saganmanaTleblo-sazogadoebrivi Jurnali
sarCevi / CONTENTS
2 leri alimonaki - ganaxlebadi viTarca amirani
LERI ALIMONAKI – CAPABLE OF REVIVAL LIKE AMIRAN
12 landSaftis magia / THE MAGIC OF THE LANDSCAPE
30 misi sunTqva iyo brZola
40 ambis mqsoveli / MANUS ANIMAM PINXIT
46 adamianSi adamiani unda gadarCes / THE ESSENCE OF HUMANITY MUST SURVIVE WITHIN US!
56 wigni rogorc mxatvrul-esTetikuri siamovneba THE BOOK AS A WORK OF ARTISTIC-AESTHETIC ENJOYMENT
64 Tqvi, arjakelo - ana kalandaZe 100 / SAY, ARJAKELI FLOWER… ANA KALANDADZE 100
70 eTnografiuli paralelebi: inau da CiCilaki / ETHNOGRAPHIC PARALLELS – INAU AND CHICHILAKI
76 ranina - sikeTis xma! / RANINA – THE VOICE OF KINDNESS
84 saxelovnebo sferos uwyvetobis aRdgena - rogorc mTavari gamowveva
88 `yvelas raime aqvs saxsovari~ Salva da vaJa gigaSvilebi “EVERYONE HAS SOMETHING TO REMEMBER.” SHALVA AND VAJA GIGASHVILI
94 qarTuli enciklopediis guSindeli da dRevandeli dRe THE GEORGIAN ENCYCLOPEDIA: YESTERDAY AND TODAY
saredaqcio jgufi / EDITORIAL STAFF
revaz iukuriZe / REVAZ IUKURIDZE
xaTuna kereseliZe / KHATUNA KERESELIDZE
ekaterine CulaSvili / EKATERINE CHULASHVILI
gvanca fifia / GVANTSA PIPIA 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 / Issued quarterly JurnalSi ganTavsebuli masalis gamoyeneba SeiZleba mxolod redaqciis TanxmobiT
The materials published in this magazine cannot be used without the authorization of the editorial staff
garekanze: guram xita quTaTelaZe _ peizaJi lurji ciT. 92X75. tilo, zeTi. 1974
Cover: Guram Hita Kutateladze – landscape with blue sky. 92X75. Oil on canvas. 1974
garekanze: guram xita quTaTelaZe _ peizaJi lurji ciT. 92X75. tilo, zeTi. 1974
Cover: Guram Hita Kutateladze – landscape with blue sky. 92X75. Oil on canvas. 1974
Leri Alimonaki
Capable of revival like Amiran
kultura.
Znelia, Zalian Zneli ganmarto, ra ari kultura. TiTqmis SeuZlebeli.
mgonia, sicocxlea kultura.
kulturiT fSvens yoveli arsi, yofiereba. da viT ZalmiZs ganvmarto kultura, roca ar vici, viT ganvmarto sicocxle. Tumc vici _ kultura, viT sicocxle, mudmiv ganaxlebadia, viTarca miTiuri amirani.
kulturis gamonaSuqia axal epoqebSi amiran-promeTes CiraRdani. da es CiraRdani maradiulia, arasdros qreba, JamiTi Jamad efareba Tvals.
iqneb, qmnaa kultura?!
kultura RmerTs ar Seuqmnia, adamiani Seqmna. da uboZa azri. kultura adamians unda Seeqmna. azria kulturis deda.
amis mowmea kacobriuli cxovrebis aRmarTebi da daRmarTebi.
codvisdacemis Semdeg samoTxidan gamoZevebulni vcdilobT raRac imgvari vqmnaT, riTac gamovisyidiT codvas da kvlav vixilavT dakargul samoTxes. daviwyebuli araferia. dakargulis dasabruneblad viRvwiT.
samoTxidan eqsoriaqmnilTa modgma qmnis kulturas.
iqneb, sinanulia kultura?! msaxurebaa?!
amis SesaZlebloba erTxel kidev mogvca ufalma golgoTis misteriiT. saSveli ari! _ unda davuaxlovdeT pirvelqmnilebas. Tumc amaod _ mcdeloba mcdelobad rCeba. amaSi Zevs is dafaruli azri sinanulisa, is saniadago saidumlo Rvwisa, rac kulturis Seqmnis safuZvelTa safuZvelia. arcerT epoqaSi, arcerT erSi saRmrTo Tanalmobis, msaxurebis gareSe kultura ar Seqmnila. gulisxmavyoT Cveni xalxuri simRerebi Tu sagaloblebi, rodisrodindeli, gulisxmavyoT avTandilis anderZi, erT-erTi zeuniversaluri teqsti msoflio literaturisa, da amaSi Tavadve davrwmundebiT. iqneb, rwmenaa kultura?! mowameobaa?! mowameobaSi, riTac gvwadia rwmeniT miveaxloT dakargul samoTxes, monawileobs yoveli eri, mTeli kacobrioba. monawileobs qarTveli eric, rogorc civilizebuli samyaros ganuyofeli nawili. qarTvelTa winareqristianuli kultura gvaZlevs amis Tqmis uflebas. swored amitom warmogzavnes qristes Semdgom, 30-ian, 40-ian wlebSi, saqarTveloSi sjulis saqadageblad andria pirvelwodebuli, rom qarTvelTa eri, rogorc Zveli unikaluri kulturis eri, ukve mzad iyo qristianobis misaRebad. qristianobiT axali era daiwyo am qveynis
Culture.
It’s very, very difficult to find a clue to the meaning of culture. It’s an almost impossibly difficult task. Perhaps, culture is life.
Culture enters and permeates every creature, every being, existence. And how can I puzzle out the meaning of culture if even the meaning of life is lost on me? Somehow, though, I know that culture is capable of revival – like life, like the mythical Amiran. The torch of Amiran/Prometheus continues to beam down the centuries through culture. The glow of this torch is eternal. It can never be extinguished and only fades from sight sometimes.
Can culture be created?
Only not by God. God created man and gave him knowledge. Culture was meant to be man’s creation.
Knowledge gives birth to culture.
The history of Mankind can attest to this.
Being cast out of Heaven due to the fall of man, we have since then been pursuing the dream to create something that would free us from the guilt and let us find our way back to where we belong. Nothing is forgotten. And we are now at pains to gain back what has been lost. Culture owes itself to exiles from Heaven.
What is culture? Maybe repentance?
Or the ability to serve?
An ability which God bestowed on us through the mystery of Golgotha.
kulturul-humanistur cxovrebaSi. qristianulma sarwmunoebam gaxada SesaZlebeli darRveuliyo aRmarTuli jebirebi, ziarebodnen erebi erTmaneTis kulturebs. swored qristianobis kulturul-humanisturi cnobierebis nayofia, rom qarTvel kacs arasodes Seulaxavs sxvaTa religiuri mrwamsi, arc eTnikurad mcireni daumcirebia odesme, romlebic odiTgan saxloben saqarTveloSi. amis magaliTi, daviT aRmaSenebelia _ `mesiis maxvili~, aRmosavleTSi mTeli saqristianos saso da imedi. misi himnografiuli Txzuleba `galobani sinanulisani~ im mefe-politikosis, im mefe-mxedarTmTavris, im mefe-poetis aRsarebaa, visi gulic qristianuli SemwynareblobiTa da siyvaruliT gaciskrovnebula.
iqneb, enaa kultura?! saRmrTo siyvarulis gacxadebaa?! Tu ena eris kulturis uzenaesi gacxadebaa, rusTvelma qarTuli enis harmoniul sinTezSi diadhyo Tavisi genialuri qmnileba, am eniT mohfina kacobriobas siyvarulis Zalmosileba.
iqneb, sadRac gaRwevaa kultura?! miwieri amaoebidan Tavis xsnaa?! baraTaSvilis mernis grigalisebri qrolva gviadvilebs
The solution is known! We need to rediscover our original self. All attempts are, however, futile. And herein lies the latent meaning of repentance and tireless efforts which form the groundwork for culture. No culture was ever created without godly sympathy or godly devotion. The best insight of what it means comes from our folk songs and hymns deriving their origin from time immemorial; from Avtandil’s Testament raising one of the universal themes of world literature.
What if culture is faith?!
Or martyrdom?
Martyrdom as a quest for the lost paradise, which involves every nation, all Mankind including Georgian people – an integral part of the civilized world. Pre-Christian culture in Georgia allows us to say that it is the reason Andrew the First-Called was sent to Georgia in the years 30-40 AD to preach Christianity, because the Georgian people, an ancient nation with a unique culture, was ready to receive the religion. With Christianity, a new cultural and humanistic era started in the country. Christian faith made it possible to take down barriers and have nations get to know each other’s cultures. It is the result of Christian cultural and humanistic consciousness that Georgian men have never demeaned other religious beliefs, or persecuted ethnic minorities that have lived in Georgia since ancient times. David Aghmashenebeli, “the Sword of the Messiah”, is a good example, he was the hope of all of Christianity in the East. His hagiographical work
am gzaze savals. da axla Cven, misni Semdgomni, vadgavarT am gzas, misganve Telils, da tvirTmZimeni, ar vkargavT imeds _ gavaRwevT gasaRwevelSi. xolo ganuwyvetliv Cagvesmis yurSi sinanulis tragikuli notebi misi sulieri papisa _ guramiSvilisa, da erTxel kidev Segvacnobinebs nostalgias dakargul samoTxeze, daviwyebul samSobloze.
iqneb, Suamavlobaa kultura?!
Suamavloba kacisa RmerTTan?! daviwyebul samSoblosTan?! mZimea sawuTro kacisa, vinc itvirTa es Suamavloba. ilia WavWavaZis mesianurma gonebam, viTarca gonebam winaswarmetyvel mosesi, kulturis, sityvis, ganmanaTleblobis STaberviT dauxsna qarTvelT cnobierebis karibWeni, apovnina ers dakarguli samSoblo, dausaxa gzani misi xsnisa. Tumc, ra umaduroba unda iyos, rom dResac gaigonebT nihilistur qirqils am RvTisdari kacisadmi. albaT, jer kidev hyvavis CvenSi social-demokratTa, bolSevik-komunistTa, bosxis am maxinj personaJTa, daTesili RvarZli. saRmrTo kverTxi, riTac naxevari saukune win migviZRoda, kvlavac zecisken aRupyravs, Ze SecTomilT gvafrTxilebs _ ar davuzavdeT eSmaks!
iqneb, mociqulobaa kultura?! orTodoqsul samanTa Zlevaa?! Cveni erovnuli kultura gvmociqulobs sxvaTa kulturebTan. gvmociqulobs Cvensav kulturasTan. ar yofila dro, mis caze saavdro Rrubeli ar mogragniliyos, damangrevel grigalebs ar gadaevlos. da mainc aRmdgara, ganaxlebula. yvela samani uZlevia. ra sulier potencias unda flobdes, Tavisuflebisa da kulturis TviTaRorZinebis ra dauokebel wyurvils, ra mociqulebriv Segnebas, bolSevikur-komunisturi totalitaruli reJimis xanaSi, XX saukunis 60-ian wlebSi, ers rom am wiaRSive ganaxlebis Zala aRmoaCndeba. is sulieri ganaxlebis aucilebloba, kidev erTxel rom Seaxsenebda qarTvel kacs Tavis istoriul misias _ Tavdadebul moRvawebas erovnuli suverenobisa da kulturis gadasarCenad. Tumc am ganaxlebis inspiratori totaluri politikuri ryevebic iyo, Cvens kulturas aRmosavlur, gansakuTrebiT, dasavlur kulturasTan rom aaxlovebda (ufro sworad, aRadgenda am kulturasTan Zvel kavSirs), fesvebi mainc winaredrois klasikur wiaRSive _ XIX saukunis 60-ian wlebSi gaedga, iqidan iRebda maorganizebel impulsebs. es iyo procesi rTuli, mZime, konvulsiuric ki, rogorc dedisa, romelmac axali sicocxle unda Svas. gavixsenoT imJamindeli qarTuli kino, Teatri, mwerloba, mxatvroba, musika, mecniereba, arqiteqtura da amaSi Tavadve davrwmundebiT. Tumc
‘Hymns of Repentance’ sees the confessions of the politician king, the general king, the poet king whose heart was enlightened with Christian tolerance and love.
What if culture is language?
What if it is the declaration of the love of God?
If language is the supreme declaration of the culture of a nation, then Rustaveli has elevated his genius work in the harmonious synthesis of Georgian language and spread the power of love throughout humanity using this language.
What it culture is to get away?
To deliver oneself from material futility?
The stormy flight of Baratashvili’s Pegasus makes it easier for us to advance down this road. And now we, his successors, are on this road, paved by him, and despite our heavy burden, we do not lose hope –we will make it to the end. All the while, the tragic notes of regret of his spiritual father – Guramishvili – are constantly in our ears and once again it makes us feel nostalgic for the lost paradise, the forgotten motherland.
What if culture is mediation?
Mediation of man with God?
With the forgotten motherland?
Heavy is the existence of the man who took this mediation upon himself.
The messianic mind of Ilia Chavchavadze, like the mind of the prophet Moses, opened the gates of consciousness to Georgians through culture, through words, through education, and he allowed
sastik reJims ar eZina, iolad arafers Tmobda, Jamgasuli ideologia abrkolebda humanisturi azris aRorZinebas.
iqneb, providenciaa kultura?! bedisweraa?!
raRac gangebulebiT, bediT Tu bedisweriT, am procesebSi miwevs arcTu martivi nabijebis gadadgma. terenti graneli.
es saxeli bevrisTvis maSin, 60-ian wlebSi, ucnobi iyo, bevrs afrTxobda kidec. karga xnis daviwyebuli, swored am orbitze Semodis xelmeored, poeti, vinc myarad gansazRvruli msoflmxedvelobiT, jer kidev 20-ian wlebSive, konfliqtSi aRmoCnda bolSevikur ideologiasTan. misi pirovnul-poeturi krizisi qveyanaSi kulturis, religiis, humanizmis, yovelive sakraluris dekadanss ukavSirdeba. amis miRma darCenili poetisTvis, rogorc sulier emigraciaSi gadaxvewili RvTis maZiebeli euli piligrimisTvis, vinc ar indoma monawileoba mieRo am epoqalur degradaciaSi, xorcieli daRupva garduvali iyo. sagulisxmoa, rom misi gardacvalebidan gaivlis meoTxedi saukune da gaqrobis pirze misul poetis saflavs petre-pavles eklesiis winamZRvari mama Sio (TurqaZe) ixsnis daRupvisagan (1966 wels manve mimagnebina ekalbardebSi mimalul poetis saflavs)... da wlebis
the nation to find its lost motherland, showing the way to its deliverance. Although, however ungrateful it may seem, to this day we sometimes hear nihilistic mockery of this holy man. It must be that some of the spite sowed by Social-Democrats, Bolshevik-Communists, these ugly Bosch characters, still remains. The royal scepter with which he led us for half a century is still held high and he warns those of us who are lost – never make a deal with the devil!
What if culture is to be an advocate?
To vanquish the conventional boundaries?
Our national culture is our advocate to other cultures. It is our advocate for our own culture. There has been no time when there was no dark cloud forming in its sky and no annihilating storms passing over it. And still, it has come back to life, renewed.
All boundaries are indomitable.
What spiritual potency a nation should possess, what unquenchable thirst for freedom and culture, what understanding of advocacy, to have the strength to renew itself in the era of the Bolshevik-Communist totalitarian regime, in the 1960s. That need for spiritual renewal, which once again reminded Georgian men of their historic mission – to give their all to save national sovereignty and culture. Although this renewal was also inspired by total political fluctuations, which made our culture closer to oriental, and, especially, occidental culture (or more precisely, restoring the old connections with this culture), its roots were still mostly grown in the classical period – the 1960s, and that’s where it received its marginalized impulses from. This process was difficult, painful, convulsive even, like that of a mother creating a new life. Let us remember Georgian cinema, theater, literature, art, music, science, architecture etc. of that time and we will be convinced of that. But the cruel regime did not sleep, did not give anything up easily; the outdated ideology creating obstacles to the renaissance of the humanistic thought.
What if culture is providence?
Destiny?
It is some fate, destiny or fortune that makes me take uneasy steps in these processes.
Terenti Graneli.
This name was unknown to many back then in the 60s, and was even scary to many others. Long forgotten, the poet returns to this orbit, a poet who, because of his strictly defined views, came into conflict with the Bolshevik ideology in the 1920s. His personal-poetic crisis has much to do with the decadence of everything sacred in the country – culture, religion, humanism. For the poet left without all that, like a lone pilgrim searching for God in a spiritual emigration, material demise was unavoidable. A quarter century after his death, the poet’s grave was on the verge of disappearing when it was saved by the priest of the Peter and Paul Church, Father Shio (Turkadze), from destruction (he was the one who helped me find the poet’s grave, hidden in the bush wood, in 1966)... and years later, he comes
Semdeg xelmeored ubrundeba mSobliur mwerlobas da Tavis umrwemess TanamokalmeTa gverdiT, iwyebs axal sicocxles. da me, am qarcecxlian orbitaze moxvedrili, wlobiT vdgavar redaqcia-gamomcemlobebis karTan misive awewil-dawewili cxovrebiT, dro-JamiT gayviTlebuli xelnawerebiT xelSi... da vwer `kviris wirvebs~ _ biografiul romans am mowame poetze.
iqneb, uxsovrobis nostalgiaa kultura?! daviwyebulis reinkarnaciaa?! vagnerisa da berliozis musika, rac unda paradoqsi iyos, semantikis aRuricxvel velze damaxetialebda, Zveli qarTuli ezoTeruli teqstebidan `dao de Zinisa” da upaniSadebis yofierebis gadmosaqarTulebel cnebebsa da sityvebs mkarnaxobda. albaT, ar moiZebneba civilizebuli eri, es sakacobrio Txzulebani Tavis enaze ar eTargmnos. Rrmad rom uwyoda maTi mniSvneloba herman hesem, swored amitom miuCina mis mier Sedgenil msoflio idealur biblioTekaSi `dao de Zins” mexuTe, xolo upaniSidebs meore adgili (bibliis Semdeg). da Tu Cven kulturul erTa ojaxSi gvegulvis Tavi, SeuZlebelia mSobliur enaze ar vimecnebdeT am wignTa RvTaebriv sibrZnes.
iqneb, macnea kultura?! dafarulis gamocxadebaa?! imis gamocxadebaa, rac dafarulia da ver vxedavT, Svidgzis beWdiT dabeWduls. mova kaci, gamogvecxadeba,
back to his beloved literature and begins a new life beside his younger fellow writers. And I, also happening to be on this fiery orbit, spent years standing at the doorstep of publishing houses, leading the same messy life as his, manuscripts yellowed from the “Sunday masses,” times in hand…
What if culture is the nostalgia of the immemorial?
The reincarnation of the forgotten?
However paradoxical it may seem, the music of Wagner and Berlioz made me wander in the infinite field of semantics, giving me clues to translate terms and words from the Tao Te Ching and the teachings of the Upanishads with old Georgian esoteric texts. There is probably no civilized nation that has not translated these works into its own language. Herman Hesse knew their meaning deeply, and this is why, in the ideal world library he created, he gave Tao Te Ching fifth place and the Upanishads second place (after the Bible). And if we want to be part of the family of cultured nations, it is impossible without being able to access the godly wisdom of these books in our native language.
What if culture is a messenger?
The revealer of the concealed?
The revealing of the hidden that we cannot see and that has been sealed seven times. A man will come, he will appear, remove the seals and uncover Don Quixote, Dimitri Karamazov, Aluda Ketelauri for
axsnis beWdebs, gamogvicxadebs don kixotis, dimitri karamazovs, aluda qeTelaurs. gamogvicxadebs da sawuTrosa da sulTa feriscvalebis am idumal misteriaSi, Cvenc gvamonawilevebs.
mZimea am kacTa xvedri.
mZime iyo sawuTro servantesisa, dostoevskisa, vaJafSavelasi _ miwieri jojoxeTidan tanjviT amohqondaT zecieri samoTxe. da Tu vinme stiroda, pirvelni, zecieris madliT gaciskrovnebulni, albaT, Tavadve stirodnen TavianTi gmirebis xvedrze.
ise wavida nikolo paganini wuTisoflidan, sakuTar samSobloSive eqsoriaqmnili, Tvalze cremli ar SeSrobia. am cremlidan gvicxadebda saswaulebs. ise wavida niko firosmanaSvili wuTisoflidan, sakuTar samSobloSive eqsoriaqmnili, Tvalze cremli ar SeSrobia. am cremlidan gvicxadebda sakvirvelebas. gamogvecxada, gaiara miwieri sawamebeli, gviboZa zecieri samoTxe, wavida, aRdga, aq yofnis yvela kvali waSala, saflavic ki _ viTom ar yofila. erTi natvra dagvitova _ mxatvrebma avagoT patara saxli, davdgaT samovari, vsvaT Cai da xelovnebaze vilaparakoTo. es uwyinari natvrac ver avusruleT. maxsendeba Cemi megobris, mxatvar gogi wereTlis sevdiani monaTxrobi: _ amsterdamSi var, van gogis samsarTulian muzeumSi, sixaruliT var savse _ didi mxatvris tiloebs originalSi vaTvaliereb da uneburad samSoblo maxsendeba, Tbilisi,
us. He will proclaim them and make us participants in this enigmatic mystery of the transfiguration of life and souls.
The fate of these men is a very hard one.
They were hard, the lives of Cervantes, Dostoyevsky, Vazha-Pshavela – they brought up heavenly paradise from material hell, and it was torture for them. And if anyone cried, enlightened by the mercy of the heavenly, they were probably the first ones, crying over the fate of their own heroes.
Niccolo Paganini left this life exiled from his own country, tears never ceasing to run down his face. He granted us miracles from these tears.
Niko Pirosmanashvili left this life exiled from his own country, tears never ceasing to run down his face. He granted us wonders from these tears. He came to us, went through the torture of life, gave us heavenly paradise, left, came back to life, erased all traces of his time here, even his grave – as if he had never existed. He left only one wish – for the painters to build a small house, put a samovar there, drink tea and talk about art. Even this small wish we could not make come true. I remember the sad tale of my friend, painter Gogi Tsereteli: – I am in Amsterdam, in the three-story museum of Van Gogh, full of joy, admiring the original paintings of the great artist, and suddenly I remember my country, Tbilisi, Niko Pirosmanashvili, and tears come to my eyes – what is so wrong with us Georgians that we could not give anything more than a cellar under some stairs to our genius, then he died and a hundred years later, he still does not have a proper museum.
niko firosmanaSvili, Tvalze cremli madgeba _ iseTi ra dagvemarTa qarTvelebs, rom am genialuri mxatvrisTvis sicocxleSi kibisqveSa sardafis meti veraferi gavimeteT, mokvda da, ager asi welia, dRemde erTi sakadrisi muzeumi ver avuSeneTo.
iqneb, uxilavi kavSiria kultura?! inspiraciaa?!
wlobiT Sevyurebdi `daTvi mTvarian Rames”, am mistiur sakvirvelebas, Cems naxevradmrume oTaxSi, mirza Safis quCaze, meidanSi, vwerdi romans `eliazaris dabrunebas~ da bedkruli eliazaris mTavar prototipze niko firosmanaSvilis (da ara mxolod mis) egzistencialur sawuTroebaze vfiqrobdi. magram es erTi, gare Srea romanisa. eliazari, miTiuri amiranis mxatvruli reinkarnacia, Tumc xelovania, misTvis xelovneba, anu saRmrTo saSromeli, rogorc amiranisTvis _ cecxlismfrqveveli laxti, TviTmizani ki ara, gzaa boroteul ZalTa saZlevad, pirvelkacSi _ genetikur civilizaciaSi dasabruneblad...
iqneb, sizmaria kultura?! zRaparia?!
sizmarSi, rogorc zRaparSi, yvelaferi SesaZlebelia: ar viciT vin varT, sad varT. varT, ar varT. viTom varT, viTom ar varT. xan vin varT, xan vin. vixsenebT, ver vixsenebT.
zogjer gvaognebs gaxseneba. amgvarma gaognebam mogvicva wina saukunis 90-ian wlebSi, roca gamoviRviZeT damoukideblobaSi, TavisuflebaSi. sxvagan CavyvinTeT, sxvagan amovyvinTeT. sxvas velodiT, rwmeniT velodiT, sxva miviReT. viTom _ damoukidebloba.
viTom _ Tavisufleba.
viTom _ iqca Cveni cxovrebis sizmareul kredod.
Cvens cnobierebas politika ise SemoWdobia, rogorc etlis borbals _ salte, saZraobas ar gvaZlevs. viTom gvRviZavs wafilosofoso ybedobaSi, sinamdvileSi wajequkujeqobaSi vTvlemT, erT wreze davlaRandarobT. politikurad egzaltirebuli qveyana amgvar ybedobaSi ise mofarebia kulturas, rogorc Ruzasaglejili gemi _ nislian navsadgurs. yoveli mxridan sastiki qari gviberavs. pandoras yuTs Tavi aqvs axdili. Tvalze xelebafarebulebi, did facafucSi varT (facafucma icis sindisis, RirebulebaTa devalvacia, facafuciT qmnili kultura vis unaxavs?!). gulisxmayaviT, ra saocrad hgavs genialuri ieronimus bosxis `Tivis gadazidva~ da `yeyeCTa xomaldi~, es universaluri qmnilebani, Cvens dRevandel yofierebas. amgvari cnobierebiT cxovreba, roca Sens caze damokles maxvili hkidia, ar mgonia, Rirseuli iyos (Rirsebaayril kacs ra xeli aqvs kulturasTan!). roca
What if culture is an invisible connection?
Inspiration?
For years, I looked at “A Bear in the Moonlight”, this mystical marvel, in my half-darkened room, on Mirza Shapi Street, Meidani, writing the novel “The Return of Eliazari”, and thinking about the existential struggle of miserable Eliazari’s main prototype, Niko Pirosmanashvili (and not just him). But this is one of the external layers of the novel. For Eliazari, being the creative reincarnation of the mythical Amiran, though he is an artist, for him art, the holy work, like for Amiran – the fiery whip, is not a goal in itself, but a way to vanquish evil forces, to come back to the genetic civilization of the first man...
What if culture is a dream?
A fairy tale?
In dreams, as in fairy tales, everything is possible: we do not know who we are, where we are, whether we are or not. It’s as though we are there, but we are not. We are this and we are that. We remember and we cannot remember.
Sometimes remembering astonishes us.
This kind of astonishment is what we experienced in the 1990s, when we woke up independent, free. We dove in at one place and came back up in another. We were waiting for something else, believing in something else, and we got something different.
A pretend independence.
A pretend freedom.
Pretend became the dream credo of our lives.
erTi mxriT _ Sovinistur-dampyrobluri manqana gvitevs, xolo meore mxriT _ nihilisturi manqana, takimasxaroba mgonia liberalizmis mantiaSi SefuTuli konformizmi, romlis saSoc _ SiSia. gavixsenoT nestandarejani _ qajeTis cixeSi datyvevebulsac saxelmwifoze fiqri ar miutovebia.
am evropelobiT xom pirdapir agvikles. Caxedon matianes _ neta rodis ar iyo qarTveli evropeli. Tu evropuli kultura qristianobis wiaRSi iSva, Tu qristianobaa evropuli kulturis deda, maSin ganswavlulma evropelma gadafurclos Zveli foliantebi da naxavs, jer kidev romel saukuneebSi uSenebia qarTvels qristianuli eklesia-monastrebi. im axali epoqebis evropul kulturaze ratom sduman, im sakacobrio mniSvnelobis literaturaze, xelovnebaze, mecnierebaze, rasTanac ZvelTaganve arasodes gauwyvetia kavSiri qarTvel kacs. am orientaciiTa da cnobierebiT iyo nakarnaxevi erekle meores politikuri Ziebani evropaSi. vidre is, georgievskSi, 1783 wels ruseTTan iZulebiT traqtats gaaformebda, musulmanuri samyaros ganuwyveteli Tavdasxmebisgan rom exsna Tavisi qristianuli samefo, manam evropasa da evropel monarqebTan eZebda mokavSires.
Politics are wrapped around our consciousness like the hoop around the wheel of a carriage, not allowing us to move. It’s as if we are awake in the pretend philosophical banter, and in reality we are sitting around snoozing, turning in circles. Our country, politically exalted, has been dragged away from culture in this banter, like a ship that has broken away from its anchor and has been dragged away from the foggy harbor. A cruel wind blows from every side. Pandora’s box has been opened. With our hands covering our eyes, we are bustling around (bustling is what brings devaluation of the conscience and values – who has ever heard of a culture created while bustling?). Take into consideration how amazingly the universal works “Hay Wagon” and “Ship of Fools” by the genius Hieronymus Bosch resemble our current condition. To live with this consciousness, that the sword of Damocles is hanging in your sky, cannot be honorable, in my opinion (and dishonorable men have nothing in common with culture!). When a chauvinist-conquering tank is attacking from one side and a nihilist from the other side, for me conformism hiding behind a mask of liberalism is nothing but buffoonery, at the heart of which is fear. Let us remember Nestan-Darejan, who never stopped thinking about the State, even while a prisoner in the Kajeti fortress. And they have talked our ears off about being European. If only they looked at history – when were Georgians not European? If European culture was born from the hearth of Christianity, if Christianity is the mother of European culture, then the European scholar should open old folios and see from which centuries Georgians were building Christian churches and monasteries. And why do they say nothing of the European culture of the new eras, the literature, art, science of significance of all of Mankind and with which Georgians have never lost contact. This is the orientation and consciousness that moved Erekle the Second during his political research in Europe. Before he signed a forced contract with Russia in Georgievsky in 1783, in order to save his Christian kingdom from unceasing attacks from the Muslim world, he searched for an ally in Europe, asked European monarchs, but in vain. Our great fabulist Sulkhan-Saba Orbeliani – enlightener of the nation, political and public figure – also walked the roads of Europe in vain.
In order to not be left with broken pieces of a ship wrecked because it was left on its own, without a harbor, in the swelling waves of the sea, we need to observe the tragedy of what happened in all its depth and instead of wandering back and forth, we have to make sure the ship goes back into the culture of its nation. Of course, this does not exclude common involvement with other cultures. If ancient Greeks traveled to Kolkheti and Iberia to get to know the culture there, why wouldn’t we?!
Will the time ever come when a Georgian, like the American Walt Whitman, will exclaim:
O Captain! My Captain!
Our fearful trip is done, The ship has weather’d every rack, The prize we sought is won.
Tumc amaod. amaod daSvra evropis gzebze Cveni didi meigavec, sulxan-saba orbeliani _ eris ganmanaTlebeli, politikuri da sazogado moRvawe.
zRvis motortmane talRebSi RvTis anabara mitovebuli unavsayudlo gemidan damsxvreuli naSTebi rom ar SegvrCes, mTeli siRrmiT unda CavxedoT momxdaris tragizms da, waRma-ukuRma ki ar viborialoT, imaze vizrunoT, gemi mSobliuri kulturis wiaRSi davabrunoT. es, rasakvirvelia, sulac ar gamoricxavs sxva eris kulturebTan Tanamonawileobas. Tu Zveli berZnebi ar Takilobdnen kolxeTsa da iberiaSi mogzaurobas, aq imJamindeli kultura rom eZiaT, Cven ra dagvemarTa?! neta dadgeba dro, roca qarTveli kaci, amerikeli uolt uitmeniviT, SesZaxebs: `o, kapitano, Cemo kapitano! xomaldi moadga napirs, man datova Stormi, zvirTebis mrisxane Sexla da yvelaferi damTavrda, morCa!~
magram vidre amis SeZaxebis dro mova, manam msxverplis gaReba mogviwevs, sul mcire msxverplis _ davicxroT vnebani gulisa, mediduroba, sxvaTa zeda aRmateba, gancxromisaken, warmavali mosaxveWelisken amao ltolva. kulturas Tavisi kanonebi aqvs. kulturis kanonebi ar morCilebs arc politikur, arc socialur, arc saxelmwifoebriv kanonebs. formaciebi icvleba, epoqebi icvleba, kulturis kanonebi ar icvleba. Tumc mudmiv ganaxlebadia, misi arsi ucvleli rCeba _ ar dainTqas drois azavTebul mdinarebaSi. geniosebi imitom ki ar swavloben kanonebs, rom daicvan isini, imitom swavloben, rom daarRvion. politikis kanonebs mravalni morCileben, kulturis kanonebs _ mcireni. mcireTa Seupovari muSakobiT ari kultura. misi gamaJamgrZelebelnic mcireni arian. misi mcvelnic. xelisufalT unda uwyodnen, rom umetesni am mcireTagan imitom ki ar iyvnen duxWirni da upovarni, rom Rirseba ar hqondaT, imitom iyvnen duxWirni da upovarni, rom RirsebiT qmnidnen kulturas, RirsebiT miuZRodnen progresisken kacobriobas. RvTis wyalobiT, mcireTa mekanoneni, qarTuli kulturis caze obol cTomilebiviT moxetialeni, Rrma individualobiT wilxvdomilni (zogi samSobloSi, zognic ucxoeTSi), am mZime xanaSic agrZeleben im klasikur gzas, rac ZvelTaganve Tavganwiruli moRvawebiT dausaxavT winaprebs. unda viqonioT rwmena, amiranis qveyanas aRmoaCndeba Zala gansacdelSi TviTdaunjebisa da ganaxlebisa.
ilustraciebi gogi wereTlis
But before this can be achieved, we will need to make a sacrifice, albeit a small one – we will have to make still the passions of the heart, the haughtiness, the excessive pride, the vain aspirations for comfort, luxury, the fleeting riches. Culture has its laws. Culture does not abide by political, social or state laws. Formations change, eras change, the laws of culture do not change. Although it is constantly renewed, its essence remains the same – not to disappear in the strong current of time. Geniuses study laws not to abide by them, but to be able to break them. Many observe the laws of politics, but few – those of culture. It is by the obstinate work of the few that culture exists. Few are the ones who pass it on and few are the ones who protect it. The rulers need to know that most of these few were not poor and destitute because they were dishonorable; on the contrary, their poverty was caused by the fact that they were creating culture with honor, and leading humanity toward progress honorably. By God’s mercy, the few makers of culture, like lone sinner wanderers of the sky of Georgian culture, the ones gifted with deep individuality (some in their motherland, some abroad), still keep on walking in these hard times the classical road paved by their ancestors with selfless work. We need to believe that the country of Amiran will have enough strength to guard and renew itself in challenging times.
Illustrations by Gogi Tsereteli
baia wiqoriZe BAIA TSIKORIDZE
landSaftis magia THE MAGIC OF THE LANDSCAPE
gamofena „guram (xita) quTaTelaZe. landSaftis magia“ erTi mxatvris sagamofeno proeqtis saSualebiT XX saukunis qarTuli kulturis im models warmogvidgens, romelic socrealizmis pirobebSi qarTuli mxatvrobis progresul pozicias da saerTaSoriso kulturasTan ziarebis survils gamoxatavs. socrealizmis mier 1930-ian wlebSi Zalismierad Sewyvetil avangardis da modernizmis ideebs xita quTaTelaZe axali formiT isev abrunebs qarTul mxatvrobaSi da sabWoTa ideologiis Caketil sistemas axali tipis msoflmxedvelobiT ewinaaRmdegeba. peizaJuri kompoziciebiT is qmnis samyaros models, sadac sicocxlis da arsebobis arsi, materializebuli landSafturi motiviT, dResaswaulis
The show Guram (Hita) Kutateladze: The Magic of the Landscape is an exhibition project by a solo artist that presents a model of Georgian culture in the 20th century. It expresses the progressive position of Georgian painting, and its desire to be a part of international cultural context under the conditions of social realism. Hita Kutateladze reintroduced the ideas of avant-garde and Modernism, which had been forcibly interrupted by social realism in the 1930s, into Georgian painting, and attempts to oppose the closed system of Soviet ideology with a new type of worldview. He employed landscape compositions to create a model of the world where the essence of life and existence are materialized in landscape motifs and expressed in the context of a holiday. Life is a celebration contained in the world, which erupts in the form of colorful “images”.
papanaqeba. 120X140. tilo, zeTi. 1963/ SULTRINESS. 120X140. OIL ON CANVAS. 1963
mniSvnelobiT aris gamoxatuli. sicocxle dResaswaulia, romelsac samyaro itevs da ferad „xatebad“ afrqvevs. garemos specifikuri lokalizaciiT, es saqarTveloa: mTebiT, landSaftiT, feriT da „surneliT“. ganzogadebuli interpretaciiT _ samyaros modelia, idealuri da srulyofili „xati“, Seqmnili realuri peizaJuri motivebiT, magram SesrulebiT _ „zeformaa“, gancdiT _ „transgancdaa“, SemoqmedebiTi poziciiT _ „metaproeqtia“. makrokosmosis forma emateba konkretuli adgilis maxasiaTeblebs, arsebobis dResaswaulis gancda am „landSaftebs“ humanistur movlenad aqcevs; mxatvars aRmatebiT xarisxSi ahyavs yvela gamosaxuleba da am poziciiT is socrealizmis pirobebSi postmodernistul mxatvrobas qmnis. 1979 wels xita quTaTelaZe asrulebs sakuTari sicocxlis fazas dedamiwaze da Tavisi SemoqmedebiT, jer kidev sabWoTa periodSi, progresis uZlieres naRms debs qarTuli ferweris sferoSi. es is velia, saidanac afrena SeiZleba da xitas Seqmnili
Georgia is represented through the environment’s specific localization: mountains, landscapes, colors, and “scents”. The generalized interpretation portrays a model of the universe – an ideal and perfect “image” that is produced through the use of real landscape motifs. They are executed as a “super-form”, where feelings are expressed as “trans-experiences” and creative standpoints become “meta-projects”. The form of a macrocosm is added to the characteristics of specific places in order to transform the celebration of existence into humanistic events in these “landscapes”. The artist elevates all the images to a higher level, and utilizes this angle for the creation of postmodernist paintings in the context of social realism. In 1979, Hita Kutateladze completed his cycle of existence on earth, and thanks to his creativity, even during the Soviet period, he enriched Georgian painting with the strongest undercurrents of progress. This is a field that can serve as a launch pad for flight: a sensation that Hita’s boundless spaces invite one to explore.
Georgian painting of the 1950s and 1960s was defined by the centuries-old tradition of monumental painting, the European and
qarTli. 128.5X175. tilo, zeTi. 1968 KARTLI. 128.5X175. OIL ON CANVAS. 1968
Tvaluwvdeneli sivrceebic swored frenisTvis gangawyobs. meoce saukunis 50-60-iani wlebis qarTul mxatvrobas monumenturi ferweris mravalsaukunovani tradicia, dazguri mxatvrobis evropul-rusuli gamocdileba, saukunis dasawyisis avangardis elvareba da socrealizmis aucilebloba gansazRvravda. mxatvrebisTvis rTuli dro iyo, arCevanis TavisuflebisTvis _ urTulesi da saSiSi periodi.
am periodis qarTuli kulturis winaSe yvelaze mZafrad ideologiuri diqtaturis pirobebSi mxatvris personaluri poziciis identificirebis sakiTxi
Russian experiences of easel painting, the brilliance of the avantgarde from the beginning of the century, and the requirements of social realism. This was a very difficult time for artists; a complex and dangerous period in terms of freedom of choice.
The biggest issue faced by Georgian culture during this period was to identify the artist’s personal stance under conditions of ideological totalitarism. The “Thaw” policy of the 1960s and subsequent attempts to establish a certain distance from the era of Stalinism offered some relief, though the need for remaining cautious persisted. Distant signals of the international art world had already reached Georgia from beyond the “Iron Curtain” and, since generally speaking the
Semodgoma. 120X130,5. tilo, zeTi. 1960-61 AUTUMN. 120X130,5. OIL ON CANVAS. 1960-61
idga. 1960-iani wlebis „daTbobis“ politika da stalinis epoqidan distancireba garkveul SeRavaTebs iTvaliswinebda, Tumca sifrTxilis aucilebloba kvlav arsebobda. saerTaSoriso xelovnebis Soreuli signalebi ki ukve saqarTvelomdec _ „rkinis fardis“ miRmac aRwevda da, radgan zogadad kulturis nakadi yovelgvar bariers da SezRudvas arRvevs, am droidan qarTveli mxatvrebis jgufma (guram (xita) quTaTelaZe, jibson xundaZe, edmond kalandaZe, aleqsandre banZelaZe, oTar CxartiSvili, avTo varazi, sergo Caxoianci da sxv.) SeZlo sabWoTa ideologiis Caketili sistemidan Tavis daRweva da maTma umravlesobam samoqmedo inspiraciad peizaJi airCia, romlis neitraluri Janruli formati SemoqmedebiTi eqsperimentebis, siTamamis da poziciis Sefarulad gamoxatvis SesaZleblobas iZleoda. amitom am periodis qarTul sabWoTa xelovnebaSi yvelaze gavrcelebul „mimdinareobad“ landSafturi
flow of culture overcomes all barriers and restrictions, from that time onwards a group of Georgian artists (Guram (Hita) Kutateladze, Jibson Khundadze, Edmond Kalandadze, Aleksandre Bandzeladze, Otar Chkhartishvili, Avto Varazi, and Sergo Chakhoiants among others) managed to break free from the closed system of Soviet ideology. Most of them chose the landscape as their inspiration for response, since this was a genre of neutral format that permitted creative experiments, bold steps, and hidden expressions from a specific standpoint. Accordingly, landscape painting became the most widespread “movement” of Georgian Soviet art from this period. It offered the best way to covertly exercise abstraction – the overt following of which would inevitably have triggered an urge to punish the artists in question. Moreover, their bold position induced certain panic among governmental and state institutions, since abstractionism was considered to be a symbol of freedom and was associated with a desire for being part of international culture. Abstractionism guided the international art processes of that period,
Semodgoma qarTlSi. 129.4X170,5. tilo, zeTi. 1968-69 AUTUMN IN KARTLI. 129,4X170,5. OIL ON CANVAS. 1960-61
ferwera iqca; es iyo saukeTeso saSualeba abstraqciiT faruli manipulirebisTvis, romlis aSkara mimdevroba aucileblad gamoiwvevda am mxatvrebis dasjis survils; miT ufro, rom maTi Tamami pozicia xelisuflebis da saxelmwifo instituciebis garkveul foriaqs, isedac iwvevda. abstraqcionizmi Tavisuflebis simbolod moiazreboda da saerTaSoriso kulturasTan ziarebis survils gamoxatavda. abstraqcionizmi marTavda am periodis saerTaSoriso xelovnebis process da progresis impulsebic, qarTul mxatvrobaSi, swored misi mimdevrobiT gamoixateboda. xita quTaTelaZis peizaJebSi da naturmortebSi ucnaurad Tanaarsebobs realisturi mxatvroba da abstraqcia, rac transformaciis iseTi doziT aris warmodgenili, rom ar irRveva gamosaxulebis realuri konkretuloba, romelsac abstrahirebis formula aqvs morgebuli.
sagulisxmoa, rom am periodSi garedan inspirirebuli cvlilebebi Sida, Zlier da farul nakads _ saukunis dasawyisis qarTuli avangardis gavlenas uerTdeba.
and impulses of progress in Georgian painting stemmed from its principles. Hita Kutateladze’s landscapes and still-lives created a space that enabled the strange coexistence of realistic painting and abstraction: transformation was brought to a level that did not disrupt the specific character of the images, while accommodating the formula of abstraction.
It needs to be mentioned that during this period, externally inspired changes combined with the internal, strong yet hidden flows of influence from the Georgian avant-garde of the beginning of the century. The modernist and pictorial explorations of Shalva Kikodze, Dimitri Shevardnadze, Elene Akhvlediani and others, the cubist paintings and landscape forms of Davit Kakabadze, and the “orchestral paintings” of Kirill Zdanevich served as sources of this inspiration. Beginning from the 1930s, the majority of avant-garde artists adopted a hidden creative position, often officially limiting their activities to only conducting pedagogical work. Between 1942 and 1946, David Kakabadze became Hita Kutateladze’s instructor at Tbilisi State Academy of Arts. As a matter of fact, he was also fortunate during his studies in Moscow, where at the V. Surikov State Academic
qarTli. 120X169,5. tilo, zeTi. 1973-74 KARTLI. 120X169,5. OIL ON CANVAS. 1973-74
am inspiraciis sferoSi daviT kakabaZis kubisturi mxatvroba da landSafturi formebi, kirile zdaneviCis „orkestruli ferwera“, Salva qiqoZis, dimitri SevardnaZis, elene axvledianis da sxvaTa modernistuli da ferweruli Ziebebi moiazreba. 1930iani wlebidan avangardis warmomadgenlebis umravlesoba farul SemoqmedebiT poziciaze gadavida da xSirad maTi moRvaweoba oficialurad mxolod pedagogiuri
Art Institute his mentor was Alexander Osmerkin – a member of the Bubnovy Valet artist’s circle and a follower of Cézanne. In 1948, Davit Kakabadze was expelled from his teaching position at Tbilisi’s Art Academy on charges of being a follower of Formalism and propagating Western art. A year earlier, in 1947, Alexander Osmerkin had been removed as a teacher on similar charges. It was a dangerous time; however, the seeds had already been planted by these teachers, and the fire that twenty years later “ignited” Hita’s golden and orange
gviani Semodgoma. 90X100. tilo, zeTi. 1965
LATE AUTUMN. 90X100. OIL ON CANVAS. 1965
saqmianobiT Semoifargleboda. xita quTaTelaZis pedagogi Tbilisis samxatvro akademiaSi, 1942-1946 wlebSi, daviT kakabaZea. am TvalsazrisiT mas moskovSi swavlis drosac gaumarTla, surikovis saxelobis samxatvro institutSi aleqsandr osmiorkini aswavlida _ „bubnovi valetis“ wevri da sezanis mimdevari. 1948 wels, daviT kakabaZes, Tbilisis samxatvro akademiaSi pedagogiuri saqmianoba aukrZales _ formalizmis mimdevrobis da dasavleTis xelovnebis propagandis braldebiT; erTi wliT adre, 1947 wels, analogiuri mizeziT aleqsandr osmiorkinic CamoaSores swavlebis process.
saSiSi droa, magram maswavleblebisgan marcvali ukve Cagdebulia, danTebulia cecxli, romelic oci wlis Semdeg, oqrosfer-narinjisferi feradovnebiT „abrdRvialdeba“ xitas daxatul qarTlis WalebSi! es is SemTxvevaa, roca wyalqveSa qvebi wylis dinebas mimarTulebas ucvlian!
colored swamps of Kartli had been kindled! This was a case when rocks under the surface changed the direction of the flow of water!
The “images” of Hita Kutateladze’s works comprise the landscape model – large landscape spaces shaped from the very outset with grandiose mountains, purple and yellow autumnal fields, villages “thrown” onto meadows that are burned by the August heat, green swathes of land, loose soil and golden carpets of trees, fragments of a city entangled in the midst of trees. This paradise-like universe of Georgia turned into a model of perfection for the artist, whereby he utilized every artistic resource: color, shape, line, point, light, and mood to the greatest possible extent. Kutateladze’s works almost never portray human images.
The main element of these paintings is the color palette, which is saturated with strong beams of light. Through the application of a “waterfall” of tints, the artist creates shapes, images, energy, emotion, and position, where the manifestation of color, its brightness and capabilities, reveal the most active and boldest
alvis xeebi. 105X135. tilo, zeTi. 1972 POPLARS. 105X135. OIL ON CANVAS. 1972
saburTalo. 110X90. tilo, zeTi. 1976
SABURTALO. 110X90. OIL ON CANVAS. 1976
xita quTaTelaZis mxatvrobis „xati“ Tavidanve Camoyalibda: landSafturi modeli _ didi peizaJuri sivrceebi grandiozuli mTebiT, Semodgomis mewamulyviTeli mindvrebiT, agvistos xvatiT gadamwvar mdeloebze „migdebuli“ soflebiT, niadagis mwvane xaliCebiT, fxvieri miwiT da xeebis oqrosferi fardagebiT, qalaqis fragmentebiT _ xeebis xlarTSi. da es samoTxis msgavsi samyaro _ saqarTveloa. misTvis srulyofilebis modeli, romlis Sesaqmnelad yvela mxatvrul resurss maqsimalurad iyenebs: fers, formas, xazs, laqas, sinaTles, ganwyobas. mTavari feria, romelic sinaTlis Zlieri WavliT aris moculi; ferebis
range of painting. Mastering and maneuvering through these most difficult pictorial combinations is the main tool for creating a rainbow effect and illuminating every work. Each of them “emanates” the history of painting: the slopes of the purple and clay-colored mountains reflect ancient paintings from Pompeii and Crete; the meadows of Kartli are accompanied by the impressionist flow; the silver and orange still-lives are created through the application of line and spot combinations that are characteristic of Georgian frescoes. In every instance, all artistic techniques and manipulations are performed in a masterful manner. The artist’s knowledge of technical and artistic opportunities and his approach to coloring the whole world allows him to create his own unique
axalqalaqis peizaJi. 90X110. tilo, zeTi. 1975 AKHALKALAKI LANDSCAPE. 90X110. OIL ON CANVAS. 1975
naturmorti wiTeli vaSlebiT da TasebiT. 90X70. tilo, zeTi. 1973
STILL-LIFE WITH RED APPLES AND BOWLS. 90X70. OIL ON CANVAS. 1973
`CanCqeriT“ mxatvari qmnis formas, gamosaxulebas, energias, emocias, pozicias. feris manifestacia, feris kaSkaSi, feris resursi _ gamovlenilia ferweris yvelaze aqtiuri da gabeduli speqtriT. am urTulesi ferweruli kombinaciebis floba da maTi saSualebiT manevrireba _ mxatvris mTavari iaraRia. yvela naxatidan ferweris istoria „Jonavs“: mewamuli da Tixisferi mTebis kalTebze pompeis da kretas moxatulobebis anarekli Cans, qarTlis
and very recognizable works. “Hita’s painting” introduces the audience to a colorful field and relocates them to another, more significant emotional register. This emotional transfer belongs to the most complex and skillfully executed of maneuvers, where the method of transfer is also determined: the boundless landscapes create the illusion of flight; the vantage point is located somewhere between the high horizon of the mountains and the deep valleys. Sometimes the space expands like a frieze, creating the impression of a bird’s-eye view. Occasionally the artist simultaneously offers
naturmorti unjebiT. 100X89,5. tilo, zeTi. 1975-76 STILL-LIFE WITH BRUSHES. 100X89,5. OIL ON CANVAS. 1975-76
mdeloebs impresionistuli ferweris livlivi miuyveba, qarTuli freskebisTvis damaxasiaTebeli xazis da laqis kombinaciebiT da faqturiT asrulebs mxatvari vercxlisfer-narinjisfer naturmortebs da yvelgan, yvela xerxi da mxatvruli manipulacia, virtuozuli SesrulebiT xorcieldeba. teqnologiuri da mxatvruli SesaZleblobebis codna da survili _ gaaferados mTeli samyaro, saSualebas aZlevs mxatvars
several points of view, as if he is determining the trajectory of both take-off and landing. He moves away from the ground to create the effect of a three-dimensional image, defining the volume, making us feel the monumentality of the landscape from a distance, surrounding the object with space, solidifying various objects with texture, making each of them flash with color, filling them with air and scent, in order to capture a seasonal hue! In the works of Hita Kutateladze,the magic of the landscape is created through the
naturmorti wignebiT. 100X92. tilo, zeTi. 1978 STILL-LIFE WITH BOOKS. 100X92. OIL ON CANVAS. 1978
ferweris sakuTari, Zalian cnobadi modeli Seqmnas. „xitas ferweras“, mayurebeli namuSevris ferad velSi Sehyavs da sxva, ufro mniSvnelovan emociur registrSi anacvlebs. es emociuri transferi _ mxatvris yvelaze rTuli da ostaturad ganxorcielebuli manevria da am gadanacvlebis xerxic gansazRvruli aqvs _ ise xatavs Tvaluwvdenel landSaftebs, rom frenis iluzias qmnis; gazafxuli TbilisSi. 65X140. tilo, zeTi. 1978 / SPRING IN
grandeur of space modeling, the transparency of the air, the density of the land and the looseness of the soil, and the monumentality of the mountains. The goal has been achieved: the artist manages to turn a momentary impression into an eternal one, to establish a life form by means of the image of nature; to make us experience the totality of the universe through an energy loaded fragment; to acknowledge the mystery of participation.
TBILISI. 65X140. OIL ON CANVAS. 1978
xedvis wertili mTebis maRal horizontsa da qvemoT gadaSlil velebs Soris aris moqceuli; zogjer sivrce friziviT iSleba, rac zemodan gadafrenis STabeWdilebas tovebs; zogjer erTdroulad xedvis ramdenime wertils moiazrebs, TiTqos mimarTulebas da daSveba-afrenis traeqtorias gangvisazRvravs; ise Sordeba miwas, rom axerxebs, samganzomilebiani gamosaxulebis efeqti Seqmnas,
Nowadays, in the current context of intensified global existential tensions, under circumstances of war and destruction, which are very close to us both geographically and emotionally and have a very grave impact on our daily feelings, the presentation of harmonious “images” of the world, which at first glance resemble landscapes but in fact portray a model of perfection, beauty, color, structure and an unlimited recourse of rhythm, acquires a particular significance.
moculoba gansazRvros, Soridan aRqmuli landSaftis monumenturoba gvagrZnobinos, sivrciT garemoicvas obieqti, faqturiT gaamkvrivos sxvadasxva sagnebi, TiToeuli maTgani feriT aaelvaros, haeriT, suniT gaTangos, sezonuri elferiT aRbeWdos! xita quTaTelaZis SemoqmedebaSi `landSaftis magia~ sivrcis modelirebis grandiozulobiT, haeris gamWvirvalobis, miwis simkvrivis da niadagis fxvierebis, mTebis monumenturobis CvenebiT iqmneba. mizani miRweulia _ mxatvari axerxebs, wuTieri STabeWdileba maradiulSi gadaiyvanos, bunebis xatiT sicocxlis forma daamkvidros, energiiT datvirTuli fragmentiT samyaros mTlianoba gangvacdevinos,
Tanamonawileobis misteria ganaxorcielos. dRes, samyaroSi mimdinare gamZafrebuli egzistencialuri mRelvarebebis fonze, omis, ngrevisa da destruqciis garemocvaSi, romelic CvenTan teritoriulad da emociuradac Zalian axlos aris da Cvens yoveldRiur gancdebze yvelaze mZafrad moqmedebs, gansakuTrebul aqtualobas iZens samyaros harmoniuli „xatebis“ prezentacia, romelic, erTi SexedviT, peizaJur saxes atarebs, poziciurad ki srulyofilebis modelia _ silamazis, feris, struqturisa da ritmis amouwuravi resursiT.
gazafxuli. 120X141. tilo, zeTi. 1960-61 SPRING. 120X141. OIL ON CANVAS. 1960-61
xedi saxelosnodan. 90X70. tilo, zeTi. 1974-75
VIEW FROM STUDIO. 90X70. OIL ON CANVAS. 1974-75
zurab gaiparaSvili
misi sunTqva iyo brZola
wels Sesrulda 100 weli saqarTvelos uaxlesi istoriis erT-erTi mniSvnelovani movlenis, romelmac uamravi qarTveli patriotis sicocxle Seiwira da faqtobrivad, Cveni qveynis sabWoTa reJimisgan gaTavisuflebis imedi aTeuli wlebis ganmavlobaSi TiTqmis Cakla. Tanamedrove qarTveli sazogadoebisTvis ukve sakamaTo aRar aris, rom 1924 wlis saxalxo ajanyeba iyo qarTveli xalxis uaxlesi istoriis gamorCeulad heroikuli movlena, romliTac qarTvelobam kidev erTxel gamoxata swrafva Tavisuflebisa da damoukideblobisken. samwuxarod, es gabrZoleba, didi msxverplis fasad, marcxiT damTavrda, magram iseve, rogorc yvela samarTlian brZolas, masac ukvalod ar Cauvlia. am saxalxo amboxisa da mebrZolTa xsovna did xans rCeboda qarTvelobis mexsierebaSi da Sesabamisi realobis dadgomisas, XX saukunis miwuruls, erovnul-ganmaTavisuflebeli moZraobis erT-erT umTavres simbolod gacocxlda. iseve rogorc sxva nebismier mniSvnelovan movlenas, 1924 wlis saxalxo ajanyebasac uamravi gmiri, antigmiri Tu naklebad gamorCeuli persona hyavda, romelTagan yvelas saxels ver Semoinaxavda istoria. bolo periodis qarTveli istorikosebis, mkvlevrebis gansakuTrebuli interesisa da Sesabamisi pirobebis gaTvaliswinebiT (igulisxmeba gaxsnili arqivebi, gaadvilebuli kavSirebi Cvens emigrantebTan), 1924 wlis ajanyebis Sesaxeb ukve uamravi detalia cnobili. am publikaciis mizani ufro saarqivo dokumentebSi Cem mier amokiTxuli adamianuri urTierTobebiT gamowveuli emociaa: gasakviri ar aris, iseTi masStaburi movlena, rogoric 1924 wlis ajanyeba, misi marcxi, gaavebuli sabWoTa terori da gadarCenili qarTveli meamboxeebis cxovrebaa, savse yofiliyo yovelgvari adamianuri vnebebiT, gmirobiT, erTgulebiT, RalatiT, ciliswamebiT, sinanuliT, cremliT... amjerad Tbilisis saxelmwifo universitetis biblioTekaSi daculi arqivebis gacnobisa da damuSavebisas mogvrili gancdebis Sesaxeb vwer da samecniero mimoqcevaSi Semomaqvs mamia da qristiane beriSvilebis fondidan dokumentebi, romelTa gareSe iseTi pirovnebis saxeli, rogoric iyo lelo (levan) Ciqovani, qarTveli sazogadoebisTvis mkveTrad uaryofiT pirovnebad iqneboda SemorCenili. Tumca aRniSnuli dokumentis sazogadoebisTvis gacnobiT Cveni mizani araa, arc am pirovnebis reabilitireba (miTufro, Tu igi amas ar saWiroebs) da arc misi ganvlili cxovrebis Sefaseba, Tanac misi biografiis Sesaqmnelad bevr
araferze migviwvdeba xeli, Tu ar CavTvliT ramdenime fotosa da qarTveli emigrantis, samxedro pirisa da publicistis, aleqsandre sulxaniSvilis mogonebebs. swored am mogonebebis mixedviT, SemorCa dainteresebuli mkvlevrebisa da mkiTxvelis mexsierebas lelo Ciqovanis saxeli. ramdenime cnoba, OFPRA-s arqivSi (Office français de protection des réfugiés et apatrides/devnilTa da moqalaqeobis armqone pirTa dacvis safrangeTis samsaxuri) dacul dokumentebze dayrdnobiT, saqarTvelos sagareo saqmeTa saministros qarTuli diplomatiis muzeumis xelmZRvanelma, sagangebo davalebaTa elCma nikoloz nikoloziSvilma, mogvawoda... kerZod, 1935 wlis monacemebiT lelo Ciqovans, qarTuli warmoSobis politikur devnils, ucxovria parizSi misamarTze 8 rue Beauregard, igi dabadebula 1895 wlis 21 seqtembers TbilisSi (SeiZleba igulisxmeba Tbilisis gubernia), warsulSi monawileoba miuRia did omSi (anu, pirveli msoflio omi).
aleqsandre sulxaniSviliseul Sefasebas Tavad qarTveli emigrantebis wreSic uaryofiTi gamoxmaureba gamouwvevia. magaliTisTvis movitan nawyvets qarTuli politikuri emigraciis warmomadgenlis, poetis, publicistis, redaqtoris giorgi wereTlis aleqsandre sulxaniSvilisTvis (1983 wlis 8 agvistos) gagazavnili werilidan: „Tqvens mogonebebSi ar momewona lelo Ciqovanis iseTi gaTaTxva. kargareTelsa da baduraSvilsac ar moewonaT... Tqven erTi ramisTvis unda gagewiaT angariSi: qarTvelebi, romlebic Seficulebs ar icnoben da maT pativs scemen, Zalian Sewuxdebian imis gagebiT, rom Seficulebi erTmaneTs Soris danasisxlad yofilan, erTmaneTi WiriviT ejavrebodaT... Tqvens mier aRwerili ambebi Zalian vnebs emigraciis reputacias saerTod~ (a. sulxaniSvili, mogonebebi SeficulTa razmze, Tb., 2007, gv.37). im droisTvis, cocxlad darCenili, mxolod sami Seficulis, alqsandre (saSiko) kargareTelis, aleqsandre (badura) baduraSvilisa da elizbar mayaSvilis protestis miuxedavad, aleqsandre sulxaniSvilma sagangebo werilic ki dawera lelo Ciqovanis gansaqiqeblad saTauriT „lelo Ciqovanis saqcieli razmis winaSe“.
mogvianebiT lali comaiam, krebulSi „qarTuli emigracia“ (#9, 2021-2022), gamoaqveyna aleqsandre sulxaniSvilis mimoweridan axali masalebi. am statiaSi mTavari adgili daTmobili aqvs aleqsandre sulxaniSvilis zemoaRniSnul werils lelo Ciqovanis Sesaxeb.
qarTveli mkvlevrisTvis, vinc zemodasaxelebul wignsa da statias icnobs, cnobilia aleqsandre sulxaniSvilis
mkveTrad uaryofiTi gamonaTqvamebi lelo Ciqovanis misamarTiT, amitom, bunebrivia, aq amas ar gavimeoreb. vityvi mxolod imas, rac dasawyisSic mogaxseneT _ rodesac aseTi xasiaTis Canawerebs kiTxulobs mkiTxveli an srulad eqceva maTi zemoqmedebis qveS, an cdilobs, kritikulad gaiazros da Tu amis SesaZlebloba arsebobs, scados sakuTar TavSi mainc gaaRvivos TanagrZnoba da rogorme gamarTleba mouZebnos adamianebs, romlebmac cxovrebis avbediTi gza gaiares gasuli saukunis 20-30ian wlebSi da, sabWoTa reJimis mier Tavgzaabneulebi, samSoblosgan Sors gadaxvewilebi, ucxo cis qveS aResrulnen.
nebismieri saistorio wyaro, rom kritikul midgomas moiTxovs, es jer kidev ivane javaxiSvilis mier danergili meTodologiaa, amitom zedmeti iqneba mkiTxvelisTvis
imis Sexseneba, rom saarqivo dokumentebSi gadmocemuli ambebi, faqtebi Tu movlenebi upirobo simarTled ar unda miviRoT. vcadoT, gaverkveT ramdenad Seesabameba aleqsandre sulxaniSvilis motanili faqtebi sinamdviles. misi pirovnuli damokidebulebis ganxilva TanamebrZolebis (amjerad lelo Ciqovanis) mimarT Cvens kompetencias scildeba.
Tsu biblioTekaSi, beriSvilebis arqivSi inaxeba 2 dokumenti, romlebic Sinaarsobrivad erTsa da imave sakiTxs, saqarTveloSi darCenili ramdenime Seficulis beds exeba. pirveli dokumentia Tavad lelo Ciqovanis mier, melniT 6 gverdze xeliT naweri, saTauriT „Saficulis godeba“ (Tsu biblioTeka, sdr-ber-314).
lelo Ciqovans es mogoneba dauweria imis gamo, rom saTvistomos (koloniis, _ rogorc Tavad uwodebs) erT-
erT sxdomaze Tavmjdomares Salva abduSels misTvis sityvis Tqmis ufleba ar miucia. rogorc Cans igi sakuTari cxovrebisa da problemebis Sesaxeb saubris garda, aseve apirebda saubars qaquca ColoyaSvilis mimarT Salva qarumiZis, grigol veSapelisa da spiridon kedias usamarTlo damokidebulebasa da yalbi `Cervonecebis~ saqmeSi qaqucas gaxvevis faqtze, im usamarTlobaze, _ rogorc lelo wers: „romlis msxverpli gaxda qaquca ColoyaSvili. albaT kargaT mogexsenebaT is garemoebani, romelic iyo mTavari mizezi sikvdili gmiris... romelmac sikvdilamde miiyvana.“
lelo Ciqovani CanawerSi saubrobs 1924 wlis ajanyebis marcxis da amboxebulTa ZiriTadi razmis mier saqarTvelos datovebis Semdeg saqarTveloSi darCenilTa
gamosayvanad qaquca ColoyaSvilis mcdelobasa da im uTanxmoebaze, rac masa da qaqucas Soris moxda. saqme exeba Tavad lelos undoblobas im pirebis mimarT (samson yruaSvili, samson mamulia, simon firumovi), vinc CarTuli iyvnen saqarTveloSi CarCenili „Seficulebis“ gadmoyvanis saqmeSi, rac, rogorc cnobilia, warumateblad damTavrda. lelos Canawers xelweraze etyoba, rom igi pirveladi unda iyos, ramdenime winadadeba da sityva gadaxazulia. ar aris gamarTuli stili. meore dokumenti dawerilia saqarTvelos damfuZnebeli krebis wevris, demokratiuli respublikis Sinagan saqmeTa ministris moadgilisa da paralelurad momaragebis ministris, emigrant ivane WavWaniZis xeliT. dokumentis sizustes adastureben eqvTime TayaiSvili da saqarTvelos
sxedan: qaquca, generali spiridon WavWavaZe, dganan: lelo Ciqovani, elizbar vaCnaZe, rafo erisTavi, aleqsandre sulxaniSvili
erovnuli sabWosa da damfuZnebeli krebis wevri, publicisti samson fircxalava. es dokumenti qaquca ColoyaSvilis TanamebrZolis, emigrant lelo Ciqovanis monayolis Canaweria. mas saTaurad aqvs „Seficulis lelo Ciqovanis naambobi“. Canaweri Sesrulebulia melniT, 5 gverdze. yvela gverdis ambis namdvilobas xelmoweriT adasturebs eqvTime TayaiSvili (Tsu biblioTeka, sdr-322/ ber-315). Canaweris avtori ivane WavWaniZe dasawyisSi wers, rom 1935 wlis 22 Tebervals, sastumro Términus-Si prof. eq. TayaiSvilis binaze Sexvedria Seficul lelo Ciqovans, prof. eqvTime TayaiSvilsa da samson fircxalavasTan erTad. Sexvedris mizezi gamxdara Semdegi garemoeba: Seficul lelo Ciqovans 17 Tebervals iv. WavWaniZisTvis gadaucia werili saTauriT „Seficulis godeba~ da uTxovia misi dabeWdva „damoukidebel saqarTveloSi“. WavWaniZes, gascnobia ra werilis Sinaarss, saWirod miuCnevia ganemarta avtorisTvis, moTxrobili ambavi redaqciis romelime, meore wevris TandaswrebiT moeyola. Ciqovani amaze daTanxmebula, magram survili gamouTqvams, rom mis ganmartebas daswreboda agreTve prof. eq. TayaiSvili, romelic misi maswavlebeli yofila tfilisis gimnaziaSi.
lelo Ciqovanis monayolis Tanaxmad, qaquca ColoyaSvili Zalian ganicdida saqarTveloSi darCenili Seficulebis bedze da zrunavda maT sazRvargareT gamoyvanaze. amisTvis finansebi iyo saWiro, romlis Sovna mouxerxebiaT aleqsandre amilaxvarsa (yofil ruseTis armiis gvardiis polkovniks, romelic. monawileobda I msoflio omSi, meTaurobda Tavissave Seqmnil qarTvel cxenosanTa polks. 1920 w. emigraciaSi wavida. espaneTis samoqalaqo omis dros, sxva qarTvel oficrebTan erTad, moxalised Sevida frankos armiaSi. 1957 wels niu-iorkSi gadavida sacxovreblad da saTaveSi Caudga rusi samxedro invalidebis kavSirs.) da tapa Cermoevs (CrdiloeT kavkasiel politikur moRvawes, navTobmompovebels, romelic iyo ruseTis Tebervlis revoluciis Semdeg CrdiloeT kavkasiis mTielTa respublikis mTavrobis lideri. 1919 wlidan gaemgzavra emigraciaSi, sadac ganagrZobda politikur-sazogadoebriv saqmianobas), romlebic dakavSirebian londonSi holandieli warmoSobis henri deterdings, romlisganac fulic miuRiaT.
qarTul istoriografiaSi ukve ganxilulia navTobmrewvelis, misi drois erT-erTi umdidresi mewarmis henri deterdingis (1866-1939) biznesinteresebi samxreT kavkasiaSi. deterdingi 36 wlis ganmavlobaSi xelmZRvanelobda „roial daCsa“ da „roial daC Selis“ korporaciebs. „mas Semdeg, rac navTobma da navTobproduqtebma didi mniSvneloba moipoves samxedro da sayofacxovrebo TvalsazrisiT, jer kidev gasuli saukunis dasawyisSi, saerTaSoriso msxvili kapitalis
warmomadgenlebi did yuradRebas uTmobdnen kavkasias. iyenebdnen ra TavianTi interesebisTvis mefis ruseTis CamorCenilobas da rusuli burJuaziis sisustes, ucxo kapitalma am qveynebSi myarad moikida fexi. pirveli msoflio omis win ruseTSi arsebuli ucxouri sawarmoebis saerTo Rirebuleba 2.5 miliard maneTs Seadgenda, aqedan 250 milioni kavkasiis navTobmrewvelobaSi iyo dabandebuli. am Tanxis 2/3 inglisuri navTobis trest `roial daC Sels” ekuTvnoda, romlis generaluri direqtori da mTavari aqcioneri iyo henri deterdingi. darwmunebulma sabWoTa xelisuflebis male damxobaSi, man 1920 wels, parizSi emigrirebuli lianozovisa da manTaSevisgan Seisyida kavkasiaSi ganlagebuli navTobsarewebis aqciebi, agreTve nikopolisa da mariupolis milsaglinavi qarxnebi, romelTa produqcia mTlianad navTobmrewvelobas xmardeba. deterdingi iyo antisabWoTa Zalebis mTavari organizatori.~ (vaJa TvalavaZe, yalbi Cervonecebi, gaz., „saqarTvelos respublika“, 13 ivnisi, 2009 w.). lelo Ciqovanis monaTxrobis mixedviT, deterdingi dainteresebuli iyo baqo-baTumis xazis navTobsadenis funqcionirebis moSliT. fuli swored am mizniT miucia amilaxvrisa da CermoevisTvis, am operacias vinc ganaxorcielebda, maT unda ezrunaT darCenili Seficulebis saqarTvelodan gamoyvanazec.
fulis miRebis Semdeg Seficulebi Sedgomian saqarTveloSi wasvlis samzadiss. dagegmili yofila lelosa da SeficulTa razmis wevris Samil iqaiZis gamomgzavreba.
aleqsandre sulxaniSvili Tavis werilSi „lelo Ciqovanis saqcieli razmis winaSe“ wers, TiTqos lelo, SamilTan da axalgazrda Seficul Salva nebieriZesTan erTad, gamoemgzavra saqarTvelosken, magram stambulSi daatusaRes da miuxedavad imisa, rom qaqucas nebis winaaRmdeg da SeuTanxmeblad wavida es sami Seficuli, mainc qaqucas didi ZalismxeviT, gauTavisuflebiaT da daubrunebiaT ukan safrangeTSi. Tavad lelo Ciqovani sruliad gansxvavebul ambavs hyveba eqvTime TayaiSvilis, samson fircxalavasa da WavWaniZis winaSe. kerZod, saqarTveloSi gamomgzavrebamde mcire xniT adre lelo Ciqovani mohyva mZime avtoavariaSi da Tvenaxevari iwva saavadmyofoSi. gamojanmrTelebis Semdge veRar moxerxda sqarTveloSi wamosvla. amgvarad CaiSala navTobsadenis afeTqebaca da Seficulebis gamoyvanac. lelo Ciqovanis winaSe meoredac dadga saqarTveloSi dabrunebis sakiTxi. gaavebulma sabWoTa xelisuflebam, romelmac ar ikmara 1924 wlis amboxebulTa ganadgureba, setemberSi saSineli da usastikesi represiebi daatriala, sicocxles gamoasalma sruliad neitraluri mSvidobiani mosaxleoba. daxvrites, saxl-kari gadauwves
da mSobliuri soflebidan gaaZeves Tavad-aznaurebis, samRvdeloebis, inteligenciis warmomadgenlebi. wiTeli reJimi yvelanairad cdilobda did terors gadarCenili da tyes Sefarebuli „Seficulebis“ srul ganadgurebas. swored am mizans emsaxureboda, rogorc Cans, 1926 wels sabWoTa specsamsaxurebis mier dagegmili operaciac, romlis humanuri mizniT SefuTva daevalaT Tbilisidan parizSi sagangebo misiiT Casul samson mamuliasa da nestor erisTavs. mamulia (18911937) cnobili bolSeviki iyo. gamoirCeoda sagangebo samxedro davalebebSi aqtiuri monawileobiT, 1919 wels saTaveSi Caudga senakis bolSevikur samazro komitets, saqarTvelos demokratiuli respublikis xelisuflebis winaaRmdeg brZolis gamo orjer daapatimres. 1920 wels gadaasaxles sabWoTa azerbaijanSi. saqarTveloSi sabWoTa okupaciis Semdeg iyo aWaris saolqo komitetis pirveli mdivani. 1930-1931 wlebSi xelmZRvanelobda saqarTvelos kompartiis cekas. 1935 wlidan saqianoba gaagrZela moskovSi, 1937 wels sabWoTa xelisuflebam daxvrita.
nestor erisTavi (1875-1961) holivudis is cnobili msaxiobia, romlis Sesaxeb qarTul istoriografiaSi bevri araferia cnobili, garda imisa, rom TiTqos mas revoluciamde ojaxSi Seufarebia policiisgan devnili stalini, xolo am ukanasknels amagi daufasebia da revoluciis Semdeg emigraciaSi wasvlaSi daxmarebia. amerikaSi 20 filmSic iTamaSa da holivudSivea dakrZaluli.
SesaZlebelia, man marTlac isargebla bolSevikebis daxmarebiT ucxoeTSi gamomgzavrebaSi, magram, savaraudod, mTlad uangarod aravin gamogzavnida. Tundac amas adasturebs lelos naTqvami, rom mamuliasTan erTad, sabWoTa saqarTvelodan qaqucas bolSevikebis SemonaTvali Camoutaneso. nestor daviTis Ze erisTavi, marTlmadidebeli, dabadebuli 15 agvistos 1874 wels q. ozurgeTSi, jvardawerili iyo pirvel qorwinebaSi 1907 wlis 25 maiss ekaterinoslavis wm. giorgis eklesiaSi varvara afanasievna xamdalevaze, aseve marTlmadidebelze. 1934 wlis 6 ianvars gacemuli dokumentis Tanaxmad, parizSi misi sacxovreblis misamarTi iyo: 17 Rue de la Trémoille, Paris, 8e. safrangeTSi Sesula 1926 wels, viza miuRia parizSi saqarTvelos legaciis TxovniT. manamde hqonia Turquli pasporti, romelic daukargavs! (es cnobebic mogvawoda n. nikoloziSvilma).
yalbi Cervonecebis gaxmaurebul saqmeSi (romelSic, lelo Ciqovanis naweris Tanaxmad, gangeb gaxvies qaquca ColoyaSvili, rac sabediswero aRmoCnda qaqucasTvis, _ gaumwvavda daavadeba da dauCqara sikvdili) aqtiurad iyo
CarTuli nestor erisTavi, Salva qarumiZesTan erTad. gaxmaurebuli sasamarTlo procesis mere nestor erisTavi 1935 wels, meore meuRlesTan, anasTan erTad, amerikis
SeerTebul StatebSi gadavida sacxovreblad... lelo Ciqovans arc amjerad miuRia monawileoba saqarTveloSi farulad gadmosvlis operaciaSi, radgan, gasCenia ra eWvi, operaciaSi monawile firumovis da yruaSvilis mimarT, mimxvdara, rom es winadadeba bolSevikebis mier dagebuli xafangi iyo. miuxedavad spiridon kedias da Salva qarumiZis daJinebuli Txovnisa da daZalebisa, uari uTqvams qaqucas brZanebis Sesrulebaze. am SemTxvevaSi ar umtyuna lelos gumanma, saqarTveloSi gamogzavnilma elizbar vaCnaZem da yruaSvilma ver moaxerxes misiis Sesruleba. am operaciis Sesaxeb naxsenebia wignSi „За свободу и независимость Кавказа“ (Semdgenlebi, g. mamulia, r. abutalibovi, gv.134., parizi _ baqo), odnav sxvagvari interpretaciiT. cnobilia, rom sabWoTa xelisufleba sxvadasxva formiT aqtiurad cdilobda ucxoeTSi gadaxvewili qarTvelebisve meSveobiT, saqarTveloSi provokaciebis mowyobas, saqarTveloSi darCenili antibolSevikurad ganwyobili pirovnebebis gamovlenas da Semdgom represiebis mowyobas. am mizniT lelo Ciqovanis gamoyeneba sabWoTa dazvervis agents giorgi gegeliasac ucdia. Tumca, arc gegelias satyuaras ahyolia igi.
rogorc aRvniSne, lelo (levan) Ciqovanis cxovrebis Sesaxeb bevri araferia cnobili. kvlav aleqsandre sulxaniSvilis mogonebidan irkveva, rom igi meore msoflio omis periodSi germanelebma daxvrites. amitomac, SeiZleba vivaraudoT, rom patara werili, romelic man „damoukidebeli saqarTvelos“ 1939 wlis maisSi dabeWda, misi bolo Sexmianeba iqneboda Tanamemamuleebisadmi. werils asec hqvia: „qarTvel emigraciis sayuradRebod“, romelSic igi aprotestebs „SeficulTa“ partiul-jgufur ambebSi garevas da Jurnal „kavkazis“ furclebze werilebis gamoqveynebas. „Seficulebis“ droSa ar iyo romelime dajgufebis droSa, miT umetes, ver iqneboda igi bamatis droSa; igi iyo mTeli saqarTvelos droSa, romelic xelSi eWira qaqucas, da dResac veliT, rom es mTeli saqarTvelos droSa kvlav afrialdeba da pasuxic moeTxoveba maT, vinc dRes Tavisi moqmedebiT qaqucas droSis qveS daxocil gmirTa sflavebs Seuracxyofas ayeneben!“ emigrantuli organizaciis „kavkasiisa“ da heidar bamatis saqmianobis, masTan qarTveli emograntebis kavSirze saubari Cveni publikaciis mizans scildeba. gamoqveynebuli dokumentebi (stili daculia) kidev erTxel gagvaxseneben qarTveli emigrantebis mZime yofas, romelTac mosvenebas sazRvargareTac ar aZlevda sabWoTa reJimi, gagvaxseneben 1924 wlis saxalxo amboxis monawileTa cxovrebis rTul gzaze, romelic samSoblosgan Sors, ucxo qveynebSi dasrulda.
„Seficulis godeba
qarTvel emigraciis sayuradReboT da masTan erTaT sasurvelia Tu Caswvda Cemi zraxvani tanjul samSoblomde, msurs gauziaro Cemi gancdebi da tanjvani, romelTac viyavi moziare emigraciaSi. msurs Tu SevZel, gadavce is, rac ganvicade da ris mowame viyav. ukanasknel koloniis gamgeobis erT-erT arCevnebis dros, vTxove Tavjdomares b-n abduSels neba moeca, rom gemecno xalxisTvis rac me wlobiT mtanjavda. warmoidgineT aqac zRude Seiqna da erTi wre xalxis ayayanda, rom gancxadeba ar gemekeTebina. b-ni abduSeli Seiyvanes SecdomaSi, rom miTom me ganzraxva mqonda arCevnebis im dRiT CaSla. raT dasWirdaT ageTi zRapari. raT SiSoben is xalxi. simarTles raT gaurbis Tu isini wmindani arian qarTul saqmianobaSi. b-ni abduSeli mixmobs, krebis dawyebamde da mTxovs, rom is gancxadeba, romlisac vapireb wakiTxvas,
uxerxulaT scnobs; vinaidgan gagonilaT aqvT WoraT, rom me qarumiZis winaaRmdeg vilaSqreb da Cemi gancxadeba xalxSi Seitans erTgvar aSfoTebaso. ar vici ramdenaT sworia b-n abduSelis Sexeduloba am saganze, mxoloT samwuxaroa is garemoebani, rom emigracia gabedulaT ver azrovnebs da mas akeTebs rogorc mteri ukarnaxebs. ramdenime dRis Semdeg, am zemo moyvanil b-n abduSelis molaparakebis Semdeg. „guSagis“ redaqcia gulisxmobs, rom me msurda im dRiT arCevnebis CaSla da aurzauris Setana Cemi gancxadebiT. scdeba „guSagi“, gatacebuli brma SexedulebiT, da TviT „guSagi“ ewinaaRmdegeba Tavis daniSnulebas da ufro daxlovebulis „Worikanobis fuZes“ emgzavseba. raT gaurbis simarTles „guSagis“ redaqcia. albaT sxvis moWrili yrma aris rom egeT erTgulobas iCens. aSkaraT unda iTqvas, rom rac „axali saqarTvelo“
aSkaraT gabedulaT ambobda, „guSagis“ redaqcia mas ganagrZobs, mxoloT diplomatiuri grexili gziT, es aravisTvis aris axali ambavi. movigonoT is usamarTloba, romlis msxverpli gaxda qaquca ColoyaSvili. albaT kargaT mogexsenebaT is garemoebani, romelic iyo mTavari mizezi sikvdili gmiris, es dauWvreti morali, romelmac sikvdilamde miiyvana. ra iyo amis mizezi da vin iyvnen borotmoqmedni. is mokla im boRmam, romelsac atarebda mis Semdeg, rodesac borkilebi mas daades da mis gaWuWyianebis Semdeg. es vaJbatonebi gamodian da gakivian Cven varT da Cveni nabadio. Salva qarumiZe TiTqos gmirad gamoiyvanes, erovnul saqmes akeTebdao. gekiTxebiT batonebo Tu aris erovnuli saqme, rodesac saqarTvelo Tavis erTgul SvilebiT aTasobiT iwireboda, qarumiZe gr. veSapelis N2 „axal saqarTveloSi“ aTavsebs werils miwiSvilis mimarT. ukanaskneli misi striqonebi, Cemi didi survili vimuSavoo saqarTveloSi, mxolod Tu ra saxiT moxerxdebao. mis daskvnas Semdeg vityvi, exla am JamaT gekiTxebiT: batonebo, aris erovnuli saqme mwyemsebis matylis gayidva da miTviseba fulis, Tu aris erovnuli saqme yurebidgan sayurebis gamoglejva da misi gasaReba? Tu aris Cervoncebis gakeTeba icis ucxoeTSi da Tu aris es erovnuli politikuri saqmianoba milikovTan da im drosve kiril ramanovTan qarTul saqmeze laparaki, merwmuneT aqac fulis Zebnaa. iqneb TqvaT vaWarbeb. ukanaskneli Cemi naTqvami SemiZlia dokumentiT davadasturo. ara mxolod zemoT CamoTvlil qarumiZes saqmianobazea laparaki, aramed ufro didi WuWyi adevs Salva qarumiZes da mis dass. nu Tu kargaT unda viyveT garkveulni im borotebis CadenaSi, ris msxverpli gaxda erovnuli gmiri, siamaye qarTveli eris qaquca ColoyaSvili. gavixsenoT yalbi Cervoncebi. nuTu es ar iyo bolSevikuri saqme, rom qaqucas borkilebi dades. nu Tu ar SeeZlo Salva qarumiZes da spiridon kedias rom is CaeTriaT WuWyian saqmeSi, Tu marTla politikuri liderebi arian partiis.
Tu is molaparakeba mamulia da firumovTan, romelTanac qonda gansvenebuls im xalxis gamoyvanaze, romelic iyo darCenili tyeSi da romlebzedac mudam swuxda, visi karnaxiT moxda es da vin iyvnen mizezi am xalxs Soris, vin gado xidi da rodesac gamovida xma ColoyaSvili mterTan molaparakebas awarmovebso, is xalxi miimala da xalxSi qaqucas saxeli gamovida. rodesac me TiTon vusayvedure, rom mamulia da firumovi gautexen mas saxels, misayvedura nu Tu Sen Cemze didaT giyvarso samSoblo. Cemianebi msxverplaT Sevwire warsul brZolas, Cem win Zma momikles, Sen Tavxedobas iCen, rom CemSi eWvi gebadebao; firumovis gza Cemi arari, _ vuTxari gansvenebuls da davSordi. me RrmaT viyav darwmunebuli da var exlac, rom mas sxva sevda awuxebda da yovel gzas gamonaxavda, rom is xalxi mas gamoeyvana, is ubraloT udgeboda sakiTxs
da misi garSemo mrCevlebi eSmakobiT da politikuri cxrilSi gamosulni sxvas akeTebdnen da gaakeTes is, rac mters undoda. rogorc vadevneb qarumiZis saqmianobas, Cemi daskvna egeTi gamomyavs. Salva qarumiZem airCia saqarTvelosTvis is gza, rasac swers swored miwiSvils. diax, is muSaobs sabWoelebisaTvis da maTi karnaxiT. mTavari emisari qarumiZe brZandeba da misi marjvena xeli samson yruaSvili. mariamobis ajanyebis Semdeg es vaJbatoni xvdeba qaqucas rizaSi, cdilobs menSevikebis ndobasac, magaram amave rizaSi menSevikuri biuro uWeren mis werils, romelsac ugzavnis moRalate bagrationi. rodesac oldinkurSi (igulisxmeba q. odenkuri. _ z.g.) Cxubi iwyeba, es vaJbatoni aqezebs Seficulebs da TviTon imaleba. Semdeg, rodesac tkbilad Semogvepara, gansvenebuli beladi gvibarebs da gzavnis saqarTveloSi. rodesac gavecani saqmes, me uari uTxari da Semdeg elizbari vaCnaZe midis Cem magier. samson yruaSvili, romelzedac ukve eWvi mqonda, rom is gulwrfeli ar iyo Cvenamde. ukanasknelaT vafrTxileb, rom ar Caidinos is, rac Cven ar gvexeba. davaleba iyo gamoyvana im darCenil xalxis, romelnic dagvrCnen tyeSi. vidre vaCnaZe da yruaSvili Cavidodnen ramdenime razmeli ukve moeklaT. iyvnen ramdenime kaci ukve Sarigebuli, vidre elizbari vaCnaZe maT rames Seatyobinebda, isini yvela erT dRes daxoces, ori razmeli iyo kidev tyeSi _ koxtaSvili da ximSiaSvili, rodesac iseni unda Sexvedrodnen elizbaris davalebiT mcxeTasTan, Cekistebma Casafrebulebma daxoces. rodesac elizbar vaCnaZis misia gaTavda, mas mosTxoves rom mas gaeca organizaciebi, romelic maTi azriT maT icodnen. elizbar vaCnaZe mas ar kisrulobs, Tu ar icoda is organizaciebi. is ipareba da gzaSi yruaSvili arTmevs werils elizbars da is Tavis mxriv aZlevs Tvis moyvares sosiko berZeniSvils. baTumis Ceka berZeniSvils iWers weriliT da samson yruaSvili udgeba TavdebaT baTumis Cekas, rom misma moyvarem werilis Sinaarsi ar icoda da ubraloT werili egonao. es yvelaferi daWera da werilis Cavardna isev samson yruaSvilis saqme iyo. elizbari arTvinidan gzavnis depeSas ar endoTo. yruaSvili parizSi Camodis da misi megobrebi avrceleben xmas rom samsoni ara legaluraT iyo saqarTveloSi. merwmuneT batonebo, rom yruaSvili rodesac moindomebs gza saqarTveloSi Tavisufalia misTvis. meoreT midis saqarTveloSi beladis sikvdilis Semdeg da TiTqos Seficulebs daevaloT misTvis qaquca ColoyaSvilis ojaxobis CamosayvanaT. sinamdvileSi ki Cervoncebis gasaRebaT gaemgzavra osmaleTSi. ar vici ramdenaT Seasrula Tavisi misia, mxolod is ki vici, rodesac kargma qarTvelma usayvedura, rom Sen sabWoTa agenti xaro, dana dakra da dasWra. aq amas sCadian alzirelebi, CvenSi ki jibgirebi, Tumca es gzac gamonaxa da erT-erT mTavrobis wevrs uyenebs ultimatums, rodesac stambolidan gadmomgzavnes menSevikebis
dasmeniTo, zarali momeca 30000 fr. mqonda davalebao
Seficulebisgan qaqucas col-Svilis gamoyvaniso da mas sTxovs fulis anazRaurebas 30000 fr. es SantaJia amxanagi yruaSvilis mier. zRapari kargia, magram Tanamedrove truki masve zarals moutans da arc sargeblobas. vin daavala ColoyaSvilis col-Svilis gamoyvana, ra uflebiT da ra garantiiT. droa amas bolo moeRos. me sabuTebiT davumtkiceb moqalaqe yruaSvils, rom patara emisari isic brZandeba da vinc mas daicvams, misi Zma-biWi isic yofila. safrangeTi cota ar iyos mijnurobaSia sabWoelebTan da Cvenma naZirlebmac Tavi iCines. me amiT vaTaveb, rom icodes emigraciam, rom xSiraT sargebloben gansvenebulis saxeliT da patara jgufiT.
Saficulni, egre vTqviT, kadri iyo Camosuli safrangeTSi beladTan erTaT cxra kaci, danarCenebi ori kategoriaT daiyofian, erTni romelnic ajanyebis dros movidnen mariamobis bolos ricxvebSi da meoreni, rogorc amxanagi yruaSvili da sxvebi arian, romlebmac aq [miiRes] Seficuloba. mterma ecada Tavisi, gmiri mokles, magram misi saqmianoba bevrs axalgazrdas erovnul
gzaze daayenebs. Tumca is damarcxda da gamarjveba dRes kidev mtris xelSia. aman gaakeTa didi qarTuli saqme, man daanaxva mters rom qarTvel ers qedi ar mouxria. is ibrZvis im dros, rodesac socialisturi demagogia ebrZvis mis wodebas da TiTqos masa da xalxs Soris didi aRmarTuli klde yofiliyves. swored misi didi gamarjveba aq igulisxmeba, rom TavadiSvili wodebiT, ufrosi mxedari, xalxis guls imorCilebs da xdeba erovnul gmiraT. mteri Tumca mteri aqac xdeba borotobas, rom miayenos raime WuWyi magvariT xalxiT rogorc arian qarumiZe, yruaSvili da sxvebi. misi sunTqva iyo brZola. Tu goniaT Seficuloba, es embleba brZolis gamoiyenon parizis quCebSi, scdebian, ver mivlen istoriis karebamdinac, albaT siazmarSiac aki elandebaT. saxeli kargia, mas unda moxmareba. dRes saqarTvelo brZolaSia da visac unda daimsaxuros mamuliSviloba iq unda iyves, sadac qarTveli eri mijaWvuli cdilobs borkilis ayras. da TviTeulma Cvenganma brZola unda daisaxos. es iqneba Cveni xsna.
SeficulTa razmi qaqucas dakrZalvis Semdeg
Seficulis, lelo Ciqovanis naambobi
ivane WavWaniZis mier gakeTebuli Canaweri lelo Ciqovanis mogonebaze
„gansvenebul qaquca ColoyaSvils metad awuxebda saqarTveloSi darCenil SeficulTa bedi da dReRamianad imaze fiqrobda, Tu rogor moexerxebia maTi sazRvargareT gamoyvana. es operacia did Tanxas moiTxovda, rac gansvenebuls ar gaaCnda. maSasadame, pirveli saqme iyo saWiro Tanxis Sovna. am saqmis mowesrigeba Tavs idves alik amilaxvarma da tapa Cermoevma. eseni daukavSirdnen londonSi deterlings da SesZlen misgan didi Tanxis miReba, daaxloebiT rvaasi aTasi frankis (8000.000). deterlingi dainteresebuli iyo baqo-baTumis xazis navTsadenis gafuWebaSi. amilaxvarma da Cermoevma dapirdnen deterlings, rom q. ColoyaSvili gagzavnida sando Seficuls saqarTveloSi, romelic
moawyobda saqarTvelos teritoriaze navTsadenis afeTqebas erT an ramdenime adgilas. gagzavnili xalxi izrunebdnen agreTve Seficulebis gamoyvanaze. deterlingidan fulis miRebis Semdeg SevudeqiT samzadiss. saqarTveloSi unda wavsuliyaviT me da TuSi Samila iqaiZe. mourigden gemis kapitans asiaTas (100.000) frankad. kapitans Cven unda gadavesxiT baTumis midamoebSi. parizSi erT-erT inJiners davamzadebineT asafeTqebeli nivTiereba, risTvisac mas miveciT 10.000 franki. amdenive Tanxa miviRe me tanisamosis Tu sxva saWiro nivTebis SesaZenaT. TiTqmis yvelaferi mzad iyo gasamgzavreblad, rom xifaTi momivida: moulodnelad avtomobilma damaziana eq. xoWolavasTan erTad. wamiRes saavadmyofoSi, sadac Tvenaxevari davyavi. rodesac saavadmyofodan gamovedi, gavige, rom deterlingidan miRebuli fuli sul daexarjaT da saqarTveloSi gasamgzavreblaT araferi darCeniliyo. amnairad CaiSala yvela gegmebi _ navTsadenis afeTqebac da Seficulebis gamoyvanac.
1926 welSi stambolidan parizSi Camovidnen nestor erisTavi da bolSeviki mamulia. nestor erisTavis piriT bolSevikebma SemouTvales q. ColoyaSvils Semdegi: „saqarTveloSi darCenili Seficulebi gvawuxeben Cvenc da xalxsac. Tu imaT iqidan mogvaSorebT da aqeT gamoiyvanT, Cven mzad varT fulic mogceT maT gamosayvanad da gzac“. am winadadebis irgvliv gaimarTa molaparakeba. erT Sexvedras, romelsac kafeSi hqonda adgili, mec daveswari, rogorc mcveli, magram moSorebiT videqi da laparaki ar momismenia. molaparakebas awarmoebdnen qaquca da mamulia. molaparakebis dasrulebis Semdeg me mommarTa qaqucam da winadadeba momca firumovis gziT da misgan miRebuli fuliT wavsuliyavi saqarTveloSi. saqarTveloSi CemTan erTad unda wamosuliyo oficeri yruaSvili. me im wamsve vigrZeni, rom bolSevikebi xafangs gvigebdnen. saqarTveloSi wasvla firumovis fuliT da mis mier naCvenebi gziT, isic yruaSvilis TanxlebiT, me CemTvis SeuZleblad vcani. yruaSvili CemTvis yovelTvis saeWvo pirovneba iyo, xolo axla ki darwmunebuli var, rom igi Tavidanve bolSevikebis agenti iyo. me qaqucas gavuziare Cemi mosazrebani, Tan gavubede da vurCie, xeli agveRo bolSevikebis fulidan da gzidan. gansvenebuli gamijavrda: „rogor, gana Sen Cemze ukeTesi patrioti xar? me yvelaferi piraduli Sevswire Cems qveyanas da Sen ginda axla eWvi Semoitano CemSi? Cemi mizania saqarTveloSi darCenili Cveni Seficulebis samSvidoboSi gamoyvana da miT Cemi movaleobis
ivane WavWaniZis xeliT Sesrulebuli Canaweri
Sesruleba“, gajavrebiT ganmimarta man. me mainc Cemi azri ar Sevicvale da amaze aviSaleT me da Cemi ufrosi. unda davsZino, rom qaqucas patriotobaSi me arasdros eWvi ar Semparvia da axlac darwmunebuli var, rom igi moqmedebda sruliad uangaroT da gulwrfelad, magram eg Tavganwiruli da gabeduli mxedari ar iyo gamocdili politikur kombinaciebSi da ver grZnobda, rom mas xafangs ugebdnen. Cemi da qaqucas aSlis Semdeg ganvlo daaxloebiT aTma dRem da me sastumroSi mewvia spiridon kedia da Salva qarumiZe. maT me damiwyes rwmuneba, rom bodiSi momexada qaqucas winaSe, Sevrigebodi mas da gavmxdariyavi misi brZanebis morCili. „Sen ra gesmiso“ _ mixsnida qarumiZe da marwmunebda, rom Cemi saqme ar iyo saqmis politikuri mxaris Zieba. ra Tqma unda, arc am mrCevelebs davujere. amis Semdeg me iWvis TvaliT damiwyes cqera da giJad gamocxadebac damipires. erT dRes CemTan movida Salva nebieriZe da gadmomca: „spiridon kedia laparakobs, rom Sen mxeiZesaviT xar avad da movla gesaWiroeba“. mxeiZe im dros sagiJeTSi iyo. im dResac ar vici, marTla Tqva aseTi ram kediam Tu nebieriZem SeTxza. aRvniSnav mxolod, rom Cems SekiTxvaze kediam iuara, rom mas arasodes ar uTqvams Cemze msgavsi ram. am laparaks daeswro mixako wereTelic. yvela amis Semdeg, miuxedavad Cemi gafrTxilebisa, saqarTveloSi gaigzavnen elizbar vaCnaZe da yruaSvili firumovis fulebiTa da mis mier naCvenebi gziT. rodesac es ukanasknelni saqarTvelodan dabrundnen, Semdegi gavigeT: „saqarTveloSi darCenili cxra Seficulidan vaCnaZisa da yruaSvilis Casvlamde eqvsi ukve Serigeboda bolSevikebs, tyeSi iyvnen darCenilni mxolod sami. rom es Serigebulebi ar enaxaT Casulebs da maTi ucxoeTSi gamoSveba moeTxovaT, bolSevikebs pirvel dReebSive daexvritaT es eqvsi Serigebuli. tyeSi myofTagan ors miwvdomia vaCnaZe da ucnobebia maTTvis mcxeTaSi Camosuliyvnen, saidanac is maT gaiyvanda ucxoeTSi. isinic wamosulan mcxeTaSi, aq maT daxvedriaT Casafrebuli Cekistebi da orive mouklavT. qaqucas el. vaCnaZisaTvis aqedan gautanebia erTi misianisTvis werili: „eg werili misTvis gamourTmevia yruaSvils _ „me ukeTesad Sevinaxavo“. mas werili miubarebia SesanaxaT misi colis ZmisTvis _ sosiko berZeniSvilisTvis. meore Tu mesame dRes Cekas dauWeria berZeniSvili da werili CamourTmevia. maSin baTumis CekaSi misula yruaSvili da daurwmunebia Cekistebi, rom berZeniSvils werili man miabara da rom berZeniSvilma ar icoda arc werilis Sinaarsi da arc misi avtori. amnairad yruaSvils gaunTavisuflebia datusaRebuli berZeniSvili. amis Semdeg Cekistebma dauwyes kval da
kval devna vaCnaZes. vaCnaZem da yruaSvilma inaxules saqarTveloSi filipe maxaraZe, Salva eliava da sxvebi. amaTgan moiTxovden meTaurebisa da menSevikur organizaciebis gacemas, magram ar gacemdnen, rodesac ar icodnen sad visi organizaciebi iyo. yruaSvils did sawyenaT hqonda CarCenili gulSi, rom man ver moaxerxa menSevikebis meTaurebisa da organizaciebis gacema. man Tavisi piriT miTxra, rom erT milion manaTs aiRebda, rom moexerxebia menSevikebis gacema. Cems gawyromaze, rom eg iqneboda provokatoroba, man damSvidebiT mipasuxa: „ra aris aq dasaZraxisi? menSevikebic iseTive mteria Cveni, rogorc bolSevikebi da menSevikebis gacemiT erT mters movicilebdiTo“. saqarTveloSi gansakuTrebiT el. vaCnaZes aqcevdnen yuradRebas Cekistebi. xSiraT RamiT aRviZebdnen, emuqrebodnen revolveriT da moiTxovden misgan organizaciebis gacemas. ase gawamebula vaCnaZe da bolos gaufrTxilebia erT Cekists _ wineT mis nacnobs: „Tavs uSvele Tu SegiZlia, Torem Sen aq Cagklaveno“. amis Semdeg vaCnaZes mouxerxebia gadamalva da gadmoparula sazRvarze. male gadmosula yruaSvilic. vaCnaZem osmaleTidan depeSiT gvacnoba: „yruaSvili provokatoria da axlos ar gaikaroTo“, magram rodesac parizSi Camovidnen, vaCnaZe isev dauaxlovda yruaSvils da mas icavda, rodesac me mas vabralebdi bolSevikebis agentobas. dasasrul isic unda vTqva, rom erTxel gegeliamac SemomTavaza masTan erTad wavsuliyavi saqarTveloSi, mogvewyo iq nac.-demokartiuli partiis organizaciebi da mandati Camogvetana spiridon kediasTvis. me es ambavi vacnobe al. asaTians. ukanasknelma mirCia mivyolodi mas da gamego Tu ra saSualebebiT da ra gziT apirebda am saqmis mowyobas gegelia. gegeliam miambo, rom mas saxarjod kacis Tavze asi aTas (100.000) franks aZlevs saqarTveloSi wasasvlelad bordos prefeqtis TanaSemwe ene. es CemTvis daujerebeli ambavi iyo, miT umetes, rom me vicodi baton gegelias Sexvedrebi hqonda Cekis agent demidovTan. saeWvo iyo gegelias naCvenebi gzac. es gza midioda bulgareTidan varniT. varna ki bolSevikebis bude iyo im dros. swored aq daudes lekovis saSualebiT maxe bolSevikebma yofil Cekist aTabegovs. CemTvis cxadi iyo, rom gegelias gza bolSevikebis gza iyo.
Cemi naambobi zemoT aRniSnul xuT gverdze dawerili sworia, rasac vadastureb xelis moweriT l. Ciqovani. vadastureb, rom zemoT aRniSnul saubars lelo Ciqovanisa me daveswari da misi naambobi swored aris aq gadmocemuli
e. TayaiSvili, s. fircxalava, i. WavWaniZe
sofiko qeburia SOPHIKO KEBURIA
MANUS ANIMAM PINXIT ambis mqsoveli
„ambis mqsoveli~ _ ase daarqva „N9 galereaSi~ gamarTul solo gamofenas qeTi benaSvilma. esaa sakuTari bedisweris, cxovrebis gzebisa Tu bilikebis ambebi, alag Tvalwasuli, CarRveuli, uxeSad moCxlarTuli, radgan ukan ver dabrundebi, warsuls ver Caasworeb. SegiZlia mxolod ganagrZo sakuTari istoriis qsova da Semdegi Tvali amoiyvano, mosalodnelis Tu moulodnelis molodiniT savse Tvali. Tuki ariadnes Zafi ukan dasabrunebeli gzis maCvenebelia, xolo penelopesTvis mosaxdenis gadavadebis xerxia, qeTi benaSvilisTvis bedisweris qsova ukidegano kosmosSi Tavis varskvlavamde misasvleli gzis Ziebaa.
Manus animam pinxit („xelma daxata suli~) _ swored sulia is arsi, romelsac ZaluZs TviTamoZraveba. sulia yvelafris cvalebadobis mizezi. samyaros sulis suraTi subieqturad, ubralod da marTlad unda gadmosce, uSualod, yovelgvari pirobiTobis uaryofiT, Tu gsurs, rom Seni Semoqmedeba moZraobisgan miRebuli aRtacebiT gaJRinTo.
odesRac Cveni winaprebi axlos iyvnen bunebis ZalebTan, yurs ugdebdnen dedamiwis majiscemas, akvirdebodnen qaris nakadis, wylis dinebis enas da am saukunovan sibrZnes mindobilni, uxilavs grZnobdnen. aki xan gaaRmerTes miwis, wylis, haerisa da cecxlis stiqiebi, xan ki samyaros sawyis arqeebad Seracxes. Zveli berZnuli naturfilosofiidan moyolebuli, dRemde, mecniereba bunebis energias Seimecnebs da Sesaswavli jer kidev bevri aqvs.
Tanamedrove adamiani, gansakuTrebiT urbanuli garemos pirmSo, zRvars avlebs sakuTar Tavsa da bunebis Zalebs Soris, emijneba mas, rogorc daumorCilebel, umarTav fenomens. ase iqceva umravlesoba. magram arian rCeulebic _ isini, vinc bunebis sunTqvas ise Seimecneben, rogorc sakuTars, xolo sakuTar Tavs _ bunebis ganuyofel nawilad miiCneven. amaSi xedaven isini garesamyaros mSvenierebasTan harmoniuli erTobis wyaros.
rCeulTa Sorisaa qeTi benaSvili _ axalgazrda qarTveli mxatvari qali, romelic bunebis vibraciebs sakuTar sxeulSi atarebs, grZnobs wylisa Tu qaris dinebas,
“The Weaver of Tales” – this is what Keti Benashvili titled her solo exhibition at the “N9 Gallery.” It tells stories of destiny, life’s paths, and trails – sometimes with runs, snags, or crude tangles, for one cannot turn back or mend the past. All one can do is continue weaving their own narrative, threading the next stitch, filled with anticipation of the expected or the unexpected.
If Ariadne’s thread shows the way back and Penelope’s weaving serves to delay the inevitable, for Keti Benashvili, weaving fate is a search for the path to her star in the boundless cosmos.
Manus animam pinxit (“The Hand Painted the Soul”)
The soul is the essence capable of self-movement. It is the reason behind all change. To capture the image of the soul of the world, one must convey it subjectively, simply, and truthfully – directly and free from all conditionality. Only then can your creation be imbued with the wonder inspired by motion.
Once, our ancestors were deeply attuned to the forces of nature. They listened to the heartbeat of the Earth, observed the language of the wind currents and the flow of water, and, trusting in this ancient wisdom, they sensed the unseen. At times, they deified the elements of earth, water, air, and fire; at others, they regarded them as the fundamental arche of the universe. From ancient Greek natural philosophy to the present day, science continues to explore the energies of nature – and there is still so much left to discover.
Modern humanity, particularly the offspring of urban environments, draws a boundary between itself and the forces of nature, distancing itself from them as if they were uncontrollable, untameable phenomena. This is how the majority behaves. But there are exceptions – the chosen few who perceive nature’s breath as their own and consider themselves an inseparable part of it. For them, this is the source of harmonious unity with the beauty of the world around them.
Among these chosen few is Keti Benashvili, a young Georgian painter who channels nature’s vibrations through her own body. She feels the flow of water and the currents of the wind, breathing in unison with the Earth. Her recent solo exhibition at the “Baia Gallery” was aptly titled “Flow”.
Nature in art can take many forms: a landscape, a description of the environment, an expression of the impressions it evokes, or an abstract depiction – like saying, “This is the mountain as seen through
sunTqavs dedamiwasTan unisonSi. swored „dineba" erqva mis amaswinandel solo gamofenas „baia galereaSi". bunebis suraTi SeiZleba iyos peizaJi, garemos aRwera, misgan miRebuli STabeWdilebis gadmocema, an ieris abstragirebuli fiqsacia _ vTqvaT, „ai, ase gamoiyureba Cem mier danaxuli mTa...~ magram sxvaa, roca suraTi gatyvevebs mTis, rogorc dedamiwis mkerdis sunTqviT, sxeulis pulsaciiT, mis wiaRSi arsebuli magmuri Tu metamorfuli qanebis uxilavi moZraobebiT. qeTi mantias
Tu qerqs aclis dedamiwas da samyaros sulis suraTs qmnis _ Manus animam pinxit! aseT dros SeiZleba sakuTari identoba dakargo, Tavi gamtarad aqcio, rom samyaros saTqmeli saxviT enaze „Targmno~. qeTi, bunebasTan erT mTelad qceuli, transSi Cavardnili SamaniviT moiqnevs xels da qaRaldze naxSiris Smag, mrud kvals tovebs. esec araa SemTxveviTi. naxSiriT gavlebul xazs ar aqvs mkafio napirebi _ misi nafxvenebi aqeT-iqiT edeba qaRalds. pirvelqmnili saxatavi masalis es Tvisebac gaZlevs vibraciis efeqts da xvdebi, ratom aRiares
my eyes.” But it is something entirely different when an artwork captivates you with the mountain’s breath as the heartbeat of the Earth, its pulsing body, or the invisible movements of magmatic or metamorphic rocks within its depths.
Keti peels back the Earth’s mantle and crust, creating an image of the soul of the world – Manus animam pinxit! At such moments, one might lose their own identity, becoming a conduit to “translate” the universe’s message into the language of art.
Keti, merging into a singular whole with nature, moves like a shaman entranced, her hand sweeping across the paper, leaving behind wild, curving marks of charcoal. This, too, is no coincidence. Charcoal’s marks lack defined edges – its fragments scatter across the paper. The raw qualities of this primordial material convey the effect of vibration, reminding us why natural philosophers recognized the Earth as an elemental force!
Another of Keti’s favourite elements is air – whether a gentle breeze or a fierce storm, tender or wild, whispering or roaring. It is boundless, pervasive, ever-moving, and ever-changing.
“I even I, am he who knoweth the roads
naturfilosofosebma miwa stiqiad!
qeTis kidev erTi sayvareli stiqia haeria _ niavi
Tu qariSxali, alersiani Tu boboqari, moCurCule
Tu moRriale, jebirebis armcnobi, yvelgan SemRwevi, moZravi da cvalebadi. „me vici yvela saidumlo gza caSi da amitomac maqvs me sxeuli qaris.~ _ ambobs ezra paundi (Targmna z. jalaRoniam). is poeti iyo. qeTi mxatvaria. qeTi qars ise xatavs, rogorc sakuTari sulis qrolvas _ Manus animam pinxit! mkiTxveli ifiqrebs, ra SuaSiao ezra paundi, sad gaaxsenda avtors „vorticizmis" Teoretikosi, qarbuqis mexotbeTa sakvanZo figura? pasuxi kiTxvaSive SemomeTqmevina. da ai, kidev: „xed gadameqca orive xeli, Cemi mklavebi aivso wveniT, amoizarda xe Cems gulmkerdSi, daxrili, da totebi ki mklavebiviT amowverili.~ kvlav ezra paundis am leqss (Targmna m. zaaliSvilma) „gogona~ hqvia. Cven avcdiT im gogonas droSi, magram gvyavs qeTi, romelic sakuTari sxeuliT grZnobs bunebis energias.
Through the sky, and the wind thereof is my body.”- says Ezra Pound. He was a poet. Keti is a painter. Keti paints the wind as though capturing the fluttering of her own soul – Manus animam pinxit!
The reader might wonder, what does Ezra Pound have to do with any of this? Why would the author recall the theorist of Vorticism, a key figure in celebrating the whirlwind? The answer lies within the question itself. And here’s more:
“The tree has entered my hands,
The sap has ascended my arms,
The tree has grown in my breast -
Downward,
The branches grow out of me, like arms.”
This is from another poem by Ezra Pound, “A girl”. That girl is distant now in time, yet we have Keti, who senses the energies of nature with her entire being.
Keti feels the water too – the sap in the veins of the Earth, the source of life and the devourer of all. Water is also her “hero” in her video art. In general, she is a multimedia artist – painting, graphics, photography, textile, sculpture… Keti chooses materials freely – she weaves tapestries; on linen or layered transparent fabrics, she blends lines as vibrant as blood in veins; she sculpts with plaster and concrete.
qeTi grZnobs wyalsac _ dedamiwis ZarRvebSi mdinare wvens, sicocxlis sawindarsa da yvelafris wamlekavs. wyali misi videoartis „gmiricaa~. saerTod, multimediuri xelovania _ ferwera, grafika, foto, qsovili, qandakeba... qeTi SeuzRudavad irCevs masalas _ qsovs gobelens; mitkalze Tu fenebad dafenil gamWvirvale qsovilze ZafebiT blandavs ZarRvebSi sisxliviT mowanwkare xazebs; aqandakebs TabaSiriT, betoniT.
ai, fers ki zRudavs _ TeTri, Savi, wiTeli. uiliam ternerma ferTa am Sexamebas „pirveladi triada~ uwoda. RmerTma samyaros Seqmna naTelisa da bnelis gayofiT daiwyo. mesame feri, wiTeli, Sav-TeTr samyaroSi sicocxlis, siTbos, cecxlisa da energiis feria. amas naTel dResa da kunapet Rames Soris moqceuli, alisferi ais-daisic migvaniSnebs. pirveladi triada samyaros Semecnebis iseTive sakvanZo qvakuTxedia, rogorc dro, sivrce da moZraoba. uZveles kulturebSi TeTri ganasaxierebda dasawyiss, sikeTes, sicocxles, wesrigs, umankoebas; Savi _ dasasruls, borotebas,
But color is limited – white, black, red. William Turner called this combination of colors “the primary triad.” God created the world by dividing light from darkness. The third color, red, is the color of life, warmth, fire, and energy in the black-and-white world. This is also hinted at by the reddish, sunrises and sunsets between bright daylight and dark night. The primary triad is a cornerstone for understanding the world, just as time, space, and movement are. In ancient cultures, white symbolized the beginning, goodness, life, order, and innocence; black – the end, evil, darkness, death, chaos, and sin; red – power, energy, blood. In Mesopotamia, black, red and white were symbols of the underworld, the earth, and the heavens. Keti Benashvili’s color symbolism in this sacred triad is sometimes in conflict, sometimes in harmonious alignment.
And always, in Keti’s figurative language, immediate, raw, newborn sensations reach us, free of any mannerisms, rough, unrefined, unpolished, spontaneous, marking the beginning, guided by nature’s invisible movements. Matter is never still! In this whirlpool, the old is consumed, transformed, changed, new things are born, and develop. And Keti creates images of the movements of nature’s forces. Manus animam pinxit!
wyvdiads, sikvdils, qaoss, codvas; wiTeli _ Zalas, energias, sisxls. SuamdinareTSi Savi-wiTeli-TeTri qvesknelis, sknelisa da zesknelis simboloebad miiCneoda. qeTi benaSvilis ferTametyvelebis es sakraluri triada xan konfliqtur, xan harmoniul urTierTSeTanxmebaSia.
da yovelTvis, qeTis saxismetyvelebas Cvenamde myisieri, nedli, axalSobili SegrZnebebi moaqvs, yovelgvar manerulobas moklebuli, uxeSad gaumarTavi, gaurandavi, mouzomavi, spontanuri, sawyisis maniSnebeli, bunebis uxilavi moZraobebiT nakarnaxevi. materia xom arasdrosaa uZravi! am morevSi inTqmeba Zveli, gardaiqmneba, icvleba, ibadeba axali da viTardeba. da qeTic qmnis, qmnis bunebis ZalTa moZraobis suraTebs. Manus animam pinxit!
adamianSi adamiani unda gadarCes
THE ESSENCE OF HUMANITY MUST SURVIVE WITHIN US!
dacarielebuli qalaqi mariamobis dResaswaulze agvistos sicxes mZevlad hyavda ayvanili, am msubuq sicarieleSi, Cems megobars da me, patara kabinetSi kote jandieri gveloda, kostavaze, televiziaSi. xis karebze mivakakuneT _ mobrZandiT! dasturi miviReT, kari SevaReT; kompiuterTan mjdomi mwerali, scenaristi wamodga, mogvesalma, xeli CamogvarTva... Cemi megobaric skamze moewyo, diqtofonis
Camwers TiTi daaWira da umalve SevudeqiT saqmes...
batono kote, gvinda saubari 80-iani wlebidan daviwyoT, vici, mas Semdeg dedamiwaze qveynebi Seicvalnen, geografiac. Tqveni erT-erTi pirveli scenari, romelic kinofirma aRbeWda, `sikeTis telefonia~. filmi organizaciis Sesaxebaa, romlis TanamSromlebic videotelefonis meSveobiT mosaxleobas exmarebian. dRes, videozarebiT xalxis daxmareba, ufro aqtualuri gaxda. ra iyo amis wina piroba? eg filmi sad naxeT? (gaukvirda, Caecina) _ 80-iani wlebi ssrk-s daSlis wina periodia, sistema veRar muSaobda, raikomis mdivnebi, komunisturi partiis Cinovnikebi, anekdotebs hyvebodnen komunizmze, es Cveulebriv ambad iTvleboda da yvelaferi TviTdinebiT midioda; am dros, disidentTa inteleqtualur cxovrebaSi daisva kiTxva: manamde yvelaferi rac dasavleTTan asocirdeboda, ulaparako sikeTe iyo, iq yvelaferi idealurad gveCveneboda, dawyebuli jinsebiT, vinilis firfitebiT, damTavrebuli saxelmwifo moZRvrebiT; roca `rkinis farda~ odnav gaixsna, aRmoCnda, rom zogierTi ram, rasac sabWoTa presa dasavleTze werda, marTali iyo da is rasac dasavleTi sabWoeTze qadagebda, `absoluturi WeSmariteba~. amaze daiwyo CvenSi, inteleqtualur wreebSi fiqri; es fiqri, logikurad, axal azramde mivida _ ki magram, SeiZleba iyos sistema kargi an cudi?
The deserted city was held hostage by the August heat on the Feast of the Virgin Mary. In this light-filled emptiness, Kote Jandieri was waiting for me and my friend in a small office, there on Kostava Street, at the television station, on the top floor. We knocked on the wooden door – “Come in!” We received the confirmation, opened the door, and the writer and screenwriter, sitting at the computer, stood up, greeted us, and shook our hands. My friend sat in the chair, pressed the button on the dictaphone recorder, and we immediately got down to business…
Mr. Kote, we’d like to begin our conversation in the 1980s. I know that the world has changed since then, as has the geography of countries. One of your first screenplays to be captured on film was Phone of Kindness. The film revolves around an organisation whose employees help residents via videophone. Today, helping people through video calls has become even more relevant. What was the original inspiration for this?
Where did you see that movie? (surprised, laughs) The 1980s was the period before the collapse of the USSR, when the system could no longer function. The secretaries of the Raikom, the officials of the Communist Party, told anecdotes about communism – it was a common story, and everything just went on its own. At that time, a question arose in the intellectual life of the dissidents: prior to that, anything associated with the West was considered unspoken good, and everything there seemed perfect – from jeans and vinyl records to state doctrines. When the Iron Curtain was lifted slightly, it turned out that some of the things the Soviet press had written about the West were true, and what the West had said about the Soviet Union was “absolute truth.” This led to a shift in thinking among our intellectual circles. The question was raised: can the system itself be good or bad?
Ideas are neither inherently good nor bad… God knows that! When you take an idea and impose it within a system, seeking to totalise
vaxtang qanTaria
VAKHTANG KANTARIA
ideebi arc cudia, arc kargi... eg RmerTma icis! rodesac ideas sistemaSi aiyvan da mis gatotalurebas iwyeb, yvela sxva danarCens spob; saerTod, `sikeTis telefonis~ arsic egaa. is ra formiTac idea inergeba, zogjer cecxliT da maxviliTac _ saSiSia. qristianoba sadRac nebayoflobiT gavrcelda da sadRac `maxviliT~ _ meCveneba, rom es mis arss angrevs. ar aqvs mniSvneloba ras gaatotalureb, faSizms, Tu sxva rames... am dros, adamianSi adamiani ver gadarCeba. rogoric ar unda iyos sistemasa da adamians Soris dapirispireba, es aris kacobriobis Tanmdevi wyeba da saTaves jer kidev qristes Sobamde iRebs. Zv.w. V saukuneSi daiwera sofokles `antigone~... das unda damarxos moRalate Zma, romelmac mtris jari Semoiyvana; kleonti, sakanonmdeblo doneze krZalavs moRalateTa dakrZalvas, tradiciuli wesiT... unda daimarxos? dgeba dilema. erTis mxriv sworia, moRalates, Tundac sikvdilis mere, rame sasjeli Tu ar daade da zRvari ar daedo Ralats, maSin saxelmwifo safrTxeSia. Tumca, meore mxriv, arsebobs bunebiTi samarTali, (laT. ius naturale, lex naturalis) da es axloblis siyvarulia! me vici, Zmam daaSava, magram Cemi siyvaruli unda gamovxato raRacnairad; amas mikrZalavs sistema, da ai, aqedan dawyebuli, es sistemisa da adamianis urTierTobis sakiTxi, yvela epoqisTvis problemuria, maT Soris dasavleTSic. usistemoba, qaosi SeuZlebelia, meore mxriv ki, sistemas aqvs Tandayolili Tviseba, rogor unda gadarCes adamiani sistemasTan dapirispirebisas? adamianSi adamiani unda gadarCes! da ai, adamianma, anu antigonem unda damarxos Zma, cudia? kargia? argo qveyanas? es aris adamianuri, bunebiTi samarTlis moTxovna. amas ewireba is, vis winaaRmdegac muSaobs da isic, vinc am sistemas amuSavebs, adamiani erTnairad nadgurdeba sistemis nawilad yofnaSi da im xorcsakep manqanaSi, romelsac sistema qmnis... `sikeTis telefonSi~ es rogor aisaxa? mivxvdiT, rom iqac da am sistemaSic, midioda viRacis devna _ amerikas vadidebdiT da vfiqrobdiT _ ra kargia is imedis saxiT rom arsebobs. es 80-iani wlebis bolos iyo; mokled, gvqonda cxare kamaTi; andro Wiaurelma gadawyvita amazed filmi gadaeRo... scenari iwyeba gmiriT, romelic sistemisTvis fsiqikurad daavadebulia da es kaci fiqrobs, rom `sikeTis telefons~ yvelasTvis `sikeTe~ moaqvs. aris laTinuri Tqma _ jojoxeTis gza, keTili survilebiT aris mokirwyluli… _ da es gmiric brZanebs _ me ameria cxovreba, dagirekeT, rom rCeva momceT, sikeTe gaakeToT da Semdeg agrZelebs _ Cems mere, viRacam kidev xom dareka, mas Semdeg kidev da
it, you destroy everything else. In essence, that’s the core of Phone of Kindness. No matter how an idea is introduced – sometimes with fire and sword – it’s dangerous. Christianity spread in some places voluntarily, and in others, by force – this seems to me to destroy its essence. It doesn’t matter what you try to totalise, whether fascism or anything else… At that point, the individual cannot survive. The conflict between the system and the individual is inherent to humanity and has existed even before the birth of Christ. In the 5th century BC, Sophocles wrote Antigone… A sister must bury her treacherous brother, who brought in the enemy’s army. Creon, at a legal level, forbids the burial of traitors, in the traditional way… Should she bury him? A dilemma arises. On the one hand, it is right; after death, if treason is not punished or limited, the state is in danger. On the other hand, there is natural justice (lat. jus naturale, lex naturalis) – the love of one’s neighbour!
This was a problematic issue in the era, even in the West. Unsystematic chaos is impossible, yet the system has an innate feature, asking how a person should survive within it. In this confrontation, the essence of humanity must survive within us! Should Antigone bury her brother?
Is this a requirement of human law? The one who works against the system, and the one who supports it, is sacrificed for the cause; the individual is equally destroyed in being part of the system or by the “meat grinder” that the system creates.
How was this reflected in “Phone of Kindness”?
We realised that someone was being persecuted within this system, and in the process, we praised America, thinking how good it was that it existed as a symbol of hope. This was in the late 1980s. In short, we had a heated debate, and Andro Chiaureli decided to make a film about it… The script begins with a hero who is mentally overwhelmed by the system. This man believes that the “Phone of Kindness” brings “kindness” to everyone. There’s a Latin saying: the road to hell is paved with good intentions… and this hero, too, orders help. He says, “I have a mess in my life, I called you for advice, to do me a favour,” and then continues, “After me, someone called again, and after that, again and again.” The answerer is one, but the callers are many. This reflects the idea of “homogenisation” –the loss of individuality, as the person becomes part of the whole population. Because of this, our hero, dressed as a psychiatric patient, is considered “mad.” In this “incubator”, everyone is the same, similar to him. Having grown up with idiotic Soviet propaganda, we ridiculed and mocked the system, but we also realised that if you technologically developed this system, it would pose great danger. This was a time when there was no mention of the Internet, let alone “artificial intelligence,” and the computer was still called an “electronic calculating machine” – this was our motivation… And the film ends
kidev... pasuxis gamcemi ki erTia, damrekavi bevri, Tu yvelam dagijeraT, gamodis, rom erTis neba, azri, unda CaitvirTos yvelaSi, erTmaneTs unda daemsgavsos, anu `homopopulis~, individualuroba dakargul adamians, romelic ganasaxierebs, mTel populacias. am azris gamo, Cveni gmiri, romelic fsiqiatriulis pacientis samosSia gamowyobili, miCneulia `giJad~. misTvis am `inkubatorSi~… yvela erTnairia, misi msgavsia. amiT idiotur sabWoTa propagandaze gazrdilni, vaqilikebdiT, davcinodiT sistemas, damatebiT imasac mivxvdiT, rom Tu am sistemas teqnologiurad ganaviTareb, didi safrTxis momtani iqneba. es jer kidev is droa, roca internetis xsenebac araa, miT umetes `xelovnuri inteleqtis~, kompiuters ki eleqtronul gamomTvlel manqanas eZaxian _ es iyo Cveni motivacia... filmi ki ise mTavrdeba, rogorc iwyeba, gmiri, rom gadarCes, unda gamoacxadon `giJad~ da klinikaSi daawvinon samkurnalod, sxvebs daamsgavson... rogor miiRes filmi?
maSin cenzura aRar arsebobda, Tu pirdapir lozungad ar daiZaxebdi, Zirs komunizmi! _ films ki problema ar Sexvedria, arcerT etapze, arc saswavlo dawesebulebaSi da arc kinostudiebSi. maSin saqarTveloSi Zlieri cenzura aRar iyo, icodnen Tavi rogor undaT daeZvrinaT, rogor unda gadaeRoT...
aT weliwadSi, 1996 wels gamodis levan TuTberiZes filmi `warsulis aCrdilebi~, moqmedeba XVII saukuneSi viTardeba. mrCeba STabeWdileba, `sikeTis telefonisgan~ gansxvavebiT, warsuli saqarTveloTi cdilobT gaakritikoT Tanamedrove, ukve damoukidebeli saqarTvelo. rogori iyo istoriuli dramis scenarze muSaoba? es iyo, erT-erTi yvelaze avantiuristuli da cudad gaTvlili wamowyeba... cudad ratom?
istoriul films, didi biujeti sWirdeba xarisxiani materialuri gamosaxulebisTvis, ise ar gamova, warmoidgineT rodis midioda gadaReba _ rusTavelze mitingebia, xelisufalni raRacas yvirodnen, agentebs eZaxdnen yvelas, samaCabloSi iwyeboda Setakebebi, fuli praqtikulad ar aris qveyanaSi, levans surda gadaeRo iseTi ram, rac warsulidan upasuxebda awmyos, amave warsulSi moeZebna raRaca da daesva kiTxva _ iq xom ar gvaqvs daSvebuli Secdoma? axla xom ar vuSvebT Secdomas warsulis gaazrebaSi? zedmeti heroikiT? Wkviani xalxi sxvis Secdomaze swavlobs, naklebi Wkuis xalxi ki sakuTarze, uWkuoebi saerTod ver swavloben. Tavidan sxva scenari iyo Cafiqrebuli, samegreloze, ar vici xeli ratom aviReT samegreloze, prezidentma Tqva maSin saSineli fraza, bolos da bolos, sxva araferi
as it begins: in order to survive, the hero must be declared insane and hospitalised for treatment, to be made to look like everyone else.
How was the film received?
There was no censorship back then, as long as you didn’t call for a direct slogan like “Down with communism…” The film didn’t face any problems at any stage, neither in educational institutions nor at film studios. At that time, there wasn’t strong censorship in Georgia; people knew what direction they wanted to take, how to film…
Ten years later, in 1996, Levan Tutberidze’s film Ghosts of the Past was released, set in the 17th century. I have the impression that, unlike Phone of Kindness, you are attempting to criticise modern, independent Georgia through the lens of past Georgia. What was it like to work on the script for this historical drama? (Co-authored with Levan Tutberidze)
It was one of the most adventurous and ill-conceived projects… Why do you say it was bad?
A historical film needs a big budget to produce high-quality visuals. Without that, it doesn’t work. Imagine, during filming, there were rallies on Rustaveli, with authorities shouting something, people being called “agents,” clashes occurring in Samachablo. There was practically no money in the country. Levan wanted to film something from the past that would reflect on the present, at the same time looking for lessons from the past – questions like: Did we make mistakes then? Are we repeating those mistakes now? Are we misinterpreting the past? With excess heroism, perhaps? Smart people learn from others’ mistakes, less smart people learn from their own, and foolish people can’t learn at all. Initially, another scenario was conceived for Samegrelo, but I don’t know why we abandoned that idea. The president at the time said something terrible: “If nothing else, the Megrelians and Svans will protect us.” How could a president of a united country say that? It was wrong to play on that topic at the time. Most importantly, I accidentally bought a book on the street – translated into Russian – about Japanese oral stories. This genre was widespread until the 19th century, probably because they didn’t have paper. They kept the tradition orally… Then it was transferred to books. Homer didn’t write the Iliad or the Odyssey; they were passed down orally. Even Christ didn’t write anything- written words were “dangerous.” Clement of Alexandria said, “Why is the written word dangerous? Our erroneous writings may remain for centuries.” In short, these oral stories were full of blissful tales. One story was about a young boy who went to the old master, asking to be taught the tricks of fencing. “No one else can teach me,” he says. “Why?” asks the master. “Because my father was a great fencer,” the boy replies. “When I was a child, a stranger insulted me and
rom ar iyoso, megrelebi da svanebi dagvicaveno; es rogor SeiZleba Tqva, erTiani qveynis prezidentma, amitom maSin am Temaze pedalireba iyo cudi. rac mTavaria, maSin SemTxveviT quCaSi viyide wigni, rusulad Targmnili, iaponuri zepiri moTxrobebi, eg Janri gavrcelebuli iyo mecxramete saukunis CaTvliT, gana imitom, rom qaRaldi ar hqondaT, tradicia inaxeboda ase…_ mere gadaitanes es wignebzec; `iliada~, `odiseac~ ar dauweria homeros, zepirad gadmodioda, arc qriste werda, dawerili sityva `saSiSi~ rame iyo, dRemde. adreul qristianobaSi kliment aleqsandrielma Tqva _ dawerili sityva riT aris saSiSi? saukuneobrivad SeiZleba darCes Cveni mcdari nawerebio. mokled, es zepiri moTxrobebi, `sakaifo~ ambebiT iyo savse _ erT-erTi aseTi iyo: ukve xanSi Sesul didostatTan midis axalgazrda ymawvili da eubneba _ unda maswavlo
challenged me to a duel. He defeated me, and since then I’ve been looking for my father’s killer all my life, to challenge him and get revenge.” At that moment, the old master remembers the man who had been killed and realizes that he is the boy’s father’s killer. What should he do now? He agrees to teach the boy without revealing the truth. Eventually, he discloses that he is the murderer, and in the final sentence of the story, we read: “And then Syoku stood up…” and we don’t know how it ended. I liked this dilemma. We followed that idea in the film. There are a thousand other issues – locality, feudal lords’ stories. In short, everyone is exploiting this country, yet no one is actually doing anything for it. It’s a form of blatant patriotism to declare everyone an enemy. The system was designed like this – you had to speak in a certain way, and those who didn’t became agents of the Kremlin. No one thought about how the state should be organized. Even now, it continues. The film was complicated by many
farikaobis ileTebio, sxva veravin maswavliso _ ratom? marto Sen ici gansakuTrebuli ileTio _ …raSia saqmeo, dainteresda didostati _ mamaCemi iyo magari mofarikaveo; Cems bavSvobaSi gzaze Semoxvda ucnobi vinme, man Seuracxyofa miayena da xmalze gamoiwvia; da man daamarcxa; mas Semdeg mTeli cxovreba mamis mkvlels veZeb, msurs gamoviwvio is brZolaSi, rom Suri viZioo. am dros, im moxuc didostats, axsendeba is kaci, romelic mTvrali iyo da mokla, axla ki misi Svili udgas win, axla ra unda qnas? Tanxmdeba, gaswavlio _ ar umxels rom mamamisis mkvlelia, Seaswavlis yovel ileTs. erT dRes, didostati gaumxels, rom mamamisis mkvlelia da moTxrobaSi vkiTxulobT ukanasknel frazad: `da maSin sioku wamodga fexze da~... da ar viciT rogor damTavrda. momewona es dilema. amas movekideT; iq filmSi aTasi sxva sakiTxicaa, kuTxuroba, feodalebis ambebi. jamSi, yvela am qveyanas iyenebs saTavisod, da realurad aravin arafers akeTebs am qveynisTvis. myvirala patriotizmia yvelas mtrebad gamocxadeba, sistema Seiqmna aseTi, raRac ase unda gelaparaka, da ise vinc ara laparakobda, kremlis agenti xdebodi, saxelmwifo rogor unda moewyos magaze aravin fiqrobda… axlac ase grZeldeba, filmi bevri ramis gamo garTulda _ finansebi, areuloba da yvelaferi erTad. kidev rogor SevZeliT, me ra, levanma...
vaxseneT reJisorebi, ramdenad icvleba reJisoris xelSi _ scenari?
xan ki, xan ara. SeiZleba gadaRebis moedanze igrZno siyalbe, Secvalo teqsti, eg absoluturad yvelgan xdeba _ koreqcia. rodesac teqstSi didi cvlileba xdeba, eg tragediaa. ingreva struqtura da es finansebTan arsebuli problemebicaa. `cxel ZaRlSic~ msgavsi problema gvqonda _ baTumSi midis Tabagari, da Semdeg, fuli aRar iyo, rom gadaeRoT am qalaqSi gamgzavrebis scena da... darCa kadri uazrod, mere gamosavlis Ziebas rom iwyeb, dramaturgiaze veRar fiqrob. Tumca cudi scenaridan kargi filmi arasdros gamova, saSualodan kidev SeiZleba, magram cudidan, ara...
mxatvruli kinodan, rom gadavideT dokumentur filmebze. riT gansxvavdeba dokumenturi filmis scenari mxatvrulisgan?
teqnikurad ufro, dokumentur kinosa da mxatvrul kinos Soris sazRvari aris patara, kargi dokumenturi filmi iseTive amocanaa, rogorc mxatvruli. mniSvnelovania mayureblis TanagrZnoba gamoiwvios da... da ra aris es raRaca? mgoni personaJi. magaliTad, Tu filmis siuJeti meore msoflio oms exeba, is misive
factors – finances, chaos, and everything else combined. How did we manage? Well, not me… Levan…
We’ve mentioned the directors. How much does the script change in the hands of the director?
Sometimes yes, sometimes no. On set, you can feel when something feels fake, and the script gets adjusted. That happens everywhere – corrections. But when there are major changes in the script, it’s a tragedy. The structure collapses. This often happens due to financial problems. We had the same issue in “Hot Dog” – Tabagar goes to Batumi, but then there was no money left to shoot the scene of his departure. That shot remained meaningless. When you’re looking for a solution to such problems, you can’t think about dramaturgy anymore. However, a good movie can never come from a bad screenplay. An average movie can come from an average script, but not a bad one.
From feature films to documentaries. How is the script of a documentary film different from a feature film?
Technically, the line between documentary and feature film is thin. A good documentary is as much of a task as a feature film. It is important to evoke sympathy from the audience and... and what is this “something”? I think the character. For example, if the plot of the film is about the Second World War, it should follow its own history, its own adventure; otherwise, it is difficult to preserve the artistic element of such a documentary. It would only become a television story, an educational visual lecture. In real documentary, now I am referring to artistic documentary, the main thing is to introduce the hero – the person who tells you something: “I wanted this, and I went... there”. As the author, you have an artistic task; you need to understand what motivates the hero’s behaviour. Where is the conflict? Is it within the hero, or with others? The same logic applies here, and it may not be explicitly said in words, but when the author writes it, he is looking for a way to hint at it in the image. Documentary is a reflection of this “something”, not a copy of reality. Does this “search for something” in a documentary have more spontaneity?
Of course. We don’t know what will happen. We follow the character, and the cameraman has to capture the shot where the character’s motivations can be seen.
In addition to the films, you’ve written 30 years of stories collected in “Cinderella’s Night”. I had a hard time finding this book. The following phrase is from “Cinderella’s Night” –“Aghebsta, Pshegishkha, Acetuk”… When and where did you get the idea to write “Cinderella’s Night”?
“Cinderella’s Night” is a rare case… A friend of mine wanted a plot for a small film, and we took a detail from his own biography and
istorias, Tavgadasavals unda mihyvebodes, sxvagvarad rTulia aseT dokumentalistikas SeunarCuno mxatvruli elementi, is mxolod satelevizio siuJetad iqceva, saganmanaTleblo video-vizualuri leqciad. namdvili Janri, dokumentalistikaSi, axla vsaubrob mxatvrul dokumentalistikaze _ mTavaria sworad Caavlo gmirs, adamiani giyveba raRacas: me es mindoda da... Sen, avtors, mxatvruli amocana gaqvs, unda mixvde, sinamdvileSi ra aris gmiris qcevis motivacia _ konfliqti sadaa? konfliqti sakuTar TavTan Tu sxvasTan... aq erTi da igive logika muSaobs, es SeiZleba sityviT ar iTqmis, avtori rodesac amas wers, eZebs saSualebas, rom es miniSnebuli iyos gamosaxulebaSi. dokumentalistika aris am `raRacis~ asli, da ara realobis... am `raRacis ZiebaSi~, dokumentur films meti spontanuroba aqvs?
ra Tqma unda, Cven ar viciT ra moxdeba, mivyvebiT personaJs, operatorma unda daiWiros is kadri, sadac misi xasiaTi da motivacia Cans... filmebis garda, 30 wlis ganmavlobaSi dawerilma moTxrobebma Tavi moiyares `konkias RameSi~, gamiWirda am wignis Sovna. Semdegi fraza konkias Ramidanaa _ `aRebsTa, fSegiSxa, acetuki~... rodis da saidan mogividaT `konkias~ daweris idea?
konkias Rame? es `is~ iSviaTi SemTxvevaa... Cems megobars, patara filmis siuJeti undoda, misive biografidan aviReT detali da siuJeti gavakeTeT, siuJeti ver dasrulda maSin da sabolood moTxrobis saxe miiRo. es ar iyo afxazeTze _ `aRebsTa~, `fSegiSxa~, `acetuki~ _ mTebis saxelebia afxazurad, meti araferi, riwis mTazea, sami mTa.
globalizacia, Tqvens erT-erT saetapod moTxrobad miiCneva, erT-erTi Jurnalis erT-erT yvelaze gayidvad nomerSic ki Sevida (2005 w.). is kaxeli kacis eniT moyolili, politikazea. saidan gaCnda misi daweris idea? an amdeni wlis Semdeg, dRes is isev imazea, razec Tavidanve iyo dawerili?
ar Secvlila, istoriis mamoZravebeli Zalebi ar Secvlila, globalizacia aravis nebaze ar aris, es istoriis logikaa da igi dasavluri civilizaciis logikam moitana, vin rogor sargeblobs, es sxva saqmea, amis winaaRmdeg, apriori, galaSqreba uazrobaa. bevri dadebiTi mxare aqvs, im mxriv, rom SesaZleblobebis fanjrebs xsnis, mniSvnelovans. ris xarjze SeiZleba moxdes da ra SeiZleba daikargos am Ria fanjrebSi? safiqralia da Semawuxebeli, ar SeiZleba yvelaferi gaataro erTSi... raRaca raRacaSi unda darCes.
Tqveni azriT, ra unda darCes? da ras datovebdiT...
made a plot from it. The plot didn’t end there and eventually took the form of a short story. It wasn’t about Abkhazia – “Aghebsta”, “Pshegishkha”, “Asetuk” are the names of the mountains in the Abkhazian language, nothing more.
“Globalisation”, considered one of your landmark stories, even made it into one of the magazine’s best-selling issues (2005). It is about politics told in the language of a man from Kakheti. Where did the idea to write it come from? Or, after all these years, is it still about what it was originally written about?
It has not changed. The driving forces of history have not changed. Globalisation is not at anyone’s will; this is the logic of history and was brought about by the logic of Western civilisation. Who benefits and how – that’s another matter, but marching against it is pointless. It has many positives, in that it opens important windows of opportunity. What can happen, and what can be lost, in these open windows? It’s thought-provoking and disturbing – you can’t have everything in one... something has to stay in something.
What do you think should remain? (Thinks), what would you leave behind…
In man, from the beginning, there is both the beast and the human, right? I think everything that contributes to human survival is justified, but what opposes it is dangerous. Globalisation is a threat to small countries, as it leads to the loss of their identity. Nothing is more contrary to the divine than monotony. Diversity will save us. I worked in ecology for seven years, focusing on saving biodiversity. At the same time, we worked on the unification of people. How are these related? This is the area of thought that underlies colonisation.
Everything started when the director and I, Levan Kitia, were in Telavi. There was a concert by Sukhishvili, and we stayed overnight. The dancers stayed as well. It was a bad time, there were no cafes or anything. Early in the morning, the dancers wanted coffee. They told me there was a family in Kurdhgelauri who would give us coffee. I wondered, what kind of family this was – people serving coffee while those from Kakheti were shocked. “A person should drink vodka and eat khashi in the morning,” they said. There was something global about the situation. Coffee is an attribute of globalisation, like McDonald’s. Should only the snow-capped mountains of the Caucasus remain? That’s not enough. This feeling should remain in the human being also.
It took a little while to publish your collection. There were several attempts.
I don’t know if it’s called procrastination, but I never really tried to publish a book. (We laughed.) When it was published, it was published.
adamianSi, Tavidanve aris mxecic da adamianic, xom? rac adamianis gadarCenas uwyobs xels, yvelaferi gamarTlebuli mgonia, is rac amas daupirispirdeba _ saSiSia. globalizacia patara qveynebisTvis safrTxea, sakuTari identobis dakargvis! araferi ar aris ufro winaaRmdegobrivi RvTaebrivis, rogorc erTferovneba. mravalferovneba gadagvarCens, ekologiaSi Svidi weliwadi vmuSaobdi _ biomravalferovnebis gadarCenaze vzrunavT, paralelurad adamianebis unifikaciaze vmuSaobT, es rogor aris erTmaneTSi? es azrebis is teritoriaa, rac kolonizacias udevs safuZvlad. yvelaferi ki imiT daiwyo, rom reJisori da me, levan kitia viyaviT TelavSi, iq iyo suxiSvilebis koncerti, davrCiT RamiT, isinic darCnen, cudi periodia, arc kafeebia da araferi. dilaadrian, mocekvaveebs moundaT yava, miaswavles, iq, kurdRelaurSi erTi ojaxiao da yavas dagalevebinebeno, davinteresdi, meTqi ra ojaxia aseTi, yavas rom xalxs alevinebs da gakvirvebisgan kvdebodnen es kaxelebi, dilas arayi da xaSi unda daartyao. iyo am situaciaSi raRac globalisturi, yava xom globalizmis atributia, yava, makdonaldsi. marto kavkasionis daTovlili mTebi darCes? ar aris sakmarisi. adamianSic, unda darCes es gancda...
cota gaWianurda Tqveni krebulis gamocema, ramdenjerme iyo mcdeloba ar vici, ras hqvia gaWianurda, arasdros `miCaliCia~ wignis gamocemaze… (gagvecina), roca gamosces gamosces.. amas winaT Semxvdnen Cemi nacnobebi, mkiTxes, saiT? kote jandierTan vwer interviusTqo, erTmaneTs gadaxedes, `cxeli ZaRli~ magariao, saidan daiwyo `cxeli ZaRli~?...
Zalian prozauli istoriaa, SataiZes da me dagvireka oTar SamaTavam, teleimedis generalurma prodiuserma, minda kriminaluri serialio, sadac mTavari gmirebi iqnebian, sabWoTa epoqidan gadmosuli Zveli milicioneri da axalgzrda policieli, romelmac kriminaluri akademia aSS-Si daamTavra. Cvenc vuTxariT: mogveci sami dRe. radgan deteqtivebi arc nugzars hqonda dawerili cxovrebaSi da arc me, gavifiqreT _ SevZlebT? deteqtivs siuJetis weris Tavisi gansakuTrebuli wesebi aqvs. Tan samsaxuri ar gvqonda, davTanxmdiT, ar vicodiT raSi vyofdiT Tavs. nugzari iyo Zalian niWieri kaci, gaxsnili, vinme ifiqrebs TiTqos piriqiT... nebismieri siaxlisTvis iyo mzad... deteqtivebi bevri wavikiTxeT da SeviswavleT, SevimuSaveT es klasifikacia _ ori saxis deteqtivia, e.w. `hermetuli deteqtivi~ da `socialurad gaSlili~; `hermetuli deteqtivebi~ aris `danaSauli~, romelic saxlSi xdeba, daxurul sivrceSi, sxva veravin iqneba
Like a time machine, we follow the era. We passed through the ’80s, the ’90s, and now we are in the 2000s. My acquaintances met me a while ago, and they asked me, “Where? Soon I will write an interview with Kote Jandieri.” They looked at each other and said, “Hot Dog” is cool. Where did “Hot Dog’ start?”
It’s a very prosaic story. Shataidze and I were called by Otar Shamatava, the general producer of TV-Imedi. He wanted a crime series where the main characters would be an old Soviet-era policeman and a young officer who had graduated from a criminal academy in the USA. We said: “Give us three days.” Neither Nugzari nor I had ever written a detective story, so we wondered – could we even manage it? Detective stories have their own special rules, their own structure. But we didn’t have a job at the time, so we agreed, not knowing what we were getting ourselves into.
Nugzari was a very talented man, open-minded. Someone might think otherwise, but he was always ready for novelty. You should have seen him then – he did one thing right: he read. We both read and studied detective fiction extensively. We even developed a classification of sorts: there are two main types of detective stories – the hermetic detective and the socially exposed detective. A hermetic detective is centred around a crime committed in a closed space, with no one else to blame. Think of Edgar Allan Poe’s stories. Agatha Christie too?
Yes, Agatha Christie as well. And then there’s the other type... Georges Simenon?
Exactly. Georges Simenon’s Commissioner Maigret is a great example of the socially exposed detective. It’s not just about his psychotype; it’s the social environment that comes under scrutiny in his investigations. These stories reflect the reality of the society they take place in. Crime, in general, is fascinating. As eras change, so do the types of crime, the motivations, and the technology used. We decided that the detective story form is just a framework, a mould, into which you can pour whatever concerns you. What did we put into it? The things that bothered us. Each season tackled a different theme: one was about elections, another about attacks on foreigners, and the final season ended with the assassination of the Prime Minister. There was even a political storyline. We approached it as a way to express our anxieties while hoping someone might find it interesting. What happened in the series reflects reality to some extent.
Authenticity?
Yes, it’s authentic – it’s the truth. In short, if you want to understand what was happening in the ’90s and slightly beyond, the series gives you an approximation. It’s not completely accurate, but it provides the right sense, the right idea. And I’ve shown that to you too…
damnaSave, edgar alan pos moTxrobebiviT... agaTa kristic?
diax, agaTa kristi, aris meore saxis deteqtivebic...
JorJ simenoni?
ai, JorJ simenoni, komisari megre `cxeli ZaRlis~ suliskveTebaSia, ara misi fsiqotipi, is socialuri veli, romelic misi gamoZiebis TvalsawierSi xvdeba… da araCveulebrivad metyvelebs, Tu ra mdgomareobaa im sazogadoebaSi... saerTod kriminali, Zalian saintereso ramea, sxvadasxva epoqis cvlilebasTan erTad, danaSaulis tipic icvleba, motivaciac, danaSaulis teqnologiac. gadavwyviteT, rom deteqtiuri forma Txrobis, es ubralod aris yalibi, romelSic bevris Cadeba SeiZleba _ ra unda Cado? rac gawuxebs. rac gvawuxebda imas vdebdiT. sxvadasxva sezonSi ama Tu im Temas; erTSia arCevnebis Tema, meoreSi ucxoelebze Tavdasxmebi, bolos premier ministris mkvlelobiT mTavrdeba, politikuri ambebic aris. Cven, amas vuyurebdiT, rogorc saSualebas wuxilis Cadebis, Tu sainteresoa vinmesTvis. rac xdeboda, is aris naCvenebi... avTenturoba?
diax, avTenturia, sinamdvile... mokled, Tu ar ici ra xdeboda 90-ianebSi, cota merec, raRaca warmodgenas, swors, daaxloebiT swors gaCvenebs, mTlad amomwuravad ara. Tqvenc gaCveneT... maxsovs erTxel policielma gagvaCera, maSin Zalian patara viyavi, albaT 2001 welia, gmirTa moedanze. rogorc mere aRmoCnda fuli undoda, `jarimis~... manqanaSi `peCeniis~ didi Sekvra gvedo, mamaCemi movida, aiRo es orcxobilebis Sekvra da policiels misca, gagviSva _ `jarima~ gadavixadeT… `cxeli ZaRlis~ dros sxva policia iyo, rogor miiRes maSin Tqveni seriali policielebma? uime, ici rogor? Janri (lolaSvili) hyveboda, movdivar, nasvami varo, gamaCera policielma, megona jarimas damiwerda, daminaxa Tu ara _ vaa, zaxariC, wadi genacvale _ tavariS maior! (viciniT), aTasi roli maqvs naTamaSebio da zaxariCad unda davrCeo… _ Cioda da policielebs moswondaT...
Tqveni azriT, 2024 wels, isev rom gareT gamosuliyvnen leqso niJaraZe da biZina Tabagari, TavianTi manqaniT, isev aqtualuri iqnebodnen?
kai kiTxvaa. ki, ra Tqma unda, dResac xom Cveni kiTxva isaa, amerikis SeerTebuli Statebi Tu ruseTi, absoluturad degeneratuli kiTxvaa. xoda, maTi urTierToba, leqsosi da biZinasi, iwyeba konfliqtiT, da bolos saerTos pouloben. erTmaneTs pouloben. momavlisken gavixedoT axla, Tqven azriT, saiT midis dRes mwerloba?
I remember a policeman stopping us once, when I was very young – probably in 2001, on Heroes’ Square. As it turned out later, he wanted money, a “fine.” I had a big pack of cookies with me, and my father took it out, handed it to the policeman, and we were let go… That’s how we paid the fine. Back then, the police were very different. How did they react to your series?
Umm, do you know how? Janri would joke, “I’m coming, I’m drunk, I get stopped by a policeman. I think he’s going to fine me, but instead, he recognises me: "Wow, Zakharich! – Tavarish Major!’” (laughing). He’d add, “I’ve played a thousand roles, but I’ll always be Zakharich to them…” The policemen enjoyed it.
Do you think, in 2024, if Lekso Nizharadze and Bidzina Tabagari were to go out again in their car, would their story still resonate today?
What a question. Of course! Even today, we’re grappling with the same question: the United States of America or Russia? It’s an absurd and exhausting debate. The relationship between Lekso and Tabagari starts with conflict, but by the end, they find common ground. They discover each other.
Let’s shift focus to the future. Where do you see writing heading today?
To commerce. Paulo Coelho is one of the prime examples of this new wave of writing. Do you think writing like Salinger’s is still possible today? I think writing like Salinger has become nearly impossible. It might still exist, and there are certainly people attempting it everywhere, but the overwhelming tide of commercial literature makes it incredibly hard to uncover anything truly profound.
And what do you see as the main problem with commercial literature?
It’s similar to the issue with Kindness Phone. The very thing it sets out to achieve, it ultimately undermines. A perfect visual metaphor for commerce is the hippie movement of the 1960s. Back then, they genuinely wore ripped jeans because they had no money. But when the hippie aesthetic gained popularity, what did commerce do? It started mass-producing ripped jeans, industrially. Millions of pairs. The original idea – the authenticity that made it beautiful – was destroyed, and it became something else entirely.
What was the best writing advice you’ve ever received?
Once, a journalist asked Hemingway, “What is the most difficult part of writing?” He replied, “Deleting what you’ve written.” That’s the challenge: being able to read your work critically. Enjoying your own writing too much – that’s your worst enemy.
And finally, what advice would you give to a young writer who wants to write, based on your experience?
You should ask the writer… what do I know?
komerciisken. paulo koelio erT-erTi kargi warmomadgenelia amisTvis. selinjerisnairi mwerloba, mgoni SeuZlebeli gaxda. albaT, arsebobs. adamiani yvelgan raRacas cdilobs, zRvaa komerciuli literaturis da ramis amoqeqva, Zalian rTulia... da ra aris mTavari problema _ komerciuli literaturis? `sikeTis telefonis~ problemaa. is rasac cdilobs, TviTonve anadgurebs mas, komerciis kargi vizualuri magaliTia, 60-ian wlebSi hipebis moZraoba, maT marTla daxeuli jinsebi ecvaT, namdvilad daexaT, fuli ar hqondaT, rogorc ki popularuli gaxda hipoba, komerciam ra qna? daxeuli jinsebis gamoSveba daiwyo, industriulad, milionobiT daxeuli jinsi Seikera...
mokvda is idea. riTac is iyo mSvenieri, imiT gaxda saSineleba... ra iyo yvelaze saukeTeso rCeva, romelic migiRiaT weraze? erTxel, Jurnalistma hkiTxa hemingueis, yvelaze rTuli, ra aris mwerlobaSio? ici rao, sakuTari dawerilis waSlao. Tu es SegiZlia, kritikulad waikiTxo Seni naweri! _ sakuTari nawarmoebiT tkboba, aris yvelaze cudi mokavSire... ki batono, da bolos, ra aris is rCeva, romelsac miscemdiT axalgazrda mwerals, romelsac wera surs? Tqveni gamocdilebidan... eg mwerals unda hkiTxoT… _ me ra vici...
nino jiSkariani NINO JISHKARIANI
wigni rogorc mxatvrul-esTetikuri siamovneba
The Book as a Work of Artistic-Aesthetic Enjoyment
rac dro gadis, sul ufro da ufro izrdeba moTxovnileba wignis mxatvrul da poligrafiul gaformebaze. cxadia, mkiTxvels pirvel rigSi wignis Sinaarsi ainteresebs, magram aranakleb mniSvnelovania misi grafikuli mxare.
wigni TavisTavad garkveul mxatvrul-esTetikur siamovnebas unda aRZravdes da albaT dameTanxmebiT, rom wignisgan miRebuli sixarulis gancda mxolod mis Sinaarss ar ukavSirdeba. mkiTxvels es SegrZneba jer kidev gadauSleli wignis xilvisas eufleba; da am mxares misi Sinaarsisgan damoukidebeli Rirebuleba aqvs. es wignis vizualuri mxarea da calke xelovneba, romelsac misi pirveli gulSematkivari, mxatvari qmnis. yvela mxatvars Tavisi sakraluri damokidebuleba aqvs wignisadmi _ gansakuTrebuli, profesiuli gamocdilebidan miRebuli individualuri xedviT. aqedan gamomdinare yvela gaformebuli wigni saavtoroa, TiToeuli maTgani erTaderTia da ganumeorebeli, individualuri eniT gamoxatuli da usasrulo SesaZleblobebiT. dRes, roca SegviZlia Tvali mivadevnoT wignis msoflio poligrafiul dones, am fonze ar SeiZleba guli ar dagvwyvitos qarTuli beWdviTi produqciis SedarebiT dabalma xarisxma. marTalia, Cveni wignebi araerT saerTaSoriso gamofenaze mouwonebiaT da diplomebic araerTi migviRia, magram swored aq iCens Tavs is samwuxaro faqti, rom Cvens SesaZleblobebs mTlianad ar viyenebT. SegviZlia calkeuli sagamofeno da sasaCuqro gamocemebi msoflio standartebis doneze gamovceT, da am dros, wignis gamocemis saerTo done iyos dabali... es problema Zalian kargad Cans xolme TbilisSi yovelwliurad gamarTuli wignis saerTaSoriso festivalebze, sadac Tavmoyrilia rogorc ucxouri, ise CvenTan gaformebuli da dabeWdili wignebi. gamofenaze warmodgenili ucxouri gamocemebi yuradRebas ipyrobs upirveles yovlisa, mxatvruli gaformebiTa da uzado poligrafiuli SesrulebiT, sadac daTvalierebisas gagiWirdeba Tqma _ mxatvroba ufro maRla dgas Tu poligrafiulad Sesrulebis done. wignis grafikis arsi cocxali, mZafri SegrZnebebis moTxovnilebiTa da konkretuli drois amocanebisadmi erTgulebiT ganisazRvreba. yvelaze mniSvnelovani, TvalsaCino da niWierebiT gamorCeulia wignis grafikis
As time passes, the demand for artistic and typographic design of books continues to grow. Naturally, the content of a book is the primary interest for readers, but its graphic design is equally important.
A book itself should evoke a certain artistic-aesthetic pleasure, and perhaps you would agree that the joy one gets from a book is not only related to its content. The reader feels this sense of pleasure even when encountering an unopened book, and this aspect has intrinsic value independent of its content. This is the visual side of the book, a separate art form created by the book’s first enthusiast, the artist. Every artist has a sacred relationship with the book – an individual perspective drawn from their unique, professional experience. Therefore, every decorated book is the work of its author, each one unique and inimitable, expressed in its individual language with endless possibilities.
Today, when we can observe the global level of book printing, it is hard not to be disheartened by the relatively low quality of Georgian printed products. While our books have been praised at numerous international exhibitions and we have received many diplomas, there is a regrettable fact that we are not fully utilizing our potential. We are capable of publishing individual exhibition and gift editions that meet world standards, while the overall quality of book publishing remains low. This problem is very evident at the annual International Book Festival held in Tbilisi, where books printed and designed both locally and internationally are displayed. The foreign publications presented at the exhibition attract attention primarily because of their artistic design and impeccable print quality, where it is hard to say whether the artwork or the printing quality stands out more.
The essence of book graphics is defined by the demand for vibrant, sharp sensations and loyalty to the tasks of a specific time. The most important, prominent, and artistically distinguished examples of book graphics are those whose authors study the experiences of great artists from both recent and distant pasts, yet maintain their own individuality – perceiving the present in their own way, attempting to delve into literature with their own heart and worldview. Their handwriting is as unique as each individual’s personality. The only common factor is their approach to book design, which contributes to the continued development of the culture of book decoration.
The success of the artists working on a book is primarily determined by the structure of the book – whether the title font harmonizes with the content, the literary form, the style of the work, the author’s individuality, and the type of edition. Such harmony
is nimuSebi, romelTa avtori mxatvrebi axlo da Soreuli warsulis did xelovanTa gamocdilebas swavloben, Tumca mainc TviTmyofadobas inarCuneben _ Taviseburad aRiqvamen Tanamedroveobas, cdiloben mwerlobas sakuTari guliTa da msoflxedviT Cawvdnen. maTi xelwera iseTive gansxvavebulia, rogorc TiToeulis individualoba; saerTo mxolod wignis gaformebisadmi damokidebulebaa da maTi SemoqmedebiT wignis gaformebis kulturis tradiciis Semdgomi ganviTareba. wignze momuSave mxatvarTa warmateba, upirvelesyovlisa, wignis struqturis CamoyalibebiT ganisazRvreba _ harmoniulia Tu ara sasaTauro Srifti SinaarsTan, literaturul formasTan, nawarmoebis stilTan, avtoris individualobasTan da gamocemis saxeobasTan. aseTi harmonia mxatvrisgan gansakuTrebul ostatobas, mudmiv SemoqmedebiT Ziebas, epoqis, stilis codnasa da mxatvrul gemovnebas moiTxovs. wignis yvela komponenti _ yda, forzaci, tituli, kontrtituli, Smuctituli, TavsarTi, bolosarTi, ilustracia _ qmnis erTian qsovils, sadac yoveli elementi dakavSirebulia SriftTan, sateqsto
demands exceptional craftsmanship, a constant creative quest, knowledge of the era and style, and artistic taste from the artist. Every component of the book – the cover, forsi, title page, counter-title, half-title, appendix, and illustration – forms a cohesive whole, where each element is connected to the font, whether it be text or title. A book may not have illustrations, but it is unimaginable for it to be decorated without a title font or artistic lettering.
Unfortunately, this is not always the case. The age of modern technology has brought many benefits, but it has also introduced a certain superficiality, which is reflected in the way books are designed. For economic reasons, illustrated books are mostly printed only for children’s literature, where, in many cases, the characters in books with different storylines look like identical twins, which strips the artwork – and thus the book – of individuality. However, children are particularly observant, and they do not forgive mistakes. Children’s book illustrators must always be tireless in carrying out this responsible task.
As for other types of publications, where the focus is only on cover design, the “designer,” to simplify their work, often uses existing fonts instead of creating original, handwritten artistic typography, which is often difficult to read. As a result, the artistic form is less creatively expressed, contributing to the proliferation of books that are similar to each other and lack distinction. There was a time, however, when
iqneba is, Tu satitulo. SeiZleba wigns ar hqondes ilustracia, magram warmoudgenelia misi gaformeba sasaTauro, mxatvruli Sriftis gareSe... samwuxarod yovelTvis ase ar xdeba. Tanamedrove teqnologiebis saukunem bevr sikeTesTan erTad moitana erTgvari zedapirulobac, rac wignis gaformebazec aisaxa. ekonomiurobis mizniT ilustrirebuli wignebi umetesad mxolod sabavSvo literaturisTvis ibeWdeba, sadac xSir SemTxvevaSi sxvadasxva Sinaarsis wignis gmirebi tyupis caliviT gvanan erTmaneTs, rac mxatvris namuSevars, Sesabamisad wignsac individualizms ukargavs. arada, bavSvebi gansakuTrebulad yuradRebianebi arian, isini Secdomebs ar gvpatioben. sabavSvo wignis ilustratorebi yovelTvis Tavdauzogavebi unda iyvnen am sapasuxismgeblo saqmis Sesrulebis dros. rac Seexeba sxva saxis gamocemebs, sadac mxolod ydis dizainzea aqcenti, „dizaineri“ sakuTari saqmis gasamartiveblad sakuTari xelnaweri, originaluri mxatvruli Sriftis nacvlad umetesad arsebul fonts iyenebs, romelic xSirad kiTxvadic ar aris da Sesabamisad mxatvruli formis axleburad gamosaxva naklebad xdeba, rac aseve xels uwyobs erTmaneTis msgavs, arafriT gamorCeuli wignebis gaxSirebas. am dros, iyo periodi, rodesac konkretuli gamocemebisTvis iqmneboda konkretuli Sriftuli garniturebi, mag. wignisTvis „nikoloz baraTaSvili~ (Srifti _ `baraTaSvili“, maRali, sqeli, 1968 w. mxatv. l. grigolia), mravaltomiani gamocemisTvis „qarTuli wigni~ (Srifti _ `wigni~ 1946-1950 w.w. mxatv. l. grigolia), „qarTuli sabWoTa enciklopedia~ (Srifti _ „enciklopediuri~, mxatv. l. grigolia) da sxv. an Tundac Jurnal/gazeTebis saTauri/logotipebi, romlebmac dros gauZlo da dRemde arseboben. mag. Jurnalebi „ciskari~, „liaxvi~, „kritika~ (mxatv. o. jiSkariani), gazeTi „literaturuli saqarTvelo~ (mxatv. d. dundua) da kidev
specific typefaces were created for certain publications, such as for the book Nikoloz Baratashvili (typeface: “Baratashvili,” bold, 1968, artist L. Grigolia), the multi-volume Georgian Book (typeface: “Book,” 1946-1950, artist L. Grigolia), and the Georgian Soviet Encyclopedia (typeface: “Encyclopedic,” artist L. Grigolia), among others. Even the titles and logos of magazines and newspapers from that time have endured. For instance, magazines such as Tsiskari, Liakhvi, and Kritika (artist O. Jishkariani) and the newspaper Literaturuli Sakartvelo (artist D. Dundua) feature typefaces that have become iconic.
I believe our Georgian script, with its unique and beautifully shaped characters, deserves more respect, and we must do everything we can to improve this.
Historically, our books have always been adorned with expertly crafted covers, finely executed miniatures, ornaments, and illustrations. The artistic mastery of our ancient book copyists is exemplary. Such books required a great deal of love and meticulous attention to detail. It is this great love and professional, heartfelt approach to the craft that is necessary for the perfect publication of Georgian books. I believe it would be beneficial to place more emphasis on improving the print quality of Georgian books.
Often, for the sake of economy and speeding up publication, we compromise the quality of the book, avoiding extra costs, which in turn dampens the enthusiasm of the artists involved. Yet, the artist
araerTi saintereso mxatvruli Srifti, romelic brendad iqca.
vfiqrob Cveni, qarTuli damwerloba unikaluri moxazulobis mqone asoniSnebiT, met pativiscemas moiTxovs da yvelaferi unda gavakeTod amis gamosasworeblad.
istoriuladac ase iyo, Cvens wignebs mudam amSvenebda ostaturad damuSavebuli ydebi, faqizad Sesrulebuli miniaturebi, ornamentebi, ilustraciebi. samagaliToa Cveni Zveli wignebis gadamwerTa mxatvruli ostatoba. ramdeni siyvaruli da ruduneba sWirdeboda aseTi wignis Seqmnas. swored es didi siyvaruli da saqmisadmi profesionaluri da guliani damokidebuleba sWirdeba qarTuli wignis srulyofilad gamocemas. vfiqrob, kargi iqneba meti yuradRebis gamaxvileba aseve qarTuli wignis poligrafiuli xarisxis asamaRleblad.
xSirad ekonomiurobis da gamocemis daCqarebis mizniT, vauferulebT wignis xarisxs, veridebiT zedmet xarjebs, rac TavisTavad wignis mxatvarTa enTuzizmsac erTgvarad anelebs, ara da wignis gamocemaSi mxatvari erT-erTi mTavari figuraa, romelic uSualod aris dakavSirebuli literaturasTan da mis SemqmnelebTan da misi rolis gazrda
is one of the key figures in book publishing, directly connected to literature and its creators. Increasing their role would greatly benefit the culture of Georgian book design. This is exemplified in the recollections of Lado Gudiashvili about Ioseb Imedashvili – a renowned Georgian figure, lexicographer, and journalist – who founded the only artistic journal of the time, Theater and Life, in 1910.
“I went to the editorial office of Theater and Life knowing that its editor and publisher, the writer and public figure Ioseb Imedashvili, was a kind and good-natured person. He greeted me with a smile as soon as he saw me and asked me to illustrate Leo Kiacheli’s short story. I quickly brought the illustrations, which were published in the next issue of the journal. This is how my career began,” recalls Mr. Lado Gudiashvili.
In the 1950s-60s, a period considered a time of cultural flourishing in many areas, including the culture of book design, graphic artists, sculptors, architects, and painters worked on book design. These individuals, who typically created large paintings and murals, also dedicated their efforts to the development of artistic book design. Among them were Samson Nadareishvili, Lado Gudiashvili, Beno Gordeziani, Lado Kutateladze, Lado Grigolia, Ioseb Gabashvili, Sergo Kobuladze, Alexandre (Shura) Bandzeladze, Shalva Tskhadadze, David (Duda) Gabashvili, Temuraz Kubaneishvili, David Dundua,
Zalian daexmareba qarTuli wignis gaformebis kulturas. amaze metyvelebs Tundac lado gudiaSvilis mogoneba ioseb imedaSvilze _ cnobil qarTvel moRvawe, leqsikografsa da Jurnalistze, romelmac 1910 wels daaarsa im droisaTvis erTaderTi saxelovnebo Jurnali „Teatri da cxovreba“. „mec mivaSure „Teatri da cxovrebis“ redaqcias, vicodi, rom am Jurnalis redaqtori da gamomcemeli, mwerali da sazogado moRvawe ioseb imedaSvili keTili da saTno adamiani iyo, pirvelive danaxvisTanave RimiliT Semxvda da leo qiaCelis moTxrobis dasuraTeba damavala. ilustraciebi Cqara mivitane, romelic morigi Jurnalis nomerSi daibeWda. aqedan daiwyo Cemi gamosvla asparezze~ _ igonebs batoni lado gudiaSvili. 50-60-ian wlebSi, periodSi, romelic kulturis sxva dargebTan erTad wignis gaformebis kulturis aRmavlobis periodadac iTvleba, wignis grafikaze muSaobdnen grafikosebi, moqandakeebi, arqiteqtorebi, fermwerebi, romlebic tiloebze muSaobdnen, qmnidnen did panoebs, magram ZalRones ar iSurebdnen wignis mxatvruli gaformebis ganviTarebisaTvis. aseTebi iyvnen samson nadareiSvili, lado gudiaSvili, beno gordeziani, lado quTaTelaZe, lado grigolia, ioseb gabaSvili, sergo qobulaZe, aleqsandre (Sura) banZelaZe, Salva cxadaZe, daviT (duda) gabaSvili, Teimuraz yubaneiSvili, daviT dundua, oTar jiSkariani, elguja berZeniSvili, Tengiz samsonaZe, bela nerZeniSvili, jemal lolua, jibo yavlaSvili, zurab leJava, zurab kapanaZe, Tengiz mirzaSvili, spartak cincaZe, emir burjanaZe, zurab forCxiZe, Tamaz xuciSvili, guram Rlonti, gogi
Otar Jishkariani, Elguja Berdzenishvili, Tengiz Samsonadze, Bela Berdzenishvili, Jemal Lolua, Jibo Kavlashvili, Zurab Lezhava, Zurab Kapanadze, Tengiz Mirzashvili, Spartak Tsintsadze, Emir Burjanadze, Zurab Porchkhidze, Tamaz Khutsishvili, Guram Ghlonti, Gogi Tsereteli, and others. Each of these individuals contributed greatly to the development of Georgian book design, each with their unique signature style.
The 1960s saw the rise of the Nakaduli publishing house, which became renowned for its children’s books. Honored Georgian artist Gogi Tsereteli recalls: “Otar Jishkariani – this name brings back pleasant memories of the day I personally met this wonderful artist and individual at the Nakaduli publishing house. He was the chief artist there. It’s amazing how passionately he worked, as if there was nothing else for him to do. A great student of the exceptional Lado Grigolia, Jishkariani surrounded himself with young, talented artists, and during his time at Nakaduli, many colorful books were published, most of which remain some of the best examples in the golden collection of Georgian children’s literature” (2019).
It’s also important to mention the success of Arsena’s Song by Alexandre (Shura) Bandzeladze, a significant work from this period, which won a silver medal at the International Children’s Book Biennale in Brno in 1966. This was a major achievement for Georgian books and illustrations.
The scholar Zurab Kiknadze recalls that during that time, the collaboration between the author and the artist was different: “I remember, especially with Nakaduli and other publishers… artists would gather in a special room, where there were a lot of people, expressing their opinions and paying great attention to the book’s design. It was real collaboration between the authors and the artists” (2013).
wereTeli, da sxv. yvela am adamians Tavisi individualuri xelweriT udidesi wvlili aqvs Setanili qarTuli wignis gaformebis ganviTarebis saqmeSi.
aRmavlobas ganicdis 60-iani wlebis gamomcemloba „nakaduli~, romelic gamorCeulia sabavSvo wignebis gamocemebiT. saqarTvelos damsaxurebuli mxatvari gogi wereTeli ixsenebs: „oTar jiSkariani _ es saxeli CemTvis, upirvelesad, im dRis sasiamovno mogonebebs aRZravs, roca gamomcemloba „nakadulSi~ piradad gavicani es SesaniSnavi mxatvari da pirovneba. igi maSin „nakadulis~ mTavari mxatvari iyo. gasaocaria rogori siyvaruliT akeTebda Tavis saqmes, TiTqos sxva ram sakeTebeli arc hqonodes didi lado grigolias gamorCeul mowafes, saqarTvelos damsaxurebul mxatvars. man garSemo Semoikriba axalgazrda niWieri mxatvrebi da misi „nakadulSi~ moRvaweobisas gamoica uamravi feradi wigni, romelTa umravlesoba dResac rCeba qarTuli sabavSvo wignis oqros fondis saukeTeso nimuSad“.(2019 w.).
aqve ar SeiZleba ar gavixsenoT amave periodis erTerTi aseTi mniSvnelovani gamocemis, aleqsandre (Sura) banZelaZis „arsenas leqsi“-s warmateba, romelsac saerTaSoriso sabavSvo wignis bienaleze, brnoSi, 1966 wels vercxlis medali mieniWa. es iyo qarTuli wignisa da ilustraciis didi warmateba da gamarjveba.
mecnieri zurab kiknaZe im periods ase ixsenebs: `adre wignis avtorsa da mxatvars Soris sxvagvari TanamSromloba iyo. maxsovs, gansakuTrebiT gamomcemloba „nakaduli~ da sxva gamomcemlobebic... mxatvrebi ikribebodnen, sagangebo oTaxi hqondaT, sadac uamravi xalxi trialebda, TavianT azrs gamoTqvamdnen, did yuradRebas aqcevdnen wignis gaformebas, namdvili TanamSromloba iyo wignis avtorsa da mxatvrebs Soris“... (2013 w.).
dRevandel, swrafad ganviTarebad teqnologiur samyaroSi aseTi „oTaxi~, sadac gamomcemeli, mwerlebi da mxatvrebi erTad dasxdebian da momavali wignis avkargianobaze mosazrebebs gauziareben erTmaneTs ubralod aRar arsebobs, yvelaferi gadis ekonomiurobaze, damkveTsa da Semsrulebelze da wignebic Sesabamisad
gamoiyureba... TandaTan ikargeba, wignis srulyofisaTvis bevri mniSvnelovani profesia. mag. saredaqcio CamonaTvalSi iSviaTad gvxvdeba wignis mxatvari, mxatvruli redaqtori, teq. redatori, zogjer koreqtoric ki... ra Tqma unda aris gamonaTebebic da xarisxiani wignebic gamodis kargi dizainiT, magram aq ukve arc Tu iSviaTad, msyidvelunarianobis problema iCens xolme Tavs... wignis Seqmna jgufuri saqmea. wigni rom srulfasovani iyos, saWiroa avtoris, mxatvrisa da gamomcemlis SeTanxmebuli muSaoba, amasTanave. TavisTavad aucilebelia beWdvisaTvis Sesabamisi maRalxarisxovani poligrafiuli masalebi, romelic kvlav ucxoeTidan Semogvaqvs, rac produqcias sakmaod aZvirebs. beWdviTi nawarmoebis, kerZod ki wignis mxatvruli gaformeba-wignis grafika da masTan dakavSirebuli Sriftis kultura eris, istoriis, misi tradiciebis ganuyofeli nawilia, romelic saukeTesod asaxavs ama Tu im epoqis erovnul kulturas. amitom, vimedovneb, rom problemebi, romelic am sakiTxs ukavSirdeba droebiTi movlenaa da droTa ganmavlobaSi dalagdeba, miTumetes, rom modis axalgazrda niWieri Taoba, romelic imedia axal sityvas ityvis qarTuli wignis gaformebis saqmeSi.
In today’s rapidly developing technological world, such “rooms,” where publishers, writers, and artists would meet and share ideas for the future success of the book, no longer exist. Everything has become about economics, with clients and contractors, and as a result, the books often reflect this change. Gradually, many crucial professions for perfecting the book are disappearing. For instance, it’s rare to find a book artist, graphic editor, or technical editor in the editorial list, and sometimes even a proofreader. Of course, there are still exceptions, and some books of high quality with good design are being published, but here too, the issue of affordability often arises.
Creating a book is a collective effort. For a book to be truly complete, the cooperation of the author, artist, and publisher is essential. Additionally, high-quality printing materials are necessary, and these are still imported from abroad, which makes the product significantly more expensive.
The artistic design of printed works, especially books, and the culture of typography are an inseparable part of a nation’s history and traditions, reflecting the national culture of a particular era. Therefore, I hope that the problems related to this issue are temporary and will be resolved in time, especially since a young, talented generation is emerging, which will hopefully introduce a new approach to Georgian book design.
ninia sadRobelaSvili NINIA SADGHOBELASHVILI
arjakelo
ana kalandaZe 100
„ra gind tragikuli mizezic ar unda mqondes, leqss mxolod maSin vwer, roca mTels Cems arsebas didi sixaruli eufleba!..“ _ ana kalandaZis dRiuridan
2008 wlis martis ca maxsovs _ mTawmindaze, zRva xalxis
Tavze TalxiviT Camomxobili, RrublebCalurjebuli da mrume. qaric maxsovs, mTawmindis panTeonis kedlebSi gzaabneuli frinveliviT trialebda da Rmuoda TiTqos.
Cumi gvriniT gaismoda misi xma da mTel im ambavs dauviwyari finaliviT aboloebda. ana kalandaZis dakrZalvis dRe iyo. maradisobis axelili TvaliviT ascqeroda cas poetis gaWrili saflavi. im qarze _ anas motiral qarze merec mifiqria. ojaxis wevrebTan da mkiTxvelebTan erTad qarmac gaacila, im qarma, romelsac aseTi krZalviTa da vnebiT umReroda mTeli cxovreba. iqneb martSic amitom gaiyvana gangebam _ martic xom qarebis da poetebis Tvea, gazafxulis tkiviliani da cecxlovani dabadebis Tve... ana kalandaZis cxovreba da poezia martis TveSi dabolovda _ am dasasruliT misi maradisoba daiwyo... ...qari marxevs da yvavilebs maclis, yvavils momwyvets, gaitacebs mindvrad... damiyvave, qaro, nu xar mkacri: patara var, mofereba minda!
SAY, ARJAKELI FLOWER…
ANA KALANDADZE 100
“No matter how tragic the reason may be, I only write poetry when immense joy overtakes my entire being.” – From Ana Kalandadze’s journal
I remember the March sky of 2008 – ashen, sombre, with grey clouds looming over the sea of people gathered at Mtatsminda. I remember the wind, swirling like a lost bird within the walls of the Mtatsminda Pantheon, wailing as if in mourning. Its low whimper reverberated through the scene, like an unforgettable finale to the events of that day.
It was the day of Ana Kalandadze’s funeral. The poet’s freshly dug grave gazed at the sky like an open eye of eternity.
That wind – grieving for Ana – has stayed with me ever since.
Alongside her family and readers, the wind escorted her, the very same wind she had sung about with such reverence and passion throughout her life. Perhaps it was no coincidence that providence called her away in March – a month of poets and winds, a month of spring’s fiery and painful birth. Ana Kalandadze’s life and poetry culminated in March, and through this ending, her eternity began.
“ The wind steals up and bears my flowers away,
And I am left alone, trembling as I sway.
Caress me, wind, be kind, I fear your blow
For I am but a tiny little bough.”
yvelas Tavisi ana kalandaZe hyavs. vis gulsac misi poezia erTxel mainc Sexebia, waruSlelad aRbeWdvia sinaze, raRac sruliad gansakuTrebuli da magiuri, ara susti da umweo, aramed mZlavri sinaze... es ana kalandaZis poeziis niSania _ sikeTis da mSvenierebis upirobo aRmsarebeli. poeziis dedofali uwodes, Tumca TviTon
(Translated by Venera Urushadze)
Everyone has their own Ana Kalandadze. Whoever has been touched by her poetry even once is forever marked by its tenderness – a unique, magical tenderness. It is not weak or fragile, but powerful and enduring. This is the hallmark of Ana Kalandadze’s poetry: an unconditional devotion to beauty and kindness.
She was called the Queen of Poetry, though she always protested – not only out of mere humility or etiquette, but perhaps because she believed that the treasures of poetry and solitude were too sacred for earthly crowns. True solitude, after all, carries within it both the majesty of a king and the humility of a beggar, and nothing can be exchanged for this Tqvi,
yovelTvis aprotestebda, aramxolod Tavmdablobis gamo, arc zrdilobis da Rrma Sinagani kulturis, aramed albaT imitomac, rom amqveyniuri gvirgvinebisTvis ar emeteboda xelqmnuli ganZi _ poezia da martooba. vinc WeSmaritad martosulia, man isedac icis, rom Tavis did samyaroSi mefecaa da glaxakic, am igavmiuwvdomel Tavisuflebas ki ar gacvlis araferze. anas martoobac _ dedofluric iyo da qristes mxevluric, zecis TaRebSi qrolvac iyo da dedamiwis cvar-namze gadarbenac, warsulic iyo da momavalic da yovelive awmyos maradiul wamSi ikribeboda...
ana kalandaZis dRiurebidan _ „veravin xedavs, rodis da rogor vmuSaob... verc Sinaurebi da verc megobrebi. mesame Tvalisagan usaTuod damaluli unda viyo. Zalian didxans SemiZlia vifiqro erT rameze, Zalian didxans. Semdeg gadamaqvs qaRaldze... fanqriT vwer. albaT, SeveCvie, ganwyobileba ar mekargeba xolme. xSirad wlobiT vatareb ganwyobilebas, sixarulsa Tu tkivils...“
Sens sayvarel poetze fiqrisas zogjer isac gagefiqreba, rogori iyo is yofiT cxovrebaSi _ ojaxSi, SeyvarebulTan an meuRlesTan, eWvisa da brazis dros, aRtacebis da sixarulis dros... anas qmar-Svili ar hyolia, Tumca hyavda didi da uZvirfasesi ojaxi, misi yvelaze didi gulSematkivrebi da Tanamlmobelni. cota xnis win, ana kalandaZis ZmiSvilis _ qeTevan kalandaZis gacnobis sixarulic mergo da ramdenime kiTxvac davusvi im xsovnaze, rac mas poetTan da mamidasTan _ anasTan akavSirebs.
qeTevan kalandaZe: „dazustebiT imis Tqma, Tu saidan iwyeba Cems mexsierebaSi ana kalandaZe, namdvilad gamiWirdeba, zustad iseve rogorc ver getyviT, ra momentidan maxsovs Cemi mSoblebi. Cveni ojaxi ninoSvilis quCaze cxovrobda. me rom davibade, anas ukve calke bina hqonda vaJa-fSavelas 2 nomerSi, magram praqtikulad sul CvenTan iyo. oriode dRiT Tu Tavis saxlSi wavidoda, ise mogvenatreboda xolme me da Cems Zmas, TiTqos erTi weli ar gvenaxa. anas dRiurebSi vkiTxulobT: „Tinam dareka _ qeTinos veRar vaokeb, _ ana mamida menatrebao“... „qeTino: Sen xom yvelaze kargi ana mamida xar? Sen Semogevlos Cemi Tavi!“ „_ didi xania, ar minaxixar da... xom ar dagaviwydi-meTqi... _ ana mamida, Sen me arasodes ar damaviwydebi“... „qeTino mTxovs, ar wavide. giorgi: ar dawve, qeTino, Tore ana mamida gaipareba!“ „qeTino waviyvane babo faRavasTan. _ Sen ar ici rogor menatrebodi... Zalian, Zalian momenatreo, _ meubneba gzaSi“.
dedaCemi igonebs: „erTxel movida ana da meubneba, _ Tina, ar minda bavSvebi ana mamidas rom meZaxian, ana
boundless freedom. Ana’s solitude was regal yet devoted, like a servant to Christ; it danced through the arches of the heavens and skipped across the dew of the earth. It was the past and the future, all gathered in the eternal present.
In her journal, Ana Kalandadze wrote: “No one sees when and how I work… Neither my family nor my friends. I must remain completely hidden from the third eye. I can think about one thing for a very long time. Then, when I’m ready, I put it on paper. I write with a pencil –perhaps I’ve grown used to it. I preserve my mood. Often, I carry a feeling, whether joy or sorrow, for years.”
When reflecting on a beloved poet, you might wonder what they were like in daily life – in their home, with a lover, in moments of doubt or anger, in times of delight or joy. Ana had no spouse or children, but she had a vast and treasured family – her greatest supporters and companions.
Recently, I had the joy of meeting Ketevan Kalandadze, Ana’s niece, and I asked her a few questions about the memories that tied her to her aunt, the poet.
Ketevan Kalandadze: “It’s hard to pinpoint exactly where Ana Kalandadze begins in my memory, just as I can’t recall the precise moment I became aware of my parents. Our family lived on Ninoshvili Street. By the time I was born, Ana already had her own apartment on Vazha-Pshavela Street, but she was practically always with us. If she stayed in her apartment for even a couple of days, my brother and I missed her terribly, as though we hadn’t seen her for a year.
In Ana’s journals, we read: ‘Tina called – she says she can’t calm Keti down, she keeps saying she misses Aunt Ana.’‘Keti: You’re the best Aunt
damiZaxono (saerTod ar uyvarda deida, bebia, bicolas daZaxeba). me Zalian gamikvirda da vuTxari, _ bavSvebi ase arian miCveulebi da ar vici, rogor moaxerxeben-meTqi. _ Sens Zmebs xom saxelebiT mimarTaven, mec ise damiZaxono. bolos qeTim „anama“ Searqva da sicocxlis bolomde “anamas“ eZaxdnen“.
miuxedavad aseTi siaxlovisa, arsebobda raRac zRvari, romelsac masTan urTierTobaSi yovelTvis vicavdiT, vgrZnobdiT, rom is ar iyo „Cveulebrivi“ mamida. 44 wlis viyavi, roca ana gardaicvala da es zRvari arasodes waSlila, miuxedavad im siyvarulisa da siaxlovisa, romelic Cven Soris iyo.“ ana kalandaZis dRiurebidan: „1946 wlis 24 maiss mweralTa kavSiris saqmeTa mmarTveli werilobiT matyobinebda: gTxovT, mobrZandeT 25 maiss, 1 saaTze mweralTa kavSirSi Tqveni leqsebis kiTxva ewyobao. moulodneli ram iyo. Sin araferi miTqvams, arc universitetSi icodnen araferi. kiTxva poeziis seqciam moawyo. seqciis xelmZRvaneli cnobili poeti da mTargmneli konstantine WiWinaZe iyo. ramdenime dRis Semdeg gazeTSi gamoqveynebuli cnoba iuwyeboda: „kiTxva, rogorc wesi, poetebis viwro wreSi unda Catarebuliyo, magram moulodnelad axalgazrda poets farTo sazogadoebis winaSe mouxda gamosvlao.“ maSindeli mweralTa kavSiris (amJamad mweralTa saxlis) darbazSi, 1946 wlis maisSi, axalgazrda poetis debiuti im rangis movlenad iqca, romelic samudamod aRibeWda me-20 saukunis qarTuli literaturis istoriaSi. meore msoflio omis Wrilobebi jerac tkiviliT iwvoda, am tkivilebsa da gansacdelebSi sulSexuTul sivrceSi ki axalma poeturma xmam ise SemoaRwia, rogorc daxSul oTaxSi sufTa haerma. im dRes yvelam igrZno, rom qarTul poeziaSi axali saxeli daibada. axali zeca gadaiSala _ ana kalandaZe.
Tavs dameRvara me sixaruli da damanaxa mTiebis brwyinva... cisa da miwis mSvenierebas aRmoucnobi uZRoda wina... erqva gvirgvini mas sxivosanixelSeuxebi, wmidaTawmida... idumali xmiT mauwya isev: _ kvlav gavxsni ciers, Tu es Sen ginda!
Tavs dameRvara me sixaruli... qeTevan kalandaZe: „Tavis „saubrebSi“ ana wers: „Tu STagoneba „uecrad sazogadoebaSi mewveva“, „ganmartoebas, sazogadoebidan gaqcevas“ ar vCqarob, radgan „igi“ „damicdis, versad damemaleba“! muSaoba aravisi TandaswrebiT ar SemiZlia, marto unda
Ana in the world. I adore you!’‘I haven’t seen you in so long… I was worried you’d forgotten me. Aunt Ana, I’ll never forget you.’‘Keti begs me not to leave. Giorgi says, “Don’t go to bed, Keti, or Aunt Ana will sneak away!”’‘I took Keti to visit Babo Pagava. On the way, she kept saying, “You don’t know how much I missed you. I missed you so, so much.”’
My mother recalls: ‘One day, Ana came to me and said, “Tina, I don’t like it when the kids call me Aunt Ana. I want them to just call me Ana.” (She particularly disliked being called “aunt,” “grandmother”…)I was surprised and told her, “But they’re used to it; I’m not sure how they’d manage.” She replied, “They call your brothers by their names – why can’t they do the same for me?”
Eventually, Keti started calling her ‘Anama,’ and that’s what we called her until the end of her life.’
Despite our closeness, there was always a boundary in our relationship with her. We felt she was not just an ordinary aunt. I was 44 when Ana passed away, and that boundary was never erased, despite the love and intimacy we shared.”
From Ana Kalandadze’s Diary: “On May 24, 1946, the manager of the Writers’ Union informed me in letter: ‘Please come to the Writers’ Union at 1 PM on May 25 for a reading of your poems.’ It was completely unexpected. I didn’t mention it at home, nor did anyone at the university know about it.”
The reading was organised by the Poetry Section, led by the renowned poet and translator Konstantine Chichinadze. A few days later, a newspaper reported: “The reading was originally intended for a small circle of poets, but unexpectedly, the young poet had to perform before a large audience.” In May 1946, in the hall of what was then the Writers’ Union (now the Writers’ House), the debut of a young poet became a monumental event that would forever be etched into the history of 20th-century Georgian literature. The wounds of the Second World War still burned with pain, and into the suffocating air of those trials, Ana Kalandadze’s poetic voice arrived like a breath of fresh air in a sealed room. That day, everyone felt that a new name had been born in Georgian poetry. A new sky unfolded – Ana Kalandadze.
Joy poured down upon me
And favoured me with the sight of luminaries, sparkling…
The incomprehensible led forward
The beauty of heaven and earth…
A crown it wore, haloedVirginal, holy of holies…
The mysterious voice heralded me again: I shall open heaven once more, if that is thy wish!
Joy poured down upon me.”
(Translated by Nana Bukhradze)
Ketevan Kalandadze: “In her ‘Conversations,’ Ana writes: ‘If inspiration strikes me suddenly while in society, I don’t rush to solitude because ‘it’ will wait for me and won’t escape.’
I cannot work in anyone’s presence; I need to be alone. As such, no one ever witnessed this process – not even family members, who, incidentally, never felt the need to. I write only at home. Outside, I can
viyo. amdenad am process veravin xedavs (Sinaurebis CaTvliT, maT arc arasodes hqoniaT amis pretenzia!).
weriT mxolod Sin vwer, „sxvagan“, saxlis gareT mxolod fiqri SemiZlia. qalaqidan gasvlisas, batoni moruas brZanebisa ar iyos, wylis onkaniviT vketav Cems muzas. Cemi muSaobis wesi miadvilebs pirobebTan „Seguebas“.
1979 wels saburTalos quCaze gadmovediT sacxovreblad. erT sarTulze vcxovrobdiT, erTmaneTis mopirdapired. es imas niSnavda, rom anas roca undoda CvenTan erTad iyo da roca undoda Tavis binaSi SeeZlo ganmartoeba. Cvenc TiTqmis yovel dRe gviwevda sxvadasxva mizeziT masTan Sesvla. anas calke samuSao oTaxi ar hqonia da amitom misaReb oTaxSi muSaobda xolme did sasadilo magidasTan, romelzec sul iyo gaSlili qaRaldebi. ar maxsovs, masTan Sevsuliyavi da im qaRaldebisaken Tvali gameparebina. anas gardacvalebis Semdeg, roca pirvelad CavixedeT mis nawerebSi, iseTi grZnoba gvqonda, TiTqos danaSauls CavdiodiT.“
only think. When I leave the city, much like Mr. Maurois’ command, I shut off my muse as though turning off a faucet. This method of working allows me to adapt easily to circumstances.
“In 1979, we moved to live on Saburtalo Street. We lived on the same floor, directly opposite one another. This meant Ana could join us whenever she wished or retreat to her flat whenever she wanted solitude. Almost every day, for one reason or another, we had to visit her.
Ana didn’t have a separate workroom, so she worked in the living room, often at a large dining table covered with papers. I never remember glancing at those papers when I entered her home. After Ana passed away, when we first went through her writings, we felt as though we were committing a crime.”
During the Soviet totalitarian era, in a time when godlessness reigned supreme, a poet with her gaze fixed on the divine was both astonishing and a formidable challenge. Yet, Ana’s perspective, imbued with profound memory and a powerful sense of history and culture, was too luminous to be silenced or shadowed. On the contrary, her voice, her message, became a song the entire country joined in singing, like a village thirsting for melody. “You are so deep, O Georgian sky…” “Nino
sabWoTa totalitarul droSi, uRmerTobis zeobisas, RvTaebrivisken mzeramipyrobili poeti didi gaognebac iyo da didi gamowvevac. Tumca es mzera imdenad savse iyo mexsierebiT, iseTi Ronieri iyo istoriis da kulturis gancdiT, rom misi akrZalva da Cabneleba warmoudgeneli aRmoCnda. piriqiT, anas xmas, anas saTqmels simReras mowyurebuli sofeliviT ahyva mTeli qveyana. „Sen ise Rrma xar, qarTulo cao...“, „modioda nino mTebiT...“ „fexi damadgiT, gulze damadgiT fexi yovelman...“ „Sen me yovelTvis momcem wynar sadgurs, sulT dasamkvidrebs...“ _ anas poezia umrevlo da mitovebul taZarSi danTebul sanTels hgavda, romelmac droTa ganmavlobaSi mZlavri SuqiT Semoikriba poeziis momlocvelebi. ana kalandaZis dRiurebidan _ „meordeba istoria. samwuxarod, dResac gvWirdeba mtkiceba imisa, rom Cveni Cvenia... sakuTari, mama-papeuli, RvTiTboZebuli miwawylis SenarCunebisTvis, mamulis ganuyoflobisTvis dResac iseve viclebiT sisxlisgan, rogorc es adreul saukuneebSi xdeboda... didi ilias moxevisa ar iyos, „rai arn mteroba, Tu eri erobs!“ Tu erTmaneTs mxarSi davudgebiT, mxolod da mxolod maSin, „yoveli iaraRi, Cven winaaRmdeg gamoWedili, gacuddeba“, mxolod maSin wava Cveni gza gamarjvebisaken!..“
ana siyvarulis poetia. es idea yvelafers msWvalavs _ samSoblos, RmerTis, satrfos, mSoblisa Tu istoriis mimarT urTierTobas. am siyvarulis gamosaTqmelad ki is ena SeurCevia, romelSic daSifruli kodebiviT aRbeWdila damarxuli enis saidumlo. Tamaz WilaZe werda, giorgi merCules, JamTaaRmwerlisa da galaktion tabiZis logikuri erTianobiT gaSlili samyaroa anas poeziao. es enac am usazRvro sivrceSia dabadebuli, merCulesa da ioane zosimes enobrivi graviura, fSaur kiloze gawyobili satrfialo leqsebi, Tanamedrove himnografiis Sedevrebad qceuli sadideblebi _ es ana kalandaZis poeturi liturgiaa, mzeriT zecisken, iq sadac dausruleblad dian Rrublebi... maT gadaiares ca piramidebis, xeTa da midia...
zRapruli urartu, qarTuli mindvrebi, kvlav saiT midian?
ramdeni mwvervali gadavles uklebliv, kvlav fexqveS raoden mwvervalebs iTvlian Rrublebi... kvlav saiT midian Rrublebi?
came through the mountains…” “Step on me, place your foot upon my heart, all of you…” “You will always grant me a calm refuge, a place of rest for the soul…”
Ana’s poetry was like a lit candle in an abandoned, silent church, one that gradually grew into a mighty beacon gathering pilgrims of poetry. From Ana Kalandadze’s Diary: “History repeats itself. Sadly, even today, we must prove that what is ours is truly ours… To defend the inheritance of our forefathers, the land granted to us by God, we still shed our blood, just as we did in centuries past. As Great Ilia’s Mokheve said, ‘What is enmity when a nation stands united?’ If we stand united, only then will ‘every weapon forged against us fail,’ and only then will we march toward victory!”
Ana is the poet of love. This idea permeates everything – her relationship with her homeland, her faith in God, her affection for a lover, her devotion to parents, and her reverence for history. To articulate this love, she chose a language imprinted with the mysteries of buried dialects, as though encrypted with secret codes. Tamaz Chiladze once wrote that Ana’s poetry unfolds a world where Giorgi Merchule, the chronicler, and Galaktion Tabidze coexist logically. Her language, born within this boundless space, merges Merchule’s and John Zosimus’ linguistic engravings, love poems steeped in Pshavi dialects, and hymns of modern hymnography that have become masterpieces of praise. This is Ana Kalandadze’s poetic liturgy, her gaze forever fixed on the heavens, where clouds endlessly traverse…
The sky of the pyramids, Kheta and Midia they sailed…
The fabolous Urartu, the Georgian fields, Where do they go again?
Countless are the summits they have sailed, one after another,Still great many a summit under their feet they count…
Clouds… where again do clouds go?
How would I know… they just go…
(Translated by Nana Bukhradze)
Ana Kalandadze belongs to the spiritual and cultural lineage of poets for whom literature and the service of language are inseparable from serving the nation. This is why Ilia Chavchavadze was her foremost guiding star, and her sense of mission echoed that of the 19th-century Georgian luminaries.
In her diary, she wrote:
“Whatever accusations may be thrown at a creator (‘Where are the writers?’), whose yoke is heavier than anything under the heavens, they remain the first to share the burden of their nation’s grief and thus stand steadfast at the heart of life.”
Uncompromising honesty, unwavering devotion to the highest ideals, and an almost childlike sincerity and gentleness – these were the oars with which Ana navigated through the tumultuous currents of life, always steering toward the future. This journey is infectious, and anyone who immerses themselves in her poetry will find themselves fortified with strength to overcome life’s challenges.
ra vici... midian... ana kalandaZe im poetebis sulier-kulturuli memkvidrea, visTvisac literatura, sityvis msaxureba upirobod qveynis msaxurebasac niSnavs. amitomac iyo anasTvis ilia WavWavaZe umTavresi orientiri, sakuTar misiasac ganicdida ise, rogorc me-19 saukunis moRvaweebi.
„...rogori bralic ar unda dasdon Semoqmeds („sad arian mwerlebi?“), romlis „uRelze Zneli ara aris ra cisqveSeTSi“, igi mainc qveynis Wiris SeZlebisdagvarad pirveli gamziarebelia da amdenad, mainc „cxovrebis SuagulSi trialebs“ _ Cauweria Tavis dRiurSi. piruTvneloba, umaRlesi idealebis mimarT erTguleba, lamis bavSvuri gulwrfeloba da sifaqize is niCbebia, romlebiTac ana cxovrebis am Suaguls igeriebda da moZraobda momavlisaken. es gadamdebi procesia, vinc amas misi poeziiT ganicdis, isac saimedod SeijavSneba Suagulis gadasalaxad.
qeTevan kalandaZe: „bavSvobidan moyolebuli bevri mniSvnelovani movlenis Tu faqtis Semswre da monawile vyofilvar anas wyalobiT, Cvens ojaxSi xSirad stumrobdnen cnobili adamianebi da ra Tqma unda yvelaferma aman didi gavlena iqonia Cemze. Tumca ar maxsovs odesme CemiT meTqvas sadme, rom anas ZmisSvili var. meore klasSi viyavi, roca maswavlebelma gaigo, rom ana Cemi mamida iyo. yovelTvis siamayesTan erTad, vgrZnobdi Zalian did pasuxismgeblobas. vicodi, rom anas saxels mofrTxileba sWirdeboda da SeiZleba iTqvas, rom es pasuxismgebloba anas gardacvalebis Semdeg gamiaTmagda.“
15 dekembers ana kalandaZis dabadebis dRea. is 100 wlis gaxdeboda. marTlac dedofluri gancdaa _ asi wlis ana kalandaZe. mjera, vidre qarTuli ena iqneba, iqamde icocxlebs anas poeziac. radgan masSi am enis saidumlocaa, misi uxsovari musika da sinaTle. am poeziaSi adamianad yofnis saidumlocaa daunjebuli. erT patara did leqsSi gacxadebuli mTeli sazrisi warmavali wuTisoflisa da maradisobis Sesaxeb: Tqvi, arjakelo xviara, qsanze vin Camoiara? _ ra vi, Rrublebze vfiqrobdi da ara gamigia ra...
_ mec sxvaTaSoris vikiTxe, salaparakod ki ara...
Ketevan Kalandadze: “From childhood, I witnessed many significant events and met extraordinary people thanks to Ana. Our home was often visited by notable figures, and these experiences deeply influenced me. Yet, I never felt the need to boast about being Ana’s niece. I was in the second grade when my teacher discovered the connection. Alongside my pride, I always felt an immense sense of responsibility. I knew Ana’s name needed to be protected. That responsibility multiplied after her passing.”
On December 15th, Ana Kalandadze would have turned 100. This centenary truly feels regal – Ana at a hundred. I am certain that as long as the Georgian language endures, Ana’s poetry will live on, for within it lies the mystery, ancient music, and radiant light of our tongue.
Her poetry holds within it the secret of being human, distilling the essence of life’s transience and eternity into the clarity of a single short poem:
I say, Arjakeli flower, Has anyone passed along the River Ksani?
- Why, of clouds I have been thinking And have herd nothing… - I, too, was just asking, Just asking.
(Translated by Nana Bukhradze)
eliso WeliZe ELISO CHELIDZE
eTnografiuli paralelebi: inau da CiCilaki
ETHNOGRAPHIC PARALLELS – INAU AND CHICHILAKI
Cvengan Zalian Sors, dedamiwis im kuTxeSi, romelsac „amomavali mzis“ mxares uwodeben, saxlobs msoflio eTnografTa Tavsatexad cnobili mcirericxovani xalxi _ ainebi. zedmeti arasodesaa vicodeT ama Tu im eTnosis yofisa da kulturis Sesaxeb, magram ainebis gasacnobad kidev erTi mizezi gvaqvs. gagikvirdebaT da es mizezi CiCilakia, romelsac ainur enaze inau hqvia. inau sakulto daniSnulebis sagania da msgavsad CiCilakisa, gaTlili xis joxia, romlis anaTleli burbuSelebi wverodan qvemoT eSveba. lev Sternbergi Tavis wignSi „pirvelyofili religia“, ase aRwers inaus: „joxi, romelic SemoxuWuWebulia sagangebod gaTlili sxvadasxva sigrZisa da formis burbuSelebiT. rogorc wesi masalad iyenebdnen Zewnas, muryans, circels _ gaaCnia rogor da risTvis amzadebdnen. joxs daniT aclidnen qerqs da aburbuSelebdnen. inaus gamkeTebels erTi xeliT joxis bolo eWira, joxis meore bolo ki mkerdze hqonda mibjenili da wverodan Tavisken Tlida burbuSelebs ubralo patara daniT, romelsac odnav hqonda moxrili danispiri“.
TandarTuli fotoebi iolad dagarwmunebT CiCilakisa da inaus msgavsebaSi da, bunebrivia, gaocdebiT, rom es faqti ucnobia msoflio eTnografTaTvis, xolo inau ki dRemde miiCneva „am saxiT arsebul erTaderT sagnad.“ es miT ufro sakvirvelia, rom CiCilakis sakiTxic kargadaa Seswavlili qarTvel mkvlevarTa mier da ainebis yofasa da kulturas ki, yovelgvari gadaWarbebis gareSe, sxvadasxva qveynis mecnierTa aTasobiT naSromi eZRvneba. erTaderTi, visac inausa da CiCilakis msgavsebisaTvis yuradReba miuqcevia, iyo cnobili qarTveli eTnologi da mkvlevari Tedo saxokia. 1904 wels mas parizis saanTropologo sazogadoebisaTvis qarTul eTnografiul eqsponantebTan erTad warudgenia CiCilaki da aRuniSnavs misi garegnuli da saritualo daniSnulebis msgavseba inausTan. am faqtis Sesaxeb gaz. „cnobis furceli“ gvamcnobs: „saerTo cnobismoyvareoba aRZra CiCilakma, romelsac dasavleT saqarTveloSi axal weliwads akeTeben. b-n saxokias azriT es nivTi warmoadgens saqarTveloSi arsebul axali wlis RmerTis kultis naSTs. CiCilaki, patarZalsaviT morTuli, daniSnuli unda yofiliyo am RmerTis Sesawiravado. am mosazrebis dasamowmeblad, b-nma saxokiam imowma kunZul iezos
Far from us, in that part of the world referred to as the “Land of the Rising Sun,” lives a small, enigmatic people, the Ainu. It is never unnecessary to learn about the customs and culture of any given ethnic group, but we have yet another reason to explore the Ainu. You will be surprised to learn that this reason is Chichilaki, which is called Inau in the Ainu language. Inau is a sacred ritual object, and like Chichilaki, it is a carved wooden stick, with bark-stripped branches hanging down from its tip. Lev Sternberg describes Inau in his book Primordial Religion: “A stick that is specifically carved with branches of various lengths and shapes. Traditionally, the materials used for making it were willow tree, alder, and rowan – depending on how and for what it was made. The stick was stripped of its bark with a knife, and the branches were shaped. The craftsman held one end of the stick with one hand, while the other end was pressed against his chest, and the branches were carved with a small, slightly curved knife.”
The accompanying photographs will easily convince you of the similarities between Chichilaki and Inau. Naturally, you may be astonished that this fact is largely unknown among world ethnographers, especially when Inau is still considered “the only object of its kind.” This is all the more surprising considering that the subject of Chichilaki has been thoroughly studied by Georgian researchers, while thousands of works by scholars from various countries are dedicated to the Ainu’s life and culture.
The only person who has paid attention to the similarity between Inau and Chichilaki is the famous Georgian ethnologist and researcher, Tedo Sakhokia. In 1904, he presented Chichilaki, alongside other Georgian ethnographic items, to the Parisian Anthropological Society and pointed out its external and ritualistic similarities to Inau. The newspaper “Tsnobis Furtseli” reported this fact: “Chichilaki, which is made in western Georgia for the New Year, raised widespread curiosity. According to Sakhokia, this object represents a remnant of the cult of the New Year God in Georgia. Chichilaki, decorated like a bride, was meant as an offering to this god. To substantiate this idea, Sakhokia interviewed the Ainu living on the island of Yezo, who also make a similar object for the god’s offering.” The scientific community at the time responded critically to this hypothesis. In one of the next issues of the newspaper, we read: “If anyone is interested in the question of Chichilaki and, in general, of the New Year celebrations, there is relevant material collected by and opinions expressed by K. A. Inostrantsev. The young scholar explores the issue, comparing it to ancient and modern phenomena in Persia, noting that the Persians, of
mcxovrebni ainebi, romlebic swored imeruli CiCilakis msgavs nivTs akeTeben Turme RmerTis Sesawiravado“. maSindeli samecniero sazogadoeba kritikulad gamoxmaurebia am mosazrebas. imave gazeTis erT-erT momdevno nomerSi vkiTxulobT: „CiCilakisa da sazogadod kalandobis, axali wlis gadalocvis Sesaxeb, Tu visme eg kiTxva ainteresebs, sayuradRebo masala aqvs Segrovili da Tavisi azric gamoTqmuli k. a. inostrancevs. axalgazrda mecnieri aRZrul sakiTxs arkvevs, adarebs ra mas sparseTis Zvel da axal Tanabar movlenaT, xolo sparsni, rasakvirvelia, kulturulad ufro mWidrod iyvnen SekavSirebulni qarTvelebTan, vidre „kunZul iezos mcxovrebi ainebi“.
dReisaTvis udaoa, rom CiCilaki Tavisi warmoSobiT gacilebiT ufro arqaulia, vidre sparsul-qarTuli urTierTobebi, amitom al. inostrancevis mosazreba calsaxad SegviZlia mcdarad CavTvaloT, Tedo saxokias sayuradRebo SeniSvna ki samecniero sivrceSi dafiqsirebuli erTaderTi mcdelobaa CiCilakisa da inaus Sedarebisa.
course, were more closely related culturally to the Georgians than the ‘Ainu people of the island of Yezo.’”
Today, it is undeniable that Chichilaki has a much older origin than the Persian-Georgian connections, so we can unequivocally regard Inostrantsev’s theory as incorrect. Tedo Sakhokia’s valuable observation remains the only scholarly attempt to compare Chichilaki and Inau.
Before we explore Inau in more detail, let us briefly consider the Ainu people, whose origins and anthropological type are still a subject of debate among scientists. The Ainu language does not belong to any known language family and is one of the world’s isolated languages.
The Ainu are the indigenous people of the Japanese islands. As of 2002, their population was officially recorded as 25,000, though unofficial estimates suggest there may be up to 200,000. Recognized as a national minority by the Japanese government, modern Ainu are practically assimilated and are scarcely distinguishable from the Japanese population. In addition to the Japanese islands, the Ainu historically lived on the Kamchatka Peninsula and Sakhalin Island. According to 2010 data, there were only 109 Ainu recorded in Russia.
sanam inaus Sesaxeb ufro vrclad mogiTxrobdeT, Tvali gadavavloT mokle cnobebs mkvlevarTaTvis Tavsatexad qceuli xalxis Sesaxeb, romelTa warmomavlobisa da anTropologiur tipis Sesaxeb mecnierebi dRemde ver Tanxmdebian, ainuri ki enaTa arc erT ojaxs ar miekuTneba da msoflios izolirebul enaTagan erT-erTia.
ainebi iaponiis kunZulebis aborigeni mosaxleobaa. 2002 wlisTvis maTi ricxvi oficialuri monacemebiT 25 aTasi iyo, araoficialurad ki 200 000-mde. iaponiis mTavrobis mier isini aRiarebuli arian erovnul umciresobad, Tumca dRevandeli ainebi praqtikulad asimilirebulni arian da iaponelebisgan naklebad ganirCevian. iaponiis kunZulebis garda ainebi cxovrobdnen kamCatkaze da saxalinze. 2010 wlis monacemebiT ruseTSi aRricxuli iyo 109 aini. ainebi msoflios erT-erTi uZvelesi xalxia. mravali avtoris mosazrebiT swored maT winaprebs ukavSirdeba iaponiis teritoriaze aTasobiT wlis win TviTmyofadi kulturis „Zemoni~ Camoyalibeba. aRsaniSnavia, rom samuraebis sabrZolo xelovnebaSi bevri ram aris ainuri warmomavlobis. ainuri tradicia pere ki, savaraudod, safuZvlad daedo samuraebis TviTmkvlelobis xerxs _ harakirs. xangrZlivi eqspansiis Sedegad ainus xalxi asimilirda da dResdReobiT maT garCeva Tanamedrove iaponelebisgan Znelia. praqtikulad mkvdar enad iTvleba
The Ainu are among the world’s oldest peoples. Many scholars link their ancestors to the development of a distinctive culture, “Jomon,” on the Japanese archipelago thousands of years ago. Notably, elements of Ainu tradition have influenced Samurai martial arts. It is believed that the Ainu practice pere, a tradition that may have given rise to the Samurai practice of hara-kiri (ritual suicide). Due to prolonged expansion, the Ainu people have assimilated, making it difficult to distinguish them from modern Japanese. The Ainu language is considered nearly extinct, with only about 200 speakers remaining by 2006.
There are various theories regarding the origin of the Ainu people. Some researchers consider them to have an Australoid ancestry, while others classify them as Proto-Mongoloid. Another group believes the Ainu to be of European descent, with their language potentially linked to Paleoeuropean languages. Interestingly, a few years ago, an article in a Georgian publication suggested a connection between the Ainu language and Iberian-Caucasian languages.
Determining the origins of the Ainu people and their language remains a challenging subject of scientific research, with dozens of scholars currently engaged in the debate. Our goal, however, is to introduce the Ainu’s sacred object, Inau, which is inseparable from their way of life, and to express our thoughts on the similarities and functions of Inau and its counterpart, Chichilaki.
Inau holds a significant place in Ainu life. It is an essential part of
ainuri enac, romelzedac 2006 wlis monacemebiT 30 aTasamde ainidan 200 adamiani saubrobda. ainebis warmomavlobis Sesaxeb gansxvavebuli mosazrebebi arsebobs. mkvlevarTa nawili maT avstraloiduri warmomavlobis xalxad Tvlis, nawils isini protomongoloidebad miaCnia, nawili ki fiqrobs, rom ainebi evropeiduli warmomavlobisani arian da maTi enac paleoevropeidulad miaCnia. sxvaTa Soris, ramdenime wlis win dabeWdil erT-erT qarTul gamocemaSi ainuri enis iberiul-kavkasiur enebTan dakavSirebis mcelobasac vxvdebiT.
ainebis warmomavlobisa da maTi enis adgilis gansazRvra rTuli samecniero kvleva-Ziebis sagania, romelzec dRes aTobiT mkvlevari fiqrobs da msjelobs. Cveni mizani ki mxolod isaa, rom mkiTxvels gavacnoT cnobebi inaus Sesaxeb, romelic ainTa cxovrebis ganuyofeli atributia da gamovTqvaT mosazreba inausa da misi tyupiscalis _ CiCilakis msgavsebisa da funqciis Sesaxeb. inaus ainis cxovrebaSi mniSvnelovani adgili uWiravs.
their daily existence, accompanying every major life event. An Inau would be prepared if someone fell ill, and another one would be made to mark their recovery. Inau were also crafted before hunting trips, as a blessing for successful hunting or fishing, as offerings to gods, shamanic rituals, or as charms for good luck, healing, and pain relief, among other purposes.
Unlike Chichilaki, there are many different types of Inau. Some are meant to be placed indoors, while others are intended for the outdoors. The outdoor Inau was much larger than those placed inside, sometimes even as tall as a tree.
Inau were imagined and distinguished as representations of both male and female figures. Some Inau stood alone, while others were arranged in groups. These groupings could consist of couples, families with children, or a master with his servants. During the traditional Ainu bear festival, entire forests of Inau would be erected as part of the celebration.
Another key difference between Chichilaki and Inau is the frequency of their creation. As you know, Chichilaki is typically made for the New Year celebration, but Inau could be both permanent or created for specific occasions. Permanent Inau include those made for
inau maTi yoveldRiuri cxovrebis nawilia da maTi sicocxlis yvela mniSvnelovani movlenis aucilebeli Tanmxlebi da Tanamdevia. inaus amzadebda aini Tuki avad gaxdeboda; gamojanmrTeldeboda Tu ara, amis aRsaniSnavad isev inau mzaddeboda; inaus amzadebdnen sanadirod wasvlis win da nadirobidan dabrunebisas, saTevzaod wasvlis win da kargi TevzWeris samadloblad, RmerTebisTvis, SamanebisTvis, iRblisTvis, samkurnalo samkaulad, tkivilis sawinaaRmdegod da a.S.
Cveneburi CiCilakisagan gansxvavebiT inaus mravali saxeoba arsebobs. zogi maTgani Sin dasadgmelia, zogic saxlis gareT Tavsdeba. gareT dasadgmeli inau zomiT bevrad aRemateboda Sinisas da zogjer xis simaRlisac ki iyo. inaus adamianismagvaradac warmoidgendnen da ganarCevdnen qal da mamakac inauebs. zogi inau marto idga, zogic ki TavisnairebTan erTad jgufSi. jgufur inauebs Soris ki SeiZleboda SexvedrodiT col-qmar inaus SvilebiT, an batons Tavisi damxmareebiT. aseTi inauebis mTeli tye idgmeboda ainebis tradiciuli daTvis dResaswaulis aRniSvnisas.
kidev erTi gansxvaveba CiCilaksa da inaus Soris misi damzadebis periodulobaa. mogexsenebaT, CiCilaks sakalandod, anu axali wlis Sesaxvedrad amzadebdnen
fire, the hearth, doorways, and thresholds. These would be renewed periodically, sometimes once a year or more frequently. Older Inau were carefully placed in designated spots with great reverence. In addition to these, special Inau were created for specific events like hunting, healing, good fortune in fishing, and pain relief.
“It can be said without exaggeration that the making of Inau occupies an important part of Ainu life,” wrote the famous ethnographer Lev Sternberg.
Many cultures across the world, despite the vast physical distances separating them, share common elements. These shared cultural aspects can be explained by their universal nature. Ancient humans, no matter where they lived on Earth, greeted the sunrise with the same sense of relief and hope for light and warmth. It is no surprise, then, that many cultures deified the sun in their beliefs. Imagine the comfort that the moon, shining through the clouds, must have given to people in the dark, pre-electronic world. It’s no wonder that the human mind came to worship this celestial body, especially in hot climates. Stars, mountains, rivers, giant trees, and peaks – all these were objects of reverence for ancient humans in various parts of the world. Few things in the universe were as necessary to humankind as fire. Archaeological evidence shows that humans were using fire 300,000 to 400,000 years ago, and for hundreds of thousands of years thereafter, fire meant survival – protection from the cold, the dangers of darkness, and animal attacks. Even today, we still preserve the symbolism of the hearth to mark the continuation of life, and the sacredness of the hearth and its related attributes is well known in Georgian ethnology. Humans learned how to make fire easily, and the extinction of a fire was no longer seen as the downfall of a family. However, for hundreds of thousands of years, reverence for the fire’s persistence and the protection it offered continued to play a role in everyday life. As late as the early twentieth century, a housewife from Lechkhumi would utter before going to bed: “Wait for me, wait for the sun, wait for the moon to rise…”
Considering this, it should not be surprising that objects associated with the creation and reigniting of fire took on a sacred significance. We consider Inau, in its various forms, to be such an object, representing one of the ancient variations of this practice.
Our culture, positioned at the crossroads of diverse cultural influences, has traversed an immense span of time since the Stone Age. Along the way, many things passed down from the most ancient times have been transformed, acquiring new meanings in different epochs. It is possible that Chichilaki, regarded by Georgian scholars as an embodiment of the “Tree of Life,” was originally an object used to light fires – perhaps a pointed wooden stick with bristles. For hundreds of thousands of years, it would have served as the “Tree of Life,” because with it, fire was sparked – an essential source of life, much like the sun. As cultures evolved, and its original function faded, Chichilaki came to symbolize the reverence for trees and acquired an anthropomorphic form. Today, it brightens the New Year celebrations as “a plant from a distant star.” Perhaps the tradition of burning Chichilaki the night before Epiphany is a reflection of its ancient purpose in the distant past.
da amzadeben, inau ki damzadebis drois mixedviT iyo mudmivic da ama Tu im SemTxvevisaTvis Seqmnilic. mudmivia cecxlis inau, keris inau, zRurblis inau, karis inau da a.S. Tumca maTac periodulad, weliwadSi erTxel an ufro xSirad anaxlebdnen, Zvel inaus ki gansakuTrebuli mowiwebiT ganaTavsebdnen ganazRvrul adgilebSi. amis garda, rogorc aRvniSneT, mzaddeboda ama Tu im SemTxvevasTan dakavSirebuli inau: nadirobasTan, avadmyofobasTan, iRblian TevzWerasTan, tkivilis sawinaaRmdego da a.S. „gadauWarbeblad SeiZleba iTqvas, rom aini cxovrebis mniSvnelovan nawils uTmobs inaus damzadebas“, _ werda cnobili eTnografi lev Sternbergi. kacobriobis mraval, maT Soris sivrciT erTmaneTisagan daSorebul kulturebs, gansxvavebebis gverdiT bevri ram aqvT saerTo. kulturis es saerTo elementebi maTi universaluri xasiaTiT aixsneba. dedamiwis nebismier kuTxeSi mcxovrebi uZvelesi adamiani erTnairi SvebiTa da sinaTlis da siTbos imediT xvdeboda mzis amosvlas, amitomac bevri xalxis rwmena-warmodgenebSi iyo mze gaRmerTebuli. warmoidgineT sibneliT dazafruli (cxadia rom utelefono da ueleqtrono) mzgavrisTvis rogori Sveba iyo Rrublebidan gamonaTebuli mTvare da, ra gasakviria, rom adamianis gonebam gaaRmerTa es mnaTobi, miTuemetes, cxeli klimatis garemoSi. varskvlavebi, mdinareebi, bumberazi xeebi da mTebi _ es yvelaferi uZvelesi adamianis Tayvaniscemis obieqti iyo dedamiwis sxvadasxva kuTxeSi. maT gverdiT cota ram aris samyaroSi, romlis arseboba Tavis siaxloves dedamiwis nebismier kuTxeSi mcxovreb adamians ise sWirdeboda, rogoric cecxlisa. arqeologiuri kvlevebi gvamcnobs, rom 300-400 aTasi wlis win adamianTa sadgomebSi ukve fiqsirdeba cecxlis gamoyeneba da amis Semdeg mravali asobiT aTasi weli Tu cecxli enTo maT samyofSi, es niSnavda gadarCenas sicivisgan, sibnelis xifaTisgan, cxovelis Tavdasxmisgan. aki dRemde SemogvrCa sicocxlis gagrZelebis aRsaniSnavad gauqrobeli keris xateba, xolo Suacecxlisa da masTan dakavSirebuli atributebis sakraluroba kargadaa cnobili qarTul eTnologiaSi. adamianma iswavla cecxlis iolad miReba da misi gaqroba ukve aRar udrida ojaxis daqcevas, magram asobiT aTasi wlis ganmavlobaSi mosafrTxel-saloliavebi da argasaqrobi naRverdalis mowiweba meoce saukunis pirvel naxevarSic ase aferebinebda daZinebis win Sesaxvev cecxls leCxumel diasaxliss: „me melode, mzes elode, mTvares eRadRadebode...“ zemoTqmulis gaTvaliswinebiT gasakviri ar unda iyos mowiweba da sakralurad qceva iseTi ramisa, romelic cecxlis anTebaSi, mis Tavidan dabadeba-abrialebaSi iqneboda CarTuli da Cven swored aseT sagnad migvaCnia inaus is variaciebi, romlebic mis arqaul saxesxvaobebad miiCneva.
kulturaTa gzajvaredinze myofma Cvenma kulturam qvis xanidan dRemde drois Tvaluwvdeneli manZili gamoiara da am drois ganmavlobaSi bevri ram, rac swored uZvelesi droidan SemogvrCa, gvaqvs garkveulwilad saxecvlili, axal epoqaSi axalmniSvnelobaminiWebuli. SesaZloa, CiCilakic, romelsac „sicocxlis xis“ motivis gansaxierebad miiCneven qarTveli mkvlevrebi, swored cecxlis gamCen-amabrialebeli sagani iyo, wawvetebuli xis joxi burbuSelebiT. asobiT aTasi wlis ganmavlobaSi swored rom „sicocxlis xe~ iqneboda igi, radganac misi daxmarebiT ainTeboda sicocxlisTvis mzesaviT saWiro da Seucvleli _ cecxli. da roca kulturis ganviTarebasTan erTad man Tavisi Tavdapirveli funqcia dakarga, misi aRqma dauwyvila xeTa Tayvaniscemas, SeiZina anTropomorfuli ieri da dRes axali wlis mosvlas gvilamazebs `Sori gzidan mosuli varskvlaveTis mcenare“. iqneb xalxSi gavrcelebuli wesic, rom CiCilaki naTlisRebis wina RamiT aucileblad cecxlSi unda daiwvas, Zalzed Soreul warsulSi arsebuli misi Tavdapirveli funqciis anareklia...
ranina _ sikeTis xma!
Ranina – The Voice of Kindness
televizorSi, radioSi, scenaze Tu socialur qselebSi, dRes TiTqmis yvelgan ismis proeqt „raninaSi“ monawileTa mier Sesrulebuli simRerebi da is gulgrils aravis tovebs. originaluri sabavSvo musikaluri proeqti „ranina“ _ simReris konkursia 8-dan 14 wlamde asakis momRerlebisTvis. iq, bavSvebi samagaliTo Semsruleblebad yalibdebian da mcire asakis miuxedavad, STambeWdav gamocdilebasac iReben. musikalurad mravalferovani talantSou, sabavSvo segmentze gaTvlil media-proeqtidan, erT-erTi gamorCeuli, sayvareli momRerlebis saxlad iqca. yvelaferi swored maSin iwyeba, rodesac bavSvebi gadian did sakonkurso SerCevas, winare turebidan ki aTeulSi gadasulebi, pedagogebisgan fasdaudebel codnas iReben, maleve ki satelevizio eTerSi gasvlisas, maTze momuSave operatorebiT, xmis reJisorebiT, gamnaTeblebiT, grimiorebiT Tu samxatvro xelmZRvaneliT, iwyeba niWis da talantis zeimi, Tumca rogorc monawileebisTvis, ise samxatvro gundisTvis, zeimamde misasvleli gza gamowvevebiTaa aRsavse. is Tu, rogor iqmneba „ranina~ da ra aris „is“, ufrosi da umcrosi _ Tavad raninelebi mogviyvebian...
lana quTaTelaZe (proeqtis avtori): bevri vifiqreT, Tu ra forma SegveZlo mogveZebna iseTi musikaluri proeqtisTvis, romelic Tavisi struqturiT, gansxvavebuli iqneboda, aramarto saqarTveloSi, aramed msoflio gamocdilebidanac. `raninas~ formati, saqarTvelos kulturuli ganviTarebidan gamomdinareobs da is saSualebas gvaZlevs, Janrobrivad Zalian mravalferovani viyoT.
„raninas~ mravalferovneba, oTx Tematur turSia moqceuli, TiToeuli „koncerti-turi~ or teleepizodad iyofa, sadac, Jiuris sami wevri, Semsrulebels, 10 quliani sistemiT afasebs _ vokals, Sesrulebas, artistizms, kolaboracias.
lana quTaTelaZe: es oTxi komponenti srulad akmayofilebs imas, rac unda hqondes konkursants. TavisTavad vokali unda gqondes, Tumca SeiZleba Zalian kargi sasimRero diapazoni, SesrulebaSi problemuri iyos. Semdeg modis kolaboracia. TiTqmis yovel turSi gvaqvs sxvadasxva SemsrulebelTan dueti, aucilebelia gundurobis gancdac. artistizmze ki axals arafers vityvi, unda monusxo Seni vokaliT msmeneli, Cven scenaze
Whether on television, radio, stage, or social media, songs performed by the participants of the “Ranina” project seem to resonate everywhere today, leaving no one indifferent. The original children’s musical project Ranina is a singing competition for young vocalists aged 8 to 14. Within this platform, children transform into exemplary performers and, despite their tender age, acquire remarkable experience. A musically diverse talent show aimed at a younger audience, Ranina has become one of the standout media projects and a cherished home for beloved young singers.
The journey begins with a rigorous selection process, where those advancing to the final ten receive invaluable guidance from mentors. Once the televised episodes commence, the participants work alongside operators, sound engineers, lighting designers, makeup artists, and artistic directors, creating a true celebration of talent and artistry. However, for both the young contestants and the creative team, the path to this celebratory stage is fraught with challenges. How does Ranina come to life, and what lies at its heart? The answers are shared by both the junior and senior Ranina family members themselves.
Lana Kutateladze (Project Creator and Producer): “We deliberated extensively on the format for a musical project that would not only stand out structurally in Georgia but also diverge from global precedents. The format of Ranina is deeply rooted in Georgia’s cultural development, allowing us to embrace a broad range of musical genres.”
The diversity of Ranina is encapsulated in its four thematic rounds. Each “concert round” is divided into two televised episodes, during which a three-member jury evaluates the performers on a 10-point scale based on four criteria: vocal ability, performance, artistry, and collaboration.
Lana Kutateladze: “These four components encompass everything a contestant should possess. Naturally, a strong vocal ability is essential, but even an impressive vocal range can falter in performance. Then comes collaboration. Almost every round includes duets with various artists, fostering a sense of teamwork. As for artistry, it needs no explanation – you must captivate the audience with your voice. We don’t dance on stage; one can stand entirely still, yet convey immense artistry through facial expressions and eyes.”
One of the finest examples of artistry was offered by Vache Gviniashvili during his rendition of Gogi Tsabadze’s Pankesas simghera.
Vache Gviniashvili: “I vividly remember Pankesas simghera because, during that performance, I felt a profound sense of freedom!
vaxtang qanTaria
VAKHTANG KANTARIA
ar vcekvavT, SeiZleba absoluturad umoZraod idge, magram saxiT, TvalebiT, did artistizms qmnide. artistizmis erT-erTi saukeTeso magaliTi, SemogvTavaza vaCe RviniaSvilma, gogi cabaZis „pankesas simReris“ Sesrulebisas. vaCe RviniaSvili: kargad damamaxsovrda `pankesas simRera~, radgan maSin, simReris dros, vigrZeni didi Tavisufleba! TiToeuli noti, bgera, taSi da wami _ uzomo bednierebas mgvrida! zustad, am bednierebis gadmocemis mizniT, `raninam~, Tavidanve, qarTulenovani musikis popularizaciisken aiRo gezi da Sesrulebis kulturis waxalisebac daiwyo. es, gadacemis avtorebs da prodiuserebs, ganzrax CaufiqriaT...
lana quTaTelaZe: vTvli, rom amerikelze ukeT, amerikuls ver SevasrulebT. Cven vuyurebT reitings, reaqcias, CarTulobas…da amas, pirvelad vambob sajarod _ gamocdilebam gvaCvena, rom bavSvebis araCveulebrivad Sesrulebuli simRerebis miuxedavad, iq sadac metad gvqonda ucxouri musikis turebi, mayureblis mxridan emocia naklebad modioda.
Every note, every sound, every clap, every moment filled me with immense joy!”
With the aim of sharing this joy, Ranina has, from the outset, prioritised the popularisation of Georgian-language music, alongside the promotion of performance culture – a deliberate decision by the programme’s creators and producers.
Lana Kutateladze: “I firmly believe we cannot perform American music better than Americans themselves. We pay close attention to ratings, reactions, and engagement. And I’ll say this publicly for the first time – our experience has shown that, despite the exceptional performances of foreign songs by our contestants, rounds with more international music often elicited less emotional response from the audience.”
The goal of Ranina’s concert diversity is to enable participants to explore their potential across a range of musical styles, from musicals to ethno-jazz. Among the competition rounds, the Folklore Concerts stand out as particularly memorable. Watching contestants transform while dressed in traditional Georgian attire could itself be considered a standalone television project. In this folklore segment, the contestants are often accompanied by the Shavnabada Ensemble, which boasts several folk albums and a 15-year legacy of continuous stage
`raninas~ koncertebis mravalferovnebis mizania, monawileebma sakuTari SesaZleblobebi mosinjon sxvadasxva musikalur mimdinareobebSi, dawyebuli miuziklebidan _ damTavrebuli eTnojaziT. Tumca, sakonkurso turebs Soris, STambeWdavi mosasmenia „folkloris koncertebic“. erovnul samosSi gamowyobili konkursantebis gardasaxvis xilva, ki calke teleproeqtadac SegviZlia movnaTloT. folkloris turSi, yvelaze xSirad, monawileebs zurgs ansambli „Savnabada~ umagrebs. maT angariSze, ramdenime folkloruli albomi da 15 wliani uwyveti istoriaa, scenaze gamosvlis _ daviT cincaZis lotbarobiT da xelmZRvanelobiT. `raninas~ gamorCeul folklorul Sesrulebebs Soris, SegviZlia gavixsenoT barbare imnaZis da laSa bedenaSvilis vokaluri dueti _ „aWaruli Sairebi“, romelSic Congurze ansamblis xelmZRvaneli, daviT cincaZe ukravs. barbarem, vokaliT, artistizmiT SeZlo gadmoeca am kuTxis silaRe, simsubuqe, sixalise da amasTan erTad, sakuTari xasiaTic Caeqsova... mas msmenelSi didi aRfrTovaneba mohyva. masTan erTad, saintereso gamodga anastasia masuraSvilis „raWuli suitis~ xilvac _ Sesrulebisas ritmis aCqarebasTan erTad, anastasias vokaluri xasiaTis cvlilebam, msmeneli aiZula acekvebuliyo da simReris nawilad qceuliyo. gamorCeulad, rTuli gamowvevis winaSe, mariam bigvava aRmoCnda, musikalurad unikaluri aranJirebis
performances under the direction of Davit Tsintsadze.
Among the remarkable folklore performances of Ranina, we can recall the vocal duet of Barbare Imnadze and Lasha Bedenashvili in Adjaruli Shairebi, accompanied on Georgian Chonguri by the ensemble’s leader, Davit Tsintsadze. Barbare’s vocals and artistry captured the lightness, joy, and liveliness of this region while embedding her own character into the performance. The audience was thoroughly captivated. Equally impressive was Anastasia Masurashvili’s rendition of the Rachuli Suite. As the tempo accelerated, the shift in Anastasia’s vocal dynamics compelled the audience to dance and become an integral part of the song.
Mariam Bigvava faced a particularly challenging task with Abkhazian Funk, a song with musically unique arrangements performed in the original version by the band Kai Ambavi. The song’s complexity lies in its tonal shifts, transitioning from G major to C major, while the percussion and bass guitar repeatedly alter rhythmic patterns and accents. This added layers of difficulty to the vocal execution. For Mariam, the concert version was adapted to E major.
Mariam Bigvava: “Until then, I had sung in Georgian, English, and Megrelian, but never in Abkhazian. It was a challenge to pronounce those intricate words, especially at such a fast tempo. I gave it my all to overcome the obstacles and present myself with dignity before the audience. They embraced it, and the performance was shared widely on various platforms. People danced and sang along to the song. During the folklore round, I collaborated with such talented musicians that I grew professionally in leaps and bounds.”
For Georgia, the folklore round holds even greater significance in the
mqone simReris, „afxazuri fanqis~ Sesrulebisas, romelic bendis _ „kai ambavi~ (KAI AMBAVI) _ saavtoro versiiT Sesrulda. simReris sirTule mis tonalur cvalebadobaSia, sol maJoridan iwyeba da gadadis do maJoris tonalobaSi, dasartyami ki bas-gitarasTan erTad, mravaljer cvlis riTmul monaxazs, anu dartymiT aqcentebs... es vokalur amocanas ramdenjerme arTulebs. mariamisTvis ki, sakoncerto versia, mi maJorSi adaptirda. mariam bigvava: manmade, qarTulis garda, namReri mqonda inglisurad, megrulad, magram arasdros Semisrulebia afxazurad, erTgvari gamowveva iyo, am urTulesi sityvebis gamoTqma... Tan sakmaod swrafi tempiT... yvelaferi gavakeTe, rom dameZlia da mayureblis winaSe Rirseulad warvmdgariyavi. maT aitaces, gavrcelda sxvadasxva gverdze, am simReraze cekvavdnen da mRerodnen. folkloris turSi ki iseT musikosebTan vTanamSromlobdi, rom profesiulad, ufro da ufro gavizarde. saqarTvelosTvis, folkloris turi, kidev ufro did rols iZens Tanamedrove samyaroSi, sadac, avTenturi da pirvelsaxovanTan axlo mdgomi JReradobebi, sxvadasxva cifruli teqnologiebis gziT, nel-nela erTmaneTs emsgavseba da kargavs adamianis TviTmyofadur Sesrulebis xasiaTs. msgavsi gamowvevebis winaSe msoflio scenacaa. lana quTaTelaZe: ramdenic ar unda viaroT, aqeT iqiT, rac ar unda SevqmnaT, vfiqrob, qarTul folklorze Rirebuli, arc araferi gvqonia. vTvli, es aris is saganZuri, romelic gaCenis dRidan, bavSvs unda asmenino. guruli krimanWulidan dawyebuli, kaxuri mravalJamieriT damTavrebuli _ maTSi aris mTeli msoflios musika, Tu amas bavSvs Caunergav _ aTi nabijiT win xar“. `raninelisTvis~, win gadadgmul nabijSi, erT-erT gadamwyvet rols, pedagogebi asruleben. yvela `ranineli~, dRemde did madlierebas da siyvaruls gamoxatavs maTdami. `raninas~ mayureblebisTvis ki gansakuTrebiT sasiamovno sayurebelia, is Tu, rogor ixvewebian bavSvebi _ turidan turamde.
vaCe RviniaSvili: pedagogebma simRera maswavles, misi vokaluri da artistuli nawili! maswavleblebi gexmarebian daZlio nebismieri sirTule da... aRgvzardes gemovnebiani musikis msmenel-momRerlebad. pedagogebis garda, proeqtSi monawiles, saSualeba eZleva, ukve gamocdil musikosebTan erTad, duetis saxiT warsdges msmenelis winaSe. `raninas~, tradiciulad stumroben saqarTveloSi moRvawe sxvadasxva Janris, saukeTeso da moqmedi musikosebi. aq erTiandeba didi musikaluri wre. momavali Taoba ecnoba Semsruleblebs, romlebsac, sakuTari SemoqmedebiT, msoflio aqvT Semovlili. niko qajaia: ar SeiZleba ar gamovyoT maestro nikoloz raWvelTan da mis orkestrTan erTad Sesruleba. es iyo cocxali musikis zeimi, romelic mTeli sicocxlis ganmavlobaSi gamyveba. am turma musikis sxva siRrmeebi
modern world, where authentic and traditional sounds are increasingly homogenised and losing their distinctiveness due to digital technologies. This challenge is faced globally.
Lana Kutateladze: “No matter how far we travel or what we create, I believe nothing is more valuable than Georgian folklore. It is a treasure that should be introduced to children from birth. From the Gurian Krimanchuli to the Kakhetian Mravaljamier, these songs embody the music of the entire world. If you instil this in a child, you’re ten steps ahead.”
For Ranina participants, one of the crucial elements in their journey of growth is the role of their mentors. Every participant expresses immense gratitude and affection for the teachers who guide them. For the audience, one of the most delightful aspects is witnessing how the children refine their craft with each round.
Vache Gviniashvili: “The teachers taught me to sing – not just vocally but with artistry. They help you overcome any difficulty and raise you to become a discerning listener and performer of tasteful music.”
Beyond the mentors, participants also get the chance to perform duets with seasoned musicians. Ranina traditionally welcomes the finest and most active musicians working in Georgia across various genres. This creates a rich musical circle where the younger generation connects with
damanaxa, TiToeul bgerasTan _ faqizi, minimalisturi da saTuTi mopyroba maswavla, romliTac gamoirCeva _ qarTuli simRera.
proeqtSi mowveul musikosTa CamonaTvali ki STambeWdavia: Sophie Villy, Asea Sool, beqa goCiaSvili, gigaSa, zviad bolqvaZe, The Bookmarks, The Quintessence, nikoloz raWveli, nato metoniZe, Savnabada, nodariko xuciSvili, Sandro Bibich, liza kalandaZe, mebo nucubiZe, Tbilisis bavSvTa kapela, niaz diasamiZe & 33a, Salio da sxv. `raninas~ monawileebs eZlevaT saSualeba piradad gaicnon moqmedi musikosebi saqmeSi da ukve saxelmoxveWil adamianebisgan, rCevebic miiRon.
lana quTaTelaZe: isini swavloben gansxvavebas, ratom aris erTi musikosi faseuli da meore naklebad, es ukve mniSvnelovania. rodesac erTi erTze xar beqa goCiaSvilTan, 9-10 wlis bavSvi... da erTad simReris versias qmniT, xedav Tu rogor eZebs es niWieri pianisti saukeTeso variants bendTan erTad... saaTobiT... ggonia koncerts eswrebi… es bavSvi, SeiZleba ver xvdeba, ra xdeba mis Tavs, magram xom eleqebaT gonebaSi? is Tu ra aris aranJireba, swori, gamarTuli versiis povna...
artists who have travelled the world with their artistry.
Niko Kajaia: “I must highlight the unforgettable experience of performing with Maestro Nikoloz Rachveli and his orchestra. It was a celebration of live music that I will carry with me for a lifetime. That round revealed to me the profound depths of music, teaching me a delicate, minimalist, and tender approach to each note – qualities that define Georgian song.”
The list of musicians invited to Ranina is indeed impressive: Sophie Villy, Asea Sool, Beka Gochiashvili, Giorgi Gigashvili, Zviad Bolkvadze, The Bookmarks, The Quintessence, Nikoloz Rachveli, Nato Metonidze, Shavnabada, Nodariko Khutsishvili, Sandro Bibich, Lisa Kalandadze, Mebo Renard, Tbilisi Children’s Capella, Niaz Diasamidze & 33A, Salio, and others. Participants of Ranina are given the opportunity to meet these active musicians in person, observe their craft, and receive advice from renowned professionals.
Lana Kutateladze: “They learn the difference between why one musician is valued more and another less. That alone is important. When a 9-10-year-old child works one-on-one with Beka Gochiashvili, creating a version of a song together, they see how this talented pianist searches for the best option with the band for hours. It feels like you’re attending a concert. The child may not fully understand
proeqti `raninas~ gamarjvebulebi, kidev ufro didi gamowvevis winaSe dgebian, rodesac sabavSvo evrovizize saqarTvelos waradgenen Cvens kontinentze _ evropaSi. rTulia ar gagaxsendes `ranineli~ niko qajaias mier, parizSi Sesrulebuli, giga kuxianiZis dawerili simRera _ „davagrovoT Rimilebi“.
niko qajaia: „evroviziaze“, ukve ar warmoadgen mxolod Sens Tavs an ojaxs, es pasuxismgeblobaa sakuTari xalxis winaSe. simarTle giTxraT, ar aris martivi „evroviziaze“ gamosvla, magram me, vgrZnobdi qarTvelebis udides mxardaWeras, siyvaruls, romelic warmoudgeneli bednierebaa.
2018 wlidan, tradiciulad, „raninas~ gamarjvebuli `evroviziis~ am konkursSi saqarTveloa. aseTi, pirveli Semsrulebeli, `ranineli~ _ Tamar edilaSvili gaxda, feminuri xasiaTis, mciredi sevdis da nostalgiis momtani, imediani pop rokis simReriT „Seni xma“, sofo toroSeliZes da aleqsandre lorTqifaniZis avtorobiT. mas maleve mohyva fank-popis stilSi, gadawyvetili giorgi rostiaSvilis mier Sesrulebuli „Cven siyvaruli gvWirdeba~, daTo evgeniZis avtorobiT da sandra gadelias namReri popiT _ „Sen ar xar marto“, giga kuxianiZis da Temo sajaias kompoziciiT. mariam bigvavas „mjera~ _ ki `evroviziaze~ saqarTvelos mesame adgili moutana. mariam bigvava: `evrovizia~ `zRapar-raninas~ gagrZeleba iyo, dRemde sizmariviT maxsovs, rogorc `raninas~ turebi, aseve `evroviziisTvis~ mzadebac... me miyvars konkursebi da gamowvevebi, amitom yvelafers vakeTebdi, rom ar Semtyoboda daRla da Rirseulad warmedgina saqarTvelo evropisTvis.
mogvianebiT, qarTuli harmoniebis da Janri World-is gavleniT `sabavSvo evroviziis~ mayureblis winaSe, mebo nucubiZis da Betkho-s mier Seqmnili simReriT _ Anastasia & Ranina wardgnen, vokaluri jgufis Semadgenlobas warmoadgendnen: anastasia vasaZe, nikoloz xarati da oTo bezaraSvili. `sabavSvo evroiziis~ gamarjvebis momtani ki aRmoCnda andria futkaraZis namReri „To My Mom _ dedas“. giga kuxianiZis mier dawerilma kompoziciam, srulad SeZlo andrias maRali registris mqone vokaluri monacemebis warmoCena da evropel msmenelTan erTad, Jiuris monusxvac. es „raninelis“ qolgis qveS pirveli gamarjvebaa, sabavSvo evroviziis istoriaSi, xolo saqarTvelosTvis _ ukve meoTxe! calke aRniSvnis Rirsia, `raninas~ konkursantebis mSoblebi, romlebic aranakleb ganicdian TiToeul sakonkurso dRes; ramdenime `raninelma~ isic aRniSna, rom mSoblis rCeviT gadawyvites bedi ecadaT da proeqtSi gamosuliyvnen, zog SemTxvevaSi, orjerac ki. `raninas~ mayurebeli am Tavgadasavlis calke istoriaa... komentarebs, romelsac videoebis qveS yoveldRiurad weren da aziareben, aris didi pozitivis, siamayis,
what’s happening, but doesn’t it imprint on their mind? They grasp what arrangement means, how to find the right, polished version.”
Winners of Ranina face an even greater challenge when representing Georgia at the Junior Eurovision Song Contest on the European stage. It’s hard not to recall Niko Kajaia performing Giga Kukhianidze’s Let’s Count the Smiles in Paris.
Niko Kajaia: “At Eurovision, you’re not just representing yourself or your family. It’s a responsibility to your people. Honestly, performing at Eurovision isn’t easy, but I felt the immense support and love of Georgians, which is an incredible happiness.”
Since 2018, Ranina’s winners have traditionally represented Georgia at Junior Eurovision. The first was Tamar Edilashvili, with the hopeful pop-rock song Your Voice by Sopho Toroshelidze and Aleksandre Lordkipanidze. She was followed by Giorgi Rostiashvili, with the funk-pop piece We Need Love by David Evgenidze, and Sandra Gadelia, performing You Are Not Alone by Giga Kukhianidze and Temo Sajaia. Mariam Bigvava’s I Believe earned Georgia third place at Eurovision.
Mariam Bigvava: “Eurovision was like the continuation of Ranina’s fairytale. I still remember it like a dream – the tours, preparing for Eurovision. I love competitions and challenges, so I did everything to hide my fatigue and represent Georgia worthily in Europe.”
Later, influenced by Georgian harmonies and genre world music, Anastasia & Ranina performed a song by Mebo Nutsubidze and Betkho. Representing Georgia, their vocal group included Anastasia Vasadze, Nikoloz Kharati, and Oto Bazerashvili. The first Junior Eurovision victory under Ranina’s name came with Andria Putkaradze’s performance of To My Mom, written by Giga Kukhianidze. This composition fully showcased Andria’s high vocal range, captivating both the European audience and the jury. This was the first Ranina-related victory in Junior Eurovision history, and Georgia’s fourth overall!
Special mention should go to the parents of Ranina contestants, who experience every competition day as deeply as their children. Some participants even mentioned that it was their parents who encouraged them to try their luck in the project – sometimes more than once.
The audience for Ranina is its own story. The comments under the videos, which are shared daily, create a space of great positivity, pride, admiration, love, and support.
Lana Kutateladze: “The audience has truly followed us. In this crazy rhythm of life, where modern people are dependent on tensecond videos, it’s no small feat to attract such a large audience. I think we’ve managed to win the hearts of viewers across generations. A huge thank you for such support.”
Every Ranina participant I spoke to said the same thing: for them, Ranina was a fairytale. And indeed, what could be more joyful than a chapter in your life that feels like a fairytale?
Vache Gvinashvili: “Being a Ranina participant means being a friend, a singer, and a fairytale hero.”
Mariam Bigvava: “The Ranina project gave me something priceless – the love of people. I can’t describe what a magical feeling it is to be loved by strangers.”
Niko Kajaia: “Ranina is for me a mixture of all positive emotions –
aRtacebis, siyvarulis da mxardaWeris sivrce. lana quTaTelaZe: mayurebeli Zalian gamogyva. Cven, am giJuri cxovrebis ritmSi, rodesac Tanamedrove adamiani aTwamian videozea damokidebuli, amxela auditoria moipovo, martivi saqme ar aris. mgoni Tavi yvela Taobis mayurebels SevayvareT, Zalian didi madloba amgvari gulSematkivrobisTvis…
yovel `raninels~, romelsac vkiTxe; Tu ra iyo `ranina` maTTvis, erTxmad aRniSnes, rom es iyo zRapari... namdvilad, ra SeiZleba iyos imaze ufro didi bednierebis momtani, vidre cxovrebis is epizodi, romelic zRapars hgavs. vaCe RviniaSvili: iyo `ranineli~, niSnavs iyo megobari, momRerali da zRapris gmiri. mariami bigvava: proeqtma `raninam~, Seufasebeli ram _ adamianebis siyvaruli maCuqa. ver aRgiwerT rogori saswauli emociaa is, ucxo adamianebs rom uyvarxar… niko qajaia: `ranina~ CemTvis aris, yvela dadebiTi emociis nazavi, siyvarulis, sikeTis, bednierebis, aRtacebis, aRmafrenis... `ranina~ aris didi ojaxi, romlis nawilic xdebi da is sul Sens gverdiTaa. `ranina~ did mogzaurobas hgavs, musikis siyvaruliT gaerTianebul adamianebTan. misi saxiT, Cven, gamorCeuli mediaproeqtis mowme varT, sadac gaerTianebulia, saukeTeso qarTuli musika, avTenturi folklori,
love, kindness, happiness, admiration, and inspiration. Ranina is a big family that becomes a part of you and always stays by your side.”
Ranina feels like a grand journey with people united by a love of music. It’s a unique media project that combines the best Georgian music –authentic folklore, contemporary compositions – and, most importantly, showcases the youthful joy we adults often lack.
David Evgenidze: “When I look back and listen to the Ranina participants, I feel happy to be Georgian. These children are our future.”
What can we learn from Ranina’s participants?
Lana Kutateladze: “The world isn’t ‘black and white’; it’s very colourful, with simple realities, good and bad, kindness and malice. I think the simpler your outlook, the simpler life becomes. These children say to us: ‘I go on stage, I sing with my heart, and through my song, I bring kindness and happiness.’ These children are where relationships speak the language of kindness.”
Today, Ranina includes over 500 performed songs and more than 70 contestants. This year, a Ranina participant even became a Junior Eurovision winner! We, the audience and listeners, now await the next chapter of Ranina’s fairytale – with new heroes. Don’t forget, by listening to Ranina, we’re listening to the new generation – the voice of kindness.
Tanamedrove kompoziciebi da rac mTavaria, `ranina~ im bavSvuri silaRis warmoCinaa, rac ase gvaklia xolme didebs. daTo evgeniZe: rodesac vbrundebi da vusmen `raninelebs~, bednieri vxvdebi rom qarTveli var... vusmen bavSvebs, romelnic arian xvalindeli dRe. ra unda viswavloT `raninelebisgan~? lana quTaTelaZe: „samyaro ar aris `Savi da TeTri~, Zalian feradia... martivi mocemulobebiT, kargiT da cudiT, keTiliT da borotiT. vfiqrob, rac ufro martiv mocemulobaze dadgebi, ufro martivdeba cxovrebac,
es bavSvebi gveubnebian _ me gamovdivar, vmReri, guliT, simReriT momaqvs sikeTe da bedniereba, es bavSvebi ariani iq, sadac urTierTobebi _ sikeTis enazea!“.
dResdReisobiT, `ranina~ ukve 500-ze met Sesrulebul simReras moicavs da 70-ze met konkurasants. am wels ki, „ranineli~, sabavSvo evroviziis gamarjveblic gaxda! Cven ki, mayurebeli da msmeneli, davelodebiT `raninas~ zRapris axal Tavs _ axali gmirebiT… ar dagaviwydeT, `raninas~ mosmeniT _ vusmenT axal Taobas… sikeTis xmas!
saxelovnebo sferos uwyvetobis aRdgena _ rogorc mTavari gamowveva
saxelmwifos mxridan xelovnebis, kulturis rolis bolomde gaazreba dRes, 21-e saukuneSi kvlav rCeba erT-erT mTavar gamowvevad. bolo wlebis ganmavlobaSi TiTqos gadaidga qmediTi nabijebi imisaTvis, rom kultura gaxdes priotitetuli, Tumca, arsebobs mTeli rigi problemebisa, romlis daZlevac saxelmwifos mxridan myisieri da qmediTi nabijebis gadadgmas moiTxovs. amjerad, Tqveni yuradReba gvinda SevaCeroT saxelovnebo ganaTlebaze, romlis mimarT wlebis ganmavlobaSi gatarebulma arasworma midgomebma, SeiZleba iTqvas bolomde gamofita da daaziana sfero. yvela erTxmad Tanxmdeba, rom aucilebelia uwyveti saxelovnebo ganaTlebis sistemis aRdgena, xelmisawvdomoba da sakanonmdeblo cvlilebebi, romelic aRniSnul sferoSi dasaqmebuli adamianebisTvis ukeTes samuSao pirobebs Seqmnis.
saxelovnebo sferos gamowvevebsa da ganviTarebis perspeqtivaze reJisori, aWaris xalxuri xelovnebis skolis direqtori vaxtang beriZe gvesaubra.
batono vaxtang, gvesaubreT saxelovnebo ganaTlebaze da am kuTxiT qveyanaSi arsebul gamowvevebze. rogor fiqrobT, ra aris imisaTvis saWiro, rom qveyanaSi moxdes kulturis mniSvnelobis metad gaazreba? sad varT dRes?
Tavdapirvelad, unda davinaxoT ra mniSvneloba aqvs skolisgareSe saxelovnebo ganaTlebas, xelovnebis sxvadasxva dargebis ganviTarebaSi. es aris pirveli karibWe bavSvobis asakSi xelovnebis labirinTebSi Sesasvlelad, aq iwyeba pirveli ziareba xelovnebasTan. Cvens qcevebze, meTodikaze da programazea damokidebuli ramdenad gaagrZelebs igi am saintereso sferoSi mogzaurobas. Zalian didi mniSvneloba aqvs pirvel emociebs, pirvel STabeWdilebebes gadawyvetilebis miRebaze.
antikur saberZneTSi ganaTlebis sistema sami disciplinis swavlebaze dafuZnda es iyo musika, maTematika da ritorika. adamianis formirebisTvis, misi fsiqotipis CamoyalibebisTvis erT-erTi saSeni masala xelovnebaa. amdenad, saxelovnebo ganaTlebis yvela safexurs mniSvnelovani roli ukavia kulturis sferos ganviTarebisTvis.
axla uSualod mimovixiloT CvenTan ra suraTia am mimarTulebiT. sabWoTa mmarTvelobis dros saqarTvelos sxvadasxva qalaqebSi daarsda saxelovnebo skolebi (samusiko, samxatvro). maT gaaCndaT programa, romliTac aswavlidnen bavSvebs, aseve, aRiarebuli iyo swavlis dasrulebis Semdgomi dokumeti, gansazRvruli iyo maswavlebelis statusi.
1990 wlis Semdgom, roca komunisturi reJimi daingra da gavxdiT damoukidebeli saxelmwifo, saqarTveloSi saxelovnebo ganaTlebaze, mis formirebaze TiTqmis aravis uzrunia. saswavlo programebi darCa is, riTic me-20 saukunis 70-80-ian wlebSi aswavlidnen. skolebis paralelurad funqcionirebda kulturulsaganmanaTleblo saswavleblebi, aqac, skolebis msgavasad aRiarebuli iyo swavlis damadasturebeli dokumenti da maswavleblis statusi. 2005 wels saqarTvelos
parlamentma miiRo kanoni ganaTlebis Sesaxeb, sadac bundovnad da zedapirulad ganisazRvra saxelovnebo skolebis bedi. 2009 wels Catarda reorganizacia, ris Semdegac rigi saxelovnebo skolebi daixura, xolo danarCens SeecvalaT samarTlebrivi statusi, ramac gaauaresa maTi bedi. kerZod, maswavleblis da swavlis damadasturebeli dokumentis statusi dRemde gaurkvevelia. rac Seexeba Sinaarsobriv nawils, is programebi riTic aswavlidnen wina saukuneSi, ucvlelad darCa, rac Cveni subieqturi azriT ar pasuxobs gamowvevebs. yovelive zemoT aRniSnulidan gamomdinare ibadeba kiTxva, ra mogvca 2009 wlis reorganizaciam da ras vakeTebT aRniSnuli problemebis gadasawyvetad?
saxelmwifo gvafinansebs, sakmaod didi mxardaWera gvaqvs, magram, kanonmdeblobiT ar gvaRiarebs, rogorc maswavleblebs. ar aRiarebs swavlis damadasturebel dokuments. maSin ratom vxarjavT resursebs? aris kritikuli, mtkivneuli da yuradsaRebi kiTxvebi, romelebsac adekvaturi da drouli pasuxebi sWirdeba. ra unda moxdes Tqvens mier aRniSnuli mTeli rigi xarvezebis aRmosafxvrelad?
pirvel rigSi unda mogvardes sakanonmdeblo baza, romelic gansazRvravs ra roli aqvs skolis gareSe saxelovnebo ganaTlebas, anu pirvel safexurs. vin arian iq myofi adamianebi, romlebic am process waruZRvebian da qmnian. ra statusi eqnebaT, maswavleblebi iqnebian, instruqtorebi Tu vin? statusis mixedviT unda ganisazRvros anazRaureba, romelic iqneba maTi motivacia. unda dadgindes erTi saaTis safasuri ramdeni iqneba, rogorc es ganisazRvra sajaro skolebSi. unda gadaixedos saswavlo programebi. ubralod, rbilad rom vTqvaT arasworia me-20 saukunis 70-80-ian wlebSi gansazRvruli programebiT, romelic morgebuli iyo im drois saWiroebaze, ideologiaze da msoflmxedvelobaze imiT vaswavlideT 21-saukunis adamians. aRniSnulis
mogvareba arc ise rTuli procesia miuxedavad imisa rom sakiTxisadmi kompleqsur midgomas moiTxovs. Cven qveyanas aqvs resursi, saxelovnebo ganaTlebaSi SevqmnaT kargi modeli, gvaqvs amis codna, gamocdileba da unarebi. aCqarebul droSi vcxovrobT, aq da axla, Zalian mokle droSi gvsurs reformebi, cvlilebebi ukeTesobisken, raTa ganvviTardeT. es aris erTi cikli, romelic unda gaviaroT da amaSi mTavrobis mxardaWera gvWirdeba. es procesi usasrulod ar unda gaiwelos. sxva SemTxvevaSi Cven davkargavT Taobebs, maT SesaZleblobebs, romelic daakldeba kulturis sferos. albaT, vTanxmdebiT, rom yvela dargis ganviTarebisTvis nomer pirveli amocana xarisxiani ganaTlebis arsebobaa, swored aqedan iwyeba ganviTareba _ adamiani Semoqmedi, adamiani aRmomCeni, adamiani kritikulad moazrovne, adamiani kreatiulad mofiqrali. niWi da siyvaruli, es aris erTi srulyofileba warmatebebis misaRwevad.
aRniSnul gamowvevebTan dakavSirebiT, wina wlebSi, viciT rom gqondaT saubrebi saqarTvelos parlamentis kulturis komitetis wevrebTan romlebmac aRniSnes, rom xedaven am xarvezss, magram es aris ganaTlebis saministros, finansTa saministros, ekonomikis saministros erToblivi samuSao... diax, iyo es Sexvedra. gvesmis, rom kompleqsuri samuSaoa, magram, kidev erTxel vityvi, didi dro gavida damoukideblobis aRdgenidan dRemde. es SeiZleba istoriisTvis arc ise bevria, magram 30 weli adamianis
zrdisTvs da ganviTarebisTvis, Cveni kulturis politikis konturebis CamoyalibebisTvis, sistematizaciisTvis, namdvilad didi droa. bevri welia vismenT, rom viwyebT muSaobas, magram... nebismier cvlilebas aqvs Tavisi dadebiTi da uaryofiTi mxare da is muSa procesSi unda gaitestos, amasac dro sWirdeba saboloo gadawyvetilebis miRebisTvis.
TiTqos aris mzaoba, gadaidga nabijebic, magram saboloo jamSi xdeba ise, rom problema rCeba problemad. rogor fiqrobT, ar aqvT aRqma ramdenad mniSvnelovania saxelovnebo ganaTlebis ganviTareba Cvens qveyanaSi? modi vaRiaroT, rom bolo 30 wlis ganmavlobaSi, saqarTveloSi kultura prioriteti ar gamxdara. dargis prioritetulobaSi igulisxmeba fundamenturi dakvirvebebi. im cvladis mimarT romelic arsebobs. Cvenma qveyanam 100 wlis SigniT icxovra sami mowyobis saxelmwifo modelSi 1918-1921 wlebi, 1921-1990 da 1990 dan dRemde, samive modeli gansxvavdeba erTmaneTisgan da TiTqmis erTmaneTTan memkvidreobiTi, sisitemuri bma ar aqvs. sabWoTa wyobis 70 wlianma memkvidreobam mTlianad dagvaviwya sawyisebi, is Tu saidanac iRebs saTaves kulturis da ganaTlebis sistemebis organizaciuli da sistemuri wiaRsvlebi. valdebulebi varT gvaxsovdes Tu ra mondomebas da erovnul midgomebs avlendnen 18-21 wlebis saxelmwifo mesveurebi ganaTlebis da kulturis mimarTulebiT. aTeulobiT adamiani gaigzavna ganaTlebis misaRebad evropis wamyvan qveynebSi, raTa ukan
dabrunebulebs SeZlebodaT TavianTi codnis qveynisaTvis sakeTildReod gamoyeneba. mizani namdvilad Seasrules da ase daiwyo kinos, Teatris, klasikuri musikis, mxatvrobis dargebis organizaciuli Camoyalibeba da Semdgom ganviTareba. sworma damokidebulebebma Seqmna uamravi faseuloba qarTuli kulturisTvis da aq CamoTvlas aRar gavagrZelebT, sia vrcelia... sabazro ekonomikis pirobebSi ver da ar unda arsebobdes socialisturi marTvis modeli, rasac Cven sabWoTa models veZaxiT. sabazro ekonomika gulisxmobs konkurencias, individualizms. Tu davakvirdebiT, Cvens qveyanaSi ra midgomac gvaqvs, vnaxavT rom yvelaferi saxelwifo sakuTrebaSia, rogorc wina saukuneSi, aravin dardobs konkurenciis Seqmnaze. adamianebi sxedan aTwleulebia da erTi da igeveSi ixarSebian. amitom vambobT, rom kompleqsuri midgomebia saWiro yvelgan. unda daviwyoT xarisxiani, drosTan da sivrcesTan adekvaturi ganaTlebis reformiT, saxelovnebo ganaTlebis yvela safexurze. xeli SevuwyoT mimReblobas, aRiarebas, niWis da Sromis dafasebas. uari unda vuTxraT memkvidreobiT, daumsaxureblad poziciebze adamianebis daniSvnas, rac waaxalisebs saxelovnebo ganaTlebiT dainteresebas da ase gaxdeba kultura prioritetuli, saintereso da jansaRi.
xSirad gagvigia, modi jer sxva problemebi movagvaroT da mere mivxedoT kulturas, am dros ki Cven piriqiT gvgonia. migvaCnia, rom kultura gansazRvravs eris qceviT normebs. is midgomebi da Rirebulebebi romelic aqamde arsebobda moiTxovs gadafasebas, sworad gaanalizebas Tu ra didi resursia kultura Cveni qveynis swori ganviTarebisTvis. kidev erTxel vTqvaT, yvela problemis Tu araswori midgomis saTave, arswori, araefeqturi ganaTlebaa.
aWaris xalxuri xelovnebis skolaze gvesaubreT, misi ganviTarebis etapebsa da dRes arsebul situaciaze...
Tavdapirvelad, sanam Cvens mkiTxvels mcire istoriul informacias gavacnobdeT minda vTqva, rom aq saqme gvaqvs did memkvidreobasTan, gamocdilebasTan da codnasTan. 1950-iani wlebidan iRebs saTaves rogorc Tbilisis kulturul saganmanaTleblo saswavleblis filiali, maleve xdeba damoukidebeli saswavlebeli da ase iwyeba istoria. bolos 90-ian wlebSi iusuf kobalaZis saxelobis kulturis kolejis statusiT funqcionirebada 2009 wlamde. saqarTvelos 50 municipalitetSi muSaoben Cveni kursdamTavrebulebi momRerlebad, mocekvaveebad, biblioTekarebad. saswavlebelma mniSvnelovani wvlili Seitana TaobaTa cvlis procesSi da axali adamianuri kapitalis SeqmnaSi. bevr cnobil da pativsacem xelovans aqvs Cveni saswavlebuli damTavrebuli. 2009 wels reorganizaciis Sedegad gaauqmes koleji da 2010 wels aWaris ganaTlebis kulturisa da sportis saministrom daafuZna a(a)ip aWaris xalxuri xelovnebis skola, ramac sakmaod gaaRariba is memkvidreoba, romelic saswavlo
programebis mimarTulebiT qonda saswavlebels. Tumca, rogorc zemoT avRniSneT, mxolod samarTlebrivi cvlileba ganxorcielda, maswavleblis da swavlis damadastrebeli dokumentis statusi gaugebari gaxda, datoves iseTive saswavlo gegma, sagnebis Semadgenloba da programebi, romliTac aswavlidnen wina wleebSi, rac sruliad gaugebars da gaumarTlebels xdis reorganizaciis miznebs.
2019 wlis ianvarSi, roca daviniSne skolaSi direqtorad da Cavixede programebSi, mivxvdi, rom es rogorc finansuri, ise adamianuri resursebis fuWad xarjvaa. viTxove cvlilebebis dawyeba, rasac pirvelive jerze ar moyva dadebiTi pasuxi. Cven varT Zalian mSiSara xalxi, cvlilebebis mimarT gvaqvs toqsikuri SiSi. SeiZleba im cvlilebam Sen raRac mwvervalze agiyvanos, magram cvlileba radgan hqvia, gvaSinebs da gvabrkolebs. maSin es vigrZeniT da gavCerdiT, magram xasiaTSi maqvs sijiute, principuloba... 2022 wels programuli reorganizacia movaxdineT, romliTac moxda formaluri da Sinaarsoblivi cvlilebebi. SevqmeniT komisia, romelic muSaobda ideaze, rogor Camoyalibebuliyo saswavlo gegma, ra ris Semdeg dalagebuliyo. Zalian bevri sagnis cvlileba movaxdineT, davamateT iseTi sagnebi, romlebic manamde ar iswavleboda. magaliTad, qoreografiis mimarTulebiT mxolod qarTuli cekva iswavleboda, Cven ki davamateT kidev xuTi disciplina, romelic sxvadasxva cekvebs da cekvasTan dakavSirebuli praqtikuli unarebis gamomuSavebas uwyobs xels. musikis mimarTulebiT programaSi ar iyo xalxuri musika, galoba, es yvelaferi CavsviT reorganizaciis Semdgom. tradiciuli rewvis mimarTulebiTac ganvaxorcieleT sagnobrivi da Sinaarsobrivi cvlilebebi da dRes erTerTi saukeTeso saswavlo programebi gvaqvs. skolis programebis cvlilebebis Semdgom, maleve daviwyeT fiqri profesiuli saxelovnebo programebis SemuSavebaze da 2022 wels ganaTlebis xarisxis erovnuli centrisgan miviReT ufleba pirvelad aWaraSi gangvexorcielebina eqvsi moklevadiani momzadeba/gadamzadebis saxelovnebo programebi. ra Tqma unda aq ar gavCerdiT da 2024 wels kidev 4 programis ganxorcielebaze miviReT ufleba. dReis mocemulobiT skola axorcielebs sam saskolo programas: „qoreografiuli saSemsruleblo xelovneba“, „xalxuri musika“, „tradiciuli rewva“, sadac swavla SeuZliaT sabazo da saSualo ganaTlebis mqone pirebs. skolis kursdamTavrebulebi muSaoben aWaris akademiur da municipalur ansamblebSi, saxelovnebo centrebSi, kerZo seqtorSi. aT profesiul momzadeba/gadamzadebis programas `qarTuli erovnuli samosi da misi sasceno gadawyveta”- gadamzadeba, `fotografia“- momzadeba, `saqmismwarmoebeli”-gadamzadeba, `kulturuli RonisZiebebis organizatori”- momzadeba, `qoreografiuli ansamblis mocekvave- msaxiobi” -momzadeba, `qarTuli xalxuri cekvebis
repetitor-qoreografi” -gadamzadeba, `qarTuli xalxuri simReris repetitori” -gadamzadeba, „folklorulinstrumentuli ansamblis msaxiob-akompaniatori“-momzadeba, `Teqis nawarmisa da aqsesuarebis damzadeba”-momzadeba,” biblioTekari”-momzadeba. 200-ze meti adamiani movamzadeT da gadavamzadeT, romelTa 80%-i dasaqmebulia an dasaqmda profesiuli niSniT, romelTan CarTuloba saxelovnebo da saganmanaTleblo saqmianobaSi gazrdis xarisxs. profesiuli ganaTleba saxelovnebo mimarTulebiT arc Tu ise popularulia, samwuxarod am mimarTulebiT raime did interess jerjerobiT ver vxedavT. Tumca, gansazRvruli gvaqvs da vxedavT Cvens momaval gegmebs, rom baTumSi am gamocdilebiT da codniT SesaZlebelia kulturis kolejis dafuZneba, riskenac mivdivarT. aseve, skolaSi araformaluri ganaTlebis xelSewyobis mizniT 2019 wlidan dRemde CavatareT 100-ze meti RonisZieba. aq Sedis masterklasebi sxvadsxva gamocdilebis gaziarebisTvis, SemoqmedebiTi saubrebi, sajaro leqciebi, literaturuli saRamoebi, gamofenebi, koncertebi... minda madlierebiT avRniSno, rom mTel am cvlilebebSi ideurad da finansurad mxars gviWers aWaris ganaTlebis kulturis da sportis saministro. dasaqmeba axseneT da gkiTxavT. anu gaqvT molaparakebebi, memorandumebi gaformebuli sxvadasxva organizaciasTan rom Tqveni skolis kursdamTavrebulebi, aseve programis monawileebi daasaqmoT?
skolas memorandumebi aqvs gaformebuli sxvadsxva organizaciasTan, romlis safuZvelzec Cven warmatebuli TanamSromloba Camogviyalibda partnior organizaciebTan, ramac gaaumjobesa dasaqmebis statistika rogorc skolis nawilSi, ise profesiuli programebis mimarTulebiT.
minda xazgasmiT avRniSno, Cveni mTavari prioritetia iseTi ganaTlebis sistema gvqondes, romelic swavlis msurvelebs miscems xarisxian da konkurentunarian ganaTlebas. Cven kargad viazrebT Cvens rols da misias
TaobaTa cvlis proceSi.
minda yvela adamiani, vinc Cvens skolaSi swavlobs iyos bednieri imiT, rom moxvdnen iseT garemoSi, sadac adamianebi maTTvis bolomde ixarjebian. aqedanve SeigrZnon is SemoqmedebiTi atmosfero, romelic kargi xelovnebis Sesaqmnelad aris saWiro. amas xels uwyobs CvenTan dasaqmebuli maswavleblebis kompetencia, gamocdileba, codna da SesaZleblobebi. xSirad gviCndeba SiSebi, rom vinme mova da qarTvelobas, Cvens identobas wagvarTmevs. aravin da veravin verafers wagvarTmevs, Cven davkargavT maSin, roca ar viswavliT. Tu Cven gvinda rom aravin araferi „wagvarTvas“, maSin viswavloT. viswavloT is, rac aris Cveni, namdvili, erovnuli, faseuli, unikaluri. Tu ramis dacva gvinda, Tu erovnuli identobis SenarCuneba gvinda, Tu gvinda
viyoT konservatorul ideaze dafuZnebuli liberaluri sazogadoeba, romelic institutebsac aRiarebs da pirovnebis Tavisuflebasac, maSin unda gvqondes ganaTlebis kargi sistema. Semdeg, kargi samoqalaqo sazogadoebac gveyoleba da ufro mdgradebi gavxdebiT im cvlilebebis mimarT, rac samyaroSi xdeba. ras niSnavs TqvenTvis warmoadgendeT aWaris xalxuri xelovnebis skolas da aseve, rogor gesaxebaT saxelovnebo ganaTlebis ganviTareba uaxloes momavalSi?
yovelgvari gadaWarbebis gareSe, CvenTvis Zalian bevrs niSnavs, pativia im sferoSi yofna, sadac momavali iqmneba. rac Seexeba saxelovnebo ganaTlebis momavals, Zalian optimisturad vuyurebT am yvelafers da gvjera, problemebs romelzec visaubreT, gamoCndeba erovnulad moazrovne adamianTa erToba, romelic male moagvarebs. problema, rogorc aRvniSneT, sakanonmdeblo bazaSia, rogorc ki es mogvardeba, yvelaferi Tavis adgilze dalagdeba, procesi swor moqmedebas daiwyebs. ra iqneba minimumi da maqsimumi risi gakeTebac gsurT aRniSnul poziciaze?
minimumi aris is, rom skolas aRvudginoT istoriuli samarTlianoba, davafuZnoT koleji. rac Seexeba maqsimums, gvsurs iyos iseTi programebi, romlebic tradiciebTan erTad Tanamedroveobas sinTezSi SeiTavsebs da erT sivrceSi adamians eqneba kulturis da xelovnebis sxvadasxva dargis Seswavlis SesaZlebloba. ra Tqma unda, es iqneba kargi infrastruqturiT, finansuri da adamianuri resursiT. am sam resursze dgas organizaciebis ganviTareba da samive resursis SesaZleblobebs am wuTSi vxedavT. resursebi ki arasdros aris ulevi da mas saWiro dros, saWiro miznebis mimarTulebiT gamoyeneba unda. esaubra nana abulaZe
LALI AVALIANI
`yvelas raime aqvs saxsovari~ Salva da vaJa gigaSvilebi
“EVERYONE
HAS SOMETHING TO REMEMBER.” SHALVA AND VAJA GIGASHVILI
1981 wels dazRveuli safosto gzavnili miviRe Salva gigaSvilisagan (vaJa gigaSvilis mamisgan) _ 14 leqsis xelnaweri miZRvniTurT _ `sayvarel lali avalians gasacnobad da, Tu moewoneba, mosagonradac. Zia Salva gigaSvili“.
didad gavocdi, radgan leqsebi arasodes daubeWdavs, arc poetoba gaumxelia; dedaCemis siyrmis megobris elene gogoZis meuRle iyo da maT xSirad vstumrobdiT. SesaniSnavi pedagogi da literatori gaxldaT,
In 1981, I received an insured letter from Shalva Gigashvili, the father of Vaja Gigashvili. Inside was a manuscript of 14 poems with a dedication: “To meet my beloved Lali Avaliani. And if she likes it, for memories also. Uncle Shalva Gigashvili.”
I was surprised because he had never published his poems or spoken about them. Shalva Gigashvili was the husband of my mother’s childhood friend, Elene Gogodze, and we often visited their home. He was an excellent teacher and literary figure who had taught Georgian at the 1st Women’s High School (now Public School No. 47) and later served as the director of the 1st Boys’ High School (now the 1st Classical Gymnasium).
However, his fairness and steadfastness made it impossible for him to retain his “nomenclature” position for long – it was, after all, the 1950s! By the 1980s, I was publishing articles in literary periodicals and had already published a book. When Uncle Shalva came across one of my earlier articles from the 1960s, he called to ask, “Is this really your article? I couldn’t have imagined you writing like this at your age.” His words of praise made me very happy.
Years earlier, when my mother took me to meet him before my university entrance exams, he tested me far more rigorously than the university professors themselves. Discussing the issue of Ilia’s “broken bridge”, he asked pointedly, “What on earth did they teach you at school?!”
At the time, I was slightly disappointed when I read his poems. But from today’s perspective, Shalva Gigashvili’s poetry feels different to me.
At that time, Uncle Shalva was a pensioner, feeling redundant and excluded, with his children now married and living their own lives. On his writing desk, I often saw miniature toys he had skilfully carved for his grandchildren – a cradle, a cart, a winepress, barrels, and other such items. The manuscript he sent me was likely created during his leisure hours, perhaps as a way to “forget his cares.”
When I visited his house to express my gratitude, I felt slightly uneasy. However, he would not allow me to speak about his poems.
erTxans I qalTa saSualo skolaSi (axlandeli 47-e) aswavlida qarTuls, Semdeg I vaJTa saSualo skolis (axlandeli I klasikuri gimnazia) direqtori iyo, Tumca, samarTlianma da Seupovarma didi xniT ver SeinarCuna `nomenklaturuli~ Tanamdeboba: 50-iani wlebi iyo! 80-iani wlebisaTvis wignic mqonda gamocemuli da literaturul periodikaSic vbeWdavdi werilebs. Zia
Salva Cems erT-erT adrindel, 60-iani wlebis publikacias rom gaecno, dasazusteblad damireka, _ es namdvilad Seni statiaao, verc ki warmovidgendi, rom Sens asakSi ase dawerdio, _ Semaqo da didadac gamaxara. ufro adre ki, universitetSi misaRebi gamocdis win dedam masTan gasaubrebaze rom mimiyvana, imaze ufro mkacrad da dawvrilmanebiT gamomcada, vidre universitetis profesorebma, ilias `xidCatexilobis~ problemasTan dakavSirebiT ki sul bRviri madina, _ netav skolaSi ras gaswavlidneno!
maSin cota imedgacruebuli ki gavecani mis leqsebs, magram dRevandeli Tvalsawieridan Salva gigaSvilis poezia sxvagvarad mesaxeba.
im droisaTvis Zia Salva pensioneri iyo, Tavs ufunqciod da gariyulad grZnobda, Svilebic daojaxebuli hyavda. mis sawer magidaze xSirad minaxavs SviliSvilebisaTvis gankuTvnili, xisgan didi ostatobiT gamoTlili miniaturuli saTamaSoebi: akvani, uremi, sawnaxeli, kasrebi da sxv. CemTvis gamogzavnili xelnaweric albaT `fiqrT gasarTvelad~ mocaleobis Jams Seqmna.
madlobisaTvis saxlSi, cota ar iyos, dabneuli veaxeli, Tavis leqsebis Sesaxeb araferi maTqmevina, maSinve sayvareli mgosnis, ioseb griSaSvilis leqsebis kiTxva daiwyo (aseTi deklamacia iSviaTad momismenia); TiTqmis mTeli qarTuli poezia icoda zepirad. dRes, roca mavanni ganurCevlad, xelaRebiT kicxaven XX saukunis viTomcda `homo sovietikusebs~, mxolod imitom, rom sabWoTa totalitarizmis dros cxovrobdnen da moRvaweobdnen (netav vin irCevs, ra reJimSi moevlinos am samyaros!), Salva gigaSvilis `Taroze Semodebuli~ leqsebi utyuari dokumentia `qveynis marilis~ _ inteligenciis umravlesobis suliskveTebisa. misi adrindeli, albaT studentobis droindeli leqsebi 1923-1927 wlebiT TariRdeba: `kiTxva maradi~ da `javri mtrisani~ (orive 1924) 1924 wlis SeTqmulebis usastikesi sisxliani CaxSobis gamoZaxilia. ilia WavWavaZisadmi miZRvnili leqsis `marad diadi ilia~ (1927) dasawyisi strofis _ `ilia aris genia/ eris diadi sardali.../ imisi madli gvfenia/ miwidan camde marTali~ _ avtori ras warmoidgenda, rom qarTvel wmindanTa nusxas odesme `wminda ilia marTalic~ SeuerTdeboda (1987)!
Instead, he immediately began to recite the works of his favourite poet, Ioseb Grishashvili. Rarely have I heard such passionate declamation – he delivered the verses with fervour, knowing almost the entirety of Georgian poetry by heart.
Today, when people so readily ridicule the so-called “homo sovieticus” of the 20th century, simply because they lived and worked under Soviet totalitarianism (as though one could choose the regime into which they are born!), Shalva Gigashvili’s poems, long set aside on the shelf, stand as an unequivocal testament to their era – a true reflection of the “salt of the country” and the spirit of the intelligentsia of the time.
His earlier poems, likely written during his student days, date from 1923 to 1927. “Eternal Question” and “The Sorrow of Enemies” (both from 1924) reflect the brutal and bloody suppression of the 1924 uprising. The opening stanza of his poem “Ever Great Ilia” (1927), dedicated to Ilia Chavchavadze, reads: “Ilia is a genius / the great commander of the nation... / His grace is showered on us / Righteous from the earth to the sky.” At the time, one might wonder what the author imagined – whether the list of Georgian saints might one day include “Saint Ilia the Righteous” (a notion that came to fruition in 1987).
1927 was a period when “proletarian literature” referred to Ilia only in a negative light, with the phrase “Our Egnate, your Ilia!” becoming a derisive refrain.
I must have been a school student when Uncle Shalva shared with us an amazing story: In the mid-20s and 30s, students like us who came from rural areas to the university were often half-starved. On one occasion, I received a gift from my parents in Kakheti – two fully cooked chickens and a gallon (a three-litre bottle) of wine. Overjoyed, I invited my fellow students to share in the feast. The next day, I was summoned to the dean’s office – apparently, I was running parties and had "kulak" parents! I barely avoided expulsion, though at the time both my village and my family were impoverished. I still don’t know which “grateful” roommate told on me…
Shalva Gigashvili’s dedication poems include “Dedilo” (1966), “Giorgi Leonidze!” (1979), and “Why don’t you appear anywhere anymore?!
1927 _ es is droa, roca `proletaruli mwerloba~ ilias mxolod uaryofiT konteqstSi moixseniebda, _ `Cveni egnate, Tqveni ilia!~
albaT skolis moswavle viqnebodi, roca Zia Salvam erTi saocari ambavi mogviTxro: 20-30-iani wlebis mijnaze universitetSi soflidan Camosuli studentebi naxevrad mSivrebi viyaviT; erTxelac kaxeTidan dedmamis gamogzavnili nobaTi miviRe, _ ori mrgvlad moxarSuli dedali da `StofiT~ (samlitriani boTliT) Rvino. gaxarebulma, Tanakurselebi miviwvie da kargadac movulxineT. meore dResve dekanatSi gamomiZaxes, _ Sen Turme qeifebs marTav da kulaki mSoblebi gyavso! Zlivs gadavurCi garicxvas, _ am dros sofelic da Cemi ojaxic gaRatakebuli iyvnen. romelma `madlierma~ Tanameinaxem damasmina, dRemde ar vicio...
Salva gigaSvilis miZRvniTi leqsebia _ `dedilo~ (1966), `giorgi leoniZev!~ (1979); agreTve `ratom aRarsad Cndebi?! guram rCeuliSvils~ (1971). am leqsSi, didi siyvarulisa da mounelebeli dardis garda, gadmocemulia guramis meamboxe bunebis, faTerakisadmi qvecnobieri, dauokebeli swrafvisa da SemoqmedebiTi `maqsimalizmis~ utyuari xati: `autanixar weras,/ daiSoSmine sisxli!/ daiSoSmine sisxli,/ magram zRvaSi ki ara!/ gamige, mkacrad giSli,/ RelvasTan rkena kmara!~ am `cincxali niWis~ `mogiJmaJo kvics~ da `nadikvris nukrs~ Zia Salva bavSvobidan icnobda (misi meuRle elene gogoZe da guramis deda maro niJaraZe, iseve rogorc dedaCemi, quTaisis qalTa gimnaziidanve ganuyrelebi iyvnen. mis Svils vaJas da gurams, megobrobis garda, buntaruli suliskveTeba, mTamsvleloba da, rac mTavaria,
To Guram Rcheulishvili” (1971). In the latter, besides expressing deep love and unendurable pain, the unmistakable image of Guram’s rebellious spirit, his subconscious, insatiable craving for trouble, and his creative “maximalism” are vividly conveyed: “Writing has taken over you, / Calm the blood! / Calm the blood, / But not in the sea! / Listen to me, strictly I forbid you, / Enough with the storm!”
Uncle Shalva had known this “new talent,” this “crazy foal” and “nadikvari fawn” since childhood. His wife, Elene Gogodze, and Guram’s mother, Maro Nizharadze, like my own mother, had been inseparable companions at the Kutaisi Women’s Gymnasium. His son Vaja and Guram shared not only a friendship but also a bond rooted in spirituality, mountaineering, and, most importantly, literary fellowship.
Uncle Shalva was well-acquainted with Guram’s writings, and Guram’s father, the academician and zoologist Mikheil Rcheulishvili, an excellent hunter, introduced Vaja to the path of “love for hunting” (according to Marine Rcheulishvili, Guram himself was indifferent to it). ***
Vaja’s father, Shalva Gigashvili, never flaunted his son’s talents – likely due to his humility. Yet he truly had much to be proud of. I often shared my admiration for Vaja’s stories with Aunt Elene. She, an exceptional bibliographer, worked in the local history section of the public library (where I frequently spent hours) and was, of course, proud to hear her son’s praise.
Vaja had shown a talent for drawing since childhood, later becoming an architect by profession. He won a prize at an International Biennale for a development project in a high-mountain village. Although he had been writing since his university years, he was relegated to the “underground” and thus excluded from mainstream recognition. As a result, some of Vaja’s earlier stories were only published in the 1987 prose collection. His long story, ”Hunting in Chon-Tash” (dated 1967), was not released until 1976 by the Nakaduli publishing house. This delay was, of course, due to his dissident label. It is almost inconceivable today to think there was also another, “literary” reason – the “impermissible” intensity of his portrayal of primitive gambling passions and his unrestrained authorial freedom. I consider the subtitle, ”documentary story,” to be something of a tactic, as the profound psychologism of Chon-Tash is creatively captivating and impossible to set aside.
Vaja Gigashvili had to tread a fine line so that his pursuit of truth did not veer into rigid naturalism. This holds true for his other stories as well, including those in the collections ”Day and Time” and ”Meran” (1987). With an unvarnished, often stark and aggressive tone, he conveys the tragic struggles of individuals trying to escape the artificiality and monotony of everyday life. For them, wandering the mountains, hunting, or retreating into solitude becomes the only way to break free from their sombre routines. His stories reveal a world where accumulated generational anger has no outlet, where apathy, drunken brawls, creative despair, ill-fated love, and the senseless deaths of friends have become a way of life.
From Vaja Gigashvili’s earlier stories (1957–1960), it is evident
literaturuli Tanamoazreoba aerTianebda.
Zia Salva guramis nawerebs ecnoboda, guramis mama akademikosi, zoologi mixeil rCeuliSvili ki, Cinebuli monadire, `nadirobis trfials~ vaJas ukvalavda gzas (marine rCeuliSvilis gadmocemiT, gurami nadirobisadmi gulgrili gaxldaT).
vaJas mamas, Salva gigaSvils, Svilis niWierebiT Tavi arasodes mouwonebia; albaT Tavmdablobis gamo. arada, saamayo namdvilad hqonda. deida elenes, xSirad vuziarebdi aRtacebas vaJas moTxrobebis Taobaze. igi, Cinebuli bibliografi, sajaro biblioTekaSi, mxareTmcodneobis ganyofilebaSi (romelSic xSirad saaTobiT vijeqi) muSaobda da, ra Tqma unda, eamayeboda Svilis Seqeba.
vaJa bavSvobidan kargad xatavda, profesiiT arqiteqtors, saerTaSoriso bienaleSi prizic hqonda miRebuli _ maRalmTiani soflis ganaSenianebis proeqtisaTvis. studentobidanve werda, magram `andergraundSi~ iyo Caricxuli da, Sesabamisad, Serisxulic. amitom iyo, rom vaJas zogi adrindeli moTxroba mxolod 1987 wlis prozaul krebulSi daistamba, 1967 wliT daTariRebuli vrceli moTxroba `nadiroba Con-taSSi~ mxolod 1976 wels (gamomcemloba `nakaduli~), rasakvirvelia, disidenturi iarliyis gamo. dRes Zneli warmosadgenia, rom iyo sxva, `literaturuli~ mizezic, _ pirvelyofil azartul vnebaTa gamoxatvis `dauSvebeli~ simZafre da sruli avtoriseuli Tavisufleba. qvesaTauri _ `dokumenturi moTxrobac~ erTgvar fandad mimaCnia, radgan `Con-taSis~ Rrma fsiqologizms alRo Tu auRe, `kreatiulad~ mognusxavs da veRar moswydebi.
vaJa gigaSvils bewvis xidze mouxda gavla, rom simarTle uxeS naturalizmSi ar gadazrdiliyo. es iTqmis mis sxva moTxrobebzec (krebuli `dRe da Jami~, `merani~, 1987). avtori Seulamazeblad, zogjer sastiki, agresiuli elferiT gadmogvcems siyalbesa da momabezrebeli rutinisagan gaqcevis tragikul mcdelobebs, roca mTaSi an zogadad bunebis wiaRSi xetiali, nadiroba, sakuTar TavTan ganmartoeba mrume yoveldRiurobisgan TavdaRwevis erTaderTi gzaa; roca TaobebiT dagrovili boRma gamosavals ver poulobs, roca mconaroba, loToba, Cxubi, SemoqmedebiTi xelmocarva, uiRblo siyvaruli, megobrebis uazro daRupva lamis cxovrebis normadaa qceuli. vaJa gigaSvilis adrindel moTxrobebs (1957-1960) ukve etyoba, rom mwerloba misTvis hobi ki ara, sisxlxorceuli saqme iyo. arqiteqturidan kinostudiis sascenaro ganyofilebaSi gadabargeba bevri Cinebuli scenaris Seqmnis garda, mwerlobaSi daostatebisaTvis saukeTeso sarbielic aRmoCnda.
that writing was not a mere hobby for him, but a lifelong calling. Transitioning from architecture to the screenwriting department of a film studio not only enabled him to create many exceptional scripts but also provided him with the ideal avenue to perfect his craft as a writer.
Georgian writers first had to contend with the pressures of totalitarianism, and later, during the uncensored period, were thrust into the chaos of wild capitalism, which created unbearable working conditions. Vaja Gigashvili seems to have found some success in film dramaturgy, but what good did it bring him? “It’s a hard time, you always have to look for pocket money. Sometimes I even smile; I’ve done 10-12 such jobs that should have earned me money. Do you know what I wanted this money for? I thought I’d sit down for a year or two and finally get my writings in order. I have so many stories scattered around. I want to finish them – everything has its time.”
(Interview with Vaja Gigashvili, 2007).
The only area where Vaja Gigashvili was truly “fortunate” was in earning the recognition of the new generation, the so-called “eighties,” who regarded him as both a maestro and a kindred spirit.
I read Vaja Gigashvili’s short stories, brimming with intense passions, from the cycle “The Poet Who Rarely Wrote Poems,” with great interest. That’s why “One Kaflanishvili” took me completely by surprise – a brilliant modern reimagining of the timeless concept of “Jakoism”!
“This work is somehow different from all my prose... It echoes and is a kind of continuation of the story from a century ago, left to us by the legendary storyteller Mikheil Javakhishvili.” (Interview with Vaja Gigashvili).
By adapting Jakoism to the present day – without bias or excessive politicisation – Vaja Gigashvili impartially portrayed the state of modern Georgia. He seeks, and successfully achieves, the role of narrator rather than accuser or judge. The novel’s chronology (the 1990s) is deliberately flexible, as the difference between those years and contemporary Tbilisi lies only in its facade, while the map of Georgia as a whole now more closely resembles a shrunken shagreen skin.
The author consciously avoided imitating or stylising Javakhishvili’s language, as well as satire or grotesque, recognising the shift that occurred at the turn of the 20th to 21st century. Rather than meticulously “rewriting” the novel, he captured the downfall of one specific Jako, illustrating that the essence of Jakoism is immortal.
In the Soviet period, the most sought-after and “reliable” writers were rewarded with disproportionately large circulations and royalties. Since the 1990s, however, no one has had time for books.
Vaja Gigashvili chose once again to remain in the shadows. Yet, no one hesitated: the sensible practice of editors at magazines and publishing houses seeking out good authors is very rare in Georgia.
The publishing house INTELEKTI deserves deep gratitude for compiling “Stories about a Poet Who Rarely Wrote Poems”, along with several of his earlier cycles, into a single volume. At the same time, the publishing house
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qarTvel mwerlebs jer totalitarizmis wnexTan mouxdaT gamklaveba, Semdeg ki _ ucenzurobis Jams, sruliad velurma kapitalizmma Seuqmna gausaZlisi pirobebi. vaJa gigaSvils, rogorc Cans, kinodramaturgia waadga, magram ra xeiri: `mZime droa, sul jibis fulia saZebni. xandaxan meRimeba kidec, 10-12 iseTi saqme gavakeTe, saidanac saxsari usaTuod unda Semomsvloda. es fuli risTvis mindoda, iciT? vifiqre, erTi-ori weliwadi Cavujdebi da Cems nawerebs wesrigSi moviyvan-meTqi. uamravi moTxroba maqvs gafantuli. minda davamTavro, yvelafers Tavisi dro aqvs~ (interviu vaJa gigaSvilTan, `literaturuli palitra~, 2007, #9).
erTaderTi, raSic namdvilad `gaumarTla~ vaJa gigaSvils, _ axali Taobis _ e. w. oTxmocianelebis aRiarebaa, romelTac masSi maestro da Tanamoazre dainaxes.
didi interesiT vkiTxulob vaJa gigaSvilis nirucvlel, mZafri vnebebiT dayursul moTxrobebs ciklidan: `poeti, romelic iSviaTad werda leqsebs~. amitomac CemTvis sruliad moulodneli aRmoCnda `erTi
released his second collection, “Warm Bed and Cold Night” (both in 2016).
“A writer arrived who wrote little, but what he wrote was equal to the energy of an entire dam. The fact that such an eruption of free spirit occurred in the ideological gas chamber of the 1950s is extraordinary,” writes Lasha Tabukashvili, the author of the foreword to one of the collections.
***
The writer, both as a person and a creator, has not changed his face even in the twenty-first century. Stories about a Poet Who Rarely Wrote Poems began in 1995 (presumably, this remarkable cycle would have continued had the author not passed away).
The realm in which the author’s double or alter ego “exists”, writes, travels, hunts or swims is dizzyingly diverse. Vaja Gigashvili is not confined to the Tbilisi theme. Since his youth, he has intermittently worked in ethnographic and mountaineering expeditions across the Caucasus Mountains, the North Sea, the Kola Peninsula, Central Asia, the Pamirs, and the Tian Shan.
The world of his characters is equally diverse: a kaleidoscope of people of different ages, nationalities, professions, lifestyles, tastes, habits, and temperaments, drawn and brought to life by the author with minimal detail, through spare yet sharp strokes, is distinguished by what could be called verbal gestures.
Vaja Gigashvili’s verbal arsenal is remarkably capacious: the casual tone of his narration effortlessly blends with profound sentences, judgments, and reflections. Here, the sense of “elevation” is achieved even without variety. The author’s vocabulary is rich, and at other times, this might pass unnoticed were it not for the unwarranted, arrogant attitude of many modern prose writers towards the style of speech – a style often marked by lexical poverty and a disregard for the art of language, which should not be mistaken for a “new” style. Barbarisms, slang, neologisms, and the Georgian-Russian “scabrez” are woven into the narrative so seamlessly that, instead of feeling exaggerated or misplaced, they impart a passionate intensity to the narrative, sometimes even madness, which is conveyed to the reader.
Naturalness – a trait in Vaja Gigashvili’s prose, one of the most difficult to find in general – effortlessly removes the unpleasant sting caused by “raw” naturalism.
Vaja Gigashvili, the man, was not in a hurry to publish works, never made noise, and never compromised.
“I am amazed and puzzled: why is he silent, why does he not make noise, why is the mind of a man tortured by the horrors of everyday life not freed?” (Galaktion Tabidze).
Vaja Gigashvili’s work is precisely the self-liberation of a person tormented by the horrors of everyday life.
Already elderly, he wrote until his last breath.
I wanted nothing, I soared through the sky, Nothing will work, but I must still try.
This little masterpiece of folk wisdom serves as the verbose epigraph to Vaja Gigashvili’s book The Poet Who Rarely Wrote Poems.
vinme yaflaniSvili~ _ ukvdavi jayoizmis brwyinvale Tanamedrove versia! `es erTgvarad gansxvavebuli nawarmoebia mTeli Cemi prozisgan... gamoZaxilia da TTqos erTgvari gagrZelebacaa saukunis winandeli ambisa, romelic dagvitova legendarulma moambem mixeil javaxiSvilma~ (interviu vaJa gigaSvilTan). vaJa gigaSvilma, jayoizmis dRevandelobasTan misadagebiT, _ tendenciurobisa da zedmeti politizaciis gareSe, miukerZoeblad gadmosca Tanamedrove saqarTvelos yofa. avtori cdilobs da axerxebs kidec, ar gaamJRavnos sakuTari pozicia, igi moambe, mTxrobelia da ara bralmdebeli an msajuli. romanis qronologia (90-iani wlebi) pirobiTia, radgan am wlebsa da dRevandel Tbiliss Soris sxvaoba mxolod fasaduria, sruliad saqarTvelos ruka ki kidev ufro metad daemsgavsa dapataravebul Sagrenis tyavs. avtorma, XX-XXI saukuneTa mijnaze gadmonacvlebis gamo uaryo javaxiSviliseuli metyvelebis imitaciastilizacia, agreTve, satira da groteski. man zedmiwevniT ki ar `gadmowera~ romani, aramed erT-erTi konkretuli jayos (jayoizmis arsi ukvdavia) fiasko gadmosca.
* * *
sabWoTa periodSi ZiriTadad sasurvel da `saimedo~ mwerlebs anebivrebdnen Seusabamod didi tiraJiTa da honorariT, 90-iani wlebidan erTxans wignisaTvis aravis cxeloda.
vaJa gigaSvilma kvlav CrdilSi yofna arCia. Tumca arc aravin eZaleboda: is gonivruli praqtika, rom JurnalgazeTebisa da gamomcemlobaTa redaqtorebi Tavad gafacicebiT unda eZiebdnen karg avtorebs, saqarTveloSi didi iSviaTobaa.
* * *
uRrmesi madlobis Rirsia gamomcemloba `inteleqti~, romelmac erT wignad Sekra `moTxrobebi poetze, romelic iSviaTad werda leqsebs~, sxva, SedarebiT adrindel ciklebTan erTad; imavdroulad gamosca meore krebulic `Tbili logini da civi Rame~ (orive 2016 w.). `movida mwerali, romelic cotas werda, magram rasac werda, erTi kaSxlis energetikas udrida da gancvifrebas iwvevda is faqti, rom meoce saukunis 50-iani wlebis ideologiur gazis kameraSi, Tavisufali sulis aseTi amotyorcna moxda~, _ wers erT-erTi krebulis winasityvaobis avtori laSa TabukaSvili.
* * *
mwerals, rogorc pirovnebasa da Semoqmeds, arc ocdameerTe saukuneSi ucvlia niri. `moTxrobebi poetze, romelic iSviaTad werda leqsebs~, 1995 wlidan iRebs saTaves (savaraudod, _ es mSvenieri cikli gagrZeldeboda,
avtors rom dascloda). sfero, romelSic avtoris oreuli an alter ego `myofobs~, wers, mogzaurobs, nadirobs Tu nadimobs _ Tavbrudamxvevi siWrelisaa; vaJa gigaSvili ar aris `dacikluli~ Tbilisuri TematikiT. igi axalgazrdobidanve drodadro muSaobda eTnografiul da alpinistur eqspediciebSi, kavkasiis mTianeTSi, CrdiloeTis zRvaze, kolis naxevarkunZulze, Sua aziaSi, pamirsa da tian-Sanze.
mravalferovania mis personaJTa areali: sxvadasxva asakis, erovnebis, profesiis, cxovrebis niris, gemovnebis, habitusisa Tu xasiaTis adamianTa kaleidoskopi, avtoris mier erTi monasmiT, Zunwi StrixebiT daxatuli da gacocxlebuli, e. w. sityvieri JestebiTac sruliad gamorCeulia.
vaJa gigaSvilis sityvieri arsenali erTob tevadia: Txrobis yofiTi manera Zaldautaneblad erwymis Rrmaazrovan sentenciebs, gansjasa Tu refleqsiebs. am SemTxvevaSi `amaRlebulis~ gancda mravalferovnebis gareSec miRweulia. mdidaria avtoris leqsika. sxva dros es aRsaniSnavic ar iqneboda, rom ara bevri Tanamedrove prozaikosis sruliad gaumarTlebeli, qedmaRluri damokidebuleba metyvelebiTi stilisadmi, rac xSirad leqsikuri siRaribisa da sityvis xelovnebis ugulebelyofis TvalsaCinoebaa da ara `axali~ stili. barbarizmi, Jargoni, neologizmi, skabrezi (qarTulrusuli) ise aris `SefuTuli~, rom gadaWarbebisa an uadgilobis uamuri grZnobis nacvlad, _ Txrobis vnebiani simZafre, zogjer siSmage, mkiTxvelsac gadaedeba xolme. bunebrioba _ vaJa gigaSvilis prozis damaxasiaTebeli erT-erTi Znelad mosaxelTebeli komponenti _ `SiSveli~ naturalizmisagan gamowveul usiamovno xinjs iolad agvaSorebs.
vaJa gigaSvili _ pirovneba _ ar eSureboda TxzulebaTa beWdvas, ar xmaurobda, arasodes wasula kompromisze.
`mikvirs da gamkvirvebia, risTvis dums, risTvis ar xmaurobs, risTvis ar aiwyvets yoveldRiurobis saSinelebiT gawamebuli kacis goneba?~ (galaktioni).
vaJa gigaSvilis Semoqmedeba sworedac rom yoveldRiurobis saSinelebiT gawamebuli adamianis Tavawyvetaa.
ukve xanSi Sesuli, bolo amosunTqvamde werda.
araferic ar mindoda, arafrisTvin viyav cada, araferi arc gamova, magram isev unda vcada...
xalxuri zepirsityvierebis es patara Sedevri vaJa gigaSvilis wignis `poeti, romelic iSviaTad werda leqsebs~ mravlismetyveli epigrafia.
kokozaSvili
saqarTveloSi enciklopediur da leqsikologiur saqmianobas jer kidev adreul saukuneebSi Caeyara safuZveli. mag. qarTul agiografiul Txzulebebs, efrem mciris, arsen iyalToelis da sxvaTa naSromebs xSirad erTvoda enciklopediuri xasiaTis ganmartebebi. am mxriv gansakuTrebulia sulxan-sabas enciklopediurleqsikografiuli Ziebani da misi `sityvis kona~. imdroindeli codnis TiTqmis yvela dargs moicavs ioane batoniSvilis `kalmasoba~. XX saukunis dasawyisSi qeTevan
qarTuli enciklopediis guSindeli da dRevandeli dRe
The Georgian Encyclopedia: Yesterday and Today
rodesac 1960-ian wlebSi saqarTvelos samecniero wreebSi gaCnda idea qarTuli enciklopediis momzadebisa, ukve arsebobda am saqmeSi msoflios sxvadasxva qveynis gamocdileba.
When the idea of creating a Georgian encyclopedia emerged in the scientific circles of Georgia in the 1960s, the experience of various countries around the world in this field had already been established.
The foundations for encyclopedic and lexicographical work in Georgia were laid as early as ancient centuries. For example, Georgian hagiographical works, the writings of Ephraim the Lesser, , and others often included encyclopedic explanations. In this regard, the encyclopedic-lexicographical pursuits of Sulkhan-Saba are particularly noteworthy, along with his “Sitkvis Kona” (The Treasure of Words). Ioane Batonishvili’s “Kalmasoba” covers almost every branch of knowledge of the time.
At the beginning of the 20th century, Georgian scholars, led by Aleksandre Tsagareli, Vasil Petriashvili, and Aleksandre Khakhanashvili,
KETEVAN KOKOZASHVILI
qarTvelma mecnierebma aleqsandre cagarelis, vasil petriaSvilisa da aleqsandre xaxanaSvilis meTaurobiT gadawyvites gamoecaT „saqarTvelos enciklopedia~. Seiqmna cnobil mecnierTa sagangebo amxanagoba, Seadgines gamocemis vrceli programa, magram es saqme sabolood ver gaxorcielda. cota mogvianebiT isev gaCnda survili qarTuli enciklopediis Sedgenisa, 1935 wels Seudgnen kidec saqmianobas. ukve muSaobdnen pirvel tomze, magram es wamowyeba Semdeg omma da misma Tanmdevma movlenebma Seaferxa.
sabolood 1966 wels qarTvel mkvlevarTa sakmaod didma jgufma muSaoba daiwyo enciklopediis momzadebaze. swored am droisTvis Seiqmna mTavari samecniero redaqcia, aseve specialuri dargobrivi redaqciebi. mTavari redaqtori wlebis ganmavlobaSi iyo akademikosi irakli abaSiZe. iseTi seriozuli saqme, rogoric enciklopediis gamocemaa, im dros ase martivad da Cveulebrivad ar xdeboda, centridan zemdgomi partiuli organoebis nebarTva iyo saWiro. es ki sakmaod xangrZlivi procesi aRmoCnda. piradad irakli abaSiZes mouwia mravali dabrkolebis gadalaxva. amitomac gaxda enciklopedia misi gansakuTrebuli siyvaruli da sazrunavi. rodesac pirveli tomi gamosacemad momzadda, maSindeli wesebis mixedviT, cekas biuros unda ganexila. saubrisas moskovidan cekas imdroindel meore mdivans ukmayofileba gamouTqvams, wignSi oriaTasamde menSevikia Seyvanilio. irakli abaSiZis pasuxi ki axlac bevrs axsovs: amdeni menSeviki saerTod rom gvyoloda, axla Tqven aq ar ijdebodiTo, _ ase pirdapir uTqvams. enciklopedia etimologiurad samyaros panoramul Tvalis gadavlebas gulisxmobs. qarTuli enciklopediac am gezs mihyveba. is moicavs mecnierebis sxvadasxva dargSi dagrovil codnas, kulturisa da xelovnebis yvela mimarTulebas. aq vercerTi disciplina ver iqneba dominanturi, yvela erTmaneTis gverdiT Tanaarsebobs, garkveul sistemurobas, klasifikacias eqvemdebareba da es mravalferovneba sabolood erT mTlianobas Seadgens. enciklopediis dargobrivi saredaqcio ganyofilebebi swavlobdnen, alagebdnen, adarebdnen da mimoixilavdnen uamrav sakiTxs. esaa uzarmazari, Tavdauzogavi yoveldRiuri Sroma. fizikis, genetikis, biologiis, kibernetikis, soflis meurneobis, medicinis da uamravi sxva dargis sakiTxTa skrupulozurad, Tanmimdevrulad, siRrmiseulad damuSavebas da Tavmoyras wlebi dasWirda. pirveli tomi 1975 wels gamoica. sul ki 13 tomi momzadaa, 12 ZiriTadi da erTi damatebiTi specialuri gamocema. qarTuli enciklopediis mTavari samecniero redaqcia axla ukve irakli abaSiZis saxelobisaa, adamianis, romelic wlebis ganmavlobaSi uZRveboda mravaltomeulis momzadebisa da gamocemis urTules saqmes. principi aseTi
decided to publish the Encyclopedia of Georgia. A special association of renowned scientists was formed, and a comprehensive publishing program was developed, but this endeavor could not be fully realized. Shortly thereafter, the desire to create a Georgian encyclopedia resurfaced, and work began in 1935. They were already working on the first volume, but the project was delayed due to the war and its subsequent events.
Finally, in 1966, a large group of Georgian researchers began working on the preparation of the encyclopedia. It was during this time that the main scientific editorial board and special sectorial editorial boards were created. The editor-in-chief for many years was Academician Irakli Abashidze. Such a serious undertaking as the publication of an encyclopedia could not be carried out simply and routinely at that time; approval from higher party authorities was required. This turned out to be a rather long process. Irakli Abashidze personally had to overcome many obstacles. Therefore, the encyclopedia became his special love and concern. When the first volume was prepared for publication, according to the rules of the time, it had to be reviewed by the Bureau of the Central Committee. During the discussion, the second secretary of the Central Committee in Moscow expressed dissatisfaction, saying that the book included nearly two thousand Mensheviks. Irakli Abashidze’s response is still remembered by many: “If we had so many Mensheviks, you wouldn’t be sitting here now,” he said directly.
Etymologically, the term “encyclopedia” refers to a panoramic view of the world. The Georgian encyclopedia follows this path. It encompasses the knowledge accumulated in various branches of science, as well as all areas of culture and art. No single discipline is dominant here; all coexist side by side, subject to certain systematization and classification, and this diversity ultimately forms a unified whole. The sectorial editorial departments of the encyclopedia studied, organized, compared, and reviewed a vast number of topics. This was an enormous, tireless daily effort.
It took years to meticulously, sequentially, and thoroughly process and compile topics in physics, genetics, biology, cybernetics, agriculture, medicine, and countless other fields. The first volume was published in 1975. In total, 13 volumes were prepared: 12 main volumes and one additional special edition.
The main scientific editorial board of the Georgian encyclopedia is now named after Irakli Abashidze, the man who led the difficult work of preparing and publishing the multi-volume work for many years. The principle was this: the encyclopedia should reflect the past and present, history and modernity, Georgian events, stories, and important issues equally and comprehensively; all of this should be presented in close connection with global processes and the accumulated knowledge of the world, as a unified, synthetic, and inseparable space of civilization.
The routine, tireless work of an encyclopedist can only be compared to that of transcribing old books. Organizing and meticulously studying countless questionnaires and cards, and analyzing them systematically, requires extraordinary energy. This is
iyo _ enciklopediaSi erTnairad kompleqsurad unda asaxuliyo Zveli da axali, warsuli da awmyo, istoria da Tanamedroveoba; qarTuli movlenebi, ambebi, mniSvnelovani sakiTxebi srulad unda warmodgeniliyo da es yovelive mTel samyaroSi mimdinare procesebTan, samyaroSi dagrovil codnasTan mWidro kavSirSi unda yofiliyo, rogorc civilizaciis erTiani, sinTezuri da ganuyofeli sivrce.
enciklopedistis rutinuli, Tavdauzogavi Sroma mxolod Zveli wignebis gadamwerebisas SeiZleba SevadaroT. uamravi kiTxvaris, baraTis mowesrigeba, dakvirvebiT Seswavla da sistemurad gaanalizeba gansakuTrebul energias moiTxovs. amitomacaa, rom TiToeuli tomis momzadebas sakmaod didi dro sWirdeba. enciklopediur-leqsikologiuri naSromebi mudmivad moiTxovs Sevsebas, gadamuSavebas, uamravi axali masalis moZiebasa da damatebas. amitom am bolo wlebSi daiwyo muSaoba axal versiaze da sul axlaxans ukve gamoica `enciklopedia saqarTvelos~ V tomi. masSi Sesulia 3000-ze meti samecniero statia, 800-mde foto, ruka da ilustracia. axal versiaSi Sesulia bevri dRemde naklebad cnobili faqti da movlena, aseve cnobebi emigraciaSi myof qarTvel moRvaweTa saqmianobaze, mokled, araerTi iseTi masala, romlis araTu aRnusxva, aramde moZiebac Wirda sabWoTa koniunqturis pirobebSi. garda amisa, enciklopediis mTavar samecniero redaqciaSi aseve mzaddeba sxvadasxva mimarTulebis, Sinaarsisa da Tematikis gamocemebi. adreve, 80-ian wlebSi, gamovida `berZnuli da romauli sakuTari saxelebis orTografiuli leqsikoni~; 2008 wels gamoica enciklopedia `qarTuli ena~, romelze muSaobac jer kidev 1990-ian wlebSi daiwyo. amave wels gamovida `qarTuli damwerloba~; gamoica enciklopedia `Tbilisi. quCebi, gamzirebi, moednebi.~ es aris uamrav sxvadasxva wyaroze dafuZnebuli Tbilisis istoria da dRevandeli sinamdvile; 2011w. _ `asi qarTveli ucxoeTSi~; 2014 w. _ `asi Rirssaxsovari saxeli“... erTi seria ki gansakuTrebiT sainteresoa, esaa `saqarTvelos istoriisa da kulturis ZeglTa aRweriloba~ da ukve mxolod eqvsi tomia gamocemuli. enciklopedia `saqarTvelos~ 5 tomis masala, mTlianad ganTavsebulia vebverdze georgianencyclopedia. ge. axla statiebi TandaTan iTargmneba inglisurad, itvirTeba vebgverdze da ukve yvela qarTvelisTvis Tu dainteresebuli ucxoelisTvis, xelmisawvdomi xdeba. enciklopediis mTavari samecniero redaqciis mTavari redaqtoris, zurab abaSiZis TqmiT, qarTuli enciklopediis saxelmZRvanelo principia _ akademiuroba, obieqturoba, xarisxi da sandooba.
why preparing each volume takes a considerable amount of time. Encyclopedic and lexicographical works constantly require updating, revision, and the acquisition and addition of a vast amount of new material. For this reason, work on a new version began in recent years, and just recently, the Encyclopedia of Georgia Volume V was published. It includes over 3,000 scientific articles, nearly 800 photos, maps, and illustrations. The new version contains many facts and events that were previously little known, as well as information about the activities of Georgian figures in exile – materials that, under Soviet conditions, were difficult not only to document but even to gather.
Additionally, various publications on different topics, contents, and themes are being prepared in the main scientific editorial board of the encyclopedia. As early as the 1980s, the Orthographic Dictionary of Greek and Roman Proper Names was published. In 2008, the Encyclopedia of the Georgian Language was released, work on which had begun in the 1990s. That same year, Georgian Script was published. The Encyclopedia of Tbilisi: Streets, Avenues, and Squares was released as well, which is based on a wide range of sources to provide the history and present of Tbilisi. In 2011, One Hundred Georgians Abroad was published, followed by One Hundred Memorable Names in 2014.
One series, in particular, is of special interest: Descriptions of the Monuments of Georgian History and Culture, of which only six volumes have been published so far.
The material of the five volumes of the Encyclopedia of Georgia is fully available on the website georgianencyclopedia.ge. Articles are gradually being translated into English, uploaded to the website, and becoming accessible to all Georgians and interested foreigners. According to Zurab Abashidze, the editor-in-chief of the main scientific editorial board of the encyclopedia, the guiding principles of the Georgian encyclopedia are academic rigor, objectivity, quality, and reliability.
