კულტურა პლუს 1 (19)

(19 ) 2020 ) 2020 1 1(19

gilocavT Soba-axal wels!

1 (19) 2020 s a g a n m a n a T l e b l o - s a z o g a d o e b r i v i

J u r n a l i

sarCevi / CONTENTS ra ena waxdes

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WHEN LANGUAGE IS SPOILED

qarTuli xorbali

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GEORGIAN WHEAT

Salva qiqoZe

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SHALVA KIKODZE

aSina, maSina, gulo, ram SegaSina?

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IT SCARED OTHERS, IT SCARED ME, BUT MY HEART, WHAT ARE YOU SCARED OF?

miTosi da qarTuli Teatri

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MYTHOS AND GEORGIAN THEATRE

abas qiarosTamis poeturi eqsperimenti

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ABBAS KIAROSTAMI'S POETIC EXPERIMENT

merab berZeniSvili: ambebi medeas qveynidan

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MERAB BERDZENISHVILI: STORIES FROM MEDEA’S COUNTRY

...magram Cems zemoT mxolod RmerTia

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...ABOVE ME, THERE IS ONLY GOD

rodidan iwyeba qarTuli mwerloba?

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WHEN DID GEORGIAN LITERATURE BEGIN?

regeneraciuli agrokultura

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REGENERATIVE AGRICULTURE

Strixebi qarTuli cekvis sawyisebisTvis

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TRACING THE ORIGINS OF GEORGIAN DANCE

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

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

gamodis kvartalSi erTxel JurnalSi ganTavsebuli masalis gamoyeneba SeiZleba mxolod redaqciis TanxmobiT

Issued quarterly The materials published in this magazine cannot be used without the authorization of the editorial staff

ISSN 2346-8165

garekanze: sergo ediSeraSvilis foto _ `darCiT an gamodiT~ Cover: Photograph by Sergo Edisherashvili – "Stay or come out"

1 (19) 2020

-2foto: Š sergo ediSeraSvili

1 (19) 2020

bolo periodSi ganviTarebulma movlenebma mTeli msoflio SeZra, adamianebi saxlebSi gamoketa da uneburad dro gamouTavisufla. TiToeulma maTganma Taviseburad gamoiyena is dro, romelic TiTqos gaCerda da gairinda da erT did gamoqvabulad iqca. CemTvis drois es monakveTi didi xnis win Cafiqrebuli saqmianobiT amovavse _ mamas arqivis damuSaveba daviwye. Zveli presis, xelnawerebis, werilebisa da fotoebis dalageba-daxarisxebisa da bibliografiis Sedgenis etaps im masalis digitalizacia (gacifreba) mohyva, romelic gansakuTrebiT saintereso, aqtualuri da saWirboroto meCvena. gTavazobT 2002 wels gazeTSi „axali era“ gamoqveynebul intervius Tamaz CxenkelTan qarTuli enis Sesaxeb. saubarSi gamoTqmuli gulistkivili, dasmuli aqcentebi da problematika dRes kidev ufro didi simZafriT dgas Cvens winaSe. naTia Cxenkeli The events that have recently unfolded have shaken the whole world, locked people in their homes, and incidentally gave them lots of free time.

Each person made their own decision about the way they would use this time, which seemed to stand still and quiet, and to turn into one large cave.

Personally, I filled this time with an activity I had resolved to undertake long ago – to work on my father’s archive. The stage of selecting and classifying old press articles, manuscripts, letters, and photographs, and then that of establishing a bibliography, was followed by the digitization of material that I deemed particularly interesting, topical, and pressing.

I hereby introduce an interview of Tamaz Chkhenkeli about the Georgian language published in 2002 in the newspaper ‘The New Era’. The grief expressed in this discussion, the emphases and the issue itself are even more relevant today than they were back then.

Natia Chkhenkeli

Tamaz Cxenkeli

TAMAZ CHKHENKELI

ra ena waxdes

WHEN LANGUAGE IS SPOILED

saSinlad maxinjdeba ena, mTavari ki is aris, rom maxinjdeba enis struqtura. parizSi ibeWdeboda „bedi qarTlisa~, sadac grigol robaqiZes motanili hqonda (romelmac kargad icoda qarTuli), Tu rogor exumreboda maiakovski mwerlebs: „poezdi Camodga stanciaze“ da misTanani. saintereso iciT ra aris? marTalia, iyo rusuli sityvebi, magram ar irRveoda qarTuli enis struqtura. mTavaria enis Sinagani bunebis dacva. ra aris qarTuli enis specifika, riTac igi gansxvavdeba indoevropuli enebisgan? is, rom qarTuli winadadeba agebulia zmnaze. didi koordinati aris zmna, da ara saxeli, zmnaSia koncentrirebuli yvelaferi _ subieqti da obieqti, pirdapiri damatebac ki. imis gamo, rom gveZaleba indoevropuli enebi, xSirad irRveva es struqtura. qarTul zmnas aqvs sami seria. mesame seriis zmnebi, praqtikulad aRar gamoiyeneba, radgan es seria ar aris indoevropul enebSi da am enebidan Targmnisas maT qarTulSic aRar iyeneben. Zalian mniSvnelovania mTargmnelTa problemac, Tumca es vrceli saubris Temaa.

Targmna qvis kodvas hgavs, Tumca qarTuls yvelaferi SeuZlia. warmoidgineT, ramdeni ram unda iTargmnos sxva enebidan qarTulad da piriqiT. am mxrivac didi muSaobaa aucilebeli. SemoiRes kapitulanturi termini _ zedmeti gaqarTuleba. ras hqvia zedmeti gaqarTuleba? gaqarTuleba unda iyos sruli! magram rusuls, inglisurs SeCveul yurs aseTi qarTuli cudad xvdeba.

Our language is getting uglier and uglier, and the most important is that its structure itself is getting uglier. In one of the issues of the academic journal ‘Bedi Kartlisa’ (“The Destiny of Georgia”), which used to be published in Paris, Grigol Robakidze (who mastered the Georgian language) noted how Maiakovski (who was born and raised in Georgia) was making fun of Georgian writers, for instance, with the sentence “Poezdi chamodga stantsiaze” (“The train has arrived at the station”, with the use of Russian barbarisms for “train” and “station” instead of the Georgian words). Do you know what is the most interesting? These were, indeed, Russian words, but they didn’t infringe the structure of the Georgian language. The most important is to defend the intrinsic nature of the language. And what is the specific feature of the Georgian language, what makes it different from Indo-European languages? It is the fact that the Georgian sentence is built around the verb. The verb is the main coordinator, instead of the noun; everything is condensed in the verb – the subject and the object, and even the direct object. Because Indo-European languages are pressuring us, this structure is often transgressed. There are three classes of Georgian verbs. The verbs of the third class are practically not used anymore, as this class doesn’t exist in Indo-European languages, and therefore, they don’t use these verbs when translating from those languages. The problem of translators is also very significant, but this would lead us too far. Translating is like sculpting stone, though the Georgian language is capable of translating anything.

Imagine how many things need to be translated from other languages into Georgian, and vice versa. In this regard too, there is a lot of work to be done. A defeatist expression was introduced – “too Georgianized”.

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televiziasa da gazeTebSi ar hyavT stilisti, elementaruli ram eSlebaT. magaliTad, xSirad amboben _ „rols TamaSobs“, nacvlad „roli Seasrula“. amis Sesaxeb jer kidev 1928 wels dawera mixeil javaxiSvilma werili: „msaxiobi rols TamaSobs, magram ama da am kacis moqmedebam esa da es roli Seasrula... weren da amboben _ „gamoxtoma“, nacvlad „gamoxdomisa“ da lamis damkvidrdes yovlad amazrzeni „madloba mouxada“, „gadavida SetevaSi“ da „mapatie“ („momiteves~ nacvlad). amaswinaT movismine aseTi forma televiziiT: „aq kavkasiuri nagazebi Sendeba“. is elementaruli ram ar ician, rom aris zmnebi, romlebic sxvadasxva formaSi ar ixmareba: Sendeba saxli, nagazebi ki moaSenes. televizia ara mxolod CvenTan ryvnis enas, magram iseTebs weren gazeTebSi, Tma yalyze dagidgeba. sxvaTa Soris, Tma da ara Tmebi, qarTuli mxolobiTis enaa _ mTaSi da ara mTebSi; cxvarSi da ara cxvrebSi; Tvali da ara Tvalebi, Tumca es fufunebaa da amaze ar Rirs laparaki. magram dauSvebelia is, rom irRveva gramatikuli wyoba. Secdomebi yvelas mosdis, maT Soris _ mec. me vin var, mixeil javaxiSvils uweria erTgan _ 20 Secdoma aRmovaCine Cem nawerebSio. Secdomas ver ascdebi, mTavaria Secdoma normad ar iqces.

Cemi azriT, 1921 wlidan saqarTvelos gorsalizacia daiwyo da axla kidev ufro swrafad midis es procesi. da swored gorsala laparakobs ase, mas examuSeba namdvili qarTuli, radgan Tavisi ena dabali Robe hgonia, amaSia saqme... ena TviTon iyureba, masSi msoflmxedvelobaa; erT enas aseTi xedva aqvs samyarosi, meores _ sxvanairi da a.S. qarTuli ena ekuTvnis erT-erT uZveles da miTologiuri tipis enas, sadac SenarCunebulia miTosuri xedvis bevri elementi. sxvaTa Soris, 20-ian wlebSi silovan xundaZis wigni „gramatika“ gamovida quTaisSi da grigol robaqiZem dawera araCveulebrivi statia, romelsac ar eqceva jerovani yuradReba _ rogor ganicdis qarTveli dros _ dros, romelic zmnaSia gamoxatuli. qarTulSi 13 mwkrivia, qarTulSi aris oTxpiriani zmnebi; es yvelaferi ki moyruebulia, aRar gamoiyeneba da ena Raribdeba. qarTuls SeuZlia yvelaferi, magram vin icis qarTuli?! mis swavlas mTeli sicocxle unda. piradad me vici mwignobruli qarTulis garkveuli Sreebi da is Ronieri qarTuli niadagad ar maqvs gamjdari, radgan, rac vici, wakiTxuliT vici da ara bunebrivad. yvelas, visac qarTulis swavla unda qarTlis romelime sofelSi unda icxovros ramdenime Tve, raTa yuri gaixednos namdvili qarTuliT. eleganturi sicxade jer kidev yvelafers ar niSnavs, es ar amowuravs enas. arsebobs Rrma ena, romlis codna yvelas ar xelewifeba. haidegeri ambobs: `is ena, romelsac Cven viyenebT, xurda fulia, gacveTili, namdvil enasTan kavSirs inarCuneben didi moazrovneebi da didi poetebi~.

What does that even mean? Georgianization should be thorough! But to ears that are used to Russian and English, this kind of Georgian language doesn’t sound right.

They don’t have stylists in TV stations and newspapers – which is big mistake. For instance, people often say – “he plays a role”, instead of “he fulfills a role”. Mikheil Javakhishvili wrote an article about this back in 1928: “An actor plays a role, but by doing this or that activity, this or that person fulfills a role.” People say and write many linguistic inaccuracies, and have almost established a number of awful, grammatically faulty phrases. Recently, I stumbled upon several such flawed expressions on television. They don’t even know that there are verbs that cannot be used in some forms. Television depraves language in many countries, but they write such things in newspapers that it could give you goosebumps, it could literally raise your hair. By the way, hair and not hairs – Georgian is a language of singular: for instance, we say “in the mountain”, and not “in the mountains”. But it wouldn’t make sense to delve deeper into this right now. Breaching the grammatical structure is unacceptable. Everybody makes mistakes, even me. Hell, even Mikheil Javakhishvili once wrote about one of his texts that he had found 20 mistakes in it. You cannot avoid mistakes, the most important is for mistakes not to become the norm.

In my opinion, the “gorsalization” (vulgarization/“tawdrization”) of Georgia started in 1921, and this process is still going on today, at a faster pace. And the “gorsalas” are precisely those who talk like that; true Georgian doesn’t fit them, because they don’t respect their language and look at it as something with which they can do whatever they want, that’s the problem…

Language has a gaze of its own, it has a worldview; one language has this vision of the world, the other – that one. The Georgian language belongs to one of the oldest languages and one of the mythological type, in which many mythological elements have been preserved. By the way, Silovan Khundadze’s book ‘Grammar’ was published in the 1920s in Kutaisi, and Grigol Robakidze wrote a wonderful article about it, but unfortunately, it is not given the attention it deserves. It discusses how Georgian language experiences time, time, which is expressed in verbs. There are 13 screeves (tense–aspect–mood marking in the Western grammatical tradition) in Georgian, as well as quadri-personal verbs. But they aren’t used anymore, and our language is getting poorer and poorer. The Georgian language can achieve anything, but who knows Georgian?!

You would need a lifetime to learn it. Personally, I know certain layers of literary Georgian, but that resourceful language is not rooted in me, as what I know of it, I know it from reading, and it didn’t come naturally. Anyone who wants to learn Georgian should go and live in a village in Kartli (one of the central regions of Georgia) for a few months, so that they can get their ears used to real Georgian. Elegant clarity doesn’t mean everything, it cannot exhaust a language.

There exists a deeper language, one that not everybody can attain.

Heidegger once said: “The language that we use is like worn pennies; only great thinkers and poets have retained a connection with authentic language.”

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qarTuli azrovneba, qarTuli tradiciebi uaryofilia; idiotizmia, roca 4 milioniani eri 200 milionian saxelmwifos edreba. erTxel aravis uxsenebia fineTi, norvegia, dania, xandaxan axseneben xolme baltiispireTs. arada, magaliTi unda aiRo Seni wonis saxelmwifoebisgan. didi qveynebis struqtura sul sxvanairia. gamosavali ki mxolod TviTcnobierebaSia. damoukidebloba ras niSnavs? eris Sinagani energiis gamovlenas, enTuziazms. es Tu ar iqna, ra unda gaakeTo?! es enTuziazmi rom misca qarTvel xalxs, orjer ufro uaressac aitans da autania kidec. marabdis omis Semdeg muslimanobam fexi moikida CvenSi. faqtobrivad, sparseTis vasali iyo qarTli da es daetyo kulturasac. Cveni didebulebi fexmorTxmiT qeifobdnen, amitomac gaCnda aseTi termini: „qarTveli yizilbaSebi“. „qarTveli yizilbaSebi“ iyvnen qarTveli komunistebic, axla ki damoukideblobis dros gaCndnen „qarTveli Cingiz-xanebi“, „qarTveli Temur-lengebi“. yvelaze saSiSia qarTveli antiqarTveli. gamosavali iqneba mxolod maSin, Tu inteligenciis garkveuli Sre ar gatydeba da gaakeTebs imas, rac gasakeTebelia...

The Georgian way of thinking, Georgian traditions are neglected. It is simply foolish when a nation of four million compares oneself to one of 200 million. Nobody ever mentioned Finland, Norway, Denmark – they sometimes mention Baltic countries. Nations should take examples from other nations of its own size. The structure of large countries is completely different. The solution lies only in self-awareness. What does independence mean? The manifestation of the nation’s inner energy and enthusiasm. If that isn’t there, what are you to do?! If Georgian people had that enthusiasm, they could endure difficulties twice harder than those it is confronting right now – and it already did.

After the Battle of Marabd, Islam started to establish itself in our country. The region of Kartli practically became a vassal of Persia, and this had visible effects on culture. Our noblemen were feasting sitting in a cross-legged position, and this led to the appearance of the term “Georgian Kizilbashs”. Georgian communists were “Georgian Kizilbashs” too, and now, during our independence, “Georgian Genghis Khans”, “Georgian Tamerlanes” have appeared. The most dangerous ones are Georgian anti-Georgians. There will be a solution only when the intelligentsia doesn’t give in and does what needs to be done…

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daviT jafariZe

qarTuli xorbali izarde, mwvane jejilo, dapurdi, gaxdi yanao...

`da rodesac Wamdnen isini, aiRo puri iesom, akurTxa, gatexa da misca maT da uTxra: miiReT da WameT, es aris Cemi xorci. da aiRo sasmisi da madlobda, misca maT da dalia misgan yvelam, da uTxra maT: ese aris sisxli Cemi axali aRTqmisa, mravalTaTvis daTxeuli~. markozi (T. 14. 22-24) `winaT puris gadagdeba ar iqneboda.

SemTxveviT Zirs Tu dagvivardeboda, rogorc papebisa da didedebisgan gvqonda naswavli, maSinve unda agveRo, gagvesufTavebina da samjer gvekocna.

Cveni Zvelebi purs ase imitom ufrTxildebodnen, rom xorblis moyvanas didi Sroma da jafa undoda... ...axla amdens aRaravin wvalobs: wavlen maRaziaSi, iyidian cxel-cxel purebs da miitanen Sin. magram roca im puris natexi Zirs dauvardebaT, aRaravin iRebs, aRaravin asufTavebs da samjerac aRaravin eamboreba~. nugzar SataiZe, `puris moTxroba~ -6-

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DAVIT JAPARIDZE

Georgian Wheat Grow, green shoots, turn into wheat, become a field...

"And as they were eating, he took bread, and when he had blessed, he broke it, and gave to them, and said, take ye: this is my body.

And he took a cup, and when he had given thanks, he gave to them: and they all drank of it. And he said unto them, this is my blood of the covenant, which is poured out for many."

The Gospel of Mark (14:22-24)

"Earlier it had been absolutely unforgivable to throw away bread.

In we dropped bread accidentally, our grandmas and grandpas would insist on us picking it up, cleaning it and kissing it three times.

Our forefathers cherished bread because of the sweat and toil wheat cultivation involved… …Today one can get freshly baked bread from any supermarket without much trouble and without caring, if bread is dropped, to pick it up, clean it and kiss it three times."

Nugzar Shataidze, ‘Bread Story’.

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k

acobriobis istoriis yvelaze Zvel, xangrZliv periodebSi, paleoliTsa da mezoliTSi, adamianTa cxovrebis wesi momgrovebloba-mimTvisebloba iyo. isini bunebaSi arsebuli mcenareuli da cxoveluri sakvebis mopovebas mTel energias, gamocdilebas andomebdnen da, ZiriTadad, mainc mSivrebi iyvnen. demografTa gamoTvlebiT, 12 aTasi wlis win dedamiwaze, daaxloebiT, 5 milioni adamiani cxovrobda. am dros, romelsac mecnierebma axali qvis xana anu neoliTi uwodes, kacobriobis istoriaSi didi cvlilebebis xana daiwyo. dedamiwis zogierT adgilas adamianTa erTma nawilma momgrovebloba-mimTviseblobidan warmoebaze iwyo gadasvla, anu TviTon Seudga veluri mcenareebis gakultureba-moSenebasa da cxovelTa moSinaurebas. am epoqalur cvlilebaTa xanas mecnierebma neoliTuri revolucia uwodes. preistoriuli periodebis

I

n the Paleolithic and Mesolithic eras of the evolutionary history of humankind, humans grouped together in small bands and subsisted by gathering plants and hunting animals. They devoted all their time and energy to scavenging for food. However, they were permanently hungry. According to demographers, the earth’s population 12 thousand years ago was estimated at 5 million.

The Neolithic Age, or New Stone Age, brought about revolutionary changes. This era that witnessed the transition from gathering practices to food production, i.e. the cultivation of plants and the domestication of animals, was a watershed in the history of mankind and developed into the “Neolithic Revolution” as scientists describe it.

The pace of genuinely radical transformations during the prehistoric period was much more sedate compared to today’s frenetic rhythm of life. What provided background to the Neolithic Revolution was the tremendous breadth of experience ancient people had derived from the surrounding world. By the time mankind entered the Neolithic Age, it

-8foto: © sergo ediSeraSvili

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revoluciuri cvlilebebis tempi, dRevandelTan SedarebiT, Seudareblad neli iyo. neoliTuri revoluciis cvlilebebs aTaswleulebi da aswleulebi sWirdeboda. adamianTa Taobebi mravali saukunis ganmavlobaSi agrovebdnen codnas garemomcveli bunebis Sesaxeb. neoliTuri periodis dasawyisisTvis adamianebma zustad icodnen, romeli mcenare gamoadgebodaT sakvebad da romeli _ samkurnalod. am adamianebisTvis TandaTan naTeli Seiqna, rom es mcenareebi ukeT ixarebdnen, Tu gverdiT mdgar sxva mcenareebs moacilebdnen, anu gamarglavdnen. ufro mogvianebiT isini mixvdnen, rom sakvebad vargisi mcenareebis naTesebis farTobi gaizrdeboda, Tu marcvals Sesaferis dros Tavad Cargavdnen miwaSi. aseTi ram mxolod im Semgroveblebs SeeZloT aRmoeCinaT, romelTa saarsebo garemoSi mravlad xarobda kulturul mcenareTa veluri winaprebi.

was easy to differentiate clearly between edible and curative species of plants. It was already common knowledge that the removal of unwanted weeds meant the flourishing of desirable crops; sowing seeds at the right time led to a bountiful harvest. Such a wealth of expertise could only be amassed by tribes whose natural habitat was rich in the wild progenitors of domesticated plants.

Over the course of millennia, wheat and barley formed the staple diet for many people throughout Asia Minor, Europe and North Africa. Maize and haricot were the most basic foodstuffs for North and Central American Indians; rice and millet – for the largest part of the Asian population. People throughout the world chose different cereals as the ultimate source of their foodstuffs depending on which crop was the most widespread within their natural milieu.

The domestication of wild plants and animals is thought to have begun throughout the Fertile Crescent region in the Near East. This territory shaped like a crescent moon used to incorporate parts of

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aTaswleulTa ganmavlobaSi mcire aziis, evropisa da afrikis CrdiloeTSi mcxovrebTaTvis ZiriTadi mcenareuli sakvebi _ xorbali da qeri, Crdilo da centraluri amerikis indielTaTvis _ simindi da lobio, xolo aziis mcxovrebTa udidesi nawilisTvis brinji da fetvi iyo. ratom irCevdnen dedamiwis sxvadasxva kuTxeSi mcxovrebi adamianebi saWmlis gansxvavebul saxeobebs? imitom, rom im teritoriaze veluri saxiT es mcenareebi xarobda.

present-day Israel, Turkey, Iraq, Syria and Iran. This very region provided a natural habitat for the wild progenitors of Eurasia’s domesticated crops and animals. The Cradle of Civilization is how the Fertile Crescent is referred to in all authoritative works and studies enjoying the broadest readership. Regrettably, though, these works make no mention of Georgia or Transcaucasia, while specialists widely recognize our country as one of the most powerful centres of agriculture.

Despite the scantiness of its territory, Georgia provides a miniature model of the earth with vagaries of climate slipping from tropical to

Tavdapirvelad veluri mcenareebis gakultureba da cxovelebis moSinaureba axlo aRmosavleTSi, e.w. `nayofieri naxevarmTvaris~ midamoebSi daiwyes. es teritoria, romelsac namglis moyvaniloba hqonda, moicavda dRevandeli israelis, TurqeTis, erayis, siriisa da iranis teritoriaTa nawilebs. swored aq izrdeboda da binadrobdnen evraziis kulturul mcenareTa da cxovelTa veluri winaprebi. mecnierebi `nayofieri naxevarmTvaris~ teritorias msoflio civilizaciis akvnad miiCneven. ase weria yvela Tanamedrove popularul gamocemasa da cnobarSi (romelTac yvelaze meti mkiTxveli hyavs). samwuxarod, am gamocemebSi verc samxreT kavkasiisa da verc saqarTvelos Sesaxeb erT sityvasac ver naxavT, maSin roca specialistTa mier Cveni

sub-tropical weather, snowy peaks and glaciers. There is also a wide and varied range of soil. Strong climate fluctuations have encouraged a richness and diversity of vegetation. Academician Niko Ketskhoveli writes that fields of wild wheat stretching over tens of hectares could be found in the South Caucasus, both in the prehistoric era and as late as the 1930s, which indicates clearly that wild progenitors of present-day cereals, beans, fruit, vines and other crops were overly abundant on the ancient territory of Georgia. A wealth of energy and expertise of our forefathers went towards making wild species into their cultivated counterparts. Archeological digs in the village of Arukhlo, Bolnisi district, Kvemo Kartli Region, brought to light eight sorts of wheat cultivated in the 6th century BC, i.e. 8000 years ago: Makha, Zanduri, Asli, Spelta, soft wheat, dwarf wheat and hard wheat; Aegilops classed as an agricultural weed and generally

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qveyana miwaTmoqmedebis erT-erT damoukidebel keradaa aRiarebuli. saqarTvelo, teritoriuli simciris miuxedavad, dedamiwis miniaturul models warmoadgens. CvenSi, garda tropikulisa, yvela klimaturi zonaa warmodgenili, mudmivi TovliTa da myinvarebiT dawyebuli subtropikuliT damTavrebuli. aseTive mravalgvarovania niadagebic. saqarTvelos bunebriv-klimaturma pirobebma ganapiroba mcenareuli samyaros mravalferovnebac. samxreT kavkasiaSi, araTu preistoriul, aramed, rogorc akad. niko kecxoveli wers: XX saukunis 30-ian wlebSic SeiZleboda genaxaT veluri xorblis ramdenime aTeul heqtarze gadaSlili xodabunebi. es gvafiqrebinebs, rom preistoriul xanaSi dRevandeli saqarTvelos teritoriaze mravlad iqneboda Tanamedrove kulturul mcenareTa _ marcvlovanTa, parkosanTa, xexilis, vazisa da a.S. _ veluri winaprebi. maTi kulturuli saxeobebis gamosayvanad ki saWiro iyo Cveni Soreuli winaprebis Taobebis Sroma, dakvirveba, cdebi. qarTvelma arqeologebma qvemo qarTlSi, aruxlos namosaxlaris (bolnisis r-ni) gaTxrisas, aRmoaCines Zv.w. VI aTaswleulSi anu 8000 wlis win kultivirebuli xorblis rva saxeoba: maxa, zanduri, asli, spelta, rbili xorbali, juja xorbali, magari xorbali; aqve aRmoCnda veluri mcenare egilofsi, romelsac xorblis winaprad miiCneven. aruxloSivea damowmebuli: qeris, fetvis, Romis, Svriis, ospisa da bardas naSTebi; Sinaur cxovelTa: cxvris, Zroxis, Txis, Rorisa da ZaRlis Zvlebi. gaTxrebis Sedegad mopovebulma masalam gvaCvena, rom aruxlos mcxovrebni TavianT yanebs rwyavdnen da momkil xorbals lewavdnen. am suraTs imave periodis an TiTqmis Tanadroul, axlo aRmosavleTis adre samiwaTmoqmedo monacemebs Tu SevadarebT, davinaxavT, rom am ukanasknelebSi kulturuli xorblis gacilebiT naklebi (2 an 3) saxeobaa aRmoCenili. mxolod Crd. eraySi gaTxril Zeglze (Zv.w. V aTaswleuli) damowmda 5 kulturuli saxeobis xorbali. es yovelive mowmobs, rom kulturul mcenareTa warmoqmnis TviTmyofadi kera saqarTvelocaa. msoflioSi gavrcelebuli xorblis 22 saxeobidan saqarTveloSi aRwerili da registrirebulia 14, sadac gaerTianebulia ramdenime aTeuli saxesxvaoba da jiSi. amaTgan 5 saxeoba endemuria, rac imas niSnavs, rom isini mxolod saqarTveloSi iyo gavrcelebuli. xorblis jiSebis aseTi mravalferovneba sxvagan arsad gvxvdeba. aRsaniSnavia erTi saintereso faqtic, romelic CvenSi memarcvleobis did tradiciebs mowmobs. samxreT kavkasiis aRmosavleT nawilSi aRmoCenilia 20 samarxi, sadac micvalebuli dakrZalulia kevrze an kevri adevs zed.

20 samarxidan 17 aRmosavleT saqarTveloSia mikvleuli. samarxebidan uadresi _ Zv.w. XVII s-s, xolo ugvianesi ax.w.

V s-s ganekuTvneba.

known as a parent of common wheat was also unearthed in this area. The Arukhlo digs yielded remains of barley, millet, oats, lentil and peas; the bones of sheep, cows, pigs and dogs. Comprehensive material derived from archeological excavations suggests that the inhabitants of Arukhlo village used water to irrigate barren land and separated grain from straw by threshing the harvested wheat. The agricultural information for the Near East in the same period is less impressive: there is only a limited number of cultivated wheat species (2 or 3 types) identified throughout this region. Digs carried out in North Iraq in the 5th century BC revealed only 5 species of cultivated wheat. This gives ample grounds to presume that the origin of many cultivated plants can be traced to Georgia.

Of a total of 22 wheat species generally known in the world, 14 are registered in Georgia falling into tens of varieties. Five species of these fourteen are endemic, i.e. native only to Georgia. Such a great diversity of wheat can be found nowhere else but Georgia.

The discovery of 20 graves in which dead bodies are placed on or under threshing-boards is another interesting fact increasing the awareness of how long-established the traditions of cereal farming

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qarTuli xorblis jiSebis maRalma xarisxma XX s-is dasawyisSive miiqcia mravali qveynis mecnierTa yuradReba da, Tavis droze, evropis qveynebSi, amerikasa da iaponiaSi gautaniaT. saqarTvelos kulturul mcenareTa genetikuri resursebis aseTi mravalferovnebis miuxedavad, sabWoTa periodSi ganxorcielebuli koleqtivizaciis Semdeg qarTuli xalxuri aTaswlovani sasoflo-sameurneo tradiciebi, mravali kulturuli mcenare da maTi jiSebi ara marto miviviwyeT, sruliad davkargeT kidec. es exeba rogorc marcvlovanebs, ise vazs, xils, parkosnebs, Sinaur saqonels. niko kecxoveli 1978 wels gamocemuli wignis `kidevac daizrdebian~ bolo TavSi, romelsac `dananeba~ hqvia, wers: `vicavT kulturis Zeglebs, sasaxleebs, xidebs, arxebis naSTebs, es Zalian kargi, didi kulturuli mniSvnelobis RonisZiebaa, magram arc erT Zeglze naklebi araa saferavi, rqawiTeli, budeSuri da gorula, cicqa da kraxuna, Cxaveri da ojaleSi, aleqsandrouli da tviSuri... ar unda dagvaviwydes, rom esec erT-erTi mniSvnelovani genofondia, romelic momavalSi friad dafasdeba~.

XX saukunis 50-iani wlebidan xorblis qarTuli jiSebi moskovidan mosuli direqtivebis safuZvelze Secvala ufro mosavlianma, magram SedarebiT dabali xarisxis seleqciurma jiSebma, xolo mTis zonaSi xorbali TiTqmis aRar iTeseboda, rac am kulturis moyvanis agroteqnikur sirTuleebTan iyo dakavSirebuli. axla, samwuxarod, qarTuli puris Tvisebebi mxolod istoriuli, eTnografiuli da literaturuli wyaroebidan Tu aris cnobili. dRes biologiur meurneobaTa asociacia `elkana~, globaluri garemosdacviTi fondisa (GEF) da gaeros ganviTarebis programis (UNDP) saqarTvelos ofisis dafinanseba-xelSewyobiT axorcielebs agraruli mravalferovnebis programas, romelic iTvaliswinebs adgilobrivi kulturebis da jiSebis aRdgenas, fermerul meurneobaSi maT danergvas, konservaciasa da gavrcelebas. werovanSi arsebuli mcenareTa genetikuri resursebis centris genetikuri banki ki Tavs uyris sxvadasxva dros saqarTvelodan gatanil adgilobriv xorblis jiSebs. genbankis TanamSromlebi, Zalze mwiri finansuri SesaZleblobebis pirobebSi, mainc axerxeben qarTuli xorblis jiSebis Segrovebas. saerTaSoriso konvenciebi msoflios wamyvani qveynebis genbankebs avaldebulebs, moTxovnis SemTxvevaSi, miawodon mTxovnels maT genbankebSi arsebuli kulturul mcenareTa masala. amgvarad, saqarTvelos genbanks ukve aqvs qarTuli xorblis jiSebis mcire raodenoba, romlis gamravlebac SesaZlebelia. dRes, saqarTvelos sxva mraval problemasTan erTad, kidev erTi safrTxe emuqreba: aTaswleulebis

are in Georgia. Of these 20 graves scattered throughout the eastern part of the South Caucasus, 17 are located in Georgia. The earliest of them can be traced to the 17th century BC, the latest –to the 5th century AD. As early as the beginning of 20th century, Georgian wheat owing to its superb quality attracted the attention of a great number of foreign researchers and was rapidly exported to Europe, America and Japan.

Despite Georgia’s voluminous array of natural vegetation, however, we have allowed, through forced agricultural collectivization, our long-upheld agricultural traditions and mixed variety of domesticated animals and crops (cereals, vine, fruit, beans) to sink into oblivion or get lost forever.

The last chapter titled ‘Repentance’ of Niko Ketskhoveli’s book ‘And They will Thrive’ runs like this: “our efforts are centred on protecting cultural monuments, palaces, canals and bridges… indeed, it is a tremendous cultural endeavour but of no less importance is care for such grape varieties as Saperavi, Rkatsiteli, Budeshuri and Gorula, Tsitska and Krakhuna, Chkhaveri and Ojaleshi, Aleksansdrouli and Tvishuri… They form a precious genetic resource, which is sure to become a cherished value in the near future.”

Thanks to new Moscow directives in the 1950s, Georgian wheat began to be superseded by more prolific but comparatively low-quality species.

Wheat was completely withdrawn from Georgia’s highland regions because its cultivation involved a full range of agro-technical difficulties.

Regrettably, the only evidence of Georgian wheat qualities can currently be derived from historical, ethnographic and literary sources.

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foto: © sergo ediSeraSvili

1 (19) 2020

foto: Š sergo ediSeraSvili

win Cvens winaparTa mier gamoyvanili kulturuli mcenareebisa da Sinauri cxovelebis sabolood gaqroba anu qarTuli materialuri kulturis umniSvnelovanesi nawilis dakargva. udavoa, rom Cveni janmrTelobisTvis gadamwyveti mniSvneloba aqvs jansaR, ekologiurad sufTa sakvebsa da sasmels. swored amisken mogviwodebs sruliad saqarTvelos kaTolikos-patriarqi ilia II erT-erT saSobao epistoleSi: `saqarTvelo yovelTvis iyo da kvlavac unda gaxdes vazisa da xorblis qveyana. is mdgomareoba, rac am kulturebis mimarT dRes aris, damRupvelia rogorc sulieri, ise materialuri TvalsazrisiT. Cveni winaprebisTvis Rvino da puri, garda Cveulebrivi mniSvnelobisa, macxovris xorcisa da sisxlis simbolos ukavSirdeboda da, amitomac qarTvel glexs maTdami yovelTvis gansakuTrebuli damokidebuleba hqonda da gansakuTrebuladac uvlida; da es unda aRdges... xorblis adgilobrivi warmoeba katastrofulad aris Semcirebuli da qveynis mosaxleobis moTxovnilebis mxolod 9 %-s akmayofilebs; samwuxarod, am 9 %-Sic ar Sedis Cveni adgilobrivi tradiciuli jiSebi. metad savalaloa, magram faqtia, rom unikaluri qarTuli xorbali sruli gaqrobis pirasaa. arada, Cvengan waRebul Tesls sxva qveynebi Tavisad warmoaCenen da

The Biological Farming Association Elkana, through the funding and support of the Global Environmental Fund (GEF) and the local UNDP office, is presently engaged in carrying out an agrarian diversity programme aimed at promoting local plant species and varieties by means of their reintroduction, conservation and sustainable utilization.

In the meantime, the Gene Bank of the Plant Genetic Resources Center is hard at work accumulating local wheat varieties exported from Georgia at various times in the past. The Gene Bank staff, often hampered by acute shortages of funds, is still moving ahead with the task of getting Georgian wheat species stored together. International conventions mandate that gene banks throughout the world send on request samples of all cultivated plant varieties kept in their reserves.

The Georgian Gene Bank already holds a collection of Georgian wheat seeds that can be multiplied.

Georgia, along with myriad other problems, faces the threat of having many plants and animals domesticated centuries ago becoming extinct; a threat involving the loss of a considerable part of Georgian material culture. Human health relies heavily on wholesome and ecologically-friendly food and drink. This theme is dealt with extensively in the Christmas Epistle delivered by the Catholicos-Patriarch of all Georgia Ilia II in 2009: ‘Georgia has always been and should gain back the identity of being a country of vine

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amiT amayoben; xolo saqarTveloSi eqsportirebuli xorbali da puris fqvili, romelic moxmarebuli produqciis 91 %-s Seadgens, imdenad dabali xarisxisaa, rom janmrTelobisTvis safrTxes warmoadgens. saqme SemdegSia: msxvil transnacionalur kompaniebs, romlebic dainteresebulni arian, rom xelovnuri meTodebiT (genuri-inJineria, Sxam-qimikatebi, mcenaris zrdis stimulatorebi da a.S.) miRebuli sakuTari Warbi produqciisTvis gasaRebis bazrebi gaafarToon da sxva qveynebSi adgilobrivi bunebrivi produqciis warmoeba Seaferxon, surT, saqarTveloc TavianTi gavlenis sferod da sakuTari sursaTis importze damokidebul qveynad gadaaqcion; miT umetes, rom aq, xalxis dabali msyidvelunarianobis gamo, iaffasiani, uxarisxo nawarmis gasaReba problemas ar warmoadgens. am tendencias Cven Cveni pozicia da interesebi unda davupirispiroT. soflis meurneobis aRorZinebis mizniT saxelmwifos politika, marTalia, mniSvnelovania (vgulisxmob saxelmwifo dotaciebs, sarwyavi wyliTa da saZovrebiT uzrunvelyofas, raionebSi ufaso sakonsultacio centrebis amoqmedebas), magram TviT mosaxleobasac SeuZlia zomebis miReba, _ man uari unda Tqvas janmrTelobisTvis mavne produqciaze, TviTon unda daiwyos miwis damuSaveba da Seqmnas mcire sawarmoebi. yvelam icis, rom xelovnuri teqnologiebis sapirispirod, dRes ukve seriozuli biZgi mieca ekologiurad sufTa produqcias da maTze

and wheat. The worsening plight of these crops may have disastrous consequences from both a spiritual and material standpoint. Our forefathers generally accepted the idea that bread and wine, besides their primary meanings, were powerful symbols of Christ’s flesh and blood. This was why Georgian peasants showed such a lavish care for these crops. This attitude needs to be restored. Wheat production is increasingly falling behind, meeting only about 9 percent of demand.

Regrettably, local wheat species are not included in this 9 percent.

The worrisome fact is that unique Georgian wheat is being driven to the edge of extinction in our country. Other countries, meantime, continue to take pride in advertising Georgian wheat seeds as their own. By contrast, the wheat flour imported to Georgia from abroad and accounting for 91 percent of total flour consumption is of dramatically low quality and even suspected of being detrimental to health. The point is that large-scale transnational companies obsessed with a desire to open up new markets for their surplus products (involving the use of genetic engineering techniques, chemicals, biocatalysts, etc) obstruct national production in other countries and try to bring Georgia into their sphere of influence and heavily dependent on export. Besides, these companies do not have to struggle to find buyers for their cheap products in Georgia, where the population’s buying capacity is increasingly low. To counteract this tendency, we should bring to the fore our position and interests.

The state policy aimed at promoting agriculture is of course highly important (I mean farm subsidies to provide pastures and irrigation water and the establishment of consultation centres), but people too

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moTxovnilebac da fasic mTel msoflioSi yovelwliurad

can undertake their own measures – they should protect themselves

izrdeba. vfiqrob, CvenTan ekologiurad sufTa da

against the intrusion of harmful food into their diet, do their own

konkurentunariani sasoflo-sameurneo produqciis

share of plowing and sowing and set up small enterprises.

Today, farming activities are boosted worldwide by a strong

warmoebis kargi SesaZlebloba gvaqvs da am saxiT msoflio bazarze myarad damkvidrebis perspeqtivac. amitom, vidre

demand for ecologically friendly foodstuffs. The price of wholesome

jer kidev SerCenilia unikaluri qarTuli sasoflo-

food keeps rising. Georgia’s potential to produce ecologically clean

sameurneo jiSebi (ara marto yurZnis da xorblis,

and competitive agricultural products is huge and the prospect

saerTod _ bostneulis, baRCeulis, xilis da saqonlis),

of finding a niche in the world market is real. And while we can

TiToeulma Cvenganma yvelaferi unda gaakeTos, rom

still enjoy the benefits of Georgia’s unique agricultural species and

es saqme realobad iqces. amiT Cven Cvens simdidresac

varieties (I don’t mean only vine and wheat, but also gourds, fruit and

SevinarCunebT da momavali Taobebis janmrTelobasac

livestock) each of us should do all we can to bring this prospect closer

davicavT. aRniSnulis Sesaxeb adrec vwerdi, magram dRes

to reality. Thus we could retain both our treasure of national resources

es ukve aucileblobad iqca. miT umetes, rom msoflio

and the health of generations to come. I’ve put forward this issue

ekonomikuri krizisic aqeTken gvibiZgebs, radgan misgan

many times before, but now it’s become an absolute necessity. The

gamowveuli deficiti, pirvel rigSi, albaT, kvebis

economic recession currently engulfing the world is also a key factor

produqtebs Seexeba. rodemde gagrZeldeba amdeni

that spurs us on to take action, because the crisis will in all probability

problema? _ bunebrivia, yvelas gulSi es kiTxva trialebs.

hit food supplies first of all. How long will these problems persist? –

_ es Cvenzea damokidebuli~.

It’s a question that keeps haunting us all the time to which I’ll say: it only depends on us’.

Tu saxelmwifo struqturebi da qarTuli biznesi

If the state authorities and the business and scientific communities

aqtiurad amoqmeddebian, praqtikos mecnierebTan erTad SesaZlebeli gaxdeba saSviliSvilo saqmis ganxorcieleba:

become more active, we could accomplish our overarching goal:

danagvianebuli niadagebis ekologiuri gajansaReba da

the ecological rehabilitation of contaminated lands and the

maTze im sasoflo-sameurneo kulturebis aRorZineba,

reintroduction of agricultural species and varieties, the origins

romlebic Cvens winaprebs aTaswleulebis ganmavlobaSi

of which can be traced back over millennia. It would be greatly

mohyavdaT. es, Tavis mxriv, mosaxleobis keTildReobasa da

beneficial to both the health and welfare of the population.

janmrTelobaze uaRresad dadebiTad imoqmedebs.

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Ms. Maia Tsitsishvili brought this article to our editorial team in 2015, and we proudly published it in our very first issue. It is very unfortunate that we now have to bid farewell to her with this same article.

Thank you for everything, Ms. Maia…

es werili redaqciaSi qalbatonma maia ciciSvilma 2015 wels mogvitana da Cveni Jurnalis pirvelive nomerSi gamoaqveyna, rac CvenTvis udidesi pativi iyo; samwuxaroa, rom axla, amave weriliT gviwevs masTan damSvidobeba, didi madloba qalbatono maia...

„yoveli xelovneba, yoveli eri iqmneba erovnul CarCoebSi. mxolod maSin aqvs mas fasi da gamarTleba... mxolod erovnul farglebSi aRmocenebul formas eZleva saerTaSoriso mniSvneloba... samzareuloSi daiwyeT Tu gindaT saqme, sadme kunWulSi, magram qarTulad, qarTuli sityviT, qarTuli azriT, qarTuli codniT da SegnebiT da qarTuli siyvaruliT...“ Salva qiqoZe, parizi, 18. VIII. 1920.

“All art, every nation, is created within a national framework. Only then does it have value and justification... Only the form that originates in a national framework attains international importance... Begin working in a kitchen or in some corner if you wish, but do it in a Georgian way, with Georgian words, with a Georgian idea, with Georgian knowledge and awareness, and with Georgian love...”

Shalva Kikodze, Paris 18 August 1920

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parizi. luqsemburgis baRi, tilo, zeTi, 108X104, 1920

q

arTuli kulturis moyvarulTaTvis kargadaa cnobili, rom Tbilisuri modernistuli mxatvroba, qarTuli xelovnebis erT-erTi yvelaze mniSvnelovani, RirSesaniSnavi saganZuria. Salva qiqoZe, romelsac 2014 wels 120 weli Seusruldeboda, Tbilisuri avangardis gamorCeuli warmomadgenelia.

SemoqmedebiTi moRvaweobis aTiode wlis ganmavlobaSi man mravalferovani da mxatvrulad uaRresad Rirebuli nawarmoebebi Seqmna. sicocxlis ukanasknel wlebSi intensiurad muSaobda saqarTvelosa da ruseTSi, bolo weliwadnaxevari ki safrangeTSi... misi araerTi ferweruli tilo, grafikuli suraTi Tu Canaxati, karikatura, SarJi, wignis ilustracia, saTeatro mxatvrobis nimuSi, droSi gamovlili, dResac axali, Tanamedrovea...

Salva qiqoZis nawarmoebebi axalgazrda xelovanis

PARIS. GARDEN OF LUXEMBOURG, CANVAS, OIL, 108X104, 1920

A

ficionados of Georgian culture are well aware that modernist painting of Tbilisi is one of the most important and noteworthy treasures of Georgian art. Shalva Kikodze, who would have been 120 years old in 2014, is one of the most distinguished representatives of Tbilisi's avant-garde.

Throughout roughly a decade of creative work he created diverse works of great artistic value. In the final years of his life he worked intensively in Georgia and Russia, and spent his last year-and-a-half in France.

Many of his canvases, graphics, sketches, caricatures, cartoons, book illustrations, and theater decorations are new and contemporary even today, despite their age.

Kikodze’s works represent a young artist’s search, a search that united all the young painters of the Society of Georgian Artists, founded by Dimitri Shevardnadze, Davit Kakabadze, Lado Gudiashvili, and others. Even though the works of every Georgian modernist are

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Ziebaa, Zieba romelic aerTianebdaT dimitri SevardnaZis mier daarsebul „qarTvel xelovanTa sazogadoebis“ axalgazrda mxatvrebs _ daviT kakabaZes, lado gudiaSvils da sxvebs. miuxedavad imisa, rom TiToeuli qarTveli modernistis Semoqmedeba mkveTrad individualuria da erTmaneTisgan gansxvavebuli _ TiToeul maTgans miaCnda, rom Tanadrouli qarTuli xelovneba unda yofiliyo Tanamedrove da erovnuli, da rom maT unda gaebaT „uxilavi Zafebi saqarTvelosa da evropas Soris“. „Salva qiqoZem xatva TiTqmis laparakTan erTad daiwyo. is fanqriT xatavda yvelafers, rasac SeeZlo STabeWdileba moexdina am patriarqalur garemoSi aRzrdil bavSvze.“ _ igonebda mxatvris biZaSvili mwerali da kritikosi geronti qiqoZe. jer kidev Tbilisis saTavadaznauro gimnaziaSi swavlis

parizi. navebi senaze, muyao, zeTi, 33X41, 1920

strictly individual and completely different from those of the others, each and every such artist believed that his contemporary Georgian art should be contemporary and national, and that they should stretch the “invisible strings between Georgia and Europe.”

“Shalva Kikodze began painting and speaking almost at the same time. He used to make pencil drawings of everything that could have made an impression on him, a child brought up in a patriarchal atmosphere,” recalled Geronti Kikodze, the painter’s cousin and art critic.

Even when he was studying at the Noblemen’s Gymnasium (high school) in Tbilisi, Kikodze was assigned a separate room for studying because he was an exceptionally talented pupil. It was at this high school that he painted graphic portraits of Ilia Chavchavadze and Akaki Tsereteli from life, and also translated and illustrated Arthur Conan Doyle’s Adventures of ‘Sherlock Holmes.’ He created 30

PARIS. BOATS ON RIVER SEINE, CARDBOARD, OIL, 33 X 41, 1920

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kocna II, seriidan „tikinebis cxovreba“, tilo, zeTi, 54X46, 1920

KISS II, FROM THE SERIES 'LIFE OF DOLLS', CANVAS, OIL, 54X46, 1920

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parizi. qalaqis xedi, muyao, zeTi, 31X41, 1920

dros, Salva qiqoZes, rogorc gansakuTrebiT niWier moswavles, samecadinod calke oTaxi gamouyves. swored gimnaziaSi naturidan dauxatavs ilia WavWavaZisa da akaki wereTlis grafikuli portretebi, aseve uTargmnia da dausuraTebia artur konan doilis „Serlok holmsis Tavgadasavali“; Seusrulebia 30 ilustracia petre mirianaSvilis mier Sekrebili da gamocemuli xalxuri eposis „amiranis leqsisa“, dausuraTxatebia aleqsandre yazbegis „xevisberi goCa“ da xalxuri Tqmuleba „eTeriani“. wignebis ilustrirebas igi moskovSic „ferweris, qandakebisa da xuroTmoZRvrebis samxatvro saswavlebelSi“ swavlisas ganagrZobda. 1917 wels Seasrula leo qiaCelis „natvris-Tvalis“ da `megobrebis~ ilustraciebi. 1914-1918 wlebSi axalgazrda Semoqmedi moskovis saTeatro JurnalSi „Рампа и Жизнь“ cnobili

PARIS. CITY VIEW, CARDBOARD, OIL, 31X41, 1920

illustrations for the folk epic ‘Amiranis Leksi,’ which were collected and published by Petre Mirianashvili, and also illustrated Aleksandre Kazbegi’s ‘Khevisberi Gocha’and the folk legend ‘Eteriani.’

He continued studying book illustration in Moscow, at the School of Painting, Sculpture and Architecture. In 1917, he created the illustrations for Leo Kiacheli’s ‘Natvris-tvali’ and ‘Megobrebi.’ In 19141918, the young artist published friendly caricatures and sketches of famous Russian artists – Vrubel, Petrov-Vodkin, Nivin, and Milyutin in the Moscow theatric journal Рампа и Жизнь (Footlights and Life), under the pseudonym ‘Chaliko.’

When on holiday in Tbilisi, Kikodze participated in expeditions organized by the Society of Georgian Artists, which aimed at studying the country’s cultural heritage. In 1916, together with Iakob Nikoladze and Aleksandre Mrevlishvili, he painted two succinct, lively, and emotional graphic portraits of Niko Pirosmanashvili, who had been

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rusi mxatvrebis _ vrubelis, petrov-vodkinis, nivinis da miliutinis gverdiT „Chaliko”-s fsevdonimiT aqveynebda Teatris moRvaweTa megobrul SarJebsa da Canaxatebs. ardadegebze TbilisSi Camosuli Salva qiqoZe monawileobda „qarTvel xelovanTa sazogadoebis“ mier qveynis kulturuli memkvidreobis Sesaswavlad mowyobil eqspediciebSi. 1916 wels, iakob nikolaZesa da aleqsandre mrevliSvilTan erTad daxata sazogadoebis krebaze mowveuli niko firosmanaSvilis ori sxarti, cocxali da emociuri grafikuli portreti.

Salva qiqoZem, jer kidev 1917 wels, saqarTveloSi dabrunebamde Seasrula social-demokratTa yrilobisa da qarTveli politikosebis noe Jordanias, irakli wereTlis, akaki Cxenkelis, noe ramiSvilisa da sxvaTa SarJebi da politikuri karikaturebi. 1918 wlidan misi iumoristuli Canaxatebi qveyndeboda rogorc saxelovnebo _ „Teatri

stambuli, tilo, zeTi, 68X87, 1920

invited to a public assembly.

By 1917, before his return to Georgia, Kikodze had already made caricatures and political cartoons of the Socialist-Democrat Convention and Georgian politicians Noe Zhordania, Irakli Tsereteli, Akaki Chkhenkeli, Noe Ramishvili, and others. From 1918 onwards, his humorous sketches were published in art newspapers ‘Teatri da Tskhovreba’ (Theater and Life), ‘Teatri da Musika’ (Theater and Music), and Искусство (Art), as well as in humorous newspapers and magazines ‘Eshmakis Matrakhi’ (The Devil’s Whip), ‘Lakhti’ (The Lash), and others. We can safely consider Shalva Kikodze to have been the first Georgian caricaturist.

The painter’s special interest towards theater was stoked by his closest friend and sister, actress Aneta Kikodze. In 1918, Kikodze began working as the main painter at the theatrical studio of Giorgi Jabadari, who had just arrived from Paris, where he decorated the stage for a number of plays: ‘False Gods’ by Brieux, ‘Hannele’ by

ISTANBUL, CANVAS, OIL, 68X87, 1920

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jvriswera III, seriidan „tikinebis cxovreba“, tilo, zeTi, 54X46, 1920

WEDDING III, FROM THE SERIES 'LIFE OF DOLLS', CANVAS, OIL, 54 X 46, 1920

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aleqsandre yazbegis „xevisberi goCa“ (ilustracia), qaRaldi, fanqari, 26X23, 1913

ALEXANDRE KAZBEGI'S "KHEVISBERI GOCHA" (ILLUSTRATION), PAPER, PENCIL, 26X23, 1913

da cxovreba“, „Teatri da musika“, „Искусство“, aseve iumoristul Jurnal-gazeTebSi: „eSmakis maTraxi“, „laxti“ da sxv. Salva qiqoZe pirvel qarTvel karikaturistad unda miviCnioT. mxatvris gansakuTrebuli interesi Teatrisadmi misma uaxloesma megobarma, dam, msaxiobma aneta qiqoZem gaaRviva. Salva 1918 wels iwyebs mTavar mxatvrad muSaobas parizidan Camosul giorgi jabadaris saTeatro studiaSi, sadac aformebs ramdenime speqtakls: bries „sarwmunoeba“, hauptmanis „hanele“, jakosis „viTa foTlebi“ da rostanis „TeTri vaxSami“.

Salva qiqoZisTvis, misi megobrebis _ daviT kakabaZisa da lado gudiaSvilis msgavsad, gansakuTrebuli mniSvneloba 1919 wels didebis taZarSi qarTvel xelovanTa sazogadoebis mier mowyobil qarTvel mxatvarTa pirvel gamofenas hqonda. swored am gamofenam gadawyvita samive mxatvris parizSi gamgzavreba. parizamdeli nawarmoebebi aSkarad metyvelebs, rom miuxedavad axalgazrduli asakisa, mxatvari msoflmxedvelobiT, mxatvruli stiliTa da gemovnebiT sruliad Camoyalibebuli xelovania; rac, cxadia, niWisa da pirovnuli Tvisebebis garda, Tbilisurma modernistulma garemom da ruseTSi swavlis periodSi SeZenilma gamocdilebam ganapiroba.

Salva qiqoZis ferweruli nawarmoebebis ZiriTadi da albaT, mainc yvelaze mniSvnelovani nawili parizSia Seqmnili... weliwadnaxevris ganmavlobaSi. safrangeTSi, misTvis uCveulo, ramdenadme miuRebel garemoSi moxvedram misi pirovnuli Tvisebebi gaamZafra _ Tvalis simaxvilem, gazviadebis grZnobam, melanqoliurma ganwyobam, ironiam, dramatizmma, erTgvarma martosulobam Tanmimdevrul eqspresionistad aqcia. parizul periodSi Salva qiqoZis, lado gudiaSvilisa da

Hauptmann, ‘Like Falling Leaves’ by Giacosa, and ‘The White Supper’

by Rostand.

The first exhibition of the works of Georgian artists, held in 1919 at the Didebis Tadzari (Temple of Glory) by the Society of Georgian Artists, was especially important for Kikodze, as well as for his friends Davit Kakabadze and Lado Gudiashvili. It was precisely this exhibition that determined the three painters’ journey to Paris.

His pre-Paris works clearly reveal that, despite his young age, the painter was a fully developed artist in terms of his world view, his style of painting, and his taste. Naturally, besides talent and personal characteristics, this was also determined by the modernist atmosphere in Tbilisi and the experience gained while studying in Russia.

The biggest and probably most important part of Shalva Kikodze’s body of work was created in Paris: a year and a half in France, in an unfamiliar and, to a certain extent, unacceptable environment intensified his personal characteristics. Hi sharp eye, his sense of exaggeration, his melancholic disposition, his sense of irony, his dramatic nature, and a certain sense of loneliness, transformed him

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aWareli qali mTebis fonze, tilo, zeTi, 180X120, 1919

ADJARIAN WOMAN AND THE MOUNTAINS, CANVAS, OIL, 180X120, 1919

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into an expressionist.

During their Parisian period, the works of Shalva Kikodze, Lado Gudiashvili, and Davit Kakabadze were exhibited at the Salon des Indépendants, and La Licorne gallery, where the Georgian artists’ success was presented in numerous contemporary catalogues, journals, and albums.

The artist’s epistolary heritage is also noteworthy. In highly interesting letters from Paris to his family members, friends and acquaintances, the young artist spoke of his views on global culture, on the future of art, and on life in Paris. It is precisely these letters

daviT kakabaZis nawarmoebebi „damoukidebelTa salonSi“ da „la likornis“ galereaSi gamoifina, sadac qarTvel mxatvarTa warmateba araerT imdroindel katalogSi, Jurnalsa Tu albomSi aisaxa. yuradsaRebia mxatvris epistolaruli memkvidreobac. parizidan ojaxis wevrebisTvis, megobrebisa Tu axloblebisTvis moweril metad saintereso werilebSi axalgazrda xelovani saubrobs miseul Sexedulebebze _ msoflio kulturis, xelovnebis momavlis, parizuli cxovrebis Sesaxeb. swored es werilebi gvamcnoben

udrood dakarguli megobris mosagoneblad, parizi, tilo, zeTi, 96X101, 1920

IN MEMORY OF A YOUNG DECEASED FRIEND, PARIS, CANVAS, OIL, 96X101, 1920

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TianeTi. wm. giorgis saxelobis saydris nangrevebi, qaRaldi, fanqari, 27X20, 1919 TIANETI. RUINS OF ST. GEORGE CHURCH, PAPER, PENCIL, 27X20, 1919

Tu raoden mniSvnelovani, masStaburi gegmebi hqonda mxatvars: TbilisSi Tanamedrove xelovnebis muzeumis Seqmna, evropasa da saqarTvelos Soris gacvliTi gamofenebis mowyoba da rac mTavaria, weliwadnaxevris naRvawis wardgena qarTuli sazogadoebisTvis.

Salva gardacvalebamde ori TviT adre, rogorc Cans, Tanamedrove germanuli mxatvrobis ukeT gacnobis mizniT germaniaSi gaemgzavra, magram maleve ukurnebeli seniT daavadda da gardaicvala. 1921 wlis 7 noembers 27 wlis Salva qiqoZe fraiburgSi mcxovrebma qarTvelebma samares miabares.

that show us how important and grand the artist’s plans were – the creation of a contemporary art museum in Tbilisi, the establishment of exhibition exchanges between Georgia and Europe and, most importantly, the presentation of a year-and-a-half’s work to the Georgian public.

Two months before his passing, Shalva travelled to Germany, presumably with the aim of getting better acquainted with contemporary German painting, but shortly afterwards he contracted a fatal disease and passed away. On 7 November 1921, the 27-year-old Shalva Kikodze was laid to rest by the Georgian residents of Freiburg.

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aSina, maSina, gulo, ram SegaSina? (transformacia, warsulidan momavlisken) xaTuna ivaniSvili

“IT SCARED OTHERS, IT SCARED ME, BUT MY HEART, WHAT ARE YOU SCARED OF?” (TRANSFORMATION, FROM THE PAST TO THE FUTURE) KHATUNA IVANISHVILI

`umetesad, Tavad avtori cudi interpretatoria sakuTari naazrevisa, amitomac eZebs `axsnebs~ sxvaTa naazrevSi Tavisi nacodvilaris Sesaxeb. roca scenars vwerdi da mere, roca films viRebdi, bindbundSi vgrZnobdi sakuTar Tavs. oc dReSi davwere da rom gadavikiTxe, Cem Tavs vkiTxe, es Seni dawerilia? filmis montaJic rom davasrule, martom davamontaJe (memontaJis gareSe (dRevandeli teqnologiis upiratesoba!), davjeqi da simartoveSi vnaxe da roca `gamovfxizldi~, aqac igive kiTxva damebada, es Cemi nafiqria-meTqi? mokled, Tavisebur meditaciur mdgomareobaSi Sesrulda es filmi da, albaT, asec unda yofiliyo, radgan is ambavi, risi Txrobac mindoda, sxva formas verc iguebda~. zaza xalvaSi “Generally, authors themselves are poor assessors of their own creations, and therefore, they look for “explanations” in other people’s thoughts about them. When I was writing this script, and then when I was shooting this film, I felt in a sort of twilight. I wrote it in twenty days and when I read it, I asked myself – did you write it? When I finished editing the film, which I did alone (without an editor – thanks to today’s technology!), I sat down and watched it alone, and when I “woke up”, I was asking myself the same question: did you think of all this?

This film has its own meditative ambience, and this is probably how it should be, as no other form could fit to the story that I wanted to tell.”

Zaza Khalvashi

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bolo sami aTwleulis qarTuli kino cdilobs asaxos Cveni qveynis damoukideblobis mopovebis Semdgom ganvlili dramatuli gza... omebiT gamowveuli damarcxebis sasowarkveTa da uimedoba. am filmebis mTavari Tema, ZiriTadad, samoqalaqo omi, okupacia, omisSemdgomi dakarguli Taoba da krizisSi myofi sazogadoebaa, rac, albaT, danakargis udidesi tkivilis gamoglovis, moSuSebis da aRdgenis mcdelobaa. zaza xalvaSis `name~ CemTvis `sxva filmia~, iseTive gansxvavebuli, rogorc Tavad name _ mTavari gmiri. filmis Txrobis mSvidi dineba, `siCume~, mayurebels adunebs, emocias uzRvavebs da ganWvretisken ganawyobs. fsiqoanalizis procesSi msgavss regresi hqvia _ roca cnobiereba dundeba da arqauli, miZinebuli gancdebi iRviZeben. aseTi mdgomareoba Sinagani mignebebisTvis, aRmoCenebisTvis, daviwyebul mogonebebTan xidebis gasadebadaa saWiro. „name“ axali sazrisis, identobis Ziebis, didi cvlilebebis molodinia. vfiqrob, am filosofiurobiTa da siRrmiT zaza xalvaSis filmi qarTuli mwerlobis Zireul sakiTxebs exmianeba. „name“ aris gza fesvebisken, maTTan moWidebis mcdeloba da im sicarielis amovsebis survili, rac ganvlilma saukunem gauCina Cvens sulierebas. saTqmelis gadmosacemad zaza xalvaSi poetur enas irCevs, raTa bunebrivad warmogvidginos filmis Sinaarsis sxvadasxva ganzomileba _ miTologiuri, istoriuli,

The Georgian cinema of the last three decades has attempted to describe the dramatic events following our country’s accession to independence, the despair and hopelessness produced by several wars and the loss of territories. The central themes of these films mainly revolve around the civil war, occupation, the disorientated post-war generation and our traumatized society, which is probably an effort to mourn and heal the great pain of loss.

To me, Zaza Khalvashi’s ‘Namme’ stands out from other contemporary Georgian films, it is just as unique as the lead character after which it was named. The peaceful flow of the film and its “silence” numb the spectators, intensify their emotions and invite them to get absorbed into the story. In the field of psychoanalysis, this kind of process is called regression – when consciousness is numbed and archaic, dormant feelings emerge. This kind of condition allows to make findings, discoveries of an inner nature, as well as to access forgotten memories. ‘Namme’ is the expectation of a new meaning, a new identity, and important changes. I think that with this philosophy and depth, Zaza Khalvashi’s film responds to the fundamental themes of Georgian literature. ‘Namme’ is a path towards the roots of one’s origin, an attempt to tackle them, and the wish to fill the spiritual void left in us by the last century.

Zaza Khalvashi chose a poetic style of narration in order to spontaneously present the various dimensions of the film, be it the mythological, historical, ethnographical, or philosophical one.

The story of ‘Namme’ is based on a local legend about a healer whose love fades her healing powers. It takes place in a mountain

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eTnografiuli Tu filosofiuri. „names“ siuJetis safuZvli legendaa mkurnal qalwulze, romelsac siyvarulma mkurnalobis unari daakargvina. filmis moqmedeba maRalmTian sofelSi viTardeba, romelic, albaT, miTologuri samyaros SemorCenili kunZulia, `gaRma~ samyaros usulo manqanebiTa da meqanizmebiT garSemortymuli. es daSveba films samganzomilebian sivrced aqcevs da mis sxvadasxva Sinaarsobriv SresTan wvdomas gviadvilebs. iseve, rogorc qarTul zRaprebSi, mTavari gmiri zeda soflidan qveda sofelSi (sofeli/samyaro) Cadis... patara, xmaurian qalaqSi. am transcendentul realobaSi bunebis suraTebi _ mTvariani Rame, nisliani tba, Camavali mze _ mravalmniSvnelovani xatovani Txrobaa, romelic adamianur gancdebs gadmoscemen; moqmedi gmirebi ki TiTqmis statikur figurebad arian warmodgenilni.

Sesavali kadri mTis CanCqerze didxans Cerdeba; es xangrZlivoba migvaniSnebs, rom ambis aRsaqmelad SegrZnebebs unda mivendoT. wyali TeTri qafiT ifareba da xifaTis momaswavebeli yru zuili ismis. es gafrTxilebaa _ SesaZloa, saSiSi emociuri dinebebi gacocxldnen da moulodneli safrTxe daZran. da uecrad, am idiliur peizaJSi mSeneblobis suraTi iWreba: eqskavatori mTas Txris, civilizaciis `rkinis falosi~ daundoblad anadgurebs xeluxlebel bunebas. pirvelive kadri emociurad gviTrevs filmis `morevSi~, Tumca paralelurad gancdac gviCndeba _ raRac ar gvesmis, da bolomde ver varT ambis Tanaziarni da... asociaciebs vyvebiT, raTa disonansis im wyaros mivagnoT, razec sami saSiSi zuiliT migvaniSnes filmSi. `name~ zamTris suraTiT iwyeba _ gogona jamSi Casmul mkurnal Tevzs bans, rac filmis bolos isev meordeba, rogorc drois wriuli brunvis miniSneba. es miTologiuri droa _ dRe dRes mihyveba, weliwadi weliwads cvlis, am samyaroSi ki araferi icvleba. mkurnali Tevzi ar berdeba da uebari wyali ar imRvreva, arc iklebs. yvelaferi martivi, gasagebia da universalur zewesrigs emorCileba. erTi cida cvlilebac ki daarRvevs mas... Semdgom scenaSi vxedavT, Tu rogor xteba Tevzi jamidan _ teqnikuri ganviTareba, cvlileba drois wrfivi ganzomilebis gaCenaze migvaniSnebs da... nislebsa da miTebSi gadakargul sofelSi, mTvarian Rames TeTrad Semosili berikaci sakralur rituals asrulebs. name, misi qaliSvili, am `saidumlos~ monawile da damxmarea. mama-Svili „zeda samyaros“ sakralur wyvils gvagonebs. „qveda samyaroSi~ xom names samkurnalo ritualis sakraluroba darRveulia da uebari wylis mkurnali Zalisa ar swamT. civilizacia yru da ulmobelia pirvelqmnili bunebis mimarT; Zvel samyaros safrTxe emuqreba; ra moelis Tevzs, names da mis samyaros? miTosi gaqreba? ratom aris mniSvnelovani im samyaros gadarCena,

village that is probably a leftover island of a mythological realm, surrounded by the soulless cars and mechanisms of the “other” realm. This descent transforms the film into a three-dimensional space and eases the understanding of its various narrative layers.

Just like in Georgian folk tales, the protagonist descends from the upper village to a lower realm (village in Georgian can also mean “world” and “universe”)… in a small, noisy and polluted town. In this transcendental realm, natural images – the moonlit night, the misty lake, the setting Sun – consist in a multilayered poetic narrative that conveys human feelings; as for the characters, they are presented almost as static figures.

The introductory scene is a long and beautiful shot focusing on a mountain waterfall, preparing us to the application of sensations and intuition as the main tools for understanding the narrative. The water is getting covered with white foam, and a muffled buzz foreboding some peril is heard. This is a warning – dangerous emotional streams might appear and lead to unexpected hazard. And suddenly, this idyllic set is interrupted by construction works: an excavator is digging the mountain, the “metallic phallus” of civilization is ruthlessly destroying the pristine nature. The very first shot takes us directly and emotionally into the “whirlpool” of the film, though at the same time, we have the feeling that there is something that we don’t understand, that we aren’t fully experiencing the story, and... We follow associations in order to find the source of the dissonance to which we were hinted by horrible buzz sounds.

‘Namme’ starts in the winter – a girl is washing an enchanted healing fish in a bowl, a scene that is repeated at the end of the film, pointing to the cyclic pattern of time. Mythological time, that is – days, years pass one after the other, but nothing ever changes.

The healing fish doesn’t get old and the healing water doesn’t get turbid, nor does it dwindle. Everything is simple, understandable, and follows the order of the universe. Even the slightest change would disrupt this order… In the next scene, we see how the fish jumps out of the bowl – technological developments and change point to the birth of the flat dimension that is time, and… in that village lost in the mist and myths, on a moonlit night, an elder dressed in white is accomplishing a ritual. His daughter Namme is assisting him in this “secret” ceremony. The father and daughter remind us of a holy couple coming from above. As for the “world below”, they don’t believe in the power of the healing water anymore. Civilization is deaf and merciless towards nature; the old realm is under threat; what awaits the fish, Namme and her realm? Is mythology going to disappear?

Why is it important to save a world in the school of which there is but one pupil? What will remain without mountains, without myths?

What will remain of us? – A soulless society of consumers, where “magic” will disappear and Namme will transform into a woman from the “world below”, covered in cheap makeup? According to Zaza: “There are three types of thought: scientific, religious, and poetic.

Myths combine these three aspects and accordingly, mythological thinking can be considered a universal form of comprehending our

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sadac skolaSi erTaderTi moswavlea? ra darCeba mTis, miTosis gareSe? rani davrCebiT? _ usulo momxmarebluri sazogadoeba, sadac `jadoqroba~ gaqreba da name „qveda samyaros“ iaffasiani kosmetikiT SeRebil qalad iqceva? zazas azriT: „arsebobs sami tipis azrovneba: mecnieruli, religiuri da poeturi. miTi samive aspeqts moicavs da am gagebiT, miTologiuri azrovneba samyaros Secnobis universalur formad gvevlineba. dRes progresi niSnavs samyaros fizikuri SesaZleblobebis eqsploatacias, anu am SesaZleblobaTa modernizacias, romelic adamianis garegnuli keTildReobis misaRwevadaa sakmarisi. magram ganviTareba arsebobs mxolod maSin, rodesac xdeba sulier da fsiqiur SesaZleblobaTa sinqronizacia“. names sruli saxelia „cisname“, rac mis orbunebovanebaze migvaniSnebs. igi or stiqias aerTianebs _ haers (RvTiurs) da wyals (qalurs _ wyali imRvreva). mkurnali qalwulis, names saxe filmSi yru kedlis gancdas gvitovebs. igi TiTqos transSi moZraobs da misi samyaros mTlianoba darRveulia; names Zmebma cxovrebis gansxvavebuli gzebi irCies _ erTi muslimi molaa, meore marTlmadidebeli moZRvari, mesame ki filosofosi, skolis maswavlebeli.

TiToeuli maTgani sakuTar samyaroSia Caketili, maT erTmaneTis ar esmiT da... `babilonis godols~ aSeneben. Tumca samives wylis Zalis swamT da es rwmena

world. Today, “progress” equals to the exploitation of our world’s physical capabilities, or in other words, the modernization of these capabilities, which would suffice to reach the apparent well-being of humankind. But real progress can only exist when there is a synchronization of physical and spiritual capabilities.”

Namme is a shortened form of “Tsisnami” (“skydew”, “heavenly dew”), which hints to her dual character. She unites two elements – air (the divine) and water (the feminine – and this water gets polluted).

At first glance, the seemingly transparent image of the young girl leaves the impression of a blank wall. She seems to be moving around in a trance, and the primordial wholeness of her realm gets fragmented; Namme’s three brothers have chosen different paths in life – one is a Muslim mullah, another a Christian Orthodox priest, and the third one an atheist philosophy teacher. Each of them is locked up in their own world, they don’t understand each other, and… they are constructing a Tower of Babel. But at the same time, all of them believe in the power of water, and this faith brings them back into their father’s orbit. At the crossroads between the village and the city, the chilling voice of the mullah merges with the sound of church bells and rumbling machines. This cacophony portends fragmentation and prevents them from perceiving the catastrophe of the end of their mythos. Fragmentation offers the possibility of accepting existence without getting lost in it, without becoming someone else or without scattering into the cosmos. The film uses this “delirious” construction

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`mamasTan~ abrunebT. soflisa da qalaqis gzagasayarze molas galobas eklesiis zarebis guguni erwymis, rasac manqanebis Rmuili uerTdeba. es kakafonia fragmentirebis momaswavlebelia da maT miTosis dasasrulis, katastrofis aRqmisgan icavs. fragmentacia obieqtis arsebobis daSvebis saSualebas iZleva mis wiaRSi gaqrobis, sxvaSi Camalvis an kosmosSi gafantvis gareSe. `bodviTi konstruqcia~ filmSi katastrofis, qaosisa da gaqrobis winaaRmdeg gamoiyeneba. Zmebma sakuTari arCevani gaakeTes, name ki ritualTan mibmuli rCeba _ igi iZulebulia ojaxur tradicias Sewiros piradi cxovreba. axalgazrda qalSi Sinagani winaaRmdegoba mwifdeba _ Tu igi saxlidan wava, rituali gaqreba da tradiciac daikargeba. ufro metic _ `mamis samyaros~ momavali names arCevanzea damokidebuli. gogonam icis, rom igi am samyaros mTavari RerZia. es pozicia axalgazrda qals ubiZgebs ganeridos sakuTar `qalurs~, raTa umwikvlo darCes. dedis nayofier sxeulTan erToba mas sqesis gancalkevebulad aRqmisagan icavs. meore mxriv ki am wrebrunvidan gamosvla, albaT, im samyaros gaanadgurebs, romelSic mas qalRmerTis tolfasi adgili uWiravs. igi am realobaSi gayinuli, Caqvavebulia da misi gandevnili qalurobis dabrunebaa swored safrTxis momaswavebeli niSani. metafora „gaqvavebam“ mimaxvedra, Tu ratom ver vamyareb emociur kavSirs namesTan. cnobili fsiqoanalitikosi antonino fero analitikuri velis models ase

against catastrophe, chaos and disappearance. The brothers have made their own choices, while Namme remained tied to the ritual – she is forced to devote her life to family traditions. An inner conflict is building up in her – if she leaves home, the ritual will disappear, and the tradition will be lost. What’s more – the future of her father’s “realm” depends on her decision. The girl knows that she is the main pillar of this realm. This situation incites her to turn down her feminine side in order to remain chaste. The unity with her mother’s fertile body prevents her from perceiving her own sexuality as separate from her mother’s. On the other hand, getting out of this cycle would probably destroy the realm in which her role is tantamount to that of a goddess. She is frozen, petrified in this realm, and returning to her neglected femininity is precisely a sign that foreshadows peril.

This metaphor of petrification made me understand why I couldn’t relate to Namme on an emotional level. Renowned psychoanalyst Antonio Ferro describes a model of analytic field as a place dedicated to all possible identifications between the patient and the analyst.

During the work process, the analyst should separate oneself from the outer world, or in other words, he or she needs to bid farewell to this reality, in order to reach a “deconcretized”, deconstructed, and then, if possible, a dreamlike (fantasized) reality… Ferro uses Wisława Szymborska’s poem ‘Conversation with a Stone’, in which a man asks a stone to let him inside of it, as an illustration. The stone answers that the man will never be able to get in, even if he were all-knowing, because lacked the outward “sense of taking part”.

According to Ferro’s idea, the “stone” of symptoms, or reality, should

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gansazRvravs _ es aris adgili pacientisa da analitikosis yvela SesaZlo identobisTvis. muSaobis procesSi analitikosi gare realobas unda gaemijnos, anu unda gamoiglovos es realoba, raTa dekonkretizirebul, dekonstruirebul da Semdeg, Tu SesaZlebelia, gaocnebebul (fantazirebul) realobaSi SeaRwios... feros magaliTad vislava Simborskas poema `gasaubreba qvasTan~ mohyavs, sadac adamiani qvas SigniT SeSvebas sTxovs. qva pasuxobs, rom igi ver Seva qvaSi, yovlismxedvelic rom gaxdes, radgan mas ara aqvs `monawileobis grZnoba“ (the sense of taking part). feros ideiT, simptomTa qva an realoba analitikosis `monawileobis grZnobas~ unda Sexvdes, rac analitikosis unars _ SeeZlos pacientis manifesturi istoriis gaziareba _ ukavSirdeba... florenciis akademiis galereaSi miqelanjelos qandakebebis _ „monebis~ naxvis Semdeg mivxvdi, rom es figurebi swored is `qvis monebia~, romlebic mxolod sanaxevrod gamokveTes da mas verasdros ver moscildebian. swored am galereaSi aRviqvi feros idea da „monawileobis gancda“ mTeli sisruliT. vfiqrobdi ara miqelanjeloze, ara am qvidan naxevrad gamokveTil figurebze, aramed analitikuri samuSaos arsze. fsiqoanalitikossac msgavsi samuSao aqvs _ igi exeba adamianis fsiqikas, romlis nawili aseve ganuyoflad mierTebulia raRac konglomerats. Cveni samuSao misi gamoTla ar aris. Cveni samuSao qvaSi SeRwevaa `monawileobis gancdis~ unariT. ase vcdilobT vipovoT

meet the analyst’s “sense of taking part”, which is also dependent on the analyst’s ability to empathize with the patient’s manifest story… After seeing Michelangelo’s sculptures ‘Slaves’ in Florence’s Galleria dell’Accademia, I understood that these figures were indeed “slaves” of their stones, which have only partly let the humans out, and will forever contain them. It is precisely in that gallery that I fully experienced Ferro’s idea and the “sense of taking part”. I wasn’t thinking about Michelangelo or the half-hewn figures, but about the essence of psychoanalysis. Analysts do the same kind of work – they deal with people’s psyche, part of which will always be linked to a united conglomerate. Our work is not to cut out this conglomerate, but to get inside the stone thanks to the “sense of taking part”. This is how we attempt to find a common language with Namme’s “petrified”

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saerTo ena names gaqvavebul nawilTan; filmis avtori albaT, amitom vels miRma rCeba da name Semohyavs...

Selocvis dawyebamde name sarkeSi iyureba. man ar icis, lamazia Tu ara, radgan misi sarke TevziviT utyvia. mas ar hyavs deda, romlis TvalebSic sakuTar Tavs dainaxavs da gaavlebs sazRvars mamasa da qaliSvils Soris. Cven ver vxedavT dedis suraTebs names oTaxSi, Tumca moxuci mamis loginis Tavze ojaxuri foto kidia. erT-erTi Zma ambobs, rom dedis sikvdilis Semdeg name Zalian Seicvala. sarkesTan Taroze mownuli Tevzebi devs, romlebsac gogona mavTulisagan grexs da did Tvalebs ukeTebs. es fetiSi Tevzia, idealizirebuli, ambiseqsualuri dedis imago da imedisa da katastrofis molodini siyvarulis saxiT Semodis... ucnobi vaJi Robis ukan dgas da names akvirdeba. names igi sWirdeba, rogorc Tavisi nawili, rogorc „sxva igi Cemi“, raTa mamakacis TvalebiT sakuTari Tavi dainaxos. „ekologiurad mavne, danjRreuli samarSrutos“ mZRoli

merabi raSze amxedrebul ufliswulad gadaiqceva da gogona zRaprul tbasTan mihyavs. am axalgazrda kacs ormagi buneba aqvs _ misi kanis siTbo da mgrZnobeloba dedasTan urTierTobis gancdas iwvevs: „ase mgonia, adrec SevxvedrivarT erTmaneTs. TiTqos, aseTi raRac adrec momxdara“ _ eubneba mas name. qali tbis siRrmeSi Sedis imis misaniSneblad, rom gancdebi axrCobs, vaJi xels Caavlebs da gadaarCens. maTi kavSiri urTierTSemavsebelia da names manamde uaryofil gancdebs ubrunebs. banaobisas cxeli wyali qalurobiT avsebs da vneba orTqliviT asdis mis sxeuls. meore mxriv, maT kavSirSi „falikuri safrTxe“ Semodis. axalgazrda mZRoli xom „gaRmelia.“ gogonas ar SeuZlia Cveuli samyarodan `uCveuloSi~ ise gadasvla, rom Tavisi Rirebuleba Tan gaiyolos, iq sadac wylis ar swamT... iq sadac name name aRar iqneba. erT-erT scenaSi samyaros wamieri erTianobis, RvTaebrivi harmoniis mowmeni vxdebiT. mamiseul saxlSi Tavmoyrili Zmebi simReras iwyeben; sami xma RvTaebriv

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sagalobelSi erwymis erTmaneTs, aerTianebs ra samyaros sam nawils, sam miTologiur Sres: qvesqnels, sknels da zesknels. erTi xma miwisqveSeTisaa, meore _ miwieri, mesame ki zeciuri; cnobieri, aracnobieri da qvecnobieri. mTvare Rrublidan gamodis da aremares vercxlisfers hfens. name sakralur cecxls anTebs. qaosis SiSi qreba, fragmentirebuli samyaros nawilebi xelaxla erTiandeba axali SinaarsiT... maT deda kravs. mravali aqtiuri elementis erToblioba axali miTosis Seqmnis SesaZleblobas badebs. miTi gardaqmnis mediumia; is funqcia, fantazia, ocneba, TamaSi da Tu gnebavT, filmiigavi „namea“. zaza xalvaSis filmis dasasruli transformaciis momaswavebelia; fragmentacias name arqauli samyarodan gahyavs. Cven ar viciT, amis mere ra moxdeba. or stiqiad, haerad da wylad, ganleuli name ucnob momavals gascqeris da locvas butbutebs: aSina, maSina, gulo, ram SegaSina?

side; and this is probably why the director chose to stay outside the analytical field and to bring in Namme…

Before carrying out her rituals, Namme looks into the mirror. She doesn’t know whether she is beautiful, as her mirror is as mute as a fish.

She doesn’t have a mother whose eyes would mirror her and introduce boundaries between the father and the daughter. We don’t see pictures of her deceased mother in Namme’s room, though there is a family picture above the old father’s bed. The father mentions that after their mother’s death, Namme changed drastically. The shelf below the mirror houses fish figures that the girl makes from metal, and they all have large eyes. This is a fetishized fish, an idealized, ambisexual maternal imago.

The expectation of both hope and catastrophe manifests itself in love.

An unknown young man is standing behind Namme, observing her.

Namme needs him, like a part of her own self, like her own “other”, so that she can see herself with the eyes of a man. Merab, the driver of an “ecologically unfriendly, cranky minibus” transforms into a prince on a steed, and brings the girl to a fairytale lake. This young man also shows a dual nature – on the one hand, the warmth of his skin and his sensitivity allude to her relation to her mother: “I have the feeling that we have already met somewhere. As if such thing has already happened before” – Namme tells him. The girl enters the depths of the lake, to hint to the fact that her feelings are overwhelming and drowning her, and the young man grasps her and saves her. Their relationship is complementary, and Namme confronts the feelings that she used to neglect. While bathing, the hot water fills her with femininity, and passion seems to be steaming from her body. On the other hand, the “phallic danger” enters their relationship – remember, the young driver is from the world below. The girl cannot move from her realm and thus take her value with her to the “unknown” world below, where they have no faith in the water… where Namme will never be Namme again.

In one of the scenes, we become witness to a momentary unity – a divine harmony. The brothers are gathered in their father’s home and start singing; the three voices unite in a divine chant, unifying three parts of this world, three mythological layers: the underworld, the actual world, and the heavens. One voice comes from the underground, the other one – from the Earth, and the third one, from the firmament; the conscious, the unconscious and the subconscious.

The moon emerges from a cloud and spreads a silver shade on the surroundings. Namme lights a sacred fire to mark this moment of harmony. The fear of chaos disappears, and the various parts of the fragmented world unite again, with a renewed meaning… They are connected by their mother. The simultaneous presence of a number active elements gives way to the possibility of creating a new mythos.

The myth is a medium of transformation; it is a function, a fantasy, a dream, a game, and/or the film and parable ‘Namme’.

The ending of Zaza Khalvashi’s film presages transformation; fragmentation takes Namme away from the archaic world. We don’t know what will happen next. Dissolved into the two elements that are air and water, Namme stares into an unknown future and whispers a prayer: “It scared others, it scared me, but my heart, what are you scared of?”

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miTosi da qarTuli Teatri paola uruSaZe

MYTHOS AND GEORGIAN THEATRE PAOLA URUSHADZE

T

eatrmcodne Tamar bokuCavas kvlevas, `miTosi da qarTuli Teatri~, safuZvlad 2006 wels mis mer daculi sakandidato disertacia daedo. yvelasTvis, vinc am dacvas eswreboda, dauviwyaria, Tu rogori SemarTebiT, sakuTar simarTleSi darwmunebuli icavda axalgazrda mecnieri TiToeul daskvnas Tu debulebas; da es damajerebloba, upirveles yovlisa, ganpirobebuli iyo misi farTo erudiciiT, kvlevis sagnis siRrmiseuli SeswavliT, unariT, Rrmad Caswvdomoda sakvlevi problemis arss da safuZvliani msjelobiT gaecxadebina Zalze mniSvnelovani, sxva mkvlevarebis mier aqamde gamoukvleveli mxareebi.

Tamari maTTvis, vinc mis pedagogiur da mecnierul saqmianobas icnobda, iyo udavo imedi imisa, rom qarTul Teatrmcodneobas SemoqmedebiTad mdidari da axali aRmoCenebiT savse momavali gaaCnia. codna, damokidebuleba profesiis, ufro sworad _ mowodebis mimarT, mas im pedagogTa da mkvlevarTa ricxvs miakuTvnebda, romlebic dajildovebulni arian iSviaTi unariT, axalgazrdebs gadasdon siyvaruli profesiis mimarT; daarwmunon isini, rom maT xelSia saocrad saintereso da sapasuxismgeblo saqme _ auxsnan Tanamedrove da momaval Taobebs, Tu ra aris qarTuli Teatris saukeTeso monapovarTa WeSmariti mxatvrulideuri mniSvneloba da istoriuli ganumeorebloba.

T

he inspiration for theatre specialist Tamar Bokuchava’s research study ‘Mythos and Georgian Theatre’ came from her 2006 dissertation defense. None of the people who witnessed this defense could forget the boldness with which the young scholar was defending each finding and proposition, and how confident she was about her theories. For the most part, this confidence was originating from her vast erudition, her in-depth study of the research subject, and her talent in fathoming the various layers of the essence of the research question and in presenting, through well-grounded discussions, utterly important aspects that had not previously been studied by other scholars.

For those who knew her achievements in pedagogy and in the field of science, Tamar was undoubtedly a source of hope for a future rich in creations and for many new discoveries in Georgian theatre studies. Her knowledge and attitude towards her profession, or to be more precise, towards her vocation, put her among the ranks of pedagogues and scholars who have the rare talent to transmit their love for their profession to the young, to convince them that an utterly interesting job full of responsibility is in their hands – to explain to present and future generations the true artistic value and historical uniqueness of the achievements of the Georgian theatre.

In this regard, as an adept of Dimitri Janelidze – a sacred individual whose past spirit and atmosphere still live on to this

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am mxriv, Tamari qarTuli Teatrmcodneobis saukeTeso tradiciebis erTguli mimdevari iyo, gardasul droTa sulis da atmosferos cocxali SegrZnebiT da gancdiT CvenTvis sakraluri pirovnebis, dimitri janeliZis adepti. SemTxveviTi ar aris, rom swored man gamokveTa, ganavrco da axali mtkicebulebebiT gaamdidra batoni dimitris azri `miTologiur simboloTa Tematuri transformaciis~ Sesaxeb. amasTanave, `miTosi da qarTuli Teatri~ ar Semoifargleba mxolod TeatrmcodneobiTi problemebis ganxilviT. misTvis damaxasiaTebelia mkveTri filosofiuri da anTropologiuri mizandasaxuloba, daskvnebSi analitikuri fsiqologiis ideaTa da monacemTa CarTva da, rac mTavaria, kvlevis procesisas mimdinare Rrma da Sinaarsiani dialogi sxvadasxva drois, `kulturul gmirebTan~, rogorc maT Tavad avtori uwodebs. eseni arian: nikoloz baraTaSvili, ilia WavWavaZe, grigol robaqiZe, sandro axmeteli, romelTaTvis eris raobaze da mowodebaze gansja xelovnebis umTavres amocanas warmoadgenda. Tamar bokuCavas originaluri koncefciac aRdgenili qarTuli Teatris `miTologizaciisa~ da SemdgomSi qarTvelebis mier `miTad~ aRqmis Sesaxeb, ase srulad, vrclad da sainteresod ver gaiSleboda warsulTan am uSualo, cocxali dialogis gareSe. aq gansakuTrebiT mniSvnelovania avtoris mier aRdgenili qarTuli Teatris miTTan simbiozSi da am simbiozis Semdgom modifikaciaSi eris TviTgadarCenis da TviTganaxlebis instinqtis saxier-grZnobadi gamovlinebis dafiqsireba. kvlevis sagans Tamar bokuCava ramdenime istoriulkulturuli `ciklis~ farglebSi ganixilavs. mis mier Semofargluli ciklebi erTmaneTisgan gancalkevebuli da damoukideblad arsebuli Spengleriseuli `zeorganizmebi~ rodia. maT monacvleobas igi eris miTazrovnebis ciklurlinearuli dinamikiT gansazRvravs da, rogorc axlis Sobis, ganviTarebis, `momavali axlisaTvis~ wanamZRvrebis erTgvar `jaWvur reaqcias~ warmogvidgens. niSandoblivia, rom am uwyvetobas igi sandro axmetelis mier qarTuli Teatris winaSe dasmuli kiTxvebis robert sturuas reJisorul praqtikaSi Taviseburad gadaWrisa da scenur saxeebSi gasulierebis magaliTebiT gvidasturebs. qarTuli Teatris miTosuri procesis wminda erovnul maxasiaTeblebs Tamar bokuCava, upirveles yovlisa, saqarTvelos istoriis im periodSi eZebs, roca eris winaSe gansakuTrebiT mwvaved dgeboda sulieri gadarCenis problema, da am problemis gadawyvetis amocanas yvelaze aqtiurad sakuTar Tavze literatura da Teatri iRebda. sityvakazmul mwerlobaSi `iRviZebda~ qarTuli ena; TeatrSi qarTveli adamianis ara yofaSi, aramed yofierebaSi arsebobis ritmi... da robert sturuas qarTuli da msoflio dramaturgiuli klasikis axal scenur versiebSi eris winaSe isev dgeboda yofna-aryofnis

day – Tamar was a loyal follower of the best traditions in Georgian theatre studies. It is not by chance that she was the one who spread and enriched Mr. Dimitri’s thoughts about “the thematic transformation of mythological symbols” with new corroborations.

Apart from that, ‘Mythos and Georgian Theatre’ isn’t limited to the scrutiny of theatre study issues. Tamar is characterized by her sharp dedication to the philosophical and anthropological aspects, her inclusion of psychological ideas and data in her analyses, and most importantly, her deep and substantial dialogue with “cultural heroes”, as the author herself calls them, during the research process. These were: Nikoloz Baratashvili, Ilia Chavchavadze, Grigol Robakidze, Sandro Akhmeteli, for whom the essence and purpose of the nation represented the most important themes of discussion in the field of art. Tamar Bokuchava’s original approach towards the “mythologization” of the revived Georgian theatre and then its perception as a “myth” by Georgians couldn’t have been developed so thoroughly and interestingly without this direct, vivid dialogue with the past. Her demonstration of the self-preservation and self-renewal instincts of the nation in the symbiosis and then modification of the relation between the revived Georgian theatre and myth is particularly noteworthy.

Tamar Bokuchava approaches her research through the frame of several historical-cultural “cycles”. The cycles she establishes are not separated from each other and do not work independently. She outlines their alternation through the cyclic-linear dynamic of the

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maraducvleli `wyluli kiTxvebi~. warsulTan dialogis mTavar mediatorad Tamar bokuCavam samarTlianad airCia nikoloz baraTaSvili, romlis `meranSi~, misi azriT, Taviseburad cxaddeba, JRers da Tavis morig mtkicebulebas iZens eris miTazrovnebisa da miTSemoqmedebis, rogorc mTeli qarTuli kulturis `gamWoli moqmedebis~ idea, moqmedebisa, romlis zeamocanas `nacionaluri universumis modelis~ Seqmna warmoadgens. am procesis erT-erT sawyiss igi agnebs agreTve ilia WavWavaZis saprogramo werilSic: `oriode sityva Tavad revaz Salvas Zis erisTavis kazlovidgan `SeSlilis~ Targmanzeda~. am werilSi igi gansakuTrebul yuradRebas uTmobs ilias triadas: `mamuli-ena-sarwmunoeba~. am triadas siRrmiseuli azrisa da mniSvnelobis gaSifvraSi avtors exmareba ara marto misi mecnieruli intuicia da warmosaxvis mdidari unari, aramed misi erudiciis mravalmxrivoba _ kerZod, enaTmecnierebis safuZvlebis Rrma codna. sandro axmetelis Sexedulebebi Teatris religiurritualur arsze Tamar bokuCavas naSromSi ganixileba XX saukunis pirveli aTwleulis Teatraluri avangardis koncefciebTan mimarTebaSi, rac kidev ufro amyarebs da akonkretebs axmetelis warmomadgenlobas XX saukunis Teatris im eqsperimentator-TeoretikosTa rigSi, romelTa modernistuli programebi erTdroulad maT filosofiur koncefciasac Seicavda _ samyaros filosofiuri suraTis gagebas, adamianis bunebis da yofierebis kanonebis axsnas. monografiis mTavari ideidan gamomdinare, savsebiT logikuria is yuradReba, romelic Tamar bokuCavam grigol robaqiZis `lamaras~ dauTmo. es piesa xom Tavidan bolomde swored miTis energiiTaa gamsWvaluli da, amave dros, mis azrobriv-saxier nakadSi Taviseburad cxaddeba is perspeqtivebic, romelsac usaxavda axmeteli qarTul Teatrs, rodesac ambobda, rom drama, upirveles yovlisa, `misteria unda iyos~. zemoTqmulidanac Cans, rom am kvlevis erT-erT mTavar Rirsebas mis calkeul Temebs Soris Sinagani Sinaarsobrivlogikuri kavSirebi gansazRvraven. naSromis gmirebi, miuxedavad maT Soris arsebuli drois distanciisa, mkiTxvelis aRqmaSi wamdauwum exmianebian erTmaneTs, ekamaTebian da, zogjer, dialogebsac marTaven. es gansakuTrebiT robert sturuasadmi miZRvnil TavSi vlindeba, romlis wakiTxvisas pirdapiri miTiTebis gareSec mZafrad SeigrZnoba qarTul erovnulTeatraluri miTologiis demiurgebsa da maT memkvidres Soris `sulTa Sexebis~ cxeli wertilebi. amis dasturia robert sturuas Semoqmedebis yvela sakvanZo momentis Rrma da yovlismomcveli analizi, gansakuTrebiT avtoris msjeloba speqtaklis `cxovreba sizmaria~ garSemo. am speqtaklis mTavari ideis gansazRvriT Tamar bokuCavam

nation’s approach to myths, and presents it to us as a kind of “chain reaction” of prerequisites for the birth of something new, and for “future innovations”. She demonstrates this continuity by how Robert Sturua gave life to the issues raised about Georgian theatre

by Sandro Akhmeteli, and how the former used them in his plays.

Tamar Bokuchava looks for the purely national characteristics of the Georgian theatre’s mythical aspects first and foremost in the period of history in which the issue of spiritual survival was at its most burning point, and the most active fields in the resolution of this problem were literature and theatre. Georgian language was “waking up” in literature; in theatre, rather than the everyday lives of Georgians, it was the rhythm of their existence in this life… and in Robert Sturua’s new scenic versions of Georgian and world dramaturgy classics, the eternal question of “to be or not to be” would rise again before the nation.

As the principal intermediary in her dialogue with the past, Tamar Bokuchava rightly chose Nikoloz Baratashvili, whose ‘Pegasus’, she thought, was expressing, depicting and demonstrating once again that the nation’s mythological consciousness and enterprise continuously accompany Georgian culture as a whole, and that its main undertaking is to create a “national universal model”. She also finds one of the origins of this process in Ilia Chavchavadze’s article: ‘A few words about prince Revaz, son of Shalva Eristavi’s, translation of Kozlov’s ‘The Mad Girl’’. In this small letter, she underlines Ilia’s triad: “Homeland – language – faith”. The author’s understanding of this triad’s deep meaning and importance was allowed not only by her scientific intuition and her great descriptive talent, but also by the multi-faceted character of her erudition – namely, her thorough knowledge of the fundamentals of linguistics.

Sandro Akhmeteli’s views about the religious-ritualistic nature of theatre is compared, in Tamar Bokuchava’s research, to the avant-gardist concepts about theatre from the beginning of the 20th century, which strengthens and specifies Akhmeteli’s rank among the experimenters and theoreticians of 20th century theatre whose modernist programs included their philosophical concepts – the understanding of our world’s philosophical qualities, human nature, and the laws of existence.

If we take the main idea of her monograph into consideration, the particular attention Tamar Bokuchava paid to Grigol Robakidze’s ‘Lamara’ becomes logical, as from its start to finish, this play is full of mythological energy, and at the same time, its mental and visual flows convey, in their own way, the perspectives infused by Akhmeteli into Georgian theatre when he was saying that first and foremost, “drama should be mystery”.

From what we said above, one can see that one of the main values of Tamar Bokuchava’s study lies in the essential and logical connections between the various themes it covers. Despite the distance in time between the various protagonists of the study, they constantly echo and argue with each other in the eyes of the reader, and sometimes, they even have discussions. This is particularly true regarding her chapter dedicated to Robert Sturua, as when reading

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robert sturuas mTeli Semoqmedebis ZiriTadi sazrisic gamoxata: `1993 wels dadgmul am speqtaklSi reJisorma `misteriisa da moralis atmosfero~ SeigrZno da Tavisi aRqma zustad daamTxvia imdroindeli Tbilisis ucnaur, saswaulis amao molodiniT aRsavse qalaqs~. avtoris gansazRvriT, mis naSroms safuZvlad ekleqtursinTeturi principi daedo. ar SeiZleba ar aRiniSnos, rom kvlevis ZiriTadi `siuJetis~ ganviTarebaSi _ miTis, rogorc qarTuli Teatrisa da kulturis `metateqstis~ wakiTxvaSi _ masTan erTad uaRresad qmediTad `TanamSromloben~ qarTuli Teatrisa da kulturis mkvlevarebi, antikuri filosofosebi, ganmanaTleblobis epoqis filosofosebi, frangi struqturalistebi da XX saukunis semiologiis mamebi. maRali xarisxis `ekleqtikis~ konceptualuri arsi yvelaze Zlierad mnaxvelis, mkiTxvelis, Tu msmenelis aRqmaSi vlindeba, imaSi, Tu raoden srulad SeigrZnobs da gaiTavisebs aRmqmeli am ekleqtikis Semkvrel, masinTerizebel sazriss Tu grZnobas. erT-erT aseT `sazrisad~ mimaCnia robert sturuas

it, without any direct indication, one can sharply feel the points of convergence between the demiurges of Georgian nationaltheatrical mythology and their successor. This is corroborated by the deep and thorough analysis of each of the nodal aspects in Robert Sturua’s oeuvre, especially in the author’s discussion around his play ‘Life is a Dream’. By outlining the main idea of this play, Tamar Bokuchava also expressed the main significance of Robert Sturua’s works as a whole: “In the play Robert Sturua directed in 1993, the theatre director sensed the “mysterious and moral atmosphere” of his surroundings and managed to perfectly fit this perception to the strange situation at hand in Tbilisi, a city waiting in vain for a miracle”.

According to the author herself, the fundamental principle of her work was of an eclectic-synthetic principle. One also couldn’t neglect the fact that scholars of Georgian theatre and culture, ancient philosophers, philosophers of the Enlightenment period, French structuralists and the Fathers of 20th century semiology have all actively collaborated in the development of her study’s main “subject” – myth as a “metatext” of Georgian theatre and culture.

The conceptual meaning of high-quality “eclecticism” can be best

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SemoqmedebasTan dakavSirebuli debuleba imis Taobaze, rom adamianis yofa miTis maradiul kanonebs eqvemdebareba, rom sinamdvilis gancdis gancdas erTgvari TanSobili miTosuri arqetipi udevs safuZvlad, romlis saboloo daZleva, farglebidan gasvla kulturis kolafsiTa da arsebobis SeuZleblobiT sruldeba. aqedan gamomdinare, savsebiT gasagebia is ukidegano sivrce da dro, romlis fonze da romelTan mimarTebaSi ganixilavs Tamar bokuCava miTosisa da qarTuli Teatris TanaSemoqmedebis yvelaze aqtiur da nayofier etapebs; savsebiT gamarTlebulia kvlevis ekleqtursinTezuri principic da kvlevis sagnis ara mxolod TeatrmcodneobiT, aramed filosofiur, fsiqologiur, anTropologiur WrilSi ganxilvac. uRrmesi madloba Tamar bokuCavas megobrebs, romlebmac es naSromi wignad gamosces. axla ara mxolod avtoris kolegebs, aramed mkiTxvelTa ufro farTo wres Seeqmneba SesaZlebloba gaecnos am mravalmxriv saintereso gamokvlevas, romlis mniSvneloba dResdReobiT ganisazRvreba ara mxolod misi maRali mecnieruli da mxatvruli doniT, aramed avtoris gulwrfeli swrafviTac, Tavisi wvlili Seitanos eris kulturis kolafsisgan gadarCenis mcdelobaSi.

appreciated by the spectator, reader, or auditor’s perception, in how well they can sense and assimilate the binding and synthetizing qualities or feel of this eclecticism.

I believe that one of these “qualities” is the view concerning Robert Sturua’s works stating that human life is subordinated to the eternal laws of myth, that the experience of feeling the truth contains an innate mythical archetype at its core, the overcoming of which would mean cultural collapse and the impossibility of existence. As a consequence, the use of boundless space and time both as backdrops and interrelated concepts with the most active and productive stages of mythology and Georgian theatre as parallel concepts becomes understandable, as does the use of her eclectic-synthetic principle and her multidisciplinary approach combining philosophy, psychology, and anthropology to theatre study.

I would like to finish by expressing my deepest gratitude to Tamar Bokuchava’s friends, who have published her study as a book.

Thanks to them, a broader circle of people can now get to know this utterly interesting research, the importance of which lies not only in the high scientific and artistic level, but also in the author’s genuine aspiration to contribute to the attempt to save our nation from cultural collapse.

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abas qiarosTamis poeturi eqsperimenti giorgi lobJaniZe

Abbas Kiarostami's Poetic Experiment GIORGI LOBZHANIDZE

erT-erTi mTavari SeniSvna, rasac msoflioSi cnobili iraneli kinoreJisoris abas qiarosTamis filmebis Sesaxeb mis samSobloSi xSirad gamoTqvamen xolme, aris is, rom igi kinos dasavleTisaTvis iRebs. praqtikulad, am SeniSvnis amplituda moicavs uamrav qveteqsts, romelic iwyeba yvelaze uwyinari _ dasavleTis ubralo mimbaZvelobiT da mTavrdeba, Cemi azriT, xelovanisaTvis yvelaze Seuracxmyofeli braldebiT, rom is sakuTar Semoqmedebas, rogorc gasayidad gamotanil saqonels uyurebs, romelic saerTaSoriso kinofestivalebze kargad saRdeba swored adekvaturi SefuTvis da ara misi xarisxis meSveobiT. SefuTva qiarosTamis SemTxvevaSi gulisxmobs aRmosavleTis ara siRrmiseul da avTentur gaazrebas, aramed mis im kuTxiT warmoCenas, rac daainteresebs Tanamedrove ucxour, ZiriTadad, dasavlur auditorias. es aris egzotikis iseTi rTuli forma, roca TviT egzotikurad miCneulma obieqtma kargad icis, ra aqcentebze unda miapyros sxvaTa yuradReba, rom amiT ufro gamokveTos Tavisi ucnaurobac da am ucnaurobis xazgasmuli mniSvnelobac. warmodgenil braldebaTa sapasuxod, aseve xSirad aRniSnaven xolme, rom kino mainc dasavluri xelovnebaa da amitomac, gasakviri da, miT ufro, sagangaSo ar unda iyos is garemoeba, Tu aRmosavleli reJisori sakuTari saTqmelis gadmosacemad dasavlur kinoenas iyenebs.

Tu kinosTan mimarTebiT es TvalsazrisiT garkveulwilad samarTliani Cans, sxva saqmea poezia, romelsac iranSi zurgs aTaswlovani tradicia umagrebs da am sferoSi eqsperimentatoroba SesaZloa SemoqmedebiTi xarakiris tolfasi aRmoCndes. amis miuxedavad, abas qiarosTami ar Seepua araviTar pirobiTobas da leqsebis krebulSi, romlis Targmansac dRes qarTvel mkiTxvelsac vTavazobT, iranuli gagebiT, `Tavawyvetil~ eqsperimentatorad mogvevlina.

Tavidanve vityvi, rom me, am krebulis mTargmnels,

One of the main remarks often addressed to world-famous Iranian director Abbas Kiarostami’s films in his homeland is that he makes films for the Western audiences.

The amplitude of this remark invovles countless subtexts, from the most gentle ones – that he was simply imitating western trends, to, in my opinion, the most offensive kind of accusation one could make in the field of art – that he approaches his own creations as commercial goods that have to sell well at international festivals, not because of their artistic value, but because they were well “packaged”.

And in the case of Chiarostami, packaging doesn’t mean the deep and authentic discernment of the East, but its depiction in a way that would interest modern, foreign, and mostly western spectators.

This is such a difficult form of exoticism – when the object seen as exotic has to comprehend which aspects it should underline in order to attract outsiders’ attention and emphasize its strangeness to underline the significance of the latter even more.

As an answer to this accusation, people often note that cinema is a western form of art anyway, and therefore, the fact that an Eastern film director uses a western cinematic language in order to express himself shouldn’t be surprizing, and even less so alarming.

If from a cinematic point of view, this can seem an appropriate opinion, it is a different thing when we talk about poetry, of which Iran boasts an age-old tradition – and as a consequence, experimenting in this field can turn out to be tantamount to a harakiri.

In spite of that, Abbas Kiorastami ignored all conventions and in his anthology of poems, the translation of which we have recently made available to Georgian readers, he reveals himself as an unbridled (“headless”, as they would say in Iran) experimenter.

I will say from the start that I, the translator of this anthology, could not yet find the answer to the most important question – was this a successful experiment or not? Perhaps it was to some extent, but first we have to determine the goals of Kiarostami himself when he presented the fruits of his poetic labor, written in a very difficult and impulsive language, to the public.

Almost everybody who is literate writes poems in Iran, as for their

، ‫ت‬ ‫س‬ ‫ا‬ ‫ت‬ ‫ی‬ ‫ی‬ ‫س‬ ‫د‬ ‫ر‬ ‫ا‬ ‫ی‬ ‫راور ف‬ ‫ه‬ ‫ب‬ ‫م‬ ‫ن‬ ‫آ‬ ‫ن‬ ‫ا‬ ‫و‬ ‫ک‬ ‫ت‬ ‫م‬ ‫ی‬ ‫د‬ ‫س‬ ‫ر‬ ‫ل‬ ‫ا‬ ‫د‬ ‫ث‬ ‫ک‬ ‫م‬ ‫ن‬ ‫ف‬ ‫یا‬ ‫ش‬ ‫ک‬ ‫ا‬ ‫ر‬ ‫ن‬ ‫آ‬ ‫نم‬ - 40 -

1 (19) 2020

jerac ver mipovia pasuxi umTavres SekiTxvaze, gaamarTla Tu ara am eqsperimentma. raRac kuTxiT, albaT _ ki, oRond jer unda vicodeT, ra mizani amoZravebda TviTon qiarosTamis, rodesac Tavisi poeturi garjis nayofi Zalze momTxovn da Wirveul sparsulenovan auditorias SesTavaza. iranSi leqss TiTqmis yvela wers, vinc ki wera-kiTxva icis, xolo klasikuri leqsis siyvaruli da gardasuli xanis bumberazi mgosnebis Tayvaniscema maTSi lamis religiur aRtyinebas utoldeba. amitomac poeziaSi siaxlis mimdevroba iraneli avtorisaTvis ioli saqme ar aris da sxva yvelafers rom Tavi davaneboT, mas klasikuri tradiciisa da leqswyobis zedmiwevniTi codna moeTxoveba. es ki, Sesabamisad, gulisxmobs poeziaSi misi ara rogorc xelovanis, aramed rogorc poet-xelosanTa amqris rigiTi wevris mravalwlian gamocdilebas. wevrisa, aTwleulebis manZilze jiutad da mizanmimarTulad rom swavlobs Tavisi xelobis uamrav profesiul saidumloebas, siRrmiseulad iTavisebs gardasulis gamocdilebas da mxolod amis Semdeg aZlevs Tavs uflebas, tradiciis SigniTve, garkveuli eqsperimenti ganaxorcielos. es pirobiTi eqsperimenti XX saukunemde arasodes scildeboda formalistur farglebs. magaliTad, Sinaarsoblivad, ukve tradiciuli kliSe-simboloebis

، ‫ت‬

love towards classic poetry and their respect towards the giant versifiers of past centuries, it could be compared to religious fervor.

This is precisely why the pursuit of innovations isn’t an easy task for Iranian authors, and even if they do introduce something, they are expected to show a thorough knowledge of the classical tradition and versification. Ergo, they have to display, rather than the years-long experience of a mere artist, that of a legitimate member of the order of poets. Of a member who has been obstinately and purposefully learning the numerous professional secrets of his craft, thoroughly assimilates the experience of the past and only after that, allows himself to introduce, in the framework of the tradition itself, some kind of experiment.

Until the 20th century, these conditional experiments never went beyond the formal framework. For instance, in terms of content, a new way of interpreting the already traditional clichés and symbols, and regarding the form, jumbling the metrics of the Aruz system or intentionally shrinking these metrics, which would result in works that differ from the Iranian (Eastern) versification forms, but that remain in a strophic system.

The creative research of Nima Iushij, the first great reformer of Persian poetry, was part of this undertaking.

The first reformative steps taken by poets of the following generation, such as Sohrab Sepehri, Forrough Farrokhzad, Ahmad Shamlou, Mehdi Akhavan Sales and others were, in essence, pursuing a similar endeavor.

‫س‬ ‫ا‬ ‫هد‬

‫ش‬ ‫ه‬ ‫م‬ ‫ج‬ ‫ت ر‬ ‫ت‬ ، ‫م‬ ‫ی‬ ‫د‬ ‫س‬ ‫ج‬ ‫ر‬ ‫د‬ ‫ر‬ ‫ک‬ ‫ر‬ ‫د‬ ‫گ‬ ‫ل‬ ‫ه‬ ‫ت‬ ‫ی‬ ‫ب‬ ‫د‬ ‫س‬ ‫ب‬ ‫د‬ ، ‫ت‬ ‫م‬ ‫ی‬ ‫ی‬ ‫ر‬ ‫عش ت‬ ‫ه‬ ‫ب‬ ‫ا‬ ‫ر‬

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axlebur gaazrebas anda formiseulad, aruzis sistemis sazomTa aRrevas anda am sazomebis gamiznul `dakoWlebas~, rac Sedegad gvaZlevda iranuli (aRmosavluri) leqswyobisagan gansxvavebul, Tumca isev stroful sistemaSi daweril nimuSebs. am rigis movlenas ganekuTvneba sparsuli leqsis pirveli didi reformatoris _ nima iuSijis SemoqmedebiTi Ziebani. arsebiTad amave yaidisa iyo Semdgomi Taobis gamoCenili poetebis _ sohrab sefehris, foruy faroxzadis, ahmad Samlus, mehdi axavan salesisa da maTi Taobis sxva cnobili mokalmeebis pirveli reformistuli nabijebi. yvela zemoT CamoTvlili poeti Tavs iuSijis SemoqmedebiTi gezis gamgrZeleblad miiCnevda, Tumca, cxadia, maT, rogorc qronologiurad iuSijis Semdgomdroindelma poetebma, gacilebiT Tamami siaxleebi daamkvidres da saamisod ufro didi winaaRmdegobis daZlevamac mouwiaT. magaliTad SeiZleba gavixsenoT, rom sohrab sefehrisa da foruy faroxzadis misamarTiTac xSirad gaismoda igive braldeba, rasac dRes abas qiarosTamis kinoenasa da saerTod SemoqmedebasTan dakavSirebiT acxadeben. kerZod, is, rom es poetebi mowyvetilni iyvnen erovnul Zirebs da maTi Tavisebureba mxolod dasavluri poeturi eqsperimentebis uniWo mibaZviT amoiwureboda. cxadia, gulubryviloba iqneboda, upirobod gagveziarebina am braldebis araswori paTosi, romlis usamarTlobac drom yvela sxva saSualebaze ukeT warmoaCina da gamoaaSkarava.

Tavis droze SesaZloa igive sohrab sefehri da foruy faroxzadi marTlac iyvnen gatacebulni msoflio poeziaSi mimdinare saintereso procesebiT da am procesidan SemoqmedebiTad iTavisebdnen

All of the above-mentioned poets consider themselves to be followers of the creative path introduced by Iushij, though naturally, as poets who came chronologically later than him, they established much bolder innovations, and as a result, they also had to overcome a much significant opposition.

For example, let us note that the accusations expressed against Abbas Kiarostami’s cinematic language and his work in general are also uttered against Sohrab Sepehri and Forrough Farrokhzad.

Namely, that these poets were uprooted from their nation and that their originality could only be attributed to a dull imitation of western poetry.

Naturally, it would be naive to share the wrong pathos of this accusation, the unfairness of which was best revealed by time itself, without any further discussion.

At a time, both Sohrab Sepehri and Forrough Farrokhzad might indeed have been very enthusiastic about the interesting processes at hand in world poetry, and they might have assimilated the remarkable achievements of foreign poets, but they didn’t take and blindly imitate or introduce any of these components in their native literature: any innovation they implemented, they did so with the attempt to organically inscribe it into either the diachronic or perspective frame of Iranian literature.

The diachronic frame referred to the artistic tricks and means that, if they didn’t have a direct analogy with the age-old Persian literature, could still correspond to some of its archetypes. As for the perspective frame, it alluded to the possibilities of developing the newly established literary techniques, while at the same time taking into account the originality of past and present Persian versification.

As a consequence, Forrough and Sepehri’s did not only organically inscribe themselves into the history of Persian literature, but were also at the source of numerous impulses existing in the modern form of the latter.

Before delving into Abbas Kiarostami’s anthology, there is another

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ucxoeli poetebis TvalsaCino miRwevebs, magram arcerTi komponenti brmad ar gadmohqondaT mSobliur literaturaSi da cdilobdnen maT mier motanili yovelgvari siaxle organulad Caweriliyo sparsuli mwerlobis an diaqronul anda perspeqtiul WrilSi. diaqronul WrilSi igulisxmeba is mxatvruli xerxebi da saSualebani, rasac Tu pirdapiri analogi ara, arqetipi mainc daeZebneboda aTaswlovan sparsul sityvierebaSi. perspeqtiuli Wrili ki gulisxmobda axlad damkvidrebuli mxatvrul saSualebaTa samermiso ganviTarebis SesaZleblobebs swored sparsuli sityvierebis guSindeli da dRevandeli Taviseburebebis gaTvaliswinebiT. aqedan gamomdinare, foruyisa da sefehris Semoqmedeba

poet who needs to be mentioned: Bijan Jalali, who was, according to Iranian critics, the direct follower of Sohrab Sepehri’s poetic path.

This assessement by Iranian critics is completely legitimate, despite the fact that Bijan Jalali doesn’t look anything like Sohrab Sepehri from an external and formal point of view, and on the contrary, if we don’t take the development of modern Iranian poetry into account and satisfy ourselves only with a superficial evaluation, then we will find almost nothing common between these two poets.

In the foreword to the first publication of Bijan Jalali’s poems in the Georgian language, I specifically noted: “Iranian critics consider Bijan Jalali to be the follower and successor of Sohrab Sepehri’s poetic path.

But by that, they do not mean that there is any formal or external resemblance between these two poets. If there is someone whom Bijan Jalali doesn’t resemble, it’s Sohrab Sepehri, in the writings

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aramxolod organulad Caewera sparsuli literaturis istoriaSi, aramed, swored maTgan wamovida umravi biZgi am mwerlobis Tanamedrove iersaxisaTvis. vidre uSualod abas qiarosTamis krebulze vilaparakebdeT, kidev erTi poeti unda gavixsenoT, romelic iraneli kritikosebis SefasebiT swored sohrab sefehris poeturi gzis uSualo gamgrZeleblad mogvevlina. iranel kritikosTa Sefaseba savsebiT samarTliania imis miuxedavad, rom biJan jalali garegnulad da formalurad arafriT ar hgavs sohrab sefehris da piriqiT, Tu Tanamedrove sparsuli leqsis ganviTarebas safuZvlianad ar gaviazrebT da mxolod zedapiruli SefasebiT davkmayofildebiT, maSin saerTos am or poets Soris, TiTqmis verafers davinaxavT. qarTul enaze biJan jalalis leqsTa pirveli publikaciis winaTqmaSi sagangebod aRvniSnavdi: `iraneli kritikosebi biJan jalalis sohrab sefehris poeturi gezis gamgrZeleblad da srulmyofad miiCneven. Tumca aq ar igulisxmeba am ori poetis formaluri an garegnuli msgavseba erTmaneTTan. Tu vinmes ar hgavs biJan jalali, ar hgavs sohrab sefehris, romelTanac sinamdvile fantasmagoriul mxatvrul realobad gadatydeba da es realoba Tan uamrav qveteqsts moiyolebs. jalalisTan, piriqiT, fantasmagoriuli realoba eZebs cxovrebiseul sinamdviles, sizmari eZebs cxads, raTa axdes da sakuTari yvelaze Rrmad dafaruli mniSvneloba gaamJRavnos. biJan jalali minimalistia da amiTac mkveTrad gansxvavdeba sefehrisagan. sefehris leqsi moreviviTaa, uamrav Temas, saxes, ganwyobilebas atrialebs TavisTavSi da amitomac zogjer koSkidan satrfos mier CamoSlili nawnaviviT grZeldeba da italReba. jalalis leqsi ki sinamdvilis nafleTia, sadac poetis ocnebam, cxovrebiseulma sibrZnem da safiqralma TavisTavi unda moixelTos. amdenad es leqsebi mcire zomisaa, rogorc sarkidan ucabedad, erTi wamiT amsxltari aTinaTi.~ praqtikulad, swored bijan jalalis SemoqmedebiT iwyeba sparsuli minimalisturi poeziis, rogorc SemoqmedebiTad da esTetikurad gacnobierebuli aqtis, tradicia. cxadia, es tradicia upirvelesad daefuZna wina epoqis Taobis iranel poetTa nawerebSi moZiebuli minimalisturi nimuSebis gaazrebas Semdgom ki gamdidrda rogorc evropuli, aseve Soreuli aRmosavleTis (CineTi, iaponia, korea) umdidresi gamocdilebiT amave sferoSi.

of whom truth becomes a fantasmagoric artistic reality, one involving numerous subtexts. In Jalali’s works, on the contrary, the fantasmagoric reality is searching for existential truth, dreams are searching for reality, so that they can actually take place and express their deepest, most hidden significance. Bijan Jalali is a minimalist, and in that too, he sharply differs from Sepehri.

Sepehri’s poems are like a stir – they blend many themes, people, attitudes, and therefore, they sometimes get long and wavy like when a beloved undoes her plaits from a tower. As for Jalali’s poems, they are scraps of truth, in which the poet has to clasp his dreams, wisdom and contemplations.

Therefore, his poems are short, like the unexpected, swift reflection coming from a mirror.”

It is precisely with the works of Bijan Jalali that Persian minimalistic poetry practically started as a creatively and aesthetically conscious act and tradition.

Naturally, this tradition was first based on the interpretation of minimalistic poems found in the works of Iranian poets of earlier times, after which it was enriched by the great experience of both Europe and the Far East (China, Japan, Korea) in the field.

As a result, we got an utterly original poetry, the forms of which often bear a resemblance to Chinese and Japanese versification forms, but of course, it would be foolish to talk about pure tankas or even haikus when referring to Iranian variants. This is why we think it is more appropriate to consider that Bijan Jalali’s works belong to the minimalism tradition as described by deconstructionists in the end of the 20th century.

As we know, the East, including Eastern poetics and versification forms, has become very popular in Europe in the 20th century, so much so that European poets were trying to create verses in their native languages based on the traditional Eastern versification forms.

As a result, French, English (American), German poetry, as well as that of other countries, saw the appearance of “haikus”, “tankas”, and even “ruba’is”, which of course, could only formally resemble their “Eastern originals”, as quite often, the authentic metrics of these poetic forms were not strictly observed, and their characteristic features weren’t exactly imitated in non-native, and sometimes diametrically opposed linguistic and poetic discourses.

This is why in order to refer to such kind of poems or any other poems that are short in length, western structuralists have introduced the term “minimalist poetry”.

Perhaps it wouldn’t be wrong to use this term for Eastern poetry, and in this case Iranian poems of the same sort, as formally, the short poems of Persian poets are more related to European minimalism than to the works of the Eastern “ancestors” of the latter – authors of traditional tankas, haikus, and ruba’is.

، ‫ت‬ ‫س‬ ‫ا‬ ‫ت‬ ‫ی‬ ‫ی‬ ‫س‬ ‫د‬ ‫ر‬ ‫ا‬ ‫ی‬ ‫راور ف‬ ‫ه‬ ‫ب‬ ‫م‬ ‫ن‬ ‫آ‬ ‫ن‬ ‫ا‬ ‫و‬ ‫ک‬ ‫ت‬ ‫م‬ ‫ی‬ ‫د‬ ‫س‬ ‫ر‬ ‫ل‬ ‫ا‬ ‫د‬ ‫ث‬ ‫ک‬ ‫م‬ ‫ن‬ ‫ف‬ ‫یا‬ ‫ش‬ ‫ک‬ ‫ا‬ ‫ر‬ ‫ن‬ ‫آ‬ ‫نم‬ - 44 -

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Sedegad miviReT metad originaluri poetika, romelic saleqso formebis TvalsazrisiT xSirad hgavs da uaxlovdeba Cinur-iaponur saleqso formebsa da sazomebs, magram cxadia, sparsul variantSi uazroba iqneboda, gvelaparaka wminda wylis tankaze an Tundac haikuze. amitomac ufro marTebuli gveCveba Tu biJan jalalis Semoqmedebas minimalizmis tradicias mivakuTvnebdiT terminis im mniSvnelobiT, riTac mas XX saukunis dasasrulis dekonstruqtivistebi gamoiyenebdnen. rogorc cnobilia, swored aRmosavleTiTa da maT Soris aRmosavluri poeturi formebiT da saleqso sazomebiT gatacebam XX saukunis evropaSi imdenad farTo xasiaTi miiRo, rom evropeli poetebi cdilobdnen, tradiciuli aRmosavluri saleqso sazomebis analogiiT TavianT mSobliur enebzec SeeqmnaT poeturi nimuSebi. Sedegad gaCnda vTqvaT, franguli, inglisuri (amerikuli), germanuli da a.S. `haikuebi~, `tankebi~ da TviT `robaiebic~ ki, romlebic cxadia SeiZleboda mxolod formalurad damsgavsebodnen maT `aRmosavlur originalebs~, radgan xSirad arc am poeturi formebis dedniseuli sazomebis zedmiwevniTi dacva xerxdeboda da arc maTi Sinaarsoblivi maxasiaTeblebis zusti kopireba sxva, aramSobliur da zogjer diametralurad sawinaaRmdego enobriv da poetur diskursSi. amitomac aseTi saxisa da saerTod mcire formis yovelgvari poeturi nawarmoebis aRsaniSnavad dasavlelma struqturalistebma termini `minimalisturi poezia~ Semoitanes. albaT, ar SevcdebiT Tu am termins aRmosavleli da am SemTxvevaSi sparseli analogiuri tipis poetTa aRsaniSnavadac gamoviyenebT, radgan formalurad am poetTa Semoqmedeba ufro met naTesaobas amJRavnebs evropel minimalistebTan, vidre am evropeli minimalistebis aRmosavlel `winaprebTan~ _ tradiculi tankebis, haikuebisa Tu robaiebis avtorebTan. Tanac, gasaTvaliswinebelia is mniSvnelovani maxasiaTebeli, rasac cnobili literaturismcodneebi minimalisturi poeziis kuTvnilebad miiCneven. kerZod, vladislav kulakovi SeniSnavs: `mcire formebis, saerTod mciris esTetika uZvelesi droidan arsebobda.

Soreul aRmosavleTSi, is, rogorc cnobilia, saerTod erovnuli poeziis safuZvlad gvevlineba. swored maT, anu iaponelebsa da Cinelebs ekuTvniT pirvelobis ufleba mciris esTetikaSi, magram maT, rogorc yvela analogiur SemTxvevaSi TiTqmis fexdafex misdevs evropuli cnobiereba. sinamdvileSi, evropuli mcire poeturi forma _ epigrama, epitafia Tu aforizmi, iqneb arcTu ufro gviandelia aRmosavlurze, magram is absoluturad gansxvavebulia. xolo principulad Ria, dausrulebeli, fragmentuli lirikuli gamonaTqvami (romelic amave dros struqturirebuli ar iyo silabotonikiT) didi

، ‫ت‬

In addition to this, one has to take into account the important characteristics that famous literary critics attribute to minimalist poetry.

Namely, Vladislav Kulakov remarks: “Short forms, and in general, the aesthetics of shortness, have existed since ancient times. In the Far East, they are even considered as the foundations of national poetry. The Japanese and the Chinese boast the introduction of the aesthetics of shortness, but they were imitated, as it is the case in all other instances, by Europeans. In reality, the short European forms – the epigram, epitaph or aphorism, could be from around the same time as the Eastern forms, but they are absolutely different in nature.

As for principally open, unfinished lyrical forms (which at the same time, don’t follow any syllabotonic structure), they were considered for a long time as exotic and representing “Eastern motifs”. Moreover, European poetry did its job a long time ago by leaning on and using the forms that were authoritative in the East.”

The Russian scholar also notes that “minimalism is naturally more than just an aesthetic of the short form. By the way, there can be as many forms as one can imagine, long and coarse ones. As for minimalism, it is completely limited to the aesthetics of the short, of the minimum. It is a different creative strategy that was actualized precisely by the postmodern era.”

‫س‬ ‫ا‬ ‫هد‬

‫ش‬ ‫ه‬ ‫م‬ ‫ج‬ ‫ت ر‬ ‫ت‬ ، ‫م‬ ‫ی‬ ‫د‬ ‫س‬ ‫ج‬ ‫ر‬ ‫د‬ ‫ر‬ ‫ک‬ ‫ر‬ ‫د‬ ‫گ‬ ‫ل‬ ‫ه‬ ‫ت‬ ‫ی‬ ‫ب‬ ‫د‬ ‫س‬ ‫ب‬ ‫د‬ ، ‫ت‬ ‫م‬ ‫ی‬ ‫ی‬ ‫ر‬ ‫عش ت‬ ‫ه‬ ‫ب‬ ‫ا‬ ‫ر‬

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xnis ganmavlobaSi aRiqmeboda, rogorc egzotika, rogorc `aRmosavluri motivebi~. amasTanave aRmosavleTis avtoritetze dayrdnobiTa da apelirebiT, evropulma poeziam didi xania Tavisi saqme gaakeTa.~ iqve rusi mkvlevari principulad sworad SeniSnavs, rom minimalizmi, ra Tqma unda aramxolod mcire formaTa esTetikaa. sxvaTa Soris, formebi SesaZloa iyos ramdenadac gnebavT, didi da mouxeSavi. minimalizmi ki upirobod aris mciris, minimumis esTetika. es gaxlavT mxatvruli strategiis Taviseburi tipi, romelic swored postmodernistuli epoqis mieraa aqtualizebuli.~ sxvaTa Soris Tavisi poeziis istoriuli Zirebisa Tu tradiciis daZebnis erTgvari mcdeloba iyo abas qiarosTamis is ucnauri axireba, rasac iranel literaturismcodneTa umwvavsi reaqcia mohyva. ramdenime wlis winaT qiarosTamim gamosca hafezis rCeuli, romelsac uwoda `hafezi qiarosTamis versiiT~. aman sparsuli sazogadoeba lamis SokSi Caagdo, radgan qveynis upirveles poetTan aseTi familaruli SeTamameba lamis religiur mkrexelobad aRiqves. yvelaze ufro puritanulad ganwyobilni SeniSnavdnen, rom qiarosTamis gandidebis mania yovelgvar sazRvars gadascda, radgan is didi mkvlevarebic ki, romelTac hafezis divanis mowesrigebasa da dadgenas unda vumadlodeT, arasodes aZlevdnen Tavs uflebas, sakuTari gvar-saxeli wignis ydaze gamoetanaT da mxolod forzacze an bolo gverdebze aRniSnavdnen xolme TavianT mokrZalebul damsaxurebas. qiarosTamim ki gabeda da Tavisi saxeli hafezs gverdiT amouyenao. iqneb, marTlac iyos garkveuli epataJi qiarosTamis qcevaSi. Signidan procesi sxvanairad aRiqmeba da albaT,

Incidentally, the obstinate attempt by Abbas Kiarostami to search for the historic roots or tradition of his poetry led to very heated reactions from Iranian critics.

A few years ago, Kiarostami published a selection of Hafez’ works, which he titled ‘Hafez according to Kiarostami’. This shocked the Iranian society, as they interpreted this kind of familiarity towards the most important poet of the country almost as a religious sacrilege.

The most puritans noted that Kiarostami’s megalomania had crossed all boundaries, as even the great scholars to whom we must be grateful for arrangeing the Divan of Hafez never allowed themselves to put their own name on the covers of the books they published, and would only mention their honorable work on the fly-leaf or on the last pages of the books. As for Kiarostami, people said he crossed the line by daring to put his name next to that of Hafez.

Perhaps there is indeed some part of flamboyance in Kiarostami’s behavior. These processes are best interpreted from inside, and Iranians must know better how to judge them, but if we take the indifferent look of an outsider to all this, I think that in this case, Abbas Kiarostami had very different motives: the great film director probably wanted to say that poetry, and art in general, despite its aristocratic character, is still a thing of all, a popular thing. Apart from that, there can be as many Hafezs or any other poet as there are readers on this planet.

But to us, the Hafez book published by Kiarostami conveys yet another interesting feature. The director arranged the stanzas (beits) or half stanzas (misras) of the fragments of Hafez’s poems not in a traditional way, but in a way that was more “natural”, more “modern” to him. For instance, we read the following in traditional editions of Hafez: “Eh, wine pourer, fill our cups with fire-colored wine, an inexhaustible one, Minstrel, tell us that this world is turning in the way we wish.”

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iranelebma ukeT ician, ra rogor Seafason, magram Tu am yvelafers garedan da gulgrilad SevxedavT, vfiqrob, abas qiarosTamis am SemTxvevaSi sul sxva miznebi amoZravebda: did reJisors, albaT, undoda eTqva, rom poezia da saerTod xelovneba Tavisi aristokratulobis miuxedavad, mainc sayovelTaoa, saxalxoa. garda amisa, hafezic da nebismieri poetic imdeni SeiZleba arsebobdes, ramdeni mkiTxvelicaa amqveynad. magram CvenTvis qiarosTamis mier gamocemuli hafezi kidev erTi niSniTaa ufro saintereso. reJisorma hafezis leqsTa fragmentebi, vTqvaT, ama Tu im leqsis erTi strofi (beiTi) an strofis naxevari (misra) ara tradiciuli, aramed misTvis ufro `bunebrivi~, `Tanamedrove~ formiT daalaga. magaliTad Tu hafezis tradiciul gamocemebSi vkiTxulobT: `he, meriqifev, Tasi agvivse cecxlisfer RviniT dauSrobeliT mutribo, gviTxar, rom Cvens gemoze Semogvibrunda wuTisofeli~. qiarosTamim es beiTi ase daalaga: `he, meriqifev, Tasi agvivse, cecxlisfer RviniT, dauSrobeliT, mutribo gviTxar, rom Cvens gemoze Semogvibrunda wuTisofeli~. ase daemsgavsa, yovel SemTxvevaSi, grafikulad mainc, hafezi im poetur nimuSebs, rasac mkiTxveli qiarosTamis winamdebare krebulSi gaecnoba. sxvaTa Soris, Tavis Sedgenil hafezs, qiarosTamim, krebulis koncefciidan gamomdinare, savsebiT gamiznulad waumZRvara artur rembos cnobili gamonaTqvami: `unda iyo absoluturad Tanamedrove!~ Tanamedroved yofna reJisorisaTvis gulisxmobs im postmodernistul postulatsac, romlis Tanaxmadac yvelaferi didebuli ukve Seqmnilia, mTavaria Cven ra datvirTvas mivcemT da rogori kuTxiT SevxedavT ukve arsebul da dadgenil sagnebs. poeturi minimalizmis erT-erTi ZiriTadi principi swored vizualizmia. am mimdinareobis aRiarebulma mkvlevarma _ tobi xarxurma Tavisi saprogramo werili vizualizmis Sesaxeb aseve daasaTaura: `me vxedav sityvas~. zemoTqmulidan gamomdinare, absoluturad gasagebia reJisor qiarosTamis gataceba poeturi minimalizmiT, romlisTvisac es mimdinareoba ara ubralod poetur varjiSs, aramed Tavisi ZiriTadi saqmis mere ipostass

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Kiarostami arranged this beit in the following way: “Eh, wine pourer, fill our cups, with fire-colored wine, an inexhaustible one, minstrel tell us, that this world is turning in the way we wish.”

1 (19) 2020

This is how Hafez’s poetry got closer, at least in terms of form, to the catalogue of poetry with which readers could get acquainted in Kiarostami’s above-mentioned anthology.

By the way, because of the concept of this publication, Kiarostami purposely prefaced his arrangement of Hafez’s poems with Arthur Rimbaud’s famous quote: “One must be absolutely modern!”. To directors, being modern also means the postmodern postulation that everything great has already been created, and that the most important is which significance we attribute to and from which perspective we look at what is already existing and established.

One of the main principles of poetic minimalism is precisely visualism. Toby Harhur, a renowned scholar of the field, titled his keynote address: ‘I see the word’.

As a result of what we have discussed above, Kiarostami’s fondness for poetic minimalism becomes understandable, as to him, this movement isn’t simply a poetic exercise, but represents an underlying substance of his main activity. If we also take into account the fact that Kiatostami’s main speciality is painting and that he majored in painting and graphic design (option: advertising painting) at the Tehran College of Fine Arts, it becomes clear that we can consider the book ‘Walking with the Wind’ as a cinematographic work that is as important as Kiarostami’s filmic masterpieces. The most important aspect in cinema is the principle of vision, and in the book too, the gaze, in which poetic minimalism and the film director’s arrangement of objects is more important than words.

By the way, in that regard, if we compare Abbas Kiarostami not to the unattainable Hafez, but to Bijan Jalali, his contemporary and direct precursor in terms of the Iranian minimalist tradition, we will see that Bijan Jalali too, as a true minimalist, is very watchful, though if his vision is that of a painter, or in other words, if he puts colors and strokes in landscapes according to his own wish, Kiarostami’s vision is that of a cinematographer, he is looking through the eye of a camera that follows and casually apprehends colors and figures. Bijan Jalili might emphasize some feature and make it more tangible through color or stroke (fantasy), while Kiarostami is interested in discovering the self-evident poetry that lies by itself in the arrangement of figures.

In essence, the book ‘Walking with the Wind’, which contains 220 small poetic works, leaves us with the impression that we are

، ‫ت‬ ‫س‬ ‫ا‬ ‫ت‬ ‫ی‬ ‫ی‬ ‫س‬ ‫د‬ ‫ر‬ ‫ا‬ ‫ی‬ ‫راور ف‬ ‫ه‬ ‫ب‬ ‫م‬ ‫ن‬ ‫آ‬ ‫ن‬ ‫ا‬ ‫و‬ ‫ک‬ ‫ت‬ ‫م‬ ‫ی‬ ‫د‬ ‫س‬ ‫ر‬ ‫ل‬ ‫ا‬ ‫د‬ ‫ث‬ ‫ک‬ ‫م‬ ‫ن‬ ‫ف‬ ‫یا‬ ‫ش‬ ‫ک‬ ‫ا‬ ‫ر‬ ‫ن‬ ‫آ‬ ‫نم‬

warmoadgens. Tu aqve imasac gaviTvaliswinebT, rom reJisor qiarosTamis ZiriTadi specialoba mxatvrobaa da igi Teiranis natif xelovnebaTa institutis grafikis fakultetis kursdamTavrebulia sareklamo mxatvrobis specialobiT, cxadi gaxdeba, rom wigni `qaris mxardamxar~ iseTive kinematografiul namuSevrad SegviZlia aRviqvaT, rogorc qiarosTamis kinoSedevrebi. mTavari xedvis principia da aqac, wignSic, sityvaze ufro mniSvnelovani mzeraa, sadac erTmaneTs gadakveTen poeturi minimalizmi da saganTa ganlagebis reJisoruli Canafiqri. sxvaTa Soris am TvalsazrisiT, Tu abas qiarosTams ara Soreul da miuwvdomel hafezs, aramed sparsul minimalistur tradiciaSi Tavis uSualo winamorbedsa da Tanamedroves _ bijan jalalis SevadarebT, davinaxavT, rom biJan jalalic, rogorc namdvili minimalisti, mWvretelia, oRond Tu misi xedva fermweris xedvaa, anu mas peizaJSi Tavis nebaze Seaqvs feri da monasmi, qiarosTami kinematografistia, kameris `Tvalia~, romelic mihyveba da gulgrilad afiqsirebs arsebul ferebsa da monaxazebs. bijan jalalim SeiZleba feris anda monasmis (fantaziis) meSveobiT gaamkveTros da ufro xelSesaxebi gaxados arsebuli. qiarosTamis ki ainteresebs im TavisTavadi poeziis aRmoCena, rac absoluturad ararezonirebulad devs saganTa wesrigSi. wigni `qaris mxardamxar~, romelic 220 mcire zomis poetur nimuSs aerTianebs, arsebiTad, iseT STabeWdilebas gviqmnis, TiTqos romelime filmis winaswar kadrirebas vkiTxulobdeT. es filmic imavve principiTaa agebuli,

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، ‫ت‬

‫س‬ ‫ا‬ ‫هد‬

‫ش‬ ‫ه‬ ‫م‬ ‫ج‬ ‫ت ر‬ ‫ت‬ ، ‫م‬ ‫ی‬ ‫د‬ ‫س‬ ‫ج‬ ‫ر‬ ‫د‬ ‫ر‬ ‫ک‬ ‫ر‬ ‫د‬ ‫گ‬ ‫ل‬ ‫ه‬ ‫ت‬ ‫ی‬ ‫ب‬ ‫د‬ ‫س‬ ‫ب‬ ‫د‬ ، ‫ت‬ ‫م‬ ‫ی‬ ‫ی‬ ‫ر‬ ‫عش ت‬ ‫ه‬ ‫ب‬ ‫ا‬ ‫ر‬ riTac abas qiarosTamis filmTa umetesoba: Ria dasawyisiTa da kidev ufro Ria dasasruliT; roca gareSe piri (mkiTxevli Tu mayurebeli) ver xvdeba, rodis da saidan gaCnda kamera (an kalami) aq, am sinamdvileSi, romlis nawiladac Tavis Tavs didi xania, lamis gaCenis dRidanve moiazrebs. poetis mzera qariviT daqris (qaris mxardamxar) da swrafad icvleba misi feradovani kaleidoskopi: xan erTi fragmenti ganagrZobs meores, xanac peizaJs enacvleba peizaJi. amitomac qiarosTamis krebulSi sxva poetebze (imave bijan jalalize) ufro ganuxreladaa daculi minimalizmis erT-erTi mTavari _ obieqturobis, obieqturi asaxvis _ principi. aq, gansxvavebiT poeturi krebulebis umravlesobisagan, romelTac xSirad ukiduresi subieqtivizmi gamoarCevT, arsad Cans avtori, rogorc lirikuli gmiri. is xedviT, ufro zustad kameriTaa Canacvlebuli anu qiarosTamis poeturi krebulis lirikuli gmiria kamera, romlis ukanac mxolod iseve pirobiTad igulisxmeba reJisori, rogorc kameris meSveobiT dafiqsirebuli peizaJebisa Tu fragmentebis miRma Cans am peizaJTa namdvili Semoqmedi. ase iqceva xedva sityvad da sityva mzerad. am ori komponentis gadakveTaze ki ibadeba poezia. poezia: wignSi, filmsa, Tu saerTod, cxovrebaSi.

reading the early storyboard of some film. This film is built on the same principles as the majority of Abbas Kiarostami’s films: an open beginning, and an even more open ending; when outsiders (readers or spectators) don’t understand when and where the camera (or pen) appeared here, in this reality, of which they consider themselves to have been an integral part for a long time, almost since their very birth. The gaze of a poet moves, blows the wind (walks like the wind), and its colorful kaleidoscope transforms fast: sometimes, one fragment follows the other, or a landscape replaces another landscape. This is why in Kiarostami’s anthology, one of the main principles of minimalism, namely objectivity or objective description, is more steadily respected compared to other poets’ works – for instance, those of Bijan Jalali.

Here, unlike the majority of other anthologies of poems, which are often characterized by utter subjectivity, the author is nowhere to be seen as a lyric hero. He is replaced by vision, or to be more precise, by the camera – in other words, the lyric hero of Kiarostami’s collection of poems is the camera, behind which the director is supposed to be standing, just as the real creator of the landscapes seen through the camera can be felt beyond these landscapes or fragments.

This is how vision becomes words, and words become vision.

Poetry is born at the crossroads of these two components. Poetry in books, films, or on the whole, in life itself.

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merab berZeniSvili: ambebi medeas qveynidan es patara wigni nawilia im Canawerebisa, sadac sityviT minda gavacno mkiTxvels zogierTi ram, rasac Cemi qandakebebi ver ityvian. amovkribe zogi ram da mokrZalebiT gTavazobT, radgan mxatvris, moqandakis bedi mWidrodaa dakavSirebuli yovelgvar STabeWdilebasTan, bavSvobis gancdebTan da Wabukur mgznebarebasTan. mxatvroba aris plastikuri xelovneba da siWabukea misTvis esTetikuri SegrZnebis ukvdavebis wyaro, amitom ver viviwyebT bavSvobaSi gancdils. igi WeSmariti megzuria mxatvris fantaziisa. vpove ra Cemi qandakebisadmi Tqveni siyvaruli, mominda, saWirod miviCnie Camewera Cemi bavSvobisa da Wabukobis gancdebi da STabeWdilebani, romlebic mxatvrobasTan, qandakebasTanaa dakavSirebuli, masTan xom me sicocxlis ZarRvi makavSirebs, siyrmidan mokidebuli aqamomde da amas iqiTac. aucilebeli ar aris, sikvdilis Jams ganvacxado mis garSemo datrialebuli gancdebi, rogorc codvebis monanieba. igi CemSi cocxlobs da me misiT vsuldgmulob, xolo roca fizikurad gardavicvlebi, Cems sulier cxovrebas Cemi qandakeba gaagrZelebs.

MERAB BERDZENISHVILI: STORIES FROM MEDEA’S COUNTRY This little book is only a small excerpt of my notes, in which I tried to tell the readers what my sculptures failed to express. I selected some of them for your attention. Artists and sculptors’ fates are connected to various impressions, to the experiences of their childhood and adolescence excitements, and because their art is malleable, their younger days are a constant inspiration to all the emotions that result in their aesthetics. And that’s why they find it hard to discard the childhood memories that perpetually accompany their imagination. Because I found my love for sculpture, I decided to write down the childhood and adolescent emotions and experiences that are closely linked to the art of painting and sculpture. I am connected to art with a life cord since my early days and it will stay so in the future, so it isn’t necessary to be on my deathbed to describe the sensations they roused as if they were the sins from which I want to be absolved. It all lives in me and I exist thanks to them, so when I end my physical existence, my sculptures will continue my spiritual life.

pirveli wameba kulturis saministrom daviT guramiSvilis Zegli damikveTa. me igi Sevasrule. namuSevars mowoneba xvda specialistTa Soris. Semdeg ki qalaqSi dasadgmelad miviRe dakveTa. eskizi sami Tvis ganmavlobaSi xan sad iyo gamofenili da xan _ sad. sabolood igi damtkicda. is iyo, muSaobas unda Sevdgomodi, rom ambavi momivida, moqandakeebi werilebs weren zemdgom organoebSi, raTa konkursi iyoso. marTlac ase moxda. konkursSi me ar mimiRia monawileoba. veraferi SearCies da kvlav me SemomTavazes saqmis gagrZeleba. saxelosnos gareSe Zalze miWirda. saxeldaxelod gakeTebul saxelosnoSi viyavi dilidan saRamomde. zogjer RamiTac iq vrCebodi.

Zegli komisiam miiRo da gaigzavna qalaq leningradSi brinjaoSi Camosasxmelad. es iyo swored maSin, rodesac aikrZala brinjaoSi qandakebebis Camosxma. saSinel dReSi viyavi. leningradSi kvlav komisias unda enaxa igi, raTa gamoeyo brinjao. komisiis Tavmjdomares Cemi namuSevari ar moewona da brinjaoze uari Tqva. maSin me aviRe

THE FIRST TRIAL The Ministry of Culture commissioned David Guramishvili’s sculpture. When I finished the work, it was favorably received by the specialists of the field. Then I was asked to propose a place in the city for the monument. My draft went through many exhibitions and shows, and finally it was approved. I was about to implement my draft, when I heard that a group of artists demanded a competition for the statue. I decided not to participate in the contest. Eventually, no other work was selected and I was offered to proceed with the work.

Not having a proper studio, I found it hard to work. I was spending days in a makeshift studio, sometimes staying there for the night. The statue was approved by the commission and then sent to Leningrad to be cast in bronze. Unfortunately, it coincided with a new decree banning the use of bronze for artwork. I was desperate. Yet another commission in Leningrad had to determine whether my work deserved to be cast in bronze.

The head of the commission disliked my work and refused to grant the request. That’s when I decided to say something.

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sityva. movaxsene: `_ Tqven gsurT, rom mTelma sabWoTa kavSirma Tqveni mantiis qveS imuSaos (?!), rac dauSveblad mimaCnia. es qarTuli qandakebaa da ara Tqveneburi~. igi saocrad gawiwmatda, roca sityva `Tqveneburi~ gaigona. me isic vuTxari, rom Tqven ruseTsac moaxvieT Tavze `Tqveneburi~-meTqi. ras vgulisxmobdi amaSi, yvelas kargad esmoda da, amave dros, misgan marTlac gamwarebulebs, mainc siamovnebdaT es sityvebi. _ `Tqven sad ginaxavT aseTi qarTveli?~ _ mkiTxa man. _ `me qarTul qandakebebs vakeTeb da ara im qarTvelebs, romlebsac Tqven icnobT moskovSi, cxviriRa rom SerCenia qarTuli~. igi adga, uecrad palto moarTves da yvelas daemSvidoba. iq darCenilebma imsjeles da Tuji gamomiyves Camosasxmelad.

“You want to control the work done in the entire Soviet Union, which I believe is unacceptable. It’s a Georgian sculpture, not one of yours.”

He was frantic at hearing “one of yours”. I also added that the likes of him were prompting Russia what to do. Others, clearly unhappy with the man, were pleased at my words.

“But where have you seen a Georgian like this?” he asked.

“I am making Georgian sculptures and not the images of the Georgians you see in Moscow, those who only have Georgian noses, nothing else of their native land.”

He rose to his feet, put his coat on, bid goodbye and left. The others debated for a time and decided to give me cast iron instead of the requested bronze.

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garTulda saqme. zedmeti muSaoba aravis undoda. erTi somexi muSa _ xaCika SeeCvia Cemgan pativiscemas, mividoda da sahaero motors gamoTiSavda, moimizezebda, coli myavs avado, an motors raRacas daabralebda. mec saswrafod mindorze saxeldaxelod pur-marils gavuSlidi da motoric imwamsve agugundeboda. vfiqrob, mas arasodes hqonia aseTi gemrieli samuSao. qvis muSebi, romlebic Zirs qvafenils agebdnen, berZnebi iyvnen. me maT saberZneTis istoriaze, cnobil qvismTlelebsa da moqandakeebze velaparakebodi, vuqebdi xelobas da saRamos marTlac vumaspinZldebodi. did pativs mcemdnen, zogjer dasvenebis dReebSiac modiodnen samuSaod. uecrad qalaqis aRmaskomis Tavmjdomare movida. man qandakebas Seavlo Tvali da ikiTxa: kaba ratom acviao. uTxres, auxsnes yvelaferi, magram misi gankargulebiT meore dRes samuSaoze aravin gamocxadda. mas

I brought the completed statue to Tbilisi, where everyone seemed to have forgotten about it. Then I had it covered in copper. But from 1960 to 1965, it was left on a platform in the district of Didube. It might have stayed there to this day if not for my actions. My plan was rather risky: I was offering a Georgian sculpture to a society used to utilitarian art. I was going to face a lot of resistance and here are some examples showing what sort of people I had to deal with.

I had waited for four years before I saw my work again. Nothing had changed. I heard nothing except promises and false praise. Some said there was no suitable material, others claimed the time was inappropriate, while some even wrote to the authorities questioning the decision to put a statue that looked like that of a monk in front of the Kashueti Church. The authorities didn’t like the idea, so they ordered to find another place for it. Soon it was identified, but then it was said there was no stone for the pedestal. Seeing that nothing was being done, I decided to take the matter into my own hands. There

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Camosxmuli qandakeba Camovitane TbilisSi. aq aRaravis axsovda mis Sesaxeb rame. me igi spilenZiT davafarine. qandakeba 1960 wlidan 1965 wlamde didubeSi (`iuJni parki~) peronze egdo. dResac iq egdeboda, me rom ar memoqmeda. Zalze did riskze mivdiodi. utilitarul qandakebebs miCveulT vudgamdi qarTul qandakebas. didi winaaRmdegobebi meRobeboda. ramdenime magaliTs moviyvan da TviTon warmoidgineT, visTan mqonda saqme. oTxi wlis Semdeg vnaxe, winsvla ar etyoboda saqmes. dapirebebis, tyuilisa da trabaxis meti araferi mesmoda. zogi ambobda _ masala ar ariso, zogi _ ra dros eg aris da zogmac zemdgom organoebSi werilis dawerac moaxerxa: rogor SeiZleba qaSueTis win qandakebis dadgma da, Tanac bersa hgavso. pasuxismgebel amxanagebs ar eWaSnikaT es, am adgilisaTvis Sesrulebul qandakebas axali adgili mouZebneTo, brZanes, da, bolos, rogorc iqna, adgili moiZebna. axla qva ar iyo. bevri wvalebis Semdeg esec Cems Tavze aviRe. bolnisSi qvis karierebia, sadac kolmeurneobebi amzadebdnen qvas. me maT naRd angariSze movelaparake. ramdenime kvira da qvac damzadda. qandakebisa da kvarcxlbekis dayeneba inJmSenis ufross hqonda davalebuli. igi SesaniSnavad mepyroboda. cdilobda, damxmareboda. rogorc iqna, kvarcxlbekis qva iSova, saqmesac Seudga, magram win dasagebi qvafenili ar hqonda. isic me davamzadebine bolnisSi da dilaadrian movaxsene: mivdivar, raTa vnaxo, mzad aris Tu arameTqi. igi Sewuxda, ratom ixarjebi, rogorme viSoviTo. `rogorme~ me xels ar maZlevda. dro dRes yvelafers niSnavs, amitom saRamos moval da mogaxseneb, Tu mzadaa, manqanebiT damexmarebiT-meTqi. siamovnebiT damTanxmda. saRamo Jams mis kabinets mivadeqi. ar damxvda. bevri vicade da, albaT, aRar movao, mdivanma miTxra. gadavwyvite, yvelaferi es meambna misi moadgilisaTvis, raTa im dResve gaecaT brZaneba manqanebisaTvis, Torem gviandeboda, meore dRes bolnisSi gvelodnen. _ SeiZleba?! _ ra gindao _ saxiT magrZnobina. axalgazrda kaci iyo, yoyloCina Canda. me dawvrilebiT movuyevi yvelaferi, isic vuTxari, ar SegawuxebdiT, ufrosi rom adgilze yofiliyo-meTqi. igi papiross eqaCeboda da xandaxan Semomxedavda. gverdze mjdar kacs raRacas gadaulaparakebda xolme. es kaci, albaT, samuSaoTa mwarmoebeli iyo, saubarze etyoboda. man telefoni aiRo da sadRac dareka. albaT Cems saqmeze rekavs-meTqi, vifiqre, magram ara. igi yviriliT elaparaka viRacas blokebze da raRac xarjTaRricxvebze. yurmili dado da me Semomxeda iseTi saxiT, TiTqos mekiTxeboda, vina xaro? me sigaretis mowevis nebarTva viTxove, movukide da Zlierad Seviwove kvamli. raRac usiamovnebis molodins vgrZnobdi. Zala movikribe da dinjad SevekiTxe: rogor moviqce-meTqi. razeo? _ gaocebiT ikiTxa TviTon.

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was a quarry in Bolnisi where local collective farms got their stone. I negotiated to pay in cash and in several weeks, the stone was ready.

An engineer from Inzhmsheni was commissioned to put the pedestal and the statue in its designated location. He was extremely sympathetic, trying to help me as much as he could. He set to work, but soon discovered there was no stone for the pavement around the statue. I had the tiles made in Bolnisi and reported to him in the morning: “I’m on my way to check if they are ready.” He looked worried, not wanting me to pay for them and said he’d find a way somehow. That “somehow” didn’t suit me because time was precious.

We agreed to meet in the evening. I told him that if he helped me with the transportation, it would be excellent. He was glad to oblige.

In the evening I went to his office, but he was out. I waited for a long time, then his secretary told me he might not return at all. I decided to talk to his deputies because I badly needed trucks to carry the tiles to Tbilisi.

“Can I come in?”

“What do you want?”

He was a young man and looked overconfident. I explained in much detail the reason I was there, and even added that if his

superior had been there, I wouldn’t have bothered him at all. He smoked, occasionally glancing at me, speaking to another man in the office from time to time. The man seemed to be a construction overseer. He made a phone call and I thought it was about my problem, but I was mistaken. He yelled at someone at the other end about blocks and invoices. When he finished, he looked up at me, as if asking who the hell I was. I asked for a permission to smoke, lit my cigarette and inhaled deeply, bracing for some unpleasant developments. Then, very calmly, I asked what I was to do.

“About what?” he asked in surprise.

“About bringing the tiles for the Guramishvili statue,” I said.

He looked through the window, then turned to the overseer and talked to him for quite some time. I was losing patience, so I rose to my feet and waited for his answer standing by his desk. Finally, he turned to me and asked: “What do you want? Why did you come here?”

I explained all over again that his organization was responsible for putting up the statue, that I was doing all I could to help by paying for the stone, that his superior was not there, though he had promised to find a truck to bring it to Tbilisi. I had already realized that the

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meeting wouldn’t lead to any result, and that things wouldn’t be as straightforward as I had hoped.

The next day, the truck was sent to fetch the stone, but due to a lack of professionalism and responsibility, the pedestal stones were of different sizes. And there were other problems on the site: nobody was willing to work. Khachika, an Armenian worker, used to switch off the generator, excusing himself for various reasons – sometimes there was something wrong with it, at others his wife was ill, and so on. I learned to indulge him: I would offer him some food and drinks, and the generator would start working again. I believe he had never had such tasty and generous work to do. Other workers with the task of paving the area around the statue were Greeks, natives of Georgia. I used to tell them about the ancient Greek stone masters and sculptors, praise their work, and treat them to an evening meal.

They respected me to the extent that they came to work even on weekends.

Quite unexpectedly, the head of the city Executive Committee visited the site. Having looked at the statue, he asked why the poet

guramiSvilis qvebis Camotanaze-meTqi. man fanjrisken gaixeda da gverdze mjdoms raRaca uTxra. me ukve veRar varCevdi sityvebs. wamovdeqi da ise velodi pasuxs. igi didxans elaparaka gverdze mjdoms, mere momitrialda da mkiTxa, ras gadamekide, ra gindao! ar gadagekideT, Tqvenc kargad iciT, rom guramiSvilis Zeglis dadgma Tqvens organizacias aqvs davalebuli. me xels giwyobT, Cemi saxsrebiT gavurigdi qvis ostatebs, Tqveni ufrosi ar aris, romelic manqanebs dampirda qvis Camosazidad da Tqven amitom mogmarTavT-meTqi. Sevatyve, Cvens saubars kargi piri ar uCanda _ asec moxda... manqanis saqme meore dRes mogvarda, magram Senebis kulturis uqonlobisa da upasuxismgeblobis gamo sxvadasxva zomis kvarcxlbekis qvebi moitanes. axla aq

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ainteresebda, `ratom ecva kaba~, sanam yvela komisiis sabuTebi, ganxilvisa da miRebis oqmebi ar naxa, saWirod miiCnia samuSaos SeCereba. igi axla yoveldRe modioda. ainteresebda, rodis wamovayenebdiT dawolil figuras, undoda garkveuliyo, marTla kaba ecva, Coxa Tu sxva ram. Cven mas mivuxvdiT da dadgmis dRemde figura ar wamogviyenebia. misi mosvla ki sxva saqmes swevda win. roca yvelaferi damTavrda, gadavwyvite, kvira diliT, uTenia figura dagveyenebina... dilis 8 saaTidan saRamos 6-mde muSebTan erTad vtrialebdi. xan ra sWirdebodaT da xan _ ra. vin iyo mSveleli, vis ainteresebda guramiSvilis qandakeba! amitom me viyavi yvelafris mSovnelic da yvelaferSi dainteresebulic. daRla ra iyo, ar vicodi. kidev is iyo, rom dReSi asobiT kiTxvaze mixdeboda pasuxis gacema, `vin aris? qalia Tu kaci? vinaa es ubeduri?~ da sxva... saocreba is iyo, rom me yvelafers viTmendi, radgan vicodi, rom es xalxi asec unda moqceuliyo... vicodi, rom bevri usiamovneba meloda, magram ratomRac mjeroda Cemi Tavis, albaT, es iyo mizezic, rom yvelafers viTmendi, vitandi. kamaTi Zeglis garSemo ar cxreboda... xuTi wlis wvalebis Semdeg me gavimarjve, mxatvroba movaxvie Tavs imasac ki, visac ara surs gaigos, Tu ra aris igi. es dRe bednieri dRe iyo CemTvis. vmuSaobdi da Rrmad mjeroda, rom rasac vakeTebdi, yvelaferi keTdeboda poetis saxis Sesaqmnelad. lakoniuri kaba, gawvdili xeli, natanji da dagrexili ise, rogorc suli poetisa. sada sxeulze aqcentirebuli saxe, Rrma, formaTa metyvelebiT... yvelaferi miznisaTvis keTdeba. rodesac poetis saxe Cakargulia JamTa svlaSi, iq, saukuneebSi, mis WeSmarit saxed rCeba misi Semoqmedeba. miTumetes, `daviTiani~, romelic misi avtobiografiaa. amitomac me gavakeTe ara meomari, mebrZoli didebuli, romlis msgavsni mravalni iyvnen mis gverdiT da ukvalod gaqrnen, aramed sulis adamiani, romlis poezia dResac aRafrTovanebs da umaRles siamovnebas aniWebs adamians. guramiSvili misi poeziaa. me nimuSad swored es aviRe da plastikur enaze gadavTargmne misi wameba, tanjva, godeba sakuTari bediswerisa da samSoblos xvedris gamo. misi poezia Rrma fesvebiT ukavSirdeba ZvelqarTul qristianul poezias, siwmindes, RmerTis Ziebas, sikeTisa da siyvarulis mudmiv Temas. arc erT qarTvel poetSi ar igrZnoba aseTi siRrme, romelsac qmnis usamSobloba da, amitomac, igi mzian, xalisian qarTul poeziaSi ise gancalkevebiT dgas, rogorc sxva niadagze gadarguli qarTuli vazi. misi martooba, ocneba saqarTveloze, imedebi, tanjva plastikis eniT mindoda gamomexata.

TiTqos suli qceula saxilvelad, myarad.

was wearing a dress. After hearing the explanation, he left, but the next day the work was suspended on his orders. He insisted on knowing the reason for the “dress” and wouldn’t change his mind until he saw all the documents, permissions, the experts’ report and other official papers. After that, he routinely came every day to see how the reclining figure would be erected, but his main interest was to find out whether it was a dress, a chokha (the national male attire) or something else. We guessed his intention, so we left the statue on the ground. However, his regular visits helped with the progress of the work. When everything was ready, I decided to lift the statue very early, on a Sunday morning, onto its pedestal.

I was with the workers from eight in the morning until six in the evening. There was always something I could help them with.

Who else would help? Nobody cared about Guramishvili’s statue!

Therefore, it was I who was finding everything they requested, and who was overseeing the whole process. I was so exhausted that I couldn’t even feel that I was tired anymore. Apart from that, I had to answer hundreds of questions every day – “Who is it? Is it a man or a woman? Who is that poor guy?”, and others… Surprisingly, I could endure everything, because I knew that this is how this people had to behave… I knew that there were still many unpleasant news ahead of me, but for some reason, I always believed in myself – perhaps this is the reason why I could put up with all this.

People wouldn’t stop arguing about the statue…

After five years of hard work, I was victorious. I had managed to impose art even to those who didn’t want to hear about it or take the time to understand it. It was a beautiful day for me.

As I was working, I was deeply convinced that everything that I was doing was done in the name of the poet. A plain dress, an extended arm, tormented and twisted as the poet’s soul itself. An accentuated face on a reserved body, with a deep expression… Everything was there for a purpose.

When a poet’s face is lost in the course of time and centuries, his true face remains in his works. It is even more so for ‘Davitiani’, which is Guramishvili’s autobiography. This is why I didn’t sculpt a warrior, a great fighter, of whom there were many and all have disappeared without a trace, but a man with a soul, whose poetry still inspires and utterly delights people to this day. Guramishvili is his poetry, and therefore, it is his poetry that I took as a model for this statue.

I translated his torment, anguish, and lament for his own fate and that of his homeland in a sculptural language. His poetry is deeply connected to ancient Georgian Christian poetry, purity, search for God, and the eternal theme of kindness and love. No other poet displays this depth, which comes from the fact that he was far from his country, and hence, he stands in the field of sunny, joyful Georgian poetry like a Georgian vine that was transplanted on another soil. I wanted to express his solitude, wish to return to Georgia, hopes, and torment through a sculptural language. As if his soul had taken a solid shape for everybody to see.

Translated by Maya Kiasashvili

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Temur Cxetiani da ana obolaSvili

„yvelaze dabla vdgavar, magram Cems zemoT mxolod RmerTia...“ “I am standing at the very bottom, yet above me, there is only God…” Temur Chkhetiani and Ana Obolashvili

masTan sxva simSvidea, CurCuliTmyvirali simSvide... misi sivrce `uTqmeli saTqmelebis~ kidobania martoobaSi gaTqmuli. dila _ „dilis madliT“, Zveli Tlili Wiqidan mogonebebis wrupviT „sam saxarebamde“... Segvewios! hoda, eweva! (Tavis ambavsac, Tambaqosac!)

Soriaxlo mudamaa yavis erTguli finjani, fiqriani ylupebiT gamoclili an savse. oTaxSi, romelic itevs poetsa da saWadrako kompozitors, sami fanjaraa. isini weliwadis `droebs~ CarCos avleben da striqonebad aarqiveben. aq xan

There is a different sense of calm with him, whisper-shouting calm…

His space is an ark of unsaid things worth saying, divulged in solitude.

May the morning – with its “morning grace”, while sipping memories from an old carved cup until “three gospels”… be upon us and keep us from harm!

And so, he does! (Keeps to his story and keeps on smoking!)

There is always a faithful cup of coffee nearby, emptied, or filled with pensive sips.

The room, which contains the poet and the chess composer, has

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qariSxalia, xan cisartyela da xanac damwvari foTlebis kvamli dgas... da Citebi, mwvane Citebi xeze mzisqurdbacaca xurmebs kenkaven, zogjer _ gulebsac da cxovreba wikwikebs.... gareT gadi da foTlebis pasiansi gaSaleo!.. cxovreba fanjris iqiT da aqeT, mziani da susxiani... ucvleli marSrutebi _ saxlidan _ saxlSi da ukan, isev saxlSi, im fanjarasTan. fanjridan ki iseTi rameebic Cans, rac yofila, an arc yofila, `iqnebamainc...~ fanjris rafaze gulis sakenkia gamoulevlad _ kenkav da Cndeba, kenkav da kidev ginda... rva krebuli _ yvela „leqsadgadaTeTrebuli“ avtobiografiaa, keklucobis gareSe, qveteqstebiT da xilvebiT. aq ki Temur Cxetianis „xmamaRlanafiqrebia“...

three windows. They frame the seasons and archive them as lines of text. Sometimes there is a storm here, sometimes a rainbow, and sometimes a cloud of smoke from the burning leaves…

And birds, green birds on a tree, pecking at the petty sun-thieving persimmons, sometimes – hearts too, and life is ticking away…

It says: Go outside and spread the solitaire of leaves!...

Life on either side of the window, sunny and chilly… Unchanging routes – from a house to a house, and back home again, to that window. And from this window, you can see things that have been, have not been, will be…

On the windowsill, there are limitless seeds for the heart – you peck at them, and they appear again, you peck at them and crave more…

Eight compilations – all of them are autobiographies “fair-copied into poems”, without coyness, with subtexts and visions.

And here, we have Temur Chkhetiani’s “musings aloud…”

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roca samyaro Sewyvets SenTan Widils da nebaze migiSvebs, arc ise sasiamovno gancdaa _ dundebi da zarmacdebi; Widilis xalisic nel-nela giqreba...

Tumca, sadRac siRrmeSi isev giRvivis raRac... advili SesaZlebelia, SenSi nebismier dros gamoiRviZos nacarqeqiam da kargi ambebic daatrialos. roca „mosagebi araferia da... arc wasagebi“, iq, ubralo garTobaa, drois mkvlelobis muxliT... ise ki, cxovreba mainc TamaSia da mec sakmaod azartuli var. Tumca, kargi moTamaSis Tvisebebi ar gamaCnia da mogebebiTac didad ver davikvexni. an Cemi mwiri SesaZleblobebiT ra unda momego?!..

Tu maincdamainc movige rame, gavbedav da vityvi: movige (anu Sevqmeni) Cemi Tavi iseTi, rogoric var da vipove Cemi adamianebi!.. wagebiT ki wavage is, rac ver movipove _ e.i. msurda da ver mivaRwie,Torem iseTi ram, rom mqonda da davkarge, bevri araferi maxsendeba.

It is not a very pleasant feeling when the world ceases fighting with you and leaves you be – you get lax and lazy. Gradually, you lose the zest for fighting too… Although, somewhere deep inside you, something is still stirring… Natsarkekia (idle but cunning fairytale hero) may even awaken inside you at any moment and set some magnificent things in motion.

When “there is nothing to win and nothing to lose”, what remains is plain fun, a criminal offense of killing time… Ultimately, life is still a game, and I am quite the risk-taker. However, I do not have the qualities of a good gambler and cannot boast of my winnings. What could I have even won with my meager means?!…

I will venture to say that if I ever won something, it was this: I won (i.e., created) myself the way I am, and I found my people!...

As for the loss, I lost what I could not get – i.e., what I desired and could not achieve. Otherwise, I cannot think of too many things I have had and lost.

How did I come up with the “evergreen” or everlasting death?...

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One day, I was thinking of the “tree of life,” when suddenly, my thoughts turned to the “tree of death.” Later, I “planted” the birds on its branches, and so the poem was born! …

“The evergreen tree of death,”“with living birds” – is it not so? Are we not all children of death? Doesn’t “The Village is the Color of Twilight” remind us of the same?... Death might be the continuation of a lengthier journey, from non-existence to non-existence – passing through life...

The main thing is for life to keep on beating – even if “drenched and shivering.”

„maradmwvane“ anu maradcocxali sikvdili rogor momafiqrda?.. „cxovrebis xeze“ vfiqrobdi erTxel da uceb „sikvdilis xeze“ gadaverTe. mere Citebic „davsxi“ totebze da leqsic iSva!.. „maradmwvane sikvdilis xe“, „cocxali CitebiT“ _ gana ase araa? gana Cven, yvelani „sikvdilis Svilebi“ ar varT? „bindisferia sofeli“ igives ar gvaxsenebs?.. sikvdili SeiZleba ufro xangrZlivi mogzaurobis gagrZeleba iyos, aryofnidan aryofnisken _ sicocxlis gavliT... mTavaria, rom sicocxle feTqavdes _ Tundac „galumpuli da abuzuli“. zogjer mgonia, rom martooba davRale... am bolo xans ufro da ufro bevri adamianisgan vgrZnob yuradRebas da CemiT dainteresebas. bevri maTgani mestumra kidec da kargad vixaliseT. vfiqrob, mTlad gandegili da uJmuri ar var da amas

Occasionally, I feel like I exhausted the loneliness…

Lately, I have been feeling attention and interest from increasingly more people.

Many of them even visited me, and we had a lot of fun.

I think I am not entirely reclusive and glum, and other people feel and see it too.

I easily accept people and find it hard to give them up. Nonetheless,

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sxvebic grZnoben da xedaven. me advilad vRebulob adamianebs da Znelad meTmobian. Tumca zogierTi maTganis gaSveba da misgan gaTavisufleba mainc mixdeba xolme _ xalxni varT. Tqmis SiSi CemTvis Tandayolilia. rasac vwerdi, yovelTvis eWvis TvaliT vuyurebdi. am dros CemSi pasuxismgeblobis gancda sakmaod Zlieri iyo da mxolod

sometimes I do have to let go and free myself of some of them – we are all people.

I have an inherent fear of “saying”. I was always questioning everything I wrote.

At the time, I had a rather strong sense of responsibility and only relaxed after hearing other people’s positive opinions about whatever it was that I “said”.

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maSin vmSviddebodi, roca Cemi „naTqvamis“ Sesaxeb sxvebisgan dadebiT azrs vismendi. gasagebia, rom es „sxvebi“ CemTvis sando xalxi iyo da maTi azric sarwmunod mimaCnda.

Jami dabrunebis?.. Tu ar waxval, ver dabrundebi... amitom midiodnen magari biWebi hekis, holdenis, jonaTanis, patara ufliswulis, domenikosnairi biWebi, midiodnen dabrunebisTvis, anu, sakuTari Tavis sapovnelad. Cemi `wasvlebi~ da `dabrunebebi~ ufro „Sinagani“ iyo da es mogzaurobebi didad ar gansxvavdeboda namdvilisgan.

Tanac, xsenebul biWebs xom mec Tan davyvebodi? maTi faTerakebiT da maTi gancdebiT xom mec vsuldgmulobdi?..

Obviously, these “other people” were those I trusted and whose opinions I found reliable.

The time of return… If you do not leave, you cannot come back…

That is the reason the cool guys, like Huck, Holden, Jonathan, the little prince, Domenico, were leaving. They were leaving to return, that is, to find themselves. My departures and returns were more “internal” and those journeys were not unlike the real ones.

Besides, was I not following the above-mentioned boys, too? Did I not live vicariously through their adventures and experiences?...

And, likewise, from Guram Dochanashvili: “Was it not the same thing?”

And the boy, whom they are now calling a poet, I found in my poems – starting from one sanatorium room and culminating in the recent “Manhattan”.

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da igive guram doCanaSvilisgan: „gana sul erTi ar iyo?..“ is biWi ki, romelsac dRes poetad moixsenieben, Cems leqsebSi vipove _ sanatoriumis erTi palatidan moyolebuli ager, amaswinandeli „manheteniT“ dasrulebuli. bavSvobis ambebis gaxseneba didad ar maxarebs da ar msiamovnebs. mgoni, ufro daviwyebas vcdilob, magram zogma ramem mainc iCina Tavi _ leqsebSi Tu mcire, prozaul CanawerebSi... ver vityvi, rom meamboxe var. raRac-raRacebs, cxadia, ver veguebi, magram aqtiuri protesti ar maxasiaTebs. vfiqrob es, bavSvobidan gamoyolili gancdebis gamoa _ Tmenas da morCilebas viyavi miCveuli.

Tumca, Cemi „amboxi“ mainc daiwyo da es leqsebis weriT gamoixata. me ase, sxva samyaroSi gasvliT gamovxate Cemi protesti yvelaferi imis mimarT, rac mTrgunavda da dogmebis Tu rutinis marwuxebSi maqcevda. es moxda sakmaod gvian, roca universitetis damTavrebis Semdeg sofelSi davbrundi. diax, rasac dawyeba hqvia, leqsebis wera ase ocdaeqvsi wlis asakSi daviwye. rac Seexeba Cems oTaxs, sadac ufro met dros vatareb, sami didi fanjara aqvs, erTgan minacaa sigrZeze gabzaruli da samive Sesacvlelia. amas, rasakvirvelia, advilad eSveleba, magram im „erTaderTisa“ ra vTqva? _ bedi da bedisweraa... es is adgilia, saidanac „miwac axlosaa da arc caa Sori...“ es, albaT, is totia, romelzec vzivar _ Cemi „autaneli da sayvareli“ (oTar WilaZe) toti. „politika“ _ es sityva trialebs Cvens Tavze ager, ukve ocdaaTi welia; trialebs uzarmazari dolabiviT: gvamZimebs, gvTrgunavs, gvaqucmacebs... ras vizamT? vuZlebT da unda gavuZloT. vfiqrob Wkvianurma politikam namdvilad icis kulturis fasi. samwuxarod, Cvens politikosebs naklebad adardebT ganaTlebisa da kulturis bedi qveyanaSi. arada, xelisufleba valdebulia maqsimalurad zrunavdes ganaTlebaze da kulturaze. zrunavdes ara zemodan karnaxiTa da direqtivebiT, aramed saTanado fondebis SeqmniT da gafarToebiT qveyanaSi. gadasaxadebis wili pirdapir unda iricxebodes aseT fondebSi da maTi gamoyenebis uflebac am fondebis SexedulebiT unda xdebodes. es exeba kulturis sferos. saxelmwifo ki SeiZleba amowmebdes Tanxebis miznobriv moZraobas da mxolod aucileblobis SemTxvevaSi axdendes saTanado reagirebas.

Remembering childhood stories did not bring me much joy or pleasure.

If anything, I think I was trying to forget them. Yet, some things still cropped up – in poems or short pieces of writing…

I cannot say I am a rebel. Of course, I cannot put up with some things, but actively rebelling is not in my nature. I think it stems from childhood experiences – I was used to patience and obedience.

But my “rebellion” still came about and manifested itself in writing poetry.

I expressed my revolt against all that oppressed me and tied me down with dogmas or routine – by traveling to another world. It happened belatedly, when I returned to the village after finishing university. Indeed, I properly started to write poetry when I was around 26 years old.

As for my room, where I spend most of my time, it has three large windows. One of them has cracks along its entire length, and all three need to be replaced. Of course, that is easy to manage, but what about that “one and only”? – It is destiny and fate… This is the place where “the earth is near, and the sky is not far away…” Maybe, it is the branch I am sitting on – my “unbearable and beloved” (Otar Chiladze) branch.

“Politics” – this word has been looming over our heads for thirty years now. Spinning like a giant millstone: weighing us down, tearing us apart, grinding us down…

What can we do? We endure it, and we must endure it.

I believe that smart politics truly know the value of culture.

(Let us recall the words of Winston Churchill amidst World War II: “If we do not look after the arts, then what are we fighting for?”)

Sadly, our politicians are not very concerned with the fate of education and culture in our country. Yet, it is the government’s responsibility to take care of education and culture as much as possible.

To take care not by issuing directives and instructions from above, but by creating and expanding appropriate funds within the country.

A portion of taxes must be transferred directly to such funds, and they should be able to decide how to use them. This applies to the domain of culture. The state could check the targeted flow of the money and react appropriately only when necessary.

Current Georgian literature shows quite some talent. Recently, many interesting young writers have emerged.

Now, what about its relevance? There are some good efforts, but there is also no shortage of authors who go with the crowd. The status of a “fashionable” author is not bad if the author of truly worthy creations receives it. Here, well-planned publicity is crucial and welcome. However, sometimes, I am perplexed by the types of authors and literary works that rather discerning people occasionally praise and promote. I do not know… either I do not understand the virtue of these poems or novels, or that esteemed “promoter” is joking, and that is all.

If well-being means material security, then the question is: where and how do we obtain this well-being? It is hard to imagine a writer achieving such a thing here. If by well-being, we mean the inner

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dRevandeli qarTuli literatura sakmaod niWieria. bevri saintereso axalgazrda mweralic gamoCnda am bolo xans. aqtualurobisa ki ra vTqva? aris kargi mcdelobebi am mimarTulebiT, Tumca fexis xmas ayolili avtorebic ar gvaklia. „moduri“ avtoris statusi araa cudi, Tu es statusi namdvilad Rirebuli qmnilebebis avtors aqvs miniWebuli. amaSi swored gaazrebuli piaria gadamwyveti da misasalmebeli. magram zogjer iseT avtorebs da iseT nawarmoebebs aqebs friad WkuasakiTxavi xalxi, vibnevi xolme. ar vici... an me ar mesmis im leqsebis Tu romanebis kargoba, an is pativcemuli `gampiarebeli~ xumrobs da egaa.

keTildReoba Tu materialur uzrunvelyofas gulisxmobs, maSin sakiTxavia: saidan modis da rogor es yovelive? CvenSi aseTi ramis miRweva xelovanisTvis wesiT, Znelad warmosadgenia. Tu keTildReobas davarqmevT mwerlis Sinagan mdgomareobas, es unda iyos simSvidis atmosfero da keTilganwyobili xalxis garemocvaSi yofna, anu problemebis minimumamde dayvana. aseT dros ki ra unda dawero? ar arsebobs ufleba movaleobis gareSe da piriqiT. Tundac arsad eweros da arc aravin gakontrolebdes, yovelTvis unda grZnobde: raRac Tu gaqvs, raRaca Senc mogeTxoveba.

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emotional state of the writer, then it will require an atmosphere of calm and the company of well-meaning people, in other words, reducing problems as much as possible. But what is there to write about under such conditions?

There are no rights without responsibilities and vice versa. Even if it is not written anywhere, and no one controls you, you must always feel it: if you have something, something is also required of you.

I, too, “amused” myself by burning my poems. I was not writing a lot, but I have thrown a substantial number of “poems” into the fire.

The burden of a poet differs from the burdens of others by a certain ambition – you think you are different than you are, superior by that “one teardrop”, Besik Kharanauli mentions in his poem “Poet.”

Lately, I have been unable to read as much as before. I have a lot of unread books and those that I have started and abandoned. I always

read Georgian and foreign poetry. The last pieces of prose I read and genuinely enjoyed were: “Vita” by Melania Mazzucco and “Oh World, Kakhetian chronicles” by Zaira Arsenishvili.

I have many favorite words, for now: “megulebi” (roughly: I count on you, I depend on you; the etymology comes from the word “guli”, “heart”) – it is love, trust, and hope, all at once…

Forgotten does not mean lost, like suddenly recalling something, or a dream after falling back asleep… These are the two directions of our existence, and we need to take heed of both. “Present of things past, memory; present of things present, sight; present of things future, expectation.” (St. Augustine).

And here: “When we discover childhood objects, / we seem to discover ourselves anew. / Till now, the years seemed to pass, / and now we feel we are the ones passing on.” (Rainer Maria Rilke).

Photography by Iliko Phopkhadze

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bevri sayvareli sityva maqvs, amjerad iyos: „megulebi“ _

sakuTari leqsebis dawviT mec „virTobdi“ Tavs. bevrs ar vwerdi, magram, Cemi wona „leqsebi“ ki meqneba cecxlSi mosrolili. poetis tvirTi sxvebis tvirTisgan erTgvari ambiciiT gansxvavdeba _ fiqrob, rom ufro sxvanairi xar, vidre xar da im „erTi cremliT“ met(ob)iT, besik xaranauli rom axsenebs leqsSi „poeti“.

siyvarulicaa, ndobac, imedic... daviwyebuli dakarguls ar niSnavs, „wamogonebulebisa“ da Sebrunebuli Zilis sizmrisa iyos... es Cveni arsebobis ori mimarTulebaa da orives mimarT yuradReba gvmarTebs. `awmyo warsulisa _ maxsovrobaa, awmyo awmyosi _ uSualo Wvreta, awmyo momavlisa ki _ molodini~ (netari

am bolo xans ise veRar vkiTxulob, rogorc adre. bevri wigni midevs waukiTxavi an dawyebuli da mitovebuli. qarTul poezias da ucxouri poeziis nimuSebs yovelTvis vkiTxulob. prozidan bolos rac wavikiTxe da marTla visiamovne, iyo: melania macukos „vita“ da zaira arseniSvilis „va, sofelo!..“

avgustine). da aqve: „rodesac vxvdebiT bavSvobis sagnebs, / Cvens Tavs TiTqosda xelaxlad vagnebT. / aqamde wlebi vidoden viTom, / axla ki vgrZnobT, rom mivdivarT TviTon.“ (rainer maria rilke).

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foto: iliko fofxaZe

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rodidan iwyeba qarTuli mwerloba?

When Did Georgian Literature Begin?

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revaz siraZis cxovreba da samecniero Rvawli misi didi maswavleblis, korneli kekeliZis, gzis Rirseuli gagrZelebaa. cnobili rusi filosofosis, esTetikis istoriis mkvlevris, viqtor biCkovis SefasebiT, revaz siraZem kargad icoda qarTuli qristianuli kultura, rom aRaraferi iTqvas literaturaze, icoda misi WeSmariti mniSvneloba da is konteqsti, romelSic aRmocenda da ganviTarda qarTuli sityviereba... b-ni rezos kvlevis sfero mravalferovania, magram gansakuTrebuli iyo misi daintereseba wmida ninos cxovrebiTa da im epoqiT, rodesac safuZveli Caeyara qarTul qristianobas. amis dasturia is ori msxvili krebuli, romlebSic Tavi mouyara qarTlis moqcevis Sesaxeb Seqmnil TiTqmis yvela gamokvlevas... Tu rogor masStaburad aanalizebda Cveni qveynisaTvis am umniSvnelovanes movlenas, missave sityvebs davimowmebT: „didi xania dgas problema qarTuli kulturis istoriaSi dasavluraRmosavluri sinTezisa. dRes ki es Teoriuli problemebis farglebs gascda da garkveulwilad ukavSirdeba Cveni erovnul-saxelmwifoebrivi yofna-aryofnis sakiTxebs. istoriuladac ase iyo: _ saqarTveloSi udides gardatexaTa epoqebi yovelTvis axleburad wamoWrida-xolme aRniSnul problemas. gavixsenoT, Tundac, sruliad gansakuTrebuli mniSvnelobis mqone movlenebi. yvelaze didi gardatexa, rac-ki saqarTvelos istoriaSi momxdara, iyo qristianobis miReba. igi moaswavebda aRmosavlurobisgan ganridebas da samaradJamod dasavlur orientirebas, magram qarTuli kultura inarCunebda dasavlur-aRmosavlur sinTezs“... „aseTi adamianebi yovelTvis marilni iyvnen da arian qveynisa. RmerTma amravlos maTi ricxvi sadideblad RvTisa da msaxurebad erisa Cvenisa“ _ am sityvebiT miuloca revaz siraZes dabadebis 75-e wlisTavi saqarTvelos kaTolikos-patriarqma, uwmindesma da unetaresma ilia meorem.

uwmindesis es sityvebi WeSmariti Sefasebaa batoni rezos samecniero da sulieri memkvidreobisa.

giorgi alibegaSvili

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Revaz Siradze’s life and merits as a scientist are a worthy continuation of his great lecturer Korneli Kekelidze’s accomplishments. As famous Russian philosopher and aesthetics history scholar Viktor Bichkov put it, Revaz Siradze knew Georgian Christian culture very well, let alone its literature; he knew its true significance and its context, in which Georgian literature emerged and developed…

The subjects of Mr. Rezo’s research are diverse, but he was particularly interested in Saint Nino’s life and the epoch in which Georgian Christianity was founded. The two thick volumes in which he gathered almost all the studies concerning the Christianization of Kartli attest to this… We can see how thoroughly he was analyzing this most important event in our country’s history in his own words: “The issue of the synthesis of East and West in the history of Georgian culture has been around for a long time. Today, it transcended the frame of theory, and to some degree, it is now related to the very existence of our nation and state. It was the same throughout our history: the epochs of fundamental transformation would always raise the above-mentioned issue for Georgia. Let us remember, for the sake of example, the most significant of such events. The greatest transformation that took place in the history of Georgia was when it became Christian. This moment was foreboding an alienation from the East and an eternal Western orientation, though Georgian culture retained its character of synthesis between East and West…”

“Such people have always been and are the salt of this country. May God multiply their numbers as glorifiers of the Lord and servants of our country.” – the Catholicos-Patriarch of Georgia, His Holiness and Beatitude Ilia II, congratulated Revaz Siradze on his 75th (posthumous) birthday with these words.

These words from the Patriarch are a truthful appraisal of Mr. Rezo’s scientific and spiritual heritage.

Giorgi Alibegashvili

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lali urdulaSvili / LALI URDULASHVILI

„w minda ninos cxovreba“ ‘Life of Saint Nino’

m

werloba eris cnobierebis ganmsazRvrelia. qarTuli werilobiTi sityvierebis dasawyisi qristianobis damkvidrebas ukavSirdeba. aRniSnuli sakiTxi jer kidev gasuli saukunis 90-iani wlebis bolos mwyobri mecnieruli gansjiTa da sizustiT gamoikvlia profesorma revaz siraZem monografiaSi „wminda ninos cxovreba“ da dasawyisi qarTuli agiografiisa“. amTaviTve unda iTqvas, rom revaz siraZis es naSromi qarTul filologiaSi mniSvnelovani migneba iyo, romelmac gadaaTariRa Cveni mwerlobis dasawyisi. mravalwliani Sromis Sedegad, misTvis damaxasiaTebeli maRalakademiuri profesionalizmiT, damajerebeli mecnieruli argumentaciis safuZvelze, revaz siraZem daadgina, rom qarTuli mwerlobis uZvelesi werilobiTi Zegli „wminda ninos cxovrebaa“ da ara „SuSanikis wameba“. am mosazrebas araerTma mkvlevarma dauWira mxari, maT Soris istorikosebmac, Tumca dRemde ar aris jerovnad yuradRebuli da gaziarebuli mecnierulad argumentirebuli kvlevis Sedegebi. batonma rezom redaqciaTa Sedareba-Sepirispirebis safuZvelze berZnulsomxur wyaroTa SejerebiTa da istoriuli masalis gaTvaliswinebiT SeZlo uZvelesi teqstis rekonstruireba, ganacalkeva pirveladi plastebi da daaskvna, rom „wminda ninos cxovrebis“ uZvelesi redaqcia IV saukunis meore naxevars ganekuTvneba... mecnierebi samarTlianad miuTiTeben, rom „wminda ninos cxovreba“ qarTul agiografiul mwerlobaSi da, zogadad, literaturaSi, yvelaze sakamaTo da rTuli Tavgadasavlis mqone teqstia. igi Cvenamde moRweulia gviandeli xanis ramdenime redaqciiT. esenia: 1. Satberduli (X s.) da WeliSuri (XII s.), romelsac Satberdul-WeliSurs uwodeben; 2. leonti mroveliseuli (XI s.); 3. arsen beriseuli (XII s.); 4. nikoloz gulaberisZis (Tamaris drois moRvawe) „sakiTxavi sveticxovlisai“; 5. anonimi avtoriseuli (XIII s.) da 6. vaxuSti batoniSvilis saqarTvelos istoriaSi mocemuli Txroba. uZvelesi teqsti, avbedobisa Tu sxva viTarebis gamo, dakargulia. 1997 wels gamocemul naSromSi revaz siraZe mimoixilavs aRniSnuli sakiTxis Seswavlis istorias da miuTiTebs, rom jer kidev dimitri baqraZe gamoTqvamda sruliad dasabuTebul mosazrebas imis Taobaze, rom

L

iterature is a determining factor of a nation’s consciousness.

The beginning of literature in Georgia is related to the establishment of Christianity in the country. This subject was studied with scientific accuracy by professor Revaz Siradze in the end of the 1990s, in his monograph: ‘Life of Saint Nino and the origin of Georgian Hagiography’ (1997). It is noteworthy that this work

by Revaz Siradze was of utter significance for Georgian philology, as it has transformed the chronology of the beginning of Georgian literature.

As a result of several years of work, and on the basis of his characteristic academic professionalism and convincing scientific argumentation, Revaz Siradze demonstrated that the oldest monument of Georgian literature is in fact ‘Life of Saint Nino’, and not ‘Martyrdom of the Holy Queen Shushanik’, as it was previously believed.

Many scholars supported this view, including historians, but to this day, the scientifically demonstrated results of this study aren’t paid the attention they deserve, nor do they circulate enough. Mr. Rezo managed to reconstruct this ancient text by comparing and confronting editions, including Greek and Armenian sources, and by taking into account historical material; he separated each original component of the text, and concluded that the oldest redaction of ‘Life of Saint Nino’ belonged to the second half of the 4th century.

Scientists rightfully point to the fact that in Georgian hagiography, and in Georgian literature in general, ‘Life of Saint Nino’ is the text with the most disputed and difficult history. It reached us in the form of several different late redactions. These are: 1. The Shatberdian (10th c.) and Chelisian (12th c.) versions, usually called the “ShatberdianChelishian” version; 2. Leonti Mroveli’s (11th c.); 3. Arsen Beriseuli’s (12th c.); 4. Nikoloz Gulaberisdze’s ‘Miracles of Svetitskhoveli’ (from the time of Queen Tamar); 5. An anonymous author’s (13th c.); and 6.

Vakhushti Batonishvili’s narration of Georgia’s history (18th c.).

The ancient text itself, because various circumstances, was lost. In his 1997 work, Revaz Siradze discusses the history of the research about the subject, and he notes that Dimitri Bakradze already expressed a substantiated view about the fact that ancient Greek historians (Rufinus, Sozomen, and others), as well as Movses Khorenatsi, were basing themselves on Georgian sources when relating the history of Georgia’s chirstianization… And these authors lived in the 4th and 5th centuries AD. Changing the date of origin

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Zveli berZeni istorikosebi (rufinuzi, sozomene da sxvebi), aseve movses xorenaci, qarTlis moqcevis ambebis gadmocemisas qarTul wyaroebs eyrdnobodneno… xolo es avtorebi meoTxe-mexuTe saukuneebis moRvaweni arian.

Tvalsazriss teqstis adreul daTariRebaze Tavis droze gamoTqvamdnen pavle ingoroyva, svimon yauxCiSvili, ivane lolaSvili, elene metreveli, vaxtang goilaZe, zaza aleqsiZe da sxvebi. am kuTxiT gansakuTrebiT sagulisxmoa marine CxartiSvilis samecniero kvleva. revaz siraZe monografiaSi aRniSnuli teqstis analizs ori konkretuli mimarTulebiT gvTavazobs. esenia: „wminda

ninos cxovrebis“ calkeuli epizodebis Seswavla da nawarmoebis mxatvruli gansaxovnebis TaviseburebaTa kvleva. amjerad Cveni interesis sagani nawarmoebis daTariRebis revaz siraZiseul samecniero debulebaTa warmoCenaa. winamorbedi mecnierebi „wminda ninos cxovrebas“ erTian agiografiul Zeglad miiCnevdnen da Sesabamisad cdilobdnen mis daTariRebas; revaz siraZem ki teqstis analizis sruliad axleburi, miseuli interpretacia SemogvTavaza. teqstze mravalmxrivi dakvirvebiT igi „wminda ninos cxovrebis“ mTavar epizodebs, anu rogorc Tavad uwodebs, fabulur ciklebs cal-calke ikvlevs filologiuri kuTxiT, raTa

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gansazRvros maTi literaturuli da istoriuli Rirebuleba. sakiTxavTa gamoyofis principad mecnieri Semdeg sqemas mimarTavs: 1. eortalogiur (anu sadResaswaulo) kalendarTa gaTvaliswineba; 2. teqstobrivi analizi; 3. saistorio wyaroebi; 4. saerTo qristologiuri principebi. dakvirvebis Sedegad, revaz siraZe adgens, rom nawarmoebSi Zveli warmarTuli warmodgenebi desakralizebulia da maT sruliad axleburi mniSvneloba eniWeba qristianuli msoflmxedvelobis TvalsazrisiT. amis pirvelnimuSad is TviT wm. ninos saxes acxadebs, romlis pirvelsaxec (xati ufro qristianulia) romelime warmarTuli qalRvTaeba anu dedufali unda yofiliyo; Semdgom amisa, sveticxovels, romelic qarTuli keriis dedaboZis gardasaxuli ideaa da aseve ninos locvas erT-erT xeze kerpTa msxvrevis Semdeg: es rituali mecniers warmarTul xeTa kultis gamoZaxilad miaCnia, xolo 25 marts sajvre xis moWra, misi azriT, xeTa Tayvaniscemis uZveles tradicias efuZneba. revaz siraZis azriT, Zveli warmodgenebis axleburad gaazrebis tendencia niSandoblivi iyo swored qristianobis Semosvlis Semdgom qarTlSi. ZeglSi aRwerili es epizodebi xels uwyobs mis daTariRebas wm. ninos moRvaweobis xaniT, romelic IV saukunis me-2 naxevars ganekuTvneba. amasve adasturebs nawarmoebis liturgikul-eortalogiuri analizic. „wminda ninos cxovrebis“ uZveles fragmentad, avtoris azriT, wminda ninos mier sikvdilis win warmoTqmuli sityvebi unda CaiTvalos; aq naxsenebia mTis saswaulebi, locva mayvlovanSi, sveti-cxovlis aRmarTva, wyaros saswaulebi, mxolod ar Cans mzis dabnelebis momenti TxoTis mTaze, Tumca mas icnobs „wminda ninos cxovrebis“ yvela redaqciac da uZvelesi berZnuli yvela wyaroc, romlebic qarTlis moqcevis ambebs exeba. mzis dabnelebisa da sveticxovlis aRmarTvis epizodebi revaz siraZes nawarmoebis uZveles Sreebad miaCnia. amas adasturebs is faqtic, rom ambavi sveticxovlis aRmarTvis Sesaxeb zedmiwevniT aqvs gadmocemuli gelasi kesariels (IV s.) Tavis TxzulebaSio wers mecnieri. sveticxovlis saswaulebrivi aRmarTva wm. ninos mier „qarTuli eklesiis dafuZnebas moaswavebda“. es iyo „pirveli qarTuli taZrisa da mTeli qarTuli eklesiis dedaboZi“. yovelive zemoTqmulis gaTvaliswinebiT, mkvlevari aRadgens teqstis uZveles struqturas da mas Semdegi saxiT warmoadgens: mSoblebi da bavSvoba, kabadokieloba, ierusalimi, RvTismSoblis Cvenebani, jvari vazisa, dekalogis uwyeba, gza javaxeTidan urbnisSi, armazis msxvreva, locva mayvlovanSi, gankurnebani, mzis dabneleba, jvarTa aRmarTva, sveticxovlis aRmarTva, gardacvaleba. revaz siraZis argumentaciiT, Tavdapirvelad „wminda ninos cxovreba“, unda Seqmniliyo viTarca sakiTxavTa gamaerTianebeli liturgikuli Zegli. amasTan dakavSirebiT igi gvTavazobs Semdegi saxis diskurss: 1. nawarmoebis ZiriTadi mineologiuri Tu liturgikul-eortalogiuri

of the text to an earlier time was also an idea supported by Pavle Ingorokva, Svimon Kaukhchishvili, Ivane Lolashvili, Elene Metreveli, Vakhtang Goiladze, Zaza Aleksidze, and others. In this regard, Marine Chkartishvili’s scientific research is of particular significance.

In his monograph, Revaz Siradze offers an analysis of this text divided in two specific orientations: the study of several parts of ‘Life of Saint Nino’ and the study of the text’s artistic features. In this article, our aim is to present Revaz Siradze’s scientific theory about the dating of this text. His predecessors were considering ‘Life of Saint Nino’ as one hagiographic monument, and were trying to date it accordingly, while Revaz Siradze offered a completely new, original interpretation of the text. In order to determine their literary and historical value, he studied the text from various points of view, and analyzed the various episodes of ‘Life of Saint Nino’, or as he calls them himself, its fabulous cycles, separately. The scholar followed this scheme: 1.

The consideration of the calendar of Saints; 2. A textual analysis; 3.

Historical sources; 4. General Christological principles.

As a result of his study, Revaz Siradze determines that in the text, ancient pagan representations are desacralized, and get a completely renewed significance according to the Christian worldview. As the main example for this, he uses Saint Nino herself, as her prototype should have been that of some pagan deity or queen; secondly, the Svetitskhoveli cathedral, which is a rendition of the idea of the central pillar of the Georgian hearth, and Nino’s prayer on a tree after the destruction of a pagan idol: the scholar considers this ritual to be an echo to the pagan cult of trees, while the cutting of the tree from which Saint Nino would make her cross is, he affirms, also based on this ancient tradition of tree worshipping. According to Revaz Siradze, the tendency of renewing and adapting old customs and beliefs was a characteristic feature in Kartli after the introduction of Christianity.

These episodes help to date them at the time of Saint Nino’s life, thus the second half of the 4th century, which is also corroborated by the liturgical analyses of the texts.

The author believes that the last words uttered by Saint Nino before her death should be considered as the oldest fragment of ‘Life of Saint Nino’. The mountain miracles are mentioned, as is the prayer in the bramble thicket, the erection of the Svetitskhoveli pillar, the spring miracles. The only important such part that is missing is the solar eclipse on Mount Tkhoti, though it is known in both all the redactions of ‘Life of Saint Nino’ and the ancient Greek sources related to the Christianization of Georgia. Revaz Siradze considers the solar eclipse and the erection of the Svetitskhoveli pillar to be the oldest parts of the text. Rezo Siradze also notes that this is verified by the fact that the story of the pillar is also thoroughly described by Gelasi Kesarieli (4th c.). The miraculous erection of the Svetitskhoveli pillar was “foreboding the foundation of the Georgian Church”. This was “the first central pillar of a Georgian temple and of the Georgian Church”.

If we take all of the above into account, the scholar restores the old structure of the text, and presents it to us in the following way: parents and childhood, Cappadocia, Jerusalem, visions of the Virgin Mary, the grapevine cross, the ten commandments, the road

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nawilebi Seqmnilia IV saukuneSi; 2. araerTi zemoaRniSnuli epizodi gadmocemuli aqvT IV-V saukuneebis mijnaze moRvawe bizantiel istorikosebs (sozomenes, rufinuss, Teodorite kvirels); 3. nawarmoebSi yuradRebulia swored iseTi problemebi, romlebic aqtualuri iyo IV saukuneSi. esaa, mag. mzis RmerTobis da mzis kultis daZlevis tendencia da misTanani; 4. RvTismsaxurebis daweseba aucilebels xdida qarTuli eortalogiis dawyebas qveynis ganmanaTleblis moxseniebiT; 5. nawarmoebis umTavresi pasaJebi avTenturobiTaa aRwerili da ar gvaqvs safuZveli isini gamogonilad miviCnioT; 6. nawarmoebSi SemorCenilia uZvelesi kalendaruli tradicia TveTa rigiTobis mixedviT. rac Seexeba avtorobis sakiTxs, revaz siraZe yuradRebas amaxvilebs im garemoebaze, rom nawarmoebis Tavebis mTxrobelebad sxvadasxva piria dasaxelebuli. Cans sidonia, abiaTari, iakobi, ioane mTavarepiskoposi, salome ujarmeli, xolo peroJavri sivnieli - ara. mecnieris azriT, yvelaze adrindelad unda CaiTvalos ninos mier bodisidan gamogzavnili werili mefe mirianisadmi. aq nino mefes sTxovs, rom pativiT miiRon dedofali soji. swored es werili miaCnia erT-erT uZveles CanarTad mkvlevars. teqstis fabulur ciklze damyarebuli kvlevis meTodis gamoyenebiT, somxur da berZnul wyaroTa gaTvaliswinebiT, istoriis teleologiuri koncefciis safuZvelze, romlis mizani CvenSi qristianobis damkvidreba da gavrceleba iyo, revaz siraZe ganarCevs ZeglSi uZveles qristianul danaSrevebs da askvnis, rom „wminda ninos cxovreba“ uZveles qarTul nawarmoebad unda CaiTvalos. revaz siraZis saboloo daskvniT, „wminda nino qarTvelTa erovnul-aRmsareblobiTi idealis pirvelsaxe, qarTuli qristologiisa da saxismetyvelebis safuZvelTasafuZvelia“, xolo Tavad „wminda ninos cxovreba“ aris qarTuli qristianuli mwerlobis upirvelesi nawarmoebi, romlis uZvelesi Sreebi IV saukunis me-2 naxevars ganekuTvneba. yovelives gaTvaliswinebiT, mizanSewonilad migvaCnia revaz siraZis moTxovna, rom aRniSnuli Zegli iswavlebodes zogadsaganmanaTleblo skolebsa da umaRles saswavleblebSi ara rogorc sakiTxavi masala, aramed rogorc savaldebulo saprogramo nawarmoebi. revaz siraZis es umniSvnelovanesi mecnieruli migneba didi xania elis damsaxurebul aRiarebas, qarTul literaturaTmcodneobaSi. fiqrobT, wamoWrili sakiTxis mxardaWera ara mxolod kulturologiuri, aramed erovnul-saxelmwifoebrivi mniSvnelobis mqone saqmea. qarTuli mwerlobis dasabamad unda miviCnioT IV saukunis me-2 naxevris agiografiuli Zegli „wminda ninos cxovreba“ da ara V saukunis me-2 naxevris „SuSanikis wameba”.

from Javakheti to Urbnisi, the destruction of Armazi, the prayer in the bramble thicket, the healings, the solar eclipse, the erection of the crosses, the erection of the Svetitskhoveli pillar, and Saint Nino’s death.

Revaz Siradze argues that initially, ‘Life of Saint Nino’ had to be created as a liturgical monument encompassing several themes.

He offers the following discourse: 1. The general liturgical parts were created in the 4th century; 2. Several of the above-mentioned episodes were relayed by Byzantine historians from the end of the 4th and the beginning of the 5th centuries (Sozomen, Rufinus, Theodorite Kvireli); 3. The texts focus precisely on the problems that were topical in the 4th century, for instance, the tendency to prevail over the deification and cult of the Sun; 4. In order to establish religious service, it was necessary to start the Georgian calendar of saints with Saint Nino, the Enlightener of Georgia; 5. The most important passages of the texts are described authentically and there is no good reason to consider them as invented; 6. The ancient monthly calendar tradition is preserved in the texts.

Regarding the question of the author, Revaz Siradze points our attention to the fact that different persons are cited as the narrators of each chapter of the texts. We find Sidonia, Abiatari, Iakob, Ioane Mtavarepiskoposi, Salome Ujarmeli, but not Perozhavri Sivnieli.

According to the scholar, the letter sent by Saint Nino from Bodisi to King Mirian has to be considered to be the earliest one. In it, Nino asks the King to host Queen Suji with honors. The scholar believes that this letter must be one of the oldest insertions.

By using a research method based on the fabulous cycle of the text, taking into account Armenian and Greek sources, on the basis of a teleological conception of history, the goal of which was to establish and spread Christianity in our country, Revaz Siradze discerns the oldest fragments of this ancient Christian monument of literature, and deduces that ‘Life of Saint Nino’ should be considered the oldest Georgian literary work.

Revaz Siradze concluded that “Saint Nino is the archetype of Georgians’ national-religious ideal, the innermost foundation of Georgian Christology and imagery”, while ‘Life of Saint Nino’ itself is the first instance of Georgian Christian literature, the oldest parts of which date back to the second half of the 4th century. Bearing all the above in mind, we deem it appropriate to repeat Revaz Siradze’s wish for this monument of literature to be taught in both general education and higher education classes not as reading material, but as a compulsory part of the cursus.

This most significant scientific finding by Revaz Siradze has been waiting for the recognition it deserves for a long time in the realm of Georgian literature. We believe that supporting this undertaking is a responsibility that transcends the cultural field and has become of a national nature. We must consider ‘Life of Saint Nino’, the hagiographic literary monument from the second half of the 4th century, and not ‘Martyrdom of the Holy Queen Shushanik’, which was composed in the second half of the 5th century, as the first instance of Georgian literature.

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irakli lomouri

regeneraciuli agrokultura - TviTgadarCenis gza (post)pandemiur samyaroSi IRAKLI LOMOURI

REGENERATIVE AGRICULTURE – A WAY TO SURVIVE IN THE (POST) PANDEMIC WORLD saqarTvelo agrokulturis tradiciuli qveyanaa. Cveni winaprebi mravali saukunis ganmavlobaSi misdevdnen soflis meurneobas, gamohyavdaT xorblisa da vazis, axali jiSebi, rac memkvidreobiT gvergo da riTic dRemde samarTlianad vamayobT. amave dros, samwuxaro realobaa, rom dRes Cveni qveyana Tavis mosaxleobas gamosakvebad saWiro sasoflo-sameurneo produqtiT ver uzrunvelyofs da mezobeli qveynebidan Semoaqvs xorbali, kartofili, pomidori Tu yurZeni. amis mizezad mciremiwianoba ver CaiTvleba, radgan, vTqvaT, iseTi patara qveyana, rogoric holandiaa, msoflioSi meore adgils ikavebs sasoflo sameurneo produqciis eqsportiT. anu safiqrebelia, am sferoSi Cveni problemebis mizezi isev da isev Cvens TavSia saZiebeli _ Cvens uyairaTobaSi. arsebuli miwis fondis araracionalur gamoyenebaSi. anda, saerTodac, ar Tu ver gamoyenebaSi. yvelam viciT, rom glexkaci sofels tovebda da qalaqSi, an sulac, ucxoeTSi midioda saSovarze.

irakli lomouri da gia razmaZe

Georgia is a traditional agrarian country. Our ancestors had practiced agriculture for many centuries, cultivating new varieties of wheat and grapevines we have inherited and are rightfully proud of today.

However, the grim reality is that today, our country cannot provide its population with the agricultural products necessary for its nourishment. Instead, it imports wheat, potatoes, tomatoes, or grapes from neighboring countries. This situation cannot be attributed to land scarcity, because, for example, a country as small as the Netherlands is the world’s second-largest agricultural exporter. Thus, it is reasonable to assume that we must once again look for the root of our problems in ourselves – in our wastefulness and the senseless use of existing land reserves. Or even in neglecting to use them at all.

We know that peasants used to flee villages and move to the city, or even abroad, to earn a living. The pandemic abruptly hampered this process. Meanwhile, we have seen and became aware of what an alarming, catastrophic situation we found ourselves in – the threat of famine looming over us… We may effectively starve to death if we do

IRAKLI LOMOURI AND GIA RAZMADZE

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masanobu fukuoka

MASANOBU FUKUOKA

virusulma pandemiam es procesi uecrad Seaferxa. amave dros, yvelam cxadad davinaxeT da gavacnobiereT, Tu ra sagangaSo, katastrofuli mdgomareobaSi vimyofebiT _ SimSili gvemuqreba... sakuTar miwaze, sakuTari ZaliTa da resursebiT Tu ar vizrunebT sakuTari Tavis gamokvebaze, elementarulad, SeiZleba SimSiliT davixocoT... apokaliptur scenarebze axla laparaks ar daviwyeb, magram, faqtia, dRis wesrigSi TviTgadarCena dgas _ miwas unda davubrundeT. sxva gza ar arsebobs. magram, modi, davsvaT kiTxva _ ratom garboda glexi soflidan? nuTu imitom, rom qarTveli kaci genetikurad zarmacia da uqnara? ra Tqma unda, ara. genetikurad zarmaci da uqnara _ anu uniaTo, arafris maqnisi, _ verc amden cixe-koSksa da eklesia-monasters aaSenebeda, verc vazs mouvlida da saocar Rvinos dawuravda, verc aseT kulturas Seqmnida da verc qveyanas daicavda lamisaa ganuwyveteli Semosevebis pirobebSi _ saukuneTa ganmavlobaSi. saqarTvelo namdvilad soflis meurneobis, miwaTmoqmedebis qveyanaa, magram miwis damuSaveba da produqciis moyvana metad Zviri jdeba. Tanamedrove, industriuli soflis meurneoba damokidebulia qimikatebze, maqsimalurad meqanizebulia, anu moiTxovs ZviradRirebul nivTierebebs, teqnikasa da sawvavs. es ki, saerTo jamSi, Zalze Zviri „siamovnebaa~. anu glexkacs ubralod ar uRirs sofelSi darCena da miwaze muSaoba, radgan industriuli soflis meurneobis pirobebSi es mas sakmaris saxsars ar aZlevs, rom Tavic Seinaxos da ojaxic arCinos... anu miwaze muSaoba ararentabeluria. ra vqnaT? rogor vuSveloT sakuTar Tavs, rogor moviwioT yoveldRiuri sarCo-sabadebeli am pandemiur

not start feeding ourselves by using our own land, our own efforts, and resources…

Now, I will not discuss doomsday scenarios. But the fact of the matter is that survival is our top priority today – we must return to the land. There is no other way.

But let us pose a question – why was the peasant fleeing the village? Maybe because Georgian men are predisposed to laziness and idleness? No, of course not. Someone inherently lazy and idle – or inept and incompetent – could not have built so many fortresses, churches, or monasteries. He could not have been able to look after the vineyards and produce excellent wine, or create a culture of this kind, or defend the country from virtually endless invasions over the centuries.

Georgia is indeed a country of agriculture and farming. However, cultivating the land and growing crops is a costly practice. Modern industrial agriculture depends on chemicals and is highly mechanized.

It requires expensive substances, equipment, and fuel. In sum, it costs a pretty penny. In other words, it is simply not worthwhile for a farmer to stay in the village and work the land because industrial agriculture does not provide him with enough means to support himself and his family… To put it simply, working the land is unprofitable.

What should we do? How do we support ourselves? How do we get everyday sustenance in this pandemic world? What is the solution?

And is there even one?

Despite how improbable it might sound, a solution exists – a new type of agriculture: ecological, natural, regenerative permaculture…

In this article, we will try to explain everything in a few words, so you can get the overall idea and learn the key principles… We will also direct you to a small book, a pamphlet, freely accessible on the Internet. After reading it, you will receive essential knowledge and information…

The book titled “The Way” is a fictional documentary story and a small guidebook on natural farming and permaculture.

The origin of this book is interesting in and of itself. In the summer of 2019, I met Gia Razmadze, a friend from my student years, during “Dario Radio’s” segment “People of Ujarma”. When we were young, Gia and I used to go on restoration expeditions together, but have not seen each other since. Gia told me many interesting stories and

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lari korni da masanobu fukuoka

LARRY KORN AND MASANOBU FUKUOKA

1 (19) 2020

samyaroSi? sadaa gamosavali? da saerTod, arsebobs ki? gamosavali, rac unda daujereblad mogeCvenoT, arsebobs _ esaa axali tipis soflis meurneoba: ekologiuri, naturaluri, permakulturuli, regeneraciuli... am werilSi oriode sityviT vecdebiT agixsnaT, Tu razea laparaki, _ zogadi warmodgena rom SeiqmnaT da mTavari principebi gaigoT... da Tanac migiTiTebT momcro wigns, anu broSuras, romelic internetSi Tavisuflad devs. Tuki waikiTxavT, arsebiT codnasa Tu informacias miiRebT... esaa „gza~ _ dokumentur-warmosaxviTi moTxroba da naturaluri soflis meurneobisa da permakulturis mokle cnobari~. am wignis gaCenis istoria TavisTavad sainteresoa. 2019 wels zafxulSi „dario radioSi~, rubrikaSi „ujarmelebi~, Sevxvdi gia razmaZes, Cems studentobis droindel megobars, _ axalgazrdobaSi sarestavracio eqspediciebSi davdiodiT erTad, _ Tumca mere wlebia, erTmaneTi aRar gvenaxa. giam bevri saintereso ambavi momiyva da maT Soris axsena fukuoka da bil molisoni, _ Turme gatacebuli yofila naturaluri soflis meurneobiT da permakulturiT. mec davinteresdi, fukuokas wigni „Calis Reris revolucia~ wavikiTxe (internetSi Tavisuflad devs inglisurad da rusulad), mere bil molisonis wignic vnaxe _ „permakulturis Sesavali~ (aseve Tavisufladaa internetSi). da Semdeg _ rac mTavaria! _ giam wamiyvana da maCvena mis mier gaSenebuli tye-baRi, romelic ukve meeqvse welia mSvenier mosavals iZleva. diRomSi, viqtor nozaZis quCaze... fukuokas wignma da am tye-baRma iseTi STabeWdileba moaxdina Cemze, ise imoqmeda, rom mivxvdi, es codna rac SeiZleba farTod unda gavavrcelo. movuyevi megobrebs, maT Soris, vato wereTels... aRmoCnda, rom permakultura icoda, mis mier daarsebul „Tanamedrove xelovnebis centr _ TbilisSi~ mxatvari mamuka jafariZe Turme kiTxulobs leqciebis kurss „xelovneba da cocxali garemo~, sadac permakulturaze msjelobs... vatom, mec maCveneT permakulturuli tye-baRio! waviyvaneT diRomSi da am „eqskursiebis~ Sedegi iyo, rom samivem gadavwyviteT es codna maqsimalurad gagvevrcelebina da arasamTavrobo organizacia Segveqmna. da, ai, 2019 wlis 3 dekembers oficialurad dafuZnda „regeneraciuli agrokulturis centri~ („r.a.c.~).

2020 wels Cveni centri gaxda wevri xelovnebis da inovaciebis kavkasiaSi pirveli habisa, romelic kulturis da mecnierebis araerTi sferos gadakveTis wertilebis, sinergiebis da eqsperimentebis laboratoriaa. dafuZnebis Semdeg, upirvelesad, gadavwyviteT broSuris Sedgena, sadac martivad da gasagebad iqneboda

bil molisoni

BILL MOLLISON

happened to mention Fukuoka and Bill Mollison. It turned out that he was fascinated by natural farming and permaculture. I also became interested and read Fukuoka’s book “The One-Straw Revolution” (freely accessible on the Internet in English and Russian). Later, I read Bill Mollison’s book “Introduction to Permaculture” (also freely available on the Internet).

And then – most importantly! – Gia took me to see the forest garden he cultivated and which produces an excellent harvest for the sixth consecutive year. It was in Digomi, on Victor Nozadze Street…

Fukuoka’s book and this forest garden made such a deep impression on me that I realized I had to spread this knowledge as widely as possible. I told my friends about it, including Wato Tsereteli… It turned out that he was aware of permaculture. In the “Center of Contemporary Art - Tbilisi,” which Wato founded, the artist Mamuka Japharidze presents a course “Art and the Living Environment,” where he discusses permaculture…

Wato asked to see the permaculture forest garden too, so we took him to Digomi. These “excursions” resulted in our unanimous decision to disseminate this knowledge as widely as possible and to create an NGO. On the 3rd of December 2019, we officially founded the “Regenerative Agricultural Center” (R.A.C.).

In 2020, our center became a member of the first-ever Art and Innovation Hub in the Caucasus, a laboratory for experimentation, points of intersection, and synergy of various fields of culture and science.

The first thing we decided to do after creating our center was to compose a pamphlet that would describe the central idea and the principles of this alternative agriculture in a simple and accessible way.

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gadmocemuli am alternatiuli agrokulturis arsi da principebi. daviwyeT muSaoba, davwereT dasawyisi da davinaxeT, rom fukuokasa da molisonis sistemebze saubari akademiur, saleqcio stilSi, cota ar iyos, mosawyenia da uintereso. vin waikiTavs amas? _ sakuTar Tavs vkiTxeT... daviwyeT gansxvavebuli, saxaliso formis Zebna da mivediT warmosaxviT, garegnulad mxatvrulemociur, Sinaarsobrivad ki sruliad dokumenturi stilis dialogamde. moTxrobaSi ori gmiria _ taqsis mZRoli (skeptikosi) da misi mgzavri (enTuziast-eqsperti). baTumidan TbilisSi modian da mTeli gza saubroben, ufro sworad, kamaToben... broSura 2020 wlis ianvar-TebervalSi SevadgineT, martSi unda dagvebeWda da didi prezentacia mogvewyo, ufasod dagverigebina megobrebisa da dainteresebuli pirebisTvis, magram pandemia Tavs dagvatyda da gegmebi agvir-dagviria. radgan sxva saSualeba ar iyo, daviwyeT internetiT, feisbuqiT gavrceleba... 11 aprilidan moyolebuli dRemde, yovel dRe vugzavni „gzas~ inboqsSi megobrebs, `frendebs da arafrendebs~, nacnobebsa da ucnobebs (Cemi piradi rekordia 50 kaci dReSi) _ vcdilob, rac SeiZleba meti adamiani davaintereso... Tanac vTxov, Tu moewonebaT, Tavadac SesTavazon Tavis megobrebsa da axloblebs... inebeT misamarTi: feisbuqSi qarTuli asoebiT akrifeT _ regeneraciuli agrokulturis centri _ da ipoviT Cvens gverds, sadac mimagrebul failad devs „gza~... amave gverdze naxavT gia razmaZis leqciebis cikls, romlebic zumis platformaze tardeba _ nebismier msurvels SeuZlia daeswros da kiTxvac dasvas... axla ki am midgomis principebze getyviT oriode sityvas, rogorc dagpirdiT: miwas ar xnaven, ar Toxnian, ar baraven, anu siRrmiseulad ar amuSaveben; ar iyeneben Sxamqimikatebs; sarevelebis zrdas aferxeben, magram ar margvlaven, humusis ganuwyveteli warmoqmnis process bunebrivi xerxebiT uwyoben xels; qmnian ekosistemas, romelSic Sinauri cxovelebi da frinvelebi SemohyavT; cdiloben maqsimalur biomravalferovnebas miaRwion _ e.w. „tye-baRs“ bunebrivi tyis ekosistemis msgavsad aSeneben (tye, mogexsenebaT, saocrad nayofieri da mdgradi sistemaa, sadac uamravi mcenare erTad xarobs _ xe, buCqi, liana, balaxi, soko...). mravalferovneba, mcenareTa dabalansebuli, gawonasworebuli polikulturuloba am midgomis erT-erTi umTavresi principia. industriuli soflis meurneoba ise Rrmad amuSavebs miwas, rom humusi, anu niadagis nayofieri fena, nadgurdeba. mis aRsadgenad qimiur sasuqebs mimarTaven, ris Sedegadac irRveva ekologiuri balansi, mravldebian mavneblebi. maT winaaRdeg iyeneben pesticidebsa da herbicidebs, rasac erTjeradi efeqti aqvs, magram, saerTo jamSi, ekologiuri mdgomareoba

We started working and realized that discussing Fukuoka and Mollison systems in an academic, didactic style is a bit boring and dull. We asked ourselves: who is going to read this?... We started looking for a different, more entertaining approach and came up with an imaginary dialogue that is outwardly artistic and emotional but has a purely documentary content. The story has two characters – a taxi driver (a skeptic) and his passenger (an enthusiast and an expert). They travel from Batumi to Tbilisi and chat the whole way, or rather, argue…

We composed the pamphlet in January-February 2020. We were planning to publish it in March, throw a big launch party, and hand out the brochure to friends and other interested people for free. But the pandemic struck and frustrated our plans. Since there was no other way, we started sharing it on the Internet, on Facebook… I have been sending “The Way” to the inboxes of friends, acquaintances, and strangers every day since April 11 (my record is 50 people in a day) – I try to get as many people interested as possible… Moreover, I ask them to offer it to their friends and relatives if they enjoy it…

Here is the address: search Facebook for “Center for Regenerative Agriculture” and you will find our page which has the file containing “The Way” pinned at the top…

On the same page, you will find a series of lectures by Gia Razmadze, which he hosts on the “Zoom” platform. Anyone can attend and ask a question...

As promised, I will now briefly explain the principles of this approach: they do not plow, hoe, or dig the soil, or to put it another way, they do not work it deeply; they do not use toxic chemicals; they inhibit weed growth, but do not use weed control, they promote the process of continuous humus production with natural methods; they create an ecosystem and populate it with livestock and poultry; they are trying to achieve maximum biodiversity by growing a so-called “forest garden” based on a natural woodland ecosystem. Forest, as you know, is an amazingly fertile and sustainable system, where many plants thrive together – trees, bushes, lianas, grass, mushrooms… One of the key principles of this approach is diversity, a balanced polyculture of plants.

zep holceri

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SEPP HOLZER

1 (19) 2020

devid holmgreni

kidev ufro mZimdeba. aRarafers vambob imaze, rom Sxamqimikatebis gamoyenebiT moweuli produqcia adamianis janmrTelobisTvis sazianoa. agrokulturis es axali, naturaluri midgoma gacilebiT iafia, nakleb danaxarjs moiTxovs da gacilebiT iolia, naklebi Sroma sWirdeba. amave dros, miRebuli mosavlis moculoba imave nakveTidan iseTivea, rac tradiciuli soflis meurneobis SemTxvevaSi, meti Tu ara. Tanac produqti sruliad jansaRia, bunebrivia. es yvelaferi daujereblad JRers _ zRaparsa hgavs _ arada, praqtikulad araerTxelaa Semowmebuli, rogorc msoflioSi, ise Cvens qveyanaSi. (Tu internetSi daguglavT: permakultura... masanobu fukuoka... bil molisoni... devid holmgreni... zep holceri... Tavad darwmundebiT). Tanac saocrad aqtualuria! pandemiis pirobebSi es ekologiuri, naturaluri, permakulturuli midgoma (Cven yvelafer amas vaerTianebT „regeneraciuli agrokulturis~ saxelwodebisa Tu „qolgis~ qveS, radgan upirveles mniSvnelobas niadagis nayofierebis aRdgenas vaniWebT) namdvili saSvelia! soflis meurneoba TavisTavad kulturis nawilia, civilizebuli cxovrebis wesis gamoxatulebaa. oRond momxmarebluri, mtacebluri civilizaciidan, bunebas rom anadgurebs, unda gadavideT axal (sinamdvileSi ki, albaT, ZvelTaZvel) cxovrebis wesze, rodesac bunebasTan harmoniul Tanacxovrebas SevZlebT. esec utopias hgavs, magram mTvaria swori gziT daviwyoT moZraoba... waikiTxeT „gza~... da erTad davadgeT gzas, „r.a.c.~ gviSvelis!

DAVID HOLMGREN

Industrial agriculture cultivates the soil so deeply that it destroys the humus, the fertile layer of soil. They use chemical fertilizers to restore it, which upsets the ecological balance and leads to an increase in pests. They use pesticides and herbicides to control them, which only has a one-time effect. Ultimately, the ecological conditions deteriorate even further. Not to mention that products grown with the help of toxic chemicals are harmful to human health.

This new, natural approach to agriculture is much cheaper, less costly, and much simpler, less labor-intensive. Furthermore, the crop yields obtained this way are equal to the crop yields obtained by conventional agriculture on the same plot, if not higher. Additionally, the product is completely healthy and natural.

It sounds unbelievable – like a fairy tale, but it is a tried and tested method both in the world and in our country. (You will see for yourself if you search online: permaculture… Masanobu Fukuoka…

Bill Mollison… David Holmgren… Sepp Holzer…).

It is also remarkably topical! During the pandemic, this ecological, natural, permaculture approach (we are combining everything under the title or “umbrella” of “regenerative agriculture” because we give precedence to the regeneration of soil fertility) is a real solution!

Agriculture is obviously part of culture, an expression of a civilized way of life. However, we must move on from the consumerist and predatory civilization that is destroying nature to a new (in fact, probably ancient) way of life, where we can coexist harmoniously with nature. This might seem like a utopia too, but the most important thing is to start moving in the right direction…

Read “The Way” ... and It is the only way we will be able survive!

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dodo xurcilava

Strixebi qarTuli cekvis sawyisebisTvis DODO KHURTSILAVA

TRACING THE ORIGINS OF GEORGIAN DANCE

1916 wels TbilisSi italielma balerinam maria perinim Camoayaliba sabaleto studia, TiTqos aqedan unda aiTvlebodes CvenSi cekvis swavlebis istoria, magram cekva da cekvis swavleba saqarTveloSi XIX saukuneSi cariel adgilas ar aRmocenebula. jer kidev XVII saukunis mefe-poeti arCili Tavis `saqarTvelos zneobaSi~ werda, rom Wadrakis TamaSsa da cekvas specialurad aswavlidnen didebulTa da Tavad-aznaurTa Svilebs. es arc aris gasakviri, radgan cekvas, Tavis Seqcevas, sazogadoebaSi Tavis warmoCinebas, Tavis daWeras sakmaod didi yuradReba eqceoda feodalur saqarTveloSi. miuxedavad imisa, rom marTlmadidebluri eklesia, swored iseve, rogorc kaTolikuri sarwmunoebis mesveurni, gamalebulni ebrZodnen gancxromisa da cxovrebiT tkbobis yvelanair gamovlinebas, mainc ver axerxebdnen cxovrebis am sferosTan gamklavebas. ufro metic _ zogierTi italieli kardinalis sasaxlis

In 1916, Italian ballet dancer Maria Perini opened a ballet studio in Tbilisi. Ostensibly, this was the jumping-off point for the history of dance schools in Georgia. However, dance and dance lessons did not appear out of thin air in Georgia. Back in the 17th century, King and poet Archil had written in “The Manners of Georgia” that the children of nobles and gentry were expressly taught chess and dancing. This is hardly surprising, since in feudal Georgia, they attached great importance to dance, entertainment, making a splash in society, and carrying oneself well. And although the Orthodox Church, the same as leaders of the Catholic religion, fought feverishly against all manifestations of enjoyment and pleasures, they were still unable to control this aspect of life. In fact, some Italian cardinals even organized theatrical, opera, and ballet performances in the theaters of their palaces. Similarly, in Georgia, the mural fragments from the ancient monasteries of Svetitskhoveli, Zarzma, and Betania depict dance and festivity scenes accompanied by musical instruments. One can also find dancing figures in the artwork of the ancient manuscript of the Mokvi Gospels. In Georgia, as in other European countries, the dances were somewhat divided into the so-called “plebeian” and “aristocratic” categories. There was also a rather sophisticated and differentiated terminology, which we encounter both in classical fiction and Sulkhan-Saba Orbeliani’s “The Georgian Dictionary”. For instance, according to Orbeliani, dancing is “rokva” (dancing) on the toes. The word “rokva” has several definitions – “sama,” “tsekva” (dancing as understood in current Georgian) “gogmani”, “bukna”, “tamashoba.” So, judging by these definitions, we can assume that “rokva” refers to the art of dance in general, while other definitions might mean various dance moves. “Gogmani” was mainly a feminine dance move and meant light, graceful jumps. “Bukna” meant deep squats, rhythmically repeated multiple times by the male dancers, while “kocha” is a semi-squatting move— if we compare them to the classical dance moves, we are dealing with “grand plié” and “demi plié,” respectively. In “The Georgian Dictionary,” we also come across the definition of the word “pundruki”, which means “tamashoba”, youthful singing-racing, leaping, briskness, nimbleness. Orbeliani notes that “tamashoba” can mean a variety of spectacles, including all the dance styles common at the time – “pundruki” and “khuntruki”

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karis TeatrSic ki ewyoboda Teatraluri, saopero da sabaleto warmodgenebi. aseve saqarTveloSic uZvelesi taZrebis _ sveticxovelis, zarzmis Tu beTaniis kedlebis moxatulobaTa fragmentebSi asaxulia musikalur sakravTa TanxlebiT cekva-Seqcevis scenebi. moqvis oTxTavis uZvelesi xelnaweris mxatvrobaSic vxedavT mocekvave figurebs. saqarTveloSi, swored iseve, rogorc evropis sxva qveynebSi, cekvebi erTgvarad iyofoda e.w. `mdabiur~ da `aristokratulad~. aseve arsebobda sakmaod daxvewili da diferencirebuli terminologia, romelsac vxvdebiT, rogorc klasikur mxatvrul literaturaSi, aseve sulxan-saba orbelianis leqsikonSi _ `sityvis kona~. magaliTad, sabas mixedviT cekva aris ferxis (anu fexis) TiTebiT rokva. Tavad rokvas ramdenime ganmarteba aqvs _ `sama~, `cekva~, `gogmani~, `buqna~, `TamaSoba~, anu Tu am ganmartebis kvalobaze vimsjelebT, SegviZlia vifiqroT, rom `rokva~ sazogadod cekvis xelovnebas gulisxmobs, xolo sxva ganmartebani SeiZleba iyos cekvis sxvadasxva ileTebi. `gogmani~ ZiriTadad qalTa cekvis ileTi iyo da niSnavda msubuq, graciozul xtomebs. `buqna~ _ Rrma Cajdomebia, romelTac mravaljeradad da ritmulad imeorebdnen mocekvave vaJebi. `koWa~ ki naxevrad Cajdomaa _ anu Tu klasikuri cekvis ileTebs SevadarebT, Sesabamisad `grand da demi plieebTan~ unda gvqondes saqme. `sityvis konaSive~ gvxvdeba ganmarteba sityvisa `fundruki~, rac niSnavs TamaSobas, Wabukur mRerarbolas, xltomas, simkvircxles, `sikiskases~. `TamaSoba~ sabasTan mravalgvar sanaxaobas niSnavs da maT Soris cekvis yvelanair, maSin miRebul formas `fundruksa da xuntruks~ (igivea rac fundruki mxolod qalTa mier) cekvas, buqnas, mrgvalad wyobas, ferxulsa da sxv. sityva `gamoTamaSeba~ sacekvaod gamowvevas gulisxmobda. Tanac imasac unda gaesvas xazi, rom cekva mxolod fexis TiTebze an fexis wverebze cekvas niSnavda. sulac ar gvinda vamtkicoT, rom saqarTveloSi baleti uxsovari droidan arsebobs, magram cerebze cekvis kultura rom didi xnis ganmavlobaSi yalibdeboda, iswavleboda da dRevandlamde SemorCa, es ki namdvilad sagulisxmo faqtia. didi yuradRebiT unda movekidoT imasac, rom saqarTveloSi arsebobda uamravi sacekvao forma, romlebic gadmogvcemen eris xasiaTs, qalisa da vaJis urTierTdamokidebulebas, istoriul beds. aswleulebis ganmavlobaSi, Camoyalibda cekvebi, romlebic sruldeboda xalxis (farTo masebis) mier didi saero da sasuliero dResaswaulebis, dReobebis, bazrobebis, jarianobis (sofluri dResaswaulis formaa) dros an mefeTa da didebulTa sasaxleebSi. amasTan cekvebis nawili jer kidev warmarTuli epoqidan aris SemorCenili da ritualur xasiaTs atarebs, xolo meti nawili droTa viTarebaSi Caisaxa sxvadasxva istoriul-politikuri movlenebis Sesabamisad. cekvaTa umetesobas sakuTari istoriuli

(the latter is the same as “pundruki”, but performed by women) dance, squats, circle formations, “perkhuli” (round dance), etc. The word “gamotamasheba” meant inviting someone to dance. We must also emphasize that “tsekva”, or the word for dancing in modern Georgian, meant dancing only on the toes or the tips of the feet. We certainly do not want to claim that ballet existed in Georgia since time immemorial, but it is still rather noteworthy that the art of dancing on the toes was developed and taught for a long time, and survives to this day.

We must also take notice of the fact that there were numerous types of dance in Georgia, which convey the spirit of the nation, the relationship between a woman and a man, and historical fate. Over the centuries, dances were born that the public performed during major secular and religious holidays, name days, fairs, “jarianoba” (a form of a rural celebration), or in the palaces of kings and nobles. At the same time, some dances are remnants of the pagan epoch and are of a ritual nature, while most of them developed over time, in accordance with various historical and political events. Most of the dances have their own historical basis and storylines. Among the ritual dances, “adrekilai” is especially interesting, as it is a ritual dance dedicated to the fertility deity Kviria. “Adrekilai” has been performed in the Upper Svaneti region since ancient times, and highlighted a

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winapiroba da siuJeti aqvs. ritualur TamaSobaTa Soris gansakuTrebul yuradRebas ipyrobs `adrekilai~, romelic nayofierebis RvTaeba kviriasadmi miZRvnili ritualuri cekvaa. igi uZvelesi droidan sruldeboda zemo svaneTSi da masSi pirvelqmnili ubraloebiTa da pirdapiroboT iyo aqcentirebuli seqsualuri momenti: ritualur rokvaSi monawile mamakacebs welze hkidebdnen xisgan gamoTlil falosis gamosaxulebas, romliTac igi emuqreboda zamTars, rogorc borotebisa da kvdomis simbolos. cekvaSi simbolurad iyo gadmocemuli gazafxulis zamTarTan SebrZolebis da borotebaze mamakacuri ZaliT gamarjvebis istoria. masSi cekvisa da pantomimis gverdiT gamoyenebuli iyo akrobatuli ileTebi. aseTive tipis iyo cekvebi `elia-telefia~ da `saqmisai~. saritualo cekva TamaSobebs asrulebdnen aseve qalebic _ sabodiSo-sabatono, micvalebulTa mosaxseniebeli rokvani, wminda giorgis mona qalTa ferxulebi, damxrCvalTa gamosayvani cekva-ritualebi.

Tavad ritualis Sinaarsidanac Cans, saukuneTa rogori siRrmeebidan aris TiToeuli gadmosuli. qarTvelebs aqvT samxedro-sabrZolo cekvebi: `xanjluri~, `ceruli~, `idumala~, `xorumi~ da sxv. `xanjlursa~ da `cerulSi~ mocekvaveebs sabrZolo iaraRi uWiravT da cekvis ritmSi xmalaobis, civi iaraRis flobis virtuozulobiT gvaoceben. unda iTqvas, rom es cekvebi ara mxolod mocekvaveTa saSemsruleblo xelovnebas gviCveneben, aramed aseve _ vaJkacTa, samSoblos damcvelTa sabrZolo suliskveTebasa da siCauqes. vaJkacebi ejibrebian erTmaneTs farikaobaSi, simardesa da moxerxebulobaSi, riTac imsaxureben mayurebel qalTa mowonebas, maTTan cekvis uflebas. am cekvis dros, Tu monawileni Zalian gacxardebian da romelime vaJis daWris saSiSroeba Seiqmneba, qals aqvs ufleba SeaCeros orTabrZola _ igi moasparezTa Soris Caagdebs mandils da cekva-Sejibri Sewydeba. amgvari sacekvao Serkinebani klasikurqoreografiaSi xSirad gvxvdeba. rogorc zemoT ukve vTqviT cekva fexis wverebze (TiTebze) rokvas niSnavs.

Zvelad iTvleboda, rom vaJi mocekvaveebis cerebze Sedgoma brZolisTvis mzadyofnas niSnavda, Cvenamde aris moRweuli cnobebi imis Sesaxeb, rom arsebobda qalTa cekva `mZimuri~. masSi aRwerili iyo dramatuli momenti vaJTa omSi wasvlisa, maTi molodinisa, gamarjvebis maxaroblis mosvlis da sixarulisa. aqedan Cans, rom erT qoreografiul miniaturaSi samjer icvleba cekvis xasiaTi, ritmi, viTareba da mis kvalobaze Semsrulebelsac moeTxovebodaT rogorc cekvis, aseve msaxioburi Tvisebebis floba. gansakuTrebiT aRsaniSnavia cekva `xorumi~. igi unikaluria im TvalsazrisiT, rom gaaCnia dramaturgia _ dazvevrva, omSi Sesvla da Sin gamarjvebiT dabruneba, amasTan arc daWrilebis brZolis velidan gamoyvana

sexually charged moment with primeval simplicity and candor – the men taking part in the ritual dance had a carved wooden phallus hanging from their waists, and with that image they threatened winter as a symbol of evil and death. The dance symbolically related the story of the battle between spring and winter, and the triumph of masculine power over evil. It used acrobatic moves alongside dance and pantomime. The dances “melia-telepia” and “sakmisai” were of the same variety.

Women performed ritual dances too – pardon dances to heal the children suffering from infectious diseases, dances for the remembrance of the dead, a round dance of St. George’s slave women, ritual dances dedicated to finding the bodies of the drowned. The contents of the rituals show from which depths of the centuries each of them has emerged. Georgians have military and battle dances: “khanjluri”, “tseruli”, “idumala”, “khorumi”, and others. In “khanjluri” and “tseruli”, the dancers carry battle weapons and amaze us by fencing to the rhythm of the dance and the expert use of cold weapons. These dances demonstrate not only the performance skills of the dancers, but also the battle spirit and deftness of these courageous men, defenders of their homeland. The men compete in fencing, agility, and dexterity, thus earning the admiration of the female spectators and the right to dance with them. During this dance, if the participants become too passionate, and run the risk of wounding any of the men, a woman may stop the duel – she will throw a headscarf between the competitors, and the dancecompetition will cease. We often come across such battle dances in classical choreography as well. As mentioned above, dancing meant dancing on the tip of the feet (toes). In olden days, they believed that male dancers rising on their toes indicated their readiness for battle.

The records of the existence of the women’s dance “mdzimuri” have reached us too. This dance depicted the dramatic moment of young

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aris daviwyebuli. Tumca isic uaRresad sagulisxmoa, rom `xorums~ warmarTuli saritualo-sanadiro safuZveli unda hqonoda. kacebi rokviT asrulebdnen rituals da SesTxovdnen bunebis Zalebs nadirobaSi warmatebas. qarTuli qoreografiisTvis ar iyo ucxo erTgvari skabrezuli cekvebi _ lazuri satrfialo `yolsarma~ da Tbilisuri `ialas TamaSoba~. `yolsarmaSi~ cekva iyo vnebiani, TeZoebisa da muclis gansakuTrebuli seqsualuri moZraobebiT aRbeWdili. gadmocemis Tanaxmad `yolsarma~ Zlier waagavda mucliT cekvas, romlis Sesasruleblad sagangebo codnis miReba iyo saWiro `ialas TamaSoba~ ki tardeboda TbilisSi, sayveliero dResaswaulebis dros, daaxloebiT TebervalSi anu saqarTveloSi yvelaze civ TveSi. miuxedavad sicivisa, sagangebod SerCeul banze gamodiodnen axalgazrda kacebi _ savaraudod kintoebi da iwyebdnen mgznebare cekvas. moZraobebi iyo Tavisufali, improvizirebuli, sakmaod skabrezuli. scenaze gamoenTeboda moTave joxiT xelSi, viTom dauSenda ferdebSi joxs mocekvaveebs da SesZaxebda `gaixadeT, gaixadeT...~ da miuxedavad imis, rom Zlieri yinva iyo, isinic ixdidnen, radgan cekviT kargad iyvnen gaxurebulni. ase meordeboda ramdenjerme da Wabukebic nel-nela ixdidnen, Tumca ara imdenad, rom mayurebelTa saTno grZnobebi SeebRalaT da Semdeg aseve nel-nela icvamdnen. cekva sakmaod didxans grZeldeboda da SemsrulebelTagan did gamZleobas moiTxovda. kidev erTxel gvinda xazi gavusvaT imas, rom saqarTvelo marTlmadidebluri qristianuli

men going to war, the anticipation of their return, the messenger bearing news of victory, and their joy. Here, we can see that in a single choreographic miniature, the mood of the dance, rhythm, and circumstances change three times. Accordingly, the performers had to possess both dancing and acting skills.

The “khorumi” dance is particularly remarkable. It is unique because it has a dramatic structure – battle reconnaissance, going to the war, returning home victorious, and bringing the wounded over from the battlefield. It is also worth pointing out that “khorumi” must have had a pagan ritual-hunting basis. The men performed the ritual by dancing and pleaded with the forces of nature for a successful hunt.

Georgian choreography was not without certain types of salacious dances – Laz courtship dance “kolsarma” and Tbilisian “ialas tamashoba”. In “kolsarma”, the dance moves were passionate, exemplified by the particularly sensual movements of the thighs and the belly. According to several accounts, “kolsarma” strongly resembled belly dancing, which required specific expertise. “Ialas tamashoba” was performed in Tbilisi during Cheesefare Week holidays, around February, the coldest month in Georgia. Despite

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qveyanaa da amgvari Tamami cekvebis Sesrulebis uflebas ubralod cekvis moyvarulebi ver miscemdnen Tavis Tavs. `yolsarmisa~ da `ialas TamaSobis~ Sesrulebas mxolod profesiuli mocekvaveni an Tbiliseli kintoebisnairi TavzexelaRebuli plebsi Tu gabedavda. sagangebo aRniSvnis Rirsia isic, rom qarTul cekvaSi mravlad gvxvdeba mezobeli, megobrulad Tu mtrulad ganwyobili erebis qoreografiuli Tu musikaluri motivebi, rac Cveni xalxis ucxouri kulturisadmi gaxsnili damokidebulebis maCvenebelia da meores mxriv ki yovelive es amdidrebda erovnul qoreografias. zemoaRniSuli cekvebi detalurad aqvs Tavis naSromebSi aRwerili SesaniSnav qarTvel mecniers da warsulSi balerinas profesor elene gvaramaZes, cekva `qarTuli~, romelsac ratomRac `lekurs~ uwodebdnen da ris winaaRmdegac jer mocekvave da

the chilly weather, young men – most likely Kintos (entertainers), gathered on a specially selected roof and began the fiery dance. The movements were free, improvised, rather salacious. The leader came running out onto the stage with a stick in his hand and pretended to strike the dancers while shouting “strip, strip….” And despite the freezing weather, they would undress, heated from dancing. This was repeated several times. The young men gradually stripped down, but not to the point they offended the chaste feelings of the audience, and then began to dress, just as slowly. The dance lasted quite a long time and required tremendous endurance from the performers. Once again, we want to emphasize that Georgia is an Orthodox Christian country, and mere amateurs of dancing could not let themselves perform such bold dances. Only professional dancers or audacious commoners like the Tbilisian Kintos could dare to take part in “kolsarma” and “ialas tamashoba”. We must also mention that Georgian dance has many choreographic or musical motifs of

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pedagogma aleqsi aleqsiZem, Semdeg ki qarTuli Teatris mkvlevarma, profesorma dimitri janeliZem aRimaRles xma. maT daamtkices, rom am cekvis ileTebi ar emTxveva lekuri cekvis ileTebsa da wyobas. es warmtaci liriuli dueti cekvis meSveobiT gviyveba mxolod erTi wyvilis sasiyvarulo urTierTobis Sesaxeb. `qarTuli~ aris raindisa da mandilosnis daxvewili urTierTobis ganzogadebuli xati. is Tu rogor warmoudgenia qarTvel vaJkacs Tavis satrfosTan urTierToba. kargad Cans ra didi siyvaruliTaa igi Sepyrobili, magram vnebisgan rom iwvodes kidec xelis TiTis wveriTac ki ar Seexba qals. mas ubralod surs warudginos Tavis Tavi, ymawvilur survils ayolili farTod Slis arwiviviT mklavebs, iraosaviT uvlis qalis Tvalwin wreebs, lamazad iRerebs yels, iseTi siswrafiT akeTebs gasmas, TiTos miwas ar akarebs fexebs _ haerSia atacebuli, qalis gamoTamaSebis Semdeg vaJi icxrobs vnebas, didi mowiwebiT uTmobs gzas da sapatio manZilze mihyveba gediviT mosriale qals. qali erTxans marto cekvavs, unazesad aqvs axrili mklavebi maRla, Tavadac TavSekavebulad, magram mainc ekekluceba vaJs, masSi gamosWvivis qalis mudmivi survili daimorCilos vaJi, datkbes misi TayvaniscemiT. finalur nawilSi qal-vaJi erTdebian da miuxedavad imisa, rom arc erTi gaxsnilad erotiuli moZraoba ar Cans, oriveni vnebis morevSi arian moqceulni, es morevia ase rom atrialebT maT. qali morcxvad ifaravs xelis mtevniT saxes, rac gansakuTrebiT axelebs vaJs. TiTqos wamiT TavdaWeras hkrgavs, daJinebiT cdilobs saxeSi Caxedos, surs mis TvalebSi amoikiTxos Tavisi grZnobis ganaCeni, gasaqans ar aZlevs... magram musikis dasrulebasTan erTad

neighboring, friendly, or hostile nations. On the one hand, it shows the open-minded attitude of our people towards foreign cultures, and on the other hand, all of it enriched the national choreography.

Renowned Georgian scientist and former ballet dancer Professor Elene Gvaramadze meticulously describes these dances in her work.

For some reason, the dance «kartuli” (Georgian) was called “lekuri”(lezginka). First, dancer and teacher Alexi Aleksidze, and then professor Dimitri Janelidze, researcher of the Georgian theater, spoke out against it. They proved that the moves of this dance do not coincide with the techniques and composition of the “lekuri” dance.

Through the language of dance, this captivating lyrical duet tells of the love affair of just one couple. “Kartuli” is a representation of the refined relationship between a knight and a lady, or how a Georgian man envisions a relationship with his beloved. It is obvious that he is in the throes of great love, and although he might burn with passion, he will not touch the woman, not even with the tip of his finger. He just wants to present himself to her. Driven by a youthful desire, he spreads his arms wide like an eagle, circles in front of the woman like a wild bird, and gracefully cranes his neck. He moves so fast that it seems his feet are not even touching the ground – he is soaring in the air. When the woman comes out dancing, the man pulls himself together. With great reverence, he steps aside and keeping a respectful distance, follows the woman who glides like a swan. For a while, the woman dances alone, her arms delicately outstretched.

Although she is restrained, she flirts with the man too. The constant feminine desire to make a man submit to her, enjoy his worship of her, shines through. In the last act, the woman and the man come together, and although not a single openly erotic move is visible, they are both caught in a whirlpool of desire. It is this whirlpool that spins them around so much. The woman shyly covers her face with

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mTavrdeba es sasiyvarulo misteria da vaJi mdablad Tavdaxrili madlobas uZRvnis partniors cekiT miRweuli bednierebisTvis. ai, aseTi sacekvao kulturis mflobeli iyo da aris saqarTvelo, magram umZafresi istoriuli qartexilebis gamo ar moxerxda misi sxva, ufro maRal klasikur safexurze ayvana. maSin, rodesac evropis gulSi _ renesansul italiaSi yalibdeboda saopero da sabaleto sasceno xelovneba, saqarTvelo TavgamodebiT ebrZoda yoveli mxridan Semoseul mtrebs da es grZeldeboda aswleulebis ganmavlobaSi. 1453 wels konstantinepolis dacemisa da bizantiis imperiis daSlis Semdeg, saqarTvelo, romelic bolo forfosts warmoadgenda evropuli qristianobis mTel perimetrze, TiTqmis 300 wliT aRmoCnda izolirebuli evropuli civilizaciisgan da amitomac ar aris gasakviri, rom igi amave xniT gaemijna evropul kulturul-ganmanaTleblur procesebs.

her hand, which galvanizes the man even more. For a second, he seemingly loses self-control, adamantly tries to look her in the face, wishing to learn of her response to his feelings; he does not let her move freely... But, as soon as the music ends, this love mystery ends too. The man humbly bows his head and thanks his partner for the happiness achieved by the dance.

So, this is the kind of dance culture Georgia has possessed and still possesses. But because of severe historical trials and tribulations, it was not possible to take it to another, higher classical stage.

At a time when performing arts, such as opera and ballet, were being established in the very heart of Europe – in the Italy of the Renaissance, Georgia was battling invading forces from every side, which continued for centuries. After the fall of Constantinople in 1453 and the collapse of the Byzantine Empire, Georgia, the last outpost along the entire perimeter of European Christianity, became isolated from the European civilization for almost 300 years and thus, there is no wonder why it simultaneously became disconnected from the European cultural-educational processes for the same duration.

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