MODI 6 by Modi to Georgia

Georgia in France

King Erekle II Tsinandali A Trip Across the Alazana Natural Miracle Always Wear White Colour Wisdom of Fancy Paris Through The Eyes of Elene Achvlediani For The Love of The Line Baron De Baye

PUBLISHER Vladimir Dzhishkariani EDITOR-IN-CHIEF Nino Daraseli ART DIRECTOR Temo Machavariani PROJECT CONCEPT Giorgi Akhalkatsi ENGLISH TEXT EDITOR Tamar Mirianashvili TRANSLATOR Tamar Mirianashvili DIRECTOR OF PROJECT & MARKETING MANAGER Leli Mirijanashvili EDITOR Irine Jordania PHOTO EDITOR Temo Machavariani LAYOUT CONCEPT Levan Asatiani AUTHORS : André Poulain/ Tamar Nadareishvili / Igor Obolensky / Sir Oliver Wardrop / Teona Tsereteli Tamar Adoneli / Irine Jordania / Maka Nikolai PHOTOS: National Centre of Manuscripts/ Georgian State Ballet / Buba Kudava / Nodar Sumbadze Zina Barnovi / Alexander Roinishvili FOUNDERS Vladimir Dzhishkariani / Tea Chelidze DIRECTOR David Tvildiani IT DIRECTOR Zviad Mosiashvili DISTRIBUTION Mikheil Amashukeli ACCOUNT Maia Gambashidze THE TECHNICAL STAFF David Kutivadze / Milana Drucker PARTNERS:

SPECIAL THANKS TO: Georgian National Museum / Georgian State Literature Museum/ National Centre of Manuscripts / Georgian National Archive / International Union For Conservation of Nature / The Administration of the President of Georgia / Department of Tourizm and Resorts of Georgia / The Agency of Protected Areas/ Ministry of Economy and Sustainable of Georgia / The Georgian Ministry of Foreign Affairs / Georgian National Investment Agency / Press-speaker of the President of Georgia Manana Manjgaladze / Turkish Airlines Director for Tbilisi ofice Fatih Guven / The Georgian Ambassador to France Mamuka Kudava / Director of the Georgian National Museum David Lordkipanidze / Marriott Tbilisi

Publisher by: Publishing House ‘MODI’ Tbilisi, 0171, Kostava str. 68, build 3 Phone/Fax: +99532 409398, +99532 409397 E-mai: infmodi@hotmail.com Copyright by Publishing House ‘MODI’ LTD All rights reserved Printed By:

COVER Henri Machavariani Georgia

jer kidev XII saukuneSi cnobili sparsi poeti xayani Sirvaneli Tavis leqsSi qristian qals qarTulad uxmobs: ‘’moi, moi’’. Sua saukuneebis erT-erTi aRmosavleli poeti ki ambobs: ‘’saqarTveloSi viyavi da sul moi, moi viZaxeo’’. rogorc Cans, yvelaze xSirad stumarTmoyvare qarTvelebisgan enis armcodne mogzaurs swored ‘’modi’’ (Tu misi xalxuri forma ‘’moi’’) esmoda da yvelaze adviladac am sityvas imaxsovrebda. qarTvel kacs ver warmoudgenia rame martom akeTos, vinmes ar Seexmianos, ar dauZaxos, ar moipatiJos, azri ar gauziaros. albaT amitomaa amdeni ‘’modi’’ Cvens saubarSi, saqmeSi, cxovrebaSi. qarTvelebi xom ‘’modiT’’ viwyebT: modi vicekvoT, modi vimReroT, modi vTqvaT, modi gavakeToT, modi avaSenoT, modi davlioT, modi wavideT, modi vibrZoloT, modi vifiqroT, modi davweroT, modi vicocxloT da ase usasrulod... erTxelac saubari albaT ase daiwyo: modi, ’’modi’’ gamovceT...

buba kudava

To Georgia

In one of his poems, the 12th century Persian poet, Khaqaini Sherwani, used the word modi when his lyrical hero was trying to attract the attention of a Christian girl. Centuries ago, foreign visitors used to associate the word modi with Georgians, and the country, as they would often hear Georgians say “modi, modi, modi.” Modi is Georgian for “come” and is the word we use to informally call or invite somebody over, yet the meanings within this word are boundless. “Please come over, come in, have a seat, make yourself comfortable…” It is as if this word reflects why Georgians find it unimaginable to do things on their own and invariably invite others to join in, welcome them into their homes, share their experiences and ideas. More often than not, our discourse starts with modi, indicating that the listener is very much welcome - let’s dance, let’s sing, let’s talk, let’s drink together, let’s go, let’s fight, let’s think, let’s write, let’s live our lives… One conversation might even start with, “Let’s publish Modi!

BUBA KUDAVA

To Georgia

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CONTENT

24.

Five Things By Nikoloz Rurua

30. King ErekleII Tamar Adoneli

40.

TSINANDALI The Most Romantic Palace in Georgia

50.

A Trip Across The Alazana

Igor Obolensky

Sir Oliver Wardrop

72.

Always Wear White Colour

Igor Obolensky bolensky

60 68. 56.

60.

Natural Miracle

1,26 May square, Tbilisi, 0171 Georgia t: +995 32 2 300099 f: +995 32 2 300001 e: info@hi-tbilisi.com www.holidayinn.com

CONTENT

82.

The World Famous Ballerin Irine Jordania

90. Wisdom of Fancy Tamar Nadareishvili

96.

Paris Through The Eyes of

82.

Elene Akhvlediani

110.

104.

WITHIN THE WEAVE OF MY DREAMS

Henry Machavariani Andre Poulain

124. Following The Steps of

Baron De Baye

Hotel Intourist Palace Batumi 11 Ninoshvili str, 6010 Batumi, Georgia Tel: +995 422 7 55 25 Fax: + 995 222 7 66 07 E-mail: info@intouristpalace.com reservation@intouristpalace.com www.intouristpalace.com

For Those Who Know And Appreciate The Very Best!

A Georgian

INTRODUCTION

Nat ional Costume Women’s Dress 1.

Lechaki – a veil made of thin, transparent, often patterned fabric. In the dowries, the fabric is referred to as muslin, thin cotton, satin, silk lace, thin or thick silk; the thick type is considered to be the best. The veil is triangular: the right-angled tip falls loosely down the back, the second tip makes a sharp angle, while the third is rounded and shorter than the other two. Chikhti-kopi – this kind of headband became widely used from the 1830s. First the pad was taller, but from the 1860s, a lower type was more popular. The latter style was first introduced in Kakheti (Eastern Georgia), which is why the headband is also called a ‘Kakhetianchikhti’. Cuffs – the hem of the sleeve, either hung downloosely or was tied at the wrist.

4. Dress front – this was an embroidered or highly

ornate fabric. The neck line was always cut high.

5. 6.

Qatibi button-silver button with the function of simple decoration. Girdle – worn on the dress: narrow round the waist with long, wide strips hanging down the front. Its color had to match the dress. The girdle was often gold or silver twine, ornate with pearls or beads, very seldom plain.

7. Locks were popular until the 1880s and became longer later on.

To Georgia

INTRODUCTION

7 1 5

September

INTRODUCTION Georgian President Mikheil Saakashvili on Rtveli

Rtveli Rtveli - is a traditional vintage and rural harvest holiday in Georgia accompanied by feasts, musical events and other celebrations. It normally takes place in late September in eastern Georgia and in mid-October in western Georgia. In Georgia, where wine has an iconic significance, the tradition of Rtveli dates back to ancient times, having its roots in the festivity of mid-Autumn abundance and variety. Rtveli usually lasts for several days, with people starting working in early morning hours and ending the day with a feast in the accompaniment of vintage-themed folk songs. 16

To Georgia

INTRODUCTION From the private collection of V. Rurua

Henri Cartier-Bresson “For me photography is to place head, heart and eye along the same line of sight”. When traveling in Georgia, in 1974, Henri Cartier-Bresson saw “Winter landscape” of painter Vakhtang Rurua and offered him to sell the painting. Painter flatly rejected the offer, though he didn’t want to disappoint the world famous photographer and painted author’s version of the picture. In response a gift came from France: Kandinsky Album, brushes, ink, paper - luxury belongings wished only in one’s dreams during soviet era. There was a real gift, given as “Artist to the artist” – photo “St. George’s Day, Alaverdi Monastery” taken in 1972, in Telavi and thereby listed among 100 best photos of Bresson. 18

To Georgia

INTRODUCTION

Kakheti Great Georgian Region of Wine and Culture

Tsinandali Tsinandali is a village in Kakheti, Georgia, noted for the famous estate and its historic winery which once belonged to the 19th century aristocratic poet Alexander Chavchavadze (1786–1846). It is situated in the district of Telavi, 179 km east of Tbilisi. Alexander Chavchavadze inherited this village, lying in the Alazani River vally, from his father, Prince Garsevan. He refurbished the estate, constructed a new Italianate palace and built a decorative garden in 1835. It was the place where Chavchavadze frequently entertained foreign guests with music, wit, and – most especially – the fine vintages made at his estate winery. Familiar with European ways, Chavchavadze built Georgia’s oldest and largest winery where he combined European and centuries-long Georgian winemaking traditions. The highly regarded dry white Tsinandali is still produced there.

Gremi

Nekresi

Alaverdi Tsinandali Ikalto

Gareji

To Georgia

INTRODUCTION

Sighnaghi

Sighnaghi is a town in Georgiaâ&#x20AC;&#x2122;s easternmost region of Kakheti and the administrative center of the Sighnaghi District. It is one of the countryâ&#x20AC;şs smallest towns with a population of 2,146 as of the 2002 census. The territory of the modern-day town has been settled since the Paleolithic period and was known as Hereti in the Middle Ages, and as Kiziqi after the 15th century. Sighnaghi as a settlement is first recorded in the early 18th century. In 1762, King Heraclius II of Georgia sponsored the construction of the town and erected a fortress to defend the area from marauding attacks by Dagestan tribesmen. As of the 1770 census, Sighnaghi was settled by 100 families, chiefly craftsmen and merchants.

Sighnaghi Bodbe

National Tourism Agency September

INTRODUCTION

Art project : Nodar Sumbadze

HERBARIUM

To Georgia

INTRODUCTION

TBILISIENSIS

September

MODI To Georgia

FIVE THINGS YOU SHOULD KNOW ABOUT GEORGIA

By Minister of Culture and Monument Protection of Georgia Nikoloz Rurua Though I donâ&#x20AC;&#x2122;t believe that they are all-inclusive, saying goes that there are five senses of human being: sight, taste, touch, hearing and smell, each having its own strong sub-senses. From beginning to the end, one can get carried away and get lost there. That notwithstanding, letâ&#x20AC;&#x2122;s recollect all of them one by one.

CarTe yvela grZnoba: Teatri, sufra, abano, simRera, cekva adamians, amboben, xuTi grZnoba aqvs. me amis ar mjera. miuxedavad amisa, mocemuli formatiT SezRuduli, ZiriTadi xuTeuliT Semovifarglebi mainc. rogorc cnobilia, esenia - xedva, gemovneba, Sexeba, smena da surnelTa SegrZneba. yovel maTgans mravali Zlieri qvegrZnoba aqvs, magram saTave anu sazRvrebi, romelTa Sorisac am qve-grZnobebs adamianis gataceba da karga magra gaqan-gamoqaneba SeuZlia, mainc maTgan iwyeba da maTiT mTavrdeba. movixmoT mexsiereba da gavixsenoT. 24

To Georgia

MODI To Georgia gulgrils ver tovebs verc erTi tipis mayurebels. aseTi ukiduresad individualuri Semoqmedis Teatri, rogoric gabriaZis transcendentur poeturi realizmiT savse Teatria, ar arsebobs arsad”. komentari zedmetia, rogorc ityvian. miuxedavad imisa, rom sityvaZunwi piter bruki amas raRacnairad axerxebs, mainc Znelia moyve Teatri - is unda naxo, ixilo, imisTvis, rom ganicado. SarSan, 2010 wlis Semodgomaze, rezo gabriaZem sakuTari Teatris win zRapruli koSki aago, romlis binadarni, maestros xeliT gakeTebuli Tojinebi, yoveli SuadRis dadgomas ulocaven mayurebelsa Tu gamvlel-gamomvlels; Teatris TaRze gakeTebuli laTinuri warwera yvelas, am Zveli damwerlobis mcodnesa Tu aramcodnes, erTnairi, mxolod gabriaZiseuli sikeTiT usurvebs: “erTaderTi cremli, romelsac rodesme gadmoagdebT, xaxvis daWrisas moreuli cremli yofiliyos”. aq maestro eSmakobs, radgan kargad moexseneba, rom am SenobaSi cremlebi mravlad iRvreba, imis miuxedavad, rom xaxvs mis speqtaklebSi ar Wrian.

THEATER – SIGHT In 1981, Georgian writer, artist, scriptwriter and sculptor Rezo Gabriadze founded the Puppet Theater in Tbilisi. Feelings that are felt here cannot be experienced elsewhere in the world. Great Dramadirector Peter Brook comments about Gabriadze’s Theater: “I am so happy that I can express my astonishment and admiration by unique talent of Rezo Gabriadze. His work includes all components that make theater so amazing – words, gestures, colors, subjects and music – all of them express director’s intention, awarding us with the feelings of tenderness and sympathy ”,“There is no such theater full of transcendent – poetic realism, like Gabriadze’s Theater”. Though Peter Brook shares his views about it,even his words cannot describe everything that’s there, so in order to feel it well, one must visit and see it all in person. In Autumn of 2010 Gabriadze built up fairy tale type of castle in front of the theater, with toys made by him, wishing walking people a good day. The Latin signboard of the theater wishes to all passers with the same kindness, whether the passer-by knows this language or not: “May the only reason of your tears be the onions you will cut in your life”. Here, the great maestro tricks us, as you may drop many tears in his theater, though there are no onions around for cutting.

Teatri-xedva 1981 wels qarTvelma mweralma, mxatvarma, scenaristma da moqandake rezo gabriaZem TbilisSi marionetebis Teatri daaarsa. is, rac am Teatris kedlebSi igZnoba, ar igrZnoba arsad sxvagan mTels dedamiwaze. Teatris didi reJisori piter bruki gabriaZis Teatrze ambobs:”bednieri var, rom SemiZlia gamovxato gaoceba da aRtaceba gabriaZis unikaluri talantiT. mis sareJisoro SromaSi gaerTianebuli yvela elementi, romelic Teatrs saocars xdis - sityvebi, Jestebi, ferebi, sagnebi da musika- gamoxatavs Canafiqrs da gvagrZnobinebs im sinazesa da TanagrZnobas, romelic

BATH – AROMAS Every passer-by or visitor of Tbilisi, no matter where they come from, somehow find their way to Abanotubani, known for its sulfur baths of strong aromas. Muslim geographer and chronicler of 10th century – Ibn – Hawqal says about its hot springs: “In this city you can find baths like Tiberias, waters boiling without fire”. Theses bathes in different periods of time were visited by Italian traveler Marco Polo, French writer Alexander Dumas Senior and great Russian poet Alexander Pushkin. The real admirer of earthly pleasures – Alexander Dumas loudly objects in his book “Voyage to the Cau-

September

MODI To Georgia casus”: “It is unbelievable that Paris, that pleasure capital of the world, doesn’t have such divine gift as sulfur baths of Tbilisi, with its masseurs and all accessories!”. I can appreciate the frustration of high-spirited Frenchman, as I understood well all whims of his hero D’Artagnan throughout my entire childhood. Both, the brave musketeer and a great writer considered their noses as irreplaceable source of intuition and treated them accordingly. French nose never lies. As for the Georgian nose, Dumas dedicated entire passage to it in his book “Voyage to the Caucasus”. Like old times, doors of Abanotubani are always open for everyone, untill the very morning. History tells us that merchants who were stayingin the city, preferred to spent a night in these baths. The beautiful women who were going to get married, were examined by their future mothersin-law in the baths, where everything, good or bad, was disclosed - thus naked truth never lied. Last but not least, an indispensible feature of the bath was a wrestler-like masseur and his strong hands, equally relaxing and turning red the botoms of high-spirited Frenchman, curious Italian or modest, English gentlemen-like Pushkin. Night and day, any time one wishes to find this pleasure, hot springs of Tbilisi are there, full of precious aromas and steamy mistique. I amproud that Tbilisi is the only place with such thing which cannot be found anywhere else. Especially in Paris.

Tbilisur abanoSi yvela saxis tyuili neitraldeba da dezinficirdeba! aq mxolod SiSveli simarTle da mxurvale netarebaa. abanos unikalurobis mTavari atributi, ki qisa da meqisea, naxevrad moWidave mkurnali, romelic temperamentian frangs, cnobismoyvare italiels da odnav TavSekavebul, inglisur yaidaze gazrdil puSkins erTnairad axvevda Tavbrus da uwiTlebda ukanals. es SesaZloa dResac - yvelasTvis, vinc dRisa Tu Ramis nebismier dros Tbilisis surnelovan, mduRare samoTxes ewveva. msiamovnebs, rom aseTi ram mxolod aqaa da arsad sxvagan. gansakuTrebiT parizSi.

abano-surnelTa grZnoba yoveli mgzavri, Tbilisis yoveli stumari, saidanac ar unda yofiliyo mosuli, ra saSuri saqmec ar unda hqonoda, Tavis wminda movaleobad Tvlida, rom Tbilisis gogirdis abanoebic moenaxula da ganbaniliyo mis madlian, kamkama da Zliersurnelovan wyalSi. Tbilisuri cxeli wylebis Taobaze meaTe saukunis arabi geografi ibn-haukali ambobs: “am qalaqSia tiberiadis abanoebis msgavsi abanoebi, romelTa wyalic ucecxlod duRs”. amave duRilSi, ox-Sivarsa da gogirdis surnelSi, yvela mokvdavTan erTad sxvadasxva dros wuTisoflis amaoebisgan gadaRlil, italiel mogzaur marko polos, frang mwerals aleqsandr diumas da did rus poets, puSkinsac ubanaviaT. miwier siamovnebaTa namdvili damfasebeli diuma ufrosi sakuTar wignSi “kavkasia” aRSfoTebuli aRniSnavs: “rogor SeiZleba, rom saamo grZnobaTa msoflio dedaqalaqSi, rogoric parizia, ar iyos aseTi RvTisgan naCuqari ram, rogorc Tbilisis gogirdis abanoebia, Tavisi meqiseebiTa da yvela aucilebeli atributiT!”. me mesmis am temperamentiani frangisa, iseve rogorc mesmoda misi sayvareli d’artanianis yvela Tavqarianobis Cemi mTeli bavSvobis ganmavlobaSi. mamaci muSketeric da didi mweralic sakuTar cxvirs, intuiciis am Seucvlel instruments, iseTive didi ndobiTa da pativiscemiT eqceoda, rogorc sakuTar wmindaTawminda Rirsebas. frangis cxviri ar tyuis. rac qarTul cxvirs Seexeba, diuma mas “kavkasiaSi” mTel pasaJs uZRvnis. girCevT wakiTxvas.uwinac da axlac abano msurvelTaTvis yovelTvis Riaa; xalxs gaTenebamde Seelo da SeuZlia iq yofna. adre soflidan savaWrod Camosuli glexic xSirad abanos irCevda yvelaze sasiamovno RamissaTevad. rogorc amboben, warsulSi bevri lamazi qalis bedic abanoSi gadawyvetila. maWanklebs gasaTxovari qalebi aq mohyavdaT maTi Rirseba-naklis usaTuo gamosakvlevad. rezultati snaiperuli sizustiT moqmedebda.

To Georgia

SONGS - HEARING One of the examples of the Georgian polyphony, a folk song “Chakrulo” was included aboard of Voyager spacecraft, launched in 1977. In XXI century, UNESCO recognized the Georgian folk song tradition as the part of the world cultural heritage; Igor Stravinsky at his deathbed aknowledged that source of his strongest impression received in final years of his life were Georgian folksongs. Georgian polyphony is not an easy listening. It has difficult structure and requires keen attention and sharp ear of the listeners. It encompasses century-old history of Georgian people. Anyone interested in age-old struggles of this nation can find its keys in Georgian songs. Georgian song is spontaneous and improvised; instrumental accompaniment is very rare; one can even say that instrumental folk musical most doesn’t exist here. Reason is pretty simple – Georgia faced numerous and prolonged struggles and invasions, which excluded the possibility of peaceful development of the craft of instument-making. Thus, the only available instrument that people possessed was their own voice, that divine and precious gift of nature. And they developed it to the utmost; to the piques of mastery, which had to replace nonexistent Italian violin, Spanish guitar or German Pipe Organ.

MODI To Georgia No one knows whether “Chakrulo” traveling by Voyager in cosmic ocean as a statement of human civilization, will be ever heard by anyone in space, but I can assure you that right now, here on this Earth, in Georgia, this amazing voice orchestra is waiting for you.

simRera-smena 1977 wels kosmosis amerikelma mkvlevarebma “voiajeriT” usasrulobaSi adamianuri civilizaciis damadasturebel sxva nimuSebTan erTad qarTuli polifoniis erTi nimuSic, “Cakrulo”-c gauSves. XI saukunis dadgomisTanave ki iuneskom qarTuli xalxuri simRera kacobriobis zepirsityvierebisa da xelTuqmneli saganZuris Sedevrad aRiara. sikvdilis piras myofma igor stravinskim qarTul xalxur simReras sicocxlis meore naxevarSi miRebul STabeWdilebaTa Soris uZlieresi uwoda. qarTuli polifonia gasarTobi musika araa. misi harmonia rTulia da msmenelis yuradRebis mkacri momTxovni. mas sasiamovno fonis musikas namdvilad ver vuwodebT. aba, raSia saqme? qarTuli xalxuri simRera aris xmovani qronika, romelSic mTlianad am eris mravalsaukunovani ganviTarebis istoriuli procesia asaxuli. yvelas, visac ainteresebs qarTveli eris mravalsaukunovani brZolis ambavi, am istoriis erTgvari intuitiuri gasaRebi qarTul simReraSi elodeba. qarTuli polifoniisTvis damaxasiaTebelia spontanuroba da improvizaciuloba. instrumentuli akompanimenti aq Zalian iSviaTia. da saerTod, SeiZleba iTqvas, rom odnav arsebobs, an saerTod ar arsebobs xalxuri instrumentuli musika. mizezi amisa SedarebiT martivad gasagebia - Cemi eris arsebobis mTel manZilze ar yofila gare Tavdasxmebisa da Semosevebisagan Tavisufali, sakmarisad uwyveti mSvidobiani drois monakveTi, romlis ganmavlobaSic sxva mraval sikeTesTan erTad, romelic mSvidobianobas axasiaTebs, ganviTarebuliyo musikaluri instrumentebis saxelosnoTa amqari; xelosanTa is saZmo, romelTa naxelavsac SeiZenda yoveli ojaxi sakuTari SvilebisaTvis da maTi udardeli ganviTarebisaTvis. amitomac, qarTvelebma RvTisagan naboZebi instrumenti - sakuTari yelidan amosuli xma ganaviTares dadaxvewes is virtuozulobis warmoudgenel mwvervalebamde. am xmas unda Seecvala italiuri violino, espanuri gitara da germanuli orRani. mas sxva gza ar hqonda. asec moxda. amis Sedegis erT-erTi nimuSi - “Cakrulo” dResac usasrulobis ararsebuli bWeebisaken mieqaneba amerikuli “voiajeris” kabinaSi usafrTxod mokalaTebuli, rogorc mtkicebuleba adamianis saocari arsebobisa. ar viciT, Tu mas sadme, Cvengan Zalian Sors moismenen, magram darwmunebiT SemiZlia vTqva, rom aq, Zalian axlos Tqvengan, Cems qveyanaSi misi mosmena Tqvens xelTaa. qarTuli yelis orkestri mTeli SemadgenlobiT Tqvens molodinSia.

SUPRA – TASTE Name of the Georgian celebration dinner party is Supra. Supra is a Persian word for a table cloth. In Georgia, Supra is very important, bearing even a kind of mystical function of making acquaintances andsharing condolences. Each abovementioned event is different with its contents and taste; Taste doesn’tmean only the taste of the dishes served, but the taste of the reason for such gathering - sometimes boundlessly happy, or solemnly reserved. Such feelings may be shared among 5 or 500 hundred people. No matter the numbers in attendance, the supra definitely needs its leader; thus, the Tamada, most eloquent and honorable among guests, directing the rhythm or arrhythmia of the feast, is chosen.Unwritten constitution of Tamada is strict at first grance - all toasts are proposed hierarchically and in order, although as during the jam session in Jazz, improvisations are welcome since the boredom is the principle enemy of Supra, indicating the weakness of Tamada. I am sure, you will be lucky enough to attend real Georgian Supra, taste delicious, diverse food and feel that universal love from strangers to you before the Supra – love that is shared with Georgian bread and wine. This will induce the feeling, forgotten long ago; the feeling that once upon a time, all were brothers and sisters. And I mean, all of us.

September

MODI To Georgia

sufra-gemo qarTuli sazeimo sadilis saxeli sufraa - es sparsuli sityva, romelic pirdapiri mniSvnelobiT gadafarebul qsovils niSnavs. saqarTveloSi ki bevrad mniSvnelovani datvirTva aqvs: mas lxinis, Wiris, gacnobis, megobrobis gaazrebisa da gaziarebis TiTqmis mistiuri funcqia ekisreba. yvela saxis CamoTvlili sufra, saku-Tari Sinaarsidan gamomdinare, gemoTic gansxvavebulia. gemoSi mxolod morTmeuli kerZebisTavisebureba ar igrZnoba aq mTavari TavSeyris mizezis, rogoric ar unda iyos is, da misi Sinaarsis gemo gaigeba: lxinisas Tavdaviwyebamde misuli da mainc moxdenili mxiarulebisa; WirSi ki, adamianuri TanagrZnobis saSualebiT, ukidegano tkivilis raRacnair, Zalian ucnaur silamazed gardaqmnisa. am gancdis monawile SeiZleba 5 adamiani iyos, SeiZleba - 500. sufris organizebul wesrigs konsensusis wesiT SerCeuli pativcemuli, enamWevri da warmosadegi adamiani ganagebs - Tamada - sufris warmmarTveli, misi riTmis an ariTmiis diriJori da eqimi. Tamadis dauwereli konstitucia erTi SexedviT mkacria: erTmaneTs met-naklebad gansazRvruli mimdevrobiT enacvleba sadRegrZeloebi - RirebulebaTa es ierarqia; Tumca, rogorc jazuri melodiis farglebSi, aqac usazRvro improvizacia araTu nebadarTuli, aramed waxalisebulia - mowyeniloba sufris mTavari mteria, romlis saTofeze gamoCena Tamadis sasikvdilo Seuracxyofad iTvleba.darwmunebuli var, gagimarTlebT da moxvdebiT namdvil qarTul sufraze; gemos gausinjavT ugemrieles, mravalferovnebiT Tavbrudamxvev kerZebs da igrZnobT xSirad manamde, suframde ucnobi adamianebis mier erTmaneTisadmi gamJRavnebul ucnaur, me vityodi, odnav miviwyebul sayovelTao da samaradiso siyvaruls, romelic gulwrfelad gayofil purSi, Rvinosa da maspinZlobaSia gamoxatuli. es Zalian Zveli drois, TiTqmis miviwyebul grZnobas aRgiZravT, romelic dRes ukve bundovan, magram Zalian mSobliur mexsierebad dagvrCa imisa, rom odesRac yvelani Zmebi da debi iyvnen. ufro sworad, viyaviT.

DANCING – TOUCH In 1937, during the era of great purges, so called Georgian Culture Week was held in Moscow, and as a rule, at the last day of this event the meeting was arranged in Kremlin with Joseph Stalin. According to Kremlin Protocol Generallissimo was standing and the Minister of state security L. Beria introduced to him all the participants.When the time came of the couple of Georgian choreographers, at hearing the name of female dancer, Stalin asked in Russian: “Ramishvili? from village Surebi? All of them are Mensheviks... must be arrested!”. The male dancer standing nearby was addressed in Georgian instead and praised for his dancing skill with some familiarity. This is a true story as the representative of third generation of this dancing couple told me. Georgian dance counts as many years as the history of the country itself. Though the art comes from the folk, it needs to be counted and processed as precious stone. Perhaps this mission saved young couple from the hands of the Soviet tyrant. This very couple, as experienced jewelers, was destined to bring spirit of the era and its rhythm to the this day. Their family name – Sukhishvili, today is the brand name, still serving the well-being of Georgian dance. The process of searching, changing, and progress of existing traditions is still on. One thing is not argued, the art of touching the earth or more precisely, the art of not touching it, will never be left at the mercy of tyrants, since it is conducted only in front of the guests and dear friends from now on.These are five reasons why you should visit my motherland. For me personally, they engage much more than five feelings - they are reasons why it’s worthwhile to live on this earth. Hope to see you soon in Georgia!

MODI To Georgia

cekva-Sexeba 1937 wels, sabWoTa teroris yvelaze sisxlian wels, moskovSi, kremlSi saqarTvelos kulturis “dekada” gaimarTa, romelic wesisamebr stalinTan miRebiT damTavrda. miRebisas stalini idga da rogorc amas kremlis protokoli iTvaliswinebda, “dekadis” monawile msaxiobebs mas sabWoTa uSiSroebis ministri beria acnobda. rodesac jeri qarTvel qoreografTa wyvilze midga, stalinma mocekvave qalis gvaris gagonebaze rusulad ikiTxa: “ramiSvili? sofeli surebidan? didianpatarianad yvela menSevikia! yvelani dasaWerebi arian “. iqve mdgom mamakac mocekvaves ki qarTul enaze familarulad daeRrija: “niWieri xar fexebSi, RmerTZaRlo!”. sabWoTa beladisgan, visTan siaxlovec sikvdilTan siaxloves udrida, aseTi komplimenti mainc albaT qebas niSnavda. es ambavi qarTvel qoreografTa am ojaxis mesame Taobis qalbatonma miambo. is namdvilia. cekvis RmerTi sabWoTa diqtatorze bevrad guluxvi aRmoCnda qarTvelebisTvis. mravalferovnebiT cnobili qarTuli cekva imden saukunes iTvlis, ramdeni saukunec eris mexsierebaSia CabeWdili. miuxedavad imisa, rom xelovnebis muxti yovelTvis xalxidan iRebs saTaves, folklori, rogorc Zvirfasi qva, iseve saWiroebs Tlasa da daxvewas. sxvanairad mas daviwyeba elis. albaT am misiis SesrulebisTvis gadaurCa qoreografTa axalgazrda wyvili kaciWamia sabWoTa belads. maT, rogorc gamocdil iuvelirebs, bedad xvdaT qarTuli cekvis dRemde motana, rogorc warsulis plastiuri memkvidreobisa da Tanamedrove riTmis erTobisa.maTi gvari, suxiSvilebis gvari, dRes ukve brendis statuss atarebs, romlis bolo Taobac isev qarTul cekvas emsaxureba. Zieba, cvlileba, progresi arsebuli tradiciisa dResac grZeldeba; Cvens Tvalwin xdeba am plastiuri kaskadis evolucia da mudmivi ganaxleba. dRes ukve Zneli saTqmelia, ra aris SedarebiT axali da uZvelesi maT mier msoflios winaSe nacekv warmodgenaSi, magram erTi ram udavoa – miwasTan Sexebis, Tu ufro metad arSexebis xelovneba, romelsac xSirad frenas adareben, arasdros iqneba inkvizitorTa keTil nebaze damokidebuli. qarTuli cekva ukvdavia, radgan dRes mas mxolod megobrebisTvis cekvaven. masSi ukvdavebis cecxli iwvis da ar kvdeba. esaa is xuTi mizezi, ratomac unda ewvioT Cems samSoblos. CemTvis piradad esaa xuTi mizezi, ratomac Rirs sicocxle. Sexvedramde saqarTveloSi! September

MAIN STORY

King Erekle II GEORGIAN MONARCH OF THE BAGRATIONI DYNASTY

The penultimate king of the united kingdoms of Kakheti and Kartli in eastern Georgia; his reign is referred as the swan-song of the Georgian monarchy. Aided by his personal abilities and the unrest in the Persian Empire, Erekle established himself as a de facto independent ruler and attempted to modernize the government, economics, and military. Overwhelmed by the internal and external menaces to Georgia’s precarious independence and its temporary hegemony in eastern Transcaucasia, he placed his kingdom under the formal Russian protection in 1783, but this move did not prevent Georgia from being devastated by the Persian invasion in 1795. Tamar Adoneli

elavi is the main city of the eastern region of Georgia, Kakheti, located in 60 km distance from Tbilisi via direct route. Cornerstone of the city attractions is “Batonis Tsikhe” (Fortress of Master) built in 17th century, AD - this is the only well-preserved medieval royal palaces in Georgia; this Fortress is called as Erekle’s Palace, as his history is connected with one of the favourite kings for Georgians – King Erekle II.

History in Brief One of the earliest surviving accounts of Telavi is from the 2nd century AD, by greek geographer Claudius Ptolemaeus, who mentions the name Teleda. Name etymology refers to the tree name – Tela (Elm tree) as it is widely spread on the city territory. Telavi began to transform into a fairly important and large political and administrative center in the 8th century AD. Interesting information on Telavi is provided in the records by an Arab geographer AlMuqadassi of the 10th century. From the 10th until

To Georgia

the 12th century (AD), Telavi served as the capital of the Kingdom of Kakheti and later Kingdom of Kakhet-Hereti. During the so called Golden Era of the Georgian State (12-13th centuries), Telavi turned into one of the most important political and economic centers of Georgia. After the disintegration of the united Georgian Kingdom in the 15th century, the role of Telavi started to decline and the city eventually became an ordinary town of trade and crafts. After enormous invasion of Shah Abas I in 1616, then capital of Kakheti Gremi was defeated and never could recover its power. Thus, Telavi returned its former status, in 1672, when the King Archil II moved his residency to Telavi. He built up King’s Palace (Batonis tsikhe) (1667-1675); it was the palace of Kakhetian Kings in XVII-XVIII centuries. During Archil’s reign was built Palace, First Court Church, Eastern gates and bath. Walls of baths were painted, based on late feudal periods. Batonis Tsikhe (Fortress) was a defensive building with 5 meters height crenellated battlement and two gates to the eastern and western sides.

MAIN STORY

Construction of fortress complex refers to the reign of the King Erekle II. Second church, western gate and battlement was added, with marvelous landscape views. Outstanding public figure and writer Arthur Leist once wrote: “If one wishes to see miracles, he must look towards Alazani Valley, East of Telavi, at full moon”. In November 7, 1720, in the royal family of King Teimuraz II and Queen Tamar, daughter of Vakhtang VI of Kartli, was born their first son –Erekle II. Erekle’s military skills appeared at a very young age, when he accompanied Shahanshah of Iran in Indian Expedition; Nader Shah took 180 000 army for invading Moghul Empire, once powerful Muslim state that was falling apart already. Though, half of the army couldn’t survive severe road conditions, Shah was successful and defeated enemies. On their way back, Shah and his army had to pass desert and they encountered with a column with some strange text on it: “Eternally cursed be he who passes this column”. Shah couldn’t persuade his army to pass over the column, as they were very scared. Then, according to chroniclers, Erekle told to Shah: “There is nothing to worry about, let’s dig out the column, load it onto elephants and take it with, thus this curse won’t serve anymore and we don’t have to pass over column at all”. Nader-Shag believed him and they passed all the way successfully. After military actions, Nader-Shah gifted Erekle and sent him to his homeland in 1739. Erekle and his father were devoted allies for Shah. Thus, in 1741 Shah approved Teimuraz as King of Kartli and Erekle as King of Kakheti, though there were other pretenders to the thrones. Nader Shah was born in Dastgerd into the Qereqlu clan of the Afshars. His father Emamqoli, a poor shepherd or Coat-maker, died while Nader was still a child.

IF ONE WISHES TO SEE MIRACLES, HE MUST LOOK TOWARDS ALAZANI VALLEY, EAST OF TELAVI, AT FULL MOON Personally, Nader has no fanatical religion views and it is said to have been indifferent towards religion in general and the French Jesuit who served as his personal physician reported that it was difficult to know which religion he followed and that many who knew

THE ROYAL HOUSE OF BAGRATIONI The Bagrationi dynasty was the ruling family of Georgia. Their ascendency lasted from the early Middle Ages until the early 19th century. In modern usage, this royal line is frequently referred to as the Georgian Bagratids, a Hellenized form of their dynastic name. The origin of the Bagrationi dynasty is disputed, as well as the time when they first appeared on Georgian land. The history of the dynasty is inextricably bound with that of Georgia. They began their rule, in the early 9th century, as presiding princes in historic southwestern Georgia and the adjacent Georgian marchlands reconquered from Arabs. Subsequently they restored, in 888, the Georgian kingdom, which prospered from the 11th to the 13th century, bringing several regional polities under its control. This period of time, particularly the reigns of David IV and his great granddaughter Tamar, is celebrated as a “golden age” in the history of Georgia, the era of empire, military exploits, and remarkable achievements in culture. After the fragmentation of their unified feudal state in the late 15th century, the branches of the Bagrationi house ruled the three breakaway Georgian kingdoms – Kartli, Kakheti, and Imereti – until the Russian annexation in the early 19th century. Erekle II was a Georgian monarch of the Bagrationi Dynasty, reigning as the king of Kakheti from 1744 to 1762, and of Kartli and Kakheti from 1762 until 1798. In the contemporary Persian sources he is referred to as Erekli Khan, while Russians knew him as Irakli. His name is frequently transliterated in a Latinized form Heraclius because both names Erekle and Irakli are Georgian versions of this Greek name. The dynasty persisted in exile as an Imperial Russian noble family until the 1917 February Revolution. The establishment of the Soviet rule in Georgia in 1921 forced many representatives of the family to relocate to Western Europe, although some repatriated after Georgian independence in 1991. One of the branches continues to style itself as the Royal House of Georgia.

September

him best said that he had none. During his reign was translated Testaments, Torah and like Henry VI took away the property of mosques and mullahs in favour of state. He even allowed King Teimuraz and Erekle to coronate with Christian order, instead of Muslim as the kings were forced before by Iran more than a century. Chronicler Papuna Orbeliani describes coronation in Svetitskhoveli Cathedral: “People were cheerful around and honored their King worthily as they didn’t see Christian king and Christian coronation for a long period of time”.

Nader Shah planned to punish Kartl-Kakheti, but later he asked Erekle to come in Isfahan for negotiations. Teimuraz resisted his son, fearing that country would remain without patronage and personally went to Isfahan. Fortunately, Nader Shah was assassinated on 19 June 1747, at Fathabad in Khorasan. He was surprised in his sleep by Salah Bey, captain of the guards, and stabbed with a sword. Nader was able to kill two of the assassins before he died.

THERE IS NOTHING TO WORRY ABOUT, LET’S DIG OUT THE COLUMN, LOAD IT ONTO ELEPHANTS AND TAKE IT WITH, THUS THIS CURSE WON’T WORK ANYMORE AND WE DON’T HAVE TO PASS OVER COLUMN AT ALL

Nader became crueler and crueler as a result of his illness; he accused his son of being behind the assassination attempt in Mazanderan. Reza angrily protested his innocence, but Nader had him blinded as punishment, although he immediately regretted it. Soon afterwards, Nader started executing the nobles who had witnessed his son’s blinding. In his last years, Nader became increasingly paranoid, ordering the assassination of large numbers of suspected enemies. He extorted 200 000 rubles to Kartl-Kakheti, but Teimuraz and Erekle refused and sheltered population to Mountains and fortresses.

To Georgia

After his death, he was succeeded by his nephew Ali Qoli, probably involved in the assassination plot. Finally, after many struggles for throne, Karim Khan founded the Zand Dynasty and became ruler of Iran by 1760, while Ahmad Shag Durrani had already proclaimed independence in the east, marking the foundation of modern Afghanistan. Somehow, weakness of Shahs was good for Georgia, but on the other turn, they began invasions through out the whole Empire territory.

As a result, Teimuraz and Erekle took advantage of the ensuing political instability in Persia to assert their independence and expelled Persian garrisons from all key positions in Georgia, including Tbilisi. In close cooperation with each other, they managed to prevent a new revolt by the Mukhra-

MAIN STORY

September

MAIN STORY

nian supporters fomented by Ebrahim Khan, brother of Adel Shah, in 1748. They concluded an anti-Persian alliance with the khans of Azerbaijan who were particularly vulnerable to the aggression from Persian warlords and agreed to recognize Erekle’s supremacy in eastern Transcaucasia. But this didn’t mean peace in country; he encouraged peasant-vassals to supply the military force necessary to overcome the aristocracy’s resistance and protect the country from incessant marauding assaults from Dagestan known to Georgians as Lekianoba.

Portrait of Erekle II Joseb Emin – activist of Armenian National Movement, living in England described the King for us (they met for seeking support in releasing Armenia from Turkish rule): Erekle was not a tall man; his face sometimes took either greenish or yellowish tones. He was strong as physically as well as spiritually. His talks were as pleasant and wise as of educated English gentleman. He was not arrogant, proud as it was fea-

To Georgia

tured for Asian kings and never boasted, his voice was always melodic and peaceful.” As court chroniclers wrote, his power never exhausted, he slept for 4-5 hours and until very old years he leaded his army in fighting Lezgis and he spent half of his life on battle fields. He also tried to flourish the country, founded Theological Seminary and even attended rector’s lectures on philosophy and theology. His personal life was also very distinguished, he was married three times, first, he married in Princess Ketevan née Orbeliani but divorced her in 1744.They had two children; Erekle remarried Princess Anna née Abashidze, They had two children as well. Thirdly Erekle married Darejan née Dadiani. And they had twenty children together! Erekle’s primary objective in internal policy was to further centralize the government through reducing the powers of the aristocracy. His care for his people knew no bounds, he tried to listen to claims of his peasants personally and solve them.

MAIN STORY Kartl-Kakheti tried to avoid ruling of Muslim Empires and Georgian diplomatic mission tried to find some patronage in Russia. Thus, in 1760 Teimuraz II went to Russia, where after two years useless expectations, he died. In foreign policy, Erekle was primarily focused on seeking a reliable protector that would guarantee Georgia’s survival. He chose Russia not only because it was Orthodox Christian, but also because it would serve as a link to Europe, which he thought a model for Georgia’s development as a modern nation. Yet, Erekle’s initial cooperation with Russia proved disappointing as well as any further step towards Russia as to the same Orthodox Christian country failed and always had very severe historical consequences. After his father’s death, and Erekle succeeded him as King of Kartli, thus uniting Georgia politically for the first time in three centuries. Erekle continued negotiations with Russia and they sent General Totleben, his arrival aggravated Persia and Turkey, before General’ arrival these countries were not obstacles as they had domestic problems. This aggravation caused War of Aspindza, in this war King Erekle showed himself as great leader and explicit military strategist, eve European press wrote on this victory. Though, this victory didn’t cause any political dividends for Georgia. Thus, Erekle decided to manage country’s problems independently. He attempted to create a governing élite composed of his own agents to replace the self-minded aristocratic lords in local affairs. At the same time, he encouraged peasant-vassals to supply the military force necessary to overcome the aristocracy’s resistance and protect the country from incessant marauding assaults; two thousand men came for protecting country from Lezgis . His son Leon leaded the army, though he died heroically, in 1782. After Leon’s death, reserve army scatered away step by step. Generally, powerful feudal parts of the country were huge problem for the country. There was nobody in Georgia like Richelieu to keep powerful feudal lords in hand. Finally, assaults of Lezgis were so increased that King even paid to them taxes in amount of 10 000 rubles. This circumstance was also in favour of Russia. In the Treaty of Georgievsk of 1783, Erekle finally obtained the guarantees he had sought from Russia, transforming Georgia into a Russian protectorate, as Erekle formally repudiated all legal ties to Persia and placed his foreign policy under the Russian supervision. However, during the Russo-Turkish War, a Tbili-

To Georgia

si-based small Russian force evacuated Georgia, leaving Erekle to face new dangers from Persia alone. Erekle wrote to Ekaterina the Great: “Before the order came from Her majesty, we had peace with Turkish people, part of the Persians paid us taxes and with the other we had friendly relations and for the above said Christianity is under danger in Georgia if this small Russian Force does not return”. This letter was useless as many other. Erekle sent his son Leon and counsin Catholicos Anton for seeking support, though they came with nothing except some gifted orders. Mohammad Khan Qajar, who had managed to bring most of central Iranian plateau under his firm control by 1794, was inclined to revive the Persian Empire with the Caucasus as its part. In 1795, he demanded that Erekle acknowledged Persian suzerainty, promising in return to confirm him as wali. Erekle refused, and in September 13, 1795, the Persian army of 35,000 moved into Georgia. After the valiant defense of Tbilisi at the Battle of Krtsanisi, in which the king participated personally in the advance guard, Erekle’s small army of 5000 men was almost completely annihilated. While becoming a witness of the fearful devastation of his capital and slaughter of its civilians, king Erekle, who did not want to leave the battlefield and the city was spirited away by the very last of his bodyguards and a few family members. They destroyed everything, beginning from bathes, including King’s palace, cappuccino churches, count palaces, library, printing house and robbed everything, they drawn into Mtkvari Georgian and Armenian churchmen. The Persian invasion delivered a hard blow to Georgia from which it was not able to recover. Queen’s death that year brought an abrupt change of policy in the Caucasus, and her successor Paul I withdrew all Russia troops from the region. Aga Mohammad launched his second campaign to punish the Georgians for their alliance with Russia. However, his assassination in 1797 spared Kartli-Kakheti more devastation. After four years, in 1801 Russian side annulled the Treaty and thus was annulled the Kingdom of Kartl-Kakheti. Three years after War of Krtsanisi, King Erekle II died in January 12 of 1798, in the very chamber he was born in, still convinced that only Russian protection could ensure the continued existence of his country. He was succeeded by his weak and sickly son, George XII, after whose death Tsar Paul I annexed, in 1801, Kartli-Kakheti to Russia, terminating both Georgia’s independence and a millennium-long rule of the Bagrationi Dynasty.

September

WALLS OF THE PAST

The Most Romantic Palace in Georgia T s inandali

WALLS OF THE PAST

He stared at the most beautiful Georgian woman of the time, stood up from the table and took her hand with excitement. “Please, follow me, I would like to tell you something” – he told her with some strange braveness. A woman followed him tenderly, they held each other in solitude for couple of minutes; after some time, Nino Chavchavadze and Alexander Griboedov got married. Family blessed the couple, father, count Alexander Chavchavadze was especially happy; Alexander was 18 years older than Countess, comparing her beautiful wife to the virgin of Murillo. During their church wedding, groom dropped down his wedding ring by chance, it was a bad sign for their wedding; when Griboedov was sent to Tehran, he never returned from there; Nino was five months pregnant, when she was notified about the death of her beloved husband and on one day she lost everything her husband and her child. 17 years old widow never took off her black dress, mourning her husband and writing on his tomb as epitaph: “. . . why still does my love outlive you?

Teona Tsereteli / Maka Nikolai

H Princess Nino Chavchavadze Daughter of the famous Georgian Knyaz (Prince) and poet Alexander Chavchavadze and wife of Russian diplomat and playwright Alexandr Griboyedov. When Nino turned sixteen, she met Russian poet and novelist Alexandr Griboyedov during one of her father’s parties in Tiflis. Griboyedov proposed to her soon after the meeting and they married at Tbilisi Sioni Cathedral on August 22, 1828. Later in the same year, she accompanied her husband on his fatal mission to Persia, but Nino became ill and Griboyedov chose to leave her in Tabriz. After hearing of her husband’s death in Teheran (January 30, 1829), Nino gave a premature birth to a child, who died soon after. Pursuant to Griboyedov’s will, Nino reburied him to Mount Mtatsminda, Tbilisi, and ordered a grave stone with the inscription in Russian: “Your spirit and achievements will be remembered for ever. Why still does my love outlive you?” She never remarried, rejecting her numerous suitors (including the prominent Georgian poet and military commander, Grigol Orbeliani, who, inspired with hopeless passion towards Nino for thirty years, also never married) and winning universal admiration for her fidelity to his memory. She spent most of her unhappy life in the Tsinandali residence, frequently visiting Tiflis and her sister, Ekaterine, in Mingrelia.

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istory of Chavchavadze Museum of Tsinandali is unimaginable without this interesting, romantic and sad story. Museum situated in 10 km from Telavi (Kakheti Region), with its completely restored original face still meets and loves its guests as it was couple of centuries ago. We can see the estates of Kakhetian Counts Chavchavadze in XVII century, in Tsinandali. Though, it became the place of aristocratic meetings and Stonehenge of culture in XIX century, during the period of Georgian poet and Commander Alexander Chavchavadze; Alexander Chavchavadze successfully introduced new lifestyle in Georgia, mainly in Eastern Georgia, which was under Persian influence for a long period of time. He built and designed his family estate in Tsinandali and a house in Tbilisi according to the European style; he was the first person introducing a grand piano, billiard and carriage in the country. Thereby, he was the first nobleman who began to hire free workers, this action released peasants from obligatory working, initiating free market principles in Georgia. Alexander launched some agricultural novelties as well; he is the first Georgian who began manufacturing silk, grains and sunflower. But the most important thing is that in the beginning of XIX century, by introducing European technology of winemaking he restored wine producing tradition in Georgia. He improved the quality of Kakhetian wine by presenting new technologies and practice in his own family estate; he

developed new technologies for producing Tskriala (champagne) wines and cognac. For supporting vine growing and winemaking technologies in Georgia, he constructed winemaking plant in Tsinandali with huge underground wine cellar; he also set up vodka making plant, wine cellar with in-built clay pots (Georgian Kvevri) and wooden barrels. Part of Alexander’s personal wine collection exists even today, with 16.500 bottle wine of various make, including Saperavi made by 1839 harvest. Wines made in wine plants of Alexander Chavchavadze became famous in his life, not only in Georgia and Russia, but in west Europe as well, known as Tsinandali, Teliani, Mukuzani and Napareuli wines. Wine cellars and shops were in Tbilisi and in different cities of Russia. Poet’s contemporary, geographer Élisée Reclus writes: “Alexander put great efforts in winemaking and all his actions and endeavors were successful, Georgian wine became famous all over Europe; Kakhetian wine was equal to European wines in quality”. This is proved by the Georgian quote, life divides into two parts: before and after tasting wine from Tsinandali wine cellar.

Alexander Sergeyevich Griboyedov Russian diplomat, playwright, poet, and composer. He is recognized as homo unius libri, a writer of one book, whose fame rests on the brilliant verse comedy Woe from Wit (or: The Woes of Wit), still one of the most often staged plays in Russia. He was Russia’s ambassador to Qajar Persia, where he was massacred along with the whole embassy by the angry local mob. Several months after his wedding to the 16-year-old daughter of his friend Prince Chavchavadze, Griboyedov was suddenly sent to Persia as Minister Plenipotentiary. In the aftermath of the war and humiliating Treaty of Turkmenchay, antiRussian sentiment in Persia was rampant and, soon after Griboyedov’s arrival at Tehran, a mob stormed the Russian Embassy.

Tsinandali wine is still produced in Georgia and is exported in different countries. Visitors can see wine cellar of Tsinandali and Saperavi bottled in 1839. Alexander Chavchavadze, his spouse Salome Orbeliani and their four children were famous for their

September

WALLS OF THE PAST

To Georgia

WALLS OF THE PAST excellent hospitality; many famous guests visited the family in Tsinandali and Tbilisi, among them, there were high society members, diplomats, writers, artists; there are many records, memories and notes of French writer - Alexander Dumas, Mikheil Lermontov and Alexander Griboedov; they called Tsinandali as the literature heart of poets and writers. And mostly, guests were attracted by beautiful garden of Tsinandali, “flowers and fruits were growing and flourishing simultaneously, air is full of rich aromas” – wrote Alexander Dumas in his notes Garden is distinguished with its exquisite project; Alexander invited gardeners from Europe and began to set up the garden in Tsinandali estate; there you can find many kinds of western, eastern and American plants, with harmonic synthesis of wild nature and decorative plants; some specialists even compare it to English parks, such as Richmond and Kew Parks. Presently, park is being reconstructed.

ALEXANDER CHAVCHAVADZE PUT GREAT EFFORTS IN WINEMAKING AND ALL HIS ACTIONS AND ENDEAVORS WERE SUCCESSFUL, GEORGIAN WINE BECAME FAMOUS ALL OVER EUROPE; KAKHETIAN WINE WAS EQUAL TO EUROPEAN WINE IN QUALITY Alexander Chavchavadze dedicated his entire life to the development and support of the Georgian culture. Except all the above listed successes, he is recognized as the founder of XIX century romanticism in Georgian poetry. Most part of his poems was created for songs and musical instruments. His contribution in translation field was very significant as well; he translated Aesop, Voltaire, Pushkin and other writers in Georgian language. Poet issued his scientific publication “Georgian History in Brief and Conditions in 1801-1831”; he was the member of theater board and great supporter and admirer of theater in general. Yet, his military career was also very impressive; he fought against Napoleon, participated in RussoPersian and Russo-Turkish Wars; he was the governor of Yerevan District (Armenia), head of Postal

September

WALLS OF THE PAST Department of the Transcaucasia; though he was not devoted to the Russian Empire and was punished for that several times. Except so interesting and active lifestyle of Alexander Chavchavadze and Salome Orbeliani; their children were also in the center of public attention, especially their beautiful daughters Nino and Ekaterine Chavchavadze, being the muses of many poets of that time. After sudden death of her husband, Nino never betrayed his first love and notwithstanding many admirers and marriage proposals, she never married again, she was even titled as “Black Rose of Tiflis”. Ekaterine married the Mengrelian Prince David Dadiani and entered in the history as the last queen of Samegrelo. Ekaterine was very close to the high circles and warmly welcomed at the courts of European countries. They had four children, one of them Andria Dadiani was later known as the first chess player in Georgian chess history; his name was absolutely known in chess world. In 1900-1904, Andria was the president of Monte-Carlo Chess Tournament. “His games are so perfect and will remain in chess history as masterpiece” – wrote British Chess Magazine. Count Alexander Chavchavadze became the victim of fatal accident; he was wheeled down by his own carriage, near his own Estate; after his death, Tsinandali Estate was raided by Shamil gangs. Though, the Estate was restored again by the heir of the Poet – David. After sovietization, the Estate was transferred into the possession of the Government. Last reconstruction was carried out in 2008, changing the appearance of the building and completely restoring everything to the very details of the interior and exterior of the Estate. Most part of exhibits was restored as well and relevant museum lighting was set up. Major exhibition hall is 1809 sq.m, including Estate with 800 sq.m., wine cellar – 1009 sq.m. Presently, the most part of the palace is open for permanent expositions, including various exhibitions and events. So one mustn’t be astonished if exhibition hall presents artworks of Salvador Dali, Picasso or Piet Mondrian or attend the concerts of Gidon Kremer, Kremerata Baltica or Luca Lucini. Museum complex owns everything to comfort its guest, including Souvenir shop, with local artworks, copies of archaeological artifacts, etc. Café “Tsinandali”, Wine Tasting Bar, where you can taste more than 20 kinds of wine, various Georgian dishes and even buy your favorite wine at your wish.

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Presents IN SEARCH OF GEORGIAN WONDERS

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SIR OLIVER WARDROP The Kingdom of Georgia

Travel in a Land of Women, Wine and Songs A Trip Across The Alazana

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IN SEARCH OF GEORGIAN WONDERS

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IN SEARCH OF GEORGIAN WONDERS

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IN SEARCH OF GEORGIAN WONDERS

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Natural Miracle PROTECTED LANDSCAPE OF VASHLOVANI SITUATED IN THE SOUTHEAST OF THE COUNTRY, VASHLOVANI NATIONAL PARK IS PRIZED FOR ITS UNIQUE FLORA AND FAUNA, HISTORICAL MONUMENTS, AND OTHER TREASURES. THROUGH THE EXPANSION OF EXISTING STRICT NATURE RESERVE, THE GEORGIAN GOVERNMENT CREATED VASHLOVANI NATIONAL PARK TO FURTHER PROTECT THE ECOSYSTEM AND BETTER MANAGE THE AREA’S NATURAL RESOURCES. September

MODI GEO

n Kakheti in the eastern part of Georgia, there is the very beautiful area, Kiziki, which is in the Dedoplitskaro District. In the historical sources Kiziki is first mentioned with the name Kambechovani. In the most southeastern part, there is a unique place called the Vashlovani reserve. The reserve is located between the Iori and Alazani Rivers. It is adjacent to territory that is nowadays declared as a national park, together with several unique natural monuments, which are the subject of special care for the state nowadays. From those natural monuments that were assigned the status of Protected Landscape, the closest to the Dedoplistskaro borough is the eagle gorge. It is a deep canyon of amazing beauty made by small the ravine through the rocks of limestone origin. The limestone conglomerates on both sides of the gorge are all surrounded by deciduous forests and Christthorn scrubs. This not so vast territory is rich in endemic plants and rare plants facing the danger of disappearing. These plants include such rare species as: Kakhetian bluebell - the green plant growing on the limestone rocks without any soil and having very beautiful white flowers; coniferous scrub thuja that you cannot see in any other part of Georgia. From the eagle gorge, there is a fantastic view of the Alazani valley and Kakhetian Caucasus Mountains. This narrow and deep canyon is the ideal place for bird watching. In this small territory you can see over 60 species of birds. The slopes of limestone are the place for nesting of vultures. You can also see birds of prey there, such as Short-toed Snake-eagle and Egyptian Vulture. In this same gorge lives Black Stork, a very rare bird in Georgia. There is a natural miracle in the Protected Landscape of Vashlovani, Takhti Tepa, which is located near the Vashlovani reserve and Dali Mountain. This monument of inorganic nature is the muddy volcanoâ&#x20AC;&#x201D;the whitish hill with flat top pulsing and boiling all the time. The gas and mud continuously erupt and leak from the craters, the biggest diam of which is 3,3-4 m. The mud which erupts from different craters joins together and flows to the ravine as a sticky mass. The national park itself is in the eastern part of Dedoplistskaro, near the Georgia-Azerbaijan border. The plateau ends abruptly with an interruption of precipices 50-70 m high, that form the natural border of the reserve. Coming close to this border you will see Vashlovani Kvabuli surrounded with arid forest of pistachio and juniper. Parallel to the border stretch the parallel ridges The territory of reserve (total area - 8480 hectares) includes Pantishara Vashlovani tract, the height of which varies between 300-600 m above seal level. The reserve is bordered by the Kumuri ravine in the

east and with Mamachai and Eshmaki ravines in the west. The northern border leads along the mountain ridge to the north of the tract. The southern border is represented by the southern rugged foothills of Didi Chrdili (Greater Shade) and the southern slopes of Pantishara. The Vashlovani state reserve was created in 1935 on the initiative of two great Georgian scientists and defenders of nature defenders: Niko Ketskhoveli and Vasil Gulisashvili. The reserve was abolished, but it will soon be restored. The reserve has been expanded several times. At the beginning, the reserve was floristic, and it was aimed at the protection and study of arid, bright forests. Here the very rare cistus trees (that people often call by its Azerbaijani name, Sakhsaghaji are naturally located 15-20 m away from each other. Such kinds of arrangements and the natural similarity of cistus trees with the apple trees accounts for an impression of the garden and the geographical name -Vashlovani (apple-tree wood). The territory is characterized by erosive remains and clay karsts that harmoniously change into the juniper groves, cistus woods and mixed arid forests of juniper and cistus. There is no other place in Georgia with such quick changing of types of plants in so small area of land. Steppes and scrubs, foothill deserts with slope ravines turn into bright forests and Alazani riverside forests. Each of these places has its habitants, and each of them is full of life. First, we can see the birds. The animals, espe-

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cially the big mammals, live in more covered places and seeing them is more difficult than it is to see the thousands of birds. Most of the birds are habitants of Vashlovani, but for some, Vashlovani is only the temporary shelter and the place to spend winter. In ornithological terms the reserve is very rich. You can see groups of thousands of blackbirds and rosy starlings. There are many small birds: sparrows, wheatears, goldfinches, and finches. In winter you can see little bustards and more rarely you great bustards in the reserve. From the birds of prey you can see Imperial Eagles, Griffon Vultures, Harriers and Buzzards in Vashlovani. There are many Chukars too. Sometimes, although rarely, you can see Black Francolin too. In the Alazani riverside in the national park are many Pheasants. On the slope of the clay precipices of Vashlovani are colonies of martins. The birds have enough food â&#x20AC;&#x201C;as there are 700 species of insects recorded in the territory of Vashlovani. Later, the unique riverside Alazani forest and two miracles of natureâ&#x20AC;&#x201D;Juma gulf and Mijna gulfâ&#x20AC;&#x201D;were included within the borders of national park. The gulfs are only place in Georgia where wild nut trees grow along the riverside with oaks, asps, ash-trees and wild pomegranates. There are still many sheat-fish, carp, pike-perch, tusk, barbell and Caucasian herring in Alazani. In total there are 16 species of fish in the river.

MODI GEO

As for the mammals, there are 46 species of mammals in Vashlovani. There are many Jackals, Red Foxes, Hares, Wolves, Lynxes, and Porcupines. There are even Brown Bears in Vashlovani, which is so rare for semi-desert areas. The fruit of juniper and pistache trees are nice food for the Brown Bear. Unfortunately, no one has seen Striped Hyena in Vashlovani during recent years, where it used to be common. The scientists still hope to find Striped Hyena. Moreover, if there is a place in Georgia with the right conditions for the hyena to appear it is in Vashlovani. At the end of 2003, leopard was discovered in Vashlovani (NACRES). The scientists managed to take several photos of this animal, which is unique for Georgia. The male leopard was called Noah. He still lives in the territory of Vashlovani and has become its symbol and is on the visit card of the national park. In the nearest future it is also planned to bring Goitered Gazelles from Azerbaijan. Earlier, this hoofed animal was the usual habitant of Kiziki, but because of excessive grazing and uncontrolled hunting it finally disappeared from Georgia in the 1960s. Currently, we hope again that Goitered Gazelle will again return to Vashlovani.

The reptile also plays a significant role in fauna of Vashlovani. In the territory of the national park you cans see Mediterranean Tortoise, Schneiderâ&#x20AC;&#x2122;s Skink, Caucasian Agama, Caucasian Sand Boa and Levantine Viper.

The administration of the national park offers several routes to the visitor of Dedoplistskaro: driving, walking and rafting (by boat on the river Alazani). From Tbilisi to Dedoplistskaro is 130 km.The routes are arranged in a way that does not damage the ecosystem. The common visitor cannot reach the zones of strict protection in the reserve. Only a small number of scientist-researchers have this right. With them, the administration of the reserve has cooperated for years with great pleasure and success.

LEOPARD WAS DISCOVERED IN VASHLOVANI. THE SCIENTISTS MANAGED TO TAKE SEVERAL PHOTOS OF THIS ANIMAL, WHICH IS UNIQUE FOR GEORGIA

In the protected territory of Vashlovani there are all the conditions for the development of eco-tourism and scientific tourism. The names of the family hotels that have appeared recently in Dedoplitskaro, such as Megzuri (Guide), Vashlovani, Shiraki, and Eagle gorge indicate that these hotels are focused on the service of visitors to national parks and natural monuments. But these are only the first steps; along with increasing the number of Vashlovani visitors, the number of local residents involved in the tourist infrastructure as guides, drivers, horse lenders, will surely increase.

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The visitors of the Protected Landscape may see all the territory of the reserve, the sight of which is clearly expanded from the Nagomrebi ridge. While driving in Shiraki valley, the visitor can see many wild birds, especially in spring when everything is green and is full of life. The visitor can reach the Pantishara ravine by car; from there, the next walking route Datvis Khevi (Brown Bear ravine) begins.

MODI GEO There is even much more to see while walking. The clay of Alesilebi is full of old and new footprints of wild animals. The luckiest visitor may meet the footprints of the leopard ÂŤNoah.Âť The walker comes across the lizards and reptiles everywhere. One may see the small mammals too. Alesilebi of Datvis Khevi has one more surprise for the visitor: its pre-historical fauna. In the deposited layers of exposed rocks a good observer can easily see the mollusk chitins that are well preserved. These mollusks are the oldest habitants of Vashlovani; they belong to the time when the local territories were covered with sea. In Datvis Khevi you can see one more comparatively young prehistorical animal: in clay hill extrudes the hardened shoulder blade of the southern elephant. In general, all these Protected Landscape, Eagle Gorge among them, are ideal places for bird watching. In our country bird watching is comparatively new, but in different parts of Georgia you may see more and more groups of western tourists equipped with expensive binoculars and glasses intent on observing rare birds. Vashlovani, rich in ornithological terms, is surely attractive for these kinds of tourists. Going downstream by boat on the Alazani is extreme and at the same time allows one to enjoy nature. The rafting route elaborated by the administration of national park begins at the riverside

MODI GEO village Tsiteli Sabatlo, which is populated with Armenian residents and reaches Mijniskure (border gulf). It must be very interesting to travel by a raft on the river having Georgia on one side and Azerbaijan on the other. The river banks are covered by nice riverside forests. Behind the forest line, beautiful «Alesilebi» are seen. While going down stream on the Alazani, you constantly hear the singing of birds that are nesting in the riverside forests, and you see different kinds of water birds—herons and cormorants. The groups of garganey, wild ducks and red ducks never leave the wide bed of the slow river. In certain periods of the year you may see osprey hunting for fish, but we cannot really promise that you will see the hug white-tailed eagle hunting for fish. At the end of the route, in Marjniskure (coral gulf), the national park administration permits fishing with a sports fishing rod. Like sports fishing, any kind of movement, such as spending the night or building a fire is permitted only in the places designated by the administration of the national park. It is prohibited to carry guns and domestic animals while traveling. Enforcement of these terms is provided by the guides and rangers who are permanently on duty at the four posts around the park. These are the necessary measures without which the balance of nature could not be kept, and without which the national park would surely lose its original appearance and genuine wilderness that attracts so many visitors.

Present column is prepared on the basis of “International Union for Conversation of Nature” materials. This is Georgian membership-based Public Organization acting since 1994. For further introduction with the activities of the said Organization, including membership issues or supporting its programs you can visit web-page: www.gccw.org

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THE FIRST HOTEL CHAIN IN GEORGIA WAS FOUNDED IN 2007 AND CURRENTLY OPERATES SIX SUCCESSFUL HOTELS IN BATUMI, MAKHINJAURI, TELAVI, SIGNAGI, POTI AND KUTAISI

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Presents JUST SO STORY

ALWAYS WEAR WHITE COLOUR Zakharia Mdivani - Former General-Governor of Batumi. His family was made to leave Georgia after the Red Army entered the Country in 1921. Officially major property of Mdivani Family included shares in Caucasus Oil Company, which was survived by the General from Batumi. But in fact, sociable and quick character of brothers and sisters of Mdivani played great role in family promotion, as they entered the highest social circles of Europe and America.

Igor Obolensky

n June of 1925, at the Place de la Concorde, in Paris, police arrested two strangers, trying to get through traffic jam, at high-speed. Young people introduced themselves as nobles Alex Mdivani and Roussie Mdivani. Thus, was made the first criminal record on the surname of Mdivani.

gian girl caused interest towards family of Mdivani.

Name of sculptress Roussie Mdivani appeared on Parisian high-society columns a year before, when she was a lover of a famous Spanish painter –José Maria Sert. And the car she was driving so cheerfully was gifted exactly by him.

Soon after, newspapers wrote that new favourite of Sert was a daughter of Zakharia Mdivani - former general-governor of Batumi, having four siblings. Family was made to leave Georgia after the Red Army entered the Country in 1921. Officially major property of Mdivani Family included shares in Caucasus Oil Company, which was survived by the General from Batumi. But in fact, sociable and quick character of brothers and sisters of Mdivani played great role in family promotion, as they entered the highest social circles of Europe and America.

Relations of a well-known and rich Spanish man (only for painting of Waldorf-Astoria in New York, at that time, Sert was remunerated for a huge amount of money – 150 thousand dollars) with a young Geor-

Thus, one of Mdivani brothers – Alex entered Cambridge University and after graduating it he began working in Paris Branch of American City Bank. For entering high aristocratic society of the New World,

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Former General Governor of Batumi Zakharia Mdivani

JUST SO STORY

Alex visited Noe Zhordania – President of the Georgian Government-in-Exile at that time and asked to issue a document on noble origins of Mdivani family. Zhordania refused him, but assistant of the President – Eugene Gegechkori issued the said document. Soon after, the whole Paris and New York discussed the major event of the year – wedding of Alex Mdivani and one of the world’s richest women at the time – Barbra Woolworth Hutton. The day before wedding, bride was baptized as orthodox. Alexander Nevsky Cathedral at Rue Daru, Paris, was specially prepared for this day and wedding party was held at Hotel Ritz, rapturous news reports widely announced that Hutton Family spent 1 million dollars for this wedding. But expenses were more, as Alex formed a charity fund for helping Georgians, which were forced to leave their homeland and those diseased with tuberculosis. Alex considered this disease as the most dangerous, unfortunately, later, time will prove that he was right.

Wedding of another brother David Mdivani was caught by press as well. In 1926, he married the first star of then-opened “Metro Goldwin Mayer” – Mae Murray. Later she would blame her husband in bankruptcy, saying that for 5 years family life he could spend three million dollars. Besides, David Mdivani persuaded her to leave MGM and keep on independent working as he became her producer. In couple of years , nobody knew about an actress Mae Murray, her name was vanished. Until her last days, former film star tried to recover fame of her film “The Merry Widow”, when she understood that all her tries were in vain, she went mad. Before her death, she was found lost in the streets of Kansas City, singing waltz theme from the film “The Merry Widow” and danced by her own. When someone addressed her by her name, she was correcting it and asked to call her as Princess Mdivani. But before this, disappointed by her Prince, Murray suits him for abuse and for refusing to pay aliments for their son Koran David. But David Mdivani didn’t

THE WHOLE PARIS AND NEW YORK DISCUSSED THE MAJOR EVENT OF THE YEAR – WEDDING OF ALEX MDIVANI AND ONE OF THE WORLD’S RICHEST WOMEN AT THE TIME – BARBRA WOOLWORTH HUTTON

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22nd June, 1933: Prince Alexis Mdivani and Barbara Hutton leaving the Russian Orthodox Church in paris after their wedding. Pola Negri Wedding, Serge Mdivani and Pola Negri

care about it and after divorcing Murray, he was involved with French actress Arletty. They met in Venice, soon Arletty was pregnant, but having heard about relationship of David and Murray, she got rid of her child, though they still kept relations. Couple soon separated as David married Sinclair Oil heiress Virginia Sinclair. In both marriages, divorce case was initiated by his wives, blaming their husband in unreasonable jealousy, physical abuse and wasting of their property. However they received what they wanted so much – title of Princess Mdivani. Another actress from the Golden Era, silent film star – Pola Negri couldn’t escape from the same fate. Née Barbara Apolonia Chałupiec, was of Polish origin; she adopted the pseudonym Pola Negri, after the Italian novelist and poetess Anda Negri, with Pola being short for Apolonia. Actress was a close friend of Murray and she was a bridesmaid at Murray and Mdivani wedding. Though it was the most argued issue in newspapers, title of princess received by her friend Murray, attracted her so much that she also decided to marry the prince; and she didn’t wait long, at that same wedding, she introduced with a brother of David Mdivani – Serge Mdivani. Thus, after nine months from sudden death of her young fiancé – Rudolph Valentino, Serge Mdivani and Pola Negri got married. Negri caused a media sensation at this New York funeral in August 24, 1926, at which she “fainted” several times, and, according to actor Ben Lyon, arranged for a large floral arrangement, which spelled out “P-O-L-A”, to be placed on Valentino’s coffin.

WEDDING OF ANOTHER BROTHER DAVID MDIVANI WAS CAUGHT BY PRESS AS WELL. IN 1926, HE MARRIED THE FIRST STAR OF THENOPENED “METRO GOLDWIN MAYER” – MAE MURRAY During her second marriage, Negri was one of the most popular Hollywood actresses of the era, and certainly the richest woman of the film industry and living in a mansion in Los Angeles modeled after the White House. That is why Pola was a suitable candidate for Serge Mdivani.

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JUST SO STORY by time lessons turned into something very warm between the two. Studio of Sert, was at Montparnasse, near “Hotel De Versaille”, where lived Roussie with her father. After couple of visits, Sert introduced her with his wife – famous Misia Sert, muse of wellknown painters – Toulouse-Lautrec and Pierre Bonnard, she was a close friend of Coco Chanel and Sergei Diaghilev. Misia immediately felt that it was not a simple relationship of a teacher and a beginner sculptor. But she was so attracted by her youth and beauty that she invited her for holidays in Biarritz. There Misia found real sense of their feelings; she saw a love letter of her husband to Roussie; she was so confused that wrote on that very letter “This is a mistake; I am your only love!” José Maria hesitates to make a decision, at this time Roussie leaves for New York by the invitation of her brother Alex. But in separation she could stay there, only for a year.

But as time passed, her career in Hollywood talking films ended up because of her distinct Polish accent, besides she lost her fortune in the Stock Market Crash of 1929, and Serge Mdivani abandoned her and took up with opera singer Mary McCormic, who divorced him in a highly-publicized trial. Roussie Mdivani attentively followed love and financial affairs of her brothers, she was an honorable guest at their numerous weddings. Though, she was accompanied not by José Maria Sert, but the former general-governor of Batumi, her father Zakharia Mdivani; Zakharia loved joking, saying that, he was the only person in the world, inheriting the title of prince from his children. It seemed that this title didn’t play great role for Roussie, though when she stepped in studio of Sert, she introduced as a princess. The Spanish Painter was mostly impressed by 18 years old girl’s charm and beauty, and not by her title. First meeting was initiated by Roussie, she asked Sert to become her teacher, time

When Roussie returned to Paris, she was seriously ill. Misia Sert took care of her, she spent days and nights in treating her husband’s beloved one. During these night-talks, rivals became very close friends. Roussie confessed to Misia that she had a very rich admirer in New York, but she couldn’t ignore Sert’s requests to return in Paris. Roussie also ignored love of Salvador Dali, who much admired her as well. After hearing all these Misia accepted the situation. “She was almost a child, and I and Sert didn’t have a child,” - she wrote latter in her memories.

NEGRI WAS ONE OF THE MOST POPULAR HOLLYWOOD ACTRESSES OF THE ERA, AND CERTAINLY THE RICHEST WOMAN OF THE FILM INDUSTRY AND LIVING IN A MANSION IN LOS ANGELES MODELED AFTER THE WHITE HOUSE

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Seeing that, Roussie’s health was still for worse, Misia asked her best friend Coco Chanel to tell Roussie that she was also feeling bad and needed Roussie’s accompaniment in Swiss Sanatorium. This trick worked and Roussie together with Mademoiselle Coco left for Switzerland. After little improvement of her health, the Serts took her for Italian trip. This trip was last for Misia – as for the wife of José Maria Sert.

During Italian holidays, Rousie’s sister Nina, first married famous Charles Henry Huberich – doctor of laws and political sciences, holding law offices in New York and after divorce with Charles, Nina met

Wedding, Serge Mdivani and Pola Negri

ed this event at the restaurant, where strange company gathered – Roussie and Jose Maria, Nina and her husband and lonely Misia. At the end of dinner Misia couldn’t watch all these any more and rushed to the toilet, Roussie followed her for soothing. Kissing crying Misia, Roussie promised her: “We will be together and love each other forever. I owe my happiness to you!”. Misia and Roussie spent the first night after divorce together in one bedroom. The three of

the son of the prominent English writer Sir Arthur Conan Doyle - Denis Conan Doyle (after Arthur’s death all rights on his writings and works transferred to her) – this was her second marriage. Rudolph Valentino and Pola Negri, with Mae Murray and Prince Mdivani on their wedding day in 1925. David Mdivani and Mae Murray Serge Mdivani

Nina prepared divorce papers for José Maria and Misia. Divorce case was held in the Hague. But Misia was still José’s wife by their church wedding and somewhere in deep, she believed that her husband would come back again. She even praised Roussie and helped her husband to buy wedding ring and gifts for her. After official announcement of divorce, they celebrat-

September

JUST SO STORY

them walked together – Roussie with José Maria and Misia. Parisian chit-chatters were even gossiping around threesome relations. There was even a play in one of the theaters “MARIA”, it was easy to recognize major parts, Misia, José Maria and Roussie; in one of the scene all three were put in one bed, by the playwright. Strange company didn’t pay attention to the society and their gossips. They traveled a lot and passed much time together. When Coco advised her friend to stop such improper situation, Misia answered: “Roussie loves my husband so much that I fell in love with her as well.” Harmony of the company was disturbed by the letter of archiepiscopate; Misia visited the Church, where she was told that José Maria applied for dethroning. In his letter to the archiepiscopate, José Maria underlined that she married Misia for having children and as they had none, he wished the divorce. Devot-

ed wife signed all necessary documents, even helped Roussie to design her wedding dress with her best friend Coco Chanel. She did everything for them, except attending the wedding ceremony at Spanish Church in Paris.

NINA MET THE SON OF THE PROMINENT ENGLISH WRITER SIR ARTHUR CONAN DOYLE DENIS CONAN DOYLE, AFTER CONAN DOYLE DEATH ALL RIGHTS ON HIS WRITINGS AND WORKS, TRANSFERRED TO NINA MDIVANI

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Misia decided to visit the famous doctor in New York, for getting rid of such ultimate love feelings towards José Maria and Roussie. But she changed her mind in last minutes, explaining behaviour to Coco with these words “my life would be just nothing without them”.

Now the roles have changed and Roussie was in charge to control love letters of Misia to her ex-husband. Once, she even invited Misia for some serious talks. “You love him too much, he doesn’t deserve so much love from you!” – she said, trying to explain her inadmissibility of such things.

Denis Percy Stewart Conan Doyle , Princess Nina Mdivani. Coco Chanel Gloria Swanson Adrian (left) and Denis Conan Doyle, the sons of author Sir Arthur Conan Doyle, at Ainsdale for the Southport Motor Club’s first speed meeting of the season, 26th April 1936. They are driving a Mercedes Benz for Princess Nina Mdivani, Denis’ wife.

In 1933, world press talked about Mdivani family again. This time major issue was the divorce of Alex Mdivani and the heiress Barbara Hutton; she couldnâ&#x20AC;&#x2122;t approve boundless charity activities of her husband and attacks from journalists, calling Alex as adventurer were the last drop to her patience. For recovering his inward peace after sensational divorce, Alex visited his sister in Spain, in their Palace, which JosĂŠ Maria built for her beautiful wife Roussie. At the same time, guest of the Serts was Salvador Dali, having reconciled with the marriage of Roussie, though he still loved her so much. Spanish holidays helped him much and he fell in love again. Though, his new passion ignored his feelings. Knowing that his beloved one secretly left the city by train, Alex rushed after her by car, the same car he drove in high-speed with Roussie. But, in one of the railroad crossings, he lost control of the car and crushed with the coming train. Death of 28 years old brother was a huge tragedy

JUST SO STORY

for Roussie, but it was not the last one. After one year, her second brother Serge died in USA, in Polo riding. Roussie couldn’t stand tragedies of her life; she was ill with tuberculosis, the disease for which her brother Alex raised funds and considering it the most dangerous one. And once again she was cared and treated by her devoted friend Misia. They were talking about their close people they lost. Missa told her how she lost her best friend Sergei Diaghilev in Venice. In 1929, they had holidays in Italy, there was their devoted friend Coco Chanel as well. In August of the same year, in Lido, in his own hotel room, Sergei Diaghilev was at his death bed. Couple of minutes before his death, he called his friends Misia and Coco, giving his last advice “Always wear white colour!”, Misia told all these to Roussie. By the way, thanks to Roussi Sert visited Italy.

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Roussie in her turn, told about her mother’s death. Unlucky woman, after running from Batumi with her children, she planned to celebrate their survival at home, in Paris. According to the facts, vodka bought in one of the shops, was of low-grade and in the morning she was found dead in her bed. Coco Chanel took Roussie again in Switzerland, but all was in vain, she couldn’t survive and in December 16 of 1938, 32 year old Roussie Mdivani died. Death of Roussie was a great stroke for Misia Sert. She began losing her eyesight. José Maria died in 1947, with whom she had nothing but real friendship and she was left alone in their house at Rue De Rivoli. Misia died after three years in the bedroom, she never shared with her husband. When her best friend Coco Chanel was arranging the funeral ceremony, she opened her medallion and found there a picture of Roussie.

Rusudan Mdivani Mdivani Sisters

The World Famous Ballerin

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Interview Can you recall the first strong impression that the ballet made on you? As far as I remember, the first precise event that left an incredible impression on me was the performance of Balanchine in Tbilisi in 1969, if I am not mistaken. This performance was a marvelous event and it was extremely difficult to buy tickets as everyone in the city wanted to get there; but despite all these obstacles, my father promised that he would take me. It must have been quite difficult for him to find the promised tickets because the day he got them he ran all the way home to tell me.

Interview with Nino Ananiashvili / Interviewer: Irine Jordania

The performance – which has turned out to be one of the greatest memories of my childhood; which I still remember and which is still with me – was amazing. Balanchine’s “Jewels” – “Emeralds”, “Rubies” and “Diamonds” – was on the program:. We had seats in the last row of the stalls and Father put me on his lap to help me see well. Even today I can still remember the knocking of the pointes, and the beauty of the wonderful costumes. Back then I was still a skater: I had not yet had any ballet lessons and this live performance greatly impressed me. At that time, ballet performances were often shown on television and hardly a week would go by without the broadcast of a star-studded performance from the Bolshoi or the Marin’ Theater, and I had never seen anything like this before. I also remember seeing “Giselle” with Vera Tsignadze. It was one of her last performances. After the first act I felt tears in my eyes: I thought that she had really died. Her niece was sitting next to me, and she calmed me down and by explaining that Vera she would be dancing in the second act as well. This was another great impression from my childhood: Vera Tsignadze’s dancing. You know perfectly well that she was a great ballerina. Gradually I came to love the type of movement that is characteristic to ballet. It probably attracts every little girl… I know that I have always loved moving since my childhood. As my father says, I used to stand in front of the mirror all the time and perform improvised movements to the music. I fell for the ballet so hard that I gave up sport, which I had gone in for and at which I was quite successful. Eventually, the ballet became my life: the thought and purpose of my life.

It is well-known that ballet is a discipline which requires great time and effort, and involves real sacrifice. Have you ever had moments when you thought that the art’s requirements exceeded your ability? Of course I have had difficult periods, but in spite of it I have never doubted my ability. There have been times when I was exhausted and felt that it was neces-

sary to have rest, but even at the most difficult times I have never thought of giving up the ballet. I have so much reverence and respect for this profession, that I have never been disappointed. There has been so much hard work and effort put into it – both by self and others – if you don’t work day and night in this field of art, nothing will come out of it. All our lives have been spent doing this thing that we’ve been learning since our very first day.

What do you think: what is the most important aspect of your profession: talent, hard work or luck? Although one always depends on chance, I like to say that ‘chance never occurs by chance’. I believe that everything in life is predetermined. Hard work undoubtedly is a great factor. Never believe that a person can do nothing and achieve something without hard work. There’s no such thing as being born under a lucky star. Things simply don’t happen this way. I challenge you

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Interview to show me a single talented man, who will say that he achieved everything without effort or discipline. All talents in art will reveal themselves only at the expense of hard work. The ability to work is also a talent. Of course, one must also have the talent bestowed by God and one’s parents. There is no doubt about it. In Georgia you often hear the saying” ”He’s talented but lazy.” I don’t accept this excuse. In such cases, I believe that God did not give this person sufficient talent, particularly the talent of hard work. It’s certainly this way in our profession. It’s so important that if you stop training even for a minute, then you’ll drop out of shape. There are many young dancers with wonderful abilities, and good body structures, but if they lack the ability to endure the necessary amount of hard work they won’t achieve -3-anything significant. One who has the ability to work hard and the talent to overcome difficulties and he will achieve

“ANANIASHVILI - HER DANCING AS LIGHT AS THISTLEDOWN, HER WHOLE BODY SEEMINGLY WREATHED IN SEDUCTIVELY ELUSIVE SMILES - MADE A SYLPH FULL OF GUILELESS WILES, AND RIGGINS, NOWADAYS A MAGNIFICENT BOURNONVILLE STYLIST, DANCED WITH FIERY PRECISION AND ACTED WITH TOTAL CONVICTION.” - CLIVE BARNES, NEW YORK POST, MAY 30, 1994 results by all means.

Among the parts you’ve danced, which would you single out as the most important; which was the turning point? I would have to say “Swan Lake”. The first great part

To Georgia

that I performed was in an American Ballet Theater (ABT) production of “Swan Lake”. This part is particularly significant for me and despite the fact that this ballet is a real masterpiece and still alive even today, I can proudly say that I created a “Swan Lake” of my own. In the artist’s profession this is the most difficult thing to do. You can imagine how many people have danced this part and how many will dance it still. My “Swan Lake” differs from all others and I never get tired of dancing it because I have found something of my own in it. I enjoy dancing it even today. Among the recent parts that I have performed, my latest love is “Barrette and Armand,” staged according to Ashton’s ballet, based on “La Traviata”. I was very young when I first read “The Lady with Camellias” by Dumas. I simply could not imagine, at that time, that it was possible to dance it.

Is there one character that you feel a particular closeness with? I have danced a lot of roles which were interesting from both artistic and technical viewpoints, but I always say that, according to my character – my per-

To Georgia

Interview ception of the universe and my attitude towards it, I think I resemble Kitris, Chelitta from “Don Quixote”. But, in general, every role also contains something that characterizes the performer as well. A character can be a synthetic image and you can take up a particular feature of the character and develop it.

How important is a partner for you on the stage? As for my partners, I have been very fortunate: I have always had very good partners. If I consider them by stages, I would have to begin with Andris Liepa. I have done a lot of joint work with him and we have achieved a lot of success. We have won a number of contests. Later, I had a serious repertoire with Alexey Fadeichev. We have danced together for almost 15 years and we have done a lot of very interesting work together – Alexey has been my partner for many of the new performances I have done. This is the period in which Russia is concerned. I would also single out Hulio Bocca, who became my partner quite by chance. For one performance, the man I had been slated to dance with fell ill and Bocca took his place, thus beginning our partnership. He was a wonderful partner, very convenient and calm. I felt so relaxed with him that we have appeared on stage even without rehearsal. It’s very important for a partner to be attentive and well-balanced, and it might seem funny to you, but he must have a suitable hand. Today I dance with Vasiko Akhmeteli, the leading soloist of our theater. He is so composed that I am also composed when I am with him. I am very emotional but I am not nervous and I always try to calm down my partner. This is very important.

Do you have your principal assessor, and have you ever danced for just one person? In order to make your present dance special, you may dance for somebody. You may feel his gaze and you may put different emotions in your dance. There have been cases like that. But mostly I don’t think about it. I express my abilities to the utmost, so I can’t even see the audience.

How varied is the public that you encounter? It is quite diverse. The spectators are different in every country. Recently, we were on tour in Estonia. Upon arrival we were frequently warned that the audiences tend to be a bit cold there. So, imagine our surprise when we were very well received and played a thundering amount of applause. A similar situation took place in Byelorussia... Spectators are different everywhere, and they express their emotions in various ways. In Argentina, they shout and throw flowers. In America they whistle... But it never transpires that, if you offer the spectator something valu-

“TO USE TECHNIQUE WITH ARTISTIC DEPTH IS WHAT MS. ANANIASHVILI DISPLAYED EVEN MORE GRANDLY. HER ODETTE WAS ALL URGENCY AND DESPAIR IN THE CLEAREST OF CLASSICAL DANCING. THE WHIPLASH SPEED OF HER FOUETTES AND THE FORCEFULNESS OF HER ODILE, DANCED WITH BRILLIANT ATTACK, WAS NOT A CIRCUS ACT. IN THIS MEMORABLE PERFORMANCE, DANCE SPOKE EXPRESSIVELY THROUGH ITS OWN TERMS.” ANNA KISSELGOFF, THE NEW YORK TIMES, MAY 22, 2000

Interview able, he won’t accept it. As strange as it might seem to him, he will still evaluate it positively. This takes place on a subconscious level, wherever I might be, in any part of the world. But whenever I appear before a Georgian audience I always feel happy. I am always received particularly warmly here.

Are there any roles that you have dreamed about dancing but have not yet had the opportunity to perform so far? I have long wanted to dance Irji Kilian’s choreography. Unfortunately I have not been able to manage this yet, but I do want it. Before I retire from dancing I must make my dream come true and dance at least some of his work. At the same time, when I think of it, I am surprised: I have danced almost all the great performances in ballet. At present I am more interested in new works-- in creat-

“...WITH HER SPEEDY LEAPS AND TURNS AND HER UNSHAKABLE BALANCES, NINA ANANIASHVILI WAS A CONFIDENT PRINCESS AURORA WHOSE MOVEMENTS POSSESSED SUCH CLARITY THAT THEY SHONE WITH DIAMANTINE BRILLIANCE.” JACK ANDERSON, NEW YORK TIMES, JUNE 2, 1998 ing something new. The updated interpretations of classical ballets attract me more.

Do you consider modern dance as one of the stages in the development of ballet? Modern dance has developed and reached such a high level, that it can no longer be called a stage. It’s a fact. In my opinion, familiarity with modern dance forms has become a necessity for a dancer. In modern performances you can express your feelings by means of such specific movements, which classical dancing does not possess. The classical

Interview ballet is still traditional. On the other hand, a modern performance is very precise, it is almost impossible to deviate from modern choreography. But from the viewpoint of shape, there are more means of self-expression here. Modern dance is a very interesting part of today’s ballet. I am glad that we’ve got a number of contemporary ballets in our repertoire in which young dancers can wonderfully present themselves. There are some artists who are less expressive in the classics, but in modern dance they seem to open up more. Classical ballet is very difficult. It’s very difficult to feel free and open in the classics and only a few dancers can achieve it. There is now more contemporary ballet and contemporary choreography. Contemporary performances are closer to natural human movements. In real life you don’t have to stand in the second position and walk in the fifth position, you move about in a usual way, don’t you? Contemporary dance is much closer to human eurhythmics than classical ballet. Actually, everything is unnatural in a classical ballet and therefore a great accomplishment is required to perform it on a high level.

In order to convince the spectator? First of all to convince him, and then in order to do everything in the right way to be free in your movements: otherwise it will be hard to imagine. This is very hard to achieve.

Can you single out an artist who has achieved this kind of perfection? It’s hard for me to single out anybody in particular. There can’t really be a very special painter or a very special composer, and the same thing is true in ballet. There are so many geniuses. Just look at the composers: it’s impossible to compare Bach and Tchaikovsky, isn’t it? I can say the same thing about dancers. For example, Raisa Struchkova, my teacher, was a great example for me. There’s Maya Plisetskaia, and I loved Katia Maximova very much... I had a very special attitude towards each of these ballerinas. There is something that I particularly liked in them and then I seemed to collect these things in my memory and hold on to them.

Has any performances, you have seen recently, particularly impressed you? Performance that I attended in Saltsburg last year: the opera-ballet “Orpheus and Eurydice”. It made a great impression on me. Everything was so well synthesized and brought to perfection. The impression was so strong that I cried. An emotional impact often makes me cry. I have no reaction to nightmares and blood, but when I hear a phrase. such as “Mother, how much I love you!” coming from the screen I may burst out crying.

Making Georgia

Wisdom of Fancy In Georgia, we have streets, universities after his name, his name SulkhanSaba is widely known and his image of a pleasant, old man with long white beard is familiar to all. He was a great figure of the Renaissance, a remarkable fabulist, great lexicographer, translator, diplomat and scientist. If not the destiny, his public activities and his restless personality would make him one of the founder fathers of America. As one historian wrote “he was caught in the boundaries of small country”.

ulkhan-Saba Orbeliani contemporaries depicted him as “tall, strong and handsome person, with long beard, which suits him so much”. Sulkhan Orbeliani was born in a prestigious dynasty of the Georgian nobility, with close ties to the Royal Bagrationi Dynasty. Sulkhan-Saba lived abroad in XVII-XVIII centuries, when Georgia was torn into parts between two Muslim Empires: Turkey and Persia. Eastern slave markets were full of the Georgian girls and boys, kings were forced to refuse Christianity, thousands of the Georgian chivalry was killed in the battles against Persia and Turkey. For depicting the sense and aim of life of SulkhanSaba, no words will serve better other than lines of the great Georgian poet – Nikoloz Baratashvili: “The yearnings of my restless soul will no in vain have glowed, For, dashing on, my steel has paved a new untrodden road. He who follows in our wake, a smoother path will find;

Exactly Sulkhan-Saba Orbeliani made the first step in Georgian-French relations. He was the first Georgian man visiting Versailles and had honor of two auditions of Louis XIV de France. Louis XIV promised to help his homeland and thus, le Roi-Soleil gave birth to dreams and hopes . . .

Georgia and France Story of one political dream It will be more suitable, if we call projects to some political expectancies, but the issue we are going to speak about cannot be called dream, considering all alluring and attractive expanses characterized for any dream. This notion was shared by the group of politicians in Versailles and Tbilisi, called as French-Georgian political alliance. Notwithstanding the fact that Georgia was torn into between Ottoman Empire and Persia, French side intended to initiate trade and economic union with Christian Georgia and thus providing a stabile place in the Eastern world. It was planned to establish French trading company in Georgia and later French East-Indian Company, including trading rout: Black Sea – Georgia – Persia.

Daring all, his fateful steed shall leave dark fate behind”. Notwithstanding his contributions to the Georgian culture as a writer and scientist, he was more distinguished by his activities as of statesman, doing heroic and the most valuable deeds in the history. As historians say, Sulkhan-Saba Orbeliani for Georgia was as valuable as Richelieu and Mazarini for France.

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Thereupon, France didn’t mean to decline its trade and political interests in Persia and Turkey, moreover France planned to enter into alliance with these countries against the Russian Empire, vigorously hading towards the East world (fulfilling its political dream: to free Constantinople from unfaithful people as the third Rome).

Sulkhan-Saba Orbeliani

WHY AN ANGRY MAN NEEDS AN ENEMY? HE IS AN ENEMY OF HIS OWN SELF AND NO ONE CAN HARM HIM MORE THAN HE CAN HIMSELF Thus, Georgia would be stable support as for the interests of France as well as for spreading Catholicism in the East. Supporters of this idea found some assistance in Versailles and approval of Louis XIV de France. As for the Georgian side, they aimed to free from the rule of Muslim Empire and seek for support in European Christian countries. Later, King Erekle II tried to fulfill the dream of Vakhtang VI and his uncle, mentor and supporter – Sulkhan-Saba Orbeliani, but at this time this dream led to the Russian Empire. Thus, was signed the Treaty of Georkgievsk, obtaining the guarantees he had sought from Russia, transforming Georgia into the Russian protectorate and the treaty that led to 200 hundred years annexation of Georgia. Sulkhan-Saba was a nephew of the King George XI and grew up at his court. George XI as well as his father was forced to turn Mohammedan, as the East Georgia was under protection of Persia and Shahs approved the Georgian kings at that time. King George tried to keep normal relations with the Persians and thus provide peace for his homeland; for this reason, he leaded Persian campaign in Afghanistan for several years, many Georgians fought and died in the deserts of Afghanistan. But all was in vain, Persians still oppressed the East Georgia. Thus, George XI and Sukhan-Saba began to seek for support in other place, namely in the countries of Christian Europe.

His Life and Public activities His family life was not very successful, at twenty he married a Countess from the family of Mukhranbatoni, after several years she died and Sulkhan-Saa married again a Countess from the family of Atabagi. He had no children; in 1798 he divorced with his second wife and became a monk at David Gareji. The most distant and severe monastery, built on rocks, surrounded with deserts and snakes; he lived there for five years.

At this time, King George XI asked great scholar to work on the thesaurus of the Georgian language, which he fulfilled successfully. When he was 20–25 years old, he wrote a collection of fables and tales “Sibrdzne Sitsruisa” (“Wisdom of Fancy”), which is a fruit of his observations on life. In 1703, Vakhtan VI became de facto King of Kartli (De-jure was his brother Kaikhosro, which lived in Persia and was the Tarug of the Persian Army). Sulkhan-Saba became the first advisor of the King Vakhtang. They accomplished many educational and legislative reforms. During the reign of Vakhtan VI, Chronicles of the Georgian History “Kartlis Tskhovreba” was collected and updated. In 1709, the king opened the first printing house in Tbilisi, where was published “The Knight in Panther’s Skin” with comments.

Making Georgia Successful and productive reign of Vakhtang VI ended in 1712, when his brother Kaikhosro, de-jure died and Vakhtang VI went to Isfahan to be approved as the King. The story we are going to tell you exactly begins from this very moment. Vakhtang VI refused to turn Mohammedan, rejecting Shah’s demand; and Shah refused to release him until the future King wouldn’t fulfill his condition. Sulkhan-Saba accompanied the King in Isfahan, there was born an idea of visiting the King of France and ask for support. Sulkhan-Saba with accompaniment of Jean Richard – catholic missioner, spending some period of time in Tbilisi, went in France, seeking support and instead offering them cooperation and rejoining of the Georgian and catholic churches. Thus, they would send catholic missioners in the East of Georgia and Tbilisi. At that moment, Sulkhan-Saba was in a holy order of catholic abbot. He secretly took Catholicism long time before, either in 1687 or in 1692. His traveling are well depicted in his own Book “Traveling in Europe”, giving detail information on his voyage in different cities of Europe, in Constantinople and returning to his homeland. Unfortunately, France part of this book is not kept neither letters of Sulkhan-Saba, missioner Jean Richard and other French churchmen and members of diplomatic mission.

In the notes of chronicler of Louis XIV, dated April 9, 1714, we read: “Monk of St. Vasil Order – SulkhanSaba Orbeliani, uncle of the Georgian King Vakhtang VI visited us at the Court and asks the King of France for the patronage of the Georgian Catholics. He is not a priest as he was twice married. He doesn’t know any European languages, but he is accompanied by the French missioner, translating for him”. Louis XIV received the Georgian delegate with benevolence and asked him to notify the Pope about

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During this period, Persian delegate Muhammad Reza Beg was expected in Paris. French Court notified Sulkhan-Saba that everything depended on negotiations of French side and the Persian ambassador. The archives of the Ministry of Foreign Affairs still keep an interesting document, titled as “July 1714”, which include the following lines: “It would be much better for the religion, if we didn’t promise Sulkhan-Saba the things we cannot accomplish. In anyway, if Sulkhan-Saba didn’t tell or write to everyone how benevolently received him his Majesty and promised him to fulfill everything he asked . . . I said that we were not able to fulfill the promise as if they are waiting for the Persian ambassador in order to send the missioners, then the missioners will be sent later or will not be sent at all”, it seems that the author of this document is very familiar with the details of these meetings.

DO NOT TRUST AN IGNORANT BY HEART; DON’T PRETEND TO BE WEAK WITH IMPRUDENT; BE CAREFUL ALL THE TIME, EVEN AT HOME; DO NOT BE GUEST FOR A HUNGRY MAN AND DO NOT EXPECT GIFTS FROM A BEGGAR!

When visiting Louis XIV, Sulkhan-Saba asked him to assist his King Vakhtang VI to return in Georgia and to send 12 missioners in Samegrelo and Abkhazia.

these issues and Louis XIV would definitely fulfill the Pope’s orders. Sulkhan-Saba took the King’s word as a promise and rushed to Rome; all the time he was accompanied by Jean Richard. The Pope Clement XI was a wise person. After meeting with Sulkhan-Saba and discussing all matters, the Pope said that these two questions were different from each other, releasing the King Vakhtang VI depends on Persians; but the Pope promised to influence on the Persians via trading routes. As for sending and providing missioners in the West of Georgia, this matter was not connected with neither Persians or with Vakhtang VI, as the West of Georgia was in the hands of Turkey.

After meeting with Sulkhan-Saba, the Pope wrote to Louis XIV, in July 26, 1714, the following: “After negotiating with Sulkhan-Saba, I am acknowledged that for religion and its promotion it is necessary to release the King Vakhtang, which is arrested in the Palace of the Persian Shah and is at risk of taking Mohammedan. He is still opposing and thereby it is said that he is going to take Catholicism”. The Pope was very generous, after second audition, he presented Sulkhan-Saba personal gifts, including crystal cross, with the particles of the real cross, he also promised him Agnus dei, vessel with relics of Saint. And the Pope supported Sulkhan-Saba financially during his travels.

As we said above, the Persian ambassador was expected at the French court, thus appearance of SulkhanSaba should be avoided during that visit, guards were even instructed to hide from the Ambassador coming of Sulkhan-Saba (but still they knew about it as Parisian newspapers informed twice about his coming). Time passed slowly; Jean Richard continued negotiations, wrote to the French Ministers, reminding about their promise to send missioners in the west of Georgia, presenting himself as consul of the Georgian mission. They kept correspondences all through 1714 year, but all in vain, Sulkhan-Saba and Richard always received only one answer – “We are waiting for the Persian Ambassador”. SulkhanSaba had to go to Constantinople, where he stayed for 17 months and lived in Residency of the French Count, as well as with the mission of Capuchin Monks. In Constantinople, Sulkhan-Saba received a letter from Vakhtang VI, written a year before, where he wrote how he was oppressed and forced to take Mohammedan. He wrote a letter to the French Chancellor, “I feel happy that our King is strong and he will not obey in anyway. . his condition is very worrying. Vakhtang wrote to me that he hopes for

God and his majesty”. In other letter to Pontchartrain, he wrote: “I appreciate your endeavors, but I respectfully ask to do as much as possible, as the King gave me his word and I hope for the best”. He never stopped writing letters to and fro. During this time, Vakhtang VI expected for assistance. But it was not convenient for the Persians to release King and approve him as a King without taking Mohammedan. They even planned to take Mohammedan in pretense and at returning to his homeland he would take faith he wished. Vakhtang asked former catholic missioners in Isfahan, they answered him that nothing could change Christianity either in real or in pretense. After this Vakhtang became stronger and swore he would never betray his faith. All these lasted for two years; Persians’ patience collapsed and they sent younger brother of Vakhtang – Muslim Iese. Jean Richard was deeply impressed with braveness of the King Vakhtang and asked Louis to write to Shah . . In April of 1715 Sulkhan-Saba wrote from Constantinople to Versailles: “Now it’s right time to help Vakhtang, if the King wishes so. Muslims will never reach agreement and Monsieur Richard knows if you want to help it must be done as soon as possible”.

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Making Georgia Finally, Louis XIV allocated 1000 écus for sending 10 missioners in the West of Georgia and 7 thousands livres for providing the Mission of Jean Richard in the West of Georgia. But unfortunately, everything has change suddenly as the new ambassador in Constantinople Marquise de Bonarque remarked that Sultan will not allow the missioners from Europe and in September 1, 1715 Louis XIV died, taking all hopes and dreams with. Thereby, plans of the French court changed and allocated funds for the mission and sending of missioners to Georgia were cancelled. Concrete historical circumstance made the travel of Sulkhan-Saba unsuccessful, his attempts to bring Georgia and states of Western Europe together turned out to be all in vain. French ambassador covered traveling expenses of Sulkhan-Saba to Georgia; He was accompanied by 4 missioners, three in Tbilisi and one in Shirvan. On the way home, Sulkhan-Saba was robbed and Turks took everything from him. He returned at home all in debts. Sulkhan-Saba was prosecuted in his homeland for taking Catholicism. As for the King Vakhtang VI, in 1719 he was forced to take Mohammedan formally for returning to throne. SulkhanSaba was still with his King. During those times, Vakhtang VI asked him to translate the famous Sanskrit epos “Kalila and Dimna”. Vakhtang VI accomplished word-for-word translation from Persian, during his captivity in Persia.

Wisdom of Fancy “Deeds should be as kind as either appreciated by God or by man on the earth.”

Soon after, relations between Persia and the King Vakhtang were spoiled again as the King refused to follow them in Afghanistan. Persians destroyed Tbilisi and then the city was robbed by Turkish people.

“Do not trust anyone, first try and than make a step, otherwise you will regret.”

And finally, Vakhtang VI and Sulkhan Saba confessed that, West couldn’t provide any support for their country. They put their eyes to Russia. In 1724, the King went to Russia for military-political support, planned to come back soon. He took 3000 Georgian noblemen, among them was already old scholar and devoted man Sulkhan-Saba. Soon after arriving in Russia, in 1725, Sulkhan Saba died in Vsesviatsk, near Moscow. His tomb is lost.

“ Why an angry man needs an enemy? He is an enemy for his own self and no one

In the history of the Roman-Catholic Church, Sulkhan-Saba was scribed as a great missionary of Catholicism, suffering many obstacles and sorrows for his faith. Faith, for which, the Georgian Orthodox Church anathematized him.

“ The kindest thing is to forget the evil and cure it with more kindness. ”

But he was respected and appreciated among ordinary people, even in his life, for his invaluable public activities and literary works.

expect gifts from a beggar! ”

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“ Evil man sees the same evil in every person.” “ Gold or stone, whichever is buried, is the same if you do not spend.”

can harm him more than he can himself. ” “ Do kind things secretly, think – if someone serves you and than boasts around, won’t it hurt you? ” “ Every enemy seeks for suitable time for spoiling something. ”

“ Do not trust an ignorant by heart; don’t pretend to be weak with imprudent; be careful all the time, even at home; do not be guest for a hungry man and do not

“ Good friend cannot be easily found, neither by chance nor bought for any money. ”

Paris Through The Eyes of Elene Akhvlediani

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veryone around expected her to become famous musician, though later her attractions changed and she was interested in painting. She made her debut as a painter in May of 1919, at the exhibition of Georgian Painters’ works, where she presented about eighteen artworks. Especially, visitors were charmed by her two pictures: “Telavi” and “In Telavi”. In general, Kakheti Landscapes follow all through her artworks like a red line. After start-up education with the painter Nikolay Sklifosovsky and courses in Art Studio of Fogel, Elene Akhvlediani continued her studies at newly established Art Academy of Tbilisi, in the class of Professor Gigo Gabashvili (1922); very soon as the scholarship holder of the Academy, she was sent in Italy, then in 1924 in France, Académie Colarossi in Paris (1922-1927). Parisian years were years of diligent, continuous, creative working for Elene Akhvlediani. Together with Parisian paintings, she painted Tbilisi, Signagi and Telavi old districts according to the drawing she took with her in Paris: “Old Tbilisi” (1924, Private Collection, Tbilisi), “Kakheti-Winter” (1924, Art Museum of Georgia, Tbilisi), “Old Tbilisi” (1926, Private Collection, Paris), “Telavi” (1927, private collection, Tbilisi). During her life in Paris, she often participated in ex-

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hibitions. At one of such exhibitions “Autumn Show” in 1924, Picasso noticed her painting – “Kakheti, winter” and desired to buy it, though Elene refused him directly as she used to, saying: “I do like this painting as well and will never sell it” . It was the first meeting of great painters and they became friends. He even presented her with his autolithography. In the autumn of 1929, her personal exhibition at Galerie des Quatre Chemins, in Paris received tremendous success; collectors and famous painters bought her paintings; at the independent show, famous French painter Paul Signac saw her paintings “Old Tbilisi” and “Georgian landscape” and desired to buy them. Elene wanted to gift him these paintings, but Paul refused generously, and later sent him 500 francs. During her years in Paris, her artworks fell into sight of French critics; great number of reviews was written in French newspapers and magazines (newspaper “Débats”, magazine “Le Lynx”, etc). Once, in Parisian La Rotonda Café, a place for meeting Parisian bohemia, Elene was attracted by one woman, with violet blue eyes and her amazing look. After this meeting, she always dreamt to see these beautiful eyes again. And later when she saw the film “Camille” and knew that that strange woman from La Rotonda Café

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was a great Swedish film star – Greta Garbot. Elene didn’t like films very much, but her love towards Greta Garbot was so enormous that if there was a film “Camille” she always went to watch it, once she counted and it turned that she saw the film for 118 times. Artworks of Elene Akhvlediani were exhibited in the USA, Switzalrand, she was invited in the Netherlands as well, though she was notified about her mother’s death and in 1927 she returned to Georgia. After coming in Georgia, she held many exhibitions in Tbilisi, Telavi, Kutaisi and Georgian society introduced with her Parisian artworks. In summer of 1927, near Hotel “Orient”, at Rustaveli Avenue, there was arranged “Exhibition of artworks of Elene Akhvlediani returned from Paris”. In the same year, Union of Georgian Painters published the Catalogue of Works of Elene Akhvlediani. Shalva Malkhazishvili writes in his memories: “We belonged to left wing. Irakli Gamrekeli, Simon Chikovani and I visited exhibition. We thought that the Georgian painter who just came from Paris, would bring some Picasso like Cubist paintings (We were great admirers of Cuba then), but our hopes didn’t come true, we decided to

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obstruct, though We were so attracted by magnificent, rich colours of paintings and high technique of works that we became great admirers of her works ever after.” Exhibition of Elene Akhvlediani was so charming and explicit that Kote Marjanishvili, who returned from Russia then, invited her in the theater as an art designer, where he worked through all her life. She designed 72 plays in the theaters of Tbilisi and other cities of Georgia, as well as in Moscow, St. Petersburg, Kiev and Kharkov. Sometimes Elene arranged shows of her paintings in her own art studio; she was the hostess of many art events and concerts, well-known pianists such as Heinrich Niehous, Sviatoslav Richter, etc played in her studio. Her art studio was a favorite place for Georgian painters. Once, Heinrich Niehous told to Elene Akhvlediani “Your art drives the same musical senses in me, as music forms various visual images, sometimes even philosophical ones”. In 1975, Elene Akhvlediani initiated Exhibition of Women Paintings in the Ministry of Finance, USSR. During her speech, she suddenly felt bed, “Shamefully, in the public eye” – and these were her last words.

PORTFOLIO

INITIALS My grandmother

Paris

I was born in Tbilisi, in Georgia, a mountainous country in the Caucasus Region, washed by the Black Sea. From my childhood, I keep memories of the landscapes of the Colchis, a region known in Greek mythology as being the kingdom of Aeetes and Medea, where the Argonauts went in search of the Golden Fleece. But it is also the land of the Amazons. I spent all my holidays there, at my grandmother’s house. I had a great admiration for her. She was an elegant woman, from a noble, Georgian family, who was often draped in an old shawl, with a cigaretteholder. I associated this image of her with «chic» and Parisian spirit, thus I took great interest in France and at the age of 6, I already wanted to learn French.

At the age of 18, I visited Paris for the first time, on a language trip, with a group of students learning French. And it was two years later that I decided to settle there. I knew it wouldn’t be easy. All I had was the education my family had given to me, and my imaginations. Paris seemed like a high speed train, whereI had to jump on, which I did very quickly. I called up the big couture houses. I was just spontaneous, I would say: «My name is Irakli, I do textiles, can I show them to you?». I didn’t know all the techniques of the trade, but I prepared samples in my own way, with collages and embroidery. The results were unexpected. They didn’t look like anything else around, and that’s what caught the eye of the designers. One day, I had an appointment with Yves Saint-Laurent’s assistant, she had asked me to put together a study on the theme of fish, and the master himself came in with his dog. He seemed somewhat absent, but for me, it was like a dream. His eye and his kindness touched me and gave me energy, hope. It was during this period that I made the «Chant d’oiseau» (Birdsong), an original textile that I used in my own creations.

Bonjour tristesse At the age of 15, just for the pleasure, I continued to learn French, which I had previously abandoned. For me, the language had a warm consonance to it. Galaktion, my best friend, lent me Françoise Sagan’s book, «Bonjour Tristesse». I had read it in Russian, and it moved me deeply. I wanted to read it in French. With some friends, we created a circle of French-speakers. I also discovered the music, Piaf, Barbara, Brel, Gainsbourg… Then I listened to jazz, which even today is still the kind of music I prefer. Every year, in June, Tbilisi Jazz Festival takes place, where I was lucky enough to see the great masters of the genre: Ravi Shankar, Maceo Parker, Roy Ayers, Chick Corea…

Art School From childhood, I painted girls with their dresses and accessories on, which my father found very odd. It was my sister Nino who taught me the basics of drawing. At 16, I was still doing fashion drawings, but it was only a pass-time, a hobby, and not yet a professional ambition. Several family-members had studied at art school. My cousin, an architect, would take me to artists’ studios. And so it was quite naturally that I decided to enter art school. There, I learned fashion illustration, the graphic expression of shapes, colors, and textures. Anili, my mother, encouraged me in this direction. I have always been moved by her sense of aesthetics, by her measured extravagance, by her beauty, her inner grace, and she became a muse to me.

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First collections When I decided to prepare my first collection, I was doiing it on my own and I had very few possibilities. I started shaping the dresses on a Stockman mannequin with trial fabric samples done for the couture houses. I didn’t do any prior shaping, I sewed the squares directly onto the mannequin. I thus obtained a piece that I then had to cut up in order to «undress the Stockman». I created eight pieces like this with very personal textures and shapes. Then I met Ilona who became my first headmistress. wI developed a personal style that I called Art-cousu (Sewn-art). François Lesage, a master embroiderer for the big couturiers, recommended me to the French Haute Couture Union, and that gave me the courage to continue on my chosen path of silk and thorns. I was invited to participate in the haute couture week in the Autumn-Winter of 2002-2003. My first fashion show, Art cousu, took place at the Palais Galliera, in the Paris Fashion Museum. Three of my pieces were then shown in the context of the exhibition Modes à suivre and one of them was retained for the museum’s permanent collection. Then in 2005, I created my first prêt-à-porter line.

PORTFOLIO

WITHIN THE WEAVE OF MY DREAMS

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PORTFOLIO

Show Room Irakli Paris Show Room 6 rue VilledoIrakli 75001Paris Paris www.irakli.fr 6 Rue Villedo

75001 Paris

Henri Matchavariani For The Love Of The Line

GALLERY

Text Established And Translated By Andre Poulain With a line, akin to the calligrapher’s, and colors suggesting shapes like full-blown sails, Henri Matchavariani could make his the “Drawing-crazy Old Man”, Hokusai’s credo that less is more. From the seminal turmoil of his mixed ancestry, Rumanian and Georgian, as well from the encounter with the great Master of the art of mime, Etienne Decroux - who counted Marcel Marceau and Jean-Louis Barrault among his alumni - and the discovery of the Japanese cinema and art, derive the main influences of Henri Matchavariani’s style. From Henri Matchavariani’s hand, firmly holding the pencil, the line emerges, a line summing up all the lines drawn up to this moment, discarding the redundant, espousing as much as recreating the sensuality of the female body. A garment thrown carelessly over the model’s shoulder will let the shape of a breast, of a hip reveal itself through the sweeping curve of his brush stroke. Remarkable also, Henri Matchavariani’s treatment of the woman’s face, elongated and with a strain of melancholy that takes us back to the iconic figures of the Saints and to Modigliani’s paintings, Matchavariani’s major early influence. Henri Matchavariani’s sense of the woman’s beauty has naturally led the greatest world-famous advertising agencies such as HAVAS, PUBLICIS, YOUNG & RUBICAM, EURO-ADVERTISING among many others to hire him as their Art Director. His work was estimated by numerous prizes and awards such as “LION D’ARGENT” for the film “SAI” shot in South Africa given in Cannes (1974), “CLIO D’OR” for Mc CULLOCH in New York (1976) and the “MARKER D’ARGENT” in 1985. Quite naturally, Henri Matchavariani decided to become an illustrator in 1983 and the following year he was awarded the GRAND PRIX DE L’ILLUSTRATION and ranked among the 10 best illustrators in France. He has gathered laurels all over the world, with exhibitions in Paris, Milano, Hamburg, Taiwan, Tokyo, presenting such major achievements as the AIR FRANCE national campaign in 1990, Posters for the MESA chain stores in Japan, the International automobile salon in Torino, MONTEDISON Italy, BWV Holland, WOOLMARK, L’OREAL, the American campaign for the French Lingerie Federation. His elegant, easy-flowing yet sparse draftsmanship has found an obvious outlet in illustrating the front page of many fashion magazines such as ELLE France, MARIE-CLAIRE Italy, VOGUE Germany, AVENUE Holland, FASHION Italy, JOYCE Paris etc... 112

To Georgia

GALLERY

Now, Mr. Matchavariani, give us some insight into your creative process... The discovery of Calligraphy, the art of blending drawing and writing was to be determinating for me. I was then 20 and I firmly believe that this door to an art of meaningful economy, of uncompromising search of the essential, was purposely opened to me. I produced what I can qualify as my first real drawing. Then, thanks to the extraordinary, unique film â&#x20AC;&#x153;Les Enfants du Paradisâ&#x20AC;?, I encountered the art of mime through the Master Etienne Decroux, exponent of the modern approach to mime who can boast of Marcel Marceau as one of his disciples. His tuition was the necessary final boost to my demand for perfection concentrated on the essential, discarding the meaningless and the incidental. Less meant more. Then again, psychoanalysis taught me the value of silence which I incorporated in my graphic work, thus stressing the core of the message, leaving aside the unnecessary details. Analysis helped me come to terms with my inner self.

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GALLERY

Can you be more explicit regarding your technique? I adore the pencil, charcoal, watercolors, pen and ink and I strongly think about dabbling in oils. I am surprised at the unending flow of creative impressions drawn from all quarters and cultures. With the use of colors, broad sweepings of the brush and accentuated lines bringing rhythm to the composition, I tried to render the mystery of the female body. The key motif of my work is always placed on the foreground. Never in my drawings are to be found a background or a secondary plan, which could blur the essential message. The effect and the line which produced it are but one and same thing. Working with colors did not alter the evolution of my art as I have always put forward the urgency of a decisive pencil line or a firmly applied brush stroke. Itâ&#x20AC;&#x2122;s important to understand that each line, each brush stroke is related to the concept of the body as a whole. A single line comprising the mental and physical entirety.

September

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GALLERY

Do political events affect your work? I was deeply moved by what happened in August 2008, as I watched on television the peaceful yet formidable barrier made of ordinary Georgian men and women fronting the Russian invaders. I immediately seized my brush and with a few strokes, I outlined the people marching, waving high their flags as their sole weapon and showing the indomitable courage of the Georgian people defending their land

GALLERY

What about now? Much to the surprise of some people, I recently had an exhibition entitled â&#x20AC;&#x153;Femmes-fleurs, Femmes-Fruitsâ&#x20AC;? stressing the intimacy of forms and perfumes between the sun-laden fruit from the Provence and the sensual, not to say voluptuous shapes of the female body. More recently again, last year in Paris, I was offered an exhibition on the theme of the armored man, whether the Japanese samurai or the European knight, their armors, by the use of steel and gold powders and pure pigments, shaping like an haute-couture garment. I am striving, more than ever, for an economy of means to achieve my purpose, reverting to the teachings of the old Chinese and Japanese Masters. Void and fullness. Breath and spirit. There lies the fulfillment and happiness in my art. And nowhere else.

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Gourme Gourmeâ&#x20AC;&#x2122;t

French cuisine

Ingredients: 1 chicken 1 bottle of dry wine 2 bunches of tarragon 250 gr sour cream Flour Salt and pepper at your taste.

Directions: Roast a chicken, remove its skin and cut it into medium slices. Place the slices in the saucepan, pour some wine so that to cover chicken slices, add tarragon stems and leave on low fire. Simultaneously, take a bowl, put some sour cream, 2 table spoons of flour, pepper (white is preferred) and salt at your taste; toss everything and pour on boiling chicken slices; finally add the rest tarragon leaves, boil once more and your dish is ready to taste. Bon AppĂŠtit!

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Dinning Room / 38, Paliashvili Street, Tbilisi, Georgia

Chicken in tarragon and wine sauce

Gourme Gourmetâ&#x20AC;&#x2122;t

in Georgia 10 A / Abanotubani , Tbilisi, Georgia

Apple Tart Tatin Ingredients 1 cup sugar 1/4 cup apple cider 1/2 lemon, juiced 1 vanilla bean, seeds scraped 1 stick butter, cut into pats 6 apples, such as Golden Delicious, Granny Smith, McIntosh or your favorite baking apple, peeled, cored and quartered Mascarpone cheese mixed with 2 tablespoon sugar, for garnish Directions While dough is chilling, place the sugar, apple cider, lemon juice, and vanilla bean seeds in a 10-inch nonstick ovenproof pan. Stir to combine. Over high heat bring the mixture to a boil brushing down the sides of the pan occasionally with a pastry brush dipped in water, if necessary. After 6 to 7 minutes the mixture will eventually begin to turn light brown. Swish the pan around gently to promote even cooking. Cook the mixture for another minute or so until the mixture becomes a much deeper amber color. Remove from the heat and stir in the butter, 2 pats at a time. The mixture will bubble up. That is okay, just be very careful not to get any of this on you. When all of the butter has been incorporated, begin to arrange the apples rounded side down in circles. Try to do this neatly and in a pretty way. Remember, the bottom will be the top! Return the pan to the burner and cook over medium for 20 minutes. Remove from the heat.Retrieve the chilled pastry from the refrigerator and place it on top of the apples. Tuck the pastry in around the edges of the pan. Bake in the preheated oven for about 20 to 25 minutes or until the dough is golden brown and crispy. Let the tart cool for 10 to 15 minutes. Place a serving platter upside down on top of the pastry and CAREFULLY flip the platter and the pan over. Let the tart fall gently out of the pan. Slice tart into individual pieces and garnish with a dollop of sweetened mascarpone. Bon AppĂŠtit!

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Special Project

Following The Steps of

Baron De Baye In XIX century, many foreigners visited Georgia. The most distinguished among them was Joseph Barthelot Baron de Baye, who left rich heritage for us - researches and traveling notes about Georgia, including photographs taken in different parts of our country. French Archeologist and ethnographer Le Baron Joseph Berthelot de Baye (1853-1931) dedicated the first part of his life to the French archeology; the work “Prehistoric archeology” published in 1880 remains one of the most important works on French archeology up to the present day. As legend tells us, young Baron found a stone axe during hunting and he took great interest in archeology. Afterwards, it was found that on that territory, there was a stone workplace of prehistoric period and Baron De Baye began archeological excavations. He took discoveries in his Palace, which was not illegal in XIX century. In 1875, Baron De Baye opened a museum in his palace (present village Baye), this museum was often visited by scientists of that time. In 1905, French scientist gifted his collections to the Government of France. Correspondingly, archeological pieces were placed in the National Museum of Archeology and one hall of exhibitions even bore his name until 1950. In 1890, Baron De Baye participated in VIII International Archeological Congress in Moscow and he was interested by researches in Russian Empire. From 1892, Baron De Baye time to time visited different regions of the Russian Empire by official trips of Ministry of People’s Education and Art of France; he arranged there archeological excavations and sent his discoveries to the French museums. And periodically, when he returned to his homeland, he held scientific conferences, published articles and book on his researches and thus introduces various cultures of the Russian Empire to the European society. In 1896, Baron De Baye attended the crowning ceremony of Tsar Nikoloz II, where he introduced with

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the most important and noble people of the Russian Court , among them was Count Sergei Sheremetiev; in 1897, after returning from Siberian trip, Baron De Baye visited him at the Estate of Mikhailovskoe, Moscow countryside. Count Sergei Sheremetiev, who had an estate in the village of Karanakhi, Kakheti Region, East of Georgia, invited his French friend in Georgia. In the autumn of the same year, Baron De Baye and Count Sergei Sheremetiev with his family visited Georgia via Military road. And by this traveling begins impressions and attractions of Baron De Baye towards Georgia. “One must be an artist, a poet or a singer to depict and express Tbilisi City”. Autumn is a period of vintage in Georgia, so at their arrival in Kardanakhi village, Baron attended all the ceremonies of vintage, including winemaking: “Men are getting into wooden winepress and press the grapes for several ours. Soft, fast and energetic movements are accompanied by beautiful Georgian songs; combination of powerful, touching, breathtaking songs and the dizzy scent of pressed grapes, makes this choir more expressive and exciting . . . It is explicitly attractive to watch harmonic and simultaneous matching of body movements and song rhythms, with wine springs flowing thereby and dancing with sun beams”. After two months visit in Georgia, Baron returned to France and sent a letter to the Ministry of People’s Education and Art of France, asking an official scientific trip for researching the Caucasus region. In 1898-1903, Baron De Baye officially visits Georgia and introduces with almost every region. He visited Kakheti, Kartli, Imereti, Guria, Achara, Samegrelo and Abkhazia. “I do not exaggerate, saying that each and every guest in any Georgian family is like a king; they do everything for caring and treating them well; when taking a toast in favor of the guest, the host expresses all his true feelings towards the guest and his homeland” – writes Baron De Baye in his memories. Baron acquainted with Georgian churchmen and prominent public figures, Ilia Chavchavadze, Akaki Tsereteli, Ekvtime Takaishvili, Tedo Sakhokia, Alexander Tsagareli, David Sarajishvili, etc. Local media continuously reported about the visits of Baron De Baye in Georgia, informing about exhibitions and conferences he arranged in his country. During traveling, French scientist often took photos. In 1903, Geographic Society of Paris awarded Baron De Baye with Molteni Prize, for his photos taken in the Russian Empire. Only very little part of these photos, published in his traveling books were known for the society. Fortunately, photo albums of Baron De Baye were found in Parisian Quai Branly Museum, including 1400 photos taken in the Russian Empire in 1895-1910 years. This photo collection was purchased by Quai Branly Museum in 2006, at the auction. Large part of the collection is dedicated to

Caucasus traveling; more than 540 photos are taken in 1897-1903, in Georgia. In June 22 of current year, National Center of Calligraphy and Quai Branly Museum signed a memorandum; pursuant to this memorandum, Museum delivered to the Center, digital copies of photos taken by Baron De Baye, in Georgia. These photos are very important for the history and cultural heritage of Georgia. Today, these photos are being identified according to the people and places; but research already proves that we have unique photos, the most valuable visual material, presenting historical and cultural heritage of Georgia in XIX-XX centuries. These photos tell us that Baron De Baye was inter-

ested in local traditions and rules. He pictured various churches, holidays, landscapes, everyday life. In this collection, we can find photos of many church and public figures, playing important role in the history of Georgia, also photos of Georgian national attire, cultural and religious monuments, which didn’t survive, but also there are monuments, which still stands and had great role in cultural and religious life of Georgia, then and now. This collection together with the materials kept in National Center of Calligraphy gives us huge impression about researches carried out in Georgia. Correspondences of Baron De Baye with his Georgian friends are kept in the National Center of Calligraphy, including very interesting information about Georgia. In these letters, we read about the books he wrote, but unfortunately, for some unclear reasons these books were not published. In the nearest future, the National Center of Calligraphy and Publishing House “MODI” plan to exhibit photo copies received from Paris. Thus, visitors can see this unique photo collection and follow the steps of Baron De Baye in XIX century Georgia.

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Special Project

Peasants on Rtveli, before going to Sacnakheli; A traditional wine making accessory in Georgia Kardanakhi (Kakheti)1900

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Special Project

Chidaoba – Georgian wrestling on the feast “Alaverdoba” Alaverdi (Kakheti) 1900

September

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Special Project

Georgian National Dance, on the feast Rtveli Salkhino (Kakheti) 1898

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Special Project

Georgian writer Giorgi Tsereteli (on the right) and Baron De Bay (on the left) 1899

September

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Special Project

Princecss Cholokashvili is dancing “Lekuri” – Georgian national dance, on the feast “Alaverdoba” 1898

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Special Project

Seller of Kabalakhi in Tiflis Kabalakhi - Georgian traditional men head attire

September

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Special Project

Georgian Nobleman in National costume with Sword 1901

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National Centre of Manuscripts

1/3 Merab Alexidze Street, 0193 Tbilisi, Georgia Tel.: (995 322) 36 41 85 Fax: (995 322) 36 32 41 info@manuscript.ac.ge www.manuscript.ge

GUIDE

EMBASSY

Fax: (+995 32) 244 73 64

CHINESE PEOPLE’S REPUBLIC EMBASSY,

Tbilisi, 37d T. Tabidze St. Tel: (+995 32) 291 49 70, 291 49 71, 291 49 72 Fax: (+995 32) 295 49 78, 291 49 80

Tbilisi, 12a Kipshidze St. Tel: (+995 32) 225 39 61 Fax: (+995 32) 225 11 86

CZECH REPUBLIC - EMBASSY

Tbilisi, 37 Chavchavadze Ave., b. 6 , Tel: (+995 32) 291 67 40, 291 67 41, 291 67 42 Fax: (+995 32) 291 67 44

ESTONIA - EMBASSY

Tbilisi, 4 Likhauri lane Tel: (+995 32) 236 51 22, Fax: (+995 32) 236 51 38

GREECE REPUBLIC - EMBASSY

IRAN ISLAMIC REPUBLIC EMBASSY

Tbilisi, 80 Chavchavadze Ave. Tel: (+995 32) 291 36 56, 291 36 57, 291 36 58 Fax: (+995 32) 291 36 28

ITALIAN REPUBLIC EMBASSY

EU MONITORING MISSION

Tbilisi, 3a Chitadze St. Tel: (+995 32) 299 64 18 Fax: (+995 32) 299 64 15

FEDERAL REPUBLIC OF GERMANY - EMBASSY

Tbilisi, 7d Krtsanisi St. Tel: (+995 32) 275 21 11 Fax: (+995 32) 275 21 12

Tbilisi, 49 Krtsanisi Tel: (+995 32) 224 37 18, 224 37 10

Tbilisi, 20 Telavi St. Tel: (+995 32) 244 73 00, Fax: (+995 32) 244 73 64

GREECE REPUBLIC - EMBASSY

Tbilisi, 37d T. Tabidze St. Tel: (+995 32) 291 49 70, 291 49 71, 291 49 72, Fax: (+995 32) 295 49 78, 291 49 80 www.greekembassy.ge

ESTONIA - EMBASSY

Tbilisi, 4 Likhauri lane Tel: (+995 32) 236 51 22, Fax: (+995 32) 236 51 38

FEDERAL REPUBLIC OF GERMANY - EMBASSY

Tbilisi, 20 Telavi St. Tel: (+995 32) 244 73 00,

JAPAN - EMBASSY

KINGDOM OF THE NETHERLANDS - EMBASSY

Tbilisi, 20 Telavi St. Tel: (+995 32) 227 62 00 Fax: (+995 32) 227 62 32

KINGDOM OF SWEDEN EMBASSY

Tbilisi, 12 T. Tabidze St Tel: (+995 32) 255 03 20 Fax: (+995 32) 225 12 26

KINGDOM OF DENMARK HONORARY CONSULATE

Tbilisi,7 N.Nikoladze St. Tel: (+995 32) 299 81 15, (+995 77) 574 40 01 Fax: (+995 32) 292 35 33

KINGDOM OF BELGIUM HONORARY CONSULATE

Tbilisi, 24 Kazbegi Ave. Tel: (+995 32) 246 52 00 Fax: (+995 32) 246 52 00

To Georgia

REPUBLIC OF FRANCE EMBASSY

Tbilisi, 4 Odessa St. Tel: (+995 32) 224 48 58 Fax: (+995 32) 238 14 06

LATVIA REPUBLIC - MBASSY

Tbilisi, 15 Gogebashvili St. Tel: (+995 32) 299 99 76, 293 42 10 Fax: (+995 32) 295 33 75

LITHUANIA REPUBLIC EMBASSY

REPUBLIC OF HUNGARY EMBASSY

Tbilisi, 25 Abuladze St. Tel: (+995 32) 291 29 33, 25 81 00 Fax: (+995 32) 222 17 93

NORWAY HONORARY CONSULATE

Tbilisi, 20 Abasheli St. Tel: (+995 32) 229 09 79 Fax: (+995 32) 229 35 53

PEOPLE’S REPUBLIC OF CHINA - EMBASSY

Tbilisi, 52 Barnov St. Tel: (+995 32) 225 26 70

REPUBLIC OF ARMENIA EMBASSY

Tbilisi, 4 Tetelashvili St. Tel: (+995 32) 295 17 23, 295 94 43 Fax: (+995 32) 96 42 87

REPUBLIC OF AZERBAIJAN EMBASSY

Tbilisi, Kipshidze St., q. 2, b. q Tel: (+995 32) 225 35 26, 225 35 27, 225 26 39 Fax: (+995 32) 225 00 13

REPUBLIC OF BULGARIA EMBASSY

Tbilisi, 61 Agmashenebeli Ave.

Georgian - American restaurant “Vera Steakhouse. 37a Kostava St. Tbilis. www.verasteakhouse.ge

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Tel: (+995 32) 291 01 94, 91 01 95 Fax: (+995 32) 291 02 70

Tbilisi, 83 Lvovi St. Tel: (+995 32) 239 90 08 Fax: (+995 32) 239 90 04

REPUBLIC OF KAZAKHSTAN EMBASSY

Tbilisi,23 Shatberashvili St. Tel: (+995 32) 299 76 84 Fax: (+995 32) 229 24 24

REPUBLIC OF POLAND EMBASSY

Tbilisi, 19 Zubalashvili Brothers St. Tel: (+995 32)292 03 98 Fax: (+995 32) 292 03 97

REPUBLIC OF TURKEY EMBASSY

Tbilisi, 35 Chavchavadze Ave. Tel: (+995 32) 225 20 72 Fax: (+995 32) 222 06 66

ROMANIA - EMBASSY

Tbilisi, 7 Lvov St. Tel: (+995 32) 238 53 10 Fax: (+995 32) 238 52 10

RUSSIAN FEDERATION (RUSSIAN FEDERATION INTERESTS SECTION AT THE EMBASSY OF SWITZERLAND)

Tbilisi, 51 Chavchavadze Ave. Tel: (+995 32) 291 26 45 Fax: (+995 32) 291 27 38

SPAIN HONORARY CONSULATE

Tbilisi, 29 I. Abashidze St. Tel: (+995 32) 235 58 35

EMBASSY OF ISRAEL TO GEORGIA

154 Agmashenebeli ave. Tbilisi 0112 Tel: (+995 32) 255 65 00

SWISS CONFEDERATION EMBASSY

Tbilisi, 11 Krtsanisi St. Tel: (+995 32) 275 30 01, 75 30 02 Fax: (+995 32) 275 30 06

UKRAINE - EMBASSY

Tbilisi, 75 Oniashvili St. Tel: (+995 32) 231 11 61 Fax: (+995 32) 231 11 81

UNITED KINGDOM OF GREAT BRITAIN AND NORTHERN IRELAND - EMBASSY

Tbilisi, 4 Freedom Sq. Tel: (+995 32) 227 47 47 Fax: (+995 32)227 47 92

USA - EMBASSY

Tbilisi, 11 Balanchini St. Tel: (+995 32) 227 70 00 Fax: (+995 32) 227 77 01

VATICAN (THE HOLY SEE)

Tbilisi, Nutsubidze plateau 2m/d,40 Zhgenti St. Tel: (+995 32) 253 76 01, 253 76 04 Fax: (+995 32) 253 67 04

Entering Dzveli Sakhli, you seem to travel in the Old Tbilisi of XIXceturies

GUIDE

HOTELS

SHERATON BATUMI

(+995 250) 27 30 30

TETNULDI

Restaurant- 29 I. Abashidze St. Tbilisi

tel: (+995 90) 512 33 44

restaurant-7 Gorgasali St. Tbilisi

3 Metekhi slope, Tbilisi

BUFFET - ITALIAN CUISINE

Georgian Restaurant Beliashvili St. Tbilisi tel: (+995 95) 243 10 20

Svaneti-Mestia, Margiani str.9 Batumi, Vazha-Pshavela str.2 Tbilsi, Rousen square Tel: (+995 32) 240 22 00

RADISSON BLU HOTEL, BATUMI

INTOURIST BATUMI PALACE

Batumi, E.Ninoshvilis str. 11 tel: (+995 222) 7 55 25

CITADINES

Tbilisi, Freedom square 4 Tel: (+995 32) 254 70 30

HOLIDEY INN

BAGRATI

Kutaisi, A.Cereteli 2a tel: (+995 331) 4 75 76

SPORT HOTEL GUDAURI

Gudauri

SHERATON METECHI PALASE

Gudauri

POLSPORT

Bakuriani, Didveli (Close to Tatra-puma lift)

MARRIOTT TBILISI

26 May square1Tbilisi, (+99532) 293 14 04

Tbilisi, Telavi str. 20 tel: (+995 32) 277 20 20

Telavi, I. Chavchavadze str.154 tel: (+995 32) 272 90 09, (+995 99) 531 69 28,

31 I. Abashidze St. Tbilisi

CARAVAN - LITERARY ARTCAFÉ

10 Purtseladze St. Tbilisi

CHINA TOWN - CHINESE RESTAURANT

Dzveli Sakhli –Georgian Restaurant - 3 Sanapiro St. Tbilisi

Tbilisi, Rustaveli ave 13 tel: (+995 32) 277 92 00

RESTAURANTS, BARS,CAFES

Betsy’s hotel is an exquisitely decorated boutique hotel overlooking the center of Tbilisi.Tbilisi Makashvili str.32/34 www.betsyshotel.com

MISSONI – LOUNGE,

Cocktail Bar - 11 Erekle II St. Tbilisi

OLD METEKHI PHAETON –

PUR PUR

1 A. Tbileli st. Tbilisi

10’ A

Salve – French cuisine

SAKURA

Japanese Restaurant - 29 I. Abashidze St. Tbilisi

TSISKVILI

IN THE SHADOW OF METEKHI

Georgian Restaurant The Right Bank of the R. Mtkvari. Tbilisi tel: (+995 32) 253 07 97

KALA – CAFÉ

Club-Restaurant - 7 Bambis Rigi St. Tbilisi

KGB - CAFE WITH SOVIET INTERIOR

American/Georgian Restaurant -37a Kostava St. Tbilisi

L’EXPRESS - FRENCH CAFE

Asian Restaurant - 29 I. Abashidze St. Tbilisi

Georgian Restaurant-29 K. Tsamebuli Ave. Tbilisi tel: (+995 32) 277 93 83 8/10 Erekle II St. Tbilisi tel: (+995 99) 279 97 37

RCHEULI VILLA

RCHEULI MARANI

BREAD HOUSE- GEORGIAN

on Chardin Street- 12 Chardin St. Tbilisi

Tbilsi, Freedom square 4 Tel: (+995 32) 277 91 00 Fax: (+995 32) 277 91 10

Batumi, N. Zhordania str. 31 tel: (+995 32) 272 90 09, (+995 99) 31 69 28, (+995 222) 7 07 07

BELLE DE JOUR - FRENCH

CHARDIN 12 RESTAURANT

CARPE DIEM

COURTYARD MARRIOTT –

Batumi .1 Ninoshvili Street 6000 Batumi Tel: +995 422 255 555 Fax: +995 422 228 888

MATRYOSHKA – SLAVIC

cuisine- Hero’s Square, Tbilisi

PIROSMANI

Signagi, Central square tel: (+995 255) 4 30 30

RADISSON BLU IVERIA

ANTRE

Batonebi - American café 64 Paliashvili st. Tbilisi

8/10 King Erekle St. Tbilisi

14 Chardin St. Tbilisi

MASPINDZELO - SAKHINKLE

Restaurants Network - 7 Bambis Rigi St. Tbilisi tel: (+995 32) 230 30 30

TWO SIDE

VERA STEAK HOUSE

VONG

DINNING ROOM

38, Paliashvili Street Tbilisi, Georgia tel: (+995 32) 225 09 00

Citadines Freedom Square Tbilisi is the first Apartment Hotel in Georgia. http://www.citadines.com/georgia/tbilisi/freedom_square.html

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135

GUIDE 10 A

Abanotubani, Tbilisi, Georgia tel: (+995 32) 272 00 21

CLUBS TWO SIDE PARTY-CLUB

Tbilisi, 7 Bambis rigi St., reservation: Tel: (+995 32) 230 30 30

BAMBA ROOMS

Tbilisi, 12 Bambis rigi Tel: (+995 32) 243 99 77

BEATLES CLUB

Tbilisi, 25 Kostava St. Tel: (+995 32) 292 09 50

CITY CLUB

Tbilisi, 22 Metechi St., I fl. Tel: (+995 92) 532 32 32

NIGHT CLUBS CLUB 33A

Tbilisi, 76 Chavchavadze Ave. Tel: (+995 32) 222 51 33

Tel: (+995 90) 521 21 21, (+995 95) 221 21 21

Tel: (+995 32) 269 66 47, 269 66 51

NIGHT FLIGHT

THEATERS

Tbilisi, Baratashvili bridge, Mtkvari Right embankment Tel: (+995 32) 292 30 17 Fax: (+995 32) 292 30 16

SAFE

Tbilisi, 2 Rustaveli Ave. Tel: (+995 32) 293 58 11, 93 18 40 Fax: (+995 32) 293 31 15

CINEMA

Tbilisi, 8 Merjanishvili St. Tel: (+995 32) 295 35 82

AMIRANI

G. MICKELADZE STATE TOY THEATRE

Tbilisi, 11 Rkinis rigi Tel: (77) 522 02 82

FINGERS THEATRE

Tbilisi, 36 Kostava St. Tel: (+995 32) 299 99 55, Fax: (+995 32) 293 38 71

CACHE - CINEMA CLUB

Tbilisi, 18 Nikoladze St. Tel: (+995 32) 225 05 80

CACHE - CINEMA CLUB

Tbilisi, 9 Kiacheli St. Tel: (+995 32) 299 05 51, (+995 99) 544 08 18

CINEMA HOUSE

GURU

Tbilisi, 44 Chavchavadze Ave. Tel: (+995 32) 229 25 34, (+995 97) 290 14 94

KALAKURI

Tbilisi, 13 Shavteli St. Tel: (+995 32) 299 66 83 Fax: (+995 32) 292 24 96

MOVIE TIME

RUSTAVELI

Tbilisi, 5 Rustaveli Ave. Tel: (+995 32) 292 03 57, 292 02 85, Fax: (+995 32) 255 50 00

SAKARTVELO

MAGTI CLUB

Tbilisi, 22 Rustaveli Ave.

Tbilisi, 2/9 Guramishvili Ave.

Tbilisi, 64 Guramishvili Ave. Tel: (+995 32) 261 84 26, 261 84 13

INDEPENDENT THEATRE

Tbilisi, 64 Paliashvili St. Tel: (+995 90) 222 64 64

Tbilisi, 12 Rustaveli Ave. Tel: (+995 32) 298 38 03, (+995 93) 522 20 60

Tbilisi,103Agmashenebeli Ave. Tel: (+995 32) 295 69 03 Fax: (+995 32) 295 17 13

G. SHAVGULIDZE THEATRE SAKHIOBA

WHY NOT

Tbilisi, 45 Kostava St. Tel: (+995 91) 568 88 00

A. GRIBOEDOV RUSSIAN STATE DRAMA THEATRE

Tbilisi, 2 Rustaveli Ave. Tel: (+995 32) 298 58 21 Fax: (+995 32) 293 31 15

K. MARJANISHVILI STATE ACADEMIC THEATRE

Tbilisi, 8 Marjanishvili St. Tel: (+995 32) 295 35 82 Fax: (+995 32) 295 40 01

KAKHA BAKURADZE MOVEMENT THEATRE

KONSTANTINE GAMSAKHURDIA SOKHUMI STATE DRAMA THEATRE

Tbilisi, 11a Leonidze St. Tel: (+995 32) 299 74 27, (+995 99) 257 95 92

M. TUMANISHVILI CINEMA ACTORS THEATRE

Tbilisi,164 Agmashenebeli Ave. Tel: (+995 32) 235 31 52, 234 28 99, 235 70 13 Fax: (+995 32) 235 01 94

MEORE SAKHLI (THE SECOND HOME)

Tbilisi, 60 Agmashenebeli Ave. Tel: (+995 32) 295 78 22

MUSIC AND DRAMATIC STATE THEATRE

Tbilisi,182 Agmashenebeli Ave. Tel: (+995 32) 234 80 90, 234 79 59 Fax: (+995 32) 234 80 90

NABADI - GEORGIAN FOLKLORE THEATRE

Tbilisi, 19 Rustaveli Ave. Tel: (+995 32) 298 99 91

NODAR DUMBADZE STATE CHILDREN`S THEATRE

Tbilisi, 99/1Agmashenebeli Ave. Tel: (+995 32) 295 50 67, 95 78 74 Fax: (+995 32) 296 32 89

ROYAL QUARTER THEATRE

Tbilisi,182 Agmashenebeli Ave. (Mushtaidi) Tel: (+995 99) 556 87 57

Tbilisi, 10 Abesadze St. Tel: (+995 32) 292 38 70 Fax: (+995 32) 299 61 71

abaSiZis 10/ 995 32 222222

Bar F1 - 10 Abashidze str. Tbilisi. Booking: (99532) 2252257

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Cocktail Bar - 11 Erekle II St. Tbilisi

S. AKHMETELI STATE DRAMATIC THEATRE

Tbilisi, 8 I. Vekua St. Tel: (+995 32) 262 61 97, 262 59 73

SH. RUSTAVELI STATE THEATRE

Tbilisi, 17 Rustaveli Ave. Tel: (+995 32) 293 65 83, 293 18 94 Fax: (+995 32) 299 63 73

SOKHUMI CHILDREN’S THEATRE

Tbilisi, 8 Tetelashvili St. Tel: (+995 32) 296 17 40

TBILISI STATE MARIONETTE THEATRE

Tbilisi, 26 Shavteli St. Tel: (+995 32) 298 65 89, 298 65 93 Fax: (+995 32) 298 65 89

TEATRALURI SARDAPI – RUSTAVELI

Tbilisi, 42 Rustaveli Ave. Tel: (+995 32) 299 95 00

THEATRE – VERIKO

Tbilisi, 16 Anjaparidze St. Tel: (+995 32) 222 13 38, 299 98 96 Fax: (+995 32) 222 13 38

THEATRE OF PANTOMIME

Tbilisi, 37 Rustaveli Av. Tel: (+995 32) 299 63 14, (+995 77) 541 41 50

THEATRE ON ATONELI

Tbilisi, 31 Atoneli St. Tel: (+995 32) 293 32 38

GUIDE Z. PALIASHVILI TBILISI STATE THEATRE OF OPERA AND BALLET

Tbilisi, 25 Rustaveli Ave. Tel: (+995 32) 298 32 48, 298 32 49 Fax: (+995 32) 298 32 48

BATUMI THEATRE

Batumi, Rustaveli str. 1

KUTAISI THETRE

Kutaisi, Agmashenebeli square 1

GALLERY ART AND ANTIQUE SALON

Tbilisi, 30 Leselidze St. Tel: (+995 32) 292 05 76

ART GALLERY LINE

Tbilisi, 7 Bambis Rigi; 44 Leselidze St.; Airport,

“PRIMECLASS” CIP LOUNGES

Tel: (+995 32) 250 85 80 Fax: (+995 32) 250 85 80

BAIA GALLERY

Tbilisi, 10 Chardin St. Tel: (+995 32) 275 45 10, (+995 99) 550 53 02

CAMEO

Tbilisi, 11 Rkinis Rigi Tel: (+995 32) 272 48 72, (+995 93) 531 92 66

CHARDIN

Tbilisi, 13 Rustaveli Ave. Tel: (+995 32) 299 09 25

EVENT GALLERY

Tbilisi, 8/10 Erekle II St. Tel: (+995 32) 293 89 14

GALA

Tbilisi, 27 Atoneli St. Tel: (+995 32) 293 14 18

GEORGIAN NATIONAL MUSEUM - PICTURE GALLERY

Tbilisi, 11 Rustaveli Ave. Tel: (+995 32) 298 48 14

GIA GALLERY

Tbilisi, 9 Griboedov St. Tel: (+995 32) 251 43 87, (+995 99) 546 32 72

GTM FRAME

Tbilisi, 10 Abashidze St. Tel: (+995 32) 223 21 07

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HOBBY

Tbilisi, 8 Chanturia St. Tel: (+995 32) 298 98 89, (+995 99) 556 99 71

KARVASLA’S EXHIBITION HALL

Tbilisi, 8 Sioni St. Tel: (+995 32) 292 32 27

KOPALA

Tbilisi, 7 Zubalashvilebi St. Tel: (+995 32) 299 99 02 Fax: (+995 32) 299 99 02

LA MAISON BLEUE - TEXTILE ART STUDIO

Tbilisi, 94 Barnov St. Tel: (+995 32) 223 21 16, (+995 93) 530 70 29

M GALLERY

Tbilisi, 11 Taktakishvili St. Tel: (+995 32) 225 23 34

MARCO

RUSUDAN PETVIASHVILI`S GALLERY

Tbilisi, 103 Agmashenebeli Ave. Tel: (+995 32) 295 28 20, (+995 99) 550 20 80 Fax: (+995 32) 295 17 13

TEVDORE

Tbilisi, 6 Erekle II St. Tel: (+995 32) 298 98 56

MUSEUMS ANIMATION TOY`S MUSEUM

Tbilisi, 23 Amagleba St. Tel: (+995 32) 299 57 88

ARCHAEOLOGICAL MUSEUM

CINEMA HISTORICAL MUSEUM

NEWKAZ - TOURISM DEVELOPMENT CENTRE

Tbilisi, 5 Janashia St. Tel: (+995 32) 223 37 56, (+995 99) 551 68 42 Fax: (+995 32) 223 37 56

ORNAMENT - ENAMEL GALLERY

Tbilisi, 7 Erekle II St. Tel: (+995 32) 293 64 12 Fax: (+995 32) 298 90 13

PHOKANI - GALLERY OF PHOKA ST. NINO NUNNERY

Tbilisi, 7 Bambis rigi Tel: (+995 32) 243 90 47, (+995 99) 597 60 51

RUSTAVELI 34

Tbilisi, 34 Rustaveli Ave. Tel: (+995 99) 573 17 30

GEORGIAN NATIONAL MUSEUM

GEORGIAN NATIONAL MUSEUM-PICTURE GALLERY

MODERN ART GALLERY

Tbilisi, 15 G. Akhvlediani St. Tel: (+995 32) 292 00 53, (+995 99) 590 33 09

Tbilisi, 6 Samgebro St. Tel: (+995 32) 245 77 20, (+995 32) 245 77 21

Tbilisi, 3 Rustaveli Ave. Tel: (+995 32) 299 71 76, 298 48 11 Fax: (+995 32) 298 21 33

VERNISAGE

Tbilisi, Agmashenebeli Alley Tel: (+995 32) 252 13 05

N GALLERY AND SANDRO ANTADZE

GEORGIAN FOLK SONGS AND INSTRUMENTS’ MUSEU

Tbilisi, 17/6 Agmashenebeli Ave. Tel: (+995 32) 291 00 24

Tbilisi, 30/2 Leselidze St. Tel: (+995 32) 299 88 72, (+995 97) 574 33 00 Tbilisi, 3 Rustaveli Ave. Tel: (+995 32) 298 21 33 Fax: (+995 32) 298 21 33

Tbilisi, Kus tba highway 1 Tel: (+995 32) 272 90 46

Tbilisi, 88 I. Javakhishvili St. Tel: (+995 32) 34 74 79, 91 01 92

D. BAAZOV GEORGIAN JEWISH HISTORICAL ETHNOGRAPHICAL MUSEUM

Tbilisi,3Anton Catholicos St. Tel: (+995 32) 298 59 92, (+995 32) 298 90 62

DENDROLOGIC MUSEUM (BOTANIC GARDEN

Tbilisi, 1 Botanikuri St. Tel: (+995 32) 272 11 85 Fax: (+995 32) 272 34 09

E. AKHVLEDIANI HOUSEMUSEUM

Tbilisi, 12 Kiacheli St. Tel: (+995 32) 299 74 12

FOLK AND APPLIED ARTS MUSEUM

Tbilisi, 28 Sh. Dadiani St. Tel: (+995 32) 299 97 22, (+995 32) 299 61 52

GEORGE CHITAIA THE OPEN AIR ETHNOGRAPHICAL MUSEUM

Tbilisi, 11 Rustaveli Ave. Tel: (+995 32) 298 48 14

GEORGIAN OLYMPIC MUSEUM

Tbilisi, 2 Dolidze St. Tel: (+995 32) 236 57 23, 236 57 20

I.CHAVCHAVADZE HOUSEMUSEUM

Tbilisi, 22 Chubinashvili St. Tel: (+995 32) 295 02 60

K.MARJANISHVILI STATE ACADEMIC THEATRE’S MUSEUM

Tbilisi, 8 Marjanishvili St. Tel: (+995 32) 294 00 76

Fax: (+995 32) 298 21 33

SH.RUSTAVELI ACADEMIC THEATRE’S MUSEUM

Tbilisi, 17 Rustaveli Ave. Tel: (+995 32) 298 40 51

SIMON JANASHIA GEORGIAN MUSEUM

Tbilisi, 3 Rustaveli Ave. Tel: (+995 32) 299 80 22 Fax: (+995 32) 298 21 33

SOVIET OCCUPATION MUSEUM

Tbilisi, 3 Rustaveli Ave. Tel: (+995 32) 299 80 22 Fax: (+995 32) 234 86 51

STATE MUSEUM OF THEATRE, MUSEUM AND CINEMA

Tbilisi, 6 Kargareteli St. Tel: (+995 32) 295 19 00, 295 86 98

STATE SILK MUSEUM TBILISI

6 Tsabadze St. Tel: (+995 32) 234 09 67, 234 09 63 Fax: (+995 32) 234 09 67

TBILISI Z.PALIASHVILI OPERA AND BALLET STATE THEATRE’S

Museum Tbilisi, 25 Rustaveli Ave. Tel: (+995 32) 293 37 43

TOY’S MUSEUM

MINERALS MUSEUM

Tbilisi, 17 Shavteli St. Tel: (+995 32)2 99 53 37, 299 65 11

MIRZA FATALI AKHUNDOV AZERBAIJANIAN CULTURE MUSEUM

VAKHTANG CHABUKIANI MUSEUM

Tbilisi, 27/1 Leselidze St. Tel: (+995 32) 298 92 89

Tbilisi, 17 Gorgasali St. Tel: (+995 32) 272 15 71, 275 35 30

MONEY MUSEUM

Tbilisi, 83/23 Agmashenebeli St. Tel: (+995 32) 295 19 63 Fax: (+995 32) 223 70 25

Z.PALIASHVILI HOUSEMUSEUM

Tbilisi, 3/5 Leonidze St. Tel: (+995 32) 244 24 05, 244 24 06

Tbilisi, 10 Bakradze St. Tel: (+995 32) 299 81 16

NIKO PIROSMANASHVILI STATE MUSEUM

THE NATIONAL CENTER OF MANUSCRIPTS,

Tbilisi, 29 Pirosmani St. Tel: (+995 32) 295 86 73

SH.AMIRANASHVILI STATE MUSEUM OF ARTS

Tbilisi, 1 Gudiashvili St. Tel: (+995 32) 299 99 09

1/3, M. Alexidze. Georgia,Tbilisi Tel.(+995 32) 236 41 85 Fax:(+995 32) 236 32 41 www. manuscript.ge

12 Chanturia str., 0108 Tbilisi, Georgia Tel: +995 32 433 433 +995 32 106 392 info@investingeorgia.org www.investingeorgia.org

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September

INSIDER

GEORGIAN WINES JUST ONE CLICK AWAY FROM ASIAN MARKETS GNIA Explores Export Opportunities in Asia Georgian National Investment Agency has recently launched its Export Promotion Service (EPS) and it operates a newly published online export catalogue of Georgian products www.tradewithgeorgia.com enabling Georgian producers to showcase their products and provide potential customers with full technical information on each product, including promo materials. EPS has adopted a new strategy of operation with help of GIZ (German International Cooperation) and established a custom tailored action plan with narrow focus on alcoholic and non-alcoholic beverages this year incorporating a chain of interrelated events streamlined towards a single goal – growth of export. ESP has narrowed down its geographic scope as well and limited its efforts to Asia for alcoholic and Gulf countries for non alcoholic beverages. The global wine industry is experiencing overproduction and traditional wine making countries are shifting their sales to Asia, hoping to meet Asia’s forecasted percapita increases in consumption. Wine is becoming increasingly popular in Asian countries along with the rising popularity of Western culture. One of the main contributors to this change is believed to be the existence of the new Asian generation. Many in this group possess overseas educations and are bringing the new trends that they have acquired abroad, back to their home towns.Considering its sheer population, the greatest efforts at selling and marketing wine is made in China, where consumption per capita varies by region, but continues to be a growing trend. Rural Chinese populations consume up to 0.4 liters of wine annually, urban settlements consume 0.7. Shanghai, with an average consumption of 2.5 liters per annum, seems to be the most favorable target for winemakers on mainland China. Wine imports in greater China are taxed by 50% whilst Hong Kong and Macau, China’s special administrative regions have dropped it to 0%. Hong Kong leads Chinese wine consumption charts reaching 4.5 liters per person. The Export Promotion Service of the GNIA took a trip to China in July of 2011 to explore the opportunities available for the Georgian wine industry. The GNIA is embarking on its first efforts to diversify Georgian wine exports after the implementation of Russia’s devastating wine embargo in 2006. The Russian market accounted for almost 85% of Georgia’s wine export market prior to the embargo. The newly established direct flight from Tbilisi to Urumqi, the capital of China’s largest, Xinjiang province (Uyghur Autonomous Region – 21 million inhabitants) can largely enhance trade and economic relations between the two countries- including tourism and cargo turnover. “When waiting for our luggage to arrive at Urumqi airport,

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about 15 boxes of “Tbilvino” bottles passed across us and were picked up by several passengers on our flight who seemed to be locals - says Gvantsa Meladze, Head of Export Support Service at GNIA, adding that this could be a good signal for starting trade. Urumqi, a city of 2.5 million, was ranked 7th in 2008 in disposable income for urban residents among cities in western China. About a dozen local wine importers attended the GNIA’s wine tasting at the Urumqi Sheraton, where the Georgian National Tourism Agency organized a presentation that promoted Georgian tourist attractions. According to Ann Kvaratskhelia, GNIA’s Export Service Coordinator, anyone willing to do business in the region, should mind the language issues. “With the help of a translator, Urumqi wine importers lined-up in a queue to find out more about Georgian wine during the tasting. They kept asking about the most expensive Georgian wines and requesting pricelists in Chinese, handing Chinese business cards to us” she said. The GNIA is planning to sign a contract with a local marketing agency with the help of the Xinjiang Commerce Department to ease the communication challenges for Georgian companies. Through 1-5 September GNIA participated in First China-Eurasia Expo held in Urumqi, China and presented 10 Georgian companies the producers of alcoholic and non alcoholic beverages. It is notable that throughout 5-9 September Georgian National Investment Agency organized Georgian Wine Tasting-Vinopolis, London. The event audience included Wine experts, opinion makers, UK beverage business representatives, government officials, UK beverage importers and traders, wholesalers and retail chain decision makers, local media.The tools for marketing wine in mainland China greatly differ from those that are to be used in Hong Kong, a special administrative region and Asian business center with over 7 million residents living and working on a territory slightly larger than Tbilisi. Hong Kong actually dictates the trends within the Chinese wine industry. The Export Support Service proceeded to Hong Kong after the Urumqi event to engage in negotiations with the Independent Wine Center, Asia’s top marketing company in the industry. The president of the company, Simon Tam is the founding director of the Hong Kong International Wine and Spirit Competition, which processes nearly 1,300 entries from international wine companies per event.“China has demonstrated an increased consumption of wine, and its production has been increasing too. Although the quality may not be able to compete with leading European brands at the moment, Chinese will be there some time in future. It is therefore a good time for foreign winemakers to develop the Chinese market, as well as in Hong Kong- well-positioned aa springboard to China; it is the place to start your cam-

The Urumqi China-Eurasia Expo 2011 is preparing to host 2,500 participants in September. The Georgian National Investment Agency will host a Georgian national booth and Georgian companies will be promoting their products in the European Specialty Food and Beverage Section of the Expo.

paign,” advises Tersina Shieh, IWC General Manager. The company tries to market wine through wine education and has completely untraditional, innovative tools to do it.IWC has developed its own iPhone and iPad application “Flavour Colours, food and its own wine pairing methodology. Flavour Colours helps wine lovers, a large proportion of whom in Hong Kong, are connected to mobile networks and the internet through Apple products, to receive practical pairing suggestions fast, and in real-life situations. “For example, you’re in a Chinese restaurant”, reads the IWC website, “and thinking of having roast pigeon. But what wine will go with it? In seconds you select the dish and Flavour Colours shows you five matching wines. If the restaurant doesn’t have those wines, tap again to see another five. Even if the wine list is short, you will quickly find something that matches. You’re in a wine shop and you want to buy a Burgundy. But what dishes might you prepare to accompany this wine? You rapidly look up the wine in Flavour Colours and receive five matching dishes. Don’t like those? Tap for five more”. The Flavour Colours pairing concept is the idea of Simon Tam, a leading Greater China-based food and wine expert. The concept considers taste holistically: not just the science of four basic flavours but also seasonality, our mood and our individual expectations of what will make a good match. Flavour Colours divides wine and food flavors into just four categories: blond, ivory, tan and brown. By accurately defining which color tone each food and wine belong to, pairing them is made simple and is 90% accurate. Wines can be browsed within the application via country or region. Georgia is not yet on the list and the GNIA’s Export team is eager to make it just one click away for Asia. It should be noted that taking into consideration GNIA resources and the market analysis, the priority was given to the promotion of the export of Georgian alcoholic and non-alcoholic beverages. Already on on July 29, 2011 the Export Promotion Service

12 Chanturia str., 0108 Tbilisi, Georgia Tel: +995 32 433 433 +995 32 106 392 info@investingeorgia.org www.investingeorgia.org

TWG 2011 Guest of Honour Ms. Lisa Perrotti-Brown MW

Born and raised in the US, Perrotti-Brown’s wine career began in the UK and has worked in Tokyo. In 2008 Lisa achieved her Master of Wine qualification and its Madame Bollinger Medal for excellence in wine tasting. She currently resides in Singapore writing for Robert Parker’s website, eRobertParker.com, as the Asian wine correspondent and a reviewer for The Wine Advocate covering the wines of Australia and New Zealand. of Georgian National Investment Agency conducted a meeting with the representatives of Georgian Alcohol and non alcohol beverage companies. The main goal of the meeting was to introduce the Export Promotion Service strategy and inform on the numerous international events where Georgian companies can participate with the support of the Georgian National Investment Agency. One of the most important events organized by the GNIA Export Promotion Service will be Trade with Georgia 2011 – Beverages Trade show and the B2B Forum. The trade show will take place in Tbilisi and will feature more 300 people. Among those attending will be international traders, importers, international media and experts mainly from Asian and Arabic countries. Famous wine expert Lisa Perrotti-Brown will be the distinguished guest and a key note speaker at the event. Ms. Perrotti-Brown is Singapore’s only Master of Wine and writes for the world’s most renowned wine publication, ‘Robert Parker’s Wine Advocate’, which covers the Asian region entirely. Famous Chinese wine expert Guo Songquan will also visit Georgia within the framework of the event. The GNIA Export Support Service encourages Georgian companies to become partners of the agency in order to benefit from the services it provides. To be an affiliate of the agency, companies must register in the export catalogue by going towww.tradewithgeorgia.com

INSIDER

BANK OF GEORGIA FOR TOURISM

Recent situation shows that, tourism environment flourishes step-by-step in our country. Thus, demand for hotels is rapidly increasing on market and Bank of Georgia targets on supporting this field by financing development of hotel system through Georgia. Growth of tourist flow is proved by statistics made by BOG, one and a half year ago, showing 40%-50% increase year-by-year. As Deputy CEO of BOG, Archil Gachechiladze noted number of foreign tourists was 2 millions, in 2010, consequentially, 3 millions for 2011, four and five for coming years. Correspondingly, country needs to be ready for such number of tourists and provide relevant infrastructure. “As we know, couple of year ago, hotel occupancy was low in the country, but picture of growth shows that if we do not provide enough new rooms, tourism business will encounter some obstacles”, - says Archil Gachechiladze. In this course, Bank of Georgia issued loan for reconstruction of Adjara Hotel, presently Holiday Inn – international brand. This Hotel is for middle and upper middle segment, situated in Saburtalo District, Tbilisi.

As Archil Gachechiladze noted, repayment process of loan goes very well, with the period of seven years; though financing of such works is always followed by some risks, if not accomplished in a right way. Preparation of well-planned budget and meeting of deadlines are kea points for successful accomplishment of any project”. For avoiding unforeseen expenditures and overspending, BOG invited local and international consulting groups. “After financial crisis, we formed the group reviewing proposed projects and financial responsibility of payer” – says Gachechiladze. “In the past, companies took loans and spent money for purchasing other parcels of land, not being necessary for ongoing project, thus this action led to unfinished and delayed construction works”. After successful accomplishment of Holiday Inn Project, BOG was encouraged to launch other hotel projects, as well. World famous brand again – Radisson in Batumi. If businessmen aim to take loan from the Bank of Georgia, they will apply to the Bank and pass all necessary procedures, which are comfortable and easy-to-handle. “As mentioned above, the most important kea points are wellplanned budget and deadlines, which should be met by applicant companies” – notes Gachechiladze. Bank also helps companies to keep expenditures with proper following to the budget plan. As for loans issued to Radisson Batumi and Holiday Inn, Gachechiladze says that, these hotels had well-planned budgets. Our consultants studied these projects and thus we approved them, considering to be successful. Finally, Gachechiladze noted that current condition of the Bank allows further financing and supporting of hotel development in Georgia, expressing their readiness if there are any relevant projects. At present, Bank of Georgia aims to finance construction of several, 3, 4 and 5 star hotels in Batumi and Tbilisi. As for the other regions of Georgia, Gachechiladze remarked that Bank of Georgia plans to support tourism infrastructure in other regions as well, by targeting on local businesses. “In construction of hotels, priority should be given to local business, before entering of international brands onto developing resorts of Georgia” – added Gachechiladze.

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