Culture
Main article: Culture of Georgia (country)Georgian culture evolved over thousands of years with its foundations in Iberian and Colchian civilizations, continuing into the rise of the unified Georgian Kingdom under the single monarchy of the Bagrationi. Georgian culture enjoyed a golden age and renaissance of classical literature, arts, philosophy, architecture and science in the 11th century.
The Georgian language, and the Classical Georgian literature of the poet Shota Rustaveli, were revived in the 19th century after a long period of turmoil, laying the foundations of the romantics and novelists of the modern era such as Grigol Orbeliani, Nikoloz Baratashvili, Ilia Chavchavadze, Akaki Tsereteli, Vazha Pshavela, and many others. Georgian culture was influenced by Classical Greece, the Roman Empire, the Byzantine Empire, and later by the Russian Empire.
Georgians have their own unique 3 alphabets which according to traditional accounts was invented by King Pharnavaz I of Iberia in 3rd century BC.
Georgia is well known for its rich folklore, unique traditional music, theatre, cinema, and art. Georgians are renowned for their love of music, dance, theatre and cinema. In the 20th century there have been notable Georgian painters such as Niko Pirosmani, Lado Gudiashvili, Elene Akhvlediani; ballet choreographers such as George Balanchine, Vakhtang Chabukiani, and Nino Ananiashvili; poets such as Galaktion Tabidze, Lado Asatiani, and Mukhran Machavariani; and theatre and film directors such as Robert Sturua, Tengiz Abuladze, Giorgi Danelia and Otar Ioseliani.
Read more about this topic: Georgia (country)
Famous quotes containing the word culture:
“Whatever offices of life are performed by women of culture and refinement are thenceforth elevated; they cease to be mere servile toils, and become expressions of the ideas of superior beings.”
—Harriet Beecher Stowe (1811–1896)
“A culture may be conceived as a network of beliefs and purposes in which any string in the net pulls and is pulled by the others, thus perpetually changing the configuration of the whole. If the cultural element called morals takes on a new shape, we must ask what other strings have pulled it out of line. It cannot be one solitary string, nor even the strings nearby, for the network is three-dimensional at least.”
—Jacques Barzun (b. 1907)
“No race has the last word on culture and on civilization. You do not know what the black man is capable of; you do not know what he is thinking and therefore you do not know what the oppressed and suppressed Negro, by virtue of his condition and circumstance, may give to the world as a surprise.”
—Marcus Garvey (1887–1940)