anTropologiuri kvlevani

anTropologiuri kvlevaniAnthropological ResearchesITbilisi2010

UDC(uak)572(051.2)a-655saqarTvelos anTropologTa asociaciis krebuli gankuTvniliaspecialistTa da dainteresebuli sazogadoebisfarTo wrisTvis.The Collected Articles of the Association of Georgian Anthroppologistsis dedicaced to a wide readership, experts and students concerned withanthropology.redaqtorebi:prof. nino abakeliaprof. qeTevan xuciSvilipasuxismgebeli mdivnebi:ist. doqt. q. alaverdaSviliist. doqt. manuCar loriasaredaqcio kolegia:ist. mecn. doqt. nunu mindaZeprof. nugzar mgelaZeprof. TinaTin RuduSaurirecenzentebi:ist. doqt. xaTuna ioselianiist. mecn. doqt.nodar SoSitaiSviliJurnalis ydis dizaini:kote iantbeliZeEditors:Prof. Nino AbakeliaProf. Ketevan KhutsishviliResponsible secretary:Doctor of Historical Sciences:Ketevan AlaverdashviliDoctor of Histporical Sciences:Manuchar LoriaEditorial Board:Dr. Nunu MindadzeProf. Nugzar MgeladzeProf. Tinatin GhudushauriReviewers:Doctor of History:Khatuna IoselianiDoctor of historical Sciences:Nodar ShoshitaishviliThe design of the cover:Kote Iantbelidze© saqarTvelos anTropologta asociacia, 2010gamomcemloba “universali”, 2010yvela ufleba daculia.All rights reserved.ISSN 1987-8338

elke kami, qalebi da Rirseba saqarTveloSi(marburgi,Ggermania)...................................................................................................... 88Elke Kamm, Women and honour in Georgia (Marburg, Germany) ............. 83vizualuri anTropologiaVISUAL ANTHROPOLOGYmanuCar loria, anTropologiuri filmis velzegadaRebis Taviseburebani....................................................................................... 89Manuchar Loria, The Peculiarities of Field-shooting of anAnthropological Film.............................................................................................................. 94istoriuli anTropologiaHISTORICAL ANTHROPOLOGYgujejiani rozeta, tradiciuli qarTuli mentalobisistoriidan (“mefe” qarTvel mTielTa cnobierebaSi)............... 95Gujejiani Rozetta, From the History of Traditional Georgian Mentality(“King” in the Consciousness of Georgian Mountaineers).................................... 107patariZe lela, teritoriuli da kulturuliidentobebi gaqristianebis konteqstSi.................................................... 109Pataridze Lela, Territorial and Cultural identities in the Contextof Christianization..................................................................................................................... 133musikaluri anTropologiaMUSICAL ANTHROPOLOGYqavTaraZe marina, pirovnebis TviTidentifikaciisproblema dimitri SostakoviCis SemoqmedebaSi.............................. 134Kavtaradze Marina, The Problem of Self-identification of Personalityin Dimitri Shostakovich’s Creative Works.................................................................... 142SilakaZe manana, eTnomusikologiis definiciisaTvis.............. 143Silakadze Manana, Towards the Definition of Ethnomusicology..................... 156politikuri anTropologiaPOLITICAL ANTHROPOLOGYbaTiaSvili nuca, istoriis Zala da simboluriformebi: saqarTvelos “revoluciuripolitika” (vaSingtoni, aSS)................................................................................ 172Batiashvili Nutsa, Power of History and Symbolic Forms:Georgia’s “Revolutionary” politics (Washington, USA)......................................... 157

Stefan foeli, CveulebiTi samarTali qvemo qarTlissvanur soflebSi (marburgi, germania)...................................................... 177Stephane Voell, Practice of Traditional Law in Svan Villages inKvemo Kartli, Georgia (Marburg, Germany)............................................................... 172religiuri anTropologiaRELIGIOUS ANTHROPOLOGYabakelia nino, sartyeli – balTa kompleqsis sakultoda kosmologiuri ganzomilebisaTvis qarTulmiTo-ritualur sistemaSi..................................................................................... 178Abakelia Nino, On the Cultic and Cosmic Dimensions of the Belt-BuckleComplex in Georgian Mythic-Ritual System............................................................... 188alaverdaSvili qeTevani, ritualuri ferxulebissimbolikis Seswavlis sakiTxisaTvis........................................................ 193Alaverdashvili Ketevani, Towards the Investigation of RitualRound-dance Symbolism...................................................................................................... 211gociriZe giorgi, “jadosnuri sarke” (qarTulieTnografiuli masalis mixedviT)................................................................. 212Gotsiridze Giorgi, “Magic Mirror” (According to GeorgianEthnographic Field Data)...................................................................................................... 223skiama lidia, veneciuri zedsaxelebi dakarnavaluri kultura.............................................................................................. 236Sciama Lidia, Venetian Nicknames and the CarnivalCulture (Oxford, UK)............................................................................................................ 224Ciqovani vaxtangi, mTiuluri saxlis interierissimboluri organizaciis daxasiaTebisaTvis.................................... 237Chikovani Vakhtangi, Symbolic Organization of Space inthe Interor of a Mtiuletian House....................................................................................... 247samedicino anTropologiaMEDICAL ANTHROPOGYmindaZe nino, qarTuli tradiciuli samedicinokulturis anTropologiuri kvleva saqarTveloSi................... 248Mindadze Nino, Anthropological Study of Georgian Traditional

John Hill, Home: the Making or Breaking of the Heart (Translationand afterword by Nino Ghambashidze)........................................................................ 322xsovnaIN MEMPRIAM“lela patariZe – SemoqmedebiTi gza daramdenime Strixi portretisTvis”............................................................... 323“Lela Pataridze – creative development and somestrokes for the Portrait of the Scientist............................................................................ 323soso WanturiSvili...................................................................................................... 330Soso Chanurishvili.................................................................................................................... 330Tina oCiauri........................................................................................................................ 333Tina Ochiauri.............................................................................................................................. 333manana SilakaZe.................................................................................................................. 335Manana Shilakadze.................................................................................................................. 335

winasityvaobawinamdebare krebuli saqarTvelos anTropologTa asociaciispirveli perioduli gamocemaa, romelic miznad isaxavsfarTo mkiTxvels, eqspertebsa da studentebs gaacnos axaliideebi da midgomebi kulturul anTropologiaSi saqarTvelosada mis farglebs gareT.saqarTvelos anTropologTa asociacia 2010 wels dafuZnda.misi mizani kvleviTi, analitikuri da saswavlo saqmianobaa.asociacia gegmavs seminarebis, diskusiebis, konfernciebismowyobas, iseve rogorc, sagamomcemlo da mTargmnelobiT saqmianobas.Aasociaciis egidiT ukve Catarda saerTaSoriso regionaluriseminari: ànTropologiuri midgomebi religiisada sekularizmis kvlevisas~. winamdebare krebuli momavalSisaqarTvelos anTropologTa asociaciis saangariSo gamocemadgvesaxeba. SevecdebiT masSi aisaxos dargis ganviTarebaSimimdinare ZiriTadi tendenciebi Tematuri Tu meTodologiuriTvalsazrisiT.krebulis SedgenaSi monawileba miiRo sxvadasxva qveynismecnierma da, Sesabamisad, erTmaneTis gverdigverd Tematuraddalagda qarTvel da ucxoel mkvlevarTa naSromebi, romel-Tac gansazRvres krebulis struqtura. warmodgenili statiebiganawilebulia qvesaTaurebis mixedviT, rac naTlad aCvenebskulturuli anTropologiis rogorc dargis mravalmxrivobasada holizms.amgvarad, krebuli anTropologiis qvedargebis mixedvi-Taa agebuli. zogi maTgani siaxlea qarTuli samecniero sivrcisaTvis,zog sferoSi ki didi xania saintereso kvlevebiwarmoebs da garkveuli miRwevebic arsebobs. terminologiuriTvalsazrisiT, bevri ram SeiZleba ucxo iyos qarTveli mkiTxvelisaTvis,magram migvaCnia, rom qarTuli anTropologiuri(eTnologiuri) skolis ganviTarebis mimdinare etapi TavadmoiTxovs mimdinare kvlevebisaTvis msoflioSi ukve aprobirebulida aRiarebuli terminebisa da saxelwodebebis mimoqcevaSiSemotanasa da damkvidrebas. vfiqrobT qarTveli mkiTxvelisaTvissaintereso iqneba genderuli, vizualuri, istoriuli,musikaluri, politikuri, religiis, samedicino da xelovnebisanTropologis sakiTxebi, iseve rogorc gamoCenilanTropologTa biografiebi, axali Targmanebi Tu naSromebismimoxilva.krebuli iwyeba statiiT `qarTuli anTropologiuri (eTnologiuri)skolis istoria~ (q. xuciSvili) masSi naCvenebia9

saqarTveloSi mimdinare procesebi, romlebic analogiuriiyo dasavleT evropaSi mimdinare procesebisa. aseve, naCvenebiaTu rogor xdeboda TandaTan sakvlevi Tematikis ganviTarebada rogor daiwyo saqarTveloSi gamokveTili, mkafio me-Todikis gansazRvriT damoukidebeli skolis formireba daganviTareba.statias “ramodenime Strixi oqsfordis samecniero cxovrebisTaviseburebaze” (n.abakelia), qarTuli realiidan gadavyavarTbritanul (kerZod, oqsfordul) samecniero cxovreba-Si. statiaSi gaSuqebulia ori araformaluri mimdinareobis(“inqlingebisa” da genderul sakiTxebze momuSave oqsfordelmecnier-qalTa jgufis) samecniero cxovreba. naCvenebia, Turogor Caisaxa mamakaci mecnierebiT orientirebul oqsfordSi,erTgvari gamowvevis saxiT mecnier-qalTa moZraoba, romelicsaboolod oqsfordis universitetis genderuli kvleviscentrad Camoyalibda.qveTavi, romelic anTropologiur biografiebs moicavs,amerikuli anTropologiis fuZemdeblis franc boasisa (n.mgelaZe) da kliford gircis (T. RuduSauri) interepretaciulianTropologiasTan dakavSirebul sakiTxebs exeba da specialistebisgarda, alabaT, gansakuTrebiT saintereso damniSvnelovani studentebisaTvis iqneba.genderuli anTropologiis qvesaTauris qveS, statiaSi`qalTaAganaTleba meCeTSi, qalTa gaunaTlebloba da sulisgadasarCeni simRerebi: Cinel Hui mulslim qalebSi, romelTacaxsovT Jingge axsovT istoria~ (m. jeSoki) ganxilulia CinuriyofisTvis damaxasiaTebeli da farTo sazogadoebisTvis naklebadcnobili Cineli qalebisaTvis gankuTvnili unikalurimuslimuri instituti _ qalTa meCeTebi, romelnic 17 saukunidanmoyolebuli araformaluri ganaTlebiT uzrunvelyofdamuslim qalebs. naCvenebia Tu rogor gamoiyeneba ganaTleba,rogorc koleqtiuri eTno-religiuri identobis erTgvari sakomunikacioarxi da ideebis gadacemis saSualeba socialurda, aseve genderul urTierTobebSi da sxv.amave qvesaTauris qveSaa moqceuli statia, romelic exebaqalebis Rirsebis gagebas saqarTveloSi (e.kami). statiaSimkvlevari konkretul eTnografiul masalaze dayrdnobiTcdilobs gamokveTos wes-CveulebaTa myari sistema, romelicRirsebisa da sircxvilis aRqmas exeba.vizualuri anTropologiis qvesaTauris qveS, statiaSi“anTropologiuri filmis velze gadaRebis Taviseburebani”(m. loria) meTodologiuri eqskursis Semdeg, naCvenebia Tu10

a mniSvneloba aqvs eTnografiuli informaciis mopovebas dameTodologias (savele samuSaoebis sworad dagegmvas, SemoqmedebiTwevrebs Soris funqciaTa ganawilebas, filmis realurdroSi gadaRebas, gadaRebisas koncefciis SemuSavebasda montaJis process) anTropologiuri filmisaTvis.istoriuli anTropologiis qvesaTauris qveS, statiaSi“tradiciuli qarTuli mentalobis istoriidan (“mefe qar-Tvel mTielTa cnobierebaSi”) (r. gujejiani) ganxilulia Turogor da ratom fokusirdeboda qarTuli mentaloba or didda wminda mefis saxelze _ vaxtang gorgasalTan da Tamar mefesTanara marto saqarTveloSi, aramed mis farglebs gareT(kerZod dRevandeli TurqeTis teritoriaze mcxovreb) qarTvelebSic.naSromSi: “teritoriuli da kulturuli identobebi gaqristianebiskonteqstSi” (l.patariZe) ganxilulia Tu ratomaris teritoriuli identoba adamianis erovnuli cnobierebiserTerTi yvelaze umniSvnelovanesi komponeneti am cnobierebisganviTarebis yvela safexurze, iqneba es eTnikuri identoba,eTnis identoba Tu nacionaluri identoba.musikaluri anTropologiis qvesaTauris qveS, naSromSi“pirovnebis TviTidentifikaciis problema dimitri SostakoviCisSemoqmedebaSi” (m. qavTaraZe) naCvenebia Tu ra gziT axerxebdada rogor gamoxatavda Semoqmedi (d. SostakoviCi) totalitarulireJimisadmi rezistencias da misgan Tavis daRwevas.Tu rogor moxvda “ebrauli” motivebi araebraeli kompozitorisSemoqmedebaSi da rogor gamoixata intonaciisa damusikaluri simboloebis meSveobiT (romelic ormagi kodisprincipiTaa Seqmnili) protesti totalitaruli reJimis winaaRmdeg.statiaSi “eTnomusikologiis definiciisaTvis“ (m.Silaka-Ze) garCeulia definiciaTa simravle da maTTan dakavSirebulisirTuleebi: eTnomusikologia ganxilulia, rogorc eTnologia/eTnografiada musikaluri folkloris sinTezi.naCvenebia eTnomusikologiis interesebis sferoebi, ganviTarebisgzebi da sxv.politikuri anTropologiis qvesaTauris qveS, statiaSi“istoriis Zala da simboluri formebi: saqarTvelos “revoluciuripolitika” (n. baTiaSvili), ZiriTadad, axsnilia Tura gavlena moaxdina vardebis revoluciam Semdgomi periodisqarTul politikur da kulturul sivrceebze.naSromSi: “CveulebiTi samarTali qvemo qarTlis svanursoflebSi” S.foeli) naCvenebia, rom CveulebiTi samarTali sa-11

qarTvelos sxvadasxva regionSi yoveldRiuri cxovrebis mniSvnelovannawils Seadgenda. naSromSi xazgasmulia, rom CveulebiTisamarTali, mxolod saqarTvelos mTiani regionis dakerZod, svaneTisa da xevsureTisTvis damaxasiaTebeli fenomeniki ar yofila (sadac es praqtika tradiciulad Seiswavleboda),aramed, aseve, Zlierad ganviTarebuli iyo barSic, racnaklebad iyo Seswavlili. aRniSnuli statia yvelaferTan er-Tad imiTac aris saintereso, rom es fenomeni “auTsaideris”TvaliTaa danaxuli da gamokvleuli (anu kulturis emikurianalizis erTerTi magaliTia).religiuri anTropologiis saTauris qveS ramodenimestatiaa gaerTianebuli. statiaSi “sartyeli-balTa kompleqsissakulto da kosmologiuri ganzomilebisaTvis qarTulmiTo-ritualur sistemaSi” (n. abakelia) naCvenebia samosisdawyvilebuli elementebis sartylisa da balTis simbolurivelebi. samosis aRniSnuli elementebis simboluri funqciebisganxxilvisas naCvenebia gansxvavebuli (adamianuri da kosmiuri)saufloebi, romlidanac isini momdinareoben da romelSicisini funqcionireben.statiaSi “ritualuri ferxulebis simbolikis SeswavlissakiTxisaTvis” (q. alaverdaSvili) ferxulebi ganxilulia,rogorc RerZis garSemo mbrunavi simboluri “nagebobebi”;naCvenebia Tu ra funqciebis gamo SeiZleba iyos ferxuli sazogadoebiserTianobis simbolo da samyaros samive donis sakomunikacioarxis funqciebis matarebeli.naSromSi “jadosnuri sarke” (qarTuli eTnografiuli masalismixedviT) (g.gociriZe) naSromSi Seswavlilia religiur-magiurifunqciis mqone jadosnuri sarke, romelic asocirdebasikvdil-sicocxlesTan, qonebis ZiebasTan, gmiris Tavgadasaval-Tan, avsulebis winaaRmdeg brZolasTan da sxv.naSromSi “veneciuri zedsaxelebi da karnavaluri kultura”(l.skiama) ori gamokvlevis safuZvelze, romelic exeba adremodernulixanis evropas, naCvenebia, rom karnavalebi miuxedavadimisa, rom uSualod ar cvlian socialur struqturebs,isini mudmivad iZlevian gzavnilebs cvlilebis saWiroebaze dasurvilebze, gadmoscemen saxelmwifosa da eklesiis mxridan SeviwroebebzemkveTr da mkacr kritikas.statiaSi “mTiuluri saxlis interieris simboluri daxasiaTebisTvis”(v.Ciqovani) naCvenebia, Tu ra gadamwyvet gavlenasaxdens samyaros suraTi da cxovrebis wesi yvela donissocialuri organizaciis wevrTa yofaqcevis normebsa da sawesCveulebopraqtikis formirebaze. naCvenebia “saxlis wesSi”12

(e.i. saxlTan dakavSirebul miTo-ritualur kompleqsSi) Turogor reproducirdeba maRali donis socialuri organizaciisSigniT SemuSavebuli cxovrebis wesisa da misi Sesabamisisamyaros miTologiuri suraTis umTavresi niSan-Tvisebebi,sxvebTan erTad dro-sivrcis socializaciis momentebic.samedicino anTropologiis qvesaTauris qveS, statiaSi“tradiciuli qarTuli samedicino kulturis anTropologiurikvleva saqarTveloSi” (n.mindaZe) yuradReba gamaxvilebulia,Tu rogor fokusirdeba samedicino anTropologia “daavadebis“fenomenze. naCvenebia Tu ramdenad mniSvnelovaniaadaminaTa daavadebebis mkurnaloba, rogorc biologiuri, asevesocio-kulturuli aspeeqtiTac.naSromSi “moxucebi da krizisSi myofi maTi ojaxebi: xan-Sesuloba da ukmayofileba” (j. devisi) naCvenebia alchaimerisdaavadebiT Sepyrobil adamianTa bedi da socialuri statusisazogadoebaSi. motanilia mizezebi, Tu ris gamo unda mieni-WoT maT prioriteti moxucebulTa TavSesafarSi misaRebadda sxva.xelovnebis anTropologiis rubrikaSi gvixaria, rom moxvdaori axalgazrda studentiis statia, am principis dacvasmomavalSic SevecdebiT da vecdebiT vaCvenoT axlagazrdastudentebis miRwevebi.naSromi “qarTuli xalxuri dResaswauli da tradiciulisufra firosmanis SemoqmedebaSi” (n.jayeli) exeba qarTulixalxuri dResaswaulis rols qarTul yofasa da firosmanisSemoqmedebaSi.meore naSromi “narcisis metamorfoza” (m.kvaracxelia)exeba metamorfozis Temas SemoqmedebaSi. risTvisac axalgazrdamkvlevari irCevs s. dalis “narcisis metamorfozas”. ammxatvruli nawarmoebis mTavar sayrdens, misi azriT, dualurobaunda warmoadgendes, ori polusis Serwyma, gardaqmna dakaTarsisi.…avtoris azriT, iyo Semoqmedi niSnavs SegeZlosgardaqmna – metamorfozireba... yoveli naxatis Seqmnis SemdegSemoqmedi “kvdeba” da Semdeg axlidan ibadeba, igi ganicdisempaTias da naxatTan erTad ibadeba Tavidan. es ki kaTarsisiasublimaciis gziT.krebulis mniSvnelovan nawils bolo dros gamosuliwignebis mimoxilva warmoadgens. kerZod, krebulSi warmodgeniliagrigol joxaZis recenziebi z. kiknaZis naSromze “qar-Tlis cxovrebis” samyaro” da lela patariZis naSromze: “qar-Tli gaqristianebis gzaze: adamianebi da siwmindeebi”.13

krebulSi Sedis, agreTve, Targmanis rubrika, romelicwarmodgenilia jon hilis naSromiT (mTargneli eTnologi n.RambaSiZe): “saxli: gatexili da gamTelebuli gulebi”.krebuli mTavrdeba udrood wasuli kolegebis _ lelapatariZisa (m. CxartiSvili), soso WanturiSvilis (n. abakelia;q. xuciSvili), Tina oCiauris (n.indaZe), m.SilakaZis (r.wurwumis, T. gabisonia) _ Sesaxeb mogonebebiT. aseTia krebulisSinaarsi, romelic albaT kidev ufro imiTaa aRsaniSnavi,rom masSi yvela Taobis warmomadgenli monawileobs. imedigvaqvs mkiTxveli interesiT gaecnoba warmodgenil statiebs.redaqtorebisgan14

PREFACEThe present collection of articles is the first issue of the Association ofAnthropologists of Georgia, which aims to introduce new attitudes and new ideasof anthropology to the wide audience, experts and students concerned withanthropology. The scientists of different countries and cultures, experts of variedfields and undergraduates participated to create this volume. Consequently thepresent articles were arranged around the special topics under the differentheadings, showing the multifarious and holistic aspects of anthropology.The journal opens with the article “the History of Georgian anthropological(ethnological) school (K.Khutsishvili) in which the characteristic processes inGeorgia are compared with the analogical processes of Western Europe. It alsodemonstrates how the research topics developed gradually and how theindependent school with its precise method had been formed and developed inGeorgia.The next article – “On some characteristic features of Oxford scientificway of life” (N.Abakelia) – transfers the reader from Georgian reality to theBritish (in particular, to Oxford) scientific realm. It deals with the problems ofthe two scientific groups (the “Inklings” and Oxford women group working onGender Studies) and shows how the women scientists challenged male-orientedOxford scientific circles with their works and how this activity caused theformation of the Gender Study Center at Oxford, etc.The sub-title: Anthropological biographies: includes the articles: “FranzBoas – the Founder of Modern American Anthropology (N.Mgeladze) andCliford Geerz – The Interpretive Anthropology (Tina Ghudushauri) throughwhich the reader is introduced into the life and problems connected with thefounder of Modern American Anthropological School Franz Boas and C. Geerz’sInterpretative anthropology. Besides experts, these articles might be of specialinterest for the students of Anthropology.In the article, under the heading – Gender Anthropology, “Women’s Mosqueseducation, female Iignorance and chants to save souls: Chinese Hui Muslimwomen remembering Jingge, remembering History” (M.Jashock) reader isintroduced into a little known part of the history of China and the contributionmade by unique Islamic institution, women’s mosques, which started from 17 thcentury provided women with informal education, etc. The article shows howeducation serves as a conduit of transmission of both continuity of a collectiveethno-religious identity as well as of ideas of transmission in both social andgender relations, etc.In the article (under the same sub-title) “Women and honor in Georgia”(E.Kamm), the author introduces reader into the problems of honor and shame inGeorgia in which the author demonstrating the emic analysis of culture tries tofind out the conservative and firm system of customs on which honor and shameare based and constructed.15

In the sub-division of visual anthropology, in the article: “the Peculiaritiesof Field-shooting of an Anthropological Film” the importance of gathering ofethnographic field data and methodology (the importance of right planning offield tasks, shooting of the film in real time, the development of conceptionduring the film-shooting and cutting and pasting, etc.) for the anthropologicalfilm are discussed.The article (under the heading of Historical anthropology): “From thehistory of traditional Georgian mentality (“king” in the consciousness ofGeorgian Mountaineers)” (R.Gujejiani) aims to show how and why Georgianmentality was focused on the two great and holy figures (the king VakhtangGorgasali and the queen Tamar) of Georgian history not only inside Georgia, butalso among the Georgians now living beyond its borders (in particular on thehistorical territories of Georgia now in Turkey).The article “Territorial and cultural identities in the context of Christianity”demonstrates the problem why is a territorial identity is considered to be one ofthe most important components of national consciousness on its every level ofdevelopment.Musical anthropology encloses two articles. The article “the Problem ofself-identification of the individual” (M.Kavtaradze) shows how did the composermanaged to express his protest against the totalitarian regime in the SovietUnion. How did Jewish rhythmic-intonations occurred in the creative work of thecomposer of non-Jewish descent. And how was his protest against the regimeexpressed by means of intonation and musical symbols (i.e. by double codingprinciple).In the article “Towards the definition of ethnomusicology” (M.Shilakadze)the variety of definitions and difficulties associated with them are discussed.Ethnomusicology is viewed as the synthesis of ethnology/ethnography andmusical folklore. The author shows the spheres of ethnomusicology and the waysof their development.The sub-division of political anthropology consists of two articles. The firstarticle, “Power of history and symbolic forms: Georgia’s “revolutionary”politics” (N.Batiashvili), reveals the “revolutionary politics” of Georgia and explainshow the Georgian political and cultural spaces were influenced anddeveloped by the “rose revolution” (what kind of impact Georgian political andcultural spaces had after the “rose revolution”).The second article of the same sub-division, “practice of traditional law inSvan villages in Kvemo Kartli, Georgia (S.Voell), states the fact that thetraditional law constituted the important part of everyday life of the population ofGeorgia in its different parts. A special emphasis is made on the fact that it wasnot characteristic only for Svaneti or Khevsureti (i.e. for the mountainous parts ofGeorgia) where the practice had been studied, but it was precisely developed inthe lowlands as well (which were not described and fixed). Here we again havethe example of the emic analysis of the cultural fact.16

Under the sub-title of religious anthropology several articles are enclosed.In the article: “On the cultic and cosmic dimensions of the belt-buckle complexin Georgian mythic-ritual system” (N.Abakelia), the functions of symbolicspheres of paired elements of garment – belt and buckle – are shown. The paperreveals how the symbolic spheres of juxtaposed and paired elements of garment(belt and buckle) differ. The author attempts to show the distinctive realms(human and cosmic) from which they derive and uncover how did they functionin Georgian tradition.The article “Towards the investigation of ritual round-dance symbolism”(K.Alaverdashvili) shows that Georgian round dances can be viewed as thesymbolic images of cosmos rotating round its axis which penetrates through thecentre of the world. It is shown why the round dances might be the symbols ofentirety and the means of communication at all three levels of the world.In the article “the Magic mirror” (according to Georgian ethnographicfield data) (G.Gotsiridze) the religious and magic functions of magic mirrors arestudied which in Georgian tradition were associated with death and birth, questfor fortune, adventure of a hero, battle against the evil spirits, etc.In the article “Venetian nicknames and the carnival culture” (L Sciama) theauthor investigates in what extent carnival, widespread throughout the EuropeanMediterranean, contains elements of protest and rebellion against the rulinggovernment and bureaucracies. Examining the two studies of carnival in earlymodern Europe, the author concludes that carnivals do not immediately altersocial structures but they certainly provide opportunities to put about messagesthat communicate the need and desire for change and convey sharp criticism ofstate and church oppression.The article “Symbolic organization of space in the interior of Mtiuletianhouse” (V.Chikovani) reveals the importance of the image of the world and thefamily customs and their influence on the behavior of every member of socialorganization at every level and on the formation of ritual practice. In the mythicritualcomplex of household the main traits and characteristics of the organizedlife style are shown as well as the image of the world associated with them andhow time and space socialization are reproduced within the high level socialorganization.In the sub-division of medical anthropology, the article: “Anthropologicalstudy of Georgian medical culture in Georgia” (N.Mindadze) is focused on thephenomenon of “illness” and the importance of its medical treatment frombiological and socio-cultural aspects.In the paper “Elders and their families in crisis: aging and its discontents”(J. Davis) the author shows the perspectives, fate and the social status of thepeople with dementia in the society. The author considers why such people havean important reason for admission in hospital or nursing house, etc.Under the heading – “Art anthropology” the two articles of undergraduatestudents are placed. By publishing their achievements, we hope, they will be17

encouraged in their endeavors in the fields of their interests. The first article” inthis subdivision – “Georgian religious festivals and traditional supra inPirosmani’s art” (N.Jaqeli) – is dedicated to the creative work of Georgian ArtistPirosmani and the role of religious festivals in Georgian life style and thecreative work of Pirosmani himself.The other article “the Metamorphosis of Narcissus“ (M. Kvaratskhelia) isdedicated to the motif of metamorphosis in creative work of S. Dali. Accordingto the author the main supports of S.Dali’s Metamorphosis of Narcissus” are theproblem of duality, amalgamation/fusion of two poles, metamorphosis andcatharsis. According to the observations of the author, to be creator means to beable to transform, to experience metamorphosis… After the creation of everynew work the creator “dies” and then is born again. It undergoes empathy andthen is born again together with the drawing. And this, according to the author,can be viewed as catharsis through sublimation.To our mind, the reviews of the currently published books comprise theimportant part of the journal. Under the heading: book reviews Grigol Jokhadze’stwo reviews: “the World of Life of Kartli” on Lela Pataridze’s monograph(Political and cultural Identities in 4 th -5 th cc. Georgian community: the world ofLife of Kartli, Tbilisi, Caucasian House, 2009) and “humans and holiness” onZurab Kiknadze’s monograph “Georgia on its way to Christianization, Tbilisi,Caucasian House, 2009) are presented.The journal also has the subdivision of translations, which, we hope, willalso be continued in the following issues. In this volume it is presented byN.Ghambashidze’s translation of John Hill’s: “House: broken and healed hearts”.The rubric “In memoriam” contains the commemorations on the eminentGeorgian scholars Lela Pataridze (by M.Chkhartishvili), Soso Chanturishvili(N.Abakelia; K.Khutsishvili). T.Ochiauri (N.Mindadze) and M.Shilakadze(R.Tsurtsumia. T gabisonia).It is remarkable that the volume is based on the works of experts of variedfields and of different generations and different countries, as well asundergraduates. They provide new data and original discussions. It is hoped itwill interest both: a wide readership and experts. Some familiar materialsincluded are for students and general reader.The Editors18

Ketevan KhutsishviliThe History of Georgian Anthropological (Ethnological) School1. Origins and first stepsThe collection of ethnographic data in Georgia has a long history. Detaileddescriptions of Georgian and other Caucasian people are preserved in Georgianwritten sources dating from the fifth century (Jakob Khutsesis’ ShushanikisTsameba – Martyrdom of Shushanik). The first scholar who tried to analyze thisethnographic data was Vakhushti Batonishvili 1 in the eighteenth century. In his“Description of Georgian Kingdom” (Batonishvili: 1973) he gave an overview ofGeorgian customs, economy, material culture, etc. and discussed the features ofGeorgian ethnographic groups 2 . The work is supplemented by regional maps.From the middle of the nineteenth century, interest in ethnographicresearch grew in Georgia, as it did elsewhere in Europe and Russia. In 1850 theCaucasian Department of the Russian Geographic Society was opened in Tbilisi.Based on it, on 22 May 1852 the Caucasian Museum was founded under thesupervision of Rafiel Eristavi (1824-1901), a Georgian writer and statesman. TheMuseum became a centre of activities for the members of the national movement.They tried to use museum activities for the embodiment of their ideas regardingthe fixation and popularization of ethnic culture and after being perceived asdangerous for the empire, it was closed in 1856. In 1865, a new museum called“Museum of the Caucasus” opened its doors. The director of the museum GustavRade 3 has collected the wide range of artifacts from the whole Caucasus.Consequently, the activities were focused on gathering ethnographic collectionsand organizing exhibitions. These actions were meant to contribute topopularization of ethnography.In the second half of the nineteenth century the leader of the Georgiannational movement, Ilia Chavchavadze 4 , founded a working group, which collectedethnographic data throughout Georgia and published articles in Georgianperiodical issues. During this period the ethnographic idea was bound up with thenational movement, which raised such questions as the autonomy and unity ofGeorgian people, their cultural features and origins. A vivid interest in folklorealso developed at this time, as did the work on mountaineers, social organization,marriage forms and family relations. In this period, ethnographic data wascollected and analyzed by Vazha-Pshavela, A. Kazbegi, T. Sakhokia, N. Khizanishvili,B. Nijaradze, I. Margiani, I. Gvaramadze, D. Janashvili, M. Janashvili,N. Janashia and others – many of them well-known writers and/or statesmen.Their articles, published in Georgian and Russian periodicals, not only consistedof ethnographic descriptions, but also of analysis and interpretation. In theirliterary works, these authors used ethnography as a source for novels and poetry.These works now provide important documents for historical anthropologists.19

2. Institutional formation.In the beginning of the XX century among the Georgian cultural elite hasincreased the interest in Georgian customs and traditions, this caused thefoundation of the Georgian Historical and Ethnographic Society in 1907. TheSociety carried out several expeditions in different parts of Georgia and gatheredarchaeological, ethnographic and folkloristic data, which were published in theperiodicals “Antiquities of Georgia” (saqart’velos siz’veleni) and “AncientGeorgia” (z’veli saqart’velo). Photographic and other kinds of documentation ofmaterial culture and descriptions of villages and communities throughoutGeorgia were carried out. Such prominent scholars as Ivane Javakhishvili,Dimitri Bakradze, Alexandre Khakhanashvili, Niko Marr, Mose Janashvili etc.contributed to these activities. The main aim of their publications was on the onehand the documentation of what was seen as traditional life, and on the otherhand the attraction of societies’ attention to the Georgian cultural heritage.Great attention was also paid to the gathering of materials for expositions.Consequently, a main trend of research was the study of material culture. Themuseum development stimulated further ethnographic researches but the studieswere limited to the description of material artifacts, their typology andclassification and the classification of their stage of development.Another important stage in the development of Georgian anthropology isrelated to the Historical-Archaeological Institute of the Caucasus. It was founded in1917 by the Russian Academy of Sciences. Its leader was the academician NikoMarr. One of the main trends of the Institute was to carry out ethnographic researchin the whole Caucasus. Around the same time (1918), the Tbilisi State Universitywas founded. Thus, in the short time of existence of the Democratic Republic ofGeorgia (1918-1921) and in the early years of Soviet rule, three strong scientificcenters were active: the Georgian Historical and Ethnographic Society; theHistorical-Archaeological Institute of the Caucasus and the Tbilisi State University.The State Museum was added to this list in the 1920s, when in 1926, owing to theefforts of the eminent anthropologist Giorgi Chitaia (1890-1986), an ethnographicdepartment was inaugurated, which carried out 42 expeditions in Georgia and inthe North Caucasus during the period of 1926-1957.Giorgi Chitaia also played a leading role in the establishment of theDepartment of Archaeology and Ethnology in Tbilisi State University in 1929.From 1940 the Department of Ethnography became an independent unit, againheaded by Giorgi Chitaia. Together with his teaching activities, he continued hisresearch works. In this period, Giorgi Chitaia wrote his textbook on generalethnology 5 named “Svetebi”.In 1931, the Historical-archaeological Institute of the Caucasus was turnedinto the “Institute of Caucasiology”. In 1936 its name was changed into NikoMarr Institute of Language, History and Material culture (EnIMKI). In 1935 theethnologic sector was opened in its framework, from 1938 called ethnographicsection. In 1941 the Institute was divided into two institutions: Institute of20

Languages and Institute of History (Melikishvili ed.1988 pp.16-17). The reasonof the division was the appearance of the new generation scholars, strengtheningof the schools in linguistics, history etc.In 1950, the Georgian Historical and Ethnographic Society turned into theGeorgian Society of History, Archaeology and Folklore and from 1976, it isknown as Georgian Historical Society.The Institute of History, run by Georgian Academy of Sciences, wasrenamed into Institute of History, Archaeology and Ethnography in 1964(istoriis: 1988: p.43). From 1981 onwards, two ethnographic departments wereworking: the Department of the Ethnography of Georgia (Head: Giorgi Chitaia)and the Department of Ethnography of the Caucasus (Head: Alexi Robakidze).Thus, Chitaia with his department was working on problems regarding Georgia,whereas Robakidze’s department was focused on the study of Georgian-Caucasian parallels and of societies and cultures in the North Caucasians. Thetension between Chitaia and Robakidze became the base of reorganizations onthe institutional level and establishment of new departments.At the Tbilisi State University, the discipline of anthropology underwentsignificant changes, too. In 1981, the Department of Ethnography of Georgia wasreorganized and three new departments created: the Department of EthnographicResearch of Material Culture and Economy (Head: Giorgi Chitaia), theDepartment of Ethnographic Study of Social Relations (Head: Valerian Itonishvili)and the Department of Ethnographic Research of Spiritual Culture (Head:Tinatin Ochiauri) (Melikishvili ed. 1988: pp. 60-62). This reorganization alsopaid tribute to the increased number of scholars. Many of them former studentsof Chitaia, they continued to use the “complex-intensive” method.3. G. Chitaia and the complex-intensive research method.The “complex-intensive” method was the foundation of a new stage in thedevelopment of Soviet Georgian anthropology. This stage was triggered byconcerns about methodology. A main impact on the future development ofanthropology in Georgia was the introduction of the so-called complex-intensiveresearch methods by Giorgi Chitaia and his followers (V. Bardavelidze, R.Kharadze etc.).Giorgi Chitaia was educated in the University of Petersburg. In 1911-17 hewas a student of the Faculty of Orientalistics. He was well acquainted with thescientific literature of that time and dedicated to the development of anthropology inGeorgia. After returning home, he started to work as a teacher in a Gymnasium inPoti (city in Western Georgia). Chitaia’s scholarly activities began in Soviet period:from 1922 onwards, he worked in the Georgian State Museum. As in the wholeSoviet Union, the only ideological approach was Marxism-Leninism; the scholarswere obliged to follow the evolutionary approach. Thus, the main research themewas the study of so-called survivals in all spheres of culture. According to this pointof view, main fields of study were the pre-Christian and pre-Islamic worldviews in21

the Caucasus, Georgia-Caucasian historical parallels, the traditional social organizationand traditional law. Attempts were made to find out about the so-calledCaucasian substrata. The main research method was field ethnography (includingobservation and interviewing).In the middle of the 1920-ies, Chitaia developed its own field methodcalled “complex-intensive research method”. Giorgi Chitaia described “complexintensivemethod” as a study of ethnographic realities based on the principle ofhistoricism, with particular consideration of the unity of basic and secondaryevents. For this purpose, objective-qualitative descriptions were consideredsuperior to subjective-quantitative ones. In an article “qart’uli et’nologia” (Georgianethnology) published in 1926 the Georgian periodical – “Mimomh’ilveli”(Chitaia, 1926, pp.247-261). Chitaia wrote: “The ethnographic reality must bestudied as it is there and very carefully, with a classification of the ethnographicfacts, distinguishing their levels of difference and synthesis of ethnographic,historical and archaeological facts”. He further on discussed the needs of thediscipline and stressed the importance of systematically gathered “real ethnographicfacts”, which can only be collected during ethnographic fieldwork andhave to comprise archaeological and historical data.In a famous statement, Chitaia argued that the „deepness” of ethnographicobservation is more important than its “wideness”(Chitai, 1926). According tothe underlying agenda of the complex-intensive method, Georgian ethnographerspreferred to study a small district intensively than “ethnographic realities” on alarge territory. They consider the ethnographic reality as a system of complex,sometimes contradictory events, in which there is permanent tension between thenew and the old.Regarding the study of such a complicated system as culture, GiorgiChitaia proposed systematic data gathering in certain locality, searching varioustasks by the participant observation.The method found wide and extensive application by the representatives ofChitaias’ school. Expeditions of two and more weeks were carried out by a group,including ethnographers, historians, painters, architects etc. and in various parts ofthe Caucasus and Georgia. Data was collected through participant observation, interviewingand visual documentation of facts. The data was analyzed later collectivelyduring the meetings in the Departments, where each member of the expeditionpresented a report of their activities. The end product was a publication. As a resultof such expeditions, a great number of data was collected, some of them published,but most of them preserved in the archives of the Institutions.Chitaia himself worked on several problems of Georgian ethnography,such as Georgian agriculture, architecture, ornaments and the ethnic history ofGeorgians. He also developed the guidelines of the so-called Georgian historicethnographicatlases. The first atlas was dedicated to agricultural economy.In some sense, Chitaia’s method can be compared to the Geerzian thick description.A thick description is stressing the meaning of the context and ethnog-22

aphers are considered to be interpreters. G. Chitaia as well mentioned the necessityof understanding the context in both diachronic and synchronic layers. But hisattitude was historical-comparative and thus oriented to revealing the diachronicinfo-connections of “ethnographic realities”, i.e. the line of development.The new method and conception of ethnological research offered by Chitaiabecame the foundation of the second generation of Georgian Soviet anthropologyin the Soviet period, consisting of scholar like Vera Bardavelidze, RusudanKharadze, Alexi Robakidze, Stephane Mentetashvili. Popular researchthemes were Georgian material culture, economic and social relations, spiritualculture, Georgian-Caucasian parallels and contemporary life style. Thus, thetraditional number one topic “material culture” was replaced by new ones.4. Main trends of research.In the soviet period, the state was funding scientific research and each year,several expeditions were planned and carried out. The Georgian ethnologicalschool was quite well known in the Soviet scholarly circles. Georgian ethnologistswere publishing their articles in the central periodic issue of ethnologistsof that time – “Sovjetskaja Etnographia” (Soviet Ethnography). According to thechanging ideological-political attitudes, the scholarly trends and approaches werealso unstable. One example is the anti-Marrism-campaign which also heavilyinfluenced Georgian ethnographers. Soviet ideology demanded the study ofevolution and in so doing, the reconstruction of the past for revealing allegedlyobjective and universal rules of development. Within this perspective, all habits,rites and life modes of the pre-Soviet period was labeled as non-progressive andeven harmful.In Georgia, as in the whole Soviet Union, ethnography was considered as abranch of history. The theoretical foundation was Historical Materialism with itsnormative worldview. Consequently, the aim of the ethnographers was not tostudy the contemporary mode of life, but to identify the survivals of archaic waysof life. In the 1920s and 30s, Soviet ethnography was primarily concerned withthe practical task of bringing communism to “backward” Soviet people and to thestudy of modernity. In the 1940s, the emphasis was shifted onto studying thelives of workers and peasants, a process which continued throughout the 1950suntil the beginning of the 1960s (Melikishvili: 2000). These trends also appliedin Georgia.In the 1930s, researchers began to examine the new socialist culture, oftenfocusing on a single village, collective farm (kolkhoz), industrial organization ora factory (Robakidze: 1983: 117). The analysis of data was guided by the officialideology rejecting all that was old and traditional and embracing the new as anexample of the victory of the socialist way of life. Georgian ethnographers moreor less managed to avoid these directives and attempted to use a comparativeapproach, contrasting old and new ways of life.23

Thus, the traditional research topics for Georgian ethnologists were addedup by new themes. Georgian ethnologists began to study new i.e. Soviet beingand culture. On the one hand, it was a very exiting period to study the transition(or rather extermination) of traditional into something very new in essence andform. On the other hand, the scholars had not the choice; they were pressed bythe Communist ideology. Most of the researches of Georgian ethnologists areexamples of the attempt to subordinate the ideological approach to an analysisbased on data. Most researches were carried out studying the field of beliefs andmaterial culture.In 1950, publications appeared discussing the modifications presently going onin families, public and economic relations and material culture. But also dwellingstructures, clothes and other ethnographic artifacts were studied in different areas ofGeorgia. The research method was the complex-intensive one described above. Oneof the first examples of such work was the work on the village Tortiza (Gori district)called: “New mode of life in the village Tortiza” (G. Chitaia, M. Gegeshidze,I. Chkonia: 1951). In this monograph, the modern life of the villagers is addressedfollowing a comparative-historical analysis, based on materials gathered by the groupof authors using Chitaias’s method.In a similar vein, the decrease of the meaning and importance of the systemof kinship in Georgia and its replacement by other social systems, based oneconomic connections as in the case of collective farms (kolkhozes)) was discussedand analyzed according to ethnographic data (e.g. Chkonia I. New being inMakharadze district kolkhozes, MGE, VI Tb. 1953). In studies of family andkinship relations, most attention was paid to the transformation of the role ofwomen in the society. Of course these processes were considered as the onlypossible and necessary way of development. The vanishing of the differencebetween the urban and rural areas was also stressed, and this new circumstanceswere regarded as an appropriate new stage of development. It was considered thatthe kolkhozes played a leading part in these transformations.These research trends were influenced by the economic projects of theCommunist Party. For example when the building of a hydroelectric powerstation in the Samgori district caused rapid social changes in the district and itsfunction, several ethnographic expeditions were carried out in this region in the1950s. They were studying the ongoing changes and trying to reveal objectiverules of socialist reconstruction. A good example of comparative analysis was acooperative research of Georgian and Ukrainian researchers. They studied twokolkhozes (in the Ukrainian Genich district and in the Georgian Makharadzedistrict), which had mutual economic relations (Tcach, Chkonia; 1968).The first work on the life of workers appeared in 1950. Main attention waspaid to economic enterprises, which have been founded before the revolution(manganese production in Chiatura, mining in Tkibuli etc.). These topics werediscussed in the articles and works of A. Robakidze, G. Javakhishvili, L. Gabunia,M. Gegeshidze, R. Todua and N. Kakhidze in the edited volume “Ethnographic data24

on old and new being of Tkibuli miners”, as well as in the article “Being and cultureof workers of Tbilisi Wagon-engineering industrial unit” by N. Bregadze, M.Kandelaki, J. Eriashvili and L. Beriashvili (1965). Alexi Robakidze suggested continuingworking with the complex-intensive method to study modernity (Robakidze,1952). Special attention was paid to the ethnic constitution of workers, to interethnicmarriages, the upbringing of children in workers families, and the equality of menand women. The data was gathered in the silk factories of Tbilisi and Telavi as wellas the Wagon-engineering factory in Kutaisi. But the studies of kolkhozes, sovietfarms and factories didn’t turn into main research topics. They were mainlycontributions to the ideological demand of the time, characterized by the citation ofMarxism-Leninism classics, the use of “appropriate” terminology and decisionsdrawn according to the Marxist understanding of historical development. Georgianethnographers were mostly interested in studying religious beliefs, Georgian-Caucasian (mainly North Caucasian) similarities and Georgian traditions.Although the Georgian ethnographic school was formed on the principle ofcommon ethnological science at the beginning of the century, the process was cutshort for the reasons already outlined (Melikishvili: 2000). But despite of this, anumber of important field works were carried out by the Georgian ethnographersduring the soviet period, and unique ethnographic data in Georgia and the NorthCaucasus were collected. Some thematic approaches were also quite innovative,e.g. S. Makalatia discussed the consequences of the study of sexual relations, N.Khizanishvili and S. Makalatia stressed on the significance of the cultural contextin the study of violence etc.After the 1960s, less attention was paid to modern life in Georgia. The newwave of studies started to examine the role of tradition in the modern context.These traditions were officially to be classified either as harmful relics to thesocialist project, or as potentially useful for the progressive ideology.In 1970s, the Soviet Union started a campaign against so-called “harmfultraditions”. On 24 November 1975, the Central Committee of Communist Partyof Georgia issued the decree “On strengthening the measures against the harmfulrites and traditions”. It was meant to overcome those traditions considered asdestructive survivals. Georgian ethnographers were suggested to elaboraterecommendations to support the idea of the necessity of changes. In this course,expeditions and publications were financed. This was mostly used as anopportunity, and various “ethnographical realities” were studied and described,mostly without negative attitude. On the contrary, some works highlighted theidea to cultivate some traditional forms in the present to enrich the last. Chitaiacame to the conclusion that empirical knowledge must be used and developed, ase.g. the traditional agricultural knowledge etc. (Chitaia, 1981). In this context,Gegeshidze scrutinized the terms “tradition” or “ethno-culture” (Gegeshidze;1978). Another discourse was concerned with the comparative study of ethnographicparallels. In this period, a third generation of Soviet Georgian ethnog-25

aphers began to study methodological tasks (e.g. Nino Chinchaladze, SalomeGabunia)Together with the above mentioned, the most wide and important researcheswere carried out on the problems of Georgian traditions. In this periodwere written Tedo Sakhokia’s and Sergi Makalatia’s works with rich ethnographicdate on various constitutive elements of Georgian ethnographic groups,VeraBardavelidze wrote on the Georgian pre-Christian belief system (traditionalpublic-sacral monuments in highlands of East Georgia), Rusudan Kharadze’sdealt with a “Svan village in the past” (1964), Alexi Robakidze examined “Patronymyamong the Caucasian folks” (1973), and Mikheil Gegeshidze discussed“Georgian traditional transportation means” (1956). Together with the academictexts there were published several popular issues, for the wide circle of readers.Intensive expedition activities were continued till the collapse of the SovietUnion. The financial assistance was provided by the central government. It wasvery convenient for the research institutions and for the researchers as well.Students of Tbilisi State University were also involved in these activities. Newresearch trends developed were ethnomusicology, traditional medical culture,study of anthroponomical models etc.5. Present situation.In the early 1990s, the process of revising the theoretical approaches hasbegun. Ethnologists (mainly from the younger generation) tried to find ways ofmerging ethnology, cultural and social anthropology and to start with new themesand problems, such as ethnicity, conflicts, gender, globalization issues etc. Newchallenges came into play after the collapse of the Soviet Union. Institutionallyand methodologically, the changes were so rapid that some ethnographers stateda “crisis of ethnography”. Nowadays the scientific consideration of the developmentof the discipline and the search for the ways of improvement is reflected inthe newly started discussion on the problem of paradigmatic changes and thecorrelation of ethnology and anthropology.Presently, there are two ethnological departments in the Ivane JavakhishviliInstitute of History and Ethnology: the department of Ethnology of Georgia anddepartment of Ethnology of the Caucasus. Their priority is oriented on the studyof Abkhazia and Tskhinvali region. As fieldwork is impossible to carry out in theabove mentioned regions, the study of IDP’s from these regions becomes animportant topic.These two departments work closely with the Ethnology Department ofTbilisi State University, with a focus on the study of conflicts, migrationprocesses, gender issues, problem of identity and ethnicity and Ethnology Departmentof Georgian National Museum, with the focal point on material artifacts.The main question in the discussion of ethnological circles seems to be thequestion of correlation of ethnology and anthropology.26

During the reforms in 2006-7s, the scientific-research institutions weresubordinated to the Ministry of Education and Science. Institutions becameindependent juridical persons. They have become more independent, but thefinancial sources are so small, that the expedition activities have almost come tothe end. The shortage of state founding rendered the application of the “complexintensiveresearch method” almost impossible, as it depends on a group and theircollective fieldwork. Such kind of group projects can only be supported by theinternational foundations 6 – if at all.ConclusionsIn Soviet times, the Georgian ethnographic school was faced to differentkinds of difficulties regarding its substantial or institutional development. In thefirst stage in 1930s, Georgian ethnologists found themselves in a rather hardsituation. On the one hand, they ought to be the followers of new Marxian-Leninian ideology in their research, on the other hand, their background andwork was not always Marxian. Significant works of the period are works of VeraBardavelidze (Bardavelidze, 1941; 1953), Rusudan Kharadze (Kharadze, 1939),Micheil Gegeshidze (Gegeshidze, 1975), Tinatin Ochiauri (Ochiauri, 1954),Julietta Rukhadze (Rukhadze, 1976), Anzor Kaldani (Kaldani, 1989), etc. Mostof them worked with Giorgi Chitaia’s complex-intensive field method. The applicationof this method in fieldwork caused the collection of a huge number of datain a comparably short period of time – published in several works, but alsopreserved as data in the archives.The main discourse of the Soviet time in the Georgian ethnological schoolwas the relevance of ethnology for the study of ethnic cultures. Together withworking on the officially assigned topics, Georgian ethnologists were intensivelygathering and analyzing field data in Georgia and the Caucasus (mainly in theNorth Caucasus). Looking for an ancient “Caucasian substrata”, they collectedthe data not primarily connected to the Soviet demands. On the other hand,Georgian ethnologists were giving their contribution to building Sovietethnography, where several topics (as nationalism) were understudied. Georgianethnologists managed to collect unique data, to develop the continuity of theGeorgian anthropological school and to give an input to methodological andtheoretical tasks. After the collapse of the Soviet Union, formation of independentstate was followed by the transitional stage of ideological, institutional andmethodological transformations. These circumstances have influenced the furtherdevelopment of discipline. Nowadays the scientific consideration of thedevelopment of the discipline and the search for the ways of improvement isreflected in the newly started discussion on the problem of paradigmatic changesand the process of shifting to anthropology. The start of discussion on terminological,theoretical-methodological issues and the current problems of anthropologyis a step to carry out an attempt of analysis of the current social changes andprocesses in the region from the new point of view.27

Notes:1. Vakhushti Batonishvili - Bagrationi (1696-1757), geographer, historian andcartographer, Son of the King Vakhtang VI2. The term “ethnogtraphic group” was developed in Russian ethnology todescribe the local groups with their local variations of features and elementinside the ethnic group. The idea was, that ethnographic group is a constituentpart of the ethnic group, with the same origins and shared culture withlocal characteristics.3. Gustav Rade (1831-1903), a German scholar who worked in Tbilisi for morethan 40 years. He was mostly known as “traveler-scholar”, biologist andgeographer, but worked on ethnological issues, too.4. Ilia Chavchavadze (1837-1907), Georgian writer and statesman. Founder andthe leader of Georgian national movement, creator of national periodicalissues, such as “Saqart’velos Moambe”, “Iveria”, organizer of the Georgiannational Bank etc.5. Term ethnology was used as a definition for social and cultural anthropology.In the Soviet space anthropology meant the discipline studying the mechanismsof biological evolution, genetic inheritance, human adaptability andvariation, i.e. it was a name of biological or physical anthropology. Thediscipline studying cultural variations was called ethnology, later changed toethnography, and it was implicated into the humanities as a branch ofhistorical disciplines6. e.g. the projects on conflicts in polyethnic society - „Latent Conflict in PolyethnicSociety” and „Security Strategy in Polyethnic Society in Terms ofUnstable Caucasus“, carried out in 1998-2002 by the group of researchersfrom the Ivane Javakhishvili Institute of History and Ethnology (L. Melikishvili,N. Javakhadze, L. Khutsishvili, V. Shubitidze, S. Bakhia, N. Jalabadze,K. Khutsishvili, N. Tsintsadze) supported by J.D. and C. MacArthurFoundation.References:Bardavelidze: Bardavelidze V. qartvelta udzvelesi sartsmunoebis istoriidan (Onhistory of ancient beliefs of Georgians), Tbilisi “Metsniereba” (in Georgian).1941.Bardavelidze: Bardavelidze V. 1953. Qartuli (svanuri) saweso grafikuli xelovneba(Georgian (Svan) ritual graphical art) Tbilisi “Metsniereba” (in Georgian).Batonishvili: Batonishvili V. agtsera samefoisa saqartvelosi (Description ofGeorgian Kingdom), in “Kartlis Tskhovreba” ed. S. Kaukhchishvili, Vol.4Tbilisi (in Georgian). 1973.28

Chitaia: Chitaia G. Chemi tskhovrebis gzebsa da bilikebze (The ways and pathsof my life), Tbilisi: “Metxniereba” (in Georgian). 1991.Chitaia: Chitaia G. Qartuli etnologia (Georgian ethnology), Mimomkhilveli ITfilisi pp.249-261(in Georgian). 1926.Chitaia: Chitaia G. etnografia da tanamedroveoba (Ethnogtraphy and modernity),in Literatural Georgia (in Georgian). 1981.Chkonia: Chkonia I. Akhali kofa makharadzis raionis kolmeurneobashi (New beingin Makharadze district kolkhozes), MGE, VI Tbilisi (in Georgian). 1953.Gegeshidze: Gegeshidze M. Etnikuri kultura da tradiciebi (Ethnic culture andtraditions), Tbilisi: “Metsniereba” (in Georgian). 1978.Gegeshidze: Gegeshidze M., Chitaia G, Chkonia I., Axali yofa goris raionis sof.Tortizis kolmeurneobashi (New mode of life in the village Tortiza), inMimomkhilveli II, Tbilisi (in Russian). 1951.Itonishvili: Itonishvili V. Kartuli ethnografiis narkvevebi, (Esseys in GeorgianEthnography), Tbilisi: “Metxniereba” (in Georgian). 1989.Kaldani: Kaldani A. qartuli traditsiuli satskhovrebeli komplexebi (Georgiantrtaditional dwelling complexes) Tbilisi “Metsniereba”) (in Georgian).1989.Kharadze: Kharadze R. Didi ojakhis gadmonashtebi svanetshi (Survivals ofextended family in Svasnetia). Tbilisi (in Georgian). 1939.Melikishvili: Melikishvili G. ed. Istoriis, arqeiologiis da etnografiis institute,(Institute of History, Archaeology and Ethnography), Tbilisi: “Metsniereba”(in Georgian). 1988.Melikishvili: Melikishvili L. ethnografia tu ethnologia (Ethnography or Ethnology),“Metsniereba”, Tbilisi (in Georgian). 2000.Ochiauri: Ochiauri T. qartvelta udzvelesi sarwmunoebius istoriidan (From thehistory of ancient religious beliefs of Georgians) 1954. Tbilisi (in Georgian).1954.Robakidze: Robakidze A. К некоторым спорным вопросам этноргафическогоизучения нового быта (On some problems of ethnographic study ofmodern being),Sovetskaya Etnografia, 2, Moscow (in Russian).1952.Robakidze: Robakidze A. Пути развития Грузинской советской этнографии(1922-1982гг.) (The paths of development of Georgian Soviet ethnography(1922-1982)), “Metsniereba”, Tbilisi (in Russian). 1983.Rukhadze: Rukhadze J. khalkhuri agrikultura dasavlet saqartveloshi (Traditionalagriculture in West Georgia), 1976. Tbilisi (in Georgian). 1976.Tkach, Chkonia: Tkach N. Chkonia I. Социалистическое соревнование трудящихсяГеничевсекого района Украины и Махарадзевского района Грузии,Из истории украино-грузинских связей (Socialist competition betweenthe workers of Genich district in Ukrine and Makharadze district in Georgia,From history of Ukrainian-Georgian connections) Tbilisi (in Russian). 1968.Tsagareishvil: Tsagareishvil T. Giorgi C’it’aia, “Metsniereba”, Tbilisi (in Georgian).1993.29

qarTuli anTropologiuri (eTnologiuri)skolis istoriaqeTevan xuciSviliqarTuli anTopologiuri (eTnologiuri) skolis dafuZnebaXX saukunis 20-ian wlebSi giorgi Citaias saxels ukavSirdeba,Tumca, amisaTvis safuZveli XIX saukuneSi momzadda. statia-Si ganxilulia is winapirobebi, romlebic eTnografiuli masalisdagrovebam Seqmna yofiTi realiebiT dainteresebisaTvis.naCvenebia, rom saqarTveloSic iseTive procesebi mimdinareobda,rogorc dasavleT evropaSi, rodesac dargis CamoyaliebebisgariJraJze eTnografiuli Tematika mWidrod gadajaWvuli aRmoCndaerovnul ideasTan da Sesabamisad erovnul moZraobas-Tan. am periodiT TariRdeba kulturuli elitis dainteresebafolkloriT da Zalisxmevis mimarTva misi populariaciisken.statiaSi aRwerilia, Tu rogor xdeboda TandaTan sakvlevi TematikisgafarToeba. xolo giorgi Citaias mier eTnografiulikvlevis specifikis ganmartebis, kvlevis sagnis, obieqtisa darac umTavresia meTodikis mkafio gansazRvriT iwyeba damoukidebeliskolis formireba. statiaSi aseve naCvenebia meTodologiur-Tematuricvlelebebis safexurebi da maTi mizezebi; dargisinstitucionalizaciis etapebi; saswavlo da kvleviTi centrebismdgomareoba da dRevandeli viTareba.30

nino abakeliaramodenime Strixi oqsfordis samecniero cxovrebisTaviseburebanzeoqsfordis universitetzeda mis samecniero cxovrebazewera mcire formatSi SeuZlebelia,amitom gadavwyvite Semovfargluliyavimxolod zogierTi(magram mniSvnelovani)STabeWdilebiT, romelic mivi-Re 2009 wels oqsfordSi samecnieromivlenebis dros iqarsebuli samecniero tradiciiTda zogierT gamorCeulmecnierTan urTierTobiT.mdinare temzisa da CervilisgadakveTaze (Sesabamisad,inglisis SuagulSi) daarsebulida agebuli oqsfordi ukveaTas welze metia, rac inglisisistoriaSi centralurrols TamaSobs. saukuneebismanZilze is iyo britaneTisudidesi saxelebis saxli maTiformirebis wlebSi. aTobiT britanel premier ministrs (maTSoris Tamnedroveebidan margaret TeTCers (mogvianebiT, baronesaTeTCers), Toni blers, deivid kameruns) ganaTlebaswored oqsfordSi aqvT miRebuli. tradiciulad, ganaTlebasoqsfordSi iRebda da iRebs mravali ucxoeli studentic, momavaliCinosnebi sanam Tavis qveyanaSi dabrunebulni maRalposts daikavebdnen (bolo dros am ukanasknelTa Soris bilqlinTonic iyo) (orani, 2002).oqsfordis universitetSi mravali udidesi moazrovne anaswavlida an TviTon swavlobda (amisaTvis sakmarisia mravalTaganmxolod ramodenime saxelis gaxseneba: viliam morisi,meTiu arnoldsi, T.s. elioti, robert greivsi, jon golsvorsi,oldos haqsli, airis merdoki, evelin vo, oskar uaildi,luis qeroli, j. tolkiini, endriu lengi, endriu loidveberi da sxva mravali. SeuZlebelia gaigo Tu rogor vi-Tardeboda qalaqi da universiteti Tu mxedvelobaSi ar mii-31

Reb mis mWidro kavSirs eklesiasTan saukuneebis manZilze.universitetis mariam RvTismSoblis eklesia, romelsac haisTriTis kedelTan Caeyara safuZveli, swored is adgilia,romlis garSemoc universiteti ganviTarda.ori TvalSisacemi arqiteqturuli niSani ganasxvavebs oqsfordisuniversitetis wm. mariamis eklesias sxvebisagan: saocarisamxreTis portiki (romelic gadis hai striTze, aSenebuliarqiepiskopos lodis (1575-1645) dros), dagrexili SaqaryinulisdagvarisvetebiT, romelic berninis wm. petres taZris(romSi) didi baldaxinis replikas warmoadgens da meore_ didi koSki Sveuli SpiliT.universitetis wm. mariam RmrTismSoblis eklesiis ukanredklifis skveria da jeims gibbis Sedevri, universitetisguli _ redklifis kameraa (pirveli mrgvali biblioTekamsofioSi, romelic dasrulda 1748 wels). dRes kamera bodleisbiblioTekis Semadgeneli nawilia.oqsfordi cnobilia Tavisi sportuli cxovrebiTac. magaliTadmisi yovelwliuri Sejibreba naosnobaSi kembrijiswinaaRmdeg dRemde mTavar sportul movlenas warmoadgens.oqsfordi patara aurzauriani qalaqia, sadac yovel kvadratulfutTan asobiT cnobili adamianis suli asocirdeba,romelTa SegrZneba dResac SesaZlebelia mis viwro mosaxvevebsada xeivnebSi.orginaluri ver iqnebi Tu ityvi, rom oqsfordi is adgilia,sadac mniSvenlovani ambebi xdeba da xdeboda saukuneebismanZilze. yovelTvis SesaZlebelia Senobebis miRma aRmoa-Cino adamianebi, romlebic cxovrobdnen da moRvaweobnen iq.magaliTad inqlingebi anu araformal diskusantTa literaturulijgufis wevrebi, romlebic dakavSirebuli iyvenen oqsfordisuniversitetTan TiTqmis ori dekadis ganmavlobaSi(1930 _ 1949). mis yvelaze erTgul da cnobil wevrebSi moiazrebodnenj. tolkiini da k. luisi.inqlingebi iyvnen literatori enTuziastebi, romlebicxotbas asxamdnen narativs mxatvrul literaturaSi da xelsuwyobdnen fantaziis ganviTarebas masSi. “zustad rom ganisazRvros”,ambobda uoren luisi, inqlingebi arc klubs warmoadgendnenda arc literaturul sazogadoebas, Tumca orivesfunqcias iTavsebdnen”. da kidev erTi ram axasiaTebda imdroisa da adgilis universitetis literaturul jgufebs(da es mniSvnelovania) _ is yovelTvis mamakacebisagan Sedgeboda.(magaliTad doroTi siirzi, romelic zogjer inqlin-32

gad moiazreba da iyo luisisa da viliamsis megobari, arasdroseswreboda inqlingebis Sexvedrebs).inqlingebis SekrebaTa principul mizans warmoadgendadiskusantTa wevrebis daumTavrebeli naSromebis kiTxva da seriozuligarCeva Sexvedrebze. 1949 wlamde inqlinguri kiTxvebida diskusiebi imarTeboda magdalelis (maudlinis, rogorcmas gamoTqvamen) kolejSi. inqlingebi da maTi megobrebi, rogorccnobilia ikribebodnen araoficialurad TavdapirveladludxanebSi /fabeSi, mogvianebiT, regularulad samSabaTobiTadgilobriv ludxanaSi, romlis saxeli dRemde aris “arwivida bavSvi” (the Eagle and Child) seinT jailsis quCaze, mogvianebiTSexvedrebma gadainacvla aRniSnuli quCis gadaswvriv _ “kravsada droSaSi” (The Lamb and Flag) (amboben am ludxanaSi Tomashardi werda Tavis romanebs).amgvarad, oqsfordis samecniero cxovrebisTvis TvalSisacemdamaxasiaTebel da specifikur niSans warmoadgenda samecnierodiskusiebis gagrZeleba seminarebis Semdeg ludxanebSi,sadac adamianebi ufro metad ixsnebodnen, kamaTobdnen,kontaqtebs amyarebdenmen... yvelaferi es ki xdeboda mamakacebiT-orientirebulgaremoSi, sadac qals namdvilad mcire anufro zustad saerTod aranairi rolo ar gaaCnda.aqedan gamomdinare, vfiqrob, SemTxveviTi ar iyo, rom amgvargarmosa da araubralo situaciaSi Camoyalibda oqsfordisgenderuli kvlevis centri, romlis daarsebasTan cnobilioqsfordeli afrikanistis Sirli ardenerissaxeli asocirdeba. misi kolegebismogonebebis mixedviT 1970 wlidan moyolebuliSirli ardenerma “Tavisi inteleqti,Semoqmedeba da enTuziazmi qalTakvlevebis ganviTarebaze mimarTa oqsfordSi”(devisi, voldreni, 2007)“qalebis” kategoria problemizirebuliqna sxvadasxva konteqstSi qalTaindividualur kulturul modelebSi.yvelaferi ki daiwyo qali socialuri an-Tropologebis araoficialuri SexvedrebiTseminarebze. aRniSnuli seminarebifokusirdeboda qalTa problemebis Seswavlazekros-kulturul perspeqtivaSi. seminarebze yvelakoncentrirebuli iyo erTmaneTis daskvnebze da imarTebodasaintereso diskusiebi. imis gamo, rom profesori maT ar aZlevdauflebas es Sexvedrebi CaeterebinaT institutSi, ami-33

tom maT gadainacvles dedofal elisabedis saxlSi (es ukanaskneli60-ani wlebSi Camoyalibda, rogorc oqsfordis sakonferencio,leqciebisa da mecadineobebis sauniversitetocentri, 80-ani wlebidan, rogorc saerTaSoriso kvlevebiscentri da sxv). aqedan daiwyo praqtika, romlis Sedegadac Seiqmnaqalebis problemebze momuSave kros-kultutruli kvlevebiscentri. J. voldrenis gamoTqmiT Sirli ardeneri, rogorcoqsfordis anTropologiuri wris araformali aRmoCndasruliad unikalur poziciaSi – insaider/autsaideris poziciaSi(devisi, voldreni, 2007). miuxedavad imisa, rom misicodna da savele gamocdileba aRiarebuli iyo, is xelmZRvanelobdastudentebs da kiTxulobda leqciebs, igi samecnierosistemaSi araformalad rCeboda. seminari dedofal elisabedissaxlSi, oqsfordSi oficialuri anTropologiuriprogramis miRma rCeboda.10 welze meti xnis ganmavlobaSi isini, rogorc jgufi,ikribebodnen seminarebze dedofal elisabedis saxlSi qalebiskvlevis kros-kulturul perspeqtivebTan dakavSirebiT.centris wevrebi warmoadgendnen multi-disciplinarulmkvlevarTa erTobliobas, romelTac fonad hqondaT socialurianTropologia, geografia, istoria, literatura, samarTalisocialogia da politika.yovelkvireuli seminarebi grZeldeboda yovel semestrSi,sanam 1983 wels misma monawileebma ar gadawyvites daearsebinaTqalebis sakiTxebze kroskulturuli kvlevis centri(CCCRW) ofisiT dedofl elisabedis saxlSi. damaarseblebiiyvnen Sirli ardeneri, sandra biurmani, elen qalavei,elizabeT qrouli, alen lou, iona meieri, elison smiTi. mogvianbiTmaT SeuerTdnen, Julia lesli, renata barberi, judiTouqli da soraia tremeini, da mravali sxva vinc ki Tavisiakademiuri wvlili Seitana seminarebze sadoqtoroze mu-Saobis dros (deivi, voldreni, 2002).amgvarad, centris Seqmnisas naTeli iyo, rom kvlevebiqalTa problemebze arc prestiJuli da arc metad sasurveliiyo mamakaci-mkvlevarebiT dominirebul oqsfordSi. centriswevrebi ki cdilobdnen gaeSuqebinaT qalTa problemebi kroskulturulperspeqtivaSi im dros, rodesac amgvari sakiTxebiTvalnaTliv ugulvebelyofili iyo britanuli anTropologiismier. seminars romelzec isini ikribebodnen daarqves oqsfordeliqalebis socialuri anTropologiis seminari. aqmoRvaweobda araformal qalTa birTvi, romelic ikvlevdaqalTa problemas yvela SesaZlebel konteqstSi. genderuli34

kvlevis saerTaSoriso centri oficialurad daaarsda dedofalelisabedis saxlSi 1983 wels (aseve, rogorc qalebiskvlevis kroskultruli kvlevis centri) kvlevebis sawarmoebladgenderis, kulturis da ganviTarebis sakiTxebze. amdroisTvis centri msoflios yvela kuTxidan ukve iRebdamowveul mecnierebs da, aseve, im mecnierebs, romlebic garkveulwiladmonawileobdnen ara marto centris farglebSi,aramed dedofal elisabedis saxlSic da, ufro farTod, oqsfordisuniversitetSic. amgvarad, oqsfordSi, romelSic mamakacTasamecniero sistemebi batonobda, Camoyalibda oqsfordelqalTa socialuri antropologiis centri, rogorcerTgvari gamoZaxeba.Sirli ardeneri misi erTerTi daamarsebeli da direqtoriiyo 1983 1997 ww. dRes aris mTavari asocirebuli mecnierisaerTaSoriso ganviTarebis depaprtamentisa, oqsfordis universitetissocialuri da kulturuli anTropologiis insititutisasocirebuli mkvlevari.genderuli kvlevebTan erTad, Sirli ardeneri TanamoazreebTan_ jonaTan veberTan, Tamar dragaZesTan, ian fauler-Tan da lidia skiamasTan _ erTad oqsfordis universitetSiatarebdnen seminarebis serias, saTauriT “eTnikuroba da identoba”,romelic Tavis droze daaarsa cnobilma afrikanistmaanTropologma edvin ardenerma. es seriebi fokusirdeba kulturiseTnikur, istoriul, religiur da sxva elementebze, romelicmikuTvnilobis grZnobas aRZravs individebsa da socialurjgufebSi da saSualebas aZlevs maT ipovon mniSvneloba,sakuTar socialur identobaSi da ganasxvavon Tavi sxvebisagan.rogorc gamoCnda, genderuli kvlevebi da eTnikurobis sakiTxebinawilobriv faravdnen erTmaneTs da amas mohyva seminarebidangamomdinare naSromebi, kerZodoqsfordis anTopologiuriJurnali eTnikurobasa da identobaze, romelic edvinda Sirli ardenerebma daaarses.rodesac edvini moulodnelad gardaicvala 1987 wels,Sirlim jonatan vebers (edvinis yofil doqtorantsa da ojaxismegobars) sTxova SeerTeboda mas da gaegrZelebina edvinisseminarebi “eTnikurobasa da identobaze”, ase rom, TamardragaZesTan erTad, isini samni gauZRvnen am seminars da Seiqmnaseminarul muSaobaze aRmocenebuli wignebis mTeli seria.am SemadgenlobiT seminarebi tardeboda 2002 wlamde, sanam j.veberi ar gadavida sxva universitetSi. axla am seminarebsxelmZRvaneloben Sirli ardeneri da lidia skiama.35

ogorc edvin ardeneris mowafe da misi saqmeebis gamgrZelbelijonatan veberi igonebs (veberi, 2007), edvin ardenermaJurnali daaarsa socialuri anTropologiis axalimidgomebisa da ideebis gasavrceleblad.Jurnali, rogorc Sirli aRniSnavda, raRac magiuri ZalebismoqmedebiT agrZelebda regularulad gamosvlas yovelisemestris bolo kviras, rac erTgvar saswauls warmoadgenda,radgan is gamodioda yovelgvari dafinansebis gareSeda emyareboda mcirericxovani wris enTuziazmsa da moxaliseobas.am patara da araformalurma moxaliseTa jgufma,romlis sulier RerZs Sirli warmoadgenda, SesZlo specialuriatmosfero, specialuri xarisxi Seeqmna, romelsac SeeZloinspirireba da romelic mokrZalebiT da Taviseburadcvlida samyaros. warmodgenis Sesaqmnelad Tu ra serias moicavdaaRniSnuli seminarebi amisTvis sakmarisia davasaxeloTTematika: drois socialuri konstruqcia, biurokratiuliidentobebi, qveyana da teritorialuroba, mamebTan identoba,samosi da eTnikuroba, identoba da musika, turizmi.aqve gavagrZelebdi sityavas Sirlize da vityodi, romSirli, im adamianTa jgufs miekuTvneba, romelnic yvelasTvisda gansakuTrebiT axalgazrda mecnierebisTvis sayrdeni dastimulis mimcemia, maTisaqmeebi inspiratoria.oqsfordSi yofnisasbedniereba mqondaUuSualod SemegrZno issamecniero atmosfero,romelic mxolod oqsfordisTvisaadamaxasiaTebeli.seminarebi, tradiciulidiskusiebi seminarebisSemdeg ludxanebSi...urTierToba gendreulikvlevis centrisTanamSromlebTan, TvalsaCinomecnierebTan mariajeSokTan (centrisaxlandeli direqtori),janet devisTan (asevemis meuRle jeffTan erTad, romelTa daxmarebiT aRvmoCndiuelsSi da saSualeba momeca Semegrovebina savele eTnografiulimasala velze), paola heinonenTan, araCveulerivad sa-36

intereso anTropologTan, jeki voldrenTan...… rac mTavariaSevxvdi Sirli ardeners, oqsfordSi moarul legendas, romelmacmimiwvia Tavis seminarze, romelsac igi lidia skiamas-Tan erTad atarebs. bedniereba mqonda orive seminarze, romelicSirli ardeneris saxls ukavSirdeba wamekiTxa moxsenebebi.amboben rom monawileebi xdebodnen am seminarebis er-Tgulni da arasdros acdendnen mas. mec igive ganvicade amas-Tan dakavSirebiT da SemiZlia vTqva, rom es iyo araCevulebrivigamocdileba socialur da kulturul anTropologiaSi.dabolos, CemTvis moulodneli aRmoCena iyo oqfordisamgvari mamakacuri mecnieruli samyaro, romelSic faqizma,non-konformistma da Tavisufalma qalma – Sirli ardenerma(romelic Cems warmoasaxvaSi qarTveli mecnieri qalis prof.v.bardaveliis saxesTan asocirdeba) safuZveli Cauyara axalsaqmes, axal azrovnebas, romelmac axali perspeqtivebi gaxsnapritanul anTropologiaSi.gamoyenebuli literatura:devisi, voldroni: Janette Davies and Jacqueline Waldren, GenderingOxford: Shirley Ardener and Cross-Cultural Research, in the Book;Identity and Networks (Fashioning Gender and Ethnicity Across Cultures),Edited By Deborah Fahy Bryceson, Judith Okely and Jonathan Webber,Berghan Books, New York*Oxford, 2007.dragaZe: Tamara Dreagadze, Circumstance, Personality, and Anthropology, inthe Book; Identity and Networks (Fashioning Gender and Ethnicity AcrossCultures), Edited By Deborah Fahy Bryceson, Judith Okely and JonathanWebber, Berghan Books, New York*Oxford, 2007.horani: David Horan, Oxford: A cultural and literary companion (Cities of theImagination), Signal Books, Oxford, 2002.veberi: Jonathan Webber, Shirley’s Magic, in the Book; Identity and Networks(Fashioning Gender and Ethnicity Across Cultures), Edited By DeborahFahy Bryceson, Judith Okely and Jonathan Webber, Berghan Books, NewYork*Oxford, 2007.37

Nino AbakeliaOn some characteristic features of Oxfordscientific lifestyleIt is incredible to write about the Oxford scientific life in a short accountlike this. That’s why I decided to limit myself only with some impressions(though very important ones), which I had during the Fellowship program inOxford in 2009 and which I received by the private contacts with some colleague-scientists.Founded on the intersection of the rivers the Thames and the Chervil (andconsequently, in the midst of England) Oxford has played a central role inEnglish history for more than thousand years.Over centuries, Oxford University has been home to many of Britain’sgreatest names in their formative years. Dozens of British Prime ministers – includingseven out of the last ten (among them Margaret Thatcher (later baronessThatcher), Tony Blair, David Cameron) were educated there and many studentsfrom abroad have benefited from the Oxford experience before going on to highoffice in their own countries (among them - Bill Clinton) (Horan, 2002).At Oxford university many of Britain’s greatest thinkers either taught orwere taught (it is suffice to mention and recollect the names of only few of themsuch as Sir Christopher Wren, William Morris, Mathew Arnolds, T.C. Eliot,Robert Graves, John Galsworthy, Aldus Huxley, Iris Murdock, Oscar Wilde,Lewis Carroll, C. S. Lewis, J. R. R. Tolkien, Andrew Lang, Andrew LloydWeber, etc). It is impossible to understand the development of the city and theuniversity without the close ties with the Church over centuries. St Mary’sChurch in the High Street is the place around which the University grew up.There are two great architectural features of St. Mary’s; the first- the astonishingbaroque south porch leading on to the High, built in Archbishop Laud’s time(1575-1645), with its candy-twist columns representing the replica of Bernini’sgreat baldecchino on St Peter’s in Rome. The other feature is the great tower andits spire, completed in the early fourteenth century. Behind St Mary’s lies trafficfree Radcliffe Square around Gibb’s masterpiece, the heart of Oxford - theRadcliffe Camera (the first round library in the world, which was completed in1748). Today the Camera is an extension of the Bodleian Library.As is known, Oxford is also famous of its sport events and achievements.The annual boat race against Cambridge is still a major national sportingoccasion, although all those taking part are amateurs and unknown to the widerpublic, etc.Oxford is a little bustling city where hundreds of famous people’s souls areassociated to every square foot, whom one can still feel alongside of narrowstreets and alleys.38

It won’t be original if we say that Oxford is the place where importantthings happen and have been happening for hundreds of years. There is alwaysmore to find out about its buildings and the men and women who have lived andworked among them. Beyond the houses one can discover the people who livedand worked there. To such belong e.g. the Inklings or non-formal discussants, themembers of literary group, which were associated with the University almost fornearly two decades (1030-1949). Among the most regular and devoted memberswere J.R.R. “Tollers” Tolkien and C.S.“Jack” Lewis. The Inklings were literaryenthusiasts who praised narrative in fiction and encouraged the writing of fantasyto develop in them. “Properly speaking”, wrote Warren Lewis, “Inklings wasneither a club nor a literary society, though it partook of the nature of both.And it was very typical for university literary groups in their time andplace (and it is very important) – it was always comprised of men (e.g. DorothyL., Sayers, sometimes claimed as an inkling, was a friend of Lewis and Williams,but never attended inklings meetings).Readings and serious discussions of the members’ unfinished works werethe principal purposes of meetings. Until 1949 the Inklings readings anddiscussions occurred during Thursday evenings in C. S. Lewis’s college rooms atMagdalen College (or Maudlin, as it is pronounced). Bur the inklings and friendswere also known to gather informally on Tuesdays at midday at a local publichouse, The Eagle and Child, familiarly known as The Bird and Baby, or simplyThe Bird. The pub retains its name up to nowadays). Later pub meetings were atthe Lamb and Flag across the St Gile’s street (they say Thomas Hardy used towrite his novels there). Thus very oxford way of scientific life was to continueseminar discussions in nearby pubs, where discussants were more released, moreopen and communicable and could develop further contacts. And all this wasperformed in the male-oriented Oxford, where women had little or no role at all.Consequently, I think, it was not accidental that in such dominant malesystems, sophisticated situation and conditions as were at Oxford at that time theGender Study Center had been founded, by Oxford notorious scholar of Africanstudies – Shirley Ardener.According to her Colleagues and friends, “since the early 1970s ShirleyArdener has applied her intellect, creativity and enthusiasm to the development ofwomen’s studies at the University of Oxford and further afield”. The category“women” were problematised in different contexts. These approaches increasedways of considering women in society. And everything started form the informalseminar meetings of social anthropology. (Davies, Waldren: 2007).The mentioned seminars were focused on the cross-cultural studies ofwomen and everybody was concentrated on the issues of others and interestingdiscussion were being held. As the professor did not allow them to hold themeeting at the institute, they moved to Queen Elizabeth House (the latter since1969s became as Oxford University Center were conferences, lectures anddifferent kinds of studies were performed and which starting from 1980s39

developed in the International Studies Center, now the Oxford Department ofInternational Development). From here started the practice on the basis of whichwas founded the Center of Cross-Cultural Studies – working on the problems ofwomen.As J. Waldren has noted Shirley Ardener was in the unique position ofbeing an “informal” member of the Oxford anthropology circle, an insider /outsider at Oxford. Despite the fact that her knowledge and field experience wererecognized, her position in the system remained informal. The Seminar at QueenElizabeth house, remained outside the official anthropological program. (Davies,Waldren, 2007, 250).During more than 10 years they, as a special group, convened at seminarsat Queen Elizabeth House to discuss Women studies from the cross-culturalperspective. The members of the Center represented the unity of multidisciplinaryresearchers with the background of social anthropology, geography,history, literature, law, sociology and politics.Weekly seminars continued each term until 1983, when the participantsdecided to form the Centre for Cross-cultural Research on Women (CCCRW),with an office at Queen Elizabeth House. The founder members of the Centrewere Shirley Ardener; Sandra Burman; Helen Callaway; Elizabeth Croll, AlaineLow, and Alison Slith. Later members included Julia Leslie, Renate Barber,Judith Okley and Soraya Tremayne; Cecillie Swaisland and many others whomade vital academic contributions to the seminars during their DPhil studies atOxford (Davies, Waldren, 2007, 252).Thus at the time of creation of the Centre, it was quite clear that women’sstudies were “neither a prestigious nor a welcome research area in male-dominatedOxford (Spaas 1994, cited from Davies, Waldren, 2007, 252). The membersof the centre meanwhile tried to elucidate women’s problems in all possiblecontexts from cross-cultural perspective though at that time such problems wereignored by British anthropology.The International Gender Studies Centre officially was founded at QueenElizabeth House in 1983 (at the same time as the Women’s Study Centre in) inorder to study the problems of gender, culture and development.By that time the Centre had already been receiving the visiting Fellowsfrom around the world who participated not only within the Centre but alsoQueen Elizabeth House, and the wider University of Oxford. Thus at Oxford,ruled by the male systems, the Centre of social anthropology of Oxford womenwas founded as a challenge. Shirley Ardener was the founding director of theCentre of Cross-Cultural Research on Women during 1983-1997.(Now She is theSenior associate scientist at the Department of International development,Associate Researcher at the Institute Social and Cultural Anthropology).Apart Gender Studies, Shirley together with her friends and team-mates –Jonathan Weber, Tamara Dragadze, Jan Fowler and Lidia Sciama ran theseminars on Ethnicity and Identity, which was founded in due time by eminent40

scholar on African studies Edwin Ardener. These series of seminars were focusedon ethnic, historic, religious and other elements of culture, which awoke thesense of belonging in individuals and social groups and gave them opportunity tofind out the social meaning of self-identification and distinguish themselves fromthe others. These seminars resulted Oxford Anthropological Journal on Ethnicityand identity, founded by Shirley and Edwin Ardeners.When Edwin died unexpectedly in 1987 Shirley asked Jonathan Weber(Edwin’s former Doctorate and later friend) to join her in continuing his(Edwin’s) Ethnicity and Identity seminar, so, together with Tamara Dragadze, thethree of them ran the seminar and eventually produced a book series based on it.The seminars in this membership continued until J. Weber moved to anotheruniversity in 2002. Now these seminars are run by Shirley Ardener and LidiaSciama.As Jonathan Weber recollects (Weber, 2007), Journal of AnthropologicalSociety of Oxford was founded by Edwin Ardener in 1970 to disseminate newapproaches in social anthropology. The journal had been published at the end ofeach term by some magic powers (it was really the work of magic as it was notofficially listed as a part of the Institute of Social and Cultural Anthropology) andwas based on the hard work of a relatively small group of enthusiastic volunteers.This small informal circle of enthusiastic volunteers was able to createturned out to be magical – something that had a special atmosphere, a specialquality, something that could inspire and in its own modest way change theworld. Just to give a sense of the range, the themes included, for example, thesocial construction of time, bureaucratic identities, land and territoriality, theidentity of fathers, dress and ethnicity, identity and music, art, tourism(Weber,2007). I would add here that Shirley belongs to such persons, who supports andinspires everybody and gives stimulus especially to young people.During my stay at Oxford in 2009 (on Hilary term) I had the opportunity toexperience the scientific atmosphere, which is very Oxford and nothing can becompared with it: seminars, traditional discussions after the seminars in publichouses… communication with interesting scientists Maria Jashock (now thedirector of GSM), Janette Davies (who was so helpful at Oxford and so kindtogether with her husband, the reputed geologist Jeffrey Davies, as to show methe famous archaeological sites of Britain and then to take me to Wales and giveme rare chance to gather some ethnographic field data there), Paola Heinonen(she was the first from IGS with who I bumped into at Blackwells’ on the firstday of my arrival and since then she never stopped taking care of me during allmy stay), Jackie Waldren, Fiona Moore and many others. And what is veryimportant I had honor to meet Shirley Ardener, walking legend of Oxford, whowas so kind as to invite me at her Seminar, which she runs with Lidia Sciama. Ihad the chance to participate in both seminars (in the seminar of Ethnicity andIdentity at the Institute of Social and Cultural Anthropology and in at GenderStudy Centre at Queen Elizabeth House) and to discourse on particular subjects.41

They say the participants usually were charmed by the seminars and nevermissed them. I felt the same and can add that it was an extraordinary, exceptionalexperience in Social and Cultural Anthropology.In the end, I must confess, that it was a great surprise to discover suchmale-oriented scientific world at Oxford in which fragile and non-conformistShirley Ardener full of discretionary powers (which in my perception isassociated with notorious Georgian woman scholar Prof. Vera BArdavelidze) hasgiven rise to the new initiative, new ideas which opened new horizons in BritishAnthropology.References:Davies, Waldren: Janette Davies and Jacqueline Waldren, Gendering Oxford:Shirley Ardener and Cross-Cultural Research, in the Book; Identity andNetworks (Fashioning Gender and Ethnicity Across Cultures), Edited ByDeborah Fahy Bryceson, Judith Okely and Jonathan Webber, BerghanBooks, New York, Oxford, 2007.Dragadze: Tamara Dreagadze, Circumstance, Personality, and Anthropology, inthe Book; Identity and Networks (Fashioning Gender and Ethnicity AcrossCultures), Edited By Deborah Fahy Bryceson, Judith Okely and JonathanWebber, Berghan Books, New York, Oxford, 2007.Horan: David Horan, Oxford: A cultural and literary companion, (Cities of theImagination), Signal Books, Oxford, 2002.Weber: Jonathan Webber, Shirley’s Magic, in the Book; Identity and Networks(Fashioning Gender and Ethnicity Across Cultures), Edited By DeborahFahy Bryceson, Judith Okely and Jonathan Webber, Berghan Books, NewYork, Oxford, 2007.42

anTropologiuri biografiebiANTHROPOLOGICAL BIOGRAPHIESnugzar mgelaZeanTropologiuri biografiebi:1. franc boasi _ Tanamedrove amerikuli anTropologiisfuZemdebeliI(saleqcio Canawerebi)`biografiuli anTropologia”anTropologiis uaRresad sayuradRebomimarTulebaa. anTropologiuriTeoriebis fuZemdebelTa biografiebiTCven vecnobiT ara mxolod gamo-Cenil adamianTa cxovrebiseul niuansebs,maT mier anTropologiuri codnisdasaufleblad ganvlil gzas,aramed samecniero memkvidreobas, an-Tropologiur Tvalsazrisebsa da Sexedulebebs,ama Tu im Teoriuli mimdinareobisaTu skolis warmomadgenelTamecnieruli koncefciebis formirebisprocess, rac exmareba bakalavriatis studentebs,magistrebs, doqtorantebsa da, saerTod, humanitarul da socialurmecnierebaTa sistemaSi momuSave pirebs ukeT Seimecnondargis umTavresi daniSnuleba, sagani, miznebi da amocanebi,normatiuli kulturis rigi elementis arsi. biografiebismeSveobiT maT saSualeba eZlevaT dawvrilebiT Seiswavlonsagnis istoria, Zveli, axali da uaxlesi anTropologiuriskolebi, mimdinareobebi da Teoriuli mimarTulebebi.* * *franc boasi _ (1858-1942 wlebi).ZiriTadi Sromebi:1. Boas F. The Kwakiutle of Vancouver Island, New York, 1909.2. Boas F. The Mind of Primitive Man, New York, 1911.43

3. Boas F. History of the American race. –“Annals of the New YorkAcademy of Sciences”, vol. XXI, New York, 1912.4. Boas F. Mythology and Folktales of the North American Indians. – TheJournal of American Folklore”, vol, 27, No. 106, 1914.5. Boas F. The Eruption of Deciduous Teeth among Hebrew Infants. – TheJournal of Dental Research, vol. VII, no. 3, 1927.6. Boas F. Primitive Art, New York, 1927.7. Boas F. Anthropology and modern life, New York, 1928.8. Boas F. Some Problems of Methodology in the Social Sciences.-“TheNew Social Science”, Chicago, 1930.9. Boas F. The Tempo of Growth of Fraternities. – “Proceedings of thenational Academy of Sciences”, Vol. 21, No 7, 1935.10. Boas F (Ed.). General Anthropology, Boston, 1938.11. Boas F. Race, Language and Culture, New York, 1940.12. Boas F. Race and democratic society, New York, 1946.13. Boas F. The Central Eskimo, Lincoln, Nebraska – University ofnebraska press, 1964.14. Boas F. Kwakiutl Ethnography, Chicago, 1966.44* * *sayovelTaod cnobilia, rom luis henri morgani (LewisHenry Morgan) didi niWiT dajildoebuli, farTo inteleqtualuridiapazonis, erudirebuli da Rrmad moazrovne adamianiiyo, romelmac waruSleli kvali datova istoriografiaSida gansakuTrebuli adgili daikava ara marto amerikul, aramed,zogadad, msoflio anTropologiaSi. miuxedavad amisa,Tanamedrove anTropologia, rogorc mecniereba, profesiuliganviTarebis TvalsazrisiT, amerikaSi franc boasis Semoqmedebisada moRvaweobis safuZvelze ganviTarda. franc boasisgavlena atarebda ara marto individualur, aramed inteleqtualurda institucionalur xasiaTs. amitom iyo, rom man,rogor mecnierma da pirovnebam, gadamwyveti roli iTamaSa an-Tropologiis akademiur disciplinad Camoyalibebis saqmeSi,sxvadasxva anTropologiuri tipis asociaciisa Tu JurnalisdaarsebaSi. igi iyo Tanamedrove anTropologiis formirebispioneri. mowafeebi mas moferebiT „mama francs’’ eZaxdnen. aseve,mas uwodebdnen àmerikuli anTropologiis mamasa" da àn-Tropologiis arqiteqtors". XX saukunis I naxevarSi amerika-Si gansakuTrebiT unda gamoiyos franc boasis skola misi SesaniSnaviwevrebiT _ ruT fulton benediqtiT (Ruth Fulton Benedict),margaret midiT (Margaret Mead), klark uisleriT (Clark

Wissler), alfred kroberiT (Alfred Kroeber), robert louiT (RobertLowie), edvard sepiriT (Edward Sapir) da sxvebiT, romlebmacuaRresad didi roli Seasrules Tanamedrove anTropologiis,gansakuTrebiT, sociokulturuli anTropologiis CamoyalibebaSida igi Tvisobrivad sruliad axal doneze aiyvanes.isini franc boasis sicocxleSive iyvnen araerTi cnobiliwignis avtori da gavlenas axdendnen anTropologiurTeoriebze ara marto amerikaSi, aramed evropisa da danarCenimsoflios rig qveyanaSi.franc boasis mimdevrebsa da mowafeebs boaselebs uwodebdnen.samecniero wreebSi Tvlian, rom maT imdeni wereskulturaze, rom amerikaSi anTropologiis erT-erT ZiriTadmimarTulebas kulturuli anTropologia ewoda. sworedfranc boasma gauRviZa kulturis Seswavlisadmi interesi Tavismoswavleebs, gansakuTrebiT adrindel mowafeebs. cnobilia,rom franc boasma edvard tailoris (Edvard Burnett Tylor)Sexeduleba kulturaze pozitiuri rakursiT gaaanaliza daavtoriseuli Sefasebebi umetes SemTxvevaSi marTebulad miiCnia.sxvaTa Soris edvard tailoris erT-erTi wigni saxelwodebadànTropologias” atarebs da masSi ganxilulia aramarto biologiur anTropologiasTan dakavSirebuli problemebi,aramed zogadad adamianis universaluri biosocialuriTvisebebi _ ena, kultura, ufro konkretulad, Zveli daTanamedrove adamiani, cxovelebi, adamianTa rasebi, ena da rasa,damwerloba, civilizacia, teqnika, mecniereba, sulierisamyaro, istoria da miTologia, sazogadoeba da sxva (ix.Тайлор, 1898). franc boasisa da misi moswavleebis mier am dazemoT dasaxelebuli faqtebis popularizaciam, aseve, xeliSeuwyo imas, rom amerikaSi eTnografiasa da eTnologias kulturulianTropologiis saxelwodeba miniWeboda. droTa ganmavlobaSianTropologiis farglebSi am mimarTulebebmakvlevis da Seswavlis obieqtis gaTvaliswinebiT damoukidebeliujredebis Sinaarsi SeiZina.XX saukunis 30-iani wlebidan amerikul anTropologiaSiganviTarebis axali etapi daiwyo. am periodisaTvis amerikisSeerTebul StatebSi sazogadoebriv-politikuri mdgomareobaSesamCnevad Seicvala. 1929–1932 wlebSi aRiniSneboda krizisi.prezident ruzveltis xelisufleba cdilobda SeenarCunebinaekonomikuri stabiluroba da uzrunveleyo saerTo demokratiulireJimi. es yvelaferi ideur atmosferozec aisaxa.XX saukunis 30-ian wlebamde amerikuli anTropologiamTlianad orientirebuli Tu iyo franc boasis Sexedulebeb-45

sa da gamokvlevebze, am periodis Semdeg, franc boasis mowafeebimis ideebsa da Teoriebs ukve mravalmxriv interpretaciasukeTebdnen, ris safuZvelzec warmoiqmna sxvadasxva mimarTuleba,romelTa Soris gansakuTrebiT unda gamoiyosfsiqologiuri anu eTnofsiqologiuri skola.franc boasi 1858 wlis 9 ivliss Crdilo-dasavleT germaniaSi_ vestfaliaSi, qalaq mindenSi, boas meierisa (Meier Boas:1823-1899 wlebi) da sofia boas meieris (Sophie Meyer Boas:1828-1916 wlebi) mdidar ebraul ojaxSi daibada. mis mier aRwerilimogonebebi araerT biografiaSi aisaxa.ojaxur garemocvaze zegavlena iqonia1848 wlis revoluciurma ideebma, ramacbevri aalaparaka saarCevno uflebebze, presisTavisuflebaze, liberalur-demokratiulicnobierebis arsebobis aucileblobaze.mSoblebi, religiuri mrwamsis TvalsazrisiT,inarCunebdnen Sinagan da emociurkavSirs iudaizmTan, magram, rogorc biografebiaRniSnaven, amas naklebi gavlenamouxdenia momavali anTropologis inteleqtualurTavisuflebaze. ufro metic, swored mis irgvlivSeqmnilma sazogadoebriv-politikurma da sulierma garemomgansazRvra franc boasis anTropologia da socialuri aqtivobaTu socialuri problematikis miseuli xedva.franc boasma ganaTleba samSobloSi, sakuTar qalaqSimiiRo, Semdeg ki sxvadasxva universitetSi swavlobda. misiSemoqmedeba, dRidan mecnieruli muSaobis dawyebisa, Tematuradsaocrad mravalferovani iyo, rac mecnieris erudiciaze,momijnave dargebSi Rrmad ganswavlulobasa da codnis diddiapazonze metyvelebda. manam, sanam franc boass anTropologiisadmiinteresi gauCndeboda, igi geografiasa da fizikashaidelbergis, bonisa da kielis universitetebSi swavlobda.haidelbergis universitetSi bakalavris xarisxi mii-Ro, kielis universitetSi ki fizikur geografiaSi dawera sadoqtorodisertacia zRvis wylis feris Sesaxeb. igi ganswavluliiyo aramarto geografiaSi, aramed sakuTriv fizikasada maTematikaSic. sxvaTaSoris, franc boasma sadoqtoro disertaciawylis ferebis Sesaxeb kielSi 23 wlis asakSi, 1881wels, swored fizikaSi daicva da filosofiis doqtoris(PH. D) xarisxi mieniWa. Semdeg ukve amerikaSi, 1889 wels,franc boasma swavleba daiwyo klarkis universitetSi, sadacmiiRo doqtoris xarisxi anTropologiaSi. 1992 wels klarkis46

universitetSi finansuri problemebi Seiqmna, ris gamoc bevrmaTanamSromelma, maT Soris franc boasmac, universitetidatova.franc boasma gaiara erTwliani samxedro samsaxuri, risSemdeg gadawyvita mecnierebaSi konkretuli nabijebi gadaedgada adamianTa sazogadoebebi Seeswavla, Tumca amisaTvis mas sa-Tanado finansebi ar gaaCnda. rogorc cnobilia, ramdenime warumatebelimcdelobis Semdeg, 1883 wlis ivnisSi, mecniers mouxerxebiaSeerTeboda germanul eqspedicias arqtikaSi. igimiznad isaxavda inuitebis _ eskimosebis sazogadoebis Seswavlasimis dasadgenad, Tu ramdenad iyo SesaZlebeli adamianTacxovrebisa da garemos urTierTmimarTebis gansazRvra erTikonkretuli, magram arcTu ise martivi gamokvleviT.CrdiloeT kanadaSi _ bafinis miWaze (Baffin Land) geografiulikvlevebis periodSi franc boasi cxovrobda centralurieskimosebis garemocvaSi da eweoda savele kvleva-Ziebas.bafinis kunZulze, kanadis arqtikaSi, 50 gradusiani yinvispirobebSi man erTi weli gaatara. bafinis sanapiroebismimdebare adgilebSi Seagrova inuitebis legendebi, SeiswavlamaTi ritualebi da sakulto-sadResaswaulo ceremoniebi.rogorc biografebi miuTiTeben, saboloo jamSi, eskimosTaSoris eTnografiuli muSaobiT franc boasi mainc ukmayofiloda TiTqos imedgacruebulic ki darCa, radgan Tvlida,rom umniSvnelo raodenobis masalebis Sekreba SeZlo, magramdroTa ganmavlobaSi igi mixvda, rom arqtikaSi gatarebulmaerTma welma anTropologiuri Sexedulebebis formirebazeuaRresad didi gavlena iqonia. swored am eqspediciidan daiwyomisi adamianTmcodneobiT daintereseba. praqtikuli cxovrebissimkacreebTan Seguebam masze didi gavlena moaxdina,geografiidan anTropologiaSi gadainacvla da anTropologiisdawvrilebiTi Seswavla daiwyo. gza geografiidan an-Tropologiisaken iyo xangrZlivi, magram mecnieruli TvalsazrisiTuaRresad sasargeblo. safuZvlianma momzadebam geografiaSi,ligvistikasa da kulturologiaSi, Sesabamisad,mecnierebis sxvadasxva dargis farTo sinTezma, bunebrivia,mas logikuri Sedegebi misca da daexmara kompleqsurad daglobalurad gaeazrebina adamianTan dakavSirebuli problemebisuzarmazari wre. swored kvleviTi mravalmxrivobac gaxldaTerT-erTi faqtori imisa, rom anTropologiam, rogorcmecnierebis damoukidebelma dargma, swrafi tempiT daiwyoformireba. anTropologia _ mecniereba adamianis Sesaxeb daukavSirdafranc boasis saxels. mkvlevaris mravalganzomile-47

iani ganswavluloba gaxda mizezi imisa, rom anTropologiamimTaviTve moicva oTxi ZiriTadi _ biologiuri (fizikuri),kulturuli (socialuri/sociokulturuli), arqeologiurida lingvisturi _ mimarTuleba. SemTxveviTi ar yofila,franc boasi perspeqtiul mecnierebs kulturuli Rirebulebebiskvlevis paralelurad, indielTa gansaxlebis arealeb-Si lingvistikaSi, gansakuTrebiT sociolingvistikaSi, lingvokulturologiasada arqeologiaSi winaswar momzadebasrom sTxovda. amis saukeTeso magaliTi ki edvard sepiria(Edward Sapir), romelmac lingvistur anTropologiaSi gansaz-Rvruli amocanebis gadaWris mizniT, swored franc boasisdakvalianebiT daiwyo muSaoba (ix. Сепир,1993). problemis amdagvarmaxedvam droTa ganmavlobaSi anTropologiis integraciulifunqcia sagrZnoblad gazarda da dRes igi ama Tuim mimarTulebiT adamianTan da sociumTan dakavSirebul faqtiuradTiTqmis yvela aspeqts ikvlevs, rogorc diaqronul(istoriuli anTropologia), ise sinqronul sibrtyeze, Teoriulida meTodologiuri dakvirvebebis CaTvliT. amJamad,CaRrmavebuli interdisciplinaruli kvlevebi mimdinareobsstruqturuli anTropologiis, fsiqologiuri anTropologiis,filosofiuri anTropologiis, iuridiuli anTropologiis,ekonomikuri anTropologiis, politikuri anTropologiis,samedicino anTropologiis, genderuli anTropologiis, ZaladobisanTropologiis sferoSi. anTropologia momavlismecnierebad iqca.1885 wels, roca franc boasi imigraciaSi amerikis Seer-Tebul StatebSi wavida, misi cxovreba kardinalurad Seicvala.faqtobrivad, es iyo arqtikidan dabrunebis Semdeg periodSi.francma amjeradac warumateblad scada samsaxurisa dastipendiis mopoveba. igi sxvadasxva mecnierul JurnalebSiiwyebs redaqciul muSaobas. 1886 wels britaneTis kolumbiissamxreT nawilSi man TanamSromloba daiwyo JurnalSi _ `kanadisgeologiuri mimoxilva” da mcire gamokvlevac ki CaatarakunZul vankuveris mosaxleobaSi.1887 wels, roca franc boasi savele samuSaoebidan niuiorkSidabrunda, muSaoba daiwyo redaqtoris asistentis TanamdebobazeJurnalSi `Science”. swored am xanebSi igi daqorwindamaria kraskovizerze (Marie Krackowizer: 1861‐1929 wlebi)da amerikis moqalaqeobac miiRo.amave periodSi, 1885-1896 wlebSi, ramdenime muzeumisaTvisfranc boasma ganaxorciela savele dakvirvebebi CrdiloeTamerikis wynari okeanis CrdiloeT sanapiro regionebSi (The48

North Pacific Coast of North America).Aam samuSaoTa nawili moxmardamsoflio forumis proeqts, romelic CigakoSi 1892-1893wlebSi unda gamarTuliyo. proqti iTvaliswinebda adgilobriviamerikuli kulturis farTo publikisaTvis gacnobas.jgufis cxovrebis _ erToblivi Tanacxovrebis koncefcia,romelic pirvelad daamuSava franc boasma, dioramas (Diorama)saxelwodebiT gaxda cnobili. 1895 wels franc boasi niuiorkSigaemgzavra, raTa gamxdariyo bunebis istoriis amerikulmuzeumSi (American Museum of Natural History) eTnologiisada somatologiis asistent kuratori. man, aseve, 1896 welsleqciebis kiTxva daiwyo fizikur anTropologiaSi kolumbiisuniversitetSi, sadac 1899 wels anTropologiis profesorigaxda. ramdenime aTwleulis manZilze kolumbiis universitetSiigi or seminars atarebda, romelic winaswar mis mierSemuSavebuli samuSao gegmebis safuZvelze exeboda statistikurmeTodebsa da CrdiloeT amerikis indielTa enebs. francboasi airCies mecnierebaTa nacionalur akademiaSi. swored amperiodSi misi xelSewyobiT Camoyalibda àmerikis anTropologiuriasociacia” da ganaxlda Jurnali àmerikeli anTropologi"(American Anthropologist). mis mravalmxriv samecnieropotencialsa da organizaciul unarze metyvelebda isic, romigi 1917 wels gaxda àmerikuli lingvistikis saerTaSorisoJurnalis" damaarsebeli, romelic ise, rogorc àmerikulianTropologia", dResac gamodis. arqeologiis skolis dafuZnebammexikoSi pirdapiri aqcentebi dasva da gansazRvra an-Tropologiis sagnobrivi CarCoebi.* * *franc boasis warmatebebs safuZvlad savele da kabineturixasiaTis kolosaluri Sroma edo. warmatebuli anTropologiskariera faqtiurad winaswar Camoyalibebuli mecnieruliinteresebiT iyo gansazRvruli. misi moRvaweobis mTeliperiodi _ dawyebuli XIX saukunis 80-iani wlebidan, amis dasturia.franc boasi popularuli gaxda CrdiloeT vankuverisada britaneTis kolumbiis mosazRvre materikis, kanadis kvakiutlis(The Kwakiutle Indians) indielebze dawerili wignebiT,sadac mecnierma Camoayaliba kulturis axali konceptualurigageba, daadgina, rom kulturis SeswavlisaTvis aucilebeliiyo sazogadoebaSi arsebuli yvela tipis gamovlinebis gansazRvra.franc boasis TvalsazrisiT, kulturis Sesaxeb faqtebiskompleqsurad Sekreba aucilebeli winapiroba iyo gar-49

kveuli saxis kulturis Sesamecneblad. es iyo meTodologiurixasiaTis daskvnebi da maT didi mniSvneloba hqondaT kulturulianTropologiis dargobrivi CarCoebis gansasazRvravad.franc boasma gaxmaurebuli wigni – „wynari okeaniis sanapirosindielTa miTebi da legendebi’’ germanulad dawerada didi xani araa, rac igi inglisur enaze iTargmna.Aam publikaciiT,romelic araerTi anTropologis mier qrestomatiulwignadaa aRiarebuli, Cven bevri ram gavigeT kanadisa daaliaskis indielTa kulturis Sesaxeb. franc boasis gamokvlevebissafuZvelze kanadisa da amerikis SeerTebuli Statebisstudentebi swavlobdnen mraval sakiTxs, romelic indielTafolklorTan iyo dakavSirebuli. es wigni gadaiTargmnamaSin, roca „britaneTis kolumbiis indielTa enebis’’ Sesaxebgrandiozuli proeqtis farglebSi Targmanze gamoiZebnaSesabamisi dafinanseba. sxvaTa Soris, aTobiT konsultantiiyo mowveuli, raTa TargmanTan dakavSirebuli niuansebi gaazrebuliyo,gaSifruliyo cxovelTa, mcenareTa saxelwodebebi,geografiuli dasaxelebebi. ukve asi weli gavida, races sqelydiani wigni arsebobs da misi meSveobiT Cven vecnobiTindielTa miTologiur gmirebs, gasaocar istoriebs, mxareSidasaxlebul tomebs da sxva.ratom miiqcia franc boasis yuradReba maincadamaincwynari okeanis sanapiroebma da ara arizonis udabnoebma,floridis Waobebma Tu didi tbebis midamoebma. franc boasisbiografebi am tipis kiTxvebs sakmaod xSirad svamen xolmeda Tavadve pasuxoben: SesaZloa imitom, rom aq iyo unikalurigaremo kulturis ganviTarebisaTvis. indielebi cxovrobdnen`qvis xanaSi”. maT ar icodnen rogori iyo borbali, ar icodnendnobiT rkinis miReba, Tumca bunebrivi simdidreebi imdenadTvalSisacemi iyo, adgilobrivi mosaxleobisaTvis sakvebismoZieba did siZneles ar warmoadgenda. uamravi cxen-irmisjogi, zRvis xamanwkebi, iolad mosapovebelinadavli da bunebis sxva saCuqari, tye-Si nairferovani soko indielebs saSualebasaZlevda umokles droSi SeeqmnaT sakvebismaragi da Tavisufali dro gamoeyenebinaTdasvenebisaTvis, kerasTan zRaprebismoyolisaTvis, magiuri warmodgenebisaTvis.1886 wlisaTvis franc boasi 28 wlisenergiiT aRsavse axalgazrda iyo. igi qalaqviqtorias estumra eskimosebTan mogzaurobisSemdeg, sadac berlinis muzeumi-50

saTvis krebda geografiul masalebs. im droisaTvis viqtoriaamerikis kontinentis Crdilo-dasavleT nawilis mTavari savaWrocentri iyo. bunebrivia, amis gamoc qalaqSi yvela xalxisada tomis warmomadgenlebi ikribeboda. es iyo SesaniSnavieTnografiuli garemo respondentTa mozidvis TvalsazrisiT.ubralod, qalaqSi seirnobiTac SesaZlebeli iyo Soreulikanadidan da aliaskidan metad saWiro adamianebs Sexvedrodi.es ki eTnografisaTvis velze, SeiZleba iTqvas, „komfortuli’’viTareba iyo. aq kargad Canda adgilobriv indiel-Ta enebisa da Cveulebebis urTierT Tanafardoba. britaneTiskolumbiis kunZuli da sanapiroebi franc boasis dros dedamiwazearc Tu ise bevr im gamonaklisTa Soris iyo, sadacZveli da uZvelesi civilizaciebi TeTri adamianis gavlenisgareSe jer kidev iyo Semonaxuli. aq, franc boasi darwmundamisi didi proeqtis ganxorcielebis dro rom dadga. upirvelesad,mecnierma tomTa gansaxlebis sqemis Sedgena daiwyo.paralelurad krebda indielTa zRaprebs. rogorc umetesmogzaur-mkvlevars, franc boassac, samwuxarod, fuli sakmarisiar hqonda da igi iZulebuli gaxda Tavisi biujeti samTveze gadaenawilebina. advili warmosadgenia aseT pirobebSimas rogori kolosaluri Sromis Catareba mouwevda. xomaldidanindielTa kanoeSi, kanoedan sanapiroze, did manZilebzefexiT siaruli an rTuli gzebis gadalaxva cxeniT da yvelaferies yoveldRiurad xdeboda. mecniers, bunebrivia, rCebodaTavisufali dro, roca igi ar mgzavrobda, magram am drosac,mopovebuli wyaroebis damuSavebasa da daxarisxebas axmarda.roca saubroben franc boasis biografiaze da miuTi-Teben ase datvirTuli reJimis arsebobaze, xSirad imasac aRniSnaven,rom misi muSaoba arc erTi wuTiT ar wydeboda. warmoidgineTmdinareze moZravi mcire xomaldi, xomaldidanamosuli Savi masiuri boli, xomaldis gembani da mgzavrebsSoris franc boasi, romelic gamudmebiT eZebda indielebs,saaTobiT baasobda maTTan da akeTebda Canawerebs. faqtiurad,mecnieris komunikabelobam warmateba gansazRvra. zogierTienis ucodinarobis miuxedavad, igi nebismier pirTan axerxebdakontaqtis damyarebas. bevri franc boasis angariSebis gacnobisassakuTar Tavs usvamda kiTxvas _ ramdenad sandoa mismier Cawerili zRaprebi, miTebi da legendebi? mkvlevris amdRiurebSi arsebobs teqstebi, mopovebuli Crdilo-dasavle-Tis yvela xalxis (saliSi, kvakiulti, nutka, xaida, tlingiti,bilovka...) warmomadgenlisagan. aqedan gamomdinare, man Tuyvela ara, ramdenime sxvadasxva ena mainc icoda, rac sakmaod51

Tul saqmes warmoadgenda, miTumetes, rom TiToeuli tomisenas Tavisi dialeqti hqonda, Tumca xSirad miuTiTeben, romzogierTi enis safuZvlebis codnis miuxedavad, igi ZiriTadadmTargmnelebis daxmarebiT muSaobda an iyenebda Cinukisdialeqts, romelic savaWro sagnebis gacvla-gamocvlis pirobebSigamoiyeneboda, rogorc universaluri sakomunikacio sa-Sualeba.franc boasi indielTa kedris saxlebSi sasurveli stumariiyo. mas xSirad iwvevdnen olqSi ganxorcielebul TiTqmisyvela dResaswaulze. sami Tvis manZilze franc boasmamravali megobari SeiZina – dawyebuli maRali rangis Cinovnikidan,damTavrebuli Soreuli kunZulebidan kanoeTi mocurebulimoxatuli da tatuirebuli indielebiT. franc boasisdRiurSi weria: „xval unda vewvio doqtor tolmis, indielTasakiTxebSi agents, doqtor pauelas da kaTolik mRvdels. undadavukavSirde fotografs da, SesaZlebelia, skolis maswavlebels...me, albaT, viqtoriaSi cnobili var, rogorcùjiSo ZaRli”, imdenad usircxvilod veZeb nacnobobas yvelajuris xalxTan,’’ magram muSaobis am stilma srulad gaamar-Tla. roca igi dekembris bolos uaRresad gadaRlili da daqanculivankuverSi dabrunda, ganacxada, rom misma xelnawerma326 gverds miaRwia. vankuverSi igi mxolod sawolsa dadasvenebaze ocnebobda.franc boasis saeqspedicio proeqti brwyinvaled ganxorcielda.ruqebis Sedgenisa da zRaprebis Caweris garda,mkvlevarma Sekriba indielTa xelovnebis nimuSebi, riTac SeiZlebodaevropuli muzeumebis daintereseba da amis safuZvelzesakmao fulis Tavmoyra, Tumca male samuSaoebis gagrZelebismizniT dafinanseba man mecnierebis ganviTarebisbritanuli asociaciidan miiRo. 1888 wels mecnierebis ganvi-Tarebis britanulma asociaciam (British Association for Advancementof Science) TxovniT mimarTa franc boass Seegrovebina eTnografiulimasalebi Crdilo-dasavleT sanapiros mosaxleobaSi.pirveli marTlac warmatebuli eqspediciis Semdeg, 1889wels, Crdilo-dasavleT sanapiroze amave asociaciam daafinansameore savele eqspedicia, romlis drosac franc boasmaSeiswavla adgilobrivi mosaxleobis enebi, Seagrova anTropometrulifaqtebi (ix. Boas, 1922), daadgina kvakiutlisa dacimSianis tomTa socialuri organizaciis formebi. am iniciativissafuZvelze franc boass saSualeba hqonda momdevnooTxi weli kvlav eqspediciaSi gaetarebina, sadac SemdegSimarTlac gaagrZela zRaprebis Cawera, enebis Seswavla da gaq-52

obis safrTxis winaSe mdgomi indielTa tomis xelovnebisunikaluri nawarmoebebis Sekreba. ukve sayovelTaod aRiarebulia,rom franc boasi iyo ara ubralod zRaprebis Semkrebi,aramed akademiuri skolis warmomadgeneli. igi iwerda er-Ti da imave miTis aTobiT variants, qmnida erTgvar rukas,romliTac sazRvravda adgils, sadac legenda daibada da adgenda,Tu rogor vrceldeboda misi variaciebi tomTa Soris.legenda droTa ganmavlobaSi xSirad icvleboda, iZenda damatebebsan, piriqiT, kargavda calkeul detals. savele muSaobisamdagvari meTodis safuZvelze mecniers advilad SeeZlocalkeul TargmanSi SeeniSna uzustoba da adgilzeve gamoesworebina.TandaTanobiT franc boasis winaSe Camoyalibda winaprebismonawileobiT moqarguli msoflios magiuri suraTi, sadacadamianebi da cxovelebi iyvnen erTi da imave rgolisori gamovlineba. yvavebis, daTvebis, veSapebis, Tagvebisa dabunebis sxva warmomadgenelTa _ adamianTa da cxovelTa simbiozurisaxeebis gverdiT am samyaroSi binadrobdnen mrisxanewarmosaxviTi frinvelebi, adamianis mWameli idumaliwylis urCxulebi. franc boasis Semdgom kvlevaSi farTo adgiliekava ara marto uSualod teqstebis Sekrebas, aramedindielTa socialuri wyobis, maTi dasvenebis, omebis, magiuriCveulebebisa Tu mistikuri qcevebis, saidumlo sazogadoebebisSeswavlasac.franc boasi dawvrilebiT gaecno XIX saukunis II naxevrisklasikos evolucionistTa Semoqmedebasa da Sexedulebebs,ris safuZvelzec, rogorc specialistebs miaCniaT, maledarwmunda im eTnografiuli wyaroebis SezRudulobaSi, romelTasafuZvelzec maT problemaTa farTo ganzogadoeba moaxdines.franc boasi TiTqos ar uaryofda evoluciur ideebs,magram sinamdvileSi igi fiqrobda, rom biologiuri evoluciamecnierulad unda dadasturebuliyo. mecnieri realobaSigamoricxavda Secdomebis daSvebis SesaZleblobas, Tumcakulturuli evoluciis momxreTa erTi nawili am uaRresadmniSvnelovan moTxovnas yovelTvis rodi iTvaliswinebda.franc boasis moRvaweobis periodSi evolucionisturi ideebiTandaTobiT moZvelda da gamoiyeneboda, rogorc viwro, isefarTo mniSvnelobiT. mervin garbarinos mixedviT, misi viwromniSvneloba vlindeboda maSin, roca mimdinareobda kamaTiimis Sesaxeb, xelovneba ganviTarda Tu ara, vTqvaT, abstraqtuliwarmodgenebis safuZvelze, xolo farTo Sinaarsi man53

miiRo adamianis istoriis gaurkveveli ganzogadoebis proces-Si (Garbarino, 1977:48, 47-50).franc boasi naTlad xedavda, rom anTropologias sWirdebodaaxali midgomebi. igi cdilobda Tavidan aecilebinaTeoriuli gamosvlebi manam, sanam ar moipovebda axal, ukeTesda srul informacias. damwyebi maswavleblis statusSic, igistudentebs sTxovda, SeegrovebinaT rac SeiZleba meti eTnografiulimasala. misi mizani iyo totalurad aRedgina TiTqmisyvelaferi da maqsimalurad cdilobda Tavi Seekavebinaganzogadoebebisa da Sedarebebisagan manam, sanam konkretulmonacemze srul da amomwurav informacias ar moipovebda. amperiodisaTvis igi Tvlida, rom Teoriebi TavisiT warmoiSoboda.utyuari faqtebiT Tavdajerebuls imedi hqonda, bolosda bolos SesaZlebloba miecemoda, raTa adamianis qcevisganzogadoeba moexdina, Tumca sicocxlis bolo wlebSifranc boasi mivida misTvis samwuxaro daskvnamde _ es faqtiuradSeuZlebeli iyo. arsebobda garkveuli movlenebi, romelTacfranc boasi aRiqvamda, rogorc individualuri fsiqologiisada unikaluri istoriuli movlenis Sedegs.franc boasi kvleviTi samuSaoebis warmatebiT ganxorcielebisaTvisstudentebisagan, rogorc aRiniSna, upirvelesad,faqtebis dagrovebas moiTxovda, rac TandaTanobiT amerikulianTropologiisaTvis damaxasiaTebel niSnad iqca. studentebsgansakuTrebuli mniSvneloba unda mieniWebinaT kulturiselementTa moZraobis gzebisa Tu traeqtoriis gansazRvrisaTvis,maTi simravlis reestrisaTvis da ganexorcielebinaTkulturis ama Tu im elementze sxvadasxva farTod gavrcelebulazrTa Tavmoyra. roca evolucionistebi kulturaSimsgavsebas eZebdnen, maSin franc boasi maT mravalferovnebasakvirdeboda. zogierTi kritikulad ganwyobili avtori Relavdaimis gamo, rom aseTma midgomam franc boass TiTqosxeli SeuSala warmoeCina dasaxuli amocanis totaluri suraTi.franc boasma anTropologiuri Teoriebiganavrco kulturuli relativizmisintepretaciiT da darwmunda istoriulpartikularizmSi (istoriulipartikularizmis Sesaxeb dawvrilebiTix. Ember, 1985:181-182). kulturuli relativizmigansxvavebul xalxebsa TuadamianebSi iyo istoriuli, socialurida geografiuli gavlenis Sedegi. Ti-54

Toeul dasaxlebasa Tu populacias hqonda erTgvarovani daerToblivad ganviTarebuli kultura. istoriuli partikularizmiTiToeuli kulturis nawilia unikaluri istoriiT.igi ar cnobs princips maTze universaluri kanonebi zemoqmedebisSesaxeb. am Sexedulebis niSnebi gaCnda adreul evolucionistTawreSi jer kidev luis henri morganTan da edvardtailorTan, romlebmac SemogvTavaza safexurebi, romelTackultura Tanmimdevrulad gadioda. franc boasis germanulinteleqtualur fonze, rogorc es literaturaSia miCneuli,didi gavlena moaxdina adolf bastianma (Adolf Bastian), aleqsandrefon humboldtma (Alexander von Humbodt), rudolf virxoum(Rudolf Virchow), socialuri formebis izolaciaze difuziisada migraciis zemoqmedebis Teoriuli postulatebis avtorma,geografma – fridrix ratcelma (Friedrich Ratzel). francboasma yuradReba gaamaxvila kulturis Sida wyobaze dakulturas bunebrivi xedviTa da partikularistuli midgomiTSignidan daakvirda. man bevri ram SeiTvisa vilhem diltisagan(Wilhelm Dilthey), romelsac, rogorc filosofoss, socialurimecnierebis sferoSi gaaCnda mentalitetis Sesaxeb istoriulinaSromi. sxvaTa Soris, boaselebi kulturasTan dakavSirebiTprincipulad svamdnen umniSvnelovanes kiTxvas: arisTu ara kultura realoba Tu igi abstraqcias warmoadgens?.is marTlac arsebobs Tu mxolod Cvens warmosaxvaSia? bunebrivia,franc boasze gavlenas axdenda eTnografebis mier Camoyalibebulikulturis ganmartebebi da amanac ganapiroba,roca igi kulturas ara artefaqtad, aramed artefaqtis ideadTvlida (Garbarino, 1977:49).evolucionistur SexedulebebTan dapirispirebisas TaviskvlevebSi franc boasi istoriis rols ar gamoricxavda. ufrometic, franc boass istoriuli anTropologiis sulisCamdgmeladda istoriuli anTropologiuri skolis CamomyalibebladTvlian, riTac man gansazRvra amerikuli anTropologiuriazris ganviTareba XIX saukunis miwurulidan XX saukunisSua xanebamde (Sdr. amerikul ìstoriul skolas” _ ix.Марков, 2004:39). ZiriTadad igi yuradRebas amaxvilebda specifikuristoriebze da sjeroda, rom TiToeuli sazogadoebamxolod sakuTari warsuli Semecnebidan gamomdinare undayofiliyo gagebuli. igi fiqrobda, rom TiToeuli kulturagancalkavebuli istoriuli procesis unikaluri produqti,mizezobriv da gansxvavebul faseulobaTa mravalferovanikombinaciebis istoriuli gamovlineba iyo. aseTi poziciis gamo,xSirad, franc boassa da mis mimdevrebs termin – „isto-55

iul partikularizms’’ miaweren. kulturuli faqti saukeTesodixsneboda istoriuli movlenis safuZvelze. mecnieriaxasiaTebda iseT msgavs kulturul formebs, romlebic warmoqmnilniiyvnen gansxvavebul winamaval garemoSi, Tumca movlenismizez-Sedegobrivi axsna araTu Znelad, aramed zogjerSeuZlebladac ki miaCnda. franc boasi erTmaneTisagan mijnavdadros da masSi moqceul specifikur sazogadoebebs. igiewinaaRmdegeboda varauds, rom kulturuli evolucia fexdafexmiyveboda yvela tipis sazogadoebas. franc boasis aqcentiZiriTadad kulturaze iyo gadatanili da misi kritikulidamokidebuleba klasikuri evolucionisturi skolis warmomadgenelTaSexedulebebisadmi ganpirobebuli iyo ara imitom,rom evolucionistebma scades istoriuli rekonstruqciebisganxorcieleba, aramed imitom, rom isini amas akeTebdnenmcire faqtobriv monacemebze dayrdnobiT, Tanac tomobriviTu gvarovnuli dajgufebebi (Tribal People) SedarebiTi me-Todis safuZvelze miakuTvnes preistoriul adamianTa gaer-Tianebebis kategorias. aq, franc boasma xazi gausva imas, romtribal;ur dajgufebebs iseTive xangrZlivi istoria hqonda,rogoric civilizebul xalxebs (Garbarino, 1977:48).franc boasi _ amerikuli anTropologiuri skolis erTerTiudidesi warmomadgeneli, romelsac gansakuTrebuliwvlili miuZRvis anTropologiuri, eTnologiuri meTodikisada meTodologiis damuSavebaSi, kulturis elementebs ama Tuim xalxis gansazRvrul socialur da geografiul garemoSiistoriul movlenebTan mWidro kavSirurTierTobaSi ganixilavda.amasTan, igi iTvaliswinebda msgavsi socialuri wyobisxalxTa fsiqikuri erTianobis faqtorsac, rasac SeeZlodasaSvebia, analogiur kulturul faseulobaTa warmoSobisganpirobeba. miuxedavad imisa, rom franc boass moRvaweobaanTropologiuri mecnierebis Camoyalibebisa da ganviTarebisrTul periodSi mouwia, istorizmisadmi misi pozitiuri damokidebulebasavsebiT gasagebia. amerikulma anTropologiampartikularuli sazogadoebebis istoriul SeswavlasTan er-Tad sxva mniSvnelovani mosazrebebic ganaviTara. franc boasshqonda naSromebi ara marto Crdilodasavleli indielebiseTnografiaSi, aramed lingvistikaSi, fizikur anTropologiasada arqeologiaSi.franc boasma eTnografiuli kvleva-Zieba daiwyo klasikureTnologiaSi adolf bastianis (Adolf bastian), edvard tailoris,luis morganis, lebokis, herbert spenseris (HerbertSpencer) moRvaweobis periodSi, romelTac evoluciur skolas56

akuTvnebdnen. am dros germaniaSi difuzionizmisa da anTropogeografiisTeoriis Semoqmedi fridrix ratceli centralurfiguras warmoadgenda. franc boasis germanuli warmomavlobacgansazRvravda imas, rom igi kargad icnobda germanulenovanliteraturas da, Sesabamisad, fridrix ratcelis Semoqmedebasac.mas gaaCnda seriozuli argumentebi, rac safuZvelsaZlevda ukve adreul naSromebSi fridrix ratcelisa daevolucionistebis Sexedulebebi uaryofiTad Seefasebina. mar-Talia, bafinis miwebisaken igi miemarTeboda fridrix ratcelisgeografiis Zlieri gavleniT, magram mas dascilda maSin,roca igi mogzaurobda eskimosebSi, ukve luis morganis naSromebiszegavleniT (ix. Аверкиева, 1946:106).franc boasi 1937 wels kolumbiis universitetSi gaxdaanTropologiis emeritus profesori. man mTeli cxovreba dauTmoanTropologiur kvlevebs da xeli Seuwyo anTropologiismecnierebad aRiarebis saqmes. misi gazrdili mowafeebiSemdegSi sayovelTaod cnobili anTropologebi gaxdnen. mecnieri,rogorc zemoTac aRvniSneT, araerTi wignis avtoriiyo, romlebmac sapatio adgili daikaves aramarto sabunebaTmecniero,aramed humanitarul da socialur mecnierebaTasistemaSi. BmoRvaweobis bolo xanebSi franc boass, rogorckolumbiis universitetis emeritus profesors, axlo urTier-Tobebi hqonda da safakulteto klubSi xSirad sadilobdakidec profesor pol rivetTan (Paul Rivet) da sxva kolegebTanerTad.specialistTa azriT, franc boasis naSromebi Seufasebelia.kacobriobis winaSe misi damsaxureba iyo ara mxolodis, rom man Sekriba gansacvifrebeli miTebi da legendebi,xangrZlivi dro moandoma mogzaurobasa da gverdigverdcxovrobda qvis xanis adamianebTan, aramed isic, rom saqveynodgaaJRera daskvna imis Sesaxeb, rom msoflios yvela xalxiinteleqtualuri da kulturuli potencialiT aris Tanabari.erTi SexedviT arc Tu ise uwyinari es Tvalsazrisi SesaZloaCveulebriv movlenad mogveCvenos, magram es ase araaTu gaviTvaliswinebT im faqtsac, rom franc boasi statiebsim dros _ XX saukunis pirvel naxevarSi _ aqveynebda, rocanacionaluri reJimi, germanuli nacizmi da amerikaSi rasistuliganwyoba Warbobda. marTalia franc boasi politikosiar iyo, magram mas gaaCnda mtkice moqalaqeobrivi pozicia.igi pirvel rigSi mecnieri iyo. amitom nacionalur problemasacmecnieruli prizmidan aSuqebda. SemTxveviTi ar iyo misigamonaTqvami: `Tu SevkrebT mesamed yvelaze Wkvian, kultu-57

ul da emociurad stabilur adamianebs, maSin msoflios yvelarasa iqneba warmodgenili”. specialistebis ganmartebiTes iyo ara lozungi, aramed aTwleulebis manZilze gulmodginesamecniero muSaobiT dasabuTebuli faqti.1942 wlis 21 dekembers franc boasi 84 wlis asakSi niuiorkSigardaicvala. safrangeTis akademiis wevri klod levi-strosi(Claude Levi-Strauss) franc boasis gardacvalebas amerikaSiase aRwers: `dekembris im dRes Cven kolumbiis universitetisklubSi lanCze SevxvdiT. qalaqSi susxianad yinavda.franc boasi, sapatio emeritus profesori, movida gaxunebulibewviani qudiT, romelic, SesaZloa, erT-erTi mogzaurobisdros eskimosebis naCuqari iyo. mraval stumars Sorismowveuli iyo boasis qaliSvili, ramdenime Zveli megobari dayofili studentebi. saubari mimdinareobda Tavisuflad, magramcboasi uecrad SeinZra, wamoiwia da rogorc eleqtronuliZabviT gangmiruli adamiani skamTan erTad iatakze daeca...qaliSvilsa da vaJs mwuxareba dautova 1 . Cven wynarad davtoveTadgilsamyofeli imis gacnobierebiT, rom am qveynidan wavidayvela drois udidesi eTnografi.... roca me vfiqrobdimisi wignebisa da statiebis fantastikur raodenobaze, publikaciebismravalferovneba mancvifrebda imiTac, rom maTSi SeiniSnebodadargobrivi dinamika _ anTropologiidan folkloramde,arqeologiidan lingvistikamde, geografiidan eTnologiamde,wvrilmani detalebis ganxilvidan yovlismomcvelTeoriul ganzogadebamde... `me sakuTar Tavs veubnebodi,rom Cven gavxdiT aramarto Tavisi saqmis aRiarebuli ostatis,aramed XIX saukunis erT-erTi bolo iseTi giganti moazrovnisamqveynidan wasvlis mowme, romlis msgavsic, SesaZloa,veRarasodes vnaxovT”. uingeiT Todma (Wingate Todd) sayovel-Taod ganacxada, rom franc boasi iyo Cveni drois gamoCenilida erT-erTi yvelaze ufro nayofieri mecnieri. robert louimki franc boasis gardacvalebis Semdeg nekrologSi umaRlesiSefaseba misca franc boasis ganvlil adamianuri da1 franc boasi mravalSvialiani iyo. Svilebi: elene boasi iampolski(Helene Boas Yampolsky: 1888-1963 wlebi), ernest filip boasi (Ernst PhilipBoas: 1891-1955 wlebi), hedving boasi (Hedwing boas: 1893-1894 wlebi),gertrud boasi (Gertrud Boas: 1897-1924 wlebi), henri herbertdonaldson boasi (Henry herbert Donaldson Boas: 1899-1925 wlebi), mariafranciska boasi (Marie Franziska Boas: 1902-1987 wlebi).58

mecnieruli cxovrebis gzas. robert louis aRiarebiT francboasi ìyo didi anTropologi da didi adamiani”.ilustraciafranc boasis personaluri fotoebi.franc boasis mier demonstrirebuli kvakiutlis tomis ceremoniulicekva.literatura:averkieva: Аверкиева Ю.Л., Франц Боас. _ «Кавказский этнографическийсборник», Москва, 1946.barfildi: Thomas Barfield. Boas Franz. – “The Dictionary of Anthropology”,Oxford, 1997.beikeri: Lee D. Baker. The Location of Franz Boas within the African AmericanStruggle. – “Critique of Anthropology”, vol. 14 (2), 1994.beikeri: Lee D. Baker. Franz Boas Out of the Ivory Tower. – “AnthropologicalTheory”, vol. 4 (1), 2004.baSkovi: Ira Bashkow. A Neo-Boasian Conception of Cultural Boundaries. _“American Anthropologist”, vol. 106 (3), 2004.boasi: Franz Boas. Report on an Anthropometric Investigation of the Populationof the United States.-``Journal of American Statistical Association”,1922.bunzli: Matti Bunzl. Boas, Foucault and the “Native Anthropologist”. –“American Anthropologist”, vol. 106 (3), 2004.garbarino: Merwyn S. Garbarino. Socio-cultural Theory in Anthropology (AShort History), Chicago, 1977.geTia: Fran Getya. Jews, Multiculturalism and Boasian Anthropology. _“American Anthropologist”, vol. 99 (4), 1997.emberi: Carol R. Ember, Melvin Ember. Anthropology, London, 1985.kroberi: Alfred Kroeber. An Authoritarian Panacea. _ “American Anthropologist”,vol. 51 (2), 1949.loui: Robert H. Lowie. Franz Boas (1858-1942). _ Biographical Memoir,1947.markovi: Г. Е. Марков. Немецкая этнология, Москва, 2004.monaghani, jesTi: John Monaghan and Peter Jast. Social and Cultural Anthropology(A Very Short Introduction), Oxford, 2000.59

seimor-smiti: Charlotte Seymour-Smith. “Boas Franz. _ Macmillan Dictionaryof Anthropology”, London, 1986.sepiri: Э. Сепир. Статус лингвистики как науки. _ «Избранные труды поязыкознанию и културологии», Москва, 1993.tailori: Эд. Б. Тайлор. Антропология. Введение к изучению человека ицивилизации (перевод с английского И. С. Ивина), С.-Петербург,1898.praisi: David Price. Anthropologists as Spies. _ ”The Nation”, vol. 271, Number16, 27, 2000.praisi: David Price. The Shameful Business: leslie Spier on the Censure of FranzBoas. – “History of Anthropology Newsletter”, vol. XXVII (2), 2001.harti: Mitchel Hart. Franc Boas as German, American, Jew. _ “German -Jewish Identities in America”, 2003.herberti: Lewis Herbert. Boas, Darwin, Science and Anthropology”. –“Current Anthropology”, vol. 42 (3), 2001.herberti: Lewis Herbert. Franz Boas: Boon or Bane. – “Reviews inAnthropology”, vol. 37 (2-3), 2008.holouei: M. Holoway. The paradoxical Legacy of Franz Boas _ Father ofAmerican Anthropology”. – “Natural History”, 1997.http://en.wikipedia.org/wikipedia.org/wiki/Franz Boas.http://www.jstor.org.stable/535755, accessed may 28, 2009.http://www/ampilsoc.org/library/mole/b/boas.htm.http://ka.wikipedia.org/wiki/%E1%/83/A4%E1%83%AO%E1%83%90%E1%83%9C%E1%83%AA%E1%83%91%E1%83%9D%E1%83%90%E1%83%A1%E1%83%98%.http:/www.cecstate.wa.gov/history/publications detail.aspx?p=42.60

Nugzar MgeladzeAnthropological Biographies:1. Franz Boas – Founder of Modern American AnthropologyI(Lecture Notes)The author of the article introduces the reader into the life of the founder ofmodern American anthropological school - Franz Boas and the problemsconnected with the foundation of the discipline.From the professional viewpoint, the development of the Americananthropology as a science was based on Franz Boas’s creative works and hisscientific activities..Franz Boas became interested in human studies since his early expeditionsand turned his interests form geography to anthropology and began its thoroughstudy. Broad education and knowledge of different disciplines gave him opportunityto study human societies from different angles and aspects. Due to hismulti-dimensional erudition anthropology now is comprised of four main directions:biological (physical), cultural (social/socio-cultural), archaeological andlinguistic. At present in-depth interdisciplinary researches are taking place in thefollowing spheres: structural anthropology, psychological anthropology, philosophicalanthropology, legal anthropology, economic anthropology, politicalanthropology, medical anthropology, gender anthropology and violence anthropology.Anthropology became a science of future.61

62TinaTin RuduSaurikliford girci _Kinterpretaciuli anTropologiakliford girci (1926-2006) – amerikeli anTropologia,interpretaciuli mimarTulebis warmomadgeneli, romelmacdidi zegavlena moaxdina amerikuli kulturanTropologiisganviTarebaze. 1950 wels man miiRo filosofiis bakalavris,xolo 1956 wels harvardis universitetis filosofiis doqtorisxarisxi. wlebis ganmavlobaSi aswavlida berklisa daCikagos universitetebSi. 1970 wlidan prinstonis universitetisumaRlesi kvlevebis institutis socialur mecnierebaTaprofesoria da imavdroulad Cikagos universitetis axalierebis SedarebiTi kvlevis komitetis aRmasrulebeli direqtorida anTropologiis profesori. 1972 wlidan Jurnal~dedalusis~ redkolegiis wevria. ZiriTad kvlevebs awarmoebdaCrdilo afrikasa da samxreT-aRmosavleT aziaSi, Sesabamisad,Mmisi naSromebis mniSvnelovani nawili eZRvneba samxreTaRmosavleTaziisa da CrdiloeT afrikis tradiciul religiebsda kulturis tradiciul elementebs TanamedrovemsoflioSi. igi TanamSromlobda edvard SilzTan da talkotparsonsTan, romlis studenti iyo harvardSi, axlos idgastruqturul funqcionalizmTan religiuri sistemebisa dasazogadoebis kvlevebSi, Tumca misi samecniero interesissferos warmoadgenda koleqtiur qmedebaTa (adaTebi, ritualebi,dResawaulebi) simboluri aspeqtebi maT kavSirSi samyarosSesaxeb adamianis zogad warmodgenebTan da Tavisebur ~eTnikur~damokidebulebebTan. Ggircma safuZveli daudo axal mimarTulebas- interpretaciul anTropologias, romelmac SeiTvisatradiciuli amerikuli kulturanTropologiis, hermenevtikis,sociologiuri koncefciisa da enis analitikuri filosofiisideebi. Mmisi Teoriis safuZvels warmoadgens e. w. ~gajerebulian siRrmiseuli aRweriloba~, thick description, dichte beshreibung.man gaiziara da gaaZliera veberis kulturis semiotikurikoncefcia, romlis mixedviTac kultura esaa simboloTabade, romelic adamianma moqsova, magram TviTonve gaexvia am badeSi.Aim mniSvnelobebis gageba, romelic adamianis mieraa Seqmnili,SesaZlebelia mxolod mecnieruli eqsperimentebis meSveobiTda obieqturi kanonebis Ziebis gziT, magram gansakuTrebulimniSvneloba eniWeba subieqtur interpretacias, romlisTvisacyvelaze mTavaria ama Tu im faqtisa da movlenis azri,mniSvneloba. misi koncefciis Tanaxmad kulturuli fenomenebi

simbolur fenomenebs warmoadgenen da aqedan gamomdinare kulturiskvleva praqtikulad niSnavs simboloTa da simbolurqmedebaTa interpretacias. Ddamokidebuleba simboloTa raobas-Tan mimarTebaSi anTropologebsa da kulturologebs SorisarerTgvarovani da xSir SemTxvevaSi sadiskusioa, gamorCeuliavtori am TvalsazrisiT swored gircia, romelmac yvelzesrulyofilad Camoayaliba kulturis simboluri koncefcia.Kkultura gircisTvis esaa ~mniSvnelovani struqturebis stratificirebuliierarqia, romelic Sedgeba qmedebebis, simboloebisada niSnebisgan~ (girci 1973: 5). girci amtkicebs, rom eTnografis(igi yovelTvis am termins xmarobs) mizania ara faqtebisubralo fiqsacia (zedapiruli aRweriloba), an mcdelobaSeaRwios mocemuli kulturis matareblis SemecnebiT procesebSi,rac mas XX saukunis 90-ian wlebamde mainc sruliaduperspeqtivod esaxeboda, aramed SeRweva mis mniSvnelobaTasistemaSi da maTi interpretacia. eTnografma unda gaigoskulturis mniSvnelobaTa sistema maTi Semqmnelis TvalsazrisiT,daafiqsiros sakuTari gamocdileba da moZebnos specifikuriterminologiuri SesaZleblobebi yvelaferi amis mecnieruladgadmosacemad. Mmxolod aseTi ~gajerebuli, siRrmiseuliaRweriloba~ SeiZleba gaxdes safuZveli anTropologiuriTeoriebisTvis.seriozuli adgili mis mecnierul SemoqmedebaSi eTmobaSuamavlis rolis meTodologiur analizs. Ees Suamavlebia(ganwyoba, motivacia, mecnieris interesi), romlebic aucilebladaRmoCndebian faqtebsa da am faqtebis mecnierul interpretaciasSoris. Mman ierarqiulad daalaga kulturis yvelaartefaqti - naTesauri sistemebi, religia, politikuri sistemebi,ekonomika da asabuTebda, rom maTi realizeba xdeba orsibrtyeSi: cnobier da qvecnobier doneze. Qqvecnobieriskvlevam igi, bunebrivia, daaxlova struqturalizmTan da fsiqoanalizTan.anTropologisTvis yvelaze mniSvnelovan momentadmiiCnevda savele gamokvlevebs, kerZod iseTi fenomenebisSeswavlas, rogorebicaa urTierTobebi, ganwyoba, simboloebi,romlebsac adamianebi yoveldRiur cxovrebaSi iyeneben da yuradRebasamaxvilebda am movlenaTa praqtikul mniSvnelobaze.seriozuli gamokvlevebi Caatara gircma indoneziaSi, sadacgansakuTrebuli yuradReba dauTmo religiur sistemebs.interpretaciuli anTropologia cdilobs im simboloTa interpretacias,romlebic adamianis cxovrebas azrsa da mowesrigebulobasaZleven.63

Ggircis gavlena ar Semoifargleba mxolod misi uSualointeresebis sferoTi. mas iseTi mecnierebic ki kiTxuloben,romlebic iSviaTad ecnobian erTmaneTis naSromebs. isicunda iTqvas, rom mas ara mxolod mecnierebi kiTxuloben.Ggircis naSromebs seriozuli literaturuli Rirsebebi gaaCnia.swored amitom mis jildoebs Soris aris literaturiskritikosTa sazogadoebis nacionaluri premia naSromisaTvis~muSaoba da cxovreba. anTropologi, rogorc avtori~ (1988),romlis gmirebi sayovelTaod cnobili oTxi anTropologia:b. malinovski, r. benediqti, e.evans-priCardi da k. levi-strosi.Ggirci istoriaze, fsiqologiaze, filosofiaze da literaturazedayrdnobiT axdenda ritualebis, xelovnebis nimu-Sebis, religiuri sistemebis, sxvadasxva instituciebis mniSvnelobisgaanalizebas da dekodirebas. misi naSromebi Seyvaniliameore msoflio omis Semdgom gamoqveynebul saukeTesonaSromebis siaSi.anTropologiuri moRvaweoba gircma 1950-ian wlebSi indoneziaSidaiwyo, romelmac is iyo damukidebloba moipova.Mmeore msoflio omis Semdgom daiwyo koloniuri sistemisrRveva da msoflios rukaze daaxloebiT 50 axali saxelmwifogaCnda, amitom amerikaSi SeimCneoda gaZlierebuli interesi an-Tropologiuri kvlevebis da gansakuTrebiT axali erebis SeswavlissferoSi. Aaman ganapiroba axali erebis Semswavlelikomitetis daarseba, romelSic gircic miiwvies. indoneziur masalazeSeqmnili misi pirveli Sromebi naklebad atareben TeoriulxasiaTs, esaa empiriuli gamokvlevebi, romlebic mTlianadsavele masalas efuZneba. Mmisi Teoriuli mosazrebebi Tavmoyriliaor gaxmaurebul naSromSi ~kulturis interpretacia~(1973) da ~lokaluri codna~ (1983).~kulturis interpretaciaSi~ Sevida misi ori yvelazecnobili gamokvleva ~siRrmiseuli aRweriloba~ da ~Rrma TamaSi.SeniSvnebi mamlebis Cxubis Sesaxeb balize~. Ggircs miaCnia,rom es TamaSi, romelic balize gansakuTrebuli popularobiTsargeblobs warmoadgens rTul sazogadoebriv movlenasda sruliad jdeba semiotikur kulturul konteqstSi.Mmisi azriT mamlebis Cxubis meSveobiT balieli sakuTarkulturas ise xedavs, rogorc prizmaSi-gardatexil, Semcirebul,koncentrirebul formaSi. Ggircis azriT (girci 1973:23), es ~socialuri matricis simulaciaa~.Aadamianebi simboluradamcireben erTmaneTs da alegoriulad iTmenen am damcirebaserTmaneTisgan. Cumad uxariaT rodesac imarjveben daganicdian Tu marcxdebian. magram sinamdvileSi aravisi sta-64

tusi icvleba. amgvarad keTdeba daskvna, rom mamlebis Cxubsbalize iseTive daniSnuleba gaaCnia, rogorc evropelisTviswigns, speqtakls an musikas _ aswavlis maT reagirebas sazogadoebrivantagonizmze, oRond metaforul doneze. fiqcia, modeli,metafora _ mamlebis Cxubi es aris gamoxatvis saSualeba.misi funqciaa ara sazogadoebriv vnebaTa dacxroba an gaRviveba(Tumca realurad erTic da meorec xdeba), aramed, frTebis,bumbulis, sisxlis meSveobiT maTi asaxva. mamlebis sisxlianibrZola gircis azriT mTlad is araa, rac realurad xdebaadamianTa sazogadoebaSi, aramed (da es misi azriT ufro uaresia)is, rac garkveulwilad xdeba maT warmosaxvaSi. gamodis,rom socialuri statusis problema metaforulad sikvdil-sicocxlisproblemaa.Tavis naSromebSi girci mkveTr zRvars avlebda kulturasada socialur struqturas Soris da amiT emijneboda levistrosismosazrebebs, romlis azriTac ritualebi, instituciebida kulturis sxva aspeqtebi SeiZleba kargad gaanalizdes immiznebidan gamomdinare, romelsac isini emsaxurebian.Tu socialuri struqtura Seicavs realobis ekonomikur,politikur da socialur aspeqtebs, kultura gircis azriTwarmoadgens ~simboloebiT gamoxatul mniSvnelobaTa erTobliobas~,romelic uzrunvelyofs adamianebs ~koordinatTasistemiT~ realobis aRsaqmelad. Kkultura erTgvarad avsebsnaprals imas Soris, rac adamians mocemuli aqvs, rogorc biologiursaxeobas da rac mas Wirdeba, raTa gaerkves rTulda ase swrafad cvalebad samyaroSi. Eevolucia gircis azriTZiriTadad adamianis azrovnebas exeba da sakmaod originaluradviTardeba. igi miiCnevs, rom adamianisTvis mniSvnelovaniiyo ar imdenad adaptacia garemo pirobebTan da arsebobis SenarCuneba,aramed adaptacia sazogadoebasTan. Aadaptaciis amtipma anu danarCen adamianebTan Seguebis aucileblobam adamianisgansruliad gansxvavebuli, specifikuri unarebis gamomu-Saveba moiTxova. Aamis Sedegad adamianis tvinis muSaoba mTlianaddamokidebulia kulturuli resursebis gamoyenebis unarze,romelic aris ara danamati adamianisTvis aramed misi gonebrivimoqmedebis ZiriTadi Semadgeneli nawili. igi Tvlis,rom kulturuli fenomenebis Sesacnobad mTavaria ara is ras~akeTeben~ isini, aramed ras ~niSnaven~ isini anu mTavaria mniSvneloba.sakuTar meTods man ~mWidro, gajerebuli aRwerilobismeTodi~ uwoda da miiCnevs, rom kulturuli fenomenebisSeswavla Signidan unda moxdes, im sferoSi sadac maT mniSvnelobaaqvT.65

amdenadac gircs kultura esmis rogorc ~mniSvneloba-Ta bade~, azrebis sistema, romelic adamianis Seqmnilia damas garemomcvel samyaroSi orientaciis saSualebas aZlevs,igi ar eTanxmeba im mecnierTa mosazrebebs, romelTackultura sakuTar TavSi Caketil, adamianisgan mowyvetil realobadmiaCniaT. Aaseve ar moswons kulturis ganmarteba, rogorcqcevaTa modelebis erTianobisa, romlebic ama Tu im sazogadoebasgaaCnia. gansakuTrebiT miuRebelia misTvis Sexeduleba,rom kultura koncentrirebulia adamianis gonebasada gulSi. Ggirci Tvlis, romKkulturis konkretuli kvlevebigulisxmobs pirvel rigSi kulturuli universaliebis anuim empiriuli erTgvarovnebis Ziebas, romlis aRmoCena zne-CveulebaTamravlferovnebaSi drosa da sivrceSi yvelganaa SesaZlebeli;meorea _ aRmoCenili universaliebis misadagebaadamianis biologiuri, socialuri an fsiqologiuri organizaciisukve cnobil konstantebTan. SesaZlebeli rom iyos sakacobriokulturis mouwesrigebeli mravalferovnebidan ise-Ti Cveulebebis gamocalkeveba, romelic yvela lokaluri variantisTvissaerToa da maTi kavSiris dadgena subkulturisdoneze ganlagebul ucvlel koordinatebTan, maSin SesaZlebeliiqneboda saubari saerTosakacobrio kulturul TaviseburebaTagamovlenis gzaze miRweuli garkveuli warmatebisSesaxeb da am gziT anTropologia gansazRvravda kulturisadgils adamianis koncefciaSi, iseTive mkafiosa da myars,rogoricaa biologiis, sociologiis an fsiqologiis miergansazRvruli sferoebi. ganmanaTleblobis epoqis sazogadoebrivazrovnebaSi arsebobda Sexeduleba e. w. consensus gentium-isSesaxeb, romlis Tanaxmad aris raRac, rasac yvelaadamiani samarTlianad, normalurad, sasiamovnod miiCnevs daamitom es raRac namdvilad samarTliani, normaluri da sasiamovnoa.am damokidebulebis arseboba garkveuli formiT savaraudodyovelTvis da yvelgan axasiaTebda adamians. TumcaaseTi damokidebulebis gavrcelebam anTropologiaSi, romelicXX saukunis 20-iani wlebidan daiwyo klark uislerismier SemoTavazebuli ~universaluri kulturuli paternis~ideiT, Semdeg asaxva hpova 40-ian wlebSi bronislav malinovskis~universalur instituciur tipebSi~ da ukve meore msoflioomis Semdgom jon merdokis mier gamokvleuli ~kulturissaerTo determinantebiT~ dasrulda, am mosazrebas erTgvarisiaxle SesZina. kerZod, damkvidrda klakhonis mier SemoTavazebuliTeoria, rom kulturis calkeuli aspeqtebi specifikurformebs iReben mxolod istoriuli SemTxveviTobebis Sedegad,66

danarCeni ki ganpirobebulia universaluri fenomenebiT. Aamrigadadamianis kulturuli cxovreba or nawilad daiyo: pirveliaraa damokidebuli adamianis Sinagan midrekilebebze, xolomeore swored am midrekilebaTa emanacias warmoadgens.anTropologiuri codnis Tavisebureba gircisTvis imaSimdgomareobs, rom, Teoriuli msjeloba mWidrodaa dakavSirebulikulturis movlenaTa interpretaciasTan, maTgan mowyvetiTTeoria usagno da abstraqtuli xdeba. Kkulturis analizianu misi eTnografiuli aRwera niSnavs interpretaciis interpretaciasanu esaa meoradi interpretacia im samyarosi,romlis mudmiv aRwerasa da interpretacias am kulturis Semqmneliadamianebi axdenen. K~kulturis arseboba TavisTavadgulisxmobs misi interpretaciis process, xolo iyo kulturismatarebeli niSnavs iyo misi interpretatori~ (girci 1997:5) zogadad rom vTqvaTKkultura, gircis azriT, aris samyarosinterpretaciis mcdeloba, xolo kulturanTropologiurikvlevebi samyaros meoradi (anu mecnieruli) interpretaciaa.am mecnierebis sferoSi aRwerasa da axsnas Soris sxvaobaniSnavs ~siRriseul aRwerilobasa~ da ~diagnozs~ Sorissxvaobas. anu sxvanairad rom iTqvas gamoikvleva is, Tu mocemulqmedebas (movlenas) ra mniSvneloba gaaCnia adamianis-Tvis, romelic mas asrulebs da dgindeba, ra informacias Seicavses qmedeba im sazogadoebis Sesaxeb, romelic kvlevisobieqts warmoadgens.Aaqedan gamomdinare intepretaciuli an-Tropologia gasagebs da naTels xdis imas, rac xSirad gaugebariasxva adamianebisTvis imis gamo, rom isini gansxvavebulikulturis sazogadoebas ekuTvnian. Tavis mxriv sxvadasxvakulturis warmomadgenlebs Soris urTierTgagebis faqtorisgaZliereba xels uwyobs maT Soris komunikaciis gaadvilebas.Sesabamisad, saboloo jamSi, anTropologiis mizania kulturaTaRrma da safuZvliani Seswavlis gziT adamianuri dialogisdiskursis gafarToeba. amasTan gircs miaCnda, romamis keTeba ara marto Zalze mniSvnelovani da aucilebelia,aramed mimzidvelic. Mmis am ganwyobas sakuTari profesiis mimarTkargad asaxavs gaxmaurebuli da popularuli fraza,romelic swored mis saxels ukavSirdeba. Tavis erTerT bolonaSromSi ~faqtis Semdgom. Oori qveyana, oTxi aTwleulida erTi anTropologi~ (1995 w.), romelic memuarul xasiaTsatarebs, igi werda: ~anTropologia es cxovrebis gatarebisSesaniSnavi saSualebaa. saintereso, mimzidveli da Zalian saxaliso~.67

literatura:Geertz: Geertz C. 1973: The interpretation of cultures, Selected Essays, NYGeertz: Geertz C. 1983: Local Knowledge: Further Essays in InterpretativeAnthropology, NYgirci: Гирц К. 1997: Влияние концепции культуры на концепцию человека,Антология исследования культуры, т. 1.Cliford Geerz - Interpretive AnthropologyTinatin GhudushauriCliford Geerz is an American anthropologist, who had a great impact onthe developemt of Amecican cultural anthropology and founded a new trend in it- interepretive anthropology. He takes as the basis of his theory the so called“thick description”. Geerz has presented the semiotic conception of culture,according to which culture is the web of symbols spun by man himself, but tounderstand their meanings is possible only by the scientific experiments and insearching for the objective principles.In his scientific works, the methodological analysis of the role of mediator issignificant. These mediators are mood, motivation, scinetists interest, who by allmeans will be find between the facts and the interepretation of these facts. He hashierarchcally placed all the artefats of culture - relative systems, religion, politicalsystems, economics and analysed and decoded them at the same time argued thatall these are realised in two planes: conscious and unconscious (or subconscious ?)levels. His generalised scientific views are as follows: Culture represents ‘the unity of meanings expressed by symbols, whichsupplies (provides) humans with the system of coordinates to perceive reality. Inother words, it is an effort to interprete the world, and that cultural anthropologyresearches are the secondary (i.e. scientific) interpretations. Evolution means more adaptation to the society than to the surroundingconditions. This type of adaptation or the need of adaptation with the otherpeople caused the development of absolutely different and specific capacities(capabilities). For the recognition of cultural phenomena it is important not what dothey” do”, but what do they mean i.e. meaning is of dominant importance. Consequently, in the final analysis, the goal (objective) of anthropologyis by means of deep and basic research to extend the discourse on man.68

genderuli anTropologiaGENDER ANTHROPOLOGYMaria JaschokWomen’s Mosques Education, Female Ignorance and Chants to Save Souls:Chinese Hui Muslim Women Remembering Jingge,Remembering History 1‘… I can only imagine what the scope of women’s problems mightbe. It is only in quiet back-lanes and through the cracks of doors that Ihave caught a glimpse of one or two…’ (Wang Zengshan 1933, inXuanbian II:1383-4).IntroductionThe history of women’s mosques is a long one, its unique manifestation ofindependent institutions, Nüxue or Nüsi (women’s [Koranic] school or women’smosque) goes back over 300 years, emerging from complex historical and sociopoliticalnegotiations over the nature of Muslim identity in Chinese diaspora andover means to keep faith alive and religio-ethnic identity intact. The incorporationof women into educational projects during late Ming and early Qing Islamicrenaissance (17 th century), inspired by Hui Muslim intellectuals and educationalists,was born of the need to bring religious knowledge into families andfamilies into mosques (Allès 2000; Jaschok and Shui 2000). The growth andconsolidation of women’s own space of worship, education and congregation wereonly halted with the religious persecutions of the 1950s, and only hesitantlyresumed in the course of less repressive government treatment of religions duringthe 1980s. The long period of persecution and silencing of religious expressionscars the memories still. Women’s mosques have reopened, or, especially in theMuslim communities of central China, have been built anew, most especially sincethe late 1990s 2 ; but women’s remembering of thepast is as ever precarious.When we researched into what Shui Jingjunand I knew had been a flourishing feature of femalereligious culture, women’s Jingge (religiouschants) 3 , we initially encountered silence, feignedignorance, even outright refusal to acknowledgesuch a past tradition. It began to change when, onone afternoon, an old lady began to chant.Chanting Jingge, at women’s mosque in HenanProvince 469

Everyone was enthralled, particularly as none of the younger women andgirls had ever heard Jingge. From this unexpected beginning, when the elderlyMuslim woman Li Xiangrong recalled a chant known as Kuhua (Grieving Song),women together with researchers have begun to collect chants, sometimes merefragments, which were once the staple of women’s mosques. Li Xiangrong, fromthe famous Wangjia Hutong Women’s Mosque in Kaifeng, has stirred rememberingsin others of her generation, and the elderly women have begun to teachKuhua to young girls and have started to talk of what life was like for earliergenerations of women, particularly the years before 1949, during the Republicanera, when Jingge were at their height of popularity. The chants are now startingto be revived also in neighboring mosques, with Ahong (resident female religiousleader) eager to prompt older believers’ memory before it is too late. And abridge is thus spanned across a lost time, with these Jingge communicating thesuffering, joys, the faith and aspirations of past generations of believing womenfor younger women to hear and to listen to.Historical contextAt the turn of the 20 th century, not only China’s domestic weaknesses andinternational humiliations, but also the ever-growing presence of Christianity anddeepening influence of Western ideas and political ideologies led Chineseintellectuals to profound individual and collective self-assessment through hardhittingintellectual and philosophical debates. They asked how cultural renewaland political change were to be facilitated. Among those Chinese intellectualswho engaged in an incisive questioning of their past and the search for nationalsolutions were also Muslim intellectuals reappraising their own history, the placeof Islamic culture and of Muslims in a modernising Chinese society.Sharing in the general spirit of investigation and reform, Minguo Huischolars also turned their attention to the predicament of women and children,advocating education of girls, the unbinding of feet, the liberation of women andequality between the sexes. But in their conception of the liberation of women,they differed in certain respects from other Chinese thinkers whose argumentsbore increasingly the imprint of the secular bias of intense Anti-Christiansentiments. 5 Muslim writers on the whole saw no conflict between attainment ofequal rights of the sexes, the liberation of women and religious belief. On theother hand, it can be argued that the reformist agenda of Muslim intellectuals didnot receive widespread popular support among Muslim communities because ofthe irritation aroused by ‘the women’s question’. Ma Songting Ahong noted that‘This is an unprecedented innovation, and not many share these ideals. Thosewho have understanding of Islam are still fewer in numbers and regard this asYiduan (heterodoxy). As for those who possess knowledge, they are filled withoutrage, but in the face of so much opposition, seeking subsidies from thegovernment is out of the question’ (in Li Xinghua and Feng Jinyuan, eds, 1985,70

Xuanbian II:1036). Muslim reformers had to tread cautiously, confiningthemselves to general observations on the situation of women and on their vitalcontributions to eradicating ignorance and backwardness in society. 6Very clearly, Muslim scholars sought a balance between Western women’sliberation perceived as negation of religious faith and of harmonious family life,on the one hand, and on the other hand, women’s liberation as grounded ineducated faith, social engagement, and mutual respect between men and women.Blind learning from ‘the West’ was considered as fallacious as rigid adherence totraditionalist conceptions of gender relations.We can ascertain also from these writings that Republican scholars viewedthe development of both Nüsi (women’s mosques) and Nüxue (women’s Koranicschools) as perfectly attuned to the contemporary reformist zeitgeist. The emergenceof modern Arabic-Chinese girls’ schools, Awen nuxüe, a trend noted inHeilongjiang Province, was seen as furthermore facilitating the emergence ofoutstanding women (in Li and Feng, 1985, Xuanbian II:1366). It appears thateven traditionalists among scholars saw the development of women’s mosques asfulfilling essential needs. Commenting in 1936 on the situation of Islam in Beijingwith its women’s mosques and women’s Koranic schools, Wang Mengyangsays that whilst ‘it is not appropriate for women to congregate’ there are howeverspecial needs to be taken into consideration, such as ordinary women’s requirementfor a place for ablution and for an educated Ahong to lead them in prayer(in Li and Feng, 1985, Xuanbian II:1344).The culture of Women’s MosquesWomen’s mosques in Henan were cited as an illustration of the flourishingstate of Islam at the turn of the 20 th century. The entire province of Henan hadabout 300 mosques, and the city of Kaifeng demonstrated its importance as areligious center with its numerous sites of worship. In the 1910s, seven mosquesfor men and eight women’s mosques were listed. More than thirty Ahong andover 120 Hailifan (students of Islam preparing to be ordained as Ahong) were atthe service of a community of over 3,500 Muslim households (Zhonghua XuxingWeibanhui Diaocha Teweihuibian, reprint 1985: 735, 741; also see Shui and Jaschok2002:133-42). At a more popular level, between the turn of the 20 thcentury and the Republic, Islamic tracts and widely-known religious songs werepublished and distributed among Muslim believers. These communities wereparticularly influenced by the spread of a popular culture of songs and recitals,such as Jingge which appeared in Mumin Quanshange, compiled in 1918 by theShangqiu Ahong Li Fuzhen. These Jingge, constituted the staple of worship forMuslim female congregations (Li Fuzhen 1935).The most effective populariser of Islamic popular songs during the years ofMinguo is considered Wang Chunli. Wang Chunli fell back on popular balladsand tunes to attract attention to the message of Islam. Muslims, men and women,liked, and retained, what they heard, the most influential were the songs called71

Qingzhen quanjiaoge, in short, Quanjiaoge (Islamic Songs for Religious Instruction).In the 1920s, a spade of publications of all these popular Islamic songsaccelerated their nationwide dissemination among China’s Muslim population(Qingzhen Quanjiaoge 1922, Qingzhen Tongsuge (Islamic Popular Songs) 1924,see Yu Zhengui and Yang Huaizhong 1993: 598-600). In 1934, Wang Chunli’scompilation of Jingjie Alin Xuanyan Lüe (Guidelines for Ahong) was printed inShanghai (Yu and Yang 1993:357-9).JinggeGender has inscribed performance, form, and transmission of Jingge.Whereas men copied down the lyrics, women tend to recollect through oralrecital (but some female Ahong resort to Xiaoerjing 7 – use of Arabic or Persiancharacters to transliterate Chinese - to copy the lyrics), with some of the songsonly recited in the ambience of women’s mosques. This makes performance ofreligious songs, Nian Jingge, an integral and a unique part of the traditionalwomen’s mosque culture. 8This tradition speaks to the history of women, to their communal life andfaith, to their relations with men and to male religious authority. And it does somost eloquently as the very terminology, so our erstwhile reconstructionsuggests, is embedded in gendered meanings.Nevertheless, the evaluation of Jingge in many conversations with maleAhong as somewhat inferior didactic tools and their association with deficientreligious knowledge, as well as with social contexts of poverty and marginality,may be seen as emblematic of the difficult course of female religious organizationin China’s Islam. The use of common Chinese language and reliance largelyon oral transmission appear in stark contrast with the highly regarded Shige(sacred hymns), copied and transmitted by male scholars, and because in printpreserved as representative heritage of Muslim religious life, its language andstyle considered appropriately elegant, refined and poetic.The fate of the Jingge tradition exposes multifarious inequalities: on theone hand, men’s religious culture, emphasizing literacy and access to Islamicknowledge through the written word; on the other hand, the tradition of women’smosques with their dependence on abridged Persian texts to convey teachings ofthe Koran considered pertinent to women’s moral guidance, Nürenjing, the use ofXiaoerjing (Arabic/Persian transliteration of Chinese) and a core oral culture ofinstruction, worship and transmission.Moreover, associations of the practice of Jingge with illiteracy, ruralbackwardness, low spirituality, have made younger generations of female Ahongand ordinary believers reject these songs as embarrassing legacy and antithesis ofmodernity, their place the rustic courtyards of old women who do not knowbetter. 972

Muslim women’s own knowledge of the origin and place of Jingge inwomen’s mosque culture is vague and ranges between ‘several generations’ to‘more than 200 years’. Based on an analysis of content and characteristics of thesongs, judging also from the scope of transmission of the work of the renownedQing scholar, Liu Zhi (ca. 1655-1745; e.g., Wu Geng Yue (Brightness of Dawn),Qingzhen Sanzijing (Islamic Primer)), we suggest that their origins lie in theemergence of Islamic female education in the early Qing era, when popular tunesmust have appeared the most appropriate means of spreading rudimentary religiousknowledge. With the development of women’s Koranic schools and mosques,the influence of Jingge would have also spread (Jaschok and Shui 2000).Such beginning might explain why Jingge have always been considered inferiorto sacred hymns, part of worship in men’s mosques. As ‘rudimentary’ educationaltools, and given perceptions of women’s spiritual deficiencies, Jingge weretainted by the gender of those who utilized them.To summarize the major uses of Jingge: (1) they were used as aneducational tool to teach young girls basic Islamic knowledge and the scripturallanguages; (2) they added animation and pleasure to the discipline of learning,much like the function of music lessons in modern school curricula; (3) theywere considered useful, because accessible and easy methods of instructingmature women in religious knowledge; (4) they brought release, speaking towomen’s emotions, suffering and expectations, to their sense of loss and theirunhappiness; (5) they enhanced communal life in a women’s mosque by thepleasure they provided, and they reinforced a more emotional identification withwomen’s own site of congregation, making the mosque community a family oflike-minded women; (6) the recital of Arabic and Persian Jingge had the effect ofstrengthening Islamic faith, and identity, by evoking suffering in exile, and bysustaining the collective memory of a spiritual origin in Muslim ancestry and anIslamic homeland.Diversity of JinggeWe have identified three broad types of Jingge based on linguistic criteria:The Songs to Instruct in Pronunciation of Arabic (alphabetically organized) towhich belong Bianba, Luanba and Tiaozebu (practice of pronunciation is inrandom order). We surmise that Bianba or Luanba emerged as important educationaltool during the first important Islamic cultural movement (late Ming/earlyQing (Jaschok and Shui 2000, Shui and Jaschok 2002), and that many are thecreation of contemporary Muslim scholars. Considered suitable for the level ofchildren, they remain educational tools in women’s mosques until the present.Songs in Arabic and Persian. The long history of their transmission andinfluence of diverse local dialects have obscured the linguistic and often semanticorigins. For Nü Ahong, they are effective sources of inspiration, vital to aid ininstruction in the core precepts of faith, principal Muslim duties, the lives ofsaints and ritual knowledge. They also tell of women martyrs, of female73

paradigms of Muslim virtue, and of salvation through submission to God. Ahongin the course of interpretation translate their meaning first into Jingtangyu(religious linguistic medium used by Muslims which fuses Arabic, Persian andChinese into a unique form of communication) and then into ordinary Chinese.Whilst the narrative sweep and basic plots of songs have changed little over time,local differences, however, are noted in details of interpretation and emphasis,related to an individual Ahong’s learnedness, subtlety of understanding andpedagogical skills.Most numerous and rich in content are Chinese-Language Jingge fromwhich I shall present three representative chants. They provide ritual anddoctrinal knowledge and exhort Muslims to fear God, fulfill their duties andremain pious and obedient. Ballads also narrate women’s morality, Funü daode,virtues and women’s spiritual and emotional life. Only in rare cases do we knowthe author, in the majority of these Jingge anonymous interpreters and singershave over generations preserved, shaped and, wherever they felt it was called for,altered phrasings and words to reflect changed realities.Performing and Remembering Kuhua (grieving song)The following Kuhua was performed for us by Li Xiangrong from aKaifeng women’s mosque. The narrative concerns a young woman, who meets ayoung man at a mosque. He persuades her to read the scriptures, and theirattraction develops into mutual love. Before the marriage can take place, heleaves for Weihe County in Gansu Province to study Islam; there he dies. Theyoung girl weeps at night, shedding secret tears, lamenting her loss. She isoverheard, so says the story, her lament recorded, and thus it has come to befamiliar to many women. Li Xiangrong remembers that neither maidens noryoung married women were allowed to take part, it was to be for the ears ofmiddle-aged and old women only (Da guinü xiao xifu bu neng nian, zhi youbanlaode lao taitai neng nian). She was allowed by her parents to learn theseJingge at the women’s mosque during the 1940s.Li Xiangrong loved Jingge from her earliest years. Her natal, as well as herhusband’s home, are located close to the mosque, and she has lived there herentire life. At the time that she learned about Islam, her local mosque was led bythe senior Ahong and three subordinate Ahong. Between 20 to 30 girls wereinstructed in Islam, the youngest six or seven years old, the oldest between 16 to17 years. The education was regulated by strict discipline and days filled withinstruction, with the resident Ahong teaching basic Islamic knowledge andJingge. After some time of instruction would have passed, an Ahong would say,Girls, now how about reciting a Jingge! And then everyone would join in thesinging. In those years, women’s mosques were filled with women and girls. Ithad felt good. Li Xiangrong was happy then.74

Kuhua (Grieving Song) 10Ai! Yearning for you, I am yearning for a man of true knowledge. They saythere is no comfort sitting on a wooden bench, studying the holy books. I havenever sought possessions, sought riches and honour; for you, I have not marriedthe official, I have married the honorable Erlin [scholar with profoundknowledge of the Islamic scriptures]I thought when the roses bloom, we will be together, the roses areblooming, but we are apartI thought when the peony unfolds its petals, your studies are done, but likethe Luomi [?] only loneliness and sadness aboundI thought when the cockscomb blossoms, it would break into smiles, butyou have given me sunflowers instead, their heads droopingI thought that pomegranate would drench the courtyard in red, but yougave me flower-petals from the pear tree, shivering in white; CompassionateGod, have mercy on me!I thought that when Baila [?] flowers bloom, all the people would like themwell, but I did not know that when your Gaizheng [?] flowers opened, there wasno one to gaze upon them. Compassionate God, have mercy on me!I thought that when the phoenix descends on the parasol tree, skippingfrom branch to branch, happiness would fill us; I did not know that you’d giveme prickly branches on which the phoenix caught, lacerating the heartI thought that as the Juzheng [?] opens its petals, we shall grow oldtogether, but I did not know that you’d give me orchids and never reach the endof the roadI thought that you would ride your horse up and down the main street, I didnot know that your horse would gallop over the wall and never returnI thought that the geese and duck would happily swim along the river, I didnot know you would will them into the mouth of deathI thought that the peach blossom would bring forth fruit, I did not knowthat the peanut plant would blossom, but its seeds end up scattered on the ground.Compassionate God, oh have mercy on me.Nature, with its seasonal flowers and plants, its wildlife and its familiarlandscapes, supplies the expressive language through which are evoked love,faith, sorrow and loss. The Jingge tells us of women forced, not unlike theircontemporaries, to wait at home for their beloved one in anticipation and dread.But unlike other women around them, they can turn to their God for consolation.For the historian Vera Schwarcz, memory does no more, and no less, thanacknowledge the fragmented nature of all human time. Memory ‘is theknowledge that an absence has to be bridged with words’ (Schwarcz, 1998),troubling, and destabilizing the oppressive hold of ‘the lexicon of public events’,of the dominance of official historiography over personal remembrance. Butthere is an active side to memory, as Paul Ricoeur (1999) points out. In the act ofremembering, when memory is a voice rendered in a social space of support and75

affirmation, the joint ritual of remembering may transform even a Grieving Songinto an assertion of hope.The following chant, equally popular, had already been transcribed andnow forms part of Yisilan Jiaoyi Ge (Kaifeng, privately printed: 55-57). ThisJingge addresses women and men.Hao Ren Ge (Song of A Good [Muslim] Person)Allah created all creaturesOnly Human Beings are its CrownAmong Human Beings are the GoodAnd moreover, There are Those, who ExcelThe Good before anything else, show DevotionThe Good before anything else [xiaoti] defer to their EldersThe Good [zhi lianchi] value honesty of characterThe Good honour the Rites of WorshipThe Good Do Not Indulge in WineThe Good Do Not Attach themselves to ProstitutesThe Good Do Not GambleThe Good Do Not Let Themselves be Swayed by SentimentThe Good Do Not Depend on RichesThe Good Do Not Abuse PowerThe Good Do Not Instigate [Evil]The Good Do Not Harbour EnvyThe Good Do Not Speak FalseThe Good Do Not Make Game [of Someone]The Good Do Not Engage in Idle TalkThe Good Do Not DefameThe Good Have No Depraved FriendsThe Good Do Not SquanderThe Good Do Not Sink Into IndolenceThe Good Do Not Fritter Away [Possession]The Good Do Not Behave FrivolouslyThe Good Do Not Adorn ThemselvesThe Good Labour HardThe Good Study diligently [siben] the Sacred TextsThe Good Love Their CountryThe Good Abide by Law and DisciplineThe Good Are Not OverbearingThe Good Are Not EquivocalThe Good Provide Succour in AdversityThe Good Practise KindnessThe Good Facilitate Convenience [for others]The Good Allow for Bargains76

The Wicked Curse The GoodThe Good Speak TruthThe Wicked Assault The GoodThe Good Look to Defend ThemselvesNo Matter How Trivial or GreatThe Good have a Conscience without GuiltThe Rich Do Good,Beneficent deeds merit AfterlifeThe Poor Do Good,Engendering Benefits Unimaginable.The Young Do Good,Much Prestige awaits the Older GenerationsThe Old Do Good,Absolving greatly a life’s sinsThe Weak Do Good,The Strong Feel Ashamed and SorryThe Wicked Do Good,Reputation increases thousand-foldThe Good, treasured by Their Village and their PartyThe Good, their Nation’s lucky CharmEach and Everyone Does GoodThis is the meaning of this Song.An extensive list of attributes defines ‘the good’ (and thus also ‘the bad’)conduct of both Muslim women and men. Muslim exemplary ethical values,personal and public conduct, express themselves in industrious habits, good andlaw-abiding citizenship, fearless practice of Islamic faith and rites in the face ofall obstacles and temptations, dominated by what in the sociology of religion,using Weber’s typology of social action, is referred to as ‘affectual’ and ‘valuerational’motivation (Hill, 1973:235). Afterlife, absolution of sin, and so on, theseare pronounced a direct outcome of Muslim goodness in action. But there is astrong sub-text of rational thought. Good life engenders wider change, whetherrespective of individual or national salvation. ‘The Good, [are] treasured by theirVillage and their Party; the Good, their Nation’s lucky Charm’. It is a Jinggechanted as assertion of robust faith in a time of flux, of moral uncertainty andglaring social inequalities. Regardless of gender, class, age, education, wealth,within this symbolic universe all are subject to the final judgment of Allah.Quanjiaoge (Song of Instruction)Often of a solemn and didactic nature, religious songs whether praisingfilial piety, Quan xiaoge, or hailing virtuous women, Xiao gu xian (Virtuoussister-in-law), testify to the intermingling of diverse local cultural traditions andto their shared gender prescription (Dong and Arkush 2000). I have chosen one77

central text addressed to women, still beloved today because it expresseswomen’s unique experiences and history.Quan Funü (Exhorting Women) (Yisilan Jiaoyi Ge:82-85)Women, Listen and Be Enlightened,Not to Learn, Not to Ask, This is Poor Conduct.In Childhood to Miss Out on Religious Instruction, Is NeverTo Grow into Adulthood,In Matters of Faith Not Understanding, Is Violating God’s Law.Not Praising Allah, Not Practising Filial Piety, Not Fearing Afterlife.Living and Dying in Confusion, This is Oblivion to the Passage of Time.As For Women Who Worship, The Rewards are Especially Great,Worshipping Day after Day, And the Rewards are Doubled.As For The Prophet’s Daughter Fatima, Hers Was A Character Unrivalled,Ayesha Spread The Faith for the Prophet in Mecca.Khadeejah, To Be the Prophet’s Companion, Married When Already FortyYears of Age,To Assist the Prophet to Proclaim God’s Word, Sacrificing Wealth,Abandoning Home.Just as These Esteemed and Virtuous Women of Highest Moral Character,So You, Sisters, may Learn to Follow in their Footsteps.Should You Fall into Evil Habit (E-xi) and Not be Open to Wise Counsel,When Punishment Is Metered Out At Death, There is No Recourse.Have You not Thought Of Who Created You?In Whose Jurisdiction Are Life And Death?Who Provides You with Food and Drink, Who Calls Upon You?Darkness Turns Bright, Brightness Turns Dark (Heile ming,mingle hei), WhereTo are You Hastening?Heaven and Earth, and all its Creatures, Who has been their Maker?Paradise and Hell are Within Whose Control?Acknowledge - Your Life is God’s Creation.Allah Made Parents for Procreation, thus comes about Family.Sincerely believing In God, His Invisibility, Is Peace And Serenity, Is the Way,Neither of Outer Form, Nor of Inner Materiality, God Is Always, Everywhere.Take Cognizance of God, Who Holds The Cosmos Within His ControlAnd the Whole World will Arise With New Vigour (Tiaoyang pushi).Is this Not Just Like Our Own Life, Not Parting from Home,We Observe the Five Pillars of Faith, Worship God the Almighty,To one’s utmost, We Practice Filial Piety, Respecting and Obeying Parents.Each Day, Five times, We Pray, Asking for Protection of the Family,We Submit to Parents-in-Law, Follow Our Husband, Gently BringingUp the Children.78

Filled with certain ambiguities, open to different interpretations, whatunderstanding does this Jingge yield about how women’s subjectivities weremolded during a time of social and cultural transformation? It certainly bringsconfirmation of the importance of religious women’s roles in family and society,but it also demands of women to ask questions, to be curious, to engage inlearning and to understand the impact they have on people around them. This wasmy informant’s interpretation of this chant. Guo Ahong has been presiding overwomen’s mosques now for many years, and this Jingge is among her favoriteones 11 .Women are exhorted from a young age to learn about their faith. Toawaken to the presence of God is to evade falling into sinfulness. Pressing hardon women is the passage of time which is mortal time, transient in nature.Fatima, Ayesha, Khadeejah are the great Islamic role models, women who wereclose to the Prophet, and ordinary women are exhorted to emulate them. Theircharacters, their religious mission, their readiness to sacrifice wealth and statusfor the Higher Good, providing assistance to those [men] who are serving God,give all believing women inspiration and motivation.Then follows the dire warning of consequences of ‘evil habits’ (E-xi) forafterlife, and this is strengthened by a vivid rendering of God’s power and controlover the cosmos. Only here can the source of eternal life, and of new life, befound. Within this depiction of God’s universe, woman’s role emerges as centralpillar upon which the survival of family, of all, rest. Past, present, future,afterlife, woman is the axis on which all revolves.The Jingge urges women to walk the path of enlightenment. Women’signorance of doctrine, of central Islamic duties, is fatal not only to their ownprospect of immortality, the survival of all depend on women’s willingness toeducate themselves into conscious and enlightened subjects. Women are calledupon as educators to shape the fate of those around them; in this calling they arealso given roles of central importance to Muslims. They are placed centre stage,are called upon to become conduits of change – and in assuming thisresponsibility, one might argue, they are empowered to exercise agency.ReflectionsHow do we as researchers ‘redeem’ the meaning that is dormant in texts,often only depending on fragments of texts? How far do these fragments from‘recovered’ Jingge allow us to interpret the subjectivities of believing women?Whose subjectivities do they reflect, given that multiple authorship, performers,audiences are unknown to us? What can their words tell us about faith andaspiration when their outer expressions, body language, their sound of voice aregone?The anthropologists John and Jean Comaroff (1992) say that we asresearchers need to acknowledge that ‘there will be people who stand to sufferfrom the way in which social memory is fixed’. In the study of marginalized79

groups, where voices have been muted for so long, how can we ensure that we donot exacerbate inequities and distortions of their lives’ meanings? It appears tome that our task is both humble and challenging: we need to engage in work,together with our community of studied women, which ultimately might be thefoundation of new ‘archives’ of historical scholarship, supporting alternativeinterpretations for narratives missing from mainstream histories. Because, unlesswe replenish diverse sites of knowledge, how can we ensure that our historieswill continue to be told from the margins?ReferencesPrimary sourcesLiu Zhisan Lao Ahong Shiji (Collected Chants of the Revered Ahong LiuZhisan), n.d.Qingzhen Tongsuge (Islamic Popular Songs), 1924.Qingzhen Quanjiaoge (Islamic Songs for Religious Instruction), 1922.Zhengzhou Beida Mosque, Musilin Changshi (Muslim Common Reader), n.d.Zhengzhou Yuyuanli Mosque, Jingwei Zhenzhu Zhi Lu (Respecting the Path ofAllah), n.d.Zhengzhou Yuyuanli Mosque, Yisilan Jiaoyi Ge, n.d.Zhongguo Minjian Gequ Jicheng. Henanjuan (The Chinese Folksong Collection,Henan Volume), Beijing 1997.Secondary sourcesBeiping Chengda Shifan Xuexiao, Chengda Wen Hui (Chengda Anthology),Beiping 1932Bi Yun, Funü dui shidai yingyoude renshi (Women’s proper understanding oftheir times) in: Nü Qingnian Yuekan (Female Youth Periodical) 14 (1935),pp.33-35.Comaroff, John and Jean, Ethnography and the Historical Imagination. Boulder:Westview Press 1992.Dong Xiaoping and R.D. Arkush, Xiangcun Xiqu Biaoyan yu Zhongguo XiandaiMinzhong (Rural Popular Opera Performance and China’s ModernPopulace), Beijing 2000.Fei Zhengqing and Liu Guangjing (eds), Jian Qiao Zhongguo Wanqingshi 1800-1911 (Cambridge China History Late-Qing 1800-1911), Vol. II, Beijing1993.Hill, Michael, A Sociology of Religion, London 1973.Hsiung, Ping-Chun, Maria Jaschok and Cecilia Milwertz, with Red Chan (eds.),Chinese Women Organising. Cadres, feminists, muslims, queers, Oxford 2001.80

Jaschok, Maria and Shui Jingjun, The History of Women’s Mosques in ChineseIslam, Richmond, Surrey 2000.Kilby, Jane, Redeeming memories: the politics of trauma and history, in:Feminist Theory 3 (2002) 2, pp.201-210Li Xinghua and Feng Jinyuan (eds.), Zhongguo Yisilanjiaoshi Cankao ZiliaoXuanbian (The History of Chinese Islam Selected Source Materials), 2vols. Ningxia 1985.Li Xinghua, Qin Huibin, Feng Jinyuan and Sha Qiuzhen, Zhongguo Yisilanjiaoshi(History of Chinese Islam), Beijing 1998.Liu Yihong and Qi Qianjin (comp.), Yisilanjiao Yishu Baiwen (ComprehensiveIntroduction to Islamic Art), Beijing 1996.Lutz, Jessie Gregory, China and the Christian Colleges 1850- 1950, Ithaka1971.Ma Jigao, Funü you jia waichu (Women leaving home) in Yue Hua (The BrightCrescent)7(1935)1, 10 January.Mees, Imke, Die Hui – Eine moslemische Minderheit in China. Assimilationsprozesseund politische Rolle vor 1949, München 1984.Rees, Helen, Echoes of History: Naxi Music in Modern China, Oxford 2000.Ricoeur, Paul, Memory and Forgetting, in: Richard Kearney and Mark Dooley(eds), Questioning Ethics. Contemporary debates in philosophy, London1999, pp.5-11.Schwarcz, Vera, Bridge Across Broken Time. Chinese and Jewish Cultural Memory,New Haven and London 1998.Shanghai Yisilan Funü Zazhishe, Yisilan Funü Zazhi (Islamic Women Magazine),First Issue 3 June, 1936.Shi Xiaoyan, Kangzhan shiqi lunxianqude du du chang (Opium, Gambling, andProstitution in Lunxian District during Anti-Japanese War period), in:Henan Wenshi Ziliao (Henan Historical Source Materials) 3 (1993),pp.186-192.Shui Jingjun and Maria Jaschok (revised and translated edition), ZhongguoQingzhen Nüsishi (The History of Women’s Mosques in China), Beijing2002.Ye Hanming, Zhutide Zhuixun. Zhongguo Funüshi Yanjiu Xilun (In Search ofSubjectivities: Historical Studies of Chinese Women), Xianggang 1999.Yu Zhengui and Yang Huaizhong, Zhongguo Yisilan Zhuyi Tiyao (TopicalOutline of Chinese Islam), Ningxia 199381

maria jeSokiqalTa ganaTleba meCeTSi, qalTa gaunaTlebloba dasulis gadasarCeni simRerebi: Cinel Hui muslim qalebs,romelTac axsovT Jingge axsovT istoriaCineTis naklebad cnobili istoriis nawilia Cineli qalebiscxovrebisTvis gankuTvnilik unikaluri islamuri instituti,qalTa meCeTebi (qingzhen nűsi). 17 saukunidan moyolebulimisma evoluciam uzrunvelyo araformaluri ganaTlebiTmuslimi qalebi. am procesis kulminacia modis 19-e saukuneze,romlis ganmavlobaSi ufro permanentuli institutebiayalibeben istoriul fons qalTa sakuTari rwmenebisa dapraqtikis warmoqmnis arsawerad. am tradiciaTa SuagulSi eqcevaganaTleba. ganaTleba unda gagebul iqnas, rogorc zepirsityvierebiTgadacemuli codnis, sibrZnis, RirebulebaTakorpusi, romelic dRemde iswavleba qalTa meCeTebSi centralurCineTSi. ganaTleba, aseve, gamoiyeneba, rogorc koleqtiurieTno-religiuri identobis (e.i. hui muslimi umciresobisidentoba aramuslimur maspinZel sazigadoebaSi, CineTSi) er-Tgvari sakomunikacio arxi da ideebis gadacemis saSualebasocialur da, aseve, genderul urTierTobebSi. ufro metic,statiaSi ganixileba qalTa meCeTis kulturis yvelaze cocxali,vibrirebadi aspeqtebi, simReraTa zepiri gadacemebistradicia, rogorc saganmanaTleblo iaraRi gaunaTlebeliqalebisTvis da gogonebisTvis. rogorc qalTa Rrma imaginaciiswyaros aRniSnul simRerebs SevyevarT qalTa rwnebsa dacxovrebaSi werilobiTi sabuTebis gareSe. isini qmnian xidsZveli cocxali Taobis aramyar xsovnasTan, romelTa rwmenam,ase mtkivneulad ganicada gamocda religiuri devnis dros,romelic gamyarda komunisturi mmarTvelobiT 1949 wels.82

Elke KammWomen and honour in the Republic of GeorgiaIn the 1960s there had been a discussion about honour and shame in theMediterranean area – the so called honour and shame societies (e.g. Peristiany1974). The term of honour is seen as a social control – as a system of rules withinthe society, where the behaviour of the individual reflects on the entire group.The individual behaviour is judged by the others, within a system of norms,which is assumed by socialisation and imitation. Every person has to act “right”in the sense of this system. To act in the expected way also implies to keep oneshonour or even to raise ones honour. 1To step from the Mediterranean Sea to the Black Sea and face the Republicof Georgia – one can also find a strong system of rules concerning honour andshame. Here I will put my focus on the situation of women in the Republic ofGeorgia and about their social lives in consideration on the term of honour andshame. Especially for women, honour is connected to their sexual behaviour andvirginity does play an important role in this context.I started doing field work in Georgia in 2001. Thanks to the VolkswagenFoundation, who finances this project (2009 – 2011), I am working on the issueof Gender relations and the connection to Traditional Law 2 . Since July 2009, Iam working and living on a regularly basis in the region of Tetriskaro, 40 kmsouth of the capital Tbilisi. Tetriskaro is considered as a multiethnic city. Peoplein Tetriskaro told me that during the Soviet Period mostly Armenians, Azeris,Russians and Greeks lived there. After the collapse of the Soviet Union almostthe entire population of the Greeks migrated to Greece, while a part of theRussian and the Armenian population migrated to Russia. Within 20 years thepopulation in Tetriskaro declined from 32 000 to 8 000 inhabitants. Still you willfind a mixed ethnic population in Tetriskaro - Armenians, Russians, Georgiansand Azeris live next to each other and you will hear a mixture out of differentlanguages. A lot of empty houses remained and remind the observers of timeslong past.I choose to live in Tetriskaro to gather comparable scientific material andtake part in daily life – participant observation (Malinowski, 1967), a term whichis still widespread among researchers. In daily interviews I am questioningmostly women at the age varying from 19 up to 85 from mostly Georgianfamilies. Talking about honour, it is important to clarify, which terms are usedconcerning “honour” and “shame” in Georgia. The most important terms are:patiosneba (patiosneba), ghirseba (Rirseba), sindisi (sindisi) and namusi1 Cf. for example Gilmore 1987, Peristiany 1974, Vogt 1994.2 http://projectgeorgia.wordpress.com (22th of June 2010).83

(namusi). The word “shame” is translated into sirzchwili (sircxvili).(Georgian-English Dictionary, 2006: Shukia Apridonidze et al.).patiosneba (patiosneba): 1) honour, uprightness, 2) having respectghirseba (Rirseba): 1) worth, 2) dignity, honour, 3) self-respect, 4) quality,standard, 5) (social) title, rank, 6) gravitysindisi (sindisi): 1) consciencesindisieri (sindisieri): conscientious, honourable, principlednamusi (namusi): honour, consciencesirzchwili (sircxvili): 1) shame, embarrassment, mortification, 2) disgrace.I mentioned some short explanations of the terms, but I am not a linguistand will not go into further details. It is not my priority to find out the linguisticterm of honour and shame. It is more important for me to listen to the people’sconnotation about these terms and to find out which importance people attach tohonour and shame, especially towards women’s honour.To start interviews, I usually ask the name of the interview partner, age,martial status and profession. Later on I ask what is important for a woman to bean honourable woman (ghirseba, patiosneba, sindisi, namusi). Mostly my entireinterview partners answered, they think patiosneba, ghirseba and sindisi areconnected to each other. An honourable woman should take care of her familyand be faithful to her husband.I also asked how men can gain honour. I was told if a husband has a lot oflovers it will raise his status of honour. For men, it is not as important to befaithful to their partners as it is for women. For women, in contrast, it isdishonourable and considered as shameful to have an extramarital affair. Onewoman told me, if she would know about an affair her husband could have withanother woman, she would divorce, but if she does not know about it, it wouldnot bother her. To keep up the appearance of an intact and happy family is thepriority behind the statement of “not wanting to know about an affair”. In heropinion, men are allowed to have affairs but they have to hide it. They are notallowed to show it in public, because it would reduce the reputation of the family.And reducing the reputation of ones family also means a reduction of thefamily’s honour.Another story was told to me in a village close to Tetriskaro, where Istayed 2009 for two month. My field assistant and me went to take interviewsand walked down the street. We saw three old women sitting on a bench in frontof a house looking curiously at us. So we felt invited to have an interview withthem. I asked them how they got married and where they first met beforemarriage. They told me that they are now more than 80 years old and are marriedfor more than 60 years. Their parents arranged the wedding, so the couples didnot know each other before. After asking some questions about their opinion tothe terms of honour and shame, they answered that women have to be loyal totheir husband and to their family. I asked, if men also have to be loyal to their84

wives, they told me, actually they have to but in reality they do not practice it.One woman started telling us a story about the affairs of her husband.She told us that once she received a phone call from her neighbour, whotold her, her husband is seeing another woman out on the street. The women runout of the house, saw the two and beat the woman with a stick. (When I asked,why she just beat the woman and not her husband, she was laughing.) Also theother women on the bench were telling about the affairs their husbands had. Itbecame like a TV-Show, where the candidates had to beat each other by tellingthe most bizarre story. We left about five minutes later and talked a lot about thissituation on the way home.On the next day we walked along that street again. One of the three oldwomen was sitting on the bench and excitingly beckoned us. We came closer andshe nervously said why we told everyone about the affair of her husband? Weassured her we did not tell anyone about the story she told us. She wanted to seemy notebook to make sure nobody could read my writing (which was in German)and calmed down a little. But after a while she blamed us again by saying wewould decrease her reputation in the village. We told her, that we did not tell aword to anybody about the story she has told us. She was still very nervous whenwe left.Now this interview became much more interesting to us. The woman wasafraid of the public’s opinion. Whether she told the truth or not, in any case herreputation would suffer from the story she told. Therefore she was very nervousand wanted to make sure we did not talk to anybody about her story.On one hand, reputation and the public’s opinion are very important toraise and keep the status of honour – for men and for women. On the other hand,honour for women is mostly connected to their sexual behaviour and their workin the household. Women are much more subdued by their husbands, theirfamilies and their neighbours. In patriarchal societies, like Georgia, the honour ofwomen is connected to their sexual behaviour, which can be proved by theirvirginity. With her honour she reflects the honour of her husband. When shebehaves modest, shameful and conforming to the standards, she will be acceptedin the society and is considered as an honourable daughter, bride and wife. Aftermarriage the husband is responsible to control and watch his wife’s behaviour. Ifa verbal slander towards the women occurs, the offender does first hurt thehonour of the men and not till then he affects the honour of the women. It is themen’s duty to reconstruct his own honour and in doing this, he also reconstructsthe honour of his wife. Therefore is the honour of women first and foremost thehonour of men. She herself has no possibility to reconstruct her honour - it is theduty of her husband.If a woman does not behave in the way, she is expected to, e.g. she has anaffair with another men, she directly disgraces the honour of her husband. Againit is the duty of the man to reconstruct his honour. He has the right to exclude his85

wife from the family, or decides to get divorced or in the last resort he might killhis wife to regain his honour.The norms of behaviour are produced on one hand through education andon the other hand trough the “right” behaviour, in the sense of the norms, whichare given by the society and which are confirmed by the society through dailyimitation. In Georgia, girls and boys are reared differently. Girls are supposed tohelp their mothers in the household. Girls are strongly controlled by theirmothers, fathers and brothers, while boys experience much more freedom.Traditionally it was the duty of men to work and support the family. Afterthe collapse of the Soviet Union it was and it is difficult for many men to find thework, they agree on. Therefore many women seek for jobs. The traditional roleschange and mostly men are suffering from it. Women use the new possibilities toemancipate themselves trough education in school, university and workingabroad. But still it is difficult for women to escape the traditional thoughts abouttheir behaviour concerning honour and shame. In Georgia marriage and childrenare the ticket of coming of age and becoming a full member in society. It isconnected with honour and reputation and fulfils the social norms within thesociety.This topic always was relevant in the interviews I have taken. After Ifinished my questions it was me who was asked weather I am married and havechildren. I had to deny it and suddenly I was surrounded by suggestions whom Icould marry from their own family or their neighbourhood.The Georgia, the meaning of marriage is strongly connected to aneconomical agreement of two people with their families and is seen as a furtherprocess of education, where the couple will experience another stage in life.Virginity does play a significant role for women before marriage. A women hasto be a virgin - if not, the husband has the right to send her back to her family. AGeorgian woman is considered as pure and sacred when she remains her virginityuntil marriage. In interviews with hospitals in Tbilisi I found out that some menwere asking for a certificate to confirm their wife’s virginity. What many womenand men do not know is the fact, that the Hymen is not an evidence of virginity.Many women do not even have one by birth and some of the women do notbleed, when they first have sexual intercourse with a man, because their hymendoes not break at first time. Some women might break their hymen of other ways,e.g. sports or using tampons. Some hymen are very elastic and will break whenthe women gives birth to the first child. So the missing blood on the bed sheet isnot an evidence for not being a virgin. Despite that, many women want to getsure to be a virgin or want to “revirginatize” and seek help by various privatehospitals. In many countries in the world, where virginity is a cultural and socialphenomenon, this kind of buisness is attractive for hospitals and their staff. ATHymen reconstruction surgery does cost between 200 to 700 Dollars and likeshown in a documentary on Georgian TV a month ago, this operation is much86

more frequented in Georgia than for example cosmetic nose surgery (which isalso done very often in Georgia).This is one reason why some couples decide on early marriage to avoid thediscussions of sex before marriage and remaining virgin until marriage with theirfamilies. But this will cause just another problem. Most young married couplesdivorce after one year of living together. They find out quickly, that marrying at theage of 14 or 16 does not solve all the problems but create new ones.The construct of honour and shame reduces especially women in their dailyactivities. Their behaviour is always observed by the family and the society – invillages more than in the cities. The emphasis of being a virgin until marriagemay cause an additional pressure on women. Especially women are interested innew possibilities, e.g. in education abroad or in working and earning their ownmoney. Within those changes, it will be interesting to see, what will happen withthe model of “honour and shame” in future.BibliographyChatwin: Chatwin, Mary Ellen 1996. Foodways and Sociocultural Transformationin the Republic of Georgia 1989-1994. Tbilisi: Metsniereba Pressof the Academy of Sciences of Georgia. VIII, 196 pp.Dragadze: Dragadze, Tamara 1988. Rural Families in Soviet Georgia: a CaseStudy in Ratcha Province (International Library of Anthropology). Londonet al.: Routledge. XII, 226 pp.Gilmore: Gilmore, David D. (ed.) 1987. Honour and Shame and the Unity of theMediterranean (Special Publication American Anthropological Association,22). Washington: AAA. 136 pp.Herzfeld: Herzfeld, Michael 1980. "Honour and Shame: Problems in the comparativeAnalysis of Moral Systems". IN: Man, New Series (15). 339-351.Kotthoff: Kotthoff, Helga 1990. "Der Recke im Pantherfell und das Veilchen imMoose?" Geschlechterrollen in Georgien. In: Mitteilungen des Instituts fürWissenschaft und Kunst 3: 40-46.Luzbetak: Luzbetak, Louis J. 1951. Marriage and the Family in Caucasus: a Contributionto the Study on North Caucasian Ethnology and Customary Law(Studia Instituti Anthropos, 3). Wien: St. Gabriel Mission Press. XVI, 272pp.Malinowski: Malinowski, Bronislaw 1967. Ein Tagebuch im strikten Sinne desWortes. Neuguinea 1914-18. Frankfurt am Main: Syndikat Autoren- undVerlagsgesellschaft. 271 pp.87

Odermatt: Odermatt, Susanne [2000, unpubl.]. Zur Bedeutung sozialer Netze inGeorgien. Alltasbewältigung und soziale Kontrolle. Eine Studien inTbilissi [BA thesis University of Zürich]. Zürich. 113 pp.Peristiany: Peristiany, Jean G. (ed.) 1974 [1966]. Honour and Shame: the Valuesof Mediterranean Society (The Nature of Human Society). Chicago:University of Chicago Press. 265 pp.Vogt, Zingerle: Vogt, Ludgera & Arnold Zingerle (ed.) 1994. Ehre. ArchaischeMomente in der Moderne (stw; 1121). Frankfurt am Main: Suhrkamp. 318 pp.qalebi da Rirseba saqarTveloSielke kamigasuli saukunis samocian wlebSi diskusia mimdinareobdaRirsebasa da sircxvilze xmelTaSuazRvispireTSi e.w.“Rirsebisa da sircxvilis sazogadiebebSi”. naSromSi terminiRirseba ganixileba, rogorc socialuri kontroli _ wesebissistema sazogadoebaSi, romelSic individis qceva asaxavsmTeli jgufis qcevas. individis qcevas gansjian sxvebi, normebissistemis SigniT, romelic miRebulia socializaciisada imitaciis meSveobiT. yvela pirovneba unda moqmedebdes“marTebulad” am sistemaSi, ArniSnuli gziT moqmedeba gulisxmobssakuTari Rirsebis dacvas an sxvisi Rirsebis amaRlebasacki.xmelTaSuazRvispireTidan SavizRvispireTSi gadanacvlebisasda kerZod saqarTveloSi SesaZleblia wes-CveulebaTamyari sistemis aRmoCena, romelic Rirsebasa da sircxvilsexeba. aq mkvlevaris yuradRebas ipyrobs qalebis mdgomareobasaqrTveloSi da maTi socialuri cxovreba Rirsebasa da sircxvilTanmimarTebaSi. Catarebuli kvlevis Sedegad mkvlevariSemdeg daskvnebs akeTebs:Risebisa da sircxvilis mniSvneloba kvlav TvalSisacemiasaqarTveloSi. tradiciulad, qalebis Rirseba dakavSirebuliamaT seqsualur qcevasTan, xolo kacebis _ mamakacurobasTan,siZliersTan da TavdajerebulobasTan. aRniSnul TemasRirsebasa da sircxvilze mkvlevari akvirdeboda TeTriwyarosraionis qalTa yoveldRiur cxovrebaSi.88

vizualuri anTropologiaVISUAL ANTHROPOLOGYanTropologiuri filmisvelze gadaRebis TaviseburebanimanuCar loriavizualurma anTropologiam erTmaneTs dauaxlova an-Tropologia da kinematografia. am mimarTulebis samecnierodargad Camoyalibeba daiwyo XX saukunis 60 - ian wlebSi, rocaamerikis SeerTebul StatebSi safuZveli Caeyara am sferoebiskulturul anTropologiaSi instituciurad gaformebas. aseve,amerikul anTropologiur asociaciaSi daarsda Jurnalida Sesabamisi seqcia. daarsebis mixedviT, anTropologia kinematografiisTanatolia: pirveli kinogadaRebebi dokumenturiiyo. 1888 w. britanuli eqspediciis dros a. xeidenma kameriT gadaiRoZmebi lumerebi, aborigenebis cekva, xolo 1908 w. v.f. siversenmaSeqmna filmi kavkasieli mTielebis Sesaxeb (qristoforova,2006:98; magidovi, 2000: 51).vizualuri anTropologiisaTvis mniSvnelovania eTnografiulivizualuri informaciis mopoveba da analizi, anTropologiuriTu eTnografiuli filmebis momzadeba da a.S.saqarTveloSi, ise rogorc mTel postsabWour sivrceSi,bolo wlebSi SedarebiT xelmisawvdomi gaxda videoteqnika,ramac mkvlevrebs saSualeba misca videokameriT samuSaod gasuliyvnenbunebriv garemoSi. Tumca problema isaa, rom qar-Tul enaze ar arsebobs meToduri literatura vizualuri an-Tropologiis Sesaxeb. amerikasa da evropaSi gamocemuli saxelmZRvaneloebinaklebad xelmisawvdomia Cvens qveyanaSi. aqedangamomdinare, aucilebelia moxdes am saxelmZRvaneloebisadaptacia qarTul sinamdvilesTan, kerZod, saqarTveloSi arsebulkvlevis meTodebTan, arsebul materialur sirTuleeb-Tan, cud teqnikur bazasTan da sxv.erT-erTi mniSvnelovani aseTi problemaa – savele meTodebivizualur anTropologiaSi. bronislav malinovskis azriT,savele samuSaoebis ZiriTadi mizania „daiWiro adgilobrivimacxovreblis mTavari azri da miswrafeba am sferoSi”.89

es sityvebi dRemde rCeba anTropologiis lozungad. saSualebebi,romliTac es mizani miiRweva, Semdegia: aucilebelia icxovroda kontaqti gqondes yoveldRe adgilobriv mosaxleobasTan,raTa isini SeeCvion mkvlevarTan urTierTobas; saWiroaenis codna, rom ar moxdes informaciis damaxinjeba;mkvlevarma unda moaxdinos yuradRebis koncentracia yvelaurTierTdakavSirebul movlenaze kulturaSi, radgan maTikavSiri imdenad mWidroa, rom erTis gamotovebiT irRveva informaciismTlianoba; mkvlevarma ar unda mianiWos mniSvnelobaiseT movlenebs, romlebic misi interesis sferoSi arSedis, mTavari yuradReba unda iqnas gamaxvilebuli yoveldRiurcxovrebaze; mkvlevari, romelsac ainteresebs kulturisesa Tu is movlena, aucileblad unda akvirdebodes adamianebisqcevas _ pirdapiri SekiTxvebiT is srul informaciasver moipovebs, xalxi naklebad aqcevs yuradRebas kulturas,aRiqvams mas rogorc TavisTavad gamomdinares.malinovskis moRvaweobidan dawyebuli (1914 w. rodesac isgaemgzavra eqspediciaSi melaneziaSi, iTvleba socialuri an-Tropologiis dasabamis wlad – britanuli disciplinis variantad),cneba „veli” rCeba gamocanad dasavluri anTropologiisaTvisda yofili sabWoTa eTnografiisaTvis. „veli”– mxolodmoTxovna ar iyo sakvlevi kulturis gasagebad, es iyogansakuTrebuli teqnika sxvisi kulturis gasagebad da amkulturis sakuTar enaze gadmosayvanad. anTropologi is pirovnebaa,romelic detalurad wvdeba adamians da sxvadasxvaxalxis cxovrebas, es bazisia, romelic agebulia intensiurda inteleqtualur gamokvlevebze (qristoforova, 2006: 98-99.).cnobili anTropologi asen baliqsi, avtori anTropologiurifilmisa „neTsilikeli eskimosebi“, ixsenebs Tavis filmzemuSaobis detalebs da aRniSnavs CvenTvis saintereso, 1950wels kolumbiis universitetSi margaret midis savele samu-Saoebze Catarebuli seminaris mniSvnelobas, sadac ganixilebodaaudio-vizualuri fiqsaciis meTodebTan dakavSirebulisakiTxebi. es meTodi margaret midis mier pirvelad 1936 wels,balize savele eqspediciis dros iqna gamoyenebuli da igidResac ar kargavs aqtualobas.margaret midi aRniSnavda, rom: filmis eTnografiul tradiciebsvizualuri anTropologiisaTvis aqvs upirvelesi mniSvneloba.sufTa kinematografiuli mosazrebebi gadadis meore90

adgilze; nebismieri xelovnuri dadgmebi an misi mcdeloba gamoricxuliunda iqnes SemoqmedebiTi jgufis mier; gadaReba Tavidanbolomde unda mimdinareobdes realur droSi da velzeunda xdebodes yvela mimdinare movlenis gadaReba; anTropologiunda iniSnavdes moqmedi pirebis Sesaxeb informacias. es undaiyos filmi, rogorc Canaweri, dokumenti Semdgomi anTropologiurianalizisa; filmis Seqmnis yvela etapze unda monawileobdesanTropologi _ savele gamokvlevebis, koncepciis SemuSavebis,gadaRebebisa da montaJis dros (baliksi, 2002: 30-40. asevedawvr. ix. baliksi, 1987, 1995; midi, 1995).savele muSaobis periodSi mniSvnelovani momentia eTnosiskulturis videomonitoringi. idea Semdegi warmodgenebidangamomdinareobs: kulturis swrafi dinamikidan, Tanamedrovekulturis mozaikurobidan, romelic Sedgeba uamravi mikrokulturisada jgufuri kulturisgan – nacionaluri, regionaluri,religiuri, asakobrivi, profesiuli da a.S. (ix.:aleqsandrovi,1998;SamilaZe; loria,2008).savele muSaobisa da monitoringis safuZvelze iqmnebasaintereso saganmanaTleblo da samecniero filmebi. videomonitoringismeTodi Cvens mierac iqna gamoyenebuli savele samuSaoebisdros. pirvelad 2007 beSumsa da goderZis uReltexiliszonaSi. sadac moxda TiTqmis yvela sezonuri dasaxlebis Semovlada maTze saTanado masalebis Segroveba calkeuli asakobrivida genderuli jgufis warmomadgenlebisagan. gadaRebuliiqna didZali foto (500 suraTi) 1 da 4 saaTi videomasala.mopovebuli masalis safuzvelze momzadda filmi „alpuridasaxleba aWaraSi (goderZis uReltexili – beSumi –kaxiZe,2007,159-160; CelebaZe, 2007, 168-171; loria, 2008.- http://ethnobs.ru...)” 2 ;meored 2010 wels Wvanis xeobaSi gadaRebuli iqna rZisproduqtebisa da daTvisfexa Txilamuris momzadeba, xalxuriTamaSebi _ joxa-bila, koltaSis gaqneva. 3 gadaRebuli masalebissafuZvelze welsve momzadeba ramodenime filmi.1 fotoebi gadaRebulia manuCar lorias mier2 scenaris avtori da redaqtori nodar kaxiZe, reJisori manuCar loria,operator–memontaJe Tengiz vadaWkoria3 eqspediciis xelmZRvaneli manuCar loria da mari Salikava, operatoriTengiz vadaWkoria.91

anTropologiurma filmma unda SeiTavsos reJisoris xelovnebada anTropologis erudireba. arsebobs arsebiTi gansxvavebebianTropologiasa da kinos Soris, rac SemdegSimdgomareobs: anTropologi iwyebs muSaobas Teoriuli problemebisada gegmis gamomuSavebiT, reJisori ki – ideisa dascenaris; anTropologi agrovebs masalas kiTxvebisa da dakvirvebisgziT, reJisori ki iRebs ZiriTad masalas; anTropologiaanalizebs mecnieruli TvalsazrisiT mopovebul masalas,reJisori ki amontaJebs gadaRebul masalas; anTropologiamTavrebs naSroms werilobiTi daskvniT, reJisoris daskvnaki filmia (ix.: Хайдер, 2000).reJisorisa da anTropologis erToblivma namuSevarmasaboloo jamSi unda gasces pasuxi kiTxvas – ra aris vizualurianTropologiisTvis Teoriuli TvalsazrisiT mniSvnelovanida rogor SeiZleba adamianisa da eTnosisaTvis damaxasiaTebeliaspeqtebis asaxva vizualurad anTropologiurfilmSi.anTropologiuri filmisaTvis masalis Segroveba, daxarisxeba,akinZva da Sekvra did Sromas moiTxovs. filmi undaiyos dafuZnebuli eTnografiul principze. rac ufro gacnobierebuliaes principi miT ufro maRalia misi mxatvruli dateqnikuri xarisxi (ix.: loria, 2009).amrigad, anTropologiuri filmisaTvis mniSvnelovaniasavele samuSaoebis sworad dagegmva da SemoqmedebiTi jgufiswevrebs Soris funqciebis ganawileba. gadaRebebi Tavidanbolomde unda mimdinareobdes realur droSi da filmis Seqmnisyvela etapze saWiroa anTropologis Tanamonawileoba _savele gamokvlevebis, koncepciis SemuSavebis, gadaRebebisada montaJis procesSi.92

gamoyenebuli literatura:aleqsandrovi: Александров Е.В, обоснование и принципи вызуальноантропологическогомониторинга. – Открытие и сообщаемость культур:гуманитарный симпозиум, Институт Гуманитарного Партнерства,Москва, 1998;baliqsi: Balikci Asen. The Legacy of Margaret Mead: the Case of Visualanthropology. In: Bulletin of the International Committee on UrgentAnthropological Research. Vienna, vol. 8, 1987.baliqsi: Balikci Asen. Reconstructing Cultures on Film. In: Principles ofVisual Anthropology. P. Hockings ed. Mouton.,1995;baliqsi: Баликси А. Фильмы об эскимосах нетсилик.– Северный археологическийконгресс, Доклады, Екатеринбург-Ханты-Мансийск, 2002.kaxiZe: kaxiZe n. niko berZeniSvilis institutis eTnologiisa dakulturuli anTropologiis ganyofilebis 2007 wlissamecniero kvleviTi muSaobis angariSi.- nbi, samxreT-dasavleTsaqarTvelos eTnologiis problemebi, I, baTumi,2007.kaxiZe: Kахидзе Н., Лория М. Видео мониторинг альпийского поселение вАджарии. _ Многонациональная Россия: этнология и киноантропология»,Екатеринбург, 2008. _ http://ethnobs.ru/other/262;http://rfaf.ru/rus/news_b1037_view_p1.loria, vadaWkoria: loria m., vadaWkoria T. anTropologiurifilmi, Tbilisi, 2009.magidovi: Магидов В.М. Прошлое, настоящее и будущее визуальной антропологии.–Сборник статей по визуальной антропологии. М., 2000.midi: Mead Margaret. Visual Anthropology in a Discipline of Words. In:Principles of Visual Anthropology. P. Hockings, ed. Mouton, 1995.qristoforova: Христофорова О.Б. Визуальная антропология: российскаядействительность и зарубежный опыт, 2006.xaideri: Хайдер К. Этнографический фильм, М., 2000.SamilaZe, loria: Шамиладзе В., Лория М. Полевые исследования ипринципы визуально-антропологического мониторинга.– Инновационыеаспекты исследевания културы, археологии, етнологии и лингвистикистран Черноморского бассейна, Батуми, 2008.CelebaZe, varSalomiZe: CelebaZe n., varSalomiZe j. eTnografiulieqspedicia beSumSi. _ nbi, samxreT-dasavleT saqarTveloseTnologiis problemebi, I, baTumi, 2007.93

Manuchar LoriaThe Peculiarities of Field-shootingof an Anthropological filmVisual Anthropology is neither a simple cinema nor a simple anthropology.It is a cultural activity where cinema art, humanities and information technologiesinteract in order to receive and inculcate the little known sides of ethnicgroups in social practice of visual information to accomplish the dialoguebetween cultures.The history of the anthropological film is one of the parts of the history ofthe history of cinematography. An anthropological film should be based on theethnographic conception. Creating an anthropological film the author is based onthe ethnographic conception that makes the film not only more ethnographic, butalso much better from the aesthetic point of view.It is extremely important for an anthropologist to be involved in every stepof the anthropological film making process. It is not enough to show ananthropologist holding a microphone in the film like in many other projects.Theoretically, an ethnographer must be the first to leave for the field and lateranalyze the situation in a monograph, then return to the field with a filmproducer, who, in his turn, would have made a film thoroughly thought out on thebase of the monograph.The comparative accessibility of video equipment in Georgia in the last yearshas given the opportunity to the researcher to work in the field expeditions with cameras.The problem is that there is not any methodology of field works and trainingappliances of visual anthropology published in the Georgian language yet. And thetext-books, published in the USA and Europe are difficult to access in our country.Besides, there is a necessity to adapt the western training aids with the Georgianreality – the methods of field works used in Georgia, the difficulties of materialprocessing with their utilization in the teaching processes.An anthropological film can be an important means of the anthropologicalresearch. However, that requires something more than a simple mechanical joint of afilm and anthropology. Mutual understanding of two principal rules is necessary: acinematograph should accept the scientific demands of anthropology; an anthropologistshould adjust to the technical abilities of a cinefilm. Film producers shouldthink ethnographically, or scientifically; anthropologists should think like a cinematographer,or visually. There are mutual invitations of cooperation and theflourishing of anthropologic film making today witnesses that these invitations areaccepted.Nowadays visual anthropology, based on the modern grounds of thenewest cinema-video technologies, is one of the most significant fields in theinvestigations of Georgian scientist-researchers. It is also important for theuniversity system, particularly in Batumi Shota Rustaveli State University.94

istoriuli anTropologiaHISTORICAL ANTHROPOLOGYrozeta gujejianitradiciuli qarTuli mentalobis istoriidan(“mefe” qarTvel mTielTa cnobierebaSi)“wmidao mTavarangelozo mxerisao... adidenmefeni bagratonianni... erTobili saqarTvelo daerTobilni svanni”XIII_XIV saukuneebis xatis warwera svaneTSiqarTuli kulturis ama Tu im elementze, maT Soris mentalurmaxasiaTeblebze saubari, Cveni mdidari istoriidangamomdinare, uZvelesi droidanvea SesaZlebeli. arqeologiurida eTnografiuli masalis analizi avlens simboloebisada saritualo praqtikis mraval arqaul pasaJs, romelic er-Tiania yvela qarTuli istoriul-eTnografiuli TemisaTvis/jgufisaTvisTviT uZveles xanaSic ki (iv. javaxiSvili,1979; g. Citaia, 1941; v. bardaveliZe, 1968; n. abakelia, 1997; m. xidaSeli,2005 da sxva). xolo gaqristianebis xanidan ukve saistoriowyaroebiT dasturdeba erTiani qarTuli kulturisada am kulturis Semadgeneli mentaluri maxasiaTeblebis arsebobaqarTvel erSi.tradiciuli qarTuli mentaloba gansakuTrebuli simkveTriTeTnografiul masalaSia warmoCenili. bunebrivia,mentalobis elementebi yvelaze xangrZlivad tradiciul sazogadoebaSifunqcionirebs, tradiciul sociumebi ki eTnologTakvlevis sferoa, amitomac qarTuli mentalobis mravaliniSani eTnologTagan aris gamovlenili da am mxriv, metadsayuradRebo masala mTielTa yofaSia fiqsirebuli. qar-Tvelma mTielebma legendebis, andrezebis, harAkebis meSveobiTmTeli feradovnebiT Semogvinaxes tradiciuli mentalobismaxasiaTeblebi. maT Taobidan Taobas gadasces umniSvnelovanesimentaluri Rirebulebebi, romelTa Soris erT-erTimTavari simbolo “mefe” iyo. xsovna mironcxebuli, anu RvTiTmovlenili da qveynisaTvis Tavdadebuli mefeebisa, kravda daaduRabebda mTielTa tradiciuli mentalitetis erT-erT ni-Sans _ erTgulebas mefisa da samSoblosadmi.95

mentalobis es maxasiaTeblebi erTgvarad fokusirebuliaori, didi da wmindanad Seracxuli mefis _ vaxtang gorgaslisada Tamaris Sesaxeb arsebul legenda-gadmocemebSi.am mefeebTan dakavSirebul istoriul xsovnaSi warmoCeniliazogadad qarTvelTa cnobierebaSi “mefesTan” mimarTebiT Semonaxulimsoflmxedvelobrivi motivebi:“vaxtang mefe RmerTs uyvardacidan Camoesma reka,ialbuzze fexi Sedga,didma mTebma iwyes dreka”.ukve am pirvelive siuJetur qargaSi Tavmoyrilia “mefe”-sTan dakavSirebuli qarTuli tradiciuli kulturis mniSvnelovanimentaluri faseulobebi: mefe RvTisgan nakurTxia, mironcxebulia,Sesabamisad, ki zebunebrivi Zalis mqonea, da racmTavaria, mefe erisaTvis, qveynisaTvis Tavdadebulia. cxadia,amgvari mentaluri pasaJebi odindelia, rac uTuod bibliurimotivebidan momdinare da saistorio tradiciiT ganmtkicebulia1 . werilobiTi wyaroebiT (juanSeri, sumbat daviTis Zeda sxva), saqarTvelos samefo dinastia _ bagrationTa samefosaxli _ daviT winaswarmetyvelis, ebraelTa mefis STamomavladaamiCneuli (qarTlis cxovreba, 1955, 243, 372-386).vaxtang gorgasalTan dakavSirebuli legendebi saqar-Tvelos bevr mxareSia Semonaxuli. savaraudod, vaxtang gorgasalsukavSirdeba saerisTao droSa “lemi”, romelic svane-Tis erT-erTi didi siwmindea da dRemde qarTvel mTielTa(svanTa) siamayis sagans warmoadgens. droSas qarTuli enissvanur dialeqtebze “lem”-s uwodeben, rac saliteraturoqarTuliT “lom”-s niSnavs, vizualurad ki droSa mgels gamosaxavs(v. bardaveliZe, 1963; r. TofCiSvili, 2002, 79). droSa,mkvlevarTa dakvirvebiT, urCxulisnairi Standartebis tipsmiekuTvneba. msgavsi droSebi damowmebulia parTelebTan, skvi-TebTan, sarmatebTan da dakebTan (II s.), romaelebTan (III s.) dasasanianTa mefeebTan (IV s.), romlebmac igi parTelebisagangadaiRes, amgvari Standartebi arsebobda Sua saukuneebis bizantiasada dasavleT evropaSi (v. bardaveliZe, 1963, 142; s.barnaveli, 1953, 28-29). svaneTSi droSis naWers perioduladcvlidnen, axals keravdnen, Zvels ki saTuTad inaxavdnen setiswmida giorgis monasterSi. droSa da masTan dakavSirebu-1 sakiTxTan dakavSirebiT ix. m. karbelaSvili, bagrationTa dinastiada qarTuli politikuri Teologia; _ literaturuli Ziebani, XX,Tb., 1999, gv., 96-128.96

li saxelmwifo moxele _ “melome” _ ixsenieba werilobiT wyaroebSic(p. ingoroyva, 1941) da igi gulisxmobs XIV_XV saukuneebissvaneTis erTobili Ãevis xelisufals, romelsac evalebodalaSqris Sekreba da mefisaTvis daxmarebis aRmoCena.Cveni droisaTvis droSas weliwadSi orjer, dResaswaulebzegamoasveneben eklesiidan. am dros erTi rCeuli mxedarimaRla aRmarTuli, gaSlili droSiT Semouvlis setis moedans,mlocvelebi ki loculoben mTeli saqarTvelos mSvidobianobisada gamarjvebisaTvis. gadmocemiT, droSa Tamarmefes Seukeravs da svaneTis ÃevisaTvis uboZebia (r. gujejiani,2006). TavisTavad, es gadmocemac metad faseulia, igi gamoxatavsmowiwebas didi mefisadmi. faqtia, istoriulma mexsierebamyvelaze mkafiod swored Tamar mefis saxeli Semoinaxada qarTveli eris udidesi kulturuli monapovrebi mas daukavSira.magram am konkretul SemTxvevaSi, droSa, savaraudod,bevrad adreulia da igi vaxtang gorgasalsa da mis epoqasunda ukavSirdebodes.cnobilia, mglisa da lomis gamosaxulebebi amkobda vaxtanggorgaslis Cabalaxs, mematianis TqmiT, “vaxtang mefesaSeeqmna Cabalaxi oqrosi, da gamoesua winaT mgeli da ukanaTlomi; da romelsa kerZsa iZleodian qarTvelni, muniTca mimarTosda mosris spisa misgan sparsTasa, viTarca lommankanjarni. mieriTgan verRara SeuZlebdes sparsni wyobad misa,rameTu daiswavles igi, romelsa ewera mgeli da lomi, da vi-Tarca ixilian vaxtang, TqÂan; “dur az gorgasal”, romel arsese “mirideT Tavsa mglisasa”. da mis mier saxel-edva vaxtangmefesa gorgasal” (qarTlis cxovreba, 1955, 180). am gamosaxulebisgamo Searqves sparselebma vaxtangs “gorgasali”_”mgelTava”.amave dros, werilobiTi wyaroebiT, vaxtang gorgaslisdrois svaneTi aqtiur politikur erTeulad, mefis mxarSimdgom saerisTavod moCans: cnobilia, V saukuneSi sparseTida bizantia ibrZodnen saqarTveloSi gabatonebisaTvis. wyaroebisTanaxmad, svaneTis saerisTavo did winaaRmdegobasuwevda bizantias. am etapze vaxtang gorgasali jer kidevsparselebis mekavSire iyo da maTi daxmarebiT cdilobda dasavleTsaqarTvelodan bizantielebis gandevnas. svanebma daxmarebisTvis“iberebs”, anu vaxtang gorgasals mimarTes darogorc Cans, saqarTvelos am didma mefem svaneTi da TakveriuSualod iberias SemouerTa, rac dasturdeba imdroindelerisTavTa nusxiTac: “samnaRir erisTavi Sida egrisisa da su-97

aneTisa”, ”bakur, erisTavi margÂisa da Takuerisa” (qarTliscxovreba, 1955).sayuradReboa, rom istoriulma mexsierebam TviT XVIIIsaukunemde Semoinaxa vaxtang gorgaslis svaneTSi mobrZanebisistoria, aRwers ra svaneTis setis monasters, vaxuSti batoniSvilimiuTiTebs am gadmocemazec: “aqa ars... saxizari suetiscxovelis samkaul-saunjisa, romelsa Sina ityÂan suetiscxoveliskanklis yofasa dResaca, romeli moiRo gorgasalindoeTidam, wiTlis iagundisa qmnili” (batoniSvili vaxuSti,1973, 788-789).yovelive zemoTqmulis gaTvaliswinebiT, savaraudoa,rom droSa “lemi” swored vaxtang gorgasalma uboZa svane-Tis saerisTavos qveynis gaerTianebisaTvis gamarTul brZolebSigamovlenili gmirobisaTvis. tradiciebisadmi gansakuTrebulierTgulebiT gamorCeulma mxarem ki es droSadRemde daicva da Semoinaxa.sagulisxmoa, rom mkvlevarTa azriT, gaerTianebuli saqarTvelossxvadasxva kuTxis droSaTagan vicnobT mxolodam droSas. Diseve rogorc saqarTvelos saxelmwifo droSa,svaneTis es droSac iyo Zalauflebis niSani da laSqrismTlianobis simbolo (s. barnaveli, 1953, 27; v. bardaveliZe,1963).meore didi mefe, romlis saxelic Semounaxavs yvelaqarTul teritoriul-eTnografiul Tems//jgufs da agreTve,qarTuli saxelmwifos kulturul-politikuri mfarvelobisqveS myof sxva kavkasiel xalxs (T. mibCuani, 1977), _ wmida Tamaria.Tamar mefes eTayvaneba yvela mxarisa da religiuri aRmsareblobisqarTveli. Tamar mefesTan dakavSirebuli gadmocemebi_ koleqtiuri xsovnis gasocari xandazmulobisa dadroSi gamZleobis iSviaTi nimuSebia.eTnografiuli masala Tamar mefes ukavSirebs TiTqmisyovel eklesias (naeklesiars), cixes, Zvelebur TaRovan xids,arxsa da wyaros wyals. gadmocemebSi asaxulia saistoriowyaroebidan da saeklesio tradiciebidan Semecnebuli momentebi:Tamar mefis droindeli saqarTvelos sidiade, Zlierebada socialuri yofis stabiluroba, samxedro gamarjvebebi,kulturuli aRmSenebloba, Tamar mefis wmindanobasTan dakav-Sirebuli umSvenieresi legenda-Tqmulebebi da sxva. calkegamoiyofa legenda-gadmocemaTa is nawili, romelic lokaluriniSnebiTaa aRWurvili: yoveli kuTxis qarTveli xazgasmiTsaubrobs wmida mefis gansakuTrebul damokidebulebaze mis98

konkretul mxaresTan, magaliTad, svanebs mtkiced swamT, romswored svaneTi uyvarda mefes gamorCeviT, magram aseve sjeraTxevsurebs, aWarlebs, klarjebs, Wanebs//lazebs... amave deros,saqarTvelos yvela istoriul-eTnografiul mxareSi migviTiTebenwmida mefis ukanasknel gansasvenebelze da a. S.Tamar mefis saxeli Semonaxulia rogorc aRmosavleT,aseve, dasavleT da samxreT-dasavleT qarTvelTa tradiciulyofaSi, agreTve, TurqeTis respublikis SemadgenlobaSi moqceulistoriuli saqarTvelos nawilSic (klarjeTi, tao, WaneTi//lazeTi).fSauri masaliT, “Tamar nefe sul eklesiebs aSenebda...is imdeni wmindani yofila, rom zRvebze anafora daugav isedavala zRvaze da haerSi. maSin Tamars zRvaSi samanad isarCaugav da xmeleTi Cvenke daugdiao” (v. bardaveliZe, 1941 _2003, 61). Tamar mefis jvari fSavelTa mniSvnelovani salocavia.xatis dReobisadmi miZRvnili “ferÃisuli” Semdegi teqstisaa:“pirvelad RmerTi vaÃsenoT,eg ufro didebulia.memr Tamar nefe vaÃsenoT,eg RmerTTan wildebulia.laSaris jvaric vaÃsenoT,eg ymaze Tavdebulia...” (v. bardaveliZe, 1941 _ 2003, 63).svanuri masalac Tamar mefes wmindanad miiCnevs. dResac,Tamar mefeze saubrisas svani mTxrobelebi fexze dgebian,iseve rogorc RvTisa da salocavebis xsenebisas da amJamadacaRavlenen himns wmida mefisadmi:“hoi, sixarulo, Tamar dedofalo,yvelaze lamazo, Tamar dedofalo!kbili _ margaliti, Tval-warbi _ giSeri,Savi dalalebi abreSumisa;Tavze muzaradi, welze javardeni,atlasis kabaze _ rkinis abjari;cxeni _ qviSisferi, lagami _ oqrosi,lagami _ oqrosi, taxti _ vercxlisaecers mobrZandebi, Tamar dedofalo,Tamar dedofalo, Tamarali” (leqso... 1985, 24).“roca svanebi Zvels droze laparaks Camoagdeben, Tamardedofalze msjeloba erTaderTs sayvarels da sainteresoTemas warmoadgens” (b. niJaraZe, 1973, 86). svaneTSi SemonaxuliaTamar mefis rezidencia uSgulis TemSi da mravali eklesiisada cixis maSenebladac wmida mefea miCneuli.99

fSavsa da svaneTSi Tamar mefe saswaulmoqmed mkurnaladaciTvleba. svaneTSi swamT, rom Tamar dedofali xelis SexebiTkurnavda mZime avadmyofebs (r. gujejiani, 2006). fSaurimasaliT, Tamar mefe “aqim dedofalia”: “Senamc ididebi, didebuloTamar nefeo, Reles aqim-dedofalo... mkurnalTad wamalTagamamwerelo”. mdidari istoriul-eTnografiuli masalisanalizis safuZvelze n. mindaZe varaudobs, rom fSavSiTamar mefis “aqim dedoflad” miCnevas realuri safuZvelihqonda, fSavSi, ivris xeobaSi, artansa da yvaras Sua Tamar-Relis salocavSi moqmedebda Tamar mefis agebuli dedaTamonasteri, sadac, bunebrivia, sasneuloc iqneboda, radgan monastrebiserT-erT funqcias sneulTa mfarveloba da daxmarebawarmoadgenda (n. mindaZe, 2008, 76-85).xevsuruli masaliT, “xevsuri xevisberi, rogorc fSaveli,Tavis “didebaSi” ar daiviwyebs Tamars ara dros da sxvaTa Sorisase moixseniebs: _ dido Tamaro, dedofalo, saqarTvelosdamrigebelo, Sen miec wyalobao” (vaJa-fSavela, 1986, 600).Tamar mefisa da laSa-giorgis saxelebs gadaejaWva fSavisumTavresi religiuri siwmide laSaris jvari. “laSariwminda giorgis mTavari xatis adgilis saxelia aragvis fSav-Si. amitom wminda giorgi laSarobiT moiÃseniebao. wminda giorgilaSarisa Tamar nefis drosa cxovrobda da is sul urjuloebzelaSqrobda, qistsa, leksa da sxva mtrebsa stexdao.amisaTvis safSavlo imedovani iyoo saqarTveloze” (v.bardaveliZe, 1941 _2003, 61). laSaris jvris wmida muxis waqcevaqarTvel mTielebs saqarTvelos bedis Carxis ukuRma datrialebismomaswaveblad miuCneviaT: “mas Semdeg gastexia saqarTvelosiRbali da fSavis bedic ukan da ukan wasula” (va-Ja-fSavela, 1986, 574). anu, am gadmocemiTac TvalnaTliv moCansqarTveli mTielis (fSavelis) fiqrisa da zrunvis mTavariobieqti _ saqarTvelo. saqarTvelos bednierebasa Tu ubedobaski, mTielTa cnobierebiT, apirobebs qarTvelTa damokidebulebasarwmunoebisa da mefisadmi, _ wmida mefis mier daarsebulireligiuri kultis obieqtis (Tamar mefisa da laSagiorgisagandafuZnebuli laSaris jvari da laSaris jvrismuxa) damxobis Sedegi maTTvis qveyanas SemdgomSi Tavs datexilistoriul qartexilebSi cnaurdeba.aRmosavleT saqarTvelos mTis tradiciuli yofisaTvisdamaxasiaTebel erT mniSvnelovan mentalur maxasiaTebelzeyuradReba gaamaxviles v. bardaveliZem, m. kandelakma da r.TofCiSvilma. saqme exeba qarTveli mefeeebisa (samefo xelisuflebis)da laSarisa da gudanis jvrebis (fSav-xevsureTis100

centraluri jvar-salocavebis) e.w. “Zmadnaficobis” Sesaxebarsebul gadmocemebs. cnobilia, “samefo xelisuflebis mesveurniaraerTgzis eficebodnen Zmad laSars, gudans, iyenebdnenaRmosavleT saqarTvelos mTianeTSi uZvelesi tradiciiTmomdinare mode-moZmeobis institutis myar normebs... mTis sinamdvileSiqarTveli mefe “unaTesavdeboda” Temis mfarvelRvTaebas, rogorc toli tols... am aqtiT samefo xelisuflebaoficialurad aRiarebda... mTis socialur-religiur wyobas.mTielTa moxsenieba “unj ymebad” (giorgi XII sigeli) xommaTi dacva iyo baris TviTnebobisagan” (m. kandelaki, 1987, 189-190). r. TofCiSvili, eTnografiul masalaze (v. bardaveliZe,1982, 14-15) dayrdnobiT gamokveTs sxva mniSvnelovan momentsac:“mTaSi amosuli mefeebi TavianT moZme jvar-xatebs esaubrebodnenda Semdeg salocavis survils, danabarebs xalxs gadascemdnen.ase usaubria xevsureTSi mefe erekles gudanisjvarTan. mTielebTan urTierTobis es forma, rogorc Cans,erTnairad misaRebi iyo rogorc samefo xelisuflebisaTvis,ise TviTmmarTvelobiT mcxovrebi mTielTa TemebisaTvis. mefisxelisuflebas moZmeobis institutis saSualebiT isiniCarTuli hyavda saxelmwifoebriv cxovrebaSi” (r. TofCiSvili,2002, 44). Sedegad ki qarTveli mTieli erTgulad emsaxurebodacentralur xelisuflebas, icavda saqarTvelos saz-Rvrebs da inaxavda umTavres tradiciul qarTul Rirebulebebs.mentalobis es mniSvnelovani maxasiaTeblebi Tavmoyriliacxavatis Temis cecxlijvris dekanozis locvaSi: “Rmer-To, didebulo, Sen uSvele yvela qristian kacs, Cvens xelmwifes;didebulo cecxlisjoro, mters nu morev Cvens saqarTvelosda Cven mefes” (r. TofCiSvili, 2005, 44).aRsaniSnavia is garemoebac, rom Tamar mefis xsovna daculiasaqarTvelos farglebs gareT mcxovreb eTnikur qar-TvelebSi: SavSeTis, klarjeTis, taos, WaneTis//lazeTis, liganisada zeda maWaxlis xeobebis qarTvel mTielebSi. am mxareebiseTnografiul yofaSi Semonaxul Tamar mefis xatebas-Tan dakavSirebul lokalur niuansebs erTgvari keTili tonalobebiSemoaqvs zogadqarTul masalaSi. eTnografiuli masaliTTamar mefes ukavSirdeba am mxareebis TiTqmis yvelaistoriuli Zegli: (efratisa da ÃerTvisis naeklesiarebi, eklesiaTada cixeTa damakavSirebeli saidumlo gvirabebi maWaxelSi;gognaris cixe murRulSi, diobnis cixe imerxevSi, saTlelisada ustamisis cixeebi SavSeTSi da sxva (z. WiWinaZe,1911; t. futkaraZe, 2007; r. malaymaZe, 2008; r. gujejiani, 2007-2008). mSeneblobebTan dakavSirebuli siuJeturi qarga TiTqmis101

erTgvarovania, sxvadasxva legendiT, wmida mefes eklesiebismSeneblobis dros mercxlebi da weroebic ki exmarebodnen,frinvelebs niskartiT qva da qviSa mihqondaT (a. arabuli.2002; 513). “Tamars hyavda TeTri raSi iseTi, rom erTs dResSeeZlo moevlo oSki, iSxani, oTxTa eklesia da parxali.kobakis 1 maxloblad uCveneben kldes xelisgulis gamosaxulebiTda amboben, es Tamar mefis xelis naSTiao” (e. TayaiSvili,1991, 220-221). parxliswylis xeobis zemo soflebSi “dRemdisdarCenilia Zveli grZeli arxi... gaWrilia kldeSi ramodenimeversis sigrZeze... amas miaweren Tamar mefes” (e. TayaiSvili,1991, 221); xofasTan, bujaRSi _ “mefa wkaria” (WaneTi//lazeTi), oTingos abanoa _ liganis xeobaSi da sxva (i. yifSi-Ze, 1939; r. malaymaZe, 2008).zeda maWaxlis masaliT, “sanam TamaraÁ aq iyo, maWaxelszamTari ar scodnia, Cvens did dedeebs karCxalzec puriuTesiaT” (r. gujejiani, 2008). sagulisxmoa, rom tao-klarje-Tisagan geografiulad da istoriuli bed-iRbliT esoden da-Sorebul qarTul mxareSi _ svaneTSi, zustad identuri masalaaCawerili: “Tamar mefis dros svaneTSi zamTaric ar yofila,mudam gazafxuli iyoo”. sxva legendiT, romelic mTelsaqrTveloSia gavrcelebuli, Tamar mefes Suqurvarskvlavidautyvevebia, visi nebarTviTac modioda saqarTveloSi zamTari.Sedegad ki Tamaris mefobisas, RvTis wyalobiT, saqarTveloSizamTari ar dgeboda, buneba mwvaned xasxasebda da iSvebdayoveli suldgmuli (a. arabuli, 2002, 513). imerxeuli(SavSeTi) legendiT, “Tamarai Cveni didia; Tamarai aq yofila,es cixe iman aaSena, aq qilisai yofila, skolis Tavze da imcixidan aq gadmofrenila” (t. futkaraZe, 2007, 60). cxadia,qarTvelebSi, maT Soris, Cveni qveynis Tanamedrove sazRvrebsmiRma mcxovreb eTnikur qarTvelebSi (aRmsareblobiT muslimebSi)dRemde Semonaxuli rwmena Tamaris saswaulTmoqmedobisSesaxeb, universaluri xasiaTisaa, Tamar mefe xom saeklesiotradiciiT, wmindani, Sesabamisad, saswaulTmoqmedi iyoda igi salocav xats warmoadgenda qarTveli mTielebisaTvis.z. WiWinaZe afiqsirebs mentaluri kuTxiT metad sayuradReboinformacias: “qarTvel mahmadianebs... Tamar mefis locvascodniaT, locvaSi gamoxatuli yofila, rom Tamar mefe armomkvdara, is RmerTTan zis, wmindanebTan imyofeba; is kidev1 kobaki igive qobaÁ-a. am da parxliswylis xeobis kidev ramdenimesofelSi dRemde cxovroben qarTvelebi da Tamar mefis Sesaxebgadmocemebi amJamadac fiqsirdeba am mxareSi (r. gujejiani, 2007).102

mova odesme, da Cvens Txovnas Seismens, aWaras naxavs, Tavisbegiebs daemdureba... aWaraSi zogierTi fanatikosi xoja-molebibrZaneben, rom Tamar mefe TaTari (mahmadiani) iyovo” (z.WiWinaZe, 1911, 36-37). rogorc vxedavT, samaswlovani osmalurireJimis miuxedavad, aWarlebma, maT Soris, TviT musulmanurireligiis msaxurebmac ki Semoinaxes didi mefis xsovna da esxsovna, droTa ganmavlobaSi, maTi qarTvelobis niSnulad//markerad Camoyalibda. gausaZlisi socialur-politikuri wnexisSedegad gamuslimebuli qarTvelebi, sarwmunoebis Secvlismiuxedavad, mainc qarTvelebad darCnen da qarTul eTnikurkulturas _ warmodgenils Tamar mefis xatebaSi _ sakuTarkulturad miiCnevdnen.bunebrivia, Tamar mefis Zlevamosilma samxedro asparezobebmawaruSleli kvali datoves qarTvelTa cnobierebaSi.qarTuli saxelmwifos didi gamarjvebebi laitmotivad mosdevsmTel Cvens Semdgom istoriul mexsierebas da es motiviqveynis aRmSeneblobis stimulad gvevlineba. am mxriv, mniSvnelovanifaqti folklorSi dasturdeba: gamoTqmulia mosazreba,rom cnobili xalxuri leqs-simRera “Tamar mefe daxonTqari”, romelSic xatovnadaa asaxuli Tamar mefis sabrZologamarjvebebi, aWaraSia Seqmnili:“Tamar mefe da xonTqarimaRalma RmerTma wahkida,zRvaSi CauSo xomaldi,zed almasebi dahkida.zed dasxa qarTvelT laSqari,mraval wyalobas dahpirda” (q. sixaruliZe, 1949, 72).es siuJetic universaluria da mTel saqarTveloSia gavrcelebuli,magaliTad, misi svanuri varianti aseTia:“Tamar mefev, Tamare, sad yofilxar, Tamare?vis eome, vin darisxe, vin daamxe, Tamare?mteri dagimarcxebia, davliT moxval Tamare,svaneTs moxval, davliT moxval, ZleviTmoxval, Tamare”(leqso... 1985, 25).magram am SemTxvevaSi sayuradRebo sxva ramaa: osmalTagandapyrobil da gamuslimebul qarTvelTa STamomavlebi _samxreT-dasavleT qarTvelebi TavianT mefed Tamars miiCnevenda ara xonTqars, Tamaris Zlevamosilebas Sehxarian da araxonTqarisas.am mimarTulebiT, gansakuTrebiT faseulia Wanur//lazursaistorio folklorSi gamomkrTali Tamar mefis saxeba, ro-103

melsac z. Tandilavam miakvlia. mkvlevarma yuraReba gaamaxvilaTurqi mogzauris evlia Celebis mier lazeTSi Caweril(XVII s.) leqsze. es leqsi pirveli lazuri folkloruli Canaweriada arabuli transkripciiT Cawerili qarTuli (lazuri)masala, bunebrivia, uamravi xarvezisa da uzustobis Semcvelia.rTuli lingvisturi kvleva-Ziebis Sedegad, z. TandilavamaRadgina leqsis Tavdapirveli forma:“Tunas ar uRun TabanCaru,Tamar panda falikaru,afxainka Ruratu-na,gebRafeis doxvamu (an: gebRafeis_Ti xvamu).saliteraturo qarTulze gadmotanis Semdeg leqsi amgvaradJRers:“qveynad erTia dambaCiani,Tamar mudam gmiri,amxanagi rom momkvdariyo,damarxuli daloca (an: damarxulsac locavda)”(z. Tandilava, 1972, 151-163).Tamar mefis saxeli WanTa (lazTa) mexsierebaSi XX saukunisdasawyisisaTvis jer kidev daculi yofila (toponimebi,gadmocemebi). Wanuri (lazuri) masaliT, Tamar mefes Wanebi//lazebigansakuTrebulad daulocavs da maTi xelovnebaukurTxebia, amitomac varT lazebi ganTqmul xelosnebi_o (z.Tandilava, 1972, 161). Cveni istoriuli Znelbedobidan gamomdinare,samxreT-dasavluri erT-eTi qarTuli Temi _ WaneTi (lazeTi)_ dRes faqtiurad mowyvetilia qarTul samyaros daqarTvelobasTan identobac mxolod erTeul lazebs Tu aqvTgaazrebuli, magram maTi qarTvelobis da qarTul kulturul-politikursivrceSi odiTgan arsebobis damadasturebelifaqtebi eTnografiul masalebSicaa dafiqsirebuli, racgansakuTrebiT mkafiod Tamar mefis xanasTan dakavSirebiTmoCans. WanTa//lazTa istoriul mexsierebas es xana da TviTTamar mefe maradiulad SemorCa.cxadia, Tamar mefis droindeli Zlevamosili saqarTveloyvela Semdgomi drois qarTvelis siamayis sagania da gansakuTrebiTsasixaruloa am masalis arseboba qarTuli saxelmwifosiurisdiqciis miRma darCenil eTnikur qarTveleb-Si. bunebrivia, konkretuli qristianuli religiuri codna(Tamar mefis wmindanobis Sesaxeb) aq dakargulia, magram toponimebi,legendebi da Zveli didebis materialuri naSTebi(cixeebi, xidebi, naeklesiarebi), qarTvelobasTan identobis104

masuldgmulebeli momentebia da es sagulisxmo mentaluripasaJebi TvalsaCinodaa warmoCenili eTnografiul masalaSi.didi mefis xatebaSi fokusirebulia yvela mxarisa dareligiuri aRmsareblobis qarTvelis identoba qarTvelobas-Tan da qarTul kulturasTan. wmida mefis xsovnaSi saqarTvelosdiadi warsuliT gamowveuli siamaye, nakleb saxarbieloTanamedrove mdgomareoba da uTuo naTeli momavlis rwmenaurTierTgadajaWvulia da SeiZleba iTqvas, Tamar mefis xsovnaqarTvelTa qarTuli mentalobis masazrdoebeli wyaroa,romelic, amave dros, Cveni erovnuli kulturisa da dRevandeliqarTvelis mier Zvel, tradiciul qarTvelTan, tradiciulmentalobasTan gadebuli xidis simbolosac warmoadgens.eTnografiuli masaliT cxadia, rom qarTuli teritoriul-eTnografiuliTemebi//jgufebi dRemde inaxaven tradiciuliyofis iseT niuansebs, iseT erovnul mentalur maxasiaTeblebs,TviTmyofadi qarTuli kulturis gasaocari mobilobiskidev erT dasturad rom gvevlineba. erTguleba religiisada centraluri xelisuflebisadmi (mefisadmi) mTielTa tradiciulimentalobis erT-erTi mniSvnelovani da sicocxlisunarianiRirebulebaa da igi erTgvari reziumirebuli, dawnexilisaxiT gansakuTrebiT mkafiod svanuri masaliT moCans:umZimes periodSi, rodesac saqarTvelos samefo-samTavroebaddaSlas eyreboda safuZveli, svaneTis erTi Temi _ latalisaocari muxtiT anTebul locvas aRavlenda: “wmidao mTavarangelozomxerisao... adiden mefeni bagratonianni... erTobilisaqarTvelo da erTobilni svanni” (XIII-XIV saukuneebisxatis warwera).amgvari mentaluri momentebi uZlieresi niSaa qveynis aRmSeneblobisada ganviTarebisaTvis da igi erTgvari monacem-Ta bazaa saqarTvelos sazRvrebs miRma moqceuli eTnikuriqarTvelebis Tanamedrove qarTul kulturul sivrcesTan integrirebisada adaptaciisaTvis. istoriul mexsierebaSi davanebuliTamar mefisa da XII saukunis Zlieri saqarTvelos,romelsac svanebi “Ãevbednier qUeyana”_s eZaxian, xsovnis mizezida mizani sworedac rom qarTuli saxelmwifos SemdgomiaRorZineba da ganviTarebaa.105

gamoyenebuli literatura:abakelia: n. abakelia, simbolo da rituali qarTul kulturaSi,Tb., 1997.arabuli: a. arabuli, bagrationTa sagvareulos “RvTisnebiTobis”Teoria da xalxuri sityviereba; kr., literaturuliZiebani, XXIII, Tb., 2002.bardaveliZe: v. bardaveliZe, ivris fSavlebSi dRiuri, Tb.,1941-2003.bardaveliZe: v. bardaveliZe, sicocxlisa da siuxvis xe qar-TvelTa sarwmunoebaSi, _ mse, XIV, Tb., 196bardaveliZe: v. bardaveliZe, qarTvelTa uZvelesi sarwmunoebisistoriidan droSa “lem”, mgeli-ZaRli, _ mse, XII-XIII, Tb., 1963.gujejiani: r. gujejiani, savele-eTnografiuli dRiurebi,2007-2008 wlebi.gujejiani: r. gujejiani, qarTvel mTielTa mentalobis istoriidan(Tamar mefis xateba svaneTis tradiciul yofaSi), _kavkasiur-axloaRmosavluri krebuli, XII, Tb., 2006.barnaveli: s. barnaveli, qarTuli droSebi, Tb., 1953.vaJa-fSavela: vaJa-fSavela, laSaroba, Txzulebani, Tb., 1986.Tandilava: z. Tandilava, lazuri xalxuri poezia, baTumi,1972.TayaiSvili: e. TayaiSvili, samusulmano saqarTvelo, _ qarTuliemigrantuli literature, dabruneba, t. I, Tb., 1991.TofCiSvili: r. TofCiSvili, eTnoistoriuli etiudebi, wigniI, Tb., 2005.TofCiSvili: r. TofCiSvili, qarTvelTa eTnikuri istoria dasaqarTvelos eTnografiuli mxareebi, Tb., 2002.ingoroyva: p. ingoroyva, svaneTis saistorio Zeglebi, II, Tb.,1941.kandelaki: m. kandelaki, laSaris jvari fSavelTa yofaSi, _mse, XXIII, Tb., 1987.leqso..., leqso ar daikargebi, Tb., 1985.malaymaZe: r. malaymaZe, liganis xeoba, Tb., 2008.mibCuani: T. mibCuani, Tamar mefis nakvalevze, _ J. riwa, soxumi,1977.mindaZe: n. mindaZe, qali da Zveli samedicino kultura, wignSi,_ n. xazaraZe, n, mindaZe, RvTismSoblis sartylisqveyanaSi, Tb., 2008.niJaraZe: b. niJaraZe, Tamar dedoflis xsovna Tavisufal svaneTSi,_ kr. eTnografiuli werilebi svaneTze, Tb., 1973.106

sixaruliZe: q. sixaruliZe, qarTuli xalxuri sagmiro-saistoriosityviereba, Tb., 1949.futkaraZe: t. futkaraZe, imerÃevis metyveli miwa-wyali, qu-Taisi, 2007.qarTlis cxovreba, teqsti dadgenili yvela ZiriTadi xelnawerismixedviT s. yauxCiSvilis mier, t. I, Tb., 1955.qarTlis cxovreba, teqsti dadgenili yvela ZiriTadi xelnawerismixedviT s. yauxCiSvilis mier, t. IV, Tb., 1973.yifSiZe: i. yifSiZe, Wanuri teqstebi, tf., 1939.Citaia: g. Citaia, sicocxlis xis motivi lazur ornamentSi, _enimkis moambe, t. X, Tb., 1941.WiWinaZe: z. WiWinaZe, Tamar mefe qarTvel mahmadianTa zepiriscnobebiT, tf., 1911.xidaSeli: m. xidaSeli, rituali da simbolo arqaul kulturaSi,Tb., 2005.javaxiSvili: ivane javaxiSvili, qarTveli eris istoria, w. I,Txzulebani Tormet tomad, t. I, Tb., 1979.From Georgian Traditional History of Mentality(“King” in Georgian Mountaineers consciousness)Rozeta GujejianiTaking into consideration Georgian history, it is possible to speak aboutdifferent elements of Georgian culture and among them about mental characteristicsstarting from the remote past. Archaeological and ethnographic data revealsymbols and ritual practices which constitute the layer of entire Georgian culture.Since conversion to Christianity literary sources attest the existence of generalmental characteristics in Georgian people.Some problems of mentality had been studied by Georgian ethnologistsand considerable data dad been fixed on different problems of the way of life ofGeorgian mountaineers. A lot of preserved signs associated with mental characteristicsare attested among Georgian mountaineers. One of the most significantsymbols among them is “king”. The memory on the anointed or appointed by theGod king devoted for the homeland, fastened the dedication towards the king andthe homeland of mountaineers.These mental characteristics are focused on the two great and holy kings ofGeorgia - Vakhtang Gorgasali and QueenTamar who constantly recur in locallegends and sayings. In the historical memory and Georgian consciousness generalviews and motifs about the kingship and kings are revealed: that the kings are107

lessed, anointed and appointed by the God i.e. in consequence they constantlyshare the supernatural powers and what is most important the king is devoted tothe Fatherland. These beliefs are fed from the Biblical passages and strengthenedby the historic tradition.Ethnographic data associated King Tamar with almost every historicalmonument. One can find the topics from the historic sources and the Church traditionsin these legends: the power, greatness and stability in social life, militaryvictories, cultural building, legends on the holiness of the Queen Tamar, etc.From that point of view, the brotherhood institutes of the sanctuaries are ofinterest among mountaineers.The memory of Queen Tamar is also preserved among the ethnic Georgiansnow living beyond the borders of Georgia (the population of Shavsheti,Klarjeti, Tao, Chaneti/Lazeti, Ligani, Upper Machaxela gorges now the territoryof modern Turkey).The sense of identity of every Georgian is integrated in the image of thegreat king regardless of religious confession and place of habitation. The pridefor the great past, less exiting modern conditions and the belief in better futureare interwoven in the memory of the sacred king and one might say that theremembrance of king Tamar is the feeding source of Georgian mentality and isequal of bridge spanning between the contemporary and the old, traditionalGeorgians and their mentality.The ethnographic data reveals that the territorial communities// groupspreserve such mental characteristics, that once again justifies the surprisingmobility of original Georgian culture.The strong devotion to religion and central authority (the king) is one ofthe main and living values of mountaineer’s traditional mentality. Such mentalcharacteristics is a very helpful and strong niche for further development and it isa kind of database for ethnical Georgians which are beyond the borders ofGeorgia to feel integrated with the cultural space of modern Georgia.108

teritoriuli da kulturuli identobebigaqristianebis konteqstSi109lela patariZeteritoriuli identoba adamianis erovnuli TviTcnobierebiserT-erTi umniSvnelovanesi komponentia am cnobierebisganviTarebis yvela safexurze, iqneba es eTnikuri identoba,eTnis identoba Tu nacionaluri identoba.naciisa da eTnosis Teoriis dRes erT-erTi yvelaze avtoritetulimkvlevaris entoni smiTis azriT, naciis standartulidasavluri modelis ZiriTadi komponentebia: “istoriuliteritoria, samarTlebriv-politikuri sazogadoeba, dasaerTo samoqalaqo kultura da ideologia”. e. smiTis mierCamoyalibebuli nacionaluri identobis ZiriTadi maxasiaTeblebisCamonaTvali aseTia:1. istoriuli teritoria, an samSoblo2. saerTo miTebi da istoriuli mexsiereba3. saerTo sazogadoebrivi mas-kultura4. yvela wevrisTvis saerTo samarTlebrivi uflebebi damovaleobebi5. saerTo ekonomika wevrTa teritoriuli mobilurobiT.(Smith 17)smiTi detalurad exeba TiToeul am komponents. ai rasambobs is teritoriuli identobis rolis Sesaxeb naciisidentobis dasavlur modelSi:modiT, ufro detalurad ganvixiloT naciis es dasavluri‘samoqalaqo’ modeli. upirveles yovlisa, esaris sivrculi Tu teritoriuli koncefcia. am TvalsazrisismixedviT, nacia unda flobdes kompaqtur, kargadgansazRvrulteritorias. adamianebi da teritoria, asevTqvaT, unda ekuTvnodnen erTmaneTs ise, rogorc amasholandielebis SemTxvevaSi vxedavT. adreuli holandielebisakuTar Tavs ganixilavdnen rogorc maRali zRvebisganCamoyalibebul xalxs, romelmac gamoWeda (sityvasityviT)is miwa, romelsac flobs da Tavis sakuTrebadaqcia. magram aseTi miwa ar SeiZleba iyos nebismier adgilas;is ar aris Cveulebrivi miwis farTobi. is aris daunda iyos ‘istoriuli’ miwa, ‘samSoblo’, Cveni xalxis ‘akvani’maSinac ki (rogorc es Turqebis SemTxvevaSia), rocais pirvelsacxovriss ar warmoadgens. ‘istoriuli miwawyali’aris iq, sadac adgili da xalxi ganicdida keTi-

lismyofel urTierTzegavlenas saukuneebis manZilze.samSoblo xdeba istoriuli mexsierebisa da asociaciebissacavi, adgili, sadac ‘Cveni’ brZeni winaprebi, wmindanebida gmirebi cxovrobdnen, Sromobdnen, loculobdnenda ibrZodnen. yovelive amis gamo mSobliuri miwa unikalurixdeba. misi mdinareebi, sanapiroebi, tbebi, mTebi daqalaqebi ‘sakralur’ mniSvnelobas iZens. am Tayvaniscemisada aRfrTovanebis adgilebis mniSvnelobas SeiZlebaCawvdnen mxolod gandobilni, rac niSnavs, naciis TviT-Segnebis mqone wevrebi. aseve, am miwis bunebrivi resursebicmxolod misi xalxis kuTvnilebaa, ‘ucxoebi’ mas vermoixmaren da ver gamoiyeneben. nacionaluri teritoriaTviTkmarad unda iqces. avtarqia aris rogorc samSoblossakralurobis dacvis, aseve ekonomikuri interesebiTnakarnaxevi (Smith 12-13).teritoriuli identoba eTnikuri identobisaTvis, SesaZloa,iseTi ganmsazRvreli elementi ar iyos, rogorc es naciisdasavlur modelSia, magram teritoriuli mijaWvulobisada teritoriuli simboloebis mniSvneloba aqac didia. movusminoTisev smiTs. eTnikuri erTobaSi, romelsac Tavad avtorifranguli sityviT eTni (ethnie) aRniSnavs, da romelSickargad Camoyalibebul eTnikur TviTcnobierebas (SeiZlebamas istoriul-kulturuli TviTcnobierebac vuwodoT) gulisxmobs,gamoyofs ramodenime atributs. esenia:1. koleqtiuri sakuTari saxeli,2. saerTo winapris miTi,3. ziari istoriuli mexsiereba,4. saerTo kulturis erTi an meti ganmasxvavebeli elementi,5. gansakuTrebul mSobliur miwa-wyalTan asocireba,6. solidarobis Segneba populaciis mniSvnelovan nawilSi.(Smith 24)rogorc vxedavT, teritoriuli identoba eTnis identobiserT-erT (rigiT mexuTe adgilzea) aucilebel komponentadigulisxmeba, Tumca misi adgili da mniSvneloba albaTsxvadasxva eTnikuri erTobis SemTxvevaSi SeiZleba sxvadasxvagvariiyos 1 .1 eTnis da eTniurobis sxvadasxva definiciaSi SeiZleba gansxvavebulpoziciaSi iyos dasmuli teritoriuli elementi. magaliTad,renfriu aseT CamonaTvals gvTavazobs1. saerTo teritoria an miwa-wyali.2. saerTo Camomavloba.110

entoni smiTi eTnis cnobierebaSi teritoriul identobismiTologiur da subieqtur aspeqtebs usvams xazs. kerZodD iswers:aseve, SeiZleba garkveul teritoriul sivrceebTanda masSi arsebul gansakuTrebul adgilebTan damokidebulebashqondes miTiuri da subieqturi xasiaTi. sworedes kavSirebi da asociaciebia ufro mniSvnelovani eTnikuriidentifikaciisTvis, vidre am teritoriaze cxovrebaan misi floba. es aris is, rasac Cven vekuTvniT. xSirades aris sakraluri miwa, Cvens mamapapaTa, CvensrjulmdebelTa, Cvens mefeTa, Cvens brZenTa _ poetTa damRvdelTa miwa, da amitom aris is Cveni samSoblo. Cveniseve vekuTniT maT, rogorc isini gvekuTvnian Cven. gardaamisa, samSoblos sakraluri centri eTnis wevrebs misgarSemo Seikrebs, anda Soridan STaagonebs maT, vincxangrZliv gadasaxlebaSi imyofeba. amdenad, eTnis Zlierinostalgiisa da sulieri kavSiris damyarebis meSveobiTSeuZlia iarsebos iseT situaciaSic, roca is xangrZlivadgayrilia samSoblos. aseTia metwilad iseTidiasporuli erTobis bedi, rogoric arian ebraelebi dasomxebi. (Smith 25-26)rogorc vxedavT, avtori eTnis cnobierebaSi did rolsteritoriis sakralizacias da sivrcis miTologiur-simbolurgaazrebas usvams xazs. isic advili SesamCnevia, rom naciis,maSasadame erovnuli cnobierebis dasavluri modelisganxilvis drosac arc Tu patara adgili aseTsave miTologiurimniSvnelobiT datvirTul teritorias ekuTvnis. sam-Soblo ar aris neitraluri sivrce, is aris “Cveni” teritoriada “Cveni” winaprebis (drois ganzomileba Semodis siv-3. saerTo ena.4. wes-Cveulebebisa Tu kulturis erToba.5. rwmena-warmodgenebis an religiis erToba.6. saxeli an eTnonimi, romelic jgufis identobas gamoxatavs.7. TviT-cnobiereba, TviT-Segneba.8. saerTo istoria am warmomavlobis miTi.Renfrew, C.(1995) “Prehistory and the identity of Europe, or, Don’t let be beastly tothe Hungarians’ in P. Graves-Brown, S. Jones and C. Gamble (eds). Cultural Identity andarchaeology. The construction of European Communities, London: 125-37. citirebuliawignidan Ray Laurence. “Territory, Ethnonyms and Geography: the constructionof Identity in Roman Italy. in Ray Laurence and Joanne Berry (ads). Cultural Identity inthe Roman Impire. London and New Yotk: Routledge 2001.111

ceSi!) saqmeebiT (kulturi elementi iWreba!) moniSnuli daganwmendili.diqotomia “Cvensa” da “ucxos”, “Siga” da “gare”-s Sorisadamianis sivrculi orientaciis da sivrculi damokidebulebebisuniversaluri modelia. aseT gamokidebulebebze laparakobsmirCa eliade, rodesac is droisa da sivrcis sakralizaciaze,profanulsa da sakralur sivrceze msjelobs.sivrcis sakralizaciis gziT iqmneba “Cveni” teritoria es kireligiur cnobierebaSi profanul sivrceSi sakraluri droisSemoWris gziT xorcieldeba. sivrce unda gaxdes imagomundi, aq unda periodulad ganaxldes da ganmeordes “Sesaqme”,unda aRdges “is dro, roca es yovelive iqmneboda” (eliade1996). amgvarad, “Cveni” sivrcis aRqma adamianisaTvis dakav-Sirebulia sakralurobasTan, simboloebTan (iqneba es religiuriSinaarsis, kulturulis, istoriulis Tu eTnikuris).“Cveni” sivrce yovelTvis iyo da aris is adgili, sadac araris “ucxo”, “sxva”, “ucnobi” da amdenad “ara Cemi” “saSiSi”teritoria. religiuri identobis cvlilebis konteqstSi, bunebrivia,xdeba sivrcis, teritoriis xelaxali gaazreba ukveaxali religiuri simbolizmis saSualebiT. amdenad, safiqrebelia,rom qristianizaciis procesi erTgvari stimulisrols Seasrulebda, raTa erTobas moeniSna sakraluri SinaarsiTdatvirTuli qseli “Tavis” sakuTar teritoriaze.teritoriuli identoba Tanacxovrebis nebismier donezeSeiZleba dadasturdes: ojaxs, Tems, poliss, eTnossa Tu naciassakuTari, misTvis specifiuri teritoriuli idetobaaxasiaTebs. SeiZleba laparaki teritoriuli identobis (iseverogorc saerTod identobis) sxvadasxva doneebze. erTi identobaki ar auqmebs meores, aramed “gadafaravs” mas. magali-Tad, dRevandel msoflioSi aqtualuria regionuli an globalurisivrcis mimarT identobis Camoyalibeba. es ki xdebaara nacionalur-teritoriul identobasTan dapirispirebiT,aramed misi “SemoyvaniT” am sivrceSi [Smith Chap.7, 143‐179]. romisimperia SesaniSnavi magaliTia am TvalsazrisiT. aq erTsada imave dros arsebobda romis, rogorc polisis identoba,romelic samoqalaqo cnobierebaze iyo dafuZnebuli, amavedros yalibdeboda e. w. Tota Italia-s (mTeli italia) cnobiereba,romelic Tavis mxriv moicavda sxvadasxva tomTa TviSegnebasda maT teritoriul identobebs, arsebobda aseve erTianiromauli sivrcis oikumenuri (imperiuli) cnobiereba (lorensi2001).112

teritoriuli identoba aris sazogadoebis cnobierebaSiarsebuli “Cveni” teritoriis warmosaxviTi xati. rogor iqmnebais? am identobis Seqmnis procesi saukuneebi grZeldeba,rogorc smiTi ambobs es aris procesi romlis drosac adgilida xalxi ganicdida keTilismyofel urTierTzegavlenassaukuneebis manZilze. es procesi marTlac ormxrivia, erTismxriv sazogadoeba tovebs Tavisi cxovrebisa da Semoqmedebiskvals garkveul teritoriaze dgams cixeebs, ekleciebs, Zeglebs,qmnis “Cveni” teritoriis mentalur xatebs: wers istoriebs,geografiebs, wmnindanTa da gmirTa cxovrebebs, romlrbicCveni teritoriis konkretul nawilebSi xdeba da amdenadam teritoriebs simboluri mniSvnelobebiT avsebs. meoresmxriv, am Semoqmedebis Sedegad Seqmnili landSafti ukvegaredan zemoqmedebs adamianze da misi identobis formirebasuwyobs xels.maSasadame koleqtiur identobaze zemoqmedebs sazogadoebisgaremomcveli sivrcec: iqneba es qalaquri garemo, religiur-sakultosivrce Tu erTobis kuTvnili, mSobliuri teritoriisidealuri modeli_simbolo. rogorc devid petsiwers, socialuri da kulturuli identobebis dagegmvisa daganxorcielebis... erT-erTi saSualeba aris... ritualuri daqalaquri sivrcis organizeba. rogorc wesi xdeba ise, romkoleqtiur kulturul identobaze zemoqmedebs da landSaftiskontrols axorcielebs Zalauflebisa da materialuriresursebis mflobeli elita (lorensi 2001: 79). mas, bunebrivia,ideologiuri miznebic amoZravebs. ase rom, landSaftisinterpretaciam am kuTxiT, SesaZloa, saintereso ideologiurixasiaTis informacia mogvces.sivrcis organizebis meSveobiT garkveuli daskvnebi SeiZlebamocemuli sazogadoebis religiursa da kulturulidentobazec gakeTdes. ideologiuri Tu religiuri miznebiTorganizebuli geografiuli Tu kosmologiuri sivrce Tavismxriv yoveldRiuri cxovrebis procesSi axdens adamianiscnobierebaSi im struqturebisa da strategiebis Canergvas,romelic Semdgom sazogadoebis formirebas iwvevs (lorensi2001: 79).zemoTqmulis gamo Tanamedrove istoriografia adamianis,sacxovrebel garemos, sivrces, ladSafts aRar ganixilavsmxolod rogorc adamianisagan izolirebul obieqtur realobas.landSafts is ixilavs adamianis aRqmasa Tu Semoqmedebas-Tan mWidro kavSirSi. landSaftis punqtebi aRar arian ubralodneitraluri areebi, romlebic TavianT TavSi da TavianTi113

TavisaTvis arseboben, aramed isini arian mniSvnelobiT aRsavseadgilebi, romlebic sakuTar mniSvnelobas sxva sivrceebTan,materialur sagnebTan Tu adamianebis arseboba-ararsebobasTankavSirSi iZenen (lorensi 2001: 81-82).religiuri da kulturuli identobis formirebis procesSigansakuTrebuli adgili sakraluri sivrcis organizebasuWiravs. ukve arsebobs mcdeloba, rom gamoikveTos mecnierebisspecifiuri dargi, romelic gulisxmobs ara izolirebuladarqiteqturis, saxviTi xelovnebis, ritualuri Tu verbaluriSemoqmedebis Seswavlas, aramed erTiani sakralurisivrcis organizebis procesis Seswavlas, romelic yvela amkomponents urTierTkavSirSi ganixilavs. aseT mecnierebaszogierTni hierotopias uwodeben. (lidovi 2006: 9-31) aleqseilidovi am dargis definicias ase warmoadgens: hierotopia esaris sakraluri sivrceebis Seqmna, romelic ganixileba rogorcSemoqmedebis gansakuTrebuli saxe, aseve rogorc istoriulikvlevis specialuri sfero, sadac gamovlindeba da gaanalizdebaam tipis Semoqmedebis konkretuli magaliTebi.(lidovi 2006: 10)religiuri moqceva Zalze aqtiuri Semoqmedebis xanaaswored am TvalsazrisiT. axali religia axal ideologiuramocanebs dasaxavs inteleqtualuri da Zalauflebis mqoneelitis winaSe. axali simboloTa sistemis, miTebis da identobebisdanergvis aucileblobas moaqvs sivrcisa da landSaftisaxleburi dagegmvis, realizebisa da gaazrebis procesi.swored am procesis Tvalis gadevneba Zalze kargaddagvanaxebs Tundac erT magaliTs imisa, Tu rogor SeiZlebawarimarTos konkretul sazogadoebaSi religiuri da kulturuliidentobis qmnadobis procesi, romlis erT-erTi komponentinamdvilad aris axali sakraluri sivrcis mSenebloba(organizeba) an, rac igivea, axali hierotopuli proeqtis dagegmvada ganxorcieleba.hierotopiuli proeqtebis kvlevas Zalze nayofierad arqeologiuri,arqiteqturuli, saxviT-xelovnebiTi, ritualuri,liturgiuli, verbaluri masalis safuZvelze axdenen. amTvalsazrisiT naratiuli wyaroebis (agiografiuli teqstebisTu ideologiur-istoriuli narativis) gamoyenebac Zalze sainteresoa.gansakuTrebiT, roca es teqstebi sakraluri an politikurisivrcis erTgvar verbalur komentars warmogvidgens.qarTlis moqcevis amsaxveli teqstebi mdidar masalas iZlevaam problemis sakvlevad. SeiZleba iTqvas, rom am mizandasaxulobiT`moqcevaÁ qarTlisaÁ~, `qarTlis cxovreba~ da114

sxva istoriuli teqstebi ar yofila Seswavlili. maTze dakvirvebaki sakmaod reliefur suraTs iZleva saqarTvelosmTeli istoriis manZilze, yovel SemTxvevaSi, im xanamde, rocaqveynis hierotopiulma xedvam kulminacias miaRwia.raSi mdgomareobs hierotopiis principi da ra ganapirobebsmas? pasuxi TiTqos martivia. igi mdgomareobs im ubralofaqtSi, rom adamians, adamianTa koleqtivs aqvs moTxovnilebaicxovros im sivrceSi, romlic mis mentalobas (religiur,kulturul da sxva) Seesatyviseba. adamiani Tavad awyobs daawesrigebs Tavis sasicocxlo sivrces da, rogorc kulturogenurida religiuri arseba, Tavis yaidaze, RirebulebebismixdviT gardaqmnis mas. es moTxovnileba da mzaoba landSaftis,teritoriis, zogadad, sivrcis gardasaqmnelad TavsiCens gardatexebis xanebSi, roca qveyana (xalxi) axali realobaTamiRebis aucileblobis winaSe aRmoCndeba.rodesac saqarTveloSi gaqristianebis procesis Tanmxlebikulturuli da teritoriuli identobis cvlilebasvikvlevT, ori tipis naratiul teqsts unda daveyrdnoT. esaris sakuTriv qarTlis gaqristianebis Sesaxeb Txroba (moqcevaiqarTlisai da masSi Semavali ninos cxovreba) da qar-Tlis cxovreba, misi dasawyisi nawili (gansakuTrebiT farnavazidanvaxtang gorgaslamde). am teqstebis xsenebuli kuTxiTSeswavlam dagvarwmuna, rom isini teritoriuli identobissruliad sxvadasxva aspeqtebs exebian. Tu ninos cxovrebasakralur- religiuri adgilebis moniSvnis kulturul processasaxavs, qarTlis cxovreba ZiriTadad politikuri sivrcisada politikur-administraciuli erTeulebis sazRvrebismoniSnviT aris dakavebuli.qarTlis cxovreba, rogorc oficialuri istoriografia,dakavebulia teritoriis politikuri aspeqtiT, xolo ninoscxovreba _ religiur-ritualuriT; amasTanave, politikursivrcesTan da teritoriul identobasTan mimarTebiT qar-Tlis cxovreba gaxazavs gangrZobadobas, ucvlelobas dastabilurobas, xolo sakralur-religiur toposTan mimarTebiT_ ninos cxovreba siaxlesa da cvlilebaze amaxvilebsyuradRebas. pirveli orientirebulia warsulze, meores esqatologiurelferi gadahkravs.cxadia, TiToeul Janrs Tavisi Tematuri da ideologiuriCarCo aqvs da am CarCos farglebSi avlens da asaxavs mimdinarekulturul Tu mentalur procesebs.115

koleqtiuri kulturuli da teritoriuli identobaniqarTlis cxovrebaSi (mirianidan vaxtang gorgaslamde)teritoriuli identobis kvlevis dros, bunebrivia geografiulda istoriul Txzulebebs Zalze didi mniSvnelobaeniWeba. amitom, upirveles yovlisa, unda gavacnobieroT, Turas emyareba geografiul aRwerilobaTa logika rogorc geografiuliise istoriuli Sinaarsis teqstebSi.rogorc vaxuSti bagrationi aRniSnavs, saistorio Txzuleba_ “matiane”_ unda Sedgebodes oTxi nawilisagan: adgilisaRweris anu geografiisagan, naTesavTmetyvelebis anu genealogiisagan,wlismricxvelebis anu qronologiisagan damoqmedebis aRweris anu imisagan, rasac laTinur mwerlobaSiuwodebdnen res gestae:aramed ese matiane ganiyofebis oTxwilad: adgilisaRwerad, naTesavTmetyvelebad, wlismricxvelobad damoqmedebis aRwerad... Cuen qarTvelTa matiane Semoipyrobssamsa mas wilsa matianisasa aramed wlismricxuelobasanaTesavTmetyuelebasa mcired, xolo moqmedebis aRwerasaganavrcelebs...” (yauxCiSvili 1973: 4)maSasadame, vaxuSti bagrationi SeniSnavs, rom qarTliscxovreba “adgilis aRweras” saerTod ar Seicavs, naTesav-Tmetyvelebasa da wlismricxvelebas ki mcired. marTlac, misiTxzuleba “aRwera samefosa saqarTvelosa” qarTlis cxovrebisam xarvezTa Sevsebas isaxavs miznad. vaxuSti batoniSviliTavis saistorio Txzulebas swored vrceli geografiuligamokvleviT iwyebs da amiT is istoriuli mecnierebisdargis dasavluri tradiciebis gamgrZeleblad gvevlineba.magram ramdenad samarTliania vaxuSti, roca is laparakobsgeografiuli codnis (adgilis aRweris) ararsebobaze qar-Tlis cxovrebis matianeSi. Cven viciT, rom Tavad vaxuStisaRweriloba qarTlis samefos Sesaxeb swored im geopolitikurcodnas efuZneba, romelic qarTlis cxovrebaSia mocemuli.am kiTxvaze pasuxis gasacemad jer gavixsenoT, Tu rogoriiyo Sua saukuneebis avtorTa (mematianeTa Tu istorikos-Ta) damokidebuleba sivrcisa da teritoriis aRweris mimarT.rogorcDSua saukuneebis dasavluri istoriografiismkvlevari bernar gene wers, Sua saukuneebis istorikosebshqondaT sivrcis SegrZneba da misi Seswavlis mimarT interesi.am mxriv isini antikuri istoriografiis tradiciebs efuZnebodnen.laTinuri ritorikis kanonebi pirdapir Tu iribadmkvidrdebodnen Sua saukuneebis dasavleTSi. laTinuri rito-116

ika ki avtorebs urCevda, rom Tavi ar aeridebinaT sivrcisaRweris Semcveli gadaxvevebisagan, radgan aseTi aRwerebimkiTxvelsa da msmenels aniWebdnen siamovnebas da amasTanavemisTvis sargebloba mohqondaT. radgan, rogorc ambobda ciceroni“movlenaTa buneba moiTxivs drois Tanmimdevrobasada adgilis aRweras” (gene 2002: 194). antikuri ritorikis kanonebismixedviT, geografiuli aRweriloba unda yofiliyoSemdgari qveynis aRwerisagan, im adamianebis aRwerisagan, romlebicam qveyanaSi cxovrobdnen da bolos misTvis damaxasia-Tebeli gansakuTrebuli movlenebisagan (mirabilia). ax. w. pirvelsaukuneSi plinius ufrosma Tavis istoriaSi gadmosca samyarosaRweriloba. III saukuneSi solinusma Rirssaxsovar movlenaTakrebulSi aRwera qveynebi, adamianebi da cxovelebi dagansakuTrebiT saocrebebze gaamaxvila yuradReba. V saukuneSioroziusi gvaZlevs samyaros mxareebisa da aq mosaxle xalxebisgrZel sias. xolo VII saukuneSi isidore sevilieli mokledajamebda mis winamorbedTa gamocdilebas (gene 2002: 196).Bantikuri, gansakuTrebiT laTinurenovani, istoriografiulitradiciis mixedviT istoriuli Txzuleba im qveynisgeografiuli aRwerilobiT unda dawyebuliyo, romlis istoriasacmogviTxrobda avtori. magaliTad, iulius keisari Tavisistoriuli Txzulebis omi galebTan dasawyisSi detaluradaRwerda galiis qveyanas. aseve iqceoda salustiusi Tavisiugurtinul omebSi, roca afrikis miwis eskizur arwerasgvawvdida. bernar gene xazs usvams, rom Sua saukuneebis avtorebiara mxolod misdevdnen am tradicias, aramed xSirad TavianTiistoriuli Txzulebebis SesavlebSi uSualod sargeblobdnenantikur avtorTa aRwerilobebiT. ase magaliTad, anglebisistoriis avtori _ beda (VIII s.) aRwerda britaneTsda am dros sargeblobda pliniusis, oroziusisa da solinusisTxzulebebiT. gvianantikur xanaSi Seqmnili Txzuleba“aleqsandriani” erT-erTi im nawarmoebTagani iyo, romlebickvebavdnen Sua saukuneebis avtorTa da mkiTxvelTa geografiulicodnisa da Semecnebis wyurvils. bernar gene ase ajamebsSua saukuneebis avtorTa geografiuli interesebisa daantikuri tradiciis urTierTmimarTebis sakiTxs dasavlurkulturaSi:es met-naklebad uCveulo moTxrobebi, met-naklebadzusti aRwerilobani, met-naklebad mSrali CamonaTvlebi,mTeli Sua saukuneebis manZilze farTo mowonebiT sargeblobdnen,da, roca istorikoss undoda moeTxro qveynebisada xalxebis Sesaxeb, is pirdapir Tu iribad dax-117

marebisaTvis am avtorTa monaTxrobs mimarTavda” (gene2002: 196).herodotedan moyolebuli, berZeni da romaeli avtorebilaparakobdnen mocemul teritoriaze mcxovrebi eTnosis Sesaxeb.exebodnen maT warmomavlobas, enas, RmerTebs, wmindaadgilebs, dResaswaulebs, ritualebs, cxovrebis wess. escodna jer ar iyo gamijnuli erTmaneTisagan rogorc calkeulidargebi: geografia, istoria da Tundac eTnografia. antikurixanis berZnuli istoriografiis erT-erTi mniSvnelovanimaxasiaTebelia misi aRweriToba da interesi ucxo qveynebismimarT. rogorc herbert baterfildi ambobs, istoriisadmiinteresi saberZneTis ioniur nawilSi warmoiSva da isdidwilad aRmosavleTis qveynebTan urTierTobiT iyo nakarnaxebi(baterfildi 1981: 118‐137).geografia antikur kulturaSi iyo qveynebis mTavari maxasiaTeblebisaRwera. amave dros, iTvleboda, rom am aRwerilobissafuZvelze unda SesaZlebeli yofiliyo rukis Sedgena.rukis Sedgenaze aqcentis gakeTeba karnaxobda geografosebsaRweris konkretul meTodologias. magaliTad, nebismieri geografiuliaRweris (Tundac strabonis geografia) Sesavalisanapiro zolis aRweriT unda dawyebuliyo. es rukis-Sedgenisprincipi, rei lorensis azriT, “aris imperiuli proeqtis nawili”.es is aucilebeli codnaa, romelic imperiis marTvas Wirdeba.“berZnebi da romaelebi teritoriasa da eTnoss SorismWidro kavSirs xedavdnen, ganagrZobs lorensi, da qveynis aRweramaTTvis am orive komponentis Tanabaruflebian Seswavlasda gadmocemas gulisxmobda” (lorensi 2001: 97).am tipis istoriul-geografiuli aRweris karg magali-Tad gamodgeba qarTveli mkiTxvelisaTvis kargad cnobili,ax. w. II s-is avtoris flavius arianes mogzauroba Savi zRvisgarSemo, sadac Savi zRvis sanapiroebis aRwerasTan erTad saqarTvelosistoriul teritoriaze mosaxle ara erTi tomisarsebobaa dadasturebuli. ariane wers:Semdegi tomebi gaviareT: trapezuntelebis mosaz-Rvreni, rogorc qsenofontic ambobs arian kolxebi, datoms, romelic uguladesia da trapezuntelTa mosisxlemteria, qsenofonti drilebs uwodebs. Mme ki vfiqrob, romisini sanebi arian... amaT gverdiT arian makronebi da henioxebi,maTi mefe anqialea. makronebis da henioxebis mezoblebiZidritebi arian, eseni farsmanis qveSevrdomni arian.Zidritebis gverdiT lazebi arian. lazebis mefe malasaa,romelsac taxti Sengana aqvs miRebuli. lazebis mezoble-118

i afsilebi arian, maTma mefem iulianem mefoba Seni mamisaganmiiRo. afsilebis mezoblebi abaskebi arian. abaskTamefe resmagaa, amasac taxti Sengana aqvs miRebuli. abaskTamezoblebi sanigebi arian, maT miwaze imyofeba sebastopolisi.sanigTa mefem spadagam Sengan miiRo taxti. (flaviusariane 1961: 42-43)flavius ariane aq antikuri istoriografiisa da geografiuliaRweris tradicias agrZelebs. naSandoblivia, rom amerTi mogzaurobis Sedegad, arianem bevrad meti infrmaciagadmogvca dasavleT saqarTvelos imdroindel eTnikur suraTze,vidre qarTlis cxovrebis weris mravalsaukunovanmatradiciam. rogor avxsnaT es garemoeba? qarTlis cxovrebismematianeT saTanado informacia akldaT, Tu sxva raime mizeziarsebobda saamisod?amgvarad, Cveni mizania gaverkveT Tu rogoria sivrcisada teritoriis aRweris logika qarTlis cxovrebaSi da ramdenadasaxa am Txzulebam Sua saukuneebis qarTvelTa teritoriuliTu sxva identobani. rogor aRwers da asaxavs qar-Tlis cxovreba eTnoss da mis teritorias. ra kavSirs xedavsis teritoriasa da eTnoss Soris? aRwers Tu ara is “sxvis”teritorias da ramdenad aRwers _ “Tavisas”? aris Tu aramisTvis teritoriis sazRvrebi sakraluri, stabiluri, bunebriviTu sazRvrebi misTvis ganusazRvrelia da cvalebadi? raemociur da ekzistencialur cnebebSi aRwers is qveynis teritoriisnawilze politikuri kontrolis dakargvas an saz-Rvrebis konfiguraciis cvlilebas? aris Tu ara yvelanairiteritoria misTvis erTnairad Zvirfasi da saintereso Tu saxelmwifoteritoriis SigniT raime saxis diferenciaciasaqvs adgili? erTi sityviT, Cveni amJamindeli amocanaa gavarkvioT,Tu rogoria qarTlis cxovrebaSi qarTlis samefos teritoriisgamosaxvis principi? rogoria saxelmwifoebriviteritoriuli modeli qarTlis cxovrebaSi an, rac igivea,rogoria saxelmwifoebriv-teritoriuli modeli qarTlis samefosoficialuri _ mmarTveli wreebis TvaliT?calsaxad unda iTqvas, roca qarTlis cxovrebas vixilavT,Zalze Znelia sivrcisa da teritoriis mimarT raimeimis msgavsi midgoma davadasturoT, rogorsac antikur mwerlobaSian Tundac masze dafuZnebul Sua saukuneebis saistoriotradiciaaSi vxvdebiT. ucxo qveynebisadmi interesi, aRweriToba,romelic teritoriis garda eTnosebsa da maT Taviseburebebzelaparakobs _ yovelive es sruliad ucxoa qarTulisaistorio tradiciisaTvis. ra interesebi amoZravebdaT im119

adamianebs, vinc qarTlis cxovrebas qmnidnen? erTi Sexedvi-Tac naTeli xdeba, rom aq ideologiuri midgoma aris wamyvani.avtoris/avtorTa mizani ar aris mravalferovnebis aRwerada werilobiT dafiqsireba. MmaT politikuri Tu administraciulierTeuli da misi mTlianoba ufro mniSvnelovnad miaCniaT,vidre eTno-kulturuli an lingvisturi siWrele misSigniT.qarTlis cxovreba eTnikur Tu tomobriv siWreles amaTu im teritoriaze ar axsenebs. misTvis eTnosi da teritoriaigiveobrivia. sadac aris “qarTli” (samefo), iq arian qar-Tvelni, yovelni qarTvelni, mkvidrni qarTlisani (yauxCiSvili1055: 20-35). farnavazis cxovrebis avtorisaTvis sakmarisiaimis aRniSvna, rom mocemul teritoriaze aris erTiani mefoba.mefe aris saxelmwifoebrivi wesrigis (teritoriul-administraciulidayofa), religiuri da TviT enobrivi erTobiswyaroc. farnavazis cxovrebaSi qveynis saerisTavoebad dayofateritoriul-administraciul princips efuZneba da mematianearsad aRniSnavs, Tu ra da ra tomebi cxovroben am teritoriaze.eTnosSi religiuri da lingvisturi elementis arsebobacki farnavazis cxovrebaSi warmodgenilia rogorc saxelmwifoinstitucia. aq sagangebod aRniSnulia, rom samefokulti farnavaz mefis dafuZnebulia: “da amanve farnavaz Seqmnakerpi didi saxelsa zeda Tvissa: ese ars armazi, rameTufarnavazs sparsulad armaz erqua” (yauxCiSvili 1955: 25). mefesmiewereba saxelmwifo enis SemoRebac: “aman farnavaz ganavrcoena qarTuli da arRara izraxeboda sxva ena qarTlsaSina Tvinier qarTulisa da aman Seqmna mwignobroba qarTuli”(yauxCiSvili 1055: 26). sityva “ganavrco” gulisxmobs erTienis gavrcelebas mocemuli teritoriis farglebSi. maSasadame,aq bunebrivad ki ar aris gavrcelebuli es ena da masTanerTad mwignobroba (damwerloba), aramed farnavazma ganavrcoisini. amitom xsenebul pasaJSi saxelmwifo ena da kulturulierToba igulisxmeba da ara eTnikuri. sruli eTnikur-tomobrivierTgvarovneba arc ivaraudeba saxelmwifos mTels teritoriaze,magram qarTlis cxovreba ar isaxavs miznad asaxos tomobrivi,eTnikuri, lingvisturi siWrele. es amocana ar arismisi JanriT gansazRvruli. saxelmwifoebrivi ideologiis matarebeliTxzulebis Sinagani logika mas ar avalebs qveynisSinagani mravalferovnebis asaxvas. aq aisaxeba mxolod is, racsaxelmwifoebriv donezea institucionalizebuli.gansxvavebis, siWrelis, mravalferovnebis xarjze saxelmwifoshomogenurobis, erTianobis, da Tanazomieri, raciona-120

luri dayofis (administraciuli da ara tomobriv-eTnikuri)momxrea swored erovnul-saxelmwifoebrivi pozicia da ara“imperiuli proeqti”. ase magaliTad, romis imperatoris avgustusisadministraciuli sistema italiis regioniSi da araimperiis masStabiT, ar iyo agebuli geografiuli logikiT.regionebis mowyoba damyarebuli iyo maTi romTan mimarTebisprincipze. TerTmeti regioni danomrili iyo, xolo rigiTinomeri izrdeboda romidan misi siaxlovis princiiT (lorensi2001: 97). maSasadame, satomo saxelis magivrad, provinciasnomeri uCndeba, xolo rukis Sedgenis princips provinciiscentrTan (romTan) mimarTeba cvlis. avgustusis administraciulidayofis sistema saxelmwifo ideologiis nawili iyo,magram rogorc davinaxeT, am ideologias istoriuli da geografiuliJanris ganviTarebaze gavlena ar mouxdenia.qarTlis cxovrebaSi imis msgavsi saxelmwifoebriv-ideologiuripozicia ikveTeba, rogorc imperator avgustusis mierganxorcielebul administraciul sistemaSi. Tu gaviTvaliswinebTimas, rom qarTlis cxovreba swored samefo saxlispatronaJiT Seqmnili oficialuri istoriografiaa, arunda gagvikvirdes, rom im teritoriaze, sadac flavius arianesxvadasxva tomTa samosaxlo sivrces ganarCevda, qarTliscxovrebis avtori mxolod egrisis saerisTavis xedavs da Sesabamisadmis eponimad egross miiCnevs:xolo egross misca queyana zRvis yurisa, da uCinasazRvari: aRmosavliT mTa mcire, romelsa aw hqvian lixi;dasavliT _ zRua; [CrdiloT] mdinare mcirisa xazare-Tisa, sada warswuTebis wueri kavkasisa. xolo aman egrosaRaSena qalaqi da uwoda saxeli Tvisi egrisi. (yaux-CiSvili 1955: 5).farnavazis cxovrebis mixedviT ki dasavleT saqarTvelo-Si gamoyofilia ori saerisTavo; erTi argveTis (“margvis”) dameore qujis samflobelo – egrisi: “egris wyalsa da rionsSua zRviTgan mTamde” (yauxCiSvili 1955: 24). aseT dayofasac,rogorc istoriul-geografiuli gamokvlevebi cxadyofen, ufropolitikuri safuZveli hqonda, vidre eTnikur-tomobrivi.rogorc cnobilia, argveTis teritoriis ukidures dasavleTsazRvars jer kidev farnavazis dros agebuli cixeebi Sorapanida dimna icavdnen. am cixeebs qarTlisa da egrisis samefoTadapirispirebis dros mniSvnelovani politikuri da samxedroforpostis roli eniWebodaT rogorc erTi ise meoremxarisaTvis. (musxeliSvili 1977: 105-106). amgvarad, argveTissaerisTavos calke warmodgena farnavazis cxovrebaSi poli-121

tikur-administraciuli sazRvris moniSvnis magaliTia da araeTnikur-tomobrivis.farnavazis cxovrebaSi erisTavTa saxelwodeba ZiriTadadmaTi sataxto qalaqis saxelwodebidan aris nawarmoebi.aseTebia: xunanis erisTavi, samSvildis erisTavi, wundis eris-Tavi, oZrxis erisTavi 2 . SesaZloa erisTavis an saerisTavossaxelwodeba provinciis saxelidanac iyos nawarmoebi, rogorcmagaliTad erisTavi kaxeTisa an klarjeTisa. magramCans, rom saerisTavo provinciis eTnografiul sazRvrebsmTlianad ar emTxveva. farnavazis cxovrebis erisTavTa nusxa-Si iqve mocemyulia ganmarteba, Tu romel provincias moicavsesa Tu is saerisTavo. mag. kaxeTis erisTavis dasaxelebisa dasaerisTaos farglebis miTiTebis Semdeg mematiane /redaqtoriaRniSnavs: romel ars kaxeTi da kuxeTi. aseve ganmartavs redaqtorisxva saerisTavoebs da maT provinciis saxelwodebiTmoixseniebs magaliTad, xunanis saerisTavos SemTxvevaSi naTqvqamia“romel ars gardabani”. es ganmartebebi, vfiqrob, ufrogviandeli redaqtirebis Sedegad gaCnda teqstSi; xolomTavari teritoriuli msazRvreli am saerisTavoebisa arisaqve miTiTebuli geografiuli sazRvrebi: mdinareebis, mTebis,zRvis Tu momijnave politikuri erTeulis saxelwodeba. magaliTad,berdujis mdinariTgan vidre tfilisamde da gaCian-Tamdis, anda fanvariTgan vidre Tavadmde mtkurisa da sxva.sxva qarTuli wyaroebidan Cans, rom saqarTvelos teritoriazegarda saerisTavoTa farglebSi dasaxelebuli toponimebisaTu eTnonimebisa, sxva eTno-teritoriuli erTeulebiciyo. magaliTd, wminda ninos samisionero saqminaobis konteqstSiaRmosavleT saqarTvelos mTianeTSi ramodenime sxvadasxvatoponimsa Tu eTnonims vxvdebiT.warvida [wm. nino] da dadga wobens. da mouwoda mTeulTa,WarTalelTa da fxoelTa da wilkanelTa... dagardavida erwud da dadga JaleTs, dabasa edems, da na-Tel sca erwu TianelTa. da yuarelTa esma ese da gardakrbesToSeTa... da nino STavida kxoeTa da dadga kawareTsda monaTlna kxoelni da sojni eriTurT maTiT.(abulaZe 1964: 88-89)cxadia, wmindanis samisionero moRvaweobis aRwerisas mematianispozicia sruliad gansxvavebulia. mas wmindani miscocxal pirovnul Tu eTnikur garemoSi ainteresebs. misTvis2 farnavazis cxovrebis erisTavTa sia ixile aqve, gv.15.122

mTavaria aCvanos rogor miiRo es misia ama Tu im tomma, qalaqis,dabisa Tu soflis mosaxleobam. saxelmwifo, Tavis polirtikuriTu administraciuli sazRvrebiT misTvis meorexarisxovania.asea Tu ise, saerisTavoTa sazRvrebi zogi SesaZloamTlianad da zogic nawilobriv qveynis mxareTa da aq gansaxlebultoTa da istoriulad Camoyalibebul provinciaTasazRvrebs iTvaliswinebda da efuZneboda. magram qarTliscxovrebis rogorc saxelmwifo ideologiis gamomxatveliZeglis pozicia imgvaria, rom is ar cdilobs CauRrmavdes detalebsda teritoriul-eTnografiuli aRwerilobiT gaamdidrosTavis Txzuleba. marTalia, saerisTavoebs TavianTisaxelebi aqvT, qarTlis cxovrebaSi, da isini ar arian odendanomrilni rogorc avgustusis administraciul sistemaSi,magram aq ar gamoikveTeba da ar konkretdeba, Tu romeli tomissaxelia da ra specifiuri niSnebi _ garegnuli saxe, yofiTiTu wes-CveulebiTi an sxva kulturuli TaviseburebebiaqvT mis mcxovreblebs.vaxuSti bagrationi ubrundeba geografiuli aRwerilobisklasikur principebs, mas Tavis “aRweraSi” Semoaqvs bunebis_ reliefis, mdinareebis, florisa Tu faunis gavrcelebisdetalebi, aRwers saqarTveloSi mcxovreb qarTvelur daaraqarTvelur tomebs maT anTropologiuri niSnebs, temperaments,wes-Cveulebesa Tu xasiaTobriv Taviseburebebs. niSandoblivia,rom vaxuSti Tvisobrivad axal istorias qmnida,da qmnida maSin, roca faqtobrivad qarTlis cxovrebis weristradicia Tavad Sua saukuneebis qarTuli saxelmwifos tradiciasTanerTad aRsasruls uaxlovdeboda.saerTod qarTlis cxovrebis dasawyisi nawili qarTlosidanarCilis CaTvliT sruliadac ar aris Raribi teritoriulgeografiuli informaciiT. magram es ar aris “adgilisaRwera” antikuri gagebiT (qveynebi, xalxebi da saocrebebi).es aris sakuTari teritoriis moxazva, im teritoriisa, romelsacaRwera ar esaWiroeba, radgan ivaraudeba, rom mkiTxvelimas isedac kargad icnobs. Tu qarTlis cxovreba ideologiuriZeglia da amis Cveneba mgoni wina TavebSi SevZeli,maSin misi warmosaxviTi mkiTxveli aris swored am ideologiissamizne. ideologia ki TavisufalTa fenas, umTavresadaristokratias miemarTeba. swored is aris kulturis matarebelic,Sua saukuneebis mkiTxvelisaTvis aucilebeli saxsrebismqonec (xelnaweri xom sakmaod Zviri siamovneba iyo SuasaukuneebSi), da sakmao samxedro Zalisa da gavlenis patro-123

nic imisaTvis, rom samefo saxlma mis cnobierebaze zemoqmedebaaucilebel da mniSvnelovan amocanad cnos.qarTuli aristokratia, safiqrebelia, rom yovelgvariwerilobiTi aRwerilobebis gareSe iRebda Tavisi qveynis geografiulida politikuri suraTis detaluri codnas, romelicaristokratuli aRzrda-ganaTlebis aucilebeli Semadgenelinawili iqneboda. sxvagvarad samxedro aristokratiaver iarsebebda. Tavisi qveyana Tu saerisTavo, qalaqi Tu dabasofeliman icoda ise, rogorc dRes viciT sakuTari biniskonfiguracia, viciT Cveni quCa Tu qalaqi. qveyana Tavisi reliefiT,Tavisi savargulebiT, tyeebiT, mdinareebiT aqtualuradSemodioda aristokratis cxovrebaSi, radgan es iyo misiZalauflebis simboloc, saarsebo saxsaric, satransportoqselic, Tavdacvis sistemac, Semosavlis wyaroc da garTobissaSualebac. amitom qarTlis cxovrebis istoriografiultradiciaSi ar aris sivrcis aRwera am azris antikuri ritorikisgagebiT. aRweris gziT xdeba “ucxos” Semoyvana nacnobsivrceSi, rac oikumenis farTo identobis Seqmnas uwyobsxels. qarTlis cxovreba ki exeba da operirebs im sivrculida teritoriuli nomenklaturiT, romelic ukve “misia”, romelickargad nacnobia da amitom mas aRwera ar esaWiroeba, esukve aris “Cveni” teritoria; aq ar SeiZleba iyos raime msgavsiimisa, rasac antikur Tu Sua sakuneebis samyaroSi mirabilia(saocreba, ucxo ram) ewodeboda.rogorc ukve aRvniSneT qarTlis cxovrebaSi wamyvania mefobisidea. mefe da gansakuTrebiT pirveli mefe _ mefe-arqetipifarnavazi gvevlineba yvela saxelmwifoebrivi da kulturuliinstituciis damfuZneblad (msagvsi tradicia dasturdebasasanur iranSi ix rapi 1997: /// Tumanovi) qarTlissamefoSi. TviT saxelmwifo teritoria, misi sazRvrebi da teritoriuladministraciuli sistema mefis mier aris formirebulida amdenad misive sakraluri figura aniWebs am saz-Rvrebs legitimacias. rogorc vTqvi, qarTlis cxovrebaSi teritoriiserT-erTi umTavresi aspeqti aris sagamgeo da samflobelo.magram aqac erTgvari diferenciacia arsebobs. er-Ti mxriv aris sakuTriv saxelmwifo sazRvari, romelic eris-TavTa nusxiT aris moniSnuli da meores mxriv aris mefis sagamgeoteritoria. Tu pirveli sazRvris Secvla teritoriisdakargvis azriT tragikul notebs aRZravs matianeSi, meoriscvlileba gacilebiT ufro mSvid viTarebaSi xorcieldeba.Amitom sakuTriv “qarTlis sazRvari” aris is teritoria,124

omlis mimarT mocemul erTobas aqvs identobis gancda, xolomeore SemTxvevaSi aseTi ram ar dasturdeba.mirianis cxovrebis dasawyisSi naTqvamia, rom rodesacsparsTa mefem ardaSirma Seismina qarTvelTa vedreba miscamaT Tavisi Ze mefed da dasua mcxeTas. sparseTis Sahan SahmaTavis Zes misca qarTli, somxiTi, rani, movakani da hereTi. gamodis,rom miriani MmTeli samxreT kavkasiis (qarTlis, somxe-Tisa da albaneTis) mmarTvelad dauniSnavT. Sahma dautova miriansmis Zes ormoci aTasi mxedari _ sparsni, magram aqve mematianesagangebod aRniSnavs, rom sparseTis mefem ara dasxnaqarTlisa sazRvarTa sparsni igi (yauxCiSvili 1955: 64-65). aSkaraa,mematiane ganarCevs qarTlis sazRvars da mefis sxvasamflobelos. Tu sxva samflobeloSi sparseTis jari dgasda amdenad sparseTis imperiis suverenuli uflebebi vrceldeba“qarTlis sazRvrebSi” sparseTis jari ar dgas. sparsTamefis es gadawyvetileba warmodgenilia rogorc mis mierqarTvelTaTvis Tavdapirvelad micemuli ficis Sesruleba.ficis piroba ki Semdegi iyo: ”ara aRreva sparsTa da warCinebuladpyroba Cveni” (“CvenSi” igulisxmebian qarTlis warCinebulebi_ “erisTavni qarTlisani”) (yauxCiSvili 1955: 63). Amdenad,mematiane xazs usvams, rom sakuTriv qarTlis teritoriaanu “sazRvari” dapyrobili sparsTagan ar aris, radgan adgilobrivaristokratias Tavisi warCinebuli statusi upyria,rac mas sakuTari kulturuli identobis xelSeuxeblobis garantiasaZlevs. “erisTavni qarTlisani” amboben, rom Tu maTies moTxovna ar iqneba dakmayofilebuli “da ukeTu sjulsamamaTa CuenTasa mogviRebdes (e.i. wagvarTmevdes), da Cuen zedasparsTa warCinebul hyofdes, da naTesavsa mefeTa CuenTasamoswyueddes, maSin sikudili umjobes ars TavTa CuenTaTvisvidre monaxvasa eseviTarisasa.” (yauxCiSvili 1955: 63). am pasaJ-Si aSkarad ikveTeba ara mxolod kulturuli, aramed teritoriuliidentobis sazRvrebic. sakuTriv qarTlis samefossazRvrebSi myofi aristokratia moiTxovs Tavisi kulturulistoriuliRirebulebebis, socialuri statusis da teritoriulisuverenitetis SenarCunebas. sakuTriv qarTlis samefossazRvrebi ki, jer kidev farnavazis cxovrebis erisTavTasiiT aris moniSnuli. mirianis cxovrebis mixedviT raimemniSvnelovani cvlileba am teritoriul sazRvrebSi ar ivaraudeba.ai es siac:maSin farnavaz uSiS iqmna yovelTa mterTa TvisTaganda mefe iqmna yovelsa qarTlsa da egursa zeda. da125

ganamravlna yovelni mxedarni qarTlosianni, ganawesaerisTavni rvani da spaspeti.erTi gagzavna margvis erisTavad, da misca mciriTmTiTgan, romel ars lixi, vidre zRu[r]admde [egrisisa].,rions zemoT. da amnve farnavaz aRaSenna orni cixeni,Sorapani da dimna.da gagzavna meore kaxeTisa erisTavad, da misca aragviTganvidre hereTamde, romel ars kaxeTi da kuxeti.esame gagzavna xunanisa erisTavad, da misca berdujismdinariTgan vidre tfilisamde da gaCianTamdis, romelars gardabani.meoTxe gagzavna samSvildis erisTavad, da miscaskvireTisa mdinariTgan vidre mTamde, romel ars taSirida aboci.mexuTe gagzavna wundis erisTavad, da misca fanvariTganvidre Tavadmde mtkurisa, romel ars javaxeTi dakola da artani.meequse gagzavna oZrxis erisTavad, da misca tasiskariTganvidre arsianTamdis, nostis TaviTgan zRuamdis,romel ars samcxe da aWara.meSvide gagzavna klarjeTis erisTavad, da misca arsianiTganzRuamde. da merve, quji iyo erisTavi egrisisa.xolo erTi daadgina spaspetad da misca TbilisiTganda aragviTgan vidre tasiskaramde da fanvaradmde,romel ars Sida qarTli. da ese spaspeti iyo SemdgomadvewinaSe mefisa, mTavrobiT ganagebdis yovelTa erisTav-Ta zeda. (yauxCiSvili 1955: 24-25)swored es Semofargluli teritoria, sadac mefe “agzavnis”erisTavebs aris sakuTriv qarTlis samefo 3 . mirianiscxovrebidan kargad Cans isic, rom teritoriuli identobaistoriul da kuturul identobasTan mWidro kavSirSi gaiazreba.SemTxveviTi ar aris, rom sanam mirians (7 wlis sasanianufliswuls) gaamefebdnen qarTlis samefoSi, spaspetTan ikribebianerisTavni qarTlisani. erisTavebi spaspetis garSemoSesaZloa simbolurad, magram mainc gamoxataven qveynis mTel3 egriss aq erTgvarad Sualeduri adgili uWiravs _ es miwa SemodisqarTlSi, radgan misi gamgebeli quji farnavazis erisTavadaasaxeldebuli da siaSic aris Seyvanili (erTia rvaTagan), magramamave dros mis Sesaxeb ar iTqmis sityva “gagzavna” rogorc sxvaerisTavebze, rac mianiSnebs egrisis saeriTavos gansakuTrebulnaxevrad damoukidebel statusze.126

teritorias rva saerisTavos da saspaspetos, swored es aris“sazRvari qarTlisa”. sazogadoebis zeda fenas, romelic amsaxelmwifio sivrces akontrolebs imavdroulad pretenziaaqvs Tavisuflad “epyras” mamaTa sjuli. “mamaTa CvenTa sjul-Si” bevri ram igulisxmeba: aq istoriuli mexsierebis momenticaris, eTnikur-naTesaobiTic, religiuri wes-CveulebiTi,erTi sityviT am erT frazaSi savsebiT tevadad da araorazrovnedgadmocemulia im rTuli fenomenis Sinaarsi, romelsacdRes koleqtiur kulturul identobas vuwodebT. mirianisgamefebis siuJetidan kargad Cans, rom Tavad mefec valdebuliadaicvas is kulturuli Rirebulebebi, romlebic“mamaTagan” gadmoeca adgilobriv aristokratias.miriani swored am Rirebulebebis dacvis gamo aris Sefasebulimematianis mier rogorc saukeTeso mefe _ “umetes yovelTamefeTasa”. gTavazobT mirianis gamefebis siuJetis damagvirgvinebelpasaJs:da aRizarda mirian msaxurebasa mas Suna SvidTa maTkerptTasa da cecxlisasa. xolo Seiyuarna qarTvelni, dadaiviwya ena sparsuli da iswava ena qarTuli. da hmataSemkoba kerpTa da bomonTa, keTilad ipyrna qurumni kerptTani,da yovelTa mefeTa qarTlisaTa umetes aRasrulebdamsaxurebasa mas kerpTasa, da Seamko saflavi farnavazisi.(yauxCiSvili 1955:65)am citataSi CamoTvlilia faqtobrivad qarTlis samefosaristokratiis eTno-kulturuli identobis sazRvrebi, romelSicSedis mamaTa religia, kultmsaxureba, ena, adgilobriviwarmoSobis mefeTa naTesaoba (eTnikuri aspeqti). es yoveliveki politikurad garantirebul sivrcezea proecirebuli.aq teritorias, aristokratul eTnisa da mis kulturasSoris tolobis niSania dasmuli. yvela es kategoria aSkaraderTmaneTis identuria. vfiqrob, mirianis cxovrebaSi gasaocarisicxadiT da pidapirobiT aris gacnobierebuli qarTlissamefos aristokratuli eTnis identobis markerebi.vfiqrob, saWiroa ganmartebisaTvis mkiTxvels Sevaxseno,Tu ra igulisxmeba aristokratuli eTnis cnebaSi. rogorcTanamedrove eTnikur da nacionalur kvlevaTa warmomadgenlebiamboben, naciebze da nacionalizmze laparaki mxolodmodernuli epoqidan iwyeba. is eTno-kulturuli grZnobebi daganwyobilebebi, romlebic manamde e. i. Sua sauukuneebsa daantikurobaSo arsebobda SeiZleba daxasiaTdes rogorc eTnikurierTobis cnobiereba. eTnikuri erTobis, anu rogorc entonismiti mas uwodebs eTnis identobaSi Zalumad aris SeW-127

ili istoriul- teritoriuli, eTnikuri, kulturul-religiuricnobiereba. am cnobierebis mqone SeiZlba iyos ara mTelierToba, rogorc naciis SemTxvevaSi, aramed misi erTi nawili_ aristokratia. iseT eTnikur erTobas, sadac ZiriTadikulturul-istoriuli cnobierebis da Rirebulebebis matarebeliaaristokratia aristokratul eTnis uwodeben. (smiTi2008: 111)axla davubrundeT zeviT dasmul SekiTxvebs da ganvagrZoTqarTlis cxovrebis “dakiTxva”. amaTgan nawils, vfiqrob,ukve gaveci pasuxi. ra SeiZleba iTqvas aseT SekiTxvaze:ra emociur da ekzistencialur cnebebSi aRwers qarTliscxovreba qveynis teritoriis nawilze politikuri kontrolisdakargvas an sazRvrebis konfiguraciis cvlilebas?ferozs “ranis erisTavs” (kavkasiis albaneTis Zveli saxelwodeba)mirianma ukve rogorc sparseTis Sahis moxelemkavkasiaSi misca qveyana “xunaniTgan bardavamde mtkvrisa orivekerZi” (yauxCiSvili 1955: 68-69) amave ferozs mirianma misca“asuli Tvisi colad”. ferozis samflobeloTa Semdgomi bediccnobilia mematianisaTvis. mefe baqarma mirianis ufrosmavaJiSvilma Tavis “disiZes” ferozs “romelsa aqunda rani bardavamdismicemuli mirianisgan,...misca mis wil samSvildiTganmiRmarT qveyanani vidre Tavadmde abocisa. maSin Ra naTeliRo feroz da erman misman” _ ambobs mematiane. maSasadame, baqarsferozisTvis ukve sakuTriv qarTlis teritoria dauTmia.Pferozi, rogorc Cans, samSvildis erisTavi gamxdara.swored am dros gaqristianda ferozi. aq iseTsave tolobasvxedavT teritoriulsa da kulturul identobas (am SemTxvevaSiqristianuli religiis saxiT) Soris, rogorc mirianisdroinde “erisTavTa qarTlisaTa”-s SemTxvevaSi. rodesac ferozsmirianisagan “rani bardavamxis” e. i. ara sakuTriv qar-Tlis samefos miwa-wyali hqonda micemuli, es mas ar avaldebulebdaqristiani gamxdariyo. magram, rodesac misma samflobelomqarTlis saerisTavoTa farglebSi gadmoinacvla,viTareba Seicvala “da maSinRa naTel iRo feroz da ermanmisman”.baqaris Svilis _ mirdatis Zis _ varaz baqaris dros,rogorc mematiane gadmogvcems, Semovidnen sparsni “xarkisadadebad”. varaz baqari “ezraxa” sparsTa erisTavs da iTxovamSvidoba misgan. amis sapasuxod sparsTa mxaris piroba aseJRerda “pirvelad momec rani da movakani, rameTu sazRvarTasparseTisganTa ars,... xolo Tqvenda kma ars qarTli...” zavisSedegad sparsTa erisTavs perozis “Svilni” tyved wauyvania,128

xolo maTi qveyana (igulisxmeba samSvildiTgan vidre Tavadmdeabocisa) “sazRvari qarTlisa mosca varaz-baqarsve” (yaux-CiSvili 1955: 136-137). zavis pirobebiT, maSasadame, qarTlis mefessparselTaTvis dauTmia is teritoria, romelic ar SediodasakuTriv qarTlis samefos sazRvrebSi. amitom aq termini“mouRo sazRvari” anu waarTva samefos teritoria ar arisnaxmari, piriqiT, xazgasmulia, rom “sazRvari qarTlisa moscavaraz-baqarsve”. Sesabamisad, aseTi danakargi mematianisa da,unda vifiqroT, Tavad qarTuli eTnisTvisac ar iqneboda tragediistolfasi.sul sxvagvari viTarebaa, rodesac sakuTriv qarTlissamefos `sazRvars” (teritorias) miitacebs mowinaaRmdege.sakuTriv qarTlis samefos sazRvris dakargva avtorismier gancdilia rogorc katastrofa _RvTis risxva, romelicqarTvelebs daatydaT Tavs imis gamo RvTis winaSe codva gaamravles.mematiane or aseT SemTxvevas adarebs erTmaneTs.erTi vaxtang gorgaslis mcirewlovnobis Jams moxda. avtorigviyveba, Tu rogor SemoiWrnen “ovsni” da motyvenves qarTli“TaviTgan mtkvrisa, vidre xunanamde”. maT moaoxres, magramver daipyres qveyana, tyved waiyvanes vaxtangis umcrosi da _“samisa wlisa qali”. mtris mier qveynis aoxrebis da awiokebisaRweras mosdevs kulminaciuri momenti im ubedurebisa,romelic qarTvelT Tavs daatydaT: “gamovidnes berZenni afxazeTiT,rameTu berZenTa hqonda egriswyals quemoT kerZi yoveli,da daipyres egris-wyliTgan vidre cixe-gojadmde.” sworedam dros, roca berZnebma sakuTriv qarTlis samefos saz-Rvrebi gadmolaxes da misi teritoria miitaces, “maSin iwyoglova da wuxili yovelTa zeda qarTvelTa” (yauxCiSvili1955: 146). maSin mematiane “ers” aTqmevinebsganvamravleT codva RrmTisa mimarT, da ara keTiladvipyarT sjuli qristesi da wesi iovanes mcnebisa.samarTlad moawia RmerTman HCuen zeda ese risxua, rame-Tu migucna HCuen wartyuenvad ucxoTa naTesavTa, da migviRoCuen sazRvari berZenTagan, viTarca miuRo varaz-baqarsmefesa klarjeTi. da igi codviTa varaz-baqarisiTamoiwia, rameTu ver keTilad epyra sjuli qristesi. xoloese ara mefeTa HCuenTa codvisagan iqmna, aramed erisacodvisaganF (yauxCiSvili 1955: 146).es pasaJi amoRebulia qarTlis cxovrebis im nawilidan,romelic gamoyofilia saTauriT cxovreba vaxtang gorgaslisa.Cans, rom gorgaslis cxovrebaF aSkarad icnobs da eyrdnobaqarTlis cxovrebisF vaxtangamdel saistorio tradi-129

cias; varaz-baqari, is mefea, romlis drosac Semovidnen sparsni,nawilobriv mis Sesaxeb zeviT ukve visaubre. is, qarTliscxovrebisF mixedviT, marTlac codviliF mefea: Eese iyo kaciurwmuno da moZule sjulisa. mis dros marTlac gandgnenklargni varaz-baqarisaGan da mierTnes berZenTa...Fda daipyresberZenTa Tuxarisi da yoveli klarjeTi zRviTgan arsianTamde.da darCa varaz-baqars qarTli Tvinier klarjeTisa da hereTida egrisi. (yauxCiSvili 1955: 136-137) aseve, rogoc codvilsada urwmunos icnobs da moixseniebs am mefes gorgaslismematianec da winamorbedi mematianis msgavsad, Tvlis,rom saxelmwifo teritoriis dakargva swored am CadenilcodvaTa Sedegad movlenili sasjeli iyo. avtoris poziciaam sakiTxTan dakavSirebiT Semdegia: berZnebma qarTlis samefosteritoria miitaces varaz-baqaris mefobis dros. esTviT varaz-baqaris urwmunoebis bralia. msgavsi situaciaGgorgaslis drosac ganmeorda, magram amaSi mefe damnaSavear aris _is morwmune da RvTismoSiSi mefea... amitom avtoriTviT qarTvelebs aTqmevinebs: es ubedureba HCveni urwmunoebisGgamo moxdao; amgvarad, Cans, rom teritoriis dakargva:“sazRvris moReba” da qveynis “dapyroba” matianeSi Sefasebulia,rogorc yvelaze mZime sasjeli, romelic codvaTa da dauRmrToebaTa gamo eweva qveyanas.saerisTavoTa nusxisa da maTi sazRvrebis mSrali CamonaTvalisgarda qarTlis cxovreba teritoriul-geografiulinformacias maSinac gvawvdis, roca samefo saxlis wevrebisteritoriul-uflebriv sakiTxebzea saubari. magaliTad, qar-Tlis cxovreba sakmaod detalur informacias gvawvdis mirianisgverdiTi Stos _ revianebis samflobelos Sesaxeb da imuflebriv-politikur realiebze, romlebic baqarianebsa darevianebs Soris momxdara. Tu Cven revianebis Sesaxeb gamoTqmulreplikebs amovkrefT mirianis cxovrebidan, misi Svilisbaqaris cxovrebidan da vaxtang gorgaslis cxovrebidan, Sev-ZlebT, rom Tvali gavadevnoT revianTa samflobeloebiscvlilebaTa dinamikas IV-V ss-is manZilze.da mefobda mirian mun qarTls, rans, hereTs da movakans.da aqunda egrisica vidre egris wylamde; da miscaZesa missa revs saufliswulod kaxeTi da kuxeTi, dadasua igi ujarmas, rev da coli misi salome, asuliTrdatisi, da cxovndebodes igini ujarmas. (yauxCiSvili1955: 70-71).maSin mefeman baqar, Suamdgomelobisa berZenTa mefisada sparsTa mefisaTa, dawera xeliT-werili ZmiswulTa130

misTa dedisa maTisa salomesgan esreT, viTarmed: “vidremdisiyos naTesavi baqarisi, romelsa eZlos pyroba mefobisa,misi iyos mefoba, da araodes Zebnon mefoba naTesavTarevisTa”... maSinRa moiyvanna Zmiswulni misni damisca kuxeTi, da dasxna rusTavs erisTavad. (yauxCiSvili1955: 131).naTesavisagan mirian mefisa moerwmunisa vaxtang dadani misni darComil iyvnes: igini iyvnes naTesavni baqarmirianis Zisa. xolo mirian da grigol iyvnes naTesavisaganrevisa, mirianisve Zisa, da aqunda maT kuxeTi, dacxovndebodes rusTavs cixe-qalaqsa. rameTu Semcirebuliyvnes urTierTsa klviTa. (yauxCiSvili 1955: 159).Brogorc vxedavT, mirianis dros revs aqvs kaxeTi da kuxeTi.rogorc Cans, es erTi saerisTavoa (Tumca naTqvamia “saufliswulod”)am dros centriT ujarmaSi (Seadare farnavaziscxovrebis saerisTavoTa sia, aqve, gv.15). Semdeg, baqarisdros revianebi mxolod kuxeTs floben da sxedan rusTavSierisTavad. e. i. kuxeTi calke saerisTavod gamoyofila darusTavi kuxeTis saerisTavos centri gamxdara.Semdeg, vaxtang gorgaslis dros revis STamomavlebs miriansada grigols vxedavT isev coxe-qalaq rusTavSi kuxeTismflobelad, magram ukve ara erisTavad. rogorc vaxtangiscxovrebis erisTavTa nusxaSia miTiTebuli, kaxeTi da kuxeTiisev erTi saerisTavoa, rogorc mirianis sicocxleSi iyo, magramam saerisTavoSi revianebi aRar erisTavoben, radgan eris-Tavad aq dasaxelebulia vinme “demetre, erisTavi kaxeTisa dakuxeTisa” (yauxCiSvili 1955: 185). amgvarad, cxadia qarTliscxovreba teritorias ganixilavs politikur ZalauflebasTan,dinastiuri da aristokratuli warmomavlobis legitimur uflebebTanmWidro kavSirSi. sivrce da teritoria aq upirvelesyovlisa samflobelo Tu sagamgeoa, es aris sazRvari, sadacesa Tu is sagvareulo Sto Tu dinastia Tavis legitimur uflebebisaxorcielebs.vfiqrob, moyvanili magaliTebi cxadyofen, Tu ras niSnavsqarTlis cxovrebaSi sazRvari qarTlisa es aris sakuTrivqarTuli saxelmwifos teritoria, sadac qarTvelTa mefis(Tundac sasanuri warmomavlobis) suverenuli uflebebivrceldeba. es is teritoriaa, sadac qarTveli warCinebulebi(anu aristokratuli eTni) elian da moiTxoven kidec “keTiladpyrobas” da “ara aRrevas” ucxo erTobasTan. sakuTrivqarTlis sazRvrebSia swored warmodgenili is 8 saerisTavoda saspaspeto, romelic pirveliTganve farnavazis Seqmnilad131

aris gamocxadebuli. saerisTavoTa CamonaTvali Tavisi saz-RvrebiT faqtobrivad aris qarTlis samefos legitimuri teritoriispolitikuri modeli. am teritorias da misi mflobelieTnis eTno-kulturul identobas Soris ara ubralod mWidroaramed igiveobis kavSiri arsebobs.qarTlis cxovrebaSi geografiuli aRwerilobis logikiTyvela SemTxvevaSi teritoria isea miTiTebuli, rom Cans,avtori mis daxasiaTebis araviTar aucileblobas ar xedavs,radgan ivaraudeba, rom am sivrces mkiTxveli isedac icnobs.es aris “misi” sivrce, “misi” teritoria. sivrce, upirvelesyovlisa, aris dinastiis Tu adgilobrivi aristokratiis Zalauflebissimbolo _ samflobelo da sagamgeo teritoria.aq teritoriis flobis samarTlebrivi momenti ufroa gaxazuli,vidre SemecnebiTi Tu wminda literaturul-gasarTobi.qarTlis cxovrebis damokidebuleba teritoriis mimarTavlens, rom es aris “Sida moxmarebis” istoria. misi mizaniar aris gare samyaros aRwera, sxvadasxva xalxebisa Tu qveynebisSemecneba, is rasac rei lorensi “imperiuli proeqtisnawils” uwodebs. aq mTavaria samflobelo, misi sazRvrebi,rogorc is areali, sadac saxelmwifos uzenaesi xelisuflebavrceldeba da sadac adgilobrivi aristokratuli eTniTavis socialur da kulturul identobas axorcielebs.gamoyenebuli literatura:abulaZe: abulaZe, ilia (red.). Zveli qarTuli agiografiuliliteratures Zeglebi. I. Tbilisi: saqarTvelos ssr mecnierebaTaakademiis gamomcemloba, 1964.baTerfildi: Butterfield, Herbert. “The Rise of Classical Historiography”.The Origins of History. London, 1981.gene: gene, bernar. Sua saukuneebis dasavleTis istoria da istoriulikultura. Targmani frangulidan rusul enaze.moskovi: iaziki slovianskoi kulturi, 2002.eliade: Mircea. The Sacred and the Profane. San Diego, New York, London,1987.eliade: eliade, mirCa. “miTosi _ paradigmuli modeli, inglisuridanTargmna l. patariZem”. kldekari, 1996 #1, 191-200.musxeliSvili: musxeliSvili, daviT. saqarTvelos istoriuligeografiis ZiriTadi sakiTxebi, I. Tbilisi: mecniereba 1977.132

lorensi: Laurence, Ray. “Territory, Ethnonyms and Geography: the constructionof Identity in Roman Italy”. In Ray Laurence and Joanne Berry (ads). CulturalIdentity in the Roman Impire. London and New Yotk: Routledge 2001.lidovi: А.М. Лидов, Иеротопия. Создание сакральных пространств каквид творчества и предмет исторического исследования. Иеротопия.Создание сакральных пространств в Византии и Древней Руси,Москва, “Индрик”, 2006.rapi: Rapp, Stephen Harold. Imagining History at the Crossroads: Persia, Byzantium,and The Architects of the Written Georgian Past. Vol. I. A dissertationsubmitted in partial fulfilment of the requirements for the degree of Doctorof Philosophy (History) in The University of Michigan 1997.smiTi: Smith, Antony D. National Identity. Reno, Las Vegas, London: Universityof Nevada Press.1991.flavius ariane: flavius ariane. mogzauroba Savi zRvis gar-Semo. Targmani, gamokvleva, komentarebi da ruka naTelakeWaRmaZisa, Tbilisi: mecniereba 1961.yauxCiSvili: yauxCiSvili, simon (red.). qarTlic cxovreba,t. I. Tbilisi: saxelgami, 1955.yauxCiSvili: yauxCiSvili, simon (red.). qarTlic cxovreba,t. IV. batoniSvili vaxuSti, aRwera samefosa saqarTvelosa.Tbilisi: sabWoTa saqarTvelo 1973.133Lela PatariZeTerritorial and Cultural Identities in the Context of ChristianityWe–groups, based on collective cultural identity, are primarily mnemonicentities. They simply do not exist without the historical memory. The strength ofin-group bonds and the degree of consolidation do depend on what is theconfiguration of the ethnic and national historical narrative, on how vital itsprincipal proofs are. The present article has been focused on one of the mostprincipal historical monuments of the pre-modern Georgian historiography KarlisTsckhovreba (“The Life of Kartli”), having always been of special interest inGeorgian Studies; however, it was traditionally studied as a source for the sake ofthe immediate information provided by the work, that is, it was concerned inorder to find out what had happened, and there was almost no concern with howit was reflected in social perceptions.The author demonstrates why is a territorial identity is considered to be oneof the most important components of national consciousness on its every level ofdevelopment.

musikaluri anTropologiaMUSICAL ANTHROPOLOGYpirovnebis TviTidentifikaciis problemadimitri SostakoviCis SemoqmedebaSi134marina qavTaraZeliteratura dimitri SostakoviCze didi da mravalferovania_ dawyebuli misi cxovrebisa da Semoqmedebis, calkeuliJanrisa Tu nawarmoebis fundamenturi analizidan, damTavrebulikompozitoris mogonebebiT. Yyvela, vinc ki mimarTamis Semoqmedebas, gamoxata Tavisi damokidebuleba am WeSmaritadgiganturi figurisadmi, da upirveles yovlisa gamoavlinaTavisi damokidebuleba mis mimarT, gansazRvra ra kompozitorisadgili maradiul RirebulebaTa sistemaSi. amave drosSostakoviCis saxeli gaxda Taviseburi simbolo droisa, romelSicis cxovrobda, da raoden paradoqsuladac ar undaJRerdes es, simbolo sruliad gansxvavebuli _ imis gaTvaliswinebiTTu ra kuTxiT SevxedavT mas, rac kidev ufro metadusvams xazs misi Semoqmedebis da pirovnebis mniSvnelobasmsoflio kulturis istoriaSi.sabWoTa ideologiis pirobebSi xelovanTa Mmxolod mciredmanawilma, SeZlo ar gamtydariyo, xSirad sakuTari sicocxlisfasad win aRdgomoda totalitarul reJims; am pirobebSiTiToeuli adamiani Tavis gzas poulobda gamosavlisaTvis,yovel maTgans Tavisi kompromisebi da zRvari hqonda,romlis gadabijebis uflebas sakuTar Tavs aZlevda; ramdeniideologiurad miuRebeli nawarmoebi, `Taroze Semodebuli~eloda Tavis dros, an darCa daumTavrebeli da ganuxorcielebeli.magram sakmarisia am periodis musikis guldasmiTmosmena da analizi, nawarmoebebis Seqmnis TariRebis Sedarebaim movlenebTan, romlebic qveyanaSi xdeboda, rom bevri ramsxva elfers iZens.sayovelTaod cnobilia bgera-simboloebis mniSvnelobaSostakoviCis SemoqmedebaSi, maT Soris gansakuTrebuli datvirTvaaqvs mis monograma `DSCH~-s (D. Schostakovich), romliTacSeqmnili avtoportreti, amave dros, sakuTar `me~-ze proecirebuliXX saukunis kataklizmebiT savse kacobriobis portretia,tragikuli da mravlismetyveli. am sakiTxTan dakavSirebiTgansakuTrebul interess iwvevs ebrauli Temisadmi mi-

marTva dimitri SostakoviCis SemoqmedebaSi, romelic araerTkiTxvas badebs.ratom ikavebs SostakoviCis SemoqmedebaSi esoden didadgils ebrauli Tema? ratom izidavda mis SemoqmedebiT fantaziasis mxatvruli saxeebi, romelic sabWoTa kavSirSi araoficialuradakrZaluli iyo da idevneboda? ratom mimarTavdais maT monogramasTan erTad?am kiTxvebze pasuxi momca SostakoviCis megobris, isaakglikmanis mogonebebma da misdami SostakoviCis mier miweriliwerilebis publikaciam (glikmani 1993), Tavad SostakoviCismemuarebma _ «Свидетельства», romelic gamosca solomon volkovma(volkovi 1979) da misive wignma «Шостакович и Сталин»(volkovi 2005); maT ganamtkices kompozitoris SemoqmedebasTandakavSirebuli Cemi mosazrebebi, romelTa dadasturebac misnaazrevSi da SemoqmedebaSi vnaxe; ase daibada es Tema.rusul musikaSi cnobilia ebrauli Temisadmi mimarTvisfaqtebi iseTi kompozitorebis SemoqmedebaSi rogoricaaglinka, serovi, musorgski, rubinSteini. Mmagram ebrauli maTmusikaSi ufro èkzotikur~, òrientalur~, erTjeradi gamoyenebisxasiaTs atarebda. E sxvagvaria SostakoviCis damokidebulebaam Temisadmi;dimitri SostakoviCi ebrauli kulturisa da musikisadmiinteress iCenda mTeli cxovrebis manZilze. cnobili pianistiqalis maria iudinas mtkicebiT SostakoviCi `metaforulad~ebraelobasTan mTeli cxovreba iyo dakavSirebuli, TumcawarmoSobiT is iyo poloneli da ebrauli mis sisxlSi wveTiar yofila. SesaZloa, rom is iswrafvoda ebraelebis winaSemiTiuri danaSaulis gamosyidvisaken, rac nakleb savaraudoa,an cdilobda am gziT mieca gamosavali sakuTari sulieri`devnilobisaTvis~, tanjvis SegrZnebisaTvis arsebuli reJimispirobebSi, ris gamoc sakuTari Tavis ebraelobasTan identificirebasaxdenda. niSandoblivia, rom gustav maleris msgavsadebrauli musikidan is upiratesobas aniWebda yofiT Janrebs,akeTebda aqcents maT tanjviT, `tirilis~ intonaciebze,henamisotonikur kiloze, romelic ase saxasiaToa ebraulimusikisaTvis.SesaZloa, SostakoviCisaTvis principulad mniSvnelovaniiyo im adamianebTan sakuTari Tavis gaigiveba, romlebsacsdevnidnen da klavdnen; man mSvenivrad icoda ra iyo II msoflioomi, gulagi da xalakosti.rogorc cnobilia, postsabWourma epoqam moaxdina RirebulebaTagadafaseba da ìnflacia~. ar daindo man Sostako-135

viCic. `simarTle~ mis Sesaxeb gaxda araerTi wignis, simpoziumisTu festivalis Tema, gansakuTrebiT ucxoeTSi. ufro adreulirusuli gamocemebi SostakoviCis Sesaxeb èpoqis niSniTaa~aRbeWdili; magaliTad, s. xentovas 1986 wels gamosulifundamenturi monografia 2 tomad, romelic dimitri SostakoviCiscxovrebisa da Semoqmedebis detalur aRweras axdens,`virtuozulad axerxebs~ dafaros misi Svilis, diriJor maqsimSostakoviCis arsebobis faqti, romelic 1981 wlidan, emigraciaSiimyofeboda evropaSi.dimitri SostakoviCis Sesaxeb arsebul Tanamedrove rusulda dasavlur literaturaSi, xSirad gvxvdeba mosazrebebi,rom is oficiozis kompozitori, `mSiSara ~ da `reJimismsaxuri~ iyo. sxvagvarad rom vTqvaT, mavanTaTvis `politikurad~miuRebeli aRmoCnda misi pirovneba, romelic maTi azriTPRiad unda dapirispireboda arsebul reJims. AarsebobsagreTve varaudi imis Taobaze, rom 1936 wlis Semdeg is Tavadki ar werda statiebis da gamosvlebis teqstebs, aramed mxolodxels awerda maT. solomon volkovis mir gamoqveynebulmaSostakoviCis memuarebmac ver gadaarwmuna opozicionerebisawinaaRmdegoSi. ara da rogor gulaxdilad JRers kompozitorissityvebi misi yvelaze sayvareli nawarmoebis - me-14 simfoniis Sesaxeb: «Тюремные камеры – страшные норы. Людиждут. Можно с ума сойти от страха. Многие не выдерживатнапряжения. Я знаю об этом. Ожидание казни – одна из тем, которыеменя мучили всю жизнь. Многие страницы моей музыки про это».musikas gaaCnia TavisTavadi Rirebuleba, magram man SeiZlebanaTeli mohfinos ara marto nawarmoebis Seqmnis processda dagvexmaros ufro Rrmad SevigrZnoT xelovanis sulieritkivili da misi tragedia, aramed misi misiac am sazogadoebaSiebrauli Tema ssrk-Si faqtiurad akrZaluli iyo. xelisuflebadrodadro awyobda antisemitur kampaniebs `mavneblebTan~,`kosmopolitebTan~, `marginal-veicmanistebTan~, `mkvlel eqimeb-Tan~, `sionistebTan~ brZolis saxiT. 1952 wels ki masiurad daxvritesebrauli literaturis moRvaweTa is nawili, romelicidiSs flobda.SostakoviCis protesti arsebuli reJimis mimarT nawarmoebebisintonaciur bunebaSi, mis mravalSrian dramaturgiulstruqturaSi, mis ormag kodirebis principze agebul musikalursimboloebSi gamoixateboda. memuarebSi vkiTxulobT«Для меня еврейский народ превратился в символ: в нем сосредоточенабыла вся беззащитность человека. После войны я попытался передать это136

ощущение в своей музыке. Для евреев тогда наступили нелегкие времена,хотя какое время было для них легким?» (2,56)sakuTrivEebrauli musikiT daintereseba SostakoviCis SemoqmedebaSi40-iani wlebidan SeimCneva da aSkarad ukavSirdebamis usayvarles mowafes veniamin fleiSmans, romelic 1941wels omSi tragikulad daiRupa. SostakoviCma Tavis movaleobadCaTvala daesrulebina da gaeorkestrebina, mis mier SeTavazebulisiuJetis _ Cexovis moTxrobis mixedviT SeqmnilifleiSmanis opera `rotSildis violino~ (erTaderTi CvenamdemoRweuli misi nawarmoebi), riTac faqtiurad ukvdavyo mowafissaxeli. Tavad es faqti SeiZleba ganvixiloT rogorcadamianuri da SemoqmedebiTi ~gmiroba~, imis gaTvaliswinebiT,rom operaze muSaoba SostakoviCs evakuaciaSi, umZimes pirobebSiyofnisas uwevda da Tanac es GGJanri misTvis tabudadebuliiyo 1936 wlis Semdeg; mas Semdeg, rac opera `katerinaizmailovas~ uwodes `sumburi musikis nacvlad~ da usamar-Tlod kritikis qar-cecxlSi gaatares. opera `rotSildis violinoSi~aSkarad SeigrZnoba SostakoviCis stili. erTimxriv, fleiSmani, rogorc misi mowafe, cxadia, pedagogis gavlenisqveS imyofeboda. Mmagram unda vivaraudoT, rom yvalaferirac dakavSirebulia ebraul musikasTan am nawarmoebSi,Tavad fleiSmans ekuTvnis, vinaidan arsebuli cnobebiT isizrdeboda religiur ojaxSi, icnobda sinagogur RvTismsaxurebas,Tavad ukravda violinoze klezmerul orkestrSi daRrmad hqonda Sesisxlxorcebuli Tavisi kulturis mdidaritradiciebi. meore mxriv, rogorc sCans, aRiniSneba ukugavlenamoswavlisa maswavlebelze, radgan swored am periodidanmoyolebuli SostakoviCis ènobriv velSi~ moeqca ebraulimusika da mis SemoqmedebaSi gaCnda ebrauli motivebi. Aam samyaroSiSostakoviCi fleiSmanis wyalobiT moxvda, rac araSemTxveviTi, aramed garkveulwilad misi SemoqmedebiTi damoqalaqeobrivi poziciis gamoxatulebac gaxda. cnobiliaSostakoviCis gamonaTqvami ebraul musikaze: «…она можетпоказаться веселой, тогда как на самом деле трагична. Почти всегдаеврейская музыка – это смех сквозь слезы»; «И этот проклятый жиддаже самое веселое умудрялся играть жалобно» (Скрипка Ротшильда).sakuTriv SostakoviCis pirveli nawarmoebi, romelSic ebrauliTema mniSvnelovan adgils iWers, aris safortepianotrio #2 (1944), (VIII simfoniis kameruli paraleli) miZRvniliudidesi erudiiciis mqone musikismcodnis ivan solertinskisadmi,romelmac, rogorc cnobilia, didi gavlena moaxdinaSostakoviCis musikaluri interesebis formirebaze. trios137

finaluri, IV nawili arsebiTad ebrauli cekvaa, tragikulicekva. am nawilSi CarTuli ebrauli Tema TiTqos asaxavs imsisastikes, romelsac nacistebi da komunistebi sCadiodnenebraelobis mimarT. sainteresoa isic, rom gacilebiT gvian,1960 wels germaniaSi daweril #8 _ avtobiografiul kvartetSiam Temas kompozitori iyenebs yvelaze mniSvnelovaninawarmoebebidan citatebis da monograma DSCH‐s gverdigverd;cnobilia, rom am trios finalis mixedviT cnobilma baletmaistermal. iakobsonma dadga erTaqtiani baleti `saqorwilokorteJi~, romlis ebraul motivebze Seqmnili siuJeti daqoreografia STagonebuli iyo mark Sagalis vitebskis periodisnaxatebiT.VIII kvartetis Sesaxeb, romelic oficialurad eZRvneba`faSizmisa da omis msxverplTa xsovnas~, SostakoviCi Tavismegobars, isaak glikmans werda: `garekanze SemeZlo pirdapirdamewera _ èZRvneba am kvartetis avtoris xsovnas~.kvartetis oficialuri miZRvnaasaxuli qvesaTaurSi, mxolod Sirmaiyo misi sakuTari biografiisqveteqstisaTvis; VIII kvarteti iyoSostakoviCis Sinagani saprotestopasuxi misi partiaSi iZulebiT Sesvlaze.aq gamoyenebulia citatebiSostakoviCis nawarmoebebidan, romlebicmTeli misi SemoqmedebiTigzis umniSvnelovanes etapebs asaxaven:Temebi I, VIII, X simfoniebidan,safortepiano triodan, Celos koncertidan,operidan `katerina izmailova~, masSi gamoyenebulisimReris TemiT «Замучен тяжелой неволей», romelsac win uZRvissikvdiliT dasjis epizodis musika kinofilm àxalgazrdagvardiidan~. am àvtokolaJis~ Semdeg kvartetis II nawiliskulminaciur momentSi Cndeba ebrauli Tema safortepianotriodan, rogorc avtorisaTvis gansakuTrebuli mniSvnelobisdaSifruli informaciis matarebeli; aq is kidev ufroemociurad JRers. monograma `DSCH~-dan intonaciurad Mamozrdilies Tema Tavis TavSi atarebs mis ZiriTad marcvals,sekundur intonacias, avsebs mas, Sedis masTan dialogSi. Eamcitatis semantika, asocirebuli `mudmiv tanjvasTan~, niSnobriviaSostakoviCisaTvis, romelmac am nawarmoebSi Tavisicxovrebiseuli kredo gamoxata.138

vokaluri cikli èbrauli xalxuri poeziidan~ (sopranos,kontraltos, tenorisa da fortepianosaTvis, Txz.79) Seiqmna1948 wels, `kosmopolitebis~ winaaRmdeg wamowyebulikampaniis periodSi. cekas avadsaxsenebelma dadgenilebam _`vano muradelis opera `diadi megobrobis~ Sesaxeb~, romelmacformalizmSi daadanaSaula SostakoviCi, prokofievi, miaskovski,xaCaturiani, kabalevski, Sebalini, saqarTveloSichpova gamoZaxili andria balanCivaZis mimarT gamotanilimkacri braldebis saxiT. rogorc cnobilia, am dadgenilebaswin uZRoda kulturis sferoSi mTavari ideologis, JdanovisSexvedra muradelTan da didi Teatris direqtorTan leontievTan,romelic Sexvedris Semdeg gulis SeteviT gardaicvala.am movlenebis kvaldakval, 1948 wlis Semodgomaze SostakoviCigaaTavisufles profesoris Tanamdebobidan dabaliprofesiuli donis gamo! swored am periodSi, daiwera vokaluricikli èbrauli xalxuri poeziidan~, rogorc kompozitorisTaviseburi protesti. 1948 wlis 25 seqtembers dimitriSostakoviCma sakuTar dabadebis dRes saxlSi moawyo nawarmoebismosmena da Seasrula es cikli mis pirvel variantSi,romelic tragikuli Sinaarsis mqone 8 simRerisagan Sedgeboda.rogorc sCans, mogvianebiT `windaxeduli~ megobrebis rCeviTSostakoviCma cikls daumata 3 simRera (dasrulebis TariRi24 oqtomberi), romelTa garegan SreSi sabWoTa ideologiiskvali aRiniSneba: ebraelebi naTel momavals sabWoTakolmeurneobaSi pouloben. Mmagram, amave dros, masSi kodirebuliasityva-simboloebi, romlebic am ciklis tragikuli SinaarsissiRrmiseul Sreebs asaxaven. sagulisxmoa, rom 1949wels daapatimres èbrauli xalxuri poeziis~ krebulis Semdgenlebii. dobruSini da a. iudicki, manamde ki ebraulikulturis mravali moRvawe; ise rom am situaciaSi SostakoviCiverc ki ifiqrebda vokaluri ciklis sajaro Sesrulebaze,romelic mxolod 1955 wels Sedga.amave konteqstSi unda iqnas ganxiluli saviolino koncerti#1, Txz. 77 (1948 w.) miZRvnili misi pirveli Semsruleblisadmi_ david oistraxisadmi; isic Sesrulebas 7 weli eloda(Sesrulda aseve 1955 wels). swored am nawarmoebis II nawilisfinalSi (c. 67), èbrauli~ Temis gatarebis Semdeg pirvelad gamoiyenakompozitorma Tavisi monograma DSCH, romelmac mis SemdgomnawarmoebebSi wamyvani adgili daikava. am TemaTa _ ebraulisada monogramis aseTi mezobloba, SesaZloa, sulac ar iyoSemTxveviTi SostakoviCisaTvis, romelic xSirad musikiT ambob-139

da imas, risi Tqmac sityviT ar SeeZlo da devnil ebraelobas-Tan TviTidentifikacias am gziT axdenda.simebianiKkvartetis #4, re maJori, Txz. 89 (1949) Seqmnisda Sesrulebis TariRebs Soris Sualedi 6 welia. Mmisi IV nawili,iseve rogorc troiSi dawerilia ebraul masalaze.SostakoviCis safortepiano preludiebisa da fugebis melodiuriwyaroebis ganxilvisas xSirad miuTiTeben maT xalxurobaze,mxedvelobaSi aqvT ra maTi rusuli warmomavloba.Aam konteqstSi Zneli ar aris davinaxoT zogierT maTganSiebrauli elementi (preludia da fuga #8, preludia #17, fuga#19, fuga #24), gansakuTrebiT bolo fugaSi, sadac Ziri-Tadi azrobrivi datvirTvis mqone, pianisimodan amozrdiliebrauli Tema grandiozul masStabebs aRwevs. SostakoviCisSemoqmedebis sxvadasxva mkvlevarebTan xdeba an am faqtis ubralokonstatacia, ebrauli warmomavlobis xazgasmis gareSe,(a. dolJanski, 2) an mxolod vokalur ciklTan èbrauli xalxuripoeziidan~ maTi kavSiris xazgasma (m. sobinina, 3).kidev erTi mimarTva ebrauli Temisadmi _ SostakoviCis#13 simfoniaa, romelSic yvelaze srulad aisaxa misi damokidebulebaZaladobisadmi. `Наш отец ненавидел всякое насилие, а ужтем паче войну~_ am sityvebiT ixsenebs maqsim SostakoviCi mamas.1961 wels gamocemulma evgeni evtuSenkos leqsma «Бабий яр~,romelic kompozitors misma uaxloesma megobarma isaak glikmanmamiawoda, im dros sazogadoebaze saocari STabeWdilebamoaxdina; pirvelad ebrauli Tema dadebiTi poziciidan TanagrZnobiT,Riad gaisma oficialuri gamocemis furclebidan.marTalia, es jer ar iyo antisemitizmis oficialuri aRiarebasabWoeTSi, magram Tavad publikaciis faqti ukve imedismomcemifaqti iyo. SostakoviCma am vokalur simfoniaSi evtuSenkospoeturi teqstisadmi mimarTviT, specifikuri saSemsrulebloSemadgenlobiT (solistis, banebis gundis da orkestrisaTvis),SeiZleba iTqvas, pirvelad Tavis SemoqmedebaSi daufaravad,Riad, plakaturad gaacxada nawarmoebis idea, racmanamde sruliad warmoudgeneli iyo. Tavad kompozitori araerTgzisusvavda xazs am opusis mniSvnelobas misTvis.Celos II koncertis Sesaxeb (1966) SostakoviCi werda i.glikmans: ÌI nawilSi da III nawilis kulminaciaSi JRers Tema,romelic Zalian gavs odesur simReras `Купите бублики,, (romelicukve hqonda gamoyenebuli opera `cxvirSi~, m.q.) verafriTamixsnia riTia es gamowveuli, magram Zalian gavs~.aRsaniSnavia isic, rom ebrauli Temisadmi mimarTvisasSostakoviCi TiTqmis ar iyenebs citatebs, iseT wminda ebra-140

ul nawarmoebSic ki, rogoricaa vokaluri cikli ~ebraulixalxuri poeziidan~. marTalia, aq SeiZleba melodiuri saqcevebis,tradiciuli ebrauli musikisaTvis damaxasiaTebeli`tanjviTi~ an `freilaqsis~ tipis, odesuri `Купите бублики~-stipis kilo-intonaciebis amocnoba; magram ZiriTadad, es maincSostakoviCiseul mxatvrul prizmaSi gardatexili ebraulimusikaa.«Если говорить о музыкальном воздействии, то еврейская народнаямузыка оказала на меня самое неизгладимое впечатление. Никогда не устаюее слушать: она многогранна, она может показаться веселой, тогда как насамом деле трагична. Почти всегда еврейская музыка – это смех сквозьслезы. Евреи так много страдали, что научились скрывать свое отчаяние.Это ее свойство близко моему пониманию музыки: в ней всегда должнобыть два слоя..». (SeiZleba gavixsenoT Solom aleixemis sityvebi`naxevari saxe icinis, naxevari tiris~ m.q.). Kkompozitoris miergamoTqmuli es mosazreba iZleva gasaRebs misi musikisa da sazogadodcxovrebis SostakoviCiseuli gagebisaTvis. im pirobebSi,romelSic muSaobda es didi musikosi gaCnda gansakuTrebulidamokidebuleba Semoqmedebisadmi, roca mas sakuTariazrebis, grZnobebis gamosaxatavad maTi `daSifvra~ da òrmagad~kodirebuli enis gamoyeneba uwevda, romelic xSirad gasagebimxolod misTvis iyo. am kuTxiT èbrauli~ Temebi misSemoqmedebaSi ara SemTxveviTi, aramed TviTidentifikaciis Segnebuliaqtia, gzavnilia, romelic asaxavs SostakoviCis damokidebulebasmisi droisa da realobisadmi.literatura:glikmani: И. Гликман – "Письма к другу. Дмитрий Шостакович – ИсаакуГликману"/ Санкт-Петербург.,,DSCH, Композитор ,,1993volkovi: С.Волков – «Свидетельство. Мемуары Д.Д. Шостаковича» (rusulenaze: Aufgezeichnet und herausgegeben von Solomon Volkow.Hamburg,1979).volkovi: С.Волков – «Шостакович и Сталин. Художник и царь», Москва,«Эксмо», 2005.dolJanski: А Должанский. – «24 прелюдии и фуги Шостаковича», –Ленинград., “Музыка», 1970.sobinina: М.Собинина – «Шостакович – симфонист», Москва, “Музыка»,1976.141

The problem of self-identification of individual inDimitri Shostakovoich’s creative workMarina KavtaradzeUnder the pressure of Soviet ideology only few artists managed to resisttotalitarian regime; in such conditions every individual tried to find the way outof it. The analysis of the musical composiotions of the mentioned period, thecomparison of their dates with the events which had been taking place in thecountry elucidate both the artist and his epoch. The creative work of Shostakovichis a clear example of this, who using the Jewish musical rhythmic-intonationstrived to find the way out from his own spiritual state of “persecution” in theexisting regime conditions. For that reason he identified himself with the Jewishpeople.In the article the compositions of various genres had been analyzed fromthat standpoint, there he appeals to the everyday life genres, accentuating suffering,“waling” intonations using henamisotonic harmony. Shostakovich’s protestagainst the existing regime was expressed by the intonation of the composition,multilayer dramatic structure and the musical symbols constructed bythe use of double coding principle.“Jewish” motifs were not arbitrary in hiscreative work, but they constituted the conscious act of self-identification, themessage to the recipient.142

eTnomusikologiis definiciisaTvis143manana SilakaZemecnierebis nebismieri dargis definicias gansazRvravsmisi sagnobrivi sfero, romelic yalibdeba samecniero tradiciis,mecnierebis realuri gamocdilebis safuZvelze daromlis formireba aris istoriuli, permanentuli procesi.momijnave samecniero disciplinebis sinTezis, integraciisaTu diferenciaciis Sedegad iqmneba axali mimarTulebebi,axali dargebi. es exeba musikismcodneobis _ musikologiissferosac. xalxuri musikaluri kulturis Semswavlelidargis aRmniSvnelad specialur samecniero literaturaSisxvadasxva dros arsebobda da zogjer Tanaarsebobda terminebi_ musikaluri eTnografia, musikaluri arqeologia, eTnomusikismcodneoba,eTnomusikologia, eTnosakravTmcodneoba,eTnoergologia am saxelwodebaTa arseboba da cvlilebebisxvadasxva garemoebebiT iyo gapirobebuli Sesawavli obieqtisfarglebis da kvlevis aspeqtebis cvlilebebis Sesabamisad(Cekanovska, 1983: 10; SilakaZe, 1972: 185-186; 1991: 3).eTnomusikologiis arsis gasarkvevad unda gaviTvaliswinoTmisi istoria eTnologiasTan kavSirSi, radganac, rogorcqvemoT davinaxavT, igi misi erT-erTi mimarTulebidan Camoyalibda.specialur sacnobaro literaturaSi damkvidrebuliganmartebis Tanaxmad, eTnografia aris mecniereba msofliosxalxTa (eTnosTa) Sesaxeb. mis gverdiT ixmareba eTnologia(romelic sabWour sivrceSi iyo gavrcelebuli XX s.-is 30-anwlebamde da dRemdea miRebuli evropis bevr qveyanaSi). paraleluradgamoiyeneboda terminebi Народоведение („narodovedenie“rusulad), narodopis (slovakurad, slovenurad), ludoznawstwo (polonurad).germanulenovan literaturaSi iyo Volkskunde, Völkerkunde,Ethnologie, SvedeTsa da norvegiaSi Folkeminer da Folklivsforsung.inglisurenovan literaturaSi socialuri (inglisi)da kulturuli (aSS) anTropologia (Social anthropology, Culturalanthropology). eTnografia gagebuli iyo rogorc aRwerilobi-Ti, eTnologia _ Teoriuli disciplina (bromlei, tokarevi,1988: 21-41).qarTveli mecnieris akad. g. Citaias (1890-1986) erT-erTpirvel naSromSi (Citaia, 1926), romelSic Camoyalibebuliadargis miznebi, amocanebi, kvlevis meTodi, principulad arisgamijnuli eTnografia da eTnologia. 30-ani wlebidan sabWo-

ur sivrceSi miRebuli saxelwodebis Semdeg saqarTveloSiceTnografia damkvidrda (amis mizezebis Sesaxeb ix meliqiSvili,2000).ramdenadac eTnologia Seiswavlis xalxs/xalxebs (eTnoss/eTnosebs),maTi yofis, saqmianobis yvela sferos sxvadasxvakuTxiT da aspeqtiT, ukavSirdeba mraval momijnavedisciplinas (istoria, arqeologia, fsiqologia, sociologia,botanika, medicina, religiaTmcodneoba, xelovnebaTmcodneoba,musikaTmcodneoba, enaTmecniereba da sxva). maTi sinTezis,integraciis Sedegad, gansakuTrebiT gasuli saukunis 70-aniwlebidan samecniero literaturaSi gamoCnda Sesabamisi terminebi:eTnobotanika, eTnozoologia, eTnogeografia, eTnolingvistika,eTnodemografia, agroeTnografia, eTnoekologia,eTnoarqeologia, eTnosociologia, paleoeTnografia, gamoyenebiTieTnografia/anTropologia, eTnoxelovnebaTmcodneoba(Anthropology of Art), eTnomusikologia (Cistovi, 1986: 265-266; eTnografia da momijnave disciplinebi, 1988: 84-106; meliqiSvili,2000: 6-7).musikaluri eTnografia sakmao xnis manZilze musikalurfolkloristikas Seesabameboda. orive ganixileboda rogorcxalxuri musikaluri Semoqmedebis Semswavleli dargi, romelicmusikis Teoriis, musikis istoriis, musikaluri kritikis,sakravTmcodneobis gverdiT musikismcodneobis sferoSiSedioda (enciklopedia, musikaTmcodneoba; enciklopediurileqsikoni, 1959).musikaluri eTnografia // musikaluri folkloristikadamoukidebel samecniero disciplinad Camoyalibda XIX s.-isII naxevarSi. igi Tavdapirvelad iyo wminda aRwerilobiTimecniereba, romelic afiqsirebda zepiri tradiciis specifikurmasalebs. XX s.-is 20-ani wlebis dasawyisSi germaniasa dainglisSi gaCnda axali mimarTuleba _ e. w. SedarebiTi musikismcodneoba,romelic ikvlevda msoflios sxvadasxva xalxTa(ZiriTadad koloniuri qveynebis) musikas. es mimarTulebaimdroindel samecniero literaturaSi sxvadasxva saxelwodebiTgvxvdeba. esenia: SedarebiTi musikismcodneoba (germ. VergleichendeMusikwisseschaft, frang. musicologie comparee, ingl. comparativemusicology), musikaluri eTnologia (germ. Musikethnologie), eTnomusikologia(ingl. ethnomucology), musikaluri folkloristika(germ. Musikalische Volkskunde, rus. Музыкальная этнография)(Cekanovska, 1983: 10-11).am dargis sagani da miznebi 1885 wlidan ikveTeba. misikvlevis sfero ifargleboda tradiciuli musikiT da kvlevis144

ZiriTadi obieqti Cinuri, induri, meqsikel indielTa da sxva-Ta musika iyo. 1885 w. gamoqveynebul gvido adleris (1855-1941)statiaSi (adleri, 1885) sistematizebulia musikaTmcodneobisdargebi da SedarebiTi musikismcodneoba gamoyofilia damoukidebeldisciplinad. mis amocanad daisaxa sxvadasxva xalxTaxalxuri simRerebis kvleva eTnografiuli miznisaTvis(Cekanovska, 1983: 34).dargis fuZemdeblad miCneulia erih moric hornbosteli(1877-1935, ganaTlebiT qimikosi), romelmac Seqmna skola _ misimowafeebi da TanamSromlebi (f. boze, m. Snaideri, m. kolinski,e. emshaimeri, i. kunsti da sxvebi) SemdgomSi xelmZRvanelobdneneTnomusikologiuri kvlevis centrebs berlinSi, venaSi(Cekanovska, 1983: 38-40). XX s-is 30-an wlebSi e. w. didmagermanulma skolam germaniidan aSS-Si gadainacvla (los-anJelesi,blumingtoni).ruseTSi musikaluri eTnografiis (iq am saxelwodebiTiyo) fuZemdeblad iTvleba n. T. findeizeni (1868-1928). XX s.-isdasawyisSi musikaluri eTnografiis centrad iqca moskovisuniversitetTan arsebuli bunebismetyvelebis, anTropologiisada eTnografiis moyvarulTa sazogadoebis eTnografiuliganyofilebis musikalur-eTnografiuli komisia, romelic ikvlevdaruseTis imperiaSi Semavali xalxebis musikalurfolklors. am komisiis davalebiT daiwyo da gaSala muSaobasaqarTveloSi eTnomusikologiis fuZemdebelma dimitri arayiSvilma(1873- 1953).XX s.-is 50-60-an wlebSic sxvadasxva qveyanaSi isev sxvadasxvatermini rCeboda xalxuri musikis Semswavleli dargisaRmniSvnelad: eTnomusikologia (inglisi, safrangeTi, italia,ungreTi, rumineTi), musikaluri eTnologia (germania),musikaluri eTnografia // musikaluri folkloristika (sab-Wouri sivrce mTlianad, poloneTi) (zeegeri, 1966: 194; boze,1953: 17-18, 140, 142; SilakaZe, 1991: 19). kvlevis profilic sxvadasxvagvariiyo _ sociologiuri, zogadkulturuli, bgeraTafizikuri Tvisebebi, esTetikuri problemebi, musikis aRqmisfsiqologia. XX s.-is 70-ani wlebidan am disciplinis obieqtidaformulda rogorc yvela kontinentisa da qveynis tradiciulimusika (Cekanovska, 1983: 13-15). meTodologia eyrdnoba momijnavedargebis, ufro metad, lingvistikis meTodologiasda meTodebsac. esenia: SedarebiT-analitikuri, istoriul-geografiuli,funqcionaluri, struqturuli, sociologiuri,fsiqologiuri, istoriuli, kartografiuli (Cekanovska, 1983:27-32; SilakaZe, 1991: 34-35).145

termini “eTnomusikologia” Semoitana 1950 w. holandielmai. kunstma (zemcovski, 1988: 74-75). rusulenovan samecnieroliteraturaSi 60-ani wlebidan Cndeba termini eTnomusikismcodneoba(этномузыкознание) _“eTnomusikologiis” kalki, romelSicigulisxmeboda xalxuri musikis Semswavleli mecniereba,romelic musikismcodneobis, folkloristikisa da eTnografiis// eTnologiis sinTezs warmoadgenda. sabWoTa kav-SirSi musikaluri eTnografia ganixileboda rogorc zogadimusikismcodneobis nawili, magram amasTanave, zogadad eTnografiasTanfolkloristikasTan, sociologiasTan kavSirSi.“musikaluri eTnografiis sagania tradiciuli yofiTi (upirvelesyovlisa folkloruli) musikaluri kultura... musikalurieTnografia Seiswavlis xalxur musikas, amavdroulad,upirveles yovlisa, rogorc “enas” _ specifikuri musikalurgamomsaxvelobiTisaSualebebis sistemas, meore mxriv, rogorc“metyvelebas” _ specifikur saSemsruleblo “qcevas”...musikalur-eTnografiuli gamokvlevebi dasaxuli miznis Sesabamisadmravalferovania, Seicavs specialur musikalur analizs(musikalur-akustikuri wyoba, kilo, ritmi, forma dasxva). maTSi gamoyenebuli momijnave dargebis (folkloristika,eTnografia, esTetika, sociologia, fsiqologia, leqsmcodneoba,lingvistika da a.S.) da zusti mecnierebis (maTematika,statistika, akustika) meTodebi da agreTve kartografireba...musikaluri eTnografiis Tanamedrove meTodika iyenebsmusikaluri kulturis kompleqsur da sistemur midgomas”(zemcovski, 1982: 578-579).sabWour mecnierebaSi es dargi ufro folkloristikulimimarTulebiT dawinaurda. musikaluri filkloris monacemebimiCneul iqna umniSvnelovanes wyarod kulturisa da eTnokulturuliurTierTobebis uZvelesi plastebis kvlevisaTvis.sXX s.-is 60-70-an wlebidan gamoCnda statiebi, sadac dasmuliiyo sakiTxi musikaluri monacemebis gamoyenebis aucileblobazeeTnologiis erT-erTi mniSvnelovani problemis _eTnogenezis rigi sakiTxebis gadawyvetisas (b. bartoki, T. rubcovi,i. zemcovski da sxvebi). eTnogenezi eTnologiis erT-er-Ti rTuli da mniSvnelovani problemaa. igi moiTxovs kompleqsuradsxvadasxva mecnierebaTa (eTnologia, arqeologia, an-Tropologia, istoria, lingvistika) monacemebis analizs. amproblemis SeswavlaSi musikaluri masala, gansakuTrebiT misiganviTarebis adreuli safexurebis amsaxveli Zveli plastebi,interesis sagani gaxda. aseve mniSvnelovnad warmoCnda musikalurkulturaTa kontaqtebis, urTierTobebis SedarebiTi Ses-146

wavla, romlis klasikuri nimuSia cnobili ungreli kompozitoris,folkloristis bela bartokis (1881-1945) Sromebi, romlebSicgamokvleulia ungreTis mezobel xalxTa simRerebi ma-Ti saerTo niSnebis dadgenis mizniT da amis safuZvelze ungrulimusikaluri folkloris kavSiri evropis sxva xalxTamonaTesave kulturebTan (bartoki, 1996).eTnogenezis problematikaSi musikaluri enis monacemebismniSvneloba samecniero wreebSi aRiarebuli iqna, razedacmetyvelebs am Temisadmi miZRvnili araerTi naSromi.aseTTa ricxvs ganekuTvneba v. vinogradovis Sromebi yirgizebiseTnogenezis problemis Sesaxeb musikaluri folklorismonacemebis Suqze (vinogradovi, 1960, 348-360; 1968), saerToslavuri musikaluri enis rekonstruqciis Sesaxeb f. rubcovisnaSromi (rubcovi, 1962). musikaluri slavistikis dargSimniSvnelovania v. goSovskis naSromi (goSovski, 1971). avtorisazriT, musikaluri ena, avlens ufro met konservatulobas,vidre metyveleba, sametyvelo ena (goSovski, 1971: 12) da tradiciuliglexuri simReris intonaciebi, gansakuTrebiT sawesoda Sromis simRerebisa, warmoadgens sarwmuno masalas musikalurikulturis uZvelesi warsulis Sesaswavlad. ammxriv igi aris ara marto arqeologiuri da lingvisturi masalistolfasi, aramed sandoobis mxriv kidevac aRematebamas (goSovski, 1971: 14). eTnogenezis, xalxTa istoriulad CamoyalibebulinaTesaobisa da urTierTkavSiris asaxsneladmusikaluri enis erovnuli safuZvlebis gamoyenebis mniSvnelobasexeba i. zemcovski (zemcovski, 1972).eTnogenezis problematikis SeswavlaSi CarTul iqnatradiciuli samusiko sakravebi rogorc wyaro, rogorc artefaqti_ materialuri kulturis Zegli, am kuTxiT daisvasakiTxi k. vertkovis SromebSi (vertkovi, 1972: 97-113). rusulbaltiur-finuriurTierTgavlenebis xasiaTis garkvevis cdarusuli simebiani instrumentis _ guslis magaliTze iyo i.tinuristis naSromi (tinuristi, 1977: 16-29).eTnokulturuli kavSirebis dadgenis saqmeSi yofaSi dadasturebulifaqtis Seswavlis safuZvelze miRebuli daskvnebismniSvneloba Cans erTi friad saintereso tradiciismagaliTze. es aris tuvaSi gavrcelebuli yelismieri simReristradicia _ erTi kacis mier erTddroulad ori tonis(ori saxvadasxva simaRlis bgeris) gamocema, romelic cnobiliamxolod Turqul-monRoluri jgufis oTx xalxSi samxreTcimbirsa da centralur aziaSi da erTaderT TurqulenovanxalxSi, romelic maTgan aTaseuli kilometriTaa daSo-147

ebuli da aRmosavleT evropaSi cxovrobs (vainStaini, 1980:149-156; tran quang hai, 2002: 266-283). yelismieri simRera, kulturisim specifikur movlenaTa ricxvs ganakuTvnes, romlisgavrcelebac winaT realuri eTnikuri kavSirebis safuZvelzemoxda (vainStaini, 1980: 155-156).ukanasknel xanebSi gamoqveynebuli masalebis mixedviT,musikaluri folklori ganixileba rogorc erovnuli identifikaciiswyaro: „erovnulobis fenomenSi kulturis mniSvnelobisgansazRvris ideaSi musika iZens gadamwyvet mniSvnelobas,rogorc erovnuli xelovnebis farTo koncefciis erTerTiganStoeba“ (piotrovska, 2008: 98).folkloristikasa da eTnografiis//eTnologiis sagnobrivisferoebis da urTierTmimarTebis sakiTxs XX saukunis60-70-ani wlebidan mokidebuli, TiTqmis 20-30 wlis manZilzearaerTi naSromi mieZRvna (propi, 1964; Cistovi, 1968; 1971; 1986;zemcovski, 1968 da sxva). rusulenovan samecniero literaturaSigamoikveTa miswrafeba eTnografiisa da folkloristikisSesaswavli sferoebis sazRvrebisa da momijnave an mona-Tesave mecnierebebTan urTTierTobis ufro mkveTrad gansaz-Rvrisaken (Cistovi, 1986: 253). iTqva, rom folkloristika warmoadgensfilologiur da eTnografiul mecnierebas, ramdenadacTiToeuli folkloruli movlena yovelTvis, erTsa daimave dros warmoadgens xalxuri yofis faqtsac da sityvierixelovnebis faqtsac, TiToeuli folkloruli movlena arisyofiTic da esTetikuric. gamoikveTa, rom folkloristikaaris mecniereba folkloris _ xalxuri Semoqmedebis Sesaxeb,romelSic igulisxmeba ara marto sityvieri xelovneba, aramedgamoyenebiTi xelovnebac, xalxuri musikac, qoreografiac.xalxur Semoqmedebas Seiswavlis folkloristika, magramxalxur Semoqmedebas rogorc yofis movlenas Seiswavlis eTnologiac(Cistovi, 1986: 276). aseTma midgomam musikalurifolklorisa da eTnologiis urTierTmimarTebis sakiTxicdasva, ramac ganapiroba eTnologiaSi musikaluri folkloristikismonacemebis, rogorc wyaros mniSvnelobis mimarTinteresis gazrda.cnobilia, rom termin “folklors” adre farTo mniSvnelobahqonda, igi aRniSnavda siZveleTa garkveul sferos, romelicmoicavda ara marto xalxur poetur Semoqmedebas, aramedgamoyenebiT xelovnebasac, rwmena-warmodgenebs, wes-Cveulebebsada tradiciuli xalxuri kulturis sxva mxareebsac,xalxis mTel sulier cxovrebas... (kokiara, 1960). “Semdeg amterminis mniSvnelobam evolucia ganicada, Seicvala fol-148

kloris Seswavlis aspeqtebi (arqeologiuri, istoriuli, fsiqologiuri,sociologiuri, eTnografiuli). terminis mniSvnelobammoicva TiTqmis mTeli sulieri kultura da materialurikulturis zogierTi sferoc, Semdeg ki isev daiwyo amterminis mniSvnelobis daviwroeba” (gusevi, 1967: 34,77; s. meletinski,1960: 6).zemoT aRniSnuli gvqonda, rom musikaluri folkloristikagaigivebuli iyo musikalur eTnografiasTan. es ganapirobaim garemoebam, rom musikaluri folklori Tavidanve SemodiodaeTnologiis interesebis sferoSi. magaliTad, Jurnal“Zeitschrift für Ethnologie”-Si sistematurad ibeWdeboda musikalurifolkloristikuli gamokvlevebi. aseve rusul Jurnal“Этнографическое обозрение“-Si ibeWdeboda xalxuri musikisadmimiZRvnili statiebi. eTnologiis//eTnografiis im sferos,romelic xalxur musikas sagangebod ikvlevda, Tavisispecifikis xazgasasmelad musikaluri eTnografia// eTnologiaewoda. “musikaluri eTnografia” ewodeba poloneli mecnierisana Cekanovskas naSroms /Ethnografia musiczna. Metodologia Imetodyka. Warszawa, 1971), romelic rusul enaze iTargmna da gamoica1983 wels (Cekanovska, 1983). es aris safuZvliani, akademiurinaSromi, romelSic ganxilulia am disciplinis meTodologiis,meTodebis sakiTxebi, mimdinareobebi, skolebi. amnaSromidan kargad Cans, Tu ramdenad mniSvnelovani adgiliukavia musikalur eTnologiaSi eTnologiis mimdinareobebs,skolebs, meTodebs, (evolucionisturs, sociologiurs, funqcionalurs,kartografiuls).eTnomusikologiis istorias iwyeben 1880-ani wlebidan,mas Semdeg, rac xmis Camweri aparati _ fonografi iqna gamogonebuli(1877). gamovlinda, rom sxvadasxva eTnosTa musikis(igulisxmeba zepiri gziT moRweuli, xalxuri, tradiciulimusikis) bgeraTrigebi ar emTxveoda evropaSi manamde cnobilbgeraTrigebs. amis Semdeg iwyeba bgeraTa akustikuri gazomvebi(elisi, 1885; Cekanovska, 1983:35, 102; zemcovski, 1988:105). termini„eTnomusikologia“ Semoitana 1950 wels holandielma i.kunstma. eTnomusikologiis Tanamedrove meTodologia daefuZnaiseT mecnierTa kvlevebsa da naSromebs, rogoric iyvnenk. zaqsi, k. breloiu, b. bartoki, v. viora, C. sigeri dasxvebi (zemcovski, 1988:105).aqve aRvniSnav, eTnomusikologia XX s.-is 90-an wlebamdeganixileboda rogorc eTnologiis erT-erTi mimarTuleba,romelic eTnologiis meTodebiT ikvlevda tradiciul musikalurkulturas da gansxvavdeboda musikaluri folklo-149

istikisagan, romelic ikvlevs amave obieqts rogorc mxatvrulmovlenas (SilakaZe, 1991). amJamad masSi integrirebuliaxalxuri musikis yvela ZiriTadi aspeqti _ samusikismcodneo,akustikuri, folkloristuli, eTnografiuli, sociologiuri,fsiqologiuri, kulturologiuri (И. Земцовский, 1988: 105).eTnomusikologia sakmaod momZlavrda da damoukidebeli disciplinadCamoyalibda. arsebobs saerTaSoriso organizacia _evropis eTnomusikologiuri seminari (Europian Seminar of Ethnomusicology,ESEM), romelic yovelwliurad marTavs seminarsevropis romelime qveynis erT-erT samecniero centrSi (am saerTaSorisoorganizaciis wevrebi saqarTvelodan arian istoriismecnierebaTa doqtorebi, prof. n. maisuraZe da prof.m. SilakaZe).mecnierebis ganviTarebis gzaze yoveli axali etapi iwyebaSesaswavli obieqtis sferos cvlilebiT (gafarToebiT, daviwroebiT,momijnave dargTan integraciiT da sxva), faqtobrivimasalis dagrovebis, meTodologiuri siaxleebisa da meTodebiscvlilebebis safuZvelze, ris Sesabamisadac definiciebicicvleba, zustdeba. amis mkafio magaliTia termini „folklori“.aseTi cvlilebebi (sakvlevi obieqtis gafarToeba/daviwroeba,momijnave dargebTan integracia), gvaqvs dasaxelebuldisciplinebSi. ikveTeba axali problematika, axali Tematika,romelic humanitarul mecnierebaTa farTo speqtris Car-Tvas iTxovs. yovelive es zrdis mecnieruli kvlevis siRrmes,moiTxovs meTodologiis gadaxedvas (brednixi, 2001: 77-100).eTnologiis sagnobrivi sferos birTvia myari maxasia-Teblebi, romlebic warmoadgens eTnosebis erTmaneTisaganganmasxvavebel Taviseburebebs, romelTa erTobliobac qmnisganumeorebel mTlianobas, TavisTavadobas. eTnologiis sferoSieqceva sazogadoebrivi cxovrebis is farTo veli, romelSicufro mkafiod vlindeba eTnikuri kulturis specifika.swored es edo safuZvlad qarTuli eTnologiuri skolisfuZemdeblis g. Citaias mTavari amocanis _ qarTvelTa eTnikuriTaviseburebis gansazRvras, raSic gulisxmobda „materialurida sulieri kulturis specifikur TaviseburebaTa konkretulerTianobas“ (gegeSiZe, 1980:39). eTnologiis obieqtiaris xalxi, eTnosi, faqtologiuri baza _ eTnikuri kultura,mravaldargovani da mravalaspeqtiani, mravalsaukunovanitradiciiT. eTnologiis specifikaa is, rom mas ara aqvs TiTqmisarcerTi sfero, romelic momijnave mecnierebasTan ariyos kavSirSi. amitom aris masSi sxvadasxva mimarTulebani,romlebic warmoadgenen eTnografiis geografiasTan, lingvis-150

tikasTan, botanikasTan, musikasTan da sxva dargebTan sinTezisSedegs _ eTnogeografia, eTnolingvistika, eTnodemografia,eTnosociologia, eTnofsiqologia da sxva (Cistovi, 1986:265-266;).zemoT aRiniSna, rom eTnologiis sferoSi yovelTvis Semodiodamusikaluri folklori. qarTuli eTnologiuri skolisfuZemdebeli akad. giorgi Citaia gansakuTrebul mniSvnelobasaniWebda qarTuli musikaluri folkloris rogorceTnografiuli wyaros Seswavlas. SemTxveviTi ar iyo rom saqarTvelosakademiis iv. javaxiSvilis istoriis, institutiseTnografiis ganyofilebaSi wlebis manZilze TanamSromlobdnenqarTuli musikaluri folkloristikis cnobili warmomadgenlebi(d. arayiSvili, gr. CxikvaZe, S. aslaniSvili, v.axobaZe, b. gulisaSvili, T. mamalaZe). g. Citaia zrunavda imaze,rom moemzadebina saTanado musikaluri ganaTlebis mqonekadrebi, romlebic SeZlebdnen eTnologis poziciebidan SeeswavlaTmusikaluri folklori. 60-ani wlebis dasawyisSi gaaqtiurdamuSaoba am mimarTulebiT akad. g. Citaiasa da prof.v. bardaveliZis xelmZRvanelobiT. momzadda sadisertacionaSromebi, romlebSic eTnografiuli skolis moTxovnebis Sesabamisadiyo Seswavlili qarTuli xalxuri musika (sasimReroSemoqmedeba da samusiko sakravebi). es naSromebi efuZnebodamasalas, romelic avtorTa mier uSualod velze iyo Sekrebilig. Citaias mier SemuSavebuli savele eTnografiulimuSaobis kompleqsur-intensiuri meTodiT. xalxuri musikaluriSemoqmedeba ganixileboda rogorc wyaro, rogorc iseTiinformaciis matarebeli, romelic saSualebas iZleva dasmuliqnas saerToqarTuli musikaluri enis genezisis, Camoyalibebisada ganviTarebis sakiTxebi qarTveli xalxis eTnikuri istoriisSuqze (maisuraZe, 1983; 1989). qarTuli tradiciuli sakravebiganixileba rogorc materialuri musikaluri kulturisZeglebi, qarTul-Crdilokavkasiuri eTnokulturuli ur-TierTobebis damadasturebeli faqtebi (SilakaZe, 1991; 2007).rogorc aRvniSneT, mecnierebis ganviTarebis sxvadasxvaetapebze Sesaswavli obieqtis sferos cvlilebis gamo definiciebSiccvlilebebi xdeba. definiciebis mravalgvaroba dasinonimebis simravle arTulebs zogierTi terminiT operirebas.amitom droulad mimaCnia tradiciulis gverdiT savsebiTkanonzomierad gaCenili axali terminologiis garkveva. ker-Zod, maTSi nagulisxmevi Sinaarsis, masStabebis, ZiriTadiprincipebis mkafiod Camoyalibeba, yoveli terminis, axali mi-151

marTulebebis obieqtis, sagnis, meTodologiis, meTodikisa daamocanebis dakonkreteba.amgvarad, eTnomusikologia aris mecnierebis dargi, CamoyalibebulieTnologiisa/eTnografiisa da musikaluri folkloristikissinTezis Sedegad. misi saxelwodeba nawarmoebiaeTnologiaSi Semavali zogierTi dargis saxelwodebis (eTnobotanika,eTnolingvistika, eTnomedicina da misTanaTa) analogiurad.XX s.-is miwurulamde paralelurad, SeiZleba iTqvas,sinonimebad ixmareboda terminebi musikaluri eTnografia,musikaluri folkloristika, eTnomusikismcodneoba, eTnomusikologia.XXI s.-is dasawyisidan (SeiZleba ufro adridanac)yvelgan, maT Soris saqarTveloSic mkvidrdeba terminieTnomusikologia (Sdr. SilakaZe, 1991; maisuraZe, 2001: 299-301),albaT, misi mobilurobis gamoc. „amJamad masSi integrirebuliaxalxuri musikis yvela ZiriTadi aspeqti _ samusikismcodneo,akustikuri, folkloristuli, eTnologiuri, sociologiuri,fsiqologiuri, kulturologiuri“ (zemcovski,1988: 76). eTnomusikologia sakmaod momZlavrda. igi aqtiuradviTardeba. gafarTovda misi kvlevis sfero da meTodebi. mecnierebi,aRWurvili Tanamedrove teqnikis Sesabamisi aparaturiT,ikvleven msoflios sxvadasxva xalxTa kulturas. amkvlevaSi didi roli Seasrula da asruleben fonogramarqivebi,romlebic organizebul iyo venaSi 1900 wlidan (r. vala-Seki, r. laxi) da 1902 wlidan berlinSi (k. Stumpfi, o. abrahami,e. hornbosteli, k. zaqsi). maT garda arsebobs 1944 w. daarsebulixalxuri musikis saerTaSoriso arqivi, puSkinis saxlisfonogramarqivi (sankt-peterburgi), adamianis muzeumisarqivi (parizi), xalxuri simReris arqivebi kongresis boblioTekaSi(vaSingtoni), tradiciuli musikis arqivi indianisuniversitetSi (aSS) da eTnomusikologiiisa kaliforniisuniversitetSi (aSS). 1947 wlidan moqmedebs iuneskosTan arsebulixalxuri musikis saerTaSoriso sabWo, romelsac aqvssxvadasxva qveyanaSi Tavisi komitetebi da specialuri Jurnalebi.arsebobs eTnomusikologiis sazogadoebis JurnaliEthnomusicology (aSS), SedarebiTi musikaTmcodneobis saerTaSorisoinstituti (berlini), saerTaSoriso organizacia EuropianSeminar of Ethnomusicology (ESEM), romelic yovelwliurad mar-Tavs saerTaSoriso seminars evropis romelime qveynis Sesabamissamecniero centrSi, Ggamodis saerTaSoriso JurnalebiJournal of International Folk Music Council (Jahrbooc of International Folk MusicCouncil), Ethnomusicology (aSS), Jahrbuch für musikalische Volks-undVölkerkunde (berlini), Acta Etnomisicologica (budapeSti).152

ukanasknel wlebSi gamoqveynebuli Sromebis mixedviTTu vimsjelebT, musikaluri folkloristika integrirebuliCans eTnomusikologiaSi. Seicvala xalxuri musikis Sesaswavliresursebic da kvlevis SesaZleblobanic. TiTqmis damkvidrdatermini „eTnomusikologia“, romelic Caenacvla manamdesamecniero mimoqcevaSi arsebul terminebs da rig Sem-TxvevaSi dafara kidec. terminis damkvidreba ganapiroba masSiarsebulma interdisciplinurobis principma da Tavad terminismobilurobam.eTnomusikologia ganxilul unda iqnas rogorc interdisciplinuridargi, romelic swavlobs tradiciul musikalurSemoqmedebas yvela aspeqtiT _ rogorc mxatvrul movlenas,rogorc yofis movlenas, rogorc esTetikur fenomens.damowmebuli literatura:adleri: G. Adler, Umfang, Ziel und Methode der Musikwisseschaft _ “Vierteljahresschaftfür Musikwissenschaft”, Jahrgang 1. 1885.bartoki: Барток, Б., Народная музыка Венгрии и соседних народов,Москва: Музыка. 1996.boze: Bose, F., Musikgeschichtliche Aspeqte der MusikeThnologie. _ Archivfür Musikwisseschaft, Wiesbaden, Heft 3. 1966.brednixi: Brednich Rolf W., Quellen und Methoden. In: Grundriss der Volkskunde.Einführung in die Forschungsfelder der Europäischen Ethnologie.hrs. R. W. Brednich, Berlin:Reiner, 2001, 77-100.bromlei, tokarevi: Бромлей Ю.В., Токарев, С. А., Этнография, _ Сводэтнографических понятий и терминов, Москва: «Наука», 1988, 21-41.gegeSiZe: m., giorgi Citaia, Tbilisi: „mecniereba“, 1980.goSovski: Гошовский, В. У истоков народной музыки славян (Очерки помузыкальному славяноведению, Москва: Советский композитор. 1971.gusevi: Гусев В. Е., Эстетика фольклора, Ленинград, 1967.eTnografiuli da momijnave: Свод этнографических понятий и терминов,Москва: «Наука», 1988.elisi: Ellis, A. J. Tonometrical Observations on some Existing NonharmonicScales. _ Proceedings of the Royal Society. 1885.elisi: On the Musical Scales of Varions Nations. _ Journal of the Society ofArts. 1885a.enciklopedia: Большая Советская Энциклопедия, 2-е изд.153

enciklopediuri leqsikoni: Музыкальнаяя Энциклопедия (в 6-титомах). Главный редактор Ю. В. Келдыш, Москва: Советский композитор.vainStaini: Феномен музыкального искусства, рожденный в степях. –Советская этнография, 1980, №1, 149-156.vertkovi: Музыкальные инструменты как павятеики этнической историко-культурнойобщности народов СССР. – Славянский музыкальныйфольклор. М.-Л.: Музыка, 1972. с. 97-113.vinogradovi: Проблема этногенеза киргизов в свете некоторых данныхих музыкального фольклора. – Вопросы музыкознания, (Отв. ред. Ю.В. Келдыш), М.: Музгиз, 1960. с. 348-360.vinogradovi: Музыка советского Востока, Советский композитор. 1968.zeegeri: Seeger Horst, Musklexikon, II, Leipcig. 1966.zemcovski: Земцовский И. И., К спорам о жанрах, – Советская музыка,1968 №7, 104-107.zemcovski: Фольклористика как наука. – Славянский музыкальный фольклор.М.-Л.: Музыка, 1972. с.7-79.zemcovski: Этнография музыкальная. – Музыкальнаяя Энциклопедия (в6-ти томах). Главный редактор Ю. В. Келдыш, т. 6, 1982. с. 578-581,Москва: Советский композитор.zemcovski: Этномузыкология, – Свод этнографических понятий итерминов, Москва: «Наука», 1988, 105-106.kokiara: Коккьяра Дж., История фольклористики в Европе, Москва, 1960.maisuraZe: qarTuli xalxuri musika da misi istoriul-eTnografiuliaspeqtebi, Tbilisi: mecniereba (rus. rez.).1989.maisuraZe: qarTuli musikaluri eTnologiis (eTnomusikologiis)programa _ masalebi saqarTvelos eTnografiisaTvis,XXIV, Tb., 2001, с. 299-301.meletinski: Мелетинский Е. М., О книге Дж. Коккьяры „История фольклористикив Европе“, Москва, 1960, с.5-15.meliqiSvili: meliqiSvili l., eTnografia Tu eTnologia,Tbilisi: „mematiane“, 2000.piotrovska: PPiotrowska, A., Folklore as a Source of National Identifikationin Music. _ The Third International Symposium on Traditional Polyphony.Tbilisi: State Conservatoire, 2008, p.p. 97-118.propi: Принципы классификации фольклорных жанров. – Советскаяэтнография, 1964, №4, 147-154.rubcovi: Иинтонационные связи в песенном творчестве славянских народов(Опыт исследования), Л.: Советский композитор.154

tinuristi: Где во гусли звонили? (Опыт картографирования народныхмузыкальных инструментов). – Этнографические исследования Северо-ЗападаСССР. Л.: Наука (Ленинградское отделение), 1977. с. 16-29.tran quang hai: Tran Quang Hai, Polyphöny in one Throat. _ The First InternationalSymposium on Traditional Polyphony. Tbilisi: State Conservatoire,2002. pp. 266-283.SilakaZe: SilakaZe m. qarTuli xalxuri sakravebi da sakravierimusika, Tbilisi: mecniereba (rus. da germ. rez.). 1971.SilakaZe: SilakaZe m. musikaluri eTnografiis sagani, _ masalebisaqarTvelos eTnografiisaTvis, XVI-XVII, 185-190,Tbilisi: mecniereba. 1972.SilakaZe: SilakaZe, m., eTnomusikologiis sagani, meTodebi daamocanebi, Tbilisi: „mecniereba“. 1991.SilakaZe: SilakaZe, m., tradiciuli samusiko sakravebi da qar-Tul-Crdilokavkasiuri eTnokulturuli urTierTobani,Tbilisi, „kavkasiuri saxli“. 2007.Cekanovska: Чекановска А., Музыкальная этнография. Методология и методика,М.: Сов. композитор. 1983.Cistovi: Чистов К. В. Фольклор и этнография, – Сов. этнография, 1968,№5, 3-12.Cistovi: Чистов К. В. О взимоотношении фольклористики и этнографии, –Сов. этнография, 1971. №5, 17-24.Cistovi: Чистов К. В.: Народные традиции и фольклор. Очерки теории. Л.:Наука (Ленинградское отделение). 1986.Citaia: Citaia g., qarTuli eTnologia, _ mimomxilveli, 1926;Sromebi; III, 2001, Tbilisi: „mecniereba“, gv. 21-32.155

Towards the Definition of EthnomusicologyManana ShilakadzeThe article aims to show the problems of definitions of one of the fields ofmusicology – investigating the folk musical culture, which at different times hadbeen defined differently: as musical ethnography, musical archaeology, ethnomusicology,ethno-instrumentalism etc. The author tried to show that the changesof the name in this field were caused by the changes in the research approachesin the subject matter.The author shows, how ethnomusicology as a field of science developedand formed as a result of synthesis of one of the branches of ethnology/ethnographywith musical folklore. Its name is derived by analogy to some of the otherbranches of ethnology (ethno-botany, ethno-linguistics, ethno-medicine, etc.).Since the beginning of the 19 th century almost everywhere, including Georgia,the term ethnomusicology has been inculcated, in which all the fundamental aspectsof folk music: musicological, acoustic, folkloristic, ethnologic, sociological,psychological, culturological (the term predominantly used in formerSoviet Union) are integrated. Now, the ethnomusicology is actively developing.The spheres of interests are expanded and the methods and approaches are workedout. Currently, the scientists explore the musical cultures of various peoplesof the world. Phono-archives played and still have a huge role in theseinvestigations. Since 1947 the International Council of folk music at UNESCO,which has the committees and special journals in various countries, has beenfunctioning. The Society for Ethnomusicology has issued the journal “Ethnomusicology”.There are some other international journals, as well. Thus theinculcated term “ethnomusicology” has substituted other terms which were inscientific circulation until then. Hence, ethnomusicology is regarded as an interdisciplinarybranch, studying traditional musical creative work from differentaspects: as an artistic, everyday life and esthetic phenomena.156

politikuri anTropologiaPOLITICAL ANTHROPOLOGYPower of History and Symbolic Forms:Georgia’s ‘Revolutionary’ politicsDecember 2008Nutsa BatiashviliThe winter of 2007-2008 witnessed turmoil in the political life of Georgia.Several months of political unrest were followed by the re-election of presidentSaakashvili, and this in turn sparked a new series of protests and demonstrations onthe streets. The riots were over political disputes between the government and theopposition parties, at the centre of which was the issue of democracy. All theseevents were characterized by an abundance of political performances and symbolicdisplays, and this makes it possible to explore a number of conceptual issues – bothfor Georgia and for the anthropology of the state.Two events in particular stood out with remarkable symbolic power andcan serve as a starting point for interpreting this dense and complex sociopoliticalcontext. Both occurred in the milieu of the 2008 presidential elections,and both had implications far beyond the sphere of politics.Upon his re-election in 2008, president Saakashvili visited Bagrati churchin the western part of Georgia following the official inauguration in the capitalcity of Tbilisi. He went there to perform a symbolic ritual in the ruins of theancient Orthodox Church. Four years earlier, in 2004, Saakashvili marked thebeginning of his presieency with a similar pilgrimage to Gelati Cathedral(Wertsch & Batiashvili, in press). The meaning of these trips to Gelati is obviousto most Georgians and its power derives from the collective memory of 11 th –13 th centuries 1 known as the revival, or golden age of Georgia.In the Georgian national narrative this is the period that an integratedstrong country emerged, one that was free from external enemies and under therule of a powerful monarch who was tolerant with the people but cruel to traitors.It stands in contrast to other historical epochs in Georgian collective memory andis also taken to exemplify a state of ‘normalcy’. In the Georgian imagination it istaken to represent their ‘essence’, the genuine “us” (Wertsch 2001). The nationhas generally failed to return to the conditions of this glorious golden age for anumber of reasons. Competing narratives have emerged to account for thesereasons. Some involve ideas about Georgia’s inability to identify ‘traitors’ whenthis needed, and most identify these traitors as individuals, usually noblemen,who were seeking power and were willing to collaborate with the enemy in orderto obtain it.157

The day after the 2008 presidential elections even before the official resultshad been announced, opposition leaders and several thousand of supportersgathered in the centre of Tbilisi to protest the ‘falsified’ exit poll results. For thenext several days opposition leaders marched to the Central Election Commission(CEC), confronting the CEC chief Levan Tarkhnishvili. At one point LevanGachechiladze 2 an opposition leader and Saakashvili’s rival in the presidentialelections shouted at Tarkhnishvili, “You are a cheat and should resign!”In order to understand the significance of this episode, one must turn to theevents of 2003 that became known as the Rose Revolution. Thisrevolutioninvolved several events including public demonstrations in the city center ofTbilisi, the opposition’s gathering in front of the Election Commission and citycourts; demanding a fair count of the votes and the resignation of PresidentShevardnadze later. But among these, one of the first decisive and memorablemoments, one that somehow marked the beginning of revolutionary movementwas Saakashvili’s (then opposition leader, current president of Georgia)confrontation with the head of the CEC.The resemblance of the scene in 2008 with that of 2003 was striking andstands out as an illustrationof a more general tendency in the opposition’spolitical approach.. In what follows I will argue that opposition’s efforts in 2008at gaining public support and at legitimizing their actions relied heavily on thepower of symbolic performances that have acquired legitimacy through historicalprecedents. These precedents have extraordinary significance in publicimagination, for which Rose Revolution was a quintessential point in recentyears.Narrative toolIn order to proceed with my argument let me outline key theoreticalconcepts devised in this paper. The starting point is the assumption aboutcollective remembering as mediated action where narratives function as culturaltools to mediate remembering (Wertsch 2001). Wertsch argues that “narrative isone of a few different instruments we have for representing settings, actors, andevents of the past” (2001:55-56). Narratives frequently involve some sort ofsimplifying devices, like “schemes” (Bartlett 1995) in order to make logicalconnection between occurrences, identify characters, and construct the events(Mink). In short narratives represent events in a way that “grasps together” theirmeaning. They are “cognitive instruments” (Mink 1978) through which we areable to process and classify information.. The idea of narrative form as cognitiveinstrument is based on Kantian claims about “Universal History”. In Mink’sparaphrase of Kant he says: “we cannot make sense of history, unless it ispossible to discover in it a single theme, a ‘regular movement, [that] beyond …mere chronologies there should be a “’larger theme about the movement anddirection of history” (Mink 1981:190). Eventually, what narrative form does ishelp make of events and how they relate to each other. It ensures some degree of158

predictability by harnessing a “moralizing impulse” (White) on which stance istakken in relation to these events.When trying to interpret or understand events we usually search formeaning and theimplications they might have. It is in this “effort after meaning”as Frederic Bartlett frames it (1995:44) that we deploy he called “schemes” tofind recurrent themes and link them in a coherent way.Wertsch distinguishes between “specific narratives” and “schematicnarrative templates”. The former include more specific information on place,time, and actors, whereas the latter are more like a general formula which establishesthe relationships among variablessuch as in mathematics, where in theformula A+B=C, A could be equal to 3, 10, or even (3+5), as long as its relationshipto B and C remains constant. Thus, narrative templates can apply to anumber of events occurring at different times and places. For instance the RoseRevolution can be framed both as a specific narrative and as an instantiation of anarrative template. In the first case it will tell a story of peaceful demonstrationsheld in the streets of Georgia in 2003 to overthrow corrupt government led byEduard Shevardnadze. If viewed from the perspective of a schematic narrativetemplate, it might be represented as a general story of a successful struggle bypeaceful people against unfair domination.Popular resistance narrativeA major episode in recent Georgian history that gave rise to iconic imageof crowded streets of Tbilisi was in the late 1970’s when Georgians protestedagainst the attempt by Soviet authorities to abolish Georgian as a state language.Later in 1980s and early 1990s permanent mass demonstrations played a role inGeorgia’s separation from the Soviet Union. After independence the first nationalgovernment came to power. But shortly, increasing dissatisfaction with the firstpresident found its way to “street politics,” and these forms of popular resistanceled to civil war in the 1990s. Hence, up until the success of the Rose Revolutionthe traumatic events of the 1990s, including a civil war thwarted the historicallegitimacy of popular “street politics” in Georgians’ perception, but the Rose Revolutionhelped overcome the fears instilled by the civil war. By overshadowingrecent ‘failures’ it has finally and fundamentally legitimized the forms of politicalexpression and resistance that proved successful in 2003 3 .Of course the connection between public resistance and political transformationis not a simple matter of direct causality. There were other complexpolitical processes taking place behind the scenes, especially in the case of thecollapse of the Soviet Union. But the iconic image of crowded streets inGeorgian’s public memory has come to signify the story of people fighting forfreedom, where justice is always on the street’s side. As outlined above,establishing such a link between the events derives in part from the power ofnarrative form, where one historical diversion from the pattern cannot upset anestablished “narrative truth” (Mink 1981:197).159

This kind of popular resistance is one of the dominant themes that runsthrough the Georgian historical narrative and is part of the Georgian selfimagination’, something that Georgians call “Georgiannness”. An example ofthis can be found on the web page “Kartuli Idea – The Georgian Idea (abouthistory of Georgia and History of the National-Liberation Movement in Georgia)”created by historian Levan Z. Urushadze 4 . The text contains a condensedversion of Georgia’s history of some 3000 years organized around “nationalliberationmovements” where the people always fight for patriotic causes. Thetitle of the text “about the history of Georgia and the History of the National-Liberation Movement in Georgia” speaks for itself, but following lines wereespecially revealing:“The Georgian Nation (people) never reconcile to the violent abolition oftheir statehood and Russian domination. During 116 years of domination of theTsarist Russia (1801-1917) the National-liberation movement never ceased.Uprisings against Russian domination in Georgia took place in 1802, 1804, 1810,1811-1813, 1819-1820, 1821, 1824, 1829, 1830, 1832, 1838-1840, 1850, 1856-1857, 1858, 1861-1863, 1866, 1876-1878, 1905-1906, and 1907.” 5This paragraph with its long list of years collapses different events into ageneral pattern and urges the reader to fit their imagination around what is themost emblematic image of national resistance for contemporary Georgians. Thetext, which is probably intended for a foreign audience, (it is written in English)leaves out several centuries of Georgian history – jumping from the Golden Ageof the 12 th -13 th centuries to to Russian annexation several centuries later. Themain body of the text is dedicated to this period and takes the reader up to therecent Russian-Georgian war, and includes more detailed description of therebellions and uprisings that followed Georgia’s occupation by the Red Army in1921. It features photos of all major figures who fought against the Red Army aswell as photograph of the first president of Georgia – Zviad Gamsakhurdiapresented first and foremost as a leader of National Liberation Movement. Rightafter this photo is a picture of President Saakashvili and a photo depicting acrowded Freedom Square in Tbilisi as Saakashvili led his people in theRoseRevolution. Interestingly, the second president of Georgia – Eduard Shevardnadzeis altogether missing from this historical narrative. He had no part in anysort of liberation movement and as such is excluded from the narrative thatdepicts Georgians as freedom-fighters.Other examples that convey Georgians as people fighting for a patrioticcause (as opposed to fighting for a state) could be found in Georgian historytextbooks. For instance in a 1968 history textbook several chapters appear undersimilar headings: “The struggle of the Georgian people for independence in theXVI century” (p 114); “The struggle of the Georgian people against the Ottomaninvaders” (p 119); “The struggle of the Georgian people for independence in theXVII century” (p 123); “Popular uprising in Kakheti” (p 128); “The struggleagainst colonial and social repression in the first half of XIX century” (p 171);160

and “The struggle of the Georgian people against social and national repression”(p 203). Each of these represents different instances of people’s rebellions withtheir attendant heroes and villains.Internal traitors’ narrativeIn a paper on “Mnemonic Communities” Wertsch and Batiashvili discussGeorgia’s national narrative under the heading “Foiled attempts to return to theGolden Age”(2008, in press) 6 . This narrative asserts that Georgians are constantlytrying to integrate their historic territories, and build a strong state freefrom external enemies. But according this narrative these attempts are thwartedby appearance of new powerful enemy who tries to divide and conquer thecountry, andhese enemies are usually aided by people inside the country who intheir turn try to gain power and thus are willing to collaborate with the enemy inorder to advance their positions. These collaborators are identified in theGeorgian national narrative as internal traitors, without whom enemies wouldhave had much more difficulty in defeating the united nation. In historytextbooks they appear in different epochs usually as noblemen who want tomaintain their dominant position in a region rather than be under the rule ofcentralized monarchy. They are portrayed as seeking advantage while the countryis under threat from an external enemy.A passage in a 1968 history textbook describes one such instance:“Byzantine [who was trying to conquer Georgian territories in the 11 th century]was supported by noblemen fighting inside the country for its disintegration” (p60). In another case it is the Mongols who are the external enemy:: “In a countrywithout a monarch, some lords who had been strengthened by the Mongols werestriving to get hold of all power. Their conduct was unrestrained, and alongsidethe invaders they robbed the population.” (p 91). In another chapter somethingsimilar appears: “In 1756 reactionary noblemen conspired against the King. Theirgoals were to assassinate the King and his family and to bring to the thronesomeone more favorable to them.” (p 148).During the 11 th -13 th centuries one of the reasons for King David IV’ssuccess in integrating the country and defeating external enemies is assumed tobe his strong hand against people who went against his will and tried to obtainpower themselves. Thus, two constitutive elements of this narrative template are:a) threat from external enemy, and b) individuals inside the country who aid theenemy by resisting centralization of the state.In Georgia’s political discourse, attempts to direct attention to an externalthreat coming from Russia have often been met with extreme irritation eitherfrom public or from opposition leaders. For Georgians it is quite clear that if thecountry’s leaders point to an “external enemy” when faced with internal politicalopposition, they are implying that the opposition is acting as a historical traitor.There is no need even to utter the actual words ”traitor.” The narrative is sopowerful and clear that virtually everyone can figure out the hidden part. The161

ability to evoke interpretations and refer to pre existing meanings has to do withreferential function of narrative tools:The referential function of narratives concerns their potential to refer to thesetting, characters, and events. The basic relationship involved in this function isbetween narratives and the objects they represent (Wertsch 2002:57).The referential function of narratives involves more than simply referringto setting, actors, and events. A crucial fact about narratives as cultural tools isthat they make possible to carry out “configurational act” […] often discussedunder the heading of emplotment […]. A crucial factor […] of emplotment is the“sense of ending” around which narratives are organized.”(Wertsch, 2002:58).What kind of “sense of ending” can reference to the “external enemy”evokes for Georgian public? As mentioned above, threat from external enemydirectly links events to the familiar setting that is pregiven in Georgian narrativetemplate. In this setting external enemy’s attempts to invade the country areaided by the efforts from internal collaborators. Thus reference to such threat, inthe face of internal struggles, carries out “configuration” or “plot” mentioned inthe quote that gives not only the “sense of ending” but has the potential toidentify and label the actors. In our case the outcome will be labeling oppositionas traitor.What I have attempted to present so far are two perspectives that that canbe found in Georgian collective memory – perspectives that either highlightpopular resistance or internal traitors. They are different not because they standin neat opposition, but because they emphasize different recurring patterns ortrends throughout centuries. Thus they can be viewed as complementary parts ofone and the same story of the Georgian people’s unwillingness to reconcile withexternal domination. In this account Gerogians are constantly striving on behalfof the independent, strong state that they were able to build in the 12 th centuryunder the rule of the powerful monarch David the Builder. But apart from theGolden Age period these attempts have been constantly thwarted not only by theappearance of a “new enemy” but by internal “traitors.”David the Builderrepresents a powerful monarch who not only was able to execute people’s willand liberate the country, but managed to contain and punish with extraordinarycruelty those “internal traitors” who resisted his power. This narrative does notentail an “either/or” opposition. Instead of imposing a choice between depictingGeorgian people as either “brave hearts” or collaborators, it incorporates bothtrends. However, depending on the context and political discourse Georgianstend to emphasize only one of these two. Such selectivity reflects “moralizingimpulse” the White discusses in his analysis of the narrative representation ofreality.So far, I have only outlined the premises for interpreting two events orrather two dramaturgical encounters that I introduced in the beginning: Saakshvili’spilgrimage to the ancient monastery at Gelati and Gachechiladze’s“surge” in the CEC building. They could be described as performative acts that162

embody and symbolize the two themes of Georgian history in national consciousness.Behind these embodiments were narratives that I have outlined above.In this analysis Saakshvili’s performance instantiated the narrative aboutGeorgia’s eternal mission of uniting its historical soils and domesticating theenemies and traitors that stand in the way of accomplishing this mission. At thesame time, the political opposition in Georgia has responded to the accusation ofstanding in the way of this mission by framing themselves in the narrative ofpopular resistance which has equal degree of validity. The scene with Gachechiladzebreaking into the Central Election Commission to demand a fair count ofthe votes involves all these narrative strands. Each of the statements involved inthis case relied on an attemptto identify ‘heroes’ and ‘villains’ in the contemporaryGeorgian context.But it is only in this context that we see them in opposition to each other. Itis only here that we can observe how two narratives which in their nature havenothing inherently contradictory with one another can be deployed by differentgroups as competing and even conflicting frames of reference. If an observer ofthe political situation during 2008 elections relied on the Golden Age narrativeimplied in Saakshvili’s inaugural performances to make sense of the situation,s/he would have interpreted the opposition’s actions as that of ‘traitors’ whoresisted the will of the Georgian people and its leader to liberate and strengthenthe country amidst the threat from external enemy, namelyRussia. And indeed,some people made exactly these accusations. On the other hand, if theopposition’s rallies were to be interpreted through the spectrum of a narrativeabout popular movements against unjust domination and repression, then clearlythe “villains” were not among the anti-government demonstrators.Bakhtin, addressivity, and textIn his article “The problem of the Text in Linguistics, Philology, and theHuman Sciences” Bakhtin points out that subject study of human sciences is“thought about others’ thoughts …” and he argues that these are accessible to theresearcher only through the form of “texts.” He asserts that text should be understoodin a very broad sense that goes beyond “verbal texts”, but in actuality hisinterests focused primarily on the latter (1986:103).Later in the same essay Bakhtin writes “The problem of incarnating thetext. The boundaries of this incarnation. A human act is a potential text and canbe understood (as a human act and not a physical action) only in the dialogiccontext of its time (as a rejoinder, as e semantic position, as a system of motives)”(1986:107). Although no further clarifications follow this passage gives usa clue as to what Bakhtin hand in mind as a text which went far beyond verbalexpression.With this in mind, I would like to take freedom and conceptualize theencounters in question (two political acts) as texts. Rather than naming them asevents, it seems to me they manifest properties that are ascribed to utterance,163

ecause they are ultimately communicative and involve addressee. They areplayed out in a way that resembles dramaturgical act, where not only actualwords uttered are meaningful, but the whole scene or scenery - space and time, aswell as what Goffman calls “setting”, bodily movements, speech acts, acts thatprecede it, and context that stretches beyond immediate circumstances or whatBakhtin calls “nearest social setting”. All of these have to be involved in interpretingthe meaning of acts (or texts). Here, each act stands for what utterance isin Bakhtin’s text and is a “link” in the “chain of utterances”. What this means isthat every utterance responds to some other utterances, to some voices that havespoken same words, that may precede it and be spatially and temporally distant.In that sense the meaning of the text is never limited to this particular one butreaches out to other ones, and is thus always a link in a chain of texts.Earlier in the same essay Bakhtin points out that “if there is no languagebehind the text, it is not a text, but a natural (not signifying) phenomenon”(1986:105). It is exactly for this reason that I think following events could beread as texts. So, how are Bakhtin’s ideas revealing for the case that I am arguinghere?As described above, we are looking at two events that occurred almostsimultaneously in the context of the heated political discourse after the 2008presidential elections. On the one hand, there are ongoing protests anddemonstrations held in the city center of Tbilisi amidst which an oppositionleader breaks into the CEC building and confronts its chief. Meanwhile, Saakashvilitravels to the western part of the country, remote from where all theaction is, to perform his inaugural ceremony in the medieval cathedral built bythe country’s most powerful ruler during the period known as Golden Age ofGeorgia.Here, I want to use Bakhtin’s concepts to interpret these two performancesas “texts” or “utterances” which are spatially distant, nevertheless occupy sameconceptual space and are inevitably addressed to each other. In order to interpretthese performances as texts (or utterances) according to Bakhtin behind each ofthem should be a system of “conventional signs”. Conventional signs, in thiscase, appear in the form of historical narratives that I have outlined above -shared by the collectivity of people who are involved in this interaction. Thusthey are not devoid of “linguistic repeatability” they represent something that ispre-given and shared by most of the participants.Repeatable and reproducible here are collective memories representedthrough narrative forms. So, it is these repeatable, conventional symbols (narratives)that must be recognized by members of a collective that political actorsdepend on when addressing an audience. This aspect of the utterance that isreproducible and repeatable is what Bakhtin described as the first pole of the text.At the same time utterance always enacts something unique. Thus the secondaspect on the other hand, its uniqueness and individuality, is linked with “othertexts (unrepeatable) by special dialogic relations” and is related to the “aspect of164

authorship” (1986:105). Both political actors (Saakashvili and Gachechiladze)were physically addressing someone other than each other. Both performanceswere directed at a general audience that could be counted on to interpret theongoing debate by harnessing conventional signs - in this case narrative tools thatwere pregiven. Gachechiladze’s performance was alluding to the narrative ofpopular resistance where justice had to be on the people’s side and thus framedSaakashvili’s government as an oppressor who stood against the people’s will.At nearly the same time, and several hundred miles away Saakashviliperformed a ritual similar to the one that four years earlier marked the beginningof his presidency and had been interpreted as declaration of himself to thegeneral public as a leader who came with the mission to do what David theBuilder did in 12 th century. Only this time (in 2008) his pilgrimage was directedtoward the internal opposition, or “collaborators.” and although symbolized samenarrative of the Golden Age, now it highlighted the aspect of internal traitors inthe face of Russia who was given a hand by opposition’s actions. What his actpronounced, without actual words being uttered, would have sounded somethinglike this: “We are on our way of accomplishing King David’s mission but you(opposition) are preventing this with your conduct that meets Russia’sinterests…you are collaborating with the enemy, you are the traitors”. But in facthis words were:A united Georgia needs our unity now, to work together towards our manycommon goals … the time for division has passed … the goals we share ascitizens of Georgia are far more important than what separates us … it is [the]unity and sense of national purpose that we must strive to maintain …So, now letus come together to join that work! Many parties, but one Georgia! Differentreligions, but with faith in one God! Different ethnic groups, but one country!Five crosses, but one flag! Strength in unity! So that whatever our beliefs oropinions, we can turn to our children and grandchildren, when our own days haveneared their end, and tell them: we have done all we could so that you cancontinue Georgia’s great journey, in prosperity, in peace, and in freedom. MayGod bless and protect Georgia (www.civil.ge).It is exactly this addressivity, this dialogicallity of two texts thatexemplifies Bakhtin’s second pole – uniqueness and individuality of any utterance.In another time and space enactment of those same symbols (narratives) bythe exact same authors would have resulted in yet different kind of dialogue.In addition statements were made and acts performed by political leadersthat addressed their audience not with an intention to make an informativestatement but with an intention to invoke certain emotions. Words are intended togain people’s hearts. Such an effort must make sure that the words uttered or actsperformed in front of an audience positions an actor in the right place fromspectator’s perspective. Saakashvili’s performatives were directed at reassertingand rearticulating himself as the ruler under which Georgia will be reintegrated,at the same time through devising same narrative tool relating opposition’s role165

to that of the historical ‘traitors’. The places he chose to do this – two medievalcathedrals both symbolizing Georgia’s Golden Age _ were crucial for determininghis actions as such.Beyond ‘popular resistance’ narrative: opposition and Rose RevolutionMy further interpretations consider opposition’s actions not only asperformances embodying popular resistance narrative and its dialogic relationshipto Saakashvili’s acts as such, but also as attempts to associate its techniqueswith Rose Revolution.In reality, Rose Revolution instantiates only one episode in the narrative ofpopular resistance, but as most recent and quite successful one it has provided notonly interpretive means but also particular techniques of political expression.How these techniques have been deployed by opposition will be furtherdiscussed, but for the moment it is important to emphasize that behind opposition’sactions was not a specific narrative about the Rose Revolution but alongstanding narrative template of popular resistance. We will see how thisgeneral plot, with the Rose Revolution serving as a specific instantiation, hasbeen employed by political actors. Again, their obvious intent was not simply torepresent the past, but to use the past in order to frame themselves, ascribemeaning to ongoing events, and what is more important claim legitimacy of theiractions.Thus, many of the opposition’s actions in this period were ritualized performancesand spectacles that index the Rose Revolution, from which, I argue,they derived their legitimacy. The assumption of this paper is that the RoseRevolution that had created a moment of Durkheimian “effervescence” served asa founding moment against which all future expressions of legitimacy must bemeasured and assessed. As Paul Manning argues:Like all successful revolutions the [Rose Revolution] worked as a one-offritual that remade its social context in its own image, stipulating its ownpersuasive effects. But in contrast to certain anthropological perceptions of whatritual does, this revolution did not reflect an unchanging cosmology (e.g. Tambiah1985). Rather as a revolution, it seemed to create a new cosmology, a selfconscious“new reality”” (2007:173).Hence, what Manning calls “one-off ritual” has been “recycled” and “entextualized”(Spitulnik 1997) into the daily reality of Georgia’s ‘Rose’ democracy.But what is more important in the light of the 2008 events is that thepower of the Rose Revolution does not derive so much from the specificnarrative about it as from the narrative template that it instantiates. We can thinkof it as a ritual mediated by the meanings of the “popular resistance narrative.”Earlier in this paper, I made a claim that Gachechiladze’s act related to thesentiments of ‘popular resistance narrative’ but I did not reveal how it did so. Infact, Gachechiladze’s march into the Central Election Commission and hisemotional confrontation with its chief re-envoiced a text that instantly evoked the166

memories of how Rose Revolution started with Saakashvili’s intrepid confrontationswith various political authorities. It was a re-enactment of a specificnarrative that, in turn, had already drawn on the power of a narrative template.But this scene served only as one single part of a whole configuration rest ofwhich could be grasped only by the virtue of cultural tool. Following theseclaims it turns out that specific narratives about the Rose Revolution became acultural tool, first in terms of the techniques of political resistance they providedand second, in the way they enacted techniques symbolized the popularresistance narrative.If my claims are valid, then the opposition’s actions in 2008 represented asort of double mediation, where the popular resistance narrative template wasused to make sense of the Rose Revolution as a one-off ritual, and then byreproducing or mimicking it, the opposition was drawing on the meanings moredeeply entrenched in collective memory. In this line of reasoning, he scenedescribed above where Gachechiladze confronts the CEC authority did notsimply reflect a specific narrative about the Rose Revolution, but a deepernarrative template that already embodied these historical meanings.But why does this re-envoicing have to entail such a complex process asdouble mediation? Why could it not be accounted for by a simple analogybetween two events? The answer is that without pre-existing meanings andpatterns in historical consciousness, the Rose Revolution’s legitimacy could havebeen easily undermind or revised in the light of dissatisfaction with Saakashviligovernment. Even those who were not very enthusiastic about accomplishmentsof Rose Revolution could not easily discredit it because of the historicalmeanings attached to it and hence to the reading of the 2008 protests.Rose revolution has already been evaluated as a successful event, central towhich are the forms of political expression and resistance. Its forms provedlegitimate and Rose Revolution now stands for larger historical values than itrepresents itself, reference to it calls the claim for the same legitimacy. Throughassociating one event with another the meaning, the value, the significance or theauthority could be derived from its associate. This is what I call referentialauthority. Take for instance Cinderella story; it is enough to mention cruel stepmotherand a pumpkin in order to instantly recognize the fairy-tale. Applicationof correct schema results in certain value judgments and in some instances callsfor action.In this vein, it makes sense why struggles over the spatial positioning wereso imperative in opposition’s attempts. They were important details in wholeconfiguration. Squares and streets where majority of the protests have taken placeare paramount in their historical significance. All of the revolutions, struggles forfreedom against Soviet State, coups, civil uprisings are directly related to thesespaces. Rustaveli Avenue was the centre-stage of Rose Revolution or whatGoffman calls its“front”.167

On January 17, 2008 when Rustaveli Avenue was wrapped up in preparationworks for the major ceremony of the inauguration, the nine party oppositioncoalition was holding an ‘outdoor’ press conference several feet away from theParliament building. The government’s attempt to displace the protest was a formof political and spatial marginalization. On the other hand the opposition’s effortto re-occupy these spaces was not only directed at re-centering but re-definingthrough the space they occupied. Through such spatial association the opposition’sprotests acquired different meaning and legitimacy.ConclusionPolitics is still far from being a positive science, let alone an exact science.[…] In politics we have not found firm and reliable ground. Here there seems tobe no clearly established cosmic order; we are always threatened with a suddenrelapse into the old chaos. […] The belief that man by the skillful use of magicformulae and rites can change the course of nature has prevailed for hundredsand thousands of years in human history. In spite of all the inevitable frustrationsand disappointments mankind still clung stubbornly, forcibly, and desperately tothis belief. It is, therefore, not to be wondered at that in our political actions andin our political thoughts magic still holds its groundErnest Cassirer, Myth of the State.The interpretations outlined in this paper explore the implications of RoseRevolution in a contemporary political context. The Rose Revolution has beenclaimed as a founding moment, a paradigmatic shift, against which present andfuture forms of political expressions are to be measured. But in reality it alsoreflects a longstanding symbolic matrix, a sort of cultural tool for public performancewhich was available for use by members of a collective..Its legitimacy and authority have been established not only by virtue of itssuccessful use in contemporary political debate, but by the way it signifies deepcollective memories. On a deeper level of analysis, we can see how it interactswith other cultural tools, such as Golden Age narrative, in this particular contextand how they are manipulated by different actors to fit their goals and interests.Its performatives have transformed into the ritual that enacts national myth. Asan event it finds (or it will find) verbal expression as only one instance of popularresistance narrative, where along with other episodes it exemplifies a basic themeof the Georgian self-imagination. But for now, it is a cultural tool that not onlyhelps to interpret reality but provides legitimate techniques to transform reality,in that it is more of a political tool than a cognitive instrument. Albeit all culturaltools invent reality in one way or another, but here I have tried to show particularways in which Rose Revolution did so.168

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Wertsch: Wertsch, V. J & Batiashvili. 2008. Mnemonic Communities and ConflictIn pressWhite: White, H. 1981.The value of narrativity in the representation of reality. InW.J.T. Mitchell, ed., On Narrative Chicago: University of Chicago Press,pp. 1-23.Internet sources:www.civil.ge Georgian online magazinewww.24saati.ge Georgian daily newspaper. English version of the websitewww.24hours.comwww.rustavi2.com Rustavi 2 television broadcastingwww.youtube.com“Kartuli Idea – The Georgian Idea (About History of Georgia and History of theNational-Liberation Movement of Georgia)” by Dr. Levan Urushadze atwww.geocities.comistoriis Zala da simboluri formebi:saqarTvelos “revoluciuri politika” (2008)170nuca baTiaSviliwinamdebare naSromSi Cemi ZiriTadmizans warmoadgendaamexsna Tu ra mniSvneloba da gavlena hqonda vardebis revoluciasSemdgomi periodis qarTul politikur da kulturulsivrceze. 2003 wlis vardebis revoluciis sayoveTaodaRiarebulma warmatebam ara mxolod misTvis damaxasiaTebelipolititkuri teqnologiebis legitimacia moaxdina, aramedTavi daifuZna, rogorc kulturul-politikurma fenomenma,romelic politikuri qmedebebis sazomad iqca xalxisa da politikuriaqtorebisTvisac. vardebis revoluciis mniSvneloba,rogorc politikuri, aseve, rogorc kognituri instrumentisaaSkara gaxda bolo droindel politikuri qmedebebiskonteqstSi. mas xSirad iyenebs rogorc opozicia sakuTariqmedebebis legitimaciis saSualebas, aseve, xelisuflebac sakuTarisaxalxo avtoritetis Sesaxsnebelad, romelmac am revoluciisSedegad moipova Zalaufleba. magram winamdebarenaSromis ZiriTadi mcdeloba aris gamoamJRavnos is simboluri“matrica” romelzec vardebis revoluciis avtoriteti da

legitimuroba aris dafuZnebuli. simboluri mniSvnelobebi,romelzec aRniSnuli movlenis politikuri da kogniturimniSvneloba efuZneba, qarTuli koleqtiuri mexsierebidanmomdinareobs. rogorc aseTi vardebis revolucia exmaurebaim Rirebulebebsa da mniSvnelobebs, romelic koleqtiur mexsierSiarsebobs da yoveldRiurobaSi mocemulia narativisformiT. swored am narativebSi, rogorc simbour formebSi,romelic xSirad yoveldRiuri diskursis nawilia, vlindebaZiriTadi “istoriuli” Strixebi romlis emociur eqvivalentadaciqca vardebis revolucia. yovelive amis gamosavlenadnaSromSi aRwerili da gaanalizebulia 2008 wlis politikurimovlenebi, romlis drosac qarTveli xalxi momswre gaxdaopoziciis mxridan gauTavebeli demonstraciebisa da gaficvebis.maTi teqnikebi, qmedebebi da warmodegniTi aqciebi vardebisrevoluciis movelenebis erTgvar mimikrias warmoadgenda.amgvari mzgavsebebi erTgvar garantad iqca opoziciis qmedebebislegitimaciisaTvis. Cemi naSromis mcdelobaa aCvenosTu ra simboluri Zalis saSualebiT gaxda aseTi avtoritetisada legitimurobis mopoveba SesaZlebeli.171

Stéphane VoellPractice of Traditional Law in SvanVillages in Kvemo Kartli, Georgia 1Traditional law is in various regions in the Republic of Georgia an importantpart of daily life. Conceptions of honour and clan structures have animpact on economic activities. There are documented cases of blood feud in thecountry. Decollectivisation led to numerous land conflicts which were more oftenthan not mediated with traditional law. Numerous conflicts are settled outside ofcourts with the help of elders and mediators. But traditional law is not only aphenomenon in the remote highlands of Svaneti and Khevsureti, where itspractice was mainly studied. Traditional law is also strong in the lowlands, whatis only rarely described.I will discuss the practice of traditional law of the Svan population inlowland Kvemo Kartli and present some first findings of an ongoing researchproject in Georgia. My thoughts are rather preliminary, unstructured and I willnot here today my findings in a wider theoretical frame. My paper is about aninformal village council and a car accident in the municipality of Tetritskaro inKvemo Kartli, how reference to traditional law is made and how the local stateadministration reacts to it.I will argue that the practice of traditional law in the migrated communityhas its place despite the missing foundations, i.e. the clan structure and theauthorities of the elders. The state and its administration or the police are surelypresent in Kvemo Kartli. But its representatives are only rarely showing up. Alsobecause of this, the people of the village created themselves a council, of whichthey say that it is made according to their tradition. The state has nothing againstthis council. Apparently it even respects it, but acts immediately if e.g. a risk ofblood feud is evolving, like it might have been the case after the car accident.Svan resettlement to Kvemo KartliI mainly work with the Svan population in Kvemo Kartli. The Svans areoriginating from Svaneti but can be found nowadays in a lot of parts in Georgia.1 This text is based on the paper with the same title, presented in the workshop “Law inthe Caucasus: anthropological perspectives on legal practice” (Convenors: StéphaneVoell and Lavrenti Janiashvili) on the occasion of the conference of the EuropeanAssociation of Social Anthropologists (EASA) in Maynooth, August 24-27, 2010. Thefieldwork took place inside of the research project “The Revitalisation of TraditionalLaw in the Republic of Georgia” (financed by the Volkswagen-Foundation) at theInstitute for Comparative Cultural Research of the Philipps University (Marburg,Germany), in cooperation with the I. Djavakhishvili Institute for History and Ethnography(Tbilisi, Georgia).172

They speak their Svan language which is not written or taught in schools. InKvemo Kartli, the Svan language is getting lost slowly. Svan is a Kartvelianlanguage, like Georgian (which all the Svans do speak), but it cannot beunderstood by other Georgians.In the winter of 1986/87 – it was still Soviet Georgia – heavy snowfall andavalanches destroyed numerous villages in Upper and Lower Svaneti. Rapidly,the Socialist government made plans to resettle entire villages from Svaneti tovarious regions in Georgia. These people are called ‘eco-migrants’ in Georgia,migrants because of ‘ecological’ reasons. Numerous villages emerged directlyfrom the drawing board, like the village of Chivchavi which will be presentedlater.There are also new eco-migrants from Svaneti. In the last ten years newstreams of Svans arrived to Kvemo Kartli, e.g. into the village of Abeliani. Thistime, these are rather economic reasons (and not ecological) which drove thepeople to leave their highlands. In Soviet times, as the Svans tell, electricity andwater was operational, there was work, and the roads were usable even in deepwinter. Nowadays, many villages remain isolated for months in the highlands.These conditions lead the families to leave Svaneti. But there are also otherSvans from the Kodori-valley in Abkhazia, who – after staying in several otherplaces in Georgia – went to Kvemo Kartli. The Svans left Abkhazia because ofthe wars at the begin of the 1990s and in August 2008. These new eco-migrantsare meeting the old ones in the same region. But there are no villages built for thenew migrants. They resettled mostly in villages which were left behind by theformer Greek population.Village council and traditional lawAbeliani is such a Greek village. The village consists of around 80 for theregion characteristic Greek stone houses. In the 1990s the Greek start to leave thevillage. Only one Greek is still living in Abeliani. The first Svans arrived fromUpper Svaneti in 2001. Today, there are around 45 families from Upper Svanetiand from the Kodori valley permanently living in the village.Though the village appears rather in good conditions there were numerousproblems. The school was not working, i.e. there were no teachers and thebuilding was in very bad conditions. There was no drinking water in the villageand the bad infrastructure made the use of cars difficult. An important problemwas and still is the property situation in the village. Some families are registeredofficially, some not, because it costs money. As the Greeks just did leave thevillage and the Svans, just a short time ago, little by little did arrive (backed byno official organisation), the regional state administration did not take care of thehalf empty village.There was no spokesman in the village. So the villagers, who came fromdifferent regions, different families at different times with no specific plan, foundthemselves together with no organisation. But there was a lot of work to do, e.g.173

about 40 children could not use their school and left every day to a fewkilometres distanced neighbour village. For Georgians, a village without aworking school cannot be considered as a working village.Some of the first settlers decided then to create a council of six men. Thiscouncil should sit together and organise the day-to-day activities in the villageand should be the main actor for demands of the village toward the regional stateadministration. Most interestingly, from the start it was decided that the sixpeople in the council should not be the same every year. The reason for this isthat if some men would stay longer in the council, they might get toopredisposed, too biased in their decisions. The council chooses from the men ofthe village the new six men for the next year. The council pays attention that eachman of the village should take part in the council one day.They are different kind of traditional councils existing in Svaneti. The ideaof the council is not something new. But still, it is interesting to note that theSvans in Abeliani created out of nothing a council which is still working.Moreover, they embedded it in the traditional ideology. Each spring, when thenew council has been appointed by the outgoing members, male representativesfrom each family of Abeliani meet at the church of St George. Here, the newmembers of the council are presented to the village and the council has to swearan oath on an icon that they will manage well and impartially the affairs of thevillage. In the same way, the representatives of the families of the village have toswear an oath on an icon in order to respect the work, the measures and thedecisions of this council.To swear an oath on an icon is a special feature of the traditional law inSvaneti. It is done to find out the truth in conflict mediation or to oblige people torespect their duty. For example, if during a search for the causes of a conflict astatement is made, one can ask the person who made that statement to swear anoath on an icon that the statement made was the truth. The man would then swearbefore God and the community on an icon that he did tell the truth. At thebeginning or the end of a mediation all parties in the conflict generally swear anoath on an icon that the conflict is over and that the outcome of the mediationwill be respected. Thus, everybody asserts before God and the community thatthey will accept the mediation process and the verdict of the jury.The council is working, but without creating miracles. They organised helpfrom the state and with men from the village they did some basic renovations ofthe school. Now the school with its 40 pupils is working. Some improvement ofthe infrastructure was done and half of the village has now drinking water.Cattle-breeding is a large part of their subsistence. But there is no money to hire aherdsman. For this reason the members of the council organise the herdsmen bythemselves, and post the list in the village centre. The council is perhaps now themain representative organ of the village.The council should also not be overestimated. It is has no real authority toorder someone to do something. Also, if there is a conflict in the village, e.g. if174

drunken Svans are heavily struggling or if some mediation is needed, the councilis not responsible for it. They only inform older people in the village to sittogether to try to find a solution.Car accident and traditional lawThe village of Chivchavi was planned on a drawing table. A lot of fastbuild, similar looking houses, at least from the basic structure, can be foundthere. The families came one by one from Lower Svaneti, once their house wasfinished. Most of the families originate from one municipality in Lower Svaneti.This is a big difference to the above mentioned village of Abeliani. The familiesin Chivchavi knew themselves and lived even together before coming to theirnew village. Since 21 years now this village is existent. It has an officiallyappointed head of the village, a member of the regional parliament, has a brandnew church with priest and is generally better embedded in the local stateadministration. In the village are some elders, who act as mediators for internalconflicts, e.g. in property relations or after fights between young people. After anaccident which led to a dead young Svan there were also attempts for mediatingthe case. But there were rejected, which means that some action of revenge mighthave emerged …The Svans practice even today blood feud. This can happen because ofnumerous reasons, e.g. if somebody was killed, even in an accident, and themediation process between the conflicting parties did not come to an end. Often,the offended party try to avenge its dead family member. Generally the malemembers of one extended family tries to kill a member of the other family. Therewere mainly two possibilities to avoid a process of blood feud, i.e. the mediation ofthe conflict or the persecuted family had to leave the region.In July 2009, in the centre of the regional capital Tetritskaro, a young boyfrom Chivchavi was killed in a car accident. The driver was a Svan fromAbeliani. He drove much too fast, apparently bumped on the curbstone and didtouch the boy from Chivchavi of around 22 years of age. The boy named Giawas, as people tell, flying through the air and was even dead before hitting theground. According to the family of the victim, the driver was drunk, but theblood was not tested by the police. The family from Chivchavi even accused thepolice that they did wait a while on purpose before testing for alcohol in theblood. I have the impression that a dead person after a car accident can beconsidered as deplorable misfortune but not as an act on purpose, whereas adrunken driver killing a man seems to be a more serious incident.According to my information the driver of Abeliani was afraid of therevenge of the Svans and did flee from Tetritskaro to Tbilisi. The capital ofGeorgia is around one hour away from Tetritskaro. Only there he turned himselfin to the police. Apparently, he considered himself there more secure from therevenge of the Svans of Chivchavi. The trial took later place in Tetritskaro. Thedriver was punished and went for four years to jail.175

It is still difficult to get a clear picture out of all the different accounts ofthe case. The versions of the case differ from narrator to narrator. Sometimes thedriver was drunk, and sometimes not. Sometimes it was suggested that in factanother driver was the culprit. Some people say that they were afraid of bloodfeud while other claimed that blood feud would happen here in Tetritskaro. Butapparently, shortly after the accident did happen, but before the driver turnedhimself in to the police, some elders from Abeliani went to the village ofChivchavi to ask for a mediation process.These elders went to Chivchavi and they were received by the family of thevictim, but the latter did not agree to start mediation. In theory, this means ablood feud might take place. After the negotiations did fail to start mediation,only then, as the people told me, the young driver did surrender to the police.Maybe he thought to be in better hands there.It was difficult to talk to the victim’s family about the case. One man toldus, that after the accident they should have gone directly to Abeliani and burndown the house of the driver. But they were so in grieve that they could not. Andnow, when the driver will be out of jail after some years, and no mediation willbe under way, a blood feud may start. But I have to add, that the family inquestion consists of five cousins which are all around 70. Will they practice theblood feud? I could not talk intensively to their children, but my impression isthat they are not on the way to go for a blood feud.Still, the police immediately tried to control the situation, perhaps becauseof fear that the situation might get more difficult. Also, the family of the culprit,who just arrived to Abeliani, did leave shortly after the incident the village, inorder to respect the feelings of the family of the victim, how it is said.I personally think that a blood feud will not occur in this case. The reasonfor this is also because the father of the dead boy has no further sons. One man inChivchavi told me: “Look at the father! He’s so old and who knows if he wouldstill be alive when the driver will come out of jail in some years. The father of thevictim is alone to revenge is son.” Earlier, a feud meant that one extended familystood together against the other. But in Chivchavi, the extended family is indeeddeeply mourning for the dead boy, but is taking no further steps in a revengeprocess.But the idea is there, and also the police seems to be cautious of it. Thefamily of the driver did leave the village, maybe because they were afraid that areaction of the family of Chivchavi might be provoked with their presence.People of Abeliani and Chivchavi say that there might and should be somemediation and compensation after the culprit will have left the prison. The periodin jail seems like a time out, a moment to think, before talking again on theconflict between the villages.176

ConclusionWith these two examples of the practice of traditional law I wanted toillustrate that the idea of traditional law is there, that it is practiced from time totime, but that it cannot be conceived as a functioning frame of reference for allsocial actions. The state is not as weak as at the begin of the 1990s. But the localstate administration is not rich and does not have the funds, e.g. to rebuild thestreets of all little villages. The local administration is not present in everyvillage. The informal council in Abeliani, in which people try to organise themselveson a certain level, is accepted by the state administration. It does not causeany harm and even compensate the fact that the administration did not really careof the newly arrived citizens. The former mayor of the region, so it was told, saidthat if one wants to see a village who take its life in its own hand one should goto Abeliani! There might be similar arrangements in other non-Svan villages. Forme it was interesting to note, that with the swearing of an oath on the icon andreferences to similar councils in Svaneti, the councils was ideological embeddedin traditional legal procedures.In relation to the accident the police possibly wanted to act fast. The topicof blood feud with the Svans is widely known in Georgia. The Svan driver didflee from the region because of fear of revenge. One can say that as longtraditional law does not bother the state administration its practice might prevail.But when it comes to more heavy cases which go beyond the border of thevillage, the state is interfering. The practice of traditional law in Kvemo Kartliappears like an improvisation on a theme, which everybody respects but only if itdoes fit with the individual plans of the villagers.Stefan foeliCveulebiTi samarTali qvemo qarTlis svanur soflebSimkvlevari savele eTnografiuli masalis safuZvelze, romelicSekrebilia mis mier qvemo qarTlis svanur soflebSi2010 wels, afiqsirebs faqts, rom CveulebiTi samarTali SeadgendasaqarTvelos sxvadasxva kuTxis yoveldRiuri cxovrebisganuyofel nawils. yuradReba sagangebod maxvildeba faqtze,rom is damaxasiaTebeli iyo ara marto svaneTisa da xevsure-TisTvis (e.i. saqarTvelos mTielTaTTvis), sadac es praqtikaCveulebriv Seiswavleboda, aramed baris mosaxleobisTvisac(rac ar iyo aRwerili da dafiqsirebuli aqamde).177

eligiuri anTropologiaRELIGIOUS ANTHROPOLOGYnino abakeliasatyeli-balTa kompleqsis sakulto da kosmologiuriganzomilebisaTvis qarTul miTo-ritulur sistemaSiwinamdebare statia exeba samosis dawyvilebul elementebssartyelsa da balTas, romelTa simboluri velebi gansxvavebulia.sartylisa da balTis simboluri funqciebisganxilvisas SevecdebiT vaCvenoT gansxvavebuli (adamianurida kosmiuri) saufloebi, romlidanac isini momdinareoben darogor funqcionireben isini qarTul tradiciaSi. miznis misaRwevadgamoviyenebT rogorc eTnografiul, aseve, arqeologiurmasalas.zogadad, yofaSi welze Semortymuli garkveuli saxisqamrebi / satylebi mianiSneben misi matareblis konkretulstatusze da im Zalebze, romlebic maTSia Cadebuli. sartyeliaseve iziarebs Zafis, Tokis, jaWvis simbolizms (Sevalie,Reebrani: 1994). ramdenadac qamari adamianis sxeuls gars ertymisda ibmeba (ikvreba), amdenad mas qarTul miTo-ritualursistemaSi dacvis garda “bedis dabmis” funqciac gaaCnia.sartyeli rogorc Fgarkveuli pirobis, ficis, aRTqmisgansxeuleba da niSani xSirad iziarebs sakralur an iniciaciurTvisebebs da amgvari aspeqtebi mravali xalxis (da maTSoris qarTvelTa) ritualebsa da tradiciebSic vlindeba.gansakuTrebul simbolizms iZens “sartylis Sebma” an misi“Sexsna”, romelic qarTvelTa ritualur cxovrebaSi sxvadasxvanairadvlindeba da umetes SemTxvevaSi brZolis da bediRblisideas ukavSirdeba. mokled SvCerdebiT TviToeulmaTgnze.eTnologiuri gamokvlevebis (abakelia: 1997, 108-131) Tanaxmad,bedis personifikacias qarTul miTo-ritualur sistemaSi“bedismwerlebi warmoadgenen, romlebic adgilobrivi percefciiTSavebSi Cacmul (xSirad, xanSi Sesul) qalebad warmoidginebian.maTi ricxvi ZiriTadad, sams arAaRemateba (Tumca,zogjer SvidiT an cxriTac SeiZleba Seicvalos). mravaltradiciaSi bed-iRblis qal-RvTaebebi Zafis mrTvelebad damqsovelebad aRiqmebian [Sdr. platonis cnobas, romelic Ta-178

vis mxriv, ufro Zvel miTologiur wyaros eyrdnoboda, romlismixedviT moirebis dedas – anankas muxlebze TiTistariedo (xateba, romelic, rogorc cnobilia Zafis darTvis motivssamyaros RerZis motivTan aerTianebs)]. mogviano ganviTarebisSedegad, bizantiur xelovnebaSi TiTistari da ZafisdarTva RvTismSoblis xatTan (kerZod xarebis scenasTan, ierusalimistaZris wminda kretsabmelis qsovasTan da axalisicocxlis muclad RebasTan) asocirdeba.adamianis dabadebisas bed-iRblis qalRvTaebebi qsovenaxlad dabadebulis bed-iRbals (Sdr. “bednier perangSi” dabadebulismotivs), misi cxovrebis mTel gzas. Sesabamisad,gavrcelebuli rwmena-warmodgenebiT, Zafis gawyveta sicocxlisZafis gawyvetas, sikvdils moaswavebda.saintereso rituali aris dafiqsirebuli saingiloSi,romlis mixedviT: axalis wlis Sua Rames rodesac yvelaseZina, ojaxis diasaxlisi rTavda Zafs, ojaxis ufrosi fxizlobdada saubriT arTobda meuRles; rodesac Zafi dairTveboda,orive Cumad, ojaxis yvela mZinare vaJs majaze Zafs Seabamda,romelic maT sami dRe unda etarebinaT. axlad dar-Tul Zafs yvelafers axvevdnen _ avejs, WurWels, dedaboZsda sxv. aRniSnuli ritualiT, Cveni azriT, dedas, romelicTavisi ritualuri roliT da funqciebiT bedis mwerels gvagonebs,momavali axali wlisTvis vaJebisTvis janmrTelobada keTildReoba unda daebedebina.amrigad, qarTul tradiciaSi, kosmologiur planSi bedismwerlebiqsoven da gansazRvraven adamianis bed-iRbals,yofiT planSi _ ojaxis diasaxlisi, romelic imeorebs bedismwerlisqmedebas. es ukanaskneli Zafis darTvisa da misi adamianebzeda sagnebze Semoxvevis gziT cdilobs daicvas momavalaxal wels ojaxi da ojaxis yvela wevri arasasurveliZalebis zemoqmedebisagan, romlebic gansakuTrebulad aqtiurdebian,adgilobrivi rwmenebiT, sezonebis cvlis (am konkretulSemTxvevaSi axali wlis dadgomis) dros. axal welsukavSirdeba, agreTve, kargi bedis dabedebac, romelic SesaZlebelixdeba ojaxSi fex-bednieri mekvles mosvlis da Sesabamisiritualebis Catarebis meSveobiT.bed-iRblis motivi, aseve, vlindeba bavSvis dabadebasTandakavSirebul ritualebSi, romelSic winaqristianuli qal-RvTaeba nerCi rekonstruirdeba (romelic qristianobis gavrcelebisSemdeg mariam RvTismSobelma Caanacvla) (abakelia:1991). masTan specialuri salocavi ritualebi asocirdeba. aRniSnuliritualis warmmarTavi bebia qali iyo, xolo monawi-179

leni _ sagvareulodan mowveuli qalebi. salocavi ritualisSesruleba aucilebel pirobad iyo miCneuli, rom bavSvi damTeli sagvareulo momavalSi unayofo ar darCeniliyo.funqciaTa amgvari kombinacia (anu nayofierbisa da bediRblismimniWebloba) Cveni azriT, aseve, miikvleva romaulRvTaeba fortunaSi, romelic romaul tradiciaSi gavrcelebulirwmenebis mixedviT bed-iRblis, nayofierbisa da mSobiarobismfarveli iyo.qarTul tradiciaSi bedis Secvlisa da dabmis, mijaWvismotivi, aseve, miiklveva “xatze gadacemis” wes-CveulebaSi, romelicrogorc wesi sruldeboda eklesiis ezoSi (an samWedloSi),romlis drosac lursmnebi mieWedeboda sakralur xeze(an saxlSi _ dedaboZze, romelic, Tavis mxriv, samyarosRerZs warmoadgens mikrokosmiur doneze). am qmedebebiT, gavrcelebulirwmena-warmodgenebis mixedviT, damnaSave adamianisbedi miWedebuli da Sesabamisad Caketili, Sekruli undayofiliyo (Sdr. bedkruls), manamade, sanam e.w. “gamosasyidirituali” ar Sesruldeboda.aq kvlav gavixsenebT etruskebis qalRvTaeba norcias /nurtis (romaul periodSi identificirebuls fortunasTan),romlisTvisac ucnauri da auxsneli rituali sruldebodayovelwliurad; aRniSnuli ritulis Sesrulebis dros misitaZris karebebze lursmnebi iWedeboda. zemoT xsenebulmaqarTulma tipologiurma magaliTma SeiZleba Suqi mofinosRvTaebisadmi (fortunasadmi) miZRvnil yovelwliurad Sesrulbulwes-Cveulebas, romelic mas bed-iRblis ideasTanakavSirebs.Tokis Semokvris uZveles wess majaze (sxva SemTxvevaSiwelze, yelze...) SeiZleba, erTi mxriv, damcveli funqciebihqonoda, xolo meore mxriv _ adamianze sasurveli Tvisebebis(dRegrZelobis, sibrZnis da sxv.) “dasabmeli” saSualeba yofiliyo.mogvianebiT amgvari amuletebi, romlebsac xelze, yelsada welze Seoirtyamdnen, rogorc cnobilia, damcveli samajurebis,sartylebisa da yelsabamis formas iRebs (abakelia:1977, 108-130).sartylis Sekvrisa da gaxsnis simbolizmi qarTul sakralurpoeziaSi, wm. giorgis saxelTan asocirdeba. sadResaswaulosakraluri teqsti romelSic wm. giorgis saxeli figurirebsSemdegnairia:“dResam dReoba visia,wmindisagiorgisia.giorgi galavanzeda180

uqamro iareboda,giorgis gadmonavalzexe alvad amusuliyo.imas moesxa yurZeni,saWmelad moweuliyo,imis Semcode qal-vaJiudrood daSauliyo...”leqsSi gadmocemulia, rogorc amas T. jajeli warmoa-Cens, dev-kerpebTan brZolidan dabrunebul wm. giorgis saxe,romelsac rogorc brZolidan dabrunebuls sabrZolo qamariSeuxsnia. sartylis Sebma sartylis Sexsnisgan gansxvavebiTomisTvis mzadebas aRniSnavs (“emzade gudanis jvaro, welTSamoirtyi xmalia”) (jayeli: 1990, 29).sartylis Sexsnisa da Sebmis (Semortymisa da moxsnis)semantikuri ambivalentoba, Cveni azriT, ramdenanac is SinadadgareT (saaqaodan saiqioSi) gasvlasTan, Sesabmisad erTimodalobidan meoreze gadasvlas gulisxobs, migvaniSnebs miszRvrul simbolizmzec.zRvris simbolizmTan dakavSirebulad migvaCnia brinjaosgravirebuli sartylebis dekori, romlebic aRmoCeniliaaRmosavleT saqarTvelos, CrdiloeT somxeTisa da dasavleTazerbaijanis teritoriaze. dReisTvis dagrovebuli masalismixedviT, aRniSnuli artefaqtebis qronologiuri CarCo Zv. w.IX- VII saukuneebs moicavs (xidaSeli: 1982).sartylis magiur da ritualur funqciebze migvaniSnebsbrinjaos sartylebis dekori, romelic, mkvlevarTa azriT,RvTaebrivi nadirobis (ufro zustad, sakraluri nadirobis)amsaxveli unda iyos, ramdenadac am tipis sartyebze wmindanadirobis scenebia gamosaxuli (m.xidaSeli: 1982; 2001; 2005).sartylis funqciebidan gamomdinare migvaCnia, rom gravirebulisartyeli monadiris samosis aucilebeli atributi da,Sesabamisad, misi statusis maCvenebelic unda yofiliyo. sartylistareba, iseve rogorc monadiris mier magiuri beWdisfloba, romelsac tyis dedofali aZlevs monadires, rogorcTavis rCeuls migvaCnia, rom bed-iRbalTan aris dakavSirebuli(abakelia: 2006, 201-213).am TvalsazrisiT sainteresoa qarTuli xalxuri saferxulosimReris erTerTi uZvelesi nimuSi: “qalsa vismes erqvaSroSanao...” romelic raWasa da svaneTSi iqna dafiqsirebuliXIX saukunis bolos da romelic gazafxulze sruldeboda.aRniSnuli saferxulo simRera literaturaSi bunebis ZalTaaRorZinebas, kosmiur movlenas – gazafxulis dadgomas ukav-181

Sirdeboda; igi, aseve, gansazRvrulia, rogorc RvTaebisadmimiZRvnili uZvelesi himni, romlis saTanado Sesrulebas monadirisaTvisiRbliani nadiroba unda moetana (virsalaZe: 1964,178-180). saferxulo saweso simReris teqsti romelic winamdebarekvlevisTvis Zalze mniSvenelovania, Semdegnairia:“qalsa visme, qalsa visme,erqva SroSanao.xuTsa TiTsa, xuTsa TiTsa,ecva beWedao.beWdis Tvalsa, beWdis Tvalsamoli mosulao;molis Tavsa, molis TavsanaZvi asrulao.naZvis wversa, naZvis wversaqors bude edgao,bude iyo, bude iyo abreSumisao,kvercxi hqonda,kvercxi hqonda iagundisao.gadmosCeka, gadmosCekamargalitisao.RmerTo erTi, RmerTo erTiCemTvis gazardeo,sxva aTasi, sxva aTasisxvisTvis gazardeo.sanadiros, sanadirosgza gauwaldeo, inadiros inadirosmoklas iremio, eikidos, eikidosSin moitanosomag iremsa, mag iremsabewvi Seglijeo.mag bewvisa, mag bewvisaCoxa damirTeo.nagulari, nagulariwinda –paiWio.Cemo qmaro, Cemo qmarolomo da gmiroo.mag alvis xes,mag alvis xes toti Sestexeo.mag totisa, mag totisasaxli damidgio.nafotari(iT), nafotar(iT)wisqvil-boselio…...” (e.virsalaZe, 1964, 189-190).182

amdenadac citirebul teqsts specialuri gamokvlevamieZRvna (abakelia: 2006, 201-212; Abakelia: 2006,49-54) aq mxoloddaskvnebs movitanT: aRniSnuli teqstis analizma gvaCvena, romigi ufro didi miTis nawils unda warmoadgendes, romelicnadirobas, monadirisa da qalRvTaebis sasiyvarulo urTier-Tobas da rCeulobis instituts ukavSirdeba. saweso leqsisufro farTo konteqstSi ganxilva masTan dakavSirebul axalinformaciul nakadebs warmoSobs. qalis saxeli SroSana, romelicsurnelovani, TeTri mTis yvavilis (liliis) aRmniSvnelia,mas erTi mxriv odoristul kodSi rTavs, xolo meoresmxriv, yvavilis centridan gamomavali furclebis gamo, romeliccentridan gamosxivebas SeiZleba SevadaroT genoniseuligagebiT, mas samyaros simbolizmTan akavSirbs (gavixsenoTegviptur Sesaqmis miTSi an induistur tradiciaSi lotosi,rogorc samyaros gamovlineba, romelzec RvTaebaa gamosaxulida sxv.).qalRvTaeba SroSanasTan ramodenime azrobrivad Tanxvedrilisimbolo asocirdeba. mag., yvavili da beWedi. orives(beWedsa da yvavils), rogorc wris manifestacias, wrisyvela miTologiuri mniSvneloba miuRia da maT Soris TviTobisacanu sicocxlis yvelaze arsebiTi aspeqtic iungiseuligagebiT (TviTobaze ix.: iungi: 2005), romelic yovelTvis misabsolutur sisruleze mianiSnebs.sxva simboloTa agebuleba, romelsac teqstSi vxvdebiT,efuZneba wrisa da RerZis gamosaxulebas. Tvliani beWedi, rogorcwre samyaros warmosaxviTi suraTxatia. mis centrSi amosulinaZvis xe, RerZuli simbolikis mniSvnelobisaa (centrisda RerZis simbolizmTan dakavSirebiT ix. eliade: 1958) Sesabamisad,wreSi (moZraobis simbolo), amosuli xe (uZraobis simbolo),moZravisa da uZravis mimarTebis maCvenebelia.horizontalur proeqciaSi xe, zogadad, samyaros Wipadaris miCneuli, xolo vertikalSi _ samyaros RerZad (genoni:2000).mciremasStabiani samyaros modelis struqtura, romelsacbeWedi iZleva kosmiuri aspeqti gaaCnia. xolo beWedi imsuraTxats gvaZlevs, romelSic dro da sivrce (“aq” da “axla”)iWreba da iqmneba realoba, mTlianoba.amrigad, monadire sazogadoebis is privilegirebuli piria,romelsac qalRvTaebis keTilganwyobis gamo SeuZlia, nebaeZleva mivides sakralur centrTan, miaRwios samoTxiseulmdgomareobas da droebiT daeuflos mTlianobas.183

monadiris gasvla gareT da Sexvedra qalRvTaebasTan,masTan satrfialo xelSekrulebis dadeba da amiT bedis mopovebaukve mis gansakuTrebul sensitivobaze miuTiTebs. praqtikulad,monadiris araCveulebrivad gamaxvilebuli grZnobebismeSveobiT vlindeba sakraluri samyaro. monadire am Sem-TxvevaSi gansxvavdeba sazogadoebis sxva wevrebisgan sakuTarireligiuri gancdebis intensivobiT. misi sulieri cxovrebafaruli unarebis gamo ufro Rrma da Sinaarsiania, vidresxva danarCeni xalxisa. monadiris Sexvedrisas qalRvTaebas-Tan xdeba misi transformacia Cveulebrividan araCveulebriv-Si _ rCeulSi.mTlianoba zemoT motanili wriuli saferxulo rituali-Tac gamoixateboda. q. alaverdaSvilis mier Seswavlili ferxulebSi(zemyrelo, saxato ferxulebi aRmosavleT saqarTvelosmTianeTSi) samyaros wrebrunvis ideaa gamoxatuli samyarosRerZis garSemo, cisa da miwis kavSiri sakralur centrSi, droiscikluri mdinareba, rac samyaros wesrigs, nayofierebas, ke-Tildreobas da sxv. ukavSirdeba (alaverdaSvili: 2004,.24; 2005).magram sxvadasxva konteqstSi moqceuli TiToeuli ferxuligansxvavebuli simboluri mniSvnelobisaa.ras SeiZleba ukavSirdebodes samonadireo ciklSi Car-Tuli ferxuli da risi simbolo SeiZleba iyos igi? amazeSeiZleba teqstma gvipasuxos, romelic realurad qalRvTaebisinvokaciaa da Sesrulebis wesma, romelsac mTeli sofeliasrulebs. orive, rogorc verbaluri, aseve araverbaluriqmedebebi erTmaneTs avseben da exmarebian erTmaneTs da oriveerTad _ monadires. saferxulo moZraobebiT “daxatuli”forma, Cveni azriT, SesaZloa identificirebul iqnas labirinTTan,xolo cekva _ labirinTul cekvasTan. aRniSnulkonkretul situaciaSi cekvis mizania gaamxnevos monaire dagauZRves mas uxilav bilikze, romelic warmavalidan waruvalsferoSi miemarTeba (Sdr. Samanebis cekvas, romelic exmarebaSamans gavides sulier samyaroSi an Sivas cekvas cecxlovanwreSi, romelic Sesaqmes ukavSirdeba).magram as unda niSnavdes am konkretul SemTxvevaSi invokciisSemcveli ferxuli? Tu gaviTvaliswinebT sakraluricekvebis sxvadasxva funqcias (mag.: sakraluri cekvis meSveobiTSamani gadis sulier samyaroSi; Sivas sakraluri cekvacecxlovan wreSi Sesaqmes ukavSirdeba da sxv.) da aseve TumxedvelovelobaSi miviRebT im geometruiul naxazs, romelicam cekvebiT iqmneba, maSin Cven SegviZlia vTqvaT rom aRniSnulsaferxulo sakralur cekvis mizani iyo im bilikis, im184

gzis daxatva, romelic unda gaevlo monadires da romelicSeiZleba ganisazRvros rogorc labirinTuli cekva (cekvalabirinTi)an sulier samyaroSi gasasvleli simboluri gza.sakraluri cekvis mizani iyo gaemxnevebina monadire da gaecilebinaigi uxilav bilikze romelsac is unda gaeyvana warmavalidanwarulval samyaroSi. Cemi azriT igive idea undaiyos gamoxatuli adrebrinjaos xanis gravirebul sartylebzec.zemoT xsenebul gravirebul brinjaos sartylebis (Zv w.IX – VII saukuneebi) kideebze SesaZlebelia labirinTis jvaredinimodelis identifircireba, romelsac ukve eTnografiuldoneze gaaCnda gamokvetili religiuri mniSvneloba qar-TvelebisTvis.Cveni azriT, labirinTis modeli (romelic SeZleba iyoskoncentruli wreebisagan, kvad ratebisgan an romelime sxvageometriuli figurisgan Semdgari) SeiZleba identificirebuliiqnas zemoT xsenebuli brinjaos gravirebuli sartylebiskideebze Seqmnil gamosaxulebebTan; labirintis modelieTnografiul doneze avlens gamokveTil religiur funqciebsqarTvelTa rwmena-warmodgenebSi. magram ra SesaZlebelimniSvneloba SeiZleba hqondes brinjaos sartylebs? romelnicmecnierebis mier gaigivebulia RvTiuri nadirobis da purobisscenebTan? sartyeli Tavad miuTiTebs mis mflobelzee.i. monadireze, romelsac imisaTvis rom enadira samoTxismsgavssakralur centrSi qalRvTaebis gulis molboba daTanxmoba esaWiroeboda, rac ar iyo advili saqme da sadac misasvlelimxolod qalRvTaebis rCeuls hqonda. aRniSnulirwmena-warmodgenebis fonze gasagebi xdeba Tu ratom sruldebodasaferxulo simRerebi mTeli soflis mier, rac gulisxmobdaqalRvTaebis invokacias, romelsac monadirisTvisiRbliani nadiroba unda uzrunveleyo. ferxulebis zogadielementebi moicavs moZraobebis spiralur kompleqsurobas,gameorebiT reversiebs (erT mxares brunvas, SeCerebas da Semdegsapirispiro mxares trials), TiTqosda ganmeorebadi winaaRmdegobebisgamo SeCerebebis Semdeg xelaxal formadqmnas, romlebic simbolurad SeiZleba daxveul bilikebs warmoadgendnen.misadgomebi sakralur centrSi iyo rTuli dagmirs (am konkretul SemTxvevaSi monadires) unda daeZlialabirinTuli siZneleebi. Cveni azriT, saferxulo simRerebisqoreografia labirinTuli konstruqciebis simbolizms avlens.amgvarad, sakvlevi ferxulis teqsti qalRvTaemisadmimowodebaa; xolo rac Seexeba qoreografias saferxulo cek-185

visas is Zneli gzis sirTuleTa magiuri daZlevis saSualebaa,romelic unda daxmareboda monadires gzis gavlaSi.ferxulis Tu magiuri labirinTis Sesruleba / warmodgena,magiuri da damcavi sartylis floba (SesaZloa magiurbeWedTan erTad), Cveni azriT, unda daxmareboda monadiressakraluri centris saxifaTo ZiebaSi.zemoT Tqmulis analizi varaudis saSualebas iZleva,rom sakraluri nadiroba uSualod dakavSirebuli iyo saz-Rvris garRvevasTan da Sesabamisad, labirinTis daZlevasTan(romelic,YTavis mxriv, rTuli da saxifaTo gzis daZlevissimboloa). brinjaos sartylebze gravirebuli sakralurilabirinTi mogviano ganviTarebis Sedegad SesaZloa SecvliliyoWviruli balTebiT (a.w. 3 da 2 saukuneebi); es ukanasknelni,Cveni azriT, Zalze lakonurad aCveneben sakralurcentris simbolizms da mis mflobel tyis dedofals zoomorfulipostasSi (igi SesaZloa warmodgenili yofiliyogarkveuli saxeobis cxoveliT an hibriduli arsebis saxiT)da, aseve, labirinTis abreviaturas.amgvarad, sartyeli-balTas kompleqsi warmoaCenda rakontrasts warmavalsa da waruval samyaroebs Soris “iwereboda”“samyaros modelSi”, romelic asocirdeboda garkveulmiTo-ritualur kompleqsebTan da Sesabamisad qarTuli kulturissxvadasxva kategoriasTan.damowmebuli literatura:abakelia: Абакелия Н., Миф и ритуал в Западной Грузии. Тб., 1991.abakelia: abakelia nino, simbolo da rituali qarTul kulturaSi,Tb., 1997.abakelia: abakelia nino, simbolo-analogiebi da implicituri“Teologia” erT saweso saferxulo simReraSi, kavkasiuraxloaRmosavlurikrebuli, Tb., 2006.abakelia: abakelia nino, “eqstazuri mogzaurobis motivi qar-Tul miTo-ritualur sistemaSi”, meore saerTaSorisosimpoziumi; literaturaTmcodneobis Tanamedrove problemebi,masalebi, nawili I., Tb., 2009.alaverdaSvili: alaverdaSvili qeTevani, sakraluri geometria,Tb., 2004.186

alaverdaSivili: wriuli ritualuri ferxulebis simbolikisaTvisqarTuli eTnografiuli masalis mixedviT, masalebisaqarTvelos eTnografiisaTvis, 25., Tb., 2005.bardaveliZe: Бардавелидзе В.В., Древнейшие религиозные верования иобрядовое графическое искуссто грузинских племенб Тб., 1957.genoni: Генон Р., Символы священной науки, М., 2002.eliade: Eliade M., Patterns in Comarative Religion, N.Y., 1958.virsalaZe: virasalZe elene, qarTuli samonadireo eposi (da-Rupuli monadiris cikli),Tb., 1964.iungi: iungi k. g., fsiqologia da alqimia, Tb., 2005.kiknaZe: kiknaZe zurabi, monadiris ormagi cxovreba, Tb., 2005.surgulaZe: surgulaZe irakli, xalxuri ornamenti, Tb., 1987xidaSeli: xidaSeli manana, centraluri amierkavkasiis grafikulixelovneba adreul rkinis xanaSi (brinjaos grafikulisartylebi). gamokvleva da katalogi, Tb., 1982.xidaSeli: xidaSeli manana, samyaros suraTi aqrqaul saqar-TveloSi, Tb., 2001.xidaSeli: xidaSeli manana, rituali da simbolo arqaulkulturaSi, Tb., 2005.Sevalie, Reebrani: Cevalier Jean, Alain Gheebrant, The Penguin Dictionaryof Symbols (translated from the French by John Buchnan-Brown), London,1994.jayeli: jayeli Tamari, sauflo xe alva, jvari vazisa, 2, Tb.,1990187

188Nino AbakeliaOn the Cultic and Cosmic Dimensions of the Belt-Buckle Complex inGeorgian Mythic-Ritrual SystemThe paper deals with the juxtaposed and paired elements of garment _ beltand buckle, the symbolic fields of which differ. An attempt is made to show thedistinctive realms (human and cosmic from which they derive and to show howthey function in Georgian tradition. Certain kinds of belts girded on the waistpoint to the definite status of the bearer and the powers invested in him / her. Italso shares the symbolism of chain, thread and rope.As an embodiment of a contract, oath or vow undertaken, the belt oftenpartakes of a sacral or initiatory quality and these aspects belong to the rites andtraditions of different peoples (and among them Georgians)). Encircled round thewaist it aims to protect and defend from evil spirits, from evil spells, purifies itsbearer and gives him strength.In Georgian tradition, the symbolism of fastening and loosing of belt isrevealed in the sacral poetry of Georgians and is associated with name of StGeorge. The fragment of this sacral poetry as follows:“Whose day is today?St George’s day is today.Upon enclosure, St George walked untied (without girdle).A sacred tree has grown on St. George’s footprints,It bore the grapes of vine, mature (ripe) to taste,Those,who did not taste them,Were prematurely injured”.The fragment reveals the situation after St George’s battle with the evilpowers, represented by mythological creatures called Dev-kerpni in Georgian. AsT, Jaqeli had observed St George has untied his belt as was the custom after thebattle. Per contra when a person or on a higher level saint prepared for a battle hegirded himself with a belt (Comp: “Be ready for battle saint of Gudani by andgird the belt and sword”).The semantic ambivalence of fastening and loosing reveals its connectionwith the other realm, when it is necessary to penetrate through the other loci andas such alludes to the border symbolism.In Georgian tradition rope, thread and chain encircled round the waist,wrist and neck have on the one had defensive functions, on the other hand – theyrepresent the binding means of certain qualities such as longevity, wisdom,wellbeing, etc.Spinning of yarn is united with the motif of the Fate Goddess at axis mundi,which on its turn implies the aspects of spinning or writing the fates of humans. Thesame ideas are expressed in the rituals of “fastening” of good luck, which in Georgiantradition are primarily found during the winter solstice festivals.(It is suffice torecall the rituals associated with the First foot on the New Year’s day, whose

function is to leave a happy and good footprints and consequently the good luck forthe household, or a ritual practice according to which the mother of the family usedto coil spun red yarn on the wrists of male members of the family, etc.).The motif of fate is also revealed in the childbirth and mortuary rituals. Inchildbirth rituals, the image of pre-Christian deity Nerchi can be traced (after theconversion to Christianity substituted by Virgin Mary), which also combined theaspects of fortune and fate. That sort of combining of functions can be detectedin the image of Roman deity Fortuna which in Roman tradition was believed tobe the Goddess of fortune, fecundity and childbirth.In Georgian tradition the motif of changing and fastening the fate isrevealed in the ritual of “transferring of somebody’s fate to the spiritual judgmentof the icon (predominantly of St George) performed in the churchyard (or insmithy) during which the nails were fixed in the sacred trees (or in the Motherpillars of dwellings, the latter on its turn functioning as axis mundi on themicrocosmic level). By this action, it was believed that the fate of the guiltyperson was nailed up on the sacred tree until the redemption ritual would not beperformed. Here we would recall the deity of Etruscans - Norcia /Nurti (In theRoman period identified with the deity Fortuna) for whom a strange andambiguous ritual had been performed annually, during which nails were wedged,fixed in the gates of her temple.The above describes typological Georgian parallel might shed light to thisstrange custom performed annually on the divinity’s celebration day.Wearing of belt (like owning the magic ring of the Goddess, given to thehunter by the Queen of the Woods) is also associated with the motif of fortuneand ill-fortune.We have a very rare mention of the name of the Goddess in one of theround dance songs directly associated to the hunting. The sacred text of the rounddance is as follows:“There was a woman,There was a woman,Called Shroshana,Who wore finger-ringsOn all her five fingers;There was a grassy land on the ring,On the ring,There was a fir-tree in the grassy land,in the grassy land;There was a hawk nest on top of the fir-tree,on top of the fir tree,It was a silken nest,;Pearl birds were hatched,were hatchedDear Lord, dear Lord,189

let one grow for me,Thousand others, thousand othersfor the others.Make the way clear with a hatchet,Let him have a happy hunting,a happy hunting,Let him hunt a deer,Let him lay it over the back,Let him bring it home.Pull out the hair from the deer,from the deer,Spin for me a coat (a chokha-coat, i.e. a national garment for men)From the core, from the coreSpin or me the socks.Oh, my husband, oh, my husband,Oh, my Lion and heroBreak a branch from that poplar,from that poplar,Build a poplar house from that poplar branch,from that poplar branchAnd a mill and a cattle-shed from the chipsfrom the chips.Possession of the ring implies the following succession of events: theelection of the hunter by the goddess and presenting the hunter with amagic ring, that works wonders. The possession of this ring makes him atemporal king of the woods.The analysis of the text makes it possible to suggest, that it is theonly part of the great body of hunting myths, which retells us about thelove affairs between the mortal hunter and immortal Goddess and, consequently,deals with the institution of election. Examination of the ritual text in far morewider context causes new informational streams that are associated to it.The name of the goddess Shroshana, which in Georgian literally means “thelily of the mountain” points to the epiphany in a sign. The sweet scent of the flower,which is considered to be one of her emblems, places the goddess into theodoriferous code and the flower petals emanating from the core (the center) can becompared with the radiation from the center in Genon’s sense and which associates itwith the symbolism of the world (compare with the lotus flower in the EgyptianCreation myth or in the Hindu tradition, on which a deity is depicted, etc.).However, several conceptually similar symbols are associated with thedeity Shroshana: e.g. flower and ring (i.e. the symbols of the world, the Unityand the Self). The symbols (the ring and the flower) being the manifestation ofthe circle, have adopted all the mythological meanings and among them of the190

Self or of the very substantial aspect of the Being in Jung’s sense (See K.G.Jung,2005), which points to its absolute perfection.The symbols met in the text are built on the images of a circle and an axis.The ring with a stone on it, as a circle, is an imagined projection and picture ofthe world. The evergreen fir tree (or in the other cases poplar) grows in the centerof the World and also shares the symbolism of the axis of the world. (see:M.Eliade, 1958,1975). Hence the tree (the symbol of immobility and steadiness)grown up in the center of the circle (the symbol of mobility and movement),points to the opposition: fixed /volatile, unmoved principle/ movement, mobile /immobile.In the horizontal projection, the tree, generally, is considered to be thenavel of the earth, in the vertical plane - the axis of the world (R.Genon, 2000,M.Eliade, 1958, 1975).The world structure, given on the ring, has a cosmic aspect and time andspace (here and now) penetrate into reality.The idea of the unity and continuity are also expressed by the very form ofround dances (or many-storey round dances), that usually are performed around atree, a banner, a specially constructed tower, etc. The round dances, according toK.Alaverdashvili (2001), express the idea of rotation around the sacred center. Asis known, according to the local beliefs, wrong, inaccurate or non-rhythmicperformance of a round dance could cause crop-failure, cattle-plague, illness andeven death of people and reverse.The symbols manifested in the myths (the myth of the killed hunter) andrituals (round dances performed in mythologized situations) also appear in thearchaeological visual data from Colchis. Here I mean the signet (or intaglio ring)in the grave of the Noble Warrior in Vani i.e. in Colchis (the 1 st half of the IV c.B.C.), with the inscription of “Dedatos” on it. On the surface of the ring theMistress of the Wild Nature is depicted, seated under the sacred tree at the centerof the ring. In the right hand she holds a vial, in the left one - supposedly abranch of the same sacred tree under which she sits. The Goddess is regarded tobe the patron Goddess of the Warrior, called Dedatos.All these archaic symbols imply ontology and reveal the correspondence ofa mystical order between various (cosmological, anthropological, psychical)levels of cosmic reality.To my mind, a criss-cross pattern of maze can be discerned on the edges ofengraved early- Bronze Age belts; the maze pattern on the ethnographic levelshow distinct religious functions in the folk beliefs of Georgians. But whatpossible meanings might have mazes on the early-Bronze belts?The reply is on the engraved plot of the Caucasian bronze belts (9 th -7 th c.BC) which by the scholars are recognized as scenes of sacred hunting. The beltitself pointing to its owner i.e. a hunter, who in order to receive the approval ofhunting deity had to get into the paradisiacal sacred centre, that was not an easything to do and is accessible only for the elect).191

Against this background it becomes quite clear why the sacred rounddances had been performed before hunting by the whole village (I mean inGeorgian tradition) which implied the invocation upon the Goddess who had togive a good fortune in hunting to the hunter. Common elements of round dancesinclude a convoluted complexity in the dancer’s movements, repeated reversals(turnings and returning), and a series of patterns variously reformed after regularinterceptions end represented winded passages.The access in the sacred centre was difficult and a hero (in this particular casea hunter) had to overcome the labyrinthine difficulties. In our opinion the choreographyof round dances also reveal the symbolism of labyrinthine constructions.Thus the text of the round dance in question is the invocation of the Goddess; and asfor the choreography of the round dance it is a magic means of overcoming thedifficult path or better to say difficulties of which has to be trodden by the hunter.The performance of round dance song had to help the hunter to overcome thedifficulties and obstacles on his way to the sacred grove. the performance of rounddance or magical maze dance and owing of magic belt (Sometimes together withowning of magic ring) to our mind, helped the hunter in his perilous quest.According to our analyses, the sacred hunting is directly associated withidea of overcoming the maze (which in its turn symbolizes the difficult path thatmust be overcome).The sacred labyrinth engraved on the belts in later development might besubstituted by the open work buckles (3 rd an 2 nd c. BC) which in my opinion, in avery laconic way display the sacred center symbolism together with the Mistressof the Woods represented in the zoomorphic revelation (it can be figured in theimage of certain species of animals or hybrid creatures) and the abbreviation ofthe maze.Thus belt-buckle complex contributing to the contact between the transientand intransient worlds is “inscribed” in the “pattern of the world” whichassociated it with the definite mythic-ritual complexes and consequently with thevarious categories of Georgian culture.192

193qeTevan alaverdaSviliritualuri ferxulebis simbolikis SeswavlisaTvisherman hese werda, rom musika da cekva, sxva xelovnebaTamsgavsad, preistoriul xanaSi magiis erT-erTi uZvelesi daZiriTadi atributi iyo. dawyebuli ritmiT (taSis kvra, fexebisbakuni, xis Zelakebis dartymebi, dolze dakvris xelovneba),igi mZlavr da gamocdil saSualebas warmoadgenda mravalTaerT wyobaze Sesawyobad, gulebisa da sunTqvisaTviserTiani ritmis misaniWeblad, adamianTaTvis maradiuli Zalebismoxmobis da Selocvis, cekvis, Sejibris, laSqrobis,YRvTismsaxurebisaken mosawodeblad. es sawyisuri, sufTa dapirvelqmnili buneba musikam ufro didxans SeinarCuna, vidreyvela sxva xelovnebam. sakmarisia gavixsenoT istorikosebisada poetebis mravalricxovani gamonaTqvamebi musikis Sesaxeb.praqtikulad arc marSebs da arc cekvas arasodes daukargavsTavisi mniSvneloba (hese: 1969:52).cnobili xelovnebis istorikosi h. elisi ganixilavdacekvas, rogorc movlenas, romelSic yvelaferi emorCilebametris, wesrigis mtkice wesebs, formis saerTo kanonebismkacr Tanmimdevrobas da mTelisadmi nawilebis morCilebas.es niSnebi mTel samyaros axasiaTebs da SeiZleba iTqvas, rommTeli samyaro cekvaa (elisi: 1929).mirCa eliade aRniSnavda, rom sawyisurad yvela cekvasakraluri iyo, anu sxvagvarad rom vTqvaT, maT zeadamianurimodeli gaaCndaT. yoveli cekva iqmneboda in illo tempore, miTosurpradroSi, miTosuri winapris, RvTaebis Tu gmiris mier.qoreografiuli riTmebis modeli adamianis miwiuri cxovrebisgareT arsebobs. cekva mudam arqetipuli Jestis imitirebasaxdens an miTosur moments aRniSnavs. erTi sityviT, esaris gameoreba da `sawyisuri drois~ reaqtualizacia (eliade:1949:53; eliade: 1987: 50).lukianes dialogSi “cekvisaTvis”, romelic faqtobrivadcekvis warmomavlobas da istorias moicavs, likine, dialogiserT-erTi monawile, ganumartavs megobars, rom Tavisi warmomavlobiTcekva RvTaebrivi xasiaTisaa da Tavidan sakultoritualTan, msxverplSewirvasTan da misteriul saidumloebasTaniyo dakavSirebuli, rom cekva arsebiTad warsulis istoriaada mocekvavem yvelaferi unda icodes qaosidan dawyebuli(samyaros pirvelsawyisebis gaCenidan) kleopatrasdromde. daxelovnebulma mocekvavem kargad unda icodes mi-

Tologiuri siuJetebi da SeeZlos yvelaze dramatuli siuJetebiscekviT gadmocema (lukiane: 1990).cekvis simboluri da ritualuri funqciebi metad mravalferovania.imis gamo, rom cekva garkveul ritms emorCileba,igi xels uwyobs samyaros organizacias da ciklur mowesrigebas,warmoadgens miwasa da zecas Soris kavSiris, harmoniisdamyarebis saSualebas, SeuZlia gamoiwvios wvima, xeliSeuwyos gamarjvebas, siyvaruls, nayofierebas; igi kreaciis,samyaros mowesrigebis, dacvis da amave dros reintegraciissaSualeba, vitaluri, inteleqtualuri moZraobaa; antikursaberZneTSic, indielTa mzis cekvebSic, Cinur, indur da sxv.cekvebSic arsebobda kavSiri mocekvaveTa moZraobasa da planetebismoZraobas Soris; cekvebi kavSirSia kosmologiur,iniciaciur simbolikasTan. iTvleboda, rom derviSebis wriulicekvebi RmerTamde aRamaRlebda maT. cekva zeciuri wyalobismiRebis saSualebas warmoadgenda. nayofierebis gamoTxovnasemsaxureboda sagazafxulo cekvebi. Zvelegviptur cekvebSiTviT RvTaebani iRebdnen monawileobas. Zvel saberZneT-Si cekvis, riTmuli moZraobebis saSualebiT gadmocemuliiyo miTologiuri scenebi. maTi mizani im kosmiuri da mistikuriZalebis ganaxleba iyo, romlebic warsulSi moqmedebda.religiuri da kosmiuri cekva warmoadgenda kreatorisa dakreaciis identifikaciis rituals. igi ukavSirdeboda energias,Zalas, romelic ganagebs samyaros transformaciebs (Sevalie,geerbrani: 1973: t.II; kerloti: 1994; samsoni: 1987; seslavinskaia:1990). induistur xelovnebaSi Sivas cekva gamoxatavda er-Tdroulad qveynierebis Seqmnas, SenarCunebas da ganadgurebas,rac ganixileboda rogorc RmerTis ganuwyveteli qmedebis etapebi.Sivam _ `cekvis ufalma~ (nataraja) _ gaumxila wminda cekvisprincipebi brZen bharatamunis, romelmac moaxdina maTi kodificireba.moZraoba gagebulia rogorc brunva uZravi RerZisgarSemo. cnobil qandakebaze Siva cekvavs qaoturi materiis damarcxebuldemonze, misi dolis dartymis xma ki Sesaqmis aqtsSeesabameba (burkharti: 1999: 47,49).meferxuleTa wreSi Camdgari adamianebi qmnidnen mtkicecocxal jaWvs, romelic faqtobrivad mTel sazogadoebas ganasaxierebda,kidev ufro ganamtkicebda mis erTianobas daurTierTkavSirs. wris centrSi Camdgari RvTismsaxuris miersakraluri sasmeliT darwyulebulni axali energiiT aRivsebodnenda gaZlierdebodnen. ferxuli gansakuTrebiT kargadwarmoaCens am erTobas. “ferxulSi Cabma” saerTo saqmeSi monawileobismiRebasac aRniSnavs, “cxovrebis ferxulSi Cabma” ki194

saerTod cxovrebas. amgvari wriuli saweso cekvebi didi TerapiuliZalis matareblad iTvleboda. cnobilia ritualebi,rodesac avadmyofis garSemo wriuli qmedebebisa da cekvissaSualebiT xdeboda misi gankurneba.k. goleizovski werda, rom `saferxule cekvebsa da sim-Rerebs saswaulmoqmedi mniSvneloba eniWeboda. xalxuri SexedulebismixedviT, am saferxulo gaerTianebas samkurnaloTvisebac gaaCnda~. zogjer maT asrulebdnen gaunZrevlad,zogjer ubralod isxdnen da mRerodnen (Jornickaia: 1983: 221).mkvlevarTa azriT, ferxulebis uZvelesi forma wriseburiunda yofiliyo. amaze metyvelebs saferxulo wyobis ZveliqarTuli saxelwodebani. terminebi `Znoba~, `mZnobari~,`mZnobri~, iv. javaxiSvilis azriT, uZveles xanaSi umTavresadgundobrivobis cnebasTan iyo dakavSirebuli da ufro sarwmunoebrivcekvis amsrulebelTa gundebs gulisxmobda (javaxiSvili:1990: 46-48).sulxan-saba orbelians `ferxuli~ ganmartebuli aqvs,rogorc `mrgvalad wyoba~, gansxvavebiT `ferxisa~-sgan, romelic`mraval mobmiT rokvaa~ da rogorca Cans mwkrivSi cekvisaRmniSvnelia.ferxulis aRsaniSnavad ixmareboda `mrgvalic~. ase magaliTad:monadireebi anTebul lamprebs `mxarsa Seideben, egremrgvalsa daabmen~ (`xelmwifis karis garigeba~); `yovelnive ur-TierTas mokidebul arian, viTarca mrgulismomvlelTa mwyobrni~(sarjvelaZe, 1995). d. janeliZe aRniSnavda, rom `mgrgvalis~asaxsnelad sainteresoa, rom svanuri `murgual~ niSnavsmTels, yovels (janeliZe, 1948; gv. 154). ase rom `mrgvali~,`mgrgvalis dabma~ wriuli ferxulis aRmniSvneli Zveli terminiunda iyos (janeliZe: 1948; TaTaraZe: 1970; gvaramaZe: 1987).unda aRiniSnos, rom svanur ferxulebSi fexis moZraoba-Ta uZveles Tanmimdevrobas anu saferxulo svlas ewodeboda`murgval WiSx~ anu wriuli svla (nabiji). ueWvelia, rom wriulisvla damaxasiaTebeli iyo wriuli ferxulebisaTvis, romelTac`murgvali~ ewodebodaT da wris forma hqondaT (Ta-TaraZe: 1970: 4-5). d. janeliZis klasifikaciiT xuTgvari wyobisferxulebs vxvdebiT: a) wriseburi, xelmobmiT wyobis erT-orda samsarTuliani ferxulebi; b) erTi an ori rkalisagan Semdgariferxulebi; g) wriseburi xelmoubmeli, erTimeoriszurgSeqceviT moZravi ferxulebi; d) ferxisebi, romelTac araaqvT mrgvali, wriseburi wyoba. ferxisa or an sam mwkrivadiyofa, xelmobmuli mwkrivebi erTimeoris pirispir ewyobian daurTierTTan misvla-mosvliT cekvaven da moZraoben; e) rTuli195

saferxulo wyoba aerTianebs ferxulTa yvela nairsaxeobas.aseTia, magaliTad, megruli osxapue da zogi svanuri ferxuli(janeliZe: 1948: 185, 216).m. iaSvili qarTuli mravalxmianobis ganviTarebis procesSigamohyofda sam safexurs: akordul-qoralur wyobas,polifoniursa da homofonurs. es safexurebi Seesabameba qar-Tuli xalxuri simReris sam stilistur kategorias. àkordul-qoraluri~anu `saferxulo~ wyoba, romelic qarTulimravalxmianobis qvakuTxeds warmoadgens, gulisxmobs qoreografiulda musikalur sawyisTa erTianobas. ZvelqarTul profesiulmusikaSi ori Janris _ `sagalobelis~ da `Znobis~ arsebobasafuZvliani argumentia àkordul-qoraluri~ anu `saferxulo~wyobis kultivirebis `siZvelis~ dasadastureblad.amasTan `Znoba~ sinkretuli tipisa iyo. masSi erT mTlianobaSiSerwymuli iyo qoreografiuli da musikaluri sawyisi. igiwarmoadgenda ferxuls simReris TanxlebiT da sakulto cekvissinonimi anu warmarTuli ritualis gadmonaSTi iyo. qoreografiuliformiT `Znoba~ wriul ferxuls, `mrgvalT wyobas~warmoadgens. (iaSvili: 1987).g. SaraSiZis mosazrebiT, qarTvel mTielTa cekvaSi asaxuliaZireuli dapirispireba sazogadoebas, kulturas, `Sinas~samyarosa da bunebas, `gares~ samyaros Soris, anu kontinualursada diskretuls Soris. cekva Targmnis Tavisi specifikurisaSualebebiT pozitiuri da negatiuri urTierTobebissistemas, romelic gansazRvravs kults, romelsac igiekuTvnis. Zireuli opozicia uwyvetsa da wyvetils Soris undagamomJRavndes aq ama Tu im formiT. aq erTmaneTs upirispirdebaori qoreografiuli tipi, romelTagan erTi cdilobsmoZraobaTa uwyvetobis miRwevas, meore ki piriqiT,mkveTri, daukavSirebeli JestebiT gamoxatavs miswrafebas er-Tianobis gawyvetisaken. pirveli tipis cekvis aRwerisas igixazs usvams, rom mocekvaveTa orsarTuliani `Senoba~ moZraobsormagi wriuli moZraobiT, rogorc dedamiwis sfero: igibrunavs Tavisi RerZis garSemo da amave dros gadainacvlebssalocavis mimarTulebiT. monawileni nela cekvaven dafrTxiloben, rom ar daingres `Senoba~, romelsac isini qmnian.am qoreografiis kontinualuri xasiaTi naTlad Cans dakidev ufro Rrmavdeba TviT nabijebis xasiaTis mixedviT: mocekvaveebmaaucileblad erTdroulad unda gadaadgan fexi daerTidaigive moZraoba gaakeTon. erTgvaroba ukavSirdeba cekvisyvela aspeqts da iseve kargad SeimCneva monaxazSi, rogorcmoZraobebSi. igi miekuTvneba religiis sferos da aRniSnavs196

kultis yvelaze sakralur fazas. g. SaraSiZis azriT wre, wriulicekvebi ukavSirdeba uwyveti moZraobis erTgvarobas dauwyvetobis aRniSvnis misia aqvs, magram es mniSvneloba ar arisucvleli da icvleba gansaxilveli sistemebis Sesabamisad (SaraSiZe:1968: 709-712).saqarTvelos mTis mosaxleobaSi ferxulebi da maTi TanmxlebisimRerebi, ukanasknel dromde ZiriTadad Semonaxuliarogorc saweso cekvebi, amitom saferxulo simRerebis JanrimTis kuTxeebSi, kerZod ki xevsureTSi, gamoiyofa saweso saferxulosimRerebis saxelwodebiT (maisuraZe: 1971: 40).wriuli ritualuri ferxulebisa da wris mniSvnelobasdidi yuradReba dauTmo v. bardaveliZem aRmosavleT saqarTvelosmTielTa sasuliero teqstebis, Semdeg ki lifanalismxatvrobis Seswavlisas (Wrela `ferxulTan~ dakavSirebiT).misi azriT, ferxulis Sesaxeb arsebul masalas qarTveli tomebisuZveles sarwmunoebriv SexedulebaTa aRsadgenad didimniSvneloba aqvs. qorbeRelas, ferxisais, maTTan dakavSirebulida sxva sasimReroebi xTiSvilTa Sesaxeb wes-CveulebaTa damsoflmxedvelobis anarekls warmoadgens da gadaWarbebuliar iqneba imis Tqma, rom es masala Tavisebur gasaRebs warmoadgensqarTvel tomTa uZvelesi religiis dasadgenad (bardaveliZe:1938:10; bardaveliZe: 1953; bardaveliZe: 1968).TuSuri orsarTuliani wriuli ferxulis - qorbeRelasaRwerisas v. bardaveliZe aRniSnavda, rom am ferxulis mixedviTmomavlis winaswarmetyveleba xdeboda: Tu qorbeRela iqceodaan qorbeRelas sagalobeli ireoda, maSin es saqonlis,miwis mosavlisa da adamianis zians moaswavebda da, piriqiT,qorbeRelas jerovnad Sesruleba siuxvis, sikeTisa da bednierebismomaswavebeli iyo. qorbeRelas sagalobelSi is xTiSvilimoixsenieba, romlis saxelobis dReobazec es cekva sruldeboda,da mas mouwodeben puris mosavali gaadidos da saqonelida adamianebi gaamravlos. amasTan erTad, v. bardaveli-Zis mosazrebiT qorbeRelas sagalobeli maRlari vaziskults asaxavda. teqstis es nawili ferxulisagan damoukidebelisagaloblis saxiTac aris damowmebuli xevsureTsa,fSavsa da xevSi, xolo calke leqsad kaxeTsa da qarTlSiafiqsirebuli. xevsureTSi mas jvarSi dReobis dros e.w. zedamdegnigalobdnen. aseve xatSi dReobis dros warmoiTqmodais xevSi da, albaT, fSavSic. am sagaloblis gavrcelebisesoden farTo areali imis maCvenebelia, rom qorbeRela, rogorcsaweso sacekvao-sagalobeli, yvela qarTveli tomisaTvissaerTo unda yofiliyo. miuxedavad imisa, rom TviTeuli197

qorbeRelas sasimRero garkveul xTiSvils moixseniebs da missaxelzea gankuTvnili, yvelas Sinaarsi Tavis ZiriTad nawil-Si savsebiT erTnairia da formis mxrivac erTsa da imavefrazebSia Camoyalibebuli. masSi mocemulia: 1. im RvTisSvilissaxeli, romlisTvisac dReobaa gankuTvnili, 2. RvTisSvilisadmimimarTva puris mosavlis, saqonlis da adamianTa matebazeda 3. bolos (an TavSi) mocemulia epizodi xTiSvilissaxelobis xatis karze alvis xis amosvlis Sesaxeb. qorbeRelasda ferxisais sasimReroebi sruldeboda xatSi anu jvar-Si ferxulis dros. TuSeTSi xatis mamulis garkveul adgilze,ufro xSirad mamakacebis sadgom adgilze, ramdenime kacimxari-mxars gadaebmoda da wres marTavdnen. meore wyeba mamakacebisamaT mxarze Seadgeboda da agreTve mxari-mxars gadaebmoda.es orsarTuliani wre neli nabijiT da saTanado ritmisdacviT xatis Senobisaken gaemarTeboda, Tan marjvnivtrialebda da qorbeRelas sasimReros ambobda. sasimRerosTiTo muxls orpirad ambobdnen da, Tu sasimReros teqstimTavrdeboda xatis karze misvlamde, mas Tavidan gaimeorebdnen.zogjer, rodesac cekvis mosurne axalgazrdoba bevriiyo, qorbeRelas or-sam wres gaakeTebdnen. maSin TiToeuliwre rig-rigobiT imeorebda sasimReros erTsa da imave muxlsorjer. qorbeRelaze TuSi ikvlevda Tavis momavals: Tu qorbeRelaiqceoda da simRerac ireoda, maSin saqoneli da adamianidagvexocebao da piriqiT, Tu qorbeRela kargad midiodada simRerac Sewyobil-Sexmatkbilebuli iyo, maSin saqmekargad wagvivao, fiqrobdnen Zvelad TuSebi. xatis karTanqorbeRela iSleboda da simRerac wydeboda. xevsuruli ferxisaicxatis maxloblad dgeboda. mocekvaveni erTmaneTs xelixelgadaebmodnen da wres akeTebdnen. wris monawileni orgundad iyvnen gayofilni da maTi meTaurebi wreSi erTi-meorispirdapir idgnen. wre daiwyebda marjvniv trials, Tan nelinabijiT miemarTeboda xatis karisaken da Tan ferxisaissasimReros asrulebda. simReras iwyebda erTi gundis meTaurida mas misi gundi bans aZlevda, Semdeg meore gundis meTauriimave sityvebs gaimeorebda da misi gundi ki mas bans miscemda.ase mRerodnen sasimReros TviTeul muxls or-orjerda xatis karis Sori-axlo ferxisai daiSleboda da simReracSewydeboda. xSirad es ferxuli dReobis dasasruls xatidanwasvlis dros imarTeboda, wre xatis moSorebiT dgeboda dasoflisaken miemarTeboda. maSin am ferxulSi qalebic iRebdnenmonawileobas (bardaveliZe: 1938; bardaveliZe: 1953; bardaveliZe,1968).198

v. bardaveliZe Tvlida, rom wriuli cekvebis azrsa dadaniSnulebas kargad gamoavlens saweso moqmedebaTa mTelikompleqsi, romelSic wriuli cekvebi Sedioda, rogorc sawesomoqmedebis erT-erTi saxeobaTagani. magaliTisaTvis avtoriganixilavda `batonebTan~ dakavSirebul `TavSemovlebisa~da garSemovlis rituals, rodesac xorcieldeboda wris saxisqmedebani - avadmyofis garSemo wris gakeTeba, mis irgvlivSemovla da `batonebis~ saxelze gankuTvnili Sesawiravis,sxvadasxva saboZvarisa da sazvarako saqonlis Semotareba.garSemovla xdeboda cekviTa da galobiT. igi miiCnevda,rom batonebTan dakavSirebuli TavSemovlebis rituali, cxovelebisama Tu im RvTaebis saxelze dayenebis rituali, wm.barbaresTan dakavSirebuli rwmena-warmodgenebi da sxv. saSualebasiZleva CavTvaloT, rom mzis RvTaebis epiTetebi, emblemebi,misTvis miZRvnili sagnebi asaxaven am mnaTobis Tvisebebs- simravles, naTebas, brwyinvalebas. am TvalsazrisiTSewirvis Taviseburi ritualis ganxilvisas, romelic ama Tuim obieqts astraluri RvTaebisadmi mikuTvnebul obieqtadaqcevda, igi askvnida, rom aq aqcentirebuli iyo mnaTobTaerT-erTi TvalsaCino mxare, kerZod ki wriuli moZraobis,trialis dinamiuri Tviseba. is faqti, rom Sewirvis ritualisCatarebis Semdeg cxoveli gadaiqceoda wminda cxovelad,gvaZlevs gasaRebs am Taviseburi ritualis Tavdapirveli azrisgagebisaTvis. rogorc Cans, iTvleboda, rom wriuli moZraobissaSualebiT, agreTve wiTeli da TeTri feris tansacmlisCacmiT, xdeboda astralur RvTaebaTa bunebasTan ziareba,zeciur mnaTobTa Tvisebebisa da Zalis miReba, maT moZraobaSiTanamonawileobis gziT SesaZlebeli iyo astralurRvTaebaTa wreSi moxvedra da maT saxelze Sewirva. v. bardaveliZeaRniSnavda, rom wriuli saxis moqmedebani ukavSirdebaastraluri safexuris sarwmunoebriv msoflmxedvelobas. qar-TvelTa sarwmunoebriv warmodgenebSi wriseburi da mrgvaliobieqtebi mzisa da savse mTvaris gamosaxulebebTan iyvnendamsgavsebuli da asocirebuli. misi azriT, umarTebulo arunda iyos, Tu davaskvniT, rom astraluri religiis ganviTarebismaRal safexurze qarTvel xalxSi unda arsebuliyoZveli aRmosavluri religiebisaTvis damaxasiaTebeli, wriulibrunvis swavleba, romlis mixedviT adamianis sikvdil-sicocxlisbedi RvTaebrivi bedis mamJRavnebel mnaTobTa wriulbrunvas ukavSirdeba. qarTvelTa religiur praqtikaSiesoden fexmokidebuli da gavrcelebuli cekvebi miZRvniliiyo RvTaebebis, gaRmerTebuli nayofierebis Zalisa da bune-199

is aRorZinebis gandidebisadmi, agreTve xalxis mZleosnobisamisTvis Tavdadebuli calkeuli gmirebisadmi. amgvari sawesocekvebis warmomsaxveli unda yofiliyo Tavdapirvelad,misi azriT, qal-vaJTa da iTifalur mocekvaveTa Wrelebi,romlebic lifanalis saweso mxatvrobaSi aRibeWda (bardaveliZe:1953: 129; bardaveliZe: 1957: 196-197).borjRalis ornamentTan dakavSirebiT wrisa da wriulibrunvis mniSvnelobas ganixilavda i. surgulaZe, romelicwerda, rom Tanaxmad Zveli msoflios xalxebis kosmogoniuriSexedulebebisa, miwa uZravi iyo, xolo ca da ciuri sxeulebibrunavdnen mis garSemo. amdenad, am niSanTa jgufi cisa daciuri sxeulebis moZraobis specifikur aRwerilobad undamiviCnioT. roca mbrunavi jvari sxva niSnebisagan damoukidebladaagamosaxuli, igi zogadad ganyenebul brunvis ideasgadmogvcems, xolo kerZo SemTxvevebSi ki, roca mas daboloebazedaerTvis raime niSani, saqme exeba am niSnis gadaadgilebasqveynierebis 4 mxaresTan mimarTebaSi. brunvis idea universalurimovlenaa Zveli msoflios xalxebis azrovnebaSi dambrunavi jvari mas gamosaxavs uaRresad lakonuri da rafinirebuliformiT. gansxvavebiT jvrisagan, mbrunavi niSani erTimimarTulebiT brunvas gadmogvcems. igi ciur sxeulTa rotaciulimoZraobisa da Sesabamisad, sezonTa cvalebadobazedamyarebuli drois Tanmimdevruli, cikluri dinebis aRmniSvnelia,romelic Zveli xalxebis TvalsazrisiT wriuli saxiTwarmoidgineboda. (surgulaZe, 1986 _ gv. 64). misive azriT,sadResaswaulo ritualuri msvlelobebis monawileTa rigismier xdeboda Semovla, garSemovla soflisa an soflebisaritualis ZiriTadi ideebis Sesabamisad. ritualis monawilenimTeli samoqmedo procesiiT kravdnen wres, radgan maTimsvlelobis mizani ar iyo raime geografiul an sakultopunqtTan miRweva. Semovlili teritoria warmogvidgeba rogorcsamyaro misteriis praqtikuli da ideologiuri ganfenisada am niSniT rogorc aRniSnuli, organizebuli sivrce,upirispirdeba danarCens, araorganizebul samyaros, aRuniSvnels.dResaswaulis sivrcobrivi, wriuli gaazreba mas damoukidebelmiznobriv Rirebulebas aniWebs. igi ukavSirdebakoncefcias, romelic warmogvidgens drois aRricxvis wriul,ciklur wess, Sesabamisad bunebis kvdoma-aRorZinebisa. esidea vlindeba brinjaos balTebis dekorSic, sadac xSiriawris, anu Semovlis principze agebuli kompoziciebi. safiqrebelia,rom aRniSnuli masala asaxavs kavkasiuri miTosisformirebis erT-erT umniSvnelovanes etaps da mas Sesabamisi200

eligiur-kosmogoniuri aspeqtic gaaCnia. aRniSnul kompoziciebSimocemulia samyaros yvela sknelis simbolika da isinikompoziciurad wris, ciklis saxiT arian warmodgenili, racar iZleva maTi semantikuri arealis mxolod astraluri warmodgenebiTSemofargvlis saSualebas. msgavsi religiur-mi-Tologiuri Sinaarsis kompozicia i. surgulaZis azriT warmodgeniliayanCaeTis Standartzec. es kompozicia wriuladaaagebuli da amdenad ideuri safuZvliT uaxlovdeba sartyelebzegamosaxul da xalxur dResaswaulebSi SemorCenil ritualurmniSvnelobebs (surgulaZe: 1981: 115, 116; xidaSeli:2001). amave ideis gancxadebas warmoadgens ritualuri ferxulebi(zogjer mravalsarTuliani), orpiruli (orgundiani)simRerebi, saqanelebze qanaoba da a.S. (surgulaZe: 1987).rogorc i. zemcovski wers, saWiroa CavukvirdeT da SevigrZnoTritualur ferxulTa semantika, warmovidginoT ma-Ti realuri arseboba realur soflur garemoSi. mTel sofelzegavla warmoadgens mTeli Tavisi samyaros simbolurdapatronebas (daTvalierebas, mxatvrul àTvisebas~). amTvalsazrisiT, isrisa da wris saxeebi ar ewinaaRmdegebianerTmaneTs: orive simbolurad moicavs `samyaros~ mTlianobas...ferxuli ar aris ubralod qoreografia, ama Tu im nabijis,moZraobis urTierTSeTanxmeba. ferxuli _ stiqiaa, realurida mxatvruli sinamdvilis im sinkretuli erTianobismZlavri komponenti, romelic ZvelTagan kvebavda xalxur Semoqmedebas...ritualSi wre erTgvari wertili, daxSuli sferoa,mikrosamyaro, romelic asaxavs warmodgenebs makrosamyaroze.ritualur ferxulSi brunavs melodia, adamianebi kiTavisi daxSuli `samyaros~ wreSi tkepnian adgils. Tumca arunda gavamartivoT wriuli moZraobis simbolika: aq ara martodaxSul wreze brunvaa, ara marto struqturuli uwyvetobada ganmeorebaa, aramed imis ganumeoreblobis niSanic, racprincipSi ganmeorebadia (zemcovski: 1987: 41,77).wre kardinalur simboloTagan erT-erTs warmoadgens.rogorc cnobilia, maSin, roca Tavisufali, ZaldautanebelimoZraoba wriuli, momrgvalebulia _ SeCereba, stabilurobaukavSirdeba kuTxovan figurebs, mkveTr da wyvetil, araTanabarxazebs. wrisagan gansxvavebiT kvadrati anti-dinamiuri figuraa.kvadrati sivrcis figuraa, wre, spirali ki droisa.qristianul simbolikaSi kvadrati drois kuTvnilebaa, maradiulobaki wriTaa gamoxatuli. es ukanaskneli gamoxatavdajer weliwads, Semdeg zomavda dros, Semdeg maradiulobas201

da bolos dausabamos aRmniSvneli iyo (Sevalie,geerbrani:1973. I; kerloti: 1994).yuradReba mivaqcioT imas, rom centris da RerZis saxeebi,simboloTa dinamikaSi, korelaturia da gansxvavdeba er-TmaneTisagan mxolod xedvis kuTxiT. kolona, sveti, danaxuliTavisi wverodan, warmoadgens centralur wertils; horizontidandanaxuli, perpendikularulad ki igi RerZs warmoadgens.amgvarad erTi da igive sakraluri adgili, romelicyovelTvis simaRlisaken iswrafvis, erTdroulad aris centricda samyaros RerZic. amgvarad, igi warmoadgens Teofaniisprivilegirebul adgils. rogorc cnobilia, centri xSiradgamoxatulia SemaRlebis saSualebiT: mTa, borcvi, xe,koSki, cixe, omfalosi, qva da sxv. centris cneba mWidrodukavSirdeba komunikaciuri arxis cnebas. centrs gaaCnia rogorcspiritualuri, ise materialuri mniSvneloba. mistikurisakvebi iRvreba centridan iseve, rogorc biologiuri - dedissisxlidan. centri SeiZleba ganxilul iqnas, Tavis horizontalurganfenilobaSi, rogorc samyaros suraTi, rogorcmikrokosmi, romelic Tavis TavSi Seicavs samyaros yvela virtualobas,xolo Tavis vertikalur ganfenilobaSi _ rogorcgadasvlis, mijnis adgili samyaros zeciur, miwiur da infernalurdoneTa Soris. es aris yvelaze Zlieri intensivobismatarebeli wertili (eliade: 1987; eliade: 1949; eliade: 1965;Sevalie, geerbrani: 1973. I).raulis mixedviT, wrebrunva, triali, rac wris dinamiurgansazRvrebas warmoadgens ritualsa da xelovnebaSi, warmo-Sobs magiur Zalas, maT Soris damcav Zalas, radganac qmnisxelSeuxebel teritorias – wres (kerloti: 1994).mniSvnelovania, rom qarTul ritualur ferxulebSiwris saxiT erTmaneTze mxari mxars gadabmuli mocekvavenitrialeben wris centrSi mdgomi xevisberis garSemo, romelsacxelSi droSa uWiravs. wris SuagulSi SeiZleba idges anxevisberi droSiT xelSi, an dasturi, romelic xatis ludsasmevs mocekvaveebs; meferxuleni gars uvlian xes, salocavs,koSks (svaneTSi Tovlis koSks, romelsac SuagulSi joxiaqvs datanebuli, Tavze ki droSa an jvari aqvs damagrebuli),zogjer koSkze xatia moTavsebuli. rogorc cnobilia, xec,droSac, cixec, koSkic, mTac sxva analogiur simboloebTanerTad (kverTxi, Subi, joxi da a.S.), samyaros centris maszegamavali RerZis simboloebs warmoadgendnen (eliade: 1965; Sevalie,geerbrani: 1973; mxm: 1992).202

meferxuleTa wris centrSi xSirad figurirebs koSki,realurad arsebuli an Tovlisgan specialurad aSenebuli.TviT meferxuleTa wrec, rodesac erTmaneTis mxrebze Semdgariadamianebi ferxuls cekvaven, ganixileba, rogorc sarTulebianinageboba, erTgvari koSki Tu cixe. svaneTSi dResaswauls`koSkobas~ (muryvamobas) uwodebdnen, TuSeTSi centrSimdgar musikoss `mecixovnes~ eZaxdnen. sayuradReboa ferxul-Ta saxelwodebanic _ `qorbeRela~, `cixe-buna~ da a.S. koSki,cixe centrisa da masze gamavali RerZi erT-erT simboloswarmoadgens xis, droSis, salocavis da sxva simboloTamsgavsad).ferxuli “qorbeRela” SeiZleba ganvixiloT rogorcsarTulebiani, maRali Senoba (Sead. sulxan-saba: `qori - saxlisaxlzec agebuli; qored-qoredi _ oTxi, xuTi saxli saxlzeSenebuli.~ `qorbeRelad dawyoba~, `dabeRvla~ sakultobeRlis gadaxurvis struqturasTan dakavSirebuli teqnikurixerxis aRmniSvnelia da gardigardmod dawyobas niSnavs (bardaveliZe:1974: 18)).koSki ewodeboda agreTve zodiaqalur Tanavarskvlaveds,burjs. Tavis mxriv burji (koSki, godoli) sabjens, sayrdens,mzid konstruqcias (mag. masiur boZs) aRniSnavs (sulxan-saba:1966; abulaZe: 1973; kvirkvelia:1971).cnobilia farTod gavrcelebuli, damkvidrebuli motiviqarTul folklorSi, romelic erTmaneTs ukavSirebs cixisdangreva-waqcevas da adamianis sikvdils (mag.: `bakur-xevs cixedaiqca nagebi basris qvisao, / jabanas ebrZvis sikvdili, Wexvadga, elva cisao~... àlvanSi koSki waiqca, nagebi agurisia, /mogvikles gorgiaisZe, mokles Semrtymeli xmlisia~... (SaniZe:1984: 167, 257). avis momaswavebelia dReobis dros ferxulisSesrulebisas arev-dareva da mocekvaveTa Senobis daSlac.amave dros unda aRiniSnos, rom ferxulis SesrulebiTSeiZleboda mdgomareobis gamosworebac. aul xodSi Zukaevebisgvari yovel zafxuls saTibSi gasvlis win simReriTa dacekviT aRniSnavda aulis uxilavi patronis, arviagdis dRes.arviagdi warmoadgenda sagvareulo koSks, sadac imyofebodakaui-zaedi anu aulis angelozi. xodelebs sjeraT, rom uxsovardroSi es koSki mexis dacemis Sedegad gadaixara, TaviTmezobel koSks daeyrdno da amgvar mdgomareobaSi imyofebodasami dRis ganmavlobaSi. maSin Zukaevebis mTelma gvarmaSeqmna wre, trialebda koSkis garSemo sami dRis ganmavloba-Si da dRedaRam mReroda Sesabralis simReras misamReriT,romelic mexis dacemasTan dakavSirebiT Seiqmna. meoTxe dRis203

dadgomisas koSki yvelas Tvalwin swrafad wamoimarTa da winandeburimdgomareoba miiRo (gatievi: 1987: 191).sainteresoa erTi cnobili xalxuri leqsi, sadac samyarosSuagulSi aRmarTuli koSki erTgvari gnomonis, RerZisrols asrulebs, romlis garSemoc wuTisofeli brunavs:“idumlis koSko, maRalo, saseiroze dgaxaro,mowyenilT gulsa gauSli, maxarobelsa hgavxaro.qveS qalni mogisxdebian, Sen, Crdilo, siTken waxvalo?”“rogor ver xedav, ymawvilo, ulvaSaSlilo, axalo?-mec ise vbrunav, rogorc Sen am wuTisofels daxvalo.”(WinWarauli: 1985: 139).xe da koSki urTierTmonacvle, identuri simboloebia,romlebic casTan SibiT arian SeerTebuli. es ukanasknelimomenti ki xisa da koSkis simbolikis kosmogoniur gankuTvnebazemiuTiTebs. TavianTi safuZvliT isini miwieri warmoSobisaarian da cas raRac garegani, mesame Sualeduri elementiTunda daukavSirdnen. aseTi Sualeduri elementi aris Sibi,jaWvi (surgulaZe: 1986: 155, 192). xisa da koSkis analogiurimniSvneloba hqonda irmis rqebsac (surgulaZe: 1986; xidaSeli:2001; 2004).uaRresad sainteresoa arqeologiuri masala, sadac ritualuricekvis, ferxulis scenebia warmodgenili. m.xidaSelisazriT, yuradRebas imsaxurebs yazbegis ganZidan erTi saritualoZegli – brinjaos Rero, romelzec sami zaria dakidebuli,centrSi gamosaxulia jixvis Tavi, sam iarusad ganawilebulimaRali rqebiT. rqebze dgas mamakacis iTifalurifigura, kverTxiT xelSi. brinjaos Reros orive bolo, asevesam iarusad dayofili rqebiT aris damTavrebuli. avtorisazriT, cxovelTa rqebi, am SemTxvevaSi, gaazrebulia, rogorcvertikalurad agebuli, sami sknelisgan Semdgari samyaro,xolo anTropomorfuli arseba, rogorc am samyaros gamgebeli(xidaSeli: 2004: 152).xis, koSkis, dedaboZis, rqebis, jaWvis (Zewkvis), Sibisvertikaluroba, e.i. “ze” da “qve” samyaroTa Soris gadamyvanida centrze gamavali sakomunikacio saSualebis funqcia cnobiliada gamovlenilia folkloruli, eTnografiuli Tu arqeologiurimasalis safuZvelze.Sibis, jaWvis saSualebiT RvTaebebi moZraobdnen, cidanxeze Camodiodnen. cis samyaro RvTaebaTa sabrZanisia, romelicadamianTa samyarosTan SibiT, jaWviT da a.S. aris Seer-Tebuli da am gziT RvTaebebi Camodian kacTa samyaroSi. ase-Tive simboloa yamaris “caze dakidebuli” koSki, e.i. koSki,204

omelic casTan jaWviT yofila SeerTebuli. am gziT SeiZlebodagadasvla samyarodan samyaroSi. aseTive gadasvlis magaliTiacasTan SibiT Sekruli xmelgoris muxa laSaris jvar-Si (surgulaZe: 1986: 177), Suris cixe da alvis xe, romlebzecoqros Sibi iyo gabmuli da romelzec angelozebi midi-modiodnenda sxv.cnobilia korelacia Senobasa da kosmoss Soris. sacxovrebeliSenoba ganixileboda rogorc kosmosi, centrs kiwarmoadgenda is adgili, romelic konsekrirebuli iyo ritualebisada locvis meSveobiT, radgan aseT adgilebSi myardebodakontaqti zebunebriv ZalebTan (abakelia:1991:111).am sqemaSi SeiZleba CavrToT ritualuri ferxulebic,romlebic aRwerilia rogorc erTgvari koSki, Senoba, xSiradsarTulebiani Senoba (mag. ferxulis saxelwodeba “qorbeRela”(qori – sarTuli, aqve unda aRiniSnos, rom beRelic jvarisSenobebis aucilebeli Semadgeneli nawilia), cixe-buna,ferxulis centrSi mdgomis saxelwodeba – “mecixovne”, orsarTulaferxuli da sxv.).Senobis zeda sarTuli, zeTasTvali, iseve rogorc ferxuliszeda sarTuli, ukavSirdeboda zecas, qveda sarTuli,ZirisTvali, qveda wyeba ki miwas. niSandoblivia am TvalsazrisiTerT-erTi ferxulis teqstSi naxsenebi “zemyneli” da“qvemyneli” meferxuleTa zeda da qveda wyebis aRsaniSnavad.ferxuli “zemyneli”: es ferxuli Zvelad icodnen. qveSrgvlad erTi mwkrivia dabmuli, mere zed avlen, mxrebze Seadgamenfexs da zeiTac erTi mwkrivi Seikreba, uvlian garSemoda mRerian:zeda mwkrivi: qvemyneli xar, zemyneli var,zeiT amodio.qveda mwkrivi: zemyneli xar, qvemyneli var,qveiT Camodio (maisuraZe, i.: 1939)ferxuli “samyrelo”: yvelieris bolo dRes, kviras, sa-Ramo xanze xalxi Seikribeboda moedanze. kacebi ferxuls daabamdnen.7-8 kaci mWidrod gadaxvevdnen mklavebs mxari-mxarsmitaniT, amaT mxrebze sxvebi avidodnen, isinic ferxuls daabamdnen,yvelani nel-nel irxeodnen da TamaSiT mRerodnen:qveda wre iZaxda: samyrelo, samyrelo, Zirs Camodi samyrelo,nu geS, nu geSinia, qveS bumbuli gigia.zeda wre pasuxobda: _ rogor ar meSinia,caSi bewviT vkidivar.(var.: casa bewvi hkidia)205

amas ramdenjerme gaimeorebdnen da mere zeda wre erTba-Si SeZaxiliT Zirs Camoxteboda.(maisuraZe, i: 1945).Tu ferxulebs ganvixilavT rogorc mTeli kosmosis, samyarosgansaxierebas, romelic samyaros RerZis garSemo brunavs,bunebrivia misi Semadgeneli nawilebis, sarTulebis amavekonteqstSi ganxilva. ferxulis zeda sarTuli zecis, zedaieris(sv.),zemo samyaros gansaxierebaa, qveda sarTuli ki miwis,qvemo soflis, qveda iarusisa (Sead. agreTve saxarebiseuli“Tquen quesknelisa misganni xarT da me zesknelisa misganivar, Tquen amis soflisagani xarT, me ara amis soflisaganivar (ioane 8, 23))(amasTan dakavSirebiT ix. “qveyana”-s, “yana”-s damasTan dakavSirebuli enaSi SemorCenili sivrcis aRmniSvneliterminebi. bregaZe: 1982; surgulaZe: 1986).“zemyrelos” teqstSi naxsenebi “caSi bewviT vkidivar”(an“casa bewvi hkidia”) uigivdeba Sibs, jaWvs, Zewkvs, romeliccidan eSveba da vertikalurad ganlagebul samyaros doneTaSemakavSirebel da sakomunikacio saSualebas warmoadgenda.wriuli ferxulebi gamoxataven mTeli samyaros, vertikalzeganlagebuli misi samive donis wrebrunvis ideas Axismundis-is garSemo, cisa da miwis kavSirs sakralur centrSi,drois ciklur mdinarebas, rac bunebrivia, ukavSirdeba wesrigs,nayofierebas, keTildReobas da a.S. (alaverdaSvili,2000).gasagebi xdeba dReobebze ferxulis cekvis aucilebloba,rasac mTxroblebi aRniSnavdnen: `ferxuli aucilebladunda ecekvaT. mgloviare Tu iyo vinme, fexs mainc gausvamda -aucilebeli iyo~. `mgloviare xSirad daminaxia mofarebulSifexs rom mainc gausobs. ar SeiZleba iqidan adamiani ucekveladwamovides.~ (alaverdaSvili: 1985). `xatSi mxvewarma undaicekvos, rom xati wyalobdeso, amitom wlovanebis ganurCevladaq yvelani TamaSobdnen.~ (makalaTia: 1985: 13,209). `qalebiufro sufris bolo mxarze isxdnen. aqve imarTeboda TamaSoba.xnieri dedakacebic ki TamaSobdnen, radgan savaldebuloiyo xatSi mxiaruloba. rac unda dardiani yofiliyo, xatSimainc ar SeiZleboda ar emxiarula~ (oCiauri: 1991: 80, 267).`ferxisais~ Cabmamdis jaridan wasvlis ufleba aravis hqonda~(cocaniZe: 1990: 95).Tu SevajamebT, daskvnis saxiT SeiZleba iTqvas Semdegi:yovelgvari wre aucileblobis ZaliT gulisxmobs centrisarsebobas. rogorc ki mocekvaveni wres Sekraven, wris SigniTwarmoiqmneba sakraluri sivrce Tavisi centriT. ferxulebSies adgili SeiZleba eWiros xatis msaxurs xatis droSiT206

xelSi, dasturs sakraluri ludiT, meCongures (romelsac`mecixovnes~ eZaxian), mocekvaveTa wris SuagulSi SeiZlebaaRmoCndes xe, salocavi, cixe, koSki (svaneTSi Tovlis koSkiSuagulSi Catanebuli joxiT) da a.S., romelsac meferxulenigars uvlian. SeiZleba iTqvas, rom am saxiT centri erTgvaradmaterializebulia. rogorc cnobilia xec, xatis dro-Sac, cixec, koSkic, salocavic sakralur centrze gamavaliAxis mundi-s simboloebs warmoadgenen, ase rom saqme samyarosRerZis garSemo vertikalurad ganlagebuli kosmosis yveladonis wrebrunvasTan gvaqvs.wlis mniSvnelovan momentebSi Sesrulebuli ritualuriferxulebi meferxuleTa moZraobasa da samyaros moZraobasSoris siRrmiseul kavSirs avlens. dResaswaulze ferxulisswori, ritmuli moZraoba, zusti Sesruleba stimuls, biZgsaZlevs da xels uwyobs samyaros ganaxlebas, gajansaRebas,axali energiiT avsebs, kvebavs mas, rogorc meferxuleebs sakralurisasmeli.“ferxulSi Cabma” saerTo saqveyno saqmeSi monawileobasaRniSnavs. “cxovrebis ferxuli” wuTisoflis sinonimia. SeiZlebaiTqvas, rom ferxuli trialebs iseve, rogorc mTelisamyaro, iseve rogorc wuTisofeli, rogorc drois mdinarebazedrouli centris garSemo, rogorc Crdili mzis saaTSi uZravignomonis garSemo. Sesabamisad avismomaswavebelia dResaswaulzeritualuri ferxulis Sesrulebisas arev-dareva,ritmis darRveva, wyvetili Sesruleba, mocekvaveTa SenobisdaSla da sxv. gasagebi xdeba ferxulis Sesrulebis mixedviTwinaswarmetyvelebis SesaZleblobac. ferxulisa da misi TanmxlebisimReris arazust, araritmul, cud Sesrulebas, samyaroSiqaosi, areuloba Seaqvs da Sedegad sikvdilianoba, unayofobada sxva ubedurebani mohyveba. da piriqiT, ferxulisswori, ritmuli, kargi Sesruleba samyaroSi wesrigis, mSvidobisada nayofierebis garantia.ferxuli ara marto samyarosa da drois brunvas, trialsgamoxatavs centris garSemo, igi erTgvarad samyaros struqturasacasaxavs (mxedvelobaSi gvaqvs zogierTi sarTulebianiferxuli). igi xazs usvams da ganamtkicebs sacekvao wreSi meferxuleTa,anu anu sazogadoebis erTianobas, xolo ferxuliscentrze gamavali samyaros RerZi samyaros samive donisdamakavSirebel sakomunikacio arxs warmoadgens.“erTm berikacm Tqva: fandurni vis misceniT, fanduriTgvimReras. fandur misces momRerals. sru erT muxlze xalxisxav. momReralma Tqva: xalxno, yvelan davixocebiT. mkvdar207

unda davRmarxaT, cocxaln cocxlad unda viyvneT, mters undamagra dauxvdaT, sikvdilsac ar gautydaT, mtersac. qve TuvimRereb, wesrigs vayeneb” (SaniZe: 1984: 48).a. SaniZis mier xevsureTSi dafiqsirebuli es epizodi,romelic fandurze simReris saWiroebas Seexeba (saqme exebodamicvalebulisaTvis rigis gadaxdas), SeiZleba saweso ferxulebisSesrulebis aucileblobazec gavrceldes. SeiZlebaiTqvas, rom cxovreba ferxulia. qve Tu vimRereb, wesrigs vayeneb.Agamoyenebuli literatura:abakelia: abakelia n. simbolo da rituali qarTul kultura-Si, Tb., 1997.abakelia: abakelia n. zRurblisa da karis simbolikisaTvisqarTul tradiciaSi, masalebi saqarTvelos eTnografiisaTvis,XXV, Tb., 2005.abakelia: Абакелия Н. Миф и ритуал в Западной Грузии. Тб., 1991.abulaZe: abulaZe, i. Zveli qarTuli enis leqsikoni. Tb., `mecniereba~,1973.alaverdaSvili: alaverdaSvili, q. savele dRiurebi. lentexisr-ni. 1985 w. (xelnaweri).alaverdaSvili: alaverdaSvili, q. savele dRiurebi. imereTi.1988 w. (xelnaweri).alaverdaSvili: alaverdaSvili q. centris simbolikisaTviszogierT qarTul ferxulSi, Jurn. ”analebi”, 2000, #1bardaveliZe: bardaveliZe, v. aRmosavleT saqarTvelos qarTvelimTielebis sasuliero teqstebi. masalebi saqarTveloseTnografiisaTvis. nakveTi I. tf., 1938.bardaveliZe: bardaveliZe, v. svanur xalxur dReobaTa kalendari.I. axalwlis cikli. Tb., mecn. akad. gamomc., 1939.bardaveliZe: bardaveliZe, v. ivris fSavlebSi (dRiuri). ènimkismoambe~. t. XI, Tb., 1941.bardaveliZe: bardaveliZe, v. qarTuli (svanuri) saweso grafikulixelovnebis nimuSebi. Tb., saq. mecn. akad. gamomc.,1953.bardaveliZe: bardaveliZe, v. sicocxlisa da siuxvis xe qar-TvelTa sarwmunoebaSi. kreb. `saqarTvelos eTnografiissakiTxebi~. Tb., `mecniereba~, 1968.208

ardaveliZe: bardaveliZe, v. aRmosavleT saqarTvelos tradiciulisazogadoebriv-sakulto Zeglebi. t. I. fSavi. Tb.,`mecniereba~, 1974.bardaveliZe: Бардавелидзе, В.В. Древнейшие религиозные верования иобрядовое графическое искусство грузинских племен. Тбилиси, Изд.АН Грузинской ССР, 1957.bregaZe: Брегадзе, Н.А. Очерки по агроэтнографии Грузии. Тб., `Мецниереба~,1982.burkharti: Буркхардт, Т. m Сакральное искусство Востока и Запада, М.,1999.gatievi: Гатиев, Б. Суеверия и предрассудки у осетин. `Периодическая печатьКавказа об Осетии и осетинах~. III. Цхинвали, `Ирыстон~, 1987.eliade: Eliade, M. Traité d´ histoire des religions. Paris, 1948.eliade: Eliade, M. Le mythe de l´ éternel retour. Paris, 1949.eliade: Eliade, M. Le sacré et le profane. Paris, Gallimard, 1965.eliade: Элиаде, М. Космос и история. Москва, `Прогресс~, 1987.elisi: Ellis, H. The dance of life. N.Y., 1929.zemcovski: Земцовский, И.И. По следам веснянки из фортепианного концертаП. Чайковского. Историческая морфология народной песни. Л.,`Музыка~, 1987.iaSvili: Иашвили, М. Об истоках грузинского многоголосия. Тб.,`Хеловнеба~, 1987.TaTaraZe: TaTaraZe a. qarTul cekvaTa ganmartebani. Tb., 1986.kerloti: Керлот, Х.Э. Словарь символов. Москва, Refe-book, 1994.kvirkvelia: kvirkvelia, T. uroTmoZRvruli ganmartebiTi leqsikoni.Tb., `ganaTleba~, 1971.maisuraZe: i. maisuraZis eTnografiuli masalebi (sof. Wobare-Ti, mTqmeli arCil jvariZe, 1939 w.), axalcixis mxareTmcodneobismuzeumi, e.d. #3141.maisuraZe: i. maisuraZis eTnografiuli masalebi (sof. ude,mTqmeli mixa kopaZe, 1945 w.), axalcixis mxareTmcodneobismuzeumi, e.d. #3141.maisuraZe: maisuraZe, n. aRmosavleT saqarTvelos musikalurikultura. Tb., `mecniereba~, 1971.makalaTia: makalaTia, s. fSavi. Tb., `nakaduli~, 1985 (II gamoc.).mxm: Мифы народов мира. Энциклопедия. В 2-х т., М., Сов. Энц., 1992.oCiauri: oCiauri, al. qarTul xalxur dReobaTa kalendari(xevsureTi. arxotis Temi). Tb., `mecniereba~, 1988.oCiauri: oCiauri al. qarTuli xalxuri dResaswaulebi aRmosavleTsaqarTvelos mTianeTSi (fSavi). Tb., `mecniereba~,1991.209

oCiauri: oCiauri T. miTologiuri gadmocemebi aRmosavleTsaqarTvelos mTianeTSi. Tb., `mecniereba~, 1967.Jornickaia: Жорницкая, М.Я. Народное хореографическое искусствокоренного населения Северо-Востока Сибири. М., `Наука~, 1983.samsoni: Самсон, Л. Ритмы радости. Традиции классических индийскихтанцев. Нью-Дели - М., 1987.sarjvelaZe: sarjvelaZe, z. Zveli qarTuli enis leqsikoni.Tb., Tsu, 1995.sulxan-saba: sulxan-saba orbeliani, leqsikoni qarTuli. wigniI. Tb., `sabWoTa saqarTvelo~, 1966.surgulaZe: surgulaZe, i. mTa-TuSeTis cixe-nagebobaTa ornamentebi.`Zeglis megobari~, #7, 1966.surgulaZe: surgulaZe, i. qarTuli xalxuri ornamentis simbolika.Tb., `mecniereba~, 1986.surgulaZe: surgulaZe, i. sivrcobrivi aspeqtebi qarTvelTareligiur da miTosur warmodgenebSi. `masalebi saqar-Tvelos eTnografiisaTvis~, XXIII, Tb., `mecniereba~, 1987.TaTaraZe: Татарадзе, А.А. Древнейшие грузинские (сванские) хороводы.Тб., 1970 (дисерт. на соисkание ученой степени канд. ист. наук).SaniZe: SaniZe, a. qarTuli kiloebi mTaSi. Txz. 12 tomad. t. I,Tb., 1984.SaraSiZe: Charachidzé, G. Le système religieux de la Géorgie païenne. Paris,1968.Sevalie, geerbrani: Chevalier, Gheerbrant, 1973 _ Dictionnaire des symbols.t.I. paris, Seghers, 1973.cocaniZe: cocaniZe, g. giorgobidan giorgobamde (eTnografiulieqskursebi TuSeTis axlo warsulSi). II gamoc., Tb.,`mecniereba~, 1990.WinWarauli: WinWarauli a. “leqso ar daikargebi”, red. Semdg.al. WinWarauli, Tb., 1985.xidaSeli: xidaSeli, m. samyaros suraTi arqaul saqarTvelo-Si. Tb., `nekeri~, 2001.xidaSeli: xidaSeli m. arqauli epoqis dReobebze Sesrulebuliritualebis kosmogoniuri koncefcia. mse, XXVI, Tb.,2004.javaxiSvili: javaxiSvili, iv. qarTuli musikis istoriis ZiriTadisakiTxebi. Tb., “xelovneba”, 1990.janeliZe: janeliZe, d. qarTuli Teatris xalxuri sawyisebi.w. I. Tb., saxelgami, 1978.210

Towards the investigation of the symbolismof Georgian round dancesKetevan AlaverdashviliThe paper aims to examine the Georgian round dances in the image of thecosmos which rotates round the axis that penetrates the centre of the world. Theconstituent parts of it – the tiers are considered (contemplated) in the same context.“To perform the round dance” means to be involved in the worldly deeds.While dancing in the circle it emphasizes and confirms the unity of the participantsi.e. the wholeness of the society.”The round dance of life” is synonymousof the world itself.The round dance whirls, rotates in the manner of the world in the significantmoments of the year. The movements of the dancers in the performed ritual revealthe basic, fundamental likeness of the rotation of the world.The rhythmic performance of the round dance together with the songaccompaniment promotes, stimulates and facilitates the renovation, recoveringand filling with the new energy the world. It feeds the dancers in the same way asthe sacred drink does. Consequently uneven and untrue, false performance of thedance and mess and confusion while dancing, the “deconstruction of the buildingof the dancers” is a sign of evil luck which will plunge the whole society into thechaos, fruitlessness, death and other misfortunes. Many circled round dancesrepresent the rotation in the all three levels around the axis mundi i.e. in thesacred center of the junction of the Heaven and the Earth.211

jadosnuri sarke(qarTuli eTnografiuli masalis mixedviT)212giorgi gociriZeuZveles xalxTa kulturaSi xSirad vxvdebiT eg. w. jadosnursarkeebs, romelsac garkveuli magiur-religiurifunqcia miewereba. esaa sikvdil-sicocxlis, bedis Ziebis, gmirisTavgadasavlis, boroti Zalebis winaaRmdeg brZolis daavi Tvalisagan dacvis motivaciebi, rac kargad Cans arqeologiurmasalebSi (samarxebSi Catarebuli nivTebi), miTologiurda folklorul gadmocemebSi, xalxur wes-Cveulebebsada ritualebSi. arqeologiur literaturaSi am TemisadmimiZRvnili ara erTi gamokvleva arsebobs, magram eTnologiaSi(gansakuTrebiT qarTuli sinamdvilis magaliTze) dRemdeTiTqmis araferia dawerila.aRniSnuli problemiT jer kidev 1985 wels davinteresdi,roca rogorc aspiranti sanqt-peterburgSi (im dros leningradSi)mikluxo maklais saxelobis anTropologiisa daeTnografiis muzeumSi `kunstkameraSi~) dacul iuri da sofiomaris mier iranidan 1926_1928 wlebSi mopovebul koleqciebsvecnobodi. sxvadasxva saxis sayofacxovrebo nivTebsSoris Cemi yuradReba miiqcia xis an tyavis CarCoebSi Casmulma,vercxliT movarayebulma amalgamianma sarkeebma. zogierTmaTgans Tan axlda arSiebze amotvifruli yuranidan amokrebilicitatebi, rac maT gansakuTrebul ritualur daniSnulebazemigvaniSnebda. am eg. w. aRmosavlur sarkeebidan gamoirCeodaerTi SedarebiT patara zomis sarke, romlis amalgamzecsaintereso siuJeturi scena iyo gamosaxuli. maSindavwere pirveli statia am Temaze da `sabWoTa xelovnebaSi~gamovaqveyne (gociriZe, 1985: 105_110). mas Semdeg 25 weli gavidada dRes sarkes sxvadasxva mizezebis gamo kvlav mivubrundi.mkiTxvels vTavazob winare statiis Sesworebul da gadamuSavebulvariants.`kunstkameris~ samuzeumo fondebis saregistracio JurnalSidasaxelebuli sarke sparsuli vercxlis sarkis saxelwodebiTaafiqsirebuli. misi CarCo mTlianad vercxlisTxeli feniTaa dafaruli da gawyobilia mcenareuli ornamentebiT(7-7 ornamenti marjvniv da marcxniv, 5-5 Tavsa da boloSi,sul 24 ornamenti. gansakuTrebiT sainteresoa sarkisamalgamis centraluri nawili, romelzec sadResaswaulo (saqorwino)ceremonialia gamoxatuli. Cveni kvlevis winaSe dad-

ga ori sakiTxi 1. agvexsna siuJetis arsi kompoziciurad da 2.dagvedgina Tu ra ganapirobebda sarkis monawileobas konkretulSemTxvevaSi _ saqorwino ritualSi.cnobilia, rom sarke ZvelTagan adamianis cxovrebis ucilobeliatributi iyo. yofis am mniSvnelovan praqtikul sagans,ise rogorc yvela sxva utilitarul, gamoyenebiT nivTsTavisi ganviTarebis xangrZlivi istoria aqvs. pirveli cnobebiliTonis, brinjaos an vercxlis sarkeebis gamoyenebis TaobazeganekuTvneba me-3 aTaswleuls Cvens eramde. brinjaosxanis sarkeebi umeteswilad Zveli aRmosavleTis civilizirebuliqveynebisaTvisaa damaxasiaTebeli (xazanovi 1964; 31). amperiodiT TariRdeba saqarTveloSi aRmoCenili sarkeebis umetesinawilic isini gamoirCevian wminda moprialebuli zedapiriTada zurgze gravirebuli _ reliefuri uzorebiT (gagoSiZe1985). formiT mrgvali da mokle saxeluriani sarkeebiscodniaT wina azaiasa da Zvel saberZneTSic, risi dasturicaaterakotuli qandakebebi, romelTac xelSi sarkeebi uWiravT(muxitdinovi 1973; litvinski 1964).rac Seexeba SuSis sarkeebs, maTi warmoeba romaelebsdauwyiaT daaxloebiT pirvel saukuneSi. Sua saukuneebis adreulsafexurebze ki isini TiTqmis gamqralan, xolo me-13 saukunidankvlav gamoCenilan. me-16 saukunidan moyolebuli vi-Tardeba ra mokalul-amalgamiani sarkeebis warmoeba, klasicizmisada barokos stilis batonobis dros SeiniSneba maTidekoratiuli gaformebis mravalferovneba da formaTa mravalgvaroba(jibis sarkeebidan dawyebuli, damTavrebuliuzarmazari `tualetebiT~). sarkeebs iyenebden kedlebisa dabuxrebis mosapirkeTeblad, SenobaTa interierebis gasalamazeblad* .me-20 saukunis dasawyisidan funqcionalizmis tendenciuriganviTarebis Sedegad sarkeebma dakarges ra odindeli religiurixasiaTi, funqcia, mxolod yofiTi daniSnulebis sagnebadgadaiqcnen. manamde ki, warsulSi sarkes iyenebdnen aramxolod utilitaruli mizniT, aramed rogorc magiuri funqciismqones, romelTanac dakavSirebuli iyo ara erTi ritualuriwes-Cveuleba.sarkis magiuri daniSnulebisa da gamoyenebis Taobazesakmaod farTo samecniero literatura arsebobs, romelic* sxvaTa Soris es tradicia saqarTveloSic SeiniSneba. Tanamedrovesacxovrebeli saxlebis aivnebze sarkea erT-erT kedelze mimagrebuli.213

ZiriTadad arqeologiuri kvleva-Ziebis Sedegebs emyareba(Шылов 1959). arqeologiuri monacenebis mixedviT sarkeebi umeteswiladqalis samarxebSia aRmoCenili da TiTqmis yvela(Zalian mcire gamonaklisis garda) gatexilia. maT emCnevaTsagangebod miyenebuli ziani (xazanovi 1964). saqarTveloSicmcxeTasa da armazis xevis teritoriaze gaTxril samarxebSi,sarkeebis (umetesoba) dazianebulia. aRniSnulma garemoebammkvlevarebs afiqrebina, rom uZveles droSi micvalebulisdakrZalvis dros sarkeebs sagangebod texdnen garkveuli magiur-religiurimosazrebebis gamo. a. xazanovis azriT sarkeebiim avgarozebisa da amuletebis ricxvs unda mivakuTvnoT,romelTac adamianebi sicocxleSi Tan atarebdnen, rogorcavi Tvalisagan Tavdasacav saSualebas, xolo gardacvalebisSemdeg maT saflavSi im mizniT atanebdnen, rom sarkes ìmqveyanaSic~ patronisaTvis igive funqcia Seesrulebina, romelsacsaaqaoSi asrulebda (xazanovi 1964; 89). v. Silovi fiqrobda,rom es Cveuleba sazogadoebis ganviTarebis im safexurisgadmonaSTuri movlenaa, rodesac xalxuri rwmeniT sikvdilisarsi sxeulisa da sulis gayriT aixsneboda. uZvelesadamianTa warmodgeniT sikvdilis dros suli tovebda sxeuls,es ukanaskneli ki miwisaTvis unda miebarebinaT, amitomacmisTvis saWiro nivTebs sagangebod azianebdnen, raTa maTsxeulsac gayroda suli da igi patronis suls SeerTeboda(e. i. suli suls da sxeuli sxeuls). es iyo dro roca yvelasagani gasulierebulad hqondaT warmodgenili (Silovi 1959:438). frezeri werda, rom pirvelyofilTa SexedulebiT sarke-Si airekleboda maTi suli. isini Crdilsa da sarkeSi areklilgaorebul gamosaxulebas aRiqvamdnen rogorc sulis gamovlinebas(frezeri 1922: 93). albaT amiT aixsneba is SiSi,romelsac ganicdida kolonizaciis periodSi aborigeni mosaxleobasarkeSi Caxedvisas, rasac ara erTma evropelma mogzaurmamiaqcia yuradReba. sagulisxmoa, rom Zvel rusul qalaqebSidRemdea SemorCenili Sexeduleba _ TiTqos sarkesmkvdris aRdgena SeeZlos, rameTu suls Zala Seswevs ukan gamobrunebisa(xazanovi 1964: 71). msoflios mrval xalxSi (damaT Soris CvenSic) axlac sruldeba rituali, romlis Tanaxmadacmicvalebulis dros Wirisuflebi sarkes an kedlisakenSeabruneben an masze TeTr qsovils gadaafareben.mravalricxovani arqeologiuri gaTxrebis Sedegad aRmoCeniliqal-RvTaebaTa terakotuli qandakebebi, romelTacxelSi sarkeebi eWiraT, mkvlevarTa erT nawils afiqrebinebsam sagnebis astralur rwmena-warmodgenebTan kavSirze (muxit-214

dinovi 1973: 11). sxvaTa azriT isini gamarjvebis momniWebelsimbolur daniSnulebaze metyveleben. zogi mecnieri ki maTnayofierebis funqcias miawers. sainteresoa vanis teritoriazeaRmoCenili urartuli brinjaos sarke, gravirebuli salteebiTda sakraluri simboloebiT datvirTuli, romelic Zv.w. VII saukuniT TariRdeba. misi axsna istorikosma nana baxsolianmascada. misi TqmiT: sarkis salteebze orive mxriv wriuladmoZravi sxvadasxva cxovelebi da frinvelebia gamosaxuli;figuraTa mimarTuleba zeda da qveda zonebisaken aRniSnavsadamianis gaazrebul Semecnebas, romelic mzis amosvla-Casvlas,dRe-Ramis monacvleobas, sinaTlis da wyvdiadisdapirispirebas ukavSirdeba, rac drois cikluri aRqmisa dagaazrebis safuZvelia. mkvlevari iqve ganmartavs siuJetSiwarmodgenil figurebisa da gamosaxulebebis sakralur mniSvnelobas(`wm. xes~, cxovelebidan: xars, Txas, loms, taxs;frinvelebidan: ixvs, rqian Cits rogorc RvTaebaTa ipostarebs)da askvnis, rom urartuli xelovnebis es nimuSi (sarke),Cveulebriv ara sayofacxovrebo aramed ritualuri daniSnulebissagani unda yofiliyo, magiuri warmodgenebis mixedviTsikvdil-sicocxlis ormagi funqciis matarebeli (baRsoliani2010, 349 * ). Cven aq ar SeudgebiT aRniSnul SexedulebaTa SesaxebdawvrilebiT msjelobas rameTu am Sexedulebebs ZiriTadadarqeologiuri masalebis gaazreba udevs safuZvlad, Cvenimizani ki eTnografiuli da folkloruli monacemebis gaanalizebaa,rameTu am dargTa monacemebi ara Tu adasturebenarqeologiuri kvlevis Sedegebis siswores, aramed maT axalimasalebiT avseben da amagreben.daubrundeT marebis koleqciebSi dacul sparsul `vercxlissarkes~.sarkis amalgamze asaxul siuJetur moqmedebaSi aqcentiZiriTadad gamaxvilebulia qalisa da mamakacis gamosaxulebaze,maT sadResaswaulo tansacmeli acviaT, Tavze gvirgvinebiaxuravT, xelSi ki sasmisebi uWiravT. win ori sasanTle udgaT,xolo Tavs zemoT broweulebi uwyviaT. qal-vaJis marjvenada marcxena mxares musikosebi sxedan. erT wyvils simebianisakravi uWiravs xelSi, meores ki jvris formis xemiani instrumenti.musikosebis win mutribebi cekvaven. TiTqmis yvelapersonaJTan uxvadaa gabneuli broweulis, xorblisa da xme-* n. baRsolians madlobas movaxseneb Cemi statiis gamoyenebisa dakoreqtuli interpretaciisaTvis ceremonialis (qalebi calkesxdebian, kacebi calke).215

li xilis marcvlebi, puris TavTavebi, yvavilebi, tkbileuli.erTgan mzesumziras yvavilic mosCans (suraTi #3).warmodgenili siuJeti, rom uTuod saqorwino ceremonialisamsaxvelia amas Semdegi monacemebi adastureben:1. siuJetis saerTo foni sadResaswauloa (yvavilovaniornamentebi, sasmisebi; mocekvaveebi (mutrobebi, musikosebi)da sxv.).2. qal-vaJs Tavze gvirgvinebi adgaT, romlebic saqorwinotansacmlis erT-erT mniSvnelovan komponents warmoadgenen.3. amalgamze gamoxatuli personaJebidan nefis garda yvelaqalia, rac sparsuli tradiciis Tanaxmad, mxolod àydis~anu qorwinebis drosaa miRebuli.4. suraTze naTlad Cans rom nefe-patarZali yvelsaTvisTvalsaCino, sagangebod SerCeul, SemaRlebul adgilze sxedanda mutribebi (mocekvaveebi) maT sapativcemulod cekvaven,rac aseve sparsuli saqorwilo tradiciiTaa ganpirobebuli(galunovi 1930; 187).5. siuJetur kompoziciaSi uxvadaa gamoyenebuli broweuli,xmeli xili, tkbileuli, xorbali, yvavilebi da sxv. sagnebiromelTa monawileobac sparsul qorwilSi, siuxve-baraqianobisada nayofierebis gamomxatvel. simbolur daniSnulebazemetyvelebs (kisliakovi 1959; 197).amrigad, aRniSnuli monacemebis safuZvelze SeiZleba sabolooddavadginoT, rom sparsuli vercxlis sarkis amalgamzenamdvilad saqorwino ceremonialia asaxuli. vfiqrobTkonkretul SemTxvevaSi misi arseboba iranelTa yofaSi myaraddamkvidrebuli tradiciis Sedegi unda iyos. rogorcCans TiToeuli ostati am xelobas sakuTari fantaziiTa daSemoqmedebiTi unariT amdidrebda, mimarTavda ra amisaTvissaTanado originalur xerxebsa da saSualebebs. TviT tradiciisarss (amalgamze saqorwilo ceremonialis gamosaxvas),Cveni varaudiT upirveles yovlisa sarkis is magiur-religiurifunqcia ganapirobebda, romelic mas saqorwino wes-CveulebebSimonawileobis gamo miewereboda da romlis axsnacsakuTriv am wes-Cveulebebis ritualur xasiaTSi unda veZioT.sailustraciod moviyvanT ramodenime magaliTs iranuli qorwinebidan:Zveli sparsuli tradiciis Tanaxmad niSnobidan qorwilamdearsebul periodSi, sadResaswaulo dReebSi, sasiZovaldebuli iyo sapatrulo sxvadasxva saxis saCuqrebiT moekiTxa,saCuqrebSi sarke aucileblad unda yofiliyo. magali-Tad, `yurban-bairmis~ (msxverplSewirvis) dResaswaulze sasi-216

Zo daniSnuls ùgzavnida~ erT cxvars, romelsac rqebze oqrosferifurclebi hqonda damagrebuli, xolo Sublze sarke.qorwilis dRis moaxloebisas siZe sxva sagnebTan erTad(Salis qsovili, sanTeli, yurani, tkbili da sxv.) sapatrulosugzavnida sarkes, romelsac im oTaxSi dgamdnen, sadacaydi unda Sesrulebuliyos. sarkis win wyvil sanTels anTebdnenjamiT xils, erbosa da Wiqa wyals dgamdnen. qal-vaJserTmaneTi aucileblad am sarkeSi unda daenaxaT, radgan ma-Ti momavali cxovrebis gza bednierad gaevloT. amas gardaqalis mziTevSic sarke aucileblad Sedioda. mas rogorc bedisavgarozs gaTxovili qali didi sifrTxiliTa da mokrZalebiTepyroboda. patarZlis gamyolel qalebsac, roca issaqmros saxlSi gadayavdaT, xelSi sarkeebi eWiraT (galunovi1930; 187-189).qorwinebaSi sarkis ritualuri gamoyenebis Taobaze sainteresomasala mowmdeba fereidnel qarTvelebSic. maTi gadmocemiTroca patarZals vaJis saxlTan miiyvandnen, mas winlangriT xelSi sadedamTilo Semoegebeboda. langarze sarkeda Wiqa wyali idga, aqve iyo tkbileuli, xmeli xili da xorblismarcvlebi. sadedamTilo àxanZals~ (patarZals) jersarkeSi Caaxedebda, mere saxeze wyals `miawkapwkapebda~ daTavze tkbileulsa da xorblis marcvlebs gadaayrida _ niSnadgamravlebisa da bednierebisa. sanTioboSic (nefe-patar-Zlis saZinebel oTaxSi) vidre iq axladdaqorwinebulebs Seiyvandnen,vaJis deda tkbileulis sufraze Wiqa wyalsa da sarkesdadgamda, raTa nefe-patarZals sarecelis ziarebamde amsarkeSi daenaxaT erTmaneTi. sakuTriv qorwilSic (lxinSi),vidre saqorwilo xars daklavdnen, mas rqebs jer iniT SeuRebavdnen,mere ki zed wyvil sanTels aanTebdnen da rqebs Sorissarkes Caudgamdnen. `jehazSic~ (mziTevSi) sarke aucilebladunda Sesuliyo (gociriZe 1981; 88).sayuradReboa, rom iranis momTabare tomebSi _ baxTiarebSi(vis mezobladac fereidnelebi cxovrobdnen), mziTvisgadatanas demonstraciuli xasiaTi hqonda. procesias, romelsacqalis nivTebiT savse yuTebi mihqonda win axalgazrda kacimiuZRveboda romelsac mas xelSi didi sarke eWira (trubeckoi1975)saqorwino sarke rom mziTvis Zvirfasi samkauli iyo,amas qarTuli mziTvis wignebic mowmoben (iaSvili 1974). samziTvosarkis gatanebis Cveuleba zogierT kuTxeSi dRemdeaSemonaxuli. magaliTad aWaraSi mziTvis sarkes baliSSi Caakerebdnen,mas gverdebze vardebs amouqargavdnen da am lamazad217

gawyobil saCuqars (`mujdebaliSs~) maxaroblis xeliT gaagzavnidnensasiZos ojaxSi (beqaia 1974).1980 wels kaxeTis eTnografiul eqspediciaSi muSaobisdros erT-erTma mTxrobelma gviTxra, rom samziTvo sarke qalisbedis, misi momavali cxovrebis megzuria, mas sifrTxiliTunda moepyros qali, radgan Tu igi gatyda misi bedicgatydeba. qmars dakargavs da sicocxle tanjvad gadaeqceva.mTxrobelis am sityvebma uneblieT cnobili sparsuli mwerlissaduy heda-aTis moTxroba `gatexili sarke~ gagvaxsena.moTxrobis mTavari gmiri uiRblo siyvarulisa da auxdeneliocnebebis msxverpli xdeba. sarke am nawarmoebSi bedis avgarozisfunqcias asrulebs (hediaTi 1970).sarke, rogorc adamianis bedisa da sicocxlis ganmgebelimagiur-religiuri daniSnulebis sagani, msoflios mravalixalxis zepirsityvierebaSia asaxuli _ TqmulebebSi, legendebSi,zRaprebSi. gavixsenoT Cinelebi, romelTac sarkismonawileobiT metad Taviseburi originaluri wes-CveulebebigaaCniaT. maTSi (iranelebis msgavsad) miRebuli tradiciis Tanaxmadroca patarZali saqmros saxlSi gadayavT, gulzeumagreben patara sarkes viTarca bedis avgarozs, avi TvalisaganTavdasacavad saSualebas. arsebobs Cinuri amuletebis(miniaturuli sarkeebis) mTeli wyeba, zurgze amotvifruliwarwerebiT momavlis winaswar-metyveluri qadagebiT. moviyvanTramodenime maTgans:1. àm sarkis patroni, iyavi mudam Zlieri, uxvi da baraqiani,dovlaTiT aivsos Seni ojaxi, yovel dRes moetanos Sen-Tvis sikeTe da bedniereba, ar SegmTxveodes avi da cudi~,2. Tu am sarkes atareb, igi Sen bednierebas mogitans, dagicavsyovelive dardisa da Wmunvisagan.3. am sarkis sadari mxolod wyalia, sarke wmindaa viTarcawyali da naTelia viTarca mze, atare igi. is Sen sixarulsada bednierebas moganiWebs.Zvel Cinur TqmulebebSi sarke siyvarulisa da erTgulebissimbolodaa gamoyvanili. erTi Zveli gadmocemis Tanaxmadcol-qmars droebiT ganSorebisas erTmaneTisaTvis sarkeebiuCuqebiaT. ramodenime xnis Semdeg ki roca qalma qmars uRalata,es ambavi mas (qmars) sarkem Seatyobina. igi kaWkaWad gadaiqcada yvelaferi uambo (lavrovi, 1927). erTmaneTisaTvissarkeebis Cuqeba meuRleTa Soris, sakmaod Zveli da gavrcelebuliCveuleba iyo Zveli aRmosavleTis sxva qveynebSic.sarkes falosuri kultis msgavsad gamanayofierebeli daZlierebis momniWebeli funqciac hqonia dakisrebuli. erT-erT218

Turqmanul legendaSi, romelic 1928 wels samxreT TurqmeneTSip. arbekovsa da t. maCnevs Cauweria, vkiTxulobT:`Zvel droSi cxovrobda dedofali qaqa-Siri. mas hqondasarke, romlis magiuri Zalis SemweobiT yvela mowinaaRmdegesamarcxebda. roca aleqsandre makedonels dedoflis damorCilebaganuzraxavs, misTvis uambniaT am jadosnuri sarkis ambavi.mefe vezirebs daTaTbirebia, romelTac xelmwifisaTvis ase-Ti rCeva miuciaT: 40 meomari vaJkaci 40 asulze daaqorwine,colebma qmrebis gamanayofierebeli siTxe erT WurWelSi undamoaTavson. iqidan sarke gakeTdeba, romelic gamarjvebas mogitanso.asec moqceula mefe da dedofali qaqa-Siri daumarcxebia~(abiverdis siZveleni 1931; 48).jadosnuri sarkis magiuri daniSnuleba qarTul xalxurzRaprebSic mravlad mowmdeba, sadac mas sxvadasxva mniSvnelobasTanerTad adamianis bedis, misi Tavgadasavlis Ziebisfunqciac miewereba da gamarjvebis mopovebis Zalac. mag. wiqaraszRaparSi roca gaqceuli gmiri mdevars sarkes esvris,mis ukan klde aRimarTeba.niSandoblivi faqtia isic, rom rogorc eTnografiulyofaSi, aseve xalxur Tqmulebebsa Tu legendebSi sarkis movaleobasxSirad wyali asrulebs, rac bunebrivia maTi (wylisada sarkis) saerTo Tvisebis zedapirze gamosaxulebis arekvlisgamoa gamowveuli.varaudobT, rom am mniSvnelobiT yofaSi pirvelad mincwyali unda yofiliyo gamoyenebuli, radgan mas, ise rogorcsarkes, adamianis bedis, sicocxlisa da Tavgadasavlis mauwyebeliZala miewereba. mag. v. abaevis ganmartebiT sarkis tajikurisaxelwodeba identuria wylis Zveli sparsuli saxelwodebisaàin~ (abaevi 1959; 4). gavixsenoT vefxistyaosani. mamidis mierSerisxuli nestan-darejani wyals gaatanes. tarieli romamas Seityobs igi mdinares ekiTxeba dakarguli satrfos ambavs.poemis xalxur versiaSi vkiTxulobT:ài Sen wyalo, Sen wyalo aragvianoarc gesrolebis isari, arc Subni gecemianonetav ra uyav Cemi mze, wyalo Sen aremianoSeni mze wyalma waiRo, Seni aRara qvianosxvas Tu aRaras dagakleb, aRarTu daglev tialo~(Ciqovani 1937; 190).SesaZloa igive simboluri motivi igulisxmebodes rus-Tavelis poemis im epizodSi, roca poeti avTandilisagan tarielispirveli xilvisas ambobs:... `naxes ucxo moyme vinme, jda mtirali wylisa-pirsa~.219

aoden simboluria yovelive es Zveli Suamdinaruli mi-Tologiis gmirebTan Sedarebisas. gana izida ozirisis ZebnaswyalTan mdgari tieifis cremlebiT ar gamoxatavs?daaxloebiT analogiuradaa gaazrebuli wylis ZalaZvel Turqul TqmulebaSi `dede qorquTis ambavi~. Tqmulebisgmiri yazani, wyalTan miiWreba da SesTxovs dakarguli urdosambavs.ò, wyalo, kldeebze CqefviT Camomavalo wyalo,o, xis genebze moTamaSe wyalo, o, wyalo hasanisa dahuseinis mwuxarebav, o, wyalo baR-baRCebis mSvenebav,ici Tu ara Cemi urdos ambavi~ (Ciqovani 1979).wyalSi adamianis bedis, misi momavali cxovrebis winaswar-metyvelebisidenturia `sarkeSi Caxedvis~ xalxuri Cveuleba,romelic saqarTvelos sxvadasxva kuTxeSi dResacsruldeba. gavixsenoT es Cveuleba.àxali wlis Tebervlis Sua ricxvebSi, maSin roca somxebSi`sufsarqisis~ dResaswauli iwyeba, qaliSvili qalebisarkeSi Casaxedad emzadebian. isini winaswar iWeren saamisoTadarigs., awyoben oTaxs, mas jer Camoabneleben, mere magidazeTeTr sufras gadaafareben, romelzec sarkesa da Wiqawyals dadgamen, WiqaSi ki jvarnawer beWeds Caagdeben (wyali9 wyarodan an 9 mezoblidan unda moitanon). Ramis 12 saaTze,roca SuaRame gadawveba, sarkis orive mxares sanTlebs aanTeben.oTaxSi is piri darCeba, vinc sarkeSi unda Caixedos. igididxans ucqers sarkeSi areklil Wiqas, sadac CaSvebul be-WedSi sabedo unda amovides (gamoCndes). amboben Tu maZiebelsbedi adre exsneba gamosaxulebac male gamoCndebao, xolo Tugvian, didi xnis lodinis Semdeg. da Tu bedi saerTod ar exsneba,maSin gamosaxulebac arc gamoCndeba. zogierTis crurwmeniT Tu maZiebels didxans sicocxle ar uweria, SeiZlebamicvalebulis sasaxle amouvideso sarkeSi, amitomac SiSisgamo bevri ver bedavs am ritualis Sesrulebas (gociriZe2010: 405_406).sarkisa da wylis bedis maZiebeli magiur-religiuri daniSnulebisTaobaze kidev bevri magaliTis motana SegveZlo,magram igi Zalian Sors wagviyvanda, amitomac Cvens mier sailustrciodmoyvanili masalebi sruliad sakmarisad gveCvenebasarkis im funqciis warmosaCenad, romelSic adamianis bedisada momavali cxovrebis wanaswarmetyveluri gaazrebaanagulisxmevi. eWvs gareSea isic, rom swored sarkis zemoTdasaxelebulifunqcia ganapirobebda am sagnis saqorwilo ritualur-wes-CveulebebSigamoyenebas, rameTu qorwineba Tavis-220

Tavad adamianis sicocxlisa da cxovrebis axali etapis dasawyisia,igi saTaves udebs gamravleba-ganayofierebasa dabednierebas, ramac gacnobierebuli saxiT asxva hpova xalxurtradiciul azrovnebasa da SemecnebaSi.amrigad, sakiTxis irgvliv SeiZleba Semdegnairad vifiqroT:1. xalxuri rwmena-warmodgenebi sarkes adamianis bedis,misi momavali cxovrebis ganmgebel magiur-religiur funqciasmiawers, rac Sesabamisad aisaxa eTnografiul yofaSi, saqorwinowes-CveulebebSi xalxur zepirsityvaobaSi, Tqmulebebsada legendebSi.2. sarkisadmi dakisrebuli zemoTaRniSnuli magiuri daniSnulebasafuZvlad daedo am sagnis mxatvruli gaformebis,amalgamis movarayebis, moxatvis tradicias.3. yovelive zemoTqmulis TvalsaCino dasturs warmoadgenssparsuli vercxlis sarkis amalgamze asaxuli saqorwino-siuJeturikompozicia, romelic metad originalur-tradiciuligamoyenebiTi xelovnebis saintereso nimuSad unda CaiTvalos.da bolos: sarkis warmomavlobisa da ganviTarebis istoriam(miuxedavaT imisa, rom Cven ar gvicdia misi genezisisqronologiuri Zieba da SemovifargleT mxolod eTnografiulida folkloruli monacemebiT), gviCvena rom Zveli ostatebiicavdnen ra epoqis moTxovnaTa Sesabamis esTetikurprincipebs, sarkis damzadebis dros yuradRebas amaxvilebenmaT miznobriv daniSnulebaze (akeTebdnen amulatebs, saqorwino,samziTvo, saojaxo, sasaCuqro Tu sxv. daniSnulebis sarkeebs).iyenebdnen samisod mxatvruli damuSavebis sxvadasxvaxerxebsa da meTodebs (moCuqurTmeba, movarayeba, mosevadeba).maT mier damzadebuli nivTebi, romlebic Semdeg xelovnebisnimuSebad iqceodnen, erTnairad saintereso iyo rogorc formisaseve misi dekoratiuli gaformebis TvalsazrisiT. vfiqrobTyovelive amis gaTvaliswineba urigo ar iqneba TanamedroveyofiTi daniSnulebis sagnebis qarxnuli wesiT damzadebisdrosa, vinaidan, an lamazi sagnebi, metadre Zvelebur nimuSebTanmimsgavsebulni, erTis mxriv maRali esTetikuri gemovnebisgamoxatvas emsaxureba da meores mxriv warsulisdReTa qvecnobier gaazrebas.221

damowmebuli literatura:abiverdis siZveleni: Древности Абивердского раиона, Труды среднеазиатскогоуниверситета, серия 11, вып. 3, Ташкент 1931.baxsoliani: baxsoliani nana, brinjaos sarke urartudan, Tb.,2010, xelnaweri.beqaia: beqaia mzia, Zveli da axali saqorwino tradiciebi aWaraSi,baTumi 1974.gagoSiZe: gagoSiZe iuloni, sarkeebi qarTul arqeologiur masalebSi,zepiri informacia. avtors madlobas movaxsenebmowodebuli cnobisaTvis.gociriZe: gociriZe giorgi, qorwineba fereidnel qarTveleb-Si, Tb., 1981.gociriZe: gociriZe giorgi, saqorwino sarke, J. `sabWoTa xelovneba~,Tb., 1985.gociriZe: gociriZe giorgi, subsarqisis dResaswauli TbiliselsomxebSi, kr. kavkasiis arqeologia, eTnologia, foleostika,Tb., 2010.galunova: Галунова Р. А. Средная "Персидская свадьба, Сб., М.А.Э. IX,Л. 1930.kisliakovi: Кисляков Н. А. Брак и семья у Таджиков, Л., 1959.lavrova: Лаврова М. А. Китаиское зеркало Ханского времени, материалыпо этнографии, т. IV, вып. 1, Л. 1927.litvinski: Литвинский Б. А. Зеркало в верованиях древных ферганцев,С. Э. 1964, №3.mari: Марр С. М. к изучению персидской свадьбы Сб., МАЭ, IX. Л. 1930.rostovcevi: Ростовцев, Представление монархической власти в скифии ина востоке, известия Археологической комиссии вып. 49, 1913.trubeckoi: Трубецкой В. Н. Бахтиары, М., 1975.Ciqovani: Ciqovani m., qorquTis wigni da qarTuli samonadireoeposi, macne, istoriis seria, #3, Tb., 1979.Silovi: Шилов В. П. Колиновский Курганный магильник, материалы иисследования по археологии СССР, №60, М., 1959.xazanovi: Хазанов А. М. религиозно-могическое понимание зеркал у сарматов,С. Э. 1964.hedaiaTi: hedaiaTi sadeye, lale (moTxrobebi, Targmani T. ke-Selavasi), Tb., 1970.Swallow: Swallow P. W. An cientchines brohse hirrors peiping 1937.Hirth: Hirth: F. Chinese Metallic Mirrors With Notes On Some AncientSpecimens Of The Mus E Guimet, ParisSevalie, geerbrani: Chevalier, Gheerbrant, 1973 _ Dictionnaire des symbols.t.I. Paris, Seghers, 1973.222

Magic Mirror(According to Georgian Ethnographic Field Data)Giorgi GotsiridzeThe so-called magic mirrors, whose distinctive feature is to perform religious-magicalfunction, have often been referred to in the cultures of ancientpeoples. They are associated with death and life, search for fortune, the hero’sadventure, combat with evil forces, etc. Apart from medieval cultural monuments(terracotta sculptures and grave goods) the above motives are reflected inmythology and folklore, in fairy tales and legends, in everyday customs andtraditions, in wedding ceremonies and folk religious concepts.This topic is well studied in archeology. We are the first to introduce it intoscientific circulation from the ethnological point of view, taking into considerationthe Georgian reality.According to the archaeological data, some terracotta figurines hold a handmirror (a symbol of fertility or of the sun). From ethnographic point of view, mirroris not simply a household object, but the necessary dowry item. In the moderneveryday life it has not only utilitarian value. Of special note are ancient mirrors inblued frames with the wedding feast depicted over their amalgam.The study has revealed that a mirror has a dual meaning in the folk belief:in one case it is a symbol of happiness, in the other case it is a herald ofmisfortune, associated with soul of the deceased and with the other world. It wasbelieved that breaking a mirror would bring bad luck to the family. If gravegoods found with the body include a mirror, it is predominantly broken.Religious-magical insights and certain customs for searching the fortune,related to mirror and associated with the semiotic world conception, are discussedin the paper.223

Sciama LidiaVenetian Nicknames and the Carnival CultureTis known, at least it should be, that throughoutAll countries of the Catholic persuasion,Some weeks before Shrove Tuesday comes about,The people take their fill of Recreation,And buy repentance, ere they grow devout,However high their rank, or low their station,With fiddling, feasting, dancing, drinking, masking,And other things which may be had for asking(Lord Byron. Beppo)IntroductionThis paper is based on fieldwork notes as well as literary sources.The latter include Venetian Worlds. Nobility and the Cultural Constructionof Society (Goteborg, Sweden, 1993), Bakhtin's essays on The Dialogic Imaginationand his book Rabelais and His World.The phrase 'Carnival Culture', in the title of my talk, comes from his bookon Rabelais (1984).I must say at once that we can hardly speak of Carnival in general, since itscelebrations, rituals and ‘moods’ are clearly very different in different periods,places and historical circumstances. I am well aware that relating Renaissancematerial to my recent fieldwork involves a very long time-jump: many gaps willneed to be filled for a more complete study. However, concerning Italy, andVenice in particular, it is in that early period that there developed styles andrituals that were to prove enduring, and to become the basis for endless revivals,repetitions and quotations – albeit under different social and political circumstances.A connection between Carnival and nicknaming I hope will become selfevidentas I proceed. The main point, however, is that, as Marcel Mauss hasshown in his essay on ‘The Notion of Person, both naming and masquerading areintimately tied with issues of personal identity (1950, English translation 1979).The main question I have posed in this paper is:Were Venetian Carnivals and nicknaming expressions of resistance toauthority, or did they, as has often been stated, fundamentally contribute tomaintain the established order?The Venice CarnivalLike other city rituals and folk traditions, the Venice Carnival has repeatedlybeen abandoned and then revived (partly to benefit the tourist industry). Thelatest revival began in the 1980s, more or less coinciding with my early researchin the northern lagoon island of Burano.224

A conversation with a woman, when I was just initiating my fieldwork -now over twenty years ago – first drew my attention to both Carnival andnicknaming. The woman, then generally thought to be quite extravagant, wassometimes bestowed the title of putana - one used very liberally, not always in itsliteral sense of prostitute, but also to describe someone slovenly or flirtatious.The woman, Sabina, was considered unusual, but really quite a good laugh, ‘aright genuine Buranella’, and my fieldwork hostess thought I might like to meether. Sabina had often acted in dialect comedies and was very happy to assure methat her speech was truly the most authentic traditional Buranello dialect. Shealso told me that it was she and her friends who a few years earlier had decidedto revive the Carnival tradition:It must have been about seven-eight years ago. I said:’are we reallyall dead in this island? Here goes Christmas, Carnival after Carnival andwe see no sign of jollity and fun!’ So, we got together, a few good people,and we started to dress up. Everyone participated, even the students... Wehad Chinese, we had Japanese... all sorts. We staged a few sketches -things that really happened in Burano fifty or a hundred years ago. Thenwe made a recording of all the nicknames and we broadcast them as loudas we could from the loudspeaker in the main square. People were splittingwith laughter!At that time, as I wanted to get on with my study of kinship, environmentaland housing problems, I did not pursue topics implicit in Sabina's description ofCarnival and of her role in reviving it. However, her mention of death and offeelings of deadness in the Xmas season and during too quiet a Carnival, unmarkedby any performance or celebration, was of great interest. Moreover, theislanders’ collective laughter at their own nicknames and their decision that theyshould be recorded and kept for posterity were clear signs of social change and oftheir growing detachment from a custom that may have caused them someembarrassment in the past.On rereading my notes, I realized that Sabina had offered me some cluesthat became clear in light of reflection: above all, the connection between death,or ‘deadness’ in the depth of winter, Carnival and rebirth, [as well as thecontinued association of Carnival with a comic vision of life].Names, surnames and nicknamesIn their accounts of attitudes to nicknaming in a number of Europeansocieties, ethnographers reported very diverse and contrasting views: for example,Peter Mewet, working in a Scottish crofting village, saw nicknaming as partof an in-language apt to create cohesion (1982: 238); on the other hand, anthropologistsworking in Spain, especially David Gilmore, described nicknaming in aSpanish village as a manifestation of hostility – essentially petty and cruel, asource of great misery and humiliation; in his words, 'a symbolic castration.'(1982: 687-700).225

For Buranelli, as we have seen, while nicknames may on occasion beresented, their being recorded for posterity and laughed at during Carnival areclear signs of detachment and of a desire to consign them to a more ‘rude’ and‘primitive’ past.I shall leave that there for the moment, to look at naming processes ingeneral we can return to it later.In Italian law every person has a right to the forename and the surnameattributed to her/him at birth. (prenome and cognome).Changes or additions to the name are not allowed, unless they are broughtabout following legal procedures. Moreover, if the image or reputation anddecorum of a person and of his relations is thereby damaged, the legal authoritymay order that such abuse be stopped and the damage be compensated for(articles 6 and 10, 1081:10). According to tradition, first names are given atbaptism for Catholics. For Jews, at circumcision for boys and at the father's firstreading of the Law in Synagogue for girls. With secularization, many peoplename their offspring at the time of registration in the city's communal offices, oranagrafe.The newborn may be given the forename of a grandparent, either dead oralive, a baptismal sponsor, or the saint of the day when she or he was born orbaptized. Names can also be chosen freely, following new fashions and culturalpreferences.More relevant from our point of view is the history of surnames. These,according to historians of language, began to be fixed between the eleventh andthe fourteenth centuries, a period of strong urban expansion and internalmigration, also characterized by the emergence of the vernacular, and, not least,the development of literacy.A linguistic analysis of Italy's telephone directories (conducted in the earlynineteen-eighties) shows that Venice and the Veneto region have the highestoccurrence of surnames in dialect. This is due, in the first place, to the fact thatsurnames were institutionalized very efficiently, as far back as the eleventhcentury, thanks to the development of the city’s mercantile and entrepreneurialsocial classes and the early consolidation of its administrative structure. Anotherreason is the high prestige of the dialect, which is still widely spoken. Indeed,when the city joined Italy in 1866, Venetians were not disposed to adopt Italianor italianized surnames.Surnames throughout the peninsula have been classified in different categories.Almost a third derive from ethnic designators, like Turk, German, Greek,or from toponyms, like of France, from Milan, of the Valley and of the Hill.Many surnames are based on personal names of Greek, Latin, Germanic orHebrew derivation. From Latin we have Adriani, Cesari, etc.; from Greek,Alessandri, Alessi, Cristofori, Teodori; German, Alberti, Bernardi; from Hebrew,Adami, Mattei, Serafini.226

Surnames based on the names of trades or professions are also verywidespread, especially in the north of Italy. Examples are Smitsh, Shoemakers,Medics, or, for Venice, Carpentesr, Clerisc, Barbers and Soldiers.Some surnames express a wish for the newborn, for example, Welcome, A-Hundred-Years, Thank-God and God-Raise-you. Others, like Badly-born,Illbegotten,Badweather, Aggravation, Burden, Badgift, Mis-shapen, Ill-sghapedwere either exorcism meant to avert misfortune, or they may have expressedgenuine resentment against the newborn.Several surnames, imposed by priests or officials, imply the child wasillegitimate; examples God’s House, Exposed, Innocents, Pigeon, Uncertain,from God, Given, Found, God-knows and Of-love.Patronymics or matronymics, like De Martino, D'Amico, Lo Monaco andDe Maria, are few.Surnames that describe, sometimes ironically or even offensively, somephysical or behavioural trait of the bearer, obviously derive from nicknames. Wethus have, Reds, Merry, Bad-weed, Astutes, Drinkwater, Goodwine, Pick-a-Quarrel, Marzipan, Gulp-the-lard, Tear-the Wolf and Carry-on.It is of interest that about a third of Burano’s surnames are either based onfirst names or nicknames. Others have no obvious meaning, and may have beenof some significance to those who bore or applied them, while a certain numberof nicknames, based on the vernacular names of fishes, birds, tools or tradesclearly reflect the island's environment.I shall discuss connections between nicknaming and Carnival in time, it isenough for now, to remember that naming in general is associated with birth, andwith the development of a social identity, in the context of relationship withothers: family and God-parents for the newborn, while nicknaming occurs later,mainly in the peer group (although some nicknames, like surnames, are inheritedform parents or grandparents).The Venice CarnivalAsa Boholm’s book, Venetian Worlds: Nobility and the CulturalConstruction of Society begins with an account of Venetian society, mainly in theRenaissance and Baroque periods.She writes: during almost ten centuries of independence as a republicancity-state, Venice was ruled by an increasingly closed elite, of about 200patrilineal families, 12 of which supposedly traced their origins to the verybeginnings of the state. The population was divided into three social classes, or'estates': the nobility, the citizens; and the largest group, the popolani.The social institution that dominated was that of the House (cf. Levi-Strauss). For Venetians, casa also meant family. Brothers would inherit thefather's estate collectively and usually continue to live together in the familypalace. Large families were divided into branches, bearing the same surnames,but distinguished by toponyms, often based on some feature of their houses,Della Torre, Dalla Terrazza, etc., and generally described as nicknames.227

In the Eighteenth century, the later period of Venice's independence, onlyone of the brothers was encouraged to marry, in order not to split the estate.While this had economic advantages, it gave rise to concern over continuity; ifthe marriage was not fertile, the family line, and, most important, the familyname, would be lost. Therefore, marital choices were critical, both from the pointof view of the family patrimony and of continuity and weddings were celebratedwith lavish banquets, sometimes lasting several days, or even a month (as for thePisani-Moretta family). Celebrations were marked by high spirits, and theyincluded music, burlesque and pantomimes as well as scurrilous songs towardsthe newlywed couple.Mummers (a far cry from the religious mummers that traditionallyperformed near churches) made fun of the spouses and their families. They woregrotesque masks, representing pagan deities, quite alien to Christian notions ofDivinity, and sometimes they performed full-length allegories based onmythological themes. They also brought gifts, which they delivered to thespouses, without uttering a word, and they generally behaved with confidentfamiliarity as if they were members of the house.As Boholm emphasizes, the masked figures were impersonations of deadancestors meant to recall archaic times, as they came to celebrate the newalliance between two houses brought about by the wedding. Emphasis onprocreation was also symbolized by offerings of hen's eggs and biscuits made ofpine nuts, suggestive of fertility, for the bridegroom, and a silver basket withthimble and needles for the bride, on the day after the wedding.Given that the favourite season for weddings, January and February,roughly coincided with Carnival, and that its celebrations replicated those ofwedding festivities, Boholm concludes that the Venice Carnival continued a longtradition of pre-Christian winter festivities. As in the Roman saturnalia, commonthemes were the suspension of rank, emphasis on eating and drinking incompany, sexuality and freedom. Boholm thus agrees with Italian folklorists'descriptions of Carnival as an agrarian feast to secure prosperity and acelebration of the new year related to the winter solstice.Her main point, that the masked figures that appear in so many pictures ofthe Venetian Carnival, like mummers at weddings, are impersonating the dead issupported by linguistic evidence, given that the word for 'mask' is actually larva;one of the Latin terms for a potentially malevolent ghost or spectre (likeLemures, and in contrast to the gentler Lares). During Carnival, the dead, likeother marginal people, the poor and the strangers, were brought into thecommunity and invited to partake of hospitality.In country areas, for example, Friuli, Carnival itself is represented as aperson; toward the end of the season he is put on trial by an advocate and accusedof crimes such as lewdness, lying and wickedness. He then writes his will, whichis usually in comic verse, and is read out loud to the cheering crowd. He is finally228

led to his execution (in effigy) and burnt on a bonfire. As Boholm concludes,'Like Frazer' s "Dying God’, Carnival then stands between death and rebirth.In her view, the main theme of Venice's Carnival was that of the renewal oflife, while the presence of the dead, symbolized the continuity of tradition andthe strength of lineal history. The collective celebration of the community, with afocus on the house was fundamentally a conservative affirmation.However, while her understanding of the Carnival’s continuity withRome’s Saturnalia, and in general pre-Christian midwinter celebrations iscertainly valid (and indeed agrees with folklorists’ interpretations), her emphasison its conservative character may not be entirely correct. Indeed her study lacksdata on Venice's popular and citizen classes, and fails to include any considerationof linguistic aspects of Carnival.A better basis for an anthropological understanding of Carnival is Bakhtin's Essays on The Dialogical Imagination and his book on Rabelais' Gargantuaand Pantagruel,.Unlike Boholm, whose sources mainly concerns the Venetian aristocracy,Bakhtin explored the connections between Carnival, nicknames, and the vernacularlanguage of the street and the marketplace in medieval and earlyRenaissance Europe in great depth and detail.In the following paragraphs I have summarized some of his ideas, mainlyfrom an integral Italian translation.His discussion begins with a sharp criticism of earlier scholars andfolklorists who failed to understand the true nature of laughter, and especially, toquote his phrase, 'the people's creative laughter'.As he writes,In the pre-Romantic and Romantic period there developed a narrowconcept of folklore; this left no room for studying the market place and theaesthetics of laughter in all their different expressions. Worse still, thenature of the people's laughter was distorted because concepts of humourwere those of modern bourgeois aesthetics" (Cf. Gramsci 1975: 2311-2317. Notebook 27).In his view, folklorists relegated the study of popular culture to a marginalplace, and they entirely failed to understand its vitality and its power in opposingauthority and criticizing oppression, be it of a political, economic or religiousnature (my italics).In Bakhtin's description, festivities of the Carnival type include ritualspectacles: pageants, and comic street shows with their clowns, jugglers,charlatans, mountebanks, giants and dwarfs; the vast literature of comic parody(oral and written) in Latin, dog Latin or vernacular, as well as large repertoires ofoaths, curses, popular blazons - and, I must add, nicknames.All of these were sharply set apart from official Church, and politicalceremonials; according to Bakhtin, they created a second world which wasparallel and sometimes opposed to that portrayed by historians and literary229

scholars - but one that exercised a strong influence on writers such as Boccaccio,Shakespeare, Cervantes and Lope de Vega. In his view, ritual laughter was alsowidespread among primitive people, and in pre-class society serious and comicaspects of the world had equal status and recognition: gradually they became theexpression of folk consciousness.Medieval Carnivals were completely free from religious dogmatism andpiety. On the contrary, they parodied the Church's cult. Like spectacles, in whichno distinction is made between actors and spectators, they are 'at the marginsbetween art and life'.Bakhtin defines the genre exemplified by Rabelais' work as 'grotesquerealism', and its aesthetics as the aesthetics of laughter, apt to free the consciencefrom the hypocritical seriousness associated with authority. [In his view, 'feast'does not only mean 'rest', but it contains an important spiritual dimension.] LikeBoholm, he relates Carnival to moments of crisis and renewal in nature, in thehuman life cycle, or in society. But, unlike Boholm, he associates such timeswith the populace, rather than the nobility. Such moments, he writes, were the"second life of the people, who for a time, during Carnival, entered the utopianrealm of community, freedom, equality and abundance."Bakhtin is well aware that, in reality, such feasts sanctioned the existingpattern of things and were just a temporary liberation from the hardships ofpoverty and social distinctions. However, in his view, the suspension ofhierarchical precedence brought about a type of communication free from all thenorms of politeness that would have been impossible in everyday life.The most relevant to our theme of nicknaming are Bakhtin's observationson Rabelais' language; as verbal etiquette is relaxed, he writes, abusive languageand insulting words can be used - even against the deity... and profanities acquirethe nature of laughter. He recognizes that the comical spirit he describes can becruelly cynical, but it is also rich with ambivalence. It at the same time assertsand denies... as extravagant praise is mixed with abuse.Parodies and travesties, profanations and comic crownings anduncrownings humiliate and ridicule, but, in his view, the "Carnival is far distantfrom the negative parody of modern times... Bare negation is completely alien tofolk culture" (200). Insult, affront, abuse, vituperation are transformed into praiseand glorification into derision... It is a relativistic world, with no absolute denial -one in which the lower part of the body and its functions are associated withbirth, prosperity and renewal.Concerning language, he points out that Rabelais was the first to recordwords from different fields of knowledge, such as medical, botanical, culinary ornatural ones. For example, he included the Breton fishermen's nicknames forfishes, as well as the names of illnesses, which often appeared side by side withsome injurious nickname (or with the name of a Saint, like Anthony, Vitus, andRock the healer, Syphilis was Dame Verolle, etc.). None of those words had yet230

entered any scientific taxonomy or literary text before (they had not beensubjected to any form of abstraction and systematization).He observes that, in Rabelais, most proper names are like nicknames:some, (like Gargantua, Grandgusier, Gargamelle, Pantagruel) are taken fromtradition and have a precise etymology, but for others the writer creates artificialetymologies which are in themselves rich with humour. They are like nicknames,because they characterize the personage who bears them; and they implicitlycontain a judgment.Bakhtin defines such names as 'semi-proper'. He writes,They were something like nicknames, [they were] almost, but not quite,proper names.'...[Vernacular words that enter literary texts for the first time, arein some ways close to proper names, but they are at the same time comparable tonicknames]. There thus seems to take place a weakening of barriers betweenproper names and common nouns, since both tend towards the same point: thepraising/insulting nickname/ (nomignolo elogiativo/ingiurioso). Indeed, in hisview, all nicknames are ambivalent; they at the same time praise and insult.The boundary between names and nicknames is not a rigid one. Thegrammatical definition 'common noun' is lost, every thing becomes an individualand new relationships are brought to light. Old ideological and semanticconnections between things and words are destroyed through parody. (If a man iscalled 'werewolf' or 'cat', clearly the semantic connection has changed. 'Cat' nowhas two referents: 'small feline' and the person so designated. Bakhtin quotes'Coq-a-l'ane'). Things and their names, released from the chains of dyingassociations, thus, acquire an absolutely free individuality, and their namesbecome close to joyful nicknames... the barriers between persons and things areweakened as they all become protagonists in the Carnival drama of the death ofthe old world and the simultaneous birth of the new.Boholm and Bakhtin obviously agree on the pre-Christian origins ofMediterranean Carnivals and on their character as periods of transition andrenewal. However, Boholm, writing specifically on ancient regime Venice,entirely rejects Bakhtin's view of Carnival as bringing about an atmospherecontrary to that of the official hierarchical and authoritarian society. In her view,while on an individual level Carnival may have worked as an outlet foraggression, enabling members of society to bear oppression and hunger for therest of the year, elements indicating rebellion against the ruling order of churchand government were absent or not very strong.The dominant imagery was one of death and reproduction, with sexualparodies related to the celebration of marriages, which, as we have seen, werevery numerous at Carnival time. But messages lampooning the ruling order, andcritical commentaries on specific institutions, whether of the Church or the state,seem not to have been particularly common' (85).In Boom’s view, Carnival may have provided an outlet, but it was not trulysubversive, because transgression was 'authorized'. Like comedy, it was an231

example of law-enforcement - a reminder of the existence of the law (UmbertoEco 1984: 6).My understanding of the Venice Carnival - on the contrary - comes closerto Bakhtin's. Only a very partial interpretation of Venetian history couldrepresent the city as one free from social protest and disharmony.Boholm seems to have subscribed to a long-lived 'myth of Venice', and ofthe goodness of its institutions and its political structure. However, an apparentlack of social discord may have been due to the fact that the Venetiangovernment, and its headstrong nobility, were so very good at repressing anyform of disorder.For the Sixteenth century we can find evidence in the history of thegovernment's attitude to Venice's vernacular comedies, usually composed for andperformed during Carnival.The ComediesSuch comedies at the same time illustrate an important aspect of Carnival,and provide examples of the popularity and comic potential of nicknames.Furthermore, a continual alternation of permissiveness and strict control on thepart of the government is a good illustration of the authoritarian and conservativeattitudes of the city's elite.To understand Venetians' concern with social control, it is of relevance torecall that the government was so weary of disorder that proposals that Veniceshould have a university were repeatedly rejected. Noblemen and rich Venetianswere sent to Padua - where they were relatively free to express their youthfulhigh spirits, away from the capital city, then concerned with order and control ofits cosmopolitan port.Indeed the earliest comedies in the local dialect were composed andperformed in Padua by an actor-writer, Angelo Beolco. Beolco was in fact acultured and creative man, but, as the illegitimate son of a young peasant womanand a prosperous landowner, he was very familiar with the lives and the speechof those who toiled in the Paduan countryside. (Beolco became a competent andsuccessful administrator in the lands of Alvise Cornaro). The name of the maincharacter of his first comedy (La Pastoral (1517-1518) Ruzante, eventuallybecame his permanent nickname. The play, followed by numerous others, wasthe first of a genre of peasant comedies defined as mariazi, a word formed withthe pejorative 'azzi' added to 'marriages', i.e., rude peasant marriages. (Incidentally,it is interesting that the sketch recited for me by Sabina in Burano, was adialogue in the mariazo tradition, a somewhat antagonistic repartee between twowomen trying to arrange a marriage for their respective offspring).The humour and the language of Beolco's mariazi were very close to thosedescribed by Bakhtin, and, while they cannot be said to be explicitly subversive,they show peasant life in ways that go well beyond the conventionalrepresentation of villains as stock figures. A critic writes of Beolco's deepsensitivity and describes his treatment of peasants as sometimes 'voluble and232

merry, but always compassionate and open to historical realities'. Indeed, as wellas showing the risible ignorance and 'earthiness' of peasants, his works clearlydisclose their hardships, and the cruelties of their conditions.Beolco' s rustic comedies were very popular with Venetians, but the cityalso had its own comic writer, Andrea Calmo. His humour was city-based and inhis plays laughter is mainly aroused through the encounters of people of differentprovenances and different languages in Venice's crowded streets and busy port.Here too names and nicknames are an important feature.[In later life. Calmo turned to the writing of 'facetious' letters and Epitaphsin the language of Venice's peripheral islands. While these are parodies of thethen reigning vogue of such genres in the stilted language of 'official' poets,Calmo' s apparently captured the dialect and humour of Venetian fishermen. Hisworks remain an important source for linguists and historians of culture.] In bothBeolco’s and Calmo’s works, as Bakhtin observed for Rabelais, there is no rigidboundary between names and nicknames: all tend to the comical and express theprotagonists' humour.As we have seen, the Attitude of the government to such entertainmentwas, to say the least, changeable. On the one hand, Venice was the first of all Italiancities to have a public theatre (San Luca), on the other hand, its preachersrailed against all freedom, which they regarded as license, and its elite often tooka very guarded or contradictory stance (see Frulovisi). Venetian historians thuswrite of 'the growing intolerance against anything that would disturb the peace ofthe city... and of the prohibition to sing, dance and get drunk in the streets....Even the tolerance traditionally granted at Carnival was restricted, when, in 1550,the privilege of organizing the celebrations of Maundy Thursday was removedfrom the common people and assigned instead to public officials, who wouldcontain it 'within the terms of a reassuring repetition, without those excesses thatrendered it indecorous for the public dignity.' (Derosas, 'Morality and justice in'500-'600 Venice', in Cozzi 1980: 445.)Decrees to limit the use of masks were issued every few years. Forexample, in 1339 they were forbidden in the night, in 1458 men were ordered notto dress up as women or clowns; and 1585 it was decreed that they should notcarry arms; not enter the churches and the nuns' parlors, or the gaming houses,especially those frequented by women.ConclusionsBoholm's and Bakhtin's writings on Carnival have offered me an opportunityto compare different critical approaches: the first, although based onsecondary historical sources, is essentially a structural analysis based on theopposition of Carnival and lent and the archetypal pattern of death and re-birth. Ihave found such a treatment reductive - and ultimately historically inaccurate. Asliterary critics have remarked that of death and rebirth is 'the archetype of allarchetypes'; in its simplest form, it always repeats the same plot, and is proofagainst criticism because of its generality.233

By contrast, Bakhtin's studies, strongly based on linguistic and literaryarguments, seem to reach a better understanding of Carnival, street life and folkhumour. His remark that to fully understand Rabelais' work, one should first befamiliar with popular culture, certainly appeals to an anthropologist. I agree withhis view of medieval and renaissance Carnivals are expressions of a parallelsocial world that contested officialdom and dogmatism trough laughter,ambiguity and the bodily grotesque' (that is to say that protest could be expressednot only through language or violent action, but also trough bodily gesture, andthe people's invasion of streets and squares).As we have seen, theatres were repeatedly ordered to be closed and maskingcontrolled or forbidden, but nicknaming certainly could not be stopped. Although itis essentially based on processes almost identical to those through which surnamesare formed, and it goes back to an older, pre-literate, tradition, it has constantlybeen denigrated and marginalized (it can be legally opposed). An explanation as towhy nicknaming continued, therefore, probably lies in the vitality of vernacularspeech and popular culture at the Venetian periphery.[And I say probably because things have been changing very fast].References:Apollonio: Apollonio, M. Storia del teatro italiano. Firenze. 1981.Bakhtin: Bakhtin, M. L’opera di Rabelais e la cultura popolare. Torino. 1979(1965).Bakhtin: Bakhtin, M. ‘Folk Humour and Carnival Laughter’ in Pam Morris, ed.The Bakhtin Reader. London. 1994.Boholm: Boholm, A. Venetian Worlds. Nobility and the Cultural Construction ofSociety. Gothenburg. 1993.Chojnacki: Chojnacki, S. ‘In search of the Venetian Patriciate: Families andFactions in the Fourteenth Century’. In Hale, J.R., ed., Renaissance Venice.London. 1973.Cozzi: Cozzi, G. Repubblica di Venezia e stati italiani: politica e giustizia dalsecolo xviii al secolo xviii. Torino. 1982.Davis: Davis, J.C. The Decline of the Venetian Nobility as a Ruling Class. JohnHopkins Press. Baltimore. 1962.De Felice: De Felice, E. I cognomi italiani. Bologna. 1980.De Felice: De Felice, E., Nomi e cultura. Venezia. 1987.Derosas: Derosas, R. ‘Moralitá e giustizia a Venezia nel ‘500-‘600. Gli esecutoricontro la bestemmia’, in G. Cozzi, ed., Stato, Societá e Giustizia nellarepubblica veneta (sec.xv-xviii). Roma. 1980.Eco: Eco, U. Introduction to Sebeok, T.A., ed., Carnival. Berlin. 1984.234

Frazer: Frazer, J.C. ‘The Dying God’ in The Golden Bough. London. 1911.Frye: Frye, Northrop. Anatomy of Criticism: Four Essays. Princeton. 1957.Gilmore: Gilmore, D. ‘Introduction: the shame of dishonor’ and ‘Honor, honesty,shame: Male status in contemporary Andalusia’, in Honor and Shame andthe and the Unity of the Mediterranean. Washington. 1987.Ginzburg: Ginzburg, C. I Benandanti. Stregoneria e culti agrari tra Cinquecentoe Seicento. Torino. 1966.Gluckman: Gluckman, M. Order and Rebellion in Tribal Africa. London. 1963.Goody: Goody, J., The Development of the Family and Marriage in Europe.Cambridge. 1983.Gramsci: Gramsci, A. ‘Osservazioni sul folclore,’ in Gerratana, ed., Quaderni delcarcere. Torino. 1975 (1935).Lane: Lane, F. Venice: A Maritime Republic. Baltimore. 1973.Le Roy Ladurie: Le Roy Ladurie, Carnival in Romans. A People’s Uprising atRomans. 1579-1580. London. 1981.Levi-Strauss: Levi-Strauss, C. The Way of the Masks. London. 1983 (1971).Mazzarotto: Mazzarotto, B.T. Le Feste Veneziane. 1961.Mewett: Mewett, P. ‘Exiles, Nicknames, Social Identities and Production ofLocal Consciousness in a Lewis Crofting Community’, in A. Cohen ed.,Belonging, Identity and Social Organization in British Rural Cultures.Manchester. 1982.Michiel: Michiel, G.R., Origine delle feste veneiane. Milano. 1829.Molmenti: Molmenti, P. La storia di Venezia nella vita pubblica e privata.Bergamo. 1887.Obici: Obici, M.. Maschere e travestimenti nella tradizione del carnevale diVenezia. Venezia. 1981Padoan: Padoan, G. La commedia rinascimentale veneta (1433-1565). Vicenza.1982.Romano: Romano, D. Patricians and Popolani. The Social Foundations of theVenetian State. London and Baltimore. 1987.Ruggiero: Ruggiero, G. The Boundaries of Eros. Sex Crime and Sexuality inRenaissance Venice. Oxford. 1985.Sciama: Sciama L D. Venetian Island: Environment, History and Change inBurano. Oxford. 2003.Tassini: Tassini, G., Feste, spettacoli, divertimentie piaceri degli antichi veneziani.Venezia. 1890, 1961.Toschi: Toschi, P. Le origini del teatro italiano. 1955.Wickham: Wickham, G. A History of the Theatre. Oxford. 1985.235

veneciuri metsaxelebi da karnavaluri kulturalidia skiamaSerqmeuli saxelebis gamoyeneba xmelTaSuazRvispireTissoflelebsa da mcire zomis sazogadoebebSi farTod gavrcelebulimovlenaa. amgvari zedsaxelebi, romlebic gverds uvliansaxelebis darqmevis yvelanair biurokratiul procedurebs,xSirad upativcemulobis gamomxatvelia da SesaZloaiwvevdes wyenas, magram isini unda iqmnebodnen iumoriT: amisSesaZleblobas ki karnavali iZleva. karnavalis dros, rogorces baxtinma aCvena, Seuracyofebi SesaZloa gardaiqmnenqebad da sayovelTao mxiareulebis nawilad. magram, amavedros, xom ar Seicavs karnavali amboxebisa da protestiselementebs mmarTveli xelisuflebisa da biurokratiis mimarT?ori gmokvlevis Seswavlis safuZvelze, romelic exebaadre-modernuli periodis evropas, mkvlevari mihyavs daskvnamde,rom, ramdenadac karnavalebi uSualod ar cvlian socialurstruqturebs, mgram mudmivad iZlevian gzavnilebs informaciiTcvlilebebis saWiroebebze da survilebze, gadmoscemensaxelmwifosa da eklesiis mxridan SeviwroebebzemkveTr kritikas.236

mTiuluri saxlis interieris simboluriorganizaciis daxasiaTebisaTvis237vaxtang Ciqovanisamyaros suraTi da cxovrebis wesi gadamwyvet gavlenasaxdens yvela donis socialuri organizaciis wevrTa yofaqcevisnormebsa da sawesCveulebo praqtikis formirebaze. maT-Si specifikurad modelirdeba xsenebuli wyaroebidan momdinareinformacia. amitomaa, rom yofiT wes-Cveulebebs zogjergardasul dReTa „maxsovrobis blokebsac“ uwodeben. amgvaradakumulirebul normatul informacias gansakuTrebulimniSvneloba aqvs eTnorgafiis qcevaTmcodneobiTi aspeqtebisaTvis.es masala gardasuli epoqebis iseTi ganzomilebebisraobis dadgenis saSualebasac iZleva, rogoricaa dro-sivrcisadmidamokidebulebis sakiTxi. am ganzomilebebis codnisgadaWarbebiT Sefaseba Znelia, radgan mxolod isini srulqmnianSesaswavli epoqis sazogadoebrivi cxovrebis suraTs 1.aRniSnul sakiTxebs gansakuTrebiT sainteresos saojaxoyofasTan dakavSirebul wes-Cveulebebze dakvirveba xdis. saxliswesSi (saxlTan dakavSirebuli miTo-ritualuri kompleqsi)Taviseburad reproducirdeba maRali donis socialuriorganizaciis SigniT SemuSavebuli cxovrebis wesisa da misiSesabamisi samyaros miTologikuri suraTis umTavresi niSan-Tvisebebi, sxvebTan erTad dro-sivrcis socializaciis momentebic.es monacemebi uxvadaa gabneuli verbaluri, qmediTi dasagnobrivi modelirebis sxvadasxva saxeebSi, ritualebsa dafolklorSi, dasaxlebis erTeulebis (kar-midamo, ubani, sofeli,Temi, xevi, qveyana), sacxovrebeli nagebobis Tu qcevisstereotipebis sivrculi struqturirebis wesebSi, saxliskonstruqciul detalebsa da dekorSi 2 .iseve rogorc saxlis wesi ojaxis masStabSi „imeorebs“msxvili socialuri organizaciebis cxovrebis wess, asevesacxovrebeli, zRvruli sivrcobriv-moculobiTi kompozicia,aracnobieris doneze, aRiqmeba rogorc gare samyaros Semcirebulimodeli 3 . sxvagvarad arc SeiZleboda yofiliyo, radganprincipulad erTnairi wes-Cveulebebis aRsruleba, semiotikuriTvalsazrisiT, mxolod erTnairi Tviseba-struqturisgaremoSia SesaZlebeli. amitom tradiciis SigniT SemuSavebulisivrcis aTviseba-klasifikaciis universaluri principi,romelic sivrculi sistemebis yvela donis erTeulTa struqturulizomorfizms uzrunvelyofda, sacxovreblis Sida

farTis simbolur organizaciazec vrceldeboda. Sida da gareorganizebuli sivrcis, anu makrokosmsa da mikrokosms Sorisarsebuli urTierTdamokidebuleba maTi monacememis analogiisxerxiT kvlevis pirobas qmnis. magaliTad, Tu cnobilia,rom qarTvelTa uZvelesi warmodgenebiT samyaro vertikalurWrilSi sami sknelisagan (zeskneli, Suaskneli, qveskneli)Sedgeboda, amgvari dayofis kvals mkvlevari saxlkosmSicmiagnebs. gavixsenoT Tundac n.maris Tvalsazrisi erdo-cisTaRis semantikuri kavSiris Sesaxeb an alis miTi, sadackera (erdo//sakvamuris konstruqciuli opoziti) saflavis//qveskneliskaris funqcias asrulebs 4 . am „teqstebis“ mixedviTerdo zesknelis, xolo kera qvesknelis sakomunikacioarxia. es aSkaras xdis saxlis, rogorc Suasknelis miTo-ritualurigaazrebis tradicias. amrigad cxadia, rom saxlisada ojaxis monacemebis kvleviT mopovebuli informacia warmatebiTSeiZleba iyos gamoyenebuli samyaros srulmasStabianimiTologikuri suraTis gadaSlili fragmentebis aRsadgenad.am mxriv sagangebo yuradRebas imsaxurebs saojaxo wes-Cveulebebis qronotopi 5 . es ritualebi garkveuli momentisaTvissavaldebulo qcevis normebis Tanmimdevrobas warmoadgenen,romlebiTac mTlianad aris reglamentirebuli ceremoniismonawileTa saqcieli da urTierToba. swored amis gamoa,rom uxeSad ar xvdeba yurs, rodesac zogi mkvlevari wes-CveulebebisaRsrulebis process TamaSs udarebs. faqtiurad,orive SemTxvevaSi garkveul wesebTan da maT Sesaferadstruqturirebul samoqmedo sivrce-moedanTan da drosTangvaqvs saqme. igive SeiZleba iTqvas saerTod saxlis wessa dasacxovreblis farTis urTierTdamokidebulebis Sesaxeb. amSemTxvevaSic koleqtivis TiToeul wevrs individualuri roli(qcevis norma//wesi) da qronotopi gaaCnia. yvela erTadritualuri „TamaSis“ sistemas emorCileba.Semdgomi msjelobis meti TvalsaCinoebisaTvis saWiroajer mTiuluri terasul-baniani tipis nagebobis invariantulinawilis unificirebuli gegma gavixsenoT 6 . am saTavsos darbazulisqema udevs safuZvlad. is borwneliT, dawnuli tixariT,orad iyofa: gulTa boZidan marjvniv7 samyofo-sajalaboanu ojaxis wevrebisaTvis da maTi dgam-WurWeliasTvis gankuTvnilisivrcea, marcxniv boseli. TavisTavad sajalaboszeda nawilSi, e.w.zeda TolSi kerania, qveda TolSi ki sawyle.am sivrculi erTeulebis diqtomuri dayofa rogorc horizontalur,ise vertikalur WrilSi kvlav grZeldeba. ukve238

Semdgom doneze, magaliTad kerans yverbi -- uSualod cecxlisdasanTebi adgili -- marjvena samamaco da marcxena sadiacomxareebad hyofs 8 . Zneli SesamCnevi araa, rom erT Sem-TxvevaSi farTobis simboluri organizaciis aTvlis wertils,mTeli saxlis „centrs“, gulTa boZi anu mTiuluri dedaboZi,xolo meore SemTxvevaSi kera warmoadgens. Sesabamisad,pirveli makrouniversumis (buneba+kultura), meore kimxolod sociumis (kulturis//kosmis) centria 9 .sajalabos samoqmedo asparezis sqesobriv-sameurneo dayofassadiaco da samamaco mxareebis, e.i. saerTod qalisa dakacis miTo-ritualuri dapirispireba ganamtkicebda. mas metadmartivi principi edo safuZvlad, rasac rwmena erTisTvisebad an uflebamovaleobad miiCnevda, meore mas sruliadmoklebuli iyo. aseTi urTierToba karg samsaxurs uwevs Zveliwes-Cveulebebis rekonstruqciis saqmes 10 . am principis mixedviT,Tu viciT, rom rwmena mamakacs raime sasikeTo Tvisebasmiawerda, maSin sawinaaRmdego Tviseba qalis miTo-ritualursaxeSia saZiebeli. es opozicia universaluri xasiaTisiyo da yofis yvela sferos moicavda. Tumca gansakuTrebiTcxadaT kultSi, drois sakralur monakveTSi, iCenda Tavs. aqrac mamakacis ufleba-movaleobas Seadgenda, sastikad ekrZalebodaqals. Tu saojaxo saqmianobaSi wamyvani adgili diasaxlisseWira, saojaxo kultis oficialuri mxare mTlianadsamamacoSi iyo koncentrirebuli da misi gaZRola mamakacisprivlegiad iTvleboda. qali am ritualebSi uSualo monawileobasver iRebda, radgan samamaco mxares gadasvla ar SeeZlo.mTielTa rwmeniT kaci wminda//sufTa iyo, qali uwminduri,mireuli. aqedan yvelaferi kacuri sawaRmarTod, xolo qalurisaukuRmarTod miaCndaT.amrigad, saxlSi samamacosa da sadiacos miTo-ritualuridapirispirebis umTavres niSans maTi farTobebisa da droissawaRmarTo da saukuTmarTo mxare-Jamad (Sdr.uJamo Jami)miCneva warmoadgenda. es terminebi kulturul-istoriuliTvasazrisiTac informatulni unda iyvnen. maTi xalxuri etimologiaufro xelSesaxebs xdis dapirispirebis xasiaTs,romlis mixedviT cnebaTa Ziri RmarTi//RmerTia. TavsarTadgamoyenebuli wa kavkasiur (vainaxur) enaTa jgufSicecxls//saxls niSnavs. ase rom waRmarTi TiTqos saxlis//ojaxismkvidrTa mfarvel suls, xolo uaryofiT nawilakianiantonimi, uku-RmarTi, misi opozicioneris aRmniSvneliunda iyos. sulTa aseTi dayofa ucxo ar aris mTiuleTisaTvis.ZvelTagan momdinare rwmeniT, kacis mfarveli xatebis239

garda, romlebic umeteswilad ier-saxiT adamianebs hgavdnen,arsebobda ukuRmarTTa didi laSqaric. isini cocxali adamianebisada maTi RmerTebis antagonistebs warmoadgendnen daSesaferi sawinaaRmdego TvisebebiTac iyvnen dajildoebulni.opozicia waRmarTi _ ukuRmarTi yvela droSi Tavisebursaxes iRebda. axali epoqa Tavis „saxlis RmerTs“ da mis antipodsSobda. ucvleli rCeboda mxolod universaluri binaruliopoziciis arsi, romelic ufro zogadad polarul dapirispirebaSixelsayreli _ araxelsayreli da mis „sinonimurwyvilebSi“ gamosWvivis 11 .yvela drois sazogadoebaSi araoficialuri, dagmobilikultis aRmsrulebelni umeteswilad socialuri kibis dabalsafexurze mdgomni iyvnen 12 . amave mizezis gamo patriarqalursazogadoebaSi qali Zveli rwmena-warmodgenebis Tavisebur„sakuWnaod“ iqca. aseTive viTareba iyo CvenSic. arqauli ritualebisaRmsruleblis rolSi saqarTvelos mTianeTSi ZiriTadadqali gvevlineba. aq eTnografiuli saxlis wesi, faqtiurad,bevrgan or nawilad iyo gayofili. oficialur nawils,romelic saxlis angelozisa da jvar-xatebis saxelzeaRsruldeboda, ufrosi mamakaci uZRveboda. es ritualebi er-TaderT WeSmarit da RvTis sargeb saqmed iyo miCneuli. amTvalsazrisis miuxedavad, xSirad ojaxSi oficialur kultsupirispirdeboda araoficialuri, romelsac pirobiTad qal-Ta locva SeiZleba ewodos. is umeteswilad saidumlod sruldebodada arsebiTad legaluri ritualebis „Sebrunebul“,sarkul-simetriul variants warmoadgenda. Tu ojaxis ufrosidRisiT samamacoSi aRmosavleTis cisaken, saxemipyrobili xmamaRlaloculobda, diasaxlisi sadiaco mxaris bnel kuTxe-Si CasCurCulebda miwas. mamakaci, cecxlze gamomcxvar, Sesawirkvers danamomarjvebuli jvarulad daseravda da waRmadadebda Taro-sarkmelze. dedakaci piriqiT, mzis Casvlis SemdegxelukuRma//kurtukuRma udgamda ucecxlod damzadebulkerZian jams „Tavis“ mfarvels 13 .mTiuluri saxlis Sida sivrcis gegmareba xelsayrel pirobebsqmnida oficialuri da araoficialuri kultis TanaarsebobisaTvis.masSi kera sajalabos marjvena mxaris zemoTolSi iyo gamarTuli. samamacos saxlis gverdiTi da ukanakedeli sazRvravda, sadiacos ki mxolod Senobis marjvenamzidi kedeli. qalebis sasxdomis ukan darCenili nagebobisnaxevari mTlianad saqonels ekava. amitom qalTa locva, romelicfaqtiurad sadiacos miRma sruldeboda, sakmaod daSorebuliiyo keris cecxliT „dacul“ angelozis kuTxes. ase240

om, uSualo mezoblobiT gamowveuli usiamovneba TiTqmisgamoricxuli iyo.amrigad, saTavsos marjvena kuTxe saxlis angelozs, marcxenaki mis antipods eWira. ukanaskneli saukuRmarTo mxarisSesaferisad aris modelirebuli: saqonlis mxares cxovrobsda pirutyvs patronobs. amitom waRma mavali angelozis „uku-RmarTi“ variantia -- Savia, terfebi Sebrunebuli aqvs, caciaRame muSaobs da Wams, waRma naTqvami ukuRma esmis 14 da sxva.misi rituali xelukuRma//kurtukuRma unda Sesruldes. erTisityviT, es „uweso“, „gadabrunebuli angelozi“ devia.rogorc vnaxeT, mTiulur saxlSi ara marto sajalabo _samyofos, aramed mTeli Zira saxlis orad gayofili farTobiupirispirdeba erTmaneTs. maT Soris sazRvari safasadokedlisa da dedaboZis Suaze daSvebul vertikalze gadis;marjvena, sawaRmarTo mxares keriT gayofili samyofoa. marcxena,saukuRmarTo mxare saqonlis sadgoms uWiravs. TiToeulies opoziti kvlav ganagrZobs diqtomur dayofas, rogorchorizontalur ise vertikalur WrilSi. amrigad, saTavsosmTel moculobas simboluri koordinatebis sistema avsebs.masSi yvelaferis adgilia dakonkretebuli, kaci iqneba es, saganiTu ornamenti. TvalsaCinoebisaTvis isev sajalaboze Sev-CerdeT. aq dapirispirebulTa pirvel wyvils samamaco da sadiacomxareebi qmnian, samamacoSi erTmaneTs dapirispirebiasaufroso da saumcroso. TviTon saufroso angelozis kuTxisopozicioneria. amave Targzea „daWadrakebuli“ sadiacoc.diasaxlisis adgilis mewyvilea e.w. zemo kera. is arqaul (dialogur)teqstebSi qalTa locvis samsxverplos rols asrulebs.amgvarad struqturirebul sajalabos, mikrokosmis sivrceSiojaxis _ mikrosociumis yvela wevrsa Tu nivTs Tavisi„ujra“- lokusi da svlagezi anu saweCveulebo qronosis SesabamiserTeulTan dakorelirebuli qcevis norma gaaCnia.saxlis Sida sivrcis simboluri dayofa jvaris karis„socialuri geometriis“ kanonebs emorCileba. orive SemTxvevaSiangelozis samezoblo adgili „rCeulT“,“RvTis saxlis“da ojaxis ufrosebs uWiravT. es winamZRolebi sivrcobriviTvalsazrisiT Zalian Sviwrovebuli arian. esec xsenebuliprincipebis realizaciis Sedegia. Cveulebriv, mTis tradiciulsazogadoebaSi socialuri organizaciis faqtiuri xelmZRvaneli(xevisberi, xuces-dekanozi) nakleb mobiluria. iskoleqtivis rigiT wevrebTan SedarebiT, individualuri cxovrebiswesis qronotopSi sakralurisa da profanulis sxvagvariproporciis gamo, SeboWili Cans. Tumca aqtiur mwarmoeb-241

lur Sromas TiTqmis Camocilebuls maTi dari Tavisuflebada e.i. samoqmedo dro-sivrce arc sWirdeba.rac ufro maRalia socialuri kibis safexuri, miT ufro„viwroa“ is, magram masze mdgoms didi sivrcis kontrolirebissaSualeba aqvs. mwarmoeblur da aramwarmoeblur sivrceebsSoris Sefardeba pirovnebis socialur statuszea damokidebuli.mTis sazogadoebebSi sawarmoo sivrce koleqtivisrigiTi wevrebis SeuzRudavi moqmedebis area. is ganuzomladdidia socializirebul sivrceze, romelzedac maTi piradigavlena vrceldeba. am sidideebs Soris ukuproporciuli damokidebulebaaTemis xelmZRvanelis SemTxvevaSi. amgvar viTarebasasaxavs, swored, aforizmuli gamoTqma _ glexi ezosgadaRma veras xedavso. sawinaaRmdegod axasiaTebs tradiciasocialuri organizaciis meTaurs. is „SorsmWvretelia“, „arwivismzera“ da „qoris Tvali“ aqavs, maRali mdgomareobisgamo mas arafari gamoepareba.mwarmoebluri da aramwarmoebluri sivrcis dayofa-danawilebiswesi kargad warmoaCens koleqtivis wevrTa uflebamovaleobebs.sxvadasxva donis „gamZRobareTa“ SemTxvevaSixsenebul kategoriebs Soris arsebuli disproporcia sazogadoebaSimaTi rolis Sesaferisi qcevis normebSi modelirdeba.ukanasknelTa klasobriv Sinaarss miTo-ritualuri motivirebaniRbavda: xevisberi xatisagan iyo „daWerili“da bunebrivia,xSirad meurneobisaTvis mas ar ecala. „Savi“ saqmeebisaTvismoucleli iyo ojaxis ufrosic. aseT samuSaos qaliasrulebda, radgan saxlis angelozis „mowese“ mudam „sufTa“unda yofiliyo. msgavsi rwmena-warmodgenebi ganamtkicebdnen„ufrosebis“ mdgomareobas. maTi saSualebiT xatis mona (Sed.RmerTis glaxa) _ xucesi moTemeebs Cagravda, „siwmindis“ dacvissababiT, mamakacs qali srul morCilebaSi hyavda. amitomiyo swored ,rom „ufros-uxucesebi“ udrtvinvelad itandnen„sivrcobriv siviwroves“. sasacilod mcire samamacoze, sakurcxilSi,maxvSTa Cveul pozaSi „gayinulebi“ moTvalTvaleTaxvedrs „Serigebodnen“. saufrosos simcire da „dinjTa etiketi“sakraluri uuflebobis iluzias aRrmavebda. es ki „Tavisuflebs“„morCilebisadmi“ pativiscemis gamovlenas avaldebulebda.isinic Sesaferi samsaxuriT „umsubuqebdnen“ bedsRvTis rCeulT: saxlSi kacs qali emsaxureboda, xevSi bersTemi da a.S.sajalabos opozitebs simboluri „wyalgamyofi“ xazebiakavSirebda kidec erTmaneTTan, radgan TiToeuli aseTi dapirispirebaimave dros mTlianobac iyo. saufroso _ saumcro-242

so samamacos qmnida, samamaco _ sadiaco samyofos, sajalabo_ boseli Zira saxls da a.S. opozicia _ gayofasTan erTadmaTi erToba-kavSiris motivic Tavisebur miTo-ritualur gaazrebashpovebda. am xasiaTis monacemebis dakonkreteba TiTqmisyvela wyvilisaTvis xerxdeba.yovlismomcveli opozicia adamiani _ araadamiani saxlSisajalabo _ boselis dapirispirebis saxiT iyo warmodgenili.am sawaRmarTo da saukuRmarTo mxareebs erTsa da imave droshyofda da akavSirebda kidec saxlis//samyaros TaRis sayrdeni_ dedaboZi. sicocxlis xis „kameruli“ varianti imave funqciasasrulebda mikrouniversumSi, rac mas makrouniversumSihqonda dakisrebuli. orivegan is samyaros centri iyo. amitomadamiansa da araadamians, sawaRmarTo qveyana-mxares//Sidasknelsa da saukuRmarTo qveyanas//garesknels Soris idga. asevehyofda da akavSirebda is vertikalur sknelebsac: dedaboZs//sicocxlisxes fesvebi qvesknelSi gaudgams, tani SuasknelSiaqvs, xolo wveriT zesknels mibjenia. imida mixedviTTu simboluri koordinatebis sistemis romel da ra kategoriismovlena-faqtebis gamyof-damakavSireblis rolSi gamodiodadedaboZi Sesaferad motivirdeboda misi mediciurifunqciac 15 .aseve hyofda da akavSirebda horizontalur WrilSi kera-sakidelidualur mikrokosms, samamaco _ sadiacos//makrokosmisvaJisa da qalis lokusebs, xolo vertikalur WrilSiojaxis saamqveyno _ saimqveynos anu samzeosa da sabnelosmaqsimalurad organizebul nawilebs.literatura da SeniSvnebi1. Гуревич А. Я. Категории средневековой культуры, М.,1972; misive,Проблема средневековой народной культуры, М.,1981; Лихачев Д.С.Поэтика древнерусской культуры, Л.,1971; Бахтин М., Формывремени и хронотопа в романе, misive wignSi: Вопросы литературыи эстетики, М.,1975; Неклюдов С.Ю. Время и пространство в билине,kr. Славянский фольклор, М., 1972; Бахтина В.А. Время в волшебнойсказке, kr. Проблемы фольклора, М., 1975; Девис П. Пространствои время в современной картине вселенной, М., 1979 dasxva.243

2. ukanaskneli 15 wlis ganmavlobaSi gansakuTrebiT gacxoveldainteresi adamianis moRvaweobis sivrcobriviparametrebis Seswavlis mimarT. 20-iani wlebidan moyolebulisabWoTa mecnierebi ara erTxel Sexebian amproblemas (florenski, propi, baxtini, bogatiriovi, zolotariovida sxv.) magram CvenSi kvlevas disciplinarulixasiaTi ar miuRia. specialuri dargi mxolod 60-iani wlebis bolos gaformda proqsemikis saxelwodebiTda mis damfuZneblad amerikeli anTropologi eduardhali gvevlineba. ix. Hall E.T. Proxemics, “Current Anthropology”,1968,No. 9; misive, Handbook for Proxemic Research, Washington:Society for the Anthropology of Visual Communication, 1974;Watson O.M. Proxemic Behaviour: A cross-cultural study, The Hague,Mouton, 1970.3. Свешникова Т. Н., Цивьян Т. В. К функциям посуды в восточнороманскомфольклоре, kr. Этническая история восточных романцев.Древность и средние века, М., 1979; Цивьян Т.В. К семантике дома вбалканских загадках, kr. Материалы Всесоюзного симпозиума повторичным моделирующим системам, /МВСВМС/, 1/5/, Тарту, 1974;misive, Дом в фольклорной модели мира /на материале балканскихзагадок/, kr. Труды по знаковым системам, / ТЗС/ ,Тарту, 1974; БаибуринА.К. Жилище в обрядах и представлениях восточных славян,Л.,1983; Теребихин Н.М. Строительная обряднось пермских финоугров,Л., 1981.4. v. Ciqovani, mTiuluri saxlis kera, 1977, gv.24-40 /xelnaweriinaxeba iv.javaxiSvilis sax.istoriis, arqeologiisada eTnografiis institutis kavkasiis eTnografiisganyofilebis arqivSi/.5. v.Ciqovani, axali dResaswaulebi da tradiciaTmcodneobisamocanebi, kr. „istoriul–eTnografiuli Stubiebi“,„mecniereba“, Tb., gv. 119.6. v.Ciqovani, sacxovrebeli nagebobebi mTiuleT-gudamayar-Si, kr. „ssrk mecnierebaTa akademiis daarsebis 250 wlis-Tavisadmi miZRvnili XIII respublikuri sesiis masalebi/moxsenebaTa Sinaarsi/“,“mecniereba“, Tb., 1976.7. nageboba anTropomorfuli mTlianobis darad aRiwereba.saerTod, „sxeulebrivi principi“ meoradi samodelosistemebis erTeulTa „metaforuli izomorfizmis“ meSveobiTeTnosemioturi Taviseburebebis gamovlenis sa-244

Sualebas iZleva (Sed. Tavi moWra//banze sipebi auyara//qalimostaca...).8. kulturis „teqstebis“ aRweraSi binaruli struqturebisrolis Sesaxeb ix. Лотман Ю.М. О метаязыке типологическихописании культуры, ТЗС, 4, Тарту, 1969; Успенский Б. А. Правои лево в иконописном изображении, СВМС, Тарту, 1973; ТолстыеН.И. и С.М. К семантике правой и левой стороны в связи с другимисимволическими элементами, МВСВМС,1/5/, Тарту, 1974; ИвановВ.В. Чет и нечет. Ассиметрия мозга и семиотических систем, М.,1978 и др.9. buneba _ kulturis opozicia gansakuTrebiT cxadad keraSiamosuli ifnis miTologemaSi aqtualizdeba. ix.v.Ciqovani, mTiuluri saxlis kera, gv. 59-87.10. msgavsi opozicia \ mTlianobis erTi wevridan meoris atributebissruli konis gamoyvana SeiZleba kazualuri implicirebismeTodiT /Tu A........., maSin B........; an A ------→B dapiriqiT/.11. Ивановиотических системах, kr. Системные исследования, Ежегодник,1972, М., 1972.12. am universaluri qronotopis mqone principis realizaciisSedegia, rom gardasul dReTa ideologiis atributebismatareblad, dResac ki, sazogadoebis dabali statusismqone wevrebi gvevlinebian. es gansakuTrebiTTvalsaCinod maTi samuSao adgilis „kankelis“ gaformebis„araoficialur“ stilSi mJavndeba. aq ucnaurad mezoblobensruliad gansxvavebuli sistemis niSan-simboloebi-- „dacemuli angelozebi“ da yofili liderebi,SiSveli naturebi da „oqros xanis“ suraTebi, xalxuriTu kustaruli rewvisa da xelovnebis „unikaluri“ nimu-Sebi, kinovarskvlavTa fotoebi da sxv. aseTi „gamofenebi“warsulis anu araoficialuri awmyos namdvili sarkea,sadac axali „gadmonaSTi“ swrafad poulobs Tavisadgils. es erTxel kidev cxadyofs, rom e.w. „xalxurikulturis“ problema urbanizmis pirobebSic aqtualuria.13. v.Ciqovani, mTiuleT-gudamayaris eTnografiuli dRiurebi,rv.#11, 1975, gv.25-30, 38, 40-41, 45, 53, 68, 75, 81 da sxva.ritualebsa da „antiritualebSi“ anTropomorful, socialur,verbalur, musikalur, qoreografiul, kulinarul,arqiteqturul, miTologiur da sxva kodebze aq-245

tualizebuli binaruli opoziciebi cxadyofen, rom er-Tiani miTo–ritualuri sistemis erTeulebs warmoadgenen:ca _ miwa, aRmosavleTi _ dasavleTi, marjvena _marcxena, zeda _ qveda, Sina _ gare, WeSmariti _ yalbi,oficialuri _ araoficialuri, adamiani/metyveli _ saqoneli/pirutyvi, kaci/nefe _ qali/patarZali, ufrosi _umcrosi, sabero _ sajalabo, sajalabo _ boseli, samamaco_ sadiaco, kera _ erdo, sarkmeli _ kuTxe, kacebislocva _ qalebis locva, saxli _ ezo, mze _ mTvare(“miwis“//imqveynis mnaTobi, Sed. mkvdris mzes. Suasknelis„mnaTobis“, keris cecxlis wyliT CaqrobiT, yverbis sipebisritualizirebuli amoyriT da semantikurad maTidari sxva qmedebebiT, magaliTad, dedaboZis waqceviT anaseTi ramis Cadenis muqariT triaduli mikrokosmisngreva da mowinaaRmdege Zalebis gamarjveba modelirdeboda.msgavs momentebs xalxur poezaSi da xatovansityva-TqmebSi sagangebo adgili uWiravs da metaforulazrovnebas noyier niadags uqmnis.), dRe _ Rame, sinaTle/cecxli_ sibnele/nesti, wyali/, Jami _ uJamo Jami,TeTri/wminda _ Savi/mireuli, waRma _ ukuRma (xelukuRma,koWukuRma, kurtukuRma. gadabrunebuli mosasxamisstumrisaTvis moxurviT andabis anu gardacvlil naTesavTasaiqioSi arsebuli gaerTianebis wevris gamaspin-Zlebis rituali sruldeboda), saxe _ zurgi, angelozi_ devi, xmamaRla _ CurCuliT / umZraxad, sanTeli _ nigvzislebnebis damakavSirebeli uReli, Taro _ jami, qada_ fafa /ucecxlod damzadebuli/, sveli _ mSrali/berwi,wuliani/jiSiani _ uwulo/ukaco, kera _ sakideli(Suacecxlis Tavze CamoSvebuli jaWvi), rkinis sakidelCamobmuli/rkinissakideliT dabmuli _ sakidel-Camogdebuli, dakoWva/daWera, Sekvra, mijaWva/ _ aSveba /sakidlis jaWvis CaWra//karis Sexsna, nawiliani/liSniani/bediani_ unawilo/uuRuro/ubedo, cocxali/saaqao _„civi“/saiqio, dabadeba _ sikvdili, qorwili _ gasveneba,xmiT natirali _ mTibluri / Cveni samyaros glovis zariantisamyaros // saTibis simReraa/, pirimze _ fuZisangelozi /pirquSi da sxva. v.Ciqovani, qorwineba _ mediaciamiTologiaSi, 1978 /xelnaweri/.14. Sesabamisad aseTi arsebisadmi mimarTvis formula antilocva//wyevlaiyo. is ukuRma, qajur enaze, unda warmo-246

eTqva gadabrunebul tansacmlian, dedaTa wes-gadasulufros diasaxliss. srul sibneleSi aRsrulebul amrituals dadebiTi Sedegi rom mohyoloda, xandazmulmandilosans (jadosnuri zRaprebis msgavs ambivalenturdedabers) saidumlo mfarvelisaTvis saqonlis gamravlebismagivrad maTi daleva, xolo ojaxis wevrebiskargad yofnis magivrad maTi avad gaxdoma, saxl-karisdawva, yana-saTibis dasetyva, erbo-karaqis gawyaleba daa.S. unda eTxova. mas Rrmad swamda rom ucecxlo kerZebisimqveyniurmoyvarulTa erTgul, farul msaxursukuRma mavali „angelozi“ yvelafers SebrunebiT ausrulebda.amgvari praqtikis „gverdiTi produqtia“ devebis,al-qajebis da adamianebis intimuri urTierTobebisadmimiZRvnili gadmocema-memoratebi.15. dedaboZis Sesaxeb ix. i.surgulaZe, asrtaluri simbolikaqarTul xalxur ornamentSi /dedaboZis dekoris mixedviT/,Tb., 1967, disertacia.Symbolic Organization of Space in the Interiorof a Mtiuletian House247Vakhtang ChikovaniA rectangular-shaped plan of a traditional dwelling structure is divided intwo equal sections with a plaited partition – the right section used as a familyliving space, and the left section used as a space for cattle. In its own turn, anopen hearth divides the living section in men’s (right) and women’s (left) halves.In the center of the dwelling structure stands a central support of the flat roof –the so-called “Mother Column.” Inside the house, among the ritually importantplaces, the main one is the upper corner of the men’s section – a “HouseGuardian Angel’s corner,” where a family head performs official rituals. Theangel’s antipode “Dev’s” place is in the upper left corner of the space for cattle.A family housewife is the one who secretly observes the Dev’s rituals. Accordingto some mytho-ritual texts, the Angel’s Corner represents a sacred social center(cosmos, culture), while the Dev’s corner represents a center of nature (chaos).The open hearth and the Mother Column function as mediators between thestructural elements of the microcosm-house and are opposites of each other in themyth of a sacred tree (the local version of “axis mundi”) that grows from thehearth of an (unbeliever) highlander.

Asamedicino anTropologiaMEDICAL ANTHROPOLOGYtradiciuli qarTuli samedicino kulturisanTropologiuri kvleva saqarTveloSinino mindaZesamedicino anTropologia dRes anTropologiuri mecnierebiserT-erTi mniSvnelovani dargia. igi Seiswavlis janmrTelobasada daavadebas, saerTod janmrTelobis dacvissistemas, bunebriv da sociokulturul garemosTan adamianisbiokulturul adaptacias. gansakuTrebul yuradRebas amaxvilebsmedicinis sociokulturul aspeqtebze, radgan,,daavadebada mkurnaloba mxolod abstraqtulad aris sufTa biologiuriprocesi... sad gaxda avad adamiani, ra saxis daavadebaSeeyara mas da ra saxis mkurnaloba sWirdeba, bevrad arisdamokidebuli socialur faqtorebze [akernexti e.,E1947; laibanir., 1977, 13-30].samedicino anTropologiis kvlevis sfero kidev ufrofarTo da mniSvnelovania, radgan mas daavadeba ainteresebs,rogorc fenomeni, romelsac SeuZlia gavlena iqonios sociokulturulmovlenebsa da procesebze.cnobilia, rom yvelgan, yoveli droisa da yovelgvaritipis sazogadoebaSi daavadeba safrTxes uqmnida rogorccalkeul adamians, aseve sazogadoebasac. garkveul zemoqmedebasaxdenda ara mxolod adamianis Tu adamianTa mTeli koleqtivisbiologiur mdgomareobaze, aramed sociokulturulsistemaze, istoriuli ganviTarebis procesze. ganapirobebdagarkveul istoriul movlenebs. cnobilia, rom III aTaswleulSiZveli indoevropuli mosaxleobis migraciis erT-erTimizezi da am migraciis mimarTulebebis ganmsazRvreli SaviWirisa da malariis gavrceleba iyo [gamyreliZe T., ivanovi v.,1984, 915-916; 963]. iTvleba, rom Savi Wiri gaxda mizezi ZvelaRmosavleTSi micvalebulis kremaciis tradiciis Camoyalibebisa[gamyreliZe T., ivanovi v., 1984, 831]. Sua saukuneebSi kiSavi Wiris epidemiebma, romelmac Seiwira milionobiT adamiani,mniSvnelovnad Secvala evropis demografiuli suraTi,yofiTi kultura... [brodeli, 1989, 97-102]. am daavadebis pandemiamSeuwyo xeli feodalizmis rRvevas inglisSi.248

samedicino anTropologiაs Aainterasebs Aama Tu im xalxissamedicino sistema, romelsac gavlena aqvs adamianis ekologiaze,evoluciaze, kulturaze, socialur Rirebulebebze...,mxolod samedicino personali da avadmyofi ar aris samedicinoanTropologiis kvlevis obieqti, aramed zogadadsazogadoeba, ramdenadac masTan dakavSirebulia adamianisjanmrTeloba da samedicino problemebi.L(laibeni r., 1977, 15).aqedan gamomdinare, samedicino anTropologia erTi mxriv gulisxmobssamedicino sistemebis Seswavlas sociokulturuliTvalsazrisiT, xolo meore mxriv sociokulturuli sistemis,sazogadoebis Seswavlas samedicino aspeqtiT.yovelive zemoxsenebulis gaTvaliswinebiT, gamomdinareim faqtidanac, rom sxvadasxva sazogadoebaSi, adamianis janmrTelobismdgomareobis, daavadebis mimarT sxvadasxvagvaridamokidebulebis, gansxvavebuli samedicino azrovnebisa dapraqtikis gamo Znelia laparaki erTsa da igive samedicinostandartebze, samedicino anTropologia moiTxovs interdisciplinarulmidgomas da kroskulturul kvlevas. mas ainteresebsyvela droisa da yvela eTnosis samedicino tradiciebi,xalxuri samedicino azrovneba.samedicino anTropologia ZriTadad sam mimarTulebasmoicavs: samedicino ekologias _ Seiswavlis garemosTan adamianis,sazogadoebis biokulturul adaptacias; ikvlevs Turamdenad efeqturad iyenebs adamiani adaptaciis procesSi biologiurda kulturul saSualebs; ra gavlenas axdens daavadebaekologiur da evoluciur procesebze... 2. eTnomedicinas,romelic Seiswavlis medicinis tradiciul sistemebs sabunebismetyveloda sociokulturul aspeqtSi 3.gamoyenebiTsamedicino anTropologias, romlis mizania samedicino an-Tropologiuri kvlevis Sedegebis gamoyeneba praqtikulad,avadmyofis mkurnalobis dros yuradRebis gamaxvileba missociokulturul garemoze da sxv.saqarTveloSi ukve sakmao xania ara erTi mkvlevari mu-Saobs samedicino anTropologiis erT-erTi mimarTulebis eTnomedicinis,tradiciuli medicinis kvlevis xaziT.qarTvel mecnierTa kvleva ar Semoifargleba mxolodmkurnalobis xalxuri, tradiciuli saSualebebis gamovleniTda SeswavliT, maT ainteresebT TviT adamiani, xalxuri warmodgenebiadamianze rogorc biologiur da sociokulturularsebaze [bardaveliZe v., 1949; javaxiSvili iv., 1953: beritaSviliiv., 1957; mindaZe n., 2008], xalxuri samedicino Teoria, qar-Tveli xalxis tradiciuli samedicino azrovneba, samkurna-249

lo praqtika, bioeTikis xalxuri tradiciebi [mindaZe n., 2009],daavadebisa da garemos urTierTmimarTeba [daavadeba da garemo,1996], aseve tradiciuli samedicino institutebis, daavadebisrolis, mniSvnelobis garkveva sazogadoebaSi da sxv.eTnomedicinis, tradiciuli, xalxuri medicinis kvlevisobieqtis da misi saxelwodebis Sesaxeb sxvadasxva Sexedulebada azri Camoyalibda. mecnierTa erTi nawili miiCnevs, romxalxuri medicina unda ixmarebodes viwro mniSvnelobiT daaRniSnavdes mxolod TviTmyofad, empiriul medicinas, e.i.faqtobrivad unda asaxavdes ganviTarebis dabal safexurzemdgomi sazogadoebis TviTmyofad samedicino kulturas. xoloTanamedrove, ganviTarebuli eTnosebis xalxuri medicinissaxelwodebad termin eTnomedicinas gvTavazoben [bromleii., 1881, 211-214].terminTa aseTi diferencireba Tanamedrove mecnierebaSiiSviaTia. rogorc ganviTarebis dabal safexurze mdgomi sazogadoebebis,ise Tanamedrove eTnosebis arasaxelmwifo, araoficialurisamedicino kulturis aRsaniSnavad gamoiyeneba:eTnomedicinasa da xalxur medicinasTan erTad, gamoiyenebaaraorTodoqsaluri, araoficialuri, tradiciuli medicina...msoflio saer|TaSoriso samecniero organizaciis [WHO] mier1978 wels gamarTul saerTaSoriso konferenciaze SemoTavazebuliqna termini _ tradiculi medicina, rac xalxuri medicinissinonimad iqna miCneuli. aseve aRiniSna, rom tradiciulimedicina arsebobda yvela sazogadoebaSi, istoriuliganviTarebis yvela etapze. [holi, 1994,1, 1]. dRes termini eTnomedicinatradiciuli medicinis Semswavleli mecnierebis,samedicino anTropologiis erT-erTi mimarTulebis saxelwodebaa.Tumca mas tracdiciuli, xalxuri medicinis sinonimadacsakmaod xSirad iyeneben.tradiciuli medicina, TviTmyofad, empiriul praqtikas-Tan erTad gulisxmobs sxadasxva samedicino sistemis, maTSoris oficialuri medicinis, gavlenis Sedegad ama Tu im sazogadoebisxalxur mkurnalobaSi danergil gaxalxurebulsamedicino codnasac. cnobilia, rom tradiciuli samedicinosistema da oficialuri, klasikuri medicina yvela epoqaSiTanaarsebobda, urTierTgavlenas ganicdida. asea axlac, tradiciulsamedicino sistemas oficialuri medicinis elementebisSeTvisebis unari gaaCnia. es elementebi egueba Tvisebrivaducxo samedicino garemos, xSirad am garemosTvis damaxasiaTebelSinaarss iZens da xalxur tradiciad yalibdeba.250

tradiciuli samedicino kultura tradiciulad or nawiladiyofa: erTi, romelsac metwilad empiriul-racionalursuwodeben, aerTianebs xalxur sabunebismetyvelo Sexedulebebsada bunebriv samkurnalo saSualebebs. meore magiur-religiuri,moicavs daavadebaTa Sesaxeb arsebul rwmenawarmodgenebsada mkurnalobis zebunebriv saSualebebs.aseTi dayofa met-naklebad moxerxebulia mkvlevarTaTvis.Cvenc, am tradicias vagrZelebT. SevcvaleT mxolod terminiempiriul-racionaluri, radgan empiriul, TviTmyofad samedicinocodnasTan erTad, vikvlevT sxvadasxva, ZiriTadadki qarTuli oficialuri, klasikuri medicinis gavlenis Sedegadgamdidrebul xalxur samedicino kulturas. aqedan gamomdinare,termini empiriuli ar amowuravs Cveni kvlevis obieqts.xolo racionalurad migvaCnia ara mxolod Sinauri wamlebiTaTu sxvadasxva manipulaciebiT mkurnaloba, aramed magiur-religiurisamkurnalo praqtikac, saTanado sociokulturuligaremos Taviseburebebis Tu eTnofsiqologiuri fonisgaTvaliswinebiT. amdenad, racionaluri ufro metismomcveliterminia, vidre zemomoyvanil kompozitSi misi tradiciulimniSvneloba gulisxmobs.mizanSewonilad migvaCnia empiriuli-racionaluris SecvlaterminiT natur-medicina, radgan xalxuri medicina Ziri-Tadad bunebriv saSualebebs iyenebs. naturmedicina aerTianebsxalxur sabunebismetyvelo Sexedulebebsa da naturopa-Tias _ mkurnalobas bunebrivi: mcenareuli, cxoveluri, mineralurisaSualebebiT da tradiciul meTodebs: sisxlis gamoSvebas,masaJebs, qirurgiul manipulaciebs da sxv.tradiciuli medicina aerTianebs yofiT _ sazogadoebiswevrTa umravlesobisa da profesiuls _ xalxur mkurnalTasamedicino codna- gamocdolebas. rasac zogierT mecnierimxolod winaklasobrivi sazogadoebisTvis damaxasiaTebelmovlenad miiCnevs [bromlei i., 1981, 215]. eTnomedicinis kvlevissferoSi Sedis rogorc yofiTi samkurnalo codnis, isexalxuri mkurnalebis saqmianobis ganxilva, maTi mkurnalebadCamoyalibebis procesis kvleva, maTi socialuri rolis, statusisgansazRvra, tradiciuli samedicino sistemebis regionaluriTaviseburebebis gamovlena da sxv.tradiciuli medicinis xasiaTi damokidebulia mis adgilsada funqciaze garkveul kulturul modelSi, amitomtradiciuli medicinis, misi Camoyalibebisa da ganviTarebisSeswavla saWiroa, kompleqsurad, yofis sxva elementebTanurTierTkavSirSi, geografiuli garemos, socialur-ekonomi-251

kuri, istoriuli pirobebisa da eTnofsiqologiuri fonisgaTvaliswinebiT, interdisciplinaruli midgomiT.qarTvel eTnologTa kvlevis obieqti tradiciuli qar-Tuli samedicino kultura _ qarTveli xalxis samedicinoazrovneba da samkurnalo praqtikaa; empiriul samedicino gamocdilebasTanerTad, sxvadasxva, ZiriTadad ki qarTuliklasikuri medicinis, gavlenis Sedegad yofiT kulturSimkvidrad fexmokidebili da droTa ganmavlobaSi xalxurtradiciad Camoyalibebuli samedicino codna. kvlevis Ziri-Tadi wyaro Tanamedrove yofaSi an mosaxleobis mexsierebaSidRemde SemorCenili xalxuri samedicino tradiciebia. retrospeqtiulimeTodis gamoyenebiT, xSirad xerxdeba ufroZveli suraTis aRdgena, samkurnalo tradiciebis warmoSobisada ganviTarebis gzebis kvleva, xolo Tanamedrove monacemebisanaliziT, rigi faqtebis axsna. eTnografiuli monacemebisgarda, qarTuli medicinis Sesaxeb mniSvnelovan masalasgvawvdis arqeologiuri, folkloruli monacemebi, antikuravtorTa Tu ucxoel mogzaurTa da mecnierTa cnobebi, qar-Tuli werilobiTi wyaroebi.tradiciuli qarTuli samedicino kulturis srulyofiliwarmoCenisTvis saWiroa xalxuri da Zveli qarTuli samedicinoxelnawerebis SedarebiTi analizi, qarTvelTa kulturul-istoriuligaremocvis, mezobeli xalxebis samedicinotradiciebis gaTvaliswineba. kroskulturuli kvleva saSualebasiZleva warmoCndes is kulturuli wre, romelSic Camoyalibdatradiciuli qarTuli samedicino kultura.saqarTvelos sxvadasxva kuTxeSi mopovebuli eTnografiulimasalisa da da sxva monacemebis SedarebiTi analizisSedegad dadginda rom saqarTvelos mTisa da baris gansxvavebulmageografiulma garemom, socialur-ekonomikurma da istoriulmapirobebma, mosaxleobis cxovrebis wesma, ganapirobaam regionebSi gavrcelebul daavadebaTa specifikuri xasiaTida tradiciuli samedicino sistemebis Taviseburebani.kerZod, saqarTvelos mTaSi ganviTarda da profesiul donesmiaRwia mxolod travmebis mkurnalobam, Tumca yvelgan mag.xevsureTSi, ar Camoyalibda sagvareulo-saojaxo medicina.barSi ki yofiT samedicino kulturasTan erTad, sagvareulosaojaxomedicinac ganviTarda, romelsac profesiuli medicinisniSan-Tvisebebi gaaCnia da gulisxmobs calkeuli anmxolod ramdenime sxvadasxvagvari daavadebis mkurnalobissagvareulo praqtikas.252

saintereso Sedegebs iZleva xalxuri, gansakuTrebiT kimagiur-religiuri samedicino tradiciebis Seswavla istoriuliganviTarebis procesSi, saqarTvelos mosaxleobis religiuriazrovnebis cvalebadobis fonze.arqeologiuri masalis Seswavlis safuZvelze gamoTqmuliamosazrebebi uZvelesi samedicino tradiciebis Sesaxeb.mkvlevrebi Tvlian, rom paleoliTis xanis zogierT sameurneoiaraRs – patara xelculebs samedicino daniSnulebahqonda da gamoiyeneboda Cirqgrovebidan Cirqis gamosaSvebad,Wrilobidan ucxo sxeulis amosaRebad... [firfilaSvili p.,1989, 11-14]. paleoloTis xanis erT-erT gamoqvabulSi (sakaJia)nanaxi cxovelis Tavis tvinisa da qonis nazavi miCneulia samkurnalodaniSnulebis malamod [nioraZe g., 1953, 59]. aseTi saxismalamo saqarTvelos zogierT kuTxeSi (svaneTSi) dResacgamoiyeneba [burduli m., 2000, 117]. brinjaos xanisa da Semdegiperiodis, ganaTxar masalaSi uxvad gvxvdeba qirurgiuli iaraRebi:danebi, pincetebi, Zveli romauli kefalotribebismsgavsi namglisebri danebi, nemsebi, zondi da sxv. aseve samedicinodaniSnulebis WurWeli [firfilaSvili p., 1989, 14-33].fiqroben, rom samedicino daniSnuleba hqonda saqarTvelosteritoriaze aRmoCenil sakmaod didi raodenobis gvelis gamosaxulebianWurWelsac [firfilaSvili p., 1989, 36]. Zv. w.VIII-VI ss. daTariRebuli wamlis dasamzadeblad miCneuli gvelisgamosaxulebiani orsarTuliani WurWlis [firfilaSvilip., 1989, 38] msgavsi WurWeli qarTul xalxur medicinaSic arcTu didi xnis winaT gamoiyeneboda [burduli, 2000, 119].saqarTveloSi sxadasxva epoqis samarxebSi [Zv. w X-IX ss.,VII-V ss., a.w. XV-XVII ss.] aRmoCenilia trepanirebuli Tavisqalebi. trapanaciis xalxuri praqtika saqarTvelos mTianeTiserT-erTma kuTxem – xevsureTma XX saukunis meore naxevramdeSemoinaxa.ganaTxari Zvlovani masalis rentgenopaleoanTropologiuriSeswavlis Sedegad dadginda, rom saqarTveloSi travmebismkurnaloba umeteswilad sworad iyo Catarebuli [firfilaSvilip., 1989, 3-22, 36].tradiciuli qarTuli medicinis Sesaxeb garkveul informaciasgvawvdis qarTuli da berZnuli miTologia. uZvelesqarTul amiranis miTSi daculia cnobebi: samkurnalomcenareebiT mkurnalobis, qalis (miTis mTavari personaJis)mier cxovelebze dakvirvebiT samkurnalo mcenareebis mikvlevis,dRenakluli bavSvis dabadebis dros xelovnuri inkubaciispraqtikisa da sakeisro gakveTis Sesaxeb. [Sengelia m.,253

1970, 32-33]. amave miTis variantSi laparakia erT-erTi persona-Jis gvamis gaspetakebis e.i. damuSavebis Sesaxebac. qarTvelTaistoriul qronikaSi qarTlis cxovreba (Xs.) aRwerilia vaxtanggorgasalis biZis varaz bakuris cxedris sabriTa[aloe] da muriT (surnelovani zeTi) damuSaveba [qarTliscxovreba, I, 1955, 176].zemomoyvanilis safuZvelze gamoTqmulia mosazreba, romqarTvelebi balzamirebis wess icnobdnen [saakaSvili m., gelaSvilia., 1958, 35]. Tumca am mosazrebis damadasturebeliarqeologiuri masala jer-jerobiT mopovebuli ar aris.qarTuli medicina uZvelesi droidan ucxo qveynebis iteresebisarealSi iyo moqceuli. imavdroulad Tavadac ganicdidaZveli civilizebuli samyaros samedicino codnis gavlenas.medicinis istorikosTa mier dadgenilia, rom qarTulsamkurnalo xelovnebaSi uxvad Cans ZvelaRmosavluri gavlenebi[Sengelia m., 1963, 3-15].qarTuli, antikuri da Sua saukuneebis qveynebis klasikurimedicinis urTierTobaze gvauwyebs Zveli qarTuli xelnawerebi:usworo karabadini (XI s.), wigni saaqimoB(XIII s.), zazafanaskertel-ciciSvilis samkurnalo wigni (XV s.), daviT bagra-tionisiadigar daudi (XVI s.), Targmnili literaturagrigol noselis kacisa SesaqmisaTvis, romlis arasruliTargmani IX-X saukunisaa, meore giorgi mTawmindelis sruliTargmani X saukunis nemeseos emeselis bunebisaTvis kacisa,berZnulidan Targmnili ioane petriwis mier da sxv.cnobilia, rom argonavtebis miTis mTavari personaJi medea,romelic wamalmkeTeblobis saidumloebas flobda kolxeTismefis asuli iyo. mas samkurnalo mcenareebi specialurbaRSi mohyavda [orfikuli argonavtika, 1977, 107-108]. ,,medeas ba-Ris" zogierTi samkurnalo mcenare: dafna, Sindi da sxv. dResacfarTod gamoiyeneba qarTul xalxur medicinaSi.antikuri avtorebis mixedviT, qarTvelTa winaprebi kolxebida iberebi samkurnalod iyenebdnen ucunas [Colchicum speciosum],zambaxis [Iris], Rolos [Rumex], baias [Aconitum], promeTesbalaxs... [hani, 1884, 501-507; rodoseli ap., 1970, 222-223; latiSeviv., 1896, 107-108].mniSvnelovania is faqti, rom pliniusis _ bunebis istoriaSidaculia cnoba iberiaSi saikeTeso kamis wvenis momzadebisSesaxeb, romelsac TaflSi Sereuls malamod xmarobdneniberebi [hani k., 1884, 112].254

ogorc medicinis istoriis qarTveli mkvlevarebi aRniSnaven:saqarTveloSi samkurnalo saqmianobisa da wamalmke-Teblobis Sesaxeb cnobebi antikuri xanis TiTqmis yvela ucxoelmwerals, istorikossa da geografs aqvs. es garemoebametad mniSvnelovania da imaze miuTiTebs, rom mTeli rigiZvirfasi samkurnalo mcenareebis Segrovebis, damzadebis daxmarebis wesebi, romlebic saqarTveloSi icodnen saqarTvelosmezobel qveynebSi did interess iwvevda. es rom ase aryofiliyo, maSin ar iqneboda saWiro mcenareebis Segrovebisda wamlebis momzadebis wesebis aRwera, isic ise dawvrilebiT,rogorc es berZen da romael avtorebs aqvT. Tu ase detaluradiZlevian cnobebs albaT imisTvis, romucnpbi samkurnalomcenareebi gaecnoT TavianTi qveynisTvis [saakaSvilim., gelaSvili a., _ 1956, 35].aseTive tradicia gagrZelda Semdegac, rasac mowmobs bizantielavtorTa georgika, 1961, 100, 113...] …da saqarTveloSisxvadasxva dros namyof mogzaurTa, misionerTa, mecnierTa TusxvaTa nawerebi. gansakuTrebiT sainteresoa lambertis, Sardenis,giuldenStdetis, koxisa da spenseris, vagneris... cnobebi,romelTa mixedviT, saqarTveloSi samkurnalod iyenebdnenTafls [lamberti arq., 1991, 193-195], dafnas [giuldenStedti i.,1960, 107] da sxv.medicinis istoriis araerTi mkvlevris, maT Soris cnobilimecnieris kurt Spengleris, mixedviT yvavilis sawinaaRmdegoacra, variolaciis meTodiT, XVII saukunis I meoTxedSisaqarTvelos gziT iqna Setanili evropaSi [ioseliani a.,1977, 144].qarTuli agiografiuli literaturis uZveles ZeglSi _iakob curtavelis SuSanikis wamebaSi, moxseniebulia travmebissamkurnalo garegani da Sinagani saSualebebi: salbuni(malamo), wamali...qarTuli saistorio mwerlobis Xs. ZeglSi `moqcevaiqarTlisai~, romelic IV saukunis viTarebas asaxavs ariscnoba saqarTveloSi samedicino codnis gavrcelebis erT-er-Ti uZvelesi wesisa da qarTuli medicinis socialuri xasia-Tis Sesaxeb. aq moxseniebulia `xelovani mkurnali~, romelicmaSin da Semdegac xelmwifis karis eqims gulisxmobda Suasaukuneebis saqarTveloSi gansakuTrebiT viTardeba qarTulioficialuri medicina, iqmneba samedicino xelnaweri wignebi(usworo karabadini XI s., wigni saaqimoB XIII s., zaza fanaskertelissamkurnalo wigni XV s., iadigar daudi XVI s), samedicinoskolebi da dawesebulebebi.255

qarTuli xalxuri medicinis anTropologiuri SeswavlisaTvismniSvnelovan wyaros warmoadgens zemoaRniSnuli literatura,sadac imdroindeli civilizebuli samyaros samedicinocodnasTan erTad, xalxuri medicinis elementebic aisaxa.unda aRiniSnos agreTve vaxuSti batoniSvilis naSromiisSesaxeb, romelic gansakuTrebiT sainteresoa samedicino geografiisTvalsazrisiT [batoniSvili v., 1990].qarTuli xalxuri medicinis calkeuli problemebiskvlevas saqarTveloSi safuZveli XIX saukunis II naxevarSiCaeyara. am xanidan dRemde sabunebismetyvelo da humanitarulimecnierebis warmomadgenlebma unikaluri masalis daunjebasTanerTad sayuradRebo kvleva Caatares mniSvnelovan SedegebsmiaRwies. es monacemebi sainteresoa samedicino anTropologiisTvalsazrisiT.unda aRiniSnos wera-kiTxvis gamavrcelebeli, qristianobisaRdgenis, gansakuTrebiT ki kavkasiis samedicino sazogadoebebiswevrTa Rvawlis Sesaxeb. maT mkurnalobis xalxurisaSualebebis Segroveba-aRwerasTan erTad yuradReba miaqciesiseT sakiTxebs, romlebic samedicino anTropologiis interesebsaciTvaliswinebs: xalxur codnas daavadebaTa simptomebis,etiologiisa da masTan dakavSirebuli rwmena-warmodgenebisSesaxeb, daavadebisa da garemos dfaavadebis da tradiciuliyofis urTierTmimarTebas...am periodSi moRvawe eqimTa Soris gamoirCeva a. iaSvilis,il. alxaziSvilis, s. virsalaZis, i. pantiuxovis, a. Suriginis,i. Sablovskis, i. minkeviCis, v. eriksonis da sxvaTasaqmianoba.xalxuri medicinisadmi interesi medicinis muSakTa Sorisarc Semdeg gamqrala. XX saukunis 30-ian wlebSi da SemdegacmniSvnelovani naSromebi Seiqmna qarTvel eqimTa da medicinisistorikosTa: l. kotetiSvilis, g. TedoraZis, m. saakiSvilis,a. gelaSvilis, m. Sengelias, i. qurCiSvilis, b. raWveliSvilis,p. firfilaSvilis, r. surmaniZis, r. Sengelias,j. qorCilavas, s. saluqvaZisa da sxvaTa mier. maT Soris gansakuTrebiTunda aRiniSnos Zveli qarTuli samedicino xelnawerebismecnieruli gamocemebis fuZemdebeli lado kotetiSvili,romelic medicinis istoriis problemebTan erTadxalxuri medicinis sakiTxebsac ikvlevda.qarTvel sazogado moRvaweTa, istorikosTa da eTnografTaSoris xalxuri medicinis kvlevis saqmeSi mniSvnelovaniwvlili Seitanes: z. WiWinaZem, eqv. TayaiSvilma, al. xaxa-256

naSvilma, iv. javaxiSvilma, T. saxokiam. ufro mogvianebiT 30-ian wlebSi ki _ s. makalaTiam.SedarebiT farTod gvinda SevexoT iv. javaxiSvilis saxelobisistoriisa da eTnologiis institutSi gaweul muSaobas,sadac safuZveli Caeyara qarTuli xalxuri medicinis eTnologiurkvlevas.1938 wels akad. n. maris saxelobis enis, istoriisa da materialurikulturis institutSi Seqmnil eTnografiul ganyofilebassaTaveSi Caudga g. Citaia. mecnierebis sakvanZo sakiTxebiskvlevasTan erTad, samomavlo, perspeqtiuli muSaobisamocanebi dasaxa da farTo mosamzadebeli muSaoba gaSala.am droidan moyolebuli, 1940-50-ian wlebSi g. Citaias dav. bardaveliZis mier winaswar Sedgenili kiTxvarebis safuZvelzemecnier-eTnografebma da kvalificirebulma korespondentebma,eTnografiis sxvadasxva sakiTxze da maT Sorisxalxur medicinaze mdidari savele masala Sekribes.xalxuri medicinis Seswavlis saqmes gansakuTrebuli amagidasdo istoriis institutSi 1945-1950 wlebSi arsebulma medicinisistoriis ganyofilebam, romelsac m. saakaSvili xelmZRvanelobda.am ganyofilebam, Tbilisis samedicino institutismedicinis istoriis kaTedrasTan erTad, safuZveli Cauyaramedicinis istoriis mravaltomeulis gamocemas...xalxuri medicinis eTnologiuri kvlevis saqmeSi gansakuTrebuliav. berdaveliZis Rvawli, man Seadgina pirvelikiTxvari qarTuli xalxuri medicinis Sesaxeb eTnografiulimasalis mopovebisaTvis da mniSvnelovani gamokvleva dagvitovabavSvTa infeqciur daavadebebTan dakavSirebuli rwmenawarmodgenebisada wes-Cveulebebis Sesaxeb [bardaveliZe v.,1957, 85-93; bardaveliZe v., 1941].aRsaniSnavia institutis anTropologebis (igulisxmebafizikuri anTropologia) saqmianoba m. abduSeliSvilis, Semdegl. biTaZis xelmZRvanelobiT. anTropologebis mier SeswavliliaganaTxari kraniologiuri da osteologiuri masala.gakeTebulia mniSvnelovani daskvnebi.sagangebo yuradRebas imsaxurebs p. firfilaSvilis naSromebi.man paleoanTropologiuri masalis kvlevis garda,saintereso mosazrebebi warmoadgina qviT mkurnalobis, samedicinoiaraR-WurWlis da sxvaTa Seswavlis Sedegad.1960-iani wlebis dasasrulisa da 1970-iani wlebis dasawyisisaTvisxalxuri medicinis eTnografiuli kvlevis xaziTg. Citaias xelmZRvanelobiT ramdenime kadri momzadda, rom-257

lebic dRemde agrZeleben muSaobas tradiciuli medicinis an-Tropologiuri kvlevis xaziT.samedicino anTropologiurma kvlevam, gvaCvena, rom tradiciuliqarTuli samedicino kultura romelic ZiriTadadmedicinis ganviTarebis universalur principebs iTvaliswinebs,imavdroulad gamoirCeva adgilobrivi geografiuli garemos,istoriuli Tu socialur-ekonomikuri pirobebis TaviseburebebiTda sainteresoa rogorc zogadad samedicinokulturis kvlevis, ise qarTuli xalxuri medicinis specifikisdadgenis TvalsazrisiTac.literatura:akernexti: Acherknecht E.H. Problems of Primitive Medicine. Reader in comparativeReligion, An Antropological Approach. New-York, 1958.bardaveliZe: Бардавелидзе В. Древнейшие религиозные верования и обрядовыеграфическое искусство грузинских племен, Тбилиси, 1957.bardaveliZe: bardaveliZe v. qarTvelTa uZvelesi sarwmunoebisistoriidan RvTaeba babar-barbar. Tbilisi, 1941.bardaveliZe: bardaveliZe v. qarTveli xalxis religiuri azrovnebisistoriidan (mravalsulianobis koncefcia) mimomxilveli,I, Tbilisi, 1949.batoniSvili: batoniSvili v. aRwera samefosa saqarTvelosa,qarTlis cxovreba IV, teqsti dadgenili yvela ZiriTadixelnaweris mixedviT s. yauxCiSvilis mier. Tbilisi, 1990.beritaSvili: beritaSvili iv. moZRvreba adamianis bunebis SesaxebsaqarTveloSi (Zveli droidan XIV saukunemde), Tbilisi,1957.brodeli: Бродель Ф. Средиземное море и средиземноморский мир вэпоху Филиппа II, Москва, 2002.bromlei: Бромлей Ю. В. Народная медисина как предмет этнографииСовременные проблемы этнографии.. М., 1981.brodeli: burduli m. Zveli medicina arqeologiuri masalismixedviT. iv. javaxiSvilis axalcixis filiali. Sromebi.axalcixe., 2000.gamyreliZe, ivanovi: Гамкрелиидзе Т., Иванов Вяч., Индоевропейскийязык и индоевропейцы, реконструкция и историко- типологическийанализ праязыка и пракультуры. Тбилиси. 1984.georgika, bizantieli mwerlebis cnobebi saqarTvelos Sesa-258

xeb I, teqstebi qarTuli TargmaniTurT gamosces da ganmartebebidaurTes al. gamyreliZem da simon yauxCiSvilma,Tb., 1961.giuldenStedtis mogzauroba saqarTveloSi, germanuli teqstiqarTuli TargmaniTurT gamosca da gamokvleva daurTog. gelaSvilma t., I, Tbilisi, 1962.daavadeba da garemo, Tbilisi, 1996.lamberti: lamberti arq., samegrelos aRwera. Tbilisi, 1991.libeni: Lieban R. W. The Field of Medical Antropology.- David Endly (Ed.).Cultura, Disiese and Healing. New- York, 1977.latiSevi: Латышев В.В., Известия древних писателей греческих и латинскихо Скифии и Кавказе, Греческие писатели, вып. 2 (запискиимператорского русского археологического общества. ПриложениеСПБ, 1996).mindaZe: mindaZe n. qarTveli xalxis Sexedulebebi adamianisSesaxeb, ivane javaxiSivilis istoriisa da eTnologiisinstitutis Sromebi, VIII, 2008mindaZe: mindaZe n. bioeTikuri kvlevis perspeqtiva tradiciulkulturaSi, samecniero krebuli _ `bioeTika", Tb., 2009.nioraZe: nioraZe g. qvis xanis adamiani sakaJias gamoqvabulSiTb., 1953.orfikuli argonavtika, Zveli berZnulidan Targmna gamokvlevadaurTo naTela melaSvilma. Tbilisi, 1977.rodoseli: rodoseli ap. argonavtika, Tbilisi, 1975.saakaSvili, gelaSvili: saakaSvili m. gelaSvili a. saqarTvelosmedicinis istoria, t. III, Tb., 1956, gv. 63-64, 17.firfilaSvili: firfilaSvili p. narkvevebi Zveli qarTulimedicinis istoriidan. Tb., 1989.qarTlis cxovreba, teqsti dadgenili yvela ZiriTadi xelnawerismixedviT s. yauxCiSvilis mier, t. I, Tb., 1955, gv. 104.Sengelia: Sengelia m. etiudebi qarTuli medicinis istoriidan,Tbilisi, 1963.Sengelia: Sengelia m. qarTuli medicinis istoria, Tbilisi,1970.javaxiSvili: javaxiSvili iv. adamiani Zvel qarTul mwerlobasada cxovrebaSi, kr-Si: qarTuli enisa damwerlobissakiTxebi, Tb., 1953. gv.141.hani: Ган К. Известия древних греческих и римских писателей о Скифии иКавказе, сборник материалов описаний местностей и племен Кавказа,Тф. 1864.holi: Holly F. Mathews Introduction: A Regional Approach and MultidisciplinaryPerspective. Herbal and Medical Medicine, U S A, 1994.259

Anthropological Study of Georgian Traditionalmedical Culture in GeorgiaMindadze NinoMedical anthropology, as independent scientific discipline was formed inthe 70-ies of the past century, though anthropological researches commencedmuch earlier.In result of anthropological researches of Georgian folk medical culturethere was established that views of Georgian people on the essence, substance ofhuman included both, empirical knowledge and certain elements of Georgianmedievil medical manuscripts. Georgian population was quite well aware in theage specific features, what was included into the traditional life style. Traditionalmedical culture of Georgian people, together with the natural sciences andnaturopathic treatment, unified magic-religious theory and treatment practice. Inmany cases, it was based on absolutely correct observations and views onetiology of the diseases, their nature and character, interrelations between thediseases and environment etc. what, in everyday life, could be met as the beliefsand views. Arhcaeological findings, georgian and greek mythology providesinformationon the practice of medicine by the ancient population inhabiting theterritory of georgia. More reliable information about the medicinal herbs isprovided by ancient Greec and Roman authors. Mediavile georgian medicalmanuscripts were popular with the population. In some cases these books wereone sources for traditional medical knowelege of veriouse family clans.Mediavile georgian medical manuscripts include Georgian popular beliefes andconceptions. Prospects of Georgian ethnologists include study of Georgian folkmedical culture in the medical anthropological context; reveal not only medicalthinking and practice of Georgian people but also show the role of the diseases insocial-cultural development process of Georgian nation, as well as impact ofsocial-cultural factors on health status; reveal knowledge of Georgian peopleabout humans etc.260

261Janette DaviesElders and their Families in Crisis: “Ageing and its Discontents”The Social and behavioral implications for people with dementiaI increasingly encounter life stories, narrated by relatives of elders, as wellas written in nursing and medical notes, of a crisis or before admission to hospitalor a nursing home. In my ethnographic study of a nursing home in the UK, theone crisis that far outnumbers other crises of admission is that of a personsuffering from dementia, its associated physical and intellectual declines and itsbewildering confusion. In this paper I consider an important reason for admissioninto a nursing home. When looking at coping strategies of families, there seem tobe limits as to what families can do for a relative with dementia, whileendeavoring to keep them safe and free from harm. The social dimensions of arelative with dementia are harsh and almost impossible to live with. For example,the day night reversal, the wandering into busy or isolated streets, not suitablydressed and often resulting in neighbors, police and caring neighbors returningthem home at all times of the day and night. Another severe example of difficultbehavior is of inappropriate toilet habits such as defecating on the carpetthroughout their home. This adds to the ever-present strain assisting with allactivities for daily living for their partner. However, one of the coping strategiesused by the partner of the ill spouse is that of distancing of the present characterof the ill spouse from that of the present one, especially if aggressive behavior isa feature of the illness. To see the person with dementia as “not the person Imarried” enables relatives especially the spouse to maintain good memories ofbetter times with their spouse. Bearing in mind that partners were often agedfrom 70-90+ a number of reasons for not coping are listed as follows... The sick relative can experience loss of bowel/or bladder control andsubsequently needs washing and bathing It becomes too difficult to lift and move the patient as s/he loses coordination Difficulty living with behaviors such as wandering or dangerous use ofappliances e.g. placing an electric kettle on stove and lighting the gasflame The behavior becomes too aggressive to manage The sick elder no longer recognizes his/her family members The caregiver becomes too ill or too exhausted to carry onMost caregivers list multiple reasons for their decision to give up full timecare. By use of two case histories, this paper highlights the difficult and evenembarrassing circumstances that dementia as an illness places the person in. Thedirect result of these circumstances on the family, main carer and neighbors in thecommunity is also noted in terms of how each crisis can lead to the necessity forresidential care. The behavior associated with dementia, becomes too difficult for

the carer to manage and so potentially harmful for the sufferer, that admission to aninstitution proves to be the only solution for some families.From the above points, one can see what a profound effect the disease has,not only on the person with dementia, but also the carer be it husband/wife. themo daunting aspect of dementia is its manifestation as short term memory lossdue to progressive decline an failure of cerebral functions.Many people with dementia are found to have symptoms of depression,visual and auditory hallucinations, and delusions of theft or persecution. Otherchanges in a person’s behavior include wandering, altered eating habits such asbinge eating and lack of sexual inhibition. At present it is irreversible medicallyand those people with the condition need increasing care as the disease progresses.Forgetting recent events, anxiety in making decisions and failure to recognizeobjects are all difficult manifestations of the decline in cerebral function.As these problems increase great loses of practical skills occur such as inabilityto tell the time, wash and dress or maintain personal hygiene or cook a meal. Thisprogressive deterioration contributes to the crisis. Currently 700,000 – or oneperson in every 88 in the UK has dementia, incurring a yearly cost of £ 17bn,(Help and the Aged 2008). Out of 70 residents in the home, 45 people sufferedfrom dementia during the study. What these numbers represent is a highincidence of residents with behavioral problems such as already described...Often the family caring for them at home had insufficient understanding aboutwhat was happening to their relative, with occasional or scant professionalsupport and a felt stigma associated with dementia. The care assistants in thenursing home each had their own way of working with people with dementia,some more experienced and sympathetic than others. What was most evident wasa “common sense” approach by staff.Observations of the demanding situations and crises presented at home,along with behavioral issues encountered in the nursing home, form part of thisethnographic data. Care in the community, as well as use of the few day carecenters available, have been tried and severely tested, as well as the continualround the clock care relatives. however, when these situations present themselves,they usually do so as a crisis to the social and medical services, whichthen in turn prioritise according to need. There is a growing awareness amongstthe staff at the Home studied that these particular crises in dementia result in a“heavier” workload. During fieldwork I endeavored to look at what this meantfor the staff, as well as what it meant in lived terms for relatives or neighborsinvolved in caring, and show from various accounts and incidents how quality oflife was in question. This concerns the quality of working life for employee aswell as quality of life and resident and the family.DOREEN, a 74 year old woman, was admitted from her own home innearby town. Her next of kin is a male second cousin and he and his wife live inthe same town. She was born and brought up in tehOxfordshire town thatremained her home until nursing home admission. She ha lived with her mother,262

in this same house, and had been born there, so was at complete ease andfamiliarity with her surroundings. An only child, her first husband was killed in aflying accident at the end of World War II. During the war she worked in thelocal supplies depot as supervisor then all her life a as a bookmaker. Her fatherdied aged 72 while her mother lived to age 91, when Doreen was already in hersixties. She had been a fit woman but was diagnosed with alzheimer’s diseaseaged 69 years. Until then Doreen played the piano, read novels and enjoyeddancing.She was referred by her GP to the psycho geriatric services and noted to beextremely fit physically but noted extremely poor results for cognitive functiontests. It was established that the only word she could say with certainty was hername. The severity of her long term memory loss and short term memory losswas such that her ability to keep her house clean, as well as care for her ownneeds had deteriorated greatly. As with so many of the residents suffering fromdementia she presented as a crisis. te crisis in fact was an extreme emergency inthat she had found her elderly gentleman friend on the kitchen floor, dying.When Doreen found him she was not aware of the reality of the situation and itwas only when her cousin called that the emergency became apparent.Afterwards it was ascertained that her friend inadvertently, or possibly knowingly,managed to conceal the severity of her disability through constant promptsand supervision while there. It became immediately obvious that Doreen wasincapable of caring for herself. Two weeks prior to this emergency she haddriven her car with no apparent comprehension of the severity of her isability, butequally no trouble on the road. However this kind of situation, where the full fullreality only becomes noticeable during a crisis such as death of spouse, becameevident again in the accounts of the residents with dementia, where mostly familyand friends, as well as this unusual case of the lodger, were able to hide theseverity of the condition from others.The psycho geriatrician visiting her at home after the emergency and foundDoreen to be disheveled, grubby and bemused with no grasp of who the doctorwas nor why she had let her into her home)which was alarming for her personalsafety). The house was described as having an overwhelming smell of cat faeceswith cat food and cat faeces scattered around. The refrigerator smelt of sour milkand other stale food items which had clearly been there for many weeks. Thegeriatrician arranged urgent referral to the Social Services and the battery in hercar was immediately dismantled. As she had driven the car only recently, theDriving Licence Authority was duly informed by her nephew of the immediateban on her driving her car.The subsequent family involvement of her cousin and his wife was suchthat they would help her wash and dress at weekends and provide midday meals.the cousin went daily to get her tea at 5pm, while one or both got her ready forbed at 7-8pm. they were mostly concerned about her isolation and poor quality oflife as she spent much time alone. She repeatedly talked to herself, not usually263

understandable to others, but showed an enjoyment of company. She was alsonoticeably frightened by loud noises. The cousin was also troubled about faecesin the bathroom, possible smearing and deteriorating toilet habits. Due to allthese factors respite care was arranged and Doreen was admitted to respiteresidential care for some weeks. The desired plan for her future safety, which allparties were in agreement with, (presumably except Doreen herself), was foradmission to long-term residential care as soon as possible. However this tookover three years to achieve. The reality of those three years, both for her, therelatives and carers was one of constant worry and concern, especially at nightwhen there was no active support system for her alone at home. Family were notable to take holydays easily during these three years. Meanwhile her family wereinvited to meetings of a carers’ group, and home care assistance started whichconsisted of washing and dressing her every day and providing lunch twice aweek. A “sitting” service, whereby a carer would visit twice a week and stay oneand a half hours, was provided. One of the problems noted when day care centreprovision was arranged was her tendency to wander far from the observance ofstaff unable to give one-to-one attention.A first meeting with Doreen in the nursing home showed her ability to hideher limitations as I observed her talking with animation to her reflection in themirror. The noted in her care plan (written by one of the nurses) say that sherepeats key phrases but is never known to express herself with lucidity. Her notesalso state that she “ wanders”. This “wandering” is often presented as a problemwhen looking after people with dementia. She repeated many routines such aswhen in the garden she tended to walk around the flower bed again and again butthis did not seem aimless as there were no signs of despair and Doreen alwaysappeared content. Her nursing care notes mention that although she hasexpressive dysphasia she can be understood if the listener picks up certain wordsused. Doreen was noted to mix well with other residents greeted all staff with asmile and tried to communicate with words not understood by others. Indiscussion with her cousin he emphasized the crisis leading up to her admission,and how he and his family were relieved and delighted to have Doreen admittedto the nursing home.Life for Doreen in the residential home involved the staff attending to her,washing and dressing her, as she was unable to do this herself. Doreen hadbeautiful clothes and always looked well presented. Her walk was of someonewho took pride in how she looked. Although she did not appear to speakcoherently she seemed to respond well to the care assistant washing and dressingher. the most noticeable lack of co-ordination was the loss of ability to putclothes or shoes on. The hairdresser employed in the nursing home kept Doreen’shair washed, cut and set, with th overall impression of someone well turned out.264

moxucebi da krizisSi myofi maTi ojaxebi:“xanSiSesuloba da ukmayofiloba~janet devisistatia, romelic ilias universitetis Teoriul seminarzeiqna wakiTxuli da warmodgenili 2008 wlis 2 oqtombers exebasazogadoebis naklebad dacul alcheimeris saxeliT cnobilidaavadebiT SepyrobilTa (ZiriTadad xanSiSesulTa) fenis statuss,romlebic problemas uqmnian ojaxs, axloblebs, momvlelebs.avtori ganixilavs mizezebs Tu ratom aris ase mniSvnelovaniamgvari avadmyofebis saavadmyofoebsa da moxucebulTaTavSesafrebSi ganTavseba da sxv.265

xelovnebis anTropologiaART ANTHROPOLOGYqarTuli xalxuri dResaswauli da tradiciulisufra firosmanis SemoqmedebaSinaTia jayeliadreqristianul periodSi sakraluri dResaswauli adamianismeore cxovrebas warmoadgenda, mas hqonda Tavisi wesebi,sazRvrebi, romelic mkacrad iyo daculi da gamoiyofodayofiTi cxovrebisagan, Tumca Sua saukuneebidan moyolebuliigi TandaTan Seerwya yofiT cxovrebas da faqtiurad misi Semadgenelinawili gaxda, romelic samwuxarod dRiTidReikargeba da mxolod gadmocemebis saxiTRa rCeba.qarTuli dResaswaulisa da sufris aRweras eTmofa firosmanisSemoqmedebis didi nawili. igi aRwers imas, rasac xedavs,misTvis qarTvelis tradiciuloba mniSvnelovania.firosmanis namuSevrebis xilvisas yvelaferi Cvens Tvalwincocxldeba da dauviwyar elfers iRebs. aseTive dauviwyariaaRdgomis dResaswaulis aRwera, romelsac firosmanis SemoqmedebaSisakmaod didi adgili eTmoba. aRdgomas aucilebeliiyo kvercxebis wiTlad SeRebva, paskis gamocxoba, cxvrisdakvla an mindorze gaSveba. es yvelaferi kargad Cans mis ornamuSevarSi, romelTagan pirvelze gamosaxulia wyaroswyals dawafebuli cxvari, mis marjvniv _ TeTri sufra, romelzecmoTavsebulia jvriani paska da wiTlad SeRebilikvercxebi, suraTis ukana planze ki centrSi qristes jvarcmaagamosaxuli, mis marcxniv da marjvniv angelozTa gaSlilfrTebianiTavebi, maT ukan ki oqrosferi mercxlebi. miuxedavadfrinvelTa dinamikurad gamosaxvisa, kompozicia sakmaodmSvidia.kompozicia Sesrulebulia Sav muSambaze da aseTi mravalsiuJetianikompoziciis Sesaqmnelad mxolod ramodenimeferia gamoyenebuli, konkretulad ki TeTri, wiTeli, oqrosferida nacrisferi, rac avtoriseuli ideis gadmosacemadsruliad sakmarisia.rogorc aRvniSne, wina planze gamosaxulia wyaroswyals dawafebuli TeTri kravi, romelsac yelze wiTelilenti aqvs Sebmuli, rac vfiqrob, unda warmoadgendes miniSnebasam kravis msxverplad Sewirvaze, TviT am kravis gamo-266

saxviT ki miniSnebaunda iyos qristeze,radgan rogorcviciT, adreqristianulmonumenturxelovnebaSiqriste kravissaxiT gamoisaxeboda,rogorc xalxiscodvaTa gamosasyidadganwirulimsxverpli dafirosmanis namuSevaricswored amisgamoZaxils undawarmoadgendes.kravi wina fexebiT wyalSi dgas da wyals svams, rac savaraudodqristes naTlisRebis simbolur gamosaxvas unda warmoadgendes.mis marcxniv, meore planze, marTkuTxedis formismagidaze gadafarebulia TeTri sufra, romelzec wiTelijvardarWobili paska da wiTeli kvercxebi awyvia, rac aRdgomisatributebs warmoadgens. mesame planis centrSi gamosaxuliaqristes jvarcma, mis aqeT-iqeT ki frTebgaSlili angelozisTavebia mocemuli, romelTa Tavzec sami gadamfrenioqrosferi mercxalia gamosaxuli, kompoziciis meoTxe xediki pirobiTi fonia, romelic Sav muSambaze gamosaxul bundovanxeebs warmoadgens. pirobiTadaa gamosaxuli mindoric,romelsac suraTis sakmao didi adgili aqvs daTmobili damiRebulia Savi muSambis datovebiT, alag-alag muqi mwvanemonasmebisa da oqrosferi wertilebis saxiT.rogorc vnaxeT, kompozicia mravalxediani da mravalsiu-Jetiania. mTel suraTSi saocari simSvide da dumili mefobs.yvela xedi da siuJeti urTierTSeTanxmebuli da Tanmimdevrulia.igi qristes cxovrebis sam mniSvnelovan nawils warmoadgens.esenia: naTlisReba, jvarcma da aRdgoma, rasac firosmanimonumenturi mxatvrobis msgavsad, pirobiTad, lakonuradda konkretulad gadmoscems, yovelgvari zedmeti detalebisada wvrilmanebis damuSavebis gareSe. am kompoziciaSi gamosaxuliyvela sagani Tu figura mniSnelovani da pirvelxarisxovania.267

meore naxatze warmodgeniliaaRdgomis dResaswaulismniSvnelovaniatributebi, rasac warmoadgenssamsxverplo kravi,wiTeli kvercxi da paska.Ffonad aqac Savi muSambaadatovili, romelzec oqrosferisaRebaviT mcenareebiagamosaxuli. kompoziciiscentrSi mocemuliaprofilSi warmodgenilikravis didi, monumenturifigura, romelsacsakmaod mSvidi saxe aqvs, Tvalebi ki _ metyveli. mis winmiwaze dadebulia paska, kravis fexebs Sua ki wiTeli kvercxebi.firosmanis es kompozicia piradad me magonebs qristianulTemaze Seqmnil Sua saukuneebis monumentur mozaikurkompoziciebs, romlebic oqros fonze gamoisaxebodnen, raTaufro ganzogadebuli da miwierebas daSorebuli yofiliyo.vfiqrob, aqac igive mdgomareobaa, oqrosa da muSambis fonzegamosaxulia saaRdgome kravis uzarmazari figura, romelsaces foni miwierebasTan erTad raRac RvTiur iers matebs, rasacmisi mSvidi saxe, Tvalebi da TeTri feris didi doziTgamoyenebac exmianeba. iqedan gamomdinare, rom es kompoziciaaRdgomis dResaswaulTan aris dakavSirebuli, masSi gamoyenebuliwiTeli da TeTri feri qristes RvTaebriv da miwiercxovrebaze miniSnebas unda warmoadgendes.aRdgoma dRes diliT diasaxlisi tablaze daawyobda wi-Tel kvercxebs, dadebda jvardarWobil paskas da micvalebulissaflavze datovebda. es rituali araCveulebrivad aqvsfirosmans aRwerili. misi suraTi saxelwodebiT “saaRdgomekvercxebi” gaWedilia TeTri samosiT Semosili qalis figuriT,romelsac xelSi tabla uWiravs wiTeli kvercxebiTa dapaskiT. foni aqac muSambis datovebiTaa miRebuli, mxolodalag-alag aris muqi mwvane feri dadebuli da naxatis qvedanawilSi ramodenime yvavilia gamosaxuli. qalis figura muxlamdeagamosaxuli, misi saxe da samosi imdenad TeTria, romSTabeWdileba iqmneba, TiTqos Sinaganad aris gabrwyinebuli,rasac kidev ufro aZlierebs is faqti, rom suraTSi realuriganaTebis wyaro ar Cans. misi saxis nakvTebi monumenturiferwerisaTvis Cveuli formebiTaa damuSavebuli, mas mrgvali,268

TeTri saxe, dabaliSubli, momcro piri,Txeli, grZeli cxviri,morkaluli warbebi darac mTavaria nuSisebrifarTod gaxeliliTvalebi aqvs, romlebicmarcxena mxares imzirebian.naTeliTaagabrwyinebuli tabla,romelic mas xelT upyria.mxatvari mis siwmindesusvams xazsTeTri samosiT, romli-Tac igi aris Seburvilida masSi SeiZlebaRvTismSobeli amovicnoT,romelmac sakuTari Svilis msxverplad SewirviT ixsnacodvili xalxi. msxverpli qristes miniSnebas ki misi tablaunda warmoadgendes.Semdeg namuSevarSi warmodgenilia aRdgomis sufra, romelicfirosmanisaTvis Cveuli monumenturobiT aris dawerlida saidumlo serobasac ki mogvagonebs. sufra mindorzeagaSlili. masze mxolod am dResaswaulisaTvis mniSvnelovanida damaxasiaTebeli sakvebia warmodgenili. suraTis qvedacentrSi, e.i. sufris centrSi, gamosaxulia jvris gamosaxulebianipaska da boTliT Rvino, odnav win, mis aqeT-iqiT _wiTeli kvercxebi, rac qmnis samkuTxeds. paskis aqeT-iqiT,sufris napirebSi awyvia Rvinis surebi. sufras amSvenebs asevepuri, Tevzi, boloki, dedali da a.S. sufris marjvena mxares269

xuTi mjdomi Sav Coxa-axaluxSi gamowyobili mamakacia gamosaxuli,romelTac xelSi yanwebi uWiravT. am mamakacTa zomasuraTis centrisaken mcirdeba. marcxena nawilSi gamosaxulipirveli mamakaci zis da xelSi yanwi uWiravs, romelsac oTxifexze mdgomi mamakaci moyveba, romelTagan pirveli ori er-Timeoreze xelixelgadaxveulia warmodgenili, mesames doliuWiravs, e.i. musikosia, meoTxe mamakacsa da mis momdevno qalsxelSi sufraze dasadebi sakvebi uWiravT, albaT maspinZlebiarian. marcxena mxares gamosaxul personaJTa zomac centriskenmcirdeba, rac aseve samkuTxeds qmnis. rogorc vnaxeT,kompozicia samkuTxedis principzea agebuli da ori samkuTxediigeba. pirveli aris SedarebiT mcire zomis da miRebuliasaaRdgomo kvercxebiTa da paskiT, meore ki didi zomisaa daSeqmnilia sufriTa da mis garSemo msxdomi mamakacebiT, romliscentrsac warmoadgens WaRara Tma-wveriani mamakacis sakmaodmcire zomis figura, romelsac TeTri winsafari aqvsSemokruli, xelebSi ki Rvinis sura da Wiqa ukavia. albaTisic maspinZelia.suraTis ukana xedi warmoadgens peizaJs triali mindori-Ta da naTeli ciT. xeebi mxolod ukana siRrmeSia gamosaxuli.rogorc vnaxeT, tilo monumenturia, rac Tundac mxolodimaSi gamoixateba, rom moqeifeni sufris mxolod erTmxares sxedan, mayureblisken saxiT. am suraTSi avtori warmoaCensqarTul tradiciul sufras Tavisi sadRegrZeloebiT,musikiT, sufris gaSlis wesiTa da moqeifeTa simSvidiT, miuxedavadimisa, rom Tiqmis yvela personaJs xeli aqvs aweulisadRegrZelos saTqmelad, suraTis erTiani ganwyoba mSvidida wonasworia.zemoT ganxiluli namuSevrebiT sruliad SegviZlia warmovidginoTaRdgomis dResaswauli Tavisi ritualiTa da TanmdevielementebiT, es dResaswauli Tavisi wyobiT sakraluria,wmindaa, Caketilia drosa da sivrceSi. igi ganzogadebulia,gamoyofilia yofiTi, yoveldRiuri cxovrebisagan, racmxatvarma araCveulebrivad gadmogvca mxolod dResaswaulisaTvisdamaxasiaTebeli wes-Cveulebis CvenebiT.270

firosmanis mier mraval namuSevarSi warmodgenilia qar-Tuli tradiciuli sufra, romelic dResaswaulis msgavsadsakraluria, radgan am kompoziciebSi yofiT detalebs verSevxvdebiT, faqtiurad naCvenebia qarTuli sufris wyoba. yvelanamuSevari erTi principiTaa agebuli: moqeifeni magidismxolod erT mxares sxedan, mayureblisken saxiT.firosmanis namuSevrebis mixedviT SegviZlia aRvadginoTqarTuli sufra, romlis mniSvnelovan detals warmoadgenspuri, Rvino, Semwvari Tu moxarSuli dedali, mwvadi, Rvinis271

WurWeli, rogoricaa tikWora, sura, yanwi da a.S. qarTulisufris yvelaze mniSvnelovani nawils sadRegrZelo da misiTanamdevi simRera-musika Seadgens da rac yvelaze mTavaria,qarTuli lxini uSualod aris dakavSirebuli bunebasTan. firosmanisnamuSevrebs rom gadavxedoT, sadac qarTuli qeifiaaRwerili, fonad yvelgan peizaJia warmodgenili. yvela sufrazesimSvide sufevs, moqeifeni erTimeores yuradRebiT usmenenda elodebian TavianT rigs sadRegrZelos saTqmelad. TiTqmisyvela namuSevarSi kargad Cans, rom sadRegrZelos mTqmelifexze unda adges da ise dailocos.firosmani Tavis erT-erT namuSevarSi qarTuli sufrissxvadasxva saxeobebsac ki gvaZlevs, Tumca am naxatSi sakraluriqarTuli qeifi gaerTianebulia yofiT cxovrebasTan damis nawils warmoadgens. aqedan gamomdinare, firosmanis namu-SevrebiT SegviZlia Tvali mivadevnoT qarTuli dResaswaulisaTu tradiciuli sufris ganviTarebas, radgan sakraluridResaswauli droTaganmavlobaSi daitvirTa yofiTi elementebiTda yoveldRiuri cxovrebis Semadgenel nawilad iqca.firosmani Tavis namuSevarSic swored amas gviCvenebs. aq naCvenebiaqalaquri tivze qeifi, duqanSi, dasavleTisaTvis damaxasiaTebelfacxaSi da zogadad saqarTvelosTvis damaxasia-Tebeli Ria cis qveS qeifi. sufris atributebi aqac igivea.Tumca qeifis paralelurad vxedavT xeebze dabmul daTvs,272

Txas, quCaze mimaval adamianebs, mxatvars, romelic suraTsxatavs (aq albaT Tavad firosmani unda vigulisxmod), xidzemimaval virs, romelsac patara biWi misdevs.gansxvavebuli mdgomareobaa firosmanis namuSevarSi saxelwodebiT“dReoba cxeniswyalze”. miuxedavad imisa, rom aqmxatvari gvaZlevs rogorc yofiTi, ise yoveldRiuri cxovrebiselementebs, isini calk-calke ganixilebian da ara erTad.sakraluri gamoyofili da dapirispirebulic kia yofiTTan.sakraluri dResaswauli warmodgenilia centrSi, romelicsuraTis marjvena qveda kuTxidan marcxena zeda kuTxisakenmiemarTeba diagonalurad, romlis damagvirgvinebel nawilsqristianuli eklesia warmoadgens. tradiciul qarTul samos-Si gamowyobili adamianebi mwkrivSi arian Camdgari da iqmnebaSTabeWdileba, TiTqos eklesiisaken miemarTebian, Tumca maTixedva suraTis marcxena qveda kuTxisakenaa mimarTuli, sadacgamosaxulia Tevzaoba.davubrundeT isev adreqristianuli xelovnebis simbolurgamosaxulebebs, sadac qriste Zalian xSirad TevzissimboloTi gamoisaxeboda, xolo Tevzis wyalSi gamosaxvanaTlisRebaze mianiSnebda. aqedan gamomdinare, firosmani TevziswyalSi gamosaxviT SeiZleba migvaniSnebs didebul qristianuldResaswaulze, qristes naTlisRebaze da albaT, amitomacaris eklesiisaken mimavali xalxis xedva Tevzaobiskompoziciisaken mimarTuli. misi namuSevari ki sworedac romqristes naTlisRebis dResaswauls unda aRwerdes. am didebulidResaswaulis sapirispirod mxatvari suraTis marjvena273

zeda kuTxeSi warmoaCens am xalxis yoveldRiur, yofiT cxovrebas,rogoricaa saqonlis gadarekva, wylis zidva, xvna-Tesva,nadiroba da a.S.suraTs kargad Tu davakvirdebiT mivxvdebiT, rom yofiTida sakraluri gamoyofilia erTimeorisagan da sakraluri TavisfarglebSia moqceuli. misi sazRvrebi mocemulia xeebismwkriviT, romelic marjvnidan da marcxnidan uvlis ritualismonawile adamianebs. aqve kargad aris warmodgenili sakraluridResaswaulis erT-erTi mTavari funqcia, romlis mizaniaxalxis gaerTianeba.xalxis erTianobaa warmodgenili firosmanis Semdeg namuSevarSi,romelzec aseve sakraluri dResaswaulia warmodgenili.aq Tavmoyrilia mTeli eri da cekva-simReraSi atarebendros. aqac mTeli eri tradiciul qarTul samosSi arisgamowyobili, yvelaferi tradiciulia _ musikaluri instrumenti,cekva, arqiteqtura da TviT rwmenac ki. miuxedavad imisa,rom eklesiis sakmaod mcire nawili Cans da isic ukanaplanzea gamosaxuli, mayurebels pirvel rigSi mainc is xvdebaTvalSi.zemoT aRwerili namuSevrebiT Sevecade damenaxebina firosmanisxalxuroba, Tumca mxolod am namuSevrebiT rodiamoiwureba. misi Semoqmedeba mTlianadaa xalxurobiT, sakralurobiTada tradiciebiT gajerebuli. am namuSevrebis xilvisasCvens Tvalwin cocxldeba is dReobebi da misi Semadgenelielementebi, rac maTSia aRwerili. Tanmimdevrulad romdalagdes es namuSevrebi Tvalwin saqarTvelos ruka warmogvidgebamTeli Tavisi RirsebebiT.274

gamoyenebuli literaturaabakelia, alaverdaSvili, RambaSiZe: n. abakelia, q. alaverdaSvili,n. RambaSiZe, qarTul xalxur dReobaTa kalendari,Tbilisi, 1991w.zdaneviCi: Кирилл Зданевич, Нико Пиросманашвили, Тб. 1965.xoStaria: Георгий Хоштария, Своеобразие построения картин Пиросманашвили,Тбилиси.kuznecovi: Э. Кузнецов, Пиросманашвили, М. 1975.kuznecovi: Э. Кузнецов, Пиросманашвили и художественная культураXX века, Тб. 1977.gordeziani: beno gordeziani, niko firosmanaSvili, qarTulimwerloba, 1926, #4-5.qiqoZe: geronti qiqoZe, qarTuli mxatvroba da firosmanaSvili,mnaTobi, 1925, #3-2.Georgian folk Festivals and traditional supra (feast)in Pirosmani`s artNatia JaqeliNiko PirosmanaSivili (or Pirosmani) is absolutely unique, extraordinaryGeorgian painter, whose creative work is inspired by Georgian spirit, folklore,festivals, and traditions. The author examines his creative work from thatperspective and tries to explain his folk roots and traditionalism. For that purposethe author chooses some of his paintings and describing them concludes on thecharacteristic features of Georgian traditions and shows how Pirosmani expressinghimself depicts them. Analyzing his paintings the author concludes that Pirosmaniwas deeply religious person. In Pirosmani’s creative works one of the recurringthemes is traditional Georgian religious festival and feast (the so called supra).Christian traditions seem to be very important for him. Christian churches or someChristian symbols, ritual practices reconstructed by the analyses are thought to berooted in early Christian customs.275

narcisis metamorfoza276mariami kvaracxeliasalvador dalis siurealisturi Sedevri “natrcisusismetamorfoza” efuZneba ovidiusis mier gadmocemul berZnulmiTsNnarcissusze, romlis mixedviT, mSvenieri Wabuki uaryofsqalis siyvaruls, inusxeba sakuTari anarekliT damasTan Serwymas cdilobs, ris Sedegadac iRupeba M(met. III).naxatSi yuradRebas iqcevs ori centraluri figura,romlebic erTi SexedviT or sxvadasxva gamosaxulebad aRiqmeba,Tumca sakmarisia kargad davakvirdeT da SevniSnavT, romisini erTi da imave obieqts asaxaven.Tu kidev ufro kargad davakvirdebiT aRmovaCenT, romTviTon naxati ganicdis metamorfozas _ erTi figura gardaisaxebameoreSi. figura romelic gaqvavebuli nacrisferixelisagan Sedgeba, moulodnelad narcisusis formaSigardaisaxeba.aRniSnuli ori figura SeiZleba iTqvas, rom erTi meorishorizontalur anarekls warmoadgens, igive sarkes, anSeiZleba gavigoT, rogorc narcisusis meore “me”, romelicmis anareklTan erTad aseve Semoqmed xels ganasaxierebs.Aarunda gamogvrCes mxedvelobidan narcisis vertikaluri anareklic,romelic horizantalurTan erTad jvrisebur anareklsqmnis.yuradReba unda mieqces narcisusis im figuras, romelicamave dros gaqvaebuli xelis gamosaxulebad iqceva. aRsaniSnaviamisi struqturuli agebuleba, risgan Sedgeba is.narcisis Tavi gardaisaxeba kvercxSi, romelic dalis naxatebSiase xSirad gvxvdeba da, Tavis mxriv, warmoadgens axalisicocxlis simbolos. Tu am mimarTulebiT vimsjelebT,xeli SeiZleba CavTvaloT WeSmarit Semoqmedad, radgan igiqmnis axal sicocxles. magram ras unda niSnavdes xelzeacocebuli WianWvelebi? dalisTan (da realur cxovrebaSic)WianWvela sikvdilis simboloa radgan mTel samyaroSi, Wiebida WianWvelebi sikvdilTan da gvamTan asocirdebian.Aaqedan gamomdinare, SeiZleba davaskvnaT, rom dalimSemoqmedi (xeli) mokla, magram mokla imisaTvis, rom dabadebuliyoaxali sicocxle.Ggatexili kvercxidan amosuliyvavili axlad dabadebuli narcisia. meores mxriv, Tu yuradrebasmivaqcevT rom is amodis TviTon narcisisusis Tavidan,misi ganxilva da Sedareba, aseve, SesaZlebelia axalad

dabadebul azrTan, ideasTan, romelic Tavad dalisTan undaiyos gaigivebuli. igi xom axali ideebis dambadebelia?!meores mxriv, yvavils Sevadarebdi abreSumis Wias, romelicsarkofags iqsovs garSemo da sikvdilis gavliT ganicdismetamorfozas, igi peplad gardaiqmneba da gamofrindeba na-WuWidan. aRniSnuli SesaZloa CaiTvalos azris ganTavisuflebismetaforad.narcisis metamorfoza tiloze gvxvdeba yvelgan sxvadasxvaformiT. erT saxe simbolos momdevnoze gadayavxar.dali araCveulebrivad warmoaCens sikvdil-sicocxliserTianobas, maT iseTsave ganuyoflobas, rogorc dRe daRamea, kaci da qalia, iani da inia da sxv.naxatSi, aseve, ikiTxeba erosisa da Tanatosis koncefciamaTi uerTierT kavSiri da Seuqcevadoba. imisTvis rom axalidaibados, Zveli unda unda mokvdes.dalis es tilo SeiZleba aseve gaiSifros daukmayofileblobiTda surviliT miwvdes miuwvdomels. xeli iseveasaxavs sikvdilis Seuqcevadobas da yofiT realobas, rogorcseqsualur instinqts, radgan mas SeuZlia gamoiRos nayofi,masSi xom orive sawyisia dedruli da mamruli. amavdroulad,igi aris Semoqmedi, yvelafris sawyisi, sicocxlisdasabami, romelic qmnis Tavis msgavs ‘’anarekls’’ _ narciss.Ddali,rogorc TviTon narcisi Semoqmedi srul identifikaciasaxdens sakuTar namuSevarTan da mis figurebTan.sxvagvarad tilosTvis dalis avtobiografia SegveZlo dagverqva.naxatSi kargad Cans dalis probleba “dioskurebiskompleqsi’’ _ tyupebis kompleqsi. Ddalis cxovrebis bolomdeTan sdevda sakuTari ufrosi gardacvlili Zmis saxe, romlissaxelsac is atarebda da romelic miningitisagan gardaicvala.es Zieba, ganmeorebadi Temis saxiT, aisaxa mis SemoqmedebaSi,rimelSic igi eZebs Tavis meore “me”-s.naxatSi asaxulia narcisis survili Seerwyas sakuTar‘’me’’-s, romelic sarkisebur anareklSia idealizebuli. essurvilia Seerwyas im meore naxevars, romelic srulyofsmas, es survili Tavis mxriv ukavSirdeba yofierebis uzenaesaspeqts-siyvaruls _ eross. erosi ki TanatosTan erTad qmnisaxal sicocxles. ‘’me miyvars ufro meti, vidre Sen xar, israc mavsebs me’’.ori ZiriTadi figuris gamo, romlebic Cvens yuradgebasyvelaze metad ipyrobs CrdilSi eqceva kidev erTi Zalian sainteresoarafrontaluri figura. Ees aris pedestalze Semdgariandroginis gamosaxuleba, romelic Saxmatur iatakis277

fonze dgas, Sav-TeTri iataki Tavis mxriv androginis (orisawyisis erTianobis) _ inis da ianis, erosis da Tanatosis,anima da animusis saxe-simboloa, romelTanac dakavSirebuliasrulyofis, srulqmnilebis idea anu igive siyvaruli da Semoqmedi.am mxatvruli nawarmoebis mTavari motivi swored dualizmiunda iyos, ori polusis Serwyma, gardaqmna da kaTarzisi.Ddualizmissaxeebad SeiZleba ganvixiloT Semdegi elementebi:erosi da Tanatosi, sikvdili da sicocxle, anima daanimusi, Savi da TeTri, ini da iani da sxv.Cemi azriT, iyo Semoqmedi niSnavs SegeZlos gardaqmna-metamorfoza.Yyovelinaxatis Seqmnisas Semoqmedi kvdeba da axlidanibadeba, igi ganicdis empaTias da naxatTan erTad ibadebaTavidan, es ki kaTarzisia sublimaciis meSveobiT.278

The Metamorphosis of Narcissus279Mariam KvaratskheliaThe article aims to analyze Salvador Dali’s one of the masterpieces - themetamorphosis of Narcissus based on one of the versions of the Greek mythretold by Ovid, according to which the beautiful youth denies woman’s love andenamored of his own reflection tries to couple with it and dies as a result(Met.III).At first glance, the two central figures attract our attention, who areconceived as two separate images, though after a thorough observation one candiscern in them one and the same subject. If we examine the drawing thoroughlywe’ll find out, that the drawing itself undergoes the endless process of metamorphosisduring which one image transforms into another. The figure formedby the ossified grey hand unexpectedly transmutes into the image of Narcissusitself. The mentioned two images comprise the horizontal reflection of eachother, the mirror-like reflection that can be conceived as the self of Narcissus,which might be conceived as the Creative Hand. One can notice as well that thevertical reflection of Narcissus together with its horizontal one comprises thecross-like reflection.Special attention must be paid to the image of Narcissus, which is transformedinto the image of the depicted ossified hand. The construction of thehand is also remarkable. The head of Narcissus is transformed into the egg; theletter often met in Dali’s creative work, on its turn, represents the symbol of anew life. In that trend of thoughts the arm can be perceived as the true Creatorhimself, for that is He, who creates a new life. But what might ants crawling onthe hand denote? Ants in real life as well as in Dali’s works are associated withdeath and dead body.On the basis of the above said, we can conclude that Dali killed the Creator(the Hand). But Dali killed Him in order to give Him a new life from the crackedegg. The flower sprouted on the egg is newly born Narcissus. On the secondhand, if we reflect over it, we can notice that Narcissus grows from the head, likea thought, like an idea, which might be identified with Dali himself. Is he nothimself giving birth to new ideas?! On the other hand, if we compare the flowerwith another symbol of metamorphosis - silk worm spinning around itself acoffin (which undergoes death, rises from the dead in the form of butterfly andflies away from it i.e. metamorphoses) it might be related to the metaphor ofliberating, freeing the idea form the head.The texture of the drawing is in constant transformation. Narcissus isconstantly depicted everywhere on the canvas in different ways in differentimages. One image transforms into another in a sequence of symbols.Dali extraordinarily expresses the unity of death and life, they are as indivisibleas day and night, men and women, good and evil, etc. One can also detect

the concepts of Eros and Thanatos (i.e. death), their interrelationship, unity andirreversibility in this drawing. For the purpose of the birth of new life the old onemust die.This drawing of Dali might also be interpreted as dissatisfaction and thedesire to access inaccessible. The hand also reflects irreversibility of death andthe reality of everydayness which reveal the sexual instinct that can bear fruit(fructify); do not they imply both principles: male and female? At the same timeit is the Creator, the principle of everything alive which creates the like, the“reflection” of Narcissus. Salvador Dali himself represents the Narcissus Creator,who in its entirety identifies himself with his creative work and his figures.We successfully could call the canvas the autobiography of the artist. Onecan clearly discern Dali’s problem “the complex of Dioscuri” – the problem oftwins. Till the end of his life Dali had been suffering and haunted by the image ofhis elder dead brother whose name he bore and who died of meningitis and whomhe identified with his twin part which was reflected in his creative work as arecurring theme. He had been searching for him all his life.The above mentioned drawing expresses Narcissus strive to couple with hisown self idealized in the mirror – like reflection. He wishes to get united with hissecond half to become perfect. This drive, on the other hand, is associated with thesupreme aspects of reality) – with love, consequently with – Eros.Eros together with Thanatos creates a new life.“ I love more then you are,something that fills me up”.While analyzing the two frontal figures one background figure had beenovershadowed. This is the figure of androgen on the pedestal, which stands onthe checkered floor. White and black checkered floor on its turn is the symbol ofthe unity of the two principles Inn and Yan, Eros and Thanatos, Anima andAnimus, which produce perfectness, the idea of perfectness or love and theCreator.To my mind, the leitmotif of this creative work might be the idea ofdualism, the integration of the two poles, its metamorphosis and catharsis. Thefollowing elements: Eros and Thanatos, death and life, anima and animus, Innand Yan can be regarded as dual images.In my viewpoint, to be the Creator means to be able to transmute. Creatingnew drawings the Creator dies and comes to life again, he suffers empathy andtogether with the drawing is born again; and this is catharsis by means ofsublimation.280

ecenziebiBOOK REVIEWSgrigol joxaZe,,qarTlis cxovrebis” samyarorecenzia lela patariZis wignze ,,politikuri dakulturuli identobani IV-VIII ss. qarTul erTobaSi:,,qarTlis cxovrebis” samyaro, Tbilisi, 2009axalgazrda qarTveli istorikosi lela patariZe moulodneladgardaicvala. me mas ar davmSvidobebivar: maTsaviTmoviqeci, vinc icoda, rom isev Sexvdeboda _ amjerad es misisikvdilis Semdeg gamosuli wignis meSveobiT moxda.lela patariZe maT rigSia (aw ukve _ samudamod), visacgangebam axali qarTuli istoriografiis Seqmna daakisra.mxolod imas vwuxvar, rom lela sicocxles apirebda dasakuTar gamaradebaze ar fiqrobda.* * *,,saqarTvelo, rogorc uZvelesi kulturisa da tradiciebisqveyana, yovelTvis ipyrobda dasavleli mecnierebis yuradRebas.maT Tanamedrove saqarTveloc ainteresebT. Tumca,informacia, romlis moZiebac SeiZleba Sesabamis literaturaSi,jer kidev Zalian mwiria. Temebi, romelTa garSemoc,Cveulebriv, Tavs iyris istoriuli aRwerilobani Tu ganzogadebani,zogjer imedgacruebas iwvevs, radgan maTSi Tanamedrovesocialuri mecnierebis Teoriuli miRwevebi ar arisgaTvaliswinebuli... amis mizezi, udavod, qarTvel mecnierTadasavlel kolegaTagan xangrZlivi izolacia da is faqtia,rom mravali wlis ganmavlobaSi maTTvis ar arsebobda marqsistulisocialuri mecnierebis romelime alternativa...”[smiti 2004]. londonis ekonomikuri skolis nacionalobisa daeTnikurobis profesor-emeritusis _ entoni. d. smitis am mosazrebaslela patariZis wignis mkiTxveli boloTqmaSi waikiTxavs.Cven ki swored es citata unda vuwinamZRvroT niWierikolegis naSromis ganxilvis cdas, radgan alternativiswinaSe vdgavarT: qarTuli istoriuli narativi ,,qarTliscxovreba” an Taroze Semosadeb faseulobad miviCnioT, an281

swored misiT vcadoT msoflio humanitaruli mecnierebisaxal gamowvevebze reagireba.lela patariZem meore gza airCia da kulturisa da adamianTaTviTobis, TviTgancdisa Tu TviTcnobierebis umniSvnelovanesda amave dros, urTules sakiTxs Seexo.es gaxlavT dRes agrerigad moduri ,,identobis” cneba.adamians sWirdeba Tavisi saqmianobis garkveulad mowesrigeba,romelsac SesaZloa mxolod sociumSi miaRwios. amisaTvisman nebayoflobiT unda miiRos mocemul sazogadoeba-Si gabatonebuli cnobierebis elementebi, gemovneba, Cveulebani,normebi, faseulobani da urTierTobis sxva saSualebani.es adamians uneblieT miakuTvnebs romelime konkretul kulturas.amitom kulturuli identobis arsi Sesabamisi kulturulinormebi da qcevis yaida, RirebulebiTi orientacia daena, mocemul kulturaSi miRebuli maxasiaTeblebis pozicia-Tagan sakuTari ,,mes” gacnobiereba, amave sazogadoebis kulturulxat-saxeebTan TviTgaigivebaa. kulturuli identobadidad moqmedebs interkulturul komunikaciaze, romlis intensivobaaqtualurs xdis eTnikuri identobis problemasac.myari, drosTan morkinali da am WidilSi xSirad gamarjvebulieTnosi adamianisTvis is saimedo TavSesafaria, romelicmisTvis esoden aucilebel usafrTxoebasa da mxardaWerasuzrunvelyofs. gaugebar garesamyaroSi erTianobisa da wesrigisaRmdgeni eTnosis faseulobani erTaderT maSvel rgoladiqceva xolme. Sedegad ki Cndeba Sidajgufuri erTobisa dasolidarobis gancda. nebismieri kulturis ganviTarebis kanonzomierebayovelTvis gaxldaT zemoT naxseneb faseuloba-Ta TaobebisaTvis gadacema da dacva, radgan kacobrioba saWiroebsTviTwarmoebasa da TviTregulacias. unda vaxsenoTsxvadasxva eTnosocialuri Sexedulebebic, romelTac met-naklebadiziareben mocemuli eTnikuri jgufis wevrebi. am warmodgenaTamniSvnelovani nawili saerTo istoriis, kulturis,tradiciebis, warmomavlobisa da saxelmwifoebriobis gacnobierebisSedegia. eTnosocialur SexedulebebSi aisaxeba naazrevi,rwmena, ideebi, romlebic gamoixateba miTebiT, legendebiT,istoriuli narativebiT, azrovnebisa da qcevis yoveldRiuriformebiT. eTnosocialur SexedulebaTagan centraluriasakuTari da sxva eTnikuri jgufebis xat-saxeebi. eTnikuriidentoba amave dros niSnavs sxvadasxva eTnikur jgufebTankontaqtisas momarjvebul urTierTobaTa da qmedebaTasistemas, romlis wyalobiTac adamiani iTvisebs sakuTarijgufis SigniTa da gareT qcevis saSualebebs. eTnikuri iden-282

toba gulisxmobs aseve eTnikuri jgufis wevrobis mniSvnelobisSefasebas. es SesaZlebobebi eyrdnoba eTnikur erTobas-Tan emociur kavSirsa da misadmi moralur valdebulebebs.adamiani Tavis mierve Seqmnili somboloebis wyalobiTaRiqvams samyaros suraTs. amgvaradve iqmneba ,,istoriuli sinamdvilec”.sainteresoa im markerTa gamovlena, romlebic amaTu im kulturas Tavs imad ganacdevinebs, rac aris an radacsurs yofna. Zvel droSi erebze, naciebze laparaki uadgiloa,Tumca versad gaveqceviT eTno-kulturul mijaWvulobas, romelicerTobis xangrZliv arsebobasa da sakuTar TavTan igiveobasuzrunvelyofda. erT-erTi aseTi ,,eTni” qarTvelTakulturul-istoriuli erTobac gaxldaT, romlis qcevasac,,qarTlis cxovrebis” furclebze lela patariZe uTvalTvalebda.* * *amTaviTve SevTanxmdeT, rom istoria ,,versiaTa mecnierebaa”da lela patariZis ,,versiebic” imas niSnavs, rom ,,qar-Tlis cxovrebis” axleburi wakiTxva SesaZlebelia. kacma romTqvas, istoriul wyaroTa simwirisa da homogenurobis gamoesRaa SesaZlebeli.erTgan frangi kritikosi maikl rifateri wers, samwuxarod,istorikosebi upiratesobas aniWeben teqstis pirvandelwakiTxvas, rogorc garkveul standarts, xolo gviandeli interpretaciebiarasrulfasovan wakiTxvad miiCnevao [rifateri1992].lela patariZem am sacTursac gauZlo:mas miaCnia, rom ,,qarTlis cxovrebis” dasawyisi, daaxloebiTVIII s. bolos, istoriosofosis mieraa dawerili. anonimmaavtorma safuZvlad aiRo ,,mefeTa cxovreba” (farnavazidanarCilamde) da qristianobis konteqstSi gaiazra qarTlisa daqarTvelobis adgili oikumenaSi.yvela istoriuli wyaro atarebs ideologiis tvifars.,,qarTlis cxovrebis” dasawyisis avtormac is ideologizebulimiTi Seqmna, romelic qarTvelTa legitimurobis safuZveliunda gamxdariyo.am sakiTxs eZRvneba lela patariZis wignis pirveli Tavi,,saxelmwifo ideologia da loialobis ZiriTadi aspeqtebiwinaqristianuli xanis qarTlis sazogadoebaSi”.qarTlSi farnavazianTa dinastiis damkvidrebisTanave SeiniSnebaopozicia: ,,Cven”_ ,,ucxo” da wamoiWreba koleqtiuriidentobis problema. entoni smitis naazrevze dayrdnobiT, l.283

patariZe SeniSnavs, rom qarTul ,,eTnis” gamoarCevs saerTocnobiereba, saerTo kulturis gansxvavebuli elementebi.Cvens winaSea erTiani ideologiuri koncefcia, romelic samniSans emyareba: qarTlosian-farnavazianTa mefoba; mamaTasjuli (kerpTayvanismcemloba); qarTuli ena. Tavis mxriv, zemoTnaxsenebi dinastiis warmoamdgenelma mefem, azonis sapirispirod,eTnikuri kulturis matarebeli aristokratia undaSeinarCunos. ,,koncefciis” Tanaxmad, IV s. mirianic imitom,,axerxebs” qarTlis taxtis dakavebas, rom qarTuli ena Seiyvara;kerpebs pativi miago da ,,Seamko saflavi farnavazisi”.l. patariZis SeniSvniT, teqstis avtors amiT im memkvidreobisgaxazva surs, romelsac saTave farnavazma daudo: qarTulienis ,,ganvrcoba” da qarTuli mwignobrobis Seqmna; kerpis aRmarTva;mefis damarxva ,,winaSe armazisa kerpisa”.magram sainteresoa, sazogadoebis ra nawili iziarebs amideas?ivane javaxiSvilisa da ediSer xoStaria-broses TvalsazrisTareviziisa da wyaros xelaxla ,,wakiTxvis” Sedegad,l. patariZe daaskvnis, rom samefo ideologiis samizne iyvnen,,mkvidrni qarTlisani” _ Temis Tavisufali sruluflebianiwevrebi. samefo xelisufleba cdilobda, swored am sazogadoebaSidaemkvidrebina erTiani monarqis ideologia da gaer-Tianebuli kulturuli identobis niSnebi.ramdenad miiRo erTobam es idea?cxadia, samefo ideologiis poziciidan dawerili Txzulebaamas ver daadasturebda. amitom mkvlevari CauRrmavdawyaros, romlis ,,Semdgenlebi” arian samefo saxlis wevri, sasulierowodebis warmomadgneli, eTnikurad araqarTveliaristokrati da TviT ganmanaTlebeli.es teqstia ,,wmida ninos cxovreba”.mcxeTis mkvidroba aq ukve moqalaqeobaa da maRali socialuristatusis flobaze mianiSnebs, rac mefesac SeeZlo mieniWebinaerTguli samsaxurisTvis. wyaroze dayrdnobiT, l.patariZe gvTavazobs kidev erT damafiqrebel daskvnas _ samefoideologiis samizne warCinebulTa fenaa, romelic jerTviTon iRebs qristianobas, Semdeg ki Tavadve xelmZRvanelobssaxelmwifo religiis damkvidrebis process sakuTarsaganmgebloebSi. iq, sadac warCinebulebi ise Zlierebi ararian, saTemo kerpebi daangrion da saerTo saxelmwifo religiadanergon, samefo eqspediciebi ewyoba. yovelive esmkvlevars afiqrebinebs, rom ,,qarTlis cxovrebis” Sesavalinawili ideologizebuli teqstia, mirianis qarTlis taxtze284

legitimaciisaTvis unda iyos Seqmnili da mirianisa da misiuaxloesi STamomavlebis zeobis xaniT daTariRdes.* * *meore Tavi mirianis mefobis ideologiuri aspeqtis ganxilvaseZRvneba.bagrationTa samefo taxtze asvlamde mefobis konceptzesaubari, faqtobrivad, SeuZlebelia. magram Tu ,,qarTliscxovrebas” davusvamT kiTxvas (rogorc l. patariZe iqceva),Tu ra iyo mefobis sayrdeni ideebi pirveli qristiani mefisepoqaSi, SesaZloa, pasuxic miviRoT. ,,analTa skola” da markbloki swored am ,,dakiTxvisTvis” gvamzadebda.,,qarTlis cxovrebis” mirianis zeobisadmi miZRvnilteqsts TiTqmis srul fiqciad miiCnevdnen. giorgi meliqiSvilises pozicia XX s. qarTvelma istorikosebmac (ramdenimegamonaklisis garda) gaiziares.l. patariZem kvlevis veqtori Secvala:man teqstSi moqceuli ideebi da terminebi avTentikurwyaroze damyarebulad miiCnia; politikuri istoriis amokiTxvaski ar Seecada, aramed, uwinaresad _ ideologiuri safuZvlisa.saintereso iyo, ratom ar ufrTxoda meistorie mirianissparsuli warmomavlobis warmoCenas? gana ufro bunebrivi ariqneboda, sulier siqveleebs gasmoda xazi da am gziT gandidebuliyopirveli qristiani mefe?l. patariZis dakvirvebiT, mirianis sparseTis sasaniduridinastiis warmomadgenloba qarTuli saistorio tradiciaa.mkvlevarma Tvali gaadevna saukuneebs da daadgina, rom xosroianmefeTa naTesavebis qarTlis taxtze dasmas mxolodarabTa batonobisas daesmis wertili.samefo dinastiisaTvis bunebrivi movlenaa didebuli daSoreuli winapris yola, rac ideologiur-istoriul safuZvelsiTxovs. aseT dros istoriuli winapirobebi TiTqmis yovelTvisideologiis moTxovnebs emsxverpleba xolme da sa-Tanadod transformirdeba.mirianis sparseTis samefo karTan naTesaobis motivi, l.patariZis varaudiT, swored sasanidebis samefo karis ideologiTaanakarnaxebi. qarTli III s. II naxevridan sparseTis mefeT-mefesemorCileba. irani Tavis Soreul sakralur winaprebseTayvaneba _ aqemenidebsa da zoroastruli wignTa-wign,,avestas” legendarul mefe viStaspas. Sesabamisad, maTi ,,memkvidre”unda yofiliyo mniSvnelovani administraciuli ol-285

qis gamgebelic. amgvarad, ideologiurad gaformda farnavazianTaStos warmomadgenlis, sparsi mirianis qarTlis taxtzeyofnis legitimacia. es ideologia SesaZlebels xdida qar-Tlis samefo taxtis mirianis STamomavlebisTvis SenarCunebasac.msjelobis amgvari ierarqia l. patariZes TviT mirianismopasuxed aqcevs _ ,,wm. ninos cxovrebaSi” sulTmobrZavi mefeTavs farnavazian mefeTa STamomavlad acxadebs _ miriani winamavalmefeebs ,,mamebs” uwodebs da Tavs rigobiT nomer 36-sac akuTvnebs _ mkvlevris azriT, es kulturul-socialurimemkvidreobis gaxazvis cdaa. metic, es gaxlavT mefis figurisresakralizacia aw ukve qristianobis konteqstSi.nakleb eretikuls xdis qvemore daskvnas mkvlevris poeturirefleqsia _ TxoTis mTaze nadirobisas, zustad SuadRisas, roca mze yvelaze metad aqtiuria, mirians sworedmze daubnelda _ mze farnavazisa, da gamouCnda iesos mze _mirianis moqceva da qveynis xelaxali sakralizeba mefobiskonceptis Camoyalibebisa da ideologiuri postulatebisformirebis gziT xorcieldeba. Tu, erTi mxriv, es sasanid mefeTanaTesaobis mtkicebiT xerxdeba, meore mxriv, adgilobrivdinastiasTan _ farnavazianebTan _ kulturuli memkvidreobisaqtualizebiTa da kulturuli dialogis gabmiT gamoixateba.* * *mesame TavSi ganxilulia mefobis idea ,,vaxtang gorgasliscxovrebaSi”.aq l. patariZe mefobis legitimaciis gansxvavebul markerebsamCnevs:vaxtang gorgaslis mefobis arqetipi bibliuri daviTismefobaa; vaxtangis xelmwifoba bizantiis imperatoris mieraaxeldasxmuli. Tumca, vaxtangi, rogorc mirianis STamomavalida sparsTa samefo dinastiis naTesavi, sasanidTa saimperioideologiis kriteriumebsac akmayofilebs.pirveli debulebis sabuTs l. patariZe iolad agnebs daparalels Zvel aRTqmasTan avlebs: daviTi _ goliaTi; vaxtangi_ ovsi goliaTebi: Tarxani da bayaTari.l. patariZis azriT, am orTabrZolaSi monawileobiT 15wlis vaxtangma unda daamtkicos, rom misi mefoba RvTisaTvissaTnoa, xolo erisaTvis _ sargo. mefeTa gamarjvebis epizodebiamkvidreben azrs, rom mefoba maT ekuTvniT, viszec momadlebuliaRvTis Zala da Sewevna.286

mefis legitimacia mirianis STamomavlobiTacaa Sepirobebuli:vaxtangi Tavis mefur warmomavlobas mirianis meSveobiTsparseTis samefo sagvareulos ukavSirebs, Tavis arqetipadki nebroTi miaCnia. sakuTriv nebroTis arqetipi undaiyos legendaruli mefe kava usani.magram vaxtangis epoqaSi legitimaciis aseTi ,,zoroastruliargumenti” SesaZloa, TviT mefis sawinaaRmdegoc kiSeiqnas. ,,naTesaobis” koncepti da Tavad ,,naTesavTa xarisxi”(Cvens SemTxvevaSi, erTica da meorec sparsebTan dakavSirebuli)radikalurad Sesacvlelia, radgan berZnebi (bizantia)Tavad RmerTis naTesavebi arian _ Zeni RvTisani. Tanac, qristianobisaTvisumniSvneloa xorcieli naTesaoba. Sesabamisad,Tu vaxtangs RvTivkurTxeuli mefoba surs, unda iqmnas ,,megobarikeisrisa”. es resakralizda xilviT, romelSic vaxtangsgvirgvini keisarma daadga. ioli gansaWvretia amgvari teqstisSeqmnis ideologiuri sazrisi: sparseTis samefos Zlierebaistorias Cabarda. berZnebs gamarjvebas RmerTi aniWebs davaxtangmac arCevani gaakeTa _ bizantia da qristianoba.* * *IV Tavs ,,arCilis cxovrebis ideologia” hqvia.l. patariZis azriT, am teqstSi ramdenime simboluri motivia,romelTa miRmac VIII s. moRvawe naratoris ideologiuriintenciebi ganiWvriteba: ganZis daflva; qristianTa saswaulebrivigamarjveba urwmunoebze _ agarianebze; mefobis dabrunebabizantiidan: erisTavebis danaTesaveba mefesTan da amgziT saerisTavoebis legitimacia memkvidreobis uflebiT _sakuTriv, erisTavTa didebuli warmomavloba.,,arCilis cxovreba” gviambobs, rom rodesac herakle keisariwavida aRmosavleTidan, ganZi miwaSi dafla, raTa winaswarmetyvelebiTdadgenil dros (arabTa batonobis dasasruls)xelaxla amoeRoT. amasTan erTad, berZnebma aRweres,,naTesavi Tvisi da queyana”, raTa aRTqmul dros ,,miT gujri-Ta moiZivnen naTesavni maTni da TviToeulad ganuyon queyanada ganZi”.ganZis daflva ukavSirdeboda teritoriis flobas dawarCinebulTa kanonier Zalauflebas: arabTa wasvlis Semdegyvelaferi uwindeli statusiT unda aRdgeniliyo. l. patari-Ze simbolur mniSvnelobas simbolur mniSvnelobas aniWebsstefanos erismTavris qmedebas: roca is heraklesaviT irjeba,simbolurad acxadebs, rom qarTlis legitimuri mefoba daf-287

lulia, Senaxulia, da Tavis droze kanonier patrons daubrundeba.arCilma da mirma anakofiis brZolaSi RvTis SewevniT gaimarjves,rasac ,,qarTlis cxovrebis” am teqstis avtori xosroian(spars mefeTa naTesav) qarTvel mefeTa damsaxurebadwarmoaCens qristianTa (bizantielTa) winaSe. am damsaxurebisgamo arCilma da mrima keisrisagan gvirgvini miiRes, rac mefobisaRiarebasa da dadasturebas niSnavs.naTelia, rom teqstis avtori xosroianTa samefo saxlisideologias gamoxatavs: mas surs, arCilis damsaxureba bunebrivigagrZeleba iyos mirianisa da vaxtang gorgaslis Rvawlisa.aRsaniSnavia, rom TiTqos zemoT naxseneb gujrebSi yofiladadasturebuli mirisa da arCilis mefoba, ris safuZvelzecarCili gvirgvins iRebs.l. patariZe sagangebod ganixilavs herakles keisris winaswarmetyvelebas.kvlevis veqtoris Secvla mecniers saSualebasaZlevs, gadaafasos ivane javaxiSvilisa da givi wulaiasSexedulebebi da ,,arCilis cxovreba” am winaswarmetyvelebaSimoyvanil qronologiur mijnaTa gansxvavebuli analizissafuZvelze VIII saukunisad miiCnios.da am Tavis kidev erTi mniSvnelovani debuleba, romelsacl. patariZe guram abramiSvilisa da mariam CxartiSvilismsjelobaze dayrdnobiT aviTarebs: SedarebiTma analizmamkvlevari daarwmuna, rom ,,moqcevai qarTlisai” erisTavTaideologiis damamkvidrebelia ,,,qarTlis cxovreba” ki _ mefe-Ta. arabebs kavkasiaSi gadamwyveti gamarjvebisTvis jer ar miuRweviaT,amdenad adgilobriv dasayrdens legitimur mefeSixedaven; sapirispiroa probizantiel erismTavarTa ideologia.* * *V TavSi avtori ikvlevs teritoriul da kulturulidentobebs qristianobis konteqstSi.l. patariZe _ e. smitis, m. eliades. s. renfrius, r. lorensis,a. lidovis naazrevze dayrdnobiT _ arkvevs teritoriuliidentobis arss da daaskvnis, rom qristianobis konteqstSiqarTli politikuri sivrcea ,,qarTlis cxovrebis-Tvis” ,,,moqcevai qarTlisais” intenciiT ki saqme gvaqvs sakralurtoposTan. ,,qarTlis cxovrebis Tanaxmad” teritoriuliidentoba istoriul da kulturul identobasTan mWidro kav-SirSi ganixileba. ,,mamaTa CvenTa sjuli” koleqtiur kulturulidentobas niSnavs, romlis dacvac mefes evaleba.288

l. patariZe SeniSnavs imasac, rom roca mefe iZulebulia,teritoriebi gasces, Tu maTgan sakuTriv qarTuli miwawyaliar igulisxmeba, teritoriaTa axali mfloblis gaqristianebasavaldebulo ar aris, magram sakuTriv qarTuli miwawylisfloba umalve gaqristianebas gulisxmobs;Tu momxdurs mSvidobis sanacvlod xeldebul qveynebs uTmobs,es did tragediad ar aRiqmeba, magram ,,qarTlis samefosazRvris” mitaceba RvTis risxvad _ katastrofadaa miCneuli.* * *finaluri Tavi ,,qarTlis cxovrebis” dasawyisisa da iqCamoyalibebul kavkasielTa saerTo warmoSobis teritoriulkoncefcias exeba. am sadavo sakiTxs ara erTi mkvlevari Sexebia,magram dadasturebiT raimes Tqma jerac SeuZleblad iTvleba.s. rapis, r. gordezianis, d. musxeliSvilis mosazrebebebzedayrdnobiT, l. patariZe ramdenadme axal poziciaswarmoaCens.* * *dabolos” Cvens winaSea namdvili istorikosis _ mofiqraliinteleqtualis _ naSromi. meimedeba, rom wigni aseTsavemkiTxvels ipovis.literatura:smiti: e.d. smiTi, nacionalizmi. Teoria, ideologia, istoria(Targm. ingl. m. CxartiSvilisa, qarT. teqstis red. r. amirejibi-maleni),Tb., qarT. enis. saerT. centri. 2004.rifateri: М.Риффатерр. “Формальный анализ и история литературы”_ НЛО, 1992, № 1. 1992.289

grigol joxaZeadamianebi da siwmindeebirecenzia zurab kiknaZis wignze ,,qarTli gaqristianebisgzaze: adamianebi da siwmindeebi”zurab kiknaZis yoveli axali wignis gamosvla kidev er-Txel gafiqrebinebs, rom cnebebi: ,,movaleoba” da ,,siamovneba”sulac ar arian erTmaneTisagan ase mkveTrad daSorebulni.amis dasturad da, zogadadac, sasiamovno movaleobad mimaCniaoriod sityvis Tqma wignze ,,qarTli gaqristianebisgzaze: adamianebi da siwmindeebi”.* * *ramdenime welia, mawvalebs fiqri, davwero statia qar-Tvel ebraelobasTan qarTvelTa gansakuTrebul damokidebulebaze,romelic krTeba Zvel qarTul saistorio teqstebSi.Zveli qarTuli mwerloba, faqtobrivad, imasve fiqrobsZvel aRTqmasa da ebraelebze, rasac, zogadad _ qristianoba:es winare samSoblo da safuZveli, kacobriobis dasabamia. amsjuls aRiarebda qriste. ebraeloba rCeuli eri iyo, magramRvTis aRTqma daarRvia da daisaja. gansakuTrebiT didia misicodva qristes wamebisa da mokvdinebis, qristianTa devnis gamo.magram misi istoriuli da sulieri gamocdileba qristianobamunda gamoiyenos da saTanado daskvnebic gaakeTos.,,wminda ninos cxovrebis” ebrael personaJTa Rvawliskonceptad qceva, romelic udavod ideologiis tvifarsacatarebs, me qarTuli narativiT damkvidrebuli swored aseTidaskvna mgonia.Cemi azriT, Zveli qarTuli mwerloba cdilobs `daicvas”qarTul miwaze mosaxle ebraeloba, Camoacilos maTqristesmoZuleobis iarliyi, Seananebinos da gamoasyidinosCadenili codva da momaval Taobebsac amcnos amis Taobaze.,,wminda ninos cxovrebis” mixedviT`samRvdeloni tomnihuriani” paseqis dResaswaulze yovel wels midiodnen ierusalimSi,rogorc amas moses sjuli iTxovda. roca ,,aRaborgnaeSmakman huriani” anu roca maT qristes dasja gadawyvites,paseqis dResaswauli dgeboda.ierusalimidan mcxeTaSi mouweriaT, iesod wodebulmakacma ganaqarva moses sjuli, uaryo yvela Cveni wesi, risTvisacSuri unda viZioTo. qarTvel ebrael sjulis mecnierTa290

Soris gamourCeviaT mRvdeli eliozi da warugzavniaT ierusalims.,,moqcevai qarTlisai” eliozTan erTad asaxelebslonginoz karsnels, Talenavsa da misaels.vidre dawyebul ambavs ganvagrZobdeT, isev ,,moqcevais”teqsts mivubrundeT:mefe mirians bizantiis pirvelma qristianma imperatormakonstantinem episkoposi ioane gamougzavna, romelmac uTxra,rom qristes kvarTi kenWisyriT zemodasaxelebul qarTvelebraelebs ergoT. mcxeTaSiao, aseve, elia winaswarmetyvelisxaleni (mosasxami). amave wyaros Tanaxmad, ebraeli mRvdlis,abiaTaris qaliSvil sidonias monaTxrobiT (orive wm. ninosTanamedrovea) irkveva, rom mefe herodes mmarTvelobaSi (daaxloebiTCv. w-mde 73 _ Cv.w. 4) qarTlSi mosula ambavi ierusalimissparsTa mier dapyrobis Sesaxeb. werili miuRia yvelaqarTvel ebraels: mcxeTis mkvidrT, bodbel xucesebs, kodiswyaroelmwignobrebs, sobiskananel ganmmarteblebs, Tormetimefe movida Cveni qveynis dasapyrobado.cota xnis Semdeg ierusalimidan ukve damamSvidebelcnobas mouRwevia: sparsebs abjris, iaraRisa da sagzlis nacvladoqro, muri da gundruki moutaniaT. isini eZebdnen romeliRacaxalSobils, daviTis Zes. unaxavT erTi Raribi Cvili,Raribive dedakacis naSobi, romelic naadrevad dabadebuliyo.misulan, Tayvani uciaT, ZRveni gadauciaT da mSvidobianadgabrunebulan ukan. herode iwereboda: ar dafrTxeT, ebraelebo!veZebe da versad mivakvlie verc yrmas, verc dedamiss,magram axla maxviliT movspob yovel ori wlis Tu maszeumcros Cvils, rom isic maTTan erTad daiRuposo.amis Semdeg 30 weli gasula.ierusalimidan mRvdelmTavar annas sidonias papisTvis,oziasTvis mouweria: is Cvili moiwifa. iordaneze zaqariasZesTan mivida israelis yvela xalxi, romelTa Soris sidoniaswinaparic yofila.axali welTaRricxvis meoTxe wels (tyuilad rodi figurirebs,30 weli gavidao) isev mosula herodes, amjerad ukveherode antipas, brZaneba (,,ninos cxovrebaSi” herode naxsenebiar aris): kargad gaacnobiereT moses sityvebi: Tu vinmesasikvdilo codvas Caidens da moklaven, Zelze Camokideb mas,RamiT Zelze ar unda darCes, aramed im dResve damarxe, radganRvTis mier aris dawyevlili Zelze Camokidebuli. aq er-Tma Tavi RvTis Zed gamoacxada, TiTqos, TviTonac RmerTiiyos. yvela daeswariT mis sikvdils, aRvasruloT RvTisa damoses aRTqmao.291

sidonias TqmiT, qarTlidan mamamisis dedis Zma, elioziwasula. misi deda elia mRvdlis sagvareulodan yofila.,,ninos cxovrebaSi” eliozis dedas uTqvams: numca Ser-Tul xar maT Tana, rameTu igi ars moswavebuli winaswarmetyvelTaida igi ars warmarTTa cxorebai saukunoi. daaxloebiTamaves ambobs eliozis deda ,,moqcevaiSic”: Seni gonebaar SeuerTdes maT gulisTqmas, rameTu igi winaswarmetyvelTasityvaa da brZenTa igavi: idumaleba, romelic dafarulia ebraelTaTvis,magram sinaTlea warmarTTaTvis da maradiulisicocxleo.,,ninos cxovrebaSi” eliozis da iesos ,,kacs marTals”uwodebs, Sehnatris eliozs, rom is Rirsi gaxdeba misi xilvisada sTxovs, iesos xelSexebuli rame wamoiRos. ierusalimSiCasuli eliozi Sors dgas da golgoTaze Sekrebilebraelobas ar uerTdeba. aqvea naTqvami, rom saxarebaSi (ioane12:21) naxsenebi warmarTebi, romlebic golgoTis misteriaseswrebodnen da romelTac iesos xilva uTxoviaT filipes-Tvis (erT-erTi mociquli galileis beTsaididan, aResrulafrigiaSi, jvarze gaakres), mas ki isini andriasTvis warudgenia,qarTveli ebraelebi iyvnen. aRsaniSnavia, rom saxarebaSiwarmarTTa nacvlad ,,elinebi” weria da es epizodic golgo-Tis misteriamdea.,,moqcevais” mixedviT, maSin roca jalaTs samsWvalisaTvisdaukravs, romliTac qriste jvarze iyo gakruli, eliozisdedas mcxeTaSi gaugonia da amoukvnesia: mSvidobiT, ebraelTamefobav, rameTu mohkaliT macxovari da mxsneliTqveni da Semoqmedis mtrebad iqeciT. vai me, rom amis gagonebamdear movkvdi, da rom cota xnis sicocxle damrCenia, egebmenaxa warmarTTa sinaTle da israelis didebao.eliozis da kvarTTan erTad daumarxavT.abiaTari ixsenebs, rom mas ninos mcxeTaSi mosvlamde mieRoromael, egviptel da babilonel ebrael mRvdelmTavarTada mwignobarTa werilebi, romlebSic sinanuli iyo gamoTqmulimaTi winaprebis mier qristes mokvlis gamo: amisTvisRmerTma piri ibruna Cvengan, Cveni samefo daaqcia, taZari dagvingria,Cveni locva aRar esmis da Sendobas ar gvaZlevs. albaT,is marTlac zecidan iyoo.,,ninos cxovrebaSi” abiaTars mefe miriani ekiTxeba, riTdagajildoo. abiaTari upasuxebs: Cvenma mamebma qristes sikvdiliTSemoqmedi ganarisxes, romaelebma dagvipyres da dagvimones.me pavle mociqulis epistoleni wavikiTxe da mivxvdi,rom qristianobam Cemi sjuli ganaqarva. mec da Cems Svilsac292

axali sarwmunoebis miReba gvsurso. is TiTqos evstaTi antioqelpatriarqs mounaTlavs, mirians ki miucia daba cixedidi.danarCeni ebraeloba ki, romelTac rjuli ar Seucvlia,gabneula da wasula.daaxloebiT amave suraTs vxedavT ,,moqcevaiSic”:abiaTars wminda ninosagan gaugia qristesa da misi sarwmunoebisSesaxeb da qaliSvil sidoniasTan erTad monaTlula.mcxeTel ebraelebs Suri uZiebiaT: mouWriaT ebraelTasakurTxevelze mdgari xe da wasulan, barabas ojaxis garda,romelTagan 50 suli gaqristianebula. mefe aq cixedids maTmiuboZebs.abiaTari ,,moqcevaiSic” ukavSirdeba pavle mociquls: igi,,meore pavled” ixsenieba. abiaTarsave urCevia mirianisTvis, xeliar exlo ebraelTa sakurTxevlisTvis, aramed ganeaxlebinaigi, radgan iq maradi RmerTis saxeli idideboda.am konteqstSi iqneb ,,istoriani da azmani SaravandedTani”da basili ezosmoZRvris ,,cxovreba mefeT-mefe Tamarisic”gamogvadges, romlebSi daculi cnobis Tanaxmad, samefo darbaziTamaris qmris mosayvanad tfilisis mkvidr didvaWars, ebraelzorababels gzavnis. am sapatio da sapasuxismgeblo misiisaTvisebraelis SerCevac am eTnosisadmi qarTvelTa gansakuTrebulidamokidebulebiT xom ar aixsneba?amgvarad, Cveni debuleba ase SeiZleba CamovayaliboT:Zveli qarTuli mwerloba imdenad imSobliurebs ebraelobas,rom mas wils ar adebinebs qristes mkvlelobaSi, piriqiT,swored mas ukavSirebs udidesi siwmindeebis _ qristes kvarTisada elias xalenis saqarTveloSi Camotanasa da Senaxvas. Sesabamisad,amas ukavSirdeba sveticxovelis misteriac.SesaZloa, marTali iyos mosazreba, rom es universalurimeTodiT Seqmnili miTia; SesaZloa, vendoT im interpretaciasac,rom eTnikuri rCeulobis centris gadanacvlebasTangvqondes saqme (ix. m. CxartiSvili, qarTuli eTnie religurimoqcevis epoqaSi, Tb., 2009, gv.135-146), magram aqac Cven ver vam-CnevT raime konkurencias an antagonizms, Cvens SemTxvevaSi _qarTvelebsa da qarTul miwaze mosaxle sxva erebs Soris. metic:ise Cans, rom sakuTari rCeulobis miTs qarTveloba qar-Tvel ebraelTa Rvawlze afuZnebs. rogorc Cans, sakuTariidentobis markerad mas rCeul erTan swored aseTi kontaqtiaZlevs xels: maradiuli faseulobaa wminda werili da egeb,marad mosaxsenieblad darCes qarTvelobis xvedri da bediqristianobis istoriaSi! ai, ase unda fiqrobdes qarTveli naratori.293

ogorc naxeT, statia isev ver davwere, magram guli kivijere im adamianebsa da siwmindeebze fiqriT, romelTac zurabkiknaZem wigni miuZRvna.* * *Cvens winaSea cda WeSmaritebisa da sxvisi individualobisgagebisa. da Tu imasac gaviTvaliswinebT, rom es individebiCvengan Cvidmeti saukuniT daSorebulni arian, cxovrobenTavianT epoqaSi, TavianTTvis niSandoblivi mentalobiT,eniTa da qmedebebiT, sityviTa da saqmiT, iolad mivxvdebiT amcdis sirTulesa da winaaRmdegobriobas.SesaZloa, moridebuloba karg tonad aRar CavTvaloT daes cda premodernuli xanis modernul hermenevtikadac miviCnioT.an kidev: e.w. ,,gamowvlilviTi kiTxvis” (close reading)mSvenier magaliTad. an: mravalmxrivi interpretaciebiT gajerebul,,msuye aRwerad” (thick description). mkvlevari usmens istoriuliprocesis uSualo monawileebs, romlebic amavedros teqstis avtorebic arian. isini aRweren imas, rac maTTvalwin da metic _ maTi meSveobiT xdeba. bunebrivia, qlifordgircTan erTad aq SesaZloa mark blokic gagvaxsendesda, zurab kiknaZisa ar iyos, vcadoT, sworad movaxerxoT kiTxvebisdasma istoriuli personaJebisadmi, raTa amgvarive pasuximovimkaT. nawarmoebis yoveli axali wakiTxva axal percefciasacgulisxmobs. icvleba nawarmoebi. icvleba mkiTxveli.xelaxali wakiTxva, axali kiTxvebi da axali pasuxebigavlenas axdens mTels narativze _ rasakvirvelia, arc misSinaarss cvlis da arc mis formas, magram cvlis aRqmis yalibs,wyobas, formacias... warsulis memkvidreobis TanadrouliaRqma, amave dros, Tanamedrove kulturis adeptobasac gulisxmobs.kultura, aseTi binarulobiT, mxolod igebs. ami-Taa CemTvis es wigni niSneuli.* * *qarTlis ebrauli diasporis ganxilvisas z. kiknaZe yuradRebasapyrobs im tipobriv maxasiaTebels, romelic Tansdevs ebraelTa sxva _ aramSobliur qveynebSi saxlobas,mdgmurobasa Tu msxemobas. aq isini inarCuneben erovnul dakulturul identobas, koleqtiur mexsierebas, xolo qar-TlSi im wiaRadac ki warmogvidgebian, romelsac axali aR-Tqmis eklesia emyareba. qarTlSi maTi religiuri centri _sinagoga _ qarTuli ,,bagini” _ marTlac is bagaa, romelSiciSva qristianuli eklesia. qarTlSi ebraelTa arqetipur tom-294

Tagan ori maTganis _ beniaminisa (abiaTari da misi modgma) dalevis (eliozis deda) STamomavloba saxlobs. iqneb zedmeticar gveCvenos mkvlevris miTiTeba, rom qarTul teqstSi ,,meorepavled” moxseniebuli abiaTari saxarebiseul pavles aramxolod qristianobaze moqcevis mistikiT, aramed _ ZiriTacemsgavseba: pavlec beniaminis axalnergi gaxldaT.ebraelTa kerpTayvanismcemlur gandgomilebaze saubrisassidonia gerizimisa da gebalis mTaTagan ,,gascqeris” zadensada armazs; an, SesaZloa, im perspeqtivasac Wvrets, rocawarmarTuli gorakebi, rogorc kerpTayvanismcemlobis simboloebi,iseve daimsxvreva mis axal samSobloSi, rogorc esZvelSi moxda.,,moqcevais” teqstze dakvirvebisas mkvlevari SeniSnavs,rom sityva ,,mkvidri” mxolod ,,mcxovrebs” ar niSnavs: mcxe-Teli ebraelebi, gansxvavebiT qarTlis sxva adgilebSi mcxovrebTagan`moqalaqis” statuss floben da privilegirebulmosaxleT ganekuTvnebian. erTicaa: arc bodSi, arc kodiswyaroSi,arc sxva romelime dabaSi cxovreba ,,mkvidrobas” armoiTxovda da, es gasagebicaa: es qalaqelTa _ moqalaqeTa ni-Sani gaxldaT.solomonis taZarTan iZulebiTi dacilebisa da ZveliaRTqmis sataZro RvTismsaxurebis SeuZleblobis gamo mTelsmsoflioSi gafantul ebraelobas koeni (qohen) _ mRvdlis institutixelSi Semoadna. magram IV saukunis teqstSi qarTvelebraelobaze saubrisas swored ,,mRvdeli” gvxvdeba. z. kikna-Zis dakvirvebiT, es unda iyos ara religiur-kulturulicxovrebis warmmarTveli, aramed _ sinagoga-baginis mTavarifigura. Tu abiaTari ,,pirveli mRvdeli” iyo, SesaZloa, mcxe-TaSi sxvebic iyvnen, romelTagan abiaTari pirvelobda. kideverTi varaudi, romelic mkvlevars ,,bodel mRvdlebTan” dakavSirebiTuCndeba: SesaZloa, bodSi, iseve, rogorc _ ZveliaRTqmiseul qalaq nobSi, mRvdelTa saswavlebeli funqciobda,romlis aRzrdilebi mTel diasporas emsaxurebodnen.oRond, msjelobis amgvari logika, albaT, sxva adgilebSicunda gulisxmobdes sinagoga-baginebis arsebobas, sadacmRvdlebi religiuri teqstebis Seswavla-ganmartebiT iqnebodnendakavebulni. amave konteqstSi SeiZleba ,,kodiswyaroelmwignobarTa” _ religiur teqstTa gadamwer- maswavlebel-Ta da ,,sobiskananel TargmanTa” wvdomac: es ukanasknelni,albaT, ivriTidan qarTulad Targmnidnen Zvel aRTqmas, TuqarTvel ebraelTa salaparako ena qarTuli iyo.295

z. kiknaZe naTels hfens ramdenime detals: bagini (iranuli,,bag” RmerTs niSnavs) salocavi saxlia; Tu mas ,,krebulis”`Temis” konotaciasac davurTavT, bagins ara imdenad Senobad,ramdenadac ebraelTa Temad gaviazrebT.bagini ,,samarxvoi maTi” iyoo, _ gvamcnobs abiaTari. iqaRumarTavs ninos jvari. mRvdlisa da diakvnis meSveobiT iqnaTlavdnen mTavarTa Svilebs. amis gamo am adgilisaTvis,,mTavarTa sanaTloi” SeurqmeviaT.zurab kiknaZes miaCnia, rom es fragmenti aZlevs morigiinterpretaciis saSualebas: ,,xolo saxli eliozisi iyo qalaqsaSina dasavaliTsa, iyo karsa mogueTisasa, mtkvarsa zeda,da iyo mcirei bagini”... Semdeg: ,,...idga igi velsa TviniernaSenebisa”... mkvlevris azriT, mcire bagini qalaqgareT yofilaaRmarTuli. amas unda niSnavdes _ idga igi velsa TviniernaSenebisa _ anu Senoba gancalkevebiT mdgara... is, sinagogasaviT,Talmudis Tanaxmad, ise aegoT, rom mezoblad masze ma-Rali Senoba ar mdgariyo.saintereso msjelobaa. magram ra vuyoT teqsts, romelicambobs, rom ,,saxli eliozisi”, sadac baginis Senoba aRemar-TaTìyo qalaqsa Sina dasavaliTsa” da a.S.? maS, bagini qalaqgareTyofila, rogorc es mkvlevars interpretaciisaTvissWirdeba, Tu qalaqSi (,,qalaqsa Sina”)? naTlobis saidumlocxom ,,wiaRTa qalaqisaTa” sruldeboda? ratom ar unda vifiqroT,rom es iyo veli qalaqSive `mtkvarsa zeda”, sadac sxvaSenobebi, garda baginisa, ar idga (,,Tvinier naSenebisa”)?axla davubrundeT mkvlevris mignebebs ,,samarxvosa” da,,sanaTlos” Taobaze: ,,samarxvo” I saukunis qarTlSi, SesaZloa,yofiliyo adgili, sadac xmarebidan gasuli gragnilebian saritualo inventari inaxeboda, Semdeg ki `qristianulinaTlis” gadmoRvram (jvris aRmarTvam) is sanaTlod _ baptisteriumadaqcia.rasakvirvelia, sworia msjeloba baginze mdgari xis (aqmis saxels, ara mgonia, gadamwyveti mniSvneloba eniWebodes)moWrisa da mis adgilze jvris aRmarTvis sazrisis, rogorciudauri salocavis gauqmebisa da mis nafuZarze qristes simbolosdamkvidrebis Taobaze. vaspurakneli mTavris, astironissityvebSi xis saxeli ,,kilamo” aRarc ixsenieba. mTavariabiaTars mxolod imas eubneba, mSvenieri xe dagicia da baginidagimxiao. aq ,,xeca” da ,,baginic” iudaizmis markerebadaRiqmeba. da SesaZloa, am mosazrebas kidev ufro amyarebdesmkvlevris morigi dakvirveba sakuTriv vaspuraknel mTavarze,mis ganswavlulobaze iudaizmSi, informirebulobaze ebrael-296

Ta qarTlSi yofnis qronologiis sakiTxebSi da sxv; _ astironisada abiaTaris dialogi egeb imaze miuTiTebdes, romadre vaspurakneli mTavari iudaizmisken iyo midrekili, abia-Tari Tavis momaval moZRvrad miaCnda, misgan ukvirda qristianadmoqceva, es maTTvis unda yofiliyo iudaizmi (bagini),,xe mSveni” da a.S. sanacvlod ki Cvens winaSe arian qristesmoZRvari abiaTari da qristianuli diskursis matarebeli astironi.aRmafrTovanebelia mkvlevris dakvirveba sidonias saxeze(da saxelzec!): sidonia ar aris mxolod personaJi (realuriTu gamogonili), sidonia Sesakrebelia Zveli da axali aRTqmisa(aq SeiZleba gagvaxsendes aRTqmis, rogorc ,,kavSiris”, konotaciac!),Zveli da axali Jamisa, amdenadac mas xelewifebagansajos Tavisive modgmis xalxi, sinanuli gauCndes misi saqcielisada xvedris gamo _ erTi, rom ver Seicnes Ze RvTisada meore, rom ar eRirsebaT misi naTliT Semosva _ Seafasosaxali drois dadgomis sazrisi awmyoSic da myoobadSic, gaacnobierosganmanaTleblis roli da funqcia... es kompetenciaiesos sityvebis transformirebulad gameorebaSic gamoisaxeba(,,ierusalem, ierusalem...”). saerTodac, sidonias saxe _ sxvadedakacebTan erTad _ axali aRTqmis tradicia ufroa, vidre_ Zvelisa. misi aqtivoba, ezoterizmi da profetizmi saxarebiseulqalTa saxeebis kontinuumia. z. kiknaZe sidonias saxelisganmartebisas (calke aRniSvnis Rirsia mkvlevris damsaxureba,,moqcevais” personaJTa saxelebis tipologiisa da etimologiisadadgenis saqmeSi) aRniSnavs, sidonia ,,cidonel qals” undaniSnavdeso. egeb Rirdes dasamateblad, rom zogi mosazrebiT,finikiur qalaqs cidoni nadirobisa da mesaTxevleobis Rmer-Tis _ cidis pativiscemiT ewoda. da Tu ,,cidoni” finikiuradmarTlac ,,Tevzs” niSnavs, qristologiaSi ki Tevzis simbolikazelaparaki sruliad zedmetad iTvleba, es kidev ufroSTambeWdavs xdis sidonias ara mxolod saqmes, _ saxelsac.z. kinaZis dakvirvebiT, mcxeTidan ebraelobis gadaxvewa,romelic abiaTaris gaqristianebasa da mgznebare qadagebasmohyolia, unda miuTiTebdes baginis _ religiuri centris _ngrevaze ebraelTa cnobierebaSi. mkvlevris azriT, mcxeTidangafantuli ebraeloba usafrTxo adgils moZebnida da iq damkvidrdeboda,sadac qristianobas jer kidev ar hqonda saxelmwiforeligiis statusi. egeb, marTlac aman ganapiroba istoriuladebraelobis koncentracia Sida qarTlsa da dasavleTsaqarTveloSi?297

a Tqma unda, mkvlevari gansakuTrebul yuradRebas uTmobsqarTlis moqcevis mTavar aqtorebs. CvenTvis sainteresoamsjeloba ,,axal mefe” _ mirianze.zurab kiknaZis azriT, TxoTis mTaze ,,mzis dabnelebis”cnobil epizodSi ormagi mniSvnelobis movlenasTan gvaqvs saqme:mirians, rogorc warmarTuli qveynis mefes, fizikuri mzisdabnelebiT sulieri Zalebic daeSrita. miriani monadirea daes atributi niSandoblivia ara Zveli, aramed axali aRTqmisqronotoposSi moqmedi personaJisaTvis. da Tu suli monadirea,romlis nanadirevic qristea, qarTuli narativi qristesnaTels moanadirebinebs mirians. sagulisxmoa farnavazis konteqstismoxmobac: man ganZs miagno da aman aqcia mefed. mirianic,,ganZiT” brundeba mTidan, romelic mas axali Jamis mefedgardasaxavs. erTicaa: mirianma moinadira qriste, magram arsebiTad,TviT iqca qristes nanadirevad.mkvlevari xazgasmiT aRniSnavs mirianis transformaciasTxoTis mTis epizodis Semdeg _ mrisxane da ZalSemosili mefidanis morCil qristianad iqceva: TiTqos TxoTis mTazevestovebs kerpebsac da sikerpesac.dabolos: mravalTagan erT-erTi axleburi TvalsazrisisTaobaze, romelic, zogadad, sakralursa da, kerZod, cxovelsvets anu sveticxovels exeba.zurab kiknaZis dakvirvebiT, RmerTma airCia ,,sveti” aramisi bunebrivi _ naZvis _ saxiT, aramed maSin, roca is ,,mokvda”,oden saSen masalad gamosayenebeli Seiqna. Semdeg ki,RvTis Zalis CareviT, mas mieniWa imaze meti cxovelmyofloba,vidre _ sxva ,,cocxal” xeebs. aq RmerTma Tavis Tavze _ uxilavze_ miuTiTa svetis _ xilulis meSveobiT.* * *zurab kiknaZem morigad scada, Tandrouli mkvlevrisRvwisa da inteleqtualuri garjis magaliTi moeca: ecxovraawmyoSi, ise, viT _ warsulSi, da _ piriqiTac.298

TargmaniTRANSLATIONsaxli: gatexili da gamTelebuli gulebijon hili *jon hili humanitarul mecnierebaTamagistria (MA), romelsac xarisxebifilosofiaSi dublinisa da amerikiskaTolikur universitetebSi mieniWa.man ciurixSi, k. g. iungis institutidaamTavra, 1973 wlidan iungianelifsiqoanalikosia, ciurixisanalitikuri fsiqologiis saerTaSorisoskolaSi sxvebs analizSi amzadebs.misi publikaciebi Semdeg sakiTxebsexeba: asociaciuri eqsperimenti,kelturi miTi, jeims joisi da saxlismniSvneloba, sizmrebi da qrisatianulimisticizmi.Cemi sakuTari saxlisaxli Cveni cxovrebis ambavs, istorias ayalibebs daqmnis. Cemi, burusiT moculi ambavi, irlandiaSi daiwyo. memiTxres, rom Cemi cxovrebis pirveli Tveebis manZilze imdenivitire, rom Tiaqris gamo saoperacio gavxdi. saxlidan saSo-Si, sayrdengamoclil garemoSi gadasvla, mijaWvulobis potenciasazianebs. mis aRdgenas SesaZloa mTeli cxovreba das-Wirdes. SesaZloa zogierTma Ramis koSmarma CemSi, adreulasakSi rom mimatoves, imis cocxali mogonebebi Semoinaxa. rodesacoTxi wlis viyavi tuberkuliozi damemarTa. ar SemeZ-* did madlobas vuxdiT baton jon hils da gamomcemloba SpringJournal Books, New Orleans, Louisiana, 2009, rom maT neba dagvrTes winamdebarestatia gveTargmna da Cvens JurnalSi dagvebeWda (saredaqciokolegia). aseve madloba gvinda movaxsenoT rezo korinTelsda Tamar ciciSvils sagulisxmo profesionaluri rCevebisaTvis.299

lo ra siaruli, warmosaxviTi saxli Sevqmeni. es saxli imori wlis manZilze, romelic saavadmyofoSi gavatare, warmosaxviTimSoblebiT iyo dasaxlebuli. Cemi warmosaxviTi mSobliurimxare da morwmune deidis regularuli monaxulebadamexmara mZime gansacdeli gadametana, romlis gacnobierebaCems gonebas naklebad SeeZlo.mama gardaicvala, rodesac TerTmetis viyavi. me mjeroda,rom mama zecaSi iyo. stresis dros vloculobdi da mas daxmarebasvTxovdi. mogvianebiT, rodesac deida, biZa an ojaxisaxlo megobari midioda am qveynidan, vgrZnobdi, rom raRacdaemata Cems cxovrebas. deda im ojaxs miekuTvneboda, romelicwinaparTa nakvalevs inarCunebda. wignebi,naxatebi, mavzoleumi am xangrZlivi istoriis amsaxveliniSnebi iyo. SesaZloa adamianTa dakargviT gamowveulma adreulmagancdebma, warmomavlobis xilulma niSnebma, da kaTolikemRvdlebis mudmivma Segonebam im qveynis, miRmuri samyarosarsebobis Sesaxeb, mimiyvana im daskvnamde, rom me erTirgoli var TaobaTa grZel jaWvSi. adreuli asakidan gavacnobiere,rom saxli, romelic Cemi piradi cxovrebis ambavs Seicavda,gacilebiT vrcel teritoriaze ganfenil landSaftSiiyo SeWrili.mTeli im wlebis ganmavlobaSi, romelsac siymawvilehqvia, umamo saxlSi, sadac qalebiT viyavi garemoculi, Cemisaxli dedaCemi, Cemi da da mosamsaxure iyo. dedas garTobada mxiaruleba uyvarda. xSirad maZlevda rCevas, rom vyofiliyavisocialuri da xalxTan urTierTobiT mimeRo siamovneba,gansakuTrebiT wveulebebze da sportSi. imedi hqonda romme bankiri gamovidodi an britaneTis armias SevuerTdebodi.misTvis miuRebeli aRmoCnda Cemi arCevani meswavla filosofia.erT dRes gadavwyvite misTvis sazrisis mniSvnelobaamexsna. man icina da Tavis amxanagebs uTxra, rom erTaderTisazrisi, romelic man icoda, es namcxvrebis sazrisi iyo. mevicodi rom dedas vuyvardi, magram mas ar SeeZlo gaego vinviyavi da gansakuTrebiT is, Tu ris gakeTebas vcdilobdi. Cvenimosamsaxure sxvanairi iyo. is miwasTan axlo myofi (womanof land) qali iyo. ojaxSi Cem dabadebamde movida da mTeli sicocxleCvens ojaxs miuZRvna. is saocari siTboTi da sakvebiTuzrunvelgvyofda, rac dedaCems ar SeeZlo. mas CvenTanraRac uZvelesi irlandiuri memkvidreobidan momdinare intimuriurTierToba hqonda. Soreuli warsulis wes-Cveulebebis,crurwmenebis, gansacdelebisa da ocnebebis Sesaxeb gviambobdada gviqmnida samyaros, romelSic mcenareebi, cxovelebi da300

adamianebi TiTqosda urTierTobaTa uxilav badeSi iyvnen Caqsovilebi.mogvianebiT amgvari urTierToba CemTvis gagebuliiyo, rogorc miwa dedasTan * arqetipuli kavSiri, kavSiri, romelicsulis Wrilobebs kurnavs. pansionSi swavlisas gavacnobiere,rom nostalgia mtkivneuli da piraduli problemaa.am instituciis vrcel, upirovno da usaxo saklaso oTaxebSi,sasadiloebsa da dortuarebSi ** Tavs dakargulad vgrZnobdi.yoveli semestris dasawyisSi Cem suls ramdenime kvira sWirdeboda,rom im garemos Segueboda da is misTvis megobruligamxdariyo.SveicariaSi Camosvlis Semdeg kargi wlebi mqonda. saxligaxda qorwineba, Svilebi da profesia. miuxedavad im siRaribisa,romelic qorwinebis pirvel aT weliwads axlda Tan,ara mgonia odesme ufro daculad megrZno Tavi, odesme iseganxorcielebuliyo gaziarebuli saxlis gancda, rogorc esCems moyvarul da erTgul meuRlesaTn moxda; metad mimeRomonawileoba cxovrebasa da ori araCveulebrivi biWis CamoyalibebaSi,rogorc es maSin moxda. Cemi ojaxuri cxovreba mkafioddediseuli iyo, socialuri ki mxolod colis ojaxsada amxanagebis garemocvaze vrceldeboda. mogvianebiT CvenainzidelnSi lamaz xis saxlSi vcxovrobdiT. es aris pataraqalaqi masiuri bazilikiT, sadac Savi madonaa moTavsebuli.es qalaqi Tavisi mdebareobiT didebul alpur landSaftSiaSeWrili da Tvalwarmtaci tbis maxloblad mdebareobs. mravalisaaTis ganmavlobaSi vmuSaobdi baRSi, rom SedarebiTdablobiani Sveicaria feradovani buCqebiTa da yvavilebiTmorTul kldovan da kaWarian *** peizaJad meqcia _ patara irlandia!dgeboda iseTi droc, rodesac nostalgia mipyrobda daCemi mSobliuri miwa da kultura menatreboda. yovel weliwadsirlandias vstumrobdi, raTa sakuTari Tavi imaSi damerwmunebia,rom Cemi samSoblo ki ar gaqreboda, aramed iarsebebda,rogorc Cemi identobis, TviTSegnebis nawili. sizmreb-*teqstSi miTiTebul inglisur sityvas pirdapiri mniSvnelobiTqarTuli dedamiwa Seesatyviseba _ n. R.** dortuari _ moswavleTa saerTo sawoli oTaxi daxurul saswavleblebSi(institutebSi, pansionebSi).*** kaWariani aris uwylo adgili, sadac riyis qvis msgavsi qvebia _n. R.301

ma irlandiaze, kelturma miTebma da Tanamedrove irlandiurmaliteraturam kvlav damibruna am warmomavlobis, Cemi fesvebissimdidre. man Cemi axali cxovreba gaamyara. TiTqosda,imisaTvis rom CemSi Tavdapirveli samSoblos cxoveli mexsierebaSemenarCunebina, konkretuli sensoruli xatebi kvlav dakvla brundebodnen: zRvis xma, torfis suni anda irlandiurixalxuri musikis melodia. dRes, rodesac SveicariaSi aravar, me ara marto alpornis * musika menatreba an Sveicarulipralinebis ** gemo, aramed Cemi SeZenili samSoblos Tvalwarmtacisoflebi, daburuli tyeebi da saocari mTebi. me undavxedavde, mesmodes an ynosviT SevigrZnobde Cems samSoblosmaSinac ki, rodesac ar var iq fizikurad. frangma filosofosmamerlo-pontim erTxel dawera: “sxeuli ar aris saganisaganTa Soris, aramed gza, romliTac Cven samyaros mivekuTvnebiT”.axla, mas mere rac mowifulobis xanis mravali gansacdeligamoviare, Cemi cxovrebis bolo monakveTSi Sevdivar.Sinaganad ufro fesvgadgmulad da sakuTar saxlSi vgrZnobTavs, vidre manam. dasawyisSi Cemi cxovreba anglo _ irlandiuritradiciiT SeTxzuli imedebi, molodinebi iyo, romlebicSinagan mTvlemare mes ver eguebodnen. es molodinebi daimedebi bunebis utyv gzebs ukavSirdebodnen, Cemi bavSvobismosamsaxures, romelmac xorci Seasxa miwa dedis saidumlos.mogvianebiT yovelives sxvadasxva me daemata, sxvadasxvadros, sxvadasxva Zlier pirovnebasTan identifikaciis gziT.me SemiZlia Cems mier aSenebuli saxli Tavisi naTeli daCrdilovani mxareebiT miviRo. SevZeli, nawilobriv mainc, irlandiislandSaftebi sxva mSobliur miwebze gadmometana,gansakuTrebiT Cems mier SeTvisebul saxlebSi _ Sveicaria daberZnuli kunZuli patmosi _ romlebSic da sadac yovel weliwadsvbrundebi. Cemi irlandiuri suli kmayofilia zRviT,unayofo kldeebiT da am wminda kunZulis patara samlocveloebiT.axla me bevri axlobeli myavs, Cemi yofili colisCaTvliT: Svilebi, Zvirfasi amxanagebi, Tanamoazre kolegebi.me maTTan erTad gaviziare cxovrebis drama. mxolod am bolowlebSi viswavle Tu rogur unda gameRrmavebina megobro-* alporni anu alpuri rqa aris bukis msgavsi grZeli formis xalxuriinstrumenti _ n. R.** SaqarSi amovlebuli Txili, romelsac Sokoladis dasamzadebladiyeneben _ n. R.302

a, rom igi saerTo, mniSvnelobiT avsili gamxdariyo da Sez-Ruduli dediseuli garemos sazRvrebs gascileboda.saxli cnobierebis funqcias iZens, xdeba urTierTgagebis,konsensusis aRmniSvneli cneba da gza, romlis saSualebiTacyalibdeba urTierToba sxvebTan da kosmosTan. igimSoblebTan erTad daiwyo da mogvianebiT mas Cemi sakuTariojaxi, bavSvebi, partnioroba, mistika, axlo piradi da kolegamegobrebi daemata. es aris xelovneba, romlis Seqmnas mTelicxovreba Wirdeba. misi istoriis erTi nawili Seicavs kav-Sirs, siyvaruls sxva mniSvnelovani adamianebis, saxlebis, ba-Rebis, cxovelebis, landSaftebis, eklesiebis, ideebis, musikisada xelovnebis nawarmoebebis mimarT. es SeiZlweba gavigoT,rogorc kavSiri, mijaWvuloba im mTavar urTierTobebTan,romlebic mTeli sicocxlis manZilze icvlebian. erTxel Teologmaiurgen moltmanma is mZlavri tendenciebi aRwera,romlebic adamianis cxovrebis sxvadasxva safexurs qmnian:bavSvobisadmi ndoba, axalgazrdobis wuxilebi, zrdasrulobispasuxismgebloba da sibrZne xandazmulobis asakSi. CemzeyovelTvis axdenda gavlenas induri Sexeduleba, romlis mixedviTqali uqmrod arasdros aris, rac xatovnadaa gadmocemuligandxarvas zebunebrivi Seyvarebulebis saxiT, romlebicbunebasa da cxovrebis safexurebs, periodebs ukavSirdebian.1 SesaZloa gandharvas legenda vinmem mamakacis fsiqologiasdaukavSiros. vgoneb guli meubneba, rom oTxjer viqorwine:dedasTan, colTan, sulTan da sikvdilTan. am qorwinebebmaTavi saxlSi magrZnobines. saboloo safexuri kvlavformirebis, mSeneblobis procesSia. igi Sua asakidan daiwyo.es sulis samuSaoa. Sejameba, miReba, mowoneba, aRiarebaa imistoriis, romelsac sakuTari cxovrebis ambavi hqvia, raTaSeZlo saboloo gamowvevas pirispir Sexvde. vimedovneb, romis TavSesafrebi, romlebic CemTvis Sevqmeni, SesasZloa garkveulisaxiT sxvebisTvisac gaxdnen TavSesafrebi. me vimedovneb,rom es TavSesasfrebi CemTan erTad iqnebian, rodesac mepirispir davdgebi saboloo kiTxvis winaSe: gvaqvs ki Cven ise-Ti saxli, romelic Cven mokle miwier cxovrebaze sicocxlisunariania?Cven Soris umravlesoba leibze amTavrebs sicocxles.es iqneba Cveni ukanaskneli sivrce dedamiwaze. Cemi warmosaxviTleibi SeiZleba jadosnur xaliCad iqces, romelicCemTvis ucnob teritoriaze gadamiyvans. Sopenhauerma TavismniSvnelovan SexedulebaSi Cveni sicocxlis ukanasknel sivrcesTandakavSirebuli qsovili, romelsac Cven saxls vuwodebT,amgvarad ganixila:303

`cxovreba SeiZleba daqargul naWers SevadaroT,romlis waRma mxares adamiani Tavisi sicocxlis pirvelnaxevarSi xedavs, xolo meore naxevarSi ukuRmas. ukuRmamxare ar aris iseTi lamazi, rogorc waRma, magram isufro gvaswavlis da samoZRvroa CvenTvis; igi gviCvenebsTu rogor gamoiyurebian erTad dalagebuli Zafebi~. 2saxli: arqetipuli Temasaxli da usaxlkaroba mwerlebis, poetebis, musikosebisda mxatvrebis Semoqmedebis masazrdoebeli Tema iyo. es Temakeris mudmivi Seqmnisa da masTan ganSorebis narativis, Txrobisilustraciaa. samoTxidan bibliuri gandevna, aRTqmulimiwis Zieba, babilonis tyveoba da ierusalimze glova naTelimagaliTia saxlis povniT Tu dakargviT gamowveuli sixarulisaTu wuxilis. nostalgiiT Sepyrobili odisevsis mogzauroba,poseidonis qarebiT samSoblodan gandevnili, maltiskldeebze penelopaze misi dardi da misi saboloo dabrunebasaxlSi kidev erTi didebuli ambavia Tu rogor eZiebs kacobriobasakuTar saxls. epikuri zRaprebi ekuTvnian isini erTadamians Tu mas Taobebi werdnen, narativi, Txrobaa gamZleobis,amtanobis Sesaxeb. winaswarmetyvelis, mRvdlis Tu meomrisxilvas, rwmenas da simamaces arasdros daukargavT Zvirfasisaxlis gancda, rasac didi wvlili miuZRvis ebraelida berZeni eris xasiaTis formirebaSi, rac mogvianebiT virgiliusisusaxlkaro eneasis ambavma gaakeTa, romelic romisdamaarseblad miiCneva. saxlis Tema aseve mniSvnelovania religiaSi,filosofiaSi, anTropologiaSi, politikaSi, sociologiasada fsiqologoiaSi. didma religiurma liderebma,budam, qristem, wminda franciskma, deda terezam da maTma mimdevrebma,usafrTxo ATavSesafris komforti miatoves da mTelicxovreba usaxlkaro Zmebisa da debis tanjvebis SemsubuqebasmiuZRvnes. anTropologebma mTeli msoflios masStabiTwin wamowies rituali da sakraluri sivrce, raTa mravaliaborigeni xalxis klanuri kuTvnileba da kulturuli identobagaerkviaT. anTropologi viqtor terneri, aRwerda raritualebs, romlebsac xalxi erTad aRniSnavda, `ZiriTadadmaTi jgufuri cxovrebis wesiT iyo moxibluli, cxovrebiT,romelic gamoxatuli iyo ritualis monawileTa cxovrebiseuligamocdilebiT. swored aq devs yvela is urTierTgamomricxaviTviseba, rac adamianebs aniWebs SesaZleblobas ici-304

non da itiron erTad~. 3 filosofosebi, gansakuTrebiT egzistencialurifilosofiis mimdevrebi, kacobriobas aRweren,rogorc egzistenciaSi, arsebobaSi gadagdebulebs, gadasrolilebs.sakuTari garemodan gaucxoebam adamianebi motivirebuligaxada, raTa maT fundamenturi SekiTxvebi daesvaT: vinvar me? saidan movedi? saiT mivdivar? eris liderebi warmar-Tavdnen omebs samSoblosa da patriotizmis saxeliT, rac yovelTvisar niSnavda eris dacvas, aramed maT dapyrobas daxSirad daundoblad anadgurebdnen imaT samSoblos visac ipyrobdnen.politikosebi da sociologebi gadatrialebebisada mosaxleobis masobrivi migraciis problemebis winaSe pirispiridgnen. dRes mravali milioni adamiania usaxlkaro daaxal saxls eZebs. kvlevebma gviCvenes, rom saxlis Ziebis procesiaxal kulturul lanCaftSi mtkivneuli da kompleqsuriprocesia, rasac SesaZloa Taobebi dasWirdes.Sveicariis gatexili gulebirodesac saxlze daviwye wera, raRac moxda. am raRacamgonebaSi saintereso saxiT masazrdoebeli garemos Zala Semoitana.me gamaxsenda moxuci qali, romelic alpebis ZirSipatara saxlSi cxovrobda. igi aiZules saxli daetovebina,radgan es saxli ar akmayofilebda cecxlTan dakavSirebuliusafrTxoebis Sveicarul normebs. qalis identoba Suasaukuneebisadamianis msgavsad mijaWvuli iyo sakuTar saxlTan, miwasTanda cxvris farasTan, janmrTelobis dacvis sferoSimomuSave maRalCinosnebma igi fsiqiatriulSi Casves. eqTnebimas, pirvelad Tavis sicocxleSi, bandnen da acmevdnen. masguli gautyda. ucxo garemos gamo, romelTanac ver aigivebdasakuTar Tavs, sabralod, fesvebs mowyvetili, miusafrad gamoiyureboda.ZaliT gamosaxlebiT gamowveulma Sokma gamousworebladdaaziana misi guli. rodesac ramdenime kviris Semdegmovinaxule, mxlod erTi ramis Tqma SeZlo `wamiyvane saxlSi~.me davinaxe, rom masSi cxovrebasTan ganSoreba ukvedawyebuli iyo. or TveSi igi gardaicvala.erTi ram maxsendeba nostalgiis XVIII da XIX saukuneebisevropuli aRwerilobebidan. gatexil gulebze mravalidokumenti arsebobs, romlebic, rogorc ambavi ise ikiTxeba,gansakuTrebiT Sveicariel mamakacebze, romelTagan mravalmaalpuri samSoblo datova da romlebic verasdros SeZlebdnenmzard ojaxebs daxmarebodnen. isini ucxo qveynebis jar-305

Si daqiravebul jariskacebad msaxurobdnen. mokle aRweriloba,romelic XIX saukunis leqsikonidan aris amoRebuli,nostalgiis Sedegebs agviwers:ès aris dardis forma, gamowveuli mSobliuri miwidanmocilebis Sedegad da maRali mgrZnobelobis adamianebSiSeiZleba namdvili daavadeba gamoiwvios. igi RrmamelanqoliaSi gamoixateba. aseT avadmyofebs uWirT sun-Tqva, oxraven, Zlier fermkrTalni arian; ar aqvT mSvidi,normaluri guliscema da dakarguli aqvT mada. Zili anar aqvT an sizmrebSi warsulis suraTebs xedaven. zogjeramgvari mdgomareoba uecari sikvdiliT mTavrdeba.am daavadebis mkurnalobis saukeTeso saSualeba saxlSidabrunebaa~. 4iohan Soixceri, romelic 1705 werda, fiqrobda, rom nostalgiaSveicarielebis gansakuTrebuli daavadeba iyo. cnobilyovelkvireul JurnalSi is werda:`ratom xdeba, rom Sveicarielebi, romlebic ase Tavisuflebi,Zlieri da mamaci xalxia iseTi avadmyofobistyveobaSi xvdebian, romelsac Znelad Tu SexvdebiTfrangebs, italielebs an sxva xalxebs Soris, romelTasxeulebi faqizia da Sesabamisad metad aris nostalgiisadmimidrekili?~ 5Soixceri iseTi darwmunebiT cdilobda am problemis gadaWras,TiTqos surda Sveicarieli eris reputacia gadaerCina.misi rwmeniT nostalgiis gamomwvemi mizezi dablobis haeriiyo, romelsac, alpebis gaiSviaTebul da Txel haers miCveuliSveicarielebi ver uZlebdnen. erTxelac, rodesac maTaiZulebdnen dablobSi Camosuliyvnen, mZime da sqeli haerimaTi sisxlis mimoqcevaze gavlenas axdenda, ris SedegadacmTeli sistema qveiTdeboda. isini aCqarebuli guliscemiT,uZilobiT, mwuxarebiT da samSoblos monatrebiT itanjebodnen.im Sveicarielebs, romlebic dablobSi cxovrobdnen daam daavadebiT itanjebodnen, Soixcerma wamali SesTavaza. mismixedviT aseTi xalxi unda gaemxnevebinaT, rom maT saxlSidabruneba SeZlebodaT an Tu es SeuZlebeli iyo, maSin isinimaRal mTaze an koSkze unda asuliyvnen. Tu am meTodiT nostalgiaar gnikurneboda, eqims pacientisTvis gvarjila undaSeeTavazebina, medikamenti, romelic SekumSul haers Seicavdada romelic sqel haers arteriebSi Seiyvanda da Tu es SeuZlebeliiyo, Tofis wamlis mcire doza exmaraT! 6 ar mgonia,rom Tofis wamali kargi samkurnalo saSualeba yofiliyoavadmyofisTvis.306

XIX saukuneSi nostalgiis samedicino ganmarteba fsiqologiurmaSecvala. jon ebeli, silezieli eqimi, romelicSveicariaSi damkvidrda, darwmunda, rom alpebis mkvidrni evropaSiyvelaze mxiaruli da Tavisufali xalxi iyo. misi azriT,nostalgia ubralo, arainteleqtual adamianSi, romlis-Tvisac grZnobebi kmayofilebis ZiriTadi wyaroa, ufro iCendaTavs. aseTi adamianebis sulebi ufro guliT nakarnaxevigrZnobebiT kmayofildebodnen, vidre inteleqtis ganviTarebiT.alpebis alali, gulubryvilo, magram bednieri mkvidrnifaqtobrivad ganwirulebi iyvnen am daavadebisTvis, rodesacmaT im samyaros acilebdnen, romelic uyvardaT _ ojaxi, Txebi,Zroxebi da didebuli lamazi mTebi, romlebic maT garsertyaT. es gasakviri arcaa, ambobda ebeli. rogorc ki barakebSiaRmoCndnen da mkacri, disciplinis moyvare ufrosobisxelmZRvanelobis qveS iZulebiT jariskacebad unda emsaxuraT,isini nostalgiam Seipyro. ucnob samyaroSi da iseTiadamianebiT garemoculebi, romlebic maT arc Tanadgomas daarc siyvaruls uziarebdnen, Tavs martod, dabneulad da dakarguladgrZnobdnen. isini sakuTar TavSi iketebodnen, apa-Tiurebi da mowyenilebi xdebodnen. maTi gulebi mxolod warsuliswarmosasxviTi xatebiT cxovrebas iwyebda da saxlissevda yovlismomcveli xdeboda. ebels moyavs erTi magaliTiimisa, Tu rogor umklavdebodnen Sveicarielebi nostalgias:ramdenime wlis win parizSi entlaibuxidan mamakacebiCamoiyvanes. maT did Sveicariulerbo _ karaqis sawarmoSi (Sennerei) yoveldRiuriproduqti unda ewarmoebinaT.isini manam iyvnen kmayofilebi, sanam ZroxebTan darZis produqtebTanAmuSaobdnen. magram, rogorc ki rZisproduqtebis warmoeba Sewyda, isini nostalgiam Seawuxa. 7Sveicariul kuraiens (Kureihen), xalxur simReras, romelicpirvelad naxsenebi iyo 17 saukuneSi, musikalur folklorSigamorCeuli istoria aqvs. wyaroebi gvawvdian cnobas,rom am simReras yvelaze Zlieri mamakacis atireba SeuZlia,SeuZlia mas iaraRi daagdebinos, daatovebinos brZolis velida moklas kidevac. hoperi gvacnobebda, rom daqiravebul jariskacebssastikad ekrZalebodaT estvinaT an fleitaze daekraTkuraieni radgan igi `delirium melanqolikums~ aRvi-Zebda. ebeli amtkicebda, rom am musikis zegavlena naklebadmomdinareobda melodiidan. mas unari hqonda Zroxebisa daTxebis mwyemsvasTan dakavSirebuli mogonebebi da fantaziebi307

gaeRviZebina, rac bavSvobidan icodnen daqiravebulma jariskacebma.`musika mexis dartymasaviT aRwevs alpeli mamakacebissulebSi da warmoSobs mTebis, mindvrebis, saqonlisjogebis, ojaxis da amxanagebis xatebs~. 8ebeli agrZelebs saTqmels da aRniSnavs, rom kuraiensiseTi Zala hqonda, rom Zroxebze SeeZlo zemoqmedeba.`rodesac Zroxebi im qveyanas scildebian, sadac daibadnenda igeben am simReras, maT gonebaSi warsulisyvela xati uecrad cocxldeba. maT samSoblos monatrebismRelvareba ipyrobT, maRla prixaven kudebs, miwazefexebis rtymevas iwyeben, jegaven Robeebs da giJdebian.amitomac ikrZaleboda wminda galis (Gall) * qalaqis axlos,samSoblodan mocilebul apenceler ZroxebTan kuraienissimRera an stvena~. 919 saukuneSi am simReris popularoba sazRvrebs gascda.kuraieni operaSi cnobili gaxda, rogorc `saxli, tkbilisaxli~, romelic londonSi 1826 wels Sesrulda. mravalmamusikosma, iseve rogorc beTxovenma, vagnerma, gamoiyena essimRera Tavis nawarmoebebSi.saxli: naratiuli realobaamgvarad, Cven unda vkiTxoT sakuTar Tavs: varT Tu araodesme mainc sadme saxlSi? ra xdeba, rodesac Cven sxvebs dasakuTar Tavs vcildebiT? ramdenia iseTi vinc eZebs adamians,adgils an raimes rasac SeuZlia uTxras: Sen Cemi xar da meSeni? Cven mousvenari arsebebi varT, romlebic im samyaroSigadagvagdes, romelsac SeuZlia gagvimTelos an sulac gagvitexosguli. zogierTi oqros dasawyisis gamocdilebas iZensimiT, rom dacul saxlSia gazrdili, romelic moyvarulimSoblebis qmnilebaa. sxvaTaTvis ki adreul asakSive yoveli-* wm. gali (550 _ 530 an 560) irlandieli beri da gandegili iyo. igiSveicariaSi qristianobis pirvel mqadageblad iTvleba. misi saxelimartirologiaSi IX saukunidan moixsenieba. wm. galis gardacvalebisSemdeg misi saxelobis benediqtelTa monasteri aigo, romlisgarSemo daarsda qalaqi. es qalaqi wmindanis saxels atarebsda misi gandegilobis adgilsac moicavs. wm. galis saxelobis saabatobiblioTeka, romelmac 1805 wlamde iarseba, erT-erTi gamorCeuliaevropaSi. am biblioTekaSi grigolis sagaloblebis adreulida mniSvnelovani xelnawerebia daculi _ n. R.308

ve, rac maT gars axvevia ukacrieli qveyanaa. aRiarebis maCvenebelimzeris Tu niSnis gareSe maTi dacarielebuli gulida goneba mdumarebis samyaroSi ikargeba. cxovreba gadarCenissakiTxi xdeba da zogjer ise gadaiqceva sxvisi cxovrebiTcxovrebad, rom amis Sesaxeb arc ki ici. Cven saxlis intimurobagvWirdeba, gansakuTrebiT sicocxlis dasawyisSi. intimiasazrdoebs guls da Semdgom ki ndobas adamianuri urTier-Tobebis mimarT. intimur urTierTobebs Tan sdevs pasuxismgebloba,gansakuTrebiT maT mimarT, vinc ufro sust poziciaSia.intimuroba SeiZleba macdunebeli, SecdomaSi Semyvaniciyos. rodesac ndoba erTxel Seuracxyofilia, guli tydebada samyaro mokveTili, calke mdgomi xdeba. warmoidgineT raxdeba avstrieli jozef fricis colis da bavSvebis goneba-Si, romelic ojaxur intimSi maSin cxovrobda saxlis zedasarTulze, rodesac misi Svilebi imave saxlis sardafSi 24weli iyvnen datyvevebulebi. intimuri urTierToba aRebsguls. erTxel Seuracxyofas sxvadasxva saxis split _ i anu gaxleCvaSeiZleba mohyves, romelsac rogorc wesi, intimuri ur-TierTobis damyarebis yvela mcdeloba SeuZlia mospos.saxlis intimurobis Sesaxeb mravali narativi, monaTxrobiambavi arsebobs. zogi saxlis arasdros qonis SemaZrwunebelambavs gviambobs; sxvebi fiqroben, rom maT ar aqvT unariodesme hqondeT saxli. zogic im gamocdilebaze isaubrebs,romelmac maT Zveli saxlis datovebis gamo tramva miayena.sxvebi gausaZlis tkivils gamoxataven imis gamo, rom ar SeuZliaTaxals SeeTvison. narativebi uSualod saxlze ar mogviTxroben.frangi filosofosi gaston baSliari aRwers sivrces,romelic SemoqmedebiTi warmosaxviT, imaginaciiT SeiZlebamoicva, rogorc abstraqtuli da im sivrcisagan gansxvavvebuli,romelSic cxovroben, romelic saxlis sazrisismatarebelia da romelic intimurobisa da daculobis wyaroa.10 rogorc poeturi xati da simbolo, romelic cnobierazrs uswrebs win, gadadis im saxlebis mogonebebis miRma,romlebSidac vcxovrobdiT. im wuTebSi, rodesac mogonebebida xatebi erTiandeba da warsuli awmyos msWvalavs, saxliinsaitis sivrcis intimur faseulobebs mravalvariantul simbolodaqcevs. `Cveni saxli msoflios Cveneuli kuTxea. rogorcyovelTvis ambobdnen, is Cveni pirveli samyaroa, namdvilikosmosi am sityvis yvela mniSvnelobiT~. 11saxli SeiZleba konkretuli landSafti iyos _ intimurixsnovna mTis, zRvis, udabnosi an soflis. momdevno teqstiaxalgazrda qalis saxlSi dabrunebis ambavs mogviTxrobs _309

mogzaurobas arqetipuli simboloebiTa da miTebiT SeferillandSaftSi; mogzaurobis Sesaxeb, romelmac gulis landSaftSimiiyvana, sadac TviTon da sxvebi Znelad ganirCeodnen.is kvlav daukavSirda sakuTar sawyisebs, cocxali samyaroki mas pasuxobda.`me axlaxan wavedi saxlSi da pirvelad vigrZeniamis mniSvnelob. ar megona Tu odesme ukan dabruneba momindeboda,magram rogorc ki ase moviqeci da Cemi bavSvobislandSafti davinaxe, vigrZeni, rom arasodes ar mindaaqedan wasvla. es maSin moxda, rodesac me manqaniT soflisRia da gadaSlil mxareSi mivdiodi. gza amerikulmalosma gadamiRoba. is idga da ar undoda ganZreuliyo.cota xnis Semdeg TavSi momivida azri, rom es SesaZloamiwis dedis misalmeba yofiliyo. rodesac me Cvens saxlSimivedi, mTaze, Cem sayvarel adgilas avedi. iqidanmolivlive preriebi, bizonebi da indielTa vigvamebi SemeZlodamenaxa. es iyo Cemi landSafti da ara evropisxSiri mwvane tyeebi da mindvrebi. me davjeqi da mesmodarogor mifrinavdnen gareuli ixvebi. aq samudamod SemeZlodarCena. rodesac evropaSi viyavi, CemSi raRac Seicvala.SesaZloa es analizis gamoc moxda. me dedamiwas *davukavSirdi da axla maqvs unari vigrZno is, rasac saxlSiyofnis gancda hqvia _ raRac is, risi gakeTebac manamar SemeZlo~.zogisTvis saxli niSnavs iyos sxeulSi; niSnavs Sinagangancdas, planeta dedamiwas, sivrces, romelic unda Seiqmnas.sxva narativebi saxlis Sesaxeb niSnavs iyo moZraobaSi. saxligadasaxlebis adgilis, momlocvelobis an momTabaris mnioSvnelobasiZens. aseve sulieri ganwyobilebis, romelic kargadSeiZleba gamoixatos adgilobrivi amerikelis sityvebiT:dedamiwaze yvelgan SemiZlia davdga Cemi vigvami, vinaidan Cemisuli da dedamiwa erTni varT. saxli ra Tqma unda SeiZlebapirovnebac iyos. zogisTvis saxli mSoblebTan mibmulobis,kavSiris gaxsenebis da sayvareli adamianebis gamo cocxldeba.isini Tavs saxlSi grZnoben ojaxis, Temis, klanis an erisintimur garemoSi. aris narativebi, sadac saxli arc adgiliada arc adamiani, aramed raimes gamoTqmis forma. saxli mSvenierimusikis nawyveti xdeba, mxatvris raRac suraTi, romeliRacaxati, miTi, zRapari, Caxuteba an Rrma emociuri kon-* teqstSi naxmaria “earth mother”, rac TargmanSi ufro zustad “miwisdedas”, “adgilis dedas” niSnavs _ n. R.310

taqti. kabares cnobilma msaxiobma, jorj kreislerma, er-Txel ganacxada, rom mas SeuZlia icxovros saxlis gareSe.saxli kreislerisTvis germanuli ena, musika da megobrebia. 12zogma SeiZleba Tqvas, rom saxli amqveynad ar aris. saxli makavSirebeliawinaprebTan an maTTan vinc erTxel gviyvardada vinc Cvenze adre wavida imqveynad. saxli zecaa, saxliRmerTia.am Temis gavrcoba usasrulod SeiZleba. mas biologiurifesvebi aqvs, rogorc es aRmoCnda cxovelebSi, romlebic instinqturadsazRvraven teritorias. agresiis SiSis gamo, rodesacisini mtaceblis pirispir arian, cxovelebs SeuZliaT saku-Tari bunagis, soros dasacavad imoqmedon. es instinqtia. misiadamianebSi amotivtiveba SesaZloa mijaWvulobisa da garkveuljgufSi gawevrianebis instinqti iyos, romelic mogvianebiT saxlisadmiCven grZnobebs imiT gansazRvravs, Tu ra gziT vukav-SirdebiT adamianebs, adgilebs da sagnebs. maTi erToba Cveni istoriisTviTSegnebas da misi uwyvetobis gancdas ayalibebs.imis da miuxedavad Tu vin sad poulobs saxls, muyaos yuTSiTu sasaxleSi, saxlis yovel narativSi, yovel ambavSi saxlisSesaxeb, unikaluri adamianuri bedia gacxadebuli. mogonebebisaxlis Sesaxeb cxovrebis ambis dasawyisia. zogierTi ambavinakleb dramatulia, vidre sxvebi. cotani Tu iReben saxls, rogorcsaCuqars, wyalobas. am cotas moZieba mosaxleobis imsul ufro da ufro mcire segmentSi xdeba SesaZlebeli, romlebicarasdros gadaadgilebulan da SeucvliaT sacxovrebeli.es isini arian, visac arasodes gauxedavT ukve SeCveulisaxlis miRma. maTi gulebi mas Semdeg daixura, rac erTxel ukvedaupirispirdnen imas, rasac ucxod miiCneven. rCebian daucvelebida ar SeuZliaT im simdidris Seswavla, romelic maTitradiciuli garemos miRmaa. saxli xdeba ideologia, mentalurikonstruqcia, raTa yvelaferi ise Seinaxo, rogorc yovel-Tvis iyo. gamyarebuli, gaqvavebuli struqturebi guls xelsuSlian iyos Ria axali gamocdilebebis mimarT. ucxos, migrantsan ltolvils safrTxed aRiqvamen da yvela Rones xmaroben,rom aseTi adamianebi, Cveulebriv sxva rasis an kulturis,ar SeuSvan sakuTar saxlSi, sakuTar gulSi.miuxedavad amisa, arian mkvidrad mcxovrebi adamianebi,romlebsac SeuZliaT daculobis, myudroebis wyaro iyvnen dakuTvnilebis sazrisi gamoasxivon. isini Zvel xeebs gvanan, romlebicarasdros amouZirkvavT. maTi Rrma da idumali arsebaasaxavs yovelive imas, rac maT garSemoa, ambebi maTi sulebisaki irgvliv arsebuli garemos ganuzomel, Seucnobel simdidres311

avlenen. yofierebis amgvari gza lamazadaa gadmocemuli Tomasokrohanis saxeSi. mas robin flaueri aRwers, poeti, romelicgreiT blasketSi, irlandiis sanapiros kldovan kunZulzecxovrobda. flauerma amoicno kunZulis kulturuli mniSvnelobada aRwera igi, rogorc evropis neoliTuri civilizaciisukanaskneli, xelSeuxebeli kvercxi.TomasikunZulze samoci weli cxovrobda. da es wlebi daes kunZuli cxovrobdnen masSi, mis sxeulze iyvnen damarxulebi.cxovrobdnen mis TvalebSi da mTel mis saubarsaZlevdnen formas. da es saubari iyo mSvenieri dagonebamaxviluri, egzom bevr micvalebulze mogonebebiTsavse. rodesac Cibuxs anTebda, motrialda gaxeda yures,gadmoixara Cemsken da miTxra: `Tu irlandiis mTel sanapirosmoivli, Znelad Tu ipovni sadme raimes ufro lamazs;da xSirad, rodesac marto var, vucqer kunZuls daCitebs, romlebic eSvebian da rodesac mRvimeebSi martosulizRvis moqcevis xma mesmis, mjera da mwams ès euliguli arasdros marto ar aris~. 13dRes saxlis narativis umravlesoba ar mogviTxrobsbednierebaze. sul ufro metad vismenT naambobs dakargvaze,mitovebaze, gaucxovebaze, gadasaxlebaze, nostalgiaze da masobrivmigraciaze. inglisuri sityva `world~ * warmosdgeba anglo-saqsurisityvidan weorold _ wer (kaci, adamiani) da eld (asaki)_ romlis pirdapiri mniSvnelobaa `kacis, adamianis asaki~an àdamianis cxovrebis gza~. `msoflios~ gamocdilebas pirovnebamTeli cxovrebidan iRebs. mTeli cxovrebiseuli gzaaris am gamocdilebis masazrdoebeli. msoflio, romelic danaxulia,rogorc mTeli cxovrebis gza, radikalurad gansxvavdebaim globaluri sazogadoebis cxovrebis stilisagan,romelic axla yalibdeba, sadac sivrces miT ufro naklebimniSvneloba aqvs, rac ufro mcirdeba dro. 14 rogor SeuZliavinmes Tavi saxlSi igrZnos, rodesac dro mudmivad mcirdeba,droSi sul ufro SezRuduli xar da sivrces sul ufro naklebimniSvneloba aqvs? msoflio, samyaro mxolod im terminebiTcocxldeba, romlebic dasaxlebuli sivrcis SesaxebTxrobisas ixmareba, ise, rogorc amas sityva `world~-is etimo-* msoflio, qveyana.312

logia gulisxmobs. msoflio, samyaro maSin xdeba mniSvnelovani,rodesac mas ganvlili cxovrebis amsaxveli terminebiTSevxedavT. ganvlili cxovreba gulisxmobs imas, rom es araris martosuli `me~, romelic samyaros sadRac iq, sxvaganaRiqvams, aramed ~me`, romelic garemosTan Rrma rezonansSimyofi aracnobieri sistemebidan aris Seqmnili. es `me~ mTelicxovrebis manZilze iqmneba. adamianebi qmnian samyaros, rogorcmniSvnelobaTa, sazrisTa asparezs imiT, rom gansakuTrebulimniSvnelobiT, gansakuTrebul dros ukavSirdebianimas, rac gars akravT; da am procesSi arCeven im mxareebs,romlebic mdgradia, asazrdoebs da xels uwyobs maTi arsebisgafurCqvnas. es is momentebia, rodesac, Tu baSelari davesesxebiT:Cveni arseba mkvidrdeba, saxldeba.saxli Cveni swrafmavali drois fesvebs moglejili adamianebisistoriebSi mTavari sakiTxia. igi gvaiZulebs kvlavdavfiqrdeT adamianis bedze. dRes dramatul ambebs ufromaTgan vismenT, vinc danakargi ganicada da kvlav ganagrZobsmoZraobas. usaxlkarod darCenilTaTvis saxlis Zebna da misimniSvneloba mTeli sicocxlis Ziebis sagani xdeba. saxli araris ubralod specifiuri adgili an pirovneba, aramed TavadZebnaa; is, rac identobis Ziebas saCinos xdis. is piraduliemociebi, romlebic erTi garkveuli saxlis dakargvas an povnasukavSirdeba, ukan, Cvens TavTan gvabrunebs, gvaiZulebscxovrebis mizansa da mniSvnelobaze CavfiqrdeT.ase ratom gvaiZulebs saxli, rom is veZeboT? zogs sjera,rom saxlis mniSvnelobis gageba mxolod mas Semdeg SegviZlia,rac is erTxel ukve davkargeT. xSirad Cven ver vTavisufldebiTim mogonebebisagan, romlebic dakargul saxlsukavSirdebian da romlebsac cnobierebaSi piradi cxovrebidanmotanili gansakuTrebuli, konkretuli, intimuri movlenebiSemoaqvT. isini sensorul doneze gvartyamen: xati, suni,xma an sayvareli saWmlis gemo. isini ubralod warmavali xatebi,bgerebi, gemos SegrZnebebi ki ar arian, aramed gansakuTrebulgaremoebebSi arian SeWrilebi da mudmivad meordebian.Cven maT veCveviT. isini pirad, ojaxisa da sazoagdoebis istoriasTanmWidrod gvakavSireben. Cven gvaxsovs samyaro, romelsacvendobodiT da sadac Tavs daculad vgrZnobdiT. qristianfon krokovi grZnobs, rom Cveni bavSvobis saxls arasdrosimitom ar viviwyebT, rom es samyaro yovelTvis ucvleliiyo. 15 frederik buSneri igonebs, rom arsebobda bavSvobis er-Ti saxli, romlis daviwyebasac verasdros SeZlebs. 16 adgilida adamianebi mudmivobis gancdas inarCuneben, miiswrafian mo-313

mavalisaken, maSin, rodesac sxva grZnobebi modian da midian.eva hofmani aRwers bavSvobis dakargul saxls poloneTSi. 17mas krakovis tramvais xma axsendeba da im samyaroSi, sadacyvelaferi ucvleli da nacnobi iyo, Tavs sakuTar saxlSigrZnobs. man icoda, rom misi saxli poloneTSi samoTxe ariyo, magram devnilobaSi is aseTi gaxdeboda, Tu ki igi imbrZolaSi damarcxdeboda, romelsac axal samyaroSi saxlispovna hqvia. is kvlav adreul, misi arsebis umTavresi nawilisgamomxatvel gamocdilebebs ubrundeba _ mTeli msofliosgamocdilebebs, romlebic inarCuneben, inaxaven, uwyvetobas dadanawevrebisagan, fragmentaciisagan gicaven:`rogori absurdulia Cveni bavSvuri mijaWvulobebi,rogori patara da mniSvnelobas moklebuli. ratom aR-Zravda CemSi swored is tirifis xe silamazis gancdas,rac siamovnebis gancdaze gacilebiTAmZafri iyo? ratommindoda balaxian gorakze sulisSemZvreli sixaruliTgavSotiliyavi, romelic yovlis momcveli, okeanis darida absoluturi meCveneboda? imitom rom isini pirvelebi,Seudareblebi, erTaderTebi iyvnen. swored bavSvobismcire sagnebis konturebTan mijaWvulobaa is, riTac Cveniarsi _ gamlRvali Zala, romlisganac varT Seqmnilebi_ yalibdeba da formas iZens. Cven jer ara varT gayofilebi~.18saxli da nostalgiuri mogonebebi dakarguli samoTxisTandayolili simboloebi arc erT SemTxvevaSi ar arian. sa-Taves isini gare samyaroSi miRebuli piraduli, magram kulturulida simboluri SinaarsiT gamsWvaluli gamocdilebebidaniReben. savaraudod, rodezRac xdeba maTi gaTaviseba.mexsierebis naratiul, TxrobiT ZalaSi CabeWdilebi, Cvens yuradRebasCvenive siRrmiseuli mes, TviTebis (self _ is) istoriiskenmiapyroben. isini mTlianobis gamocdilebebis Sedegia _rodesac mTlianobis Cveneuli gancda Seesatyviseboda, harmoniaSiiyo msofliosTan, romelic mTliani iyo.moTxovnileba imisa, rom am samyaroSi Tavs saxlSigrZnobde, ra Tqma unda bavSvobis im mogonebebis gavlenaa,risganac saxli da nostalgia Sedgeba. zogierT SemTxvevaSibunebrivi unari imisa rom miejaWvo garkveul adgils, pirovnebasan sagans SeiZleba ise Sesustdes, rom pirovneba iseveuunaro aRmoCndes gaabas es kavSirebi, rogorc adreul asak-Si mitovebasTan Sexvedrisas. meore mxriv, Tanamedroveobisaxali Tavisuflebis pirobebSi, mijaWvulobis instinqti SeiZlebaganusazRvreli saxiT gamovlindes _ ara marto erTi314

ojaxis, skolis, soflis an eklesiis mimarT, aramed mravalisxvadasxva saxis urTierTobebSi, skolebis, profesiebis, sacxovrebeliadgilebis, kulturebis da religiebis mimarT, imdenad,rom droc ki ar darCes sadme, romelime maTganTan TavisaxlSi igrZno. miuxedavad am SeuzRudavi SesaZleblobebisa,mijaWvuloba ar xdeba uneblied yvelasTan da yvelafer-Tan. boulbis mixedviT, es arCeviTia da damokidebulia rogorcistoriul, aseve adamianis cxovrebiseul, realur garemoebebze;gansakuTrebiT ki mijaWvulobis obieqtis unarzeasaxos, daanaxvos am pirovnebas Tu vin iyo is, vin aris davin unda rom gaxdes. 19 mijaWvuloba cocxali fenomenia daara ubralo gadawyvetileba, rodesac gvgonia, rom yvelafrisgakeTeba SegviZlia, rasac movisurvebT. es TiToeul pirovnebaSiaracnobieris, istoriis da sicocxlis Zalis gamoxatulebaa,romelic miiswrafis daculobis, kavSirebisa da uwyvetobisken.mijaWvuloba anTavisuflebs energias _ mizidvis daCaTrevis, CarTvis zogjer zizRisac ki _ romelic arqetipulipotencialis Semadgeneli nawilia. es isaa, rac adamianebs,sagnebs aseTi ZaliT acocxlebs, aniWebs erTaderTobismniSvnelobas da urTierTobebis survils aRuZravs. am Sem-TxvevaSi, mTavaria icode sakuTari Tavisa da piradi istoriisSesaxeb, raTa iyos SenSi es energia, proeqciebis miRma dainaxoda Seicno vin varT Cven sinamdvileSi.imis gacnobiereba, Tu ramdenad mniSvnelovania es arqetipulimodelebi, SesaZloa ufro advili iyos Tu bavSvoba-Si TviTebis uwyvetobis (self-continuity) mzard gaazrebasTan SewyvilebuliCvens irgvliv arsebuli garemo gangvicdia, rac,deniel sternis ganmartebiT, selfis, TviTebis ucvleli Zireulinawilia. amasTanave, ufro advilia Sekavebis da uwyvetobisgancdis SenarCuneba (ara rogorc mudmivi mdgomareoba,aramed potenciali drodadro dabrunebisTvis) Tu SegviZliaTavi davicvaT im kulturuli egzogamiis gavlenebisgan, romelebicxels gviSlian mijaWvulobis qcevis zedapiruli dapaTogenuri formebi im xangrZlivi mijaWvulobebisgan gavar-CioT, romlebic imas asaxaven, Tu sinamdvileSi rad migvaCniaCveni Tavi. es mtkice fundamentia. varT ra am fundamentiT daculebi,mogonebebi, rodesac vigrZeniT rom samyaro mTlianiiyo, Cveni TviTSegnebisa da istoriis nawili gaxda. SesaZloasaxli am samyaroSi gavigoT, rogorc selfis Zireul, umTavresnawilTan dabrunebis SesasZleblobis gamomxatveli _ dinamiuriprocesi, romelic simboluri gamocdilebebis gziTiqna gagebuli, rac Cvens cxovrebaSi imeds, daculobas da uw-315

yvetobas aRvivebs ise, rom is gardamavali procesebi gadaar-Cinos, romelic Cveneuli axali landSaftebis Seqmnis saSualebasgvaZlevs. 20sakonsultacio oTaxSi moTxrobiliistoriebifsiqoTerapevtebi TavianTi pacintebis simptomebSi, gancdebSi,imedebsa da miswrafebebSi saxlTan dakavSirebul saocradRrma da amaRelvebel istoriebs awydebian. erTi mxrivara emfatur * mSoblebs da adreul mitovebulobas SeuZliaTvinmesadmi an raimesadmi mijaWvulobis unari daazianon. meoremxriv, kompulsiebi ** nebismier fasad, nebismieri gziT miejaWvoSenTvis nacnobs, ganxiluli iyo, rogorc marcxi, Seu-Tanxmebloba im pirobebTan, romlebsac cxovreba unda SeecvalaT.sizmrebs da transfers SeuZliaT adamianebs daexmaronipovnon gzebi, Seqmnan axali mniSvnelovani urTierTobebi daxeli Seuwyon imis WeSmarit gagebas, Tu ras niSnavs sakuTarTavSi da msoflioSi Tavi igrZno ise, rogorc saxlSi. saxlifundamenturi gancdaa. Terapevtma saxli bavSvobis materialuraslad ki ar unda gaiazros, aramed analizis konteqstSiam saxlis mniSvnelobis qonas an ar qonas SeuZlia axleburiSefaseba gvapovninos.xSirad transferis *** da kontrtransferis Rrma labirinTebSipacients sakmaod eZleva SesaZlebloba warsulisaganganTavisufldes. Cven Soris maT, vinc saxli dakarga damitovebuli aRmoCnda, transferis Rrma da ormxrivi kavSirisasSesaZlebloba eZlevaT SeakeTon an aRidginon is rac daikarga.konfliqti, romelic Tavs iCens aseTi analizis dros,ufro farTo problemis winaSe ayenebs fsiqoanalitikoss: miiRosTu ara uaryofili bavSvi mozrdil pacientSi. es SinaganibavSvi iSviaTad eTanxmeba mozrdili samyaros wesebsa dakanonebs, gansakuTrebiT im normebs, romlebic SeiZleba imadreuli normebis msgavsi iyos, romelbic misTvis damangreveliiyo. erTxel ukve mitovebuli, igi ver xvdeba Tu ratomunad wavides fsiqoanalitikosi dasasveneblad, anda, rodesacprocesi iwyeba, ratom unda Sewydes igi uecrad imis gamo,rom analizisTvis gankuTvnili dro amoiwura, anda ratom un-* empaTia _ (fsiq.) TanagrZnoba.** kompulsia _ (fsiq.) akviatebuli ideebi.*** transferi _ (fsiq.) gadatana.316

da yavdes fsiqoanalitikoss sxva ojaxi, romelsac igi ufromet yuradRebas uTmobs, vidre analizisas naSvileb bavSvs.fsiqoanalitikosi, yvelasTvis visac Wirdeba, ver gaigivdebasaxliT uzrunvelyofis fantaziasTan. magram fsiqoanalitikosmaunda aRiaros, rom sibrazes da mrisxanebas, romelicpacientis moTxovnebis verSesrulebas ukavSirdeba, Tavisi adgiliaqvs. fsiqoanalitikosi amgvari mrisxanebis mimarT Semwynarebeliunda iyos, vinaidan yovelive amis ukan adreuliimedgacruebebi iCenen Tavs. rodesac erTxel analitikuri wiaRsvlebida warsulis tkivilebi cnobierebas miaRwevs, pacientiSeZlebs mitovebulobis sasowarkveTisagan ganTavisufldes.mas ecodineba, rom analitikur partniors, rogorcmowmes, SeuZlia igi daculobis, kavSirebis da uwyvetobisaxali mniSvnelobebiT ise aRWurvos, rom adreuli tramvulimovlenebi ubralod, umizezod aRar ganmeordebian.fsiqoTerapiis dros garemo ise unda iyos mowyobili,rom sulis faruli tragediebis mosmena SesaZlebeli iyos.axalma Terapiulma urTierTobam SeiZleba iseTi konteqstiSeqmnas, romelmac saxlis mniSvneloba gadaafasos. Terapiuliseansis dros mravali adamiani moyveba manamde uTqmeliZaladobisa da Seuracxyofis ambavs, ramac maTi cxovreba gaanadgura.isini Znelad Tu igoneben TavianT bavSvobas da garkveviTmxolod SiSis, sibrazis, imedgacruebis, danaSaulisda sircxvilis gamomxatveli terminebiT SeuZliaT gamoTqvansaTqmeli. xSirad Txroba erTiani ar aris da ambavi areuladan fragmentuladaa moTxrobili. Tu fsiqoanalitikosi Carevasgadawyvitavs, SeiZleba aRmoaCinos, rom mas win pacientisdamcavi sistema gadaeRoba, romelic didi xnis siCumeSi Tav-Sefarebuli TviTebis (self_is) birTvs, gulis guls darajobs.bavSvobaSi miRebul zians SesaZloa Sorsmimavali Sedegebihqondes. xatebma an sizmrebma SesaZloa gamoamJRavnon ragrZnobaa, rodesac amgvari saxli gaqvs. zogisTvis saxli sapyrobilea,sacxovrebeli fanjrebisa da karebis gareSe, ukacrielan gayinul landSaftze aRmarTuli koSki. warmosaxvebikanis gareSe yofnis Sesaxeb, qvad gadaqcevaze an cocxlad damarxvaze,aRweren im adamianebis tanjul cxovrebas, romlebsaceSiniaT sakuTarma mouTokavma, ukontrolo identobam Signidanda garedan dausruleblad ar daaSinos isini. zogjeraseTi adamianebi imdenad marto grZnoben ATavs, rom eSiniaTar gagiJdnen. fsiqoanalitikosisTvis advili ar aris SeaRwiosamgvar sacxovrebelSi. erTxel dapatiJebulebma meore adamia-317

nisadmi empaTiiT, moTminebiT, gagebiT SeiZleba yvelaferi SevcvaloT.rogorc dapatiJebulma stumarma, fsiqoanalitikosma undadaafasos meore adamianis Sinagani samyaros stumarTmoyvareoba.zogjer man SeiZleba arc ki icodes am saxlis wesebi.SesaZloa uxerxulad, mouxeSavad igrZnos Tavi da arasworadgaigos am stumrobis mniSvneloba. erT-erTma pacientma mom-Txova, rom yovelTvis dabal xmaze melaparaka. meores TamaSiundoda, magram moiTxovda, rom yovelTvis is unda yofiliyomogebuli. am Sinagani TavSesafris kanonebi SesasZloa ucnaurida araracionaluri aRmoCndes, magram frTxili analizisSemTxvevaSi, SeiZleba aRmovaCinoT, rom maTi SeqmnisTvis Zalianseriozuli mizezebi arsebobs. monaTxrobi, romelzedacvisaubrebT, gviCvenebs Tu ra saocari unari aqvs bavSvs damcavisistema Seqmnas, raTa SeinarCunos identobis, kuTvnilebis,uwyvetobis gancda gansakuTrebiT maSin, rodesac saxlisgaremo ver asaxavs WeSmarit, namdvil self‐s:mTeli Cemi TviTSegneba wageba-mogebis devna iyo.bavSvobaSi versad vgrZnobdi Tavs saxlSi _ sakuTarTavSic ki. magram Tu TamaSs movigebdi, mqonda uflebamearseba da vgrZnobdi, rom garkveul adgils an vinmesvekuTvnodi. Cemi TviTSegneba mogebaze aSenda. saxliarasdros mqonia. me is TviTon unda Semeqmna. yoveli garemoebamudam unda amewona, rom menaxa vergebodi Tu aramas _ mqonda Tu ara Sesaferisi tansacmeli, an iyo Tuara Cemi naTqvami Sesaferisi da swori. da radganac SinaganikuTvnilebis grZnoba ar gamaCnda, me is Tavad undaSemeqmna.zogierTi ambavi saxlis Sesaxeb savsea moulodnelobebiT.maT SeuZliaT aamaRlon guneb ganwyoba da tanjuli suliubedurebebisgan myisierad gankurnon. erTxel rujerommiambo Tu rogor Cadioda xolme stumrad samxreT italiaSi,winaparTa saxlSi:Cven qalaqSi vcxovrobdiT. rodesac bavSvi viyavi,xSirad mivdiodiT sofelSi da Cveni winaprebis saxlsvstumrobdiT. Cemi naTesavebi isev im saxlSi cxovrobdnen.bebia Zalauflebis mqone da Zalian Zlieri qaliiyo. mas ar uyvarda, rodesac xeebze avdiodi. eSinoda,rom zeTisxilis xes SeiZleba CemTvis evno. mamas vexvewebodi,CemTvis xe eyida, rom masze asvla SemZleboda. manmiwis patana nakveTi iyida, romelzedac zeTisxilis ram-318

denime xe izrdeboda. es patara oqros sabadoa. igi yovelwels ramdenime aseuli litris zeiTunis zeTiT gvamaragebs,rac sakmarissze metia mTeli ojaxisaTvis. mamaSiSobda, rom erT dRes me SeiZleba nakveTi gameyida.arasodes gavakeTeb amas. me SeiZleba yvelaferi gameyida,magram mindori ara. Cemi zeTisxilis mindori...is eklesiasaviTaa.garemomcveli landSasftisa da am miwaze mcxovrobeimoxucebis msgavsad, is arasodes icvleba. rasacar unda vakeTebde, isini ar icvlebian. isini sandoniarian. rodesac sofelSi vbrundebi, vxvdebi naTesavebsda Cem zeTisxilis mindors, vxedav rom saxlSi var.SesaZloa, rujeros naambobi saxlSi dabrunebas, rogorcnostalgiis saukeTeso samkurnalo saSualebas uWerdesmxars. igi sxvadasxva qveyanaSi cxovrobda, magram usaxlkarobisRrma gancda ar ganucdia, romelic dabneulobas, dezorientaciasda Sekavebis unaris dakargvas iwvevs. am xnis ganmavlobaSimxolod erTxel moinaxula sayvareli zeTisxilismindori da es iZulebiT ar gaukeTebia. rujero aRwerda, rommSoblebTan misi urTierToba rTuli iyo. isini garegnuladzedmetad mzrunvelebi iyvnen; Sinaganad ki grZnobda, rom misiar esmodaT da uaryofili iyo. miuxedavad amisa, mas axsovscocxali urTierTobis wuTebi, rodesac mTeli misi arsebamaT TvalebSi iyo areklili. erTi aseTi wuTi zeTisxilismindvris SeZena iyo. gansakuTrebiT mniSvnelovani ki is iyo,rom rujeros mamam, miuxedavad Zalauflebis moyvare bebiiswinaaRmdegobisa, mas mxari dauWira. am qmedebam misi, rogorcmamakacis TviTSegneba gaaZliera, rac ase mniSvnelovania imkulturebSi, sadac qali SeiZleba didi Zalauflebis mqoneiyos. masSi aman winaprebTan kavSiri warmoSva da simdidriTaRsavse momavali aRuTqva. misma sulma uwyvetobis da kuTvnilebisgancda SeiZina, Sinagani sazrianoba, simarjve, raTaSeZlos momavlis gamowvevebs daupirispirdes. saxli zeTisxilismindori ar iyo, aramed is mindori ganasaxierebda gareda Sinagan realobas, sinamdviles ramac cvalebadobas gauZloda rujeros moutana gancda, rom is sando samyaroSicxovrobs.zeTisxilis mindvris ambavi selfTan da samyarosTan _ojaxTan, kulturasTan da soflis garemosTan sulieri naTesaobisfundamentur gamocdilebas gviCvenebs. saxli Sinaganisinamdvile xdeba, romlis Tan waRebas rujero, sadac ar undawavides, yvelgan SeZlebs. mas SeuZlia Tavdapirvel saxlTanadreuli mijaWvulobebis da kuTvnilebebis iseT xa-319

isxs miaRwios, rom cxovrebiseul garemoebebs Sesabamisadda SemoqmedebiTad Sexvdes. mogoneba zeTisxilis mindonze arSenaxula rogorc fiqsirebuli kadri, aramed, rogorc Sinaarsismqone mdidari wyaro, romelic misive garemodan damaxsovrebuli,aRnusxuli magaliTebidan SeiZleba gacocxldes.mSobliuri miwis nayofieri mindvrebis msgavsad, igi im gaurkvevel,jer ar gansazRvrul potencialad darCa, romelicgonebaSi drodadro gazafxulze mogonebebs acocxlebda,gansakuTrebiT im wuTebSi, rodesac zamTris sibnele ase yovlismomcveliCanda. igi imedisa da ganaxlebis uSreti wyarogaxda, aavso im saimedo narativis perspeqtiviT, romliTac manunda Seicnos Tu vin iyo da vin SeiZleba gaxdes.daskvnaes mokle esei gadamuSavebuli variantia im eseis, romelic1996 wels davwere. 21 saxli Cemi, rogorc pirovnuli, aseveprofesiuli cxovrebis uwyveti `Targmanis~, interpretaciissaqmianoba iyo. mogonebebi mdinareebze, mindvrebze, zRvebze,saxlebze, soflebze, adamianebze, romlebic me miyvardaan mZulda, agrZeleben TavianT qmedebas, rogorc informaciismomcemi da masazrdoebeli wyaro. am mogonebebs cnobierebaSiis monaTxrobi ambebi SemoaqvT, romlebic daikargnen an daiTrgunenCemi cxovrebis gzaze. saxli adamianTa cxovrebis istoriaa.naklebad mniSvnelovania es ambavi `kargia~ Tu `cudi~.arcerT adamians an ers ar surs rom maT maTive cxovrebisbneli mxareebi Seaxsenon. Tu Cven uars vityviT gvaxsovdesisini, albaT maT isev gavimeorebT. ambavi saxlis Sesaxeb ufrosaintereso xdeba Tu maTSi aRwerilia ra gzebiT angreven daaSeneben adamianebi pirovnul da koleqtiur memkvidreobas.fransua bondim, Sveicarelma eseistma, erTxel Tqva, rom Tanamedrovekacobrioba gatexili kacobriobaa. saxlze monaTxrobiistoriebi xSiradaa gulis gamTelebis da gatexvis Sesaxeb.didi istoriebi gulis Sesaxeb aris imaze, Tu rogor avagoTTavSesafari sevdis am organosaTvis, romelsac martooba daamave dros, sxvebTan kavSiric Wirdeba.Mme ar vfiqrobdi warmemarTa saubari da Sesabamisad dameweraes statia iungianuri odiseisTvis. me es Cemi ZvirfasimegobrisTvis, jon o’donohiusaTvis gavakeTe, romelic samwuxarod2008 wlis inavarSi gagvSorda. misi cxovrebisa da saqmianobissapativcemulod minda misive sityvebiT davamTavro:320

veravin ganicdis Sens cxovrebas ise, rogorc Sen;Seni cxovreba gamocdilebebis da grZnobebis sruliadunikaluri istoriaa. arcerTi individi ar aris dabeWdilian hermetulad TviTCaketili. miuxedavad imisa, romyoveli mSvinvieri suli (soul) ganumeorebeli da individualuria,misi bunebis umTavres nawils urTierTobaswyuria. Sesabamisad es Seni mSvinvieri sulia, romelsacswyuria sxvas ekuTvnodes da es Cveni mSvinvieri sulia,romelic yvela kuTvnilebas SesaZlebels xdis. arcerTimSvinvieri suli ar aris kerZo, piradi. arcerTi mSvinvierisuli ar aris ubralod mokvdavi. Seni piradi cxovrebisvitaluri sawyisis msgavsad, Seni suli mSvinvieriuZvelesi da maradiulia; is sulis (spirit) im did da didebulgobelenSi gaqsovs, romelic yvelgan yvelafersakavSirebs. 22 gamoyenebuli literatura:1 Alwyn and Brinley Rees, Celtic Heritage (London: Thames and Hudson,1961), p. 276.2 Arthur Schopenhauer, Essays from the Parega and Paralimpomena (BailySaunders, London Penguin), p. 102, in Susan Pollard, Celibacy, Chastity andIndividuation: Can the Abyss of Loneliness Transform Into a SustainingSpace? (Unpublished Thesis: C.G. Jung Institute Zurich: 2000), p. 38.3 Victor Turner, The Ritual Process (New York: Aldine de Gruyter, 1969), p.vii.4 The Popular Encyclopedia (London: Blackie and Son, 1859), vol. IV, p. 783.5 Johann Jakob Scheuchzer, “Von den Heimwehen,” in Seltsame Natugechichte,Wochentliche Erzählung, 17 May, 1705, Radio Interview in Das Monagsstudio,die unaussprechliche Begierde nach der Heimat, ed. M. Heule andC. Schmid-Cadalbert (DRS 2, January 1992).6 Ibid., Scheuchzer, Natur-Historie des Schweitzerlandes (Zurich: In der BoderischenTruckerey, 1716), p. 12.7 Joh. Gottfried Ebel, Schilderung der Gebirgsvölker der Schweiz (WolfischenBuchhandlung, 1798), p. 416.8 Ibid, p. 419.9 Ibid, p. 421.10 Gaston Bachelard, The Poetics of Space (Boston: The Beacon Press, 1969), p. 5.11 Ibid., p. 4.321

12 Christian Buckard, “Ich kann sehr gut ohne Heimat Leben,” in Tages-Anzeiger,(Zurich: Tamedia Verlag) December 5, 2005, 5699 http://www.tagesanzeiger.ch/service/archiv/13 Robin Flower, The Western Island; Or, the Great Blasket (Oxford: The ClaendonPress, 1973), p.14.14 Gerard Delanty, Citizenship in a Global Age (Buckingham: Open UniversityPress, 2002), p. 82.15 Christian Graf von Krockow, Heimat (Munich: DTV, 1992), pp. 8-10.16 Frederick Buechner, The Longing for Home (San Francisco: Harper, 1996),p.11.17 Eva Hoffman, Lost in Translation (New York: Penguin Books, 1990).18 Ibid, p. 74.19 John Bowlby, The Secure Base (London: Routledge, 1988), p. 28.20 John Hill, “At Home in the World,” in Journal of Analytical Psychology, vol.14, no. 4 (1996): 585.21 Ibid.22 John O’Donohue, Eternal Echoes, (London: Bantam Books, 1998), p. xvii.Home: the Making or Breaking of the HeartJohn HillThe article is a Georgian translation of Home: the Making or Breaking ofthe Heart by John Hill * . John Hill, MA, received his degrees in philosophy at theUniversity of Dublin and the Catholic University of America. He trained at theC.G. Jung Institute, Zürich, has practiced as a Jungian analyst since 1973 and is atraining analyst of ISAPZURICH (The International School of AnayticalPsychology, in Zürich). His publications include the following subjects: theAssociation Experiment, Celtic myth, James Joyce, and the significance of home,dreams and Christian mysticism.* We express our special greatitude to mr. John Hill and Spring Journal Books, NewOrleans, Louisiana, 2009 for their permission to translate and publish the article inGeorgian (editorial board).322

xsovnaIN MEMORIAMlela patariZe – SemoqmedebiTi gza da ramdenime StrixiportretisaTvisroca adamiani cocxalia,naklebad fiqrob imaze Tu ratomgiyvars igi, ratom gizidavsmasTan urTierToba an raaris mis pirovnebaSi ganmsaz-Rvreli. gardacvaleba yvelaferscvlis. wertili iTxovsmanamde momxdari faqtebis sistemurgaazrebas da pasuxskiTxvaze: vin iyo is, visi dakargvaSenTvis ase mtkivneulia?wertili Cemi megobrisa da kolegis, Tanamoazris lelapatariZis amqveyniur cxovrebaSi, sawuxarod, ukve daisva. a-mitom dgas dRes Cems winaSe ase mwvaved amocana vupasuxo zemoTdasmul kiTxvas, upirveles yovlisa, Tavad CemTvis da,agreTve, yvela im adamianisTvis, vinc mas icnobda da visTvisacsicariele, romelic darCa misi gardacvalebis Semdeg,damTrgunvelia. Mme mecnieri var, mSrali da racionaluri winadadebebiTmoubari da Cems Zalebs aRemateba mxatvruladsrulyofilad warmovadgino saxe imgvarad Rrma pirovnebisa,rogoric iyo lela patariZe. am mcire moculobis werilSiSevecdebi misi Semoqmedebis ZiriTadi aspeqtebis warmoCenasda xasiaTis mxolod im ramdenime umniSvnelovanesi TvisebisgamokveTas, romlebic misi gardacvalebidan mokle droSimZafri gancdis fonze pirvel rigSi magondeba. srulyofiliportretis dawera momavlis saqmea da albaT sxva vinme lelapatariZis samegobrodan, is, visac kalami ufro emorCileba,vidre me, gaakeTebs kidec amas. Llela patariZis samecnierowvlilis saTanado gaazrebac jer kidev win aris da es sakiTxiwinamdebare mokle mimoxilviT odnavadac ver amoiwureba.lela patariZe iyo istoriis doqtori, i. javaxiSvilissaxelobis istoriisa da eTnologiis institutis mTavarimecnieri TanamSromeli, i.WavWavaZis saxelmwifo universite-323

tis profesori. magram am werilSi me mas movixsenieb yovel-Tvis mxolod rogorc lelas. Aase ufro bunebrivi iqneba Cemganmasze saubari.lela gavicani gasuli saukunis 80-ian wlebSi, rocai.javaxiSvilis Tbilisis saxelmwifo universitetis filologiisfakultetis (klasikuri filologiis ganxriT) dam-TavrebisTanave man muSaoba daiwyo i.javaxiSvilis saxelobisistoriisa da eTnologiis institutis wyaroTmcodneobis ganyofilebaSi.mosvlsTanave man SeZlo Cemi daxmareba, rac arSeuwyvetia mTeli sicocxlis ganmavlobaSi da gansakuTrebiTki bolo wlebSi, roca Cemi movalebebi da saqmeebi ZalianmniSvnelovnad gaizarda da roca sasicocxlod aucilebeliiyo CemTvis, rom myoloda adamiani, visac saqmeTa nawils mivandobdi.zemoxsenebuli pirveli daxmareba ki man ai, rogorgamiwia: roca is movida ganyofilebaSi, me viyavi ganyofilebisyvelaze umcrosi wevri. ganyofilebis gamges baton revazkiknaZes ki hqonda aseTi wesi: mdivnoba unda eTava yvelazeumcros wevrs, cxadia, Tu ki igi amas moaxerxebda. “moaxerxebda”_ s vambob imitom, rom im oqmebis wera, romlebisTvis, xelibaton revazs, rogorc sxdomis Tavmjdomares, unda moewera,metad sapasuxismgeblo saqmes warmoadgenda. Ubatoni rezonawerisadmi uaRresad momTxovni iyo, TiToeuli oqmi TavisidaxvewilobiT samecniero statias miagavda. ukve meore welivasrulebdi am saqmes. erTis mxriv, Zalian msiamovnebda batonrezosTan urTierToba da misi ndobac did pativad mimaCnda,magram amave dros es samuSao im dros marTmevda, romelicmxolod mecnierebisaTvis memeteboda da vocnebobdi Cems Semcvlelze.Aai, maSin gamoCnda lela. Bbatonma rezom mas pirvelisacdeli oqmis dawera daavala. roca lelam CanaweriSin waiRo gadasaTeTreblad,Bbatonma rezom mkiTxa: “rogorfiqrobT, SeZlebs oqmis daweras”?Mme vupasuxe: “darwmunebulivar SeZlebs, radgan ramdenime saqmiani SekiTxva momca oqmisgaformebasTan dakavSirebiT”. es marTlac ase moxda. maSinukve gamovlinda lelas ramdenime fundamenturi Tviseba: pasuxismgebloba,SemoqmebiTi midgoma yvela amocanis gadawyvetisadmi,muSaobis xalisi.Tavidan lela erTgvarad ukareba da naklebad kontaqturimeCvena magram Cven male davaxlovdiT da isic gadaiSalaCems winaSe mTeli Tavisi saocari bunebiT.ACveni daaxloebismizezi namdvilad sakraluria: qarTuli hagiografiis upirvelesiZeglis “wm.ninos cxovrebis” samecniero kvleva. me ukvesakandidato disertacia mqonda am Zeglis wyaroTmcodneobiT324

analizisadmi miZRvnili. damkvidrebuli tradiciis sapirispirodMmisavTenturobas da IV saukuneSi Seqmnas vasabuTebdi.Llelam mosvlisTanave es Zegli airCia kvlevis sagnad. oRondmiudga mas sruliad axleburad, rac gamoixata imaSi, romZeglis mimarT kulturul-anTropologiuri problemebis dasmada gadawyveta daiwyo. QqarTul istoriografiaSi amgvarimidgomis magaliTebi arc axlaa xSiri, miTumetes, iSviaTi iyomaSin. Zalian sainteresod MmeCveneboda lelas mier miRebuliSedegebi, ganuwyvetliv vimowmebdi Cems naSromebSi. es Sedegebi,istoriul-teqtologiuri Ziebebis gziT mopovebul Cemsdaskvnebs amyarebdnen. amitom mudmivi azrTa gacvla-gamocvlagvqonda da es ase grZeldeboda sul bolo dromde. Tumc Cvenaxal-axal sakvlev problemebze gadavdiodiT, magram verasodesvcildebodiT qarTvelTa ganmanaTleblis hagiobiografiisuZveles redaqcias – saswaulebrivi faqtis aRmwer am mar-Tlac saswaulebriv Txzulebas. “wm.ninos cxovrebac” mis er-Tgul mkiTxvelebs gardasuli sinamdvilis manamde dafarulimxareebis Semecnebis sixaruliT xSirad gvajildoebda.batoni rezo kiknaZe iyo lelas disertaciis xelmZRvaneli.magram batoni rezos gardacvalebis gamo me momiwia gamewiamisTvis xelmZRvaneloba. Ees arsebiTad TanamSromlobaiyo da ara tradiciuli azriT xelmZRvaneloba: lelas disertaciasTandakavSirebiT rCevebs vaZlevdi, magram TavadacaraerT sasargeblo rCevas viRebdi misgan. sadisertacio naSromSiqarTuli hagiografiuli mwerlobis Zegli “wm.ninoscxovrebis” “moqcevai qarTlisaiSi” daculi uZvelesi redaqciagaazrebuli iyo sruliad aratradiciulad, ris SedegadacaRdgenili iyo religiuri moqcevis epoqaSi qarTuli sazogadoebissamyaros suraTi. SemdgomSi es naSromi gamoqveynebuliiqna calke monografiis saxiT: “cxorebaÁ wmidisa ninoÁsi”.qarTlis moqcevis kulturul istoriuli sakiTxebi(Tbilisi, mecniereba, 1993), samwuxarod, Zalian mcire tiraJiT.mravaljer vuTxari Tavidan gamoeca. Mmagram Tavs ikavebda.saTanado masalebiT Sevsebis gareSe gamocema ar undoda, axaliproblematikiT dakavebuls ki ukve erTxel gamoqveynebulisredaqtirebis dro aRar rCeboda.90-ani wlebis miwurulidan Cvens TvalsawierSi Semovidaaxali Tema: qarTvelTa TviTcnobierebis (axla am fenomenisaRsaniSnavad ufro termin identobas viyenebT) istoria. esTema gamokveTa profesorma giuli alasaniam, romelic batonirezo kiknaZis gardacvalebis Semdgom wyaroTmcodneobis ganyofilebisgamge gaxda. erovnuli moZraobis gaSlis gamo im325

wlebSi aRniSnuli Tema gansakuTrebuli aqtualobis mqoneproblemas warmoadgenda. Sesabamis proeqtma, romelsac giulialasania xelmZRvanelobda, saqarTvelos mecnierebaTaakademiis granti mogvapovebina. erT-erT sxdomaze qalbatonmagiulim mogvca sakiTxebis CamonaTvali, romelic dasamuSavebeliiyo. Cveni interesebis Sesabamisad unda SegverCia problematikaam CamonaTvalidan. maxsovs ratomRac Zalian gami-Wirda arCevanis gakeTeba. Llelam miTxra: ‘airCie “religia daqarTveli xalxis TviTcnobiereba”’. Mme uceb mivxdi, rom sworedes sakiTxi mizidavda da myisve is avirCie. Aase gansaz-Rvra A lelam momdevno aTwleulSi Cemi kvlevis umTavresiproblematika. rogorc gamoirkva, Tavadac es problema ainteresebda,magram me damiTmo. Aaqac Cans misi pirovnebis kideverTi fundamenturi Tviseba: daTmobis unari.swored aRniSnuli grantis proeqtma iTamaSa am mimarTulebiTkvlevebis gagrZelebisaTvis impulsis roli CvenTvis.lelam didi Zalisxmeva moaxmara qarTuli identobis istoriiskvlevas da am urTulesi problemis gadasaWrelad dabeji-TebiT cdilobda dasavlur samecniero centrebSi koleqtiurkulturul identobaTa Teoriuli kvlevebis sferoSi dagroviligamocdilebis gamoyenebas. swored am mimarTulebiT ZiebaTaamsaxvelia misi naSromebi miZRvnili socialuri terminebisganmartebis Tu identobrivi cnobierebis calkeulietapebis rekonstruqciisadmi. magaliTad, SeiZleba davasaxeloTmisi statiebi “eri sityva da cneba – uwin da DdRes”(dabeWdilia krebulSi eTnikuroba da nacionalizmi I, red.d. musxeliSvili da m. CxartiSvili, 2002) da “qarTuli identoba”(dabeWdilia krebulSi saqarTvelo aTaswleulTa gasayarze,red. z.kiknaZe,.2005). orive es naSromi aris cda saqar-Tvelos istoriis faqtebi gaazrebul iqnes im Teoriuli mocemulobaTaCarCoebSi, romliTac Tanamedrove dasavlurisociologiuri mecnirebebi gvTavazoben. lelas surda aramxolod Tavad gamoeyenebina aRniSnul sferoSi dasavlurimecnierebis miRwevebi, aramed qarTvel mkvlevarTa farTowrec eziarebina maTTan. Aamis dasturia 2008 wels dastambulimiseuli Targmani Tanamedrove britaneli mecnieris _e.smiTis klasikurad miCneuli naSromisa “nacionaluri identoba”.“wm.ninos cxovrebisa” da “moqcevai qarTlisais” gardalelas gansakuTrebuli interesis sagans warmoadgenda qar-Tuli medievaluri istoriografiis umTavresi Txzuleba“qarTlis cxovreba”. man araerTi statia uZRvna am Zeglis av-326

torTa msoflxedvis ideologiuri safuZvlebis kvlevas. Aaminteresis TvalsaCino gamoxatulebaa Tundac sul bolodroindelimisi statiebi “miriani da misi mefoba: ideologiuriaspeqti” (istoriisa da eTnologiis institutis Sromebi, VIII,red.. v.kiknaZe, 2008) “mefobis idea ‘vaxtang gorgaslis cxovrebaSi’”(krebuli “saqarTvelos Sua saukuneebis istoriis sakiTxebi”,IX. red.m.CxartiSvili, 2008); “’arCilis cxovrebis’ideologia” (istoriisa da eTnologiis institutis Sromebi,IX, red. v.kiknaZe, 2009) da agreTve monografia “politikurida kulturuli identobani IV-VIII ss qarTul erTobaSi: ‘qar-Tlis cxovrebis’ samyaro”, romelic gamoqveynda sul axlaxanmisi gardacvalebis Semdgom. aRniSnul gamokvlevebSi sruliadaxleburad aris dasmuli da gadawyvetili saqarTvelosistoriisa da wyaroTmcodneobis araerTi kardinaluri problema,manamde ucnobi plastebia gamovlenili am wyaros miermowvdil informaciebSi. swored identobis sakiTxis kvlevammiiyvana “qarTlis cxovrebis” dawvrilebiTi kvlevis aucileblobamde.N koleqtiur-kulturuli identobis safuZvelzeaRmocenebuli erTobebis aRmocenebaSi da gangrZobadobaSiumniSvnelovanesi adgili xom istoriul maxsovrobas ukavia.“qarTlis cxovreba” ki aris am qarTuli erTobis koleqtiurimaxsovrobis erT-erTi adreuli da Canafiqris Tu ganxorcielebisTvalsazrisiT grandiozuli Zegli. amitom bunebrivia,rom qarTuli identobis mkvlevars am identobis gangrZobadobisgasaRebi swored “qarTlis cxovrebaSi” moeZia da misikvleva mieCnia prioritetulad.lela gulwrfelad Seyvarebuli iyo Tavis profesiaze,visac Tundac misi erTi naSromi waukiTxavs an Tundac miserT moxsenebas daswrebia, yvela dameTanxmeba amaSi. mecnierebisdidi gulSematkivari iyo. kargad esmoda, isic, rom saqar-Tvelos istoriis dargSi maRalxarisxovan gamokvlevebs aqvTara ubralod samecniero, aramed didi saxelmwifoebrivimniSvneloba. samecniero procesis ganviTarebisaTvis xelSemwyobipirobebis Camoyalibeba misi mudmivi zrunvis saganswarmoadgenda. istoriuli gamokvlevebisaTvis axali TeoriuliCarCos Zieba swored maRali xarisxis, Tanamedrove mecnierebismoTxovnebis adekvaturi istoriuli reprezentaciissurviliT iyo gamowveuli. Mroca misTvis cxadi gaxda, romnaklovanebebi samecniero Ziebebis procesSi mis saTaveSi anuganaTlebis safexurze iyo saZiebeli, rom qarTvelogiurimecnierebebis da, kerZod, saqarTvelos istoriis kvlevis,Tvisebriv ganaxleba Zneli, TiTqmis SeuZlebelia pirdapir327

samecniero praqtikidan, Zalian seriozulad daiwyo fiqri saganmanaTleblokoncefciis, swavlebis meTodebis gadaazrebaze.bolo ramdenime wlis ganmavlobaSi lela did yuradRebasuTmobda istoriis swavlebis axali Tvalsazrisis Camoyalibebas.misi fiqri da Zalisxmeva am mimarTulebiT nawilobrivaisaxa misi TanaavtorobiT daweril saskolo saxelmZRvaneloebSi,sauniversiteto saswavlo programebSi, saleqciokursebis silabusebSi., romelTa Sinaarsic da dizainic gamorCeuladinovaciuria. Aam TvalsazrisiT gansakuTrebiTminda aRvniSno ori kursi `qarTlis cxovreba~ da misi kulturul-istoriulimniSvneloba”, romelsac igi ivane javaxiSvilisTbilisis saxelmwifo universitetSi kiTxulobda rogorcmowveuli profesori da kursi “Zalaufleba da kultura”,romelic misi silabusis mixedviT dRes ikiTxeba iliaWavWavaZis saxelmwifo universitetSi.swored bolo wlebSi aRmovaCine, rom mowodebiT namdvilipedagogi iyo: uaRresad gulisxmieri studentebisadmi,taqtiani, samarTliani. axalgazrdebTan urTierTobaSi gansakuTrebiTmkafiod vlindeboda misi xasiaTis mravali dadebi-Ti Tviseba: mzaoba daxmarebisaTvis, keTilganwyoba da dedobrivizrunva.SeeZlo mieRo adamianebi iseTebi, rogorebic iyvnen. iyousazRvrod mimtevebeli, yovelTvis sxvaSi saukeTesos damnaxavi.Ees samecniero sferoSic vlindeboda: didi yuradRebiTekideboda sxvis azrs. sxvisi mosmena SeeZlo kargad da sxvisSexedulebis adekvaturad gageba. Ees ki, kolegebi dameTanxmebian,sulac araa ioli, roca Tavad gaqvs imave sakiTxze CamoyalibebuliTvalsazrisi.Bbolo wlebSi misi (da Cemic, rogorc Tanamonawilis)sixarulisa da siamayis mizezi iyo ssip qarTvelolgiis, humanitarulida socialuri mecnierebebis fondis (rusTavelisfondi) mier dafinansebuli proeqtebi ”koleqtiuri kulturuliidentobebi religiuri moqcevis konteqstSi: qarTuli magaliTiskvleva da ganzogadebani” (2006-2008) da “beWduri mediada qarTuli nacionaluri identobis wrtobis procesi:ilias iveria” (2008-2010). Ppirvelis samecniero xelmZRvaneliiyo, meores – enejeri. oriveO es proeqti Cafiqrebulia naciisinterpretaciis eTno-simbolisturi paradigmis CarCoebSi anumidgomisa, romlis qarTul istoriografiaSi danergvas marsistulisociologiis alternativad am saukunis dasawyisidanCven erTobliv vcdilobdiT. MaRniSnuli proeqtebis gamarjvebaamitomac gvaxarebda gansakuTrebiT.328

garegnulad lelas gansakuTrebuli momxiblaoba gamoar-Cevda. xveuli sqeli Savi Tma, gamomsaxveli Savi Tvalebi dawarbebi, romelsac qarTul sityvierebaSi Tqma “kalmiT naxati”Seesabameba. maxsovs erT-erT sufraze misi garegnobiTgakvirebulma Tanameinaxem, mas freska uwoda. marTlac, freskashgavda. Tumc, am silamazes yovelgvari daZabvis gareSe,rogorRac daudevradac ki ekideboda. Bbunebrivoba da uSualoba,simSvide iyo misi garegnobisaTvis gansakuTrebuli xiblismimaniWebeli damatebiTi samkauli.aseTia lela patariZis SemoqmedebiTi gza Zalian mokledda misi portretis ramdenime Strixi. gansxvavebiT TavadCemi megobris amqveyniuri cxovrebisa, romelSic, rogorc iTqva,wertili ukve daisva, misdami miZRvniTi werili aq armTavrdeba. me darwmunebuli var, rom misi axloblebi da kolegebikidev araerTxel Seecdebian adekvaturad gamosaxonis ganumeorebeli saxe, romelsac saaqaoSi mziuri saxeli _lela – ewodeboda.Mmariam CxartiSvili329

soso WanturiSviliCveni Taobis studentebs, visac wiladgvxvda bedniereba Tbilisis saxelmwifouniversitetis pirvel korpusSigveswavla, kargad axsovT batoni sosoWanturiSvili, eTnologiis kaTedrisprofesori, daxvewili inteligenti,Tbiliseli kaci, yovelTvis uaRresadkoreqtuli da keTilganwyobili, igiiyo gamorCeuli pirovneba. studentebsgviyvarda da ridic gvqonda. gviyvarda,radgan yvelas uSurvelad edga mxarSi,yovelTvis vgrZnobdiT mis Tanadgomasda gveimedeboda. ridi gvqonda ufrosi,gamocdili da ganswavluli adamianis mimarT, romlis miTiTebebicyuradsaRebi da rCevis saxiT Zaldautaneblad mowodebuliiyo.batoni soso iyo pirveli qarTulenovani, originalurisaxlemZRvaneloebis avtori eTnologiaSi, manve Seadgina eTnologiisqrestomaTia. es naSromebi dResac warmatebiT gamoiyenebaumaRles saswavleblebSi, rogorc saswavlo saSualebebi.gansakuTrebulia misi wvlili iseTi mniSvnelovani mimarTulebisganviTrebaSi, rasac saqarTvelos istoriuli eTnologiahqvia. misi `yofa da kultura V-X saukuneebis saqar-TveloSi (istoriul-eTnografiuli gamokvleva)~ (1985) ZiriTadisaxelmZRvaneloa istoriuli eTnologiiT dainteresebul-TaTvis. batoni soso WanturiSvili iyo saqmisTvis Tavdadebuliadamiani da ar icoda daRla rodesac amas saqme moiTxovda.misi Tavdauzogavi Sromis nayofia pirveli qarTuli eTnografiulileqsikoni, romlis damuSavebaSi misi mowafeebicCagvrTo.misabaZi iyo batoni sosos damokidebuleba maswavleblebisadmi,Tu rogori siTboTi da pativiscemiT igonebda maT,amis dasturia misi statiebi da mis mier organizebuli saiubileosxdoma miZRvnili misi maswavleblis, gamoCenili qar-Tveli eTnologis mixeil gegeSiZis dabadebidan 80 wlisTavisadmi(2009 22 dekemberi).gansakuTrebuli Tviseba hqonda baton sosos - igi saSualebasaZlevda axalgazrda, damwyeb eTnologebs uSiSrad moesinjaTZalebi samecniero Tu pedagogiur asparezze; Cven,mis mowafeebs igi gvandobda saseminaro an sulac saleqcio330

saaTebs, Tavadac gveswreboda da frTxilad migviTiTebda Tura iyo gasaumjobesebeli.yovelmxriv samagaliTo, saocrad Tbili adamiani da SesaniSnavimecnieri daaklda Tbilisis saxelmwifo universitets,romelic ase uyvarda baton sosos da romelSic sicocxlisbolo wuTebamde emsaxureboda axali Taobebis ara martokarg mecnierebad, aramed karg adamianebad aRzrdas.s. WanturiSvilis Sromebis sia: afxazuri musikaluri sakravebi, sabWoTa xelovneba #8, 1968. Sromis simRerebis kvlevis sakiTxisaTvis svaneTSi, ssmm, t.XXVIII-B, 1969. Saxelovani mecnieris xsovnas, sax. ganaTleba, 1970 2.12, Tanaavt.kekeliZe r. naduri simRera “odioas” sakiTxisaTvis, macne, #6, 1970. saxelovani qarTveli mecnieri (eTnograf g. Citaias dabadebis80 da samecniero moRvaweobis 55 wlisTavis gamo), skolada cxovreba #2, 1971 Tanaavt. kekeliZe r. papuasebi, eTnografiuli narkvevi, Tb. 1971, Tanaavt. narimanaSvilia. Romis kulturasTan dakavSirebuli Sromis simRerebi samegreloSi,smam, t.69, #1, 1973. qarTuli xalxuri musikaluri kulturis istoriidan, ciskari#1, 1973. svanuri xalxuri instrumenti Wuniri, Zeglis megobari #47,1978. “SuSanikis wameba~, rogorc istoriul-eTnografiuli wyaro,Tsu saiubileo krebuli „SuSanikis wameba“, gamoklvevebi dastatiebi, Tb. 1978. daviT bagrationi (cxovreba da moRvaweoba), sinaTle #11,1980. dasjis formebi adre Suasaukuneebis saqarTveloSi, Zeglismegobari #58, 1981. saqorwino urTierTobebis zogierTi detalebi V-Xss. saqar-TveloSi, sinaTle #10, 1971. musika, garToba-sanaxaoba Zvel saqarTveloSi, Teatralurimoambe #3, 1981. mejadageoba da mexamleoba V-X ss. saqarTveloSi, smam t.105-#7, 1982.331

ojaxi da saojaxo yofis zogierTi sakiTxi V-X ss. saqar-TveloSi, ciskari #4, 1982. qarTvelebisa da maTi mezobeli xalxebis urTierTobaTazogierTi eTnografiuli mxare, sinaTle #5, 1982. bavSvis dabadebasTan da naTlobasTan dakavSirebuli zogierTicnobebi V-X ss. saqarTveloSi, smam #1, 1982. ganaTleba V-X saukuneebis saqarTveloSi, Teatraluri moambe#2, 1982. aTalikobis Sesaxeb V-X saukuneebis saqarTveloSi, smam #3,1982. sameurneo yofis zogierTi mxare V-X saukuneebis saqarTveloSi(nadiroba, meTevzeoba), smam #3, 1983. yofa da kultura V-X saukuneebis saqarTveloSi (istoriul-eTnografiulikvlevis cda), Tb. 1984. eTnografiuli mecnierebis wyaroebis meTodologiuri sakiTxebi,Tb. 1987. kuruli qarTvel tomebSi, saqarTvelos universitet. X resp.Sesiis gegma da Tezisebi, 1988. struqturalizmi eTnografiaSi, ciskari #3, 1988. eTnografiuli mecnierebis mokle istoria, Tb. 1989. „qarTvlis cxovreba“ – kavkasiis xalxTa eTnikuri istoriiswyaro, aia, 1991. eTnologia, Tb. 1993.nino abakeliaqeTevan xuciSvili332

Tina oCiauriqarTul eTnologias gamoakldauaRresad niWieri mecnieri, SesaniSnavianalitikosi, namdviliprofesionali, saqarTvelos mTianeTisSvili da am regionis tradiciebisubadlo mcodne TinaoCiauri. misma umcrosma kolegamirakli surgulaZem Tina oCiaurs“mTis mematiane” uwoda. misive sityvebiT“igi specialurad gaCndamecnierebis am dargis” anu eTnologiisaTvis.marTlac Tina oCiaurisagangebod gaCnda am qveyanaze,rom Suqi moefina aRmosavleT saqarTvelosmTianeTis sulierikulturisaTvis. mas niWsa da mowodebasTan erTad, saSualebahqonda emuSava qarTuli eTnologiuri mecnierebis klasikosebisgiorgi Citaiasa da vera bardaveliZis gverdiT. gaeanalizebinaTavisi TvaliT nanaxi da gagonili, upirveles yovlisa,misi ojaxis wevrebis: aleqsi oCiauris, naTela da melaniabaliaurebis monaTxrobi, qarTuli eTnologiuri skola warmoudgeneliaTina oCiauris naSromebis gareSe. swored man axsnasaqarTvelos mTianeTis bevri saidumloebiT moculi wesida tradicia. misi meSevobiT momaval Taobas saSualeba miecagascnoboda fSavelTa da xevsurTa wes-Cveulebebsa da rwmenawarmodgenebs,sulier kulturas. gaego am kulturis bevriTavisebureba.Tina oCiauri iyo srulyofili pirovneba, uaRresad ke-Tili, kargi adamiani.Bme wlebis manZilze vmuSaobda mis gverdiT,misi xelmZRvanelobiT. viyavi misi megobrobiT ganebivrebuli.igi arsdros gagrZnobinebda gansxvavebas asaks, samecnierodonesa da rangs Soris. iyo saocrad Tavmdabali, imavdroulad,saWiroebis SemTxvevaSi, principuli, keTilganwyobilixelmZRvaneli da megobari. mis gverdiT Tavs yovelTvismSvidad, imedianad grZnobdi, yovlTvis icodi, rom gverdiTgedga erTguli, uangaro daxmrebisTvis mudam mzadmyofi adamiani.igi iyo farTod ganaTlebuli, qarTuli, gansakuTrebiTki xalxuri, poeziis SesaniSnavi mcodne, saocari iumorisgrZnobis mqone, Tavad xalasi iumoriT savse leqsebisavtori. masTan urTierToba, masTan erTad gatarebuli dReebi333

istoriis institutSi Tu institutis gareT, eqspediciebsa TumivlinebebSi STabeWdilebebiT savse, yovelTvis sainteresoda uaRresad sasiamovno iyo.Tina oCiauri sicocxlis ukanasknel dReebamde darCamoazrovne mecnierad. dasanania, rom igi bolomde ar iyoCabmuli aqtiur samecniero cxovrebaSi. mas kidev bevri ramisgakeTeba SeeZlo.nunu mindaZe334

manana SilakaZemanana SilakaZe daibada 1938wlis 8 Tebervals q. TbilisSi. 1956wels warCinebiT daamTavra d. arayiSvilissaxelobis I samusiko saswavlebelifortepianos specialobiT,xolo 1962 wels, aseve warCinebiT,_ Tbilisis saxelmwifo universitetisistoriis fakulteti. 1962wlidan muSaobda saqarTvelos mecnierebaTaakademiis iv. javaxiSvilissaxelobis istoriis institutis (am-Jamad istoriisa da eTnologiis instituti)saqarTvelos eTnografiisganyofilebaSi, 1968 wlidan iyo amave institutis umcrosimecnier-TanamSromeli, 1974 wlidan – ufrosi mecnier-Tanam-Sromeli, 1992 wlidan ki – wamyvani mecnier-TanamSromeli.amasTan erTad, sxvadasxva dros, q-ni manana muSaobda musikalurskolaSi (fortepianos pedagogad), Tbilisis saxelmwifouniversitetSi, qarTuli saeklesio galobisa da xalxurisimReris umaRles saswavlebelSi (mihyavda eTnografiiskursi), xalxuri sakravebis saxelmwifo muzeumSi mecnier-TanamSromlad.gansakuTrebiT mniSvnelovani iyo misi Tanam-Sromloba Tbilisis saxelmwifo konservatoriasTan. igi iyoara marto istorikosi-eTnografi, aramed tradiciuli sakravebisada sakravieri musikis SesaniSnavi mcodne, aqtiuradiyo CarTuli savele-SemkreblobiT saqmianobaSi saqarTvelosada CrdilokavkasiaSi. konservatoriaSi mihyavda eTnografiis,xalxuri sakravieri musikisa da specialobis kursi eTnomusikologiaSi;iyo tradiciuli musikis evropuli asociaciiswevri, mravali saerTaSoriso samecniero forumis monawile.igi erTaderTi mkvlevaria, romelsac ekuTvnis fundamenturinaSromebi qarTuli tradiciuli samusiko sakravebisSesaxeb.1967 wels daicva disertacia istoriis mecnierebaTa kandidatissamecniero xarisxis mosapoveblad _ ,,qarTuli xalxurisakravieri musika~. xolo 1991 wels _ disertacia istoriismecnierebaTa doqtoris samecniero xarisxis mosapoveblad_ ,,qarTul-Crdilokavkasiuri eTnokulturuli urTier-Tobani~.335

manana SilakaZe avtoria 100-mde samecniero naSromisa(qarTul, rusul, germanul da inglisur enebze); gamocemuliaqvs xuTi wigni – ,,qarTuli xalxuri sakravebi da sakravierimusika~ (Tbilisi, mecniereba, 1970), ,,qarTuli xalxuri musikaluritradiciebi da Tanamedroveoba~ (Tbilisi, mecniereba,1988), eTnomusikologiis sagani, meTodebi da amocanebi~ (Tbilisi,mecniereba, 1991), «Грузинская народная инструментальная музыка»(Москва, Музыка, 1989), ,,tradiciuli samusiko sakravebi daqarTul-Crdilokavkasiuri eTnokulturuli urTierTobani~(Tbilisi, ,,kavkasiuri saxli~, 2007). misi ukanaskneli naSromisul axlaxan daibeWda amerikaSi gamocemul inglisurenovankrebulSi, romelic qarTul mravalxmianobas eZRvneba.manana SilakaZem qarTuli eTnomusikologia datova imdros, rodesac misi mravali saintereso proeqti ganxorcielebaseloda. igi bolo dromde aRsavse iyo SemoqmedebiTienergiiT. oqtombris dasawyisSi mas monawileoba unda mieRotradiciuli mravalxmianobis V saerTaSoriso simpoziumSi,Tumca, ukve mZimed daavadebulma, mxolod misi gamosvlis teqstigamogzavna.q-n mananas hqonda erTi, dReisTvis iSviaTi Tviseba: igiyvelaSi eZebda megobars, ris gamoc igi mis garSemomyofT ke-Tilmosurneobis etalonad miaCndaT. es kidev erTi mizeziiyo imisa, ric gamoc igi sayovelTao siyvaruliT sargeblobdada misi keTili xsovna mudam darCeba misi axloblebisada kolegebis gulSi.rusudan wurwumiaTamaz gabisonia336

anTropologiuri kvlevani

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