Georgian Script & Typography by Sophia Kintsurashvili

GEORGIAN SCRIPT & TYPOGRAPHY HISTORY, MODERN AGE

Project by © Tamaz Varvaridze © Sophie Kintsurashvili © Nana Churghulia Author © Sophie Kintsurashvili www.kintsurashvili.com www.varvaridze.com Published by GRAPHIC DESIGN ASSOCIATION Tbilisi, 2016

GEORGIAN SCRIPT Article by Aka Morchiladze According to the texts by Valeri Silogava Elene Machavariani Captions by Nana Burchuladze Elene Machavariani Mzia Ketskhoveli Izo Melikishvili Manana Chumburidze Tamar Gabunia Rostom Kachakhidze Edited by Elene Machavariani Buba Kudava

Design by © Tamaz Varvaridze www.varvaridze.com Photographs by © Mirian Kiladze, Irakli Varvaridze, Buba Kudava, Dimitri Ermakov, Shalva Lezhava, Aleksandre Var varidze, Guram Tsibakhashvili, Davit Tskhadadze, Davit Khoshta ria, Natia Natsvlishvili, Karchkhadze Publishing, the Monuments Photo Recording Laboratory, private col lections The authorship for some visual materials wasn’t authenticated. Graphic Design Association apologizes to everyone who isn’t mentioned in the authors list and appreciates any additional information which will be taken into consideration in the next edition of this book. Translated by Ekaterine Machitidze Georgian text edited by Tamar Gavashelishvili English text edited by John Horan Angela Wheeler

We would also like to thank the following organizations The National Center of Manu scripts, Georgian National Museum (Shalva Amiranashvili Museum of Fine Arts, Simon Janashia Museum of Georgia, Svaneti Museum of His tory and Ethnography, Kutaisi State Historical Museum), the National Archives of Georgia, the National Parliamentary Library of Georgia, State Museum of Georgian Lit erature, the National Agency for Cultural Heritage Preservation of Georgia, the Monuments Photo Re cording Laboratory, Karchkhadze Publishing and Azri Publishing. Special thanks to International Charity Foundation Cartu, Georgian National Book Center, The Ministry of Culture and Monument Protection of Georgia, Tbilisi State Academy of Art, Tbilisi City Hall Centre of Cultural Events, TBC Bank, Open Society - Georgia Foundation. All rights reserved. No part of this publication may be used in any form without permis sion of Graphic Design Association

Graphic Design Association would like to thank the authors of the types and their heirs, private col lectors and all persons who pro vided us with materials from per sonal archives and contributed to the implementation of this project.

rt pa GEORGIAN TYPOGRAPHY Article by Aka Morchiladze According to the texts by Paata Natsvlishvili Nino Zaalishvili Levan Berdzenishvili

Captions by Sophie Kintsurashvili Edited by Paata Natsvlishvili Giga Khatiashvili Merab Getsadze

qarTuli damwerloba GEORGIAN SCRIPT

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GEOR GIAN SC R IPT

GEORGIAN SCRIPT The Georgian alphabet is old and used for Georgian alone. Its history is hid den in the depths of the centuries. The modern Georgian alphabet has a long and interesting history. In its cur rent form each letter corresponds precisely to one sound. The Georgian alphabet evolved in three stages and the letters at each stage are so different that one would think that they are representative of three entirely different writing systems. In fact, the alphabets developed in a clear progression to the modern one in use today. Despite these writing systems’ common origin, knowledge of the modern Georgian alphabet will not enable one to decipher the previous two.

asomTavruli warweris fragmenti bir el-yuTis monastris satrapezos mozaikur iatakze. 532-552 ww. ierusalimis franciskanelTa monastris siZveleTa muzeumi, pales tina Fragment of a prayer on the mosaic floor in the refec tory of Bir-el-Kut Monastery. Asomtavruli. 532-552. Muse um of the Franciscan Convent of Jerusalem, Palestine

The three Georgian writing systems are: asomtavruli (in use from the 5th to the 9th-10th centuries), nuskhuri (9th-11th centuries) and mkhedruli (in use since the 9th century and in use exclusively since the 11th century). But the chronology of their origins and levels of development are a matter of dispute among academics. It is thought that asomtavruli is the oldest of the three. The oldest samples of Georgian writing are in asomtavruli. A look at 5th century asomtavruli inscriptions found in Palestine and Georgia makes it clear that it was already a long-established writing system at that point. The geometry of the asomtavruli alphabet is simple and plain. It is based on the circle, semicircle and straight line. The circle and nine types of straight lines are used in its construction. Each letter is either highly proportionate or fills up an imaginary square either fully or halfway. Because of its round shapes, asomtavruli is sometimes also known as the mrgvlovani (rounded) alphabet. Its stylistically unified graphic system completely rules out the pos sibility that even one letter may be derived from another alphabet. The next Georgian writing system, which evolved from asomtavruli, is nuskhuri (khutsuri). The oldest known inscription in nuskhuri is the Sinai Homiliary, dated 864 AD. Starting in the 11th century nuskhuri was used for longer texts such as Mikael Modrekili’s collection of hymns. Nuskhuri developed as a writing style because of the need for faster writing and increased demand for books. Its use saved materials and time. The nuskhuri letter is written not within a square, but in four rows. The let ters are connected and slanted to the right.

qarTuli damwerloba

qarTuli anbani Zvelia da mxolod qarTuli. misi istoria saukuneebis dakargul siRrmeebSia mimaluli. Tanamedrove qarTul anbans grZeli da saintereso gza gamouvlia da dRes masSi TiTo bgeras TiTo aso Seesabameba. qarTulma damwerlobam ganviTarebis sami safexuri gaiara. TiToeul safexurze esa Tu is aso imdenad sxvadasxvagvaria, rom ifiqreb, sami sxvadasxva damwerlobaao, sinamdvileSi ki pirvelisgan meore warmoiqmna, meorem ki – mesames, anu Tanamedroves, daudo saTave. saerTo warmomavlobis miuxedavad, Tanamedrove qarTuli anbanis mcodne wina ori anbaniT dawerils ver amoikiTxavs. qarTul anbans sami erTmaneTisgan gansxvavebuli damwerloba aqvs: asomTavruli (V-IX/X ss.), nusxuri (IX-XI ss.) da mxedruli (IX/ XI-XXI ss.). miiCneva, rom asomTavruli uZvelesia maT Soris – qarTuli damwerlobis yvelaze adrindeli Zeglebi swored asomTavruliTaa Sesrulebuli. Tumca, maTi warmoqmnisa da ganviTarebis etapebis qronologiis Taobaze mecnierTa Soris dRemde azrTa sxvadasxvaobaa. palestinasa da saqarTveloSi SemorCenili V saukunis asomTavruli warwerebis erTi Sexedvac sakmarisia, rom davinaxoT am anbanis karga xnis Camoyalibebuli saxe. asomTavruli (mrgvlovani) anbanis geometria martivia da sada. igi wreze, naxevarwreze da swor xazzea dafuZnebuli. mis agebulebaSi swored wrisa da swori xazis cxra nairsaxeoba moqmedebs, yoveli aso Zalian proporciulia da mTlianad an sanaxevrod avsebs warmosaxviT kvadrats. mrgvali formebis gamo, meore saxelad asomTavruls `mrgvlovani~ ewodeba. stilisturad erTiani grafikuli sistema sruliad gamoricxavs Tundac erTi asos sxva anbanTagan warmoSobis SesaZleblobas. qarTuli damwerlobis Semdegi etapia nusxuri (xucuri), romelic asomTavrulisgan iSva. pirveli nusxuri naweri 864 wliT daTariRebuli `sinuri mravalTavia~, XI saukunisTvis ki nusxuriT ukve araerTi teqsti iwereba, magaliTad – miqael modrekilis sagalobelTa krebuli. nusxuri, rogorc weris stili, swrafi werisken miswrafebam

armazis bilingva. II s. orenovani saflavis qva berZnuli da arameuli warwerebiT. aRmoCenilia 1940 wels armazisxevSi. q. mcxeTa, qarTli, aRmosavleTi saqarTvelo. simon janaSias saxelobis saqarTvelos muzeumi (saqarTvelos erovnuli muzeumi) Armazi bilingual stele. The 2nd C. AD. A bilingual grave stone with Greek and Aramic inscriptions was found in 1940 in Armaziskhevi. Mtskheta, Kartli, East Georgia. Simon Janashia Museum of Georgia (Georgian National Museum)

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Since the 19th century, Georgian and foreign scholars had been trying to determine the time when Georgian script first appeared. Some of the schol ars thought that it developed back in Hellinic era in West Georgia. Others believed that it appeared even earlier. According to Ivane Javakhishvili, Georgian writing system has been used since the 7th century BC. qarTvelTa (iberTa) mo nasteri palestinaSi. ruka giorgi avaliSvilis mogzaurobis wignidan. XIX s. Georgian (Iberian) Monastery in Palestine. Jerusalem city map from the Book of Trav els by Giorgi Avalishvili. The 19th C.

Some scientists lean toward the idea that the first alphabet appeared in Georgia after the declaration of Christianity the state religion. Their oppo nents suppose that pre-Christian specimens of writing were destroyed like pagan idols and numerous household and cultural elements. There are also scientists who share Ramaz Pataridze’s opinion, who, on the basis of mathematical and astronomical analysis, presumes that Georgia al phabet was created by the priests of ancient Kolkheti-Iberia in accordance with the calendar. The next Georgian writing system, which evolved from Asomtavruli, is Nuskhuri (Nuskha-Khutsuri). The oldest known inscription in Nuskhuri is the Sinai Homiliary, dated 864 AD. Starting from the 10th century, Nuskhuri was used in many texts. Nuskhuri developed as a writing style because of the need for faster writing and increased demand for books. Its use saved materials and time.

elene maWavarianis albomi `mwignobrobaL qarTuli~. 1989 w. mocemulia qarTuli anbanis samive saxeobis (asomTavruli, nusxuri, mxedruli) grafikuli ganviTareba saukuneebis mixedviT. “Georgian Book Learning”, an album by Elene Machavariani. 1989. The album describes the graphic development of all three types of Geor gian alphabet (Asomtavruli, Nuskhuri, Mkhedruli) in par ticular centuries.

Nuskhuri letters are written not within a square, but in four rows. They’re connected and slanted to the right. Nuskhuri is also known as Khutsuri, which indicates that it was frequently used by priests in church manuscripts, but throughout the Middle Ages in scriptions in works of church art were mainly still in Asomtavruli. These two alphabets were followed by the Mkhedruli, the modern Geor gian alphabet. Mkhedruli first appeared in the 10th century and is a result of the complicated development of Nuskhuri, though in a way it preserves the rounded nature of Asomtavruli. Mkhedruli letters, like Nuskhuri ones, are written without lifting the writing utensil, with a few exceptions. Like Nuskhuri, Mkhedruli letters can also be

qarTuli damwerloba

asomTavruli saqtitoro warwera qva-jvaris kvarcxlbekze. 685-711 ww. aRmoCenilia eklesiis nangrevebSi XX s-is damdegs. teqstSi naTqvamia, rom jvari RvTismSoblis saxelze aRumarTavT bizantiis imperator iustinianes dros, qarTvelTa erisTavis, arSuSa mamfali patrikiosis, brZanebiT. sof. abasTumani, adigenis r-ni, samxreTi saqarTvelo. simon janaSias saxe足lobis saqarTvelos muzeumi (saqarTvelos erovnuli muzeumi) Asomtavruli ktetorial inscrip足 tion on a pedestal of a stone cross pillar. 685-711. The inscription was discovered among church ruins in the early 20th century. The in足 scription reads that the cross pillar was raised by order of Eristavi Arshusha Mampali Patrikios in the name of the Mother of God during the reign of Byzantine Emperor Justinian. Abastumani village, Adigeni region, South Geor足 gia. Simon Janashia Museum of Georgia (Georgian National Museum)

1940 wels armazisxevSi aRmoCenili orenovani saflavis qva, romelic ax.w.-is meore saukuniT TariRdeba, asabuTebs berZnuli da arameuli enebis gamoyenebas im drois saqarTveloSi. mecnierTa umetesoba qarTuli damwerlobis safuZvlad mainc ufro berZnul anbans miiCnevs. 19-saukunidan moyolebuli, qarTveli da ucxoeli mkvlevrebi aseve cdilobdnen gaerkviaT qarTuli damwerlobis warmoSobis dro. zogi fiqrobda, rom is jer kidev elinur xanaSi warmoiSva dasavleT saqarTveloSi, zogs is kidev ufro adrindel damwerlobad miaCnda. qarTuli damwerlobis SemoRebis drod ivane javaxiSvili Zv.w.is meSvide saukunes varaudobda. zogi mecnieri miiCnevs, rom anbani saqarTveloSi qristianobis saxelmwifo religiad gamocxadebis Sedegad iSva; maTi oponentebi fiqroben, rom qrisitianobamdeli qarTuli damwerlobis nimuSebi SesaZloa axali religiis Semosvlisas ganadgurda, iseve, rogorc warmarTuli kerpebi da mravali sxva yofiTi Tu kulturuli elementi. mecnierTa nawili iziarebs ramaz patariZis Teorias, romelic maTematikuri da astronomiuli kvlevebis safuZvelze varaudobs qarTuli anbanis Zveli kolxeTiberiis xucesTa (qurumTa) mier Seqmnas dro-Jamis saTvalavis, anu kalendris safuZvelze. qarTuli damwerlobis Semdegi etapia nusxuri (nusxa-xucuri), romelic asomTavrulisgan iSva. pirveli nusxuri naweri 864 wliT daTariRebuli `sinuri mravalTavia~, X saukunisTvis ki nusxuriT ukve araerTi teqsti iwereba. nusxuri, rogorc weris stili, swrafi werisken miswrafebam da wignze mzardma moTxovnilebam ganapiroba, ramac masalisa da drois ekonomia gamoiwvia. nusxurSi aso iwereba ara kvadratSi, aramed oTx xazSi; wera gabmulia, asoebi ki marjvnivaa gadaxrili. nusxuris meore saxelia `xucuri~, rac imaze migvaniSnebs, rom mas sasuliero pirebi ufro xSirad iyenebdnen saeklesio xelnawerebSi, Tumca mTeli Sua saukuneebis ganmavlobaSi saeklesio xelovnebis nimuSebze AGwarwerebi ZiriTadad asomTavruliT sruldeboda.

GEOR GIAN SC R IPT

connected. In the early stages of Mkhedruli, the system of connecting the let ters was so complicated that it is often difficult to distinguish the letters from one another, particularly in ornamental texts. The three writing systems co-existed for several centuries and all three were used for both religious and secular literature. Gradually, however, Mkhedruli came to be used only for state and secular purposes (documents, legisla tion), while Nuskhuri and Asomtavruli were increasingly limited to ecclesias tical use. The earliest specimens of written Georgian are mosaics, engravings, fres coes and repoussé inscriptions preserved on crosses, icons, floors and walls of churches.

alaverdis oTxTavi. 1054 w. asomTavruli. gadamwerebi – svimeon, giorgi, iovane dvali; gadaweris adgili – kaliposi, Savi mTa antioqiis maxloblad. etrati, 24X19 sm. siria. xelnawerTa erovnuli centri Alaverdi Gospel. 1054. Scribed by Svimeon, Giorgi and Iovane Dvali at Kalipos (Black Mountain near Antioch, Syria) in Asomtavruli. Parch ment, 24X19 cm. The National Center of Manuscripts

The earliest inscriptions discovered in Georgia and beyond the borders of the country make it obvious that the Georgian alphabet had already had quite a long history of development in the 5th century. Judging from the rel evant archaeological layers, scientists Levan Chilashvili, Zaza Aleksidze and Ramaz Pataridze think, that inscriptions found in Nekresi at the end of the 20th century date back to the 1st -3rd centuries BC, the pre-Christian period. Italian archaeologist Virgilio Corbo discovered ancient Georgian inlaid in scriptions in the ruins of a Georgian monastery in the Judean Desert near Jerusalem in 1952. One of the inscriptions dates back to the 430s AD. It’s unlikely that Georgian alphabet first appeared in the 5th century, as the traditions and the writing culture of that time appear highly developed. “The Martyrdom of St. Shushanik” by Iakob Khutsesi (Tsurtaveli) in 476-483 con firms the high artistic and literary standard which already existed in Georgia in that period. Inscriptions and manuscripts are absolutely different things but these sourc es combined can reveal many details of our history from ancient folios and texts inscribed on walls and floors of churches. Ktetors, clerics and laymen of different ranks (catholicos-patriarchs, arch priests, kings) and members of their families, as well as architects, iconpainters, chasers and others were mentioned in mural inscriptions of an informational nature. Church buildings were therefore likely the most “in formative” constructions in the country at that time. All engraved and fresco

qarTuli damwerloba

am or anbans mosdevs mxedruli – dRevandeli qarTuli anbani. is X saukunidan Cans da nusxuris rTuli ganviTarebis Sedegia asomTavrulis mrgvlovani ieris erTgvarad SenarCunebiT. mxedrulic, nusxuris msgavsad, xelis auReblad sruldeba. gamonaklisia mxolod ramdenime aso. nusxuris msgavsad, mxed rulsac axasiaTebs asoTa gadabma. gardamaval mxedrulSi gadabmis sistema ufro garTulebulia, imdenad, rom xSirad, gansakuTrebiT – gakruli xeliT nawerSi, asoebis calke aRqma rTulia. samive damwerloba Tanaarsebobda saukuneebis ganmavlobaSi da erTmaneTis paralelurad gamoiyeneboda rogorc sasuliero, ise saero saqmeSi, Tumca TiToeul saxeobas mainc Tavisi gamoyenebis areali hqonda mozomili: mxedruli, romelic saero cxovrebis wiaRSi Camoyalibda, ZiriTadad saxelmwifo saqmeTa warmoebisa (sabuTebis, kanonebis Sedgena...) da saero literaturisTvis gamoiyeneboda, nusxuri da mrgvlovani ki darCa sasuliero damwerlobebad.

`qebaL da didebaL qarTulisa enisaL~. X s-is 70-iani ww. ioane-zosimes nusxu riT dawerili avtogra fis fragmenti. sinas mTis monastris biblioTeka “Praise and Glory of Georgian Language” with a fragment of Ioane Zosime’s signature made in Nuskhuri. The 970s. The Library of Mount Sinai Monastery

qarTuli damwerlobis Cvenamde moRweuli uZvelesi nimuSebi – mozaikuri, qvaze amokveTili, freskuli da Weduri warwerebi – saflavis qvebs, taZrebis iataks, kedlebsa da jvar-xatebs SemorCa. saqarTveloSi da mis sazRvrebs gareT aRmoCeneli uZvelesi warwerebi adasturebs, rom ukve V saukuneSi qarTul anabans arsebobis sakmaod xangrZlivi istoria aqvs. XX saukunis bolos nekresSi aRmoCenil warwerebs ki, mravalwliani Seswavlis safuZvelze, arqeologiuri fenebis mixedviT, mecnierebi – levan WilaSvili, zaza aleqsiZe, ramaz patariZe – qristianobamdeli periodiT, I-III saukuneebiT aTariReben. asomTavruliT Sesrulebuli uZvelesi qarTuli mozaikuri warwerebi 1952 wels aRmoaCina italielma arqeologma virjilio korbom iudeis udabnoSi, ierusalimTan axlos, qarTuli monastris nangrevebSi. maT Soris erTi V saukunis 30-iani wlebiT TariRdeba.

giorgi II-is mxedruliT naweri xelrTvis asli. 1073 w. xelnawerTa erovnuli centri Signature of Giorgi II. Mkhe druli. 1073. Copy. The National Center of Manuscripts

åêäåìòòì üòèðïíçå ïèëêâåàòäò vinme ioanes saqtitoro ïìëèàïâîóäò ùïîùåîï. 993 w. naxsenebi arian bagrat mefe da daviT kurapalati. qva TbilisSi Camoitanes 1899 w-s. ñïäï-þëòíïs cixis teritoria, taoklarjeTi, istoriuli samxreTi saqarTvelo (amJamad TurqeTis teritoria). simon janaSias saxelobis xelovnebis muzeumi (saqarTvelos erovnuli muzeumi) Ktetorial inscription of a certain Ioane engraved on a church tympanum. Asom tavruli. 993. King Bagrat and Davit Curopalate are mentioned in the inscription. The stone was brought to Tbilisi in 1899. Territory of Qala-Boina Fortress, TaoKlarjeti, historic South Georgia (territory of Turkey). Simon Janashia Museum of Georgia (Georgian National Museum)

GEOR GIAN SC R IPT

inscriptions, icons and chased or handwritten inscriptions made on them, as well as the ecclesiastical books with inscriptions from various times con tained in them, made the church a special place of knowledge, and a chroni cler of sorts of the country’s history. In the Middle Ages literacy was rare and consequently, full comprehension of the alphabet was in itself a key to special knowledge. Thousands of ancient manuscripts of ecclesiastical and secular literature were preserved through numerous wars and times of misfortune. Today, they bring to life ancient literature as well as the history of the Georgian alphabet.

mxedruli minaweri xelnawerze, asli Additional Mkhedruli inscrip tion to a manuscript. Copy

The period between the 10th and 12th centuries was a very special epoch in the history of Georgia. It was a period when Georgian kingdoms and prin cipalities were united under the Crown of the Bagrationis, a period lasting from the reign of King Davit the Builder to that of Queen Tamar (known as “King Tamar”). It was an epoch of great wars and great reconstruction, an era of when new cities were founded and the new Georgian State was formed: Two centuries of great Georgian culture, the age of Giorgi Merchule, Ioane the Hagiorite, Ekvtime the Hagiorite, Giorgi the Hagiorite, Ioane Petritsi, Arsen Ikaltoeli and Shota Rustaveli. The cultural heritage of the previous centuries came togeth er in this flourishing era. Thinking, writing, composition, creative work and education served as the foun dation for that period. Great secular, philosophical and ecclesiastical literature is written at the cultural centers in Georgia and beyond its borders. The great thinkers Ekvtime the Hagiorite and Giorgi the Hagiorite, Ioane Zosime, Eprem Mtsire, Ioane Minchkhi and Mikael Modrekili write and translate large amounts of material in Palestine, Syria, on Mount Sinai and Petritsoni Monastery. Only learned people could draft documents and write books. A scribe in the Middle Ages was an artist, a calligrapher, and a person capable of endless work. Scribes were mostly monks and making copies was a very important task.

mxedruliT Sedgenili Sewirulobis sigelis fragmenti. 1804 w. xelnawerTa erovnuli centri Deed of donation. Fragment. Mkhedruli. 1804. The National Center of Manuscripts

qarTuli damwerloba

V saukune Znelad CaiTvleba qarTuli anabanis dabadebis TariRad. amisTvis qarTul anbans da weriT kulturas didi tradicia uCans, rasac iakob xucesis (curtavelis) mier 476-483 wlebSi dawerili `SuSanikis wamebis~ maRali mxatvrul-literaturuli donec adasturebs. warwera da xelnaweri sruliad gansxvavebuli rameebia, Tumca uamrav rames Cveni istoriisas orives saSualebiT – Zveli foliantebidan da eklesiaTa kedlebsa da iatakebze datanili warwerebidan SevityobT xolme. kedlis warwerebi sainformacio xasiaTisa iyo – ixseniebda taZris qtitorebs, sxvadasxva rangis sasuliero da saero pirebs: kaTolikos-patriarqebs, mRvdelmTavrebs, mefeebsa da maTi ojaxis wevrebs, xuroTmoZRvrebs, momxatvelebs, xatebis damwer-momWedelT da a. S. xuroTmoZRvruli nageboba ki albaT yvelaze informaciuli nageboba iyo im drois qveyanaSi: qvaze nakveTi warwerebi, freskebi da maTze minawerebi, xatebi da maTze miweril-naWedi mcire zomis teqstebi, saeklesio wignebi da maTze gakeTebuli sxvadasxva droisa da Sinaarsis minawerebi eklesias gansakuTrebul, imdroindel codnis adgilad, qveynis matianed aqcevda. Sua saukuneebSi anbanis codna didi upiratesoba iyo, misi srul yofilad floba ki, TavisTavad, gamorCeuli codnis piroba. uamrav omsa da ZnelbedobaSi gamotarebiT, saqarTvelom dRemde Semoinaxa aTasobiT Zveli xelnaweri, sasuliero Tu saero literaturis nimuSi, saxelmwifo sabuTi, sigeli, gujari Tu oqmi, romlebic dRes ara mxolod literaturas da istorias gvicocxlebs, aramed qarTuli anbanis Tavgadasavalsac gviambobs. X-XII saukuneebi gansakuTrebulia saqarTvelos istoriisaTvis. es aris saqarTvelos samefo-samTavroebis bagrationebis gvirgvinqveS gaerTianebis epoqa, romelsac mivyavarT daviT IV aRmaSeneblamde da Tamar mefemde. es aris didi omebis, Tan ki didi aRmSeneblobis, axali qalaqebis, axali saxelmwifos Seqmnis epoqa da, imave dros, didi qarTuli kulturis saukuneebi: giorgi merCules, ioane, eqvTime da giorgi mTawmindelebis, ioane petriwis, arsen iyalToelisa da SoTa rusTavelis xana, rasac safuZveli wina saukuneebis kulturulma memkvidreobam Seuqmna. amitomac, azrovneba, wera, Txzva, Semoqmedeba, ganaTleba am epo qis erT-erTi mTavari sayrdenia. iqmneba maRali donis saero, filosofiuri, saeklesio literatura saqarTvelosa da mis farglebs gareT arsebul qarTul kerebSi: palestinaSi, siriaSi, aTonis mTaze, sinaze, petriwonSi – iwereba bevri da iTargmneba bevri: moRvaweoben eqvTime da giorgi aTonelebi, ioane zosime, efrem mcire, ioane minCxi, miqael modrekili. wignsa da sabuTs ganaTlebuli adamianebis didi resursi sWirdeboda. Sua saukuneebis wignebis gadamweri iyo xelovani ostati, kaligrafi, didi da usasrulo Sromis SemZle adamiani, umetesad

bolnisis stela aso mTavruli warweriT: `ese juari barabasi, romelman aRmoikiTxos, locvasa [moi][seneT]eT~. V-VI ss. amokveTilia tufis qvaze. aRmoaCines arqeologiuri samuSaoebis dros 1959 w-s. sof. bolnisi, qarTli, aRmosavleTi saqarTvelo. simon janaSias saxelobis saqarTvelos muzeumi (saqarTvelos erovnuli muzeumi) Bolnisi Stele with Asomtavruli inscription made on tuff: “This is the cross of Barab bas. Those who read it, pray for him“. The 5th-6th CC. The stele was discovered dur ing archaeological works in 1959. Bolnisi village, Kartli, East Georgia. Simon Janashia Museum of Georgia (Georgian National Museum)

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Only learned people could draft documents and write books. A scribe in the Middle Ages was an artist, a calligrapher, and a person capable of endless work. Scribes were mostly monks and making copies was a very important task. As a rule, books were commissioned by members of the royal family and the elite. The high prices were conditioned by the highly specialized work involved and the high cost of writing materials. In Georgia texts were written on papyrus, leather and paper. The paper mainly came from Italy. aTonis iverTa monasteri – istoriuli qarTuli monasteri. mdebareobs saberZneTSi, aTonis mTis qveda kalTaze, egeosis zRvis piras. daarsda 980983 wlebSi. Iviron Monastery on Holy Mount Athos (historic Geor gian monastery). The mon astery stands on the flank of the headland jutting out into Aegian Sea. Founded in 980-983

Parchments were made of calfskin or lambskin. Huge amounts of processed skin were necessary for each book. At least one sheepskin was needed per page of a high quality book. Parkhali collection consists of 800 pages and it’s easy to calculate what it would cost. Because of all these factors copies of books were highly precious items, rari ties which were kept and used with utmost care. Texts were written by means of different paints or inks and reed pens or quills, but more precious pens made of ivory were also used. The majority of the scribes worked at monastic and royal scriptoriums. A look at their handwritings makes it possible to trace back the development of Georgian alphabet. But time passed and the alphabet was once again revolutionized in the 15th century when Johannes Gutenberg equipped the first movable type-printing press and a type molding machine and printed the first books. The methods which had been perfected throughout centu ries completely changed.

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weoben eqvTime da giorgi aTonelebi, ioane zosime, efrem mcire, ioane minCxi, miqael modrekili. wignsa da sabuTs ganaTlebuli adamianebis didi resursi sWirdeboda. Sua saukuneebis wignebis gadamweri iyo xelovani ostati, kaligrafi, didi da usasrulo Sromis SemZle adamiani, umetesad – beri; gadawera ki didad mniSvnelovani saqme gaxldaT. wignis gadawera SekveTis gareSe ver moxdeboda. SemkveTi ki Zalian SeZlebuli unda yofiliyo. SekveTas mxolod samefo ojaxi da rCeuli didgvarovnebi Tu axerxebdnen, siZviris mizezi ki iyo ara mxolod maRali kvalifikaciis Sroma, aramed saweri masalis deficitic. saqarTveloSi werdnen Wilze, damuSavebul tyavze, anu etratze, da qaRaldzec. es ukanaskneli ki, ZiriTadad, italiidan SemohqondaT.

SoTa rusTavelis `vefxistyaosani~. mxedruli. XVI-XVII ss. xelnawerTa erovnuli centri

etrati xbos, cxvris, batknis tyavisgan mzaddeboda. erTi wignisTvis uamravi damuSavebuli tyavi iyo saWiro. erT gverds kargad gadawerili wignisas erTi cxvris tyavi mainc sWirdeboda da Tuki parxlis mravalTavis gverdebs (800) daviTvliT, advili misaxvedria, ra xarjebi unda gaeRo damkveTs.

“The Knight in the Panther’s Skin” by Shota Rustaveli. Mkhedruli. The 16th-17th CC. The National Center of Manu scripts

yovelive amis gamo gadawerili wigni iSviaTi, uZvirfasesi nivTi iyo da inaxeboda da gamoiyeneboda didi sifrTxiliT. saRebavs, melans im droSi uwodebdnen wamals da sawerad ki wverwamaxul lerwmis Reros an frinvelis frTas moixmardnen. arsebobda ufro Zvirfasi, spilos Zvlis kalmebic. gadamwerTa umetesoba samonastro da samefo skriptoriumebSi moRvaweobda. qarTuli anbanis ganviTarebaze dakvirveba swored maTi kalmidan gamosuli xelweris SeswavliTaa SesaZlebeli. magram gavida dro da anbani kidev erTi revoluciis winaSe dadga: XV saukuneSi iohan gutenbergma wignis sabeWdi da Sriftebis Camosasxmeli dazgebi Seqmna da pirveli wignebi dastamba. aman sruliad Secvala anbanis gamoyenebis saukuneTa ganmavlobaSi Camoqnili xerxebi.

NgelaTis nusxuriT naweri oTxTavi (eqvTime mTawmindelis redaqciiT). XII s. etrati, 26X18 sm. xelnawerTa erovnuli centri Gelati Gospel edited by Ekvtime Mtatsmndeli (St. Euthymios the Hagiorite). Nuskhuri, The 12th C. Parchment, 26X18. The National Center of Manuscripts

saweri mowyobiloba. III-IV ss. aRmoCenilia mcxeTaSi, sveticxovlis taZris ezoSi mdebare samarxSi. Writing accessories found in a sepulcher in the yard of Svetitskhoveli Cathedral, Mtskheta. The 3rd- 4th CC.

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asomTavruli savedrebeli warwera bolnisis sionis taZris aRmosavleT fasadze. 493503 ww. moxseniebulia bolneli episkoposi daviTi, RvTismsaxurebi da mrevli. teqsti nakveTia sarkmlis sapire qvaze (63X90 sm). asoebis simaRle – 6 sm. sof. bolnisi, qarTli, aRmosavleTi saqarTvelo. simon janaSias saxe lobis saqarTvelos muzeumi (saqarTvelos erovnuli muzeumi)

Pleading prayer engraved in Asomtavruli on the eastern fa çade of Bolnisi Sioni Cathedral, 493-503. The Bishop of Bolnisi, local clergy and the parish are mentioned in the prayer en graved on a window facing stone (63X90 cm). Height of letters - 6 cm. Bolnisi village, Kvemo Kartli. East Georgia. Simon Janashia Museum of Georgia (Georgian National Museum)

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am gverdze mocemuli warweriani saflavis qvebi, romlebic TavboloSeqceulad, meorad saSen masalad yofila Catanebuli me-4 saukuneSi agebuli marnis kedlebSi da sawnaxlebSi (nekresis naqalaqari), mecnierTanawilis (l.WilaSvili, z. aleqsiZe, r. patariZe da sxv.) varaudiT, warmarTuli xanisaa. maT varauds amyarebs arqeologiuri gaTxrebis Sedegad, marnis qveS mdebare fenaSi aRmoCenili warmarTuli xanis samlocvelo ramdenime samarxiTa da Zv.w.-is III-II saukuneebis inventariT. aRsaniSnavia, rom aRmoCenil qvaTagan (sul Svidi warweriani qva) arcerTze ar aris datanili qristianuli simbolika. The gravestones represented on this page were used as sec ondary building material and put inversely in the walls of a wine cellar built in the 4th century and wine presses (ancient city of Nekresi). According to some scientists (L. Chilashvili, Z. Alek sidze, R. Pataridze and others), they belong to the pagan cul ture. This assumption is based on the results of archaeological excavations: a pagan chapel with several sepulchers and uten sils of the 3rd-2nd CC BC, which were discovered in the layer under the wine cellar. It must be said that Christian symbols are not given on any of the discovered stones (7 in all).

saflavis qva asomTavruli warweriT: `(fars em)an aztsi ars numca vin xrevs~. nekresis naqalaqari, yvarlis r-ni, kaxeTi, aRmosavleTi saqarTvelo. simon janaSias saxelobis saqarTvelos muzeumi (saqarTvelos erovnuli muzeumi) A gravestone with Asomtavruli inscription. The remains of the ancient town of Nekresi, Kvareli region, Kakheti, East Georgia. Simon Janashia Museum of Georgia (Georgian National Mu seum)

saflavis qva asomTavruli warweriT: `ese saflavi noSisi da bavasi numcavis xele(wi) febis Ci~. nekresis naqalaqari, yvarlis r-ni, kaxeTi, aRmosavleTi saqarTvelo. simon janaSias saxelobis saqarTvelos muzeumi (saqarTvelos erovnuli muzeumi) A gravestone with Asomtavruli inscription: “This grave of Noshi and Bava not to be encroached upon by anyone”. The remains of the ancient town of Nekresi, Kvareli region, Kakheti, East Georgia. Simon Janashia Museum of Georgia (Georgian National Museum)

saflavis qva asomTavruli warweriT: `ab(a)za giv Ci~. nekresis naqalaqari, yvarlis r-ni, kaxeTi, aRmosavleTi saqarTvelo. simon janaSias saxelobis saqarTvelos muzeumi (saqarTvelos erovnuli muzeumi) A gravestone with Asom tavruli inscription from the remains of the ancient town of Nekresi. The remains of the ancient town of Nekresi, Kvareli region, Kakheti, East Georgia. Simon Janashia Mu seum of Georgia (Georgian National Museum)

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mxedruli teqsti palimfsestis fenaze. X s. sinuri xelnaweris asli. xelnawerTa erovnuli centri

Mkhedruli text inscribed on a layer of a paÂ limpsest. The 10th C. Copy of one of Georgian manuscripts from Mount Sinai. The National Center of Manuscripts

GEOR GIAN SC R IPT

sveticxovlis gumbaTis yelze reliefuri samSeneblo asomTavruli warweris fragmenti. XI s. warweris qvemoT Cadgmulia fila mSenebelTa gamosaxulebiT. saqarTvelos istoriuli dedaqalaqi mcxeTa, qarTli, aRmosavleTi saqarTvelo

A fragment of a relief Asomtavruli construction inscription on the tholobate of Svetitskhoveli.The 11th C. There is a slab with images of the builders under the inscription. Mtskheta, the hisÂ toric capital of Georgia, Kartli, East Georgia

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sveticxovlis CrdiloeTi fasadis sarkmelszeda or filaze asomTavruli warwera taZris amSeneblis, arsukisZis, moxseniebiT: `Q[N] eli monisa arsukisZisaY, SeundeT~. 10101029 ww. SuaSi moCans goreliefi xelisa da gonios gamosaxulebiT. saqarTvelos istoriuli dedaqalaqi mcxeTa, qarTli, aRmosavleTi saqarTvelo Asomtavruli inscription made on a two of slabs over the window in the northern facade of Sve titskhoveli Cathedral . The architect of the Cathe dral is mentioned in the inscription: “The hand of the servant Arsuki, pardon him“. 1010-1029. There is a high relief, which depicts a hand and a bevel square, between the slabs. Mtskheta, the old capi tal of Georgia, Kartli, East Georgia

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saRebaviT Sesrulebuli mxedruli warwera lixnis eklesiis dasavleT kedelze. XI s. naxsenebi arian: protospaTari da vipatosi vaCe, petrik patrikiosi da Wyondideli mwignobarTuxucesi. asli. sof. lixni, gudauTis r-ni, afxazeTi, dasavleTi saqarTvelo Mkhedruli inscription made in paint on the western wall of Likhni Church. The 11th C. Pro tospatharios and Hypatos Vache, Patrician Petric and Chkondideli-Mtsignobartukhutsesi are men tioned in the inscription. Copy. Likhni village, Gudauta region, Abkhazia, West Georgia

asomTavruli warwera atenis sionis freskaze `iosebis sizmari~: `angelozi etyviUs: ioseb, Zeo daviTiso, nu geSinin miyvanebad mariamisa, colisa Senisa, rameTu romeli misgan iSvas, sulisagan wmidisa ars~. XI s. sof. ateni, goris r-ni, qarTli, aRmosavleTi saqarTvelo Asomtavruli inscription on the Dream of Joseph fresco at Ateni Sioni Church: “The angel says: Joseph son of David, do not be afraid to take Mary home as your wife, because what is conceived in her is from the Holy Spirit“. The 11th C. Ateni village, Gori region, Kartli, East Georgia

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nakawri mxedruli warweris fragmenti wm. giorgis eklesiis kedelze. XI s. asli. ifxi, mestiis Temi, svaneTi, dasavleTi saqarTvelo A fragment of Mkhedruli inscription scratched on the wall of the Church of Saint George. Mkhedruli. The 11th C. Copy. Ipkhi village, Mestia community, Svaneti, West Georgia

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mefe bagrat IV-is (10271072) sigeli, romelzec kargad Cans nusxuridan mxedrulze gadasvlis procesi. 1054-1065 ww. gacemulia opizarTa da mijnaZorelTa samamule davis gamo. etrati, 250X28 sm. xelnawerTa erovnuli centri A deed granted by King Bagrat IV (1027-1072), which demonstrates the develop ment of Nuskhuri into Mkhe druli. 1054-1065. The deed was issued with regard to the land dispute between clerics from Opiza and Mijnadzori. Parchment, 250X28 cm. The National Center of Manu scripts

bagrat IV-is sigeli SiomRvimis monastrisadmi. 1057 w. mxedruli asoebis asli giorgi, qarTlis kaTalikosis xelrTvidan Sesrulebulia valeri silogavas mier. xelnawerTa erovnuli centri A deed granted by Bagrat IV to Shiomghvime Monas tery. 1057. Mkhedruli letters copied by Valeri Silogava from the signature of Giorgi, Catholicos of Kartli. The Na tional Center of Manuscripts

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mxedruliT naweri sigeli, romliTac mefe bagrat IV SiomRvimis monasters gadascems sofel borcvisjvars. 1054 w. naweria ioane mwignobris, xolo damtkicebulia ivane liparitis Zis mier. masSi mefe SeEvedrebulia monastris patrons, wm. Sio mRvimelsa da mis mowafes wm. evagres. etrati, 107X27,5 sm. xelnawerTa erovnuli centri A deed issued by Bagrat IV on bestowal of Bortsvisjvari village upon Shiomghvime Monastery. Drawn up by IoÂ ane Mtsignobari in Mkhedruli and witnessed by Ivane son of Liparit. A fragment of the deed asks the patron of the Monastery, St. Shio and his disciple St. Evagre to have mercy upon the King. 1054. Parchment, 107X27,5 cm. The National Center of ManuÂ scripts

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Tamar mefis ãóäìïêòæi öâîòs zurgze mosevadebuli asomTavruli ùïîùåîa: `Zelo WeSm(a)rito, Zalo juarisao, SeniTa winZRomiTa yol(a)dve Semwe da mfarvel eqmen mefesa da dedofalsa Tamars~. 1184-1207 ww. oqro, Zvirfasi qvebi (lali, margaliti, zurmuxti), 7X4 sm. Salva amiranaSvilis saxelobis xelovnebis muzeumi (saqarTvelos erovnuli muzeumi) A nielloed Asomtavuli inscription on the reverse of King Tamar’s cross pendant: “Pillar of the Truth, pillar of the cross, lead, save and protect the King and Queen Tamar“. 1124-1207. Gold, niello, precious stones (rubies, pearls, emeralds), 7X4 cm. Shalva Amiranashvili Museum of Fine Arts (Georgian National Museum)

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berTis saxarebis Weduri ydis zurgi. XII s. oqromWedeli – beSqen opizari. qveda asomTavrul warweraSi moxseniebuli arian qtitorebi oqropiri da demetre da oqromWedeli beSqen opizari. mooqruli vercxli, 23X17 sm. xelnawerTa erovnuli centri

The reverse of the chased cover of Berti Gospel. The 12thC. The goldsmith - Beshken Opizari. Ktetors Okropiri and Demetre as well as the goldsmith Beka Opizari are mentioned in the lower Asomtavruli inscription. Silver gilt, 23X17 cm. The National Center of Manuscripts

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wm. giorgis `cxovrebis~ ganmartebiTi asomTavruli warwerebi sakurTxevlis win aRsamarT jvarze. XI-XVI ss. jvarze, pirvelad qristianul xelovnebaSi, mocemulia wm. giorgis vnebebisa da saswaulebis amsaxveli sceneÂ bi. xe, mooqruli vercxli. 127X77 sm. setis wm. giorgis eklesia, mestiis Temi, svaneTi, dasavleTi saqarTvelo

A cross, with explanatory Asomtavruli inscriptions about the life of St. George, to be erected before the sanctuary. The 11th-16th CC. Wood, silver guilt. 127X77 cm. In Christian art this is the first cross with scenes of St. Georges martyrdom and his miracles depicted on it. Seti St. Georgeâ&#x20AC;&#x2122;s Church, Mestia community, Svaneti, West Georgia

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sazedao asomTavruli asoebi gelaTis oTxTavidan Asomtavruli upper case letters from Gelati Gospel

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X s-is mcxeTis fsalmunebSi Cakruli tyavis furceli jvris gamosaxulebiTa da nusxuri da mxedruli warwerebiT. XII s. 19,8X10 sm. xelnawerTa erovnuli centri A sheet of leather, with a cross image and Nuskhuri and Mkhedruli inscriptions, pasted into Mtskheta Psalms bonging to the 10th C. The 12th C. 19,8X10 cm. The National Center of Manuscripts

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asomTavruli warwera nikorwmindis wm. nikolozis taZris fasadze. 1010-1014 ww. asli. sof. nikorwminda, ambrolauris r-ni, raWa, dasavleTi saqarTvelo Asomtavruli inscription on the facade of the Nikorts minda Church. 1010-1014. Copy. Nikortsminda village, Ambrolauri region, Racha, West Georgia

qvaze nakveTi asomTavruli warweris fragmenti. XI s. asli. fala, cxumaris Temi, mestiis r-ni, svaneTi, dasavleTi saqarTvelo A fragment of Asomtavruli inscription engraved in stone. The 11th C. Copy. Pala, Tskhumari community, Mestia region, Svaneti, West Georgia

qvis filaze amokveTili mxedruli samSeneblo warwera. XIII s. fila Casmulia caiSis monastris samreklos samxreT kedelSi. asli. zugdidis r-ni, samegrelo, dasavleTi saqarTvelo

qvaze nakveTi asomTavruli reliefuri samSeneblo warwera taZris kedelze. XI s. asli. WiaTuris r-ni, imereTi, dasavleTi saqarTvelo A relief Asomtavruli inscription engraved on the stone wall of a church. The 11th C. Copy. Chiatura region, Imereti, West Georgia

Mkhedruli construction inscription engraved on a stone slab em bedded in the southern wall of the bell tower of Tsaishi Monas tery. The 13th C. Copy. Zugdidi region, Samegrelo, West Georgia

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piligrimTa nakawri mxedruli warwera martvilis taZris kedelze. XII-XIII ss. samstriqonian warweraSi moxseniebuli arian basili da elia. mis qvemoT, asomTavrul asoSi `d“ (don) Cawerilia nusxuri teqsti. asli. martvilis r-ni, samegrelo, dasavleTi saqarTvelo Mkhedruli inscription engraved by pilgrims on one of the walls of Martvili Church. The 12th-13th CC. Certain Basili and Elia are mentioned in the three-line inscrip tion beneath which Nuskhuri text is included into Asomtavruli letter “d“ (don/d/). Copy. Martvili region, Samegrelo, West Georgia

nakawri mxedruli warwera martvilis taZris kedelze. XIV s. warweris qvemoT Cans nusxuri warweris pirveli aso –` ” (qani). asli. martvilis r-ni, samegrelo, dasavleTi saqarTvelo

Engraved Mkhedurli inscription on one of the walls of Martvili Church. The 14th C. The first letter of Nuskhuri inscription “ ” ( qan, /q/) can be seen under the principal lines. Copy. Martvili region, Samegrelo, West Georgia

Rrmad nakawri asomTavruli warwera martvilis taZris kedelze. XIVXV ss. asli. martvilis r-ni, samegrelo, dasavleTi saqarTvelo A deeply engraved Asomtavruli inscription on one of the walls of Martvili Church. The 14th-15th CC. Copy. Martvili region, Samegrelo, West Georgia

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sazedao asomTavruli asoebis asli òåíïSòì ëàõàïâòdan (åäene maWavariani). XIII ì-òì 10-òïíò ùw. Õåäíïùåîòì æïèêâåàò – áïîàäòì êïàïäòêëìò åüòôïíå; ãïæïèùåîò – òëíï. Sewirulia latalis Temis sof. ienaSis wm. ionas taZrisTvis mcxeTidan. etrati, 27X21 sm. svaneTis òìüëîòóäåàíëãîïôòóäi èóçåóèò A copy of upper case As omtavruli letters from Ienashi Gospel (E. Machavariani). The 10s of the 13th C. The manu script was commissioned by Etipane the Catholicos of Kartli. Scribe-Iona. Donated to Ienashi St. Jonah’s Church, Latali community, from Mt skheta. Parchment, 27X21 cm. Svaneti Museum of His tory and Ethnography

asomTavruli aso `d~ (donis) saxeobebis asli ienaSis oTxTavidan, Sesrulebuli åäene maWavarianis mier Copies of the samples of asomtavruli letter “d“ (don, /d/) from Ienashi Gospel (E. Machavariani)

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tilos qisa orive mxares lomisa da gulis naqargi gamosaxulebebiT da mxedruliT naqargi leqsiT: `vefxi laRi da lamazi, mindors Casula, vardobda, vardi celobs, lamazs eZebs, gaWrila, aw navardobda~. XIII s. uSguli, svaneTi. Salva amiranaSvilis saxelobis xelovnebis muzeumi (saqarTvelos erovnuli muzeumi) A linen purse with an embroi dered Lion, a heart and an em broidered Mkhedruli inscription (poem): “The free and beautiful lion looks like a rose in the field; and mowing and looking for the beautiful beast, the rose runs fast in the field“. The 13th C. Ushguli, Svaneti. Shalva Amiranashvili Museum of Fine Arts (Georgian National Museum)

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naqargi asomTavruli warwerebis fragmentebi gardamoxsnidan. asli. Asomtavruli embroidered inscriptions from the Deposition. Copy

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mefe giorgi YVIII-is mier sveticxovlisadmi Sewiruli gardamoxsna macxovris datirebis, aRdgomisa da amaRlebis scenebiTa da asomTavruli warwerebiT. 1446-1466 ww. abreSumi, oqromkedi, vercxlmkedi, zezi, abreSumis Zafi, siTvi. zoma: 156X204 sm. saqarTvelos istoriuli dedaqalaqi mcxeTa, qarTli, aRmosavleTi saqarTvelo. Salva amiranaSvilis saxelobis xelovnebis muzeumi (saqarTvelos erovnuli muzeumi) The Deposition donated by Giorgi VIII to Svetitsk hoveli Cathedral. There are Asomtavruli inscrip tions on the cloth depicting the Savior’s Lamenta tion, Resurrection, and Ascension. 1446-1466. Silk, cloth of gold, cloth of silver, galloon, quilting, 156X204 cm. Mtskheta, the historical capital of Georgia, Kartli, East Georgia. Shalva Amiranashvili Museum of Fine Arts (Georgian National Museum)

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RvTismSoblis xatis zurgi sanawileTi da aso mTavruli warweriT. XVI s-is Sua wlebi. moxseniebuli arian xatis damkveTni – levan kaxTa mefe, misi Tanamecxedre TinaTin dedofali da maTi Zeni. oqro, mooqruli vercxli, Zvirfasi qvebi, 49X41 sm. SuamTis monasteri, Telavis r-ni, kaxeTi, aRmosavleTi saqarTvelo. Salva amiranaSvilis saxelobis xelovnebis muzeumi (saqarTvelos erovnuli muzeumi)

The reverse of an icon of the Mother of God. There are a reli quary and Asomtavruli inscription on the icon reverse. The middle of the 16th C. Levan, the King of Kakhs, and his wife, Queen Tinatin and their sons are mentioned in the inscription. Gold, silver gilt, precious stones, 49X41 cm. Shuamta Monas tery, Telavi region, Kakheti, East Georgia. Shalva Amiranashvili Museum of Fine Arts (Georgian National Museum)

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macxovris Weduri xatis zurgi misi Semwirveli levan kaxTa mefisa da TinaTin dedoflis savedrebeli asomTavruli warweriT. XVI s. oqro, mooqruli vercxli, 46,5X38,5 sm. Telavis r-ni, kaxeTi, aRmosavleTi saqarTvelo. Salva amiranaSvilis saxelobis xelovnebis muzeumi (saqarTvelos erovnuli muzeumi)

The reverse of the Savior’s repoussé icon with a pleading prayer of the donators, Levan , the King of Kakhs and Queen Tinatin. The 16th C. Gold, silver gilt, 46,5X38,5 cm. Telavi region, Kakheti, East Georgia. Shalva Amiranashvili Museum of Fine Arts (Georgian National Museum)

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saflavis qvaze nakveTi mxedruli warwera. 1713 w. teqsti gansazRvrul adgilas ver mouTavsebiaT da wera CarCozec gaugrZelebiaT. warwera gvauwyebs xarWaSneli episkopos parTenozisa da misi Zmis, petres mier eklesiis aASenebas. 62X147X30 sm. alvani, cxrakaras (RvTaebis eklesia) Crdilo-aRmosavleTiT. Camotanilia 1957 w-s. simon janaSias saxelobis saqarTvelos muzeumi (saqarTvelos erovnuli muzeumi) A gravestone with Mkhedruli inscription. 1713. As it seems there was no room for the appropriate text and the inscription extends upon the frame. According to the inscription, Partenoz the Bishop of Kharchashna and his brother Petre built a church. 62X147X30 cm. Alvani, north-west of Tskhrakara (Church of the Deity). brought in 1957. Simon Janashia Museum of Georgia (Georgian National Museum)

mxedruli warwera marmarilos fi laze. 1754 w. Camotanilia qarelis r-nis sof. abisidan, maxvilaZeebis cixis eklesiidan 1956 w-s. 46X44 sm. simon janaSias saxelobis saqarTvelos muzeumi (saqarTvelos erovnuli muzeumi) Mkhedruli inscription on a marble slab. 1754. 46X44, Brought from the church at the Makhviladzes’ fortress in Abisi village in 1956. Simon Janashia Museum of Georgia (Georgian National Museum)

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saflavis qvis winapirze, sammag CarCoSi amokveTili orstriqoniani mxedruli warwera: `[vinca] ixiloT, Send[oba brZaneT]“. `[kaci] viyav da aw miwa viq[men]. XVIII s. Camotanilia sof. kazreTis mopirdapired mdebare sveticxovlis eklesiidan 1966 w-s. 142X42 sm. simon janaSias saxelobis saqarTvelos muzeumi (saqarTvelos erovnuli muzeumi)

A gravestone with a two-line Mkhedruli inscription within the triple framing, which reads: “Those who read beg forgiveness for me“; “I was a man and returned to dust“. The 18th C. 142X42 cm. Brought in 1966 from the Svetitsk hoveli Church on the opposite side Kazreti village. Simon Janashia Museum of Georgia (Georgian National Museum)

saflavis qva gardacvlilisa da misi Sromis iaraRebis (makrateli, sabeWavi, saCeCeli) reliefuri gamosaxulebebiTa da Sereuli – asomTavruli da nusxuri warwerebiT. XVIII-XIX ss. 138X69X28 sm. sof. axalsofeli, TeTriwyaros r-ni, qarTli, aRmosavleTi saqarTvelo. simon janaSias saxelobis saqarTvelos muzeumi (saqarTvelos erovnuli muzeumi)

A gravestone with a relief image of the deceased person and his tools (scissors, weaving ruler, combing machine). The inscriptions of the gravestone are made in Asom tavruli and Nuskhuri. The 18th-19th CC. 138X69X28 cm. Akhalsopeli village, Tetritskharo region, Kartli, East Georgia. Simon Janashia Museum of Georgia (Georgian National Museum)

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saflavis qvis sami fragmenti asomTavruli warwe rebiT: 1. `[...] mefis vax[tangis...] | [...]ma simrTele sulis amis maTisa [...]~; 2. `[ginda]ixiloT, Send[oba brZaneT]~; 3. `[kaci] viyav da aw miwa viq[men]~. XVIII s. simon janaSias saxelobis saqarTvelos muzeumi (saqarTvelos erovnuli muzeumi)

Three fragments of a gravestone with Asomtavruli in scriptions: 1. “Of King Vakhtang… firmness of his soul“… 2. “I you see, beg forgiveness for him“. 3. “I was a man and returned to dust“. The 18th C. Simon Janashia Mu seum of Georgia (Georgian National Museum)

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mxedruliT Sedgenili aznaurobis wyalobis ganaxlebis wigni, micemuli mefe giorgi XII-is mier mdivan nikoloz onikovisadmi. fragmentebi. 1798 w-is 1-li maisi. damweri – dekanozi solomon aleqsiZe. qaRaldi, 60X34,2 sm. saqarTvelos erovnuli arqivi A fragments of the resump tion of ennoblement granted by Giorgi XII to the secretary Nikoloz Onikov. May 1, 1798. Paper, 60X34,2 cm. Drawn up by the Archpriest Solomon Aleksidze. National Archives of Georgia

sabuTis bolo nawili beWdebiT

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mxedruliT naweri saeklesio krebuli. XIX s. gadamweri – maWavarianis asuli barbare. Savi melani. qaRaldi, 10,5X9,5 sm. xelnawerTa erovnuli centri An ecclesiastical collection scribed in Mkhedruli by Bar bare, daughter of a certain Machavari. The 19th C. Paper, black ink, 10,5X9,5 cm. The National Center of Manu scripts

mxedruliT naweri da Tematuri miniaturebiT gaformebuli astrologiuri traqtati. 1814 w. Semdgeneli – daviT egnates Ze Tumanovi. qaRaldi, 20X15 sm. xelnawerTa erovnuli centri An astrological treatise writ ten in Mkhedruli and illustrat ed with subject miniatures. 1814. Paper, 20X15 cm. Au thor: Davit Tumanov, son of Egnate. The National Center of Manuscripts

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GEOR GIAN SC R IPT

Txzuli asomTavruli asoebis nimuSebi. XIX s. xelnawerTa erovnuli centri

Samples of braided Asomtavruli letters. The 19th C. The National Center of Manuscripts

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mxedruli Txzuli asoebiT Sedgenili sityvebi. XIX s. xelnawerTa erovnuli centri

Samples of braided Mkhedruli letters. The 19th C. The National Center of Manuscripts

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ivane javaxiSvilis xeliT Sedgenili dokumentebi. 1918 w. Documents handwritten by Ivane Javakhishvili, 1918

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eqvTime TayaiSvilis xeliT Sedgenili dokumentebi. 1891 w. Documents handwritten by Eqvtime Takaishvili, 1891

alaverdeli mitropolitis, daviTis kaligrafiis nimuSebi. 1999, 2009 ww. Samples of the handwriting of Davit the Metropolitan of Alaverdi, 1999, 2009

qarTuli tipografia GEORGIAN TYPOGRAPHY

T liPAR i aw

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GEORGIAN TYPOGRAPHY The first printed books appeared in China but the inventions of the Qing dynasty did not influence the rest of the World. In Europe the potential for the dissemination of knowledge and information dra matically increased when Johannes Gutenberg (1400-1468) set up the first printing house in Germany. The printing trade required different new jobs, giving rise to nu merous professions which had not existed before. The development of fonts turned out to be one of the most impor tant tasks - the outline of the characters and their arrangement on the paper have a decisive role in the easy and rapid deciphering of any alphabet. A person who makes a handwritten copy of a text may have his own artistic taste and his own calligraphy, but a fixed font must be clear and acceptable to everyone.

`almasis sutra~, wminda budisturi teqsti, romelic evropaSi beWvdis gamoCenamde 600 wliT adre, CineTSi gamoica. Diamond Sutra, a sacred Buddhist text which was published in China 600 years before the appearance of printing

There was a three-century gap between the appearance of the first printing establishment in Europe and the establishment of the first one in Georgia. These were three of the most difficult centuries in the history of the country. Permanent internal and external wars, disintegration and constant presence on the brink of life or death within the great southern empires made life in Georgia a difficult struggle for survival. Local culture came under Persian influence and the cultural resources it had accumulated over the centu rieswas reduced. The 17th century was the bloodiest era in the history of Georgian kingdoms, but it was also a time when a new cultural stimulus was given to the country. It was a period when signs of uninterrupted cultural life surfaced again. The first Georgian font was created in Europe for a bilingual (Geor gian-Italian) Dictionary published by Stefano Paolini in 1629 under the patronage of the Sacred Congregation of Propaganda Fide. Undoubtedly, Nikoloz Irubakidze-Choloqashvili. (circa 15851658) known in Europe as Niceforo Irbachi, was the author of this font, but the exquisite outline of the characters, their simple and pleasant shapes point to the long-standing Italian traditions of crafting elegant fonts.

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qarTuli Srifti

nabeWdi wignis samSoblo CineTia, Tumca danarCen msoflioze cinis epoqis gamogonebebs gavlena ar mouxdenia – ambisa da codnis gavrcelebas evropaSi sul sxva ieri da siswrafe mxolod mas Semdeg mieca, rac germanelma iohan gutenbergma (1400-1468 ww.) pirveli stamba gamarTa. mestambeobis xelobas mravali iseTi saqme dasWirda, adre rom ar arsebobda, da, Sesabamisad, axali profe siebic gaCnda. maTgan erT-erTi mniSvnelovani iyo Sriftebis Seqmna. Srifti sayovelTaod gasagebi unda iyos. erTia gadamweris mxatvruli gemovneba, kaligrafia, meore ki dadgenili Srifti, romelic yvelasTvis misaRebi iqneba, vinaidan cxadia, rom anbanis iolad, swrafad da sworad aRsaqmelad misi moxazuloba da ganlageba gadamwyvetia. saqarTveloSi stambam mTeli sami saukuniT daigviana da es sami saukune misi istoriis umZimesi periodia – gauTavebelma Sina Tu sagareo omebma, daqucmacebam, didi samxreTuli imperiebis SemdgenlobaSi sikvdilsicocxlis zRvarze yofnam saqarTvelos cxovreba xist saWiroebebze momarTa, misi kultura ki sparsuli gavlenis qveS moaqcia da is mZalvri kulturuli maragi, rac wina saukuneebidan mohyveboda qveyanas, dakninda. Tumca, saqarTvelos samefoebisTvis uaRresad sisxli anma XVII saukunem mainc moaxerxa da axali kulturuli biZgi misca qveyanas. pirveli qarTuli Srifti evropaSi Seiqmna im qarTulitaliuri leqsikonisTvis, 1629 wels rom gamosca romSi stefano paolinim propaganda fides patronobiT. es Srifti uTuod nikifore irbaxis (nikoloz irubaqiZeColoyaSvili. daaxl 1585-1658 ww.) xelidan gamovida. Tumca, misi daxvewiloba, sisadave da mimzidveloba mxolod xeliT damweris kaligrafiaze ver iqneboda damyarebuli. amaSi wvlili im drois italiuri mestambeobis did ganviTarebulobasac udevs: beWdvis saqme italiur qveynebSi axali xili ar gaxldaT – iq moxdenili Srift

pirveli qarTuli wigni `qarTulitaliuri leqsikoni~, romlis avtorebadac moxseniebuli ari an italieli mestambe stefano paolini da qarTveli diplomati da mwignobari nikifore irbaqi (nikoloz irubaqiZe-ColoyaSvili). 1629 w. romi The first Georgian book, Georgian-Italian dictionary by Stefano Paolini and famous Georgian diplomat and intellectual Niceforo Irbachi (Nikoloz IrubakidzeCholokashvili). Rome. 1629

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nikifore irbaxi (nikoloz irubaqiZe-ColoyaSvili) – Teimuraz I-is elCi dasavleT evropis zogierT saxelmwifoSi (de kastelis albomidan) Niceforo Irbachi (Nikoloz Irubakidze-Cholokashvili), Ambassador of Teimuraz I to some West European coun tries (Cr. Castelli`s Album)

operation was also equipped with Greek and Latin fonts. The Georgian ones were far more difficult to adjust in comparison to these. The first book published by Vakhtang’s printing operation was a Gos pel printed in nuskhuri (khutsuri). It was followed by an academic edi tion of The Knight in the Panther’s Skin (Vepkhvistqaosani) featuring a series of explanatory notes. Adjustment and development of printing fonts was a top priority at this time. Nikoloz Tbileli, brother of the famous lexicographer SulkhanSaba Orbeliani, worked hard to adjust and implement his own version of fonts. Twenty books were printed at Vakhtang’s printing operation and three of them were republished. The Gospel initially published by this print ing house was typeset in a form of mkhedruli with all characters of the

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pirveli qarTuli sastambo SriftiT awyobili `qarTul-italiuri leqsikoni~. 1629 w. romi The first Georgian printing type. Georgian-Italian Dictionary, Rome. 1629

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mefe vaxtang VI (1675-1737 ww.) King Vakhtang VI (1675-1737)

same size. The printing house progressed over time - sizes of fonts varied and the quality of printing improved. Due to political troubles, Vakhtang VI lost his throne and retired to Russia. Geor gian books would not be printed in Georgia for another 25 years. The clerics and scholars who followed Vakhtang VI to Russia made several attempts to es tablish printing shops there and succeeded in a few cases. Throughout the 18th century Georgian printing houses were established throughout Russia, and different printing fonts were designed there indepen dently. The printing operation of Atanase Tbileli (Amilakhvari) functioned in Moscow for more than 10 years. The head of the Seminary, Gaioz Rector (Natsvlishvili), founded a Georgian printing house in Mozdok, in southern Russia, and Ioseb

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mecnierTa azriT, vaxtangiseul sastambo Srifts safuZvlad daedo solomon maRalaZis mxedruli kaligrafia, romelic mcired Seaswora TbilisSi movlenilma vlaxma mestambem, mixail iStvanoviCma. manve Camoasxa pirveli qarTuli nusxuri da asomTavruli Sriftebic. vaxtangis stambas berZnuli da laTinuri Sriftebic hqonia, qarTuli Sriftebis dadgena ki did Sromas moiTxovda. cnobilia, rom nikoloz Tbilels, sulxan-saba orbelianis Zmas, bevri umuSavia qarTuli Sriftebis dadgenasa da miseuli versiis damkvidrebaze. Tbilisis stambaSi oci wigni daibeWda. aqedan sami – ganmeorebiTac da pirveli iyo saxareba, awyobili erTi zomis nusxuri SrfitiT, mas ki mohyva mxedruli „vefxistyaosani”, im drois namdvili samecniero gamocema. TandaTan DSriftebis zomac icvleboda da beWdvis xarisxic, rac stambis ganviTarebaze miuTiTebda. mere, politikur ZnelbedobaTa gamo, vaxtangma taxti dakarga, ruseTSi gadaixvewa da saqarTveloSi meoTxed saukuneze metxans ar dabeWdila qarTuli wigni. stambebis awyobas ruseTSi vaxtangs gayolili sasuliero pirebi da swavlulebi cdilobdnen da zogjer gamosdiodaT kidec.

vaxtang VI-is ufrosi biZis, mefe-poet arCil II-is portreti XVIII s-is krebulSi. arCil mefis mier ruseTSi daarsebul stambaSi 1705 w-s daibeWda `daviTni~.

vaxtang VI-is portreti `vefxistyaosnis~pirveli nabeWdi gamocemidan. 1712 w. ilia WavWavaZis piradi egzemplari

Portrait of King Archil II (1647-1713), a poet and the eldest uncle of King Vakhtang VI, from a collection of the 18th C. The Book of Psalms was printed at the typography which was founded by King Archil in Russia in 1705.

The first printed edition of The Knight in the Panther’s Skin published by Vakhtang VI, Tbilisi, 1712. Portrait of Vakhtang VI. Copy owned by Ilia Chavchavadze

GEOR GIAN SC R IPT

Simultaneously some new letters, such as “ф” (which was to rep resent the ‹f› sound) were introduced into the Georgian alpha bet but did not take root in usage. Five of the thirty-eight letters began to disappear from mkhe druli in the middle of the 19th century as there was less and less need for separate symbols representing their sounds, making them an unnecessary burden on written texts. That is why Ilia Chavchavadze, AkakiTsereteli and other writers of their generation stopped using (“K” he, /ei/), “L” (hie, /i/, /j/), “M” (vie, /ui/), “N” (qar, har, /q/, /qh/) and “O” (hoe, /o:/).The Society for the Promotion of Literacy Among Georgians taught the “re duced” alphabet at their schools. Today the modern mkhedruli alphabet consists of 33 letters, with each letter representing a single phoneme. Until the second half of the 19th century all Georgian fonts were more or less influenced by calligraphy.

vaxtang VI-is portreti `paraklitonSi~. 1720 w. Tbilisi Portrait of King Vakhtang VI in the Octoechos. Tbilisi. 1720

`saliteraturo nawilni tfilisis uwyebaTani~, gazeTis Tavfurceli. 1832 w. The Tiflis Bulletin newspaper, front page. 1832.

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ri emuSava qarTul Sriftebze da ufro vaxtangiseuli Sriftebis Tanamedrove Targze moqceviT iyo cnobili. dRegrZeli ki aRmoCnda 1837 wels peterburgis saimperatoro akademiis stambaSi Camosxmuli qarTuli Srifti, romelic dResac `akademiuris~ saxeliTaa cnobili. es Srifti, romelic metad gansxvavdeboda yvela winandeli qarTuli Sriftisgan, Teimuraz batoniSvilis (1782-1846) xelnaweri asoebis mixedviT Seuqmnia frang mxatvars, de lafors. Tu gavixsenebT, rom am Sriftis gadamuSavebul variants Tavisi `deda enis~ da saxelmZRvaneloebis beWdvisas iyenebda iakob gogebaSvili (1840-1912 ww.) da, amdenad, erT-erTi yvelaze sacnobi da popularuli iyo saqarTveloSi XIX saukunis 70-iani wlebidan, `akademiurs~ pirveli qarTuli saxalxo Sriftic SeiZleba ewodos. XIX saukunis dasawyisidan, mas Semdeg, rac ruseTma qarTl-kaxeTis samefo gaauqma, saxelmwifo saqmeTa warmoeba mTlianad rusul enaze gadavida. aman mospo mTeli dargi saxelmwifo damwerlobisa, Tumca mxedruli iqca literaturisa da mimoweris saSualebad qarTvelTa Soris da pirvelma qarTulma Jurnalebma is TandaTan saxalxo damwerlobad aqcies.

Teimuraz batoniSvilis mxedruli Srifti mari broses `TviTmaswavleblisTvis~, 1834 w. parizi. Teimuraz Batonishvili’s type from a self-tuition manual by M.-F. Brosset. Paris. 1834.

mwerali da mecnieri Teimuraz batoniSvili (bagrationi), mefe giorgi XIII-is Ze. 1782-1846 ww. Teimuraz Batonishvili (Bagra tioni), son of Giorgi XIII, a poet and a scientist, 1782-1846

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mravali dargis daaxloebam `mxatvari~ da `Sriftis ostati~ TiTqmis ganuyofel cnebebad aqcia. TandaTan yovelive gaerTianda erTi didi saTauris qveS, romelsac `grafikul dizains~ uwodeben. Sriftis konstruirebis saqmeSi, iseve, rogorc sxva mraval dargSi, dizaini vizualuri srulyofilebisken swrafvaa da, Sesabamisad, Sriftic ganviTarebis axal-axal simaRleebs swvdeba. Tanamedrove Srifti xelovnebisa da mecnierebis erTgvari nazavia â&#x20AC;&#x201C; `mcire arqiteqtura~, romelic samudamod rCeba furcelze an monitorze da kvlavac samyaros diad monapovrad miiCneva.

grigol tatiSvilis albomi `CarTuli anbani~, graviura xeze. 1894 w. Monogram Alphabet album by Grigol Tatishvili. Wood engraving. 1894

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monogramebi grigol tatiSvilis albomidan `CarTuli anbani~, graviura xeze. 1894 w. Monograms from Grigol Tatishviliâ&#x20AC;&#x2122;s Monogram Alphabet album. Wood engraving. 1894

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monogramebi grigol tatiSvilis albomidan `CarTuli anbani~, graviura xeze. 1894 w. Monograms from Grigol Tatishviliâ&#x20AC;&#x2122;s Monogram Alphabet album. Wood engraving. 1894

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monogramebi grigol tatiSvilis albomidan `CarTuli anbani~, graviura xeze. 1894 w. Monograms from Grigol Tatishviliâ&#x20AC;&#x2122;s Monogram Alphabet album. Wood engraving. 1894

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monogramebi grigol tatiSvilis albomidan `CarTuli anbani~, graviura xeze. 1894 w. Monograms from Grigol Tatishviliâ&#x20AC;&#x2122;s Monogram Alphabet album. Wood engraving. 1894

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`yaramanianis~ beWduri gamocema. 1888 w. Printed edition of “Karamaniani”. 1888

`wmindanebis cxovreba~. 1859 w. venecia The Life of Saints. Venice. 1859

Cover of the Jejili (wheat shoots) magazine. 1902

Jurnali `jejili~, garekani. 1902 w.

qarTuli damwerloba qarTuli Srifti

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Srifti `dedaena~. 1860-1870 ww. Seqmnilia Teimuraz batoniSvilis `akademiuris~ safuZvelze. am Srifts iakob gogebaSvili `deda enisTvis~ iyenebda, amitom mas xSirad `gogebaSvils~ uwodeben. Dedaena type developed on the basis of Teimuraz Batonishviliâ&#x20AC;&#x2122;s Academiuri type. 1860-1870. The same type was used by Iakob Gogebashvili for his Dedaena (The Mother Tongue) and therefore it is often called Gogebashvili type.

sufTaweris saswavlo SriftiT awyobili sabavSvo rebusebi. 1960-iani ww. Childrenâ&#x20AC;&#x2122;s rebuses set by means of the type used to master calligraphy. 1960s

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iakob gogebaSvilis `deda ena~ (1912 w.; 1876 w.) da `bunebis kari~ (1912 w.) “Dedaena” (1912; 1876) and “Bunebis Kari” (Door to Nature) (1912) by Iakob Gogebashvili

sufTaweris saswavlo Sriftis kompiuteruli versia `BPG Dedaena~, avtori besarion guguSvili. 2005-2007 ww. BPG Dedaena font, a computer version of a type used to teach spelling, by Besarion Gugushvili. 2005-2007

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Jurnali `niSaduri~, qudebi. 1907-08 ww. Masthead of the Nishaduri (sal ammoniac) magazine. 1907-08

gazeTis da Jurnalebis garekanebi. XIX s-is bolo Newspaper and magazine covers. The end of the 20th C.

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qarTveli futuristebis Jurnali `HHH2SO4~, garekani. 1924 w. Cover of the H2S04 magazine, published by a group of Georgian futurists. 1924

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`H2SO4~, Jurnalis gverdi. 1924 w.

Page from the H2SO4 magazine. 1924

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`bewviseburi~. Srifti universitetis XX s-is dasawyisis albomidan Betsviseburi (wool-like) type from Tbilisi State University album. Early 20th C.

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`bewviseburi~. Srifti universitetis XX s-is dasawyisis albomidan Betsviseburi(wool-like) type from Tbilisi State University album. Early 20th C.

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Jurnali `Teatri da cxovreba~, qudi. 1920-iani ww. Masthead of Teatri da Tskovreba (theatre and life) magazine. 1920s

`galaktion tabiZis Jurnali~, garekani. 1922 w. Cover of Galaktion Tabidzeâ&#x20AC;&#x2122;s Magazine. 1922

gazeTi `Teatri~, qudebi. 1885-1889 ww.

Jurnali `xelovneba~, garekani. 1925 w.

Mastheads of Teatri (theatre) newspaper.1885-89

Cover of Khelovneba (art) magazine. 1925

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daviT kakabaZe, Srifti da logo JurnalisaTvis `Svidi mnaTobi~. 1919 w. A type and a logo by Davit Kakabadze for the Shvidi Mnatobi (seven luminaries) magazine. 1919

XX s-is dasawyisis sagazeTo reklama Newspaper advertisement. Early 20th C.

`qudebi~ Jurnalebisa `klde~ da `qarTuli sityva~. 1913 w. Mastheds of the Klde (rock) and Kartuli Sitkva (Georgian word) magazines. 1913

gazeTi `saxalxo saqme~, qudi. 1952 w.

Jurnal-gazeTebis qudebi. 1930-ani ww.

Masthead of Sakhalkho Sakme (Folk Matters) magazine. 1952

Mastheads of newspapers and magazines. 1930s

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Sriftebi XIX s-is albomidan Types from a 19th century album

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Jurnali `mnaTobi~, garekani da satitulo gverdi. 1924 w. Cover and title page of Mnatobi (luÂ minary) magazine. 1924

ioseb Sarlemanii, ydis dizaini. nikoloz baraTaSvilis leqsebis krebuli. 1922 w. Book cover designed by Iosif Charlemagne for a book of poems by Nikoloz Baratashvili. 1922

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gazeTi `saxalxo furceli~, qudi. 1914 w. Masthead of the Sakhalkho Purtseli (people’s paper) newspaper. 1914

Jurnali `qarTuli mwerloba~, garekani. 1926 w. Cover of Georgian Writing magazine. 1926

`saqarTvelos damoukideblobis gamocxadeba~.1918 w. “Declaration of Georgia’s Independence”. 1918

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`laRiZis wylebis~ sareklamo furceli. 1900w.

Handbill of Laghidze Waters. 1900

`borjomi~. mineraluri wylis etiketi. 1935 w.

Rvinis etiketi. liTografia. 1920-iani ww.

Label of Borjomi mineral water. 1935

Wine label. Lithograph. 1920s

Rvinis etiketi. liTografia. 1920iani ww.

Wine label. Lithograph. 1920s

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Rvinis etiketi. liTografia. 1924 w. Wine label. Lithograph. 1924

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Jurnali `grdemli~, garekani, liTografia, mxatvari kirile zdaneviCi. 1923 w. Cover designed by Kirill Zdanevich for the Grdemli magazine. Lithograph. 1923

qarTuli damwerloba

Jurnali `sanaxaoba~, garekani. 1925 w. Cover of the Sanakhaoba (sight) magazine. 1925

Jurnali `saxioba~, garekani. 1924 w. Cover of the Sakhioba (perfor mance) magazine.1924

irodion evdoSvilis `guliTadi megobroba~, wignis yda. 1927 w. “Sincere Friendship” by Irodion Evdoshvili, Cover. 1927

GEOR GIAN SC R IPT

anton dumbaZe, Srifti `universitetis~. 1964 w. gamoiyeneboda qarTveluri (megrul-Wanuri da svanuri) da qarTuli dialeqturi teqstebis asawyobad (beno gordezianis „qarTuli sastambo Sriftis cnobari katalogi~-dan. 1965 w.) Anton Dumbadze, Universite tis (of the University) type. 1964. This type was used to set texts written in Kartvelian (Georgian, Mingrelian, Chan and Svan) languages and dia lects of Georgian language. From “The Repertory Cata logue of Georgian Printing Types” by Beno Gordeziani.

qarTuli damwerloba

anton dumbaZe, Srifti `universitetis~. 1964 w. Srifti, unda morgeboda yvela qarTvelur enasa da qarTul dialeqts, amitom moicavs ara mxolod 33 an 38 qarTul asos, aramed qarTul damatebiT asoebs sxva enebisTvis. Anton Dumbadze, Universiteti type. 1964. This type was developed to be suitable for all Kartvelian languages and dialects of Georgian language. Thatâ&#x20AC;&#x2122;s why along with 33 or 38 Georgian letters, some additional ones were also included in it for other languages.

GEOR GIAN SC R IPT

daviT quTaTelaZe, Srifti wignisTvis `abreSumi~. liTografia. 1931 w.

daviT da lado quTaTelaZeebi, titulis dizaini. krebuli `stalins~. 1946 w.

Davit Kutateladze, a type designed for the book “Silk”. Lithograph. 1931

Front page design by Davit and Lado Kutateladzes for the collection “Dedicated to Stalin”. 1946

Jurnali `oqtombreli~, garekani. 1936 w.

s. remoniZis `damkvreli rezo~, yda. 1931 w.

Cover of the October Children Magazine. 1936

S. Remonidze, “Rezo the Musician“, Cover. 1931

qarTuli damwerloba

`belads qarTveli mwerlebi~, wignis tituli. 1939 w. Front page of “Georgian Writers for the Vozhd” collection. 1939

`Cveni Taoba~, wignis tituli. 1939 w. Front page of “Our Generation”. 1939

saagitacio plakati. 1943 w.

saagitacio plakati. 1939 w.

Public service poster. 1943

Public service poster. 1939

GEOR GIAN SC R IPT

gazeTi `mebrZoli~, qudi. 1943 w. The Mebdzoli (fighter) newspa per, masthead. 1943

gazeTi `legioneri~, qudi. 1944 w. The Legionery (legionary) news paper, masthead. 1944

gazeTi `saqarTvelo~, qudi. 1944 w. The Sakartvelo (Georgia) newspa per, masthead. 1944

gazeTi `gamarjvebis gza~, qudi. 1986 w. The Gamarjvebis Gza (road to vic tory) newspaper, masthead. 1986

gazeTi `gamarjvebis gza~, qudi. 1970 w. The Gamarjvebis Gza (road to vic tory) newspaper, masthead. 1970

qarTuli damwerloba

saagitacio plakati. 1943 w.

filmis afiSa. 1974 w.

A public service poster. 1943

A playbill. 1974

saagitacio plakati. 1950 w. A public service poster. 1950

`remedas~. Jurnalis garekani. 1940-iani ww. Cover of the Remedas magazine. 1940s

saagitacio plakati. 1983 w. A public service poster. 1983

GEOR GIAN SC R IPT

lado grigolia, saplakato Srifti. 1928 w. Lado Grigolia, poster type. 1928

lado grigolia, ZvelqarTuli damwerlobis mixedviT Seqmnili Srifti. 1948 w. Lado Grigolia, type designed in accordance with ancient Georgian written language. 1948

qarTuli damwerloba

lado grigolia, Srifti `monotonuri~, variaciebi. 1948 w. Lado Grigolia, variations of â&#x20AC;&#x153;Monotonuriâ&#x20AC;? (monotonous) type. 1948

GEOR GIAN SC R IPT

anton dumbaZe, Srifti `ilia~, mTavruli (or xazSi). 1983-1987 ww. Anton Dumbadze, “Ilia” type, upper case letters (between two lines). 1983-1987

qarTuli damwerloba

anton dumbaZe, Srifti `ilia~, mxedruli (oTx xazSi). 1983-1987 ww. Anton Dumbadze, “Ilia” type, Mkhedruli (between four lines). 1983-1987

100

GEOR GIAN SC R IPT

karlo faCulia, Srifti `nino~. 1980-iani ww. Karlo Pachulia, “Nino” type. 1980s

101

qarTuli damwerloba

mixeil fridonovi, Srifti `nali~. 1993 w. Mikheil Pridonov, â&#x20AC;&#x153;Naliâ&#x20AC;? (horseshoe) type. 1993

102

GEOR GIAN SC R IPT

qarTuli damwerloba

`samSoblos TavisuflebisaTvis TavdadebulTa maradiul xsovnas~. mxatvari – emir burjanaZe. 1993 w. Emir Burjanadze, “To the eternal memory of those who devoted themselves to the homeland”. 1993

103

104

GEOR GIAN SC R IPT

sofio kinwuraSvili, ydis dizaini. zaza burWulaZis `simfsonebi~. 2001 w.

irakli varvariZe, ydis dizaini. aka morCilaZis `agvistos pasiansi~. 1995 w.

Sophia Kintsurashvili, cover for “The Simpsons” by Zaza Burchulade. 2001

Irakli Varvaridze, cover for “Dogs of Paliashvili Street” by Aka Morchiladze. 1995

sofio kinwuraSvili, saTauri naira gelaSvilis zRapris ydisTvis `troleibusi astarioni da misi mgzavrebi~. 2005 w.

sofio kinwuraSvili, logotipi organizaciisTvis `qarTuli ena~. 1993 w.

Sophia Kintsurashvili, title on the cover of Naira Gelashvili’s fairy tale “Astarioni the Trolleybus and its passangers”. 2005

Sophia Kintsurashvili, a logotype for “Georgian Langiage”. 1993

105

qarTuli damwerloba

Tamaz varvariZe, aka morCilaZis wignebis saTaurebi. 2004 w. Tamaz Varvaridze, titles for books by Aka Morchiladze. 2004

irakli varvariZe, ydis saTauri. aka morCilaZis `faliaSvilis quCis ZaRlebi~. 1995 w. Irakli Varvaridze, title on the cover of Aka Morchiladze’s novel “Dogs of Paliashvili Street”. 1995

Tamaz varvariZe, ydis dizaini. aka morCilaZis `sxva~. 2002 w. Tamaz Varvaridze, cover design of story by Aka Morchiladze. 2002

106

GEOR GIAN SC R IPT

abgdevzTi klmnopJrstufqR ySCcZwh 1234567890 . , : ; ! ? ()

Sps `asteri~. Srifti `Geo Sabechdi Nusx ASTER~. 2009 w. Asteri Ltd, “Geo Sabechdi Nusx ASTER” type. 2009

აბგდევზთიკ ლმნოპჟრსტუ ფქღყშჩცძწჰ 1234567890 akaki razmaZe, irakli WumburiZe, Srifti `Khevsuri M~. 2013 w. Akaki Razmadze, Irakli Chumburidze, `Khevsuri M~ type. 2013

107

qarTuli damwerloba

giga xatiaSvili, Srifti `XROMOSOM~. 2000 w. Giga Khatiashvili, “XROMOSOM” type. 2000

108

akaki razmaZe, Srifti `Melani~. 2013 w. Akaki Razmadze, “Melani” font. 2013

GEOR GIAN SC R IPT

109

qarTuli damwerloba

akaki razmaZe, Srifti `Archi~. 2012 w. Akaki Razmadze, “Archi” font. 2012

akaki razmaZe, Srifti `Melani~. 2013 w. Akaki Razmadze, “Melani” font. 2013

110

GEOR GIAN SC R IPT

gio sumbaZe, Jurnali `fabrika~. qudi. 2015 w. The masthead of the Pabrika (factory) magazine by Gio Sumbadze. 2015

Tbilisis saxelmwifo samxatvro akademiis grafikis mimarTulebis studentis, anano siguas, sakurso namuSevari. 2015 w. A yearly project by a student of Tbilisi State Academy of Art (Graphic Department), Anano Sigua. 2015

111

qarTuli damwerloba

აბგდევზთიკ ლმნოპჟრსტ უფქრყშჩძ წჭხჯჰ 1234567890

merab gewaZe, Srifti `Karlo~. 2014 w. eZRvneba cnobili qarTveli mxatvris, eseistis, artkritikosisa da poetis, karlo kaWaravas (1964 -1994) xsovnas. Karlo type by Merab Getsadze, 2000. This font is dedicated to the memory of famous Georgian artist, art critic, essayist and poet Karlo Kacharava (1964 -1994)

112 qarTuli Srifti

GEOR GIAN SC R IPT

112

აბგდევზთ იკლმნოპჟ რსტუფქღყ შ ჩ ც ძ წ ჰ 1234567890 ia da Temur daraxveliZeebi. Srifti `Dara1981~. 2015 w. Dara1981 type by Ia and Temur Darakhvelidzes. 2015

113

qarTuli damwerloba

zura kircxaia, `Kir_Lizi~. 2013 w. Zura Kirtskhaia, Kir_Lizi. 2013

114

GEOR GIAN SC R IPT