Management and Perspectives of the Cultural Heritage­ Applied Art of Georgia

ნაშრომი იხილავს და აანალიზებს საქართველოს კულტურული მემკვიდრეობის, კერძოდ გამოყენებითი ხელოვნების სფეროში დღეისათვის არსებულ მენეჯმენტის პრობლემებს, იკვლევს მათი გადაჭრის გზებს და საშუალებებს. ნაშრომში წარმოდგენილია გამოყენებითი ხელოვნების ნაკეთობების სამომხმარებლო ბაზრის, მომხმარებლის, ხელოსნებისა და გასაყიდად წარმოდგენილი პროდუქციის კვლევა. სამომხმარებლო ბაზარი: რას სთავაზობს მყიდველს დღეს სამომხმარებლო ბაზარი, რა ფორმებით ხდება შეთავაზება, რა იყიდება, სად იყიდება, რისი ყიდვა სურთ.მომხმარებელი, მყიდველი: კვლევისათვის თბილისის უბნების მიხედვით ავირჩიე სხვადასხვა ფენის და ასაკის მომხმარებელთა ჯგუფი: ტურისტები, უცხოელი მომხმარებელი, რომელიც ცხოვრობს საქართველოში გარკვეული დროით,სუვენირების და ხელნაკეთი ნივთების მოყვარული მომხმარებელი; მყიდველი საკუთარი მოხმარებისთვის და კორპორატიული მყიდველი.ხელოსნები და პროდუქცია: ვინ არის დღეს დაკავებული დეკორატიულ–გამოყენებითი ხელოვნებით, რა პროდუქციას ამზადებენ, რამდენად აქვს პროდუქციას ფუნქციონალური დატვირთვა, რამდენად არის პროდუქცია კონკურენტუნარიანითანამედროვე ბაზარზე. კვლევა ჩატარდა საპატრიარქოს “სულიერი და ინტელექტუალური აღზრდის ახალგაზრდული ცენტრის“ მიერ მომზადებული „ქართული სამოსისა და აქსესუარების ფესტივალის“ მონაცემთა ბაზაზე დაყრდნობით. კვლევიდან გამომდინარე, გაკეთდა დასკვნები: დეკორატიულ–გამოყენებითი ხელოვნების ნიმუშები ხშირ შემთხვევაში იქმნება დაუგეგმავად, ქაოტურად. არ არის გათვალისწინებული ბაზრის მოთხოვნები. პროდუქცია არ არის სათანადოდ მომზადებული გასაყიდად: არ ახლავს ანოტაციები, ერთგვარი ხარისხის დამადასტურებელი ნიშანი, ოსტატის საავტორო ნიშანი, დამღა, ამიტომ მყიდველი ვერ აკეთებს სწორ არჩევანს მარალხარისხიან პროდუქციასა და არაპროფესიონალთა მიერ შექმნილ ნაკეთობებს შორის.


Bakradze Maia
The University of Georgia The work considers and analyses the problems of the management ex isting nowadays in cultural heritage of Georgia, particularly, in the sphere of applied art and investigates the ways and means of their solution.
Georgia is rich both with unique specimens of cultural heritage and nee dlework craftsmen who nowadays still pursue the previous traditional craftsmanship and fancywork.They create such beautiful and fine articles as our ancestors did and which even today did not lose their old attraction and that delight spectators.
More and more Georgians and foreigners are interested in studies of Georgian culture and cultural heritage.They visit museums, exhibitions and travel to various parts of Georgia, observe and learn the specimens of cultural heritage: manufacture traditions of articles of popular craftsmanship, apparel and accessories.
Wearing of Georgian national apparel and accessories became fashion able tradition both on holidays and everyday life.Also studies of popular fancywork and manufacture of articles became fashionable tendency.
It itself points to popularization and revival of the Georgian cultural her itage if not for nowadays existing some preventive circumstances.
The consumers' market of Georgia is mainly full of low quality popular articles with frequently lost functions that only visually resemble the real ones and do not give desirable information about our rich cultural heritage to the customer and they bear a negative advertisement in this sphere.
The consumer motivated to purchase the articles of popular craftsman ship frequently remains disappointed and subsequently does not purchase the suggested product either for a present or personal consumption.
It is caused by several factors: < There is no full investigation and analysis of consumers' market of the articles of applied art in Georgia; < The management and marketing in this sphere frequently is not adjusted.Frequently the craftsman does not know if what prod uct is expected from him by a customer and creation of the article happens chaotically.< There are very few specialized placespermanent exhibitions and shops where high quality specimens of decorativeapplied art are sold that can not satisfy the needs of both craftsmen and cus tomers.< There is no perfect structure that could unite popular craftsmen, support the growth of their professionalism by means of master classes, trainings and conferences and care for their populariza tion, advertisement and realization.
< Hence, the selling capabilities of articles depend not on their high quality but on cheapness.Coming out of it the craftsmen are nor interested in creation of aesthetic articles of high level and prefer to make with low quality and sell cheaply.
Coming out of the situation existing in this sphere I have conducted in vestigations of consumers' market, consumer, craftsmen and articles in tended for selling.
Consumers' market: What does consumers' market suggest to consumer, in what form sug gestion takes place, what is sold, where is sold and do they like to purchase?Supposed places of trade: Nonpermanent thematic exhibitions, festivals, shops, salons, permanent galleries, markets, trade fairs, places in streets and pavements, underground crosses.
What is sold?Frequently the assortment diversity and quality depends on the taste of the shop owner or manager.Very often the article is displayed without an notation and the customer chooses a product only visually.
What they want to buy: Wishes differ but every consumer wants things of high quality with dif ferent prices and functional use.
Consumer, customer: For research purposes according to the districts of Tbilisi I chose cus tomers of different groups and ages: tourists, foreign consumers who live in Georgia for a certain time, lovers of souvenirs and handmade things, cus tomers for their own consumption and corporative customer.
Each customer has different demands: Tourists Wish to purchase articles for memory supposedly of a low or average price, it will be nice if the article is not only a souvenir but can be used in everyday life.
Foreign customer who lives in Georgia Wishes to purchase highly artistic works performed with high crafts manship at medium or high price.They prefer the product of functional load.
Customer for own consumption Rarely chooses works with only souvenir load, he prefers functionally adjusted, high quality product for everyday and feast purposes.
Corporative customers Prefer to purchase a product for present at low or average prices with obvious national marks.
Artisans and product < Who is busy today with decorativeapplied art? < What kind of product do they manufacture?< How functionally loaded the product is?< How competitive the product is in the contemporary market?
I conducted investigations on the basis of the "Festival of Georgian Ap parel and Accessories" prepared by the "Youth Center for Sacred and Intel lectual Education" of Patriarchate.
During the Festival from 300 comers the Expert Council selected 76 par ticipants who showed their ideas by means of sketches.
Representatives of the following professions took part: Decorativeapplied art 20 participants Designers 17 participants Designing Company 5 participants Amateur 25 participants Student 9 participants After implementation of sketches the Council selected works once more.The results became less successful: Performed at highlyartistic level with national soul, functionally and qualitatively implemented articles 10%; Performed at high craftsmanship but often functional articles -27%; Articles normal with quality but not relating to Georgian culture -28% Articles performed without quality, not relation to Georgian culture, without function -35%.
After the research the following conclusion have been made: The specimens of decorativeapplied art are frequently created without planning and chaotically.The market demands are not taken into account.The product is not properly prepared for sale.It has not annotations, singu larly confirmed quality mark, authorship mark of the craftsman, symbol that's why the customer can not make a right choice between the high quality product and an article made by nonprofessional.
Communication between popular craftsmen and customers became complicated that cause manufacture of less demanded product.
Very often articles are made by amateurs without popular traditions.Such product is characterized with low quality and price that causes the neg ative influence on this sphere.
Also in many cases the trade place are not selected properly.Trade fairs on pavements, markets and underground crosses are not places of prestige for customers and it is natural that articles presented in these places are out of their interests.
Coming out of the abovementioned for preservation of Georgian cultural heritage, particularly, applied art the definition, planning, organized control of proper management and creation of specific ways is necessary: Research of the consumers' market in the sphere of cultural heritage; Search for popular craftsmen scattered all over Georgia and restoration of communication; Starting of network of cultural interrelations by unification of commer cial and noncommercial spheres; Formation of a perfect structure which will unite popular craftsmen, maintain the growth of their professionalism by means of trainings, master classes and conferences, will care for their popularization, advertisement and realization; Switch of the experts of this sphere in the work process of the popular craftsmen; < Opening of the name shop centers of popular craftsmen in villages that will mean the teaching of eager for craftsmanship in place by craftsmen and simultaneous arrangement of exhibitionsale and advertisement; < Creation of cultural centers, exhibition space in central towns of Georgia in which there will be not only permanent exhibition sales but conferences, festivals and trainings will be held.The intershare of knowledge and experience of the popular crafts men will happen; < Opening of the specialized shopgalleries in central towns of Georgia where high level and quality articles will be sold with an notations, authorship symbol and passport and where at the same time will be proposed information reels and booklets about the manufacture of this or that specimen.< Extension of the information, promotional booklets and informa tion reels.
Hence, a conclusion can be made that taking into account the above listed points the unique fields of internal industry that are falling into obliv ion will revive in Georgia.A unified stable network of cultural centers will be created that effectively will show Georgian cultural heritage and will make it competitive on the international area.The system of spreading the knowl edge of cultural heritage will be formed.The articles of popular craftsman ship will be created in which will be protected and revived the traditions of cultural heritage with characterized marks: ornamental design, color spec trum and coordination, customrules of performance etc, that make so unique and differing our art.