d0\u10e2\u10d5\u10e0\u10dd\u10d1\u10d8\u10e1 \u10eb\u10d4\u10d2\u10da\u10d4\u10d1\u10d8 \u10e2\u10d0\u10dd-\u10d9\u10da\u10d0\u10e0\u10ef\u10d4\u10d7\u10e8\u10d8 (The Monuments of Georgian Medieval Wall-painting in Tao-Klarjeti (North-East Tunrkey). Georgian Antiquities, N\u00a0<\/span>19, 2016; 32-79;<\/strong><\/li>\n
  8. \u10ec\u10db. \u10d2\u10d8\u10dd\u10e0\u10d2\u10d8\u10e1\u10d0 \u10d3\u10d0 \u10ec\u10db. \u10d7\u10d4\u10d5\u10d3\u10dd\u10e0\u10d4\u10e1 \u10ee\u10d0\u10e2\u10d8 \u10dc\u10d0\u10d9\u10d8\u10de\u10d0\u10e0\u10d8\u10d3\u10d0\u10dc (St. George and St Theodore icon from Nakipari), ACADEMIA, 4-2015, pp. 16-33;<\/strong><\/li>\n
  9. \u10e8\u10e3\u10d0 \u10e1\u10d0\u10e3\u10d9\u10e3\u10dc\u10d4\u10d4\u10d1\u10d8\u10e1 \u10db\u10ee\u10d0\u10e2\u10d5\u10e0\u10dd\u10d1\u10d0 \u10d0\u10e4\u10ee\u10d0\u10d6\u10d4\u10d7\u10e8\u10d8\u00a0 (Medieval painting in Abkhazia), \u10d9\u10e3\u10da\u10e2\u10e3\u10e0\u10e3\u10da\u10d8 \u10db\u10d4\u10db\u10d9\u10d5\u10d8\u10d3\u10e0\u10d4\u10dd\u10d1\u10d0 \u10dd\u10d9\u10e3\u10de\u10d0\u10ea\u10d8\u10d8\u10e1 \u10de\u10d8\u10e0\u10dd\u10d1\u10d4\u10d1\u10e8\u10d8 (cultural heritage under occupation), proceedings of the scientific conference, Tbilisi, 2015, 53-68. (in Georgian);<\/strong><\/li>\n
  10. \u10de\u10e0\u10dd\u10d5\u10d8\u10dc\u10ea\u10d8\u10e3\u10da\u10d8\u10e1 \u10ea\u10dc\u10d4\u10d1\u10d0 \u10e8\u10e3\u10d0 \u10e1\u10d0\u10e3\u10d9\u10e3\u10dc\u10d4\u10d4\u10d1\u10d8\u10e1 \u10e5\u10e0\u10d8\u10e1\u10e2\u10d8\u10d0\u10dc\u10e3\u10da \u10db\u10ee\u10d0\u10e2\u10d5\u10e0\u10dd\u10d1\u10d0\u10e8\u10d8 (On the term “provincial” in regard with the Medieval Christian Painting), proceedings of the First International conference: Artistic form: Epochs and Tendencies, 2013, Tbilisi; Tbilisi State University; Tb., 2015; 49-60;<\/strong><\/li>\n
  11. Contribution of Georgian Art History to the Saving of Christian Culture in the Soviet Period, in the: Returning to Spirituality; ed.\u00a0 D. Muskhelishvili, NOVA Publishers, 2015, NY;\u00a0 75-80;<\/strong><\/li>\n
  12. M. Didebulidze, M. Janjalia, Wall Paintings of the Holy Cross Monastery in Jerusalem, Iberica Caucasica, vol.2,\u00a0 London, Bennet and Bloom, 2014, pp. 46-66;<\/strong><\/li>\n
  13. Tao-Klarjeti murals; Interaction of Cultural Traditions, in: Synergies in visual culture, Festschrift f\u00fcr Gerhard Wolf,\u00a0 M\u00fcnchen, 2013; 215-228;<\/strong><\/li>\n
  14. \u10e5\u10d0\u10e0\u10d7\u10e3\u10da\u10d8 \u10ee\u10d4\u10da\u10dd\u10d5\u10dc\u10d4\u10d1\u10d0\u10d7\u10db\u10ea\u10dd\u10d3\u10dc\u10d4\u10dd\u10d1\u10d8\u10e1 \u10ec\u10d5\u10da\u10d8\u10da\u10d8 \u10e5\u10e0\u10d8\u10e1\u10e2\u10d8\u10d0\u10dc\u10e3\u10da\u10d8 \u10ee\u10d4\u10da\u10dd\u10d5\u10dc\u10d4\u10d1\u10d8\u10e1 \u10d2\u10d0\u10d3\u10d0\u10e0\u10e9\u10d4\u10dc\u10d0\u10e8\u10d8 \u10e1\u10d0\u10d1\u10ed\u10dd\u10d7\u10d0 \u10de\u10d4\u10e0\u10d8\u10dd\u10d3\u10e8\u10d8 (the merit of Georgian Art History in preserving Christian culture during the Soviet rule); Logos, N<\/span> 7\/2013, \u00a0103-107;<\/strong><\/li>\n
  15. \u10d7\u10d0\u10db\u10d0\u10e0\u10d8\u10e1 \u10d3\u10e0\u10dd\u10d8\u10e1 \u10db\u10ee\u10d0\u10e2\u10d5\u10e0\u10dd\u10d1\u10d8\u10e1 \u10de\u10e0\u10dd\u10d2\u10e0\u10d0\u10db\u10d4\u10d1\u10d8\u10e1 \u10d4\u10e0\u10d7\u10d8 \u10d8\u10d9\u10dd\u10dc\u10dd\u10d2\u10e0\u10d0\u10e4\u10d8\u10e3\u10da\u10d8 \u10d7\u10d0\u10d5\u10d8\u10e1\u10d4\u10d1\u10e3\u10e0\u10d4\u10d1\u10d0 (An iconographic peculiarity of the mural painting programes in the reign of Queen Tamar), Matsne, N<\/span> 1, 2012, 77-78;<\/strong><\/li>\n
  16. \u10d3\u10d0\u10d5\u10d8\u10d7 \u10d9\u10d0\u10d9\u10d0\u10d1\u10d0\u10eb\u10d8\u10e1 “\u10d1\u10e0\u10d4\u10e2\u10d0\u10dc\u10d8” \u10d3\u10d0 \u10e8\u10dd\u10e0\u10d4\u10e3\u10da\u10d8 \u10d0\u10e6\u10db\u10dd\u10e1\u10d0\u10d5\u10da\u10d4\u10d7\u10d8\u10e1 \u10ee\u10d4\u10da\u10dd\u10d5\u10dc\u10d4\u10d1\u10d0 (“Bretagne” by David Kakabadze and the art of\u00a0 Far East) , ACADEMIA, 2\/2011, 36-51;<\/strong><\/li>\n
  17. Image of the Three Youths in Furnace on the background of the anti-heretical disputes in the end of the 12th c. in the Proceedings of the 2nd International Symposium of Georgian Culture, Florence, November 2-9, 2009; (Tbilisi, 2011), 120-126;<\/strong><\/li>\n
  18. \u10e7\u10d8\u10dc\u10ea\u10d5\u10d8\u10e1\u10d8\u10e1 \u10ec\u10db. \u10dc\u10d8\u10d9\u10dd\u10da\u10dd\u10d6\u10d8\u10e1 \u10e2\u10d0\u10eb\u10e0\u10d8\u10e1 \u10db\u10dd\u10ee\u10d0\u10e2\u10e3\u10da\u10dd\u10d1\u10d0 \u10d7\u10d0\u10dc\u10d0\u10d3\u10e0\u10dd\u10e3\u10da\u10d8 \u10d1\u10d8\u10d6\u10d0\u10dc\u10e2\u10d8\u10e3\u10e0\u10d8 \u10db\u10ee\u10d0\u10e2\u10d5\u10e0\u10dd\u10d1\u10d8\u10e1 \u10d9\u10dd\u10dc\u10e2\u10d4\u10e5\u10e1\u10e2\u10e8\u10d8 (Murals of St. Nickolas church in context of the contemporary Byzantine painting), ACADEMIA, 1\/2010, 69-88;<\/strong><\/li>\n
  19. \u201cSecular trends in the Georgian culture from the period of Queen Tamar and the contemporary wall painting\u201d,\u00a0 in the \u201cGeorgian Art in the Context of European and Asian Cultures\u201d; proceedings of the V. Beridze 1st<\/sup> international Symposium of Georgian Culture;\u00a0 June, 21-29, 2008.\u00a0 (Tbilisi, 2009), 121-126;<\/strong><\/li>\n
  20. \u10e7\u10d8\u10dc\u10ea\u10d5\u10d8\u10e1\u10d8\u10e1 \u10ec\u10db. \u10dc\u10d8\u10d9\u10dd\u10da\u10dd\u10d6\u10d8\u10e1 \u10e2\u10d0\u10eb\u10e0\u10d8\u10e1 XIII \u10e1-\u10d8\u10e1 \u10d3\u10d0\u10db\u10d3\u10d4\u10d2\u10d8\u10e1 \u10db\u10dd\u10ee\u10d0\u10e2\u10e3\u10da\u10dd\u10d1\u10d8\u10e1 \u10e4\u10d4\u10e0\u10d0\u10d3\u10dd\u10d5\u10dc\u10d4\u10d1\u10d0\u00a0 (Colorit of the thirteen century murals of St. Nicholas church at Kintsvisi), Georgian Antiquities, N<\/span> 11, 78-104;<\/strong><\/li>\n
  21. Ancient Georgian Art (with D. Tumanishvili), Tbilisi, 2008;<\/strong><\/li>\n
  22. Georgian pilgrimage routes and sites, in \u201cRoutes of Faith in the Medieval Mediterranean\u201d; Proceedings of an International Symposium, Thessaloniki, November, 2007;\u00a0 (Thessaloniki, 2008);\u00a0 145-155;<\/strong><\/li>\n
  23. \u201cWall Painting\u201d, \u00a0in Georgian Christian Art, \u00a0(Group of Authors), Tbilisi, 2008. 17-21; 45-49;<\/strong><\/li>\n
  24. ST. Nicholas in the 13th<\/sup> c. mural painting of Kintsvisi church, Georgia, ICONOGRAPHICA, Firenze, VI, 2007, (61-77);<\/strong><\/li>\n
  25. Monuments of medieval wall painting in North-East Turkey (history and present state). Proceedings of the 21st<\/sup>\u00a0 International Congress of Byzantine Studies, London, 2006; vol. III.\u00a0\u00a0 London, 2006. 341-342;<\/strong><\/li>\n
  26. M. Didebulidze, M. Janjalia, Wall painting of the Jerusalem Holy Cross Monastery, Proceedings of the 21st<\/sup>\u00a0 International Congress of Byzantine studies, London, 2006; vol. III.\u00a0 340- 341;<\/strong><\/li>\n
  27. \u201c\u10eb\u10d8\u10e0\u10d8 \u10d8\u10d4\u10e1\u10d4\u10e1\u10d8 \u10e7\u10d8\u10dc\u10ea\u10d5\u10d8\u10e1\u10d8\u10e1 \u10ec\u10db. \u10dc\u10d8\u10d9\u10dd\u10da\u10dd\u10d6\u10d8\u10e1 \u10e2\u10d0\u10eb\u10d0\u10e0\u10e8\u10d8\u201d (The Tree of Jesse in the St, Nickolas church at Kintsvisi), ACADEMIA, v. 6-7, 41-49;<\/strong><\/li>\n
  28. \u201c\u10d4\u10e0\u10dd\u10d5\u10dc\u10e3\u10da\u10d8 \u10e4\u10dd\u10e0\u10db\u10d8\u10e1 \u10e1\u10d0\u10d9\u10d8\u10d7\u10ee\u10d8 \u10e5\u10e0\u10d8\u10e1\u10e2\u10d8\u10d0\u10dc\u10e3\u10da \u10ee\u10d4\u10da\u10dd\u10d5\u10dc\u10d4\u10d1\u10d0\u10e8\u10d8\u201c (The issue of national form in the Christian art), Georgian Antiquities, N\u00a0<\/span>7-8, 2005, 211-238;<\/strong><\/li>\n
  29. \u201c\u10e7\u10d8\u10dc\u10ea\u10d5\u10d8\u10e1\u10d8\u10e1 \u10ec\u10db. \u10dc\u10d8\u10d9\u10dd\u10da\u10dd\u10d6\u10d8\u10e1 \u10e2\u10d0\u10eb\u10e0\u10d8\u10e1 \u10db\u10dd\u10ee\u10d0\u10e2\u10e3\u10da\u10dd\u10d1\u10d8\u10e1 \u10e8\u10d4\u10e5\u10db\u10dc\u10d8\u10e1 \u10d8\u10e1\u10e2\u10dd\u10e0\u10d8\u10d8\u10d3\u10d0\u10dc\u201d (History of creation of the wall painting of the church of St Nicholas at Kintsvisi), Proceedings of the Second International Symposium: Christianity in our Life: Past, Presant and Future, Tbilisi, 2005. 199;<\/strong><\/li>\n
  30. \u201cThe cycle of life of St. Nickolas in the wall painting of Kintsvisi church\u201d, Studies on Georgian Art, IV, Tbilisi, 2005, 31-34;<\/strong><\/li>\n
  31. \u201c\u10e5\u10e0\u10d8\u10e1\u10e2\u10d8\u10d0\u10dc\u10dd\u10d1\u10d0 \u10d3\u10d0 \u10e5\u10d0\u10e0\u10d7\u10e3\u10da\u10d8 \u10ee\u10d4\u10da\u10dd\u10d5\u10dc\u10d4\u10d1\u10d0\u10d7\u10db\u10ea\u10dd\u10d3\u10dc\u10d4\u10dd\u10d1\u10d0 (Christianity and the Georgian art history), in \u201c20 centuries of Christianity in Georgia\u201d, Tbilisi, 2004. 137-149;<\/strong><\/li>\n
  32. \u10e1\u10d0\u10e6\u10d5\u10d7\u10d8\u10e1\u10db\u10d4\u10e2\u10e7\u10d5\u10d4\u10da\u10dd \u10de\u10dd\u10da\u10d4\u10db\u10d8\u10d9\u10d8\u10e1 \u10d0\u10e1\u10d0\u10ee\u10d5\u10d8\u10e1 \u10e1\u10d0\u10d9\u10d8\u10d7\u10ee\u10d8\u10e1\u10d0\u10d7\u10d5\u10d8\u10e1 \u10e7\u10d8\u10dc\u10ec\u10d5\u10d8\u10e1\u10d8\u10e1 \u10ec\u10db. \u10dc\u10d8\u10d9\u10dd\u10da\u10dd\u10d6\u10d8\u10e1 \u10e2\u10d0\u10eb\u10e0\u10d8\u10e1 \u10db\u10dd\u10ee\u10d0\u10e2\u10e3\u10da\u10dd\u10d1\u10d0\u10e8\u10d8 (On\u00a0 Reflection of Theological Disputes in the Programme of the Wall Painting of St. Nicholas Church at Kintsvisi),\u00a0 \u00a0Georgian Antiquities, 6, 2005, Tbilisi, pp. 121-122;<\/strong><\/li>\n
  33. Zur Restauration der mittelalterlichen Baudekm\u00e4ler,\u00a0 WOSTOK, Nr. 1,\u00a0 Berlin, Fr\u00fchjahr 2005,,<\/span>\u00a027-29;<\/span><\/strong><\/li>\n
  34. The image of St. Sylvester in the wall painting of St. Nicholas church at Kintsvisi, – Sudies on Georgian Art, Tbilisi, 2004, pp.87-89;<\/strong><\/li>\n
  35. Wall painting of the Holy Cross Monastery in Jerusalem, \u201cAcademia\u201d, v.5 (A), Tbilisi, 2003, pp.26-33.\u00a0 (with Dr. Mzia Djandjalia);<\/strong><\/li>\n
  36. \u10d0\u10ee\u10d0\u10da\u10d8 \u10db\u10dd\u10dc\u10d0\u10ea\u10d4\u10db\u10d4\u10d1\u10d8 \u10e7\u10d8\u10dc\u10ea\u10d5\u10d8\u10e1\u10d8\u10e1 \u10ec\u10db. \u10dc\u10d8\u10d9\u10dd\u10da\u10dd\u10d6\u10d8\u10e1 XIII \u10e1\u10d0\u10e3\u10d9\u10e3\u10dc\u10d8\u10e1 \u10db\u10dd\u10ee\u10d0\u10e2\u10e3\u10da\u10dd\u10d1\u10d8\u10e1 \u10e8\u10d4\u10e1\u10d0\u10ee\u10d4\u10d1 (New data\u00a0 on the thirteenth century wall painting in the St. Nicholas church at Kintsvisi,) \u201cGeorgian Antiquities\u201d, 1, Tbilisi, 2002, 85-100;<\/strong><\/li>\n
  37. \u10ee\u10e3\u10e0\u10dd\u10d7\u10db\u10dd\u10eb\u10e6\u10d5\u10e0\u10d4\u10d1\u10d8\u10e1\u10d0 \u10d3\u10d0 \u10db\u10ee\u10d0\u10e2\u10d5\u10e0\u10dd\u10d1\u10d8\u10e1 \u10e3\u10e0\u10d7\u10d8\u10d4\u10e0\u10d7\u10db\u10d8\u10db\u10d0\u10e0\u10d7\u10d4\u10d1\u10d0 \u10ec\u10db. \u10dc\u10d8\u10d9\u10dd\u10da\u10dd\u10d6\u10d8\u10e1 \u10e2\u10d0\u10eb\u10e0\u10d8\u10e1 XIII \u10e1\u10d0\u10e3\u10d9\u10e3\u10dc\u10d8\u10e1 \u10db\u10dd\u10ee\u10d0\u10e2\u10e3\u10da\u10dd\u10d1\u10d0\u10e8\u10d8 (Interrelation of the architecture and wall painting in the St. Nicholas church at Kintsvisi, ACADEMIA, v.3, Tbilisi, 2002, 63-71;<\/strong><\/li>\n
  38. Conservation of the Kintsvisi wall painting, Deltion, 3, 2002, Thessalonike, pp. 125-129;<\/strong><\/li>\n
  39. Cultural Heritage of Georgia, Jerusalem, 2002 (Catalogue of the photo-exhibition);<\/strong><\/li>\n
  40. Architecture and wall painting in Tao-Klardjeti, (Exhibition catalogue), Tbilisi, 1996. In collaboration with D. Khoshtaria and N. Vacheishvili;<\/strong><\/li>\n
  41. Medieval Frescoes and Mosaics of Georgia, – “Wostok”, 3, 1996, Koln;<\/strong><\/li>\n
  42. \u10ec\u10db. \u10d4\u10d5\u10e1\u10e2\u10d0\u10e2\u10d4\u10e1 \u10ee\u10d8\u10da\u10d5\u10d0 \u10e8\u10e3\u10d0 \u10e1\u10d0\u10e3\u10d9\u10e3\u10dc\u10d4\u10d4\u10d1\u10d8\u10e1 \u10e5\u10d0\u10e0\u10d7\u10e3\u10da \u10ee\u10d4\u10da\u10dd\u10d5\u10dc\u10d4\u10d1\u10d0\u10e8\u10d8 (The Vision of St.Eustatios in the Medieval Georgian Art) – Literatura da Khelovneba, Tbilisi, 1990, 197-206;<\/strong><\/li>\n
  43. \u10d6\u10d4\u10dc\u10dd\u10d1\u10d0\u10dc\u10d8\u10e1 \u10d4\u10d9\u10da\u10d4\u10e1\u10d8\u10d8\u10e1 \u10db\u10dd\u10ee\u10d0\u10e2\u10e3\u10da\u10dd\u10d1\u10d0 (Mural Painting of Zenobani Church), \u201cMatsne\u201d, Reports of Georgian Academy of Sciences, Tbilisi, 1990;<\/strong><\/li>\n
  44. Architectural and Landscape Setting in the Medieval Georgian Mural Painting, – IV International Symposium on Georgian Art, Tbilisi, 1989;<\/strong><\/li>\n
  45. \u10d6\u10d4\u10dc\u10dd\u10d1\u10d0\u10dc\u10d8\u10e1 \u10d4\u10d9\u10da\u10d4\u10e1\u10d8\u10d8\u10e1 \u10ee\u10e3\u10e0\u10dd\u10d7\u10db\u10dd\u10eb\u10e6\u10d5\u10e0\u10d4\u10d1\u10d0\u00a0 (The Architecture of Zenobani Church), “Dzeglis Megobari”, 1989, 4. 5-15;<\/strong><\/li>\n
  46. Two Monuments of Thirteenth century Georgian Mural Painting in Imereti, – II International Symposium on Georgian Art, Tbilisi, 1983;<\/strong><\/li>\n
  47. Architecture of the Church in Old Gagra, – “Dzeglis Megobari”,\u00a0N<\/span> 45, Tbilisi, 1977, 16-26.<\/strong><\/li>\n<\/ol>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

    Art Historian, Senior Researcher of the Centre, Prof. Dr. Research field: History of the medieval mural painting, rehabilitation of ancient towns, conservation of the medieval painting. Activity: Lectures on Byzantine Painting at Tbilisi Theological Academy; lectures on the History of the Medieval Georgian Fine Art at Tbilisi Academy of Arts; Member of the Scientific Counsel …<\/p>\n","protected":false},"author":1,"featured_media":679,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[22],"tags":[],"class_list":["post-661","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-biobiblio"],"_links":{"self":[{"href":"https:\/\/eng.gch-centre.ge\/index.php\/wp-json\/wp\/v2\/posts\/661","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/eng.gch-centre.ge\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/eng.gch-centre.ge\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/eng.gch-centre.ge\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/eng.gch-centre.ge\/index.php\/wp-json\/wp\/v2\/comments?post=661"}],"version-history":[{"count":8,"href":"https:\/\/eng.gch-centre.ge\/index.php\/wp-json\/wp\/v2\/posts\/661\/revisions"}],"predecessor-version":[{"id":678,"href":"https:\/\/eng.gch-centre.ge\/index.php\/wp-json\/wp\/v2\/posts\/661\/revisions\/678"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/eng.gch-centre.ge\/index.php\/wp-json\/wp\/v2\/media\/679"}],"wp:attachment":[{"href":"https:\/\/eng.gch-centre.ge\/index.php\/wp-json\/wp\/v2\/media?parent=661"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/eng.gch-centre.ge\/index.php\/wp-json\/wp\/v2\/categories?post=661"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/eng.gch-centre.ge\/index.php\/wp-json\/wp\/v2\/tags?post=661"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}