კულტურა პლუს 4 (26)

s el w l a ax ba So T v a c gilo

4 (26) 2021 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 zurab niJaraZis mfrinavi xaliCa

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FLYING CARPET OF ZURAB NIZHARADZE

tragedia, romelic ar Sedga!

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TRAGEDY THAT NEVER HAPPENED!

Sen mier gaRebulze bevrad metiT saCuqrdebi

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YOU ARE MUCH MORE AWARDED COMPARED TO WHAT YOU GIVE

korneli xoStarias tragikuli bedi

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KORNELI KHOSHTARIA’S TRAGIC FATE

ilo fotografi

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ILO PHOTOGRAPHER

sabWoTa esTetikuri revolucia - firosmanis muzeumis arqiteqtura

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SOVIET AESTHETIC REVOLUTION THE ARCHITECTURE OF THE PIROSMANI MUSEUM

naTali qvis pirveli Senoba quTaisSi

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FIRST BUILDING OF THE POURED CONCRETE IN KUTAISI

mziT savse musika

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SUNSHINE MUSIC

saredaqcio jgufi EDITORIAL STAFF xaTuna kereseliZe KHATUNA KERESELIDZE 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: favoriti stili / Print: Favorite style

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: zurab niJaraZe, `gaseirneba parkSi~, tilo, zeTi, 80x60 Cover: Zurab Nizharadze, "Walk in Park", oil on canvas, 80x60

4 (26) 2021

givi gegeWkori

zurab niJaraZis mfrinavi xaliCa

FLYING CARPET OF ZURAB NIZHARADZE GIVI GEGECHKORI

mfrinavi xaliCa; 50x80; muyao, zeTi

FLYING CARPET; 50X80; OIL ON CARDBOARD

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z

urab niJaraZe im azrisaa, rom werili uTuod problematuri unda iyos. am werils amis pretenzia ar aqvs. me minda qaRaldze gadavitano mxolod Cemi siyvaruli da vilaparako imaze, rasac vfiqrob zurab niJaraZeze, cnobil qarTvel mxatvarze, romelic bolodroindeli namuSevrebisaTvis SoTa rusTavelis premiazea wardgenili. am premiis Rirsad zurab niJaraze misma elvare niWma, dauRalavma da Tavganwirulma Sromam gaxada da saxeli da pativiscemac swored am elvare niWma da Tavganwirulma Sromam moutana. mis tiloebs gauvsia uzarmazari sagamofeno darbazi, sadac, tiloebs Soris intervali mainca da mainc didi ar yofila. misi Semoqmedebis sazrdoa uzarmazari cxovrebiseuli gamocdileba da wignebidan miRebuli da sakuTar qvabSi gadaxarSuli codna. misi Semoqmedebis dauSrobeli wyaroa qarTuli xalxuri zepirsityviereba da qarTuli klasikuri mwerloba. msoflio miTologia da literatura. me maxsovs zurab niJaraZis is naxati, romelic pirvelad 1956 wlis saSemodgomo gamofenaze vnaxe. es naxati `RvinisWiqebiani naturmorti~ iyo. misi Taobis SemoqmedebiTi biografia faqtobrivad am gamofenidan daiwyo, radgan pirvelad aq iyvnen gamofenilni isa da misi megobrebi, amJamad ukve saxelmoxveWili mxatvrebi. marTlac hqonda am naxats raRac impresionistuli. amas arc TviTon uaryofa, magram misi azriT, radgan suraTs evropuli elferi hqonda, naxatze gamosaxuli kedeli arlekinis kostiumiviT ujredebad iyo dayofili da, suraTis siRrmeSi frans halsis suraTic, naxats evropul elfers aniWebda, impresionistebTan paraleli swored aman ganapiroba. impresionistebis gavlena ki namdvilad iyo, magram ufro gviandeli impresionizmisa, kerZod, sezanisa. es mJRavndeba naxatze Rvinis WiqebSi CarCenili sasmelis liclicSi da sufris naoWebSi (gaixseneT sezanis naturmortebis sufrebi). sezani, sxva impresionistebisgan gansxvavebiT, mxolod bunebis uSualo asaxviT ar kmayofildeboda da ganzogadebisaken, xelovnebaSi axal kanonzomierebaTa Ziebebisaken iswrafoda, gansakuTrebul yuradRebas uTmobda kompozicias. impresionistebs ki klasikuri kompozicia ara hqondaT, danawevrebuli da bunebrivi surdaT rom hqonodaT da etiudamde dadiodnen. akademiurisaken ltolva Tavidanve axasiaTebda zurab niJaraZes. am naturmortSic, iqneb maSin ufro arateqnikurad, vidre axla, im sagnebis daxasiaTebaSi, romlebic naxatzea, ferebis JReradobis SenarCunebas cdilobda, ferebis ganumeorebloba rom ar dakarguliyo. naturmorti ki saSualebas aZlevda gaecocxlebina da ganumeorebeli ferebisaTvis Sinaarsi mieca. mas uTqvams: maSin iqneb kargad ar mesmoda mTavarisa da meorexarisxovanis damokidebuleba, Torem naxats axlac

A

letter, according to Zurab Nizharadze, must be difficult in some way. This letter, on the other hand, does not fulfil this requirement. I’d want to show my enthusiasm and love for Zurab Nizharadze and his work through this letter, and I’ll explain what I think about a great Georgian painter whose recent paintings were awarded the Shota Rustaveli State Prize. Zurab Nizharadze’s extraordinary talent and hard work earned him this prize, and these attributes earned him notoriety and admiration from a wide range of people. Huge galleries would be bursting at the seams with people eager to see his exhibits. His works were based on his vast life experience and knowledge gained from books. Georgian folklore, global mythology, and Georgian and classical literature would be his main sources of inspiration. I recall seeing his artwork for the first time during the autumn exhibition in 1956. There were two wine glasses in the still life. Because this was the first time his artworks and works by his colleagues, now famous artists, were exhibited, it became the starting point for creative biographies of his generation.

The painting has an impressionist quality to it. He didn’t deny it, but he did think the artwork was European in style. The picture’s wall was covered in squares, similar to Arlekino’s clothing, and there was a

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mTibavebi; 20x27; qaRaldi, pasteli

im amocanebs vakisreb, rasac maSin vakisrebdio. aqve unda iTqvas, rom akademiurobisaken ltolvas am naturmortSi isic amJRavnebs, rom suraTis siRrmeSi, mainca da mainc frans halsis suraTia gamoxatuli. am Rirssaxsovari pirveli gamofenidan TiTqmis samma aTeulma weliwadma gaiara, daxatulia mravali qalisa da kacis portreti, Zveli Tbilisis suraTebis seria, italiuri Canaxatebis cikli, antikuri da lirikuli motivebi, daxatulia mravali sizmari, romelic TiTqos cxadia da mravali cxadi suraTi, romelic, TiTqos sizmaria. gancdilma da warmodgenilma Seqmna misi ocnebis is uzarmazari mfrinavi xaliCa, romelic misma niWma da dauokebelma fantaziam nel-nela qsova da nel-nela maRla da maRla aitana. me zogjer mxilveli vyofilvar im uzarmazari xaliCis qsovisa, romelsac misi poeturi samyaro warmoadgens.

CemTvis Zvirfasi mosagonaria is dReebi, romlebic mis adrindel saxelosnoebSi maqvs gatarebuli jer besikis da

MOWERS; 20X27; CRAYON ON PAPER

painting by Frans Hals that gave the painting a European vibe, which leads us to believe it was from the impressionist style.

There was impressionism influence, but it was mainly from Cezanne’s uncommon impressionism. We can tell by the amount of alcohol left in the wine glasses and the wrinkles on the tablecloth (remember tables clothes from Cezanne’s still life works). Unlike other impressionists, Cezanne was looking for new relationships in art, and simply being inspired by nature was not enough for him; he was also concerned with composition. Impressionism is defined by its open composition, emphasis on realistic depiction of light, and everyday subject matter. In order to create an organic image, artists divided them into sketches.

He had a need for academic style, and despite his lack of talent at the time, he was attempting to depict the subject matter in the precise tone of colors, demonstrating the disparity of each and every color. Work, on the other hand, allows you to bring colors to life and give them a distinct meaning. He once stated, “I may not have known what kind of relationship should exist between the main topic and a supporting one back then, but I still give painting the same

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mere nucubiZis quCis boloSi. zurab niJaraZis xsenebaze me xSirad warmomidgeba xolme Tvalwin: saxelosnos ayvavebul kedlebSi, misi tiloebis Cauqrobel ferad xanZarSi akriaxebul wiTel mamlebSi, wiTlad aforejebul qalebisa da mamakacebis saxeebSi, romlebic TiTqos gaCaRebul buxars Sehyureben, gaSiSvlebuli mkerdis fermixdil SuqSi da tkbil sizmarSi muxlebSoris samoselis ormoSi CamoSlili Tmis SrialSi, gafrenili jadosnuri xaliCis tortmanSi, xaliCaze msxdomi da fexze mdgomi musikosebis ciur xmebSi, galiaSi moqanave TuTiyuSebis tiktikSi da WavlSi acimcimebuli wiTeli Tevzis cisfer mdumarebaSi, oTaxSi SemoWrili gazafxulis sicilSi da erTmaneTze mowyobili suraTebis

Tbilisis quCa; 70x60; tilo, zeTi

purpose and goals as I always did.” It’s also worth noting that this work includes a picture by Frans Hals, which demonstrates a desire for academic style.

That crucial exhibition took place roughly three decades ago. Many portraits, old Tbilisi series, Italian sketches, antique and poetic motifs have been exhibited. He painted a lot of fantasies that look so real that they become reality and dreams become reality. He spent his entire life stitching an imaginary carpet of vivid fantasies, something he was only able to do because of his incredible talent and hard work.

I’m fortunate enough to have been allowed to watch his creative process in his studios (on Besiki st. and then Nutsubidze). I often imagine Zurab Nizharadze among the vibrant colours of his paintings, a red rooster, men and women with rosy cheeks, as if they’ve been

TBILISI STREET; 70X60; OIL ON CANVAS

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siena; 75x70; tilo, zeTi

labirinTSi, saxelosnos uswormasworo da zogan ficaravardnil iatakze dadis mSvenierebis qedmodrekili msaxuri, Tavaxdili skivridan amoyrili ganZis mflobeli zurab niJaraZe, Tavze kovbouri Tu Teatraluri farTofarfliani cisferi qudi xuravs, bolos jdeba da

SIENA; 75x70; OIL ON CANVAS

staring at a fireplace for hours; colourful parrots in their cages; men resting and heavenly singing; sunlight shining through the room and the paintings oranged in a labyrinth; a crooked studio floor, and in the middle of it all, Zurab Nizharadze himself, wearing a huge blue hat, mixing oil paints and transferring them onto the canvas.

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cicino ciciSvilis portreti; 102x82; tilo, zeTi

PORTRAIT OF TSITSINO TSITSISHVILI; 102x82; OIL ON CANVAS

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dilis saubari; 65x60; muyao, zeTi

MORNING TALK; 65X60; OIL ON CARDBOARD

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romis quCa; 82x69; muyao, tempera, pasteli

ROME STREET; 82X69; CRAYON AND TEMPERA ON CARDBOARD

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imereTi, dedaTa monasteri; 60x70; tilo, zeTi

patara ficarze erTmaneTSi urevs zeTis saRebavebs da mastixiniT tiloze TiTqos uwesrigod gadaaqvs, magram misTvis gasagebi raRac kanonzomiereba CemTvis mxolod maSin irkveva, roca mis mier saRebavebiT danTebuli xanZris almuridan nel-nela ikveTeba maimunis sxeuli, warbebi, Tvalebi, cxviri, CamoSvebuli mklavebi da maimunis xelSi afarTxalebuli haeris lurji da wiTeli buStebi… misi suraTebis mxilvel kacs is pirveli sityva rac TavSi SeiZleba mouvides, sityva “poeturia”. zurab niJaraZes CemTvis uTqvams, rom TavisTavad araferi ar aris poeturi, Semoqmedma unda aqcios poeturad. rac gamorCeuli da poeturia, mas Semdeg iqca poeturad, roca poeturad aqcies. ra Tqma unda, asociaciebi iRviZebs da es asociaciebi pirobiTi refleqsiviTaa. amitom aris foTolcvena an Tovlis bardna poeturi, Tumca, bevri ram aris damokidebuli

IMERETI, MOTHER OF GOD MONASTERY; 60X70; OIL ON CANVAS

When you first see his paintings, the first word that springs to mind is “poetic.”

Zurab Nizharadze once told me that nothing is ever poetic in and of itself; it is up to the creator to make things poetic. Things that are unique and poetic only become so when they are fashioned into poetry. We naturally begin to compare things, which leads to a reflective attitude. This is why falling leaves or snowflakes are poetic; yet, how we look at things dictates a lot. We create traditions, and we achieve a poetic state of mind as a result of these traditions.

Regardless, everything has the power to become poetry. This is highly reliant on the artist and how they communicate the poetry to us.

Zurab Nizharade is a straightforward individual. He once observed, “I took a car to repair shop.” I was sitting and watching the car owners come in, many of whom I knew. I could hear them chatting with mechanics, attempting to communicate in their very own language.

Trying to communicate with them using mechanic jargon. This entire

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scene was so staged that you could tell they were attempting to sound distinctive, but it didn’t work for them. I then realized that people do this all the time in various scenarios. However, this is not the case with art; when it comes to art, if you betray yourself and allow others to influence you, the art loses its individuality, and we end up with harmful tendencies.

An incident that happened to Zurab Nizharadze at “Tsiskari” magazine demonstrates how he loses himself in his work. He came into our office on Makharadze St. and immediately began playing chess. When he suddenly sprang up and ran outside. It turned out that he had taken a cab and that the driver had fallen asleep outside waiting for him.

In Giorgi Leonidze’s Patardzeuli home, there is a room that has an antique ottoman with a baluster. That’s how I spent my entire

imaze, Tu adamiani yvelafers romeli kuTxidan uyurebs.

Cven SevqmeniT tradicia da am tradiciis mixedviT aris poeturi ganwyobilebani. da mainc, yvelaferi SeiZleba iqces poeturad. es xelovanzea damokidebuli da tradiciulad poeturis darRveviT da am gziT poeturis SeqmniT ufro sainteresoa Semoqmedi. zurab niJaraZe bunebrivi da uSualo adamiani da Semoqmedia. erTxel man miTxra: manqanis SesakeTeblad profilaqtoriumSi viyavi. vijeqi da vuyurebdi, rogor Semodiodnen xelosanTan kerZo manqanis patronebi, zogi nacnobic iyo. mesmoda, rogor elaparakebodnen xelosans, viTom ZmabiWurad, viTom xelosnis enaze, raRac sxva enaze. viTomc da Tavs uyadrebdnen da cdilobdnen raRac JargoniT daemyarebinaT Sinauruli urTierToba.

niu; 82x100; muyao, zeTi

NUDE; 82X100; OIL ON CARDBOARD

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akrobatebi; 43x32; muyao, guaSi

es iyo raRac xelovnuri, naZaladevi kilo, romelic maT saubars Zalze arabunebriv elfers aniWebda, isini xom ase ar laparakoben: vijeqi da vfiqrobdi, adamianebs mxolod aq ar emarTebaT ase-meTqi. ase xom ar aris xelovnebaSic: roca xelovani Tavs Ralatobs, roca

ACROBATS; 43X32; CRAYON ON CARDBOARD

childhood, on an ottoman just like that. I was sleeping on it, and when I woke in the morning, I looked out the window to see flowering mallow and our cat murmuring at my feet. An old carpet cover draped over the ottoman. In one of his works, Zurab Nizharadze depicted the same carpet.

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ana niJaraZis portreti; 110x80; tilo, zeTi

PORTRAIT OF ANA NIZHARADZE; 110X80; OIL ON CANVAS

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arlekini; 110x80; muyao, zeTi

gavlenebiT qmnis da sxvisTvis bunebrivi da misTvis arabunebrivi principebiT xelmZRvanelobs, swored maSin gvaqvs saqme yuriTmoTreul, ucxo gavleniT SemuSavebul, SemoqmedisaTvis saziano tendenciasTan... zurab niJaraZe rom TavdaviwyebiT eZleva imas, rasac akeTebs, amis magaliTad gamodgeba erTi ambavi, romelic mas axlad daarsebul Jurnal „ciskris“ redaqciaSi

HARLEQUIN; 110X80; OIL ON CARDBOARD

This is the only Zurab Nizharadze painting that does not bring back memories of my childhood. Each of his paintings is a piece of that mystical carpet capable of defying gravity and transporting me to another world, transporting me back to my childhood. This is why I adore all of his paintings. Zurab Nizharadze writes in one of the letters, “The desire to return to childhood is the strongest in arts, especially in fine art...”

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niu; 60x50 sm. tilo, zeTi

NUDE; 60X50; OIL ON CANVAS

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oTar ioselianis portreti; 52x40; qaRaldi, pasteli

PORTRAIT OF OTAR IOSELIANI; 52X40; CRAYON ON PAPER

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manana xidaSelis portreti; 60x52; qaRaldi, fanqari

PORTRAIT OF MANANA KHIDASHELI; 60X52; CRAYON ON PAPER

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SeemTxva. igi movida CvenTan, redaqciaSi, maxaraZis quCaze da maSinve Wadrakis TamaSSi Caeba. meore partia ara hqonda damTavrebuli, rom uceb TavSi itaca xeli da gareT gavarda. Turme, taqsiT mosuliyo, taqsi gareT ucdida, mZRols saWeze daedo Tavi da mSvidad eZina... patarZeulSi, Ggiorgi leoniZis saxlSi aris erTi oTaxi. am oTaxSi Zveleburi taxti dgas, rikulebiani. bavSvoba swored aseT taxtze maqvs gatarebuli. aseT taxtze meZina da roca viRviZebdi, fanjris rafidan ayvavebuli balba miyurebda da fexebTan, sabanze, grZelbewviani kata krutunebda,. am taxtze Zveleburi fardagi efina. zurab niJaraZis erT naxatze Citebis gamyidvels taxtze swored aseTi fardagi ufenia. zurab niJaraZis tiloebidan mxolod am tilos ar gauxsenebia CemTvis bavSvoba. misi yoveli tilo CemTvis im jadosnuri mfrinavi xaliCis nawilia, romelsac SeuZlia dedamiwis mizidulobas Tavi damaRwevinos da nel-nela maRla amiyvanos, Cems bavSvobasTan damabrunos, sanatrel mSvenierebasTan Semaxvedros, feradi ocnebebis idumal qalaqSi gadamasaxlos, romelsac Cemi suli ase

venecia karanvalis win; 70x90; tilo, zeTi

Sometimes all it takes is a single gentle phrase. A single smile can lift a person’s spirits. Attempt to push the sadness away. Those are the happy days, with those words and smiles.

A spiritual person may only need the warmth of poetry or the light of artwork to feel at ease. What is the point of creative agony if music, poetry, or brush strokes don’t make you feel something?..

Is there anything more valuable than knowing that there is someone who can make you feel something tender with his brush strokes, who can put his sentiments onto the canvas, and knowing that this person lives in the same city as you?

During Zurab Nizharadze’s shows or in his studio, I’ve had the impression that words can’t always explain what a person is feeling.

But his paintings, the images he creates, can make me experience and understand a wide range of emotions. Zurab Nizharadze’s paintings are a never-ending parade of magnificent joyful occasions. My spiritual needs can attest to this, especially when I’m on the lookout for poetic impressions that I know will linger longer so that I can live longer!

For many years, the impressions from Zurab Nizharadze’s paintings have lasted in my mind, bringing warmth and affection. I’m not sure this letter can adequately describe my feelings for him...

VENICE BEFORE CARNIVAL; 70X90; OIL ON CANVAS

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niu; 70x60; tilo, zeTi

NUDE; 70X60; OIL ON CANVAS

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qali niJariT; 60x80; tilo, zeTi

mieltvis. ai, ratom aris misi yoveli suraTi CemTvis Zvirfasi. zurab niJaraZe bavSvTa gamofenisadmi miZRvnil erT werilSi ambobs: “ survili bavSvobaSi dabrunebisa, ratomRac yvelaze mZafrad xelovnebis sferoSi iCens Tavs, kerZod ki mxatvrobaSio…”.. zogjer mxolod erTi alersiani sityva kmara. erTi Suqiani gaRimeba kmara, rom adamiani karg gunebaze dadges. gulidan naRveli gadaiyaros. is dRe gamarTlebulia, Tu is sityva gaigona da is Suqiani Rimili dainaxa, romelsac

WOMAN WITH CONCH; 60X80; OIL ON CANVAS

ase gulisZgeriT eloda. sulieri moTxovnilebis adamians zogjer sadRac wakiTxuli leqsis erTi striqonis an romelime mxatvris gamofenaze SemonaTebuli erTi suraTis sinaTle didxans hyofnis. musikaluri bgeris, poeturi sityvis an funjis jadoqrobam monaTesave sulSi gamoZaxili Tu ar hpova, maSin ra azri eqneboda Semoqmedis tanjvas... gana aris imaze didi bedniereba, Tu Sens qalaqSi, Sens gverdiT cxovrobs da sunTqavs is adamiani, romelsac

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romi, quCis scena; 55x75; tilo, zeTi

ROME, STREET SCENE; 55X75; OIL ON CANVAS

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qali TuTiyuSiT; 49x43; tilo, zeTi

WOMAN WITH PARROT; 49X43; OIL ON CANVAS

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faskunji; 80x110; tilo, zeTi

SeuZlia funjiT Tavisi sulis TrTola da uecari sixaruli gagrZnobinos.. zurab niJaraZis saxelosnoSi an gamofenaze nanaxi suraTiT me bevrjer migrZvnia, rom zogjer sityva arafers niSnavs da ver gamoxatavs imas, rasac kaci ganicdis. es SeiZleba ganmacdevinos oqrosTmiani qalwulis kdemamosilebam mis suraTze an poeturi burusis miRma momavali CoCoris molandebam. zurab niJaraZis suraTi udidesi sixarulia, is dResaswaulia,

PHOENIX; 80X110; OIL ON CANVAS

romelic arasodes mTavrdeba. amis mizezi iqneba Cemi sulieri moTxovnilebac iyos, ase rom eZebs da ase mzad aris poeturi STabeWdilebisaTvis da is unda, rom es STabeWdileba didxans eyos da amiT didxans icxovros!.. zurab niJaraZis ama Tu im suraTiT me didxans micxovria da sadac gamxsenebia, sulSi didi siTbo CamRvria.

Cemi siyvarulis gamoxatva ara mgonia, rom am werilma SesZlos...

gaweuli daxmarebisTvis madloabs vuxdiT batonebs _ giorgi janberiZes da irakli gegeWkors

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laSa CxartiSvili

tragedia, romelic ar Sedga! antikuri tragedia tragediisa da gmiris gareSe

TRAGEDY THAT NEVER HAPPENED!

LASHA CHKHARTISHVILI

AN ANTIQUE TRAGEDY WITHOUT A TRAGEDY OR A HERO

vaso abaSiZis saxelobis axali Teatris axlaxan rekonstruirebul SenobaSi, sezonis pirveli premiera _ sofokles „oidipos mefe~, Teatris samxatvro xelmZRvanelma daviT doiaSvilma warmogvidgina. yofili musikisa da dramis Teatris istoriis axali etapi axal SenobaSi antikuri dramaturgiis umniSvnelovanesi qmnilebiT, tragediis Janris erT-

Artistic director of Vaso Abashidze Music and Drama State Theatre presented a premiere of “Oedipus Rex” by Sophocles in the newly reconstructed theatre building. A new chapter in the history of the former Music and Drama Theater has begun in a new building with the most important work of antique drama, a stage adaptation of one of the peaks of the tragedy genre. The director’s

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erTi mwvervalis scenuri interpretaciiT daiwyo. reJisoris arCevani antikuri dramaturgiis gamorCeul nimuSze konceptualuri, damaintrigebeli, sakamaTo da Sesabamisad, sainteresocaa. daviT doiaSvilma pandemiis periodis TeatrisTvis swored is klasikuri nawarmoebi SearCia, romelic epidemiis garda, bevr mniSvnelovan politikur, socialur Tu adamianur problemebs exmianeba, romelic ager ukve 26-e saukunea ver gadaWra kacobriobam. daviT doiaSvili ki radikalurad axleburi midgomiT, Seecada sofokles qmnilebis Cvens TanamedroveobaSi gadmotanas uaxlesi TeatrisTvis damaxasiaTebeli formebiTa da saSualebebis TanxlebiT, romelic reJisors, rogorc Cans, sakmaod bevri daugrovda. axali Teatri, scenis teqnikuri aRWurvilobiT, sxva SesaZleblobebs aCens, romlis praqtikaSi gamoyeneba reJisoris erT-erTi mizani gaxda (SesaZloa ikiTxoT, aba sxvagvarad rogor unda iyos, Tu is reJisoris TviTmizani ar aris? magram Tu Cvens reabilitirebul, teqnikurad aRWurvil TeatrebSi dadgmul speqtaklebs gadavavlebT Tvals, maT didad ar etyobaT is resursi, rac aqvT, radgan maTi praqtikaSi gamoyeneba TiTqmis ar xdeba). axal TeatrSi misul mayurebels, romelic sofokles

decision is innovative, provocative, debatable, and thus intriguing.

For the pandemic period of the Theatre, David Doiashvili picked the Athenian tragedy, which depicts not only an epidemic but also a slew of crucial political, social, and personal concerns that we haven’t solved in 26 centuries. David Doiashvili aimed to bring Sophocles’ masterpieces into our time utilizing the forms and tools of modern theatre in a radically new way. The new Theatre equipment with technological advancements offers a variety of options, the director’s aim was to explore them as much as possible (you may wonder what else the director’s purpose could be? however, if we look at performances in reconstructed theatres with expensive technology, we may think that they aren’t truly used since often this is the case).

You will be disappointed if you expect to watch a classical rendition of Sophocles’ “Oedipus Rex” in the new Theater since you will only see a reflection of the legendary tragedy. Everyone has their own Sophocles and Oedipus, for some, they are a memory, for others they are images, but why would you believe you’d get your Sophocles and Oedipus if you’re visiting a Theatre of the Twenty-First Century (during a pandemic)? especially from a

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director who has spent his whole artistic career deconstructing accepted dogmas. Changing genres throughout an adaptation of a classical work is common for David Doiashvili, which means emphasizing a minor issue and making it a priority of the play, highlighting something that hasn’t been noticed previously... This time was no exception, with the director presenting “Oedipus Rex” in an entirely new light. A new edition of “Oedipus Rex” in the new Theatre reflects our time - unreal, fictitious, a world infused with disdain and uncertainty, exacerbated by stress and conflicts.

In modern art, the problem of a hero is approached in a new way (literature, theatre). Classical understanding has either vanished or completely changed... Classical heroes are being phased out of theatre productions or being replaced by modern heroes. Oedipus (Kakha Kintsurashvili) is a new type of hero in David Doiashvili’s production, who is more concerned with preserving his power and prestige than with his people. He despises being criticized, and he despises listening to alternative opinions... Oedipus, like the other characters in the play, is trying to escape reality and desires

„oidipos mefis~ klasikuri xerxebiT dadgmul warmodgenas elodeba, imedebi gaucruvdeba, vinaidan, mas mxolod cnobili tragediis anarekli da namsxvrevebi daxvdeba. yvelas Tavisi sofokle da oidiposi hyavs, zogs mogonebebSi SemorCenili da zogsac warmosaxviTi, magram Tu XXI saukunis TeatrSi midixar (Tanac pandemiis periodSi), ratom unda gqondes molodini, rom iq swored Seni sofokle da oidiposi dagxvdeba... Tan iseTi reJisorisgan, romlis mTeli Semoqmedeba swored damyayebuli, kanonad qceuli dogmebis ngreviskenaa mimarTuli. daviT doiaSvilisTvis, klasikuri nawarmoebis scenuri interpretaciisas ucxo ar aris Janris cvlileba, e.w. meore planis Temis wamoweva da speqtaklis prioritetul konceptad qceva, literaturul pirvelwyaroSi iseTi waxnagebis warmoCena, romlisTvisac aqamde yuradReba aravis mouqcevia... amjeradac, reJisorma tradicias ar uRalata da sruliad axleburad gaazrebuli „oidipos mefe~ warmogvidgina. axali Teatris axleburi „oidipos mefe~ Cveni drois anareklia _ moCvenebiTi, yalbi, fasaduri, zizRiTa da eWviT

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gamsWvaluli, stresiTa da problemebiT damZimebuli samyaro.

Tanamedrove xelovnebaSi (literaturaSi, TeatrSi) gmiris problema axleburad dgas. faqtobrivad, gaqra an saxe icvala misma klasikurma gagebam... dRes, klasikuri gmirebi Teatrebis scenebidan etapobrivad qrebian da maT axali epoqis gmirebi anacvleben. daviT doiaSvilis speqtaklSic oidiposi (kaxa kinwuraSvili) axali epoqis gmiria, romelic ufro metad zrunavs Zalauflebisa da gavlenis SenarCunebaze, vidre Tavis xalxze. mas ar siamovnebs kritikis, misTvis miuRebeli azris mosmena... oidiposi, iseve rogorc piesis sxva moqmedi personaJebis umetesoba, gaurbis Seqmnil realobas da gamogonil, SeTxzul, xelovnurad Seqmnil samyaroSi urCevnia cxovreba, ar surs Tvalis gasworeba simarTlisTvis, radgan simarTlis codnas Seqmnil-miRweulis dangrevagacamtvereba SeuZlia.

to dwell in a dream world; nevertheless, he dislikes accepting the truth since it threatens his fiction.

The director breaks from the standard interpretation of Sophocles’ tragedy, in which the classical hero is helpless in the face of fate and thus a victim... Kakha Kintsurashvili manages to elude fate, responsibility, and his people (viewers in this case) in David Doiashvili’s production. This is why the tragedy that viewers have been anticipating will not happen!

We see today’s life – life during the pandemic – in the production. Characters obey the rules and regulations that have been imposed on our lives as a result of recent events. This is why you won’t see any monumental decorations (stage designer Ana Ninua) or performers dressed in chitons, (costume design Anano Mosidze) since the director offers us something different than a typical adaptation of an old tragedy on a Georgian theatre. David

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reJisori sagrZnoblad Sordeba sofokles tragediis tradiciul gaazrebas, sadac klasikuri gmiri bediswerasTan brZolaSi uZluria da Sesabamisad misi msxverplic... daviT doiaSvilis speqtaklSi ki kaxa kinwuraSvili axerxebs saerTod dausxltes bediswerasac, pasuxismgeblobasac da Tavis xalxsac (am SemTxvevaSi mayurebels). amitom tragedia, romelsac mayurebeli elis _ ar Sedgeba! speqtaklSi moqmedeba TanamedroveobaSi _ pandemiisas mimdinareobs. personaJebi im regulaciebs icaven, romelic axalma droebam moitana. reJisori radikalurad emijneba antikuri tragediis qarTul scenaze dadgmis tradiciasac _ amitom, warmodgenaSi Tvals ver mokravT verc monumentur dekoracias (mxatvari ana ninua) da verc qitonebSi gamowyobil personaJebs (kostiumebis mxatvari anano mosiZe). antikur tragedias daviT doiaSvili udgeba rogorc Tanamedrove dramas, romelic gankuTvnilia bolo dros sagrZnoblad Secvlil da TeatrSi gasarTobad, emociebis sajarod gamosaxatad, drois

Doiashvili offers us an antique tragedy framed as a modern drama created for a new type of audience who visits the theatre for both amusement and self-discovery. The director is skilled at what he is trying to achieve and is attempting to utilize techniques to make the audience a part of the performance.

The director actively violates the comfort of the guests who are comfortably seated in their chairs, invading their personal space and forcing them to accept their portion of the responsibility.

The mass media is given a special role in the production. The director depicts a world governed by the media and critically examines the role and effect of the media on society, the government, and other institutions... The production is a type of mirror, and the most important thing is that we can see ourselves in it. The televised debate between Creon and Oedipus goes live, the confrontation climaxes, fiercely and dramatically, as it would in real life, and the characters (including the TV host) lose their footing and face, just as politicians do.

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sasiamovnod gasatareblad, sakuTari Tavis aRmosaCenad Sesul mayurebelze. reJisors Seqmnili viTareba kargad aqvs gaazrebuli da mayureblis procesSi CasarTavad iyenebs pirdapiri interaqtivis xerxs. savarZelSi mokalaTebul mayurebels reJisori gamiznulad urRvevs komforts, iWreba mis pirad sivrceSi da aiZulebs agrZnobinos Tavisi wili pasuxismgebloba. speqtaklSi gansakuTrebuli adgili masobriv sainformacio saSualebebs eTmoba. reJisori gvixatavs samyaros, romelic swored mediis mier imarTeba da sakmaod kritikulad warmoaCens sainformacio saSualebebis rols da gavlenas sazogadoebaze, xelisuflebaze... speqtakli, erTgvari sarkea _ mTavaria am sarkeSi sakuTari Tavis danaxva SevZloT. satelevizio debatebi kreonsa da oidipos Soris, pirdapir eTerSi, mZafrad da dramatulad mimdinareobs, konfliqti kulminaciasac aRwevs, rogorc realur cxovrebaSi da moqmedi personaJebi (maT Sors telewamyvanic), politikosebis msgavsad, wonasworobas da saxes kargaven. speqtaklis bevri epizodi pirdapir asociacias badebs

Many episodes of the production serve as a reminder of our everyday lives. The indications are so obvious and obvious that current audiences do not need to “overthink” them.

Oedipus is the ruler of our day, who first avoids and later strives to escape from state and personal difficulties. He is concerned with power and with his own tragedy, both of which ultimately ruin him. Kakha Kintsurashvili’s Oedipus in David Doiashvili’s production is a monarch who is afraid of losing power, who does not want to hear the truth (as do all government officials), and who has little faith in anyone around him, including his relatives…

The audience, used to unpleasant news from everyday television viewing, observes the events of the human tragedy unfolding in the performance indifferently. Behind the screens, Oedipus is going insane, but the audience can see the details in the monitors from a wide-angle... Nothing is concealed in the play, as it is in our society now, everything is in the lens, and we watch events unfold from afar.

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The adaptation of “Oedipus Rex” by David Doiashvili depicts

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contemporary tendencies in modern theatre, in which the director, actors, and technological advancement compete, live and virtual art coexist, and the audience is no more merely a passive observer.... Along with the director and performers, a large creative team is developing this production. stage designer Ana Ninua, costume designer Anano Mosidze, choreographer Kote Purtseladze, and set designer Ia Nadirashvili. The success of the play was largely due to the efforts of Alexander Javakhishvili (video projection), Iva Fezuashvili (video), and Alexander Kurdubadze (computer graphics). It should be emphasized that the performance’s visual idea was technically flawless.

Cvens TanamedroveobasTan. miniSnebebi ki imdenad xiluli da plakaturia, rom misi „gadamuSaveba~ Tanamedrove mayurebels arc sWirdeba. oidiposi Cveni drois xelisufalia, romelic Tavdapirvelad saxelmwifo da pirad problemebs Tavs aridebs, xolo Semdeg maTgan gaqcevas lamobs. adardebs Zalaufleba da adardebs piradi tragediac, rac mas bolomde anadgurebs. daviT doiaSvilis speqtaklSi kaxa kinwuraSvilis oidiposi Zalauflebis dakargviT SeSinebuli mefea, mas ar uyvars simarTlis mosmena (ise rogorc yvela xelisufals), naklebad endoba garSemomyofebs, maT Soris, naTesavebsac... adamianTa ubedurebis Sesaxeb mowodebul informacias da movlenaTa ganviTarebas, negativs miCveuli mayurebeli, rogorc yoveldRiurad televizoris yurebisas, gulgrilad adevnebs Tvals. oidiposi Tvalebs ekrans miRma iTxris, magram mayurebeli detalebs msxvili xediT monitorebSi xedavs... speqtaklSi, rogorc dRes Cvens sazogadoebaSi, araferi rCeba dafaruli, yvelaferi obieqtivSi xvdeba da Cvenc, distanciurad, vakvirdebiT movlenaTa ganviTarebas. daviT doiaSvilis „oidipos mefe~ is speqtaklia,

The phrase “hybrid theatre” had already solidified as a defining notion of “modern theatre,” including not only the blending of genres, real and virtual worlds, techniques, and styles, but also the mixing of genres, real and virtual worlds, methods, and styles. The adaptation of “Oedipus Rex” by David Doiashvili is an example of this trend, in which all distinctions between the traditional conception of the notion of the hero, the genre and tragedy, the real and virtual worlds, the epoch and the dramatic theatre performance are blurred. Amiran Amiranashvili, Nino

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romelSic yvelaze metad gamovlinda uaxles TeatrSi gamokveTili tendenciebi, sadac reJisors, msaxiobs da teqnikur progress erTmaneTTan konkurencia uwevs, sadac cocxali da virtualuri xelovneba Tanabrad Tanaarsebobs da mayurebeli aRar aris pasiuri damkvirvebeli _ mas meti pasuxismgebloba eniWeba, vidre aqamde... am sanaxaobas ki reJisorTan da msaxiobebTan erTad mTeli, harmoniuli gundi qmnis. scenograf ana ninuasTan da kostiumebis mxatvar anano mosiZesTan erTad, vizualze qoreografma kote furcelaZem da ganaTebis mxatvarma ia nadiraSvilma imuSaves. speqtaklis warmatebaSi ki, faqtobrivad gadamwyveti roli iTamaSes aleqsandre javaxiSvilma (video proeqcia), iva fezuaSvilma (video), aleqsandre qurdubaZe (kompiuteruli grafika). aRsaniSnavia, rom warmodgenis vizualuri koncefcia, praqtikaSi teqnikurad gamarTulad ganxorcielda. `uaxlesi Teatris~ cnebis gansazRvrisas ukve gaCnda termini `hibriduli Teatri~, sadac erTmaneTs mxolod Teatris saxeoba, forma da mimdinareoba ki ar erwymis, aramed sxvadasxva Janri, realuri da virtualuri samyaro, meTodi da stilic. daviT doiaSvilis „oidipos mefe~ swored am gamokveTili tendenciis konteqstSi ganixileba, sadac waSlilia yovelgvari zRvari Janrisa da tragediis gmiris cnebis klasikur gaazrebasTan, realur da virtualur samyarosTan, epoqasTan da dramatul TeatrSi arsebul saSemsruleblo manerasTan. amis dasturia amiran amiranaSvilis, nino kasraZisa, daviT beSitaiSvilis da kaxa kinwuraSvilis mier Seqmnili personaJebi, romlebic sxvadasxva Taobas, esTetikas, Teatralur stilsa da maneras warmoadgenen da sxvadasxva sivrcidan am konkretul speqtaklSi erT sibrtyeze aRmoCndnen, maTi epoqis (Teatris) Sesabamisi stilistikiT, erTgvari avTenturobiT (amiran amiranaSvili miviwyebul Teatrs acocxlebs, nino kasraZe poeturs, kaxa kinwuraSvili ki yofiT-realisturs); ise rogorc waSlilia asakobrivi zRvari oidipossa da laiosis mwyemsis rolis Semsrulebel arCil soloRaSvils Soris, romelic kaxa kinwuraSvilTan ymawviliviT gamoiyureba da ara rogorc moxuci wina epoqidan. imavdroulad, dekonstruirebulia kreonis (daviT beSitaiSvili) TamaSis manera, romelic zogjer sruliad yofiTi da realisturia, zogjer ki ilustraciuli _ roca msaxiobi teqstis ilustracias JestikulaciiT axdens. mayurebelma ixila multiJanruli da multistilisturi warmodgena, romelic angrevs tradiciul Sexedulebebs da CarCo-kanonebs, rogorc Janris, ise gmiris cnebis gaazrebisa. axal TeatrSi daviT doiaSvilma Zieba axali xedvis mosinjviT daiwyo da imeds vitoveb, rom kvlevaZiebis procesi mis momdevno speqtaklebSic gagrZeldeba.

Kasradze, Davit Beshitaishvili, and Kakha Kintsurashvili produced these characters as proof. They all represent various generations, aesthetics, theatrical styles, and manners, yet they all appear in the same arena (Amiranashvili revives the forgotten theatre, Nino Kasradze develops a poetic picture, and Kakha Kintsurashvili makes a realistic-mundane image); Creon’s (David Beshitashvili) demeanour is deconstructed to the point that we see him acting realistically at times and more illustratively at other moments – when the actor uses gestures and body language to convey the text.

The audience witnessed a multigenre and multi stylistic performance that blurred the borders between traditional as a genre and the hero’s position. David Doiashvili began his creative process at the new theatre by seeking a novel vision, and we can only hope that this quest will continue in future productions.

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ia anTaZe

arCil badriaSvili _ Sen mier gaRebulze bevrad metiT saCuqrdebi

IA ANTADZE

Archil Badriashvili – YOU ARE MUCH MORE AWARDED COMPARED TO WHAT YOU GIVE

_ arCil, ra aris is, rasac sakuTar TavSi arasodes SecvlidiT? _ rTuli kiTxvaa. cvlileba cudi ar aris, cvlilebis dros viTardebi, Zlierdebi. _ magram ras xedavT iseTs, rasac ar SecvlidiT? _ albaT, Tvisebebis umetesobas ar Sevcvlidi. sworad mimaCnia maTi ganviTareba da am gziT gardaqmna. _ „mTaSi didi sarbielia, rom Sens Tavze imuSao. mTa ar gaZlevs saSualebas, rom Tavi moityuo, garemos reaqcia swrafia xolme“. Tqveni es mosazreba niSnavs Tu ara, rom raRac mniSvnelovani adamianuri aspeqtiT, yvela mTamsvleli erTmaneTs hgavs?

– Archil, what is it that you would never change in yourself?

– it is a difficult question. Change is not bad, during change you develop, you get stronger.

– But what do you see that you would not change?

– I probably would not change most of the features. I consider it right to develop them and transform them in this way.

– “There is a huge space in mountains to work on yourself. The mountains do not allow you to deceive yourself, the reaction of the environment is fast sometimes. “ Does this opinion of yours mean that in some important human aspect, all climbers are alike?

– In some respects, climbers are, of course, similar to each other.

But in mountains, as elsewhere, all sorts of people can be found. So,

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_ raRac TvisebebiT, mTamsvlelebi, ra Tqma unda, erTmaneTs hgvanan. magram mTaSi, iseve, rogorc sxvagan, yvelanairi adamiani gxvdeba. ase rom, mTaSi adamianebi erTmaneTs mxolod zogierT aspeqtSi emsgavsebian. _ magaliTad, sakuTar TavTan gulwrfelobis mxriv Tu hgvanan erTmaneTs? _ ver vityvi, rom vinc mTaSi dadis, es kargi Tviseba yvelas gamovlenili aqvs. mTis dadebiTi faqtoris garda, am nabijisTvis adamianis mxridan mzaobaa saWiro. dRes alpinizmi komercializaciis eraSia. am erTgvari alpinisturi atraqcionis garSemo xSirad SexvdebiT ukeTur, mTaSi miuRebel saqciels. vfiqrob, seriozul mTamsvlelebs Soris ufro metia saerTo da dadebiTi Tvisebebic. _ komerciul alpinizmTan dakavSirebiT gkiTxavT: moyvaruli mTamsvlelebi specialurad mowyobil infrastruqturas iyeneben da maT bargsac sxvebi atareben. es xom ar aZlevs samTo turistebs saSualebas, rom ufro metad gamoavlinon Wirveuli xasiaTi? Tqven rom ambobT, mTaSi garemo swrafad iZleva pasuxs sakuTari Tavis motyuebazeo, iqneb, maTi garemo ar iZleva am pasuxs? _ maT xSirad jer ar ician, rom garemo swraf pasuxs iZleva da ar ician, rom maTTvisve aris saziano Tavis motyueba. albaT, amitom cdiloben maqsimalurad, rom sakuTar mizans miaRwion, eSmakobiT iqneba, Tu sxva xerxebiT. SeiZleba, adamians arc mTa uyvardes, arc buneba da mTaSi wasvliT raRac konkretul mizans emsaxurebodes, Tundac, imas, rom ufro popularuli gaxdes. drosTan erTad, isinic swavloben. saerTod, mTavari is aris, Tu ra mizniT dadixar mTaSi. _ garemo Tu erTnairia TqvenTvis da maTTvis, maSin, garemos pasuxi imaze ver iqneba damokidebuli, vis ra mizani aqvs. _ Sens Tavs rom atyueb, ese igi, realurad araswor nabijs dgam da pasuxi garemos mxridan iqneba Sesabamisi. roca Sen es ukve ici, cdilob, naklebi Secdoma dauSva. namdvili mTamsvlelis motivacia mTis upirobo siyvarulia. sakuTar sicocxles deb sasworze, riskav imisTvis, rom mTaze axvide da iqidan materialuri araferi Camoitano. SeiZleba, piriqiT, janmrTeloba daiziano. me mainc mjera, rom TviTon gangeba, buneba Sens Sesabamis mogzaurobas gTavazobs. rogori guliTac xar Sen, daaxloebiT iseTsave da, albaT, kidev ukeTes gamocdilebas iReb. mjera, rom Tu WeSmaritad wrfeli guliT xar, rac ar unda moxdes, yovelTvis Sen mier gaRebulze bevrad metiT saCuqrdebi; iReb imas, rac SenTvis ukeTesia, ar aqvs mniSvneloba, gonebis sicxade iqneba, sixaruli, gasaWiri Tu, saerTodac, sikvdili.

SeiZleba, mwvervalze sxva adamianTan erTad idge, magram es wuTi SenTvis an misTvis ufro mSvenieri iyos, imitom, rom amaSi sul sxva Zalisxmeva Caido.

people in mountains are similar to each other only in some respects.

– For example, are they similar in terms of sincerity with themselves?

– I cannot say that everyone who walks in mountains has revealed this good feature. In addition to the positive factor of the mountains, readiness on the part of man is required for this step. Today mountaineering is in the era of commercialization. Around this kind of mountaineering attraction, you will often come across unhealthy, unacceptable behavior. I think there are more common and positive qualities among serious climbers as well.

– You are asking about commercial mountaineering: amateur mountaineers use specially arranged infrastructure and their luggage is carried by others. Doesn’t that allow mountain tourists to show more of their quirky character? If you say that the environment in mountains is quick to respond to self-deception, maybe their environment does not respond to that?

– They often do not know that the environment responds quickly and do not know that it is harmful for them to deceive themselves.

Perhaps that is why they try their best to achieve their goal, be it cunning or other means. It is possible for a person to love neither mountains nor nature, and going to the mountains serves some specific purpose, even to become more popular. Over time, they learn too. Generally, the main thing is the purpose you go to the mountains.

– If the environment is the same for you and them, then the response of the environment will not depend on who has what purpose.

– If you lie to yourself, that’s it, you are actually taking the wrong step and the response from the environment will be appropriate.

When you already know this, try to make fewer mistakes. The motivation of a true mountaineer is unconditional love of the mountains. You put your life at stake, risking to climb a mountain and bring nothing material from there. It can, on the contrary, damage your health. I still believe that self-awareness, nature offers you the appropriate journey. No matter how heartbroken you are, you get about the same and probably even better experience. I believe that if you are truly sincere in heart, no matter what happens, you will always be rewarded with much more than you have ever received; You get what is best for you, no matter if it is clarity of mind, joy, misery or, even death. You may be standing on the summit with another person, but this moment will be more wonderful for you or him, because you put a whole different effort into it.

– In a city, where the reaction of the environment may not be so fast, if you follow the game of personal development that the mountain has given you?

– It will follow you for some time. Or rather, for some time it follows you strongly and then, of course, to some extent, remains. The goal, however, is to maintain the same level at which the mountain is leveled in the city.

– In mountains, in an extreme situation, how important is it for a person to accurately understand the emotions of others and

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_ barSi, sadac garemos reaqcia SeiZleba aseTi swrafi ar iyos, Tu mogyvebaT pirovnuli ganviTarebis is Tamasa, rac mTam mogapovebinaT? _ raRac xani mogyveba. ufro sworad, raRac xani mogyveba Zlierad da mere, ra Tqma unda, garkveulwilad, rCeba. mizani mainc is aris, rom igive done, razec mTa gasworebs, qalaqSic SeinarCuno. _ mTaSi, eqstremalur situaciaSi, ramdenad mniSvnelovania, rom adamians zedmiwevniT zustad esmodes sxvisi da sakuTari emociebi? mTaSi emociur inteleqts Tu eniWeba ufro meti mniSvneloba, vidre qalaqSi? _ mTis garemo mravalferovanic aris da rTulic. bunebis gamovlineba da adamianebs Soris urTierTobebi faqizia. amave dros, Seni Tavi gaqvs tvirTad. SeiZleba metaforulad iTqvas, rom Seni jvari, romelic mTaze unda aitano, Seni sxeulia. am dros rTulia sxvebze dakvirveba, magram daswavladia da intuiciaSi gadadis. rodesac Sens mewyvilesTan erTad xar, iq sul sxvanairi

his own? Is emotional intelligence more important in mountains than in the city?

– The mountain environment is both diverse and difficult.

Manifestation of nature and relationships between people are refined. At the same time, you have a burden on your head. It can be metaphorically said that your cross, which you have to bear to the mountain, is your body. At this time, it is difficult to observe others, but it is instructive and turns to intuition. When you are with your partner, there is a completely different relationship – you understand each other wordlessly. You may not even talk for days, but you know everything – who is who, how things are going, what is the emotional background and attitude during this climb. When you work as a mountain guide, you have to have a different ability to perceive. You do not know a person, but you have to understand, as a responsible person, what is his strongest and weakest point...

– You are often asked about fear and you always answer that fear helps you make the right decision. The American rock climber, Alex Honold, who climbed a 900-meter cliff without

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urTierTobaa _ usityvod ugebT erTmaneTs. SeiZleba, dReebis ganmavlobaSi maincdamainc arc isaubroT, magram yvelafers xvdebode _ vin rogor aris, rogor midis saqme, ra emociuri foni da SemarTebaa am asvlis ganmavlobaSi. rodesac samTo gamyolad muSaob, iq aRqmis sxvanairi unari unda galeso. adamians ar icnob, magram unda mixvde, rogorc pasuxismgebeli piri, ra uWirs da ra ulxins... _ TqvenTvis xSirad ukiTxavT SiSis Sesaxeb da Tqvenc yovelTvis pasuxobT, rom SiSi gexmareba, swori gadawyvetileba miiRo. amerikel kldeze mcocavs, aleqs honolds, romelmac 900 metrian kldeze icoca dacvis gareSe, magnitur-rezonansuli tomografia gaukeTes imis gasarkvevad, mis tvinSi xom ar iyo rame iseTi, rac mas SiSis grZnobas ukargavda. mogvianebiT honoldma interviuSi Tqva _ rogorc Cans, mravalwliani varjiSiT, ubralod, mgrZnobeloba davkarge garkveul stimulebzeo. Tqven Tu SegimCneviaT, rom gamocdilebis matebasTan erTad, SiSis stimulebis mimarT mgrZnobeloba dagiqveiTdaT? _ SiSi sxvadasxvanairia da yvelas Cveneburad gvesmis.

SiSi aucilebelia, rom gadarCe. magram odnav zedmeti SiSi xels giSlis. es marTalia, rom nel-nela SiSze reaqcia icvleba. albaT, rac dro gadis, mec vicvlebi da gansxvavebulad vreagireb SiSze, vidre bevri sxva. _ SiSze reaqcia ra mimarTulebiT icvleba? _ SeiZleba, energiad gardaqmna da kidev ufro qmedunariani gaxde. umetes SemTxvevaSi, mTaSi SiSi imis gamo Cndeba, rom Tavs kargad ver grZnob. aris SiSi, roca obieqturi xifaTia. SeiZleba, Zalian kargadac xar, magram xedav, rom qvaTacvenaa, an raRac msgavsi. bolo eqspediciaSic, hindi kuSSi, bevri momenti iyo, roca safrTxes vgrZnobdi. am SemTxvevaSi, es dakavSirebuli iyo mravaldRian, mudmiv sirTuleebTan, romlebic amosunTqvis saSualebas ar gvaZlevda. alpinizmis erTerTi mTavari gamowveva es aris, rom SiSebTan gamklaveba iswavlo. aleqs honolds rac Seexeba, mas kidev sxvanairi simSvide aqvs. rom uyureb, amas aSkarad xedav. TiTqos, bunebrivadac aseTi tipaJia. _ misive axloblebi iRebdnen honoldis asvlas el kapitanze (900 metrian kedelze). cxadia, isini dacviT mihyvebodnen. maT akrZaluli hqondaT daceminebac ki, rom honoldis koncentracia ar daerRviaT. rogorc Cans, koncentracia gadamwyvetia. es, albaT, mTamsvlelisTvisac metad mniSvnelovania. _ diax, asea. Zalian kargad momzadebuli unda iyo imisTvis, rom koncentrirde im saqmeze, rasac akeTeb da SiSze da sxva sagnebze aRar ifiqro. _ am unaris gamomuSaveba SesaZlebelia? _ diax, iwyeb varjiSiT iol, naklebad xifaTian pirobebSi. am varjiSis dros aviTareb koncentraciis unars, yvela sxva danarCen TvisebasTan da fizikur komponentTan erTad. nel-nela garemo rTuldeba da es

protection, underwent a magnetic resonance imaging (MRI) scan to find out if there was anything in his brain that made him lose his sense of fear. Honold later said in the interview – it seems that after many years of training, I just lost my sensitivity to certain stimuli. Have you ever noticed that as you gain experience, your sensitivity to fear stimuli decreases?

– Fear is different and we all understand it in our own way. Fear is essential to survival. But a little extra fear will get in the way. It is true that the reaction to fear is slowly changing. Perhaps as time goes on, I also change and react differently to fear than many others.

– In what direction does the reaction to fear change?

– You can transform it into energy and become even more capable.

In most cases, the fear in the mountains arises because you do not feel well. There is fear when there is objective danger. You may be very good, but you can see that rocks are falling, or something like that. Even on the last expedition, in Hindi Kushi, there were many moments when I felt danger. In this case, it was related to many days, constant difficulties that did not allow us to breathe. One of the major challenges of mountaineering is to learn to deal with fears. As for Alex Honold, he still has a different kind of calm. If you look, you can see it clearly. As if he is naturally such a type.

– His relatives were taking Honold to climb El Capitan (900-meter wall). Clearly, they were followed by the guards.

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procesi wlebis ganmavlobaSi grZeldeba. imitomac aris mTamsvleloba rTuli da bevrisTvis miuRweveli, rom amaSi daxelovnebas mravalwliani praqtika sWirdeba. _ mTaSi ramdenad xSirad yofilxarT situaciaSi, roca giTqvamT: „es aris wesebi, romlebic viswavle, magram romlebic davarRvie“? _ bavSvi Tavisi usafrTxoebisTvis bevr rames swavlobs mSoblebisgan. rodesac gaizrdeba, unda gadaxedos yvelafers, rac iqamde uswavlia. asea mTamsvlelobaSic. Tavidan yvela wesi unda daicva, magram mere unda gadaxedo am wesebs. aris wesebi, romlebic, raRac momentSi, Zalas kargavs, an, piriqiT, vnebs usafrTxoebas. _ magaliTad? _ magaliTad, cudi amindis prognozi gaqvs, magram intuicia geubneba, rom es prognozi SeiZleba ar gamarTldes. wesiT, unda daeSva marSrutidan. magram gzas agrZeleb. es SeiZleba usafrTxoebis wesis darRveva iyos, magram, meore mxriv, msgavsi ambebiT savsea mTamsvleloba. msoflios urTulesi asvlebis naxevaric ar dagvirgvindeboda warmatebiT, adamianis mier Seqmnili wesebi rom daicva. _ rodis dgeba momenti, roca mravalkviriani mzadebis Semdeg, wyvetT, rom mwvervalze ausvlelad unda motrialdeT ukan? roca fiqrobT, rom, bolos da bolos, mwvervalze asvla savaldebulo ar aris, miwaze dabrunebaa savaldebulo? swored ase moxda wels gazafxulze, roca makaluze (himalai) ver axvediT da mwvervalidan 600 metrSi ukan mobrundiT. _ zogjer aseTi gadawyvetileba nel-nela modis. zogjer, SeiZleba, erTi weli emzadebode asvlisTvis, ukve mwvervalTan iyo da ramdenime wuTSi SenTvis cxadi

They were forbidden to even fall so as not to disturb Honold’s concentration. Concentration seems to be crucial. This is probably even more important for the climber.

– Yes, so it is. You need to be very prepared to concentrate on what you are doing and stop thinking about fear and other things.

– Is it possible to develop this skill?

– Yes, you start training in easier, less dangerous conditions. During this exercise you develop the ability to concentrate, along with all the other features and physical components. The environment is slowly becoming more complex and this process has been going on for years. Because mountaineering is difficult and unattainable for many, it takes many years of practice to master it.

– How often have you been in the mountains when you said, “These are rules I have learned but which I have broken”?

– A child learns a lot from his parents for his safety. When he grows up, he should review everything he has learned so far. The same is true in mountaineering. First you have to follow all the rules, but then you have to revise these rules. There are rules that, at some point, lose force, or, conversely, hurt security.

– for example?

– For example, you have a bad weather forecast, but intuition tells you that this forecast may not be justified. As a rule, should be landed on the route. But you keep going. It may be a breach of safety, but on the other hand, mountaineering is full of similar stories. Even half of the world’s most difficult climbs would not have been crowned with success if they had followed man-made rules.

– When does the moment come when, after many weeks of preparation, you decide that you have to turn back without leaving the peak? When you think that, after all, climbing a peak is not mandatory, is returning to the ground mandatory? This is exactly

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gaxdes, rom morCa, unda daeSva! sakmaod rTulad misaRebi gadawyvetilebaa. zogjer ufro rTulia mobruneba, vidre gzis gagrZeleba, magram giwevs. _ mxolod amindidan gamomdinare iRebT aseT gadawyvetilebas? _ erTi an bevri faqtori SeiZleba iyos. makaluze 7800 metridan movbrundiT. axlos viyaviT mwvervalTan, ramdenime saaTis savali gvqonda darCenili, magram vxedavdiT, rom mwvervalze Zalian Zlieri qari iyo.

Tanac, gza ar Canda da am gzaze pirvelad viyaviT. aris faqtorebi, romlebic an aZlierebs, an abaTilebs riskebs. kidev iyo sxva mizezebi, ufro meorexarisxovani. Tundac, is, rom mwvervalis gzaze sxva aRaravin darCa, yvela mobrunda im dRes, Cven garda. imis Sansic ar arsebobda, rom vinme wamogveweoda damxmare JangbadiT da gzas gviCvenebda. mTavari mizezi ki iq mainc amindi iyo. _ Tqven TviTon giTqvamT: „bevri trialdeba. magram imisTvis, rom es riski gawie, saCuqars iReb mwvervalisgan.

what happened in the spring of this year, when we could not reach Makalu (Himalayas) and turned back 600 meters from the peak.

– Sometimes such a decision comes slowly. Sometimes, you may have been preparing for a climb for a year, you were already at the top and in a few minutes it would become clear to you that Morcha had to land! It is quite a difficult decision to make. Sometimes it is harder to turn than to continue on the road, but you have to.

– Do you make such a decision only due to the weather?

– There may be one or many factors. We returned to Makalu from 7800 meters. We were close to the peak, we had a few hours left, but we could see that there was a very strong wind on the peak. Besides, the road was not visible and we were on this road for the first time.

There are factors that either reinforce or nullify the risks. There were other reasons, more secondary. Even so, owning one is still beyond the reach of the average person. There was also no chance that anyone would reach us with auxiliary oxygen and show us the way.

The main reason was the weather there anyway.

– You yourself said: “A lot is going on. But in order to take that risk,

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bednieri xar.“ zogjer xom swevT risks da mainc win midixarT? ra gkarnaxobT am dros? _ mTaSi Zalian bevri ram aris damokidebuli gamarTlebaze. ubralod, unda gimarTlebdes. es Senc SeiZleba, moiyvano, gazardo Sansi, rom gagimarTlos, anu swor dros, swor adgilas karg kondiciaSi da SemarTebiT iyo. iRbali SeiZleba Seni awmyos, warsulis da CvenTvis gaugebari samyaros meqanizmis erTobliobasTan iyos gadajaWvuli. mniSvnelovania gumani, rom mixvde _ sarisko situaciaa, Tu gamocda. SesaZloa, es iyos niSani, rom unda gaCerde, an winaRoba, romlis gadalaxviTac Sen kidev erTxel amtkiceb Seni miznisadmi Tavdadebas. amis gansxvaveba unda iswavlo. me ver vityvi, rom am codnas vflob, magram isic faqtia, rom gumani xSirad mimarTlebs. _ sarisko momentebi xom sul iqneba mTaSi? win rodis midixarT? _ umaRlesi kategoriis asvlebi rac aris, magaliTad, Zalian did simaRleebze an xangrZliv vertikalebze, ra Tqma unda, sirTule mTavari maxasiaTebelia. bevrjer gadawyvetileba swrafad unda miiRo. fizikuri sirTuleebis miRma yvelaze mniSvnelovani fsiqologiuri faqtoria, Sinagani mdgomareoba. amazea damokidebuli, mwvervalze axval, Tu ver axval; cocxali Camoxval, ver Camoxval, Tu saerTod ras naxav da igrZnob gzad. _ Tqven gqondaT SemTxveva, roca kavkasionze, CaTinis mTaze, 42 saaTi, faqtobrivad, gauCereblad gadiodiT kldes. aseT dros, albaT, Zalian mniSvnelovania amtanobac (rac fizikuri kondiciaa) da moTminebac (rac fsiqikuri kondiciaa). msmenia, rom mTaSi adamianebi gadaRlilobiT iRupebian. aseT dros, fizikuri momzadeba ufro metad exmareba adamians, rom gadarCes, Tu fsiqologiuri? _ CaTinze imas vityvi, rom daaxloebiT erTi kvira gavdiodiT mag kedels. zamTriswina pirobebSi, Zalian basri iyo garemo. es periodi, roca 42 saaTi viyaviT kedelze gamokidebuli, ra Tqma unda, fizikur sirTules Seicavda. magram, principSi, fizikurad mzad viyaviT. aseT dros, erT-erTi mTavari riski gadaRlisgan daSvebuli Secdomebia. ra Tqma unda, bevrad Senelebuli xar, magram iq mTavari iyo, ar momwydariyavi, an iseTi Secdoma ar dageSva, rasac SeiZleboda, safrTxe Seeqmna gundisTvis. moTminebas rac Seexeba, es erTi komponentTagania. am SemTxvevaSi, gamosavali isaa, rom gaaanalizo mouTmenlobis uazroba _ moTmineba romc dakargo, sad waxval?! _ albaT, Zneli saTqmelia, aseT dros, gadarCenisTvis ra ufro mniSvnelovania. _ albaT, mTavari mainc uxilavi Zalis mfarveloba da, Seni mxriv, fsiqologiuri da fizikuri wonasworobaa, an amis mudmivi mcdeloba. _ `mTamsvlels uyvars, roca sxva iRebs iniciativas.“ _ es biZina gujabiZis sityvebia. albaT, ufro didi eqspediciebi igulisxmeba, magram roca mTaSi orni an samni xarT, es wesi

you get a gift from the peak. You are happy. ”Do you sometimes take risks and still move forward? What is your intuition at this time?

– A lot in the mountains depends on luck. You just have to be lucky.

It can also bring you, increase your chances of being lucky, that is, at the right time, in the right place in good condition and motivation.

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iqac moqmedebs? _ kacia da guneba. _ erTxel hyvebodiT, rom kldidan mowydiT. maSin Tqva giorgim (tefnaZem), axla me waval wino da mec winaaRmdegoba aRar gavuwieo. _ eg uSbaze, axal gzaze iyo 2020 wels. ZiriTadad, giorgi da me, orni davdivarT xolme. uSbaze ase gvqonda gadanawilebuli _ erT dRes erTi adamiani midis win, meore dRes _ meore. im dRes me momiwia mTel dRes Tokis win gatana. ukve saRamo iyo, Zalian rTul monakveTs gavdiodiT. klde momityda, movwydi. ukve daRlilic viyavi da, Tumca, am mowyvetam gamaxalisa da gamomafxizla, mainc, CvenTvisve jobda, rom win giorgi wasuliyo. _ mowyvetis pirveli gamocdileba iyo TqvenTvis? _ diax, Cemi pirveli mowyveta iyo mTaSi. jerjerobiT, boloc (icinis). sxvaTa Soris, dRevandel alpinizmSi mTaSi mowyveta ukve aRar iTvleba katastrofad _ rodesac profesiul doneze xar mzad da Sesabamisi dacvis organizebac ici. adre iTvleboda, rom mTaSi araviTar SemTxvevaSi ar unda momwydariyavi. _ imitom, rom dacva ar iyo saimedo? _ sxva tipis dacva iyo, arc Toki iyo dinamikuri... axla Tokebi specialurad mzaddeba, rom mowyvetisas didi dartyma ar miiRo. usafrTxoeba gazrdilia da dacvis saSualebebic bevrad daxvewilia. _ imis gamo, rom mTamsvleli teqnikurad ufro daculia, msxverpli mTaSi axla mkveTrad naklebia, vidre adre iyo? _ msxverpli mTaSi raodenobrivad gazrdilia, magram imis gamo, rom adamianebis raodenobam gacilebiT imata. usafrTxoeba, ra Tqma unda, gaumjobesebulia. aRWurviloba ufro msubuqia. dasavleTis mTebSi aRwerilobebi da kondiciis dinamikuri kontroli, aseve, ganaxlebadi rekomendaciebia danergili. amindis prognozic erT-erTi mniSvnelovani faqtoria. adre prognozi ar icodnen. xedavdnen, rom kargi amindia, mTvareze `saTli daekideba~ _ axali mTvaris kviras kargi amindebi iyoo, ityodnen... wavidodnen da mere, sadRac zemoT, amindi fuWdeboda, an `kargad eWira~. _ msxverpli naklebad gamocdili adamianebis xarjzea gazrdili? _ diax, ufro gamoucdelebis. imis miuxedavad, rom aTasnairi dacva aqvT, mainc zedmetad riskaven? _ diax, magaliTad, aris midgoma, romelic CvenTan ase JRers _ uh, myinvarwverze asvlas ra unda?! SortebiTac minaxavs iq adamiani. erTi patara raRac rom Seicvalos, damTavrda Seni advili da iwyeba eqstremi. kidev kargi, Cveni mTebi sakmaod mowyaleni arian. zogadad, ambicia izrdeba, adamians Tavdajerebuloba eZleva imis gamo, rom SeuZlia, mTa satelituri fotoebiT Seiswavlos, uyuros

Luck can be intertwined with a combination of your present, past and the mechanism of the world we do not understand. intuition is important to understand – it is a risky situation or the test. Maybe it’s a sign that you have to stop, or an obstacle by which you once again assert your commitment to your goal. You have to learn the difference. I cannot say that I possess this knowledge, but it is also a fact that my intuition often comes true.

– Will there always be risky moments in the mountains? When are you going forward?

– Climbing the highest category which is, for example, at very high altitudes or long verticals, of course, difficulty is the main feature.

Many times, the decision had to be made quickly. The most important psychological factor behind physical difficulties is the internal state. It depends on whether you climb the peak or not; You will come alive, you will not come, what you will see and feel on the way.

– You had a case when on the Caucasus, on Chatin Mountain, for 42 hours, you actually walked non-stop on a rock. At such times, both endurance (which is a physical condition) and patience (which is a mental condition) are probably very important. I have heard that people in the mountains die of exhaustion. At such times, does physical training help a person to survive more than psychological training?

– I will say on Chatin mountain that we went through the wall for about a week. In pre-winter conditions, the environment was very harsh. This period, when we hung on the wall for 42 hours, certainly involved physical difficulty. But, in principle, we were physically ready. At such times, one of the main risks is fatigue from mistakes. Of course, you are much slower, but the main thing there was not to get bored, or make a mistake that could have endangered the team. As for patience, it is one of the components. In this case, the solution is to analyze the futility of impatience – even if you lose patience, where will you go?!

– Probably, it is difficult to say, at such a time, what is more important for survival.

– Perhaps the main thing is to protect the invisible force and, in your turn, the psychological and physical balance, or a constant attempt to do so.

“A mountaineer loves when someone else takes the initiative.”

– These are the words of Bidzina Gujabidze. He meant larger expeditions are probably, but when you are two or three in the mountains, does this rule apply there as well?

– Depends on a man and his temperament.

– Once you said that you jumped off a cliff. Then Giorgi (Tepnadze) said, that he would go ahead and you did not resist.

– Yes, it was on Ushba, on a new road in 2020. Normally, Giorgi and I, the two of us, go to mountains. This is how we were in Ushba – one day one person goes forward, the next day – another. That day I had to pull the rope all day. It was already evening; we were going through a very difficult section. The rock hit me, I stopped. I was already tired and, although this disconnection refreshed me and woke me up, it was still better for us to get Giorgi ahead.

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videos, waikiTxos bevri masze da Tqvas: sxvas Tu SeuZlia, mec SevZleb! aseve, calke problemad iTvleba mediisa da sponsorebis wnexi, rom raRac araadamianuri gaakeTo. es ufro profesionalebs exebaT. bolo dros daiwyo amis cxare garCeva. iyo SemTxvevebi, rodesac yvelaze gamorCeuli mTamsvlelebi daiRupnen imis gamo, rom maTgan sul ufro mets moelodnen _ aba, Semdegi ra iqneba?! aba, ufro magari ra iqneba?! _ Tqven erTxel „swori sponsoroba~ axseneT. es, albaT, imas niSnavda, rom sponsoris mimarT madliereba ar unda aiZulebdes mTamsvlels, rom sasicocxlo riskebze wavides. _ ra Tqma unda. _ Tqveni da giorgi tefnaZis wyvilze unda visaubroT. rodesac mTaSi ori adamiani dadis, cxadia, isini bolomde endobian erTmaneTs. isic ki TqviT, orives unda hqondes stoicizmis elementebio, anu eTikuri filosofia SemoitaneT Tqvens urTierTobaSi. im dros, roca mTaSi ar xarT, ramdenad xSirad gaqvT erTmaneTis naxvis, TbilisSi megobrobis survili? _ grZeli eqspediciebis Semdeg, ramdenime dRe visvenebT xolme erTmaneTisgan. arcerTi ar varT martivi, fumfula xasiaTis adamiani. ra Tqma unda, yvelgan vmegobrobT, gvixaria erTmaneTis naxva. is mWidro urTierToba, rac gvaqvs, mTaSi iqneba Tu mTis gareT, ar icvleba. _ naTqvami gaqvT: „urTierTobebis qarcecxlSi gamogvivlia giorgis da me. am procesis monawiled yofna Zalian sainteresoa.“ riT aris saintereso? _ araerTgvarovani, mravalferovani urTierTobaa _ iseTic da aseTic. _ ufro saintereso xom ar iqneboda, rom es urTierToba erTgvarovani yofiliyo, raki Tqveni sicocxle TokiT aris gadabmuli? _ es Semadgeneli nawilia. amis gareSe ver warmomidgenia. _ anu kamaTis da azrTa sxvadasxvaobis gareSe? _ diax, mag dros bevri ram ikveTeba. SeiZleba, Sen gjerodes raRacis, magram kamaTis Semdeg dafiqrde, Sesabamisad, sxva kuTxiTac dainaxo. rac dro gadis, Cvenc vviTardebiT, kamaTi ufro imazea mimarTuli, rom Sedegi gamoiRos. _ roca or adamians sxvadasxva azri aqvs, yovelTvis Znelia gadawyvetilebis miReba. principul Temebze kamaTis dros, visi sityvaa „gamWreli“? _ sabednierod, siRrmiseul, principul Temebze sakamaTo araferi gvaqvs. erT azrze varT da amitomac davdivarT erTad mTaSi. sxvadasxva azris SemTxvevaSi, gadawyvetilebis miReba zogjer cota rTulia, magram raRacnairad vjerdebiT. magaliTad, erT adamians Tu mwvervalisken unda wasvla da meore ver grZnobs Tavs kargad, an ar unda mwvervalisken wasvla, am SemTxvevaSi, martivia. gundis gadawyvetileba im adamianisken aris, romelic fiqrobs, rom am adgilas cud dros varT. gundebi, zogadad, yvelaze

– Was it your first experience of breaking up?

– Yes, my first break was in the mountains. So far, so good (laughs). By the way, in today’s mountaineering, hiking in the mountains is no longer considered a disaster – when you are ready at a professional level and know how to organize the appropriate protection. It used to be thought that you should not get lost in the mountains under any circumstances.

– Because the backup was not reliable?

– There was another type of protection, the rope was not dynamic either ... Now the ropes are specially made so that they do not get a big blow when cut. Security has been increased and the means of protection are also much more developed.

– Because the climber is more technically protected, the casualties in the mountains are now dramatically less than they were before?

– The number of victims in the mountains has increased in number, but due to the fact that the number of people in mountainshas increased much. Security, of course, has been improved. The equipment is lighter.

In the Western Mountains descriptions and dynamic condition control, as well as updated recommendations are introduced. Weather forecast is also one of the important factors. They did not know the forecast before.

They saw that the weather was good, that a “shovel could hang” on the moon – there was a saying that there was a good weather on the week of the new moon ... they would go and then, somewhere up, the weather would be bad, or “it would hold long”.

– Has the number of victims been raised at the expense of less experienced people?

– Yes, rather more inexperienced.

Even though they have thousands of protections, are they still taking too many risks?

– Yes, for example, there is an approach that sounds like this to us – uh, what does it take to climb a Mkinvartsveri ?! I have also seen people in shorts there. One little thing that changes, ends your easy and starts extreme. Thanks goodness our mountains are quite merciful. In general, ambition grows, a person is given self-confidence because he can explore the mountain with satellite photos, watch a video, read a lot about it and say: If anyone else can, I can too! Also, the pressure of the media and sponsors to do something inhuman is considered a separate challenge. This applies more to professionals. Recently, a heated debate has begun. There have been cases where the most outstanding climbers have died because more and more was expected of them – so what will happen next ?! Well, what could be cooler?!

– You once mentioned “correct sponsorship”. This probably meant that gratitude to the sponsor should not force a climber to take vital risks.

– of course.

– We should talk about the pair of you and Giorgi Tepnadze. When two people walk in the mountains, obviously, they trust each other to the end. You even said that both of them should have elements of stoicism, that is, you should introduce an ethical philosophy in your relationship. When you are not in the mountains, how often do you want to see each other and make friends in Tbilisi?

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sust wevrze iReben sworebas da gundis im wevrzec, romelic gadawyvetiT ambobs, rom ara, unda movbrundeT. _ zogjer samni dadixarT. samidan erTic ki rom ase fiqrobdes, ulaparakod ukan brundebiT? _ diax. Cven SemTxvevaSi ara, Tumca, zogjer xdeba, rom cru gangaSia da unda aiwon-daiwonos situacia. adamiani Tavs ver grZnobs kargad, magram SeiZleba gamoswordes es mdgomareoba: daisveno, wyali dalio, saWmeli SeWamo, Tu tkivilia, imas mixedo. da gza isev ganagrZo. es ufro gamoucdelebTan erTad an komerciuli asvlebis dros xdeba, roca adamians Tavisi SesaZleblobebis gansazRvra uWirs. magram rodesac xedav, rom adamiani mwvervalze amsvlelia, mas sxvadasxvanairad unda daudge gverdSi. _ Tqven ambobdiT, rom Tanamedrove evropuli alpinizmi msubuqi da swrafia; sabWoTa alpinizmi ki ufro statikuri iyo, bevri adamianis CarTulobiT. Cven raRac saSualos povnas vcdilobTo. Tu arsebobs da rogoria Tanamedrove qarTuli alpinizmis stili?

– After the long expeditions, we take a few days off from each other. None of us are simple, fluffy people. Of course, we are friends everywhere, we are glad to see each other. The close relationship we have, whether in the mountains or outside the mountain, does not change.

– You have said: “Giorgi and I have been exposed in the fire of relations. It is very interesting to be a participant in this process. ”What is interesting?

– There is a heterogeneous, diverse relationship – that kind of and this kind of.

– Wouldn’t it be more interesting if this relationship was homogeneous, since your life is tied with a rope?

– It is an integral part. I can not imagine without it.

– Or without arguing and differences of opinion?

– Yes, many things are revealed at that time. You may believe in something, but after arguing, think about it, therefore, see it from another angle. As time goes on, we also develop, the argument is more focused on getting results.

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_ es aris is stili, romliTac Cven davdivarT (icinis).

Cven ar gvaqvs sworeba sabWoTa alpinizmze an evropulze. ra Tqma unda, Cveni winamorbedebi qarTvelebi iyvnen, am kulturas vagrZelebT, anu estafeta, romelic aleqsandre jafariZem daiwyo, gamoxda xani da axla Cven gadmovibareT. iyvnen mixeil xergiani, irakli geldiaSvili, aris biZina gujabiZe... magram qarTvelebi arasdros ar dadiodnen im stiliT did mTebSi, ra stiliTac Cven davdivarT. _ ra aris gansxvaveba? Tqven kedelze gasvla axseneT mag konteqstSi. Tan evropelebis msubuq da swraf stilze rom laparakobdiT, kiTxva gamiCnda: specifikur adgilebSi xom ar dadian? yvelgan swrafad xom ver gaxval? _ evropuli alpinizmi mivida iqamde, rom unda SearCio gza, romliTac swrafad axval mwvervalze. es aris, ZiriTadad, yinuli, `miqsTi~ da Tovli. aseT reliefze gadaadgileba bevrad advilia, vidre kldeze, radgan yinuli met-naklebad erTgvarovania. aris `miqsTi~,

– When two people have different opinions, it is always difficult to make a decision. When arguing over principled topics, whose word is “sharp”?

– Fortunately, we have nothing controversial on in-depth, big topics.

We are of the same opinion and that is why we go to the mountains together. In case of different opinion, making a decision is sometimes a bit difficult, but somehow we compromise. For example, if one person has to go to the peak and the other does not feel well, or does not want to go to the peak, in this case, it is easy. The decision of the team is towards the person who thinks we are in a bad time in this place. Teams generally get the correction for the weakest member, and even for the team member who resolutely says no, we have to go back.

– Sometimes you go three. If even one in three thinks so, do you go back without speaking?

– Yes. In our case not, however, sometimes it happens that there is a false alarm and the situation has to be weighed. People do not feel well, but this condition can be improved: relax, drink water, eat food, if it hurts, take care of it. And keep on going again. This happens

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rodesac klde da yinuli erTmaneTs ereva, am SemTxvevaSi, specialuri (werayinis magvari) instrumentebiT cocav. mandac, Sesabamisad, SedarebiT advilia gadaadgileba, vidre SiSvel, civ kldeze, sadac verc xels mohkideb rames da verc sacoc fexsacmels Caicvam, Tundac, mxolod sicivis gamo. Cven kedlebs ar vufrTxiT da arc mTaze drois gatarebas imitom, rom gviyvars mTa, iq Tavs kargad vgrZnobT. _ sabWoTa stilis statikuroba ras niSnavs? _ iciT, rogor xdeba? erT adamians gaaqvs Toki, amuSavebs monakveTebs, Semdeg kidebs Toks, eSveba ukan. gundis wevrebs karavi dadgmuli aqvT, sakvebi momzadebuli, sasmelad Tovli gamdnaria. mere SeiZleba sulac sxvam gaagrZelos Tokis zemoT gadakideba, Semdeg isev daSveba, isev ukan da ase midixar mwvervalamde. Cven vcdilobT (Tu ar CavTvliT rvaaTasian mwvervalebs, sadac aklimatizaciis wesi etapobriv asvlas moiTxovs), rom ukan ar daveSvaT, mxolod win viaroT. amis gamo, ra Tqma unda, Zalian bevr diskomforts ganvicdiT. Tundac, imis gamo, rom SeiZleba, sakarve adgili ver moZebno da mogiwios Ria cis qveS mjdomare RamisTeva. anu Seni diskomfortis da teqnikuri momzadebis xarjze,

more with the inexperienced or commercial climbs when a person has difficulty defining his capabilities. But when you see a person climbing a peak, you have to stand beside him in different ways.

– You said that modern European mountaineering is light and fast; Soviet mountaineering was even more static, involving many people. We were trying to find some means. If so, what is the style of modern Georgian mountaineering?

– This is the style we go for (laughs). We have no comparison to Soviet or European mountaineering. Of course, our predecessors were Georgians, we continue this culture, that is, the relay, which was started by Aleksandre Japaridze, was distorted for a long time and now we have taken over. There were Mikheil Khergiani, Irakli Geldiashvili, Bidzina Gujabidze ... but Georgians never walked in the big mountains in the style we walk.

– What is the difference? You mentioned going to the wall in that context. While talking about the light and fast style of Europeans, the question arose: do they go to specific places?

Can’t you go everywhere fast?

– European mountaineering has got to the point where you have to choose a path by which you can quickly climb the peak.

These are mostly ice, mix and snow. It is much easier to move on such terrain than on rock because the ice is more or less uniform.

There is a mix when rock and ice interfere with each other, in this case, climbing with special (ice-like) tools. It is therefore relatively easy to move around than on a bare, cold rock, where you cannot touch anything or put on any shoes, even if only because of the cold. We do not care about the walls nor spend time on the mountain because we love the mountain, we feel good there.

– What does Soviet-style stativity mean?

– Do you know how it happens? One person pulls the rope, handles the sections, then hangs the rope, runs backwards. The team members have set up a tent, food is prepared, snow is melted for drinking. Then you might as well continue to hang on to the rope, then descend again, back again, and so on until you reach the top. We try (if we do not take into account the eight thousand peaks where the rule of acclimatization requires a gradual ascent) that we do not go back, we just go forward. Because of this, of course, we experience a lot of discomfort. Even so, owning one is still beyond the reach of the average person. That is, at the expense of your discomfort and technical training, you move forward, the sooner you overcome the difficulties. The risks may be higher, but other types of risks are more controllable. Our style – our way, we decided to find a balance between European and inherited style. This involves passing difficult routes with small staff and small resources. Formerly the responsibility, burden and labor of five or eight people, here is divided into two or three people. European and American climbers do not carry heavy bags for long and often determine their ascents based on this factor. Of course, we do not like heavy bags either, but it has the last word.

European climbers may have viewed our mountaineering as if they had already gone through it. But it is not so simple. Our routes are

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sul win miiwev, ufro male laxav sirTuleebs. SeiZleba, riski meti iyos, magram, samagierod, sxva saxis riskebi met kontrols eqvemdebareba. Cveni stili _ Cveni gzaa, balansis moZebna gadavwyviteT evropul da memkvidreobiT miRebul stils Soris. es gulisxmobs rTuli marSrutebis gavlas mcire SemadgenlobiT da mcire resursebiT. adre xuTi-rva adamianis pasuxismgebloba, tvirTi da Sroma, aq or-sam adamianzea gadanawilebuli. evropeli da amerikeli alpinistebi didxans ver guoben mZime CanTebs da xSirad TavianT asvlebs am faqtorze dayrdnobiT gansazRvraven. ra Tqma unda, mZime CanTa arc Cven gviyvars, magram bolo sityvis ufleba mas CamorTmeuli aqvs. evropeli mTamsvlelebi Cvens alpinizms SeiZleba ise uyurebdnen, rom maT es ukve gavlili aqvT. magram mTlad ase martivadac ar aris saqme. Cveni marSrutebi ufro rTulia, swrafad ver gaivli. sxvanairad dasafasebelia did kavkasionze asvlebi. aq samaSvelo vertmfrenis, aRwerilobebis da mTaze kvalis imedad ar dadixar. _ Tqven, ZiriTadad, gauvleli mTebi gizidavT. erTxel TqviT, es prestiJuliao. gauvlel marSrutebze siaruli msoflio tendenciaa, Tu Tqveni erTgvari amoCemebaa? _ aseTi mTebi bavSvobidanve mizidavda, rodesac arc vicodi, ra iyo sxvadasxva stilis alpinizmi. mTebs vnaxulobdi, romeli mTac momwonda, masze Cems xazebs vavlebdi da vfiqrobdi, rodesac namdvili mTamsvleli gavxdebi, am gzebs gavivli-meTqi. realurad, es aris mTavari gamowveva mTamsvlelobaSi, rom uval gzaze iaro. es yvelaze rTuli alpinizmia. Cvenc vcdilobT, yvelaze rTuli asvlebi ganvaxorcieloT. rac mTavaria, Cvens guls da gonebas eZaxian ucnobi horizontebi, ufro sworad, vertikalebi. _ msoflioSi yvelaze prestiJul jildoze _ „oqros werayinze“ _ samjer iyaviT wardgenili da ramdenime dRis win, 2020 wlis uSbaze asvlisTvis, ukve meoTxed wargadgines. es niSnavs, rom Tqveni Zalisxmeva ucxoeTSic Zalian dafasebulia? _ diax, dafasebulia da, albaT, ufro metadac. _ aseTi ram Tu xdeba: zustad iciT, rom esa Tu is mTa TqvenTvis sainteresoa, Tumca, isic zustad iciT, rom jer am mTisTvis mzad ar xarT? _ Cvens limits miRma _ aseTi gzebi aris. saubaria maRal mTebze, sadac umaRles teqnikur sirTules iseTi simaRle emateba, rom Zalian mcire Sansi aqvs nebismier mTamsvlels. _ arsebobs programa, rogor unda moemzadoT urTulesi, jer dauZleveli marSrutebis gadasalaxad? _ Tu romelime konkretul marSrutze wasvla gadawyvite, mere Sesabamis momzadebas iwyeb. es SeiZleba marto varjiSi ar iyos, es SeiZleba iyos asvlebi. aseve, isic aris, rom raRac Zalian rTul mTaze rom midixar, SegrZneba gaqvs, rom mTeli Seni, vTqvaT, es alpinisturi

more difficult, you cannot pass fast. Climbing the Greater Caucasus is appreciated differently. You will not go here hoping for a rescue helicopter, descriptions and mountain tracks.

– You are mainly attracted by unpathed mountains. You said it once, it’s prestigious. Is it a world trend to walk on unpathed routes, or is it your kind of pick?

– Such mountains have attracted me since childhood, when I did not even know what different styles of mountaineering were.

I was looking at the mountains, whichever mountain I liked, I was drawing my lines on it and I thought, when I become a real mountaineer, I will cross these roads. In fact, this is a real calling in mountaineering, it consumes time and resources but returns no sales. This is the most difficult mountaineering. We also try to make the most difficult ascents. Most importantly, our hearts and minds are called by unknown horizons, or rather, verticals.

– You have been nominated three times for the most prestigious award in the world – “Golden Ice Axes” – and a few days ago, you were nominated for the 4th time for 2020 Ushba ascent. Does this mean that your efforts are highly valued abroad as well?

– Yes, our efforts are valued and probably even more so.

– If such a thing happens: Do you know for sure that this or that mountain is interesting for you, however, do you also

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kariera SeiZleba CaiTvalos am konkretuli asvlisTvis momzadebad. _ magram aseTi gancda, SeiZleba, usasrulod hqondes adamians. _ diax. eg aris saintereso, rom SeiZleba gamoucdelis TvaliT bevrad ufro erTferovani Candes: mwvervalze adixar _ Camodixar... imdenad mravalferovania, imdenad ulevi kombinaciaa da iseTi sirTuleebia, romlebsac, ici, rom verasdros amowurav, yvelafers ver daZlev an gamocdi. _ zogadad, adamianze ambobT? Tu TqvenTvis aris dauZleveli? _ ufro, SenTvis aris. mova sxva Taoba, romelic imdenad momzadebuli iqneba, rom metsac moaxerxebs. Sen ici, rom amisTvis mzad ar xar. da es momzadebis da siaxlis procesi ar mTavrdeba. Tu goneba sworad muSaobs, iqamde ar unda mixvide, rom TavSi agivardes. mTa swored imas gaswavlis, rom fizikurad raRac patara, sakmaod mowyvladi wertili xar. _ zamTris asvla rom gqondaT Sxaraze, maSin TqviT, kavkasionis bolo gamowveva daZleuliao. es emociuri

know for sure that you are not ready for this mountain yet?

– Beyond our limit – there are such ways. We are talking about high mountains, where the highest technical difficulty is added to such a height that any climber has a very small chance.

– Is there a program, how to prepare for the most difficult, yet insurmountable routes?

– If you decide to go on a specific route, then you start the appropriate training. It may not be training alone, it may be climbing.

Also, the fact that you are climbing some very difficult mountain, you feel that your whole climbing career can be considered as preparing for this particular climb.

– But such a feeling, a person can have endlessly.

– Yes. It’s interesting that it can seem much more monotonous to the inexperienced: you go to the top – you come down ... it’s so diverse, it’s such a combination and there are difficulties that you know you can never exhaust, you cannot overcome or test everything.

– Are you saying this about a person in general? or it is irresistible to you?

– Yes, rather irresistible to you. There will come another generation that will be so prepared that they will be able to do more. You know

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naTqvami iyo, Tu gaazrebulad TqviT? _ Semoklebuli naTqvamia. albaT, marTebuli iqneba, ase vTqva _ kavkasionze zamTris erT-erTi ukanaskneli da udidesi gamowveva daZleulia. es iyo klasikuri gamowveva, romlis Sesaxeb yvelam icoda, visac ki zamTris kavkasioni ainteresebs _ rom Sxaris samxreT kedeli zamTarSi gauvleli iyo. mcdelobebi, faqtobrivad, ZirSive mTavrdeboda. mec mqonda es gancda Tavidan, ZirSi rom mivediT _ sad mivdivarT?! _ mTaSi Secdomebis limiti Tu arsebobs? _ Secdomebze swavlob. SeiZleba, statistikurad arc unda viyo cocxali. didi xnis win unda damTavrebuliyo yvelaferi, bevrjer unda damTavrebuliyo, magram... ar damTavrda. mTa gaswavlis _ ufro ase vityodi. umetesobas eZleva es Sansi da jobia, rom droulad iswavlo. _ erTxel cdilobdiT, gepasuxaT kiTxvaze, mTaSi ratom dadixarT da ase axseniT: „Tavgadasavlis siyvaruls mihyavxar da mohyavxar.“ fiqrobT, rom 21-e saukune Tavgadasavlebis maZiebelTa saukunea? gaqvT gancda, rom swor droSi moxvdiT? _ mTamsvlelobis romantizmis xana meoce saukunea. maSin mTebis sruli umetesoba ausvleli, gamoukvleveli iyo. axla Tanamedrove teqnologiebma cota gaanela mZafri Tavgadasavlis SegrZneba _ roca ici amindi, rodesac rukebi gaqvs, satelituri fotoebi gaqvs... magram amis kompensacias imiT vaxdenT, rom ausvlel mTebze mivdivarT; an iseT kedlebze, sadac bolos 30 wlis win iyo adamiani. ase viqmniT mZafri Tavgadasavlis SegrZnebas. _ anu 21-e saukuneSi poulobT me-20 saukunes? _ saqarTveloSi romantizmis xana ar gadasula. sabWoTa kavSiris marwuxebma didi gavlena iqonia qarTul alpinizmze da saqarTveloze, saerTod. Tavisuflebi ar viyaviT, romantizmis gancda ganelebuli iyo. _ ase mgonia, rom maSin swored romantizmSi gasaqcevi erTerTi gza iyo alpinizmi. _ mTa, albaT, marTlac iyo Tavisuflebis sivrce. magram mTlianad garemo ar iyo Tavisufali. axla, ramdenime weliwadia, metad gamoiRviZa mTis siyvarulma. imas Tu vityviT, ramdenad popularulia mTamsvleloba qarTvelebSi, _ ki, magram ufro Soridan. _ es imis brali xom ar aris, rom Zalian pragmatuli garemoa, xolo mTamsvlelobas sWirdeba rogorc Tavdadeba, aseve uangaroba. am pragmatul garemoSi bevri drois da energiis Cadeba iseT saqmeSi, romelic arafers gaZlevs, pirovnuli zrdis garda, bunebrivic ki meCveneba. _ drom moitana, rom axla bevrad ufro rTulia mTaSi siaruli seriozul doneze, vidre aqamde iyo. moyvarulis doneze ki _ piriqiT. zogadad, sistema, TiTqos, amis winaaRmdeg midis. samwuxarod, asea. _ alpinizmi romantikuli xasiaTis adamianebis saqmed Tu rCeba?

you’re not ready for it. And this process of preparation and innovation does not end there. If the mind is working properly, you should not go so far as to fall on your back. The mountain will teach you that you are physically just a small, rather vulnerable point.

– When you had a winter ascent on Shkhara, then you said that the last challenge of the Caucasus has been overcome. Was it an emotional statement, or you said it thoughtfully?

– This was abbreviated. Probably, it would be right to say this way – one of the last and greatest challenges of winter in the Caucasus has been overcome. It was a classic challenge that everyone who cares about the winter Caucasus knew about – that the southern wall of the Caucasus was impassable in winter. The attempts, in fact, ended at the very bottom. I also had this feeling from the beginning, when we got to the bottom – where are we going?!

– Is there a limit to mistakes in the mountains?

– You learn from mistakes. Maybe, statistically, I should not even be alive. Everything should have ended a long time ago, it should have ended many times, but ... it did not end. The mountain will teach you – I would say more so. Most are given this chance and it is better to learn in time.

– Once you tried to answer the question, why do you go to the mountains and explain: “love of adventure takes and brings you back.” Do you think that the 21st century is the century of adventure seekers? Do you have a feeling you got it at the right time?

– The era of mountaineering romanticism is the twentieth century. Then most of the mountains were impassable, unexplored.

Now modern technology has slowed down the feeling of a sharp adventure – when you know the weather, when you have maps, you have satellite photos ... but we compensate for this by going to impassable mountains; Or on walls where man was last seen 30 years ago. This is how we create the feeling of a fierce adventure.

– Or do you find the 20th century in the 21st century?

– The era of romanticism has not passed in Georgia. The sieges of the Soviet Union had a great impact on Georgian mountaineering and Georgia in general. We were not free, the feeling of romanticism was slowing down.

– I think that at that time one of the ways to escape from romanticism was mountaineering.

– The mountain was probably really a space of freedom. But the environment as a whole was not free. Now, a few years ago, I was more and more awakened by the love of the mountain. If we say how popular mountaineering is among Georgians – yes, but from a distance.

– Isn’t it because there is a very pragmatic environment, and mountaineering requires both dedication and selflessness. In this pragmatic environment, investing a lot of time and energy into something that gives you nothing but personal growth seems even natural to me.

– Time has brought that now it is much more difficult to walk in the mountains at a serious level than before. At the amateur level – vice

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_ diax, romantikuli xasiaTis adamianebTan, ra Tqma unda, kavSirSia. rogorc giorgi tefnaZem Tqva da, albaT, aramarto giorgim: rac ufro mets dadixar, romantizmi raRac gardaiqmneba, klebulobs, magram magis gareSe SeuZlebelia. SeuZlebelia is sirTuleebi, is araadamianuri datvirTvebi da is xifaTebi aitano da gadaurCe, Tu SenSi es romantizmi aRar aris. _ fiqrobT, rom dro gava da, SeiZleba, saerTod aRar wavidnen mTaSi adamianebi? _ albaT, mxolod im SemTxvevaSi, Tu raRac didi gasaWiris xana dadgeba. sxva mxriv, ar mgonia. _ amboben, rom male bevr saqmes manqanebi Seasruleben. Tu ase moxda, SeiZleba, adamianebi saqmis gareSe darCnen da isev mTebisken mibrundnen. _ sxvaTa Soris, pandemiamac dagvanaxa, rom, Turme, ar aris saWiro amdeni, zedmeti muSaoba. SeiZleba, saqarTveloSi bevri sul ar muSaobdes, magram msoflioSi asea. amdeni muSaoba adamians ar sWirdeba. mjera, adamiani imisTvis aris movlenili am samyaroSi, rom Tavisi gza ipovos, Tavis Tavze dakvirvebis dro da energia sul hqondes. rodesac ise xar CarTuli sistemaSi, rom

versa. In general, the system seems to go against this. Unfortunately, that’s true.

– Does mountaineering remain the work of romantic people?

– Yes, with people of a romantic nature, of course. As Giorgi Tepnadze said, and probably not only Giorgi: the more you go, the more romanticism is transformed, it cools down, but it is impossible without magic. It is impossible to bear those difficulties, those inhuman loads and those dangers and survive if you no longer have this romanticism in you.

– Do you think that time will pass and people may not go to the mountains at all?

– Probably only if there is a time of great distress. On the other hand, I do not think so.

– It is said that cars will do a lot of work soon. If that happened then maybe people would be in for a treat and return to the mountains.

– By the way, the pandemic also showed us that, it turns out, there is no need for so much, extra work. Many may not work in Georgia at all, but this is the case in the world. People do not need so much work. I believe that man is created in this world to find his way, to have time and energy to observe himself. When you are so involved

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sakuTari TavisTvis dro aRar grCeba, aman SeiZleba pirovnul katastrofamde migviyvanos. me ase vuyureb. _ didi madloba uaRresad saintereso saubrisTvis. intervius davasrulebT Tqveni komentariT cnobili adamianebis or gamonaTqvamze. pirveli citata ekuTvnis stendals, frang mwerals (1783-1842): „ganmartoebaSi SeiZleba SeiZino yvelaferi, garda xasiaTisa.“ _ miuxedavad imisa, rom stendals did pativs vcem, ver vxvdebi, ras gulisxmobs an ra konteqstSi. Cemi azriT, ganmartoeba adamians safuZvlianad cvlis, Tanac, aucileblad, xasiaTTan erTad. _ meore citatis avtoria jorj biornsi, amerikeli msaxiobi (1896-1996): „bednierebaa, gyavdes didi, moyvaruli, mzrunveli, erTsulovani ojaxi... sxva qalaqSi.“ _ me piradad am bolo or sityvas amoviRebdi. iumors vafaseb, Tumca, CemTvis ojaxi simyaris da Zalis niSania. ojaxi aris mTavari mizezi, motivacia, rom mTebidan yovelTvis ukan davbrunde. _ mTebis gamo, mainc sadRac sxva qalaqSi xom ar gamodis TqvenTvis ojaxi? _ ara, imitom, rom dro Tu maqvs, im dros yovelTvis ojaxTan erTad vatareb. Soridanac ki fiqrebiT maTTan var.

in the system that you no longer have time for yourself, it can lead to personal disaster. I think like that.

– Thank you very much for the extremely interesting conversation. We will end the interview with your comment on two quotes of famous people. The first quote belongs to Stendhal, a French writer (1783-1842): “ One can acquire everything in solitude except character.”

– Although I have great respect for Stendhal, I do not understand what he means or in what context. In my opinion, isolation changes a person fundamentally, and, inevitably, along with character.

– The second quote is by George Burns, American actor (18961996): “ Happiness is having a large, loving, caring, close-knit family… in another city.”

– I personally would take out these last two words. I appreciate humor, however, for me family is a sign of stability and strength.

Family is the main reason, the motivation to always come back from the mountains.

– Anyways, does not it feels like your family in another city because of the mountains?

– No, because if I have time, I always spend that time with my family. I am with them even from afar with my thoughts.

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qeTevan kokozaSvili

korneli xoStarias tragikuli bedi

KETEVAN KOKOZASHVILI

KORNELI KHOSHTARIA’S TRAGIC FATE cota ucnauri fenomenia mexsiereba. zogjer adamianebi cdiloben daiviwyon anda mexsierebaSi naklebad Semoinaxon arasasiamovno ambebi, is, risi gaxsenebac umZimes periods ukavSirdeba, an sulac axali Taoba modis da Zalian bundovani warmodgena aqvs uaxloes warsulze.

Zlieri komunisturi propaganda aTasgvari xerxiT cdilobda sabWoTa sistemaSi mimdinare procesebis Selamazebas, mmarTvelobis adreuli etapis dros totalitaruli reJimis bralis Semsubuqebas, 20-30-40iani wlebis periodSi Cadenili masobrivi Zaladobisa da mkvlelobebis miCqmalvas. vin icis, ramdenma qarTvelma datova maSin qveyana da sazRvargareT gaerida bolSevikur represiebs an ramdeni Seiwira „gulagis“ sakoncentracio banakebma... bevr adamians iqneb arc arafers eubneba es

Memory is an enigmatic thing. We have a whole new generation that has a very hazy concept of the recent past because individuals strive to forget or don’t hold on to unpleasant occurrences, things that are associated with adversity.

Strong communist propaganda attempted in a thousand ways to redeem the Soviet system’s continuous processes, to assuage the totalitarian regime’s early allegations, and to conceal the enormous brutality and killings performed during the 1920s, 1930s, and 1940s. Who knows how many Georgians fled the country at the time to escape Bolshevik repressions, or how many died in Gulag concentration camps...Many are unlikely to say anything about the Russian abbreviation “Gulag,” to put it another way. People were exposed to unspeakable misery and horror in Soviet “death camps,” but the families affected by it all experienced excruciating pain. “His

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rusuli abreviatura _ `gulagi“, e. w. sabWoTa `sasikvdilo banakebi“, sadac adamianebi gaugonar tanjva-wamebasa da terorSi hyavdaT, Tumca im ojaxebma, romlebsac es yovelive Seexo, bolomde atares gaunelebeli tkivili. profesori kaxa xoStaria ixsenebs biZas, korneli xoStarias, da wers: `misma istoriam mZime daRi daaCnia Cveni ojaxis yvela wevrs. cxadia, yvelaze metad misi ambavi ganicades misma mSoblebma, Cemma bebiam da babuam, Zmebma da dam. mec mudmivad maxsovda es sevdiani istoria.“ qarTveli mecnieri, filosofiis doqtori, korneli xoStaria, 1947 w. `gulagis“ erT-erT banakSi gardaicvala, manamde ki iyo bevri ram _ upirvelesad, bolSevikebisgan Tavis daRwevis mizniT, aseve codnis gasaRrmaveblad grZeli gza Tbilisidan germaniamde stambolis gavliT... korneli xoStaria daibada 1905 w. mitrofane xoStariasa da olRa CaCavas ojaxSi. kako, rogorc mas ojaxSi eZaxdnen, Tavidanve gamoirCeoda niWierebiT, werda leqsebs, `bavSvobidan iyo yvelasagan gansxvavebuli. jer marto misi bavSvobis leqsebic ki imdenad mravlismTqmelia, naTlad gvaCvenebs, ras niSnavs samSoblos siyvaruli da, rom erT Cveulebriv, Tu arc ise Cveulebriv ojaxSi rogor Rvioda es siyvaruli da samSoblos erTgulebis grZnoba... axalgazrda kakos ZiriTadi sawuxari, da ara marto kakosi, iyo saqarTvelo da misi bedi“, _ wers kaxa xoStaria biZaze.

1922 wels korneli xoStaria Tbilisis saxelmwifo universitetis sibrZnismetyvelebis fakultetis studenti gaxda. swavla 1926 wels daasrula filosofiis ganxriT, muSaobda sxvadasxva saswavlebelSi pedagogad da, imavdroulad, Jurnal-gazeTebTanac TanamSromlobda.

1921 w. ruseTis mier saqarTvelos aneqsiis Semde qarTvelma politikurma moRvaweebma erovnulganmaTavisuflebeli brZola wamoiwyes. korneli xoStaria studentobidanve aqtiurad iyo CarTuli antisaokupacio moZraobaSi. bolSevikuri masobrivi represiebisa da qveynis mmarTvelobis mkacri reJimis gamo araerTi gamosvla da ajanyeba uSedegod damTavrda, faqtobrivad qarTvelebi damarcxdnen. 1925 wels parizSi daibeWda broSura _ `saqarTvelos patriotuli axalgazrdoba `TeTri giorgis~ damfuZnebeli krebis deklaracia~. ai, amonaridi am teqstidan: „erTi sityviT, saqarTveloSi yvela batonobs garda qarTvelisa, saqarTveloSi yvelaferi keTdeba garda qarTulisa, saqarTvelo yvelaferia garda saqarTveloisa. qarTvel ers, romlis oriaTas naxevari wlis istoria mxolod brZolaa Tavisuflebisa da damoukideblobisaTvis, ar SeeZlo Serigeboda aseT saSinel monobas. man brZoliTve upasuxa dampyrobelT. oTxi weliwadia swarmoebs brZola ruseTis winaaRmdeg. am brZolas xelmZRvanelobdnen saqarTveloSi `damoukideblobis komiteti~, xolo sazRvargareT,

narrative has had a profound influence on all members of our family,” writes Professor Kakha Khoshtaria about his uncle, Korneli Khoshtaria.

His parents, grandparents, brothers, and sister were the ones who suffered the most. “I was also frequently reminded of this tragic story.”

Korneli Khoshtaria, a Georgian scientist and Doctor of Philosophy, perished in one of the “Gulag” camps in 1947. Before that, many events occurred, the first of which was his departure from Tbilisi to Germany through Istanbul to flee the Bolsheviks and deepen his knowledge...

Korneli Khoshtaria was born in 1905. In the family of Mitropane Khoshtaria and Olga Chachava. “He was not like other children,” Kako, as he was known in the family, was a gifted boy who wrote poems. His childhood poetry was equally lyrical, demonstrating what it meant to love one’s motherland and how this love and dedication was reflected in one family... “Georgia and the country’s fate were young Kako’s principal concerns, and not only Kako’s,” Kakha Khoshtaria wrote about his uncle.

Korneli Khoshtaria enrolled at Tbilisi State University’s Faculty of Philosophy in 1922. In 1926, he finished his philosophical studies. He worked as a teacher at a variety of schools while also contributing to periodicals and newspapers. Georgian politicians launched a national independence movement in 1921, following the country’s de facto annexation by Russia. Since he was a student, Korneli Khoshtaria has been active in the anti-occupation movement. Many rallies and uprisings were futile due to Bolshevik mass repressions and the country’s repressive regime; in fact, the Georgians were defeated. In 1925, a leaflet titled “Declaration of the Constituent Assembly of the Founders of the Georgian Patriotic Youth Movement “ White Giorgi” was published in Paris. “In short, everyone is trying to rule in Georgia except Georgians, everything is happening in Georgia except things that are inherently Georgian, everything is happening in Georgia except things that are inherently Georgian, everything is happening in Georgia except things that are inherently Georgian, everything is happening in Georgia except things that are inherently Georgian, everything is happening in Georgia except things that are inherently Georgian, Georgia is everything but Georgia.

The Georgian country’s two thousand and a half-year history has been nothing but a struggle for freedom and independence; this nation could not reconcile itself to such heinous servitude. They retaliated by fighting the intruders. They’ve been at odds with Russia for four years. This war in Georgia was led by the “Independence Committee” and the foreign administration. 5,000 Georgians were killed in one stage of the battle.”

Korneli Khoshtaria opted to continue his political activism and education in a foreign country in 1929. He travelled from Akhaltsikhe to Istanbul with one of his buddies, then to Marseille and Paris before settling in Berlin, Germany. The Khoshtaria family would often get letters: “I am well, In university, I had exams that took a lot of time and work. Today is my last exam, so we’ll see how that goes! I passed all of my other tests with flying colours, and I’m hoping that this one will be no different. These exams serve as a warm-up for my

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Semoxiznuli mTavroba. brZolis erTi etapi damTavrda 5000 qarTvelis sisxliT“.

1929 w. korneli xoStariam gadawyvita sazRvargareT wasuliyo da iq sxva TanamebrZolebis gverdiT gaegrZelebina politikuri saqmianobac da swavlac. igi erT-erT megobarTan erTad ojaxis daukiTxavad da malulad axalcixidan jer stambolSi wavida, iqidan ki marselisa da parizis Semdeg sabolood germaniaSi, berlinSi gadavida. iqidan xoStariebis ojaxi xSirad iRebda werilebs. `me kargad var. axla gamocdebi mqonda universitetSi da man didi dro da Sroma moiTxova. dRes ukanaskneli gamocda maqvs, vnaxoT, rogor damTavrdeba! aqamdis Zalian kargad Cavabare da imedi maqvs, amasac keTilad davasruleb. es gamocdebi aris winaswari Semowmeba sadoqtoro samuSaosTvis. Tu xeli araferma SemiSala, vfiqrob, momaval wels swavlas sabolood movrCe da doqtoris xarisxi miviRo“, _ wers is erT-erT werilSi da ojaxs imasac atyobinebs, rom berlinis saxelmwifo universitetSi swavlas isev Tavisi specialobiT, filosofiis mimarTulebiT, agrZelebs. yvela werili iwyeba Zalian Tbili mimarTviT: `kargo mama“... Cemo sayvarelo mama“... `sayvarelo Zmao“ da yvelgan Cans saqarTvelosa da axloblebis monatreba; werilebidanve irkveva, rom germaniaSi damkvidreba arc Tu ise advili iyo da am mxriv bevri qarTveli megobari Zalian daexmara. erT werilSi igi mamas Tavisi seminariis megobarze, mweral grigol robaqiZeze, swers: `aq cxovrobs Seni yofili skolis megobari, grigol robaqiZe. man germanulad dawera eqvsi didi romani da mTels germaniaSi saxeli gaiTqva. iTvleba saukeTeso mwerlad. xSirad vxvdebi da Senzedac xSirad laparakobs. mitrofane cnobili iyo mTel seminariaSio. Zalian swyins, rom saqarTveloSi versad Segxvda. mTxova, mokiTxva SemogiTvalo misi saxeliT. kai kacia, Zalian mmegobrobs da Tanac maqebs da mamxnevebs. me aq cota raRacebi davwere da is Cemi nawerebiT aRfrTovanebaSia mosuli (ase ambobs)“. iseve rogorc sxva emigrantebs, arc korneli xoStarias hqonda dalxenili cxovreba ucxo qveyanaSi. iyo mudmivad samuSaos Zieba, saarsebo wyaroze zrunva, sacxovrebeli pirobebis mogvarebaze fiqri, calke Sors darCenil ojaxis wevrebze dardi da natvra.

Zalian gulisamaCuyebelia dedasTan gagzavnili werili da udidesi siyvaruli da pativiscema igrZnoba yovel sityvaSi: `nu geSinia, yoCaRad iyavi, guli gaimagre da imediT aRivse. bevri danaSauli maqvs Sens winaSe, bevri. me vgrZnob amas: isedac mZime Seni cxovreba me ufro davamZime, dardi da naRveli gana isedac sakmaod ar gqonda, rom mec ar damematebina?! magram ras izam, cxovreba aseTi yofila. adamiani rom mosxlteba Tavis kalapots da molipuli gzis zedapirze gasrialdeba, mas ver Seakavebs Turme dedis cremlebi da vedrebac

doctoral thesis. If all goes according to plan, I should be through with my studies and a Doctor of Philosophy by this time next year,” he says in one of his letters, informing his family that he continued his studies in Philosophy at Berlin State University. He starts all his letters addressing his relatives in a very warm manner: “Dear Father” … My lovely father”...” Dear brother” and in every letter, you can feel how he misses Georgia and his loved ones. From his letters, we learn that settling in Germany was not easy and that many Georgian friends helped him along the way. In one of the letters to his father, he writes about his friend, a writer Grigol Robakidze: “Your old schoolmate Grigol Robakidze lives here. He wrote six big novels in the German language and became famous in Germany. He is considered to be one of the great writers. I often see him and he talks about you often.

Mitrophane was famous in the whole seminary. He worries that he did not have a chance to meet you in Georgia. He asked me to say hello.

He is a very good man, we are friends and he is always supporting me.

I wrote some things and he loved it (this is what he says)”.

Korneli Khoshtaria’s life in a foreign country, like that of many other migrants, was not carefree and simple. He was always looking for work, looking for a place to live, and thinking about and missing his family. “Don’t be afraid, be brave, and don’t lose faith,” he writes in a letter to his mother, which is full of respect and affection. I’ve wronged you far too many times. I understand; I made your difficult life even more difficult; you already had enough grievances. But what

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ki. SemeZlo me sxvagvarad movqceuliyavi? ra vici... me Tavidanve babua besarionis mwignobari suli damyva da miznidan ukan ver davixev, rac ar unda dabrkoleba Semxvdes... Seni cremlebi, Cem gamo daRvrili, iyos sveti manaTobeli Cemi cxovrebisa da Zafi wminda, romelic Sengan wasuls isev SenTan damabrunebs“. evropis qveynebSi gadasuli qarTveli emigrantebi qmnidnen politikur-sazogadoebriv gaerTianebebs, romlebic mniSvnelovan rols asrulebdnen qarTuli politikuri emigraciis sazogadoebriv cxovrebaSi. isini cdilobdnen organizebuli saxe miecaT qveyanaSi mimdinare erovnul-ganmaTavisuflebeli brZolisaTvis. am politikuri moZraobis erT-erTi mTavari monawile da warmmarTveli iyo korneli xoStaria. foto-dokumentur masalasTan erTad Zalian sainteresoa is perioduli gamocemebi, romlebsac emigrantebi amzadebdnen. isini gamoscemdnen araerT gazeTsa da Jurnals: `TeTri giorgi“, `momavali“, `qarTveli eri“, `bedi qarTlisa“. am gamocemebTan TanamSromlobda korneli xoStariac. 193436 wlebSi konkretulad berlinSi gamodioda qarTvel nacionalistTa organo, gazeTi `klde“, misi redaqtori jer iyo Salva qarumiZe, Semdeg ki _ Tavad korneli xoStaria da sxva avtor-TanamSromlebs Soris swored is beWdavda gansakuTrebiT saintereso analitikur werilebs. am statiebSi kargad Cans korneli xoStarias didi erudicia, azrovnebis siRrme da faqtebisa da movlenebis swori analizis SesaniSnavi unari. `kldis“ ramdenime nomeri moiZia da saqarTveloSi Camoitana profesorma guram SaraZem da dRes daculia missave kerZo koleqciaSi saqarTvelos erovnuli biblioTekis emigraciis muzeumSi. gazeTis xuT nomerSi nawil-nawil daibeWda sakmaod vrceli statia, `saqarTvelo da nacionalizmi“, aq avtori saubrobs saqarTvelos damoukideblobaze, misi dakargvis mizezebze, aanalizebs qveynis imdroindel viTarebas, sagareo faqtorebis zegavlenas, qveynis SigniT or mtrul banakad dayofil sazogadoebas da bolos ayalibebs Tavis mosazrebas, rogor esaxeba erovnul-ganmaTavisuflebeli brZolis xasiaTi, mimarTuleba da meTodebi. `ori Seusabamo faqti Sexvda erTimeores: Zlevamosili talRa msoflio istoriisa, romelsac Cveni Tavisufleba mohqonda, da Cveni eris cxovrebaSi Seqmnili gansakuTrebuli viTareba, romlisTvisac es movlena ucxo darCa. xelsayrel sagareo mdgomareobas ver daxvda namdvili saqarTvelo _ damoukideblobisaTvis mebrZoli, sakuTar saxelmwifoebriobas monatruli _ da amitom, Tavisuflebis gvirgvini, istoriam rom 26 maiss moulodnelad Tavze dagvadga, sami wlis Semdeg, TebervalSi, mogvxada manve“, _ es statiis dasawyisia da Semdeg vrclad aris mimoxiluli maSindeli saqarTvelos yofis mizez-Sedegobrivi kavSirebi. avtori aRniSnavs, rom damoukideblobis gamocxadebam saqarTvelos Tavisufleba ver moutana da es imitom,

can you do, life seems to be like that. Even a mother’s tears won’t be enough to stop someone from going too far off the beaten road. Is it possible for me to act differently? I’m not sure... I’ve always been like my grandfather Besarioni in that I don’t give up no matter how difficult things get. Allow your tears to flow freely in my name be the reason for me to come back to you”.

Georgian migrants who settled in various European countries created a political alliance that played a significant role in Georgian politics and society. They were attempting to organize the war for national liberation. Korneli Khoshtaria was one of the most prominent spokesmen and participants of this political movement.

The papers and photographic documentation produced by these refugees are fascinating. They published a variety of publications, including “White Georgia,” “The Future,” “Georgian Nation,” and “The Fate of Georgia.” These journals and magazines worked with Korneli Khoshtaria. A Georgian nationalist journal called “Klde” (the rock) was published in Berlin in 1934-36. Shalva Karumidze was the magazine’s original editor, and afterwards, Korneli Khoshtaria and other authors wrote the most intriguing critical analysis articles. These articles demonstrate Korneli’s critical thinking and capacity to appropriately assess data, as well as his well-read and educated status. Professor Guram Sharidze purchased numerous editions of “Klde” and brought them to Georgia, where they are now housed in the National Library

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rom `qveynis saTaveSi moeqca qarTuli istoriisaTvis ucxo Zala. ukanasknelis suli da politikuri Semecneba ar gamosula qarTuli wiaRidan, ucxo sinamdvile da Segneba iyo misi deda da masazrdoebeli... ruseTis wasvla saqarTvelodan rodi iyo saamisod sakmarisi piroba! saWiro iyo agreTve misi maxinji memkvidreobis - mTeli maSindeli politikuri zedafenis aRgva pirisagan qarTuli miwisa. saWiro iyo erovnuli revolucia da saqarTvelos erovnuli meobis - misi istoriuli suliT, kulturiTa da tradiciiT- aRdgena; ese igi: saxelmwifos saZirkvlis iq Cayra, sadac eris TviTcnobierebis fesvebia.“ statiaSi saqarTvelos bed-iRbali ganxilulia istoriul WrilSic, radgan avtors qveynis warsuli, awmyo da momavali erTian uwyvet jaWvad esaxeba, is aseve aanalizebs mopovebuli Tavisuflebisa da mere marcxis mizezebs. `eri mxolod maSin aris Tavisufali, roca misi „me“ uflebiT mosilia da ukanasknelis gamovlenis-erovnuli cxovrebis yoveli atributi-movlili, vinaidan erovnuli Tavisufleba, pirvel yovlisa, erovnuli sulis avtonomias niSnavs, e.i. eris sakuTari cxovrebiT arsebobas-sakuTari sulis Sinaarsis gadmoSlas da ganviTarebas, misi Sinagani kanonebis ZaliTa da aucileblobiT... da amitom: sadac marqsizmi qarTuli erovnuli sulis ganviTarebas gadaeRoba, _ sadac SeibRala qarTuli erovnuli kultura-saukuneTa mdinarebaSi gamovlenili qarTuli azri da qarTuli gancda, qarTuli zne da qarTuli adaTi, _ sadac qarTul „samoselSi“ „internacionaluri“ sulis STabervis eqsperimenti daiwyo, _ iq wariSala saqarTvelos erovnuli „me“ da misi awindeli monobis borkilic iqve gaiWeda...“ sainteresoa fiqri da msjeloba imaze, Tu rogor unda iqces brZola da mebrZolebis daRvrili sisxli namdvil Tavisuflebad: `brZola antierovnul sulTan da ideasTan erovnuli suliTa da ideiT aRWurvas moiTxovs: internacionalizms unda daupirispirdes nacionalizmi

of Georgia’s Emigration Museum.

In five editions of the magazine, a lengthy piece titled “Georgia and Nationalism” is published. The author attempts to analyze Georgia’s independence, how we lost it, current events at the time, foreign influences, and how society became polarized, as well as give his perspective on how the national independent movement could be organized. “ There are two contradictory facts: the world’s freedom wave and the unique circumstances that occurred in our country, which were strange to us. Georgia appeared unprepared for independence in a favourable foreign environment, yearning for statehood. So the crown of freedom that was bestowed upon us on May 26th has taken away three years later in February,” the story opens, before going on to discuss the current condition of affairs in Georgia. According to the author, declaring independence did not grant Georgia freedom because “a foreign power was leading Georgia.” It did not originate in our country... Russia’s exit was insufficient! The legacy that has been left on the surface of political life had to be removed. We needed a national revolution to re-establish our sense of national strength - our historical soul, culture, and traditions; in other words, we needed a national revolution to re-establish national self-consciousness.” The author of the paper examines Georgia’s history, including how the country gained independence and how it failed to maintain it. The past, present, and future are all viewed as a single continuous experience. “A nation is genuinely free when the “self” has the rights to demonstrate the freedom and every attribute of that freedom is in place, for national freedom is the autonomy of one’s spirit, meaning a nation lives its own life, free to do as it pleases.”

This is why: Where Marxism stood before Georgia’s national spirit, where Georgian national culture, Georgian meaning and emotion, where the experiment of “internationalization” of Georgian “garment” began, this is where Georgian national identity vanished and enslavement replaced it...”

It’s fascinating to consider how war and blood might lead to freedom: “This conflict is a battle between the national spirit and the anti-national: nationalism must stand against internationalization with everything it has... The effort does not end with the abolition of foreign powers and Marxism; this is just one variable in a much larger problem. Slavery abolition is only part of the issue; we need a fully united national state before we can achieve independence.”

This is a lengthy and detailed article that depicts the efforts of Georgian emigrants, as well as their unity and aims.

Korneli Khoshtaria and other Georgian exiles, Tite Margvelashvili, his son, Givi Margvelashvili, and Valeri Togonidze, were misled into going to East Germany in Berlin in 1946, where they were captured and sent to Tbilisi. “Tite Margvelashvili and other famous Georgian emigrants Korneli Khoshtaria and Valerian Togonidze (who were captured in Berlin by Georgian agents) were brought to Moscow first and from there to Tbilisi to the State Security Commissariat in 1946 on July 15th,” Naira Gelashvili wrote in the magazine “Apris” in 1997. They were charged with anti-Soviet actions and agitation. “When three

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mTeli ZaliTa da intensivobiT... erovnuli saqme ar Tavdeba ucxo Zalisa da marqsistuli sistemis moSorebiT; es mxolod erTi-da isic negatiuri nawilia didi amocanisa. monobisagan Tavis daRweva mxolod Cagvris Sewyveta-mxolod Svebaa, da ara amaze meti, mas kidev axali dadebiTi momenti unda daematos,raTa is Tavisuflebad iqces: antierovnuli uReli unda Seicvalos WeSmaritad erovnuli cxovrebiTa da erovnuli saxelmwifoTi.“ es aris sakmaod vrceli statia da kargad asaxavs qarTveli emigrantebis saqmianobis, maTi moRvaweobis, maTi erTianobis miznebsa da suliskveTebas.

1946 wels korneli xoStaria qarTuli specsamsaxurebis TanamSromlebma dasavleT germaniidan sxva qarTvel emigrantebTan, tite margvelaSvilTan, mis vaJTan, givi margvelaSvilTan da valerian togoniZesTan erTad motyuebiT gadmoiyvanes aRmosavleT germaniaSi, berlinSi, iq yvela erTad daakaves da TbilisSi Camoiyvanes. naira gelaSvili 1997 w. Jurnal `afris“ me-2 nomerSi gamoqveynebul statiaSi wers: `tite margvelaSvili cnobil qarTvel emigrantebTan, korneli xoStariasa da valerian togoniZesTan erTad (romlebic sabWoTa specsamsaxurebis qarTvelma agentebma aseve daatyveves berlinSi) jer gadaiyvanes moskovSi, xolo iqidan 1946 15 ivliss Camoafrines TbilisSi da saxelmwifo uSiSroebis saxalxo komisariatis Sida sapatimroSi moaTavses“. maT hbraldebodaT sazRvargareT antisabWoTa saqmianoba. imave werilSi vkiTxulobT: `emigraciis sami lideris moulodneli gaqrobiT Tavzardacemuli qarTveli emigrantebis erTi nawili germaniidan amerikaSi gaiqca“. ase rom, sakmaod Sors miuwvdebodaT xeli sabWoTa specsamsaxurebs da yvelanairi xerxiT cdilobdnen, emigrantebis daSinebas, maTs daqsaqsvasa da maTi erTianobis daSlasTan erTad erovnuli sulis Cakvlas. ssrk saxelmwifo uSiSroebis saxalxo komisariatis gansakuTrebulad mniSvnelovani saqmeebis sagamoZiebo nawili. saqme #8347. xoStaria korneli mitrofanes Ze. braldebulebs jer cal-calke dahkiTxaven, mere erTmaneTTan apirispireben. es iyo gamoZiebis xangrZlivi procesi. amis mere korneli xoStaria kirovis olqis erTerT sapatimro banakSi gadaagzavnes... mamam, mitrofane xoStariam, ramdenjerme mimarTa Sesabamis organoebs, xelaxla ganexilaT da gamoeZiebinaT misi Svilis saqme, magram yovel jerze uaryofiTad pasuxobdnen. xoStariebis ojaxma, cxadia, bevri ram gadaitana amis gamo. maTTvis es iyo udidesi gulistkivili da udidesi tragedia. mogvianebiT ki korneli xoStarias ZmisSvilma, kaxa xoStariam, masze dawera wigni `biZaCemi“ da am tragikuli adamianis bedi da ojaxis gancdebi sainteresod aRwera. bolos ki kidev erTi samwuxaro detali _ 1990 w. korneli xoStarias reabilitaciaze saqarTvelos xelisuflebam uari ganacxada.

emigration leaders mysteriously vanished, the rest fled to America from Germany,” according to the same story. The Soviet special forces were well-connected, and they attempted to destroy emigrant solidarity and consequently the national soul.

Documents from the People’s Commissariat of State Security of the USSR’s investigation of particularly important cases. N8347 is the case number. Mitrophane’s son, Khoshtaria Korneli.

The defendants will be interrogated separately before confronting one another. Korneli Khoshtaria was arrested and imprisoned at a detention camp in the Kirov region after a lengthy investigation...

Mitropane Khoshtaria, his father, made numerous requests to the various competent agencies to re-examine and re-investigate his son’s case, but they were all denied. The Khoshtaria family had a terrible time. It was the biggest heartbreak and tragedy they had ever experienced. Later, Korneli Khoshtaria’s nephew, Kakha Khoshtaria, wrote a book about it called “My Uncle,” in which he chronicled his family’s destiny and tribulations.

Finally, another tragic fact: in 1990, Georgia’s government refused to restore and rehabilitate Korneli Khoshtaria’s name.

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nanuli cxvediani

ilo fotografi NANULI TSKHVEDIANI

ILO PHOTOGRAPHER ebraeli kaci, romelsac quTaisma Zegli daudga iciT, sad iswavla suraTis gadaReba rezo gabriaZis cnobilma marionetma _ TavisuflebisaTvis mebrZolma Citma boriam? _ ra Tqma unda, quTaisSi, meoTxe nomeri gastronomis gverdiT, ilo fotografis saxelosnoSi. sad mouxarodaT mwerlebs, mxatvrebs, Jurnalistebs, msaxiobebs, sportsmenebs, musikosebs, cnobil Tu naklebad cnobil sazogado moRvaweebs gansakuTrebulad? _ ilo fotografis saxelosnoSi.

A Jewish man who was unveiled a statue by Kutaisi.

Do you know where Rezo Gabriadze’s famous puppet – freedom fighter Boria, learned to take photos?

– Of course, in Kutaisi, next to the gastronomy N4, in the small studio of Ilo photographer.

What was that special place aspired by writers, artists, journalists, actors, athletes, musicians, famous or lesser-known public figures?

– The studio of Ilo photographer.

Where did the guests of the city come to get acquainted with the esoterics of old Kutaisi?

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sad mohyavdaT Zveli quTaisis ezoTerikis Sesacnobad qalaqis stumrebi? _ ilo fotografis saxelosnoSi. sad utarebdnen patara quTaiselebs ubraloebis, uangarobis, sikeTis, patiosnebis, patriotizmis pirvel gakveTilebs? _ ilo fotografis saxelosnoSi. diax,Cemo batono! naxevar saukuneze met xans iyo maswavlebelTa saxlis kibis qveS mdebare es ubralo, naxevrad nestiani, arcTu keTilmowyobili, magram saocari feradovnebiT gamorCeuli fotosaxelosno didi qalaquri kulturis sisxlxorceuli nawili, siyvarulisa da sikeTis epicentri. visTvis _ saxelosno, visTvis _ studia, „budrugana“, „mRvime“, „siyvarulis akademia“, „rezidencia“, an „duqanic“ ki _ gaaCnia, vin ras eZaxda, siyvaruliT, ilo fotografis yoveldRiur samyofels. mTavari ki is Sinaarsi gaxldaT, riTac qalaqis verc erTi samsaxuri, verc erTi ofisi da dawesebuleba ver Seedreboda: aq sufevda adamianur urTierTobaTa dResaswauli. am araordinaruli samyaros Semoqmedi da mTavari maspinZeli iyo ilo fotografi _ erTi kafandara, bunCula, uwyinari, zrdili, bavSviviT sufTa da uboroto kaci.

– In the studio of Ilo photographer.

Where did the young people of Kutaisi learn the first lessons of simplicity, selflessness, kindness, honesty and patriotism?

In Ilo photographer’s studio.

Yes, sir! For more than half a century, under the stairs of the Teachers’ House, this simple, semi-damp, not-so-well-furnished but amazingly colorful photo studio has become an inseparable part of the huge urban culture, the epicenter of love and kindness. For some – a studio, for others – just a photo atelier, “Budrugana”1, “Cave”, “Love Academy”, “Residence”, or even “Douqan” – who called what, lovefully, the daily abode of Ilo photographer. The main thing was the content with which no service, no office and no institution in the city could be compared: the feast of human relations reigned here.

The creator and main host of this extraordinary world was Ilo photographer – one small, chubby, modest, courteous man, as pure and innocent as a child.

Why would artists aspire to Ilo? At Ilo’s, they were expecting a true artistic bohemia, an environment imbued with great kindness and love. Here the most sincere tears were shed in the name of deceased prematurely, here the most manly and exalted word was uttered. A sircha2 with vodka and a small piece of bread taught respect for the opinion of others, love of neighbor, generosity, spirituality. There was no party ideology and nomenclature, here the soul rested and rejoiced.

There was a time when the great singers – Davit Gamrekeli, Petre Amiranashvili, Zurab Anjaparidze and others – would sit on the floor, right in front of an old, exotic wooden camera tripod, and passengers would stop to listen to their enchanting voices coming out of the studio. Otar Sulaberidze, The greatest Kutaisian “Meoba”3 – Otar Sulaberidze was defining human justice here; The topic of dinosaurs was spread by the grizzled local historian Petre Chabukiani; The first Georgian cinematographer and extremely humble man Vasil Amashukeli was asked to recall Akaki’s journey4, “Gviriloba” festival5 and other praiseworthy stories about each other; The sculptor Valiko Mizandari artistically recounted his famous hunting adventures; No less artistic and inspiring was the painter Kolya Nachkebia; The writer, playwright and director Rezo Gabriadze would come to Ilo’s studio to explore the future characters for his plays; Guram Ugrekhelidze, a lawyer, orator and translator, used to combine great intellect and witticism here; Davit Kvitsaridze and Lili Nutsubidze, poet sisters Kira and Nestan Kveidzes would compete with each other in loving this green city of Kutaisi; Ilo’s studio gathered Kutaisian and non-Kutaisian writers, artists, actors, directors, musicians, journalists, sportsmen, 1 2 3 4

Budrugana– a small place like a nest.

Sircha – a small crystal glass, used for spirits.

Agnomen to Otar Sulaberidze, meaning identity, “Akaki’s Journey in Racha-Lechkhumi”– the first Georgian fulllength documentary follows the trip of the “king of Georgian poetry”, Akaki Tsereteli 5 On the 2nd of May Kutaisi marks Gviriloba – an annual festival celebrating the vibrant history and cultural diversity of Kutaisi.

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ratom moiswrafodnen ilosken xelovanebi? aq egulvodaT WeSmariti artistuli bohema, didi sikeTiTa da siyvaruliT gaJRenTili garemo. aq iRvreboda yvelaze gulwrfeli cremli naadrevad wasulTa saxelze, aq iTqmoda yvelaze kacuri da amaRlebuli sityva. sirCa aryiTa da puris patara natexiT iswavleboda sxvisi azris pativiscema, moyvasis siyvaruli, keTilSobileba, suliereba. aq ar arsebobda partiuli ideologia da nomenklatura, aq suli isvenebda da xarobda. iyo dro, oCofexze Semdgari ZvelisZveli, egzotikuri fotoaparatis win, pirdapir iatakze, fexmorTxmiT damsxdaran didi momRerlebi _ daviT gamrekeli, petre amiranaSvili, zurab anjafariZe da sxvebi, quCaSi gamvlel _ gamomvlelni ki saxelosnodan gamoWrili maTi jadosnuri xmebis gamo SeCerebulan. aq kacur samarTals Wrida didi quTaiseli „meoba“_ oTar sulaberiZe; dinozavrebis Temas ganavrcobda TmadaTovlili mxareTmcodne petre Wabukiani; akakis mogzaurobis, „gvirilobisa“ da sxva, erTmaneTze sasiqadulo ambebis gaxsenebas sTxovdnen pirvel qarTvel kinooperators da saarakod Tavmdabal adamians vasil amaSukels; Tavis ganTqmul samonadireo Tavgadasavlebs artistulad yveboda moqandake valiko mizandari; aranakleb artistuli da STamagonebeli iyo mxatvari kolia naWyebia; momaval personaJebs eZiebda mwerali, dramaturgi da reJisori rezo gabriaZe; did inteleqtsa da maxvilsityvaobas erTurTs uxamebda advokati, oratori da mTargmneli guram ugrexeliZe; mwvane qalaqis siyvarulSi erTmaneTs ecilebodnen daviT kvicariZe da lili nucubiZe, poeti debi kira da nestan kveiZeebi; modiodnen quTaiseli da araquTaiseli kalmosnebi, mxatvrebi, msaxiobebi, reJisorebi,musikosebi, Jurnalistebi, sportsmenebi, ubralo profesiis adamianebi, Tanamdebobis pirebi _ yvelasTvis pativi iyo ilosTan urTierToba; aq gansakuTrebuli fasi edo bafTian gitaras da lamaz simRerebs; aq TavianT ganTqmul iumors uSurvelad akvesebdnen: pila ioseliani, xuxa eZgveraZe, biZina RoRoberiZe, miSa WiWinaZe, antuSa sakandeliZe, buWa kandelaki, daviT xuroZe, vaJa Wyonia, tristan janxoTeli, iuza fiCxaZe da mTeli „baRis kide“: markoziCi, biZiniCi, peyo, maxiWia, maxaTia, Sakia, abraSka, xlusti, iribula, sladki, galife, kvanwli, Colabura, kaxelo, qarTvelo, meCiste, yorana, jonsona, mebo, TeTramiwa, ficxela, Zuku, axvara da sxvebi. Turme, 60-ian wlebSi mwerali levan goTua ise ar Camovidoda quTaisSi, pirvelad ilos ar stumreboda saxelosnoSi. ilo... ilo fotografio _ mxolod ase icnobda, ase uyvarda igi mTel quTaiss da, sanam ar gardaicvala, sanam nekrologi ar gamoqveynda, bevrma, Turme, misi gvari arc ki icoda. isic pirvelad gaigo, rom eTnikurad qarTveli ebraeli yofila.

people of simple profession and officials – everyone was honored to have a relationship with Ilo; Red-ribboned guitar and beautiful songs were particularly valued here; At Ilo’s people used to share their famous humor: Pila Ioseliani, Khukha Edzgveradze, Bidzina Ghoghoberidze, Misha Chichinadze, Antusha Sakandelidze, Bucha Kandelaki, Davit Khurodze, Vazha Chkonia, Tristan Jankhoteli, Yuza Pichkhadze and the whole “garden side”: Markozich, Bidzinich, Peko, Makhichia, Makhatia, Shakia, Abrashka, Khlusti, Iribula, Sladki, Galife, Kvantsli, Cholabura, Kakhelo, Kartvelo, Mechiste, Korana, Jonsona, Mebo, Tetramitsa, Pitskhela, Dzuku, Akhvara and others.

In the 60s, the writer Levan Gotua did not come to Kutaisi without visiting Ilo for the first time.

Ilo ... Ilo Photographer – so he was called and loved by whole Kutaisi, and until he died, until the obituary was published, it turns out, that many did not even know his last name and never heared that he was an ethnic Georgian Jew. *** Ilo (Eliau) Khakhiashvili was born on August 16, 1935 in Kutaisi to a large Jewish family of Filkhaz and Sara Khakhiashvili.

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*** ilo (eliau) xaxiaSvili 1935 wlis 16 agvistos daibada quTaisSi, filxaz da sara xaxiaSvilebis mravalsulian ebraul ojaxSi. izrdeboda quTaisis gulisgulSi, axlandeli centraluri moednis zemoT, Tbilisis quCis dasawyisSi. sanam normalur sacxovriss miiRebdnen, xelmokle ojaxs am teritoriaze oTxjer gamoucvlia bina. ilom mTeli bavSvoba gaatara lorTqifaniZeebis, WiWinaZeebis, Wyoniebis, qandariebis, maisuraZeebisa da sxva qarTuli ojaxebis garemocvaSi, maTi gogo-biWebis gverdiT, da swored amitom iyo, rom mudam Tavis TavSi itevda ori eris SvilTa saukeTeso Tvisebebs: aravin icoda, ilo xaxiaSvili Tavisi bunebiT da cxovrebis wesiT ebraeli ufro iyo, Tu qarTveli. ilo _ es ilo gaxldaT, _ TxemiT terfamde quTaiseli kaci, _ da amiT xom ukve yvelaferi naTqvamia. cifrebiT da oficialuri faqtebiT arasodes datvirTula ilos biografia, mTeli misi cxovreba mudam xelisgulze edo mSobliur qalaqs. bavSvoba da siymawvile TiTqmis sul siRaribeSi gautarebia: ojaxis mama, onidan ZmasTan erTad sacxovreblad Camosuli oqromWedeli filxaz xaxiaSvili,

He was raised up in the heart of Kutaisi, above the current central square, at the beginning of Tbilisi Street. Before receiving normal housing, the impoverished family had changed flats in this area four times. Ilo spent his whole childhood surrounded by Lortkipanidzes, Chichinadzes, Chkonias, Kandarins, Maisuradzes and other Georgian families, next to their girls and boys, and that is why he always had in himself the best qualities of the children of two nations: no one could guess if Ilo Khakhiashvili by his nature and lifestyle was more Jewish or more Georgian. Ilo – this was Ilo, – a true Kutaisian man from head to toes, – and that says it all.

Ilo’s biography was never loaded with numbers and official facts, his whole life was always known to his hometown.

He spent his childhood and adolescence in almost poverty: the father of the family, Filkhaz Khakhiashvili, a goldsmith who came from Oni to live with his brother, was arrested several times for “economic crimes” by Obekha6 and imprisoned with confiscated property. It was considered a crime for the artisan to donate the items purchased in the districts to a gold shop, Torgsin, in order to support a large family with this profit. The eizure of property and imprisonment of such a rich man became a habit of the Soviet authorities. According to the law of that time, the arrest of a craftsman was not provisioned, so there was a constant “hide-and-seek” against him – a father of many children was released for a period, “generously” allowed to work to collect income and attacked “obekha” again ... it continued like this.

The mother of the family – Sara Khananashvili (Tsitsiashvili from the mother’s side), who was extremely fond of her children and always busy with the housework – spared no efforts to educate and feed seven children. She was doing all she could do for her Beno, Eteri, Tamara, Tsutsa, Rybka (Frida), Ilo and Shalva. It was her, who brought little Ilo to study photography to then quite popular photographer in Kutaisi, Meir Khakhiashvili. The boy also showed enviable enthusiasm and interest. The lessons learned from the professional, combined with the natural talent and diligence of the boy, turned out in excellent results. Little boy performed the daily tasks of Meiro photographer in an unusual way. Later, ilo took a masterclass with Ioska photographer (the father of the famous doctor, Dr. Shalva Mardi – Mardakhiashvili) and in 1949, at the age of 14, he started working in his famous studio on Kirov (now King Tamar) Street. This is how a little boy started to lighten the heavy family burden for the mother with his first income. He did not even finish high school. After completing compulsory military service, he finally chose the profession of a photographer.

From 1955 until his death, Ilo became a permanent resident of the photo studio at the entrance to the Teachers’ House, located under a staircase.

The brownish-blue, beautiful or non-scaly photos preserved in the old Kutaisi family albums show chronologically how the young, still childish Ilo created the first portraits, how he conveyed the inner nature, character, typical plots, mood ...

Then he became a great professional, spending almost half a 6

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Economic police department

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„ekonomikuri danaSaulisaTvis~ araerTxel daupatimrebia „obexeess~ da qonebis konfiskaciiT Causvams cixeSi. danaSaulad imas uTvlidnen, rom xelosani raionebSi Sesyidul nivTebs abarebda oqroulobis maRazias, „torgsins“, raTa mravalsuliani ojaxi am monagebiT erCina. „aseTi mdidari kacisaTvis~ ki qonebis CamorTmeva da Tavisuflebis aRkveTa Cvevad uqcevia sabWoTa xelisuflebas. maSindeli kanoniT, xelosans daWera TiTqos ar unda Sexeboda, amitom mravalSvilian mamasac, „kata _ Tagvobanas“ TamaSis principiT, erTxans gamouSvebdnen, „didsulovnad“ darTavdnen muSaobis nebas, daagrovebinebdnen monagebs da kvlav daesxmoda Tavs „obexa“... ase grZeldeboda mudmivad. ojaxis dedaboZi _ Svilebis uzomod mosiyvarule, dReniadag mofusfuse qalbatoni sara xananaSvili (dediT _ ciciaSvilis qali) _ welebze fexs idgamda, Svidi bavSvi rom erCina da aRezarda. rac SeZlo, ar dauklia Tavisi benos, eTeris, Tamaras, cucas, ribkas (fridas), ilosa da SalvasaTvis. swored mas miubarebia patara ilo xelobis Sesaswavlad im dros quTaisSi sakmaod popularuli fotografis, meir xaxiaSvilisaTvis. biWsac SesaSuri alRo da interesi gamouCenia. profesionalisagan miRebul gakveTilebs ymawvilis bunebrivi niWi da mondomebac

century not only working on private orders, but also creating a wonderful art gallery of contemporary portraits.

All of Ilo’s entire life was spent from the beautiful building next to the Meskhishvili Theater (where he had lived since the 1950s) to the staircase of the Teachers’ House, beneath which was his modest office.

Here, in this small section of the road, in the heart of the city, through the garden side, Ilo’s professional or human experience, impressions and emotions, boundless love and respect for his hometown Kutaisi were collected and recorded as a book of life.

The year 1995 was special in his biography, when the Kutaisi society and the huge circle of friends, picked up their favorite photographer and person from the studio under the stairs with great honor and celebrated his 60th birthday in the hall of the teachers’ house.

On August 18, 2002, at the age of 67, Ilo Khakhiashvili died suddenly.

With his death, a simple lamp was extinguished in the old photo studio, which for decades was the true spiritual abode of the people of Kutaisi – a small nest of great love, an amazingly sweet and unique hearth.

On August 21, Kutaisi said goodbye to its favorite person, the “People’s Man” – as the poet Zaal Ebanoidze called him. In the great Jewish shrine, next to a coffin covered with green cloth, heartbroken with the same pain, stood silently both Jews and Christians, women and men, elders and young people.

The “People’s Man” found a permanent resting place in the

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rom zed damatebia, SesaniSnavi Sedegi damdgara. cicqna biWi araCveulebrivad asrulebda meiro fotografis yoveldRiur davalebebs. mere ioska fotografTanac (cnobili eqimis, sazRvargareT moRvawe doqtor Salva mardis _ mardaxiaSvilis mamasTan) gauvlia ostatobis skola da 1949 wels, 14 wlisas, muSaoba dauwyia kirovis (axlandel Tamar mefis) quCaze mdebare mis cnobil atelieSi. ai, ase patara Sesdgomia Tavisi pirveli SemosavlebiT dedisTvis ojaxuri tvirTis Semsubuqebas. saSualo skola arc ki daumTavrebia. savaldebulo samxedro samsaxuris moxdis Semdeg sabolood airCia fotografis profesia.

1955 wlidan gardacvalebamde ilo maswavlebelTa saxlis SesasvlelSi, kibis qveS ganTavsebuli fotoatelies maradiuli binadari gaxda.

Zvel quTaisur saojaxo albomebSi Semonaxuli moyavisfro _ moSavo, lamaznawiburebiani Tu unawiburebo fotoebi qronologiurad gviCveneben, Tu rogor qmnida axalgazrda, jer kidev bavSvi ilo pirvel portretebs, rogor gadmoscemda adamianis Sinagan bunebas, xasiaTs, tipur nakvTebs, ganwyobas... mere ukve did profesionalad iqca, TiTqmis naxevari saukune moandoma aramxolod kerZo SekveTebze muSaobas,

Sapichkhia Jewish Cemetery.

After the funeral, his childhood friends – led by Temur Lortkipanidze – held a small but beautiful repast for Ilo. Probably no one has ever seen a repast like this extraordinary plague: every toast, every glass raised .. It was colored with a tearful laugh! Ilo was vividly remembered for his character, amazing heart, and original humor.

And as if he were there, calmly walking around the table, the ghost of this tiny chubby man was still spinning with his friends, grinning heartily. *** What made the photo taken by Ilo special?

First of all, sincerity.

Ilo worked on the photos with the observant eye of an artistportraitist and with a very good sense. Most of the portraits he created are photo-narrative stories, photo-novels, or, at least, a photomonologues that tells the story of a person. Consequently, the inner world of a person of completely different age, character, physical condition, qualities or mood is presented before us. For Ilo, the main thing is not the external charm, aesthetics of the subject, but the inner posture, the natural posture. All the more important these portraits are when they depict well-known public figures.

In addition to portraits, Ilo also worked on photocopies. He found

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aramed _ TanamedroveTa portretebis SesaniSnavi mxatvruli galereis Seqmnas. ilos mTeli cxovreba mWidrod itevda monakveTs mesxiSvilis Teatris gverdiT mdebare, lamazi Senobidan (sadac 50-ani wlebidan binadrobda) _ maswavlebelTa saxlis kibemde, romlis qvemoTac iyo moTavsebuli misi mokrZalebuli samsaxuri. ai, gzis am umcires monakveTSi, qalaqis gulSi, baRiskidis gavliT, grovdeboda da cxovrebis wignad ikvreboda ilos profesiuli Tu adamianuri gamocdileba, STabeWdilebebi da emociebi, mSobliuri quTaisisadmi usazRvro siyvaruli da pativiscema. mis biografiaSi gansakuTrebuli aRmoCnda 1995 weli, roca quTaisis sazogadoebriobam, didma samegobrom, usayvarlesi fotografi da adamiani kibis qveS mdebare saxelosnodan zemoT didi pativiT aiyvana da maswavlebelTa saxlis darbazSi dabadebidan 60 wlis iubile gadauxada.

2002 wlis 18 agvistos ki, 67 wlis asakSi, ilo xaxiaSvili moulodnelad gardaicvala. mis gardacvalebasTan erTad, Caqra ubralo naTura Zvel fotosaxelosnoSi, romelic aTeuli wlebis manZilze iyo quTaTurTa WeSmariti sulieri savane _ didi siyvarulis patara bude, saocrad tkbili da ganumeorebeli kera.

21 agvistos quTaisma ukanasknel gzaze gaacila Tavisi usayvarlesi adamiani, „saxalxo kaci“ _ rogorc poetma zaal ebanoiZem uwoda. ebraelTa did salocavSi, mwvane qsovilgadafarebul kubosTan, erTnairi tkiviliT gulSeZrulni, mdumared idgnen ebraelebic da qristianebic, qalebic da mamakacebic, ufrosebic da axalgazrdebic. safiCxiis ebraul sasaflaoze hpova samudamo gansasvenebeli „saxalxo kacma“. dakrZalvis Semdeg, siyrmis megobrebma _ Temur lorTqifaniZis TavkacobiT _ mcire, magram ulamazesi qelexi gaumarTes ilos. msgavsi araordinaruli Wiris sufra, albaT,arc aravis unaxavs: yvela sadRegrZelo, maRla aweuli yoveli Wiqa.. cremliani siciliT iyo Seferadebuli! cocxaliviT ixsenebdnen ilos, mis xasiaTs, saocar gulsa da TviTmyofad iumors. da TiTqos iqve iyo, dinjad daabijebda sufrasTan, kvlav Tavis samegobrosTan trialebda, gulianad xiTxiTebda patara, kafandara kacis aCrdili. *** riT gamoirCeoda ilos mier gadaRebuli foto? pirvelyovlisa, gulwrfelobiT. ilo suraTebze muSaobda mxatvar _ portretistis dakvirvebuli TvaliT da alRoTi. mis mier Seqmnili portretebis umetesoba _ es aris Suq-Crdilebis TamaSiT moTxrobili fotoambavi, fotonovela, an, Tundac,

and restored many valuable photos in old Kutaisi families. Among them, as writer and actor Nestan Kveidze tells us – the picture of the Georgian troupe of Lado Meskhishvili Theater in 1904-1905; Akaki’s jubilee evening, filmed in 1908, featuring Nestan’s mother’s uncle, actor Vasiko Abuladze (thanks to whom the family has unique photos). An unknown photo of Nato Vachnadze discovered by Ilo was gifted to the family of a movie star by Nestan, at the request of the photographer.

Ilo valued all the photos, each image, which was related to Kutaisi, its public history. He not only restored the pictures taken by others, but also cared for and preserved them.

Perhaps we should look separately at one particular series of images.

Many remember the pictures of dead fellow citizens on the wall of Ilo’s studio. It was the supreme expression of tears, gratitude, remembrance and eternal love by the artist. Ilo taped each of these pictures onto thin planks of specially measured and cut wood and tried to preserve them for the future by the primitive but reliable technical means of that time. “This is it, my property, my wealth and fame. I remember the date of taking all the pictures, how will it be otherwise! ” Ilo would say. His attitude towards the persons depicted in these pictures and the silent mourning of this truthful man are

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fotomonologi, romelic pirovnebis Sesaxeb gviambobs.

Sesabamisad, Cvens winaSe gamotanilia sruliad sxvadasxva asakis, xasiaTis, fizikuri mdgomareobis, Tvisebisa Tu ganwyobis adamianis Sinagani samyaro. ilosTvis mTavaria gadasaRebi subieqtis ara garegnuli xibli, esTetika, aramed _ Signidan wamosuli saTqmeli, bunebrivi poza. miT ufro mniSvnelovania es portretebi, roca isini sazogadoebisTvis kargad cnobil personebs asaxaven. portretebis garda, ilo fotoaslebzec muSaobda.

Zvel quTaisur ojaxebSi man araerTi Rirebuli foto aRmoaCina da aRadgina. maT Soris, rogorc mwerali da msaxiobi nestan kveiZe mogviTxrobs, _ lado mesxiSvilis Teatris 1904-1905 wlebis qarTuli dasis suraTi; 1908 wels gadaRebuli akakis saiubileo saRamo, romelzec aRbeWdilia nestanis dedis biZa, msaxiobi vasiko abulaZe (visi wyalobiTac SemorCa ojaxs unikaluri fotoebi). ilos mier aRmoCenili, nato vaCnaZis ucnobi foto ki, fotografis surviliT, nestans saCuqrad gadaucia kinovarskvlavis ojaxisaTvis. ilosTvis Zvirfasi iyo yvela foto, TiToeuli gamosaxuleba, rac quTaiss, mis sazogadoebriv istorias

perfectly conveyed by the writer Zurab Kukhianidze in the story “Ilo.” This wall of Ilo’s workshop became the public history of Kutaisi.

People represented on this wall, are those without whom it is impossible to grasp the original culture and traditions of the city in the second half of the twentieth century. The well-known journalist and tourism worker Guram Alekhandria wrote in his farewell letter to Ilo: “Thank you for the mourning wall you left to Kutaisi – for this “extraordinary exhibition”, which is not missing any worthy Kutaisian…”

Ilo was a highly benevolent and good-natured man.

Once a client, unaware of his ethnic-religious background, presented a Christian icon as a token of gratitude. Ilo did not raise an eyebrow, hung the icon on the best spot on the wall, and for years cared for it as a precious, wholeheartedly dedicated relic. This fact also shows how high he put the love and respect of people.

He was considered the epitome of honesty and selflessness throughout Kutaisi. He is still remembered for countless times when he did not take a fee for his labor not only from a friend, neighbor, acquaintance or a person appreciative with any sign, but he would also for help many others: a student, a child, a young man, a widow, or a poor. Was it a passport photo or a wedding card, a commemoration

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ukavSirdeboda. igi ara marto restavracias ukeTebda sxvebis mier gadaRebul suraTebs, aramed _ sasoebiT uvlida da inaxavda. albaT, calke unda SevCerdeT suraTebis erT gansakuTrebul seriaze. bevrs axsovs gardacvlil TanaqalaqelTa suraTebi ilos saxelosnos kedelze. es iyo cremlis, madlierebis, xsovnisa da maradiuli siyvarulis uzenaesi gamoxatuleba xelovani kacis mier. ilom TiToeuli es suraTi sagangebod gazomil _ gamoWril xis Txel ficrebze daakra da imJamindeli primitiuli, magram saimedo teqnikuri saSualebiT Seecada mis samomavlod Senaxvas. „esaa, biZiko, Cemi qoneba, Cemi simdidre da avla-dideba. yvela suraTis gadaRebis TariRi maxsovs, aba, ise rogor iqneba!“ _ ityoda ilo. misi damokidebuleba am suraTebze gamosaxuli personebisadmi da alali kacis Cumi glova SesaniSnavad aqvs gadmocemuli mweral zurab kuxianiZes moTxrobaSi „ilo.“ ilos saxelosnos es kedeli quTaisis sazogadoebrivi istoria gaxldaT. iq swored is xalxi iyo warmodgenili, vis gareSec SeuZlebelia meoce saukunis meore naxevris qalaqis TviTmyofadi kulturisa da tradiciebis gaTaviseba. aki werda Jurnalisti da turizmis cnobili muSaki guram aleqsandria ilosadmi miZRvnil Tavis gamosaTxovar werilSi: „madloba im „godebis kedlisaTvis“, romelic Sen dautove quTaiss _ im „araCveulebrivi gamofenisaTvis“, romelsac ar aklia arc erTi Rirseuli quTaiseli...“ ilo uaRresad keTilmosurne da didbunebovani kaci iyo. erTxel klientma, romelmac ar icoda misi eTnikur _ sarwmunoebrivi warmomavloba, madlierebis niSnad qristianuli xati miutana. ilos warbi ar Seuxria, xati kedlis saukeTeso adgilze dakida da wlebis manZilze ufrTxildeboda, rogorc Zvirfas, moyvasisagan mTeli guliT moZRvnil relikvias. es faqtic xom gviCvenebs,

of a deceased, or a happy second, Ilo’s eye was immediately spot a photo-owner’s financial situation, economic opportunity, and very often he just did not take money just because he did not want to miss a chance to respect and rejoice others . He was like this, he liked such a life.

In one of Rezo Gabriadze’s video interviews in 2004, the personal traits of his childhood friend are expressed as follows: “Ilo was a very respectable, but a simple man. He was never forcing his mood on anyone; As a descent man, he was always trying to agree with you. We would often get in a very funny situation– he was agreeing with anything, even unsaid. I consider this as a European phenomenon, which was quite spread in Imereti, in general. I mean words like: “I was thinking about you now”, “Getansvale”, “I saw you in my dream last night” ... and, in general, – the pleasant meeting, the environment, which was always created in Imereti, Kutaisi, and which was later turned to humorous subject by quite dubious writers. It was a normal, ordinary condition that ought to be there. ... he was a good man, a good talker, a modest person. By his very existence, he reminded us of some medieval tenderness and something lost, a true culture called politeness. He was always trying not to bring his depression to you. In this respect, I consider him a

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ra simaRleze ayenebda adamianebis siyvarulsa da pativiscemas. igi patiosnebisa da uangarobis gansaxierebad iTvleboda mTel quTaisSi. dRemde ixseneben uTvalav faqts, roca mas gaweuli Sromis safasuri ar gamourTmevia ara marto megobris, mezoblis, keTili nacnobisa Tu raime niSniT dasafasebeli adamianisaTvis, aseve xels umarTavda uamrav sxva vinmes: students, bavSvs, axalgazrdas, qvrivs, gaWirvebuls. pasportis suraTi iqneboda, saqorwino baraTis, micvalebulis pativsagebad gadidebuli Tu romeliRac bednieri wamis aRmniSvneli, ilo fotografis mzera TiTqos rentgeniviT Wvretda misi mflobelis finansur mdgomareobas, ekonomikur SesaZleblobas, Zalian xSirad ki, ubralod,fuls ar iRebda mxolod imitom, rom sxvisi pativiscemisa da gaxarebis Sanss ar uSvebda xelidan. aseTi iyo, aseTi cxovreba moswonda. rezo gabriaZis 2004 wlis erT-erT videointerviuSi misi siyrmis megobris pirovnuli Strixebi asea gadmocemuli: „ilo metad sapativcemulo kaci iyo, ubralo. arasodes gaxvevdaT Tavis xasiaTs; rogorc daxvewili adamiani, mudam cdilobda, rom dagTanxmebodaT. xSirad sasacilo mdgomareobaSic ki vvardebodiT yvelani, imitom, rom gTanxmdebodaT imaze, rac ar giTqvamT. me es mimaCnia evropeizmad, romelic iyo imereTSi saerTod. vgulisxmob iseT sityvebs, rogoricaa: „Senze vfiqrobdi axla“, „genacvale,“ „uime, wuxel damesizmre“... da, saerTod, _ im sasiamovno Sexvedras, garemocvas, romelsac yovelTvis qmnidnen imereTSi, quTaisSi, da romelic sakmaod saeWvo mwerlebma iumoris sagnad aqcies. es iyo Cveulebrivi, normaluri mdgomareoba, romelic unda yofiliyo. ...kai kaci iyo, kai mosaubre, xaTriani. Tavisi arsebobiT, igi gvaxsenebda Sua saukuneebiseul raRac sinazes da raRac dakarguls, WeSmarit kulturas, romelsac hqvia zrdiloba. cdilobda, Tavisi depresia TqvenTvis ar

good, normal, European citizen “(Interviewer Merab Kajaia, 2004, Tbilisi).

He was a simple and humble man, but full of dignity. He mostly valued sincerity, selflessness and kindness in people.

Once, there was this occasion, when a long-lost man from Israel visited him and threw green dollars on his head as a gift – as if with a joke, with a merciful smile. Poor and penniless, but rich in spirit, Ilo picked up the gift scattered on the old floor of the studio, gifted to him, and politely returned the money to this man.

One of our compatriots living abroad brought a new costume for Ilo. Wearing an old costume, Ilo got childishly happy to receive such gift, and more than that – the attention and sincere love expressed by the neighbor.

– Go, Ilo, put it on, try it on! Don’t think it’s a cheap one, I’ve given 400 dollars in it! – said the man.

Ilo’s eyes turned sad, he quietly left to put on the costume and returned right away, with a folded costume: – It did not fit me, take it!

Ilo did not take the costume, gave it back to the man.

Ilo was such a man – different, original and Kutaisi knew his value.

Ilo’s interesting personality, original humor has become a creative source for many writers. Many artists have painted his portrait, and young journalists were always aspired to him with special interest.

Uncle Ilo, grandpa Ilo was a great secret keeper for the younger generation. Not only the children of friends and neighbors, but also the students of nearby schools were hurrying to see him. Even the elvish kids skipping school would always find trustworthy shelter at Ilo’s, because they knew that a kind man with a smile on his face would never betray them. Girls and boys taking classes at the teachers’ house, would never flew up the stairs without popping in the photo studio and watching how grandpa Ilo was taking pictures under the dark cover of the tripod. They were often served with sweets as well. There was a fourth gastronomy next door, and probably no one in Kutaisi bought as much candy and chocolate as this one strange man for women and children, the guests of his photo-studio.

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moetana. am mxriv is mimaCnia karg, normalur, evropiel moqalaqed“ (interviueri merab qajaia, 2004 weli, Tbilisi) ubralo da Tavmdabali kaci ki gaxldaT, magram _ RirsebiT savse. adamianSi yvelaze metad gulwrfelobas, uangarobas, sikeTes afasebda.

Turme, israelidan Camosulma, didi xnis unaxavma adamianma moinaxula da Tavze mwvane dolarebi gadaayara saCuqrad _ TiTqos xumrobiT, mowyale RimiliT. Raribma da uqonelma, magram suliT mdidarma ilom akrifa saxelosnos Zvel iatakze gafantuli, misTvis boZebuli saCuqari da Tavazianad daubruna ukanve. sazRvargareT mcxovreb erT Cvens Tanamemamules ki ilosTvis axali kostiumi Camoutania. gacrecili, Zveli kostiumis mqones, bavSviviT gaxarebia saCuqari da amaze kidev metad _ moyvasisagan gamoxatuli yuradReba da gulwrfeli siyvaruli. am dros es kaci eubneba: _ midi, ilo, Caicvi, moizome! ubralo ki nu ggonia Sen es kostiumi, 400 dolari maqvs micemuli! ilos Tvalebi Cauqra Turme, uxmod gavida da imave wuTSi Semobrunda... dakecili kostiumiT: _ ar momergo, waiRe! arafriT ar daitova, ukanve gaatana is kostiumi. aseTi kaci gaxldaT ilo. aseTi gansxvavebuli, TviTmyofadi, da quTaisma icoda misi fasi. ilos saintereso pirovneba, TviTmyofadi iumori araerTi mwerlis SemoqmedebiTi wyaro gaxda. araerTma mxatvarmac daxata, axalgazrda Jurnalistebi ki mudam gansakuTrebuli interesiT miiswrafodnen misken.

Zia ilo, ilo babu axalgazrda Taobis didi mesaidumle brZandeboda. masTan sul mouxarodaT ara marto megobrebisa da mezoblebis Svilebs, aramed _ axlomaxlo skolebis moswavleebsac. „Sataloze“ gamosuli onavrebic ki didi ndobiT akiTxavdnen saxelosnoSi, radgan icodnen, RimiliT TvalmoWutuli, keTili kaci maT araviTar SemTxvevaSi ar gascemda. maswavlebelTa saxlis wreebSi mosiarule gogo _ biWebi ise rogor airbendnen kibis safexurebs, fotosaxelosnoSi interesiT ar SeeWvritaT da ar eyurebinaT, rogor iRebda samfexa aparatis muqi gadasafareblis qveS SemZvrali ilo babu suraTs. igi xSirad tkbileuliTac gamaspinZlebiaT. iqve, gverdiT iyo meoTxe nomeri gastronomi da, albaT, quTaisSi arc aravin yidulobda imden kanfetsa da Sokolads, ramdensac es erTi ucnauri kaci _ saxelosnos stumari qalbatonebisa da bavSvebisaTvis.

Taobebi izrdebodnen ilos Tvalwin. aw ukve didebi da xandazmulebi, siyvaruliT igoneben, rogori mSobliuri siyvaruliT evlebodaT maT Tavs ilo fotografi, moSiebulebs rogor apurebda, arTobda, rom mSoblebis mosvlamde Seeqcia. bavSvebi ilos fotoSemoqmedebaSi gansakuTrebuli

Generations grew up in front of Ilo. Already grown-ups and elderly, recall with love, how Ilo photographer used to take care of them, with parental love, how he would feed the hungry girls and boys to keep them joyful until the return of their parents.

Children are a special theme in Ilo’s photography. He has taken countless pictures for children of different ages. Happy parents would take newborns to the photo studio, then take them to Ilo every birthday, or even on special holidays, and, in fact, children were growing up in front of that magic lens of that old, three-legged camera.

“I have never lied to a child, never told them “a bird will fly” while taking a picture. If they cried, I would still take a picture. I love it when children laugh in front of the camera, but when they cry, I love it more. “ – this is how Ilo photographer, an eternal child himself, worked with children.

Thousands of such images have been left for half a century. *** The years have already confirmed the special place of Ilo photographer in the public history of Kutaisi in the second half of the twentieth century. Shortly after his death, Kutaisi artist Merab Kajaia (nicknamed Picasso) proposed to the city administration the

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Temaa. mas uTvalavi suraTi aqvs gadaRebuli sxvadasxva asakis bavSvebisaTvis. bednieri mSoblebi axalSobilebs rom miarbeninebdnen fotosaxelosnoSi, mere yovel dabadebis dRes, an gansakuTrebul dResaswaulebzec mihyavdaT xolme ilosTan da, faqtobrivad, im Zveli, samfexa aparatis jadosnuri obieqtivis win izrdebodnen, yalibdebodnen, zrdasrul adamianebad iqceodnen ilos norCi klientebi _ saojaxo albomebSi faqizad daculi fotomatianes lamazi varskvlavebi. „arasodes momityuebia bavSvi, arasodes miTqvams suraTis gadaRebisas _ Citi gamofrindebao. bavSvi Tu atirdeboda, mainc vuRebdi suraTs. miyvars, roca bavSvebi icinian fotoaparatis win, magram, roca tirian, is ufro miyvars“. _ aseTi wesiT muSaobda bavSvebTan ilo fotografi, Tavadac maradi bavSvi. aTasobiT aseTi suraTi datova naxevari saukunis manZilze.

idea of ​​founding a museum in Ilo’s name. It should also be noted

*** wlebma ukve daadastures ilo fotografis gansakuTrebuli adgili meoce saukunis meore naxevris quTaisis sazogadoebriv istoriaSi. arcTu didi xnis gardacvlili iyo igi, roca quTaiselma xelovanma merab qajaiam (metsaxelad pikasom) qalaqis xelmZRvanelobas SesTavaza misi muzeumis daarsebis idea. aqve unda iTqvas, rom pikasos gansakuTrebuli wvlili miuZRvis ilos Semoqmedebis memorializaciaSi, saamisod Segrovebuli aqvs didZali dokumenti, mis mier gadaRebuli SesaniSnavi video da audio masala, manve gaacifrula ilos mravali foto.

2005 wlis 14 ianvars ilos saxelosnos gare kedelze gaixsna quTaisis sayvareli fotografis originaluri Zegli. ideis avtori merab qajaia _ pikaso iyo, qandakeba ki respublikis damsaxurebulma mxatvarma, cnobilma moqandakem rezo ramiSvilma Seasrula. proeqti mTlianad badri patarkaciSvilma daafinansa. am Zeglis dadgmiT

monument and the museum, including the famous Georgian writer

that Picasso made a special contribution to the memorialization of Ilo’s work, for which he collected a large number of documents, excellent video and audio material taken by him, he also digitized many photos of Ilo. On January 14, 2005, an original monument to Kutaisi’s favorite photographer was unveiled on the outer wall of Ilo’s studio. The author of the idea was Merab Kajaia – Picasso, and the sculpture was performed by the honored Artist of the Republic, famous sculptor Rezo Ramishvili. The project was fully funded by Badri Patarkatsishvili. By this monument, Kutaisi expressed its sincere love and eternal gratitude to the photographer.

Along with the monument, the Ilos Photo Museum was also opened in the studio (which, unfortunately, was destroyed by a subsequent fire in the teachers’ house).

Many people came that day to the grand opening of the Otia Ioseliani, who described the event as follows: “they inaugurated the monument to a consciousness!”

In 2006, another idea of Merab ​​ Kajaia was accomplished – the Culture Department of the City Hall and its then-acting head, writer Gizo Tavadze, founded the annual photo contest “Ilo”. The first chairman of the jury was Guram Tsibakhashvili, a prominent representative of modern Georgian photography. The competition was held at the local and state level at first, and years later it received an international response. It is being held for the fifteenth time this year. Along with the financial prize for the winners of the competition, there is also a symbolic prize – a small statute of Ilo (author sculptor Giorgi Kikvadze).

In 2009, Kutaisi Publishing Center published the collection “Ilo” (editor – writer Elguja Tavberidze), which contains contemporary memories of Ilo photographer, works dedicated to him, articles, interviews.

These days my book “Ilo Photographer” was published, which was fully funded by the Kutaisi Municipality and in which I modestly presented the important aspects of Ilo’s life and work. Some part of his photo heritage was also published here – the wall paintings of the workshop, unique photos (up to 300) that I found in Kutaisi families and thematically. I have tried to verify the identities of the people depicted on them, but many names and surnames, as well as the date of the shootings cannot be identified (hopefully, the public will respond and in future editions we will be able to do a full study of Ilo photography).

Each of these photos is a happy second in the memory of the city.

Those seconds, the price of which Ilo knew best.

Indeed loved Ilo photographer his motherly Kutaisi.

Kutaisi loves Ilo.

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quTaisma Tavisi gulwrfeli siyvaruli da samaradJamo madliereba gamoxata fotografisadmi.

ZeglTan erTad, iqve, saxelosnoSi, gaixsna ilos fotomuzeumic (romelic, samwuxarod, maswavlebelTa saxlSi Semdgom gaCenil xanZars Seewira). mravali adamiani movida im dRes Zeglisa da muzeumis sazeimo gaxsnaze, maT Soris _ gamoCenili qarTveli mwerali otia ioseliani, romelmac ase Seafasa es movlena: „Zegli daudges patiosnebas!“ 2006 wels merab qajaias kidev erTi idea ganxorcielda _ qalaqis meriis kulturis ganyofilebam da misma imJamindelma xelmZRvanelma, mweralma gizo TavaZem safuZveli Cauyares yovelwliur fotokonkurss „ilo“.

Jiuris pirveli Tavmjdomare gaxldaT Tanamedrove qarTuli fotografiis TvalsaCino warmomadgeneli guram wibaxaSvili. konkursi jer saqalaqo da respublikuri masStabisa iyo, xolo wlebis Semdeg saerTaSoriso gamoxmaurebac moipova.wels ukve meTxuTmeted tardeba. konkursSi gamarjvebulTaTvis finansur jildosTan erTad dawesebulia simboluri prizic _ ilos patara figura (avtori moqandake giorgi kikvaZe).

2009 wels sagamomcemlo centrma „quTaisma“ dabeWda krebuli „ilo“ (redaqtori _ mwerali elguja

TavberiZe), romelSic Tavmoyrilia ilo fotografis Sesaxeb TanamedroveTa mogonebebi, misdami miZRvnili nawarmoebebi, statiebi, interviuebi. am dReebSi ki gamovida Cemi wigni „ilo fotografi“, romelic mTlianad q. quTaisis municipalitetis meriam daafinansa da romelSic mokrZalebiT warmovadgine ilos cxovrebisa da saqmianobis mniSvnelovani aspeqtebi. aqve daibeWda misi fotomemkvidreobis garkveuli nawilic _ saxelosnos kedlis suraTebi, Cem mier quTaisur ojaxebSi moZiebuli da Tematurad dalagebuli, unikaluri fotoebi (300-mde). Sevecade, damezustebina maTze gamosaxuli pirebis vinaobac, Tumca bevri saxelisa da gvaris, aseve _ gadaRebis TariRis dadgena, jerjerobiT, SeuZlebeli gaxda (imedia, sazogadoeba gamogvexmaureba da Semdgom gamocemebSi SevZlebT ilos fotografiis srulfasovan kvlevas).

TiToeuli es foto xom qalaqis mexsierebaSi gaelvebuli TiTo bednieri wamia. is wami, romlis fasi yvelaze metad ilom icoda.

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uyvarda ilo fotografs mSobliuri quTaisi. quTaiss uyvars ilo.

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ani Serozia

sabWoTa esTetikuri revolucia _ firosmanis muzeumis arqiteqtura ANI SHEROZIA

SOVIET AESTHETIC REVOLUTION - THE ARCHITECTURE OF THE PIROSMANI MUSEUM

sabWoTa kavSiris arseboba dResac ki polarizebul ganwyobebTanaa dakavSirebuli _ visTvis nostalgiur didebasTan, visTvis ki Rrma SeuracxyofasTan asocirdeba. sabWoTa arqiteqturis mimarT warmoqmnili ganwyobebic, TiTqos am mocemulobas imeorebs. Tumca, sabWoTa kavSiris daSlidan sakmao dro gavida da im periodis arqiteqturis gaanalizebac TandaTan gascda subieqtur damokidebulebebs.

1955 wels stalinis gardacvalebidan Zalian male, axalma mTavrobam klasicisturi grandiozuli Senobebis epoqa sabolood daasrula. Tumca, es procesi manamde daiwyo. kerZod, maSin roca 1947 wels eqsperimentul industriul samSeneblo biuros, mSeneblobisTvis vargisi iafi teqnologiis Seswavla daevala. biuros maSindelma

The existence of the Soviet Union is still associated with polarized attitudes - for some it is associated with nostalgic glory, for others it is associated with deep insults. Attitudes towards Soviet architecture also seem to repeat this fact. However, considerable time has passed since the collapse of the Soviet Union, and the analysis of the architecture of that period also gradually went beyond subjective attitudes.

Very soon after Stalin’s death in 1955, the new government finally ended the era of classicist grand buildings. However, this process started earlier. In particular, when in 1947 the Experimental Industrial Construction Bureau was commissioned to study cheap technology suitable for construction. Then head of the bureau, Vitaly Lugotenko, focused on large-scale ready-mixed concrete slabs, and in Moscow (Lugotenko-Poskhyn quarter), the first concrete frame

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xelmZRvanelma, vitali lugotenkom, yuradReba didi zomis mza betonis filebze gaamaxvila da moskovSi (lugotenko-posxinis kvartali), 1948 wels pirveli betonis karkasisa da filebis Senoba aSenda. es procesi ki sabolood, 1955 wlis noemberSi xruSCovis gankargulebiT _ eqscesebis (zedmetobebis) likvidaciis Sesaxeb, dasrulda. stalinizmis ideologiuri esTetikis dasrulebis Semdgom arqiteqtorebi axali normebisa da pirobebis CarCoebSi aRmoCndnen. qarxnulad warmoebuli betonis filebi, romelic gamoiyeneboda struqturul elementad, safasado panelebad da eqsterieris gamwvanebaSic ki, umTavresi xelmisawvdomi samSeneblo masala iyo, ramac arqiteqtorebis SemoqmedebiTi gzebi kidev ufro SezRuda. am cvlilebam sabWoTa kavSiris teritoriaze arsebul qalaqebSi erTferovani, minimalur saWiroebebze gaTvlili, standartuli sacxovrebeli saxlebis mSenebloba danerga (e.w. `xruSCovka~). rasac ver vityviT sazogadoebrivi daniSnulebis individualur proeqtebze. am tipis proeqtebSi naTlad SeiniSneba gardatexa. rkinis fardis gamtarobam arqiteqtorebs saSualeba misca 1920-iani wlebis avangardul ideebs dabrunebodnen da im droindel dasavlur xelovnebasac metnaklebad gaacnobodnen. „sabWoTa modernizmi“ axalgazrda terminia. is 2000-ian wlebSi gaCnda da moicavs 1955 wlidan sabWoTa kavSiris daSlamde periods. sabWoTa modernizmis epoqam TiTqmis oTxi aTwleuli iarseba. am periodis arqiteqturuli

and tile building was built in 1948. This process was finally completed in November 1955 by Khrushchev’s decree on the elimination of excesses.

After completing the ideological aesthetics of Stalinism, architects found themselves within the framework of new norms and conditions. Factory-made concrete slabs, used as a structural element, as facade panels, and even in exterior landscaping, were the main available building materials, further limiting the creative ways of architects. This change introduced the construction of monolithic, low-standard, minimal dwellings in cities in the Soviet Union (the so-called Khushchovka), which we cannot say about individual public projects. This type of projects, a shift is clearly observed. The permeability of the Iron Curtain allowed architects to return to the avant-garde ideas of the 1920s and become more or less familiar with the Western art of that time.

“Soviet modernism” is a young term. It originated in the 2000s and covers the period from 1955 until the collapse of the Soviet Union.

The era of Soviet modernism has existed for almost four decades. The aesthetic solution of the architectural forms of this period and the number of precisely calculated spaces depending on the purpose are really close to the Russian avant-garde architecture of the 20s and at the same time close to the architectural approaches prevalent and established in Europe and America of that period.

Strange, though, is the fact that the architectural requirements of then Soviet state were clearly in line with internationally established modern architecture. Leading materials in construction - concrete, steel, glass - created a new communist style. We see that the architecture has become lighter and more transparent. Even concrete

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formebis esTetikuri gadawyveta da daniSnulebidan gamomdinare zustad gaTvlili sivrceebis raodenoba namdvilad uaxlovdeba 20-iani wlebis rusul avangardul arqiteqturas da amasTanave axlos dgas im epoqis evropasa da amerikaSi gavrcelebul da damkvidrebul arqiteqturul midgomebTan. ucnauria, Tumca faqtia, rom maSindeli sabWoTa saxelmwifos arqiteqturuli moTxovnebi aSkara SesabamisobaSi modioda saerTaSorisod damkvidrebul Tanamedrove arqiteqturasTan. mSeneblobaSi wamyvani masalebi _ betoni, foladi, mina qmnida axal komunistur stils. vxedavT rom arqiteqtura gaxda ufro msubuqi da gamWvirvale. betonis masalac ki, miuxedavad misi masiuri struqturisa, gamoyenebuli iyo imgvarad, rom nagebobis msubuqi formebisTvis xeli Seewyo. am saxis cvlileba gasaocari iyo, miT ufro rom es regionebi sul cotaxnis win socrealizmis utopiur da gaumWvirvale qsovilSi arsebobdnen. modernizmis es „axali versia“ uars ambobda stalinisturi epoqisTvis damaxasiaTebel omis Semdgomi wlebis paTetikasa da erovnuli dekoris gamoyenebis praqtikaze. es iyo axali koncefciebisa da formebis erTgvari aRorZineba. TiTqos Senobebis mTavari dekori swored martivi konstruqciebisa da gamoyenebuli masalebis siSiSvle gaxda. didi mniSvneloba eniWeboda agreTve bunebrivi landSaftisa da arqiteqturis harmoniul Tanaarsebobas. amis erT-erTi saukeTeso magaliTia TbilisSi i. gagarinis quCaze, ferdobze gaSenebuli yvelasaTvis cnobili g. Caxavas mier daproeqtebuli yofili gzebis saministros Senoba, romelic araerTi Jurnalisa da sxvadasxva gamocemis gverdebze moxvda da am epoqis erT-erT saintereso nagebobadaa miCneuli. niko firosmanaSvilis saxelmwifo muzeumis Senoba sabWoTa modernizmis erT-erT gamorCeul nimuSs

material, despite its massive structure, was used in such a way as to facilitate the light forms of the building. This kind of change was astonishing, especially since these regions only existed in the utopian and opaque fabric of social realism until recently.

This “new version” of modernism rejected the pathos of the post-war years typical of the Stalinist era and the practice of using national decor. It was a kind of revival of new concepts and forms.

It is as if the main decor of the buildings became the nudity of simple constructions and materials used. Great importance was also attached to the harmonious coexistence of natural landscape and architecture. One of the best examples of this is the well-known building on Gagarini street in Tbilisi, built on the slope - former Ministry of Roads, designed by G. Chakhava, which has appeared in the pages of numerous magazines and various publications, and is considered to be one of the most interesting buildings of this age.

The building of the Niko Pirosmanashvili State Museum is one of the outstanding examples of Soviet modernism. The project implemented by Guram Bakradze is part of the Georgian SSR. Approved by the Ministry of Culture in 1970, the construction was completed in 1979.

The Pirosmani Museum building is interesting not only in terms of the Soviet era. It stands out from the samples of that time - it is one of the most pronounced brutalist buildings in Georgia.

Guram Bakradze, the architect of the museum building, started his professional career in the late 50s, when a design project was created in Tbilisi (later it was transformed into a Union Institute). During this period, the concept of design as such was not yet established in Georgia. Apparently, the knowledge gained in this direction was reflected in his projects as well. The architectural composition of Merab Berdzenishvili’s monument “They will grow up” has been created by Guram Bakradze. He is also the co-author of the interior design and furniture of the Parliament building, which indicates his creative vision of a wide range. For Guram Bakradze, the Niko Pirosmanashvili Museum in Mirzaani was an important project, so its execution took a lot of effort. The architect’s grave is in the museum yard.

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warmoadgens. guram baqraZis mier ganxorcielebuli proeqti saqarTvelos ssr. kulturis saministrom 1970 wels daamtkica. mSenebloba ki 1979 dasrulda. firosmanis muzeumis Senoba ara mxolod sabWoTa epoqis WrilSia saintereso. is gamoirCeva Tavad im drois nimuSebisganac _ es aris saqarTveloSi erT-erTi mkveTrad gamoxatuli brutalisturi nageboba. guram baqraZem, muzeumis Senobis arqiteqtorma Tavisi profesiuli saqmianoba 50-iani wlebis dasasruls daiwyo, rodesac TbilisSi dizainerTa saproeqto Seiqmna (Semdgom is gadakeTda sakavSiro institutad). am periodSi dizainis cneba, rogorc aseTi, saqarTveloSi jer kidev ar iyo fexmokidebuli. rogor Cans, am mimarTulebiT SeZenilma codnam Tavi iCina mis proeqtebSic. guram baqraZis avtorobiTaa Seqmnili merab berZeniSvilis monumentis „kidevac daizrdebian“ arqiteqturuli kompozicia. aseve misi TanaavtorobiTaa gakeTebuli parlamentis Senobis interierisa da avejis dizaini, rac mis farTo diapazonis SemoqmedebiTi xedvaze miuTiTebs. guram baqraZisTvis mirzaanis niko firosmanaSvilis muzeumi umniSvnelovanesi proeqti iyo, amitomac mis Sesrulebas udidesi jafa da mondomeba Sealia. arqiteqtori muzeumis ezoSia dakrZaluli. niko firosmanaSvilis saxelmwifo muzeumis SenobisTvis idealuri adgilia SerCeuli _ es aris SemaRlebuli

An ideal place has been chosen for the building of the Niko Pirosmanashvili State Museum - it is an elevated hill with a view of the Caucasus and the Alazani Valley. The museum building stands on a platform, which plays an important role in the whole architectural composition. The platform is a ground floor, with walled spaces, where the cafe-cellar of the museum was to be placed on the extreme left side according to the author’s project.

The museum building itself replicates the shape of a cross according to plan, with a flat roof, deaf, windowless facades, one central entrance and two spare exits at the back. Most of the building has exhibition galleries - central and side. The rest of the spaces provided rooms for staff and other museum needs. There are foundations in this part today.

The construction and architectural solution of the building is in line with the functionality of the museum. Exhibition galleries (central and side) provide the best orientation for visitors. The height of the ceiling (8 meters in the central part, 5 meters in the side galleries) allows for a variety of installations or attractions, while contributing to the unusual expression of the exposition. In the side exhibition spaces, natural dim lighting enters through the ceiling. Windowless walls provide abundant exhibition space.

It should be noted that in the project of Niko Pirosmanashvili Museum, along with the main building of the museum, a separate fund and entrance multifunctional building were designed, the construction of which, unfortunately, was not carried out.

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borcvi kavkasionsa da alaznis velze gadaSlili xediT. muzeumis Senoba platformaze dgas, romelic mTlian arqiteqturul kompoziciaSi umniSvnelovanes rols asrulebs. platforma warmoadgens nulovan sarTuls, datixruli sivrceebiT, sadac ukidures marcxena mxares avtoriseuli proeqtis mixedviT muzeumis kafemarani unda moTavsebuliyo. Tavad muzeumis Senoba gegmis mixedviT jvris formas imeorebs, brtyeli gadaxurviT, yru, ufanjro fasadebiT, erTi centraluri SesasvleliTa da ukana mxares ori saTadarigo gasasvleliT. Senobis udides nawilSi sagamofeno galereebia _ centraluri da gverdiTi. danarCen sivrceebSi gaTvaliswinebuli iyo oTaxebi momuSave personalisTvis da sxva samuzeumo saWiroebebisTvis. dRes am nawilSi fondsacavebia.

Senobis konstruqciuli da arqiteqturuli gadawyveta muzeumis funqcionalurobasTanaa misadagebuli. sagamofeno galereebi (centraluri da gverdiTi) vizitorebisTvis saukeTeso orientaciis saSualebas iZleva. Weris simaRle (8 metri centralur nawilSi, 5 metri gverdiTi galereebi) sxvadasxva saxis instalaciisa Tu atraqciis gamarTvis saSualebas

iZleva, amasTan eqspoziciis araCveulebriv gamomsaxvelobas uwyobs xels. gverdiTa saeqspozicio sivrceebSi Weris meSveobiT bunebrivi susti ganaTeba Semodis. ufanjro kedlebi ki _ uxvi sagamofeno sibrtyeebis arsebobas uzrunvelyofs. aRsaniSnavia, rom niko firosmanaSvilis muzeumis proeqtSi muzeumis ZiriTad SenobasTan erTad daproeqtebuli iyo calke fondsacavisa da Sesasvleli mravalfunqciuri Senobac, romelTa mSeneblobac samwuxarod ar ganxorcielda. muzeumis adgilmdebareobis SerCevisas didi sifrTxile iyo saWiro, rom bunebriv organizmSi Careva konfliqturi da damangreveli ar yofiliyo. nagebobis brutalisturi mouxeSavi arqiteqtura da megaliTuri formebi, miuxedavad Tavisi dominanturi xasiaTisa, mwvaned gadaSlil sivrceSi harmoniulad ewereba. eqsterieris daumuSavebeli betonis teqstura, mkacri, TiTqos daumTavrebeli kedlebi brutalisturi arqiteqturis erT-erTi damaxasiaTebeli niSania. mimdinareobis saxelwodebac franguli gamoTqmisgan béton brut (umi betoni) momdinareobs, romliTac frang-Sveicarieli arqiteqtori le korbuzie aRwerda mis mier am tipis

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SenobebisTvis SerCeul masalas. zogadad am periodis arqiteqtorebi, msoflios masStabiT _ evropasa da amerikaSi, plastikuri Tanamedrove struqturebis Sesaqmnelad betonis masalas aqtiurad iyeneben. am teqnologias iyeneben qarTveli arqiteqtorebic _ e.w. garsuli betoni. am tipis nagebobebidan Tbilisis isnis metros Senoba erT-erTi gamorCeuli magaliTia. Tumca, mirzaanis firosmanis muzeumis SemTxvevaSi arqiteqtori ganzrax ar cdilobs betonis teqsturis Semsubuqebas, piriqiT, masalasa da mis faqturas mTeli sisavsiT warmoaCens. ris safuZvelzec Senobis danaxvisas Seqmnil grandiozulobis gancdas qmnis. es STabeWdileba ar aris SemTxveviTi, vfiqrob arqiteqtoris Canafiqric swored es iyo. miuxedavad vertikaluri mZime masisa, detalebSi formebi darbilebulia, magaliTad, gverdiTa fasadebis morkaluli gluvi daboloebebi. aseve platforma romelzec muzeumi dgas _ momrgvalebuli wriuli formis banebi alaznis velis mxares da akakis xesTan. platformis es momrgvalebuli formebi TiTqos kaxeTis cixeebis arqiteqturas imeorebs. unda aRiniSnos mniSvnelovani detali _ arqiteqtori ara mxolod Tavad Senobis arsebul landSaftSi harmoniul Casmas axerxebs, aramed Senobis gverdiT mdgari xisTvisac cdilobs identuri garemos Seqmnas, arqiteqturis gagrZelebas. platformis moajiri miuyveba da gars evleba akakis xes, am gadawyvetiT is xes SenobasTan erTad saerTo sistemaSi moiazrebs. es midgoma kidev erTxel usvams xazs avtoriseul xedvas bunebisa da arqiteqturuli formis sruli Tavsebadobis mimarT. vinaidan, es Senoba Tavidanve aigo rogorc firosmanis muzeumi, SegviZlia davfiqrdeT Senobis arqiteqturul gadawyvetasa da Tavad mxatvris Semoqmedebis Tavsebadobazec. asaxavs Tu ara Senoba mxatvris SemoqmedebiT xasiaTs. mrCeba gancda rom proeqtis avtori firosmanis esTetikasa da Tavis namuSevars Soris kavSirs xedavda. sad igrZnoba es kavSiri, romel detalSi? iqneb daxvewil simartiveSi, „zedmetobebis gareSe“ da amavdroulad grandiozulobaSi. miuxedavad sabWoTa kavSiris epoqisTvis damaxasiaTebeli Caketilobisa, mirzaanis muzeumis arqiteqtoris xedva msoflios wamyvan qveynebSi damkvidrebuli arqiteqturuli mimdinareobebis kvaldakval viTardeba da amavdroulad, epoqis, sabWoTa modernistuli arqiteqturisTvis damaxasiaTebel saxesac atarebs. samwuxarod, es iyo xanmokle epizodi saqarTvelos arqiteqturis istoriaSi, romelmac SemdgomSi arsebuli ekonomikuri, socialuri da politikuri krizisis gamo ganviTareba Sewyvita da sabolood qaotur, moSlil, usistemo mSeneblobaSi gadaizarda.

Great care was taken when selecting the location of the museum so that interference with the natural organism would not be conflicting and destructive. The brutalistic rough architecture and megalithic forms of the building, despite its dominant nature, are harmoniously fit in the green space. The rough concrete texture of the exterior, the stiff, seemingly unfinished walls is one of the hallmarks of brutalist architecture. The name of the current is derived from the French expression Béton Brut (raw concrete), by which the French-Swiss architect Le Corbusier described the material he selected for this type of building.

In general, architects of this period, all over the world - in Europe and America, actively use concrete materials to create modern plastic structures. This technology is also used by Georgian architects - the so-called mortar concrete. The Isani metro building in Tbilisi is one of the outstanding examples of this type of construction.

However, in case of the Pirosmani Museum in Mirzaani, the architect does not deliberately try to lighten the texture of the concrete, on the contrary, he presents the material and its texture in its entirety, on the basis of which it creates a feeling of grandeur created when seeing the building. This impression is not accidental, I think that was the intention of the architect.

Despite the vertical heavy mass, the shapes in the details are softened, for example, the morphological smooth ends of the side facades as well as the platform on which the museum stands - rounded circular-shaped baths on the side of the Alazani Valley and the Akaki tree. These rounded shapes of the platform seem to replicate the architecture of Kakheti castles.

An important detail should be noted - the architect not only manages to harmoniously insert the existing landscape of the building, but also tries to create an identical environment for the tree standing next to the building, to continue the architecture. The railing of the platform follows and surrounds the acacia tree, with this solution he considers the tree to be in a common system with the building. This approach underscores once again the author’s vision of the full compatibility of nature and architectural form.

Since this building was originally built as a Pirosmani Museum, we can also think about the architectural solution of the building and the compatibility of the artist’s creativity. Whether the building reflects the creative character of the artist, I have a feeling that the author of the project saw a connection between Pirosmani’s aesthetics and his work. Where does this connection feel, in what detail? Maybe in subtle simplicity, “without redundancy” and at the same time in grandeur.

Despite the closure typical of the Soviet era, the vision of the architect of the Mirzaani Museum is evolving in the footsteps of the architectural currents established in the leading countries of the world, and at the same time, it has a characteristic look of the era, Soviet modernist architecture.

Unfortunately, this was a short episode in the history of Georgian architecture, which stopped developing due to the subsequent economic, social and political crisis and eventually turned into chaotic, broken, unsystematic construction.

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merab kezevaZe

naTali qvis pirveli Senoba quTaisSi MERAB KEZEVADZE

FIRST BUILDING OF THE POURED CONCRETE IN KUTAISI

1846 wels quTaisi sagubernio qalaqi gaxda, rasac Tan qalaqganaSenianebis aRmavloba mohyva _ daiwyo axali administraciuli, sacxovrebeli Tu sakulto daniSnulebis Senobebis ageba. rogorc quTaisis erT-erTi mematiane isaak puradaSvili igonebs: „1852 welSi daiwyes Senoba Rimnaziisa da sasamarTlo adgilebisa: Ruberniisa da uezdis sasamarTloebisa saxazinadro da Ruberniis sudis~. es ukanaskneli Senoba imdroindel dokumentebSi iwodeboda, rogorc „здания присутственних мест“, romelic 1861 wlis 19 ianvris (#6) gazeT „kavkazSi“, quTaisSi mSenebare sakaTedro taZris dasavleTiT, bulvaris mxareze mdebare „sasamarTlo adgilebis“ nagebobadaa moxseniebuli da korespondentis TqmiT „naTali qvis pirveli Senobaa quTaisSi“. am erTgvari administraciuli daniSnulebis Senobis ageba, jer kidev 1849 wels ndomebia petre zubalovs, magram es maSin ar moxerxda. 1851 wlis 15 oqtombers, kavkasiis mefisnacvlis m. voroncovis nebarTviT, quTaisis samxedro gubernatorma general-maiorma a. gagarinma Senobis agebaze kontraqti gaaforma TbilisSi mcxovrebi iakob zubalovTan da aleqsi ter-gukasovTan. mSeneblebi valdebulebas iRebdnen quTaisis guberniis sammarTvelos, sasamarTlos, arqivis, prokuraturis, kancelariis, samazro mmarTvelobis, xazinis da samxedro kancelariisTvis TavianTi xarjiT aegoT ori Senoba, orive orsarTuliani, qvisa da agurisagan. agebul Senobebs Semdeg, 37 wlis vadiT, xazina weliwadSi 2 500 maneTad daigiravebda.

SenobaTa asagebad dRevandeli bulvaris dasavleT mxareze, romelic maSin Tavisufal moedans warmoadgenda da „batalionis placad“ iwodeboda, xazinam gamoyo nakveTi, zomiT 31X42 saJeni. es iyo bulvaris mTel sigrZeze gamavali xazi. mSenebloba sam weliwadSi unda dasrulebuliyo, magram misi ageba 1853 wels dawyebulma ruseT-TurqeTis omma daabrkola. zemoTnaxseneb miwis nakveTze, faqtobrivad, gaSenda patara kvartali, romelSic umTavresi swored guberniis mmarTvelobisa da sasamarTlos Senoba iyo (axlandeli

In 1846, Kutaisi became a provincial city, which was followed by the rise of urban development - the construction of new administrative, residential or religious buildings began. As Isaak Puradashvili, one of the chroniclers of Kutaisi, recalls: The latter building was referred to in documents at the time as the “здания присутственних мест”1 which in the newspaper “Kavkaz” of January 19, 1861 (N6) is referred to as the building of “court premises” located on boulevard - west side of the cathedral in Kutaisi and according to the correspondent, “is the first poured concrete building in Kutaisi”.

The construction of this kind of administrative building was planned by Petre Zubalov in 1849, but not executed by that time. On October 15, 1851, under the permission of M. Vorontsov, the Viceroy of the Caucasus, the military governor of Kutaisi, Major-General A. Gagarin signed a contract with Iakob Zubalov and Alex Ter-Gukasov, who lived in Tbilisi, to build the building. The constructors undertook the obligation to build two separate 2-story buildings under their own expense, for the Kutaisi Provincial Division, the Court, the Archive, the Prosecutor’s Office, the Chancellery, the Governorate, the Treasury and the Military Chancellery. After the buildings were built, the treasury would mortgage them for 2,500 manats a year for a period of 37 years.

The treasury allocated a plot of land measuring 31X42 Sajen2 for the construction of buildings on the west side of today’s boulevard, which was then a free square and called “Battalion Platz”. It was an outgoing line along the entire length of the boulevard. Construction was to be completed in three years, but its was canceled during the Russo-Turkish War of 1853.

On the above-mentioned plot of land, in fact, a small quartier was built, main building of which was the governorate office and court building of the province (now one of the pharmacies). The project for this building seems to have been drawn up in 1850. Its author, the famous Giovanni Scudieri (1816-1851), is an Italian architect who was brought from Odessa to Tbilisi by the Viceroy Vorontsov in 1846, where he designed such famous buildings as are the military temple, the theater-Karvasla, the police building, the Michael (dry) bridge etc.

Zubalov and Ter-Gukasov completed the construction of the 1 2

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In Russian “office buildings” In Russian сажень, measurement unit equaled to 7 ft

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erT-erTi afTiaqi). am Senobis proeqti 1850 wels ukve Sedgenili Cans. misi avtori, cnobili jovani skudieri (1816-1851), warmoSobiT italieli arqiteqtoria, romelic 1846 wels mefisnacvalma voroncovma odesidan TbilisSi Camoiyvana, sadac misi proeqtebiT aigo iseTi cnobili nagebobebi, rogoric iyo samxedro taZari, Teatriqarvasla, policiis Senoba, mixeilis (mSrali) xidi da sxv. zubalovma da ter-gukasovma Senobis ageba 1855 wlis gazafxulze daasrules, 5 marts masSi gadavida quTaisis guberniis mmarTveloba, sasamarTlo, prokuratura da arqivi, 20 oqtombers ki _ xazina. wina wels maT daamTavres dRevandeli operis Teatris Sesasvlelis adgilze mdebare orsarTuliani saxlis, xolo 1860 wels operis Teatris ukana mxareze mTeli quCis sigrZeze erTsarTuliani qvis duqnebis ageba. 1862 wels aseTive duqnebi (`pasaJa~) aaSenes axlandeli faliaSvilis quCis samxreT mxareze.

1880-81 wlebSi sagubernio mmarTvelobis saxli da irgvliv mdebare kvartali zubalovisa da ter-gukasovis memkvidreebisgan TiTqmis mTlianad SeiZina quTaiselma

building in the spring of 1855. On March 5, the administration, court, prosecutor’s office and archive of the Kutaisi province were relocated in that building, and on October 20 - the treasury was also moved there. The previous year they had completed the construction of a two-story house at the entrance to the present-day Opera House, and in 1860 a one-story stone dungeon along the entire street at the back of the Opera House. In 1862, similar shops (passage) were built on the south side of the present Paliashvili street.

In 1880-81, the house of the governorate and the surrounding quartier were almost completely bought by the merchant of the 2nd Guild of Kutaisi, Ivane Zurab Gvelesiani, from the heirs of Zubalov and Ter-Gukasov. The proprietor was changed however the functions of the buildings remained the same. In January 1906, the provincial governorate building was severely damaged by a fire, which destroyed much of the provincial archives. After that, the building became the property of brothers Grigol and Stefane Otskheli, and it remained the office of governorate until the rise of Soviet government.

In 1922 the building became the municipal property of the city

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and housed the provincial finance department. In the 60s of the 20th century, the house was built on the 3rd floor and used for living. It has the same function now, while there are commercial spaces on the first floor.

As we have mentioned, the building was severely damaged by a fire in January 1906, which left Kutaisi almost without archive, i.e. without memory.

There are many tragic facts in the history of Kutaisi – a city of more than three thousand years, which have been followed by an irreparable loss. That was the kind of fire that was mentioned. The existence of an archive in Kutaisi has been continuously confirmed since the 10th century, which is due to the political-administrative status of this city. Before the restoration of Georgia’s independence (1918), there were several departmental archives in Kutaisi as a provincial city. Among them was the archive-repository of documents of the governorate of Western Georgia, the archive of the same governorate, which became a kind of successor of the old royal archive...

It is known that the first bourgeois-democratic revolution that started on January 9, 1905 in the Russian Empire had a great response in Georgia as well, including in Kutaisi province. It had in its character, chiefly, the character of a people’s movement, in which the nationalliberation aspects were evident. Some sort of success for the People’s

me-2 gildiis vaWarma ivane zurabis Ze gvelesianma. SeiZina, magram maT funqciebi Zveleburad darCaT. 1906 wlis ianvarSi sagubernio mmarTvelobis Senoba mniSvnelovnad daaziana gaCenilma xanZarma, ramac faqtobrivad Seiwira aq ganTavsebuli sagubernio arqivis didi nawili. mis Semdeg Senoba Zmeb grigol da stefane petres Ze ocxelebis sakuTreba gaxda da masSi sabWoTa xelisuflebamde isev mmarTvelobiTi dawesebulebebi iyo ganTavsebuli.

1922 wels saxli qalaqis municipalur sakuTrebaSi gadavida da masSi samazro safinanso ganyofileba ganTavsda. me-20 saukunis 60-ian wlebSi saxls me-3 sarTuli daaSenes da sacxovreblad iyenebdnen. igive funqcia aqvs mas amJamadac, xolo pirvel sarTulze komerciuli farTebia. rogorc aRvniSneT, Senoba 1906 wlis ianvarSi Zalze daaziana masSi gaCenilma xanZarma, romelmac quTaisi kinaRam uarqivod, anu mexsierebis gareSe datova. sami aTas welze meti xnis quTaisis istoriaSi bevria tragikuli faqti, romelsac gamousworebeli, aRudgeneli danakargi mohyolia. swored aseTi gaxldaT xsenebuli

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xanZari. quTaisSi arqivis arseboba X saukunidan dRemde uwyvetliv dasturdeba, rac am qalaqis politikuradministraciuli statusiTaa ganpirobebuli. saqarTvelos damoukideblobis aRdgenamde (1918 weli) quTaisSi, rogorc sagubernio qalaqSi, ramdenime sauwyebo arqivi arsebobda. maT Soris gamorCeuli iyo dasavleT saqarTvelos mmarTvelobis dokumentebis arqiv-sacavi, igive sagubernio mmarTvelobis arqivi, romelic erTgvari memkvidre gaxldaT Zveli samefo arqivisa... cnobilia, rom 1905 wlis 9 ianvars ruseTis imperiaSi dawyebul pirvel burJuaziul-demokratiul revolucias didi gamoxmaureba hqonda saqarTveloSic, maT Soris quTaisis guberniaSi. mas CvenSi, umTavresad, saxalxo moZraobis xasiaTi hqonda, romelSic aSkarad Canda erovnul-ganmaTavisuflebeli aspeqtebi. 1905 wels saxalxo moZraobis miRweul erTgvar warmatebebs 1906 wlidan revolucionerebze (faqtobrivad mTel mosaxleobaze) xelisuflebis daundobeli Seteva mohyva. quTaisis guberniaSi am misiis Sesruleba droebiT general-gubernators, general maqsud alixanov-avarskis daekisra.

1906 wlis ianvris dasawyisSi, quTaisSi samxedro mdgomareoba gamocxadda, rasac male qalaqSi areuloba mohyva. rogorc cnobilia, am dros quTaisTan sarkinigzo

Movement in 1905 was followed by a relentless attack by the governorate on the revolutionaries (virtually the entire population) from 1906 onwards. This mission in Kutaisi province was temporarily assigned to the Governor-General Maksud Alikhanov-Avarski.

In early January 1906, martial law was declared in Kutaisi, which was soon followed by unrest in the city. As it is known, at that time the railway connection with Kutaisi was terminated for its restoration purposes. On January 9, 1906, additional troops were deployed in Kutaisi. After 1905, January 9 was considered a significant day for a large part of the population and therefore this day was celebrated with a strike in the city.

The city’s merchants also went on strike, but for fear of the newly arrived army or other circumstances, the merchants opened their shops at 3 o’clock in the afternoon and began to work. It seemed that the army had no reason to invade the city, but, unfortunately, this did not happen. As the correspondent (anon. “Klde”) of the newspaper “Tsnobis Purstseli” 3 (other newspapers, in fact, was no longer published due to the revolutionary movement) writes -` The army that came to rebuild the road has left. It was night. Appearance posed nothing dangerous to the citizens. At 11 a.m., a fire broke out in the town. Indeed, the house on the right side of the Rioni river was burning and the fire was extinguished a little later. The city was put to 3 Name of the newspaper in Georgian, meaning information bulletin

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kavSiri, aRdgenis sababiT, Sewyvetili iyo. 1906 wlis 9 ianvars, quTaisSi damatebiTi jaris nawilebi Seiyvanes. 1905 wlis Semdeg, 9 ianvari mosaxleobis didi nawilisaTvis RirsSesaniSnav dRed iTvleboda da amitom es dRe qalaqSi gaficviT aRniSnes. gaificnen qalaqis savaWroebic, Tumca axlad mosuli jaris SiSiT Tu sxva garemoebebiT, SuadRis 3 saaTze vaWrebs duqnebi gauRiaT da muSaoba dauwyiaT. TiTqos jars qalaqis asawiokeblad mizezi aRar rCeboda, magram, samwuxarod, ase ar aRmoCnda. rogorc gazeT `cnobis furcelis~ (sxva gazeTebi, revoluciuri moZraobis gamo, faqtobrivad, aRar gamodioda) korespondenti (`klde~) wers _ `gzis aRsadgenad mosuli jari wavida. daRamda. garegnoba arafers saSiSs uqadda moqalaqeT. 11 saaTze daiZaxes, rom qalaqSi cecxli gaCndao. marTla, rionis marjvena mxares iwvoda saxli da patara xans ukan cecxli Caqra. qalaqi Zils mieca. Ramis pirvel saaTze mTeli qalaqi ganaTda. iwvoda quTaisis erTi udidesi Senoba, saxeldobr, gvelesianis saxli, sadac qveda sarTulSi maRaziebi da guberniis stambaa moTavsebuli, xolo zeda sarTulSi _ guberniis sammarTvelo da TviT

sleep. In the first hour of the night the whole city was lit up. The fire burned one of the largest buildings in Kutaisi, namely, Gvelesiani’s house, on the lower floor there are shops and a printing house of the province, and on the upper floor - the provincial department and the owner of the house. Everyone rushed to Gvelesiani’s house, but no one dared to come, because the sound of gunfire could be heard from around Gvelesiani’s house. Meanwhile the fire was intensifying and it spread and fell into the sky, lighting the city.

The sound of gunfire could no longer be heard and people and firefighters approached Gvelesian’s house. The picture was horrible. A heartbroken owner was standing by the house on fire and watching with his own eyes how his property was being burnt. A little further away the second house was burning. The firefighters were trying their best not to let the fire move to another building ... Vice-governor Kipshidze and police chief Klimentov came with the firefighting detachment and did not leave until 9 am and led the fire fighting. The provincial division, with the exception of the stationery store and the archives of the secular department, survived. 9 shops full of shopping items were burnt down. The loss is great”.

According to the correspondent who relied on victims and witnesses of the fire, “this was done by Cossacks and soldiers, who

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saxlis patroni. yvela gvelesianis saxlisaken gaeSura, magram misvliT veravin mibeda, radgan gvelesianis saxlis midamoebidan srolis xma ismoda. amasobaSi cecxli Zlierdeboda da ali zecaSi avarda, qalaqi ganaTda. srolis xma aRar ismoda da xalxi da cecxlis mqrobelni miuaxlovdnen gvelesianis saxls. suraTi sazareli iyo. aRgznebul cecxlSi gaxveul saxlTan idga gulxeldakrefili gvelesiani da Tavis TvaliT uyurebda, rogor ibugeboda imis qoneba. cota moSorebiT iwvoda meore saxli. cecxlis mqrobelni Seudgnen saqmes da mTeli TavianTi cda imas moaxmares, rom cecxli sxva Senobaze ar gadasuliyo... cecxlis mqrobel razmTan erTad movida vice-gubernatori yifSiZe da policmaisteri klimentovi, romelnic dilis 9 saaTamde ar wasulan da cecxlis qrobas xelmZRvanelobdnen. guberniis sammarTvelo, garda sakancelario nivTebis maRaziisa da saero ganyofilebis arqivisa, gadarCa. daiwva 9 maRazia, savaWro nivTebiT gavsebuli. zarali didia~. korespondentis TqmiT, romelic dainteresebul pirTa da xanZris gaCenis mowmeebs eyrdnoboda, `es saqme Caidines kazakebma da saldaTebma, romelTac jer maRaziebidan

first took what they wanted out of the shops and then opened fire and set fire to the looted shops.”(“Tsnobis Purtseli” 20 January, 1906).

One week after the fire, General Alikhanov arrived in Kutaisi by emergency train. He was met at the city station by representatives of the civil and military authorities. Upon his arrival, the general promised to those met at the state - “I hope to establish peace here as well as I did in Shorapani Mazra” (Shorapani Mazra had already been burnt by Alikhanov - MK). The arrival of the de facto ruler of the province, General Alikhanov, who was staying at the governor’s house, “started” new fires in Kutaisi. According to the correspondent, on the same day, a fire broke out in three places, one on Padiezdi street, near Vogzal4, 7 shops were burnt in the sky and the rest were completely destroyed. Two shops on Balakhvani street were burnt down and several were destroyed. One shop on Tbilisi street burned down. In addition, looting took place in many places. It is said that before setting fire to the shops, whatever expensive was found inside was taken away with three drays” (“Tsnobis Purtseli”, 21 January, 1906)) The next big fire broke out in Kutaisi on January 26. On this day, on Gymnasium street, directly unknown persons of the Archangel 4

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Russian word for “railway station”

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gaitanes, rac undodaT da mere srola astexes da gaZarcvul maRaziebs cecxli waukideso.“ („cnobis furceli“ 20 ianvari 1906 w.). am xanZridan erTi kviris Semdeg, quTaisSi Camovida generali alixanovi sagangebo matarebliT. mas qalaqis vagzalze daxvdnen samoqalaqo da samxedro xelisuflebis warmomadgenlebi. Camosuli generali damxvdurT dapirda _ `imedi maqvs aqac ise davamyareb mSvidobianobas, rogorc Sorapnis mazraSio“ (Sorapnis mazra ukve alixanovisgan gadamwvar-aoxrebuli iyo _ m.k.). guberniis faqtobrivi mmarTvelis, general alixanovis Camosvlam, romelic gubernatoris saxlSi dabinavda, quTaisSi axali xanZrebi `gaaCina~. korespondentis TqmiT `amave dRes sams adgils gaCnda cecxli, erTi padiezdis quCaze, vogzalis maxloblad, saca daiwva 7 maRazia da danarCeni mTlad ganadgurebulia. balaxvanis quCaze daiwva ori maRazia da ramdenime ganadgurebulia. tfilisis quCaze daiwva erTi maRazia. amas garda, mraval adgilas Zarcva-gleja moxda. rogorc amboben, vidre cecxls waukidebdnen maRaziebs, rac-ki ram Sig naxes Zvirfasi, gamoitanes da sami drogiT waiReso~ (`cnobis furceli~ 21 ianvari 1906 w.)

Semdegi didi xanZari quTaisSi 26 ianvars gaCnda. am dRes, gimnaziis quCaze, mTavarangelozis eklesiis pirdapir ucnobma pirebma sasikvdilod daWres etliT mimavali zugdidis mazris ufrosi keRamovi. „amave dRes, saRamos 7 saaTze, iq, sadac mazris ufrosi keRamovi dasWres, jer Tofis saSineli srola astyda, da Semdegki ramdensame adgilas cecxlma iCina Tavi. pirvelad cecxli waekida i. gvelesianis did Senobas, sadac moTavsebuli iyo sesias sakonditero, qalaqis Teatris foie, erTi saparikmaxero da erTi sxva duqani. am Senobis meore sarTulSi ki sagubernio saeqimo sammarTvelo iyo moTavsebuli. cecxlis mqrobeli razmi Tumca male movida magram, radgan am dros Zlieri zena qari qroda, veraferi uSvela da mxolod mezobeli Senobebi _ marjvniv qalaqis Teatri da marcxniv sagubernio sammarTvelo stambiT gadaarCina, Tumca Teatri cotaTi mainc Seitrusa...~ garda zemoaRniSnuli gvelesianis Senobisa, gadamwvari aRmoCnda aTobiT maRazia (`cnobis furceli~ 31 ianvari). korespondenti qalaqis centralur nawils `ulmobeli mtris aoxrebul qalaqs~ adarebda. „cnobis furcelis“ momdevno nomerSi quTaisSi 26 ianvars momxdar xanZarze damatebiTi cnobebia mocemuli „guSindel werilSi ramdenadac SeiZleboda erTisTvalis gadavlebiT gacnobeT quTaisis aoxrebis ambebi. damtvreuli da darbeuli maRazia Semdeg bevri aRmoCnda.

26 ianvars, Rame gaetexaT sabaevisa da filipovis maRazia, rac moswonebiaT wauRiaT, rac ara daumtvrevdaumsxvreviaT. Tfilisis quCaze gaetexaT kirisCevis samosebis maRazia, sadac ramdenime aTasi maneTis Sesakeri saqoneli iyo Turme, araferi ar daetovebinaT. iqve

Church fatally wounded Keghamov, the head of Zugdidi district, who was riding in a wheelchair. “On the same day, at 7 o’clock in the evening, where Keghamov, the head of the district, was wounded, first a terrible shot was fired, and then a fire broke out in several places. For the first time a fire was lit the huge building of i. Gvelesiani, which housed the Sesia’s confectionery, the foyer of the city theater, one barber shop and one douqan. The second floor of this building housed the provincial medical division. The fire brigade came soon after, but because the strong wind was blowing at that time, nothing could help and only the neighboring buildings - the city theater on the right and the provincial department on the left - were saved with the archive left, but the theater was still a bit scorched ... “. Except for the Gvelesiani building, up to ten shops were burnt (“Tsnobis Purtseli” 31 January). The correspondent compared the central part of the city to the “ruined city of the ruthless enemy”.

The next issue of the “Tsnobis Purtseli” provides additional information about the fire that took place in Kutaisi on January 26 – “In yesterday’s bulletin we informed you at a glance as briefly as we could the news on Kutaisi ravage. The smashed and raided shops then turned out to be a lot. On the night of January 26, Sabaev and Filipov’s shop was ransacked, they took whatever they liked, and things they did not like were broken and smashed. Kirischev shop was ransacked on Tbilisi street, where there were the sewing materials worth several thousand manats, and they left nothing. Makhatadze

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gaetexaT maxaTaZis sabakal-Rvino duqani, saqoneli zogi waeRoT da zogic gadaeyaraT. ebraelTa ubanSi gaetexaT s. WeiSvilis farTleulobis maRazia da ramdenime asi Tumnis saqoneli waeRoT. gatexili da gaqurduli aRmoCnda, agreTve, mravali ebraelis da xarazis duqani. i. gvelesianis SenobaSi, romelsac am saRamos cecxli waukides, garda sagubernio saeqimo dawesebulebisa, moTavsebuli yofila, agreTve saaRmSeneblo ganyofileba. mTavrobis es ori dawesebuleba Tavis qaRaldebiT (arqiviT _ m.k.) daiwva“ („cnobis furceli“ 2 Tebervali 1906 w.). generalma alixanovma quTaisSi momxdari ambebis Sesaxeb gazeT `kavkazSi~ Tavi imarTla. misi „Tavis marTleba“ qarTulad dabeWdilia gazeT `cnobis furcelSi“: `tfilisSi gavrcelebuli xmebi, viTom quTaisis guberniaSi jari Zarcva-glejas da cecxlis wakidebas misdevdes, yovel simarTles moklebulia. rac quTaisis guberniaSi Semovel, ese igi 11 ianvridan, amisTana ara momxdara-ra. sxvadasxva komitetis meTaurebma, romelnic jaris mosvlisTanave gaiqcnen, dastoves ramdenime aTi kaci, romelTac daevalaT ar SeaCeron terori. es borotmomqmedni gansakuTrebiT Ram-RamobiT icvamen saldaTis

wine douqan was broken, some goods were taken and some - thrown away. In the Jewish quartier, the textile shop of S. Tcheishvili was robbed and the goods of several hundred tumans were taken away.

Many Jewish and shoe shops were also robbed and looted. The Gvelesiani building, which was set on fire this evening, in addition to the provincial medical facility, housed the construction department.

These two offices of the governorate were burnt down with their papers (archives – M.K.) “(“Tsnobis Purtseli” 2 February, 1906).

General Alikhanov justified himself in the newspaper “Kavkaz” about the news in Kutaisi. His “self-righteousness” was published in Georgian in the newspaper “Tsnobis Purtseli”: “Rumors spread in Tiflis, as if the army is looting and setting fires in Kutaisi province, is far from truth. Since 11 January, the day I came here in Kutaisi province, nothing like this has happened. The commanders of the various committees, who fled as soon as the troops arrived, left a few dozen men, who were instructed not to stop the terror. These evildoers, especially at night, wear soldier uniforms and start looting and setting fire. Then they spread false rumors as if the soldiers were doing this.” The general also sent his orders about forbidding the army from looting and setting fire, to the newspaper’s editorial office (“Tsnobis Purtseli” February 2, 1906). The same newspaper in its next issue, on February 4, once again reviews the fire that broke out on

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tanisamoss da iwyeben Zarcvas da cecxlis wakidebas. mere TiTonve cru xmebs avrceleben, viTom am saqmes saldaTebi sCadiodnen“. generals gazeTis redaqciisTvis Tavisi is brZanebebic gaugzavnia, romliTac jars Zarcva-glejas da cecxlis wakidebas ukrZalavda (`cnobis furceli~ 2 Tebervali 1906 w.). igive gazeTi momdevno nomerSi, 4 Tebervals kidev erTxel mimoixilavs 26 ianvars gaCenil xanZars. korespondentis TqmiT, quTaisSi `sadgurze kaci arsad ara sCanda, etli ori aRmoCnda da vinc moaswro, waiyvana. xolo sxvebma fexiT gaiseirnes... bulvari mTlad carieli damxvda... auqcie bulvars mxari da wavedi qvemod Teatrisaken, romelic gazeTebis sityviT damwvari unda yofiliyo... Teatri damwvari ar aris _ cota dazianebulia bulvaris mxriT da bevri xarji ar dasWirdeba SekeTebas, samagierod rac ki saxlebia, sesievis sakonditerodan dawyebuli gvelesianis saxlamde yvela damwvaria, gadarCenila raRac manqanebiT gvelesianis saxlis is nawili, sadac guberniis sammarTveloa moTavsebuli. danarCeni mTlad gadabugula. gadamwvaria egreTve ramdenime maRazia mixeilisa da gimnaziis quCebis kuTxeSi. yovelive es saSinel sanaxaobas warmoadgens da

January 26. According to the correspondent, a man could not be seen anywhere at the station in Kutaisi, the wheelchair turned out to be two and he took whoever managed to take it. While the others were walking ... I found the boulevard completely empty ... I turned off the boulevard and went down to the theater, which according to the newspapers should have been burned ... the theater is not burned - it is a bit damaged on the boulevard and will not need much repair, there are houses, everything from Sesiev confectionery to Gvelesiani house are burnt, some part of Gvelesiani house where the provincial department is located has miraculously survived. The rest was completely blown away. Several shops on the corner of Mikheili and Gymnasium streets have also been burnt down. All this is a horrible sight and if you think about it, you cannot understand – how resentful and furious were they to burn and waste the wealth of the people ...

Since January 11, since the introduction of martial laws, more than a quarter of the buildings and shops on the boulevard have been burned…Damage incurred to Kutaisi merchants by fire was not enough: seemingly, the desire to plunder and destroy caused more damage to the city than the fire (“Tsnobis Purtseli”, 4 February, 1906).

Unlike the press, the archival facts about the fire are fewer. On February 16, 1906, the Kutaisi Governorate discussed the issue of

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rom daufiqrdebi, ver gagigia _ ram gaaSmagaT ase, rom uwyalod wvaven da dagaven xalxis simdidres... ianvris 11dan dawyebuli, ese igi samxedro wesebis SemoRebis dRidan, gadaiwva meoTxedze meti im Senobebisa da maRaziebisa, romelic bulvarTan aris moTavsebuli... rac cecxlma daaklo quTaisis vaWrebs, is ar akmares: Zarcva-glejam da ganadgurebis survilma, rogorca sCans ufro meti zarali miayena qalaqs vidre cecxlma (`cnobis furceli“ 4 Tebervali 1906 w.). presisagan gansxvavebiT, ufro mokrZalebulia saarqivo faqtebi momxdar xanZarTan dakavSirebiT. 1906 wlis 16 Tebervals, quTaisis guberniis mmarTvelobis sakrebuloSi ganxiluli iqna quTaisis guberniis mmarTvelobis Senobis sakiTxi, kerZod msjeloba iyo ianvarSi xanZrisagan ganadgurebuli mmarTvelobis zogi ganyofilebisaTvis axali Senobebis daqiravebaze. msjelobas win uZRoda sagubernio Senobis xanZrisagan ganadgurebis istoria, romlis mokle Sinaarsi aseTia: `1906 wlis 10 ianvris Rames, quTaisSi, mixeilis (amJamad faliaSvilis) da voroncovis (amJamad wm. ninos) quCebis kuTxeSi mdebare, ivane gvelesianis kuTvnil SenobebSi gaCenila xanZari, romelic gadasula sagubernio mmarTvelobis Senobaze da meore dRis dilisTvis Senobis CrdiloeTi mxaris qveda sarTuli, sadac inaxeboda saarqivo saqmeTa nawili, da zeda sarTuli, sadac ganTavsebuli iyo sagubernio mmarTvelobis saerobo ganyofileba, cecxlisagan ganadgurebuli iqna. arqivis saqmeebi mTlianad damwvara, saerobo ganyofilebis saqmeebisa _ nawili. amis Semdeg, 27 ianvris Rames, isev gaCnda xanZari igive gvelesianis kuTvnil, voroncovisa (amJamad wm. ninos) da gimnaziis (amJamad rusTavelis) quCebis kuTxeSi mdebare orsarTulian saxlSi, sagubernio mmarTvelobis Senobis mTavari korpusis samxreT mxridan. xanZrisagan ganadgurebuli Senobis zeda sarTulze ganTavsebuli iyo sagubernio mmarTvelobis samSeneblo da saeqimo ganyofilebebi, or oTaxSi ki saarqivo saqmeTa nawili da kurierebi iyvnen ganTavsebulni. damwvari saxli sagubernio mmarTvelobis mTavari korpusis zeda sarTuls ukavSirdeboda gansakuTrebuli xis galereiT (SuSabandiT), romelSic aseve iyo karadebi guberniis mmarTvelobis II ganyofilebis saqmeebiT. daiwva samSeneblo da samedicino ganyofilebebis yvela saqme da saxazino qoneba, aseve daiwva II ganyofilebis saqmeebis nawili, saarqivo saqmeebi da kurierTa qoneba, aseve, cecxlma, romelic galereidan gavrcelda, daaziana karadebi, I da II ganyofilebebis saqmeTa nawili~. damwvari Senobebi, rogorc am saqmidan Cans, guberniis mmarTvelobas daqiravebuli hqonia ivane gvelesianis da grigol da stefane ocxelebisgan 1904 wlis 5 martidan 10 wlis vadiT. Senobebi im doneze dazianebula, rom xelmZRvanelobam samedicino da saamSeneblo

its building, in particular, the rent of new buildings for some of governorate’s departments destroyed by the fire in January. The discussion was preceded by the story of the destruction of the provincial building by fire, the brief content of which is as follows: “On the night of January 10, 1906, a fire broke out in the buildings belonging to Ivane Gvelesiani on the corner of Mikheili (now Paliashvili) and Vorontsov (now St. Nino) streets in Kutaisi, which spread to the governorate building and by the next morning, the lower floor of the north side of the building, where some of the archival items were kept, and the upper floor, where the office of the governorate was located, were destroyed by fire. The files of the archive were completely burnt, part of the office files survived.

Then, on the night of January 27, a fire broke out again in a two-story house belonging to the same Gvelesiani, on the corner of Vorontsov (now St. Nino) and Gymnasium (now Rustaveli) streets, south of the main building of the governorate. The construction and medical departments of the governorate were located on the upper floor of the building destroyed by the fire, and the part of the archives and couriers were kept in two other rooms. The burnt house was connected to the upper floor of the main building of the governorate by a special wooden gallery (glass window), which also contained

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ganyofilebebs ufleba misca, daeqiravebinaT axali Senobebi. rogorc moxmobili saarqivo dokumentebidan da sagazeTo korespondenciebidan Cans, saarqivo dokumentebis ganadgurebaze Zalian cotaa naTqvami. marTalia, aRniSnulia, rom `daiwva saamSeneblo da samedicino ganyofilebebis yvela saqme“, `arqivis saqmeebi“, `cecxlma daaziana karadebi da I da II ganyofilebebis saqmeTa nawili“, ganadgurda Senoba, sadac inaxeboda saarqivo saqmeTa nawili, magram arsad Cans ganadgurebul saqmeTa raodenoba, an dokumentebis asaki da Sinaarsi (anotaciis doneze mainc). ganadgurebuli saqmeebis statistika gviandelma, 1917 wlis dokumentebma (isev saarqivom) Semogvinaxes (samwuxarod Tu sabednierod). statistika sagangaSoa, kerZod: 1906 wlis ianvris xanZris Sedegad sul ganadgurebula 110 679 saqme, (ZiriTadad me-19 saukunis), romlebic fondebis mixedviT Semdegnairad nawildeba: 1. yofili imereTis mmarTveli 1808-1840 w.w., 20 000 saqme; 2. imereTis droebiTi mmarTveloba, 1808-1840 ww., 30 000 saqme; 3. guria-quTaisis samazro sasamarTlo, 1840-1847 w.w., 10 000 saqme; 4. quTaisis sagubernio sasamarTlo, 1847-1860 ww., 600 saqme; 5. vakis okrugi, 1824-1847 ww., 1 727 saqme; 6. Sorapnis okrugi, 1810-1840 ww., 1 380 saqme;

cabinets for the affairs of the 2nd division of the governorate. All cases and treasury property of the construction and medical departments were burnt, as well as part of the cases of 2nd division, archives and couriers’ property were burnt, as well as the fire that spread from the gallery damaged the wardrobes and the part of the cases of 1st and 2nd Divisions”.

The burned buildings, as can be seen from this case, were rented by the governorate from Ivane Gvelesiani and Grigol and Stefane Otskheli from March 5, 1904 for a period of 10 years. The buildings were damaged to such an extent that the governors allowed the medical and construction departments to rent new buildings (k.c.a. p.

8 or 1, s. 834, p. 42, 43).

As can be seen from the cited archival documents and newspaper correspondence, very little is said about the destruction of archival documents. It is stated that “all the cases of the construction and medical departments were burnt”, “the cases of the archive”, “the fire damaged the cabinets and part of the cases of 1st and 2nd divisions”, the building where part of the archives was kept was destroyed, but there is no indication of the number of destroyed cases or the date and content of the documents (at least their reference).

The statistics of the destroyed cases were preserved by the late, 1917 documents (again in the archives) (unfortunately or fortunately). The statistics are alarming, in particular: as a result of the fire of January 1906, a total of 110,679 cases were destroyed (mainly in the 19th

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7. raWis okrugi, 1810-1840 ww., 1 811 saqme; 8. quTaisis okrugi, 1810-1840 ww., 1 380 saqme; 9. quTaisis guberniis mmarTvelobis pirveli ganyofileba, 1848-1901 ww., 9 979 saqme; 10. quTaisis guberniis mmarTvelobis meore ganyofileba, 1849-1900 ww., 17 525 saqme;; 11. saerobo ganyofileba, 1885-1900 ww., 4 834 saqme; 12. saamSeneblo ganyofileba, 1870-1895 ww., 4 000 saqme; 13. samkurnalo ganyofileba, 1847-1901 w.w., 5 000 saqme; 14. magidis mdivani, 1847-1901 ww., 1 000 saqme; 15. saaRricxvo wignebi, 1878-1900 ww., 140 saqme; 16. veterinaruli ganyofileba, 1885-1889 ww., 200 saqme. danaklisi marTlac aunazRaurebelia. saxelmwifom SeiZleba dakargos simdidre, xazina, rogorc es xSirad xdeba istoriaSi, magram es danakargi droTa ganmavlobaSi SeiZleba Seivsos da aRdges; ai, ganadgurebuli da damwvari arqivis, samecniero Semecnebisa da istoriul movlenaTa socialur-filosofiuri gaazrebis fasdaudebeli wyaros `gacocxleba~ ki, samwuxarod, TiTqmis SeuZlebelia...

Tumca, aseTi tragikuli da mravali Rirssaxsovari ambis momswre „naTali qvis pirvel Senoba~, dResac amayad dgas, bulvaris kideze, quTaisSi!

century), which are distributed according to the funds as follows: 1.

Former goveror of Imereti 1808-1840, 20,000 cases; 2. Provisional government of Imereti, 1808-1840, 30,000 cases; 3. Guria-Kutaisi Regional Court, 1840-1847, 10,000 cases; 4. Kutaisi Provincial Court, 1847-1860, 600 cases; 5. Vake County, 1824-1847, 1,727 cases; 6.

Shorapani District, 1810-1840, 1,380 cases; 7. Racha District, 1810-1840, 1,811 cases; 8. Kutaisi District, 1810-1840, 1,380 cases; 9. First Division of the Government of Kutaisi Governorate, 1848-1901, 9,979 cases; 10. Second Division of the Kutaisi Governorate, 1849-1900, 17,525 cases; 11. European Division, 1885-1900, 4,834 cases; 12. Construction Department, 1870-1895, 4,000 cases; 13. Medical Department, 18471901, 5,000 cases; 14. Secretary of the office, 1847-1901, 1,000 cases; 15.

Record books, 1878-1900, 140 cases; 16. Veterinary Department, 18851889, 200 cases (k.c.a. p.183, s. 198, p. 61).

The loss is really irreparable. The state may lose wealth, the treasury, as is often the case in history, but this loss can be replenished and restored over time; Here, unfortunately, it is almost impossible to “revive” the priceless source of the destroyed and burnt archive, scientific cognition and socio-philosophical understanding of historical events ...

However, the “first building of the poured concrete”, which witnessed such a tragic and numerous memorable stories, still stands proudly, on the edge of the boulevard, in Kutaisi!

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LEVAN MIZANDARI

SUNSHINE MUSIC

levan mizandari

mziT savse musika `bevri SeiZleba ilaparako masze da mis xelovnebaze, Tumca, sakmarisia warmoidgino, is yvelgan laRi da niWieri iyo. rogorc galaktioni ityoda, `niWi, Zamiko, niWi!~ _ kompozitor nodar mamisaSvilis am sityvebiTa da misi Taobis mogonebaTa wyalobiT gavixsenoT saxelovani qarTveli kompozitori da pedagogi, saqarTvelos xelovnebis damsaxurebuli moRvawe nugzar vawaZe (1937-2018) dabali, gamxdari adamiani, didi maRali SubliT, Rrma Wkviani TvalebiT, ukompromiso, Zlieri xasiaTiT, uaRresad keTili, megobruli pirovneba, dajildoebuli didi niWiT, farTod erudirebuli da uzomod moridebuli. igi arasdros laparakobda Tavis warmatebaze, miaCnda, rom arc ise didi adgili ekava Tanamedrove qarTul musikaSi. arada, maestro jansuR kaxiZis azriT: `im periodis qarTuli musikis `mZlavri jgufi~ viyaviT: sulxan nasiZe, biZina kvernaZe, nodar gabunia, gia yanCeli, me, nodar mamisaSvili da nugzar vawaZe romelic Zalian niWieri biWi iyo, Semdeg ratomRac gaqra... ai, es iyo daaxloebiT. qarTuli profesiuli musikis ganviTarebis etapebze, es Zalian seriozuli pleada iyo~.

“While there is a lot that can be said about him and his craft, it is enough to think about his charm and accomplishments. “Talent, brother, talent!” as Galaktioni would say. - Let us remember the legendary Georgian composer and teacher, Georgia’s honoured artist Nugzar Vatsadze, with these words of composer Nodar Mamisashvili and the memories of people of his generation (1937-2018). Friendly, talented, well-educated, and exceedingly modest individual. He never spoke about his achievements, thinking that his contribution to contemporary Georgian music was insignificant.

“We were a “strong group” of Georgian musicians at the time,” says maestro Jansug Kakhidze: “Sulkhan Nasidze, Bidzina Kvernadze, Nodar Gabunia, Gia Kancheli, myself, Nodar Mamisashvili, and Nugzar Vatsadze, who was a really talented young man, who suddenly disappeared... that was about it.” This was a pivotal moment in Georgia’s professional music industry’s development.”

Nugzar Vatsadze may have “disappeared” from professional music, but he reappeared in Georgian film music, ushering in an extraordinary age.

“Nugzar Vatsadze composed music for most of my films,” says film director Karaman (Guguli) Mgeladze. For me, he reminds me of a Georgian Nino Rota. Remove his music from my films and you’ll

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marTalia, nugzar vawaZe `gaqra~ profesiuli musikis arealidan, samagierod is `gaCnda~ qarTul kino-musikaSi da araCveulebrivi epoqa Seqmna. `TiTqmis yvela Cemi filmis kompozitori nugzar vawaZea, _ werda kinoreJisori yaraman (guguli) mgelaZe, _ is CemTvis qarTveli nino rotaa. CamoaSoreT misi musika Cems filmebs da mixvdebiT ramdeni Semata misma dawerilma musikam am filmebs. riTmi, ganwyoba, emocia, mziani laitmotivi ori sulis siyvarulisa _ yvelaferia iq, yvelaferi! kino-kritika umaRles Sefasebas aZlevda mis yovel namuSevars. erTxel rezo CxeiZem damireka da miTxra: _ guguli, wuxel Cemianebi televiziiT uyurebdnen Sen films „ar daijero, rom aRar var“, me mwoliare vismendi vawaZis musikas meore oTaxidan. es musika filmis gareSec saocrebaa! da kidev erTi: roca nugzar vawaZes vuCvenebdi gadaRebul masalas, araviTari variantebis dawera mas ar sWirdeboda. pirvelive gasroliT aTianSi axvedrebda. rac iSviaTobaa~. wlebis ganmavlobaSi, uzarmazari Sroma aqvs gaweuli maestros TiToeul filmze muSaobisas. erTxel miTxra: _ rom megona Tavi baliSze medo da tkbilad meZina, xSirad, diliT partituraSi TavCadebuls gamRviZebiao. ai, rogor daiwyo nugzar vawaZis, rogorc konokompozitoris kariera: 1962 wels reJisorma Tengiz abulaZem gadaiRo filmi „me, bebia, iliko da ilarioni“. filmi TiTqmis dasrulebuli iyo, Tumca musika jer ar arsebobda, radgan filmis kompozitori arCil kereseliZe sxva proeqtze muSaobda da ver aswrebda musikis Seqmnas. reJisori eZebda kompozitors, romelic 20 dReSi SeZlebda musikis dawerasa da Caweras. es kompozitori nugzar vawaZe aRmoCnda. `daviwye muSaoba, vkiTxulobdi scenars da pirdapir partituraSi vwerdi notebs, imis droc ar iyo, rom instrumentTan mSvidad memuSava~ _ ixsenebs kompozitori. male pirveli mxatvrul filmis SekveTa mzad iyo. musikis Sesafaseblad Seikriba gadamRebi jgufi. nugzarma fortepianoze daukra monakveTebi. mcire pauzis Semdeg, darbazSi siCume nodar dumbaZem daarRvia _ `agaSena RmerTma~, kompozitorma mwerlis Tvalze cremli SeniSna. `gadawyda, damamtkices filmis kompozitorad~, sixaruliT da siamayiT ixsenebda nugzar vawaZe. (Tumca imJamindeli biurokratiuli mdgomareobis gamo, titrSi orive kompozitori weria). moskovSi, filmis naxvis Semdeg, italiel reJisorTa jgufma ase Seafasa namuSevari _ „musika mkveTrad originaluri da Tanamedrovea, zustad zis filmSi“. nugzar vawaZis azriT, `filmis SeqmnaSi arsebobs reJisoris da kompozitoris erToba. musikis Seqmna, misi Cawera, orkestrSi aJRereba, musikis da warmosaxvis

see how fundamental it is: the rhythm, ambience, passion, brilliant leitmotif of love between two souls – all is there, everything! Each of his films was praised by film critics.

Rezo Chkheidze once called me and said, “Guguli, my friends were watching your film “Don’t Believe That I’m No Longer Here” on television last night, as I was listening to Vatsadze’s music from the other room.” Even if you don’t see the movie, the soundtrack is fantastic! Also, there was no need for him to prepare different samples when I showed Nugzar Vatsadze the footage. With the first shot, he’d hit the mark. This really is rare.”

Over the years, Maestro has put a lot of effort into each film. He once told me that he felt he was sleeping peacefully in bed, but that he would wake up on over the scores in the morning, having fallen asleep while working.

This is how Nugzar Vatsadze began his career as a film composer: The film “Me, Grandma, Iliko, and Ilarion” was directed by Tengiz Abuladze in 1962. Because the film’s composer, Archil Kereselidze, was engaged on another project he couldn’t make the music’s production, the film was almost done but the music was not composed. The director needed a composer who could write and record the scores in less than 20 days. The composer he found was Nugzar Vatsadze.

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montaJi, mTeli metraJis erT firze saboloo gadawera warmoadgens cocxal process da yvelaferSi monawileobs kompozitori~. dRes teqnikuri SesaZleblobebis meSveobiT kompozitorebs SeuZliaT mcire droSi laitmotivi aqcion sxvadasxva variantebad, adre ki, kompozitorebs uwevdaT TiToeuli variantisTvis SeeqmnaT partitura, Semdeg iwyeboda saorkestro Cawera da reJisori amDdidi naSromidan tovebda filmisTvis sasurvel momentebs. xSir SemTxvevaSi filmSi ar Sedioda kompozitoris mier Seqmnili saukeTeso musikaluri monakveTebi. swored, musikaluri memkvidreobis, kerZod qarTuli kinomusikis Sesaswavlad, aseT Canawerebs aqvs didi fasi. samwuxarod 90-ianebis areulobam mravali partitura da audio Canaweri imsxverpla...

filmi `pieri miliciis TanamSromeli~ imdenad popularuli gaxda, nugzari rusTavelze rom gaivlida manqaniT, milicielebi esalmebodnen, zogi manqanas aCerebda da xels arTmevda.

THE MOVIE "PIERI THE POLICE OFFICER" BECAME SO POPULAR, THAT WHEN NUGZARI WOULD DRIVE THE RUSTAVELI AVENUE, THE POLICEMEN WOULD GREET HIM, SOME OF THEM EVEN STOP AND SHAKE HANDS WITH HIM.

“I started working, reading the script and putting down the notes, there was no time to work quietly with the instruments,” the composer recalls.

The first cinematic score was completed quickly. A film crew gathered to listen to it. Nugzar played several parts on the piano.

After a brief moment, Nodar Dumbadze broke the silence in the auditorium saying “God bless you,” the composer noticed tears in the writer’s eyes.

“It was decided. I was approved to be a composer of the film,” Nugzar Vatsadze recalled with joy and pride. (However, due to the current bureaucratic situation, both composers are listed in the credits).

When a group of Italian filmmakers saw the movie in Moscow, they said, “The soundtrack is incredibly creative and contemporary, and it complements the film beautifully.”

“There has to be synergy between the director and the composer,” Nugzar Vatsadze says. “ Composing music, recording it, performing it with an orchestra, editing the score and cinematography, and transferring it on a single tape are all active processes in which the composer is involved.”

Composers can now generate a variety of samples from leitmotifs in a short time thanks to contemporary technologies. Composers used to have to write down the notes, perform them with an orchestra, and in many cases, the film did not include the composer’s greatest musical samples. These recordings are extremely valuable for studying musical heritage, especially Georgian film music.

Unfortunately, the majority of the scores and recordings were lost due to the events of the 1990s...

Although not all of the forty films and animations on which he worked received proper recognition, I would single out some of Nugzar Vatsadze’s world-famous soundtracks: “Me, Grandma, Iloko and Ilarioni”, “Pierre militia officer”, “Morning bells”, “Light in our windows”, “Do not believe that I am no longer”, “The past is always with us” The music from “Someone is sitting in the fridge”, and “Salamuri,” is a masterpiece for ballet.

Just imagine, the music in the final sequence of the 1976 short film “Village Ashik,” is reminiscent of Ennio Morricone’s classic soundtrack from the film “Once Upon a Time in America,” which was composed 8 years later.

The whistle in “Narciss,” orchestra inserts in “Bombora,” “Oh, Moda, Moda,” songs in the movie “Piere militia officer” - performed by Nani Bregvadze, and Temur Tsiklauri’s performance in “Light in the Window” are all unforgettable.

“It’s necessary to discuss Nugzar Vatsadze and film music independently. Composer Vazha Azarashvili, a childhood friend, says, “He wrote music for numerous films in a highly professional manner, where his ingenuity and flair are uniquely heard.” – “Another notable work is his String Quartet, which he composed while still a student at the conservatory in 1960. The work’s melodic language, as well as the innovative, distinctive expressive approaches of the period, earned the young author significant recognition when it was performed in

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marTalia, ormocamde filmidan da multfilmidan yvelam ver moipova saTanado aRiareba, Tumca musikaluri masalis TvalsazrisiT, nugzar vawaZis araCveulebrivi kinomusikidan gamovyofdi ramdenime msoflio mniSvnelobis e. w. saundtreks: `me, bebia, iloko da ilarioni~, `pieri miliciis TanamSromeli~, `ciskris zarebi~, `sinaTle Cvens fanjrebSi~, `ar daijero rom aRara var~, `warsuli mudam CvenTanaa~, Tema filmidan `macivarSi viRac ijda~, xolo `salamuris~ musika namdvilad baletisTvisaa Seqmnili. warmoidgineT, 1976 wels gadaRebuli moklemetraJiani mxatvruli filmis, `soflis aSiki~, finalur scenaSi JRers musika, romelic enaTesaveba 8 wlis Semdeg enio morikones mier daweril ukvdav saundtreks filmidan `erTxel amerikaSi~. dauviwyaria stvena multfilmidan `narcisi~, saorkestro CanarTebi multfilmebidan `bombora~ `xelmarjve ostati wyalqveS~, `o, moda, moda~, `mamlayinwas~ gulSiCamwvdomi melodia, simRerebi filmebidan `pieri miliciis TanamSromeli~ _ nani bregvaZis da `sinaTle Cvens fanjrebSi~ _ Temur wiklauris SesrulebiT. `calke Temaa nugzar vawaZe da kinomusika. mas dawerili aqvs musika mravali filmisaTvis Zalian maRal, profesionalur doneze, sadac naTlad Cans misi originaluri stilisturi xelwera~. _ gviyveba misi siyrmis megobari kompozitori vaJa azaraSvili. _ `aseve aRsaniSnavia nugzar vawaZis simebiani kvarteti, romelic jer kidev konservatoriaSi swavlis dros 1960 wels dawera. am nawarmoebis musikalurma enam, da, im droisaTvis axalma, originalurma gamomsaxvelma xerxebma, moutanes axalgazrda avtors didi warmateba 1962 wels, moskovSi gamarTul axalgazrda kompozitorTa sakavSiro SemoqmedebiT daTvalierebaze, kvartets mieniWa I premia.

Semdgom wlebSi nugzar vawaZis kvarteti didi warmatebiT Sesrulda msoflios sxvadasxva qveyanaSi~. gia yanCeli aRniSnavda: `aseT musikas mxolod ganswavluli axalgazrda ver Seqmnida, Tu mas bunebam ar arguna WeSmariti niWi. musikis Semfasebeli mxolod droa. gavida naxevari saukune. da am nawarmoebs dResac ar daukargavs misTvis damaxasiaTebeli faseulobebi. aseT musikas sibere ar uweria. cxovrebam aiZula ZiriTadi saqmianoba kinematografTan daekavSirebina. mimaCnia, rom am sferoSi man brwyinvale Sedegebs miaRwia. amas winaT televiziiT movismine simRera, romelic yovelTvis momwonda da mxolod maSin Sevityve, rom Turme misi avtori nugzar vawaZe yofila~.

1970 wels ansambli `orera~ morigi gastrolisTvis emzadeboda. repertuarSi erTi qarTuli simRera akldaT. ansamblis xelmZRvanelma robert barZimaSvilma moris focxiSvilis leqsze simReris Seqmna nugzar vawaZes

Moscow in 1962 at Soviet competition of young composers, where he received an award. Nugzar Vatsadze’s Quartet was played with tremendous success in several places throughout the world in the following years.”

“A young person would not be able to make such music solely through hard work and education; he would have to be blessed with extraordinary talent,” Gia Kancheli stated. “ When it comes to music, the sole jury member is time. It’s been half a century. Despite this, his music has its distinct significance. This type of music will never go out of style or get old. He was compelled by life to be engaged with film music. In this field, I feel he has achieved outstanding accomplishments. I just heard a song on television the other day that I’ve always enjoyed, and it was only later that I discovered it was composed by Nugzar Vatsadze”.

In 1970, the ensemble “Orera” was preparing for a new tour. One Georgian song was missing from the repertoire. The ensemble’s leader, Robert Bardzimashvili, commissioned Nugzar Vatsadze to write a song based on a poem by Maurice Potskhishvili. With

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nugzar vawaZis portreti. mxatvari irma svaniZe, 2019 w.

PORTRAIT OF NUGZAR VATSADZE. PAINTER IRMA SVANIDZE, 2019.

sTxova, kompozitorma erTi amosunTqviT didi STagonebiT dawera dResac yvelasaTvis sayvareli da popularuli simRera `molodini~, romelic pirvelad nani bregvaZem Seasrula. `es simRera CemTvis yovelTvis gamorCeuli iyo da asec darCeba!... _ wers nani bregvaZe, _ minda is dReebi gavixseno da sxvasac gavaxseno, roca Cveni nugzari aseT araCveulebriv nawarmoebebs gvCuqnida... iyo aseTi keTilSobili adamiani da Tan didi kompozitori _ es iSviaTobaa!...~ `nanis simRera~, igive `iZinebs mze~ dResac popularulia axalgazrda momReralTa konkursebze. aRsaniSnavia simRera `seqtembris Rame~, medea ZiZiguris SesrulebiT. nugzar vawaZe miekuTvneboda xelovanTa im ricxvs, romlebic naklebad Canan sazogadoebriv asparezze, Tumca maTi Semoqmedeba mudam aqtualuria. dResac, teleekranidan xSirad ismis yvelasTvis axlobeli dauviwyari melodiebi. kompozitoris gardacvalebamde naxevari wliT adre, Tbilisis meriis TanadgomiT gamoveciT saiubileo albomi `nugzar vawaZis mziT savse musika“, romlis prezentacia da koncerti gaimarTa saqarTvelos kompozitorTa SemoqmedebiTi kavSiris sarkeebian darbazSi.

tremendous inspiration, the composer created the favourite and popular song “Expectations,” which was performed for the first time

by Nani Bregvadze.

“This song has always held a special place in my heart and will continue to do so!” ...I want to recall and remind people of the days when our Nugzar gave us such magnificent music.... – Nani Bregvadze says… He was a nobleman and a superb composer, which is quite unique! ... “Sleeping Sun,” also known as “Nani’s Song,” is still popular among emerging singers today.

Another song worth mentioning is “September night”, performed

by Medea Dzidziguri.

Nugzar Vatsadze is one of those artists that are rarely seen in public, even though their work is always relevant. His timeless melodies, which are dear to everyone’s hearts, can still be heard on television today.

The anniversary album “Nugzar Vatsadze’s bright music” was released with the help of Tbilisi City Hall half a year before the composer died, the presentation ceremony and performance were organized at the Georgian Composer’s Creative Union’s mirror hall.

Apart from biographical photo documentation, the album includes Georgian film posters preserved in the archives of Art Palace, Georgian Film Studio and many other musical masterpieces.

“The album and the presentation ceremony were touched by the sun of appreciation and human relationships, which displayed the immense joy and contentment engraved on the composer’s face,” according to one of the articles about the event. It was especially symbolic that he signed his autograph before leaving the public eye.

Lastly, let’s listen to the composer himself from in the old interview: “I’d want to pay tribute to my teachers, pianist Givi Svanidze, Ksenia Jikia (Aunt Ksenia), and Alexandre (Shura) Shaverzashvili. I want to show my gratitude. Although I was in Andria Balanchivadze’s class at the conservatory, where he would often remark, “You can teach people yourself” (in Russian), I believe Aleksandre (Shura) Shaverdzashvili had a serious influence on my professional career as a composer. He instilled in me discipline, as well as a passion for music and people. My mother had an excellent musical ear, and my father was a gifted composer who, at the turn of the century, was adding sound to silent films. He didn’t have access to a piano at home, so he practised on a painted keyboard. By the way, Vasil Shaverzashvili, Shura’s father taught my godfather Vova Kurtidi and my father music.

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nugzar vawaZe, daviT (guguli) ToraZe da evgeni maWavariani, 1969 w.

NUGZAR VATSADZE, DAVIT (GUGULI) TORADZE AMD EVGENIY MATCHAVARIANI, 1969.

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My parents’ talents appear to have been passed on to me.

In Tbilisi, we had our own home. My father sold a piece of property after I was accepted to a music school so that we could buy a piano.

I suppose that my teaching career began throughout my conservatory studies. First and foremost, I taught myself, and my peers would seek my advice.

I had a lot of senior friends. Everything was just getting started for me as a freshman. Guguli (Davit) Toradze comes to mind. He was a brother and a friend. He fostered in us values such as friendship, loyalty, humanity, joy, and tolerance. I didn’t know Otar Taktakishvili well, but I was constantly aware of his friendliness toward me.

Sulkhan Nasidze, Bidzina Kvernadze, and Gia Kancheli, all outstanding composers and people. Vazha Azarashvili has a unique place in my heart. We’ve been good friends since our freshman year of technicum.

Tengiz Abuladze, Rezo Chkheidze, Tamaz Gomelauri, Guguli Mgeladze, Rezo Charkhalashvili, Nodar Managadze, Badur Tsuladze, and Otar Abesadze are among the directors I would like to remember.

Meetings with them, as well as a creative collaboration, created the foundation for a strong friendship.

Music is just that: music. However, I accept other aspects of the universe of sounds, any sound that is organically embedded in the musical fabric and integrated into a single unity when, for example, the sound of a leaf is heard in silence. However, the degree of sound synthesis is determined by people’s capacity and their skills. We should not lag behind current tendencies, but we also should not accept harmful and artificial influences simply because they are “trendy.” I am strongly opposed to this because it violates natural processes.

Georgia is a magnificently diverse and fascinating country.

Georgians are blessed with talent and they are spiritually and artistically stunning. For millennia, Georgia and Georgians have shown this to be true. In Georgians, this spirit will never die.” albomSi biografiul foto-dokumentur masalasTan erTad ganTavsda xelovnebis sasaxle-kulturis istoriis muzeumis afiSebis fondSi daculi qarTuli kinofilmebis mxatvruli afiSebi, saqarTvelos erovnuli arqivis kino-foto-fono arqivSi, kinostudia `qarTuli filmis~ musikalur redaqciaSi daculi kino, kamerulinstrumentuli da saestrado musikis Sedevrebi. saRamos erT-erT gamoxmaurebaSi ewera: `wigni da prezentacia-koncertic madlierebisa da adamianuri urTierTobebis mziT iyo gamTbari, rasac mxcovani kompozitoris saxeze aRbeWdili usazRvro sixaruli da bedniereba TvalnaTliv aCenda~... TiTqos simbolurad, samaxsovro avtografiT daemSvidoba igi sayvarel publikas. dabolos, Zveli interviudan movusminoT Tavad kompozitors: `gavixseneb Cems maswavleblebs _ pianist givi svaniZes, Semdeg qsenia jiqias (deida qsenias, rogorc siyvaruliT vuZaxdiT mas) da aleqsandre (Sura) SaverzaSvils. maT did madlobas vuxdi.. miuxedavad imisa, rom konservatoriaSi

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marcxnidan sxedan sulxan nasiZe, Salva mSveliZe, andria balanCivaZe, oTar gordeli, dganan: gia yanCeli, nugzar vawaZe, vaJa azaraSvili da ramaz qaruxniSvili.

FROM THE LEFT, SEATING: SULKHAN NASIDZE, SHALVA MSHVELIDZE, ANDRIA BALANCHIVADZE, OTAR GORDELI, STANDING: GIYA KANCHELI, NUGZAR VATSADZE, VAZHA AZARASHVILI AND RAMAZ KARUKHNISHVILI.

4 (26) 2021

vswavlobdi andria balanCivaZis klasSi, romelic, principSi, moucleli iyo da ityoda xolme: «Ты и сам вполне можешь учить других», vTvli, rom Cemi, rogorc kompozitoris, CamoyalibebaSi udidesi wvlili ekuTvnis baton aleqsandre (Sura) SaverzaSvils. man maswavla disciplina, mowiweba musikisadmi, adamianebisadmi. zust kamertonze amawyo. dedaCems Zalian kargi smena hqonda, mamas ki _ kompoziciis niWi, jer kidev saukunis dasawyisSi axmovanebda munjur filmebs. saxlSi pianino ar hqonda da daxatul klaviaturaze mecadineobda. sxvaTaSoris, Cemi naTlia vova kurtidi da mamaCemi dadiodnen musikis Sesaswavlad vasil SaverzaSvilTan, Suras mamasTan, „rabfakSi“. Cemi mSoblebis niWi, etyoba gamovlinda CemSi. TbilisSi vcxovrobdiT sakuTar saxlSi. musikalur skolaSi rom Semiyvanes, mamam samosaxlo nakveTi gayida da fortepiano miyida. vTvli, rom konservatoriaSi swavlis periodSi, daiwyo Cemi pedagogiuri moRvaweoba. me, pirvel rigSi, Cems Tavs vaswavlidi, aseve Tanakurselebic modiodnen xolme konsultaciaze. ufrosi Taobidan bevrTan vmegobrobdi. pirvelkurseli viyavi, yvelaferi jer kidev iwyeboda. vixseneb gugulis (daviT) ToraZes. is iyo Zmac, megobaric. man gvaswavla megobroba, erTguleba, kacoba, qeifi, urTierTgatana. oTar TaqTaqiSvilTan didi siaxlove ar makavSirebda, magram yovelTvis vgrZnobdi mis keTilganwyobas Cemdami.

didi pativiscemiT vixseneb sulxan nasiZes, biZina kvernaZes, gia yanCels, rogorc did kompozitorebs, aseve rogorc did pirovnebebs. gansakuTrebuli grZnoba makavSirebs vaJa azaraSvilTan. gadabmuli megobrebi varT teqnikumis I kursidan. aseve gavixseneb reJisorebs: Tengiz abulaZes, rezo CxeiZes, Tamaz gomelaurs, guguli mgelaZes, rezo WarxalaSvils, nodar managaZes, baadur wulaZes, oTar abesaZes. maTTan Sexvedrebi, SemoqmedebiTi TanamSromloba didi megobrobis sawindari gaxda. musika aris musika. magram bgeraTa samyaros sxva elementebi, nebismieri bgera, Tu igi bunebrivad aris Seyvanili musikalur qsovilSi da Serwymulia erTian birTvSi, roca ismis foTlis xma siCumeSi da ase Semdeg, CemTvis misaRebia. romel doneze aRmoCndeba bgeraTa sinTezi _ es pirovnebis, misi niWis monacemebia.

Tanamedroveobas ar unda CamorCe, magram ar unda aviRoT cudi da xelovnuri mxolod imitom, rom is „Tanamedrovea“ bunebrivs rac gascdeba, me imis kategoriuli winaaRmdegi var. saqarTvelo umdidresi, ulamazesi qveyanaa. qarTvelebi arian uniWieresni, ulamazesni sulierad da garegnulad. da es rom asea, saqarTvelom da qarTvelebma, saukuneebis siRrmeebidan moyolebuli, bevrjer daamtkices. arasdros es Zala ar mokvdeba qarTvelebSi~.

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