კულტურა პლუს 13 by კულტურა Plus

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s a g a n m a n a T l e b l o - s a z o g a d o e b r i v i

J u r n a l i

sarCevi / CONTENTS kavkasiis maRalmTiani regionebidan

FROM THE HIGH REGIONS OF THE CAUCASUS

zRva monatreba

A SEA OF LONGING

mTavaria iyo individi

THE MOST IMPORTANT THING IS TO BE INDIVIDUAL

maS ra aris Targmanis saidumlo

WHAT IS THE SECRET OF TRANSLATION

kaci-sanTeli

AN ILLUMINATED MAN

qarTuli gzebi

GEORGIAN PATHS

sakuTari Tavis ZiebaSi

IN SEARCH OF ONESELF

oqrofenili surebi xovledan

GILDED EWERS FROM KHOVLE

mwerlebi caitnotSi

WRITERS IN ZEITNOT

mTavari redaqtori EDITOR-IN-CHIEF revaz iukuriZe REVAZ IUKURIDZE saredaqcio jgufi EDITORIAL STAFF ramaz Wilaia RAMAZ CHILAIA xaTuna kereseliZe KHATUNA KERESELIDZE aleqsandre ServaSiZe ALEKSANDRE SHERVASHIDZE qeiTi ruTi deivisi KATIE RUTH DAVIES dizaineri DESIGNER nikoloz bagrationi NIKOLOZ BAGRATIONI

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gamodis kvartalSi erTxel JurnalSi ganTavsebuli masalis gamoyeneba SeiZleba mxolod redaqciis TanxmobiT

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

ISSN 2346-8165 beWdva: Sps „sezani“ / Print: LTD Cezanne

garekanze: TuTu kilaZe, fragmenti naxatidan Cover: Tutu Kiladze, fragment from painting

3 (13) 2018

gotfrid fon mercbaxeri

`kavkasiis maRalmTiani regionebidan~ 2018 wlis oqtomberSi mouTmenlad veliT Cveni qveynisTvis gansakuTrebuli movlenis, frankfurtis saerTaSoriso wignis bazrobis gaxsnas, sadac saqarTvelo sapatio stumari qveynis rangSi wardgeba... Tumca, Cven qveynebs Soris politikur-kulturuli urTierToba araerT saukunovania da amis dasturi, met-naklebad, axlo warsulSi CvenSi arsebuli germanelTa kolonia-dasaxlebebicaa. saqarTveloSi Camodiodnen germaneli mecniermogzaurebi, romlebic ikvlevdnen Cvens kulturas, xelovnebas, eTnografias, sabunebismetyvelo mecnierebebs da sxv. iohan giuldenStedtma, gustav radem, gotfrid mercbaxerma fasdaudebeli samsaxuri gagviwies qarTvelebs da Cveni qveynis saxeli Rrma samecniero naSromebiT evropaSi gaitanes. 2017 wels aRiniSna germanuli koloniebis saqarTveloSi daarsebidan 200, saqarTvelos saxelmwifoebriobis aRdgenis 100 (1992 wels germaniam pirvelma scno saqarTvelos damoukideblobis aRdgena) da or saxelmwifos Soris bilateraluri urTierTobis aRdgenis 25 weli. swored am saiubileo wlebs daukavSirda saqarTvelogermaniis sazogadoebis mier organizebuli eqspedicia saxelwodebiT `TuSeTi _ gotfrid fon mercbaxeridan erovnul parkamde~. saqarTvelo-germaniis sazogadoebas, romelic 1992 wlis 4 Tebervals daarsda, saqarTveloSi goeTes institutis, germaniis sagareo saqmeTa saministros, saqarTveloSi Sveicariisa da avstriis saelCoebis, Sveicariis fond prohelvecias, doiCebankis, saqarTvelos erovnuli muzeumis, sasjelaRsrulebisa da probaciis saministros, evropis saxlis, quTaisis meriis, T.G. Nili Art Space mxardaWeriT ganxorcielebuli aqvs uamravi mniSvnelovani proeqti. erT-erTi maTgani, swored gotrfrid fon mercbaxeris (mTamsvleliglaciologi, mineralogi, kartografi-geografi, botanikosi, eTnograf-eTnologi, folkloristi da sxv.) fundamenturi naSromis `kavkasiis maRalmTiani regionebidan~ (Aus den Hochregionen des Kaukasus) qarTuli Targmanis dawyebacaa, romelic mizezTa da mizezTa gamo dRemde ver dasrulda da mxolod misi mcire nawilia gadmoqarTulebuli. arada, 1901 wels laifcigSi gamocemul am CvenTvis umniSvnelovanes ortomeuls, romelic 1892-93 wlebSi Catarebul eqspedicias exeba, Cveni qveynisTvis udidesi mniSvneloba aqvs... imeds gamovTqvamT, rom es saSuri saqme ganxorcieldeba da Cvens samecniero wreebs, zogadad qarTvelebs, saSualeba mogvecema mSobliur enaze gavecnoT am gansakuTrebul ganZs.

3 (13) 2018

GOTTFRIED VON MERZBACHER

‘FROM THE HIGH REGIONS OF THE CAUCASUS’ We are eagerly awaiting the inauguration of the Frankfurt Book Fair in October 2018, where Georgia will be welcomed as a guest of honor… But the political and cultural ties between our countries date back centuries, as illustrated, for instance, by the German colonies and settlements established in Georgia in recent times. German scientists and travelers were visiting Georgia and studying, among other things, our culture, art, ethnography, and natural sciences. Johann Guldenstedt, Gustav Rade, and Gottfried von Merzbacher spread thorough scientific works about Georgia into Europe and have thus made a priceless contribution to our country’s popularity. 2017 was celebrated as the 200th year since the creation of German colonies in Georgia, as well as the 100th year since the restoration of Georgian statehood (note that Germany was the first country to recognize Georgian independence in 1992) and the 25th year since the restoration of bilateral relations between the two states. The expedition “Tusheti – from Gottfried von Merzbacher to the national park” organized by the Georgia-Germany Society happened to take place precisely during that commemorative year. The Georgia-Germany Society, which was founded on the 4th of February 1992, has carried out numerous important projects in Georgia, with the support of the Goethe-Institut, the German Ministry of Foreign Affairs, the embassies of Switzerland and Austria in Georgia, the Swiss fund Pro Helvetia, the Deutshe Bank, the Georgian National Museum, the Ministry of Corrections and Probations of Georgia, Europe House, Kutaisi City Hall, and the T.G. Nili Art Space. One of those projects consisted of starting to translate Gottfried von Merzbacher’s (mountaineer-glaciologist, mineralogist, cartographer-geographer, botanist, ethnographer-ethnologist, folklorist...) cardinal work ‘From the Highland Regions of the Caucasus’ (Aus den Hochregionen des Kaukasus) into Georgian, which, for various reasons, still isn’t finished – only a small part of it has been translated to date. That is very unfortunate, because this two-volume book, published in Leipzig in 1901 and describing the author’s expedition in the Caucasus in the years 1892-93, is of enormous importance for our country… We hope that this crucial work will be done, and that our scientific community, as well as Georgians in general, will be able to discover this treasure in their own language.

3 (13) 2018

Excerpts from the second volume:

nawyvetebi meore tomidan: kavkasiis centraluri nawilis maRalmTiani regionebis kvleva 1892 wlis zafxulisTvis mqonda ganzraxuli, magram 1891 wlis zamTarSi Sua aziaSi mogzauroba sxvadasxva moulodneli mizezebis gamo Zalian gamigrZelda, mere ki iqidan CineTSi amovyavi Tavi da 1892 wlis ivnisSi jer kidev iq vimyofebodi. erTmaneTTan moqiSpe Cinel da monRol didmoxeleTa intrigebis gamo dabruneba sakmaod gamiZnelda. rodesac iqaurobas Tavi didi gaWirvebiT davaRwie da isev ruseTis teritoriaze Sevdgi fexi, gaxarebuli davadeqi gzas, romelsac kavkasiis mTebisken unda waveyvane...

I had planned to study the highland regions of the central Caucasus in the summer of 1892, but because of various unpredictable factors, my journey in Central Asia in the winter of 1891 took longer than expected, and from there, I found myself in China, where I stayed until June of 1892. Because of the political intrigues between rivaling Chinese and Mongol rulers, it became quite difficult for me to come back. When I finally managed to get out and to re-enter Russian territory, I happily took the road that would lead me to the Caucasus mountains… When I eventually arrived in Tbilisi, capital of the Caucasus, I felt as much joy as I would if I had stumbled across an old friend. I cannot describe this feeling of delight, when after several months of traveling in extremely harsh conditions, I finally found myself at the ‘London’ hotel among a group of compatriots. The preparation for my journey in the mountains took quite a long time, but on the 16th of August, I was ready to leave. My future companions were with me: Tyrolean (Austrian) mountaineers Johann Vindisch and Heinrich Mozer, as well as a local Armenian translator named Ovanes… At first light on the 17th of August, our heavily loaded expedition approached Mount Kukia in the suburbs of Tbilisi, walking with difficulty on rough pathways… After some time, we reached Gldani village, where one of my compatriots lived in a villa with an extraordinarily well-maintained yard. Naturally, like other beautiful buildings found here, this house belonged to Armenians. My compatriot invited us to a table in the shade of a tree… His wife was German too, and together with her two daughters, she indulged us with every attention. Time flew by during our pleasant conversation, and at last, we bid farewell to our generous hosts.

TebulosmTa, 4493 m. TEBULOSMTA, 4493 M.

bolos da bolos ivlisSi TbilisSi, kavkasiis dedaqalaqSi (avtori Tbiliss ase moixseniebs) iseTi gaxarebuli Cavedi TiTqos didi xnis unaxav Zvel megobars gadavyrode. eniT ver agiwerT im sixaruls da aRtacebas, rodesac ramdenime Tve ukiduresad mZime pirobebSi mogzaurobis Semdeg, rogorc iqna, sastumro „londonSi“ evropul komfortSi da Cemi Tanamemamuleebis wreSi aRmovCndi. mTebSi samogzaurod mosamzadebeli saqmeebis mogvareba sakmaod gaiwela, magram 16 agvistos faqtobrivad ukve mzad viyavi gasamgzavreblad. Tan maxldnen Cemi momavali gamyolebi: tiroleli (avstria) mTamsvlelebi iohan vindiSi da hainrix mozeri, agreTve adgilobrivi somexi Tarjimani ovanesi... 17 agvistos gamTeniisas mZimed datvirTuli Cveni eqspedicia Tbilisis ganapiras kukiis mTas miuaxlovda

WonTioeli TuSebi TUSHETIANS FROM CHONTIO

3 (13) 2018

From Gldani, the road was relatively better, and we headed to the hills of Saguramo… It is surprising that only about a hundred kilometers from the modern, European-like capital of Georgia, there is a place where not much has changed in human life for the last millennia. This place is Khevsureti, a region divided in two by a ridge of the Caucasus: “Piraketa” (“Hither”) Khevsureti and “Pirikita” (“Thither”) Khevsureti… There are no ancient historic sources about the Khevsurs; there is only an oral history, according to which for unknown reasons, some groups of Kartvelian tribes were forced to move and settle in this inaccessible barren region, where they found a new home and became an independent tribe. But this people didn’t lose their roots. If we pay attention to the utterly interesting inner world of this small tribe, we will see that there are three main reasons that make them stand out. These are: the natural environment of the region in which they live, their practice of blood feuds, and their particular religious beliefs. The origin and development of this people’s

xevsuri qali sadResaswaulo samosSi / KHEVSUR WOMAN IN CEREMONIAL DRESS

da oRro-CoRro gzebze gaWirvebiT miiwevda... ramdenime xnis Semdeg mivaRwieT sofel gldans, sadac erTi Cemi Tanamemamule saucxood movlil baRian agarakze cxovrobda. es agaraki, iseve rogorc yvela sxva aqauri lamazi nageboba, ra Tqma unda, somxis sakuTreba iyo. Cemma Tanamemamulem CrdilSi mdgom magidasTan migviwvia... misi meuRlec germaneli gaxldaT da or qaliSvilTan erTad sul Tavs dagvtrialebda. sasiamovno saubarSi dro male gavida da Cvens Tavazian maspinZlebs madlierad davemSvidobeT. gldanidan ukve SedarebiT ukeTesi gza daiwyo da mas saguramos mTebisken gavyeviT... sakvirvelia, rom saqarTvelos Tanamedrove, evropulad mowyobili dedaqalaqidan sul raRac asiode kilometris daSorebiT mdebareobs adgili, sadac ganvlili aTaswleulebis ganmavlobaSi adamianTa cxovrebaSi bevri araferi Secvlila. es gaxlavT xevsureTi, romelsac kavkasionis qedi or nawilad _ piraqeTa da piriqiTa xevsureTad hyofs... xevsurTa Sesaxeb uZvelesi istoriuli cnobebi ar arsebobs. aris mxolod zepiri gadmocemebi, romelTa mixedviT qarTvelur tomTa zogierTi jgufi gaurkveveli mizezebis gamo am unayofo da Znelad misadgom mxareSi iZulebiT gadasaxlda, iq axali samSoblo hpova da damoukidebel xalxad Camoyalibda. Tumca es xalxi fesvebs mainc ar mowyvetila. Tu am mcirericxovani xalxis erTob saintereso Sida samyaros davakvirdebiT, davinaxavT, rom maTi gansakuTrebulobis mizezi sam garemoebaSia. esenia: im mxaris bunebrivi garemo, sadac isini cxovroben, sisxlis aRebis wesi da gansakuTrebuli religiuri

ardoteli xevsuri / KHEVSUR FROM ARDOT

3 (13) 2018

iohan vindiSi da hainrix mozeri

warmodgenebi. am xalxis warmoudgenlad Zlier sabrZolo sulis warmoSobas da ganviTarebas, uwinares yovlisa, pirveli ori faqtori ganapirobebda. jer kidev sul cota xnis win xevsuri mamakaci saxlidan iaraRausxmeli ar gavidoda. welszemoT jaWvis perangs icvamda, iRliebs liTonis firfitebi ufaravda, Tavzec odnav SeRunuli, rkinisave mcire muzaradi exura, romelsac yurebTan damcavi liTonis wvrili jaWvebi ekida. cal xelSi grZeli, swori xmali eWira da meoreSi patara rkinis fari, xolo qamarze xanjali ekida. es aRWurviloba da mkerdze da mxrebze feradi jvrebiT amoqarguli samosi warmoadgens samogzauro literaturaSi gavrcelebuli legendebis wyaros, TiTqos xevsurebi sxvadasxva qveynebSi gafantuli jvarosani raindebis STamomavlebi iyvnen.

incredibly strong martial spirit is mostly due to the first two factors. Until very recently, a Khevsur man would never go out of his household unarmed. Above the waist, he would wear a coat of mail, with metal plates covering his armpits, and a slightly curved small iron helmet with narrow protective chains hanging next to his ears. In one hand, he held a long, straight sword, and in the other, a small metallic shield; a dagger was also attached to his belt. This equipment and their embroidered attire, with colorful crosses on the chest and shoulders, is the source of legends in travel literature, according to which Khevsurs are claimed as the descendants of crusading knights spread in various countries. In ancient times, they would also carry a bow and a quiver of arrows. Later, this was replaced by firearms… As mentioned, the Khevsur’s fighting spirit and character was developed during the multitude of battles they faced throughout the centuries. Because of the geographical location of their region, Khevsurs had to battle the restless Chechens and Kists, who carried out one robbery after another. Kists were brave warriors and had no equal for stealing horses. Apart from that, the religious factor was also very important. Chechens and Kists are fanatic Muslims, and this is why they became enemies with the Khevsurs. Their enmity still exists and to this day, you will encounter driedout upper limbs hanging from towers in Khevsur villages – Khevsurs having cut them from the bodies of the enemies they killed and returning home with them as loot. As for Khevsur women, they have plenty of duties and responsibilities, but their rights are very limited. Khevsur women have to exert themselves on the hardest agricultural works together with the men, as well as to bring home water and firewood, and to crop and thresh harvests. It goes without saying that they must also prepare food, make cheese and butter, and sew clothes and JOHANN VINDISCH AND HEINRICH MOZER

3 (13) 2018

am saWurvels Zvel droSi emateboda mSvildi da karWapSi Cawyobili isrebi. mogvianebiT is cecxlsasrolma iaraRma Secvala... rogorc aRvniSneT, xevsurTa mebrZoli suli da xasiaTi saukuneebis ganmavlobaSi gamudmebul sabrZolo moqmedebebSi yalibdeboda. maTi kuTxis geografiuli mdebareobis gamo xevsurebs CrdiloeTiT mosazRvre mousvenar da mudam yaCaRobiT dakavebul CeCnebTan da qistebTan uxdebodaT brZola. qistebi mamaci meomrebic iyvnen da agreTve cxenis moparvaSic badali ar hyavdaT. garda amisa, didi mniSvneloba hqonda religiur faqtorsac. CeCnebi da qistebi fanatikosi musulmanebi arian da maTi xevsurebTan mtroba amiTac iyo gamowveuli. maT Soris mtroba da SuRli arasdros SeCerebula. dResac SexvdebiT xevsurul soflebSi koSkebze gadmokidebul adamianis gamxmar mklavebs, romlebsac xevsurebi moklul mters aWridnen da saxlSi am nadavliT brundebodnen. xevsur qals ki mxrebze awevs uamravi saqme da movaleoba, magram misi uflebebi Zalian SezRudulia. xevsur qalebs mamakacebTan erTad yvelaze mZime sasoflosameurneo saqmeebis Sesruleba uwevT, aseve wylisa da SeSis saxlSi mitana, mosavlis mka da misi galewva. raRa Tqma unda, masve evaleba saWmlis momzadeba, yvelis da karaqis keTeba da tanisamosisa Tu fexsacmlis kervac. samagierod, misi aseTi mdgomareoba radikalurad icvleba, rogorc ki ojaxSi rZali Seva. maSin is, rogorc ufrosi diasaxlisi, am samuSaoebs ki aRar asrulebs, aramed anawilebs da rZlebs avalebs. aseve ganagebs is saxlSi

TuSebi TUSHETIANS

shoes. However, this condition changes radically when a daughterin-law enters the household. In this case, the wife becomes the head housewife, and instead of fulfilling the above tasks, they distribute them between their daughters-in-law. They also look after the order and tidiness of the house. They are respected by all, and no important matter in the household can be decided without themâ&#x20AC;Ś Knowledgeable readers will easily notice the similarity with the Mosaic Law. As we will see later, other Khevsur customs also bear clear correspondences to the practices of ancient Jews, which suggests that ancient, emigrant Israelites also moved to Khevsureti and settled there with the Kartvelian groups.

TuSeTi, farsma TUSHETI, PARSMA

3 (13) 2018

wesrigs. igi sayovelTao pativiT sargeblobs da saxlSi yvela mniSvnelovani saqme mis daukiTxavad ver keTdeba... gaTviTcnobierebuli mkiTxveli advilad SeamCnevda did msgavsebas moses sjulis kanonebTan. rogorc Semdgom davinaxavT, Zvel iudevelTa wesis aSkara msgavsebas xevsurTa sxva adaT-CveulebebSic Cans, rac imaze migviTiTebs, rom am xalxis warmoSobis dros maT mxareSi gadmosaxlebuli Zveli ebraelebic saxlobdnen. fSavlebs, TuSebs da xevsurebTan maxloblad mcxovreb SedarebiT mcirericxovani mTiel xalxs _ mTiulebs _ TiTqmis iseTive religiuri Sexedulebebi, wes-Cveulebebi aqvT. fSavlebSi es wes-Cveulebani dRemde TiTqmis iseTivea, rogorc maT moZme xevsurebSi, xolo TuSebSi ki, saqarTvelos barTan gacilebiT xSiri urTierTobebisa da, aqedan gamomdinare, mentalurad ufro progresuli ganviTarebisa, xsenebuli wes-Cveulebani didwilad aRar gvxvdeba.

xevsuri meomrebi KHEVSUR WARRIORS

Pshavs, Tushetians, and the relatively smaller tribe of Mtiuletians living near the Khevsurs, have similar religious beliefs and customs. Among Pshavs, these customs have remained almost identical to those of their brotherly Khevsurs, while with Tushetians, because of much more frequent contact with the Georgian valleys, and therefore a more progressive mental development, we find only a number of the abovementioned customs. Concerning clothing, Khevsurs are the only Kartvelian tribe to not have adopted the Kabardian attire spread all over the Caucasus mountains – the so-called “cherkeska”. This is why to this day, Khevsurs – both men and women – wear their own traditional attire, which clearly differs from that of other Caucasian peoples in its embroidered decorations and colorfulness. All this has been described by Gustav Rade in such detail and which such expertise and dedication that I will refrain from any further characterization. Europeans are practically unable to get to this remote region. Even Georgians living in the valley, or the famously speculative Armenian merchants, are almost nowhere to be seen in Khevsureti. It is because

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rac Seexeba samosels _ xevsurebi qarTvelur tomebs Soris erTaderTni arian, romelTac ar miiRes zogadad kavkasiaSi gavrcelebuli yabardouli samosi _ e.w. Cerqezka. amitom xevsurebi _ rogorc mamakacebi, aseve qalebi _ dRemde TavianT erovnul samoss atareben, romelic kavkasiis sxva xalxTa samosisgan gansxvavebiT naqargebiTaa morTuli da ferTa siuxviT aSkarad gamoirCeva. es yovelive gustav rades imdenad dawvrilebiT, saqmis codniT da gulmodginebiT aqvs aRwerili, rom me msgavsi daxasiaTebisgan Tavs Sevikaveb. am Znelad misadgom mxareSi evropelebi faqtobrivad ver aRweven. evropelebs ki ara, TviT barSi mcxovreb qarTvelebs da spekuliantobaSi saxelganTqmul somex vaWrebsac ki xevsureTSi TiTqmis versad SexvdebiT, radgan es mxare Raribia da vaWrebisTvis uintereso. am siRaribis gamo iqaur mamakacebs sul ufro da ufro xSirad uxdebaT mSobliuri mTebis mitoveba da ojaxis sarCenad saqarTvelos sxva kuTxeebSi saSovarze wasvla... xevsurebisa da fSavlebis garda Cveni mogzaurobis dros qistebsac gavecnobiT da, gansakuTrebiT _ TuSebs... qistebTan dakavSirebiT vityvi, rom CeCnebTan eTnikuri da enobrivi aSkara kavSiris miuxedavad, maTi SesaZlo qarTveluri warmoSobis sakiTxis gadaWriT uaryofa mainc sadavoa. qarTuli wyaroebis (vaxuSti batoniSvili) Tanaxmad, qistebiT dasaxlebuli teritoria uZvelesi droidan qarTveli tomebis gavrcelebis arealSi mdebareobda da erTi xanoba mas kaxeTis mefeebic ki marTavdnen. rogorc winamdebare wignis pirvel tomSi aRvniSneT, dRes qistebiT dasaxlebul teritoriaze bevri qarTulwarwerebiani Zveli eklesiis nangrevi da agreTve qistebSi arsebuli wes-Cveulebebi gvxvdeba, romlebsac qistebi garkveul dReebSi swored am nangrevebTan aRasruleben... TuSeTis regioni, zemo svaneTis msgavsad, elifsur auzs warmoadgens. is Seqmnilia ori mTavari mdinaris, piriqiTa da TuSeTis alaznebs Soris. mdinareTa xeobebis qvemo nawili sacxovreblad gamousadegaria, amitom TuSebis dasaxlebebi alpur terasebzea ganlagebuli, kerZod 1800dan 2200 metr simaRleze. TuSeTis klimati mkacria da iq zamTari TiTqmis Svidi Tve grZeldeba. mdidari alpuri saZovrebis miuxedavad, saqonlisaTvis saWiro sakvebs mTielni adreve imarageben, raTa cxvari da sxva saqoneli zamTris ganmavlobaSi gamokvebon... am garemoebis gamoa, rom TuSebi TavianT saqonels gamosazamTreblad xSirad kaxeTSi Carekaven xolme da xandaxan TviT Siraqisa da zaqaTalas saZovrebamdec ki gadahyavT. analogur pirobebSi mcxovrebi momTabare xalxebisgan ucnauri gansxvavebiT, TuSebi myarad mobinadre cxovrebas zafxulSi ewevian, zamTarSi ki gzaSi arian. Tumca es mxolod mamakacebs exeba...

diklosmTa, 4285 m. / DIKLOSMTA, 4285 M.

this region is poor, and therefore uninteresting for merchants. Because of poverty, more and more frequently local men need to leave their mountains and look for work in various Georgian regions in order to sustain their families… Apart from Khevsurs and Pshavs, during our travel, we also got to know Kists, and remarkably – Tushetians… About the Kists, I will say that despite their obvious ethnic and linguistic link to Chechens, one shouldn’t rule out the possibility that they have Kartvelian origins. According to Georgian sources (Vakhushti Batonishvili), since ancient times, the territory inhabited by Kists has been located in an area where Georgian tribes were present, once ruled by the Kings of Kakheti. As we mentioned in the first volume of this book, there are many old church ruins with Georgian inscriptions on the territory now inhabited by Kists, as well as Kist rituals that they perform precisely next to these ruins on specific occasions…

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rwmenisa da jiSis erTianobam da saerTo mtris, mezoblad mcxovrebi qistebis da lekebis winaaRmdeg gaerTianebam TuSebi da xevsurebi saukuneTa ganmavlobaSi erT muStad Sekra. es ori guladi mTieli xalxi erTian, cocxal galavans qmnida qarTvelebis, da saerTod qristianebis, uZvelesi fanatikosi da dauZinebeli mtrebis winaaRmdeg. gadaWarbebuli ar iqneba, Tu vityviT, rom Tu dRes amierkavkasiaSi pirvel planze qarTveluri rasaa warmodgenili, es didwilad imis damsaxurebacaa, rom es ori umamacesi xalxi umagaliTo TavdacviT brZolas awarmoebda. isini saqarTvelos CrdiloeT sazRvars gamudmebiT da fxizlad darajobdnen da mters uSiSrad egebebodnen. yvela sxva kavkasiel mTielebTan SedarebiT TuSebi garegnobiT yvelaze metad hgvanan barSi mcxovreb qarTvelur tomebs da aseve mezobel xevsurebs. Tumca, erTi SexedviT maT garegnobaSi ganmasxvavebeli niSnebic gvxvdeba... qarTlSi da imereTSi mamakacebs Soris esoden gavrcelebuli wveri TuSebs ar moswonT. isini umetesad ulvaSs atareben. me TvalSi meca maTi sakmaod sayuradRebo gansxvavebuli saxis gamometyveleba xevsurebTan SedarebiT. maSin, roca xevsurebis gamometyveleba cota moridebuli, Tumca jiquri da daxurulia, me, didi mcdelobis miuxedavad, TuSeTSi

darTloeli TuSebi TUSHETIANS FROM DARTLO

Like Upper Svaneti, Tusheti consists of an elliptic basin, which is located between the region’s two main rivers Pirikita Alazani and Tushetis Alazani. The lower part of the river valleys isn’t fit for living in, which is why Tushetian settlements are located on alpine terraces, namely at 1800 to 2200 meters above sea level. The Tushetian climate is harsh, and winter lasts almost seven months there. Despite rich alpine pastures, mountain people stock livestock feed far ahead of time, so that they can cater for sheep and other animals’ food in winter… This is the reason Tushetians often drive their cattle down into Kakheti for winter, sometimes even bringing them to the pastures of Shiraq and Zakatala. In a strange contrast to other nomadic peoples living in similar conditions, Tushetians live a strictly sedentary life during summer, and spend winter on the road. But this only concerns the menfolk… Their common religion and race, and their union against their common enemy, their neighboring Kists and Dagestanis, have united Tushetian and Khevsur tribes through the centuries. These two courageous peoples have become a unified, live curtain wall protecting Georgians, and more generally Christians, from their fanatic old archenemies. It would be no exaggeration to say that if today the Georgian race is at the forefront in Transcaucasia, it is, in major part, due to the way these two brave peoples so brilliantly defended themselves, relentlessly and vigilantly guarding Georgia’s northern border and facing the enemy without fear.

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strela, rostom avaliani da soloma _ gamyolebi / STRELA, ROSTOM AVALIANI AND SOLOMA - GUIDES

yvelaze ufro qardakrul da gauxeSebul saxeebSic ki mxolod sialales da sikeTes vxedavdi... am mSvenier saRamos Zalian civi Rame moyva. karavSi vkankalebdi, gareT ki, cecxlTan xalxi ijda da maTi xmamaRali saubari da sicili Zils mifrTxobda. diliT irgvliv yvelaferi TeTri rTviliT iyo dafaruli. vedroebSi wyali gayinuliyo. CrdiloeTidanac saSinlad susxiani qari qroda da amitomac maincdamainc guli ar damwyvetia im adgilTan gamomSvidobebis gamo, radgan vicodi, rom male isev mziT gamTbar adgilebisken gavemarTebodiT. TuSebma mxiaruli xmauriT datvirTes wina saRamos CvenTvis Camoyvanili cxenebi, rac ramdenime saaTs grZeldeboda, da bolos, rogorc iqna daviZariT. axla ki es gamocdili adamianebi mZimed datvirTul cxenebs ostaturad miuZRvebodnen cicabo daRmarTze da mdinare qvaxidis wylis xeobisken yovelgvari Seferxebisa da marcxis gareSe veSvebodiT. es ki sakmaod saxifaTo bilikze xdeboda. cxenze mjdomi kaci cali fexiT TiTqmis mTis kldian kalTas exeboda, rac adamians an daazianebs, anda cxens bilikis kidemde imdenad axlos miiyvans, rom

Compared to all other Caucasian mountain peoples, Tushetians are the ones who most resemble the Georgian tribes living in the valleys, as well as their neighboring Khevsurs. But we can also note some differentiating signs in their appearance… For instance, Tushetians don’t like beards, choosing moustaches, while beards are very popular among men in Kartli and Imereti. I was struck by their noteworthy facial expressions, which were different than that of Khevsurs. While the Khevsur expression is a bit shy, though undeterred and closed, despite my best efforts, I couldn’t see anything other than purity and kindness in even the most seasoned and roughened faces in Tusheti... This lovely evening was followed by a very cold night. I was shivering in the tent, while people were sitting around a fire outside, and their loud talking and laughter prevented me from sleeping. In the morning, everything was covered in a white frost and the water in the buckets was frozen. A stinging wind blew from the north, and as such, I wasn’t sorry to leave the place, knowing that we would soon be heading towards sunnier climes. Tushetians loaded the horses that had been brought the former evening with joyful sounds; this took several hours, after which we finally left.

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TuSeTi, WonTio

These experienced people masterfully lead the heavily loaded horses on a steep downward slope, and we descended towards the valley of the River Kvakhidi without any difficulty or delay. And this on quite a dangerous trail. Riding his horse, one of the men was almost touching the slope of the mountain with one of his legs, which could have both hurt the man and brought the horse so close to the edge of the path that both were at risk of falling into the abyss, at the bottom of which a mountain river roared straight from the glacier. When we continued on our way above the river set in this precipice, we found ourselves on a terrace approximately 2200 meters above sea level, where a defensive wall of black shale layers and the beautiful towers of the picturesque Tushetian village Chontio appeared, welcoming us with a bit of a frown, nested in idyllic surroundings. You would have thought that you had arrived in a robbersâ&#x20AC;&#x2122; den from the Middle Ages, because almost everything there was black: the stone walls of the houses and the towers, the soil, and even the clothes of the men, women, and children. Some of the houses on the mountainside were falling apart, and thus intensified this impression even more, but the mood that reigned in this gloomy village was a festive one. The village was preparing for a wedding, and, naturally, as we were with the esteemed Solomon, we were wholeheartedly invited to the celebrations. In a corner of one of the village streets, they were brewing beer in an enormous boiler, and our hosts soon handed me a large jug full

TUSHETI, CHONTIO

orives ufskrulSi gadaCexva emuqreba, romlis fskerze myinvaridan wamosuli mTis mdinare grialiT miedineba. rodesac gza kldovan kalapotSi moqceuli mdinaris zemoT gavagrZeleT, daaxloebiT 2220 metris simaRleze mdebare terasasTan aRmovCndiT, sadac Cvens win romantikulad lamazi mdebareobis mqone TuSuri soflis, WonTios sipis qvis qanis Savi galavani da lamazi koSkebi aRimarTa da cota moRuSuli mogvesalma. gegoneboda, Sua saukuneebis yaCaRebis budeSi movxvdio, radgan iqauroba TiTqmis mTlianad Savi feris iyo: saxlebis qvis Robeebi da koSkebi, miwa, agreTve rogorc mamakacebis, ise qalebis da bavSvebis samosic ki. mTis kalTebze Sefenili dangrevis piras misuli nagebobebi am STabeWdilebas kidev ufro amZafrebda, magram am pirquS sofelSi sazeimo ganwyoba sufevda. sofelSi saqorwino samzadisi idga da Cven, rogorc pativcemuli adamianis, solomonis Tanmxlebni, rasakvirvelia, qorwilSi mTeli guliT migvipatiJes. soflis erTi quCis kuTxeSi mdgom spilenZis uzarmazar qvabSi ludi moexarSaT da damxvdurebma male ludiT savse didi doqi momawodes. marTalia, mTeli gza dasicxulma viare da Zalian mwyuroda, magram ver vityvi, rom ludi Zalian mesiamovna. raRac rusuli buraxis msgavsi momJavo da damwvris gemo dakravda. is saqebari sityvebi, rac kavkasiis mTebSi moxarSuli ludis Sesaxeb zogierT Cvenebur mogzaurs albaT imitom aqvs

TuSebi / TUSHETIANS

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TuSeTi, darTlo TUSHETI, DARTLO

dawerili, rom maT yvelaferi moswonT, rac samSoblos moagonebs. TviT Cems tirolelebsac ki, romlebic smis didi moyvarulebi gaxldnen, sakmaod uJmuri saxiT hqondaT doqebi moyudebuli. samagierod levani iyo erTob kmayofili da misi Semxedvare kidev erTxel davrwmundi, rom am qveynad yvelaferi SedarebiTia. albaT, vercerTi sxva ludi am qveyanaze mas iseT netar saxes ver mohgvrida, rogoriTac is saocrad mokle xanSi meqorwileTa saxlidan gamobarbacda. sxvaTa Soris, marto is ar gaxldaT aseT netarebaSi. male kidev ramdenime motortmane kaci davlande da imis gaTvaliswinebiT, rom TuSebi ludis smaSi ganTqmuli xalxia da didi raodenobiT sma SeuZliaT, unda vivaraudoT, rom iq imdeni ludi dailia, ramdenic miunxenis romelime ludis sardafSi daileoda mTlianad. meqorwile qal-vaJi sofel darTloSi wasuliyo jvris dasawerad da ukan male moelodnen. Cven maT mogvianebiT gzaSi SevxvdiT. erT-erT saxlSi stumrebi iyvnen Sekrebili. CvenTvis quCaSive gamoitanes xonCaze dalagebuli moxarSuli saqonlis xorci, qeris tkbili fafa, puri da ganTqmuli, SesaniSnavi TuSuri yveli. zeimis sanaxavad saxlSi Sesvla ar dagvWirvebia, radgan piriqiT moxda: cnobismoyvare xalxi Cvens sanaxavad gareT gamovida. raRa Tqma unda, SesaZlebloba xelidan ar gamiSvia da am xalxis ramdenime jgufs fotosuraTebi gadavuRe. Tumca es mxolod mamakacebis da bavSvebis fotoebi iyo. lamazi, umetesad axalgazrda qalebi ki maSinve garbodnen, rogorc ki obieqtivs maTken mivmarTavdi da maTze TviT solomonis Txovna-Segonebac ki ver Wrida. mxolod erTaderTi qali gamiCerda, magram samwuxarod moxuci da erTob Seuxedavi. albaT, an SiSi ukve aRarafris hqonda, anda egona, rom misi damWknari saxe jer kidev sakmaod

of it. Even though I had been suffering from the scorching sun the whole way to the village, I cannot say that I enjoyed that beer very much. It had a sour and burned taste similar to Russian Kvass. The praiseworthy words written by some of our travelers about beer brewed in the Caucasian mountains probably come from the fact that they like everything that reminds them of their homeland. Even my Tyroleans, who were drinking connoisseurs, held their jugs with downcast faces. However, Levan was more than happy, and looking at him, I became convinced that everything in this world is relative. Probably no other beer in this world could have made his face as blissful as when he came staggering from the house of the groom after an impressively short time. And he was not the only one to be happy. I soon saw several other reeling men and, considering the fact that Tushetians are renowned beer drinkers and can consume large amounts, we can suppose that they drank as much beer in that house as would be drunk in a beer cellar in Munich. The bride and the groom were in Dartlo village partaking in a religious wedding ceremony, and the guests were expecting them back any minute. We later met them on the road. Guests were gathered in one of the houses. They brought us stewed veal, sweet barley porridge, bread, and the famous, wonderful Tushetian cheese on a wooden platter outside. We didnâ&#x20AC;&#x2122;t need to go inside the house to

TebulosmTa, 4493 m. / TEBULOSMTA, 4493 M.

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mimzidveli iqneboda saimisod, rom ucxoelis koleqcia gaemdidrebina. saerTod, asea cxovrebaSi _ rac Zalian ginda, umeteswilad xelidan gisxlteba da rac ar ginda, TviTon gadageyreba da Tavs mogabezrebs. gaqceuli qalebi cota xnis Semdeg sxva quCaze davinaxe. koSkis CrdilSi erTmaneTis gverdiT Cacucquliyvnen, maslaaTobdnen da Tavs qsoviT iqcevdnen. qsova TuSi qalebis mudmivi TavSesaqcevi saqmianobaa. Wreli, lamazi motivebiT moqsovili mamakacebis, qalebis Tu bavSvebis lamazi fexsacmeli (CiTebi) swored am „TavSesaqcevi saqmianobis“ Sedegia. TuSi qalebi qsovas ise arian miCveuli, rom Tu SemTxveviT saqsovi Tan ara aqvT, ar ician xelebs ra mouxerxon da amitom TiTebs ermaneTSi aWdoben xolme. maTi saxis nakvTebi Tanabaria da sworad awyobili, rogorc es sxva qarTvel qalebSic gvxdeba, oRond loyebi ufro sruli aqvT, Tvalebi _ Savi, didi, ufro cecxlovani da metyveli. saxis kani Savgvremani aqvT, da aseve xorcis feri. tuCebi natifi moxazulobis da sruli. mxolod cxviri aqvT umetesobas mokauWebuli da cota qorisebri. saxes aqeT-iqidan ori daxveuli nawnavi umSvenebT. mobrWyviale, vercxlisferkantebiani Savi mandilis qvemodan Tan morcxvad da Tanac cnobismoyvared mzirali Tvalebi marTlac rom Tavbrudamxvevi silamazisa aqvT... qalebs yelzec vercxlis sxvadasxva samkauli

TuSeTi, omalo / TUSHETI, OMALO

see the celebration, because it happened the other way around: the curious people came outside to see us. Naturally, I didn’t miss the opportunity and took photographs of some groups of these people. But they were only photographs of men and children. The beautiful, mainly young, women, fled as soon as I directed the lens toward them, and even Solomon’s summons couldn’t make them change their minds. Only one woman obliged, but, unfortunately, she was old and very ugly. I guess that she was either already fearless of anything, or she deemed her withered face still attractive enough to enrich a foreigner’s collection. In general, that is how it is in life – what you want most slips from your hands, and what you don’t want will come to you by itself and weary you. A little later, I saw the women who had fled on another street. They were crouched next to each other in the shade of a tower, chatting and knitting. Knitting is the Tushetian woman’s main recreational occupation. The colorful shoes (“chitebi”) for men, women and children, adorned with beautiful motifs, are precisely the result of this “recreational occupation”. Tushetian women are so used to knitting that if they happen not to have anything to knit, they don’t know what to do with their hands, so they interlock their fingers. Their facial features are even and well-constructed, like other Georgian women’s, but with fuller cheeks, and fierier and expressive large black eyes. Both their face and body skin is dark. Their lips have a subtle and full shape. Only their noses are bent and aquiline. Their faces are

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daRestani, xuSeTi; andielebi da levani / DAGESTAN, KHUSHET; ANDIS AND LEVAN

SveniT da maTi tansacmeli mkerdzec vercxlis Zewkvisebri morTulobebiT gamoirCeva. axalgazrda gogonebi mandils ar atareben da samagierod mravali wvrili nawnaviT iwoneben Tavs, romelSic ferad-feradi margalitebia Cawnuli. qalTa samosis sisufTave TvalSisacemia. samosis ZiriTadi feri Savia da WrelfrTiani, Tan vercxliT mdidruladaa morTuli, rac sakmaod mimzidvelad gamoiyureba... mezobeli fSaveli qalebisgan gansxvavebiT, TuSi qalebi sibereSi ar uSnovdebian. ramdenime xnieri qalis mandiliT Rrmad dafarul saxeSi fermkrTali, gamxdari da mwyobri nakvTebi SevniSne, iseTive keTilSobili ieris, rogorebadac Zvel romael xanSiSesul qalbatonebs (e.w. matronebs) aRweren. cota ar iyos, TvalSi meca, rom adre gagonilis sawinaaRmdegod, TuSebi aRnagobiT ise maRlebi ar iyvnen, rogorc velodi. piriqiT, Cemi dakvirvebiT, TuSi mamakacebi umetesad tanmorCili an saSualo simaRlis da Txeli aRnagobis arian. xalxi Zalian megobruli da alalia, gulgaxsnilni da molxena uyvarT...

embellished on both sides by a rolled braid. Below their glittering, silver-striped black headscarves, their shy and curious gazing eyes are of a breathtaking beauty... The women have characteristic beautiful silver jewelry about their necks, and they also wear a silver necklace combining several chains on their chests. Young women don’t wear a headscarf; instead, they boast many thin braids, in which they insert colorful beads. The cleanliness of the women’s attire is remarkable. The principal color of their attire is black, and it is richly decorated with bright colors and silver, which looks quite attractive… Unlike their neighboring Pshavs, Tushetian women don’t become ugly when they get old. On several elderly women’s faces, largely covered by a headscarf, I observed pale, thin and harmonious features, bearing the same noble appearance as those described of old ladies in Ancient Rome (so-called matrons). To say the least, and contrarily to what I had heard before, I noticed that Tushetians were not as tall as I was expecting. In fact, as I observed, Tushetian men are mostly short or of medium height, and are slim. People are very friendly and frank. They are openhearted and merry people…

masalis mowodebisTvis madlobas vuxdiT saqarTvelo-germaniis sazogadoebas We would like to thank Georgian-German Society for providing this material

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zRvis laJvardi caSi gadadis, qveviT ki saxli qaTqaTebs, iseTi, rogoric riJraJis sizmrebSia, gasaSvebad rom ar gemeteba, Tumca gonidan gisxlteba da guliswamReb sevdas gitovebs. mere fiqrob, ratom vsevdianob?.. axsnas ver poulob, da am dros didi xnis win mosmenili striqonebi gaxsendeba _ â&#x20AC;&#x17E;ara megobaro, aq uaresiaâ&#x20AC;&#x153; da zustad xvdebi am sevdis mizezs _ iq ginda, laJvardsa da siqaTqaTeSi, sadac Seni wasuli megobaria...

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The azure of the sea fades into the sky, a house is gleaming down there, the kind which we dream of at dawn, that we don’t want to let go, but which slips from our consciousness and leaves us with a heart-rending sorrow. Then you think, why am I sad? You find no explanation, but right then, you recall a verse you heard a long time ago – “No, my friend, it’s worse over here” and you understand the reason for your sadness – you want to be there, in the azure gleam, with your lost friend…

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iSviaTia, mxatvris da mwerlis gancda ase daemTxves erTmaneTs... erT-erTi xSiri Sexvedrisas wignis erTad Seqmnaze SeTanxmdnen _ mxatvris naxatebze miwerili mwerlis teqstebiT... da mere moxda `saswauli~ _ mxatvars internetiT germaneli gamomcemeli daukavSirda da am wignis gamocema SesTavaza. es sruliad realuri ambavi im laJvardovani miRmeTis aqeT, `iq sadac uaresia~ moxda, sadac Turme keTili ambebic gvesmis.

Not often do the feelings of a painter and writer correspond so well… During one of their frequent meetings, they agreed to create a book together – with the writer’s texts annotating the painter’s works. And then a “miracle” happened – the painter was contacted by a German publisher who offered to publish the book. This actual story took place on our side, “where it’s worse”, far from the azure realm, and where, apparently, good news can also transpire.

...mze Casvlas apirebda. mec qalaqisken daveSvi. qalaqSi da sanapiroze xetiali mindoda. „bambukis tye“, wignidan „sisulelis traqtati“

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didi dro gasula. gavizarde. Cveni samyaroc gaizarda CemTan erTad, Zalian gaizarda. ukve yvela Cqarobs, dro ar hyofnis. mec, sul meCqareba da sul cota dro maqvs. „lurja“, wignidan „barnovis 122“

mxatvari. misi saxli mTawmindis mTis kides ebjineba. verandaze gamaval oTaxSi `zRvebia ayudebuli~, cis kideze dakidebuli TeTri gemebiT da, kidev saxlebi, alag-alag ganaTebuli sarkmlebiT. uyureb da maSinve xvdebi _ es saxlebi Cveni gulebiviTaa _ kuTxe-kunWulebSi rogori bindic ar unda idges, arsebobs sarkmeli, romelic savals gvinaTebs. da kidev mijriT miwyobili adamianebis saxeebi, Cveni saxeebi... romlebic aq varT da laJvardSi moZrav TeTr gemze ocnebasTan erTad, wkvaramSi ganaTebul sarkmels veZebT.

The painter. Her house rests on the edge of Mtatsminda Hill. “Seas” are leaning on the wall of the room leading to the veranda, with white boats perched on the horizon, and again, houses, with illuminated windows here and there. Looking at the paintings, you immediately understand that these houses are like our hearts – whichever twilight you might find yourself in, there is always a small window that will light your way. And also, human faces put one next to the other, our faces… we who are here, dreaming about a moving white boat on the azure, and searching for illuminated windows in the darkness.

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navTsayudeli. gviani SuadRe. mzes Rrubeli nel-nela efareba. bneldeba ara, ufro sworad, sxvanairi bindi, sxvanairi simuqe ipareba. es ar aris mxolod mzesTan gamoTxoveba. „SuadRe midis“, wignidan „sisulelis traqtati“

mwerali. oTaxSi Weramde awyobili Seminuli Taroebia. wignebs etyobaT _ yvela wakiTxulia. saxlic iseTia, Zalian Rrma bavSvobidan rom gvaxsovs _ maRali WeriT, Zveli avejiT, wignebis suniT da suliT, romelic axal saxlebSi ganiavda. aq mogonebebs sityvebi akavebs da teqstebSi drois warmavaloba yovndeba. mwerali wams ver aCerebs, magram wams wers da mere gviyveba, Cven ki vusmenT.

The writer. In the room, the shelves go up to the ceiling. You can see that all the books have been read. The house itself is like the ones we remember from our early childhoods – high ceilings, old furniture, with the smell of books, and a soul that cannot be found in new houses. Here, memories are retained in words, and texts delay the passing of time. A writer cannot stop a second from passing by, but he writes the second and tells us its story; as for us, we listen.

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gogo romelic laJvardebs xatavs TuTu kilaZea. mwerali ki, romelmac icis, rom `aq uaresia~ _ gaga naxucriSvili. maTi erToblivi wigni „zRva monatreba“ Zalian male frankfurts miemgzavreba. _ me da gaga erTobliv wignze xSirad vsaubrobdiT. erTxelac SevxdiT da gakeTeba gadavwyviteT, oRond vin gamoscemda ar vicodiT. zustad meore dRes germaneli gamomcemeli vladimir velminski damikavSirda, romelmac Cemi naxatebi naxa da maTi wign/albomad Sekvra moisurva. me gagas teqstebi vTxove da ase aewyo... _ gagam teqstebi Tqveni naxatebis mixedviT dawera? _ ara, es teqstebi mas ukve hqonda da isini naxatebs TavisTavad moergo. ver vityvi rom zusti azrobrivi damTxvevaa, magram emociiT, ganwyobiT Zalian Seesabamebian. raRacnairad Seexama es yvelaferi erTmaneTs _ Cveni da gamomcemlis survilebi, naxatebisa da teqstebis ganwyoba.

The girl painting the azure skies is Tutu Kiladze; the writer who knows that “it’s worse over here” – Gaga Nakhutsrishvili. Their common book ‘A sea of longing’ will soon be traveling to Frankfurt. “Gaga and I had frequently talked about creating a book together. When we finally decided to do it, we didn’t know who would publish it, yet the very next day, German publisher Vladimir Velminski contacted me. He had seen my paintings and he wanted to assemble them in an album. I asked Gaga to do the texts, and this is how it started…” Did Gaga write the texts according to your paintings? “No, he had already written the texts, and they fit the paintings naturally. I don’t think that they coincide exactly in terms of subject, but they are very alike with regard to emotion and spirit. Somehow, everything just matched – our wishes and those of the publisher, and the mood of the paintings with that of the texts.” Tutu studied at the Tbilisi State Academy of Arts. One thing she knows for sure is that she’s not interested in anything apart from painting. Her style is singular and characteristic, but if you take

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...gogo cota Cemze ufrosi iyo da didad ar mwyalobda. am asakis gogoebis umetesoba xom umcrosebs ki ara, Tanatolebsac ar aqceven yuradRebas. Cems gogos patara, TeTri, suleli, SeiZleba iTqvas gauzrdeli pudeli hyavda, romelic adga daikarga, gauCinarda, siTeTres Seerwya. „TeTri pudeli“, wignidan „barnovis 122“

TuTum akademia daamTavra. zustad icis, rom am saqmis garda sxva araferi ainteresebs. xatvis manera gamorCeuli da Taviseburi aqvs, Tumca Tu daakvirdebiT, emociis da mxatvruli formis ganzogadebaSi firosmanis Soreul gamoZaxils daiWerT. araferi konkretuli, mxolod, sada simartive, lakonuroba da imavdrouli ikonografiuli sicxade. ramdenime personaluri da jgufuri gamofena hqonda. frankfurtSi, wignis prezentacias ver daeswreba, radganac kopenhagenSi ixsneba im dReebSi misi personaluri gamofena. mere ki berlini elodeba da _ ai, berlinSi gaga aucileblad wamomyveba _ ambobs mxatvari. _ gagas Semoqmedeba Zalian miyvars. TiTqos uxilavi simi

a close look, you will notice an echo of Pirosmani’s works in her generalization of emotion and form. Nothing specific, just a modest simplicity, laconism, and at the same time, iconographic clarity. Tutu had several personal and group exhibitions. She won’t be able to attend the presentation of the book in Frankfurt because the date coincides with the vernissage of her personal exhibition in Copenhagen. After that, it will be Berlin – and there, Gaga will definitely join her – the painter tells us. “I’m very fond of Gaga’s work. It’s as if we’re connected by an invisible thread, and that is why I wanted to create a book with him.” Were you pondering your style for a long time? “No, I actually never painted in any other way. But I also like to experiment, painting on various materials. The most important thing

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makavSirebs da amitomac mindoda masTan erTad wignis gakeTeba. _ didxans eZebdi sakuTar Tavs mxatvrobaSi? _ ara, sxvanairad arc mixatia arasdros. Tumca eqsperimentebi miyvars. sxvadasxva masalasac vcdi xolme. mTavari ki is aris, rom yvelgan me me var, Cems Tavs gamovxatav ase. is am formiT grZnobs am samyaros. am formiT gvelaparakeba. zRviTa da gemebiT gvesaubreba. aqoCrili talRebiT... xSirad mesizmreba zRva _ ambobs is _ xan keTilia da xan saSiSad Relavs. mijriT miwyobili mravalsarTuliani saxlebi, vfiqrob araa iseTi

for me is to remain myself in my works, because that is how I express myself.” She feels our world through painting. She speaks to us through painting. With seas and boats. With rolling waves… “I often dream about the sea”, she says, “sometimes it’s kind, and sometimes it’s extremely stormy”. I don’t think the multistory buildings next to one another in my paintings are as scary as the ones in Tbilisi today. On the contrary, I think they tell stories of returning home, with their yards and gates, which are beyond our everyday world somehow, and at which we like to glance once in a while.

uecrad, maRla avixede, adamianebi xom xandaxan maRlac iyurebian. „SuadRe midis“, wignidan „sisulelis traqtati“

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...yvelaferi icvleboda, axal saxlebs aSenebdnen, maRals, uformos da uSnos. „eqskursia“, wignidan „sisulelis traqtati“

SemaSinebeli, rogorc dRevandel TbilisSia da saxlSi dabrunebis ambebs gviyveba, ezoebiT da alayafis kariT, romlebic Cveni samyaroebis miRmaa da sadac cali TvaliT SeWyeta gviyvars xolme. _ mwerlebis muzeumebi yalbi mgonia _ ambobs gaga. sad eZina, sad ijda, mkvdaria es. ai, mxatvrebTan Semoqmedebas grZnob da xedav. TuTusgan saocar muxts viReb. naxatebi gamomigzavna da maTi mixedviT avewye. piriqiT rom yofiliyo, raRac ilustrirebuli teqsti gamovidoda. es ki ar gvindoda. erTmaneTi ar SegvizRudavs. me avarCie teqstebi naxatebis ganwyobis mixedviT. gamomcemelic ki minimalurad Caeria am procesSi.

“I think that writers’ museums are spurious,” says Gaga. “He used to sleep there, used to sit there – all this is lifeless. With painters, you can see and feel their creations. I receive a lot of energy from Tutu’s works. She sent me her paintings, and I chose the texts according to them. If it had been the other way round, it would have been another illustrated text. And we didn’t want that. We didn’t limit each other. I chose the texts according to the mood of the paintings. Even the publisher only got involved in this process to an extremely small extent.” The translator of the book is a German Kartvelologist who became interested in Georgia after meeting a professor of Kartvelology while studying linguistics at Oxford. The texts were chosen from the already published books ‘Treaty of Stupidity’ and ‘122 Barnov Street’.

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wignis mTargmneli germaneli qarTvelologia. oqsfordSi lingvistikas swavlobda da iq profesori gaicno, qarTvelologi, romelmac saqarTveloTi daainteresa. teqsti ukve gamocemuli wignebidan „sisulelis traqtati“ da „barnovis 122“ SeirCa. _ Canawer-Canaxatebia _ ase uwodebs maT gaga _ erT-erTi JurnalisTvis vwerdi svetebs da mere vifiqre, Sevagroveb da wignad gamovcem-Tqo. maT radioSi wakiTxuli ambebic mivamate da asec gamovida. am wignis SeqmnaSi isic damexmara, rom CemTvis poezia ufro mxatvrobaa, vidre musika. apolineri rom gavixsenoT, kubizmis erT-erT fuZemdeblad iTvleba. leqss rom vwer an vismen, suraTs vxedav. CemTvis galaktionis „aTovda zamTris baRebs“ calsaxad grafikuli namuSevaria. TuTus naxatebi da Cemi teqstebic aseTi erTobaa.

“They are notes, sketches”, Gaga says. “I was writing columns for a newspaper, and I thought that I would gather them and publish them as a book. I added some stories I read on the radio, and that’s how the book got assembled. I was also helped, in creating this book, by the fact that for me, poetry is closer to painting than to music. If we think about Apollinaire, he is considered one of the founders of Cubism. When I write or listen to a poem, I see a picture. Also, I think that, for instance, Galaktion Tabidze’s ‘Snow Fell on Winter Gardens’ is an unambiguously graphic work. This unifies Tutu’s paintings and my texts.” Gaga’s room is like a time portal. A door carved into the 21st century and leading to a place where reading a book leaves you in contemplation. Is it me, or after reading a contemporary text, I feel I’m left emptyhanded? You close the book, and good or bad, the feelings from the book end with that very movement.

kargi, maSin jer zooparki davaTvalieroT. / „eqskursia“, wignidan „sisulelis traqtati“ 25

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Tovliani peizaJi, maTaraSi sasmeli, win ki SeSlili Tavgadasavlebi. / „sad gaeqcevi zamTris Rames“, wignidan „barnovis 122“ gagas oTaxi drois portaliviTaa. ocdameerTe saukuneSi gaWrili kari iq, sadac wigni, wakiTxvis Semdeg safiqrals gitovebda. _ Tanamedrove teqstis wakiTxvis Semdeg, meCveneba rom araferi grCeba? _ vekiTxebi _ xurav wigns da tkivilica Tu sixarulic iq sruldeba. _ ideis krizisia. Cemi azriT, teqnologiurma progresma adamianis sulier ganviTarebas Zalian gauswro. amitom dRevandeli mwerloba xelobasaviTaa. teqsti uzadoa. Zalian kargad ikiTxeba, magram gulze ar gxvdeba. aris gamonaklisebi, magram zogad WrilSi asea. postmoderni TavisTavad kriziss niSnavs. Tumca, vfiqrob, es mocemuloba dasruldeba _ Tanamedrove mwarmoebel adamians mobezrdeba aseTi yofa da axali ideebic wamova. gaga Cveni uaxlesi warsulis yvelaze tragikul Taobas ekuTvnis, Taobas, romelmac cxovrebisa da sicocxlis fasi jer kidev patarebma igrZnes. albaT, amitomac, misi tragikuli SeZaxili, rom `aq darCena gacilebiT uaresia~, aseTi zusti da im epoqis cxadad aRmweria. misi romani „zamTris zRvac“ amazea. _ maSin ukve vgrZnobdi, rom Zalian cud velze movxvdiT, da gamosvlisTvis erTi cxovreba ar iqneba sakmarisi _ ambobs is. _ saqarTveloSi wignebis gamocema sakmaod sarfian saqmed iqca. es niSnavs rom mkiTxveli wigns ubrundeba? _ mgoni Tavis motyuebaa imis mtkiceba, rom yvela wigns daubrunda. es Cveni bralic aris. ramdenad xSirad gvxedaven Cveni Svilebi wigniT xelSi? _ isini ekranze kiTxuloben...

....ici, SeiZleba briyvi var, magram, mgonia, rom cudi adamianebi ar arseboben. „zRapari, romelic ar mTavrdeba“, wignidan „sisulelis traqtati“

“We are undergoing an idea crisis. I think that technological progress has surpassed peoples’ spiritual development by a large margin. Therefore, writing has become like a craft. Texts are immaculate. They are very easy to read, but they don’t touch your heart. There are exceptions, but in general, that’s how it is. In itself, postmodernism conveys crisis. But I think that this will change –

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_ mTavaria ikiTxon da iyos ekrani. Tumca me piradad ar mesmis. CemTvis wigni, Sinaarsis garda calke istoriaa. misi forma, feri, suni, masTan dakavSirebuli ambebi... _ aucilebelia icode weris teqnika, imisTvis rom ambavi mohyve? _ ver getyvi. xandaxan SeiZleba xelis SemSlelic iyos. msoflio literatura unda ikiTxo da iqidan iswavli dramaturgias, ambis ganviTarebas da dasrulebasac. _ mwerali gaga naxucriSvili ufro poetia Tu prozaikosi?

today’s creators will get bored of this situation, and new ideas will come to be.” Gaga belongs to the most tragic generation of our recent past, a generation that experienced the price of existence and life while they were still children. Perhaps this is the reason his tragic cry that “staying here is much worse” is so much to the point, and blatantly describes that epoch. His novel ‘Winter Sea’ revolves around this theme. “Back then, I could already feel that we had found ourselves in a very bad realm, and that one life wouldn’t be enough to get out of it”, he says. Publishing books in Georgia has become quite a profitable business. Does this mean that people are going back to reading books? “I think that it would be lying to oneself to think that everybody is going back to books. It is our fault too. How often do our kids see us with a book in hand?” They read on screens… “The most important thing is that they read, so if they do, I don’t care if it’s on a screen. But personally, I don’t understand. To my mind, apart from its content, a book is a story in itself. Its shape, color, smell, stories about it…” Is it necessary to know how to write in order to tell a story? “I can’t really say. Sometimes, it can even hinder you. You need to

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_ proziT daviwye. marTalia magas proza naklebad eTqmis, magram leqsebze mogvianebiT gadavedi. bolo poeturi krebuli 2013 wels gamovuSvi. maSin Cemi megobari pako svimoniSvili ukve avadmyofobda. arada yvelafers pirvelad mas vakiTxebdi. misi gardacvalebis Semdeg, leqsebi aRar gamomicia da axla, am axal wlamde vapireb gamovce da pakos mivuZRvna. ise, ki, prozas davubrundi. albaT, asakis bralia _ gamocdileba moJonavs da prozaul teqstebSi aisaxeba. _ xSirad msmenia rom qarTuli literatura „ar varga“ _ Cven ar vyofilvarT msoflio literaturuli procesebis TanxvedraSi da boloSi „mivCanCalebdiT“ _ es Cveni provinciuli snobizmi gvalaparakebs. sxvam Tu ar gviTxra rom kargia, Tavad ver vxvdebiT amas. arada mcirericxovani eri varT da Cveni mwerali oTar WilaZe orjer iyo nobelze wardgenili. vaJa fSavela, nikoloz

learn world literature, and through it, you will learn dramaturgy, story development and finishing." Do you feel more like a poet or a prosaic writer? “I started with prose. Perhaps it wasn’t pure prose, but I started to write proper poetry only later. I published my latest anthology of poems in 2013. My friend Pako Svimonishvili was already ill at that time. He was always the first person to read my writings. I didn’t publish any poems after he passed, and now I’m planning to publish some before the end of the year and to dedicate it to Pako. Also, I have now returned to prose. Perhaps it’s because of my age – experience seeps out, and shows in prosaic texts." I have often heard that Georgian literature “isn’t good” – we weren’t in conjunction with worldwide literary processes, and in the end, we lagged behind. “It is our provincial snobbism that makes us think this way. Unfortunately, if somebody else doesn’t tell us that it is good, we

...ratom gaCumdi?.. icnob Tbiliss? / „eqskursia“, wignidan „sisulelis traqtati“ 28

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...bavSvobaSi sul elodebi ardadegebs, axal wels, dabadebis dRes, saCuqars, megobrebs, gogos, romelic mogewona. merec, mTeli cxovreba elodebi da garbixar. garbixar da elodebi. mainc saidan gadis bavSvobisken mimavali matarebeli? romeli liandagidan? „bavSvobis matarebeli“, wignidan „barnovis 122“

baraTaSvili da galaktioni Tu ar arian msoflio literaturuli procesis Rirseuli wevrni, maS vin?! ra rCeba wakiTxuli wignebisgan da nanaxi naxatebisgan? ra rCeba ambebisgan, romelic gadagvxda da movlenebisgan, romelic vnaxeT? da Tu naxatebi da ambebi erTadaa? rCeba zRva monatreba?.. romelic 13 oqtombers wardgeba frankfurtSi. gaga fiqrobs, rom es axali etapis dasawyisi iqneba da Cvens mwerlobas evropaSi gaicnoben; mxolod erTi pirobiT _ Tu aseTi didi forumis sapatio stumroba ar iqneba mxolod erTjeradi aqti. ira WeliZe

cannot value our work. All the while, we are a small nation and our writer Otar Chiladze was nominated for the Nobel Prize twice. If Vazha-Pshavela, Nikoloz Baratashvili and Galaktion Tabidze aren’t worthy members of world literature, then who is?!” What is left from the books we have read and the paintings we have seen? What is left from the stories that we have lived, the events that have occurred in our life? What if these paintings and stories were put together? Would it be the sea of longing that will be presented in Frankfurt on the 13th of October? Gaga thinks that this will be the beginning of a new phase, and that they will get to know our literature in Europe; with only one premise: that being Guest of Honor in a large forum like that doesn’t remain a one-time thing. Ira Chelidze

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dudana mazmaniSvili:

mTavaria iyo individi Dudana Mazmanishvili: The most Important thing is to be individual

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msmenelis winaSe igi pirvelad eqvsi wlisa wardga. rva wlisam simfoniur orkestrTan daukra. dudana mazmaniSvili erT-erTi pirvelTagania, vinc saqarTvelos damoukideblobis Semdeg dasavluri musikaluri ganaTleba miiRo. aseve pirvelma, damoukidebeli saqarTvelodan, gamarTa koncerti legendarul `karnegi holSi~, riTic cnobili amerikeli kritikosis haris goldsmitis aRfrTovaneba daimsaxura. Tumca, misi sakoncerto geografia bevrad vrcelia da msoflios iseT mniSvnelovan darbazebs moicavs, rogoricaa miunxenis `gasTaig filarmonia~, `miunxenis rezidencia~, `kortos darbazi~ parizSi, venis `miuzikferaini~, berlinis `koncerthausi~ da `filarmonia~, Tu sul axalgaxsnili `elbis filarmonia~ hamburgSi. 2007 wels Musical America-m is `amomaval varskvlavebSi~ Seiyvana. misi musikaluri biografia ki bevrad adre, sami wlis asakSi daiwyo, roca dedisgan pirveli gakveTilebi miiRo...

She first appeared before an audience at six years of age. At eight, she played with a symphony orchestra. Dudana Mazmanishvili was one of the first to receive a Western musical education after the independence of Georgia. She was also the first from independent Georgia to perform a concert in the legendary ‘Carnegie Hall’, for which she earned laudations from famous American critic Harris Goldsmith. But the geography of her concerts has now become much richer, and includes the most prominent stages in the world – Munich’s ‘Gasteig Philharmonie’ and ‘Munich Residenz’, the ‘Cortot Hall’ in Paris, the ‘Musikverein’ in Vienna, the ‘Konzerthaus’ and ‘Philharmonie’ in Berlin, and the freshly opened ‘Elbphilharmonie’ in Hamburg. In 2007, ‘Musical America’ named her among the “Rising Stars” of her generation. Naturally, her musical biography started much earlier – when she was only three years old, and had her first lesson with her mother…

dakvra Cemi surviliT daviwye. deda pianisti iyo da CvenTan, saxlSi musika gamudmebiT ismoda _ Tavadac ukravda da mowafeebsac amecadinebda. Cveulebriv, aseT ojaxebSi Svilebic musikosebi gamodian, Tumca CvenTan sxvagvarad iyo: igive warmatebiT SeiZleboda arqiteqtori gamovsuliyavi, rogorc mama, an sulac arqeologi, rogorc babua _ andria afaqiZe. mravalmxrivi interesebis gamo, sabolood gadawyvetileba, mxolod miunxenSi saswavleblad wasvlisTvis miviRe. ar vici, es kargi iyo Tu cudi... rogorc yvela bavSvi, ufrosebs vbaZavdi da vcdilobdi ori TiTiT maTi dakruli melodiebi gamemeorebina. Semdeg aTwledSi Cavabare sadac dakvras deda maswavlida. mSoblebs SeuZliaT Svilebis mecadineoba? ratomac ara? es individualuria da ufro imazea damokidebuli, ramdenad SeuZliaT mSoblebs Svilebis aRzrda. swored imitom, rom cnobismoyvare, `normaluri~ bavSvi viyavi, stereotipuli vunderkindis ucnaurobebi ar maxasiaTebda _ arc vfiqrob, rom vunderkindi viyavi _ vcelqobdi, Tumca dedasac vujerebdi.

I started playing of my own volition. My mother was a pianist, and you could always hear music in our home, both when she was playing and giving private lessons. Generally, in this kind of family, the children become musicians too, but it was different for us: I could very well have become an architect, like my father, or even an archaeologist, like my grandfather Andria Apakidze. Because I had many interests, I only made my final decision when I left to study in Munich. I don’t know if it was a good or bad one… Like any child, I imitated adults, so you would see me trying to replicate the melodies they played with two fingers. Then I enrolled at the music school, where my mother became my teacher. Can parents teach their own children music? Why not? Naturally, this is individual, and it is more related to whether the parents can educate their children in general. It is precisely because I was a curious, “normal” child, that I didn’t manifest the strange behavior characteristic of wunderkinds – actually, I don’t even think I was a wunderkind. I might have been a bit mischievous, but I did listen to my mother. How did your mother work with you? Now that I’ve become a mother myself, I can appreciate her efforts

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rogor muSaobda deda SenTan? axla, Tavad rom gavxdi deda, ufro davafase misi Zalisxmeva da pedagogiuri midgomebi. mkacrs ver vityvi, magram momTxovni iyo, pirvel rigSi sakuTari Tavis mimarT, rac gadamdebi aRmoCnda. dRe-RameSi ToTxmeti saaTi vmuSaobdi: skolaSi kargad vswavlobdi, maswavlidnen enebs, bevrs vkiTxulobdi, vwerdi scenarebs, davdiodi Wadrakze, xatvaze (ramdenime personaluri gamofenac mqonda), ramac Cemi lirikul-poeturi mimarTulebiT ganviTareba ganapiroba. mqonda rTuli periodebic _ musikisTvis Tavis danebeba mindoda; es maSin, rodesac mecadineoba mezareboda, Torem koncertis da aplodismentebis Semdeg, roca warmatebis gemos mZafrad grZnob, amaze, ra Tqma unda ar fiqrob. am dros deda diplomatias iCenda da meubneboda _ kargi, nuRar daukrav, magram vauqmebT momaval koncerts! aq ki siamayis da pasuxismgeblobis grZnoba merTveboda da mecadineobas axali energiiT viwyebdi. Semdeg iswavle miunxenSi, eliso virsalaZesTan... eliso virsalaZem bavSvobaSi momismina da Semdeg, roca Cveni Sexvedra miunxenSi Sedga, misTvis aRar damikravs. miunxenic elisos gamo avirCieT, vfiqrobdiT masTan

and pedagogic approach even more. I wouldn’t say that she was strict, but she was demanding, towards herself in the first place – and this proved to be contagious. I was studying 14 hours a day. I was a good pupil at school, they were teaching me languages, I was reading books, writing scripts, learning chess, drawing (I even had several personal exhibitions), all of which conditioned my development from a lyrical-poetic point of view. I also went through difficult times. At some point, I wanted to stop playing music – this happened when I was too lazy to study, because naturally, after concerts and applause, when you get a taste of success, you just can’t think. During those times, mother was very diplomatic, and told me – “Okay, don’t play, but then we have to cancel your next concert!” And the result was that I became proud, feeling a sense of responsibility, and started to study with renewed energy. Then you studied in Munich under Eliso Virsaladze… Eliso Virsaladze had listened to me as a child, so when we met in Munich, I didn’t have to play again. We actually chose Munich because of Eliso. We were thinking to go to Moscow to study with her, but my parents preferred Europe, and they were right. Fortunately, and despite the very difficult period, I was able to obtain several scholarships in Germany – otherwise, my family would never have been able to finance my education there. Since childhood, I had been

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moskovSi Cabarebasac, magram Cemma mSoblebma evropa arCies da sworadac moiqcnen. sabednierod, im rTul periodSi germaniaSi sxvadasxva stipendia movipove, Torem miunxenSi Cems swavlas Cemebi ver daafinansebdnen. bavSvobidan did dros CexeTSi vatarebdi. ToTxmeti wlidan zaarbriukenSi wavedi, xolo bolo klasi amerikaSi davamTavre. amdenad, dasavluri garemo da damoukidebeli yofa CemTvis axali ar iyo da amitom `miunxenuri martoobac~ ar gamWirvebia. virsalaZis klasi? eliso miunxenSi ar cxovrobda. magram Camodioda xolme da xSirad didi xniTac. am dros yoveldRiuri mecadineobebi gvewyeboda. Tu koncertebs Soris ori-sami dRiT Camovidoda, es imas niSnavda, rom dilis aTidan saRamomde unda mjdariyavi Seni rigis molodinSi. roca klavirabendisTvis an konkursisTvis vemzadebodi da did programas vasmeninebdi, gakveTili SeiZleba sam-oTx saaTsac gagrZelebuliyo. eliso ZiriTadad or roialze amecadinebs da erTs Tavad uzis. zogjer mTel programas savarZelSi mjdari ismenda, magram bolos mainc dgeboda da roials ujdeboda. elisos gakveTili detalzea orientirebuli. misi masterklasebic aseTia. SenTan erTadaa CarTuli

spending a lot of time in the Czech Republic. When I was 14, I traveled to Saarbrücken, and I finished school in the USA. Therefore, neither the western context nor being independent were new to me, so it wasn’t difficult to get used to being alone in Munich. What can you tell us about Virsaladze’s class? Eliso didn’t live in Munich. But she would come visit from time to time, and often for lengthy periods. When she was there, we had daily lessons. If she was only visiting for a few days in-between concerts, it meant that we would have to wait in line from ten in the morning until the evening for our turn. When I was preparing for a performance or a competition and worked on a substantial program with her, the session could go on for three to four hours. Eliso usually teaches with two grand pianos, herself sitting at one of them. Sometimes, she would listen to the whole program while sitting on a sofa, but even then, she would still get up in the end and sit at the piano. Eliso’s lessons are detail-oriented. Her masterclasses too. She goes through the creative process with you, and unlike other great musicians, she also makes you do the routine work during the lesson. Some tutors start from the program as a whole to get to the details. It is the opposite with Eliso, who takes you from the details to the whole.

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SemoqmedebiT procesSi da sxva didi musikosebisgan gansxvavebiT, Sav samuSaosac gakveTilze gakeTebinebs. arian pedagogebi, romelnic mTliani saSemsruleblo warmodgenidan detalebamde Camodian. elisos piriqiT, detalebidan miyavxar mTlianobamde. niu iorkSi miunxenis Semdeg gaemgzavre? miunxenis `hoxSules~ damTavrebis Semdeg niu iorkSi `manes-kolejSi~ jerom rouzTan Cavedi. rouzi artur Snabelis amerikel mowafesTan leonard SurTan da rudolf serkinTan swavlobda. ase rom, isev germanulavstriul skolaSi aRmovCndi _ elisos genealogiur xazsac xom germanul skolasTan mivyavarT. Tumca, maTi swavleba gansxvavebulia. rouzi ufro pragmatulia, musikalur ganviTarebaze metad, artistuli cxovrebisa da karierisTvis gamzadebs, Tavadac aseTia, atarebs sakuTar festivals da bevrs ukravs. maxsovs, buzonis saerTaSoriso konkursi axlovdeboda, quCaSi nayins vWamdi da am dros rouzma gamoiara da mkiTxa _ rogor fiqrob, buzonis momavali laureati axla ras akeTebso? ar vici-Tqo da... nayins ar Wams _ mecadineobso! konkursisTvis naxevari wliT adre daviwye mzadeba.

You flew to New York after Munich? After finishing the Hochschule in Munich, I traveled to New York and started studying under Jerome Rose at the Mannes College. Rose learned under Artur Schnabel’s American pupil Leonard Shure, as well as under Rudolf Serkin. So one could say that I found myself in an Austro-German school again – Eliso’s “genealogic” line also brings us to the German music school, doesn’t it? But they provide a different education. Rose is more pragmatic, and does more than develop you in a musical way: he prepares you for an artistic life and career. He’s the same himself: he has his own festival and plays a lot. I remember that when the Busoni International Competition was approaching, I was eating ice-cream on the street, and Rose passed by and asked me, “What do you think the future laureate of the Busoni Competition is doing right now?” “I don’t know,” I answered… “She’s not eating ice-cream, she’s studying!” he told me. I had started preparing for the competition half a year before. I had already gone through part of the program with Eliso, and I learned some pieces specially for the competition, including Wolfgang Rihm’s Sotto Voce No 2 for piano and orchestra. I made one funny mistake: the competition’s rules stated that I had to play it without a conductor, and for some reason, I thought that it was without the partition, so I learned the whole piece by heart, even though it changes in each bar.

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What can you tell us about your repertoire? I like playing Bach during concerts. In my childhood, I played many polyphonic and sonata forms, and I now play sonatas by Mozart, Beethoven, and Shubert. I think that my repertoire is quite large, but it is never enough. I learned Tchaikovsky’s Grand Sonata at Eliso’s wish, as well as the variations in F Major, which never seem to end. The story of these variations goes like this: Eliso knew that I was learning fast, and arranged a kind of test for me. She told me that she would give me a piece of music that I would never be able to play, and that she would return one week later to listen to me playing it. The next day, I ran to the library, took the partition, and when she came back, I already knew the piece, and I performed it alongside Tchaikovsky’s Grand Sonata at a recital not long after.

programis nawili elisosTan mqonda gavlili, raRac nawarmoebebi specialurad konkursisTvis viswavle, maT Soris volfgang rimis Sotto voce 2 fortepianosa da orkestrisTvis. erTi sasacilo Secdoma momivida _ konkursis pirobebSi ewera, rom is udiriJorod unda damekra, me ki ratomRac vifiqre, rom notebis gareSe da nawarmoebi, sadac TiTqmis yovel taqtSi icvleba Tvla, zepirad viswavle.

Were you always a fast learner? Yes. I have perfect pitch. Naturally, that’s a positive thing, but it also makes you too confident, and you might lack the time to add your last touches to the piece, because you leave everything until the

repertuari? koncertebze baxis dakvra miyvars. bavSvobaSi bevri polifoniuri da sonaturi forma maqvs dakruli _ vukrav mocartis, beThovenis da Subertis sonatebs. Cemi repertuari, vfiqrob, didia, magram sakmarisi arasdros aris. elisos surviliT viswavle Caikovskis didi sonata da fa-maJoruli variaciebi, romelic TiTqmis ar sruldeba. am variaciebis istoria aseTia: elisom icoda, rom swrafad vswavlobdi da erTgvari gamocda momiwyo, miTxra _ mogcem erT nawarmoebs, romelic gamoricxulia dakruli gqondes, erT kviraSi davbrundebi da mogismeno. meore dRes gaviqeci biblioTekaSi, gamovitane notebi da roca igi dabrunda, ukve kargad vicodi da maleve klavirabendze Caikovskis did sonatasTan erTad davukari. yovelTvis swrafad swavlobdi? diax. absoluturi smena maqvs. es ra Tqma unda kargia, magram zedmetad Tavdajerebuls gxdis da nawarmoebSi saboloo Strixebis Setana SeiZleba ver moaswro, radgan yvelafers bolosTvis itoveb. amitom, koncertze mec da, Sesabamisad, msmenelic vgrZnobT, rom metis gakeTeba SeiZleboda. gariskva Cemi bunebaa, SeiZleba SemeSalos, magram dakvras ar Sevwyvet, am dros smena da improvizacia mexmareba. ansamblSi Cems partiasTan erTad, yovelTvis vici sxvebis partiebic, amisTvis

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ar vSromob, TavisTavad mamaxsovrdeba da es zedmeti tvirTia, romelsac ver vicileb. swarafad swavlis nakli isicaa, rom swrafadve iviwyeb, SeiZleba Zalian kargadac daukra, magram xelmeored dasakravad Tavidan gagixdes saswavli. bavSvobaSi fundamenturad naswavli programebi ki arasdros gaviwydeba, SeiZleba Rame gamaRviZoT da raxmaninovis meore koncerti damakvrevinoT. arian kompozitorebi, romlebsac naklebad ukrav? frangebs, samwuxarod. Tumca, es mxolod solo repertuars exeba; debiusis da ravelis kamerul musikas vukrav. giyvars orkestrTan dakvra? Zalian. solisti pianisti martoa mecadineobis drosac da klavirabendzec. orkestrTan erTad ki saSualeba geZleva bevr musikosTan erTad imuSavo. diriJorTan urTierTobac erTgvari gamowvevaa. safortepiano koncertebsac ar aRviqvam musikad, sadac roials dialogi aqvs orkestrTan, ufro rogorc erT mTlians, ise vuyureb.

last minute. Therefore, during concerts, both myself and the public sense that I could have done better. It is in my nature to take risks, maybe I can make mistakes, but I won’t stop playing – my ear and improvisations help me in those cases. When I play with others, apart from mine, I always know my colleagues’ parts too. I don’t need to study for that; I remember them naturally, and it’s a kind of unwanted charge that I can’t get rid of. Another disadvantage of learning fast is that you forget fast too – maybe you play the piece very well, but you might have to learn it a second time. In comparison, you never forget the programs you’ve learned fundamentally, as a child; you can wake me up at night, and I will still be able to play Rachmaninoff’s Piano Concerto No 2. Are there composers that you play less? French ones, unfortunately. But this is only true for my solo repertoire; I play Debussy and Ravel’s chamber music. Do you like playing in orchestras? A lot. Soloist pianists are alone during both practice and concerts. When you perform with an orchestra, you have the opportunity to work with a lot of musicians. The relationship with the conductor is

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SenTvis damaxasiaTebeli `tempo rubato~ ar giqmnis sirTuleebs diriJorebTan? diriJors gaaCnia da... nawarmoebsac; Sopenis koncertebSi `rubato~ ver Segiqmnis problemas, imitom rom orkestri TiTqmis arafers ukravs. magram mocartTan an beThovenTan `rubato~ rTuli, sariskoa. aq mTavari zomiereba da stilis SegrZnebaa, Tavad sityva xom `moparvas~ niSnavs, drois moparvas _ taqts erT monakveTs Tu moakleb, sadRac unda daabruno... ras metyvi interpretaciis Tavisuflebaze? studentur wlebSi, roca jer isev damokidebuli xar pedagogze, bunebrivia gavlenis qveSac eqcevi. me ki ara, beThoveni iyo haidnis gavlenis qveS. mTavaria iyo individi, miT umetes Tu did SemsruleblebTan swavlob. rac ufro didia musikosi, miT ufro didi energetika aqvs da metad gSTanTqavs. maT samuSaod morCili studentebi `uyvarT~; cxovrebaSic asea, is vinc yvelaferSi geTanxmeba saurTierTobod martivi, iolia, magram ramdenad sainteresoa es? asevea pedagogTan, diriJorTan urTierTobac da metsac getyvi, instrumentTanac _ yvela roials Tavisi xasiaTi aqvs. roialis xasiaTi axsene _ `bexStainTan~ rogor moxda Seni dakavSireba? albaT, konkursze momismines, zustad ar maxsovs. `bexStaini~ iyo dro, rodesac `stenveis~ uswrebda, Zvel CanawerebSi didi pianistebi xSirad swored masze ukraven. me `bexStainis~ saxe var. valdebuleba, rom mxolod `bexStainze~ davukra, ar maqvs, magram Tu im qalaqSi vukrav, sadac maT warmomadgenloba aqvT, yovelTvis vcdilob `bexStaini~ damidgan. baxisTvis an bramsisTvis, sadac bgera ufro mZime da xaverdovani unda iyos, `bexStaini~ miswrebaa. avstriaSi orjer maqvs dakruli `biozendorferze~, romelsac Zalian didi rezonansuli sxeuli aqvs, `stenveize~ ufro listisa da rusebis dakvra momwons. `faciolic~ micdia, oRond masze dasakravad erTi repeticia sakmarisi ar aris, es igivea moumzadeblad `ferarize~ saWe rom gandon.

also a kind of challenge. I don’t see grand piano concerts as music in which the grand piano has a dialogue with the orchestra, I see it more as one whole. Does your characteristic “tempo rubato” create problems when working with conductors? That depends on the conductor… and on the partition; the “rubato” won’t create any problems with Chopin’s pieces, because the orchestra almost doesn’t play anything. But with Mozart or Beethoven, “rubato” is difficult and risky. Here, the most important thing is balance, and to feel the style. The word itself means “to cover”, to cover time – if you take just one part of the bar away, you have to put it back in somewhere else… What can you tell us about freedom in interpretation? In student years, when you are still dependent on your tutor, you are influenced. You can’t escape it – even Beethoven was under Haydn’s influence. The most important thing is to preserve your individuality, even more so if you are studying with a great performer. The better the musician, the bigger their energy, and the more they “absorb” you. They like obedient students; it is the same in life, the people who agree with you on everything are easy to be with, but are they interesting? That’s how it is with tutors, conductors, and even with instruments – each grand piano has its own character. You just mentioned the character of grand pianos. How was your career linked to Bechstein? They probably listened to one of my concerts, I don’t really remember. There was a time when Bechstein was ahead of Steinway; great pianists used to play on Bechsteins on old recordings. I am one of the faces of Bechstein. I don’t have the obligation to play on Bechstein exclusively, but if I’m playing in a city where they have representatives, I always try to perform on a Bechstein. Bechsteins are the best for playing Bach or Brahms, where sounds have to be heavier and more velvety. I have played twice in Austria on

romelime pianistis gavlenis qveS Tu moqceulxar? roca nawarmoebs vswavlob, sxvebs ar vusmen, ar minda gavlenis qveS moveqce. ra Tqma unda, mexsierebaSi bevri Canaweria daleqili da amas versad gaeqcevi. gansakuTrebiT miyvars solomon katneri, kliford kerzoni mocartis koncertebSi, baxs guldisas vusmen. amerikaSi daveswari erl uaildis koncerts da Zalian momewona. masterklasic gvqonda _ Zalian dinamikuri da iumoriT savse. swored am masterklasis Semdeg dainteresda CemiT menejmenti. kameruli masterklasi mqonda menahim preslerTan, roca Tavis beaux arts trio-sTan erTad Camovida jerom rouzis

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festivalze. araoficialur garemoSi mimuSavia boris berezovskisTan, Cven vmegobrobT da misi gakveTilebi uzomod faseulia CemTvis. roca is berlinSi ukravs, CemTan mecadineobs xolme...

a Bรถsendorfer, which has a very resonant body, and I prefer playing Liszt and Russian composers on a Steinwey. I also tried a Fazioli, but one rehearsal is not enough to play on it, it would be the same as sitting at the wheel of a Ferrari without preparation.

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axla berlinSi cxovrob... musikaluri ganviTarebisTvis aucilebelia did qalaqSi cxovreba? berlini specifikuri SemTxvevaa. imis gamo, rom jer gaiyo da Semdeg gaerTianda, yvelaferi ormagia _ orkestri, opera da a.S. amitom TiTqmis yoveldRea koncertebi `berlin filarmonikerSi~, `StaatskapelaSi~, `koncerthausSi~. SarSan daniel barenboimma `pier bulezis darbazi~ gaxsna, sadac Zalian saintereso kameruli koncertebi tardeba. muSaobs `doiCe opera~, `Staatsopera~ da `komiSe opera~. vfiqrob, garkveul etapze wasvla aucilebelia. berlinSic rom daibado, berlinidanac unda waxvide, orbita unda gamoicvalo, es Sinaganad da socialuradac Zalian gzrdis. me berlinamde TbilisSi, miunxenSi, niu iorksa da, cota xniT, londonSic vicxovre da es kargi gamocdileba iyo. daniel barenboimTan urTierTobis Sesaxeb... barenboims sxvadasxva garemoSi vxvdebodi da Semdeg, erTxelac saxlSi damibara, sadac artur rubinStainis naqoni Zveli `stenvei~ udgas, romelic axla Zalian aSlilia. momismina, ramdenjerme mamuSava, maT Soris raxmaninovis meore safortepiano koncertze. axla Zalian kargi urTierToba gvaqvs.

Have you ever been influenced by a pianist? When I’m learning a new piece, I don’t listen to others, because I don’t want to come under the influence of anyone. Naturally, my memory is full of recordings, and I can’t escape that. I am very fond of Solomon Katner and Clifford Curzon for Mozart, and I listen to Gould for Bach. I attended Earl Wild’s concert in the US, and I really liked it. We even had a masterclass – it was very dynamic and full of humor. I also had a masterclass with Menahem Pressler when he came to Jerome Rose’s festival with his Beaux Arts Trio, and I have also worked in an unofficial setting with Boris Berezovsky, we are friends, and his lessons are utterly precious to me. When he performs in Berlin, he usually rehearses at my place… Right now, you live in Berlin… Does one need to live in a large city in order to develop musically? Berlin is a special place. Because it was divided and then united again, everything is twofold – the orchestra, the opera, and so on. Therefore, concerts take place almost daily at the Berliner Philharmonie, the Staatskapelle, and the Konzerthaus Berlin. Last year, Daniel Barenboim opened the Pierre Boulez Hall, which offers very interesting chamber concerts. The Deutsche Oper, the Berlin State Opera and the Komische Oper are all active. I think that at some stage,

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TeatrSic giTamaSia? nino xaratiSvilis piesaSi `liv Staini~. pianistis rols TamaSobda msaxiobi eva matesi, romelsac fasbinderisa da hercogis filmebiT vicnobT. reJisoris CanafiqriT me misi alter ego viyavi da scenaze vukravdi. 2008 wlis agvisto... daemTxva, rom maSin dabadebis dRe mqonda da TbilisSi viyavi. omis dros Camovidnen germaneli Jurnalistebi, romlebsac sazRvris gadmokveTaSi davexmare, radgan maSin sazRvrebi Caiketa. gavyevi cxel wertilebSic, rac sakmaod saSiSi iyo. vinaidan, bevr dasavlur arxs warmomadgenloba moskovSi aqvs

it is necessary to go practice somewhere else. Even if you were born in Berlin, you should move away and change surroundings – this makes you evolve a lot, both from the inside and socially. Before Berlin, I had lived in Tbilisi, Munich, New York, and a little bit in London too, and it was a good experience. Tell us a little bit about your collaboration with Daniel Barenboim. I used to meet Barenboim in various places and environments, and he once invited me to his place, where he has an old Steinway that used to belong to Arthur Rubinstein, which is very out of tune now. He listened to me, and made me work a few times, including on Rachmaninoff’s Piano Concerto No 2. We have a very good relationship.

da Jurnalistebic iqidan Camovidnen, gasakviri araa, rom movlenebsac rusuli propagandis gavleniT aRiqvamdnen. Cemi amocana germaneli Jurnalistebis mobilizeba, gayola, Targmna da CvenTvis sasargeblo narativis gavrceleba iyo. maqsimalurad SevecadeT da mgoni bevri ram movaxerxeT.

Did you ever play in theaters? In Nino Kharatishvili’s play ‘Liv Stein’. The pianist’s role was performed by Eva Matess, who appeared in Fassbinder and Herzog’s films. The director thought that I would be a good alter ego for her, so I played on the theater stage.

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diplomatiuri kariera rodis daiwye? 2009 wels berlinSi saqarTvelos saelCoSi kulturis konsultantad daviwye muSaoba. 2013 wlidan ki saqarTvelos kulturis ataSe var germaniaSi. am periodSi bevri saintereso proeqti ganvaxorcieleT. maT Soris, 2014 wels saqarTvelos kulturis Tve berlinis `evropuli kulturebis muzeumSi~. qarTulgermanuli wlis gamocxadebaze vaxtang kaxiZis orkestrTan erTad berlinis filarmoniaSi davukari beThovenis mesame safortepiano koncerti. gavmarTeT miRebebi da koncertebi liza baTiaSvilTan, anita raWveliSvilTan, nino maCaiZesTan da sxvebTan erTad. axla vmuSaobT kulturis sferoSi SeTanxmebaze saqarTvelosa da germanias Soris. albaT, ukve Zalian male SeTanxmebas xeli moewereba da or qveyanas Soris kulturul urTierTobebi gaRrmavdeba da sistemuri saxe miecema.

What about August 2008? It coincided with my birthday, so I was in Tbilisi. German journalists arrived during the war, and I helped them cross the border, because the borders were closed back then. I followed them near the so-called borders too, which was quite dangerous. Because many western channels have their representatives in Moscow, and journalists came from there, it isn’t surprising that their perception was under the influence of Russian propaganda. I wanted to mobilize German journalists, accompany them, translate, and to spread our side of the narrative. We did our best, and I think we achieved a lot. When did you start your career as a diplomat? I started working at the Georgian Embassy in Berlin as a consultant for culture in 2009. Since 2013, I’ve been Georgia’s cultural attaché in Germany. We carried out many interesting projects during this period, including the Georgian Cultural Month in Berlin’s ‘Museum of European Cultures’ in 2014. When the Georgian-German year was

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wels saqarTvelo frankfurtis wignis bazrobaze sapatio stumaria... frankfurtis kulturuli programa mravalferovania. ra Tqma unda, fokusi literaturaze keTdeba, magram mis farglebSi saSualeba gveZleva Cveni zogadi kulturac warvadginoT. frankfurtis bazroba mniSvnelovani platformaa qarTuli musikaluri programisTvisac. hamburgis axalgaxsnil `elbis filarmoniaSi~ gamarTul festivalze Caucasus monawileobdnen: ingolStadtis qarTuli kameruli orkestri, xatia da gvanca buniaTiSvilebi da saqarTvelos erovnuli simfoniuri orkestri. saqarTvelo wardga frankfurtis `river bank festivalzec~. 26 seqtembers berlinis filarmoniaSi pirvelad gaimarTa qarTveli saopero varskvlavebis koncerti vaxtang kaxiZis diriJorobiT. 13 oqtombers ki erovnul simfoniur orkestrTan erTad frankfurtis `alte operaSi~ liza baTiaSvili daukravs. Znelia diplomatiuri saqmianoba da ras apireb misi dasrulebis Semdeg? sxvaTa Soris bevr qveyanaSi kulturis ataSes kulturis saministro agzavnis da ara sagareo saqmeTa. kulturis ataSeebi iyvnen poeti pablo neruda da pianisti ian paderevski. Cemi azriT Zalian mniSvnelovania am rangis diplomati kargad erkveodes kulturaSi. Semdeg ki... davrCebi berlinSi da ufro aqtiurad davubrundebi profesias. diplomatiuri samsaxuris da

announced, I played Beethoven’s Piano Concerto No 3 at the Berliner Philharmonie with Vakhtang Kakhidze’s orchestra. We held receptions and concerts with Lisa Batiashvili, Anita Rachvelishvili, Nino Machaidze, and others. Right now, we are working on an agreement in the culture field between Georgia and Germany. The agreement will probably be signed very soon, and the cultural ties between these two countries will increase and take on a systematic format. Georgia is this year’s Guest of Honor at the Frankfurt Book Fair Frankfurt’s cultural program is diverse. Naturally, the focus is on literature, but within this framework, we have the opportunity to present our culture as a whole. Therefore, the Frankfurt Book Fair is an important platform for Georgian music too. The following performers will be participating in the Caucasus Festival in the newly opened Elbphilharmonie in Hamburg: the Ingolstadt Georgian Chamber Orchestra, Khatia and Gvantsa Buniatishvili, and the National Symphony Orchestra of Georgia. Georgia was also present at the River Bank Festival in Frankfurt. The first concert with famous Georgian opera singers in Germany took place at the Berlin Philharmonic on the 26th of September, under the conducting of Vakhtang Kakhidze. Finally, on the 13th of October, Lisa Batiashvili will be performing with the National Symphony Orchestra at Frankfurt’s Alte Oper. Being a diplomat must be difficult; what are you planning after you finish your mandate? In many countries, the cultural attaché is sent by the Ministry of Culture, and not the Ministry of Foreign Affairs. Poet Pablo Neruda

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musikis SeTavseba sakmaod rTulia. ori Tvea rac evropis kulturis parlamentis wevric gavxdi. aseT dros musika yvelaze metad iCagreba. is ver itans kompromiss. ukve dagegmili maqvs Cawerebi da koncertebi. wels berlinSi b-sharp studio-Si Cavwere Sumanis diski, sabavSvo scenebiT, tokatiTa da karnavaliT da bonusad laRiZis `rondotokata~. es Cemi meore studiuri albomia. axla TbilisSi festivalis dafuZnebaze vfiqrob. Cemi survilia, rom jerom rouzis festivalis msgavsad, sadac zafxulobiT vaswavli xolme, Sevqmna yovelwliuri kera imisTvis, raTa garda koncertebisa, cnobilma Semsruleblebma da pedagogebma qarTvel da ucxoel studentebs vorkSopebi Cautaron. es umTavresad pianistebisTvis iqneba, Tumca SesaZlebelia sakoncerto programaSi liderabendis da im ansamblebis CarTvac, sadac fortepiano monawileobs. radgan `bexStainis~ xelmZRvanelobisgan Tanxmoba miviRe, amis gacxadeba xmamaRla SemiZlia _ saqarTveloSi Camoitanen rva roials, maT Soris or sakoncertos. esaubra Salva cxovrebaZe

and pianist Jan Paderewski were cultural attachés. In my opinion, it is very important for such diplomats to be knowledgeable in culture. Afterwards… I will stay in Berlin and become more active in my profession. It is quite difficult to combine diplomatic work and music. I also became a member of the European Cultural Parliament two months ago. In those cases, music becomes the most neglected field. But it cannot stand compromise. I have already planned recordings and concerts. This year, I recorded a disc of Schumann in the b-sharp Studio in Berlin, with his Kinderszenen, Toccata and Carnival, and Laghidze’s ‘Rondo Toccata’ as a bonus. This is my second studio album. Right now, I am thinking about founding a festival in Tbilisi. My wish is to create a yearly festival similar to that of Jerome Rose – in which I sometimes teach in the summer, which will become a musical hub, and where apart from concerts, famous performers and tutors will hold workshops for Georgian and foreign students. It will be mainly focused on pianists, but it will also be possible to include liederabends and ensembles in which there is a fortepiano. Because I already got approval from the administration of Bechstein, I can already announce it – they will bring eight grand pianos to Georgia, including two concert grand pianos. Interview by Shalva Tskhovrebadze

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maS ra aris Targmanis saidumlo? mTargmnels kidev erTi ram unda hqondes aucileblad: sindis-namusi. me ar vxumrob. mTargmneloba did zneobriv simaRles moiTxovs. literaturuli nawarmoebi, romelic Tavis qveyanaSi sulier faseulobas da erovnul ganZs warmoadgens, Sen ra ufleba gaqvs gaaufasuro da xelyo misi Rirseba? mTargmneloba didi pasuxismgeblobaa sakacobrio kulturis winaSe. vaxuSti kotetiSvili

WHAT IS THE SECRET OF TRANSLATION? There is another thing that translators should absolutely possess: conscientiousness. I’m not joking. Translating demands high moral values. What right do you have to depreciate and impact the worth of literary works which are of spiritual value and represent a national treasure in their country? Translators bear a great responsibility to human culture. Vakhusti Kotetishvili

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studentobisas ori axirebuli megobari myavda, ucnauri mokamaTeebi. nebismier Temaze erTmaneTTan sityvieri Sebmis surviliT ivsebodnen da mzad iyvnen, mcire saganzec ki, iseTi gulanTebuli disputi wamoewyoT, TiTqos iq da im dros, im davis safuZvelze unda gadawyvetilyo kacobriobis bed-iRbali. erTxel isec moxda, rom morigi suleluri dava atexes: uaresis SemTxvevaSi romelis arCeva ajobebda _ siyruisa Tu sibrmavisao? erTma dayrueba arCia, meorem dabrmaveba; pirvel amtkicebda, Tuki ena ver gavige, Tuki ver gavige ras meubnebian, xma da intonacia Tu ver movismine, Tu ar mecodineba ras ra saxeli hqvia da rogor JRers _ cxovrebas azri daekargebao. meorem daiJina, ena ukve ise kargad maqvs naswavli, rom misi JReradoba arasdros damaviwydeba; Tu gaxseneba movindome, wigns gadavSli da warmosaxvis ZaliT, misi JReradoba maSinve Camesmeba smenadakargul yurebSi; magram Tu sagnebis ferebs, adamianebis Jestikulacias, moZraobas, drois cvlas Tvali ver vadevne, ramdenic ar unda vusmino, mainc ver mivxvdebi sinamdvileSi ra ambavi trialebs Cems garSemo da amitom, siyrue mirCevniao. veravin moTvlis am marad Seurigebel wyvils ramdenjer da razed ar upaeqriaT, magram Cemda gasaocrad, yvelaze metad siyruisa da sibrmavis kamaTi maxsendeba xolme. maTi argumentebi sakmaod damajerebeli iyo da ver gadamewyvita, ukidures SemTxvevaSi, me Tavad romels gamovmSvidobebodi _ Tvalis Cins Tu yurTa smenas. am oridan xan romel ubedobas virCevdi da xanac romels. garkveuli drois Semdeg, roca interesebma mxatvruli teqstis Targmnisken mibiZges, maSinRa mivxvdi, es kamaTi xuTi grZnobidan erT-erTis dakargvaze ki ara, aramed imaze iyo, Tu ra qmnis Cvens enas, ra saSualebebiT SegviZlia sazrisis gageba, rom ena grZnobebis mTlianobaa da ara SegrZnebebis nakrebi. Tavad kamaTi imis Sesaxeb Tu romeli grZnobis daTmobas varCevdiT, myardeboda argumentiT _ romel grZnobas SeuZlia enis funqciis kompensireba ukeT, ena mxolod sityvebi ki ara, samyarosTan erTianobaa da roca enis saSualebiT raimes aRwer, es mxolod verbaluri aqti aRar aris. gansakuTrebuli simwvaviT es problema im dros Cndeba, roca mxatvrul teqsts Targmni. maS ra aris Targmanis saidumlo? gana ra aris Targmna Tu ara erTi enidan meoreze mniSvnelobebis ise gadmotana, rom Targmanma originalis, dedniseuli azri ar dakargos? bevri Targmnas advil saqmed miiCnevs _ maT hgoniaT, rom Tu ori ena kargad ici da am or enaSi arsebul erTi da imave mniSvnelobis sityvebs erTmaneTis Sesabamisad daajgufeb `Tavi qudSi giZevs~. gana qarTuli da germanuli sityvebi erTmaneTis sruli ekvivalentebi ar arian? da Tuki romelime enaze raimes Tqma SeiZleba (magaliTad germanulze), ratom ar unda SeiZlebodes

When I was a student, I had two stubborn friends, both quite peculiar debaters. They argued with each other on every theme, and were ready to start such an animated dispute about the smallest of matters that onlookers might have thought that humanity’s fate depended on its outcome. Thus they once started another of their foolish arguments: if you had to choose, what would you prefer – being deaf or being blind? One of them chose deafness, and the other blindness; the first one argued that if he could not hear the language, if he didn’t hear what people were telling him, if he didn’t perceive voice and intonation, if he didn’t know the names of things and how they sounded, life would lose all meaning. The second one insisted that he already knew language so well that he would never forget its sounds; he said that if he needed to remember them, he could open a book, and with the power of imagination, he would “hear” the sounds right then in his deaf ears; but if he could not discern the color of objects, the gesticulations and movements of humans, if he could not observe the passing of time, it would not matter how many things he heard, he still wouldn’t be able to distinguish what was actually happening around him, and therefore, he would prefer to be deaf than blind. Nobody could count how many times this antagonistic pair argued, nor could one list the themes they explored, but to my surprise, their discussion about deafness and blindness is the one I remember best. Their arguments were quite persuasive, and I could not decide which one of the two I myself would part from if I had to – eyesight or sense of hearing. At times, I leant towards one ill-fatedness, at times towards the other. After some time, when my interests led me to translate a literary text, I realized that this argument was actually

zustad igives gadmotana sxvazec? qarTul enaSi arsebobs uTargmneli sityvebis ybadaRebuli magaliTebi, romelTac zmniswini `Semo~ awarmoebs. amis yvelaze gavrcelebul nimuSad SesaZloa zmna _ `SemomeWama~ miviCnioT, romelic aRniSnavs moqmedebas, romelic gamiznuli ar gqonda, Tumca aRZrulma survilma moqmedi piris neba dajabna da mainc SeaWama esa Tu is kerZi. Tumca Cemi neba rom iyos, uTargmenlobis magaliTad ara `SemomeWamas~ moviyvandi, aramed `SemomeWmevas~, romelic aramarto zemoT moyvnil mniSvnelobas moicavs, aramed damatebiT droiT horizonts hmatebs mas, mis gardauvalobaze migviTiTebs; gveubneba, rom am patiosan kacs ar surs misi Wama, magram gamoxdeba xani da kerZi ise aRuZravs madas, rom nebis sawinaaRmdegod, Tavis Sekavebas veRar moaxerxebs da SesWams... aseve kargi magaliTi SeiZleba iyos `gagviwvimdeba~, romelic imas migvaniSnebs, rom Cven drois jer kidev im monakveTSi varT, rodesac ar wvims, magram garkveuli xnis Semdeg, roca sadRac gzaSi viqnebiT, maSin wamogveweva da... dagvasvelebs. am yvelafris Targmna erTi sityviT an Tundac ise, rogorc zemoT avxseniT absoluturi absurdia. ena Tu ar ici yvelafers azri ekargeba. es magaliTi ki imisTvis moviyvaneT, rom Cveulebriv enaSi arsebuli Targmanis problemisTvis gagvesva xazi. rac Seexeba

not about losing one of the five senses, but rather about the essence of language, and with which means we can understand the idea that language is a wholeness of feelings, and not a combination of perceptions. The discussion itself, about which sense one would let go of over another, was led by arguments debating which sense could better compensate for language. Language not only consists of words: it is in harmony with the world, and when you describe something with language, it is not merely a verbal deed. This problem becomes very clear when you are translating a literary text. So, what’s the secret of translating? What is translating, if not bringing meanings from one language into another in a way that doesn’t fail to keep their original essence? Many think that translating is an easy thing to do – they think that if someone knows two languages well, and if they properly assemble the words that bear the same meaning in the two languages, the job is done. Aren’t Georgian and German words perfect equivalents of each other? And if you can say something in a given language (for instance in German), why wouldn’t you be able to transfer the exact same meaning into another? In the Georgian language, there are jaw-dropping instances of untranslatable words which are produced by the preverbal element “shemo”. We could consider “shemomechama” (approximately “I accidentally ate it”) to be the most popular illustration of this phenomenon, and it stands for an action that one didn’t plan, but couldn’t refrain from doing – in this case, eating something. But if

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mxatvruli teqstebis Targmans, aq saqme ufro rTuladaa, radgan erTis mxriv mTargmnelis winaSe Tavad enebis mier momzadebuli lamis gadaulaxavi barierebi dgas, meores mxriv ki avtoris mier enaSi aRmoCenili axali siRrmeebi, mis mierve Semotanili axali sityvebi, sityvaTSeTanxmebebi, sintaqsi, stili, am stilSi Camaluli filosofiuri azrebi da sxv. Tumca, uTargmnelobas, Targmanis SeuZleblobas, Tan erTi paradoqsic axlavs: Tuki ambob, rom raimes Targmna SeuZlebelia, ese igi orive enaze gesmis da ici rasac ver Targmni, iwyeb im xerxebis Ziebas, romliTac SeiZleba es ori ena erTmaneTs daukavSirdes, riTic SeiZleba amoivsos maT Soris arsebuli ufskruli. swored esaa mTargmnelis udidesi riski, rogorc maszed rusTaveli ityoda `saWoWmano saqme~, romelic an gamogiva an ara, romliTac an daaSoreb mkiTxvels originalisgan an axlos masTan miiyvan. Targmans, garda wminda literaturuli funqciisa, sxva mxarec aqvs; naTargmni literatura msoflio qveynebis ganviTarebis processa da eris cnobierebis CamoyalibebaSi udides rols asrulebs. germaneli xalxis da enis im saxiT CamoyalibebaSi romelic dRes aqvs, erT-erTi gadamwyveti roli luTeris mier Sesrulebulma bibliis Targmanma iTamaSa. ra iqneboda Tanamedrove evropuli literatura homerosis Targmanebis gareSe? naTargmni masala aramarto mTargmnelis individualri gemovnebis niSani, aramed qveyanaSi arsebuli kulturuli Tu politikuri

I could pick the word that best epitomizes untranslatable ones in Georgian, I wouldn’t choose “shemomechama” but “shemomechmeva” (roughly “I will finally/accidentally eat it”), which doesn’t only incorporate the abovementioned meaning, but enriches it with the dimension of time and hints to the inevitability of the action; it tells us that some honest man doesn’t want to eat something, but time will pass, and the dish will stir his appetite so much that contrary to his wishes, the man won’t be able to restrain himself, and will eat it… Another good example could be “gagvitsvimdeba” (roughly “it will rain on us”), which tells us that we are still at a time when it is not raining, but that after some time, when we will be somewhere on the road, it will catch up on us and… make us wet. Translating all this into one word, or even in the way that we explained it above, would be absolutely absurd. If you don’t know the language, these words lose all their meaning. And we brought up these examples in order to underline a problem found when translating simple discourse. The translation of literary texts is much more difficult; on the one hand because the translator often faces linguistic obstacles that are almost impossible to overcome, and on the other hand because of the new depths discovered by authors in their language, the new words they introduce, their word combinations, syntax, style, the philosophy hidden in the latter, and so much more. But untranslatability comes with a paradox: if you say that it is impossible to translate something, it means that you understand and know what you can’t translate in both languages, and you start searching for the means that would make

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situaciis anareklicaa. mxatvruli literaturis Targmani adamianTa, kulturaTa Soris gabmuli is xidia, romelic ekonomikur da politikur urTierTobebisgan gansxvavebiT (romelTagan erTs mogeba, meores ki Zalaufleba ainteresebs), bevrad ufro advilad, iolad akavSirebs ama Tu im ersa da maT kulturebs. literatura adamianuri xelovnebaa. is, arasdros iviwyebs patara Tu did grZnobebs, SesaZlebels xdis erTmaneTisTvis sruliad ucxo mkiTxvelma, ucxo adamianma, romelic SesaZloa erTurTs eWvis TvaliTac ucqerdnen, gaacnos da Seacnobinos erTmaneTi. literatura is xelovnebaa, romelic Sors myof adamianebs erTmaneTs axvedrebs, drosa da sivrceSi amogzaurebs. qarTvels meTeqvsmete saukunis espaneTSi gadisvris da saraindo romanebisgan SeSlil da garaindebul moxucis tyavSi gaxvevs, imdroindeli espaneTis wes-Cveulebebs Seaswavlis da sazogadoebriv niuansebSi gaarkvevs; an Tundac germanels saqarTveloSi, xevsureTSi gadmoisvris, xevsurTa Seubralebl da mkacr tradiciebs gaacnobs, magram am tradiciebs miRma namdvil, ukompromiso, adamians aCvenebs, romelic mtris vaJkacuri saqcieliT STagonebuli sxvagvarad iwyebs azrovnebas da moyvarisa da mteris kliSeze maRla dgeba. qarTul literaturas mravalsaukunovani mTargmnelobiTi tradicia aqvs. mTawmidelebis mier Sesrulebul religiuri Txzulebebis Targmanebs romc ar SevexoT, aRmovaCenT, rom Targmani srulebiTac ar yofila saxumaro an SemTxveviTi saqme. qarTuli Targmanebi SeiZleba garkveul politikur da kulturul konteqstSi ganvixiloT. SemTxveviTi ar aris, rom XI saukuneSi, sargis Tmogvelis mier Sesrulebuli `visramianis~ Targmani, erT-erTi saukeTesoa qaTul mTargmnelobiT

you able to connect these two languages and to fill the existing gap between them. This is precisely the biggest hazard for translators – a “praiseworthy deed” as Rustaveli would have put it, which will either work out or not, and with which they can bring the reader either closer or farther from the original text. Apart from a purely literary function, translations have another side to them: translated literature plays an utterly important role in the establishment of national consciousness and in the development process of various countries. Luther’s translation of the Bible played a decisive role in the formation of the German people and language as we know them today. What would modern European literature be without the translations of Homer? Translated material reflects not only on the individual taste of the translator, but also on the given cultural and political situation of a country. The translation of literature is a bridge between peoples and cultures, and unlike economic and political relations (the former being interested in benefits, the latter in power), this bridge connects this or that nation and its culture to others much more directly and easily. Literature is a human art. It never neglects feelings, be they important or not, and makes it possible for two random readers, two strangers who would perhaps even look at each other with suspicion if they met, meet and understand each other. Literature is an art that connects people who are far away from each other, that can make you travel in time and space. It can send Georgians to 16th century

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istoriaSi. im dros qarTuli da aRmosavluri kultura Zalian axlos iyo erTmaneTTan; sargis Tmogvels kargad SeeZlo gaeazrebina da Sesabamisad interpretireba moexdina am sparsuli poeturi qmnilebisa. Tanac ise, rom poeturi forma prozauliT Caenacvlebina da mainc ar daekarga kavSiri originalTan. miuxedavad imisa, rom veranairad ver moZebniT `vefxistyosnis~ siuJetis sparsul an arabul literaturul winapars, Tavad rusTavels igi `naTargmanebad~ aqvs moxseniebuli da Tavis `mokrZalebul~ wvlilad mis leqsad gardaTqmas asaxelebs; es ki imaze unda miuTiTebdes, Tu raoden dasafasebeli unda yofiliyo es saqmianoba misTvis. Tu qarTuli Targmanis istoriis gviandel xanas davakvirdebiT, vnaxavT, rom am SemTxvavSic kulturuli da politikuri kavSirebis msoflmxedvelobriv donze gabmis kidev ufro aSkara mcdelobasTan gvaqvs saqme. ilia WavWavaZem da ivane maCabelma gamiznulad Targmnes uZlieresi da yvelaze ganviTarebuli imperiis, umniSvnelovanesi avtori. Seqspiris dramebis Targmna, ra Tqma unda, dakavSirebuli iyo, rogorc maT genialurobasTan, aseve britanul kulturasTan daaxloebis survilTanac. am mosazrebis gasamyareblad Tavad axalgazrda ilia WavWavaZis mTargmnelobiTi moRvaweoba SeiZleba moviSvelioT; roca ilia mixeil lermontovis `mwiris~ Targmnisas Tavs ver ikavebda da qarTulad Targmnil teqstSive, rusi poetis im striqonebis sawinaaRmdegod, sadac saqarTvelos gadamrCenlad da gamfurCqvnelad rusi saldaTebis xiStebi iyo naxsenebi, daufaravad werda maT meir saqarTvelosTvis motanili `sikeTeebis~ Sesaxeb da zustad imasve usurvebda Crdiloelebs, rac maTma `Stikebma~ Cvens qveyanas moutana.

Spain and make them experience the life of an old man who went crazy over chivalric romances and thinks he is a knight himself, teach them the customs one would find at that time in Spain, and educate them in societal nuances; or it can propel Germans to Georgia, to the region of Khevsureti, and introduce them to the strict and implacable traditions of the Khevsurs, but more importantly, it will show them an authentic, uncompromising man who becomes inspired by the heroic behavior of his enemy, starts thinking differently, and transcends the cliché of amity and enmity. There is a centuries-long tradition of translating in Georgia. Even without discussing the translations of religious writings done by the ‘Mtatsmindelebi’, we will see that translation wasn’t taken lightly, and that it wasn’t a fortuitous tradition either. We can consider Georgian translations in a certain political and cultural context. It wasn’t by coincidence that the 11th century Sargis Tmogveli translation of ‘Visramiani’ became one of the best in the history of Georgian translations. At that time, Georgian and Eastern cultures were very close to each other; Sargis Tmogveli could thus grasp this Persian poem, and consequently translate it into Georgian very well. Even though he changed the poetic form to a prosaic one, he managed to retain the essence of the original. Despite the fact that it is impossible to find a Persian or Arabic literary ancestor to ‘The Knight in the Panther’s Skin’, Rustaveli himself has referred to it as a "translation", and wrote that his modest achievement was to transform it into a poem; this points to how important the activity of translating must have been to him. If we take a look at the late history of translations in Georgia, we will see that in this case too, we are witnessing attempts, and even more determined ones, to bond world views on a cultural and political level. Ilia Chavchavadze and Ivane Machabeli deliberately translated the most important author of the most powerful and most advanced empire. Naturally, translating Shakespeare’s plays was linked to both

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the genius of the latter and a wish to get closer to British culture. Young Ilia Chavchavadze’s works as a translator can attest to this themselves; when Ilia was translating Mikhail Lermontov’s ‘The Novice’, in opposition to the Russian poet’s verses in which the latter refers to the bayonets of Russian soldiers as the saviors of Georgia and the reasons for Georgia’s bloom, he could not refrain, and openly wrote in the translated text itself, about the “good deeds” they had brought to Georgia, and wished exactly the same to the Northern Empire as what their “good deeds” had brought to our country.

sabWoTa periodSi qarTvelma mTargmnelebma uSvelebeli Sroma gaswies imisaTvis, rom qarTuli mTargmnelobiTi tradicia ar gamqraliyo da rac mTavaria, kidev ufro win wasuliyo. baCana bregvaZem, daviT weredianma, givi gegeWkorma, murman lebaniZem, rezo yaralaSvilma, niko yiasaSvilma da bevrma sxvam moaxerxes da ilia WavWavaZisa da ivane maCablis mier, evropul kulturasTan gabmuli mTargmnelobiTi kavSirebi kidev ufro gaamyares. dRes saqarTveloSi sakmaod bevri saintereso da xarisxiani Targmani gamodis. mTargmnelobiTi saqme Zalian intensiuri da sicocxliT savsea. gamoCnda axali Taoba, romlebic aviTareben am saqmes da mkiTxvels SesaZleblobas aZleven mSobliur enaze gaecnon msoflio literaturas. TiTqmis aRar arsebobs is tendencia, rodesac bevri qarTul Targmanze cxvirs ibzuebda da wignis kiTxvas rusulad arCevda, qarTuli Targmanis uxarisxobis momizezebiT. rac Seexeba qarTuli literaturis Targmans ucxo enebze, am SemTxvevaSi saqme cota sxvagvaradaa; ramdenime wlis win, qarTuli wignis ucxoenovani Targmani Zalian cota iyo. verc axla vityviT, rom bevria, magram wels frankfurtis wignis bazrobaze, msoflioSi erTerT yvelaze prestiJul da did forumze, qarTuli literatura uxvad iqneba warmodgenili _ prozac da poeziac. germanuli wignis maRaziis daxlebi ukve aWrelebulia klasikuri da Tanamedrove qarTuli

During the soviet period, Georgian translators did a tremendous job in order for the tradition of Georgian translations not to disappear, and most importantly, so that it could continue to develop. Bachana Bregvadze, Davit Tserdiani, Givi Gegechkori, Murman Lebanidze, Rezo Karalashvili, Niko Kiasashvili and many others managed to strengthen the ties with the European culture that were established by Ilia Chavchavadze and Ivane Machabeli through translation. Today, there are quite a lot of interesting and high-quality translations being published in Georgia. Translating is a very intensive activity, and it is full of life. A new generation has appeared, one that is developing this field and is giving readers the possibility to get to know world literature in their native tongue. The erstwhile tendency that consisted of many people pulling a face when Georgian translations were mentioned, and the preference to read books in Russian because of the poor quality of the former, has almost completely disappeared. As for the translation of Georgian literature in foreign languages, the situation is a bit different; a few years ago, there were very few

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translations of Georgian books. We can’t say that there are many now either, but this year, Georgian literature – both prose and poetry – will be presented in abundance at the Frankfurt Book Fair, one of the largest and most prestigious book forums in the world. The counters of German bookshops are already variegated by translations of classic and modern Georgian literature. This year, Georgia’s Guest of Honor status gives our country the opportunity to better present every aspect of its literature to the world. The organizers have worked incredibly hard to achieve this difficult task, and created a translation program several years ago aimed at translating works by all the Georgian authors who, on the one hand, would be interesting for publishers linked to the Frankfurt Book Fair, and on the other hand, would give foreign readers the possibility to get a broader idea of Georgian literature, both modern and classic. About two hundred

literaturis TargmanebiT. saqarTvelos sapatio stumris statusi qarTuli literaturis yvela aspeqtSi ukeT warmoCenis saSualebas iZleva. am rTuli amocanisTvis Tavis gasarTmevad organizatorebma bevri iSromes da ramdenime wlis win Cauyares mTargmnelobiT programas safuZveli, Seecadnen yvela im qarTveli avtoris nawarmoebebi eTargmnaT, romlebic erTis mxriv saintereso iqneboda frankfurtis wignis bazrobasTan dakavSirebuli gamomcemlebisTvis da meores mxriv _ am TargmanTa saSualebiT, ucxoeli mkiTxvelisTvis, SesaZlebloba miecaT Tanamedrove da saerTod qarTul literaturaze sakmaod farTo warmodgena SeqmnodaT. ramdenime wlis ganmavlobaSi iTargmna orasamde wigni. ra Tqma unda Cven ver vityviT, rom es qarTuli literaturis srulyofil siad SeiZleba CavTvaloT (Tundac imitom, rom konstantine gamsaxurdia mxolod erTi moTxrobiTaa warmodgenili), magram namdvilad mniSvnelovani da epoqaluri movlenaa, rogorc qarTuli mwerlobisTvis, ise qarTuli kulturisTvis. frankfurtis wignis bazrobam SesaZloa gadamwyveti roli Seasrulos evropaSi qarTuli kulturis da saerTod saqarTvelos warmoCenaSi. Tumca, amis Sesaxeb ukve bazrobis damTavrebis Semdeg vimsjeloT. levan SatberaSvili

books were translated over the course of these years. Naturally, we cannot say that this can be considered a comprehensive list of works of Georgian literature (for instance, Konstantine Gamsakhurdia’s oeuvre is only represented by one short story), but it is undoubtedly an important and epochal occurrence for Georgian literature, and for Georgian culture as a whole. The Frankfurt Book Fair might play a decisive role in the presentation of Georgian culture, and more generally of Georgia, in Europe. But let us discuss this further after the closing of the fair. Levan Shatberashvili

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kaci-sanTeli AN ILLUMINATED MAN am sityvebiT vaxuSti kotetiSvili moixseniebda kacs, romelmac am soflidan gasvlis Semdeg mis megobrebs tkivilTan erTad kiTxvis niSani dagvitova _ romeli meti iyo masSi _ moRvawe Tu adamiani. did moRvaweTagan aseT kiTxvas bevri ver tovebs...

These were the words used by Vakhushti Kotetishvili to describe the man whose passing left his friends in unsurmountable sorrow, and with questions – was he more a human, or a servant of public well-being? Not many great public figures can leave this world with such a question mark…

20 wlis win, 5 seqtembers, qarTul samusiko da, zogadad, humanitarul samyaros Tavzari dasca axalgazrda folklorist ediSer garayaniZis da misi ojaxis wevrebis avtoavariaSi gardacvalebam. daiRupa misi meuRle, nino baRaTuria da Svili mariami. vaJi, giorgi gadarCa, magram sabediswero gangebiT, ramdenime welSi isic gardaicvala. vglovobdiT misi megobrebi, konservatorieli TanamSromlebi, da vglovobdiT ara mxolod ediSers, aramed _ Sewyvetil simReras _ mis ganuxorcielebel Rvawls qarTuli xalxuri simReris samsaxurSi. ediSeris gaxsenebisas Tavs uxerxulad vgrZnob _ misi kolegebi vagrZelebT samecniero, pedagogiur, sakoncerto cxovrebas da ediSeri ki istoriaa. es CemTvis dRemde Znelad mosanelebelia. Cemi azriT, qarTvel musikis folklorist da eTnomusikologTa Soris sami didi figura ikveTeba: qarTuli musikaluri folkloristikis damfuZnebeli dimitri arayiSvili, msoflioSi cnobili eTnomusikologi ioseb Jordania (romelic amJamad avstraliaSi moRvaweobs) da ediSer garayaniZe _ qarTuli xalxuri musikis saukeTeso mcodne, mkvlevari, popularizatori, misi originaluri arsisa da xasiaTis sworupovari mcveli.

20 years ago, on the 5th of September, the musical, and more generally the arts, circle in Georgia was in shock: the young folklorist Edisher Garakanidze and his family members had died in a car accident. He was with his wife Nino Baghaturia and daughter Mariam. His son Giorgi survived, but in a fateful twist, he also died some years later. We, his friends and colleagues from the Conservatoire, mourned him, and not only him, but also his interrupted song – his unfinished efforts for the development of Georgian folk music. When remembering Edisher, I feel uncomfortable – we, his colleagues, are continuing our scientific and pedagogic lives, we are carrying on with our concerts, while Edisher is history. To this day, this is very difficult for me to digest. Three great figures stand out among the folklorists and ethnomusicologists specialized in Georgian music: Dimitri Arakishvili, founder of folklore studies in Georgian music, Ioseb Zhordania, the world-renowned ethnomusicologist (who now resides in Austria), and Edisher Garakanidze – the most knowledgeable person, best researcher and popularizer of Georgian folk music, and an unequaled protector of its original essence and character. “Good people always have enemies,” Vazha-Pshavela wrote, but Edisher managed to overcome even this strong sentence – he was a good man without enemies. How did he manage that, you might ask?

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„kargia mudam mtrianio“, vaJa brZanebda, magram ediSerma es Ronieri frazac daauZlura _ kargi kaci iyo da umtero. rogor SeZlo es? Tavisi raindobiT! araerT mecniersa da Semsrulebels gadaswvda misi kritikis susxi, magram misi SeniSvnebi yovelTvis kacTmoyvarebiT iyo gazavebuli. iqneb raindoba genebiT mosdgamda qarTlis erTerTi cnobili Tavaduri gvaris warmomadgenels? amboben, ediSeris papam, giorgi luarsabis Zem 1913 wels mTavarmmarTebels mtkice uari stkica ajanyebuli daRestnelebis dasjaze. „me samxedro var da ara Jandarmi!“ magram gvariSvilobas ediSeri arad dagidevdaT. mis ansamblSi, „mTiebSi“, sadac erT Targze Cawikwikebuli Coxebis nacvlad, saqarTveloSi pirvelad, tradiculi yofisTvis Cveuli _ gansxvavebuli samosi hqondaT; ediSeri glexuri, ubralo grZelkalTiani CoxiT gamodioda, xSirad _ xanjlis gareSec. „namdvili qarTuli simRera sofluri simReraa!“ _ ambobda igi da es fenomeni iyo misTvis mTavari cneba, wminda wyaro, misi cxovrebis mizani.

With his chivalry! Many scholars and performers tasted the sting of his critique, but his observations were always full of humanity. Perhaps chivalry was genetically transmitted to this representative of one of the most prominent princely families of the region of Kartli? They say that in 1913, Edisher’s grandfather Giorgi, son of Luarsab, expressed a firm and bold rejection to the central government about the punishment of revolted Dagestanis. “I am a soldier, not a gendarme!” But Edisher didn’t care about his aristocratic origins. In his singing ensemble ‘Mtiebi’, for the first time in Georgia, instead of neat, standard chokhas (national costume), they wore a different garment – the traditional one, worn by ordinary people in everyday lives; Edisher used to perform in a simple chokha characteristic of peasants, and often without a dagger. “The real Georgian singing is the one found in villages!” – he used to say, and this was his most important principle, the pure headspring of Georgia, and the purpose of his life. Georgian folk singing truly was Edisher’s ideal, and ideals don’t need to be embellished. This is precisely why in the 1980s, Edisher Garakanadze raised his voice for the protection and restoration of natural, real, or in other words – authentic Georgian singing. His

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marTlac qarTuli xalxuri simRera ediSeris ideali iyo da ideals ki Selamazeba aRar sWirdeba. amitomac swored ediSer garayaniZea is adamiani, romelmac gasuli saukunis 80-ian wlebSi xma aRimaRla qarTuli simReris bunebriobis, namdvilobis, anu _ avTentikurobis dasacavad da aRsadgenad. misi ansambli „mTiebi“ yvela adrindeli ansamblisgan gamoirCeoda „dauyenebeli“ xmebiT, Sesrulebis xalxuri formiT (diriJorobis uaryofa, solistTa individualuroba), kuTxuri JReradobiT. maTi mosmenisas, SeiZleba iTqvas, scena ikargeboda. aranakleb mniSvnelovani iyo ediSerisTvis 1991 wels Camoyalibebuli saymawvilo folkloruleTnografiuli studia „amer-imeri“. aq swavlobdnen misi Svilebic _ mariami da gigi. aqve aswavlida ediSeris meuRle, filologi nino baRaTuria, romelsac sabavSvo zepirsityvierebasTan da TamaSobebTan erTad mihyavda studiis ZiriTadi sagani _ „samSoblosmcodneoba“. amgvari

patriotuli da originaluri mimarTuleba „amer-imers“ 1994 wels germaniaSi saerTaSoriso festivalze daufasda, sadac evropaSi bavSvTa saukeTeso studiad aRiares. ediSerma miseuli Sexedulebebi publicisturi da samecniero moRvaweobiTac daadastura. sadoqtoro disertaciis Temac es iyo _ „qarTuli xalxuri simReris Semsrulebloba“. magram xelovnuri `zizil-pipiloebisgan~ da „kanonikuri“, gaxeSeSebuli variantebisgan simReris ganTavisufleba piradi magaliTiT ufro qmediTi aRmoCnda. avTentikuri da xalxur kilo-wyobaSi Sesrulebis estafeta ganagrZes ediSeris ideiTve Camoyalibebulma qalTa ansamblma „mzeTamzem“ da anCisxatis taZris gundma. Semdeg ki es wamowyeba TiTqmis yvela maSindelma axalgazrda momReralma da musikismcodnem gaiTavisa. avTentikurobis idea ediSers ufiqrelad, erT dReSi, ar mosvlia. igi konservatoriis studentobis pirvelive

ensemble ‘Mtiebi’ stood out from all the other singing ensembles of the time with its “untaught” voices, folk method of performance (without a conductor, and with individual soloists), and regional sonority. One could say that when you listened to them, the stage disappeared. The children’s folkloric-ethnographic studio ‘Amer-Imeri’, founded in 1991, was of no less importance to Edisher. His own children, Mariam and Gigi, were taught there. Together with folk tales and games for children, his wife, philologist Nino Baghaturia, was also in charge of the main class of the studio – “homeland studies”. The importance of such a patriotic and original class was recognized in 1994, at an international festival in Germany, where ‘Amer-Imeri’ was acknowledged as the best children’s studio in Europe. Edisher also confirmed his views in his works as a publicist and scholar. The theme of his doctorate was ‘The performance of Georgian folk songs’. But it appears that the most successful way to break free from artificial baubles and canonical, coarse varieties of singing was to be an example for others. The relay of authentic folkloric

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kursidan iwyebs aqtiur saeqspedicio muSaobas (1977 weli, mindia JordaniasTan, xevi). emowafeba TiTqmis yvela imdroindel cnobil folklorists: grigol CxikvaZes, oTar CijavaZes, mindia Jordanias, kukuri WoxoneliZes. SemdgomSi ediSeri savele-SemkreblobiTi mizniT mTel saqarTvelos moivlis. ucxoeli mecnierebic swored masTan erTad amjobineben qarTuli simReris Casawerad mimosvlas (siuzan cigleri _ guriaSi, silvia bol-zempi _ svaneTSi). ediSeri eqspediciaSi atarebs bavSvebsac _ mis mier 1991 wels daarsebuli sabavSvo studia „amer-imeris“ wevrebs. magram ediSeri Tavisi am „kalmasobisas“ simRerebs ara marto `iRebda~, aramed _ gascemda kidec. „mTiebs“ araerTxel dauvlia saqarTvelos soflebi koncertiTa da saganmanaTleblo leqciebiT. gansakuTrebiT xSirad _ problemur regionebSi _ qvemo qarTlisa da hereTis skolebSi. aseve mniSvnelovania mTiebisa da „amerimeris“ mier Zveli qarTuli tradiciebis „alilosa“ da „Wonas“ gacocxleba. ediSeris megobrebi yovelwliurad Tavankara saSobao-saaxalwlo da saaRdgomo simRerebiT moilocavdnen xolme sofels Tu qalaqs.

performances was carried out by the women’s ensemble ‘Mzetamze’ and the ‘Anchiskhati’ ensemble, which were both based on Edisher’s principles. Afterwards, this undertaking was adopted by almost all the young singers and musicologists of the time. The idea of authenticity didn’t come to Edisher just like that, in one day. He started doing expeditions from his first year as a student at the Conservatoire – in 1977, with Mindia Zhordania, in the Khevi region. He learned from almost all the famous folklorists of the time: Grigol Chkhikvadze, Otar Chidjavadze, Mindia Zhordania, and Kukuri Tchokhonelidze. Afterwards, Edisher traveled all around Georgia, with the aim of gathering knowledge on the spot. He was also the preferred companion for traveling foreign scholars when they needed to record Georgian songs (Susanne Ziegler in Guria, and Silvia BoleZemp in Svaneti). Edisher also took children, pupils of his studio ‘Ameri-Imeri’, on his expeditions. But during these “harvests”, Edisher was not only collecting songs from the locals, but also offering them some. The ‘Mtiebi’ ensemble toured Georgian villages many times, performing concerts and holding educational lessons, most often in the schools of the relatively problematic regions of Kvemo Kartli and Hereti. Another important achievement of ‘Mtiebi’ and ‘Amer-Imeri’ is the revival of the

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ZiriTadad, swored eqspediciebi gaxda axali, ucnobi an miviwyebuli simRerebis warmoCenis wyaro. oRond nimuSi namdvili unda yofiliyo. ediSerisTvis warmoudgeneli iyo simReris ramdenadme saprezentacio SefuTva. amisTvis ki, garda savele masalebisa, saWiro iyo fonoCanawerebis ganxilva, samecniero literaturis moZieba _ zepirsityvierebis, eTnologiis, zogadi eTnomusikologiis kuTxiT. aucilebeli xdeboda ritualis rekonstruqciac _ magaliTad, svanuri ferxuli kinosaarqivo Canawerebidan aRadgines „mTiebelebma“. ediSeramdec da ediSeris Semdegac TiTqmis ver moviZiebT iseT xalxur ansamblebs, romlis xelmZRvaneli erTdroulad maRali donis lotbaric da mecnieric iqneboda. mas ekuTvnis 50-ze meti samecniero da publicisturi naSromi, romelTa diapazoni da Tematika farToa: qarTlis eTnomusikaluri samyaro; qarTuli simReris genezisisa da improvizaciis; simReris, musikisa da sityvis urTierTobis, terminologiis, Semsruleblobis, qarTuli musikaluri dialeqtologiis sakiTxebi. ediSer garayaniZis sakandidato sadisertacio naSromi „qarTuli musikaluri dialeqtebi da

ancient Georgian traditions of ‘Alilo’ and ‘Chona’. Each year, Edisher’s friends would express their wishes to villages or towns with genuine traditional songs celebrating Christmas-New Year and Easter. Expeditions had become the main method to draw attention to new or unfamiliar songs, or to remember forgotten ones. But the samples had to be authentic. To Edisher, it was inconceivable to alter songs, even in the least bit with the thought of making it more “presentable”. And for that, apart from field material, it was necessary to study phonograph records and scientific literature about oral traditions, ethnology, and ethnomusicology. It was also becoming necessary to reconstruct rituals – for instance, the ‘Mtiebi’ revived the traditional Svanetian dance “perkhuli” based on archive film material. Both before and after Edisher, we struggle to find folk ensembles with a high-class choirmaster who is also a renowned scholar. Edisher was the author of over 50 scientific and publicist works, the themes of which are varied: ethnomusicology in Kartli, aspects of Georgian singing, its genesis, improvisation, the relationship between music and words, terminology, performance, and Georgian musical dialectology. To this day, Edisher Garakanidze’s doctoral work ‘Georgian musical dialects and their interrelationship’ remains the

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maTi urTierTmimarTeba“ qarTuli simReriT dainteresebulTaTvis dResac informaciis mTavari wyaroa. ediSer garayaniZe, ioseb JordaniasTan erTad faqtobrivad pirveli qarTveli eTnomusikologia, vinc aqtiurad monawileobda saerTaSoriso samecniero konferenciebSi da marTavda sajaro leqciebs JenevaSi, parizSi, marselSi, roterdamSi, londonSi, kembrijSi, kardifSi, berlinSi, kiolnSi, regensburgSi. amgvar saqmianobas xels uwyobda isic, rom ediSeri kargad flobda rusul, inglisur, germanul da polonur (bebia poloneli hyavda) enebs. sainteresoa, rom ediSerma 1994-95 wlebSi germaniaSi, regensburgis universitetSi, aRmosavleTis kulturaTa institutSi, ori semestri dahyo da Teologiis doqtoric gaxda. diax, qarTuli kulturis yvelaze mZlavri muxti _ qristianuli rwmena ediSerisTvis mniSvnelovani orientiri aRmoCnda. 1978 wlidan, jer kidev studentma, miuxedavad imdroindeli cnobili „komkavSiruli“ xifaTisa, sionis sakaTedro taZarSi daiwyo galoba, SemdgomSi ki igi aq gundis regentadac Camoyalibda. sainteresoa, rom xalxuri simReris siwmindeze Tavgadakluli ediSeri SedarebiT advilad egueboda saeklesio galobaSi qarTuli intonaciebis gamoyenebiT axladSeqmnil nimuSebs da Tavadac werda sagaloblebs, romelic mgalobelTa Soris didi mowonebiT sargeblobda (misi „romelni qerubimTa“ dResac igalobeba). Tumca, cxadia, ediSeri eTayvaneboda tradiciul qarTul sagalobels, romelic xSirad ismoda mis repertuarSi da ibeWdeboda mis mier gamocemul krebulebSi. sxvaTa Soris, swored ediSerma urCia uyoymanod 1988 wels uwmindessa da unetares ilia meores anCisxatis uZveles taZarSi

main source of information for people interested in Georgian singing traditions. Together with Ioseb Zhordania, Edisher Garakanidze was practically the first Georgian ethnomusicologist to be an active participant in international scientific conferences – he held public classes in Geneva, Paris, Marseille, Rotterdam, London, Cambridge, Cardiff, Berlin, Koln, and Regensburg. This enterprise was also facilitated by the fact that Edisher spoke good Russian, English, German and Polish (his grandmother was a Pole). Interestingly enough, during the years 1994-95, Edisher studied for two semesters at the Institute of Eastern Cultures in the Regensburg University in Germany, where he also became a Doctor of Theology. Yes, the most significant feature of Georgian culture – Christian faith, turned out to be an important landmark for Edisher. From 1978, while he was still a student, and despite the well-known risks this represented from the Komsomol (Young Communist League), he started chanting at the Sioni Cathedral, where he came to be established as the regent of the choir. It is noteworthy that even though he was utterly committed to the authenticity of Georgian songs, Edisher could easily adapt to the new models and practices of Georgian intonations created for religious chanting, and he composed such chants himself, which were very popular among

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konservatoriis studenturi gundi daeyenebina, romelmac Zveli qarTuli tradiciuli sagaloblebi taZars daubruna. garda sagaloblebisa, ediSeri werda simRerebs da sxva Janris samusiko nawarmoebebsac. musikalurad gaformebuli aqvs ramdenime speqtakli. misi sakompozitoro danatovaris mosmenisas biZina kvernaZes Semdegi sityvebi uTqvams: `me gaocebuli davrCi, rodesac movismine ediSeris Seqmnili musikaluri nawarmoebebi. igi am sferoSic iseTive niWierebiTa da Rirebuli moRvaweobiT gamoirCeoda. rac mTavaria, es unikaluri, mravalmxrivi niWierebis mqone araCveulebrivi musikosi sakuTari melodikis avtoria.~ ediSeri, rogorc mecnieri da rogorc lotbari msoflios sxvadasxva kuTxeSi qarTveli vaJkacis iersaxiT yvelas xiblavda. am mxriv calke gasaxsenebelia 1994 wels ediSer garayaniZisa da ioseb Jordanias samecniero-meToduri viziti kardifSi, „Sesrulebis

choristers (his ‘Romelni Kerubimta’ is still chanted to this day). However, naturally, Edisher adored traditional Georgian chants, which would often be heard in his repertoire and published by him in printed anthologies. Incidentally, Edisher was the one who advised His Holiness and Beatitude Ilia II to establish a choir composed of students from the Conservatoire in the old Anchiskhati Church in 1988, which resulted in restoration of the practice of old traditional Georgian chants in the latter. Apart from chants, Edisher wrote songs and created other musical compositions. He composed music for several spectacles. Bidzina Kvernadze once said the following about his legacy as a composer: “I was astonished when I listened to Edisher’s musical compositions. In that field too, he stood out with his striking talent and valuable work. Most importantly, this unique, wonderfully multitalented musician created his own melodies.” Edisher traveled around the world both as a scholar and a choirmaster, never failing to impress with his noble and valorous manners. In this regard, it is worth remembering a scholarly visit

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kvlevis centrSi“, sadac qarTuli sufris Sesaxeb leqcia sruli anturaJiT warimarTa _ realuri qarTuli samzareuloTi, sadRegrZeloebiTa da simRerebiT, romlebic britanelebma SesaSuri mondomebiT Seiswavles ramdenime dReSi. es ambavi erTgvari sawyisi aRmoCnda ucxoelTa mier qarTuli simReris Seswavlis „bumisa“. kardifis muxtiT Camoyalibebuli britanuli ansambli „maspinZeli“ mas Semdeg araerTxel imyofeboda saqarTveloSi. es saRamo gaxda aseve ediSeris inglisur enaze gamocemuli cnobili krebulis „99 qarTuli simRera“ wyaro. samwuxarod ediSerma didi tkivili ara marto Tavisi, ninosi da mariamis wasvliT mogvayena _ ramdenime wlis Semdeg avarias gadarCenili gigic gardaicvala. erTia sanugeSo: gigi mamis gzas gahyva da SesaniSnav lotbarad da eTnomusikologad Camoyalibda. man sxva mxrivac gaagrZela mamis gza _ dadga sasaxelo qarTveli vaJkaci, mSvidi, saqmiani, keTilSobili. arc ediSers da arc gigis

Edisher Garakanidze and Ioseb Zhordania made in 1994 to the Centre for Performance Research in Cardiff, where they conducted an “all-inclusive” lesson about the Georgian “supra” (feast) – with real Georgian dishes, toasts, and songs, the latter being learned by the Britons with admirable assiduity in a matter of days. This event would become a kind of starting point for the “boom” in the studies of Georgian singing by foreigners. The British ensemble ‘Maspindzeli’ (“Host”), which was established thanks to the verve created by the Cardiff event, would visit Georgia several times. The evening also became the source of inspiration for Edisher’s famous publication in English, ‘99 Georgian Songs’. Unfortunately, remembering Edisher not only brings great sorrow because of his, Nino’s, and Mariam’s departure – several years after the accident, his son Gigi, who had survived the accidenrt, passed too. We have a small consolation: Gigi followed in his father’s steps, and became a wonderful choirmaster and ethnomusicologist. But he also trailed his father in another aspect: he became a courageous and valiant man, always calm, hard-working, and refined. Neither

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ar ukadriaT urTierTdapirispirebis im ferxulSi Cabma, romelic adrec da dResac ase bunebrivi gaxda qarTuli sazogadoebis nebismieri sferosaTvis. marTlac, rodesac vixseneb Cems ufros kolegasa da megobars, xSirad vxedav mas Sewuxebuli saxiT, rodesac raRaca Cemi mosazrebis sawinaaRmdego unda miTxras da fiqrobs, rogor ar mawyeninos... dabadebidan 60 wlis aRsaniSnavad, Tbilisis konservatoriis wardginebiT, 2017 wels Tbilisis erTerT quCas _ gldanSi da mis Sesaxvevebs ediSeris saxeli ewoda. Cemda samarcxvinod, es ambavi axlaxan gavige. iqneb am damdeg Sobas „aliloobaze“ es quCa movilocoT! Tamaz gabisonia, eTnomusikologi, ilias saxelmwifo universitetis asocirebuli profesori

Edisher nor Gigi ever stooped to engage in the conflicts that were – and unfortunately still are – so customary in every sphere of Georgian society. In fact, when I remember my colleague and friend, I often see him with the worried expression he had when he wanted to tell me something that went against my opinion, wanting not to offend me... In 2017, in order to celebrate the 60th anniversary of his birth, under the auspices of the Tbilisi State Conservatoire, a street of Tbilisi – in the Gldani district – and its turns were named after Edisher Garakanidze. Shamefully, I only learned about it recently. Perhaps we could go caroling for ‘Alilooba’ (traditional Christmas procession) on this street this Christmas! Tamaz Gabisonia, ethnomusicologist, Associate Professor at the Ilia State University fotomasalis mowodebisTvis madlobas vuxdiT baton givi qsovrels

We would like to express our heartfelt gratitude to Givi Ksovreli for providing us with the photographic material

“GEORGIAN PATHS”

`...qarTlis gzai aris ese~ ana kalandaZe

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qarTveli axalgazrdobis cxovrebaSi, gansakuTrebiT mainc sportSi, musikaluri xelovnebis sxvadasxva JanrSi aSkarad SeiniSneba erTgvari gaaqtiureba, msoflio donis miRwevebTan gatolebis miswrafeba. rac mTavaria, es mxolod piradi upiratesobis mopovebis, Tundac Tanamedrove cxovrebiseuli komfortis moxveWis wyurviliT ar xdeba; arsebiTia sakuTari adamianuri Rirsebis, mTeli qveynis umaRlesi sulieri miswrafebebis, SesaZleblobebis warmoCenisa da sxvebisTvis gaziarebis ndoma, romlis aRsrulebac sxvadasxva asparezze siamayis grZnobiT aRavsebs moasparezesac da mis Tanamemamuleebsac. rogorc rusTaveli ityoda _ `simZimilTa erdo daxaS, sixarulis kari aRi!~ es movlena namdvilad sayuradReboa Cvens kulturulaRmzrdelobiT cxovrebaSi da misi zogierTi epizodis gaelveba saqarTvelos moRrublul gzaze ar unda darCes aRuniSvneli. aris ara didi sxvaoba XII saukunis saqarTvelos raindebsa, romlebic arabi, indoeli, sulac `mulRazanzareli~ Wabukebis niRbebiT arian warmodgenili da XXI saukunis damdegis... Tundac qarTuli fexburTis saxelovani epoqis erTgvari wyvetilis Semdeg TiTqos saimedod akiafebuli varskvlavis ganwyobilebebs Soris? cxadia, aq mxolod literaturuli done ar igulisxmeba. sad `vefxistyaosani~ da sad duqnad qceuli drois sareklamo Jurnalis ydaze aRbeWdili urcxvi `dardimanduli~ SeZaxili: `Заза любит сациви и русских девушек!~ magram, madloba RmerTs, am mowodebas maleve aRmouCnda mkveTri dapirispirebani sportis sxvadasxva saxeobaSi, gansakuTrebiT ki im dargebSi romelTac didi xania CvenTvis erovnuli xarisxi moipoves da axalgazrda sportsmenebisa da maTi aRmrzdelebis damsaxureba iqneba, rom es kavSiri araTu gawydes, aramed gaRrmavdes da ganviTardes.

uSbis Soreul kedlebTan, Walaadis myinvarze, 2017 w. USHBA, REMOTE WALLS, CHALAADI GLACIER, 2017

In the life of Georgian youth, and especially in sports and in various genres of the musical field, one can clearly feel a sort of revival, as well as an aspiration to catch up with world-level achievements. Most importantly, this isn’t happening solely because of a thirst to attain personal superiority, or even to enhance our modern comfort; the essential reason is the desire to put forward and share one’s own human values, as well as the country’s highest spiritual aspirations and capabilities, and the fulfillment of this desire would charge both the actors of these changes in various sectors and their fellow countrymen with pride. As Rustaveli would have said – “Shut the terrace of sorrow, open the door of joy!” To say the least, this phenomenon in our cultural and educational life is worthy of attention, and the lightning of some of its episodes should not be left unnoticed on the cloudy road of Georgia.

larkiis piki, samxreT kedeli, himalaebi, 2017 w. LARKYA PEAK, SOUTHERN WALL, HIMALAYAS, 2017

Is there a big difference between the attitude of the knights of the 12th century, who are represented with the masks of Arab, Indian, or even “Mulghanzanzarian” (imaginary country in Rustaveli’s ‘The Knight in the Panther’s Skin’) young men, and that of the heroes of the beginning of the 21st century – for instance, the stars of Georgian football, who have seemingly started shining in a hopeful way after an interrupted period following the golden age of this sport in Georgia? How could one compare ‘The Knight in the Panther’s Skin’ and the shameless, carefree message printed in Russian on the cover of a magazine distributed in taverns: “Zaza loves “satsivis” (Georgian dish) and Russian girls!” (Zaza refers to Zaza Janashia, a Georgian footballer who played in Moscow)? But fortunately, this note would quickly find challengers in various sports, especially in the fields that have been a national matter for a long time in Georgia, and it will be thanks to young sportsmen and their instructors if the resemblance between 12th and 21st century heroes doesn’t end, but rather increases and further deepens.

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amJamad Cveni sazogadoebis yuradRebas mivapyrobT msoflio sportis iseT specifikur da mniSvnelovan saxeobas, rogoric alpinizmia (qarTul enas arc aq uRalatia Tavisi bunebisTvis da masac mianiWa erovnuli saxeli `mTamsvleloba~ da aseve sakuTriv qarTulisa da misi dialeqtebis leqsikuri erTeulebiT gaamdidra am saxeobis calkeuli terminologiuri jgufebi, romlebic moicaven rogorc maRalmTiani landSaftebis, havisa Tu mTaSi siarulis teqnikisa da aRWurvilobis amsaxvel sityvebsa da gamoTqmebs. marTalia, msoflio mTamsvlelobaSi, rodesac Tavdapirveli mizani uZneles mwvervalze asvla (ar minda, mTebis mimarT arcTu samarTliani Tqma _ `dapyroba~ gavimeoro) met-naklebad aRsrulda, dedamiwis cnobil mTebTan gaSinaurebis axali etapi daiwyo: ucnobi gzebis, marSrutebis arCeva, maTi gadalaxva da axali eqstremaluri asvlebis dagegmva da ganxorcieleba.

This time, we will direct the attention of our readers to the very specific and important sport that is alpinism. Georgian language did not betray its nature and assigned a local word to it: “mtasvleloba”, roughly “walking in the mountains”, and also enriched the sport’s terminological groups with loan-words from proper Georgian and dialectical glossaries, including words and expressions used to describe mountainous landscapes, climate, and techniques and equipment related to alpinism. Today in alpinism, when the original goal of climbing (I don’t want to use the word “conquer”, which is not very fair towards mountains) the world’s most difficult peaks has more or less already been achieved, a new stage has begun in alpinists’ relationship to famous mountains: choosing unknown paths and routes, getting the better of them, and planning and carrying out new, extreme ascents. But because of its utterly specific character, it is difficult for the general public to follow alpinists’ exploits and perceive this sport as spectacular. Alpinism is no competitor to other genres of sport, like those played in stadiums, but the fact that it is spread all around the

uSbis dasavleT kedlis gavla da traversi, 2015 w. / USHBA, CROSSING OF THE WESTERN WALL, 2015

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dasavleT Sxaris mwvervali, slovenielebTan erTad. 2018 w. / SHKHARA WEST, WITH THE SLOVENIAN TEAM, 2018

Tumca, Tavisi ganumeorebeli specifikis gamo mTamsvlelobisa da misi `sabrZolo~ epizodebis sayovelTao xedva da e.w. sanaxaobrivi TvaliT aRqma gaZnelebulia, sportis saTamaSo da saasparezo saxeobebs ver gautoldeba, magram mTel msoflioSi misi gavrceleba, aRmzrdelobiTi da msoflmxedvelobrivi siRrmis Cawvdoma alpinizms axal samyaroSic did popularobas aniWebs da yoveli gamorCeuli miRweva SeumCneveli ar rCeba. amdenad arc qarTveli mTamsvlelebi arian daviwyebuli da maT warmatebebs mTeli qveyana sixaruliT xvdeba. Tavad gansajeT, rodesac msoflio alpinistur literaturaSi da sainformacio wyaroebSi gaxmaurda morigi warmatebuli asvlis Sefaseba _ `qarTuli gza himalaebSi~, es ar iyo mxolod erTi jgufis TvalsaCino miRwevis gaxmaureba alpinistur samyaroSi; aq saqarTvelos saxelma gaiJRera, rogorc mTamsvlelobis erT-erTma saintereso keram da mTamsvlelobis gulSematkivrebis mzera kadnieri miznebis ganxorcielebisTvis

world, its educational role, as well as its contribution to the expansion of one’s worldview, provide great popularity to alpinism even in our modern times, and not every new achievement goes unnoticed. In this respect, Georgian alpinists aren’t neglected either, and their success is met with celebration by the whole country. You can judge for yourself: when a report about the “Georgian route” was published in worldwide alpinist literature, it wasn’t only a communication about a noteworthy achievement by a group of alpinists; it was the name of Georgia that was uttered, as a fascinating hub of alpinism, and the readiness and competence of the young generation who achieved their boastful goal managed to conquer the attention of alpinism enthusiasts. But what route are we talking about? The Georgian route – this is what today, in the Himalayas, which are the pride of Nepal, the path to one relatively small (6,425 m – what can you do, it’s not easy to be the neighbor of the Chomolungma!) rocky peak called Larkya by locals, in the Manaslu area, and on which nobody had ever set

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axalgazrdobis mzaobam da SesaZleblobam miipyro. mere ra gzazea saubari (himalaebi, madloba RmerTs, met-naklebad cnobilia!)? diax, ase moixsenieba dRes himalaebis masivSi, romelic nepalis samefos siamayea, arcTu didi simaRlis (6425 m.) centraluri himalaebis erTi kldovani mwvervali (ras iqam, jomolungmas mezobloba advili ar aris!) _ adgilobrivi dasaxelebiT larkia-piki, romelic samxreTi kedlis gavliT SarSan gadaiara (jer aravis daedga fexi) samma qarTvelma mTamsvlelma: arCil badriaSvilma (maSin 27 wlis iyo), arCilze erTi wliT ufrosma giorgi tefnaZem da baqar gelaSvilma (31 wlisam). arCili da giorgi ukve ramdenime weliwadia erTad dadian kavkasionisa da Sua aziis urTules mwvervalebze: uSba, janRa, tian- Sanis da pamiris mwvervalebi _ rogorc teqnikuri, ise sasimaRlo asvlebi, Tbiliseli mTamsvlelebisa da maTi periferiuli megobrebis savarjiSo sivrce _ amave dros rTuli

svaneTi, 2017 w. / SVANETI, 2017.

foot, is named. It was climbed through its southern wall by three Georgian alpinists last year: Archil Badriashvili (he was 27 years old at the time), Giorgi Tepnadze (28), and Bakar Gelashvili (31). Archil and Giorgi have already been climbing the most difficult peaks of the Caucasus and Central Asia for several years: Ushba, Janga, the Tian Shan and Pamir Mountains – both technical and altitude ascents; Tbilisian alpinists and their peripheral friends’ training grounds, the Chiukhebi massif (also known as “Chaukhebi” in the local Mtiuletian dialect), which contains difficult technical crosses; and they also established a new route to climb Mkinvartsveri (Mount Kazbek) through the “Gveleshapi” cliffs, and many others (but I don’t think that it is necessary to mention all of them). In 2017, they even tried to climb Shkhara, Georgia’s highest peak, in winter, which proved quite difficult, but which they achieved in 2018. It has been about two years since Bakar, who was known as a skier and rescuer, added the honorable title of Georgian alpinist to his name, and become a hopeful member of this young trio.

cocva 6300 metrze, mwvervalis dRe, himalaebi, 2017 w. CLIMBING AT 6300 METERS OF ALTITUDE, DAY OF THE SUMMIT, HIMALAYAS, 2017.

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himalaebi, larkia piki, kedlidan daSvebis Semdeg, 2017 w. LARKYA PEAK, DESCENT, HIMALAYAS, 2017

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pirveli mziani dRe da RamisTeva larkiis kedelze dakidebul `platformaze~, himalaebi, 2017 w. LARKYA WALL, FIRST SUNNY DAY AND OVERNIGHT ON A HANGING “PLATFORM”, HIMALAYAS, 2017

teqnikur-satraverso monakveTebis Semcveli Wiuxebis masivi (igive `Wauxebi~ adgilobriv mTiulur kiloze); myinvarwverze axali gzis gakvalva `gveleSapis~ kldeebis gavliT da sxvebic (magram yvelas CamoTvla ara mgonia, aq saWiro iyos). 2017-Si maTve mosinjes saqarTvelos umaRles mwvervalze Sxaraze zamTarSi asvlac, rac sakmaod Zneli gamodga, magram 2018-Si avidnen kidec. baqarma oriode weliwadia, rac borjomeli moTxilamurisa da maSvelis saxels qarTveli mTamsvlelis saamayo wodebac SeuTavsa da ukve axalgazrduli sameulis saimedo wevric gaxda. rac Seexeba am asvlis miznis SerCevas, es TviT jomolungmaze qarTvel mTamsvlelTagan erT-erTi gamarjvebulis, Tbiliseli moyvaruli mTamsvleluri ojaxis erTaderTi vaJis gia TorTlaZis damsaxurebacaa. swored man mouwona axalgazrda megobrebs jer auvali marSrutiT kldovani mwvervalis gavla da imedi gamoTqva, rom mSobliur kavkasionze SeZenil gamocdilebas mrisxane

Concerning the choice of this ascent, it is also to the merit of Gia Tortladze, another Georgian alpinist, the only son of an amateur alpinist Tbilisian family, who has been on the Chomolungma himself. He is the one who advised the young friends to go via the unexplored side and climb the rocky peak, and expressed his hope that the experience they had accumulated in their native Caucasus would be of use to the young alpinists in the dreadful Himalayan mountains. While we are here, let us also note that for such a small group, finding proper equipment and traveling to a faraway foreign land would not have been possible without the help of the State authorities. The trio itself was involved in this process, and after finding the finances, they flew from Tbilisi to Katmandu on the 8th of September 2017. With the help of the Nepalese Tourism Center, they easily managed to prepare for their trip, and started the ascent on the 15th of September. Because of its highly technical character, the adventure didn’t lack danger, nor, of course, friendly dedication and boldness. On the 9th day, they were already on the

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zamTris pirvelamsvlelebi mTavar Sxaraze saqarTvelos mxridan. arCil badriaSvili, giorgi tefnaZe, 2018 w. SHKHARA FROM THE GEORGIAN SIDE, FIRST ALPINISTS OF THE WINTER; ARCHIL BADRIASHVILI, GIORGI TEPNADZE, 2018

himalaebis mTianeTSic gamoiyenebdnen. barem isic vTqvaT, rom Tundac aseTi mcirericxovani jgufis saTanadod aRWurva da Soreul ucxo qveyanaSi gamgzavreba qveynis xelisuflebis dauxmareblad SeuZlebeli iqneboda. TviTon sameulis CareviTac es saqmec mogvarda da 2017 wlis 8 seqtembers nepalis dedaqalaq kaTmanduSi Tbilisidan sami mTamsvleli Cafrinda. nepalelebis turistuli centris CarTviT maT advilad dasZlies salaSqro samzadisi da 15 seqtembers asvlac daiwyes, romelsac arc mTamsvlelebis maRalteqnikuri ieriSis xifaTi dahklebia, arc megobruli Tavdadeba da Seupovroba. mecxre dRes ukve mwvervalze iyvnen... daSveba ufro xanmokle gamodga, magram Rame moZraobdnen _ dRisiT qvaTacvenas eridebodnen. qarTvelTa asvlas alpinistur samyaroSi, cxadia, Sesatyvisi gamoxmaureba mohyva. swored maSin SeiTxza CvenTvis esoden sapatio Sesityvebac _ `qarTuli gza himalaebSi!~

peak… The descent took less time, even though they were moving at night to avoid rockslides during the day. Naturally, the ascent of the Georgians was followed by a heartwarming reaction from alpinists around the world. And this is precisely when this most honorable word combination was created – “The Georgian route in the Himalayas!” P.S. One of the results of the acknowledgment of this Georgian route was the arrival in Georgia of a group of eight alpinists from Slovenia, one member of which was world-famous professional alpinist, mentor and photographer Marko Prezelj. The goal of this team was to walk in the footsteps of prominent Russian mountaineer Lev Mishliaev – to climb the southern slope of Ushba from the western cliff. The Slovenian group was so eager to meet the wrathful and ravishing peak that on the very first night, right after landing in Tbilisi airport, they headed to Mestia, together

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samxreT Sxara, gza dasavleT Sxarisken. 2018 w. SHKHARA, SOUTHERN SIDE, ROAD TO SKHARA WEST, 2018

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P.S. `qarTuli gzis~ aRiarebis Tanamdevi Sedegi iyo TbilisSi 5 agvistos sloveniidan rvakaciani mTamsvleluri jgufis Camosvla, romlis wevri msoflioSi cnobili profesionali alpinisti, mentori da fotografi marko prezeli iyo. am jgufs miznad hqonda gamoCenili rusi mTamsvlelis lev miSliaevis marSrutis gameoreba _ samxreT uSbaze dasavleTis kedliT asvla. jgufi imdenad Cqarobda mrisxane da ulamazes mwvervalTan Sexvedras, rom imRamiTve, Tbilisis aeroportidanve maspinZel arCil badriaSvilTan erTad avtobusiT mestiisken gaemgzavrnen. gio tefnaZe ukve iq iyo asuli Zveli saCempiono asvlis gameorebisTvis Tadarigis dasaWerad. magram amjerad qarTul-sloveniurma jgufma ver SeZlo kedlis gavla. xnierma xelmZRvanelma neka TiTi daiziana. igi Tanaxma iyo qvemodan ecqira Tavisi mowafeebisa da qarTvelebis ieriSisaTvis, magram axalgazrdobam ar isurva amagdari ostatis gawbileba. gadawyvites Sxaris erT-erT mwvervalze erTad asvla. iq nacadi

himalaebi, larkiis mwvervalze, 2017 w. / LARKYA, SUMMIT, HIMALAYAS, 2017

with their host Archil Badriashvili. Giorgi Tepnadze had already ascended there in preparation for the climb with the Slovenians. But this time, the Georgian-Slovenian team didn’t manage to cross the wall. The relatively aged head of the expedition hurt his little finger. He was okay to watch the ascent of his students and the Georgian alpinists from below, but the young mountaineers didn’t want to leave their patron master in disappointment. They decided to climb together on one of Shkhara’s peaks instead. There, the ice-axe yielded to the wounded hand, and the friendly group soon celebrated their ascent on Shkhara’s western slope. Every ascent in the mountains includes unforgettable episodes of intimacy with nature and difficult minutes spent with old or new fellow mountaineers. As they told their hosts, this was the case for the Slovenian guests when they arrived in Ushguli – one of the highest villages in Europe, riding horses, and before that, when they were accompanied by Georgian shepherd dogs on their way to the peak; tumbling down, while walking in the tracks of their faithful barkers in bad weather, and several days later, being brought up to safety through nimble alpinist tricks. The Georgian alpinists

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themselves found some of the young mountaineers’ stories very impressive: the Slovenian guests praised Ushba so much, that local Svanetian young men became embarrassed, and held back from telling the alpinist girls (yes, there were also two girls in the team) that they themselves had never experienced the happiness of climbing this legendary peak. But the discourse of the guests was so impactful, that they managed to fill this gap in their life story right during the Slovenians’ stay in Svaneti. After Mestia, Archil had to fulfill a diplomatic mission in Baku in order to fly to Pakistan (which doesn’t have an embassy in Georgia).

larkia piki, himalaebi, 2017 w. / LARKYA PEAK, HIMALAYAS, 2017

werayini travmirebul xelsac daemorCila da dasavleT Sxaraze asvla megobrulma jgufma kidec izeima. yoveli mTamsvleluri asvla niadag Seicavs bunebasTan gandobis, axal TanamolaSqreebTan uZnelesi wuTebis gancdis maradsaxsovar epizodebs. rogorc TavianT maspinZlebs mouTxres, stumrebisTvis aseTi yofila mestiidan evropis erT-erT umaRles sofelSi _ uSgulSi cxenebiT gadasvla, manamde ki, mwvervalze ieriSisas qarTuli nagazebis Tanxleba; avdarSi erTgul myefrebis napralSi gadaCexva da ramdenime dRis Semdeg alpinisturi ileTebiT maTi samSvidobos amoyvana. TviT qarTveli mTamsvlelebisTvis Zalzed STambeWdavi gamodga axalgazrda alpinisti gidebis Tavs gadaxdenili ambavi: sloveniel stumrebs iseTi xotba aRuvleniaT uSbis mimarT, rom mestielma Wabukebma daircxvines da ar gaumJRavnes mTamsvlel qaliSvilebs (diax jgufSi ori qalic iyo), Cven TviTon ar gangvicdia am legendarul mwvervalze asvlis bednierebao. magram imdenad didi iyo stumrebis magaliTis Zala, rom slovenielTa svaneTSi yofnis drosve Seavses es xarvezi TavianT sportul biografiaSi. mestiis Semdeg arCils ukve baqoSi diplomatiuri misiis Sesruleba dasWirda pakistanSi gasamgzavreblad (saqarTveloSi am qveynis saelCo araa). arCilma, friad komunikabelurma pirovnebam, es saqmec moagvara da amJamad (rodesac Cveni Jurnalis winamdebare nomeri mzaddeba) igi da giorgi tefnaZe himalaebis masivSi ganmartoebiT mdgari erT-erTi mrisxane rvaaTasiani mwvervalis _ nanga-parbatis (8126 m.) ZirSi sabazo banakis siaxloves imyofebodnen. Cveni sagamocemo vadebi saSualebas ar gvaZlevs bolomde mivyveT maT moZraobas... mkiTxvels vpirdebiT, rom Semdgom ufro vrclad movuTxrobT am eqspediciisa da am qveynis (pakistani) yofa-cxovrebis sxva ambebsac. nodar ebraliZe

pakistanisken, nanga-parbatisken, Tbilisis aeroporti, 2018 wlis seqtemberi ON THE WAY TO PAKISTAN’S NANGA-PARBAT, TBILISI AIRPORT, SEPTEMBER 2018

Archil, an extremely communicative person, didn’t have many difficulties achieving this, and together with Giorgi Tepnadze, he is now (while we are preparing this magazine) near the basecamp at the foot of one of the isolated 8,000 peaks of the Himalayan mountains – Nanga Parbat (8,126 m). Our publishing deadlines do not allow us to follow their ascent to the end… We promise our readers that we will tell them in more length about this expedition and life in Pakistan in the future. Nodar Ebralidze

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sakuTari Tavis ZiebaSi /pirovnuli identobis konstalaciebi Tanamedrove evropul kinoSi/

pirovnuli identobis, sakuTari mes Ziebis procesi, yvela drois xelovnebis maradiul TemaTa ricxvs miekuTvneba. xelovnebis mTavari daniSnulebac xom pirvel rigSi, samyaroSi sakuTari adgilis, sakuTari Tavis gacnobierebis procesia. am TvalsazrisiT Tanamedrove evropuli kino, sul ufro metad globalizebul da cvalebad samyaroSi, individualobis ZiebaSi myofi adamianebis reprezentaciis sxvadasxva formebs warmogvidgens; sayovelTao, meinstrimul faseulobebTan mimarTebaSi marTlac saintereso, originalur kinematografiul konstalacias qmnis. Cvens statiaSi evropul kinofestivalebze naCveneb ramdenime films swored individualuri mes Ziebis TvalsazrisiT gavaanalizebT.

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IN SEARCH OF ONESELF /PERSONAL IDENTITY CONSTELLATIONS IN CONTEMPORARY EUROPEAN FILM/

The search for one’s identity, one’s unique “me”, belongs to the list of eternal themes found in art throughout history. After all, isn’t the foremost function of art the process of finding one’s place in this world, and the realization of oneself? In this regard, and in the context of a more and more globalized and ever-changing reality, contemporary European films offer us various forms of representation of people searching for their individual self; this creates a really interesting, original cinematographic constellation at odds with the customary universal and mainstream values. In this article, we will be discussing a number of films shown at European film festivals through the lens of the pursuit to find one’s individual “me”.

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reJisor volfgang fiSeris filmSi Styx 2018 (germanul/ avstriuli koproduqcia) protagonisti, axalgazrda eqimi qali rike giblartaridan atlantikis okeanis erT-erTi kunZulisken ialqniani naviT martodmarto mogzaurobisas, amovardnili qariSxlis gamo, ltolvilebiT savse navis CaZirvis mowme xdeba. igi, naxuliT SeZrwunebuli, amaod cdilobs es ubedureba radiokavSiris saSualebiT Seatyobinos im samsaxurebs, romlebic ltolvilebisTvis daxmarebis gawevas SeZleben. uamravi adamianis daRupvis safrTxis miuxedavad maT saSvelad aravin modis da samaSvelo samsaxuris warmomadgenlebi rikesac ki ubrZaneben _ ar miuaxlovdes ltolvilebis navs da saswrafod miatovos iqauroba, raTa ar Caigdos Tavi safrTxeSi... rike mxolod erTi feradkaniani biWis daxmarebas/gadarCenas SeZlebs, romelsac iaxtaze aiyvans da masTan erTad ucqers damxmare Zalis zedmet sifrTxilesa da gulgrilobas rogor ewireba uamravi adamianis sicocxle. fiSeris filmi Tanamedroveobis erT-erT yvelaze mtkivneul problemas, adamianTa iZulebiT gadaadgilebas, ltolvilobis Temas calkeuli individis pasuxismgeblobis perspeqtividan exmaureba da TiToeulis moraluri pasuxismgeblobis sakiTxs ayenebs. Tomas Stuberis filmi In den Gängen/gasasvlelebSi (germania 2018) axalgazrda, morcxvi da sityvaZunwi mamakacis, qristianis samsaxurebrivi urTierTobebis Sesaxeb mogviTxrobs. aRmosavleT germaniis erT-erT provinciaSi,

In Wolfgang Fischer’s film ‘Styx’ (Germany/Austria, 2018), while traveling alone on a sailboat from Gibraltar towards an island of the Atlantic Ocean, the protagonist Rike, a young female doctor, becomes witness to the shipwreck of a boat full of refugees. Horrified by what she’s seeing, she vainly tries to inform the coastguards of the disaster and to ask for help for the refugees via radio. Despite the risk of many people dying, nobody comes to their rescue, and the coastguards even order Rike to not approach the refugees’ boat and to leave the place at once, so that she doesn’t put herself at risk… Rike only manages to save one boy, whom she drags onto her sailboat. They then both watch how the overcautiousness and indifference of the rescue team sees countless people lose their lives. Fischer’s film addresses one of today’s most sensitive issues – forced displacement, and the problem of refugees from the perspective of individual moral responsibility. Tomas Stuber’s film ‘In den Gängen’/‘In the Aisles’ (Germany, 2018) revolves around the work relationships of Christian, a shy and taciturn young man. He starts a probationary period in a large product warehouse in a province in eastern Germany. Stuber’s film shows the everyday routine of the people working at the warehouse with refined humor and exceptional empathy. The director addresses the lives and problems of people from a social layer that is seldom represented in modern cinema; he shows us the microcosm of regular people lost in hard labor, their nostalgia towards the past “left” in the socialist East Germany, and their solidarity towards each other.

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produqtebis uzarmazar sawyobSi, igi gamosacdeli vadiT iwyebs muSaobas. Stuberis filmi faqizi ironiiTa da saocari empaTiiT mogviTxrobs sawyobSi momuSave adamianebis yoveldRiuri samuSao rutinis Sesaxeb. reJisori im socialuri fenis adamianebis cxovrebasa da problemebs exeba, romelTa asaxvac Tanamedrove kinoSi iSviaTad xdeba; gviCvenebs iq momuSave Sroma-jafaSi Cakarguli ubralo adamianebis mikrosamyaros, maT nostalgias socialistur aRmosavleT germaniaSi `datovebuli~ warsulis mimarT da maT urTierTsolidarobas. sityvaZunw, `Caketil~ qristians, romlis warsuli cxovrebisa da problemebis Sesaxeb reJisori mxolod migvaniSnebs, tkbileulis ganyofilebaSi momuSave simpatiuri marionisadmi gaCenili grZnoba, siyvaruli, sakuTari Tavis rwmenis gaRvivebasa da pirovnuli mes povnaSi exmareba. Tanamedrove evropuli kinos erT-erTi saintereso reJisoris, hans vaingartneris 303-is (germania 2018) mTavari personaJebic, biologiis fakultetis studenti iule da iani, romelic politikur mecnierebebs swavlobs, TviTgamorkvevis, sakuTari identobisa da bedis ZiebaSi arian.

The taciturn, introvert Christian, to whose past life and problems the director only hints at, is assisted in stirring his confidence and in his search for his personal “me” by the affectionate feelings he experiences towards the good-looking Marion, who works in the confectionery department. The main characters in ‘303’ (Germany, 2018), a film by Hans Weingartner, one of the most compelling modern European film directors, are biology student Jule and political science student Jan, and they too are trying to determine who they are, their identity and their destiny. Jule and Jan can be considered the 21st century reincarnations of François Truffaut’s famous film characters Jules and Jim. Jule, who couldn’t pass her biochemistry exam, is pregnant from a friend of hers, and decides to go to Portugal to tell her “boyfriend” about it. She hasn’t yet decided if she wants to give birth to the child. She starts driving the Mercedes 303 she inherited, but when she arrives in Berlin, she stumbles upon Jan, who doesn’t have a grant for the next semester, and is left without any means of support. Therefore, in order to find a solution to these problems, he is planning to go to Spain to meet his biological father. Jule suggests they travel together.

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iule da iani fransua triufos cnobili filmis personaJebis juli da jimis, XXI saukunis reinkarnaciadac SeiZleba aRviqvaT. bioqimiis gamocdaze CaWrili iule, romelic megobari biWisagan fexmZimedaa, gadawyvets portugaliaSi gaemgzavros da es ambavi iq myof `boifrends~ Seatyobinos. mas bavSvis gaCena jer ara aqvs gadawyvetili. memkvidreobiT miRebuli mersedes 303-iT igi marto daadgeba gzas, Tumca berlinSive, benzingasamarT sadgurze, Sexvdeba ians, romelic, gacvliTi semestris Semdeg stipendiis gareSe, usaxsrodaa darCenili. swored amitom isic am problebis mosagvareblad espaneTSi biologiuri mamis gasacnobad apirebs wasvlas. iule ians masTan erTad gamgzavrebas SesTavazebs. erTkviriani erToblivi mogzaurobisas axalgazrda inteleqtualebi yvela SesaZlo Temaze msjeloben. maTi kamaTi exeba evolucias, kapitalizmis antiadamianur strategias, monogamiasa da poligamias, altruizmsa da egoizms. axalgazrdebi kamaToben maszec saerTod Rirs Tu ara iyo Seyvarebuli, an rodis xvdeba adamiani marTlac uyvars Tu ara. isini is axalgazrdebi arian,

Over a week of traveling, the two young intellectuals discuss every possible subject. They argue about evolution, the antihuman strategy of capitalism, monogamy and polygamy, altruism and egoism. They also argue about whether it is worth loving at all, or when people can truly know if they are in love. They are the kind of young people who judge every norm and value characteristic of the mainstream culture through their own worldview, and their dialogues are an attempt to have a critical viewpoint about stereotypes and norms as they look for their own identity and place in this world. This long journey gradually brings Jule and Jan closer and closer, and changes the whole situation: now, they have a new alternative, and have to make a decision. Hans Weingartner’s ‘303’ can be compared to his ‘Die Fetten Jahre sind vorbei’/‘The Edukators’ (2004), the characters of which, young Berliners, start objecting the mainstream post-capitalistic norms. Jule and Jan also criticize consumer society and discuss the fact that the modern world is full of lonely people – and oneperson families allow manufacturers/capitalists to produce even more refrigerators, vacuum cleaners, or air conditioners. Unlike the characters of Weingartner’s 2004 film, Jule’s opinions are

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vinc meinstrimuli kulturisTvis damaxasiaTebel yvels normasa da faseulobas sakuTari msoflmxedvelobidan afaseben, maTi dialogebi stereotipebis winaaRmdeg mimarTuli normebis kritikul Sefasebas da sakuTari identobis Ziebis mcdelobaa. es xangrZlivi mogzauroba iulesa da ians ufro da ufro aaxloebs da axali gadawyvetilebis, arCevanis winaSe ayenebs. hans vaingartneris filmi 303, SesaZloa reJisoris mier ramdenime wlis win gadaRebul films Die Fetten Jahre sind vorbei/ maZRari wlebi dasrulda (2004) SevadaroT, romlis personaJebi, axalgazrda berlinelebi, postkapitalistur meinstrimul sazogadoebriv normebs protests ucxadebdnen. iule da ianic momxmareblur sazogadoebas aprotesteben da imaze msjeloben, rom Tanamedrove samyaro savsea martoxela adamianebiT; erTi adamianisgan Semdgari ojaxi ki mewarme/ kapitalistebs SesaZleblobas aZlevs awarmoon ufro meti macivari, mtversasruti Tu kondicioneri. vaingartneris adrindeli filmis personaJebisagan gansxvavebiT iules cxovrebiseuli mrwamsi argumentirebulia, mas sjera, rom samyaro unda Seicvalos, Tumca ara konkurenciis, aramed adamianuri TanadgomiTa da urTierTsolidarobis gziT. pasuxis gacemas kiTxvaze, Tu ramdenadaa SesaZlebelia iyo meamboxe da meinstrimul normebs aprotestebde smartfonebis, socialuri mediebis epoqaSi, Sveicareli reJisori iuri Stainharti filmiT Lasst die Alten sterben/ ufleba mieciT moxucebs mokvdnen (2017) cdilobs.

well-argued – she believes that this world should change, but that instead of competition, it should rather happen through human fraternity and solidarity. With his film ‘Lasst die Alten sterben’/‘Let the Old Folks Die’ (Switzerland, 2017), Swiss director Juri Steinhart tries to explore to what extent it is possible to be a rebel and protest mainstream norms in the epoch of smartphones and social media. The Swiss director’s tragicomedy deals with a dilemma that is very present in the current generation. He tells us about a generation whose former-rebel parents are now liberals who have adapted to consumerism and luxury, and who create every kind

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Sveicareli reJisoris tragikomedia Tanamedrove Taobis dilemur problemebs asaxavs. gviyveba im Taobaze, romelis odesRac meamboxe mSoblebi dRes liberalebi arian, konsumsa da fufunebas morgebulebi, romlebic sakuTar Svilebs yvelanair privilegias uqmnian, xolo maTi cxovrebas wess, filmis mTavari protagonistis kevinis msgavsad, socialuri mediis normebi gansazRvravs. swored am normebidan gadaxvevas cdilobs kevini da momxmarebluri sazogadoebisadmi protestis gamo, komunas aarsebs. Tumca Taobas, romlis liberali mSoblebi odesRac ukeTesi revolucionerebi iyvnen da igive idealebisTvis ibrZodnen, risTvisac Svilebi, ukve aRaraferi darCenia. maTi aqtivobebi infantiluri da spontanuria, informaciisa da sxvadasxva socialuri mediis epoqaSi revoluciebi aRar arsebobs. konsumerul sazogadoebaSi SeuZlebelia iyo meamboxe. moxucebi da smartfonebi ki mtris xatad ver gamodgebian, revolucias xom namdvili, `xorcSesxmuli~ mtris xati sWirdeba.

of privilege for their children; as for their lifestyle, just as with the film’s main protagonist Kevin, it is mainly determined by social media norms. It is precisely from these norms that Kevin is trying to deviate, and as a form of protest against consumer society, he creates a commune. But this generation, whose liberal parents were once better revolutionaries than they are and were striving for the same ideals as their children, doesn’t have much to fight for. Their activities are infantile and spontaneous, and it appears there can no longer be revolution in an epoch of information-sharing and social media: you cannot be a rebel in a consumer society. The former generation and smartphones don’t make proper scapegoats, and revolutions always need something or someone to symbolize or incarnate the archenemy. In director Julian Pörksen’s film ‘Whatever Happens Next’ (Germany, 2018), the main protagonist Paul rejects his conventional, routine lifestyle, abandons his family and

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reJisor iulian foqsenis filmis Whataver Happens Next/ SemdegSi rac unda moxdes (2018) mTavari protagonisti pauli uars ambobs konvenciuri, rutinuli cxovrebis wesze, ojaxze, samsaxurze da diliT samuSaoze mimavali ubralod uCinardeba. igi sxvadasxva rols irgebs _ xan xelovania, xan mawanwala, dapatiJebis gareSe wveulebebze da dasaflavebebze dadis. TavSesafars ucnob adamianebTan poulobs, spontanurad mogzaurobs axladgacnobil adamianebTan erTad... da bolos neles, ucnaur, dabneul simpaTiur axalgazrda qals xvdeba, romelic Seuyvardeba. Tumca, maTi Tanacxovreba SeuZlebelia, radgan maT mZime gadawyvetileba unda miiRon, daubrundnen Cveul cxovrebis wess, miRebul normebs. filmSi Tanamedrove konvenciuri cxovrebis wesi, konsumeruli sazogadoebrivi normebia ironizirebuli. filmi aCens kiTxvebs, aucilebelia ki vicxovroT sazogadoebis mier dadgenili normebiTa da movaleobebiT? da ramdenadaa SesaZlebeli dRevandel sazogadoebaSi sakuTari SexedulebebiTa da gemovnebiT cxovreba. doqt. dinara maRlakeliZe

quits his job: while heading to work one morning, he simply disappears. He plays several roles – sometimes he’s an artist, sometimes a vagrant, and he crashes parties and funerals. Unknown people offer to take him to Poland, and he spontaneously travels with his new companions… And in the end, he meets Nele, a strange, confused good-looking young woman, and falls in love with her. But it is impossible for them to live together, because they have to make a heavy decision: to continue their lifestyle or return to a normal one and its accepted norms. In the film, conventional contemporary lifestyle and consumer society norms are ironized. The film asks whether we necessarily have to live according to the norms and responsibilities assigned to us by society, and to what extent it is possible to live according to one’s own views and taste in today’s society.

Dr. Dinara Maglakelidze

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GILDED EWERS FROM KHOVLE mcxeTidan Zegvis gzas Tu gauyvebiT, ormociode wuTis savalze, patara mdinaris, xexmelas napirze gaSenebul, ivane javaxiSvilis mSobliur sofel xovles miadgebiT. Sida qarTlis am ulamazes xeobaSi Cveni mdidari istoriis kvals bevrgan waawydebiT: sxvadasxva periodis eklesiebs, koSkebs, akveduks da sxv. XIII saukunis feodalis, kaxa Torelisa (Torelebi javaxiSvilebis winaprebi arian) da misi meuRlis xaTuTas mier Sedgenili sigeliT irkveva, rom monRolTa mZime xarkisgan SeWirvebul feodals _ aRbuRas _ sofeli sparsi, somexi da ebraeli vaWrebisTvis miuyidia; didebul col-qmars ki is gamousyidiaT da rkonis monastrisTvis SeuwiravT. If you walk the road leading from Mtskheta to Dzegvi, about a forty-minutes’ walk in, you will come to Ivane Javakhishvili’s native village Khovle, built on the bank of a small river named Khekhmela. You will find many traces of Georgia’s rich history in this picturesque valley of Shida Kartli, including churches of various periods, towers, and an aqueduct. Thanks to a legal deed signed by Kakha Toreli (a feudal lord of the 13th century – the Torelis were the ancestors of the Javakhishvilis) and his wife, we know that because of the heavy tribute imposed by the Mongols, local lord Aghbugha sold the village to Persian, Armenian and Jewish traders. The Torelis later bought it back from them and donated the village to the Rkoni Monastery.

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xovle arqeologiuri ZeglebiTac mdidaria: aq aRmoCenilia qr.w. (qristes win) III aTaswleulis Suaxanebis yorRani; mravalfeniani, qr.w. XIV-IV saukuneebis namosaxlari xovlegora; mis maxloblad mdebare saxelosno ubnebi; qr.w. XIV-VI saukuneebis samarovani; elinisturi xanis dasasrulis sakulto nagebobis naSTi; gvian antikuri xanisa da Sua saukuneebis samarxebi da sxv. 2004 wels, xovles Crdilo-dasavleT kideSi, zesxevSi, wyalsadeni milis Txrilis gaTxrisas SemTxveviT aRmoCnda didi zomis marTkuTxa akldama, romlSic aRmoCenili nivTebi am ambis Semswre mosaxleobam dainawila. xovles belerofontes sura, grafika / BELLEROPHON EWER, DRAWING mkvidrma, ivane javaxiSvilis saxl-muzeumis direqtorma Khovle is rich in archaeological sites, including kurgans of the paata xuciSvilma mosaxleebSi gafantuli artefaqtebi middle of the 3rd millennium BC, “Khovlegora” (a multilayered moikiTxa, Seagrova da kaspis mxareTmcodneobis muzeums settlement of the 14th-4th centuries BC) and daukavSirda. kaspis muzeumis TanamSromlebma its nearby workshop quarters, a 14th-6th samarxi imave dRes gawmindes, century BC cemetery, the remains of gadaxures da miwiT a ritual site of Hellenistic times, and gadafares. gadarCenili tombs from the late Classical Period arqeologiuri masala and Middle Ages. saqarTvelos erovnul In 2004, a large quadrangular muzeums gadaeca. tomb was accidentally discovered 2008 wels, amerikis during earthworks in the southSeerTebuli Statebis western extremity of Khovle saelCos finansuri village, in Zeskhevi, and the daxmarebiT, Zeglze finds were shared out among the samuSaoebi ganaaxla eyewitnesses. Paata Khutsishvili, saqarTvelos erovnuli a native of the village and the muzeumis arqeologiis director of the Ivane Javakhishvili intitutis eqspediciam, House Museum, managed to get romelmac xelmeored gawminda, back the dispersed artefacts, and saTanadod daafiqsira 2004 belerofontes sura restavraciamde contacted the Kaspi Regional Museum. BELLEROPHON EWER BEFORE RESTORATION wels aRmoCenili akldama The latter’s staff cleaned the tomb that very day, before da Seiswavla mis mimdebare covering it with earth. The surviving archaeological material was teritoriaze arsebuli qr.w. III-II saukuneebis handed to the Georgian National Museum. In 2008, thanks to financial samarxebi. support from the US Embassy, an expedition from the Archaeological akldamis CrdiloeT nawilSi aRmoCnda 25-30 wlis qalis Institute of the Georgian National Museum restarted work on the site, neSti, romelic savaraudod dasakrZalav sarecelze cleaned the tomb a second time and scientifically studied it, as well as (amaze xis naSTebi da sareclis vercxlis garsakraviani graves dated to the 3rd-2nd century BC in its surroundings. The remains of a 25 to 30-year-old woman were discovered on the northern side of the tomb, resting on what was probably a funeral bed (as suggested by wooden remains and the silver covering of the legs of the bed). The items found around the body were arranged in a way that left enough space for another person to be buried on the southern side. There was evidence of a wound made by a sharp weapon on her right shoulder, covered with a thin, “compensational” sheet of bone, suggesting the woman must have lived two to three months after receiving the injury. According to anthropologists, this buried woman had Anatolian origins. The fact that she was lying on a funeral bed and that she had several luxurious items in her tomb suggests that she had aristocratic origins, and that she was a member dionises sura, grafika / DIONYSUS EWER, DRAWING

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brinjaos sarke / BRONZE MIRROR

fexebi mianiSnebs) esvena. samarxSi Catanebuli nivTebi micvalebulis garSemo ise iyo ganlagebuli, rom samxreTisken adgili kidev erTi adamianis dasakrZalad rCeboda. neSts marjvena beWis areSi mWreli iaraRiT miyenebuli naiarevi aCnda, romelic Zvlis Txeli, e.w. sakompensacio firfitiT iyo dafaruli; es imaze metyvelebs, rom qalbatons Wrilobis miRebidan savaraudod, 2-3 Tve kidev unda ecocxla. anTropologTa mosazrebiT samarxSi dakrZaluli qali warmoSobiT mcire aziidan unda yofiliyo. is, rom igi dasakrZalav sarecelze iwva da samarxSi fufunebis araerTi nivTi hqonda Catanebuli, mis aristokratul warmoSobasa da qarTlis erT-erTi didebuli ojaxis wevrobaze miuTiTebs. samarxeuli inventari mdidruli da STambeWdavia: momwvano minis ori, yuriani WurWeli; minis sanelsacxebleebi; vercxlis langari da mooqrovili Tasi; brinjaos didi zomis sarke; vercxlisa da oqros mcire zomis firfitebi; vercxlisa da oqros parTiuli da romauli monetebi; mTis brolis, sardionis, Zowis, oqros, minis mZivebi; brinjaos WurWlis fragmentebi; rkinis dana Zvlis ornamentirebuli

minis sanelsacxebleebi / GLASS UNGUENTARIA

of one of the most prominent families of Kartli. The inventory of her tomb is impressive: two greenish glass bottles with handles; four small unguentaria; a silver plate and a gilded cup; a large bronze mirror; small silver and golden plates; silver and golden Parthian and Roman coins; rock-crystal, cornelian, garnet and gold beads; fragments of bronze tableware; an iron knife with an ornamented handle in bone; and two opaque white, cold painted and gilded glass ewers. The two white glass ewers, found in pieces, are the most noteworthy artefacts discovered in the tomb. These unique items were completely restored in 2005 by French restorer Marie-Claude Depassiot. Both objects were made in the same way: glass was blown, and then on the prepared vessel, figures were contoured roughly with brownish paint. While still hot, the whole surface of the vessel was covered with a thin layer of gold. The surplus golden particles outside of the figures were removed carefully and the contours were outlined in a reddish-brown color on the golden surface. Afterwards, the areas destined for flowers and ivy leaves were filled with green and reddish-

romauli da parTuli monetebi / ROMAN AND PARTHIAN COINS

brown melted glass. Contemporary glass masters still use this method when covering glass with thin metal layers. In ancient times, gold and silver-plated glass necklaces, vases, mosaics and other materials were prepared in a similar way. The necks of both ewers contain the Greek inscription “Η ΧΑΡΙC”. From a paleographic point of view, the inscriptions are dated to the 3rd-4th centuries AD, and translate to “Mercy on you”, “Good fortune to you”, or “Enjoy your drink”. Other meanings of the words include: beauty, greatness, respect, honor, goodwill, award, gratefulness, bliss, happiness. Such richly adorned tableware, with inscriptions, used to be prepared on special order for aristocrats of the highest rank from the Roman Empire and its neighboring states. The first of the two is called the ‘Dionysus ewer’, as it clearly presents the Greek God of viticulture and viniculture, as well as other mythological characters connected to him. Inscriptions can be found on the body of the vessel, near the heads of the figures, but it was, unfortunately, impossible to fully decipher them.

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tariT; gaumWvirvale TeTri minis, moxatuli, oqrofenili ori sura... samarxSi aRmoCenili nivTebidan gamorCeulia TeTri, gaumWvirvale minis ori moxatuli sura, romlebic namsxvrevebad iyo qceuli. es unikaluri nivTebi 2005 wels safrangeTidan mowveulma restavratorma mari-klod de pasiom uangarod aRgvidgina. orive nivTi erTnairi wesiTaa damzadebuli: mina gauberavT, forma miuciaT da moyavisfro saRebaviT

vercxlis langari / SILVER PLATE

vercxlis garsakraviani sareclis fexebi SILVER-COVERED BED LEGS

figurebis uxeSi monaxazi dautaniaT. Semdeg mwvane da mowiTalo-moyavisfro gamdnari miniT yvavilebisa da suros foTlebisaTvis gankuTvnili adgilebi SeuvsiaT, zedapiri oqros mTliani, uTxelesi furcliT daufaravT, romelzec mowiTalo-moyavisfro saRebaviT figurebis konturebi mouxazavT; oqros zedmeti nawilebi frTxilad mouSorebiaT, yuri miumagrebiaT da SedarebiT dabal temperaturaze xelmeored gamouwvavT. dResac, Tanamedrove ostatebi minis nivTze metalis Txeli furclis dadebisas swored am meTods iyeneben. antikur xanaSi daaxloebiT aseTive teqnologiiT mzaddeboda minis oqrofenili da vercxlfenili mZivebi, larnakebi, mozaikuri panoebi da sxv. orive suris yelze berZnuli warweraa _ H XAPIC. paleografiulad warwera III-IV saukuneebiT TariRdeba, sityva iTargmneba rogorc _ `wyaloba Sen~, `bedi Sen~ an `Sesvi, gaamos~. amave sityvis sxva mniSvnelobebia: silamaze, dideba, pativi, Rirseba, keTilganwyoba, jildo, pativiscema, madliereba, netareba, sixaruli. aseT, mdidrulad Semkul WurWels, amdagvari warwerebiT, specialuri dakveTiT, romis imperiisa da misi samezoblos umaRlesi rangis aristokratebisTvis amzadebdnen. ori suridan pirvels Cven dionises suras vuwodebT, radgan aq mevenaxeobisa da meRvineobis mfarveli berZnuli RvTaeba, dionise da masTan dakavSirebuli miTologiuri personaJebia gamosaxuli. suris tanze, figurebis TavebTan amokawrulia warwerebi, romelTa srulad amokiTxva ver xerxdeba.

The figures appear in the arches of the ewers. The figure depicted in the first arch is wearing a cloak which falls to below his ankles. He is standing full-face, with an ivy crown on his head, and next to it, on the right side, there is a flowery scepter – a thyrsus, which he is holding in his left hand; his left elbow is also resting on something that looks like vine or ivy. Reddish-brown lines can be found on his left shoulder, which could be the representation of a snake. In his right, slightly raised hand, the figure is holding a cup from which a red liquid is pouring. Based on this and on other iconographic data, we can be confident that the figure depicted in this arch is the young, beardless Dionysus. Within the second arch, there is a Greek inscription on two lines behind the figure, but unfortunately, most of its graphemes are unreadable. There is also an inscription in Greek letters behind the figure drawn in the third arch, from which only Δ and H remain. The inscription suggests that this figure depicts Demeter, the Goddess of Fertility, or a maenad – the identity of the figure depicted in the third arch is unclear. The inscription next to the figure found in the fourth arch is unreadable, however all characteristics point to Pan, deity of the wild and nature. sura qorningis (aSS) minis muzeumidan It is quite difficult to identify EWER FROM THE CORNING MUSEUM OF GLASS (USA) the figure illustrated in the

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WurWelze gamosaxuli figurebi TaRebSia Caxatuli. pirvel TaRSi gamosaxuli figura koWs qvemoT daSvebuli tansacmliTaa Semosili. igi dgas anfasSi, Tavze suros gvirgvini adgas, TavTan, marjvniv, ayvavebuli kverTxi _ tirsosia gamosaxuli, romelic mas marcxena xelSi uWiravs, amave xelis idayviT ki raRac sayrdens, SesaZloa vazs (an suros xes) eyrdnoba. marcxena mklavze mowiTalo-moyavisfro zolebia datanili, rac SesaZloa gvelis gamosaxuleba iyos. marjvena, odnav gawvdil xelSi figuras sasmisi uWiravs, romlidanac wiTeli siTxe iRvreba. ikonografiuli monacemebiT, am TaRSi axalgazrda, uwveruli dionise unda iyos gamosaxuli. meore TaRSi Caxatuli figuris zurgsukan or rigad berZnuli warweraa amokveTili, romelic mTlianad ar ikiTxeba... mesame TaRSi Caxatuli figuris zurgsukan berZnulad amokawrulia warwera, romlisaganac SemorCenilia Δ da H. warwera warmoSobs cdunebas, rom es figura nayofierebis

pegasze amxedrebuli belerofonte BELLEROPHON RIDING PEGASUS

fifth arch. The figure is represented full-face, in a staggered, dancing pose, and crowned with ivy. His right arm is folded, while his left hand is holding a bunch of grapes. Above his raised right hand, one can distinguish the Greek letter Λ. The figure is likely depicting Lycurgus, someone who is often observed in Dionysus’ cortege. According to Greek mythology, King Lycurgus refused to acknowledge Dionysus as a God, for which the divinity drove him mad, and then made the maddened king mistake his own son Driante for a vase and kill him. The figure on the fifth arch probably shows the mad Lycurgus, and the bunch of grapes in his left hand symbolizes his dead son. The lower frieze of the second ewer depicts the myth of Greek hero Bellerophon. On the body of the ewer, we can see two scenes separated by plants. The first presents Bellerophon riding Pegasus and battling the Chimera monster (a hybrid of a lion, goat, and snake). The second scene depicts a woman and a man. The woman is sitting in the man’s lap, which points to the happy ending of the Bellerophon myth: after the hero defeated the Chimera, Iobate, King of Lycia, married his daughter to him. The figures must therefore represent Bellerophon and Princess Philonoe themselves. A well-preserved, exact equivalent of the Khovle ewers is preserved at the Corning Museum of Glass in the state of New York. It was found at the end of the 19th century in Kerch (Crimea), after which it was acquired by collectors. It is identical to the Khovle artefacts in terms of shape and painting technique. The only difference between the vessels is to be found in their iconography – here, the illustrated myth is that of Daphne. Fragments from the same kind of ewers were also found in Syria – in Dura Europos, as well as in Russia, during excavations at the ancient city of Tanais. A fragment of a similar ewer’s base is also preserved in a museum in Lisbon. Both the Khovle ewers and their abovementioned equivalents were made in a workshop in Syria, in Antioch on the Orontes, perhaps by the same craftsman, at the end of the second century or the beginning of the third. The coins that were found at the Khovle site help date the grave – the most recent is a gold coin depicting Roman Emperor Elagabalus (218-222), and therefore, the tomb must date back to the second quarter or the middle of the 3rd century. During the Middle Ages, and probably also during the Classical Period, Khovle was passed by the roads connecting Shida Kartli and Trialeti, as well as those connecting the Tedzami Valley to that of Tana. Furthermore, the settlement was located near the Silk Road alongside Mtkvari, which then followed the right bank of the river. The discovery of a rich tomb of the 3rd century AD in Khovle suggests that representatives of the local aristocracy were living in that area. Today, it is extremely difficult to determine the status of Khovle’s elite in the Georgian Kingdom, but we have to underline that the inventory found in the Khovle tomb has nothing to envy of the artefacts found in other rich burial sites of the Roman Period, such as those of Zghuderi, Akhali Zhinvali, Ertso, or Kldeeti. The existence of such a tomb in Khovle leads us to suppose that somewhere nearby, there may also have been the residency of no less than the head of the Khekhmela Valley… Vakhtang Shatberashvili

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qalRmerTis, demetres an menades gamosaxulebad miviCnioT, Tumca am TaRSi Caxatuli figuris vinaoba jerjerobiT gaurkvevelia. meoTxe TaRSi Caxatul gamosaxulebasTan warwera ar ikiTxeba, Tumca yvela monacemis mixedviT es tyis RvTaeba, pania. sakmaod rTulia mexuTe TaRSi Caxatuli figuris identifikacia. igi anfasSi, wabarbacebul, mocekvave pozaSia gamosaxuli da Tavze suros gvirgvini adgas; marjvena xeli idayvSi aqvs moxrili, marcxenaSi ki yurZnis mtevani uWiravs. figuris zeaRmarTuli, marjvena xelis zemoT bundovnad irCeva berZnuli aso Î&#x203A;. figura likurges unda gamosaxavdes, romlic dionisur garemocvaSi xSirad gvxvdeba. berZnuli miTebis mixedviT mefe likurgem dionise RmerTad ar cno, risTvisac RvTaebam is Wkuidan gadaiyvana da SeSlils Svili driante vazad moaCvena da aakafvina (moakvlevina). gamosaxuleba swored gagiJebul likurges unda asaxavdes, vazis mtevani ki, romelic mas marcxena xelSi uWiravs, mokluli Svilis Tavis simbolo unda iyos. meore suris qveda frizze berZnuli miTologiuri gmiris, belerofontes Tavgadasavalia gamosaxuli. WurWlis tanze ori, erTmaneTisagan mcenareebiT gamoyofili scenidan pirvelze, frTosan cxenze _ pegasze amxedrebuli belerofonte samTavian urCxuls qimeras (lomis, Txisa da gvelisTavian) ebrZvis. meore scenaze gamosaxulia qali da mamakaci. qali mamakacis muxlebze zis, rac miTis bednier dasasrulze migvaniSnebs _ qimeraze gamarjvebisa Semdeg likiis mefe iobatem gmirs qaliSvili miaTxova da aq swored isini _ belerofonte da mefis asuli filonoe unda iyvnen gamosaxulni. xovles surebis kargad daculi, zusti analogi qorningis minis muzeumSic (niu iorkis Stati) inaxeba. nivTi XIX saukunis damlevs qerCSi upovniaT, Semdeg ki koleqcionerebis xelSi moxvedrila. formiTa da moxatulobis teqnikiT igi xovles nivTebis identuria. nivTebs Soris gansxvaveba mxolod siuJetSia _ aq dafnas miTia warmodgenili. minis aseTive WurWlis mxolod natexi napovnia siriaSi _ dura evroposSi, aseve ruseTSi _ tanaisis naqalaqaris gaTxrebisas. WurWlis Ziris fragmenti inaxeba lisabonis muzeumSic. xovles orive sura da misi zemoTxsenebuli paralelebi siriaSi, orontis antioqiaSi, erT saxelosnoSi, SesaZloa erTi xelosnis mier, meore saukunis bolos an mesame saukunis dasawyisSia damzadebuli. xovles samarxeuli kompleqsis dasaTariReblad mniSvnelovania aq aRmoCenili monetebi, romelTa Sorisac yvelaze gviandeli romis imperatoris, elagabalusis (218-222 w.w.) oqros monetaa; Sesabamisad, samarxi mesame saukunis meore meoTxediT an Sua xanebiT TariRdeba.

dionise / DIONYSUS

Sua saukuneebsa da savaraudod antikur xanaSic, xovleze Sida qarTlisa da TrialeTis, agreTve TeZmisa da tanas xeobebis damakavSirebeli gzebi gadioda, meores mxriv ki dasaxleba Zalian axlos iyo mtkvris gaswvriv mdebare gzasTan, romelic im droisTvis mdinaris marjvena napirs miuyveboda. qr.S. III saukunis mdidruli akldamis aq aRmoCena imaze migviTiTebs, rom am midamoebSi adgilobrivi aristokratiis warmomadgeneli cxovrobda. dReisTvis Zalze Znelia vimsjeloT imaze, Tu ra mdgomareoba ekavaT xovlel didebulebs qarTlis samefoSi, magram xazgasmiT unda aRvniSnoT, rom xovles akldamaSi dakrZaluli qalis inventari arafriT CamorCeba gvianantikuri xanis iseTi samarxebis masalas, rogoricaa zRuderis, axali Jinvalis, erwos, kldeeTis aRmoCenebi. xovleSi aseTi samarxis arseboba gvafiqrebinebs, rom aqve unda yofiliyo sul mcire, xevxmelas xeobis mmarTvelis rezidenciac... vaxtang SatberaSvili

anu rogor iwereba moTxroba erTi amosunTqviT

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mwerlobis, an xelovnebis sxva romelime dargis wiaRSi aRmocenebul nawarmoebs, mkiTxvelis, msmenelis Tu mayureblis winaSe, rogorc wesi, dasrulebuli saxiT waradgenen xolme. swored am sisrulis mizeziT, xelovani, erTgvari zeSTagonebiT Sepyrobil arsebad SeiZleba warmovidginoT, romelsac muzebi Tu demonebi karnaxoben ra daweros, daxatos Tu Seqmnas. STagoneba, ra Tqma unda yoveli xelovanis Tanamdevia, magram STagonebas damsaxureba sWirdeba: mwerlebs Tu poetebs, STagonebis mosapoveblad, Zalian maRali safasuris gadaxda uwevT, rac, arc meti arc naklebi, maT mier gaweul SromaSi gamoixateba. Cvenamde mxolod damTavrebuli naxatebi an dawerili teqstebi modis, romlebic gvaoceben TavianTi srulyofilebiT, sinatifiT, CamoqnilobiT, simsubuqiT da azris sicxadiT. xelovnebis qmnilebebi, erTi SexedviT, Tofidan gamosrolil tyviebs gvanan, xelovanTa sulis nawilebs, romlebic uecrad, zeSTagonebis SewevniT mowydnen SemoqmedTa Sinagan samyaros da mSvenierebad dautoves maradiulobas.

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usually presented to their readers, listeners, or spectators in a finished form. This completeness often makes us think of the artist as a being possessed by a sort of divine inspiration, as someone to whom muses and demons reveal what to write, paint, or create. Naturally, inspiration has a propensity to follow artists, but it also has to be deserved: in order to find inspiration, writers and poets have to pay a very high price, the currency of which is the labor they have to perform. Only finished paintings or texts reach us, and they astonish us with their perfection, refinement, balance, lightness, and clarity of thought. At first sight, artworks appear like bullets fired from a rifle, like parts of the artistsâ&#x20AC;&#x2122; souls, which, with the support of divine

OR HOW A STORY IS WRITTEN IN ONE BREATH

The works emerging from the depths of writing, or from any other field of art, are

inspiration, have suddenly separated from the inner world of the artists, to be bestowed to eternity.

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sinamdvileSi, am poeturi warmodgenis ukan, prozauli rutina dgas: xelovanis mier gaweuli yoveldRiuri Sroma, TeTri furclis SiSi, sagnis Seswavlasa da kvlevaSi TeTradve gaTenebuli Rameebi da survili WeSmaritebis wvdomisa _ WeSmaritebis wvdomisa, im sagnis Sesaxeb, romelzec ixateba Tu iTxzveba es konkretuli nawarmoebi. xelovanTa umetesoba, uSvelebel dros andomebs nawarmoebis damuSavebas da jiutad miiwevs misi srulyofisken (amboben lev tolstoim samjer gadawera „omi da mSvidobao“). sabolod ki Cvenamde aRwevs naSromi, romelSiac iseTi Zalisxmevaa Cadebuli, isea damuSavebuli, rom masSi CaRvrili oflis natamalis danaxvac ki SeuZlebelia. xelovanis ostatobac xom imaSia, rom gvafiqrebinos, TiTqos nawarmoebi erTi amosunTqviTaa dawerili, sul ramdenime artistuli funjis mosmiTaa daxatuli... literaturuli konkursi im saqmes unda emsaxurebodes, rom mwerals Sroma, odnav mainc, daufasdes. Cawvdes mis mier gaweul Sromas, mixvdes da gaigos aRmafrenis gzis sirTuleebi, gaiazros Tu ra Zala SeiZleboda daxarjuliyo, Tundac mcire zomis nawarmoebze _ patara moTxrobaze, gaaanalizos rogori emociuri Tavgadasavali

In reality, behind this poetic representation, there is a quite prosaic routine: the everyday labor carried out by the artist, the fear of the blank page, the sleepless nights spent studying and researching the subject, and the wish to attain absolute truth – absolute truth about the subject being painted or created in this or that specific work. The majority of artists require an extraordinary amount of time to refine their work, and stubbornly aim at its perfection (they say that Lev Tolstoy revised ‘War and Peace’ three times). But the work that reaches us in the end, in which so much effort has been put, is processed in a way that not even a remnant of sweat can be noticed. Doesn’t the mastery of artists lie in their ability to make us think that their stories have been written in just one breath, that their paintings have been created with only a few artistic brush strokes…? Literary competitions should serve the objective of valuing the labor of writers, at least to some degree. To understand the work writers have put in, to grasp the difficulties of walking the way leading to their inspiration, the amount of energy that might have been spent, even on the smallest of works – on a small story, to analyze the level of emotion of the adventures writers went through, the feelings they have experienced, and then how they had to get this story down on paper in a way that would provoke the exact same feelings as those they have experienced in others. Winning a

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unda gadaxdenoda mwerals, ra grZnoba unda ganecada da mere ukve rogor gadmoetana es ambavi furcelze ise, rom sxvebSi WeSmaritad igive grZnobebi aReZra rac Tavad ganicada. literaturul konkursSi gamarjveba, romelsac fuladi jildos saxe aqvs xolme, warmatebis niSania samwerlod da saerTod sazogadoebis TvalSi. warmateba ki mxolod mciredi samagiero Tu SeiZleba iyos im xalxisTvis, romelTa samuSao masalac sityvaa. rogorc zemoT vTqviT, literaturuli konkursi mwerals nugeSad SeiZleba moevlinos, misi muxlCauxreli Sroma daafasos. amis gamo man SesaZloa biZgic misces samwerlo procesis ganviTarebas qveyanaSi. saqarTveloSi mravali literaturuli konkursi tardeba. Tumca penmaraToni, romelic 2002 wlidan daiwyo, didad gansxvavdeba sxvebisgan _ formiT,

literary competition, which usually comes with prize money, is a sign of success for one’s career as a writer, and more generally, in the eyes of society. And success may merely be a small compensation for the people whose working material is words. As we said above, by valuing their industrious work, a literary competition can come as a source of solace to writers. For this very reason, it can also be an incentive for the development of literary processes. There are many literary competitions in Georgia. But the PenMarathon, which was founded in 2002, is very different from the others in its configuration, organization, and approach to time. Indeed, in this competition, writers have an extremely limited amount of time – they have to write a story within 24 hours, and aren’t allowed to use any dictionary, any laptop (including internet – a tool

organizebiT Tu drosTan damokidebulebiT. da ai, raSia saqme: am konkursSi mwerlebs dro saSinlad aqvT SezRuduli _ maT moTxroba 24 saaTSi unda daweron, Tanac ise, rom arc rame leqsikoni gamoiyenon, arc Tanamedrove mwerlisTvis ukve ganuyrel iaraRs _ lep-tops (internetianad) gaekaron, arc raime wigni moidon gverdze da arc raime sxva damxmare saSualeba moixmaron _ garda kalmisa da sufTa furclisa. Tanac es yvelaferi saerTo sivrceSi unda moxdes. konkursis ideis avtorebma, Tavidanve gadawyvites, rom am misiis Sesasruleblad mwerlebi erTad SeeyaraT, erT sivrceSi daesvaT, yvelasgan izolirebulni, erTmaneTis pirispir, raime saerTo Tema miecaT da moeTxovaT, rom am Temis garSemo yvelas moTxroba daeweraT. Tema SesaZloa

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sxvadasxvanairi yofiliyo _ personaJebi, andaza, citata da a. S. da wlebis ganmavlobaSic ase xdeboda. 2002 wlidan 2010 wlamde konkursi eqvsjer Catarda da am xnis ganmavlobaSi bevri saintereso da SemdgomSi warmatebuli avtori gamovlinda. maTTan erTad penmaraTonis gamarjvebulebi sakmaod titulovani da warmatebuli avtorebic iyvenen. pirveli gamarjvebuli gela Cqvanava

that has become inseparable from modern writers), any book, or any other assistive means whatsoever. The only objects allowed are a pen and blank papers. And all this takes place in a common space. The founders of the competition decided from the very start that in order to fulfill this mission, they would gather writers, sit them in front of one another in a common space isolated from the rest of the world, give them a common theme, and ask them to write a story revolving around it. The theme can be varied – characters, a saying, a citation, and so on. And this is how it happened for years. The competition took place six times from 2002 to 2010, and during this period, many interesting authors were discovered, with many of them becoming successful after the competition. There were also quite titled and successful authors among the laureates of the PenMarathon. The first laureate was Gela Chkvanava, then Vano Chkhikvadze, Paata Berikashvili, Bacho Kvirtia, Pikria Kushitashvili, Nino Gugeshashvili, and others. This is only a list of the winners, and in this article, we’re not mentioning the writers who reached the top three places of this competition, and who have also done a lot for the development of Georgian writing, whether before or after the PenMarathon. This year, the PenMarathon has transformed from a local competition into an international one. One of the reasons for this transformation was the Frankfurt Book Fair, in which Georgia is this year’s guest of honor. Jarji Akimidze, the person behind the idea of the PenMarathon, and his faithful partner, the publishing house ‘Diogene’, came up with the idea to collaborate with German writers for this edition of the competition. As a result, after holding

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iyo, Semdgom ki vano CxikvaZe, paata berikaSvili, baCo kvirtia, fiqria yuSitaSvili, nino gugeSaSvili da sxv. es mxolod gamarjvebulTa CamonaTvalia da am statiaSi ar vaxsenebT am konkursis ganmavlobaSi sameulSi gasulebs, romlebmac penmaraTonamde Tu penmaraTonis Semdeg bevri ram gaakeTes qarTuli mwerlobis ganviTarebisTvis. wleuls penmaraTonma feri icvala da adgilobrivi konkursidan saerTaSoriso konkursad iqca. amis erTerTi mizezi frankfurtis wignis bazrobac gaxda, romelSiac saqarTvelo, sapatio stumris statusiTaa wardgenili. penmarTonis ideis avtors jarji aqimiZes da mis mudmiv partniors, gamomcemloba „diogenes“, gauCndaT idea germanel kolegebTan TanamSromlobisa. amgvarad, germanul mxaresTan konsultaciis Semdeg, nacvlad imisa, rom penmaraTonSi mxolod qarTvel avtorebs

consultations with the German side, it was decided that instead of only having Georgian authors participating at the PenMarathon, they would be joined by German writers. The rules of the competition were the following: during the first stage, every person above 21 years of age could apply to participate. In the application, they also had to include a sample of their former works of up to five pages. From a total of 120 applicants, 14 participants were selected to go through to the final stage of the competition. The German side selected nine German-speaking writers who would travel to Georgia and write a story within 24 hours together with their Georgian colleagues. The PenMarathon has always taken place in outstanding locations – the first one in the foyer of the cinema ‘Amirani’, then at sea – the stories were written directly on a boat, then in the Gonio Fortress,

mieRoT monawileoba, gadawyda, rom paralelurad, 24 saaTSi germaneli kolegebic Seecdebodnen nawarmoebis daweras. konkursis piroba aseTi iyo: pirvel etapze yvela 21 wels gadacilebul adamians SeeZlo gaekeTebina konkursSi monawileobaze ganacxadi. ganacxadisTvis mas aseve unda daerTo Tavisi nawarmoebi, romelic 5 gverdze meti ar unda yofiliyo. jamSi 120-dan 14 monawile SeirCa, romlebic finalur etapze moxvdnen. germanulma mxaremac 9 germanulenovani mwerali SearCia, romelebic saqarTveloSi Camovidodnen da 24 saaTis ganmavlobaSi moTxrobas dawerdnen. penmaraToni yovelTvis gamorCeul adgilas tardeboda _ pirveli, kinoTeatri „amiranis“ foieSi, Semdegi zRvaSi _ moTxrobebi pirdapir gemze daiwera, Semdeg gonios cixeze,

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ufliscixeSi, saguramoSi _ ilia WavWavaZis saxlmuzeumSi, aleqsandre WavWavaZis winandlis sasaxleSi _ mokled, organizatorebi yovelTvis cdilobdnen saintereso garemo SeeqmnaT monawileebisTvis. 2018 wlis penmaraTonic gamorCeul adgilas _ sofel bakurcixeSi mdebare sarajiSvilebis mamul „maroSenSi“ _ Catarda. aq yvela monawiles gansakuTrebul simyudrovesa da komfortSi SeeZlo werisTvis mieca Tavi. magram miuxedavad amisa, am araCveulebriv sivrceSi moxvedril monawileebs mainc daetyoT literaturuli davalebis molodinisgan gamowveuli foriaqi. bolos da bolos, 14:00 wuTze, konkursis Tema gamocxada: monawileebs siuJetSi Seqspiris „hamletidan“ fraza: `sicruis CangliT, Sen daiWer simarTlis Tevzsa“ unda gaeTamaSebinaT. yvelam individualuri weris taqtika airCia, Tumca mTavari is iyo, rom taqtikebs Soris umTavresi gansxvaveba individualuri ki ara, aramed „erovnuli“

aRmoCnda _ qarTvelma mwerlebma cal-calke arCies muSaoba, germanelebma ki erTad _ maT yvelaze individualur saqmianobaSic ki gundurobas mianiWes upiratesoba; radgan ar hqondaT „guglis“ saZiebo sistema, sxvadasxvagvari leqsikonebis gamoyenebis saSualeba, rac mwerals muSaobisas egzom sWirdeba, maT gadawyvites `furclovani da eleqtronuli~ sistemebis roli sakuTar Tavze aeRoT da amgvarad gaewiaT erTmaneTisTvis daxmareba. garda amisa, isini erTmaneTis teqstebsac kiTxulobdnen da adgilzeve aZlevdnen TavianT kolegebs kritikul SeniSvnebs: stilis, Tematikis Tu sxva ramis Sesaxeb. gverdze sanovage da Rvinoc miidges, wera-gasworebis dros SimSil-wyurvils rom ar gaefanta maTi yuradReba. rogorc giTxariT, uklebliv yvela qarTvelma mweralma individualuri gza airCia. TiTqos, mxolod sakuTar Tavis

at Uplistsikhe, in Ilia Chavchavadze’s House-Museum in Saguramo, in Aleksandre Chavchavadze’s Tsinandali residence… In short, the organizers were always trying to create an interesting atmosphere for the participants. In 2018 too, the PenMarathon took place on a remarkable site – at ‘Marosheni’, the estate of the Sarajishvilis, near Bakurtsikhe village. Here, every participant could indulge in writing in utter coziness and comfort. But despite the extraordinary place they found themselves in, one could still notice the agitation provoked in the participants by the literary task. Finally, at 14:00 sharp, the theme of the competition was announced: the participants would have to work with Shakespeare’s verse from Hamlet, “Your bait of falsehood takes this carp of truth”, as a subject. Everyone chose an individual writing tactic, but more interestingly, the main difference between tactics was not an individual, but a “national” one – Georgian writers decided to write separately, while Germans got together: even in the very individualistic task that is writing, they preferred to work as a team; because they didn’t have the ‘Google’ search engine, nor the possibility to use any dictionary, which are of

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da talantis imedi Tu hqondaT: aravin aravis arafers ar uyveboda da ar ekiTxeboda, zogi Cafiqrebuli saxiT daseirnobda „maroSenis“ ezoSi, zogi rweva-rweviT hamakSi eloda muzas, zogi RviniT cdilobda mis mityuebas, danarCenebi ki aivnebze mdgar magidebze miifantmoifantnen da TavauRebel Sromas misces Tavi. cota xanSi, moseirneebma, hamakTa mrwevelebma Tu Rvinis msmelebmac igrZnes, rom maT mwerlur ankesebs ideebma dauwyes qaCva da nel-nela moZebnes carieli saweri magidebi. ase gagrZelda 24 saaTi... weraSi RamenaTevma mwerlebma TavianTi moTxrobebi zustad dRis 14:00-de daamTavres... am yvelafers emociuri da sulieri gamofitvac axlda da Tan saqmis dasrulebiT gamowveuli bednierebis SegrZneba. amgvarad dasrulda penmaraTonis es etapi. Semdegi ki ukve frankfurtSi gagrZeldeba: Jiurim ukve SearCia xuTi qarTuli da xuTi germanuli moTxroba, romlebic germanul da qarTul enebze gamoicema da frankfurtis wignis bazrobaze, am xuTi qarTuli da xuTi germanuli moTxrobidan, sam-sami pirvel meore da mesame jildoebs gaiyofen, rac 3000, 2000 da 1000 evros odenobis jildoSi gamoixateba. penmaraToni araCveulebrivi Sansia, rogorc axalgazrda

first necessity for writers, they decided to take the role of “printed and electronic” systems on themselves, and to help each other in this way. Apart from that, they were also reading each other’s texts, and giving remarks and advice to their colleagues, be it about style, theme, or anything else. They also had groceries and wine with them, in order for hunger or thirst not to hinder their attention. As we’ve already noted, every Georgian writer, without exception, chose an individual path, almost as if they only trusted themselves and their personal talent: nobody was asking or telling anything to anybody. Some were strolling with a pensive face in the yard of ‘Marosheni’, others were waiting for their muse, swaying in a hammock, others still, were trying to attract her with wine, and the rest dispersed on the balcony and indulged in zealous work. Not long after, the strollers, the hammock swingers, and the wine drinkers started feeling the ideas pulling on their writers’ fishing rods, and they gradually started to look for empty desks. It went on for 24 hours… After a white night spent writing, the writers handed over their stories at exactly 14:00… All this was also accompanied by a feeling of emotional and spiritual erosion, as well as one of satisfaction from having finished the task. This is how this stage of the PanMarathon ended. The next one will be continuing in Frankfurt: the jury has already chosen five Georgian

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mwerlebisTvis, ise gamocdili da warmatebulebisTvis. garda imisa, rom es erTgvari literaturuli kunZulia, romelzec 24 saaTis ganmavlobaSi mxolod da mxolod mwerlebi Tu binadroben, is didi Tavgadasavali, gamocdileba da sakuTari Tavis da nebis gamocdaa, romelSic SegiZlia Seni mwerluri nebisyofa da xasiaTi gamoawrTo, gaimarjvo xelovanis yvelaze did mter droze da mis umcires naglejSi xelovnebis qmnilebis (Seni azriT) Seqmna moaswro. germaneli da qarTveli mwerlebi mouTmenlad elian wignis bazrobas. isini nawilobriv ukve gamarjvebulebic arian, radgan maTi moTxrobebi aucileblad iTargmneba da aucileblad gamoicema germanul-qarTul krebulSi. Tumca, arc isini grZnoben Tavs cudad, vinc xuTeulSi ver moxvda da frankfurtSi wasvlas ver axerxebs. maT sanugeSod kargi mogonebebi, axlad SeZenili megobrebi da `maroSenSi~ dawerili moTxrobebi rCebaT, romelTa gadamuSavebisTvis, gamarjvebulTagan gansxvavebiT, bevrad ufro meti dro aqvT vidre 24 saaTia. ivane ninoSvili foto: guram wibaxaSvili

and five German stories, which will be published in both German and Georgian. Moreover, three stories will be selected from each country and will get an award at the Frankfurt Book Fair – of 3000, 2000, and 1000 Euros, from first place to third. The PenMarathon is a wonderful opportunity for both young and experienced or successful writers. Apart from being a kind of literary island that only writers can inhabit for 24 hours, it is a great adventure, providing good experience; it is a test of oneself and of one’s will, where you can train your willpower and character as a writer, and win against the greatest enemy of an artist – time, by managing to create an artwork (at least in your opinion) in a mere fragment of the latter. The selected German and Georgian writers are eagerly awaiting the Book Fair. In some way, they are already victorious, because their works are sure to be translated and published in a German-Georgian book. But the ones who couldn’t make it to the top five and travel to Frankfurt aren’t feeling too bad either. As a comfort, they will keep good memories, new friends, and the stories they wrote in ‘Marosheni’, for the fine-tuning of which, unlike the selected writers, they will have much more time than 24 hours. Ivane Ninoshvili Photo by Guram Tsibakhashvili

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