კულტურა პლუს 3 (17)

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3 (17) 2019 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 saqarTvelo

2

GEORGIA

orni

16

TWO

kapriCio (mcdeloba) #

30

CAPRICCIO (ATTEMPT) #

baTumis fotodReebi

38

BATUMI PHOTO DAYS

rusTavis istoriuli muzeumi

46

RUSTAVI HISTORY MUSEUM

Cveulebrivi sofeli, samyaros centri

56

A USUAL VILLAGE AT THE CENTER OF THE WORLD

Suafxos klasi

70

SHUAPKHO’S CLASS

praRis kvadrienale 2019

74

PRAGUE QUADRENNIAL 2019

bazierebi

80

FALCONERS

da mas Jamsa iwyo...

90

AND AT THAT TIME BEGAN...

mTavari redaqtori EDITOR-IN-CHIEF revaz iukuriZe REVAZ IUKURIDZE saredaqcio jgufi EDITORIAL STAFF xaTuna kereseliZe KHATUNA KERESELIDZE aleqsandre ServaSiZe ALEKSANDRE SHERVASHIDZE dizaineri DESIGNER nikoloz bagrationi NIKOLOZ BAGRATIONI

el-fosta: kulturaplusm@gmail.com facebook.com/kulturaplusm

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 „kontrol p“ / Print: Ctrl p

ydaze: qeTevan maRalaSvili da dimitri SevardnaZe Cover: Ketevan Maghalashvili and Dimitri Shevardnadze

3 (17) 2019

msoflios mravali saxelmwifo, xangrZlivi istoriis ganmavlobaSi teritoriulad xan farTovdeboda da xanac mcirdeboda. gamonaklisi arc saqarTveloa...

Cveni qveyana XX saukunesa da XXI saukunis dasawyisSi mniSvnelovnad dapataravda. mxolod 1921-27 wlebSi bolSevikebma saqarTvelos 18 263 kv. km. CamoaWres da teritoria 69 700 kv. km-mde daiyvanes. wiTlebma TurqeTs gadasces arTvinis da ardaganis okrugebi, azerbaijans _ siRnaRis olqis aRmosavleT nawili (amJamindeli: belaqnis, kaxis da zaqaTalis raionebi), xolo somxeTs borCalos olqis samxreTi nawili (lore da bambaki). dRes saerTaSoriso samarTali saqarTvelos 1991 wlis, anu sabWoTa kavSiris daSlisas arsebul sazRvrebSi aRiarebs, Tumca saSiSroeba kvlav arsebobs. ganviTarebuli movlenebis gamo, afxazeTi da Sida qarTlis udidesi nawili ruseTis mieraa okupirebuli.

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3 (17) 2019

A great number of countries worldwide have experienced either expansion or shrinkage of their territories in the course of many centuries. Georgia is no exception.

A considerable decrease in the size of Georgian territory occurred as recently as the 20th century. During the period 1921-1927, the Bolsheviks cut a large slice of 18 263 square kilometers off Georgia thus reducing the territory of the Georgian Soviet Socialist Republic to 69 700 square kilometers. The Bolsheviks ceded Georgia’s Okrugs of Artvini and Ardagani to Turkey and the eastern part of the Sighnaghi area (currently the districts of Belkani, Kakhi and Zakatala) to Azerbaijan. International law currently recognizes Georgia within the borders of the former Georgian SSR established on 21 December 1991. The threat, however, still looms large. Today Abkhazia and a large part of Shida (Inner) Kartli remain invaded by Russia – successor to the Romanov Empire and the Soviet Union.

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erTiani qarTuli saxelmwifos daSla XIII saukunis II naxevarSi iRebs saTaves. Tavdapirvelad saqarTvelo sam politikur erTeulad daiyo: aRmosavleT saqarTvelos samefo, lixT-imereTis samefo (1253 wlidan) da samcxis saaTabago (1266 wlidan). am daqucmacebas xels uwyobdnen saqarTveloSi gabatonebuli monRoli dampyroblebi. XIV saukunis 30-ian wlebSi giorgi brwyinvalem SeZlo qveynis kvlav gaerTianeba da saxelmwifos Tamarisdroindel sazRvrebSi aRdgena.

XIV saukunis bolos da XV saukuneSi, jer Temur-lengis da Semdeg SavbatknianTa Turqmanuli tomebis Semosevebma saqarTvelo Zlier daasusta. mosaxleobis Semcirebisa da qveynis ekonomiurad dauZlurebis Sedegad 1490 wels qarTlis samefo darbazi iZulebuli Seiqna ecno saqarTvelos daSla sam samefod da xuT samTavrod, Camoyalibda: qarTlis, kaxeTis, imereTis samefoebi da samcxis, odiSis, guriis, odnav mogvianebiT afxazeTis da svaneTis samTavroebi. erisTavebi mTavrebad iqcnen da centralur xelisuflebas daupirispirdnen. warmoiSva mcire erTeulebi _ saTavadoebic, romelTac sakuTari teritoria, cixe-simagreebi, eklesia-monastrebi hqondaT da laSqaric hyavdaT.

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The united Georgian state began to disintegrate in the second half of the 18th century. Initially Georgia broke up into three political entities: the Kingdom of Eastern Georgia, the Kingdom of LikhtImereti (in 1253) and Samtskhe-Saatabago (in 1266). This process of disintegration was further facilitated by the Mongol domination over Georgia. In the 1330s, George the Brilliant undertook an ambitious plan to reunite Georgia and even succeeded in restoring the country within the borders reinforced by King Tamar.

Invasions of Tamerlane and Turkmen tribes in the 15th century brought Georgia to the verge of complete collapse. In 1490, due to a sharp fall in population and economic decline, the royal court of Kartli was forced to legitimize the division of Georgia into three kingdoms of Kartli, Kakheti and Imereti and five principalities of Samtskhe, Odishi, Guria and later Abkhazia and Svaneti. Shortly afterwards, fiefs proclaimed themselves to be princes, leading to major confrontations with the central authorities. The process of disintegration spawned a number of smaller entities – fiefdoms with their own territories, fortresses, churches and troops.

In the 16th century, in 1529 in particular, after their unsuccessful siege of Vienna, Ottoman Turks switched to the east where their interests clashed with Iran’s far-reaching designs. The ensuing war between the Ottoman and Persian empires over dominance in the east lasted for centuries. Transcaucasus was caught in the crossfire of this confrontation.

3 (17) 2019

South Georgia: In 1555 a truce was signed in the city of Amasia, a Georgian territory being divided up between Iran and the Ottoman Empire. Kartl-Kakheti and the eastern part of Samtskhe-Saatabago went to Iran, whereas west Georgia and the western part of Samtskhe were given over to the Ottoman Empire. Both invaders tried to get a firm hold of the occupied territories and convert the local population to Islam.

Ottoman rulers continued to oppress Jakeli – Prince of Samtskhe. In 1578 a new war broke out between Iran and the Ottoman Empire. The Sultan tore Transcaucasus off Iran whose power was then at its lowest ebb. On 25 June 1579, Childiri (Akhaltsikhe) Pashate was set up on the occupied territory of Saatabago, which later fell apart into smaller units called Sanjaks.

The Sultan installed Manuchar Jakeli (Mustafa Pasha) at the helm of Akhaltsikhe. In 1582 Manuchar Jakeli revolted against the Ottomans and restored Samtskhe’s independence, but this proved to be short-lived. Based on a truce announced between Iran and the Ottoman Empire in 1590, Transcaucasus was ceded to the Ottoman Empire. This inspired the Sultan to take full possession of South Georgia. He undertook a census of 1160 villages in South Georgia. In 1595 the Gurjistan Vilâyet Grand Registry Book was created to manage an Ottoman tax system in Georgia. To remain

XVI saukuneSi, 1529 wels, venaze warumatebeli Setevis Semdeg, Turq-osmalebma SemosazRvres evropaSi gafarToebis mijna da ZiriTadi politikuri aqcenti aziisa da afrikis teritoriebis dauflebisken gadaitanes. aziaSi maTi interesebi iranis saxelmwifos zraxvebs daupirispirda, rasac maxlobel aRmosavleTSi gabatonebisTvis iran-osmaleTs Soris ramdenime saukunovani omebi mohyva. amierkavkasia omebis asparezad iqca. samxreT saqarTvelo: 1555 wels, morigi omis Semdeg, iranma da osmaleTma amasiis zaviT saqarTvelo Suaze gaiyves. qarTl-kaxeTi da samcxe-saaTabagos aRmosavleTi nawili irans ergo, xolo dasavleT saqarTvelo da dasavleT samcxe _ osmaleTs. TiToeuli dampyrobeli cdilobda zaviT mikuTvnebuli teritoriis sabolood dapyrobas da adgilobrivi mosaxleobis gamahmadianebas. osmaleTma TandaTan Seaviwrova samcxis mTavari _ jayeli. 1578 wels daiwyo iran-osmaleTis morigi omi. sulTanma mTeli amierkavkasia waarTva dasustebul sparseTs. 1579 wels, saaTabagos dapyrobil teritoriaze, sulTnis brZanebiT, Seiqmna Cildiris (axalcixis) safaSo, romelic ufro wvril

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erTeulebad _ sanjayebad dayves. axalcixis faSad sulTanma gamahmadianebuli manuCar jayeli (mustafa faSa) daamtkica. 1582 wels manuCar jayeli aujanyda osmalebs da samcxis damoukidebloba aRadgina. Tumca, am damoukideblobam didxans ar gastana. 1590 wlis iran-osmaleTis zaviT sulTanma mTeli amierkavkasia miiRo da samxreT saqarTveloze sabolood gabatonda. aRweres mTeli mosaxleoba, samxreT saqarTvelos 1160 sofeli da 1595 wels Seqmnes `gurjistanis vilaieTis didi davTari~, romelic samxreT saqarTveloSi osmalur sagadasaxado sistemas awesrigebda. qristianobis SesanarCuneblad mosaxleoba mesxeTs tovebda da danarCen saqarTvelos afarebda Tavs. qarTvelebi, romlebic ver tovebdnen mamuls, an farulad misdevdnen marTlmadideblobas, an kaTolikdebodnen da anac iZulebiT mahmadiandebodnen. 1628 wlidan axalcixis faSebi ukve gamahmadianebuli jayelebi arian, romlebic yvelanairad exmarebian osmaluri administraciis moRvaweobas. qarTvelebi arasdros Seguebian samcxe-saaTabagoSi osmalTa batonobas. 1783 wels georgievskSi dadebuli

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loyal to their religious faith, local people would flee Meskheti seeking shelter in other regions of Georgia. Those Georgians unable to leave their homes had either to keep secret their faith in Orthodox Christianity or to convert to Catholicism or to Islam.

From 1628 Akhaltsikhe came to be ruled by muslimized Jakels assisting the Ottoman administration in every possible way to pursue its interests in Georgia.

Georgians were not going to tolerate Ottoman rule in SamtskheSaatabago. Russia, under Paragraph 5 of the Treaty of Georgievsk concluded in 1783, officially declared Erekle II of Kartli and Kakheti as ‘heir to the throne of Samtskhe-Saatabago’, undertaking a commitment to return to Georgia all territories occupied by the Ottoman Empire (this commitment, like many others, was never fulfilled). After the abolition of the Kingdom of Georgia in 1801, incorporation of Meskheti into the Russian Empire was placed high on the agenda of Russia’s ‘great power’ foreign policy.

In the 19th century, Russia waged three wars with the Ottoman Empire. Following these wars, Samtskhe and Javakheti, as well as a large area of South Georgia including Erusheti, Kola, Artaani, Chrdili, Oltisi, Shavsheti, Klarjeti and Achara, were ceded to Russia under the treaties of Adrianopole (1829) and San Stefano (1878). The Russian

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mfarvelobiTi traqtatis mexuTe punqtis Tanaxmad ruseTi aRmosavleT saqarTvelos mefes erekle II-s oficialurad aRiarebda `samcxe-saaTabagos memkvidre mflobelad~ da valdebulebas iRebda pirveli SesaZleblobis Tanave daebrunebina saqarTvelosTvis osmalTa mier mitacebuli miwebi (es dapireba, rogorc mravali sxva ar Sesrulda). mas Semdeg, rac 1801 wels ruseTma saqarTvelos samefo gaauqma, imperiis SemadgenlobaSi mesxeTis Seyvana misi `velikoderJavuli~ sagareo politikis rigiT sakiTxad iqca.

XIX saukuneSi ruseTma osmaleTis imperiasTan sami omi gadaixada. am omebis Sedegad dadebuli sazavo xelSekrulebebiT man daikava samcxe da javaxeTi (1829 wlis adrianopolis zaviT), 1878 wlis san-stefanos zaviT ki _ samxreT saqarTvelos didi nawili: eruSeTi, kola, artaani, Crdili, olTisi, SavSeTi, klarjeTi,

bedia / BEDIA

army in World War I (1914-18) succeeded in prevailing over the Ottoman troops on the Caucasian front and invaded a considerable part of South Georgia, the entire territory of Tao and Lazeti.

The February revolution in 1917 and the Bolshevik coup later that October completely altered the political landscape in Russia. Under the treaty of Brest-Litovsk signed with the Ottoman Empire on 3 March 1918, Bolshevik Russia restored the border that existed prior to 1878, which entailed the transfer of a sizeable part of Georgian territory (including the Okrugs of Batumi, Artvini, Oltisi and Artaani) to the Ottoman Empire. Shortly afterwards, the government of the Democratic Republic of Georgia capitalized on the unfortunate geopolitical situation the Ottoman Empire was enduring in 19191920 and regained these territories, albeit temporarily. In February 1921, the Ottoman army profited from the Bolshevik incursion into Georgia and moved the border back to where it was prior to 1878. It is only a tribute to General Giorgi Mazniashvili’s courageous defiance that Achara and Batumi escaped the yoke of slavery within the borders of the Ottoman Empire. In March 1921, Lenin and Atatßrk negotiated the treaty of Kars, which determined the border between Soviet Russia (and respectively Soviet Georgia) and the Ottoman Empire. Three provinces of South Georgia: Achara (with autonomous status), Samtskhe and Javakheti remained within the borders of Georgia.

xanZTa / KHANDZTA

aWara. pirveli msoflio omis dros (1914-18 ww.) ruseTis armiam osmaleTTan kavkasiis frontze warmatebul brZolebSi daikava istoriuli samxreT saqarTvelos did nawili, mTeli tao da lazeTi. 1917 wels, ruseTSi Tebervlis revoluciisa da oqtombris bolSevikuri gadatrialebis Sedegad politikuri viTareba Zir-fesvianad Seicvala. 1918 wlis 3 marts, brest-litovskSi, osmaleTTan dadebuli zaviT,

ilori / ILORI

7

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The issue of South Georgia was again placed high on the agenda at the end of World War II. Stalin took a close interest in the restoration of the Russian Empire within the borders delineated in 1914. At the Potsdam maritime conference he put the issues of re-establishment of historical justice and punishment of Turkey as an ally of Nazi Germany back on the front burner.

Stalin pressed on with the claim to incorporate the Okrugs of Artvini, Ardagani and Oltisi into the Georgian SSR (i.e. the Soviet Union). However, the issue was taken firmly off the agenda due to fierce resistance from the leaders of the allied forces, Churchill in particular.

Following the conclusion of a treaty between Georgia and Turkey in 1992, the border between the two states was delimitated as per the 1921 treaty of Kars, based on the status quo that existed after the break-up of the Soviet Union.

Thus it came about that Georgia lost part of its southern territories.

East Georgia: The Kakheti Kingdom in the 16th century was bordered by the Sheki khanate to the south-east and by Dagestnian khanates – to the north-east and the north. From the 18th century, while extending its range to the south, the Russian Empire under

bolSevikurma ruseTma TurqeTTan 1878 wlamde arsebuli sazRvari aRadgina. es niSnavda samxreT saqarTvelos didi nawilis (baTumis, arTvinis, olTisis da artaanis okrugebis) osmaleTisTvis gadacemas. amas ar Seurigda saqarTvelos demokratiuli respublikis mTavroba da osmaleTisTvis rTul geopolitikur situaciaSi, 191920 wlebSi, am teritoriebis dabruneba SeZlo, Tumca droebiT. 1921 wlis TebervalSi osmaleTis armiam isargebla saqarTveloSi bolSevikebis SemoWriT da 1878 wlamde arsebuli sazRvari kvlav aRadgina. mxolod general giorgi mazniaSvilisa da qarTvel moxaliseTa Tavdadebam gadaarCina samxreT saqarTvelos erTi kuTxe _ aWara da qalaqi baTumi osmaleTis sazRvrebSi moqcevas. 1921 wlis martSi, saqarTvelos okupaciis Semdeg, leninis da aTaTurqis winaswari molaparakebis Sedegad, yarsis xelSekrulebiT, dadginda sazRvari sabWoTa ruseTsa (Sesabamisad sabWoTa saqarTvelosa) da TurqeTs Soris. saqarTvelos SemadgenlobaSi sami provincia: aWara, samcxe da javaxeTi darCa, amasTan aWara avtonomiis garantiiT. samxreT saqarTvelos sakiTxi kidev erTxel

pirobiTi aRniSvnebi

saqarTvelos dapyroba sabWoTa ruseTis mier 1921 wels

saqarTvelos demokratiuli respublikis sazRvari aRiarebuli erTa ligis mier 1918 wels saqarTvelos Tanamedrove sazRvari mezobeli qveynebis sazRvari dedaqalaqi dasaxlebuli punqti lores neitraluri raioni

soWi

sabWoTa ruseTis armiebis SemoWra 1921 wlis TebervalSi

gagra

somxeTidan qvemo qarTlis gavliT tfilisze

vladikavkazi

gudauTa

azerbaijanidan kaxeTis gavliT tfilisze soWis mxridan foTze

soxumi

CrdiloeT kavkasiidan mamisonis uReltexiliT quTaisze

Savi

saqarTvelos mTavrobis wasvla emigraciaSi 1921 wlis 17 marts baTumidan

cageri

gali

oni zugdidi

anaklia

xoni

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samtredia

fasanauri

cxinvali

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jalal-oRli

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TorTomi yaRizmani

8

lagodexi

voroncovka

trapizoni

Š M.Shekiladze, 2002

Telavi

s

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masStabi 1 : 2 800 000

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l o e T C r d i

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© M.Shekiladze, 2002

meore msoflio omis dasasruls wamoiWra. stalini dainteresebuli iyo ruseTis imperiis 1914 wlis droindeli sazRvrebis aRdgeniT da potsdamis sazavo konferenciaze mokavSireebis winaSe istoriuli samarTlianobis aRdgenis da TurqeTis, rogorc nacisturi germaniis mokavSire saxelmwifos, dasjis sakiTxi dasva. man moiTxova arTvinis, ardaganis da olTisis okrugebi saqarTvelos ssr-s (anu sabWoTa kavSirs) gadascemoda. mokavSireTa liderebis, gansakuTrebiT ki CerCilis mZafri winaaRmdegobis gamo, sakiTxi dRis wesrigidan moixsna.

1992 wels, saqarTvelo-TurqeTs Soris dadebuli xelSekrulebiT, or saxelmwifos Soris arsebuli sazRvari 1921 wlis yarsis xelSekrulebiT da 1991 wels, ssrk-is daSlis Sedegad warmoqmnili realuri viTarebiT ganisazRvra. ase dakarga saqarTvelom istoriuli samxreT teritoriebis nawili. aRmosavleT saqarTvelo: XVI saukuneSi kaxeTis samefos samxreT-aRmosavleTiT esazRvreboda Seqis, xolo Crdilo-aRmosavleTiTa da CrdiloeTiT _ daRestnuri saxanoebi. XVIII saukunidan romanovebis imperiam

masStabi 1 : 2 500 000

the Romanovs conquered the lowland areas of the North Caucasus and set up Cossack military camps there. Thus locked up in the mountains and barred from access to lowland regions, the northern tribes embarked on a violent spree raiding and robbing the Georgian population.

Gradually Dagestnian tribes began to settle in the areas (Tsuketi, Kak-Eliseni) adjacent to the Kakheti Kingdom. In 1551 Iran conquered the Sheki khanate thus dissolving the eastern border of Kakheti. In 1603 Shah Abbas I of Iran transferred KakEliseni from King Alexandre II of Kakheti to the muslimized Prince Vakhvakhishvili, thus laying the groundwork for the Elisu Sultanate.

The muslimization of Hereti’s Georgian population (later referred to as Ingilos) was paralleled by a process involving the settlement of Turkmen tribes – Mughals - on this territory. In the second half of the 17th century Lezghins from the Dagestnian mountains began to populate the western part of Kak-Eliseni. The Ottoman Sultan in 1727 ordered to delineate the border of Dagestan as running across the river Machistskali. Chari territory became a main bridgehead allowing Lezghin assaults on Kartl-Kakheti. Erekle II failed to put an end to such raids even after the Treaty of Georgievsk was concluded with Russia in 1783. The territories of Char-Belakani and Elisu remained seized by Dagestnian feudal lords.

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moqvi / MOKVI

samxreTiT gafarToebisas daipyro Crdilo kavkasielTa baris teritoriebi, sadac kazakTa gasamxedroebuli dasaxlebebi Seqmna. am dros mTebSi momwyvdeulma da baris miwebis gareSe darCenilma mTielebma daiwyes marbieli TareSebi da qarTuli mosaxleobis dawiokeba.

TandaTanobiT daRestnuri tomebi kaxeTis samefos sasazRvro miwebze (wuqeTi,kak-eliseni) dasaxldnen.

1551 wels Seqis saxano iranma daipyro. kaxeTs aRmosavleTis sazRvari moeSala. 1603 wels iranis Sahma abas I-ma kaxeTis mefe aleqsandre II-s kak-eliseni CamoarTva da gamahmadianebul vaxvaxiSvilebs gadasca. amgvarad Camoyalibda elisus sasulTno. elisuSi hereTis qarTvelTa gamahmadianebis paralelurad (am mosaxleobas Semdeg ingiloebi uwodes), Turqmanuli tomebis _ muRalebis Camosaxleba daiwyo. XVII saukunis meore naxevarSi kak-elisenis dasavleT nawilSi daRestnis mTebidan lekebic Camosaxldnen. 1727 wels osmaleTis sulTanma firmaniT daRestnelebs sazRvari

10

In the aftermath of the abolition of Georgian statehood in 1801 and the declaration that Georgia was part of the Russian Empire, Georgian-Russian troops led by Viceroy Tsitsianov invaded the territory of Char-Belakani. The elders of Char-Belakani decided to toe the line and seek Russian suzerainty. They presented themselves to Viceroy Tsitsianov and took an oath of loyalty to the Russian Emperor. In 1839 Russia abolished the Elisu Sultanate and in 1844 Zaqatala Okrug was set up, which until 1860 remained under the control of the Tbilisi governor. With the introduction of military rule, however, Zaqatala Okrug was merged with Upper Dagestan District.

By rolling Zaqatala and Dagestan into one, Prince Bariatinsky, governor of the Caucasus, further widened the gap between this region and the rest of Georgia. Caught in a Muslim milieu, Georgians faced a real threat of ‘Tatarization’. In 1883 military rule was lifted without, however, reinstating Zaqatala Okrug within the borders of the Tbilisi Governorate.

Article 107 of the first Constitution adopted on 21 February 1921 by the constituent assembly of the independent republic: ‘grants

3 (17) 2019

md. maWiswyalze daumtkica. Waris teritoria gadaiqca qarTl-kaxeTze lekTa TareSis mTavar placdarmad. miuxedavad 1783 wels rusebTan dadebuli georgievskis traqtatisa, WarelTa problema verc erekle II-m gadawyvita. War-belaqnis da elisus teritoria daRestnel feodalebs ekavaT. 1801 wels ruseTis imperiis mier saqarTvelos saxelmwifos gauqmebisa da qveynis sakuTar teritoriad gamoacxadebis Semdeg, 1803 wels rusTa da qarTvelTa jarma, kavkasiis mTavarmarTebel cicianovis sardlobiT, War-belaqani daikava. War-belaqnelma uxucesebma, CaTrevas Cayola amjobines, tfilisSi mTavarmarTebel cicianovs eaxlnen da mfarvelobaSi miReba sTxoves. maT fici dades ruseTis imperatoris erTgulebaze. 1839 wels ruseTma elisus sasulTnoc gaauqma da 1844 wels Camoyalibda zaqaTalis okrugi. 1860 wlamde okrugi tfilisis gubernators eqvemdebareboda, magram Semdeg aq samxedro mmarTveloba SemoiRes da zemo daRestnis olqs miuerTes. kavkasiis mefisnacvalma bariatinskim, daRestnis olqze zaqaTalis mxaris gadacemiT, es mxare kidev ufro CamoaSora danarCen saqarTvelos. muslimuri garemocvis pirobebSi Seviwroebuli qarTveloba `TaTrdeboda~. marTalia, samxedro mmarTveloba 1883 wels gauqmda, magram zaqaTalis okrugi tfilisis guberniis SemadgenlobaSi aRar daabrunes.

1921 wels saqarTvelos damfuZnebeli krebis mier miRebuli konstituciis 107-e muxlis Tanaxmad: `saqarTvelos respublikis ganuyofel nawilebs _ afxazeTs (soxumis olqi), samuslimano saqarTvelos (baTumis mxare) da zaqaTalas (zaqaTalis olqi), eniWebaT adgilobriv saqmeebSi avtonomiuri mmarTveloba~. am sazRvrebSi warudgina saqarTvelos mTavrobam 1919 wels versalis konferencias saqarTvelos teritoria dasmtkiceblad... 1921 wlis 25 Tebervlis Semdeg zaqaTalis okrugi bolSevikebma azerbaijanis ssr-s gadasces. qarTlis ukiduresi samxreTi provinciebi _ lore da bambaki, 1604 wels, Sah abas I-ma qarTlis mefe giorgi X-s waarTva da aq borCalus yizilbaSuri tomi Caasaxla. amitom SemdgomSi am mxares saxeli _ borCalo daumkvidrda. erekle II-m es miwebi qarTlis samefos daubruna. ruseTis batonobis periodSic igi, borCalos mazris saxeliT, tfilisis guberniaSi Sedioda.

1918 wlis dekemberSi somxeTis jari omis gamoucxadeblad lore-borCaloSi SemoiWra. daikava sadaxlo, Sulaveri da Tbiliss mouaxlovda. somxeTis mTavroba saqarTvelos mTavrobisgan ultimatumis formiT moiTxovda teritoriis daclas TbilisiTurT vidre goramde. saqarTvelos armia general giorgi kvinitaZis sardlobiT Setevaze gadavida, daibruna

autonomy in the governance of local affairs to the integral parts of the Republic of Georgia: Abkhazia (Sokhumi district), Georgia’s Muslim settlements (Batumi district) and Zaqatala district’. The government of Georgia appealed to the Versailles Conference in 1919 to recognize Georgia within these very borders… Shortly after 25 February 1921, the Bolsheviks granted Zaqatala Okrug to the Azerbaijan SSR. In 1604 Shah Abbas I cut the southernmost provinces – Lore and Bambaki - off the Kartli Kingdom and populated them with people collectively called Kizilbash. The name Borchalo subsequently given to this area derives from Kizilbash tribes. Erekle II gained back these lands, which, known as Borchalo Mazra, were within the Tbilisi Governorate even in the years of Russian dominance.

Without declaring war, Armenian troops made an armed incursion into Lore-Borchalo in December 1918 and seized Sadakhlo, Shulaveri and approached the outskirts of Tbilisi. The Armenian government issued an ultimatum to the Georgian authorities to rid the territory of its population, including Tbilisi, up to Gori. The Georgian People’s Guard launched a major offensive, gained back the lost territories and fought its way up to the Armenian border. Authorities of Transcaucasian troops under British military command stepped in and stopped the advance of the Georgian army, resulting in the division of Lore into two parts. Lore-Bambaki under Bolshevik rule was passed over to the Armenian SSR. Thus it came about that Georgia lost part of its eastern territories.

North Georgia: Georgia to the north is abutted by the Main Caucasian Ridge. Territorial boundaries in this area were seldom subject to change. In ancient times the current Sochi-Tuapse

hujabi / HUJABI

11

3 (17) 2019

iSxani / ISHKHANI

dakarguli da somxeTis sazRvars miadga. konfliqtSi didi britaneTis armiis amierkavkasiis sardloba Caeria, qarTuli jari SeaCera da lore Suaze gaiyo. saqarTveloSi bolSevikebis Semosvlis Semdeg lorebambaki somxeTis ssr-s gadaeca. ase dakarga saqarTvelom istoriuli aRmosavleT teritoriebis nawili.

CrdiloeT saqarTvelo: saqarTvelos CrdiloeTiT bunebrivad sazRvravs didi kavkasionis qedi. am mimarTulebiT teritoriuli cvlileba arcTu xSiri iyo. dRevandeli soWi-tuafses raioni, uZvelesi droidanve dasaxlebuli iyo kavkasiuri tomebiT _ jiqebiT da XI-XV saukuneebSi saqarTvelos samefos Crdilo-dasavleT nawilis, afxazeTis SemadgenlobaSi Sedioda. XVI saukunis miwurulidan osmaleTis imperiis da yirimis saxanos mier CrdiloeT kavkasiaSi islamis eqspansiis Sedegad jiqeTi CamoSorda qarTul samyaros. Semdgom amas daerTo ruseTis imperiis kolonizatoruli politika, romelic kavkasiaSi yvelaze ufro urCi, TviTmyofadi patara erebis genocids an muhajirobas gulisxmobda. 1918 wels q. soWis TviTmmarTvelobam, rogorc bolSevikebis, ise TeTrgvardielebis SemoWris SiSiT miiRo dadgenileba

12

district was populated by Caucasian tribes – Jiks, which in 11th – 15th centuries formed part of Georgia’s northwest region – Abkhazia.

As a result of the policy of the Ottoman Empire and the Crimean Khanate aimed at the expansion of Islam in the North Caucasus at the end of the 16th century, Jiketi was torn off Georgia. Adding to the complication was the Russian Empire’s colonization policy which ran the risk of either spiraling into genocide of the most defiant small nations of the Caucasus or forcefully converting them into Muhajirs.

Fearing incursion by both Bolsheviks and White Guards, Sochi’s local government in 1918 appealed to the government of the Democratic Republic of Georgia to bring back into its historical fold the Black Sea Okrug of the former Russian Empire. General Mazniashvili recalls: ‘I received orders from Tbilisi as well as from the National Council of Abkhazia to move forth and take Sochi. The orders, as telegraphed to me, were based on the wish of Sochi’s local population. Some members of Abkhazia’s National Council tried to convince me that Abkhazian borders not only encircled Sochi but stretched as far as Anapa in ancient times…’

Georgian troops under General Giorgi Mazniashvili’s command gained the upper hand in Sochi. Paragraph 5 of a resolution adopted by the plenary session of public-democratic organizations held in Sochi on 5 January 1919 runs as follows:

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da saqarTvelos demokratiuli respublikis mTavrobas TxovniT mimarTa mieerTebina yofili ruseTis imperiis SavizRvispireTis okrugi. ai, rogor igonebs amas generali mazniaSvili: `rogorc Tbilisidan, iseve afxazeTis erovnuli sabWosgan miviRe brZanebebi _ wamewia win da dameWira soWi. mizezi, rogorc gadmomces telegrafis pirdapiri mavTuliT, Txovna-mudara iyo soWSi mcxovrebi qarTvelebisa, xolo afxazTa erovnuli sabWos zogierTi wevri marwmunebda, rom afxazeTs ekuTvnoda araTu soWi, aramed afxazeTis sazRvrebi uZveles droSi anapamdec ki midiodao...~. qarTulma mxedrobam general giorgi mazniaSvilis sardlobiT soWi daikava. 1919 wlis 5 ianvris q. soWis sazogadoebriv-demokratiuli organizaciebis plenaruli TaTbiris rezoluciis me-5 punqtSi asea Sefasebuli qarTvel samxedroTa samSvidobo misia: "Грузинская демократия, в лице своего Правительства, спасла население Сочинскаго округа от двух ужасных бичей русской действительности: анархией и военной диктатуры. Энергичными усилиями направила она внутренную жизнь округа в русло общественного порядка, истиннаго демократизма и здороваго народоправства." magram, 1919 wlis 29 ianvars soWSi dislocirebul mcirericxovan qarTul garnizons denikinelebma alya Semoartyes, nawili gaanadgures da nawilic tyved Caigdes. rogorc im periodis qarTuli presa iuwyeba: `ori Tvis win, borCalos mazraSi, saqarTvelo-somxeTis SetakebaSi gancdili marcxis gamo ganawyenebulma somxebma, denikinelebs qalaqis aRebaSi didi daxmareba gauwies~. meore msoflio omis dros, 1944 wels bolSevikebma nacistebTan TanamSromlobis braldebiT CrdiloeT kavkasiidan Sua aziaSi gaasaxles adgilobrivi (CeCnebi, inguSebi. yaraCaelebi da balyarelebi) mosaxleoba. xalxisgan gaTavisuflebuli teritoriis erTi nawili ki saqarTvelos ssr-s miuerTes, sul 6 000 kv. km. farTobis teritoria _ md. yubanis zemo dinebis auzi (qluxoris raioni) da CeCneT-inguSeTis maRalmTiani regioni (axalxevis raioni). 1957 wels mosaxleobis repatriaciis Semdgom, nikita xruSCovis brZanebiT es raionebi saqarTvelos ssr-s CamoerTva da kvlav ruseTis federacias gadaeca. avtonomiebi sabWoTa saqarTveloSi: sabWoTa kavSiris Seqmnamde, 1921 wlis 21 maiss sabWoTa saqarTvelos xelisuflebam samokavSireo xelSekruleba dado rsfsrTan,. es xelSekruleba iTvaliswinebda saqarTvelos SemadgenlobaSi avtonomiuri erTeulebis Camoyalibebas.

1921 wlis 21 marts saqarTvelos revoluciurma komitetma deklaraciiT aRiara afxazeTis damoukidebloba. 9 aprils baTumSi, bolSevikur TaTbirze (monawileobdnen: s. orjonikiZe, e. eSba, n.

‘Georgian democracy acting on behalf of its government saved the population of Sochi Okrug from two havocs Russia could wreak upon them: anarchy and military dictatorship. With valiant efforts, it steered the Okrug towards increased public order, genuine democracy and effective public governance.’

On 29 January 1919 Denikin’s army laid siege to a small Georgian garrison deployed in Sochi. One part of the garrison was destroyed, the other - taken hostage. Newspaper columns of that period report: ‘Feeling bitter over their defeat in the battle between Georgia and Armenia, Armenians lent a groundswell of support to Denikin’s army in carrying the city by storm’.

In 1944 during World War II, under charges of collaboration with the Nazis, the Bolsheviks exiled the local population of the North Caucasus (Chechens, Ingushetians, Karachaels and Balkarians) to Central Asia. Part of the territory thus emptied of its population, a total of 6000 square kilometers (stretching from the upper reaches of the Kubani River basin in Klukhori district to the ChechenIngushetian highland region in the Akhalkhevi district), was incorporated into the Georgian SSR. Following the repatriation process in 1957, under Nikita Khrushchev’s order, these districts were cut off Georgia and returned to the Russian Federation.

xofa / KHOPA

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lakoba, s. qavTaraZe, S. eliava) aRiares afxazeTis sabWoTa socialisturi respublika. 1921 wlis dekemberSi afxazeTma saxelSekrulebo urTierToba daamyara saqarTvelosTan da Sevida saqarTvelos ssr SemadgenlobaSi. 1931 wels afxazeTi gamocxadda avtonomiur respublikad saqarTvelos SemadgenlobaSi. afxazeTis avtonomiuri respublikis (dedaqalaqi _ soxumi) teritoria moicavda yofil soxumis okrugs da xuT mazrad iyofoda: kodoris (centri _ oCamCire),

alevis sameba / ALEVI TRINITY

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Autonomies in Soviet Georgia: Prior to the creation of the Soviet Union, the Georgian Soviet Socialist Republic concluded an agreement with the Russian Soviet Federative Socialist Republic. The Agreement envisaged setting up autonomous entities within the borders of Georgia.

On 21 March 1921 the Georgian Revolutionary Committee adopted a declaration recognizing the independence of Abkhazia. The Bolshevik session held in Batumi on 9 April (attended by S. Orjonikidze, E. Eshba, N. Lakoba, S. Kavtaradze and Sh. Eliava) recognized the Soviet Socialist Republic of Abkhazia. In December 1921 Abkhazia concluded a treaty

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wirqoli / TSIRKOLI

samurzayanos (gali), gumisTis (soxumi), gagris (gagra), gudauTis (gudauTa). saqarTvelos revkomis 1921 wlis 16 ivlisis dekretiT, Seiqmna aWaris avtonomiuri socialisturi sabWoTa respublika. es sabWoTa ruseTsa da TurqeTs Soris dadebulma 1921 wlis 16 martis yarsis xelSekrulebam ganapiroba. axali respublika, yofili baTumis okrugis teritoriisgan Sedgeboda da iyofoda xuT mazrad: xulos, qedis, qobuleTis, aWariswylis da Woroxis, dedaqalaqi _ baTumi.

1922 wlis 20 aprils saqarTvelos ssr cak-ma da saxkomsabWom gamosces dekreti saqarTvelos ssr-is SemadgenlobaSi samxreT oseTis avtonomiuri olqis Seqmnis Sesaxeb. olqi Seadgines goris da duSeTis mazrebis ToTxmeti Temisgan. nacional-uklonistebis winaaRmdegobis miuxedavad, administraciul centrad qalaqi cxinvali gamoacxades. olqis SemadgenlobaSi osebiT dasaxlebuli soflebis 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.

with Georgia and became part of the Georgian SSR. In 1931 Abkhazia was made an autonomous republic within Georgia. The territory of the Autonomous Republic of Georgia (with Sukhumi as its capital) comprised the former Sokumi Okrug and consisted of five Mazras (districts) of Kodori (centre – Ochamchire), Samurzakano (Gali), Gumista (Sokhumi), Gagra (Gagra) and Gudauta (Gudauta).

The Autonomous Soviet Socialist Republic of Achara was set up by Georgian Revolutionary Committee Decree of 16 July 1921 on the basis of the Kars treaty concluded between Russia and Turkey on 16 March 1921. The newly-created republic (with Batumi as its capital) encompassed the territory of the former Batumi Okrug and was made up of five Mazras: Khulo, Kedi, Kobuleti, Acharistskali and Chorokhi.

The Georgian SSR Central Executive Committee and the Council of People’s Commissars issued a decree on 20 April 1922 establishing the South Ossetian Autonomous Region, which consisted of Gori and Dusheti Mazras dividing into fourteen communities. Despite stiff resistance from National-Uklonists (deviationists), Tskhinvali was made administrative centre of the region. Apart from Ossetianpopulated districts, the region came to comprise a large part of Racha and Shorapan to the west, a number of Dusheti Mazras 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 newlycreated region fell on deaf ears.

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orni

(dialogi, romelic ar Semdgara)

TWO

(A DIALOGUE THAT DIDN'T TAKE PLACE)

isini erTmaneTs 1919 wels Sexvdnen... axalgazrda, niWieri mxatvari qeTevan maRalaSvili da miunxenidan ramdenime wlis dabrunebuli, mravalmxriv ganswavluli xelovani dimitri SevardnaZe. maTi megobroba, romelsac SeiZleba romantikuli urTierToba vuwodoT, 1937 wels Sewyda. dimitri SevardnaZe daxvrites.

“They met each other in 1919… The young, talented painter Ketevan Maghalashvili, and multi-faceted artist Dimitri Shevardnadze, who had come back from Munich a few years prior to their encounter. Their friendship, which can be referred to as a romantic relationship, ended in 1937, when Dimitri Shevardnadze was executed.

qeTevan maRalaSvilis arqivSi daculia dimitri SevardnaZis werilebi, romlebic 1920 wlidan iwyeba. samwuxarod, ar aris SemorCenili qeTevanis werilebi dimitrisadmi, magram arsebobs poet ana kalandaZis Canawerebi, imdroindeli, rodesac mxatvari poeti qalis

Dimitri Shevardnadze’s letters are kept at Ketevan Maghalashvili’s archive – the first letter being dated from 1920. Unfortunately, the letters Ketevan addressed to Dimitri haven’t been preserved, but poet Ana Kalandadze’s records from the time the painter was working on the portrait of the

portretze muSaobda. `ana, me

latter still exist. “Ana, I want you

minda, rom Tqven es icodeT!

to know this! – Ketevan would

_ xSirad moayolebda xolme naTqvams da amanac mikarnaxa zogierTi misi naambobis fiqsireba stenografiuli sizustiT~ (ana kalandaZe, `Targmanebi, prozauli nawerebi~, Tbilisi, 1996 weli).

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often use these words in her conversations, and this enticed me to record her stories, with the accuracy characteristic to stenography” – (Ana Kalandadze, 'Translations, prose', Tbilisi, 1966).

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`roca suraTi ar momwons, vxev. iqneba vcdebi? iakob nikolaZe sul imas eubneboda dito SevardnaZes, CamoarTviT magas Tavisi suraTebi, eg xom aranormaluriao. eex, ditom ki Seinaxa Cemi raRac raRaceebi, magram misi dapatimrebis Semdeg yvelaferi daikarga... metexs Seswira man Tavisi sicocxle, ditos saflavi metexTan mgonia!~ tfilisi, uTariRo, bolonakluli `qeTina! pirvel Sens werilze pasuxi (naCqarevi) ukve gageci. imedia axla werili da ormocdaaTi milioni maneTi miRebuli geqneba. xval (kviras) miemgzavreba borjomSi mixeil zandukeli da vsargeblob SemTxveviT da gigzavni am baraTs. qeTojan, Sens orTave werils Zalian nerviuloba etyoba, Tumca болтовня твоя мне очень нравится, da umTavresi mizezi Seni nerviulobisa fulis uqonloba aris. genacvale, dawynardi, amazed nu dardob. 50.000.000 axla gamogigzavne, male kidev mogaSveleb. ase rom Wama-smaSi araferi daiklo, rom Seni mand yofnam fuWad ar Caiaros. mec vecdebi uTuod Camovide... qeTojan, Sens sazRvargareT wasvlis saqmes Zalian yuradRebas vaqcev, TiTqmis yovel dRe var amis gamo komisariatSi. guSin 13 ivliss komisarma moawera qaRalds xeli 100 funti sterlingis Sesaxeb da gaagzavnes sadRac. erTi sityviT amisi dardi nu geqneba. ordenis keTeba guSin gavaTave da Cavabare kidevac kandelaks. Zalian moiwones da gaagzavnes cekaSi. SeiZleba mainc dabrakon. aqauri ambebi ra mogwero: Zalian sicxeebi iyo da Zalian Segvawuxa. dRes (SabaTia) wvimiani dRea da cota suli moviTqviT. `cintluki~ Sen, Zalian momenatre da naxva Seni friad mesiamovneba, vecdebi Camovide erTi dRiT rogorme...~ `dito SevardnaZe energiuli kaci iyo, moqmedi. ramdenia kargi mxvatvari, magram... am Tvisebas moklebuliao, _ SeniSna qalbatonma qeTom~. tfilisi, 3 seqtemberi, 1920 weli, bolonakluli `qeTo! Tqveni werili mitas xeliT da Tamaris telegrama miviRe. telegramis miRebisTanave arCilma monaxa TianeTidan Camosuli Soferi da gaigo, rom avtomobili ukan 1 seqtembers dabrundeba. mec am dRisTvis movemzade wamosasvlelad. ganaTlebis saministrodan sami dRis Tavisuflebac miviRe; magram daxeT Cems ubedobas, swored wamosvlis dRes arCilma Sematyobina, rom avtomobili iseTi dazianebuli aRmoCnda, rom erTi Tvis remonti sWirdebao da axla avtomobiliT wasvla SeuZlebeliao; vecadoT cxenebiT wavideTo. magram arc aq gagviRima bedma. ai, rogori ubedo var, Zlivs viSove sami dRis Tavisufleba da

qeTevan maRalaSvili - dimitri SevardnaZis portreti KETEVAN MAGHALASHVILI – PORTRAIT OF DIMITRI SHEVARDNADZE

When a picture does not appeal to me, I tear it. Perhaps I am making a mistake by doing so. Iakob Nikoladze kept telling Dito Shevardnadze to take the pictures away from me. What she does is abnormal. Dito did indeed preserve some of my works but after his arrest everything got lost… He sacrificed his life to Metekhi and I always imagine Dito's grave next to Metekhi!”

An undated letter with a missing ending, Tbilisi: “Ketina! I have already written a reply to your first letter (it was a hasty reply, though). I hope that by now you have already received the letter and the fifty million manats. Tomorrow, on Sunday, Mikheil Zandukeli will be travelling to Borjomi, so I am taking this opportunity to send this message to you. Both of your letters have an air of nervousness about them. I am very fond of your chatting, however. The main reason for your nervousness is the lack of money. Please calm down, my dear, and don't worry about it. I have sent you fifty million and am going to forward some more shortly.

Don't restrict yourself in meals and make sure that you benefit from staying there. I will try to join you by all means… Keto, I take the plan of your travel abroad very seriously. For this reason I visit the Commissariat nearly every day. Yesterday, on July 13, the Commissar signed a paper regarding one hundred pounds sterling and the

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imiTac ver visargeble. axla isev saqmes daubrundi da sanam ar davasruleb, ver movSordebi. samxatvro galerea awyobs Zveli mxatvrobis suraTebis gamofenas; suraTebi unda Segrovdes rogorc saxelmwifo dawesebulebebidan, agreTve, kerZo pirTagan. am gamofenis mowyobas didi muSaoba unda. am mizniT momixdeba provinciebSic wasvla. mag. Sematyobines, rom winandalSi 100-mde Zveli suraTi aris erTi Tavadis ojaxSi. unda gavemgzavro sanaxavad da Tu saintereso darCa, Camovitano gamofenisaTvis. albaT, am kviraSi gavemgzavrebi. ra axlo viqnebi TqvenTan, magram rom ver SevZleb TqvenTan gadmorbenas! qeTo! iqneb TianeTSiac aqvs vinmes raime Zveli mxatvrobis nimuSebi, ecadeT wamoiRoT gamofenisaTvis... unda giTxraT marTali, Zalian momenatreT. mitom miTxra, qeTo ise gasuqda, rom kidevac davsciniTo. imedia, dedaTqvenic da Tamaric moikeTebdnen. Zalian sainteresoa Tqveni naxva...

Tqven ecadeT Tqveni janmrTelobisaTvis, danarCeni ki Cemi saqme iyos; ise mogawyobT samuSaod, rom araferi gagiWirdeT. amas wineT zeTis feradebi viyide TqvenTvis feSkeSad 5 000 maneTis, imdeni aris, rom karga xans

qeTevan maRalaSvili - peizaJi. Semodgoma TbilisSi KETEVAN MAGHALASHVILI – LANDSCAPE. AUTUMN IN TBILISI

18

paper has been sent somewhere. In short, have no worries about that.

Yesterday I finished working on the medal and delivered it to Kandelaki. It appealed to them very much and they sent it to the Central Committee. Still, it could be rejected.

Well, what can I tell you about the news here? It has been very hot and the heat disturbed us. Today (it's Saturday) is a rainy day and we can breathe a little. I miss you immensely and I'd be happy to see you. I'll try somehow to come over for a day…”

“Dito Shevardnadze was a very active person, full of energy.

There are many good painters but … most of them are deprived of this trait,” Ketevan noted.

Tbilisi, September 3, 1920 (a letter without a missing ending): “Keto, Mito has delivered your letter to me. I also received a telegram from Tamar. Upon receipt of the telegram, Archil found a driver from Tianeti and learned that the car is going back on September 1st. So, I am also getting ready to travel on that date. I have obtained a three-day leave from the Ministry of Education.

Such bad luck! On the very day of my departure Archil told me

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that the car turned out to be so damaged that it needed a month's repair to be fixed. Now it is impossible to travel by car and he suggested riding horses. Here we had no luck either. See, how unlucky I am! I barely managed to get freedom for three days and then failed to use it. Now I am back to work again and I won't make a move until I get it done. The Art Gallery is arranging an exhibition of old painters' works. The paintings are going to be collected both from public institutions and from individuals. Holding this exhibition requires a great deal of effort. I will also need to go to the provinces to this end. I have been advised that there are around a hundred old pictures in one family in Tsinandali. I must go there to see them and if they turn out to be interesting, I'll bring them for the exhibition.

I'll probably travel this week. How close to you I'll be! But I won't be able to come over to your place. Keto, please find out if anyone has got samples of old paintings in Tianeti as well. If so, try to bring them for the exhibition…

I must reveal the truth to you. I miss you so much! Mita told me Keto has gained so much weight that we are even making fun of her. I hope that your mother and Tamar are well and have also put on some weight. How interesting it would be to see you…

Take care of your health and leave the rest to me to look after.

I'll find such a job for you that you will need nothing at all. I have

dimitri SevardnaZe _ SiSveli natura DIMITRI SHEVARDNADZE – NUDE

geyofaT; tiloebic xom gvaqvs; Cemi ateliec Tqvens gankargulebaSi iqneba samuSaod, ase rom marto Tqveni janmrTeloba da energia aris saWiro. imedia amas Tan CamoitanT. Tqven sayvedurs miTvliT, werils vrclad ar iwerebiTo. aba ra mogweroT. saqmeebi bevri mqonda am zafxulSi, magram amis Sesaxeb wera TqvenTvis mosawyeni iqneboda. sxva ki saintereso araferi iyo...~ `ruseTidan mesamexarisxovani mxatvrebis suraTebi unda daegzavnaT respublikebSi. ditom uari Tqva: me saqarTveloSi qarTuli luvri unda davaarsoo. dito marTali iyo. Cemi neba rom iyos, yvela muzeums gavfiltravdi da mxolod pirvelxarisxovan suraTebs davtovebdi!~ moskovi, 18 Tebervali, 1930 weli `qeTo Cemo, salami moskovidan. gzaSi faSasaviT vimgzavre da aqac kargaT movewye kaluJskebis wyalobiT...

dimitri SevardnaZe _ bavSvis portreti DIMITRI SHEVARDNADZE – PORTRAIT OF A CHILD

19

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Camosvlis dResve e.i. 15 Tebervals kaluJskebma wamiyvanes TavianTTan. Zalian didi siyvaruliT mogigones yvelani, metadre Sen. werilebs ratom ar iwerebao, mkiTxa elisom. me uTxari, goWia da imitom meTqi. xom marTali miTqvams... TeatrebSi arsad ar vyofilvar, ver movicale, imdeni saqmeebi maqvs gasakeTebeli. axla zdaneviCTan mivdivar, Zlivs gavige misi misamarTi. imedi maqvs movaxerxeb suraTebis SeZenas misgan. guSin me, natam da kolia Sengelaiam erTad visadileT da Seni sadRegrZelo mivirTviT. natas Tma SeukreWia, uxdeba Zalian... dito~ `Zalian miyvars samkaulebio, _ miTxra da serdolikisTvliani beWedi waiZro. beWdis gemaze cxenze amxedrebuli axalgazrda kaci iyo gamosaxuli (gema dito SevardnaZes uCuqebia, ditos uamravi gemebis koleqcia hqondao)~...

qeTevan maRalaSvili - biWis portreti KETEVAN MAGHALASHVILI – PORTRAIT OF A BOY

20

recently bought oil paint for you for 5,000 manats. They will last you a long time. We have plenty of canvases as well and my studio is at your disposal. So, the only thing that you would need is your health and energy. I do hope you will bring them along with you.

You are complaining in your letter that my letters to you are too curt. But there is nothing much that I can write you about. I have been very busy this summer but I think you would find it boring if I kept writing to you all about it. And there was nothing else worthy of interest…”

“Third-rate paintings from Russia were to be sent to the republics. Dito refused, saying that he was going to found a Georgian Louvre in Georgia. Dito was right. If the decision were up to me, I'd have filtered out all the museums, leaving only the fine quality pictures.”

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dimitri SevardnaZe _ qali TavsaburaviT DIMITRI SHEVARDNADZE – WOMAN WITH A SCARF

moskovi, 22 Tebervali, 1930 weli "Как я не старался Вас чернить перед Элисо и Женей (за Ваше поросячество), ничего не вышло. Они Вас по-прежнему любят и пьют за Ваше здаровые. Ничего не поделаешь и я присоединяюсь. Дито" `...me ki... ise mejavreba werilebis wera! mere ra usindisobaa, roca gweren da Sen pasuxs ar aZlev!~ tfilisi, 25 aprili, 1930 weli `qeTo!.. saxlSi werilebs rom ar agzavni, Zalian nawyeni arian. raa marTla, Ria baraTebi rom gamogzavno xSirad, ra didi saqmea. Sens ambavs sxvisgan Tu gavigebT (g.w.-sgan).

Tore Sengan arc me, arc Tqvenebma araferi viciT. erTi sityviT mag goWobas Tavi daanebe... dito.~

Moscow, February 18, 1930 “My dear Keto, Hello from Moscow! I traveled like a pasha and I've been well accommodated here thanks to the Kaluzhskis…

As soon as I arrived, that is, on the 15th of February, the Kaluzhskis took me to their place. They all spoke with much love, and of you in particular. Eliso asked me why you were not writing to her. I told her you were a piglet and that's why… didn't I tell her the truth?… I haven't been to theatres at all.

I was too busy, I have too many things to get done. Now I'm going to see Zdanevich. Finding his address turned out to be a hard job. I do hope I'll manage to buy pictures from him.

Yesterday Nata, Kolia Shengelaia and I had dinner together and drank to your health. Nata has had her hair cut short and it becomes her very much…

Dito”

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`qalbatoni qeTevani gaocebas ver malavda imis gamo, rom erT Tavis werilSi romeliRac avtors aRuniSnavs, dito SevardnaZe suraTebis saxelmwifo galereis direqtori iyoo. dito SevardnaZe am galereis direqtori ki ara, misi damaarsebeli iyo, _ miTxra man da ganagrZo, - ditom Seqmna misi fondi: saidan ar mohqonda eqsponatebi, kerZo pirebisganac ki! ...ditom iseTi gemovnebiT icoda eqspoziciis mowyoba, rom germanelebic ki gakvirvebulebi iyvnen, roca iq gamofena moewyo. eqsponatebi iseTi xelovnebiT iyo SefuTuli da Calagebuli yuTebSi! manve moawyo gamofena moskovSio~. moskovi, 25 noemberi, 1930 weli `qeTo Cemo! ukve ori kvira aris, rac tfilisidan gamovedi da erTi xeiriani werili ver mogwere... Cveni sazRvargareT wasvlis saqme daniSnuli iyo 21 am Tves, magram gadadves, amboben am dReebSi iqnebao, ar vici rogor gaTavdeba... radgan dro bevri gvaqvs, amitom

qeTevan maRalaSvili - naturmorti. TeTri vardebi KETEVAN MAGHALASHVILI – STILL LIFE. WHITE ROSES

22

“I'm very fond of jewelry,” she told me, taking the ring off her finger. A young rider was carved on the carnelian (the stone was a present from by Dito Shevardnadze, Dito had a collection of many precious gems and stones)...”

Moscow, February 22, 1930 “All my efforts at criticizing you before Eliso and Zhenia (for your piggishness) have failed. They still love you and drink to your health.

I can do nothing about it and I am joining them.

Dito” “…I hate writing letters. And it's so utterly disrespectful when you are not responding to the letters you receive!”

Tbilisi, April 25, 1930 “Keto, Your folks at home are upset because you are not writing to them. It won't be a big deal if you would send them postcards

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dimitri SevardnaZe _ SiSveli natura DIMITRI SHEVARDNADZE – NUDE

guSinwin 23 noembers gavxseniT firosmanaSvilis suraTebis gamofena. ...gamofena moewyo sagamofeno darbazSi Музея изящных искусств (бывший Музей Александра III-го) didis zeimiT. ...giorgi naTiZisgan miviRe telegrama firosmanaSvilis `orTaWalis turfa~-s SeZenis Sesaxeb. SeiZina Tu ara? me mivwere, SeiZine meTqi. Tu suraTi SeZenilia, susanas uTxari, saswrafod gadaiRos da sami cali gamogzavnos moskovSi. agreTve dabeWdos (aRmoCnda, rom ar daubeWdia) Semdegi firosmanis suraTebi: 1) kruxwiwilebi (patara) da 2) krux-wiwilebi (didi) ticians tab. rom ekuTvnis, agreTve 3) ToneSi purs rom acxoben. gamogzavneT elisos saxelzed. ...galereis Sesaxeb giorgi dawvrilebiT rom momwerdes, kais izams... dito.~

occasionally. We hear news about you from other people. Neither your family nor myself have heard anything from you for quite some time. Stop being that piglet, will you…

Dito” “Ketevan could not conceal her amazement when in an article, Dito Shevardnadze happened to be a director of the State Art Gallery. 'Dito Shevardnadze was not the director but the founder of this gallery,' she told me. 'Dito established its fund, he brought pictures from everywhere, even from private collectors! …Dito knew how to arrange exhibitions with such exquisite taste that even the Germans were astonished when the exhibition opened there. He had also organized an exhibition in Moscow.'”

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Moscow, November 25, 1930 “My dear Keto, It's been a fortnight already that I left Tbilisi and haven't managed to write a proper letter to you… my trip abroad was scheduled for the 21st of this month but it has been put off. They told me it's going to happen soon though. I don't know what the outcome is going to be… Since we have plenty of time, the day before yesterday, on November 23rd, we arranged an exhibition of Pirosmani's pictures…

There was a grand opening in the Museum of Fine Arts (the former Museum of Alexander III). …I received a telegram from Giorgi Natidze saying that he was planning to buy Pirosmani's “The Ortachala Beauty”. Has he bought it? I wrote him to buy it. If the picture has already been purchased, please tell Susana to make a photograph of it and sent three copies to Moscow. Also tell her to print the following photos of Pirosmani's pictures: 1) The hen and the chickens (the small one), 2) The hen and the chickens (the big one) belonging to Titsian Tabidze and 3) Baking bread in a tone. Please send the photos to Eliso's address…

I'd appreciate if Giorgi could write me in detail about the gallery…

Dito”

qeTevan maRalaSvili - iakob nikolaZis portreti KETEVAN MAGHALASHVILI – PORTRAIT OF IAKOB NIKOLADE

`dito agrovebda firosmanis suraTebs, amitom mirzaanis muzeumis direqtorma mTxova, dito SevardnaZis portreti mirzaanis muzeumisaTvis mimeyida. uari vuTxari, dito SevardnaZis portrets Tu gavcem, mxolod mis mier daarsebul muzeums mivcem TbilisSi~. leningradi, 28 dekemberi, 1930 weli `gamarjoba qeTos! kai xania SenTvis werili ar momiweria, mara Sengan xom dayursuli var werilebiT. me axla leningradSi dro ramdenic ginda imdeni maqvs da vwer werilebs `napravo-nalevo~. guSinwin 25 dekembers didis zeimiT gaixsna firosmanaSvilis suraTebis gamofena. moskovSi gamofenis gaxsnis dRe ufro oficialuri iyo. aq ki SedarebiT ufro intimuri da Tbili xasiaTi hqonda. modiodnen auareba mxatvrebi da mecnobodnen da madlobas micxadebdnen: `Вы нам устроилы настоящий праздник. Как нам все надоело здесь, а Пиросманашвили страшно освежает

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qeTevan maRalaSvili - elene axvledianis portreti KETEVAN MAGHALASHVILI – PORTRAIT OF ELENE AKHVLEDIANI

3 (17) 2019

и бодрит нас. Жаль, что не надолго остаетесь". amave dRes erTma jgufma mxatvrebisa dampatiJa TavianT atelieSi (lebedevTan) da Ramis 2 saaTamdi musaifi gvqonda mxolod firosmanaSvilis garSemo. leningradSi Tavs ukeT vgrZnob im mxriv, rom binazed marto var da mosvenebiT vcxovrob. ise moskovSi ufro garTuli viyavi, saqmec bevri mqonda da nacnobebic myvanda. kaluJskebi Zalian maklian aq. pirdapir Tavs mevlebodnen da ar vici samagiero rodis gadauxado.

Senc Zalian siyvaruliT gixseneben. Sen marTla goWo, Tu meti ara, ra didi saqmea erTi-ori tkbili sityva moswero, me Sen getyvi dro ara gaqvs...

Seni dito~ `...grigol wereTeli Tavisi coliT cxovrobda marjaniSvilis Teatris gverdiT. male daatovebines es bina, romelSic romeliRaca sakonsulo moewyo. grigoli kamos quCaze erTi somexi mkeravis binaSi Caasaxles (maSin somxebs asaxlebdnen Tbilisidan). mere im somexs uTxovia Tavis binaSi dabruneba da igi am binidanac gaagdes. maSin grigol wereTeli metexSi mivida dito SevardnaZesTan da pirdapir uTxra: ai, me davrCi upatronodo. ditom budu mdivans miakiTxa. aseT mecnierebs sazRvargareT calke binebs uSeneben da Cven ki quCaSi vyriT... sanam rame gamoCndebodes, metexSi moaTavseTo, budus uTqvams. ditom grigols ori oTaxi misca~. moskovi, 29 agvisto, 1936 weli `qeTojan! ver warmoidgen ranairad gavitanje es ukanaskneli xuTi dRe. verc bileTi viSovne rkinisgziT rom wamovide da verc bagaJi gamovgzavne, saSineli ambavi aris am mxriv. dRes ukanasknelad vcdi bagaJis gamogzavnas da [Tu] movaxerxe, 1 seqtembers gamovfrindebi, sxva saSvaleba ar aris. leningradSi SenTvis viyide sapaltove 3 metri (125 maneTi metri) "кофе с молоком". elisos moewona. grigol filimonoviCis papirusebi momaqvs. me kargaT var da naxvamdis male. mokiTxva yvelas. dito~ `kornelia bon feverbergma holandiidan saCuqrad gamougzavna rembrandtis didi albomi. TiTqmis yvelaferia am albomSio, ambobs, magram sruli mainc ar ariso, aRniSna da ganagrZo: miunxenSi vnaxe misi `rabini~ (kerZo koleqciidan iyo), SesaniSnavia! miuxedavad imisa, rom ase mejavreba werilebis wera, davjeqi da dito SevardnaZes movwere, rembrandtis aseTi suraTi vnaxemeTqi~. moskovi, 3 dekemberi, 1936 weli `qeTo! rogorc dagpirdi moskovidanac mogwer werils

dimitri SevardnaZe _ avtoportreti DIMITRI SHEVARDNADZE – SELF-PORTRAIT

“Dito was collecting Pirosmani's pictures. That is why the director of the Mirzaani Museum asked me to sell Dito Shevardnadze's portrait to the Mirzaani Museum. I refused by telling him that if I decided to give Dito Shevardnadze's portrait away, I'd hand it over only to the museum that he founded in Tbilisi.”

Leningrad, December 25, 1930 “Greetings, Keto!

It has been a long time since I last wrote you. You haven't been prolific either. Here in Leningrad I've got as much time now as I want so I keep writing letters to everybody.

Yesterday, on December 25, we had the opening of the exhibition of Pirosmanishvili's paintings. In Moscow the opening day was much more formal. Here the atmosphere was more intimate and warmer. Many painters came, introduced themselves and thanked me. “It is a great occasion for all of us here. Pirosmanishvili offers a stimulating experience. His works enlighten and invigorate. It's a pity that you cannot stay longer.” The same day one group of painters invited me to their studio (at Lebedev's) and we were discussing Pirosmani until two o'clock in the morning...

Your Dito”

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“Kornelia von Fewerberg has sent Rembrandt's big album as a gift from Holland. The album has nearly everything in it, she says, but it still isn't comprehensive. She also said that in Munich she saw his “Rabbi” (from a private collection) and it was so fantastic that although she hates writing letters, she sat down and wrote a letter to Dito Shevardnadze telling him that she'd seen such and such painting of Rembrandt.”

qeTevan maRalaSvili - natiurmorti. yviTeli yvavilebi KETEVAN MAGHALASHVILI –STILL LIFE. YELLOW FLOWERS

Moscow, December 3, 1936 “Dear Keto, I'm writing from Moscow as I have promised. I arrived here from Leningrad on December 1st. I had all the museum exhibits packed in the Hermitage by November 20, but I've been delayed because sending the unaccompanied baggage turned out to be a big problem…

By the way, there's some news that I want to share with you.

Something that was absolutely unexpected for me. I am invited to Leningrad by “Lenfilm” as a consultant for “The Trip to Arzrum”.

I must be back in Leningrad again by January 1st… Could you come to Moscow by that time or to Leningrad for that matter?

That's it, my dear Ketevan. Such is the news update from here.

I was expecting a letter from you at Eliso's, but you turned out to be even worse than I am.

Don't want to bore you any more. Your Dito is writing to you at three a.m. on the third day of this month.

Dito”

meTqi, vasruleb. leningradidan moskovSi Camovedi 1 dekembers. ase imitom damagvianda, rom ermitaJSi Tumc 20 noembrisaTvis ukve mzad mqonda gamosagzavnaT samuzeumo nivTebi, magram bagaJiT gamogzavnam ki gamiSro sisxli... sxvaTa Soris erTi axali ambavi unda gacnobo, CemTvis yovlad moulodneli, _ mowveuli var leningradis `Ленфильм~-Si konsultantaT surT `Путешествие в Aрзрум~isa da 1 ianvars isev leningradSi unda viyo... iqneb Senc maSin wamoxvide moskovSi da Tu ginda leningradSi... ase, Cemo qeTevan, es aris aqauri ambebi. Sengan velodi werili damxvdeba elisosTan meTqi. mara Sen Cemze ufro usindiso gamodeqi. sxva raRa bevri Segawyino, gwers Seni dito Ramis 3 saaTze am Tvis 3-s. dito~ `ar SemiZlia usaqmod yofna, uCemsaqmod yofna, - amaze sasiamovno tvirTi xelovanisaTvis ra unda iyos, verc ki warmomidgenia. oRond ki mamuSava da dRe da Rame ase gavatareb, muSaobaSi!~ leningradi, 5 ianvari, 1937 weli `gamarjoba qeTos axal welis dawyebiT! leningradSi me Camovedi nacvlad 30 dekembrisa 1 ianvars. tfilisidan matarebels daagvianda 13 saaTi

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qeTevan maRalaSvili - mxatvris saxelosno KETEVAN MAGHALASHVILI – ARTIST'S STUDIO

3 (17) 2019

“I hate being idle, unoccupied with my work. What on earth can be a more pleasant load for an artist? I'd be happy to work day and night…”

Leningrad, January 5, 1937 “Happy New Year, Keto!

I arrived in Leningrad on January 1st instead of December 30th. The train from Tbilisi was thirteen hours late and all the trains for Leningrad had left already. Therefore, I had to spend one more day at Eliso's place.

Eliso thought that you were coming together with me and she and Olga waited for you till four o'clock in the morning. I spoke with Tamar by telephone. She was very sorry to learn that you haven't arrived…

I am staying at the Astoria hotel. It is a warm room with a bathroom. We have already started working on the film. They took my advice and have corrected the scenes that are about Georgia.

They'll start shooting soon. We might be going to Moscow for a couple of days to record Georgian songs there. The weather in Leningrad is terribly rainy. I really prefer Moscow's frosts…

Regards to everyone and all the best, Dito”

dimitri SevardnaZe _ taxtze wamowolili qali DIMITRI SHEVARDNADZE – WOMAN LYING ON A SOFA

da leningradis matareblebi yvela wasuli iyo, ase rom iZulebiT momixda erTi dRe elisosTan davrCeniliyav. elisos egona, rom CemTan erTad Senc Camodixar da Ramis 4 saaTamdi gicdiden eliso da olia. Tamaras telefoniT velaparake da Seni arCamosvla rom gaigo, Zalian ewyina... vcxovrob sastumro `Aстория"-Si. kargi Tbili oTaxi vaniT damaxvedres. muSaoba ukve daviwyeT suraTze. Cemi rCeviT scenari gadaakeTes, is adgilebi, romelic saqarTvelos exeba da male gadaRebasac daiwyeben.

SeiZleba ori dRiT moskovSi wavideT qarTuli simRerebis Casawerad, gamoviyenebT kavsaZis xoros... leningradSi saZageli wvimiani darebia, isev moskovis yinvebi mirCevnia... mokiTxva yvelas da kargad yofna. dito~ `roca dito SevardnaZe direqtorobidan moxsnes (dapatimrebamde ramdenime TviT adre), mas bevri `megobari~ da nacnobi CamoSorda. gansakuTrebiT TvalSi sacemi iyo erTi, romelic dRedaRam masTan iyo ganuSoreblad. me ver moviTmine da erTxel grigol wereTlis TandaswrebiT vuTxari, didi gaiZvera vinmea Tqveni megobari-meTqi. nu,

“When Dito Shevardnadze was dismissed from his post as a director (several months before his arrest), many of his “friends” and acquaintances kept away from him. One of them was particularly striking - someone who used to be with him day and night. I couldn't stand it and told him in Grigol Tsereteli's presence, 'What a sly man that friend of yours!' 'Don't say so, Ketevan,' he said. Then Grigol turned to Dito: 'Yes, Ketevan is right. She calls everything by their true names.'

Dito would never say anything bad about anyone. It happened extremely rarely, if at all.”

dimitri SevardnaZe _ taxtze mjdomare qali DIMITRI SHEVARDNADZE – WOMAN SITTING ON A SOFA

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qeTevan, nu laparakob egreo, _ miTxra. maSin grigoli miubrunda ditos: diax, qeTevani marTalia, igi sagnebs Tavis saxelebs arqmevso. dito aravisze cuds ar ityoda, aravis Zvirs! iSviaTad!~ tfilisi, 28 ivlisi, weli ar aris miTiTebuli `qeTo genacvale! dRes valiko erisTavi modis borjomSi. me Tu dRes an xval (SabaTs) fuli miviRe, usaTuod wamoval mixakosTan erT[ad] kviras diliT. Tu RmerTi gauwyraT da fuli jer ver miviRe, maSin unda davicado miRebamde. Sen genacvale, qeTo, nu Relav, Cems mosvlamde uTuod daicade da erTad wamovideT maqiTgan. Seni saqme aq yvelaferi, rac umTavresi iyo, mogvarebulia, mxolod jer germaniidan pasuxi ar aris, magram amasac movagvarebT rogorme. erTi sityviT am sakiTxzed Seni Relva usafuZvloa da maqidgan wamosvla naCqarevi... qeTo! valikos vTxove Cems Camosvlamde 20 milioni maneTi mogces Sen, axla mas fulebi aqvs. ase rom dawynarebuli iyavi. dRes telefoniT rom melaparakebodi, Zalian cudaT ismoda da verafriT

Tbilisi, July 28 (the year is not indicated) “Dear Keto, Today Valiko Eristavi is coming to Borjomi. If I receive the money today or tomorrow (on Saturday), I'll be coming together with Mikhako by all means on Sunday morning. If I don't get the money yet, then I'll have to wait till I'm paid. Keto, my dear, please don't worry. Wait for me and we'll come back together. All major things have been arranged already. There has been no reply from Germany yet but we'll see to that as well. In short, all your concerns on the issue are futile and your rush to come back is a hasty decision…

Keto, I asked Valiko to lend you twenty million manats until I arrive. He has money now. So, please have no worry. When we spoke by telephone today, I could hardly hear you and couldn't make out much of what you were saying. I only understood that you were planning to leave and I asked you to wait. Valiko is going to tell you everything in detail…

Your Dito” “Dito had the idea of having a new building constructed for the museum on the Metekhi territory. At that time (1937) preparations for Rustaveli's anniversary celebrations were underway. Beria wanted to demolish the Metekhi church and have a statue of Rustaveli there. Dito brought some eminent representatives of the city's intelligentsia together and they went to see Beria. It seemed they persuaded Beria to change his mind, but after the audience was over Beria asked Dito to stay.

'I'll have you bring the church down with your own hands,' he said.”

Tbilisi (no date) “Dear Keto, I have just received your letter and I am worried that you are so nervous. Please calm down, my dear, and don't be concerned about anything. Your affairs seem to be progressing pretty well. The Commissariat for Education has already purchased one hundred pounds sterling for you in the bank. Your passport will also be ready soon. I am collecting all the information that they require and thus speeding up the process myself. Today Baron and I are writing a document where we commit to being your guarantors. So, dear Keto, have no worries.

As far as my arrival is concerned, it all depends on money because I must bring Mikhako with me and, therefore, I need money for that. Keto, I will come by all means and please wait for me there. If necessary, you will return to Tbilisi together with me. We haven't received our salaries yet. As soon as I get the money, I'll come immediately. But please be patient till then. All of your folks are keeping well. At this point I don't have a chance to let them know about this possibility of sending a letter to you because the young man who has delivered your letter is waiting for me to finish this message.

dimitri SevardnaZe _ qali Savi beretiT DIMITRI SHEVARDNADZE – WOMAN WITH A BLACK BERET

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gavige maincdamainc. gavige mxoloT wamosvlas vapirebo, me ki gTxove daicade meTqi. valiko yvelafers dawvrilebiT getyvis...

Seni dito.~ `ditos Cafiqrebuli hqonda metexis teritoriaze axali Senoba aego muzeumisaTvis. im xanebSi (1937 weli iyo) rusTavelis iubile ewyoboda. berias undoda, daengria metexis eklesia da iq rusTavelis Zegli daedga. ditom Sekriba qalaqis inteligenciis warmomadgenlebi da beriasTan mividnen. beriam TiTqos ukan waiRo Tavisi naTqvami, gamoistumra delegaciis wevrebi, magram dito datova: eklesias Seni xeliT daangrevinebo~. tfilisi, uTariRo `qeTo! genacvale, es aris miviRe Seni werili da Zalian vwuxvar, rom Sen nerviulob, genacvale, dawynardi da fiqri nurara gaqvs. Seni saqme yvelaferi kargaT ewyoba, magaliTad, 100 girvanqa sterlingi ganaTlebis komisariatma ukve SeiZina SenTvis bankSi. pasportis Sesaxebac kargaT aris saqme. yvela cnobebs rac aris maTTvis saWiro, me TviTon vkrebav da amiT saqmes vaCqareb. dRes me da baroni vwerT qaRalds da Sen TavdebaT gidgebiT. ase rom, qeTojan, fiqri nurasi gaqvs. rac Seexeba Cem mand Camosvlas, damokidebulia sul fulebzed, radgan mixako unda Camoviyvano uTuoT da amisTvis meti fulia saWiro. qeTo, me uTuoT Camoval da Senc damicade mand. Tu saWiro iqneba, CemTan erTad dabrundebi tfilisSi. jer Cven jamagirebi ar migviRia, rogorc ki iqneba fulebi, maSinve wamoval, manamde ki moiTmine genacvale. Tqvenebi yvelani kargaT arian. axla me ara maqvs saSvaleba Tqvenebs Sevatyobino, rom imaTgan werili gamogigzavno. radgan is ymawvili, romelmac Seni werili momitana, micdis aq am baraTis dasrulebamde. qeTina, Seni sayveduri, rom Cemgan daviwyebuli xar, usamarTloa, radgan me arc erTi SemTxveva ar gamiSvia, Tu vinme mand modioda, rom werili ar momewera. erTi sityviT, qeTo, Sen Cems Camosvlamdi daicade mand, me uTuoT Camoval, xolo fulis miRebas ucdi. sxva iyavi kargaT da udardelaT. Seni dito.~ `erT Rames ditom Cems karebze daakakuna... mivxvdi, rom saqme cudad iyo. man damibruna Zmis samkurnalod gadadebuli ori aTasi maneTi, seifSi Sesanaxad rom mivabare, gadmomca agreTve Tavisi jibis saaTi. es saaTi mis biZaSvils gadaveci, magram qalma maleve damibruna, amisi adgili SenTanaao... dito male daapatimres...~

dimitri SevardnaZe _ Semodgoma DIMITRI SHEVARDNADZE – AUTUMN

Ketina, scolding me for having forgotten you is really unjust.

Because I have never missed an opportunity to write to you if there was anyone travelling to your place.

Anyway, Keto, wait until I arrive. I'll come by all means, I'm just waiting for the money.

That's it.

Please take care and don't worry, Your Dito” “One night Dito knocked at my door… I realized that things were really bad. He returned the two thousand manats that he had kept for me in his safe for my brother's medical treatment. He also gave me his pocket watch which I later gave to his cousin. But she returned it to me very soon saying that the watch should be with me… Shortly after that Dito was arrested…”

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`erTi frTa TeTri gaqvs, molaRuro, meore ki Savi!~ _ gulubryviloba iqneboda gvefiqra, rom TiTqos axalgazrda poeti qalis am striqonebSi mxolod molaRuris garegnobazea laparaki. dasabamidan, rac es qveyana arsebobs, erTmaneTTan dapirispirebulia TeTri da Savi, dRe da Rame, sikeTe da boroteba. poeti mudam sinaTlisa da sikeTis mxarezea. igi dabadebulia siyvarulisaTvis da dali caavas es striqonic amis dasturia: `roca Tamamad amboben mZulxar! (TiTqos lursmani CaarWves xeSi)~. sikeTisaTvis da sinaTlisaTvis brZolaSi poetis iaraRi sityvaa, amitom CvenTvis gasagebia misi mudara: `iyav, sityvao Cemo, myari da uryevi _ klite da boqlomi!~ da es striqonebi Cveni folkloridanaa da warmoadgens xalxuri Selocvis reminiscencias. dali caavasaTvis maxlobelia xalxuri zRapris samyaro da mis leqsebSi xSirad ismis xalxuri leqsisa da zRapris gamoZaxili: `asfurcelas vufev iarebs...~, `iyo savali Cveni _ Svidi kviris savalze umZimesi...~,`ukve gasula mesamedi Cemi cxovrebis, sxva xmiT mivyvebi axal zRapars Cemo fufala...~, amave dros, dali caavas kapriCiosaviT _ musikalur piesasaviT cvalebadi xasiaTis Tavisufali leqsi dRevandeli poetisaTvis niSandoblivi ganwyobilebebiT da impulsebiT aris nakarnaxevi. mis leqsebSi aris dRevandeli poetisaTvis damaxasiaTebeli saxeebic (`saadmiralos Subis wveriT uWiravs mTvare~), poeziaSi prozauli elementebis SemoWrac (`sarkeebiani karadebiT gayofili oTaxi _ karadis Tavze ydagacrecili foliantebiviT awyvia Cemodnebi...~), qaluri sinazec (`TeTri cremlebi scviva gvirilas~) da lirikuli aRsarebac (`SeerTebis mtanjveli survili gvawvalebs Cven~). dali caava erTgan ambobs: `yvela gza imediT iwyeba, yvela gza iosafatis Walisken midis, srulyofilia samsjavro misi...~. me imedi maqvs, rom... da misi samsjavro srulyofili iqneba~. givi gegeWkori, 1984 weli

“One of your wings is white, golden oriole, the other – black!” – it would be naïve to think that this verse by the young poetess only concerned the appearance of the golden oriole bird. From the very beginning, since the existence of this world, white and black, day and night, good and evil have been opposed to each other. Poets are always on the side of light and good. They are born to love, and Dali Tsaava’s following verse confirms it: “When they boldly say “I hate you”! (It’s as if they had hit a nail in a tree)”. In this battle for the good and light, the poets’ weapon consists of words, and therefore, we very well understand her plea: “Be, my word, solid and firm – like a padlock!”

And these verses are from our folklore and represent a reminiscence of popular incantations. The world of Georgian folk tales is very close to Dali Tsaava, and one can often notice the echo of folk poetry and tales in her poems... At the same time, Dali Tsaava’s free verses, everchanging like a music piece – like a capriccio – are dictated by an attitude and impulses characteristic of today’s poets. Her poems also contain prosaic elements, female delicacy, and lyrical confessions.

Dali Tsaava once wrote: “All roads begin with hope, all roads lead to Josaphat’s Valley, their judgement are detailed…” Personally, I hope that... and that she will herself be judged in detail.

Givi Gegechkori, 1984

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kapriCio (mcdeloba) # CAPRICCIO (ATTEMPT) # dalis gauTaveblad SeeZlo brodskize saubari. erTxel vuTxari kidec, vin aris es Seni brodski, ase rom aRmerTeb, me misi arc erTi leqsi ar maqvs wakiTxuli-meTqi. aman igi ise aRaSfoTa, rom adga da wasasvlelad gaemzada _ SenTan ar SeiZleba saubario. TiTqmis karSi iyo ukve gasuli, mivxvdi, Secdoma davuSvi da brodskis cnobili leqsis _ „piligrimebi“-s zepirad kiTxva daviwye. unda genaxaT dalis saxe, romelmac aRmoaCina, rom mis garda kidev viRacam icoda es leqsi zepirad. Semobrunda, gadamexvia da sul usindiso, usindisoo _ meZaxa. faqtobrivad, am dRidan daiwyo Cveni namdvili megobroba.

Dali could talk endlessly about Brodsky. Once, I even told her: “Who is that Brodsky that you worship so much, I haven’t even read one poem of his”. She was so offended by this, that she got up and was getting ready to leave, saying that it was impossible to have a proper conversation with me. She has almost passed through the door, and I realized I had made a mistake, so I started reciting Brodsky’s famous poem ‘Pilgrims’.

You should have seen Dali’s face when she discovered that there was someone else than her who knew this poem by heart. She turned around, hugged me, and started calling me a villain.

That was the day when our friendship really began.

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In the beginning of the 1980s, together with Ms. Nino Ramishvili, famous linguist and professor Guram Ramishvili founded a new type of school in Tbilisi, one that didn’t previously exist, and which is known, to this day, as the 6th – the “German” School. At that time, the main “accomplishment” of that school was the beginning and establishment of the previously inexistent relationship between a “free” teacher and “free” pupils. But this is a long story, and it is another subject…

For this article, I would simply like to remember a few episodes of my relationship with Dali Tsaava, one of the most outstanding teachers of our school.

bulat okujava / BULAT OKUDZHAVA

gasuli saukunis 80-ani wlebis dasawyisSi cnobilma enaTmecnierma, profesorma guram ramiSvilma qalbaton nino ramiSvilTan erTad TbilisSi axali, im dromde ararsebuli tipis skola daafuZna, romelic dRemde me-6 _ `germanuli~ skolis saxeliTaa cnobili. maSin am skolis ZiriTadi `damsaxureba~ _ `Tavisufali~ maswavleblisa da `Tavisufali~ moswavlis imdRemde ararsebuli urTierTobis dawyeba/Camoyalibeba iyo. magram es grZeli istoria da sxva saubris Temaa...… dRes ki, Cveni skolis erT-erT gamorCeul maswavlebelTan, dali caavasTan urTierTobis oriode epizods gavixseneb. am skolaSi maTematikis pedagogad vmuSaobdi da erT dRes nino ramiSvilma, romelic maSin skolis direqtori iyo, Cemi sadamrigeblo klasis rusuli enisa da literaturis momavali maswavlebeli _ dali caava gamacno... da miTxra _ Sen verc ki warmoidgen, rogor gaumarTlaT bavSvbs, dali Cvens skolaSi rom modiso da igi ara marto rusuli enis specialisti, gamorCeuli p o e t i c a a o !!! ase daiwyo dalis da Cemi urTierToba. Tavidan, rogorc yvela axal maswavlebels, masac bavSvebis

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I used to work at that school as a math teacher, and one day, Nino Ramishvili, who was the director of the school at that time, introduced me to Dali Tsaava, who was to be the Russian language and literature teacher of the class of which I was in charge… And she told me – “You cannot imagine how lucky these kids are with Dali coming to our school, she is not only a specialist of the Russian language, but also an exceptional poet !”

This is how our relationship started. In the beginning, like every new teacher, she needed to get to know the children and to assess their potential. I felt that I needed to help her, and so I did, but to my surprise, after only one week, I discovered that the pupils were awaiting her lessons with much anticipation…

She started, and she did more than was expected from her…

Apart from the usual program, she was teaching children subtle details about the lives and works of legendary representatives of Russian poetry, details that only an exceptional philologist could have known.

I have often entered her lessons stealthily, and learned this or that fact that had been unknown to me about the lives of poets from the Silver Age of Russian Poetry, of whom I am very fond…

I didn’t know Dali Tsaava the poet. Then one day, Nino Ramishvili handed me two collections of her poems. These were outstandingly warm, soft poems full of love about Sokhumians and Sokhumi, where she was born and where she graduated from school. She continued her studies in the University of Leningrad, at the Faculty of Philology.

She married in Leningrad. She had two sons and left her husband.

After that, she moved to Tbilisi with her first son Guram (Gurasha), while her second son Giorgi stayed with his father in Leningrad.

Little by little, Dali and myself got closer. And I soon discovered that she knew the most popular Russian poets of the time very well – not only did she know them, but she was close friends with them. And it was as if these relations were easing the drama in her personal life.

As writer and journalist Dmitri Bykov writes – the text of Bulat Okudzhava’s famous ‘Georgian Song’ was written in March of 1967, in a hotel in Leningrad, at which he was staying together with his friend, famous Georgian poet Mikheil Kvlividze… One day,

3 (17) 2019

gacnoba da maTi SesaZleblobebis garkveva dasWirda. yvelanairad vcdilobdi daxmarebas, magram ukve erTi kviris Tavze aRmovaCine, rom mowafeebi gulis fancqaliT elodnen mis gakveTilebs... daiwyo, magram ra daiwyo... garda programuli masalisa, igi bavSvebTan rusuli poeziis legendaruli warmomadgenlebis cxovrebisa da Semoqmedebis iseT niuansebze saubrobda, romelic mxolod gamorCeul filologs SeiZleba scodnoda. xSirad Cumad Sevsulvar mis gakveTilze da momismenia „vercxlis saukunis“, CemTvis saTayvanebeli rusi poetebis cxovrebis esa Tu is ucnobi faqtebi... poet dali caavas, me ar vicnobdi. nino ramiSvilma momca misi leqsebis ori krebuli. es iyo saocrad Tbili, nazi da siyvaruliT savse poezia soxumelebsa da soxumze, sadac dabadebula da skolac daumTavrebia.

Semdeg ki swavla leningradis universitetSi gaugrZelebia filologiis fakultetze. leningradSive gaTxovila. ori vaJi SesZenia da qmars dascilebia. amis Semdeg ufros vaJTan _ guramTan (guraSasTan) erTad sacxovreblad TbilisSi gadmosula, xolo umcrosi _ giorgi, mamasTan darCenila leningradSi. nel-nela me da dali davaxlovdiT. da maleve aRmovaCine, rom is SesaniSnavad icnobda im drois metad popularul rus poetebs, icnobda ki ara, maTTan axlo megobroba akavSirebda. da TiTqos es urTierTobebi mas piradi cxovrebis dramas umsubuqebda.

someone shyly knocked on the door of Okudzhava’s hotel room…

At the threshold stood a Georgian girl, who was in her third year at the Faculty of Philology of the University of Leningrad, and whom Okudzhava considered to be 13 to 15 years old.

“Hello, I am from Sokhumi, my name is Dali Tsaava, I am studying in Leningrad, and I want to show you my poems.”

Okudzhava was surprised, and answered – “But I don’t understand Georgian.”

“How?”, asked Dali, also in surprise.

“Like that. I couldn’t learn it. They speak Russian at home, and if someone started speaking in Georgian in front of my mother, she would interrupt them and say: ‘Let’s speak in Lenin’s language’.”

“But you finished the Faculty of Philology in Tbilisi, didn’t you?”

“I did, but I had bad grades in Georgian… Once, one of my professors even told me that it was a shame that I, a Georgian, didn’t know Georgian… I only try to speak Georgian with the people whom I consider to be very close. Do you know what? You should let my friend, a wonderful Georgian poet, read your poems… He’s staying in the room next door.”

And Dali, heartbroken, headed to the Georgian poet’s room…

She was fond of Okudzhava, she knew each of his songs by heart, and he was her favorite poet… But after Brodsky, of course! Dali was utterly in love with Brodsky, and because of his indifference, she had even thought of taking her own life. The strange way in which

mwerali da Jurnalisti dmitri bikovi wers _ bulat okujavas cnobili `qarTuli simReris~ teqsti jer kidev 1967 wlis martSi Seuqmnia, leningradis erT-erT sastumroSi, sadac is gastrolze Casuli, megobarTan, cnobil qarTvel poetTan mixeil qvliviZesTan erTad gaCerebula... erTxel, dRisiT sastumros nomris karze moridebiT daukakunebiaT... zRurblTan qarTveli gogona, leningradis universitetis filologiis fakultetis mesame kurseli, romelic okujavam 13-15 wlis mozardad CaTvala, mdgara. _ `gamarjoba, me soxumidan var, dali caava, vswavlob leningradSi da minda Cemi leqsebi gaCvenoT~. okujavas gahkvirvebia da _ `me qarTuli rom ar vici~ _ upasuxia. _ `rogor?~ – gaognebula dali. _ `ai, ase. ver movaxerxe. saxlSi rusulad saubrobdnen da Tu dedasTan qarTulad iwyebdnen laparaks, is awyvetinebda da _ modiT leninis enaze visaubroTo, acxadebda~. _ `ki magram Tqven xom TbilisSi daamTavreT filologiis fakulteti?~ _ `davamTavre, Tumca qarTulSi samiani myavda... ioseb brodski / JOSEPH BRODSKY

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erTxel erTma leqtorma isic ki miTxra – sircxvilia, qarTvelma qarTuli ar icodeso... qarTulad mxolod uaxloes adamianebTan vcdilob visaubro. iciT ra? sjobs Tqveni leqsebi Cems megobars, SesaniSnav qarTvel poets aCvenoT... is gverdiT nomerSi cxovrobs~. da dali, guldawyvetili, SesaniSnavi qarTveli poetisken gaemarTa... mas moswonda okujava, zepirad icoda yvela misi simRera da is iyo misi sayvareli poeti... Tumca, brodskis Semdeg, ra Tqma unda! brodskize dali uzomod iyo Seyvarebuli da misi sapasuxo gulcivobis gamo, TviTmkvlelobazec ki fiqrobda. brodskis leqsTa kiTxvis ucnauri manera momnusxvel STabeWdilebas axdenda masze. erTxel, misi mosmenisas safeTqlebTan miudia TiTebi da uTqvams _ me axla movkvdebi! mogvianebiT, brodskis TbilisSi xvdeboda, poetis xanmokle stumrobisas da mas SesaniSnavi leqsebic miuZRvna... brodskim leqsiT «Ну как тебе в грузинских палестинах?» _ upasuxa. poetis sabWoTa kavSiridan gaZevebis Semdeg, is iyo erT-erTi adamiani, romelic mis mSoblebs patronobda da brodskis yovel dabadebis dReze maTTan Cadioda... poetis mamam 1985 wels mis xelebSi dalia suli. okujavas ki leningradis pirveli Sexvedris Semdeg, mxolod 1983 wlis TebervalSi, TbilisSi Sexvda. igi

Brodsky read poems had a mesmerizing effect on her. Once, when listening to him, she put her fingers on her temples, and said – “I will die now!” Later, she would meet Brodsky during his short stays in Tbilisi, and she even dedicated wonderful poems to him… Brodsky answered to her with the poem ‘Well, how are you in the Georgian Palestine?’. After Brodsky was expelled from the Soviet Union, she was the only person who would take care of his parents, and she would visit them every year for their son’s birthday… The poet’s father even passed in her arms in 1985.

As for Okudzhava, after meeting him for the first time in Leningrad, she would only see him again in February of 1983 in Tbilisi. After a concert of his, she went to him and told him the very same words she told him on their first encounter – “Hello, I am Dali”, and gave him a collection of her poems… The Russian poet couldn’t have imagined that the little girl he saw at the door of his hotel room would have become a real poet… He liked her first name, and used it to finish the lyrics of a famous song he was working on at the hotel…

Another moment of our relationship…

Dali had a lot of paintings at home, and she was particularly proud of famous Russian painter Korshavina’s work ‘Summer dream’.

This painting was a constant subject of good-humored mockery from my side. I knew that she liked it very much, so I was jokingly assuring her that she had bad taste. Once, when I was visiting her, I secretly unhanged it and took it with me. After ten minutes, her son Gurasha caught up with me – Professor Tazo, she will get crazy if you don’t return the painting”. I didn’t have any choice, they “caught me red-handed”, so I returned it. And about two years ago, Gurasha came to see me at work, and brought me ‘Summer Dream’ – “Mother told me that if she passed, I should give this painting to

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koncertis Semdeg misula masTan da igive sityvebi uTqvams _ `gamarjoba, me dali var~ da sakuTari leqsebis axladgamosuli krebuli gauwodebia... rusi poeti verc ki warmoidgenda, rom is patara gogona marTlac poetad iqceoda... mas maSin mxolod saxeli `dali~ moewona da iqve sastumroSive daamTavra dausrulebeli kupleti _ «В черно-красном своем будет петь для меня моя Дали»… kidev erTi momenti Cveni urTierTobisa... saxlSi dalis bevri naxatebi hqonda. maT Soris gamorCeulad amayobda cnobili rusi mxatvris korsavinas namuSevariT _ „zafxulis sizmari“. es suraTi Cemi gamudmebuli qilikis sagani iyo. vicodi, rom mas Zalian moswonda da amitomac xumrobiT varwmunebdi, cudi gemovneba gaqvs-meTqi. erTxel, rodesac masTan stumrad viyavi, Cumad Camovxseni kedlidan da wamoviRe. aTi wuTis Semdeg gzaSi misi vaJi, guraSa damewia _ Tazo mas, gagiJdeba, rom ar daabruno suraTio. sxva ra gza mqonda, „qurdobaze“ wamaswres da davabrune. da ai, oriode wlis win CemTan samsaxurSi guraSa movida da „zafxulis sizmari“ momitana _ dedam ase daibara, me rom movkvdebi, es suraTi Tazos aCuqe, Zalian uyvardao.

2010 wlis ivnisSi dali caavas xsovnisadmi miZRvnili saRamo Catarda. misi megobrebisa da kolegebis bevri Tbili gamosvla movismineT... da maSin aRmovaCine, rom gamomsvlelebi dalisTan urTierTobas ki ixsenebdnen, magram ZiriTadad Tavis Tavze saubrobdnen. hoda, mec igive rom ar damemearTos, aq Sevwyvet Cems mogonebebs. ai, es aris is oriod epizodi, romelic Cemi da dali caavas urTierTobas Seexeba. xolo misi poezia ukve calke Temaa, da gacilebiT ufro didi... dalis leqsebze, albaT, specialistma unda isaubros. oRond jer am leqsebis wakiTxvaa saWiro. erTs vityvi mxolod _ mas, visac dali caavas leqsebi ara aqvs wakiTxuli, didi, Zalian didi siamovneba da kidev ufro didi gakvirveba elis. samwuxarod, dalis poezias mxolod misi sami krebuliT vicnobT.

you, because you liked it a lot”, he said.

An evening dedicated to the memory of Dali Tsaava was held in June 2010. We listend to many heartwarming stories from her friends and colleagues… And this is when I discovered that the speakers were, indeed, remembering their relationship with Dali, but they were mainly talking about themselves.

And in order for the same not to happen to me, I will stop here.

These were two little episodes about my relationship to Dali Tsaava.

As for her poetry, it is a different story, and a much more important one…

Perhaps only a specialist should talk about Dali’s poems. But first, one needs to read them. I will only say one thing – those who haven’t read Dali Tsaava’s poems are in for a great, a wonderful pleasure, and an even bigger surprise.

Unfortunately, we only know three collections of her poems.

magram ra leqsebis...

Tamaz (Tazo) avaliSvili

But what poems...

Tamaz (Tazo) Avalishvili

P.S. P.S. samwuxarod, dali caavas leqsebi inglisur enaze jer aravis uTargmnia da, amitom, maT mxolod qarTulad gTavazobT...

Unfortunately, Dali Tsaava’s poems haven’t been translated into English yet, and therefore, we can only present them in Georgian…

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kapriCio - 15

kapriCio - 24

didi xania ar gigzavni SeSlil werilebs,

nu Semexebi, Cems dumilSi Tvlems Rriankali,

ar vuxmob misans, aRar veli ambavs Soridan,

droa farsagi da asmagad mogvia mTvare,

gavxsni kidobans, mogonebiT movrTav saRamos,

oqros grexilSi gairinda Tvali _ spekali,

ai, simdidre... im mejlisebs rac gadaurCa.

vzi martosuli. qarebs uxmobs Rame mwuxare.

yalamqariviT msubuqia Cemi sxeuli,

nu Semexebi Cems dumilSi Tvlems usaxuri,

vzi martosuli, mTvaris Suqze vZerwav kelaptars

Tovs ise mSvidad, Tebervalze fiqric ar minda,

da rogorc monas odindeli xelze borkili,

Tbila buxarTan, Zvel werilebs furclavs almuri,

momenatrebi... isev mZulxar! isev miyvarxar!

iwvis urTxeli... aRmafrenis Jami wavida.

Sehyria zafra Semodgomis nislian baRebs, cris oqtomberi, iwriteba sxivi naTeli...

CamoiRvenTa, xelSi Cadna cxrave sanTeli,

movmarTav simebs, somnambulTa avSli qaravans,

sadRac Tendeba, mesmis sunTqva zevsis asulTa,

rom yiameTSi misteriad iqces naRveli.

ha, rogorc iqna ugzo-ukvlod gaqra naRveli,

mivxurav sarkmels, usavano sulis salbunad _

ukanaskneli paemani Sedga warsulTan.

gadavSli gulans, mivendobi wyobil striqonebs

gadainisla, mzeras moswyda gzis gasayari,

da udrtvinveli, viT raxeli meSvide zamTars,

ukve gardasul da mermindel dReTa dideba,

Zvel savarZelSi uSenobas gadavitkiveb.

nu Semexebi, veluria Cemi sizmari

ar geTxovebi!.. kvlav SevxvdebiT aRTqmul WalakSi,

da Semzaravi gazafxulze gamoRviZeba.

ori mowame, ori landi, ori codvili... ca ganixvneba, Seikvreba JamTa karibWe da moadgeba maradiul napirs qaroni...

kapriCio - 30 asea, codvil var winaSe uflisa, qali _ qarafinda,

kapriCio - 20

bedi maqvs poetis, sanTel-sakmeveli sxvisi raRad minda,

Rame mTvaris naTels, mere gaTenebas

vebrZvi qarboriebs, niSandadebuli Segirdi mTvarisa,

vwyevlidi satanur xilvebiT Sekruli,

urCi da ugrexi, ZiriT Zirobamde kolxuri gvarisa.

suli ganZarculi glovobda warwymedas

vzi kars samarisa, odes SavnaRveli SemomeRrubleba,

da mainc eSmakebs mihqondaT sxeuli. udabur karavTan, sakdemlis maxloblad,

idarebs, vmRerivar, Turme siyvaruliT guli ar iRleba,

qarebs axelebda Jami ukuRmarTi,

zRva damesizmreba, wamiT gacxaddeba are bundovani,

Zveli bilikebi foTlebs waelekaT,

mzeras daatyvevebs, mosuli sxvagnidan ucxo kidobani.

aRar SerCenoda xsovnas misamarTi... mova gaTeneba, caze cisartyelas aRbeWdavs sabaoT... yvaoda samoTxe, iwvoda jurRmuli,

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mxrebze uSfoTvelad maTovda zamTari,

jer ars gazafxuli, bneleTis qurumo, nuRar mcdi amaod.

TiTqos aRar myavda amqveynad suldgmuli,

sulSi zeTisxilis toti ayvavdeba, Cacxreba vnebebi,

arc dasaviwyari, arc mosagonari.

vyofilvar odesRac Citi mgalobeli, odesme viqnebi.

Sors, sizmareuli feTqavda RiRilo,

jer ki sodomuri cecxlis wvimebia da qarebs mihyveba

tkivils iyuCebda Citi maradisi,

ukve gardasuli dReebis tkivili, ferfli da dideba,

cisken mifrinavda TeTri violino,

xmas mRaRadeblisa zeda udabnosa hgavs Cemi Zaxili,

nislian varskvlavze iwva adonisi.

romeli Tqvengani aris ucodveli, aRiReT maxvili!..

3 (17) 2019

kapriCio _ 32 ana-maria, svel qviSaze gamoriyulo sadafqaro, maCuqe Sens wiaRSi anTebuli Wiota margaliti _ rwmenis naperwkali, roca fanjaraSi tiris Tebervali. mtkiva xerxemali. tiris Tebervali, mxolod sizmaria TeTri magnolia, qaris agonia afrebs gadaedo, TiTqos aRsasruli gardauvalia, TiTqos jojoxeTis Savi WiSkaria pontos evqsinosi. brmaa albatrosi, frTebs iqiT mTebia, mTebze sirinozi, ararad qceula Cemi avgarozi. bedi muxTalia, Jami _ uaresi. leviaTanebis modis saukune, borgavs anTaresi. wveTavs simaRlidan Sxami sisxlisferi. simi, siyvaruliT gulSi anaJReri Cawyda, Caiferfla mxare sazRaprisi.

Cemi akvania mkvdari oazisi. mReris iavnanas qari kudiani. o, ana-maria... tiris Tebervali...

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baTumis fotodReebi BATUMI PHOTO DAYS

b

aTumis fotodReebi ukve ramdenime wlis istorias iTvlis. is 2015 wels daiwyo, rogorc Savi zRvis auzis ori qveynis (saqarTvelo/ ukraina) or qalaqs Soris TanamSromlobisa da saxelovnebo gacvlis formati, saxelwodebiT _ `odesa/ baTumi, fotodReebi~. gasul wlebSi `fotodReebs~ odesa aprilSi, baTumi ki agvistoSi maspinZloboda. ukrainaSi am xasiaTis fotofestivali erTaderTia,

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T

he Batumi Photo Days Festival already counts several years of history. It began in 2015, as a collaboration and art exchange format between two Black Sea countries (Georgia/Ukraine) named ‘Odessa/Batumi Photo Days’.

The Photo Days are hosted in Odessa in April, and in Batumi in August. It is the only festival of the genre in Ukraine, as for Georgia, it takes place in parallel to two other, large photography festivals – ‘Tbilisi Photo Festival’ and ‘Kolga Tbilisi’. Because of this, the program

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saqarTveloSi ki baTums or masStabur _ `Tbilisis fotofestivalTan~ da `qolga _ Tbilisi fotodReebis~ paralelurad uwevs moRvaweoba. amis gamo `odesa/ baTumis fotodReebs~ programa da mimarTuleba Seicvala. odesaSi yuradReba saganmanaTleblo sakiTxebze, baTumSi ki, zafxulis sezonis gaTvaliswinebiT, sanaxaobriv _ gare gamofenebze gamaxvilda. aRsaniSnavia, rom 2015 wels pirveli fotogamofenis fotonamuSevrebi dRemde amSvenebs baTumSi saxlebis aivnebsa da fanjrebs. am wlebis ganmavlobaSi `baTumis fotodReebSi~ 500-ze metma fotografma miiRo monawileoba, msoflios 50-ze meti qveynidan. aq, gamofenebs da prezentaciebs iseTi aRiarebuli kuratorebi warmoadgendnen rogorebic arian _ beral madra (stambulis bienales pirveli kuratori, TurqeTi), andrei linakeviCi (minskis fotoTvis damfuZnebeli da direqtori, belorusi), nestan niJaraZe da guram wibaxaSvili (Tbilisis fotofestivalis damfuZneblebi da xelmZRvanelebi), Carlz merivezeri (sidneiis bienales yofili kuratori, avstralia), ahlam Sibli (fotografi, `me-14 dokumentas~ erT-erTi mTavri monawile), natalia dausti (proeqtiT `koreuli sizmrebi“, kanada) da sxv.

and concept of the ‘Odessa/Batumi Photo Days’ was recently changed. The focus will be put on educational aspects in Odessa, and taking the summer season into account, the festival in Batumi will mostly consist of spectacular, exterior exhibitions. It is worth noting that to this day, the photographs of the first, 2015 festival still adorn the balconies and windows of Batumi’s houses.

During these years, more than 500 photographers from more than 50 countries have participated in the ‘Batumi Photo Days’.

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hana Jarzabek / HANNA JARZABEK

wels baTumis fotodReebis ZiriTadi programa 30 agvistodan 1 seqtembris CaTvliT gaimarTa. 25 seqtembers ki gamofena, „selas kvaldakval“ gaixsna, romelzec italieli fotografis vitorio selas kavkasiaSi mogzaurobis amsaxveli namuSevrebi (erovnuli muzeumis koleqcia) da misi Tanamemamulis, Tanamedrove xelovanis salvatore kostas axali seria _ `selas mogzaurobis kvaldakval~ (monika elenas kuratorobiT) warmovadgineT.

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Beral Madra (first curator of the Istanbul Biennale, Turkey), Andrei Linakevich (founder and director of the Month of Photography in Minsk), Nestan Nizharadze and Guram Tsibakhasvhili (founders and heads of the Tbilisi Photo Festival), Charles Merewether (former curator of the Sydney Biennale, Australia), Ahlam Shibli (photographer, one of the main participants of Documenta 14), Nathalie Daoust (with the project ‘Korean Dreams’, Canada), and other such renowned curators were presenting the exhibitions and presentations.

This year, the main program of the Batumi Photo Days took place from the 30th of August until the 1st of September. The 25th of September then saw the inauguration of the exhibition ‘In the Footsteps of Sella’, in which we presented the works made by photographer Vittorio Sella during his journey in the Caucasus (collection of the Georgian National Museum) as well as a photography and videography artwork by his fellow countryman, contemporary artist Salvatore Costa, both curated by Monica Ellena.

The format of the Batumi Photo Days aims at creating an artistic platform that provides for acquiring new experiences and emotions, exchanging, improving one’s professional skills – and all this in a short period of time. It creates a unique alternative platform for artistic practice and future development.

Once more, Batumi proved to be one of the interesting spaces for

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baTumis fotodReebis formati miznad isaxavs iseTi artistuli platformis Seqmnas, romelic mokle droSi gamocdilebis miRebas, gacvlas, axali emociebisa da profesiuli unarebis gaumjobesebas uzrunvelyofs; is qmnis unikalur alternatiul platformas artistuli praqtikisa da momavali ganviTarebisTvis. baTumma kidev erTxel daamtkica, rom fotografiis da fotonamuSevrebis erT-erTi saintereso da perspeqtiuli sivrcea. wels qalaqs am sferos bevri profesionali stumrobda da gare gamofenebis formatma, gansakuTrebiT, turistuli nakadi daainteresa. albaT, amitom Cvenma RonisZiebam ufro mravlismomcveli saxe miiRo. odesur/baTumur fotodReebs yovelwliuri mTavari Tema aqvs... wels „baTumis fotodReebis“ mTavari gamofenis mTavari Tema Mirror Land – „sarkiseburi samyaro“ iyo, romelic im yalb faseulobebsa da saxecvlil realobas exmianeba, romelSic adamianebs Tanamedrove samyaroSi uwevT cxovreba da risi gamomwvevic sxvadasxva politikuri movlenebia _ mediawyaroebis mier yalbi informaciis gavrcelebis gamo.

photography and the arts revolving around it. Many professionals of the field have visited the festival this year, and the exterior exhibition formats also managed to attract particular interest from holidaymakers. Perhaps this is the reason why the event acquired a more multi-faceted character.

Each year, the Odessa/Batumi Photo Days revolve around a new central theme… This year, the central theme of Batumi Photo Days’

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mTavari gamofena 30 agvistos, sastumro „o. galogres“ gare Robeze gaixsna da 15 seqtembramde gagrZelda. gamofenis gare formatma yvela msurvels misi daTvalierebis saSualeba misca. gamofenis farglebSi warmodgenili iyo konkursis wesiT SerCeuli 31 artistis namuSevari _ portugaliidan, saqarTvelodan, italiidan, espaneTidan, germaniidan, norvegiidan, meqsikidan, indoeTidan, ukrainidan, belorusiidan, ruseTidan, safrangeTidan, poloneTidan, latviidan da sxv. gamofenisTvis xelovanebi saerTaSoriso Jiurim SearCia, romelSic Sediodnen: baTumis Tanamedrove xelovnebis sivrcis menejeri irakli ZnelaZe, kuratori ana riaboSenko, frankfurtis `fotoforumis~ direqtori sabine seici, galerea `fotogenis~ xelmZRvaneli manfred batori da qarTveli fotografi dina oganova. gamofenam miznad daisaxa eCvenebina msoflios sxvadasxva kuTxeSi momuSave xelovanebis gamocdileba, maT qveynebSi arsebuli problemebi da yovelive es fotodReebis mTavar TemasTan _ „sarkisebr samyarosTan“

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main exhibition was ‘Mirror Land’, which reflects the fake values and altered reality in which people have to live in our modern times, and which come from various political phenomena – mainly because of the spread of fake news by various media sources.

The main exhibition was inaugurated on the 30th of August on the outer fence of the ‘O. Galogre’ hotel, and lasted until the 15th of September. The fact that it was taking place outside gave every passerby a chance to discover the exhibition.

Works by 31 artists, chosen by way of a contest, were presented in the framework of the exhibition – from Portugal, Georgia, Italy, Spain, Germany, Norway, Mexico, India, Ukraine, Belarus, Russia, France, Poland, Latvia, and others.

The exhibited artists were selected by an international jury that included Irakli Dzneladze, manager of Batumi’s Contemporary Art Space, curator Ana Riaboshenko, Frankfurt’s ‘Fotoforum’ director Sabine Seitz, the head of gallery ‘Fotogen’ Manfred Bator, and Georgian photographer Dina Oganova.

The exhibition had the objective to present the experience of artists working in various corners of the world, the problems existing in their countries, and to connect all this to the central theme of this year’s Photo Days – ‘Mirror Land’.

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daekavSirebina 31 agvistos baTumis Tanamedrove xelovnebis sivrceSi, dina oganovas kuratorobiT, gamofenebi _ dorian tetis „viziti“ da laSa (Fox) cercvaZis „giorgi“ gaixsna. safrangeTSi momuSave italieli fotografis, dorian tetis „viziti“intimurobasTan dakavSirebul miTebs exeba: ojaxs, urTierTobebs, saxlebs, mogonebebs, identobas. es fotoambavia adamianebis yoveldRiur yofaze, sicarielis Sevsebis mcdelobaze, Zebnasa da gaucxoebaze, romlis Sesaqmneladac artistma sxvaTa cxovreba moirgo.

The exhibitions ‘The Visit’ by Dorian Teti and ‘Giorgi’ by Lasha (Fox) Tsertsvadze were inaugurated in Batumi’s Contemporary Art Space, under Dina Oganova’s curatorship, on the 31st of August.

France-based Italian photographer Dorian Teti’s ‘The Visit’ touches upon myths related to intimacy: family, relations, houses, memories, identity. This is a photo story about people’s everyday lives, their attempt to fill the void, their search and estrangement, for the creation of which the artist has put himself in other people’s shoes.

laSa (Fox) cercvaZis „giorgi“ ki pirveli SiSveli `qviar~ fotoproeqtia, romelic saqarTveloSi Seiqmna da gamoifina. proeqtze fotografi erTi wlis ganmavlobaSi muSaobda da `qviar~ adamianebs maTsave saxlebSi, im sivrceSi iRebda, sadac identobis damalvas aravin aiZulebda. gmirebis siSiSvle da fotoebis wiTeli feri simboluria – is erTdroulad maT daucvelobas, seqsualurobas da agresias gamoxatavs. „baTumis fotodReebis“ finaluri gamofena – iusuke haSidas „sazRvari/korea“, Jeauk kangis kuratorobiT,

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1 seqtembers `kafe 2-Si~ gaixsna. proeqtma gvaCvena Tu ra roli SeiZleba iTamaSos ama Tu im eris cxovrebaSi rukaze gavlebulma erTma xazma da rogori sxvaobaa dRes CrdiloeT da samxreT koreas Soris. xelovanma fotoebi erTmaneTisgan 190 kilometriT daSorebul qalaqebSi, seulsa da fxenianSi gadaiRo da asaxa Tu rogor `ganviTarda~ da Seicvala erTi eri gayofis Semdeg _ sxvadasxva formaciisa da ideologiuri wnexis Sedegad.

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Lasha (Fox) Tsertsvadze’s ‘Giorgi’ is the first nude queer photography project to be created and exhibited in Georgia. The photographer was working on this project for a full year, and was taking photographs of queers in their own homes, in the places where nobody was forcing them to hide their identities.

The protagonists’ nudity and the red color of the photographs are symbolic – they simultaneously represent their defenselessness, their sexuality, and their aggression.

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The final exhibition of the ‘Batumi Photo Days’ was Yusuke Hashida’s ‘Border / Korea’, curated by Jeauk Kang, and was inaugurated on the 1st of September in ‘Café K2’. The project showed us what kind of influence can stem from a line drawn on the map of this or that nation, and what kind of differences there are between North and South Korea today. The photographer took these pictures in two cities that are 190 kilometers away apart – Seoul and Pyongyang, and has shown how one and the same nation “evolved” and changed after being divided in two, as a result of different situations and ideological pressure.

`baTumis fotodReebis~ farglebSi Catarda `fotolabic~, romelSic SerCeulma monawileebma fotoproeqtebi waradgines da miiRes rCevebi mentorebisgan. `fotolabis~ mizani, damwyebi artistebisTvis ideebis daxvewaSi daxmareba da ganviTarebaSi xelSewyobaa. mis farglebSi gamovlinda ori gamarjvebuli, agniezska gotovala da gela SeyelaZe, romlebic momaval wels Tanamedrove xelovnebis sivrceSi baTumSive Caatareben gamofenebs. festivalis mimdinareobisas, „Tanamedrove xelovnebis sivrcis“ da `kafe K2-is~ mimdebare teritoriaze, yoveldRiurad imarTeboda Ramis Cvenebebi, romelzec warmoadgines qarTveli da ucxoeli fotografebis namuSevrebi. wels Ramis Cvenebebis partniorebi iyvnen: CIRCULATION Photo Festival (safrangeTi), saagento Prospekt (italia), Vilnius Photo Circle (lietuva) da ISSP (latvia). momaval wels, 2020 wlis `baTumis fotodReebi~ 29-31 maiss gaimarTeba da misi axali mTavari Temac wlevandel forumze gadawyda... „faqizi“ (FRAGILE) _ exmianeba iseT saWirboroto problemebs romelTa winaSec kacobrioba didixania dgas da maTi gadaWris gzebi jerjerobiT ar/ ver moiZebna _ es ki ekologia, mSvidoba da adamianuri faseulobebia, romelTac gafrTxileba da zrunva sWirdeba.

Another event held during the Batumi Photo Days was the ‘Photolab’, in which the selected participants had the opportunity to present a photo project and to get advice from experienced mentors. The objective of the ‘Photolab’ is to help beginning artists to refine their ideas and to support their development. It also included a contest, of which the two winners were Agniezska Gotowała and Gela Shekeladze, who will present exhibitions in Batumi’s Contemporary Art Space next year.

During the festival, in the vicinity of the Contemporary Art Space and ‘Cafe K2’, nocturnal events were held on a daily basis, presenting works by both Georgian and foreign photographers. This year, the partners of the nocturnal events were: CIRCULATION Photo Festival (France), Prospekt (Italy), Vilnius Photo Circle (Lithuania) da ISSP (Latvia).

Next year, the 2020 ‘Batumi Photo Days’ will take place from the 29th until the 31st of May, and its central theme was already decided during this year’s edition – ‘Fragile’, which reflects the topical problems faced by humanity for a long time already, and which haven’t or couldn’t have been solved yet: ecology, peace, and humane values, which need to be taken care of and looked after.

ana riaboSenko

Ana Riaboshenko

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rusTavis istoriuli muzeumi RUSTAVI HISTORY MUSEUM rusTavis mSeneblobis pirvel xanebSive naTeli gaxda, rom axali qalaqi Zvel, Sua saukuneebis naqalaqarze Sendeboda. 1944-48 ww. aq Catarebuli samuSaoebis Sedegad dagrovda didZali arqeologiuri masala, romelic istoriis institutis sacavebSi inaxeboda da mniSvnelovani iyo rogorc sakuTriv rusTavis, ise zogadad Suasaukuneebis saqarTvelos istoriis Sesaswavlad.

1949 wlis aprilidan ivane javaxiSvilis saxelobis istoriis institutma rusTavSi sistematuri arqeologiuri kvleva-Zieba daiwyo da aq eqspedicia miavlina, romelsac saTaveSi erT-erTi pirveli qarTveli arqeologi giorgi lomTaTiZe Caudga. 1950

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From the very beginning of Rustavi's construction, it became clear that the new city was being built on the remains of the old, medieval settlement. As a result of the works conducted here in 1944-48, a great deal of archaeological material was accumulated, which was stored in the vaults of the Institute of History and was significant for the study of the history of Rustavi itself, as well as of medieval Georgia in general.

Starting in April 1949, the Ivane Javakhishvili Institute of History began systematic archaeological research and investigation in Rustavi, sending an expedition under the guidance of one of the first Georgian archaeologists, Giorgi Lomtatidze. In the summer of 1950, archaeological excavations and the materials found in Rustavi came to the attention of the leadership of the republic, and the

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wlis zafxulSi rusTavSi mimdinare arqeologiuri gaTxrebi da aq aRmoCenili masalebi respublikis xelmZRvanelobis yuradRebis arealSi moeqca da imave wlis 20 ivliss rusTavis mxareTmcodneobis muzeumi Seiqmna. mis pirvel direqtorad arqeologiuri eqspediciis axalgazrda wevri Tamar paataSvili dainiSna. Tavidan muzeumi xis erTsarTulian droebiT nagebobaSi ganTavsda, amitom muzeumis xelmZRvanelobam misTvis Sesaferisi Senobis moZieba daiwyo. Tamar paataSvili igonebs: `rusTavis mcxovrebTaTvis cnobili iyo, rom qalaqis erT-erT gamosaCen adgilze qalaqkomis mdivnisTvis orsarTuliani lamazi saxli Sendeboda.

Cven, ra Tqma unda, is muzeumisTvis yvelaze Sesaferad gveCveneboda, magram natvrasac ver vbedavdiT. batonma gogim ki natvrac gabeda da sityvac Caagdo...~ 1953 wlis 1 marts muzeumi, axali eqspoziciiT, swored am SenobaSi gaixsna. muzeumis arqeologiuri eqspoziciis Sesaqmnelad saWiro ganaTxari masala, romelic Tavdapirvelad Tbilisis istoriul-eTnografiul muzeumSi inaxeboda, rusTavis muzeums gadaeca. es masala lomTaTiZem 1952 w. noemberSi rusTavSi Camoitana, Seiswavla da muzeumis arqeologiuri gamofenis Tematuri saeqspozicio gegmis proeqtic SeimuSava. muzeumis pirveli sarTuli arqeologiur gamofenas daeTmo, meore _ Tanamedrove epoqis amsaxvel masalebs. axali qalaqis gamalebuli samSeneblo samuSaoebis dros ingreoda da samudamod nadgurdeboda rusTavis pirvelxarisxovani arqeologiuri Zeglebi _ gvianbrinjaos, antikuri da Suasaukuneebis samarovnebi da namosaxlarebi. muzeums, romelsac mimdinare

muzeumis fuZemdebeli giorgi lomTaTiZe axalgazrda arqeologebTan (marcxnidan n. mamaiaSvili, r. ramiSvili, centrSi g.lomTaTiZe, c. CikoiZe, b. jorbenaZe) erTad rusTavis cixe-simagris gaTxrebze, 1959 weli.

MUSEUM FOUNDER GIORGI LOMTATIDZE WITH YOUNG ARCHAEOLOGISTS (FROM THE LEFT – N. MAMAIASHVILI, R. RAMISHVILI, IN THE CENTER – G. LOMTATIDZE, TS. CHIKOIDZE, B. JORBENADZE) DURING EXCAVATIONS AT THE FORTRESS OF RUSTAVI, 1959.

Rustavi Museum of Local Lore was created on July 20 of the same year. Tamar Paatashvili, a young member of the archaeological expedition, was appointed as its first director. Initially, the museum was housed in a temporary one-story wooden building, and therefore, the museum administration began to search for a suitable replacement. Tamar Paatashvili recalls: “The residents of Rustavi knew that a beautiful two-story house was being built in one of the prominent places of the city for the Secretary of the City Committee. Of course, we found it to be the most fitting for the museum, but we couldn’t even dare to dream moving there.

However, Mr. Gogi not only dared but also proposed the idea...”. On the first of March 1953, the museum opened, with a new exhibition, precisely in this building.

industriuli rusTavis istoriis amsaxveli eqspozicia (XX saukunis 40-80-iani ww.).

EXHIBITION ON THE HISTORY OF INDUSTRIAL RUSTAVI (1940-1980S)

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rusTavis muzeumis pirveli eqspoziciis gaxsna axal SenobaSi, muzeumis TanamSromlebi da mowveuli stumrebi, 1953 weli.

OPENING OF THE FIRST EXHIBITION AT THE RUSTAVI MUSEUM’S NEW BUILDING; STAFF OF THE MUSEUM AND INVITED GUESTS, 1953

samSeneblo samuSaoebisas arqeologiuri meTvalyureoba unda ganexorcielebina, 1958 wlamde erTaderTi TanamSromeli _ direqtori hyavda... gaTxrebisas gamomzeurebuli nivTebis udidesi nawili an ukvalod qreboda, an dazianebuli saxiT Sedioda muzeumSi ise, rom xSirad aRmoCenis zusti adgilic ki ar iyo cnobili.

1959_65, 1972-1989, 2003, 2006-2008 ww-Si rusTavSi intensiuri arqeologiuri samuSaoebi mimdinareobda.

2003 wlamde kvleva-Ziebas saqarTvelos mecnierebaTa akademiis arqeologiis kvlevis centri awarmoebda, Semdeg ki adgilobrivi TviTmmarTvelobis dafinansebiT rusTavis mxareTmcodneobis (2007 w-dan _ istoriuli) muzeumi.

1966 wels SoTa rusTavelis 800 wlis iubilesTan dakavSirebiT moewyo axali, mesame eqspozicia, romelic gamdidrebuli iyo rusTavelis epoqis amsaxveli masaliT. XX saukunis 80-ian wlebSi muzeumis Zvel Senobas axali saeqspozicio darbazebi (1200 kv. m) da fondsacavi (600 kv. m) miaSenes. 1988 wels axali rusTavis daarsebis ormoci wlisTavze muzeumSi moewyo rigiT meoTxe eqspozicia, romelic dResac moqmedebs. aq warmodgenilia rusTavis Zveli (Zv. w. XVIII _ ax. w. XVIII s.) da Tanamedrove (XX s. II naxevari) istoriis gamofenebi.

2007 wels muzeums Seecvala statusi da mxareTmcodneobis muzeumis bazaze arakomerciuli (arasamewarmeo) iuridiuli piri `rusTavis istoriuli muzeumi~ dafuZnda. muzeumi aqtiur samecniero-kvleviT da kulturulsaganmanaTleblo saqmianobas eweva. igi agrZelebs rusTavis naqalaqaris arqeologiur Seswavlas da samecniero-popularuli publikaciebis gamocemas. muzeumSi sistematiurad ewyoba droebiTi gamofenebi, xolo sazogadoebis farTo fenebis, sajaro da sakvirao

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The excavated materials necessary for the creation of the museum’s archaeological exhibition, initially stored at the Tbilisi Museum of History and Ethnography, were handed over to the Rustavi Museum. In November 1952, Lomtatidze brought the materials to Rustavi, examined them and drafted the plan of a thematic exhibition for the museum’s archeological artifacts. The first floor of the museum was dedicated to the archaeological exhibition, the second – to materials depicting the modern era.

During the frenzied construction work of the new city, prime archaeological monuments of Rustavi were being demolished and permanently destroyed – necropolises and settlement remains from the Late Bronze Age, classical and medieval periods. Until 1958, the museum, which was supposed to conduct archaeological supervision during the ongoing construction work, had a single employee – its director…

A large number of the objects unearthed during excavations either disappeared without a trace or were submitted to the museum in a damaged state, often without even knowing the place of their discovery.

During the years 1959–65, 1972–1989, 2003, and 2006-2008, rigorous archeological works were underway in Rustavi. Until 2003, the research was conducted by the Archeological Research Center of the Georgian Academy of Sciences, and then by the Rustavi Museum of Local Lore (from 2007 – History Museum), funded by the local government.

In 1966, on the occasion of Shota Rustaveli’s 800th birthday, a new, third exhibition was organized, enriched with materials depicting the Rustaveli era.

In the 1980s, new exhibition halls (1200 sq. m.) and a storage place (600 sq. m.) were added to the museum’s old building. In 1988, for the 40th anniversary of the founding of the new Rustavi, the museum organized its fourth exhibition, which is still active today. The exhibitions cover the ancient (18th c. BC – 18th c. AD) and contemporary (second half of the 20th century) history of Rustavi.

In 2007, the museum’s status was changed and the noncommercial (non-entrepreneurial) legal entity “Rustavi History Museum” was founded on the basis of the Museum of Local Lore.

muzeumis saganmanaTleblo programa „saxaliso arqeologia“ MUSEUM’S EDUCATIONAL PROGRAM "ENTERTAINING ARCHAEOLOGY"

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The museum is engaged in active scientific-research and culturaleducational activities. It continues the archaeological investigation of Rustavi’s settlement and issues popular science publications.

The museum regularly organizes temporary exhibitions, while additionally implementing various educational programs for the general public and students of public and Sunday schools. These are: 1. Prerequisites for the Creation of Cities in the Light of Rustavi’s History; 2. Entertaining Archeology; 3. History of Weaponry; 4.

Fortifications; 5. Ancient Civilizations and Great Archaeological Discoveries; 6. Karl Popper’s Debates (political and morals formats); 7. Educational excursions to Dmanisi, Tbilisi, and Mtskheta.

Tixis sarkofagi, IV-V ss.

CLAY SARCOPHAGUS, IV-V CENTURIES

skolebis moswavleebisaTvis sxvadasxva saganmanaTleblo programebs axorcielebs. esenia: 1. qalaqebis warmoSobis winapirobebi rusTavis istoriis Suqze, 2. saxaliso (praqtikuli) arqeologia, 3. sabrZolo iaraRis istoria, 4. TavdacviTi nagebobebi, 5. Zveli civilizaciebi da didi arqeologiuri aRmoCenebi, 6. karl poperis debatebi (politikuri da faseulobaTa formatebi), 7. saeqskursio-saganmanaTleblo turebi dmanisSi, Tbilissa da mcxeTaSi. dReisaTvis rusTavis istoriuli muzeumi saqarTvelos erT-erTi umniSvnelovanesi qalaqisa da istoriuli mxaris kuxeTis _ kulturuli memkvidreobis mniSvnelovani ganZsacavia, sadac Tavmoyrilia arqeologiis, eTnografiis, numizmatikuri, foto da sxva saxis 35 000-mde nimuSi. aq daculi Suasaukuneebis artefaqtebi SesaniSnav masalas warmoadgens Suasaukuneebis qarTuli qalaqis kulturul memkvidreobis gacnobisa da SeswavlisTvis, amdidrebs Cvens codnas axlo aRmosavleTis qveynebis qalaqebis istoriisa da kulturis Sesaxeb.

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1

4 3

5 1. oqros sayure, III-IV ss., 2. oqros sayure, VI-VII ss. 3. mZivebi, III-IV ss., 4. oqros sayure, III-IV ss., 5. minis samajurebi, IX-XIII ss.

1. GOLD EARRING, III-IV CENTURIES; 2. GOLD EARRING, VI-VII CENTURIES; 3. NECKLACES, III-IV CENTURIES; 4. GOLD EARRING, III-IV CENTURIES; 5. GLASS BRACELET, IX-XIII CENTURIES

sefiskveris sabeWdavi, VI s. / PROSPHORA SEAL, VI CENTURY

Today, the Rustavi History Museum is an invaluable cultural heritage treasury of one of the most important cities of Georgia and a historical region of Kukheti, containing nearly 35 000 exhibits of archeology, ethnography, numismatics, photography, and other varieties. The medieval artifacts preserved at the museum are excellent tools for an introduction to and the study of the cultural heritage of the medieval Georgian city, enhancing our knowledge of the history and culture of cities in the Near East countries.

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1 2

3 1. kandelabris fragmenti, XII-XIII ss. 2. spilenZis kaTxa, XII-XIII ss.

3. spilenZis Wraqi XII-XIII ss.

1. CANDELABRA FRAGMENT, XII-XIII CENTURIES; 2. COPPER VESSEL, XII-XIII CENTURIES 3. COPPER OIL LAMP, XII-XIII CENTURIES

arqeologiuri koleqcia koleqcia Sedgeba 1944 wlis Semdeg rusTavSi arqeologiuri gaTxrebisa da mSeneblobebis meTvalyureobis dros gamovlenili Tu SemTxveviT mopovebuli masalebisgan. aqvea sxva regionebidan Semowirulobis saxiT Semosuli nivTebic. igi daaxloebiT 25 000 erTeuls Seicavs da muzeumis fondebis 90 procents Seadgens. maTi erTi nawili gamoqveynebulia rogorc calkeul naSromebSi, ise rusTavis arqeologiuri Ziebisadmi miZRvnil ramdenime krebulSi, romelTa gamoqveyneba kvlavac grZeldeba. rusTavis arqeologiur masalebSi uZvelesia mtkvris marjvena napirze mSeneblobisas gamovlenili Sua

The Archeological Collection The collection consists of materials unearthed, or accidentally discovered, during archaeological excavations and supervised constructions in Rustavi after 1944. The collection also contains donated items from other regions. It houses around 25 000 items and accounts for 90% of museum funds. A portion of them was published in separate papers, as well as in several anthologies dedicated to the archaeological investigation of Rustavi, the publication of which continues.

Rustavi’s oldest archeological materials include a pot, dyed red and painted black, discovered in a Middle Bronze Age burial during construction works on the right bank of Mtkvari, as well as a bronze rapier found in the outskirts of the city.

The collection contains numerous Late Bronze Age (second half of the 2nd millennium – beginning of the 1st millennium BC) materials widespread throughout the Eastern Caucasus, obtained from the necropolises discovered on both banks of Mtkvari, as well as from former settlements (Tsikhis-Gora). Among them, weaponry – daggers, spearheads, and arrowheads; Household items – ceramics of different sizes, shapes, and purpose (of those, the wine jar found in the Tsikhis-Gora settlement is one of the oldest in Georgia), hand-mills, stamp seals; Jewelry – necklaces, brooches, earrings, etc.

moWiquli jami frinvelis gamosaxulebiT, XII-XIII ss.

GLAZED POT WITH BIRD, XII-XIII CENTURIES

minis WurWeli, XII-XIII ss. / GLASS TABLEWARE, XII-XIII CENTURIES

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The classical period in Rustavi is exemplified by the 5th-2ndcentury BC burial paraphernalia discovered in different areas – three-legged bowls, pitchers, jewelry, fragments of a sandstone column with cannelure, etc. Among the materials of the Late Antiquity, noteworthy are the findings from the early 2th-4th-century settlement and necropolises from both banks of Mtkvari – ceramic items, local or imported glass unguentaria, gold and glass jewelry, etc.

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rapira, brinjao, Zv. w. XVIII-XVII ss. / BRONZE RAPIER, XVIII-XVII BC

brinjaos epoqis samarxSi aRmoCenili wiTlad SeRebili, Savad moxatuli qoTani da brinjaos rapira qalaqis Semogarenidan. koleqciaSi mravladaa warmodgenili aRmosavleT kavkasiaSi farTod gavrcelebuli gviani brinjaos (Zv. w. II aT. II nax. _ I aT. dasawyisi) xanis masala, momdinare rogorc mtkvris orive napirze aRmoCenili samarovnebidan, ise namosaxlarebidan (cixis gora). maT Sorisaa sabrZolo iaraRi _ satevrebi, Subisa da isris pirebi; sameurneo nivTebi _ sxvadasxva zomis, formisa da daniSnulebis keramika (aqedan cixis goris nasaxlarze aRmoCenili qvevri erT-erTi uZvelesia saqarTveloSi), xelsafqvavebi,

Subis pirebi da satevrebi, brinjao, Zv. w. XIII-XII ss.

The archaeological collection of the museum has a particularly extensive assortment of varied ceramic items imported or created in Rustavi’s medieval ceramic workshops, which were discovered at the site of the former settlement and on the territory of the fortress.

Among the items from the 4th-8th centuries – a small pitcher with a scratched inscription (7th century) and thin-walled, wide-based ceramic items with ribbed necks should be noted. Other materials include a clay stamp seal with a Greek inscription, sarcophagi of clay and stone, one of them containing a prominent woman’s garment remains (6th - 8th centuries), many details of stone-crosses (stelae), including fragments of the Gospel with relief images and plant ornaments (6th century), inscribed tombstones (5th - 7th centuries), separate details of secular or church buildings belonging to the same period, etc.

There is an extensive collection of numerous locally-produced, 9th-13th-century glazed ceramic objects with geometric, botanic, zoomorphic or human designs, as well as imported fragments of faience pottery with luster. Other noteworthy materials include various sorts of glass, bone or metal items – jewelry, crockery, and church paraphernalia; construction ceramics and a windowpane cast in an ornate mold; remains of frescoes from the 12th-13thcentury layer of the palace of the Rustavi Fortress, and so on.

Among the materials donated from the regions, the museum keeps the burial equipment of the Iori-Alazani culture (1st c. BC – 1st c. AD) from the Lagodekhi municipality’s village Ulyanovka, as well as other separate items.

BRONZE SPEARHEADS AND DAGGERS, XIII-XII CENTURIES BC

sabeWdavebi; samkauli _ mZivebi, sakinZebi, sayureebi da sxv. antikuri periodi rusTavSi warmodgenilia sxvadasxva ubanSi aRmoCenili Zv. w. V-II ss. samarxeuli inventariT _ samfexa jamebiT, doqebiT, samkauliT; qviSaqvis kanelurebiani svetis fragmentiT da sxv. gviani antikuri periodis masalebidan aRsaniSnavia II _ IV s. dasawyisis naqalaqarisa da samarovnebis kuTvnili masalebi mtkvris orive sanapirodan _ keramikis nimuSebi, adgilobrivi Tu importuli minis sanelsacxebleebi, oqrosa da minis samkauli da sxv. muzeumis arqeologiur koleqciaSi gansakuTrebuli sisruliTaa warmodgenili naqalaqarisa da cixis teritoriaze aRmoCenili Sua saukuneebis rusTavis keramikul saxelosnoebSi damzadebuli Tu Semotanili mravalferovani keramikuli nawarmi. IV-VIII ss. nimuSebidan aRsaniSnavia momcro doqi amokawruli warweriT (VII s) da yelwiboiani, Txelkedliani da farToZiriani keramikis nimuSebi. sxva masalidan _ Tixis sabeWdavi berZnuli warweriT, Tixisa da qvis sarkofagebi, erT-erT maTganSi

maTara, Tixa, XII-XIII ss. / CLAY FLASK, XII-XIII CENTURIES

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aRmoCenili warCinebuli qalis samoslis naSTebiT (VI-VIII ss); qvajvrebis (stelebis) mravali detali, maT Soris saxarebiseuli siuJetis reliefuri gamosaxulebiTa da mcenareuli ornamentebiT Semkuli nawilebi (VI s); warweriani saflavis qvebi (V-VII s); amave periodis kuTvnili saero Tu saeklesio nagebobaTa calkeuli detalebi da sxv. farTodaa warmodgenili adgilobrivi warmoebis IXXIII ss. moWiquli keramikis mravali nimuSi geometriuli, mcenareuli, zoomorfuli Tu adamianis gamosaxulebebiT; importirebuli _ lustriani faiansis WurWlis fragmentebi; sxva masalebidan aRsaniSnavia minis, Zvlisa Tu liTonis mravalgvari nakeTobani _ samkauli, WurWeli da saeklesio inventari; samSeneblo keramika da ornamentian yalibSi Camosxmuli sarkmlis mina; freskebis naSTebi rusTavis cixis sasaxlis XII-XIII ss. fenidan da sxv. regionebidan Semowirulobis saxiT Semosul masalebs Soris muzeumSi daculia ior-alaznis kulturis ( Zv.w.

I _ ax. w. I ss) samarxeuli inventari lagodexis r-nis s. ulianovkidan da sxva calkeuli nimuSebi. numizmatikuri koleqcia rusTavi mniSvnelovani saqaravno gzebis siaxloves mdebareobda, ramac aq saqalaqo cxovrebisa da intensiuri

sanelsacxeble, mina, III-IV ss.

UNGUENTARIUM, GLASS, III-IV CENTURIES

sasmisi, mina, XII-XIII ss.

CUP, GLASS, XII-XIII CENTURIES

The Numismatic Collection Rustavi was located near important caravan roads, which contributed to the formation of urban life, and intense trade and economic relations. This is further evidenced by the abundance of coins obtained at the site of the Rustavi settlement. A portion of the coins was unearthed as a hoard: In 1950, 395 coins were discovered in building #1 of the settlement site. In 1956, approximately 100 coins were found in the same area, and in 1975, 72 additional coins were found on the territory of the citadel, in the fourth room of the palace.

The artifacts of the museum’s collection, either Georgian or cut in Georgia, are chronologically situated between 1125 and 1308. They include coinage of Demetrius I, George II, Tamar the Great, George IV, Jalal ad-Din Mingburnu, Rusudan, David VI Narin, TbilisianMongolian and Georgian-Hulagid coins.

spilenZisa da vercxlis monetebi, XII_XIII ss.

sanawile jvari, RvTismSoblis gamosaxulebiT, X-XIII ss.

COPPER AND SILVER COINS, XII-XIII CENTURIES

RELIQUARY CROSS WITH VIRGIN MARY, X-XIII CENTURIES

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savaWro-ekonomikuri kavSirebis Camoyalibebas Seuwyo xeli. amaze rusTavis naqalaqarze mopovebuli monetebis simravlec miuTiTebs. monetebis erTi nawili ganZis saxiTaa aRmoCenili: 1950 wels naqalaqarze #1 nagebobaSi 395 moneta aRmoCnda; 1956 wels igive adgilas _ asamde moneta; xolo 1975 wels citadelis teritoriaze, sasaxlis meoTxe oTaxSi _ 72 moneta. muzeumis koleqciaSi arsebuli qarTuli Tu saqarTveloSi moWrili nimuSebi qronologiurad 11251308 ww. Soris Tavsdeba. maT Sorisaa demetre I-is, giorgi II-is, Tamaris, laSa giorgis, jalal-ad-dinis, rusudanis, daviT narinis, Tbilur-monRoluri da qarTul-hulaguiduri monetebi.

1

2

1. oqros medalioni, XII- XIII ss.

2. sabeWdavi, sardioni, iranuli RvTaeba srauSis gamosaxulebiT, V-VI ss.

1. GOLD MEDALLION, XII-XIII CENTURIES; 2. SEAL, CARNELIAN, WITH IRANIAN DEITY SRAUSH, V-VI CENTURIES.

The museum’s collection of foreign coinage includes Byzantine coins – a coin of Justin I (518-527), Constantine II’s silver (641-668), John I Tzimiskes’s coin (969-976), Kufic (737-738), Eldiguzidian and Derbent coins (turn of 12th-13th-century).

2

The Modern History Exhibition of Rustavi The historical fund of modern Rustavi holds approximately 5000 items, including more than 2500 photos, 1200 documents, many memorial items, and samples of local goods produced in different years. The exhibit offers a snapshot of the city’s gradual industrial, economic, cultural and social development from the 1940s to the present day.

The photographic materials document the construction of the Rustavi Metallurgical Plant and the first districts of the city, as well as the activities of builders, metallurgists, teachers, doctors and representatives of other professions.

1 1. moWiquli larnaki, XII-XIII ss.

2. moWiquli doqi stilizebuli irmis Tavis gamosaxulebiT, XII-XIII ss.

1. GLAZED JAR, XII-XIII CENTURIES; 2. GLAZED VASE WITH STYLIZED DEER HEAD, XII-XIII CENTURIES.

ucxouri monetebidan muzeumis koleqciaSia bizantiuri monetebi _ iustine I-is (518-527 ww), konstantine II-is vercxlis (641-668 ww), ioane cimisxis moneta (969-976 ww); qufuri felsebi (737-738 ww); ildegiziduri da darubanduli monetebi (XII_XIII ss. mijna).

Tanamedrove rusTavis istoriis eqspozicia Tanamedrove rusTavis istoriis fondSi 5000mde nivTia, maT Soris 2500-ze meti foto, 1200 dokumenti, mravali memorialuri nivTi da sxvadasxva wlebSi warmoebuli adgilobrivi produqciis nimuSi. aq etapobrivadaa asaxuli qalaqis samrewvelo _ ekonomikuri, kulturuli da socialuri ganviTarebis suraTi XX s. 40-ani wlebidan dRemde.

1

2

1. yelsabami giorgi III monetebiT, XII-XIII ss. 2. yelsabami, VIII-IX ss.

1. NECKLACE MADE FROM GIORGI III COINS, XII-XIII CENTURIES; 2. NECKLACE, VIII-IX CENTURIES

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rusTavis Zveli istoriis amsaxveli eqspozicia (Zv. w. XVIII ss. - ax. w. XVIII ss. / EXHIBITION ON RUSTAVI’S ANCIENT HISTORY (XVIII CENTURY BC – XVIII CENTURY AD)

fotomasalebSi dokumenturadaa warmodgenili rusTavis metalurgiuli qarxnisa da qalaqis pirveli kvartlebis mSenebloba, mSeneblebis, metalurgebis, maswavleblebis, eqimebisa Tu sxva profesiis warmomadgenlTa saqmianoba. eTnografiuli fondi muzeumis eTnografiul fondSi saqarTvelos ama Tu im mxaris eTnografiuli yofis amsaxveli masalebia daculi. eqsponatebis geografia farToa, masSi Sesulia muzeumis eqspediciebis dros saqarTvelos sxvadasxva kuTxidan Camotanili da rusTaveli moqalaqeebis mier muzeumisTvis gadacemuli calkeuli nivTebi Tu

The Ethnographic Fund The ethnographic fund of the museum stores ethnographic materials reflecting the way of life in different regions of the country. The geography of the exhibits is broad, including individual items and collections either obtained from various corners of Georgia during museum expeditions, or donated by the residents of Rustavi – with a total of 260 pieces.

Items include clay, wood, leather, iron, and copper pieces. Here, we can find 19th-20th-century glazed ceramics – jars and pitchers; wooden kitchenware and a painted furniture door from southern Georgia; Georgian and Dagestani copper and brass flagons; cold weapons and firearms; samovars, candlesticks, and textile articles

rusTavis metalurgiuli qarxnis mSenebloba, oforti / BUILDING OF RUSTAVI’S METALLURGY FACTORY, ETCHING

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koleqciebi, romelTa saerTo raodenoba 260 erTeuls Seadgens. nivTebs Soris gvxvdeba Tixis, xis, tyavis, rkinisa Tu spilenZis nakeTobani. aqaa XIX-XX ss. moWiquli keramika _ qilebi da doqebi; xis samzareulo WurWeli da avejis moxatuli kari samxreT saqarTvelodan; qarTuli da daRestnuri spilenZisa da TiTberis Tungebi; civi da cecxlsasaroli iaraRi; rusuli warmoebis samovrebi da sasanTleebi, teqstilis nawarmi. koleqciaSia kustarulad, ojaxebSi damzadebuli nivTebic _ qalamnebi, tikebi da sxv. saxviTi xelovnebis nimuSebis koleqcia rusTavis muzeumis saxviTi xelovnebis nimuSebis koleqciaSi daculia gasuli saukunis 50-60-ani wlebis qarTvel mxatvarTa da moqandakeTa namuSevrebi, romelTa umravlesobac rusTavis warsuls, mis aRmSeneblobas an zogadad sawarmoo Tematikas exeba. biblioTeka da arqivi muzeumis biblioTekaSi 1800-mde wignia Tavmoyrili. wignebis umetesobas sabWoTa periodis qarTuli da rusuli istoriuli Sinaarsis gamocemebi da periodika, aseve enciklopediebi da leqsikonebi warmoadgens. aqvea daculi kerZo koleqciebidan Semosuli da axla ukve bibiliografiul iSviaTobad qceuli XX s. dasawyisis ramdenime gamocemac. nazibrola paWikaSvili

„rusTavis mSeneblobaze“, tilo, zeTi, mxatvari s. abesaZe. ‘RUSTAVI'S CONSTRUCTION’, OIL ON CANVAS, PAINTER S. ABESADZE

produced in Russia. The collection includes makeshift, homemade items as well – leather footwear, wineskins and more.

The Collection of Fine Arts The collection of the fine art pieces of the Rustavi Museum contains the works of Georgian artists and sculptors from the 195060s, most of which are related to Rustavi’s past, its restoration, or the industrial theme in general.

Library and Archive The museum’s library contains approximately 1800 books. Most of the books are Soviet period publications and periodicals with Georgian and Russian historical content, as well as encyclopedias and dictionaries. The library also keeps a few publications from the early 20th century, donated from private collections, and have by now become bibliographic rarities.

Nazibrola Patchikashvili

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Zvirfaso stumrebo da maspinZlebo, mogesalmebiT! vfiqrob, Zalian mniSvnelovania iseTi kulturuli sivrcis arseboba, rogoricaa animaciuri filmebis saerTaSoriso festivali `niqozi~, sadac SesaZlebelia Sexvedrebi, dialogi, TanamSromloba da megobroba. romelime sxva soflis msgavsad iqneb vinmem sofel niqozsac uwodos qveynis dasalieri, magram madlobas

Dear guests and hosts, greetings!

The existence of a cultural space such as the Nikozi International Animation Film Festival is of utmost importance. This festival makes it possible for people to meet and have a dialogue, cooperate and build friendships.

Some may say that our village is located in the edge of the world – just like many other remote villages – but I want to thank you for making a contribution to the existence of our

getyviT, rom Tqveni wvlili

cultural space and helping us

SegaqvT aseTi kulturuli

believe that Nikozi is not just an

sivrcis arsebobaSi da kidev

ordinary remote village, but

ufro gviRrmavebT rwmenas,

rather the very center of the

rom sofeli niqozi

universe.

qveynad Cveulebrivi

We are deeply convinced

sofeli ki araa, aramed

that the barbwire and

swored igi aris samyaros

trenches that were put few

centri...

meters away from Nikozi

mavTulxlarTebi da

during the 2008 war – will

Txrili, romelic 2008 wlis

be overcome! Creating an

omis Semdeg niqozidan sul

environment that allows dialogue,

ramdenime metrSi iqna gavlebuli, Cveni Rrma rwmeniT, daiZleva! _ mas Seeweva iseTi saqmianoba, roca urTierTobebi

cooperation, open relations, mutual respect, support, friendship and love – will make this happen.

gaxsnilia, roca SesaZlebelia dialogi,

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TanamSromloba, erTmaneTis pativiscema,

With God’s blessing, may there be such centers of the

daxmareba, megobroba da siyvaruli.

universe in many places.

inebos RmerTma, rom qveyanaze bevrgan iyos

With kind wishes and respect,

aseTi centri!..

Metropolitan of Tskhinvali and Nikozi, Isaia

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Cveulebrivi sofeli, samyaros centri

A usual village at the center of the world mfrinavi xaliCa iyo da ara iyo ra, RvTis ukeTesi ra iqneboda... zRapris arqiteqtonika am SemTxvevaSic ar gvimtyunebs _ keTili gaimarjvebs, oRond manamde, TavgadasavlebiTa da faTerakebiT aRsavse gza unda ganvlos. maS ase, Cveni ambavi, marTlac, rom Camohgavs zRapars _ sasaxlis idumalebiTa Tu boroti ZaliT (kaseturi WurvebiT)... oRond es ambavi cxra mTasa da cxra zRvas iqiT sul ar xdeba, aqve, qarTlis SuagulSi, sofel zemo niqozSi, konfliqtis zonidan sul raRac 500-ode metris daSorebiT. kerZod, ki IX-X saukuneebis niqozis istoriul saepiskoposo sasaxleSi, romelic 2008 wlis ruseT-saqarTvelos omis dros sahaero dabombvisas ganadgurda, magram, sabednierod, aRadgines da 2011 wlidan, erTsa da imave dros, Semodgomis pirvelive kviras (1-6 seqtemberi), aq tardeba animaciuri filmebis

Flying Carpet “Once upon a time, what better than the Lord can we find” [Most Georgian fairy tales start in this way]… The architectonics of fairy tales do not mislead us – good will triumph over evil, but before that, one needs to endure a road full of adventures and perils.

And our story does indeed resemble that of a fairy tale – with its mysterious palace and evil power (cluster bombs)… but this story isn’t taking place beyond nine mountains and nine seas; it is happening right here, in the heart of the Kartli region, in the village Zemo Nikozi, a mere 500 meters from the conflict zone. To be more precise, it is taking place in the historic episcopate palace of Nikozi, built in the 9th-10th centuries, which has been destroyed as a result of shelling during the 2008 Russo-Georgian war; but fortunately, it was rebuilt, and from 2011, in the first week of September of each year, it has been hosting the International Animation Film Festival ‘Nikozi’, the ninth edition of which took place this year. Few people

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saerTaSoriso festivali „niqozi“, romelic wels ukve mecxred moewyo. am uaRresad didi kulturulsocialuri Tu politikuri movlenis Sesaxeb cotam Tu icis da Tu kaci yurs mohkravs, bolomde verc isigrZeganebs _ ra xdeba. marTlac, Zneli warmosadgenia, rom aseTi masStaburi, feradovani RonisZieba yovelwliurad ewyoba saokupacio gamyofi xazis siaxloves, Tumca, zedmeti gamocanebi saWiro ar aris, radgan es werili yvelafers naTels hfens. `es festivali vaJkacuri dapirispirebaa ngrevasTan, gapartaxebasTan. dabombili saxlebis aRdgena ufro advilia, vidre damsxvreuli cxovrebis xilviT SeZruli sulis gamrTeleba da Tqveni festivali swored sulis mkurnalia, romelsac SeuZlia samarTlianobis, imedis meSveobiT simSvide aRadginos~ (cnobili animatori iuri norSteini). kvlav zRapars davesesxoT _ weliwadis am aTasfrad Seferadebul dros, germaneli reJisorebis _ colqmar regine kiunisa da eduard Staibernis gawyobil monastris baRSi, TiTqosda WrelaWrula mfrinavi xaliCa moafrens stumrebs, miT umetes, rom mizezTa gamo, zogierTi qveynidan pirdapir verc CamoaRwev,

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know about this great cultural/social/political event, and even if they have heard about it, they cannot fully grasp what is happening there. It is, indeed, quite difficult to imagine that such a large-scale, colorful event takes place each year near the occupation line, but there is no need for any speculation, as this article will explain everything about it. “This festival is a courageous resistance against destruction and devastation. It is easier to reconstruct bombed houses than to recover a soul that was distressed at the sight of a shattered life, and your festival is precisely a soul healer, one that can restore peacefulness through justice and hope.” (famous animator Yuri Norstein).

Let us borrow from fairy tales again – in this time of the year, full of different colors, in the monastery’s garden, which was arranged

by German animators and spouses Regine Kunis and Eduard Steibern, guests seem to be arriving on a vibrant flying carpet; for a number for reasons, some people cannot come directly to Georgia, but those arriving on the flying carpet will tell you that this isn’t going to stop them, and they already proved it in 2011. Just imagine, the first festival was attended by the Father Superior of the Saint Herman’s Theological Academy of Kodiak (Alaska), together with a delegation of 40. To be short, during the nine years of

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magram mfrinavi xaliCis motrfiale adamianebi msgavs dabrkolebas arad dagideven, es maT 2011 wels ukve daamtkices. Tqven warmoidgineT, pirvel festivals eswreboda kodiakis (alaska) sasuliero akademiis xelmZRvaneli mama paisi ormockaciani delegaciiT. erTi sityviT, am cxra wlis ganmavlobaSi festivals moumravlda mudmivi stumrebi _ erTguli raindebi! maT wels SemovliTi gzebiT `cxra mTa gadmoiares~ da bolos CamoaRwies kidec. Tumca, gasakviri ar aris, maTi Tavdadeba, roca xaliCaze aseTi sityvebia amotvifruli: `warmoidgineT festivali, romelic imarTeba patara sofelSi arsebul monasterSi. warmoidgeineT am sofelSi mTeli msofliodan Camosuli stumrebi, raTa izeimon animacia. warmoidgineT, rom es festivali imarTeba okupirebuli teritoriidan 200 metris daSorebiT. warmoidgineT monasteri, romlis patara teritoriaze cxra wlis win 32 Wurvi daeca. warmoidgineT musika, simRera da galoba, romelic mudmivad ismis RonisZiebebs Soris. warmoidgineT animacia, romelic niqozelma bavSveba Seqmnes sofelSi arsebul saxelovnebo skolaSi... es ar aris ubralod festivali, es aris axali adamianuri urTierTobebis da sulierebis Tavgadasavali...~ (prodiuseri mark bertrani)

existence of the festival, its regular guests – faithful knights! – have multiplied. This year, they have overcome “nine mountains”, and managed to come to Georgia. But their commitment can easily be understood when one reads the words on the carpet: “Imagine a festival taking place in the monastery of a small village. Imagine guests from all over the world coming to this village to celebrate animation. Imagine that this festival takes place 200 meters from an occupied territory. Imagine that 32 shells have bombed the small territory of the monastery. Imagine music, songs and chants, constantly heard in-between screenings. Imagine animations created by the children of Nikozi in the small village’s art school… This is not only a festival, this is a new adventure for human relationships and souls…” (Producer Marc Bertrand) Corn stalk One also has to note that during three years, for a number of reasons, Metropolitan Isaia couldn’t be in Nikozi. He was running the festival remotely, from the Ksani Valley.

Last year was the 10th year after the 2008 war. During the festival, a very special photo exhibition was arranged at the episcopate palace; special, because most of the photographs had been taken

by Metropolitan Isaia during the war itself – and in these cases, photographers really manage to “catch” and feel the fleeing second.

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simindis Rero realobaa isic, rom sami wlis ganmavlobaSi, obieqtur mizezTa gamo, meufe isaia niqozSi ver imyofeboda. igi qsnis xeobidan distanciurad xelmZRvanelobda festivals.

SarSan 10 weli Sesrulda 2008 wlis omidan. festivalis dros saepiskoposo sasaxleSi moewyo gansakuTrebuli fotogamofena, gansakuTrebuli imitom, rom umetesi nawili fotoebisa meufe isaias gadaRebuli

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One could also see pictures taken by famous animator Mikhail Aldashin after the war.

Metropolitan Isaia addressed the audience in these thoughtprovoking words in 2018: “During the 2008 Russian-Georgian War, when her fellow villagers were leaving their homes, one of the ladies from Nikozi said, “If not even one person lives in a village, what kind of village is that?

But yet there is another way, I shall be that one person!…” A large furrow resulted from a bomb dropped during an air raid near her cellar, where she was seeking shelter. From this spot, a stalk of corn sprang up and bore some corn, where no one had planted before…

In the same manner, the small animated film studio in Nikozi was destroyed during this war, but the Nikozi Art School and the Nikozi International Animated Film Festival, taking place for the eighth year following the 2008 war, emerged in its place…And come, let’s express our gratitude to the war on its 10th anniversary for such involuntary benevolence!”

A seemingly unrealistic idea After the 2008 war, together with Pole friends, Metropolitan of Nikozi and Tskhinvali Isaia (Chanturia), who used to be a painter and animator in his secular life, and his teacher Gela Kandelaki (famous Georgian director, producer, scriptwriter, actor, founder and artistic

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iyo uSualod omis dros, am SemTxvevaSi `wami marTlac daWerili iyo~ da bolomde nagrZnobi. aseve SegeZloT gexilaT cnobili animatoris mixeil aldaSinis omis Semdgom gadaRebuli fotoebic.

2018 wels ki meufe isaiam aseTi fiqrisaRmZvreli sityviT mogvmarTa: `2008 wlis ruseT-saqarTvelos omis dros erTma niqozelma mandilosanma maSin, rodesac Tanasoflelebi saxlebs tovebdnen, Tqva: _ Tu sofelSi erTi adamianic ki ar cxovrobs, is sofeli ra sofeliao da, raRa sxva iyos, es erTi adamiani me viqnebio!.. mis sardafTan, romelsac igi Tavs afarebda, sahaero dabombvis dros Camovardnilma Wurvma mozrdili Txrili warmoSva, saidanac ise, rom aravis dauTesavs, aRmocenda simindis Rero da nayofic gamoiRo... msgavsad amisa, niqozSi arsebuli animaciuri filmebis mcire studia am omis dros ganadgurda, magram mis adgilze aRmocenda `niqozis xelovnebis skola~ da `animaciuri filmebis saerTaSoriso festivali `niqozi~...~ da modiT, omidan meaTe wlisTavze Rimiliani mzeriT vuTxraT madloba oms misdauneburi sikeTisaTvis!..~

director of the hand shadow theater ‘Budrugana Gagra’) came up with the idea to hold a festival in the village of Nikozi, recently destroyed by war. This seemingly unrealistic idea has reanimated the village – it revived both its guests and hosts. For nine years, artists of various aesthetics and visions, be they world-famous Oscar holders or beginning directors and students, gather from all around the world in Zemo Nikozi. The participants get acquainted with the latest news from the world of animation, meet famous directors

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and artists. Each year, masterclasses are held for students, anyone interested in the art of animation, and the pupils of Nikozi’s Saint Aleksandre Okropiridze Art School.

Better seen than heard The Art School started with 40 children in 2009, with the lessons being given in a small parish house located next to the church that had survived the bombings. In 2010, this number doubled, and in 2011, 150 children wanted to study there, which was already too much for this small house. With the help of the local government representation, the school was offered a building, which was fully restored with the support of the European organization KOBERM,

TiTqosda ararealuri idea 2008 wlis omis Semdeg polonel megobrebTan erTad, cxinvalisa da niqozis mitropolit isaias (Wanturia), romelic saero cxovrebaSi mxatvar-multiplikatori gaxldaT, da mis maswavlebels, gela kandelaks (cnobili qarTveli reJisori, prodiuseri, scenaristi, msaxiobi, xelis Crdilebis Teatris `budruganagagras“ damfuZnebeli da samxatvro xelmZRvaneli), omis Semdeg ganadgurebul sofelSi festivalis Catarebis idea daebadaT. TiTqosda ararealurma ideam reanimaciuli roli Seasrula _ gaacocxla stumarica da maspinZelic. zemo niqozSi mecxre welia dedamiwis nebismieri kuTxidan gansxvavebuli esTetikisa da xedvis xelovanebi, msoflioSi cnobili oskarosani Tu damwyebi reJisorebi da studentebi ikribebian. monawileebi ecnobian msoflio animaciis siaxleebs, xvdebian cnobil reJisorebsa da xelovnebis moRvaweebs. sistematurad awyoben ostatobis (masterklasebs) gakveTilebs studentebisTvis, animaciis xelovnebiT dainteresebuli pirebisa Tu niqozis wm. aleqsandre oqropiriZis saxelobis xelovnebis skolis moswavleebisTvis.

American Friends of Georgia, and the Embassy of Japan. The Animation Studio Restoration project was carried out in 2009 with great support from the Embassy of Poland, and then in 2010 (again with the help of the Embassy of Poland), it was the the ‘Art School Development’ project. The films created in the animation studio of this school are always included in the Children’s section of the festival (interestingly enough, some of them are created during the festival itself, under the direction of professional guests, and this year, the festival opened with the film ‘Nikozi’, created by the pupils of the Art School in the framework of a masterclass held

by Stefan Biryukov). The hand shadow theater pieces, folk songs

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gagonils nanaxi sjobs skolaSi Tavdapirvelad (2009 w.) 40 bavSvi iyo, gakveTilebi eklesiis gverdze mdebare mcire zomis, oms gadarCenil samrevlo saxlSi tardeboda. 2010 wels moswavleebis raodenoba orjer gaizarda, 2011 wels ki 150 bavSvamde iyo swavlis msurveli da maT es patara saxli veRar itevda. guberniis daxmarebiT skolas gadaeca nageboba, romelic evropuli organizaciis KOBERM-is, „saqarTvelos amerikeli megobrebisa“ da bolos, iaponiis saelCos SemweobiT, srulad aRadgines.

2009 wels poloneTis saelCos didi xelSewyobiT „animaciuri studiis aRdgenis“, 2010 wels ki _ kvlav poloneTis saelCos daxmarebiT _ niqozis `xelovnebis skolis ganviTarebis~ proeqtebi ganxorcielda. festivalis sabavSvo programaSi am skolis animaciur studiaSi Seqmnili filmebi yovelTvis aris CarTuli (sainteresoa, rom zogi maTgani uSualod festivalis dros stumrebis xelmZRvanelobiT aris Seqmnili _ wels festivali gaixsna xelovnebis skolis moswavleebis mier stefane biriukovis ostatobis gakveTilze Seqmnili filmiT `niqozi~). did mowonebas imsaxurebs moswavleebis mier Sesrulebuli xelis Crdilebis

and dances performed by the pupils, as well as their handmade objects are always highly appreciated. The school boasts a rich library (named after the famous literary man and pedagogue Vakhtang Rodonaia), and is often visited by prominent figures, who unanimously reveal that the meetings held there have taught them a lot. Volunteer teachers from Tbilisi or Gori work with children with utter enthusiasm. The climbing club is particularly popular – an artificial climbing wall has been arranged in the school’s yard. This is the interesting life of the children of Nikozi and the surrounding villages, and this fun is crowned by expeditions done in a bus – the latter being acquired by Metropolitan Isaia in exchange of a jeep he was offered as a present to replace his car, which burned down during the war.

In this year’s festival, we could see the results of the Art School’s activities with our own eyes: Eter (Eto) Glurjidze, a pupil of the school, successfully took the responsibility of carrying out simultaneous translation for our English-speaking guests during the six days of the festival.

There are many long and impressive stories to be told about Nikozi’s Saint Aleksandre Okropiridze Art School, but as they say, better seen than heard, so you can visit and see for yourself!

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speqtaklebi, xalxuri simRerebi, cekvebi, xelnakeTi nivTebi. skolas aqvs mdidari biblioTeka (cnobili literatorisa da pedagogis vaxtang rodonaias saxelobis), aq xSirad stumroben cnobili adamianebi, romlebic erTxmad aRiareben, rom es Sexvedrebi maTTvis aRmoCenaa. saocari enTuziazmiT muSaoben bavSvebTan Tbilisidan Tu goridan Camosuli moxalise maswavleblebi. gansakuTrebiT popularulia mekldeurobis klubi, romlis xelovnuri sacoci kedeli skolis ezoSivea damontaJebuli. ase sainteresod cxovroben niqozeli Tu mimdebare soflebis bavSvebi, am mxiarulebas agvirgvinebs xolme saxaliso gasvlebi avtobusiT, romelic meufe isaiam omis dros damwvari manqanis sanacvlod naCuqar jipSi gacvala. wlevandel festivalze sakuTari TvaliT vixileT skolis saqmianobis Sedegi. eqvsi dRis ganmavlobaSi xelovnebis skolis moswavlem eTer (eTo) glurjiZem Rirseulad gaarTva Tavi inglisuri enidan sinqronul Targmans.

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Sad wolf Interesting exhibitions are arranged every year in the framework of the festival. You can also visit the permanent exhibition displaying a collection of artworks offered to the festival. You shouldn’t be surprized to see some original works of Tonino Guerra (offered by Lora Guerra), and you will encounter a sad wolf done by our close friend and animator Iury Norstein‌ You cannot stay indifferent to the works of unrivalled master of mosaics Alexander Kornoukhov. His panels adorn temples in Jerusalem, Georgia, Russia, Switzerland, Germany, and other countries.

The festival is always characterized by well-chosen music pieces.

It is gladdening that the pupils of the Art School also actively participate in concerts. Some of them have begun their musical journey at the Art School, and are now successful students of the Conservatoire. An unforgettable feeling of harmony remains after listening to the varied repertoire of the Gori Women Chamber Ensemble. The ensemble traditionally performs on the closing day of the festival.

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niqozis wm. aleqsandre oqropiriZis saxelobis xelovnebis skolis Sesaxeb vrclad mosaTxrobi da Znelad dasajerebeli ambavia, Tumca gagonils nanaxi sjobs da SegiZliaT Tavadac SeafasoT! sevdiani mgeli festivalis dros yovelwliurad ewyoba saintereso gamofenebi. aq naCuqari koleqciis mudmivmoqmedi eqspoziciac SegiZliaT daaTvalieroT. ar unda gagikvirdeT, Tu tonino gueras namuSevrebis originalebs ixilavT (misi meuRlis, lora gueras saCuqari), CvenTvis ukve nacnobi animatoris iuri norSteinis daxatul sevdian mgels gadaeyrebiT...

SeuZlebelia, ar gagaognoT mozaikis ubadlo ostatis aleqsandre kornouxovis namuSevrebma. misi panoebi ierusalimis, saqarTvelos, ruseTis, Sveicariis, germaniisa da sxva qveynebis taZrebs amSvenebs. festivals yovelTvis axalisebs gemovnebiT SerCeuli musikaluri nomrebi. Zalian sasixaruloa, rom xelovnebis skolis aRsazrdelebic aqtiurad monawileoben koncertebSi. zogma maTganma, rogorc musikosma xelovnebis skolaSi aidga fexi da axla

What makes the Nikozi Festival stand out?!

The International Nikozi Animation Film Festival doesn’t include any traditional competition format, nobody wins over others, or, to say it in a fairy tale language, there is no need to talk to mirrors and ask who is the most beautiful. In this case, when you find yourself in that place and get the “Nikozi virus”, you have already won!

In a private conversation, one of the participants of the festival, Irina Kodiukova, noted that a peculiar feeling of happiness comes to you when you are in Nikozi. We didn’t mention Mrs. Irina by chance – she has faithfully attended the festival for nine years, and is always impatiently awaiting the 1st of September. Her commentary is significant, because this prolific artist and active participant at various festivals has a lot to say: “Here, you meet both professionals and students. The program is very interesting, and as surprising as it might sound, we don’t talk much about films, we simply watch them, we don’t dissect them by choosing which part was the most impressive one, which one was best conveying the message… You are given the possibility to think, this is a silent retrospective, in a special environment, where polyphony, architecture, nature, and simply the stones of the building themselves are more important than our art. Here, you can discover yourself.”

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konservatoriis warmatebuli studentia. dauviwyari keTilxmovaneba mogyveba goris qalTa kameruli gundis mravalferovani repertuaris mosmenis Semdeg. gundi, rogorc wesi, festivalis daxurvis dRes stumrobs niqozs. riTia gansakuTrebuli saerTaSoriso festivali `niqozi~?! aq ar aris tradiciuli sakonkurso formati, aravinaa gamarjvebuli anu zRapris enaze rom vTqvaT, ar aris saWiro `sarkis~ moSvelieba. aseT SemTxvevaSi, rodesac msgavs sivrceSi moxvdebi da `daavaddebi niqoziT“, yvela gamarjvebulia! kerZo saubarSi festivalis erT-erTma monawilem, irina kodiuokovam, aRniSna, rom niqozSi bednierebis gancda ucnaur SegrZnebas moaqvs. SemTxveviT ar gvixsenebia qalbatoni irina _ igi cxrave welia erTgulad adevnebs Tvalyurs aq mimdinare procesebs da sulmouTqmelad elodeba pirvel seqtembers. misi Sefaseba mniSvnelovania, radgan nayofier xelovansa da sxvadasxva festivalis aqtiur monawiles, saTqmeli bevri aqvs: `aq xvdebi profesionalebs, studentebs. programa

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Nikozi 2019 Hosts Naturally, the festival has a scheduled program, and the amount of work done by the organizers can be felt in every detail, but still, this is a dynamic process, so the festival always includes many improvisations and interesting, entertaining happenings.

In the framework of the festival, a personal exhibition of the paintings and graphic works by Teimuraz (Temo) Machavariani (who was Metropolitan Isaia’s teacher), a famous painter and teacher who passed away this year, was arranged at the episcopate palace.

“When you take a brush in your hand, the most important is not to lie with it” – this is how the famous painter Levan Kharanauli remembered his late teacher.

The hand shadow state theater ‘Budrugana-Gagra’, which stands out from any other with its originality, has performed the show ‘Matthew’s Passion’ under the direction of the theater’s artistic director Gela Kandelaki.

A folk music evening was arranged in Uplistsikhe, with the participation of the ‘Anchiskhati’ ensemble, which is a loyal friend of the festival.

The festival’s participants met with the population living in

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Zalian sainteresoa, rac ar unda gasakviri iyos, cotas vlaparakobT kinos Sesaxeb, ubralod vuyurebT mas, ar vanawevrebT: sad iyo efeqturi kadri, sad kargad modioda saTqmeli, geZleva fiqris saSualeba, es aris Cumi retrospeqtiva, gansakuTrebul garemoSi, sadac mravalxmianoba, arqiteqtura, buneba da, ubralod, qva ufro mniSvnelovania, vidre Cveni xelovneba. aq sakuTari Tavis aRmoCena SegiZlia~. `niqozi~ 2019 maspinZlebi festivals, bunebrivia, aqvs droSi gawerili programa, organizatorebis didi Zalisxmeva igrZnoba yvelgan da yvelaferSi, magram es xom cocxali procesia da araerTi improvizebuli, saxaliso ambavic xdeba. festivalis farglebSi saepiskoposo sasaxleSi gaimarTa wels gardacvlili cnobili mxatvrisa da maswavleblis Teimuraz (Temo) maWavarianis (igi meufe isaias maswavlebeli iyo) ferweruli da grafikuli namuSevrebis personaluri gamofena. `funjs rom aiReb xelSi, mTavaria, tyuili ar Tqvao, ase gaixsena ostati Segirdma~ _ cnobilma mxatvarma levan xaranaulma.

Tserovani, after which the chanting and singing ensemble ‘Didgori’ performed a concert for the attending refugees and guests.

One piece of news is soon followed by another – the construction of an ‘Art Palace’ is now being planned, which will be used for the festival and other cultural events taking place in Nikozi. Diploma works of students from the Technical University of Georgia, all related to Nikozi’s Art Palace, were presented in this framework.

Guests (faithful supporters) Numerous famous animation professionals have visited Nikozi this year, including: Fernando Galrito (Portugal), director, artistic director of the Monstra Animation Festival in Lisbon; Experimental film director and animator Paul Bush (Great Britain); Paul answered Metropolitan Isaia, who had told guests that they would be the festival’s ambassadors: “Ambassadors are only temporary, while we will remain your faithful supporters forever.”

Frank Gessner (Germany), professor of fine arts at the Konrad Wolf Babelsberg Film University; Otto Alder (Switzerland), from the Lucerne University of Applied Sciences and Art… (Oto had taken part in last year’s festival, but this

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year, despite a great wish to do so, he couldn’t fly to Georgia.)

Eva Steegmayer (Germany) – Festival Coordinator for the Film Academy Baden-Wurttemberg; Christoph Sarov, a student of the same film academy; Mikhael Bogutski (Poland) – art director at the Łódź National Film School.

originalurobiT mTel msoflioSi gamorCeulma xelis Crdilebis saxelmwifo Teatrma `budrugana-gagram~ warmoadgina speqtakli `maTes vnebani~ _ damdgmeli reJisori Teatris samxatvro xelmZRvaneli gela kandelaki. moewyo folkloruli musikis saRamo ufliscixeSi ansambl `anCisxatis~ monawileobiT, romelic festivalis erTguli megobaria. festivalis monawileebi Sexvdnen werovanis dasaxlebaSi mcxovreb mosaxleobas, Semdeg ki mgalobelmomReralTa ansamblma `didgorma~ koncerti gamarTa devnilebisa da stumrebis pativsacemad. siaxles siaxle moaqvs _ niqozSi igegmeba `xelovnebis sasaxlis~ mSenebloba, romelic festivalisa da sxva kulturuli RonisZiebebisTvis iqneba gankuTvnili. am proeqtTan dakavSirebiT festivalze warmodgenili iyo saqarTvelos teqnikuri universitetis studentebis sadiplomo namuSevrebi _ `niqozis xelovnebis saxli~

The Red Turtle The festival’s culmination was when participants got acquainted with famous Dutch animator, director and illustrator Michael Dudok de Wit, and attend a retrospective of his films, as well as his masterclass. You can watch ‘Father and Daughter’ as many times you like, you cannot stay indifferent to it. This film won the Academy Award for Best Animated Short Film, a BAFTA award, the Grand Prix at the Annecy and Zagreb animation film festivals, and tens of other significant awards.

stumrebi (mudmivi gulSematkivrebi) wels niqozs uamravi cnobili adamiani stumrobda. maT Soris: festivalis samxatvro direqtori, _

The festival mood spread to Tbilisi – with the support of the Embassy of the Netherlands, a screening of the feature-length animation film ‘The Red Turtle’ (2016) was arranged at the Amirani Cinema. As the director himself noted after the screening, he worked on it for nine years with Studio Ghibli. ‘The Red Turtle’ was nominated for the Best Animated Feature Film at the 89th Academy Awards.

Rusudan Mamporia

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fernando galrito (portugalia) _ reJisori, lisabonis animaciuri filmebis festivalis `monstras“ samxatvro xelmZRvaneli; cnobili kinoreJisori da animatori pol buSi (didi britaneTi); polma meufis mimarTvas, Tqven iqnebiT Cveni elCebio, ase upasuxa: `elCebi droebiT arian, Cven ki mudmivi gulSematkivrebi viqnebiTo~. saxviTi xelovnebisa da praqtikis profesori frank gesneri (germania) _ konrad vulfis saxelobis babelsbergis kinouniversiteti; amave kinouniversitetis studenti _ ana isensi; eva stigmaieri (germania) _ baden viutembergis kinoakademiis, festivalebis koordinatori; amave kinoakademiis studenti _ qristof sarovi; mixeil bogucki (poloneTi) _ mxatvari, loZis kinoskola. oto alderi (Sveicaria) _ lucernis gamoyenebiTi mecnierebebisa da xelovnebis umaRlesi skola... oto SarSanac monawileobda festivalSi, wels ki, miuxedavad didi survilisa, saqarTveloSi ver Camofrinda.

`wiTeli ku~ festivalis kulminacia gaxldaT cnobili holandieli animatoris, reJisorisa da ilustratoris maikl dudok de vitis gacnoba, misi filmebis retrospeqtiva da ostatobis gakveTili. ramdenjerac ar unda naxo, gulgrilad ver uyureb films `mama da misi patara gogona~. am films miRebuli aqvs kinematografiuli xelovnebisa da mecnierebis akademiis jildo saukeTeso mokle animaciuri filmisaTvis, BAFTA-s jildo, granpri anesisa da zagrebis animaciur festivalebze da aTeulobiT sxva mTavari jildo. safestivalo ganwyoba TbilisSic gagrZelda niderlandis saelCos xelSewyobiT kinoTeatr `amiranSi~ Sedga srulmetraJiani animaciuri filmis `wiTeli kus~ (2016) Cveneba, romelzec, rogorc Tavad reJisorma aRniSna, 9 wlis ganmavlobaSi muSaobda studia GhibliTan erTad. `wiTeli ku~ akademiis 89-e dajildoebis dros dasaxelda akademiis jildos kandidatad, rogorc saukeTeso srulmetraJiani animaciuri filmi. rusudan mamforia

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Suafxos klasi

Shuapkho’s Class `fxovi~ _ fSav-xevsureTis am uZvelesi saxelwodebis kvali regionSi mxolod erTaderT sofels, Suafxos SerCenia. minimalisturi, TiTqos SeumCneveli Carevis Sedegad, warmoudgenlad damrec ferdobebze adaptirebuli sacxovrebeli garemo. bunebrivad damuSavebuli, `napovni masalisagan~ xsnaris gareSe naSenebi, mTlianad landSaftSi Sezrdili upretenzio arqiteqtura. adgilis specifikaze morgebuli, praqtikuli da uCinari. sakulto sivrceebis fizikuri SegrZnebis doneze arsebuli mistikuroba. adamianTan da bunebasTan erTad sivrceSi Semosuli transcendentuli arseba-gmiri, iaxsari, romelic ukve Tavisi gansxvavebuli wesebiT iwyebs sakuTari garemos formirebas.

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“Pkhovi” – the village Shuapkho is the only place where a trace of this ancient appellation of the Pshav-Khevsureti region is preserved.

A living environment formed on unimaginably steep mountainsides, as a result of a minimalistic, seemingly inconspicuous intervention.

Unassuming architecture, built from naturally treated, ‘found materials’, without chemical solutions, and completely fused with the landscape.

Tailored to the specificities of the place, sensible and invisible.

A mysticism of the spaces of worship that can be felt on a physical level. Iakhsar, a transcendent creature-hero, who came into space with man and nature, and now creates his own environment with his own distinct rules.

And most importantly, Shuapkho’s middle school – organized, well-regulated, interesting, and creative. Students, about whom it isn’t easy to speak nor write. The first thing you remember is their bright, bright faces, and only then – everything else.

The modern building of the school is located by the river Aragvi, in ‘new Shuapkho’. However, the school had also previously operated in the village. It was a four-year school, and people called it “Shuapkho’s class”. The four walls of the “class”, built with black stone tiles, stand at the top of the old village to this day, in a place hard to reach and forgotten nearly by all.

‘Parallel Class’ is a new initiative born out of this context – it is the adaptation of a project that was implemented at the Tbilisi Public School № 99 to Shuapkho’s reality.

‘Parallel Class’ is the result of a collaboration between teacher Juba Peikrishvili and artist Zura Tsopurashvili. The project began two years ago and includes the adaptation of an alternative form

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da rac mTavaria, Suafxos saSualo skola – organizebuli, gamarTuli, saintereso da SemoqmedebiTi. moswavleebi, romlebze ase advilad verafers ityvi da dawer. erTaderTi rac pirvel rigSi gaxsendeba aris naTeli, naTeli saxeebi da mere danarCeni yvelaferi. skolis Tanamedrove Senoba aragvis piras `axal SuafxoSi~ dgas. Tumca, sofelSi skola Zveladac funqcionirebda, oTxwliani iyo da xalxi mas `Suafxos klass~ eZaxda. qvis Savi filebiT naSenebi `klasis~ oTxi kedeli dResac dgas Zveli soflis Tavze, Znelad misadgom da TiTqmis yvelasgan miviwyebul adgilze. aseT mocemulobaSi gaCenili axali iniciativa _ `paraleluri klasi~, Tbilisis 99-e skolis bazaze ganxorcielebuli proeqtis adaptacia Suafxos realobaSi. `paraleluri klasi~ pedagog juba feiqriSvilisa da artist zura cofuraSvilis TanamSromlobis Sedegia. proeqti pirvelad ori wlis win ganxorcielda da gulisxmobs, moswavlis iniciativaze da SemoqmedebiTobaze agebul, alternatiuli swavlebis formis adaptirebas Tanamedrove skolis standartul saswavlo procesSi. sxvadasxva sferos warmomadgenlebis mier moswavleebisTvis Catarebuli saleqcio kursi, miRebuli informaciis gaanalizebis Sedegad gaCenili axali iniciativebi, gamofenebis organizeba, ekologiuri Tu sxva mimarTulebiT dawyebuli aqtivobebi warmoadgens `paraleluri klasis~ mTavar Sinaarss da orientacias axali mimarTulebebiT ganviTarebaze. vaJa-fSavelas samyaroSi ori `klasis~ TanamSromlobam

of education based on students’ initiatives and creativity into the standard learning process of modern schools. The lecture course held for students by representatives of different fields, new initiatives emerging from the analysis of the received information, the organization of exhibitions, activities launched in ecological or other areas – all represent core components of the ‘Parallel Class’ project, and have shown the course for further developments.

The collaboration of the two “classes” ultimately developed everything into an established cultural event, which culminated on the 16th of September, the first day of the new academic year, with a wonderfully arranged exhibition (curator Vato Urushadze).

During the preparation period for the exhibition, artists and children assigned themselves responsibilities according to their various fields of interest, and spread out the creative and research work throughout the whole village.

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sabolood yvelafers Camoyalibebuli kulturuli movlenis saxe misca, romelic 16 seqtembers, axali saswavlo wlis dawyebis dRes, SesaniSnavad organizebuli gamofeniT dasrulda (kuratori vato uruSaZe). gamofenis mosamzadebel periodSi artistebma da bavSvebma sxvadasxva interesebis Sesabamisad gadainawiles funqciebi da SemoqmedebiT-kvleviTi muSaoba gaSales mTeli Suafxos masStabiT. iveta CxikvaZis jgufi adgilobrivi bunebrivi saRebavebis mopovebiT da damuSavebiT iyo dakavebuli da saboloo produqtad miRebuli sxvadasxva Seferilobisa da xeliT `daprintuli~ ulamazesi naWrebi, gamofenaze fardisa da albomis saxiT warmoadgines. wigni, poeturi saxelwodebiT `aragvis mzis Tvali~, elene gabriCiZis xelmZRvanelobiT Suafxos skolis moswavleebis fotonamuSevrebis erTobliobas warmoadgenda.

Iveta Chkhikvadze’s group engaged in the extraction and processing of local natural dyes, and the final products, beautiful fabrics of different colors and with handmade “prints”, were presented as a curtain and an album at the exhibition.

The poetically titled book ‘The Eye of the Aragvi Sun’ was displaying a collection of photographs made by the students from Shuapkho’s school under Elene Gabrichidze’s guidance.

The ideas of Barbare Jabanishvili and Avto Tvarelashvili regarding a touristic camp and the development of local farms were presented at the exhibition to highlight the creative potential of these initiatives and their future implementation.

The paperboard scale model of the villages of Shuapkho and Tkhiliana, made by Nika Loladze together with the students, was one of the popular works of the exhibition.

Mariam Kheladze’s master class introduced the ancient tradition of iconography to Shuapkho’s schoolchildren. An icon and an album were also created, with details emblematic of icon paintings made by the students.

The children used an ordinary classroom as an exhibition space, which the organizers decided to transform into a multifunctional environment. The wooden structures and functional equipment Zura Tsopurashvili, Juba Peikrishvili and Lekso Soselia created together with the children converted the room into an informational-educational and creative space.

Ilia Makharadze (aka dj agvisto, street football 2019 Plekhanovi Cup champion) effectively used the steep mountain slope facing the window of the room for the placement of elements characteristic of land art, essentially erasing the boundary between the exhibition space and the environment.

The teens were particularly interested in studying and remembering local cuisine and, of course, in the tradition of making the local “Dambal Khacho” cheese. Along with the culinary booklet she created based on the recipes discovered there, Ninutsa Shatberashvili held a master class of Pshavian khinkali preparation during the exhibition.

The success of Shuapkho’s exhibition has good reasons. First and foremost, the fact that the inspiration derived from the magical nature of the Pshavi region and that the organizers felt the exceptional support from locals every step of the way. Moreover, the enthusiasm of the school principal, Mrs. Irma Tskipashvili, which became the most significant motivation for the participants and the creators of “Shuapkho’s Class”. As for the children of Shuaphko, the overwhelming warmth and lovethey conveyed suppresses everything else, including the words of appraisal you want to tell them, but are not able to.

Of course, this exhibition wasn’t a conclusion. Shuapkho will undoubtedly continue…

Edisher Beradze

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barbare jabaniSvilisa da avTo TvarelaSvilis ideebi, turistuli banakisa da fermeruli meurneobebis ganviTarebis Sesaxeb, gamofenaze naCvenebi iyo am iniciativebSi SemoqmedebiTi potencialis win wamoweviTa da Sesabamisad ganxorcielebis perspeqtiviT. moswavleebTan erTad nika lolaZis mier damzadebuli soflebis, Suafxosa da Txilianas muyaos reliefuri maketi gamofenaze erT-erTi popularuli namuSevari iyo. mariam xelaZis masterklasma Suafxos skolis moswavleebi xatweris uZveles tradicias aziara.

Sedegad Seiqmna xati da albomi, moswavleebis mier Sesrulebuli xatwerisaTvis damaxasiaTebeli detalebiT. bavSvebma sagamofeno sivrced Cveulebrivi saklaso oTaxi gamoiyenes, romlis transformireba organizatorebma misTvis mravalfunqciuri daniSnulebis miniWebiT gadawyvites. zura cofuraSvilis, juba feiqriSvilisa da leqso soselias mier bavSvebTan erTad damzadebuli xis konstruqciebma da praqtikulma inventarma oTaxi sainformacioSemecnebiT da SemoqmedebiT sivrced aqcia. oTaxis fanjris mopirdapire mxares, cicabo mTis kalTa ilia maxaraZem efeqturad aiTvisa lendartisaTvis damaxasiaTebeli elementebiT, riTac

faqtobrivad waSala sagamofeno sivrcesa da garemos Soris arsebuli zRvari. mozardebSi gansakuTrebuli interesi adgilobrivi samzareulos Seswavla-gaxsenebam da, ra Tqma unda, `dambal xaWos~ damzadebis tradiciam gamoiwvia. ninuca SatberaSvilma moZiebuli receptebis safuZvelze Seqmnil Suafxos kulinariul bukletTan erTad, gamofenis formati fSauri xinklis moxvevis masterklassac dauTmo. Suafxos gamofenis warmatebas Tavisi mizezi aqvs. pirvel rigSi, fSavis magiuri bunebisgan miRebuli STagoneba da is didi mxardaWera, rasac fSavelebisgan yovel nabijze vgrZnobdiT. skolis direqtoris, qalbaton irma cqifaSvilis enTuziazmi ki monawileebisa da `Suafxos klasis~ SemqmnelebisTvis yvelaze did motivaciad iqca. Suafxoel bavSvebs rac SeexebaT ki, aq isev maTgan wamosuli uzomo siTbo da siyvaruli faravs yvelafers, maT Soris im sityvebsac, romlebic am bavSvebis Sesaqebad ginda Tqva da verafriT ambob. rasakvirvelia, am gamofeniT araferi ar dasrulebula.

Suafxo aucileblad gagrZeldeba... ediSer beraZe

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praRis kvadrienale 2019 2019 wlis praRis kvadrienales nominaciaSi _ `saukeTeso studenturi proeqti~ _ qarTulma `medea/ mediam~, taivanurma da finurma proeqtebma gaimarjves. studentebis pavilionis naklebad maRalteqnologiuri namuSevrebi, vidre mTavar sagamofeno darbazSi warmodgenili proeqtebi, originalobiTa da SemoqmedebiTi potencialiT gamoirCeoda... praRis kvadrienale _ scenografiis, kostiumis, sivrcis dizainisa da Teatraluri arqiteqturis yvelaze mniSvnelovani saerTaSoriso gamofenaa, romelic 1967 wlidan yovel oTx weliwadSi erTxel, CexeTis respublikis dedaqalaqSi Tavs uyris 70-ze meti qveynis Teatris moRvaweebs _ scenografebs, mxatvrebs, reJisorebs, msaxiobebs, kritikosebs, scenis teqnologiebis specialistebs da studentebs. aRniSnul forumSi saqarTvelo jer kidev 1979 wlidan periodulad, xolo 2007 wlidan uwyvetad yvela forumis monawilea.

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The Georgian project ‘Medea/Media’, together with projects from Taiwan and Finland, won the Best Student Exhibition Experience Award at the 2019 edition of the Prague Quadrennial Awards.

The relatively less high-tech pieces (compared to the works displayed in the main exhibition hall) of the students’ pavilion stood out with its originality and creative potential…

The Prague Quadrennial is the most important international exhibition of design in scenography, costume, and space, as well as theater architecture. It has been taking place every four years since 1967, gathering more than 70 theater professionals in the capital of the Czech Republic – scenographers, stage designers, directors, actors, critics, scenic technology specialists, and students. Georgia has participated in this forum periodically since 1979, and has attended each edition since 2007.

Georgia was presented alongside 78 other countries at Prague’s Industrial Palace in June 6-16 with the national pavilion ‘Unlocked Circle’ and ‘Medea/Media’ in the student section.

The concept of the national pavilion project ‘Unlocked Circle’ aimed at documenting the transformation of Georgian theater

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2019 wlis 6-16 ivniss praRis `industriul sasaxleSi~ msoflios 79 qveynis eqspozicias Soris saqarTvelo iyo warmodgenili ori proeqtiT _ erovnuli pavilionSi „gaxsnili wre“ da studentur seqciaSi „medea/media“. erovnuli pavilionis proeqti „gaxsnili wre...“ koncefciiT qarTuli Teatraluri esTetikis transformaciis dokumentirebas _ politikuri konteqstis, komunikaciuri kulturis da saxelovnebo refleqsiebis urTierTkavSiris Cvenebas isaxavda miznad. is 2019 wlis kvadrienales mTavar Temas _ „transformacias“ pasuxobda. 2019 wlis kvadrienales moTxovna monawile qveynebis klasteruli gaerTianeba da ukedlo, Ria sivrceSi iseTi eqspoziciis ganTavseba iyo, romlebic erTmaneTs exmianebodnen. am pirobis gaTvaliswinebiT, saqarTvelo somxeTTan da ukrainasTan erT klasterSi gaerTianda. proeqtis avtorebma, valerian gunias saxelobis xelovanTa axalgazrdulma kavSirma _ YTA Union, romlis kuratorebi iyvnen Teatrmcodne Tamar bokuCava da YTA Union-is aRmasrulebeli direqtori, xelovnebaTmcodne nino gunia-kuznecova, Seqmnes art-teritoria _ „gaxsnili wre“; masSi monawile xelovanTa Semoqmedeba moicavda periods 1989 wlidan dRemde. ganvlili

aesthetics and showing the interrelationships between the political context, the culture of communication, and art. It was in line with the 2019 Quadrennial’s main theme – transformation. For this edition, the organizers asked participating countries to unite in clusters and arrange their exhibitions in an open space, where they would react to each other’s performances. Taking this into account, Georgia teamed up with Armenia and Ukraine.

The project’s authors, the Valerian Gunia Union of Young Theatre Artists (YTA Union), whose curators were theater specialist Tamar Bokuchava and YTA Union’s executive director, art historian Nino Gunia-Kuznetsova, created an art territory – the ‘Unlocked Circle’; the performances of the artists inside the circle covered a 30-yearlong period, from 1989 to this day, which was an important time for the establishment of the new Georgian theater, the latter trying to escape the “closed circle” of the previous soviet period by changing traditional ways and establishing modern principles.

The representational language of Georgian theater started to transform, including through the establishment of the “New Sensitivity Theater”, in which recent history – the war and its aftermath, and the traumatic state of the society – is documented as part of the “dialogue”. The theme of the interviews also consists of theater reflections of current political and socio-cultural processes, while their transmission on tablets forms the outer circle

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30 weli gansakuTrebulia axali qarTuli Teatris CamoyalibebisTvis, romelic warsuli sabWouri periodis „Caketili wridan“ cdilobs xelovnebaSi, tradiciuli formebis gadasxvaferebiT da Tanamedrove principebis damkvidrebiT, gamosvlas. iwyeba qarTuli Teatris gamomsaxvelobiTi enis transformacia, maT Soris, e.w. `axali mgrZnobelobis Teatris~ Camoyalibeba, romelSic „dialogis“ nawilad uaxlesi istoriaa dokumentirebuli _ omisa da omisSemdgomi, travmuli sazogadoebis mdgomareoba. interviuebis Tematikac xom dRevandel politikur da socio-kulturul procesebze Teatris refleqsiebia, xolo maTi translireba planSetebze qmnis mayurebelTan komunikaciis gare wres _ mayureblis warmodgenebs Tanamedrove Teatris mgrZnobelobasa da dRevandel mdgomareobaze. aRsaniSnavia, rom `gaxsnili wris~ qmediToba misi SeRwevadobiT iyo ganpirobebuli _ usazRvro pirobiTi scenis wre, romelSic SesvlisTanave cocxal interaqciaSi ebmebodi da mTavari ideis

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of communication with the spectators – the latter’s conception of modern theater sensitivity and today’s world. It is worth noting that the efficiency of the ‘Unlocked Circle’ lied in its accessibility – spectators would enter in direct interaction and share the main idea of the exhibition as soon as they entered the conditional, boundless stage circle. Theater projects of various genres and aesthetics were creating a visual panorama with video recordings of Georgian spectacles and performance-interviews.

The Georgian national pavilion displayed the works of three generations of directors and scenographers, whose creations gradually break the logocentric theater clichés of the 20th century, undergo transformation in the search for new means of expressions, and create an artistic narrative of the 2010s. Video clips of plays were shown on screens in the circular installation of the pavilion – Davit Doiashvili’s ‘Pillow Man’ and ‘Tartuffe’, Nikoloz Sabashvili’s ‘Georgia’, Guram Matskhonashvili’s ‘Counting Out’ and ‘ANTImedea’, Data Tavadze’s ‘Women of Troy’, and scenographer Shota Bagalishvili’s ‘A Long Break’.

The exhibition made it clear that the political, social and ideological transformation of the 1990s are still relevant. When breaking with the communist ideology, the events that took place in the post-soviet space and in Eastern Europe, as well as the people’s spiritual and psychological state, have created the necessity to look for new artistic reasoning and means of expression. The fact that the 2019 Prague Quadrennial’s international jury awarded the most prestigious prize (the Golden Triga) to the pavilion of North Macedonia is a good illustration of this, and furthermore, the Award for Best Curatorial Concept of an Exhibit went to Latvia, and the Best Student Exhibition Experience award to the Georgian student project ‘Medea/Media’.

The exhibition of Rustaveli Theater’s Gogi Alexi-Meskhishvili Design School ‘Medea/Media’ (curator: art historian Ketevan Shavgulidze) was presented by Sofia Sharia, Nina Jandieri, Giorgi Orakhelashvili, Mariam Nakani-Mamasakhlishi, Ilia Sajaia, Tinatin Megrelishvili, Nana Esiava and Mariam Khachapuridze, all students of the school. The main ideas of ‘Medea/Media’ revolve around

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stolen land, occupied territory, refugees, antique texts, the tragedy of Medea, different languages and people. Its concept combined Georgia’s historic and mythological narrative and the main theme of this edition of the Prague Quadrennial – “Transformation”. In order to create a new scenographic realm, the real/virtual theater scene was uniting the spectators and refugees from both the historic and mythological Colchis. The project was interactive. During the exhibition, spectators could get involved in the “performance” with the text of the play, which was translated in various languages, and thus become protagonists of the play. All these processes were uploaded in real time on an interactive social media platform

moziare xdebodi. kvadrienaleze, sxvadasxva Janris da esTetikis Teatraluri proeqtebi, vizualur panoramas speqtaklebis da performans-interviuebis videoCanawerebiT qmnidnen. saqarTvelos nacionalur pavilionSi warmodgenili iyo sami Taobis reJisor-scenografebis namuSevrebi, romelTa Semoqmedeba etapobrivad arRvevs XX saukunis logocentruli Teatris kliSeebs, transformacias ganicdis axali gamomsaxvelobis ZiebaSi da XXI saukunis aTiani wlebis mxatvrul narativs qmnis. pavilionis wriul instalaciaSi, ekranebze speqtaklebis videoklipebi aCvenes _ reJisorebis daviT doiaSvilis „baliSis kacuna“ da „tartiufi“, nikoloz sabaSvilis „saqarTvelo“, guram macxonaSvilis „gaTvla“ da „antimedea“, daTa TavaZis „troeli qalebi“ da scenograf SoTa bagaliSvilis „didi Sesveneba“. gamofenam cxadhyo, rom gasuli saukunis bolo aTwleulis politikuri, socialuri da ideologiuri cvlilebebi kvlav aqtualuria. komunisturi ideologiis ngrevisas, postsabWTa sivrcesa da aRmosavleT evropaSi ganviTarebulma movlenebma, adamianTa sulierma da fsiqikurma mdgomareobam, xelovnebaSi axali mxatvruli

accessible to all – ‘Medea/Media’. The metaphor of the reaching hand echoes this idea.

Information technologies are used more and more in various experiments of modern theater art. By the use of various methods and means, the latest technologies foster the appearance of new possibilities for the traditional scenic means of expression and representation.

The spectacle or performance is based on a blend of reality and

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azrovnebis da gamomsaxvelobiTi formebis Ziebis aucilebloba gaaCina. amis naTeli magaliTi 2019 wlis praRis kvadrienales saerTaSoriso Jiuris mier CrdiloeT makedoniisTvis umaRlesi jildos _ „oqros trigas“; saukeTeso kuratoruli koncefciisTvis jildos latviisTvis gadacema da studentur seqciaSi saukeTeso proeqtad qarTuli studenturi proeqtis _ „medea/media“ gamarjveba gaxda. rusTavelis Teatris g. aleqsi-mesxiSvilis Tanamedrove Teatraluri mxatvrobis skolis gamofena

the virtual, for which various media, communication or computer technologies are now used. They offer the opportunity to connect the real and virtual worlds through a match moving principle, which provides for more dynamics and tempo-rhythm when creating a performance. This method and its communication potential were also used in Georgian exhibitions at the Prague Quadrennial.

The projects presented at the Prague Quadrennial once again showed us that Georgian scenography and theater art is developing in parallel to the processes at hand around the globe, that they have a solid foundation for the creation of interesting new forms of representation in Georgian theater, for which modern technologies and media-communication means have to be used as an additional tool.

Khatuna Kikvadze

`medea/media~ (kuratori xelovnebaTmcodne qeTevan SavguliZe), gogi aleqsi-mesxiSvilis Tanamedrove dizainis skolis studentebma _ sofia Sariam, nino jandierma, giorgi oraxelaSvilma, mariam nakanimamasaxlisma, ilia sajaiam, TinaTin megreliSvilma, nana esiavam da mariam xaWapuriZem warmodgines. „medea/ medias“ mTavari idea mitacebuli miwa, okupirebuli teritoria, devnilebi da antikuri teqsti, medeas tragedia, gansxvavebuli enebi da adamianebia.misi koncefcia saqarTvelos istoriul da miTologiur

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narativs da praRis kvadrienales mTavar Temas _ „transformacia“ aerTianebda. axali scenografiuli realobis Sesaqmnelad, realur/virtualuri Teatris scena, istoriul da legendaruli kolxeTidan devnilebTan, damTvaliereblebsac aerTianebda. proeqti interaqciuli iyo. gamofenis msvlelobisas, mayurebels saSualeba hqonda, sxvadasxva enaze naTargmni piesis teqstiT, CarTuliyvnen „warmodgenaSi“, gamxdariyvnen protagonistebi Tu movlenaTa uSualo Tanamonawileni. yvela tipis aqtivoba realur droSi itvirTeboda da Tavs iyrida interaqtiul, yvelasTvis xelmisawvdom, ganviTarebad socialur media-platformaze „medea/ media“. mravlismetyveli Teatraluri metafora _ gawvdili xelic, xom amis niSania.

Tanamedrove Teatralur mxatvrobaSi mravalferovani eqsperimentebis ganxorcielebisas informaciuli teqnologiebi sul ufro metad gamoiyeneba.

Teatraluri xelovnebis Tanamdrove praqtikaSi uaxlesi teqnologiebi, sxvadasxva meTodebisa da saSualebebis gamoyenebiT scenografiis tradiciuli gamomsaxvelobiTi xerxebis axali SesaZleblobebis

gamovlenas uwyobs xels, Tanamedrove istoriul da kulturul konteqstis WrilSi. speqtaklis Tu perfomansis mxatvruli saxe iqmneba realurisa da virtualuris SerwymiT, risTvisac dRes sxvadsxva media-komunikaciuri Tu kompiuteruli teqnologiebi gamoiyeneba. isini saSualebas iZleva realuri da virtualuri samyaroebi daakavSiros erTmaneTTan principiT match moving, rac met dinamikas da temporitms uzrunvelyofs sceniuri qmedebisa Tu perfomansis Seqmnisas. es meTodi da misi komunikaciuri SesaZleblobebi iqna gamoyenebuli praRis kvadrienales qarTul gamofenebSic. praRis kvadrienales proeqtebma kidev erTxel dagvanaxa, rom qarTuli scenografia da Teatraluri xelovneba viTardeba Tanamedrove msoflioSi mimdinare procesebis paralelurad, rom mas gaaCnia myari niadagi qarTuli Teatris axali gamomsaxvelobiTi formebis Sesaqmnelad, risTvisac Tanamedrove teqnologiebi, media-komunikaciis saSualebebi damatebiT xerxad unda iyos gamoyenebuli. xaTuna kikvaZe

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bazierebi

FALCONERS erTxel axalgazrda TemuCini ZmasTan erTad udabnoSi mogzaurobda. maT win Sori gza edoT, sakvebi uTavdebodaT da SimSiliT gardauvali sikvdili elodaT. rodesac xsnis yovelgvari imedi gadaewuraT, misma Zmam zecaSi mimino SeniSna da gaxarebulma SesZaxa: `ufalma sakvebi gamogvigzavna!~. `ara, Cven daviWerT mas da vaswavliT sakvebis mopovebas, nadavls ki samze gavyofT,~ _ SeaCera igi TemuCinma.

TiTqmis ori wlis Semdeg dabrundnen Zmebi samSobloSi da rom ara mimino, maTgan gawvrTnili, SimSiliT daixocebodnen... istoriaSi ki ver Sevidoda axalgazrda, romelic Semdgom Cingiz-yaenad iqca _ monRoleTis imperiis udides damaarseblad... jer kidev uZveles xanaSi primitiuli mSvild-isari, iaraRi, riTic nadirobdnen uZvelesi adamianebi,

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Once, the young Temuchin was travelling with his brother in the desert. They had a long way to go. They were running out of food and starvation seemed to be inevitable. When they had lost all hope for survival, Temuchin’s brother saw a falcon flying in the sky. “Our Lord has sent us food!” - he cried out with joy. “No – Temuchin stopped him, we shall catch the bird and teach it how to find food. Whatever we get, we shall share among the three of us.”

It was almost two years later that the brothers returned to their homeland. If not for the falcon, which they had tamed and trained, they would have died from starvation... And young Temuchin, who later became known as Genghis Khan – the greatest founder of the Mongol Empire, would not go down in history...

It was far back in ancient times when a primitive bow and arrow – the instrument that early people used for hunting – were replaced by an arbalest, which, in turn, was later replaced by a fowlingpiece... As for contemporary hunters, they have changed from

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arbaletma Secvala, Semdeg arbaleti _ Tofma...

Cveni Tanamedrove monadireni ki cxenebidan jipebze, Sveulmfrenebze gadasxdnen. tradiciebs mxolod mtacebeli frinvelebiT nadirobam ar uRalata da dResac imave meTodebiT wvrTnian da nadiroben bazierebi am `CitebiT~, rogorc odesRac... mtacebeli frinvelis dasaWerad mzadebas bazieri agvistos pirveli ricxvebidan iwyebs. Tavdapirvelad igi samkuTxa, Savi feris Cit-bades qsovs, romelsac Txilis or joxze akravs. Semdeg, aucileblad, im wels gamoCekil RaJos an beRuras iWers da iwyebs mis gamarTva-gawvrTnas... beRuras RaJo sjobs, imitom rom, rogorc brZaneben, am Citma ukeTesi `afeTqeba~ anu afarTxaleba icis da mtaceblebic ukeT amCneven.

RaJos, beRuras gawvrTna erTi kvira grZeldeba. kvirisTavze Citi sairaoze, gorakze, sadac Tavs iyrian gadamfreni mtacebeli frinvelebi, gasayvanad mzadaa. sairaoze bazieri dilauTenia gadis, awyobs safars, romelsac xis totebiT niRbavs, imaleba da miminos gamoCenisTanave marjvena xeliT iwyebs RaJos `afeTqebas~. motyuebuli da moxibluli mtacebeli

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horses to jeeps and helicopters. Only falconry did not break away from tradition and when dealing with these birds today, falconers apply the training and hunting methods identical to those which used to be employed by their counterparts of old, like Georgian king Vakhtang Gorgasali...

A falconer starts to get ready for catching a bird of prey in the early days of August. At first he weaves a black coloured net, which he then fastens to two sticks made of hazelnut tree branches.

After that, he catches a shrike or a sparrow hatched that very year and begins to train it... It is better to deal with a shrike than with a sparrow because, as knowledgeable people say, this bird is better at fluttering and, therefore, is more conspicuous and the falcon can easily notice it. It takes a week to train a shrike or a sparrow. By the end of the week the bird is ready to be taken to a special hillock where the migratory birds of prey usually assemble. The falconer goes out to the hillock very early in the morning. There he makes a trap for a bird of prey, covers it with branches and then hides nearby. As soon as a falcon appears, he begins to stir up the shrike to make it flutter. The deluded and entranced falcon flies towards the lure with the speed of a bullet and finds itself entangled in the bird-net prepared in advance by the falconer. Now, the most

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frinveli tyviasaviT eSveba msxverplisken da winaswar momzadebul Cit-badeSi exveva. am dros bazierisTvis mTavari RaJos gadarCenaa, rac mis ostatobazea damokidebuli...

Cit-badidan monadire miminos frTxilad xsnis da Tu frinveli dedali aRmoCnda da Tanac nardi (im wels gamoCekili) kmayofili rCeba. bazieri mas orive fexze wvril zonars abams, Tvals uxvevs da saxeldaxelo qandaraze svams. mamali mimino, dedalTan SedarebiT patara, susti, sanadirod uvargisia, kapoeti (wina wels naCeki frinveli) ki _ jiuti da Znelad gasawvrTneli, amitom mis gamarTvas bazierebi Tavs arideben. arsebobs garkapueti miminoc, iseTi, erT zafxuls rom gaiwvrTna, inadira da zamTarSi patronma gauSva, `radgan movla unda, dReSi 1/8 girvanqa axali xorci unda aWamo~.

important task for the falconer is to rescue the shrike and this totally depends on his skill.

The falconer carefully pulls out the falcon from the net and if it turns out that the bird is a young female (and has even hatched that very year), he feels satisfied with the catch. Having caught the falcon, the hunter ties a thin rope around both its legs, covers its eyes and puts it on a perch that he has prepared in advance.

Compared to a female falcon, a male bird is smaller, weaker and is unfit for hunting. Falcons hatched a year earlier are generally stubborn and difficult to train. That is why falconers tend to be reluctant to tame such birds. There are also falcons that get trained during the summer season, fly out hunting and are set free by the hunter in winter, because, as they say, “the bird needs to be cared for and must have 1/8 of a pound of fresh meat to eat every day.�

The falcon is taken away from the hillock with its eyes still covered. At home its master removes the rope from its legs and replaces it with soft leather tape. Then he uncovers the bird’s eyes in bright light, keeps whistling quietly and cherishes the bird all night long with it seated on his left hand. And this goes on until

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the day breaks. The relationship between the man and the bird builds up gradually and the falconer continues to carry the falcon on his left hand until the bird gets used to its master. Then the taming and training process begins. In the first lesson, very early in the morning, the falconer takes a piece of meat with his right hand and gives it to the falcon so that the bird can hold it in its claws. If a hungry bird pierces the meat with its beak and starts eating, it means that it is good-natured and will be easy to train.

Frequently, the falcon does not even cast a glance at the piece of meat, which he has in its claws, and will try to fly away from the hand. At such a time the falconer tries to calm the bird down, keeps it on his hand and starves it until the evening. Eventually, hunger forces the bird to touch the meat with its beak and start to eat. Before training the falconer feeds the falcon twice a day and when training is over only once a day in the evening. When the bird gets used to its master, it no longer needs cherishing and whistling to invite it to help itself to the meat. Now it sits confidently on its master’s hand. The falconer puts the falcon on a perch, fastens the tape tied around its leg to a pole, stands a short distance away from the bird and shows it a new piece of fresh meat. Thus he gradually increases the distance and makes the bird get used to flying from the perch to his hand. The falconer

sairaodan mimino Tvalaxveuli mohyavT. Sin patroni mas moxamlavs (fexebze rbili tyavis Tasmebs abams), sinaTleze Tvalebs uxsnis, mTeli Ramis manZilze wynarad ustvens, ealerseba da dilamde marcxena xelze uzis. adamiansa da frinvels Soris urTierToba TandaTan myardeba da miminos xelze tareba grZeldeba manam, sanam is patrons ar mieCveva. amis Semdeg iwyeba frinvelis gamarTva-gawvrTnis pirveli gakveTili: dilaadrian bazieri marjvena xeliT mtacebels klanWebSi xorcis naWers aZlevs. mSierma miminom Tu xorcs niskarti dahkra da Wama daiwyo, es imis maCvenebelia, rom igi kargi znisaa da advilad gasamarTia. xSirad mimino brWyalebSi micemul xorcs arc ki Sexedavs da Seecdeba xelidan gadafrindes. am dros bazieri cdilobs mis damSvidebas, agrZelebs mis xeliT tarebas da saRamomde aSimSilebs. sabolood SimSili aiZulebs mtacebels xorcs niskarti dahkras da Wamas Seudges. gamarTvamde miminos bazieri dReSi orjer kvebavs, gamarTvis Semdeg _ erTxel, saRamoobiT.

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roca mimino patrons mieCveva, moferebisa da stvenis gareSe Wams xorcs, Tamamad zis xelze _ bazieri dasvams mas qandaraze, saxamlavze gamoabams xizas (Tasmas), dadgeba moSorebiT da uCvenebs axali xorcis naWers. amgvarad, TandaTan zrdis manZils da aCvevs miminos qandaridan xelze gadmofrenas. am gakveTils monadire ramdenime dRis manZilze atarebs da bolos mtacebeli ara Tu saqnierze (xorcis naWerze), aramed cariel xelzec 20-30 metris manZilidan mofrinavs. amis Semdeg iwyeba axali, `praqtikuli gakveTili~, anu monadire frinvelis Capureba, daTvaltvineba: baziers mohyavs erTi mwyeri an mwyrisferi wiwila da mimonosTvis moulodnelad win ufrens mas. Tvals mohkravs Tu ara mtacebeli frinvels, xelidan swrafad gadavardeba da haerSive iWers msxverpls. miwaze daSvebuls patroni uaxlovdeba, stveniT, dinji nabijiT, mwyers frTxilad arTmevs, romelsac Tavs utexs da miminos tvinsa da Tvalebs aWmevs. amrigad, ramdenime varjiSis Semdeg, mimino ukve sabolood gawvrTnilia da sanadirodac mzad aris...

devotes several days for the falcon to learn this lesson well and, at the end, the bird of prey flies not only towards a piece of meat but also towards the falconer’s empty hand from a distance of 20-30 meters. This is further followed by a “practical training” to nurture and nourish the bird: the falconer brings a little quail, or a chicken with the coloring of a quail, and flies the bird suddenly in front of the falcon. As soon as the bird of prey spots the quail, it falls off the hand quickly and catches its prey in the air. The master approaches the bird whistling and stepping softly and carefully.

Then he takes the quail away from the falcon, breaks the quail’s neck and feeds the falcon on the quail’s brain and eyes. In this way, after several training sessions, the falcon is finally trained and ready for hunting.

Before setting out for hunting, the falconer does not give the falcon anything to eat and makes it grow hungry... In our parts the quail-hunting season begins in September and by this time the falcon must be already well trained. Besides the falcon, the falconer takes well-trained hounds out for hunting as well. The dog goes out sniffing in search of a quail and when it notices the bird, it stands still with its front leg lifted and waiting for the

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samwyeraod wasvlis win bazieri miminos arafers aWmevs da moSiebuli hyavs.. mwyerze nadirobis sezoni CvenSi seqtemberSi iwyeba da am droisTvis miminoc kargad gawvrTnili unda iyos. garda miminosi sanadirod baziers kargad dageSili `meZebari~ ZaRlebic mihyavs.

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falconer’s order – “Catch it”. On a lucky day, the falconer and his falcon will catch more than 40-50 quails. Yellow or rusty coloured falcons are considered to be good-natured but white ones are of particular value. Not only the falcon, but the falconer is also required to have special character traits – being prudent, careful,

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ZaRli suniT eZebs mwyers da rodesac SeamCnevs, wina fexaweuli, kudis qiciniT monadiris brZanebas – eci, eci! _ elis. Tu iRbliani dRe gamodga, monadiresa da mis miminos 40-50-ze meti mwyris daWera SeuZliaT. kargi znis miminod yviTeli da Jangisferi iTvleba, magram gansakuTrebulad _ TeTri fasobs. garda miminosi baziersac moeTxoveba xasiaTis gamorCeuli niSnebi _ igi aucileblad dinji, momTmeni da gawonasworebuli adamiani unda iyos. qori da Sevardenic imgvaradve imarTeba, rogorc mimino, magram maT gawvrTnas gacilebiT meti dro, TiTqmis ori weli sWirdeba. adamiani odiTgan pativs miagebda did, Zlier frinvelebs _ arwivs, Savardens, miminos... jer kidev Zvelegviptur miTologiaSi vxvdebiT RvTaebaSavardensa da frinvelisTavian RmerTs. Sua saukuneebSi mtacebel frinvelTa gamosaxulebebi amSvenebda sagvareulo gerbebs, rac gvaris ZvelTaZvelobaze, daumarcxeblobasa da warCinebulobaze metyvelebda.

patient and even-tempered is a must. An eagle and a hawk are trained in a manner similar to that of a falcon. Their training, however, requires much more time – almost two years. Since antiquity, man has had respect for big and strong birds such as eagles, hawks and falcons. As far back as in the mythology of Ancient Egypt we come across a deified falcon, and a god with the head of a bird. In the Middle Ages, images of birds of prey used to beautify family coats of arms, signifying the family’s antiquity, invincibility and grandeur. Today it is difficult to determine when and where man got engaged in falconry for the first time. It is believed that hunting with birds of prey, such as falcons and hawks, takes its origin from the Orient.

Back in old times, hunting with birds of prey was very popular in Georgia, particularly in the west of the country. Our ancestors used to be well familiar with their sharp eyes, swiftness, intelligence and lightness, and they had their own methods for catching and training hawks and falcons. It is unfortunate that in our days we come across very few people engaged in this trade in Guria, Samegrelo, Adjara and, perhaps, in Abkhazia...

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dRes Znelia zustad gansazRvro, Tu sad da rodis daiwyo adamianma mtacebeli frinvelebiT nadiroba. miaCniaT, rom Tavdapirvelad SavardnebiTa da miminoebiT aRmosavleTSi nadirobdnen...

Zvelad CvenSi mtacebeli (damWeri) frinvelebiT nadiroba, gansakuTrebiT dasavleT saqarTveloSi, Zalzed popularuli iyo. maT maxvil Tvals, siswrafes, Wkuasa da simsubuqes Cveni winaprebi kargad icnobdnen da Savardnisa Tu miminos daWerisa da gawvrTnis sakuTari meTodebi hqondaT. dRes, samwuxarod, am saqmis mimdevar ramdenime adamiansRa Tu SexvdebiT guriaSi, samegreloSi, aWaraSi, albaT, afxazeTSi...

P.S. msoflioSi dRes Zalian popularulia frinvelebze dakvirveba anu `birdwatching~. sxvadasxva qveyanaSi ekologiuri turizmis farglebSi specialuri turebi ewyoba, romlis drosac turistebs saSualeba aqvT frinvelebs uSualod bunebaSi daakvirdnen, gadauRon fotoebi, Caiweron maTi galoba. bolodroindeli monacemebiT amerikaSi am turebidan Semosuli Tanxa beisbolis matCebidan Semosuls uswrebs da 5,2 miliard dolars Seadgens. yovelwliurad, am qveyanaSi frinvelebs saSualod 65 milioni adamiani akvirdeba.

Semosavlis didi nawili isev frinvelTa dacvas xmardeba. izrdeba daculi teritoriebis personali, Cndeba axali, maRalanazRaurebadi samuSao adgilebi da, amitom, adgilobrivi macxovreblebi dainteresebuli arian frinvelTa dacviT, es xom sastumroebis da kempingebis qselis gafarToeba, suvenirebiTa da saWiro aRWurvilobiT (binoklebi, foto da videoaparatura, karvebi, sawvimrebi da a.S.) vaWrobaa. albaT, Rirs dafiqreba imaze, rom saqarTveloSic Seiqmnas msgavsi infrastruqtura. es damatebiT Semosavals moutans qveyanas da daasaqmebs adgilobriv mosaxleobas. saWiroa am ideis popularizacia, specialuri broSurebis, video filmebis Seqmna, rogorc turistebisaTvis, aseve adgilobrivi mosaxleobisaTvis, raTa maT ukeT gaacnobieron am saqmis sikeTe. ra sjobs, daWerili miminos Tu Sevardenis 20 larad gayidva, Tu stabiluri samsaxuri sakmaod maRali anazRaurebiT. dasavleT saqarTvelos zRvispira zoli da kolxeTis dablobi gadamfreni frinvelebis erTgvar derefans warmoadgens. aq bevri saxeoba ukiduresi CrdiloeTidanac mofrinavs, raTa daisvenos da gza Tbili qveynebisaken ganagrZos. gansakuTrebuli mravalferovanebiT mtacebel frinvelTa saxeobebi gamoirCeva. aRsaniSnavia, rom mtacebeli frinvelis yvela saxeoba dacvas eqvemdebareba da am frinvelebiT vaWroba evropisa da aziis bevr qveyanaSi akrZalulia.

P.S. Bird-watching is immensely popular throughout the whole world. Special tours are conducted within the sphere of ecological tourism, allowing tourists to watch birds in their natural habitats, take pictures of them and record their songs. According to the latest data, the income derived from such tours in America far exceeds that from baseball matches and amounts to 5,2 billion dollars. Approximately 65 million people are engaged in birdwatching in the United States. A large part of the proceeds goes towards the protection of birds. The number of staff employed in the protected areas is on the increase, as are new and highly paid jobs. The locals take a close interest in the protection of birds, which involves extension of the network of hotels and camping places and trade in souvenirs and the necessary paraphernalia (binoculars, photo and video equipment, tents, raincoats, etc.). A building of such infrastructure in Georgia is perhaps a prospect, which deserves considerable attention. It will bring additional income to the country and provide locals with new job opportunities. It is necessary to promote this idea and publish special brochures and shoot video films for tourists, as well as locals, to bring to the fore all the advantages of this business. What is better, to sell a captured hawk or a falcon for 20 dollars or to get a stable job with a fairly high income? The coastline of western Georgia and the Kolkheti valley provide a popular corridor for birds of passage. Many species fly in there from the farthest north to take a rest and wing their way to the warm countries. Predatory birds are particularly diverse.

It should be noted that all species of predatory birds are subject to protection and the trade in such birds is forbidden in many countries of Europe and Asia.

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da mas Jamsa iwyo qarTlis wesman

rostom xani, don kristoforo de kastelis naxati ROSTOM KHAN, DRAWING BY DON CRISTOFORO DE CASTELLI

da rigman gardacvaleba

And at that time began the downfall of Kartli’s customs and traditions 90

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qarTvelebi, TviTSefasebisas, erTmaneTisgan ukiduresad dapirispirebul Sexedulebebs gamovTqvamT xolme, rac imwuTismieri emociebiT an miTologizebuli istoriiTaa gamowveuli. Tuki raime cudi xdeba, TviTgvemas mivecemiT da lamis samyaros yvelaze uRirs erad vacxadebT Tavs („mrcxvenia, rom qarTveli var“ da a.S.), xanac Tavi lamis samyaros Wipad migvaCnia („meored mosvlisas macxovari qarTulad iqadagebs“, „saqarTvelo gabrwyindeba“, „rac kargebi varT, qarTvelebi varT“ da sxv.). CvenSi xSirad ismis xolme, TiTqos martivi, da amave dros, Cveni azriT, sruliad arakoreqtulad dasmuli kiTxva: vin varT? evropelebi Tu azielebi? (da kidev ufro metad gaurkveveli _ aRmosavlelebi Tu dasavlelebi?). am Temebze saubari Sors wagviyvans da, Tuki kargad davukvirdebiT, aRmosavleT-dasavleTis politikur-kulturuli gansazRvrebebis srul xelovnurobasac davinaxavT. Cvens winaSe mdgari, TviTidentifikaciis sakiTxi, Zalze rTuli da mravalsaxovania. misi erTi da, savaraudod, umniSvnelovanesi mxare qarTuli xasiaTis kvlevaa, rac interdisciplinarul doneze unda mimdinareobdes da amaSi, upirveles yovlisa, qarTuli saxelmwifo unda iyos dainteresebuli, miTumetes, dRevandeli hibriduli omis pirobebSi, raTa sworad gaiazros is proeqtebi, romelTa ganxorcielebasac gegmavs. aqve unda iTqvas, rom am sakiTxebiT dakavebuli arasamTavrobo organizaciebis daskvnebi xSirad zedapirulia; xolo calkeuli pativsacemi mkvlevarebis mosazrebebs ki saxelmwifo moxeleebi arc icnoben da arc ainteresebT (mxolod ucxoeli „eqspertebis“ daskvnebs Tu gadaavleben xolme Tvals). samagierod, kargad da maRal doneze gvikvlevs qarTuli saxelmwifos mteri, romelmac jer kidev XVIII saukuneSi, imperiis Semosvlamde daiwyo da Semdgom sabWoTa kavSiris drosac warmatebiT gaagrZela es saqme. maT kargad ician Cveni sisusteebi da TavianT sasargeblod, efeqturad iyeneben am codnas. roca saubari qarTuli xasiaTis uaryofiT Tvisebebs exeba, xSirad gvaxsendeba sityva konformizmi, romelic xSirad Cveni problemebis saTavedac ki miiCneva. es adamianuri sisuste araa ucxo arcerTi erisTvis da saxelmwifosTvis, igi TviTgadarCenis instiqtTanac igivdeba, magram sabolood, rogorc wesi, konformistuli qceva arc adamianze moqmedebs sasikeTod da arc saxelmwifoze _ igi, erTgvarad, gadagvarebis winapirobaa. rasakvirvelia, Sors varT im azrisgan, rom qarTul politikasa Tu sazogadoebriv cxovrebaSi, konformistuli gamovlenebi mxolod garkveuli epoqis mZime gadmonaSTad _ bolSevikuri represiebis fsiqotramvis Sedegad miviCnioT, magram isic unda iTqvas,

Whilst evaluating themselves, Georgians often express extremely contrary views, based on either spur-of-the-moment emotions or mythologized history. If something bad is happening, we resort to self-castigation and declare ourselves the most unworthy nation in the world (“I’m ashamed of being Georgian”, etc.), whereas sometimes we consider ourselves to be the center of the universe (“During the Second Coming the Savior will preach in Georgian”, “Georgia will shine again”, “Everyone good is Georgian”, and so on).

We often hear the seemingly simple, and in our opinion, utterly ill-posed question: Who are we? Europeans or Asians? (And even vaguer – Easterners or Westerners?). Discussing these topics will take us too far, and a closer look will make us realize the complete artificiality of the historical-political-cultural definitions applied to the East-West dichotomy.

The issue of self-identification presented to us is very complex and multi-faceted. One of its aspects – and probably the most significant one – is the research of Georgian character, which should be carried out at an interdisciplinary level. An issue in which the Georgian state itself should be interested first and foremost, particularly considering today’s hybrid warfare, to properly understand the projects it plans to conduct. It should also be noted that the findings of non-governmental organizations dealing with these matters are often superficial, while government officials neither know nor are interested in opinions of other respected scholars (only sometimes glancing over the conclusions of foreign “experts”). On the other hand, we are extremely well-researched by the enemy of the Georgian state, who first started its hostile activities in the 18th century, even before the Russian Empire’s invasion, and later successfully continued these efforts throughout the Soviet Union era. They are well-aware of our weaknesses and are efficiently using this knowledge to their advantage.

When the conversation comes to the negative qualities of the Georgian character, we often remember the word conformism, which is even considered the source of our problems. This human weakness isn’t novel to any nation or state; it likewise can be associated with the instinct of self-preservation. However, ultimately and as a rule, conformist behavior doesn’t beneficially affect either people or the state – becoming, in a way, a prerequisite for degeneration.

Of course, we are far from thinking that conformist occurrences in Georgian politics or public life are merely painful remnants of a specific epoch – the result of the psycho-trauma experienced due to the Bolshevik repressions. However, it should also be noted that there were periods when this malaise was considered a universal norm. Let us remember our recent Communist past when in a Georgia of five million people, up to half a million were members of the Communist Party, and an equal amount were candidates for membership.

Therefore, we will try to find examples of Georgian mass conformity in historical sources, to better observe and contemplate how far this plague has spread. It is perhaps unnecessary to remind

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dedofali mariami, don kristoforo de kastelis naxati QUEEN MARIAM, DRAWING BY DON CRISTOFORO DE CASTELLI

rom arsebobda periodebi, rodesac es seni sayovelTao normad iyo miCneuli. gavixsenoT, Tundac Cveni uaxloesi komunisturi warsuli, rodesac xuTmilionian saqarTveloSi komunisturi partiis naxevarmilionamde wevri da erTi amdeni ki wevrobis kandidati iyo. amitomac, SevecdebiT istoriul wyaroebSi moviZioT qarTvelebis masobrivi konformizmis magaliTebi, raTa ukeT davinaxoT da davfiqrdeT, Tu ramdenad Sorsaa wasuli es `daavadeba~. mkiTxvelisTvis, albaT uadgilo iqneba imis Sexseneba, rom istoriuli Znelbedobisas adamianTa nawili advilad uaryofda misi sazogadoebisTvis damaxasiaTebel eTikur normebs da TiTqosda qveynis sasikeTod `icvamda~ xan monRolur, xanac sparsul da xanac rusul (ginda `bolSevikur~) `samoss~. qarTlis cxovrebaSi araerT magaliTs vawydebiT, rodesac am avadobis Sedegis winaaRmdeg sabrZolvelad udidesi Zalisxmeva gaviReT: magaliTad giorgi brwyinvales monRolebisgan danergili mravali `ulusobis~ (monRoluri wes-Cveulebebis) ZaladobiT aRmofxvra mouwia, ramac saukuneze metiT gaaxangrZliva erTiani qarTuli saxelmwifos arseboba; magram XVII saukuneSi masobrivi xasiaTi SeiZina konformizmma, romlis mTavari Semoqmedic qarTlis mefe rostomi, igive xosro-mirza gaxldaT.

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the reader that in times of historical hardship, some people easily discarded the ethical standards typical of their society, and "put on" sometimes Mongolian, sometimes Persian, and sometimes Russian (or “Bolshevik”) "clothing", allegedly for the benefit of the country. In The Georgian Chronicles, we find numerous cases when enormous efforts went into battling the results of this disease: a sufficient example is George V the Brilliant, who was forced to violently eliminate many “ulusoba” (Mongolian customs) established during the Mongol rule, prolonging the existence of a united Georgian state for more than a century. However, in the 17th century, conformism acquired a widespread character, with the king of Kartli Rostom, also known as Khosro Mirza, as a main protagonist.

Contradictory opinions have been expressed in the assessement of Rostom’s rule. In Georgian Soviet historiography, he is mainly referred to as the master of political compromises, who established peace in Kartli and, as a result, gave the country the time to rebuild.

On the other hand, as a consequence of his rule, entirely foreign, unacceptable customs were established in eastern Georgia and the nation entered a path leading to the loss of its unique identity.

The illegitimate son of King David XI, Khosro Mirza, later dubbed Rostom (the king of Kartli in 1633-1658), was born in Persia and raised in Muslim traditions. In 1618, Shah Abbas appointed him as the darugha (the prefect) of capital city Isfahan. In 1625, he distinguished himself in the Iran-led war in Georgia, particularly in the battles of Marabda and Ksani. The same year, the shah appointed Khosro Mirza as the commander of the gholam army (the elite Iranian army of Christians converted to Islam). After the death of Shah Abbas, Khosro Mirza put Shah Safi on the throne with the help of the gholam army. In 1633, Shah Safi, in opposition to the rebellious Teimuraz I, gave Kartli to 67-year old Khosro Mirza.

In Georgian records Khosro Mirza is referred to as “King of Kings and Autocrat”, and in Iranian documents he is called “Vali of Kartli Rostom Khan”. It should be noted that if Khosro Mirza’s predecessors only formally recognized themselves as the vassals of Iran, for more than a hundred years since his reign, Persia appointed only Muslims or Islam converts as kings of Kartli. Rostom’s goal, as an Iranian official, was to defeat and oust Teimuraz I from Kartli-Kakheti. Their clash is of the utmost importance to our history: on the one hand, a champion for the independence of Kartli-Kakheti, Ketevan the Martyr’s son – Teimuraz, and on the other hand – Khosro Mirza, raised as a Persian and of Georgian origin, with an immense military, diplomatic and administrative governance experience. The analysis of this opposition is not the purpose of our letter, and interested readers can easily find various interesting works on this subject.

Rostom managed to win over most of the nobility in various ways, first controlling Kartli and then briefly Kakheti as well. During his reign, the Persian leaders temporarily abandoned the violent plan of Kartli’s “full conversion to Islam” and demanded only tributes and military service. Additionally, he is associated with Kartli’s economic strengthening and major rebuilding works: the renovations of destroyed temples and the construction of new churches (with

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misi mmarTvelobis Sefasebisas erTmaneTis sapirispiro mosazrebebia gamoTqmuli. qarTul sabWoTa istoriografiaSi igi ZiriTadad moixseneba, rogorc politikuri kompromisebis didostati, romelmac qarTlSi mSvidoba daamyara da Sedegad qveyanam aRmSeneblobisTvis moicala. meores mxriv, misi mmarTvelobis Sedegad aRmosavleT saqarTveloSi damkvidrda sruliad ucxo, miuRebeli wes-Cveulebebi da eri TviTmyofadobis dakargvis gzas daadga. mefe daviT XI-s ukanono Svili, xosro-mirza, romelsac mogvianebiT rostomi Searqves (qarTlis mefe 16331658 wlebSi) sparseTSi daibada da mahmadianuri wesiT aRizarda. 1618 wels Sah abasma igi sataxto qalaqis, ispahanis taruRad (qalaqis Tavad) daniSna. 1625 wels man Tavi gamoiCina iranis mier saqarTveloSi warmoebul omSi, kerZod ki marabdisa da qsanze gamarTul brZolebSi. imave wels Sahma xosro-mirza RulamTa, anu yulis jaris (gamahmadianebuli qristianebisgan Semdgari elituri jari iranSi) sardlad daniSna. Sah abasis sikvdilis Semdeg xosro-mirzam yulis jaris daxmarebiT taxtze Sah sefi aiyvana. 1633 wels Sah sefim urCi Teimuraz I-is sawinaaRmdegod 67 wlis xosromirzas misca qarTli. qarTul sabuTebSi igi moixsenieba rogorc `mefeT-mefe da patroni~, xolo iranulSi ki rogorc `qarTlis vali rostom xani~. aRsaniSnavia, rom Tu xosro-mirzas winamorbedebi iranis vasalebad Tavs mxolod formalurad aRiarebdnen, misi zeobidan daaxloebiT as welze meti, sparseTi qarTlis mefed mxolod mahmadian an gamahmadianebul mmarTvels niSnavda. rostomis, rogorc iraneli moxelis mizani iyo daemarcxebina da qarTl-kaxeTidan ganedevna Teimuraz pirveli. maTi dapirispireba uaRresad mniSvnelovania Cveni istoriisTvis: erTis mxriv, qarTl-kaxeTis damoukideblobisTvis mebrZoli, wmida mowame qeTevanis Svili _ Teimurazis da meores mxriv, sparsulad aRzrdili, uzarmazari samxedro, diplomatiuri da administraciuli mmarTvelobis gamocdilebis mqone, warmoSobiT qarTveli xosro-mirzasi. Cveni werilis mizani am dapirispirebis analizi araa da dainteresebul mkiTxvels advilad SuZlia moiZios araerTi saintereso naSromi, romelic am Temas exeba. rostomma sxvadasxva gzebiT moaxerxa didgvarovnebis didi nawilis gadabireba da jer qarTls akontrolebda, Semdeg ki droebiT, kaxeTsac. misi mefobisas sparseTis mesveurebma qarTlis `sruli gaTaTrebis~ Zaladobriv gegmaze droebiT uari Tqves da mxolod xarks da samxedro begaras iTxovdnen. masve ukavSirdeba qarTlis ekonomikuri momZlavreba da didi saaRmSeneblo samuSao: dangreuli taZrebis aRdgena da axali eklesiebis mSenebloba (rac misi meuRlis, dedofal mariam dadianis ZalisxmeviT mimdinareobda). mefis brZanebiT axali

the effort of his wife, Queen Mariam Dadiani). By the order of the king, the construction of new trading cities, bridges, roads, water pipes, and caravanserais began. Rostom was conducting domestic affairs, including state correspondence, in the Georgian language.

Along with these noble deeds, he was also the initiator of many innovations which later greatly damaged the Georgian society.

Important evidence of Rostom’s reign is preserved in the work written by Beri Egnatashvili in the first quarter of the 18th century – “The New Georgian Chronicles”. According to Beri, King Rostom, who prospered with the help of the shah, and who concurrently remained Isfahan’s darugha and the commander of the gholam army, began to gradually, carefully introduce Iranian customs into the aristocracy. During the first stage, he would give out a Persian robe or “Khalat” and a small monetary gift, in an attempt to gain their loyalty.

To support the promotion of a pro-Iranian sentiment in the aristocracy, Rostom began returning Georgians living in Persia to their homeland and granting them high-ranking Qizilbash posts, without abolishing, however, the local state apparatus.

“And at that time began the downfall of Kartli’s customs and traditions,” writes Beri Egnatashvili. According to him, Georgian nobles became used to greediness, salaries, and lands bestowed by the shah, as well as Qizilbash clothing. To better showcase his

qarTl-kaxeTis mefe Teimuraz I meuRliT, don kristoforo de kastelis naxati KING OF KARTLI-KAKHETI TEIMURAZ I AND HIS WIFE, DRAWING BY DON CRISTOFORO DE CASTELLI

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Tbilisi / TBILISI

savaWro qalaqebis, xidebis, gzebis, wyalsadenebis da qarvaslebis mSenebloba daiwyo. Sinaur saqmeebs, maT Soris saxelmwifo mimowerasac, rostomi qarTul enaze awarmoebda. am sasikeTo saqmeebTan erTad igi gaxldaT mravali iseTi siaxlis iniciatoric, ramac mogvianebiT qarTul sazogadoebas didi ziani moutana. rostomis mefobis Sesaxeb mniSvnelovani cnobebia daculi XVIII saukunis pirvel meoTxedSi, beri egnataSvilis mier daweril naSromSi _ „axali qarTlis cxovreba“. beris gadmocemiT, Sahis wyalobiT gamdidrebulma mefe rostomma, romelic paralelurad ispahanis taruRad da yulis jaris sardladac rCeboda, TandaTanobiT, frTxilad daiwyo aristokratiaSi iranuli wes-Cveulebebis Canergva. pirvel etapze igi sparsul mosasxams _ `xalaTs~ da mcire fulad saCuqars gascemda, riTic maTi erTgulebis mopovebas cdilobda. aristokratiaSi proiranuli ganwyobis xelSesawyobad rostomma sparseTSi mcxovrebi qarTvelebis samSobloSi dabruneba da maTTvis yizilbaSuri maRali Tanamdebobebis darigeba daiwyo, Tumca adgilobrivi samoxeleo aparati ar gauuqmebia. `da mas Jamsa iwyo qarTlis wesman da rigman gardacvaleba~, wers beri egnataSvili. misi TqmiT, qarTveli didebulebi SeeCvivnen angarebas, yaenis gacemul jamagirsa da mis mierve boZebul adgilmamuls, agreTve yizilbaSur samoss. rostomi Zvirfas saCuqrebsa da Tanamdebobebs mxolod Sahis TanxmobiT gascemda, raTa misdami erTguleba ukeT warmoeCina; sasaxle yizilbaSurad gaawyo, sma-Wamis wesebic iqauri daamkvidra. `da miiqcnen sruliad wessa zeda yizilbaSisasa, da ganmravlda saxlsa Sina missa siZva da ara-wmindeba, codva igi sodom-gomoruli da meZaoba~. maT, vinc sasaxleSi damkvidrebul wesebs ar misdevda da cdilobda Cacmisa da sufrasTan qcevis qarTuli tradiciebi, agreTve qristianuli eTikis normebi daecva, samefo karze pativs aRar scemdnen. usaxsrod darCenili

loyalty, Rostom would only provide valuable gifts and posts with the shah’s approval. He decorated the palace in Qizilbash style and additionally established Qizilbash customs of drink and food there.

“And they turned completely to Qizilbash customs, and fornication and impurity multiplied in the house, and sins of Sodom and Gomorrah and promiscuity.” Those who did not obey the rules set in the palace and tried to follow the Georgian traditions of dress and table manners, as well as Christian ethical norms, were no longer respected at the royal court. A portion of such aristocracy, left impoverished, was forced to sell their estates and spend the collected money on Persian attire and feasts held at the royal court.

The clergy likewise emulated aristocracy: they received salaries from the king and kept up with the feasts and unrestrained behavior. To subdue the church, Rostom did not even shy away from murder – Catholicos Eudemus I Diasamidze, disgruntled

by Rostom’s policies and a supporter of King Teimuraz I, was captured and executed. Instead, Rostom appointed Christophorus Urdubegashvili, who was well-versed in royal court hunting, but was inexperienced in religious teachings…

Sah abas I / SHAH ABBAS I

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aseTi aristokratiis nawili iZulebuli gaxda mamulebi gaeyida da aRebuli fuli sparsulad morTva-mokazmvasa da samefo karze gamarTul nadimebSi daexarja. aristokratias samRvdeloebamac mibaZa: isini mefisgan jamagirs Rebulobdnen da sma-Wamasa da TavaSvebul cxovrebaSic ar CamorCnen. eklesiis dasamorCileblad rostomi arc mkvlelobas erideboda – misi politikiT ukmayofilo, mefe Teimuraz pirvelis momxre kaTalikosi evdemoz diasamiZe daatyveva da sikvdiliT dasaja; mis magivrad ki, laSqroba-nadirobis kargad mcodne, magram religiur swavlebaSi gamoucdeli qristefore urdubegaSvili daniSna... amas kidev erTi gansacdeli daerTo: qarTveli mefeebi iZulebulni iyvnen, morCilebis niSnad Sahis karze monebi gaegzavnaT da isini amisTvis ucxotomelebs arCevdnen; rostomma es wesic Secvala da iranSi maT magivrad qarTvel didebulTa, aznaurTa da glexTa Svilebs agzavnida. beri egnataSvilis teqstSi kargad Cans qarTuli aristokratiis gadmobirebis rostomiseuli meTodebi: jer mcire qrTami (gulubryvilo da gamoucdeli TavadebisTvis), Semdeg gamahmadianebul-gasparsebuli aristokratiis Camoyvana da maTiT adgilobrivi moxeleebis TandaTanobiTi Canacvleba; sparsuli yofis wesebis danergva, maTi normad qceva; qarTuli wesebis damcroba da misi mimdevrebis saxelmwifo saqmeebidan Camocileba; tyveTa syidvis waxaliseba da iranSi mxolod qarTuli warmoSobis tyveebis gagzavna; aristokratiisTvis iseTi pirobebis Seqmna, romelic ekonomikurad srulad damokidebuls xdida Tavadobas mefeze; eklesiis srul morCilebaSi moyvana qrTamiTa da ZaladobiT – Tundac kaTalikozis mkvleloba da mis magivrad wminda werilis naklebad mcodne piris daniSvna... da mainc Cndeba kiTxva: nuTu yvelaferi ase advilad da ucbad, erT TaobaSi Seicvala? albaT, ara _ XVII saukunemde mravlad iyo iseTi faqtebi, rodesac qveyana gadaSenebis piras idga da mefeebi sakmaod sakamaTo, kompromisul gadawyvetilebebs Rebulobdnen, magram maTi umetesoba dampyrobels fiqtiurad emorCileboda da rogorc ki Sesaferis dros ixelTebda, maSinve sruli damoukideblobisTvis iwyebda brZolas. susti mmarTvelis Semdeg, umetes SemTxvevaSi, taxtze Zlieri da gonieri mefe adioda da xSirad sagareo viTarebac saqarTvelosTvis sasargeblod icvleboda. XV saukunis Suaxanebis msoflio masStabis geopolitikuri cvlilebebi saqarTvelosac Seexo, igi mTlianad moeqca agresiuli islamuri imperiebis garemocvaSi da gadarCenisTvis `yoveldRiur~ brZolaSi CaerTo. 1555 wels sefianTa iransa da osmaleTs Soris dadebuli zaviT saqarTvelo am orma dampyrobelma Suaze gayo,

ispahani / ISFAHAN

Another ordeal followed. Georgian kings were forced to send slaves to the shah’s court as a sign of obedience, and they would choose foreigners for this purpose; Rostom changed this rule as well, and started to send the children of Georgian nobles, gentry, and peasants to Iran instead.

Beri Egnatashvili’s text clearly illustrates Rostom’s methodology of coaxing Georgian aristocracy: first, a small bribe (for naive and inexperienced nobleman), then repatriating aristocracy, those who adopted Islam, and gradually replacing local officials with them; introducing the customs of Persian lifestyle, making them a standard and encouraging them; disparaging Georgian traditions and removing their adherents from state affairs; encouraging the purchase of captives and sending only those of Georgian origin to Iran; creating conditions for the nobility to become entirely economically dependent on the king; coercing the Church into complete obedience with bribery and violence – for example, the murder of the Catholicos and the appointment of a person with lesser proficiency in sacred scripture…

“And at that time began the downfall of Kartli’s customs and traditions” – this one sentence succinctly describes the situation brought about by the reign of Rostom.

And yet the question arises: did everything truly change so easily and swiftly in one generation? Probably not – until the 17th century, there were many cases when the country was on the verge of extinction and kings made the controversial decision to compromise. Nevertheless, most of them obeyed the conqueror fictitiously and would immediately start a battle for complete independence as soon as an opportunity appeared. Usually, after an ineffective ruler, a powerful and wise king ascended the throne, and foreign affairs would often improve for Georgia. The worldwide geopolitical changes of the mid-15th century affected Georgia as

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qarTl-kaxeTis mefe Teimuraz I esaubreba de kastelis / KING OF KARTLI-KAKHETI TEIMURAZ I SPEAKING TO DE CASTELLI

Tumca amis realobad qcevas sakmaod dro dasWirda.

XVI saukunis bolos samcxe-saaTabago osmaleTis nawilad iqca. aseTive mizani hqonda orive imperias danarCeni qarTuli samefo-samTavroebis mimarTac. XVII saukunis 30-iani wlebisTvis qarTl-kaxeTi gauTavebeli brZolebis Sedegad Zalagamoclili iyo da, albaT, am gadaRlilobamac gamoiwvia is, razedac zemoT gvqonda saubari. rostomis mefobis Sedegad qarTli TiTqos srul gaqrobas gadaurCa, magram samagierod miviReT uunaro da upasuxismgeblo sazogadoeba, romelmac masobrivi konformizmis kidev ramdenime talRa gadaitana (magaliTisTvis SeZleba ruseTis mefisnacval voroncovis mmarTveloba da sabWoTa saqarTvelos 70-iani wlebi gavixsenoT). swored am sazogadoebis STamomavlebi varT Cven. vaxtang SatberaSvili

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well; it was completely engulfed by aggressive Islamic empires and engaged in a “daily” struggle for survival. In 1555, Georgia was split in half by the truce between Safavid Iran and the Ottoman Empire, although this took a long time to turn into reality. By the end of the 16th century, Samtskhe Saatabago became part of the Ottoman Empire. Both empires had the same intentions for the rest of the Georgian principalities. By the 1630s, Kartli-Kakheti had been weakened as a result of endless battles, and perhaps this exhaustion is what led to what we discussed above. As a result of Rostom’s reign, Kartli seemed to survive complete extinction, although instead, we were left with an inept and irresponsible society which endured several more waves of widespread conformism (for example, during the rule of Vorontsov, Russia’s viceroy, as well as in the Soviet Georgia of the 1970s). We are the descendants of this very society.

Vakhtang Shatberashvili

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