Tbilisi

When I hear of its sad state in the news, I think of Georgia strongly, because I had just recently been taken there by a book, one which in its very core decries Russian imperialism. Here is Georgia:

From Ryszard Kapuscinski's Imperium, translated by Klara Glowczewska:

...One should see the museum in Tbilisi. It is located in the former seat of a theological seminary, where Stalin once studied. A marble plaque at the entrance commemorates this. The building is dark but spacious and stands in the center of town, at the edge of the old downtown district...The splendor and excellence of Georgia's ancient art are overwhelming. The most fantastic are the icons! They are from a much earlier time than Russian icons; the best Georgian ones came into being long before Andrey Rublyov...their originality lies in their having been executed largely in metal: only the face is painted. The most glorious period of this work spans the eighth to the thirteenth centuries. The faces of the saints, dar, but radiant in the light, dwell immobile in extremely rich gold frames studded with precious stones...There is an icon here on which several generations of masters worked for three centuries...

...Then there are the frescoes in the Georgian churches. Such marvels, and yet so little is known about them outside of Georgia. Virtually nothing. The best frescoes, unfortunately, were destroyed. Thhey covered the interior of the largest church in Georgia--Sveti Tschoveli, built in 1010 in Georgia's former capital, Meht, near Tbilisi. They were a masterpiece of the Middle Ages on a par with the stained glass of Chartres. They were painted over on the order of the czar's governor, who wanted the church whitewashed 'like our peasant women whitewash stoves.' No restoration efforts can return these frescoes to the world. Their brilliance is extinguished forever...

...Niko Pirosmanashvili is all the rage in Paris these days. Niko died in 1916. He was a Georgian Rousseau...Niko lived in Nachalovce, the Tbilisi neighborhood of the lumpen and the poor...Niko painted suppers like Veronese. Only Niko's suppers are Georgian and secular. Against a background of Georgian landscape, a richly laid table; at this table Georgians are drinking and eating...The culinary fascinated Niko...Niko's Georgia is sated, always feasting, well nourished. The land flows with milk. Manna pours from the sky. All the days are fat. The residence of Nachalovce dreamed at night of such a Georgia...Over and over again he painted his feasts, with that table against a mountainous landscape...