"Kani is a word from a different language and is called metal in Georgian… Whereas, Varaqi, (or a thin metal layer) means the same as kanda which is put on the top of a surface in the same manner as an image is chased on thin golden and silver plates" – wrote Sulkhan-Saba Orbeliani.
Today, when looking at the most sophisticated specimens of  Georgian chasing, you realize that this is one of the most important parts of Georgia’s heritage and its spiritual culture – a unique art that fills you with a sense of pride…
Free-chasing, carving, engraving, and the embossing of complicated images – all these, and an array of many other incredible things that would make you dizzy, made up a strange world called Georgian chasing.
Georgian chasing has followed a long, complex road – just like many other roads in Georgia.
The Kolchis culture, at the end of the 2nd millennium, BC, left silver specimens of the art of chasing art found during the archaeological digs in the Trialeti, bronze belts studded with the images of fantastic animals, and the finest jewellery. Mtskheta of the antique period was rich with chisled gold jewellery.
The advent of the 10th century was the beginning of the upswing of Georgian chasing, reaching its peak in the 12th century. At this time, several art schools already existed in Georgia, including those of Opizi, Tbeti and Gelati, which were distinguished by a unique style and different trends. The masters of chasing who created their works at these schools won worldwide recognition. They were: Asat Mokmedi, Gabriel Sapareli (10th century), Ivane Monisdze, Ivane Diakoni, Tutai (11th century), Asan Tevdore and Giorgi Gvazaisdze, Beka and Beshken Opizaris (12th century), and later on Mamne and many others…
The researchers noted that the Tbeti School was distinguished by a peculiar pictorial perception of the plane of the metal plate with the more emotional elements in it as, for instance, the crying Virgin… The Opizi School follows the tradition of the monumental style, whereas the Gelati School is more famous for decorative features.
Icons and crosses chased on golden plates are currently kept in the Art Museum of Georgia. Every time you see them, you wonder about the power of eternal values, the essence of our lives, the past and the future.

The surface of the ancient "Zarzma Transfiguration" icon is flat and relatively simple. It is from that point that the trend towards rounding of the icon's surface began, portraying the natural pose and dynamics. The themes of the Saviour, the Virgin, and Saint George are repeated endlessly. However, they never resemble one another in any of the icons. The "Martvili Virgin" is different from the "Vardzia Virgin", as is the "Tsageri Virgin", not to mention anything of the inimitable chasing of the Khakhuli icon.

Crosses of various size and chasing look majestic and impressive… The chasing of the cross of the Gorijvari altar of the 15th century depicts 15 different scenes of the life and martyrdom of Saint George. It is interesting that on some Georgian icons Saint George is fighting not a dragon, but a man. According to some scholars, this man was Diocletian, the emperor of Rome… There is one more cross preserved among the medieval chasing specimens. It is small in size and modest, but is invaluable because, as it is assumed, it belonged to King Tamar. It could have been this cross that Tamar blessed the Georgian army, setting out for war…
Beka and Beshken Opizaris are an entirely different theme…

 A different height, a different school, different shapes…

"Beka has subordinated ornamentation to the main artistic idea, and gave a peculiar artistic image to it", Shalva Amiranashvili observed.  Beka Opizari’s art has truly become the peak of the development of embossed plastic art.

Only two masterpieces of Beka’s chasing have survived to this day: the chasing of the Anchis Khati (the Anchi icon) frame and the silver chasing of the Tskarostavi Gospel.

"Christ, have mercy on the chasing master Beka Opizari", says the Anchis Khati inscription. From the same inscription, it becomes clear that it was to Beka Opizari that Ioane, the bishop of Anchi, had ordered the chasing of the icon. Technical and artistic decoration of the figures of the icon of Anchi are clear illustrations of the hand and the taste, not only of a simple chaser, but of the greatest master and sculptor.

In 1664, the Tbilisi merchant "Amirjana", brought ten icons from Samtskhe to Tbilisi. The Anchi icon was among those that he sold for one-thousand coins to the Georgian Patriarch, Domenti II Batonishvili…

From Beshken Opizari’s artifacts, only one of the Gospel’s chasing has been passed down to us. Shalva Amiranashvili dates it to the 12th century. In Beshken’s compositions, the image of a man is shown in a large scale and distinct from Beka’s works, but still carries the archaic features, dryness, monumentalism and grandeur…

The ancient Georgian art of chasing –  the most ancient roots and the beginning of the new Georgian art of chasing.
 
Soso Koiava, a modern metal sculptor, once said: "Whatever material the artist is working on, first of all he must express its contemporaneousness in metal". This is exactly what happened. The twentieth century has again revived the old tradition, recalled and began, creating new Georgian chasing with novel themes, new faces and names. Irakli Ochiauri notes: "It was only the performance of technique that was common to both ancient and new chasing. Previously, religious motives predominated. In contemporary chasing, national themes became much more apparent. However, the most important thing about it is that the old tradition gave birth to the new one. I have continued something that already existed. Differently perhaps, but still..."

Irakli Ochiauri made the first step forward…

Having overcome the obstacles, the new art attracted those who valued it… Someone attempted to repeat the old and create the new, and for others, chasing has become the work of their life.

Then Koba Guruli came into the world of chasing, followed by Guram Gabashvili, Dimitri Kipshidze and many others… Guram Gabashvili’s "The Khevsurian Girl", Koba Guruli’s "Gutnisdeda" and "Petre Iberi", Irakli Ochiauri’s "Pirosmani", and "Khorumi", have shown themselves to be new and unique specimens of art.
Chasing became incredibly popular. Next to the most refined works of art, interesting salon works have also appeared. Chasing was considered the favorite gift. Schoolchildren started learning chasing at school during their art lessons.

This was the time when Georgian chasing had regained its place and function. This was a period of rebirth and a flourishing period of this Georgian art.
It is a pity that today fewer and fewer of the young Georgian artists devote themselves to this type of ancient craftsmanship. It is rare these days that one would come across a specimen of modern Georgian chasing in the exhibition halls or art galleries.

However, the tradition, remaining in the genes and blood, will do the job. The beauty and subtleness originating from the times long past will continue.

Thank God, the teachers are still in fine gear.

EKA KEVANISHVILI