კულტურა პლუს 4 (22) 2020

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4 (22) 2020 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 or zRvas Sua...

2

„leqsebs bednierebi ar weren“

12

qarTuli oqromqandakebloba

28

Rirseuli 34 mako-makine-mako?! 36 qarTuli saqmeebiT akinZuli istoria

50

xveulebi 66 nagazi 74 operatorobis „autaneli simsubuqe“ BETWEEN TWO SEAS...

84 2

“HAPPY PEOPLE DON’T WRITE POEMS”

12

GEORGIAN GOLDSMITHERY

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A CHAIN OF GEORGIAN EPISODES

50

SHEPHERD 74 THE “UNBEARABLE LIGHTNESS” OF BEING A CAMERAMAN 84

saredaqcio jgufi EDITORIAL STAFF xaTuna kereseliZe KHATUNA KERESELIDZE aleqsandre ServaSiZe ALEKSANDRE SHERVASHIDZE ekaterine CulaSvili EKATERINE CHULASHVILI ioseb feiqriSvili IOSEB PEIKRISHVILI revaz iukuriZe REVAZ IUKURIDZE

dizaineri DESIGNER nikoloz bagrationi NIKOLOZ BAGRATIONI

el-fosta: kulturaplusm@gmail.com facebook.com/kulturaplusm beWdva: Sps „sezani“ / Print: LTD Cezanne

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

garekanze: henrik hrinevski _ „balerina“ qaRaldi, akvareli, fanqari, 14,3X25,7 Cover: Henryk Hryniewski – 'Ballet dancer', pencil, watercolor on paper, 14,3X25,7

4 (22) 2020

or zRvas Sua... 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.

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 Temurlengis 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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4 (22) 2020

Between two seas...

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 years 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 the 21st of 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.

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. Transcaucasia was caught in the crossfire of this confrontation.

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4 (22) 2020

muco

MUTSO

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 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

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 Transcaucasia off Iran, whose power was then at its lowest ebb. On the 25th of June 1579, the 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, Transcaucasia 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 Vilayet Grand Registry Book was created to manage an Ottoman tax system in Georgia. To remain loyal to their religious faith, local people would flee Meskheti, seeking shelter in other regions of Georgia. The Georgians who were unable to leave their homes had either to keep their faith in Orthodox Christianity secret or to convert to Catholicism or Islam. From 1628, Akhaltsikhe came to be ruled by islamized Jakels assisting the Ottoman administration in every possible way to pursue its interests in Georgia.

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hujabi

HUJABI

4 (22) 2020

xerTvisi

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 mfarvelobiTi traqtatis mexuTe punqtis Tanaxmad ruseTi aRmosavleT saqarTvelos mefes erekle II-s oficialurad aRiarebda `samcxe-saaTabagos memkvidre mflobelad~ da valdebulebas iRebda pirveli SesaZleblobisTanave 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, aWara. pirveli msoflio omis dros (1914-18 ww.) ruseTis armiam osmaleTTan kavkasiis frontze warmatebul brZolebSi

KHERTVISI

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 all territories occupied by the Ottoman Empire to Georgia (this commitment, like many others, was never fulfilled). After the abolition of the Kingdom of Georgia in 1801, the 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 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 the 3rd of March 1918, Bolshevik Russia restored the border that existed prior to 1878, which entailed the transfer of a sizeable part of the Georgian territory (including the Okrugs of Batumi, Artvini, Oltisi and

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4 (22) 2020

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, 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.

xanZTa

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 Atatürk negotiated the treaty of Kars, which determined the border between Soviet Russia (and therefore Soviet Georgia) and the Ottoman Empire.

Three provinces of South Georgia, Achara (with autonomous status), Samtskhe, and Javakheti, remained within the borders of Georgia.

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 Dagestani khanates – to the north-east and the north. From the 18th century, while extending its range to the south, the Russian Empire under 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, Dagestani 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 Kak-Eliseni from King Alexandre II of Kakheti to the islamized Prince Vakhvakhishvili, thus laying the groundwork for the Elisu Sultanate. The islamization 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 Dagestani mountains began to populate the western part of KakEliseni. 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-

KHANDZTA

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4 (22) 2020

saqarTvelos SemadgenlobaSi sami provincia: aWara, samcxe da javaxeTi darCa, amasTan aWara avtonomiis garantiiT. samxreT saqarTvelos sakiTxi kidev erTxel 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 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 md. maWiswyalze daumtkica. Waris teritoria gadaiqca qarTlkaxeTze lekTa TareSis mTavar placdarmad. miuxedavad 1783 wels rusebTan dadebuli georgievskis traqtatisa, WarelTa problema verc erekle II-m gadawyvita. Warbelaqnis da elisus teritoria daRestnel feodalebs ekavaT. 1801 wels ruseTis imperiis mier saqarTvelos saxelmwifos gauqmebisa da qveynis sakuTar teritoriad

bedia

BEDIA

Belakani and Elisu remained seized by Dagestani feudal lords.

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, the Zaqatala Okrug was set up, which until 1860 remained under the control of the Tbilisi governor. With the introduction of military rule, however, the Zaqatala Okrug was merged with the 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, the military rule was lifted without, however, reinstating Zaqatala Okrug within the borders of the Tbilisi Governorate.

Article 107 of the first Constitution adopted on the 21st of February 1921 by the constituent assembly of the independent republic "grants 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 the 25th of 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 the 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

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4 (22) 2020

varZia

gamocxadebis 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 zaqaTalas mxaris gadacemiT, es mxare kidev ufro CamoaSora danarCen saqarTvelos. muslimuri garemocvis pirobebSi Seviwroebuli qarTveloba `TaTrdeboda~. marTalia, samxedro mmarTveloba 1883 wels gauqmda, magram zaqaTalas okrugi tfilisis guberniis SemadgenlobaSi aRar daabrunes.

1921 wels saqarTvelos damfuZnebeli krebis mier miRebuli konstituciis 107-e muxlis Tanaxmad:

VARDZIA

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: to the north, Georgia is abutted by the Main Caucasian Ridge. Territorial boundaries in this area were seldom subject to change. In ancient times, the current Sochi-Tuapse district was populated by Caucasian tribes – Jiks, which in the 11th-15th centuries, formed part of Georgia’s northwest region of 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

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4 (22) 2020

`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 dasamtkiceblad...

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 borCalos 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 dakarguli da

safara

complication was the Russian Empire’s colonization policy which ran the risk of either spiraling into the 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 the 5th of January 1919 runs as follows: "Georgian democracy acting on behalf of its government saved the population of the 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.’

SAPARA

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4 (22) 2020

CaJaSi

somxeTis sazRvars miadga. konfliqtSi didi britaneTis armiis amierkavkasiis sardloba Caeria, qarTuli jari SeaCera da lore Suaze gaiyo. saqarTveloSi bolSevikebis Semosvlis Semdeg lore-bambaki 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 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

CHAZHASHI

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 qalaq 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

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4 (22) 2020

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 rsfsrsTan. 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. 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), 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.

On the 29th of 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, Ingush, Karachay 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 Chechen-Ingush 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.

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 the 21st of March 1921, the Georgian Revolutionary Committee adopted a declaration recognizing the independence of Abkhazia.

The Bolshevik session held in Batumi on the 9th of 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 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 the five Mazras (districts) of Kodori (center – Ochamchire), Samurzakano (Gali), Gumista (Sokhumi), Gagra (Gagra) and Gudauta (Gudauta).

The Autonomous Soviet Socialist Republic of Achara was set up by the Georgian Revolutionary Committee Decree of the 16th of July 1921, on the basis of the Kars treaty concluded between Russia and Turkey on the 16th of 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 the 20th of April 1922, establishing the South Ossetian Autonomous Region, which consisted of the Gori and Dusheti Mazras, which comprised fourteen communities.

Despite stiff resistance from National-Uklonists (deviationists), Tskhinvali was made the administrative center 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, the latter with a population of over 20,000 Georgians and 1,100 Ossetians, to the south.

Written protests of ethnic Georgians trapped within the borders of the newly-created region fell on deaf ears.

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4 (22) 2020

vin grZnobs, ra mware tkivili maxlavs, gamqrala Cemi yrmobis sofeli, dedi, rogori marto xar axla, arc salmis mTqmeli, arc mezobeli. dedi, ra martos gaTovs da gawvims, TvalSi sinaTlem rogor ibinda, kidev kargi, rom ver xedav, karwin balaxi rogor amobibinda. mklavs, veRar viTvli daCneul bzarebs, gulma saSveli saiT monaxos... dedi, viRaca ucxoa gareT da oRond kari ar gamoaRo.

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4 (22) 2020

stumrad ia anTaZesTan... manana CitiSvili

„leqsebs bednierebi ar weren“ Manana Chitishvili

“HAPPY PEOPLE DON’T WRITE POEMS” qalbatono manana, Tu arsebobs adamiani, romelic ukeTesad igrZnobda Tavs, Tqven rom mis cxovrebaSi ar yofiliyaviT? aseTi adamiani ar meguleba. SeiZleba arsebobdes, magram me ar vici. arasodes mqonia urTierToba iseT adamianebTan, romlebisTvisac arasaWiro da arasasurveli viqnebodi. avi da boroti ki, araTu aravisTvis Camidenia, arcki misurvebia. vin aris is adamiani, visac pirvels mimarTavT, an vinc pirveli gaxsendebaT, roca raime giWirT? ra Tqma unda, ojaxi, Cemi Svili da meuRle. roca fizikurad raime miWirs _ da es iSviaTad ar xdeba Cems cxovrebaSi _ pirvel rigSi, mainc Cemi Svili maxsendeba.

Tu gaqvT midrekileba, rom Tqveni mogonebebi, Tundac, maTi nawili, dablokoT? Tu, piriqiT, mogonebebi Tqveni STagonebis erT-erTi wyaroa? nebismieri adamianisTvis mogonebebis erTi nawili Zalian sasiamovnoa da SeiZleba iyos meore nawili _ arasasiamovno. piradad me usiamovno mogonebebi ufro xSirad maxsenebs Tavs. imitom, rom adamianis suls da, gansakuTrebiT, albaT, Semoqmedis suls, cxovlad aCndeba is STabeWdileba, rac mtkivneulad mogdevs warsulidan.

SeiZleba arian adamianebi, romlebic advilad iviwyeben wyenas, me advilad daviwyeba ar SemiZlia, magram SemiZlia, vapatio.

Tu wyena mogyvebaT? diax. gansakuTrebiT mkveTrad maSin maxsovs Zveli ambavi, mec Tu raimeSi viyavi damnaSave. Cemi Tavis patieba ar SemiZlia. warsuli xSirad sakuTari Tavis gansasjelad mibrundeba _ raSi viyavi damnaSave da ra ar unda gavimeoro awmyoSi an momavalSi.

Mrs. Manana, is there someone who would have felt better if you had not been present in their life?

I don’t know of such a person. They might exist, but I don’t know about it. I was never close to people for whom I wouldn’t be helpful or yearned. I have never even thought of being evil or malevolent, let alone carried out such acts.

Who is the person you address or remember first when you need something?

Naturally, my family, my child and husband. When I am not well physically – and unfortunately, this isn’t a rare occurrence in my life – the first person I remember is always my child.

Do you sometimes wish you could block your memories, or at least part of them? Or is it the contrary, are your memories one of your sources of inspiration?

Part of the memories of any person are very pleasant, and there can be another part that is unpleasant. Personally, unpleasant memories come to me more often. Because to the soul of a person, and perhaps especially the soul of a creator, the impressions that have caused pain in the past are more vivid than others. There might be people who can easily forget grievances – I cannot forget easily, but I can forgive.

Do you still think about grievances?

Yes. I remember old stories especially well if I was one of the culprits. I cannot forgive myself. The past often comes back to me so that I can put myself to trial, and analyze what I did wrong and shouldn’t repeat in the present or future.

You have said that you used to think your father had somehow been punished by God, because he had a daughter who wrote poetry. There wasn’t any tradition or culture of poetry where you grew up. You said that they used to make fun of poems. Kids your age didn’t understand you either. Moreover, your passion for

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4 (22) 2020

naTqvami gaqvT, mamaCems egona, raRacis gamo RmerTma dasaja, raki aseTi _ leqsebis mwerali Svili hyavdao. iq, sadac Tqven izrdebodiT, ar iyo leqsis tradicia, leqsis kultura. leqsi dasacini iyoo, ambobT. Tanatolebsac ar esmodaT Tqveni. Tan, leqsis weriT gataceba Tqveni gardatexis asaks daemTxva (13 weli). rogor aisaxa Tqvenze is faqti, rom Tqvens gatacebas ar iziarebdnen arc mama da arc Tanatolebi? amas argaziareba ar erqva. maTTvis es sruliad ucnobi samyaro iyo. leqsis Semqmneli adamiani arasodes enaxaT da es raRac ucnaurobis, aranormalurobis gamovlena egonaT. mamaCemi dawyebiTi skolis maswavlebeli iyo, mkacrad SemozRuduli moraliTa da sakmaod mkacri Sinagani kanonebiT. me kidev am kanonebidan gaqcevas vcdilobdi. sul rom am sazRvrebidan gasvla mindoda, misTvis gaugebari iyo da, Zalian xSirad, konfliqtamdec ki mivdiodiT. axla kargad mesmis, yvelas ar SeuZlia poeziis aRqma. maSin ki Zalian ganvicdidi. roca leqss wer, ginda, Sens yvelaze axloblebs, Seni ojaxis wevrebs waukiTxo, gauziaro, rac me ar SemeZlo. Tumca, es periodi didxans ar gagrZelebula. pirveli leqsebi merve klasSi davwere da male saswavleblad kaspis saSualo skolaSi gadavedi, sadac Zalian kargi qarTulis maswavlebeli myavda _ nino kitriaSvili. pirvelad misgan vigrZeni, rom, Turme, leqsis wera raRac gansakuTrebuli da Zalian kargi yofila, da ara _ cudi. axla mikvirs, rogor gavuZeli im situacias. 13 wlis asakSi Zalian Zneli gasaZlebia _ leqsis weras Tavi ar daanebo, roca yvelaze axloblebi Seni weris unars da survils araseriozulad uyureben; roca Tanatolebi dagcinian am leqsebis gamo. madlobeli var Cemi Tavis, rom amas gavuZeli! ojaxi rodis Seegua im ambavs, rom Tqveni cxovrebis mTavari saqme leqsis weraa? pirveli leqsebi raionul gazeTSi gavgzavne. rasakvirvelia, megona, mipasuxebdnen, rom ar varga. leqsebi rom daibeWda, amas didi gaoceba mohyva Cemi mSoblebisa da Cemi garemos mxridanac. Semdeg, roca kaspis skolaSi gadavedi, mxolod Cemi qeba esmodaT da raRacnairad Seeguvnen. rom giTxraT, Cemi poezia an poeturi sfero saaxloblo wrisTvis Tundac dRes gasagebia-meTqi, marTali ar viqnebi. saaxloblo wre _ qsnis xeobidan?

Svidi weli vimuSave axalgoris raionul gazeTSi redaqtoris moadgiled. maSin es sakmaod mniSvnelovani Tanamdeboba iyo da swored am Tanamdebobis gamo sazogadoebasTan iseTi urTierTobebi Camomiyalibda, rac pativiscemas da aRiarebas uaxlovdeboda. magram, rom giTxraT, iq Cemi leqsebi vinmes didad ainteresebda-meTqi, aseTi, albaT, erTi-ori Tu iqneboda. Semdeg, roca iqidan

writing poetry coincided with your adolescence, as you were 13 years old. How did you overcome the fact that neither children your age nor your father shared your passion?

It was more than just not sharing a passion. To them, it was a completely unknown world. They had never seen someone who wrote poetry, and they thought it was something strange, something that was not normal. My father was a schoolteacher, with a strictly defined moral code and harsh personal rules of life. As for me, I was trying to escape from these rules. He couldn’t understand that I always wanted to get out of the limits imposed in my life, and this would often lead to conflicts. Now, I understand very well that not everybody can appreciate poetry. But at that time, it was very difficult. When you write a poem, you want to read it to the people who are close to you, to share it with your family, and I could not do that. But these conditions would not last long. I wrote my first poems in the eighth grade, and I soon moved to the Kaspi middle school, where I had a wonderful Georgian language teacher – Nino Kitriashvili. It is with her that I felt for the first time that writing poetry was something very special and valuable, and not something bad and strange. I am still wondering how I managed to endure that situation. It is very difficult, when you are 13 years old, to not stop writing when the people who are the closest to you do not look at your talent and wishes seriously, when your peers make fun of you because of these poems. I am thankful towards myself that I managed to endure that!

When did your family finally accept that poetry was the most important thing in your life?

I sent my first poems to the regional newspaper. Of course, I thought that they would tell me that they weren’t any good. When my poems were published, both my parents and my peers were very surprised. Afterwards, when I moved to the middle school of Kaspi, they heard only praises of me, and somehow, they got accustomed to it. I wouldn’t be right if I told you that my poems, or poetry in general, are well understood among my friends and family – even today.

Your friends from the Ksani Valley?

I worked for seven years at Akhalgori’s regional newspaper, as the editor’s assistant. Back then, this was a quite prestigious position, and this is precisely why I established relations that could be considered as getting close to respect and acknowledgment. But I couldn’t tell you that my poems really interested someone there – there might have been one or two such persons at most. Then, when I left that place, started living in Tbilisi, and my poems were systematically published, when interviews and praiseful articles were written about my works, when I was quite often invited to TV and radio shows, they suddenly all became close friends.

Who do you mean?

The population of the Ksani Valley. I became praiseworthy, even an example to follow.

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4 (22) 2020

wamovedi, TbilisSi daviwye cxovreba da Cemi leqsebi ukve sistematurad ibeWdeboda, roca qveyndeboda interviuebi da saqebari werilebi Cems Semoqmedebaze, roca sakmaod xSirad miwvevdnen tele da radio gadacemebSi, maSin gavxdi Sinauri da misaRebi.

Sinauri visTvis gaxdiT? qsnis xeobis mosaxleobisTvis; saamayo da, erTgvarad, misabaZic ki. imis miuxedavad, rom Zalian axalgazrdam gamoeciT pirveli wigni (25 wlis iyaviT) da pirvelive wigniT gaxdiT mweralTa kavSiris wevri (rac uiSviaTesi SemTxveva iyo), mainc gagyvaT sityvis da qaRaldis SiSi. nodar dumbaZisTvisac ki gagimxeliaT am SiSis ambavi. iyo Tu ara SiSi realuri mizezi, ris gamoc, mogvianebiT, leqsebis wera SewyviteT? vici, Tqven TqviT, Svils vzrdidi da leqsisTvis ar mecalao, magram warmoudgenelia, rom Svilis gamo wlebis ganmavlobaSi aRaraferi dageweraT. 13 wlis iyaviT da maSin ar SegSinebiaT. am didi pauzis realuri safuZveli mainteresebs. wigni rom gamosacemad mivitane, arcki vicodi, sad iyo gamomcemloba „merani“. Cemda sabednierod, pirveli, vinc gamomcemlobaSi Semxvda, gamomcemlobis mTavari redaqtori, CemTvis maSin sruliad ucnobi jansuR Rvinjilia gaxldaT. baton jansuRs vuTxari _ isedac mrcxvenia, rom galaktionis Semdeg leqsebis wera daviwye; Zalian gTxovT, male miTxariT, am wignidan rame Tu gamova-meTqi. erTi kviris Semdeg misgan werili miviRe axalgorSi: vnaxe Seni leqsebi, wigni gamocemas imsaxurebs, oRond, dalageba sWirdebao. am wigns sakmaod kargi gamoxmaureba mohyva. saidan ar mwerdnen, Soreuli gadasaxlebidanac ki. erT-erTi werilis avtori ase mommarTavda: „Cemo miwa-wyalo!“ iseTi pasuxismgebloba iyo CemTvis es frazebi da es damokidebuleba... rac Seexeba saubars baton nodarsa da Cem Soris, es gvian Sedga, 1984 wels. batonma nodarma daarekvina axalgorSi, Camovideso. rom Camovedi, mkiTxa, maiakovskis premiis konkursSi ratom ar monawileobo. me vuTxari, rom ar maqvs iseTi leqsebi, romlebic maiakovskis premiisTvis gamodgebameTqi. vicodi, rom publicisturi xasiaTis masala unda yofiliyo. imis miuxedavad, rom raionul gazeTSi partiul ganyofilebas vxelmZRvanelobdi, partiul elitasTan urTierToba ar mainteresebda, Tumca, saamisod yvela piroba mqonda _ ojaxuric, samsaxurebrivic. anu kompartiis wevri iyaviT? rasakvirvelia. amas Cemi samsaxuri iTxovda. ar vambob, rom im periodis mrcxvenia. albaT, im periodis imas unda rcxvenodes, visac raime Seucodavs. axla bevrs hgonia, rom vinc komunistur periodSi icxovra, yvela

Despite the fact that you published your first book at the very young age of 25, and that you became a member of the Writers’ Union with your very first book (which was very rare), you were still afraid of words and paper. You even told Nodar Dumbadze about this fear. Was this fear the reason why you stopped writing poetry? I know that you said that you were raising your child and had no time for poetry, but it is hard to understand why you would not write anything in years because you were raising your child. You were not afraid when you were 13 years old. I am interested in the real reasons behind this long pause.

When I brought this book to be published, I didn’t even know where the publishing house ‘Merani’ was located. Luckily for me, the first person I met at the publishing house was its editor-in-chief, Jansugh Ghvinjilia, who was completely unknown to me at that time.

I told Mr. Jansugh – “I am ashamed of writing poetry after Galaktioni anyway, so I beg you, tell me quickly if something can come out of this book.” One week later, I received a letter from him in Akhalgori: “I read your poems, the book deserves to be published, though it needs some tidying up.” This book was quite well received. People wrote me from everywhere, even exiled people from far-away places. The author of one of the letters was addressing me in the following way: “My soil and water!”. These letters and this attitude were making me feel a great deal of responsibility... As for the conversation I had with Mr. Nodar, it took place later, in 1984. Mr. Nodar made someone call in Akhalgori to tell me to go meet him. When I arrived, he asked me why I was not taking part in the Mayakovski Competition. I told him that I don’t have poems that could compete for the Mayakovski prize, because I knew that it needed to deal with current affairs. Despite the fact that I was heading the communist party’s department in the regional newspaper, I wasn’t interested in deepening relations with the party’s elite, though I had every condition for that – both in terms of family and in terms of position.

So you were a member of the communist party?

Of course. It was necessary in order to get my job. I’m not saying that I am ashamed of this period. Perhaps those who should be ashamed of that period are those who did something bad. Today, many people think that all the people who lived in the communist period shared the communist ideology. If it were the case, it would also show in my poetry. I told Mr. Nodar that I could not take part in that competition. And with his usual humor and humanity, he told me that even Michelangelo’s masterpieces were made to order; “I give you two weeks, no restrictions concerning the subject, write what you want” – he said. He called right away in the ideological department of the Central Committee of the communist party, and made them postpone the deadline of the application for two weeks. I wrote a series of poems titled ‘Spring in Ksani’. These poems were very far from any ideology. When I brought them to Mr. Nodar, he liked them very much, but he said that they needed one more poem, one that would take the rest with it like a locomotive. I told him that I could not write such a poem, and he quickly answered: “If war erupted

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4 (22) 2020

komunisturi ideebiT iyo gamsWvaluli. ase rom yofiliyo, es Cems poeziaSic gamoCndeboda. baton nodars uari vuTxari, am konkursSi monawileobas ver miviReb-meTqi. man ki Cveuli iumoriTa da adamianurobiT miTxra, TviT miqelanjelos Sedevrebic ki SekveTiT aris Seqmnili; or kviras gaZlev, Tematurad ar gzRudav, rac ginda, dawereo. maSinve dareka cekas ideologiur ganyofilebaSi da sakonkurso masalebis wardgenis vada ori kviriT gadaawevina. me davwere leqsebis cikli „gazafxuli qsanze“. es leqsebi Zalian Sors iyo ideologiisgan. roca baton nodarTan mivitane, Zalian momiwona, oRond, miTxra, amaT kidev erTi leqsi sWirdeba, romelic lokomotiviviT waiyvans danarCenebso. vuTxari, aseTi leqsis dawera ar SemiZlia-meTqi da uceb mpasuxobs: axla rom omi daiwyos, Cemi Taoba ki aRar wava omSi, Seni Taoba unda wavides da es ar gaRelvebs, ar gifiqria amazeo? gamecina. 1984 wels rogor warmovidgendi, rom Cven oms vnaxavdiT? fexiT movdivar maCablis quCaze da vfiqrob: „ra saocari adamiania, ranairad momiara _ ris omi? ra omi?“ magas ra damajerebda, rom omsac vnaxavdi da es omi Cems sofelSic ki movidoda. rac Seexeba imas, Tu ratom Sevwyvite wera, ver getyviT. albaT, mTlad marTali ar var, roca aqcenti Cems Svilze gadamaqvs. amgvari `Sesvenebidan“ raRac periodi rom gadis, iseTi SegrZneba da SiSi miCndeba, TiTqos, leqsi arasdros damiweria. ram gamomiyvana am erTgvari leTargiidan? Tamaz WilaZem, romelsac Soridan vicnobdi, Tumca, Zalian did pativs vcemdi da misganac amasve vgrZnobdi, damireka da mTxova, iqneb, leqsebi momawodo „mnaTobisTviso“. ver vuTxari, leqsebs aRar vwer-meTqi. imdenad didi iyo Tamaz WilaZisadmi Cemi mokrZaleba da pativiscema, rom aman amaRebina xelSi kalami meored. TiTqmis, aTi weli iyo gasuli, rac siCumis Sualedi mqonda. amas Zalian ganvicdidi, magram Tavs veRar vaRwevdi. mcdelobac ar gqoniaT? ara. survilic ar mqonda. axlac maqvs iseTi periodebi, roca kvirebi da Tveebi gadis im SegrZnebiT, TiTqos, leqsi arasdros damiweria. am xangrZlivi pauzis Semdeg leqsis wera rom daiwyeT, Tqven ambobdiT, sxvanairi davibadeo _ ufro Tamami sityvasTan da qaRaldisac aRar meSinoda; TiTqos, sulic gamiTavisuflda sikvdilis SiSisgano. am Tqvens SemoqmedebiT gaZlierebaSi igulisxmeba Tu ara is periodi, rodesac janmrTelobis seriozuli problema gqondaT da realurad ibrZodiT sicocxlis gadasarCenad? sikvdilis SiSi axseneT da amas amitom gekiTxebiT. (pauza) me ar miyvars erT Temaze laparaki, magram axla getyviT. Cemi es xangrZlivi pauza, ZiriTadad, gamoiwvia iman, rom me bavSvi gardamecvala, gogona.

right now, my generation will not go to war, your generation has to go; aren’t you nervous, haven’t you thought about this?”. I laughed.

How could I, in 1984, have imagined that we would live a war? I was walking on Machabeli street and thinking: “What a special person he is, he took such good care of me... But what war?”. I could not imagine for one second that I would live to see the war, and that this war would even reach my own village. As for why I stopped writing, I cannot really answer you. Perhaps I am not completely right, when I say it was because of my child. When I have such a pause for a period of time, I have the feeling and fear that I have never really written poetry. What brought me out of this sort of lethargy? Tamaz Chiladze, whom I didn’t know very well but respected very much, called me and asked me to provide him some poems for his ‘Mnatobi’. I couldn’t tell him that I didn’t write poems anymore. My esteem and respect towards Tamaz Chiladze were so great that it made me take a pen in my hand for the second time in my life. It had been almost ten years that I hadn’t written poetry. It was a difficult time for me, but I just couldn’t do it.

You didn’t even try?

No. I didn’t even want to try. I still have such times, when weeks and months go by with the feeling that I have never really written poetry.

After this long pause, when you started writing poetry again, you said that you were reborn, and different – “Bolder with words, and not afraid of paper anymore; as if my soul had gotten free from the fear of death.” In this creative strengthening, do you also mean the period when you suffered a serious illness and were fighting for your life? I am asking you this because you mentioned a “fear of death”. (pause) This is something that I don’t like to talk about, but I will tell you. This long pause of mine happened because I lost a child, a little girl. At that time, I thought that my whole life was finished.

I couldn’t get out for a year. I wasn’t carrying out any kind of ritual by this, I just didn’t have any wish to enter into contact with anyone, or to get out. This episode has strongly influenced my life.

Afterwards, when I started writing poems again, I gradually gained some experience, and this led to a different approach to words.

When I was young, I thought that poems were something fun, because they were making me very happy, and by writing poems, I would offer myself this happiness. It was even difficult for me to take money for that. I had the feeling of selling a child of mine. I thought that the happiness provided by the poems themselves were more than enough, and that I shouldn’t trade this happiness.

This feeling followed me for a very long time. Then, little by little, came the feeling of responsibility, a more serious approach to words. I declared myself a poet quite late. I was probably older than 40, when I understood that poetry was a very serious thing to me.

But I was responsible towards words at all ages. I don’t remember making things easier, I was always looking for the unique word that best represented what I had to say.

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4 (22) 2020

yivCaRis kidev erTi gaxseneba

leqsebs vkiTxulob

qsani _ minanqris lurji tixari,

RmerTo, mommadle moTmenis niWi,

alvaze bude, rogorc beWedi...

dambade mwyemsad anda _ qviTxurod,

oRondac axla mainc miTxari _

gTxov, mapatio, me roca miWirs,

metrfe iyav Tu... xifaTs eZebdi.

locvebis nacvlad leqsebs vkiTxulob.

nel-nela qreba mTebze naTeli,

idga dari Tu grigals mivqondi,

SoriT moismis afTris xarxari...

sul mwamda, ucxo napirs vnaxavdi,

Tumc arasodes iyo qarTveli

ver daviurve mainc striqoni,

mtris ucabedi da unaxavi.

ver movixade leqsis saxadi.

magram suyvela Jamma waxveta

nurvin CamiTvlis survils augad,

da daviwyebis nisli dahxura,

mudam mlocveli viyav am miwis,

Sen vin iyavi iseTi netav,

ra vqna, Tu iis eSxma dambuga,

drom rom aqamde ver gagaxuna.

broweulebis cecxlSi daviwvi.

eg guli qarTul xmaliT damiwda

qari rom nislis bairaRs gaSlis,

Cauqro yvela survil-vnebani

gulo, dardiT nu damexurebi,

da mainc dRemde ver daaviwya

Sors varskvlavebi brwyinaven caSi,

qarTvels SuRli da jibri Sendami.

rogorc iesos nafexurebi.

kidev aTas wlebs leqsSi damicdi,

RmerTo, mommadle moTmenis niWi,

Tumc Seni trfoba albaT meZraxvis,

dambade mwyemsad anda _ qviTxurod,

magram muxranTan var da ar vici,

gTxov, mapatio, rom roca miWirs,

qari ustvens Tu... kvlav Sen meZaxi.

locvebis nacvlad leqsebs vkiTxulob.

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4 (22) 2020

maSin megona, rom CemTvis cxovreba damTavrda. erTi weli gareT gasvla ver SevZeli. amiT raime rituals ki ar vasrulebdi, ubralod, aranairi survili ar mqonda arc kontaqtis, arc gareT gasvlis. am ambavma Zalian didi kvali datova Cems cxovrebaze. mere, roca leqsebis wera Tavidan daviwye, nel-nela movida es gamocdileba, sityvisadmi sxva damokidebuleba gamomimuSavda. roca axalgazrda viyavi, megona, rom leqsi gasarTobi iyo, radgan Zalian did bednierebas maniWebda da leqsis weriT sakuTar Tavs vCuqnidi am bednierebas. honoraris aRebac ki miWirda. TiTqos, Svili gageyida, iseTi gancda mqonda. megona, rom is bedniereba, rasac leqsi maniWebda, sruliad sakmarisi iyo da am bednierebiT ar unda mevaWra. Zalian didxans gamyva es gancda. mere TandaTan movida pasuxismgeblobis SegrZneba, sityvisadmi seriozuli damokidebuleba. sakmaod gvian vTqvi, rom me var poeti. albaT, ukve 40 wels viqnebodi gadacilebuli, roca mivxvdi, rom leqsi Zalian seriozuli saqmea CemTvis. magram sityvisadmi pasuxismgebloba yvela asakSi mqonda. ar maxsovs, rom saqme gameiolebina, yovelTvis im erTaderT sityvas veZebdi, romelic yvelaze zustad gamoxatavda Cems saTqmels. cxovrebaSi Zalian Tavmdabali xarT, amas yvela xazgasmiT aRniSnavs. magram, rogorc poeti, Zalianac Tamami da Zalauflebis moyvaruli xarT. amaSi maSin davrwmundi, roca TqviT: „leqsi ase movida _ gamarTleba ar aris. leqsi unda wavides Cemgan ise, rogorc me minda. Sen rogorc ginda, ise unda wavides Sengan da ara ise, rogorc movida.“ riT gansxvavdeba leqsi, romelic movida da romelic Tqvengan wavida? jer erTi, Zalian madlobeli var imis gamo, rom qsnis xeobaSi gavizarde. Cems leqsikas mTlianad am xeobas vumadli. Cems bavSvobaSi, saRamoobiT, qalebi ikribebodnen xolme CvenTan. qalur xelsaqmes akeTebdnen, Tan aTas rames yvebodnen. zogi mainc iseTi xatovani mTxrobeli iyo, rom ityodi, Tavisi moyolili ambis Semswre ariso. CemTvis es qarTuli sityvis didi skola aRmoCnda. faqtobrivad, Cemi leqsika im periodSi Seiqmna da Camoyalibda. xandaxan SeiZleba leqsi ise movides, rom arafris Secvla aRar dagWirdes. magram iqac ki veZeb, xom ar SeiZleba romelime sityvis Canacvleba, rom Cemi gancda ufro zustad gamovxato. uamrav variants vsinjav, magram am variantebs ar vinaxav, ar minda, ucxo Tvalma naxos. elioti ambobs, Tu qveyanas ar hyavs mniSvnelovani poeti, es Zalian SemaSfoTebelia imitom, rom poetia Tavisi kulturis da enis patronio. es gaazrebuli ar mqonda, ar vicodi, enis patroni var Tu ara, magram vicodi, rom is sityvebi, romlebic Cemi winaprebisgan miviRe, cocxali saxiT unda Semomenaxa.

Everybody insists that you are a very modest person. But as a poet, you are very bold, and you like the power you enjoy. I am saying this because you once said: “The poem just came like this – there is no explanation. The poem needs to get free of me in the way I want. It needs to come out of you the way you want, and not the way it came to you.” How does the poem that comes to you transform into the one that comes out of you?

First of all, I am very grateful that I grew up in the Ksani Valley. My whole vocabulary comes from this valley. In my childhood, during the evenings, women would gather at our place. They were practicing some crafts, and at the same time, telling thousands of stories. Some of them were such talented storytellers that you would see the stories they told happen before your eyes. This was a great place for me to learn Georgian words. I practically established and developed my vocabulary during that time. Sometimes, poems can come to you in a form that does not require any change. But even then, I always search for a better word in order to better describe my feelings. I try numerous variants, but I do not keep them, as I do not want someone to read them. Eliot says that if a country doesn’t have an important poet, it is very alarming, because the poet is the guardian of its culture and language. I had not thought about that, I did not know if I was a guardian of my language or not, but I knew that I had to preserve and keep the words that my ancestors had transmitted to me alive.

Could we return to what comes to you and what comes out of you? Is there something else involved than working on words?

Perhaps no poet can explain from where a poem comes to them.

Sometimes, when I read my poems, I am surprised myself at how I wrote them. There really is some supernatural force dictating them, perhaps the Holy Spirit. Sometimes, the poem can be so unusual and good that they do not require to be changed at all. But in most cases, you have to adapt them to your taste. I don’t need much time to create an outline, but even when I have an outline and I know what I need to write, I work a very long time on the means of conveying my message.

When we had him as a guest, Giorgi Lobzhanidze told us: “Poets feel what needs to happen in societies in advance. I mean the internal state of poets, when they can perceive many things in a way that makes them access the future”. Now, I will ask you to read me your poem ‘Call’, which was written, as strange as it might sound, before the 2008 war.

I know no more who or how to curse, /foreign gnats have invaded Ksani and Aragvi, /Kartli, like my worsted mother, /is resting on my abraded knee. /Next to it is a silver amulet, /I divert my eye from the shattered, blunt dagger, /“Where, where have the lands gone?!” / Someone calls me from the other side, with a weeping voice. /This voice is arguing with thousands of hearts like mine, /sometimes we hear the bell of wrath, sometimes the bell of grief: /“Who acquired these worthy meadows and waters, /bestowed by reverence towards

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4 (22) 2020

imas rom davubrundeT, ra modis TqvenTan da ra gadis Tqvengan. aris kidev raime sxva, sityvebze muSaobis garda? albaT, vercerTi poeti ver axsnis, saidan modis masTan leqsi. xandaxan, roca Cems leqsebs vkiTxulob, me TviTon mikvirs, rogor davwere. marTla aris zebunebrivi Zala, Tundac, suliwminda davarqvaT, vinc amas gkarnaxobs. xandaxan leqsi imdenad uCveulo da kargia, rom arafris Secvlas ar iTxovs. magram, umetes SemTxvevaSi, is Sens gemovnebas unda moargo. monaxazis Sesaqmnelad didi dro ar mWirdeba, magram maSinac ki, roca es monaxazi arsebobs da isic vici, ra unda davwero, gadmocemis saSualebebze mainc Zalian didxans vmuSaob.

CvenTan stumrobisas giorgi lobJaniZem Tqva: „poeti aris winaswar mgrZnobeli imisa, rac sazogadoebaSi unda moxdes. vgulisxmob poetis Sinagan mdgomareobas, rodesac mas SeuZlia bevri ram ise aRiqvas, rom momavali dainaxos.“ axla gTxovT, wagvikiTxoT Tqveni leqsi „gadaZaxili“, romelic, rac ar unda saocari iyos, 2008 wlis omamdea dawerili. aRar vici, vin an rogor SevaCveno, qsans da aragvs ucxo mumli misevia, qarTli, rogorc garozgili dedaCemi, gadatyaul muxlisTavze misvenia. gverdiT midevs vercxlisferi amuleti, Tvals varideb gadamtvreul, pirblagv maxvils, `ra uyaviT, ra uyaviT mamulebi?!~ tirilis xmiT viRac gaRmiT gamomZaxis. es xma aTas CemisTana gulTan daobs, xan mrisxanebs, xanac glovis ismis zari: `vis mieciT es wyal-Wala saigavo, uflisagan sasoebiT naboZvari?!~ amobrwyindi, mzeo, Ramis gamTenebo, Cven Tu ara, sxva vin Secvlis amgvar aminds... gaiRviZeT, gaiRviZeT qarTvelebo! damdgaria tanze Taflis wasmis Jami. aRar vici, vin an rogor SevaCveno, qsans da aragvs ucxo mumli misevia, qarTli, rogorc garozgili dedaCemi, gadatyaul muxlisTavze misvenia. didi madloba. am leqsSi winaswar aRwereT is, rasac Semdeg 2008 wlis agvistos omi daerqva. sxva drosac Tu gqoniaT SemTxveva, roca winaswar daginaxavT, an SegigrZvniaT momavali? es leqsi 2008 wlis maisSi gamoqveynda, oRond, im wlis adre gazafxulze daiwera da, saerTodac, im droidanve, rac qarTul mwerlobaSi Semovedi, saocari SfoTis da SiSis gancda sul damyveboda. ver getyviT, ra SfoTi iyo, ra mters vvaraudobdi, magram es usiamovno gancda arasdros ar mtovebda. msgavsi winaTgrZnoba meored mqonda, roca mZimed avad viyavi. TbilisSi miTxres, rom

the Lord?!” /Shine anew, Sun, illuminator of the night, /If not us, who will change such weather… /Wake up, wake up, Georgians! /It is time to cover our bodies with honey. /I know no more who or how to curse, /foreign gnats have invaded Ksani and Aragvi, /Kartli, like my worsted mother, /is resting on my abraded knee.

Thank you very much. In this poem, you foretold what would later be called the 2008 August war. Were there other times when you predicted or guessed what would happen in the future?

This poem was published in May of 2008, but it was actually written in the spring of 2007, and in general, since the very beginning of my entrance into Georgian writing, I have always been accompanied by a feeling of nervousness and fear. I couldn’t tell you the reason behind the nervousness, what kind of enemy I was imagining, but this unpleasant feeling was following me everywhere. I had the same kind of premonition another time, when I was very ill. In Tbilisi, they told me that I had very small time left. Then, I flew to Israel to be treated. When I kneeled next to the grave of Jesus Christ and put my head on the stone, I knew right away that I wouldn’t die. They weren’t expecting me to survive my illness in Israel either. I wasn’t young anymore, had diabetes, and many other things... Nobody could guarantee that I would live. But I knew it, I was completely sure that I would live. My brother sometimes tells me that I am a magician. I am not a magician, but someone who uses her wits and by this, manages to forecast some events. But sometimes, wits aren’t part of the process at all. Poets don’t know from where poems come to them, do they? It is probably the same source behind the faculty of foreseeing events. If these poems were coming from me, I would always have been capable to write poems. Why is it that during some period of time, you can, and then suddenly, you cannot? Because that “something” is standing with its back towards you.

They sometimes make fun of poets: “He cannot write anymore”, or “He started writing bad poems”. This depends not on one’s talent, but on this “something” that provides you with these poems. Two remarkable things took place before my own eyes, and these were the writing processes of Grigol Abashidze’s last poem ‘Towards non-existence’, and Vakhtang Javakhidze’s poem ‘Necklace’. At an age when it would seem that writing a poem would be difficult, or that one shouldn’t be able to write as well as in former years, these two authors managed to overcome themselves, and to create poems that were almost more elevated than those of their prime. I couldn’t say that Vakhtang Javakhadze himself knows how his poem ‘necklace’ was born. When this poem was printed for the first time and I was reading it, I had to put the newspaper away a few times. It was so strong that I couldn’t bear it.

You have lived in Akhalgori for many years. Personally, I don’t know anything about this town, and I’m sure that I’m not the only one. Akhalgori probably became much more appreciated after we were hindered from going there. What was your attitude towards Akhalgori, and what was Akhalgori’s attitude towards your family?

Before the war, I would rarely meet a person who even knew where

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4 (22) 2020

Zalian cota dro mqonda darCenili. Semdeg samkurnalod israelSi wavedi. roca macxovris saflavTan daviCoqe da qvas Tavi davade, im wuTidan vicodi, rom ar movkvdebodi. arc israelSi hqonda vinmes didi imedi, rom Cems avadmyofobas gadavitandi da gadavrCebodi. damatebiTi safrTxe iyo asaki, diabetiT daavadeba da kidev uamravi sxva ram... sicocxlis garantias veravin maZlevda. magram me vicodi, sruliad darwmunebuli viyavi, rom vicocxlebdi. Cemi Zma metyvis xolme, jadoqari xaro. jadoqari ki ar var, cota Wkviani var da SemiZlia, zogierTi ram winaswar ganvWvrito. Tumca, zogjer Wkua amaSi arc monawileobs. poetma xom ar icis, ra Zalas mohyavs masTan leqsi. albaT, is Zala aZlevs momavlis winaswar ganWvretis unarsac. es leqsebi Cemgan rom modiodes, maSin yovelTvis SevZlebdi, leqsi damewera. ratom aris, rom es erT periodSi SegiZlia da meorejer _ aRar? imitom, rom is `viRac“ am dros Sengan zurgSeqceviT dgas. damcinavad ityvian xolme poetze: „leqsebs veRar wers“ an „susti leqsebis wera daiwyo“. es Semoqmedze ki ara, im Zalazea damokidebuli, vinc leqsebs `gawodebs“. Cems Tvalwin moxda ori saocreba: daiwera grigol abaSiZis ukanaskneli leqsi `aryofnisaken“ da vaxtang javaxaZis „yelsabami“. am avtorebma im asakSi, roca, TiTqos, leqss Znelad, an im simaRliT veRar unda werde, Tavis Tavs ajobes, TiTqmis sakuTar Semoqmedebaze aRmatebuli leqsebi Seqmnes. ver vityvi, rom TviT vaxtang javaxaZem zustad icis, rogor daibada „yelsabami“. roca es leqsi pirvelad daibeWda da vkiTxulobdi, gazeTi ramdenjerme gadavde. ver vuZlebdi, iseTi Zalis leqsia.

Tqven wlebis ganmavlobaSi axalgorSi cxovrobdiT. piradad me da, SesaZloa, bevrma sxvamac araferi viciT am dabis Sesaxeb. albaT, axalgori bevrad Zvirfasi gaxda CvenTvis imis Semdeg, rac iq Casvla agvekrZala. rogori iyo Tqveni damokidebuleba axalgoris mimarT da rogori iyo axalgoris damokidebuleba Tqveni ojaxis mimarT? Cemi adrindeli cxovreba ise warimarTa, rom iSviaTad vxvdebodi adamians, romelmac, Tundac, is icoda, sad iyo axalgori. „es cxinvalisken aris?“ _ mekiTxebodnen. „es gorisken aris?“ „es amisken aris?.. imisken aris?..“ veubnebodi, rom es aris istoriuli qsnis saerisTao, Salva da elizbar erisTavebis samSoblo. sul mindoda rom... vnatrobdi im dros, rom Cemi xeoba cnobili gamxdariyo. ra cudad amixdina RmerTma! am saxiT ar mindoda, rom gaecno qsnis xeoba saqarTvelos da... msofliom icis dRes axalgori, ara? amnairad ar mindoda, rasakvirvelia. mTeli Cemi fesvebiT, ojaxiT, dediTac, mamiTac axalgoridan var. axalgori iyo saocari, araCveulebrivi inteligenciiT dasaxlebuli adgili. maxsovs batonebis _ andria balanCivaZis, akaki vasaZis, merab berZeniSvilis, guram

Akhalgori was on the map. “Is it close to Tskhinvali?” – they would ask. “Is it near Gori?” “Is it near that?... Is it near this?...”. I would tell them that it was the residence of the rulers of historic Ksani, Shalva and Elizbar Eristavi. I always wanted to... I wanted to see my region become famous. It happened, but in such a bad way! This is not how I wanted Georgia to get acquainted with the Ksani Valley... And today, the whole world knows about Akhalgori, doesn’t it? Naturally, this is not how this should have happened. I am from Akhalgori with all my roots, my family, from both my mother and my father’s side. Akhalgori was a wonderful place inhabited by distinguished intellectuals.

I remember how Andria Balanchivadze, Akaki Vasadze, Merab Berdzenishvili, Guram Sagharadze and others were astonished when getting acquainted with local intellectuals. Our family was welcoming and hosting everyone. My brother-in-law was Akhalgori’s head doctor for three decades. He never accepted money from his patients. Apart from that, I learned that he was always in debt towards the local pharmacy. We didn’t know this, we only learned after his passing that he was buying medicine for impoverished patients, and that because of this, he was in debt his whole life. The door of our home was never closed, we didn’t even have a bell on our door. Anyone in need would come to us, and I don’t remember anyone getting out of our house without being helped. They still call him ‘Doctor Zauri’ to this day. My husband worked as the executive head of the regional administration.

The ruined castle and residence of the Ksani dukes, which nobody managed to restore for decades, because it was burned and three of its floors were filled with earth, was restored by my husband, and it took his whole career to achieve this. He worked on all the details himself. To this day, I am very proud that my family was involved in the restauration of the castle and residence of the dukes of Ksani.

Personally, I have, since my birth, always dedicated my life to this valley, through poems, thoughts, and my way of life. This is why I was born; this is why I exist, and I will leave this world with the same love for this place.

Contemporary Georgian art is very depressive. This can especially be felt in cinema and literature. Your poetry is far from this tendency. Despite the fact that many of your poems contain pain, I have never felt hopelessness when reading them. On the contrary, your poems are accompanied by a sort of light, and I am sure that it is this light that draws many readers to your poems. Is this a conscious choice, or a reflection of your inner world?

Yes, it is an echo of my inner world. I always try to comfort people when they need support, especially if it is spiritual support. I look at it as my duty as a human. When you are a poet, you need to feel responsibility towards your readers and your homeland. With your poetry, you have to provide beauty, strength and faith to your readers, something for them not to sprawl on the ground, but to firmly stand up. I am like that both as an individual and in my poems.

It is exactly when I feel very bad that I want to write better poems.

Actually, it’s not that I want it to be like that, but more that this is how it turns out. These poems help me to stand up too. Until I pass, I need

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4 (22) 2020

gazafxuli qsanze

zed gulze madevs eg Tbili xeli, axla veRarafriT gamakvirveb

movdivar, vici, Senc genatrebi, moaskdebian Robeebs wnelis

axla veRarafriT gamakvirveb,

vardisferkaba debi _ atmebi.

qarma foTolic ar SemarCina...

TiTqos pirvelad viyo mnaxveli,

orgulTa simravle ar matirebs,

ise mabruebs surneli beltis,

erTgulTa simcirem SemaSina.

gadaxeula Tovlis sayelo da aprils iis mouCans kerti.

dae, iquxos da gaavdardes

sxvagan Tu miswrebs Seni wyurvili,

cxmorTan, ananurTan, SenaqosTan,

TavqveS gavifen balaxs Wilofad

didi siZulvili ar madardebs,

da mokiskise salamuriviT

mcire siyvarulma SemaSfoTa,

Svidgan gavixsni gulze Wrilobas. da roca Jami Tavisas mizRavs,

sulo, sul sizmrebSi mixiznulo,

aqedan vici, rasac mipireb, _

talaxs visi xeli ar gayrida...

Tu momklav, albaT, Semodgomisas

imas ra movkiTxo, vinc gyidulobs,

da xeTa yviTel foTliT mitireb.

javri imisi mWirs, vinc gagyida.

jer ki SenTan var da albaT kidev bevrjer aminTeb koconebs sulSi

lurji bililebi damkargvia,

da peSviT xorblis sakmevels gikmev

damrCa saxe cremliT naRaravi,

papis kvaldakval Camdgari xnulSi:

maxvilis simravle ras gargia, _

„es _ ers, gadurCes mewyers da avdrebs,

mklavi, momqneveli, aRar ari!

es _ stumars, esec _ SaSvsa da olols...“ da rogorc papam maswavla adre,

axla veRarafriT gamakvirveb,

ojaxs vaxseneb yvelaze bolos.

qarma foTolic ar SemarCina...

qsanze var... lurjad elavs napiri,

orgulTa simravle ar matirebs,

mziT daqargula mTaTa kalTebi

erTgulTa simcirem SemaSina.

da saqarTvelos locavs aprili ayvavebuli Sindis sanTlebiT. - 21 -

4 (22) 2020

saRaraZis da sxvaTa gaoceba iqauri inteligenciis gacnobisas. Cveni ojaxi iyo yvelas damxvedri da maspinZeli. Cemi mazli sami aTeuli wlis ganmavlobaSi axalgoris mTavari eqimi gaxldaT. mas Tavis cxovrebaSi pacientisgan fuli ar auRia. garda amisa, Turme, yovelTvis hqonda afTiaqis vali. Cven es ar vicodiT, mxolod misi gardacvalebis Semdeg gviTxres, rom, Turme, sicocxlis bolomde gaWirvebaSi myofi avadmyofebisTvis wamlebs yidulobda da xelfasidan xelfasamde es vali mihyveboda. Cveni saxlis kari arasodes iketeboda, karze zaric ki ar gveyena. yvela gaWirvebuli CvenTan modioda da ar maxsovs, rom Cvengan vinme daxmarebis gareSe wasuliyo. Cems mazls dRemde zauri eqimis saxeliT ixsenieben. Cemi meuRle raionis aRmasrulebeli xelisuflebis xelmZRvanelad muSaobda. qsnis erisTavebis daqceuli sasaxle, romlis aRdgenac aTeuli wlebis manZilze veravin SeZlo da veravin iTava, imitom, rom mTlianad damwvari da miwiT iyo amovsebuli sami sarTuli, Cemma meuRlem aRadgina da amas Tanamdebobaze yofnis mTeli periodi moandoma. yvela detalze piradad muSaobda. dRemde sasaxelod maqvs, rom qsnis erisTavebis sasaxlis aRdgena swored Cems ojaxs ukavSirdeba. piradad me, dabadebidan dRemde, leqsiTac, fiqriTac da cxovrebis wesiTac marTla Sewiruli var am xeobisTvis. amisTvis gavCndi, amisTvis varsebob da amis siyvaruliTve waval.

Tanamedrove qarTuli xelovneba Zalian depresiulia. es gansakuTrebiT igrZnoba kinosa da literaturaSi. Tqveni poezia am tendenciisgan Sors aris. imis miuxedavad, rom bevr leqss tkivili axlavs, uimedoba arsad migrZvnia. piriqiT, sinaTle Semodis Tqvens leqsebTan erTad da darwmunebuli var, bevr mkiTxvels swored es sinaTle izidavs. amgvari suliskveTeba gaazrebuli arCevania, Tu Tqveni Sinagani samyaros anarekli? diax, es Cemi Sinagani samyaros gamoZaxilia. yovelTvis vcdilob, gverdSi davudge adamians, roca mas raime da, gansakuTrebiT, sulierad uWirs. es Cems adamianur movaleobad mimaCnia. poeti roca xar, pasuxismgeblobis grZnoba unda gqondes mkiTxvelisa da mamulisadmi. Seni poeziiT silamaze, Zala da rwmena, raRac iseTi unda misce adamians, rom miwaze ki ar ganerTxas, aramed, wamodges da fexze myarad dadges. pirovnuladac aseTi var da leqsSic. roca Zalian cudad var, zustad maSin minda xolme, rom ufro Zlieri leqsebi vwero. ki ar minda, ase gamodis. es leqsebi mexmareba, mec fexze davdge. vidre var, fexze unda vidge _ Cemi mamulisTvisac, Cemi ojaxisTvisac, leqsisTvisac. ase gamzardes, ase maswavlidnen, rom vidre var, Rirseuli dgoma unda SevZlo, mtrisa Tu moyvris winaSe.

to stand on my feet – for my homeland, for my family, for poems.

This is how I was raised, this is what I was taught, that until I am here, I have to be able to stand firmly on my feet, before both the enemy and friends.

You once said that a woman you didn’t know wrote you that if she could, she would offer you ten years of her life as a present.

This happened when some people learned that I was ill. Even though I always refrain from complaining to others. When you will see my new book, it will be difficult to believe that when I was writing these poems, I was on the verge of death. It doesn’t show anywhere.

In general, I don’t like to complain, be it in my personal life or in my poems. Concerning the words that you quoted, they were really special. Even your close ones won’t often tell you such things. These words will stay with me forever, and after reading them, I felt even more responsibility towards readers. I am sometimes surprised to receive all the love I feel from my readers, and I wonder what I can do to reciprocate this love and warmth.

Your poems have been translated in many languages. But to what extent can non-Georgians understand them? Your famous metaphors, comparisons, themes, geographic locations – everything is linked to Georgia. Can your poems be translated?

I don’t know foreign languages, and I have no idea how my poems sound in other languages, be it in Azerbaijani or in Italian.

But I know one thing: translations have never been something of special importance to me. I am a Georgian poet. My poems have to be interesting, in the first place, to Georgians, and they need to be acknowledged by Georgians first. I never felt proud because my poems were translated or published in this or that language.

English author Samuel Butler said that “every man’s work, whether it be literature or music or pictures or anything else, is always a portrait of himself”. You have written a poem titled ‘Self-portrait’, and in this poem, you contain the whole world (“I am a poet and the world enters and exits in and out of me… / Sometimes laying on a cliff like a cloud, sometimes blossoming as a violet on the seashore… /I come as a morning, I can go as an evening.”). Is this your best self-portrait – are you a poet containing the whole world?

When you contain the whole world, you are in a state of bliss. But the poem you quoted is only a reflection of the state I was in when I wrote it. One can never represent oneself fully, because we don’t fully know ourselves; there are some characteristics people don’t know they have. Like recently, on my “Facebook” page, a friend of mine, teacher Medea Giorgishvili, remembered an episode. A folk group came to visit us in Akhalgori. At that time, I was working there, and I drove the members of the expedition to the source of the Ksani river with the car of the administration. We passed the river and met a man on a horse, who was the only inhabitant in the surroundings of the source of the river. He told us: “There is a lot of rain up there, the river

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4 (22) 2020

erTxel TqviT, ucxo qalma momwera, rom SemeZlos, Cemi cxovrebis aT wels gaCuqebdiTo. es maSin moxda, roca garkveulma wrem gaigo, rom cudad viyavi. Tumca, veridebi Cemi ambiT vinmes Sewuxebas. roca Cems axal wigns naxav, Znelad warmoidgen, rom im periodSi, roca es leqsebi iwereboda, sikvdilis zRvarze davdiodi. es arsad ar Cans. saerTod, wuwuni ar miyvars, arc pirovnulad da arc leqsSi. rac Seexeba am sityvebs, rac Tqven gaixseneT, isini namdvilad saocari iyo. amas xom xSirad axlobelic ar getyvis. es sityvebi CemSi samaradisod darCa da ufro didi valdebuleba vigrZeni mkiTxvelis winaSe. xandaxan mikvirs, riT davimsaxure aseTi siyvaruli, rasac mkiTxvelisgan vgrZnob, an ra gavakeTo iseTi, rom samagiero mivago am siyvarulisTvis, siTbo da guliTadoba vagrZnobino.

Tu Senc gulSi gqonda Cavardnili, ra vi, uari ki mianaye... hai, Se patara kudiano, hai, Se ZalisZala siamayev! avdevde magnair balR-bulRebsa, karga vutirebdi dedas jerac... gamCenZaRls, qali arsad gaego, ro egre haiharad dagijera. papa genacvalos, mag xnobisa

Tqveni leqsebi bevr enazea Targmnili. magram ramdenad gasagebia isini araqarTvelebisTvis? Tqveni cnobili metaforebi, Sedarebebi, leqsebis Tematika, geografiuli saxelebi _ yvelaferi saqarTvelosTan aris gadajaWvuli. rogor egueba Tqveni leqsi Targmnas? ucxo enebi ar vici da warmodgena ar maqvs, sxva enebze rogor JRers Cemi leqsebi, Tundac, azerbaijanulad an italiurad. magram erTi vici, rom CemTvis gansakuTrebuli mniSvneloba Targmanebs arasdros hqonia. me var qarTveli poeti. Cemi leqsi jer saintereso unda iyos qarTvelebisTvis da jer qarTvelebis mier unda iyos aRiarebuli. arasdros mqonia Tavmowoneba imis gamo, rom Cemi leqsi romeliRac enaze iTargmna, an gamoica. ingliseli mwerali samuel batleri ambobda, rom adamianis nebismieri qmnileba, literaturaSi iqneba, musikasa Tu mxatvrobaSi, _ yovelTvis avtoportretia.

Tqven leqsic gaqvT dawerili, romelsac avtoportreti hqvia da, am leqsis mixedviT, mTeli samyaro TqvenSia („poeti var da samyaro CemSi gadis da gamodis.../xan kldis Tavs viweq janRiviT, xan mzvrispirs iad vxarobdi.../momsurda _ ciskrad gavTendi, momsurda _ movsaRamovdi.“) is, rom poeti xarT da TqvenSia mTeli samyaro, _ aris Tu ara Tqveni saukeTeso avtoportreti? roca SenSia mTeli samyaro, es saukeTeso grZnobaa.

Tumca, leqsi, romelic Tqven gaixseneT, mxolod Cemi maSindeli ganwyobis anareklia. srulyofilad verasdros daxatav sakuTar Tavs, radgan aris iseTi Tvisebebic, romlebsac Sens TavSi SemTxveviT aRmoaCen. sul axlaxan, feisbukis Cems gverdze, erTi ambavi gaixsena Cemma megobarma, pedagogma medea giorgiSvilma. goridan folkloruli eqspedicia Camovida CvenTan, axalgorSi. maSin iq vmuSaobdi da samsaxuris manqaniT eqspediciis wevrebi qsnis saTavisken waviyvane. qsani gadaviareT da Segvxvda cxenosani mamakaci, romelic erTaderTi

Tofis wamaliviT uceb vtyrodi, undili ram Canda, Svilo, Tore gana me Tavad ar vetyodi. “aha, es nabadi mecxvaruli, arc ki gamoCndeba gareT qoSi... e Cem Savra cxensac vaCuqebdi, imiT gagafrenda yabardoSi. iq erTi naZmobi mecxvare myavs, Camotyavdeboda nisla xari...” vetyodi, imis papa vyofiliyav, papaSeni viyav da... ver vuTxari!

mosaxle iyo qsnis saTavis midamoebSi. man gviTxra: zeviT Zalian didi wvima daiwyo, qsani adiddeba da ukan droze dabrundiTo. roca qsanTan movbrundiT, mdinare adidebuli dagvxvda. erTi rkinis xidi iyo darCenili, romelzec ukve talRebi gadadioda. yvela am xidisken gaiqca da gadavidnen mSvidobiT. me mZRols vuyurebdi. patara biWi iyo da saxeze saocari sasowarkveTileba exata. mivxvdi, rom ar SeiZleboda, marto dametovebina, am wyals marto ver gaarRvevda. im wuTSi arc gmirobaze mifiqria, arc sikvdilze, arc sicocxleze; arc imaze, rom curva ar vici.

Tan, „vilisis“ tentebian karebSi wyali advilad Semodioda. mZRolTan davrCi da es aRvarebuli wyali erTad

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4 (22) 2020

gadaviareT, erTad gadavrCiT. winaswar ver warmovidgendi, am situaciaSi rogor moviqceodi. iyo kidev meore SemTxveva: roca axalgorSi okupaciis Semdeg pirvelad CavediT, me da Cemi meuRle osma separatistebma dagvakaves. wagviyvanes Tavis StabSi, oRond, cal-calke viyaviT, erTmaneTs ver vxedavdiT. dagvkiTxes. memuqrebodnen: „axla rom Tavi mogaWraT, ras izamo?“ iciT, Turme, ra xdeba mag dros? Sens sulSi viRac Zalian Zlieri da amayi iRviZebs, sul sxva xdebi. vuTxari _ romc momkla, aqaurobis patroni mainc me viqnebi; Sen am miwis patroni verasdros gaxdebi-meTqi. ver getyviT, rom yovelTvis es Zala maqvs da aseTi gambedavi var... ver warmoidgen, im wuTebSi ra xdeba Sens cnobierebaSi. saidan amodis is sulieri Zala, is siamaye, mTeli Seni genetika. saerTod davkarge SiSis SegrZneba. marto imaze vfiqrobdi, rom amaT SeSinebuli da damarcxebuli ar unda venaxe. yvelaferze wavidodi im wuTSi. amitom vambob _ aris adamianSi raRac iseTi, risi arseboba man TviTon ar icis da SeiZleba mxolod garkveul situaciaSi gamomJRavndes. sakuTar Rirsebas riTi zomavT? sakuTar Rirsebas imiT vzomav, rogoria Cemi damokidebuleba Cemi samSoblosadmi, erisadmi da, zogadad, adamianebisadmi. es aris mTeli Cemi cxovrebis da Cemi Rirsebis sazomi. Cemi leqsis Taviseburebebic ki aqedan modis. saubris dasasruls, gTxovT, gviamboT erTi ambavi sabWoTa periodis literaturuli cxovrebidan. minda, movyve Cemi da oTar CxeiZis urTierTobis Sesaxeb. oTar CxeiZe CemTvis mxolod leqtori ar yofila goris pedagogiur institutSi. Tumca, gaswavlidaT. diax, maswavlida. es iyo _ marto CemTvis ara, magram CemTvis gansakuTrebiT _ sulieri moZRvari. mTeli Cemi cxovreba maxsovs, rom oTar CxeiZis aRzrdili var da isic vici, rogori moqceva ar mekadreba, rogorc Semoqmedsa da adamians. baton oTarTan Zalian axlos viyavi, magram, amis miuxedavad, arasdros SevTamamebivar. is ki SemiZlia vTqva, rom man TiTqmis mSoblis magivroba gamiwia, gansakuTrebiT, studentobis dros. rac Seexeba sabWoTa periodis literaturul cxovrebas, poeziaSi Tavidanve Zalian qarTuli ganwyobiT Semovedi. amis gamo, vinmes CemTvis SeniSvna moeca, an romelime leqsi krebulidan amoeRo _ aseTi SemTxveva ar yofila. mTebSi mikarguli xeobidan mosuli, yovlad upatrono, romelsac ar moeridebodi arc ojaxis, arc warmomavlobis, arc Tanamdebobis gamo... sruliad Tavisuflad da umtkivneulod SeiZleboda Cemi Seviwroeba, magram ar maxsovs, rom es patriotuli Tematika vinmes SeezRuda da

will swell, so come back down in time.” And indeed, on our way back, the river had swollen. There was only one metallic bridge left, and the water was already reaching above it. All the group ran to this bridge and managed to get to the other side. I was looking at the driver. He was a young boy, and his face expressed utter despair. I understood that I couldn’t leave him alone, that he wouldn’t reach the other side on his own. At that moment, I wasn’t thinking about being heroic, nor about dying, nor about living; nor about the fact that I don’t know how to swim. Moreover, water was entering the ‘Willys’ jeep from the doors. I stayed with the driver, and we crossed and survived this rapid river together. I couldn’t have imagined beforehand how I would behave in this situation. There was another episode: when we returned to Akhalgori for the first time after the occupation, myself and my husband were arrested by Ossetian separatists. They brought us to their headquarters, but we were separated, we couldn’t see each other. They interrogated us. They were threatening us: “What would you do if we cut your head right now?”. Do you know what happens during this kind of circumstances? Something, someone very strong and proud wakes up in your soul, you become someone completely different. I told them – “Even if you kill me, I will still be the rightful guardian of these lands; they will never be yours”. I couldn’t say that I am always this strong and bold... You couldn’t imagine what takes place in your mind at that time. Where does all this mental strength, pride, your whole genetics, come from? I lost any semblance of fear.

I was only thinking about the fact that they shouldn’t see me afraid and vanquished. I could have done anything at that moment. That is why I say that there are things in people that they don’t expect, and these things can come to the surface only during specific situations.

How do you measure your own worth?

With my attitude towards my homeland, my nation, and more generally, towards people. This is how I measure my worth and my whole life in general. The distinctive feel of my poems also comes from this.

Could you tell us a story from the literary life of the Soviet Union?

I could tell you about my relationship to Otar Chkheidze. He was not only a lecturer from the Gori State University to me.

But he was also teaching you.

Yes, he was. To many others, but particularly to me, he was a spiritual guide. I always remember that I was educated by Otar Chkheidze, and I know very well how to stay dignified as an author and an individual. I was very close to Mr. Otar, but nevertheless, I was never informal with him. As for him, I can say that he almost acted as a parent to me, especially during my student years. About literary life in the Soviet Union, when I started doing poetry, it was already with a very “Georgian” attitude. Nobody ever told me anything about that, nor did anyone take a poem out of a book because of this. I was a girl coming from a faraway mountainous

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4 (22) 2020

axalgori, qsnis erisTavebis sasaxle

AKHALGORI, PALACE OF THE ERISTAVIS OF KSANI

valley, without anybody looking after me, so it would have been

Seekveca. sabWoTa ideologiis Semborkavi saSualebebi im dros ukve moSvebuli iyo.

very easy to belittle me, but I don’t remember my patriotic themes to be restricted by anyone. The censorship apparatus of the Soviet

didi madloba saintereso saubrisTvis. intervius davasrulebT Tqveni komentariT cnobili adamianebis or gamonaTqvamze. pirveli citatis avtoria amerikeli religiuri moRvawe henri uord biCeri (1813-1887): „arcTu iSviaTad, ubedureba is instrumentia, romliTac RmerTi ufro srulyofil formas gvaZlevs.“ marTalia. Tu tkivilebi ar gangicdia, Tu ar ici dardis, tanjvisa da cremlis fasi, SeuZlebelia, raime Rirebuli Seqmna. leqsebs bednierebi ar weren, leqsebs tkivili gawerinebs. xandaxan RmerTs madloba unda uTxra am tkivilebis gamo. meore citata ekuTvnis frang dramaturgs, pier bomarSes (1732-1799): „gana SesaZlebelia simSvidis da siyvarulis Tanacxovreba erT gulSi?“ Cemi azriT, SeuZlebelia, siyvarulma da simSvidem gverdigverd icxovron. Tu es siyvaruli bednieri siyvarulia, albaT, maSinac ki Znelia. magram me, Cemi piradi gamocdilebiT, ra siyvarulic gamoviare, masTan, mis gverdiT samSvidobo Tanacxovreba SeuZlebeli gaxldaT da, vgoneb, dResac SeuZlebelia.

Union was already weakened.

Thank you very much for this interesting conversation. I would like to finish the interview with your thoughts about quotes from two famous persons. The first quote is from American clergyman Henry Ward Beecher (1813-1887): “Troubles are often the tools by which God fashions us for better things”.

It’s true. If you have never experienced trouble, if you don’t know the value of sadness, torment, and tears, you cannot create something valuable. Happy people don’t write poems, it is pain that is at the source of poems. Sometimes, we should be grateful towards god for this pain.

The second quote belongs to French playwright Pierre Beaumarchais (1732-1799): “Can love and peace live in the same heart?”

I think that it’s impossible for love and peace to live side by side.

Probably even if this love is a happy one. Personally, in terms of the love I have experienced in my own life, it was impossible to live peacefully along that love, and I think that it is still the case today.

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2021 wlis 1 Tebervlidan literaturuli premia „amiranis“ axali sakonkurso weli iwyeba! poetis, mTargmnelis, meeqvse saavtoro skolis damfuZneblisa da pedagogis pako amiran svimoniSvilis saxelobis saymawvilo literaturuli premia „amirani“ 2014 wels daarsda. konkursis mizani SemoqmedebiTi niWis mqone axalgazrdebis gamovlena, maTi kulturul da literaturul procesebTan daaxloeba, pirovnuli da SemoqmedebiTi winsvlis mxardaWeraa. dRemde konkursSi saqarTvelos zogadsaganmanaTleblo skolebis 1000-ze metma moswavlem miiRo monawileoba; warmodgenili iqna 5000-mde namuSevari; konkursis finalistebi da gamarjvebulebi dajildovdnen fuladi premiiT (saerTo jamSi _ 43 aTasi laris odenobiT) da gadaecaT fasiani saCuqrebi; finalistTa saukeTeso namuSevrebi gamoica krebulebad.

2021 weli literaturuli premia „amiranis“ mesame sakonkurso welia. konkursSi monawileobis miReba SeuZliaT saqarTvelos zogadsaganmanaTleblo skolebis IX-XII klasebis moswavleebs, romelTac SesaZlebloba aqvT, sakuTari namuSevrebi warmoadginon Semdeg nominaciebSi: • poezia • proza • Targmani samive nominaciaSi gamovlindebian I, II da III adgilis mflobelebi. konkursSi monawileobis msurvelTa naSromebi miiReba eleqtronul misamarTze: amirani.premia@gmail.com aucilebelia, werilSi moswavlem miuTiTos: saxeli, gvari;

qalaqi (raioni); skolis sruli dasaxeleba; sakontaqto telefoni.

Targmanis SemTxvevaSi, misaRebia rogorc ucxoenovani poeturi Tu prozauli teqstis qarTuli Targmani, aseve _ qarTuli teqstis ucxouri Targmani. Targmans aucileblad Tan unda erTvodes dedani (originali nawarmoebis skanirebuli versia an asli, an miTiTebuli iqnas misi eleqtronuli misamarTi veb-sivrceSi, aseTis arsebobis SemTxvevaSi). konkursants SeuZlia, monawileoba miiRos yvela nominaciaSi. warmodgenili nawarmoebebis raodenoba SeuzRudavia. naSromebis miRebis bolo vadaa 2021 wlis1 maisi. gamarjvebulebis gamovlena da dajildoeba gaimarTeba 2021 wlis ivnisSi. proeqtis avtorebisa da mxardamWerebis mier gamarjvebulTaTvis samive nominaciaSi dawesebulia fuladi premia da fasiani saCuqrebi: I adgili _ prizi „vercxlis SroSani“ da premia 3000 lari II adgili _ 2000 lari III adgili _ 1000 lari moswavleTa naSromebs ganixilavs kompetenturi Jiuri qarTveli mwerlebisa da sazogado moRvaweebis SemadgenlobiT. maqsimaluri obieqturobisa da gamWvirvalobis uzrunvelsayofad, proeqtiT

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gaTvaliswinebulia monawileTa anonimurobis dacva maTTvis saidentifikacio kodis miniWebiT. konkursis pirvel etapze gamovlenili iqnebian finalistebi, romelTa Sorisac, maTTan piradad gasaubrebis Semdeg, konkursis Jiuri daasaxelebs konkursis gamarjvebulebs TiToeul nominaciaSi _ I, II da III saprizo adgilebis mflobelebs. finalistebisa da aseve, sxva saukeTeso nawarmoebebis avtorebis naSromebi daibeWdeba da gamoicema krebulad. wignSi Sesul avtorebs, proeqtis farglebSi SesaZlebloba miecemaT, Sexvdnen qarTvel mwerlebs, poetebsa da mTargmnelebs.

SoTa rusTavelis saxelobis qarTuli literaturis instituti mweralTa saxli gazeTi „axali ganaTleba“ Jurnali „kultura plus“ saqarTvelos radio _ „pikis saaTi“ sapatriarqos televizia _ studia „avtografi“ mravali SekiTxvis pasuxad gacnobebT, rom konkursSi monawileoba yvela etapze ufasoa. detaluri informaciis misaRebad, dagvikavSirdiT: aaip „pakos fondi“ lado asaTianis q. N28, Tbilisi 0105. http://meeqvsesaavtoro.ge amirani.premia@gmail.com tel: 598 434 000

proeqtis mxardamWerebi arian: aaip „pakos fondi“ Sps „meeqvse saavtoro skola“ ss „wyali margebeli“ (nabeRlavi) ivane javaxiSvilis saxelobis Tbilisis saxelmwifo universiteti

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qarTuli oqromqandakebloba

gelaTi. tondo wm. mamas gamosaxulebiT, XI saukune SAINT MAMA TONDO – GELATI, XI CENTURY

qarTul kulturaSi Wedur xelovnebas, uZvelesi droidan eWira mniSvnelovani adgili. amas vanis, axalgoris, armazis xevis, pitiaxSTa nekropolis, zRuderis, goris, cixisZiris, bagineTis, Jinvalis samarxebSi; TrialeTis yorRanSi aRmoCenili nivTebi adastureben, romlebic safuZvels gvaZleven vTqvaT, rom qarTveli tomebi jer kidev brinjaosa da, Semdeg, gvian antikur xanaSi, qmnidnen Weduri xelovnebis mxatvrulad srulyofil nimuSebs. saqarTveloSi qristianuli religiis damkvidrebis Semdeg, xelovnebis es dargi kvlavac ganagrZobda arsebobasa da ganviTarebas...

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GEORGIAN GOLDSMITHERY Since the dawn of time, chasing art has ranked high in Georgian culture, as evidenced by the finds unearthed in the graves of Vani, Akhalgori, Armazi Gorge, Pitiakhsh’s Necropolis, Zguderi, Gori, Tsikhisdziri, Bagineti, Zhinvali and the burial ground of Trialeti. They all support the assertion that Georgian tribes used to create shining examples of chasing art as early on as the Bronze Age and later, in the Antiquity.

The advent of Christianity to Georgia did not prevent this field of art from existing and extending its range…

Masterpieces of Georgian goldsmithery occupy a central place in the metalworking world of the Middle Ages.

The specimens of ancient Georgian chasing art that have survived originate from the eighth and ninth centuries.

The oldest of them is the Zarzma Icon of Transfiguration with an exact date inscribed on it: ‘886’. The period believed to be the most productive and flourishing for Georgian goldsmithery stretches over the tenth and eleventh centuries. It was in this epoch that Georgian goldsmiths created the prior crosses of Ishkhani, Martvili, Breti, the golden bowl of Bedia and other golden artifacts, thus presenting us with an outline of the evolution of goldsmithery and casting light on its specific traits and features. Art critics refer to this stage in the development of Georgian gold smithery as a ‘sculptural’ era. From an artistic and historical standpoint, articles designed for religious rites and church services became a feature of this period.

With its plenitude and richness of artifacts, utmost professionalism, overall level and scope, the grand epoch of the twelfth and thirteenth centuries is a continuation of the classic period of Georgian goldsmithery. The Khakhuli Triptych, artifacts of Beshken and Beka Opizaris and other sophisticated chased works originate from this very period.

Originally the Khakhuli Triptych was kept at the Khakhuli Monastery in Tao-Klarjeti (present-day Turkey).

In the twelfth century, Davit the Builder handed this icon of miraculous power to the Gelati Monastery, where it

qvemoWalis sakurTxevlis win aRsamarTavi jvris fragmenti, XI s.

FRAGMENT OF A CHASED CROSS FOR THE KVEMOCHALA ALTAR – XI CENTURY

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xaxulis RvTismSobeli _ karedi xati, XII s.

KHAKHULI TRIPTYCH – XII CENTURY

Sua saukuneebis oqromWedlobis msoflio saganZurSi qarTuli oqromqandakeblobis Sedevrebs gansakuTrebuli adgili ukavia.

Cvenamde moRweuli uZvelesi qarTuli Weduri xelovnebis nimuSebi VIII-IX saukuneebiT TariRdeba. maTgan uadresi vercxlis Weduri firfitebiT moWedili zarzmis feriscvalebis xatia, romelic zustadaa daTariRebuli warweriT _ `886 w.~. magram yvelaze nayofieri da aqtiuri qarTuli oqromWedlobisTvis X-XI saukuneebia. am epoqaSi, qarTvelma oqromqandakeblebma Seqmnes iSxnis, martvilis, breTis sawinamZRvro

jvrebi, bediis oqros barZimi da sxva nawarmoebebi, romlebSic Camoayalibes oqromWedlobis evoluciuri ganviTarebis suraTi, gamokveTes saoqromWedlo xelovnebis specifiuri niSnebi da Taviseburebani. qarTuli oqromWedlobis ganviTarebis am etaps xelovnebaTmcodneebi `skulptorul~ xanad moixsenieben. am periodSi mxatvrul-istoriuli TvalsazrisiT gansakuTrebuli mniSvneloba sakulto daniSnulebis, saeklesio RvTismsaxurebisaTvis gankuTvnil nivTebs da iaraRebs uWiravs. qarTuli oqromqandakeblobis klasikuri periodis

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berTis saxareba, ostati _ beSqen opizari / BERTI GOSPEL BY BESHKEN OPIZARI

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gagrZelebas Zeglebis simravliTa da simdidriT, profesionalizmiT, saerTo doniTa da masStabiT XIIXIII saukuneebis didi epoqa warmoadgens. swored am dros ganekuTvneba xaxulis karedi xati, beSqen da beqa opizrebis nawarmoebebi da sxva mniSvnelovani Weduri namuSevrebi. xaxulis triptiqi Tavdapirvelad tao-klarjeTSi (dRevandeli TurqeTi), xaxulis monasterSi iyo daculi da es saswaulTmoqmedi xati XII saukuneSi daviT aRmaSenebels gadmousvenebia gelaTis monasterSi, sadac is axlad SeuWedavT. misi vercxliT SeWedili karebis gareTa nawili, romelic stilisturad X saukunis oqromWedlobis nimuSia, xeluxleblad dautovebiaT. xatis danarCeni nawili ki Tavidan oqroTi, vercxliT, tixruli minanqrebiTa da patiosani qvebiT SeumkiaT. gelaTis monasterSi xaxulis karedi ramdenjerme gauZarcvavT, dakargula RvTismSoblis xati, SemorCenilia mxolod misi saxe da xelebi, romlebic tixruli minanqriTaa Sesrulebuli da udidesia msoflioSi cnobil minanqris Zeglebs Soris. cnobili oqromWedlebis, beSqen da beqa opizrebis Sesaxeb biografiuli cnobebi ar mogvepoveba. savaraudod, isini, warmoSobiT an SemoqmedebiT klarjeTTan, opizis monasterTan unda yofiliyvnen dakavSirebulni. Cvenamde moaRwia beSqenis erTaderTma namuSevarma _ berTis saxarebis vercxlis ydis moWedilobam, `moiWeda £eliTa beSqen opizarisaiTa~. beqa opizaris namuSevrebidan ki _ orma, anCisxatis xatis CarCosa da wyarosTavis saxarebis ydis moWedilobam. anCis xatis mooqruli vercxlis CarCos moWediloba beqa opizars Tamar mefis brZanebiT da anCis episkoposis ioane anCelis SekveTiT Seusrulebia, rasac xatze amotvifruli warwera adasturebs: `q. brZanebiTa da nivTisa boZebiTa RmrTiv gvirgosnisa didisa dedofalT dedoflisa TamarisaiTa... saukunesa moiWeda £e(li)Ta beqasiTa, qriste Seiwyale~. oqromWedloba ZviradRirebuli xelovnebaa da masze pirdapir zemoqmedebs qveynis istoriul-politikuri da socialur-ekonomikuri faqtorebi. amitom, XIVXV saukuneebi qarTuli oqromWedlobis istoriaSi yvelaze mwiri periodia. XVI saukuneSi xelovnebis es dargi aSkara aRmavlobas ganicdis, rac ara mxolod ZeglTa simravleSi, aramed sxvadasxva axali mxatvruli mimdinareobebis damkvidrebaSi Cans. am periodis xatebze qtitorebis _ xatis damkveTTa gamosaxulebebi Cndeba, rac imis maCvenebelia, Tu rogor cdilobdnen im epoqis saeklesio da saero pirebi sakuTari Tavis gandidebasa da pativdebas. samegrelos mTavris levan II dadianis `portretiT~ Semkulma xuTma xatma moaRwia Cvenamde, rac qarTuli oqromWedlobis istoriisTvis umagaliToa.

was mounted anew. The silver-embossed external part of its panel, which, style-wise, is an exhibit of tenth century gold smithery, was left untouched, while the remaining portion of the icon was encrusted again with gold, silver, cloisonné enamel and precious stones. The Khakhuli Triptych is known to have been robbed several times, which resulted in the loss of the Icon Virgin. The surviving details include the face and hands executed in cloisonné enamel, which are the most sizeable of all the enamel articles in the world.

History records no reference to the biographical background of the famous chasing masters Beshken and Beka Opizari. Their origin or the provenance of their works can presumably be traced back to the Opiza Monastery in Klarjeti. The only piece of handiwork by Beshken that reached us is the silver-plated cover of the Berti Monastery’s gospel, bearing the inscription: ‘Handchased by Beshken Opizar’.

Beka Opizari leaves an indelible imprint of his craftsmanship on the frame of the Anchi icon and the cover of the Tskarostavi Gospel.

He is believed to have executed the silver-gilt frame of the Anchi Icon on the order of King Tamar and on demand of Bishop Ioane Ancheli, as evidenced by the inscription etched on the icon: ‘In obedience of the order and by acceptance of the donation from Her Majesty King Tamar, hand-chased by Beka, Christ have mercy upon him’.

Goldsmithery is a cost-intensive field of art exposed to the immediate influence of historical, political and socio-economic factors. Owing much to such influence, Georgian chasing art had to go through its leanest patch in the fourteenth and fifteenth centuries.

The sixteenth century saw a vast surge of activity in this field, which manifested itself not only in a growing number of monuments, but in the appearance of various artistic trends as well. Icons of this period portray images of ktetors (providers of funds for the construction of churches), which point to their strong inclination to exalt and aggrandize themselves. Five icons handed down to us through the centuries depict the ‘portrait’ of Prince Levan II Dadiani of Samegrelo, a unique occurrence in the history of Georgian gold smithery.

In the seventeenth century, catholic missionaries caused elements of European culture to come and stay in Georgia, which had a marked effect on chased works as well. The composition of ‘The Last Supper’ on the outer metalwork of the Anchi Triptych resembles in many ways a miniature included in one of the Venetian manuscripts of that period. From the eighteenth to nineteenth centuries, traces of Russian, as well as European, art begin to creep into the monuments.

But such relics are very few and most of the works created then still bowed to old national traditions.

In the Georgian art history of the Middle Ages, goldsmithery is known to be a field, which, over the course of many centuries, succeeded to uphold and show adherence to its own peculiarities, traditions, artistic uniqueness and identity.

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anCis macxovari _ karedi xati, XII s-is miwuruli, ostati _ beqa opizari ANCHI'S CHRIST – TRIPTYCH BY BEKA OPIZARI – END OF XII CENTURY

XVII saukuneSi saqarTveloSi kaTolike misionerebma evropuli samyaros, kulturis elementebi Semoitanes, ramac Weduri xelovnebis nawarmoebebzec moaxdina gavlena. 1686 wliT daTariRebuli anCis karedi xatis garemoWedilobis `serobis~ kompozicia Zalzed hgavs imave periodis erT-erTi veneciuri xelnaweris miniaturas.

XVIII-XIX saukuneebidan ki evropulTan erTad rusuli xelovnebis kvalic Cndeba. Tumca amgvari nimuSebi Zalzed

cotaa da ZiriTadad isev Zvel, erovnul tradiciaze dafuZnebuli namuSevrebi iqmneba.

Tamamad SeiZleba iTqvas, rom qarTuli Suasaukuneebis xelovnebis istoriaSi oqromWedloba erT-erTi is dargia, romelmac aTaswlovani istoriis manZilze garkveuli Taviseburebebis, tradiciebis, mxatvruli individualobisa da xasiaTis SenarCuneba SeZlo.

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Tamaz WilaZe

Rirseuli

saidan modis adamiani, saidan evlineba qveyanas? am kiTxvaze CvenTvis, qarTvelebisTvis, Cvenive xalxis brZnuli gamocdilebis Sesabamisad, erTaderTi pasuxi arsebobs: adamiani modis Tavisi ojaxidan! mgoni, mxolod qarTuli cnebaa `ojaxis Svili~. marTlac, roca saqme adamianis pirovnebis garkvevas exeba, albaT arsad iseT Rrma mniSvnelobas ar aniWeben ojaxs, rogorc CvenSi. amitomac, ojaxuri tradicia aRiqmeba, rogorc garnizonuli wesrigi, rogorc, Tundac, saxelmwifoebrivi konstitucia. ojaxi aris Cveni TavisTavadobis ZiriTadi sayrdeni. amdens imitom vlaparakob yvelasTvis cnobil, magram dRes bevrisgan aSkarad daviwyebul WeSmaritebaze, swored Cveni Zvirfasi megobari rom asaxierebda sruli sisavsiT am cnebis yvela saukeTeso mxares. is iyo namdvili ojaxis Svili da amitomac namdvili Svili Tavisi qveynisa. zogjer, rac moZvelebulad gveCveneba, sinamdvileSi maradiulia...

axla, roca erTi weli gavida badri WoxoneliZis gardacvalebidan. roca SesaZlebeli gaxda erTgvarad gaazreba misi arsebobis Taviseburebisa, Tundac im sikeTis mcireodeni nawilis gaxseneba da Tavmoyra, rasac dauzogavad fantavda, afrqvevda megobrebs Soris, TiTqos pirvelad vigrZeniT danakargis mTeli simZime da Segvzara imis gafiqrebam, Tu ra advilad vurigdebiT CvenTvis Zvirfas, ganumeorebel adamianTa dakargvas. ra ucnauradac unda mogveCvenos, etyoba, sakuTari umweobis Secnoba, anu SegrZneba imisa, rom yvelani bedisweris Calis qoxis mdgmurebi varT, rom Cvenze ar aris damokidebuli Cvenive arseboba, gvaCvevs da asatansac ki xdis sikvdilis Semzarav saxes. sikvdilze fiqric sicocxlis erT-erTi formaa, mdgomareobaa sulisa, roca droebiTi xvdeba maradiuls, roca fiqri metaforad iqceva da iReba kari, sadac mxolod uSiSar pirovnebebs SeuZliaT Sesvla. Cveni

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megobari erTxel ukve namyofi iyo im idumal samyaroSi, saidanac, samwuxarod, Zalian cota xniT, magram aSkarad dabrZenebuli dagvibrunda. yvela adamians Tavisi amqveyniuri misia gaaCnia. badri WoxoneliZe erT-erTi im pirovnebaTagani iyo, romlebsac `miwis marili~ SeiZleba vuwodoT. isini, Tundac TavianTi arsebobiT, amagreben adamianuri urTierTobebis sayrdenebs. dinjad, wynarad, zogjer uxmod, fiqriani gamoxedviT, tkiviliviT daZleuli RimiliT gvaxseneben, rom umZafresi katastrofebis drosac ar unda daviviwyoT Cveni sakuTari Tavi, rom boroteba sakuTari Tavis ugulebelyofiT iwyeba. SeiZleba iTqvas, bolomde axsovda es, rac aZlevda Zalas bolomde ar danebeboda ukurnebel sens. arada, aSkarad Cvens Tvalwin qreboda. ucnauria, ukve Serigebuli, Seguebuli sakuTar aryofnas, raRac didi, CvenTvis miuwvdomeli garigebis monawile, viRacasTan saidumlo xelSekrulebis damdebi, gvaocebda garduvalisa da aucileblis, CvenTvis miuRweveli, miuRebeli, amouxsneli gagebiT. ase kvdeba Semodgomaze buneba, anda ase kvdebian isini, vinc sicocxleSive ixiles sikvdili. Rirsebis idumali Suqi danaToda gacrecil saxeze. Rirseuli adamiani iyo, rac ase iSviaTia cxovrebaSi da ase aucilebelia cxovrebis logikurobis dasajereblad.

Cven didxans vsaubrobdiT xolme, ufro zustad _ didxans vdumdiT erTad. saerTod cotas laparakobda. umetesad sxvebs usmenda, rogorc kulturuli adamiani pativs scemda TiToeuli Cvenganis pirovnul Taviseburebas rac, upirveles yovlisa, misdami uneburi mokrZalebiT gangvawyobda. gulwrfeloba da keTilSobileba adamianebs ucnaurad aRelvebT da aTvinierebT xolme. amasTanave, aramarto garduvalis moaxloeba asevdianebda, aramed, da SeiZleba ufro mtkivneuladac, adamianTa qcevis, adamianur usindisobaTa sakvirveli, inertuli sinqronulobac. bolo wlebSi, SemTxveviT ar dainteresebula brZeni florencielis nikolo makiavelis satiruli TxzulebiT. TiTqos `mandragoraSic~ eZebda kacTa modgmis damakninebeli gaiZverobis mizezsa Tu axsnas. mis moTxrobebSic moulodnelad daiwyo foTolcvena, gaiba sikvdilis vercxlisferi ablabudebi, ase rom gadaasxvaferes yvelaferi _ saxli, ezo, qalaqi, xolo nivTebi sakuTar ConCxebs daamsgavses. aki TviTonac SesZaxa ablabudebSi gaxveulma, saxeze sibnelis obobebis sacecebis SexebiT SeZrwunebulma: `oo, es obobas qseli~-o! bolo dros albaT yvela misi literaturuli TanamoZmisTvis aSkara gaxda, rom man Tavisive moTxrobebs, Tavis Semoqmedebas pirovnulad gaaswro, moTxrobebidan ise moulodnelad amoizarda, rogorc mozardi _ tansacmlidan. im ucnaurma senma Tu dResaswaulma, rasac mwerloba hqvia, masac gauCina ekliani fiqri yofnaaryofnaze. da ai, moulodnelad kvdeba misi bavSvobis megobari _ `sabralo mwyemsi~. am ori, erTmaneTTan

TiTqmis Seusabamo sityvis dawyvileba ukidegano sevdiani akordiviT gaisma bavSvobis udardel. anc, mzian samyaroSi. megobris dakargva xom sakuTari sikvdilis Sexsenebaa, Tu sakuTari sikvdilis SegrZneba ara. da gaCnda kidec pirveli saSineli, gulis amomtrialebeli, Tavzardamcemi SEgrZneba imisa, rom TandaTanobiT, TiTqos SemTxveviT, magram diadi mistiuri kalendris sizustiT am qveynidan nawil-nawil gaaqvT Seni suli, Senze adre miwad qceuli Senive maxloblebis saxiT. Semdegi ukve Sena xar, wamiT Seyovnebuli, CamorCenili maT mwkrivs, Camavali mzisa Tu lurjad gayuCebuli zRvis danaxvis gamo... is ukve sxva mwerlobaze fiqrobda. ocnebiT ukve sxva speqtakls dgamda, sxva dekoraciebiT da personaJebiT.SeiZleba iTqvas, ukve mzad iyo axali, didi mwerlobisaTvis, risTvisac yvelaferi gaaCnda _ niWic, ganaTlebac, moTminebis unaric _ garda... sicocxlisa. sayuradReboa is faqti, rom mis bolo moTxrobebSi gadadgmulia erTgvarad mokrZalebuli nabiji misken, vinc am qveynad `saxed Tvisad~ mogvavlina da visac albaT amJamad yvelaze naklebad vgavarT. da ai, molandebuli TeTri fantelebis burusSi gaemarTa misken CvensaviT gabezrebuli nacrisferi yofiT Tu mezoblis morecxili aivnidan Camosuli wveTebis tyapaniT, rasac sxva sityviT _ cxovreba hqvia... da bolos misi sityvebi minda gavixseno: `raRac iqneba iseTi riTac gagacocxlebT... oRond, Tqvenc modiT xolme... modiT, momefereT...~ saocaria, aqeT gvaimedebs da gvanugeSebs TiTqos. Tumca sikeTem saiqio da saaqao ar icis, misi geografia gacilebiT martivia, ramdenadac usazRvroa...

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1997 weli

4 (22) 2020

badri WoxoneliZe

mako-makine-mako?!

zurab niJaraZe / ZURAB NIZHARADZE

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4 (22) 2020

mTvare vercxlisfrad Semodioda, anaTebda TiTqmis miwurs. sxivebi ZalisZalad aRwevdnen fardis nasvretebidan da marTlac vercxlavdnen oTaxs. oRond es iyo, rom usiamo, civi naTeli idga. etyoba, mTvaris mSvenierebis SegrZnebas martooba ar uxdeba. civad da usiamodve asxivebda oTaxs da am garemosTvis zogjer Seuferebel sagnebs maTi warsulis Tu momavlis formas aZlevda. televizori televizoris ConCxad ikveTeboda, macivari _ macivrisa da karad-avejic TiTqos ZiriTadmasagamoclil ConCxismagvarad irekleboda. mxolod magida, didi da ovaluri, laplapebda lamazad. mTvare aq, am priala, mowiTalo zedapirze mTlianad eteoda (an ki saidan aRwevda?!). da mainc, oTaxs usiamo feri edo. oo, es obobis qseli! ai, ras asxivebda da ras avsebinebda sivrces. es uwvrilesi, irgvliv gamefebuli arcTu ususuri naqsov-naqargi xom mTlad vercxlad mosdebda cicqna miwurs. diax, diax miwurs da am miwurSi... da am miwurSi mkerdze xelebgadajvaredinebuli daabijebda makine, raRacas butbutebda da veravin mixvdeboda, loculobda Tu iwyevleboda. misi Tvalebi da mzera arafers ambobda. makine uceb magidas da masze areklil mTvares CaaSterda, ucebve CamouSva xelebi, Sedga. es nacnobi suraTi, ufro realuri rom gaexada, didi, spilenZis varcliT wyali Semoitana, magidaze Semodga da mTvare Sig moaqcia. wyali karga xans liclicebda. da mTvarec, akankalebuli mTvarec

ufro nacnobi da axlobeli gaxda. makinemac Caixeda wyalSi, mxolod is dalanda, Tma CamoSloda, sarWi erTxans tuCebiT daiWira _ wingamoburculi, odnav gabutuli tuCebiT da Tavze xeli gadaisva _ erTxel, orjer... aTjer. mgoni vgiJdebio, da axla SeniSna obobas qseli. kaba CamoiferTxa (TiTqos TviTonac am qselSi gaxveuliyo), CamoiferTxa koWebamde CaSvebuli grZeli, sulSemxuTavi kaba. makines Zma agvianebda. Zma, soflis loTi da ukve masxara, erT Wiqaze mocekvave, risi armkadrebeli ylupi sasmelisTvis. _ davlewav yvelafers, _ isev moavlo miwurs Tvali makinem da sruliad auRelveblad gaimeora, _ davlewav yvelafers, _ mere moWuta didi, lamazi Tvalebi da mTlad ConCxadqceul vercxlisfer avejs daemuqra, _ erTi dRec dadgeba da amogbugavT, cecxls migcemT. mere gafermkrTalda mTvare. oTaxic odnav Camoibinda da Ramem, am uzarmazarma Savma frinvelma frTebi tkacuniT aiqnia. Tbiliss arcTu didad moSorebul sofelSi inaTa. am sofelSi idga makines ojaxis uzarmazari agaraki, didi gaSlili ezoTi. jer Tbilisis saxli gayida, mere is veeberTela agarakic mihyva da yvelaze usaxo, ususur saxlSi Sesaxldnen makine da misi Zma. qali obobas qsels cocxiT wmendda, rodesac ZaRlis xvelebismagvari yefa gaisma. es makines Zmis erTguli ZaRli iyo, patroniviT Taxsiri, romelic, ratomRac,

Tengiz mirzaSvili / TENGIZ MIRZASHVILI

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4 (22) 2020

yovelTvis win aswrebda kacs da WiSkarmac gaiWriala. axla Semovidoda, ufro sworad CamoborZikdeboda makines ufrosi Zma da mohyveboda qveynis tyuils... efereboda makos mama, ixutebda, xiTxiTiT enas uCliqavda Svils, _ zrdi, ealersebi... mova mere viRac mutruki da... _ mama arasodes amTavrebda saTqmels. mako sul erTi cicqnac ki raRacas grZnobda, TiTqos xvdeboda (aba, Tumca, ras unda mimxvdariyo), magram raRac sasiamovnod Cqmetda, aburTavebda, aTamaSebda. `mova viRac mutruki da~... ...da sad iyo es viRac, Tundac mutruki, sad jandabaSi, an ramden xans rad undeboda mosvlas an, uaresi, movidoda ki?! makos TiTqos viRac-viRaceebi moswonda Tu uyvarda kidec.

etyoba, is siyvarulic unda giyvardes, im grZnobis, mdgomareobis gaxsenebac unda gaxarebdes gaTenebas, Torem ise siyvarulic ar yofila da esaa. diax, esaa! _ Sen mainc mogeyvana coli, _ mtvris tilos usvamda avejs makine da sawolSi mokuntul Zmas misCereboda, _ marTla mogeyvana, marTla! _ gabrazebulma tilo ise daiqnia, Zmam daacemina, mere didxans WmuWna cxviri da, makuna, wyalio, sacodavad amoixnavla. avsebda makine Wiqas wyliT da isev Tavisas agrZelebda, mere, SeiZleba, CemTvisac moecala dedaso. fanjridan moCanda, rogor eSveboda mze. axla Cavidoda, Tvals miefareboda da mere isev wyarosTan, mere isev Zmis lodini da... ...da mere isev amobrdRvialdeboda.

zurab niJaraZe / ZURAB NIZHARADZE

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4 (22) 2020

zurab niJaraZe / ZURAB NIZHARADZE

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4 (22) 2020

dimitri erisTavi / DIMITRI ERISTAVI

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4 (22) 2020

rezo gabriaZe / REZO GABRIADZE

_ ai, ratom aris mzis Casvla didebuli, _ axsendeboda makines mamis sityvebi, _ xom lamazi da mSvenieria, magram mTavari isaa, rom didebulia. da iciT, ratom aris didebuli?.. rao, ras momCerebixarT, _ ecineboda mamas da ase TeTrkbilebaelvarebuli, mzemokidebuli kaci uyurebda col-Svils, _ imitom, rom diliT aucileblad isev amova, diliT isev gaanaTebs da gaaTbobs yvelasa da yvelafers... ai, es rom viciT, imitomaa didebuli mzis Casvla. wyarosTan isxdnen soflis qalebi da makines yoveli mosvlisas egona, Cemze CurCulebdnen da Cems gamoCenazed Caikmindes xmao. SeiZleba, arc umisoba iyo, magram qalebs aTasi sxva safiqral-saTqmeli hqondaT. yovel SemTxvevaSi, mxolod makinesa da mis loT Zma gogaze ar laparakobdnen. da midioda, da uaxlovdeboda ukve maTze gabrazebulganawyenebuli makine. axla CamojdomisTanave raime iseTi unda eTqva, rac mis upiratesobas miaxvedrebda gasusul qalebs. ise, simarTle rom iTqvas, isini isedac grZnobdnen makines gansxvavebulobas da es cota ridsac badebda maTSi. magram ar icoda zusti sityvebisa da drois gamonaxva makinem. axlac, Camojda Tu ara, sxvebiviT saqsovi amoiRo, manac muxlebze daikra xeli da is iyo raRac unda eTqva, rom erT-erTma uSnodmokvnetil frCxils rom miugavda Rimili, risxviT Seavlo Tvali da kenWi esrola, _ gogo, Sena raebsa Svrebi, a?! rao, viTom Tqveni varo da TqvensaviT viqcevio, ara?!.. mag muxl-barZayze sxvas asmevine xeli da eg ZuZu-mkerdic sxvas moaferebine... raa, gogo, rad itanjav Tavs?!.. e! eee... saidan moubera niavma, ram da saidan gaaTbo miwa da gauTbo makines sxeuli. mama rom efereboda, mama rom ambobda, viRac movao, mutrukio, mova mutruki dao... madlieri mzera Seavlo enamware dedakacs, (sofeli wiwakas, wiwos eZaxda), magram, mTeli gza rasac alagebda,

mTeli gza rac enaze hqonda momdgari, mainc isa sTqva, _ Cemi Zma, ara... es Cemi Zma sul eseTi ki ar iyo... Cven kargi gvaris xalxi varT (aq qalebs moavlo mzera da esiamovna, uklebliv yvela Tavis qneviT eTanxmeboda)...

Cemi Zma xSirad gamolenCebuli da gamoSterebuli xalxis Semosalawuneblad dahyavdaT xolme (axla aRaravis uyurebda. TviTonac grZnobda, mTlad sworad rom ar gaagrZela, TviTonac saxeze siwiTlem gadaurbina)... Tu daakvirdebiT, dainaxavT ra jiSiani yurebi aqvs... _ visa, gogo? _ Cem Zmas, visa, _ isev muxlebze irtyamda xels makine, _ daakvirdiT da Tavad darwmundebiT, _ mere iTxova, Seevedra qalebs, _ daakvirdiT, daakvirdiT. _ jiSian kacs sxva rame unda hqondes, _ Caiqirqila wiwom. _ axloblebi xarT da Tqven Tu ara sxvas vis unda vuTxra, _ makine Cqar-Cqara laparakobda, dagorgolavebul Zafs patara gogosaviT aTamaSebda _ aagdebda da daiWerda, aagdebda da daiWerda, kidev da kidev. mere veRar daiWira da dagorda Zafi. yvelam amoisunTqa. yvelas moexsna daZabuloba. makinem ki ufro dauwia xmas da axla sul mTlad CurCulze gadavida, _ vis unda vuTxra, vis?.. hoda, getyviT... Cem Zmas im qalma ver gauZlo, mis kacobas ver gauZlo... sul eqimebTan dadioda da imaT urCies, Tavs nu moakvlevineb mag mxecso... _ rao, gogo, rao? _ ikiTxa asi wlis marTam. _ Sen egeTebi ar gemaxsovreba, marTa _ wiwom Taviseburad uSnod gaiRima, _ mxecs ki ara da... _ Sen maica, qalo! _ gafucxucda marTa da isev CaekiTxa makines, _ vin mxecso, ra mxecso? _ Sen Zmas Citi ar umuSavebda, Citi, _ axla wiwom daikra muxlebze didi xelebi, _ eg iyo mizezi, coli rom gaeqca, _ mere misken Semobrunebul marTas Seutatana, _ ar mkiTxo axla, ra Citio, vin Citio!

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rezo gabriaZe / REZO GABRIADZE

4 (22) 2020

Tengiz mirzaSvili / TENGIZ MIRZASHVILI

umoqmedobiT, uazro yofiT gadaRlili guli xSirad ver eweva fiqrs da es ufro qancavs, TenTavs. umoqmedoba mxolod warsulSi gadagaxedebs, mxolod mogonebebs iwvevs da amas sadRac ufero, blant masaSi CayvinTva da farTxali sWirdeba. hoda, iRleba guli. guli, romelsac yvelaze metad sxivi sWirdeba, naTeli sWirdeba. naTeli imedia da imedi ki momavlis rwmenam icis. hqonda ki raimes imedi makines? anda, warsulSi Tu iyo raime xelmosaWidi. mama! mamas mako uyvarda, makoc giJdeboda mamaze. sxvebi Tu dedas ificebdnen, mako, mamas vficavaro. gogonebi Tu, saerTod, dedebs baZavdnen, mako cdilobda mamas damsgavseboda. dedas araferi esmoda mamis. yovel SemTxvevaSi, makos ase sjeroda. deda imasac ver mixvda zustad im dRes, ramdenime wuTiT adre rom gamosZaxa mamam samuSao oTaxidan, ha, ra vqnaT... ginda, sardafi davalagoTo. dedam, rogorc yovelTvis, moica erTi ra, daRlili varo. eee, Taviseburad gaagrZela mamam. arada, xom moaswro kacma da araerTxel Tqva, iciT, sardafSi ramdeni sasiamovno siaxle aRmoCndeba xolmeo. dedam maSinac xeli Caiqnia gaRimebulma, albaT ifiqra, sulelia es kacio.

e! eee... mako gaaRiziana dedis miuxedvrelobam, mamis oTaxi SeaRo. divanze miwolili kaci kedlisken ukanasknelad gadabrunebuliyo. deda verc imas xvdeboda, rogor ukles misma megobarma qalebma maTTan siaruls mamis gardacvalebis Semdeg. makosTvis is iyo yvelaze saocari, rom deda ar eWvianobda mSvenier meuRleze. arc arafers uwonebda, arc uwunebda, ise xandaxan Tu usayvedurebda, isic sxvis magaliTze, sxvisi egona yovelTvis swori da misabaZi. bebia ki yovelTvis eCurCuleboda qaliSvils, Seni bednierebiT iyavi bednieri, mxolod Seni bednierebiTo. da kidev erTi, razec sofleli qalebi eTanxmebodnen makines, es mamaze mogonebebi iyo (sxvaTa Soris aqac cotas umatebda xolme). ityoda, yvelas uyvardao da qalebi TiTqos erTmaneTis uCumrad, magram mainc erTxmad aqnevdnen Tvalebs. Cemi megobari gogonebi giJdebodneno da wyarosTan Tavmoyrili dedakacebi iseTi TvalebiT uyurebdnen makines, TiTqos eubnebodnen (TiTqos, Torem aba amis Tqma verc ki warmoedginaT) ise Sexedavdnen, Cvenco, gogo, Cvenco. _ ra gavla icoda, _ uceb Tqva marTam, _ oo, ra gavla icoda.

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4 (22) 2020

_ vina, qalo, vina? _ uSno Rimili axla TvalebSi auTamaSda wiwos. yvela marTas miaSterda. moxuci TiTqos mzis Casvlas uyurebso, ise moeWuta Tvali naxevradCagorebul mnaTobs. axla rom ikiTxos, ratom aris mzis Casvla didebulio, gavgiJdebi, SeeSinda makines. _ vin ra gavla icoda, marTa bebo? _ makine axlos miuCoCda moxucs. _ vina da Senma mamam, gogo, _ qali mzes ar acilebda mowkurul mzeras, _ erT kacad Rirda magis aq avla-Cavla. _ mamaCems Zma yolia, _ siamaye, yelSi momdgari siamaye met yuradRebas moiTxovda da makinec Seudga am amaval gzas, Tan ukve mxolod marTas gasagonad aRar ambobda, _ Turme mzes eubneboda, Sen Cadi da me amovalo. makines kalTaSi kenWi Cauvarda, mere kidev. iyuCa. mixvda, es aRar unda eTqva. _ gogo, _ wiwo miwaze isev kenWs eZebda, _ nu ici ra egreTi laparaki... an eg TavSali ra Seni saqmea, Tanac pirze akruli. Cvennairoba Seni saqme araa... ukve Cveni saqmec aRaraa eg oxeri Cvennairoba da Sen ra Tavs iklam... _ didi veraferi Svili iyo, _ uceb Tqva marTam.

_ vina? _ erTdroulad ikiTxa yvelam. _ mzec CabrZanda, _ marTam SviliSvils xeli gauwoda. im sacodav SviliSvils ukve TviTon sWirdeboda wamomyenebeli da Zlivs wamowia weli. rogorc iqna, wvaleba-wvalebiT, krusun-caxcaxiT orive wamoimarTa. orivem erTxans guldagul iferTxes qvedakabebi da marTam Tqva, _ vina da biZamagisi. mamaSenis dari Tqven gvarSi kaci ar dadioda. _ kargi, biZaCemi, kargi, _ daeTanxma makine da gajiutebulma uTxra, _ Cem Zmas raRas erCi, marTa babo, Cemi Zma ra... _ ra da dardubala, _ asakisTvis Seufereblad yoCaRad daabakuna marTam fexebi da joxi, _ Cemi Zma, Cemi Zma... ar waiRo, qa yuri... iyo kidev bebia, dedis deda. bebias viRa uyvarda? vina da yvela. icoda mofereba, marto Sen gefereboda. gagiRimebda da marto Sen gagiRimebda. rogor ar hgavda deda bebias. yovelTvis momRimari deda, magram yvelasTvis erTnairi Rimiliani, yvelasTvis viTom yuradRebiani. amitom iyo, rom aravis ekuTvnoda dedis Rimili, yuradReba Tu alersi, aravis.

Tengiz mirzaSvili / TENGIZ MIRZASHVILI

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4 (22) 2020

deda. deda, marTlac, aseTi iyo da verafers izamdi. yovel TveSi iwyebda, Tavi amtkivda da ariqa, eqimio. mamas eRimeboda, daimaxsovre, va, daimaxsovre, eee, es vin ario da Sublze kocnida meuRles. mako mere mixvda, ase camet-ToTxmeti wlis asakSi, ra unda daemaxsovrebina dedas. masac eRimeboda xolme dedis Tavis tkivilze da makomac uTxra Cumad (mamis sikvdilis Semdeg), daimaxsovre, marTla, deda, rad ginda eqimio. maSinac, TavCaRunulma CaiCurCula bebiam, ras izam, Svilo, aseTebic arian am did qveyanazeo. nuTu dedis es viTom alersi Tu viTom Rimili, da saerTod `viTom~ gadaizarda vaJSi da mxolod galoTebisas iCina Tavi, oRond viTom vaJkacobam (ver itanda goga magidaze purisa da asanTis ukuRma dadebas), auh, wamoiZaxebda, amas ras kadrulobTo da bolo xanebSi

pirjvarsac iwerda... kidev Zmis viTom moazrovneoba iyo yvelaze saSineli makinesTvis. _ sad gaqra mama, _ xelebSi Tavs Cargavda goga, _ sad gailia, migvrCa da davkargeT, _ mere erTxans gayuCdeboda. makine fiqrobda, CaeZinao, da uceb, _ ha, makuna, miTxari yvelani sadme davkargeT Tu gagvifrindnen. gaCumdi, undoda eyvira, ekivla makines, xma Caigdeo, magram idga da uCumrad aqnevda Tavs, _ daweqi, Seni Wirime... daiZine, moisvene, _ da grZnobda, rac mets ilaparakebda, ufro mowydeboda realobas, _ mere gaTendeba, mze isev amova, ukeTesi dRe dagvidgeba, ukeTesi... _ gaCe, gogo, _ RimiliT wamoimarTeboda goga, _ gaCe, _ aseve RimiliT akvirdeboda das da uceb xelis CaqneviT, _ mze ara ixvi, _ ixdida, wveboda da isic imeorebda da imeorebda, _ gaTendeba ara ixvi... ukeTesi ara ixvi... xandaxan uimedobas gaborotebamde mihyavda qali. uyurebda sawolSi mokuntul Zmas. goga wyalSi damxvrCalis napirze miyril tansacmels hgavda, romelic ukve ridsa da sibraluls aRuZravda yvelas. ra Tqma unda, miyrili patronis daxrCobis Semdeg moCanda es tansacmeli. mihyavda makine uimedobas gaborotebamde. dgeba momenti, rodesac es gaboroteba siamovnebad gadaiqceva xolme _ amas ki gaurboda. _ ras merCodiT, Tqve Cemi codviT savseebo, ras?! _ makine Wers misCereboda, vera da ver iZinebda. gaTenebiT, marTla gaTendeboda, aba ra jandaba iqneboda, mzec amovidoda. da ra, ra?!. ra eloda da-Zmas... ukeTesi ara ixvi, _ eRimeboda makines. gogac mosvenebuli iwva, mSvidad sunTqavda. ho, marTla, am oriode dRis win marTam isic Tqva, mamamagisma Semoxedva icoda, qals kia ara, qvas daadnobdao. mere daumata, Rimili, Rimili rogori hqondao. eZaxeT axla marTas ase wlis da mis SviliSvils _ axalgazrda. sul cxvirabzuebuli, sul ukmayofilo saxiT ijda gasusuli da uceb wamoisroda, demokratiam gailaRa, demokratiam gaimarjvao da uceb wamoikivlebda, damaxrCo amaTma demokratiam, magram metis Rirsebi xarTo. _ Se, gogo, Senma qalobam dagaxrCo da SegWama, _ wiwo marTas SviliSvils sxva dros arasodes epasuxeboda da merec ramdens wamoikivlebda an ironiiT moixseniebda demokratias, wiwo Taviseburad, uSnod CaiRimebda. sizmari iyo da sul TbilisSi xdeboda yvelaferi. sizmarSi aq, sofelSi araferi momxdara. wyaros irgvliv miyrili lodebi Tu kaklis xec Tbilisis saxlidan moCanda, oRond ufro lamazi da odnav gamWvirvale. _ wyali, makuna, wyali, _ gaisma gogas gasacodavebuli xma. mere xarbad, magram uRonod ewafeboda siTxes. TiTqos ylapva uWirda. makos cremli axrCobda amis Semxedvares. goga.

zurab niJaraZe / ZURAB NIZHARADZE

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zurab niJaraZe / ZURAB NIZHARADZE

isev ayefda ZaRli. isev im dros, Ramem rom frTebi aSala, gaiWriala WiSkarma da hei, makuna, makunao, eucxova makines gogas rixiani xma. mere karga xans idga Sua oTaxSi, gamwarebuli ukravda taSs da yviroda, taSi da taSi, taSi da taSio. vis baZavs es sacodavi, akvirdeboda makine. ZaRli makines amofareboda. mere goga SeCerda, iatakzeve Cajda da aSkarad viRacas uniWod baZavda, _ vaWrobaSi ver waval, vera, makuna... ar var me kupi-pradais kaci... or kapiks iSovnian da xalxi hgoniaT Tavi... me da bazroba?! me da CarCoba?.. _ daweqi! _ iyvira uceb makinem, _ daviRale, goga, meti aRar SemiZlia. sami dRis Semdeg TxrilSi CamxvrCali ipoves goga. makine maSin tiroda Zmas, marto rom rCeboda. ra erTnairi

Tavebi gvqonia, Seni Wirimeo, Tmaze efereboda qali. sakvirveli is iyo, rom sasaflaoze Sveba igrZno, axla ki yvela, marTla Cemi xarTo. saxlSi mobrunebulma ezoSi sufras gadaxeda, mezoblebs madlieri mzera moavlo da Tavi Seikava ar gaRimeboda, ras moilxenda Cemi sawyali Zmao. gogas wlisTavamde erTi TviT adre ZaRlic daikarga. isic gaqra... orpirma daubera. makinem kars gaxeda. zRurblze ciuri idga. arc mTlad Wkviani da arc mTlad giJi ciuri. uyurebda jamWurWels, makinebs TefSebs da qvabebs, Taroebze lamazad Cawikwikebuls da odnav ybaCamovardnili, gaRimebuli TiTo-TiTos acqerdeboda, _ rogor yvelaferSi getyoba

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zurab niJaraZe / ZURAB NIZHARADZE

qalaqeloba... bina xom gaqvs TbilisSi, gogo?.. mere, wadi, aq ra jandaba ginda... makines stumris bolo sityvebi ar esmoda, TviTonac gaitaca WurWlis Tvalierebam. Tan bavSvobis megobari gaaxsenda (`sad aris, netavi~ _ sul raRac wamiT gauelva am kiTxvam). da es mogoneba (megobris sityvebi) uceb gaumeora ciuris, _ arc samsaxuri minda da arc araferi... minda qmari, bavSvebi, lamazi samzareulo da didi, didi kedlis ganjina, didi, uzarmazari sardafi... gamovteni Taroebs aTasi kompotiTa da murabiT... milioni konserviT... stumari gaocebuli misCereboda makines. _ ase ocnebobda Cemi daqali, Cemi nanuka, _ TviTonve eucxova es naTqvami, gansakuTrebiT, sityva daqali (aseve gaaocebda sityva naTesavi)... magram xom iyvnen es oxeri da mudregi naTesavebi Tu daqalebi, xom iyvnen?! sad arian, sad?! kidev kargi es aRar uTqvams xmamaRla, aRar ukiTxavs ciurisTvis, Torem sul gamoaTayvanebda sacodavs. uceb ciurim daiqsutuna, _ vaime, gogo, su damaviwyda, sabWoSi telefonze geZaxian, _ makines gaocebul mzeras waawyda da Tavi imarTla, _ mako Sen ara gqvia, makine?.. hoda, makoso, makosao... gamgebels uzarmazari kabineti hqonda. axalgazrda, TiTqmis biWi iyo. zrdilobianad miesalma, yurmilSic CasZaxa, axlave qalbatono, ukve geaxlaTo da makines

Tvali gaayola. egona, qalobas vmalav da ase damaluli Cemi qaloba mec da sxvasac daaviwydebao. biWis mzeram moagona es da esiamovna, sisxli SeunjRria, TiTebiT Seexo, fizikurad Seexo sisxls. makinem gamgeblisken gaayola Tvali. biWi mas aRar uyurebda da is iyo yurmils daswvda, rom SeniSna, marTla lamazi xelebi hqonda; ai, iseTi, marto TiTebi rom ar aris, mTel kacad rom Rirs... am TiTebma auCqefa sisxli... _ diax, gismenT, _ eucxova yurmilic da sakuTari xmac. _ mako xar? _ qalis odnav boxi, mwevelis xma gamoepasuxa, _ me isida var. _ vin? _ isida, daumarcvla da axla ufro dauboxda qals xma, Caecina Tu Caaxvela, _ Sen ar micnob, _ TiTqos erTxans iWoWmana da mainc Tqva, _ mamaSenis megobari. _ diax, _ makineb biWs gadaxeda, mSvelels eZebda. biWi ki odnav gamoweul magidis ujras kmayofili CasCereboda, uceb Tqva, daglija fedia tokarevmao... _ vin? _ gaikvirva makinem. _ isida, mamaSenis megobari, axla ufro Tamamad Tqva qalma. _ fedia tokarevma, _ gaimeora gamgebelma, saCvenebeli TiTi TiTqos daumizna qals da esrolasaviT, _ te-te... makos gaeRima, diax, gismenTo. qalma uceb da Zalian mokled uTxra, Tu arsad apirebda mako wasvlas xval estumreboda sofelSi. _ ki, batono, _ makinem isev gamgebels gaxeda, biWi ki isev ujras CasCereboda, kmayofili iRimeboda.

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zurab niJaraZe / ZURAB NIZHARADZE

4 (22) 2020

makines WiSkarTan, rom yvelas yuradReba miiqcia. asakisTvis Seuferebeli mokle kaba da ulamazesi fexebi TiTqos calke gadmovida manqanidan. sxeulis zeda nawili pirSi gaCrili sigaretiTa da moWutuli TvalebiT saWes ketavda. araa saWiro, xeli gauqnia makinem. mSvenieri isida sigarets sigaretze eweoda. miwurSi CasvlisTanave erTi ki amoioxra, deda, Cemi sikvdilio, magram uceb gauRima makines, daamSvida, es araferio. mokled, TiTqmis CasvlisTanave, yava xom ar gaqvso. makines Sercxva. eg araferio, isev gaiRima Savgvremanma qalma da misma TeTrma kbilebma gamoanaTa. manqanidan TviTonve gamoitana yavac da maduRarac, eg araferio da Seudga diasaxlisobas. qali saqmianobda, koxtad dabakunobda aqeT-iqiT, yavis wamoduRebamde grZeli TiTebi magidas ukakuna da makines bebia, ufro sworad, misi aCemebuli sityva `axirxluli~ gaaxsenda. isidas uamravi samajur-beWedi hqonda axirxluli xelebze. isida ki makines ise gaxedavda xolme, etyoba, eloda, ha, axla mkiTxavs rames, ha, axlao. _ ici, mako, ras meubneboda mamaSeni, _ isev gamoanaTa isidas kbilebma, _ mTeli Seni umanko biografia Sens xmaSi ikiTxebao, _ qals sicili autyda. mere yava WiqebSi Camoasxa da makine dapatiJa.

zurab niJaraZe / ZURAB NIZHARADZE

aba, xvalamdeo, qalma yurmili dado. makinemac biWs madloba gadauxada da karisken daiZra. moRebul karSi ciuri idga. makine zurgsukan isev grZnobda mzeras.

Txeli, lamazi TiTebi sisxls uCqrolebda, guli yelSi mobjenoda. _ vina varo? _ dainteresda ciuri. _ fedia tokarevi, _ gaeRima qals da fexs auCqara. _ vina? _ gaioca ciurim, _ vinao, makine? _ ra damiZaxe? _ xeliT SeaCera gogo. _ makine-meTqi. _ makine ara, ixvi, _ ise xmamaRla gaecina, TviTonve SekrTa, ciurim ki xeli gamostaca da ukan daiwia... isida. isida naSuadRevs amovida grZeli, vercxlisferi manqaniT. ise msubuqad atarebda, ise msubuqad Sedga

zurab niJaraZe / ZURAB NIZHARADZE

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_ dedac giJdeboda mamas iumorze, _ makines deda cxovrebaSi pirvelad Seecoda da cota gamomwvevad upasuxa stumars. isidas TiTqos arc gaugonia es sityvebi. karga xans ijda uxmod, isev TiTebs akakunebda magidaze, isev bebia gaaxsenda makines. gaaxsenda ki ara, xedavda moxucs. isidam isev gaabola da oTaxi, es sacodavad mocucqnuli sivrce ucxo aromatiT aivso da uceb sityvebi bols amoayola, gagiJdeboda, aba ra iqneboda, ra qmari hyavdao. makos isev Seecoda deda, dainteresda da kinaRam hkiTxa qals, mamas marTla uyvardiTo. _ mako, _ TiTqos mixvda isida da uceb daiwyo, daaswro, _ mako, Sen TbilisSi unda dabrunde... bebiaSenis bina, xom ici, rom Senia... me mendo mamaSeni da Zvirfasi nivTebi karga xnis win momabara, Cvenebs Tu gauWirdebao, Sen icio... asea es, Cemo mako... Cven Zalian axlos viyaviT erTmaneTTan, _ ra saWiroa amis axsnao, makos Tavi CaeRuna. isidam isev gaimeora, _ Zalian axlos... me Seni bina davalagebine... axla yvelaferi Wirs TbilisSi, ufro sworad, aRaraferia, rac Sen gaxsovs... saabazanoSi wylis gamacxelebeli dagidgi... fuli mamaSenis kakaosfer pijakSia... imdenia, rom erTi sami weli mainc geyofa... asea es, Cemo mako... aseT rameebs Zalian axloblebs andoben xolme da mixvdi, albaT... _ mivxvdi. isidam igrZno zedmeti momividao, CanTaSi kargaxans eZia raRac, mere gasaRebebis acma amoiRo da magidaze dado, _ me Tvis bolos Cems samSobloSi vbrundebi, _ makos rom raRac esiamovna, amasac mixvda da mobodiSeba gaagrZela, _ albaT, aqeT aRarc Camoval... raRac xmam orive SeakrTo. Tamila, soflis kaxpa fanjaraSi iWvriteboda. isida wamodga, _ me wavedi... nuravis nurafers etyvi... dRes sxva droa. nurc TbilisSi moedebi bevrs... ho, kidev erTi, mamaSens, saocaria da, megobrebi ar hyolia... kacebi ver ugebdnen, _ amas ukve ezoSi eubneboda isida makines da mere daumata, es ise, mainc icodeo. Tamila SeefeTaT, isidas CaeRima da manqanaSi Cajdomisas makinesken Tavi gadaxara, _ ise, Cemi ar iyos, amis TvalSic ikiTxeba umanko warsuli... nu gagikvirdeba, CvenisTanebi Zalian Soridan grZnoben erTmaneTs... mainc rad undoda bebias saxli?.. idga mako did oTaxSi da patar-patara fotoebiT savse kedlebs aTvalierebda. makos rac Tavi axsovda, bebia maTTan cxovrobda, magram es Tavisi bina yovelTvis eamayeboda moxucs. xandaxan SviliSvilebs wamoiyvanda, murabiani CaiT da ekleriT umaspinZldeboda, Tan am suraTebs aTvalierebinebda da uxsnida es esaa da is isao. makos axla aRar hqonda amis gaxsenebis Tavi. fardebi, Tambaqosferi abreSumis fardebi niavis odnav Semobervaze sasiamovnod Srialebdnen da TiTqos es

Sriali did, farTo sawolsac gadaecemoda, sawolzec Tambaqosferi abreSumi efara. saabazano ki ise krialebda, mako daeWvda, sxva binaSi xom ar movxvdio. TiTqos kafelic sxva feri axsovda. axla TeTrad qaTqaTebda kedlebi, Weri. did sarkeze pomadiT telefonis nomeri ewera, qvemoT kuTxeSi ki bavSvuri xeliT lamazad gamokveTili asoebi ikveTeboda _ i-s-i-d-a. makom wylis gamacxelebeli CarTo. didi xnis unaxavi nacnobiviT axloblurad gaibuRa saabazano. sarkeze isidas telefonis nomeri mis pomadiT mosvril tuCebs daemsgavsa. makom gaxda daiwyo. sarkis win ixdida qali, SiSvldeboda. TvalSi mouvida sakuTari mkerdi. cremli moawva. cremlSi siamayec iyo da sibralulic. bavSvurad lamazad gamoyvanil asoebs Tvali aarida. dedis mzera agondeboda, ase uyurebda xolme deda. `vecodebodi, raRacas grZnobda da vecodebodi~. sarke didi ki iyo, magram mTlianad ver xedavda sakuTar sxeuls. mere fexis wverebze aiwia da muxlebamde airekla ukve sagrZnoblad danamulma minam. Sebrund-Semobrunda da bebias RuRuni Caesma `takun-takunao, Cemi gogonao~. makos daZabuli, alanZuli sxeuli Signidan gauTba. mere Tavze xeli gadaisva. `goga, Cemi goga... Senc gamoCndebi, mama... an ase davdgebi an ise, raRac iqneba iseTi, riTac gagacocxleb... oRond, Tqvenc modiT xolme... modiT, momefereT~. gogasa da mamis xsenebaze xelebi SiSvel mkerdze gadaijvaredina. moCqefda cxeli wyali. Sxefebi asvelebda iataks. sarke sul ufro da ufro ibureboda. _ modiT, modiT! _ patara, gabutuli gogosaviT jiutad gaimeora makom. wiTeli pomadiT nawers sisvele TiTqos cremlad sdioda. mere mako didxans idga cxeli Sxapis qveS. TviTonac ver ityoda, tiroda Tu ara. is iyo pirsaxocisken waiRo xeli, rom fexi aucurda da raRac bedad Cajda. axla ki marTla amoujda guli. uceb Suqi gamoirTo. wyali gacivda. mako gaumSraleblad, sveli fexebis tyapuniT gavida oTaxSi. arc auSlia, ise miwva didi sawolis Tambaqosfer gadasafarebelze. `yvelaferi erTad ar iqneba, gamSralebas xvalidan daviwyeb... zeg yavas viyidi... mazeg sigarets... Tqvenc nel-nela gagixsenebT... gagacocxlebT... Tqvenc gamixseneT~... quCidan manqanebis xma Semodioda. es xmac siamovnebda makos. niavi odnav Searxevda xolme abreSumis Tambaqosfer fardebs. `Tqvenc gamixseneT... mec, mec... axla ocamde daviTvli da ramiT maniSneT, rom gesmiT Cemi... erTi, ori, sami...

Svidi... aTi~... daaxloebiT Cvidmet-Tvramet Tvlaze saxli ganaTda, gabrdRvialda (deni uceb movarda). makos araferi gaugia, mSvidad eZina.

1995 weli

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zurab niJaraZe / ZURAB NIZHARADZE

ilustraciebis mowodebisTvis madlobas vuxdiT WoxoneliZeebis ojaxs

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qarTuli saqmeebiT akinZuli istoria A CHAIN OF GEORGIAN EPISODES es ar yofila peterburgSi, arc parizSi, arc florenciaSi... es iyo TbilisSi... qalaqSi, sadac polonelma mxatvarma da italielma balerinam sayvareli saqme da siyvaruli ipoves. es iyo maSin, roca, bevri emigrantis azriT, Tbiliseloba ukve erovnebas niSnavda… rTuli, magram usaSvelod saintereso iyo cxovreba im drois TbilisSi... orma ucxoelma xelovanma Cvens qalaqs dautova usazRvro niWis, profesionalizmis, Tavdauzogavi Sromis da gacemuli sikeTis Sedegi. bolos ki iyo qarTuli inteligenciis didi nawilis xvedris gaziareba _ xandazmuli wyvilis tragikuli ganSoreba... dasmena, usafuZvlo braldeba, usamarTlo sasamarTlo, usastikesi ganaCeni _ gadasaxleba, daxvreta, gaZeveba... bolo amosunTqvamde edardebodaT erTmaneTi...

This wasn’t happening in Saint Petersburg, nor in Paris or Florence...

This was happening in Tbilisi...

It was a story of love between a Pole painter and an Italian ballerina, a love found in Tbilisi, together with the discovery of their favorite occupations. The story of two foreigners’ lives in Georgia, and its tragic ending.

It was a story of great talent, devoted work, generous kindness, professionalism, and finally, of experiencing the lot of a large part of Georgian artists – denunciation, groundless accusations, an unfair trial, a most cruel sentence – exile, execution, banishment...

It was the tragic parting of a happy old couple...

They were grieving for each other until their very last breaths...

Henryk Hryniewski and Maria Perini – a couple that was condemned to be forgotten, but their deeds and names have entered the history of Georgian culture…

And there was a time when many emigrants thought that being a Tbilisian meant being a Georgian... Living during those times was

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difficult, but also utterly interesting...

The creation of various societies has become a trend in the Europe of the second half of the 19th century. They were gathering and creating them, establishing interests, according to their occupations.

There was one such society in Tbilisi too – ‘The Society for Fine Arts’, which was established in 1877 and achieving great results. Two years later, ‘The Society for the Spreading of Literacy among Georgians’ was created. It was a wonderful time, when thinking patterns were transformed and established by the generation from the 1860s, regardless of the artistic movement to which they belonged. It was a time when educated people were thinking about ways for our country, its history and future, to develop – in various ways, but always with their hearts...

On the 24th of March 1899, newspaper ‘Iveria’ was recounting the following event: “Grenevki, Trifonov and Eisler are thinking about organizing an exhibition of their works in Tbilisi”.

In 1902, the same newspaper reads: “The ball of the Society Supporting Foreign Artists took place on the 30th of November in Tbilisi’s ‘Krujok’ [currently the Museum of Modern Arts]. The halls were embellished by decorations prepared by Mr. Salzmann specially for the occasion. The main hall also exhibited decorations by Tetevosiants and Grinevsky, on which there were the paintings ‘Gods’ and ‘Slave of Songs’.”

henrik hrinevski da maria perini _ wyvili, romelic gadaviwyebisTvis gawires, magram maTi saqme da saxelebi qarTuli kulturis istoriaSi Sevida... mecxramete saukunis meore naxevridan sxvadasxva sazogadoebebis Seqmna mTels evropaSi aqtualuri gaxda. ikribebodnen, qmnidnen, ayalibebdnen interesebis, saqmianobis Sesaferisad. TbilisSic iyo erT-erTi aseTi _ „natif xelovnebaTa wamaxalisebeli sazogadoeba~, romelic 1877 wels daarsda da did saqmesac akeTebda.

2 wlis Semdeg „qarTvelTa Soris wera-kiTxvis gamavrcelebeli sazogadoebac~ Seiqmna da dadga dro, rodesac qveyanaSi azrovnebas cvlidnen da ayalibebdnen „samocianelebi“... dro, roca moazrovne adamianebi qveynis saSvelze, mis warsulsa da momavalze, sxvadasxvagvarad, magram guliT fiqrobdnen, imis miuxedavad, „pirveldaselebi~ iyvnen Tu „meoredaselebi~...

1899 wlis 24 marts gazeTi „iveria~ aseT ambavs iuwyeboda _ „mxatvrebs grenevskis, trifonovsa da eislers azrada aqvT gamarTon tfilisSi TavianTis suraTebis gamofena~.

1902 wlis igive gamocemaSi vkiTxulobT: „30 noembers tfilisis kruJokSi Sesdga kavkasiis saucxovo

bolnisis sioni, 58X90, qaRaldi, akvareli

BOLNISI SIONI, 58X90, WATERCOLOR ON PAPER

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xelovnebaTa damxmarebel sazogadoebis bali. darbazebi mSvenivrad iyo morTuli mxatvar b-n zalcmanis mier sagangebod am saRamosTvis damzadebul dekoraciebiT. darbazSive gamofenili iyo tetevosiancisa da grinevskis mier daxatuli dekoraciebi, romlebzedac akruli iyo „RmerTebisa~ da „monis simReris~ suraTebi~.

1910 wels reJisorma valerian SalikaSvilma dimitri erisTavis “samSoblo” dadga. reJisorma speqtaklis mxatvruli gaformebisaTvis moqandake iakob nikolaZe da mxatvari henrik hrinevski moiwvia. tradiciulad, qarTuli Teatris sezoni am speqtakliT ixsneboda. 1910 wlis Teatraluri sezoni, axali mxatvruli gaformebis wyalobiT, gansakuTrebuli aRmoCnda. „saxalxo gazeTi werda~: „amjerad valerian SalikaSvilis dadgma mayureblis yuradRebas iqcevda axali dekoraciebiT da tanisamosiT. dekoraciebi marTlac xelovnurad iyo Sewyobili. sazogadod, teqnikuri mxare warmodgenisa, masobrivi scenebi, ise iyo mowyobili, rogorc arasodes ara yofila qarTuls scenaze~. amonaridi 1912 w. gazeT „kolxidaSi“ gamoqveynebuli statiidan: „...Tu 1910-iani wlebis dasawyisSi mxatvrebis qarTuli siZveleebiT dainteresebas individualuri xasiaTi aqvs (h. hrinevski, d. kakabaZe), an qarTveli

atenis sioni, 34X28, qaRaldi, muyao, akvareli ATENI SIONI, 34X28, WATERCOLOR ON PAPER, MOUNTED ON CARDBOARD

Since the 1910s, artistic and literary life was blooming in our capital city. Concerts, ballet performances, theatrical and literary evenings, charity programs, and benefit performances by famous actors, singers, or dancers were taking place in Tbilisi’s cafés and clubs.

In 1910, director Valerian Shalikashvili staged Dimitri Eristavi’s ‘Homeland’. The director invited sculptor Iakob Nikoladze and painter Henryk Hryniewski for the stage decorations. Traditionally, the season of the Georgian theater was inaugurated with this show.

The inauguration of the 1910 theater season turned out spectacular because of the new stage decorations. The ‘People’s Newspaper’ wrote: “This time, Valerian Shalikashvili’s staging was drawing the spectators’ attention through its decorations and costumes. The decorations were done in a very artistic way. In general, the technical aspect of the show and crowded scenes were presented in a way that had never been seen on a Georgian stage.”

Excerpt from an article in the newspaper ‘Kolkhida’, 1912: “If in the beginning of the 1910s, the interest of stage decorators towards old Georgian objects had an individual character (H. Hryniewski, D. Kakabadze), or included the personal involvement of Georgian scientists or artists (E. Takaishvili and Dimitri Shevardnadze), in 1916, the Society of Georgian Artists, established under the leadership of D. Shevardnadze, is working on purpose in collaboration with Georgian scientists in the study of Georgian Christian fresco painting and the making of their reproductions, which becomes the foundation of utterly significant expeditions in Nabakhtevi in 1916 and in TaoKlarjeti in 1917…”

Before getting to know each other Henryk Hryniewski – architect, painter, one of the founders and professors of the Tbilisi State Academy of Arts – arrived in Tbilisi in 1898, and from that time, his fate was forever tied to Georgian culture, and to a beautiful lady, who had arrived in Tbilisi one year earlier than him. When the young artist returned from Europe, Maria Perini was already the prima ballerina of Tbilisi’s Opera and Ballet Theater…

The young artist was the descendant of Pole emigrants who had lived in Kutaisi. According to a document preserved at the National Archive of Georgia, officer Theodore Hryniewski and Leonida Malevska-Hryniewski’s son Henryk was born on the 10th of October 1869, and was baptized on the 10th of January 1870 in Kutaisi’s catholic church. The father – Theodore Hryniewski, a retired officer from Trev’s dragoon regiment, was the assistant of the head of the Kutaisi administrative subdivision, and for a certain period of time, he was working as the head of the administrative subdivision himself. The family wasn’t poor. In 1877, they even had the means to send their son to study abroad. Living with one’s mother in Europe was a long an interesting process. He finished his middle school in the French language, and finished the Art Academy in Florence.

But when he became 20 years old, he returned to Kutaisi, in order to fulfill his military duty. After that, he studied in Germany, at the Architecture Faculty of Karlsruhe’s Polytechnic Institute. In parallel to this, he was mastering watercolor. In 1895, after graduating from

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wuRruRaSeni, 59X41, qaRaldi, akvareli

TSUGHRUGHASHENI, 59X41, WATERCOLOR ON PAPER

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mecnierebisa da mxatvrebis pirad TanamSromlobas iTvaliswinebs (e. TayaiSvili da d. SevardnaZe), 1916 w. d. SevardnaZis TaosnobiT Camoyalibebuli qarTvel xelovanTa sazogadoeba sruliad mizanmimarTulad moRvaweobs qarTvel mecnierebTan erTad qarTuli qristianuli freskuli ferweris Seswavlis da maTi aslebis gadaRebis mimarTulebiT, rac metad mniSvnelovani eqspediciebis mowyobis safuZveli xdeba 1916 wels nabaxtevsa da 1917 wels tao-klarjeTSi...“ gacnobamde henrik hrinevski -arqiteqtori, mxatvari, Tbilisis samxatvro akademiis erT-erTi damaarsebeli da profesori, proreqtori _ TbilisSi 1898 wels Camovida. am droidan misi bedi samudamod daukavSirda qarTul kulturas da kidev erT mSvenier qalbatons. rodesac axalgazrda mxatvari evropidan dabrunda, mari perini ukve Tbilisis operisa da baletis Teatris prima-balerina iyo... is axalgazrda mxatvari quTaisSi mcxovrebi poloneli emigrantebis STamomavali iyo. saqarTvelos erovnul arqivSi daculi dokumentis mixedviT, oficer Teodor kaetanis Ze hrinevskisa da leonida malevska-hrinevskaias 1869 wlis 10 oqtombers dabadebuli Svili. henrixi 10 ianvars mounaTlavT quTaisis kaTolikur eklesiaSi. mama _ Teodor hrinevski tveris dragunTa polkis gadamdgari oficeri quTaisis mazris ufrosis TanaSemwe iyo da, garkveuli periodiT, mazris ufrosis movaleobasac asrulebda. ojaxs finansurad ar uWirda. 1877 wels imis saSualebac hqondaT, vaJi saswavleblad ucxoeTSi gaegzavnaT. iq ki franguli saSualo ganaTlebac miiRo da florenciis samxatvro akademiisac. Tumca, 20 weli

peizaJi, 6X16, qaRaldi, fanqari, kalami

the German institute, he returned to Italy and finish studying art there.

Years passed. He has become a fully-fledged and recognized artist, a well-educated one who loves his occupation. And he was also in love with the country in which he was born. And so, he returned…

In 1898, the artist and architect Hryniewski arrived in Tbilisi. In 1902, he was admitted as a member of the ‘The Society for Fine Arts’.

One year earlier, precisely thanks to this society, a painting and sculpture school was opened in the Arshakuni Palace on Griboedov Street. Artists such as Oskar Shmerling, Gigo Gabashvili, Mose Toidze, Eghishe Tatevosian, Gevorg Bashinjaghian studied there.

Elene Akhvlediani, Shalva Kikodze, Ketevan Maghalashvili, Lado Gudiashvili, Mikheil Chiaureli have all learned the ABCs of painting in that school... Since 1904, painting and crafts were taught by the Polish artist who would become the director of that school in 1918, and remain at that post until the school was upgraded to the Academy of Arts.

Maria Perini – Italian ballerina, ballet-master, and founder of the Georgian ballet school. Date of birth: 10th of March 1873. Place of birth: Turin, Italy. Burial place: Nice, France. She was studying at the ballet school of Turin’s Royal Opera Theater. Then she became the lead dancer of that same opera theater during the years 1888-1897. It so happened that in 1891, Perini visited Georgia in the context of one of her tours. She was the first to perform 32 fouettés in front of the Georgian audience, demonstrating her virtuosic talent at ballet. They probably offered her an interesting contract, as until 1897, Maria Perini was performing on the stage of the Tbilisi Opera Theater (the State-Owned theater) in the framework of tours, and then, during the next ten years, as the lead ballerina.

LANDSCAPE, 6X16, PEN, PENCIL ON PAPER

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Seusrulda Tu ara, samxedro valdebulebis mosaxdelad, quTaisSi dabrunda. Semdeg iyo swavla germaniaSi, karlsrudis politeqnikuri institutis arqiteqturis fakultetze. paralelurad akvareliT ferweraSi ostatdeboda. 1895 wels, institutis damTavrebis Semdeg, isev italiaSi Cavida da mxatvrobis swavla iq daasrula. gadis wlebi. henriki srulfasovani da sruluflebiani xelovania, ganswavluli da Tavis saqmeze Seyvarebuli. kidev im qveyanaze Seyvarebuli, sadac daibada. hoda, brundeba...

1898 wels mxatvar-arqiteqtori hrinevski TbilisSi Camovida. 1902 wels is „natif xelovnebaTa wamaxalisebeli sazogadoebis~ namdvil wevrad miiRes. iqamde erTi wliT adre ki, swored am sazogadoebis mondomebiT da saxeliT, griboedovis quCaze, arkanuSis sasaxleSi ferweris da qandakebis skola gaixsna. am skolaSi imxanad aswavlidnen: oskar Smerlingi, gigo gabaSvili mose ToiZe, eRiSe TaTevosiani, gevorq baSinjaRiani da sxvebi. xatvis anbani aq iswavles elene axvledianma, Salva qiqoZem, qeTevan maRalaSvilma, lado gudiaSvilma, mixeil Wiaurelma... da aq, 1904 wlidan xatvas da rewvas hrinevski aswavlida. 1918 wlidan is skolis direqtori gaxda da am movaleobas saswavleblis samxatvro akademiad gadakeTebamde asrulebda. maria perini _ italieli balerina, baletmaisteri da qarTuli sabaleto skolis fuZemdebeli. dabadebis TariRi: 10 marti, 1873 weli. dabadebis adgili: q. turini, italia. dakrZalvis adgili: nica, safrangeTi. swavlobda turinis samefo operis TeatrTan arsebul sabaleto skolaSi. Semdeg amave operis Teatris solisti-mocekvave iyo 1888-1897 wlamde. moxda ise rom 1891 wels perini gastrolebze TbilisSi Camovida. qarTveli mayureblis winaSe pirvelad swored man Seasrula 32 fuete da aCvena sabaleto moZraobebis virtuozuli Sesruleba. savaraudod, mas saintereso kontraqti SesTavazes, radgan 1897 wlamde maria perini warmatebiT gamodioda Tbilisis operis Teatris (saxazino Teatri) scenaze, jer rogorc gastroliori, xolo Semdegi 10 weli, rogorc wamyvani balerina. erTad SemTxveviToba movlenaTa jaWvia, romelsac verasdros gaiTvaliswineb... radganac wyvilis saojaxo arqivi, mavanTa davalebiT, srulad da saguldagulod ganadgurda, Tanacxovrebis detalebi da mniSvnelovani TariRebi ucnobia. SemorCa mxolod namowafarTa mogonebebi.

Tbilisis „okupaciis muzeumSi~ dokumentur masalasTan erTad erTi patara naxatia gamofenili henrik hrinevskis avtorobiT _ didi frinveli sadRac Sors mifrinavs,

erovnuli biblioTekis kibis ujredi NATIONAL LIBRARY STAIRCASE DECORATIONS

Together There was a chain of coincidences that nobody could have predicted, and they added up to a most interesting result...

Because the family archive of the couple was completely and deliberately destroyed, important details and dates related to their common life are unknown. Only the memories of their former pupils remain.

Together with other documents, a small painting by Henryk Hryniewski is exhibited in the ‘Occupation Museum’ – a large bird is flying somewhere far, above water. The painting conveys such terrible peacefulness that even if it had not been painted during the time of soviet repressions, it would still be considered as a metaphor of tragic history.

In the museum, there is also a worn monochrome photograph. It shows an elderly woman wearing a hat. It was an Italian lady who was looking for and finding children in Tbilisi who wanted to dance and had talent for it. She would find and raise them...

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Suqura, 31,5X51,5, qaRaldi, akvareli

qvemoT ki wyalia. naxatidan iseTi saSiSi simSvide modis, TariRi rom sabWoTa represiebis periods ar emTxveodes, mainc tragikuli istoriis metaforad aRiqmeboda. iqve gadacrecili Sav-TeTri fotocaa. fotoze asakovani qalia qudiT. italieli qalbatoni, romelic TbilisSi eZebda da poulobda bavSvebs, cekvis surviliT da niWiT. poulobda da zrdida...

1922 wels, TbilisSi, komendantis quCaze, komersant arSakunis saxlSi saqarTvelos samxatvro akademia daarsda. samxatvro akademiis Senobis erT-erT fligelSi, ezos mxares, akademiis profesoris, mxatvar henrik hrinevskis saxelosno da misi meuRlis, maria perinis sabaleto studia iyo. saxelosno gumbaTebian darbazSi iyo mowyobili, sadac studentebi ikribebodnen da xatavdnen. kedlebi mxatvris namuSevrebiT iyo mofenili, Taroebi ki wignebiT iyo savse. dro da dro saxelosnoSi maria perinis „tanc-klasis~ xmebi aRwevda. rogorc maTi mowafeebi ixseneben, orive saocrad energiuli, xalisiani, keTilganwyobili iyo. arasodes daizarebdnen rCevas da daxmarebas.

LIGHTHOUSE, 31,5X51,5, WATERCOLOR ON PAPER

In 1922, in Tbilisi, the Arts Academy of Georgia was established in the house of merchant Arshakuni on Komendanti Street. In one of the parts of the Arts Academy building, on the courtyard side, there used to be the atelier of the Academy’s professor, artist Henryk Hryniewski, as well as that of his wife, distinguished Italian ballet dancer Maria Perini.

The atelier was arranged in a domed hall, where students would gather and paint. The walls were covered with the artists’ works, and the shelves were full of books. From time to time, sounds of dance lessons would be heard, coming from Maria Perini’s studios.

As their students remember, both were energetic, joyful, and kind.

They would always try to give advice and to help others.

Accomplishments Together with Davit Chubinashvili, Iakob Nikoladze, Eugene Lanceray, Anatoly Kalgin and others, Henryk Hryniewski was one of the founders and one of the first professors of Tbilisi’s Academy of Arts. He was a professor since the creation of the latter until 1937.

At the same time, he was also working at the Industrial Institute. He was teaching perspective, architectural drawings, and watercolor painting.

Almost all the painters and architects who got their education

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Rvawli hrinevski daviT CubinaSvilTan, iakob nikolaZesTan, evgeni lanseresTan, anatoli kalginTan da sxvebTan erTad, Tbilisis samxatvro akademiis erT-erTi fuZemdebeli da pirveli pedagogTagani iyo. Tbilisis samxatvro akademiis daarsebidan 1937 wlamde is akademiis profesori iyo. SeTavsebiT, industriul institutSi perspeqtivas, arqiteqturul naxats, akvareliT ferwerasac aswavlida.

TiTqmis yvela mxatvari da arqiteqtori, vinc 1920-1930ian wlebSi TbilisSi miiRo ganaTleba, h. hrinevskis mowafe iyo. is organulad aTavsebda Semoqmedebasa da pedagogiur moRvaweobas, magram umTavresi gataceba _ Zveli qarTuli xuroTmoZRvrebis Zeglebi _ mTels mis cxovrebas gansakuTrebul elfers da mizans aZlevda.

1902 wlidan h. hrinevski istoriul-eTnografiuli muzeumis mier mowyobil samecniero-samxatvro mivlinebebSi (quTaisi, borCalo, gori, axalcixe) monawileobda. eqspediciebis mizani uZvelesi freskebis gadmoReba, Zveli qarTuli arqiteqturuli Zeglebis

erovnuli biblioTekis vestibiuli

ilia WavWavaZis Txzulebebis pirveli tomis mxatvruli gaformeba, 17X27, qaRaldi, akvareli ILLUSTRATION OF THE FIRST VOLUME OF ILIA CHAVCHAVADZE’S WORKS, 17X27, WATERCOLOR ON PAPER

in Tbilisi during the 1920-1930s have been Henryk Hryniewski’s students. He would organically combine his creative work and his duties as an educator, but his main passion was old Georgian

NATIONAL LIBRARY, ENTRANCE HALL

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veneciis bazari, 24X55, qaRaldi, akvareli

azomva da naturidan akvareliT Canaxatebis Sesruleba iyo. mxatvari safuZvlianad icnobda Zveli qarTuli xuroTmoZRvrebis Zeglebs, qvaze nakveT CuqurTmebs. misi Canaxatebi mniSvnelovania ara marto maRali mxatvruli RirsebiT, rogorc brwyinvale akvarelistis, aramed dokumenturi sizustiTac. henrik hrinevskis ekuTvnis qaSveTis taZris kankelis mxatvroba. misi eskiziTaa Camosxmuli taZris brinjaos karic. sagulisxmoa, rom swored mas andes 1914 wels dabeWdili ilia WavWavaZis TxzulebaTa pirveli akademiuri gamocemis ilustrirebac, romlis gamomcemeli cnobili eqimi da sazogado moRvawe mixeil gedevaniSvili iyo. am gamocemisTvis ocdaTxuTmetamde ilustracia akvareliT

ilia WavWavaZis Txzulebebis pirveli tomis mxatvruli gaformeba, 17X27, qaRaldi, akvareli ILLUSTRATION OF THE FIRST VOLUME OF ILIA CHAVCHAVADZE’S WORKS, 17X27, WATERCOLOR ON PAPER

VENETIAN BAZAAR, 24X55, WATERCOLOR ON PAPER

architecture, which was providing a very special tone to his life.

Since 1902, Henryk Hryniewski took part in the scientific-artistic expeditions arranged by the Museum of History and Ethnography (in Kutaisi, Borchalo, Gori, Akhaltsikhe). The goal of these expeditions was to make copies of ancient frescos, to take measurements from old Georgian architectural monuments, and to make sketches in watercolor. The artist had a deep knowledge of old Georgian architectural monuments and stone ornaments. His sketches are significant not only in terms of their high artistic value, as they were done by a high-quality watercorol painter, but also, because of their precision, in terms of historical documents. The iconostasis of the Kashueti Church was also done by Henryk Hryniewski. The bronze door of the church was also fabricated according to one of his sketches.

He was entrusted with the responsibility of illustrating the first academic publication of Ilia Chavchavadze’s works in 1914.

The publisher was renowned doctor and public figure Mikheil Gedevanishvili. The artist was selected after a long process. Up to 35 illustrations were done in watercolor for that book. From the illustrations, one can understand how passionate the artist was about Georgian architecture and ethnography. Today, this book is a rarity, and it is only possible to see it at the rare book reserves of the Giorgi Leonidze Literature Museum and the National Library.

In 1912, Anatoly Kalgin and Henryk Hryniewski’s project won the competition for the building of the Georgian Bank of Nobility. The best instance of “Georgian style” in his works can be seen precisely in the façade and interior decorations of this building. This was followed by another distinguished project by the two artists, the ‘Georgian Pantheon’ building on the territory of the Didube Church. Hryniewski used architectural ornaments in modern architecture twice after that, once while decorating the building of the South Caucasian Railway

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Sesrulda. ilustraciebidan Cans, rogor iyo gatacebuli mxatvari qarTuli xuroTmoZRvrebiTa da eTnografiiT. es wigni amJamad bibliografiul iSviaTobas warmoadgens, misi naxva g. leoniZis saxelobis literaturis muzeumisa da erovnuli biblioTekis iSviaT wignTa sacavebSia (raritetebSi) SesaZlebeli.

1912 wels anatoli kalginisa da henrik hrinevskis proeqtma saTavadaznauro _ saadgilmamulo bankis SenobisTvis gamocxadebul konkursSi gaimarjva. „qarTuli stilis~ saukeTeso nimuSad mis SemoqmedebaSi swored es safasado da interieris dekori iTvleba. amas moyva igive wyvilis kidev erTi saavtoro proeqti „qarTvelTa panTeonis~ Senoba didubis eklesiis teritoriaze. hrinevskim Tanamedrove arqiteqturaSi xuroTmZoRvruli ornamentis gamoyenebas mogvianebiT kidev 2-jer mimarTa _ amierkavkasiis rkinigzis Senobis fasadis dekorirebisas 1926 wels da, arqiteqtor arCil qurdianTan erTad, tfilisis dinamos stadionis proeqtze muSaobisas _ 1936 wels.

1934 wlis 19 martiT daTariRebuli henrik hrinevskis avtobiografiis mixedviT, is 2 samecniero naSromis avtoria: „qarTuli ornamentis analizi xelnawersa da naxazebSi~ da „xazovani perspeqtiva da CrdilTa Teoria mxatvrebisa da arqiteqtorebisTvis“. polonelma mxatvarma saqarTvelos damoukidebeli respublikis saxelmwifo simbolikazec imuSava dimitri SevardnaZesTan erTad. yinwvisi, 40X31, qaRaldi, akvareli KINTSVISI, 40X31, WATERCOLOR ON PAPER

wuRruRaSeni, 59X41, qaRaldi, akvareli TSUGHRUGHASHENI, 59X41, WATERCOLOUR ON PAPER

in 1926, and the second time together with Archil Kurdiani, when working on the project of Tbilisi’s Dynamo Stadium in 1936.

According to Henryk Hryniewski’s autobiography (19.03.1934), he is the author of two scientific works: ‘Analysis of Georgian ornaments in manuscripts and sketches’ and ‘Linear perspectives and theory of shadows for painters and architects’.

He also worked on the symbolism of the Independent Republic of Georgia together with Dimitri Shevardnadze.

In 1920, under the instructions of Noe Zhordania, a national gallery of paintings was established in the building of the Military Historical Museum. Dimitri Shevardnadze was appointed as the gallery’s director. In 1921, the gallery only had nine staff members. Among them was Henryk Hryniewski, who acted as a painter-restorer and the head of the European Art Department. He was a member of the export commission together with Giorgi Chubinashvili, Dimitri Shevardnadze and Giorgi Natadze. The commission was determining the authenticity and value of works of decorative and fine arts.

Hryniewski was taking part in the registration and valuation of the artefacts preserved in Borjomi’s palaces.

In 1927, in the special commission officially adopted by the Education commissariat of the Georgian SSR, he worked on the creation of a list of the museum artefacts taken from Georgia to

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qali wigniT, 10X13, qaRaldi, akvareli, fanqari

1920 wels noe Jordanias gankargulebiT, yofil „samxedro didebis taZarSi~ suraTebis erovnuli galerea daarsda. galereis direqtorad dimitri SevardnaZe dainiSna. 1921 wels galereas mxolod 9 TanamSromeli hyavda. maT Soris iyo henrik hrinevski, rogorc mxatvarrestavratori da evropuli xelovnebis ganyofilebis xelmZRvaneli. is, giorgi CubinaSvilTan, dimitri SevardnaZesTan da giorgi naTaZesTan erTad, galereis saeqsperto komisiis wevri gaxldaT. komisia saxviTi da dekoratiul-gamoyenebiTi xelovnebis nimuSebis avTenturobasa da Rirebulebas adgenda. hrinevski monawileobas iRebda borjomis sasaxleebSi daculi artefaqtebis aRricxvasa da SefasebaSic. 1927 wels ki saqarTvelos ssr ganaTlebis komisariatis mier damtkicebul specialur komisiaSi, qveynidan safrangeTSi gatanili samuzeumo faseulobaTa siis dadgenaze muSaobda. mxatvari periodulad Tbilisis operis Teatris speqtaklebsac aformebda. savaraudod, meuRlis, maria perinis sabaleto studiis dadgmebsac. scenografiuli namuSevrebidan dRemde mxolod ramdenime kostiumis eskizma moaRwia.

WOMAN WITH BOOK, 10X13, PENCIL, WATERCOLOR ON PAPER

France.

The artist would also sometimes work on the stage decorations of the Tbilisi Opera Theater. Probably for the performances of her wife Maria Perini’s ballet studio too. Unfortunately, only a few costume sketches are left from his costume and stage design works.

Perini was performing until 1916, and as soon as she stopped performing, she founded the first ballet studio in Tbilisi, where she arranged interesting ballets such as Delibes’ ‘Coppélia’ and a dancing performance of Maeterlinck’s ‘The Blue Bird’. Many famous ballet performers were raised in Perini’s studio: Dimitri and Irina Aleksidze, Maria Bauer, Solomon (Soliko) Virsaladze, Nino Ramishvili, Vakhtang Chabukiani, Iliko Sukhishvili, Elene Chikvaidze, Maria Kazinets, Elene Gvaramidze, and others.

In 1920, the studio was named ‘State Theater Ballet School’, and Perini was appointed as its director. The fees were small, but they were teaching children from needy families for free.

In 1927, under the initiative of the Art Department of the People’s Education Commissariat, they even arranged a special commemorating event dedicated to Maria Perini’s 30 years of work in the field of acting, dancing and teaching ballet. They staged ‘Magic Lake’ and other choreographic etudes at the Opera Theater.

Perini’s students were remembering their teacher as someone

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perini sakoncerto moRvaweobas 1916 wlamde eweoda, Semdeg ki TbilisSi pirveli sabaleto studia daaarsa. am studiaSi daidga saintereso sabaleto warmodgenebi: delibis „kopelia~, sacekvao aqti meterlinkis „lurji frinvelidan~. perinis studiaSi aRizarda qarTuli sabaleto xelovnebis mravali gamoCenili ostati: dimitri da irina aleqsiZeebi, maria baueri, solomon (soliko) virsalaZe, nino ramiSvili, vaxtang Wabukiani, iliko suxiSvili, elene CikvaiZe, maria kazineci, elene gvaramaZe da sxvebi.

1920 wels studias „saxelmwifo Teatris sabaleto skola~ daerqva. skolis direqtorad perini dainiSna. swavlis gadasaxadi isedac mcire iyo, magram bavSvebs xelmokle ojaxebidan studiaSi ufasod aswavlidnen.

1927 wels ganaTlebis saxalxo komisariatis xelovnebis ganyofilebis iniciativiT maria perinis samsaxiobo da sabaleto-pedagogiuri moRvaweobis 30 wlisTavis aRsaniSnavi saRamoc ki gaimarTa. operis TeatrSi „jadosnuri tba~ da sxvadasxva qoreografiuli etiudebi daidga. perinis moswavleebi maswavlebels ixsenebdnen, rogorc Tbil, samarTlian, xalisian adamians, romelmac mTeli Tavisi Segnebuli cxovreba TbilisSi klasikuri baletis Camoyalibebasa da ganviTarebas dauTmo. perinis wyalobiT maTma bavSvobam Tbil da lamaz garemoSi gaiara. saqarTvelodan gaZevebamde, 1936 wels, perini misi mowafis _ vaxtang Wabukianis baletis (`mzeWabuki~) premierasac daeswro. imave wels perini saqarTvelos ssr damsaxurebuli artistis wodebaze waradgines. amisTvis emzadeboda kidec, magram bolo wuTs komunisturi xelisuflebis warmomadgenlebma gadaifiqres _ „radgan kandidati ucxoeTis moqalaqe iyo“... daSoreba daxvretebi, gadasaxlebebi, represiebi, mtradqceuli megobrebi... cenzura yvelafer aramuSurs da arasabWours anadgurebs...

1937 wlis 11 agvistos sabWoTa kavSiris Sinagan saqmeTa komisarma, nikolai eJovma xeli moawera #00485 operatiul brZanebas, romelic `sabWoTa kavSirSi polonuri jaSuSuri qselis totalur likvidacias iTvaliswinebda. mas `polonuri operacia~ ewoda. sabWoTa represiebis msxverpli gaxdnen henrix hrinevski da iuzef laSkeviCi. am dros damsaxurebuli pedagogi sayovelTaod aRiarebuli mxatvari samocdarva wlis iyo. 1938 wels sabWoTa sasamarTlom mas daxvretis ganaCeni gamoutana. perinis ojaxidan stalinuri reJimis pirveli msxverpli misi Svili _ ferdinand inoCenci gaxda,

moxuci jariskaci, 27,3X11, qaRaldi, akvareli OLD SOLDIER, 27,3X11, WATERCOLOR ON PAPER

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Canaxati, 28X15, qaRaldi, fanqari

SKETCH, 28X15, PENCIL ON PAPER

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niu, 21,5X28, qaRaldi, fanqari

romelic colTan da or SvilTan erTad q. brianskSi cxovrobda. daiWires misi qaliSvilis qmaric, q. taganrogis metalurgiuli qarxnis inJineri. qaliSvilis bedi ki dRemde ucnobia.

Tavad maria perini Tbilisidan da sabWoTa kavSiridan gaaZeves. qonebisa da piradi nivTebis gareSe. Zlivs Segrovebuli mgzavrobisTvis saWiro fuliT. jer italiaSi gaemgzavra, Semdeg ki, safrangeTSi, sadac 1939 wels gardaicvala. misi aRzrdilebi ki sabWoTa ruseTsa da saqarTveloSi partiuli dakveTis Sesabamis sanaxaobebs dgamdnen. vinc uaryofda dakveTas, represirebuli pedagogebis beds iziarebda. aseTi iyo ori ucxoeli xelovanis qarTuli cxovreba tragikuli finaliT _ didi siyvaruliT da sayvareli saqmiT daxunZluli istoria.

NUDE, 21,5X28, PENCIL ON PAPER

warm, just, and joyful, who has dedicated her whole active life to the establishment and development of classical ballet in Tbilisi.

Thanks to Perini, their childhood took place in a warm and beautiful environment.

Before being expelled from Georgia, in 1936, Perini managed to attend the premiere of the first Georgian ballet ‘Mzechabuki’ by her student Vakhtang Chabukiani. That same year, Perini was submitted as a candidate for the status of Honored Artist of the Georgian SSR. She was even preparing for that, but in the last minute, representatives of the communist regime changed their minds – “Because the candidate is from a foreign country”...

Separation Executions, exiles, repressions, friends becoming enemies...

Censorship was destroying anything that wasn’t close enough to

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“workers” and to the soviet ideology...

On the 11th of August 1937, Nikolai Ezhov, Commissar of the Soviet Union’s internal affairs, signed the operative order №00485, which aimed at the “total annihilation of the Polish spy ring in the Soviet Union”. It was named the ‘Polish operation’. Henryk Hryniewski and Józef Łukaszewicz fell victim to Soviet repressions. At that time, the valued teacher and unanimously recognized artist was 68 years old. In 1938, the soviet court sentenced him to death.

In 1937, the first victim of the Stalinist regime was Perini’s son, Ferdinand Inochenz, who lived in Bryansk with his spouse and two kids. They arrested and exiled the husband of Perini’s daughter, an engineer at the metallurgy factory in Taganrog. As for the fate of Perini’s daughter, it is unknown.

Maria Perini herself was exiled from Tbilisi and the Soviet Union.

Without any of her possessions. With money she barely managed Canaxati, 21X29, qaRaldi, fanqari SKETCH, 21X29, PENCIL ON PAPER

to gather for the transportation. She first moved to Italy, then to France, where she passed in 1939. Her students were already forced to arrange performances according to the taste and orders of Soviet Russia and Georgia. Those who dared to go against the latter would

xsovna henrik hrinevskis Svilebi da naTesavebi ar darCenia. misi mdidari arqivi da mxatvruli memkvidreoba gaanadgures an daitaces. namuSevrebis mcire nawili Salva amiranaSvilis saxelobis saqarTvelos xelovnebis muzeumSia daculi, nawili ki kerZo koleqciebSi gaifanta. dapatimrebis Semdeg hrinevskis saxelosno gaiZarcva samxatvro akademiis TanamSromlebi, romelTac 1930-iani wlebis movlenebi kargad axsovdaT, Taobidan-Taobas gadascemdnen Semzarav suraTs _ darbeuli saxelosno, Zirs dayrili, daxeuli namuSevrebi, wignebi, saojaxo nivTebi da maT Soris mosiarule adamianebi, romelTac sazogadoebrivi azri hrinevskis dasmenas miawerda. „kerZo saubrebSi figurirebda saxelebic, visac Semdgom misi bina, qoneba, namuSevrebi, inteleqtualuri Sromis nayofi (naSromebi ferweris teqnologiis, perspeqtivis swavlebis meTodikis Sesaxeb) miiTvises. dRes TbilisSi erTi patara quCa maria perinis saxels atarebs.

2019 wels henrik hrinevskis dabadebidan 150 weli, xolo sikvdiliT dasjidan 81 Sesrulda. am TariRTan dakavSirebiT, misi cxovrebisa da Semoqmedebis amsaxveli albomi gamoica. masSi samxatvro akademiis arqivSi, muzeumebSi, galereebsa Tu kerZo koleqciebSi daqsaqsuli yvela namuSevaria erTad Tavmoyrili. roca am alboms aTvaliereb, ufro metad rwmundebi akademikos vaxtang beriZis sityvebSi: `h. hrinevskis gulwrfelad uyvarda saqarTvelo, qarTuli kultura, romelsac uangarod emsaxura sicocxlis bolomde...~

share the fate of their repressed teachers.

Memory Henryk Hryniewski didn’t have any children or relatives. They destroyed or pillaged his rich archive and artistic heritage. A small portion of his works are now preserved at the Shalva Amiranashvili Art Museum of Georgia, and some of them are scattered in private collections.

After he was arrested, Hryniewski’s atelier was ransacked. The staff of the Arts Academy, who very well remembered the events they experienced in the 1930s, transmitted the terrible scene to the next generations – a ransacked atelier, torn up paintings, books, family objects spread on the ground, and between them, people who would then be regarded as those who have “denounced” Hryniewski.

In private conversations, one could also sometimes hear the names of the people who then took Hryniewski’s apartment, possessions, works, intellectual properties (works on paint technology and methods for teaching perspective) as theirs.

Today, a small street in Tbilisi bears the Name of Maria Perini.

In 2019, 150 years had passed after Henryk Hryniewski’s birth, and 81 years since he was sentenced to death. An album dedicated to his life and works was published that year, in which all the works scattered in the Arts Academy archive, museums, galleries and private collections are gathered.

When you leaf through this album, you become even more convinced in academician Vakhtang Beridze’s words: ‘H. Hryniewski was truly in love with Georgia and Georgian culture, and he selflessly served them until the end of his life…”

ana obolaSvili

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Ana Obolashvili

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Tengiz kikaCeiSvili

xveulebi kvirti saTanado sazrdos awvdis Tavis wiaRSi moqceul ayvavilebis Ronismimcem TiToeul wa­­xnags. xveuli dromde azrobrivad saTanadod SekumSulia da gulCaTxrobili. rogorc ga­ufurCqvnel kvirtSi ver amoicnoba Seumcdarad xexilis msxmoiarobamosavlianobis madli an misi garegnobis TvalSisacemi mimzidveloba, ise gauSlel xveulSi ver amoikiTxeba srulad aRsaqmelis Sinaarsobriv-emociuri arsi.

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danaSaulis Cadenis potenciaa ukve, anu Semawuxebeli cxovrebiseuli mtvris borot cxovrebiseul WuWyad qceva, rac faqtobrivad kacobriuli ganviTarebis damsamarebelia.

• upirveles iyo sityva _ Semecnebis wyaroc, poeturobis dasturic da sawyisidanve am mTlianobisa da erTianobis orniSnianoba qmnida harmonias.

• uflis TargiT gamoWril xveulebSi garkveva amaoa sruliad. romeli maTganidan amoiwvereba ganviTarebagamravlebis pwkali _ Seucnobelia.

• dRiTidRe mwifdeba azri, Tumc imavdros SeiZleba darwmuneba mis simkvaxeSi.

• samyaros uZvelesi yofier-cnobieris gamoxatulebaTa dajgufeba fantaziorobiT aRafrTovanebs mudam saocrebisa da moulodnelobis maZiebel adamians.

• Zili imqveyniuri cxovrebisaTvis mzadebaa, iqiTuri maradiuli arsebobis sacdeli saTburi da sasinji _ miwaze.

• saubedurod, rogorc kacTa gareSe bunebismierSi SeiniSneba sakuTari nagramis STanTqmis sakvirveli (Tumca iSviaTi) anomaliebi, ise kacTa Sorisac (oRond gacilebiT xSirad) vlindeba morieluri buneba Tavisive arsobis da memkvidreobis momakvdinebeli dagesvlisa.

• rac ver gamogvaqvs sizmridan _ is zeciuri arsebobis potenciaa _ iq Sesacnobi, iqiTuri yofnis aq dasaxarjavad dauSvebeli salaro.

• saaqao _ maradiulobis ba­vSvo­baa.

• Cagdebul Teslsa da iqidan aRmocenebul nayofs Soris ganfenili dro-sivrce idumali paradoqsebiT xasiaTdeba, maT Soris kavSirurTierTobaTa saidumlos amoxsna, arsebiTad, SeuZlebelia.

• da iyo Jami imedisa, Jami kiviliT amovardnili udabnos qaris qvesknelTa Sigan Cabrunebisa, eSmakisagan rxeuli cxovrebis xis aRdgenisa, qviSis axali qariT gafantvisa.

• sruliad gaupoxavi iyo be­dukuRmarTobis borbali, sa­poxis natamali ar modeboda ara alagas qveynierebis wrerkalovan jados, amitomac sul Wrial-WrialiT vidoda, yinavda sisxls da xeTqavda ZarRvebs.

• RvTiur madlmosilebasTan kacuri angarebisa Tu pativmoyvareobis Tundac natamalis mitmasneba _ mkrexelobaa.

• roca uwevs Jami, veravin akavebs Sesaxvedrad wamosuls, Seyris msurvels, romelic yvelafris amomZirkvel drosac ki uxirdeba da mainc aRwevs, Tundac gadakargul da TiTqmis dangreul sadgurs.

• odnav daxeTqil zrdasrul broweuls edareba fexmZime, verc erTs ver wastacebs mSvenierebas xelaRebuli mwifoba, arc sitkboebis msubuqi nabzari gaxdeba odesme zadi nayofisaTvis, arc odnav, o­dnav Jangisferi talebi Canasaxis z­idviT damZimebuli qalis gadafiTrebuli saxisaTvis, mamakacTa sas­iamovnod gasjibrebian erTurTs qali da broweuli _ ulamazesni yvavilobisas, Tavmomwoneni mwifobisas.

• amxurvalebuli vneba saimedod aSrobs mankis Wyantobs da dasufTavebuli nakadebisagan warmoiSoba grZnobaTa siRrmis kamkama silurje.

• silamaze amkveTrebs tkivils, Tundac imitom, rom cxadsa xdis vaebis minavlebis SeuZleblobas.

• tanjva yovelTvis sulis daxvewilobisa da gulismieri silbos damamSvenebelia sabolood.

• Tavisi Tavis yovlad ucodvelad miCneva _ codvaa Tavad, xolo ucodvelobiT Tavmowoneba _

• uazrod yofna sigiJis Seyvarebaa, aryofnis gulTan mixuteba.

• boboqrobis daokebac Zlierebaa _ martivad ver axsni.

• yvela molodins aqvs dasasruli, magram samyaros idumalebaTa gaazrebas _ ar gaaCnia igi.

• gonieri adamiani yovelTvis utyuarad Seicnobs, rom misTvis ganwesebuli cxovrebis labirinTebidan mtverdaudeblad TavdaRweva tyuili qadilia da Tu amis mtkicebas vinme cdilobs _ urcxvad TvalTmaqcobs.

• erTferovnebaa yovelive _ moCvenebiTobaa mravalferovneba.

• Cveulebriv, yinvebis gadamaluli safaridan gamovardeba xolme aqloSinebuli da awiTlebuli igrika. Semodgomaze moZalebul cremlnarev gancdebs Tovlis fifqebi siTeTriTa da simsubuqiT afaqizebs, sinaTliT amaRlebs.

• Tovda sizmarSic da esizmra, rom yvelafris gadaRmac dausruleblad Tovda.

• xandaxan `me~ aiWreba da nawilakdeba rogroc `is~, `Sen~, `sxva~, `sxvebi~, _ aRaraa saSveli.

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• wyalwasaRebis xavss moWidebaa es cxovreba sabolood.

• bazarSi xvavi guls axarebs, xilTa metiCroba _ suls.

• Seyvarebulis farTod gaxelil TvalebSi Jruantelis momgvreli anci gatacebis pirveli freskebi ixateba xolme.

• brolis WiqebSi daxrCobas ver aswrebs Rvino _ sadinarmoZiebuli rakrakiT, ylupiT gadadis samSvidobos, rogori maSvelic Sexvdeba, imis mixedviT.

• yovelive warmoSobili uflis uzenaesobiT wesrigdeba.

• qveynad raimes Secnobas Tavisi Jami sWirdeba uTuod.

• xom amaoa droisa da sivrcis sawyisisa da sasrulis moxelTeba, kidev ufro unayofoa da uqmi adamianis ganzraxulobaTa saTavis Zieba.

• saukuneobiT amouxsnelia aRmocenebis _ avisa Tu keTilis _ saidumlo, magram cxadia da imave dros gasaocaric, rom swored es aZlevs mizezsa da biZgs sicocxles.

• ucnauria, rom ufro xSirad saflavebi da samarxebi kvebaven Cv­ens adamianur gancdebs, vidre cocxalTa Soris urTierToba, micvalebuli ­ufro xSirad asuldgmulebs CvenSi movaleobis grZnobas, vidre sakuTari sindisi.

• sulis aSla warmoudgenelia maradisobaSi da aman simSvide unda gamoiwvios CvenSi. • mZlavri sulieri da mxedruli ZlevamosilebiT mosili erisT­vis umtkivneuloa Tamami nabijebiT svla.

• dauSretelia `amqveyniuri samoTxis _ wignis~ wiaRidan amoxe­Tqili wyaro, mas ZaluZs macocxlebeli siTxe Seasvas ara mxolod masTan amJamad miaxlebul xa­lxebs, aramed momaval Taobebsac, ro­melTac uciloblad gauCndebaT misi dawafebis moTxovnileba.

• kacis suli miwaze, miuxedavad masSi imTaviTve CaTeslili dro-sivrculi SeuzRudaobisa, adamianurad iboWeba mainc da yalibSi eqceva.

• xrovaSi, jogSi lekvebis wvrTnis Rrma saidumlos winamZRo­li flobs, misi guli patarebSi Zge­rs, amitomac daaqvT bokvrebs didi, uSiSari guli.

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• Tu ver miiReb mSoblisgan madls, Tavadac veRar gascem Svilebze.

• bevri ram, amqveynad kidec rom yofila _ arad monaTlula, ararsebuli _ maradiuli myofobis iluziiT damkvidrebula. aseTi `iyo da ara iyo ra~ aris es sawurTo. amitomac arc raimea daujerebeli am wuTisofelSi da arc dasajereblis arsebobiT gamomzeurebula WeSmaritebis idumaleba yovelTvis.

• STamomavloba mudam mohkiTxa­vs winare modgmas da ise Rirsyofs m­osagoneblad, rogorc is imsaxurebs.

• RmerTis mier gaCenilis keTilad Secnoba yovelTvis miuwvdomel idumalebad gveCvena sakuTar a­damianur SezRudulobaTa gamo.

• ufalzea damokidebuli da Sens rwmenaze gamobmuli _ sad moiwev rTvels _ mezvris mier naloliaveb, Tu meCxer venaxSi.

• xsovna, ragind maRali unda iyos igi, erTgvarad mainc, miT umetes ganusazRvrel droTa qrolvaSi, gulis saoxad gaRebuli unaris ­minavlebaa, ase rom afermkrTalebs yovelgvar xsovnas bolos da bolos.

• mxolod rwmeniT danaxuls SeuZlia mouxsnas calkeul movlenas SeuZleblobis masze miwerili samaradJamo braldeba.

• xsovnaze metic sufevs raRac.

• kacs, yovelTvis, yvelgan yvela droSi mxolod da mxolod moZmis, Tvistomis, moyvasis mier naTrevi codva Tu miswvdomia.

• sanam cocxlob, kacurad unda ecado Tundac misxalmisxali WeSmaritebis mopoveba, Tundac TiTebs Sorisac gagicurdes mere.

• qariT mTvrali, tandaZenZili Rrublebi TavSiqvaCartymuliviT xetialobdnen caze.

• yovelgvar da yovelnair urTierTmimarTebaTa niuansSic g­a­mosCans kacis suliereba, ­Tu­igi marTlac isaa, radac Serac­xaven, mas am warmaval wuTisofelSi. • wignis erT _ mxolod sikeTis Targze aWriT, an meore _ mxolod borotebis damRiT daWdeuli cxovrebis dasuraTxatebiT, mesame da sul sxva erTi ram dasturdeba _ miwier realobaTa ucodinaroba.

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• martosuloba, individualoba urTules gamocdas uwyobs cxovrebaSi kacs, rameTu yovelgvari Senaxvedri mtkivneulobis mimRebad da mZlevelad Sen gamyofebs upirvelesad, xSirad calke gtovebs TavTan, Signidan gamowmebs, sakuTar sulier Zafebze gkidebs.

• gaCenis dRidan uwesrigo wesrigianobiT brunavs dedamiwa, Tumca arsebiTad erTi _ meoriTaa nakvebi, meore ki pirvels esadageba saTanadod, Taviseburad, oRond orive wamdauwum imalavs urTierTgamomdinareobas, burdavs mizezSedegobriv urTierTdamokidebu­lebas da swored es gaxlavT cxovrebis ­sirTulisa da mtkiv­neulobis mizezic.

• yvelas ar SeuZlia tanjvisa da ubedurebis amaRlebuli borgviT gamoxatva, igi ufro erTeu­lebs ZaluZT. es erTeulobaa swored Zvirfasi madli _ mSvenieri samosi sulisa da miT ufro sru­lyo­fi­lia igi, ramden­adac, erTi SexedviT, Seusabamo garemoebaSia gamovlenili.

• erTeulobaa, diaxac, genialuri arsi ekal-qacvis TavisTavadi Rirebulebisa, wvetian gamon­azardze dasaxlebul elferTa TinaTinobisa.

• bunebaSi erTeulobaa misi mravalferovnebis gadamwyveti d ­ a erTaderTi Seucvleloba.

• xSirad marto xar, da es zenaaris nebiT, rameTu man yvelas saTiTood da uklebliv piradulad daakisra `meobidan~ gansaWvreteli vali.

• uwinares Seni `Sinidan~ amodixar. sul erT wams, Tvalis daxamxamebaSi martodmarto xar.

• kacs Seiwiravs im wvlilis gacema, romelsac sxvas veravis mosTxov.

• kerZoobiTi ganzogadebiTis makoreqtirebelia maradis.

• datyvevebuli kaci, sanam Sepyrobilia, ocnebaSi aSenebuli saTvalTvalodan Wvrets Signeulis

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sibinZures da hgonia, rom SeuZlia Rrmad SeiyuJos im saTvalTvalos iqiT arsebul `mxsnel~ sivrceSi.

• rac sazrdod rgulia _ sicocxlisTvis mosaxmarebelia uTuod.

• hoi, zecav, ra sufTa da lurjsurnelovani xar, an Sen _ balaxo, ra nazi da mwvanecisferi, Sen ki _ wyarov, ankara da gemrieli xar, magram vai, yovelo, viT wauyrueT da moudrikeT qedi _ gaxrwnas!?

• ubeduria is kaci, is xalxi, is eri, romelic wveTis dakargvis tragikulobas ver aRiqvams an ar surs aRqma.

• misaniSnebeli isaa da momavalSic ase iqneba, rom bedisweras vaglaxad miSterebuli kaci mxolod akninebs misTvis imav bedismwerlis mier gamometebul Sewevnas.

• mwirad mosxmuli nayofis gamo mis mokrefaze uaris Tqma _ gaaxmobs xexils, mcire mosavlis mizeziT wuniaoba, xorblis akrefaze uaris Tqma _ yanaSi naTess RvarZliT aavsebs.

• sicocxlis xis yoveli wami, yoveli wuTi namdvili da savse sicocxlea, yoveli saaTic iseve savsea, rogroc wami da rogorc wuTi da sanam asea es yovelive _ unda moboWo daukargavad, Tundac wamze naklebi drois daukleblad.

• rogorc kosmiur usazRvreobaSi gatarebuli wami _ saukunea miwaze, ise tyveobaSi gatarebuli erTi saaTi _ weliwads utoldeba da Tundac tanjva erqvas mas, mainc Zvirfasia. da am tanjvis atana ZaRluri morCileba rodia! piriqiT, es swored sicocxlis WeSmariti Rirebulebis aRiarebaa, sulis gautexlobidan momdinareobs. Tu ar miwaze yofnis amgvari principi da gageba sxva ra aiZulebs tyves TiToeuli amosunTqvisTvis ibrZolos da puris erTi namcecis mimRebma, SeinarCunos ConCxze gadakruli tyavis saxiT sakuTari pirovnuli meoba.

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da Rvivdeba igi... ase aWidavebs ­sofeli mkveTrad gansxvavebuli saxeobis or `falavans~.

• znedacemuli adamianis principia ZvelisZveli _ mraval da mraval adamianSi eZios uzneoba.

• jojoxeTi jojoxeTia, marjvniv iqneba Tu marcxniv, misi fenebad dayofac pirobiTia friad, ris gamoc ukeTes Tu uares SreebSi moxvedrisTvis zrunva usagno xdeba.

• zog adamians, ubralod, fiziologiurad ar gaaCnia sakuTari danaSaulis gancda.

• arasodes miSvebula sarbielze sikeTe-sikargis doRis cxeni fafarSi Cafrenili eSmas uCxrekad, Tumca ­arasodes ityvis igi uars maradJ­a­mul daumonebel srbolaze.

• gare da Sinamizezebis xlarTSi drodadro amoizrdeba xolme kibovani korZebi. ufro Smoriania s­ akuTar wiaRSi warmoqmnili Cirqis bude _ organuli da ganuwovari.

• isec xdeba, rom ikargeba `xvaleze~ fiqris saWiroeba.

• sakvirvelia, qveyanaze silamazis zemoqmedebis wamlekaoba! da gana isic gasakviri araa, rom Zalze xSirad mSvenierebis xilviT devebi damtkbaran da qajebi acetebulan?!

• eg agrea, eSmaki mudam agnebs dedamiwaze RvTis madliT moweul mosavals da Tu mTlianad ver miiTvisebs, alag-alag gafantul saR marcvals mainc miswvdeba Tavisi jagriani xelebiT da boroti xorxociT _ `upatrono eklesias eSmakebi daepatronebiano~.

• zomaze meti neitraloba xSirad pasiurobaze mavnea, radgan pozicias mkafiod ar avlens da Tavsa da bolos Soris imalav Tavs.

• amaod devnian enasisxliani mglebi amurs, erots da kupidons _ am mravalsaxa siyvarulis RmerTs, romelsac mglisdar mdevarTa kvalis asarevad SeurCevia sxvadasxva saxeba.

• sisxli Tanabrad, magram Seukaveblad, gauRizianebeli miswrafebiT miedineba ZarRvebSi, rac misi sisufTavisa da energiis dasturia uwinares, da sisxlma mciredac rom gauswros did simarTles _ mudam wvaSi myof wesrigs _ d­axeTqavs ZarRvebs da mospobs arsobas.

• yovelgvar nebas unda amaRlebdes logika, Torem sxvagvarad, survili mZimed satarebel­i Seiqneba msurvelisaTvis, romelic ne­­ba­yoflobiT mndomi pirovnebidan _ monad iqceva.

• gamoWerili kaci, Cveulebriv qlesaRimiliani da warbazidulia erTdroulad, SeuZlia uCinmaCinis qudi xan flid Rimils, xanac ­azidul warbs Camoafxatos _ rogorc ganWvrets da rogorc uRirs. ­ase­Ti­sTvis mxolod sakuTari tkbobiT axarxarebaa cxovreba.

• mokluli mkvlels ar unda daamarxvino, xolo cocxlebs mkvleli unda Seacnobino, raTa winaaRmdegobis gawevis survili gauRvivo mas, sxvanairad, cxovreba sxvi­sTvis ararsebuli valis gadaxdis sisaZagles daemsgavseba.

• zneobrivi kompromisis xarjze verasodes Sedgeba srulyofili zeimi sulisa, rasac Tavisufleba qvia.

• mxolod rwmenaze aRmocenebulma daucxromelma sulierma energiam unda daamtkicos da daadasturos, rom rac TiTqos dasazrobadaa ganwiruli gaToSili gulgonebis susxiT, sarwmunoebis dauSretelma siTbom unda aayvavos da acocxlos.

• Semodgomis foTolcvena yvelasTvis TvalsaCinoa! gazafxu­lze, n­azamTrali da naomari foTlebis miwaze dafena ki, mozRvave­­­­­bul siTbosa da Camomdgar JriamulSi _ bevrisTvis SeumCnevelia da Cumi.

• gamomricxaobis gamouricxaobaa Se­moqmedze miTiTeba!

• rogroc amoyorili stomaqidan amoixeTqeba xolme ukve mowamluli namusrevi, egeb iseve amoskdes e­ rTxelac daSxamuli da ce­cxlovani saTavsidan jojoxeTis yvela Sre da ganqardes, gaqres, Seerios araraobas.

• `oqrocurvil Saraze~ erTi uzarmazari cxovrebiseuli sinamdvilea Sxamiani gveliviT gawolili _ cudis keTeba, romelsac qveynierebis arsebobisaTvis aucilebeli igiv dro-sivrculi kanonebi asuldgmulebs, rac sikeTes awvdis sazrdos _ oRond mTavari isaa xolme, ras warmoadgens Tavad Tesli, ramdenad s­ aRia, da isic, rogor niadagSi vardeba

• rwmenas miyola, sul cotaTi mainc, brmis xvedrs miagavs, romelic ver xedavs, magram miuxedavad amisa _ aRiarebs.

• zogierTs saSineli seni sWirs _ erovnuli xis fesvebisadmi urwmunoeba, amitomac mudam `zesxvi­ Taa~ aRtacebuli da sulac ar ana­Rvlebs saZirkvels Seseuli Wiamatlebis fuTfuTi. • didia Zala simcirisa, roca mas axlavs simkvrive.

• mxolod mcire `adgilis dedis~ siyvaruliT aRZruls ZaluZs mSoblis sadideblis Tqma.

• ucdomelia RvTis mier dadgenili wesi _ mwifobas win uZRvis SeTvalva.

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• jer aravis daudgenia amqveynad tanjva-wamebis simZimis

• wminda muxlmodreka arasodes agatkivebs Zvlebs.

ucdomeli xarisxi.

• yvela ara, magram zogi cdeba ufro _ hgonia, marTals ambobs, magram misi es cdomileba imgvar da imden gaurkvevlobas qmnis, rom mravlis gzidan gadacdenas iwvevs.

• mxolod bedisweris celqobas ar miewereba zogjer, Sepyrobili kacis aRzeveba _ amgvari faqti aSkarad saxelmwifoebrivi, gnebavT pirovnuli Secdomaa,

• cxovrebiseul wesrigianobasa Tu qaosSi jer mkrTalad, landiviT wamoiwevs dedamiwis zedapiridan kacis raobis oden konturi, romelic Semdeg imis mixedviT isxams xorcs da iyalibebs sulierebas, Tu risTvis Seqmnila igi amqveynad an Tavad risi miReba mouwadinebia zenaa­risgan.

rasac SesaZloa hqondes kidec araerTmniSvnelovani winamZRvrebi, magram amiT damangrevel Sedegebs mainc verafriT moeZebneba gamarTleba!

• maniakuroba zogs usazRvro gambedaobasa sZens da maSin isini Zalze saSiSni xdebian, radgan SeuZliaT dawvan _

• yovelgvar zeaRsvlas Tavxedobamde misuli siTamame marTebs nawilobriv mainc.

• did ideologiur brZolas yovelTvis unda axldes Tan farTe kacuri Ronierebis maragi, uromlisodac mosalodnelia saSiSi waborZikeba.

taZari.

• usaxuri drois kacebi msxvili mtacebeli Rlavebis sisxlian kvalze kenkaven Zirs dacvenil namcecebs, anu warmoadgenen cvedan suteniorebs.

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SHEPHERD

nagazi pirvelad qarTuli nagazi germanelma mkvlevarma, zoologma miulerma XIX saukunis dasawyisSi saqarTvelos mTianeTSi mogzaurobisas aRwera. igi iSviaT egzemplars, romlis simaRle 85 santimetrs aRwevda, Sexvedria. am simaRlis jiSis ZaRli dRes mxolod dogia (cnobisaTvis: dRevandeli standartis Tanaxmad `kavkaskaia ovCarkas~ simaRle xvadebisTvis araumcires 65 sm. da ZuebisTvis 60 sm.-ia). imave saukunis bolos qarTuli jiSis ZaRls, romelsac dasabamidan nagazi ewodeboda, rusma `ZaRlTmcodneebma~ `kavkaskaia ovCarka~ Searqves da es saxelwodeba msoflio kinologiur sazogadoebebs Soris gaavrceles. sulxan saba orbeliani `sityvis konaSi~ ZaRls Semdegvarad ganmartavs: `ZaRlTa da mxecTa mamalsa xvadi da dedalsa Zu da SvilTa maTTa lekvi ewodebian; asakmciresa ZaRlasa _ ciba, vieTni gomiSas uxmoben; mis udidessa da cudsa _ cibaki, vieTni finias uxmoben; didsa ZaRlsa, midamos mcvelsa _ TarTi; mekvlesa _ meZebari; swrafsa da gvariansa _ mwevari; mwevrisgan da TarTisagan Sobilsa _ nagazi; meZebrisa da TarTisagan Sobilsa _ yazila. Tumca nagazi mglisa mier iSoba, igi umjobesia~...

The Georgian shepherd (a sheep dog) was first described by the German researcher and zoologist Muller at the beginning of the 19th century during his travels in the Georgian highlands. He happened to come across a rare specimen which stood at a height of 85 cm.

Nowadays, the Great Dane is the only breed of dog with a similar height (it may be worthwhile noting that according to current standards, a male Caucasian shepherd is no less than 65 cm high and a female one – no less than 60 cm).

At the end of the same century, Russian “dog experts” termed the dog of the Georgian breed, “Kavkazskaja Ovcharka” (“Caucasian shepherd”) and spread this name among the cynology societies of the world. From the very outset, however, this dog was called “Nagazi”.

In his “Sitkvis Kona” (A Bunch of Words), Sulkhan-Saba Orbeliani gives the following definition of a dog: “A male dog and beast is called “Khvadi”, whereas a female dog – “Dzu”, and their children are called “Lekvi”. Young dogs are named “Tsiba” (doggies, feists) and some call them “Gomisha”. Big and evil dogs are called “Tsibaki” and some call them “Pinia”. Big dogs guarding yards and houses are called “Tarti”, tracker dogs – bloodhounds; quick and purebred ones – hounds; those, born from hounds and tartis – Nagazi and those born from bloodhounds and tartis – “Kazila”. However, a Nagazi born from a wolf is the best of all...”

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kavkasia saerTo mcnebaa, sadac sxvadasxva eris Tu eTnosis xalxi cxovrobs. dRes Cveni Crdiloeli mezoblisTvis yvela Savgvremani, ulvaSa Tu muqTmiani adamiani `лицо кавказской национальности~-a da maTTvis ganurCevelia azerbaijaneli, somexi, qarTveli, CaCani Tu daRestneli. arada Cven xom gansxvavebuli sarwmunoeba, kultura, ena, wes-Cveulebebi da garegnoba gvaqvs. megruli da TuSuri cxeni, xevsuruli Zroxa, imeruli da TuSuri cxvari, megruli Txa, qarTuli futkari, qarTuli nagazi Cveni winaprebis mier saukuneTa manZilze gamoyvanili saxeobebia da Zireulad gansxvavdebian kavkasieli mezoblebis mier gamoyvanili jiSebisagan sityva nagazi qarTuli warmoSobisaa da mglis mgudavsmaxrCobelas unda niSnavdes (ak. paata guguSvili _ `cxvarmecxvaris erTguli qomagi~), somxur da azerbaijanul enebSi am sityvis ganmarteba ar arsebobs. slavuri (Cexuri) sityva `ovCarek~-is gamoyeneba rus kinologebs araerTgzis ucdiaT, kerZod: samxreT rusuli ovCarka, romelic ungruli jiSisaa; samxreT-aRmosavluri ovCarka _ simaRleSi odnav gazrdili igive germanuli da romelic saerTaSoriso kinologiam ar aRiara; Sotlandiuri ovCarka, romelsac dasabamidan koli hqvia. da ra gasakviria, rom maT uZvelesi qarTuli ZaRlis saxelwodeba daemaxinjebinaT. yovelive amas, XX saukunis 30-ian wlebSi, sabWoTa saqarTvelodan ruseTSi, cimbirSi (adgilobrivi `ovCarkis~ gasaumjobeseblad) saukeTeso jiSis ramdenime aTeuli qarTuli nagazis, romelic `ratomRac~ kavkasiurad iwodeboda, gayvanam Seuwyo xeli. ai, ras wers amis Sesaxeb rusi kinologi riabinini: `rodesac gamocxadda, rom ruseTSi gasayvanad ZaRlebs agrovebdnen, risTvisac wamaxalisebel `jildos~ Tu safasurs aZlevdnen (`kirzis~ Ceqmebs, dabambul Sarvalsa da `telegreikas~), daiZrnen mTidan mwyemsebi, mohyavdaT uamravi ZaRli, zogs yelze Tok, zogsac _ mavTulCabmuli. ruseTidan Camosuli kinologi amowmebda da saukeTesoebs arCevda~... xalxi `qarTul nagazs~ _ `mecxvaris ZaRls~ an ubralod `mecxvares~, TviT mecxvareebi _ `Cvenebur ZaRls~, xumrobiT ki `ujamagiro mwyemss~ eZaxis. mas yvelgan SexvdebiT _ mTaSic da barSic, sofelSic da qalaqSic. xSirad ixilavT sasamsaxuro ZaRlebis gamofenaSejibrebaze gamarjvebuls. araiSviaTad naxavT qalaqis quCebSi lamazi qalis gverdze amayad da darbaisrulad mimavals, garSemo rom aravis da arafers aqcevs yuradRebas. am bolo dros gadaiqca axladaSenebuli feSenebeluri saagarako da sacxovrebeli saxlebis ezo-midamos aucilebel atributad. magram mainc misi adgili misTvis Cveul bunebriv garemoSia: cxvris farasTan da mecxvareTa binebSi samTosaialaRo sazafxulo saZovrebze Tu sazamTro

The Caucasus is a general notion and a region inhabited by people of different nations and ethnicities. But today, for our northern neighbor, all dark-haired people or men with moustaches are all the “faces of Caucasian nationality” and the Azeris, Armenians, Georgians, Chechens or Dagestanis are all one to him. However, we all enjoy different religions, cultures, languages, customs and habits, as well as appearances.

Megrelian and Tushetian horses, Khevsurian cow, Imeretian and Tushetian sheep, Megrelian goat, Georgian bees and the Georgian Nagazi (a shepherd’s dog) – these are all species that have been bred by our ancestors throughout centuries, and these species sharply differ from the ones bred by our Caucasian neighbors.

The word “Nagazi” is of Georgian origin and should mean a wolfstrangler (Acad. Paata Gugushvili – “A devoted guardian of sheep and shepherds”). The Armenian and Azeri languages do not provide a definition of this word.

Russian cynologists have tried to use the Slavic (Czech) word “Ovcharek” (sheep dog) many times, namely for: a South Russian Ovcharka of Hungarian breed; a South-Eastern Ovcharka, which is the same as a German Ovcharka (a German shepherd dog), only a slightly bigger one that has not been recognized by international cynology circles, and a Scottish Ovcharka, which has been known as Collie since long ago.

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naxevradudabnoebSi, anda amaT Soris gadasarek gzabilikebze. aq amSvenebs mas zavTiani garegnobac, moZalade kacTan Tu nadirTan brZolaSi Seupovrobac, patronis uzomo da uangaro erTgulebac da beber mecxvaresaviT batknebis nazi siyvarulic. es epizodebi maTi yoveldRiurobidanaa: giorgi cocaniZe mwevara `...xoda, erT Ramesac es mwevara davkargeT. fara moviyvaneT. ZaRlebs salafavi gavukeTe. loqia movida, Wama, mwevara ar aris. mwevar, mwevar! veZaxe, vustvine, ara, kaco, ar aris ZaRli. raRa iqneboda. daRamebulSi verc fara davaTvaliere da ro gaTenda, erTi Wreli vaci myavda, egre erTmaneTze rqebgadasuli, is vaci movisaklise. fara imave gezze gavSaleT, wina dRes saiTac gvyavda da balRs vuTxari: balRo, is ZaRli da vaci ueWvelad erTad iqnebian. Sen am faras gamohyevi da me win waval, erTi vnaxav, sad arian, iqneba ra uWirs miveSvelebio. wavedi, mivdivar, Tan veZaxi am ZaRls. ori Tu sami gorika gadaviare da Semomegeba, Semomexvia muxlebze. _ kaco, veubnebi, sada xar, sad iyavi wuxeli, sad daikarge, is vaci sadRa gyav, aba, erTi gamiZeRvio. gamiZRva, raRaca Rade-RudeebiT matara da erT akakian xevSi Camiyvana. rasa vxedav, kaco, es Cemi vaci erTi akakis totze ar aris rqebiT Camokidebuli. etyoba, foTlebisTvis aebRata am akakis tans. sadRaca SuawelTan erTi gadatexili toti aSviravda da Camoxtomisas am tots gamosdebia im Tavisi gadajvaredinebuli rqebiT, yulfiviT zed Camoscmia. toti sqelia, arc gatyda da darCa vaci egre

It is, therefore, not surprising that they have corrupted the name of the oldest Georgian dog. In the 1930s, the fact that several tens of the Georgian Nagazi (which, “for some reason”, were termed Caucasian) were exported from Soviet Georgia to Russia, has contributed to all these. This is what a Russian cynologist, Ryabinin has written about this event: “When it was announced that the dogs, to be exported to Russia, would be collected and a “facilitation fee” or a money award (“tarpaulin” boots, cotton trousers and paddle jackets) would be paid, many shepherds left the mountains heading for the city. They brought a lot of dogs with them, some of which had ropes and others wires tied around their necks. A cynologist, who had arrived from Russia, examined the dogs and selected the best ones...”

In Georgia, a shepherd’s dog is usually known as a “Georgian Nagazi” or simply a “shepherd” and shepherds themselves call them “our dogs”, or jokingly, “wage-less shepherds”.

One will encounter them everywhere – in the highlands and lowlands, in the cities and villages. You will often see them as the winners at tasks, dog-fighting competitions and sales. You will also meet them quite frequently in the city streets, walking proudly and grandly at the side of a pretty woman, paying heed to nothing and nobody. They have recently become an essential attribute of yards and gardens of newly built fashionable summer villas (dachas) and urban residential houses.

Nevertheless, their place is in their customary natural environment: with a flock of sheep, in shepherds’ stock stands at summer pastures in the mountains, and at winter pastures in the semi-deserts or on the roads and paths, through which shepherds drive their sheep.

Their imposing and formidable appearance, their fearlessness when fighting with an assaulting man or animal, their self-sacrificing devotion, as well as their tender love to lambs, resembling that of an old shepherd, embellish the Georgian Nagazi.

The following episodes were taken from their everyday life: Giorgi Tsotsanidze Mtsevara “... And one night we lost Mtsevara.

We have brought in a flock of sheep. I have prepared food for the dogs. Lokia came and ate his meal. One hound was nowhere to be seen. “Mtsevar, Mtsevar!” I called him and started whistling, but the dog did not appear. I could do nothing about it. I could not find the dog in the flock in the darkness of the night. There was a little speckled lamb with crossed horns among the flock. When day broke, I discovered that the lamb had disappeared. That day we were driving the flock in the same direction as the previous day. I told my boy: “The dog and the lamb must be together somewhere. You go with the flock and I shall go ahead of you and look for them. They may be in trouble and may need help.”

I set out in search of them, calling the dog from time to time.

After I had crossed several hillocks, I saw the hound running in

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atotavebuli, wina fexebs haerSi ucvlis. xoda, vacma xom Cxavili icis, albaT, Cxavili Tu gaigona, an Cven rato ver gavigoneT, ra vici, misula da aRar moscilebia, imasTan gaeTenebina Rame, iqa woliliyo. gordilebi mqonda gudaSi, gordilebi davuyare da sanam vaci ar Camovxseni, piri ki ar daakara. tots davuwye xanjliT Wra. isic idga da egre Semomyurebda. toti ro movWeri da vaci gavaTavisufle, mereRa dauwyo Wama.

Wkva ara aqvso?! Wkvaca aqvs da bevr kacze meti namusic. kaci rom yofiliyo, im erTi vacis gamo iq gagiCerdeboda Rame? im xevSi. Tu ver Camoxsnida, erTi Seni patronis dedaco da wamovidoda, Tavs daanebebda~... mura `maisis Sua xanebSi samTod aviyareniT. diliT, farebi rom gavTvaleT da gamovistumreT, sxva ZaRlebi wamohyvnen, mura darCa. iwva Waluris kedlis CrdilSi da arc ganZreula. _ muramac daudo siberes Tavi, etyoba, mTaSi veRar wamovao _ Tqva brigadirma. cxenebTan da bina-bargTan samni davrCiT: brigadiri basiko, xmelo da me. sanam bargebi gavamzadeT, cxenebi davkazmeT da avkideT, mze saSuadReoze wamovida. mura isev ise iwva. rom gamovemarTeniT, axlos gamovuare.

Tavi ar auwevia, ar ki eZina, Tvali gamomayola. axlos gamouares basikom da xmelomac. arc imaT gamohyva. _ mura darCa da aba, Sen ici, mixedeo _ SesZaxa basikom kalos yarauls, adamos. _ sanam kargi iyo, ar damanebeT da exla mivxedo _ SemogviRrina. magram viciT, rom TviTon namecxvarali kaci cxvarSi daberebul ZaRls dReSi erTxel salafavs ar daamadlis.

SuamTis gadmosvlas aRara gviklda ra, mura modiso, basikom rom dagviZaxa. mivixede. binis saTaveze, sul zeda bilikze, moZunZulebda Tavdaxrili. patara SiraqSi gadmosvlamdis dagvewia da basikos gamohyva mxarmarjvniv. patara SiraqSi trasis orive mxares Zroxis fermebia. fSavlebi ariano, xmelom. orivedan ZaRlebi gamoiSalnen, didebi da patarebi. ramdenime xvadic urevia. mura uceb gamoicvala. weli aizida, Sehyefa, qedze bewvi aiSala, Ronivrad gausva miwas ukana fexebi. sadRaa is beberi, daRlili qofaki. ucbad saomrad SemarTul axalgazrda ZaRlad gadaiqca. jogs ukan moeqca, kvicebi SigniT Semoyara, Cvens dasacavad moemzada. me joxi movsinje, xom ar gatydeba Tqo. Tu gaubedes, cxadia, moerevian da unda miveSvelo. amasobaSi ZaRlebi mocvivdnen. mura SeCerda. avad gamoaCina siberisgan Cajangebuli kbilebi. zed misvla erTmac ver gaubeda. wamova, wamohyvebian aqeT-iqidan RavRaviT. SeCerdeba, SeaCerebs. xvadebi da didi Zuebi maleve mibrundnen. lekvebma mokvwkavwkaves karga xans da isinic dabrundnen.

my direction. The dog threw itself at my knees. “Where were you yesterday?” I said. “Why did you disappear? Where did you take that lamb? Come on, lead me there.” He took me through pits and bumps and we found ourselves in a ravine. Good gracious! What a sight met my gaze! I saw that little lamb of mine hanging by its horns on the trunk of one of the trees growing in the ravine! It had probably climbed the tree trying to reach the leaves. There was a thick broken branch sticking out in the middle of the tree trunk. When the lamb was jumping back from the tree, it had caught itself on the branch with its crossed horns and remained hanging on it like a hook. The lamb was standing on its hind legs and kicking its front legs in the air. Lambs usually baa, as you may know. I wonder why we hadn’t heard it. The dog had probably heard the lamb baaing and had gone to look for it. Having found the lamb, he spent the night there lying next to it.

I had some food for the dog in my sack. I took the food out of the sack and put it on the ground. But Mtsevara did not want even to touch the food until I had brought the lamb down from the tree. I started to cut the branch with a dagger. Only after I had released the lamb did the dog begin to eat.

Some say Mtsevara is not intelligent at all. He is not only intelligent, but he also has a heart bigger than that of a man. I very much doubt that a man would have spent a whole night in the ravine guarding a lamb stuck in a tree. Had he failed to release the lamb, he would have gone away leaving it to the mercy of fate...”

Mura “In the middle of May, we were getting ready to drive our flocks to the mountain pastures. In the morning, when we finished counting the sheep, Mura remained with us and the other dogs accompanied the flocks. He was lying in the shade of a straw hut and hadn’t even budged.

“It seems to me that old age has overcome him and he won’t be able to go to the mountains anymore,” a chief shepherd said.

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_ yoCaR, mura, kaci xar kacurio, davuZaxe. movida, beWiT gamexaxuna, rogoc icoda xolme da axla me wamomyva. is dRe iyo da mas dRe, muras siberisa aRara Sestyobia ra; arc gzaze da arc mTaSi mTeli zafxulis ganmavlobaSi: isev is mura iyo ZaRlebTan da nadirTan CxubSi Seupovari, Rame frTxili, dRisiT zarmaci, mZinara~. amirani `...im zamTars ToxlSi viyavi marto. marto kaci var, Torem amirani myavs Tana da romel amxanags ara sjobia. sindiss geficebi, Tu cud amxanag kacs is ara sjobneboda, magaliTad _ xinklias. is ar daTvreboda, Cxubs mainc ar amitexda, ar amiSardeboda. cxvar-binasaa da ise hyaraulobda, rogorc imedian amxanags andob, ise vandobdi imas dReca da Ramec farasac da farexsac. im zamTars qals SeveCvie eldarSi. daRamdeba, faras Sevrekav, davketav farexis karebs winac da ukanac, amirans salafavs davusxam, aba, Sen ici-meTqi, Tavze xels gadavusvam, qeCos movusresav da wamoval. cotaze gamomacilebs, mibrundeba da imedi maq, rom bina-farexs araferi dauSavdeba _ amirani adgilzea. erTxelac, ianvaria, ra ricxvi iqneboda ki ar maxsovs, axalwlebi ki Camoxdilia, axalic da Zvelic. Tovlic aris da magradac yinavs. gamovedi eldridan. SuaRame gadasulia. mTvarea, naTlieri. movdivar jibeebSi

The three of us: Basiko – the chief shepherd, Khmelo and I stayed to look after the stock stand and our belongings. By the time we had all the cargoes ready and the horses saddled and packed, it was already noon and the sun was at its zenith. Mura remained lying as before. When we set off, I passed by him. Even though he was awake, he did not lift his head, and only followed us with his eyes.

Basiko and Khmelo also passed by him, but he didn’t follow them either.

“Hey, Mura is staying here. Take good care of him”, Basiko shouted to Kalo, a corn crops guard.

“You would not let me have him when he was good and now you want me to look after him”, he answered with a snarl. But everyone knows that a former old shepherd will not grudge an old dog, which has aged guarding sheep that are the food he eats.

We had almost crossed Shuamta, when Basiko shouted: “Mura is coming!” I looked back and saw him jogging along with his head down. He caught up with us before we started crossing Shiraki and ran on Basiko’s right side.

There are cow farms on both sides of Patara Shiraki. “These are Pshavian cows”, Khmelo said. When we approached the farms, both big and small dogs came out of them and spread around the place. There were several female dogs among them as well. As soon as Mura saw them, he changed in a flash. He drew himself up, barked at them, bristled up and started to scratch the earth strongly with his hind legs. What had become of that old, tired cur, which had suddenly turned into a young bellicose war dog? He

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xelebCawyobili, sayelowamoweuli. ar vici, fexis xma momesma Tu tanma miazra, raRaca ugemurad ki damzrina sxeulma. mivixede da ar Camdgomia kvalSi! martoa, magram marto iyos ra. mgelia, rom mobedos ras uzam? iaraRi ki ara, joxic ar miWiravs xelSi. aba, qals joxiani xom ar mivadgebodi karebze, joxs ar vatarebdi. mivdivar da modis. gavCerdebi _ gaCerdeba, waval _ wamova, avuCqareb _ auCqarebs, movunelaveb _ mounelavebs. arada, manZils amoklebs TandaTan. rogor ara, wavida Tma yalyze! Tanac iseTi adgilia, me Sen getyvi da xmas gaagoneb visme Tu ra. mainc avuCqare. damcra civma oflma _ zogi SiSisa, zogi daRlisa. es SobelZaRlic ufro da ufro miaxlovdeba, iqneba mobedos kidevac. hai, hai, hai da gadmovedi ZroxaTnadgomebTan. gamoCnda Cemi farexi. axla ki wavZaxe: _ amiran, miSveleo! _ da wamovida Tavisi zariani xmiT, sul maRla-maRla freniT... imedi!.. mivixede da es mkvdarZaRlisac gadaxafruliyo, ukvalod dakarguliyo, ra vici saiT ra daiTesa. movarda Cemi amirani da damidga gverdze, gamomyva. erTi, miTxari, romeli Zma sjobda im wuTSi imas?~... cirki mTaSi `daiwyeben qalaqelebi, esao cirkio, esao koncertio, esao warmodgenao, es esao da es isao. aq mTaSi ro cirkebsa da warmodgenebs Seeswrobi kaci, igeTebi qalaqelebs sizmraTac ar moeCvenebaT. erTi droa, kai xnis ambavia, batkani gavparseT. Toxls me gavyevi. Tan ori ZaRli wamomyva _ erTi xvadi, tanadac didi, briyvi da Seugnebeli raRaca, joxi rom zed dagemtvria, kuds ver daaxrevinebdi. kacisTvisac magari iyo da nadirisTvis xom iyo da iyo, Zglimos veZaxdiT da erTic kiden Zu _ ciaTeTri ZaRli iyo, xaTo, isic kai guladi. mTvaresrulobaa, naTlieri Rameebi... xom egre icis mTvaresrulobisas: Tu Zalian sqeli Rrubeli araa, mainc naTlieria xolme. xoda, egeTi Ramea. ar vici, ra dro iqneba, damZinebia ki da erTianad dafrTxa fara. Tan davuxmaure, wavhkivle, Tanve wamovxti da am dros erTi zorba daTvi da es Cemi ZaRlebi zed Sua nawidarze dairivnen. is upatrono, ar vici, frTxili ZaRlebi iyvnen da rogor Semoepara, Semohparvia. magan xo egre icis, faras saTaveze moeqceva, ucbad gadmoereva da erTs gaitans, ramdenjerme gaisvris, karga manZilze gaacilebs nawidars da mereRa daiWers. xoda, amanac erT mamal Toxls wamousva toti, gaisrola da rom unda gahyves, am dros es Zglimo swvda ukan. es rom amas moutrialda, meore mxridan Zu eca da datrialdnen.

SuaSi daTvi da iqiT-aqeT ZaRlebi: erTs moubrundeba, meore swvdeba ukan kanWSi, amas moutrialdeba da _ is. verc garbis, gzas ar aZleven, verc tots awvdens, arada, gauWirda, Rrialebs. amasobaSi farac Semobrunda, SuaSi adgili daagdo da Sehyurebs amaT Cxub-davidarabas. mec kidev, _ hai da

followed the flock from behind, drove the stallions inside the flock and got ready to defend us. I checked whether my stick was strong enough, to make sure it wouldn’t break. I was certain that if the dogs dared to attack him, they would defeat him and I would have to give him a helping hand. Meanwhile, the dogs came running.

Mura stopped and threateningly showed his darkened teeth. None of the dogs dared to come up closer. When he quickened his steps, they followed him from both sides yapping. When he stopped, they did the same. Shortly, the male and female dogs returned to the farm. After having wandered for a while, the pups went back as well.

“Well done, Mura, you are a real man”, I called the dog. He came up to me, rubbed against my leg as he used to do and went along with me. After that day, Mura never looked old again – neither on the roads, nor in the mountains. The whole summer, Mura was the dog we knew before: fearless when fighting with dogs and beasts, careful at nights, lazy and drowsy in the daytime.”

Amiran “...That winter I stayed alone with the young buck lambs. I had a dog called Amiran with me. By my faith, he was much better than any friend, for example such a bad friend as Khinklia. Amiran would not get drunk, he would neither scuffle nor wrangle, and you could entrust him to guard the stock stand and the sheep just as you would do a reliable friend. I felt very secure when I left him to watch over the flock and the sheepcote.

That winter I made friends with one woman in Eldari. As soon as it got dark, I would drive the flock into the sheepcote, lock the door, leave food for Amiran, pat him on the head and make for Eldari. He would accompany me for a little distance, turn back, and I would go on my way, absolutely confident that both the sheep and the sheepcote would be safe because Amiran was on guard.

It was sometime in January, when Christmas and New Year were over. It was snowing and freezing cold. When I left Eldari, it was already after midnight. The moon was bright. I was holding my hands in my pockets and had turned up my collar. I am not sure whether I heard the footsteps or felt it with my skin. I felt jittery. When I looked back, I saw a wolf following in my footsteps. Even though the wolf was alone, how was I supposed to defend myself? I had taken nothing along. I didn’t even have a stick, to say nothing about a gun. How could I have gone out on a date with a woman holding a stick in my hand! As I kept going, the wolf did the same. When I stopped, he stopped too. When I went on, he followed me; when I increased my pace, he did the same, when I slackened my pace he slowed down as well, gradually shortening the distance between us. I could feel my hair standing on end! The place that I was passing was such that nobody would ever hear your voice even if you yelled. Nevertheless, I quickened my steps. I felt I was in cold sweat – both from fear and tiredness. And that brute was coming closer and closer. What if he dares to attack me, I thought. At last I passed the cowsheds and my

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sheepcote appeared. And then I shouted: “Amiran, help!” He came bounding up with his bark ringing loud in the air. When I turned back that wretch had slipped away and disappeared without a trace.

My Amiran came up to me and accompanied me to the stock stand.

I wonder if any brother could have been better than him at that moment.”

hui, ariqa da uriqao, midi da ecio, vurben garSemo, kai msajiviT, am ZaRlebs vaqezeb. karga xani iomes, daiRalnen, gavidnen nawidris pirSi, Camosxdnen erTmaneTis pirispir, aqeT ZaRlebi, iqiT daTvi, qaqaneben, ase enagadmogdebulebi, Sehyureben erTmaneTs. aRarc daTvsa aqvs imisi Cara, rom gaiqces, aRarc _ ZaRlebs, ro zed miiwion. rodis, rodis wamoiZarZla da sul buq-buqiT wavida. ZaRlebmac cotazeRa Caaciles da mobrundnen. midioda da mijavrobda. ar vici, ras ambobda, karga xans ki ismoda imisi Rajuni. ai, namdvili cirki is iyo: SuaSi daTvi da ZaRlebi, me msaji da Toxlebi kide mayureblebi~... yazara winadRis Camosuli var mTidan _ bargi Camovitane, yvelmatyli, da jeili momadga erTi, raikomis instruqtori varo Tu raRaca eSmakio. _ Senao, ZaRli gyolia erTio, _ meubneba. _ ZaRli erTi ki ara, oTxi-xuTica myavso, _ vuTxari, _ aba, uZaRlo mecxvare sad gagigoniao? _ ara, erTi kargi ZaRli gyoliao. _ ZaRlebi yvelac kargebi myavs, cud ZaRls binaSi rato gavaCerebo, magram, marTalia, erTi Zalian kargica myavso. erTi ZaRli myavda, yazaras veZaxdi. mokleT, igeTi iyo, rom binaSi erT kacad Rirda: nadirzedac magari iyo, kaczedac da Cxubi icoda igeTi, ro ZaRli ver umagrdeboda. _ xoda, swored, ai, eg yazara giweria aqao, _ raRaca qaRalds maCvenebs, am ramdenime dReSi yazara aq unda Camovideso... _ arao, _ vuTxari, _ am gagania zafxulSi yazaras aq ra unda, iq saqme aqvs, gana usaqmod ariso... _ yazara qalaqSi unda wavides, iq unda iCxuboso. _ arao, _ vuTxari, _ yazara xom igrec sul Cxubobso, saCxubrad qalaqSi ra undao. _ ufrosebis brZanebaa, sul zevidano... _ aba, zevidan brZanebas win ra daudgeboda, _ waval mainco, _ vuTxari... erT adgilas migviyvanes, esao gamofenaoo. iqve warmomadgenlebi dagvxvdnen. imaT erTi koxta Tasmis sayeluri momces da Tasmisave Rvedi, eg RarZala (Txis balnis an cxenis Zuis sabeli) gadaagde, yazaras es Seabio. mec Sevabi is sayeluri. RarZalas ki ras gadavagdebdi, davkec-movkece da Cavide jibeSi. erTic cxvirze wamosacmeli momces, raRaca badesaviT, isic Tasmisa, es gaukeTe, xalxs ar Seetanoso. es, cota ar iyos, ar eWaSnika, totiT irekebda da rom ver moicila, gaaneba Tavi. aba, yazaras imdeni xalxi sad enaxa. ro mivdiodiT, sul aqeT-iqiT ixedeboda, im xalxs uyurebda. mivediT. erTi didi Senoba iyo, erTsarTuliani, TavlasaviT. oRond dablidan maRlamde sul SuSis kedlebi hqonda. ise ro garedanve sul Canda, SigniT raca

Kazara “The day before I had come back from the mountains, I had brought our belongings, some cheese and wool with me. A guy came to see me – a district committee instructor or something like that, as he said himself.

“I’ve heard, you’ve got a dog”, he told me.

“Yes, I do. But I’ve got four or five dogs, not just one”, I replied. “Have you ever heard of a shepherd without a dog?”

“No, but I know that one of your dogs is very good.”

“All my dogs are good. Why would I keep a bad dog around?

Although, it is true that one of my dogs is especially good.”

I did have such a dog. His name was Kazara, and he equaled a man.

He was stronger than a beast and a man alike and none of the dogs could match him.

“This very Kazara’s name is written here,” the inspector said and showed me a paper. “Kazara must come here in a few days,” he added.

“No,” I replied, “Kazara has nothing to do there in the heart of summer. Do you think he is at a loose end here?”

“Kazara must go to the city and fight there.”

“No”, I said, “Kazara doesn’t lack fights here. He doesn’t need to be a part of them in the city.”

“This is an order that comes from the very top...”

“Well, in that case, I can do nothing but obey. I’ll have to go there,” I replied.

We were taken to a place that, they said, was a dog exhibition.

Representatives met us there and gave me a pretty leather collar and a leather dog’s lead. They told me to throw away “this coarse unsightly thing” (made of a mix of horsehair and sheep wool) and put the one they had given me around Kazara’s neck, which I did. But I did not throw Kazara’s old collar away. I folded it up and put it into my pocket.

I was also given something resembling a net (which was made of leather as well) to be put on Kazara’s nose to make sure that he would not bite anybody. This did not appeal to him at all, I must say. He tried to remove his new lead with his forepaw but gave up after he had failed.

Kazara had never seen so many people before. He kept looking hither and thither, scrutinizing everybody.

We reached a large one-story building, which looked like a stable. It had glass windows from the top to the bottom, so that one could see from the outside everything that was happening inside. There were also a lot of people inside the building and there were hundreds of them glued to the walls from the outside, trying to see the dogs. Good gracious! What dogs! How welltended and well-groomed they were! What shining fur they had!

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xdeboda. xalxi SigniTac blomad iyo da garedan iyo kide SuSis kedlebs aseuli. ZaRlebi iyo, ZaRlebi iyo! movlilebi, napativebi, sul bewvebi ubzinavda suyvelas.

Cem yazaras kide nazamTari risvi (bewvi) ukan, barklebze, jerac ar hqonda gayrili. im dRes kai pativi gvces, sasmel-saWmeli mogvarTves. yazaras saWmelebi moutanes, ro mec ara mqonda igeTebi nanaxi da naWami. aba, imaT dadgmuls xom ar SeWamda, me davudgi da yazaramac kargad isiamovna. miTxres, yazara aq iyos amaRam, Sen sastumroSi wamodio, da arao, _ vuTxari, _ sadac yazara iqneba, mec iq viqnebio. ar wavedi _ yazara idardebda, damtovao, egoneboda. meore dilas saWmelic xom isev kargad gvaWames da Tan samurvelebi momitanes, savarcxlebi, yazara davarcxneo.

As for my own Kazara, he had not yet shed the hair from his hind legs.

We were treated with much respect that day. All kinds of meals were served. Kazara was given food that I had never seen or eaten before myself. He would not touch food from other people’s hands. I put a bowl with food in front of him and he made good cheer. I was told that Kazara would stay there that night while I had to go with the other people to the hotel. I refused and told them that I would stay with my dog. I knew that Kazara would be upset. He would think that I had abandoned him.

Next morning, we were treated very well again. Then our hosts gave me combs and brushes and told me to brush Kazara. I got down to work, brushed away the old fur from his hind legs, combed his mane and the tuft of hair on his head and threw him into good form,

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mec mivadeqi da kargad TvalSi davayene, is risvebic davayrevine barklebidan, win fafari da qoCoric davuvarcxne, nefesaviT movakoxtave. amasobaSi Sejibric daiwyo. im darbazis SuaSi erTi raRaca baksaviT iyo, xis dabalRobeSemovlebuli, iqa tardeboda Sejibri. gagvatar-gamogvatares, axed-daxedes, mere gazom-gamozomes. imaT ras gaezomvineboda, me gamazomines. kbilebi gamouCineo, tuC-kbilic gausinjes, da, exlao, unda vaCxuboTo. im bakis SuaSi naxerxi eyara, im naxerxze aCxubebdnen. iq rom ZaRlebi Cxubobdnen, esec iwevda, Zlivs vakavebdi: daica-Tqo, yazar, maica, Seni jeric movao, vaSoSminebdi. bolos daiZaxes yazara gamovideso da gavediT... ...mokleT im dRes samjer iCxuba yazaram da samjerve gaimarjva. damTavrda es Sejibri da imave SemoRobilSi raRaca oTkuTxa dasadgomebi gamarTes, SuaSi _ maRali, _ erT mxares _ cota dabali da meore mxaresac _ kidev ufro

making him look like a bridegroom.

Meanwhile, the competition had started. In the middle of that hall there was a place surrounded by a low fence. This is where the competition was held. The dogs were exhibited, scrutinized and measured there. I knew there was no chance that Kazara would let these people measure him. So, they allowed me to do this task. They told me to expose his mouth and teeth. After that they told me they were going to make him fight. In the middle of that hall there was sawdust and this was where the dogs were going to fight. When Kazara saw the dogs fighting on the sawdust, he wanted to join in. I could hardly keep him back. “Wait a little, Kazar”, I was trying to calm him down.

At last, someone announced Kazara’s name and we took the floor. ...Kazara fought three times that day and won all three fights.

When the competition was over, they put up a quadrangular podium, which was high in the middle, a little lower at one side and much lower at the other. Kazara and I were invited to stand on the highest platform in the middle. Those who won the second and

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dabali. SuaSi, maRalze, me da yazara dagvayenes, aqeT da iqiT kide meore da mesame adgilze gamosulebi. iyo erTi ambebi, gamocxadebebi da dajildoebebi... miTxres, romao yazara aq unda darCeso, qalaqSio. Sen saxelze daiwerebao da Cven SevinaxavTo. xom icio, rom kargad SevinaxavTo. arao, vuTxari, mTeli qalaqic rom Cem saxelze dasweroTo, yazaras aq ar gavwiravo (davtovebo). arc TviTon darCeba da arc iCxubebso. exlac Cemi xaTriT iCxuba, Tu ginda, Tavadac hkiTxeo. _ yazar darCebio? da _ RRo. aRarcra. wamovediT me da yazara. yazarasTvis raRaca mendali momces oqrosferi. ra vici, iqneb oqroc iyo, mZime ki iyo. me kidev, esao, sigeliao, qaRaldis furceli momces, oqrosferarSiniani, Sigac didi oqrosferive asoebiT dawerili... imis mere ramdenjer dagvibares CamodiTo, Sejibri tardebao da aRar CavsulvarT. saCxubris meti ra gvqonda me da yazaras, Tu kacebTan, Tu ZaRlebTan, Tu mglebTan da daTvebTan. qalaqisken aRarc gagvixedia~.

third places stood at our sides. Announcements were made and the winners awarded...

I was told Kazara had to stay there, in the city. They would register him under my name and maintain him very well. I refused and told them that even if they had the whole city registered under my name, I was not going to leave Kazara with them. “He, himself would not want to stay or fight”, I said. “He fought only for my sake. Ask him yourselves, if you wish. Do you want to stay here, Kazar?”, I asked. “Gh, Gho”, was the answer and Kazara and I left the city.

They had given me some kind of a golden medal for Kazara. It could have been made of gold. I’m not sure. It was pretty heavy. They had also given me a sheet of gilded paper with something written on it with the same big golden letters. It was a diploma, as they said...

After that, we were invited several times to take part in competitions, but we never went. Both of us – Kazara and I – have more than enough of fights here – either with men or dogs, wolves or bears. As for the city, we did not want to hear a word about it anymore.”

mxatvari Tengiz mirzaSvili

Painter Tengiz Mirzashvili

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operatorobis „autaneli simsubuqe“

THE “UNBEARABLE LIGHTNESS” OF BEING A CAMERAMAN

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arian adamianebi, romlebic profesiidan gamomdinare, dReebis, Tveebis da wlebis did nawils saxlisgan Sors, jariskacebiviT aRWurvilebi atareben. adamianebi, romlebic yvelafers xedaven, yvelafers amCneven da Tu erT dResac amdeni nanaxis da gancdilis moyolas gadawyveten, did saidumlo serpantins gonebaSi daatrialeben da moyolas Seudgebian, aucileblad iqve axlos unda Camojde, usmino da Caiwero. gamigia, operatorebi pirquSi, Cumi da uxasiaTo xalxiao, aqamde ase vicodi da kidev erTxel davrwmundi, rom ar unda endo stereotipebs... ginda mogiyve ambavi? modi, gaCveneb! _ es operatorTa xSiri pasuxia uamrav kiTxvaze. ho, isini gansakuTrebuli mTxrobelebi arian, mdumare da yovlismWvreteli TvaliT mTxrobelebi da Tu amaze meti ginda, albaT, unda daimsaxuro. cnobil kino-tele operator ilia vaCnaZis mosmenis ufleba, ra Tqma unda, „tradiciuli qarTuli proteqcionizmis“ wyalobiT movipove. Turme, ramdeni ram yofila iseTi, rac firze ar daetia... ilia vaCnaZe ki iciT rogor ambebs yveba... ai, bavSvobaSi

`TuSi mecxvare~ _ gadamRebi jgufi

There are people who spend large parts of their days, months, and years far away from their homes, equipped like soldiers, due to their profession. People who see everything, who notice everything, and if one day, they decide to tell the story of all they have seen and felt, if they spread out the large secret spiral in their minds and start telling about it, one definitely needs to sit down, listen, and record their words.

I heard many times that cameramen are grim, silent and badtempered people, I used to think the same, and I am now even more certain that one shouldn’t believe in stereotypes…

Do you want me to tell you a story? Come, I’ll show you! – This is the answer cameramen give to most questions. Yes, they are particularly talented storytellers, ones who express themselves through their silent but all-seeing eyes, and if you want more than that, you should probably deserve it.

Naturally, I acquired the right to interview famous cinema and TV cameraman Ilia Vachnadze thanks to “traditional Georgian protectionism”. And it turned out that he had many things to say that couldn’t fit on film…

You probably know how Ilia Vachnadze tells stories… Just like we used to compare our fathers in our childhood – “If my father merely

'TUSHETIAN SHEPHERD' – FILM CREW

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rom erTmaneTs mamebs „vatolebdiT“ _ mamaCemi rom dagkravs _ `amerikaSi gadagafrens!~ mamaCemi `moskovs daganaxebs~ an... Crdilo polusze... erTia, roca es „muqariTaRsavse“ frazebi bavSvis fantaziis nayofia, meore ki, roca marTla icnob aseT

pushes you, he will fly you to America!”, “My Father will send you to Moscow”… “to the North Pole”…

It is one thing when these “threatening” sentences are the fruit of children’s fantasy, and it is another when you really know such a person – one who managed to get to the North Pole in a plane out of order, who has been in a submarine, on an icebreaker, in the Tushetian mountains, who woke up, freezing, starving, and exhausted in his sleeping bag, on a path followed by shepherds in the Spring, because of a smell of khinkali with bear meat, and thought it was only a dream.

Experienced cameramen consider the camera to be an integral part of their bodies, and their third eye. Even in the list of the most loyal life companions, cinema or TV cameras hold a special place, and most of their lives are spent precisely around these companions.

He spent more than a half century with a camera in his hand.

Many things have been imprinted to his memory. The noise of old-generation cameras, the rustling of films, and the magic word “Actioon!” – as shouted by various directors...

Apart from being professional, a cameraman should be healthy and have stamina. Today, everything changed, the cameras are lighter,

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adamians _ Crdilo polusamde mwyobridan gamosuli TviTmfrinaviT rom miaRwia, wyalqveSa navSic mjdara, yinulmWrelSic, TuSeTis mTebSi, gazafxulze mecxvareebis `trasaze~ TiTqmis gayinuls, mSiers da daqanculs saZile tomaraSi daTvis mwvadis sunze gaRviZebia da sizmari hgonebia. gamocdili operatorebi kameras sxeulis nawilad Tvlian da mesame Tvalad miiCneven. yvelaze erTguli cxovrebiseuli Tanamgzavris CamonaTvalSic kino Tu tele kameras „saprizo adgili“ aqvT miCenili da maTi cxovrebis udidesi nawilic swored am Tanamgzavris irgvliv trialebs. naxevar saukuneze meti gavida kameriT xelSi. mexsierebas bevri ram SemorCa. Zveli Taobis kameris xmauri, firis Sriali da magiuri sityva „matoor!“ _ sxvadasxva reJisoris xelweriT... operatori profesionalis garda, janmrTeli da gamZle unda iyos. dRes yvelaferi Seicvala, kameris wonam iklo, firi aRaraa saTrevi. adre?! adre, uh... aTobiT

and you don’t have to carry film anymore. Before?! Well, before... The films and batteries alone weighed dozens of kilograms, and you had to carry them everywhere, up and down.

What is a shooting? – A multilayered process stretched in time. With different kinds of people, who become a team in specific situations.

The filming team is like a Chamber orchestra – everybody should know the score, and here, the most important is tactfulness, just like in music. As Jean Cocteau used to say – knowing how far you can go without going too far.

Mr. Ilia is from Kakheti, originally from Kolagi, which is the Vachnadzes’ ancestral village. He grew up in Dusheti, where his father Nikoloz Vachnadze was posted, and... after finishing school, following his grandma Lisa’s categorical demand, he enrolled at the faculty of History at the State University – in order to become the secretary of the communist district committee! He started working at a TV station in 1967, as a gaffer. He went through all the professional steps until becoming a director of photography of the highest class – gaffer, camera assistant, and cameraman. It is precisely at that time that Leri Sikharulidze was shooting the film ‘Infinity’ for TV. This was his first

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kilo marto `kaseta~ da akumulatori iyo aRma-daRma satarebeli. gadaReba raa? _ procesi droSi gawelili da mravalSriani. Wreli sazogadoebiT, romelic konkretul viTarebaSi gundia. gadamRebi jgufi kameruli orkestriviTaa _ partitura yvelam unda icodes da aq umniSvnelovanesia taqti, ise rogorc musikaSi. Jan kokto rom ambobda _ codna imisa, sadamde SegiZlia Sestopo. batoni ilia kaxelia, warmoSobiT kolagidan, romelic vaCnaZeebis mama-papiseuli sofelia. izrdeboda duSeTSi, sadac papa, nikoloz vaCnaZe msaxurobda da... skolis damTavrebis Semdeg liza bebos kategoriuli moTxovniT saxelmwifo universitetis istoriis fakultetze Caabara (dauswrebel ganyofilebaze) _ raikomis mdivani rom gamosuliyo! televiziaSi 1967 wels mivida da gamnaTeblad daiwyo muSaoba. umaRlesi kategoriis damdgmel operatorobamde man yvela profesiuli safexuri gaiara _ gamnaTeblis, operatoris asistentis da operatoris.

important excursion, and his first experience with “cinema”.

They say that your feet will lead you where you will meet your fate, and this is how it turned out! Fate led him to both his favorite activity and to his love. And this place was television, 1TV, where he fell in love with being a cameraman and with Manana Makharadze... One day, when he was working on a shooting in Akhaltsikhe, his soonto-be wife called him at his hotel, ant told him: “I’ll be back from Germany in three days, and if you meet me in Moscow, I’ll be your wife!” And he managed to do that too! He was quick enough to meet her there. He managed to finish his work and win the girl’s heart... and they’ve been living together ever since.

First test “I have never wanted to do anything else. The wish to be a cameraman came to me while working at a TV film studio, the likes of which, I can proudly say even today, I do not know of anywhere in the world. When you start being a cameraman, you quickly understand if it’s a job for you or not, if you can do something outstanding or not.

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4 (22) 2020

zustad am dros leri sixaruliZe satelevizio mxatvrul films „usasrulobas“ iRebda. es iyo pirveli didi mivlineba da pirveli Sexeba `kinosTan~. sadacaa bedi Seni iq migiyvans fexi Senio da egrec yofila! sayvarel saqmesTanac miiyvana bedma da siyvarulTanac. da es adgili televizia, pirveli arxi aRmoCnda, sadac operatorobac Seiyvara da manana maxaraZec... erT dRes, Seyvarebulobis Jams, axalcixeSi gadaRebebze wasuls, sastumroSi daurekavs momaval meuRles, germaniidan sam dReSi Camovdivar da Tu moskovSi damxvdebi, colad gamogyvebio! modi da gauZeli aseT „sisastikes“! egec SeZlo! yvelaferi moaswro da moaxerxa. arc saqme gafuWebula, gogonas gulic moigo da... modian ase dRemde. pirveli gamocda „arasodes mqonia survili sxva saqmis keTebis. es survili ki satelevizio filmebis studiaSi gamiCnda, romlis msgavsi, dResac Tamamad SemiZlia vTqva, msoflioSi ar meguleba. roca operatorobas iwyeb, uceb xvdebi aris Tu ara

And the most important part in this is played by the cameraman, and, of course, by the director.

Apart from a knowledge of aesthetics, lighting, and composition, being a cameraman also demands talent in relationships. If you cannot work in a team, if you cannot consider your work as part of a larger common goal, then you shouldn’t be on a film set.

The biggest test and most important experience in this regard was the filming of ‘Tushetian Shepherd’, which continued for three years, and for which the crew had to follow shepherds for months, and live in harsh, almost wild conditions...

Three people – director Soso Chkhaidze, cameraman Irakli Onoprishvili and art director Vakhtang Rurua have taught me a lot, and shown me a new perspective of my profession. As for Tusheti and Tushetians, they made me fall in love with them so much, that I chose Tusheti instead of Tallinn/Leningrad/Moscow as our honeymoon travel.

But before that, there was also ‘Lazarus’ Adventure’, and the serious lessons I got from directors Kartlos and Buba Khotivari, and cameraman Irakli Onoprishvili in Kvatakhevi and Tsinarekhi.

We all remember and love director Guram Pataria’s TV fiction film ‘Record’ – full of Georgian character, humor, and melancholy. I was an

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4 (22) 2020

es Seni saqme. rame gnsxvavebulis da gansakuTrebulis keTeba SegiZlia Tu ara? da amaSi lomis wili damdgmel operators da, ra Tqma unda, reJisors ekuTvniT. operatoroba gemovnebis, ganaTebisa da kompoziciis codnis garda, urTierTobis codnas iTxovs. Tu gunduri muSaoba ar SegiZlia, ar SegiZlia saerTo saqmis gaziareba, Seni adgili gadasaReb moedanze araa. amis yvelaze didi gamocda da gakveTili „TuSi mecxvaris“ gadaRebebi iyo, romelic sami weli grZeldeboda da gadamReb jgufs TveobiT uwevda mecxvareebTan erTad cxovreba mkacr, TiTqmis velur pirobebSi... samma adamianma _ reJisorma soso CxaiZem, operatorma irakli onofriSvilma da mxatvarma vaxtang ruruam bevri ram maswavles da axleburad damanaxes Cemi profesia.

TuSeTma da TuSebma ki ise Semayvares Tavi, rom saqorwino mogzaurobis adgilad, zamTarSi, talin/leningrad/ moskovis nacvlad, TuSeTi varCie. Tumca, manamde iyo „lazares Tavgadasavali“. CemTvis reJisor qarTlos da buba xotivarebisa da operator

soso CxaiZe

CrdiloeT polusze

THE NORTH POLE

assistant to Irakli Onoprishvili on that film too. At that time, he used to travel abroad quite a lot, and one of his travels happened to take place during the shooting of ‘Record’.

SOSO CHKHAIDZE

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4 (22) 2020

irakli onofriSvilTan erTad

irakli onofriSvilis seriozuli gakveTilebi qvaTaxevsa da winarexSi. yvelas gvaxsovs da gviyvars reJisor guram pataraias satelevizio mxatvruli filmi „rekordi“ _ qarTuli xasiaTiT, iumoriT da sevdiT savse. am filmzec irakli onofriSvilis asistenti viyavi. im periodSi mas xSirad uwevda sazRvargareT mivlineba da erT-erTi `rekordis~ gadaRebas daemTxva. epizodi unda gadagveRo, saoperatoro damxmare mowyobilobebiT (saoperatoro urikiT). aseTi ram manamde mravaljer gamikeTebia, magram maSin, roca `mTavari operatorad~ davrCi, mivxvdi, rom am epizods im dRes ver gadaviRebdi, Tavad mWirdeboda fsiqologiuri momzadeba. hoda, aq kidev erTxel gamoCnda batoni guramis adamianoba _ igi CemTan darCa, msaxiobebi gadasaRebi moednidan gauSva da gvian

WITH IRAKLI ONOPRISHVILI

We had to film a scene with supporting camera equipment. I had done that many times before, but at that moment, when I remained as the “director of photography”, I understood that I could not film that episode on that day, that I needed to prepare from a psychological point of view. And there too, Mr. Guram showed his great humanity – he stayed with me, sent off the actors from the set, and we rehearsed until late in the evening. The next morning, we filmed this episode without effort. I think that this is the kind of thing a great director and pedagogue does!

Tusheti, Tushetians, and ‘Tushetian Shepherd’ Shootings for the film started in 1973. At first, it was planned to be a documentary film, but it gradually transformed into a fiction while working on it. In 1979, director Soso Chkhaidze and cameraman Irakli Onoprishvili were awarded the Shota Rustaveli State Prize (highest prize of the country in the fields of arts and literature) for it.

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4 (22) 2020

saRamomde gadioda repeticias. meore diliT es epizodi Tavisuflad gadaviReT. vfiqrob, esaa didi reJisori da pedagogi!

TuSeTi, TuSebi da „TuSi mecxvare“ filmis gadaRebebi 1973 wels daiwyo. is Tavidan dokumentur filmad iyo Cafiqrebuli da mxatvrulad muSaobisas iqca. 1979 wels reJisor soso CxaiZes da operators irakli onofriSvils SoTa rusTavelis saxelobis saxelmwifo premia mieniWaT. _ es filmi ki CemTvis mTavari gakveTili, gamocda da warmatebaa. maSin 26 wlis viyavi. „TuSi mecxvare“ Tavidan dokumentur filmad iyo Cafiqrebuli. pirvelad, reJisori soso CxaiZe, operatori tristan kandelaki da gadamRebi jgufi samuxis velze CavediT, cxvari iq izamTrebda... mTaSi pirveli asvlisas gadamRebi jgufi erT-erT brigadas (ase eZaxian TuSebi cxvar/mecxvares) gavyeviT, gaviareT mTeli kaxeTi da SevuyeviT storis xeobas. mecxvares cxvari TuSeTSi gvian gazafxulze ahyavs da barSi Semodgomaze abrunebs... Cvenc, gadaRebisTvis mxolod erTi gza gvqonda, yvelaferi erT asvlaze unda

As for me, this film is the main lesson, test, and success I have known.

I was 26 years old back then. ‘Tushetian Shepherd’ was intended to be a documentary film. At first, director Soso Chkhaidze, cameraman Tristan Kandelaki, and the film crew went to the Samukhi Valley, where herds of sheep would spend their winter...

When first going up the mountain, the film crew followed one brigade (this is how Tushetians call the shepherd and his flock), we passed through the whole region of Kakheti and started walking in the Stori Valley. Shepherds bring their flocks in Tusheti in late Spring, and bring them back in plains in Fall... So we only had one chance for the shooting, we had to film everything in one go... Shepherds couldn’t/wouldn’t wait for you, and the weather that will greet you on the Abano pass can also change everything. Inexperienced, unprepared (we were not dressed for the mountains), with heavy loads (filming equipment) on our backs, us “non-shepherds” were following the shepherd and his flock without knowing where we were going, how much we had left... For Soso (if I’m not mistaken) and myself, it was the first time we were in Tusheti. Cameraman Tristan Kandelaki couldn’t go on, and he started going back in the middle of the road. As for us, after the first day of shooting (we almost couldn’t film anything), numb from the cold, we went to the Torghva baths and laid down in hot water... Suddenly, Soso entered, he was soaking

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4 (22) 2020

mogveswro... mwyemsi Sen ver/ar dagelodeba da Tan gaaCnia abanos uReltexilze ra amindi dagxvdeba. gamoucdeli, momzadebuli (saTanadod ar gvecva da gvexura), mZime tvirT (kino-aparaturiT) akidebuli `aramwyemsebi~ cxvars da mecxvares rZesa da nislSi mivyvebodiT da ar vicodiT sad mivdiodiT, ramdeni unda gvevlo – soso (Tu kargad maxsovs) da me TuSeTis gzas pirvelad vadeqiT. operatorma tristan kandelakma gzis gagrZeleba ver SeZlo da naxevari gzidan ukan dabrunda. Cven ki pirveli dRis gadaRebebis Semdeg (roca TiTqmis veraferi gadaviReT) gaToSilebi TorRvas abanoSi CamovediT da... cxel wyalSi CavweqiT... am dros soso Semovida, igic Tavidan-fexebamde sveli, Semomxeda da miTxra _ ilo, xval bolo fara adis da Tu ver gadaviReT, yvelaferi momaval wlamde gadagvedebao. dilauTenia isev uReltexilis serpantins SevuyeviT da gadaviReT. iseTi kargi masala dagrovda, rom sosos dokumenturis nacvlad mxatvruli filmis gadaRebis idea gauCnda. es kadrebi Semdeg rogorc samontaJo naWrebi mxatvrul filmSic Sevida. TbilisSi dabrunebis Semdeg gadawyda `TuSi mecxvaris~ mxatvruli filmis Seqmna da axalma damdgmelma kinojgufma (damdgmeli reJisori soso CxaiZe, damdgmeli

wet, just like us, he looked at me and said – Ilo, tomorrow, the last flock is going up, and if we don’t manage to shoot it, we will have to postpone everything until next year. At dawn, we started walking up the mountain’s winding roads and took some images.

The material turned out so good that instead of a documentary film, the idea to shoot a fiction came to Soso. These images would later be added to the fiction film during the editing process. After returning to Tbilisi, it was decided to create the fiction film ‘Tushetian Shepherd’, and the new film crew (director Soso Chkhaidze, lead cameraman Irakli Onoprishvili, art director Vakhtang Rurua, scriptwriters Valerian Sulakauri, Amiran Tchitchinadze, Devi IvanovChikovani, and second cameraman Ilia Vachnadze) started preparing for the shooting, and... they did it.

The North Pole I don’t think there are many chances to find another Georgian who had their 20th birthday at the Chelyuskin Polar Station in the arctic.

There is only snow and white around it, and you can film on the right side, but not on the left side, and you cannot understand the reason why. In the surroundings, apart from the people working at the station, you can only see polar bears and border guards... We had a stamp of the “General Staff” on our expedition documents. We flew to

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4 (22) 2020

operatori irakli onofriSvili, damdgmeli mxatvari vaxtang rurua, scenaris avtorebi – valerian sulakauri, amiran WiWinaZe, devi ivanov-Ciqovani, meore operatori ilia vaCnaZe) gadaRebebisTvis mzadeba daiwyo da... daiwyo.

CrdiloeT polusi vfiqrob, saeWvoa, bunebaSi arsebobdes kidev qarTveli, romelsac CrdiloeT polusze, arqtikul sadgur `Celuskinze~ Seusrulda 20 weli. irgvliv mxolod Tovli da siTeTrea, romlis gadaRebis uflebasac marjvniv gaZleven, marcxniv ki ara da ver xvdebi ratom. Soriaxlos, sadguris TanamSromlebis garda mxolod TeTri daTvebsa da mesazRvreebs xedav... _ „mivlinebis baraTze `genStabis~ nebarTva gvertya. kunZul diqsonidan amerikuli, meore msoflio omisdroindeli `duglasiT~ gavfrindiT da cxra saaTi vifrineT. am xnis ganmavlobaSi peizaJi ar Secvlila

Dixon Island on an American ‘Douglas’ aircraft from the second world war, and it took us nine hours. During that time, the landscape didn’t change, and we could only see white from our portholes. After flying for a few hours, our pilots landed us on snow after a few circles in the sky, all the while singing. We later learned that the aircraft had a problem, and that we had made an emergency landing. We survived without even realizing it. The border guards and the film crew lived in the same barracks, and when we asked them how many people were living on the island (I don’t even know why we asked that, but still), they would answer that it was a military secret! We laughed, because we were all eating together, and it wasn’t difficult to count them.

Director Nana Kldiashvili was filming her student documentary film at the Chelyuskin station – it was about Anatoli Kacharava, a longdistance navigation captain; the director of photography was Gia Gersamia, the cameraman – Givi Kureli, while Ilo Vachnadze was the camera assistant.

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4 (22) 2020

A bit later...

After working on full-length documentaries and fiction films, I also started working on commercials. Perhaps the first company to mention was ‘Neostudia’, where I experienced the most comfortable working environment. The first commercial we shot was ‘Guria’, it was shot on film, and is well-known to the whole country. ‘Guria’ was followed by the ‘Here is Georgia’ cycle of commercials, which were close to cinematic style...

I think that I am continuing to do valuable work with the best team, on the ‘Public Broadcaster’ – together with Aka Morchiladze, Ketevan Sadghobelashvili, and Giorgi Ebralidze.

da iluminatoridan mxolod siTeTres vxedavdiT. ramdenime saaTis frenis Semdeg, Cvenma mfrinavebma me3-me-4 wreze simRer-simReriT, Tovlze dagvsves. Semdeg gavigeT, rom Turme TviTmfrinavs raRac gafuWebia da es avariuli daSveba yofila. ise gadavrCiT, arc gagvigia. mesazRvreebi da kinojgufi erT barakSi vcxovrobdiT da roca vekiTxebodiT, ramdeni adamiani xarT kunZulzeTqo (raSi gvainteresebda, magram mainc), gvpasuxobdnen _ samxedro saidumloao! _ gvecineboda, yvela erTad vsadilobdiT da daTvla iolad SegveZlo. sadgur `Celuskinze~ reJisori nana kldiaSvili sakurso dokumentur films iRebda Soreuli naosnobis kapitan anatoli kaWaravaze, romlis damdgmeli operatori gia gersamia iyo, operatori _ givi yureli, ilo vaCnaZe ki operatoris asistenti.

As an alternative “the end” Being a cameraman is a profession in which the most important is taste, knowledge, and experience... And if you ask me what life is about, I would answer you: Life is a film, sometimes it is colorful, and sometimes – black and white...

mogvianebiT... srulmetraJiani dokumenturi da mxatvruli kinos Semdeg, mogvianebiT, sareklamo rgolebzec vimuSave. albaT, jer „neostudia“, unda vaxseno, sadac yvelaze komfortul samuSao garemoSi movxvdi. pirveli iyo „guria“, kinofirze gadaRebuli yvelasTvis nacnobi sareklamo rgoli. gurias moyva isev kinosTan miaxloebuli sareklamo rgolebis cikli „aq saqarTveloa“... vfiqrob, saWiro saqmis keTebas axla saukeTeso gundTan erTad vagrZeleb, „sazogadoebriv mauwyebelze“ _ aka morCilaZesTan, qeTevan sadRobelaSvilTan da giorgi ebraliZesTan erTad. „dasasrulis“ magier operatoroba sworedac is profesiaa, sadac mTavari gemovneba, codna da gamocdilebaa... da me rom mkiTxoT ra aris cxovreba, gipasuxebT: cxovreba _ kinoa, xan feradi da xanac Sav-TeTri...

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4 (22) 2020

P. S.

P. S.

filmografia:

FILMOGRAPHY:

• `gia yanCeli~ _ reJ. sandro vaxtangovi

•

Giya Kancheli – director Sandro Vakhtangov

• `pianisti~ (aleqsandre korsantia), _ reJ. sandro vaxtangovi

•

Pianist (Sandro Korsantia) – director Sandro Vakhtangov

•

Pilgrimage (Liana Isakadze) – director Sandro Vakhtangov

•

Stretched Strings (Ingolstadt Georgian Chamber Orchestra) –

• `piligrimoba~ ( liana isakaZe), _ reJ. sandro vaxtangovi

director Giorgi Ebralidze

• `gaWimuli simebi~ (ingoldStadtis qarTuli kameruli orkestri), reJ. giorgi ebraliZe

•

Liturgy – director Niko Tsuladze

•

27 Dragons – director Beso Giorgobiani

•

Davit Gareja – directors Soso Chkhaidze, Levan Taktakishvili

•

Avlip Zurabishvili – director Dimitri Batiashvili

• `araCveulebrivi faSizmi~ _ reJ. miSa Wiaureli

•

Unusual Fascism – director Misha Chiaureli

• `re-animacia~ _ reJ. giorgi ebraliZe

•

Panopticum – director Giorgi Ebralidze

• `panopktikumi~ _ reJ. giorgi ebraliZe

•

Mount Sinai – director Karlo Ghlonti

• `sinas mTa~ _ reJ. karlo Rlonti

•

Syria from Georgians’ Eyes – director Giorgi Barnov

•

Georgian Chronicles (5 films) – director Jumber Ebralidze

•

Playing with Fire – director Aleko Ninua

•

Remembrance – director Givi Vepkhvadze

• `liturgia~ _ reJ. niko wulaZe • `27 drakoni~ _ reJ. beso giorgobiani.

• `daviT gareja~ _ reJ. soso CxaiZe, levan TaqTaqiSvili.

• `avlip zurabiSvili~ _ dimitri baTiaSvili

• `siria qarTvelTa TvaliT~ _ reJ. giorgi barnovi • `saqarTvelos matiane~ (5 filmi) _ reJ. jumber ebraliZe • `cecxlTan TamaSi~ _ reJ. aleko ninua • `xsovna~ _ reJ. givi vefxvaZe da mravali sxv.

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and many more...

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