Mother statues in Georgia, Armenia, and Ukraine: from nation building to national unity 

In honour of International Women’s Day on 8 March and Mother’s Day on 3 March, we explore a powerful and enduring symbol of national identity and shifting perspectives of womanhood: the so-called ‘Mother statues’ of Georgia, Armenia, and Ukraine. These monumental guardian figures emerged during the Soviet era, reflecting both the strength and resilience of the nations they represent. While the statues share the common theme of a motherly protector with a weapon in hand, they have evolved in meaning over time, mirroring the transition from Soviet-era monuments to symbols of national pride and sovereignty. 

Our stories consider the dismantling of Stalinism by Khruschev, which was accompanied by “highly visible expressions of […] renewed national consciousness and pride,” with Mother statues being the most notable examples (Christoph Baumer, History of the Caucasus, Volume 2: In the Shadow of Great Powers (I.B. Tauris, 2024), p. 242.). These revived nationalist movements eventually led to independence. Today, as our three ex-Soviet countries balance nation-building and European belonging, their Mother statues can confidently embody the values of unity, democracy, and resilience. 

In 2019, Maria Titizian, lecturer and editor, took a casual stroll in Yerevan and recorded her thoughts in the process: “Just to my left here,” she observes, “there’s Mother Armenia, this huge foreboding statue of a woman … with a big sword in her hand, standing guard over the country. And I thought that was so unique until I went to Ukraine and I saw that they had a Mother Ukraine, then I went to Georgia and saw that they had a Mother Georgia. […] Then you begin to realise the similarities, both architecturally and in terms of lifestyle, that there are among the former Soviet republics.”

In this article, we delve deeper into the history and symbolism of these statues, examining how they embody the collective memory, national consciousness, and aspirations of their countries as they move towards a future defined by democracy and European integration.

The Mother Statue of Georgia

High above Tbilisi, a woman stands with a sword in one hand and a bowl of wine in the other. She is neither queen nor saint, but the symbol of a guardian defending her home and watching over the city as a mother would watch over the lives of her children. The Mother of Georgia (Kartlis Deda), one of the most important statues in the country, embodies the Georgian spirit and stands to protect the city at all times. 

The statue – with its sword to defend the nation from enemies and a bowl of wine giving her the softer and more balanced symbolism of the famous Georgian hospitality – suggests a dichotomous spectacle reflecting the key elements of the Georgian national character: openness and warmth toward guests, alongside an unwavering readiness to defend the homeland against any threat.

Mother Georgia is 20 metres tall and was originally made of wood, but in 1963 it was covered with aluminium to protect it from damage. It was created by the famous artist and sculptor Elguja Amashukeli. The statue was unveiled in 1958 to celebrate the 1500th anniversary of Georgia’s capital, Tbilisi, and is located atop Sololaki Hill, overlooking the old town near the historic Narikala Fortress.

This monument, alongside its sister statues, reflects a modernist style of the Soviet era, commemorating World War Two. With its visual characteristics – monumental size, grey surface, serious facial expression, and weapon in hand – the statue symbolises strength, sacrifice, and resistance, and was part of the communist aim of uniting societies around a heroic image of the nation as a protective mother.

Many local women identify with Kartlis Deda in one way or another, revealing how the monument’s meaning has evolved over time. For example, theologian Rusudan Gotsiridze sees the statue as a powerful definition of femininity: a mother and a protector who challenges the stereotype of women confined to domestic roles. In her own words, “[Mother Georgia] doesn’t remind us of a lady who finds her space only in a kitchen, so she is quite a strong woman.” At the same time, she thinks that the sword and wine cup could today be replaced by other symbols of education (e.g. a book), independence, and agency (e.g. car keys), reflecting the strength and visibility of modern Georgian women.

This demonstrates how Kartlis Deda has moved far beyond her Soviet-era origins. It can be seen as a bridge between Georgia’s past and present: a monument born in the Soviet era that now reflects national identity and European values of equality, while preserving traditions of hospitality and defence of the homeland.

Mother Georgia is thus a symbol of democracy and equality, seeking to leave its Soviet origins behind, rooted in Georgian tradition, yet oriented toward a future defined by democracy, (gender) equality, and sovereignty.

The Mother Statues of Armenia

Amid Khrushchev’s de-Stalinisation, the 17-metre statue of Joseph Stalin in Yerevan’s Victory Park – inaugurated in November 1950 – was removed in 1962. For five years, the 29-metre pedestal remained without a human figure. The pedestal itself, Rafayel Israyelian’s creation, resembles the characteristic three-nave Armenian basilica, already a national symbol.

Designed after the likeness of 17-year-old Yevgenya Muradyan, the sculptor Ara Harutyunyan unveiled his new Mother Armenia (Mayr Hayastan) statue in 1967. Taking Stalin’s vacant spot and standing 22 metres tall, she is the personification of the nation and young republic, and acts as a guardian warrior and protector of her fallen sons (both during WW2 and in recent wars). Her 11-metre sword is in a sheath, but she is ready to unveil it any time and protect her country, as she overlooks it from a tall hill. Mother Yerevan has been a source of artistic inspiration as well: she appears in a satirical comic and in Armenia’s 2022 Eurovision music video.

Two other unique Mother statues were constructed in Soviet times. Mother Armenia in Gyumri, a 20-metre statue on a 21-metre pedestal, was erected in 1975. Holding a column chapiter from Zvartnots Cathedral in one hand and with a laurel branch raised to the sky to symbolise eternity, Mother Gyumri towers as the wind carries her drape and hair – creating movement that contrasts with the rather stoic stance of Mother Yerevan. Similarly, the statue in Ijevan, erected in 1971, represents a dynamic body that embraces the wind, with her bare palms up high and in a fearless position – emblematic of the emancipated woman. The monument complex underwent two greening campaigns in recent years, first in 2022 and then in 2025, when a new garden was constructed for the residents, who also participated in tree planting. Primarily serving as a monument of remembrance, the eco initiatives around Mother Ijevan equally represent rejuvenation and Armenia’s path towards a greener future – a major EU commitment.

Besides symbolising strength, heroism, and victory, Mayr Hayastan contributes to social activism. In October 2019, a rights group organised the #BavanakE (#It’sEnough) movement against gender-based selective abortion. The Yerevan statue was lit in red that evening. This was a strong message conveyed through an allegorical woman, and it further drew attention to real Armenian womenwho “remain largely absent from the public space, mirroring the traditional underrepresentation of women in leadership positions.” As Armenia now moves to align its national legislation with the Istanbul Convention it long rejected, and as “Armenian women enter the labour market in larger numbers,” Titizian (whom we cited earlier) nevertheless argues that “the domestic gender gap” – which begins from girlhood – “stubbornly persists.” The 2019 hashtag movement, contemporaneous with others like #MeToo, could be a positive sign that the symbolic veneration of women associated with Mother Armenia – and recently in the “Mother Goddess” exhibition in Yerevan – might materialise in real-life long-term gender progress in the still patriarchal society on its European path.

The Mother Statue of Ukraine

The Motherland monument in Kyiv (Bat’kivshchyna-Maty), proudly standing on a high hill on the right bank of the Dnipro River, is among the city’s main symbols. It is one of the most monumental sculptures inherited from the Soviet era. However, its significance and meaning have shifted over time: from a symbol of the USSR’s participation in WW2 to an icon of national resilience and the fight for sovereignty, marking the beginning of the contemporary history of Ukraine. Conceived in the late 1970s and inaugurated in 1981, the stainless-steel figure rises 62 metres above its pedestal, reaching a total height of 102 metres, placing it among the tallest statues in the world. The monument crowns the Museum of the History of Ukraine in the Second World War and dominates Kyiv’s skyline.

The statue was originally designed by Soviet sculptor Yevgeny Vuchetich and completed after his death by Ukrainian sculptor Vasyl Borodai. It is less widely known that an early prototype of the monument was created in 1972, inspired by the artist Nina Danyleiko, who became the model for the statue we now know. The entire structure is all-welded – an advanced engineering solution at the time, underscoring its intended permanence and durability.

Bat’kivshchyna-Maty raises a sword in her right hand and holds a shield in her left, embodying vigilance and resolve rather than nurture. The position of the statue is highly symbolic: it embodies resilience and the capacity to fight for freedom. Inside the sword, engineers installed a special pendulum designed to dampen wind-induced vibrations, allowing the monument to withstand extreme weather conditions and even earthquakes of up to 9 points. To ensure its longevity, the statue undergoes a comprehensive structural strength test every year, with experts estimating a lifespan of over 150 years.

Since Ukraine’s independence, the monument’s symbolism has evolved. In 2023, the Soviet hammer and sickle on the shield were replaced with the Ukrainian trident (Tryzub), redefining the statue as a symbol of Ukrainian sovereignty rather than Soviet heritage. Today, especially amid the ongoing war, Bat’kivshchyna-Maty stands as a resilient sentinel, its reclaimed symbolism mirroring Ukraine’s broader effort to reinterpret and assert its historical and political identity.

Conclusion

The Mother Statues of Armenia, Georgia, and Ukraine are not just monumental structures; they are living symbols of the evolving identities of these nations. Each statue, while rooted in the Soviet past, has transcended its original purpose as a tool of nation-building, evolving to represent the strength, resilience, and independence of its people. 

In Armenia, Mayr Hayastan stands as both a defender and a symbol of remembrance for the sacrifices made by the nation, while also embracing modern-day activism for gender equality and ecology. In Georgia, Kartlis Deda strikes a balance between strength and hospitality – a reflection of the Georgian spirit of openness and defence, embodying the nation’s journey from Soviet oppression to a future focused on democratic values and European integration. Ukraine’s Bat’kivshchyna-Maty, towering over Kyiv, has undergone a profound transformation, shedding its Soviet symbolism and becoming a symbol of national pride and the country’s ongoing fight for sovereignty and independence, particularly in light of the current conflict.

Together, these statues highlight the common threads that bind the three nations: resilience, a deep connection to history, and a shared desire for freedom and European integration. They stand as a reminder of the past, while also symbolising the countries’ strength as they navigate the complexities of nation-building in a post-Soviet world. 

As these countries continue to evolve, Mother statues will remain important cultural landmarks, reflecting not only their historical roots but also their aspirations for a future grounded in democracy, unity, and sovereignty. Through these statues, the nations of Armenia, Georgia, and Ukraine send a clear message: they are strong, they are resilient, and they are ready to embrace the challenges of the future while honouring the legacies of their past.