Simbolist’uri kalakis mxat’vrul-msoplmxedvelobrivi ret’rosp’ekt’iva Sandro cirekidzis miniat’urebshi /სიმბოლისტური ქალაქის მხატვრულ-მსოფლმხედველობრივი რეტროსპექტივა სანდრო ცირეკიძის მინიატურებში [Artistic-Worldview Retrospective of Symbolist Сity in Minia

In literary studies, there is a firmly rooted idea that generally the genre specificity of the symbolist creative thought is merely poetic imagology, however, the genre area in the European history of Symbolism has also embraced prose, fiction, drama, miniature literature as well as essays. In this regard, the Georgian Symbolist school which represents a creative variation of the European narrative is consistent. Sandro Tsirekidze’s name is unquestionably associated with the history of the Georgian Symbolist prose; he, all the way through his life and work, fully embraced the destiny of the so-called “cursed poets” and the fate of the “forgotten artists”, although, back then, he along with others from the Blue Horns was constructing the new history of the Georgian literature. Sandro Tsirekidze’s ideas about literature and art serve as another analogue of the assessment of creative events, performed professionally with a then-innovative and modern approach. These attitudes have been demonstrated in his miniatures in which the Georgian reflection of the creative and worldview discourse of Paul Verlaine, Émile Verhaeren, Arthur Rimbaud, Georges Rodenbach, Valery Bryusov, and other Symbolists becomes fully conscious. For the character of Sandro Tsirekidze’s miniatures, the city is the space for action as well as the space for thinking; the city which, at the same time, is a symbolic binary essence, and an artistic and creative stepping stone. Here, the author’s subjective opinions and attitudes undergo a certain artistic transformation, when the author rather proceeds along the “footbridge” of literature positioned between the emotion and analysis, where the author’s genuine emotional experiences are explicitly identified. The city text by Sandro Tsirekidze is related to the conceptual symbolist perception. It is the complex of concepts, motifs and plots, which covers the author’s model of city life – both generally and in its private manifestations.