კულტურა პლუს 4 (14)

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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 anbaniT moTxrobili saqarTvelo

2

GEORGIA MADE BY CHARACTERS

Cemi samaCablo

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MY SAMACHABLO

me Cemeburad vxatav, Cemi gziT mivdivar...

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I PAINT IN MY OWN WAY, I FOLLOW MY OWN PATH...

qarTuli avangardi ciurixSi

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GEORGIAN AVANT-GARDE IN ZURICH

neandertalelebi dasavleT saqarTveloSi

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NEANDERTHALS IN WESTERN GEORGIA

Telavidan samuzeumo koncertebamde

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FROM TELAVI TO MUSEUM CONCERTS

nino mayaSvilis mogonebebi

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NINO MAKASHVILI'S MEMORIES

qalaqi qalaqSi

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A CITY IN THE CITY

avstraliaSic qarTulad mRerian

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IN AUSTRALIA TOO, THEY SING IN GEORGIAN

Tumca, marcxis miuxedavad...

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YET, DESPITE OUR LOSS...

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 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: firosmani; daTvi mTvarian RameSi; muyao, zeTi; 100 X 80 sm.

Cover: Pirosmani; Bear in a moony night; oil on cardboard; 100 x 80 cm

4 (14) 2018

anbaniT moTxrobili saqarTvelo wels 9 oqtombers frankfurtis wignis bazrobaze saqarTvelos _ sapatio stumari qveynis _ pavilioni oficialurad gaixsna. am didi istoriisa da tradiciis forums yovelwliurad mravali aTasi germaneli da frankfurtSi stumrad Casuli ucxoeli damTvalierebeli hyavs. 1988 wels bazrobaze italiis sapatio stumari qveynis wardgenam safuZveli daudo im koncefciis Camoyalibebas, romelic ama Tu im qveyanas saSualebas aZlevs damTvalierebels, msoflios sakuTari kultura da xelovneba, literatura, wigni da sagamomcemlo saqme gaacnos. wlevandel bazrobasac, romlis sapatio stumari Cveni qveyana, „anbaniT moTxrobili saqarTvelo“ iyo, udidesi daintereseba mohyva... gaxsnis ceremoniaze qarTuli literaturis istoriis, anbanis, kulturisa da xelovnebis Sesaxeb frankfurtSi Sekrebil auditorias mweralma aka morCilaZem uambo:

GEORGIA MADE BY CHARACTERS The Georgian pavilion at this year’s Frankfurt Book fair – where Georgia was the guest of honor – officially opened on the 9th of October. This renowned forum is attended by hundreds of thousands of German and foreign visitors each year. Italy became a guest of honor at the fair in 1988, laying the foundations of what would become a tradition allowing this or that country to present its culture, art, literature, books, and publication activities to the visitors. This year’s book fair, in which Georgia showcased its concept ‘Georgia made by characters’, was as successful as ever. During the opening ceremony, writer Aka Morchiladze addressed the audience about the history of Georgian literature, alphabet, culture, and art:

„arsebobs daviwyebuli kulturebi, aseve kulturebi, romlebic mkvdaria, magram cxovroben universitetebSi, mecnierebis mowadinebiT. arseboben diadi kulturebi, romlebic aRarc magaliTad, sWirdeba vinmes, radgan Zalian maRali standarti aqvT da maTTan miuwvdomlobis aSkara suraTi uxerxulobas qmnis. mraval aseT sikvdilsicocxlesa da siiole-sirTuleSi arseboben Zveli, dRevandeli samyarosTvis an sruliad ucnobi, an erTeul moyvareTaTvis nacnobi kulturebi, romlebic ar momkvdaran da raRac maRali saocrebebis wyalobiT movidnen XXI saukunemde. bednierebaa, rom swored aseT kulturas warmoadgen da amaze ori sityvis Tqma SegiZlia... egeb raRac Soreuli ucnobi kultura vinmesTvis arafers niSnavdes, magram qarTvelebs aseTi sityva gvaqvs „raRacas“ veZaxiT bevr rames da es marto „raRac“ ar aris CvenTvis, aramed sicocxlesac niSnavs. ai, aseT sruliad ucnob, umetesad politikurad gagebul saqarTvelos istoriaSi yofila ugrZesi periodebi, saukunovani droebi, roca am qveynis arseboba-ararsebobas swored misi kultura gansazRvravda. Cemi, rogorc qarTvelis WkuiT, Zalian jiuti, ucnauri, humanisturi, mravalgzis damaxinjebuli, magram kultura, amas veZaxiT

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“There are forgotten cultures, as well as cultures that are extinct but still live in universities, thanks to the efforts of scholars. There are also great cultures that nobody needs as an example anymore, as they have reached very high standards, and the unattainability of the latter can lead to embarrassing situations. Among many such lives and deaths and simplicities or sophistications of culture, there are ancient ones that are either completely unknown to the present world, or only known by a small number of enthusiasts. Those cultures didn’t die, and have reached the 21st century by way of some miracle. It is a blessing to represent such a culture, and to be able to say a few words about it… “Some” remote and unknown culture may mean nothing to most, but if us Georgians use the word “something” to describe many things, our culture is definitely much more than “something” to us – it is as important as life itself. This completely unknown country of Georgia, mostly approached by the outer world in the framework of politics, had periods extending centuries when the question of whether it would continue to exist was determined precisely by its culture. As a Georgian, I believe that our culture is very stubborn, strange, humanist; that it has been distorted multiple times, but that nevertheless, we have a culture, the one we call Georgian culture.

That is our history – ancient, full of blood and burden. Our story is one of sustaining ourselves and surviving. And together with other

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Cven qarTul kulturas. aseTi istoriaa saerTod. Zveli, sisxliT da simZimiT savse. Tavis Senaxvis da gadarCenis ambavia Cveni ambavi saerTod. am ambis sikeTe sxva aramaterialur raRacebTan erTad iyo swored Cveni kultura. mokled rom vTqva, dramiT rom ar dagRaloT, dRes aq aris qarTuli literatura, romelic, rogorc iciT, Zalian Zvelia, mravali saukunis. Cven vambobT _ 1500 wlis, viRac mecnierebi amboben, 2000-is, 2500-is... Cven am saukuneebSi ase voperirebT, magram rac ar unda iyos, es saukuneebi ar aris patara dro imisTvis, rom imsjelo ra aris Rirebuli da ra ara. rogorc yvela literatura, qarTuli literaturac adamianebis garSemo trialebs. ai, is Cveni pirveli moTxroba, romelSic mexuTe saukunis ambavia aRwerili, (Cven ki ufro gviandeli xelnaweri gvaqvs, magram) Zalian gasagebi da samsjelo iqneboda samyarosTvis maSinac da axlac, skolaSi iswavleba CvenTan, im eniT, romliTac dawerilia mexuTe saukuneSi. es aris moTxroba qalze da kacze, ojaxze, erTgulebaze, politikaze, RmerTze, rwmenaze, patiosnebaze, aTas rameze. es yvelaferi isea aRwerili, rom iolad mixvdebi, adamianis gulSi da sulSi es TxuTmeti saukunea araferi didad ar Secvlila. Tqven iciT, rom Cveni kulturis meore nawili aris anbani, romelzec Cven Zalian bevrs vlaparakobT, amiT vwerdiT wignebs qarTvelebi. fufunebaa, aseTi raRac rom gaqvs adamians. Tqven uyurebT gaocebuli da Cven ki vkiTxulobT. am dros Cven Tqvensas iolad vkiTxulobT, es upiratesoba gvaqvs damaluli. saukuneebis ganmavlobaSi Cven Zalian bevrs vTargmnidiT, gansakuTrebiT aRmosavluri enebidan, sanam SegveZlo, sanam mSvidoba iyo.

Cven ar gvTargmnida aravin. Cven vkiTxulobdiT yvelafers da Tqven _ arafers Cvensas. warmoidgineT esec ramxela upiratesobaa.

Cven am anbaniT vwerT prozas, istoriasac vwerT, magram unda giTxraT, rom saqarTvelo aris poeziis qveyana. aq prozaikosi rom gamomiyvanes, var uxerxul mdgomareobaSi. me ar var pirveli kategoriis adamiani im xelobaSi, rasac mwerloba hqvia. Cveni qveyana aris poeziis. xumrobaa Zvel wignebSi darCenili, rom romanis weras unda dro, magida, qaRaldi... am dros omia, ubedurebaa da leqsi iwereba muxlze dadebul qaRaldze, ucbad. unda giTxraT, rom CvenTan istoriul qronikebsac leqsad werdnen. romanebsac werdnen leqsad, saxelmwifo qaRaldebi gvaqvs Cven leqsad dawerili. xeebze, cxvirsaxocebze, sasmisebze, merxebze, es aris ucnauri tradicia, romelic axla rom giTxraT, met Sromas moiTxovs, vidre prozis wera, proza iseTia _ dajeqi da cota moclili adamianis saqmea. nu, standarti aseTia, poezia maRalia. poeziiT cxovreba viciT racaa... sul bolo dromde poeti iseTi figura iyo saqarTveloSi, romelic adamians sakuTari arsebobis sixarulsa da ganumeoreblobaSi arwmunebda.

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immaterial aspects, the positive side of this story has precisely been our culture. To make it short, and in order to not weary you with drama (this is not the appropriate place for that), what we have here is Georgian literature, which is very ancient, as you might know – spanning centuries. We usually say it is 1500 years old – some scholars state that it is 2000, or 2500 years old... This is not a short time to ponder over what is valuable in this literature, and what is not. Like any other literature, Georgian literature also revolves around people.

For instance, the first story that was written in Georgian, which dates back to the 5th century, would be quite understandable and worthy of discussion in our times, and is actually still taught in Georgian schools today, in the same language as it was written in the 5th century. It is a story about woman and man, about family, loyalty, politics, God, faith, and honesty – about a lot of things. All this is described in a manner that makes it easy to understand that not much has changed in the hearts and spirits of people over these 15 centuries. You might know that the second most important part of our culture is our alphabet, which we like to talk about so much, and with which us Georgians used to, and still write books. It is a luxury to have one’s own alphabet. You look at it with gaping eyes, but we read it. And at the same time, we have a hidden asset: we can also read your script quite easily. For centuries, we’ve been translating a lot, especially from oriental languages – as long as we could, as long as there was peace. But nobody was translating us. We were reading everything, and you weren’t reading anything from us. Imagine how big an advantage this is.

With this alphabet, we write prose, and history too, but Georgia is primarily a country of poetry. The fact that I, a prose writer, am writing this article, puts me in quite an uncomfortable position. I do not belong to the “first category” of the art that is called writing.

As I said, our country is one of poetry. There is a joke in old books, saying that a novel needs time, a table, paper, while poems can be written even at war, in times of trouble, on a scrap of paper resting on one’s knee. Historical records used to be written in verse in Georgia. It was the same with novels, and even some official state

4 (14) 2018

arwmunebda imaSi, rom misi fiqri marTali, wrfeli fiqria

documents. Poems are written on trees, handkerchiefs, drinkware,

da xelovneba diadi ramea. Sen icodi, rom TviTon ar

desks… This is a strange tradition, which I have to say demands

SegiZlia da arsebobs adamiani, romelic Sens nacvlad

more work than writing prose – the latter can be done when one

Sens fiqrebs gamoxatavs. gadmoscems, gamoicnobs, da amas

has some time to spare. That’s the standard: poetry stands higher.

meti sisruliT da ostatobiT akeTebs. poeti iseTi vinme

And living from poetry stands even higher. In Georgia, until very

iyo qveyanaSi, rom 20-saukunovani, lamis absoluturi

recently, poets were figures who were convincing people of the

monarqiis tradicia aqvs am qveyanas da gvyavs bevri mefe,

bliss and the uniqueness of their existence, of the genuine and

romelTa saukeTeso miRwevac aris maTi poezia.

sincere character of their thoughts, and of the greatness of art. You

saqarTvelos gacnoba, ra Tqma unda, SeiZleba iq mogzaurobiT, magram mainc sjobs qarTulma literaturam mogaxsenoT Tavisi Zveli da ucvleli saTqmeli, imis Taobaze, rom siyvaruli, megobroba, sirTuleebi, sikvdili da sicocxle, omi da mSvidoba, iumori da tragedia iseve aris Cveni cxovrebis nawili, rogorc Tqveni da amaze laparaki da Txroba ise SegviZlia, rogorc bevrs aravis dedamiwis zurgze. amis mravalsaukunovani, samyarosTvis ucnobi tradicia gvaqvs. Cveni literatura Cveni aRsarebacaa, Cveni ocnebacaa a.S. axla ase lamazadac araa yvelaferi. radgan aq varT dRes, unda giTxraT, rom poetebi da mwerlebi yovelTvis upiratesi da sayvareli gmirebi iyven saqarTveloSi. yovelTvis iyvnen, rogorc dRes amboben xolme, `cnobadi saxeebi~. magram amas maTTvis arc yofiTi nugeSi moutania, da am xelobas arasodes ar daucavs Znelbedobisgan. rogorc samocdaaTi an orasi wlis winaT, dResac qarTveli mwerali SeiZleba gadayves Tavis nawers. an aqac araSemoqmedebiTi gamosavali eZios, an ucxoeTs

knew that you couldn’t do it, but that there were people who could express your thoughts for you. They guess and transmit them, and in a more accomplished and masterful way than you could. Poets were so important in Georgia that in its 20-centuries-long tradition of nearly absolute monarchy, there were many kings whose best accomplishments were the poetry they wrote.

Naturally, you can get acquainted with Georgia by traveling there.

Nevertheless, it would be better if it were Georgian literature that told you its old and unchanging message – that love, friendship, problems, death and life, war and peace, humor and tragedy, are all part of both our lives and yours, and that we can speak about them and narrate them like not many around the world. We have a tradition of this spanning many centuries, and it is unknown outside of our borders.

Our literature is our confession, our dream, and many other things.

But everything is not that bright. And since we are here today, I would like to tell you that although poets and writers were always prominent and beloved figures in Georgia – as they say today, “recognizable faces”, it has never brought them consolation, nor did it preserve them from hardships.

Just like 70 or 220 years ago, Georgian authors can still fall

Seafaros Tavi, SeiZleba muStic moxvdes, SeiZleba

victim to their writings. They might have to look for solutions

qudic Camoifxatos, rom sazogadoebis guliswyromas

out of the creative field, or for a shelter abroad, they could even

moeridos. ai, am didi istoriuli, rogor giTxraT,

be punched, or be forced to only walk the streets with their

damangreveli Tu aRmaSenebeli qartexilebis miuxedavad,

hat covering half of the face, to protect themselves from the

mwerali mainc rCeba saqarTveloSi gamorCeul figurad,

indignation of passersby. However, despite these great destructive

es iseTi adamiania, romelic yovelTvis iq aris, sadac

or constructive transformations throughout the course of history,

yvela arasdros ar aris da amavdroulad iq aris, sadac

writers remain special figures in Georgia – they are always where

yvela yovelTvis moiyris Tavs. es aris Cveni, qarTveli

everyone never is, and at the same time, where everyone always

mwerlebis ambavi“.

gathers.”

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Cemi samaCablo

alevis sameba, VIII-IX ss.

avnevi nuli alibari TiRva Sindara nabakevi qemerti kexvi Zarwemi qurTa zemoaCabeTi qvemoaCabeTi mamiTa xeiTi TamaraSeni frisi argvici berula eredvi qsusi vanaTi jorjiani sacxeneTi beloTi disevi daba axalgori doliani ikoTi mosabruni bazuani axaldaba axalsofeli axmaji beJanaanTkari garubani ereda vaSlovani zemoboli

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morbedaani qvemoboli yanCaveTi gdu boselTa zemoRru cixisofeli Wandari doreTkari gavazi doguzaani velisa kara kucxoveTi sabarkleTi CkuneTi ZangaTi qvemozaxori armazi velura zemozaxori zemocxiloni zemowiri zemowolda zemowubeni ikeTi nadaburi ukanwiri

qvemocxiloni qvemowiri qvemowolda qvemowubeni qviTkiri quloTi Suazaxori Suawiri Suawubeni WaWamuri gezevreTi korinTa gudawveri naxidi saZeguri pirveli qvemoalevi qurTa yoCiani Suaalevi wirqoli xarkelani largvisi gareuTi

dabakneTi dadianeTi zodexi ToxTa martiani maxiareTi mujuxi SvelieTi ukanamxari ukanubani yveldaba Citiani cxavaTi xarbali xramiswyali salbieri delkani nagomevi CorCani Zeglevi jvarisubani balaani eloiani

Tinikaani midelaani navixevi oxiri pavliani qarelTkari qenqaani Cigoiani wifTauri WorWoxi xozueTi gudiTa zemobagebi zemoyure kitriuli

monasteri msxlebi qedigora qvemobagebi cotaguri kodijvari mamulaani qvemoRru

4 (14) 2018

My Samachablo Kvemo Achabeti Mamita Kheiti Tamarasheni Prisi Argvitsi Berula Eredvi Ksusi Vanati Jorjiani Satskheneti Beloti Disevi

Akhalgori Doliani Ikoti Mosabruni Bazuani Akhaldaba Akhalsopeli Akhmaji Bezhanaantkari Garubani Ereda Vashlovani Zemo Boli Morbedaani Kvemo Boli Kanchaveti Gdu Boselta

Zemo Ghru Tsikhisopeli Tchandari Doretkari Gavazi Doguzaani Velisa Kara Kutskhoveti Sabarkleti Chkuneti Dzangati Kvemo Zakhori Armazi Velura Zemo Zakhori Zemo Tskhiloni Zemo Tsiri Zemo solda Zemo Tsubeni Iketi

Nadaburi Ukantsiri Kvemo Tskhiloni Kvemo Tsiri Kvemo Tsolda Kvemo Tsubeni Kvitkiri Kuloti Shua Zakhori Shua Tsiri Shua Tsubeni Tchatchamuri Gezevreti Korinta Gudatsveri Nakhidi Sadzeguri Pirveli Kvemo Alevi Kurta Kochiani Shua Alevi Tsirkoli Kharkelani Largvisi Gareuti Dabakneti Dadianeti Zodekhi Tokhta Martiani

Makhiareti Mujukhi Shvelieti Ukanamkhari Ukanubani Kveldaba Chitiani Tskhavati Kharbali Khramistskali Salbieri Delkani Nagomevi Chorchani Dzeglevi Jvarisubani Balaani Eloiani Tinikaani Midelaani Navikhevi Okhiri Pavliani Kareltkari Kenkaani Chigoiani Tsiptauri Tchortchokhi Khozueti Gudita Zemo Bagebi Zemo Kure Kitriuli Monasteri Mskhlebi Kedigora Kvemo Bagebi Tsotaguri Kodijvari Mamulaani Kvemo Ghru

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ALEVI TRINITY CHURCH, 8TH-9TH CENTURIES

Avnevi Nuli Alibari Tighva Shindara Nabakevi Kemerti Kekhvi Dzartsemi Kurta Zemo Achabeti

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saqarTvelos mxareTa Soris qarTli yovelTvis umTavresi iyo. saxelwodeba qarTli da misgan warmoebuli saqarTvelo momdinareobs im mTis saxelisgan, sadac `qarTlis cxovrebis~ erT-erTi avtoris, XI saukunis qarTveli istorikosis leonti mrovelis mixedviT, daemkvidra qarTvelTa mamamTavari, bibliuri noes SvilTaSvilis Targamosis Ze qarTlosi. `ese qarTlos movida pirvelad adgilsa mas, sad SeerTvis aragvi mtkvarsa da ganvida mTasa mas da uwoda mTasa saxeli Tvisisa qarTli... da amis gamo ewoda yovelsa qarTls qarTli~. istoriuli qarTli geografiuli mdebareobisa da umTavresi mdinaris _ mtkvris mixedviT, zemo, Sua da qvemo qarTlad iyo danawilebuli. droTa ganmavlobaSi termini qarTli gafarTovda da ixmareboda ara mxolod geografiuli, aramed politikuri gagebiT _ yoveli qarTli. XI saukunidan `yoveli qarTlis~ nacvlad gvxvdeba saqarTvelo.

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Historically, Kartli used to be the most essential part of Georgia. The words Kartli and Sakartvelo derive from the name of the mountain where, according to Leonti Mroveli, an 11th-century historian and one of the authors of Kartlis Tskhovreba (Georgian Chronicles), Kartlos -legendary father of the Georgian people – took up his abode. The legend has it that Kartlos was a son of Targamos, the grandson of the biblical Noah. ‘Kartlos came to the confluence of the rivers Mtkvari and Aragvi and gave his name to the mountain rising above him.

Henceforward the word Kartli began to denote the territory of All Kartli’.

The historical territory of Kartli, on account of its geographical location and position with respect to the Mtkvari River, used to be divided into upper, inner and lower Kartli. With the passage of time, however, the term Kartli took on a political focus, apart from a geographical meaning, and began to indicate All Kartli. From the 11th century onward, the name Sakartvelo, instead of Kartli, gained wide currency.

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Sida qarTli moicavda teritorias lixis qedidan mdinare aragvamde da kavkasionidan TrialeTis qedamde. qvemo qarTlSi Sedioda teritoria TrialeTis qedidan lore-bambakis qedamde. zemo qarTli anu mesxeTi iwyeboda taSiskaridan da samxreT-dasavleTisken moicavda mtkvris zemo welsa da Woroxis mTel xeobas.

Sida qarTls Tavisi geografiuli mdebareobis gamo gansakuTrebuli adgili uWiravs saqarTvelos istoriaSi. aq xdeba jer aRmosavleT saqarTvelos uZvelesi saxelmwifos Camoyalibeba, xolo Sua saukuneebSi mis irgvliv mimdinareobs saqarTvelos erTian, feodalur monarqiad warmoqmnis procesi.

Sida qarTlSi, javis midamoebSia dmanisis Semdeg paleoliTis periodis yvelaze Zveli, aSelisa da musties qveperiodis sadgomebi. arqeologTa mier gamovlenilia mtkvar-araqsuli, e.w. yorRanuli kulturis periodis, gvianbrinjaos da adre rkinisxanis Zeglebi. brinjaos metalurgiis ganviTarebas mowmobs uamravi brinjaos nivTi, romlebic samosaxloebze, samarxebSi da ganZis saxiTaa aRmoCenili. rkinis metalurgiis utyuari mowmobaa Sida qarTlis erT-erTi uZvelesi qalaqis, `sarkines~ saxelwodeba. iq gamovlenilia liTonwarmoebis naSTebi da mza nawarmi.

ikorTa, XII s.

IKORTA, 12TH CENTURY ikorTa, XII s. IKORTA, 12TH CENTURY

Inner Kartli used to encompass the territory from the Likhi Range up to the Aragvi River and from the Kavkasioni Mountain up to the Trialeti Range. Lower Kartli denoted the area running from the Trialeti Range up to the Lore - Bambaki Range. Upper Kartli, i.e. Meskheti, started from Tashiskari and stretching southwest included the upper reaches of the Mtkvari River and the Chorokhi Valley.

Owing to its geographical location Inner Kartli was always at centre stage of political upheavals throughout the history of Georgia. To begin with, it provided a solid groundwork on which the powerful state of east Georgia was built. Later on, in the Middle Ages, it became a nucleus around which the process of Georgia’s transformation into a unified feudal monarchy revolved.

Archaeological digs in Inner Kartli, throughout the Java district, brought to daylight the second-oldest dwellings in Georgia after those found in Dmanisi, ascribed to the Acheulean and Mousterian

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cultures of the Palaeolithic Era. Archaeologists also unearthed items typical of the Mtkvari-Araksi culture, as well as relics dating back to the Late Bronze and Early Iron Ages. A great variety of bronze items, discovered throughout dwelling sites, burial mounds and as part of buried treasure, provides incontrovertible evidence of the advanced levels of bronze metallurgy. The name of one of Inner Kartli’s ancient towns – Sarkine (ironclad) - and metal ware found there point to the fact that iron metallurgy was also a flourishing industry in the prehistoric period.

Cattle-breeding, grain farming, fruit-growing, gardening, vinegrowing and, from the Middle Ages, silkworm breeding have been pursued in Inner Kartli as well as throughout the territory of Georgia since time immemorial. Vakhushti Bagrationi, an 18th-century historian and geographer writes: ‘Of Kartlian wines that rank high among all wines of Georgia, Atenian is decidedly superior’.

King Pharnavaz reigning in the 4th-3rd centuries BC is credited with unifying Georgia and embarking on reforms, including administrative.

Having set up Duchies he incorporated the strategically most important province – Inner Kartli into the 9th Duchy and subjected it to his Spaspet – a feudal dignitary next in seniority to the king.

Mtskheta, Georgia’s ancient capital, was then situated on the territory of Inner Kartli.

largvisi, XIV s.

LARGVISI, 14TH CENTURY

Sida qarTlSi, iseve rogorc mTel saqarTveloSi preistoriuli droidan misdevdnen mecxoveleobas, memarcvleobas, mexileoba-mebostneobas, mevenaxeobas da Sua saukuneebidan moyolebuli meabreSumeobasac. XVIII saukunis istorikosi da geografi vaxuSti bagrationi wers: `Rvino aqauri umjobesi yovlisa qarTlisa da umetes atenuri yovelTa saqarTvelos RvinoTa~.

Zv. w. IV-III saukuneebis mijnaze mefe farnavazi aerTianebs saqarTvelos da sxva reformebTan erTad atarebs administraciulsac, qmnis saerisTavoebs. strategiulad yvelaze mniSvnelovani provincia Sida qarTli farnavazma Seiyvana IX saerisTavoSi da dauqvemdebara mefis Semdeg samefos meore pirs, spaspets. Sida qarTlSi iyo saqarTvelos Zveli dedaqalaqi mcxeTac. Sida qarTls mtkvris gayolebaze kveTda CineTidan evropisken gamavali `abreSumis gza~. saqarTvelos am nawils aseve kveTda CrdiloeT-samxreTis damakavSirebeli darialis xeobaze gamavali gzac. am xeobas yovelTvis

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qsnis xeoba wiwirqolis cixidan VIEW OF KSANI GORGE FROM THE TSIRKOLI FORTRESS

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gansakuTrebuli mniSvneloba hqonda, radgan aqedan Semodiodnen CrdiloeT kavkasiaSi mcxovrebi momTabare tomebi. vaxuSti bagrationis mixedviT darials kari Seaba da simagre aago Zv.w. III saukuneSi mefe mirvanma, `xazarTa da ovsTaTvis, raTa uimisod verRara vidodnen~. ax.w. V saukuneSi qarTvelTa mefe vaxtang gorgasalma `daimorCila ovsni da yivCaRni da Seqmna kari ovseTisani... daadgina mcvelad mTiulni... (raTa ara xelewifebis gamosvlad... ovsTa da yivCaRTa, Tvinier brZanebis qarTvelTa mefisa). vaxtang gorgasalma gaatara Zalze mniSvnelovani saeklesio reformac. man eklesiis saTaveSi mTavarepiskoposis magivrad kaTalikosi daayena, rac saqarTvelos eklesiis avtokefaliis safuZvlad iqca. Sida qarTlSi vaxtangis dros Seiqmna Semdegi saepiskoposoebi: samTavros, samTavisis, wilknis, urbnisis, ruisis da niqozis. aRsaniSnavia, rom yvela kaTedrali mtkvris CrdiloeTiT iyo ganlagebuli.

VI saukuneSi saqarTveloSi mosulma asurelma mamebma qveynis aRmosavleTSi mravali monasteri aaSenes, gaaZlieres Sesustebuli qristianoba saqarTvelos mTianeTSi, gaavrceles qristianoba Crdilokavkasiis xalxebSi da es mxareebi qarTul eklesias dauqvemdebares.

wirqolis wminda giorgis eklesia SAINT GEORGE CHURCH OF TSIRKOLI

xofa, XIII s.

KHOPA, 13TH CENTURY

The Silk Road connecting China with Europe ran across the Mtkvari River throughout the territory of Inner Kartli. The route providing a link between the North and the South via the Dariali Gorge also crossed this part of Georgia. The Dariali Gorge had an added importance for North Caucasian tribes, giving them easy access to Georgia. According to Vakhushti Bagrationi, King Mirian in the 3rd century BC erected a fortress and hung a gate ‘to bar Khazars and Ossetians passage through Georgia without royal permission’. In the 5th century AD, the Georgian King Vakhtang Gorgasali ‘enslaved Ossetians and Kipchaks, hung a gate and designated Mtiuls as guards to watch Ossetians and Kipchaks and keep them locked out of the country unless decided otherwise by the King of Georgia’.

King Vakhtang Gorgasali undertook sweeping ecclesiastical reforms instituting the office of catholicos patriarch that led to recognition of autocephaly of the Georgian Church. Bishoprics of Samtavro, Samtavisi, Tsilkani, Urbnisi, Ruisi and Nikozi that were set up in Inner

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asurel mamaTagan Sida qarTlSi moRvaweobdnen: ioane zedazneli, Sio mRvimeli, TaTe stefanwmindeli, piros breTeli, iese wilkneli, isidore samTavneli da miqael ulumboeli. maT Cauyares safuZveli samonastro cxovrebas saqarTveloSi, aages mravali eklesia, romelTa nawilma dRemde moaRwia, zogis adgilas ki momdevno saukuneebSi axali taZrebi aigo. daviT aRmaSeneblisa da misi memkvidreebis dros (demetre I, giorgi III, Tamari) Sida qarTlis mniSvnelovani nawili samefo domeni iyo.

XIII-XIV saukuneebSi monRolTa TiTqmis aswliani batonobisa da XIV-XV saukuneebis mijnaze Temur lengis rvagzis gamaCanagebeli Semosevebis Semdeg XVI saukunis miwuruls erTiani saqarTvelo daiyo qarTlis, kaxeTis, imereTis samefoebad da samcxe-saaTabagos samTavrod. samefoebSi, Tavis mxriv, warmoiSvnen mcire erTeulebi, saTavadoebi, romlebsac sakuTari teritoria, cixesimagreebi, eklesia-monastrebi hqondaT da laSqaric hyavdaT.

Kartli during the reign of Vakhtang Gorgasali were all located to the north of the Mtkvari River.

Assyrian fathers, who came to Georgia in the 6th century, built a great number of monasteries in the eastern part of Georgia, reinvigorated Christian-centred teachings and faith in the Georgian highlands that seemed to ebb away, preached Christianity to North Caucasian peoples and subordinated them to the Georgian Church.

Of the Assyrian fathers, Ioane Zedazneli, Shio Mghvimeli, Tate Stepantsmindeli, Piros Breteli, Iese Tsilkneli, Isidore Samtavneli and Mikael Ulumboeli were based in Inner Kartli. Their laborious efforts led to the blossoming of monastic life in Georgia. A great many churches were built by their patronage, of which some have survived up to this day; others were replaced by new churches in later years.

During the reign of Davit Aghmashenebeli and his successors (Demetre I, Giorgi III and Tamar) a considerable part of Inner Kartli served as a regal domain.

Having thrown off the Mongol yoke that lasted for 100 years in the 13th-14th centuries and in the aftermath of Tamerlane’s eight destructive invasions that occurred in the 14th-15th centuries, Georgia

axalgori, qsnis erisTavebis sasaxle, XVII s.

AKHALGORI, PALACE OF KSANIAN ERISTAVS (DUKES) 17TH CENTURY

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Sida qarTlSi qarTlis saerisTavos daSlis Sedegad XIIIXVI saukuneebSi gaCnda: qsnisa da aragvis saerisTavoebi, saciciano, saamilaxvro, sajavaxo, samaCablo da samuxran batono. am msxvil saTavadoTa gverdiT XVII saukuneSi Sida qarTlSi Canan: falavandiSvilebis, favleniSvilebis, daviTaSvilebis, amirejibebis, avaliSvilebis, xidirbegiSvilebis, diasamiZeebis, SalikaSvilebis, siamardiSvilebis, TaqTaqiSvilebisa da TarxniSvilebis saTavadoebi.

Sida qarTlis mosaxleoba uZvelesi droidan qarTuli iyo, rasac qarTuli warmoSobis toponimebi da qarTulzanur-svanuri toponimikuri Sexvedrebi mowmobs.

Crdilo kavkasiidan gadmosuli osuri mosaxleoba am regionSi XVII saukunis Sua xanebSi jer CrdiloeT mTian nawilSi iwyebs dasaxlebas, Semdeg ki TandaTan barisken moiwevs.

1833 wels saqarTveloSi sul 19 324 osi cxovrobda.

1850 wels Sida qarTlis erT-erTi saTavado, samaCablo iq mcxovreb osebsa da maCablebs Soris arsebuli mwvave klasobrivi dapirispirebis gamo uqmdeba. ruseTis senatis dadgenilebiT maCabelTa kuTvnili 2 aTasi komli, ZiriTadad osuri ojaxebi, saxazino uwyebas gadaeca.

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in the late 16th century broke up into separate political units, viz. into the kingdoms of Kartli, Kakheti, Imereti and the principality of Samtskhe-Saatabago. The kingdoms later fell into several Satavados (fiefdoms) with their own borders, fortresses, churches, monasteries and even armies.

The split-up of the Kartli Saeristavo (Duchy) within Inner Kartli spawned, in the 13th-16th centuries, the duchies of Ksani and Aragvi and the fiefdoms of Satsitsiano, Saamilakhvro, Sajavakho, Samachablo and Samuxran-Batono. An additional number of fiefdoms that sprang up in the 18th century included Palavandishvilis, Favlenishvilis, Davitashvilis, Amirejibs, Avalishvilis, Khidirbegishvilis, Diasamidzes, Shalikashvilis, Siamardishvilis, Taktakishvilis and Tarkhnishvilis.

The population in Inner Kartli has been Georgian since prehistoric times to which attest toponyms of Georgian origin, as well as toponymic evidence for which words should be attributed to Georgian, Zanian or Svanian branches of the Kartvelian language.

In the middle of the 17th century, some of the Ossetian population from the North Caucasus began to inhabit the mountainous part of Inner Kartli and later moved to the lowland areas of the region.

In 1833 a total of 19,324 Ossetians lived in Georgia. In 1850 Samachablo – one of the fiefdoms of Inner Kartli - was abolished due to severe class differences between local Ossetians and the Machabeli princely house. The Russian Senate passed a resolution to expropriate 2,000 households, mainly Ossetian families, from the Machabeli house for the public treasury. qarCoxis cixe KARCHOKHI FORTRESS

dRes istoriul Sida qarTlSi aRnusxulia qarTuli kulturis 804 arqiteqturuli Zegli. aqedan: axalgoris raionSi _ 316, znaurSi _ 92, cxinvalSi _ 243 da javaSi _ 153!

In 1918-21, part of the Ossetian population in Inner Kartli revolted twice to achieve secession from Menshevik Georgia and incorporation into Soviet Russia. Both revolts were put down with the use of military force by the Georgian Government. On 20 April 1922, the South Ossetian Autonomous Oblast (region) was created following the Russian invasion of Georgia in 1921. Apart from Ossetian-populated districts, the region came to comprise a large part of Racha and Shorapan to the west, a number of Dusheti Mazras (districts) to the east and 40 Georgian-inhabited villages and Tskhinvali with a population of over 20,000 Georgians and 1,100 Ossetians to the south. Written protests of ethnic Georgians trapped within the borders of the newly-created region fell on deaf ears.

Presently the territory of historical Inner Kartli carries 804 architectural monuments of Georgian culture, of which 316 are located in Akhalgori, 92 – in Znauri, 243 – in Tskhinvali and 153 - in Java.

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SPECIAL THANKS TO GIORGI BAGRATIONI AND DAVID KVACHAKHIA FOR PROVIDING THE PHOTOGRAPHS

1918-21 wlebSi Sida qarTlis osuri mosaxleobis nawilma menSevikuri saqarTvelosgan gamoyofisa da sabWoTa ruseTTan SeerTebis mizniT orjer moawyo SeiaraRebuli gamosvla, rac saqarTvelos mTavrobam samxedro Zalis gamoyenebiT aRkveTa. ruseTis mier saqarTvelos okupaciis Semdeg, 1922 wlis 20 aprils samxreT oseTis avtonomiuri olqic Seiqmna. olqis SemadgenlobaSi osebiT dasaxlebuli regionebis garda moaqcies dasavleTiT raWisa da Sorapnis, aRmosavleTiT duSeTis mazrebis didi nawili da samxreTiT qarTvelebiT dasaxlebuli 40 sofeli da cxinvali, sadac 20 aTasze meti qarTveli da 1100 osi cxovrobda. olqis sazRvrebSi moqceul qarTvelTa werilobiT protests Sedegi ar mohyolia.

fotomasalis mowodebisTvis madlobas vuxdiT giorgi bagrations da daviT qvaCaxias

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me Cemeburad vxatav, Cemi gziT mivdivar...

I PAINT IN MY OWN WAY, I FOLLOW MY OWN PATH…

e

rTxel, Tormeti wlis win, germanelma moqandakem da qarTvelma mxatvarma gadawyvites Wiqa CaisTan xelovanTa Sexvedrebi moewyoT da... firosmanis ocneba aexdinaT _ ase daiwyo proeqti `Sexvedra firosmanTan~. saqarTveloSi, or weliwadSi erTxel, Camodiodnen Cveni qveyniTa da xelovnebiT dainteresebuli adamianebi... da saboloo, damamTavrebeli Sexvedra wels gaimarTa, romelic firosmanis gardacvalebis 100 wlisTavs daemTxva. namuSevrebis Camotana-gagzavnis, katalogebis gamocemisa da mTargmnelobiTi danaxarjebi germaniis sagareo saqmeTa saministrom da `doiCe bankma~ daafinansa; sxva ki _ aq Camosvlis, cxovrebis, mogzaurobis monawileebma Tavad gaiRes.

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welve years ago, a German sculptor and a Georgian painter decided to gather artists around a cup of tea, and… make Pirosmani’s dream come true. This is how the project ‘Meeting with Pirosmani’ was born. People interested in our country and culture were visiting Georgia every second year, and the final, concluding meeting was held this year, concurrently with the centennial of Pirosmani’s passing. The shipping of the paintings, the publication of the catalogs, and the translation expenses were financed by the German Federal Foreign Office and the ‘Deutsche Bank’; the other expenses – flying to Georgia and accommodation – were covered by the participants themselves.

Up to 200 artists of many disciplines have taken part in the project at various times, both in Tbilisi and in Mirzaani – painters, sculptors,

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kaxeTis matarebeli; muSamba, zeTi; 70

Tbilissa da mirzaanSi proeqtSi sxvadasxva dros, ama Tu im mimarTulebis orasamde xelovani monawileobda _ mxatvari, moqandake, fotografi, reJisori, scenaristi, msaxiobi, poeti, prozaikosi... maTi umravlesoba ucxoeli iyo _ britaneTidan, israelidan, germaniidan, avstriidan, italiidan, SvedeTidan, aSS-dan, ruseTidan, samxreT koreidan...

Sexvedrebis organizatorebi, hans Saibi da goCa Rulelauri, msurvelebs yovelgvari winapirobis gareSe iwvevdnen, mTavari iyo Sesrulebuliyo erTi ram: momavali SexvedrisTvis monawiles sxva, axali xelovani unda moewvia `firosmanis magidasTan~. stumrebs maspinZlebi acnobdnen saqarTvelos uZveles

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106 sm. / TRAIN IN KAKHETI; OIL, OILCLOTH; 70 X 106 CM

photographers, directors, scriptwriters, actors, poets, writers… Most of them were foreigners – Britons, Israelis, Germans, Austrians, Italians, Swedes, Americans, Russians, Koreans…

The organizers of the meeting, Hans Scheib and Gocha Gulelauri, were inviting artists without any precondition, and the only thing they were asking from them was to invite another, new participant at “Pirosmani’s table” for the next meeting.

The hosts were acquainting the guests with ancient and modern Georgian art, folklore, Pirosmani’s works, and the painter’s life. They were working together, going through and discussing their own artworks, and sharing their impressions, experiences, and visions about art around a table adorned with a traditional Georgian blue tablecloth and offering both tea and wine…

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After the final meeting, the relationship between the participants continued in cultural and art events around the world. The ‘Meeting with Pirosmani’ project has convinced us of the inexhaustible character of our unused potential to establish active relationships with foreign cultures, enriching both their culture and ours.

This article was also born from an idea that manifested itself around a “Pirosmani Table”, an idea that could be debatable, but…

Unfortunately, many regard Pirosmani as an ill-starred, irrational man lacking practical wits and simply following his fate; “It’s our alcoholic Nikala”, “His drunkard ways have weakened him”, “He prepares his paint like an alchemist”, “He paints on plain oilcloth”, “Some of his masterpieces were painted for a shot of vodka”, “His uncultured clients were humiliating and deceiving to him”… These sentences and many more of the like could be found in the soviet “Sakhelgami” (“state publication”) ‘Niko Pirosmanashvili’ back in 1926.

But let us treat you with a more accurate description of his life.

When working at the railway, he saves money from his meagre salary, and successfully opens and manages a dairy products’ shop. He keeps the money he makes in a bank, and some time later, together with fellow Mirzaanian Dimitri Alughishvili, he opens a bigger shop.

Niko’s sister Pepe remembers: “He became friends with our neighbor

rkinigzelis portreti (miSa metexeli), Tunuqi, zeTi; 92

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70 sm.

PORTRAIT OF A RAILWAY WORKER (MISHA METEKHELI); OIL, TIN; 92 X 70 CM

da Tanamedrove xelovnebas, folklors, firosmanis Semoqmedebas, misi cxovrebis ambebs. erTad muSaobdnen, awyobdnen sakuTari namuSevrebis daTvaliereba-ganxilvas da lurj sufrasTan, romelsac Cais garda kaxuri Rvinoc amSvenebda, erTurTs uziarebdnen gancdebs, xedvebs, STabeWdilebebs... xelovnebaze. proeqtis monawileTa urTierToba, Sexvedrebis dasrulebis Semdegac grZeldeboda, axla ukve sxva adgilas, mTel msoflioSi gamarTul kulturul, saxelovnebo RonisZiebebSi. `Sexvedrebma firosmanTan~ dagvarwmuna Tu ramdeni amouwuravi, gamouyenebeli SesaZleblobaa CvenSi, ucxour kulturasTan cocxali urTierTobis dasamyareblad, erTmaneTis gasamdidreblad. es werilic `firosmanis magidasTan~ gamoTqmuli erTerTi azria, romelic iqneb sakamaToc iyos, Tumca... samwuxarod bevrs firosmani bedkrul, araracionalur, praqtikul gonebas moklebul, bedis mimyol kacad miaCnia; igi `Cveni... loTi nikalaa~, romelic `dabeCavebula loTuri cxovrebiT~, `alqimiurad amzadebs saRebavs~, `Cveulebriv muSambaze xatavs~; `zogi Tavisi Sedevri erT Wiqa arayze aqvs daxatuli~, `rogor damcirebasa da

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mamuCaraSvilis portreti; Tunuqi, zeTi PORTRAIT OF MAMUCHARASHVILI; OIL, TIN

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Alughishvili. They used to work together for quite a long time. This is the time Niko started painting. He was making good money, and would often send me presents… He was also often returning to the village, inviting the neighbors and arranging feasts. He would even give money to some of them… He paid for the marriage of all of my four daughters.” (Newspaper ‘Bakhtrioni’, 1922) Earlier, before starting to work at the railway, Pirosmani used to work in signboard ateliers, first for Gigo Zaziashvili, then for someone named Gezenidze. This attempt to make his first steps as a professional artist turned out unsuccessful. He chooses another path to sustain himself – the railway, but he continues to paint there.

One day, when he was on duty, his manager entered his room, took a painting he was working on, and threw it away. Niko became so angry that he put his hands around the manager’s throat – “You damaged a portrait of Queen Tamar!”, he was shouting. A memorable scuffle ensued.

The following story is also noteworthy in terms of his creative development and his journey to becoming a painter: the Museum of Arts has a portrait of Aleksandre Mamucharashvili, which he painted

SoTa rusTaveli; muyao, zeTi / SHOTA RUSTAVELI; OIL, CARDBOARD

motyuebas ganicdida loTi mxatvari Tavis ukulturo SemkveTebisgan...~ da sxva... es frazebi sabWoTa `saxelgamis~ jer kidev 1926 wels gamocemuli wignidan `niko firosmanaSvilia~ amokrefili! misi cxovrebis realuri suraTi ki aseTia: rkinigzaze samsaxurisas mwiri xelfasidan danazogs agrovebs da rZis produqtebis maRazias warmatebiT amuSavebs. naSovn fuls bankSi inaxavs da Semdeg, mirzaanel dimitri aluRiSvilTan erTad, ufro did savaWros xsnis. nikos da, fefe ixsenebs: `Cveni mezobeli aluRiSvili gaiamxanaga. karga xani erTad vaWrobdnen. swored am droidan daiwyo nikom mxatvroba. did fuls iRebda, xSirad mec migzavnida saCuqrebs... TviTonac xSirad Camodioda soflad, epatiJeboda mezoblebs da aqeifebda. zogs fulsac aZlevda... Cemi oTxive qali nikom gaaTxova Tavisi xarjiT~ (gazeTi `baxtrioni~ 1922 w.). ufro adre, rkinigzaze muSaobamde, firosmani, jer gigo zaziaSvilTan, mere vinme gezeniZesTan erTad, abrebis saxelosnoSia. es cda, `profesiul~ mxatvrobaSi fexis Sedgmis pirveli nabijebi, warumateblad damTavrda. igi Tavis sarCen sxva gzas irCevs da iqac

Tamar mefe; muyao, zeTi / QUEEN TAMAR; OIL, CARDBOARD

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sona ukravs garmons; muyao, zeTi; 101

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71 sm. / SONA PLAYING ACCORDION; OIL, CARDBOARD; 101 X 71 CM

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agrZelebs xatvas. Turme erT-erTi morigeobis dros ufrosma Seuswro, naxati xelidan gamostaca da gareT isrola. aman niko ise gaamwara, rom ufross yelSi swvda _ `damixia Tamar mefis portretio~. didi ayalmayali mohyolia am ambavs. misi mxatvrad Camoyalibebas, Semoqmedebis evolucias ukavSirdeba es faqtic: xelovnebis muzeumi inaxavs aleqsandre mamuCaraSvilis portrets, romelic nikalas 1893 wels, rkinigzaze muSaobisas dauxatavs. naxati mamuCaraSvils, 1924 wels, saqarTvelos erovnuli galereasTvis uCuqebia. amaze arsebobs dimitri SevardnaZis (im dros galereas direqtoris) samadlobeli werilic. Tunuqze zeTiT naxati suraTis firosmaniseuloba dadasturebulia. am dros misi gardacvalebidan mxolod eqvsi welia gasuli da nikalas gayalbeba advili ar aris, yvela naxats Tavisi mowme hyavs. swored mamuCaraSvilis portreti aqarwylebs im Sexedulebas, TiTqos firosmanis SemoqmedebaSi ganviTareba ar arsebobdes.

mexile TaTari; muyao, zeTi; 80

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in 1893, while he was working at the railway. Mamucharashvili gave the painting as a present to the National Gallery in 1924, which is attested by a letter of gratitude written by Dimitri Shevardnadze (then director of the gallery). The authenticity of this painting, an oil on tin, has been validated. At that time, only six years had passed after the death of the painter, and it wasn’t easy to counterfeit Nikala’s works, as each of his paintings was made before the eyes of a witness. And Mamucharashvili’s portrait goes against the idea that there was no evolution in Pirosmani’s works.

Why did Niko quit the trade business and choose to become a professional painter? What did he want? He had a good income, and nothing hindered him from painting. Perhaps Nikala, who was painting since childhood, decided to live only from this craft at this stage of his life.

The wish to become a professional painter had been there all along, but it required some planning, because this decision had a drawback – he had to make ends meet by painting, and therefore, he had to both paint as he deemed right (“I paint in my own way, I follow my own path”), and find an audience that would appreciate his works, buy them, and thus provide him with an income.

106 sm. / TATAR FRUIT SELLER; OIL, CARDBOARD; 80 X 106 CM

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qali wvelis Zroxas, muyao, zeTi; 81

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100 sm. / WOMAN MILKS A COW; OIL, CARDBOARD; 81 X 100 CM

ratom anebebs niko Tavs savaWro saqmianobas da profesionali mxatvris gzas irCevs? ra unda?

Semosavali aqvs, xatvasac aravin uSlis. albaT, nikalas, bavSvobidan rom xatavs, cxovrebis am etapze surs marto mxatvrobiT icxovros. manamdec mosvenebas ar aZlevs profesional mxatvrad qcevis survili, Tumca es dafiqrebasac moiTxovs, radgan am gadawyvetilebas sxva mxarec aqvs _ mxatvrobiT unda irCinos Tavi: jer erTi unda xatos ise, rogorc TviTon xedavs (`me Cemeburad vxatav... Cemi gziT mivdivar~), unda moZebnos auditoria, vinc miiRebs mis namuSevrebs, iyidis da cxovrebis saxsars gauCens. ...da Tu aqamde angariSs uwevda koniunqturas, baZavda sayovelTaod gavrcelebul stils, axla, sakuTari

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…And if he was previously going along with the trend, copying the style that was most widespread at that time, he now begins to paint in his own style. He has the firm belief that he is creating something valuable and important, something that people need. He became a professional painter as a result of his confidence in his own potential.

This is the kind of Nikala that Grigol Robakidze (under the penname Gari Golani) was describing in the newspaper ‘Kavkaz’ in 1916: “In true artistic inspiration, there is no opposition or negation. Usually, where we find opposition and negation, only enlargement and filling are left as artistic vision.”

The difference in style between Mamucharashvili’s portrait and subsequent works is striking. Pirosmani’s “new” paintings… are Pirosmani. And it doesn’t come as a surprise that until the discovery of official documents, Mamucharashvili’s portrait was not considered as

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xedviT xatvas. imis mtkice rwmenac aqvs, rom Rirebuls da mniSvnelovans qmnis, romelic adamianebs sWirdebaT. profesional mxatvrad misi gardasaxva, sakuTar SesaZleblobebSi darwmunebis Sedegia. swored aseT nikalaze werda grigol robaqiZec (gari golandis fsevdonimiT) gazeT `kavkazSi~, 1916 wels: `WeSmaritad mxatvruli STagonebis sferoSi ar aris winaaRmdegoba da uaryofa. iq, sadac Cveulebriv winaaRmdegobasa da uaryofas vxedavT, mxatvruli xedvisaTvis ixsneba mxolod zrda da Sevseba~. mamuCaraSvilis portretis stilis sxvaoba, Semdgom namuSevrebTan, TvalSisacemia. firosmanis `axali~ naxatebi... ukve firosmania. ar aris gasakviri, utyuari sabuTebis moZiebamde, mamuCaraSvilis portrets mis namuSevrad rom ar miiCnevdnen. gansxvavebuli stilis TvalsazrisiT sayuradReboa rkinigzeli muSis _ miSa metexelis portretic, Tanadrouli saatelio esTetikis mixedviT Seqmnili.

kalo; muyao, zeTi; 72

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one of his works. Regarding the change of styles, another noteworthy portrait is that of railway worker Misha Metekheli, which he painted according to the atelier aesthetics of the time.

Pirosmani’s clients, who were mostly innkeepers, are often referred to as “uncultured commoners” who were complicating the painter’s life. As for the taverns themselves, they were the “clubby” gathering places of the time. Their names? “Do not leave, my darling”, “Golden Guests”, “He came by himself”, “Garden of Eden”, “Sympathy”, “Eldorado”, “Argentina”… Their guests were Pirosmani’s main audience, and the innkeepers were the owners and art collectors of these “exhibition spaces”. When Nikala chooses to become a professional painter, he chooses these clients and this kind of audience. These people love Pirosmani, they respect him; and the painter fulfills their wishes, though if he feels that they get involved too much in the painting process, he hurls his brush on the ground, rushes to the street, and never comes back. As trader Sozashvili recounts: “When I asked him to paint a harvest scene, I made a comment about the size of the bulls dragging the cart, to

100 sm. / THRESHING YARD; OIL, CARDBOARD; 72 X 100 CM

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TeTri daTvi belebiT; muyao, zeTi; 80

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100 sm. / WHITE BEAR WITH HER CUBS; OIL, CARDBOARD; 80 X 100 CM

firosmanis damkveTebs, romlebic umetesad meduqneebi iyvnen, `ukulturo meSCanebad~ moixsenieben xolme, mxatvars sicocxles rom umwarebdnen. im drois duqnebi ki Tbilisis namdvili, qalaqis mosaxleobis `kluburi TavSeyris~ adgilebi iyo. saxelebi? _ "Не уезжаи голубчик мой", "Золотые госты", "Сам пришол", `edemi”, `simpaTia~, `eldorado~, `argentina~... maTi stumrebi firosmanis mTavari auditoria, meduqneebi ki am `sagamofeno sivrcis~ mepatroneebi da koleqcionerebi arian. nikala cxovrebis gzad profesiul mxatvrobas rom irCevs, irCevs swored aseT damkveTebs, aseTi auditoriiT. am xalxs uyvars firosmani, pativs scems; mxatvaric maT survilebs asrulebs, Tumca Tu zedmeti moindomes da xatvis dros Caerivnen, gabrazebuli daanarcxebs funjs,

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which Nikala answered wrathfully: “What taste could you have? You’re a merchant! Go back to your stall!”.”

Pirosmani lives from the orders he gets. Taverners and innkeepers buy his paintings and hang them where customers can see them.

Kolau Cherniavsky wrote that Pirosmani’s paintings were providing a simultaneously strange and grandiose feel to taverns. Imagine: a darkened basement lit by candles or oil lamps, and “paintings as expressive as a child’s eyes” seemingly hanging in plain air.

Nikala was good friends with Mate Gvimradze, the owner of the tavern ‘Racha’; he paints ‘The Feast of the Gvimradze Family’. He writes down the price on the painting – 30 rubles. At that time, you could buy four cows with that money. But he gives the painting as a present to the Gvimradzes anyway. He lives at innkeeper Bego Iakiev’s place, where he is treated like another family member: “We shared bread for five years”, Bego remembers. At times, Pirosmani stays at ‘Eldorado’s’

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quCaSi gavardeba da arasdros brundeba ukan. vaWari sozaSvili hyveba: rTvelis daxatva rom SevukveTe, uremSi Sebmuli xarebis tanadoba davuwune, amaze nikalam mrisxaned momaZaxa: `Sen ra gemovneba gaqvs, vaWari xar, daxlSi dadeqio!~. firosmani SekveTebiT cxovrobs. meduqne-mikitnebi naxatebs yiduloben da gamosaCen adgilebze hkideben. kolau Cerniavski werda _ firosmanis naxatebiani duqnebi erTdroulad ucnauricaa da didebulico. warmoidgineT: naxevrad Cabnelebuli, sanTliT an WraqiT ganaTebuli sardafi Tu naxevarsardafi TiTqos haerSi Camokidebuli `bavSvis TvalebiviT metyveli naxatebiT~. nikala, duqan `raWas~ mepatrone maTe gvimraZesTan Zmakacobda; xatavs `gvimraZeebis qeifs~. naxats fass awers

faetoni sasadilosTan; muyao, zeTi; 80

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owner Titichev’s; he would later remember living in Ortachala as a sweet childhood memory.

But Nikala cannot stay in one place for long, regardless of how well he is treated. “He is like a young wine. He cannot stay put.” – wine merchant Meskhishvili recounts.

Niko grew up in the wealthy Kalantarov family since age eight.

Kalantarov’s wife Euphrosyne said the following words about him: “This boy has a refined soul and a sharp mind…” He has been well-ordered and principled since childhood. He is interested in everything, he likes to read, to paint. He is polite, and so proud that nobody dares to tell him a word too many; he is joyful and bold.

Pirosmani buys very high-quality English oilcloths and expensive pigments: cobalt, ultramarine, red, yellow and orange cadmium,

100 sm. / PHAETON BY THE CANTEEN; OIL, CARDBOARD; 80 X 100 CM

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gvimraZeebis qeifi; muSamba, zeTi; 123

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210 sm. / THE FEAST OF THE GVIMRADZE FAMILY; OIL, OILCLOTH; 123 X 210 CM

_ 30 maneTi. am fuliT maSin 4 Zroxis yidva SeiZleba.

Tumca naxats gvimraZeebsve Cuqnis. cxovrobs meduqne bego iaqievTan, rogorc ojaxis wevri: `xuTi weliwadi erTi pur-marili gvqonda~ _ igonebs bego. firosmani xan orTaWalaSia `eldorados~ mflobel titiCevTan da mere orTaWalaSi cxovrebas bavSvobis xanasaviT Tbilad ixsenebs.

Tumca nikala erT adgilas didxans ver Cerdeba, rac unda kargad epyrobodnen. `dauqnel Rvinoebr iyo. erT adgilas ver dgeboda~ _ hyveba masze Rvinis vaWari mesxiSvili. niko rva wlidan qalanTarovebis SeZlebul ojaxSi izrdeboda. qalanTarovis meuRle efrosine ase ixsenebs mas: `am biWs suli natifi aqvs da Wkua-goneba maxvili...~ bavSvobidanve mowesrigebulia, principuli. yvelaferi ainteresebs, uyvars kiTxva, xatva. Tavaziania da iseTi amayi, rom zedmets veravin ubedavs; mxiaruli da laRia. firosmani, sasuraTe tilod yidulobs Zalian kargi xarisxis inglisur muSambas da Zvirfas saRebavebs, riTic xatavs: kobalti, ultramarini, wiTeli, yviTeli da narinjisferi kadmiumi, yviTeli stronciumi, umbra, inglisuri wiTeli, tyviis TeTra... dakvirvebulia _ araferi epareba: bolomde wvdeba sagnis arss. nikos

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yellow strontium, umber, English red, white lead… He is very observant, and leaves nothing unexplored: he grips the essence of his craft to the fullest. Niko’s large canvasses look like chessboards with scattered pieces, following rules; they are both peaceful and expressive.

After Pirosmani’s death, Giorgi Leonidze started gathering his life stories. Some people were blending so many rubbish in their accounts, that Leonidze’s driver even noticed: “Don’t you see that people are telling us lies?”. “People like lies, it’s okay, let us write them down” – Giorgi answered… And so they did! Leonidze’s respondents – bankrupt and drunken innkeepers, wine merchants and coachmen, who had all lost their function – were telling stories about the newly renowned painter with pride and joy, depicting him as an incorrigible drunkard fellow. A bit like people sometimes say: “That guy? I’m the one you should ask, I can tell you everything about him…”. In this mix of truth and lies, there are some gems to be found, like the words of Archil Maisuradze, Pirosmani’s neighbor, who witnessed the painter’s very last days: “It was very difficult to provide help to someone like Nikala. He was proud and modest. He wouldn’t accept any money or dish.”

Pirosmani came at the center of attention of the Society of Georgian Painters after 1913, when Mikhail Le Dantu and the Zdanevich brothers got interested in him – but he was already

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didi tiloebi, figurebgaSlil Wadrakis dafas hgvanan, kanonebiT moqmeds, erTdroulad mSvids da eqspresiuls. firosmanis gardacvalebis Semdeg misi cxovrebis ambebs giorgi leoniZe agrovebda. zogi ubiri monaTxrobSi imden abdaubdas urevda, rom leoniZis mZRolsac ki SeuniSnavs: `ver amCnevT, rom xalxi tyuils gveubnebao?~. `xalxs tyuilebi uyvars, es kargia da CaviweroTo~ _ siciliT upasuxia goglas... hoda Caiweres! leoniZis respondentebi _ axal droebaSi funqciadakarguli, gakotrebul-galoTebuli mikitan-sirajebi, medrogeebi sixarulnarevi siamayiT hyvebodnen ukve ganTqmul mxatvarze, rogorc gamousworebel loT Tanameinaxeze. daaxloebiT ise, CvenSi rom ician Tqma: `eeg? eg me mkiTxeo...~ da aseT tyuil-marTalSi iCqmaleba iseTi

yoCi, muyao, zeTi; 80

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getting old, and was tired from everything. This is when a large part of the educated society got to know him, and this is where the abovementioned stereotypical perceptions of the painter come from. But one has to wonder: is it possible to decisively determine a person’s psychological type from a specific portion of his life, let alone its very end?

Many things happened to him throughout his life. Disenchantment in love – first, with the widowed girl of the Kalantarovs, who was ten years older than him; then, as they say, with Alughishvili’s wife, whom he painted lying on a couch with a parchment; and again with actress Margarita, on the shoulder of whom he put a golden bird. He didn’t live to see his works being praised. They commended him, but wouldn’t consider him equal to painters of a more academic style.

Perhaps this is the reason why he was always alone, even when he

100 sm. / RAM; OIL, CARDBOARD; 80 X 100 CM

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was in good company, when he attended feasts, picnics, and didn't even try to be detached from the group.

There were also moments when he thought about leaving Georgia: his sister Pepe remembers – “I was keeping Niko’s passport and I was hiding it from him, because I was thinking that he would leave Georgia and get lost somewhere. Niko got very angry about this, he took out his gun and threatened to kill me. I had no choice but to hand him his passport.” (Newspaper ‘Bakhtrioni’, 1922).

Meanwhile, World War I had started, in which the Russian empire, and therefore Georgia, got involved. The war was gradually bringing crises. Taverns, Pirosmani’s “arable lands”, were getting bankrupt one after the other, and disappearing. A few bigger taverns were still there – floating like the fragments of a boat that had sunk in a storm. Penury and poverty composed the harsh everyday reality. Nobody wanted to order paintings anymore. Collectors of Pirosmani’s paintings were searching for his works in households.

Bankrupt innkeepers were handing Nikala’s paintings for a few coins, including those about which they had said earlier: “It’s a souvenir of Nikala, I could never trade this for money”. There were no new clients either, and the weakened painter was wandering with weary eyes in empty streets, streets that used to be full of

sozaSvilis portreti; muyao, zeTi / PORTRAIT OF SOZASHVILI; OIL, CARDBOARD

raRaceebi, arCil maisuraZe, firosmanis mezobeli da misi ukanaskneli dReebis mowme rom gviyveba: `nikalasTana kacisaTvis daxmarebis aRmoCena metad Zneli iyo. amayi, moxaTrebuli. is ar miiRebda arc fuls, arc Segzavnil kerZs~. firosmani samxatvro sazogadoebis yuradRebis centrSi 1913 wlis Semdeg, mixeil le dantiusa da Zmebi zdaneviCebis dainteresebis Semdeg moeqca, ukve Suaxans gadacilebuli, yvelafriT daRlili, moberebuli. am dros gaicno igi ganaTlebuli sazogadoebis didma nawilmac da aqedanve vrceldeba is stereotipuli warmodgenebi, zemoT rom vaxseneT. Tumca sakiTxavia: SeiZleba adamianis fsiqotipis gadawyvetiT, misi cxovrebis konkretuli monakveTis, sicocxlis miwurulis mdgomareobiT dadgena? bevri ram daatyda Tavs cxovrebaSi. imedgacrueba siyvarulSi _ jer qalanTarovebis masze 10 wliT ufros daqvrivebul qalTan; mere, rogorc amboben, aluRiSvilis colTan, taxtze mwoliare rom daxata, etratiT; da

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kampania mobrZandiT; muyao, zeTi; 96.5

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COMPANY VISIT; OIL, CARDBOARD; 96.5 X 70.5 CM

70.5 sm.

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ojaxuri kampania; muSamba, zeTi; 115

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180 sm. / FAMILY FEAST; OIL, OILCLOTH; 115 X 180 CM

aqtrisa margaritasTan, oqros Citi rom daaskupa mxarze. verc Tavisi mxatvrobis dafasebas eRirsa. aqeben, Tumca, akademiuri stilis mxatvrebis gverdiT arc ki ayenebdnen. albaT, amitomac aris sul ganmartoebuli, maSinac, roca mxiarul kampaniaSia, eswreba sufrebs, piknikebs da TiTqos xalxisgan gariyvas arc cdilobs. mis cxovrebaSi iyo wuTebi, roca fiqrobs saqarTvelodan gadaxvewazec: da, fefe amasac ixsenebs _ `nikos pasporti me mqonda Senaxuli da ar vuCendi, vifiqre wava saqarTvelodan, gadaikargebao. niko amaze Zalian gabrazda, revolveri amoiRo da mokvliT memuqreboda. raRas vizamdi pasporti mivecio~ (gaz. `baxtrioni~ 1922 w.). amasobaSi daiwyo pirveli msoflio omi, romelSic ruseTis imperiac CaerTo saqarTveloTi. oms krizisic mohyva fexdafex. duqnebi, firosmanis `saxnav-saTesi mindvrebi~, miyolebiT gakotrda, moispo. didi duqnebidan TiTo-orolaRa tivtivebda qariSxalSi daRupuli gemis namsxvrevebiviT. irgvliv upovroba, siRatake gamefda. naxatebis SekveTa aRaravis undoda.

people a year before. This is the time when left without any means of support, he starts preparing paint by mixing pigments and powders, though he has only a few paintings done in that “artisanal” way. Pirosmani is losing the strength to struggle with life. He leaves issues unanswered, he doesn’t want to fight, he is tired. He is simultaneously struck by alcohol, illness, and solitude. Painting is exhausting him. He cannot work for more than two hours. He is holding a brush with a shaky hand, and has to use the other to hold his arm. The loud guests of the taverns irritate him, “I cannot work there… They force me to drink wine” – he confesses to Ilia Zdanevich. He becomes even more elusive and taciturn.

On the one hand, they write good things about Pirosmani and praise him, and on the other, in 1916, the newspaper ‘Sakhalkho Purtseli’ publishes a spiteful caricature of him, in which he is dressed in rags – just skin and bones. “They depicted me as a cat in that newspaper” – he says, offended. The same year, Niko disappears from Tbilisi. The innkeepers who knew him say that they haven’t seen him for a year and a half, and nobody knows where he is. Georgian painters start gathering money to help him, they look for him, but cannot find him.

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firosmanis namuSevrebze monadireni xalxSi eZebdnen mis Zvel naxatebs. gakotrebuli meduqneebi groSebad Tmobdnen nikalas im suraTebsac, ramdenime xnis win rom ambobdnen: `nikalas saxsovraTa maqvs, fulze ver gavcvlio~. axali damkveTebic aRar Candnen; da mxatvari TvalebCamqrali, modunebuli daexeteboda cariel quCebSi, erTi wlis win mxiaruli xalxiT rom iyo savse. swored am dros, gaRatakebuli da usaxsrod darCenili, saRebavebs pigmentebisa da fxvnilebis gazavebiT ayenebs. Tumca, aseTi TviTnakeTi masaliT Sesrulebuli suraTebi cota aqvs. firosmans, cxovrebasTan brZolis Zala ekargeba. raRaceebs ukve aRarc ebrZvis, arc unda, ezareba. erTdroulad Trgunavs sasmeli, avadmyofoba, martooba. xatva male Rlis. zedized or saaTze

tungusus mdinare emuti; muyao, zeTi; 81

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100 sm. / RIVER EMUT IN TUNGUS; OIL, CARDBOARD; 81

metxans ver muSaobs. akankalebul funjian xels meores aSvelebs. duqnebis axorxocebuli stumrebic aRizianebs, `aq muSaoba ar SeiZleba... Rvinos maZaleben~ _ wuxs ilia zdaneviCTan saubrisas. kidev ufro ukareba da sityvaZviria. firosmanze, erTi mxriv kargs weren, aqeben, meores mxriv ki, 1916 wels, gazeTi `saxalxo furceli~ mis RvarZlian karikaturas aqveynebs, romelSic CamoZonZilia, gaZvaltyavebuli. `gazeTSi katasaviT gamomxateso~ _ ambobs gulnatkeni. am welsve, niko Tbilisidan qreba. misi nacnobi mikitnebi amboben rom weliwad-naxevaria aravin icis sad aris. TbilisSi qarTveli mxatvrebi mis dasaxmareblad fuls agroveben, eZeben, magram versad agneben.

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100 CM

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mogzauroba urmiT; muyao, zeTi / TRIP BY CART; OIL, CARDBOARD

1918 wlis gazafxulze, nawvimar, atalaxebul TbilisSi meetleebi ilanZRebian. dilasisxamze ezoebSi ismis Tavganwiruli yvirili _ `mawoni! mawoni!~ sicxiani firosmani ki sardafSi wevs, upatronod... mZime avadmyofi mixeilis saavadmyofoSi gadahyavT, drogiT. gardaicvala 4 maiss, aRdgomas da misi saflavi dRemde dakargulia... ara gvgonia rodisme SevZloT zustad ganvsazRvroT nikalas fsiqotipi, magram warmoudgenelia, rom igi yofiliyo susti, dune, uemocio da damyoli, rogoradac `vxatavT~ mas. aseTi adamiani verasodes Seqmnida im unikalur movlenas, firosmanis mxatvroba rom hqvia da gadaxrukuli goris wverze marto mdgomi, amomavali mziT ganaTebuli patara saydariviT utexi, brwyinvale da didebulia. ase rom, `daanebeT (Tavi) firosmans...~ devi kaxoiZe

In Spring of 1918, on a rainy day, coachmen are cursing in Tbilisi. It is early morning, and one can hear the loud call of a vagrant merchant in the yards – “Yoghurt! Yoghurt!” The feverish Pirosmani is lying in a basement, with no one besides him. His life is nearing its end, and they transport the ill-stricken painter to the Mikheil Hospital in a coach.

He passed on the 4th of May, on Easter day, and nobody knows where he was buried…

We don’t think that we will ever be able to determine Nikala’s psychological type, but we cannot imagine him as being a weak, sluggish, unemotional and compliant person, as he is usually represented. This kind of person could never have created the unique phenomenon that is Pirosmani’s oeuvre, as striking and enthralling as a small, unyielding chapel standing by itself on the edge of a parched hill, lit by the rays of a rising sun. So please, leave Pirosmani alone…

Devi Kakhoidze

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qarTuli avangardi ciurixSi 2003 wels Sveicariel kurator daniel baumanTan erTad daviwyeT Tanamedrove xelovnebis saerTaSoriso gamofenebis cikli. vakeTebdiT yovelwliur proeqtebs. dasaxelebas kviris erTi dRes vukavSirebdiT da gamofenas am dRes vxsnidiT, mag: Tbilisi 2. Wednesday Calls the Future; Tbilisi 3. Let`s Stay Alive Till Monday, Tbilisi 6. Never On Sunday. gamofenasTan erTad vawyobdiT filmebis Cvenebas, performansebs da sxv. maTSi cnobili ucxoeli artistebi monawileobdnen _ piotr uklanski, ueid gaitoni, triSa doneli, jozef boisis jgufis wevri jon arlmederi da qarTveli andro vekua. radgan ucxoel artistebTan mudmivi urTierTobebi gvqonda, mivxvdiT rom raRac saqarTvelos farglebs gareTac unda gagvekeTebina, oRond ara Tanamedrove xelovnebis, aramed qarTuli modernizmis mimarTulebiT.

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GEORGIAN AVANT-GARDE IN ZURICH In 2003, together with Swiss curator Daniel Baumann, we started a cycle of exhibitions dedicated to contemporary art, in the framework of which we were carrying out yearly projects. We were associating the names of the projects to a day of the week on which the exhibitions would open, for instance: Tbilisi 2. Wednesday Calls the Future; Tbilisi 3. Let’s Stay Alive Till Monday. Tbilisi 6. Never on Sunday. Together with the exhibitions, we were arranging other events such as film screenings and performances. Famous foreign artists were involved, including Piotr Uklański, Wade Guyton, Trisha Donnelly, John Armleder, and from the Georgian side, Andro Wekua. Because we had long-lasting relations with foreign artists, we understood that we also had to do something beyond Georgian borders, but instead of contemporary art, it had to be about Georgian modernism.

2010 weli. niu-iorki pirveli proeqti 2010 wels niu-iorkSi kesi kaplanis cnobil galereaSi ganvaxorcieleT. daniel baumani, levan WoRoSvili, Tea tabataZe, mzia CixraZe da me ori Tvis ganmavlobaSi iq vcxovrobdiT da eqspozicias vamzadebdiT. miuxedavad imisa, rom kesi kaplanis galereaSi mxolod Tanamedrove xelovneba _ e.w. contemporary art ifineba, is am eqsperiments daTanxmda. albaT imitom, rom es ara samuzeumo tipis gamofena, aramed garkveuli koncefciis matarebeli idea iyo, romelic Tanamedrove xelovnebis

2010. New York Our first project took place in 2010 in New York, in the famous Casey Kaplan gallery. Daniel Baumann, Levan Choghoshvili, Tea Tabatadze, Mzia Chikhradze and myself were living there and preparing the exhibition for two months. Despite the fact that the Casey Kaplan gallery exclusively exhibits contemporary art, he agreed to our experiment, probably because it wasn’t a “museum” type exhibition, but had a certain concept that made it possible to include it in the context of today’s contemporary art culture. The exhibition was called ‘The Fantastic Tavern’ and was very successful. Even Robert Smith, an authority figure in the field, wrote about it in the New York Times. After that, ‘Flash Art’ and ‘Artforum’ contacted us. The latter dedicated a large part of its April 2013 issue to Georgian art. Unfortunately, nobody in Georgia wrote anything about our exhibition…

2018. Zurich Our second exhibition took place seven years later, in Zurich’s ‘Kunsthalle’. It retained its old name, with “Georgischer Modernismus” written before it. We shouldn’t have taken such a long pause between these two projects, but several factors delayed us. Zurich’s Kunsthalle is one of the world’s most influential venues in terms of contemporary art. Daniel Baumann has become its

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dRevandel konteqstSi adekvaturad ewereboda. gamofenas The Fantastic Tavern erqva da warmatebiT Caiara. mis Sesaxeb `niu-iork taimsSi~ cnobilma art-kritikosma roberta smitmac ki dawera, romelic am sferos avtoritetia. Semdeg ukve `fleS arti~ da `artforumic~ gamogvexmaurnen; am ukanasknelma 2013 wlis aprilis nomeri didwilad qarTul xelovnebas dauTmo. samwuxarod, saqarTveloSi aravis araferi dauweria...

2018 weli. ciurixi meore gamofena, Svidi wlis Semdeg, ciurixis `kunsthaleSi~ gavakeTeT da SveicariaSi niu-iorkis gamofenis saTaurs win Georgischer Modernismus davurTeT. am proeqtebs Soris aseTi didi Sualedi ar unda gvqonoda, magram xeli sxvadasxva mizezma SegviSala. ciurixis `kunsthale~ Tanamedrove xelovnebis erTerTi yvelaze gavleniani sivrcea. erTi wlis win daniel baumani misi direqtori gaxda da daniSvnisTanave daiwyo Cveni proeqtis ganxorcieleba. ramdenadac, gamofenas kerZo pirebi vakeTebdiT, samuzeumo eqsponatebs saqarTvelodan ver waviRebdiT. amas verc baumani SeZlebda, radgan uzarmazar TanxasTan iyo dakavSirebuli.

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director last year, and he started working on our project right away. Because we were in our private capacity, we couldn’t send the exhibits from Georgia, and Baumann couldn’t do that either, as it was linked to enormous amounts of money. Fortunately, it was much easier to bring exhibits from Paris and Marseille, including originals from the Zdanevich brothers (some of Kirill Zdanevich’s works are kept at the Centre Pompidou). We also brought Soso Gabashvili, Irina Stenberg, Klara Kvess, Lado Gudiashvili, Irakli Gamrekeli, and others’ works from private Georgian collections. We had very interesting photographs Kakabadze had taken and printed for the documentary film ‘Georgia’s material monuments’ (which was censored and destroyed by soviet authorities), and one photograph from his Paris series. We also exhibited Ermakov’s photographs from my own collection.

We presented an animation film about a theater tour of Kote Marjanishvili, as well as David Kakabadze and Elene Akhvlediani’s works that were used in various plays. Georgian films from the beginning of the 20th century were screened in the second hall of the Kunsthalle, including Nutsa Ghoghoberidze’s ‘Buba’, the art director of which was David Kakabadze, Kote Mikaberidze’s ‘My Grandmother’ – art director Irakli Gamrekeli, Mikheil Kalatozishvili’s ‘Jim Shvante’, Mikheil Chiaureli’s ‘ Saba’...

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samagierod, Zalian gagviadvilda eqsponatebis parizidan da marselidan Catana, romelTa Soris zdaneviCebis originalebi (kiriles namuSevrebi `pompidus centrSia~ daculi) iyo. qarTuli kerZo koleqciebidan soso gabaSvilis, irina Stenbergis, klara kvesis, lado gudiaSvilis, irakli gamrekelis da sxvaTa namuSevrebi CavitaneT. gvqonda kakabaZis gadaRebuli da misive dabeWdili Zalian saintereso fotoebi filmisTvis `saqarTvelos materialuri Zeglebi~ (romelic sabWoTa cenzuram akrZala da gaanadgura) da misive foto parizSi gadaRebuli seriidan. gamovfineT ermakovis fotoebic Cemi piradi arqividan. warmovadgineT animaciuri filmi kote marjaniSvilis gasrotlze; daviT kakabaZis da elene axvledianis proeqciebi, romlebsac sxvadasxva dadgmaSi iyenebdnen. `kunsthales~ meore darbazSi vuCvenebdiT me-20 saukunis dasawyisis qarTul filmebs: nuca RoRoberiZis `bubas~, romlis mxatvaric daviT kakabaZea; kote miqaberiZis `Cems bebias~, irakli gamrekelis mxatvrobiT; mixeil kalatoziSvilis `jim SvanTes~, mixeil Wiaurelis `sabas~ da sxv. mniSvnelovani iyo TbilisSi oficerTa saxlis sardafis kedelze gamosaxuli kirile zdaneviCis `argonavtebis navi~, romelic axlaxan gaanadgures. Cven ciurixSi kirze dabeWdili asli gamovfineT, romelic am vandalur

The ‘Argonauts’ Boat’ held significant importance; it is a work by Kirill Zdanevich done on the wall of the Officers’ House’s basement, and which was recently destroyed. In Zurich, we exhibited a copy printed on lime – we managed to take a high-resolution photograph right before this vandalistic act, and today, it is the only one remaining from the ‘Argonauts’ Boat’.

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aqtamde movaswariT da maRali rezoluciiT gadaviReT. dRes es erTaderTia, rac `argonavtebis navidan~ SemogvrCa. orginalebTan erTad gavakeTeT `printebic~ da vecadeT eqspozicia ise agvewyo, rom maT kargad emuSavaT. es SeiZleba gamofenis naklad CaiTvalos, magram uCveulo, informaciuli namdvilad iyo. gamofenisTvis `pompidus centridan~ Jurnal L’effort Moderne-is nomrebi viTxoveT, romelsac leons rozenbergi gamoscemda. is safrangeTSi `saerTaSoriso avangards~ afinansebda da fenda. am gavlenian JurnalTan 20-ian wlebSi reinalTan, severinisTan, pikasosTan, brakTan, mondrianTan erTad mudmivad TanamSromlobda daviT kakabaZec. baumanisTvis, romelic Tanamedrove xelovnebaSi muSaobs, modernizmi `axali xilia~. Tu ar CavTvliT niu-iorkis da ciurixis gamofenebs, am mimarTulebiT mas ar umuSavia da gamofenasac Tanamedrove xelovnebis kuratoris TvaliT uyurebda. albaT, amitom proeqtSi ori Tanamedrove mxatvari _ levan WoRoSvili da lia bagrationi CarTo. levanma modernizmis rukiT, romelzec pirobiTad Tbilisidan evropisken gamavali sxivebi daatana, qarTuli da evropuli modernizmis kavSiris asociacia Seqmna. liam ki keramikuli masaliT Sesrulebuli deformirebuli Cais serviziT sabWoTa dros akrZaluli, miuRebeli modernizmis idea gaacocxla. ciurixis gamofenis ZiriTadi mizani dasavleTisTvis qarTuli avangardis gacnobaa. ver vityviT, rom is eqsponatebiT datvrTuili iyo, magram informaciulad kargad imuSava. niu-iorkisgan gansxvavebiT, ciurixis koncefciaSi qarTuli avangardis Tavisebureba CavdeT _ memkvidreobasTan mudmivi kavSiris Zieba. paradoqsia, magram aseTi midrekilebebi dadaizmsac

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Together with the originals, we had also brought some “prints”, and we tried to lay out the exhibition in a way that would make them stand out. This might be regarded as a flaw of the exhibition, but it was definitely both out of the ordinary and informational.

We also asked for copies of the magazine ‘L’effort Moderne’, which was published by Léonce Rosenberg, from the Centre Pompidou.

Rosenberg was financing and exhibiting international avant-garde in France. David Kakabadze was a permanent collaborator of this influential magazine in the 1920s, together with Raynal, Severini, Picasso, Braque, and Mondrian.

For Baumann, who is working in the field of contemporary art, modernism is new material. If we don’t count the New York and Zurich exhibitions, he has never worked on modernism in this context. Therefore, he was looking at the exhibition with the eye of a contemporary art curator, and this is probably the reason why he introduced two contemporary artists in it – Levan Choghoshvili and Lia Bagrationi. Levan did a large map on which rays are stretching from Tbilisi to Europe, creating an association between Georgian and European modernism. As for Lia, she presented a deformed tea set done in ceramic, reflecting the forbidden, unacceptable idea of modernism during Soviet times.

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hqonda, gansakuTrebiT hugo bals. qarTuli avangardis specifikurobas misi periferiulobac gansazRvravda, Tbilisi xom avangardis centri arasdros yofila, rogorc parizi an ciurixi, Tumca kruConixi mas mesame centrsac eZaxda. es mis polistilurobaSic gamoixateba.

CvenTan konkretuli mimdinareobebi ar ganviTarda, rogoricaa dadaizmi an futurizmi. futuristebad ki Tvlidnen Tavs igive zdaneviCebi, magram es avangardis sinonimi ufro iyo. daviT kakabaZis Semoqmedebac mravalwaxnagovania _ is sxvasTan erTad erTdroulad dadaizmisa da konsturqtivizmis niSnebs Seicavs. ciurixis gamofena pirveli garRveva iyo qarTuli avangardisTvis, romelic daxvewas da gamdidrebas saWiroebs. 24 agvistos Cveni gamofeniT `kunsthales~ sagamofeno sezonic gaixsna da... axla fiqroben rom es eqspozicia venaSic gamoifinos. `kunsthales~ proeqtma bevri mniSvnelovani Sedegi mogvitana. gamofenaze niu-iorkis `momas~ modernizmis departamentis ufrosi Camovida da saubarSi gviTxra _ miuxedavad imisa, rom isini bevrad adre adgenen sagamofeno kalendars, xuTi wlis Semdeg qarTuli avangardis gamofenas umaspinZleben.

Georgischer Modernismus: Die Fantastische Taverne-is Sedegad daigegma wignis gamocema, romelsac or nawilad gavyofT, pirveli _ zogadad qarTul avangardze, xolo meore mis yvelaze mniSvnelovan warmomadgenlebze. amisTvis daniel baumanTan erTad Sedgeba samuSao jgufi. SesaZloa, wigni

The main objective of the Zurich exhibition was to acquaint the West with the Georgian avant-garde. We couldn’t say that it was crowded with exhibits, but on an informational level, it worked really well. Unlike in New York, we put the originality of Georgian avantgarde – the permanent search for a connection to heritage – in the concept of the Zurich exhibition. It is paradoxical, but Dadaism also had this kind of inclination – especially Hugo Ball. The specificity of Georgian avant-garde was partly determined by its peripheral character, as Tbilisi was never a hub of avant-garde like Paris or Zurich – though Kruchenykh used to refer to our capital as the “third center”.

This can also be felt in the diversity of styles found in Georgian avantgarde. Some avant-garde movements didn’t develop here, take, for instance, Dadaism or futurism. The Zdanevich brothers might have considered themselves to be futurists, but this word was used more as a synonym of avant-garde. As for David Kakabadze’s works, they incorporate many movements, and include, among others, notes of Dadaism and constructivism.

The exhibition in Zurich was the first breakthrough for the Georgian avant-garde, and one that needs to be refined, enriched, and continued. The Kunsthalle’s exhibition season was opened on the 24th of August with our exhibition, and they are now thinking to take this exhibition to Vienna.

The project at the Kunsthalle has brought us many important results. The head of the modernism department at New York’s MoMA visited the exhibition, and he told us that despite the fact that they plan their exhibition calendar far more in advance, they would host an exhibition of Georgian modernism in five years.

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MIT Press-ma dabeWdos, rac CvenTvis Zalian prestiJulia. aseve, momavali wlis seqtemberSi CvenTan Sveicariis mTavari satelevizio arxis samuSao jgufi Camova, romelic qarTul avangardze films gadaiRebs. gamofenaze gvestumra Credit Suisse-is vice-prezidenti, romelic `bankis koleqciaze~ muSaobs da msoflio masStabiT namuSevrebs agrovebs. zustad ver vityvi, magram misi ganwyobidan mivxvdi, rom qarTulma avangardma daainteresa. gviTxra, Tu aqamde araferi vicodi mis Sesaxeb, axla SemiZlia vTqva, rom is arsebobso. niu-iorkSi `momas~ warmomadgenelma sacavSi dampatiJa da wignebi damaxvedra, romlebic amerikeli koleqcionerisgan SeiZines da mTxoves TbilisSi dabeWdili wignebi gadamerCia. ZiriTadad 1910-iani wlebis wignebi iyo. `momas~ ilia zdaneviCis jer daumuSavebeli mdidari koleqcia aqvs. zdaneviCic rusi egonaT. avuxseni, rom is ruseTis avangardis warmomadgenelia _ maSin ruseTis imperiis farglebSi rusebma, ukrainelebma da qarTvelebma Seqmnes is, rasac dasavleTSi Russian avant-garde-s eZaxian. yovelTvis vcdilob es politika Seicvalos da daerqvas avant-garde in Russia. aman Sedegad Tundac is gamoiRo, rom zdaneviCebs rus mxatvrebad aRar moixsenieben. rus mxatvrad icnobdnen daviT kakabaZesac ielis universitetSi, sadac misi ramdenime namuSevaria

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As a result of ‘Georgisher Modernismus: Die Fantastische Tavern’, we are also planning to publish a book, which will be divided into two parts: the first chapter will be dedicated to Georgian avant-garde in general, while the second one will focus on its most important representatives. Together with Daniel Baumann, we will create a team that will focus on this. The book could be published by MIT Press, which would be very prestigious. Apart from that, in September of next year, a television team from the main Swiss channel will come to Georgia to shoot a film about Georgian avant-garde.

The vice president of Credit Suisse, who is working on the bank’s collection and gathering artworks from all over the world, visited the exhibition. I cannot say for sure, but I could notice from his attitude that he got interested in Georgian avant-garde. He told us that he didn’t know anything about it before the exhibition, and that he could now say that it exists.

MoMA’s representative was also present at the New York exhibition, and invited me in their fund, where they showed me books that they had bought from an American collector. They asked me to sort out the books that were printed in Tbilisi – there were mainly books from the 1910s. The MoMA has a good collection of Ilia Zdanevich’s works, but it is still in a raw state. They even thought that Zdanevich was Russian. I explained to them that he is a representative of the Russian avant-garde – back then, in the context of the Russian empire, Russians, Ukrainians and Georgians have created what is now called “Russian avant-garde” in the West. I always try to change this appellation to “avant-garde in Russia”. At least, they don’t consider the Zdanevich brothers to be Russians anymore. They also used to refer to David Kakabadze as a Russian artist at the Yale University, where they have some of his works, but today, they know that he is Georgian.

They have a sculpture and 16 watercolors of his. We know that Marcel Duchamp and Katherine Dreier have taken up to 100 of Kakabadze’s artworks from Paris, but nobody knows where most of them have gone. I would really love to bring the abovementioned sculpture in Georgia. The American side had even agreed to this, but things can easily get difficult in Georgia…

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The works of Georgian emigrant Vera Pagava would have perfectly fitted the nature of the exhibition, but unfortunately, we realized this too late. There is a large collection of her paintings in Paris, in both private collections and galleries. I took the documentary film 'Point d’émergence' about Vera Pagava by Swiss film director and feminist Carole Roussopoulos from the Simone de Beauvoir Foundation, and I am planning to screen it in Georgia. Our friend Gavin Morrison, who is the director of the Skaftfell Center for Visual Art in Iceland, wrote me that he had seen Pagava’s works and was very impressed. These works of this Georgian emigrant will probably be included in our Icelandic project, which will be yet another exhibition about Georgian modernism.

We are also working on another project with Morrison: an exhibition about British architect Berthold Lubetkin, one of the founders of “international style” architecture, which will be held both in Iceland and in Tbilisi. Lubetkin was born in Tbilisi, and wrote in his diaries how he used to study Caucasian and Georgian rugs and carpets, and use their structure in architecture. The concept of the exhibition will be based on his diaries.

daculi, magram dRes ukve xarvezi gamosworebulia. maT daviTis erTi qandakeba da Teqvsmeti akvareli aqvT. Tavis droze marsel diuSanma da qeTrin dreierma parizidan kakabaZis as namuSevramde waiRes, sad daikarga didi nawili, aravin icis. sul vfiqrob rom es qandakeba saqarTveloSi CamovitanoT. gvqonda kidec maTi Tanxmoba, magram CvenTan xom yvelaferi rTuldeba... gamofenis arsSi mSvenivrad Cajdeboda qarTveli emigrantis vera faRavas namuSevrebic, magram amaze gvian daviwyeT fiqri. parizSi misi didi koleqciaa kerZo sakuTrebaSi Tu galereebSi gabneuli. simon de bovuaris fondidan Sveicareli reJisoris da feministis karol rusopulosis dokumenturi filmi gamovitane vera faRavaze _ Point d’émergence, romelis Cvenebasac saqarTveloSi vapireb. Cvenma megobarma gevin morisonma, romelic islandiaSi Skaftfell Center for Visual Art-is direqtoria, momwera rom vera faRavas namuSevrebi naxa da Zalian dainteresda. emigranti mxatvari, albaT islandiaSi qarTuli modernizmis morig gamofenazec moxvdeba. morisonTan erTad kidev erT proeqtze vmuSaobT, es britaneli arqiteqtoris, `saerTaSoriso stilis~ erTerTi damaarseblis bertold liubetkinis gamofenaa, romelic islandiasa da TbilisSi gaimarTeba. liubetkini TbilisSi daibada da dRiurebSi aRgviwers Tu rogor swavlobda kavkasiur da qarTul fardagsa Tu xaliCas da Semdeg maT struqturas arqiteqturaSi iyenebda. gamofenis koncefciac mis dRiurebze dafuZndeba.

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marselidan, ilia zdaneviCis fondidan eqvTime TayaiSvilis 1917 wlis tao-klarjeTis eqspediciis gegmanaxazebi wamoviReT, maT Soris _ iSxanis, oSkis da sxva taZrebis. sainteresoa iliazdisa (ilia zdaneviCi) da eqvTimes parizuli periodis mimowerac, romelic aseve am fondSia daculi. iluSa, rogorc eqvTime eZaxda, ugzavnida yvela mniSvnelovan wigns da kvlevas qarTul xelovnebasa da gansakuTrebiT xuroTmoZRvrebaze, SabaTkviras ki Cadioda levilSi da erTad muSaobdnen. man Cvens xuroTmoZRvrebaze frangul enaze ori wigni gamosca. ar mgonia, rom es didi mecnieruli naSromebi iyos, amas ufro popularizaciis mizniT akeTebda. mudmivad hqonda moTxovnileba, rom qarTul Tematikaze emuSava _ swavlobda qarTul ornaments, saeklesio xuroTmoZRvrebis reliefebs da Semdeg es qsovilebze gadahqonda. koko SanelisTvis Sesrulebuli qsovilebis struqtura qarTuli saeklesio xuroTmoZRvrebis ornamentebs eyrdnoba, rac kargad Cans, roca maT erTdroulad uyureb. es qsovilebic gvqonda gamofenili. gamovfineT ori afiSac _ erTi stambulis, xolo meore 1947 wels parizis geografiul sazogadoebaSi wakiTxuli leqciisa `vin arian qarTvelebi?~. ilia bizantiologebis kongresebze kiTxulobda moxsenebebs qarTul xuroTmoZRvrebaze. ainteresebda romanuli periodis arqiteqtura. ciurixSi gamovfineT espanuri arqiteqturis miseuli ori gegmac.

We took maps and plans done by Ilia Zdanevich in 1917, during Ekvtime Takaishvili’s expedition in Tao-Klarjeti, from the Iliazd Archive in Marseille. They included plans of Ishkhani, Oshki, and other churches. The correspondence between Zdanevich and Ekvtime Takaishvili, which took place when the latter was in Paris, is also very interesting, and it too is kept at the Marseille archive. “Ilusha”, as Ekvtime used to call him, was sending him all the important books and studies about Georgian art, and especially about architecture; on week-ends, “Iliazd” would go to Leuville and they would work together. He published two books in French about Georgian architecture. They are not of great scientific value, but served a popularization purpose. He always had the desire to work on the theme of Georgia. He was studying Georgian ornaments, church reliefs, and was using them in fabrics. The fabric structure he created for Coco Chanel was based on architectural ornaments from Georgian churches, and you can clearly notice this when you look at them side by side. We have also exhibited these fabrics in Zurich, as well as two posters – one he did for a lecture in Istanbul, and the other for the lecture 'Who are the Georgians?' he read in 1947 at the Société de Géographie in Paris. Ilia was also reading lectures about Georgian architecture at byzantine studies congresses. He was interested in architecture from the Roman period, and we exhibited two of his blueprints of Spanish architecture in Zurich.

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Tu niu-iorkSi zdaneviCis mxolod TbilisSi akinZulSesrulebuli wignebi warvadgineT, ciurixSi emigraciis periodSi damzadebuli wignebic e.w. luxury books, gamovfineT, romlebic marselis fondSi inaxeba. isini xeliT iqmneboda da amitom Zalian Zvirfasia. akeTebda ramdenime egzemplars da identuri arcerTi ar iyo. am saqmeSi igi axlo megobarTan pikasosTan, maqs ernstTan da JorJ brakTan da sxva yofil dadaistebTan da siurealistebTan TanamSromlobda. evropul arqivebSi dRemde uamravi xeluxlebeli masalaa, maT Sesaswavlad ki iq unda Caxvide da sacavebSi imuSavo. ase mivakvlieT iliazdisa da tristan caras mimoweras da

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Together with early books, the archive mainly preserves books Ilia published during his emigration period. They are known as “luxury books�, and are very precious, as they were bound by hand.

He used to create several copies, and none of them are identical.

He was collaborating with his close friend Picasso, Max Ernst, Georges Braque, and other former Dadaists and surrealists on these books.

There is immense material to be explored preserved in European archives. In order to study them, one has to go there and work in the reserves themselves. This is how we found the correspondence between Tristan Tzara and Iliazd, of which we ordered some copies.

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garkveul safasurad gamovagzavnineT aslebi. garda amisa, mivakvlieT daviT kakabaZis xelSekrulebas stereokinoze kanadelebTan, magram misi aslis mopoveba Zviria da ver gavwvdiT. amitom misaRebia kanoni qvelmoqmedebis Sesaxeb (razec didi xania vsaubrobT); mxolod biznesmenis jibeze rom ar viyoT damokidebuli, saWiroa Seiqmnas sxvadsxva institucia, romlebic aseT kvlevebis daafinansebs. qarTuli modernizmi Sesaswavlia, amas dro da Tanxa sWirdeba, mxolod enTuziazmiT Sors ver wavalT. nana yifiani, Salva cxovrebaZe

We also found a contract passed between David Kakabadze and Canadians about his stereoscopic cinema device, but it was too expensive for us to order a copy… For that reason, we need to adopt a law about financial assistance (about which we have been talking for a long time); we need to create institutions that will finance such studies, instead of being dependent of the pockets of businessmen. Georgian modernism still needs to be studied thoroughly, and this will need time and funds – enthusiasm alone won’t do.

Nana Kipiani, Shalva Tskhovrebadze

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neandertalelebi dasavleT saqarTveloSi NEANDERTHALS IN WESTERN GEORGIA adamianis mier samyaros Semecnebis procesi socialuri xasiaTisaa da sazogadoebis struqturazea damokidebuli, romelic Tavis mxriv bunebasTanaa kavSirSi, rogorc, didwilad misgan nawarmoebi mdgomareoba. samecniero azris ganviTareba istoriuli movlenaa da adamianTa urTierTobebis mravalferovnebaSia Caqsovili.

Sesabamisad, SegviZlia vTqvaT, rom safrangeTis revoluciamdeli mecniereba feodaluri wyobis ideologiuri gavlenis qveS iyo moqceuli da miuxedavad samyaroze dakvirvebisa Tu axali aRmoCenebisa, morCili mdgomareoba, romelSic imyofeboda, samyaroze mcdar warmodgenebs qmnida. bibliurma, samyaros Seqmnaze warmodgenis sworxazovanma safuZvelma, idea saxeoebebis

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The process by which humans perceive the world is of social essence, and is dependent on societal structure, a system that is in large part produced by nature and therefore linked to it.

The development of scientific thought is a historic event, and is interwoven with the diversity of human relationships. Accordingly, we can say that before the French Revolution, science was under the ideological influence of the feudal order, and despite the observation of nature and resulting new discoveries, the general deferential environment was leading to erroneous representations of the universe. The one-sided biblical foundations about the origin of the universe have made the idea of the species’ uniformity a dogma, which would later turn self-destructive because it opposed logic, as it was unreasonable to simultaneously corroborate the reality

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ucvlelobis Sesaxeb dogmad aqcia, ramac mogvianebiT, is logikasTan winaaRmdegobis gamo, TviTganadgurebamde miiyvana. warmoudgeneli iyo erTbaSad gvemtkicebina geologiuri cvlilebebis namdviloba, organizmebis sakuTar garemosTan Seguebis aucilebloba da saxeobaTa ucvlelobis aqsiomaturoba. didi geografiuli aRmoCenebis wyalobiT, droTa ganmavlobaSi grovdeboda da vlindeboda informacia dedamiwis mcenareuli da cxoveluri mravalferovnebis Sesaxeb; aseve gamovlenil iqna geologiuri gardaqmnebis damadasturebeli mravali sabuTic. am yvelaferTan erTad, XVIII saukuneSi safrangeTis revolucias da ganmanaTleblobas Tan mohyva samecniero azris ganviTarebac. am dros gamoCnda evoluciuri ideebis erT-erTi fuZemdebeli Janbatist lamarki, Tumca biologiuri evoluciis ideam farTo gavrceleba mxolod Carlz darvinis 1859 wels gamoqveynebuli naSromis „saxeobaTa warmoSobis“ Semdeg hpova. adamianis evoluciis kvlevisTvis mniSvnelovani darvinisve naSromi, „adamianis warmoSoba“ aRmoCnda. misi azriT adamiani unda warmoSobiliyo afrikaSi, maimunis msgavsi arsebisgan, romelic iqneboda Tanamedrove

of geological changes, the necessity of organisms to adapt to their environment, and the axiom that species do not transform. Thanks to major geographical explorations, information was gradually collected about Earth’s vegetal and animal diversity, revealing evidence of geological changes. In addition to all this, the 18th century French Revolution and Enlightenment were accompanied by a development of scientific thought. This is when Jean-Baptiste Lamarck, one of the founders of evolutionary concepts, appeared, even though the wide acceptance of the idea of biological evolution only happened after 1859 and Charles Darwin’s publication ‘On the Origin of Species’.

Another of Darwin’s works, ‘The Descent of Man’, published in 1871, played a crucial role in the study of human evolution. In Darwin’s opinion, humans must have appeared in Africa, evolving from an apelike being, which would have been a common ancestor to modern humans and human-like apes (despite this, the inaccurate belief that Darwin considered apes to be the direct ancestors of humans is quite widespread). Over time, the discovery of more and more hominin fossils and Stone Age cultures, as well as the development of various scientific fields, have confirmed Darwin’s theory. Nevertheless, scientists still argue over the actual mechanisms of evolution and the phylogenetical relationship between species. Today, the main

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adamianis da adamianis msgavsi maimunebis saerTo winapari (sazogadoebaSi gavrcelebulia mcdari azri _ TiTqos darvinma maimuni adamianis uSualo winaprad miiCnia). droTa ganmavlobaSi namarxebis dagrovebam, qvis xanis kulturebis aRmoCenam da sxvadasxva samecniero disciplinis ganviTarebam am Teoriis marTebuloba daadastura. miuxedavad amisa, mecnierebi dRemde davoben evoluciis meqanizmebis xasiaTsa da saxeobaTa Soris genealogiur kavSirebze. dRes evoluciis Teoriis ZiriTadi safuZvlebi sadao aRaraa, adamianis evoluciis yvelaze aRiarebuli, kompromisuli modelis Tanaxmad,

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lines of evolution theory are not disputed anymore, and according to the most widely accepted model, around 2 million years ago, the first representatives of Homo – already equipped with Lower Paleolithic Oldowan (most primitive technology) stone tools, gave rise to Homo erectus in Africa. 1.9 million years ago; Homo erectus left Africa and dispersed into Eurasia, and later developed the more advanced Acheulean technology. Later in Africa, around 800 000 years ago, Homo erectus gave rise to Homo heidelbergensis.

This species totally changed the strategies of food supply, shifting from scavenging to active hunting. Homo heidelbergensis gave rise to Homo neanderthalensis in Europe around 450 - 400 000 years ago, and a bit later to Homo sapiens in Africa. Afterwards, with several waves of dispersal and occasional interbreeding, Homo sapiens gradually replaced Neanderthals around 50 thousand years ago, started to spread from the Levant to Europe, and later colonized the whole Eurasian continent.

The Neanderthals associated with the Middle Paleolithic Mousterian culture occupied diverse ecological niches, stood out with their complex social structure and usually lived in caves and rock shelters. most of the scientists consider that Neanderthals were adapted to cold environments, had quite diversified nutrition habits, were skilled hunters, could fully control fire, and were using the latter to prepare food.

The Mousterian culture associated with the Neanderthals appeared about 400 thousand years ago, during the Middle Paleolithic, when the Lower Paleolithic Acheulian culture of handaxes and large cutting tools were replaced by a culture of relatively smaller and more diverse, multifunctional flakes (specially selected sheets purposefully broken down from stone nodules in order to produce tools). The characteristic and significant technological advancement of this culture is the use of the so-called multilevel Levallois technique for the production (knapping) of flakes of desired shapes and sizes from a prepared core (the nucleus). The “Levallois� flakes are the fruit of abstract thinking, as the craftsman had already imagined the desired form of the tool before producing it, though we have to underline that the characteristics of the raw stone material significantly influences the final shape of the tool. In order to transform the flake into a tool, edges are trimmed (retouched)

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daaxlebiT 2 mln. wlis win, qveda paleoliTSi, afrikuli warmoSobis saxeoba Homo erectus-i gaCnda da 1.9 mln. wlis win evraziis kontinentzec gavrcelda. man afrikaSi daaxloebiT 800 aTasi wlis win dasabami misca Homo heidelbergensis-is saxeobas, romelic 400-450 aTasi wlis win evropaSi ganviTarda Homo neanderthalensis-is, odnav mogvianebiT ki afrikaSi _ Homo sapiens-is xaziT (am periodSi, savaraudod sxva saxeobebis warmoqmnasac unda hqonoda adgili). metwilad, SuapaleoliTur, mustieur kulturasTan asocirebuli da mravalferovani ekologiuri niSis mqone neandertaleli maRali socialuri organizaciiT gamoirCeoda. igi rogorc wesi, mRvimeebSi binadrobda. mecnierebis nawili miiCnevs, rom neandertaleli civ garemosTan iyo adaptirebuli, gaaCnda kvebis sakmaod mravalferovani racioni, iyo daxelovnebuli monadire, cecxls srulad akontrolebda da sakvebis mosamzadeblad iyenebda. neandertalelTan asocirebuli mustieuri kultura, daaxloebiT 400 aTasi wlis win Cndeba Sua paleoliTis epoqaSi, rodesac qveda paleoliTuri xelnajaxebis da didi saCexi iaraRebis aSeluri kultura Seicvala SedarebiT ufro mcire zomis da maravlferovani, mravalfunqciuri, anatkecebis kulturiT (anatkeci _ iaraRis dasamzadeblad specialurad SerCeuli qvisgan an qvis birTvidan sagangebod atexili firfita). am kulturisTvis mniSvnelovani damaxasiaTebeli teqnologiuri siaxle, mravalsafexuriani e.w. levalualuri teqnikiT sasurveli formis da zomis anatkecis miRebaa (atkecva), winaswar momzadebuli qvis birTvisgan (nukleusi). levalualuri anatkeci abstraqtuli azrovnebis nayofia, am dros qvismTleli xelosnis gonebaSi ukve warmodgenilia sasurveli formis iaraRi, Tumca aq unda aRiniSnos iaraRis dasamzadeblad bunebaSi mopovebuli qvis nedli masalis xasiaTi, rac mniSvnelovnad ganapirobebs saboloo nawarmis saxes. anatkecis sabolood iaraRad gardaqmnisaTvis xdeba

© MAURICIO ANTÓN

or jagged (serrated). The main tools found in Mousterian culture are the following: blades (flakes with parallel sides – with retouched or not retouched edges, the length of which is at least twice the size of the width), points (triangular tools to be hafted on spear shafts), denticulates and scrapers. This culture is a complex one, and comprises many subcultures; it was named after the cave site of Le Moustier, discovered in 1908 in France.

Compared to modern humans, Neanderthals had a robust build, strong upper limbs, well-expressed browridges, a forwards projecting middle face (nose and upper jaw), broad noses, lacked a chin, and had a brain equal or larger in size to that of modern humans. It has been established that Neanderthals were capable of symbolic/abstract thinking. They were spread in Europe, the

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samuSao piris galesva (retuSi) an dakbilva. mustieuri kulturis kompleqti ZiriTadad Semdegi iaraRebisgan Sedgeba: lamela (paralelur gverdebiani anatkeci, damuSavebuli an daumuSavebeli gverdebiT), romlis sigrZe orjer aRemateba, missave siganes; wvetana (Subis tarze dasamagrebeli samkuTxa wvetiani iaraRi); dakbilulpiriani iaraRi da saxoki. es kultura kompleqsuria da mraval qvekulturas moicavs, misi saxeli pirveli aRmoCenis adgilidan, musties mRvimidan (safrangeTi _ Le Moustier) momdinareobs.

Tanamedrove adamianTan SedarebiT neandertaleli masiuri agebulebis iyo, hqonda ufro Zlieri zeda kidurebi, masiuri Tvalbudis zeda (warbebis mimdebared) rkalebi, wingamoSverili saxis Sua nawili, didi zomis cxviri, ganuviTarebeli nikapi da adamianis toli an ufro didi moculobis tvini. neandertalelebSi eyreba safuZveli simbolur azrovnebas da xelovnebas. neandertalelebi gansaxlebulni iyvnen evropaSi, kavkasiaSi, mcire da Sua aziaSi. maT SeZles SeekavebinaT Homo sapiens-is afrikidan evraziis kolonizaciis pirveli mcdeloba daaxloebiT 120-100 aTasi wlis win (rogorc zemoT aRvniSneT adamiani afrikis kontinentze daaxloebiT 400-300 aTasi wlis win warmoiSva, saidanac gavrcelda evraziaSi). mogvianebiT, daaxloebiT 50 aTasi wlis win, ramdenime gavrcelebiTi talRis Sedegad, ufro ganviTarebuli kulturiT aRWurvilma Homo sapiens-ma, mcire Sejvarebebis paralelurad (Tanamedrove adamianis genomSi 1-4 % neandertalelTa genetikuri memkvidreoba dasturdeba) neandertalelTa

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Caucasus, the Near East and Central Asia. They managed to withstand the first wave of colonization attempt from Homo sapiens out of Africa into Eurasia roughly 120 to 100 thousand years ago (as we have mentioned above, humans probably appeared about 400-300 thousand years ago in Africa, from where they spread into Eurasia). Afterwards, about 50 thousand years ago, as a result of several dispersal waves and equipped with new technology, Homo sapiens, in parallel to occasional interbreeding (1-4% of Neanderthal heritage remains in the genome of modern humans), began to gradually replace Neanderthals. Quite advanced, socalled “transitional” cultures associated to Neanderthals, and Upper Paleolithic (Aurignacian) cultures associated to Homo sapiens, which were even more diverse, multifunctional, and refined, were developing simultaneously in the Europe and Near East of the time, respectively. The appearance of a highly organized, cooperative, specialized and art-oriented Homo sapiens culture 43-42 thousand years ago in the Levant, and from there in Europe, was more or less accompanied by climatic changes. The adaptive reaction

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etapobrivi Canacvleba daiwyo. am periodis evropaSi Tanadroulad viTardeboda neandertalelebTan asocirebuli sakmaod ganviTarebuli, e.w. `gardamavali~, xolo axlo aRmosavleTSi, Homo sapiensTan asocirebuli zeda paleoliTuri (oriniakuli) kulturebi, romlebic kidev ufro mravalferovani, mravalfunqciuri da daxvewili iyo. 43-42 aTasi wlis win axlo aRmosavleTsa da am regionidan evropaSi Homo sapiens-is maRalorganizebuli, kooperaciuli, specializebuli da xelovnebaze orientirebuli kulturis gamoCena, ase Tu ise daemTxva klimatur cvlilebebs. adamianis garemos cvlilebaze reaqcia misi niSis gafarToebiT aRiniSna, sadac kulturas gadamwyveti roli unda eTamaSa. kultura garemos cvlilebisas gadarCenis SesaZleblobas zrdis; igi rogorc adamianis bunebasTan mediatori, swrafi SeguebiTi reagirebis saSualebas iZleva da piriqiT, garemos cvlilebisadmi kulturuli Seuguebloba uaryofiTad moqmedebs populaciis mdgradobaze, rasac kulturuli daqveiTeba da ekologiuri niSis Seviwroeba, an saxeobis gadaSeneba mohyveba. rogorc Cans gamyinvarebis periodSi neandertalelTa saarsebo garemos xSirma danawevrebam, damangreveli gavlena iqonia saxeobaze, da is srulad moumzadebeli datova axali sirTuleebis winaSe. dRes yvelaze miRebuli e.w. konkurenciuli Canacvlebis hipoTezis Tanaxmad neandertalelebi Homo sapiensTan konkurenciam sabolood gatexa da gadaSenebamde miiyvana. saqarTvelos dasavleTi mdidaria neandertalelTa samosaxlo mRvimeebiT: jruWula, orTvala, orTvala klde, sakaJia, cucxvaTi da a.S. Zeglebidan mopovebuli arqeologiuri, paleontologiuri da anTropologiuri masala daculia saqarTvelos erovnul muzeumis fondebSi; masalis nawili gamofenilia muzeumis `qvis xanis saqarTvelos~ eqspoziciaze. am Zeglebze Catarebuli kvlevebiT SegviZlia davaskvnaT, rom dasavleT saqarTvelos gansaxleba neandertalelebma daaxloebiT 260 aTasi wlis win daiwyes. globalur scenarSi neandertalelTaTvis dasavleT saqarTvelom SesaZloa mniSvnelovani roli iTamaSa, rogorc ekologiurma

Š MAURICIO ANTÓN

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TavSesafarma, an gansakuTrebulma biogeografiulma gzagasayarma. zeda pleistocenis (126-11 aTasi wlebis win intervalSi) klimaturi cvlilebebi aq, CrdiloeT kavkasiasa da evropisgan gansxvavebiT, dramatulad ar ganviTarebula, bunebrivi barierebi mas haeris civi masebisgan icavda, gansakuTrebiT, gamyinvarebis periodebSi. dasavleT saqarTvelo, konkretulad, imereTis regioni, sadac neandertalelTa ZiriTadi sadgomebia Tavmoyrili, Tbili da nestiani klimatiT xasiaTdeboda. es regioni mTa-gorebiT, karstuli mRvimeebiT, Rrma da ganieri xeobebiT, tyeTa masivebiT, biologiuri mravalferovnebiT gamorCeuli teritoria iyo, romelic Tavis mxriv gavlenas axdenda neandertalelTa da adamianTa cxovrebis nirze; es ukanaskneli SesaZloa gulisxmobdes konkretul saxeobaze aqtiur nadirobas, sezonur gadaadgilebas, niSis ganawilebas da a.S. albaT, am yvelaferma asaxva hpova saqarTvelos SuapaleoliTur kulturebze, romelic jerjerobiT isev pirobiTad xuT gansxvavebul kulturul tradiciad iyofa. neandertalelTa Zvlovani masala ZiriTadad kbilebiT aris warmodgenili jruWulas, brinjaos (cucxvaTis mRvimovani), orTvalas da sakaJias mRvimeebSi. anatomiurad es neandertalelebi ufro

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of humans to environmental change was marked by a broadening of the ecological niche, in which culture must have played a decisive role. A cultural set of techno-complexes enhances the survival chances of populations in need to shift ecological niches, because as a mediator, culture allows for rapid response and adaptation against climatic-environmental change; on the other hand, cultural inadaptability to environmental change could negatively affect the demography and result in cultural decadence and a narrowing of the ecological niche, and ultimately to extinction.

Western Georgia is rich in Neanderthal cave settlements: Jruchula, Ortvala, Sakajia, Tsutskhvati, and so on. The archaeological, paleontological and anthropological material excavated from these sites are preserved at the funds of the Georgian National Museum, and part of the material is displayed at the museum’s exhibition ‘Stone Age Georgia’. According to research carried out at these sites, Neanderthals started establishing themselves in the region around 260 thousand years ago. From a global perspective, Western Georgia might have played the role of an ecological refugium or special biogeographic region at the crossroads of Eurasia for the Neanderthals. Climate changes of the upper Pleistocene (126-11 thousand years ago) were not as dramatic as in the North Caucasus and in Europe, and natural barriers protected the region from cold air masses, especially during glaciation periods. Western Georgia, and more precisely the region of Imereti, which represents the main dwelling place of Neanderthals in Georgia, was characterized by a warm and humid climate, diverse mountainous landscapes, karstic caves, deep and wide gorges, forested massifs, and biological variety, all of which was influencing Neanderthals and humans’ way of life, possibly regarding the active hunting of a particular species, seasonal relocations, niche partitioning, etc. All this must have affected Georgian Middle Paleolithic cultures, which are still, for now, conventionally divided into five different cultural traditions.

The remains from Neanderthals found at the Jruchula, Brinjao (Tsutskhvati), Ortvala and Sakajia caves mainly consist of teeth.

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axlos idgnen axlo aRmosavleTis neandertalelebTan da SesaZloa kavkasiaSi isini am teritoriidan gavrcelebuliyvnen. aqamde arsebuli kvlevebis mixedviT Suadan zeda paleoliTze gadasvla daaxloebiT 43-37 aTasi wlebis winandel intervalSi unda momxdariyo. neandertaleli samxreT kavkasiaSi 39 aTasi wlis win ukve gadaSenebuli iyo, Homo sapiens-i ki daaxloebiT 32 aTasi wlis win movida. es monacemebi dasavleT saqarTveloSi am ori saxeobis gadakveTis SesaZleblobas gamoricxavs. miuxedavad amisa, cnobilia neandertalelis da Homo sapiens-is Tanaarsebobis SemTxvevebi axlo aRmosavleTsa da evropaSi, pireneis naxevarkunZulze ki, neandertalelTa kvali daaxloebiT 28 aTas wlamde aRwevs, amitom Cndeba kiTxva _ iTamaSa Tu ara Homo sapiens-ma neandertalelTa gadaSenebaSi mniSvnelovani roli samxreT kavkasiaSi, razec pasuxi momavalma kvlevebma unda gagvces. nikoloz wiqariZe

Anatomically speaking, these Neanderthals were close to those of the Near East, and could thus have spread to the South Caucasus from there. According to existing studies, the transition from Middle to Upper Paleolithic in the Caucasus must have happened around 43-37 thousand years ago. Neanderthals were already extinct in the region 39 thousand years ago, while Homo sapiens appeared in the region only around 32 thousand years ago, which excludes the possibility of these two species dwelling simultaneously in Western Georgia. Nevertheless, cohabitation instances between Neanderthals and Homo sapiens are well-documented in the Near East and Europe; traces of Neanderthals dating to 28 thousand years ago have been found on the Iberian Peninsula, raising the question of whether the Homo sapiens species has played a role in the extinction of Neanderthals in the South Caucasus, the answer to which will have to be provided by future studies.

Nikoloz Tsikardize

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Telavidan samuzeumo koncertebamde

gasuli saukunis 80-ian wlebSi Telavi im droisTvis uCveulo musikalurma atmosferom moicva. eliso virsalaZem dasavluri tipis festivali daaarsa, romelsac sabWoTa kavSirSi maSin analogi ar hqonda. festivalma 90-ian wlebSi Sewyvita arseboba da ocwliani pauza aiRo, rom axali saxiT, axal qveyanaSi dabrunebuliyo. axali festivali, romelsac 2010 wlidan kulturis saministro da `klasikuri musikis dacvis, ganviTarebis da popularizaciis centri~ atarebs, kvlav im principebis da maRali idealebis gamgrZelebelia, ris safuZvelzec daaarsa is eliso virsalaZem TanamoazreebTan erTad. `klasikuri musikis dacvis, ganviTarebis da popularizaciis centri~ saSobaod axal, samuzeumo koncertebis serias iwyebs, romelic erTgvari alternativa iqneba Cveul sakoncerto darbazebSi gamarTuli koncertebisa, riTic Cvens musikalur cxovrebas kidev erTi nabijiT daaxlovebs dasavlur musikalur tradiciasTan, sadac didi xania legendadaa qceuli Tundac maira hesis koncertebi londonis nacionalur galereaSi an sviatoslav rixteris `dekembris saRamoebi~ puSkinis muzeumSi. yvela festivals Tavisi anatomia aqvs da xSirad is msmenelis yuradRebis miRma rCeba. es bunebrivicaa, radgan rac ufro kargad muSaobs gundi, miT ufro naklebad SesamCnevi xdeba misi arseboba. es didi komfortia publikisTvis, da imavdroulad komplimenti gundisTvis.

Cven centris or warmomadgenels, qalbatonebs maia kokoCaSvils da megi TofuriZes SevxvdiT da Telavisa festivalsa da axali proeqtis, samuzeumo koncertebis Sesaxeb gavesaubreT.

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FROM TELAVI TO MUSEUM CONCERTS In the 1980s, a surprising musical atmosphere took over Telavi when Eliso Virsaladze founded a western-style festival that had no equivalent in the Soviet Union. The festival ceased to exist in the 1990s and took a 20-year-long pause in order to return in a new format and in a “new” country.

The new festival, which has been held since 2010 by the Ministry of Culture and the Classical Music Preservation, Development and Popularization Center, has retained the principles and high ideals on which Eliso Virsaladze, together with likeminded individuals, had founded the former.

The Classical Music Preservation, Development and Popularization Center is starting a new cycle of museum concerts for Christmas, offering an alternative to the usual concert hall venues, and moving our musical life one step closer to western musical traditions, where, for instance, the legendary concerts of Myra Hess in London’s National Gallery and those of Sviatoslav Richter’s ‘December Nights’ in the Pushkin Museum were already taking place long ago.

Each festival has its own structure, and the latter often stays beyond the audience’s attention. This is quite understandable, as the better a team works, the less noticeable they become. This is a great comfort for the public, and at the same time, a compliment for the team. We met two representatives of the Center, Maia Kokochashvili and Megi Topuridze, and discussed the Telavi International Music Festival and their new project of museum concerts. maia kokoCaSvili: fineTis qalaq kuhmoSi kameruli musikis festivali tardeboda, romelic im dros evropaSi Zalian popularuli iyo. iq yoveldRiurad imarTeboda ramdenime koncerti da tardeboda masterklasebi. monawilisa da msmenelis patara sivrceSi erTad yofna Sinaur atmosferos qmnida. rogorc Cans, q-n elisos festivalis formati Zalian moewona. es gasuli saukunis 70-iani wlebia, rodesac igi da misi megobrebi, natalia gutmani da oleg kagani SemoqmedebiT zenitSi iyvnen da festivalebi maTTvis ucxo xili ar iyo... Tumca swored kuhmos STabeWdilebiT gadawyvites axali festivalis daarseba. eliso virsalaZe ixsenebs, rom masTan samzareuloSi daiwyes fiqri, Tu sad SeiZleboda festivalis Catareba da gutmanmac da kaganmac erTdroulad Tqves, rom es aucileblad saqarTvelo unda yofiliyo, oRond Tbilisi ara, radgan iq atmosferos ver Seqmnidnen.

Telavi ratom airCies? megi TofuriZe: q-n elisos amaze gansakuTrebuli pasuxi ar aqvs. rodesac vekiTxebiT, Tu ratom Telavi? gvpasuxobs, ratom ara? festivalis Casatareblad aucilebeli iyo infrastruqtura, Telavs kulturul da musikalur tradiciebTan erTad Teatris Senoba da musikaluri skolac hqonda. festivali 1984 wels daarsda da 1993 wels, omis gamo Sewyda. aRdgenis Semdeg?.. m.k: yvelas, visac Telavis festivali gvaxsovda, misi

Maia Kokochashvili: The Finnish city of Kuhmo was hosting a chamber music festival that used to be very popular in Europe.

Several concerts were performed and masterclasses were held on a daily basis. The fact that the musicians and the audience were together in a small hall created an intimate atmosphere. It appears that Mrs. Eliso was very fond of the festival’s format. This was back in the 1970s, when she and her friends Natalia Gutman and Oleg Kagan were in their heyday as performers, and were traveling to festivals all around the world… But it is after experiencing Kuhmo that they decided to establish a new festival. Eliso Virsaladze often recalls that when they started discussing the festival’s location in her kitchen, both Gutman and Kagan were adamant that it had to take place in Georgia – but not in Tbilisi, because they wouldn’t be able to create the desired atmosphere in the capital.

Why did they choose Telavi?

Megi Topuridze: Mrs. Eliso doesn’t have a specific answer to that question. When we ask her “why Telavi?”, she answers “Why not?”. Also, the festival required infrastructure, and together with long cultural and musical traditions, Telavi had a theater building and a musical school. The festival was founded in 1984 and was put to an end in 1993 because of the war.

What happened before its reestablishment?

M.K: All those who remembered the Telavi festival had the wish to restore it. My sister Khatuna was Mrs. Eliso’s student at the Moscow Conservatoire, and she would often ask her if she was planning to restart the festival. She was also offering to gather a team if Mrs. Eliso decided to do so… A festival consists of many

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eliso virsalaZe da eduard briuneri / ELISO VIRSALADZE AND EDUARD BRUNNER

aRdgenis survili gvqonda. Cemi da, xaTuna, moskovis konservatoriaSi q-ni elisos studenti iyo da xSirad ekiTxeboda mas, xom ar apirebda festivalis aRdgenas?

Tu gadawyvetda, sTavazobda, rom Sekrebda gunds... festivalis Catareba mraval faqtorzea damokidebuli. erTi koncertis Catareba yvelas SeuZlia, magram festivals Tavisi saxe aqvs, Tavisi principebi. da Tu gaviTvaliswinebT eliso virsalaZis avtoritets, Tamasa ar unda daswio da samomavlodac SeinarCuno. am dros bevri ramaa gasaTvaliswinebeli _ adgili, sadac atareb, Tanxa, romelic arasdros gyofnis da monawileebi. miaRwieT am Tanxvedras? m.T: rTuli aRmoCnda. musikosebi, romelTac q-ni eliso gvTavazobda, miuxedavad imisa, rom maRali rangis Semsruleblebi iyvnen, SesaZloa Cvens `bazarze ar gayiduliyvnen~. amitom festivalis samxatvro xelmZRvanelisTvis, raRacis damtkiceba dagvWirda. mas Cvendami ndoba gauCnda da garkveul sakiTxebSi dagvyva. pirveli festivali kameruli iyo? m.k: diax. es imiT iyo ganpirobebuli, rom damaarsebeli

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elements. Everybody can arrange a concert, but festivals have their own atmosphere and principles. And we had to keep the bar as high as it used to be. There are many things to consider when you plan a festival – the location where it will be held, the budget, which is always insufficient, the participants…

Did you manage to meet all the requirements?

M.T: It turned out to be quite difficult. For instance, despite being high-class performers, the musicians whom Eliso was putting forward might not have been the best choice for our audience. After giving substance to our opinion, we managed to gain her trust, and she went along most of our choices.

The first festival was one of chamber music?

M.K: Yes. This was influenced by the fact that the founding soloists – Eliso Virsaladze, Natalia Gutman, and Oleg Kagan were also the members of a chamber music ensemble. Holding a chamber music festival was quite difficult, and also a bit risky.

The first concerts were very successful, and the festival became very popular in the former Soviet Union. Famous musicians were coming to Telavi, including Saulius Sondeckis, Yuri Bashmet, Andres Mustonen with his orchestra ‘Hortus Musicus’, and many others.

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solistebi _ eliso virsalaZe, natalia gutmani da oleg kagani, imavdroulad, ansamblis wevrebic iyvnen. kameruli festivalis Catareba sakmaod rTuli iyo da garkveul risks Seicavda. pirveli koncertebi didi warmatebiT Catarda da maleve festivali popularuli gaxda sabWoTa kavSirSi. TelavSi Camodiodnen cnobili musikosebi _ saulius sondeckisi, iuri baSmeti, andres mustoneni Tavisi orkestriT `hortus musikus~ da sxv. m.T: axali festivali, cxrametwliani pauzis Semdeg, `sxva~ qveyanaSi, sxva socialur Tu musikalur garemoSi daviwyeT. msmenels ukve sxva moTxovnebi gauCnda. ucxoeTSi, kamerul musikas, dRes uamravi msmeneli hyavs, Tundac im repertuaris gamo, rac misTvisaa Seqmnili. CvenSi am Janris arapopularoba samwuxaro realobaa da swored amitom mas aucileblad vrTavT festivalis programaSi. es eliso virsalaZis moTxovnaa! man pirveli festivalis programaSi beThovenis sammagi koncerti Seitana. fiqrobda, rom pirvel koncertze aucileblad unda yofiliyo nawarmoebi romelsac is Tavis TanamoazreebTan da festivalis damaarseblebTan, natalia gutmanTan da oleg kaganTan erTad asrulebda. samwuxarod, kagani ukve gardacvlili iyo da violinos partia pavel vernikovma Seasrula. ase moxda festivalis kamerulidan simfoniurze gadasvla.

M.T: After a 19-year-long pause, we started the new festival in “another” country, in another social and musical environment. The audience’s tastes had already changed. Today, chamber music is very popular abroad, partly because of the repertoire that is created for this genre. The fact that it is not popular in Georgia is very unfortunate, and this is precisely why we always include chamber music in the program of the festival. Eliso Virsaladze expressly required this! She put Beethoven’s ‘Triple Concerto’ in the program of the festival. For the first concert, she wanted to perform pieces that she used to play with the other founders of the festival. Unfortunately, Kagan had already passed – the violin part was performed by Pavel Vernikov. This is how we shifted from a chamber festival to a symphonic one.

How did the first “new” festival go?

M.K: It felt like it was driven by a force of inertia from the past.

The expectations of the audience, which remembered ‘Keba Vazisa’

rogori Catarda ganaxlebuli pirveli festivali? m.k: TiTqos warsulis inerciiT wavida. im msmenelis molodini, visac Zveli `qeba vazisa~ axsovda, didi iyo.

Cveni jgufisTvis bevrad rTuli Semdegi festivalebi aRmoCnda _ ufro meti unda gvefiqra, Tu ra SegveTavazebina auditoriisTvis, ise rom arc festivalis principebisTvis gveRalata da Tanamedrove moTxovnebic gagveTvaliswinebina. TandaTan gagviCnda SegrZneba, rom sxva funqciac dagvekisra _ msmeneli nel-nela Semogvebrunebina seriozuli, namdvili musikisken. virsalaZis koncertebs da festivalis gaaxsna-daxurvas Tu ar gaviTvaliswinebT, anSlagebi Tavidan ar iyo _ dRes ki bileTs Znelad Tu iSoviT. rogor irCevT Semsruleblebs? m.k: q-ni eliso asaxelebs ramdenime cnobil Semsrulebels, festivalis saxes. solistebi, romlebic CvenTan Camodian misi avtoritetisa da pativiscemis gamo, TiTqmis simboluri honoraris fasadac ukraven. simfoniur, kamerul da solo koncertebTan erTad, gvaqvs vokaluri koncertebic, Tumca yovel wels ara. festivali erTferovani rom ar gaxdes, viTvaliswinebT gasuli wlis programasac. amis Semdeg viwyebT fiqrs Semsruleblebze. eliso virsalaZisTvis profesiulTan erTad, didi mniSvneloba pirovnul Tvisebebsac aqvs da swored es niuansi ganapirobebs festivalis atmosferos.

natalia gutmani / NATALIA GUTMAN

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m.T: meoTxe festivalia rac axalgazrdebis koncertebi davamateT, romlis monawilenic prestiJuli konkursebis laureatebi arian. isini sixaruliT gvTanxmdebian, da Tu im dros maTi koncertebi Cvensas emTxveva, Semdeg festivalze Camosvlis survils gamoTqvamen. ase moxvda Cvens festivalze axalgazrda rumineli pianisti daniel Cobanu, romelic q-n elisos jer braziliaSi moewona, Semdeg rubinStainis konkursze Tel-avivSi. misi TelavSi Camoyvana maSin gadawyvita, roca jer meore turSic ki ar iyo gadasuli.

(“Praise of Vine”, the name of the old festival), were very high. The following festivals turned out much more difficult for our team – we had to think more thoroughly about what to offer to the audience without betraying the principles of the festival, and at the same time, we had to consider new, modern tendencies. Little by little, we felt that we had endorsed an additional function – to return the audience to serious, authentic music.

If we don’t take into account Mrs. Virsaladze’s concerts and the opening and closing performances, there were no full houses in the beginning; today, you can hardly find tickets.

qarTuli musika sruldeba festivalze? m.k: festivals aqvs politika, rom qarTveli Semsruleblebi da qarTuli musika iyos CarTuli festivalSi, magram amosavali CvenTvis xarisxia. Cveni survilia xeli SevuwyoT qarTul profesiul musikas da es yvelaze kargad sagundo musikis magaliTze gamogvdis. pirvel festivalebze vcdilobdiT iseTi Semadgenlobis nawarmoebebi gvepova, romelSic natalia gutmani da eduard bruneri erTad iqnebodnen dakavebulebi. maxsovs, soso bardanaSvils mivmarTeT am TxovniT da aRmoCnda, rom mas hqonda axali nawarmoebi Celosa

How do you choose the performers?

M.K: Mrs. Eliso names a few famous performers, who will be the faces of the festival. Soloists, who come to Georgia thanks to their high esteem for Eliso, perform for an almost symbolic remuneration. Together with symphonic, chamber and solo concerts, we also have vocal ones, though not every year. In order for the festival not to become monotonous, we also take the program of the former year into consideration. After that, we start thinking about the performers. Apart from professionalism, Mrs. Eliso pays a lot of attention to personal qualities, and this is precisely what gives the festival its unique atmosphere.

M.T: This year was the fourth time that we added young musicians’

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da klarnetisTvis, ramac uzomod gagvaxara, didma solistebma erT nawarmoebSi moiyares Tavi. ras da vis iTxovs msmeneli? m.T: mgoni pianistebs. isini mTel msoflioSi ufro popularulebi arian, vidre sxva instrumentalistebi da CvenTan maTi mosmenis kulturac bevrad maRalia. festivalis birTvi mainc is Janri da repertuaria, romelsac eliso virsalaZe asrulebs. igi Tavadac ambobs, rom im repertuarSi, romelic TiTqos yvelas dakruli aqvs da amowurulia, kidev bevria dasakravi, Tundac Sumanis `6 intermeco~, romelic man wlevandel solo koncertze Seasrula. bevrad SezRudulia vTqvaT, Celos da klarnetis repertuari _ gutmans da bruners specialurad uwerdnen naawarmoebebs. masterklasebis Sesaxeb... m.k: q-ni eliso fiqrobs, rom studentis musikaluri aRzrdis TvalsazrisiT koncertTan erTad masterklasic aucilebeli. adre vfiqrobdiT, rom amas ufro

concerts to the festival, and they are all laureates of prestigious competitions. They are happy to come here, and if they cannot do so because of other concerts, they express their wish to perform at the next festival. For instance, young Romanian pianist Daniel Ciobanu performed in Telavi after Mrs. Eliso saw him play first in Brazil, then at the Rubinstein competition in Tel Aviv. She had already decided to invite him to the festival before he had even made it to the second round.

Is there also Georgian music at the festival?

M.K: The festival has a policy of always including Georgian performers and Georgian music, but to us, the most important is quality. Our wish is to support professional Georgian music, and the discipline in which we have the best results is choral music.

During the first festivals, we were trying to find pieces that Natalia Gutman and Eduard Brunner could perform together. I remember that we turned to Soso Bardanashvili, and he happened to have a new piece for cello and clarinet, which made us very happy, because it allowed the two great soloists to combine their talents.

oleg kagani da sviatoslav rixteri / OLEG KAGAN, SVIATOSLAV RICHTER

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formaluri xasiaTi hqonda, magram Cveni Sexeduleba TandaTan Seicvala. vinc erTxel ukve gaiara CvenTan q-ni elisos masterklasi, dResac wlis ganmavlobaSi gvweren da gvTxoven, kvlav gameorebas. Cvens jgufSi Tamar lorTqifaniZes saganmanaTleblo mimarTuleba abaria da is mudmivad fiqrobs saerTaSoriso masterklasebis ideis ganviTarebazec. studentebTan erTad Ria gakveTilebi samusiko skolebis mowafeebsac utardebaT. festivals Sekrebili orkestri hyavs? m.T: esec q-ni elisom gvirCia _ gamocdil orkestrantebTan, diriJorTan studentebis muSaoba praqtikulad, masterklasis tolfasia. es festivalebze miRebuli formaa, Tumca Cven Tavidan ar gvesmoda da gveSinoda kidec. magram gavida dro da vnaxeT, rom Sekrebil orkestrSi erTmaneTisTvis ucnobi musikosebi sul sxva ganwyobiT iwyeben muzicirebas, rac gamoricxavs yoveldRiur rutinas, gamocdili orkestrebis repeticebs rom axlavs Tan. aman bevrad saintereso da moulodneli gaxada musikaluri procesi. bolo wlebia festivalze CarTulia `Tbilisis sinfonietas~ erTi koncerti, romelzec barokos musika sruldeba. Cveni safestivale orkestris birTvsac swored maTi musikosebi warmoadgenen, romlebsac Casaber jgufs vamatebT xolme, ariel cukermani / ARIEL ZUCKERMANN

For what kind of music and which performers does the audience ask?

M.T: I guess they ask for pianists. All around the world, they are more popular musicians than other instrumentalists, and in Georgia, the audience has a high taste for pianists. The festival’s core is the genre and repertoire played by Mrs. Virsaladze. She says herself that there is still a lot to be explored, even in the repertoires that seem to have already been played again and again by every musician – for instance, Schumann’s ‘6 Intermezzo’, which she performed at her solo concert this year. The repertoire for cello and clarinet, for example, is much more limited – composers were creating pieces especially for Gutman and Brunner.

Can you tell us a bit about the masterclasses held at the festival?

M.K: Mrs. Eliso thinks that for the musical development of students, it is necessary to hold masterclasses in parallel to concerts. In the past, we used to think that it was a formality, but our opinion gradually changed. Those who have already attended Mrs. Eliso’s masterclasses at our festival continue to write us throughout the year, and ask us to organize other ones. Tamar Lortkipanidze is in charge of the educational part of the festival, and she is currently working on developing international masterclasses. We also arrange open classes for both students and pupils of musical schools. liza baTiaSvili / LISA BATIASHVILI

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ZiriTadad evropidan. aucileblad unda vaxsenoT gia qobulaSvili, romelic Casaberebis xelmZRvanelia Cvens orkestrSi. diriJoris problema? m.T: es rTuli Temaa. Cveni festivali erTi kviris ganmavlobaSi grZeldeba, orkestri ukravs gaxsnaze da daxurvazec, es imas niSnavs, rom diriJori mTeli kviriT unda Camovides, an Camovides erTi da Semdeg meore. dRes Cveni gundis srulfasovani wevri israelis kameruli orkestris xelmZRvaneli da diriJori ariel cukermania. mas miunxenSi bruno vailis skola aqvs gavlili. igi Zalian gamocdili da energiulia. arielis orkestrTan muSaoba Sedegzec aisaxa.

Tqveni axali proeqti samuzeumo koncertebicaa... m.k: Cveni organizacia, romlis sruli dasaxelebaa `klasikuri musikis dacvis, ganviTarebis da popularizaciis centri~ wels dekembridan samuzeumo koncertebis serias iwyebs. centrisTvis musikis axal sivrceSi gadatana ganviTarebis erT-erTi gzaa. garda

Does the festival have an assembled orchestra?

M.T: This was also something that was advised to us by Mrs. Eliso.

For students, working with experienced orchestra musicians and conductors is like having a masterclass. This is normal for festivals, even though we didn’t understand it at first, and we were even a bit afraid of the result. But time has passed, and we understood that in an orchestra, musicians who don’t know each other perform with a completely different mindset, which pulls them from the routine that they are used to in the rehearsals with ordinary orchestras. This makes the musical process much more interesting and unpredictable.

In recent years, the festival has also included a concert of baroque music by the Tbilisi Sinfonietta. Their musicians are central to our festival’s orchestra, and they are accompanied by a group of wind instrument performers, who usually come from Europe. Let us express our gratitude to Gia Kobulashvili, who is in charge of the wind instruments in our orchestra.

How do you manage to bring such conductors to the festival?

M.T: This is a quite difficult matter. Our festival lasts for a full week, and the orchestra plays at both the inauguration and the closing, which means that the conductor has to come for the whole week, or that one

ioseb bardanaSvili

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conductor has to come for the inauguration, and then another for the closing concert. Today, Ariel Zuckermann, the conductor of the Israeli Chamber Orchestra, is a full-fledged member of our team. He studied in Munich under Bruno Weil, and is very experienced and energetic. Ariel's collaboration with the orchestra has brought wonderful results.

You also have a new project of museum concerts…

M.K: Our organization, the full name of which is ‘Classical Music Preservation, Development and Popularization Center’, is starting a series of museum concerts in December of this year. We think that bringing music in a new type of venue is a way of developing our undertaking. Apart from the Telavi International Music Festival, which remains the main project, we can also arrange other concerts or concert cycles. Alternative spaces can absorb new listeners, who might not be knowledgeable in this field, into the audience that already attends academic concerts.

megi TofuriZe / MEGI TOPURIDZE

Telavis festivalisa, romelic mTavar proeqtad rCeba, SegviZlia sxva koncertebis an koncertebis ciklis gakeTebac. alternatiulma sivrcem im msmenelTan erTad, romelic ukve dadis akademiur koncertebze, SesaZloa axali auditoriac daainteresos, visTvisac jer kidev ucnobia es sfero. idea rogor daibada? m.T: winandalSi q-n elisosTan saubrebisas, xSirad vixsenebdiT xolme `dekembris saRamoebs~, romelsac sviatoslav rixteri `puSkinis muzumSi~ atarebda. q-ni elisosTvis rixteri udidesia avtoritetia. ideis dabadebas xeli imanac Seuwyo, rom Telavis festivalze erT koncerts aleqsandre WavWavaZis saxl-muzeumSi vatarebT xolme. am garemom da koncertebis warmatebam imis impulsi mogvca, rom metzec gvefiqra. m.k: dasavleTSi didi xania patara sivrceebSi ukraven, romelSic scena araa da Semsrulebeli msmenelTan axlosaa. aseTia Tundac La Roque d’Anthéron, sadac q-n elisosac daukravs. es erTgvar `musikalur intims~ qmnis da amgvari praqtika winandalSi ukve gvqonda. ar vapirebT mxolod muzeumebiT SemovifargloT. sxva kulturuli sivrceebis aTvisebac SegviZlia. gadasaWreli mxolod instrumentis problemaa, radgan ori `steinveis~ TbilisSi Camotana, romelic 2010 wels Cvens organizacias SeuZines, rTuli iqneba, Tumca Tu sxva gza ar gamoCnda, asec mogviwevs. pirveli koncertebze vis movismenT? m.T: ciklis dasawyebad saSobao periodi avirCieT, am

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How did this idea come up?

M.T: When talking with Mrs. Eliso in Telavi, we would often remember the December Nights Festival, which Sviatoslav Richter used to hold at the Pushkin Museum. Mrs. Eliso has a lot of respect for Richter. The idea also appeared because we usually arrange one concert of the Telavi Festival in the Alexander Chavchavadze House Museum. This environment and the success of the concerts gave us the impulse to further explore this path.

M.K: In the West, they have been playing in small spaces without stages for a long time, allowing the performer to be closer to the audience. For instance, La Roque d’Anthéron, where Eliso has also performed, is that kind of place. This creates a kind of “musical intimacy”, and we already had the pleasure to experience this kind of practice in Tsinandali. We are not planning to stop at museums, and would like to also use other cultural spaces. The only problem is linked to the instruments themselves, because it will be difficult to bring the two ‘Steinways’ that were offered to our organization in 2010 to Tbilisi; but if there is no other way, we will have to bear with it.

ediSer mesxiSvili, maia kokoCaSvili, eliso virsalaZe EDISHER MESKHISHVILI, MAIA KOKOCHASHVILI, ELISO VIRSALADZE

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xaTuna kokoCaSvili da vaTa jorjikia / KHATUNA KOKOCHASHVILI, VATA JORJIKIA

dros ganwyoba amaRlebulia. pirvel koncerts amerikeli soprano tifani abani gamarTavs `Tbilisis gogonaTa gundTan~ erTad; meore koncerts trio `gaoni~ daukravs germaniidan; Semdeg iqneba amerikeli pianistis endriu taisonis solokoncerti da daskvniT saRamoze msmenelis winaSe mevioline veriko WumburiZe da `saqarTvelos sinfonieta~ warsdgebian. oTxive koncerti janaSias saxelobis saxelmwifo muzeumSi Catardeba. daskvniTi koncertisTvis simbolurad okupaciis muzeumis sivrce avirCieT. imeds vitovebT es seriebi msmenels daainteresebs da momavalSic gagrZeldeba.

Who will be the first performers of these concerts?

M.T: We chose the Christmas period to start the cycle, because people’s mood is heightened during that time. The first concert will be held by American soprano Tiffany Aban, together with the Tbilisi Women’s Choir; the second concert will be played by the trio ‘Gaoni’ from Germany; then we will have a solo concert by American pianist Andrew Tyson, and finally the closing concert, which will be performed by violinist Veriko Chumburidze and the Georgian Sinfonietta. All of these four concerts will take place in the building of the Simon Janashia State Museum. For the closing concert, we symbolically chose the hall of the Occupation Museum.

We hope that this new musical cycle will interest the audience and will continue in the future.

esaubra Salva cxovrebaZe

Interview by Shalva Tskhovrebadze

foto: derek prageri

Photography by Derek Prager

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nino mayaSvilis mogonebebi Nino Makashvili’s memories

tician, nita da nino tabiZeebi

m

emuarebi mwerlobis erT-erTi uZvelesi Janria. is antikur samyaroSi povebs dasabams, Tumca, Janris `siwmindis~ TvalsazrisiT, mis damkvidrebas aRorZinebis xanas ukavSireben. sruliad gansxvavebul, nairgvar interesTa mqone mkiTxvelisaTvis memuarebSi aris raRac _ andamativiT mimzidveli da es, albaT, TviTmxilvelis, warsulis ambebis uSualo Tanamonawilis dakvirvebuli Tvalia. qarTuli memuaruli literaturis simdidriT didad ver davikvexniT, Tumca, didi mwerlebis mier Seqmnili mogonebebi xSirad sityvakazmuli literaturis usaCinoes Zeglebsac utoldeba.

XX saukuneSi, rusuli bolSevizmis samocdaaTwlovanma batonobam, memuarebis areali erTob SezRuda. gamZvinvarebuli cenzura did dabrkolebas uqmnida ama Tu im avtors; simarTlis wera, faqtobrivad, SeuZlebeli iyo, naxevarsimarTle Tu `komunisturad Selamazebuli~ mogonebebi ki bevr gaugebrobas badebda. amitomac, dResac

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M

emoirs are one of the most ancient literary genres. Its origins trace back to antiquity, though in terms of the “purity” of the genre as we know it today, its establishment took place during the Renaissance period.

There is something in memoirs that attracts completely diverse readers of various interests, and it might well be the standpoint of the eyewitness, the watchful observations of someone who was a direct participant of the course of the past.

We couldn’t boast about the richness of the memoir genre in Georgia, but the memoirs of our great writers can often be compared to the most prominent monuments of literature.

In the 20th century, the 70-year-long Russian Bolshevik rule over our country has hindered the creation of memoirs altogether. Strict censorship was creating obstacles to most authors; writing the truth had become practically impossible, while half-truths or “communistically embellished” memories were leading to many misunderstandings.

Therefore, to this day, one has to be scrupulous when analyzing these texts, and if necessary, add relevant commentaries.

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teqstis skrupulozuri ganxilva gvmarTebs da, Tu saWiroa, saTanado komentirebac. mxolod ocdaaTian wlebSi represirebulTa reabilitaciisa da, gansakuTrebiT, e.w. `daTbobis periodis~ Semdeg mieca gasaqani memuarul literaturas (rasakvirvelia, garkveuli kupiurebiT) da manamde miCqmalul epistolur Janrsac. im SemTxvevaSi, Tu uaxloes adamianze wers, avtoris warmatebis sawindari _ sifrTxile, sizuste, pirovnuli taqti gaxlavT. am mxriv sanimuSoa sergo kldiaSvilis mogonebebi did daviT kldiaSvilze, qeTevan javaxiSvilis wigni `mixeil javaxiSvilis cxovreba~, sandro axmetelisa da Salva nucubiZis meuRleTa memuarebi da sxv. swored amgvar avtorTa Sorisaa sagulvebeli utyuari samwerlo niWiT dajildoebuli nino mayaSvili-tabiZe, ticianis, zogadad, misi megobrebis da, kerZod, `cisferyanwelTa~ piruTvneli mematiane. represirebul `cisferyanwelTadmi~ miZRvnil mogonebebSi, didi sinanulisa da gulistkivilis garda, cnobierad Tu aracnobierad, danaSaulis grZnobac SeiniSneba (Tavad xom gadarCnen!). isic unda iTqvas, rom am avtorTa memuarebis gamoqveynebis dros bevri ram kvlav tabudadebuli iyo da isini iZulebulebiT koniunqturas mimarTavdnen _ represirebulT ufro `sabWourad~ warmosaxavdnen, vidre sinamdvileSi iyvnen. es mxolod cenzuris SiSiT da, garkveulwilad, sakuTari Tavis dacvisaTvis ki ar xdeboda, aramed am moRvaweTa Semoqmedebis popularizaciisa da maTi Txzulebebis Seuferxebeli gamocemis mizniT. am mxriv gamonaklisia irakli abaSiZis sicocxlis mimwuxrs dawerili `zarebi ocdaaTiani wlebidan~ (1992 w., `mnaTobi~, #1), romlis gamoqveynebasac avtori ver moeswro. simon Ciqovanis gardacvalebidan mravali wlis Semdeg daistamba mis arqivSi dacul mogonebaTa fragmenti, romelic mweralTa kavSiris avbediT krebaze paolo iaSvilis TviTmkvlelobis sulisSemZvreli epizodis utyuari, irakli abaSiZis zemoxsenebul TxzulebasTan erTad, dRemde yvelaze sando wyaroa... aRsaniSnavia mxcovani grigol robaqiZis ucxoeTSi dawerili memuarebic, paolosa da ticians rom exeba.

Rirssacnobia is garemoeba, rom nino mayaSvili `cisferi ordenis~ wevrebis Rirseul meuRleTa Soris erTaderTi memuaristia. mxolod XXI saukuneSi gamoqveynda Tamar iaSvilis mogonebaTa fragmentebi, ufro godebas rom waagavs da miznad tabudadebuli Temis gamJRavnebas isaxavs. ticianis bed-iRbali didxans iyo gaurkveveli, nino imediT cocxlobda, meuRle gadasaxlebaSi eguleboda. mayaSvilTa da WavWavaZeTa gvaris STamomavali kaxuri qeduxrelobiTa da genetikuri SeupovrobiT uZRveboda

tician tabiZe

It is only in the 1930s, after the rehabilitation of victims of political repression, and especially after the so-called “rapprochement”, that the memoir literature and the previously surreptitious epistolary genre were given room to roam – with some limitations, of course.

When authors write about someone who is very close to them, the key to success is caution, exactitude, and personal tact. In this regard, Sergo Kldiashvili’s writings about the great Davit Kldiashvili, Ketevan Javakhishvili’s book ‘Mikheil Javakhishvili’s life’, as well as the memoirs of Sandro Akhmeteli and those of Shalva Nutsubidze’s wife’s are exemplary. It is among this list of authors that one should see Nino Makashvili-Tabidze, a writer endowed with profound and authentic literary talent, and the impartial chronicler of Titsian Tabidze, his circle of friends, and more particularly, the ‘Tsisperkantselebi’ (“The Blue Horns”, a group of Georgian symbolist poets and writers).

In her memories of the repressed “Blue Horns”, apart from great sorrow, one can also detect a feeling of guilt from the fact that she survived – whether it was inserted consciously or not. We have to note that during the publication of these authors’ memoirs, many subjects were still taboo, and they were forced to play along with the conjuncture – the repressed ones were presented as more “soviet” than they actually were. This wasn’t only due to a fear of censorship and a wish to protect themselves; indeed, it was also a way to popularize the works of these literary figures, with the goal of publishing their compositions more easily. In this regard, Irakli Abashidze’s ‘Bells from the 1930s’ (1992, ‘Mnatobi’, Nº1), which he wrote at the dusk of his life and didn’t get to see published, is a notable exception.

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ojaxs, erTaderTi qaliSvilis, nitas momavalze zrunavda. misi mogonebebi cxel kvalze ar dawerila, amis arc Rone hqonda da arc survili, Tanac im dros xom qaRaldsac ver endoboda kaci. da faqtobrivi cdomilebani, albaT, amiT aris ganpirobebuli. wminda ninos saswavlebeldamTavrebul qalbatons, rusulad ganswavluls, es ena ufro emarjveboda: amitomacaa misi spontanurad Seqmnili mogonebebis dednebi rusulenovani. igi memuarebis gamocemasac ar eSureboda da krebuli `ticiani da misi megobrebi~ mxolod gardacvalebidan meaTe wels, 1985-Si gamoica. nino mayaSvilma sicocxleSi erTaderTi mogoneba gamoaqveyna _ paolo iaSvilisadmi miZRvnili `Cveni avTandili~... `cisferyanwelTa~ pirvelma epataJurma literaturulma saRamoebma ticianis gareSe Caiara, igi moskovis universitetis damTavrebis Semdeg, mxolod 1917 wels dabrunda quTaisSi... da imave wlidan daiwyo misTvis

A fragment of Simon Chikovani’s memoirs kept in his archive was printed many years after his death. Together with Irakli Abashidze’s abovementioned work, this account remains the most reliable source about the harrowing episode of Paolo Iashvili’s suicide during a meeting of the Writers’ Union... Grigol Robakidze’s memoirs, which he wrote abroad and include passages about Paolo Iashvili and Titsian Tabidze, are also noteworthy.

Notably, Nino Makashvili is the only memoirist among the dignified wives of the “Blue Horns” members. Fragments of Tamar Iashvili’s memoirs were only published in the 21st century, but they are closer to lamentations than to the memoir genre, and aim at denouncing a taboo subject.

Titsian’s fate was unknown for a long time, and Nino was hoping that her husband was alive, and only in exile. The descendant of the Makashvili and Chavchavadze families was running the household with Kakhetian humility and genetic perseverance, and looking after the future of their only daughter Nata. Her memoirs were not written then and there, she had neither the energy nor the desire for this –

sxedan: varlam ruxaZe, tician tabiZe, kote mayaSvili, akaki faRava, kote focxveraSvili; dganan: leo qiaCeli, vaxtang kotetiSvili, petre samsoniZe, platon keSelava, iakinTe lisaSvili; Tbilisi, mweralTa sasaxlis baRi.

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pirvel rigSi: simon Ciqovani, aleqsandre quTaTeli; meore rigSi: sandro SanSiaSvili, nikolai tixonov, maria nesluxovskaia-tixonova, ilo mosaSvili; mesame rigSi: meri lorTqifaniZe-quTaTeli, efemia gedevaniSvili-leoniZe, mariam kasraZe-SanSiaSvili, nino mayaSvili-tabiZe, tician tabiZe

axali xana: `cisferi ordenis~ saqmianobaSi Cabma, bohemuri, Tavisufali yofa, Zveli dogmebis msxvreva da amboxi, axali miTologiis Seqmna... am yvelaferze ruseTis imperiis ngrevam da samSoblos damoukideblobis gamocxadebamac imoqmeda. am dros `cisferyanwelebi~, maT Soris ticianic, xan quTaisSi arian, xanac TbilisSi. jer kidev gimnaziaSi damegobrebuli ticiani da masze erTi wliT ufrosi paolo, erTmaneTisagan radikalurad gansxvavebulni (habitusiT, temperamentiT, cxovrebis niriT, muSaobis wesiT, pirovnuli midrekilebebiT), TiTqos avseben erTmaneTs: amaze mogviTxrobs yvela memuaristi. XX saukunis damdegi wlebis karikaturistebic, ZiriTadad, ticianisa da paolos tandems xataven; gansakuTrebiT sainteresoa poloneli mxatvris zigmund (ziga) valiSevskis (`qimerionis~ erTerTi dekoratoris) megobruli SarJi. saqarTveloSi dabrunebuli ticianis cxovrebaSi udidesi roli nino mayaSvilTan Sexvedram iTamaSa. nino Telavis wminda ninos pansionSi swavlisas gaecno Jurnal `cisfer yanwebs~... da misi interesi kidev ufro gamZafrda, roca Tbilisis konservatoriaSi gamarTul am poeturi ordenis pirvel saRamos daeswro.

especially during a period when you couldn’t even trust a sheet of paper. And this is probably where the factual mistakes found in her memoirs come from.

Having studied at the Saint Nino boarding school, Nino Makashvili was educated in Russian, and therefore had a knack for this language, in which she originally wrote her memoirs. She wasn’t in a hurry to publish them, and the collection ‘Titsian and his friends’ were only printed ten years after her death, in 1985.

Only one fragment of Nino Makashvili’s memoirs was published while she was alive – ‘Our Avtandil’, which was dedicated to Paolo Iashvili…

The first of the legendary literary evenings arranged by the “Blue Horns” took place without Titsian Tabidze, as he only returned to Kutaisi in 1917, after finishing his studies at the Moscow University…

And right away, a new era began in his life: getting involved in the “Blue Horns”, a bohemian, free way of living, rebellion and the destruction of old dogmas, the creation of a new mythology… The fall of the Russian empire and the Georgian declaration of independence played an important role in all this. During that time, the “Blue Horns”, including Titsian Tabidze, are sometimes in Kutaisi, and sometimes in Tbilisi. Titsian and Paolo Iashvili, whom he befriended at school and was one year his elder, were radically different (in terms of

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appearance, temperament, way of life, working method, personal inclinations) and seemed to complete each other – every memoirist of the time tells us about this aspect. The caricaturists of the beginning of the 20th century enjoyed painting the Titsian-Paolo tandem; the friendly caricatures made by Pole artist Zigmund “Ziga” Valishevsky (one of the decorators of ‘Chimerioni’) are particularly interesting.

Another thing that changed Titsian’s life after his return to Georgia was his encounter with Nino Makashvili. Nino got acquainted with the magazine 'Blue Horns' while she was studying at the Saint Nino boarding school in Telavi… And her interest grew even stronger when she attended the first evening organized by this group of poets at the Tbilisi Conservatoire. I got to know the “Blue Horns” well, I particularly befriended Paolo, who told me right away that in friendship, he could be like Avtandil (a character of the national Georgian epos distinguished by his loyalty in friendship). His friendship with Titsian and myself has fully substantiated these words.” (Nino Makashvili) It was a time of hardship in Georgia, and poets were struggling to make ends meet. Paolo’s father, pharmacist Jibrail Iashvili, was helping his son less and less, even though Paolo was still saying that he was “living from “Jibo’s” pocket”.

tician tabiZe, 1920-iani wlebi

`cisferyanwelebi~ axlos gavicani, gansakuTrebiT paolos davumegobrdi, romelmac pirvel SexvedrisTanave momaxala, megobrobaSi `avTandilobis~ gaweva ZalmiZso. marTlac misma megobrobam CemTan da ticianTan, savsebiT daadastura es sityvebi~ (nino mayaSvili). am dros saqarTveloSi Zneli droeba damdgariyo, jibegafxekil poetebs uWirdaT, paolosac ukve iSviaTad exmareboda mama, provizori jibrail iaSvili, Tumca igi mainc xSirad ambobda `jerjerobiT jibos jibiT~ vcxovrobo. saqarTvelos damoukideblobis xanmokle periodi, qarTuli kulturis gacocxlebiTa da evropuli orientaciiT gamoirCa. ruseTis revoluciasa da samoqalaqo oms ganridebulma rusma xelovanebma droebiTi bina TbilisSi daides. `tfilisi poetebis qalaqi gaxda~ (gr. robaqiZe). mxatvrebi kirile zdaneviCi, sergei sudeikini, lado gudiaSvili, zigmund valiSevski, daviT kakabaZe erTad muSaobdnen `cisferyanwelTa~ kafe `qimerionis~ moxatvaze. poetebi ilia zdaneviCi, aleqsei kruCionixi, tatiana veCorka, igor terentievi, vasil kamenski, sergei gorodecki, ana antonovskaia da sxv. xsnian patara kafes `фантастический кабачок~, qarTvel poetebTan erTad marTaven poetur saRamoebs, ikribebian `imedSi~, `internacionalSi~, `qimerionSi~, `tfilisSi~; erToblivad tician da nita tabiZeebi

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The short period of Georgian independence was characterized by the revival of Georgian culture and its European orientation. Russian artists who wanted to escape the Russian revolution and civil war temporarily found shelter in Tbilisi. “Tbilisi became the city of poets” (Grigol Robakidze). Artists Kirill Zdanevich, Serge Sudeikin, Lado Gudiashvili, Zigmund Valishevsky, and David Kakabadze were working together on painting the walls of ‘Chimerioni’, the café opened by the “Blue Horns”. Poets Ilia Zdanevich, Aleksei Kruchenykh, Tatiana Vechorka, Igor Terentiev, Wassily Kandinsky, Sergey Gorodetsky, Ana Antonovskaia and others open a small café, the ‘Fantastic Tavern’, and arrange evenings dedicated to poetry together with Georgian poets; they gather in ‘Imedi’, ‘Internatsionali’, ‘Chimerioni’, ‘Tfilisi’; they work together on several magazines, including ‘Ars’ and ‘Б’.

Bohemian life turned out to be difficult for Nino Makashvili: she got tuberculosis, and was sent first to Abastumani, then to Kakheti in order to heal. After two years, on the 14th of January 1920, Nino and Titsian Tabidze got married in Tbilisi. Their wedding took place in Nino’s uncle’s apartment, and… “The whole wedding expenses were paid by Paolo, while he himself was wearing torn up trousers” (Nino Makashvili). The groom got a pneumonia on the day of the wedding, and the newlyweds had to spend their honeymoon in a hospital – with Nino and Paolo in the role of the “Sisters of Mercy”.

nino mayaSvili-tabiZe, nita tabiZe, barbare maySvili

TanamSromloben JurnalebSi `Ars~, `Б~ da sxv. ninosTvis bohemuri cxovreba `mZime~ aRmoCnda, Wleqi Seeyara da samkurnalod jer abasTumanSi, Semdgom ki kaxeTSi gaagzavnes. ori wlis Semdeg, 1920 wlis 14 ianvars nino da ticiani TbilisSi daqorwindnen, qorwili ninos biZis binaze gadaixades da... `mTeli qorwilis xarji paolom gaiRo, Tavad ki daxeuli Sarvali ecva~ (nino mayaSvili). siZe imave dRes filtvebis anTebiT gaxda avad da axladdaqorwinebulebma `Taflobis Tve~ saavadmyofoSi gaatares, saTnoebis debis rols nino da paolo iTavsebdnen. zafxuli baTumSi gaatares, swored maSin gaiges ticianma da nikolo miwiSvilma, rom iqaurma xelisuflebam yirimidan gemiT gamoqceuli osip mandelStami daakava, rogorc `bolSevikebis agenti~ da rom ara qarTveli poetebi, mas daxvreta eloda. mandelStami, romelic imJamad mawanwalas ufro hgavda, vidre poets, TbilisSi moRonierebuli da qarTveli megobrebis mier Cacmul-

nita tabiZe

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daxuruli, male mSvidobiT gaamgzavres moskovs.

1921 wlis 14 ianvars maTi erTaderTi qaliSvili taniti (nita, _ taniti floberis `salambos~ personaJis xaTriT daarqves) daibada. TbilisSi ukve `wiTeli eSmakis~ landi daZrwoda: bolSevikurma rusulma jarma alyaSi moaqcia dedaqalaqi, axlovdeboda 25 Tebervali. miuxedavad didi msxverplisa, Tbilisis SenarCuneba mTavrobam ver SeZlo da matarebliT baTums gaiqca, raTa zRviT gasuliyo evropaSi. qalaqi panikam moicva. generali mazniaSvili igonebs: `sadgurSi mgzavrTa Soris SevamCnie... paolo iaSvili, tician tabiZe, levan metreveli. eseni movidnen CemTan da rCeva mTxoves... _ Tqven dauyovnebliv unda waxvideT mowinaaRmdegesTan, unda uTxraT, rom saqarTvelos mTavrobam da misma jarebma tfilisi datoves da TxovoT miiRon zomebi, rom xalxis naZirala elementebma ar isargeblon areulobiT da Zarcva-glejas ar mihyon xeli~. paolom saswrafod Seqmna cxenosani axalgazrdebis razmi, romelic jer kidev jaris Semosvlamde akontrolebda

tician da nino tabiZeebi

dganan: galaktion tabiZe, tician tabiZe, arCil miqaZe; sxedan: sergei gorodecki, nino mayaSvili-tabiZe, besarion lominaZe

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They spent the summer in Batumi, where Titsian and Nikolo Мitsishvili learned that the local authorities had arrested Osip Mandelstam, who had fled Crimea on a boat, on charges of being a “Bolshevik spy”. If it weren’t for the Georgian poets, he would have been executed. Mandelstam, who looked more like a vagrant than a poet upon his arrival, regained energy in Tbilisi, where he was looked after and dressed by his Georgian friends, who sent him to Moscow as soon as he had recovered.

On the 14th of January 1921, their only daughter Taniti (or “Nita” – they named her after the deity in Flaubert’s ‘Salammbô’) was born. The shadow of the “red demon” was already prowling towards Tbilisi: the Russian Bolshevik army surrounded the capital, sometime before the 25th of February. Despite many losses, the government didn’t manage to save Tbilisi, and officials fled to Batumi by train, so that they could reach Europe by sea. The city was in panic.

As general Mazniashvili recalled: “Among the passengers at the station, I noticed Paolo Iashvili, Titsian Tabidze, Levan Metreveli.

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qalaqis ubnebs, Semdeg, galaktion vaSaZesTan erTad, TeTri droSiT, gaeSura bolSevikebis qarTvel politikur meTaurebTan Sesaxvedrad. quTaisis gimnaziaSi swavlis dros zogi maTgani ticiansa da paolosTan megobrobda. imxanad marTlac didi iyo paolosa da ticianis damsaxureba, rasac mravalni gvidastureben. axalma mTavrobam, isev ticianisa da paolos ZalisxmeviT, Sexvedra gamarTa Tbilisis xelovanebTan, gadasca maT sarajiSviliseuli (imxanad akaki xoStarias kuTvnili), _ axlandeli `mweralTa saxli~. ubinao xelovanebi droebiT sacxovreblad iqve Seasaxles (ticiani, paolo, galaktioni, meliton balanCivaZe da sxv.); Tumca ninom Cvil bavSvTan erTad uxerxulad miiCnia iq yofna da biZamisTan dabinavda, griboedovis 18 nomerSi (sadac axla ticianis saxl-muzeumia).

1924 wlis SeTqmulebis arnaxuli sisastikiT CaxSobis Semdeg sabolood damarcxda Tavisuflebis iluzia totalitarul saxelmwifoSi: `cisferyanwelTa~ periodika

tician tabiZe da valerian gafrindaSvili

Tamar oqromWedliSvili-iaSvili, mariam kasraZe-SanSiaSvili, nino mayaSvili-tabiZe, efemia gedevaniSvili-leoniZe

They approached me and asked me for advice… – I told them that they had to go to the enemy at once, to tell them that the Georgian government and its army had left Tbilisi, and ask them to take measures so that the lowlife elements of the society didn’t take advantage of the chaos to start plundering.” Paolo had created a mounted squad of young men that was controlling the city’s neighborhoods even before the invasion of the army. Afterwards, together with Galaktion Vashadze and bearing a white flag, he approached the Georgian political leaders of the Bolsheviks. Some of the latter were his schoolfriends in Kutaisi. The great role Paolo and Titsian have played during the Bolshevik invasion is attested by many.

Thanks to Titsian and Paolo’s efforts, the new government organized a meeting with Tbilisi’s artists, and handed them Sarajishvili’s house, which was then under the property of Akaki Khoshtaria, and which we now know as the “Writer’s House”.

The homeless artists temporarily settled there (Titsian, Paolo, Galaktion, Meliton Balanchivadze and others), but Nino felt uncomfortable living there with her baby daughter, and moved to her uncle’s place, on Griboedov Street #18 (the current housemuseum of Titsian).

After the unbelievably severe repression of the August Uprising in 1924, the hopes for freedom from the totalitarian regime were vanquished for good: if not de jure, the periodical of the “Blue Horns” was de facto prohibited.

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boris pasternaki, zinaida neihaus-pasternaki, nino tabiZe

de-iure Tu ara, de-faqto aikrZala.

Tumca, paolo da ticiani kvlav `siamis tyupebad~ rCebodnen, maSinac, roca 1935 wels `mnaTobSi~ `faSisti~ robaqiZis CekaSi SeTiTxnil `SeCvenebaze~ iZulebiT moawerines xeli.

1936 wels isini megzurobas uweven saxelganTqmul frang mwerals andre Jids, erT dros simpaTiiT rom iyo ganmsWvaluli sabWoTa kavSirisadmi. poetebi mas arafers umalavdnen, rac Semdeg `TavSi sacemi~ gauxdaT: ssrk-dan dabrunebuli xiblgafantuli frangi kritikul narkvevs aqveynebs. `Senma frangulma dagRupao~, _ uTqvams berias paolosTvis. ticiansac, mweralTa kavSirSi Tu Cekas jurRmulebSi mravalgzis wamoaZaxes JidTan urTierToba.

1937 wlis TebervalSi puSkinis iubileze, did TeatrSi, ticianma STambeWdavi sityva warmoTqva. amave wlis martSi leningradSi mis literaturul saRamoze misalmebebiT gamovidnen mwerlebi da mTargmnelebi: tixonovi, tinianovi, fedini, livSici, zabolocki da sxvani. bedis ironiiT, samSobloSi dabrunebul triumfators 27-30 maiss mweralTa kavSiris prezidiumis sxdomaze, paolosTan erTad, sastiki dakiTxva mouwyves, sTxovdnen

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But Paolo and Titsian remained as “Siamese twins”, even when in 1935, they were forced to sign charges trumped up by the Cheka against the “fascist” Robakidze in the magazine ‘Mnatobi’.

In 1936, they acted as guides for renowned French writer André Gide, who was briefly sympathetic to the Soviet Union. The poets didn’t hide anything from him, and they would bitterly regret it: upon his return from the USSR, the disillusioned Frenchman published a critical essay. “Your French ruined you” – Beria said to Paolo. Titsian too would often be reprimanded for his relation to Gide, at the Writers’ Union or in the Cheka’s basements…

In February of 1937, during a commemoration ceremony dedicated to Pushkin at the Bolshoi Theater, Titsian addressed a memorable speech. In March of the same year, in a literary evening he was holding in Leningrad, writers and translators such as Tikhonov, Tynyanov, Fedin, Livshits, Zabolotsky saluted him.

In a twist of fate, after his triumphant travel to Russia, during the presidium assembly of the Writers’ Union in Tbilisi, they arranged a harsh interrogation session for Titsian and Paolo, in which they demanded them to express repent for their “mistakes”. A former “Blue Horn” addressed Titsian with obscene words about an early poem he dedicated to the “fascist” Grigol Robakidze. Titsian was

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`Secdomebis~ monaniebas. ticians uSverad mimarTavs erTi yofili `cisferyanweli~, `faSist~ grigol robaqiZisadmi miZRvnili adrindeli leqsis gamo. ticiani gaognebulia: `amis Sesaxeb vTqvi, rom Semcdari var, amaze ilaparaka demetraZem, buaCiZem. ufro did dawesebulebaSic iyo saqme. gamoirkva, rom es SegnebiT ar miqnia. me is movinanie. aqac vTqvi, ra gindaT, virtya TavSi?~ 2 ivniss daapatimres `cisferyanweli~ nikolo miwiSvili, misi bedi ucnobi iyo, Tumca eWvobdnen, _ daxvriteso (da marTlac dauxvritavT 13 ivliss). berias xrikebiT ganawamebma da Seuracxyofilma paolom 22 ivliss, mweralTa kavSirSi krebis msvlelobisas sxdoma datova da meore sarTulze gadanaxuli sanadiro TofiT Tavi moikla. TviTmkvleloba demonstraciul `provokatorul aqtad~ CaiTvala, es iyo beriasTvis gawnili sila. krebaze myof ticians am ambavma bolo mouRo: simon Ciqovanis mogonebiT, igi ver mivida megobris sanaxavad. am Semzaravi ambis gagebisas erTi xmamaRla wamoiyvira, `vaime, Zmao paoloo!~, muxli moekveTa, skamze davarda da ukve xmadabla, TiTqmis CurCuliT gaiZaxoda, _ `vaime, paolo~... ciliswamebaTa niaRvarma da gaurkvevlobam, sazareli atmosfero Seqmna. paolos `konspiraciul~ dakrZalvaze mxolod kolau nadiraZem gabeda daswreba.

nita da nino tabiZeebi

appalled: “I’ve already said that it was a mistake, Demetradze and Buachidze have also spoken about this. This case was already examined in higher instances. It was decided that I didn’t do it on purpose. I repented for that. I’ve said it here too, so what do you want now, do you want me to start punching myself?”

On the 2nd of June, they arrested “Blue Horns” member Nikolo Mitsishvili. His fate is unclear, but they were guessing that he was put to death – and they were right, as he was executed on the 13th of July.

On the 22nd of July, tortured and insulted by Beria’s dirty tricks, Paolo left the meeting session of the Writers’ Union and killed himself with a hunting rifle he was hiding on the second floor. The suicide was considered to be a “demonstrational provocation” – it was a slap in the face of Beria. Titsian, who was present at the meeting, was devastated: as Simon Chikobava recalls, he couldn’t go up to see his friend. Upon hearing the news, he shouted out loud, “Oh dear! Brother, Paolo!”, fell on his chair, and then in a low voice, almost whispering, he muttered again – “Oh dear, Paolo”… nino tabiZe da boris pasternaki

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SiSiT, depresiiT gaTanguli ticiani, erTxans saxlidan ar gamodioda. Tumca, 12 seqtembers Tavs Zala daatana da nirwamxdari, dasustebuli wiwamurSi mweralTa kavSiris `RonisZiebas~ daeswro: im Savbnel fonze ilias asi wlisTavisTvis obeliskis aRmarTvac ki cinizmad da farisevlobad aRiqmeboda. ticiani ganwirulia: 30 seqtembers `literaturul saqarTveloSi~ misi poeziis gamanadgurebeli werili daibeWda, saTauriT `politikuri gaxrwnis WaobSi~.

8 oqtombers gamoiZaxes mweralTa kavSiris sxdomaze (Tavmjdomare _ kandid Carkviani); sxvaTa Soris, garda andre JidisaTvis `jaSuSuri~ informaciis miwodebisa, Ralatad CauTvales litvel simbolist poetTan iurgis baltruSaitisTan urTierToba. `1917 w. me, tician tabiZem, maSin moskovis universitetis studentma gavicani baltruSaitisi, rogorc poeti. 1924 w. moskovSi viyavi baltruSaitisTan, romelic maSin ssrkSi litvis elCi iyo. vsaubrobdiT, rom mas gadaeTargmna rusTaveli. araviTar jaSuSur saqmianobas me masTan ar veweodi~ _ ticianis wrfeli pasuxi aravis ainteresebda, imave sxdomaze dadginda: `tician tabiZe gairicxos sabWoTa mwerlebis kavSiris rigebidan~. verdiqti ukve gamotanilia da ticiani yovel wams elis dapatimrebas. mwerlis meuRle SesCivis axlobels, _ gaurkvevlobam gagvawama, Rameebs TeTrad vaTenebT; paolos xom moakvlevines Tavi, vSiSob, igive ar Caidinos ticianma, amas jobs daapatimrono. `axlobelma~ ninos naTqvami iq miitana, sadac jer ars. 9 oqtombers poeti daapatimres rogorc `nacionaluri da kontrrevoluciuri organizaciis aqtiuri wevri, safrangeTis jaSuSi sabWoTa kavSirSi~.

Cekas jurRmulebSi, wamebiT gamoZaluli `aRiarebiTi Cvenebebi~ ticianis xelmoweriT, _ sruli absurdia. nino mayaSvili kaxeTSi gatarebul uzrunvel bavSvobasTan erTad (`cisartyela ganTiadisas~), ticianis mSobliuri ojaxsa da mis sayvarel WyviSsac ixsenebs (`orpiri~). uaRresad araordinarulia sergei eseninis, boris pasternakis, andrei belis, ovanes Tumanianis da sxva megobari poetebis avtoriseuli portretebi; eqscentruli da Wirveuli geniosis andrei belis orkvirianma stumrobam nino lamis nervul Setevamde miiyvana (mis memuarebSi es epizodi ganumeorebeli xibliT da iumoriT gamoirCeva). moskovSi myofi paolo iaSvilis gacnobiT, saTave daedo pasternakis uangaro da uRalato Zmadnaficobas qarTvel poetebTan: 1931 wels paolom dauviwyari, zRapruli zafxuli da Semodgoma gaatarebina saqarTveloSi imJamad usaxlkaro, miusafar, TiTqmis yvelasgan gakicxul momaval col-qmars (zinaida nikolaevna maSin ganTqmuli pianistis genrix neihausis meuRle iyo). amave zafxuls daaxlovdnen ticianisa da pasternakis ojaxebi. `mogonebani pasternakze~ ninos wignis yvelaze amomwuravi da vrceli narkvevia. am legendarul urTierTobaze

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The torrent of slander and opacity created a dreadful atmosphere. Kolau Nadiradze was the only one who dared to attend Paolo’s “clandestine” burial.

Exhausted by fear and depression, Titsian didn’t leave his home for a while. Finally, on the 12th of September, he mustered up his strength, and anemic and weak, he attended an “event” of the Writers’ Union in Tsitsamuri. In these horrid circumstances, even the erection of an obelisk for the 100 years after the birth of Ilia Chavchavadze was just a cynical and hypocritical act.

Titsian is doomed: on the 30th of September, an article condemning his poetry is published in the magazine ‘Literary Georgia’, with the title “In the swamp of political decay”. On the 8th of October, he is summoned to the meeting session of the Writers’ Union (chairman – Kandid Charkviani); apart from accusing him of providing sensitive information to Gide, they charge him with treason because of his friendship to Lithuanian symbolist poet Jurgis Baltrušaitis.

“In 1917, I, Titsian Tabidze, then a student at the Moscow University, got to know Baltrušaitis, who was introduced to me as a poet. In 1924, in Moscow, I visited Baltrušaitis, who was then the Ambassador of Lithuania in the USSR. We were talking about him possibly translating Rustaveli. We didn’t carry out any espionage activities together.” – Titsian’s sincere answer didn't interest anyone, and it was decided on the meeting that he had to be expelled from the ranks of the Writers’ Union. The verdict was clear, and Titsian was expecting to be arrested at any moment.

The writer’s wife complains to a friend of hers – “We are tortured by not knowing what will happen, our nights are sleepless; they made Paolo kill himself, and I fear that Titsian might do the same, I would even prefer them to arrest him.” The “friend” spread the word to the authorities, and on the 9th of October, they arrested the poet for charges of being “a nationalist and an active member of a counterrevolutionary organization”, as well as “a spy for France in the Soviet Union”.

The “confessions” signed by Titsian under torture in the Cheka’s basements are completely absurd.

Together with her carefree childhood spent in Kakheti (‘Rainbow at dawn’), Nino Makashvili also remembers Titsian’s family and his village Tchkvishi (‘Orpiri’). Her portrayals of Sergei Yesenin, Boris Pasternak, Andrei Bely, Ovanes Tumanyan, and other poet friends are extremely original; the two-week visit of eccentric and troublesome genius Andrei Bely almost gave a heart attack to Nino – this episode of her memoirs stands out with its inimitable charm and humor.

After meeting Paolo Iashvili in Moscow, Pasternak started a selfless and devoted friendship with Georgian poets: in 1931, Paolo made the future spouses (at that time, Zinaida Nikolaevna was the wife of famous pianist Heinrich Neuhaus), who didn’t have a roof and were rejected by almost all their acquaintances, spend an unforgettable, fairy-tale-like summer and autumn in Georgia. Titsian and Pasternak’s families also became friends

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melita ColoyaSvili da tician tabiZe

bevri ram iTqmis: amjerad, maTi siaxlovis dasturad mxolod imas vityvi, rom Wirsa Tu lxinSi, isini bolomde erTad iyvnen, pasternaki Tavis movaleobad Tvlida ezruna ticianis ojaxze, Tavis mxriv, usazRvro iyo ninos erTgulebac; igi xSirad stumrobda peredelkinos, SeZlebisdagvarad aduRabebda maT ojaxs (cnobilia `siyvarulis samkuTxedi~ _ pasternaki, zinaida nikolaevna da olga ivinskaia), zinaida nikolaevnasTan erTad uvlida sneul boris pasternaks, maT gverdiT iyo didi poetis aRsrulebis Jamsac.

Turme ninosac ar ewera didi dRe: didxans iyo mijaWvuli sarecels, didxans ebrZoda sikvdils warbSeuxrelad... gardaicvala 1965 wlis aprilSi, dakrZales didubis panTeonSi. giorgi leoniZis gamosaTxovari sityvidan: `ar viciT, sad wevs ticiani, Tumca misi saboloo mamuli unda didubis miwa yofiliyo da amitomac Sen wvebi am miwaSi ticianis magivradac da am udrood gaTxril erT saflavSi amieridan CvenTvis ori samare iqneba _ ninasi da ticianis~.

during that summer. ‘Memories of Pasternak’ is the longest and most comprehensive part of Nino’s book. There are many things to say about this legendary relation, but it will suffice to know that in good or bad times, they were always together; Pasternak thought of looking after Titsian’s family as an obligation, and in return, Nino’s loyalty was just as flawless. She would often visit them at their dacha in Peredelkino, and was doing her best to keep their family together (it was in jeopardy because of the famous “love triangle” Pasternak – Zinaida Nikolaevna – Olga Ivinskaya), was helping Zinaida in looking after the ailing Pasternak, and was at their side when the great poet passed.

Nino didn’t have long to live either. She was lying on her deathbed for a long time, brazenly defying death… She passed in April of 1965, and was buried in the Didube Pantheon.

These were Giorgi Leonidze’s farewell words: “We don’t know where Titsian rests, but it should have been this Didube soil, and therefore you will lie here instead of him, and in this one untimely dug grave, there will always be the remains of two persons for us – those of Nina and those of Titsian.”

lali avaliani

Lali Avaliani

fotomasalis mowodebisTvis madlobas vuxdiT nini andriaZes

Special thanks to Nini Andriadze for providing the photographs

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qalaqi qalaqSi A CITY IN THE CITY raSi gvWirdeba istoria? an ukeTesia vikiTxoT _ rogori istoria gvWirdeba? istoria mravalgvaria da es imaze migviTiTebs, rom mas mravalferovani gamoyeneba da sazrisi SeiZleba hqondes. is mxolod ambavi araa da ufro farTo mniSvneloba aqvs adamianis, qveynis da kacobriobis TviTSemecnebis procesSi. Tavad es procesi ki, aseve ar aris mxolod da mxolod mWvretelobiTi, mas praqtikuli daniSnuleba da ganzomilebac aqvs. asevea arqiteqturaSic. misi istoria ar unda daviyvanoT `ambavis” ubralo daswavlaze, is ufro metad samomavlo moqmedebisTvis mzadebad unda moviazroT. arqiteqtori Tavisi saqmis istorias imisTvis swavlobs, rom erTi SexedviT warsulis sakuTrebaSi myofi, saukunovani gamocdileba awmyod aqcios, Semdeg ki momavals SeanivTos. ilia WavWavaZe ambobda, rom saqarTvelos istoria, mxolod mefeebis istoriaao. amaSi albaT, imas gulisxmobda, rom TanamedroveobaSi ver iarsebebs qveyna, romelic mxolod omebis, Setakebebis, gmiruli ambebis aRweriT, istoriografiiT kmayofildeba.

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Why do we need history? Or to put it in another way – what kind of history do we need?

History is manifold, pointing to the fact that it can have various functions and meanings. It is not a mere story, and is of broad importance to the self-realization process of individuals, countries, and humanity as a whole. As for this process itself, it doesn’t only come down to contemplation, and has a practical dimension and purpose.

The same goes for architecture. Its history shouldn’t be reduced to the simple learning of “stories”, and should be considered more as a way to prepare for future steps. Architects learn the history of their discipline in order to transform a centuries-long experience, which seemingly belongs to the past, into the present, and then make it ready it for the future.

Ilia Chavchavadze used to say that the history of Georgia is no more than the history of its kings. By this, he probably meant that in the modern world, a country satisfied by a historiography that only consists in describing wars, battles and heroic deeds couldn’t last long.

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istoria, rogorc zemoT aRvniSneT, bevrnairi SeiZleba iyos da mas udidesi mniSvneloba aqvs qveynis awmyosa da momavlisTvis, radgan warsulisagan Sobili awmyo (isev ilias Tu davesesxebiT, romelic am citatiT Tavis mxriv laibnicisganaa davalebuli) momavlis mSobelia. mefeebisa da mTavrebis sagmiro saqmeebis aRwera, marTlac saintereso da TavSesaqcevi ram rom aris, amaze arc aravin kamaTobs; magram Tu momavalze unda vifiqroT, mxolod amgvari saqmeebis aRweriT fons ver gavalT. TanamedroveobaSi yvelafers Tavisi istoria aqvs, da ama Tu im saqmis mesveurnic aucileblad swavloben mas, cdiloben gaigon ra, rodis da ratom moxda, maincdamainc ase da ara sxvagvarad. arqiteqtura yvelaze praqtikuli xelovnebaa, imdenad praqtikuli, rom adamianebi iSviaTad miiCneven mas marTlac xelovnebad: is, Cvens warmodgenaSi, raRac ganyenebuli da abstraqtulia. amis mizezi, garda praqtikulobisa, mis koleqtiurobaSicaa: mas uamravi adamiani qmnis _ arqiteqtori, inJineri, mSenebeli, saqmeTmwarmoebeli, muSa, damkveTi da bolos is adamiani vinac sabolood unda icxovros an imuSaos am nagebobaSi. am mizezTa gamo arqiteqtura isea Cvens yoveldRiurobasTan Sezavebuli, rom rTulia masSi xelovnebiseulis aRmoCena. magram Tu kargad davfiqrdebiT, vnaxavT, rom arqiteqturaSi monawile subieqtebis zemoT moyvanili CamonaTvali arc ise srulia: Cven ori Zalian mniSvnelovani monawile gvaviwydeba _ saxelmwifo da sazogadoeba... miuxedavad imisa, aris Tu ara saxelmwifo qalaqis dagegmarebisa da mSeneblobis procesSi aqtiurad CarTuli, igi mainc did gavlenas axdens arqitetquraze _ samwuxarod, arafris keTebac erTgvari `keTebaa~. yvela epoqas axasiaTebs Taviseburi arqiteqturuli stili. stili ki sxvadasxva politikur Tu socialur cvlilebasTan erTad gardaiqmneba. magaliTad, Zvel TbilisSi aRmosavluri arqiteqturis gavlena igrZnoba; XIX da XX saukunis dasawyisidan, modernis stili Semodis, axali yaidis saxlebi igeba da axleburi cxovreba iRebs saTaves; samocian wlebSi sulac e.w. xruSCovkebis mSeneblobis era dgeba; dRevandeli mdgomareobiT ki TbilisSi absoluturi samSeneblo qaosia. am qaoturobis erT-erTi mizezi ki SeiZleba isic iyos, rom arqiteqturul procesSi CarTuli xalxi kargad ar icnobs da ikvlevs qalaqis istorias (rac magaliTad imaSi gamoixateba, rom istoriul nawilad mxolod Zveli Tbilisi da misi Semogareni ganixileba, axladaSenebul ubnebs ki ise uyureben, TiTqos istoriuli gamocdilebis miRma idgnen). swored amis gamo Cveni qalaqi, romelSiac umaravi mSenebloba gugunebs, gaugebrad viTardeba.

Zveli Tbilisis Sesaxeb mravali gamokvleva arsebobs, magram axali ubnebis kvlevas saTanado mecnieruli yuradReba jer ar miqcevia. swored am xarvezis

As we have mentioned above, history can be manifold, and is of great importance for a country’s present and future, as “the present is saturated with the past and pregnant with the future” (if we allow ourselves to borrow Ilia Chavchavadze’s words again, who himself took this citation from Leibniz). Nobody disputes the fact that the description of the heroic deeds of kings and lords is something interesting and diverting; but if we have to think about the future, we won’t go far by contenting ourselves with describing heroic deeds.

In today’s world, everything has its own history, and the authority figures of this or that discipline always learn it, try to understand what happened when and why, and why in that way and not another.

Architecture is the most functional art. It is so functional that people seldom notice that it is actually art: in our representation, it is something conceptual and abstract. The reason for this, apart from its functionality, is its collective nature: it is created by numerous people – architects, engineers, constructors, foremen, workers, and finally, the person who will eventually live or work in that building. Because

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gamosasworeblad axalgazrda qarTvelma arqiteqtorebma TinaTin gurgeniZem, naTia kalandariSvilma, oTar nemsaZem da gigi SukakiZem, Tbilisis pirveli arqiteqturuli bienales mowyoba gadawyvites. bienale (rogorc es misi saxelidanac Cans) or weliwadSi erTxel tardeba.

Tumca sawyis etapze, bienales organizatorebisTvis ramdenime mniSvnelovani sakiTxi dadga _ ra unda gamxdariyo pirveli bienales Tema da Tbilisis romel nawilSi gamarTuliyo. bevri fiqrisa da kamaTis Semdeg gadawyvites, qalaqis ganapira, `mitovebul~ ubnebs miqceoda yuradReba; iq sadac arqiteqturam Tavdapirveli Canafiqrisgan gansxvavebiT, absoluturad sxva saxe miiRo da mis araformalur mimarTulebad iqca. amis saukeTeso magaliTad maT gldani miiCnies, sadac oTxmociani wlebis bolodan, sacxovrebel saxlebze miSenebebis Zlieri talRa wamovida. bienales devizadac sakmaod gabeduli sityvebi _ `mxolod Senobebi ar kmara~ _ iqca. gldani is ubania, romelic sabWoTa kavSiris daSlamde cotaTi adre, qarxana-fabrikebis muSa-mosamsaxureebisTvis gaSenda. am axal ubanSi mSenebloba, axali teqnologiebiT daiwyes _ samSeneblo masalad ara agurs, bloks, an Tundac qvas iyenebdnen, aramed korpusebs, pirdapir

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of these reasons, architecture is so integrated with our everyday lives that it becomes difficult to discern something related to art in it. But if we take a deeper look, we will see that our list of the people involved in architectural processes isn’t complete: we forgot two very important participants – the state and the society… Regardless of whether or not the state is actively involved in the process of planning and construction, it still has great influence on architecture – and unfortunately, passivity brings results too.

Each epoch is characterized by its own architectural style. As for styles themselves, they transform according to various political or social changes. For instance, one can feel the influence of oriental architecture in Tbilisi’s old town; from the 19th century and the beginning of the 20th, the modern style comes in, new kinds of houses are built, and a new way of life begins; in the 1960s, the era of the so-called “Khrushchyovkas” begins; and today, Tbilisi is experiencing absolute chaos in terms of construction.

One of the reasons behind this chaos might be that the people involved in architectural processes don’t have good knowledge or don’t study the city’s history (for instance, this shows in the fact that the capital’s historic part is considered to consist solely of the old town and its surrounding areas, while newly built districts are regarded as lacking the experience of any history). This is precisely

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sawarmoSi damzadebuli konstruqciebiT, `legosaviT~ awyobdnen. ra Tqma unda, es yvelaferi sabWoTa politikiT iyo ganpirobebuli, romelic ukve nikita xruSCovis droidan, moqalaqeebis sacxovrebliT uzrunvelyofaze iyo orientirebuli da sabinao problemis mogvarebas isaxavda miznad. sacxovrebelSi da sacxovrebliT uzrunvelyofaSi, pirvel rigSi, mobinadreebis sabaziso moTxovnilebebiT dakmayofileba igulisxmeboda. amis gamo, gldanSi da sxva axal dasaxlebebSi, erTmaneTis identuri korpusebi Sendeboda, romlebSic sacxovrebeli pirobebic identuri iyo _ Tuki arsebobda erToTaxiani binis proeqti, es imas niSnavda, rom yvela erToTaxiani bina, erTmaneTis msgavsi unda yofiliyo. aseve identuri unda yofiliyo oroTaxiani, samoTaxiani Tu oTxoTaxiani binebic. adamianTa cxovreba gareubanTa umetesobaSi da maT Soris gldanSic standartizebuli gaxda.

Tumca `perestroikis~ Semdeg bevri ram Seicvala _ oTxmocian wlebSi sabWoTa kavSirSi mobinadreebs ufleba misces korpusebisTvis mcire zomis miSenebebi miedgaT. swored aqedan daiwyo is procesi, romelic, mogvianebiT qaosSi gadaizarda da Cveni qveynis uaxlesi istoriis erTerT mniSvnelovan da saintereso `movlenad~ iqca.

why our city, which is in the midst of a construction boom, is developing in a chaotic way.

There are many studies about Tbilisi’s old town, but proper scientific research about new neighborhoods still needs to be carried out. It is in order to compensate this void that young Georgian architects Tinatin Gurgenidze, Natia Kalandarishvili, Otar Nemsadze and Gigi Shukakidze have decided to organize Tbilisi’s first architectural biennial. As the word biennial suggests, this event will take place every second year.

During the beginning stages, the organizers had several important decisions to make – primarily, the theme of the first biennial and in which part of Tbilisi it would take place. After a lot of pondering and discussion, they settled on bringing focus to the peripheral, “discarded” districts of the city – to the places where despite original intentions, architecture acquired a totally different aspect, and took an informal form. They deemed Gldani, where a significant wave of “extension building” (self-made structures added to existing buildings) started in the end of the 1980s, to be the best example of this phenomenon. This is where the bold motto of the biennial came from: “Buildings are not enough”.

The district of Gldani was built not long before the collapse of the Soviet Union for the workers and employees of factories. They started

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constructing this new neighborhood with new technologies – they didn’t use bricks, blocks, or stone as material, but were assembling buildings directly from prefabricated constructions, just like “legos”.

Naturally, all this was conditioned by soviet policies, which were oriented, starting from the Nikita Khrushchev period, towards the provision of living spaces for citizens, and was aiming at addressing the housing problem. Providing living spaces chiefly meant satisfying the basic needs of residents. Therefore, the buildings that were built in Gldani and in other new settlements were identical, as were the living conditions – for instance, if there was a project of a building with one-room apartments, it meant that all the oneroom apartments had to be exactly the same. The same goes with two, three, and four-room apartments. In most peripheral districts, including Gldani, the lives of individuals became standardized.

But many things changed after the Perestroika – in the Soviet Union of the 1980s, when they gave residents the permission to build small extensions to the buildings. This was the start of a process that would turn into chaos and become one of the important and interesting “phenomena” of our recent history.

When we remember the 1990s, the first thing that usually comes to mind is the civil war, cold, and hunger, but taking a closer look at Gldani’s architectural history will allow us to better understand the hardships of this period. This is the time when the control of the state over constructions and the abovementioned extensions decreases, and eventually disappears…

In general, and often not unfoundedly, these extensions are considered as architectural monstrosities. But there are interesting reasons behind to wish of people to start this kind of construction. It probably comes from the very nature of humans, who try to express

rogorc wesi, 90-ani wlebis gaxsenebisas, pirvel rigSi samoqalaqo omi, sicive da SimSili gvaxsendeba, magram Tuki gldanis arqiteqturis istoriis ganviTarebas davakvirdebiT, iseTi daskvnebis gamotanas SevZlebT, romlebic am epoqis siZneleTa gagebas ufro gagviadvilebs. swored am droidan, mcirdeba da qreba mSenebloba-miSenebebze saxelmwifo kontroli... xSir SemTxvevaSi, miSenebebi, arc Tu usafuZvlod, arqiteqturul simaxinjed ganixileba. Tumca aseve arsebobs sxva, ufro Rrma mizezebi imisa, Tu ratom iwyeben adamianebi amgvar Senebas. es albaT, Tavad adamianis bunebaa, romelic Tavisi sacxovrisiT sakuTari Tavis gamoxatvas cdilobs. mxolod adamiani iswrafvis, rom SenebiT bina, sacxovrebeli xelovnebis nimuSad aqcios da ise moawyos, rom Sinagani samyaro daikmayofilos, garesamyarosTan kavSiri daamyaros. adamianSi dabadebuli `arqiteqtori da arqiteqtura~ pirveladi, miseuli xelovnebaa. da albaT amitom stereotipebi unda davangrioT da gldansac mxolod kritikuli TvaliT ar unda SevxedoT.

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gldanis araformaluri arqiteqtura da misi istoriis kvlevac swored amis gamoa saintereso. sabWoTa ubnis mcxovreblebma, romelTa cxovrebac da sacxovrebeli saxelmwifos mier iyo standartizebuli, damxmare saTavsoebis, e.w. lojiebis da sxva damatebiTi nagebobebis mowyobiTa da miSenebiT, Tumc aracnobierad, magram mainc ganaxorcieles adamianisTvis damaxasiaTebeli Senebis aqti, xazi gausves adamianis moTxovnilebebis usasrulobas. am movlenebis Sedegad TbilisSi, Tvalsa da xels Sua, erT dros, sabWoTa ganaSenianebis gegmis safuZvelze, uSvelebeli, 170 000 adamianiT dasaxlebuli ubani gaCnda, romelic samwuxarod dResac mowyvetilia da ver ewereba Tbilisis mTlianobaSi. is ukve ubanic ki aRaraa, is qalaqia qalaqSi, romelsac yvelaferi aqvs savaWro centrebidan dawyebuli, TeatriT damTavrebuli. gldanis miSenebebis istoria imas gvaswavlis, rom mxolod Senobebi ar aris sakmarisi da adamians standartuli sacxovreblis garda bevrad meti esaWiroeba.

Tumca, es qaoturi mSeneblobebi imasac migvaniSneben, rom istoriuli gamocdilebis gaTvaliswinebiT, erTi mxriv

their own selves in their homes. Indeed, only humans aspire to transform their apartment, their place of residence into a piece of art, and arrange it in a way that will satisfy their inner world and establish a relation with the outside world. Therefore, architecture can be considered as a fundamental art that is peculiar to humans. And this is why we should probably challenge stereotypes and stop looking at Gldani with a one-sided, critical approach.

This is also why Gldani’s informal architecture and the study of its history are utterly interesting. Through the construction and layout of additional spaces, so-called “loggias” and other extensions, the residents of this soviet-style district, whose lives and homes were standardized by the state, have carried out – whether consciously or not – the characteristic human activity of creating architecture, and in this way, underlined the infinitude of human needs.

Suddenly, as a result of the soviet development plan, a gigantic district appeared in Tbilisi, housing 170,000 people, and which is unfortunately still isolated and unable to fit in the capital as an ensemble. Gldani became more than a district, it is a city in a city, which has everything to be autonomous, from a shopping mall to a theater.

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mxolod sacxovrebliT uzrunvelyofam da meore mxriv Tavis nebaze miSvebulma mSeneblobebma, qalaqis istoriis da awmyos gauTvaliswineblobam, iseTi hibriduli ubnis gaCenamde SeiZleba migviyvanos, rogoric gldania. gldani noyieri masalaa araformaluri arqiteqturis mkvlevarTaTvis, Tumca is kargi magaliTicaa imisa, Tu rogori ganviTareba SeiZleba hpovos qalaqma totaluri kontrolidan totalur ukontrolobamde. swored am problemebs mieZRvna Tbilisis pirveli arqiteqturuli bienale, romelic 2018 wlis 23 oqtombridan 3 noembramde Catarda. bienales farglebSi

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The history of the extension building phenomenon in Gldani teaches us that buildings are not enough, and that humans need much more than a standard residence. But if we take the experience of history into account, these chaotic additions also show us that on the one hand, the provision of residences – and residences only, and on the other hand, the license to build according to one’s will and the lack of concern for the city’s history and present condition, can lead to the appearance of a hybrid district like Gldani. Gldani is fertile material for informal architecture researchers, though it is also a good example of how a city can develop from total control to total chaos.

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gaimarTa araerTi saintereso gamofena, vorkSopi, diskusia, sajaro leqcia, daidga mravali instalacia. mowveul momxseneblebs Soris iyvnen iseTi cnobili arqiteqtorebi da arqiteqturis Teoretikosebi, rogorebic arian rainir de graafi da aleqsandr brodski. am yvelafers daemata gazeTis `danarTi~ specialuri nomeri, romelSic qarTveli da ucxoeli arqiteqturis da urbanistikis Teoretikosebis, postsabWoTa araformaluri arqiteqturis problemebis da istoriis originaluri gadaazrebis mcdelobebia Sesuli.

P.S. `Tbilisis arqiteqturis bienale~ evrokavSiris programis `SemoqmedebiTi evropa~ beneficiaria. bienales saorganizacio jgufma ramdenime konsultacia gaiara `SemoqmedebiTi evropis~ warmomadgenlobasTan (`deskTan~) saqarTveloSi, sadac maT miiRes detaluri informacia programaSi monawileobis pirobebsa da programis prioritetebis Sesaxeb. levan SatberaSvili

These were the problems confronted by the first Tbilisi Architectural Biennial, which took place from the 23rd of October until the 3rd of November. Many interesting exhibitions, workshops, discussions, and public lectures were held in the framework of the biennial, which also presented various installations. Among the speakers were famous architects and architectural theorists such as Reinier de Graaf and Alexander Brodsky. Apart from all that, a special issue of the magazine ‘Danarti’ was published, presenting attempts by Georgian and foreign architectural and urban theorists to inventively challenge the problems generated by post-soviet informal architecture, and to shed a new light on its history.

P.S. The Tbilisi Architectural Biennial was financially supported by the European Union program ‘Creative Europe’. The team of the biennial held consultations with the Georgian desk of Creative Europe, where they received detailed information about the specification and priorities related to participating in the program.

Levan Shatberashvili

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avstraliaSic qarTulad mRerian IN AUSTRALIA TOO, THEY SING IN GEORGIAN cnobili eTnomusikologebi _ xalxuri musikis specialistebi ioseb Jordania da misi meuRle nino ciciSvili amJamad avstraliaSi, melburnis sxvadasxva universitetSi moRvaweoben. ojaxma 1995 wels datova saqarTvelo da axal sarbielze maT SemoqmedebiT gaqanebas SeiZleba iTqvas, meti sivrce mieca. 2009 wels, ioseb Jordaniam msoflio eTnomusikologiis udidesi jildo _ fumio koicumis prizi miiRo. avstraliaSi Cveni Tanamemamuleebi, garda samecniero da saganmanaTleblo moRvaweobisa, sxvadasxva gunds xelmZRvaneloben, romelTac qarTul simReras aswavlian. batoni iosebi da qalbatoni nino, miuxedavad siSorisa, saqarTveloSi xSirad Camodian _ upirveles yovlisa, Tbilisis mravalxmianobis saerTaSoriso simpoziumSi monawileobis misaRebad, romlis dafuZnebasa da funqcionirebaSi ioseb Jordanias udidesi wvlili miuZRvis. Cveni Sexvedrac wels am samecniero forumis mimdinareobisas moxerxda.

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Famous ethnomusicologists – specialists of folk music Joseph Jordania and his spouse Nino Tsitsishvili currently live in Australia, and are working in various universities in Melbourne.

The family left Georgia in 1995, and one could say that their new “stage” has provided them with more creative possibilities. The husband and wife quickly established themselves are worldrenowned ethnomusicologists. In 2009, Joseph Jordania received the world’s most prestigious award in ethnomusicology – the Fumio Koizumi prize. Apart from scientific and educational work, the couple lead various choirs and teach Georgian polyphonic singing in Australia. Despite the distance, Mr. Joseph and Mrs. Nino often travel to Georgia – most importantly, to take part in Tbilisi’s International Symposium on Traditional Polyphony, in the foundation and functioning of which Joseph Jordania was substantially involved. Our meeting took place during this scientific forum.

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ra siZneleebis gadalaxva mogiwiaT avstraliaSi sacxovreblad Casvlisas? ioseb Jordania: avstralia uaRresad gulTbili qveyanaa, ase rom yvelaze rTuli nawili iyo iqamde CaRweva, miTumetes rom Cveni avstraliaSi wasvlisTvis mzadeba da testebis gavla 1992-1994 wlebSi xdeboda, maSin roca saqarTveloSi yvelaferi Wirda... rac Seexeba avstraliaSi Casvlas da mowyobas, iseve, rogorc mraval sxva qveyanaSi, emigrantebisTvis mTavari sirTule specialobis mixedviT samsaxuris moZebnaa. uamravi migranti iZulebulia Seicvalos profesia, rom raime samuSao iSovos da Semosavali hqondes. am mxriv Cven bedma gagviRima da orivem movnaxeT samsaxurebi melburnis universitetebSi. rac mTavaria, swored qarTulma simReram mogvanaxina avstraliaSi axloblebis wre, romlebsac xSirad vxvdebiT, erTad vmReriT da xSirad erTadac CamovdivarT saqarTveloSi... batono ioseb, Tqvenma Teoriam mravalxmianobisadmi midrekilebis fiziologiuri sawyisebis Sesaxeb Tavidanve Znelad gaikvala gza damkvidrebisken? rogor ggoniaT, aris Tu ara es zogadad axali ideis bedi? ra Tqma unda, es yvela axali hipoTezis bedia. ufro metic, SeiZleba iTqvas, rom Tuki hipoTeza pirdapir miiRes, ese igi masSi araferi yofila revoluciuri da axali. dRes ukve SeiZleba Cems hipoTezas Teoria vuwodoT, radgan igi met-naklebad miRebulia ramdenime wamyvani eTnomusikologis mier (rogoricaa, magaliTad, simha aromi, izali zemcovski, bruno netli), da wignebis iaponurad, inglisurad da Cinurad gamocemac, albaT, amaze metyvelebs.

What difficulties did you have to overcome in order to go live in Australia?

Joseph Jordania: Australia is a very warm-hearted country, so the most difficult part was to get there, especially considering the fact that our preparations for the travel and the tests we had to pass were taking place in the years 1992-1994, a very harsh period for Georgia… As for settling in Australia, just like in any other country, the main difficulty for emigrants who have just arrived is to find a job that suits one’s specialty. Countless migrants have no other choice but to change professions to find work and have some income. And in this aspect, we were lucky enough to both find jobs at Melbourne’s universities after some time. Most importantly, Georgian singing allowed us to find a circle of friends in Australia, with whom we often meet, sing, celebrate birthdays, come to Georgia…

Mr. Joseph, your theory about the physiological origins of human inclination towards polyphony saw difficult times before being acknowledged. What do you think, is this the fate of new ideas in general?

Naturally, this the fate of every new hypothesis. What’s more, one could say that if a hypothesis is accepted right away, it means that it doesn’t offer anything revolutionary or new. Today, my hypothesis can already be called a theory, because it is more or less widely accepted by several leading ethnomusicologists (for instance, Simha Arom, Izaly Zemtsovsky, and Bruno Nettl); the publication of Japanese, English and Chinese versions of the book probably attest to this too.

On what subject are you currently working?

Right now, I’m working on a book in which I’m trying to describe how the education and establishment of scientists take place in

ra Temaze muSaobT amJamad? amJamad vmuSaob wignze, sadac vcdilob aRvwero, Tu rogor xdeba mecnieris aRzrda da Camoyalibeba dRevandel msoflioSi. Zalian saintereso da mwvave Temaa. ratomaa, magaliTad, rom aRmoCenebis didi nawili keTdeba maT mier, visac ar miuRia profesiuli ganaTleba, an axalgazrdaa, anac sul axali mosulia ama Tu im sferoSi? magaliTad, Carlz darvini ganaTlebiT xelovnebis magistri iyo da ara biologi an geologi, alfred valass ki skolac ar daumTavrebia da a.S... aseve, sainteresoa, ratomaa, rom axali revoluciuri ideebi, rogorc wesi, ufro `meorexarisxovan~ Jurnalebsa da gamomcemlobebSi qveyndeba Tavdapirvelad, xolo prestiJuli Jurnalebi, rogorc wesi, amgvari axali ideebis gamoqveynebisgan Tavs ikaveben... nobelis premiebis istoriasac rom gadavxedoT, vnaxavT, rom revoluciuri ideebis udidesi nawili dawunebuli iyo yvelaze prestiJuli Jurnalebis mier. mokled, Zalian saintereso da mwvave Temaa...

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qalbatono nino, albaT avstraliaSi saqarTveloze xSirad fiqrobT... nino ciciSvili: ra Tqma unda, yvelaze metad menatrebian naTesavebi da megobrebi. erTis mxriv, rogorc ukve vaxseneT, avstraliaSic gvyavs megobarTa didi wre, magram avstraliuri megobrobis dinamika ufro sxvanairia, magaliTad, iq darekvis gareSe aravin mova SenTan, saqarTvelosgan gansxvavebiT, da aseTi `araformaluri~ anu `qarTuli~ megobruli urTierTobac gvenatreba xandaxan... risi keTeba giyvarT Tavisufal dros? n. c: miyvars bunebaSi siaruli, cxovelebi. am bolo dros enebiT davinteresdi, daviwye italiuri da espanuri enebis Seswavla. i.J: kiTxva, buneba, csovelebi, da ra Tqma unda, internetSi `qeqva~ da Zieba... qalbatono nino, raze muSaobT amJamad? ramdenime welia vmuSaob wignze, romelic sasiyvarulo simRerebis geneziss exeba. es TiTqos isedac didi Temaa, magram muSaobam gacilebiT ufro did sakiTxebze gamiyvana, da amJamad adamianis socialurobis da ojaxuri cxovrebis genezisis sakiTxebzec vmuSaob.

the modern world. I think that it is a very interesting and important subject. Why is it, for instance, that a large part of discoveries are made by people who didn’t get professional education in the field, or by young people, or individuals who have just started working in the field? For instance, Charles Darwin was a master of Arts, and not a biologist or a geologist; Alfred Wallace didn’t even finish school, and there are many other examples like them... It is also interesting to see that new, revolutionary ideas are first published in “secondary” journals and papers, while more prestigious journals usually refrain from publishing new ideas... If you take a look at the history of the Nobel Prize, you will see that the great majority of revolutionary ideas were rejected by the most prestigious journals. In short, this is a very interesting and important subject...

Mrs. Nino, what do you miss the most when you are not in Georgia?

Naturally, my relatives and friends are the ones I miss the most. On the one hand, as we have already mentioned, we also have a large circle of friends in Australia, but the dynamics of Australian friendship are somewhat different – for instance, unlike in Georgia, nobody will visit you without calling you in advance, and we sometimes miss this “informal” or “Georgian” friendship ways...

What do you like to do during your free time?

Nino Tsitsishvili: I like to wander in nature, to read about animals...

I recently got interested in languages, and I started to learn Italian and Spanish.

J. J: reading, nature, animals, and of course, delving into the Internet...

Mrs. Nino, what are you currently working on?

I’ve been working on a book revolving around the origin of love songs for several years. It might seem like a very broad subject in itself, but working on this theme led me to much larger questions, and right now, I am also working on the origins of human sociability and family life.

What can you tell us about the current challenges faced by ethnomusicology?

N. Ts: One could say that there is no one “unified” ethnomusicology as such today, as because of the transformations that took place during the last decades, our field got split into numerous directions.

I don’t think that it’s a bad thing, but it would be good for some aspects (for instance, terminology) to be more integrated. To this day, ethnomusicology is based on theories that have been developed by other disciplines, while it is rare to see the latter use the discoveries in the field of ethnomusicology. This will probably also gradually change.

Mr. Joseph, do they value Georgian, and more generally, ethnic polyphonic music in Australia?

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ra SegiZliaT gviTxraT eTnomusikologiis dRevandel gamowvevebze msofliosa da saqarTveloSi? n.c: dRes albaT SeiZleba iTqvas, rom ar arsebobs erTiani eTnomuskologia, radgan bolo aTwleulebis cvlilebebis gamo Cveni dargi daiyo uamrav mimarTulebad. vfiqrob es araa cudi, magram albaT kargi iqneba, moxdes garkveul sferoebSi (magaliTad, terminologiaSi) daaxloeba. eTnomusikologia dRemde eyrdnoba sxva dargebSi SemuSavebul Teoriebs da ufro iSviaTia sxva dargebis mier eTnomusikologTa mignebebis gamoyeneba. esec albaT nel-nela Seicvleba. batono soso, ra mniSvnelobas aniWeben avstraliaSi qarTuli da zogadad eTnikuri simReris gundur Sesrulebas? avstralia xom emigrantebis qveyanaa, da amitom iq saerTod miRebulia msoflio xalxTa musikis Sesruleba. tardeba koncertebi, festivalebi, saRamoebi, sadac JRers kelturi, espanuri, afrikuli, indoneziuri, berZnuli, italiuri musika. rogorc wesi, TviT am

Australia is a country of émigrés, and therefore, it is very usual to hear music from all around the world there. There are concerts, festivals, evenings with Celtic, Spanish, African, Indonesian, Greek or Italian music. As a rule, migrants from these countries perform their music themselves at these events. In Melbourne, there is a particularly large number of emigrants from Italy and Greece, so there are large festivals dedicated to their music. A festival of Greek music was held not long ago, where they performed music from various Greek regions, and Pontic Greeks invited us, as they are linked to Georgia in many ways. We sang several Georgian songs, and they even performed traditional Greek dances on some of them. Our joint concert was very successful, and many people underlined the beauty and energy of Georgian songs.

Mrs. Nino, several ensembles of Georgian singing have been created under your supervision. Could you tell us what they appreciate most in Georgian songs?

This would be a question for the singers themselves… In my opinion, first and foremost, they like the unique harmonies found in Georgian songs. In general, we noticed that the more

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musikis matarebeli migrantebi asruleben koncertebsa da festivalebze. gansakuTrebiT bevria melburnSi Camosuli emigranti italiidan da saberZneTidan, amitom maTi musikis didi festivalebic tardeba. amas winaT berZnuli musikis festivali Catarda, saberZneTis sxvadasxva regionis musika Sesrulda, da pontoelma berZnebma dagvpatiJes, radgan maT mravali ram akavSirebT saqarTvelosTan. ramdenime qarTuli simRera vimRereT da zogierTs maT berZnuli cekvebic moarges. Cvens erTian koncerts udidesi warmateba xvda wilad da bevri aRniSnavda qarTuli simReris silamazes, Zalas. qalbatono nino, Tqveni mecadineobiT avstraliaSi qarTuli simReris SemsrulebelTa araerTi ansambli Seiqmna. SegiZliaT Tu ara, TqvaT, ra moswonT iqaurebs qarTul simReraSi? es albaT, sjobs, Tavad momRerlebs hkiTxoT... Cemi azriT, upirveles yovlisa, moswonT qarTuli simReris saocari harmoniebi. Cven zogadad SevatyveT, rom rac ufro niWieria musikalurad adamiani, miT ufro aRtacebulia qarTuli simRerebiT. me magaliTad, melburnis teqnologiur universitetSi vaswavli sagans `qarTuli xalxuri simRera~ (ukve mesame welia, aseTi

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musically talented a person is, the more fascinated they are by Georgian songs. For instance, I have been giving lectures about Georgian folk songs at the Melbourne Institute of Technology for three years now: you can find future professional classical musicians, singers, rock and jazz musicians there, and they are all very fond of Georgian songs. Some students like them so much that they join this or that existing ensemble after finishing the course.

Many Georgians think that Georgian folk singing is the world’s best, the most developed and artistically significant one, as well as the most popular one. Is this an exaggeration?

J. J: There are several aspects in this question. Is it the best?

It is impossible to give an objective answer to this. The most developed one? You could probably say that, and I would add that the main “competitor” of Georgian singing would be the breathtaking polyphonies of the Pygmies. The most artistically significant? This is also a difficult one, because in this field, it is practically impossible to give an objective opinion… The most popular one? Clearly not. There are many people who have never heard Georgian singing, so a much more widespread popularity of Georgian singing is still to come.

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sagani arsebobs am universitetSi), iq arian momavali profesionali musikosebi, momRerlebi, rokis da jazis musikosebi, da yvelas saocrad moswons qarTuli simRera. zogierTi studenti kursis damTavrebis Semdeg ama Tu im arsebul qarTul ansamblSi modis qarTuli simRerebis siyvaruliT. bevr qarTvels hgonia, rom qarTuli xalxuri simRera msoflioSi saukeTesoa, yvelaze ganviTarebuli, mxatvrulad mniSvnelovani da, rac mTavaria, yvelaze popularuli. aris Tu ara es Sefaseba gadametebuli? i.J: aq ramdenime kiTxvaa Tavmoyrili. saukeTesoa? amaze SeuZlebelia obieqturi pasuxis gacema. yvelaze ganviTarebuli? SeiZleba amis Tqma. imasac vityodi, rom qarTuli simReris mTavari `metoqe~ albaT pigmeebis saocari mravalxmianobaa. mxatvrulad mniSvnelovani? esec Znelia iTqvas, radgan am sferoSi obieqturi Sefaseba faqtobrivad SeuZlebelia... yvelaze popularuli? namdvilad ara. jer kidev bevria, visac arasodes mousmenia qarTuli simRera. ase rom qarTuli simReris gacilebiT ufro farTo popularoba jer winaa.

And in general, what do you think has led to the development of Georgian folk singing?

J. J: It was probably the result of several factors. Firstly, very ancient dissonant vowel songs have been very well preserved in Georgia, and in my opinion, they are the oldest ones. Secondly, early Christian monophonies were transcended and elements of the traditional style were introduced quite early in the Georgian Church. Thirdly, Georgian singers and choristers have clearly introduced novelties in traditional songs. And finally, the originality of the Georgian musical system allows for great potential – one that is still not fully explored.

Could we say that today, musical folklore is better looked after in Georgia compared to other countries? Or more specifically, compared to advanced western cultures?

J. J: I would definitely say so. To start with, traditional music is not as well preserved in western cultures as in some regions of Georgia (Svaneti is a stunning example!), and apart from that, I don’t remember any country where folk music has become a national symbol like in Georgia.

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How should we approach folk singing and instruments? Preserve them as they are, or allow their performers to freely develop them?

J. J: This is an old subject, and I can’t tell you anything new about it. There were and will be two main approaches: the first one, which we could call the “traditional” approach, is that of the people who try to preserve folk traditions unchanged, as for the second one, which could be called the “innovative” approach, that of those who boldly create new pieces, new synthetic styles, new genres based on folk music. I understand the position of the “traditionalists”, but the second process is inevitable, and even if we did our best to stop it, we wouldn’t achieve anything. Myself, I have to tell you that I like to listen to authentic folk songs, but at the same time, I also enjoy compositions of a new style based on folk music. I would note that amateurs of Spanish flamenco were very critical of Paco de Lucia’s style of playing, because he deviated quite much from traditional flamenco, creating a new synthetic style, but today, he is known as the founder of the “New Flamenco” style. What do you think, should they have forbidden Paco de Lucia from introducing new features in flamenco? One cannot restrain a creative soul, and one shouldn’t even try to do so! Especially if we consider the great creative potential found in the Georgian temperament.

da zogadad ram ganapiroba, Tqveni azriT, saqarTveloSi xalxuri musikis amgvari ganviTareba? i.J: albaT aseT doneze qarTuli simRerebis ganviTareba ramdenime faqtoris Sedegia. jer erTi, saqarTveloSi Zalian kargad Semoinaxes uZvelesi disonansuri xmovanebis simRerebi, rac Cemis azriT, warmoSobiT yvelaze adrindelia, meore _ qarTul eklesiaSic adre moxda adreqristianuli erTxmianobis daZleva da tradiciuli stilis elementebis Semotana, mesame _ qarTvelma saeklesio momReral-mgaloblebma aSkarad Seitanes siaxleebi tradiciul simRerebSi, da bolos, TviT qarTuli originaluri musikaluri sistema udides, jer kidev amouwurav potencias Seicavs.

SeiZleba Tu ara, iTqvas, rom saqarTveloSi dRes musikalur folklors ufro didi yuradReba eqceva, vidre ucxoeTSi? an ufro konkretulad _ dasavlur kulturebSi? i.J: amisi Tqma namdvilad SeiZleba. dasavlur kulturebSi tradiciuli musika, jer erTi araa ise kargad Semonaxuli, rogorc saqarTvelos zogierT

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What would you advise to young Georgian ethnomusicologists?

J. J: I would tell a few things to my younger colleagues. First of all, they should realize that they are living in an “ethnomusicological heaven”, and by that, I mean the utterly rich culture of Georgian folk music; therefore, they can allow themselves to aim high. Apart from that, I would like them to know that in our field, I value dedication much more than talent. And finally, I would advise all of them to learn foreign languages, especially English, if they want to get acquainted with the worldwide accomplishments done in this field.

Interview by Tamaz Gabisonia

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kuTxeSi (svaneTi xom saerTod saocrebaa!), da meorec, xalxuri musika, me rac maxsendeba, arsadaa iseTi nacionaluri simbolos doneze ayvanili, rogorc es saqarTveloSia. rogor unda movepyraT xalxur simRerasa da dasakravebs?

SevinarCunoT iseTi, rogoric aris, Tu neba mivceT Semsruleblebs, Tavisuflad ganaviTaron isini? i.J: es Zveli Temaa, da amasTan dakavSirebiT axals verafers vityvi _ iyo da darCeba damokidebulebaSi ori mimarTuleba: pirveli, SeiZleba iTqvas, `tradicionalistebis~ damokidebuleba, maTi, vinc cdilobs xalxuri tradiciebis ramdenadac SesaZloa ucvlelad Semonaxvas, da meore _ SeiZleba iTqvas, `novatorebis~ damokidebuleba, maTi, vinc Tamamad axdens xalxuri musikis safuZvelze axali nawarmoebebis, axali sinTeturi stilebis, axali Janrebis Seqmnas. me mesmis tradicionalistebis suliskveTeba, magram es meore procesic Seuqcevadia, da Zalianac rom SevecadoT mis SeCerebas, mainc ver SevZlebT. me TviTon, minda giTxraT, Zalian msiamovnebs avTentikuri xalxuri nimuSebis mosmena, da amave dros, msiamovnebs aseve xalxuri musikis Zirze damynobili axali stilis nawarmoebebis mosmenac.

SegaxsenebT, rom tradiciuli espanuri flamenkos stilis moyvarulebi akritikebdnen pako de lusias dakvris stils, radgan man tradiciuli flamenkodan sakmaod gadauxvia, axali sinTeturi stili Seqmna, da dRes `axali flamenkos stilis~ Semqmneladaa cnobili. rogor fiqrobT, unda aekrZalaT pako de lusiasaTvis flamenkoSi siaxleebis Setana? SemoqmedebiT suls ver SeaCerebT, da arc unda vcadoT mis SeCereba! miTumetes, rom qarTvelis bunebaSi udidesi SemoqmedebiTi potencialia dafaruli. ras usurvebdiT axalgazrda qarTvel eTnomusikologebs? i.J: oriode rames vetyodi axalgazrda kolegebs: upirveles yovlisa maT unda icodnen, rom isini cxovroben `eTnomusikologiur samoTxeSi~, vgulisxmob umdidres qarTul xalxur musikas, da Sesabamisad, miznebic kargi iqneba Sors mimavali hqondeT. garda amisa, minda icodnen Cemi azri, rom Cvens sferoSi Tavdadebas gacilebiT metad vafaseb, vidre niWs. da bolos, yvelas vurCevdi iswavlon ucxo enebi, gansakuTrebiT inglisuri, Tu undaT, rom gaecnon am sferoSi arsebul msoflio miRwevebs. esaubra Tamaz gabisonia

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© PAOLO CASELLI

4 (14) 2018

Tumca, marcxis miuxedavad...

YET, DESPITE OUR LOSS... bolo ramdenime welia, sportTan dakavSirebiT araferi damiweria; Sesabamisad, erTgvari gamowveva iyo, rodesac „kultura plusisTvis“ saqarTvelos moragbeTa nakrebsa da mis Semodgomis testebis Sesaxeb statiis dawera SemomTavazes. simarTle giTxraT, bevri ar mifiqria, maSinve davTanxmdi da nakrebis msgavsad, mzadebas Sevudeqi. wlevandel serias gansakuTrebuli TamaSiT viwyebdiT _ didi xnis lodinis Semdeg, „borjRalosnebTan“ TamaSs italiis erovnuli nakrebi daTanxmda. TamaSi 10 noembers, florenciaSi dainiSna. axloblebma gadavwyviteT, rom matCis sanaxavad wasvlis garda, erTgvari samogzauro turic mogvewyo da florenciasTan erTad, sxva qalaqebSic CavsuliyaviT. xuTma megobarma bileTebi SeviZineT da 7 noembers Tbilisidan quTaisisken daviZariT. saxlidan gamosuls, gamaxsenda, rom zurgCanTaSi saqarTvelos droSis Cadeba damaviwyda, Semovbrundi, droSa aviRe da wavedi...

Tavdapirvelad aTenSi CavfrindiT, sadac ramdenime saaTi gviwevda gaCereba. aqedan gamomdinare, saSualeba

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I haven’t written anything about sports in the last few years, so I took it a bit like a challenge when they offered me to write an article about the Georgian national rugby team’s Autumn tests for ‘Culture Plus’. To tell you the truth, I didn’t need to think much – I agreed right away, and like the national team, I started preparing myself.

This year’s series were starting with a consequential game – after a long delay, the Italian national team had finally agreed to play the “Lelos”. The game was scheduled to take place in Florence on the 10th of November.

With a group of friends, we decided that apart from watching the game, we would arrange a tour and take the time to visit other places too. We were five to buy tickets, and we left Tbilisi for Kutaisi on the 7th of November. I will add that at the last minute, when I was going out of my house, I noticed that I had forgotten to take the Georgian flag with me – so I went back inside, took the flag, and then left for good…

We first flew to Athens, where we had to wait for our next flight for several hours. Therefore, we had the time to get out of the airport and enjoy this most ancient city. We thus quickly found a bus going to the center of Athens and jumped in it. We started the tour by visiting the

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gvqonda, aeroportidan gareT gavsuliyaviT da es uZvelesi qalaqic gvenaxa. maleve movZebneT qalaqisken mimavali avtobusi, romliTac aTenis centralur nawilSi aRmovCndiT. pirvel rigSi akropolisis sanaxavad wavediT. gveubnebodnen, Semodgomaa da axla cota xalxiao, magram imdeni turisti dagvxvda, rom gadaadgilebac ki Wirda. amis miuxedavad, ramdenime saaTSi movaxerxeT akropolisis srulad „aTviseba“ da aTenis ulamazesi xedebiT tkboba. amis Semdeg qalaqis quCebSi gaviseirneT da sxva RirsSesaniSnaobebi davaTvaliereT. maleve mosaRamovda da Cveni italiisken gamgzavrebis droc dadga. davbrundiT aeroportSi da CavsxediT romisken mimaval TviTmfrinavSi (evropuli turis italiuri nawilis maradiuli qalaqis monaxulebis gareSe dasruleba ar gvindoda). romSi gvian RamiT CavfrindiT da imis miuxedavad, rom ukve karga xnis gamouZineblebi viyaviT, aeroportidan sastumromde mimaval gzaze yuradRebiT vakvirdebodiT qalaqs. sastumroSi Ramis 12 saaTze davbinavdiT da maleve davweqiT, raTa dilidan `SevseodiT~ maradiuli qalaqs.

Acropolis. We were told that because it was Autumn, there wouldn’t be a lot of people, but in reality, there were so many tourists that it was hard to find one’s way between them. Nevertheless, we managed to properly experience the Acropolis and to appreciate magnificent views of Athens in a few hours’ time. After that, we wandered in the streets of the city and visited other landmarks. The evening didn’t take long to arrive, and so did our departure time. We returned to the airport and took our flight to Rome (it wouldn’t have been right to finish the Italian part of our European tour without visiting the Eternal city).

We arrived in Rome late at night, and despite the fact that we had not slept for a very long time, we were curiously observing the city on our way from the airport to the hotel. We took residence in the hotel around midnight, and went to bed soon after, so that we could visit the eternal city from the early morning.

Many have written since ancient times and many more will write in the future about the bewitching character of Rome, but personally, what I’ve seen has exceeded all my expectations. We thought that we were well-prepared, that we knew exactly what we had to see, where we had to go and so on, but as soon as we got on the street, we

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uZvelesi droidan dRemde bevrs dauweria, ramdenad momajadoebeli romi, magram piradad CemTvis, nanaxma yovelgvar molodins gadaaWarba. TiTqos kargad viyavi momzadebuli, zustad vicodi, ra unda menaxa, sad unda wavsuliyavi da a.S., magram quCaSi gamosuli iZulebuli gavxdiT, winaswar daweril gegmaze uari meTqva da ubralod gzas gavyolodi. saiTac ar unda gamexeda, yvelgan udidesi istoriis ulamazes Senobebs vxedavdi. megona, romeliRac adgilze lamazs veRarafers vnaxavdi, magram swored iqidan axal adgils an quCas movkravdi Tvals da axla am quCebsa da Senobebs davuyvebodi. romis Tvalierebisas mivxvdi, sasurvelia, iq cota asakSi Sesuli Caxvide, roca sxva bevri qalaqi ukve nanaxi gaqvs, radgan, Cemi azriT, Znelia misi sidiadis Semdeg kidev raimem gagakvirvos.

SeiZleba bevri mewera kolizeumsa da vatikanze, respublikisa da veneciis moednebze, trevis Sadrevansa da espanur kibeebze, aseve patar-patara quCebze gaxsnil tavernebsa da restornebze, iq Sekrebil xmamaRla mosaubre italielebze, romlebic gemrielad miirTmeven picas, pastasa da lazanias da Tan ugemrieles italiur Rvinosa da adgilze damzadebul sxvadasxva tipis luds ayolebdnen, magram Cveni statiis mTavari Tema xom saqarTvelos moragbeTa nakrebis Semodgomis testebia da axla swored masze unda SevaCero Tqveni yuradReba.

couldn’t help but dismiss our plans and just follow the road. Wherever we looked, we only saw majestic buildings, each with centuries of exceptional history. When you arrive at a landmark, you think that you won’t see anything more beautiful anymore, but right there, you see another stunning place or street, and you follow them… While visiting Rome, I understood one thing: it’s better to go there at a certain age, when you have already seen many other cities, because in my opinion, it’s very difficult to be impressed after witnessing the greatness of the eternal city.

I could write much more about the Coliseum or the Vatican, the Piazza de la Repubblica or the Piazza Venezia, the Trevi Fountain or the Spanish Steps, or about the small streets with their taverns and restaurants, and the loud Italians gathered there, who savor pizzas, pasta and lasagnas and accompany them with delicious Italian wine and homemade beers of various types… But the theme of this article being the Autumn tests of the Georgian national rugby union team, that is where I will return your attention.

We arrived from Rome to Florence on the 10th of November. We left our luggage in the apartment we were renting, and went out in the city to join some friends, who had taken another airline to watch Italy-Georgia. You could meet numerous Georgians in the streets of Florence, old and young, carrying flags, laughing and loud.

When the time of the game was approaching, an army of thousands of supporters headed to the stadium – which is named after Artemio Franchi. Italians had organized the entrance procedure

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romidan florenciaSi 10 noembers, diliT CavediT. bargi winaswar naqiraveb binaSi davtoveT da qalaqSi megobrebis sanaxavad gavediT, romlebic aq sxva marSrutiT Camovidnen italia-saqarTvelos matCze dasaswrebad. florenciis quCebSi uamrav qarTvels SevxvdiT, didebsa da patarebs, droSebiT xelSi mosiaruleebs, mocinarebsa da xmaurianebs. nel-nela SuadRec moaxlovda da gulSematkivrebis ramdenimeaTaskaciani armiac artemio frankis saxelobis stadionisken daiZra. italielebs ise ucnaurad hqondaT stadionze Sesvlis sqema CaxlarTuli da iseTi rigebi Seiqmna, rom ramdenime wlis win, boris paiWaZis saxelobis erovnul stadionze Sesvlis sirTule amasTan SedarebiT araferi iyo. rogorc iqna, TamaSis dawyebamde naxevari saaTiT adre stadionze SevediT da kuTvnili adgili davikaveT. Tavidanve TvalSisacemi gaxda, rom stadionis centraluri seqtorebi faqtobrivad mTlianad qarTvelebma aviTviseT, rogorc mogvianebiT iTqva, artemio frankize Sekrebili 20 000-mde gulSematkivridan, 12 000-mde qarTveli iyo da, Sesabamisad, italielebi umciresobaSi aRmoCndnen.

in such a strange way, and such large queues had formed, that the difficulties we used to face at the entrance of Tbilisi’s Boris Paichadze National Stadium years ago would feel sweet in comparison. We finally managed to enter, about half an hour before the game, and we found our seats. You could see right away that the central sectors of the stadium were occupied by Georgians, and as it was later estimated, from the 20,000 supporters gathered at the Artemio Franchi stadium, 12,000 were Georgians, making the Italian side the minority.

The teams came out on the field. The Georgian supporters sang the national anthem in unison with the rugbymen, while the screen was showing people who had gathered on the “Rose Revolution Square” in Tbilisi to watch the game, and who were also singing the anthem. Even though we sang in a stentorian way, I have to admit that the Italians clearly got the better of us in this; despite being the minority, they managed to sing their anthem louder than us, and almost got us to sing along (they have a very catchy anthem). After that, the game started and the Lelos answered Tommaso Allan, the Italian number 10’s penalty with Tamaz Mchedlidze’s try. The stadium was in great agitation; Georgian supporters were hugging each other and encouraging the boys, but the Italians’ experience gradually took

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gundebi moedanze gamovidnen, stadionze Sekrebilma qarTvelebma, moragbeebTan erTad, saxelmwifo himni SevasruleT, ekranze ki Tbiliss aCvenebdnen, „vardebis moedanze“ TamaSis sanaxavad Sekrebil adamianebs, romlebic aseve himns mRerodnen. marTalia, Cvenc omaxianad vimRereT, magram italielebma amaSi aSkarad dagvjabnes, umciresobis miuxedavad, mainc ufro xmamaRla daagugunes sakuTari himni da lamis qarTvelebic agviyolies (raRacnairi himni aqvT, ginda, ar ginda, melodias hyvebi).

TamaSic daiwyo da italielebis aTianis, tomazo alanis jarimas, „borjRalosnebma“ Tamaz mWedliZis leloTi upasuxes. stadionze saswauli ambavi xdeboda, qarTveli gulSematkivari erTmaneTs exveoda da biWebs amxnevebda,

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over and under the leadership of their captain Michele Campagnaro, they put their game in order and soon took the lead with a try. This was followed by three additional Italian tries, to which the Georgians answered with a single penalty, resulting in a score of 28:10 at the 58th minute. From around the 60th minute, the Lelos took complete control of the game, adjusting the score to 28:17 on the 63rd minute with a technical try. But despite several chances, we couldn’t take any more points after that. Lack of experience and pressure that played a decisive role in this regard. There were at least tree moments until the 71st minute, in which Georgia could have achieved a try and thus completely change the course of the game by putting the almost subdued Italian team into an even worse situation, but as I mentioned above, pressure played its part and the game ended 28:17 in favor of the Italians.

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magram nel-nela italielebis gamocdilebam Tavisi gaitana da maspinZlebmac kapitnis, mikele kampaniaros winamZRolobiT, TamaSi daalages; maleve misive leloTi winac gavidnen. amas italielebma kidev sami lelo daumates, ris sapasuxodac qarTvelebma mxolod erTi jarima gaitanes da angariSic 28:10 gaxda. daaxloebiT me-60 wuTidan TamaSis sadaveebi mTlianad „borjRalosnebma“ Caigdes xelSi da teqnikuri leloTi 63-e wuTze angariSi 28:17 gaxades. Tumca, amis Semdeg miRebuli araerTi Sansis miuxedavad, meti qulis aReba veRar movaxerxeT. aq gadamwyveti roli didwilad gamoucdelobam, SeuTamaSeblobam da nerviulobam iTamaSa. minimum sami iseTi momenti iyo, roca saqarTvelos lelos dadeba SeeZlo, rac mTlianad Secvlida situacias da isedac TiTqmis gatexil italias kidev ufro mZime mdgomareobaSi Caagdebda, magram, rogorc zemoT aRvniSne, nerviulobam Tavisi gaakeTa da matCis saboloo angariSic italielTa sasargeblod 28:17 dafiqsirda.

Znelia im grZnobis gadmocema, rac wagebuli TamaSis Semdeg dagveufla. magram miuxedavad amisa, gulSematkivarma madloba gadauxada biWebs TavganwirviT TamaSisTvis da stadionze isev gaisma mquxare _ „saqarTvelo! saqarTvelo!“. am TamaSma rac namdvilad gamoaCina, iyo is, rom italielebi 6 erSi gatarebuli TiTqmis ori aTeuli wlis miuxedavad, arc ise arian win wasulebi, rogorc Tavad egonaT. matCis Semdeg „borjRalosnebi“ dananebiT aRniSnavdnen, rom aseTi Sansis xelidan gaSveba ar SeiZleboda da axla kidev karga xniT mouwevT lodini axali Sansis misaRebad da italielebze „Suris saZieblad“.

TamaSamde italielebma Zalian sworad gaTvales yvela detali. testebis dros, tradiciulad, saqarTvelos moragbeTa nakrebs pirveli Sexvedris TamaSi uWirs. am dros, Tavad italielebma erTgvari gasaxurebeli matCi irlandiasTan iTamaSes 3 noembers. amas daemata is faqti, rom „borjRalosnebs“ ramdenime mniSvnelovan poziciaze akldaT moragbe, ramac sagrZnoblad dagvazarala da es yvelaferi TamaSis xarisxze aisaxa. Tumca, marcxis miuxedavad unda aRvniSnoT, rom es iyo erTi win gadadgmuli nabiji, rogorc qarTuli ragbisTvis, ise mTlianad Cveni qveynisTvis. 6 eris „skeptikos mamebs“ vaCveneT, rom saqarTvelos nakrebs uamravi gulSematkivari mihyveba, Tuki TamaSi iseT qveyanaSi imarTeba, sadac Casvla did sirTules ar warmoadgens. amasTan erTad, ramdenime aTasma qarTvelma florencia ise moiara, rom erTi eqscesis Sesaxebac ki araferi Tqmula. piriqiT, nebismier maRaziasa da restoranSi Sesuls adgilobrivebi didi siyvaruliTa da pativiscemiT gvxvdebodnen. is, rom qarTvel moragbeebs dawyeba uWirT da procesSi nel-nela umateben, ukve momdevno orma Sexvedram daadastura. am matCidan erTi kviris Tavze, TbilisSi, avWalis stadionze, samoasTan gaimarTa Sexvedra. pirveli taimis 30 wuTSi „borjRalosnebma“ bolo wlebis erTerTi yvelaze cudi monakveTi Caatares da mowinaaRmdeges

It would be difficult to explain what we felt after losing this game. Even so, supporters thanked the boys for their dauntless performance, and another thundering “Georgia! Georgia!” was heard on the stadium. One thing this game has made clear is that despite the almost two decades spent by the Italian team in the Six Nations Championship, they are not as far ahead as they thought they were.

After the game, the Lelos were saying with regret that they shouldn’t have let this opportunity pass, and now they will again have to wait for a long time to get another one and get their “revenge” on the Italians.

In general, we can say that the Italian team were prepared for every detail. Traditionally, the Georgian rugby team has trouble with their first games. As for the Italians, they had already played a “warm-up” match against Ireland on the 3rd of November. Add to that the fact that the Lelos were lacking several players on important positions, which has severely limited us and has shown on the quality of our performance.

I will finish writing about the Italian part of our Autumn tests by saying that it was a step forward, both for Georgian rugby and our country as a whole. We have shown to the “sceptic uncles” that the Georgian team is followed by a lot of supporters when games are held in countries where it is easy to fly. Apart from that, several thousands of Georgians have toured Florence without leading to any excess or complaint. On the contrary, every local shop and restaurant were welcoming us with great warmth and respect.

The fact that Georgian rugbymen have trouble in the first games and gradually get better was confirmed in the following two games.

One week after the Italian episode, a game against Samoa took place in Tbilisi, at the Avchala stadium. In the first 30 minutes, the

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3:19 CamorCnen, Tumca aqedan moyolebuli, radikalurad Secvales sakuTari TamaSic, situaciac, metoqe 24 upasuxo quliT „daasaCuqres“ da sabolood TamaSi 27:19 moiges. is ragbi, rac samoelebTan meore taimSi saqarTvelos nakrebma aCvena, marTlac umaRlesi donis maCvenebeli iyo. amas, ukve 24 noembers, mixeil mesxis saxelobis stadionze tongas sakmaod Zlier gundTan Sexvedra mohyva. „borjRalosnebma“ aq ukve kargad moaxerxes Zalebis mobilizeba da rTuli TamaSis miuxedavad, metoqes lelo ar daadebines da 20:9 gaimarjves. sabolood, Cveni nakrebis wlevandelma Semodgomis testebma italiasTan marcxis miuxedavad, mainc dadebiTi Sefaseba daimsaxura. gamoCndnen axalgazrda moragbeebi, romlebsac ukve umaRles doneze SeuZliaT TamaSi da liderobis sakuTar Tavze aReba. gamoikveTa im gundisa da taqtikis konturebi, romlis imedzec 2019 wels, iaponiaSi dagegmil msoflio Tasze unda viasparezoT, sadac saqarTvelos mowinaaRmdegeebi avstralia, uelsi, fiji da urugvai iqnebian.

Lelos played one of their worst performances in the last years, and were lagging behind their rivals with a 3:19 score, but they radically changed their game and the whole situation right then, scoring 24 unanswered points against their opponent to win the game 27:19.

The way the Georgian team played in the second half was a display of the highest level.

This was followed by a game against the quite solid national team of Tonga on the 24th of November, on the Mikheil Meskhi stadium. The Lelos managed to mobilize their strong points, and despite a difficult match, they didn’t enable their opponent to score a try and won the game 20:9.

All in all, despite our loss to Italy, this year’s Autumn tests deserve appraisal. Promising young rugbymen have come forward, who can play on the highest level and take matters in their own hands. Outlines of the team and tactics that we will be backing in the upcoming 2019 world cup in Japan have appeared. In the group stage, Georgia’s opponents will be Australia, Wales, Fiji, and Uruguay.

giorgi arabuli foto: ian perlihi/saqarTvelos ragbis kavSiri, gogita buxaiZe/saqarTvelos ragbis kavSiri

Giorgi Arabuli Photography: Jan Perlich/Georgian Rugby Union, Gogita Bukhaidze/Georgian Rugby Union

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