კულტურა პლუს 1 (27) 2022 by კულტურა Plus

1 (27) 2022 s a g a n m a n a T l e b l o - s a z o g a d o e b r i v i

J u r n a l i

sarCevi / CONTENTS guli - soxumis samkvidrebeli

SUKHUMI HAS A PLACE IN THE HEART

siyvaruliT meti keTdeba, vidre niWiT

MORE IS DONE WITH LOVE THAN WITH TALENT

Capas werili msoflios ZaRlebsa da adamianebs

CHAPA’S LETTER TO THE DOGS AND HUMANS OF THE WORLD

valerian mizandari

VALERIAN MIZANDARI

ori sandros arasafortepiano blici improvizaciiT Sesrulebuli avtoportretebi

NON-PIANO BLITZ OF TWO SANDROS SELF-PORTRAITS MADE BY IMPROVISATION

CHATEAU DE LEUVILLE qarTul savaneSi

CHATEAU DE LEUVILLE IN GEORGIAN SAVANNAH

miron SveliZis mogonili samyaroebi

FICTIONAL WORLDS OF MIRON SHVELIDZE

guruli mxedrebis ambavi

THE STORY OF GURIAN RIDERS

zneni - qarTvelTa mxedruli kodeqsi

ZNENI – MILITARY CODE OF GEORGIANS

saredaqcio jgufi EDITORIAL STAFF xaTuna kereseliZe KHATUNA KERESELIDZE ekaterine CulaSvili EKATERINE CHULASHVILI mariam TayaiSvili MARIAM TAKAISHVILI daviT calani DAVIT TSALANI revaz iukuriZe REVAZ IUKURIDZE

dizaineri DESIGNER nikoloz bagrationi NIKOLOZ BAGRATIONI

el-fosta: kulturaplusm@gmail.com facebook.com/kulturaplusm beWdva: favoriti stili / Print: Favorite style

gamodis kvartalSi erTxel JurnalSi ganTavsebuli masalis gamoyeneba SeiZleba mxolod redaqciis TanxmobiT

Issued quarterly The materials published in this magazine cannot be used without the authorization of the editorial staff

ISSN 2346-8165

1 (27) 2022

guram odiSaria

guli - soxumis samkvidrebeli GURAM ODISHARIA

SUKHUMI HAS A PLACE IN THE HEART uZveles Tu SedarebiT axali drois xelnawerebSi rac ufro meti saxeliT moixsenieba qalaqi, miT ufro didia misi mniSvneloba da, TavisTavad, ufro farTo diapazonisaa misi istoriul-genetikuri maxsovrobac. erT-erTi aseTi, msoflios Zalian bevri qalaqisagan gamorCeuli, soxumia. sxvadasxva saukuneSi JamTaaRmwerlebi mas sxvadasxva saxeliT moixseniebdnen: dioskuria (dioskuriada), sebastopolisi, sebastopoli, sevastopoli, savatopoli, sanatopoli, favasta, isgauri, cxumi, porto-megrelo, sabediano, ayua (ayva), suxum-kale, suxum, soxumi da a.S. arqeologiuri gaTxrebisas nagebobebsa da samarxebSi aRmoCenili nivTebi cxadyofen, rom dRevandeli soxumis teritoria jer kidev 3.000 wlis winaT iyo dasaxlebuli. aseve, sxvadasxva istoriuli argumentebiT mtkicdeba, rom is 2.500 wlisaa. pirveli cnobebi misi arsebobis Sesaxeb ZvelberZnul wyaroebSi moipoveba: Zveli welTaRricxvis VI saukuneSi berZnebma iq savaWro faqtoria _ dioskuria daaarses.

The larger the number of names identifying a city in ancient or not so ancient sources the greater its merits and hence, the richer its historical assets and genetic inheritance. It is this very aspect that sets Sukhumi apart from hundreds of other cities worldwide. Different names are associated with different phases of its history: Dioscurias (Dioskuriada), Sebastopolis, Sebastopol, Sevastopol, Savatopol, Sanatopol, Favasta, Isgauri, Tskhumi, Porto-Megrelo, Sabediano, Akua (Akva), Sukhum-Kale, Sukhum, Sukhumi, etc. A rich array of relics uncovered through archaeological excavations indicates that the present-day territory of Sukhumi may have been populated as early as 3000 years ago. There is diverse evidence that the horizon of the earliest known Sukhumi may extend over 2500 years. The earliest history of Sukhumi can be gleaned from ancient Greek sources: in VI century BC, at the place of the present Sukhumi, the Greeks founded their trading factory of Dioscurias naming it in honor of twin brothers, the Dioscuri – Castor and Pollux. They were the sons of Leda and Zeus. One was immortal and the other – mortal. Castor

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dioskurebi tyupi Zmebi iyvnen _ kastori da polidevke, zevsisa da ledas Svilebi. erT-erTi maTgani ukvdavi iyo, meore _ mokvdavi, magram Zmebs ise uyvardaT erTmaneTi, rom ukvdavma tyupiscals Tavisi ukvdaveba gaunawila. es rom mama-RmerTma Seityo, meore Zmasac ukvdaveba uboZa da, sabolood, Zmebs caSi miuCina bina (dioskurebis Tanavarskvlavedi, wyvili varskvlaviT gamosaxuli). tyupi Zmebi argonavtebis naosnobaSi monawileobdnen da `argoTi~ Zvel kolxeTs ewvivnen, romlis nawili iyo soxumic. dioskurebi xmeleTsa da zRvaze mogzaurTa, stumarTmoyvareobisa da cxenosanTa Sejibrebis mfarvelebad iTvlebian. dioskuria did rols asrulebda mTeli kavkasiis cxovrebaSi _ ara marto adgilobrivi savaWro centri iyo, aramed, upirvelesad, satranzito gzajvaredini. strabonis cnobiT, aq sxvadasxva qveynidan Camosuli adamianebi ikribebodnen da saubari 70 enaze ismoda. dioskuria saberZneTis qalaq mileTis mcxovreblebma daaarses da mTeli rigi upiratesobac maT ekuTvnodaT. magaliTad, dioskuriaSi mileTelebis xomaldebi urigod itvirTeboda. SesaZlebelia, qarTuli gamoTqma _ `mileTis xalxi ireva~ uSualod im periods ganekuTvnebodes.

and Pollux were caring and affectionate brothers. One that was immortal even shared his immortality with his twin. To keep them together, Zeus transformed them into the Gemini constellation. The twin brothers joined the crew of Jason’s ship, the Argo and reached the shores of Colchis, Sukhumi being its centrepiece. The Dioscuri were regarded as the patrons of hospitality, horsemanship, travellers, sailors. Dioscurias’ role in the life of the Caucasus was tremendous. Rather than being a confined space for the development of local trade, it acted as an important transit crossroad. Based on Strabo’s descriptions, Dioscurias was a place for people of various origins to assemble and interact. The Greek geographer recorded that as many as 70 different languages were spoken daily in the market in Dioscurias. The colony of Dioscuria was founded by dwellers of the ancient Greek city – Miletus, who arrogated to themselves a number of special benefits and privileges. For example, Milesian vessels were loaded before all other ships, even when the latter arrived first. Georgian idiom: “Milesian people” must be originating from this very period. The fact is that unlike the former Soviet Union’s Black Sea cities, Sukhumi used to be most multilingual. Sukhumi stands on the layers of myth and reality hanging around Dioscurias – the mysterious city, which was engulfed and swallowed

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erTi ram ki faqtia _ yofili sabWoTa kavSiris Savi zRvispireTis qalaqebisagan gansxvavebiT soxumi yvelaze mravalenovani iyo. swored dioskuriis, am zRvaSi CaZiruli idumali qalaqis legenda da realoba daebeda soxums, dioskurebis wyvili varskvlavic mudmivi, Zmuri siyvarulis, erTgulebis, RmerTTan da adamianTan qalaqis kavSiris simbolo gaxda. berZnebs romaelebi Caenacvlnen da iqaurobas sebastopolisi uwodes _ `wminda qalaqi~ (mravali saukunis Semdeg ruseTis imperatorma ekaterine II-m es saxeli dRevandel sevastopols miakuTvna). am periodSi soxumi aseve moixsenieba, rogorc `bednieri wyaroebis qalaqi~. ori saukunis batonobis Semdeg romaelebis adgili bizantielebma daikaves. imperatorma iustiniane pirvelma jer daangria sebastopolisis cixe, Semdeg ki aRadgina da aayvava iqauroba. ZvelqarTul wyaroebSi soxumi cxumad, pirvelad, 736 wels moixsenieba, rac etimologiurad svanur

up by the sea. Gemini constellation dominated by the two bright stars of the Dioscuri brothers has become a powerful symbol of genuine brotherhood, devotion and a sense of kinship between the city, on the one hand, and the Lord and the man, on the other. The Greeks were superceded by the Romans and the city assumed the name of Sebastopolis -“holy city” (the Empress Catherine II of Russia gave the name Sevastopol to the city she founded many centuries later). During this period Sukhumi is still referred to as a “city of happy springs”. After two centuries of Roman dominance, the city surrendered to the Byzantines. Emperor Justinian I destroyed the fortress of Sebastopolis but later restored it and reintroduced the conditions for the city in which to flourish. Ancient Georgian sources say that the year when Sukhumi came to be known as Tskhumi is 736. The etymology of this word stems from the Svan word “Tskvimra” (“Tskhvimta”) or Megrelian-Chanian “Tskhimuri” (or possibly “Chkhomi”). During Georgia’s revival period (XI-XIII centuries), Sukhumi gains in strength, becomes increasingly prosperous and begins to reassert its previous position.

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`cxvimra~ (`cxvimTa~) an megrul-Wanur `cximurTan~ aris dakavSirebuli (SesaZlebelia, `CxomTanac~). saqarTvelos Zlierebis xanaSi (XI-XIII saukuneebi) soxumi viTardeba, Zlierdeba da Zvel funqcias srulad ibrunebs. afxazurad qalaqis saxelia `ayua~ (`ayva~). am saxeliT is Suasaukuneebis Semdgom periodSi moixsenieba. XIV saukunis dasawyisidan iq genuelebi (italia) savaWro faqtorias aarseben. XVI saukunis meore naxevarSi ki, iqaurobas osmalebi ipyroben da Tavisi egzotikuri adgilmdebareobisa da umSvenieresi Semogarenis gamo qalaqs `meore stambuls~ arqmeven. marTlac, vinc kargad icis soxumica da stambulic, dagveTanxmeba, rom, miuxedavad am qalaqebis gansxvavebuli masStabebisa, isini erTmaneTs Zalian hgvanan. Turqebma qalaqs suxum-kale Searqves (Turqulad `su~ _ wyalia, `xum~ _ qviSa, `kale~ ki _ cixe). am formam _ `suxum~ didi gavrceleba hpova sxvadasxva enaSi, maT Soris qarTulSic (`soxumi~). sxvaTa Soris, dRes qalaqi msoflioSi yvelaze metad cnobilia saxelwodebiT _ `suxumi~ (naklebad, rogorc `soxumi~ an `suxum~). Turqebis batonobis dros qalaqi dakninda, iq tyveebiTac vaWrobdnen. ramdenime ajanyebis Semdeg afxazebma gaaTavisufles qalaqi da iq afxazeTis mTavris rezidencia gadaitanes. 1810 wels afxazeTis mTavarma qeleSbei ServaSiZem (kaxeTisa da samegrelos Semdeg) xeli moawera ruseTTan SeerTebas. XIX saukunis 40-ian wlebSi soxumi zedized ramdenime statuss iRebs: jer savaWro porti xdeba, Semdeg ki _ saporto qalaqi.

The Abkhazian word for Sukhumi is Akua (Akva). It gained currency in the period following the Middle Ages. Early in XIV century the Genoese (Italy) established their trading factory in the present-day Sukhumi. In the second half of XVI century the Ottoman navy occupied the city and named it “another Istanbul” owing to its exotic location and beautiful scenery. And indeed, these two cities, though different in size, closely resemble each other in many ways. The Turks called the city Sukhumkale, with “su” meaning water, “khum” – sand, and “kale” – fort. The version “Sukhum” was picked up and incorporated into many languages, including Georgian. The prevailing version of the name in the world is “Sukhumi” (“Sokhumi” or “Sukhum” are actually less common). Under the yoke of the Turks the city suffered the inevitable downturn. Slave trade, on the contrary, began to thrive unhindered. After a succession of rebellions, however, the Abkhazs liberated the city from the grasp of invaders and made it the residence of the princely dynasty. In 1810 the ruler of Abkhazia Kelesh Bey Shervashidze signed an agreement (after Kakhetia and Mengrelia) under which Abkhazia was incorporated into the Russian Empire. In the 1840s Sukhumi assumed a commercial port status. Later it qualified as a port city. During the Russo-Turkish War (1877–1878), the Turks landed troops, which once again burned the city, ravaged its centre, botanical garden, buildings and premises.

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ruseT-TurqeTis erT-erTi omis dros (1877-1878 ww.) Turqebma, gadmosxes ra desanti, erTxel kidev gadawves soxumi, gaanadgures misi centri, botanikuri baRi, Senobanagebobebi. XX saukunis revoluciebma, pirvelma da meore msoflio omebmac daamCnies TavianTi damRa soxums _ yoveli omis Semdeg qalaqs didi dro sWirdeboda Tavisi mSvenierebisa da mniSvnelobis dasabruneblad. 1992-1993 wlebis SeiaraRebul konfliqtebamde soxumis mosaxleoba 120.000 iyo. am omma gansakuTrebulad daaziana qalaqi (romlis teritoria 350 kvadratuli kilometria), Secvala soxumelebis cxovreba... soxumi gansakuTrebuli silamazis qalaqi iyo da aris, amaze ori azri aravis aqvs, magram yvelaze gamorCeuli mainc am, Tavisi arsebobis ganmavlobaSi mudmivad mravalerovnuli, qalaqis istoriaSi misi mosaxleobis megobruli, faqizi urTierTdamokidebuleba iyo.

The revolutions that took place in XX century and the first and second world wars left their deep scars on Sukhumi – the city struggled for a long time to recover from the effects and aftermath of each war and to rise to former fame and importance. Prior to the armed conflict in 1992-1993, Sukhumi had a population of about 120 000. The war caused havoc in the city (with an area of 350 square kilometers) and turned the life of its citizens upside down... It is indisputable that Sukhumi is a city of outstanding natural beauty. Its trademark, however, is the jolliest kind of bonhomie and sweet tenderness with which this remarkably multinational city has been brimming over for many centuries. And indeed, one could hear multiple languages (Georgian, Abkhazian, Russian, Greek, Armenian, Ukrainian, Ossetian, Estonian) spoken in tea and coffee houses swarming with people like ancient Dioscurias – with Milesians. Crescendo of languages was however in Brekhalovka, translating as “gossipery”. Brekhalovka acted as Sukhumi’s coastline parliament. Embodying the principles of pluralist democracy, Brekhalovka was

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marTlac, mis yava Tu CaixanebSi, ZvelTuZvelesi dioskuriisa ar iyos (rodesac iq `mileTis xalxi ireoda~), ra enaze ar gaigonebdiT saubars _ qarTulad, afxazurad, rusulad, berZnulad, somxurad, ukrainulad, osurad, estonurad... yvelaze xSirad ki, mainc, Tavis cnobil `brexalovkaSi~ (`salayboSi~) metyvelebda sxvadasxva enaze qalaqi. saerTod, `brexalovka~ soxumis `sanapiros parlamenti~ gaxldaT. gamorCeuli iyo `brexalovkas~ demokratia _ vis ar naxavdiT aq: profesorebsa da mZRolebs, Cinovnikebsa da portis mtvirTavebs, inJinrebsa da muSebs, mxatvrebsa da mwerlebs, studentebsa da fotografebs... mokled, im adamianebs, romlebic wlebis, ufro zustad, saukuneebis ganmavlobaSi ZirZvel soxumelTa `kastas~ qmnidnen. soxumeli _ es erTi sityva aerTianebda sxvadasxva erovnebis qalaqels da isinic amayobdnen am gansakuTrebulobiT. ikribebodnen soxumelebi, aseve cnobil, àmraSi~, àfraSi~, `kukur-CaiSi~, `pingvinSi~, ìnturistTan~, `dioskuriaSi~, ù akofa~... sxvaganac.

represented by people from all walks of life: professors and drivers, bureaucrats and stevedores, engineers and workers, artists and writers, students and photographers and all others having been shaping the “caste” of Sukhumians in the course of years and even centuries. Sukhumian was an umbrella term under which citizens of all nationalities used to come together and pride themselves on this prestigious status. Other meeting points for Sukhumians included famous seafront cafes like Amra, Apra, Kukur-Chai, Penguin, Intourist, Dioscurias, Akop’s place, etc. They sipped coffee and tea, played dominoes and chess, held heated debates over politics and football and shared all sorts of hearsay and gossip combined with Sukhumian anecdotes. Each city is known for its own mood and language. So is Sukhumi! Anyone failing to capture its mood or misreading its language found it difficult to integrate successfully into the Sukhumian way of life. However, owing to its festive holiday atmosphere and a wonderful aura of serenity, the city was always willing to open up to the world. Holidaymakers far outnumber local inhabitants in summer but they continue to pour in Sukhumi during winter season as well – average annual temperature range in Sukhumi is 15 °C. The Caucasian ridge shields the city from north winds; the sea encircling Sukhumi seems to bathe it in warmth. There is a tropical and sub-tropical lushness

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miirTmevdnen yavas, Cais, TamaSobdnen Wadraksa da dominos, da Tan raze ar saubrobdnen, raze ar kamaTobdnen TavianT `parlamentSi~: politikaze, fexburTze, amindze, cxel-cxel ambebze, igonebdnen da hyvebodnen soxumur anegdotebs. yovel qalaqs Tavisi xasiaTi da ena aqvs. soxumsac! is, vinc misi ena da xasiaTi ar icoda, uWirda qalaqTan urTierToba, magram aqve unda iTqvas, rom Semdgom orives swrafad iTvisebda da laRad urTierTobda am, damsvenebelTa sakurorto-sazeimo ganwyobis wyalobiT naTeli auris mqone, saqmian qalaqTan. zafxulSi damsvenebelTa raodenoba adgilobrivTa raodenobas bevrad aRemateboda, magram soxums arc

zamTarSi aklda stumrebi _ aq saSualo wliuri temperatura +15 gradusia, qalaqs CrdiloeTis civi qarebisagan kavkasionis qedi icavs, zRvac Tavis siTbos unawilebs da amitomac, yovelgvari saTburis gareSe, pirdapir quCebSi uxvad xaroben faqizi subtropikuli Tu tropikuli mcenareebi, galoben iSviaTi saxeobis frinvelebi, romlebic gasamravleblad afxazeTSi indoeTidan da afrikidan mofrinaven, radganac aq Sesabamisi siTboa da wvimebic zomieri icis. soxumis `aboboqrebul simwvaneSi~ (konstantine paustovskis frazaa) Caflulan: rkinigzis sadguri, porti, `didi saaTi~, sastumroebi _ `afxazeTi~ da `riwa~,

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maimunTsaSeni (evropaSi sul oria), Tamar mefis (igive veneciis) xidi, Teatri, samxatvro galereebi, muzeumebi... romeli erTi CamovTvaloT. is, vinc erTxel mainc naxa, ra Tqma unda, arasodes daaviwydeba misi zRvis silurje, botanikuri baRi, sanapiro, soxumis mTa, dendroparki, plaJi, Teatris win mdgari grifonebi, wiTeli da TeTri xidebi, bagratis cixe-simagre, Suqura... zRvis xiblis gamo Camosul damsvenebels ori ankara mdinarec izidavs: kelasuri da gumisTa (soxumi maT Sorisaa ganlagebuli). qalaqis SuagulSi mdinare besleTi Camoedineba da kidev patara xakifsi (`suxumka~).

in the streets alive with rare species of birds from Africa and India. Abkhazia seems to be a favoured breeding site due to its warmth and adequate rainfall. Sukhumi’s “lavish lushness” (as Konstantin Pautovsky described it) envelops the railway station, port, “Big Clock”, Abkhazia and Ritsa hotels, monkey-breeding farm (there are only two such farms in Europe), Tamar (Venetian) Bridge, theatre, art galleries, museums… the list is endless. The azure sea, botanical garden, coastline, Sukhumi mount, arboretum, beach, griffins in front of the theatre, Red and White bridges, Bagrati fortress, beacon… once they have been seen, they are impossible to forget…

dioskuriidan moyolebuli dRemde, miTiTa da realobiTaa damuxtuli kulturaTa kveTis, umniSvnelovanes gzagasayarze mdgari qalaqis genetikuri maxsovroba. soxumelebi TavianT qalaqze, rogorc cocxal arsebaze, ise laparakoben. qalaqelebis rbili da Taviseburi xasiaTi ki (arsebobs aseTi cnebac _ `soxumuri xasiaTi~) maTi mSobliuri qalaqis rbili klimatiT, umSvenieresi floriTa da fauniT, lamazi nagebobebis harmoniulobiTac aris ganpirobebuli. magram soxumi, upirvelesad da yovelTvis, adamianTa gulTbili urTierTobis qalaqi iyo. amitomac, garda geografiuli adgilmdebareobisa, misi samkvidrebeli nebismieri erovnebis soxumelis, im soxumelis gulSia, romelmac samudamod Seiyvara igi da sulis nawilad gaixada.

Holidaymakers who gravitate towards the sea are deeply attracted to two of its crystal-clear rivers: Kelasuri and Gumista (Sukhumi is sandwiched between them). Another two rivers: Besleti and Khakipsi (Sukhumka) are running through the centre of the city. Since the mists of Dioscurias up to this day, myth and reality have been permeating through the genetic memory of Sukhumi situated at an important crossroads of cultural experiences. Sukhumians speak of their city as a living being. Their pretty relaxed mood (a peculiar Sukhumian phenomenon) is influenced by the city’s especially benign climate, abundance of its flora and fauna and harmony of its beautiful buildings. But Sukhumi draws first of all on the blossoming emotional relationship among its citizens. Sukhumi is not only a geographic category; it has a place in the heart of all Sukhumians, irrespective of their national origin, who have made their fate inseparably intertwined with the city.

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ia anTaZe

interviu levan bregaZesTan

„siyvaruliT meti keTdeba, vidre niWiT“ IA ANTADZE

INTERVIEW WITH LEVAN BREGADZE

“MORE IS DONE WITH LOVE THAN WITH TALENT” – Levan, did you have internal battles more than a real ones

_ batono levan, sakuTar TavTan ufro meti brZola gadagitaniaT, Tu sxvebTan? _ daaxloebiT, Tanabrad.

with others? – Both, almost equally.

_ Zalian swrafad mipasuxeT. rogorc Cans, amaze gifiqriaT. _ axla davfiqrdi da namdvilad asea. roca adamiani sakuTar TavTan brZolaze laparakobs, sityvaze unda endo. es ar Cans, magram sxvebTan brZola Cans. naxevari cxovreba polemikaSi maqvs gatarebuli da polemikac xom brZolaa. jer sakuTar Tavze unda gaimarjvo (rasac ar unda niSnavdes es praqtikulad) da mere SeiZleba gaimarjvo sxvazec. sxvanairad ar gamodis. _ Tqven Zalian dinji da dakvirvebuli adamianis STabeWdilebas tovebT. Tqveni xasiaTidan gamomdinare, ramdenad komfortuli iyo garemo, romelSic cxovreba da saqmianoba mogixdaT? _ Tu Cems saqmes daubrkoleblad vakeTeb _ da Cemi saqme literaturaa _ nebismier garemoSi, nebismier viTarebaSi Tavs kargad vgrZnob. _ sabWoTa periodic gamoiareT da diskomfortis wlebi saerTod ar gqoniaT? _ sadac Cems saqmes ver veweodi, iq mqonda diskomforti. magaliTad, studentobis dros, oficrebad gvamzadebdnen da ori TviT savaldebulo jarSi wagviyvanes. es iyo wameba. aramarto imis gamo, rom cxovrebis pirobebi yovlad uvargisi gvqonda, ufro imitom, rom ori Tvis ganmavlobaSi Cemi saqme ar mikeTebia. aseTi xangrZlivi diskomfortis periodi sxva ar maxsendeba.

– You responded very quickly, seems you have thought about it. – I thought about it now and it is true. When a person talks about fighting with himself, he has to trust the word. It is not visible, but the struggle with others is visible. I have spent half of my life in controversy and controversy is a struggle itself. You have to win for yourself first (whatever that means in practice) and then you can win for someone else. It does not turn out differently. – You leave the impression of a very calm and observant person. Given your character, how comfortable was the environment in which you had to live and work? – If I work without interference – and my work is a literature – I feel good in any environment, in any situation. – You have gone through the Soviet period and have you had the years of discomfort at all? – Where I could not do my job, I had discomfort. For example, when we were students, we were trained as officers and taken to the conscription for two months. It was a torture. Not only because our living conditions were completely unsuitable, but also because I had not been able to do my job for two months. I do not remember such a long period of discomfort. – You play chess and when you were young you also participated in tournaments. The Georgia, traditionally, has excellent female chess players and there are no men among them. Why?

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_ Tqven Wadraks TamaSobT da axalgazrdobisas turnirebzec gamodiodiT. saqarTvelos, tradiciulad, SesaniSnavi qali moWadrakeebi hyavs da mamakacebi _ ara. ratom? _ „kavkasiur saxlSi“ vmuSaobdi da naira gelaSvilma miTxra _ germaniaSi erT nacnobs ainteresebs, qarTveli qalebi aseTi Zlierebi ratom arian WadrakSio; iqneb, mirCio, ra vupasuxoo. vuTxari, miswere _ sxva raSi arian sustebi qarTveli qalebi-meTqi? ai, es aris Cemi pasuxi.

– I used to work at the “Caucasian House” and Naira Gelashvili once asked me – an acquaintance in Germany is interested in why Georgian women are so strong in chess, maybe you can tell me what to answer? I told Naira to write to her friend – in what else are Georgian women weak at? – this is my answer. – But I did not ask why women are strong. I asked you why we do not have strong man chess players. – Yes, it is true, it is another question. I cannot say that the talent is lacking. Bukhuti Gurgenidze was extraordinarily talented. I was a kid and I was a big fan of him. As soon as the Union Championship

_ magram me ar mikiTxavs, qalebi ratom arian Zlierebi. me gkiTxeT, Zlieri moWadrake mamakacebi ratom ar gvyavs. _ diax, marTalia, sxva kiTxvaa. niWi akliaTo, ver vityvi. buxuti gurgeniZe iyo araCveulebrivad niWieri. bavSvi viyavi da Zalian vgulSematkivrobdi. rogorc ki sakavSiro Cempionati daiwyeboda, erTi suli mqonda, buxuti gurgeniZes kargi adgili daekavebina. magram mniSvnelovan warmatebas ver aRwevda. werdnen, bevrs eweva da naklebs varjiSobso. Wadraks mTeli cxovreba unda miuZRvna, sxvagvarad ar gamodis. mixeil botviniki gamonaklisia: gamoCenili mecnieric iyo kompiuterebis sferoSi da xuTgzis msoflio Cempionic WadrakSi. aseTi ram erTob iSviaTia. etyoba, qarTvel mamakacebs uWirT, mTeli cxovreba xis figurebis gadaadgilebas miuZRvnan. _ piradad Tqven literaturam gagitacaT, Tumca, manamde Wadraks TamaSobdiT. ratom ar iyo TqvenTvis Wadraki sakmarisi imisTvis, rom am saqmes gahyolodiT? _ Wadrakis didi niWi ar mqonia. Wadrakis niWi ra aris? specifikuri saWadrako niWi orgvaria. pirveli variantebis swrafad da Sors gaTvlaa, meore _ poziciis swrafad Sefaseba. pirveli kombinaciur moWadrakes axasiaTebs da amis saukeTeso magaliTi mixeil talia. meore niWis mqone poziciuri moWadrakea. amis yvelaze mkafio magaliTi xose raul kapablanka iyo. am ori specifikuri saWadrako niWidan me arc erTi ar mqonia. magram ar aris savaldebulo, specifikuri niWi gqondes imisTvis, rom Zlieri moWadrake gamoxvide. botviniks am niWTagan arc erTi im siZlieriT ar hqonda boZebuli, rogorc tals an kapablankas, magram Sromismoyvare iyo da Wadraki Zalian uyvarda. amitomac orive maTganze didxans SeinarCuna msoflios Cempionoba. xSirad, siyvaruliT meti keTdeba, vidre niWiT. Wadraki marTla Zalian miyvarda. kargad vgrZnobdi Tavs, roca Wadrakis dafasTan vjdebodi, gansakuTrebiT, turnirebis dros. maSin TamaSi xuTi saaTi grZeldeboda. am xuTi saaTis ganmavlobaSi, veravin Segawuxebda, Sen iyavi Seni Tavis patroni.

would start, I was eagerly willing to see Bukhuti Gurgenidze taking a prize. But he could not achieve significant success. Some were saying that he smokes a lot and trains less. The Chess requires the dedication for the whole life, otherwise it does work. Mikhail Botvinnik is an exception: he was also an outstanding scientist in the field of computers and a five-time world champion in chess. Such things together are rare. It seems that Georgian men have a hard time devoting their whole lives to moving wooden figures. – Personally, you were fascinated by literature, however, before that you played chess. Why was not chess enough for you to pursue this career? – I never had a great talent for chess. What is the talent of chess? There are two types of specific chess talents. The first is to calculate the options quickly and completely, and the second is to quickly evaluate the position. The first talent is common to a combinative chess player and the best example of this is Mikheil Talia. The second talent is possessed by positional chess player. The most obvious example of this was Jose Raul Capablanca. I did not have any of these two specific chess talents. But you do not have to have a specific talent to become a strong chess player. Botvinnik did not possess any of these talents with the same strength as Tal or Capablanca, but he was diligent and very fond of chess. That’s why he kept the world championship on both of them for a long time. Often, more is done with love than with talent. I really loved chess. I felt good when I was sitting at the chessboard, especially during tournaments. Then the game lasted five hours. During these five hours, no one could bother you, you were your own boss. – When world-class chess tournaments were held in Tbilisi, the chess palace was filled with spectators. Was chess popular in a narrow circle of the society, or – all over Georgia? – It was really popular everywhere, which is clearly evidenced by Davit Gurgenidze’s three-volume fundamental work “Chess in the Life of the Georgian People”. I was born in Tkibuli, I graduated from school there. They loved football, Georgian dance and chess in Tkibuli. Chess was played everywhere – in hairdressers, schools ... There was a chess

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_ rodesac TbilisSi msoflio rangis saWadrako turnirebi imarTeboda, Wadrakis sasaxle mayurebliT ivseboda. Wadraki sazogadoebis viwro wreSi iyo popularuli, Tu _ mTel saqarTveloSi? _ namdvilad yvelgan popularuli iyo, razec naTlad metyvelebs daviT gurgeniZis samtomiani fundamenturi naSromi „Wadraki qarTveli xalxis cxovrebaSi“. me tyibulSi davibade, skola iq davamTavre. tyibulSi Zalian uyvardaT fexburTi, qarTuli cekva da Wadraki. Wadraks yvelgan TamaSobdnen _ saparikmaxeroebSi, skolebSi... qalaqSi Wadrakis klubi arsebobda da 1960-ian wlebSi turnirebi tardeboda.

club in the city and tournaments were held in the 1960s. – When the national movement became active and, later, Georgia became independent, why did the voice of the part of the society that was in the mood for thinking and taking wise decisions disappear? Let’s say, why did the “chess” part of the society disappear? – The first years of the national movement and independence was a unique period, because the state that collapsed – the Soviet Union – was unique. It was an artificially created state and no one could rationally calculate the process of its collapse. Did the former Soviet republics act rationally than us? Probably only some of them.

_ rodesac erovnuli moZraoba gaaqtiurda da, mogvianebiT, saqarTvelo damoukidebeli gaxda, ratom daikarga sazogadoebis im nawilis xma, romelic fiqrisTvis da dinji gadawyvetilebebisTvis iyo ganwyobili? pirobiTad rom vTqvaT, ratom daikarga sazogadoebis „moWadrake“ nawili? _ erovnuli moZraobisa da damoukideblobis pirveli wlebi unikaluri periodi iyo, imitom, rom unikaluri iyo is saxelmwifo, romelic daiSala _ sabWoTa kavSiri. xelovnurad Seqmnili saxelmwifo gaxldaT da misi ngrevis process racionalurad veravin gaTvlida. yofili sabWoTa respublikebi Cvenze racionalurad moiqcnen? albaT, mxolod zogierTze SeiZleba amis Tqma.

– Yes, some former republics have acted much more rationally. – This should probably be related to our southern temperament. The population of the Nordic countries is more rational. But I find it hard to say that anywhere this process was marked by calculated actions. I repeat, the Soviet Union was a strange country, and when such an “original” empire collapses, it is difficult to find a reasonable extension to borrow the chess terminology again. – But were the Georgian people the same? If people were playing chess everywhere, if chess tournaments were held even in small towns, perhaps we can think that the country had the potential to take thoughtful steps in an extreme situation. But, in

_ diax, bevrad ufro racionalurad moiqca zogierTi yofili respublika. _ es, albaT, Cvens samxreTul temperaments unda davukavSiroT. CrdiloeTis qveynebis mosaxleoba ufro racionaluria. magram miWirs Tqma, rom sadme es procesi gaTvlili qmedebebiT gamoirCeoda. kidev vimeoreb, sabWoTa kavSiri ucnauri qveyana iyo da roca aseTi „originaluri“ imperia ingreva, Znelia gonivruli gagrZelebis povna, isev Wadrakis terminologias rom davesesxoT.

fact, we went somewhere else. – At such times it is very difficult to understand what action will lead to what result. Anyone who understood economics realized that, sooner or later, this economy would collapse. The abolition of competition has led to the fact that labor productivity was no longer increasing. Then Stakhanovism was invented: this man, Stakhanov, seemed to five days of work in eight hours. The state has declared that everyone can do this and all should become Stakhanovs. When Andre Gidè, a visiting French writer in the Soviet Union, was told about Stakhanov, he was surprised and asked: “Yes, but does that

_ magram qarTveli xalxi xom igive iyo? Tu adamianebi yvelgan Wadraks TamaSobdnen, Tu patara qalaqebSic ki saWadrako turnirebi imarTeboda, albaT, SegviZlia vifiqroT, rom qveyanas hqonda potencia, dafiqrebuli nabijebi gadaedga eqstremalur situaciaSi. magram, sinamdvileSi, sul sxvagan wavediT. _ aseT dros Zalian Znelia, mixvde, ra qmedebas ra Sedegi mohyveba. visac ekonomika esmoda, is xvdeboda, rom, adre Tu gvian, es ekonomika daingreoda. konkurenciis gauqmebam is gamoiwvia, rom Sromis nayofiereba aRar izrdeboda. amis Semdeg gamoigones staxanoveloba: am kacma, staxanovma, TiTqos, rva saaTis ganmavlobaSi xuTi dRis samuSao Seasrula. saxelmwifom gamoacxada, es

mean that this man used to work eight hours a day for five days ?!” It was unbelievable to him that you can do something and you are not doing it. In that state the handworker and the lazy received equal pay; The untalented and the gifted were paid the same salary and there was no interest to work better today than you did yesterday. – It is clear that the state was doomed. In 1989-1990 you worked as the Deputy Editor-in-Chief of the newspaper “Mamuli”, which was published by the Rustaveli Society. Does this mean that you were in the heart of a new, national process starting in Georgia?

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– Yes, this is true.

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yvelas SeuZlia da yvela staxanoveli unda gaxdeso. roca sabWoTa kavSirSi stumrad myof frang mwerals andre Jids uambes staxanovis Sesaxeb, gaukvirda da ikiTxa: ki magram, es xom imas niSnavs, rom es kaci adre rva saaTis samuSaos xuT dRes andomebdao?! misTvis warmoudgeneli iyo, rom raRacis gakeTeba SegiZlia da ar akeTeb. im saxelmwifoSi bejiTi da zarmaci erTnair anazRaurebas iRebda; niWiers da uniWos erTnair xelfass uxdidnen da aranairi interesi ar arsebobda, dRes ukeT gemuSava, vidre guSin muSaobdi.

– How was this process? How did the irrational part of society outperform the rational part? Merab Mamardashvili died in 1990. How did you see this battle of thoughts and actions back then? – There are many examples in history when the irrational wins over rational. The same question can be asked about Nazism in Europe – how did this happen there? At this point, perhaps, the collective unconscious is at stake, and science does not yet have a clear answer to this question. For me also it is difficult to explain these events precisely. – For example, how realistic was such a scenario that Akaki

_ es gasagebia, rom saxelmwifo ganwiruli iyo. 1989-1990 wlebSi Tqven mTavari redaqtoris moadgiled muSaobdiT gazeT „mamulSi“, romelsac rusTavelis sazogadoeba gamoscemda. es niSnavs Tu ara, rom Tqven saqarTveloSi dawyebuli axali, erovnuli procesis gulisgulSi iyaviT? _ diax, ase iyo.

Bakradze was elected President of Georgia and not Zviad Gamsakhurdia? – History would have turned out differently, how? It could have been done a little differently, but essentially no other story could have been written. – Why?

_ rogor mimdinareobda es procesi? rogor ajoba sazogadoebis iracionalurma nawilma racionalur nawils? ukve 1990 wels merab mamardaSvili gardaicvala. Tqven rogor xedavdiT maSin azrebis da qmedebebis am Widils? _ istoriaSi bevria imis magaliTi, roca iracionaluri jabnis racionalurs. igive kiTxva SeiZleba daisvas nacizmis Sesaxeb evropaSi _ rogor moxda iq es ambavi? am dros, albaT, koleqtiuri aracnobieri moqmedebs da mecnierebas jer am kiTxvaze mkafio pasuxi ar gaaCnia. mec gamiWirdeba, dazustebiT avxsna es movlenebi.

– Because people are the main thing and not individuals. – What did people want? The fact is that they no longer wanted to play chess. – One thing is what people wanted and the other is what people could do. I think we did what we could – we could not claim more back then. After Stalin’s death, the aspiration for national independence intensified in Georgia, which had previously been hindered by the Stalin phenomenon due to the Georgian origin of ‘the great leader’. The pursuit of national independence since the 1970s has appeared in poetry, personal conversations and

_ magaliTad, aseTi scenari ramdenad realuri iyo, rom akaki baqraZe aerCiaT saqarTvelos prezidentad da ara zviad gamsaxurdia? _ istoria sxvanairad warimarTeboda, viTom? ramdenadme sxvanairad SeiZleba warmarTuliyo, magram arsebiTad sxva istoria ver daiwereboda.

anecdotes... – When did you personally realize that Georgia could become independent? – In the last years of my student life (1970-1971) I was already thinking dissidently. By that time, I had learned a little about political economy and history. I had read books that were still not massively

_ ratom? _ imitom, rom xalxia mTavari da ara pirovnebebi.

accessible. Moreover, by the second half of the 1970s, Soviet ideology had exhausted itself in every direction. Yet in previous decades

_ xalxs ra undoda? faqtia, rom Wadrakis TamaSi aRar undoda. _ erTia, ra undoda xalxs da meorea, ra SeeZlo xalxs. Cemi azriT, rac SegveZlo, is gavakeTeT _ metis pretenzia imxanad ver gveqneboda. stalinis gardacvalebis Semdeg saqarTveloSi gaZlierda erovnuli damoukideblobisken swrafva, rasac manamde stalinis fenomeni uSlida xels, beladis qarTuli warmomavlobis gamo. 1970-iani wlebidan erovnuli damoukideblobisken swrafvam Tavi iCina poeziaSic, pirad saubrebSic, anekdotebSic...

people were easily deceived by the promise that soon no one in the country would be impoverished; You would master as many professions as you liked; In the morning you would be a doctor, in the afternoon – a poet, in the evening – a baker... – It is very interesting for me that if you had ordered the election of Akaki Bakradze as President, not much would have changed in the life of the country. For example, would we have avoided a civil war? Was that war, in fact, against Zviad Gamsakhurdia?

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– Yes, Zviad Gamsakhurdia was opposed by his comrades, who

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may not have brought him to power voluntarily. Many turned into

_ piradad Tqven rodis mixvdiT, rom saqarTvelo

politicians whose politics seemed strange at that time, and even more

SeiZleboda damoukidebeli gamxdariyo?

so today.

_ studentobis bolo wlebSi (1970-1971) ukve disidenturad vazrovnebdi. im droisTvis cota gaverkvie politikur ekonomikaSi da uaxlesi istoriac ara

– Do you mean the intervention of the special forces?

uSavs ra vicodi. wakiTxuli mqonda wignebi, romlebic

– It was unavoidable, of course. But, this time, I mean mercantile

maSin maincdamainc xelmisawvdomi ar iyo. Tanac, 1970-

interests, when something is to be divided, something is to be

iani wlebis meore naxevrisTvis sabWoTa ideologiam

“attained” ... Most people think that a lot of money brings happiness,

yvelanairad amowura Tavi. arada, wina aTwleulebSi

which is a mistake.

xalxi advili mosatyuebeli iyo imis dapirebiT, rom male – Was Zviad Gamsakhurdia selfish? I had never heard that he

qveyanaSi gaWirvebuli aRaravin iqneboda; imden profesias daeuflebodi, ramdenic mogwonda; diliT eqimi iqnebodi,

was interested in money. – I have not heard it either. Many of my good acquaintances were

SuadRisas _ poeti, saRamos _ xabazi...

in power at that time. Some of them are still alive today. No matter _ CemTvis Zalian sainteresoa, Tqven rom brZaneT,

how poor they were before coming to power, they remained so until

prezidentad akaki baqraZis arCevis SemTxvevaSi, qveynis

the end. They did not touch anything. But now we see how people

cxovrebaSi mainc bevri araferi Seicvlebodao. magaliTad,

get rich in authority. What can we do to selfishness? As long as human

samoqalaqo oms Tu avicilebdiT Tavidan? eg omi xom,

well-being depends on money – nothing!

faqtobrivad, zviad gamsaxurdias winaaRmdeg iyo?

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_ diax, zviad gamsaxurdias daupirispirdnen misi TanamebrZolebi, romlebic, SesaZloa, mTlad Tavisi nebiT da surviliT ar mouyvania xelisuflebaSi. bevri iseTi vinme aqcia politikosad, romelTa politikosoba maSinve ucnauri Canda da dRes _ miT umetes.

– What do you mean? The well-being of people will always depend on money. – This is not true. Technologies are evolving in such a way that physical labor will soon be almost no longer needed. In Europe they are already moving to a four-day working week and a fivehour working day. There will come a time when all the hard and

_ specsamsaxurebis Carevas gulisxmobT? _ es, ra Tqma unda, iqneboda. magram, amjerad, merkantilur interesebs vgulisxmob, roca raRac gasayofia, raRac „dasaTrevia“... adamianTa umetesobas hgonia, rom bevr fuls bedniereba moaqvs, rac Secdomaa.

routine jobs we do will be performed by machines instead. Until that happens, it is very difficult to think about justice. On the one hand, economic misery and, on the other hand, economic greed leads to inadequate human relationships. But technologies are evolving at an unimaginable speed. However, we must say that the development of technologies is far behind in the humanitarian fields – in philosophy, psychology, ethics, ecological ethics,

_ TviTon zviad gamsaxurdia xom uangaro iyo? arasdros msmenia, rom mas fuli ainteresebda. _ arc me msmenia. bevri Cemi kargi nacnob-megobari iyo maSindel xelisuflebaSi. maTi nawili dResac cocxalia. ra Rarib-Ratakebic iyvnen xelisuflebaSi misvlamde, is Rarib-Ratakebi darCnen bolomde. xeli araferze wascdeniaT. arada, xom vxedavT, rogor mdidrdebian adamianebi Tanamdebobebze. ra eSveleba angarebas? sanam adamianis keTildReoba fulze iqneba damokidebuli _ araferi!

aesthetics, history, literature, art ... It is very dangerous for humanity to have such technical capabilities and at the same time to remain at same level of consciousness. – You have written before, lagging behind in the humanities and education is a problem all over the world. But what will a higher quality humanitarian education give to a small country like Georgia which is constantly fighting for survival? – Whatever talent one has, should be evolved in working. Somewhere, in the depths of our hearts, do we feel what we are

_ ras gulisxmobT? adamianebis didi nawilis keTildReoba yovelTvis fulze iqneba damokidebuli. _ ar aris ase. teqnologiebi imgvarad viTardeba, rom fizikuri Sroma male TiTqmis aRar iqneba saWiro. evropaSi ukve gadadian oTxdRian samuSao kviraze da xuTsaaTian samuSao dReze. mova dro, roca yvela mZime da rutinul samuSaos Cven magivrad manqana Seasrulebs. sanam es ar moxdeba, Zalian Znelia, samarTlianobis damkvidrebaze vifiqroT. erTi mxriv, ekonomikuri siduxWire da, meore mxriv, ekonomikuri sixarbe ganapirobebs adamianisTvis arasakadris urTierTobebs. magram teqnologiebi zRapruli siswrafiT viTardeba. Tumca, unda vTqvaT, rom teqnikisa da teqnologiebis ganviTarebas Zalian CamorCa humanitaruli dargebi. humanitarulSi vgulisxmob filosofias, fsiqologias, eTikas, metadre _ ekologiur eTikas, esTetikas, istorias, literaturaTmcodneobas, xelovnebaTmcodneobas... Zalian saSiSia, kacobriobas aseTi teqnikuri SesaZleblobebi hqondes, xolo SegnebiT im doneze iyos, ra donezec axla aris.

inclined to? What does a Georgian enjoy and what is he good at? –

_ Tqven adrec werdiT, humanitarul dargebsa da ganmanaTleblobaSi CamorCena mTeli msoflios problemaao. magram iseT patara qveyanas, rogoric saqarTveloa da romelic sul gadarCenisTvis ibrZvis, ras miscems ufro maRali xarisxis humanitaruli ganaTleba? _ risi niWic gaqvs, im sferoSi unda imuSao. sadRac,

beautiful?” “Yes, I like it very much,” replied the CEC official. – So, this

the culture (art, science, humanities, sports ...) should be our priority. Culture should become a source of income, because Georgians often achieve unprecedented success in these areas. – If you told me that we are a small country and we should develop technologies, I would easily understand that. I want to make it clear what the focus on the humanitarian fields will give us. – All right, I will tell one example from which it becomes clear how natural the connection is between aesthetic upbringing and economics. During the Soviet era, a Japanese delegation arrived in Tbilisi. The guests were received at the Central Committee, in the office of the head of one of the departments. They talked about education and it turned out that drawing was taught in Japanese schools from the first to the last grade. The Georgian hosts were very surprised – wondering why were all the Japanese pupils were learning drawing. Then one of the Japanese guests looked at the Georgian host on a Japanese tape recorder on his window sill, which was a deficient item in Georgia, and asked, “Do you like it, is it tape recorder is made by those who are learning to draw from the first to the last grade. Obviously, such a person will do everything scrumptiously. If he bakes bread, he will bake it nicely, he will make khinkali nicely.

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gulis siRrmeSi, xom vgrZnobT, risken varT midrekili?! ra exaliseba da ra gamoudis kargad qarTvels? kultura (xelovneba, mecniereba _ metadre humanitaruli, sporti...) unda iyos Cveni prioriteti. kultura Semosavlis wyarod unda iqces, rakiRa Zalian xSirad arnaxul warmatebebs aRweven qarTvelebi am sferoebSi.

– And will be more competitive. – Yes. I was reminded one thing about competitiveness. In the 1960s, the Italians sold the Italian Fiat to the Soviet Union and built a car factory in Togliatti. Everything was Italian except for the name of the car – the car was called “Zhiguli”. Some of these “Zhiguli” were obviously sold in the Soviet Union, some of them were going to be sold abroad and they expected a good income from it. But it turned

_ Tqven rom geTqvaT, patara qveyana varT da teqnologiebi ganvaviTaroTo, amas advilad gavigebdi. minda, rom mkafiod agvixsnaT, humanitarul dargebze aqcenti ras mogvcems. _ kargi. erT magaliTs gavixseneb, saidanac mkafiod gamoCndeba, ramdenad bunebrivi kavSiria esTetikur aRzrdasa da ekonomikas Soris. sabWoTa xanaSi TbilisSi iaponelTa delegacia Camovida. stumrebi centralur komitetSi, erT-erTi ganyofilebis gamgis kabinetSi miiRes. ganaTlebis sferoze saubrobdnen da gairkva, rom iaponiis skolebSi pirvelidan bolo klasamde iswavleboda xatva. Cvenebs Zalian gaukvirdaT _ amden xans ratom aswavliT, yvela mxatvari xom ar gamovao?! maSin erTma iaponelma stumarma qarTveli maspinZeli miaxeda misive fanjris rafaze dadgmuli iaponuri magnitofonisken, romelic CvenSi deficituri nivTi iyo, da hkiTxa, mogwonT, lamaziao? diax, Zalian momwonso, _ upasuxa cekas funqcionerma. hoda, eg magnitofoni imis damzadebulia, vinc pirvelidan bolo klasamde xatvas swavlobso. cxadia, aseTi adamiani yvelafers lazaTianad gaakeTebs. purs rom acxobdes, imasac lamazs gamoacxobs, xinkalsac lamazad Seaxvevs.

out that “Zhiguli” could not be sold abroad. More expensive and less quality cars were sold abroad, but they did not touch “Zhiguli”, which looked very strange. They took this case seriously and turned to specialists in engineering psychology. They also carefully studied the issue and concluded that the sale of the car was hindered by its name “Zhiguli”, the sound of which Europeans did not like. But because of this the rejection of a good car was happening on an unconscious level. If a person expresses himself, because I refuse a car that is better in quality and cheaper than another, because I do not like the sound of his name, he will lose his self-respect, he will appear as a naive person in his own eyes. The advice of psychologists was to choose a more benign name for the car. The computer program was given an assignment and the program dropped the name “Lada”. Since then, the household “Fiat” named as “Zhiguli” was exported under the name “Lada” and, as they say, it was already selling well. – Thank you so much for these examples. You have said that a person who does not know his native language and literature properly loses his identity. Do modern Georgian children have an identity problem? For example, do they want to look like a Belgian or a Frenchman and not their own grandparents?

_ ufro metad konkurentunarianic iqneba. _ diax. konkurentunarianobaze gamaxsenda. 1960ian wlebSi italielebma sabWoTa kavSirs italiuri „fiati“ mihyides da qalaq toliatSi avtoqarxanac aaSenes. yvelaferi italiuri iyo garda avtomobilis saxelwodebisa _ manqanas „Jiguli“ daarqves. am „Jigulebis“ nawili, cxadia, sabWoTa kavSirSi iyideboda, nawilis gayidvas ki ucxoeTSi apirebdnen da amisgan karg Semosavalsac elodnen. magram aRmoCnda, rom ucxoeTSi „Jiguli“ ver saRdeboda. masze Zviri da xarisxiT masze naklebi avtomobilebi iyideboda, magram „Jiguls“ ar ekarebodnen, rac Zalian ucnauri Canda. seriozulad moekidnen am saqmes da sainJinro fsiqologiis specialistebs mimarTes. imaTac guldasmiT Seiswavles sakiTxi da daaskvnes, rom manqanis gayidvas xels uSlida misi saxelwodeba „Jiguli“, romlis JReradoba evropelebs ar moswondaT. magram amis gamo kargi manqanis dawuneba aracnobieris doneze xdeboda. adamiani rom Tavis Tavs gamoutydes, imitom vambob uars xarisxiT sxvaze ukeTes da Tan sxvaze iaf manqanaze, rom misi saxelis JReradoba ar momwonso, sakuTari Tavis pativiscemas dakargavs, araseriozul adamianad gamoCndeba Tavisive

– I have almost no relationship with modern children. But what I know well, I will tell you. In my childhood, the children who were admitted to a Russian school had an identity problem. To my knowledge, this bothered them and they were not successful either. However, they were admitted to the Russian school because they could easily succeed. This did not work out. There was also a Russian high school in Tkibuli, where many Georgians studied. Higher education institutions also had Russian departments. I cannot remember a Georgian of my generation, with a Russian education, achieving serious success in life. – Did they have an identity problem and could not start a career? – They could not start a career and they could not advance much in science and art. I cannot tell you what the situation is today. My daughter, my son, my daughter-in-law, my granddaughter also live abroad – they work and study. They love Georgia very much and can’t wait to return here. In the meantime, the language they speak there has become native to them. The future will show the results

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– During all these 30 years, since we are an independent state

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TvalSi. fsiqologebis rCeva iyo, rom manqanisTvis ufro keTilxmovani saxeli SeerCiaT. kompiuterul programas misces davaleba da programam amoagdo saxeli „lada“. mas mere SinaurobaSi „Jigulad“ wodebuli „fiati“ „ladas“ saxeliT gadioda saeqsportod da, rogorc amboben, ukve kargadac iyideboda. _ didi madloba am magaliTebisTvis. Tqven naTqvami gaqvT, adamiani, romelmac mSobliuri ena da literatura wesierad ar icis, identobas kargavso. Tanamedrove qarTvel bavSvebs Tu aqvT identobis problema? magaliTad, undaT Tu ara, vinme belgiels an frangs hgavdnen da ara sakuTar bebias an babuas? _ Tanamedrove bavSvebTan urTierToba TiTqmis ar maqvs. magram rac kargad vici, imas getyviT. Cems bavSvobaSi identobis problema im bavSvebs hqondaT, romlebic rusul skolaSi SehyavdaT. Cemi SetyobiT,

and more or less developing, you have been in the center of humanitarian thinking. During this time, if you recall a period or periods when, at least, the humanitarian section of the community was thinking, discussing our mistakes? What kind of country did we become after independence? – The discussion about it was total and still continues. Previously, the football was the only topic of conversation. Today it is politics. The future of Georgia is a matter of general debate. Articles and books are written about it. – Can you name a specific work that you would say: it should be read by a modern Georgian so that it can make him join the stream of thought. I remember only one book, the collection “Georgia at the Crossroads of Centuries” published in 2005. – Now, specifically I can remember Lela Gaprindashvili’s projects, in which I also participated. These works are published in books and not

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only in Georgian. One of Lela’s projects, published as a collection, is called “In the Footsteps of Democratic Values in Georgia.”

es maT awuxebdaT da warmatebulebic ar iyvnen. arada, rusul skolaSi imitom SehyavdaT, rom warmatebisTvis advilad mieRwiaT. aman ar gaamarTla. tyibulSic iyo rusuli saSualo skola, romelSic bevri qarTveli swavlobda. umaRles saswavleblebsac hqondaT rusuli ganyofilebebi. ver vixseneb, rom Cemi Taobis qarTvels, rusuli ganaTlebiT, seriozuli warmatebisTvis mieRwios cxovrebaSi.

– When was the last time you participated in a similar project? – This, what I mentioned was the first project. It was published as a book in 2011. Then I participated in three more projects of Lela Gaprindashvili. It was all very interesting. The latest “Green History of Georgian-German Dialogue: Ideas and Figures” was first published in Georgian and German in 2019, and for the second time last year. As for the Caucasian House, where I have worked for several years and still continue to work, has provided an arena for discussing almost all the necessary issues in recent decades – in the form of discussions, conferences, meetings, collections, periodicals (magazines, newspapers), film or video projects. Since the 1990s, when the House was formed, much-needed projects have been carried out there, including the ones that “makes you join the flow of thought.” The ecology – the subject of constant care of the “Caucasian House”!

_ identobis problemac hqondaT da karierac ver aiwyves? _ verc kariera aiwyves da verc mecnierebasa da xelovnebaSi waiwies didad win. dRes ra viTarebaa, ver getyviT. Cemi qaliSvilic, vaJiSvilic, rZalic, SviliSvilic ucxoeTSi cxovroben _ muSaoben da swavloben. Zalian uyvarT saqarTvelo. erTi suli aqvT, didian-patarianad, aq rodis Camovlen. amasobaSi, maTTvis ukve is enac mSobliuri gaxda, romelzec iq uxdebaT urTierToba. Sedegebs momavali dagvanaxebs. _ mTeli am 30 wlis ganmavlobaSi, roca damoukidebeli saxelmwifo gavxdiT da avad Tu kargad vviTardebodiT, Tqven humanitaruli azrovnebis centrSi iyaviT da xarT. am xnis ganmavlobaSi, Tu gaxsendebaT periodi an periodebi, rodesac, Tundac, sazogadoebis humanitaruli nawili fiqrobda, msjelobda Cvens Secdomebze? imaze, Tu rogori qveyana gavxdiT damoukideblobis mopovebis Semdeg? _ amaze msjeloba sul iyo da axlac grZeldeba. adre fexburTi iyo lamis erTaderTi salaparako Tema. dRes aseTi politikaa. saqarTvelos momavali aris sayovelTao gansjis sagani. statiebic iwereba amis Sesaxeb da wignebic. ra, ase ar aris? _ Tu gaxsendebaT konkretuli naSromi, romelzec ityodiT: es unda waikiTxos Tanamedrove qarTvelma, rom TviTonac survili gauCndes, fiqris nakads SeuerTdes. me mxolod erTi wigni maxsendeba, 2005 wels gamocemuli krebuli „saqarTvelo saukuneTa gasayarze“. _ axla, saxeldaxelod, lela gafrindaSvilis proeqtebi maxsendeba, romlebSic me TviTonac vmonawileobdi. wignebadac aris gamocemuli da aramarto qarTulad. lelas erT proeqts, krebulis saxiT gamocemuls, ase hqvia: „demokratiuli Rirebulebebis nakvalevze saqarTveloSi“. _ bolos rodis monawileobdiT msgavs proeqtSi? _ es, axla rom davasaxele, pirveli iyo. wignad 2011-Si gamovida. mere lela gafrindaSvilis kidev sam proeqtSi miviRe monawileoba. yvela Zalian saintereso iyo. bolo, „qarTul-germanuli dialogis ‘mwvane istoria’: ideebi da moRvaweebi“ pirvelad 2019-Si gamovida qarTulad da germanulad, meored ki _ SarSan. rac Seexeba „kavkasiur

– How much did the literature reflect the path that our country, our society took during the period of independence? Or is it too early to give a literal understanding of this process? – It has well reflected, highly artistically reflected. Even if it were not reflected, we could not really criticize the modern Georgian prose and poetry because of this. Fiction, over the last century, has been lightened by the well-developed and much more operative journalism, which can also be called a political literature. But modernity, or the way in which, as you said, our society went through during the period of independence, is also highly reflected in prose and poetry. – Can you name specifically? – For instance, all the novels of Otar Chkheidze, which he has written in recent decades, starting with “The Artistic Coup”; “The Dimention” of Jemal Karchkhadze; Naira Gelashvili’s last two novels: “The First Two Circles and all the Others” and “My bird, My rope, My river” ... – Let us also mention Otar Chiladze, in this context. And yet, you remember the writers of the previous generation. What about the new generation? – The new generation writes only about this. In this respect, no one can criticize them. – As a professional, how do you see Georgia in the works of modern writers? Development-oriented? Depressed? An imitator? Seeker of its own voice? – All together, more or less. It should be so. Well, what do we ask from a writer ?! The writer cannot offer a sociological theory, but make you think about you and your life, or take action. A fictional text has several purposes, but the most important of them is catharsis. It is an ancient Greek word and translates as “purification”. Clearly, spiritual purification

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saxls“, sadac ramdenime weliwadi vimuSave da romelTanac axlac vTanamSromlob, is bolo aTwleulebis ganmavlobaSi TiTqmis yvela saWirboroto sakiTxze msjelobisTvis gvTavazobda asparezs _ diskusiebis, konferenciebis, Sexvedrebis, krebulebis, periodikis (Jurnal-gazeTebis), kino- Tu videoproeqtebis saxiT. 1990-iani wlebidan, roca „saxli“ Camoyalibda, dRemde iq uaRresad saWiro proeqtebi xorcieldeba, swored im yaidisa, Tqvens SekiTxvaSi rom igulisxmeba _ „survils rom gagiCens, fiqris nakads SeuerTde“. ekologia, ekologia ar dagvaviwydes _ „kavkasiuri saxlis“ mudmivi zrunvis sagani! _ literaturaSi ramdenad aisaxa es gza, romelic Cvenma qveyanam, Cvenma sazogadoebam gamoiara damoukideblobis periodSi? Tu jer adrea am procesis literaturuli gaazreba? _ kargad aisaxa, maRalmxatvrulad. romc ar asaxuliyo, did sayvedurs ver vetyodiT amis gamo Tanamedrove qarTul prozasa da poezias. mxatvrul literaturas,

is implied. From what should the soul be cleansed? What dirt can come from the soul?.. When we ask such questions, we can refer to modern terms and say that... Neurosis should be considered as dirt of the soul. The release from these neuroses is catharsis. In the process of writing, first the writer is freed from neurosis, then – the reader as well. Poetry has a psychotherapeutic purpose, it is a huge function of artistic creation. The author writes because he wants to get rid of his neurosis, and the reader reads for this reason as well. – We have a really fertile ground for neuroses, but do you see in modern Georgian literature the energy that will take us, as an independent state, to the “sunny field”? – Do we have such energy? It will appear later. To say we have no energy and therefore put our hands on our hearts – would that be right? We have to try and if we can live as an independent state, we can succeed. If not --our political existence will come to an end. The great Georgian culture will become a subject of even more intense interest after that ... Nothing can be said in advance.

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– Do you see this diligence – let’s try and maybe it will work out

bolo erTi saukunis manZilze, „tvirTi“ Seumsubuqa kargad ganviTarebulma da bevrad ufro operatiulma Jurnalistikam, romelsac SegviZlia politikuri mwerlobac vuwodoT. magram Tanamedroveoba, anu is gza, romelic, rogorc Tqven brZaneT, Cvenma sazogadoebam gamoiara damoukideblobis periodSi, prozasa da poeziaSic maRalmxatvrulad aisaxa.

for us? – Yes, I really see diligence. – Mr. Guram Gegeshidze wrote: There are very patriotic times when people are born who are ready to sacrifice themselves for the homeland; But there are times when misery and mercantilism extinguish this sublime feeling. When I read this, the question

_ konkretulad, ras gulisxmobT? _ vgulisxmob, magaliTad, oTar CxeiZis yvela romans, rac ki mas bolo aTwleulebSi dauweria, „artistuli gadatrialebiT“ dawyebuli; vgulisxmob jemal qarCxaZis „ganzomilebas“; naira gelaSvilis bolo or romans: „pirveli ori wre da yvela sxva“ da „Cemi Citi, Cemi Toki, Cemi mdinare“...

arose: are mercantilism and poverty in all times? Essentially, what is the difference between these times, or where are we now? – Do people live by concepts? We have daily concerns, daily hardships. We have families, we have professions and we have to live with this profession. Some take care of the vegetable garden, some write books. If I had to start my life ten times over, I would always have chosen the same profession. When we work on a text, whether it is ours or someone else’s, we are also working on our own formation.

_ oTar WilaZec vaxsenoT, am konteqstSi. da mainc, Tqven wina Taobis mwerlebi gaixseneT. axal Taobaze ras ityviT? _ axali Taoba lamis mxolod amaze wers. am mxriv, maT veravin usayvedurebs.

When I analyze something created by someone else, I notice something that does not lie on the surface and needs to be found, I feel a sense of happiness. I cannot exchange this for anything. If you don’t enjoy the things you do and only do them for living, the life will

_ Tqven, rogorc profesionali, rogor saqarTvelos xedavT Tanamedrove mwerlebis SemoqmedebaSi? ganviTarebaze orientirebuls? depresiuls? mimbaZvels? sakuTari xmis mZebnels? _ es yvelaferi aris, met-naklebad. asec unda iyos. aba, mwerals ras movTxovT?! mwerali sociologiur Teorias ver SemogvTavazebs. mwerlis valia, dagafiqros Sens Tavsa da cxovrebaze, an samoqmedod gangawyos. mxatvrul teqsts ramdenime funqcia aqvs, magram umTavresi maT Soris aris kaTarsisi. es Zveli berZnuli sityvaa da iTargmneba, rogorc „ganwmenda“. cxadia, sulieri ganwmenda igulisxmeba. suli risgan unda ganiwmindos? ra WuWyi SeiZleba suls moedos? ra WuWyi SeiZleba moedos da... rodesac aseT kiTxvebs davsvamT, mere Tanamedrove terminebi gagvaxsendeba da vityviT, rom suls SeiZleba... sulis WuWyad unda CaiTvalos nevrozi. am nevrozebisgan gaTavisuflebaa kaTarsisi. weris procesSi jer mwerali Tavisufldeba nevrozisgan, Semdeg _ mkiTxvelic. poezias fsiqoTerapiuli daniSnuleba aqvs, es aris mxatvruli Semoqmedebis uzarmazari funqcia. avtori imitom wers, rom Tavisi nevrozisgan gaTavisufldes, da mkiTxvelic amisTvis kiTxulobs. _ nevrozebisTvis namdvilad noyieri niadagi gvaqvs, magram Tanamedrove qarTul mwerlobaSi im energias Tu xedavT, romelic Cven, rogorc damoukidebel saxelmwifos, „mzian velze“ gagviyvans? _ gvaqvs Tu ara saamiso energia? es Semdeg gamoCndeba. rom vTqvaT, ar gvaqvs energia da amitom gulze xeli davikrifoTo _ es xom ar iqneba swori? unda vcadoT

be difficult for you, moreover, it will be unbearable. We should try to balance material poverty with the spiritual riches. it’s possible. – I understand well what you are saying, that each person is doing his job and thus the state is being built, so we are moving forward. But when there is an existential problem, according to Mr. Guram, we have different chances of survival in different times. – We have to try. “Luck, endeavour and victory. If God will, shall be thy lot.” What depends on us? From this wisdom it seems that only attempt depends on us. If you do not try, nothing will come of it, if you try, it will work or not. – You mentioned family as one of the parts of a normal life and progress. You are the author of the letter “On Obsolete” and Vakhtang Javakhadze’s extensive poem “Elegy – Necklace”. These letters refer to the belongings of deceased loved ones. You write about others, but these letters are probably your personal feeling and experience as well. – Yes, indeed. – Your spouse died in 1991. After knowing this, I constantly pose the question to myself – what is the power that kept you creative, professional, life-giving and joyful? I know that you do a lot of work during the day, during the week, which was well reflected in the “Freedom Diary”. Without the love of life, you could not have done so much, nor would you have taken it upon yourself. – I will tell you how I look at this: the basis of our success is our deficiencies. I am deeply convinced in this.

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da Tu gamogvivida damoukidebeli saxelmwifoebrivi cxovreba, xom gamogvivida. Tu arada, ar gvqonia saamiso energia da moeReba bolo Cvens politikur arsebobas. didi qarTuli kultura ki amis Semdeg kidev ufro mZafri interesis sagani gaxdeba... winaswar arafris Tqma ar SeiZleba am sferoSi.

– How? – Here it is. Every great human success is based on a great flaw. Less luck – less flaw. – Deficiency – or loss? Then, it is clear. I have one last question. What makes you want your children to respect you? – It is a very interesting question. First, I will say that I do not consider

_ am mondomebas Tu xedavT, rom, modi, vcadoT da iqneb, gamogvivides? _ diax, mondomebas namdvilad vxedav.

myself as a good son. Now that I look back on my parents, I think I instilled in them love and kindness. It bothers me a lot. For what do I want my children to respect me? I have not thought about it. I have no answer.

_ batoni guram gegeSiZe werda: aris Zalian patriotuli epoqebi, rodesac ibadebian adamianebi, romlebic mzad arian, Tavi Seswiron samSoblos; magram aris epoqebi, rodesac siduxWire da merkantilizmi am amaRlebul grZnobas aqrobso. es rom wavikiTxe, kiTxva gamiCnda: merkantilizmi da siduxWire xom yvela epoqaSia? arsebiTad, ra ganasxvavebs am epoqebs, an axla sad varT? _ adamianebi koncefciebiT xom ar vcxovrobT? Cven gvaqvs yoveldRiuri konkretuli sazrunavi, yoveldRiuri gasaWiri. ojaxi gvyavs, profesia gvaqvs da am profesiiT unda virCinoT Tavi. zogi bostans uvlis, zogic wignebs wers. me, magaliTad, aTjer rom daviwyo cxovreba Tavidan, yovelTvis amave profesias avirCevdi. rodesac teqstze vmuSaobT, Cveni iqneba es teqsti Tu sxvisi, amavdroulad, sakuTari Tavis formirebazec vmuSaobT. rodesac sxvisi Seqmnili teqstis analizisas raRac iseTs SevniSnav, rac zedapirze ar devs da rasac migneba sWirdeba, bednierebis gancda meufleba. amas veraferze gavcvli. saqmianoba, romelsac ewevi, siamovnebas Tu ar ganiWebs da marto imisTvis misdev mas, rom Tavi irCino, cxovreba gagiZneldeba, metic, gausaZlisi iqneba. unda vecadoT, materialuri siduxWire sulieri simdidriT davabalansoT. es SesaZlebelia.

– I know that this is very personal. I was hesitating to ask you about it. – I cannot find an answer to this question. – Thank you very much for the interesting conversation. We will end the interview with your comment on two statements made by famous people. The author of the first quote is the Italian artist Leonardo da Vinci (1452-1519): “Simplicity is the ultimate sophistication.” – If we delve into the fictional text that impresses the reader, we will see how difficult it is to achieve this simplicity. It is possible to know this through style analysis. The great Leonardo was right! It is a wonderful phrase, built on the principle of paradox. liked. With your permission, I can use it anywhere. – with great pleasure. When you were explaining the quote, I remembered Akaki Tsereteli’s “Suliko”, a simple poem in form, but complex and deep in content. – I agree with you. There are plenty of interpretations of this plain, seemingly simple verse, and much remains to be expected as the text allows it. – The second quote belongs to the English writer Louis Carroll

_ kargad mesmis, ras ambobT, rom TiToeuli adamiani Tavis saqmes akeTebs da amiT Sendeba saxelmwifo, ase mivdivarT win. magram roca yofna-aryofnis momenti dgeba, batoni guramis citatis mixedviT, gadarCenis sxvadasxva Sansi gvaqvs sxvadasxva epoqaSi. _ Cven unda vcadoT. „bedi cdaa, gamarjveba, RmerTsa undes, mo-ca-gxvdebis.“ Cvenze ra aris damokidebuli? am Segonebidan Cans, rom Cvenze damokidebulia mxolod cda. Tu ar scade, araferi gamova, Tu scade, an gamova, an ara.

(1832-1898): “The best advice for life is: It is not worth living

_ ojaxi axseneT, rogorc normaluri cxovrebis da winsvlis erT-erTi segmenti. Tqven gekuTvniT werili „daoblebul sagnebze“ da vaxtang javaxaZis vrcel leqsze „elegia _ yelsabami“. es werilebi gardacvlili Zvirfasi adamianebis nivTebs exeba. sxvebze werT, magram am werilebSi, albaT, Tqveni piradi gancda da gamocdilebac aris.

people with care. We also have our “Memento Mori” (“Remember

where death did not exist.” Be sure the safest rule is that we should not dare to live in any scene in which we dare not die. – Unusual, yet profound sentence! I love the paradox that requires an explanation and at the same time contradicts this explanation itself. The paradox is always very deep in the essence of the event. If we “follow” this quote, at some point he also thinks that death should always be remembered. When you remember death, life becomes intense, full-blooded, you treat both work and Death”): “Trials and temptations, who does not wait for death for a second” and “cannot catch death ...”. Death cannot be forgotten, this idea is inspired by both – Louis Carroll and Shota Rustaveli – in my opinion.

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Photo by Irakli Gedenidze

1 (27) 2022

_ diax, aba ra. _ Tqveni meuRle 1991 wels gardaicvala. imis Semdeg, rac es gavige, araerTxel gamiCnda kiTxva _ ra aris Zala, ramac Semoqmedebis, profesiuli saqmianobis, sicocxlis unari da xalisi SeginarCunaT? vici, rom Zalian bevr saqmes akeTebT dRis ganmavlobaSi, kviris ganmavlobaSi, rac kargad gamoCnda „Tavisuflebis dRiurSi“. cxovrebis siyvarulis gareSe, amdens ver SeZlebdiT da arc aiRebdiT sakuTar Tavze. _ getyviT, rogorc vuyureb am sakiTxs: Cveni warmatebebis safuZveli Cveni naklovanebebia. amaSi var Rrmad darwmunebuli. _ rogor? _ ai, ase. adamianis yovel did warmatebas safuZvlad udevs didi naklovaneba. nakleb warmatebas _ naklebi. _ naklovaneba _ anu danaklisi? maSin, gasagebia. bolo kiTxva maqvs. ra aris is, ris gamoc gendomebodaT, rom Tqvens Svilebs TqvenTvis pativi ecaT? _ Zalian saintereso kiTxvaa. jer imas vityvi, rom sakuTari Tavi karg Svilad ar mimaCnia. axla rom vixseneb Cems mSoblebs, mgonia, rom maT siyvaruli da gulisxmiereba davakeli. es Zalian mawuxebs. ris gamo minda, rom pativs mcemdnen Cemi Svilebi? ar mifiqria amaze. ar maqvs pasuxi. _ vici, rom rac gkiTxeT, Zalian piradia. vyoymanobdi, mekiTxa Tu ara. _ ver vpoulob pasuxs am kiTxvaze. _ didi madloba saintereso saubrisTvis. intervius davasrulebT Tqveni komentariT cnobili adamianebis or gamonaTqvamze. pirveli citatis avtoria italieli mxatvari leonardo ra vinCi (1452-1519): „simartive sirTulis umaRlesi formaa.“ _ Tu CavuRrmavdebiT mxatvrul teqsts, romelic sisadavis STabeWdilebas axdens mkiTxvelze, davinaxavT, ra rTulad aris miRweuli es sisadave. stilis analizis meSveobiT xerxdeba amis Secnoba. marTali uTqvams did leonardos! mSvenieri frazaa, paradoqsis principiT agebuli. momewona. Tqveni nebarTviT, SeiZleba, sadme gamoviyeno. _ didi siamovnebiT. Tqven rom ganmartavdiT citatas, akaki wereTlis „suliko“ gamaxsenda, formiT martivi, magram SinaarsiT rTuli da Rrma leqsi. _ geTanxmebiT. am sada, TiTqosda martivi leqsis uamravi interpretacia arsebobs da kvlavac bevria mosalodneli, radgan teqsti amis saSualebas iZleva.

_ meore citata ekuTvnis inglisel mwerals luis kerols (1832-1898): „saukeTeso cxovrebiseuli rCevaa: ar Rirs cxovreba iq, sadac sikvdili ar gendomeboda.“ _ araCveulebrivi, Tanac Rrmaazrovani sentenciaa! miyvars paradoqsi, romelic Tan moiTxovs axsnas da Tan am axsnas TviTonve ewinaaRmdegeba. paradoqss yovelTvis Zalian Rrmad SevyavarT movlenis arsSi. am citatas rom „CavyveT“, romeliRac safexurze is azric iCens Tavs, rom sikvdili sul unda gaxsovdes. roca sikvdili gaxsovs, intensiuri, sisxlsavse xdeba cxovreba, gulisxmierad ekidebi saqmesac da adamianebsac. Cvenc xom gvaqvs Cveni „memento mori“ („gaxsovdes sikvdili“): „cdebis da cdebis, sikvdilsa vin ar moelis wamisad“ da „ver daiWiravs sikvdilsa...“. sikvdilis daviwyeba ar SeiZlebao, am azrs STagvagonebs orive _ luis kerolic da SoTa rusTavelic, _ Cemi azriT.

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foto: irakli gedeniZe

1 (27) 2022

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1 (27) 2022

RAUL CHILACHAVA

raul CilaCava

Capas werili msoflios ZaRlebsa da adamianebs CHAPA’S LETTER TO THE DOGS AND HUMANS OF THE WORLD me erTi Cveulebrivi ZaRli var, muyaos yuTSi mipoves jer kidev Tvalauxeleli lekvi da Capa damarqves. male gavige, rom Cems naTliebs ia da rauli rqmeviaT. xolo qalaqi, sadac Cven vcxovrobdiT, kievi yofila. mas Semdeg Svidi weli gavida da ZaRlis kvalobaze mTlad patarac ar meTqmis. ase rom, vici, rasac vambob da damejereba kidec. gareT, quCaSi, Tovlsa da yinvaSi arasodes micxovria, sul manebivrebdnen, Tavs mevlebodnen, alerssa da siyvarulSi mzrdidnen. pirveli Soki maSin ganvicade, roca ia, romelsac SvilebSi ar gamoverCeodi, uceb gaqra, sadRac gauCinarda da manamde Cvens bednier WerqveS erTbaSad sicarielem da mwuxarebam daisadgura. magram, etyoba, adamianebisa ar iyos, sabolood cxovelSic imarjvebs sicocxlis wyurvili. axla ukve rauli gaxda Cemi uaxloesi megobari da cxovrebac TiTqos kalapotSi Cadga. vcdilobdi, misTvis muSaobaSi xeli ar SemeSala, Tumca Cven vaxerxebdiT, yoveldRe gveseirna Cveni patara, vercxlisfrad molivlive tbis ZewnebiT dayursul sanapiroze, vtkbebodiT ulamazesi aisebiTa da daisebiT, davrbodiT, verTobodiT... magram erT avbediT Rames es yvelaferi uceb dasrulda, gaisma moulodneli gruxuni da me Sinaganma idumalma xmam mikarnaxa, rom raRac gamousworebeli da saSineli moxda.

I am an ordinary dog, they found me, a still-naked puppy in a cardboard box and named me Chapa. I soon learned that my godparents were named Ia and Raul. And the city where we lived was Kiev. Seven years have passed since then and I got bigger. So I know what I’m saying and I believe it. Outside, on the street, in the snow and frost I have never lived, I was totally pampered, I took care of myself, I grew up in care and love. The first shock I experienced was when Ia, who could not distinguish me from her children, suddenly disappeared, disappeared somewhere, and since then the emptiness and sadness suddenly settled arounds us. But, it seems, even I am not a human, eventually the thirst for life in the animal also wins. Now Raul has become my closest friend and life seems to have slipped into bed. I tried not to interfere with his work, but we managed to walk every day on the shore of our small, silvery lake, enjoying the beautiful sunrises and sunsets, running and having fun ... but all of a sudden an inner mysterious voice dictated to me that something irreparable and terrible had happened. It was still a couple of hours before dawn, but we were already on our feet, feeling more and more alarmed. I spent the whole day unconscious, I had a bad feeling, I suspected that a new trouble was standing before us and it was inevitable. I was not mistaken. The day was coming to an end when we carefully locked the door of the apartment and got into the car with only one large bag. I love it when I sit in the back seat and go to the cottage with my family. I wanted to think that we would take the path there even now,

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1 (27) 2022

gaTenebas jer kidev oriode saaTi aklda, magram Cven ukve fexze viyaviT da sul ufro da ufro gveufleboda gangaSis gancda. mTeli dRe ugunebod gavatare, cudi winaTgrZnoba mqonda, gumaniT vxvdebodi, rom zRurblze axali ubedureba idga da masTan Sexvedra gardauvali iyo. arc Sevmcdarvar. dRe ukve iwureboda, roca binis kari saguldagulod CavrazeT da erTi mozrdili CanTis amara manqanaSi CavsxediT. Zalian miyvars, roca ukana savarZelze movikalaTeb xolme da ojaxTan erTad agarakze mivemgzavrebi. mindoda mefiqra, rom gezs axlac iqiTken aviRebdiT, magram roca gza usaSvelod gaiwela, mivxvdi, sul sxva mxares mivdiodiT. mTeli Rame Tvali ar momixuWavs, Tavi raulis muxlebze medo da ver gamego, iseTi ra unda momxdariyo, rom mTeli ojaxi ase erTbaSad aviyareT da SeuCereblad sadRac miveqanebiT. erT dRe-RameSi TiTqmis mTeli ukraina gadavsereT da bolos, rogorc iqna, romeliRac patara qalaqis myudro sastumroSi davbinavdiT. sastumroSi ZaRlebs, mgoni, ar uSveben, magram me araTu SemiSves, derefanSi sirbilis nebac damrTes. momeSva gulze, albaT samogzaurod varT da yvelaferi rigzeameTqi. sixaruli xanmokle aRmoCnda. is iyo, namgzavrze cota dasveneba gadavwyviteT, rom sirenis Semzaravma Rmuilma gaayrua iqauroba. raulma saswrafod xelSi amitaca da Cven sastumros yvela binadarTan erTad sardafSi an

but when the road stretched endlessly, I realized we were heading to a completely different direction. I did not close my eyes all night, I was lying on Raul’s knees and could not understand what was going to happen, that the whole family would gather at once and we would be taken somewhere without stopping. In one day we traveled almost all over Ukraine and finally, as it turned out, we stopped at a cozy hotel in a small town. Normally, dogs are not allowed in the hotel, I think I would not be either, but they they even allowed me to run in the corridor. I felt relieved, thinking that we were on a trip and stopped for some rest. The joy turned out to be short-lived. It was as we decided to rest a bit on the way that the siren’s horrible sound filled the place. Raul immediately grabbed me in his hand and we hid with everyone in the hotel in the basement or rather in the bunker, which turned out to be a bomb shelter. And it was there that I first heard the angry and cruel word: “War”! All ten days we spent in that hotel, or rather in its bunker, the air alarm siren set our daily routine. When I finally got used to such life, we put the little luggage in the car again, left the hotel and headed in an unknown direction again. There were checkpoints everywhere on the road, controlled by fully armed people. The car went into a huge traffic jam and we were advancing slowly. At last, we stopped altogether, left the car at the gas station, and continued on the six-kilometer walk. I heard another word in the helpless, live stream: “Refugee”! Here, it turns out, was what it’s all about! We are refugees and if we do not save ourselves, someone will shoot at us, with rockets, drop bombs on us because of insane obsessions of one man. In this sea of refugees, I found many others from my own tribe, and I am grateful

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1 (27) 2022

ufro sworad bunkerSi davimaleT, romelic bombsafari aRmoCnda. da me iq pirvelad gavigone mrisxane da sastiki sityva: „omi“! mTeli is aTi dRe, rac im sastumroSi, ufro sworad mis bunkerSi gavatareT, sahaero gangaSis sirena gansazRvravda Cvens sadReRamiso reJims. da me lamis SeveCvie amnair yofas, roca manqanaSi kvlav CavalageT mwiri bargi, davtoveT sastumro da CemTvis kvlav gaurkveveli mimarTulebiT gavwieT. gzaze yvelgan blokpostebi moewyoT, moZraobas mTlianad iaraRasxmuli adamianebi akontrolebdnen. manqana uzarmazar sacobSi aRmoCnda da win kus nabijebiT miviwevdiT. bolos saerTod gavCerdiT, manqana benzingasamarT sadgurTan davtoveT da eqvskilometriani gza fexiT gavagrZeleT. uSvelebel, cocxal nakadSi meore axali sityvac gavige: „ltolvili“! ai, Turme raSi yofila saqme! Cven ltolvilebi varT da Tavs Tu ar vuSveleT, viRac kaciWamias giJuri akviatebis gamo tyviebs gvesvrian, raketebs dagviSenen, bombebs dagvayrian. ltolvilTa am zRvaSi uamravi Cemi Tvistomi mxvdeba da me maT mimarTac madlierebiT vivsebi, vinc am umZimesi gansacdelis Jams isini ar miatova. sxvaTa Soris, kremlSi mjdom im kaciWamiasac hyavs Turme ZaRli, romelic, albaT, uyvars kidec, Tuki misTvis saerTod nacnobia aseTi grZnoba. me minda mivmarTo mas: ras gverCiT, ra dagiSaveT, ratom gvxocavT,

to those who did not leave them in the midst of this hard times. By the way, the cannibal sitting in the Kremlin also has a dog, which he probably even loves, if he is at all familiar with such a feeling. I want to address him: what are you doing, what have we done wrong, why are you killing us, why are you destroying our homes, why are you threatening the whole world with a nuclear catastrophe? Maybe you can come to consciousness while it is still time and stop the barbaric bloodshed? After standing in the freeze for seven hours, I moved with my family to Poland, where we were warmly received and sheltered. Raul hugged me on the Ukrainian-Polish border and we were trying to warm each other up when I decided to write this letter. They even took a picture of us on that unbearable morning. I am vaccinated now, I also have a foreign passport and will soon fly to Georgia, Raul’s homeland. It is as if I have reached peace, but I am saddened by the condition and the future of those who do not know where to go, what to do, how to survive. I address the dogs and people all over the world: Do not bite those who have done nothing wrong! Do not steal life from those who want to live! We can and must do this to remove two horrible words from every language on earth: “war” and “refugee.” I have seen and experienced both, so I wish no one could see or feel it. The two words that are currently on my mind are “peace” and “love”. Do not miss one or another. Take care of yourself. To each other as well. Sincerely, yours Chapa. Warsaw, March 7, 2022. P. S. In the end, I will tell you that I can’t read or write at all, not only in Georgian, but also in Ukrainian, so I dictated all this to Raul, who I would like to present in more detail: Raul Chilachava, the poet, Doctor of Philology, Professor, Academician of the Georgian Academy of Sciences, Honorary Academician of the Latvian Academy of Sciences, Member of the Writers’ Unions of Georgia, Ukraine and Latvia, People’s Poet of Ukraine, Honored Artist of Ukraine, Ambassador Extraordinary and Plenipotentiary of Ukraine to Latvia 2006-2010, Laureate of Shota Rustaveli Prize and many other prizes.

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1 (27) 2022

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1 (27) 2022

ratom gvingrevT saxl-kars, ratom emuqrebiT mTel msoflios atomuri katastrofiT? iqneb moegoT gons, sanam jer kidev droa da SewyvitoT barbarosuli sisxlisRvra? Svidi saaTis manZilze yinvaSi dgomis mere me CemebTan erTad gadavedi poloneTSi, sadac Tbilad migviRes, dagvapures da TavSesafaric mogvces. ukraina-poloneTis sazRvarze raulma Camixuta da erTmaneTis gaTbobas vcdilobdiT, am werilis dawera swored maSin gadavwyvite. im gausaZlis dilas suraTic gadauRiaT CvenTvis. axla acrilic var, sazRvargareTis pasportic maqvs da male saqarTveloSi, raulis samSobloSi gavfrindebi. TiTqos samSvidobos gavaRwie, magram madardebs maTi mdgomareoba da momavali, vinc ar icis, saiT wavides, ra iRonos, rogor gadarCes. mogmarTavT mTeli msoflios ZaRlebsa da adamianebs: nu davkbenT maT, visac araferi dauSavebia, nu gamovutanT sasikvdilo ganaCens maT, visac sicocxle swyuria! Cven es SegviZlia da Cven es unda gavakeToT, raTa dedamiwaze arsebuli yvela enidan gaqres ori saSineli sityva: „omi~ da „ltolvili“. me vnaxe

da gamovcade orive, amitom aravis vusurveb maT naxvas da gancdas. orad ori sityva, romelic amJamad mitrialebs TavSi, aris „mSvidoba~ da „siyvaruli“. ar mogklebodeT arc erTic da arc meore. Tavs gaufrTxildiT. erTmaneTsac. gulwrfelad, Tqveni Capa. varSava, 7 marti, 2022 weli. P.S. sul bolos imasac getyviT, rom wera-kiTxva saerTod ar vici, araTu qarTulad, ukrainuladac ver davwer or sityvas, amitom es yvelaferi rauls vukarnaxe, romelic aqve ufro srulad minda warmogidginoT: raul CilaCava, poeti, filologiis mecnierebaTa doqtori, profesori, saqarTvelos mecnierebaTa akademiis akademikosi, latviis mecnierebaTa akademiis sapatio akademikosi, saqarTvelos, ukrainisa da latviis mweralTa kavSirebis wevri, ukrainis saxalxo poeti, ukrainis xelovnebis damsaxurebuli moRvawe, ukrainis sagangebo da sruluflebiani elCi latviaSi 2006-2010 wlebSi, SoTa rusTavelis premiisa da mravali sxva premiis laureati, sami sxvadasxva qveynis ordenebis kavaleri...

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1 (27) 2022

LEVAN MIZANDARI

levan mizandari

valerian mizandari VALERIAN MIZANDARI `batono valerian! Tqveni gvaris mizani _ dari yofila. es azri Tqven me ganmimtkiceT, radgan Tqveni cxovrebis mizani samSoblosaTvis valis moxdaa, xolo dari ki misi keTildReoba da gamarjvebaa. Tqven, qarTuli qandakebis ganviTarebis saqmes emsaxurebiT mTeli gulwrfelobiT, Tqvens mier ametyvelebuli mravali saxe amSvenebs galereebsa da baRebs~.

`Mr. Valerian! The purpose of your last name appears to be – ‘dari’ (‘mizani’- purpose, ‘dari’- good weather in Georgian). You have confirmed this thought for me, as your life’s purpose has always been to be in duty to the homeland, and ‘dari’ – its prosperity and victory. You’ve been dedicating your life to the development of Georgian sculpture with all sincerity, many spoken images of your works adorn the galleries and gardens”.

merab berZeniSvili

Merab Berdzenishvili

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1 (27) 2022

„adamianebi bednierebisTvis ibadebian, bedniereba ki warmoudgenelia SemoqmedebiTi Sromisa da mSvidobiani cxovrebis gareSe. yovelTvis maxsovs is adamianebi, romlebmac Tavi gaswires mterze gamarjvebisTvis, mSvidobisaTvis. amitom aris, rom me, rogorc xelovani, mSvidobis Temas centralur adgils vuTmob Cems SemoqmedebaSi“. es sityvebi ekuTvnis saxalxo mxatvars, moqandake valerian mizandars romlis dabadebidan 110 weli gavida.yvelaferi ki ase daiwyo: 1880 wels samxedro samsaxuris gamo quTaisSi dasaxlda qarTuli profesiuli musikis mesaZirkvleebis, aloiz da feliqs mizandarebis ufrosi Zma, wm. stanislavis me-3 xarisxis ordenis kavaleri, artileriis kapitani, aznauri valerian iosebis Ze mizandari. gadmocemis Tanaxmad, valeriani aTeisti yofila. jaridan dabrunebuls akvanSi unaxavs mZinare erTaderTi Svili levani. uTqvams, mec daRlili var, daviZineb, bavSvic gaiRviZebs da maSin vnaxavo. valerianma saRaTas

“People are born for happiness, and happiness is unimaginable without creative work and peaceful living. I will always remember the people who sacrificed themselves for victory over the enemy, for peace. That is why, as an artist, the theme of peace holds central place in my work.” These words belong to the People’s Artist, sculptor Valerian Mizandari, who was born 110 years ago. It all started as follows: In 1880, due to his military service, the elder brother of the founders of Georgian professional music, Alois and Felix Mizandari, settled in Kutaisi. Knight of the 3rd Degree Stanislav Order, Captain of Artillery, nobleman Valerian (Joseph) Mizandari. According to the legend, Valerian was an atheist. Returning from the army, he saw his only son Levan sleeping in the cradle and said that he would sleep too until the baby was asleep and then see him. Valerian fell asleep in the morning and slept for five days. The servants of the Catholic Church took revenge by ignoring the advice of the only doctor in Kutaisi at that time, and on the sixth day the family forcibly buried him.

eskizi Tojinebis Teatris speqtaklisTvis `kacia-adamiani?!~ SKETCH FOR PUPPET THEATER PERFORMANC “IS HE A HUMAN THIS MAN?!"

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1 (27) 2022

marcxniv _ levan mizandari, marjvniv galaqtion nadiraZe (kolau nadiraZis mama) nadirobisas. 1915 w. LEFT - LEVAN MIZANDARI, RIGHT GALAKTION NADIRADZE (KOLAU NADIRADZE’S FATHER) WHILE HUNTING. 1915

ZiliT daiZina da xuTi dRe eZina. kaTolikuri eklesiis msaxurebma imiT iZies Suri, rom arafrad Caagdes maSindel quTaisSi myofi erTaderTi eqimis rCeva da meeqvse dRes ojaxs ZaliT daamarxvines igi. Tbilisis guberniis TavadaznaurTa warmomadgeneli da qarTvelTa Soris wera-kiTxvis gamavrcelebeli sazogadoebis quTaisis ganyofilebis wevri levan mizandari rogorc samxedro piris Svili TbilisSi kadetTa saswavlebelSi swavlobda da musikaluri monacemebis gamo samxedro orkestrs xelmZRvanelobda, amasTan erTad, cnobili monadirec gaxldaT. misi foto 1914 wels daibeWda cnobil JurnalSi ...Охотничiй вьстник”. mizandarebis saxli quTaisSi qalaqis inteligenciis Sekrebis sayvarel adgils warmoadgenda. levansa da nina andronikaSvils ori vaJi SeeZinaT: valeriani, Cveni statiis mTavari gmiri da andria, saqarTvelos damsaxurebuli inJineri. valerianis mogonebidan: „roca mefe Camoagdes da axali droeba daiwyo, mamaCemma didi ulvaSebi moicila da saxe ise Seecvala, rom veRar vcnobdiT, gvegona Cven win sul

Levan Mizandari, a representative of the aristocracy of Tbilisi province and a member of the Kutaisi branch of the Georgian Society for Literacy, studied at a cadet school in Tbilisi as the son of a military man and led a military orchestra because of his musical background. His photo was published in 1914 in the famous magazine “Охотнич и й вьстник”. Mizandari House was a favorite gathering place of the city intelligentsia in Kutaisi. Levan and Nina Andronikashvili had two sons: Valerian, the main character of our article, and Andria, the honored engineer of Georgia. From Valerian’s memoirs: “When the king was overthrown and a new era began, my father removed his big mustache and changed his face so that we could no longer recognize him, we thought he was a young man in front of us. The mother was a well-educated woman at the time. She graduated from Kutaisi St. Nino Women’s School. During my apprenticeship, we moved from the beginning of the Green Flower District to the former home of our ancestors on present-day Tbilisi Street. In the yard, there was a nettle-like, green-leafed fragrant plant called Barambo, which spread in our yard from Dr. Mirakov’s front yard. As I found out later, Barambo seeds were brought by Sulkhan-Saba Orbeliani from Italy and it was growing quite a long time in the yard

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axalgazrda kaci iyo. deda Tavis droisaTvis kargad ganswavluli qali gaxldaT.mas damTavrebuli hqonda quTaisis wm. ninos saqalebo saswavlebeli. Cemi mowafeobis dros mwvaneyvavilas ubnis dasawyisidan axlandeli Tbilisis quCaze mdebare Cveni winaprebis yofil saxlSi gadmovsaxldiT. ezoSi WinWris msgavsi, mwvanefoTlebiani surnelovani mcenare iyo modebuli, romelsac barambo erqva da Cvens ezoSi eqim miraqovis mosazRvre ezodan gavrcelebula. rogorc Semdeg Sevityve, barambos Tesli, sulxansaba orbelians Camoutania italiidan da didxans xarobda quTaisis kaTolikeebis eklesiis ezoSi. zaqaria faliaSvilis dedas, imis gamo rom TviT saamiso miwis nakveTi ar hqonia, barambo Tavisi siZis, anton miraqovis ezoSi dauTesia. (es mcenare dRemde yvavis mizandarebis ezoSi. l.m.) erTxel, 1921 wels, Cvens ezoSi mamaCemis Zveli megobrebi zaqaria da ivane faliaSvilebi, vano sarajiSvili da kolau nadiraZe Semovidnen da iqve, didi msxlis ZirSi dasxdnen. me patara kalaTiT xeze avedi, dakrife msxlebi da stumrebs mivarTvi. amasobaSi mamaCemi dabrunda da sufrac gaiSala. Cvens ojaxSi aseTi wesi iyo, bavSvebs 8 saaTze gvaZinebdnen. im dRes ra dagvaZinebda, SuqCamqrali saZineblis Ria karidan moridebiT Tvalyurs vadevnebdiT stumrebs. mamaCemma zaqarias sTxova mis mier awyobili fortepianos Semowmeba, magram ivanem daaswro, xmebis Semowmebisas zaqariam xeliT aniSna vanos, isic adga, Tavisi skamiT mivida, xelebiT sazurges daeyrdno da mTeli Rame mReroda romansebs da ariebs zaqariasa da sxva kompozitorTa nawarmoebebidan. meore dRes zaqariam bileTebi mogvarTva da koncertze dagvpatiJa.“ aseTma garemom patara valerians Tavidanve Caunerga xelovnebis siyvaruli. momavali mxatvari Sevida quTaisis realur saswavlebelTan arsebul oTxwlian samxatvro studiaSi romelsac cnobili pedagogi, mxatvari, ilia repinis moswavle ivane WeiSvili xelmZRvanelobda. 1928 wels Caabara Tbilisis samxatvro akademiaSi, qandakebis fakultetze, sadac misi xelmZRvanelebi iyvnen qarTuli realisturi qandakebis fuZemdebeli iakob nikolaZe da nikoloz kandelaki.xatvas aswavlidnen ioseb Sarlemani, evgeni lansere da mose ToiZe. studentobis wlebSi valeriani cxovrobda iakob nikolaZesTan saxelosnoSi da samxatvro akademiis damTavrebis Semdegac misi asistenti iyo. „vin ar modioda iakob nikolaZis saxelosnoSi _ ixsenebs valeriani, _ aq gavicani didi ivane javaxiSvili, imxanad ukve yurs aklda da sasmeni milis moSveliebiT

of the Kutaisi Catholic Church. Zakaria Paliashvili’s mother planted Barambo in the yard of her son-in-law, Anton Mirakov, because she did not have her own plot of land. (this plant is still in bloom in Mizandari garden. L.M.) Once, in 1921, my father’s old friends Zakaria and Ivane Paliashvili, Vano Sarajishvili and Kolau Nadiradze entered our yard and sat down at the foot of a big pear tree. I climbed a tree with a small basket, picked pears and greeted the guests. In the meantime, my father came back and set the table. There was such a rule in our family, children were put to bed at 8 o’clock. What would put us to sleep that day, we watched the guests from the open door of the dimly lit bedroom. My father asked Zakaria to check out the piano he had assembled, but Vano got it first – while checking the sounds, Zakaria gestured Vano, who went to his chair, leaned on his back, and sang romances and arias by Zakaria and other composers all night long. The next day Zakaria bought us tickets and invited us to the concert. “ Such an environment instilled in little Valerian a love of art from the beginning. The future artist entered a four-year art studio near the Kutaisi Real School, which was headed by Ivane Cheishvili, a well-

iakob nikolaZe _ CaxruxaZe IAKOB NIKOLADZE – CHAKHRUKHADZE

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gvismenda... cnobili geografi aleqsandre javaxiSvili, lado gudiaSvili, frangi mxatvar-akademikosi lansere, daviT kakabaZe, kote marjaniSvili... aq gavicani tician tabiZec, pirmsuqani, odnav sqeltuCebiani lamazi axalgazrda, jibiT mudam mixaks atarebda. vucqire ticianis mixaks da bolos vkiTxe, sul ase cocxal yvavilebs rom atarebT, ar Wkneba-Tqo? gaecina _ ra daaWknobs, xelovnuriao. saxelosnos stumrebidan gansakuTrebulad magondeba mixeil javaxiSvili. Zalian gamxdari kaci iyo, maRalquslebian fexsacmelebs atarebda. namdvili inteligentis garegnoba hqonda. imJamad axali gamosuli iyo misi „arsena marabdeli“, TbilisSi xelidan xelSi itacebdnen. ramden saintereso rames gviambobda.. kargad maxsovs agreTve poeti nikolo miwiSvili, maSindeli axali modis Sesatyvisad ecva viwro Sarvali, wvrilcxviriani fexsacmelebi, xelSi ki msxvil joxs iWerda. Tavadac erTi patara, kafandara kaci iyo, ase rom, Zalian saintereso sazogadoeba ikribeboda.“ didi moqandakis SemoqmedebiTi da yoveldRiuri cxovrebis dReebi valerianma gadmogvca Tavis novelebis wignSi „veronezes ca“. gavixsenoT ramdenime epizodi, magaliTad, rogor Seiqmna iakob nikolaZis Sedevri _ CaxruxaZis portreti: „davasvelo namuSevrebi? _ SevekiTxe savarZelSi Camjdar daRlil ostats. iakobma Tanxmobis niSnad Tavi damiqnia. tilo davasvele, gavwure, orad movkece da xelis gasaclelad, radgan jer axlad dawyebuli namuSevris Sexvevas vapirebdiT, CaxruxaZis portrets Tavze davade. _ moica, moica! _ moulodnelad wamoiZaxa iakobma da mTxova, masTan mivsuliyavi. _ xedav, ra kargad adevs tilo? ase icodnen Cvenma Coxosnebma Cabalaxis Tavze dadeba, roca dascxebodaT xolme. ubralod, orad mokecili Cabalaxi kargia. kargia! CaxruxaZe ase darCeba! meore dRes portreti Camoisxa Tavze dadebuli CabalaxiT, ramac kidev ufro gaaRrmava ostatis Canafiqri. ase Seiqmna CaxruxaZis ukvdavi saxe.“ „Tbilisis saxelmwifo universitetma iakobs axladgardacvlil profesor andria razmaZis portreti SeukveTa. moqandake muSaobas Seudga Tu ara, ori sami dRis Semdeg masTan gansvenebulis da movida da xelovans Tavisi aRfrTovaneba gauziara: _ vgrZnob, rom Tqvens xelSi Cemi Zma gacocxldeba, Tqven mas suls CaudgamT, is isev Semogvxedavs, es mjera da amieridan Cveni saTayvanebeli adamiani Tqven iqnebiTo. im dRidan Savadmosili qali iakobis xSiri stumari gaxda, miT ufro, rom razmaZianT saxli axlos iyo moqandakis saxelosnosTan.

known teacher and artist, a student of Ilia Repin. In 1928 he entered the Tbilisi Academy of Arts, Faculty of Sculpture where his mentors were Iakob Nikoladze and Nikoloz Kandelaki, the founders of Georgian realistic sculpture. Iosif Charlemagne, Eugene Lansere and Mose Toidze were providing painting lessons. During his student years, Valerian lived in the studio with Iakob Nikoladze and was his assistant even after graduating from the Academy. “Who did not come to Iakob Nikoladze’s studio –recalls Valerian, – I got acquainted to the great Ivane Javakhishvili here, he already had hearing loss could listen to us by means of a hearing tube… Famous geographer Aleksandre Javakhishvili, Lado Gudiahvili, French artistacademician Lansere, Davit Kakabadze, Kote Marjanishvili… I also met Titsian Tabidze here, a handsome young man with a fat, slightly thick-skinned face, who always carried gillyflower in his pocket. I was looking at Titian’s gillyflower for a while and then dared to ask him – aren’t these flowers wilting as you carry them all the time? – how can it wilt, it’s artificial – he said laughing. Mikheil Javakhishvili is especially memorable for me from the guests of the studio. He was a very thin man, wearing shoes on small heels. He had the appearance of a real intellectual. At that time, his “Arsena Marabdeli” was a new release and very popular among Tbilisians. He would retell so many interesting stories… I also remember the poet Nikolo Mitsishvili very well, in narrow pants, small shoes to match the new fashion of that time, holding a big stick in his hand. He was a small man himself, so a very interesting people were gathering in this studio. “ The days of the great sculptor’s creative and daily life are described by Valerian in his book of short stories “The Sky of Veronese”. Let us remember some of the episodes, for example, how Iakob Nikoladze’s masterpiece was created – a portrait of Chakhrukhadze: “Shall I soak the works? – I asked the tired master sitting in the chair. Iakob nodded his head in agreement. I soaked the canvas, squeezed it, folded it in two and to free my hand, as we were going to cover the newly started work, I put it on a head of Chakhrukhadze’s portrait. - Wait, wait! – suddenly cried out Iakob, asking me to approach him. – You see how well canvas fits his portrait? This is how our Chokhosani used to put on chabalakhi (warrior’s hood) on their heads in a hot weather. Simply folded chabalakh! it’s good! Chakhrukhadze will stay like this! The next day the portrait was sculpted with a chabalakh on its head, which further deepened the master’s intention. That is how Chakhrukhadze’s immortal face was created.” Tbilisi State University has ordered Iakob a portrait of the recently deceased Professor Andria Razmadze. In two or three days as soon as the sculptor commenced the work, the sister of the deceased professor came to Iakob, expressing enthusiasm: – I feel that in your hands my brother will be revived, you will ensoul him and he will look at us again, I believe this and from now

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_ Cems Zmas Txeli tuCebi hqonda, Subls ufro win gamoweva unda, yba oTxkuTxedi ajobebda, _ karnaxobda stumari moqandakes. yoveldRe erTi da igive suraTi meordeboda, iakobs saxelosnoSi Sesvla Sezarda, amas garda, andrias das erTi cudi Cveuleba hqonda, gaacnobdnen Tu ara vinme axladmosuls, xelis CamorTmevisas ityoda "Сестра профессора Размадзе". amaze iakobi nerviulobda, sxvisi avtoritetiT sargebloba ejavreboda. yovelnairad cdilobda, stumari mis saxelosnoSi ucxos aravis Sexvedroda. zari dairekeboda Tu ara, mosuls saxelosnos nacvlad baRSi SeipatiJebda. erTxel iakobi profesoris portretze muSaobda, andrias da maRalzurgian savarZelSi ijda da moqandakes Cveulebrivad karnaxobda, _ Txeli tuCi, cota maRali SubliT... am dros zari darekes. me kari gavaRe. saxelosnoSi galaktion tabiZe Semovida, lamazad gamoiyureboda. wver-ulvaSi gaparsuli hqonda, Tma gverdze gadavarcxnili.

on you will be our adored person. From that day on, the black woman became a frequent guest of Iakob, especially since Razmadze house was close to the sculptor’s studio. “My brother had thin lips, forehead should be moved more forward, and it’s better to make the jaw rectangle,” the guest dictated to the sculptor. Every day was the same, Iakob was desperate to enter the studio, besides, Andria’s sister had a very bad habit – being introduced to some newcomer to the studio, she would shake hands with saying “Сестра профессора Размадзе” (“Sister of professor Razmadze” in Russian). Iakob was nervous about it as he hated the use of someone else’s authority. In every way he tried to make the guest meet no stranger in his studio. Whether the bell rang or not, the visitor would be invited to the garden instead of the studio. Once, as Iakob was working on a portrait of a professor and Andria’s sister sitting in a high chair, dictating to the sculptor as usual – a thin lip, with a slightly high forehead, the bell rang… I opened the door. Galaktion Tabidze came in, looking handsome, with the shaved beard and brushed hair to the side.

eskizi Tojinebis Teatris speqtaklisTvis `kacia-adamiani?!~ SKETCH FOR PUPPET THEATER PERFORMANC “IS HE A HUMAN THIS MAN?!"

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Iakob winking to me, that the poet was a bit drunk – May peace be here! – said Galaktion, shaking hands with Iakob and greeting him. Then turned to me and greeted me and when we approached the armchair, the sculptor introduced him to the welcomer: – the poet, Galaktion Tabidze! The woman stood up, shook the poet’s hand, knelt down in a disciple-like manner, bowed, and added, as usual, “Sister of Professor Razmadze.” The winy poet, not sufficed with the sculptor’s introduction, greeted the lady – “Сосед Филипа Махарадзе!” (“the neighbor of Filipe Makharadze”). After that, Andria’s sister did not stay for long, made an excuse and left. “

kolau nadiraZis biusti BUST OF KOLAU NADIRADZE

iakobma Tvali Camikra, maniSna, poeti gadakrulSiao, _ aqa mSvidoba! _ Tqva galaktionma, iakobs xeli CamoarTva da gadakocna. mere me momibrunda, igive gaimeora da roca savarZelTan mivediT, moqandakem damxvdurs warudgina axladmosuli: _ poeti galaktion tabiZe! qali wamodga, poets xeli CamoarTva, mowafurad cali muxli moxara, reveransi gaakeTa da Cveulebisamebr daayola _ "Сестра профессора Размадзе". SezarxoSebulma galaktionma ar ikmara moqandakis wardgena da qals sakuTari Tavi warudgina _ "Сосед Филипа Махарадзе!". amis Semdeg andrias da didxans aRar gaCerebula, raRac moimizeza da wavida.“ „im dRes Cven raRac mZime samuSao gvqonda, daviRaleT. mzis Casvlisas baRSi gamovediT, granitis qvis mrgval magidas movusxediT da vaxSmobas vapirebdiT, rom am dros mxatvari lansere gvestumra. kargad maxsovs evgenis wvrili xma, mudam xalisiani da cocxali saxe. _ karg dros mobrZandiT, evgeni evgeniZis Zev, _ mimarTa iakobma, _ dRes Cven davlevT Tqveni qveynis Rvinos,

“We had some hard work that day, we were tired. At sunset we went out into the garden, sat at the granite stone round table, and were about to dine as the artist Lancer visited us. I very well remember Eugene’s thin voice, always cheerful and lively face. “Perfect timing, Eugene Eugenovich”- told him Iakob. “Today we will drink the wine of your country, the real French Aligote.” – and poured the light amber pure wine in tall glasses and as we were about to taste the wine, someone knocked on the gate. The postman handed me the telegram sent in my name and left. – Is it good news? – Iakob asked me and a put a glass of wine on the table. – Good news, Mr. Iakob, – I said, handing him a telegram paper. Iakob took his glasses, looked at the paper, put his hand on my neck and kissed me. The stunned Eugene sat silently, not knowing what it was all about. “What a news!” said Iakob, and addressed Lansere – We have a good occasion; My student has become a father to the son, let’s take our glasses and have the first toast to the newborn, wish him healthy growth. Lansere shook his hand and said to me: – Well, I ask God to make him happy. If I had such happiness, if I had a son, I would call him Adarnase. Adarnase was an artist. I would like your son to be an artist, gifted with a great talent. I was a little upset, I did not like the name. Iakob stopped Eugene and said: – Eugene Eugenovich! Let’s share our wishes, you wish the newborn to become an artist, and I will choose a name for him; If I had a son, I would definitely call him Givi. I love this name and it is not so common. Furthermore, I wish your blessings to come true. Iakob and Eugene clinked me the glasses, I stood up, thanked them, and this is how we blessed the newborn. That evening I went from Tbilisi to Kutaisi, took their blessings to my son and in few days later when I came back, rejoiced Iakob that I named my child his chosen name. “ Excerpt from Valiko’s letter to Iakob: “We were returning from hunting, we crossed the river Tskaltsitela, climbed the ascent and stopped in front of one peg-house to have some rest. My father said: – There is a big fireplace in this peg-house, let’s get dried, take a shot and continue the way. That day, we had a good time: others joined our table and the

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namdvil frangul „aligotes“. Ria qarvisferi ankara Rvino maRal WiqebSi daasxa da is-is iyo unda gagvesinja, rom WiSkarze daabraxunes. fostalionma Cems saxelze gamogzavnili depeSa gadmomca da wavida. _ xom kargi ambavia? _ mkiTxa iakobma da Rvinis gasasinjad mitanili Wiqa magidaze dadga. _ kargi ambavia, batono iakob, _ vuTxari da depeSis furceli gadaveci. iakobma saTvale amoiRo, qaRalds daxeda, kiserze xeli momxvia da makoca. gancvifrebuli evgeni uxmod ijda, ar icoda, raSi iyo saqme. _ ai, es mesmis, _ Tqva iakobma da lanseres mimarTa; _ kargi SemTxveva gvaqvs; ai, Cems mowafes vaJi SeeZina, aviRoT Wiqebi da pirveli sadRegrZelo Cven davlioT, gazrda da janmrTeloba vusurvoT. lanserem xeli CamomarTva da miTxra: _ kargia, RmerTs vTxov bednieri yofiliyos. me rom aseTi bedniereba mqonoda, vaJi gamCenoda, mas adarnases davarqmevdi. adarnase xom mxatvari iyo. visurvebdi Tqveni vaJi mxatvari gamosuliyos, madliani niWiT dajildoebuli. cota SeviWmuxne, saxeli ar momewona. iakobma SeaCera evgeni da Tqva: _ evgeni evgenis Zev! modi survilebi gaviyoT, Tqven usurveT, rom axladSobili mxatvari gamovides, saxels ki me davarqmev; me rom vaJi myoloda, aucileblad givis davarqmevdi. es saxeli miyvars da Tan arc ise gavrcelebulia. amis garda, davumateb, rom Tqveni survilebi gamarTlebuliyos. iakobma da evgenim Wiqebi momiWaxunes, fexze avdeqi, madloba gadavixade da ase amgvarad movnaTleT axalSobili. im saRamos me Tbilisidan quTaisSi wavedi, naTlobis ambavi waviRe da ramdenime dRis Semdeg roca ukan davbrundi, iakobs vaxare, Tqveni arCeuli saxeli davarqvimeTqi.“ amonaridi valikos werilidan iakobisadmi: „nadirobidan vbrundebodiT, mdinare wyalwiTelaSi gamovtopeT, aRmarTi amoviareT da erT-erTi duqnis win SevCerdiT, suli moviTqviT. mamaCemma Tqva: _ am duqanSi didi buxaria, modi erTi SevSreT, cotac gadavkraT da ganvagrZoT gzao. im dRes, kargi dro gavatareT: Cvens magidas sxvebic SemouerTdnen da ubralo TavSefareba qeifad gadaiqca, mamaCems gitara moutanes, saqme kargad wavida, magram mere isev sicivem agvitana, sufris datoveba davapireT. meduqnem anTebuli navTqura Semoitana, magidis qveS Sedga. mere gobiT cxeli wyali Semoarbenina, Cvens „maestros“ sveli Ceqmebi gaxada da fexebi Caayrevina. TiTqos yvelaferi mowesrigda: _ buxari, iqiT _ navTqura

eskizi Tojinebis Teatris speqtaklisTvis `kacia-adamiani?!~ SKETCH FOR PUPPET THEATER PERFORMANC “IS HE A HUMAN THIS MAN?!"

simple shelter turned into a party, they brought my father a guitar, things went well, but then it got cold again, we were going to leave the table. The shopper brought in a lit kerosene stove, held it under the table. Then rushed in with hot water, took wet boots off our Maestro, and put his feet in the water. Everything seemed on its place – the fireplace, the stove and the hot steam when your namesake approached our table and when I told him I was your former student, he said: I know Iakob very well, he is a friend of mine. We are not relatives although we have the same surname. Then he told us that he used to live in Bordeaux, studied winemaking, often came to Paris, and visited you. Arriving in Paris, he spent a few nights with you. One day you were in the Louvre together and when you returned home and found out that an old man visited to see you and as you were not home, left a note on your table: “I saw your statue, it needs no my praise.” Akaki. “It was the fall of 1932. Iakob came to my place and told me: – How old are you now? – I’m turning twenty-two.

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da cxeli orTqli. da maSin iyo swored, rom Cvens magidas SemouerTda Tqveni mogvare kaci, da roca gaigo, Tqveni yofili mowafe viyavi, Tqva: iakobs Zalian kargad vicnobo, Cemi megobari kaciao. gvari erTi gvaqvs, naTesavebi ki ara varTo. Semdeg gviambo, rom bordoSi cxovrobda, meRvineobas swavlobda, parizSi xSirad Camodioda da Tqvenc gnaxulobdaT. parizSi Camosuls TqvenTan ramdenime Ramec gauTevia. erT dRes luvrSi erTad yofilxarT da Sin dabrunebulebs ambavi dagxvedriaT, viRac xanSiSesuli kaci mosula, Tqveni naxva sdomebia. Tqvens sawer magidaze gadaSlil saxatav rveulze warwera dautovebia: „vnaxe Seni qandakeba, aRar unda amas qeba“. akaki.“ „es iyo 1932 wlis Semodgomaze. iakobi movida Cems sadgarTan da miTxra: _ ramdeni wlisa xar Sen axla? _ ocdameoreSi gadavdeqi. _ ormocis rom gaxdebi, me mogcem seanss, Cems portrets gaakeTeb. _ didad moxaruli viqnebi, magram cota adre xom ar ajobebda. _ rogor, ver vicocxleb manamde, Tu ra? _ rogor gekadrebaT, batono iakob! _ vTqvi da gaTavda. ormocis gaxdebi Tu ara, me gaZlev seansebs, _ Tqva iakobma viangariSe, cxrameti wlis Semdeg, 1951 wlis 12 martidan? ase iyos! erTxel, quTaisSi Camosulma iakobma Cvens ezoSi maRali qvitkiris kedels Seavlo Tvali: _ me ai, aq, am saxlSi gavizarde. am kedlis meore mxares idga Cemi rkinis cisferi, patara, gverdebbadiani sawoli... saxls meore mxareze grZeli SuSabandi hqonda. maxsovs zamTrobiT, roca odnav waviavadmyofebdi xolme, deda gareT aRar gamiSvebda da me SuSabandis daorTqlil minebze xan ras vxatavdi da xan ras. miyvarda frTebiani angelosebis, jvarze gakruli ieso qristesi da Rrublebis xatva. vxatavdi imas, rac menaxa eklesiaSi, xatebze, kedlebze, Werze Tu sxvagan. sxva sanaxaoba aq araferi iyo maSin... gavida dro, me quTaisSi davbrundi, Cveni Zveli saxlis SekeTeba daviwye. im kedels, romelzedac iakobma maSin mimiTiTa, patara saxelosno mivaSene. meormoce wels mivuaxlovdi da swored 1951 wlis TerTmet marts TbilisSi gamgzavreba davapire. sixaruliT mivdiodi, win didi gza da sapasuxismgeblo saqme meloda. bileTi aviRe, qalaqSi gaviare, sagazeTo vitrinas Camovuare da iqve gavqvavdi, Sav CarCoSi Casmuli iakobis portreti davinaxe. pirveli, rac maSin gavifiqre, ise iyo, rom Cven orivem davigvianeT...

– When you turn forty, I will give you a session, you will make my portrait. – I will be very happy, but what if we tried a bit earlier? – How is that? You think I won’t live until then, or what? – Oh, I did not mean that, Mr. Iakob! – I said and fired – As soon you turn forty, I’m giving you sessions – said Iakob. I counted the years from then on and nineteen years later was March 12, 1951. So be it! Once when Iakob was visiting Kutaisi, looked at a high whitewashed wall in our yard: – I grew up in this house here. On the other side of this wall stood my iron blue, small, side bed ... The house had a long window sill on the other side. I remember in the winter, when I was a little sick sometimes, my mother would not let me out and I would sometimes draw many different things on the steam windows. I loved painting angels with wings, Jesus Christ on the cross and clouds. I painted what I saw in the church, on icons, on walls, on the ceiling or anywhere else. There was nothing else to see here then ... Time passed, I returned to Kutaisi, I started repairing our old house. I built a small workshop on the wall on which Iakob then pointed. I was approaching my fortieth year and on March 11, 1951 I was going to leave for Tbilisi. I was returning happily, with a long way to go and an Important mission ahead. I got a ticket, went through the city, went to the newspaper window and stood there, I saw a portrait of Iakob in a black frame. The first thing I thought then was that we were both late ... Iakob was buried on Mtatsminda, in front of Ilia’s grave. – From now on, our dear Iakob, the monument of Ilia created by you – “Grieving Georgia” – will be your monument as well, – said the poet Giorgi Leonidze at the farewell. On the second day of the funeral, I took Iakob’s mask from the foundry of the Academy of Fine Arts. Let his plaster face in my workshop watch the clay, stone, marble. ” Valerian Mizandari actively involved in the cultural and public life of Kutaisi together with his creative-pedagogical activity. In 1957, under his leadership, an organization of the Artists’ Union was established in the city, which he headed until 1976, an art fund was established, and a picture gallery was opened. He successfully participated in both local and Union exhibitions. His works are preserved in museums of Georgia and the former Soviet republics. Valerian Mizandari’s creative talent was mainly manifested in the portrait genre, although we find interesting specimens of figurative and monumental sculpture. He has created a whole gallery of sculptural portraits that fascinate us with knowledge of nature, original manner of execution, conveying the characters of people of different professions and ages. Combining his main profession, Valerian also worked as a sculptor at the Kutaisi State Puppet Theater. He has done more

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eskizi Tojinebis Teatris speqtaklisTvis `balti~ SKETCH FOR PUPPET THEATER PERFORMANC “BALTI"

iakobi mTawmindaze, ilias saflavis win dakrZales. _ amieridan, Cveni Zvirfaso iakob, Sens mier Seqmnili ilias Zegli _ mwuxare saqarTvelo _ Seni Zeglic iqnebao, _ uTxra gamoTxovebisas poetma giorgi leoniZem. dasaflavebis meore dRes samxatvro akademiis samsxmelo saxelosnodan waviRe iakobis niRabi. dae, misma TabaSiris saxem Cems saxelosnoSi ucqiros Tixas, qvas, marmarilos.“ valerian mizandari SemoqmedebiT-pedagogiur moRvaweobasTan erTad aqtiurad Caeba quTaisis kulturul da sazogadoebriv cxovrebaSi. 1957 wels misi TaosnobiT qalaqSi Seiqmna mxatvarTa kavSiris organizacia, romelsac 1976 wlamde xelmZRvanelobda, daarsda samxatvro fondi da gaixsna suraTebis galerea. warmatebiT monawileobda, rogorc respublikur, ise sakavSiro gamofenebze. misi namuSevrebi daculia saqarTvelosa da yofil sabWoTa respublikebis muzeumebSi. valerian mizandaris SemoqmedebiTi niWi ZiriTadad portretul JanrSi gamovlinda, Tumca vxvdebiT

than 50 characters for the theater. He has artistically staged several performances at the Lado Meskhishvili State Theater. “As a young man, I worked as an assistant to Petre Otskheli at the Kutaisi Theater, where I met Kote Marjanishvili. Many memories connect me with this period of my life. During the rehearsal, Kote Marjanishvili brought in artists, make-up artists, tailors, stage workers, all those who worked behind the scenes, so that they could better see their work in the space and correct the shortcomings. In the middle of the parterre, he sat on the chair, with a large glass bowl instead of an ashtray next to him, holding a rectangular plank in the length of a stick, and when he did not like something, he was banging on the back of the chair, sometimes pointing in Georgian and sometimes in Russian before the sound was muffled: it’s not good, it’s awful, start again! Lado Gudiashvili was sitting next to Kote, I sat behind him because he considered me a close man. Lado, indeed was such a man that anyone could approach him, he led a composition class at the Art Academy, his classroom door was always open and any student could

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figuruli da monumenturi qandakebis saintereso nimuSebs. mas skulpturuli portretebis mTeli galerea aqvs Seqmnili, romlebic gvxiblavs naturis codniT, Sesrulebis originaluri maneriT, sxvadasxva profesiisa da asakis adamianebis xasiaTebis gadmocemiT. Tavis ZiriTad profesiasTan SeTavsebiT, valeriani quTaisis Tojinebis saxelmwifo TeatrSi moqandakis Tanamdebobazec muSaobda. gakeTebuli aqvs 50-ze meti piesis tipaJi. mxatvrulad gaaforma lado mesxiSvilis saxelobis saxelmwifo Teatris ramdenime speqtakli. „axalgazrdobaSi quTaisis TeatrSi vmuSaobdi petre ocxelis TanaSemwed, swored aq vxvdebodi kote marjaniSvils. bevri mogoneba makavSirebs Cemi cxovrebis am periodTan. kote marjaniSvils repeticiis dros parterSi Semohyavda mxatvari, grimiori, mkeravebi, scenis muSebi, butaforebi, yvela is, vinc scenis miRma muSaobda, raTa maT sivrceSi ukeT daenaxaT TavianTi naxelavi da SeesworebinaT xarvezebi. TviTon Sua parterSi gasasvlel gzaze edga skami, gverdiT saferflis magier minis mozrdili Tasi edo, xelSi xel-joxis sigrZis ficris oTxkuTxedi CamonaWeri eWira da, roca raime

enter the room. Kinto is dancing on the stage (actor Giorgi Shavgulidze). – It’s not good – shouting Kote and the actor starts dancing again and Doli and Duduk start playing from the beginning – it’s not good! – The director shouts again. There is silence all around, Kote is smoking a cigarette. After a short pause, Marjanishvili turn to Lado, asking him to dance Kintauri. Lado gets up without hesitation, walks towards the stage. Doli and Duduk starting playing again … The dancer performs the kintauri with amazingly charming, flexible and plastic movements. – Bravo, bravo – shouts Kote, and those in the hall applaud endlessly. Then Shavgulidze comes out, Kote is delighted. It is said that from that day, Giorgi Shavgulidze was considered to be one of the best Kintauri performers in Georgia. Once, in the early morning, I looked and Davit Kakabadze was standing in the bookstore with his inseparable easel in his hand and was looking at the shop window sadly. – Davit Nestorovich, which wind blows you here in this early morning? I asked surprisingly. – Kote Marjanishvili called me to attend the reading of “Samanishvili’s stepmother”. I have to make sketches and scenery for the play. But what should I do now, he is not in the theater and I have

Sav zRvaze ON THE BLACK SEA

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ar moewoneboda, skamis zurgze abraxunebda, Tanac xmis CaxleCamde xan qarTulad da xanac rusulad uTiTebda: ar varga, saSinelebaa, daiwyeT Tavidan! lado gudiaSvili kotes gverdiT ijda, me, imis gamo rom igi axlobel kacad mimaCnda, mis ukan vijeqi. lado, marTlac iseTi kacia, rom yvelas SeuZlia masTan imegobros, igi samxatvro akademiaSi kompoziciis klass xelmZRvaneloba, klasis kari ar iketeboda da yovel students SeeZlo Sesuliyo masTan. scenaze kinto cekvavs (msaxiobi giorgi SavguliZe). _ ar varga, yviris kote da cekva Tavidan iwyeba. TavdaviwyebiT ukravs doli da duduki, _ ar varga! _ isev yviris reJisori. irgvliv siCume isadgurebs, kote sigarets sigaretze eweva. mcire pauzis Semdeg marjaniSvili lados miubrundeba da sTxovs, iqneb Tqven aCvenoT kintaurio. lado uyoymanod dgeba, scenisken miemarTeba. doli da duduki xelaxla xmianobs… mocekvave saocrad momxibvlelad, moqnili da plastikuri moZraobiT asrulebs kintaurs. _ bravo, bravo _ yviris kote, darbazSi myofni ki TavdaviwyebiT ukraven taSs. Semdeg gamodis SavguliZe, kote aRtacebulia. amboben, rom am dRidan, giorgi SavguliZe saqarTveloSi kintauris erT-erT saukeTeso Semsruleblad iTvlebodao. erTxel, dilaadrian gavixede da wignis maRaziasTan ganuyreli „etiudnikiT“ xelSi idga daviT kakabaZe da mowyenili aTvalierebda vitrinas. _ daviT nestoroviC, am dilas aq saidan gaCndiT? -vkiTxe gakvirvebulma. _ kote marjaniSvilma gamomiZaxa, „samaniSvilis dedinacvlis“ kiTxvas daeswario. speqtaklisTvis eskizebi da dekoraciebi unda gavakeTo. magram ra vuyo, TviTon ar damxvda TeatrSi, aRarc bina maqvs _ sastumroSi adgili ar yofila. SevTavaze, CemTan wamobrZandiT, kargi saxli maqvs, oTaxs mogcemT, yvela pirobas SegiqmniT-meTqi. maSin, deda da mama cocxlebi iyvnen. gauxardaT stumris mobrZaneba, Tanac ra stumari iyo! _ nametani morcxvi, moridebuli. sul Rimili hqonda saxeze da xaTrianad gvebodiSeboda _ ra vqna, rogor SegawuxeTo. movuwyveT oTaxi, magida, lampa. mTeli Rame kiTxulobda da diliT gvaCvena eskizebi. marjaniSvili arc meore dRes mosula TeatrSi. arc momdevno dReebSi. daviTi ki muSaobda da muSaobda.. erT dResac marjaniSvili Camovida, daviTma naxatebi akrifa da wavida. misi wasvlis meore saRamos vnaxe iatakze dagdebuli erTi naxati. gaviqeci, movZebne Cemi stumari, vuTxari, es dagrCa-meTqi. _ vicio, _ gaicina, aq rom ver vnaxe, xelaxla davxate, eg ki Sen gqondes Cemda samaxsovrodo... nato vaCnaZe iakob nikolaZis saxelosnoSi gavicani.

eskizi Tojinebis Teatris speqtaklisTvis `don kixoti~ SKETCH FOR PUPPET THEATER PERFORMANC “DON QUIXOTE"

nowhere to stay – there is no place in the hotel. I offered him an accommodation, told him that I have a good house and would give a room and all the necessary conditions for stay. My parents were still alive back then. They were very glad to have a guest and especially such a great person – extremely shy and modest, with a constant smile on his face and apologizing for inconvenience. We arranged a room, a table, a lamp. He was reading all night long and, in the morning, he showed us the sketches. Marjanishvili did not come to the theater the next day either. Neither in the following days. Davit was working and working… One day Marjanishvili arrived, Davit collected the sketches and left. The second evening after he left, I saw one of the paintings lying on the floor. I ran, found my guest, told him he dropped it. – I know- he smiled – I could not find it here, so I repainted it and you can keep that one as a souvenir from me. I met Nato Vachnadze in Iakob Nikoladze’s studio and for the second time – in Tbilisi Picture Gallery. There, I was looking at the works of Georgian artists when Nato came in, wearing a Kakhetian hat instead of a female beret, which was amazingly fitting her brunette, sun-stained face. She saw me, came, shook my hand and we continued to view the exhibits together. After couple of days, I am still in Kutaisi and seeing that Nato Vachnadze is standing near “Grand Hotel”, with a small suitcase. I greeted her – Ms. Nato, I think you are in Kutaisi for the first time and you seem to be upset a little. – I’m not here for the first time – she replied, – but upset indeed, you guessed it right. I suffer from rheumatism and came in this hotel to travel to Tskaltubo every morning, but I could not do anything, all the rooms are taken, now I do not know where to go and what to do. I baffled and wondered how come they could not find a small room for Vachnadze? I thought to offer her to stay at our home, my parents would be happy to arrange a room for her. My mother was a noble like her – Andronikashvili and they could have a talk. But then I thought, even if

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meored, Tbilisis suraTebis galereaSi Sevxvdi, vaTvalierebdi qarTveli mxatvrebis namuSevrebs. am dros Semovida nato, qaluri beretis magier kaxuri qudi exura da saocrad uxdeboda mis Savgvreman, mzis sxivebisgan daferil saxes. daminaxa, movida, xeli CamomarTva da masTan erTad ganvagrZe Tvaliereba. ar gasula didi dro, me quTaisSi var, sastumro „grand-otelTan“ vxedav dgas nato vaCnaZe, xelSi patara Cemodani uWiravs, mivesalme, _ qalbatono nato, me mgoni pirvelad xarT quTaisSi da Tan raRacnairi ganawyenebuli saxe gaqvT. _ pirvelad ar var, mipasuxa, _ magram ganawyeneba gamoicaniT. revmatizmi mawuxebs, movedi aq sastumroSi, rom yovel diliT gavemgzavro wyaltuboSi, magram verafers gavxdi, yvela oTaxi dakavebulia, axla sad wavide, ra movaxerxo ar vici.

valerian mizandari, giorgi nikolaZe - axalgazrda maiakovski VALERIAN MIZANDARI, GIORGI NIKOLADZE – YOUNG MAYAKOVSKY

she stayed, how could she travel to Khoni turn, from where the trucks were heading to Tskaltubo. Another thought came to my mind and I told her not to worry, stay here for a while and would be back soon. – All right, I’ll wait for you here – said Nato. This was happening while the construction of the Rioni electric station was being completed. I went to the Rionhes administration. I ran up the stairs, entered the door of the construction manager, Valodia Jikia, and told him everything. – Nato Vachnadze was not given a room? Cried Valodia, jumping up and running. After that, every morning, sometimes a wheelchair, sometimes a light open car would drive Nato from and back to the hotel.” According to the memoirs, the husband of Revaz Gabriadze’s sister, famous Kutaisian sculptor Giorgi (Gogilo) Nikoladze and Valerian Mizandari were almost inseparable friends. They used to tame the clay, sculp the stone together. They hunted together, joked together, “keeping the foundation” of Kutaisi bohemia. By being together, they unwittingly created short outlines for Rezo Gabriadze’s film scripts. This is how Eldar Shengelaia’s masterpiece “An Unusual Exhibition” was created and Gabriadze symbolically named Valiko Mizandari the main character of Giorgi Danelia’s film “Mimono”: “When someone says the name – Valiko Mizandari, I have the feeling of a winter evening, a fizzling of wet firewood, Michelangelo’s “David’s head”, the portraits of Kutaisians – some in clay, some in sand, plaster and some unfinished... and endless sweet memories and stories where ordinary people of our city are magically mixed up, the bohemia of Montmartre de Paris, the adventures of Alexander the Great, the tricks of Kharitona’s pantry, Rodin’s smile, the hunting pheasants in Kopitnari, human proportions and all that with Imeretian, pink, thin tempting wine, that still reviving my memories, touching my heart with its uniqueness and past moments. From the age of 12 until I shaved my first mustache, I studied and worked in his workshop. I learned a lot and became an artist there. Iakob Nikoladze was a disciple of Rodin, Valerian Mizandari a grandson of Rodin – in a creative sense, and yours truly – a grandson of Rodin. Let the art critics discuss his work, and I will say one thing: Valerian Mizandari was, is and remains for me a completely unique Kutaisian event in art, the face of which can be created only by a great writer. Well done Mr. Valerian, my Master! Your modest student, almost a sculptor Revaz Gabriadze. “ Valerian Mizandari was friends with Kolau Nadiradze (“Tsisperkantseli”), the friend of his father, who lauded the sculptor with the following words on his anniversary: “I am still a living chronicler of your creations, of the way of life you have passed with inspiration and struggles ... You belong to the sadly a very small number of worshiped creators, today, who have the right to stand before the parent nation with pride and conscious, that you served honestly, sincerely, without disgrace to the graves of your ancestors. “

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sagonebelSi Cavvardi, nuTu nato vaCnaZisTvis ar gamoinaxa erTi patara oTaxi? vifiqre, vTxov, CemTan wamobrZandiT, Cems mSoblebs Zalian esiamovnebaT, erT oTaxs dagiTmoben, isaubrebT, dedaCemic Tqveni gvarisaa _ andronikaSvilia, mere isic gavifiqre _ asec rom moxdes, nato riT unda mivides-meTqi xonis gadasaxvevTan, saidanac ficargadebuli satvirTo manqanebi gadiodnen wyaltubosken. sxva azri damebada da vuTxari, nu dardobT, Tqven cota xans aq daicadeT, me erTi raRac movifiqre. _ ki batono, me aq dagelodebiT _ miTxra natom. es xdeboda maSin, roca rionhesis mSenebloba mTavrdeboda. mivedi rionhesis sammarTveloSi. avirbine kibe, SevaRe mSeneblobis ufrosis, valodia jiqias kari da movaxsene yvelaferi. _ nato vaCnaZes oTaxi ar misces? wamoiZaxa valodiam, wamoxta da gaiqca. amis Semdeg, yovel diliT xan etls, xan msubuq Ria manqanas sastumrodan mihyavda da mohyavda nato“. mogonebebis Tanaxmad, revaz gabriaZis dis qmari, cnobili quTaiseli moqandake giorgi (gogilo) nikolaZe da valerian mizandari TiTqmis ganuyrelni iyvnen. erTad aTvinierebdnen Tixas, erTad udgamdnen qvas suls, erTad nadirobdnen, erTad svamdnen, xumrobdnen, quTaisur bohemas „safuZvels umagrebdnen“. Tavisi erTad yofniT, Tavisdauneburad rezo gabriaZis filmis scenarebisTvis mokle monaxazebs qmnidnen. ase Seiqmna eldar Sengelaias Sedevri „araCveulebrivi gamofena“ xolo giorgi danelias film „mimonos“ mTavar gmirs, gabriaZem simbolurad valiko mizandari daarqva: „valiko mizandars rom ityvian, asociaciiT maxsendeba zamTris saRamo, Tunuqis Rumeli, sveli kvincxis SiSini, miqelanjelos „daviTis Tavi“, quTaiselTa portretebi _ zogi TixaSi, zogi qviSaSi, TabaSirSi da zogic daumTavrebeli... da gauTavebeli tkbili ambebis krialosani, sadac erTmaneTSi jadoqrulad areulia Cveni qalaqis ubralo adamianebi, parizis monmartris bohema, aleqsandre makedonelis Tavgadasavali, mekuWnave xaritonas oinebi, rodenis Rimili, sanadiro faTerakebi kopitnarSi, adamianis proporciebi da yovelive es, imeruli, vardisferi, Txeli macduri Rvinis TanxlebiT, axlac nela iRvreba mogonebebSi, tkbil tkivils ayenebs Cems guls, Tavis ganumeoreblobiT da gardacvlili wuTebis armousvlelobiT. 12 wlis asakidan pirveli ulvaSis amosvlamde vswavlobdi da vmuSaobdi mis saxelosnoSi. iq bevri viswavle, iq gavxdi mxatvari. iakob nikolaZe rodenis mowafe gaxldaT, valerian mizandari rodenis SviliSvili _ SemoqmedebiTi gagebiT,

valerian mizandari VALERIAN MIZANDARI

xolo Tqveni mona-morCili _ rodenis SvilTaSvili. dae, xelovnebismcodneebma imsjelon mis Semoqmedebaze, me ki vityvi erTs: valerian mizandari CemTvis iyo, aris da rCeba xelovnebaSi zedmiwevniT unikalur quTaisur movlenad, romlis saxis Seqmna SeuZlia mxolod did mwerals. kargad meyole Cemo batono valerian, ostato! Seni mokrZalebuli moswavle, kinaRam moqandake revaz gabriaZe“. valerian mizandari megobrobda jer kidev mamis megobar, cisferyanwel kolau nadiraZesTan, romelmac iubileze aseTi sityvebiT Seamko moqandake: „Seni Semoqmedebis, Sen mier STagonebiT da brZoliT ganvlili cxovrebis gzisa me jer kidev cocxali mematiane var...Sen ekuTvni im Tayvansacem SemoqmedTa ricxvs, dResdReobiT, savalalod, esoden mcireds, romelsac ufleba aqvs Tvalebdauxrelad da amayad warsdges mSobeli eris winaSe, SegnebiT imisa, rom patiosnad, pirnaTlad, winaparTa saflavebis Seurcxvenlad emsaxure mas“.

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TAMAR DVALISHVILI

Tamar dvaliSvili

ori sandros arasafortepiano blici improvizaciiT Sesrulebuli avtoportretebi

NON-PIANO BLITZ OF TWO SANDROS SELF-PORTRAITS MADE BY IMPROVISATION Tu samyaros ukeTesobisken Secvlis survili gaqvs, musika saukeTeso saSualebaa, _ ase miaCniaT Cvens respondentebs, romelTac saxelebis, Taobis, niWis da profesiis garda, kidev bevri ram aqvT saerTo, amitomac arian megobrebi. axalgazrdebi, niWierebi, perspeqtiulebi, saocrad Sromismoyvareni da gamorCeulebi... Tanatolebi, ori ukve cnobili pianisti, orive araerTi saerTaSoriso konkursis laureati _ sandro gegeWkori da sandro nebieriZe. isini Tavis saTqmels sakoncerto darbazebSi virtuozulad gadmoscemen, Tumca, amjerad imas gviyvebian, rac klaviSebze mocekvave TiTebs miRma ar Cans...

If you want to change the world for the better, music is the best way, – say our respondents, who have a lot in common besides names, generations, talents and professions, so they are friends. The young fellows, talented, promising, amazingly hardworking and distinguished ... Peers, two already famous pianists, winners of numerous international competitions – Sandro Gegechkori and Sandro Nebieridze. They present their words virtuously in the concert halls, however, this time they tell us what is hidden behind the dancing fingers on the keyboards... They have chosen the most universal and ideal way to express themselves, their emotions and thoughts – the music.

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sakuTari Tavis, emociebis, fiqrebis gamosaxatavad maT yvelaze universaluri da idealuri xerxi _ musika airCies. rogor moxvdenen musikis did samyaroSi? rogoria axalgazrda musikosis cxovreba dRes? ra xdeba, roca Sens yoveldRiurobas raxmaninovi, skriabini, beThoveni da sxva geniosebi axmovaneben da ganageben?.. sandro nebieriZe musikamde misma siyvarulma da sakuTarma unarebma mimiyvana. fortepianoze 5 wlidan vukrav. manamde ukve vicodi notebis kiTxva. aRmomaCnda absoluturi smena da „kargi yuri“. Cemi ojaxis yvela wevri, dedis Tu mamis mxridan, fizikosebi, maTematikosebi, inJinrebi, arqiteqtorebi arian. miuxedavad imisa, rom biZaCemi niWieri tenori gaxldaT, da, Tavis droze, operis momRerlobas apirebda, sabolood isic biofizikam gadaibira. me ki musika avirCie. sakmaod mravalmxrivi da cnobismoyvare viyavi bavSvobidan, amitom, maTematika da fizika dRemde mainteresebs, magram Cemi gadabireba gamoricxulia. niWierTa aTwledSi, qalbaton neli imedaSvilis klasSi vswavlobdi, fortepianos ganxriT. 4 wlis Semdeg

How do you get into the big world of music? What a life of a young musician looks like today? What happens when Rachmaninoff, Scriabin, Beethoven and other geniuses define and manage your daily life?.. Sandro Nebieridze The love for piano and my own skills led me to music. I have been playing the piano since I was five. I already knew how to read notes. I happened to have a perfect pitch and so called “good ear”. Every member of my family from both parents’ side are physicists, mathematicians, engineers, architects. Although my uncle was a talented tenor and he was even planning to become an opera singer, eventually he was taken over by biophysics. I went for the music. I have been quite versatile and curious since childhood, so I am still interested in math and physics, but it is out of the question to win me over the music. I graduated “the school of talents”, in the class of Mrs. Neli Imedashvili, majoring in piano. 4 years later I discovered that I really wanted to be a composer. At the age of 9, I started attending composition lessons. Before that, I also tried the violin, but as it turned out I was not very good at playing it. Therefore, I only follow composition and piano on a professional level. Our profession requires a routine work, but I never had the feeling

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aRmovaCine, rom Zalian mindoda kompozitoroba. 9 wlisam kompoziciis gakveTilebze daswrebac daviwye. manamde, 2 weli, violinosac davuTme. Tumca, aRmoCnda, rom didad ar vvargodi meviolined. amitom, mxolod kompoziciasa da fortepianos mivyevi profesionalur doneze. Cveni profesia rutinul Sromas moiTxovs, magram arasodes mqonia imis SegrZneba, rom raRacas daZalebiT vakeTebdi. ra Tqma unda, iyo xolme momentebi, rodesac mezareboda mecadineoba. Tumca, dedaCemis organizatoruli niWis damsaxurebiT, musikis paralelurad, megobrebTan yofnis an sainteresod drois gatarebis danaklisi arasdros mqonia. konkursi, Cemi azriT, pirvel rigSi, sakuTar TavTan Sejibri unda iyos, sakuTari Tavis limitis gadaweva. ufro metis miRweva, vidre SegiZlia. es aris zustad gamarjveba da warmateba. magram, dRevandeli gagebiT konkursi mainc konkurencias niSnavs, rac CemTvis arc Tu ise sasiamovnoa, ise, rogorc sxva bevri axalgazrda musikosisTvisac. imedi maqvs, rom es tendencia Seicvleba da ukve Camoyalibebul, CarCo standartebs, rasac sakonkurso Sesrulebas uwodeben, originaluroba, individualizmi, artistis TviTmyofadoba Secvlis. konkursSi megobrebTan erTadac mimiRia monawileoba... gasul wels, espaneTSi gamarTul „ferolis saerTaSoriso konkursi“ me, sandro gegeWkori da giorgi gigaSvili erTmaneTis konkurentebi viyaviT, da amas kargad vacnobierebdiT. wamiTac ar gvqonia iseTi SegrZneba rom konkurenciis gamo raime saxis negativi yofiliyo Cvens Soris. am SemTxvevaSi mTavaria qveynis saxeli, da ara individis. msoflio donis bevr musikosTan mimuSavia, magram yvelaze gamorCeulad fazil sei maxsendeba, romelTanac ar damikravs, Tumca „winandlis festivalze“ mis repeticiebs veswrebodi, aseve mqonda imis bedniereba, rom orive koncertze „notebis gadamSleli“ vyofiliyavi da am adamianis araCveulebriv sulier da musikalur samyaroSi memogzaura, menaxa rogor ukravda Sumans, rac iyo CemTvis udidesi gamocdileba... germaniaSi Camosvlis Semdeg „romantizmisken“ gadavixare, Tumca, manamde meoce saukunis musikis Tavgamodebuli „mcveli“ viyavi. es, ra Tqma unda, ar niSnavs imas, rom meoce saukunis musikas, kerZod stravinskis, SostakoviCs Tu prokofievs uarvyof, piriqiT. magram axla mainc mgonia, rom „daRvinebis“ periodSi Sevdivar, da gemovnebis cvalebadoba saerTod ar aris saSiSi. ra Tqma unda, ar unda daviviwyoT baroko, romelic CemTvis Zalian axlo da Zvirfasia. Cemi xasiaTi, rogorc pianistis, Tu cota enamaxvilobasa da gonebamaxvilobas movuxmob, SeiZleba davaxasiaTo, rogorc „forte-piano“, radgan sakmaod cvalebadi xasiaTi maqvs.

that I was doing something by force. Of course, there were times when I was bored of practicing the piano, but thanks to my mother’s organizational talent, I have never had a shortage of being with friends or spending interesting time alongside music. Competition, in my opinion, should first and foremost be competition with oneself, pushing oneself to the limit. Achieve more than you can. This is exactly the victory and success. But, in today’s sense, competition still means competition, which is not as enjoyable for me as it is for many other young musicians. I hope that this trend will change and the already established, framework standards of what is called competitive performance will be replaced by originality, individualism and identity of an artist. I participated in the competition together with my friends ... Last year, Sandro Gegechkori, Giorgi Gigashvili and I competed with each other in the “International Ferrol Competition” held in Spain, and we were well aware of that. For a second we did not have the feeling that there was any kind of negativity among us because of the competition. In such occasions, the name of the country is important, not the name of an individual. I have worked with many world-class musicians, but most of all I remember Fazil Say, with whom I did not play, although I attended his rehearsals at the Tsinandali Festival and I was also lucky to be a “note-taker” at both concerts and to travel to this man’s extraordinary spiritual and musical world, to see how he played Schumann, which was a great experience for me ... After arriving in Germany, I turned to “Romanticism”, although before that I was a devoted “guardian” of twentieth century music. This, of course, does not mean that I reject twentieth-century music, in particular Stravinsky, Shostakovich or Prokofiev, on the contrary. But now I still think that I am entering a period of so called “wine

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yvelaze mkacri Semfasebeli ori myavs _ dedaCemi, romlis azrsac 99 procentis SemTxvevaSi brmad vendobi, radgan Cemi musikosobac da pirovnuli Tvisebebic absoluturad misi damsaxurebaa. meore Tavad me var _ Zalian wunia da TviTkritikuli, rogorc Semsrulebelic da rogorc avtoric. rac germaniaSi Camovedi, mecadineobas odnav ufro nakleb dros vuTmob vidre manamde. es, vfiqrob, pandemiisgan gamowveuli mdgomareobacaa. is tempi, rac manamde iyo, daikarga... koncertebi Semcirda. Tumca, musika sul CemTanaa da drois yvelaze didi nawili miaqvs. magram aris weliwadSi sami dRe, roca ar vukrav _ axal wels, Cems dabadebis dReze da aRdgomas. mgzavrobisas didad musikis mosmena ar miyvars, Tumca, rac germaniaSi Camovedi xSirad velosipediT mixdeba gadaadgileba. am dros xSirad vusmen Cems adrindel nawarmoebebs. aseve miyvars barokos an jazis mosmena. nostalgiis Semowolisas vusmen qarTul polifonias, sagaloblebs da saestrado simRerebsac. yvelaze xSirad SostakoviCis meSvide simfoniis „saomar Temas“ vRiRineb an vustven. sakmaod piraduli musikaluri Temaa CemTvis da sakuTar TavSi Zalebis moZiebaSi mexmareba. imdenad optimisturi da gansxvavebuli energiiT savse Temaa, rom rac ar unda cud xasiaTze viyo maSinve energiiT mavsebs. qarTuli samusiko, kerZod, safortepiano skola rusuli samusiko skolidan aRmocenda, sadac, tradiciulad, yuradRebas detalebze amaxvileben. am dros, ucxoeTSi, ideas, frazirebas, ufro ganzogadebuls aniWeben

ageing”, and the variability of taste is not dangerous at all. Of course, we should not forget the Baroque, which is very close and precious to me. My character as a pianist, if I call it a little bit of eloquence and wit, can be described as “forte-piano” because of its rather changeable nature. I have two of the toughest evaluators – my mother, whose opinion I blindly trust in 99 percent of cases, because both my musicianship and my personal qualities are absolutely to her credit. The second is me – very rotten and self-critical, both as a performer and as an author. Since I arrived in Germany, I have spent a little less time studying than before. This, I think, is also a condition caused by a pandemic. The pace that was before was lost ... the concerts have become rare. However, the music is with me all the time and takes up most of the time. But there are three days in the year when I do not play – New Year, my birthday and Easter. I do not like to listen to music much while traveling, however, since I arrived in Germany I often have to ride a bike. At this time I often listen to my earlier works. I also love listening to baroque or jazz. While listening to nostalgia, I also listen to Georgian polyphony, hymns and pop songs. Most often I sing or whistle the “war theme” of Shostakovich’s seventh symphony. It’s a very personal musical theme for me and helps me find strength in myself. It is a theme that is so optimistic and full of different energy that no matter how bad my mood is, it immediately fills me with energy. The Georgian music, in particular, the piano school originated from the Russian music school, where, traditionally, attention is paid to details. While abroad, they pay attention to the idea, the phrase,

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yuradRebas, rac TavisTavad sul sxva mxrivaa saintereso. musikaluri ganaTlebis mxriv saqarTveloSi uamravi problemaa. pirvel rigSi _ axali Taobis pedagogebi. wamyvan musikalur saswavleblebSi pedagogTa asaki sakmaod xandazmulia, rac TavisTavad ar aris problema. problema imaSia, rom maT Semdeg pedagogoba aravis unda. es gamowveulia pedagogTa Zalian dabali anazRaurebiT, cudi samuSao garemoTi. aseve unda aRiniSnos, rom ar arsebobs aranairi karieruli sistema, ar arsebobs saagentoebi, ar arsebobs mkafiod da mkacrad Camoyalibebuli festivalebi, romlebic axalgazrdebs evropul an amerikul scenebze gasvlis saSualebas miscemen. es maSin, roca axali Taobis qarTveli musikosebis 90 procenti iseTi niWieria, nebismiers SeuZlia solistoba an udides orkestrebSi wamyvani partiebis Sesruleba. Tanamedrove musikosis mTavari da aucilebeli Tviseba, Cemi azriT, individualizmia. dRes rTulia, Seni xelweris datoveba amis gareSe. uaxloes gegmebSi sakmaod bevri koncertia. ianvris dasawyisidan 8 koncertia dagegmili ivnisis bolomde. maT Soris, solo koncertebi CexeTsa da germaniaSi, aseve orkestrTan koncertebi norvegiaSi da germaniaSi. maisSi

the more generalized, which in itself is interesting from a completely different point of view. There are many problems in Georgia in terms of music education. First of all – a new generation of teachers. The age of teachers in leading music schools is quite older, which in itself is not a problem. The problem is that no one wants to be a teacher after them. This is due to the very low salaries of teachers, poor working environment. It should also be noted that there is no career system, there are no agencies, there are no clearly and strictly established festivals that allow young people to enter the European or American stages. This is when 90 percent of the new generation of Georgian musicians are so talented that anyone can perform solo or lead parties in the biggest orchestras. The main and necessary feature of a modern musician, in my opinion, is individualism. Today it is difficult to leave your signature without it. There are quite a few concerts in the near future. 8 concerts are planned from the beginning of January until the end of June. Including solo concerts in the Czech Republic and Germany, as well as concerts with orchestras in Norway and Germany. The premiere of my work for string quartet and piano is scheduled for May in Munich, which I will perform with my two Georgian friends – Sophiko and

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1 (27) 2022

igegmeba Cemi nawarmoebis premiera miunxenSi simebiani kvartetisa da fortepianosaTvis, romelsac Cems or qarTvel megobar _ sofiko da veriko WumburiZeebTan da ungrel CelistTan da altistTan erTad Sevasruleb. es kvinteti Zvel berZnul sizifes miTzea agebuli. musikis garda, kinematografiiT var Zalian dainteresebuli. amitom, sakmao dros vuTmob literaturasac. Cemi erT-erTi ocnebaa gadaviRo filmi, romelSic Cemive nawarmoebs Sevasruleb. warmateba ki imas moaqvs, rac gainteresebs giyvars da rac kargad gamogdis. me bednieri var am etapze, radgan vakeTeb im saqmes, rac gamomdis, miyvars da mainteresebs. sandro gegeWkori dawyebiT klasSi, roca musikas jer kidev vecnobodi, erT-erT konkursze gavimarjve. profesiuli TvalsazrisiT, CemTvis TviTon konkursis procesi gamodga gardamtexi. Sejibris procesma damanaxa, ramdeni siaxle da saintereso faqti axlavs musikas. konkursze xom sxvas raRaciT unda ajobo?! Tundac individualizmiT, bgeris xarisxiT, da a.S. swored am dros daviwye fiqri, ras niSnavs musika CemTvis? ramdenad rTuli da mniSvnelovania, iyo am samyaroSi gamorCeuli. ar SemiZlia aviRo romelime nawarmoebi da Sevasrulo, Tu am nawarmoebze muSaobis process ar moaqvs siamovneba. mimaCnia, rom adamianma zogadad, araferi unda akeTo amis gareSe. Tu konkursi iTxovs romelime konkretul avtors an nawarmoebs, vcdilob, avirCio iseTi, romlis konteqstSic Cavjdebi.

Veriko Chumburidze and a Hungarian cellist and viola player. This quintet is based on the myth of the ancient Greek Sisyphus. In addition to music, I am very interested in cinematography. Therefore, I devote a lot of time to literature as well. One of my dreams is to make a film in which I will perform my own work. Success brings what you love, what you love, and what works well for you. I am happy at this point because I am doing the work that comes out, that I love and care for. Sandro Gegechkori In elementary school, when I was still learning music, I won one of the competitions. From a professional point of view, for me the competition process itself turned out to be a turning point. The competition process showed me how many new and interesting facts accompany the music, as you have to surpass something else in the competition, at least with the individualism, sound quality, and so on. It was at this time that I started thinking, what does music mean to me? How difficult and important it was to be unique in this world. I cannot take any work and perform it, if the process of working on this work does not bring pleasure. I believe that people in general, should not do anything without it. If the competition asks for a specific author or work, I try to choose one in the context of which I will fit. If I were not a musician, I would be happy to be an actor, precisely because the inexhaustible emotions “rage” in me. It’s like I have a nuclear power plant inside. I am an artist by nature. That’s what made me feel comfortable on stage. However, nothing is ruled out in the future, who knows?! Recently, the finale of Beethoven’s Fifth Symphony has been saddling with me.

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rom ara musikosi, didi siamovnebiT viqnebodi msaxiobi, zustad imitom, rom gamouleveli emociebi „mZvinvarebs“ CemSi. TiTqos atomuri eleqtronuli sadguri maqvs SigniT. var artistuli natura. swored es magrZnobinebda Tavs komfortulad scenaze. Tumca, momavalSi araferia gamoricxuli, vin icis?! am bolo dros, yvelaze xSirad beThovenis mexuTe simfoniis finali meRiRineba. ra Tqma unda, warmateba moaqvs ara imas, rac ukeT gamogdis da geadvileba, aramed, imas, rac ufro giyvars da gainteresebs. konkursi musikosisTvis zogadad SesaZleblobebis zRvaa da gamocdac. sakuTari SesaZleblobebis da imis, ramdenad ajobeb Tavs. aqvs Tu ara warmatebul musikoss dro piradi cxovrebisaTvis? Tu sakuTari magaliTiT vimsjeleb, TiTqmis ara. albaT, asaksac gaaCnia, magram im asakSi ra asakSic me var, musika ar mitovebs dros piradisaTvis. es aris is saqme romlisTvisac bolomde unda daixarjo, an SeeSva. erT konkursSi megobrebTan erTad monawileoba Cveulebrivi momentia, Tumca, qvecnobierad, mainc yvela

Of course, the success comes not from what makes you feel better and easier, but from what you love and care about the most. The competition is a sea of opportunities for the musician in general and a test of your own abilities and how much you surpass yourself. Does a successful musician have time for personal life? Judging by my own example, almost not. Probably it is a matter of an age too, but at whatever age I am, music does not leave time for the personal life. This is the job which requires the full commitment, otherwise you should leave it. Participating in the same competition together with friends is a normal moment, however, subconsciously, everyone thinks about their own victory... The most memorable for me was working with Eliso Virsaladze, who is the most distinguished and interesting for me... The closest musical epoch is the end of “classicism” and the beginning of “romanticism”, when Beethoven moves stylistically to romanticism with his later works, and when Schubert begins the socalled turning point. And then there’s Liszt... There is a lot of potential in Georgia for young performers who have the talent and the ability to perceive music properly. In terms of teachers, we have a huge advantage worldwide. The professionalism of the teachers at the Tbilisi State Conservatory, would definitely

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sakuTar gamarjvebaze fiqrobs... yvelaze dasamaxsovrebeli CemTvis eliso virsalaZesTan muSaoba iyo, romelic yvelaze gamorCeuli da sainteresoa CemTvis... yvelaze axlobeli musikaluri epoqa „klasicizmis“ dasasruli da „romantizmis“ dasawyisia, rodesac beThoveni gadadis stilisturad romantizmSi sakuTari gviandeli nawarmoebebiT, da rodesac Suberti iwyebs e.w. gardatexas. Semdeg ukve listi... saqarTveloSi Zalian didi potencialia axalgazrda Semsruleblebis mxriv romlebsac aqvT niWic da musikis sworad aRqmis unaric. ai pedagogebis mxriv ki gvaqvs Zalian didi upiratesoba msoflio masStabiT. ra donis profesorebic hyavs Tbilisis saxelmwifo konservatorias, bevr did saerTaSoriso masStabis musikalur skolas daamSvenebda. es adamianebi dros da energias ar iSureben momavali TaobebisTvis. maT ufro meti mxardaWera da xelis Sewyoba esaWiroebaT. miuxedavad imisa, rom kulturis saministrom daiwyo sxvadasxva konkursebis organizeba, klasikur musikas mainc ufro meti sWirdeba. Tundac imis naxevari yuradReba rom mieqces musikas Cvens qveyanaSi rogorc sports, Cven

adorn many large international music schools. These people spare no time and energy for the future generations. They need more support and encouragement. Although the Ministry of Culture has started organizing various competitions, classical music still needs more. Even with half the attention given to music in our country as it is given to sport, we would have one of the leading conservatories around the world. I tell you this with my full responsibility. The most rigorous, objective and critical appraiser is the mother. So critical that she always finds something that does not fully satisfy her... I think that “routine” does not apply to us, the musicians. For example, to become a doctor of medicine, or a successful architect, requires a lot of hard work and willpower, however, you know that knowledge in these professions has its minimum and maximum. Learning music is inexhaustible. Consequently, for us both learning and searching continues until the last breath. I do not have a specific amount of time – how many hours I spend on music every day, but I have so many lectures and lessons that I have to play almost all day long. It is impossible for me not to come in contact with the instrument every day. For the result I have achieved talent, endurance and hard work are key, I think. Character? Uh, I have a “forte” character, and what a forte!

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dosie sandro nebieriZe

gveqneboda erT-erTi mowinave konservatoria mTels msoflioSi. amas sruli pasuxismgeblobiT vacxadeb. yvelaze mkacri, obieqturi da kritikuli Semfasebeli dedaa. imdenad kritikuli, rom yovelTvis gamoZebnis xolme raRac detals romelic, srulad ar akmayofilebs... mgonia, rom „rutina“ Cven, musikosebs ar gvexeba. magaliTad, rom gaxde medicinis doqtori, an warmatebuli arqiteqtori, saWiroa didi Sroma da nebisyofa, Tumca, ici rom am profesiebSi codnas aqvs Tavisi minimumi da maqsimumi. musikis Semecneba amouwuravia. Sesabamisad, musikosisTvis bolo amosunTqvamde grZeldeba swavlac da Ziebac. ar maqvs konkretuli gansazRvruli dro _ yoveldRiurad ramden saaTs vuTmob musikas, magram imdeni leqcia da gakveTili maqvs, rom TiTqmis mTeli dRis ganmavlobaSi miwevs dakvra. gamoricxulia, rom yoveldRe ar mqondes instrumentTan Sexeba. SedegisTvis, romelsac mivaRwie niWi, gamZleoba da Sromismoyvareobaa mTavari, ase mgonia. xasiaTi? uh, xasiaTi sul „forte“ maqvs, da Tanac rogori forte!

•

CineTis pirveli saerTaSoriso musikis konkursis finalisti (2019);

•

gran-pris mflobeli „Grand Piano Competition“ (2016);

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“Astana Piano Passion” (2015), “Sberbank-Debut” (2013), B.Dvarionas Piano Competition (2011)

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“Musica Sepashvili Klavierwettbeweb” (2009) konkursebis gamarjvebuli.

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ferolis pianistTa saerTaSoriso konkursi (meore adgili)

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„2016 wlis saukeTeso kompozicia“ (saqarTvelo) sakuTari safortepiano koncertiT N1, romelic sergei prokofievs miuZRvna;

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„2017 wlis saukeTeso kompozicia“ (saqarTvelo) sakuTari pirveli trioTi „elementebi“;

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safortepiano tokatam misi avtorobiT, moipova granpri “Golden Key Piano Composition Competition 2018” (vena, avstria)

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Seasrula sakuTari safortepiano koncerti denis macuevis festivalebze “Crescendo” _ permSi, ekaterinburgSi, fskovSi da moskovSi, „varskvlavebi baikalze“ _ irkutski, „TeTri iasamani“ _ yazani; evropis festivalebis “Festival d’Auvers sur-Oise” (safrangeTi), “Mozart-Augsburg” da “Festspiele der Mecklenburg-Vorpommern” (germania), „Ramis serenadebi“, „winandlis festivali“, „kameruli musikis festivali“ (saqarTvelo), „kurt Smidti da axalgazrda talantebi“ (ukraina) monawile.

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2019 wlis seqtemberi _ pirveli albomi raxmaninovis da prokofievis nawarmoebebiT.

sandro gegeWkori •

saerTaSoriso konkursebis laureati.

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arno babajanianis pianistTa saerTaSoriso konkursi _ pirveli premia da oqros medali;

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foirixis venis pianistTa saerTaSoriso konkursi _ gran-pri;

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maria kanalis barselonis pianistTa saerTaSoriso konkursi _ pirveli premia da oqros medali;

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Tengiz amirejibis saxelobis pianistTa saerTaSoriso konkursi _ mesame premia;

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solo da simfoniuri koncertebi avstriaSi, germaniaSi, italiaSi, holandiaSi, CineTSi, amerikaSi, saqarTveloSi da a.S.

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mis saxelze daarsebulia festivali „gegeWkori raxmaninovTan“ romlis ori sezoni ukve Catarda ivanovkaSi, raxmaninovis vila-sasaxleSi.

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DOSSIER Sandro Nebieridze (Georgia), Kurt Schmidt and Young Talents (Ukraine) Participant.

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Finalist of China First International Music Competition (2019);

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Grand Prix Winner of the Grand Piano Competition (2016);

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“Astana Piano Passion” (2015), “Sberbank-Debut” (2013), B. Dvarionas Piano Competition (2011)

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Winner of “Musica Sepashvili Klavierwettbeweb” (2009) competitions;

Sandro Gegechkori •

Laureate of international competitions.

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Ferrol International Piano Competition (second place);

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Arno Babajanian International Piano Competition – First Prize

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“Best Composition of 2016” (Georgia) with its own piano concert N1, dedicated to Sergey Prokofiev;

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“Best Composition of 2017” (Georgia) with its first trio “Elements”;

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His Piano Toccata won the Grand Prix of “Golden Key Piano Composition Competition 2018” (Vienna, Austria)

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Performed his own piano concertos at Denis Matsuev Festivals “Crescendo” in Perm, Ekaterinburg, Pskov and Moscow, “Stars on Lake Baikal” – Irkutsk, “White Lilac” – Kazan; European festivals “Festival d’Auvers sur-Oise” (France), “Mozart-Augsburg” and “Festspiele der Mecklenburg-Vorpommern” (Germany), “Night Serenades”, “Tsinandali Festival”, “Chamber Music Festival”

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September 2019 – The first album with works by Rachmaninov and Prokofiev.

and Gold Medal; •

Feuerich Vienna International Piano Competition – Grand Prix;

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Maria Canals Barcelona International Piano Competition – First Prize and Gold Medal;

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Tengiz Amirejibi International Piano Competition – Third Prize;

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Solo and symphonic concerts in Austria, Germany, Italy, Holland, China, America, Georgia etc.

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The festival “Gegechkori with Rachmaninov” was established in his name, the two seasons of which have already been held in Ivanovka, at Rachmaninov’s villa-palace.

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1 (27) 2022

mzexa maxaraZe

MZEKHA MAKHARADZE

Chateau de Leuville

qarTul savaneSi

in Georgian Savannah

levili saqarTveloa. evropis SuagulSi aris qarTuli miwa, parizTan axlos, 37km-Si... rogorc uwodeben, safrangeTis qarTuli saTvistomos binadarTa qarTuli savane. levil-siur-orJi/Leuville-sur-Orge safrangeTSi, il-defransis regionis esonis departamentSi mdebare dabaa. swored aq, levilis SatoSi misi SeZenisTanave devnilobaSi cxovrobda noe Jordania, noe ramiSvili, evgeni gegeWkori, noe xomeriki, akaki Cxenkeli, konstantine kandelaki, eqvTime TayaiSvili, samson fircxalava, karlo CxeiZe, grigol veSapeli, valodia goguaZe,

Leuville is Georgia. There is a Georgian land in the middle of Europe, 37 kilometers away from Paris ... As it is called, the savannah of the Georgian community in France. Leuville-sur-Orge is a small town in the Essonne department of the Ile-de-France region of France. In this small town, the Chateau de Leuville, from the beginning of its acquisition, become the place of exile for Noe Zhordania, Noe Ramishvili, Evgeni Gegechkori, Noe Khomeriki, Akaki Chkhenkeli, Konstantine Kandelaki, Ekvtime Takaishvili, Samson Pirtskhalava, Karlo Chkheidze, Grigol Veshapeli,

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raJden arseniZe, giorgi eraZe, arCil araviaSvili... da aq inaxeba saqarTvelos pirveli suverenuli respublikis damoukideblobis aqti. levilis mamuli Tavisi epoqiT da sevdiT warsulze fiqria, ufro sworad ki momavlis memkvidreoba... am miwazea camde asuli saukunovani cacxvebis xeivani, ulamazesi baRi Zveli galavniT Sekruli. aq, cacxvebis xeivnis miRma dgas qvisgan nagebi orsarTuliani sasaxle, droSi gacrecili da gamotarebuli, 14 oTaxiTa da mansardiT, romelic neorenesansul stilSi markiz oliviers, savaraudod, XV saukuneSi auSenebia. rogor cxovrobda aq, politikur emigraciaSi Jordanias mTavroba da misi ojaxi? rogor xedavda samSoblosgan Sors myofi meTauri qveynis momavals da usamSoblo patriotebis cxovrebis beds, 1924 wlis erovnuli ajanyebis marcxis mere? ras ganicdida gansakuTrebuli tkiviliT parizis qarTuli saTvistomos binadari, safrangeTSi gadaxvewili noe Jordania? mis xelSi saqarTvelos damoukidebloba xanmokle aRmoCnda, amitom ra iyo misi sulieri sayrdeni? `xsna evropaSi unda veZioTo...~ _ ambobda qveynis pirveli piri, Tumca faqtia isic, rom evropam SuagzaSi miatova saqarTvelo da misi meTauri.

Valodia Goguadze, Razhden Arsenidze, Giorgi Eradze, Archil Aravishvili... and this is the very place where the Act of Independence of the First Sovereign Republic of Georgia is kept. The Chateau de Leuville, with its epoch and sorrow, reflects the past, or rather the legacy of the future ... This land is surrounded by an alley of centuries-old limes, a beautiful garden connected by an old fence. Here, behind the alley of limes, stands a two-story stone palace, faded and timed, with 14 rooms and a penthouse, built in the neoRenaissance style by Marquis Olivier, probably in the 15th century. How did Zhordania’s government and his family live here, in political exile? How did the far-off commander see the future of the country and the fate of the life of stateless patriots after the defeat of the 1924 national uprising? What were the painful emotions of a resident of the Georgian community in Paris, exiled to France? In his hands, the independence of Georgia was short-lived, so what was his spiritual support? “We must seek salvation in Europe ...” would say the first person of the country, but the fact is that Europe left Georgia and its leader in the middle of the battle. “The European society is tired, they do not feel the pain of others, they do not even notice it and try to do only one thing – stay calm, carefree ... This was important – if the Nation is brave and firm

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„evropis sazogadoeba daRalulia, sxvisi satkivari maT ar stkiva, arc ki amCnevs mas da cdilobs mxolod erTs _ iyos TavisTvis wynaraT, udardelaT... es iyo mTavari, Tu eri ar gatydeba, saerTaSoriso mdgomareoba odesme mis sasargeblod SeiZleba Semobrundes da amiT isargeblos~ _ werda noe Jordania, romelic sabWoTa wyobilebasa da bolSevizms arasodes Serigebia, arc kapitulacia gamoacxada rTuli samxedro politikuri viTarebis miuxedavad. levilis mamuli saqarTvelos kanonieri mTavrobis wevrebma noe Jordanias xelmZRvanelobiT, mas Semdeg SeiZines, rac saqarTvelo 1921 wlis 19 marts datoves. jer parizSi, mere ki levilis mamulSi dasaxldnen. evropis centrSi levilis qarTuli mamulis istoria 1922 wlis 24 ivnisidan iwyeba, rodesac devnilobaSi myofma saqarTvelos erovnulma mTavrobam franguli Satos yidva qarTuli politikuri emigraciisaTvis TavSesafris mizniT gadawyvita... parizTan axlos es 5 heqtari miwa, romelic erovnuli mTavrobis fuliT 130 aTas frankad nikoloz jayelisa da benia CxikviSvilis saxelze iyides, rusuli okupaciisgan ganTavisuflebis

enough, the international realities may change and reverse favorably and then the nation should take advantage of it” – was writing Noe Zhordania, who never reconciled with the Soviet establishment and Bolshevism and did not even declare capitulation despite the difficult military-political situation. The Chateau de Leuville was acquired by the members of the legitimate government of Georgia under the leadership of Noe Zhordania after they left Georgia on March 19, 1921. They settled first in Paris and then in the Chateau de Leuville. The history of the Georgian land of Leuville in the center of Europe dates back to June 24, 1922, when the Georgian national government in exile decided to buy a French chateau for asylum for Georgian political emigrants ...this 5-hectare land near Paris, bought with 130 thousand francs in the name of Nikoloz Jakeli and Benia Chkhikvishvili, would become Georgian property after liberation from Russian occupation. Interesting documents are kept in the Paris part of the archive brought by Guram Sharadze from Leuville. This is the protocol of the first inspection of the Leuville Chateau and the negotiations on the terms of its purchase, drawn up on June 2, 1922 and signed by Nikoloz (Carlo) Chkheidze, Ekvtime Takaishvili, Noe Ramishvili, Konstantine Sabakhtarashvili, Benia Chkhikvishvili, Grigol

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Semdeg saqarTvelos sakuTreba gaxdeboda. guram SaraZis mier levilidan Camotanili arqivis parizul nawilSi saintereso dokumentebi inaxeba. es aris levilis Satos pirveli daTvalierebisa da misi SeZenis pirobebze molaparakebis Sesaxeb 1922 wlis 2 ivniss Sedgenili oqmi nikoloz (karlo) CxeiZis, eqvTime TayaiSvilis, noe ramiSvilis, konstantine sabaxtaraSvilis, benia CxikviSvilis, grigol veSapelis, konstantine kandelakis xelmowerebiT, romelSic vkiTxulobT: `oqmi~ `2 ivniss, 1922 w. Cven qvemore amis xelis momwerT, damfuZnebel krebis Tavmjdomare n. CxeiZem da Tavmjd. amxanagma e. TayaiSvilma, wevrma gr. veSapelma da mTavrobis wevrebma n. ramiSvilma, k. kandelakma da k. sabaxtaraSvilma, Tanaxmad mTavrobis da damfuZnebel krebis prezidiumis SeerTebul sxdomis dadgenilebisa, vinaxuleT ra mamuli, naCvenebi baton belfonis mier sofel monvilSi, qalaq ruanis axlos, SevadgineT Semdegi oqmi: mamuli mdebareobs komuna monvilis Suagul adgilas. mamuli Seicavs daaxloebiT rva heqtar miwas (patronis gancxadebiT); umTavresi Senoba aris sacxovrebeli saxli, romelsac adgilobriv Zvel `Satos~ eZaxian. es saxli warmoadgens Zveli tipis da Zvel naSen qvis orsarTulian

Veshapeli, Konstantine Kandelaki, and reads as follows: “Protocol of June 2, 1922 – We, the signatories, the President of the Constituent Assembly N. Chkheidze and the Chairman, Comrade E. Takaishvili, the Member Gr. Veshapeli and members of the Government N. Ramishvili, K. Kandelaki and K. Sabakhtarashvili, in accordance with the resolution of the joint session of the Presidium of the Government and the Constituent Assembly, visited the estate shown by Mr. Belfon in the village of Monville, near the town of Rouen, and drew up the following protocol: The estate is located in the middle of Commune Monville. The estate contains about eight hectares of land (according to the owner); The main building is a residential house called the local old chateau. This house is an old type and old stone, two-store building with a penthouse. The house contains: 14 good rooms. It has two kitchens, the house is heated by central heating, drinking water is extracted from a local spring. There are other buildings in the estate as well. The whole estate is valued by the owner at 130 thousand francs; Accepts the possibility of payment in installments. The public opinion of the commission, depending on what the estate has been seen together or separately by the members of the commission in different parts of France, is such that the estate is worth the price and is useful to us. In any case, the Commission

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Senobas mansardiT. saxli Seicavs: 14 karg oTaxs. aqvs ori samzareulo, saxli Tbeba centraluri gasaTbobiT, sasmeli wyali gamoyvanilia adgilobriv wyaro-Widan. mamulSi aris sxva Senobebic. mTel mamuls patroni afasebs 130 aTas frankaT; SesaZleblad scnobs fulis nawil-nawilad gadaxdas. komisiis sazogado azri imis mixedviT, Tu rac mamuli erTad Tu cal-calke komisiis wevrebs dauTvalierebiaT safrangeTis sxvadasxva kuTxeSi iseTia, rom mamuli usaTuod Rirs am fasad da CvenTvis gamosadegia. yovel SemTxvevaSi komisia am gzas adgas, rom saWiroa kidev vaWroba mamulis patronTa fasis dasaklebad. n. CxeiZe, eqvTime TayaiSvili, n. ramiSvili, k. sabaxtaraSvili, ben. CxikviSvili, g. veSapeli, k. kandelaki~. meore dokumenti 1922 wlis 24 ivniss SeudgeniaT da levilis mamulis mflobelebad nikoloz jayelisa da benia CxikviSvilis gaformebis xelwerils warmoadgens. am xelwerilis pirvelive punqtSi aRniSnulia: `...mamuli, romelic SeZenilia Cven oris saxelze komuna lovilSi departamenti sen-uazi safrangeTSi da aRniSnulia notariul aktSi, SedgenilSi q. monleriSi, notarius poplenis mier, nayidi aris saqarTvelos

is on this path, that more bargain is needed to reduce the price of landowners. N. Chkheidze, Ekvtime Takaishvili, N. Ramishvili, K. Sabakhtarashvili, Ben. Chkhikvishvili, G. Veshapeli, K. Kandelaki”. The second document was drafted on June 24, 1922 and is document of ownership of the Leuville estate by Nikoloz Jakeli and Benia Chkhikvishvili. The very first paragraph of this manuscript states: “... The estate, which was purchased in the name of the two of us in the commune of Leuville in the department of Saint-Oise in France and is mentioned in a notarial deed, drawn up in the city of Monlaire, it was bought by notary Poplain with the money of the Government of the Democratic Republic of Georgia and is the property of the Democratic Republic of Georgia”. – This document is signed by Nikoloz Jakeli and Benia Chkhikvishvili. On June 26, 1922, members of the Georgian National Government met again. The session adopted a resolution: “... to entrust to the Land Commission, so that after receiving the documents from the notary, official documents will be drafted to ensure that the land is owned by the government”. The decree specifies the funds required for the improvement of the Leuville estate and the Chateau, and the rules for the use of the estate.

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demokratiuli respublikis mTavrobis fuliT da saqarTvelos demokratiul respublikis sakuTrebas Seadgens~. _ am dokuments xels aweren nikoloz jayeli da benia CxikviSvili. 1922 wlis 26 ivniss isev Sekrebilan saqarTvelos erovnuli mTavrobis wevrebi. sxdomas miuRia dadgenileba: „...miendos mamulis komisias, raTa sabuTebis notariusidan miRebis Semdeg oficialuri sabuTebic iqmnas Sedgenili mamulis mTavrobis sakuTrebad uzrunvelyofisaTvis~. dadgenilebaSi miTiTebulia levilis mamulisa da Satos keTilmowyobisaTvis saWiro Tanxebi da mamuliT sargeblobis wesebi. benia CxikviSvilis, levilis mamulis erT-erTi mesakuTris daxvretis Semdeg 1924 wels, mTavrobam levilis Satos marTvis sistema Secvala. Sesabamisad, 1926 wlis 6 noembers emigraciaSi erovnulma mTavrobam daaarsa uZravi qonebis mmarTveli sazogadoeba „qarTuli

In 1924, after the execution of one of the owners of the Leuville estate Benia Chkhikvishvili, the government changed the management system of the Chateau. Accordingly, on November 6, 1926, the national government in exile established the Georgian Real Estate Management Company “Georgian Hearth” (Société Civile Immobilière (SCI) “Foyer Géorgien”), and from February 10, 1927, the company legally owned the Leuville estate. In 1928, a 7-member commission of representatives of various political parties (Social Democrats, National Democrats and Socialist-Federalists) was established – the Chairman of the National Government of Georgia Noe Zhordania, the Ambassador of Georgia to France Akaki Chkhenkeli, the Deputy Minister of Internal Affairs Noe Ramishvili, the deputy Chairman of Constituent Assembly of Georgia, National-Democrat, Professor Ekvtime Takaishvili, Minister of Foreign Affairs of Georgia Evgeni Gegechkori, Leader of the Social-Federalist Party of Georgia Samson Pirtskhalava and Minister

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kera~ (Societe Civile Immobiliere (SCI) Foyer Georgien), 1927 wlis 10 Tebervlidan es sazogadoeba iuridiulad levilis mamulis mflobelia. 1928 wels Seiqmna saqarTvelos sxvadasxva politikuri partiebis (social-demokratTa, erovnul-demokratTa da socialist-federalistTa) warmomadgenlebis 7 wevriani komisia _ saqarTvelos erovnuli mTavrobis Tavmjdomaris noe Jordanias, safrangeTSi saqarTvelos elCis akaki Cxenkelis, saqarTvelos Sinagan saqmeTa ministris noe ramiSvilis, saqarTvelos damfuZnebeli krebis Tavmjdomaris moadgilis, erovnul-demokratis, profesor eqvTime TayaiSvilis, saqarTvelos sagareo saqmeTa ministris evgeni gegeWkoris, saqarTvelos socialfederalistTa partiis lideris samson fircxalavas da saqarTvelos finansTa ministris konstantine kandelakis SemadgenlobiT, romelTac 1928 wlis 30 aprils, parizSi daweres 5 punqtiani erToblivi mniSvnelovani dokumenti, romelic mTavrobis ara marto iuridiul, aramed moralur anderZad unda miviRoT:

of Finance of Georgia Konstantine Kandelaki, prepared a joint document of the highest importance on April 30, 1928 in Paris. We should consider this document as both a legal and moral will of the government, which reads as follows: “Thirtieth of April, the year of nineteen twenty-eight. City of Paris. We, the signatories of the present document: Noe Zhordania, Akaki Chkhenkeli, Noe Ramishvili, Ekvtime Takaishvili, Evgeni Gegechkori, Samson Pirtskhalava and Konstantine Kandelaki – give this signature to the Government of the Democratic Republic of Georgia that: 1. The estate is located in the village of Leuville (Leuville-surOrge) in France, in the department of Seine-et-Oise and is known as Chateau de Leuville, acquired for public sale on February 10, 1927, purchased by “Foyer Georgien”, of which we are members, with the

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`oc da aTi aprili aTas cxraas ocdarva weli. qalaqi parizi. Cven qvemoT amisa xelis momwerni: noe Jordania, akaki Cxenkeli, noe ramiSvili, eqvTime TayaiSvili, evgeni gegeWkori, samson fircxalava da konstantine kandelaki _ vaZlevT am xelwerils saqarTvelos demokratiuli respublikis mTavrobas imaSi, rom: 1. mamuli, mdebare, sofel levilSi (Leuville s/Orge), safrangeTSi, senis da uazis departamentSi da cnobili saxelwodebiT Chateau de Leuville, romelic SeZenilia sajaro vaWrobaze 10 Tebervals, 1927 w. sazogadoebis Foyer Georgia-is mier, romlis wevrni varT Cven, zemoT aRniSnulni pirni, nayidi aris saqarTvelos demokratiuli respublikis mTavrobis fuliT da saqarTvelos demokratiuli respublikis sakuTrebas Seadgens: saxeldobr, miwa zomiT daaxloebiT xuTi heqtari, sadgomi saxli, sameurneo Senobebi, aveji, inventari da sxva yovelive, rac aRniSnul mamulSi imyofeba, sakuTari xarjiT aris SeZenili. 2. yovelgvari Semosavali aRniSnuli mamulidan da yovelgvari gankarguleba mamulis Sesaxeb ekuTvnis

money of the Government of the Democratic Republic of Georgia and owned by the Democratic Republic of Georgia: namely, about five hectares of land, the housing building, farm buildings, furniture, inventory and everything else in the estate is purchased on our own expense. 2. All income from the mentioned land and any decree on the land belongs entirely to the democratic government of Georgia and we are obliged to obey all its decrees on the land, i.e. on the exploitation of the estate or part of it, renting, mortgaging, selling, transferring, etc. And act in accordance with the resolutions of the government stipulated in the rules of the society “Foyer Georgien”. 3. Neither we personally nor our heirs have the right to use the said land or its income without the resolution of the society “Foyer Georgien”. 4. We owe it to the Democratic Republic of Georgia, as required, to enter into any contract with outside persons or institutions in respect of the land, in compliance with the Charter of “Foyer Georgien”, and to obey the requirements of the Government as set forth above in Article 2, we shall not be personally responsible for any expenses for

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savsebiT saqarTvelos demokratiul mTavrobas da Cven valdebulni varT davemorCiloT yovelive mis gankargulebas mamulis Sesaxeb, e.i. mamulis an rame imis nawilis eqspluataciis Sesaxeb, gaqiravebis, dagiravebis, gayidvis, gadacemis Sesaxeb da sxva. da sazogadoebis Foyer Georgien-is dadgenilebebSi aRniSnul mTavrobis dadgenilebebis Tanaxmad vimoqmedoT. 3. arc Cven piradaT da arc Cvens memkvidreebs ufleba ara gvaqvs visargebloT aRniSnul mamuliT an imis SemosavliT gareSe sazogadoebis Foyer Georgia-is dadgenilebisa. 4. Cven movaleni varT saqarTvelos demokratiuli respublikis, moTxovnilebisamebr davdoT yovelgvari xelSekruleba gareSe pirebTan Tu dawesebulebasTan mamulis Sesaxeb, dacviT an Foyer Georgien-is wesdebisa, da davemorCiloT mTavrobis moTxovnilebebs, rogorc es aRniSnulia zeviT, muxl me-2-Si, garda yovelgvari xarji mamulze gaweuli Cven piradad ar unda gvekisrebodes, aramed anazRaurebuli unda iqmnas TviT mamulis Semosavlisa an mTavrobis mier.

the land, but it should be reimbursed by the income of the land itself or by the government. 5. To ensure the right of the government to full ownership of the said estate, we give a bill of exchange in the name of the Society “Foyer Georgien” – each of us- twenty-five thousand francs. (Fr 25.000). “Foyer Georgien” transfers this bill to the Government or its representative upon the request of the Government of the Democratic Republic of Georgia; And if any of us renounce our membership of “Foyer Georgien”, or if the estate is transferred to another person and, accordingly, renounced member of the society, or we all are exempt from the bailiff and any duties before the government and “Foyer Georgien”. This is how the members of the government in exile, legally protected Leuville estate from Russian occupation – it meant that the Soviet system, which completely controlled the property of the First Republic of Georgia, could not enter Leuville... All political emigrants in Leuville’s small savannah knew that this land, as the property of Georgia, would once be transferred to its lawful owner. There was a daily ideological struggle of Zhordania’s comrades

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5. uzrunvelsayofad mTavrobis uflebisa aRniSnul mamulze srul sakuTrebaze, Cven viZleviT sazogadoebis Foyer Geomoraluri rgien-is saxelze veqsils TiToeuli Cvengani ocdaxuTi aTas fr. (Fr 25.000) Foyer Georgien-i am veqsils saqarTvelos demokratiuli respublikis mTavrobis moTxovnilebiT saWiroebis dros gadascems mTavrobas an mis mier naCveneb pirs; xolo Tu romelime Cvengani Tavs gaanebebs Foyer Georgien-is wevrobas an im SemTxvevaSi Tu mamuli sxva pirze gadavida amis da mixedviT sazogadoebidan gasuli piri, an yvela Cven ganTavisuflebulni varT veqsilidan da yovelgvar movaleobidan mTavrobis da Foyer Georgien-is winaSe.“ iuridiulad ase daicves emigraciaSi wasulma mTavrobis wevrebma levilis mamuli rusuli okupaciisgan, _ kerZo sakuTrebad gaaformes, rac imas niSnavda, rom sabWoTa sistema, romelic mTlianad akontrolebda saqarTvelos pirveli respublikis qonebas, levilSi ver Sevidoda... levilis patara savaneSi yvela politikurma emigrantma icoda, rom es mamuli, rogorc saqarTvelos sakuTreba, odesme kanonier mflobels gadaecemoda. am kedlebSi iyo Jordanias Tanamoazreebis yoveldRiuri ideuri brZola samSoblos suverenitetisTvis wiTeli diqtaturis winaaRmdeg, radgan ucxoeTSi Tu Jordanias mTavrobis cxovrebis stils gavSifravT, Tebervlis okupacia Selaxul Tavmoyvareobad hqondaT gaazrebuli. am sivrceSi, sadac uzarmazari saxelmwifo-politikuri arqivia Semonaxuli, saqarTvelos samferiani droSa mudmivad yofila gamofenili, yoveli 26 maisi ki yvela qarTvelisTvis, vinc levilis `patara saqarTveloSi~ ikribeboda, qveynis damoukideblobis dResaswaulze mets niSnavda. _ gaumarjos damoukidebel saqarTvelos! qarTveli kaci arasdros moSordeba Tavis samSoblos, mova dro da Cven davbrundebiT! gaisad am dros _ saqarTveloSi! _ ase iwyeboda qarTuli sufra da aseTi iyo maTi cxovrebis paTosi... da es ar iyo carieli sityvebi, radgan maT mtkiced sjerodaT Sin dabrunebis. maTi mosazrebebi, Tundac daRlili simSvide da gautexeli imedebi qveynis Tavisuflebaze levilis xelnawerebSi darCa. droTa ganmavlobaSi levilis qarTvelTa savanis iuridiul mflobelTa ricxvi Seicvala: 1945 wels saqarTveloSi dabrunebis Semdeg eqvTime TayaiSvilis uflebebi darCenil 6 wevr Soris gadanawilda Turme, 1958 wels ki konstantine kandelakma uari ganacxada sazogadoebis wevrobaze, ris Sedegadac levilis mamulis iuridiul mflobelebad noe Jordanias, akaki Cxenkelis, evgeni gegeWkoris, noe ramiSvilisa da samson fircxalavas ojaxebi darCnen. mravali mcdelobis Semdeg, levilis mamuli Tavis gulSi da wiaRSi daubrunda mis kanonier memkvidres _ saqarTvelos. es istoriuli movlena, igive winaparTa

within the Chateau, for the sovereignty of the homeland against the red dictatorship, because if we decipher the lifestyle of Zhordania’s government in exile, they perceived the February occupation as their own damaged reputation. In this space, where a huge state-political archive is preserved, the tricolor flag of Georgia was constantly displayed, and every 26 of May meant more than Independence Day to all Georgians who gathered in Leuville’s “Small Georgia”. – Long live independent Georgia! Georgian will never leave his homeland; the time will come and we will return! This time next year – in Georgia! – This is how the Georgian Supra would start and such was the pathos of their life... and these were not empty words, because they strongly believed in return to the homeland. Their thoughts, even the weary calm and unbroken hopes for the freedom of the country remained in Leuville’s manuscripts. Over the time, the number of legal owners of the Chateau de Leuville had changed: after returning to Georgia in 1945, Ekvtime Takaishvili’s rights transferred and divided among the remaining six members, and in 1958, Konstantine Kandelaki renounced his membership and as a result, the legal owners of the Leuville estate remained the families of Noe Zhordania, Akaki Chkhenkeli, Evgeni Gegechkori, Noe Ramishvili and Samson Pirtskhalava. After numerous efforts, Leuville’s estate was returned to its rightful heir – Georgia. This historic event of executing the ancestors’ will, took place on September 23, 2016, at 17:30 Georgian time, when the deed of transfer of the Leuville estate to Georgia was signed in Chateau de Leuville, thus ending a 25-year tedious process. This important document was signed by the then Georgian State Minister for Diaspora Gela Dumbadze in the presence of two French notaries, and on the French side by the descendants of the families of members of the Government of the Democratic Republic of Georgia (19181921) – Noe Zhordania, Noe Ramishvili, Akaki Chkhenkeli, Samson Pirstskhalava and Evgeni Gegechkori, who inherited and protected the Chateau de Leuville for years and brought it up to these times... What will be the future of the Leuville estate? After the conclusion of the historic document, construction and rehabilitation works were carried out in the Leuville estate under the auspices of the Ministry of Foreign Affairs: a campus and orangerie were built ... The chateau will maintain its historical profile while preserving its authenticity and it will be a very open space where the Georgian-French cultural center will be arranged – Georgian Academy of Leuville, Georgian museum space, library, conference hall ... This place will be the multi-profile center in Europe, where political, scientific and diasporic projects will be carried out. The rehabilitation of the Leuville Chateau will be completed in the next 4-5 years and in the heart of France, La Petite Georgie (Small Georgia in fr.), along with its historical past, will acquire a new cultural-educational function.

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anderZis aRsruleba 2016 wlis 23 seqtembers Sedga, saqarTvelos droiT 17:30 saaTze, rodesac levilis SatoSi xeli moewera levilis mamulis saqarTvelosaTvis gadmocemis aqts da amiT dasrulda 25-wliani damRleli procesi. am mniSvnelovan dokuments ori frangi notariusis TandaswrebiT saqarTvelos mTavrobis mxridan xeli moawera maSindelma diasporis sakiTxebSi saqarTvelos saxelmwifo ministrma gela dumbaZem, xolo franguli mxridan ki saqarTvelos demokratiuli respublikis (1918-1921) mTavrobis wevrTa ojaxebis _ noe Jordanias, noe ramiSvilis, akaki Cxenkelis, samson fircxalavas, evgeni gegeWkoris STamomavlebma, maT, vinc levilis Sato wlebis ganmavlobaSi memkvidreobad Seinaxa, daicva da moitana aqamde... rogori iqneba levilis mamulis momavali? istoriuli dokumentis gaformebis Semdeg levilis mamulSi, samSeneblo- sareabilitacio samuSaoebi sagareo

saqmeTa saministros xelmZRvanelobiT mimdinareobda: aSenda kampusi, oranJerea... Semdegi sareabilitacio proeqti saqarTvelos sportis, kulturisa da axalgazrdobis saministros organizebiT ufro masStabur cvlilebebs moicavs. Satos SeunarCundeba Tavisi istoriuli profili avTenturobis dacviT da es iqneba Zalian Ria sivrce, sadac qarTul-franguli kulturuli centri moewyoba, _ levilis qarTuli akademia, qarTuli samuzeumo sivrce, biblioTeka, sakonferencio darbazi... mTlianobaSi es iqneba evropaSi mravalprofiluri mimarTulebis centri, sadac politikuri, samecniero da diasporuli proeqtebis realizeba moxdeba. levilis Satos reabilitacia momdevno 4-5 weliwadSi dasruldeba da safrangeTis SuagulSi, patara saqarTvelo istoriul warsulTan erTad, axal kulturulsaganmanaTleblo funqcias SeiZens.

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xaTuna kikvaZee

miron SveliZis mogonili samyaroebi KHATUNA KIKVADZE

FICTIONAL WORLDS OF MIRON SHVELIDZE

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„roca momaval speqtaklze vfiqrob, yvelafers didi yuradRebiT vakvirdebi, magram fantaziis wyaro CemTvis yvelaze xSirad Tavad cxovrebaa, misi yoveldRiurobiT“...

“When I think about the next play, I observe everything very carefully, but the source of the imagination for me the most often is life itself, with its routine”...

miron SveliZe _ erT-erTi yvelaze sainteresod moazrovne mxatvari da scenografi iyo. mudam Cafiqrebuli Cumi mirian SveliZe, sul raRacas qmnida. mis gonebaSi aTasgvari axali idea Cndeboda, ibadeboda axali speqtaklis mxatvruli saxe, mravalferovani samyaro, romelic mxatvris warmosaxvidan scenaze gasaocar misteriad gardaisaxeboda. me mqonda pativi piradad vyofiliyavi gacnobili baton miron SveliZes da bedniereba gamomekvlia, am didi mxatvris Semoqmedeba. es werili aris pativis migeba miron SveliZis pirovnebisadmi, misi xsovnisadmi da madlierebis gamoxatva im ganuzomlad didi wvlilisaTvis, romelic mas miuZRvis qarTuli scenografiis, Teatraluri xelovnebis da mTlianad Cveni kulturis winaSe. Tanamedrove qarTuli Teatri warmoudgenelia miron SveliZis Semoqmedebis gareSe. samxatvro akademiis damTavrebis Semdeg, sadac m. SveliZe gamoCenil qarTvel

Miron Shvelidze – one of the most interesting thinkers and scenographers, always contemplative, silent and creating something all the time. Thousands of new ideas arose in his mind and the artistic face of the new play was born, a diverse world that was transformed from an artist’s imagination into an amazing mystery on stage. The modern Georgian theater is unimaginable without the work of Miron Shvelidze. After graduating from the Academy of Arts, where he studied with the famous Georgian scenographer and teacher Parnaoz Lapiashvili, he started working at the Rustaveli Theater in 1972. He was the staging artist of Shota Rustaveli National Theater for 50 years. During the last decades, the artistic face of Rustaveli Theater and its aesthetics have been significantly influenced by his painting. The master himself thought that his artistic thinking was determined by the Rustaveli Theater. Especially the plays he staged together with Robert Sturua. The first important play in the artist’s work is “Kvarkvare” staged by Robert Sturua at the Rustaveli Theater. In this play, the artistic manner and style of the master was well reflected in the subject diversity

kacia-adamiani?!

IS HE A HUMAN THIS MAN?!

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hamleti

scenografTan da pedagogTan, farnaoz lapiaSvilTan swavlobda, 1972 wels, mxatvarma muSaoba daiwyo rusTavelis TeatrSi. 50 weli m. SveliZe iyo SoTa rusTavelis erovnul Teatris damdgmeli mxatvari. Tamamad SeiZleba iTqvas, rom bolo aTwleulebis ganmavlobaSi rusTavelis Teatris mxatvruli saxe da misi esTetika mniSvnelovanwilad m. SveliZis mxatvrobamac ganapiroba. Tavad ostats miaCnda, rom misi mxatvruli azrovneba gansazRvra rusTavelis Teatrma, gansakuTrebiT im speqtaklebma, romelic man did reJisor robert sturuasTan erTad dadga. „...miron SveliZe mxatvari, Seqmna im Teatrma, romelSic is moRvaweobs, anu dRevandelma rusTavelis Teatrma. Teatri, romelic cxovrobs klasikiT... Teatri, romelic seriozul piesebs dgams da Rrmad tragikul da komizmiT aRsavse gmirTa saxeebs qmnis. rusTavelis Teatri aRmoCnda is samWedlo, romelmac Seqmna Tavisi mxatvari,

HAMLET

and applicability of the decorative space. Recognition of “Kvarkvare” presented Miron Shvelidze as one of the most distinguished and interesting creators among the Georgian theater artists. The conditionality and eclecticism of forms, application of placards and collages, the artist further, repeatedly appeals on stage. However, each time his scenography is radically different and unique. The creative principles and the unique handwriting of the artist remains unchanged. The artist always relies on dramatic material when creating the scenography of a play. Especially the directorial reading of the play. That is why his painting goes beyond the decorative arts and is built on the principles of theater, which implies the co-authorship of the scenic director and painter in the creation of the play. This process is based on the deep traditions founded by Kote Marjanishvili and Sandro Akhmeteli. Miron Shvelidze’s scenography for Robert Sturua’s plays “Life and Death of King Richard III” and “King Lear” was a milestone in the development of Georgian theatrical art and theatrical painting. They

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mianiWa mas stili da Seuqmna amplua. odesRac m. SveliZis sadiplomo namuSevari moridebulad Teatraluri iyo (z. antonovis `mzis dabneleba saqarTveloSi~), magram ferTa SexamebaSi moCanda momavali mxatvris stili. Teatrisadmi siyvaruli da azarti scenis aTvisebasTan erTad modioda. mxatvris yvela namuSevari iyo aRmasvla martivi scenuri sivrcidan rTul, maTematikur formulamde gaTvlil mravalganzomilebian scenur samyaromde. yovel axal speqtaklSi m. SveliZe ar uSindeboda scenis sivrcis radikalurad gardaqmnas...“, _ werda Jurnali „Teatri“ 1980 wels (С. Дружинин, Э. Кузнецов, «Мириан Швелидзе и Теимураз Нинуа», журнал «Театр», №11, Москва, 1980г.). pirveli mniSvnelovani ganacxadi m. SveliZis SemoqmedebaSi iyo speqtakli `yvaryvare~ (p. kakabaZis), romelic r. sturuam 1974 wels rusTavelis TeatrSi dadga. masSi gamoCnda ostatis mxatvruli manera da stili, romelic gamovlinda moqmedebis adgilis pirobiTganzogadebul krebiT saxeSi, dekoraciuli sivrcis sagnobriv mravalferovnebaSi da aplikaciurobaSi. `yvaryvares~ aRiarebam m. SveliZe qarTvel Teatris mxatvarTa Soris, erT-erT yvelaze gamorCeul da

miriani, robiko

were followed by the scenic works of “Macbeth”, “Hamlet”, “Julius Caesar” and also the scenery created on the Georgian dramaturgy for the performances “Kvarkvare”, “Lamara”, “Is He a Human this Man?!”, “Trouble of Darispan” and others. The artist has fruitfully collaborated with various directors in Georgia and abroad, including staging plays for Rustaveli and Griboedov theaters, and several theaters in Batumi, Moscow, Novosibirsk, England and Greece. Miron Shvelidze’s painting has always been closely connected with the traditions of Georgian theatrical-decorative art and, at the same time, has been full of new artistic methods and innovative researches. The place of action is never specified in the plays staged by him. The scene space is as empty as possible from the scenery and narrative details. Instead, the stage is full of everyday objects transformed into signs and symbols, which are involved in the play as soon as it starts off. The theatrical costume and even its attributes are perceived as art objects and take on the effect of character scenography. All this makes the action more dynamic and enhances the tempo of the play. Once a costume is put on, an actor is given the opportunity to penetrate the spiritual world of the play’s character. Examples of this is the small, clumsy “overcoat” of Richard III or the costumes of King Lear’s

MIRIANI, ROBIKO

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ostati da margarita

saintereso Semoqmedad warmoaCina. formaTa pirobiTobas da ekleqtizms, plakaturobas da kolaJurobas, mxatvari Semdgomac, araerTxel mimarTavs scenaze. Tumca, yovel jerze m. SveliZis scenografia kardinalurad gansxvavebuli da ganumeorebelia. ucvleli darCeba m. SveliZis SemoqmedebiTi principebi da mxatvris unikaluri xelwera. speqtaklis scenografiis Seqmnisas mxatvari yovelTvis eyrdnoba dramaturgiul masalas da piesis reJisorul wakiTxvas. amitomac m. SveliZis mxatvroba, scildeba dekoraciuli xelovnebis farglebs da mxatvris Teatris principebzea agebuli, rac speqtaklis SeqmnaSi damdgmeli reJisorisa da damdgmeli mxatvris Tanaavtorobas gulisxmobs da damyarebulia, im Rrma tradiciebze, romlebsac safuZveli kote marjaniSvilma da sandro axmetelma Cauyares qarTul TeatrSi. qarTuli Teatraluri xelovnebis da saTeatro mxatvrobis ganviTarebaSi saetapo iyo m. SveliZis scenografia r. sturuas speqtaklebisTvis „cxovreba da sikvdili mefe riCard III“ da „mefe liri“. maT mohyva

MASTER AND MARGARITA

daughters. The objects revived on stage at such times, not only fit in the general laws of composition, they also become so significant that they can themselves become acting “persons”, such as the crown and faded map of England in “Richard”, the staircases in “Hamlet”, and mountain slopes connected with battle shields in “Lamara”. Each time the artist used different metaphors and symbols. Such was the world of “King Lear”, a reflection of life, the abandoned cold cellar of “Macbeth”, the gallery of Elsinore Palace, which, with the remnants of images of the era, echoed the spiritual condition of Hamlet’s protagonist, “Lamara”’s mythical underground, hanging crib in “Is He a Human this Man?!”, the wailing wall-house in “Master and Margarita” and a huge umbrella – mountain in “Zvavi”, the mythical essence of which was constantly changing its shape and transforming into amorphous, giant force on stage. Miron Shvelidze loved to work in collage technique both in easel painting and scenography, in which, often, the collage was found as a sketch, and in the space of stage attaining a dimensional form by means of assembly. The artist’s scenography is often eclectic due to his passion for collage and application techniques. In his opinion, the different objects used in the scenery or the mix of styles help the

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„makbetis“, „hamletis“, „iulius keisris“ scenografiuli nawarmoebebi da, aseve, qarTul dramaturgiaze Seqmnili dekoraciebi speqtaklebisTvis „yvaryvare“, „lamara“, kacia-adamiani?!“ „darispanis gasaWiri“ da sxva. m. SveliZes nayofierad TanamSromlobda sxva da sxva reJisorebTan saqarTveloSi da ucxoeTSi. mas gaformebuli aqvs speqtaklebi rusTavelis, griboedovis, baTumis, moskovis, novosibirskis, inglisis, saberZneTis Tu sxva TeatrebSi. m. SveliZis mier klasikur Tu Tanamedrove dramaturgiaze Seqmnilma mxatvrobam, romelic avlens mWidro kavSirs qarTul Teatralur-dekoraciuli xelovnebis tradiciebTan da axali saxviTi sametyvelo xerxebiT da novatoruli ZiebebiT iyo aRsavse, gansazRvra qarTul scenografiaSi mimdinare procesebi 1970-iani wlebidan dRemde. speqtaklis gaformebisas m. SveliZe arasdros akonkretebda moqmedebis adgils. sasceno sivrce maqsimalurad dacarielebuli iyo dekoraciebisgan da TxrobiTi detalebisgan. samagierod scenaze uxvad iyo niSan-simboloebad gardasaxuli yofiTi nivTebi, romlebic moqmedebis dawyebisTanave TamaSSi erTvebodnen. Teatraluri kostiumi da misi atributebic

riCard III

spectator to perceive the events played on stage as much as possible. The world invented by the artist, which was characterized by a variety of forms, “principal eclecticism”, never went beyond the amazing taste and temperance of the master, so it was always interesting and thought-provoking. Miron Shvelidze’s scenography and forms were close to conceptual art. The texture of the material was of great importance to the artist. In every detail he felt how to change the scenery with light writing, which he used as a color palette. Therefore, lighting played a big role in his scenography. The vision in the three-dimensional space of a play is also his handwriting. He rarely made sketches and his favorite working material was the mock-up, which allowed him for a better view of a scene space. While working on it, it was easier for him to improve the form of scenery, the distribution of objects in stage space, the outline of mise en scène, the composition and scale of the set. After bringing the mock-up to perfection, work on the scenery began. As he would say, he was not really into using new technologies as they seemed lifeless. He was ready to experiment with new multimedia devices, but still remained faithful to the traditional method and created a new fictional world on stage with his own hands. “Every artist has his own theater... Every play is your theater. I am

RICHARD III

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ki, art obieqtebad warmoiSobodnen da personaJuli scenografiis qmediT saxes iZendnen. yvelaferi es moqmedebas ufro dinamikurs xdida da speqtakli temporitms aZlierebda. kostiumis CacmisTanave, msaxiobs piesis gmiris sulier samyaroSi SeRwevis SesaZlebloba eZleoda. amis magaliTebia riCard III patara zomis, mouxerxebeli „Sineli“ da mefe liris qaliSvilebis kostiumebi. msaxiobTa kostiumi da gaTamaSebuli sagnebi scenaze scenografiul konfliqts warmoqmnidnen, rac scenografiis struqturaSi, gaformebis elementebis iseTi funqciiT datvirTvas gulisxmobs, romlebic mayurebelSi pirdapiri Tu mxatvruli xerxebiT, rTuli asociaciebs aCens. aseT dros scenaze cocxldebodnen sagnebi, romlebic mxolod kompoziciis saerTo kanonebs rodi emorCilebodnen, isini imdenad mniSvnelovani xdebodnen, rom SeeZloT Tavad gamxdariyvnen moqmedi „pirebi“, rogorc iyo gvirgvini da gacrecili inglisis ruka,

Zveli Tbilisi

always trying to understand what the director wants to say by the play. Robert Sturua has his own theater. Our theaters are very similar to each other. From the very first time we understood each other and sometimes wordlessly, that is why we are co-authors of a play. This has traditionally happened in Georgian scenography,“ – Miron Shvelidze. As he himself noted, he was completely independent and free in the process of creating the scenery, but he considered it impossible to work without a director. In his view, when the action of a play and its visual face is created on a single ideological basis, the play becomes a perfect collaborative work. Regarding the degree of independence of an artist, he considered that “the artist is never completely free in the theater. He depends, first of all, on the dramatic material, the directorial concept and actors as well”. Shvelidze attached a great importance to the musical decoration of the play. As he has repeatedly mentioned, the music was especially helpful in choosing the scenery palette and organizing the plastic space of the stage. Each musical tone had a specific color for the artist. It was believed that theater was

OLD TBILISI

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mirian SveliZis rusTavelis Teatri

„riCardSi“, kibe-skamebi „hamletSi“ da sabrZolo farebiT Sekruli mTis ferdobebi „lamaraSi“. yovel jerze mxatvari gansxvavebul metaforebs da simboloebs mimarTavda. ase iyo `mefe liris~ samyaro, romelic cxovrebis anarekls warmoadgenda, `makbetis~ mitovebuli civi sardafi, elsinoris sasaxlis galerea, romelic epoqis suraTebis namsxvrevebiT hamletis sulier mdgomareobas exmianeboda, „lamaras“ miTosuri mzisqveSeTi, zecaSi gamokidebuli akvani „kacia-adamianSi“, godebis kedeli _ saxli „ostati da margaritaSi“ da veeberTela qolga _ mTa „zvavSi“, romelic gamudmebiT moZraobda da amorful veeba Zalad gardaiqmneboda scenaze. m. SveliZes uyvarda kolaJis teqnika, muSaobda masSi rogorc dazgur mxatvrobaSi ise scenografiaSic, romelSic, xSirad, kolaJi eskizis saxiT gvxdeboda, xolo scenis sivrceSi is asambliaJis xerxiT iZenda

MIRIIAN SHVELIDZE'S RUSTAVELI THEATER

a combination of all creative processes: architecture, painting, light painting, costume, make-up, props. The artist is responsible for all this. Speaking about what has changed in his work over the decades, in one of the conversations the artist notes that “nothing has changed, just the number of works has increased.” Working on the artistic form of the play always started with the same thing – few days of thinking. He would think about the details from which the whole structure of the decoration was learned. This is how the crushed body of the “UAZ” car and the shells and reels thrown in the yard of the theater due to the civil war in Tbilisi became the inspiration for the play of “Lamara”. Thus arose the shields made of battle shields, which fell off the scaly surface of the serpent’s skin and underwent an astonishing transformation in the process of action – sometimes like rocky slopes, sometimes like gloomy clouds, sometimes cracking like a snake’s body and staring at the cold sparkles of steel. The action space of the play was therefore entirely

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yvaryvare

ganzomilebian formas. kolaJisa da aplikaciis teqnikiT gatacebis gamo m. SveliZis scenografia xSirad ekleqturia. mxatvars miaCnda, rom dekoraciis ekleqtizmi yovelTvis dramaturgiuli masalidan momdinareobda. gansakuTrebiT Tu klasikur nawarmoebze muSaobda. miaCnda, rom klasikuri masala reJisorsac aZlevda SesaZleblobas gansxvavebulad waekiTxa piesa, xolo mxatvars gamoevlina piesis mravalSriani Sinaarsi, sxvadasxva saxviT formebSi. ambobda, rom dekoraciaSi gamoyenebuli gansxvavebuli sagnebi Tu stilTa aRreva, exmareba mayurebels ufro mZafrad SeigrZnos is movlena, romelic scenaze TamaSdeboda. mxatvris mier gamogonili samyaro, romelic formaTa mravalferovnebiT, `principuli ekleqtizmiT~ gamoirCeoda, arasdros scildeboda ostatis gasaocari gemovnebis da zomierebis farglebs. amitomac yovelTvis saintereso da saazrovno iyo. m. SveliZis scenografia da misi formaTqma, konceptualur xelovnebasTan axlos idga. mxatvrisaTvis didi mniSvneloba hqonda masalis teqsturas. TiToeul detalSi grZnobda, rogor unda

KVARKVARE

conditional and mystical, stemming from the mythical essence of the play and Robert Sturua’s directorial concept. Miron Shvelidze’s easel work is noteworthy. His paintings, collages, are different and interesting in style and variety of performances. Serious artistic works and friendly sketches or portraits are created in the artistic manner of collage. His beautiful and interesting collages and mini pop-arts are full of unexpected elements. The compositions are short, multi-faceted and, despite the eclecticism of collage, are the complete works of art. The strange angles, paradoxes of different subjects, all serve to create a human character and his psychological portrait at the center of the collage. There is a lot of humor and sarcasm here as well. But it is in this variety of fine forms that the true aspirations of the artist’s hero are revealed. The objects are depicted in different planes, disintegrated and then ideologically united in one composition. The artist brings to light the dreams and desires of the people. Tbilisi had a special place in Miron Shvelidze’s work. It was an old city of his childhood hidden in a fog of memories that no longer exists and will never return. “I am from Tbilisi and that is why I have a special love for this city. The look of Tbilisi is changing a lot, despite

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Secvliliyo dekoracia Suq-weriT, romlis meSveobiTac m. SveliZe aferadrebda dekoracias, amitomac mis scenografiaSi gansakuTrebuli adgili ganaTebas eniWeboda. m. SveliZe speqtakls, rogorc qandakebas, samganzomilebian sivrceSi xedavda. misi sayvareli masala maketi iyo. SedarebiT iSviaTad akeTebda eskizebs. maketi aZlevda SesaZleblobas ufro srulad daenaxa dekoracia scenis sivrceSi. maketze muSaobisas ixveweboda dekoraciis forma, sagnebis ganawileba scenis sivrceSi, mizanscenebis monaxazi, ixveweboda dekoraciis kompozicia da masStabic. maketis srulyofilebamde miyvanis Semdeg iwyeboda muSaoba dekoraciaze. rogorc m. SveliZe ambobda, mas arc esmoda didad da arc uyvarda axali teqnologiebis gamoyeneba, isini TiTqos usicocxlod eCveneboda. mzad iyo axali multimediuri saSualebebiT eqsperimentebi Caetarebina, magram mainc tradiciuli meTodis erTguli darCa. is yovelTvis, sakuTari xeliT xatavda axal, mis mier gamogonil samyaros scenaze.

ostati da margarita

the restoration, there is still less and less something left, even from my childhood city. Therefore, in my paintings, where I paint Tbilisi, everything is like something wrapped in a fog, everything is somewhere far away, left in the past. For some reason, I do not see colorful Tbilisi “, this is how the artist describes Tbilisi theme in his work and his paintings of Tbilisi are like old photos, in faded – yellowish – bronze tones. The steep banks of Mtkvari, the old houses and churches, the winding streets, the rafts in the depths of the Mtkvari, as if in an untimely space, are surrounded by longingsaturated thoughts. These pictures do not show the time of year or the weather. This unreal time has long been turned into a distant past by the currents of the river. The country in the pictures, as well as its scenographic worlds, was in fact invented by Miron Shvelidze, sometimes dictated by the subconscious and sometimes by life. “Mirian Shvelidze is like no one ... Sometimes it is difficult to imagine how this artist manages to create his world out of nothing, how he” builds “a space unique from these completely simple details,” wrote theatrical expert N. Gurabanidze. (N. Gurabanidze “Tragic

THE MASTER AND MARGARITA

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yvaryvare

KVARKVARE

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„yvela mxatvars Tavisi Teatri aqvs... yvela speqtakli Seni Teatria. me yovelTvis vcdilob gavigo reJisors, risi Tqma surs speqtakliT. robert sturuas Tavisi Teatri aqvs. Cveni Teatrebi Zalian hgavs erTmaneTs. pirvelive Sexvedridan zogjer usityvodac vugebdiT da gvesmoda erTmaneTis, amitomac Cven speqtaklis Tanaavtorebi varT. es tradiciulad xdeboda qarTul scenografiaSi“ _ aRniSnavda m. SveliZe. mxatvari ambobda, rom igi Tavisufali iyo dekoraciis Seqmnis procesSi, Tumca, rac ar unda kargi yofiliyo mxatvari, reJisoris gareSe muSaoba SeuZleblad miaCnda. roca speqtaklis moqmedeba da misi vizualuri saxe erT ideur safuZvelze iqmneboda, speqtakli srulyofili ansambluri nawarmoebi xdeboda. imasac ambobda, rom „mxatvari TeatrSi arasdros aris sruliad damoukidebeli. is pirvel rigSi damokidebulia dramaturgiul masalaze, reJisorul koncefciaze da msaxiobzec“. ambobda, rom SeeZlo gasaocari dekoraciebi Seeqmna, magram mTavari is ki ar iyo mayurebelSi aRfrTovaneba gamoewvia, mTavari iyo iseTi scenografiis Seqmna, romeli gamoavlenda speqtaklis mTavar saTqmels, reJisorul xedvas, daexmareboda msaxiobs gamoevlina gmiris saxe, Seeqmna organuli garemo moqmedebis gasaviTareblad da mayurebeli speqtaklis droiT sivrceSi Seeyvana. mxatvari did mniSvnelobas speqtaklis musikalur gaformebas aniWebda. miaCnda, rom musika exmareboda dekoraciis palitris arCevaSi da scenis plastikuri sivrcis organizebaSi. TiToeul musikalur bgeras mxatvrisTvis konkretuli feri hqonda. miaCnda, rom Teatri iyo yvela SemoqmedebiTi procesis erToblioba: arqiteqtura, ferwera, Suqwera, kostiumi, grimi, rekviziti. mxatvari ki, am yvelaferze pasuxismgebeli.“ m. SveliZes erT-erT saubarSi vkiTxe, _ Tu ra Seicvala aTwleulebis ganmavlobaSi mis SemoqmedebaSi? _ „araferi Secvlila, ubralod namuSevrebis raodenoba meti gaxda“, mipasuxa da daamata, rom speqtaklis mxatvrul formaze muSaoba yovelTvis erTi da igive, ramdenime dRiani fiqriT iwyeboda. fiqrobda detalebze, romlidanac igeboda gaformebis mTliani struqtura. gaixsena, rom speqtakl „lamaras“ dekoraciis inspiracia, TbilisSi samoqalaqo dapirispirebis Sedegad, damwvari `uazi~-s markis manqanis daWyletili metalis da Teatris ezoSi dayrili Wurvebis da masrebisgan gaCnda. ase gaCnda sabrZolo farebisgan awyobili Tejirebi, romlebic gvelis `perangis~ qerclian zedapirs hgavda. igi gasaocar transformacias ganicdida moqmedebis procesSi, xan kldovan ferdobebs, xan pirquS Rrublebs hgavdnen, xan gvelis taniviT iklakneboda da foladis civ bzinvarebiT Tvals mogWrida. amitom speqtaklis

avtoportreti

AUTOPORTRAIT

Mystery”. Literary Georgia January 3-19, 1997). The artist always tried to arouse live associations in the audience by combining details, be it old Tbilisi, collages, portraits, graphic sketches or scenography. The artist brought the scenery to life with the action of the play and the action of the actor. The picture frame, if the world created in the scene space was conditional but always surprisingly convincing. They have the ability to remain tangible memories in the viewer. Miron Shvelidze’s work and artistic heritage entered the history of Georgian theater and scenography as an important stage, and in the history of his precious Rustaveli National Theater – in the name of second Golden Age.

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samoqmedo garemo mTlianad pirobiTi da mistikuri iyo, rac srulad momdinareobda piesis miTosuri arsidan da r. sturuas reJisoruli koncefciidan. gansakuTrebiT unda aRiniSnos m. SveliZis dazguri Semoqmedeba. misi tiloebi, kolaJebi, gansxvavebuli da sainteresoa stiliTa da Sesrulebis mravalferovnebiT. kolaJis mxatvrul maneraSi qmnis m. SveliZe seriozul mxatvrul namuSevrebs da megobrul SarJebs, portretebs. m. SveliZis kolaJebi da mini pop-artebi saintereso da lamazia, savsea moulodneli elementebiT. kompoziciebi sxartia, mravlismetyveli da miuxedavad kolaJisaTvis damaxasiaTebeli ekleqturobisa, Tavis TavSi dasrulebuli mxatvruli nawarmoebebia. ucnauri rakursebi, sxvadasxva sagnis paradoqsuloba, yvelaferi emsaxureba kolaJis centrSi moqceuli adamianis xasiaTisa da misi fsiqologiuri portretis Seqmnas. aq bevria iumoric da sarkazmic. magram, swored saxviT formaTa am mravalferovnebaSi ikveTeba gmiris WeSmariti miswrafebebi. sagnebi sxvadasxva sibrtyeSia gamosaxuli, daSlili da Semdeg erT kompoziciaSi ideurad gaerTianebuli. mxatvars saaSkaraoze gamohqonda adamianebis ocnebebi da survilebi. amitomac aseTi

darispanis gasaWiri

saintereso da mimzidvelia r. sturuas portreti, mxatvris avtoportreti da megobrebis kolaJebi. m. SveliZis SemoqmedebaSi gansakuTrebuli adgili ekava Tbiliss. rogorc Tavad mxatvari ambobda, es misi monatreba da sadRac mogonebaTa burusSi Cafluli Zveli, misi bavSvobisdroindeli qalaqi iyo, romelic ukve aRar arsebobs da aRar dabrundeba. „me Tbiliseli var da amitomac gansakuTrebuli siyvaruli maqvs am qalaqisadmi. Tbilisis iersaxe Zalian icvleba, restavraciis miuxedavad mainc sul ufro naklebad SemorCa raRac, Tundac Cemi bavSvobis qalaqidan. amitomac Cems tiloebSi, sadac Tbiliss vxatav, yvelaferi raRac burusSi gaxveuliviTaa, yvelaferi iq sadRac Sorsaa, warsulSia darCenili. ratomRac ferad Tbiliss me ver vxedav“, ase axasiaTebda Tbilisur Temas Tavis SemoqmedebaSi m. SveliZe. Tbiliss mxatvari warmosaxviT, Zveli fotoebis msgavsad, gaxunebul _ moyviTalo _ brinjaosfer tonebSi xatavda. mxatvris koloriti, SeiZleba iTqvas, monoqromuli iyo. mtkvris cicabo napirebi, Zveli saxlebi da eklesiebi, mixveulmoxveuli quCebi, siRrmeSi mtkvarze tivi, TiTqos udroo sivrceSi, monatrebiT gajerebul fiqrSia garinduli. am naxatebze arc is Cans Tu weliwadis ra droa, an rogori

TROUBLE OF DARISPAN

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riCard III

amindia. es irealuri dro ukve didi xania mdinaris dinebam Soreul warsulad aqcia. is qveyana, romelic m. SveliZis naxatebzea, iseve rogorc misi scenografiuli samyaroebi, sinamdvileSi mxatvris mieraa gamogonili, xan qvecnobieridanaa amosuli, xan ki cxovrebiT nakarnaxevi. `mirian SveliZe aravis ar hgavs... xandaxan Zneli warmosadgenia, rogor axerxebs es mxatvari arafrisgan Seqmnas Tavisi samyaro, rogor „aSenebs~ am sruliad ubralo detalebisgan ganumeorebel sivrces~, werda Teatrmcodne n. gurabaniZe. (n. gurabaniZe `tragikuli misteria~. `literaturuli saqarTvelo 3-19 ianvari 1997w.). Tavis SemoqmedebaSi m. SveliZe yovelTvis cdilobda detalebis SeerTebiT mayurebelSi cocxal

RICHARD III

asociaciebi gaeRvivebina, iqneboda es Zveli Tbilisi, kolaJebi, portretebi, grafikuli Canaxatebi Tu scenografia. mxatvari acocxlebda dekoracias speqtaklis moqmedebasa da msaxiobis qmedebasTan erTad. suraTis CarCos, Tu scenis sivrceSi mxatvris xeliT Seqmnili samyaro pirobiTi, magram yovelTvis gasaocrad damajerebeli iyo. maT gaaCniaT unari xelSesaxeb mogonebad darCes mayurebelSi. m. SveliZis Semoqmedeba da mxatvruli memkvidreoba qarTuli Teatrisa da scenografiis istoriaSi darCeba samudamod, rogor mniSvnelovani etapi da misi Zvirfasi rusTavelis erovnuli Teatris istoriaSi more oqros xanis saxeliT.

redaqcia madlobas uxdis SoTa rusTavelis saxelobis erovnul Teatrs, griboedovis saxelobis rusul da ilia WavWavaZis saxelobis baTumis dramatul Teatrebs mowodebuli fotomasalisTvis The editorial staff is thankful to the Shota Rustaveli State Theatre, the Russian Gribordov Theatre and the Batumi Ilia Chavchavadze State Drama Theatre for providing the photo-material.

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IRAKLI MAKHARADZE

irakli maxaraZe

guruli mxedrebis ambavi THE STORY OF GURIAN RIDERS guruli mojiriTeebis Tavgadasavali bavSvobidanve mitacebda, roca guriaSi Cavdiodi xSirad mesmoda moxucebis mier moyolili istoriebi: „biZia, gurulebma amerika sunTla gadarien, mara TviTonac gadareulebi Cameviden~. SeiZleba `sunTla~ ar gadaureviaT amerika, magram erTi ram ki naRdi da udavoa _ `cxenze jiriTi rodeoSi Semoitanes TavzexelaRebulma kazakebma. kazakebis Tavbrudamxvevi triukebiT dainteresebulma

I have been fascinated by the adventures of Gurian riders since I was a child. Every time I visited Guria, I would often hear the stories told by the elderly: “Boy, the Gurians completely crazed America, but returned crazy themselves”. Maybe they did not “completely” amazed Americans, but one thing is for sure and unquestionable – “Horse riding was brought to Rodeo by rebellious Cossacks. The cowboys, interested in the dizzying tricks of the Cossacks, grabbed it and later introduced a peculiar variant to the American rodeo,” wrote Di

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qauboebma es gaiTavises da Semdgom Taviseburi varianti warmoadgines amerikul rodeoSi,~ _ werda `veluri~ dasavleTis ganTqmuli mkvlevari da istorikosi di brauni. cxenosnobis eqsperti bob ueidi adasturebs, rom rodeos monawileebma ganaviTares rusi mxedrebisgan gadmoRebuli triukebi da amiT aRagznebdnen mayurebels. cxenosani frenq dini ki aRniSnavs: `rodesac kazakebi SeerTebul StatebSi Cikagos msoflio gamofenaze Camovidnen (1893-i.m.), amerikelebma maTgan sxvadasxva ileTebi da naTeli ideebi gadmoiRes.~ rogorc irkveva, qarTveli cxenosnebis teqnikam da manamde arnaxulma triukebma misca biZgi im sayovelTao bums, rac daiwyo mTels amerikaSi. gurul mxedrebs (maT Soris xuTi qalbatoni iyo _ frida mgalobliSvili, qristine cincaZe, debi maro da barbale zaqareiSvilebi da babilina wereTeli) sxvadasxva

Brown, a renowned Western explorer and historian. The equestrian expert Bob Wade confirms that Rodeo participants developed tricks derived from Russian horsemen and thus excited the audience. The equestrian Frank Dean notes: “When the Cossacks arrived at the Chicago World Fair in the United States (1893), the Americans learned a variety of techniques and smart ideas from them.” Apparently, the techniques of Georgian riders and ever seen tricks before become the driving force for the widespread boom that was spread in all over America. The Gurian riders (there were five women among them – Frida Mgaloblishvili, Kristine Tsintsadze, sisters Maro and Barbale Zakareishvili and Babilina Tsereteli) were called Cossacks for various reasons, the most important being that our country was then part of the Russian Empire and therefore everyone was a Russian citizen. At the same time, the owners of the show reported in the press that the Gurians are from the southern part of the Russian Caucasus

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Mountains and that they belong to a large family of Cossacks, the Zaporozhians, who were immortalized by Byron in his poem “Mazeppa”; That they were personally released from the country with the permission of the Russian Tsar. They also claimed (by the way, the riders themselves) that they had received medals and orders for various battles (which, of course, was not true) and that these “battle marks” adorned their chests: “Shio Nakaidze was twice awarded for bravery By King Alexander III himself...” (The Morning Journal, May 20, 1894). There were certain persons who questioned the “Cossack” origin of the Gurians from the very beginning: the newspaper “Army and Navy Gazette“ (June 11, 1892) published a letter from an Englishman, Alex Kinloch, in which he wrote: „..When I asked them... they confessed that they were not Cossacks and that belonged to the Caucasian race, did not serve and never served in the Russian army. Their strange speech and gestures... as well as movements in dance, make me think that they are Caucasian Jews.” The newspaper “Sunday Review” (July 2, 1892): “They have nothing common with Cossacks and they belong to the Caucasian tribes from Kutaisi. Their correct name is ‘Kafkaskia Grousini’ meaning Caucasian Georgians.” However,

mizezTa gamo eZaxdnen kazakebs, umTavresi is gaxldaT rom Cveni qveyana maSin ruseTis imperiaSi Sedioda da aqedan gamomdinare yoveli misi moqalaqe rusad moiazreboda. amasTan Sous mepatroneebi presaSi avrcelebdnen informacias, rom gurulebi ruseTis kavkasiis mTebis samxreTi nawilidan arian da rom isini miekuTvnebian kazakebis did ojaxs, zaporoJielebs, romlebic ukvdavyo baironma Tavis poemaSi `mazepa~; rom isini piradad rusi mefis nebarTviT arian gamoSvebulni qveynidan. agreTve acxadebdnen (sxvaTa Soris, TviT mxedrebic), rom maT miRebuli aqvT medlebi da ordenebi sxvadasxva brZolebisTvis (rac, raRa Tqma unda, simarTles ar Seefereboda) da es `sabrZolo niSnebi~ maT mkerds um Svenebda: `Sio nakaiZe orjer iyo dajildoebuli mamacobisaTvis TviT mefe aleqsandre mesames mier...~ (The Morning Journal, 20 maisi, 1894). zogierTi Tavidanve eWvs qveS ayenebda gurulebis `kazakur~ warmomavlobas: gazeTma Army and Navy Gazette, (11 ivnisi, 1892) dabeWda ingliseli vinme Alex Kinloch-is werili, sadac igi werda: `...rodesac me maT SevekiTxe... isini gamotydnen rom kazakebi ar arian da rom miekuTvnebian kavkasiur toms, ar msaxuroben da arc msaxurobdnen rusul armiaSi. maTi ucnauri laparaki

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da Jestebi... agreTve moZraobebi cekvaSi, mafiqrebinebs rom isini kavkasieli ebraelebi arian.~ gazeTi Saturday Review (2 ivlisi, 1892 ) werda: `maT araferi saerTo ara aqvT kazakebTan, isini miekuTvnebian kavkasiur tomebs quTaisidan. maTi swori saxelia Kafkaskia Grousini _ rac niSnavs kavkasiel qarTvelebs~. Tumca am erTeul SemTxvevebs maT identifikaciaze aranairi gavlena ar mouxdenia da qarTvelebs kazakebad miiCnevdnen. rogorc irkveva, gurulebis `kazakebad~ gasaReba, ucodinarobis gamo ki ara, aramed ganzrax xdeboda, es Sous Semadgeneli nawili iyo: kazakebs sazogadoeba ase Tu ise icnobda, maTi saxeli komerciul mogebas uqadda Sous mflobelebs, qarTvelebis Sesaxeb ki aravis aranairi warmodgena ar hqonda; amis gamo gaasaRes qarTvelebi rogorc kazakebi. aseve xdeboda Sous sxva monawileTa magaliTzec: SouSi umTavresad sius tomis indielebi iRebdnen monawileobas, magram roca saWiro iyo isini xan navahos, xan qrous an sxva tomis indielebad da zogjer amerikel qauboebadac iqceodnen xolme. yvela aRmosavleli qalbatoni aucileblad `princesa~ iyo, yvela evropeli

these single cases had no effect on their identity and Georgians were considered Cossacks. As it turns out, the reason of considering Gurians as “Cossacks” was not out of ignorance, but deliberately, it was an integral part of the show: the Cossacks were known to the public in one way or another and it was commercially profitable for the owners of the show; This is the reason of naming Georgians as Cossacks. This was the common practice towards other participants of the show as well: the show was attended mainly by Indians of the Sioux tribe, but when necessary, they sometimes became Navajo, sometimes Crow or other Indians, and sometimes American cowboys. Every Eastern woman was definitely a “princess”, every European rider (English, German, French, Italian ...) was a colonel. Similar cases have been reported in other nations. Georgian cavalry did not need to play “Kazakobana” because they had such experience. The Gurians knew the Cossacks and the Russians in general for obvious reasons. According to the Georgian writer and scientist Tedo Sakhokia, in the second half of the 19th century there were about 50 families of Russian (Cossack) former soldiers in Guria, who had become Georgians, had Georgian women as wives, and the Gurians had nothing against them... One thing only is that – told me one of the

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mxedari (ingliseli, germaneli, frangi, italieli...) ki polkovniki. msgavsi SemTxvevebi dafiqsirebuli iyo sxva eris warmomadgenelTa Sorisac... qarTvel mxedrebs `kazakobanas~ TamaSi ar gasWirvebiaT, radgan saamiso gamocdileba hqondaT. gurulebi gasagebi mizezebis gamo mSvenivrad icnobdnen kazakebs da saerTod rusebs. qarTveli mwerlis da mecnieris Tedo saxokias cnobiT XIX saukunis meore naxevarSi mTel guriaSi 50-mde komli najariskacali rusi (kazaki) cxovrobda, romlebic gaqarTvelebulni iyvnen, hyavdaT colebad qarTveli qalebi da gurulebic maT ar emdurodnen. `...esaa batono _ miTxra maT Sesaxeb erTma gurulma, _ loToba uyvarT, rasac iSovnian, unda `otka~ dalion misi, Tvara sxvafer qe arian gvarianio... erTi sasacilo ambavic miambes maT Sesaxeb: sasamarTloSi mowmed dabarebuli yofila vinme nikitini... mosamarTle saqmis garCevas Seudga da dabarebul nikitins gamouZaxes. mosamarTlis winaSe warsdga Caqur tanisamosSi gamowyobili guruli. mosamarTle rusis gamosvlas moeloda da guruli rom

Gurians, – they like drinking and spend their earnings in Vodka, other than that, they are normal people. This man told me another funny story: Someone called Nikitin was summoned in the court. The judge started the review the case and called for Nikitin. A Gurian dressed in “chaqura” (traditional clothes) local appeared before the judge. The judge was waiting for the Russian to speak, and when he saw Gurian, he became angry and asked to call Nikitin. – This is, Mr. Nikitin – told him the interpreter, – he knows nothing but Georgian.” – from the memories of Tedo Sakhokia. The first Gurians arrived in Europe, particularly England, in 1892 (this year marks the 130 years’ anniversary), thanks to the famous American showman Buffalo Bill Cody, who was looking for experienced horsemen around the world and his envoys to the Russian Empire stopped only at Gurians. In London, the Gurians joined the Buffalo Bill “Wild West Show”, and in 1893 they arrived in the United States. The Gurians have been performing in the arenas of Buffalo Bill and other circuses and shows for more than 30 years under the name of “Russian Cossacks”. The appearance of the Gurians in London caused a great stir – before

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dainaxa, gajavrda, _ dauZaxeT nikitinsao. es gaxlavT, batono, nikitinio, _ moaxsena Tarjimanma, _ qarTulis meti araferi iciso.~ (Tedo saxokias mogonebebidan.) pirvelad gurulebi evropaSi, kerZod ki inglisSi, 1892 wels moxvdnen (wels saiubileo TariRia _ 130 weli), cnobili amerikeli Soumenis bafalo bil qoudis wyalobiT, romelic mTel msoflioSi eZebda gamocdil cxenosnebs da misma wargzavnilebma ruseTis imperiaSi mxolod gurulebze SeaCeres sakuTari arCevani. londonSi gurulebi SeuerTdnen bafalo bilis Wild West show _ veluri dasavleTis Sous, xolo 1893 wels ki isini aSS-Si Cavidnen. gurulebi `rusi kazakebis~ saxeliT 30 welze met xans gamodiodnen bafalo bilisa da sxva cirkebisa da Souebis arenebze. londonSi gurulebis gamoCenam didi aliaqoTi gamoiwvia

that the Cossacks had never been seen there. Of particular interest were swords and daggers, which the British thought were miniature dynamites. The English magazine “The Illustrated London News” reported (June 18, 1892): “A magnificent exhibition of international horticulture is arranged between Earl Court Station and West Brompton ...Famous military cavalrymen, led by their hitman prince Ivane Makharadze, who showcase the highest art of horse-riding... ”The impressions made by Cossacks is well evidence in the article published in “The London Serio-Comic Journal” by a lady called Suzanne Sprague, where she writes about her dream she saw in the Earl Court after the “Cossack” show. In a dream, a Cossack beats her fiancé, and kidnaps Suzanne and takes her to the steppes, where she is finally married to the charming King Mazeppa. One remarkable fact testifies to the popularity of the Cossacks – in that year the so-called Cossack attire were very popular among women, sewn like Chokha-Akhalukh.

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_ manamde kazakebi iq aravis enaxa. gansakuTrebul interess iwvevda xmal-xanjali da masrebi, romlebic ingliselebs miniaturuli dinamitebi egonaT. inglisuri Jurnali The Illustrated London News (18 ivnisi, 1892) iuwyeboda: `saerTaSoriso mebaReobis mSvenieri gamofena mowyobilia erls qorT sTeiSensa da uesT bromfTons Soris... aq kvlav saSualeba geZlevaT ixiloT bafalo bilis uaild uesTi CrdiloeT amerikis preriebidan... agreTve kazakebi ruseTis kavkasiidan, cnobili samxedro kavaleristebi, maTi hetmanis princ ivane maxaraZis xelmZRvanelobiT, romlebic warmoaCenen cxenosnobis umaRles xelovnebas...~ Tu ra STabeWdileba moaxdines `kazakebma~ ingliselebze, amas mowmobs Tundac 1892 wlis 15 ivnisis The London SerioComic Journal-Si dabeWdili vinme suzen spregis sizmari, romelic mas ezmana erl qorTSi `kazakebis~ Sous Semdeg. sizmarSi kazakma scema misi satrfo, suzeni ki moitaca

The leader of the team, Ivane Makharadze, stated in an interview (Pen & Pencil, July 16, 1892): “We like London. The train that goes underground is great and the city is big too. We know that there is a regular train, one of them is in our homeland, Batumi ... We came here to earn more money than at home, we only came here for six months ... After that we will return to our wives and children. “ The magazine “Kvali” (# 34, August 11, 1896) wrote: “Some of the men who were taken there by Lukaia (Chkhartishvili – I.M.), who had no penny at home, built houses with his help and through this way earned a living – wiped the tears from the eyes of their ever-starving children.” The story of the arrival of the Cossacks even reached the royal court of England; Soon Nate Salisbury received a message from the Queen Victoria’s stableman that her Excellency would be greatly pleased if the managers of Wild West could be able to bring the Cossacks to Windsor and display the wonderful riding. As is clear from historical

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da waiyvana stepebSi, sadac bolos igi mSvenier mefe mazepas gahyva colad. kazakebis popularulobaze erTi sayuradRebo faqtic metyvelebs _ im wels mandilosanTa Soris didi mowonebiT sargeblobda e.w. kazakuri Cacmuloba, Coxa-axaluxis msgavsad Sekerili tansacmeli. gundis lideri ivane maxaraZe interviuSi (Pen & Pencil, 16 ivlisi, 1892) acxadebda: `Cven mogvwons londoni. matarebeli miwis qveS rom dadis, es gasaocaria da qalaqic didia. Cveulebrivi matarebeli Cven viciT, erTi aseTi Cvens samSobloSia, baTumSi... Cven imitom CamovediT rom aq ufro bevr fuls viSoviT, vidre saxlSi, aq mxolod eqvsi TviT CamovediT... amis Semdeg Cvens colebs da Svilebs davubrundebiT.~ Jurnali `kvali~ (#34, 11 agvisto, 1896) werda: `bevr sawyal gurul glexs gamoaWyetina Tvalebi lukaias (CxartiSvili _ i.m.) amerikaSi mogzaurobam. zogma, lukaias mier iq wayvanilma kacebma, romelTac Sin lukma puri da arc saxl-kari

documents and books, the Queen wanted to see the show only for the sake of the Cossacks, whom she adored for the rest of her life. On June 25, 1892, the Gurians, led by Prince Ivan Makharadze (‘prince’ – meant nobleman in England and the leaders of other teams were named such way despite their origin, to attract the interest of the audience) went to Windsor and performed a ride before the Royal family. During the performance, Prince Henry asked his mother, Queen Victoria, in German: “Mother, do you think they are real Cossacks?” The show’s manager, Nate Salisbury, replied: “Pardon me, Sir, but what and who you see here, all is real”. How could the Queen imagine that instead of the Russian Cossacks, ordinary peasants from Bakhvi and Lanchkhuti were riding before her. This was not the first encounter of the Queen and the Gurians. It is known that in early 60s of the XIX century in London, the Prince Dimitri Kaikhosro Gurieli was invited by Queen Victoria to a dinner, where Gurieli was dressed in national clothes and attracted the attention of the public. The Queen was so pleased with this spectacular show that,

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moeZeodaT, misi SemweobiT da gzis gaswavlebiT saxlkaric aiSenes, lukma-puric iSovnes da mudam SimSilisgan mtiral bavSvebs cremli SeuSres Tvalebze.~ kazakebis Camosvlis ambavma inglisis samefo karamdec miaRwia; sul male neiT solsberim Setyobineba miiRo dedofal viqtorias mejinibeTuxucesisgan imis Taobaze, rom misi aRmatebuleba didad nasiamovnebi iqneba, Tu `uaild uesTis~ menejerebi moaxerxeben kazakebis Cayvanas uinZorSi da mSvenieri jiriTis Cvenebas. rogorc istoriuli dokumentebidan da wignebidan irkveva, Sous naxva dedofals mxolod da mxolod kazakebis gulisTvis undoda, romelTa Tayvanismcemeli sicocxlis bolomde iyo. 1892 wlis 25 ivniss gurulebma princi ivane maxaraZis TavkacobiT (prince /ingl./-Tavadi. ase moixseniebdnen sxva gundebis meTaurebsac, miuxedavad imisa, Tu ra warmomavloba hqondaT, es keTdeboda mayurebelTa interesis gasaRviveblad) uinZorSi dedoflis, misi Svilebisa da warCinebul pirTa winaSe ijiriTes. warmodgenis dros princi henri dedas, dedofal

viqtorias, germanulad SeekiTxa: `deda, Tqven fiqrobT rom isini namdvili kazakebi arian?~ iqve mdgomma Sous menejerma neiT solsberim princs upasuxa: `momiteveT, ser, magram rasac da visac aq xedavT, yvelaferi naRdia.~ ra icoda misma aRmatebulebam, rom rusi kazakebis magivrad mis winaSe ubralo baxveli da lanCxuTeli glexebi jiriTobdnen. es dedoflisa da gurulebis pirveli Sexvedra ar yofila. cnobilia, rom XIX saukunis 60-iani wlebis dasawyisSi londonSi imyofeboda Tavadi dimitri qaixosros Ze gurieli, romelic dedofalma viqtoriam miiwvia sadilze, sadac erovnul tansacmelSi gamowyobil guriels sazogadoebis yuradReba miuqcevia. dedofali imdenad nasiamovnebi darCa am sanaxaobiT, rom rogorc TviTmxilvelebi iuwyebodnen, gurulebs gadasca maTive fotosuraTebiT savse movarayebuli albomi (arsebobda cnoba, rom TiTqos es albomi ivane ma xaraZis ojaxSi inaxeboda da rogorc amboben, 1917 wels mis amerikul yaidaze aSenebul saxlSi gaCenili xanZris dros daiwva), madloba gamoucxada, xolo inglisis sazogadoebam 20 000 kacis mier xelmowerili qebisa da

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madlobis adresi Seadgina qarTvelTa sapativsacemod. rusuli gazeTi `Московские Ведомости“ (25 ivnisi, 1892) iuwyeboda, rom `kavkasiel kazakebs (sxva nomerSi gazeTi maT `gurul kazakebs~ uwodebs _ i.m.), romlebic axla imyofebian londonSi polkovnik qoudis xelmZRvanelobiT, britaneli mayurebeli Zalze gulTbilad xvdeba. dRes isini gamoZaxebulni iyvnen uinZorSi, sadac dedoflis winaSe ijiriTes.~ imave wlis 5 ivlisis nomerSi gazeTi werda, rom ingliseli `qronikiori (asea teqstSi _ i.m.) aRwers maT STambeWdav garegnobas, maT cekvebsa da melanqoliur simRerebs, romlebic mSvenieria da iseTive STabeWdilebas axdens, TiTqos simRerebs soflis gundebi asruleben rusul stepebSi~. gazeTi iqve gulistkiviliT dasZens: `da amas amboben qarTul simRerebze! ra cota ram ician evropaSi ruseTsa da rusebze~.

according to eyewitnesses, she handed over an album full of photos of the show to Gurians (there was a rumor that this album was kept in the family of Ivane Makharadze and it is said to have been burned during the fire of his house built in American style in 1917), thanks to which the English public wrote an address of praise and thanksgiving signed by 20,000 people in honor of the Georgians. The Russian newspaper “Московские Ведомости” (June 25, 1892) reported that the “Caucasian Cossacks (in another issue of the newspaper mentioned as “Gurian Cossacks “) leaded by colonel Cody in London, are warmly met by the British audience. Today they were summoned to Windsor, where they were riding before the Queen. It makes the same impression as if the songs are performed by village choirs in the Russian steppes.” The newspaper’s article ends with – “And they say this about Georgian songs! They know very little about Russia and the Russians in Europe.”

(gagrZeleba iqneba)

(To Be Continued)

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NUKRI MCHEDLISHVILI

nukri mWedliSvili

zneni

qarTvelTa mxedruli kodeqsi

ZNENI – Military Code of Georgians

sxva uamrav saganZurTan erTad, romelic qarTvelTa winaparma STamomavlobas dautova, erovnuli ieris ganmsazRvreli Cveulebebia, romlebic qarTveli kacis erovnul saxes qmnian. es saukuneTa qartexilebSi gamocdili da gamobrZmedili qcevis wesebia, romlebmac didi roli iTamaSes Cveni qveynis gadarCenis saqmeSi. mudmivad uzarmazari imperiebis garemocvaSi yofnam qarTveloba aiZula yoveldRiuri yofa-cxovreba da zneoba samxedro wesebisTvis moergo. swored amis gamo qarTvelTa Cveulebebi, ukve uZveles droSi, mxedruli kodeqsis saxiT Camoyalibda da yvela qarTvelisTvis umkacres kanonad iqca. am kodeqss efuZneba, uZvelesi droidan, qarTvelTa zneoba da is gansazRvravs TiToeuli qarTvelis qcevas. qarTvelTa mxedrul kodeqss zneni anu zneobani ewodeba da tradiciis mixedviT 365 zne-saqciels aerTianebs. `zneni~ saqarTveloSi uZvelesi droidan moqmedebs rogorc dawerili, ise dauwereli kanonis saxiT. is, Zvel saqarTveloSi, upirveles yovlisa, sakuTari Tavis imedad myofi damoukidebeli pirovnebis da meomris aRzrdas emsaxureboda, romlis umTavresi mizani RvTisa da mamulis samsaxuri iyo. `zneni~ qarTvelTa Seupovrobis ganmsazRvreli kanoni, qarTvelTa erovnuli ideologiaa. znenis wes-Cveulebebis upirvelesi wyaro xalxuri adaTia, romelic manamde krebda da amuSavebda qcevis wesebs vidre qarTveli werilobiT daiwyebda mis aRweras. xalxurma tradiciam znenis wesebis Senaxva-gafrTxileba mas Semdegac gaagrZela, rac qarTvelma pirveli wigni dawera. qarTul wyaroebSi gadmocemebi zneobis kodeqsisa, Tu misi calkeul zne-saqcielTa Sesaxeb uZvelesi droidan gvxvdeba. mis Sesaxeb cnobas gvawvdis rogorc `qarTlis cxovreba~, ise sxva saistorio nawarmoebebi. mniSvnelovani cnobebia Semonaxuli hagiografiul ZeglebSi romlebic meoTxe-mexuTe saukuneebidan moyolebuli znenis araerTi wesis Sesaxeb gvawvdian cnobas. znenis Sesaxeb informacia Semonaxulia, rogorc oqros xanis werilobiT ZeglebSi,

Among the many treasures left by the Georgian ancestors to their descendants are the customs that define the national look, which create the national image of a Georgian man. These are the rules of behavior experienced and challenged in whirligig of centuries, that played an important role in the survival of our country. Being constantly surrounded by the greatest empires forced Georgians to adapt daily life and morals to the military rules. That is why the customs of Georgians, in ancient times, were established in the form of a military code and became the strictest law for all Georgians. This code is based on the morals from ancient times and it determines the behavior of each Georgian. The military code of Georgians is called Zneni, i.e. morals and according to the tradition it combines 365 moral-behaviors. Zneni has been enforced in Georgia since the ancient times in the form of both written and unwritten law. In ancient Georgia, it primarily served to raise an independent person and warrior who hoped for himself,

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ise XVII-XVIII saukuneebis, saqarTvelosTvis umZimesi periodis werilobiT wyaroebSi. qarTvelTa mxedruli kodeqsis wesebis Sesaxeb mdidari informaciaa Senaxuli: Teimuraz pirvelis, arCilis, vaxtang meeqvsis, vaxuSti batoniSvilis, Teimuraz meoris, daviT guramiSvilis, ioane batoniSvilis, vaxuSti batoniSvilis da sxva avtorTa mier datovebul memkvidreobaSi. miuxedavad wyaroTa simravlisa, ramdenime qarTul wyaros gansakuTrebuli adgili uWiravs. maT Soris umniSvnelovanesia SoTa rusTavelis „vefxistyaosani“. SeiZleba iTqvas, rom `vefxistyaosnisgan~ gansxvavebiT mefe arCili, vaxuSti batoniSvili da Teimuraz meore qarTul zneobaTa wesebs mcire `ubis wignakis~ saxes aZleven. garda amisa mefe arCilis `saqarTvelos zneobani~, vaxuSti batoniSvilis `zneni da Cveulebani saqarTvelosani~ da Teimuraz meoris `dRisa da Ramis gabaaseba~ qarTuli zneobis saxelmZRvaneloa, rac erTiorad zrdis maT mniSvnelobas. mefe arCils da vaxuSti batoniSvils saTaurSi mxedruli kodeqsis sxvadasxva saxelwodeba aqvT gamotanili. arCilisTvis is aris `zneobani~, vaxuSti batoniSvilisTvis ki _ `zneni~. amave SinaarsiT iyenebs termin `znenis~, eqvsi saukuniT adre, SoTa rusTaveli. `vefxistyaosanSi~ xazgasmiT aris naTqvami, rom nawarmoebis mizani iyo aRewera: `pirvel zneni da saqmeni~. SoTas sityviT Tu erTi adamiani meores wesis mixedviT moeqca es niSnavs imas, rom man `uqna zneni~. nawarmoebis erTi gmiri meores Rirseul saqciels am sityvebiT uwonebs: `Sen zneni gamogCenian~. mefe giorgi mesamis prototipi rostevani ganicdis, rom

whose main goal was to serve the God and the country. Zneni is the national ideology and the defining law of Georgians. The primary source of Zneni’s laws is a folk custom, which collected and formed the rules of conduct before Georgians began to describe it in writing. The folk tradition of keeping the rules of Zneni continued even after the Georgian wrote the first book about it. In Georgian sources, narrations about the Code of Morality or its separate moral behaviors can be found from ancient times. “Kartlis Tskhovreba” and other historical works provide this information. Important facts are preserved in the hagiographic monuments which give us information about a number of rules of Znen from the 4th-5th centuries. Information about Zneni is preserved both in the written monuments of the Golden Age and in the written sources of the XVIIXVIII centuries, the most difficult period for Georgia. The rich information about the rules of the Georgian Military Code is preserved in the legacy left by Teimuraz I, Archil, Vakhtang VI, Vakhushti Batonishvili, Teimuraz II, Davit Guramishvili, Ioane Batonishvili, Vakhushti Batonishvili and other authors. Despite the richness of sources, several Georgian sources occupy a special place. The most important of them is Shota Rustaveli’s “Vepkhiskaosani” (‘Knight in the Panther’s Skin’), unlike of which, King Archil, Vakhushti Batonishvili and Teimuraz II give the rules of Georgian morality a form of a pocket book – ‘Ubis tsignaki’. In addition, King Archil’s “Georgian Morals”, Vakhushti Batonishvili’s “Morals and Customs of Georgia” and Teimuraz II’s “Day and Night Exhaustion” are the guidelines of Georgian morality, which doubles their importance. King Archil and Vakhushti Batonishvili have different titles of the Military Code in the title. For Archil it is `Zneobani`, for Vakhushti Batonishvili – `Zneni`. Shota Rustaveli uses the term `Zneni` with the same content, six centuries erlier. In “Vepkhistkaosani” it is emphasized that the aim of the work was to describe: “The first zneni and deeds”. According to Shota, if one person behaved according to another rule, it means that he “had Zneni”. One of the protagonists of the work praises the decent behavior of the other with these words: “You’ve showed your zneni”. Rostevan, the prototype of King George III, worried that he stays without heir “to teach him the brave Zneni”. Shota also points out that those who do not possess all the necessary morals for a person in love are “lacking in beloved morality”. In his work, Vakhushti Batonishvili dedicated a special chapter to “Zneni and customs of Georgians” as the most important aspect of Georgian national identity. Also of special importance is the textbook created by King Archil, which he restored in the 17th century on the basis of the older one. King Archil tells us that in his time, a “qualityto-degree” textbook on morality became a rarity, and because of this the king-poet updated the textbook of Georgian morality under the name of “Georgian Morals”. Archil also mentions the number of moral rules included in Zneni: “In Georgia they say three hundred and sixty-five”. The steps taken by Archil and his subsequent figures above to restore “Zneni” textbook were not accidental. Georgia had the hardest

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mis Semdeg veravin rCeba iseTi, visac misgan: `eswavlnes samamaconi znenia~. SoTa aseve aRniSnavs, rom vinc Seyvarebuli adamianisTvis savaldebulo yvela Rirsebas ar flobs mas `aklia mijnurT zneoba~. vaxuSti batoniSvilma sakuTar naSromSi calke Tavad gamoyo `zneni da Cveulebani saqarTvelosani~, rogorc qarTvelTa erovnuli saxis ganmsazRvreli umniSvnelovanesi mxare. aseve gansakuTrebuli mniSvneloba aqvs mefe arCilis mier Seqmnil saxelmZRvanelos, romelic mas, XVII saukuneSi, Zvelis safuZvelze, aRudgenia. mefe arCili gadmogvcems, rom mis dros, `xarisx-xarisx amvleli~ zneobis Semswavleli saxelmZRvanelo iSviaToba gamxdara da amis gamo mefe-poets qarTul zneobaTa saxelmZRvanelo `saqarTvelos zneobanis~ saxeliT ganuaxlebia. arCili aseve axsenebs znenSi Semaval zneobis wesebis raodenobas: `saqarTveloSi ityvian samas samocdaxuTsao~. arCilisa da zemoT CamoTvlili misi Semdgomi moRvaweebis mier znenis saxelmZRvanelos aRdgenis mimarTulebiT gadadgmuli nabijebi SemTxveviTi ar iyo. im drois saqarTvelos umZimesi XVII saukune hqonda gamovlili. ori didi imperiis, osmaleTisa da sparseTis erTdroulad moZalebam, mZime daRi daasva qarTvelTa zneobas da am fonze bunebrivi iyo qarTvel mamuliSvilTa SeSfoTeba. ase xdeboda saqarTvelos istoriis nebismier etapze. rogorc ki safrTxe daemuqreboda qarTvelTa zneobas da gaCndeboda `znenis~ ama Tu im wes-Cveulebis mtkiced dacvis aucilebloba. es maSinve xdeboda upirvelesi safiqrali im droebis mowinave qarTvelebisTvis. maT unda SeexsenebinaT qarTvelebisTvis znenis wesebi da gansakuTrebiT is wesebisa, romlebic im droebisTvis iyo upirvelesad gamosadegi da saWiro. amitom sTxovs, ruseTis imperiis marwuxebSi moxvedril saqarTveloSi, ilia WavWavaZe axal droebas da im Jamis qarTvelobas, rom iaraRad gaixados: `droTa Sesaferi samamaconi znenia~. zneni qarTvels upirveles yovlisa avalebs: RvTisa da mamulis samsaxurs, qarTuli enisa da wera-kiTxvis codnas. garda amisa znenSi calke dargebad Sedis: mxedrobamamacobis zneoba, stumar-maspinZlobis zneoba, ufrosumcrosobis zneoba, mter-moyvareobis zneoba, naTesaobamegobrobis zneoba, Wir-lxinis zneoba, pur-Rvinis zneoba, Sroma-dasvenebis zneoba da a.S. `znenis~ Camoyalibebis mizezi saqarTvelos gansacdeliT savse istoria gaxda. uzarmazari imperiebiT garSemortymul qarTvelTa saxelmwifos gauWirdeboda arsebobis SenarCuneba Tu mTeli eri erT samxedro bankad ar Seikvreboda. man CvenSi `qudze kacad~ daZaxebis tradicia gaaCina, rac yvela qudosnis mudmiv mxedrul mzadyofnas niSnavda. ramdeni qudosanic iyo imdeni meomari hyavda qveyanas. saqarTveloSi `qudze kacs~ arc

XVII century of that time. The simultaneous violence of the two great empires, the Ottomans and the Persians, severely damaged the moral customs of the Georgians, and against this background the concern of the Georgian patriots was natural. This has been happening at any stage of Georgian history. As soon as the morality of the Georgians was threatened, the need arose to firmly adhere to different customs of “Zneni”. This immediately became the first thought for the advanced Georgians of that time. They had to explain to the Georgians the rules of morality and especially the rules that were first and foremost useful and necessary at that time. That is why Ilia Chavchavadze asks Georgia and Georgians of that time, in the grip of the Russian Empire, to use “the valiant rules suitable for that time”. Zneni instructs Georgians first of all: service to God and the homeland, knowledge of the Georgian language and literacy. In addition to Zneni, there are separate disciplines: the morality of military-courage, the morality of hospitality, the morality of seniority and inferiority, the morality of enemy and neighbor, the morality of kinship-friendship, the morality of plague, the morality of bread-wine, the morality of work and leisure. The reason for the formation of “Zneni” became the history of Georgia through the ordeal. The Georgian state, surrounded by empires, would find it difficult to survive if the entire nation were not united into a single military bank. This instilled in us the tradition of being called “the man in the hat”, which meant the constant military readiness of all men. The more “man in hat” there were, the more

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`Tavsafriani dedakacebi~ CamorCebodnen. aseTi mxedruli SemarTebis wyalobiT qarTvelTa qveyana erT did cixesimagres warmoadgenda. swored amitom verasdros, vercerT saukuneSi, veravin SeZlo am `cixis~ yvela `burjis~ dakaveba da mTeli saqarTvelos damorCileba. samSoblos sadarajoze qudze kacad gamomsvlel laSqars aucileblad sWirdeboda mxedruli kodeqsi, anu wesCveulebaTa mtkice kanoni _ qarTvelobis rjuli, romelic ufro mowesrigebuls gaxdida erovnul mravalaTaswlovan samamulo oms. am niadagze yalibdeba znenis `rjulis kanoni~, romelic qarTvelisgan, mxolod brZolis velze ar iTxovda `qudze kacobas~. `qudze kacoba~ niSnavda nebismieri saqmianobiT mudmiv brZolas RvTisa da mamulisaTvis. brZolas qarTuli saxelmwifoebriobisa da qarTvelobis gadasarCenad. qarTveli erTdroulad unda yofiliyo, mwignobari, mxvnel-mTesveli, cixesimagreTa mSenebeli da mamulis damcveli meomari. TviT RvTismsaxurebic ki, rogorc wesi, aramWreli sabrZolo iaraRiT, `qudze kacad~ dgebodnen qarTuli jaris rigebSi, radgan qarTvelobis jvari iTxovda amas. saqarTvelos Zlierebis xanaSic ki, yvela didsa Tu mcire omSi `qudze kaci~ qarTuli jaris umniSvnelovanes nawils warmoadgenda. `znenis~ mxedruli kodeqsis dacvis wyalobiT `qudze kaci~ ostatobiT didad ar Camouvardeboda regularuli armiis mebrZols. ukiduresi gansacdeli Jams, ara Tu mamakacebi, qalebic gamodiodnen saomrad, amitom znenis mixedviT qalebis mxedruli wvrTnac iyo gaTvaliswinebuli. miuxedavad imisa, rom qarTvelTa mxedrul kodeqsSi Semaval zneobaTa TiToeuli dargia mniSvnelovani, maT Soris sami zneoba warmoadgens znenis xerxemals, swored am sami zneobis mtkiced dacviT SeZles Cvenma winaprebma qarTvelobisa da saxelmwifoebriobis SenarCuneba. 1. pirveli iyo `mxedruli mzadyofnis zneoba~, romelic

warriors the country had. In Georgia, “man in hat” and “woman with kerchief” protected the country. Thanks to such a military attitude, the country of Georgians was one of the great fortresses. That is why no one has ever been able to capture all the “pillars” of this “castle” and subdue this country. The army guarding the homeland as a man in a hat definitely needed a military code, or a firm law of customs – the law of Georgia, which would have made the national multi-millennial patriotic war more orderly. On this ground, Zneni’s “law of faith” was formed, which meant to defend country not only on the battlefield, but a constant struggle for God and the land in any activity – the struggle to save Georgian statehood and people. “Man in hat” had to be a bibliophile, a plowman, a builder of fortresses and a warrior at a time, defending his homeland. Even the worshipers themselves, as a rule, stood in the ranks of the Georgian army with non-lethal weapons as “man in hat”, because the Georgian mission demanded it. Even in the era of Georgian renaissance, in all wars, big or small, the “man in hat” was the most important part of the Georgian army. Thanks to the observance of the “Zneni” military code, the “man in hat” skillfully did not fall far short of a regular army fighter. In times of extreme hardship, not only men but also women went out to war, so according to Zneni, women’s military training was also provided. Although each field of morality included in the Georgian Military Code is important, including the three morals that are the backbone of morality, it is by firmly adhering to these three morals that our ancestors were able to preserve Georgian people and statehood. 1. The first was the “morality of military readiness”, which required

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TiToeuli qarTvelisgan moiTxovda mudmiv mxedrul mzadyofnas, rac gamoixateboda dauRalav wvrTnasa da varjiSSi. am zneobis mtkiced dacvis wyalobiT usastikesi TavdacviTi omiT, saukuneTa qartexilebSi, Rirseulad gamoatares qarTvelebma sakuTari saxelmwifo. 2. meore iyo `Sromis zneoba~ da masTan dakavSirebuli Cveulebebi, romelzec aris dafuZnebuli saxelmwifos ekonomikuri siZliere. xvna-Tesva, sameurneo da sabrZolo iaraRis Wedva, mesaqonleoba, cixe-simagreTa da salocavTa mSeneblobis xelovneba. Sromis es dargebi erTnairad mniSvnelovani iyo Zvel saqarTveloSi. qarTveli dauRalavad Sromobda, da amis wyalobiT gamoulevlad hqonda Wir-naxuli da misi dacvisTvis Seqmnili gamagrebuli adgilebi. amitom ver SeZlo mterma qarTvelTa gatexva da sxva qveynebSi Tavis sarCenad saSovarze garekva. 3. qarTul zneobaTagan mesame da umTavresi iyo saRmrTo rwmenis zneoba, romlis safuZvels warmoadgenda suliereba da wignieri ganaTleba. locvad idga mTeli qveyana, eri da beri. dauRalavad qmnida qarTvelis kalami sasuliero, saero da istoriografiul naSromebs. es yvelaferi ki ers rjulis simtkicisa da istoriuli mexsierebis SenarCunebaSi exmareboda. saxareba, `qarTlis cxovreba~ da `vefxistyaosani~ gvirgvinad edga qarTvelTa sulierebas da wignierebas. wignis ZaliT ibrZoda qarTveli da ar aZlevda mters nakvalevis waSlis uflebas. swored am sami mTavari mimarTulebis ganmtkicebas emsaxureboda da dResac emsaxureba qarTvelTa mxedruli kodeqsi _ zneni, rogorc qarTuli rjulis zneobrivi kanoni da qarTvelTa Rirsebis kodeqsi.

constant military readiness from every Georgian, which was manifested in tireless training and exercises. Thanks to the strong defense of this morality, the Georgians held their own state with dignity in a brutal defensive war in the whirligig of the centuries. 2. The second was “labor ethics” and related customs, on which the economic strength of the state is based. Plowing, sowing of agricultural and military weapons, cattle breeding, the art of building castles and shrines. These fields of labor were equally important in ancient Georgia. The Georgians worked tirelessly, and thanks to this they had wasteless supplies and fortified places created for protection. For this very reason, the enemy could not break the Georgians and force them leave their homeland. 3. The third and most important of the Georgian morals was the morality of the divine faith, which was based on spirituality and literal education. The whole country, statesmen and clergy stood in prayer. Georgian pen tirelessly created religious, secular and historiographical works. All this helped the nation to maintain the rule of law and historical memory. The Gospels, `Life of Kartli` and` Vepkhistkaosani` were closely related to the spirituality and literacy of Georgians. The Georgian fought by force of the book and did not allow the enemy to erase the footprints. It was these three main directions that served to strengthen and still serve the Georgian Military Code – Zneni, as the moral law and the Code of Dignity of Georgians.

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