კულტურა პლუს 2 (32) 2023

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 purmarilian kacs gaumarjos!

2

LONG LIVE THE MAN WITH THE BREAD AND SALT!

enTo da iwvoda - ediSer garayaniZe

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LIT AND BURNING - EDISHER GARAKANIDZE

mxolod is gadarCeba, vinc maradiulzea orientirebuli

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ONLY THOSE WHO LEAN TOWARDS ETERNITY WILL SURVIVE

loreta abaSiZe-Sengelias Semoqmedeba

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LORETTA ABASHIDZE-SHENGELIA’S ART

Tamaz bibiluris gaxseneba

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REMEMBERING TAMAZ BIBILURI

Zaladobis winaaRmdeg mebrZoli xelovani

54

AN ARTIST FIGHTING VIOLENCE

zRva, rogorc bediswera

62

THE SEA AS DESTINY

Tbilisis saxelmwifo kameruli orkestri „saqarTvelos sinfonieta~ 15 wlisaa!

70

THE TBILISI STATE CHAMBER ORCHESTRA ‘GEORGIAN SINFONETTA’ IS 15 YEARS OLD!

baTumis bulvari

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BATUMI BOULEVARD

Cveni damianesi vTqvaT

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A FEW WORDS ABOUT DAMIANE

saredaqcio jgufi EDITORIAL STAFF revaz iukuriZe REVAZ IUKURIDZE xaTuna kereseliZe KHATUNA KERESELIDZE ekaterine CulaSvili EKATERINE CHULASHVILI aleqsandre ServaSiZe ALEKSANDRE SHERVASHIDZE mariam gabedava MARIAM GABEDAVA

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

garekanze: loreta abaSiZe-Sengelia, `avtoportreti~, 1982, oforti, 49X65 lado asaTiani, poezia, 1979, qaRaldi, akvareli Cover: Loreta Abashidze-shengelia, "Selfportrait", 1982, Etching, 49x65 Lado Asatiani, Poetry, 1979, paper, watercolour

ISSN 2346-8165

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purmarilian kacs gaumarjos! (gaston buaCiZe niko firosmanis mxatvrobaze)

Long live the man with the bread and salt!

(Gaston Bouatchidzé on Niko Pirosmani’s paintings) frangulidan Targmna qeTevan kokozaSvilma

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In 1999, as a result of Gaston Bouatchidzé’s diligent and enormous work, an exhibition of Pirosmani’s works was held at the Nantes Art Museum. This exhibition had its own catalogue, which opened with Gaston Bouatchidzé’s text: ‘Pirosmani, the life of legendary colors’.

Long before that, there was a book called ‘Pirosmani or the Stroll of the Deer’. Through the characteristic poetic-artistic force of his words, Gaston Bouatchidzé revived Pirosmani’s paintings with a rare dynamism.

In the book, Pirosmani’s art is considered and presented according to themes. In this publication, we once again offer you excerpts from the book’s French version.

1999 wels, gaston buaCiZis mowadinebiTa da uzarmazari muSaobis Sedegad, nantis xelovnebis muzeumSi gaimarTa firosmanis gamofena. am eqspozicias mieZRvna sagangebo katalogi, romelic gaixsna gaston buaCiZis teqstiT: „firosmani, legendaruli ferebis sicocxle“. manamde didi xniT adre ki iyo wigni, `firosmani anu irmis ganavardeba“. gaston buaCiZem sityvebis miseburi poetur-mxatvruli ZaliT firosmanis naxatebi uCveulo dinamikurobiT gaacocxla. wignSi Tematurad aris gaazrebuli da warmodgenili firosmanis Semoqmedeba. Cvens publikaciaSi gTavazobT kidev erT nawyvets wignis franguli versiidan. mTargmnelisgan xoragi naturmorti mravalferovania. orive mxridan Rvinis boTlebia Semowyobili. TeTri etiketebi gvamcnobs: marjvniv _ kaxuri N5, marcxniv kaxuri N1. swored axla, rogorc arasdros, am simReris Jamia: Rvinov kaxuro, var Seni msmeli, gind TeTri iyav, ginda wiTeli! garemo nacnobia: ukana fexebiT Camokidebuli goWi, indauri, iqve tiki da langarze dawyobili msxlebi. goWis drunCi gamokveTilad mimarTulia kaxuri TeTri Rvinis boTlisken. marjvniv kaxuri Savi RviniT savse yeliani boTli dgas da Samfurebze wamogebulia mwvadebi. uxvi da nairferovani saWmeli mravlad. Cvens Tvalwin awyvia blomad goWi, mwvadi da Rvinis boTlebi. aqeT-iqiT wylis Wavli namavs sam patara langars, iqiT did WurWelSi grovdeba Camonadeni wyali, erT langarze gamagrilebeli wvima cvarebad dasdis xaverdovan atmis wyvils, boloksa da kitrs. kedelze Tevzi da batknis barkali hkidia, iqve goWi moCans Camokidebuli. bunebis sxva aTasnairi nobaTi elavs margalitis cvrebiviT. msxvili kupatebi, celqi yanwi da doqi, arxeinad molivlive xaxvis foCi da yurZnis mtevani. movardisfro-moyavisfro doqi moxdenilad asxivebs. uxvi sanovage mravalferovan baraqian mosavals asaxavs. marani da qvevri Tamada sufris TavSi davtovoT da kompoziciis centraluri, mTavari suraTi gamovyoT: tyispira mindvris SuagulSi saxedari Cans biWTan erTad da iqvea qvevri. mTel am garemoSi upiratesoba maT eniWebaT. marjvniv moCanan mela da glexi, romelsac zurgze SeSis kona mougdia, isini qvevrisken midian. marcxniv monadire dgas, xeli xeze aqvs mokidebuli, sanam SeCerdeboda, monadires nabiji gadaudgams qvevrisken (naxatis enis bunebrivi moZraoba). qvevris yeli melasa da fiCxiT datvirTuli glexiskenaa mimarTuli.

A Rain of Food The objects have free choice over the still life. Protected on both sides by wine bottles. White labels name them: on the right – wine from Kakheti N°5, on the left – wine from Kakheti N°1. The moment or never to sing the refrain: Kakheti wine, I love to drink you, whether white or red!

Guaranteed framing: a piglet suspended by the hind legs, a turkey and a wineskin lying down, a pear dish on the table. In a grave accent, the snout of the piglet points to the bottle of Kakhetian white wine. On the right, bottles with red Kakhetian wine, head high, and barbecue on a spit.

An abundant and multicolored rain of food. Nature seeing pouring rains of frogs, shells, corals... Before our eyes, a downpour of piglets, barbecue, bottles of wine. Here and there streams of water sprinkle three small dishes or accumulate rainwater in a container. On the plate, their heads watered by the refreshing rain, a happy couple of peaches, a radish, a cucumber kiss. The fish and the lamb are nailed to the wall, the piglet hanging – other offerings of nature in beads of rain. Big sausages, a horn and a jug, a pod of onions and a bunch of grapes hover carelessly. The pink-brown jug radiates elegance. The rain of food picks up an abundant multicolored harvest.

The Marani and the Kvevri Leaving the tamada at the head of the table, the center of the composition hosts its main image: a donkey foal with the kid or the kvevri (a jar) in the heart of a forest clearing. The environment pays homage to them.

On the right, a fox and a peasant with his bundle of wood on his back are heading towards the kvevri. To the left, standing and clinging to a tree, before stopping, the hunter takes a step on the kvevri side (natural pause in pictorial language).

The kvevri shows the throat to the fox, and the peasant loaded with wood.

Bunches of grapes hang from a giant vine. A solitary house on the edge opens its windows and door to the kvevri. We set foot in front of a wine cellar, a marani. The ubiquitous black birds spread their wings and soar from the marani to the sky.

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mozrdil vazs yurZnis mtevnebi hkidia. tyis piras mdgar erTaderT saxls fanjrebi da kari gauRia qvevrisTvis.

Cven Rvinis Sesanaxi saTavsis win varT, esaa marani. Savi Citebi aqac budoben, isini frTebs Slian da marnidan zecisken mifrinaven. Citebis swrafva marnidan zemoT erTdroulad intensiuric aris da sivrceSi ganfenilic. yovelTvis, roca Cveni mzera cdilobs miwas moswydes da cis laJvards aswvdes, Citebi gaSlili frTebiT TiTqos qvemoT gvibruneben. qvevri gvaxsenebs, rom swored am tyis piras JRers sixarulis himni. mzeCamdgari yurZnis mtevnebiT datvirTuli vazi welSi ixreba da monadires Caagonebs, Tofi daswios, sikvdils nuRar dasTess. aseTive ganwyoba aqvT SeSiT datvirTul glexsa da Tvinier melas. qvevris gverdiT ori qarTveli kaci dgas. mas araferi imagrebs, iqneb damtvreuliyo kidec, magram xelovanis macocxlebeli funjis mxardaWeras grZnobs. qvevri TiTqos or nawilad xedavda Seqmna-dabadebis dReebs: pirvelad, roca Tixis uformo masisgan iZerweboda; mere cxeldeboda da TandaTan ixveweboda; cecxls mificxebuli ki ar iwveboda, iwrToboda. mas Semdeg is cdilobs sul axsovdes aseTi cecxlovani dabadebis Tavgadasavali. sagansa Tu arsebas, orives gvWirdeba davrwmundeT, rom am qveyanas marTla movevlineT. qvevri meored dabadebas ferebSi povebs. qvevri ilxens, rodesac kvlav grZnobs, mis mopirkeTebul kedlebSi rogor iRvreba sicocxlis nakadi. qvevrs imdenad kargad axsovs dabadebis Jami, TiTqos im wuTebSi ukve arsebobda da Sinagani xedviT SeeZlo Tvali edevnebina ostatis yalmisTvis; rogor gamohyavda misi zedapiri Jangisfer-wiTelSi gardamavali mkrTali

The vocation of the birds above the marani in the forest is both intensive and extensive. Each time our gaze tries to detach itself from the earth and get lost in the azure of the sky, with their folded wings, the birds send it back down. The kvevri reminds us that it is there, in the clearing of the forest, that the hymn to joy resounds. The vine, laden with solar bunches of grapes, bends down, inviting the hunter to lower his gun and stop sowing death for a moment. Same orientation for the peasant loaded with wood and for the peaceful fox.

Two Georgians meet near the kvevri. Leaning on nothing, the kvevri would have crumbled without the support of the artist’s invigorating brush. As if the kvevri saw the light of day twice: for the first time born from an amorphous clay, warming and refining little by little. Then delivered to the fire which does not burn a kvevri but knights it. After which it strives to memorize the story of his blazing birth.

Being or object, we need confirmation of our coming into the world.

And the kvevri finds proof of its second birth in colors. The kvevri exults, feeling the current of life running through its rocky walls again.

The kvevri memorizes the act of its birth all the better, since at that moment it already existed and its inner gaze could observe the movements of the progenitor brush. Modeling its surface from a pale yellow to ocher red. Warmer and warmer. Rising to its throat.

As a spinning top, the kvevri plunges into the ground of the clearing. The events around him take on the air of a fairy tale, celebrating its own triumph.

The forest exhibits its rich offerings. From its thickness come sometimes lunar rays, sometimes a mysterious light. The bunches of grapes radiate light. Stretching towards the kvevri at the bottom, a fragrant decorative pattern, gourmet, full of juice. A direct path leads the kvevri to the bunches of grapes, the latter pouring out their contents.

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yviTliT, ufro da ufro Tbili feriT da adioda zemoT yelamde.

CikoriviT bzriala qvevri efloba mindvris miwaSi. mis irgvliv zRapariviT viTardeba movlenebi da sazeimo ganwyobac imatebs; tye uxvad sTavazobs nobaTs. xSiri tevridan xan mTvaris sxivebi Wiatoben, xan raRac idumali Suqi gamokrTis. yurZnis mtevnebic sinaTles asxiveben. qvevris siRrmisken miiltvis daxvewili, surnelovani da madisaRmZvreli hangi, wveniT savse. qvevri pirdapir midis yurZnis mtevnebTan da isinic Tavisi wveniT avseben. es zeimebi gana iqneboda adamianis gareSe, romelic orives Semoqmedia? Tayvani unda vceT am adamianebs, maTi xeliT moweul nayofs da qvevrs dabadebis dRe unda movulocoT. tansacmlis nairgvari tonebi _ Sexamebuli am sazeimo dResTan. personaJs marcxena mxares, Savi waRebiT, Ria wablisferi Cerqezuli Coxa da TeTri axaluxi acvia, marjvena TuTiyuSs mogvagonebs _ yviTeli, wiTeli, Savi da lurji ferebiT. misi waRebi TiTqos norCi da moqnili vazis ylortebiTaao moqsovili. Tanameinaxeebs uWiravT doqi da yanwi. marTlac qvevris dReobaa: misi uzarmazari gamosaxuleba gacilebiT ufro warmosadegia, vidre am ori adamianis figurebi, cota sasacilodac rom Canan. iubilari mTavari figuraa da sadRegrZelos imsaxurebs bunebis wiaRSi, tyeSi. Ramdeba da tyes bindi ekvreba, venaxi da xeebi bundovandeba, mxolod yurZnis mtevnebs anaTebs mTvare.

Sexvedra iqiT Tu aqeT, venaxis vertikaluri boZebi

Would these parties do without men who give life to bunches of grapes and Kvevri? It’s up to them to come and honor the product of their hands and wish the Kvevri a happy birthday.

The tones of their clothes go hand in hand with this joyful day.

The character on the left, shod in black boots, wears a light brown Circassian coat and a white arkhalouk. The one on the right looks like a parrot: yellow, red, black, blue. His boots seem to be woven from young, supple vines. Hosts raise a jug and a horn.

We are indeed on the anniversary of the Kvevri: its disproportionate, almost ridiculous dimensions are much more imposing than those of the two human figures side by side. Placed in the center, the jubilee receives the toast. Within nature, in the forest.

As night falls, darkness covers the bottom of the forest. The vines, the trees fade away and only the bunches of grapes are lit by the moon.

Glimpsed here or there, the vertical supports form a dotted line.

It looks like sketches of the subject left on the canvas. Toward the pouring rain. Rain of bunches of grapes.

Burdock leaves scatter the earth and lift the Man in Yellow with their open palms.

Sviri The naive and expressive staging invites us to a feast in Imereti, at a place called Sviri. The table is served in the center, and two kvevris are lying down, their throats turned towards her.

A wineskin is lying down, and bottles of wine are cooling in the water.

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graviuras mogvagonebs. ase gegonebaT, siuJetis moxazulobaa tiloze moniSnuli da mimarTulia siuxvisken. es aris yurZnis mtevnebis xvavi. orovandis foTlebi gadaSlila miwis pirze da TiTqos maTi simwvanidanaa amozrdili kaci moyviTalo fonze. sviri wrfeli da gamomsaxveli mizanscena nadimze gviwvevs imereTSi, sofel svirSi. naxatis centrSi gawyobili sufraa, iqve moCans yeliT magidisken mitrialebuli ori qvevri. miwaze devs tiki da Rvinis ori boTli wyalSi civdeba. orive mxares xeebia gamosaxuli, isini naxatis perspeqtivas sazRvraven. xeebis totebi magidiskenaa gadaxrili. erTi kaci karSi dgas, meore _ nacrisferi saxlis Ria aivanze. glexs yurZniT savse godori miaqvs ori adamianisken, romlebic yurZens wuraven da wvens xis WurWelSi asxamen.

On both sides, tree trunks close off the pictorial perspective, their branches stretching towards the table.

A man in the doorway, another – on the open veranda of the gray house. A peasant with a sack of grapes goes towards two other men who squeeze the grape juice and pour it into a wooden container.

Three men are seated, and a fourth is standing in front of the table, his hand resting on his back, a white beard hanging low and emphasizing his nobility in contrast to his black hair and mustache. Better to favor an implausible color than to harm the purpose of the coloration.

The peasant in a chokha smokes a long pipe and meditates. The flattened shoots of the vine behind the backs of the strollers draw a bouquet of interlacings. The intertwining, the abundance of clusters, the arbitrary mixture of green and gold beds in the decor. As if the vineyard were squeezing in a knot the undone hair of a beauty with golden curls. His colleague on the right, in the shadows behind the grape pressers, reflects the work.

Work has its part, and joy is cascading from it. Work to rejoice.

Hence the lit table and the work in the shade.

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sami kaci sufrasTan zis, meoTxe iqve dgas magidis win, erTi xeli zurgze aqvs Semodebuli, grZeli TeTri wveri Tmebisa da ulvaSebis kontrastul Sav ferTan erTad xazs usvams mis aznaurobas . umjobesia upiratesoba mieniWos aseT ferebs, vidre naxats avnos ferTa gadaWarbebulma Sexamebam.

CoxaSi gamowyobili glexi grZel Cibuxs abolebs da fiqrobs. vazis moxrili ylortebi moqeifeTa ukan Cawnuli TaiguliviT Cans. erTmaneTSi CaxlarTuli vazebis, baraqiani mtevnebis, bunebrivad Sereuli mwvane da oqrosferi mcenareulobis dekori. TiTqos oqros sayureebiani mzeTunaxavis bafTiT Sekruli aburduli TmebiviT Sekonila zvari. misi Zmobili ki marjvniv, CrdilSi, yurZnis mwuravebis ukan, Sromis Tanaziaria.

Sromas Tavisi wili aqvs, sixaruli CanCqeriviT gadmoedineba am dros. garjaSia siamovneba. am gancdas ukavSirdeba ganaTebuli tabla da muSaoba CrdilSi. sarqisa Rvinos gvisxams ori suraTi TiTqmis msgavsi monawileebiT. marcxena xeli momuWulia. sarqisas patara Rvinis doqi uWiravs. tikidan gadmosuli wiTeli Rvinis nakadi doqSi isxmeba. meore, kuTxeSi midgmuli ufro mozrdili doqi, albaT, ukve savsea. sarqisas zurgs ukan orovandis foTlebi Cans,

Sarkiz Pours Wine Two scenes with almost equal parts. The left part is tightened.

Sarkiz holds a small jug of wine in his hand. Springing from the wineskin, the stream of red wine pours into the jug. Another jug, larger and probably already full, placed at the corner. Behind Sarkiz’s back – burdock leaves, on the right – plants in a tub. A fantastic flower raises its head. A patch of grey-blue sky hovers above the imposing wineskin.

On the scales, a man with his objects and – a plant. They neighbor and cooperate. Sarkiz embodies the vegetable: under his thick black hair, divided in two by a parting, a pompous mustache is scattered in plant leaves.

Businessman, serious, with panache, Sarkiz is aware of carrying out an essential act. His legs apart, his hand correctly holds the handle of the jug. His gaze cast into the distance is a bit eccentric. A fiery gaze. A connoisseur need not scrutinize the wine pouring into the jug. Simple and rehearsed gesture. His flair tells Sarkiz how full the jug is. When the time comes, he will deign to lower his eyes and shake his finger at the end of the skin from which the wine is flowing. The tanned and stocky body of the burly man whispers to the spectator: - Although small, I master my task.

Sarkiz’s only ornament – his golden belt with a chain – attests to his professional success. The hovering mustache in Air makes one think of a black bird which has just landed on his upper lip and which, the

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marjvniv kasrSic mcenareebia Carguli, saocari yvavilia gadaSlili. mozrdili tikis zemoT nacrisfer-cisferi ca livlivebs. sasworis TefSebze aseTi ganlagebaa--kaci Tavisi nivTebiT da mcenare. isini erTmaneTTan mezoblobaSi qmnian erTian suraTs. sarqisa xorcSesxmuli mcenarea. misi orad gayofili sqeli Savi Tmis qvemoT pompezuri ulvaSebi mcenaris foTlebiviT gadaSlila. sarqisa saqmiani, seriozuli, TavdaWerili kacia da gacnobierebuli aqvs, rom mTavari rolis Semsrulebelia. fexebi ganze aqvs gaweuli da xeliT magrad uWiravs doqis yuri. misi Sors gatyorcnili mzera odnav Taviseburia, anTebuli mzeraa. is gamocdili kacia da doqSi Casxmisas ar sWirdeba dakvirveba, martivi da Cveuli moqmedebaa. sarqisas alRo karnaxobs, rodis aris doqi savse. saWiro dros daixedavs qvemoT da TiTiT daacobs mCqefare tikis pirs, saidanac Rvino gadmoedineba. janRoniani adamianis mzemokidebuli da Caskvnili sxeuli mayurebels CasCurCulebs: _ tanad Cia ki var, magram me vici Cemi saqme. sarqisas erTaderTi morTuloba _ mooqruli qamari patara ZewkviT, mowmobs mis profesiul miRwevas. misi haerSi moqanave ulvaSi miagavs Sav Cits, romelic esesaa daaskupdao zeda tuCze, TiTqos erTi wuTis mere SesaZloa, mosZvres gogolis personaJiviT, Tavis momZvral cxvirs rom xedavs. sarqisas TvalebSi cecxli uelavs, yurZnis naJuri Tavis saukunovan momajadoebel ambavs gaandobs. yuri mivugdoT mis xmas. egviptis faraonebis moxdenili maraoebis msgavsad, foTlebi amaRlebul iers aZleven dRiuri samuSaos rutinas. foTlebs gvirgviniviT adgas yvavilis Rero msxvili kokrebiT, romlebic yurZnis marcvlebs miagavs. veeberTela wablisferi tiki, TiTqmis sarqisas xela, mTel horizonts gasdevs. wamowolili tiki da fexze mdgari sarqisa TaRs gamosaxaven. sarqisas muqi wablisferi tansacmeli, odnav iisferi rom gadahkravs, kargad exameba kaxuri Rvinis fers. tiki xisaa, misi gamoberili muceli baraqis maniSnebelia. ori ganaTebuli doqi savsea RviniT da grZnobiT. qvemodan zemoT wablisfridan yviTelSi gardamavali mSvenieri Strixebia. doqebs rom gaavsebs, sarqisa tiks maSinve kargad daucobs pirs da Tanameinaxeebs savse WurWels miutans. sanam Rvino doqebSi Casxmul wiTel siTxed iqceva, manamde sxvadasxva dros TandaTanobiT fereb-ferebiT damuSavebuli miwis wvenis magiuri Zala asazrdoebs. misi saboloo metamorfoza ki mWevrmetyveluri sadRegrZeloebisa da polifoniuri simRerebis sityvebSi vlindeba. guli da suli! amaze mSvenieri ra unda iyos? sadRegrZelo da simRera, sarqisas gamometyvelebasaviT seriozuli da keTilSobiluri.

next moment, could take off in the character of Gogol seeing his own nose detach from him.

Sarkiz’s eyes maintain the flame. The flow of the vines entrusts him with its bewitching secular story. Let’s listen to what we hear. In the ceremonial fan of the pharaohs of Egypt, the leaves sublimate the routine of paid work. The leaves crowned with a wreath of flowers with thick petals imitate the bunch of grapes. A huge brown wineskin, almost the size of Sarkiz, lines the horizon. The skin is lying down and

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sarqisa Rvinos asxams da Tan sadRegrZeloebisa da melodiaTa Tanmimdevrobas uZRveba. simRerebis mravalxmianoba da axovani kacis fexebis gasma cekvisas... sarqisa yurs ugdebs morakrake Rvinis xmas da Tvalebi ubrwyinavs. purmarili daxatulia zeTiT Tunuqze. naturmorti TiTqos wamoiZaxebs: `purmarilian kacs gaumarjos!“ qarTuli puri, mTvaresaviT an sazamTros naWeriviT morkaluli. gaxurebuli Toneebi adamianebs sTavazoben puris gemos, mis aromats da garemo gaJRenTilia kvamlis suniT. puria sawon-sazomi, simSvidis momtani da sasicocxlo Zala aqvs. pirvel rigSi Cveni Tayvaniscema mas! ubralod da pirdapir puri Tavis Tavze iRebs imas, risi uflebac aqvs. yovelive danarCensac is aZlevs xibls. mtkiced morkaluli puri, ori xeliviT wamomarTuli, TiTqos irgvliv myofT ubiZgebs fexze wamodgnen, gnebavT, aplodismentebisTvis, gnebavT, amaRlebuli ganwyobis gamosaxatad Tu misi gznebis gasaziareblad. ori morkaluli puri TiTqos naturmorts gvaziarebs da gviZRvnis. rogorc warmatebiT dasrulebuli speqtaklis bolos reJisors gamohyavs dasi darbazis aplodismentebis TanxlebiT. puri gadawonis SuaSi mdgar doqsa da napirze moTavsebul Rvinis boTlebs. TiTqos xelis gulze edos, puri gvTavazobs Rvinosa da marils. TeTr da wiTel fers Soris Zalian metyveli trioa.

Sarkiz is standing draw an arc.

Sarkiz’s clothes of a brown-ocher with a purplish strand match the color of Kakhetian wine. The wineskin becomes wood, its belly spread out displaying abundance. Two lit jugs full of wine and meaning.

From bottom to top, there is an attractive modulating hatching of brown and yellow.

The jugs filled, Sarkiz will not fail to tie the end of the wineskin very tightly.

Sarkiz will bring the jugs full of wine to the company. Thanks to the magical power of the juices of the earth refined in several stages, before transforming into the red contents of the jugs, its final metamorphosis will clothe the words of eloquent toasts and polyphonic singing. Heart and soul. What could be more beautiful?

Toasts and singing as serious and beneficial as Sarkiz’s face.

By pouring the wine, Sarkiz distributes the contents of the toasts and the melodies, the undulations of the song, the dance steps of a giant. The mischievous horn sprinkles the arms, legs and bodies of partygoers invited to dance.

Sarkiz listening to the hum of flowing wine, his eyes light up.

Bread and Salt Painted in oil on tin, the still life exclaims: Long live the man of bread and salt! Georgian bread, rounded in a crescent or a melon slice. The hot ovens offer men the taste of bread, its aroma and spread around a fragrant smoke.

Bread serves as a scale, judges, brings balance and its vital gift.

Tribute to him in the foreground. Simple and direct, the Bread assumes what is rightfully his. The rest is placed under its supervision.

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wiTeli da Jangisferi doqi Signidan naTdeba da irgvliv Suqs hfens. doqi da puri, ori cxovelmyofeli sayrdeni. dawyvilebuli detalebi: ori boTli, ori Samfuri, Rvinis ori Wiqa, ori Tevzi grZel langarze. puri Cveni arsobisa aRniSnavs sixarulTan ziarebas. funji ki am yvelafers agvirgvinebs. naxatze sagnebis erTi mesamedi or sxva detals Sorisaa ganlagebuli. doqi or boTls Suaa SeWrili. am ori sxvadasxva nawilidan Su sagani erTTan an meoresTan ufro axlosaa. doqi, Tavis mxriv, daSorebulia marcxena boTlidan da marjveniskenaaa mimarTuli. mTvaresaviT morkaluli doqi dgas pursa da Tavissave saxelurs Sua. es ori rkali samyaros zRvars miRma gadis, qsovilis naWeri ki maT gars evleba da TiTqos SemosazRvravs ceriTa da neka TiTiT. puri esalmeba xelovans, romelic samyaros zomavs Cveneburi glexis yaidaze. ara metrebSi da santimetrebSi. morkaluli puri da doqis yuri sagans gamokveTilad warmoaCenen. sagnebi TiTqos irxevian am garemocvaSi, aqeT puri exuteba da iqiT doqis saxeluri exveva vertikalurad. moCuqurTmebuli yanwi da ori Rvinis Wiqa mSvenierebis elfers mateben uxv sufras. unda vTqvaT, rom saWmeli xeluxlebelia: moxarSuli, dauWreli indauri, langarze wylis Cqeridan amomxtari Tevzebi, did Samfurebze wamocmuli blomad xorcis naWrebi. Tanameinaxeni TavdaWerilad sxedan gawyobil sufrasTan, saWmeli gankuTvnilia ufro keTilganwyobili garemos Sesaqmnelad da ara Tanamesufreebis SimSilis dasakmayofileblad.

RviniT, am macocxlebeli wveniT, savse tiki gadadis muSambidan muSambaze, muyaodan muyaoze, Tunuqidan Tunuqze. purmariliani kaci didi stumarTmoyvareobiT ixmobs kerZebs, romlebic purs Semohyavs da publikas ase esalmeba, Tan baraqian yanws imarjvebs da iwvevs bostneuls, xils, Rvinosa da mwvadebs.

Bread’s optimistic curve, rising in two hands and inviting the assembly to their feet – either to applaud, or to express their jubilation or share their momentum.

With its two curves, the Bread initiates the still life into the offering. As at the end of a successful show, the director leads the troupe forward to the applause of the audience. The bread scale weighs the jug in the middle and the bottles of wine on the edges. As on the palm of a hand, the bread offers wine and salt. Between white and red, an eloquent trio.

The red and ocher jug lights up from the inside and shines around.

The Jug and the Bread, two life-giving pillars.

The duplication brings two bottles, two skewers, two glasses of wine and a couple of fish on a long dish. Daily bread allows the union of joy.

The brush consecrates it.

Nevertheless, on occasion, a third object interferes between two others. The jug enters between two bottles. Decidedly, the median object leans towards one or the other. Taking its distance from the bottle on the left, the jug leans to the right.

Curved in a crescent, the jug squeezes between the Bread and its own handle. The two curves take the measure of the world, as a purchaser measures a piece of fabric by scanning it with the thumb and the little finger. The Curve of Pain salutes the artist measuring the fashionable world of the peasant from here. Not meters and centimeters.

The bent Bread or jug handle clears the affected object. The objects vibrate in the intersection of the Bread’s embrace and the vertical embrace of the jug’s handle.

An ornate horn and two granulated glasses parade abundance.

Needless to say, the food is untouched: the uncut fried turkey, the fish jumping from the stream onto the dish, countless pieces of meat lying on giant skewers. Served to impassive guests, the food is not intended so much to satisfy the hunger of gourmands as to invest in a comforting atmosphere. Full of wine, carrying the juices of life, a wineskin wanders from oilcloth to oilcloth, from cardboard to cardboard, and from tin to tin.

As a hospitable host, the Man of Bread and Salt calls the dishes led

by Bread to greet the public and rains down from his cornucopia, defying vegetables and fruits, wine and skewers.

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GIA ARGANASHVILI

gia arganaSvili

enTo da iwvoda _ ediSer garayaniZe (dasasruli)

LIT AND BURNING - EDISHER GARAKANIDZE (The End)

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im wlebSi ediSer garayaniZem da mis mier Camoyalibebulma ansamblma „mTiebma~ alilos saSobao tradicia gaacocxles. isini yovel wels stumrobdnen saqarTvelos sxvadasxva kuTxes. erT-erT rigiT gasvlaze mec SemomTavazes kaxeTis sofel kakabeTSi maTTan erTad wasvla. ara Jurnalistad, an ubralo mayureblad, aramed alilos monawiled, raRac gauTvaliswinebeli mizezebis gamo ramdenime aucilebeli xma aklda da ediSerma sakuTar Tavze aiRo imis valdebuleba, rom kaxeTSi Casvlamde simReris bans Semaswavlida. gzaSi vlaparakobdiT xalxur kulturasa da misi gamovlinebis sxvadasxva wesze. vicavdiT azrs, rom Cveni nacionaluri buneba met-naklebad ufro antikarnavaluri iyo, im droisTvis momravlebul saxalxo dResaswaulebzec (romelTac mxolod pirobiTad SeiZleba saxalxo ewodos) yvelas gverCivna, rom mayureblad davrCeniliyaviT. am azrs TiTqos ewinaaRmdegeboda Cveni imdRevandel aliloSi monawileobis survili, Tumca is faqti, RonisZieba RamiT imarTeboda, aZlierebda Cvens mosazrebas, Zvel saqarTveloSi tradiciuli saxalxo dResaswaulebic, romlebic WeSmarit karnavalur saxes iRebda, xom mxolod RamiT imarTeboda an masobrivi mxiaruleba xalxuri improvizebuli niRbebis Teatris saxes iRebda.

Tu am mosazrebas, rogorc WeSmaritebas, daveyrdnobodiT, es TavisTavad gamoiwvevda sxva ufro Tamami daskvnebis gakeTebis saSualebas, rac ufro Sorsmimaval da naklebad damajerebel varaudebs miscemda gasaqans. ...Tumca aseT dros ediSeri swored mecnieris zomierebis grZnobiT gvabrunebda realobaSi da Ramis mogzaurobisTvis gvamzadebda. mdidari SemoqmedebiTi warmosaxvis unari da fantaziis usazRvroebaSi sazRvrebis dadgenis aucilebloba misi xasiaTis erT-erTi SesaSuri Tviseba iyo. sofelSi saRamos CavediT, erTi iqauri mosaxlis saxlSi davbinavdiT da SuaRamis dadgomas davelodeT, raTa aliloze Camovla pirveli Ramis (pirveli Rame swored Tormeti saaTisTvis sruldeba) gasrulebisTanave dagvewyo. alilos saqarTveloSi mravalsaukunovani istoria hqonda. qristes Sobis wina Rames yoveli ojaxis WiSkarTan qarTuli samxmiani saweso simRera sruldeboda. simReriT dResaswaulis milocvac tradicia iyo, maspinZeli ki momlocveli jgufis wevrebs sxvadasxva sanovagiT asaCuqrebda (aucileblad unda gaetanebinaT kvercxi _ sicocxlisa da nayofierebis simbolo). alilos teqstebSi („ocdaxuTsa dekembersa~, „Citi Robeze Semojda~, „wisqvils puri davarige~ da sxv.) gamoTqmuli iyo janmrTelobis, bednierebisa da baraqianobis survili. es tradicia didi xnis ganmavlobaSi daviwyebuli iyo (mxolod saqarTvelos mTis soflebSi iyo SemorCenili)

During those years, Edisher Garakanidze and ‘Mtiebi’, the ensemble he founded, have revived the Christmas tradition of ‘Alilo’. Each year, they would visit various parts of Georgia. During one of their tours, they offered me to go with them to the village Kakabeti in Kakheti. Not as a journalist, or a simple onlooker, but as a participant in the Alilo tradition – because of a few reasons, they were lacking some compulsory singing voices, and Edisher took the responsibility to teach me the bass voice himself before arriving in Kakheti.

On the road, we were speaking about folk culture and the various ways in which it emerged. We said that our nationalistic culture was more of an anti-carnival kind, and we all preferred to remain onlookers during the many new “people’s” celebrations (which cannot really be called “folk” ones). Our wish to take part in the Alilo of that day seemed to go against this thought, but that the celebration would happen during the night was corroborating our idea that in ancient Georgia, traditional folk celebration that had a true carnival approach took place only at night, or would take the form of a massive festivity and an improvised masked theater.

If we believed this thought to be the truth, it would itself allow us to make bolder assertions, which would give us space for furtherreached and less credible suppositions… But in those cases, Edisher would bring us back to reality with his scientific moderation, and prepare us for our nocturnal outing.

The duality of his great creative imagination and ability to set boundaries for limitless fantasies was one of the enviable traits of his character.

We left for the village in the evening, settled in the home of a local inhabitant, and waited for midnight, so we could start the Alilo procession right at the end of the first night (exactly at midnight).

The Alilo procession had a centuries-old history in Georgia. The day before the birthday of the Christ, a ritual Georgian song in three voices was performed before the gates of each family. Together with this song, there was a tradition of exchanging wishes, during which

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da rodesac „mTiebma~ mis aRdgenas mihyves xeli, nel-nela xalxSi misadmi ndoba da molodinic gaCnda.

Cveni, rogorc mealiloveTa pirveli STabeWdileba iyo, rom sul mcire saukuniT daviwyebul tradicias vaRviZebdiT, radgan simReris gagonebisTanave fanjrebs minebs akruli bavSvebis gakvirvebuli saxeebi, eleqtronis SuqiT ganaTebuli da gakvirvebuli ezoebi, tkbileuliT savse tabliT gamogebebuli diasaxlisebi da imaT zurgs ukan RviniT savse doq momarjvebuli ojaxis uxucesebis kmayofili saxeebi gvegebeboda. iyo saxlSi SepatiJeba, oRond ara Tavis gadakvla, zomierad, rogorc aRmosavleTs da metadre ki kaxeTs sCvevia. Cveni TavismarTleba, rom Rames veSurebodiT, radgan sxvaganac unda migveswro Sobis milocva _ Wrida da ase fexdafex mxolod aucilebeli sadidebels gvajerebdnen.

Tu vinme axirdeboda da ZaliT saxlSi Seyvanas dagvipirebda, imas isev simReriT vavsebdiT da Tavdapirvel gegmas, axalnaTovarze grZeli saxriT daxazul marSruts ar vcvlidiT. erTi sityviT, Cven im mokalmase berebsac vgavdiT, purRvinos mosarewad rom dadiodnen soflidan sofelSi. ezodan ezoSi, saxlidan saxlSi gadavdiodiT, xolo Cvens kvalze modioda msubuqi avtomobili, romelic nel-nela mZimdeboda RviniT savse WurWlebiT, yurZnis akidoebiT, sazamTro xiliT, CurCxeliT, xaWapuriT, mwvadiT da aTasi sxva sanovagiT. saRamos, roca Tbilisisken movdiodiT, Cveni cxviriani patara avtobusi erT-erT sofelTan gaCerda da mZRolma misi Seremonteba daiwyo.

Cven avtobusidan CamovediT da RamenaTevebma muxli gavSaleT. ediSerma gzis siaxloves axali gadaxuruli saxli SeniSna, romlis meore sarTulis boZebs Soris gaWimul Tokze Cvilis tansacmeli iyo gafenili

hosts had to gift various kinds of groceries to the group (imperatively containing an egg – a symbol of life and fertility). Alilo’s texts (‘25th of December’, ‘A Bird Sat on the Fence’, ‘Distributing Bread from the Mill’ and others) were expressing a wish for health, happiness, and good fortune.

This tradition had been forgotten for very long (it remained alive only in Georgia’s mountain villages), and when the ‘Mtiebi’ started restoring it, people welcomed this endeavor with joy and expectations.

To us as performers of the Alilo, the first impression was that we were reviving a tradition that had been forgotten for at least a century, as the surprised faces of children at the windows when they heard singing, the surprised gardens lit with electric lights, the housewives coming with plates full of sweets, and behind them, the elders of the family sitting at a table with a jug full of wine, were all welcoming us with joy.

They invited us inside the homes, but with no exaggeration, moderately, as is the custom in the East, and more specifically, in Kakheti. Our excuse was working, we had to hurry to extend our wishes to other families, too.

If someone would show stubbornness and try to force us in their home, we would again respond with singing, and continue our road in the fresh snow.

In one word, we were also looking like alms-gathering monks, who were walking from one village to the other to gather bread and wine.

We were moving from one garden to the other, one house to the next, and following us was a small automobile, which was slowly getting heavier with recipients full of wine, grapes, winter fruits, churchkhelas, khachapuris, barbecues, and many other groceries.

In the evening, on our way back to Tbilisi, our small bus had to stop at some village and the driver started fixing it.

We got out of the bus, and spread our legs a bit, tired as we were. Edisher noticed a house with a new roof near the road, on the first floor of which baby clothes were hanged between two columns.

So we gathered the victuals they had given us in Kakabeti and started walking and singing in this unusually long yard for Kakheti.

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axla Cven davitvirTeT kakabeTSi mogrovebuli xoragiT da kaxeTisTvis uCveulod grZel ezos simReriT gavuyeviT. rogor Cans, maspinZlebmac Soridan dagvinaxes. sadResaswaulo ganwyobac SegvamCnies da rogorc ki saxls mivuaxlovdiT, axalgazrda col-qmarma akvanSi mwoliare yrma dagvaxvedres karis SesasvlelTan da pirveli Svilis dalocva gvTxoves. albaT, esec didi tradiciis nawili iyo, radgan ansamblis wevrebi ferxulSi Caebnen da „mTiebma~ Wona wamoiwyes: „maRalma RmerTma gicocxloT, mag akvanSi mwoliare...~ me Cemdauneburad banis Tqma mivatove da mgoni, pirvelzec gadavedi. maxsovs, ediSerma xma da mowadineba Semiqo da Taviseburad moridebiT mTxova isev bans davbrunebodi, radgan axla Cvens simReras swored bani aklda...

Cvens Tvalwin imsxvreoda wina dRes SemuSavebuli Teoria, romelic nacionaluri bunebis antikarnavalur xasiaTs qadagebda. simReris xmaze Semoswrebul mezoblebTan erTad, dRisiT-mzisiT, yovelgvari

It turned out that the hosts had seen us from far away. They also noticed our festive approach, and as soon as we got close to the house, a young couple presented us a baby lying in a cradle at the entrance, and asked us to bless their first child.

This probably also was a part of a tradition, as the members of the ensemble started a round dance, and the Mtiebi started singing the ‘Chona’ song: “May God give him a long life, to the one lying in that cradle…”

I involuntarily stopped singing the bass, and I think I switched to the first voice. I remember that Edisher complimented me on my voice and enthusiasm, before modestly asking me to return to the bass voice, because it was lacking in our song…

Right before our eyes, the theory we had come up with the day before, according to which our national character was tending towards an “anticarnivalistic” attitude, was falling apart. Together with neighbors who had joined after hearing our singing, in the light of the Sun, with no theatrical masks, we had arranged a real festivity, in which each of us was not only an onlooker, but a direct participant in this sort of carnival…

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Teatraluri niRbebis gareSe Cven namdvil dResaswauls vawyobdiT, sadac TiToeuli Cvengani am dResaswaulis ara oden mayurebeli, aramed uSualo monawile da mokarnavale iyo... *** samwuxaroa, rom Cven verasodes vagnebT adamianis erTaderTobis im utyuar niSans, romliTac is sxvebisgan gansxvavdeba. amitom mis zogad daxasiaTebas xSirad swored im Tvisebebis „aRmoCeniT~ viwyebT, romliTac Cven yvelani erTmaneTs vgavarT. TiTqmis ukve 40 weli gavida, rac Cemi mexsiereba ediSer garayaniZis xsovnas inaxavs, magram dRemde arasodes micdia misi saaSkaraoze gamotana, vidre „kultura plusis~ redaqtorma masze mogonebis dawera ar SemomTavaza. cxovrebaSi uamrav adamianTan gvixdeba Sexvedra da maTgan Zalian cota gvamaxsovrdeba. rodesac vambobT, rom esa Tu is adamiani, romelTanac Cveni ganvlili cxovrebis Zalze mcire wlebi gvakavSirebs (amjerad umetesad samsaxureobrivi urTierTobis formatSi), gvaxsovs, es imas niSnavs, rom Cvens mexsierebas sakmarisi mizezi aqvs imisTvis, rom tvinma mexsierebebis sacavs misi xsovnis waSlis brZaneba ar misces. aseT dros ki bunebrivad gviCndeba upasuxo kiTxva, Tu

*** It is unfortunate that we can never find the authentic sign of human unicity that makes them different from others. Because of that, we often start characterizing people with the discovery of traits that are common to all of us.

It has been almost 40 years already since my memory preserves recollections of Edisher Garakanidze, but to this day, I had never tried to make them public, until the redactor of this journal offered me to write my memories of him.

We meet many people in life, and remember only a few of them.

When we say that we remember this or that person, with whom we spent a rather small number of our life’s years (in this case, mainly in a working format), this means that our brain has enough reasons not to order our memory to delete these remembrances. And in those times, we naturally ask ourselves what is the main element that makes these memories alive and protects them from being forgotten.

At the same time, I got convinced once more that any story preserved by our memory is like a sea pebble, which only preserves its polish in a natural environment – it’s enough for a sunray to reach them for them to lose their beauty.

And it so happened that I don’t have even one photograph taken with Edisher. This means that to me, his portrait did not “freeze” in time. And memory reminds me of his facial expressions, speaking manners… This is what memory does when photographs do not stand in the way. This is why Edisher is still next to me, evolving in my memory, getting old, and changing with the hands of time. I can still see, today, this tall man walking in the street at an energetic pace in the years 1966-1967. He is still hurrying somewhere, but never stops his conversation while walking. He doesn’t whine about the passing of time, or about the strangeness of our world…

He is still continuing the endeavors he started in his youth.

He gradually even begins to archive materials, add theoretical explanations to practical experience, and thinks about publishing new formats for his textbooks.

There are many superlative epithets to qualify this scientist, musician, pedagogue, folk specialist, and art historian, but the best one was found by Mr. Vakhushti Kotetishvili, who called Edisher a “candle of a man”. Mr. Tamaz Gabisonia used this appellation too afterwards. My vanity has to submit to general interest, so that a “candle of a man” remains the name with which Edisher Garakanidze is remembered down here and that he takes with him up there.

Let us preserve the memory of the generous and good-natured Edisher Garakanidze with this name, as well as the memory of his tragically deceased family – Mrs. Nino, Mariam, and Gigi…

A candle of a man, lit and burning…

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ra aris is sasargeblo elementi, romelic mis xsovnas acocxlebs da daviwyebisgan icavs. amave dros, kidev erTxel davrwmundi, rom mexsierebaSi Senaxuli nebismieri ambavi zRvis kenWebs hgavs, romlebic mxolod bunebriv garemoSi inarCunebs TavianT brwyinvalebas, sakmarisia maT mzis sxivma daxedos, rom sadRac qreba maTi silamaze da momxiblaoba.

Cvens urTierTobaSi ki ise moxda, rom me ediSerTan erTad gadaRebuli suraTi ar SemomrCa. es ki imas niSnavs, rom CemTvis misi portreti droSi ar `gayinula~. mexsiereba ki cocxlad maxsenebs misi saxis gamometyvelebas, saubris maneras, es mexsierebis Tvisebaa, rodesac mas fotosuraTi ar uSlis xels. amitom, ediSeri isev CemTan Cems xsovnaSi izrdeba, berdeba da drois dinebasTan erTad icvleba. dResac vxedav quCaSi 66-67 wlis Ronieri nabijiT mosiarule maRal kacs. Cveuli RimiliT. isev sadRac Cqarobs, magram saubars Sua gzaze arasodes wyvets, ar emduris drois simcires, ar wuwunebs wuTisoflis ucnaurobebze...

isev axalgazrdobaSi dawyebul saqmeebs agrZelebs, nelnela am `saqmes~ pirsac `uwmends~, es ki imas niSnavs, rom masalebs aarqivebs, praqtikul gamocdilebas Teoriul axsnas urTavs da saxelmZRvaneloebis ganaxlebul gamocemebze fiqrobs.

Cven misTvis mecnieris, musikosis, pedagogis, folkloristis, xelovnebaTmcodnis mravali aRmatebiTi epiTeti gvemeteba, magram aq pirveloba da upiratesobac baton vaxuSti kotetiSvils ekuTvnis, romelmac ediSers `kaci-sanTeli~ uwoda. Semdeg es saxeli batonma Tamaz gabisoniamac gaimeora. aq Cemi pativmoyvareobac saerTo interess unda daeqvemdebaros, raTa ediSer garayaniZis iq wasaReb da aq dasatovebel saxeladac kaci-sanTeli SemorCes, am saxeliT SevinaxoT didsulovani da didbunebovani kacis ediSer garayaniZis, aseve tragikulad daRupuli misi ojaxis _ qalbatoni ninos, mariamis da gigis xsovna... kaci-sanTeli, enTo da iwvoda...

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mxolod is gadarCeba, vinc maradiulzea orientirebuli

Only those who lean towards eternity will survive Interview by Nino Gogichaishvili

esaubra nino gogiCaiSvili

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gidon kremeri (1947, riga) saviolino xelovnebisa da, saerTod, klasikuri musikis samyaroSi saukunis movlenadaa wodebuli, romlis gavlenac Tanamedroveobaze ganuzomlad didia. meviolineTa dinastiaSi dabadebuls, ojaxma Tavidanve ganusazRvra samomavlo profesiuli gza. pirvelad 4 wlisam gakveTilebi mevioline mamisa da babuisagan miiRo. 16 wlis asakSi ki musikalur scenaze ukve ise daimkvidra Tavi, rom mSobliuri litvis pirveli saxelmwifo premia mieniWa. oriode wlis Semdeg, daviT oistraxis saamayo studentma, mTel rig saerTaSoriso saviolino konkursebze umaRlesi aRiareba moipova. maT Soris iyo dedofali elisabedis (1967), monrealis (1969), paganinis (1969), Caikovskis saxelobisa (1970) da sxva uamravi gamarjveba. bolo xuTi aTwleulis manZilze gidon kremers maspinZloben msoflio scenis saukeTeso darbazebi, diriJorebi, evropisa da samxreT amerikis orkestrebi. is bevrs mogzaurobs sakuTari, 1997 wels Camoyalibebuli kameruli orkestriT Kremerata Baltica. mis mier gamoqveynebuli 120-ze meti albomi kritikosebis did aRtacebas imsaxurebs. gidon kremeris uCveulo interpretatoruli xedvisa da musikaluri kulturis ganviTarebaSi gansakuTrebuli piradi wvlilis aRsaniSnavad, dRemde ar wydeba misTvis yvelaze renomirebuli prizebisa Tu sapatio jildoebis miniWeba. aseTebia, iuneskos, stokholmis Rolf-Schock, Ernst von Siemens, veneciis Una Vita Nella Musica – Artur Rubinstein, der Deutsche Schallplattenpreis, franguli Grand prix du Disque, saxelovnebo dargSi nobelis premiis sapirwone Praemium Imperiale tokioSi. misi orkestri Kremerata Baltica gaxlavT, aseve, Grammy Awards-is mflobeli da sxva mravali. gidon kremeris inspiraciiT savse repertuarSi, warsuli epoqebis musikasTan erTad, Zalian didi mniSvneloba XXXXI saukuneebis kompozitorebis Semoqmedebas eniWeba. eseni gaxlavT: alban bergi, karlhainc Stokhauzeni, alfred Snitke, gia yanCeli, luiji nono, filip glasi, astor piacola, valentin silvestrovi, maikl naimeni da sxvebi. misi SesrulebiT mravali nawarmoebis premiera Semdgara da araerT kompozitors misTvis miuZRvnia sakuTari kompozicia. misi talantiT moxiblulni iyvnen musikaluri samyaros korifeebi: maria kalasi, glen guldi, leonard bernStaini... gidon kremeris avtobiografiis kiTxvisas Znelad Tu daijereb, rom misi saocrad mravalferovani SemoqmedebiT gza da Zalian mdidari, triumfaluri movlenebiT savse cxovreba mxolod erT pirovnebas ekuTvnis. uaRresad madlieri var, rom momeca saSualeba, gavsaubrebodi ara mxolod eqskluziur musikossa da inteleqtuals, romelsac yvela sakiTxze Zalian siRrmiseulad da originalurad SeuZlia isaubros, aramed, aseve, did adamians.

Gidon Kremer (1947, Riga) is considered as a phenomenon in the art of violin, and in the world of music in general. His influence on modern music is unfathomable.

Born in a dynasty of violinists, his family paved the road of his professional life since his early childhood. He received his first lessons in violin from his father and grandfather when he was four years old. At the age of 16, he established himself on the music scene, even receiving the first state prize in his home country of Latvia. After about two years, a proud student of David Oistrakh, he found recognition and won the main prizes in a whole number of international violin competitions, including the Queen Elizabeth (1967), Montreal (1969), Paganini (1969), Tchaikovski (1970) competitions.

During the last five decades, Gidon Kremer has been invited on the best stages of the world, by the best conductors and orchestras of Europe and South America. He travels a lot with his own chamber orchestra, which was founded in 1997, the Kremerata Baltica, and his ukrover 120 albums have received critical acclaim.

In order to celebrate Gidon Kremer’s singular interpretation approach and his personal accomplishments in the development of musical culture, the most renowned prizes and honorific awards are still being presented to him to this day, such as the IMC-UNESCO International Music Prize, the Rolf-Schock Prize in Stockholm, the Ernst von Siemens Music Prize, the Una Vita Nella Musica – Arthur Rubinstein Prize in Venice, the Deutsche Schallplattenpreis, the Grand Prix du Disque in France, and the Praemium Imperiale in Tokyo, which is considered as the equivalent of the Nobel Prize in the field of arts.

His orchestra Kremerata Baltica is also the recipient of a Grammy Award and many other prizes.

In the large repertoire of Gidon Kremer’s inspirations, together with old musical epochs, an important place is held by composers from the 20th-21st centuries. These are, among others, Alban Berg, Karlheinz Stockhausen, Alfred Schnittke, Giya Kancheli, Luigi Nono, Philip Glass, Astor Piazzola, Valentin Silvestrov, Michael Nyman. The premieres of many works have been performed by Kremer, and many composers have dedicated their works to him. The front runners of the music world were amazed at him: Maria Callas, Glenn Gould, Leonard Bernstein…

When reading Gidon Kremer’s autobiography, it is hard to believe that his exceptionally varied creative career and very rich life full of triumph belong to only one person. I am utterly thankful that I have had the chance to speak not only to an extraordinary musician and intellectual, who can speak of any theme deeply and in an original manner, but also to a great human being.

The interview was done in Spring of 2022 Nino Gogichaishvili: What is the essence of music, and what role can it play in today’s everyday life?

Gidon Kremer: I think that music can bring more harmony to our lives. It has to serve the deepening of feelings and emotions between

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people, and become a universal anthem of connection. Even more so where tolerance and understanding face some difficulties.

interviu Cawerilia 2022 wlis gazafxulze nino gogiCaiSvili: raSi mdgomareobs musikis arsi da ra roli SeiZleba hqondes dRes mas Cvens realobaSi? gidon kremeri: vfiqrob, rom musikas SeuZlia Cvens realobaSi meti harmoniis Semotana. is unda emsaxurebodes SegrZnebebisa da emociebis gaRrmavebas adamianebSi, unda iyos maT Soris damakavSirebeli himni. miT umetes, iq, sadac gageba garkveul sirTuleebs ganicdis. _ maestro, Tqveni sityvebi, `mxolod is gadarCeba, vinc maradiulzea orientirebuli“, imeds gvaZlevs. minda gkiTxoT, ra aris maradiuli? _ maradiulTan vakavSireb mocemulobas, rom Cven, adamianebi, yvelani mokvdavebi varT. mxolod isaa Rirebuli, rac Cven SegviZlia SevqmnaT da sxvebs gadavceT, rasac Taobebi miiReben. es ki sakuTar TavSi uwyvetobas moicavs. samwuxarod, xSirad viviwyebT, rom samyaros ukeTesi gagebisTvis mxolod Cveni didi Zalisxmeva emsaxureba maradiuls. musikiT xSirad mokle da zedapirul gzas irCeven, riTac mTeli yuradReba gadaaqvT warmatebaze, aRiarebasa Tu sxvadasxva komfortze. Tuki Cven gvinda, rom WeSmaritad vemsaxuroT musikas, musikas, romelic maradiulia, sxva miznebi unda davisaxoT, rac angarebas gamoricxavs.

gidon krermeri da misi orkestri KREMERATA BALTICA

– Maestro, your words “Only those who lean towards eternity will survive” give us hope. I would like to ask you, what is eternal?

– I link the fact that us humans are all mortal to eternity. The only valuable things are what we can create and transmit to others, what future generations will receive. This involves a sort of continuity in oneself. Unfortunately, we often forget that only our great efforts to better understand the world will serve eternity. In music, they often choose the short and superficial way, through which they turn all the attention towards success, recognition, or some other form of comfort. If we want to serve music properly, to serve a music that will be eternal, we have to set different kinds of goals, ones that exclude self-interest.

– “I do not want to be a violinist exclusively, I want, as a contemporary, to change something for the better”. What would be more than being a legendary violinist?

– In my youth, naturally, I had the ambition to be the best I could in order to establish myself in the music world and on stage, but little by little, I understood that my goal was something different: with my performances, I want to not only serve the music of great composers, which makes me happy, but also to serve listeners – their emotions,

GIDON KREMER AND HIS ORCHESTRA KREMERATA BALTICA

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gidon krermeri gia yanCelTan erTad

_ `me ar minda, viyo mxolod mevioline, msurs, rogorc Tanamedrovem, raRac ukeTesobisken Sevcvalo.“ ra iqneboda imaze meti, vidre iyo didi legendaruli mevioline? _ siymawvileSi, cxadia, mqonda ambicia, vyofiliyavi kargi da kidev ufro ukeTesi, raTa musikalur samyarosa Tu scenaze Tavi damemkvidrebina, magram TandaTanobiT mivxvdi, rom Cemi mizani ufro sxva aris: msurs, Cemi SesrulebiT ara mxolod didi kompozitorebis musikas vemsaxurebode,riTac bednieri var, aramed, vemsaxurebode msmenelsac _ mis gancdebs, gagebas da unars, SeigrZnos sakuTari cxovrebis mniSvneloba da sicocxlis sixaruli. _ sofia gubaidulina (*1931) aRniSnavs, rom Tqvens SesrulebaSi gansakuTrebiT SeigrZnoba tkivili. ra aris TqvenTvis dRes yvelaze didi sevda da ram SeiZleba Tqven dRes gagakvirvoT an gatkinoT? _ dRes CemTvis ukrainis omze meti safiqrali da sadardebeli ar arsebobs. Tavs umweod vgrZnob, rogorc ama qveynisa ZlierTa, ise msxverplTa winaSe. Cven SegviZlia amaze bevri visaubroT, magram mainc bevrs verafers gavawyobT. sul mcire, rac SemiZlia, gavakeTo, ukraineli ltolvilebis dasaxmareblad vawyob benefis koncertebs, raTa maT, SeZlebisdagvarad, tkivili

GIYA KANCHELI AND GIDON KREMER

understanding, and talent to feel the importance of their own lives and the joy of life.

– Sofia Gubaidulina (born 1931) notes that in your performances, one can particularly feel pain. What is your greatest sorrow today, and what can surprise or hurt you today?

– Today, there is nothing more serious and sad than the war in the Ukraine. I feel helpless towards both the strong and the weak of this world. We can talk about this a lot, but it won’t lead us far. The small thing that I can do from my side to help Ukrainian refugees is to organize benefit concerts, in order to lighten their burden a bit. I feel even more powerless because I cannot stop this foolishness. I fear that this crazy situation will torment even more people and countries.

I am also surprised at the fact that many people in Russia don’t understand that and even support their government. This troubles me day and night.

When Sofia Gubaidulina speaks about pain, I would like to say that in music, happiness, which I mentioned before, has the same importance as pain. In Sofia Gubaidulina’s or other great contemporary composers’ works, pain is always depicted masterfully.

The great composer to whom I was connected, and with whom I will always remain internally, is Giya Kancheli (1935-2019). He was as anxious about the future of our world as I am. There is also Arvo Pärt

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Sevumsubuqo. Tavs kidev ufro ususurad imis gamoc vgrZnob, rom am daufiqreblobisa da uWkuobis SeCereba ar ZalmiZs. vSiSob, rom es sigiJe kidev ufro met adamiansa da qveyanas datanjavs. makvirvebs isic, rom ruseTSi amas bevri ver xvdeba da sakuTar xelisuflebas mxarsac ki uWers. es dRedaRam maRelvebs da mtanjavs. roca sofia gubaidulina tkivilze saubrobs, aqve vityvi, rom musikaSi sixaruls, romelzec cota xnis win vsaubrobdi, iseTive mniSvneloba aqvs, rogorc tkivils. sofia gubaidulinasa Tu Tanamedroveobis sxva didi kompozitorebis qmnilebebSi yovelTvis ostaturadaa gamoxatuli tkivili. didi kompozitori, romelTanac dakavSirebuli viyavi da Sinaganad samudamod masTan vrCebi, aris gia yanCeli (1935-2019). is samyaros momavalze iseve Relavda da masac igive sZulda, rac -me. aseve arvo perti (*1935) da kidev sxva mravali kompozitori, Cemi didi mxardamWerebi imaSi, rom sworad damenaxa da gamego samyaro da musikaluri bgerebiT Semesrulebina sakuTari misia am qveynad.

(born 1935), and many other composers, who are great supporters of mine in my endeavor to clearly see and understand the world, and to accomplish my personal mission through musical sounds in it.

_ Tqvens musikaSi ismis siCumidan, uxmoebidan daWerili bgerebi, romlis talRebic Zlivs SesamCnevad igrZnoba.

– You are also one of the best interpreters of Giya Kancheli’s ‘Silence Composer’. How would you explain his phenomenon, and

– In your music, we hear sounds coming from the silence, the sound waves of which are hardly felt. What can silence mean in music? How would you explain the importance of silence in music?

– Silence is of great importance to me, because sounds are born from silence. It is an integral part of music, like a musical pause.

Pauses interchange with sounds, but it is only together that they create a musical fabric, and they are equal in importance towards each other. One can search for and find many things in silence. Apart from meditation, you will find the answers to many difficult existential questions in it. For instance, answers to problems with which the world has endowed us and that we carry with us every day. This was and is very well understood by composers such as Luigi Nono (19241990), Viktor Kisin (born 1953), Arvo Pärt, and of course, Giya Kancheli.

This is precisely what is the most valuable for me in their works.

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ras SeiZleba, niSnavdes dumili musikaSi? rogor axsnidiT misTvis siCumis mniSvnelobas? _ dumils CemTvis didi mniSvneloba aqvs, radgan siCumidan ibadebian bgerebi. is isevea musikis nawili, rogorc musikaluri pauza. pauzebi enacvlebian bgerebs, magram isini mxolod erTad qmnian musikalur qsovils da sakuTari mniSvnelobiT erTmaneTs uTanabrdebian. dumilsa da siCumeSi bevris moZieba da povna SeiZleba. meditaciis garda, masSi cxovrebiseul mraval urTules SekiTxvaze ipoviT pasuxs. magaliTad, problemebze, romelic samyarom gvarguna da Tan dagvaqvs. es kargad hqondaT da aqvT gacnobierebuli iseT kompozitorebs, rogoricaa luiji nono (1924-1990), viqtor kisini (*1953), arvo perti da, ra Tqma unda, gia yanCeli. es aris swored is, rac maTi qmnilebebidan gansakuTrebiT faseulia CemTvis. _ Tqven xarT aseve gia yanCelis `siCumis kompozitoris“ erT-erTi saukeTeso interpreti. rogor axsnidiT mis fenomens da ras poulobT yanCelis musikaSi iseTs, rasac ver naxavT mis partiturebSi? _ yvela im kompozitorTan, romlebic cota xnis win CamovTvale, ar arsebobs zedmeti, mcdari an aragulwrfeli bgera. swored am bgerebis povnasa da amocnobaSi vxedav sakuTar amocanas. es exeba Tanamedroveobis kidev erT kompozitors, valentin silvestrovs (*1937), romelic, ise, rogorc dRes milionobiT adamiani, unda daxsnoda oms ukrainidan. maTgan zogi gadarCa, zogi daiRupa. yoveli dakarguli sicocxle tragediaa, magram, rogorc „wignebi ar iwvian“, ise musika icocxlebs Cvens Semdegac da baxis, beThovenisa da Subertis musikasTan erTad iarsebeben XX-XXI saukunis Sedevrebic. am mdidar saganZurs Tavidan aRmoaCenen Taobebi da amiT isazrdoeben.

what do you find in Kancheli’s music that one cannot see in his scores?

– In all the composers I have listed in my answers, there is no exaggerated, mistaken, or dishonest sound. It is precisely in the search and understanding of these sounds that I find my own challenge. This is also true about another contemporary composer, Valentyn Silvestrov (born 1937), who, like millions of others today, had to flee the war in the Ukraine. Some of them survived, some have passed. Each lost life is a tragedy, but just as “books don’t burn”, music will outlive us, and masterpieces from the 20th-21st centuries will exist alongside works by Bach, Beethoven, and Schubert. This great treasure will be rediscovered by future generations, and they will be elevated through them.

– You spend a lot of time alone with your instrument. Is there anything in your solitude that gets lost during a concert, when you play in front of a public?

– This is a difficult question, because in essence, every individual is alone, despite wonderful interactions with friends, partners, close ones… Each of us remains alone with oneself, and leaves this life alone. I would say that those who try to follow trends withdraw from the essence of music, both in life and on the stage. Many musicians are overcome by the euphoria of their celebrity or success. I don’t think it does them any good.

I think that the interpreters who, as Glenn Gould (1932-1982) would say, are in complete harmony with the composer, are also closer to truth. Being connected to sounds doesn’t mean that you need to serve them exclusively – you also have to evolve through your interaction with them. Masses cannot do this, because it demands a very individual and intimate approach to sounds, during which musicians find values. I highly respect the artists who strive for these values on stage, and for whom applause and success are not the main goals.

_ Tqven Zalian bevr dros atarebT simartoveSi sakuTar instrumentTan erTad. Tu aris am simartoveSi raRac iseTi, rac Semdeg _ koncertis dros, publikis winaSe wardgenisas ikargeba? _ es rTuli SekiTxvaa, radgan, arsebiTad, yoveli adamiani martoa, miuxedavad araCveulebrivi Sexvedrebisa megobrebTan, partniorebTan, sayvarel adamianebTan...

TiToeuli Cvengani sakuTar TavTan mainc martoa da sicocxlesac marto tovebs. me ase vityodi: visac surs, JamTa cvlas misdios, is musikis arss Sordeba, rogorc cxovrebaSi ise scenaze. bevr musikoss sakuTari cnobadobisa Tu warmatebis eiforia ipyrobs. meeWveba, rom es maTTvis momgebiani iyos.

Cemi azriT, is interpretebi, romlebic, glen guldis (1932-1982) sityvebiT rom vTqvaT, „kompozitorTan erTi erTSi arian“, WeSmaritebasac ufro uaxlovdebian. dakavSirebuli iyo bgerasTan, ar niSnavs, mxolod mas

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emsaxuro _ maTgan SemoqmedebiTadac unda isazrdoo. amiT adamianTa masebi ver dakavdebian, radgan es moiTxovs Zalian individualur da intimur damokidebulebas bgeris xmovanebasTan, romlis drosac adamiani bevr faseuls poulobs. me didi respeqtiT vepyrobi im xelovanebs, romlebic scenazec am faseulobebs eltvian da romlebisTvisac aplodismentebi da warmateba ar aris TviTmizani. _ Tqven ambobT rom perfeqcionizmiT xarT Sepyrobili, magram, amavdroulad, uaryofT mas. Tqvenive sityvebiT „mcdeloba, daukra yvelaferi zedmiwevniT uzadod, akninebs Tavad musikis mSvenierebas.“ Tqveni azriT, vin an ra gansazRvravs srulyofilebis masStabs? _ citata „perfeqcionizmi mSvenierebis mteria“, romelic gaviTavise, ekuTvnis sadiriJoro xelovnebis did ostats nikolaus arnokurs (1929-2016), romelTan erTadac musikis Sesrulebisa da TanamSromlobis bedniereba mqonda. marTlac, iRvwode srulyofilebisaken, akninebs mSvenierebas. es ori erTmaneTTan SeuTavsebelia. bavSvobidan maswavlidnen, rom yvelaferi, rasac vakeTeb da gavakeTeb, uzado unda iyos. dRemde mawuxebs

– You say that you are hindered by perfectionism, but at the same time, you deny it. You’ve said yourself that “the attempt to play everything immaculately hampers the beauty of music”. In your opinion, who or what determines the scale of perfection?

– The saying that “perfectionism is the worst enemy of beauty”, which I have now understood, belongs to the great conductor Nikolaus Harnoncourt (1929-2016), with whom I have had the chance to play music and work. And it is true, always aiming at perfection hinders beauty. Those two cannot go hand in hand together.

From childhood, I was taught that everything that I was doing and would do had to be flawless. I am still troubled by this approach – to always strive for perfection in everything. I can never forgive myself for inaccuracies for which I would easily forgive others. This is a constant struggle in me, and I would wish that perfectionism didn’t win, and that the winner was what Nikolaus Harnoncourt calls beauty. I mean the main message of a composition and of a score, that which is read between the lines. This is the most important to me, and not to perform each note with 100% accuracy, which, in itself, is impossible. In other words, it is more important to convey the essence of a composition than to preserve the exactitude of the notes. But despite all this, I always try to be as exact as possible in everything I do. I am very troubled if the accomplished or unaccomplished accuracy deviates me from the music.

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damokidebuleba _ yvelaferSi veltvode srulyofilebas. uzustobebs, romelic SemiZlia, sxvebs vapatio, sakuTar Tavs iSviaTad Tu vapatieb. es aris mudmivi brZola CemSi da visurvebdi, rom is perfeqcionizmis sasargeblod ar dasrulebuliyos da gaemarjvos imas, rasac nikolaus arnokuri mSvenierebas arqmevs. vgulisxmob kompoziciisa da partituris mTavar gzavnils, rac notebis miRma amoikiTxeba. CemTvisac swored es gaxlavT umTavresi da ara TiToeuli notis 100%-iani Sesruleba, rac, TavisTavad, SeuZlebelia. CemTvis kompoziciis Sinaarsis realizeba ufro mniSvnelovania, vidre sanoto teqstSi arsebuli sizustis dacva. miuxedavad amisa, vcdilob, yvelaferSi, rasac vakeTeb, zedmiwevniT zusti viyo.

Zalian mawuxebs, Tu es miuRweveli an miRweuli sizuste musikas maSorebs. _ Tqven erTxel aRniSneT, rom eZebT musikas iseTi gzavniliT, romelic TqvenSi emociebs iwvevs, gansxvavebiT inteleqtualuri musikisagan, romelic badebs fiqrs. emocia da azri _ fiqri yovelTvis erTad ar gvxvdeba musikaSi? ar aris emocia yovelTvis iq, sadac fiqri da azria? _ es Zalian kargi SekiTxvaa. roca cdiloben, inteleqtualis Stampi damasvan, umetesad vewinaaRmdegebi im argumentiT, rom piradad me sakuTar Tavs ara mxolod emociur xelovanad aRviqvam, aramed im musikosadac, romelic cdilobs, aseve iazrovnos. mxedvelobaSi maqvs is faqti, rom me ar SemiZlia sakuTar fiqrebs gavSorde, Tundac is Zalian kreatiuli iyos. magaliTad, roca Cems 25 wlis iubilar orkestrTan _ Kremerata Baltica-Tan erTad scenaze vdgavar, maSin spontanuri, siRrmiseuli, faruli da idumali imdenad mniSvnelovani xdeba, rom amas nawarmoebis wmindad konceptualuri xedvis gamo ver davTmobdi. CemTvis mniSvnelovania, rom musika Cveni da Cemi SesrulebiT sunTqavdes, misi xmis talRebi iwvevdnen vibracias da aRwevdnen msmenelamde. isini amas dafiqrebis gareSe igrZnoben, miiReben da es maT gaamdidrebs. _ Zvel musikasTan erTad, Tqven aseve did yuradRebas uTmobT Tanamedrove nawarmoebebs. ras niSnavs TqvenTvis axali musikis Sesruleba da ramdenad xdeba sxvadasxva epoqis musikaluri mimarTulebebis Tqvens interpretaciebSi urTierTgavlena? _ Cemi azriT, Tanamedrove musika mudmivia, xolo musika, romelsac Cven klasikurs, romantikuls, barokosa Tu a.S. vuwodebT, arsebiTad Tanamedrovea. rogorc zemoT vaxsene, is uCveulod Rirebuli musika, rac dRes iqmneba, aucileblad daaxlovdeba Semdeg TaobebTanac. saWiroa, ganvasxvaoT warsulis kargi da cudi musika. maSindeli kargi musika, principSi, dRevandelicaa. is yovelTvis aqtualuri darCeba, radgan klasikosebic, Tavis droze,

– You once noted that you are looking for music with messages that make you emotional, as opposed to intellectual music, which makes you think. Emotions and thought – don’t they always come together in music? Aren’t there always emotions where there are thoughts and opinions?

– This is a very good question. When they try to stamp me as an intellectual, I mostly oppose them with the argument that I see myself not only as an emotional artist, but also as a musician who is attempting to think too. The fact is that I cannot separate from my thoughts, even if they are very creative. For instance, when I am with my 25-year-old orchestra Kremerata Baltica on stage, spontaneity, depth, the concealed and mysterious gets so important that I would never trade them for a purely conceptual approach to the music.

To me, it is important for music to breathe through us and our performance, for their sound waves to make vibrations and reach listeners. The latter will feel this without thinking, they will receive it and hopefully get elevated from it.

– Together with old music, you also pay great attention to contemporary works. What does performing this “new” music mean to you, and how do the old and new epochs influence one another in your interpretations?

– I think that contemporary music is timeless, as for the music that we call classical, romantic, baroque, and so on, they are contemporary in essence. As I have said, the extremely valuable music that is being created today will definitely echo in future generations too. It is necessary to separate the good and bad music from the past. In principle, the good music from the past is contemporary. It will always remain relevant, as classic composers, back in the day, were also facing the same problems or challenges, and were thinking about the same subjects. This is still happening today, and this struggle is endless. I mean the common roads of life, and namely, the horror that is happening in the Ukraine today, and which makes me very sad. Few people could have predicted that. Apart from the fact that Giya Kancheli always considered the president of Russia an enemy of

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igive an msgavsi problemebisa Tu gamowvevebis winaSe idgnen da maTze zrunavdnen. es ki dResac xdeba da es Widili dausrulebelia. vgulisxmob cxovrebis saerTo gzebs da, kerZod, im saSinelebas, rac dRes ukrainaSi xdeba da rasac umZimesad ganvicdi. amisi winaswari gansazRvra cotas Tu SeeZlo. miuxedavad imisa, rom gia yanCeli yovelTvis ruseTis prezidents adamianurobisa da adamianebis mtrad miiCnevda, man es icoda, grZnobda da ar erideboda, eTqva pirdapir. misi am da kidev bevri sxva tkivilis gamoZaxilia is, rasac me axla vgrZnob. _ Tqveni SesrulebiT Zalian cnobili nawarmoebebi, romlebsac ase xSirad ukraven bevrgan, ar kargaven TavianT amaRelveblobas, saocar emocias. msmenels am nawarmoebebs Tqven mudmivad ganaxlebuli perspeqtividan Sesrulebuls sTavazobT. Tu SegviZlia vifiqroT, rom Tqven kompozitoris Canafiqrs mudmivad axleburad aRiqvamT? _ swored esaa Cemi mizanic. rogorc wignis ganmeorebiTi kiTxvisas, yovel jerze, masSi raRac axals aRmovaCenT, musikis SemTxvevaSic asea: CemTvis arafers niSnavs nawarmoebis Sesrulebisas winaswar SerCeuli da daswavlili formulirebebis gameoreba. amis nacvlad, vcdilob, viyo aq, amJamad da musikac mocemul momentSi vasunTqo. samwuxarod, yovelTvis ase ver xerxdeba, magram me mudmivad viswrafvi, vigrZno, rom musika mocemul momentSi ibadeba da ara mxolod sruldeba. _ es weli Tqveni saiubileo welia. ras isurvebda gidon kremeri Tavis iubileze? _ SesaZloa, sasacilod mogeCvenoT, magram radgan Tavs mudmivi wnexis qveS vgrZnob ara mxolod scenaze, aramed yoveldRiur cxovrebaSic, xSirad kargad gamoZinebas vnatrulob xolme. wnexi mxolod musikaluri partituris Seswavlasa da Sesrulebas ar exeba. is SeiZleba wignis weris, azris formulirebisa da sxva drosac warmoiSvas. mSoblebisgan mxolod is viswavle, rom mudmivad unda memuSava sakuTar Tavze. Tu msurda, rom Cems profesiaSi ukeTesi gavmxdariyavi, es unda SemZleboda. es „SeZleba“ ki Zalian damRlelia. rac Cemi mSoblebisgan ar miswavlia, aris daZabulobisgan moSveba da Tavis daRweva. ukve aTeuli welia, vcdilob, vipovo wonasworoba daZabulobasa da modunebas Soris, Tumca amas iSviaTad vaRwev. visurvebdi, es ufro xSirad momexerxebina. bavSvobaSi mxolod bebiasTan yofnisas SemeZlo, araferi mekeTebina. ara mgonia, dRes arafris keTebam momaniWos bedniereba, is bedniereba, rasac maSin ganvicdidi. zogjer, ramdenime wuTiT, saaTiTac ki arafris keTeba marTlac araCveulebrivia. vfiqrob, rom esec cxovrebis nawilia.

humanity and of humans, he understood it, felt it, and didn’t refrain from saying it out loud. What I am feeling today is the echo of his pain and that of many others.

– The very famous pieces you have performed, which are played so often in so many places, never lose their emotional strength, and you always offer your listeners a performance with a renewed approach or perspective. Could this mean that you interpret the message the composer wanted to convey in a different manner each time?

– And this is precisely my goal. Just like you will find something new each time you read the same book, in music, I never choose and decide in advance the manner in which I will perform and formulate the piece. Instead, I try to be present, and to make the music breathe in the moment. Unfortunately, this doesn’t always work, but I always strive to feel that the music is being born in that particular moment, and not only performed.

– This is your jubilee year. What would Gidon Kremer wish himself?

– You might find it funny, but because I always feel tense, not only on stage, but in everyday life too, I often wish for a good night’s sleep. The pressure is only related to learning the score, and not to performing it. It might also appear when writing a book, formulating a thought, or any other time. From my parents, I have only learned that I always have to work on myself. If I wanted to become better at my profession, I should have been capable of doing it. But this “capacity” is very tiresome. What I didn’t learn from my parents is to relax and escape from tension. It has already been a decade that I am trying to find a balance between tension and tranquility, though I seldom find it. I would wish to be able to do so more often. In childhood, I could remain idle only when I was at my grandmother’s place. I don’t think that today, being idle will provide me the happiness I was feeling back then. Sometimes, doing nothing for a

_ uRrmesi madloba, rom TqvenTvis Zvirfasi dro dagviTmeT. gmadlobT uaRresad saintereso saubrisTvis.

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gidon kremeris saxelobis quCa avstriis qalaq lokenhausSi

Tqveni didi xelovnebis TayvanismcemelTa saxeliT, minda, kargad yofna gisurvoT da imedi davitovo, rom Cvens irgvliv mSvidoba aucileblad daimkvidrebs. _ es iqneboda araCveulebrivi. garda omiT gamowveuli damTrgunveli fiqrebisa, aris Cems cxovrebaSi sixaruli, romelsac ara mxolod SemoqmedebiT procesebsa Tu CemTvis Zvirfas adamianebTan urTierTobebSi vpoulob, aramed _ SvilebSic. Cemi ori qaliSvilidan, erT-erTi dRes TbilisSia. man SeZlo, gamoqceuliyo ara ukrainidan, aramed ruseTidan. mixaria, rom is TbilisSia da bevri gulwrfeli megobari SeiZina, romlebmac mas sakuTar adgilsamyofelTan ganSorebiT gamowveuli simZime Seumsubuqes da exmarebian. me didi imedi maqvs, rom saqarTveloSi ara mxolod Cemi qaliSvilis sanaxavad Camoval, aramed Tqvens winaSe scenazec warvdgebi.

STREET NAMED AFTER GIDON KREMER IN LOCKENHAUS, AUSTRIA

few minutes, or even for an hour, can be wonderful. I think that it is also part of life.

– Thank you for taking your precious time to talk with us, and for this utterly interesting discussion. On behalf of the admirers of your great art, I would like to wish you health and wellbeing, and I hope that peace will return soon.

– It would be wonderful. Apart from oppressive thoughts coming from the war, there is joy in my life too, which I find not only in my artistic process or by interacting with the people I hold dear, but also in my children. One of my two daughters is in Tbilisi today. She had the luxury of fleeing not the Ukraine, but Russia. I am happy that she is in Tbilisi and befriended many good people who can help her be a bit relieved from having to flee her home. And I really hope that I will come to Georgia not only to see my daughter but also to perform on stage.

– You would make us very happy!

_ Zalian gagvaxarebdiT!

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mariam gaCeCilaZe

loreta abaSiZe-Sengelias Semoqmedeba MARIAM GACHECHILADZE

Loretta Abashidze-Shengelia’s art

kompozicia; serigrafia; 65X50; 1995 w.

saqarTvelos damsaxurebuli mxatvris, loreta abaSiZe-Sengelias Semoqmedebas qarTuli grafikis istoriaSi gamorCeuli adgili aqvs damkvidrebuli. igi 1960-70-ianelTa Taobis erT-erTi TvalsaCino warmomadgenelia.

COMPOSITION; SERIGRAPHY; 65X50; 1995

Honored Georgian artist Loretta Abashidze-Shengelia’s works hold a distinguished place in the history of Georgian graphic art. She is one of the outstanding representatives of the 1960-70s generation.

The painter has been active at the Tbilisi Academy of Arts since the 1970s and has raised many generations of graphic artists.

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qvaTacvena; Sereuli teqnika; 65X90; 2001 w.

RAIN OF STONES; MIXED MEDIA; 65X90; 2001

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kajuraho; liTografia; 67X49; 1985 w.

mxatvari 1970-iani wlidan moRvaweobs Tbilisis samxatvro akademiaSi da mxatvar grafikosTa mravali Taoba hyavs aRzrdili. loreta abaSiZe-Sengelia aqtiurad muSaobs rogorc dazgur grafikaSi, ise wignis mxatvrobasa da ferweraSi, qmnis portretebs, peizaJebs, sxvadasxva Sinaarsis kompoziciebs, aformebs uiliam Seqspiris, iakob curtavelis, sulxan-saba orbelianis nawarmoebebs, qmnis SoTa rusTavelis „vefxistyaosnis~ ilustraciebs, asuraTxatebs sabavSvo moTxrobebsa da zRaprebs. mxatvari muSaobs pasteliT, akvareliT, guaSiT, zeTis saRebavebiT, iyenebs ofortis, liTografiis, e.w. asfaltis, akvatintis, serigrafiis teqnikas. loreta abaSiZe-Sengelias Semoqmedebis mTavari personaJi adamiania da es marto portrets ar gulisxmobs.

KADJURAHO; LITHOGRAPHY; 67X49; 1945

Loretta Abashidze-Shengelia works actively on both easel graphic art and book illustrations; she creates portraits, landscapes, various kinds of compositions; she adorns the works of William Shakespeare, Iakob Tsurtaveli, Sulkhan-Saba Orbeliani. She creates illustrations for Shota Rustaveli’s ‘The Knight in the Panther’s Skin’, and also decorates children’s books and stories with her drawings and paintings.

She works with pastels, aquarelle, gouache, oil paint, uses eauforte, lithography, and the so-called asphalt, aquatint, and serigraphy techniques.

Loretta Abashidze-Shengelia’s art’s main character is the human, and this doesn’t mean only portraits. The other genres, be it in landscapes, where there are no figurative humans represented, one can still feel human presence and their organic relationship to cosmic existence – somewhere in the landscape, human “traces” appear in churches, buildings, Tbilisian yards, or their silhouettes in windows;

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rusiko; akvareli; 65X59; 1982 w.

RUSIKO; WATERCOLOR; 65X59; 1982

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lado asaTiani; akvareli; 60X45; 1979 w.

LADO ASATIANI; WATERCOLOR; 60X45; 1979

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antoniusi da kleopatra; Sereuli teqnika; 70X65; 1990 w.

sxva JanrebSic, Tundac peizaJSi, sadac adamiani figuratiulad gamosaxuli araa, mainc SeigrZnoba misi arseboba organul kavSirSi samyaroseul, sicocxliseul yofasTan _ peizaJis sivrceSi adamianis „nakvalevi~ xan

ANTONIUS AND CLEOPATRA, MIXED MEDIA, 70X65, 1990

sometimes, one will notice the solitary walking figure of an elderly person in a field seen from above, almost reduced to a single point…

Loretta Abashidze-Shengelia’s nature is also alive, and even if she is only representing a tree crown or a rocky mass, there will always be the

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kompozicia; Sereuli teqnika; 70X100; 1988 w.

COMPOSITION; MIXED MEDIA; 70X100; 1988

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gogi da oqros Tevzi; akvareli; 82X57; 1985 w.

eklesiis, xan nagebobis, xan Tbilisuri ezos simyudrovis, xan ki sarkmlis silueti gamokrTis, anda zedxedidan danaxul usazRvro mindorSi eulad mimavali, lamis wertilovan gamosaxulebad qceuli moxucis figura aisaxeba... loreta abaSiZe-Sengelias mier asaxuli bunebac cocxalia da Tundac mxolod xis varjs an kldis masas mosazRvravdes, aqa-iq mcire cocxali arsebis (Citis, kaliis, mweris) konturic gamoikveTeba. rac Seexeba portretis Janrs, mxatvris SemoqmedebaSi mas erT-erTi wamyvani adgili ukavia. TiToeuli pirovnebis portretirebisas mTavar amocanas, msgavsebis garda, pirovnebis Sinagani samyaros siRrmiseuli faqizi wvdoma warmoadgens. loreta abaSiZe-Sengelias mier Sesrulebuli yoveli axali namuSevris xilvisas misi niWierebis usazRvro diapazoniT aRtacebaSi modis mnaxveli. rCeba STabeWdileba, rom Tavadac exveweba gemovneba, umaRldeba

GOGI AND THE GOLDFISH; WATERCOLOR; 82X57; 1985

contours of a live being (a bird, grasshopper, or insect) here and there.

About the portrait genre, it has one of the most important roles in the painter’s works. The main goal for the portrait of each person, apart from being resembling, is to attain the deep layers of the subject’s inner life.

Onlookers are always amazed by the limitless diapason of Loreta Abashidze-Shengelia’s when looking at her works. One has the impression that their own taste is getting refined, that their mood and feelings are elevated. Her signature is completely singular, her drawings are distinctly defined, with elastic, mannered, moving figures with flexible lines and supple colors, and often charged with symbols to be deciphered.

When illustrating this or that literature work, the painter is fully “bound” to the essence of the story. Each illustration is an interpretation of the painter. Her goal is to become a sort of medium between the author and the reader; she has the urge to represent the author’s thoughts visually. For instance, for Iakob Tsurtaveli’s ‘Martyrdom of the Holy Queen Shushanik’, she offers the readers, before they start to read, an all-giving illuminated figure of God, and below it – hands, hands that are writing. As soon as they put

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iulius keisari; Sereuli teqnika; 65X50; 1986 w.

JULIUS CAESAR; MIXED MEDIA; 65X50; 1986

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rusTaveli; oforti; 40X55; 2010 w.

ganwyoba da grZnoba. misi xelwera sruliad gamorCeulia, stilisturad daxvewili, naxati mkafiod gamokveTili elastikuri, maneruli, moZravi figurebi moqnili xaziTa da faqizi koloritiTaa mowodebuli da xSirad amosacnobad gamiznuli simboloebiTaa datvirTuli. ama Tu im nawarmoebis dasuraTebisas mxatvari sruladaa „mibmuli~ nawarmoebis Sinaarsze. TiToeuli ilustracia mxatvris mieraa interpretirebuli. ilustrators miznad aqvs dasaxuli, iqces Suamavlad avtorsa da mkiTxvels Soris; Sinagan moTxovnilebad iTavisebs, xilulad warmogvidginos avtoris Canafiqri. magaliTad, iakob curtavelis „SuSanikis wamebis~ kiTxvis dawyebamde mkiTxvels yovlismomcveli mamaRmerTis gasxivosnebul figuras warmoudgens, qveviT ki _ xelis mtevnebs, xelebs, romlebic weren. naxatis aRqmisTanave mkiTxveli xvdeba, rom teqstis avtoris mier mowvdil mniSvnelovani ambis gacnobierebisTvis unda moemzados... ilustraciebi

RUSTAVELI; EAU FORTE; 45X55; 2010

their eyes on the illustration, readers understand that they have to prepare to understand the important story that the author’s text will transmit… Illustrations represent the inner energy of the characters in the book, they deeply convey the main characters’ essence – the strong figure of Varsken is full of wrath, and the no less strong Shushanik, full of dignity and faith. The artist seems to decipher a secret formula for the onlookers.

Loretta Abashidze-Shengelia’s illustrated ‘The Knight in the Panther’s Skin’ is of utmost importance, as they present Shota Rustaveli’s work in a completely new, “Lorettian” way. The book was published on the order of the publishing house ‘Vita Nova’ in St. Petersburg in 2007.

Loretta Abashidze-Shengelia’s illustrations are different from all previous ones. The approach towards assembling compositions is the following: the artist places the main characters of the poem – Avtandil, Tariel and representations of tigers – in the frames of Georgian relief decors For Tinatin’s crowning scene, Rostevan’s and Tinatin’s figures are sliced in the middle by a refined inscription in the Georgian

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gamoxatavs nawarmoebis moqmed pirTa masas da mTavar personaJTa Sinagan muxts, siRrmiseulad gadmoscems wamyvani gmirebis Sinagan arss _ mrisxanebiT aRsavsea varsqenis Zlieri figura da aranaklebi siZlieriT, oRond RirsebiTa da rwmeniT aRsavsea SuSaniki. mxatvari TiTqos mayureblisTvis saidumlo formulas gviSifravs. umniSvnelovanesia loreta abaSiZe-Sengelias mier

SuSaniki; monotopia; 70X65; 1980 w.

“mkhedruli” script, one of the poem’s key strophes – “That which we give makes us richer, that which is hoarded is lost”. Afterwards, textual insertions are only used in three compositions. The shapely Georgian “mkhedruli” script elevates the artistic effect of the illustration, and at the same time, point to the origin of the poems.

The main characters of the poem are almost always put in the front in an emphasized manner. In the background, one can notice the

SHUSHANIK; MONOTYPE; 70X65; 1980

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sulxan-saba; guaSi; 60X55; 1972 w.

gaformebuli „vefxistyaosani~. poemis dasuraTxatebiT sruliad axleburad, „loretaseulad~ warmogvidgeba SoTa rusTavelis nawarmoebi. wigni gamomcemloba „vita novas~ dakveTiT Sesrulda da 2007 wels peterburgSi daibeWda (Шота Руставели, Витязь в тигровой шкуре. ВИТА НОВА, СанктПетербург, 2007). loreta abaSiZe-Sengelias ilustraciebi yvela adre gamocemuli dasuraTebebisgan gansxvavebulia. kompoziciis agebisadmi midgoma Semdegnairadaa Camoyalibebuli: mxatvari qarTuli reliefebis dekoris qargaSi svams poemis mTavar figurebs _ avTandilis, tarielisa da vefxvis gamosaxulebebs.

SULKHAN-SABA; GOUACHE; 60X55; 1972

silhouettes of many soldiers. The rich pastel colors are utterly refined and graphically unpretentious. In the stormy and emotionally charged compositions, the modesty essential to the book’s “organism” has been preserved.

It is also important to note that Loretta Abashidze-Shengelia has also done ‘The Knight in the Panther’s Skin’s’ illustrations in aquatint in 2010. Here, she managed to better convey the strength of her own inner energy, as well as the intensity of the poem’s narrative.

With the effect provided by aquatint, the swaying of the plane colors strengthens illustrations, and each composition is an accomplished one, which helps onlookers to better understand the artist’s goal.

Loreta Abashidze-Shengelia’s illustrations for Sulkhan-Saba

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sulxan-saba; guaSi; 1972 w.

SULKHAN-SABA; GOUACHE; 1972

TinaTinis gamefebis scenis warmodgenisas rostevanisa da TinaTinis figurebis Sua gamyof areze daxvewili qarTuli mxedruli SriftiTaa gamoyvanili poemis erTerTi sakvanZo taepi _ „rasaca gascem Senia, rac ara

Orbeliani’s fables and children’s stories, various kinds of stories, poems, or tales, are of utmost importance. When observing each illustrations, one can clearly feel how the artist considers the essence of the text destined to this or that age group in her illustrations, and

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bindi; oforti; 65X40; 1987 w. / TWILIGHT; EAU FORTE; 65X40; 1987

dakargulia~, Semdgom ki teqsturi CanarTebi mxolod sam kompoziciaSia gamoyenebuli. Camoqnili qarTuli mxedruli Srifti mxatvrul efeqts matebs ilustraciebs da, amave dros, poemis warmomavlobazedac mianiSnebs.

how graciously she tries to act as a “medium” between the reader and the author, to emphasize the place where the work was authored, and to consider the clothing style of the epoch in which the story is taking place.

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nawarmoebis mTavari personaJebi TiTqmis yovelTvis xazgasmulad wina planzea gamosaxuli. siRrmeSi gamoikveTeba mravalfigurian laSqarTa siluetebi. pastelis ferTa mdidruli koloriti Zalze daxvewili da grafikulad TavSekavebulia. boboqar da emociurad datvirTul kompoziciebSi SenarCunebulia wignis „organizmisTvis~ aucilebeli sibrtyobrioba. mniSvnelovania, aseve, rom „vefxistyaosnis~ ilustraciebi mxatvarma 2010 wels akvatintis teqnikiTac ganaxorciela. am SemTxvevaSi ufro metad SeZlo gadmoeca sakuTari Sinagani energiis siZlierec da nawarmoebis siuJetTa simZafrec. akvatintiT miRebuli efeqtiT, dafenili feris livliviT cxovelxatuloba Zlierdeba

molodini; oforti; 65X40; 1992 w.

da TiToeuli kompoziciis srulyofileba miiRweva, rac ufro metad exmareba mayurebels mxatvris Canafiqris CawvdomaSi. umniSvnelovanesia loreta abaSiZe-Sengelias mier gaformebuli sulxan sabas igav-arakebi da sabavSvo nawarmoebebi, sxvadasxva Sinaarsis moTxrobebi, leqsebi Tu zRaprebi. TiToeulis ilustraciebis aRqmisas naTlad igrZnoba, ramdenad iTvaliswinebs mxatvari naxatSi ama Tu im asakisTvis gankuTvnili teqstis SinaarsSi Cadebul sakvanZo momentebs da rogor faqizad cdilobs, „Suamdgomloba~ gaswios mkiTxvelsa da avtors Soris, gamokveTos nawarmoebis Seqmnis adgili da personaJTa samosSi gamovlenili epoqis Sesabamisi Cacmulobis stili.

LONGING; EAU FORTE; 65X40; 1992

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qeTa; qaRaldi, akvareli; 75X89; 1989 w.

loreta abaSiZe-Sengelia dResac agrZelebs aqtiur SemoqmedebiT muSaobas. misi TiToeuli nawarmoebi siaxliTaa savse, siurprizebiT gvanebivrebs da momavalSic Ziebisa da warmatebis momtani dausrulebeli gzis mauwyebelia.

KETA; PAPER, WATERCOLOR; 75X89; 1989

Loreta Abashidze-Shengelia is still actively working today. Each of her works are full of novelties, she pampers us with surprises and guides us towards an infinite road of quest and success for the future.

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lali avaliani

Tamaz bibiluris gaxseneba LALI AVALIANI

Remembering Tamaz Bibiluri

T

amaz bibiluri daibada kaxeTis sofel vaCnaZianSi, 1934 wels. misi Cinebuli prozis STagonebis wyaros saTave swored vaCnaZianSia saZiebeli. mogvianebiT, sicocxlis mimwuxrs, igi sinanuliT dawers: `ai, me davbrundi Cems vaCnaZianSi, magram Cemi bavSvobidan erTi nafexuric aRar darCenila. me amaod veZeb yvelafers, rac Zvirfasad mimaCnda. sxva saxlebi. sxva adamianebi. sxvagvari Jriamuli. mTebic TiTqos sxvagvarad dganan da me sicarieleSi magdebs es gadasxvafereba. ratom gvinda adamianebs rom yvelaferi xeluxlebeli darCes? ratom veswrafviT maradiulobas?

TiTqos am usazRvro samyaroSi mxolod Cvena varT, mxolod Cven gavCndiT da Cven davinaxeT damTrgunveli silamaze igeve samyarosi... iqneb maradiulobisken amgvari swrafva migverekeba iq, zesTasofelSi, romelic marTla maradiulia. iqneb iqaa Cveni namdvili samSoblo da ara am miwier vaCnaZianSi da Cvenc, Tandayolili maradiulobis wyurvilis gamo, xelCaqneuli mivdivarT Cvens namdvil samSobloSi~.

Tavis droze Tamazs didi sixaruli mohgvara prozis mxcovani ostatis, sergo kldiaSvilis gulTbilma gamoxmaurebam mis moTxrobaTa krebulze `niRabi~ (1975 w.): `wignSi moTavsebuli yvela nawarmoebi soflis fonzea gaSlili. ...bibiluri qarTveli mweralia da aba sad SeiZleba gamoCndes qarTveli adamianis xasiaTi, Tavisebureba, ufro metad, Tu ara soflad mcxovreb adamianSi. aq, umTavresad aq aris SenarCunebuli qarTveli kacis buneba. da ai, avtori Cvens winaSe gadaSlis am metad koloritul samyaros; sinamdvile da poezia mis nawarmoebebSi ostaturad aris Serwymuli~ (`literaturuli saqarTvelo~, 1976 w.). batoni sergo kldiaSvili, cota ar iyos, `aviwroebs~ am uaRresad tevad cnebas; sofeli _ samSoblo _ msoflio _ wuTisofeli _ zesTasofeli da a. S. ar gaxlavT lokaluri ram: `Cven, yvelani, sadac ar unda davibadoT da gavizardoT, asfaltze Tu qvafenilze, mainc soflis Svilebi varT... sofeli bunebaa, ...soflisken dabruneba

T

amaz Bibiluri was born in the legendary Kakhetian village Vachnadziani in 1934. The source of inspiration of his magnificent prose is to be found precisely in Vachnadziani.

At the dusk of his life, he would write regretfully: “Here, I have returned to my Vachnadziani, but not one footprint remains from my childhood. It is in vain that I search for everything that I held dear.

New houses. New people. Different sounds. It seems that even the mountains stand in a different way, and all this change throws me in a sort of emptiness. Why do we humans always want everything to stay as it is? Why do we aspire for eternity? As if we were alone in this infinite world, as we were the only ones to be born and to see its beauty… Perhaps this aspiration for eternity prepares us for the other, heavenly world, which really is eternal. Perhaps that is our real homeland, and not this earthly Vachnadziani, and because of our thirst for eternity, we go towards our real homeland in despair.”

Positive remarks by venerable prose master, “living classic” Sergo Kldiashvili about his anthology of stories “Mask” (1975) brought him a lot of joy: “All the stories in the book take place in villages… Bibiluri is a Georgian writer, and where else can the Georgian character and unicity appear better than in a villager? It is here that the nature of Georgians has been preserved. And the author spreads this colorful world before our eyes: truth and poetry are masterfully blended in his works” (“Literary Georgia”, 1976) It seems that Mr. Sergo Kldiashvili somehow “reduces” this polysemic notion: village – homeland – world – transient world – heavens, and so on (these words were almost all related to the word “village” in Georgian) are not something local: “All of us, wherever we are born and raised, on asphalt or pavement, are children of a village anyway… A village is nature,… Returning to one’s village means returning to one’s roots”. (Tamaz Bibiluri, “Times of the year”) His “village” doesn’t have anything to do with the “global village” that we call our contemporary world. This kind of definition is not fair to individual states.

Sulkhan-Saba Orbeliani: “There are three kinds of villages: the eternal one, the transient one, and that related to human nature…

The human village is related to the ephemeral”.

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mSobliur fesvebTan dabrunebas niSnavs~ (Tamaz bibiluri, `weliwadis droni~). mis `sofels~ araferi aqvs saerTo `globalur soflad~ saxeldebul Tanamedrove samyarosTan. aseTi definicia calkeul saxelmwifoTa dakninebadac meCveneba. sulxan-saba orbeliani: `sofeli sam saxed iTqmis: saukuno igi sofeli da wuTisofeli da kacis bunebac soflad iTqmis. ...kacrieli sofeli ewodebis sruliad sawuTrosa~. *** Tamaz bibiluris samwerlo debiuti 1957 wels Sedga: `ciskris~ imJamindeli redaqtoris, ucdomeli gemovnebis mwerlis vaxtang WeliZis xeldasxmiT. maSin Tamazi 23 wlisa Tu iqneboda, axali damTavrebuli hqonda Tsu Jurnalistikis fakulteti. samwuxarod Tu sabednierod, Tamazis warmatebulma Jurnalisturma karieram (iyo gazeT `axalgazrda komunistis~ literaturuli muSaki, ganyofilebis gamge, redaqtoris moadgile; 1974 wlidan sicocxlis bolomde _ `literaturuli saqarTvelos~ mTavari redaqtoris moadgile) kidec Seaferxa da kidec daxvewa misi mxatvruli Semoqmedeba.

1973 wlidan 1989 wlis CaTvliT gasaocari Sromis fasad, zedized gamovida misi sanaqebo wignebi: `Cqara!~ (1973 w.), `niRabi~, `Jami kiTxulisa~, `Civili~ (orive 1978 w.), `mTvaris Svili~ (1981 w.), „Svidi xmisa da torolasaTvis“ (1987 w.), `mcire sarkmeli~ (1988 w.), `weliwadis droni~ (1989 w. _ saqarTvelos respublikis saxelmwifo premia).

Tamaz bibilurma, `soflur~ moTxrobebSi garda mxatvruli ostatobisa da Tavankara qarTulisa, Caaqsova Teatrisa da `Teatralurobis~ uzomo siyvaruli; misi proza didad aris davalebuli qarTuli folkloriT, `berikaobisa~ Tu `karnavalurobis~ unikaluri nazaviT. rogorc Cans, mas gansakuTrebiT eZvirfaseboda am ciklisagan gansxvavebuli patara moTxroba `mTvaris Svili~, radgan TxzulebaTa mozrdil krebuls swored is SeurCia saTaurad. is marTlac gansakuTrebuli moTxrobaa.

Tamaz bibiluri poeturi prozis ostatia. poeturia misi stili sxarti dialogebiT dayursul momcro CanaxatebSi (`myudroze~, `damSvidobeba~), `epikuri sidarbaisliT~ aRsavse vrcel moTxrobasa da romanSi (`Civili~, `Jami kiTxulisa~). prozis poeturobas mravali komponentis erToblioba ganapirobebs (ritmuloba, musikaluroba, xatovani da emociuri ena, amaRlebuli ganwyobileba, poeturi siuJeti da a. S.).

Tu virwmunebT somerset moemis sityvebs, `gamZlea is, rac poeturia~, unda viwamoT Tamaz bibiluris moTxrobis `mTvaris Svilis~ gansakuTrebuli cxovelmosileba.

*** Tamaz Bibiluri’s debut as a writer took place in 1957, with the support of the then redactor of “Tsiskari” – and writer with a flawless taste – Vakhtang Tchelidze. Back then, Tamazi must have been about 23 years old, and had just graduated from the Faculty of Journalism of the Tbilisi Free University. Unfortunately or fortunately, Tamazi’s career as a journalist (he was a literary worker, head of department, and assistant redactor at the ‘Young Communist’ newspaper; and from 1974 till the end of his life, the assistant of ‘Literary Georgia’s’ head redactor) had both hindered and refined his creative works.

From 1973 until 1989 included, in exchange for an extraordinary load of work, he published his outstanding books: ‘Quick!’ (1973), ‘Mask’, ‘The Time of Answers’, ‘Complaint’ (both in 1978), ‘Moonchild’ (1981), ‘For Seven Voices and a Lark’ (1987), ‘Small Window’ (1988), ‘Times of the year’ (1989 – received the State Prize of the Georgian Republic).

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qarTveli xalxis SegnebaSi `mTvaris Svilobas~ uZvelesi miTologiuri fesvebi daeZebneba. swored am fesvebzea amozrdili Tamaz bibiluris moTxrobac, romelSic Tanamedroveobis Sesatyvisad transformirebuli mTvare kvlav inarCunebs idumal Zalas, yovel SemTxvevaSi _ poetebisaTvis mainc. `qarTveli xalxis azrovnebaSi wminda giorgis Zveli warmarTobisdroindeli qarTvelebis mTavari RvTaebis, mTvaris adgili ukavia~ (ivane javaxiSvili) da mTvaris Svils giorgi hqvia. amaRlebulTan mdabali mokalaTebula, keTilis gverdiT boroteba budobs, rTulis gverdiT _ martivi; erTad saxloben mSveniereba da simaxinje, cisken momzirali da miwaSi TavCarguli... ase iyo odiTganve da asec iqneba. `vardTa da nexvTa vinaTgan mze sworad moefinebis~, gangebam Rrju, borot da martiv kacs Svilad idumalebasTan wilnayari, `sifrifana, lilisfer Tovlze enZelasaviT amosuli~ biWi mouvlina. amgvari kontrastuloba iSviaT simkveTres sZens mamaSvilis ostaturad gamokveTil saxeebs. mamas _ goroz, ujiaT mizanTrops, romelsac moyvasisaTvis xelis gamarTva ki ara, tkbili sityvac ar emeteba, sofelic ar swyalobs: `kacs qveyniereba ar uyvarda... soflis xaTri ar hqonda, sofeli ar sWirdeboda da arc sofels sWirdeboda igi~. mama miwis kacia, dilidan mzis Casvlamde venaxSi trialebs, magram es muxlCauxreli jafa oden praqtikul miznebs emsaxureba.

Sroma-garja mas ver hgvris siamesa da kmayofilebas, mxolod wvalebad, satanjvelad warmoudgeba. dReniadag venaxSi momuSaves qarTveli kacis saTayvanebeli vazis siyvarulic ar dahyolia, arc Rvinos swyalobs maincdamainc: eg aris mxolod, rom vaxSamze erT boTls dalevs, arc mets, arc naklebs. misebri yofilan mama-papanic: `kacis mamac ujiaTi da kerpi yofila, kacis papac Svilis da SviliSvilis minamgvani~... glexs erTaderTi survili aqvs _ vaJi Tavis oreulad egulebodes: `maSin am uintereso qveynidan, sadac mTeli cxovreba SiSSi gaatara, kaci damSvidebuli wavidoda da yvelafers, risTvisac mzis amosvlidan mzis Casvlamde irjeboda, biWs _ im Tavis oreuls dautovebda, magram biWi ar iyo oreuli~. swored aq isaxeba mama-Svilis konfliqtis saTave _ `kacs eSinoda biWisa, imitom rom biWi ucxo iyo, izrdeboda da ufro da ufro ucxo xdeboda~.

Svili _ mamis sruli antipodi _ kacs gaumxeleli, mtanjveli grZnobiT uyvars: `iyo amqveynad erTi vinme, romelic xelaRebiT mefobda kacze. is mefe biWi iyo. magram es aravin icoda. es ar icoda biWma. es ar icoda sofelma. es ar icoda TviTon kacmac~. mamam ver miaRwia sawadels, ver Seqmna biWi Tavis saxed da xatad, ver daepatrona mis naocnebars, mis fiqrs

In his “country” stories, apart from creative mastery and pure Georgian, Tamaz Bibiluri has put together an immeasurable love of theater and theatricality; his prose has many things from Georgian folklore, with a unique mix of “Berikaoba” (improvised masqueraded folk theater) and “Karnavaluroba”. It appears that from this cycle, his favorite story was the peculiar small tale “Moonchild”, as he chose its title as the title of the large anthology. It is indeed a marvelous tale.

Tamaz Bibiluri is a master of poetic prose. His style of small scenes with fast dialogues (‘On the nook’, ‘Goodbye’) is poetic, and full of ‘epic gravity’ in long stories or novels (‘Complaint’, ‘Times of the Year’). The poetic character of the prose comes from the blend of various components (rhythm, musicality, picturesque and emotional language, a sublime frame of mind, poetic subjects, and so on).

If we believe Somerset Maugham’s words, “What is poetic is durable”, we have to believe in Tamaz Bibiluri’s ‘Moonchild’s’ particular longevity.

In Georgian consciousness, a “moonchild” has very ancient mythological roots. This is the roots on which Tamaz Bibiluri’s story was built, in which the moon, though transformed in our contemporary perspective, retains its mysterious appeal – at least for poets. “In the Georgian consciousness, Saint George holds the place of the main old Georgian pagan deity, that of the Moon” (Ivane Javakhishvili), and the moonchild is named Giorgi.

The lowly has settled next to the sublime, evil is nesting next to the virtuous, and next to the difficult – the simple; beauty and ugliness live in the same house, as do the one who is looking up to the skies and the one who has his head in the soil… It was and will be so.

“The Sun shines alike on roses and dung”. Fate has provided a vindictive, evil and simple man with a mysterious boy, “an extremely refined one, who seemed to have sprung to life like a crocus in the snow”.

This kind of contrast endows the masterfully crafted father and son characters with rare sharpness.

The father – a haughty, stubborn misanthrope, who would never help another person, let alone say kind words about someone, is not loved by the village either: “The man didn’t like the world… He wouldn’t do much for the village, he didn’t need the village, and the village didn’t need him.” The father is a man of the soil, he is in the vineyard from dawn till dusk, but this restless work doesn’t serve any practical purpose. Labor doesn’t provide him pleasure nor satisfaction, he only sees it as torment and torture. Although he works in the vineyard constantly, he doesn’t even feel love for the vine, which Georgian men venerate, nor does he love wine: he only drinks one bottle during supper – no more, no less.

His father and grandfather were of the same kind: “His father was also querulous and stubborn, and his grandfather was like the latter’s son and grandson…”

The peasant only had one wish – for his son to be like his double: “Then, the man would leave this uninteresting world, in which he spent all of his life in fear, in quietness, and everything he was fussing

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(`kacs surda gaego, _ raze fiqrobda biWi, eSinoda am fiqrisa~...), da, mis ucxoobaSi sabolood darwmunebulma, xeli aRmarTa Svilze. aqamomde kacs arasodes gaurtyams biWisaTvis, romelmac, RirsebaSelaxulma da Seuracxyofilma, uyoymanod zurgi Seaqcia mas. uecari eldisagan SeZrwunebuli kaci jer, angariSmiucemlad, waldiT xelSi vazs daeria da, rasac miswvda, aCexa (vazi xom mxolod qoneba iyo misTvis, biWisTvis rom unda daetovebina); Semdeg ki, Zexorcielisagan moSorebulma, aqviTinebulma kacma pirvelad gaumxila gulisnadebi sakuTar Tavs; `kaci tiroda, sofeli Sors iyo da kacs ar eSinoda cremlebisa. _ yvelaferi SenTvis mindoda... Sen araferi ar ginda~... moTxrobis finalSi kacis `gaadamianurebis~ mowmeni vxdebiT. `axla dedamiwa gadaiqca ukacriel, gadamwvar planetad, sadac marto erTi gza darCa. gzaze midioda is TavCaRunuli biWi da, Tu kaci droze ar daeweoda, sruliad marto darCeboda am ukacriel planetaze~.

Svilis siyvarulma da simartovis SiSma aiZula mama daeTrguna ujiaTi sikerpe da udanaSaulo SvilisaTvis patieba eTxova. amaze mwerali mxolod migvaniSnebs; magram es miniSnebac sakmarisia imisaTvis, rom mkiTxvelSi aRZras Tanalmoba kacis mimarT. `mTvaris SvilSi~ erTmaneTs enacvleba, magram sabolood harmoniul mTlianobaSi warmogvidgeba Txrobis ori, gansxvavebuli manera; erTis mxriT _ romantikuli, amaRlebuli, meores mxriT _ yofiTi realiebiT aRsavse, TiTqmis naturalisturi, pirveli mTvaris Svilis (zogadad _ poetis) wilxvedria, meore mamamisis _ miwis kacisa. `mTvaris avsebis Rames biWi sakuTar Tavs aRar ekuTvnoda. mTel mis arsebas TiTqos idumali Zala, sxva samyarodan Camosuli suli ganagebda. biWs eSinoda im sulisa, magram es imgvari SiSi iyo, romelic sxeuls saamo netarebiT uvsebda. amgvar Rames biWi veRarasodes iviwyebda, magram arc aravis umxelda, yvelasagan ganridebuli miecemoda usazRvro samyarosTan Serwymis vnebian eqstazs da mouTmenlad eloda mTvaris amosvlas~. mamis saxis warmosaCenad sul sxva stilia moxmobili: `Sua sofelSi usalmod da pirquSad Camoivlida da wyarosTan mividoda. wyarosTan Segrovili xalxi erTbaSad gverdze midgeboda. kokac rom hqonodaT Sedgmuli, kokasac gverdze gadadgamdnen da gzas utevdnen. is mainc xmas aravis gascemda, sabodiSod Tavs ar gaixdida, wyarosTan mividoda da muWas SeuSverda. pirs didxans, gulmodgined, fSvinviT, xveleb-xvelebiT da lanZRviT ibanda. navSi apurWyebda. Tan Soriaxlos mdgar TvalgaSterebul xalxs uWvretda. da marTalia, SiSi ara hqonda, _ vinme rames Semombedavso, mainc gamomwvevad miixed-moixedavda, sveneb-svenebiT ramdenime peSv wyals dalevda, raRacas Cailaparakebda da Sinisaken gaswevda.

about from dawn till dusk, he would leave it to his son – his double, but the boy wasn’t his double.” This is where the main theme of the father-son conflict appears – “The man was afraid of the boy, because the boy was a stranger, he was growing up and becoming more and more a stranger.”

The father loves his child – a complete antipode of his father – with a secret, tormenting love: “There was, in this world, one person who was reigning over the man. This king was the boy. But nobody knew this. The boy didn’t know it. The village didn’t know it. Even the man himself didn’t know it.”

The father didn’t achieve his goal, he couldn’t create a boy in his image, he couldn’t control his wishes, his thoughts (“The man wanted to understand what the boy was thinking about, he feared this thought”…), and, finally convinced of his estrangement, he raised his hand on his child. Before that, the man had never hit the boy, who, humiliated and insulted, unhesitatingly turned his back on his father.

Suddenly horrified, the man first uncontrollably rushes to the vineyard with an axe and destroyed anything he could (vines were only a material possession to him, one that he had to leave for his boy); afterwards, the sobbing man revealed what was weighing on his heart to himself for the first time; “The man was crying, the village was far, and the man was not afraid of tears.

- I wanted everything for you… And you want nothing…”

In the story’s finale, we become witnesses of the man’s “humanization”. “Now, Earth has become an uninhabited, burneddown planet, in which there is only one path. The boy was walking this path with his head bent down, and if the man didn’t catch up with him soon, he would remain alone in this uninhabited world.”

The love for his son and the fear of loneliness forced the father to suppress his stubbornness and ask for forgiveness to his son. The writer only points to this; but even this pointing is enough for readers to feel empathy towards the man.

In “moonchild”, two types of narration interchange, though they harmoniously blend in the end; on the one hand – romantic, sublime, and on the second hand – full of everyday banality, almost naturalistic; the first is related to the “moonchild” (and more generally, to the poet), and the second, to the father – a man of the soil.

“When there was a full moon, the boy used to become uncontrollable. His whole being seemed to be commanded by a mysterious force, a soul coming from another realm. The boy was afraid of that soul, but it was the kind of fear that filled his body with a pleasant bliss. The boy could never forget these nights, but he wouldn’t tell anyone. He would offer himself fully and out of sight to the passionate ecstasy of uniting with an infinite realm, and would wait restlessly for the moon to rise.”

For the representation of the father, a completely different style is used: “He would walk in the village without saying hello and with a gloomy face, heading to the spring. The people gathered in the spring would all make some space. Even if they had a pitcher in place, they would take the pitcher out and make space for the man. Even then, the latter wouldn’t speak to anyone; he wouldn’t

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midioda, miacilebda kacebis dumili da dedakacebis Cumi wyevla~. `miwis kacis~ ukiduresi SeWirvebis Jams avtori Ralatobs (ufro sworad, Segnebulad uaryofs) zemoxsenebul xerxs da SesaniSnav `mxedvelobiT xats~ qmnis giorgis mamis ubedurebis gadmosacemad (tanjva xom ganwmendas, kaTarsiss iwvevs da kacic am SemTxvevaSi `Rirsia~ amaRlebuli stilisa): biWis mier mitovebuli `mama uceb Zrwolam aitana, uceb TiTqos erTi muWa gaxda da ase, daCiavebuli, lodze Camojda, am wuTSi qveyniereba TvalSeudgami, bneli taZari gaxda, sadac codvilma erTaderTi sanTeli Caaqro, romelic mis win mkrTalad anaTebda. taZarSi wyvdiadi Camodga~. es TavisTavad Cinebuli metafora nikoloz baraTaSvilis leqsis reminiscenciad mesaxeba (`vpove taZari Sesafari, udabnod mdgari; mun enTo marad uqrobeli wminda lampari; ...ganqra taZari _ da udabno Cemda mdumarebs... damSTa me mxolod mis lamprisgan cecxli damqrali!~), rac bunebrivia, sruliadac ar bRalavs mis Rirsebas. mamis erTaderTi siame da sixaruli, misi `wminda lampari~ _ misi vaJia. `biWi poeti iyo. marTali rom iTqvas, mere unda gamxdariyo poeti~. xalxi mas suleTidan gamogzavnils amsgavsebs. biWs ecodeba undo da gzaabneuli, suliT Rataki mama, amitomac morCilebs usityvod. magram `biWSi Rvivdeboda morCilebidan gamosvlis grZnoba, mamisadmi sibraluli mtrobiT ecvleboda da eSinoda amgvari mtrobisa. man icoda, rom es miutevebeli mtroba male gauvlida. magram mainc eSinoda am damamcirebeli grZnobisa~... mama SiSobs Slegad, mTvareulad ar miiCnion misi Svili. magram is ki ar uwyis ugunurma, rom sixaruli marTebs, rameTu biWis cxovreba sxva samyarodan aris nakurTxi. misi Svili giorgi mTvaris rCeulia, mTvaris Svilia. mTvare xom amaRlebulis kategorias ganekuTvneba. amaRlebulze kantis Tvalsazrisis ganmartebisas (`amaRlebuli SeiZleba ewodos bunebis grandiozul sagnebs Tu movlenebs~) baCana bregvaZes moxmobili aqvs amerikeli mwerlis da filosofosis ralf emersonis sityvebi: `kacma SeiZleba ifiqros, rom atmosfero imitomaa gamWvirvale, raTa, ciuri mnaTobebis saxiT, adamians warmouCinos amaRlebulis maradiuli prezencia... mSvenierebis es mociqulni yovel Rame gvevlinebian da TavianTi grZneuli RimiliT aciskrovneben samyaros~ (baCana bregvaZe, `fsevdo-longine da misi traqtati~). yovel Rames, mSvenierebiT tkbobisaTvis gaCenili biWi, rogorc mxrebidan mZime tvirTs, ise Camoixsnis yoveldRiurobas da mTvaresTan Sexvedras eSureba. avtori gangvacdevinebs zafxulis Ramis eqstazs da, goeTes klasifikacias Tu moviSveliebT, `Tbili~ ferebis

nod his head to express his respect; he would simply go to the spring and put his hands in the water. He would rinse his face lengthily, diligently, breathing heavily, coughing, and swearing. He would spit, all the while looking at the people standing near him and observing him with a fixed gaze. He didn’t fear that anyone could dare tell him anything, but he would still look around provocatively, slowly drinking a few handfuls, mumble something, and head home.

He would go, followed by the men’s silence and the women’s hushed curses.”

During the extreme torment of the “Earth Man”, the author abandons the abovementioned technique and creates a wonderful “visual image” to convey Giorgi’s father’s misfortune (torture leads to purification, catharsis, and in this case, the man deserves a sublime style): Left by the boy, “the father is suddenly struck with terror, he suddenly seems to transform into one clenched fist, and thus depleted, he sits on a rock, and at this moment, the world becomes a vast, dark temple, in which the sinner has extinguished the only candle that was faintly lighting his sight.

The temple fell into darkness.”

This naturally wonderful metaphor is reminiscent of Nikoloz Baratashvili’s poem (“I found refuge in a temple standing in the desert; there was a sacred, never-extinguished lamp; …The temple disappeared – and the desert keeps silent… The only thing I’ve got left is the extinguished fire of its lamp!”), which, of course, doesn’t defile its merit.

The father’s only pleasure and joy is his “sacred lamp” – his son.

“The boy was a poet. To say the truth, he was to become a poet in the future.” People compare him to someone coming from the afterlife.

The boy feels pity for his depraved and disoriented, soulless father, so he obeys his every word. But “the feeling of getting loose from this obedience was fermenting in the boy. His pity towards his father was transforming into enmity, and he was afraid of such enmity. He knew that this unpardonable enmity would pass soon. But he was still dreading this degrading feeling…”

The father fears his son will be considered as a crazy person, a lunatic. But in his recklessness, he doesn’t realize that he should be joyful, that the life of his son has been blessed from another realm. His son Giorgi was chosen by the Moon, he is the child of the Moon.

The Moon is a symbol of the sublime, isn’t it?

When discussing Kant’s perspective on the sublime (“Something can be called sublime when it refers to nature’s grandiose creations or phenomena”), Bachana Bregvadze has recalled American writer and philosopher, Ralph Emerson’s words: “One might think the atmosphere was made transparent with this design, to give man, in the heavenly bodies, the perpetual presence of the sublime […] Every night come out these envoys of beauty and light the universe with their admonishing smile.”

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(yviTeli, narinji, wiTeli) ostaturi SexamebiT mTvaris amosvlis TiTqosda ferwerul tilos qmnis: `qedis wvers ukve siyviTle mosdeboda, mimqrali siyviTle, es dasawyisi iyo mTvaris amobrZanebisa. mere qedis Tavi nel-nela ufro yviTldeboda, siyviTle oqros ferSi gadadioda, bolos oqros feri _ naRverdlis ferSi da sisxliviT wiTeli cecxlmodebuli fardis win mSvidad gamodioda mTvare~ (es pasaJi kidev erTxel migvaniSnebs avtoris unars dasamaxsovrebeli `mxedvelobiTi xatebis~ Seqmnisa). mSvenierebasTan ziareba `ki ar Trgunavs adamians, aramed amaRlebs, samyaros grandiozulobis Tanamoziared aqcevs da sakuTari bunebis zneobrivi sidiadis SegnebiTa da TviTpativiscemis grZnobiT gamsWvalavs mTel mis arsebas~ (b. bregvaZe, dasaxelebuli naSromi). gavixsenoT, rom `TviTpativiscemis grZnoba~ msWvalavs ganTiadiswina diad siCumes ziarebul biWsac: `biWi idga da siCumes usmenda. mixvda, rom Turme siCumis mosmenac SeiZleboda. es iyo ganTiadiswinare siCume da

Each night, the boy, who was made to delight himself with wonder, gets rid of everyday life as if taking a heavy load from his shoulders, and waits for his rendezvous with the Moon.

The author makes us experience the ecstasy of a summer’s night, and if we consider Goethe’s classification, by masterfully mixing “warm” colors (yellow, orange, red), they present a picturesque painting of the moonrise: “Yellow was already tinting the top of the mountain, a faded yellow, it was the beginning of the moonrise. Then the mountain was gradually becoming yellower, finally getting a golden color – the moon was calmly rising like a glowing coal before a blood-red curtain in fire” (this passage points once more to the author’s talent in creating “visual images”).

Communion with beauty “doesn’t hamper humans, it elevates them, transforms them into a participant in the world’s grandiosity, and pierces their whole being with the acknowledgement of the moral greatness of one’s nature and the feeling of self-respect”. (B. Bregvadze) Let us remember that the “feeling of self-respect” also pierces the boy, while he is experiencing the great silence before the dawn: “The

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gaaxsendeboda didedas naTqvami: ganTiadis win erTi piroba mdinaresac CaeZinebao. ...da am siCumeSi biWs uceb gaugebari siamaye daeufla~. biWi jer ar aris poeti, magram poeturad aRiqvams iseT `prozaul~ ambebs, rogoricaa Ramis matareblis Cavla anda naqari msxlebis Camocvena baRSi. `...Soridan ise gamoCndeboda matareblis gavla, TiTqos veli uxilav Zafze akinZulma cicinaTelebma gadakveTeso. biWis xsovnidan wamiT gamokrTa es nacnobi suraTi _ Cabnelebul velze cicinaTelebis gadarbena. magram axla cicinaTelebis Soridan danaxva ar undoda. sxva ram mounda _ im matarebelTan axlos misvla. ...biWis gulSi darCeboda Cavlili matareblis patara sevda~.

Ramis mdumarebaSi darxeuli ritmebis mxatvruli fiqsaciisaTvis avtori TiTqosda mimarTavs musikisa da sityvis sinTezs: `xevidan niavi wamovida. iqve, baRSi erTi naqari msxali Camoagdo. mere ori Camovarda zedized. biWs bevrjer enaxa dilaadrian balaxze mofenili msxlebi, magram arasodes moesmina, rogor cvioda es msxlebi miwaze da rogor ismoda es dafdafi Ramis siCumeSi. kvlav wamovida niavi da kvlav Camocvivda msxlebi. TiTqos viRaca dolze ukravda monotonur ritmebs. ritmi... siCume... karga xnis siCume: ritmi _ erTi, ori sami... isev siCume... bolos qarma Caiara da yvelafers kvlav dumili daeufla~. natifi sulis giorgim, raRa Tqma unda, Seundo ubir mamas. amaze metyvelebs moTxrobis finali: `_ axla ra vqnaT? _ Tqva kacma. _ jer qoxi davdgaT, _ upasuxa biWma. isini zurgSeqceviT isxdnen~. es suraTi garkveuli azriT simboluria. aqve aRvniSnav, rom mTvaris Svilisa da miwis kacis Serigeba ar ewinaaRmdegeba poeziis tradiciul qarTul gagebas: `me ca mniSnavs da eri mzrdis, miwieri zeciersa...~ `xan miwisa var, xan cisa~... iliasa da akakis poetur striqonebs kidev erT gamonaTqvams davumateb. es tician tabiZis sityvebia: `saqarTveloSi `cisfer yvavils~ Rero wiTeli hqonda. qarTvelebisaTvis ca da miwa samudamod arasdros ar gayrilan...~ moTxrobis bolos striqonebi swored `miwisa~ da `cis~ harmoniul mTlianobaze, amasTan, gamarjvebuli poetis Tavisufal nebaze metyvelebs: `mere biWi mzis amosvlidan mzis Casvlamde TavauRebliv Toxnida. bindisas Sinisken gaswia. beqobis Tavze, lodTan Camojda... biWi mTvaris amosvlas eloda...~ literaturisadmi miZRvnili werilebis krebuls (`mcire sarkmeli~, 1988 w.) Tamaz bibilurma amgvari winaTqma

boy was standing and was listening to the silence. He understood it was possible to listen to the silence, too. It was the silence before the dawn, and he would be reminded of his grandmother’s words: “Even a river could fall asleep right before the dawn”. …And in this silence, the boy suddenly feels an inexplicable sense of pride.”

The boy is not yet a poet, but he experiences “prosaic” events poetically, such as the passing of a train at night or the wind making pears fall in a garden. “…From a distance, the passing of the train would seem like a group of fireflies bounded together on an invisible thread passed the plain. This known image flashed from the boy’s memory for a second – the passing of fireflies in a dark plain. But now, he didn’t want to see fireflies from a distance. He wanted something else – to get close to that train… A small feeling of sadness would remain in the boy’s heart from the sight of the train.”

In order to artistically fixate the rhythms swaying in the silence of the night, the author seems to address a synthesis of music and words: “A light breeze came from the valley. Nearby, it made a pear fall from the tree. Then two others fell in short succession. The boy had seen pears lying on the grass in the early morning many times, but he had never heard how these pears fell on the ground, the drumlike sound it made in the silence of the night. The breeze came back, and other pears fell. It looked like someone was playing monotone rhythms on a tambourine. Rhythm… silence… Long silence: rhythm – one, two, three… again, silence… In the end, there was wind, and everything returned to silence again.”

The master of a refined soul, Giorgi naturally forgave his father. The finale of the book points to this: “– What should we do now? – Asked the man.

– Let’s build a cabin first, – answered the boy. They were seating back-to-back.”

This image is symbolic. It is worth noting that the reconciliation between the “moonchild” and the “earth man” does not go against the traditional Georgian understanding of poetry: “I am blessed by the heavens and raised by the nation, Terrestrial and celestial…”

“Sometimes I am of the soil, sometimes of the sky”…

I would add one more extract to Ilia and Akaki’s poetic lines. These are Titsian Tabidze’s words: “In Georgia, the “sky-blue flower” had a red stem. For Georgians, the sky and the earth never actually got separated from each other…”

The last lines of the story are precisely about the harmonious unity of the “earth” and the “sky”, as well as the free will of the victorious poet: “Then the boy was diligently hoeing from dawn till dusk. When the sun was setting, he headed home. At the top of the hillock, he sat on a rock…

The boy was waiting for the moon to rise…”

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warumZRvara: `mivxvdi, rom literaturas da im cxovrebas, romelic literaturas kvebavs, mxolod Cemeuli mcire sarkmlidan vucqerdi. vxedavdi imas, risi danaxvac SemeZlo an risi danaxvac jerjerobiT movaswari. literatura vrcelia, rogorc Cveni dedamiwa. mcire sarkmlidan ki yvelaferi ar Cans...~ mwerlis obieqtivizmsa da Tavmdablobaze migvaniSnebs esec: `axlis, jer arTqmulis Tqma, saerTod, uaRresad Znelia. amas iSviaTad Tu vinme axerxebs da imaTac geniosebs uwodeben xolme. magram mwerloba marto geniosebiT dasaxlebuli materiki xom ar aris~... axla, roca sakuTari `niWiT~ tkboba mweralTa garkveuli fenisaTvis normad iqca, _ gansakuTrebiT gvxiblavs Tamaz bibiluris Tqmuli, upiratesad, mis maRal profesionalizmze rom metyvelebs. axla sxva droa, `caSi asaxedad veravin iclis~ (esec Tamaz bibiluris sityvebia); magram swored misi Semoqmedebaa is patara sarkmeli, saidanac mudam moCans ca.

In the preface of his anthology of articles about literature (‘Small Window’, 1988), Tamaz Bibiluri wrote: “I understood that I was looking at literature and the life that feeds literature only from my small window. I was seeing only what I was capable of seeing or what I had already managed to see.

Literature is as vast as our planet. And one cannot see it all from one small window…” The following words also point to the objectivity and modesty of the writer: “To say something new, something that has not been said, is utterly difficult. This is rarely achieved by anyone, and those who do are called geniuses. But literature isn’t a continent only inhabited by geniuses, is it?”…

Today, when taking delight in one’s own “talent” has become a norm for many writers, Tamaz Bibiluri’s words particularly strike us, and are a testament to his high professionalism.

Times have changed, and now, “nobody has time to look up to the sky” (these are also his words); nonetheless, Tamaz Bibiluri is the one who built the small window from which one can always see the sky.

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LELA TSIPURIA

lela wifuria

Zaladobis winaaRmdeg mebrZoli xelovani

An artist fighting violence devnili Teatris devnili stumari ase uwodes dimitri krimovis SemoqmedebiT saRamos soxumis konstantine gamsaxurdias saxelobis saxelmwifo dramatul TeatrSi. TbilisSi araerTi saocari speqtakli aqvs Camotanili qeTi doliZis mowveviT mixeil TumaniSvilis saxelobis xelovnebis saerTaSoriso festivalze `saCuqari~. dimitri krimovis speqtaklebi yovelTvis sruliad originaluri xelweriT gamoirCeva, romlis stilistika saTeatro siurrealizmadac SeiZleba moviazroT. soxumis TeatrSi

‘A refugee guest in a refugee theater’ – this is how they dubbed Dmitry Krymov’s evening at the Konstantine Gamsakhurdia State Drama Theater. He has brought several wonderful shows in Tbilisi on the invitation of Keti Dolidze at the Mikheil Tumanishvili International Art Festival ‘Sachukari’. Dmitry Krymov’s plays always distinguish themselves with their utter originality, the style of which can even be attributed to theater surrealism. For three days, Dmitry Krymov held a workshop for Georgian actors at the Sokhumi Theater, after which they held the special evening.

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3 dRis ganmavlobaSi mimdinareobda vorqSofi, romelsac dimitri krimovi qarTveli msaxiobebisTvis atarebda. bolos ki SemoqmedebiTi saRamo gaimarTa. visac dimitri krimovis speqtaklebi nanaxi aqvs, dameTanxmeba, rom saocar gamomgoneblobasTan erTad misi speqtaklebi sruliad araordinaruli personaJebiT da rTuli samsaxiobo partituriT gamoirCeva. dimitri krimovis Seqmnili personaJebis scenaze gansaxiereba sakmaod Znelia da amave dros uaRresad sasurveli profesionali msaxiobebisTvis. moskovSi aw ukve daxuruli dimitri krimovis laboratoriis msaxiobebi, misi Tanamoazreebi msoflios sxvadasxva qveynebSi arian mimofantulni, Tavad krimovi ki ukrainasTan dawyebuli omis gamo politikuri gancxadebebis Semdeg amerikis SeerTebul StatebSi cxovrobs da iq daaarsa axali laboratoria. Tu misi Semoqmedebis eqsperimentul xasiaTs gaviTvaliswinebT, laboratoria albaT yvelaze Sesaferisi sityvaa, Tumca reJisoris sityvebSi klasikuri dramatuli Teatris nostalgia aSkarad SeimCneva. meoce saukunis oTxmociani wlebis moskovis wamyvani Teatris, `malaia bronnaias~ cnobili reJisoris, anatoli efrosis da aseve cnobili kritikosis, natalia krimovas SvilisTvis Teatri bunebrivi garemoa. amerikis SeerTebul StatebSi ki SemoqmedebiTi garemo ramdenadme gansxvavebulia. dimitri krimovis speqtaklebi, romelTac wlebis ganmavlobaSi ecnoboda qarTveli mayurebeli,

Those who have seen Dmitry Krymov’s plays will agree that together with a wonderful sense of creativity, his plays stand out with original characters and difficult acting. It is quite complicated to interpret the characters created by Dmitry Krymov on the stage, and at the same time, it is beneficial for any professional actor. The actors from the now-closed Dmitry Krymov Laboratory in Moscow are now spread in various countries around the planet, while Krymov himself is now living in the USA, where he founded a new Laboratory, because of the declarations he made after the beginning of the war in the Ukraine. If we take the experimental character of his works into account, “laboratory” is probably the most appropriate word, though one can definitely notice the nostalgy of classical drama theater in the director’s words. For the son of Anatoly Efros, famous director from 1980s Moscow’s leading theater, the ‘Malaya Bronnaya’, and of the famous critic Natalia Krymova, theater is a natural environment. And in the USA, the creative environment is different. From the beginning, Dmitry Krymov’s plays, with which the Georgian public has been getting acquainted for years, were acts directed against violence and any kind of “regulators”. The world premiere of several shows took place precisely in Tbilisi, at the ‘Sachukari’ festival – this is always a mark of respect, and the director was expressing his attitude towards Georgia through this.

The attempt at a genocide – how well-known is this theme for Ukrainians – many innocent victims, including 500 lifeless children. Among Krymov’s plays, ‘Opus #7’ is the one in which violence is represented at its cruelest. The director offered a moving

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imTaviTve Zaladobis da yovelgvari „momwesrigeblebis~ winaaRmdeg mimarTuli aqtebi iyo. ramdenime speqtaklis msoflio premiera swored TbilisSi, „saCuqarze~ Sedga _ es yovelTvis pativis niSania da reJisori Tavis damokidebulebas saqarTvelos mimarT amgvarad gamoxatavda. eris genocidis mcdeloba _ rogori nacnobia es Tema ukrainis magaliTze _ uamravi udanaSaulo msxverpli, maT Soris 500 daRupuli bavSvi. krimovis speqtaklebs Soris Zaladoba mTeli Tavisi sisastikiT yvelaze metad speqtaklSi, „opusi # 7“ iyo warmosaxuli. reJisorma iq ebrauli Temis sulisSemZvreli filosofiur-vizualuri tragikuli xilva SemogvTavaza. erT-erT interviuSi krimovi aRniSnavda, rom es warmodgena yvela msxverplis xsovnas eZRvneba. dabejiTebiT SeiZleba iTqvas, rom speqtakli namdvilad monumentur suraTs xatavda im mravalsaukunovani Zaladobisa, romelsac ebraeli eri ganicdida saukuneebis manZilze da gadaWarbebuli ar iqneba Tu Tavad warmodgenas miviCnevT yvela drois msxverplisadmi miZRvnil monumentad. Sav-TeTr suirealistur xilvebSi gacxadebuli rekviemi _ CemTvis „opusi#7“-is pirveli moqmedebis aRqma amgvari iyo. speqtakli ori damoukidebel ambavs aerTianebda _ pirveli moqmedeba _ „genealogia“ aRmosavleT evropeli

philosophical-visual tragic approach of the Jewish community. In an interview, Krymov noted that he dedicated this play to all the victims.

One can convincingly say that this play painted a monumental picture of the centuries-long violence suffered by the Jewish people, and it wouldn’t be exaggerated to consider the play itself as a monument dedicated to the all the victims in history. A requiem represented in monochrome surrealistic visions – this was my first impression of ‘Opus #7’. The show united two independent narratives – the first one, ‘Genealogy’, was describing the ruthless violence against Jewish people in Eastern Europe and episodes of their persecution, while the second act was dealing with the pressure on geniuses, in which the main character was Dmitry Shostakovich, whose 7th Symphony provided most of the music themes for the play. It would be impossible to analyze Dmitry Krymov’s plays according to classic theater forms, and it is even more true concerning this one. The first act involves the use of multimedia. Pictures and moving images of Jewish people of various ages or social class were appearing on the wall. Each of them was an individual, different and unique. But after they become the victims of violence, they seem to become the scraps of paper that the breeze took out of the decorative wall. The episodes depicting children becoming victims were especially emotional: the actor would hold the contours of the children painted on the wall.

The contours seemed multiplied in series. Also very impressive were the episode of the falling shoes of the small victims, as well as the red

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ebraelebis ulmobel ganadgurebas gvixatavda, rigiTi ebraelebis devnis epizodebis warmosaxavda, meore moqmedeba ki geniosebze zewolis fantasmagoriuli xilva iyo, sadac mTavari moqmedi piri dimitri SostakoviCi iyo, xolo mTavari musikaluri Temebi ki misi me-7 simfoniidan. SeuZlebelia dimitri krimovis speqtaklebis analizi klasikuri saTeatro formebTan SefardebiT, am warmodgenisa ki miT ufro. pirveli moqmedeba multimediis gamoyenebiT iyo Seqmnili. scenis kedelze Cndeboda rogorc fotoebi aseve moZravi gamosaxulebebi sxvadasxva asakis Tu socialuri fenis ebraelisa. yvela maTgani individia, gansxvavebuli da erTaderTi. mxolod mas Semdeg, rac isini Zaladobis msxverplni xdebian, TiTqos speqtaklis dekoraciis kedlidan daberili haeris mier sivrceSi afrialebul qaRaldis nakuwebad gardaiqmnebian. gansakuTrebiT emociuri iyo msxverplad qceuli bavSvebis warmosaxvis epizodebi: kedelze mixatuli saTvaliani bavSvebis konturebidan msaxiobi erT-erTs xels „CasWidebda~. konturebi TiTqos seriulad iyo gadamravlebuli. aseve Zalze STambeWdavia iyo patara msxverplTa fexsacmelebis Camoyris epizodi da wiTeli sabavSvo „baTinkebis~ svla da SeerTeba saerTo sasaflaod moazrebul fexsacmelebis grovasTan. kidev erTxel minda gamovxato Cemi da albaT aseve yvela qarTvelis sixaruli imis gamo, rom ara Tu amgvari

children’s boots walk and joining with the pile of shoes symbolizing a common cemetery. I would like to once more express my pride and probably that of every Georgian because no persecution or violence happened in Georgia towards the Jewish people, let alone one of the abovementioned kind… For a director arranging this kind of play, it goes without saying that the Russo-Ukrainian war would be completely unacceptable. Krymov has chosen to be a refugee himself.

Despite the difficulties that every refugee, including famous ones, experience in emigration, an artist with such concept and vision could simply not allow himself to collaborate with the “creations” in Bucha and Irpin…

“Old and new forms have no importance. People write without thinking about these forms. They write, because thoughts freely come from their souls.” – These are Anton Chekhov’s words about writers, but naturally, they also apply to theater artists, maybe even more so, as compared to literature, the form is even more present in theater. Humor and satire – these are the two major creation forms in Chekhov’s early period. Neither grotesque nor sarcasm are foreign to Chekhov’s works either. “Three sisters” is a drama, the author himself attributes his work to this genre, and its actors interpret it precisely as a drama on the stage. The relationship system between characters in Dmitry Krymov’s play was led according to internal dramatism, but the form of the play was represented as surrealistic grotesque. The habitus of each character was deformed – Masha had an enormous nose, Vershinin had one arm, while Solyony had three. Irina’s ears were remindful of Hieronymus Bosch’s paintings, and Olga’s lower lip was completely deformed… None of the characters’ appearance was appealing…

Why did the director depict, on Russian stages, almost idealized

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Semzaravi faqtebi, aramed saerTod devnac ebraelebis mimarT saqarTveloSi arasodes yofila _ Zaladobis am formas namdvilad avcdiT sabednierod... amgvari warmodgenis damdgmeli reJisorisTvis, cxadia ruseTukrainis omi sruliad miuRebeli iqneboda. krimovma devnilis roli Tavad airCia. miuxedavad im sirTuleebisa, romelsac yvela, maT Soris cnobili devnili emigraciaSi awydeba, mis speqtaklebSi gacxadebuli koncefciis da msoflmxedvelobis xelovani buCasa da irpenis „SemoqmedebTan~ TanamSromlobas ubralod verc hkadrebda sakuTar Tavs... „Zvel da axal formebs araviTari mniSvneloba ar aqvs. pirovneba am formebze fiqris gareSe wers. is wers, radgan azrebi Tavisuflad moedineba misi sulidan~. _ es anton Cexovis sityvebia da is mwerlis Sesaxeb gamoTqvams am mosazrebas, Tumca es fraza, cxadia saTeatro xelovnebazec SeiZleba gavrceldes, albaT kidev ufro metadac, radgan TeatrSi forma kidev ufro TvalsaCinoa vidre literaturaSi. iumori da satira _ sinamdvilis mxatvruli asaxvis es formebi anton Cexovis Semoqmedebis adreuli periodisTvis ZiriTadia. arc groteski Tu sarkazmia ucxo Cexovis SemoqmedebaSi. „sami da~ dramaa, am Janrs miakuTvnebs Tavad avtori sakuTar qmnilebas da misi interpretatorebic scenebze swored dramad warmosaxavdnen am nawarmoebs. dimitri krimovis speqtaklSi personaJebis urTierTobaTa sistema

people dreaming about a bright future and beneficial work in this way? The show started with a kind of march with Marlene Dietrich’s song ‘Lili Marleen’ in the background – the actors were carrying a corpse on their shoulders. Each actor would cross the stage and the spectators’ hall dressed in uniforms. What was that? Perhaps it was the director’s condemnation of the military, which he was revealing from the very start. After all, the characters of Chekhov’s ‘Three Sisters’ are precisely officers or officers’ descendants, and they are very proud of it. After seeing ‘Opus #7’, the director’s view on any kind of “regulation” has become very clear. It is precisely the military who have committed crimes against humanity. They are the ones who fulfill the politicians’ will in any epoch. The military were the ones who were executing criminal acts, and the roots of those executing violence in ‘Opus #7’ are also to be found in the military of Chekhov’s period. Called “Europe’s gendarmes”, the soldiers of the Russian Empire were not at all only defending their homeland.

They were successfully waging invasion wars. They deemed the annexation of other homelands as serving their own, and so do their descendants today. Dmitry Krymov’s view appears very humane if we consider the situation around which the apocalyptic visions of ‘Opus #7’ were built. It would be absurd to justify the oppressor for someone who has one’s head under a military boot. I think that Dmitry Krymov’s approach and such a concept of “three sisters” were not only innovative but also justified. Chekhov’s world played in Dmitry Krymov’s philosophical-surrealistic prism – I think that this description would fit this utterly impressive play.

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Sinagani dramatizmiT iyo aRbeWdili, oRond warmodgenis forma siurrealistul groteskad iyo warmosaxuli. yvela personaJis habitusi deformirebuli iyo _ maSas uzarmazari cxviri, calxela verSinini, salionis ki saerTodac sami xeli hqonda. irinas yurebi hieronimus bosxis naxats gvagonebda, olgas uzarmazari qveda tuCi srulad deformirebuli iyo... garegnulad mSvenieri am personaJebSi aravin iyo... ratom warmoaCina amgvarad reJisorma rusul scenebze lamis gaidealebuli, naTel momavalze da sasargeblo muSaobaze meocnebe adamianebi? speqtakli iwyeboda marlen ditrixis repertuaris, lili marlenis simReris fonze marSuli msvlelobiT _ mxrebze micvalebuli hqondaT gadebuli. yvela personaJi erTnairad, mundirebSi Semosili gadakveTda scenas da mayurebelTa darbazs. ra iyo es? iqneb reJisoris prologSive gamotanili ganaCeni, romelic man samxedroebs gamoutana. Cexovis „sami dis~ personaJebi xom swored oficrebi an oficerTa STamomavlebi arian da Tanac Zalian amayoben amiT. „opusi #7~-is naxvis Semdeg srulad gacxadda reJisoris damokidebuleba yovelgvari „momwesrigeblebis~ mimarT. swored samxedroebma Caidines danaSauli kacobriobis winaSe, politikosebis nebis aRmsruleblebad yvela epoqaSi swored Zalovnebi arian. samxedroebi aRasrulebdnen danaSaulebriv qmedebebs, „opusi #7~-is Zaladobis aRmsrulebelTa fesvebic Cexovis periodis samxedroTa Sorisaa. evropis Jandarmad wodebuli ruseTis imperiis jariskacebi sulac ar iyvnen mxolod samSoblos damcvelebi. isini warmatebiT awarmoebdnen dampyroblur omebs da samSoblos samsaxurad swored sxvaTa samSoblos dapyroba miaCndaT da maT STamomavlebs aseve miaCniaT dResac. dimitri krimovis ganaCeni marTlac humanurad warmoCndeba im viTarebis fonze, romelic „opusi #7”-is apokalifsur

Anton Chekhov truly is the dramaturge who constantly inspires high-ranking directors to read and interpret his works in a new way. ‘Seagull’ is the foremost play by Chekhov, and it always leads to newer and newer interpretations by talented directors. As for the video recording that they screened in the wonderful hall of the Refugee Theater, just like other shows by Dmitry Krymov, it was kind of provocative. The characters of ‘Seagull’, pardon me, of ‘Kostik’, were dressed like the modern Russian urban population, in pea-coats and rubber boots. With their rough, even vulgar manners and vocabulary, they seem to have nothing in common with Chekhov’s romantic characters. The play’s main character, Konstantin Treplev’s nickname “Kostik” was used by Krymov as the show’s title. As it suits the director, Treplev, as well as the other characters of the play, were not represented ordinarily. The little girl who was protesting about something, with her short dress, red hair and small rucksack, well, Dmitry Krymov had found her on

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xilvebSi gacxadda. jariskacuri Ceqmis qveS myofTaTvis moZaladis gamarTleba absurdulia. vfiqrob, dimitri krimovis aRqma da „sami dis~ koncefciis amgvarad gaazreba ara mxolod axleburi iyo, aramed marTebulic.

Cexovis samyaros dimitri krimoviseuli filosofiursiurrealisturi xedvis prizmaSi gaTamaSeba _ vfiqrob, amgvari saxeldeba Seesatyviseboda uaRresad STambeWdav warmodgenas. anton Cexovi namdvilad aris is dramaturgi, romelic mudmivad aRZravs maRali rangis reJisorebSi axleburad wakiTxvis, transformaciis survils. cxadia „Tolia“ upirvelesia Cexovis piesebSi, romelic mudmivad axleburad wakiTxvisken ubiZgebs niWier Semoqmedebs. videoCanaweri ki, romelic devnili Teatris mSvenier darbazSi aCvenes, dimitri krimovis sxva speqtaklebis msgavsad erTgvarad provokaciulic ki iyo. „Tolias~, ukacravad, „kostikis~ personaJebi Tanamedrove ruseTis qalaqis mcxovreblebiviT iyvnen Cacmulebi buSlatebsa Tu rezinis CeqmebSi. gauxeSebuli manerebiT Tu leqsikiT, vulgarulebic ki, romelTac TiTqos aRaraferi aqvT saerTo Cexovis romantikul personaJebTan. piesis mTavari personaJis, konstantin treplevis mosaferebel-kninobiTi saxeli kostiki krimovma speqtaklis saTaurad aqcia.

the street. This girl became the prototype for Nina Zarechnaia. The other characters of the show are visually similar to 21st century Russian city people. They were coming from a glass veranda, and the stage full of leaves looked more like an unswept and disorderly territory than the wonderful landscape with the lake in Chekhov’s ‘Seagull’. Even the water had a practical function in the play – Trigorin was using it to wash his feet, and Arkadina to wash underwear. Krymov’s adaptation vulgarized everything that was romanticized in Chekhov. And the victims of this rough, oppressive environment logically had to be the young artists, both Trigorin and Nina. This is what happened in the play, and it is what is happening in Russia today. In Chekhov’s homeland, everything valuable is simply completely driven out, while violence has become the nation’s main form of existence. The Sokhumi Theater hall was full of young people – and more than half of them were Russian. What can be said of these young refugees, who miss being the students of their idol Dmitry Krymov? Aren’t they victims of Derzhavi too? The oppression of Sokhumians has been going on for thirty years. Let us wish these young people, who are counting the days of the war, to return to their freed homeland soon after the oppressors leave the occupied territories. As for Dmitry Krymov, whom the Refugee Theater is planning to invite to stage a play, I wish him to make a world premiere in Sokhumi…

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treplevi, iseve rogorc speqtaklis sxva personaJebi, krimoviseulad araordinarulad iyvnen warmosaxulni. gogona romelic raRacas aprotestebda, mokle kabiT, wiTeli TmebiT da patara zurgCanTiT, dimitri krimovma quCaSi SemTxveviT naxa. es gogona nina zareCnaias prototipi gaxda. speqtaklis danarCen personaJebsac ocdameerTe saukunis ruseTis moqalaqeebis vizualuri gansxeulebebi arian. Seminuli verandidan isini avanscenisken eSvebodnen da xmeli foTlebiT mofenili scena ufro daugvel da mouwesrigebel teritorias gvagonebda, vidre Cexovis „Tolias~ ulamazes peizaJs tbasTan. wyalic ki yofiT funqcias atarebda speqtaklSi _ mas fexebis dasabanad iyenebda trigorini da arkadina ki sacvlis gasarecxad. yvelaferi, rac CexovTan romantizebuli iyo, krimovis speqtaklSi vulgarizebuli gaxldaT. da am uxeSi, damTrgunveli garemos msxverpli

logikurad unda gamxdariyvnen axalgazrda Semoqmedebi, trigorinic da ninac. speqtaklSi asec moxda, asec xdeba dRes ruseTSi. Cexovis samSobloSi yvelaferi Rirebuli ubralod srulad aris gandevnili da Zaladoba ki eris arsebobis formadaa qceuli. soxumis Teatris darbazi savse iyo axalgazrdebiT _ maTgan naxevarze meti rusi iyo. ra SeiZleba iTqvas am devnil axalgazrdebze, romlebic TavianTi kerpis, dimitri krimovis studentobas natroben? gana isini ar arian `derJavis~ msxverplni? soxumelebis devnilobas ocdaaTwliani istoria aqvs. am axalgazrdebs, romlebic omis dReebs iTvlian, terorisgan ganTavisuflebul samSobloSi male dabruneba vusurvoT mas Semdeg, rac moZaladeebi srulad datoveben okupirebul teritoriebs. dimitri krimovs ki, romlis mowvevasac devnili Teatri speqtaklis dasadgmelad gegmavs, msoflio premieris gamarTvas soxumSi vusurveb...

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nato korsantia

zRva, rogorc bediswera „warmovida mswrafl afxazeTiT~... `da masve zamTarsa Cavida afxazeTs biWvinTamde da ganagna saqmeni mandaurni~... JamTaaRmwerlis mier daviT aRmaSeneblis mSfoTvare mefobis aRmbeWdavi es frazebi amekviata, ratomRac mas aqeT, rac fenomens _ galaktioni da afxazeTi _ CaveZie. frazebs, ra Tqma unda, galaktionis misamarTiT vimeorebdi. aramc da aramc. es ar iyo am or did qarTvels _ `Zlevai sakvirvelis~ Semoqmed mefesa da poetebis mefes Soris Sinagani naTesaobis rogorme daZebnis mcdeloba an survili. es ufro aRmoCnda intuicia, rac male galaktionis erT strofSi gaxda sacnauri: `caze Rrubeli miirxeva, viT afra gedis, / TaRebs gahyurebs Tvali daviT aRmaSeneblis, / mefe yovlisa saqarTvelos da afxazeTis~. iSviaTad, sxvagan, romelime nawarmoebSi ase cxadad damenaxos afxazeTis danarCen saqarTvelosTan Semkvreli da gamaerTianebeli `TaRebi~, romelsac ase esaWiroebodes swored `Tvali daviT aRmaSeneblis~ an aRmaSeneblisebri. safiqrebelia, rom arc is `Rrubeli miirxeva~ im dros caze ise, SemTxveviT.

meuRle da megobari olRa okujava. geniosi poeti ki unda gadarCes, raTa rac SeiZleba meti Sedevri dautovos STamomavlobas. es masze ukeT aravin uwyis. amitomac dRiurebsa da ubis wignakebs SeiZleba, yvelaferi gaandos, magram leqsebSi saTqmeli unda daiSifros da poeturi saxeebiT Seiburos. galaktioni dRiurebsa Tu ubis wignakebSi SemTxveviT arafers iwers. aq yoveli striqoni, xSirad sityva, ufro metic, naxevarsityva wertiliT Tu mravalwertiliT gawyvetili, mravlismTqmelia. misi Canawerebi xSirad formulebiviT aris da Tu zustad miusadageb, bevr leqss „amoxsni~. mravali mkvlevari Tu mwerali Sexebia galaktionis cxovrebisa da Semoqmedebis amsaxvel am

Zalian Soridan xom ar daviwye? Tumca, es bunebrivicaa, galaktion tabiZis poezia danaRmuli didi, vrceli veliviTaa, aravin icis, rodis ras „wamohkrav fexs~ da sad ra „agifeTqdeba~. `afeTqebebs~ rac Seexeba, Tavad galaktioni Sedevrebs mxolod poeturi afeTqebebis Jams qmnida, aramiwieri xilvebiT gaTanguli. sxva dros saocrad fxizlobda, amitomac qveynisTvis mTavari da mniSvnelovani araferi gamoepareboda. swavlobda saqarTvelos yvela kuTxis istorias, kulturas, eTnografias... iwerda, iniSnavda da mere leqsebSi abinavebda. saamisod adgenda `dasaweri leqsebis gegmas~, Sesaswavli da xazgasasmeli sakiTxebis nusxas. erTi sityviT, yvelafer imas, rac ar unda gamorCenoda da risTvisac Tavisi Sedevrebis gverdiT adgili unda mieCina. Tavad mas qveyanaSi mimdinare „aRmSeneblobebi~, „revoluciebi~ Tu „gardaqmnebi~ piradad Seexo da sakmaod mwaredac. ar dagvaviwydes, ra droa, kedlebsac yuri aqvT. gadausaxles usayvarlesi

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marTlac vrcelze vrcel masalas. maTze dayrdnobiT araerTi araCveulebrivi kvlevac Seqmnila, magram vfiqrob, am TvalsazrisiT jerac bolomde Seuswavlelia galaktionis Semoqmedebis is nawili, romelic „zRvis Tematikas~ exeba. zRva galaktionis Semoqmedebis ganuyofeli nawilia. Tamamad SeiZleba iTqvas, rom arc erT qarTvel poets ar miuZRvnia zRvisTvis amdeni leqsi, metic, Sedevri, ramdenic galaktions. qarTuli literatura am mxrivac valSia mis winaSe. amdenad, zRvis Tema galaktion tabiZis SemoqmedebaSi bevrad ufro Rrma da masStabur kvlevas iTxovs, vidre es aqamde yofila. Cvenc amjerad mxolod pirveli STabeWdilebebis gaziarebiT SemovifarglebiT. galaktionisTvis „ca, zRva da miwa~ ganuyofeli triadaa. is Tanabrad, saxlobs samivegan. leqsSi „ca, zRva da miwa” is ambobs: „gamolaSqrebam _ qariSxalisam / sicocxlis Zala iq waritaca / da moelodnen axal cxovrebas / garindebuli zRvac da miwaca~. am SemTxvevaSi axali cxovrebis molodinSi garindebuli „zRva da miwa~ Tavad galaktionicaa. poeti zRvas Tavisi Semoqmedebis dasawyisSive, 16 wlisa „daumegobrda~. jer kidev 1908 wlis 3 maisiT daTariRebul leqsSi „saRamo~ is ambobs: „zRva aRar

drtvinavs uwindebur, / is mxolod fiqrobs. / ... / da SesZaxebda grZnobiT igi: / „gamarjvebiTa!~ / gadaxedavda awiTlebuls / igi Tavis tans, / kvlav Sehxaroda kavkasiis / mzes amomavals“... galaktionma zRva Tavis stiqiad Seimecna da dasaxa. is zRvasaviT ver cnobda sazRvrebs. zRva TviT galaktionSi iyo TiTqos, masSi Relavda, SfoTavda, imRvreoda... xSirad ver eteoda, gadmodioda napirebs da maSin poeti miiCqaroda, miiswrafoda zRvisken _ xan manqaniT, xan TviTmfrinaviT, xan matarebliT, xanac gemiT da amasobaSi aq Tu iq, Sin Tu gareT iwereboda Sedevrebi zRvis xasiaTis gamomxatveli epiTetebiT: mrisxanebs, grgvinavs, grialebs, bRavis, hyefs, Rmuis, Rrialebs, gminavs, SfoTavs... da uceb... „zRva iyo wynari~... „zRva wynaria nametani, TiTqos sZinavs~. Tumca es siwynarec xSirad iseTi daZabuli da damuxtulia, rom aravin icis, kvlav rodis aireva... SemTxveviT xom ar CauniSnavs „zRva da atomi~. zRvas amiTac hgavs misi Sinagani samyaro, atomiviT moulodnelad amoifrqveva xolme. „zRvis lirika~ _ ase Searqva galaktionma zRvis Temaze daweril leqsebs. Semdeg ki „zRvis lirikoss~ gulTan gansakuTrebiT axlos miutania germaneli mkvlevris artur laistis mier qarTul presaSi 1922-23 wlebSi gamoTqmuli SeniSvna: „saqarTvelos aqvs mSvenieri zRvis

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sanapiroebi. miuxedavad amisa, qarTul literaturaSi ara Cans zRvis Tematika, motivebi~. ai, ra Cauweria amis sapasuxod galaktions, ratomRac mogvianebiT, 1948 wels ubis wignakSi: „1921-22 w. qarTul presaSi gamoqveynda ilia WavWavaZis didi megobris artur laistis werili: „zRva da qarTvelebi~. daaxloebiT am werilis Sinaarsi aseTi iyo: saqarTvelos aqvs mSvenieri zRvis sanapiroebi, miuxedavad amisa, qarTul literaturaSi ara Cans zRvis Tematika, motivebio. rusTavelis ukvdav „vefxis tyaosanSi~ zRva mxolod gakvriT aris naxsenebio da sxv. daskvna aseTi iyo, rom TiTqos qarTvelebs sazogadod ar uyvarT zRva. marTali aris Tu ara artur laistis es Sexeduleba, es mkvlevarebis saqmea. erTi ram ki udavoa, zRvis Tematika qarTul literaturaSi rusTavelis Semdeg ara Canda. es moZraoba daiwyo mxolod meoce saukunis qarTulma literaturam.

Cems Sesaxeb SemiZlia vTqva, rom es motivebi aris pirvel wignSi (1914), meoreSi (1919), aris masalebi saxelgamis mier gamocemul I, II, III da IV tomebSi, calke wignad gamocemul „oqro aWaris laJvardSi~. „mnaTobSi~ amas winaT gamovaqveyne ramdenime axali leqsi, afxazeTis saxelgamma TiTqmis daamTavra beWdva da am dReebSi gamova Cemi wigni „zRva axmaurda~ da sxv. cxadia dawyebula moZraoba~.

am moZraobas saTaveSi rom Tavad Caudga, amis dasturia ara mxolod misi leqsebi, aramed Canawerebi, romlebic zRvis Temisadmi rogorc poetur, ise moqalaqeobriv midgomaze mianiSnebs. ubis wignakSi erTgan am TvalsazrisiT gamoTqmuli Sexedulebebi mouniSnavs: „ratomRac ar uyvardaT CvenSi zRvao. siRaribe sazRvaosno terminologiisa. zRva ar eTvisebao Cvens bunebas~. aseve Camouweria kiTxvebi, romlebze pasuxic ainteresebs: 1. ra teritoria uWiravs saqarTvelos zRvas. 2. respublikebi, romelTac ara aqvT zRva. 3. zRva afxazeTis da aWaris folklorsa da mwerlobaSi. 4. zRva „vefxistyaosanSi~. 5. zRva da atomi.

Tavad sagangebod Seuswavlia zRvis adgili rusTavelis „vefxistyaosanSi~ da poemidan calke amouweria frazebi, romlebSic zRvaa naxsenebi. galaktionisTvis „Savi zRvis piri~ Tu ubralod, „zRvis piri~ saerTodac didi TavSeyris adgilia: „meri Savi zRvis pirad~, „mgosani zRvis pirad~, „tropikuli xeebi Savi zRvis pirad“, „Savi zRvis pirad Sen ideq mwirad“, „Sors cisartyela gaCnda da elavs Savi zRvis pirad“... zRvis pirad Sexvda misTvis saocnebo merisac: „Sen zRvis pirad midiodi meri“...

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galaktionma zRva da „zRvis piri~ istoriuli aspeqtebiTac uxvad datvirTa. erT usaTauro leqsSi, „bukis xma zRvis pirad~ ambobs: „or sawyiss inaxavs / axali aToni, _ / aq guli monaa / da Tanac batoni. / uweso ayruebs / ubadlo zrdilobas. / bukis xma zRvis piras / Tu iwvevs yrilobas”. es is SemTxvevaa, roca mkiTxvelma SeiZleba, „bukis xmas~ wauyruos, an verc gaigonos, ubralod, arsebiTi mniSvneloba arc mianiWos. arada, axla aq, „zRvis pirad~ poeti buks rusT TviTmpyrobelobis mier osmaleTSi gadasaxlebuli muhajirebis Sesakrebad „ayvirebs“, am xalxebis tradiciisamebr (aq ar SeiZleba ar gagaxsendes bagrat Sinkubas romanis „ukanaskneli ubixis“ mTavari gmiri _ zauryan zolaki, romelsac osmaleTSi, gadasaxlebaSi Tan aqvs waRebuli istoriuli buki)... gansakuTrebiT sagulisxmo da mravlismomcvelia leqsebis cikli, sadac poets didi qarTvelebi _ Tamari, SoTa rusTaveli, akaki, ilia mihyavs Savi zRvis Tu, ubralod, zRvis pirad da iqidan, im sivrcidan Semohyavs Tavis poeziaSi. galaktioni akakis da ilias, „viT bumberazi muxebis landebs~, zRvis piras abaasebs: „akaki ambobs aRSfoTebiT „netavi odes / aRsdges Savi zRva da Sav melnad gadiqceodes, / uSretel melnad _ / rom misiT uxvad sargeblobdes patiosani / kalmis mebrZoli, yvela gmiri, yvela mgosani, / xma iyos grgvinvis _ /

presa mRelvare daumcxralad swevdes qvelobas / da miT aryevdes rusT sazizRar TviTmpyrobelobas, / taxtsa da gvirgvins!“ ilia ki pasuxobs: „gaxede sivrces... mTeli es zRva _ netavi, odes / erT uzarmazar aryis qvabad gadiqceodes... / maSinve xarbi _ / mswrafl, ufiqreblad gadeSveba xelmwife rusi, / Sig CaixrCveba da gahqreba, rogorc burusi _ / misi Jandarmic“. vfiqrob, „akaki da ilia zRvis pirad~ im leqsTa rigidanaa, romelsac vaxtang javaxaZe galaktionis SemoqmedebaSi disidenturi poeziis nimuSad miiCnevs. „saqarTvelos sevdiano miwav, / netav, male daamsxvrevde borkils, / netav, male miaRwevde mizans!“ rogorc vaxtang javaxaZe SeniSnavs, es leqsi Tavis droze sagangebod Secvlilma TariRma _ 1904 welma (Semdeg 1908) gadaarCina, maSin rodesac sinamdvileSi 1954 wels iyo dawerili. misgan gansxvavebiT, 1949 wliT daTariRebuli „akaki da ilia zRvis pirad~ poetis sicocxleSi arc dabeWdila. saeWvoa, rom „rusT TviTmpyrobeloba da rusuli Jandarmi~ am SemTxvevaSi droSi acdenili terminebi iyos, savaraudod, isini sworedac drois saTqmels gamoxataven. zRva am SemTxvevaSi ara mxolod ubralo, aramed istoriuli mniSvnelobis matarebeli sivrcea. adgili, romelsac didi akaki da ilia sabaasod irCeven. es ufro cxadad Cans leqsSi „Tamari zRvis pirad~. „zRvispiriT

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darubandamde / sdgas mSvenieri Tamari~. da kidev ufro gamokveTilia leqsSi „SoTa rusTaveli Savi zRvis pirad~. „vnaxe ucxo mxareebi, / gadaveSvi sibrZneT zRvaSi. / ...me rusTveli ama zRvidan / Semovdivar Cems qveyanas“.

Zneli misaxvedri ar aris, rom striqoni „gadaveSvi sibrZneT zRvaSi~ arsobrivad epasuxeba galaktionis ubis wignakis dauTariRebel erT Canawers: `navsadgurSi idga gemi „saqarTvelo~. `horizontamde iSleboda vrceli lurji zRva, ulamazesi zRva, Cveni Savi zRva. me vfiqrobdi samSobloze, saqarTveloze... ...iq mravalTa welTa manZilze saRvTo wignebs swerdnen da gadaswerdnen wminda mamani. ...mwirni _ romelTac dasTmes amaoebani ama soflisa da wignebiT ifineboda [iveriis] RvTismSoblis xvedri iveria. qarTuli. saqarTvelo. ...es wignebi modiodnen aq Savi zRviT. ...es wignebi anaTebdnen, aTbobdnen, swvavdnen da agznebdnen siyvaruls~... yovelive amis Semdegac ki gamaogneblad moulodneli da STambeWdavia suraTi: „zRva iRviZebs _ viT fiqri Cemi. / mis xerxemlebze / yornis feri qanaobs gemi~.

Tvalwin warmogvidgeba marTlac gasaocari saxe _ xerxemalTan Sedarebuli molivlive zedapiri zRvisa da, rac mTavaria, Tavad zRva _ saqarTvelos xerxemali.

galaktion tabiZis sidide imaSicaa, rom man zustad Seimecna zRvis mniSvneloba Cveni qveynis ara mxolod warsulsa da awmyoSi, aramed momavalSic, aSkarad mianiSna zRvis rolze saqarTvelos maradiuli problemis _ misi evropeizaciis sakiTxSi da mTeli qarTuli mwerlobis saxeliT xarki miago mas.

Zneli saTqmelia, galaktion tabiZe, artur laistis zemoT xsenebul werilTan erTad icnobda Tu ara demokratiuli saqarTvelos mTavrobis wevris grigol lorTqifaniZis mier TiTqmis imave periodSi, 1925 wels suzdalis sapatimroSi Seqmnil traqtats „politikuri anderZi~. konkretulad, „anderZis~ im nawils, sadac grigol lorTqifaniZe „qarTvelisa da zRvis~ urTierTobaze ambobs: „miT umetes, unda davumegobrdeT zRvas, CvenTvis didi xania gadawyvetilia erTi ZiriTadi sakiTxi – kulturuli orientacia evropaze~. am TvalsazrisiTac (da sxva mravali TvalsazrisiT) Savi zRva marTlac saqarTvelos xerxemali iyo da aris da amas cxadad grZnobda da gamoxatavda qarTuli „poeziis xerxemali~ galaktioni. mogvianebiT, galaktioni soxumSi, „Savi zRvis pirad~ saxlis _ navsayudelis mSeneblobas Seudga.

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soxumSi pirvelad 1927 wels Cavida da maSinve saocrad emSobliura da Seuyvarda Turme es qalaqi. mere xSirad Cadioda da TveobiT rCeboda iq. didi interesiT ecnoboda afxazeTis istoriul Zeglebs, qalaqebs, soflebs, ubralod adamianebs, maT tradiciebs. poetis Zma abesalom tabiZec sajaro biblioTekaSi ZmisTvis „afxazeTsa da afxazebze cnobebs~ agrovebda da ubis wignakSi iniSnavda. mere es yvelaferi aisaxa galaktionis SedevrSi „gamarjoba, afxazeTo Seni!~, aseve afxazeTze Seqmnili leqsebis krebulSi „zRva axmaurda“ (1948 w.). „ara Cems gareT, ara rame sxva, aramed CemSi axmaurda zRva, zRva axmaurda~, _ Tqva da masa da zRvas Soris arsebuli misteria aqac gagvimxila. soxumSi vilis aSeneba _ „es ocnebaa Cemio~, _ CauniSnavs erTgan galaktions. meoregan saxlis konturebic mouxazavs: „saxli unda iqnes orsarTuliani. qarTuli stilis... rac SeiZleba maRali~. „idea miqelanjelosi (simaRlis idea)~, _ miuweria ufro qvemoT. masze ukeT vin uwyoda, ras niSnavda „Вилла Галактиона.

– Вилла короля поетов.~, rogorc Tavis momaval saxls uwodebda. mSenebloba mxolod 1958 wels dasrulda da ise wavida am qveynidan, rom Sig cxovrebas ver moeswro. arada rogori ocnebebiT gahyurebda mas zRvidan: „gemidan Cvens saxls / vuyureb mTaze. / raa uvrcesi [imis TeTr] amnair / frTaze?~ isev gemi... didma poetma karga xniT adre mSobliuri saxli WyviSSi gems Seadara. is CanawerSi „saxlis msgavseba gemTan~ aRniSnavs: „Cveni saxli Zaliana hgavs gems, romelic xSirad aris did safrTxeSi. mdinare rionma ara

erTi da ori saxli gaanadgura Cvens garSemo, Cveni gemi ki ufro gamZle gamodga. bevri mosaxlis saxl-kari axla aRar aris Zvel adgilas, Cveni saxli ki isev im adgilas dgas, sadac idga ormocdaaTi wlis winad. daRupuli bevri saqoneli da saojaxo nivTebi Sav zRvaSi mihqonda rions, Cveni saxlidan ki verafris waReba ver moaxerxa~. mere iqve agrZelebs: „Cveni gemi ki idga magar Ruzebze dakiruli, Tavis magarsa da mtkice wablis xis saZirkvlebze. ara erTxel walekila gareSemo mdebare gzebi, mindvrebi, mTeli saxelganTqmuli rionis Wala: am dros sul ramdenime 2-3 navi Tu gamoCndeba, iseve Cveni”. albaT, swored im droidan, Soreuli bavSvobidan gamoyolili mZafri SegrZnebebis wyalobiTac „moifina~ TandaTan zRvis zedapiriviT galaktion tabiZis poezia _ daRlili Tu mxiaruli mezRvaurebiT, xmauriani mogzaurebiT, meorTayvireebiT (navis niCbis momsmeli), meTevzeebiT, Sori gzidan mobrunebuli gemebiT, afriani Tu uafro xomaldebiT, ialqniani Tu uialqno, niCbiani Tu uniCbo navebiT... romelTa Canaxatebsac TviTonac xSirad akeTebda. suraTic aqvs gadaRebuli navSi, niCbiT xelSi. erT leqss sulac „naviT ukvdavebisaken~ daarqva anu ukvdavebis gzasac naviT daadga, Tumca raRa daadga, ukve ukvdavebasTan iyo „wilnayari~. yovelive amis Semdeg saocrad bunebrivia galaktionis Zmiswulis, profesor nodar tabiZis sityvebi: „galaktioni ixdis xalaTs da debs. logikurad ibadeba kiTxva: ratom ar gadaxta xalaTiani? me maqvs amis Cemeburi axsna _ am dros mas qvemoT esaxeba zRva. ixdis da unda, rom Securdes zRvaSi~.

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THEA MUKERIA

Tea muqeria

Tbilisis saxelmwifo kameruli orkestri - „saqarTvelos sinfonieta~ 15 wlisaa!

The Tbilisi state chamber orchestra ‘Georgian Sinfonetta’ is 15 years old!

15 weli orkestris istoriisTvis didi dro ar aris da miuxedavad amisa, „saqarTvelos sinfonietam~ am mokle droSi, ara mxolod saqarTveloSi gaiTqva saxeli, aramed qveynis sazRvrebs gareTac saerTaSoriso aRiarebas miaRwia. „saqarTvelos sinfonieta~ 2008 wels daarsda. orkestris Seqmnis idea ekuTvnis giorgi qerelaSvils (mevioline, samxatvro xelmZRvaneli), romelmac Canafiqri megobrebs gauziara. maT erTad daiwyes dakvra da „saqarTvelos sinfonietas~ istoriac aqedan daiwyo.

Tavdapirvelad, orkestrs arc sarepeticio adgili, arc pultebi, arc notebi gaaCnda, da rac yvelaze mniSvnelovania arc saxsrebi, rom raime eqiravebinaT an

15 years is not much for an orchestra, yet in this small period, the Georgian Sinfonietta made a name for itself not only in Georgia, but beyond its borders on an international level.

The Georgian Sinfonietta was founded in 2008. The idea for its creation belongs to Giorgi Kerelashvili (violinist, artistic director), who shared his idea with some of his friends. They started playing together, and this is how the history of the Georgian Sinfonietta began. At first, the orchestra didn’t even have a rehearsal room, music stand, or music sheet, and most importantly, they didn’t have the means to rent or buy any of those. But where there is youth, great enthusiasm and diligence, it will rarely go unnoticed. So new friends rapidly joined them, who played an important role in the orchestra’s development. The Tbilisi State Academy of Arts, and more precisely

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SeeZinaT. Tumca, rodesac axalgazrdebSi arsebobs didi enTuziazmi da Sromismoyvareoba, rTulia SeumCneveli darCes. asec moxda, maT Zalian male SeiZines megobrebi, romelTac didi wvlili Seitanes orkestris ganviTarebaSi. orkestris SeqmnaSi mniSvnelovani wvlili miuZRvis Tbilisis saxelmwifo samxatvro akademias, kerZod ki gia buRaZes (reqtori 2003-2012 w.w.). pirveli sarepeticio sivrce orkestrs, swored batonma giam gamouyo samxatvro akademiis SenobaSi, romelic axalgazrda musikosebma sakuTari xelebiT aqcies sarepeticio darbazad da maTi dauRalavi Sromac aqedan daiwyo. ase daides bina mxatvrebTan musikosebma da ramdenime weli saxelmwifo samxatvro akademiis kameruli orkestris saxeliT marTavdnen koncertebs.

2009 wels, ganxorcielda regionuli proeqti, romlis farglebSic orkestrma koncertebi gorSi, TelavSi, WiaTurasa da siRnaRSi gamarTa. proeqtis daskvniTi koncerti ki Tbilisis operisa da baletis TeatrSi Sedga, romelic daviT sayvareliZem (Tbilisis operis Teatris mmarTveli 2004-20013 w.w.) usasyidlod dauTmo axalgazrda musikosebs. es saRamo Zalian iRbliani aRmoCnda orkestris istoriisTvis. garda imisa, rom koncerti didi warmatebiT Catarda, mas eswreboda kompozitori ioseb keWaymaZe (im periodSi

Gia Bughadze (its rector in the years 2003-2012) were also crucial in the creation of the orchestra. It is precisely Mr. Gia who offered the orchestra its first room in the building of the Academy of Arts, which the young musicians transformed into a rehearsal hall with their own hands, marking the beginning of their journey. This is how the musicians settled with the artists, and why, for several years, they were holding concerts under the name of the State Academy of Arts’ Chamber Orchestra.

In 2009, they took part in a regional project, in the framework of which the orchestra held concerts in Gori, Telavi, Chiatura and Sighnaghi. The project’s final concert took place in the Tbilisi Opera and Ballet Theater, which was handed to the young musicians for free

by Davit Sakvarelidze (director of the Tbilisi Opera and Ballet Theater in the years 2004-2013). This evening turned out a very lucky one for them. Apart from the fact that the concert was very successful, it was being attended by composer Ioseb Kechakmadze (who was an advisor for the Ministry of Culture at the time), who was impressed by the quality of the orchestra’s performance – and together with many other recommendations, his advice was crucial in providing an official “state” status to the orchestra.

In 2010, the orchestra did receive this status, and officially became the Tbilisi state chamber orchestra ‘Georgian Sinfonietta’. After that, the orchestra has been worthily carrying this status, and has found recognition both in Georgia and on the international stage.

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kulturis ministris mrCeveli), romelic aRfrTovanda orkestris Sesrulebis xarisxiT da imisTvis, rom orkestrisTvis saxelmwifo statusi mieniWebinaT, sxva mraval rekomendaciasTan erTad misi sityvac erT-erTi gadamwyveti aRmoCnda.

2010 wels, orkestrs marTlac mieniWa saxelmwifo statusi da Tbilisis saxelmwifo kameruli orkestri _ „saqarTvelos sinfonieta~ gaxda. mas Semdeg, am statuss Rirseulad atarebs orkestri da saqarTvelosa da saerTaSoriso asparezze ukve didi aRiareba moipova.

2012 wlis TebervalSi, „saqarTvelos sinfonietam~ SeiZina barokos instrumentebi da gaxda pirveli barokos orkestri kavkasiaSi. mas Semdeg orkestrma araerTi koncerti gamarTa. Zveleburi musikis evropel SemsruleblebTan da mkvlevrebTan aqtiuri muSaobiT man iseT maRal profesiul dones miaRwia, rom dResdReobiT aramxolod saqarTveloSi, aramed evropaSic gaiTqva saxeli.

Tbilisis saxelmwifo kamerulma orkestrma _ „saqarTvelos sinfonieta“ kulturis saministros mxardaWeriT 2015 wels daafuZna „Tbilisis baroko festivali“, romelic yovelwliurad ufro warmatebuli da popularuli xdeba saqarTvelosa da mis farglebs

In February 2012, the Georgian Sinfonietta purchased baroque instruments and thus became the first baroque orchestra in the Caucasus. The orchestra has performed many concerts after that.

By actively working with European performers and scholars of early music, it has reached such a professional level that today, it is renowned both in Georgia and in Europe.

In 2015, with the support of the Ministry of Culture, the Tbilisi state chamber orchestra Georgian Sinfonietta has founded the ‘Tbilisi Baroque Festival’, which is becoming more popular in Georgia and beyond with each passing year. Specialists and world-renowned stars of early music are taking part in the festival, such as: Jordi Savall (conducting, Spain), Sergio Azzolini (bassoon, Italy), Christine Busch (violin, Germany), Jean Rondeau (harpsichord, France), Davide Amadio (cello, Italy), Etienne Galletier (theorbo, France), the ensemble ‘Zefiro’, Akademie für Alte Musik Berlin (AKAMUS), and others.

Apart from the world’s leading stages, from the day of its creation, the orchestra tries to hold concerts in places where classical music hasn’t been heard for decades, where children don’t have music instruments in schools, and where people need music and attention the most. This is corroborated by several regional projects carried out by the Georgian Sinfonietta, which they are continuing in various ways to this day.

Apart from the Georgian concert halls, the Georgian Sinfonietta

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gareT. festivalSi monawileoben Zveli musikis specialistebi da msoflio scenis varskvlavebi, rogorebic arian: Jordi savali (diriJori, espaneTi), serjo acolini (fagoti, italia), kristine buSi (violino, germania), Jan rondo (klavesini, safrangeTi), davide amadio (Celo, italia), etien galetie (Teorbo, safrangeTi), ansambli `Zefiro~, berlinis Zveli musikis akademia (AKAMUS) da sxv. garda msoflios wamyvani scenebisa, dRidan daarsebisa, orkestri cdilobs iq Caataros koncertebi sadac aTeuli wlebia ar aJRerebula klasikuri musika, sadac samusiko skolebSi bavSvebs ar aqvT instrumentebi, sadac yvelaze metad sWirdebaT musika da yuradReba. amas mowmobs „saqarTvelos sinfonietas~ mier ganxorcielebuli araerTi regionuli proeqti, romelsac dRemde agrZelebs sxvadasxva saxiT. saqarTvelos sakoncerto darbazebis garda „saqarTvelos sinfonieta~ koncertebs marTavs iseT SesaniSnav darbazebSi rogoric aris berlinis koncerthausi, amsterdamis koncertgebau, miunxenis konservatoriis didi sakoncerto darbazi, helsinkis Camerata Hall (fineTi), azerbaijanis muslim magomaevis saxelobis saxelmwifo filarmoniis darbazi, komitasis saxelobis kameruli musikis darbazi (somxeTi) da sxv.

performs in renowned places such as the Berlin Konzerthaus, the Concertgebouw in Amsterdam, the large concert hall of the Munchen Conservatory, the Camerata Hall in Helsinki, the Muslim Magomayev State Academic Philharmonic Hall in Azerbaijan, the Komitas Chamber Music Hall in Armenia, and others.

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am koncertebidan ramdenime uaxloes mniSvnelovan koncerts gavixsenebT: 2022 wels, 30-e saiubileo saerTaSoriso musikaluri festivalis, „Semodgomis Tbilisis~ farglebSi gamarTuli koncerti, sadac Sesrulda dario marianelis saorkestro siuita „beatriCes~ msoflio premiera. oskaris, oqros globusisa da mravali jildos mflobelma Tanamedrove italielma kompozitorma dario marianelim dawera musika mariam aleqsiZis Tanamedrove baletisaTvis „beatriCe~, romlis premierac, giorgi aleqsiZis saxelobis Tbilisis Tanamedrove baletma „saqarTvelos sinfonietasTan~ erTad 2021 wels ganaxorciela. aseve unda gamovarCioT, gamoCenili qarTveli kompozitoris, sulxan nasiZis 95 wlisTavisadmi miZRvnili saiubileo saRamo (21.10.2022), sadac Tbilisis saxelmwifo kameruli orkestris, „saqarTvelos sinfonietas~ SesrulebiT kompozitoris kvartetis saorkestro versia aJRerda pirvelad. saqarTvelos kulturis, sportisa da axalgazrdobis saministros mxardaWeriT, 2023 wlis 22 da 23 aprils, „helsinkis barokos orkestris~ Zveleburi musikis koncertebis ciklis farglebSi, Tbilisis saxelmwifo

Let us remember some of the most compelling concert of the recent period: In 2022, the concert held in the framework of the 30th edition of the International Music Festival ‘Autumn Tbilisi’, in which the world premiere of Dario Marianelli’s orchestra suite ‘Beatrice’ was performed.

The recipient of an Oscar, a Golden Globe and many other awards, the contemporary Italian composer Dario Marianelli wrote this music for Mariam Aleksidze’s contemporary ballet ‘Beatrice’, the premiere of which was carried out by the Giorgi Aleksidze Tbilisi Contemporary Ballet together with the Georgian Sinfonietta in 2021.

Also noteworthy is the jubilee night (21/10/2022) dedicated to the renowned Georgian composer Sulkhan Nasidze, in which the quartet orchestra version of the composer was performed for the first time by the Tbilisi state chamber orchestra Georgian Sinfonietta.

On April 22 and 23 of 2023, with the support of the Ministry of Culture, Sports and Youth of Georgia, in the framework of a cycle of early music concerts by the Helsinki Baroque Orchestra, the Tbilisi state chamber orchestra Georgian Sinfonietta performed baroque music concerts. “Early dances” were also executed at the Church of the Holy Cross in Rauma and Helsinki’s Camerata Hall.

It is very important to say a few words about the projects in which the Georgian Sinfonietta took part in neighboring countries:

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kamerulma orkestrma _ „saqarTvelos sinfonieta~ barokos musikis koncertebi gamarTa. qalaq raumas wminda jvris monasterSi da helsinkis Camerata Hall-Si „Zveleburi cekvebi~ Sesrulda.

Zalian mniSvnelovania aRvniSnoT „saqarTvelos sinfonietas~ mier ganxorcielebuli proeqtebi mezobel qveynebSi: azerbaijanis kulturis saministros miwveviTa da saqarTvelos kulturis, sportisa da axalgazrdobis saministros mxardaWeriT, monawileoba miiRo saerTaSoriso musikalur festivalSi _ „barokos musikis dReebi~. koncerti 2022 wlis 24 aprils, azerbaijanis muslim magomaevis saxelobis saxelmwifo filarmoniis darbazSi gaimarTa. „saqarTvelos sinfonietasTan~ erTad koncertSi monawileobdnen azerbaijaneli solistebi: farida mamedova (soprano), sabina asadova (meco soprano), ilham nazarovi (kontrtenori) da diriJori eiub kulievi.

2022 wlis 4 da 9 dekembers, somxeTis ganaTlebis, mecnierebis, kulturis da sportis saministrosa da saqarTvelos kulturis, sportisa da axalgazrdobis saministros mxardaWeriT, somxeTis saxelmwifo kamerulma gundma _ „hoveri“ da Tbilisis saxelmwifo kamerulma orkestrma _ „saqarTvelos sinfonieta“, erevansa da TbilisSi barokos musikis koncertebi gamarTa. 4 dekembers, koncerti Catarda erevanSi, komitasis saxelobis kameruli musikis darbazSi, xolo 9 dekembers,

On the invitation of the Ministry of Culture of Azerbaijan and with the support of the Ministry of Culture, Sports and Youth of Georgia, the Georgian Sinfonietta took part in the international music festival ‘Baroque Music Days’. The concert took place on April 24, 2022, in Azerbaijan’s Muslim Magomayev State Academic Philharmonic Hall.

Azerbaijani soloists were performing together with the Georgian Sinfonietta: Farida Mamedova (soprano), Sabina Asadova (mezzo soprano), Ilham Nazarov (countertenor), and conductor Ayyub Guliyev.

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igive koncerti TbilisSi, rusTavelis erovnuli Teatris mcire scenaze Sedga. ramdenadac, „saqarTvelos sinfonieta~ erTaderTi barokos orkestria amierkavkasiis regionSi, misi wvlili metad mniSvnelovania mezobel qveynebSi barokos musikis avTentikuri Sesrulebis popularizaciasa da gavrcelebaSi. Sesabamisad, azerbaijansa da somxeTSi ganxorcielebuli proeqtebi mniSvnelovan rols Seasrulebs Zveleburi musikis popularizaciasa da qveynebs Soris kulturis sferoSi urTierTTanamSromlobis gaRrmavebaSi. orkestri regularulad monawileobs festivalebSi: „Semodgomis Tbilisi~, „Telavis saerTaSoriso musikis festivali“, „saaxalwlo musikaluri Sexvedrebi“, „saaRdgomo festivali“, imlingis saopero musikis festivali (germania) da sxv.

2014 da 2017 wlebSi, „saqarTvelos sinfonieta~ monawileobda „goldbergis festivalze“ gdanskSi (poloneTi), romlis samxatvro xelmZRvaneli gaxlavT alina ratkovska (klavesini, organi, diriJori). „goldbergis festivalze~ monawileoba uprecedento movlenaa qarTuli kulturisTvis, ramdenadac Zveleburi musikis evropul festivalSi pirvelad monawileobda barokos orkestri saqarTvelodan da 2023 wels ukve mesamejer estumreba „saqarTvelos sinfonieta“ barokos musikis festivals poloneTSi. „saqarTvelos sinfonietas“ 15 wliani warmatebuli istoria ukavSirdeba msoflioSi aRiarebul qarTvel da ucxoel musikosebTan TanamSromlobas, maT Soris gaxlavT: eliso virsalaZe, eliso bolqvaZe, aleqsandre korsantia, kornelia fon kersenbroki, lev markizi, kristof maieri, markus poSneri, marina iaSvili, liana isakaZe, liza baTiaSvili, kristine Sornshaimi, alfredo bernardini, natalia gutmani, eduard bruneri, hans holigeri, fransua lelu, moris burgi, giorgi aleqsiZis Tbilisis Tanamedrove baleti, dario marianeli, nurhan armani da sxv.

On December 4 and 9 of 2022, with the support of the Ministry of Education, Science, Culture and Sports of Armenia and the Ministry of Culture, Sports and Youth of Georgia, the Armenian State Chamber Choir ‘Hover’ and the Tbilisi state chamber orchestra ‘Georgian Sinfonietta’ held joint baroque music concerts in Erevan and Tbilisi.

On December 4, the concert took place at the Komitas Chamber Music Hall in Erevan, and then the same concert was performed on the 9th of December in Tbilisi, on the small stage of the Rustaveli National Theatre.

As the Georgian Sinfonietta is the only baroque orchestra in Transcaucasia, its role is utterly significant in the popularization of authentic baroque music in neighboring countries. Accordingly, the projects carried out in Azerbaijan and Armenia will play an important role in the popularization of early music and in the deepening of collaboration in the field of culture between these countries.

The orchestra regularly takes part in the festivals ‘Autumn Tbilisi’, ‘Telavi International Music Festival’, ‘New Year Music Celebrations’, ‘Easter Festival’, ‘Immling Opera Music Festival’ (Germany), and others.

In 2014 and 2017, the Georgian Sinfonietta took part in the ‘Goldberg Festival’ in Gdansk (Poland), the artistic director of which is Alina Ratkowska (harpsichord, organ, conducting). This participation at the Goldberg Festival is an unprecedented event in Georgian culture, as it was the first time that a baroque orchestra from Georgia was taking part in a European early music festival, and in 2023, the Georgian Sinfonietta will visit the baroque music festival in Poland for the third time already.

The 15-year-long successful history of the Georgian Sinfonietta is tied to its collaboration with world-renowned Georgian and foreign musicians, including Eliso Virsaladze, Eliso Bolkvadze, Aleksandre Korsantia, Cornelia von Kerssenbrock, Lev Markiz, Markus Poschner, Marina Iashvili, Liana Isakadze, Liza Batiashvili, Christine Schornsheim,

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„saqarTvelos sinfonietas~ koncertebi gadaicemoda telearxebze MEZZO, ARTE da sxv. orkestrs Cawerili aqvs 10 kompaqtdiski, romelic barokodan dawyebuli Tanamedrove kompozitorebis CaTvliT yvela epoqis musikas moicavs. orkestris 15 wlis saiubileo weli mniSvnelovani RonisZiebebis gareSe ar Caivlis. araerTi gansakuTrebuli koncertis garda, orkestri unikaluri diskis Canawers gvpirdeba da es iqneba barokos periodis italieli kompozitoris, alesandro marCelos sul axlaxan aRmoCenili nawarmoebis msoflio premieris audio Canaweri. diskis prezentacias, 2023 wlis „Tbilisis barokos festivalze~ unda velodoT, Cveni mkiTxveli ki detalebs da bevr saintereso informacias am unikaluri diskis Sesaxeb Cveni Jurnalis Semdeg nomerSi gaecnoba.

Tbilisis saxelmwifo kamerul orkestrs „saqarTvelos sinfonietas~ ukve TxuTmetwliani istoria aqvs. es bevri ar aris maRali mwvervalebis dasapyrobad, Tumca isic unda aRvniSnoT, rom Zalian cotaa im didi warmatebisa da saerTaSoriso aRiarebisTvis, rac orkestrma ukve moipova! „saqarTvelos sinfonietas~ kidev araerTi mizani aqvs dasaxuli! uamravi gegma aqvs gansaxorcielebeli! win Zalian grZeli da saintereso gza aqvs gasavleli! „saqarTvelos sinfonietas~ istoria grZeldeba!..

Alfredo Bernardini, Natalia Gutman, Eduard Brunner, Hans Holliger, François Leleux, Maurice Bourgue, the Giorgi Aleksidze Contemporary Ballet, Dario Marianelli, Nurhan Arman, and others.

The concerts of the Georgian Sinfonietta were broadcast, among others, on the TV channels ‘Mezzo’, ‘ARTE’. The orchestra has recorded 10 CDs that encompass all the musical epochs, from baroque to contemporary composers.

The 15th jubilee year of the orchestra will not pass without significant events. Apart from several important concerts, the orchestra is preparing a unique recording: the first audio recording of the newly discovered music sheets by baroque Italian composer Alessandro Marcello. We expect the disc presentation to take place at the Tbilisi Baroque Festival; our readers will have the chance to get acquainted with the details and interesting information about this unique disc in the next issue of our magazine.

The Tbilisi state chamber orchestra ‘Georgian Sinfonietta’ already counts 15 years of history. This might not be much in order to conquer the highest peaks, but we have to say that it is also very little for the success and international recognition that the orchestra has already achieved!

The Georgian Sinfonietta has many goals to achieve! They have many plans that need to be brought to fruition! They have a very long and interesting road ahead of them!

The history of the Georgian Sinfonietta continues!

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baTumis bulvari

BATUMI BOULEVARD baTumis bulvari saqarTvelos mniSvnelovan kulturul centrs da qalaqis mTavar RirsSesaniSnaobas warmoadgens da Tavisi dagegmarebiT, klimatiTa da adgilmdebareobiT msoflioSi erT-erT gamorCeul dasasvenebel adgiladaa miCneuli. baTumis bulvaris istoriaze, dRevandel mdgomareobaze da samomavlo gegmebze gvesaubreba ssip `baTumis bulvaris~ direqtoris mrCeveli arqiteqturul sakiTxebSi, batoni gia baRoSvili _ batono gia, Tqveni profesiuli saqmianoba mravali welia dakavSirebulia baTumis bulvarTan, Tqven brZandebiT bulvaris meistorie, mxatvari, arqiteqtori da SeiZleba iTqvas, erT-erTi yvelaze didi gulSematkivaric. mkiTxvelisaTvis saintereso iqneba mogviTxroT rodis da rogor daiwyo bulvaris istoria? _ baTumis bulvari TiToeuli baTumelisa da yoveli Camosuli stumrisTvis seirnobisa da dasvenebis usayvarlesi adgilia. TiTqmis yvela baTumels aqa aqvs gatarebuli bavSvobis da axalgazrdobis saukeTeso wlebi. baTumSi Camosuli yvela stumari swored aqedan iwyebs

Batumi’s Boulevard represents an important cultural center of Georgia and Batumi’s foremost landmark. With its planning, climate and location, it is one of the world’s distinguished holiday destinations. We discussed the history of Batumi’s Boulevard, its current situation, and plans with Mr Gia Baghoshvili, director of the LEPL ‘Batumi’s Boulevard’.

– Mr. Gia, your professional career has been linked to the Batumi Boulevard for many years, you are the Boulevard’s historian, painter, architect, and, one could say, one of its main supporters. Could you tell us when and how the Boulevard’s story started?

– Batumi’s Boulevard is the favorite place to stroll and relax for each inhabitant of the city and each of its visitors. Almost every Batumian has spent the best years of their childhood and youth here. Every guest in the city starts to get acquainted with the city’s landmarks from here. Today, Batumi’s boulevard has the status of a cultural heritage monument. The borders of Batumi’s ‘Old Boulevard’ as a cultural heritage monument were determined in 2015. Together with the architectural monuments on its territory (colonnades, the

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qalaqis RirsSesaniSnaobis gacnobas. baTumis bulvari dReisTvis ukve kulturul Zegls warmoadgens. baTumis „Zveli bulvaris~, rogorc Zeglis sazRvrebi 2015 wels dazustda. mis teritoriaze ganTavsebul arqiteqtorul SenobebTan erTad (kolonadebi, Suqura, sazafxulo Teatri, kortebi da a.S.), baTumis bulvari dagegmarebiT, klimatiT da adgilmdebareobiT gamorCeul dasasvenebeli adgilia da turist-naturalistTa Soris did interess iwvevs. baTumis bulvarma Tavisi Sinaarsi kidev ufro gaamdidra bolo wlebis ganmavlobaSi, roca sazRvrebi mniSvnelovnad gaizarda da farTobi sruliad axali dekoratiuli mcenareebiT Seivso. es yvelaferi ki 1877-78 wlebis ruseT-TurqeTis omis Semdeg daiwyo, saqarTvelos axalSemoerTebul mxareebSi imperiis xelisuflebam miznad daisaxa Savi zRvispireTis evropul yaidaze keTilmowyoba, gamSveneba da gamwvaneba. amgvari zrunvis sagani gaxda Tbilisi, quTaisi, foTi da baTumi... es mzrunveloba gansakuTrebiT aucilebeli gaxda „porto frankos~ gauqmebis Semdeg, roca „axalma qalaqma~ daiwyo zrda.

lighthouse, summer theater, courts, and so on), Batumi’s Boulevard distinguishes itself as a resort with its planning, climate, and location, and attracts great interest from tourists and naturalists. Batumi’s Boulevard was enriched even more during these last years, when it was substantially enlarged and filled with completely new decorative plants.

All this started after the Russo-Turkish War in 1877-78, when the Russian Empire decided to arrange and decorate the newly annexed Georgian Black Sea shore in a European manner. The same approach would be held towards Tbilisi, Kutaisi, Poti, and Batumi as a whole…

This approach became particularly necessary after the dissolution of ‘Porto Franco’ (Batumi’s old name), when the “new city” started to grow.

– It is well-known that the great Georgian writer Davit Kldiashvili writes about Batumi’s arrangement and embellishment in his memoirs…

– Yes. An officer of Batumi’s army of the time, Georgian writer Davit Kldiashvili writes in his memoirs ‘On the Road of My Life’: “Looking after the city’s embellishment started more actively after they put fire

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_ cnobilia, rom didi qarTveli mwerali daviT kldiaSvili Tavis memuarebSi wers baTumis mowyobagamSvenebaze... _ diax, maSindeli baTumis samxedro nawilis oficeri, qarTveli mwerali daviT kldiaSvili, Tavis memuarebSi „Cemi cxovrebis gzaze~ aRniSnavs: `qalaqis gamSvenebisaTvis zrunva ufro aqtiurad mas Semdeg gaCaRda, rac Zvel qalaqs, zRvispiras mikrunCxul qox-maxebs, erT dResac waukides cecxli da erTianad gadabuges. gaixsna zRvispira sivrce, gaiwminda, gafarTovda da damSvenda patara baTumi. gamoCnda axali qalaqi, Tanamedrove SenobebiTa da farTo quCebiT. am axlad agebuli qalaqis gamSvenierebisken miimarTa qalaqis mmarTvelobis azri da moqmedeba. axlad daniSnul policmaisterad, vinme polkovniki Tevdore voznesenski swored sasurveli pirovneba aRmoCnda. igi, 1878 wlidan 1888 wlamde q. baTumis TviTmmarTvelobis SemoRebamde saTaveSi edga

and burned down the shacks nestled on the coastline of the old city.

The coastline was opened, cleaned, enlarged, and the little Batumi was embellished. The new city appeared, with its modern buildings and large streets. The municipal government’s thoughts and actions were directed towards the adornment of this newly built city. The newly appointed chief of police, colonel Tevdore Voznesenski, stepped up to the task. From 1878 to 1888, until the introduction of Batumi’s self-government, he headed the police department, which governed the city. He didn’t spare energy for the embellishment of Batumi, and more particularly, of its Boulevard.”

The idea itself belongs to Voznesenski, and appeared from the fact that there was no promenade near the shore. As Davit Kldiashvili writes, he brought the gardener and engineer Ressler, who turned out very professional and knowledgeable, from Poti. This is when plane trees were planted in Batumi’s broad streets. “Works began at the seashore: they started making a boulevard on the sand, and the public was mocking it, it seemed strange to them to imagine a

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sapolicio sammarTvelos, romelsac qalaqis gaZRola evaleboda. man didi energia daxarja baTumis da, kerZod, bulvaris galamazebisaTvis~.

Tavad ideac voznesenskis ekuTvnoda, rac motivirebuli iyo imiT, rom ar arsebobda saseirno adgili zRvis piras. rogorc daviT kldiaSvili wers man foTidan gadmoiyvana mebaRe-inJineri resleri, romelic Tavisi xelobis zedmiwevniT mcodne aRmoCnda. swored maSin gaSenebula baTumis ganier quCebSi Wadrebi. „zRvis napirTan gaCaRda muSaoba: Seudgnen bulvaris keTebas qviSnarze, sazogadoebas ecineboda aseTi saxis samuSaoebis wamowyebaze, eucxoebodaT, Tu qviSaze ra bulvari unda gaSenebuliyo, magram voznesenski da xandazmuli resleri arxeinad ganagrZobdnen wamowyebul saqmes. ayridnen qviSas urmebiT mozidul miwas, iRebdnen ormoebs, rgavdnen mcenareebs da male zRvis napirze gadaiSala lamazi, norCi bulvari, SemdegSi baTumis mSvenierebad gamxdari...~ (daviT kldiaSvili).

Cveni klasikosi mwerali qalaqis gamwvanebis erT

boulevard built on sand, but Voznesenski and the older Ressler calmly continued what they had started. They were spreading soil brought in carts on the sand, digging holes, planting plants, and soon enough, a beautiful, youthful boulevard appeared on the shore, which would become Batumi’s jewel…” (D. Kldiashvili).

Our writer also tells us about an episode about the city’s greenery.

Archive materials confirm that the greenery and embellishment of the city’s Boulevard was planned by Batumi’s governor Smekalov, police chief Voznesenski, and Prussian gardeners Ressler and Reier. Their names are linked to the construction of two parks: the central park of the city – the former ‘Aleksandre Park’ and the seashore park – the former ‘Prince Nikoloz Park’. Their initiative was continued by noble Frenchman garden designer Michael d’Alfons. He was invited in 1884, and was named as the Boulevard’s first director for nine years. He was the person who refined and executed Ressler and Reier’s project and then developed it.

– The modifications of the seashore are probably also connected to these works, because as we know and as is

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documented in old photographs, the sea would start almost at today’s Ninoshvili street…

– This is a historic fact. Until 1970, near the hotel ‘Intourist’, there was a decorative column in stone in the first avenue, bearing the inscription: “In 1884, the seashore line was located 64 meters from here.” It would be great to prepare a project to recreate such a column in that place.

epizodzec gviambobs. saarqivo masalebi marTlac adasturebs, rom qalaqis da bulvaris gamwvanebagalamazeba maSindelma gubernatorma, general-maiorma smekalovma, policmaisterma voznesenskim, prusielma mebaRe-inJinerma reslerma da reierma wamoiwyes. maT saxelTanaa dakavSirebuli ori baRis: centraluri qalaqis baRis _ yofili `aleqsandres~ da zRvispiris baRis, yofili `ufliswuli nikolozis saxelobis~ mSeneblobis dawyeba. maT mier wamowyebuli saqme ganagrZo frangma didgvarovanma mebaRe-dekoratorma mixeil dalfonsma. is 1884 wels moiwvies da cxra wliT daniSnes bulvaris pirvel mmarTvelad. praqtikulad, resler-reieris proeqtis daxvewa-xorcSesxma da Semdgomi ganaSenianeba man awarmova.

– As we know, the Russian emperor himself was interested in developing Batumi’s boulevard...

– They were waiting for the emperor’s visit in the Caucasus in 1888.

Accordingly, a special commission was created by the Kutaisi military gubernator for the overseeing of the city’s park and boulevard works.

The commission extended d’Alfons’ contract until the end of 1891, but separated from him earlier according to a resolution dated the 19th of March 1889. The reason for that was that d’Alfons had started to make unilateral decisions in the park and Boulevard’s development process.

After d’Alfons, and more precisely, starting from May 1889, the city’s park and Boulevard were headed by Ressler’s former student, gardener Nestor Tkebuchava. At the same time, all works done until 1895 were also directed by Coyander, a city council member who was a great amateur of plants. From February 1898 until 1902 included, they invited gardener Akaki Khoshtaria, who had finished studying at the Nikitin Institute. Afterwards, from 1902 onwards, the city’s and Boulevard’s gardener and overseer was Ilia Leonidze, who had studied at the Tbilisi Gardening School.

– The Boulevard’s Avenue, also known as ‘Allée’, must have a special history too…

– At first, two avenues (allées) were built on the Boulevard, one on the continuation of the former ‘Boulevard Street’ (today’s Egnate Ninoshvili street), and the other avenue on the sea shore. Strolling paths were arranged between them, as the closeness of the shore didn’t allow any other solution. Its further broadening became possible only in 1895, when the sea moved a bit farther from the shore in the Boulevard area.

The Boulevard of the time started at the Burun-Tabie cape, the current lighthouse territory, and continued until the ‘Sobori’ turn, or the area of the current ‘Intourist Palace’ (Nodar Dumbadze street).

Where there is now the ‘Miracles Park’, there used to be Henri Barbusse Street (he was a French revolutionary), which started from the Burun-Tapie mount; there was also a factory nearby, around which mostly Armenians and Russians were living. The lighthouse was a monument of strategic importance, and there were many attempts to capture it, but it was saved.

The Boulevard also had its secrets, and the “Love allée” was one of them – a paradise for couples, with shaded lights, isolated…

– The history of our city’s and Boulevard’s landmarks, namely the colonnades, fountains, and Summer Theater, will also interest our readers.

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_ albaT, sanapiros cvlilebebic am saqmianobebTanaa dakavSirebuli, radgan, rogorc viciT da Zvel fotoebzec gvinaxavs, zRva TiTqmis dRevandeli ninoSvilis quCidan iwyeboda... _ es istoriuli faqtia, 1970 wlamde, sastumro `inturistis~ mimdebared, pirvel xeivanTan idga qvis dekoratiuli sveti, romelsac hqonda warwera: `1884 wels aqedan 30 saJenis daSorebiT gadioda zRvis sanapiro zoli~, kargi iqneboda amave adgilas analogiuri maniSnebeli svetis proeqtis damuSaveba da dadgma.

– In the years 1930-33, the Boulevard was enlarged by one hectare, and in 1934, it was enriched from an artistic and aesthetic point of view. That same year, the jewels of the city and the Boulevard were built – the colonnades and fountains. The idea for the colonnades (1931-34) belongs to the famous doctor Ivane Mtchedlidze (18891937). He drafted the colonnades project in 1930 in Italy, while in a professional mission in the city of Sorrento. The process was headed

_ rogorc viciT, baTumis bulvaris ganaSenianebiT Tavad ruseTis imperatori iyo dainteresebuli... _ imperatoris CamobrZanebas kavkasiaSi 1888 wels elodebodnen. amasTan dakavSirebiT, quTaisis samxedro gubernatoris gankargulebiT qalaqis baRisa da bulvaris samuSaoebis mimdinareobis zedamxedvelobisTvis Seiqmna specialuri komisia _ vice-admiral greves, baTumis msoflio mosamarTle gusonis, safrangeTis konsulis liaSomis da saqalaqo saswavleblis inspeqtoris bogdanovis SemadgenlobiT. am komisiis dadgenilebiT dalfonss gaugrZelda xelSekruleba 1891 wlis bolomde, magram saTaTbiros 1889 wlis 19 martis dadgenilebiT igi vadaze adre gaaTavisufles. amis mizezi ki baRisa da bulvaris mowyobis saqmeSi dalfonsis damoukidebeli moqmedebebi gaxda. dalfonsis Semdeg, kerZod, 1889 wlis maisidan, qalaqis baRs da bulvars ganagebda resleris yofili mowafe, praqtikosi mebaRe _ nestor tyebuCava. imave dros, yvela samuSaoebs 1895 wlamde

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xelmZRvanelobda qalaqis saTaTbiros wevri koianderi, mcenareTa didi moyvaruli. 1898 wlis Tebervlidan 1902 wlis CaTvliT mebaRed moiwvies nikitinis saswavleblis kursdamTavrebuli, akaki xoStaria. Semdeg ki, 1902 wlidan qalaqis da bulvaris mebaRe da xelmZRvaneli, Tbilisis mebaReobis skolis kursdamTavrebuli, ilia leoniZe iyo. _ albaT, gansakuTrebuli istoria bulvaris xeivans, igive `aleasac~ aqvs... _ Tavdapirvelad bulvarSi gaSenda ori xeivani (e.w. `alea~), erTi yofili `bulvaris quCis (amJamad egnate ninoSvilis q.) axlos gayolebaze da meore xeivani zRvis sanapiroze. amaT Soris gaaSenes saseirno bilikebi, zRvis sanapiros siaxlovis gamo meti SesaZlebloba ar iyo. misi Semdgomi gafarToeba SesaZlebeli gaxda mxolod 1895 wlidan, roca zRvam bulvaris midamoebSi ramdenadme ukan daixia da amiT gaizarda sanapiros teritoria. imdroindeli bulvari iwyeboda `burun-Tabies simagridan, romelic axlandeli Suquras mimdebare

by the city’s head engineer Pavle Nadareishvili, while the construction works themselves were done by young technician Bogdan Kirakosian (1912-1972), who would later become a famous architect in Batumi and a renowned engineer in Georgia.

In the 1950s, the Boulevard’s architectural ensemble was harmoniously enriched by the Summer Theater, which was a wonderful wooden building built entirely without even one nail.

The project’s authors were famous architect Kakha Javakhishvili and Bogdan Kirakosian. In 1998, unfortunately, the Summer theater burned down.

In 1977, colorful musical fountains (two square ones and one round one) were built in the central entrance of the Boulevard, from Konstantine Gamsakhurdia street, towards the seashore, according to architect Giorgi Erkomaishvili’s project.

– Tell us about the ‘Ukrainian Square’ too…

– Back in the 1970s, famous Batumian dramaturge and writer Amiran Shervashidze brought Ukrainain writers Lesia Ukrainka and Taras Shevchenko’s busts from the Ukraine, which were erected

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teritoriaa da grZeldeboda `soboris~ Sesaxvevamde, axlandeli sastumro `inturist-palasi~-s mimdebare teritoriamde (nodar dumbaZis quCa). axla sadac `saocrebaTa moedania~, gadioda frangi revolucioneris, anri barbiusis quCa, romelic `burunTabies~ mTidan iwyeboda; aqve iyo gemTmSenebeli qarxana, romlis irgvliv ZiriTadad somxebi da rusebi cxovrobdnen. Suqura strategiuli daniSnulebis obieqti iyo da bevrjer daupires aReba, magram gadarCa. bulvars Tavisi saidumloebebi hqonda da `siyvarulis aleac~ aseTi saidumloebebiT mocul adgilad iTvleboda _ SeyvarebulTa samoTxe, naklebad ganaTebuli, miyruebuli da cota saSiSic... _ mkiTxvelisaTvis saintereso iqneba Cveni qalaqisa da bulvaris e.w. `savizito baraTis~, kolonadebis, Sadrevnebisa da sazafxulo Teatris istoriac. _ 1930-33 wlebSi bulvari gafarTovda 1 heqtriT da 1934 wels Catarda misi mxatvrul-esTetikuri gamdidreba.

on the square near the colonnades, and this square was named ‘Ukrainian Square’ as a symbol of the long friendship between Georgians and Ukrainians.

– As you have said, in the middle of the 20th century, the Boulevard was actively adorned with rare plants. What species are we talking about?

– In 1951, another avenue was added to the Boulevard, the length of which was over 1200 meters. This is when the Boulevard was enriched with precious plants. The boulevard was decorated with Himalayan cedar trees, spruces, camphor trees, magnolias, cinchonas, Leyland cypress trees, seashore pine-trees, oriental cryptomerias, maple trees, Syrian roses, azaleas, bamboos, laurel, hydrangeas, banana trees, decorative palm trees, date palms, coconut palms, and trees.

– Mr. Gia, during the last 20 years, Batumi’s Boulevard gradually grew and many novelties were added to it, including the New Boulevard…

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amave wels aSenda qalaqisa da bulvaris mSveneba _ kolonadebi da Sadrevnebi. kolonadebis idea (1931-34) cnobil eqims, ivane mWedliZes (1889-1937) ekuTvnis. man kolonadebis proeqti 1930 wels italiaSi, q. sorentoSi, profesiuli mivlinebis dros miiRo. mSeneblobas xelmZRvanelobda qalaqis mTavari inJineri pavle nadareiSvili, xolo samSeneblo samuSaoebs awarmoebda axalgazrda teqnikosi, SemdgomSi cnobili baTumeli xuroTmoZRvari, saqarTvelos damsaxurebuli inJineri, bogdan kirakosiani (1912-1972).

50-ian wlebSi bulvaris arqiteqtorul ansambls mxatvrulad Seerwya sazafxulo Teatri, romelic ulursmnod agebul xis SesaniSnav Senobas warmoadgenda. misi proeqtis avtorebi iyvnen cnobili arqiteqtorebi kaxa javaxiSvili da bogdan kirakosiani. 1998 wels, samwuxarod, sazafxulo Teatri daiwva.

1977 wels bulvaris centralur SesasvlelSi, konstantine gamsaxurdias quCidan, zRvis napiris mimarTulebiT, arqiteqtor giorgi erqomaiSvilis

– The Boulevard was slowly developing. Let’s start with the “Old Boulevard”: in 2005, its territory was lengthened until the end of Ninoshvili Street. In 2008, the first so-called “French” fountains were opened on the Ardagani Lake. The Miracles Park was opened next to the lighthouse, and the Alphabet Tower was built in the years 201011, according to the project of Italian architect Alberto Domingo Cabo. As for the so-called “New Boulevard”, it was planned by Spanish architects. Its length spans more than 15km, and its total territory is of 28 hectares. The New Boulevard has a modern infrastructure style and is very different from the Old Boulevard. It the last years, amphitheaters were built there for concerts and shows, as well as new fountains. Both the old and new Boulevard necessitate constant renewal and reconstruction because of storms and rains. Their main value is not only an aesthetic, cultural-sanitary or historic one, but to represent the symbol of a small, European city in our current times and possibilities.

Interview by Shorena Dolidze

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proeqtiT damontaJda feradi musikaluri Sadrevnebi _ ori kvadratuli formis, erTic, wriuli. _ `ukrainul skverzec~ mogviyeviT... _ jer kidev XX saukunis 70-ian wlebSi, cnobilma baTumelma dramaturgma da mweralma, amiran ServaSiZem, ukrainidan Camoitana ukraineli mwerlebis lesia ukrainkas da taras SevCenkos biustebi, romlebic kolonadebis mimdebared skverSi dadges da daerqva `ukrainuli skveri~, qarTveli da ukraineli xalxis mravalwliani megobrobis simbolod. _ rogorc brZaneT, XX saukunis Sua periodSic aqtiurad mimdinareobda bulvaris gamSveneba-gamdidreba iSviaTi jiSis mcenareebiT, ra saxeobebzea saubari? _ 1951 wels bulvars kidev erTi xeivani miemata, romlis sigrZe 1200 metrs aRemateboda. im dros bulvari gamdidrda Zvirfasi nargavebiT. bulvars amSvenebda himalais kedari, naZvi, qafuris lavra, magnolia, qinaqinis xe, piramiduli kiparisi, zRvispira fiWvi, aRmosavleTis kriptomeria, nekerCxali, siriis vardebi, ieliuka, bambuki, dafna, hortenzia, bananis xe, dekoratiuli palmebi, finiki, qoqosi, gumilisi da sxv.

_ batono gia, ukanaskneli 20 wlis ganmavlobaSi baTumis bulvari etapobrivad gaizarda da bevri siaxle Seemata, maT Sorisaa axali bulvaric... _ bulvari nel-nela viTardeboda. daviwyoT `Zveli bulvaridan~: 2005 wels misi teritoria gagrZelda ninoSvilis quCis bolomde. 2008 wels `artaganis tbaze~ gaixsna saqarTveloSi pirveli e.w. `franguli~ Sadrevnebi.

Suquras mimdebared Seiqmna e.w. `saocrebaTa moedani~, 2010-11 w. aSenda `anbanis koSki~, romlis proeqtis avtori italieli arqiteqtori alberto domingo kaboa. rac Seexeba e.w. `axal bulvars~, is espaneli arqiteqtorebis daproeqtebulia. misi sigrZe 15 km.-ze metia, teritoria ki 28 heqtari. axali bulvari infrastruqturiT Tanamedrove stilisaa da Zalian gansxvavdeba Zveli bulvarisgan. ukanasknel wlebSi aq aigo amfiTeatri koncertebisa da SouebisaTvis, aSenda axali Sadrevnebi. rogorc Zveli, iseve axali bulvari, Stormebisa da wvimebis gamo mudmiv ganaxlebasa da rekonstruqcias saWiroebs. maTi mTavari Rirebuleba aramxolod esTetikur, kulturulgamajansaRebel an istoriul mniSvnelobaSia, aramed axla da amJamad arsebul SesaZleblobaSi, iyos patara, evropuli tipis qalaqis saxe-simbolo. esaubra Sorena doliZe

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IRA CHELIDZE

ira WeliZe

Cveni damianesi vTqvaT A few words about Damiane

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ubeSia. RvTis ubeSi. dasavleTisken Tu gaqvs gezi, saerTod ar Cans, aRmosavleTisken momavlebi ki wamierad koSks kideben Tvals, romelic gzis qveda kalTaSia mimaluli. imitomac hqvia ubisa _ monasteri, romelic grigol xanZTelma daaarsa... mecxre saukune idga, arabebi gavdevneT da monastrebis mSeneblobas mivyeviT. awi istoria sul maRla ivlis, mwvervals monRolebamde miaRwevs da mere daisSi wava. jer ki frTebs vSliT da sakuTar Semoqmedebas kbils vusinjavT. gzidan rom Cauxvev, egrevea. patara darbazuli bazilika, ezoSi koSkiT, galavnis narCenebiT da axali baRiT. mTlianobaSi serialebSi nanaxi romelime cixis mcvelis samyofels hgavs. sada, mogvianebiT CuqurTmebis xaliCebs rom movqsovT, aseTebis gareSe, raRacnairi mSvidi da TavSekavebuli. Tu gviandeli Semodgoma an zamTaria, cris da xeebi gaZarcvulia, siruxiT garemos erwymis, gazafxulsa da zafxulSi ki WriWinebiT gayruebs da ggonia, rom ai axla koSkidan romelime mzeTunaxavi nawnavs gadmouSvebs. arqiteqturulad, Sedevrebs SeCveulebisTvis, didi araferia, gars uvli da Sedixar da ai mand modis gaogneba.

It is in a bosom. In the Lord’s bosom. If you are looking towards the West, it is completely invisible, and from the East, one can merely see its tower, which hides in the lower lap of the road. This is why it is called ‘Ubisa’ (literally “from the bosom” in Georgian) – a monastery founded by Grigol Khandzteli… It was the ninth century, we had fended off the Arabs, and continued building monasteries. From then on, history would only go up, with a peak during the Mongol rule, and then a sunset… For now, we are only spreading our wings and trying out our endeavor.

It is right after the turn from the road. A small basilica, with a tower in the yard, the remains of a fence, and a new garden. All in all, it looks like some fortress seen in a film. Simple, not like the ones with decorative bas-reliefs everywhere, with some kind of quietness to it, as well as modesty. If it is late autumn or winter, it drizzles and trees are dormant, its greyness makes it melt with its environment, while in spring and summer, crickets can deafen you, and you might even think that some princess will hand some of her hair from the tower.

From an architectural perspective, it doesn’t seem like much for those accustomed to masterpieces – you go around it, and enter… And then you are amazed.

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xvdebi laJvardSi. oRond lazuritSi ki ara, riTac ase Tavs iwonebs bizantia da arc yinwvisis baraTaSviliseul cisa ferSi, aramed msuye, qarTul, xtonur, zurmuxtdakrul laJvardSi, ai karg amindSi Savma zRvam rom icis, risTvisac daerqva Savi zRva. es aris mZime, xelSesaxebi, miwieri laJvardi, romelsac zafxulis suni aqvs. da am laJvards qarTuli mewamuli azavebs. am mewamuls ki vardisfridan Jolosframde aqvs gardamavloba. celqobs.

CvenTvis evropas kari rom ar miexura, kvatroCentos vityodiT. meToTxmete saukunisaa es mxatvroba, giorgi brwyinvalem moaxatvinao da Sesabamisad, kvatroCentoa. sruliad evropuli, metic elinizmze aRmocenebuli monumenturi Sedevri qarTuli TaviseburebebiT. es ar aris gamaognebeli, magram xisti bizantiuroba. es aris xazTa da ferTa moqniloba, ironia narevi siTamame (SexedeT mariams xarebisas), romlisac jotos SeSurdeboda, ai romeli SuriT, ver getyviT. axla ra xdeba. aRorZinebis principebi viciT. antikuris realizmiT daxatuli qristianoba. ara brtyeli da haerSi mofarfate, Tanamedrove eniT rom vTqvaT 2D gamosaxuleba, aramed sisxlsavse da xorcsavse adamianebi, realuri istoriuli personaJebi. xatmebrZoleoba gadavlilia. qristianulma kulturam moipova sakuTari xelwera. hoda didi joto iyo pirveli ostati, romelmac mecnierebas dauqvemdebara kompozicia da gamosaxuleba. realobad aqcia iluzia da samganzomilebiani perspeqtiva dagvanaxa. italiaa. Zalian mdidari damkveTebis da bevri fulis gadamxdelTa mxatvroba. da misi Tanadrouli damiane aramdidari, omdausrulebeli qveynidan. ubisas avtori. mgoni erTaderTi SemTxvevaa, rodesac mxatvari saxels awers namuSevars taZarSi. sxvebi vin viciT ostatebi? beqa da beSqen opizrebi... kidev? damiane ki awers. metic, is marto araa da italieli

You enter the azure. But not a lazurite kind of azure, of which Byzantia was so proud, nor the blue found in Kintsvisi, but a rich, Georgian, emeraldish kind of azure, the color of the Black Sea in good weather – the actual reason why it was called “Black Sea”. It is a heavy, tangible, earthly azure that smells of summer. And this azure is mixed with Georgian purple. And the latter has a gradation from pink to raspberry-color – it frolics.

If Europe hadn’t closed their door on us, we would say “quattrocento”. This fresco dates back to the 14th century, and is said to have been ordered by George the Magnificent, and therefore, it is a quattrocento. It is a completely European, even Hellenistic monumental masterpiece with Georgian features. It isn’t an astounding, but rough byzantine style. It presents a fluidity of lines and colors, a boldness imbued with irony (look at Mariam during the Annunciation), of which Giotto could have been jealous.

Now, we know the principles of the Renaissance. Christianity drawn with the realism of antiquity. Not flat and flapping in the air, or to say it in modern terms, rendered in 2D, but humans full of flesh and blood, real historical characters. Iconoclasm has passed. Christian culture has found its own style. And the great Giotto was the first

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kolegebiviT skola aqvs da ubisaSi misi mowafeebic xataven. esec Zalian evropulia. individualizmi da gambedaoba. Sedareba cudi ram aris, magram jotos rom dauyeno, rac TvalSi mogxvdeba aris zRvargadasuli silaRe da Tavisufleba. jotosTan yvelaferi maTematika da cifria. drapirebis ritmi jvarcmis jvrebis ritmis Tanxmovania da kargi maTematikosi egreve algoriTms dainaxavs. moculobiTi, nakveTi figurebi, monumentalizmi. ubisac monumenturi mxatvrobaa, monumenturi simZimis gareSe. damiane axteba jotos da pirdapir botiCelis exmianeba _ dagrZelebuli figurebi, grZeli xel-fexi, simsubuqe romelic ar Tmobs realizms.

TiTqos mxatvruli kanoni, romelic vazarim SeimuSava da romelic savaldebuloa evropeli ostatebisTvis, saqarTveloSi ar moqmedebs an moqmedebs Taviseburad. metad vsunTqavT da metad veTamaSebiT xazebsa da ferebs. ara, ra botiCeli. axla mivxvdi rom saerTodac el grekos winamorbedobaa. wiTel savarZelSi koxtad gadaxrili, TiTqmis kekluci mariami, kexiani cxviriT da zustad iseTi siTamamiT, rogoric misi asakis gogoebs aqvT. ara Tvaldaxrili da morCili, aramed sicocxliT savse, gamxdari, grZelfexeba gogo natifi xelis mtevnebiT. gecnobaT ho? ra sakvirvelia. eqspresia ki ara kvatroCentosi, aramed didi berZenis, grekos epoqisaa. datexili ritmuli xazebi da sruliad gawonasworebuli frontaluri kompozicia qmnis am kontrasts da Sesabamis daZabulobas. Cans rom Zalian mniSvnelovani ram xdeba. saidumlo seroba _ mewamulis gradaciebSi. mxolod macxovris samosia is mZime laJvardi. ritms aq drapirebebi qmnis, mociqulTa mosasxamebi, vertikaluri da horizontaluri xazebis SeTanxmeba. yvela mociquli sakuTari portretiT. realuri personaJebi, romlebsac quCaSi SexvdebiT. iuda _ wuwki kaci, romelic, gvrCeba STabeWdileba, sufraze gaSlil qarTul SoTs epotineba, maSin, roca danarCenebs sxva sadardebeli aqvT. Tumca es dardi raRacnairi saqmiania, tragizmi da sasowarkveTa araa. Seikriba xalxi, vaxSmobs. maT Tavze mama RmerTi da qriste erT xatad. macxovari. dominanturi kompozicia. laJvardi fonad da samosad. taxtrevanze xelaRmarTuli RmerTi mzadaa gansasjelad da mosasmenad. aq drapirebis xazovani ritmebi rbilia, mSvidi gadasvlebiT, gaxveuli figurebi ki werweta da msubuqi, mZimewoniani mxolod macxovaria. es niSnavs, rom damianem zustad icoda rogor aeJRerebina mxatvroba da xazebis ritmiT rogor Seeqmna xan dramatizmi, intriga da xanac zeciuri simSvide da vizualuri melodia. mewamuli varvarebs diokletianes da wminda mxedari giorgis Sexvedris suraTze. giorgi Sekruli kopebis qvemodan imzireba, ufro ki ibRvireba, diokletiane xelebs Slis _ ori mowinaaRmdegis usityvod metyveli

master who submitted composition and appearance to science. He transformed illusion into reality and showed us a three-dimensional perspective. This is Italy. Frescos done on the orders of very wealthy people. And his contemporary Damiane, a poor man from a country with never-ending wards. The author of the Ubisa frescos. I think this is the only case when the artist has put one’s name in a Georgian church. Which other masters do we know? Beka and Beksen Opizari…

Who else?

But Damiane wrote his name. What is more, he is not alone, and like his Italian colleagues, he has his own school, and his pupils are painting in Ubisa. This is also very European. Individualism and boldness. It is not a good thing to compare, but if you put his work next to Giotto’s, what will strike you is his insouciance and freedom. In Giotto, everything is mathematics and numbers. The rhythm of the draperies is an echo to the rhythm of the crosses in the crucifixion, and a good mathematician will notice an algorithm right away. Large, structured figures, monumentalism.

Ubisa is a monumental fresco too, monumental without feeling heavy. Damiane leaps above Giotto and echoes Botticelli directly – elongated figures, long limbs, a lightness that doesn’t renounce realism. As if the artistic principle introduced by Vasari, which is compulsory for European masters, doesn’t work in Georgia, or works in its own way. We breathe and play with the lines and colors much more. No, why did I even mention Botticelli? I just realized that this is a precursor of El Greco.

Comfortably leaning on a red sofa, an almost coquette Mariam, with an aquiline nose and the boldness that girls of her age show.

Not modest and looking down, but full of life, a lean, long-legged girl with refined hands. You recognize her, don’t you? Of course.

This depiction comes not from the quattrocento, but from the epoch of the great Greek, of El Greco. The cracked rhythmic lines and completely balanced frontal composition create a contrast and corresponding tension. One understands that something crucial is happening.

The Last Supper – in purple shades. Only the Christ’s attire is done in the abovementioned heavy azure. Here, the rhythm is created by the drapery, by the apostles’ clothes, and vertical and horizontal lines. Each apostle has their own portrait. Realistic characters, ones that we could meet on the street. Judas – a greedy man that seems to be grabbing the Georgian bread on the table, while others have other things to worry about. But this worry seems constructive, it is not full of tragedy or desolation. People have gathered and are eating.

Above them, God and the Christ are represented together. The Savior. This is the dominant composition. Azure as the background and on the attires. With his raised hand and resting on a palanquin, God is ready to discuss and to listen. Here, the linear rhythms of the draperies are softer, with quiet changes, and the wrapped figures are slender and light – the only heavier one is the Savior. This means that Damiane knew exactly how to make paint talk, and how to create drama, intrigue, or sometimes heavenly stillness and visual melody

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paeqroba, romlis Sedegi cnobilia _ ara Zlieri ama qveynisas sasargeblod. orives wiTeli samosi, xilul samyaroSi maT Tanasworobaze miuTiTebs. oRond keisari ufro materialurad xelSesaxebia, giorgi ki uSiSi da uxorco, awowili da msubuqi da imavdroulad diokletianeze ufro wonadi. damianes mowafe an mowafeebi ar arian ostatis gavlenis qveS. imdenad didia maTi SemoqmedebiTi Tavisufleba, rom xelwera freskebSi mkafiod gansxvavdeba. egreve cnob vin romeli Sedevri Seqmna. WerSi rom aixedebi ucnaur geometriul formaSi Casmul TeTrwvera moxucs dainaxav, romelsac imdenad cocxali da „damWeri~ mzera aqvs, rom egreve ifiqreb, rom moxuci ar iTqmis. arcaa. mama RmerTia. saintereso ki is aris, rom qristes, mama RmerTs ikonografiulad an mandorlaSi, an wreSi aTavseben, rogorc samyaros maradiuli wrebrunvis simboloSi. aq ki ori samkuTxedia erTmaneTze midebuli, sruliad gasuli kanonidan. samkuTxedis erTi wveri zecas uyurebs,

through the rhythm of lines.

Purple blazes in the fresco of Diocletian and Saint George’s encounter. George is observing, or rather looking menacingly, while Diocletian is opening his arms – a wordless but expressive dispute between two enemies, the outcome of which is well known. Both are dressed in red, which points to their equality in the mortal world.

But the emperor is more materially tangible, while George is fearless and incorporeal, skinny and light, and at the same time, heavier than Diocletian.

Damiane’s pupil or pupils are not under the influence of their master. Their creations are so free that their parts in the frescos can easily be differentiated. You can directly tell which one has done which masterpiece. Looking up to the ceiling, one will notice a white-bearded elderly man inside a strange geometric form, who has such a lively and catching gaze, that it is actually difficult to call him an elderly. And he’s not one. It’s the Lord. What is interesting is that in terms of iconography, the Christ and the Lord are represented in a mandorla or a circle, as the symbols of the eternal rotation of our

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meore miwas. aqac samyaroTa Soris kavSiria, Tumca gansxvavebulad nagrZnobi da danaxuli _ qarTulad, Cveneburad. aris sadme kidev mamazecieri samkuTxedebSi? ar vici, ar maxsendeba. xelwera aq ufro sadaa, damianesebri Tavisufali eqspresiis gareSe. lakoniuri da mkacria. meti oqro da siTeTre. erTia am ucnaurobis avtori Tu ramdenime, veravin ityvis. ar mouweriaT Segirdebs xeli. vin icis, wasulan mere da sxva taZrebi mouxatavT. ver getyviT. da calke ambavia freskebis gamyofi dekorebi da sarkmlebs gayolili naySebi. aq erTiani kanoni ar arsebobs da ilaReben. yvavilebi da talRebi, mcenareebi, ylortebi, foTlebi, xalisoben da mxiaruloben. iseTi ambavia, rom araTu patara qveynis, patara soflis ubeSi miyuJuli patara bazilika gegoneba, aramed, nebismieri Zlevamosili da didebuli qveynis saxelganTqmuli taZari iamayebda. arada ar vicnobT. ho, Cven ar vicnobT. odesRac mari brosem da Salva amiranaSvilma Seiswavles, aRweres, ikvlies da morCa. gafuWebuli araa, arc wyali Cadis, msaxurebac aRdga, magram aTs rom kiTxo, namyofia Tu ara da unaxavs Tu ara ubisas mxatvroba, 8 getyvis rom ara. arada segrada la familia, magaliTad zepirad aqvs Seswavlili adgilze. ratom xdeba ase? ratom gvaqvs msoflio Sedevri miCumaTebuli? an ra unda vqnaT rom yvelam gaigos, yvelam icodes? rom sadme, kvatroCentos ostatebis Tvalierebisas, aviCeCoT mxrebi da Cveni damianesi vTqvaT...

world. But here, there are two triangles put on each other, completely out of this canon. One triangle is looking towards the Heavens, the other towards the Earth. Here too, there is a relation between the two worlds, but felt and seen in a different manner – in a Georgian one. Is there another depiction of God in triangles? I don’t know, I can’t recall any. Here, the traits are more unassuming, without the free way of expression characteristic of Damiane. They are laconic and strict. More gold and white. Nobody can say if this strange depiction was made by one or many people. The apprentices haven’t signed. Did they continue painting frescos in other churches? We cannot say.

Another interesting aspect is related to the decors separating the frescos and the patterns framing the windows. There is no one particular principle that was followed, it is unchained. Flowers and waves, plants, sprouts, leaves, all revel in one mix.

This is a place that doesn’t look like a small basilica nestled in the bosom of some small village in a small country, but like a renowned temple of which any great country would be proud. Yet, we don’t know it. Yes, we don’t know it. It was once studied by Marie Brosset and Shalva Amiranashvili. They described it, researched it, and that was it. It isn’t damaged, water doesn’t get in, masses are held, but if you ask ten people if they have been to Ubisa and seen its frescos, eight will tell you they haven’t. While they might have visited the Segrada Família and know it by heart. Why does this happen? Why are we hushing up a worldwide masterpiece? Or what should we do in order for everybody to hear, to know about it? So when looking at some Quattrocentos, we can shrug our shoulders and say a few words about our Damiane…

foto: giorgi bagrationi

Photography: Giorgi Bagrationi

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