კულტურა პლუს 1 (31) 2023

s a g a n m a n a T l e b l o - s a z o g a d o e b r i v i

J u r n a l i

sarCevi / CONTENTS enTo da iwvoda - ediSer garayaniZe

2

LIT AND BURNING - EDISHER GARAKANIDZE

sityvisa da ferweris erTianoba

8

THE UNION OF WORDS AND PAINTING

bedi ubixebisa

18

THE FATE OF UBYKHS

„yvelaferi Tavidan rom daiwyos, isev is viqnebodi~

28

“IF I HAD TO START ALL OVER, I WOULD DO THE SAME”

leon meliqseT-begi

46

LEON MELIKSET-BEGI

mefeebiviT fiqroben mTebi...

54

MOUNTAINS THINK LIKE KINGS…

„qaris zarebiviT~ mowkriale

62

RESONANT AS WIND CHIMES

`saCuqris~ berZnuli fokusi italiuri finaliT da saganmanaTleblo CanarTebiT

72

SACHUKARI’S GREEK FOCUS WITH AN ITALIAN FINALE AND EDUCATIONAL ACCENTS

qarTul-induri kulturuli urTierTobebis axali etapi

82

A NEW STAGE IN GEORGIAN-INDIAN CULTURAL RELATIONS

qarTveli qali kompozitorebi

88

GEORGIAN WOMEN COMPOSERS

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

dizaineri DESIGNER nikoloz bagrationi NIKOLOZ BAGRATIONI

el-fosta: kulturaplusm@gmail.com facebook.com/kulturaplusm beWdva: favoriti stili / Print: Favorite style

gamodis kvartalSi erTxel JurnalSi ganTavsebuli masalis gamoyeneba SeiZleba mxolod redaqciis TanxmobiT

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

garekanze: elene melqaZe, `Rame~, muyao, Sereuli teqnika, 70X40 Cover: Elene Melkadze, 'Night', cardboard, mixed media, 70x40

ISSN 2346-8165

Gia Arganashvili

gia arganaSvili

enTo da iwvoda - ediSer garayaniZe LIT AND BURNING - EDISHER GARAKANIDZE -2-

1 (31) 2023

r

oca maRali, RvediviT moqnili, Ronieri nabijiT mosiarule (imavdroulad iataks TiTqos fexsac ar akarebda) da pirze Rimilmoucilebeli axalgazrda kaci gavicani, jer kidev ar vicodi, rom is ediSer garayaniZe iyo, romelmac im dRidan ramdenimewliani TanamSromlobisa da amxanagobis kargad gasaxsenebeli wlebi da mogonebebi damitova. televiziis (axlandeli sazogadoebrivi mauwyeblis) mesame korpusis SesasvlelSi videqiT, axalgazrduli redaqciis mTavari reJisoris, lia davlianiZis, oTaxis nomeri mkiTxa da Cven erTad SevuyeviT mesame sarTulis kibes. saubarSi Zalze cnobismoyvare da adviladmisandobeli iyo da daaxloebiT aTi wuTis Semdeg ukve bevri rame vicodiT erTmaneTis Sesaxeb, Cveni vinaobis garda. ramdenime saaTis Semdeg ediSeri Tavad lia davlianiZem warmoudgina SemecnebiT-gasarTobi programis SemoqmedebiT jgufs (maT Soris mec viyavi), rogorc musikalur-folkloruli ciklis wamyvani da Cven isev gavagrZeleT adre dawyebuli saubari, romelic sxvadasxva formatSi da gansxvavebuli intensivobiT TiTqmis aTiTxuTmeti wlis ganmavlobaSi aRar Sewyvetila. radgan Cveni Sexvedrebi iSviaTad Tu gascilebia mravali mZime droebis mowme gmirTa moednis Tavsdamyure SuSebian Senobas (albaT, esec simboluri iyo), oriode sityva am SenobaSi ganTavsebul im droisTvis erTaderTi televiziis Sesaxebac unda vTqva, romlis satelevizio eTeri sarkesaviT ireklavda 80-90-iani wlebis sazogadoebriv-politikur mSfoTvare cxovrebas... dRes SeiZleba Tamamad iTqvas, rom iseve rogorc xelisuflebas da mis umaRles partiul organizacias, im SenobaSi jer kidev CanasaxSi myof sazogadoebriv organizaciebs da iatakqveSa partiebsac, hyavda TavianTi warmomadgenlebi da raRaca manqanebiT TiTqmis yvelas eZleoda TavianTi gavlenis Sesabamisi dro. zogs oficialurad, zogsac _ farulad, radgan qebas da lanZRvas ukve Tanabari fasi hqonda kodirebuli informaciis garkvevaSi gawafuli telemayureblisTvis. dRevandeli gadasaxedidan rom vigoneb im wlebs, SeiZleba, mas didi molodinis wlebic daerqvas. upirvelesad, TiTqmis yvela velodiT reJimis dasasruls, oTxmociani wlebis dasawyisSi araviTari winaswarmetyveleba ar sWirdeboda imis gamocnobas, rom axali msoflio wesrigis politikur dinebas mindobili rkinis uzarmazari xomaldi, romelic bolo sami aTeuli wlis ganmavlobaSi ukve sruliad umiznod dreifobda Cvens „nacionalur wylebSi~, CasaZirad iyo ganwiruli.

Cvens molodins kidev ufro amZafrebda am didi xomaldis irgvliv maSveli navebiviT mofusfuse axalSeqmnili partiebi da sazogadoebrivi organizaciebi, romlebic mzad iyvnen „cocxali ZalebiT~ datvirTulT,

W

hen I got acquainted with this tall, nimble young man walking vigorously (and at the same time, as if he wasn’t touching the ground) with a constant smile on his face, I didn’t know that it was Edisher Garakanidze, who would leave me years of good memories to remember, both as a colleague and as a friend.

We were standing at the entrance of the third building of the television (today’s public broadcaster), and he asked me the room number of the lead director for youth programs, Lia Davlianidze, and we climbed the stairs together. He was utterly curious and trusting in conversation, and in about ten minutes, we already knew many things about each other – without even knowing our names.

After a few hours, Lia Davlianidze herself presented Edisher to the creative staff of the education and entertainment program (including myself ) as the presenter of the musical-folk cycle, and the two of us continued our conversation, which, though in different formats and various intensities, almost didn’t stop for ten to 15 years.

Because our meetings would rarely take place outside of the glass building overlooking Heroes Square, which had witnessed many harsh times (this was probably symbolic too), I have to say a few words about the only television that was in that building at the time, the programs of which were accurately mirroring the agitated sociopolitical life of the 1980s and 1990s... Today, we can confidently say that just like the government of the time and its party, public organizations that were still at a nascent stage as well as underground parties had their representatives in that building, and through some mechanisms, they almost all got air time, according to their influence – some officially, others unofficially, as praise and criticism already had equal value in the deciphering of coded information for trained spectators.

From today’s perspective, when I recall these years, I could also call them years of great expectations.

First of all, almost all of us were waiting for the end of the regime. In the beginning of the 1980s, you didn’t need to be a psychic to predict that the giant iron vessel that had been roaming around completely

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axla ukve damoukideblad gaegrZelebinaT msoflio politikur okeaneSi curva. is, rom politikuri cvlilebebi TavisTavad moitanda ekonomikur cvlilebebs da Sesabamisad, gauTvaliswinebel Sedegebs, amaze maSin mxolod saqmiani adamianebi da e.w. „saqmosnebi~ fiqrobdnen da rogorc am gadasaxedidan Cans, isini imTaviTve iWerdnen Tadarigs momavlisTvis. amasTanave, axlovdeboda qristes aqeT mesame aTaswleuli. Cven raRac Sinagani moTxovnileba gvkarnaxobda, rom am TariRs Cvenc (aq oficialurad gauformebel oTxmocianelTa Taobis erTobas vgulisxmob) mzad davxvedrodiT, rac, upirvelesad, Cveni vinaobis (erovnuli identobis) dadgenas iTvaliswinebda. identobis Zieba ki istoriis xelaxla wakiTxvas gulisxmobda, Cveni istoria mindorSi dagdebul kombostos Tavs hgavda, romelzec winaswar veravin ityoda ramdeni WuWyiani furceli unda Camoscloda, vidre jansaR nawilamde davidoda, saidanac misi gamoyeneba usafrTxo gaxdeboda. am amocanis Sesasruleblad saqarTvelos televiziis samauwyeblo badeSi zedized Cndeboda axali formatis

aimlessly in our “national waters” for the last three decades was destined to sink.

Our expectations were intensified by the new parties and public organizations fussing around in small rescue boats around the large vessel, which was ready to continue swimming on the world’s political ocean independently after being loaded.

At the time, only hard-working people and the so-called “businessmen” were thinking about the fact that political change would naturally bring economic changes and lead to unexpected results, and from today’s perspective, they were already making preparations for the future.

Together with all that, the third millennium AD was approaching.

A kind of inner desire was telling us (and by us, I mean the unofficial union of the 1980s generation) to meet this milestone prepared, which, most importantly, meant the determination of our identity – our national identity.

Searching for one’s identity meant rereading history, and our history resembled a cabbage thrown in the field, of which you cannot predict how many dirty leaves we would have to take out until we reached the healthy part, when its use would become safe.

In order to achieve this objective, several new program formats

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gadacemebi. maT Soris erT-erTma televiziis axalgazrdul redaqciaSi daido bina. swored televiziis mesame korpusis mesame sarTulze daiwyo yovelkvireuli axali formatis gadacemis, „SemecnebiT-gasarTobi programis“, momzadeba (redaqciis mTavari redaqtori nana kakabaZe, redaqciis da Tavad am gadacemis mTavari reJisori lia davlianiZe, gadacemis avtori gia arganaSvili, musikaluri redaqtorebi nana gurgeniZe da nodar paladaSvili). axali gadacema imiTac iyo sxvebisgan gansxvavebuli, rom programuli Janris gadacemaSi xelovnebis, mecnierebis, sportis da sxvadasxva dargis informacias Tavad axalgazrda profesionalebi amzadebdnen da gadascemdnen eTerSi. gadaWarbebuli ar iqneba Tu vityvi, rom am avtor-wamyvanebs ekranis gareSec TavianTi sferos warmatebul axalgazrdebad icnobda mayurebeli. ediSer garayaniZe am gadacemaSi musikalurfolkloruli Tematikis siuJetebs amzadebda. sazogadoebriv-politikuri mRelvarebis fonze is mainc axerxebda mayureblis yuradRebis mipyrobas, radgan is ara mxolod xalxuri musikis avTenturi masalis moZiebas isaxavda miznad, aramed mis mier mecnieruli kvleva-Ziebis Sedegad mopovebuli nimuSebis analizs da folkloris sacavSi misTvis Sesabamisi adgilis miCenasac Tavis movaleobad Tvlida. namdvili xalxuri simReris dauyenebeli xmebiT da glexuri maneriT Sesruleba am simReris yvela saWiro detalis gaTvaliswinebasac gulisxmobda, radgan TiToeuli es simRera Sromis an raime sxva xalxuri wesadaTis aRsrulebas ukavSirdeboda. glexuri, ubralo grZelkalTiani CoxiT Semosili ediSeri ki Tavad iZleoda xelovnuri Carevisgan sruliad Tavisufali nomrebis Sesrulebis magaliTs. im Taviseburebis gaTvaliswinebiT, rac damaxasiaTebeli iyo saqarTvelos ama Tu im kuTxisTvis. axla, roca TiTqmis naxevarsaukunovani manZilidan vafaseb mis Sromas, vxvdebi, rom ediSeri maSin xalxis mexsierebas aRviZebda. amas axla vambob, Torem maSin aseTi xmamaRali da paTetikuri gancxadebis gakeTebas veridebodiT, ubralod, yvela vxedavdiT, rom ediSer garayaniZe xalxs sakuTar codnas _ gawmendils, gasufTavebuls, advilad misaRebs da advilad Sesasrulebels _ ukanve ubrunebda. man, albaT, yvelaze ukeT icoda Tavisi saqme. arasodes gvikiTxavs, Tu Semdeg gadacemaSi ra Temas SemogvTavazebda, vxvdebodiT, rom raRac erTi mTlianobis calkeul elementebs gvacnobda, qarTuli simReris bunebriobis, namdvilobis gzas misdevda da kulturuli tradiciis aRdgenis fonze kidev ufro gviZlierebda qveynis damoukideblobis moaxloebis gancdas.

Cveni mxridan aseTive mizans emsaxureboda ioane

appeared one after the other on Georgian TV. One of them found its nest in the youth programs redaction. It is precisely on the third floor of the third TV building that the weekly entertainment program “Educational” started being prepared in a new format (head redactor Nana Kakabadze, director Lia Davlianidze, author Gia Arganashvili, musical redactors Nana Gurgenidze and Nodar Paladashvili). The new show also distinguished itself from others by the fact that the information from various fields of art, science, sports, and others was prepared and presented by young professionals themselves. It wouldn’t be an exaggeration to state that the authors and presenters were already known off-screen by the young spectators who were successful in their respective fields.

Edisher Garakanidze was preparing the musical-folklore-themed passages of the program. Regardless of the sociopolitical agitation, he managed to attract the spectators’ attention because his objective was not only to find authentic folk music material but also to analyze it through scientific research, and he also deemed it his responsibility to give the material an appropriate place in the folklore fund.

Performing real folk songs with unaffected voices and in a rural manner also meant understanding and taking into account all the necessary details of the song, as each of these songs was related to labor or the fulfillment of other customs. Wearing a simple, rural chokha (male attire), Edisher would give an example of how to perform authentically without any artificial inputs, all the while incorporating the peculiarities of the region where the song was coming from.

Today, when I appreciate his work almost half a century later, I understand that Edisher was actually waking up people’s memories through it. I can say that now, but I couldn’t back then, because we wouldn’t make such loud and pathetic proclamations, although we could all simply see that Edisher Garakanidze was returning their knowledge to people – clean, purified, easy to receive, and easy to accomplish knowledge.

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batoniSvilis „kalmasobis~ mixedviT am wes-Cveulebis „aRdgenis~ mcdelobac. amisTvis Cveni gadamRebi jgufi gadioda zustad im marSruts, romelic iona xelaSvilma da zuraba RambaraSvilma gaiares 180 wlis win, vadarebdiT Zvels da axals, vcdilobdiT sxvasTan erTad RirebulebaTa cvlilebis is pirobiTi koeficientic dagvedgina, romelic am qveyanam gadaitana kolonialuri cxovrebis orsaukunovan periodSi. momavalSi am proeqtSi ediSeris programac unda CarTuliyo Tavisi mimarTulebiT, magram sxvadasxva mizezTa gamo es ar moxerxda, imJamad ki ediSeri kvlavac saocari pasuxismgeblobiT agrZelebda Tavisi siuJetebis momzadebas da miuxedavad imisa, rom im wlebSi xalxuri leqsebiT da simRerebiT marTlac rom gajerebuli iyo erTaderTi televiziis saeTero bade (televiziaSi im wlebSi Seiqmna xalxuri Semoqmedebis redaqcia), magram is, rasac ediSer garayaniZe sTavazobda mayurebels, bevrad ufro meti iyo, vidre ubralod xalxuri simRera an cekva.

He probably knew his job better than anyone else. We never asked him what he would present in the next show because we knew that he was offering us parts of a harmonious whole, of the essence of Georgian songs, that he was following their authentic road, and that by reviving our cultural traditions, he was strengthening our expectations of our country’s independence even more.

From our side, we tried to work towards the same goal by attempting to “revive” the customs found in Ioane Batonishvili’s encyclopedic novel ‘Kalmasoba’. In that respect, our crew followed the exact road that had been followed 180 years ago by Iona Khelashvili and Zurab Ghambarashvili, compared the old and the new, and tried to determine the conditional coefficient of change that our country endured during a two-century colonial period.

Edisher had to join this program as a specialist in his field, but for various reasons, this couldn’t happen. Edisher continued to prepare his passage with a sense of utmost responsibility, and despite the fact that during those years, the program of the only television channel was full of traditional dances and songs (as

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warsulis amgvari kritikuli analizi da namdvili saxis Ziebis survili, rom uSedego da uazro saqme ar iyo Cveni mxridan, es SemdgomSic dadasturda. swored amgvari Ziebis warmatebul mcdelobad gvesaxeba mweral nugzar SataiZis „puris moTxroba~ da reJisor soso CxaiZis satelevizio mravalseriiani filmi „TuSi mecxvare~. samwuxaroa, rom RirebulebaTa Ziebis es tendencia CvenSi aRar gagrZelda da politikuri procesebis gaaqtiurebis kvaldakval gza isev fsevdoRirebulebebs mieca. aqve vityviT, rom swored ediSer garayaniZis mondomebisa da rCevis Sedegi iyo, rom 1988 wels uwmindesma da unetaresma ilia meorem anCisxatis uZveles taZarSi konservatoriis studenturi mgalobelTa gundi daayena, romlebmac Zveli qarTuli tradiciuli sagaloblebi daubruna eklesias. ra Tqma unda, es iyo Cveni cxovrebis mxolod erTi segmenti, sadac imdroindeli axalgazrdoba mondomebiT amzadebda im myar sayrdenebs, romelsac momavali saxelmwifoebrioba unda dahyrdnoboda...

the folk redaction was created during those years), what Edisher Garakanidze was offering the audience was much more than simple folk songs or dances.

The fact that such a critical analysis and the wish to conduct genuine research weren’t an unrealistic and pointless act from our side would be confirmed. We consider writer Nugzar Shataidze’s ‘The Bread Story’ and director Soso Chkhaidze’s multi-episode TV film ‘Tushetian Shepherd’ to be successful attempts at this research process. It is unfortunate that the tendency to look for these kinds of values didn’t continue and that, as a reflection of the activation of political processes, more importance was given to pseudo-values again.

I would add that it was precisely through Edisher Garakanidze’s power of will and advice that in 1988, Patriarch Ilia II introduced a choir of student chant singers from the Conservatoire at the Anchiskhati Church, who have returned old Georgian traditional chants to the Church.

Naturally, this was only one segment of our lives during which the youth of the time were preparing, with much determination, to establish the foundations for our future republic.

(gagrZeleba iqneba) (To be сontinued)

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sityvisa da ferweris erTianoba (gaston buaCiZe niko firosmanis mxatvrobaze)

The union of words and painting (Gaston Bouatchidzé about Niko Pirosmani’s paintings)

samyaros mravalferovan formasa da Sinaarss Semoqmedi adamianebi sxvadasxvagvarad gamoxataven da gadmoscemen. ferebiT asaxuli Tu sityviT gardasaxuli TiTqmis erTnairad STambeWdavia, magram roca literatori da mxatvari ikveTebian, roca literatoris aRqmul mxatvris ferweras mivadevnebT Tvals, am dros ferisa da sityvis Serwyma da samyaros dafaruli Sreebis Secnoba xdeba. qarTvel mxatvarTa Semoqmedebas mimoixilavs gaston buaCiZis trilogia, `sadRegrZelo TevziT~, romlis pirveli wignia ,,firosmani anu irmis ganavardeba“. wigni Tavebad da Temebadaa dayofili. aq aris qalaqis suraTebi da personaJebi Sesabamisi kolorebiTa da ganwyobiT, sofeli Tavisi mravalferovnebiT, alaznis velis xedebiTa da SoTis puris surneliT. aq aris buneba Tavisi Semadgeneli komponentebiT, cxovelTa da mcenareTa TanaarsebobiT. aq mTeli samyaros harmoniaa daxatuli poetur-lirikul-ferweruli StrixebiT. gaston buaCiZis mier, mxatvris tiloebis mixedviT, sityvebiT Seqmnili da literaturuli formiT gadmocemuli firosmanis naxatebi; yoveli niuansis wvdoma da zedmiwevniT SemCneuli da gamokveTili detalebi, dafarulis Zieba da kvleva, ase exmianeba is firosmanis ferwerul samyaros. gaston buaCiZis wigni firosmanis Semoqmedebaze, `firosmani anu irmis ganavardeba~, pirvelad 1981 wels rusulad gamoica TbilisSi, 2018 wels ki gamomcemloba `kuafarma~ franguli versia (Pirosmani ou la promenade du cerf) gamosca safrangeTSi. gaston buaCiZe Zalian wuxda, rom ar arsebobda wignis qarTuli versia. JurnalSi warmodgenili publikacia pirveli mcdelobaa wignis calkeuli Tavebis qarTulad Targmnisa. Targmani Sesrulebulia franguli enidan. mTargmnelisgan

Various artists represent and convey the diversity of forms in our world in different ways. Rendered in colors or portrayed in words, art can be almost equally impressive, but when the roads of a man of letters and of a painter meet, when we look at the paintings of an artist through the eyes of a man of letters, then there is a blend of words and colors, and one gets to experience the concealed layers of our world.

The works of Georgian artists are reviewed in Gaston Bouatchidzé’s trilogy ‘A Toast with a Fish’, the first volume of which is called ‘Pirosmani or the Stroll of the Deer’.

The book is divided into chapters and themes. It contains pictures of the city and its characters, with their relevant colors and atmosphere, of the village with its diversity, views of the Alazani valley, and the scent of Georgian “shoti” bread.

Here, you can see nature with all of its components – animals and plants existing side by side. The harmony of the whole world is painted here with poetic, lyrical, and artistic traits.

Pirosmani’s paintings are conveyed through words and a literary form

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cisferze mSvenierebasTan Serwymuli cis lurji feri Tan axlavs irmis ganavardebas. mSveniereba da gracia erTmaneTs erTvis. Sav ferTan kontrasts qmnis TeTri, romelic ufro meti s i T e T r i T gamoirCeva vidre bunebaSia. aq Cans amaRlebulisa da wmindas miniSneba. TeTrTan erTad cisfers silbo Semoaqvs, sasiamovno ganwyobas matebs mas da erwymis kidec. ase Cndeba zecis orgvari saxeba: muqi lurji da laJvardisferi lurji. am ukanasknelma TiTqos Wiqa TeTri Sesvao. silbo, silbo kvlav da usasrulod... wiTlis, TeTris, yviTlis, yavisfris siaxloves lurji

created by Gaston Bouatchidzé according to the painter’s works; it is by touching every nuance and thoroughly examining details, by looking for and studying what is concealed, that he echoes Pirosmani’s painting realm.

Gaston Bouatchidzé’s book about Pirosmani’s works, ‘Pirosmani or the Stroll of the Deer’, was first published in Tbilisi in 1981 in the Russian language; in 2018, the publishing house ‘Coiffard’ published its French version (Pirosmani ou la promenade du cerf ) in France.

Gaston Bouatchidzé was very sad that there was no Georgian version of the book. This article will be the first attempt at translating excerpts from two chapters of the book into Georgian. The translation was made from the French language.

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Note from the author

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gansazRvravs maTs wonas, TiTqos sasworis pinaze ariano, ferebi am dros iZenen met gamomsaxvelobas. `qali yvavilebiT da qolgiT“. naxatze qalis qvedakaba lurjia. qvedakabis lurji elamuneba zeda samosis wiTels. qsovilis ori ZiriTadi feri da orive gamokveTili, bluzis muqi da Savi feris nawilebiT gamoyofili. wiTeli sivrce kargad ikveTeba Sav fonze da TvalSi gvxvdeba. lurji ki gadadis Riadan muqSi da nelnela iZireba SavSi. aq sinaTlis wyaro ucnobia, funji Tavad anaTebs kompozicias. marcxnidan wamosuli sxivi qalis bolokabas evleba, bluzas ki zemodan ecema sinaTle. iisferi da TeTri qvedakabis mousvenar nakecebs afrialeben da asxiveben nakecTa konturebs moiisfro-lurjad. lurjs didi datvirTva aqvs aq, is erTmaneTTan axamebs wiTelsa Savs. cis feri sxivebi Semoxvevia TeTr iasamnebs, es

Of Blue The stroll of the deer is accompanied by the blue color of the sky, which blends with its beauty. Beauty and grace combine. The black color is contrasted by the white, which is more white than the white found in nature. Here, one can see a suggestion of the sublime and the sacred. Together with the white, the blue introduces softness and adds a pleasant atmosphere to it while also blending in. This is how two representations of the sky appear: dark blue and bright blue. The latter seems to have drunk a glass of white. Softness, softness again and forever...

Bordering red, white, yellow, and brown, blue puts them on the scale, and each color weighs its essence.

Blue colors the skirt of the ‘Lady with Lilacs and Parasol’. The blue of the skirt caresses the red of the blouse. Two colors working together,

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amsubuqebs sruliad sawinaaRmdego Sav fers. kontrastebis ostatma kargad icis niuansebiT TamaSi. Cndeba iasamani da is asrulebs kontrastebis mTel wyebas.

TeTr fersa da Savs Soris lurjic Tan axlavs `orTaWalis turfas~ gamoCenas. qals Tavi udevs or baliSze, TeTrze da lurjze. qvemoTa lurji moqceulia Sav fonsa da zemoTa TeTr baliSs Sua. qvemoTa erTaderTi lurji Seferilobaa aq. gabeduli arCevania. amasTanave, baliSis lurji feri airekleba kabis TeTr ferze da qalis sxeulze. kabis

each placing their word Confronted with the thrusts of the shaded and black parts of the blouse, the red spot stands out from the black background and welcomes us. The blue spot, changing from light to dark, slowly dips into darkness.

Without a precise source of light, the brush alone illuminates the compositions. Starting from the left, a ray sets the lady’s skirt ablaze, letting the blouse light up from above. Violet and white make the loquacious folds of the skirt run in swells and emit a teasing violetblue line.

As long as it’s done, blue reconciles red and black. In the middle, the sky-blue stripes embrace the white lilacs and attenuate their opposition to black.

The master of contrasts also knows how to play with nuances. The shade of lilac emerges from a well-tried repertoire of contrasts.

Between white and black, blue chaperones the appearance of a beauty from Ortachala. The woman lays her head on two pillows, one white and one blue. Lower down, the blue cushion comes between the black background and the upper white cushion. The lower cushion boasts a unique blue spot. A deliberate choice. Secondly, the blue of the cushion is reflected on the white of the dress and the female body. The parts of the dress modeled by the bluish shade contrast to a lesser extent with the black background than the parts left white.

‘Wheat threshing’ is done in torrid yellow tones. An accomplice of white and blue only touches the woven barn where the products are kept in the shade and in freshness. Blue and freshness are twins.

Sometimes the brush calls for a deliberate or gratuitous blue.

Painted on tin, the blue cut of the sausage in the still life testifies to this. Blue and white turn their backs on brown. The fish appropriates a functional blue. Yes! The blue cut of the sausage shows how little Pirosmani takes account of superficial verisimilitude, offered as food to the visceral truth of things.

Under the fan of the ‘Beauty of Ortachala’, the blue skirt brushes against a white blouse. Blue and red elsewhere, blue and white here, on a black background. If the color of the blouse changes from red to white, the blue of the skirt does not move. Much more than a blue skirt, we imagine the artist holding on to a big blue spot at the bottom of the painting. This mainstay of the color distribution makes it possible to juxtapose the cold blue of the skirt with the carnal pink tones of the face and the fan.

It happens that saturated blue supplants the black of the background. In that case, the blue attenuates the tension and offers the viewer a dense atmosphere.

The Stroll of the Deer The rosebushes bristle with yellow plumage between the deer and the tree trunks. In the distance, the icy caps of the mountains melt into the azure sky.

The tree, the deer’s behind, and its muzzle were cut into three

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mocisfro CrdilebiT damuSavebuli nawilebi Sesabamis kontrasts qmnis Sav ferTan iseve, rogorc TeTrad datovebuli monakveTebi. `kalos lewva“ gadawyvetilia mkveTri yviTeli tonebiT. TeTrTan SexamebiT lurji mxolod mownuli kalos fardulze Cndeba. aq mosavals inaxaven CrdilSi da sigrileSi. lurji da sigrile tyupebiviT ganuyofelia. funji xSirad gamoixmobs Tamam da umizezo lurjs.

Tunuqis fonze daxatuli naturmortis Zexvis lurji zoli amis dasturia. lurji da TeTri zurgs aqceven yavisfers. Tevzi funqcionalur lurjs iferebs. Zexvis lurji naWrevi gviCvenebs, rogor naklebad iTvaliswinebs firosmani garegan msgavsebas da sagnebs gvTavazobs Sinagani msgavsebiT. `orTaWalis turfa~. misi maraos qvemoT Txeli lurji qvedakaba anazebs TeTr bluzas. aqeT lurji da wiTeli ferebia, iqiT lurji da TeTri, foni ki mTlianad Savia.

Tu bluzis ferebi gadadis wiTlidan TeTrSi, qvedabolos lurji feri myaria. qvedabolos lurjze metad Cvens yuradRebas ipyrobs naxatis qvemoT arsebuli didi lurji nawili. ferTa aseTi gadanawileba sayrdeniviTaa da saSualebas iZleva erTad ganlagdes qvedabolos civi lurji da saxisa da maraos Tbili vardisferi tonebi.

Warbi lurji jabnis Sav fons, misi siaxlove amcirebs Savis simkveTres da mnaxvelis Tvals mSvid atmosferos sTavazobs.

irmis ganavardeba vardis buCqebi moyviTalo foTlebad gadaSlilan iremsa da xeTa varjebs Soris. Sors mTebis yinulovani Tavsaburebi cis laJvards erTvian. irmisa da misi drunCis ukan xea, sam ovalur nawilad gadaWrili. iremi Tavis TavSi moicavs mcenarisa da cxovelis pulsacias. misi sxeuli da fexebi TiTqos xisganaa gamokveTili da xis varjiviTa da totebiviTaa aRmarTuli, TiTqos qerqi aqvs garSemokruli. namdvili qerqi, lurjiT Seferili yviTeli, yavisferSi gardamavali.

Cans, cota xnis win iremi moswyda dedas da mamas, amitom unda gvecodebodes, Tumca norC cxovels ra Tavisuflad aRumarTavs rqebi. mzis CaxCaxa oqrosferi xidan xes efineba. zRvis moqcevisas talRa rom moitans, ase gadahkvria TeTri irmis sxeulsa da mucels, konturiviT moevleba zurgs da kuds da CamoeSveba fexebze, sadac sivrcis nawili Savi da muqi yavisferia. xis varjis gadanaWrebs mze dedobrivi instinqtiT aTbobs, mwveli da moalerse siTboTi. iremi uZravad dgas moWril xesTan, rogorc patara bavSvi dedis win. irems meore sunTqva exsneba da tyidan gamodis,

ovals. The deer brings together in him the impulses of a plant and an animal. Its body and its legs, stiffened like wood, stand up like tree trunks and branches and are covered with bark. Now the real bark, bluish yellow, pours out in a brown stream.

Recently, the deer had to break the umbilical link that attached it to the stump. It’s a pity. But the youth’s horns grow freely. The

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mcenareebi ki mianiSnebs mis kavSirs tyeebTan ise, rogorc yvavils aqvs RerosTan. cxoveli SeigrZnobs siaxloves florasTan. am dauokebel srbolaSi iremi ver swydeba mcenareTa sigriles, miwidan da haeridan isrutavs xeebis, yvavilebisa da buCqebis wvens, mooqrosfro balaxis alerss, fexqveS rom aqvs gafenili sqel, fafuk

superheated gold of the sun squirts from the stump onto the trunk of the tree. Carried by the wave of the rising tide, the white coats the body of the deer and its belly. Dotted contouring the back and tail, sliding on the legs. Before giving in to black and dark brown for the rest of the route.

The sun heats the remnants of the tree trunk with maternal instinct,

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xaliCad. ebRauWeba miwas da CliqebiT esoba mis molivlive zedapirs. nazi, farTo foTlebi irxeva tyis piras. irmis lamazi rqebi azidula totebis msgavsad. misi cxviri kongenialuri filtriviTaa, TiTqos ganarCevs da mxolod maTrobela surnels isrutavs, drunCze movlebuli TeTri fenidan movlenils. irmis farTod gaRebuli gugebi, TeTri, gakvirvebis gamomxatveli, uferuli rkalebiT Semovlebuli. didebuli yurebi daucqvetavs, zemoTaa aweuli egzotikuri mcenareebisgan mocilebiT, mcire faCunic esmis. Savi xazi amkveTrebs misi yurebis niJarebis sinazes. muqi konturi gamokveTs siTeTres da icavs kidec.

Savi feri mSvenierebas CarCosaviT evleba. muq ferebSi Cabneula tilos margalitebi. irmis drunCs efrqveva bzinvare wylis cvarebi. farTod gaxelil Tvalebs ori TeTri talRa evleba. dinamikas ubiwo TeTri feri SaravandediT mosavs da ufro aZlierebs. irmis ukve wamozrdili rqebi, Tavs zemoTaa aRmarTuli, acqvetili, aweuli yurebic sivrcisken mimarTavs mas. gaSlili rqebi sapirispiro pasuxs aZlevs irmis fexebis formas, balaxebSi rom Caflulan. balaxi faravs Cliqebs da xarobs, iremi rom exeba. miwasTan Sezrdili iremi Tan mSvidad caTa sivrces SeisunTqavs da ase eziareba uzenaes harmonias. amaRlebas irCevs. bunebac misi Tanmxlebia. mis ukan wamomarTula ori xis varji. sadRac qvemoT isini erTdebian, Tumca foTolTa morevi maT ukve kravs erTmaneTisken aSkara svlisas. miwa aerTianebs yvelafers _ balaxs, buCqebs, foTlovans, xeebsa da irems, sxivTa macocxlebeli Zala rom aTbobT. mzis sinaTle _ Semodgomis mwife ferebi _ yavisferi, yviTeli, mwvane, ealersebian balaxs da mis sixasxases gamokveTen, buCqi TiTqos vaziao, yurZnis marcvlebiT datvirTuli, an gadawolili mwife xorbliT savse mindori. foTlebi irxeva buCqze da TiTqos futkrebi bzuiano.

Wreli foTlovani, mwvane foTlebi gulaxdilad maslaaToben yviTlebTan da yavisfrebs exebian. vardis fergadasuli furclebi moSorebiT moCanan da martoobis Suqs asxiveben. dila gaJRenTilia ferebiT da Seyvarebulia maTs mokrZalebul sicelqeze. buCqebis aCqarebuli tempi harmoniul nakadad efrqveva xeebisa da jirkebis gaSiSvlebul sxeuls. orive nedldeba, maTi axalgazrdoba axal furcels Slis da maradiuli simSvidiT tkbebian norCi wamonazardebiT. es Tavbrudamxvevi xilva kontrastul suraTs qmnis laJvardis TeTr arSiasTan. mxatvris funji uCveulo niuansebiT xatavs zecis samoss, xeebis, irmisa da buCqebis naTel-muq ferebs rom axaverdebs. unda iTqvas, rom irems kargad SeurCevia

both bestowing and consuming heat. The deer stops near the cut tree, like a kid in front of his mother.

The deer finds a second wind and deforests. Access to the vegetable state attaches it to the forests like a flower to its stem. The animal feels a strong kinship with the flora. The incandescent currents of the deer do not reject the vegetable freshness and absorb through the earth and the air the juice of the trees, the flowers, the bushes, and the caress of the golden grass that it is given to tread on while advancing on the thick, soft rug stretched out at his feet. Clinging to the ground, his hooves penetrate this undulating stratum.

Large, tender leaves scatter on the edge of the wood. The gentle horns of the deer are stiff, imitating the contortions of the branches.

The deer smells the smells. Its nose has a congenital filter that sorts and retains only the intoxicating scents that twirl beyond the white layer bordering the muzzle.

Breastfed with white astonishment, the deer’s pupils are wide open.

Pale detours hem them. The deer lends its splendid ears, erect and spread apart in exotic plants, at the slightest rustle. A black streak bites into the tender shells of its ears. The dark outline sorts out the whiteness and protects it.

Black frames the beauty. The darkness shelters the pearls of the oilcloths.

Sparkling jets of water bathe the deer’s muzzle. Two white waves run through the wide-open eyes. Immaculate white highlights the movement and gives it strength. The stag’s pubescent horns unfold above its head. His spread ears echo the bipolar line and project it into space.

The extent of the horns responds in the opposite direction to the shape of the deer’s legs, which plunge into the grass. Covering the hooves, the grass swirls, rejoicing in the touching footsteps of the deer.

Penetrating the ground and aspiring to the imperturbable space of the heavens, the deer achieves supreme harmony. Choosing elevation.

Nature accompanies it. Two tree trunks call out to each other behind the deer. Somewhere below, they come together, but the swirl of the leaves already brings them together on their visible course.

The earth and what is attached to it – the grass, the bush, the leaves strewn on the ground, the trunk of the tree, and the stump – are warmed by the life-giving heat of the rays. Solar clarity – from the ripe color of autumn to brown, yellow, and green overtones – caresses and enhances the grass, the bushy bush mimicking a vine laden with bunches of grapes or a flooded field of ripe wheat, the latter inclined.

The foliage enlivens the bush with the hum of a swarm of bees.

Multicolored foliage: green leaves chat with frankly yellow ones and feel the brown ones. Pale rose petals pose at a distance and dart their solitary sparkles. The morning absorbs the colors and loves their mischievous roundness.

The hasty movement of the bush pours in a harmonious flow over the bare bark of the tree and the stump. Both are getting old, and with their youth turning the page, they never tire of calmly admiring the new shoots.

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navardis dro, TiTqos gaiTvaliswinao Jami formaTa srulyofilebisa, mxatvruli teqnikisa da STagonebis gardauvali Zalisa. aseTi wuTebis moxelTebisas mefurad flob SemoqmedebiTi procesis jaWvs, rogorc arwivi gadafrenisas mTaTa mwvervalebs ganagebs xolme. siTeTre aqa-iqaa Sereuli da laJvardSi ikveTeba, is aris sawyisi myinvarebisa da moqufruli Rrublebisa. mTeli zecis gamWvirvaloba da siwminde sicocxlis Casaxvaa da xiluli xdeba siTboc da sinorCec. cis sivrce mkvrivdeba, erT sxeulad iqceva, aSkarad mieltvis sxeulebriv mdgomareobasa da sicxades. giwvevT, rom xeliT SeexoT, SeigrZnoT namis sigrile, SeisrutoT momdinare surneli lurji sivrcisa, romelic iswrafvis miwasTan, balaxTan, buCqTan, vardebTan, irmis sxeulTan, mis rqebTan da mosasmenad gamzadebul yurebTan Sesaxvedrad. tyis fauna ar Cans, ganadgurebulia da iremic samiznesaviTaa. igi mcenareul sakvebs sjerdeba da, albaT, erCia moeklaT mcenareebTan erTad. msxverpli da nadavlia, eSinia arsebobisa, aRar surs fiqri gamudmebul agresiaze, orfexa arsebebze, mtacebel frinvelebze, romlebic sul mis devnaSi arian, arsebobisa da sunTqvis uflebas ar aZleven, man SiSTan erTad sxeuliT unda SeigrZnos gakvirveba, romelsac adamianebisa Tu masze monadire gareuli cxovelebis Zaladoba iwvevs. mxatvars rom devnili iremi gamoesaxa, gakvirvebaze metad SiSi rom Candes, naxati aRar migvizidavda da mdare, destruqciuli elementis momcveli iqneboda. sanavardod gamosuli iremi ki mSvidia. amjerad arc saWmelze fiqrobs, SeuZlia Cagvrac daiviwyos, wynarad iyos wamomarTuli. iremi Tavis sxeulSi SiSs ukuagdebs da gaxsnilia samyaros mimarT. gadarCenis instinqtis gareSe avlens is sicocxlesTan kavSirs. cxoveli mTeli sisavsiT sazrdoobs mSvenierebis momxiblavi suraTiT da irgvliv arsebuli mravalferovnebiT. roca Sors rCeba Cliqebis xma, ZaRlebis yefa da gareuli cxovelebis Rriali, iremi Tavs nebas aZlevs gaixaros da usminos bunebis idumal xmebs, siCumes. nuTu SemTxveviT SeCerda mxatvris mzera norCi irmis navardze, ase rom anebivrebs deda buneba da mama _ mze? wynari dilis SuqSi araferi Crdilavs saganTa daxvewilobas oTxfexas seirnobisas. siqaTqaTiT da sinorCiT gamsWvaluli misi klaknili rqebi, dacqvetili yurebi, farTod gaxelili Tvalebi erwymis xelovanis marad axalgazrdul mzeras, romelic samyaroskenaa mimarTuli. aqaa ganuzomeli gulwrfeloba da usazRvro Tavisufleba, iremi firosmanis sxva tiloebzec agrZelebs navards.

Targmna qeTevan kokozaSvilma

The whirlwind can be deciphered in contrast against the white tails of the azure sky.

The artist’s brush shades the dress of the sky more than usual, refining the chiaroscuro of the trees, the deer, and the bush. Does this mean that the deer chooses the time of his walk well, taking into account the happy moment of mastery of forms, the development of artistic technique, and the irresistible momentum of inspiration?

The impact of such moments exerts a royal mastery over the chain of creations, just as the flight of the eagle dominates the peaks of the mountains.

The debris of whiteness is diluted here and there and settles back into the azure, giving rise to glaciers and nebulous clouds. The transparent purity of the sky completes the gestation of life and shows warmth and coolness. The magnitude of the sky condenses, reifies, and aspires to a down-to-earth and palpable state. You are invited to touch it with your hand, to feel the freshness of the dew, and to smell the fleeting odor of the blue space that goes to meet the earth, the grass, the bush, the roses, the deer’s body, horns, and listening ears.

The fauna of the forest is divided between carnivores and devourers, and the deer feels targeted. Contenting himself with vegetable food, he would like to merge with plants. Victim and trophy, fearing for its existence, the deer can’t believe the permanent aggressiveness of the bipeds and the birds of prey that never stop persecuting it, calling into question even its right to exist and to breathe. In his flesh, he must feel at the same time fright and astonishment caused by the violence of man and of the wild animals that hunt him.

If the artist had depicted the persecuted deer with fear outweighing astonishment, the painting would have contained a repulsive, vile, and destructive element. Out for a walk, the deer is serene. For once, without having to worry about the grub, he can forget the bullying. Appeased, the deer straightens up.

In his skin, the deer rejects apprehensions and asserts himself as open to the essence of the world. Beyond the instinct of selfpreservation, the deer consummates its union with life; in its fullness, the ruminant feeds the image of the beauty and richness of being with Dazzling. When the sound of hooves, the barking of dogs, and the roar of wild animals recede, the deer gives himself the joy of listening to the mysterious sounds of Nature, the messages of Silence.

Is it by chance that the artist casts his gaze on the promenade of a child deer, pampered by mother nature and dad sun? Under the light of a peaceful morning, nothing obscures the perception of things by the quadruped stroller. Sustained with freshness and whiteness, his growing horns, his erect ears, and his wide-open eyes join the eternally young gaze cast by the artist on the world.

Benefiting from total frankness and unlimited freedom, the deer begins his walk through the works of Pirosmani and presages the impartiality of the discoveries of his brush.

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kampania mobrZandiT; muyao, zeTi; 96.5X70.5

COMPANY VISIT; OIL, CARDBOARD; 96.5X70.5 CM

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nato korsantia

bedi ubixebisa

„udroo dros aCqarebuli da udroo dros Seferxebuli xalxisa~...

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Nato Korsantia

THE FATE OF UBYKHS

“Of untimely hastened and untimely hindered people”…

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„samSoblos damkargveli yvelafers kargavs~, _ es afxazuri andazaa, romelic afxazi mwerlis bagrat Sinkubas romans „ukanaskneli ubixi~ epigrafad aqvs wamZRvarebuli. aw gadaSenebuli ubixebis TavisuflebisTvis brZolis istoria mwerals wlebis ganmavlobaSi sagangebod Seuswavlia da am romanSi gaucocxlebia. „ukanaskneli ubixi~ gasuli saukunis 80-ian wlebSi qarTul enaze SesaniSnavad Targmna Tamar CijavaZem, poet SoTa niSnianiZis meuRlem, romelic Jurnal „mnaTobSi~ gagrZelebebiT daibeWda. romans mkiTxvelTa interesi im droidanve daebeda da miuxedavad imisa, rom TbilisSi sakmaod soliduri tiraJiT ramdenjerme gamoica, amJamad mainc bibliografiuli iSviaTobaa. bagrat Sinkubas romani „ukanaskneli ubixi~ ubixebis pirisagan miwisa aRgvis istoriaze mogviTxrobs. xalxisa,

“One who loses one’s homeland loses everything.” This is an Abkhazian saying that was used as an epigraph by Abkhazian writer Bagrat Shinkuba for his novel ‘The Last of the Ubykh’. The writer had studied the history of the now-extinct Ubykhs’ battle for freedom for years and transmitted his findings in this book.

‘The Last of the Ubykh’ was wonderfully translated into Georgian in the 1980s by Tamar Chijavadze, wife of poet Shota Nishnianidze, and was published over several editions of the newspaper ‘Mnatoba’. The novel attracted readers’ interest right away, and despite the fact that many copies were published several times in Tbilisi, it has become a bit of a bibliographic rarity nowadays.

Bagrat Shinkuba’s novel ‘The Last of the Ubykh’ tells the story, through an Ubykh perspective, of how this nation was wiped from the face of the earth. A nation that dwelled in the Caucasus, on the shore of the Black Sea, between the rivers Shakhe and Khosta, until the 1860s.

After the Russian Empire conquered the North Caucasus (1763–

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romelic XIX saukunis 60-ian wlebamde kavkasiaSi, Savi zRvis sanapiroze, mdinareebs _ Saxesa da xostas Soris cxovrobdnen. ruseTis imperiis mier CrdiloeT kavkasiis xalxebis dapyrobis (1763-1864) Semdeg, yvelaze Seupovari da daumorCilebeli ubixebis jeric dadga. „kavkasiis omis dasasruls, rodesac ubixebis Seurigebel opozicias waawyda, mefis mTavrobam maT beladebs ori mkacri arCevani SesTavaza: daetovebinaT mTebi da dasaxlebuliyvnen Crdilo-dasavleT dablobze, an TurqeTSi gadasaxlebuliyvnen~, _ wers bagrat Sinkuba da iqve dasZens, rom „ubixebis arCevani SorsmWvreteluri ar aRmoCnda~, 1864 wels isini deda-budianad aiyarnen da TurqeTSi gadasaxldnen. ubixebi axlo aRmosavleTis qveynebSi ise daifantnen, „rogorc qariSxals gadarCenili, qancgawyvetili frinvelebi~. mere ki sul raRac erTi saukune aRmoCnda sakmarisi, rom erTianad gamqraliyvnen. ubixuri enac mxolod TiToorola kacis mexsierebas SemorCa. Cvens mravalferovan samyaros kidev erTi feri daaklda da kidev erTi TviTmyofadi feriT gaRaribda. vidre bagrat Sinkuba ubixebze romanis daweras Seudgeboda, rogorc Tavad aRniSnavda, manamde kargad gacnobia am xalxis cxovrebasa da TavisuflebisaTvis brZolis gzas, raTa maTi „tragikuli istoriis SeswavlaSi arsebuli xarvezebi~ amoevso.

1864), the time of the most inaccessible and indomitable Ubykh came too.

“At the end of the Caucasian war, when the Ubykh were faced with unsurmountable opposition, the Emperor’s court offered a harsh choice to their leaders: either they had to leave the mountains and settle in the northwestern plains, or be exiled in Turkey” – Bagrat Shinkuba writes, adding that “the Ubykh’s choice didn’t turn out farsighted”, as in 1864, they moved to Turkey with their whole families.

The Ubykh got scattered in Eastern European countries “like exhausted birds that had survived a storm.”

And it only took about a century for them to disappear completely.

The Ubykh language was kept alive only in the memories of a handful of people. Our multicolored world has lost another color.

As he stated himself, before starting to write a novel about the fate of the Ubykh, Bagrat Shinkuba got well acquainted with this people’s lives and battle for freedom so that he could “fill the existing gaps in the study of their tragic history.”

It is worth noting that the writer interested in the history of the Ubykh was himself an Abkhaz, living next to them and related to them through pain, as he was the “child of a long-suffering people that experienced a past similar to that of the Ubykh”. “Oh, Muhajirism, Muhajirism!..., Bagrat Shinkuba writes, this cursed word has ravaged Abkhazia three times. When our elders debate a matter of the past, one of them states that it took place during the first Muhajirism period, and another says that it happened during the second Muhajirism. If you ask my father when he was born, he would answer with certainty: in the second year of the third Muhajirism period.” For

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niSandoblivia, rom ubixebis istoriiT afxazi mwerali dainteresda, maT mezoblad mcxovrebi da ZiZiSvilobiT SekavSirebuli, „ubixebis msgavsi warsulis mqone mravaltanjuli xalxis Svili~. „o, es muhajiroba, muhajiroba!.., _ wers bagrat Sinkuba, _ am wyeulma sityvam samjer gaatiala afxazeTi. roca Cveni moxucebi warsulis rame sakiTxze kamaToben, erTi amtkicebs, es pirveli muhajirobis dros iyoo, meore amtkicebs _ meore muhajirobis droso. mamaCems lumans rom hkiTxo, rodis daibadeo, usaTuod gipasuxebs, mesame muhajirobis meore welso~... bagrat Sinkubas Tanamedrove moxucebisTvis dro „muhajirobis droiT~ aiTvleba. ...soflis maswavlebels, afxaz qarCei barCans mweralTan moaqvs ufrosi mamidis zandukSi 31 wlis ganmavlobaSi gamoketili, omis dawyebamde „uabzacod naweri~ romani „ukanaskneli ubixi“, romelic mwerlis TqmiT, „dRemde ar moZvelebula“... mwerals, ubixebis TiTqmis dakargul kvalzec, afxazi Sarax qvaZba dauyenebia. is leningradSi, akademikos niko maris mowafe iyo da kavkasiuri enebis Crdilo-dasavlur jgufs, maT Soris ubixurs swavlobda.

Sarax qvaZbam kavkasiidan aTwleulebis winaT sxva xalxebTan erTad gasaxlebuli ubixebis ukanasknel warmomadgenels _ 100 wlis zauryan zolaks, bevri Zebnis Semdeg, TurqeTis erT-erT sofelSi miakvlia. vin moTvlis, sad da rogor aTria cxovrebam saukunes miRweuli ubixi, romelic ukanasknel dReebs iTvlis. sadacaa masTan erTad sabolood Caesveneba ubixebis mze, dadumdeba ubixuri ena da daixureba maTi gmiruli da amasTanave, tanjuli istoriis bolo furceli. magram... vidre es moxdebodes, ukanasknelma ubixma Tavisi ukanaskneli misia unda Seasrulos da Soreuli afxazeTidan Camosul, axla ukve misTvis yvelaze axlobel adamians, dawvrilebiT mouTxros ubixebis mier gavlili tragikuli cxovrebis ambavi. mwvaneSi Cafluli amayi mTebisa da wyaluxvi mdinareebis samyarodan _ mtvrian, gamofitul, uwylo, meCxeri xeebiT

the elders who were contemporary with Bagrat Shinkuba, time was perceived in relation to “Muhajirism periods”.

Abkhaz village teacher Karchei Barchan brings the writer a book that had been kept for 31 years in the box of his aunt, one written “without paragraphs” before the war: “The Last of the Ubykh.” As the writer says, “It didn’t get old.”

The writer has also taken Abkhaz Sharakh Kvadzba on the nearly lost trail of the Ubykh. The latter was a student of academician Niko Marr in Leningrad, and he was studying Northwestern Caucasian languages, including Ubykh.

After a long search, Sharakh Kvadzba managed to find the last Ubykh representative, centenarian Zaurkan Zolak, among Caucasians who had been exiled decades before, in a Turkish village.

Who could recount where and how life has dragged the centenarian Ubykh, who is now counting his last days? Soon enough, the Ubykh Sun will disappear with him, the Ubykh language will be silenced, and the last page of their heroic yet dramatic history will have been read.

But… Before this happens, the last Ubykh has to fulfill his last mission and recount in detail the tragic road walked by the Ubykh to his already close Abkhazian scholar.

The Ubykh were forced to emigrate from proud and lavishly green mountains and a land full of rivers to a dusty, desert land with a few scattered trees here and there.

“Did the Ubykh really exchange their mountains for this? Do their bones really lie in this place?”, surprized Sharakh Kvadzba asks himself.

But he knows very well that they did not decide to leave Ubykhia against their will and that they didn’t choose their new land either.

Sometimes, Zaurkan Zolak becomes so angry that he doesn’t want to see anybody, as blacksmith Biram tells Sharakh. And his dog seems to have been contaminated with it too, as he barks so vehemently to unannounced guests that one would think that it is “not a dog, but some ancient plague that is barking.” … The plague that was delivered to the Ubykh.

Zaurkan Zolak appears at the threshold of his home – a goodlooking old man with a beard coming down his chest, with sky-blue, unfading eyes, and a face marked by deep wrinkles, the latter hiding his tragic story and sorrow.

The last Ubykh cannot hide his joy from seeing this unexpected guest coming from faraway Abkhazia, from his Caucasian motherland.

As a sign of respect, he welcomes him with a Caucasian chokha (traditional male dress), a large papakha, and a sheathed silver belt and dagger.

Then he goes in the yard to blow with all his strength on a brass bugle, one that was given to him by the most venerable Ubykh, as his ancestors would do back home when they wanted to express their joy or sorrow or to announce the arrival of a special guest to their neighbors and relatives.

The last Ubykh blew in the bugle, and a “sound that was simultaneously frightening and pitiful, reminding of a beast being wounded”, came out of it. Implacable fate had transformed the bugle’s sound.

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dafarul miwaze gadmosaxlebulan ubixebi. „nuTu amaze gacvales ubixebma TavianTi mTebi? nuTu am miwaSi ganisvenebs maTi Zvlebi?~ _ gakvirvebuli ekiTxeba Sarax qvaZba sakuTar Tavs. Tumca Tavadac kargad icis, rom maT sakuTari nebiT arc ubixeTidan wamosvla gadauwyvetiaT da arc es miwa aurCeviaT. zauryan zolaki xandaxan isea ganrisxebuli, aravis naxva ar undao, _ eubneba Saraxs mWedeli birami. TiTqos patronis ganrisxeba gadaedoo, iseTi amazrzeni xmiT uyefs daupatiJebel stumars maspinZlis ZaRli, gegoneba, „ZaRli ki ara, viRacis ZvelTaZveli ubedureba hyefso~... ubixeTidan adevnebuli ubedureba... karis zRurblze gamoCndeba zauryan zolaki _ warmosadegi moxuci, mkerdze dafenili grZeli wveriT, casaviT lurji, odnavadac gauxunari TvalebiT, Rrma naoWebiT daserili saxiT, naoWebSi Camaluli tragikuli istoriiTa da sevdiT.

“I listen to this sound and ask myself why this bugle doesn’t make more noise, a more pitiful one, so it can make people cry. Why shouldn’t we all take our hats off and be reminded of a people that was wiped out of history?”, says Sharakh Kvadzba, who came to faraway Turkey with a single goal: to research and study, at all costs, what happened to the Ubykh and why they disappeared from our planet.

“The last Ubykh bugle heaves its last cry.” But no one reacts except for the souls of the departed, and only Zaurkan Zolaki can feel them.

“The hundred-year-old, who left the Caucasus when he was 24, remembered not only the Ubykh language but Abkhazian too, the mother tongue of his mother”. And he is now speaking to his Abkhazian guest, who is delighted and stupefied, in perfect Abkhazian. He told him that his mother was Abkhazian, from Tsebelda, and that she was the one who taught him Abkhazian.

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Soreuli afxazeTidan _ deduleTidan Camosuli moulodneli stumris naxviT gamowveul sixaruls ver faravs ukanaskneli ubixi. mis pativsacemad kavkasiuri CoxiT, maRali boxoxiT, vercxlis qarqaSiani qamarxanjliT imoseba. mere yvelaze mxcovani ubixisgan gadmocemuli spilenZis bukiT ezoSi gadis, raTa mTeli Zal-RoniT Caberos, ise, rogorc misi winaprebi samSobloSi akeTebdnen, roca TavianTi sixaruli Tu mwuxareba, an Tundac sapatio stumris wveva undodaT naTesav-mezoblebisTvis emcnoT. ukanasknelma ubixma buks Cabera da gaisma xma „erTsa da imave dros saSiSica da sawyalobelic, daWrili mxecis xmis msgavsi“. ulmobel bedisweras bukis xmac rogor Seucvlia. „vusmen am xmas da vfiqrob, ratom ufro Zlierad ar gahyviris es buki, ufro sawyaloblad, yvela rom aatiros. ratom yvelam ar unda moixados qudi da gaixsenos istorias Cabarebuli xalxi~, _ ambobs Sarax qvaZba, romelic Soreul TurqeTSi erTaderTma mizanma Camoiyvana, radac ar unda daujdes, gamoikvlios da Seiswavlos, ra daemarTaT ubixebs, ratom gaqrnen da gadaSendnen dedamiwis zurgidan. „gahyviris ubixebis ukanaskneli buki“... Tumca mas ukve aravin exmianeba, gardacvlilTa sulebis garda, romelTac mxolod zauryan zolaki amCnevs. „asi wlis moxucs, romelsac 24 wlisas daetovebina kavkasia, ubixuri ki ara, afxazuri enac axsovda, mSobeli dedis ena“. da axla afxaz stumars aRtacebuli da gaognebuli sufTa afxazuriT elaparakeba, deda myavda afxazi, webeldidan, iman maswavla afxazurio. zauryan zolaks ubixebis „ukanaskneli kera~ unTia. am kerasTan miipatiJebs Sarax qvaZbasac da ubixuri Camqrali kerebis tragedias uambobs, rogor ebodiSeboda mamamisi saxlis datovebisas mSobliur keras: „Sen aTbobdi Cems winaprebs, Cems dedas da mamas, mec da Cems SviliSvilebsac Sen gvaTbobdi da mapatie, rom Cagaqreo“. ...Camqrali kerebis sevda ukve egrZnoT ubixeTis soflebis ZaRlebsac da sawyaloblad ymuodnen, itvirTeboda napirs momdgari Turquli gemebi, romlebsac ubixebi aRTqmul qveyanaSi unda waeyvana. midiodnen ubixebi, magram maT umetesobas sulisTvis veraferi moexerxebina, suli Tan ar mihyvebodaT da Sin rCeboda. ...gemebi zRvaSi did xans dayovndnen... SimSilisa da wyurvilisgan, epidemiisgan gatanjuli ubixebis nawilma zRvaSive pova samudamo samyofeli. cocxlad Zlivs gadarCenilebs ki, rogorc aRmoCnda, TurqeTis sanapiroebTan aravin eloda. Sepirebuli keTildReobis nacvlad, maT iq udabnos mwiri da xrioki miwebi argunes, sadac mxrebgaSlili mTebis laRma Svilebma fexi ver moikides. „mcire aziis Savi zRvis sanapiroze trapizonidan stambulamde, yvela sofelSi iyvnen dabanakebuli

The last Ubykh hearth is lit up in Zaurkan Zolak’s house. He invites Sharakh Kvadzba in and tells him about the tragedy of all other Ubykh hearths being extinguished and how his father was apologizing to the hearth of the home where he was born: “You were heating my ancestors, my mother and father, myself, and my grandchildren...

Please forgive me for putting you out”.

The sorrow of extinguished hearths was felt by the dogs of Ubykh villages, and they were howling sadly. Turkish boats were being loaded on the shore, ready to take the Ubykh to the Promised Land.

The Ubykh were leaving, but most of their souls couldn’t leave and stayed in the Caucasian mountains.

The boats were stranded in the sea for some time. Because of hunger, thirst, and epidemics, part of the Ubykh found their resting place in the water. And it turned out that nobody was waiting in Turkey for those who managed to survive. Instead of the good conditions they were promised, they were given arid and barren lands where the children of the mountains could not settle properly.

“Hungry Muhajirs dressed in rags were settled in all villages from the Black Sea shore of Minor Asia, from Trabzon to Istanbul.”

“Apart from Ubykh, there were also Natukhians, Bzhedugians, Shapshugians, and Kabardians.” “Sazian and Akhchipsians, who are both relatives of the Abkhazians”...

Life-threatening cholera, hunger, thirst, weeping, lamentation...

One could hear the delirium of feverishly dying people from all sides.

Decomposing corpses were scattered on the shore.

Once acclaimed as a hero among the Ubykh, Hadji Kerantikh, who didn’t submit to the offer of Russian generals to resettle in Kuban and rallied the Ubykh to decide and move to Turkey, turned out to be a bribed traitor and was now walking around dressed like a Pasha.

“Free the Ubykh, the proud Ubykh! When a boy was born in a family, the joyful father would notify the mountains, the sun, and every neighbor that he had an heir.” And now, their daughters are “sold in harems in Istanbul, Ankara, Trabzon, and other cities.” Men had even less value than women.

The Ubykh were made to battle other nations’ wars and carry others’ burdens several times in order to forget their own. They also started walking the long road back to their true land, but they were always hindered from getting to their destination; some of them were killed, and the rest were sent back from where they were coming, ill with typhus or malaria. This is how the courageous but deceived Ubykh disappeared, always at odds with fate.

For one month and on a daily basis, Zaurkan Zolak recounted the tragic history of the Ubykh to Sharakh Kvadzba. “My good Sharakh, I once wished for the sighs of women to become clouds and travel to our deserted homeland, so they could cry for each extinguished hearth.”

During the farewell, the last Ubykh handed Sharakh Kvadzba his rare silver belt, dagger, and copper bugle for him to bring them back to Abkhazia. It turned out that he himself had gotten them

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SimSilisgan TvalebanTebuli, CamoZonZili muhajirebi~. „...am xalxSi ubixebis garda, naTuxaelebic iyvnen, bJeTuxaelebic, SafsiRebica da yabardoelebic“... „afxazebis monaTesave sazebi da axCifsebi“... momakvdinebeli seni _ qolera, SimSili, wyurvili, tirili, godeba, momakvdavebis sicxiani bodva ismoda yvelgan. sanapiroebze gaxrwnili gvamebi eyara. moRalate sakuTar wiaRSi aRmoCnda. odesRac ubixebis gmirad aRiarebuli haji kerantixi, romelic rusi generlebis winadadebas, yubanSi gadasaxlebuliyvnen, ar daemorCila da xalxic daiyolia, TurqeTis gzas dasdgomodnen, mosyiduli aRmoCnda da axla TviTon faSasaviT Semosili dadioda. „Tavisufali ubixebi, amayi ubixebi! ojaxSi biWi rom daibadeboda, bednieri mama mTebs, mzesa da yvela mezobels atyobinebda, rom memkvidre SeeZina~... axla ki maTi asulebi „stambulis, angoris, trapizonisa da sxva qalaqebis haramxanebSi iyidebodnen“... qalebze bevrad ufro iafad vaJebs afasebdnen. ubixebi sxvis omebSic araerTxel aomes, sxvisi tvirTic araerTxel ahkides, raTa sakuTari daeviwyebinaT. bukma uxmoT da Sinisken mimaval Soreul gzasac araerTxel daadgnen, magram gza yovelTvis mouWres, maTi nawili amoxoces da nawilic, tifiT Tu malariiT daavadebuli, isev ukan miabrunes. ase bedisadmi SeurigeblobaSi amoixocnen mamaci, magram motyuebuli ubixebi... ...zauryan zolaki erTi Tvis ganmavlobaSi yoveldRe uyveboda Sarax qvaZbas ubixebis gulismomkvlel istorias... „ase megona Sarax, qalebis oxvra Rrublebad qceuliyo da zRvaSi micuravda daoblebuli samSoblosaken, raTa cxare cremlebiT daetira TiToeuli Camqrali kera~...

from Kurum Saulah; he said that these objects were carrying the fingerprints of their fate.

“The dagger was crafted during the golden age of the Ubykh nation. It belonged to our forefathers; the ones who held it were brave men. As for the bugle, it was the messenger of the people, the town crier for both joy and sorrow. Even mountains would echo its sounds”.

“In the mountains, this bugle would produce a different sound. The mountains would echo it and give it a bass, while here, heavy clouds were pressing and muting its penetrating sound.”

“Did the bugle’s sound reach the Ubykh?” The author wrote this rhetorical question at the end of his novel. How could the sound reach the deported Ubykh, but why didn’t it reach their oncecomrades in fate and relatives, the Abkhazians? Why didn’t it push them to expose the author of the Muhajirism tragedy and not take it as their main ally?

Even more so after Bagrat Shinkuba, decades later, wrote the novel ‘The Last of the Ubykh’, which could be considered an alternative bugle, as it produced a sound that was supposed to move the hearts and souls of its readers, and remind them about “untimely hastened and untimely hindered” people who were “wiped out of history.” *** Translator Tamar Chidjavadze remembers that Bagrat Shinkuba liked the Georgian edition of ‘The Last of the Ubykh’ a lot. Afterwards, Shota Nishnianidze even expressed his wish to make a movie out of it, but it could not happen at the time.

Perhaps now would be a good time to create a film (probably a fiction) based on this novel, which would show a road that would appear after the tables have turned – and Abkhazians along Georgians.

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damSvidobebisas ki ukanasknelma ubixma Sarax qvaZbas afxazeTSi iSviaTi Zveleburi qamar-xanjali da spilenZis buki gamoatana, romelic misTvis Tavis droze qurum saulahs uanderZebia, am nivTebs Cveni bedis anabeWdi adevso. „xanjali maSin aris gamoWedili, roca ubixebis qveyana yvaoda da didebiT iyo Semosili. is Cveni mama-papaTa naqonia da maTi patronebi namdvili vaJkacebi iyvnen... es buki ki xalxis macne iyo, maTi mwuxarebisa da sixarulis mauwyebeli. mTebic ki imeorebdnen mis xmas“. „mTebSi am buks sxvanairi xma hqonda. iq mTebi exmianebodnen da bans aZlevdnen. aq ki mis momwodebel xmas mZime qeCasaviT awveboda sqeli Rrublebi da xelad gudavda~. „neta miaRwia bukis xmam ubixebamde?’ _ romanis bolos ritorikul kiTxvas svams mwerali. gadaSenebul ubixebamde ra xmas unda mieRwia, magram odesRac maTi bedis moziare

da ZuZumte afxazebamde ratom ver miaRwia, neta? ratom ver STaagona, rom muhajirobis tragediis avtori emxilebina da ara mTavar mekavSired gaexada? miT umetes, rom bagrat Sinkubas, aTwleulebis Semdeg, Tavisi romani „ukanaskneli ubixi~ uqcevia TiTqos bukad da sulisSemZvrelad „auyvirebia~, raTa yvelasTvis gaexsenebina „udroo dros aCqarebuli da udroo dros Seferxebuli~, „istorias Cabarebuli~ xalxi... mTargmneli Tamar CijavaZe igonebs, rom bagrat Sinkubas „ukanaskneli ubixis~ qarTuli gamocema Zalian moswonebia.

Semdeg ki SoTa niSnianiZisTvis misi ekranizaciis survilic gaumJRavnebia, rac maSin ver moxerxda. iqneb, amJamad mainc Seiqmnas am romanis STagonebiT filmi (albaT, mxatvruli), romelic urmis gadabrunebis Semdeg gamoCenil gzas _ qarTvelebTan erTad afxazebsac daanaxebs.

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„yvelaferi Tavidan rom daiwyos, isev is viqnebodi~ mxatvari elene melqaZe

TviTmfrinavi; muyao, Sereuli teqnika; 100X70

AIRPALNE; CARDBOARD, MIXED MEDIA; 100X70

“IF I HAD TO START ALL OVER, I WOULD DO THE SAME” PAINTER ELENE MELKADZE

WeSmariti niWi yovelTvis keTili, gulubryvilo, gulgaxsnili, ampartavnobas sruliad moklebuli bavSviao, _ balzaks uTqvams. samyaro ki imisTvisaa amxela da aseTi idumali, rom mudam bavSviviT gaioco da gixarodes...

“Genuine talent is always kind, naive, and open; it is a child completely free of haughtiness,” Balzac wrote.

As for the world, it is so vast and mysterious precisely to amaze you and make you joyful as a child…

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Her works look exactly like the author’s own smile – they are direct,

1 (31) 2023

saaTi; muyao, Sereuli teqnika. 20X30

CLOCK; CARDBOARD; MIXED MEDIA; 20X30

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Wreli abano; muyao, Sereuli teqnika. 20X30

BATH; CARDBOARD; MIXED MEDIA; 20X30

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karuseli; muyao, Sereuli teqnika. 100X60

misi namuSevrebi tyupiscalebiviT hgvanan avtoris Rimils _ uSualos, bavSvurad laRs, alals da gadamdebs. albaT, Tqvenc `gadagxdomiaT~ elene melqaZis „aTasi wvrilmaniT~ moCiTuli da silaJvardeSi Cabudebuli tiloebi... sworedac rom gadagxdomiaT da ara ginaxavT. iq yvelgan sufTa haeri, ankara wyali da celqi sioa. iq yvela Cvenganis ambavia _ Zveli an axali, sevdiani Tu mxiaruli. yvela maTganSi Cvens Tavs vpoulobT _ momlodines Tu gzaze Semdgars, saxuravze Tu mindorSi, imedgacruebuls Tu aRfrTovanebuls, daRlils an energiiT savses. rac mTavaria, arsad gvtovebs usasrulo, ocnebasaviT firuzisferi ca an zRva. am naxatebSi akinZuli cxovrebiseuli wvrilmanebi ki, Tu kargad davakvirdebiT, msxvilmanze msxvilmania... naxatebi TiTqos CarCoSi ver

CAROUSEL; CARDBOARD; MIXED MEDIA; 100X60

carefree as a child, true, and contagious. You have perhaps already stumbled upon Elene Melkadze’s paintings, with their thousand details and sky-blue backgrounds. They are full of clean air, pure water, and playful breezes. They contain all our stories – old and new, sad and joyful. We find ourselves in all of them: waiting for something, on the road, on a rooftop, or in a field, disappointed or amazed, tired or full of energy. Most importantly, we are never far from an infinite, dreamlike blue sky or sea. As for the everyday life details in the paintings, if you look at them closely, they are not mundane details at all – on the contrary... It seems that the paintings do not fit in their frames, that they want to come out and spread their love into our everyday lives.

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“If my life were one large painting, it would probably contain so

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zamTari; muyao, Sereuli teqnika. 40X40

etevian, gadmosvla da yoveldRiurobis siyvaruliT walekva undaT... „Cemi cxovreba erTi didi tilo rom iyos, albaT imdeni feri da detali iqneboda, rom erTi SexedviT verafers gaarCevdiTo~, _ erT-erT interviuSi aqvs naTqvami elenes. mogonebebis mozaika, bavSvobis STabeWdilebebi da ucveTi emociebi misi Semoqmedebis stilad iqca. uyureb

WINTER; CARDBOARD; MIXED MEDIA; 40X40

many colors and details that one couldn’t make anything out of it from one glance”, Elene said in an interview. A mosaic of memories, childhood impressions, and unworn emotions has become her creative style. You look at her paintings and understand how much each of us has to say, but we don’t have enough time, or boldness, or talent...

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Tbilisi, Kavsadze Street #4. The evenings she spent among painters

xe; muyao, Sereuli teqnika. 20X15 TREE; CARDBOARD; MIXED MEDIA; 20X15

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panmdemia; muyao, Sereuli teqnika. 50X40

mis naxatebs da xvdebi, TiToeul Cvengans ramdeni gvaqvs mosayoli, oRond amisTvis xan dro ar gvyofnis, xan gabeduleba, xan _ niWi...

Tbilisi, kavsaZis 4. mis maxsovrobas mxatvrebisa da moqandakeebis garemocvaSi gatarebuli saRamoebi mkafiod SemorCa yvelaze ferad da uCveulo mogonebebad. babua _ biZina avaliSvili _ iakob nikolaZis erT-

PANDEMIC; CARDBOARD; MIXED MEDIA; 50X40

and sculptors have cemented themselves in her memory as the most colorful and unusual souvenirs.

Her grandfather, Bidzina Avalishvili, was one of Iakob Nikoladze’s first pupils and could carve wood with such precision that Iakob gifted him the instruments he had brought from Paris. At first, Elene was afraid of the “large dolls” at her grandfather’s atelier, but she later befriended them.

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saxli; muyao, Sereuli teqnika. 30X22

HOUSE; CARDBOARD; MIXED MEDIA; 30X22

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quTaisis ruka; muyao, Sereuli teqnika. 100X70

erTi pirveli mowafe, romelsac xeze kveTa ise saocrad gamosdioda, iakobs Tavisi parizidan Camotanili instrumentebi uCuqebia. Tavidan elenes babu-„avalis~ saxelosnoSi Camwkrivebuli „didi Tojinebis~ eSinoda, magram, mere daumegobrda. biZina avaliSvili SviliSvilis SemoqmedebaSi Caurevlobis momxre iyo da arasodes ucdia zegavlenis moxdena.

SviliSvili ki ocnebobda misnair saxelosnoze, sadac TveobiT iyo xolme babu gamoketili muzebTan erTad. bolo wuTamde muSaobda. erT dRes saxelosnodan movida, gareT Tovda. daRlili iyo, dawva da daiZina _ sul daiZina... elenes pirveli naxati ki kedlidan iyureba. bavSvobis oTaxis kedlidan, romlis moxatvis uflebac bebiam misca. es iyo didi sixarulis da Tavisuflebis pirveli gancda 5 wlis asakSi. dRes igive misi Svilebis oTaxSi xdeba. tkbili _ siTboTi da siyvaruliT da ferebiT savse iyo bavSvoba. amitom, xSirad ubrundeba ki ara, TiTqos,

MAP OF KUTAISI; CARDBOARD; MIXED MEDIA; 100X70

Bidzina Avalishvili was a proponent of not getting involved in his granddaughter’s creative life, and he never tried to influence her.

As for her, she was dreaming of having a similar atelier, where her grandfather would be one-on-one with muses for months. He was always working. One day, when he came back from the atelier, it was snowing outside. He was very tired. He lied on the bed and slept – forever.

Elene’s first painting can be seen on a wall. Her childhood room’s wall, one which her grandmother allowed her to draw. This was a great feeling of joy and freedom when she was five years old. Today, the same thing is happening in her children’s room.

Her childhood was sweet – full of warmth, love, and colors.

Therefore, not only does she often return to it, but it seems that she hasn’t left it at all. It is precisely from that period that nothing is more important than human relations and loving each other. Full of sorrow but still buoyant, her grandmother said, “We should never expect

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much from life and should be content with small things, because

arc gasula im samyarodan. swored im asakidan icis, rom adamianur urTierTobebsa da erTmaneTis siyvarulze ufro mniSvnelovani araferia. sevdiT savse, magram yvelaze xalisianma bebom rao da, _ `arasdros unda gvqondes cxovrebisgan didi raRacis molodini da mcirediTac viyoT kmayofilebi, radgan bedniereba wvrilmanebSiao...“ albaT, amitomac, elenes TiTqmis yvela naxatSi firuzisferi liclicebs. yvela namuSevari calke samyaroa, magram isini erTmaneTSi isea Serwymuli, xvdebi mxatvris Canafiqrs _ samyaro Tavisi sididiT da mravalferovnebiT, yvelaze erTiani, harmoniuli da sinqronulia. amitomac, mis namuSevrebSi yvelafers jadosnuri elferi dakravs, bavSvuri fantaziis da ocnebebis elferi. elenes Seqmnil zRaprul abreSumis

happiness is in the details.”.

This is probably why the sky-blue color shimmers in almost all of Elene’s paintings. Each work is a separate world, but they are connected to each other in such a way that the onlooker understands the author’s intent. With its vastness and diversity, the world is also the most unified, harmonious, and synchronous thing there is.

Therefore, everything in her works has a touch of magic, of childlike fantasy, and of dreams. Elene’s wonderful house-shaped lamps done in silk present such comfort and mystery that they make onlookers want to enter and stay in them.

To paint, she needs the night and solitude. Sometimes, she doesn’t even know what she’s painting; she just sits and starts. Then time and space wane in the process. She sometimes painted for two to

qalaqi; muyao, Sereuli teqnika. 70X50

THE TOWN; CARDBOARD; MIXED MEDIA; 70X50

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kikeTi; muyao, Sereuli teqnika. 35X25 / KIKETI; CARDBOARD; MIXED MEDIA; 35X25

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baTumi; muyao, Sereuli teqnika. 92X66

sanaTebSi ki iseTi simyudrove da idumalebaa, rom am Wrela-Wrula saxlukebSi ginda Sexvide da darCe... xatvisTvis Rame da martooba sWirdeba. zogjer arc icis, ras xatavs. ubralod jdeba da iwyebs. mere dro da sivrce procesSi ileva. ori-sami kvira gadabmulad uxatavs RamisTeviT. xatva misTvis bavSvobaSi dabrunebaa, roca TamaSs aravin gikrZalavs. elenes sayvareli TamaSi es iyo _ saRebavebs iRebda da xatavda. amitomaa misTvis yvelaze didi bedniereba xatva _ bavSvobas axangrZlivebs...

Tavidan naxatebSi florisa da faunis simravle iyo, mere arqiteqtura SeiWra, bolo dros adamianebis xatvac daiwyo, romlebsac emociebis forma aqvT da fiqris.

SemoqmedebiTi gavlena misTvis ucxo araa. akademiaSi swavlisas stipendianti iyo da TveSi erTxel, aucileblad

BATUMI; CARDBOARD; MIXED MEDIA; 92X66

three straight weeks during the night. To her, painting is going back to her childhood, when nobody forbade her to play. Elene’s favorite game was this: she used to take paint colors and paint. This is why her greatest joy is to paint; it makes her childhood last longer. At first, there was a lot of flora and fauna in her paintings; then architecture was introduced; and later, she started painting humans too, who have the shape of emotions and thoughts.

Creative influences are not foreign to her. While studying at the academy, she had a scholarship, and she would definitely buy ‘Taschen’ books once a month.

She very well remembers the advice that made the biggest impact on her. It was in Tbilisi, when she was in her second year at the academy. She was expecting something different from her

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yidulobda „taSenis wignebs~. mere mixvda, rom konkretuli wigni aucileblad axdenda masze gavlenas. kargad axsovs rCevac, romelmac masze yvelaze didi gavlena moaxdina. es iyo TbilisSi, samxatvro akademiis meore kursze swavlisas. Cabarebisas sxva rames moeloda da sxva situacia daxvda, radgan zogjer CarCoebSi surdaT studentebis Casma. gulgatexilobac iyo, imedgacruebac, zogjer isic egona, rom xatva saerTod ar icoda. magram erT dRes, erT-erTma leqtorma urCia _ „imdenad Seneuli, Sinagani gansakuTrebuli xedva da niWi gaqvs, Seni Tavis ukeTesi varianti Seqmeni, nu Cajdebi CarCoebSio~. da es elenesTvis didi stimuli iyo!.. xSirad naxats iatakze dawolili asrulebs. am procesSi misi Svilebic hbaZaven. roca deda xatavs, es misTvis bavSvobis gaxangrZlivebis erTgvari Terapiaa, xolo misi SvilebisTvis sakuTari saqmis siyvarulis da erTgulebis gakveTilebi... 24 saaTidan 20 saaTi SeuZlia xatos, oRond, mere, raRac periodi naxatebs veRar uyurebs. zogjer ise

cirki; muyao, Sereuli teqnika. 70X45

studies, and got something else because they sometimes wanted to put students in frames. There were some disillusionments and disappointments; sometimes she even thought that she didn’t know how to draw at all. But one day, one teacher advised her: “You have such an individual, inner, peculiar vision and talent that you need to create the best version of yourself; don’t frame yourself in someone else’s frame”. And this was a great incentive for Elene! ..

She often creates her paintings lying down on the floor. Her children imitate her in this regard. When the mother paints, it is a kind of therapy for her in which she lengthens her childhood, and in relation to her children, it is a lesson in loving and being loyal to one’s work. She can paint 20 hours a day, but after that, she cannot look at paintings anymore. Sometimes, she experienced such burnout that she couldn’t approach a canvas for two or three weeks.

CIRCUS; CARDBOARD; MIXED MEDIA; 70X45

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Romi da yveli; muyao, Sereuli teqnika. 30X40 GHOMI WITH CHEESE; CARDBOARD; MIXED MEDIA; 30X40

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gadamwvara, ori-sami kvira veRar misula tilosTan. sxvagan cxovrebaze arasdros ufiqria. samxatvro akademiaSi teqstilis dizainis Seswavlis Semdeg iyo florencia da ferweris fakulteti, Semdeg magistratura, isev teqstilis dizainis specialobiT. yvelaferi Tavidan rom daiwyos, isev is iqneboda _ mxatvari elene melqaZe. miaCnia, rom sxva arCevani arc hqonia, sxva araferi icis, xatvaa misi cxovreba _ misTvis yvelaze bunebrivi mdgomareoba. roca profesias irCevda, arCevani arc damdgara _ sxva ra unda eswavla, verc warmoedgina... elenes bedniereba _ „is xandaxan iseTi realuria, SegiZlia Seexo, xeli mokido. xandaxan kidev ubralod mogoneba gaqvs, rom odesRac ase grZnobdi Tavs da yvelaferi dadebiTi sadRac orTqldeba. CemTvis bedniereba, albaT, molurjo tonisaa. xatvis dros arasdros vici ra ferSi iqneba naxati. bevri fiqris gareSe

თTovli; muyao, Sereuli teqnika. 70X45

She never thought of living somewhere else. After learning textile design at the Academy, she visited Florence and studied at the Painting Faculty, then did her Master’s degree, again in textile design.

If she had to start everything all over again, she would be the same: painter Elene Melkadze. She thinks that she never even had any other choice, that she doesn’t know anything else, and that painting is her life – the most natural state for her. When she was choosing a profession, she didn’t have a choice; she couldn’t even imagine studying something else.

Elene’s joy “is sometimes so real that you could touch it, grab it by the hand. Sometimes, you have a simple memory that you once felt like that, and everything positive evaporates somewhere. To me, happiness probably has blue tones. When I paint, I never know which colors the painting will have. The colors appear by themselves, without much thought.”

SNOW; CARDBOARD; MIXED MEDIA; 70X45

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erTad; muyao, Sereuli teqnika. 15X15

es ferebi TviTon Cndeba xolme Cems tiloze~. bolo personaluri gamofena am aTiode wlis ukan hqonda. iyo sxvadasxva proeqtebi da saerTaSoriso gamofenebic. mas Semdeg imdeni ambavi daugrovda tilozec da axali ideebis saxiT, rom axalma gamofenam, wesiT, ar unda daigvianos.

TOGETHER; CARDBOARD; MIXED MEDIA; 15X15

Her last personal exhibition happened about ten years ago. There were various projects and international exhibitions too. After that, she gathered so many stories, both on canvas and in the form of ideas, that we shouldn’t wait much longer for a new exhibition.

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`pirvelad vaPsenoT ese, rameTu somexTa da qarTvelTa, ranTa da movaknelTa, herTa da lekTa, da megrelTa, _ amaT TKsTa _ erTi iyo mamaY, saxeliT Targamos. ese Targamos iyo Ze TarSisi, Ziswuli iafeTisi, noes ZisaY. da iyo ese Targamos kaci gmiri“. leonti mroveli, `qarTlis cxovreba“, XI s.

Leonti Mroveli, ‘The Georgian Chronicles’, 11th century

leon meliqseT-begi

LEON MELIKSET-BEGI

saqarTvelos erovnul arqivSi dacul, meliqseTbegis pirad saarqivo fondSi inaxeba dokumenti, romlis Tanaxmad, misi winaprebi meliqseT-begi da efrem-begi XVII-XVIII ss. sparselTa batonobis xanaSi, xolo daviT-begi yarabaRis mmarTvelis fanax-ali-xanis (1693-1763) dros flobdnen dasaxlebul teritoriebs xaCenis magalSi da begebis tituls atarebdnen (Turq. begi – batoni, Tavadi.) feodalTa Soris atexil dapirispirebas Seewira daviTbegi. yarabaRis mmarTvelma ibrahim halil-xanma (17591806) iaraRis ZaliT gandevna yarabaRidan meliqebi da begebi, miisakuTra maTi qoneba da `mefis mier~ boZebuli miwis mflobelisa da begis wodebis sigelebi. daviTis mcirewlovanma Svilma sargis-begma Tavi qalaq nuxas Seafara, romlis mmarTvelis mehmed-hasan-xanis swavlebiT

In Melikset-Beg’s personal fund at the Georgian National Archive, there is a document according to which his ancestors Melikset-Beg and Ephrem-Beg (in the 17th–18th centuries under Persian rule) and Davit-Beg (during Phanakh-Ali-Khan’s rule over Karabakh in 1693– 1763) owned inhabited territories in the Khachen Magal and were carrying the title of “Begs” (from Turkish “beg” – lord, prince).

Davit-Beg fell victim to a conflict between feudal lords. The ruler of Karabakh, Ibarhim Halil-Khan (1759–1806), expelled the Meliks and Begs from Karabakh with the use of weapons and appropriated their belongings and the “royal endowment” of their lands and titles.

Davit’s young child, Sargis-Beg, took refuge in the city of Nukha, where he became a Muslim under the guidance of the city’s ruler, Mehmed-Hasan-Khan, and changed his name to Badal-Bey. Later, his son Ibrahim-Beg was baptized in the Gregorian faith as Nikita. In

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gamahmadianda da badal-bei dairqva. mogvianebiT misi Svili imrahim-begi, grigorianul aRmsareblobaze moinaTla da nikitad iwoda. 1845 wels Seqis mazridan qalaq TbilisSi ojaxiT gadmosaxlda badal-bei da Tbilisis Tavisufali moqalaqis wodeba miiRo. mis SviliSvils meliqseTs (1842-1924), leonis mamas, rogorc begebis STamomavals, Tbilisis guberniaSi aznauris wodeba mianiWes. `CemTvis gansakuTrebiT sasiamovnoa, rom Cemi kvleviTi muSaoba mimarTuli iyo saukuneTa manZilze erTian, Zmur ojaxSi mcxovrebi amierkavkasiis sami moZme xalxis kulturuli kavSir-urTierTobis ganmtkicebisaken~ _ werda msoflio rangis mecnieri, saqarTvelos (ssr) mecnierebis damsaxurebuli moRvawe, istoriisa da filologiis mecnierebaTa doqtori, somxeTis (ssr) mecnierebaTa akademiis wevr-korespondenti, profesori leon meliqseT-begi (1890-1963), romelic didma ivane javaxiSvilma universitetis daarsebisTanave miiwvia leqciebis wasakiTxad. gamoCenili mecnieri mxarSi amoudga qarTuli universitetis daarsebis moTaveebs da sicocxlis ukanasknel dRemde muSaobda jer axlo aRmosavleTis istoriis kaTedris, xolo Semdeg armenologiis kaTedris gamged.

1917 wels daikarga ivane javaxiSvilis mier ori aTeuli wlis ganmavlobaSi nagrovebi wignebi da xelnawerebiT savse vagoni. did mecniers danaklisi swored Tsu-s momavalma profesorma leon meliqseT-begma Seuvso, risTvisac ivane javaxiSvili cxovrebis bolomde misi madlieri iyo. 1928 wels, leon meliqseT-begis sadoqtoro disertaciis dacvaze ivane javaxiSvili cudad gamxdara, prof. axvledians is etliT saxlSi gadauyvania, Tumca etlSi gonze mosul ivanes furcelze dauweria, rom xmas aZlevda leons sadoqtoro xarisxis mosapoveblad. es biblioTeka etapobrivad, xolo 1963 wels, meliqseTbegis gardacvalebis Semdeg, piradi anderZis Tanaxmad, gadaeca Tsu-s armenologiis kaTedras, xolo arqivi centralur saistorio arqivs. Tsu-Si Seiqmna prof. meliqseT-begis saxelobis kabineti, sadac ganTavsda XVXX ss-is umdidresi, unikaluri fondi, daaxloebiT 5000 wigni. `prof. meliqseT-begi farTo diapazonis, nayofieri mkvlevari iyo. mis kalams ekuTvnis mravali naSromi, romlebic exeba armenologiis, qarTvelologiis, bizantologiisa da aRmosavleTmcodneobis problemebs. igi gansakuTrebiT gulmodgined swavlobda da aSuqebda kavkasiis xalxebis urTierTobas, maTi kulturis istoriis sakiTxebs. mecnieris Sromebi yuradRebas iqcevs mravalmxrivi codniT, kvleva-Ziebis siRrmiT da mecnieruli

1845, Badel-Bey moved from the Sheki district to the city of Tbilisi and received the status of a free citizen of Tbilisi. As a descendant of Begs, his grandson Melikset (1842–1924), Leon’s father, received the title of nobleman in the province of Tbilisi.

“It is especially pleasing to me that my research work was directed towards the consolidation of the centuries-old cultural links and relations between three brotherly peoples of Transcaucasia living in unity,” wrote world-renowned researcher, honored scientist of the Georgian SSR, doctor of history and philology, corresponding member of the Academy of Sciences of the Armenian SSR, and professor Leon Melikset-Beg (1890–1963), whom the great Ivane Javakhishvili invited to read lectures from the very creation of the University. The distinguished scholar assisted the front runners in the creation of the Georgian university and worked there until the end of his life, first as the head of the Faculty of History of the Near East, then of the Faculty of Armenology.

In 1917, a wagon full of books and manuscripts gathered by Ivane Javakhishvili for two decades disappeared. This loss was replenished by the to-be professor at TSU, Leon Melikset-Beg, for which Ivane Javakhishvili stayed grateful to him till the end of his life. In 1928, Ivane Javakhishvili felt sick during Leon Melikset-Beg’s thesis defense, and professor Akhvlediani brought him home in a horse-drawn carriage, but when he came back to his senses in the carriage, Ivane wrote on a paper that he was voting in favor of Leon becoming a doctor.

Gradually and then once and for all in 1963, after Melikset-Beg’s passing, according to his will, this library was handed to the Faculty of Armenology of the TSU and his archive to the central historical archive. A cabinet named after Professor Melikset-Beg was created, where a unique and utterly rich collection of about 5,000 books from the 15th–20th centuries was arranged.

Professor Melikset-Beg was a successful scholar in various fields. He authored many works about Armenology, Kartvelology, Byzantiology, and oriental studies. He was particularly keen on studying and communicating about the relationship between the peoples of the Caucasus and the history of their cultures.

The scholar’s works are distinguished by their knowledge in various fields, the depth of their research, and their scientific integrity. In this regard, his ‘Megalithic culture in Georgia’ (1939), ‘Georgian inscriptions in Armenia’ and ‘Armenian inscriptions in Georgia’ (in four books), ‘Survey of sources for the history of Azerbaijan’ (1939), and ‘Publications of written sources in Georgian history’ (1949) are of particular interest.

Leon Melikset-Beg was an attentive pedagogue for the young; he was not only reading lectures and preparing syllabi for them but also helping them develop as scientists. He was the official juror of more than 70 doctorate and candidate dissertations in Tbilisi, Erevan, Baku, Moscow, Leningrad, Kiev, and Odessa. He was one of the wonderful scientists who could harmoniously blend pedagogic and scientific work with public affairs,” wrote famous scholar and philology doctor Ioseb Megrelidze.

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keTilsindisierebiT. am mxriv gansakuTrebiT mniSvnelovania misi `megaliTuri kultura saqarTveloSi~ (1939 w.), `qarTuli warwerebi somxeTSi~, `somxuri warwerebi saqarTveloSi~ (4 wignad), `wyaroebis mimoxilva azerbaijanis istoriisaTvis“ (1939 w), ,,saqarTvelos istoriis werilobiTi wyaroebis publikaciebi“ (1949 w.) da sxv. leon meliqseT-begi axalgazrdobis gulisxmieri aRmzrdeli iyo, maT marto leqciebs ki ar ukiTxavda da saxelmZRvaneloebs udgenda, aramed mecnierul dawinaurebaSic exmareboda. igi 70-ze meti sadoqtoro da sakandidato disertaciis oficialuri oponenti iyo rogorc TbilisSi, ise erevansa da baqoSi, moskovsa da leningradSi, kievsa da odesaSi. is erTi im SesaniSnav mecnierTagani iyo, romlebic pedagogiursa da samecniero muSaobas kargad uTavseben farTo sazogadoebriv moRvaweobasTan~. _ werda cnobili mecnieri, filologiis mecnierebaTa doqtori ioseb megreliZe. istorikosi, armenologi, prof. guram maisuraZe mogviTxrobs: `17 wlis leoni, jer isev Tbilisis realuri saswavleblis moswavle, 1907 wels anisSi gaemgzavra akad. niko maris xelmZRvanelobiT warmoebuli im droisTvis farTod gaxmaurebuli arqeologiuri gaTxrebis sanaxavad. miRebulma mdidarma STabeWdilebebma kidev ufro gauRviZes Wabuks codnis dauflebis survili da momavali wlis zafxulSi ukve germaniaSi, kerZod, prusiasa da saqsoniaSi miemgzavreba, sadac garkveul xans rCeba. 1909 wlidan ki swavlas agrZelebs odesis universitetSi iuridiul da istoriul-filologiur fakultetebze. zedmiwevniT eufleba mecnierebis safuZvlebs, universitetSi miRebul codnas aRrmavebs praqtikiT, inaxulebs arqeologiur Zeglebs. aseve aqtiurad TanamSromlobs mis Tanadroul periodikaSic, sadac sistematurad aqveynebs feletonebs,

Historian and Armenologian professor Guram Maisuradze recounts: “In 1907, at the age of 17, Leon, still a school student in Tbilisi, traveled to Anis to see the much-talked-about archaeological digs being carried out there under the leadership of academician Niko Marr. The rich impressions he was left with enhanced the young man’s curiosity for knowledge even more, and the next year he would travel to Germany, namely to Prussia and Saxony, where he stayed for some time. Since 1909, he continued studying at the University of Odessa in the faculties of history and philology. He thoroughly studies the fundamentals of science, deepens the knowledge acquired at the university with practice, and visits archaeological monuments. He also actively collaborates with his contemporary periodicals, where he systematically publishes feuilletons, correspondences, and translations. In the years 1909–1913, he published 45 works, and even though they were mainly small studies and reviews, he was already eloquently noted for his broad scientific potential and inexhaustible energy. It is worth noting that the list of Professor Leon Melikset-Beg’s published works counts over 600 pieces and over 9000 pages.

Reading through this rich heritage, one surprisingly gets convinced that almost all fields of science are represented in it: philology, literature, archaeology, art history, ethnography, textology, epigraphy, paleography, source study, archaeography, linguistics, lexicology, law history, bibliography, and others. These books are printed in Georgian, Armenian, Russian, Azerbaijani, Ukrainian, German, and French languages and published in Tbilisi, Erevan, Baku, Odessa, Moscow, Leningrad, Berlin, Brussels, Beirut, and other cities.

Melikset-Beg’s lectures were memorable and impressive, and they were always noted for their encyclopedic richness, academism, and being imbued with an urge for friendship between Transcaucasian people.

His accomplishments at the universities of Erevan and Baku are also noteworthy. He taught the history of Georgia to our neighboring nations for years. The youth of the Southern Caucasus were practically gathering in Melikset-Beg’s auditoriums, where, through him, they would learn about each other’s past and culture, which undoubtedly played an important role in the consequent rapprochement and consolidation of friendship between these neighboring peoples.

If he was mostly considered an Armenologist here, he was a Kartvelologist in both Armenia and Azerbaijan. And he was also considered a local in all these countries. He was a scholar of Caucasian proportions.

Historian and professor Guram Koranashvili recounts: “Mr. Leon was conveying Georgian self-consciousness; he knew all three languages of Transcaucasia. Fate apparently wanted such individuals to live in Tbilisi, and this ethnic blend was not physical, mechanical, or artificial, but organic and utterly interesting. Sayat-Nova alone is enough as an example. And today, how regrettable it is that individuals such as Mr. Leon, who acted as bridges between our peoples, almost don’t exist anymore.

I had the pleasure of listening to Mr. Leon’s lectures about Armenian and Azerbaijani history. The strongest memory I have about

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korespondenciebs, Targmanebs. 1909-1913 wlebSi man gamoaqveyna 45 naSromi, marTalia eseni umTavresad mcire zomis gamokvlevebi da recenziebia, magram ukve im adreul periodSic sakmaod mWevrmetyvelurad warmoaCenen maTi avtoris farTo mecnierul SesaZleblobebsa da uSret energias. niSandoblivia, rom prof. leon meliqseT-begis nabeWd-naSromTa sia 600-ze met dasaxelebas Seicavs, romelTa moculoba 9000 gverds aRemateba. aTvaliereb am mdidar memkvidreobas da gakvirvebuli rwmundebi, rom sazogadoebriv mecnierebaTa TiTqmis yvela dargia aq warmodgenili: filologia, literaturaTmcodneoba, arqeologia, xelovnebaTmcodneoba, eTnografia, teqstologia, epigrafika, paleografia, wyaroTmcodneoba, arqeografia, enaTmecniereba, leqsikologia, samarTlis istoria, bibliografia da sxv. es wignebi dabeWdilia qarTul, somxur, rusul, azerbaijanul, ukrainul, germanul, frangul enebze da gamocemulia TbilisSi, erevanSi, baqoSi, xarkovSi, odesaSi, moskovSi, leningradSi, berlinSi, briuselSi, beiruTSi da sxvagan. dasamaxsovrebeli da STambeWdavi iyo meliqseTbegis leqciebi, romlebic yovelTvis gamoirCeodnen enciklopediuri simdidriT, akademizmiT da gamsWvaluli iyvnen amierkavkasiis xalxTa megobrobis suliskveTebiT. sayuradReboa misi moRvaweoba erevnisa da baqos universitetebSic, sadac igi wlebis manZilze mezobeli respublikebis axalgazrdobas saqarTvelos istorias aswavlida. faqtobrivad meliqseT-begis auditoriaSi Tavs iyrida amierkavkasiis axalgazrdoba, romelic misi saSualebiT erTmaneTis istoriul warsulsa da kulturas ecnoboda, rasac udavod didi mniSvneloba hqonda mezobelTa Semdgomi daaxloebisa da maTi megobrobis ganmtkicebisTvis.

Tu is CvenSi upiratesad armenologi iyo, somxeTSi – qarTvelologi, xolo azerbaijanSi orive erTad. amitom samive respublikaSi mas Tavisianad Tvlidnen. igi saerTo kavkasiuri masStabis mecnieri iyo~. istorikosi, prof. guram yoranaSvili ixsenebs: `batoni leoni qarTuli TviTSegnebis matarebeli iyo, icoda samive amierkavkasiuri ena. istoriam ineba, rom msgavsi pirovnebebi TbilisSi cxovrobdnen da es eTnikuri nazavi raRac garegnuli, meqanikuri, xelovnuri ki ara, organuli da Zalzed saintereso iyo. magaliTisTvis saiaTnovac ki kmara... da dRes, raoden dasanania, rom b-ni leonisTana pirovnebani `SemaerTav xidad~ rom iyvnen Cvens xalxebs Soris, TiTqmis aRar arian. mqonda bedniereba momesmina b-ni leonis leqciebis kursi somxeTisa da azerbaijanis istoriaze. upirveles yovlisa mexsierebaSi CamebeWda araCveulebrivad uSualo,

it is the direct and frank expression on the face of this man, who was talking to us with the vocabulary and intonation characteristic of Old Tbilisi. How could I forget his half-joking, half-serious sentence: “I have dedicated my whole life to the friendship between Georgians and Armenians, but as soon as the Ararat Erevan comes to Tbilisi or the Dinamo Tbilisi goes to play in Erevan, I have to start everything all over again”.”

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alal-marTali kacis saxe, romelic Zveli Tbilisuri leqsikiTa da intonaciiT gvesaubreboda. ra damaviwyebs mis naxevrad xumrobiT, naxevrad seriozulad naTqvams, `mTeli Cemi cxovrebiT vemsaxurebi qarTvelTa da somexTa megobrobas, magram Camova erevnis `ararati~ TbilisSi an Tbilisis `dinamo~ Cava erevanSi da yvelaferi Tavidan dasawyebi mixdebao“. politikos vaxtang goguaZis mogoneba: `erT-erTi sayvareli leqtori, romelic guls da tvins cocxlad SemorCa, gaxlavT uaRresad kolorituli pirovneba, didi mecnieri da pedagogi leon meliqseT-begi... b-nma leonma Zveli qarTuli ena ukeT icoda, vidre Tanamedrove, magram am did mecniers hqonda yofiTi enobrivi kolorituli darRvevebi, romelic Zalian uxdeboda. iumoris elfers aZlevda mis bevr gamonaTqvams da misdami mxolod siyvaruls aZlierebda. auditoria TiTqmis yovelTvis ivseboda, jer erTi Zalian ganaTlebuli, erudirebuli kaci iyo da merec, uyvarda mogonebebi, iumoriT Sekazmuli... gviyveba: `erTxel, Ramea karebze braxunia. kari gavaRe, _ doqtori aq cxovrobs? _ diax, me var. _ aba saswrafod Caicvi qali unda imSobiaros (imaT ajavrebda laparakiT). _ me eqimi doqtori ki ara, filologi var! _ doqtori xar? _ ki!

Politician Vakhtang Goguadze’s memory: “One of my favorite professors, who remains alive in my heart and brain, is the utterly vibrant person, great scholar, and pedagogue Leon Melikset-Beg...

Mr. Leon knew ancient Georgian better than the modern one, but this great scholar had spirited language slips that were always to the point. It would add humor to his sayings and strengthen our love for him.

The auditorium would almost always be full, partly because it was led by a very knowledgeable, erudite man and partly because he loved to recall stories, always with a touch of humor.

He tells us: “One night, I hear someone knocking at my door, so I open it.

Does the doctor live here?

Yes, it’s me.

Get dressed, quick; a woman is about to give birth.

I am not a medic, but a doctor in philology!

But you are a doctor?

Yes! So get dressed!

And one of them pointed a gun at me.”

The whole auditorium was waiting, speechless, for him to continue.

Mr. Leon made a long pause, and we started booing. He smiled and told us that he followed them and that luckily, the woman had already given birth when they arrived. He said that and sighed as if he had just finished helping the woman give birth.

Mr. Leon had a different way of interrogating his students; it was practically an exam. If you didn’t manage to get the highest grades, you would have ten rubles less in monthly student money, which made it

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_ xoda Caicvi, erTma iaraRi momiRera. mTeli auditoria sulganabuli velodebiT gagrZelebas. b-nma leonma grZeli pauza gaakeTa, uuu _ avJiJindiT. is ki iRimeba da gveubneba, rom mivedi, sabednierod qali namSobiarebi dagvxvda~. esa Tqva da TviTon ise amoisunTqa, TiTqos es-esaa is qali amSobiarao. b-n leonTan gvaqvs diferencirebuli CaTvla, faqtobrivad gamocda. Tu friads ver miiRebdi erTi TumniT TveSi naklebi stipendia geqneboda. es studentis jibes magrad daartyamda. gamocdaze ver mivedi, micnobda, ratom ar ariso? ikiTxa Cemze. _ eqskursiaze wavida da sxva dros movao, _ miaxares Cemma megobrebma. tyuilad Tavi ar Seiwuxos, me mas aRar miviRebo. mivedi meore dRes saxlSi, davreke karze, b-nma leonma jaWviT cotaTi gaaRo kari, _ ra ginda, ras mosulxar, me Sen ar migiReb! da rom vigrZeni kari srulad unda momixuros, fexi Cavdgi karSi da rac SemeZlo damtkbari saxiT vexvewebi momisminos, magram vin gismens. kargi 3 wuTi gagrZelda karze jaxir-jaxuni. xvewnis sityvebidan rogorRac yuri mohkra vundtis xsenebas da... moxda saswauli _ rao, ra Tqvi? vundti? saidan ici Sen vundti, axlave Semodi, ise mibrZana, gegonebodaT piriqiT vZaladobdiT, ZaliT ar Sevdiodi TiTqos. Turme germaniaSi swavlis dros igi gatacebuli iyo vundtis `xalxTa fsiqologiiT~ da megobrobda vundtis mowafeebTan. wamodgoma rom davapire ganaRdebuli xuTianiT, imis mere visaubreT kidev erTi saaTi~. leon meliqseT-begis cxovrebasa da moRvaweobas 400 gverdiani monografia miuZRvna misma moswavlem, armenistma, filologiis mecnierebaTa doqtorma bondo arvelaZem: `Zmebi kakabaZeebis quCis dasawyisSi sam sarTuliani saxlis meore sarTulze cxovrobda cnobili mecnieri, pativcemuli profesori leon meliqseT-begi. vinc ki erTxel mainc gasaubrebia mas ar SeiZleba am koloritul pirovnebas STabeWdileba ar moexdina masze. sevda Zveli Tbilisisa, misi gardasuli didebisa mas Tan dahyveboda, is xom Zveli Tbilisis moqalaqeTa erT-erTi ukanaskneli mohikani iyo. pirvelsave leqciaze Sinauruli urTierTobda daamyara CvenTan, daamTavra Tu ara leqcia, RimiliT mogvmarTa: Sin gepatiJebiT, Semdeg leqcias Cems biblioTekaSi wagikiTxavTo. meore dRes leqciis dawyebis win sastumro oTaxSi mTel jgufs CaiTa da namcxvriT gagvimaspinZlda da Tavis biblioTekaSi SegviZRva. sagamocdo sesiebis droc movida, aqac originaluri aRmoCnda Cveni profesori, bileTebi gverdze gadado, sagamocdo wignakebi gamogvarTva da maRali niSnebi dagviwera, Tan gviTxra, me Tqveni codna ukeT vici, ra saWiroa zedmeti formalobao.

very difficult for students. I didn’t go to the exam, and he asked why I wasn’t there. My friends told him that I was on an excursion and that I would come another time for the exam, and he answered that I shouldn’t bother, as he wouldn’t receive me. The next day, I went to his home and knocked on his door, and Mr. Leon half-opened the door, telling me, “What do you want? Why did you come? I won’t receive you!” And when I felt that he was about to close the door, I put my feet in the door and begged him in the sweetest possible voice to listen to me, but he didn’t.

We continued struggling at the door for three minutes. He somehow heard the word Wundt coming from my mouth and... A miracle happened. “What, what did you say? Wundt? How do you know about Wundt?” And he ordered me to come in at once; it seemed that we were fighting the other way around, as if I didn’t want to get in anymore. It turned out that while studying in Germany, he got captivated by Wundt’s psychology and befriended Wundt’s students. After I got up when I received the highest grades, we talked for about one more hour.”

A 400-page monography was dedicated to Leon Melikset-Beg’s life and work by his student, armenologist and philology doctor Bondo Arveladze: “Famous scholar and respected professor Leon MeliksetBeg used to live on the first floor of a two-story house at the start of Dzmebi Kakabadzeebi Street. It is impossible for anyone to talk with this vibrant person and not leave with a lasting impression. The sorrow of Old Tbilisi, of its lost great past, was living in him; he was one of the last Mohicans among the citizens of Old Tbilisi.

From the very first lecture, he installed a friendly atmosphere between himself and us, and as he finished the lecture, he told us with a smile, “I’m inviting you to my place; I’ll be reading the next lecture in my library.” The next day, before the lecture, he welcomed us all with tea and cake and then led us to his library.

The time for exam sessions had arrived, and here too, our professor turned out original: he put aside the papers, took our grade books,

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1952 wels mTeli jgufi eqskursiaze wagviyvana erevanSi. Cvenma leqtorma gagvaoca, ejimiawiniSi sanTlebi iyida da sasoebiT iloca. es didi gambedaoba iyo maSin _ 50ian wlebSi, gaafTrebuli antireligiuri propagandis fonze, roca eklesiaSi locva ki ara, ubralod Sesvlac ki sastikad iyo akrZaluli. albaT leon meliqseTbegis morwmuneobam da Teologiis safuZvlianad codnam ganapiroba, mogvianebiT, rom igi erT-erTi realuri kandidati iyo sruliad somexTa kaTalikosis taxtze, roca gevorg V gardaicvala (misi rZlis, bebiaCemis qeTevan surgulaZis gadmocemiT, erTxel manglisis sionSi leons nusxuri saxarebiT xelSi aRuvlenia paraklisi. avt. l. m.).

and gave us all good grades, telling us that he knew our level of knowledge better than that and that we didn’t need too many formalities.

In 1952, he took our whole group on an excursion to Erevan. Our professor surprised us; he bought candles in Ejmiatsin and prayed zealously. At that time, this was very courageous; at that time, in the middle of anti-religious propaganda, it was strictly forbidden to enter any church, let alone to pray in it. Leon Melikset-Beg’s faith and profound knowledge of theology probably played a role in his nomination as one of the realistic candidates for the throne of the Catholicos of All Armenians when Gevorg V passed (according to his daughter-in-law, who was my grandmother, he once held the religious service at the Manglisi Sioni church with a Gospel written in

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sevanis tbaze SevisveneT, ganTqmuli iSxaniT gagvimaspinZlda Cveni leqtori. ramdenime Tanamgzavri limonaTs ar dasjerda da iSxans arayi miayola. erTma qalbatonma ukmayofilod Cailaparaka, naxeT aryiT gaiTxliSneno. amis gagonebaze leoni mogvibrunda da gviTxra: `iciT saidan modis es sityva? Zvel TbilisSi arays patara, naTali WiqebiT svamdnen, am sasmiss `TlaSos~ uZaxdnen. yaraCoRelebi xaSs TlaSoTi miayolebdnen xolme arays. aqedan warmodgeba sityva `gaiTxliSa~. leon meliqseT-begs ivane javaxiSvilisadmi mowiweba da pativiscema sicocxlis bolomde ar ganelebia _ ai ras werda igi: `yovelTvis, metadre ki mas Semdeg, rac ivane javaxiSvilis saflavze Zegli daidaga, roca fexs Semovdgam universitetis ezoSi, ar SemiZlia gulgrilad, auRelveblad gaviaro am Zeglis gverdiT. ar SemiZlia, rom Cems Tvalwin ar warmoisaxos ukvdavi, cocxali didi ivane im pozaSi, rodesac igi xels arTmevda meezove mixas, ar SemiZlia ar movigono kote mayaSvilis mravlismetyveli sityvebi: `vano javaxiSvili iSviaTi adamiania, mudam cocxali, ukvdavi~.

1963 wlis seqtembris moRuSul wvimian dRes rusTavelis gamzirze prof. ivane SilakaZe Semxvda da naRvlianad miTxra: _ batoni leoni avadaa, Zalian cudad aris, saavadmyofoSia... cudad meniSna, erTxans orive vdumdiT, b-nma ivanem mZimed amoioxra da wavida.

Tbilisis universitetidan gaasvenes leon meliqseTbegi. qarTulma sazogadoebam didi pativi miago. didubis mweralTa da sazogado moRvaweTa panTeonSi miuCina samudamo gansasvenebeli. gamomsvlelTagan damamaxsovrda akaki SaniZis sityva, `erTguli megobari da kolega~ uwoda da Sublze eambora. ioseb noneSvilma leqsi miuZRvna da waikiTxa dakrZalvis dros. leon meliqseT-begis Sesaxeb mravali statia gamoqveynda presaSi. maT Soris aRsaniSnavia meliqseT-begis rogorc esperantos msoflio ligis wevris da esperantos fuZemdeblis doqtor zamenhofTan mecnieruli urTierTobis amsaxveli masalebi~.

P.S. 2022 wlis noemberSi Tbilisis saxelmwifo universitetis muzeumSi gaixsna armenologiis kaTedris daarsebidan 100 wlis iubilesadmi miZRvnili gamofena. am faqtTan dakavSirebiT, leon meliqseT-begis ojaxma muzeums saCuqrad gadasca mecnieris cxovrebisa da moRvaweobis amsaxveli fotodokumentebi.

the Nuskhuri alphabet; note of the author).

We rested on Lake Sevan, and our professor treated us to some famous Sevan trout. Some of us didn’t stop at lemonade and drank some vodka to accompany the fish. One girl said, disappointed, “Look, they got dead drunk (“gathkhlishva”) on vodka”. Hearing this, Leon turned to us and said, “Do you know where this word comes from? In old Tbilisi, they used to drink vodka with small, hewn glasses called “thlashi”. People used to drink vodka in these glasses when accompanying khashi (soup). This is how the word “gathkhlishva” was born”.”

Leon Melikset-Beg always showed reverence and respect for Ivane Javakhishvili. This is what he wrote about him: “Especially since a statue was put on Ivane Javakhishvili’s grave, every time I enter the university’s yard, I cannot pass this statue with indifference, quietly. I cannot fail to imagine, in front of me, the immortal, live great Ivane in a pose in which he is shaking hands with the yard-keeper Mikha, and I cannot fail to be reminded of Kote Makashvili’s eloquent words: “Vano Javakhishvili is a rare individual, always alive, immortal”.”

On a gloomy, rainy day in September 1963, I met professor Ivane Shilakadze on Rustaveli Avenue, and he told me with sorrow: Leon is ill; he is in a bad state at the hospital.

We were both silent for some time, after which Mr. Ivane sighed and left.

Leon Melikset-Beg’s coffin was carried out of the university. The Georgian public expressed its utter respect for him. He was buried in the Didube Pantheon of writers and public figures. I will remember Akaki Shanidze’s words from the speeches at his funeral: “A loyal friend and colleague”, he said, before kissing him on the forehead.

Ioseb Noneshvili read a poem he dedicated to the late professor.

Many articles have been published in the press about Leon Melikset-Beg. Among them, an article about Melikset-Beg as a member of the World Esperanto League and about materials recounting his scientific partnership with Dr. Zamenhof, the founder of Esperanto.”

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mefeebiviT fiqroben mTebi...

MOUNTAINS THINK LIKE KINGS… - 54 -

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roca gasuli saukunis 20-30-ian wlebSi evropaSi saTxilamuro sportis bumi iyo da saqarTveloSi axalCamosuli giorgi nikolaZe, megobrebTan erTad saTxilamuro sportis popularizaciaze ocnebobda, netav Tu ufiqria imaze, rom dadgeboda dro da msoflio Cempionati aq, am dabaSi _ koxtasa da mitarbis azidul mTebze Catardeboda?! minda mogiTxroT bakurianSi Catarebul msoflio Cempionatze _ Cveni qveynisTvis am did movlenaze da ar vici saidan daviwyo. oTar WilaZis fraza gamaxsenda: „mefeebiviT fiqroben mTebi~ da fiqrebi amiSala _ netav, raze fiqroben mTebi _ WeSmaritebaze xom ara? an, iqneb Tavisuflebaze? da rogor, gvWirdeba dRes sworad gaviazroT ra aris Tavisufleba da absoluturi WeSmariteba _ magram, amaze saubari sxvagan wagviyvans... amitomac, Cempionatis Temas davubrundebi. didebuli ambavi datrialda Tebervlis TveSi saqarTveloSi: bakurianSi pirveli msoflio Cempionati Catarda, romelic 16 Tebervals daiwyo da 5 martis CaTvliT gagrZelda. Cempionatis farglebSi, fristailis, snoubordisa da friskis saxeobebSi, Svidasma sportsmenma miiRo monawileoba. bakurians ki, samiaTasamde stumari ewvia. Cveni qveyana didma sixarulma gaaerTiana. is, rac bakurianis CempionatisTvis mzadebam gvaCvena iyo magaliTi, rogor avaSenoT Cveni qveynis ukeTesi momavali _ yvela erTi mTavari ideis garSemo gaerTianda da SromiT, codniTa da dauRalavi muSaobiT miaRwia imas, ramac mTeli msoflio aalaparaka saqarTveloze. samocdaaTma qveyanam gaaSuqa didi sportuli movlena, romelic mimdinareobda CvenTan _ bakurianSi. `es aris yvelaze STambeWdavi msoflio Cempionati, CempionatTa Soris. gasaocaria saqarTvelos xelisuflebis mxardaWera sportis am saxeobebis mimarT. Zalian Tanmimdevrulia saqarTvelos saTxilamuro federaciisa da xelisuflebis TanamSromloba msoflio saTxilamuro federaciasTan. infrastruqtura marTlac gamorCeulia. es saSualebas aZlevs sportsmenebs, TavianTi SesaZleblobebi maqsimalurad gamoavlinon.~ _ brZana din gosperim, saerTaSoriso saTxilamuro federaciis sabWos wevrma.

1935 wels daibada bakuriani, rogorc saTxilamuro centri da aha, dRes TiTqmis erTi saukunis mere pirvelad umaspinZla am istoriulma kurortma _ msoflio Cempionats, romelic yvelaze prestiJuli movlenaa zamTris sportis mimdevarTaTvis; bakurianSi msoflio sportis varskvlavebma moiyares Tavi da

When in the 1920s and 1930s, there was a boom in skiing in Europe, and the newly returned Giorgi Nikoladze was dreaming of popularizing this sport in Georgia, could he ever imagine that someday, a world championship would take place here, in the mountains of Kokhta and Mitarbi?

I would like to tell you about the World Cup held in Bakuriani, about this important event for our country, and I don’t know where to start. I am reminded of Otar Chiladze’s sentence: “Mountains think like kings”, and I started thinking about what mountains think about – maybe about truth? Or about freedom? And how we need to understand what freedom and absolute truth are, especially today – but speaking of this would take us far... So let us return to the World Cup. A great event took place in Georgia in February: the first world cup took place in Bakuriani, which lasted from the 16th of February until the 5th of March. In its framework, 700 sportsmen and sportswomen

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Sejibrebebis pirdapiri translacia _ `evrosportze~ gadaicemoda. saqarTvelo, yvelanairi dabrkolebisa Tu sabWoTa kavSiris SezRudvebis miuxedavad mainc axerxebda yofiliyo Tavisufali adamianebis qveyana da sadac ki Sansi eZleoda, Tavisuflebis frTebs Slida... ki, zustad imitom rom mTebSia Tavisufleba da Cveni samSobloc _ mTa-goriani qveyanaa. Tavisuflebaze saubarma legendaruli, bakurianeli sportsmeni koba waqaZe gamaxsena. maxsovs misi fraza, sadac is „fristailze~ saubrobda: „sabWoTa kavSirSi sportSi nebismieri wesidan gadaxveva da TviTneboba mkacrad isjeboda, amitom msgavs disciplinaze sportsmeni verc ifiqrebda, radgan es SeiZleboda samudamo diskvalifikaciad dasjdomoda. Tanac, amgvari Tavisufali stilis srialisTvis arc Txilamuri gviwyobda xels, arc samagri da arc fexsacmeli, evropaSi ki fristailis elementebi 1972 wlidan maxsovs“... swored koba waqaZea is legendaruli sportsmeni, mravalgzis Cempioni, romelmac tramplinidan xtomaSi sruliad axali meTodi daamkvidra _ es iyo misi Tavisuflebis manifesti, romelzec 1960 wels, skvo-velis olimpiadis mimdinareobisas, Jurnal „niu iork Taimsis~ Jurnalisti

took part in the fields of freestyle skiing, snowboarding, and freeski.

Up to three thousand guests visited Bakuriani. Our country was united through the love of sport. The preparation for the Bakuriani World Cup showed us an example of how we should build a better future for our country: everybody gathered around one common idea and managed, through tireless work and knowledge, to make the whole world speak about Georgia. Seventy countries have broadcast the great sports event that took place here in Bakuriani.

“This is one of the most amazing world championships that I have attended. The Georgian people have put in so much effort with the support of their government. The collaboration between the Georgian Ski Federation and the government with the International Ski Federation was very consistent. The infrastructure is in line with international standards; it’s outstanding. It allows the athletes to perform at their absolute best”, said Dean Gosper, a member of the International Ski Federation council.

As a ski resort, Bakuriani was born in 1935, and now, almost a century later, this historic place has hosted the World Cup for the first time, which is the most prestigious event for followers of this winter sport. World-renowned sportsmen have gathered in Bakuriani, and the competition was broadcast live on Eurosport.

Despite many obstacles or restrictions from the Soviet Union, Georgia always managed to remain a country of free people, and as soon as it had the chance, it would spread its wings of freedom… And it is precisely because freedom is in the mountains, and our country is one

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Torlif Seldrapi werda: „waqaZem TxilamurebiT tramplinidan xtomis axali stili, albaT, Tavisdauneburad Seqmna. haerSi is saerTod ar ixreba welSi. misi sxeuli gamarTuli da moSvebulia. ise ixreba win, rom misi saxe TiTqmis Txilamurebis wverebs exeba, xelebi sxeulis gaswvriv, Tavi ki maRla aqvs aweuli. mas Txilamuris samagrebi ise aqvs moWerili, rom mxolod fexis wverebiT exeba Txilamurebis zedapirs. is Zalian Sors xteba da misi frena saocrad lamazia~. mogvianebiT xtomis am meTodze Tavad batoni koba gaixsenebs: „bavSvobaSi bakurianis garSemo mwyemsad davdiodi xolme da Tan meliebze da kurdRlebze arwivebis nadirobas vakvirdebodi. caSi wertili gamoCndeboda, datrialdeboda da rodesac mindorSi msxverpls dainaxavda, frTebs sxeulze miikravda, kisers gaWimavda da Zirs tyviasaviT eSveboda. erTxelac varjiSis dros es suraTi gamaxsenda da xelebi sxeulis gaswvriv davide, naxtomic mSvenieri gamovida da rodesac saerTaSoriso Sejibrze ase gadmovxti, aRmoCnda, rom pirveli viyavi vinc ase ifrina da mas Semdeg es naxtomi msofliom waqaZis naxtomad aRiara~.

of mountains. Speaking about freedom reminded me of legendary sportsman Koba Tsakadze from Bakuriani. I remember what he said about freestyle: “In the Soviet Union, taking a detour from any rule in any sport was severely punished, and therefore, a sportsman could not even think about such a discipline because they could have been disqualified for life. Apart from that, skiing in such a free style was not in line with our skis, buckles, or boots, while in Europe, I remember elements of freestyle existing back in 1972...” Koba Tsakadze is the legendary sportsman and world champion who established a completely new way of ski jumping.

This was the manifesto of his freedom, of which, in 1960, during the Olympic Winter Games in Squaw Valley, a journalist wrote: “Tsakadze probably created this new style of ski jumping by chance. He doesn’t bend at all in the air. His body is straight and relaxed. He has a forward incline, so that his face almost touches his skis, the arms along the body, and the head held up high. He has arranged the buckles of his boots in a way that makes him touch the upper layer of his skis only with his toes. He jumps very far, and his flight is amazingly beautiful.” Later on, Mr. Koba himself recounts this jumping method: “In my childhood, I used to walk around Bakuriani as a shepherd, and I was observing how eagles hunted foxes and rabbits. A single point would appear in the sky; it would turn, and when it saw its prey, it would glue its wings to its body, extend

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qarTvel tramplinidan mxtomels, romelsac mogvianebiT „mfrinavi torpedo~ Searqves, 54 saerTaSoriso Sejibri aqvs mogebuli. Jini, mondomeba, mTis siyvaruli _ aris is rac am dabaSi dabadebulebs aqvT. amitomac mjera, rac ufro metad ganviTardeba bakurianis infrastruqtura, rac ufro meti Sejibri Catardeba aq _ ufro meti axalgazrda dainteresdeba sportis zamTris saxeobiT saqarTveloSi. umniSvnelovanesia is infrastruqturuli proeqtebi, romlebic msoflio Cempionatis farglebSi ganxorcielda: wylis ori xelovnuri rezervuari, 6 axali saSejibro trasa, 3 sabagiro da xelovnuri gaTovlianebis 29 kilometriani sistema didvelis, koxtasa da mitarbis arealSi da ra Tqma unda, es yvelaferi bakurians darCeba...

2025 wels saqarTvelom zamTris axalgazrdul olimpiadas unda umaspinZlos da vin icis, egeb es iyos sawyisi saqarTveloSi mTavari olimpiadis Catarebis.

its neck, and come down like a bullet. One day, when I was training, I remembered this eagle. I put my arms along my body, and the jump was very good. When I jumped that way in an international competition, it turned out that I was the first who flew like that, and that is why the whole world calls this kind of jump the “Tsakadze” jump.”

The Georgian ski jumper, who was later nicknamed the “flying torpedo”, has won 54 international competitions. Stubbornness, will, and the love of mountains are what those who are born in these mountains are endowed with. This is why I believe that the more Bakuriani’s infrastructure is developed, the more competitions are held in Bakuriani, and the more interest winter sports will get from the youth in Georgia.

The infrastructure projects that have been carried out in the framework of the World Cup are of utmost importance: two artificial water reservoirs, six new competition tracks, three new ski lifts, and a 29-kilometer system of artificial snow in the areas of Didveli, Kokhta, and Mitarbi, and of course, all this will remain in Bakuriani...

In 2025, Georgia will host the Youth Winter Olympics, and who knows, maybe this will be the beginning of the hosting of the Olympic Games in Georgia.

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mariam wiklauri

„qaris zarebiviT~ mowkriale misuZu kanekos pirovneba, Semoqmedeba da Targmanebi

Mariam Tsiklauri

Resonant as wind chimes Misuzu Kaneko’s personality, works and translations

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iaponeli poeti misuZu kaneko (teru kaneko) 120 wlis win, 1903 wlis 11 aprils daibada iaponiaSi, meTevzeTa daba senZakiSi, romelic dReisTvis qalaq nagatos SemadgenlobaSi Sedis (kaneko iTargmneba rogorc „oqros bavSvi~). is da misi Zma Zalian patarebi daobldnen mamiT da biZis ojaxis meurveobiT izrdebodnen. gogona swavlisadmi did interess iCenda da bavSvobis asakidan werda kidec. „ucnauri, gulCaTxrobili, romelsac Zalian uyvarda kiTxva~, _ aseTs ixseneben mas bavSvobidan. igi oci wlis asakSi, sruliad ymawvili, samuSaod gadavida qalaq SimonosekiSi (qalaqi kunZul honSius ukidures dasavleTs ganekuTvneba), wignebis maRaziaSi, romlis mflobeli biZamisi iyo... da am maRaziis gaZRola mas daevala. iq muSaobisas gaigo misuZu kanekom, rom imxanad, XX saukunis ocian wlebSi gamomavali iaponuri popularuli sabavSvo Jurnalebi, TavianT mkiTxvels mimarTavdnen redaqciaSi gaegzavnaT sakuTari Semoqmedebis nimuSebi _ leqsebi, moTxrobebi, zRaprebi... misuZu leqsebs bavSvobis asakidan werda da gasagzavni masalac ramdenime sabavSvo JurnalisTvis SearCia. pirvelad xuTi leqsi 1923 wels gamoqveynda, maT Soris dReisaTvis Zalian cnobili, misi sabavSvo poeziis erTgvari savizito baraTi _ „iRbliani Tevzaoba“. imxanad gamomavali oTxi iaponuri sabavSvo Jurnali agrZelebda kaneko misuZus leqsebis beWdvas da momdevno xuT weliwadSi poetis 51 leqsi gamoqveynda.

1926 wels biZam, romelic sami wlis asakSi mamiT daoblebul kanekos zrdida da dedam, gogona misi nebis sawinaaRmdegod, colad miaTxoves mamakacs, romelic uzneo, aRviraxsnil cxovrebas eweoda da axalgazrda meuRle veneriuli daavadebiT daasnebovna.

Japanese poet Misuzu Kaneko (Teru Kaneko) was born 120 years ago, on the 11th of April 1903, in the fishing town of Senzaki in Japan, which is now part of the city of Nagato (Kaneko means “golden child”).

Her brother and herself lost their father in their early childhood, and they grew up under the guardianship of their uncle. The girl showed great interest in education, and she was writing since she was a child. “She was strange, reserved, and loved reading” – this is how her contemporaries remembered her childhood.

As a twenty-year-old, she started working in the city of Shimonoseki (which belongs to the westernmost side of Honshu Island) in her uncle’s bookshop and became its manager at that young age.

When working there, Misuzu Kaneko learned that popular Japanese children’s magazines of the time were inciting their readers to submit their own works – poems, stories, tales, etc. Misuzu had been writing poems since childhood, and she chose some of them to send to a children’s magazine. Five of her poems were published in 1923, including the now very famous ‘Big Catch’, which is emblematic of her children’s poetry. Four Japanese children’s literary magazines were soon using Kaneko Misuzu’s poems, and 51 poems were published in the span of five years.

In 1926, her mother and her uncle, who had been raising her since Kaneko lost her father at the age of three, married the girl against her will to a man who was leading a dissolute, unbridled life and transmitted a venereal disease to his young wife. He forbade her to write and to publish. The young woman became a victim of this forced, loveless marriage. Her husband didn’t change his way of life even after their child was born, and Misuzu divorced him, but according to the law of the time, child custody was always granted to the father in case of a divorce. Kaneko couldn’t separate from her girl and was suffering from the fact that she would have to grow

Tevzebi

futkari da RmerTi

mebralebian Tevzebi zRvisa.

yvavilis gulSi _ futkari, yvavili _ baRis gulSi, baRs zRuded galavani aqvs, Tvalebs cqeras rom uSlis. zRude _ qalaqis gulSia, qalaqi _ qveynis gulSi, qveyana _ msoflioSia, msoflio _ samyaroSi. samyaros ki, sul iolad ipoviT RmerTis gulSi!

ras aRar uvlis adamiani: brinjis yanebs amozrdis kvlebad, sabalaxod gaidenis Zroxebis naxirs, tboris kobrs kvebavs. zRvis Tevzebze ki, arasdros zrunavs, arc sakvebs aWmevs, arc wamliT kurnavs. arafers Civis, uwyinaria zRvis Tevzi, uxmo.

Tumc erTi mainc unda SevWamo sadilze, ufxod. mebralebian Tevzebi zRvisa.

es niSnavs, RmerTi eteva pawia mweris gulSi!

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mzis sxivebi mzidan miwaze mociqulebi daeSvnen erTxel. samxreTis qari Sexvda da hkiTxa: _ risTvis mosulxarT, sulebo mzisav? pirveli ufro Tamami Canda, _ sinaTlis fxvnils miwaze vapnev yvelaferma rom SeiZlos garja! meorem ase miaxara: _ msurs, yvelaferi ayvavildes da baRnars hgavdes, rom dedamiwa bednierebiT aivsos camde. gulkeTilma mesamem brZana: _ vageb haerSi myar da sando xids, wminda sulebma rom ixilon gzebi samoTxis. bolo suls dardi gaukrTa xmaSi: _ dedamiwaze imitom davrCi, rom yvelafers davfino Crdili.

mas aukrZala wera da beWdvac. axalgazrda qali am iZulebiTi, usiyvarulo qorwinebis msxverplad iqca. arc Svilis gaCenis Semdeg Seucvlia qmars cxovrebis niri da misuZu qmars gaSorda; magram maSindeli

up alongside her unworthy father. She had to live in her divorced husband’s home, and it seemed that her ordeal was so strong – on the one hand, from the hopeless perspective of raising her daughter, and on the other hand, from her illness – that she wrote a will in which she was asking for her daughter to be raised by the child’s grandmother – her own mother – and then poisoned herself. She committed suicide at 26 years of age. Her wishes were granted. This is how, by sacrificing her own life, she took her daughter from the hands of her immoral father and, at the same time, put an end to her own suffering. Before that, she copied her 512 poems into three large notebooks and gave the latter to her brother.

Misizu Kaneko’s death made readers forget her name for years.

Her poems were not published anymore, and her name and works gradually disappeared from literature. After the poet’s death, a militarist-reactionary period started in Japan, and for quite some time, it would be an unenviable time for Japanese literature and culture in general.

Almost 40 years after the poet’s death, 19-year-old Japanese poet Setsuo Yazaki discovered, by chance, one of her poems in an old children’s magazine. The young man was left very impressed by this poem, ‘Big Catch’, and it made him eager to get to know Misuzu Kaneko’s works in more detail. Because he couldn’t find any books or even single poems by her, he started looking for her relatives. It took him 16 years for that, and it was only in 1982 that he found Misuzu Kaneko’s brother in Tokyo, who had founded a theater studio in the capital and lived there until his death in 1989. This was the brother to whom Kaneko had left her notebooks with her poems as well as

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kanonmdeblobiT, mSoblebis ganqorwinebisas, Svils mamas akuTvnebdnen. kaneko ver Sordeboda pataras da Zalian ganicdida, rom is uRirsi mamis gverdiT izrdeboda... cxovrebac gaSorebuli meuRlis saxlSi uwevda da etyoba imdenad mZafri iyo misi gancdebi, erTis mxriv SvilTan urTierTobis uimedo perspeqtivisa da meore mxriv Tavisi avadmyofobis gamo, rom dawera anderZi, romelSic iTxovda Svili bebias _ dedamiss gaezarda da am uflebis mosapoveblad Tavi moiwamla. 26 wlis asakSi momakvdinebeli sawamlavi dalia da sicocxle suicidiT daasrula. anderZi ausrules. ase, sakuTari sicocxlis fasad, gamostaca xelidan Svili uzneo mamas da sakuTar tanjvasac dausva wertili. manamde ki sakuTari xeliT sam mozrdil rveulSi gadawera Tavisi 512 leqsi da es rveulebi Zmas misca Sesanaxad. misiZu kanekos sikvdilma wlobiT daaviwya mkiTxvels misi saxeli. aRarc leqsebi ibeWdeboda da nel-nela misi saxeli da Semoqmedeba saerTod gaqra literaturidan. poetis sikvdilis Semdeg, maleve, iaponiaSi militaristul-reaqciuli dro damkvidrda da karga xani arasaxarbielo periodi dadga sazogadod iaponuri kulturisa da literaturisTvis. poetis gardacvalebidan TiTqmis ormoci wlis mere, mis erTi leqss, SemTxveviT, Zvel sabavSvo JurnalSi gadaawyda axalgazrda, 19 wlis iaponeli poeti secuo iaZaki. axalgazrda kacze am leqsma, „iRbliani Tevzaoba~, didi STabeWdileba moaxdina da interesi aRuZra gascnoboda kaneko misuZus Semoqmedebasac... da radgan versad

kalia kalia adis goraze, dilidan adis goraze, cocavs da ebRauWeba miwis goroxs da balaxs, sul TavukuRma gadadis saltoebsa da malays. goraze dilis mze dgeba, velze cvar-nami, dilis. kalia, xtomis ostati, gorakze yinCad mcocavi, xtis, xtis da ebRauWeba miwis goroxs da balaxs, sul TavukuRma gadadis saltoebsa da malays.

Semodgomis dRe uyinavs saxsrebs da grZelgrZel ulvaSs, ar epueba sicives, balaxis Reros Runavs, arc simaRles da arc aRmarTs, sul Tavdayira gadadis, xanac vardeba dabla. _ erTi naxtomi damrCa da im varskvlavamde aval, wuxel rom Canda goraze, daviZinebdi sanam. ra Sors yofila Cveni mze, mci -i-va-a- vkankaleb, mciva, Sorsaa goris wveramde, ukeT davxtodi winaT. da sanam goras avivli, Cemi nacnobi yvavili saidan gaCnda neta? wuxel vaTene mis ZirSi da nuTu isev aqa var, Tu mesizmreba ZilSi? cocavs da ebRauWeba miwis goroxs da balaxs, sul TavukuRma gadadis saltoebsa da malays. axla mTvarea goris Tavs, nammac dacvara Rame. _ ra gviania, nams davlev da daviZineb male.

Cvenma daRlilma kaliam, sanam dalia nami, gemoze daamTqnara da kidec milula Tvali.

mtredi bostneulis daxlTan vxedav, erTi dedaCiti bostneulis daxlTan icdis.

Tan bartyebic axlavs cicqna.

Citis yurs RuRuni miswvda. sami mtredi Soriaxlos ras RuRunebs? mepatrones bostneuls xom ar uwunebs? badrijani iisferi, mwvane kombostoa bevri, marwyvicaa mwife, afrqvevs sxivebs wiTels. ra viyido?-mtreds gaxeda dedaCitma. mtredi iqve, axlos ijda. mtredma aarida Tvali, mere miibruna Tavi. viTom viTom verca xvdeba, ras kiTxulobs Citideda.

family photographs. In 1983, a publishing house published a six-tome anthology of Kaneko’s poems based on these notebooks. Setsuo Yazaki also worked towards the creation of a memorial museum in the library where Kaneko worked.

After the anthology was published, Misuzu Kaneko was rediscovered by Japanese people, who once again fell in love with her, and countless songs were created with her melodic poems.

Apart from that, they made a film about the poet’s life, translated her poems into many languages, minted a coin in her honor, opened

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abreSumis parki da samare Wia parkSi gaxveula abreSumis mweri, bnelSi Sig Zlivs Cateula, gamofrenas elis. mas lodini aZlebinebs peplad qcevis, albaT. radgan icis, ifrens, roca Semoixsnis am parks. samareSic adamians uWirs, iqac bnela, viwrodaa, naRvliani wevs da elis Svelas -

miakvlia verc mis wignebs da verc mis publikaciebs, kanekos axloblebis Zebna daiwyo. 16 weli moandoma am saqmes da mxolod 1982 wels ipova imxanad tokioSi mcxovrebi, kaneko misuZus Zma romelsac dafuZnebuli hqonda vakakusis Teatraluri studia da tokioSi cxovrobda 1989 wlamde, gardacvalebamde. es is Zma aRmoCnda, visac kanekom Tavis xelnaweri leqsebiT savse sami mozrdili rveuli da saojaxo fotoebi dautova. 1984 wels erT-erTma gamomcemlobam am sam xelnawer rveulSi arsebuli leqsebis safuZvelze misuZu kanekos leqsebis eqvstomeuli gamosca. secuo iaZakim imazec izruna, rom im wignis maRaziaSi, sadac kaneko muSaobda, misi memorialuri muzeumi gaxsniliyo. eqvstomeulis gamoqveynebis Semdeg kaneko misuZu xelaxla aRmoaCina iaponelma xalxma, xelaxla Seiyvara is da mis melodiur leqsebze uamravi simRera Seqmna. garda amisa, gadaiRes biografiuli filmic poetis

rom keTili kacis msgavsad, gaezardos frTebi, angelozad rom aqcevs da afrens ciur gzebiT.

spilo minda indoeTis naxva, goliaTi spiloebiT seirnoba aRma-daRma Sors yofila indoeTi, rom megona, masze bevrad. xom ara sjobs, gadaviqce cerodenad, saTamaSo spiloTi rom gavemgzavro SeumCnevlad?

varskvlavebi da babuawvera

Tu es moxda, gauval tyed gadiqceva yana fetvis, _ aba, spilov, SevyveT am tevrs, _ ase vetyvi.

Ramis mosvlamde CaZirulebi lurj siRrmeebSi, cis TaRis ukan, viT okeanis fskerze kenWebi. vin grZnobs uxilav varskvlavTa sunTqvas? mzis sinaTleSi SeumCnevlebis xma, CamiCumi arsaiT ismis. uCinarebi arian dRisiT.

tyidan urCxuls gamovdevni, Cems spiloze didsac tanad im Txunelas, rom aiklo Cveni yana. torolas vTxov, budeSi rom Semifaros, mze Tu Cava, Svidi dRe da Svidi Rame tye-tye vivli, Sevagroveb didZal nadavls.

uxilavi sxeulebic arsebobs irgvliv. babuawveras CamomWknar Teslsac, kramitebis qveS SeyuJuls yuCad, wiboTa RarSi miyrilebs mtevnad, Tvalsac ver mohkrav, fesvic ar uCanT. gazafxulamde Zleben uCinrad, sicocxle sulis RiviT uWiravT.

roca bolos gaval tyidan da gavaTrev im Cems tvirTsac, dasruldeba xeivanic roca glerZis, gamoCndeba ca maRali, ra lamazi ca iqneba, ra lamazi.

uxilavi sxeulebic arsebobs irgvliv.

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SeiyvareT yvelaferi yvelaferi msurs, rom uyvardes guls. xaxvi, pomidori, Tevzi _ cxeli kerZi, rac ki gaakeTa dedam. me yvelani msurs, rom uyvardes guls. eqimebis da yvavebis Seyvarebac unda SevZlo, yvelaferi rom miyvardes rac ki gaakeTe, RmerTo.

dRe da Rame dRes Rame mosdevs, Rames _ dRe, da meordeba ase. ra TvaliT gavwvde am Tokis usasrulobis saxes, Tavs sad mivagno, an bolos, mnaxveli rogor gavxde.

iRbliani Tevzaoba Tendeba. darian dilas Tevzi mohyveba bades, vercxlisferia sardini, navebs pirTamde avsebs. dRes saqme kargad wauvaT meTevzeebs da vaWrebs. zRvaSi ki, didi glovaa, Zmebs dastirian Tevzebi, maT cremls veravin amCnevs.

parks bearing her name, put statues of her, memorial monuments, introduced her poems in the school curriculum, celebrated her 115th jubilee… Today, she is a world-renowned poet whose poems are published in many countries in various anthologies and children’s books: Germany, France, Singapore, the USA, and others. When there was a large earthquake in Japan on the 11th of March 2011 and televisions stopped broadcasting advertisements, they would only broadcast a social advertisement based on her famous poem ‘Are You an Echo?’ and this poem has become a symbol of the world’s great support for Japan.

Her international recognition is confirmed by the “Round Table” held at the UN in 2009, the theme of which was the role and importance of women in Japanese culture, their accomplishments, and their problems. This round table was completely dedicated to Misuzu Kaneko’s works, life, and literary heritage as components of the development of Japanese culture and literature.

Misuzu Kaneko’s poetry is filled with humanity, empathy towards

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cxovrebaze, Targmnes araerT enaze, dabeWdes misi saxelobiTi marka, gaxsnes misi saxelobis parkebi, dadges qandakebebi, memorialuri Zeglebi, Seitanes saswavlo programebSi, aRniSnes 115 wlis iubile da sxva da sxva... dRes is msoflioSi aRiarebuli iaponeli poetia, romlis leqsebi araerT qveyanaSi gamodis Zalian mravalferovani krebulebisa da sabavSvo wignebis saxiT: germaniaSi, safrangeTSi, singapurSi, aSS-Si da sxva. xolo, roca iaponiaSi 2011 welis 11 marts didi miwisZvra moxda da televiziebma Sewyvites sareklamo rgolebis gaSveba, erTaderTi, misi cnobili leqsis, „es eqoa?~, safuZvelze gadaRebul socialur reklamas atrialebdnen da swored es leqsi iqca iaponiisTvis msoflios didi Tanadgomis simbolod. mis saerTaSoriso aRiarebas adasturebs 2009 wels gaeros egidiT Catarebuli „mrgvali magida~, romlis Tema iyo qalTa roli da mniSvneloba iaponur kulturaSi, maTi miRwevebisa da problemebis Cveneba. es „mrgvali magida~ mTlianad mieZRvna mxolod kaneko misuZis Semoqmedebas, cxovrebas, misi literaturuli memkvidreobis warmoCenas iaponuri kulturisa da literaturis ganviTarebaSi. misuZu kanekos poezia ganmsWvalulia didi humanizmiT, empaTiiT bunebis, adamianebis mimarT da efuZneba uZvelesi iaponuri religiis Sintoizmis im safuZvlebs da Rirebulebebs, romelic kacobriobas aswavlis wminda guliT Tanaarsebobas garemosTan, adamianebTan bunebis arsebaTa siyvaruls, Tanalmobas, warsulis pativiscemas, sisadaves, yvelafris miRebas madlierebiT, uambiciod. swored es Tvisebebia mTavari Strixebi misuZu kanekos sabavSvo leqsebSic. Tumca misi poezia ekuTvnis ara mxolod bavSvebs. isaa faqizi, daxvewili, gamWvirvale,

sofeli rogor minda, forToxlis xeze oqrodmwifari pawawina forToxlebi vixilo, bevri. an sul axladgamokvirtuli nayofiT savse leRvis xeebi. an Tavelebi xorblis yanisa da mzekabani _ qaris qrolvaze, Citis WikWiki. rogor minda, gazafxulze sofelSi viyo, roca ismis torolas stvena, forToxlis tevrs ki, yavilebi ayria bevri. sofelSi yofna... marto fotoebs mivCerebivar, ramdeni rame arsebobs irgvliv, fotoebze rom arasodes gamoCndebian.

nature and humans, and is based on the foundations and values of the ancient Japanese religion of Shintoism, which teaches humans to live in harmony and with a pure heart with nature, respecting the past, simplicity, and gratitude for receiving anything without any interests.

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Citi, zanzalaki da me xelebi romc aviqnio, ver avfrindebi maRla. caSi Citi frens, me mindvrad davrbivar masze swrafad. niavze tanic varxio, xmas ver gamovcem zaris. is Cems simRerebs ver ityvis, Tumc ki, wkrialebs qariT. me, Citi da zanzalaki _ gansxvavebulni bevrad, erTmaneTs rodi vuwunebT xasiaTsa da enas?!

maRalesTeturi poeturi samyaro, romelsac dRes Tanabari siamovnebiT kiTxulobs yvela asakis mkiTxveli. sazogadod ki iaponuri religiur-kulturuli tradiciebi, aRzrdis meTodebi da faseulobebi bavSvebs zrdian imgvarad, rom iaponeli bavSvisTvis ucxoa zianis miyeneba, agresia adamianebis, cxovelebis, frinvelebis, mcenareebis, bunebis arsebaTa mimarT. TumcaRa, poetis leqsebs zogadadamianuri da zedrouli absoluturobac aqvT da mxolod iaponuri kulturis niSans ar atareben. am leqsebiT bavSvebisa da mozrdilTa yuradReba gadadis ara mxolod samyaros xilul nawilze, aramed bevr uxilav, TvaliT SeumCnevel movlenebze, arsebebze, nivTebze, sagnebze da samyaro gacilebiT axlobeli, mosaferebeli, mosafrTxilebeli,

It is precisely these values that constitute the main motives of Misuzu Kaneko’s childhood poems. But her poetry doesn’t belong exclusively to children. It is a clean, refined, transparent poetic world with high aesthetics, a poetry that is appreciated today by readers of all ages. More generally, Japanese religious-cultural traditions, educational methods, and values raise children in a way that makes Japanese kids strangers to doing damage or aggression towards humans, animals, birds, plants, and other creations of nature.

Nonetheless, the poems also have a general, timeless, and absolute character of humanity, and they do not only carry the traits of Japanese culture. With them, the attention of children and youngsters transfers not only to the visible part of the world but to many invisible, unnoticeable events, beings, objects, and things, and the world becomes much closer, one that we can caress, care for, and feel. With these poems, children understand that the world is a unity of many diverse things and that everyone has their own charm and voice.

These small texts have particular poetic and artistic value, have stood the test of time, and will continue to provide food for the soul and thought, make emotions nimbler, and revive the ability to perceive. This is why, today, Misuzu Kaneko’s poems are taught in every Japanese school. Their author is still alive, as millions of readers still read her and get charmed, and in our everyday routine and agitated rhythm, her poems still resonate like Japanese wind chimes, bringing refreshing ripples to humans who are enfeebled by our contemporary world.

damSvidobeba dedi, dedi, damelode, damrCa kidev raRac saqme, ai, aqve. kvicebs davemSvidobebi, sajinibo aris axlos, yviTelgula wiwilebic Cavixuto gulSi, vnaxo.

yvavili mainc vyofiliyavi

damelode. tyeSic unda Sevirbino, moval uceb, mTasac vnaxav, SeSismWrelsac. gesmis, culs scems?!

kargi bavSvi viqnebodi, yvavili rom vyofiliyavi.

dedi, dedi, damelode, gevedrebi, kide raRac damaviwyda, vnaxav, dedi.

vinc arc dadis da arc laparakobs, borotebas rogor Caidens?

mindorSi ro walika da cisferTvala Wortanebi xarobs, gaxsovs? mivirben, rom davakvirde, davixsomo maTi saxe. qalqSi rom davbrundebi, sadRa vnaxo?

Tu metyoda vinme _ „ver gitan~, movWknebodi. gulSi wyenas ar gavivlebdi, yvavili rom vyofiliyavi. kargi bavSvi rogorRa gavxde, yvavilad qcevac ar SemiZlia...

dedi, dedi, damelode...

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Sesamecnebeli xdeba. am leqsebiTac igebs bavSvi, rom samyaro gansxvavebulTa erTobaa da yvelas Tavisi kuTvnili mSveniereba da xma gaaCnia. am patara teqstebs aqvT gansakuTrebuli poeturi da mxatvruli Rirebuleba, romelmac gauZlo dros da kidev bevrs miawvdis sulier sazrdos, fiqrisaTvis ganawyobs, emociaTa sixasxases SesZens da Wvretis ase saWiro Tvisebasac gaafxizlebs. amitomaa, rom dRes yvela iaponur skolaSi iswavleba misuZu kanekos leqsebi. is cocxali avtoria, romelsac yurs ugdebs milionobiT mkiTxveli, ixibleba da yoveldRiurobis rutinasa da aCqarebul ritmSi misi leqsebi iseve wkrialeben, rogorc iaponuri „qaris zarebi~, romelTac maamebeli da magrilebeli Wavli moaqvT TanamedroveobiT gaTanguli adamianebisTvis. uamravi leqsia gamRerebuli misuZu kanekos Semoqmedebidan. es sada, daxvewili, mwyobri teqstebi, Tavisi aseTive sufTa idealebiT, adamianebs sasimRerodac ganawyobs. misi sabavSvo leqsebi „es eqoa?“, „me, Citi da zanzalaki“, „iRbliani Tevzaoba“, „sinaTlisken“, „RmerTi da futkari“, „kanfeti“, „dadebuli Tovli“, „nami“, `veSapTa panaSvidi“ da sxvac bevri, Sevida msoflio sabavSvo literaturis oqros fondSi. piradad me, masTan da mis leqsebTan, literaturaTmcodnem, filologiis doqtorma, profesorma nana kuciam „Semaxvedra~ da es Sexvedra aRmoCnda „erTi naxviT Seyvarebis~ magaliTi. is poezia aRmoCnda xma, romelmac, rogorc didma saCuqarma, ase moaRwia Cemamde da madloba amisTvis Cvens uxilav angelozebs, romlebsac xSirad swored iq mivyavarT, sadac bednierebis ylupi gvelodeba. male 13 enaze Targmnil leqsebs qarTuli enac Seemateba. gamomcemloba `sezan-fabliSingi~ da manana kartozia qarTvel mkiTxvelebs SesTavazebs misuZu kanekos

meyvavile moxuci kaci

veSapis panaSvidi gazafxulis miwurulze, veSapebis panaSvidi imarTeba aq, roca zRvebSi mfrinavi Tevzis moxelvas viwyebT. sanapiroze taZrebidan zarebis rekva moismis da qari fantavs xmebs sivrceebSi, sivrce xmebs itevs. haorebiT imosebian Cveni soflis meTevzeebi, da rodesac miiCqarian locvebze taZrad, swored maSin zRvaSi erTi Cvili veSapi zarebis xmaze wylis siRrmidan lurj talRebs aZravs. ixsenebs Tavis daRupul mSoblebs. mwared slukunebs: „menatrebiT, menatrebiT, saiT xarT neta?~ _ miatirebs fskerTa ukuneTs. zarebis eqo zRvebis zedapirs gadaevleba, efineba qveynierebis dasasrulamde...

Numerous songs have been made from Misuzu Kaneko’s poems.

These simple yet refined texts, with their pure ideals, make people want to sing. Her children’s poems ‘Are You an Echo?’ ‘Me and Little Birds and Bells’, ‘Big Catch’, ‘Towards the Light’, ‘God and the Bee’, ‘Candy’, ‘Snow’, ‘Dew’, ‘Whale Funeral’, and many others have become an intrinsic part of world children’s literature.

Personally, it was a literature specialist and doctor of philology, professor Nana Kutsia, who introduced me to her and her poems, and this introduction turned out to be “love at first sight”. This poetry was like a voice that had reached me as a very large present would be gifted, and for this, I would like to thank our invisible angles, who often lead us precisely where a gulp of happiness awaits.

meyvavile qalaqisken gaeSura, gana stumrad?! iq gayida yvavilebi, uxmod, Cumad. rasac Tavze evleboda, Sehxaroda, igi daTmo. es sabralo martoxela meyvavile axla dardobs,

yoymanobs qari

da mzis Casvlas Sin euli egebeba, Tavis qoxSi. erTaderTi es ocneba darCa axla _ bednieri rom gaxados yvavilebi ucxo saxlmac.

ayvavebula osmanTusi _ zeTis xe TeTrad, motkbo surneliT savsea are. qari Seyovnda baRis karTan, ar icis, ra qnas, iqneb, Sesvlas karTan dgoma sjobs?

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pirvel krebuls qarTul-iaponur enebze, romelsac safuZvlad daedeba devid jakobsonis mier sietlSi gamocemuli krebulis modeli da ilustraciebi, rac statiaSicaa warmodgenili. qarTuli wignis redaqtorkonsultantia iaponeli enaTmecnieri da mTargmneli batoni iasuhiro kojima. mgonia, am leqsebs qarTveli mkiTxvelic Seiyvarebs. sasiamovnod daemTxva misuZu kanekos Targmnac da gamocemac mis saiubileo 120 wlisTavs. qalbatonma manana SeyilaZem qarTul vikipedias iaponel poetze statia SesZina. imedia, kidev bevri kargi saqme gakeTdeba am mimarTulebiT da gaizrdeba iaponeli poetisa da misi leqsebis popularoba saqarTveloSic, romelsac aqvs sabavSvo poeziis didi tradiciebi, saintereso Tanamedroveoba, magram yovelTvis siamovnebiT iRebs axal, macocxlebel impulsebs msoflio saganZuridanac. leqsebi Targmna _ mariam wiklaurma redaqtor-konsultanti _ iasuhiro kojima

Georgian will soon be added to the list of 13 languages in which Misuzu Kaneko's poems were translated. The publishing house 'Cezanne Publishing' and Manana Kartozia will present the first anthology of the Japanese poet's works in Georgian and Japanese languages, using the model and illustrations created and published in Seattle by David Jacobson, and which are also present in this article.

Famous Japanese linguist and translator, Mr. Iasuhiro Kojima, works as an advisor on the project. I think that Georgian readers will fall in love with these poems too.

It is a pleasant coincidence that Misuzu Kaneko’s Georgian translation and publishing will take place during her 120th jubilee year. Mrs. Manana Shekiladze created a Georgian Wikipedia page about the Japanese poet. Hopefully, many other good things will happen, and the popularity of the Japanese poet and her works will grow in Georgia too, a country that boasts a honed tradition in children’s poetry and interesting contemporary poets too, but will gladly accept new, vivifying impulses from world treasures like Misuzu Kaneko.

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`saCuqris~ berZnuli fokusi italiuri finaliT da saganmanaTleblo CanarTebiT

SACHUKARI’S GREEK FOCUS WITH AN ITALIAN FINALE AND EDUCATIONAL ACCENTS 2022 weli xelovnebis saerTaSoriso festivalisTvis saiubileo weli iyo _ „saCuqars~ ocdaxuTi weli Seusrulda. „saCuqari~ pirveli da erTaderTi xelovnebis masStaburi zeimi iyo, romelic oTxmocdaaTiani wlebis ukuneTSi mZlavr da naTel sxivad aRiqmeboda. swored qeTi doliZes da „saCuqars~ unda vumadlodeT, rom saqarTvelo im wlebSi ar waiSala saTeatro rukidan da piriqiTac: erTi mxriv qarTveli mayurebeli saukeTeso speqtaklebis mxilveli gaxda da meore mxriv ucxoeTis araerTi cnobili Teatrali gaecno qarTul warmodgenebs, romlebic Semdgom sxvadasxva qveyanaSi aCvenes... 2022 wlis saiubileo „saCuqari~, romelic piter brukis xsovnas mieZRvna, mokrZalebuli masStabiT aRiniSna. ucxouri programa mxolod ori speqtakliT iyo warmodgenili.

In 2022, the international art festival ‘Sachukari’ has become 25 years old. ‘Sachukari’ was the first and only large-scale event that shone bright in the field of the arts in the dark 1990s. Thanks to this festival and therefore to its founder, Keti Dolidze, Georgia didn’t disappear from the world theater map in these difficult years. Georgian spectators could appreciate the best plays, and many famous foreign theater specialists got to know Georgian plays, which would then go on to be performed in various countries.

The jubilee 2022 edition of ‘Sachukari’, which was dedicated to the memory of Peter Brook, was celebrated on a smaller scale.

The foreign program only included two plays. In the Georgian plays, there was a reading of Dimitri Dimitriadis’ text, ‘I am dying as a country’, staged by Keti Dolidze. The text was read by Zurab

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qarTuli dadgmebidan naCvenebi iyo dimitri dimitriadisis teqstis „vkvdebi rogorc qveyana~ zurab gewaZiseuli teqstis kiTxva qeTi doliZis dadgmiT, zviad bolqvaZis musikaluri monodrama „medeas vnebebi~ oTar WilaZis teqstis mixedviT (inscenirebis avtori da reJisori zaza sixaruliZe) da „don kixot lamanCeli~, Tbilisis kamerul TeatrSi giorgi afxazavas dadgmuli misteria TojinebisTvis.

Zalian mniSvnelovan garemoebad mimaCnia wlevandel festivalze studenturi frinjis (bileTebis fasdakleba) daarseba. SoTa rusTavelis saxelobis Teatrisa da kinos universitetis da ilias saxelmwifo universitetis studentebis warmodgenebis Cveneba „saCuqris~ rangis festivalze namdvilad saamayoa Cveni studentebisTvis. sabednierod, isini Zalian adre gaxdnen maRali xelovnebis festivalis monawileni da ara mxolod mayureblis statusiT monawileobdnen „saCuqris~ mimdinareobaSi. wlevandeli festivalis saganmanaTleblo misia mxolod frinjiT ar Semofarglula: umniSvnelovanes garemoebad mimaCnia berZnuli fokusis saganmanaTleblo programa.

Tavidanve aRvniSnav _ yvela wignis da festivalis Sexvedrebis mTargmneli TaTia mTvareliZe gaxldaT

Getsadze. There was also Zurab Bolkvadze’s musical monodrama ‘Medea’s Passions’, according to Otar Chiladze’s text, with the author and director of the adaptation being Zaza Sikharulidze. Finally, the Tbilisi Chamber Theater performed Giorgi Abkhazava’s ‘Don Quixote Ministerium for Puppets’.

The students of the Shota Rustaveli Theater and Film University and those of the Ilia State University deemed it important and a source of pride for them to perform their work on the stage of a festival on the level of Sachukari.

The educational mission of this year’s festival didn’t stop at students, as the educational program related to the Greek focus was also significant and productive. It is worth noting that the translator of every meeting or book presented at the festival was Tatia Mtvarelidze, professor at the Tbilisi State University’s Institute of Classical Philology, Byzantine, and Modern Greek Studies and coordinator of the Greek focus at the festival. This institute and the Ivane Javakhishvili Tbilisi State University have practically carried out the role of co-hosts at the festival.

In the framework of the festival, there was a meeting with famous Greek writer Dimitri Dimitriadis, in which his book ‘I am dying as a country’ was presented. Dimitriadis is a world-renowned writer, and meeting him was very significant for scientific circles and students.

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Our society knows Michail Marmarinos, the creator of the “collective method”, quite well. When presented at ‘Sachukari’, his plays were always considered to be the most prestigious performances of the festival’s program. Marmarinos has staged two plays in Georgia. The director is a great admirer of Georgian culture.

During the festival, he gave a lengthy interview in which the head of a Greco-Georgian family offered a wonderful analysis of our culture’s mission and the ways to save it. As for the meeting with the young generation, the director showed excerpts from his adaptation of Dimitriadis’ play ‘I am dying as a country’. Even the video images perfectly conveyed the depth and scale the director had put into the play.

Teodoros Terzopoulos, our country’s admirer and supporter, is considered to be the patriarch of world theater after Peter Brook’s passing. The translation of his manual ‘The Return of Dionysus’ was of particular significance, as was the three-day workshop for young Georgian artists Teodoros Terzopoulos held about acting. It goes without saying that the Stanislavski method, introduced a century ago and according to which theater institutes still teach, is of utmost

_ Tsu-s klasikuri filologiis, bizantistikisa da neogrecistikis institutis leqtori da berZnuli fokusis koordinatori. es instituti da srulad ivane javaxiSvilis saxelobis Tbilisis saxelmwifo universiteti faqtobrivad festivalis TanamaspinZlis rolSi mogvevlina. Catarda Sexvedra cnobil berZen mweralTan dimitri dimitriadisTan, sadac misi wignis „vkvdebi rogorc qveyana~ wardgena moxda. moewyo Sexvedra Tsu-s xelmZRvanelobasTan da studentebTan. dimitriadisi msoflio mniSvnelobis mweralia da masTan Sexvedra samecniero wreebisTvis da studentebisTvis umniSvnelovanesi faqtoria.

Teodoros terzopulosi _ Cveni qveynis Tayvanismcemeli da gulSematkivari, dResdReobiT, piter brukis gardacvalebis Semdeg, msoflio saTeatro xelovnebis patriarqad miiCneva. mis Sedevrs, „alarmes~ mogvianebiT ganvixilav. minda gansakuTrebiT aRvniSno misi saxelmZRvanelos, „dionises dabrunebis~ Targmnis da Teodor terzopulosis saerTaSoriso saxelosnos

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samsaxiobo ostatobaSi Catarebuli samdRiani vorqSofis mniSvneloba qarTveli axalgazrda artistebis aRzrdis saqmeSi. stanislavskis asi wlis winandeli meTodi, romlis mixedviTac dResac xdeba swavleba Teatralur institutSi, cxadia umniSvnelovanesia. li strasbergis, eJi grotovskis da sxvaTadasxvaTa meTodologiebsac icnobs Cveni saganmanaTleblo sistema. magram esoden safuZvlianad, vrceli Teoriuli naSromiT da imavdroulad samdRiani praqtikuli mecadineobiT qarTveli axalgazrda msaxiobebis profesiuli unarCvevebis Tvisobrivad axal safexurze ayvana Zalze mniSvnelovnad mesaxeba. terzopolusis meTodologiiT msoflios 30 wamyvan universitetSi xdeba msaxiobis ostatobis swavleba da sasixaruloa, rom saqarTvelo nawilobriv mainc gaecno ocdameerTe saukunis meTodologias, romelic isev da isev dionisesTan gvabrunebs, Teatris dabadebis adgilTan da misiasTan. mixeil marmarinoss, „koleqtiuri meTodis~ Semqmnels qarTveli sazogadoebrioba kargad icnobs: „saCuqarze“ warmodgenili misi dadgmuli speqtaklebi yovelTvis iTvleboda festivalis programis yvelaze prestiJul warmodgenebad. qarTul TeatrSi marmarinoss ori speqtakli aqvs dadgmuli, romlebic didi popularobiT sargeblobda qarTvel axalgazrdebSi. reJisori qarTuli

importance. Lee Strasberg’s and Jerzy Grotowski’s methods, as well as many others, are used in our education system, but when presented with a large theoretical work and at the same time given practical lessons, the enhancement of the quality of young Georgian actors’ professional skills brought completely different results. Terzopoulos’ method is used to teach acting in 30 leading universities around the world, and it is very pleasant that Georgians got to get acquainted, at least partly, with this 21st century methodology, which, again and

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kulturis didi Tayvanismcemelia. festivalis dReebSi vrceli interviu Caiwera masTan, sadac berZnul-qarTuli ojaxis patronis Rirsebis Sesabamisad saocari analizi SemogvTavaza Cveni kulturis misiasa da misi gadarCenis gzebze. rac Seexeba Sexvedras axalgazrdebTan _ marmarinosma vrceli nawyvetebi aCvena mis mier dadgmuli dimitri dimitriadisis nawarmoebisa „vkvdebi rogorc qveyana“. filosofiuri teqsti uaRresad emociuri artistebiT da rac mTavaria mayureblebiT, romlebic speqtaklis monawileni gaxdnen. mayurebeli speqtaklis moqmedebas, romelic sxvadasxva sivrceebSi mimdinareobda,

again, brings us back to Dionysus, the birthplace of theater, and its mission.

Teodoros Terzopoulos’ ‘Alarme’ is a succession of agitated states in which the extreme conflict between two sovereigns and fragments of false “reconciliation” or “tenderness”, are all played at the limit of emotional culmination. The play’s rhythm and flow of emotions don’t dwindle; they are at a steady high level, and I think that this is precisely the reason why a play that practically includes only one mise en scène manages to have spectators on the edge of their seats for the whole performance. The play has only three characters: lying below the guillotine is the narrator, a Georgian emigrant and currently an actor for Attis, the leading theater in Athens, Davit Maghaldadze. It is the only character that changes places during the play; he crawls from the left side of the stage to the right in order to end the play. His text on the stage practically consists of one word: “putana”, an epithet with which he addresses both queens with wrath and hate. As for the queens, Maria Stewart (Aglaia Pappa) and Elisabeth (Sophia Hill), they are placed right below the sharpened blade of the guillotine. They are wearing sparkling dresses, and with their elbows on the ground, they look like insects. They don’t move anywhere during the whole play; they only look at each other, stick out their tongues, berate, and curse one another. Then they make peace and fondle each other, almost becoming one. But still, the sentence of history is utterly strict, and the guillotine hanging over their heads transforms both of them into examples of how history can bring one to justice.

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mudmivad Tan dahyveboda da faqtobrivad qoros funqcias iTavsebda. videoCanawermac ki gvanaxa reJisoris naazrevis siRrme da masStabi. sixaruliT davelodebiT qarTveli Teatralebi mixeil marmarinosis axal dadgmebs Cvens TeatrebSi. Teodoros terzopulosis „alarme~ gangaSis epizodebis monacvleobaa, sadac ori gvirgvinosnis urTierTobis ukiduresi dapirispireba Tu yalbi „Serigebis~ Tu „alersis~ fragmentebi, emociaTa kulminaciis zRvarze TamaSdeba. speqtaklis tempo ritmi da grZnobaTa mozRvaveba ar iklebs, mudmivad maRal niSnulzea. vfiqrob swored esaa mizezi imisa, rom faqtobrivad erT mizansceniani warmodgena mudmivad daZabuls amyofebs mayurebels. am mizanscenaSi ki sul sami personaJia:

Teodoros Terzopoulos based the scenic composition on Maria Stewart and Elisabeth’s correspondence. He didn’t use the widespread versions known to all and constructed them based on the biographies of the two queens and on history. He arranged the play in one mise en scène and practically exhausted the characters’ acting diagram in this space. But still, what makes theaters around the world fall in love with this play? Naturally, first of all, it is its message – that the goal never justifies the means, and the degradation of thoughts transforms monarchs into reptiles. But there is also something more, something that cannot even be attained through Terzopoulos’ own universal exercises – the talent to convey inner passions, or, to put it more accurately, their eruption, which brings the characters’ scenic lives to tragedy. This is precisely the reason behind ‘Alarme’s’ worldwide success. In general, there is almost always a Greek play performed at

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‘Sachukari’. And each of them has confirmed the idea that theater had to return to Greece because they really have been attaining catharsis since ancient tragedies to this day. The Greek Focus program has substantiated this once more this year.

In 2019, a conference dedicated to Georgian artists took place at Rome’s Sapienza University, with wonderful talks. Despite the fact that Carlo Gozzi accused Carlo Goldoni of sacking Italian theater, the latter was considered the best Italian dramaturge by his fellow countrymen living in France. In Sapienza, they didn’t hide their joy when they learned that their Goldoni was so popular in Georgia and that his plays were always staged by the leading directors. We should also note that Georgian spectators, apart from acknowledged Georgian adaptations, have also seen Giorgio Strehler’s 1947 adaptation of Goldoni’s ‘Servant of Two Masters’. For the 76 years that have passed since then, Strehler didn’t have any competition. The spectators of the ‘Sachukari’ festival were waiting for the adaptation

by Milan Theater’s Andrea Chiodi. Tickets were sold out early, and

giliotinis qveda nawilze garTxmulia mTxrobeli _ saqarTvelodan emigrirebuli da amJamad aTenis saukeTeso Teatris, „atisis~ msaxiobi daviT maRaldaZemalteze. is erTaderTi personaJia, romelic speqtaklis msvlelobis dros mdebareobas icvlis: scenis marcxena kuTxidan speqtaklis dasasrulisTvis marjvena kuTxemde xoxviT aRwevs. misi sasceno teqsti faqtobrivad erTi sityvisgan Sedgeba _ putana, epiTeti, romliTac is orive dedofals risxviT da zizRiT eZaxis. dedoflebi ki _ mariam stiuarti (aglaia papa) da elisabedi (sofia hili) uSualod giliotinis alesili danis qveS arian ganTavsebulni. maT brWyviala xorkliani kabebi acviaT da idayvebze dayrdnobilni qvewarmavlebs hgvanan. mTeli speqtaklis ganmavlobaSi isini mdebareobas ar icvlian _ mxolod erTmaneTs Sescqerian da erTmaneTs lanZRaven,

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enebs uyofen, wyevlian... mere rigdebian, eferebian, TiTqos erT arsebadac iqcevian... da mainc, istoriis ganaCeni umkacresia, maT Tavze aRmarTuli giliotina orives erTnairad aqcevs mTxrobels, romelic iTavsebs qoros, xalxis da a.S. funqciebs, gakicxvis da istoriis samsjavroze ganaCenis gamotanis obieqtebad.

Teodoros terzopulosma scenuri kompozicia mariam stiuartis da elisabedis mimoweraze aago. yvelasTvis cnobili literaturuli versiebiT, romlebic ori dedoflis biografiaze da istoriul faqtebzea agebuli, ar usargeblia. speqtaklic erT mizanscenad dadga da faqtobrivad am sivrceSi amowura personaJTa qmediTi diagrama. da mainc, riT ipyrobs msoflios Teatralebis gonebasa da gulebs es dadgma? cxadia, upirveles yovlisa saTqmeliT _ rodesac mizani aramc da aramc ar amarTlebs saSualebas da azrovnebis degradirebas qvemZromTa rangSi gadahyavs gvirgvinosnebi. da kidev erTi, rac vfiqrob TviT tirzopulosis universaluri savarjiSoebiTac ki ar miiRweva _ Sinagani vnebebis gadmocemis, ufro zustad

rows of seats had to be added.

He staged Goldoi in a way that made you understand each word, and that made the 100-minute-long play not boring for even one second. Naturally, apart from Goldoni, the merit also goes to the troupe of the Milan Theater. Artistic director Margarita Baldoni’s scenography uses a majority of pastel colors: pink, blue, beige, and white jerkins and crinoline dresses hang on the whole length of the background. In the middle line parallel to the front of the stage, there is a table that represents the whole length and width of the world. Each character in the play has their own toy, one that looks exactly like them; they are reminded of today’s “facebook” avatars. Margarita Baldoni’s scenography reminded me of that of Mikheil Chavchavadze for Temur Chkheidze’s ‘People of Yesterday’, especially the long tablecloth. Famous actress and UBU award recipient Mariangela Granelli plays a hotel owner who toys with her admirers like little girls play with toys; she mocks a count, a marquis, Ripafratta... She plans to marry her servant, Fabrizio. In almost every famous adaptation, following Goldoni’s play, Mirandolina gets married to Fabrizio. But in the Milanese adaptation, Fabrizio,

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ki amofrqvevis unari, romelsac tragizmamde ahyavs gmirebis sceniuri cxovreba. vfiqrob „alarmes~ msoflio warmatebis mizezi swored esaa. saerTodac, „saCuqris~ programaSi TiTqmis yovelTvisaa berZnuli warmodgena. da yovelTvis mrCeba STabeWdileba, rom Teatri swored saberZneTSi unda dabadebuliyo, radgan kaTarzisi marTlac aris maTTvis miRwevadi antikuri tragediidan dRemde. berZnulma fokusma wels es kidev erTxel daadastura.

2019 wels romis udides universitet sapiencaSi qarTuli xelovnebisadmi miZRvnili konferencia Catarda SesaniSnavi moxsenebebiT. maxsovs rogori interesiT Sexvdnen Cems moxsenebas „sastumros diasaxlisis~ Sesaxeb. miuxedavad imisa, rom karlo goldoni karlo gocim daadanaSaula italiuri Teatris gaZarcvaSi poeziisa da warmosaxvis xiblisgan da imdroindelma mesveurebma, faqtobrivad, iZulebuli gaxades emigraciaSi wasuliyo safrangeTSi, karlo goldonis Tanamedrove italielebi, Tavisi qveynis upirveles dramaturgad miiCneven. sapiencaSi ar daufaravT sixaruli imis gamo, rom maTi goldoni esoden popularulia saqarTveloSi da mas yovelTvis wamyvani reJisorebi dgamen. amTaviTve unda iTqvas, rom qarTvel mayurebels, garda aRiarebuli qarTuli warmodgenebisa, jorjo streleriseuli 1947 wels dadgmuli „ori batonis msaxuri~ aqvs nanaxi. am 76 wlis manZilze streleris speqtakli ukonkurentod iTvleba. „saCuqris~ mayurebeli ki didi interesiT eloda milanis Teatris andrea kiodiseul dadgmas. yvela

bileTi adreve gaiyida da ramdenime rigi damatebiTac iyo Cadgmuli. dadga goldoni ise, rom erTi sityvac ar gamotovo da 100 wuTiani warmodgena ar iyos mosawyeni arc erTi wamiT _ cxadia es goldonis garda milanis dasis damsaxurebaa. mxatvar margarita baldonis scenografiaSi pastelis ferebia wamyvani _ scenis ukana nawilze mTel siganeze ganlagebul sakidze vardisferi, cisferi, kremisferi, TeTri kamzolebi da krioliniani kabebia Camokidebuli.

Sua nawilSi ki mTel scenaze, avanscenis paralelurad, magidaa ganTavsebuli, romelic samyaros mTel sigrZesiganes ganasaxierebs. speqtaklis yvela personaJs Tavisi identuri Tojina hyavs _ Tanamedrove feisbuqis avatarebis msgavsad. margarita baldonis scenografiam mixeil WavWavaZis Temur CxeiZiseuli „guSindelnis~ gadawyveta momagona _ grZeli sufra, sadac saqarTvelos bedi wydeboda. italielebis speqtaklSi am magidasTan florencieli sastumros patroni mirandolina _ „ubus~ mflobeli cnobili msaxiobi marianjela graneli _ Tavisi TayvanismcemlebiT TamaSobs, ise rogorc patara gogonebi TamaSoben TojinebiT, sacinrad igdebs grafs, markizs, ripafratas... gegmavs sakuTar msaxurze, fabricioze gaTxovebas. CemTvis cnobil yvela dadgmaSi goldonis piesis Sesabamisad mirandolina fabricioze Txovdeba. milanelTa dadgmaSi ki fabricio, romelic adre magidis qveS damaluli ugdebda yurs mirandolinas da misi Tayvanismcemlebis dialogebs, uars eubneba mirandolinas daqorwinebaze, radganac garda gonierebisa mis uaryofiT

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Tvisebebsac xedavs da adamianur Rirsebebs aniWebs upiratesobas sastumros Tanamflobelobaze metad. scenaze monawileebi sakuTar parikebs avatar-Tojinebs Camoacmeven. sastumros diasaxlisis kompanionebad eseniRa rCebian. milanelTa gonebamaxviluri komediis sevdiani finali gadaWedili darbazis ovaciebiT dasrulda. italiis saelCos saCuqari wlevandeli festivalis Rirseuli dasasruli iyo. momavali „saCuqris~ molodinSi vimedovnebT, rom festivali kvlav Tundac oTxmocdaaTiani wlebis masStabs miuaxlovdeba da isev maRalmxatvruli speqtaklebiT gagvanebivrebs.

who used to listen to the dialogues between Mirandolina and her admirers from below the table, refuses to marry her because, apart from her intelligence, he could also see her limitations, and more than co-owning the hotel, he prioritizes humane values. The participants put their avatar toys on their wigs. They are the only companions of the hotel’s owner who are left. The sad finale of the quick-witted Milanese comedy ended with ovations from the crowded hall. The present offered by the Italian embassy was an adequate ending to the festival.

While waiting for the next ‘Sachukari’ festival, we hope it will manage to reach the scale it had, at least its scale in the 1990s, and that it will continue to spoil us with shows of high artistic value.

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laSa CxartiSvili

qarTul-induri kulturuli urTierTobebis axali etapi

q

arTvelebisa da indoelebis kulturul kavSirs da SemoqmedebiT urTierTobas didi xnis istoria aqvs, Tumca, bolo aTwleuli aqtiuri TanamSromlobiT ar gamoirCeoda. 2023 wlis martSi ki am urTierTobis axali etapi daiwyo. „namaste“ _ es is sityvaa, romelic indoeTSi Casulebs yvelaze xSirad gvesmoda. misi warmoTqmisas maspinZlebi xelebs „gulis CakrasTan“ aerTebdnen, Tvalebs xuWavdnen da Tavs xridnen. es Jesti erTi sulis mier meoris aRiarebaa. imis gamomxatvelia, rom yvela CvenganSi arsebobs RvTaebrivi naperwkali da rom guli siyvarulis, simarTlis, Suqisa da mSvidobis adgilia. „namaste“

qarTulad sityva-sityviT „me Tavs vxri“-s niSnavs. msgavsi Jestikulacia ara, magram sityva qarTvelebsac gvaqvs _ „genacvale“. orive gamoTqma Tavisi SinaarsiT adamianis gulis, sulis, Wirisa da lxinis gaziareba-Senacvlebazea dafuZnebuli.

2023 wlis marti ori eris kulturuli urTierTobis istoriaSi erTmaneTis xelaxla aRmoCenis etapad Seva. am masStaburi erToblivi RonisZiebis iniciatorebi konkretuli adamianebi iyvnen _ darpan raSeri da nikoloz wulukiZe. darpan raSers qarTvelma Teatralebma, siyvaruliT, darispani Searqves. is didi xania Seyvarebulia

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LASHA CHKHARTISHVILI

A NEW STAGE IN GEORGIANINDIAN CULTURAL RELATIONS Cultural links and artistic relations between Georgia and India have existed for a long time, but this last decade stands out in terms of the volume of activities. In March 2023, a new stage began in the relations between these countries.

“Namaste” – this is the word that we would hear the most often when in India. When saying it, our hosts would press their hands

together close to the chest, close their eyes, and bow their heads.

This gesture is the acknowledgement of one soul by another. It conveys the idea that there is a spark of divinity in each of us and that the heart is the place of love, truth, light, and peace. Word for word, “namaste” means “I bow to you”. We don’t have a similar gesture in Georgia, but we do have a word: “genatsvale”. Both expressions are

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saqarTveloze, kargad icnobs Cvens kulturas, yofas da darispaniviT mogzaurobs saqarTvelosa da indoeTs Soris, oRond, Tu kldiaSvilis personaJi Tavisi qaliSvilebis gaTxovebisTvis irjeba, darispan raSeri Tavis qveyanaSi qarTuli kulturis popularizaciisTvis iRvwis. am mniSvnelovan iniciativaSi mas mxarSi Teatrmcodne nika wulukiZe amoudga. sakuTari resursebis gamoyenebiT maT, danglokis masStaburi saerTaSoriso Teatraluri festivalis farglebSi, qarTuli Teatris kvireulis

based on the sharing and exchange of human heart, soul, misery, and joy.

March 2023 will be considered the stage of rediscovering each other in the history of the countries’ cultural relations. The initiators of this large-scale event are specific individuals: Darpan Prasher and Nikoloz Tsulukidze.

Georgian theater specialists have affectionately nicknamed Darpan Prasher “Darispani”. He has been in love with Georgia for a long time; he knows our culture and essence, and like Darispani, he travels between Georgia and India, but if Kldiashvili’s character troubles himself for the marriage of his daughters, Darispan Prasher goes to India to popularize Georgian culture there.

Theater specialist Nika Tsulukidze supported him in this important initiative. Using their own resources, they managed to arrange a Georgian Theater Week within the framework of the large-scale Ranglok International Theater Festival. The lion’s share of the materialization of this idea belongs to the Ministry of Culture, Sport, and Youth of Georgia and the Agra and Jaipur governments. Without their support, this impressive event wouldn’t have been possible. The program of the Georgian Theater Week was created together with the Georgian Ministry of Culture, and several plays and theaters were selected. A priority was placed not on the theaters of the capital but on those from the regions and private ones. In terms of artistic level, the difference between theaters in Tbilisi and those in the regions has disappeared a long time ago, as plays are arranged in regional

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mowyoba SeZles. am masStaburi ideis realobad qcevaSi lomis wili saqarTvelos kulturis, sportisa da axalgazrdobis saministros da agrisa da jaipuris mTavrobebs miuZRviT. rom ara maTi mxardaWera, es STambeWdavi kvireuli ver Sedgeboda. saqarTvelos kulturis saministrosTan erTad Sedga kvireulis programa, SeirCa Teatrebi da maTi speqtaklebi. aqcenti saministros daqvemdebarebul dedaqalaqis Teatrebze ki ara, regionisa da kerZo Teatrebze gakeTda. jer erTi, regionisa da dedaqalaqis Teatrebs Soris zRvari, mxatvruli donis TvalsazrisiT, karga xania waSlilia, radgan regionul TeatrebSic speqtaklebs gamorCeuli reJisorebi dgamen, xolo kerZo Teatrebs iSviaTad uCndebaT finansuri resursi ucxoeTSi gastrolebis gasamarTad (Torem saerTaSoriso festivalebSi isini aqtiurad iReben monawileobas). swored am principiT SeirCa kerZo Teatrebi. „Tavisufali Teatri“ festivalze misi damfuZneblis _ avTandil varsimaSvilis _ erT-erTi saukeTeso speqtakliT „xom xocaven qancgawyvetil cxenebs~ wardga. „Teatrma aTonelze~ kvireulSi monawileobis misaRebad gega gagniZis speqtakli „mzis xazi~ warmoadgina. indoeTSi qarTuli Teatris kvireulSi saxelmwifo Teatrebidan ori regionuli Teatri SeirCa. ozurgeTis

theaters by distinguished directors. As for private theaters, they seldom have the financial resources to go on tours abroad (though they often take part in international festivals). These are precisely the principles according to which private theaters were selected.

The ‘Liberty Theater’ performed one of its founder’s (Avtandil Varsimashvili) best plays, ‘They Kill Exhausted Horses.” The ‘Theater

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on Atoneli’ performed Gega Gagnidze’s play ‘Sun Line’.

Two regional theaters were selected from state theaters for the Georgian Theater Week in India. The Ozurgeti Theater performed Data Tavadze’s play ‘Dedaomi’, staged by Saba Aslamazishvili. As for Tskhinvali’s Ivane Machabeli Drama Theater, it performed the premiere of ‘Samtskhe’, staged by the theater’s artistic director Gocha Kapanadze and based on Nikoloz Tsulukidze’s fables.

Teatrma daTa TavaZis piesa „dedaomi“ warmoadgina, romelic saba aslamaziSvilma dadga. cxinvalis ivane maCablis saxelobis dramatulma Teatrma ki sapremiero warmodgena gamarTa. speqtakli „samcxe“ nikoloz wulukiZis igav-arakebis mixedviT Teatris samxatvro xelmZRvanelma _ goCa kapanaZem dadga. agrasa da jaipurSi indoeli mayurebeli aRfrTovanebiT xvdeboda qarTul dasebs. speqtaklis dasrulebis Semdeg, foieSi, ovaciebs umarTavdnen qarTvel msaxiobebs. aRsaniSnavia isic, rom enobrivi barieri ar Seqmnila, radgan warmodgenebi subtitrebis TanxlebiT mimdinareobda da moZraobaze, qarTul temperamentsa da efeqtur Jestikulaciaze dafuZnebuli speqtaklebi TavisTavad amartivebdnen siuJetis aRqmas. kvireulis farglebSi saqarTvelos Tojinebis Teatrebis gaerTianebis xelmZRvanelma, nikoloz sabaSvilma, indoeTis ferebis samyaros kulturis institutTan urTierTTanamSromlobis memorandumi

The Indian public met Georgian troupes with awe in Agra and Jaipur. After the show was finished, they would give ovations to the Georgian actors in the foyer. It is worth noting that there was no language barrier, as plays were performed with subtitles, and the plays, which were based on movement, Georgian temperament, and effective gestures, made it easier to understand their essence.

In the framework of the Georgian Theater Week, the director of the Georgian Puppet Theaters’ Union, Nikoloz Sabashvili, has

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officially formalized a partnership with the Indian Institute of World Culture, which incorporates the organization of collaborative projects with the Ranglok Sanskriti Theatres. Joint educational programs will also be planned with the goal of sharing knowledge and experience. The interest in puppet theaters is very high in India because of the originality that their form, theater language, and visuals allow.

After the 2016 Frankfurt Book Fair, Georgian theater has not been abroad for such a large-scale event, and if we only count Asia, for decades. Therefore, the Georgian Theater Week in India was of particular importance, both for the host and the visiting country.

Together with the theaters, singer Eka Mamaladze performed a solo concert during the festival, and Georgian painters exhibited their works.

A new stage of collaboration has successfully begun. The Georgian Theater Week in India will leave its mark, as it already did with the memorandum and planned projects, which bind both sides to carry out new initiatives.

gaaforma, rac „Ranglok Sanskriti Theatre-sTan“ erToblivi proeqtebis ganxorcielebas iTvaliswinebs. kulturis institutTan ki erToblivi saswavlo programebi daigegmeba gamocdilebebis gaziarebis mizniT. indoeTSi Tojinuri Teatrebis mimarT interesi Zalian maRalia misi formis, saTeatro enisa da gamomsaxvelobiTi saSualebebis originalurobis gamo.

2016 wlis frankfurtis wignis bazrobis Semdeg qarTuli Teatri ase masStaburad ucxoeTSi ar gasula, aziaSi ki ukve ramdenime aTeuli welia. amitomac, indoeTSi qarTuli Teatrebis kvireuls gansakuTrebuli mniSvneloba hqonda rogorc maspinZeli qveynisTvis, ise stumari TeatrebisTvis.

TeatrebTan erTad, festivalze momRerali eka mamalaZe ori solo koncertiT wardga. qarTvel mxatvrebs ki TavianTi namuSevrebis gamofenis saSualeba miecaT. kulturaTaSoris TanamSromlobis axali etapi warmatebiT daiwyo. indoeTSi qarTuli Teatris dReebi ukvalod ar Caivlis, risi dasturic gaformebuli memorandumebi da dagegmili proeqtebia, romlebic orive mxares axali iniciativebis ganxorcielebas avaldebulebs.

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levan mizandari

qarTveli qali kompozitorebi Levan Mizandari

GEORGIAN WOMEN COMPOSERS

gasuli wlis 17 noembers, Tbilisis saxelmwifo konservatoriis istoriis muzeumSi gaimarTa veb-gverdis `qarTveli qali kompozitorebi~ _ georgianwomancomposers.ge prezentacia-koncerti. veb-gverdi momzadda saqarTvelos kulturis, sportisa da axalgazrdobis saministros xelSewyobiT da emsaxureba profesiul-akademiur musikaSi moRvawe qarTvel qal kompozitorTa Semoqmedebis popularizacias. proeqtis avtoria kompozitori lela maqaraSvili, romelmac 2022 wels gaimarjva kulturis saministros mier gamocxadebul kompozitorTa I erovnul konkursSi da misi nawarmoebi `mogonebani~ altis, fortepianos da simebiani orkestrisaTvis warmatebiT Sesrulda 18 marts jansuR kaxiZis saxelobis musikalur-kulturul centrSi gamarTul laureatTa koncertze.

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SemoqmedebiT-saredaqcio jgufis wevrebi arian cnobili musikologebi: meri SeyilaZe, mariam CijavaZe da Tamar wulukiZe. qalbatonebis sasaxelod unda iTqvas, rom maT mier Sesrulebuli samuSao monografiuli xasiaTisaa da Cveni qveynis kulturuli memkvidreobis Seqmnasa da dacvas emsaxureba. winamdebare veb-gverds analogi ar gaaCnia, pirvelad Seiqmna sainformacio veli, romelic qarTveli qali kompozitorebis Semoqmedebis popularizaciis saSualebas iZleva. Seiqmna baza, sadac erT sivrceSi warmodgenilia rogorc biografiul-SemoqmedebiTi informacia, nawarmoebebis nusxa, arsebuli literatura, aseve sanoto (PDF), musikaluri, audio-video da foto masala. biujetidan gamomdinare, proeqtis reglamenti aTi qarTveli qali kompozitoris Sesaxeb masalis damuSavebas gulisxmobda. principi, romliTac avtorTa jgufma samocdaaTiode qarTvel qal kompozitorTa nusxidan 10 Semoqmedis SerCevisas ixelmZRvanela, ganurCevlad cnobadobisa da damsaxurebebisa, warmoadgens humanur da demokratiul midgomas sakiTxisadmi. aRniSnulma principma Tavisdauneburad ganapiroba im kompozitorebis gamoaSkaraveba, romelTa saxelebic met-naklebad miviwyebuli iyo, rom aRaraferi vTqvaT maT Semoqmedebaze. rogorc proeqtis SemoqmedebiTi jgufi aRniSnavs, muSaobas Tan axlda sirTuleebi, qarTvel qal kompozitorTa umetesobas `CrdilqveS~ uwevda moRvaweoba, Sesabamisad, kvlevisas moZiebuli mcire detalic ki gansakuTrebuli mniSvnelobisaa.

4 marts, konservatoriis mcire darbazSi gaimarTa koncerti, sadac Sesrulda qarTvel qal kompozitorTa kamerulinstrumentuli da vokaluri nawarmoebebi. maTgan sami, rusudan xorava, Tamar vaSakiZe da eka WabaSvili Cveni musikaluri kulturis Tanamedrove warmomadgenelia. gTavazobT veb-gverdidan Zveli Taobis qal kompozitorTa ramdenime, saintereso biografiul amonarids.

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On November 17, 2022, a presentation concert of the website “Georgian Women Composers” (georgianwomancomposers.ge) was held at the Tbilisi poState Conservatoire History Museum.

The website was created with the support of the Ministry of Culture, Sport, and Youth of Georgia and is dedicated to the popularization of works by female Georgian composers active in the professional and academic spheres of music.

The project’s author is composer Lela Makarashvili, who won the first national competition for composers in 2022, which was arranged by the Ministry of Culture; her piece “Memories” was successfully performed by an orchestra of altos, fortepiano, and strings on the 18th of March at the laureates’ concert in the Jansugh Kakhidze Musical-Cultural Center.

The project’s organizational and editorial staff comprises famous musicologists Meri Shekiladze, Mariam Chijavadze, and Tamar Tsulukidze.

These individuals need to be praised, as the work they have carried out can be seen as a series of monographs and participates in the creation and preservation of our country’s cultural heritage.

It is the only website of its kind, as it is the first time that an informational corner about Georgian female composers gives the opportunity to popularize their works. A database was created in which biographical information, a list of works, existing literature, scores (in PDF version), and musical, audiovideo, and photographic material are all gathered in one place.

The project’s budget and regulations implied the inclusion of ten Georgian female composers. The principle with which the authors’ group selected ten individuals among about 70 Georgian female composers, regardless of their popularity or merit, represents a humane and democratic approach to the matter: the site spotlights the first composer born in each decade. This principle also puts forward some composers whose names were relatively forgotten, let alone their works.

As the project’s authors note, working on the project came with a lot of difficulties. Indeed, the majority of Georgian female composers had to work “in the shadows”, and therefore, every small detail discovered during the research is of particular importance.

On the 4th of March, a concert was held in the small hall of the Conservatoire, in which chamber instrumental and vocal works by Georgian female composers were performed.

Three of them, namely Rusudan Khorava, Tamar Vashakidze, and Eka Chabashvili are contemporary representatives of our music culture.

We offer a few interesting biographical passages from the website about the older generation of women composers.

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barbare amirejibi (1873-1939) barbare mixeilis asuli amirejibi _ saqarTveloSi pirveli qali musikis sferoSi umaRlesi profesiuli ganaTlebiT, kompozitori, pianisti, koncertmaisteri, pedagogi, qvelmoqmedi, qarTvelTa Soris wera-kiTxvis gamavrcelebeli sazogadoebis wevri. mis saxels ukavSirdeba qarTuli sabavSvo profesiuli musikis dabadeba. `tfilisis samusiko skolaSi samasze meti qali swavlobs, amaTSi qarTvelebi ocdaxuTze meti ar aris da kniaJna amirejibisa pirveli damkvreli aRmoCnda mTel skolaSi. cxadia amas Semdeg ramdenad usafuZvloa zogierTebis azri, viTom qarTuli yuri evropul musikis SeTvisebas ver axerxebso~. `ambobdnen kniaJna barbare amirajibisas kompozitorobis niWi aqvso da amisaTvis musikis swavlas moskovis konservatoriaSi ganagrZobso.“ `moskovis konservatoriaSi vercxlis medliT swavla daumTavrebia kn. barbare amirajibisas, romelic winad tfilisis musikalur saswavlebelSi swavlobda.~ _ werda maSindeli presa.

1896 wels barbare amirejibi „Tavisufali xelovanis~ diplomiT dabrunda samSobloSi da aqtiurad Caeba saqarTvelos musikaluri cxovrebis aRmavlobis procesSi. rogorc pianisti monawileobda sxvadasxva saqvelmoqmedo koncertebSi, didZal dros andomebda mozardi Taobis musikalur aRzrdas, nayofierad muSaobda SemoqmedebiTi kuTxiT _ misi qmnilebebi sruldeboda sxvadasxva saRamoebsa da koncertebze. sakmaod datvirTuli da mravalmxrivi iyo energiiTa da enTuziazmiT aRsavse barbare amirejibis, rogorc qali musikosis cxovreba. sofel avlevis amirejibTa rezidencia maspinZlobda xelovanTa Tavyrilobebs. maT sacxovrebel saxlSi aTwleulebis manZilze saganmanaTleblo skola funqcionirebda, sadac barbares Zma konstantine amirejibs sasule orkestric ki Seuqmnia, TviTonac brwyinvaled flobda liTonis Casaber instrumentebs da da-Zma xSirad erTad muzicirebda. barbare amirejibis, rogorc qarTveli qali kompozitoris Sesaxeb informacia, odnav mogvianebiT gvxvdeba presis furclebze.

1920 w. 21 martis „Teatri da cxovreba~ gvatyobinebs: „kompozitori qalis barbare mixeilis asulis amirejibis musikis dila, qarTveli qalis niWis sruli dResaswauli iyo, amirejibis qalis musika arafriT Camouvardeba saqarTvelos cnobil kompozitorTa musikas. magram samwuxarod, qarTvelebi TiTze CamosaTvleli daeswrnen. sad iyo dRemdis q-ni amirejibi? an sad iyvnen mis siaxloves myofni qarTveli megobarni _ naTesavebi, rom vidre sxva eris Svilebma ar gamoaqveynes es eris dafaruli siamaye, TviT qarTvelebma ar iTaves es wminda saqme?~

Barbare Amirejibi (1873-1939) Barbare Amirejibi, daughter of Mikheil Amirejibi, was the first Georgian woman with higher professional education in the field of music. She was a composer, pianist, concertmaster, teacher, philanthropist, and a member of the Society for the Spreading of Literacy among Georgians.

Her name is connected to the birth of professional music for children in Georgia.

“More than 300 women study at the Tbilisi Music School; among them, Georgians are less than 25, and princess Amirejibi turned out to be the best in the whole school. Naturally, this makes certain individuals’ idea that the Georgian ear cannot adapt to European music unfounded.”

“They said that princess Barbare Amirejibi had a talent for composition and that because of that, she would continue her studies at the Moscow Conservatoire.”

“Princess Barbare Amirejibi, who was first studying at the Tbilisi Music School, finished her studies at the Moscow Conservatoire with the silver medal.” – Wrote the press at the time.

In 1896, Barbare Amirejibi returned to her homeland with the diploma of a “free artist”, and got actively involved in the development of Georgian music. As a pianist, she took part in various charity concerts.

She spent a large portion of her time educating the young generation and was successfully working as a composer too; her works were performed in various evenings and concerts. Barbare Amirejibi’s life, as the life of a female composer, was quite busy and multifarious in terms of energy and enthusiasm.

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The Amirejibi residence in the village of Avlevi often hosted artists’ gatherings. A school was functioning in their house for decades, and Barbare’s brother Konstantine Amirejibi even created a wind orchestra; he himself was proficient at brass wind instruments, and the siblings would often play music together.

We also stumbled upon information about Barbare Amirejibi as a Georgian female composer in the ensuing press papers.

On the 21st of March 1920, ‘Theater and Life’ wrote: “The musical morning of female composer Barbare Amirejibi was a complete festival of the Georgian woman’s talent. Amirejibi’s female music has nothing to envy of any famous Georgian composer’s. But unfortunately, Georgians were very few to attend. Where was Mrs. Amirejibi hiding? Or where were her close Georgian friends – or her relatives – to publicize this silenced national pride before the children of another nation did?”

Tamar vaxvaxiSvili (1893-1976) `me, Tamar nikolozis asuli vaxvaxiSvili davibade 1893 wlis 23 dekembers qalaq varSavaSi. mamaCems SesaniSnavi xma hqonda da xSirad monawileobas iRebda saqvelmoqmedo koncertebSi. roialis dakvra me adre daviwye, 9 wlisa mamaCems koncertebze akompaniatorad davyvebodi. gimnaziis damTavrebis Semdeg TbilisSi CamovediT da mxolod musikis dargSi ganvagrZe swavla. 17 wlisa viyavi, roca avad gavxdi xelebis ZarRvebis anTebiT, ris gamoc iZulebuli gavxdi roialze dakvrisTvis Tavi damenebebina. Cemma profesorma, Tbilisis konservatoriis maSindelma direqtorma n. nikolaevma mirCia, rom masTan kompoziciis kursi gameara. manve gamiwia xelmZRvaneloba peterburgis konservatoriaSi gamocdebis Cabarebis dros. 1918 w. Camovedi TbilisSi da swavla ganvagrZe Tbilisis konservatoriaSi Cems peterburgel profesor _ n. n.

CerepninTan, romelic im droisaTvis mowveuli iyo TbilisSi konservatoriis direqtoris Tanamdebobaze. am droisaTvis me ukve dawerili mqonda sami baleti _ „vakxis zeimi“, „siyvarulis wamali“ da „sparsuli pantomima“, romlebic midioda Tbilisis saopero TeatrSi 1914 da 1918-21 wlebis sezonSi. saqarTveloSi sabWoTa xelisuflebis dapyrobis Semdeg mobilizaciiT damniSnes Tbilisis musikaluri saswavleblis direqtorad. 1922 wels ganaTlebis komisariatma mimiwvia rusTavelis TeatrSi kote marjaniSvilTan samuSaod, „cxvris wyarosaTvis~ musikis dasawerad“.

Tamar vaxvaxiSvili TeatrSi misvlis dRes Tavis mogonebebSi ase ixsenebs: „marjaniSvili guliTadad Semxvda. man maSinve gamomiwoda wigni minawerebiT, kupiurebis miniSnebebiT da gadaadgilebuli furclebiT. _ „nu SecbebiT, Tu meore gverdidan meTxuTmeteze an mervedan pirvelze gadaxtoma mogiwevT. sjobs, waikiTxoT piesa ise, rogorc aqvs avtors da nebismieri personaJis musikaluri daxasiaTeba warmomidgineT. xval dilis TerTmet saaTze gelodebiT“. saRamos xuT saaTze davSordiT. erT saRamoSi unda momeswro piesis wakiTxva da ramis dawera. me wavikiTxe piesa ise, rogorc aqvs dawerili lope de vegas. uCveulod tragikuli momeCvena. warmovidgine Zaladobis saSineleba, inkvizicia, Camesmoda samgloviaro zarebis rekva. arada, „musika unda iyos energiuli da mxiaruli~ _ Tqva konstantine aleqsandroviCma. davibeni, daviwye marjaniSviliseuli montaJis gaSifvra da yvelaferi naTeli gaxda. srulad vigrZeni piesis interpretaciis arsi _ revoluciuri datvirTva da enTuziazmi. pirveli daxasiaTebisTvis avirCie mengo _ piesis personaJi. davwere saviolino solo misi pirveli gamosvlisTvis da simRera, romelsac igi mReris bolo aqtSi. mengos asrulebda akaki vasaZe. momdevno dRes marjaniSvilma miawoda mas violino da uTxra: „Tqven soflis mevioline xarT, mousmineT musikas da dagvajereT, rom improvizirebT“. es solo, gamoucdelobis gamo, metad mogrZo davwere. aq patara gadaxveva unda gavakeTo. rogorc dramis kompozitorebi, Cven xSirad ganvicdiT SemoqmedebiT

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imedgacruebas. Cven musikas xSirad Cexen, wyveten, rac yovelgvar musikalur logikas scdeba. marjaniSvils uyvarda da esmoda musika. Tu musika Seesabameboda mocemuli nawarmoebis ganwyobas, is arasodes ar kvecavda mas, aramed, avsebda scenaze arsebul pauzebs, rac mis did ostatobasa da kompozitoris Semoqmedebisadmi frTxil damokidebulebaze metyvelebda. man igive gaakeTa Cems soloze, laurensias da paskualis dialogis dros, musikis monakveTi kulisebSi gaitana, nawili ki mengos Semosvlisas da es Zalian bunebrivad gamovida. rac Seexeba simReras, vasaZem mas Sesabamisi intonacia moargo da maSinve gamoikveTa misi rolis bunebac. damaxsovrebul simReras, repeticiis bolos, mTeli Teatri mReroda. im dRidan maRiares rogorc kompozitori TeatrSi. viRacam Tqva _ TeatrSi axali era dadgao. vfiqrob, daiwyo axali era Cvens cxovrebaSic, yvela SemTxvevaSi Cems cxovrebaSi… uSangi CxeiZis TqmiT „musika marjaniSvilis dadgmebSi gacilebiT meti da mniSvnelovani iyo, vidre speqtaklSi Semavali sxva romelime komponenti. amdenad kompozitori Teatris yoveldRiuri cxovrebis SuagulSi idga da marjaniSvilis muSaobis yvela momentis damswre da uSualo monawile iyo.“ ukve sakmaod warmatebuli kompozitori Tamar vaxvaxiSvili 1926 wels parizis konservatoriaSi gaemgzavra saswavleblad. aqve Sexvda daviT kakabaZes, romelTan, momdevno wlebSi, marjaniSvilis speqtaklebze muSaobisas mouwia TanamSromloba. werilSi, romelic daTariRebulia 1926 wlis 16 martiT, kote marjaniSvili wers: „gilocav Cveni eqsperimentaluri dadgmis _ pirveli qarTuli pantomimis ganxorcielebas. warmatebasa da bednierebas gisurveb,…rac me Semexeba _ lodiviT vgdivar da usaqmurobisagan lamis gavcofde. Tu ginda rom cocxals momiswro, Camosvlas mouCqare. gkocni.

Seni k. marjaniSvili“. evropidan dabrunebuli Tamari, aqtiurad werda musikas marjaniSvilis mier axlad Camoyalibebuli quTaisis dramatuli Teatris speqtaklebisTvis.

Tamar Vakhvakhishvili (1893-1976) “I, Tamar Vakhvakhishvili, daughter of Nikoloz, was born on the 23rd of December 1893 in the city of Warsaw. My father had a wonderful voice, and he would often take part in charity concerts. I started playing the piano early and was accompanying my father at his concerts when I was nine. After finishing the gymnasium, we came to Tbilisi, and since then, I have only studied music. I was 17 when I got ill with an inflammation of the veins of my hands, which forced me to stop playing the piano. My teacher, N. Nikolaev, then director of the Tbilisi Conservatoire, advised me to take the composition course with him. He was the one who helped me prepare for the exams at the Petersburg Conservatoire. In 1918, I came back to Tbilisi and continued studying at the Tbilisi Conservatoire with my teacher from Petersburg, N. N. Cherepnin, who had been invited to be the director of the Tbilisi Conservatoire during that period. At that moment, I had already written three ballets – ‘Vakhkis Zeimi’, ‘Sikvarulis Tsamali’ and ‘Persian Pantomime’, which were performed at the Tbilisi Opera Theater in the 1914 and 1918-1921 seasons. After the Soviet annexation of Georgia, I was named principal at the Tbilisi Music School.

In 1922, the Commissar for Education invited me to work with Kote Marjanishvili at the Rustaveli Theater to write music for his play ‘The Sheep’s Well’.”

Tamar Vakhvakhishvili remembers the day she went to the theater: “Marjanishvili met us with much enthusiasm. He immediately handed us a book with inscriptions and notes for the cuts and displaced pages. – “Don’t be surprised if you need to move from the second page to the 15th and from the 8th to the 1st. It is better if you read the play as it was done by the author and present me with the musical presentation of any character. I will be waiting for you tomorrow at 11 in the morning.” We said goodbye at 5 p.m. I had to manage to read the play and compose something in one evening. I read the play as it was written by Lope de Vega. It seemed particularly tragic to me. I imagined the horror of violence and the inquisition. I could hear the sounds of funeral bells ringing. But “music needs to be energetic and joyful”, as Konstantine Aleksandrovich said. I got confused, but after deciphering the montage done by Marjanishvili, everything became clear. I could fully feel the essence of the play’s interpretation – its revolutionary aspect and enthusiasm.

For the first characterization, I chose Mengo. I wrote a violin solo for his first appearance as well as a song for him to sing in the last act.

Mengo was played by Akaki Vashadze. The next day, Marjanishvili gave him a violin and said, “You are a village’s violinist; listen to the music and convince us that you are improvising”. Because of my inexperience, the solo I had prepared was too long.

I have to make a small digression here. As composers for plays, we often experience creative disappointments. They often change and cut our music, which defies any musical logic. Marjanishvili loved and understood music. If the music was relevant to the atmosphere of a play, he would never trim it but fill the pauses between the scenes, which shows his great mastery and cautious approach towards composers’ creations.

He did the same with my solo; during the dialogue between Laurencia and Pascuala, he used a part of the music for the wings and another one for Mengo’s entrance, and it seemed very natural. As for the song, Vashadze used the right intonation for it, and one could feel his role’s essence right away. After the rehearsal, the whole theater was singing the song, which they had memorized. This was the day I was recognized as a composer in theater.

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Someone said there is a new era in theater. I think that a new era started in our lives too, at least in mine… As Ushangi Chkheidze said, “music was much more present and important in Marjanishvili’s plays than other components. Therefore, the composer was at the heart of everyday theater life and was a witness and direct participant in the development of all of Marjanishvili’s works.”

In 1926, the already quite successful composer Tamar Vakhvakhishvili went to study in Paris. There, she met Davit Kakabadze, with whom she collaborated on Marjanishvili’s plays in the following years.

In a letter dated March 16, 1926, Kote Marjanishvili writes her: “I congratulate you for our first experimental performance – the first Georgian pantomime. I wish you success and happiness… As for me, I am lying down like a boulder and could just burst out of idleness. If you want to see me alive, come fast. Kisses. Your Kote Marjanishvili”.

Back from Europe, Tamar actively wrote music for plays Marjanishvili arranged for the newly founded Kutaisi Drama Theater.

Tamar SaverzaSvili (1891-1955) „rac Tavi maxsovs, pataraobidanve, CemTvis mxolod musika da simRera arsebobda, mudam vmRerodiT saxlSi mTeli ojaxi. xSirad vismendiT ded-mamis duetebs. mamaCems antons, iSviaTi xma hqonda _ tenori. bavSvobidanve Tavisi xmiT arCenda mravalricxovan, Zlier ojaxs, iwvevdnen qorwilebSi an wveulebebze da asaCuqrebdnen fuliT~ _ werda Tamar SaverzaSvili _ kompozitori, pedagogi, pianisti, qarTuli sabavSvo musikis erT-erTi fuZemdebeli. mis simRerebsa Tu safortepiano piesebs aTeuli wlebis manZilze didi warmatebiT asrulebdnen da asruleben bavSvebi. is aseve moRvaweobda akademiuri musikis, kamerulinstrumentul JanrSic. dedis gardacvalebis Semdeg bavSvebis aRzrda naTesavma, pianistma viqtoria budagovskaiam iTava, romelic iyo pirveli qarTveli kompozitoris da qarTuli pianisturi skolis fuZemdeblis aloiz mizandaris mamidaSvili. bavSvebi musikalur garemoSi gaizardnen da maTi karierac musikas daukavSirda. Zma vasili _ SemdgomSi kompozitori, pianisti, saqarTveloSi saestrado musikis erT-erTi fuZemdebeli gaxda, vasilis Svilebi ki aseve cnobili kompozitorebi _ aleqsandre (Sura) da elisabed (lili) SaverzaSvilebi iyvnen. kaTolike SaverzaSvilebi bavSvobidanve galobdnen saeklesio gundSi. asrulebdnen solos da duetebs. Tamari, Turme xSirad fisharmoniasa da organzec ukravda: „mTeli Cemi mizani da survili iyo seriozulad Semeswavla musika da musikosi gamovsuliyavi“.

Tamar SaverzaSvilis, pirovnebisa da Semoqmedis Camoyalibebaze mniSvnelovani gavlena moaxdina urTierTobam im drois cnobil xelovanebTan. am mxriv sainteresoa Tavad Tamaris mogoneba zaqaria faliaSvilze, „Cvens did xelovans vicnobdi bavSvobidanve, radgan mWidro ojaxuri kavSiri xels miwyobda ufro axlo vyofiliyavi faliaSvilebTan, rac mTavaria, TviTon kompozitorTan. mudam makvirvebda misi sistematurad disciplinebuli Sroma. uaRresad keTilsindisieri mopyroba saqmisadmi…

1923 wels opera zeimobda „abesalom da eTeris~ mesame ganaxlebul dadgmas. me da zaqaria vbrundebodiT Teatridan. am dadgmiT gamowveuli aRfrTovaneba ver davfare da zaqarias vuTxari: „ra bednieri xarT, batono zaqaria, rom moeswariT „abesalomis~ mesame dadgmas. man uecrad SemaCera da aRelvebulma wamoiZaxa: „ras ambob, Tamar! me yvelafers Sevwiravdi Cemi iraklis sicocxlisaTvis!“. am gulwrfelobiT savse sityvebma cremlebamde mimiyvana. Cven didxans mivdiodiT Cumad, Zneli iyo xmis amoReba.“ Tamar SaverzaSvilma moRvaweoba, gansakuTrebiT sabavSvo musikis sferoSi, Taviseburad dagvirgvinda operiT `iavnana“. miuxedavad imisa, rom saopero Teatrma „iavnanas~ dadgmis SesaZlebloba orjer ganixila, mainc ver ganxorcielda; sabWoTa cenzuram miuReblad CaTvala operaSi lekebis mier qarTveli gogonas motaceba.

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Tamar Shaverzashvili (1891-1955) “Since I can remember, since I was a small child, only music and singing existed for me. My whole family was always singing at home. We would often listen to duets by our father and mother. My father, Anton, had a rare voice; he was a tenor. From his young years, he was using his voice to support his numerous, strong family; he was invited to weddings or events and was given money in return”, wrote Tamar Shaversazhvili, a composer, teacher, pianist, and one of the founders of Georgian children’s music. Her songs and piano compositions have been successfully performed by children for decades. She was also active in the chamber-instrumental genre of academic music.

After her mother’s passing, her relative, pianist Victoria Budgovskaia, continued to raise the children. She was the cousin of the first Georgian composer and founder of the Georgian Piano School, Aloiz Mizandari.

The children grew up in a musical environment, and their careers became related to music too. Her brother Vasili would become a composer, pianist, and one of the founders of variety music in Georgia, while Vasili’s children also became famous composers: Aleksandre (Shura) and Elisabed (Lili) Shaverzashvili.

The Catholic Shaverzashvilis were chanting in a church choir since childhood. They performed solos and duets. Tamar also often played the harmonica and organ: “My whole objective and wish was to seriously study music and to become a musician”.

Her relations with famous artists of the time have played an important role in the formation of Tamar Shaverzashvili as an individual and composer. In this regard, Tamar’s own memories of Zakaria Paliashvili are particularly interesting: “I knew our great artist since childhood; our families were close, which allowed me to grow up close to the Paliashvilis and, most importantly, close to the composer himself. I was always amazed at his systematically disciplined work and utterly honest approach to composition…

In 1923, the opera was celebrating the third edition of ‘Abesalom and Eteri’. Myself and Zakaria were coming back from the theater. I couldn’t hide my enthusiasm and told Zakaria: “You must be so happy, Mr. Zakaria, to have managed to see the third arrangement of ‘Abesalom’.” He suddenly stopped me and nervously answered, “What are you saying, Tamar! I would give everything for my Irakli’s life!”. The sincerity of his words made tears come to my eyes. We were walking in silence for a long time, it was difficult to say something.”

The most famous of Tamar Shaverzashvili’s compositions, especially in the field of children’s music, is the opera ‘Iavnana’. Despite the fact that the Opera Theater considered arranging ‘Iavnana’ twice, it did not happen, as the Soviet censorship considered it unacceptable to have Dagestanis kidnap a Georgian girl in the opera.

dagmara slianova-mizandari (1908-1983) dagmara (eleonora) slianova-mizandaris papa dedis mxridan iyo aloiz mizandaris umcrosi Zma feliqs mizandari _ ivane da zaqaria faliaSvilebis musikis pirveli maswavlebeli; biZa, valerian mizandari ki erTerTi pirveli qarTveli diriJori, saxalxo gvardiis orkestris damaarsebeli, evgeni miqelaZis maswavlebeli. dagmara slianova-mizandari ixsenebda: „valeriani CvenTan rom movidoda, me mTxovda, rom damekra, Tavad ki didis gulisyuriT mismenda. Semdeg dedaCemTan mividoda, xels gadaxvevda da etyoda: sofiko, rogorc ki am sazafxulo koncertebs movrCebi, aucileblad waval leningradis konservatoriaSi, Cveni eleonorac Tan unda waviyvan da Tu da xar, nu damiSli, masSi Cveni gvaris sisxli Cqefs da me minda mas is samsaxuri gavuwio, rac Sen migiZRvis Cems winaSeo“.

Semdeg valeriani dabrmavda da es survili veRar ganaxorciela, Tumca sami wlis ganmavlobaSi brma diriJorobda operis TeatrSi speqtaklebs. dagmara slianova mizandarma Tavisi sakompozitoro moRvaweobis ZiriTad sferod kamerul-instrumentuli da kamerul-vokaluri musika airCia. intensiurad qmnida safortepiano nawarmoebebs. aqedan gansakuTrebuli sicocxlisunarianobiT gamoirCeva misi mcire formis safortepiano piesebi, romlis nawili Sesulia sxvadasxva

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dros gamocemul sabavSvo krebulebSi. samwuxarod, dRes misi musikaluri memkvidreobis umetesi nawili, dakargulia... dagmara slianova-mizandari mTeli cxovrebis manZilze aqtiur pedagogiur moRvaweobas eweoda. gardacvalebamde iyo Tbilisis saxelmwifo konservatoriis kompoziciis kaTedris docenti. mas mniSvnelovani wvlili miuZRvis erovnuli musikis Teoriis, saxeldobr, erovnuli musikis solfejios safuZvlebis SeqmnaSi. man Seadgina da gamosca solfejios ramdenime saxelmZRvanelo, dafuZnebuli qarTul xalxur musikasa da Tanamedrove qarTveli kompozitorebis Semoqmedebaze. dagmaram Semogvinaxa mizandarebis sagvareulos istoriul-memorialuri nivTebi, romlebic amJamad Tbilisis sxvadasxva muzeumSi inaxeba.

Dagmara Slianova-Mizandari (1908-1983) Dagmara (Eleonora) Slianova-Mizandari’s maternal grandfather was Aloiz Mizandari’s younger brother, Felix Mizandari, the first music teacher of Ivane and Zakaria Paliashvili. As for her uncle Valerian Mizandari, he was one of the first Georgian conductors, the founder of the People’s Guard’s Orchestra, and Evgeni Mikeladze’s teacher.

Dagmara Slianova-Mizandari remembers: “When Valerian would come to us, he would ask me to play, and would listen with great attention.

Then he would go to my mother and tell her: Sopiko, as soon as I finish these spring concerts, I will definitely go to the Leningrad Conservatoire; I will take our Eleonora with me; and if you are my sister, don’t stand in our way, the blood of our ancestors flows in her veins.”

Unfortunately, Valerian got blind, and this plan couldn’t be fulfilled, but he continued to conduct the concerts at the Opera Theater for three years in this condition.

Dagmara Slianova-Mizandari chose chamber-instrumental and chamber-vocal music as the main fields of her career as a composer. She created many piano pieces, of which her short compositions have been the most popular, as some of them have been included in children’s music books published in various periods. Unfortunately, most of her musical heritage has now been lost…

Dagmara Slianova-Mizandari was an active teacher her whole life. She was a lecturer at the Faculty of Composition of the Tbilisi State Conservatoire until the end of her life. She played an important role in the creation of national music theory, namely in national music solfeggio fundamentals. She has created and published several solfeggio handbooks based on Georgian folk music and Georgian composers.

Dagmara took care of historic-memorial objects related to the Mizandari family, which are currently preserved at various museums in Tbilisi.

lili iaSvili (1920-1983) lili iaSvilis mama, rogorc uamravi adamiani, gasuli saukunis 30-iani wlebis represiebs emsxverpla da 14 wlis gogona umamod darCa. ojaxis movlis simZime dedas, sofias daawva, romelic sabavSvo baRis aRmzrdelad muSaobda. miuxedavad amisa, lilim bavSvobidan saukeTeso ganaTleba miiRo. swavlobda pirvel samusiko saswavlebelSi fortepianos ganxriT, kerZod mecadineobda cnobil pianist aleqsandr goldenveizerTan. 1945 wels axalgazrda da sazogadoebisTvis sruliad ucnobma kompozitorma, romelsac umaRlesi musikaluri ganaTlebac ki ar hqonda miRebuli, moulodnelad gaimarjva erT-erT gamocxadebul musikalur konkursSi. am gamarjvebis Semdeg, meuRlis, sportis ostatis, tanmovarjiSe grigol mamardaSvilis daJinebuli TxovniT, lilim swavla ganagrZo Tbilisis saxelmwifo konservatoriaSi. lili iaSvilis Semoqmedeba mWidrodaa dakavSirebuli sportTan. wlebis manZilze mas da mis meuRles saqarTvelos radio-televiziaSi mihyavdaT gadacema „dilis gamamxnevebeli varjiSi.“ xSirad lili Tavad werda movarjiSeebisTvis

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melodias da ukravda fortepianoze. 1970 wlidan ki sicocxlis bolomde muSaobda pedagogad da koncertmaisterad Tbilisis sacirko-saestrado saswavlebelSi, sadac mravali Taoba aRzarda. lili qmnida sxvadasxva Janris nawarmoebebs, mis SemoqmedebiT bunebasTan ufro axlos aRmoCnda vokaluri musika. swored am mimarTulebiT ganviTarda misi Semoqmedebac, riTac mniSvnelovani wvlili Seitana qarTuli saestrado musikis aRmavlobaSi. misi simRerebidan gamorCeulia „simRera baTumze~, romelic dRemde am qalaqis araoficialuri himnia. lilis simRerebs asrulebdnen: lili gegelia, meri Sildeli, eTer gvazava, giuli Coxeli, inola gurgulia, marex goZiaSvili, cicino cicqiSvili, soso ebraliZe, suliko koroSinaZe.… xolo misi sabavSvo simRerebi dRemde yvela sabavSvo ansamblebis repertuarSia. calke aRniSvnis Rirsia lili iaSvilis TanamSromloba im droisTvis erTaderT sabavSvo vokalur-instrumentul ansambl `mziurTan~, romlisTvisac man mravali simRera dawera.

1979 wels moulodnelad gardaicvala misi vaJi. oTx weliwadSi dedac gadahyva am gausaZlis dards. rogorc TviTmxilvelebi amboben, lili iaSvilis gamoTxovebis dRes misi bina griboedovis quCaze iebiT aivso, msaxiobi merab TabukaSvili ixsenebs: „mainc sad iyo amdeni ia Sua zamTarSi, reproduqtoridan ki iRvreboda „ia ias~ ase nacnobi sayvareli melodia, irgvliv mimobneul cocxal iebTan ferSewyobili“.

Lili Iashvili (1920-1983) Lili Iashvili’s father, like numerous other people, was a victim of the 1930s repressions, and she became fatherless at 14. The mother, Sofia, who was working as a kindergarten teacher, had the difficult task of taking care of the family alone. Despite this fact, Lili has received the best education since childhood. She was studying at the First Musical School in piano, namely with famous pianist Aleksandr Goldenweiser.

In 1945, the young and completely unknown composer, who didn’t even receive higher education in music, unexpectedly won a music competition. After this victory, and following the insistent advice of her husband, sports master and gymnast Grigol Mamardashvili, Lili continued her studies at the Tbilisi State Conservatoire.

Lili Iashvili’s work is closely related to sports. For years, she used to anchor a radio and TV show called ‘Morning Workout’ with her husband.

Lili would often compose the melodies for the workouts herself and play them on the piano. Since 1970, she worked as a music teacher and orchestra leader at the Tbilisi Circus and Variety Institution, where she raised many generations.

Lili created pieces in various genres, but vocal music was the one that turned out the most natural for her. Her work developed in that genre, and in this regard, she has made an important contribution to the development of Georgian variety music.

Her song ‘Song about Batumi’ stands out, and to this day, it remains an unofficial hymn of the city. Lili’s songs have been performed

by Lili Gegelia, Meri Shildeli, Eter Gvazava, Giuli Chokheli, Inola Gurgulia, Marekh Godziashvili, Tsitsino TsiTskishvili, Soso Ebralidze, Suliko Koroshinadze…

As for her children’s songs, they remain in the repertoires of many children’s ensembles today. Lili Iashvili has also collaborated with ‘Mziuri’, the only children’s vocal-instrumental ensemble of the time, for which she wrote many songs.

In 1979, her son unexpectedly died. Four years later, she would pass too. As witnesses recount, on the day of Lili Iashvili’s funeral, her apartment on Griboedov Street was filled with violets. Actor Merab Tabukashvili remembers: “How did they find so many violets in the middle of winter? The loudspeakers were playing “A violet for Ia” [the first name “Ia” means violet in Georgian], a famous and beloved song, in the middle of a carpet of actual violets”.

am da sxva saintereso ambebs gaecnobiT vebgverdze, xolo, saqarTvelos radios audiosivrceSi, marika CijavaZis saavtoro gadacemaTa ciklSi `kadencia~, www.1tvpodcast.ge SeZlebT mousminoT qali kompozitorebisadmi miZRvnil gadacemebs. avtorTa jgufi imedovnebs, rom samomavlod Seiqmneba Sesabamisi piroba, danarCen 60-mde qarTvel qal kompozitorTa monacemTa warmosadgenad, sazogadoebis CarTuloba ki xels Seuwyobs veb-gverdis mudmiv ganaxlebas da wignad gamocemas.

You can get acquainted with these stories and others on the website. You can also listen to programs about these female composers on the radio, in Marika Chijavadze’s program ‘Cadence’, on www.1tvpodcast.ge.

The authors hope that in the future, there will be adequate means for the presentation of the remaining 60 or so Georgian female composers. The public’s participation will also support the website’s updates and publication as a book.

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