კულტურა პლუს 1 (39) 2025

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sarCevi / CONTENTS 2

siyvarulis kodi anu `vaxtanguri~ ariozo THE CODE OF LOVE, OR “VAKHTANGURI ARIOSO”

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mogvTa ferxuli / THE MAGI'S DANCE

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ara mowme, aramed monawile... / AN INSIDER, NOT AN OUTSIDER

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babus babu / GRANDPA’S GRANDPA

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„ucnobi~ ana

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besarion niJaraZis roli svaneTSi ganaTlebisa da sabiblioTeko dargis ganviTarebaSi BESARION NIZHARADZE’S ROLE IN THE DEVELOPMENT OF EDUCATION AND THE LIBRARY FIELD IN SVANETI

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kavsaZis 4 - memorialuri saxli

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umkacresi sasjeli

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Tu moindomebs bavSvi...

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wera - bediswera

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Stefan kurela da saqarTvelo “EVERYONE HAS STEFAN KURELLA AND GEORGIA

saredaqcio jgufi / EDITORIAL STAFF revaz iukuriZe / REVAZ IUKURIDZE xaTuna kereseliZe / KHATUNA KERESELIDZE ekaterine CulaSvili / EKATERINE CHULASHVILI gvanca fifia / GVANTSA PIPIA mariam gabedava / MARIAM GABEDAVA dizaineri / DESIGNER nikoloz bagrationi / NIKOLOZ BAGRATIONI

www.kulturaplus.ge el-fosta: kulturaplusm@gmail.com facebook.com/kulturaplusm beWdva: favoriti stili / Print: Favorite style gamodis kvartalSi erTxel / Issued quarterly JurnalSi ganTavsebuli masalis gamoyeneba SeiZleba mxolod redaqciis TanxmobiT The materials published in this magazine cannot be used without the authorization of the editorial staff garekanze:

zaza berZeniSvili `akrobati“ qaRaldi, pasteli, 49 x 49 sm. 2024

Cover:

Zaza Berdzenishvili “Acrobat” pastel on paper, 49 x 49 cm. 2024 „cisferi Tasi da yviTeli limonebi“ muyao, zeTi, 41 X 51 sm. 2013 “Blue bowl and yellow lemons” oil on cardboard, 41 X 51 cm. 2013

ISSN 2346-8165

KETEVAN KOKOZASHVILI

qeTevan kokozaSvili

siyvarulis kodi anu `vaxtanguri~ ariozo THE CODE OF LOVE, OR “VAKHTANGURI ARIOSO”

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vaxtang javaxaZe ukve TviTon aris poeziis, zogadad Semoqmedebis metafora. am amRvreul, sulierebisgan daclil, faseulobebis rRvevis, sruli Sinagani sicarielis, snobizmis droSi aseTi adamiani sinaTlesaviT aris Tavisi zneobriobiT, saqmis siyvaruliTa da TavdadebiT. mimoixedav da TiTo-orolaRa Tu Segxvdeba aseTi Tavmdabali, ubralo, gulwrfeli mesityve, adrindeli asketi sasuliero pirebiviT mudam xelnawerebSi Cafluli, eniT, ferweriT, musikis polifoniiT moculi, haerovani, uCumari, iSviaTi harmoniis Semqmneli; kaci, romelic yovel dRes, saaTs, wams siyvarulis eniT `Targmnis“. vaxtang javaxaZis poeturi sivrce, misi esTetika esaa poeturi enisa da sityvis sisadave, silaRe da simsubuqe, oRond es sxva sisadavea, uCinari siRrmeebiT, drosa da sivrceze amaRlebuli, zogjer dafaruli metafizikuri sevdisa da tkivilis gamomxatveli da mxolod maRali poeturi kulturis niSani.

SeiZleba vinmes paradoqsulad moeCvenos, magram erTi frangi literatoris TqmiT, `poetisTvis sityvebi zogjer SesaZloa dabrkoleba aRmoCndes“. aq, albaT, is igulisxmeba, rom poetma enaSi arsebuli sityvebi unda gafiltros, gaamdidros da ganWvritos `ena enaSi~ (pol valeri). amitomac aqvs poezias Tavisi ena, amitomacaa vaxtang javaxaZe maZiebeli poeti. sityvis, riTmis, ritmis, melodiis gamudmebuli Zieba, migneba da aRmoCeniT gancdili sixaruli misi poeziis, misi esTetikis safuZvelia; vaxtang javaxaZis `wynarze wynari oqtavebi~ xSirad enobriv kanonebs eurCeba, ar eqvemdebareba, poeturi logikis sazRvrebs arRvevs da sityvebis TamaSiT gansxvavebul melodiur harmonias qmnis ise, rom saTqmeli zogjer mxolod leqsis xmovanebiT SeigrZnoba. misi yvela leqsidan, yvela strofidan, yvela striqonidan da sityvidan moedineba cxadi Tu uxilavi, aSkara Tu dafaruli musika, romelic zogjer siRrmeebSia sagrZnobi da umetesad ki yurTasmenisTvis adviladaa misawvdomi. am yvelafers Zalian exmianeba verlenis sityvebi leqsidan _ `poeturi xelovneba~ (Art poétique): `musika upirveles yovlisa... danarCeni literaturaa“. garda amisa, es araa daxSuli, SemosazRvruli poeturi nakadi, romelic iRvreba mxolod lirizmis pirovnul `meSi~, piriqiT _ gaxsnilia mTeli samyaros xmaTa mravalferovnebisTvis, sxvadasxva kulturuli SenakadisTvis. uCveulo grafikul-versifikaciuli formebi da eqsperimentebi, leqsSi zogjer mxatvrobis elementebis Semotana TiTqos erTgvari renesansia adrindeli sinTezurobisa da ase erTiandeba poeziaSi sityvis, musikisa da ferweris samyaro. sadarbazos kars ver miRebs, raRac moiSala. uceb zemodan Cemi saxeli momesma, avixede da meSvide sarTulis

Vakhtang Javakhadze has become a metaphor for poetry himself – for art in general. In this turbulent era, stripped of spirituality, where values are crumbling, inner emptiness prevails, and snobbery dominates, a man like him shines like a beacon with his integrity, his love for his work, and his unwavering dedication.

You look around, and only a few remain – humble and sincere wordsmiths, like the ascetic clerics of the past, always immersed in manuscripts, absorbed in language, painting, and the polyphony of music – ethereal, silent, creators of rare harmony. A man who translates every day, every hour, every second into the language of love.

Vakhtang Javakhadze’s poetic space, his aesthetic, is defined by the clarity, lightness, and effortless grace of poetic language – yet it is a different kind of simplicity. It carries invisible depths, transcends time and space, and at times expresses a veiled metaphysical sorrow and pain, marking it as a product of a profoundly refined poetic culture.

It may seem paradoxical to some, but as one French literary scholar said, “For a poet, words can sometimes be an obstacle.” This likely suggests that a poet must refine, enrich, and transcend the existing words of a language – must perceive, as Paul Valéry put it, “a language within the language.” This is why poetry has its own language, and this is why Vakhtang Javakhadze is a poet in constant search. The continuous pursuit of words, rhythm, rhyme, and melody – the joy of discovery – forms the essence of his poetry and his aesthetic vision.

Vakhtang Javakhadze’s Quieter than Quiet Octaves often defies linguistic conventions, refuses to conform, breaks the boundaries of poetic logic, and through playful word experiments, creates a distinct melodic harmony, where meaning is sometimes conveyed purely through the sound of the verse. His poetry flows with music – both tangible and hidden, evident and obscure – resonating from every poem, every stanza, every line, and every word. At times, this music lingers in the depths, while more often, it is effortlessly perceptible to the ear. It is in perfect harmony with Verlaine’s words from Art Poétique: “Music above all else… the rest is literature.”

Moreover, his poetry is not a closed, confined stream pouring solely into the personal self of lyricism; on the contrary, it remains open to the rich diversity of the world’s voices, to various cultural influences.

His experiments with unconventional graphic and versification forms, the occasional integration of visual art elements into his poetry, seem almost like a renaissance of the synthesis of earlier times – where the worlds of language, music, and painting unite within poetry.

I couldn’t open the entrance door – something had broken.

Suddenly, I heard my name from above. I looked up; he was calling me from the seventh-floor window. I felt a bit unsettled, and our voices were nearly drowned by the noise of Kazbegi Avenue.

Instinctively, “May the door open on its own” crossed my mind. And indeed, soon a neighbor arrived, entered the code for his apartment, and I slipped in behind him. It is the age of codes… And he himself is a seeker of poetry’s codes – of Galaktion’s manuscripts and Ana’s encrypted diaries.

“At times, I am Vakhtang; at times, I am Javakhadze,” you say. After

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fanjridan meZaxis. cota avReldi, Tan Cvens xmebs yazbegis gamziris xmauri axSobs. uneburad `kar gaiRebis Tavada~ gamaxsenda. marTlac, maleve movida mezobeli, Tavisi saxlis kodi akrifa da mec Sevyevi. kodebis epoqaa...

TviTonac xom poeziis, galaktionis xelnawerebisa da anas `daSifruli dRiurebis~ kodebis maZiebelia. `alag-alag vaxtangi var, alag-alag _ javaxaZe~, ambobT da am TiTqmis saukunovani cxovrebisa da poeturmwignobruli gamocdilebiT vin xarT, ufro poeti, mkvlevari Tu es orive erTmaneTs ganapirobebs? dRes da xval, xval ukeTesi, vidre guSin. `ar miyvars ariTmia da Zalian miyvars riTmia“, werT da Tqveni poeziidanac cxadi xdeba, rom upiratesobas riTmian leqss aniWebT. xSirad riTmebiT TiTqos TamaSobT, ise bunebrivad da TavisTavad Cndeba sruliad axali, zogjer warmoudgeneli wyoba, omonimebi. riTmulritmuli CarCo sulac ar aRmoCnda TqvenTvis CarCo

nearly a century of life and poetic-literary experience, who are you more – poet or scholar? Or do these two identities inevitably shape one another?

Today and tomorrow – tomorrow better than yesterday.

“I do not like arrhythmia, but I love rhyme,” you write, and your poetry makes it clear that you favour rhymed verse. You often seem to play with rhyme, so naturally and effortlessly creating entirely new, sometimes even unimaginable structures – homonyms, unexpected pairings. The framework of rhyme and rhythm has never been a constraint for you; on the contrary, it is evident that you feel more at ease within the structure of conventional verse. In “An Unknown Man”, you often speak about how Galaktion worked on rhyme, how he recorded them in his notebooks. How do you achieve such intricate tonal diversity in your own poetry? I know that intuition plays a significant role at times, but do you also take notes, compare, and observe the melody of individual words?

Masterpieces have been written in free verse and undoubtedly will be again, but I prefer a masterpiece composed in canonical verse over one in free verse, because it carries a different kind of music. I once joked that free verse is like a concert without music. I have written free verse as well, but canonical verse possesses a stronger rhythm, and that is precisely what I like about it. May God spare Georgian poetry from becoming a desert of nothing but free verse – how monotonous poetry would be then! Imagine Dante without his terza rima, or The Knight in the Panther’s Skin without its precise metre – the alternating measures of low and high shairi and its unparalleled music. When Rustaveli grew weary of one rhythm, he would replace it with another.

Arthur Rimbaud, in his famous “Letters of the Seer”, wrote that “A poet must find, must discover, his own language.” In your own Notes, you write: “Who am I? A poet who is always searching and sometimes finds, but if he does not find, he continues searching nonetheless.”

This unending quest is a defining feature of your poetry, and as I have observed, it continues to this day. What does this process mean to you? In one place, you write that “No translator can ever truly rise to Rustaveli’s highest registers, not even to this line: ‘May he be a rose and thou art violet!.’”

Of course, such nuances are impossible to fully convey in translation. But in your original poetry, you do not merely follow the language – you master it. New lexical units emerge; at times, you reject grammatical norms altogether, breaking the order and rules of phonetics, morphology, and syntax, altering the very form of words. Is this a renewal of inherited language, or the invention of something entirely new – a deep exploration of the unknown depths of language?

Levan Bregadze once called Elegy “a different kind of poem.” It seems that this poem is the result of my long journey of searching; this is the language I was meant to find. For me, the most gratifying part is the process of writing – everything else simply follows naturally.

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da SezRudva, piriqiT, aSkaraa, rom konvenciur leqsSi ufro metad Tavisuflad grZnobT Tavs. `ucnobSi~ bevrs saubrobT imaze, Tu rogor muSaobda galaktioni riTmaze, rogor iwerda rveulebSi. Tqven rogor axerxebT aseT filigranul intonaciur mravalferovnebas? vici, rom zogjer intuicia TamaSobs did rols, zogjer, albaT, iniSnavT, adarebT, akvirdebiT calkeuli sityvis melodias. verlibris formiT Sedevrebi iwereba da, albaT, kidevac daiwereba, magram me verlibriT daweril Sedevrs kanonikuri leqsiT dawerili Sedevri mirCevnia, radgan imas sxva musika aqvs. erTxel vixumre kidec da vTqvi: verlibri aris koncerti musikis gareSe. Tavisufali leqsebic damiweria, magram kanonikur leqss ufro Zlieri ritmi aqvs da swored es momwons. RmerTma dagvifaros qarTul poeziaSi iyos marto verlibris udabno, ase Zalian erTferovani iqneboda poezia. rogor warmogidgeniaT dantes tercinebis gareSe, an rom ar arsebobdes `vefxistyaosnis~ Sairis sazomi, dabali da maRali Sairis monacvleoba da es ganumeorebeli musika. rusTaveli cota rom daiRleboda dabali SairiT, mere ritms unacvlebda. artur rembo cnobil mxilvelis werilSi wers, rom `poetma unda ipovos, unda aRmoaCinos sakuTari ena“, Tqven TviTon ambobT `CanawerebSi“: `vin var me? poeti, romelic yovelTvis eZebs da xandaxan poulobs, xolo Tu ver poulobs, mainc eZebs“. ganuwyveteli Ziebis procesi Tqvens poeziaSi mudmivad igrZnoba da, me rogorc davakvirdi, grZeldeba dRemde. mainc ras niSnavs es procesi TqvenTvis? erTgan werT, rom `rusTavelis umaRles registrebamde veraviTari mTargmneli verasodes ver amaRldeba, Tundac aqamde: `igi vardobdes, Sen ie.~ rasakvirvelia, aseTi niuansebis gadatana TargmanSi SeuZlebelia, Tumca originalur poeziaSi Tqven enas ki ar emorCilebiT da mihyvebiT, TviTon imorCilebT, Cndeba axali leqsikuri erTeulebi, zogjer gramatikul normebs saerTod `euarebiT~, fonetikis, morfologiis, sintaqsis wesrigsa da kanonebs sruliad arRvevT, sityvebs formas ucvliT. esaa memkvidreobiT miRebuli enis ganaxleba Tu axlis gamogoneba, enis ucnobi siRrmeebis wvdoma? levan bregaZem `elegias~ `sxvanairi leqsi~ uwoda. rogorc Cans, mTeli Cemi xangrZlivi Ziebis Sedegi es leqsia, es ena unda mepova. CemTvis yvelaze sasiamovno weris procesia, yvelaferi danarCeni misi Tanmdevia, TavisTavad xdeba. vaJa, nikala, gala. es sameuli daakavSira vaxtang javaxaZem. firosmanis naxatebze dakvirvebam gaaerTiana sami Semoqmedi. vaJas `Svlis nukrma~ STaagona firosmans sevdiani irmebisa da Svlebis cikli _ `daWrili iremi~, wyaroze wylis

Vazha, Nikala, Gala.

Vakhtang Javakhadze brought these three figures(VazhaPshavela,Niko Pirosmani, Galaktion Tabidze) together. His study of Pirosmani’s paintings revealed the connections between them.

Vazha’s “The story told by a fawn”inspired Pirosmani’s melancholic cycle of deer and fawns – The Wounded Deer, deer drinking from a spring, a fawn standing at the forest’s edge, and several other paintings. Then came Galaktion’s The Sorrows of the Deer. The parallels are striking – Nikala’s The Flight of the Deer and Galaktion’s The Blue Horses Dart…

A poet who has immersed himself in the world of Pirosmani’s orchard could not help but notice: “Flowers are not so abundant in his paintings, yet roses appear frequently.” Indeed, in one painting, a deer stands alongside a rosebush. Pirosmani had even met Vazha personally at a hotel in Tbilisi – the painter spoke with the poet.

A tragically fated artist, as mysterious in his poetic brushwork as Galaktion was in his poetry. A painter who left us with many unanswered questions.

Painting is a great love of yours, isn’t it?In Notes, you write extensively about Niko Pirosmani, his artistic style, and offer fascinating observations about the details and colours in his paintings. Moreover, many of your own poems feel like paintings, so vivid is their visualisation.

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dasalevad Casuli irmebi, Sveli tyis piras da kidev ramdenime naxati. mere gaCnda galaktionis `irmebis dardebi“. es dakvirveba da paralelic sagulisxmoa _ nikalas `irmis ganavardeba~ da galaktionis `qrian lurja cxenebi~... firosmanis baRnaris samyaroSi gadasaxlebuli poeti amasac dahkvirvebia: mis naxatebze `yvavilebi arc ise mravladaa, Tumca vardebi xSirad gvxvdeba“. marTlac, erT naxatze iremi da vardis buCqebicaa erTad. firosmani vaJas piradadac Sexvedria Tbilisis erT-erT sastumroSi da gamolaparakebia kidec mxatvari poets, Zalian tragikuli bedis mxatvari, iseve idumali Tavisi poeturi ferweriT, rogorc galaktioni da misi poezia. mxatvari, romelmac bevri pasuxgaucemeli kiTxva dagvitova. mxatvroba Tqveni gansakuTrebuli siyvarulia, xom? `CanawerebSi~ Zalian bevrs werT niko firosmanze, misi naxatebis Taviseburebebze, Zalian saintereso dakvirvebebia misi naxatebis detalebze, ferebze. garda amisa, TviTon Tqveni araerTi leqsi naxativiT aRiqmeba, imdenad gamokveTilia vizualizacia.

I understand painting quite well – I have collected artists’ albums all my life and now have a rather large collection. My graphic poems and illustrated palindromes are probably the result of my childhood longing to be a painter – perhaps this nostalgia has stayed with me, and I have found a way to compensate for it through poetry. I have even written poems about Van Gogh. But Pirosmani’s work has truly captured my attention; I have drawn numerous parallels between his art and Galaktion’s poetry.

The Familiar Unknown “The Unknown” turned out to be a book of peculiar fate. Its publication as a book was initially difficult – not only that, but it was even removed from the pages of “Mnatobi” magazine. The Soviet censorship, still in place at the time, hindered its release. “I have built a temple of my torments, into which no one but me can enter,” wrote Vakhtang Javakhadze, drawing us closer to this mysterious world – the temple of Galaktion. Indeed, The Familiar Stranger is a dialogue between two kindred poets, an unraveling of their longhidden secret. One poet deciphered the silence of another, a solitary poet, attempting to grasp the unfathomable depths of his mind. At

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mxatvrobaSi sakmaod kargad verkvevi, mTeli cxovreba mxatvrebis albomebs vagroveb da sakmaod didi koleqciac maqvs. Cemi grafikuli leqsebi da naxati palindromebi, albaT, imis Sedegia, rom bavSvobaSi mxatvroba mindoda da, etyoba, es nostalgia damrCa, mere poeziaSi ase avinazRaure. van gogze leqsebic maqvs dawerili. firosmanis Semoqmedebas ki marTlac gansakuTrebuli yuradReba mivaqcie, paralelebic moviZie mis mxatvrobasa da galaktionis poezias Soris. ucnobi nacnobi `ucnobi~ ucnauri bedisweris wigni aRmoCnda. pirvelad cota gaWirda misi dabeWdva ara mxolod wignad, manamde amoiRes Jurnal `mnaTobidanac~, im dros jer kidev arsebulma sabWoTa cenzuram Seaferxa. `me aRvage taZari Cemis tanjva-wamebis, romelSic Sesvla ar SeuZlia Cem garda aravis~, vaxtang javaxaZem am idumalebiT mocul samyarosTan, galaktionis taZarTan migvaaxlova. `ucnobi~ marTlac ori SeTqmuli poetis dialogi da urTierTobaa, maTi didi xnis dafaruli saidumlos gacxadebasaviTaa. erTma poetma meore martosuli poetis siCume waikiTxa,

first, Vakhtang Javakhadze intended only to write an article about Galaktion, to recount how he worked on the poet’s collected works, how they met, and how their relationship took shape. He knew Galaktion had an intriguing archive and thought he might gather some material from there. However, upon visiting the Museum of Literature and exploring the poet’s archive, he realized that an article would not suffice – he had to write a book. The first edition of “The Unknown”, published in a fairly large print run, sold out within a week. It contained previously unpublished, invaluable details from Galaktion’s life – his letters, notes, and personal records. Moreover, it was the first book to explicitly state that Galaktion had taken his own life. Not only that, but it also revealed why and how he did so.

When Bachana Bregvadze read “The Unknown”, he remarked, “Had Galaktion read this book, he wouldn’t have killed himself.” Now, the eighth edition is in preparation. What began as a 250-page book has expanded to 1,200 pages, spanning two substantial volumes. “I’ve been working on this book for over forty years, and I believe I have finally finished,” says the author.

You titled one of your recent letters “Galaktion Again.” Even now, we cannot avoid speaking about this immensely significant figure in your life – one of the most enigmatic poets. Galaktion has become a kind of reference point, a measure of greatness in Georgian poetry.

His personality, his life, and his poetry seem inexhaustible, and your book, “The Unknown”, is proof of this. You continue to expand it with new material, and now you are preparing its eighth edition. I get the impression that you have developed a sort of obsession with uncovering the hidden layers of Galaktion’s work and understanding him more deeply. Surely, this must have been an emotional experience for you as well – how could it not be?

Galaktion fascinates with his biography, his monumental poetry, his suicide – there are countless things that belong to him alone, unlike any other poet. His verses are quoted more frequently than those of any other 20th-century poet. While we had several brilliant poets in that century, Galaktion remains entirely singular. This is why he continues to captivate researchers. In my youth, I had the opportunity to spend more time with him, to linger, to speak with him at length – but I was shy. I was fully aware of who he was and who I was. How could I have known that he would soon take his own life? Before his suicide, I had been working on his forthcoming book for some time.

I signed off on its publication in April, but unfortunately, he did not live to see it in print. During this period, Galaktion often visited the publishing house and would say to me, “Hurry up with the book, and then I’ll know to express my gratitude.” What gratitude was I seeking?

I only had hoped to continue our relationship for years to come. But, unfortunately, he made a sudden and irrevocable decision…

Literary scholars agree that Apollinaire’s work largely shaped the course of 20th-century French poetry. Would you say the same about Galaktion’s influence on Georgian poetry? If so, how has he shaped its development?

We wouldn’t have had reason to assume so. But because he existed, we are fortunate. After Galaktion’s death, Giorgi Leonidze

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misi Seucnobeli wiaRis wvdoma scada. Tavidan vaxtang javaxaZes galaktionze mxolod werilis dawera hqonda ganzraxuli, undoda moeTxro, rogor muSaobda mis krebulze, rogor gaicno, rogor aewyo maTi urTierToba. icoda, rom galaktions saintereso arqivi hqonda da fiqrobda, garkveuli masala aqedanac moepovebina. rodesac literaturis muzeumSi mivida da poetis arqivs gaecno, maSin mixvda, rom werili ki ara, wigni unda daewera. `ucnobis~ pirveli gamocemis sakmaod didi tiraJi erT kviraSi gaiyida, radgan pirvelad gamoqveynda bevri unikaluri cnoba galaktionis cxovrebidan, werilebidan Tu Canawerebidan. garda amisa, es iyo wigni, romelSic pirvelad daiwera, rom galaktionma Tavi moikla da ara mxolod is, rom moikla, aramed ratom moikla, rogor moikla, es yovelive iyo moTxrobili. rodesac baCana bregvaZes `ucnobi~ waukiTxavs, uTqvams: galaktions rom es wigni waekiTxa, Tavs aRar moiklavdao. axla ukve merve gamocema mzaddeba. 250 gverdiT dawyebuli wignis moculoba ise ganivrco, 1 200 gverdia

wrote that “He possessed a trembling and a shudder that none of our other poets had.”

What makes Galaktion the greatest? His masterpieces play hide-and-seek with us – so rich in subtext, so enigmatic in their imagery, so full of secrets. This depth is what draws us in, and this is what Leonidze meant. Galaktion’s poetry contains an unparalleled musicality and rhythm. Even in this aspect alone, his influence is immense- something that cannot be denied or overlooked.

You have encountered countless people, witnessed many events.

There was a time when you would run into Galaktion on the streets or on the Vera Bridge. Now, as he wrote, “other voices fill the air here…”

You have seen an era change before your eyes – Georgia has become an independent country. Do you think our way of thinking has changed as well?

What was once unattainable is now within reach. Many things have changed, even in the literary sphere. Everything is now translated from original languages. Naturally, there is greater freedom, and the restrictive isolation that once confined people no longer exists. This cannot fail to bear fruit – we should expect even greater writers to

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emerge in the future. We lived in a time when censorship sat within our own minds. That was the reality of the country we lived in. But in a broader sense, I would say this: in a free Georgia, I believe we should have shown much more love toward one another. Independence has granted us greater rights, including the ability to be more sincere in our relationships. We are still in the transitional period of living in a free country. Perhaps we are still learning and adapting to independence. Thirty-five years is not such a long time.

da or mozrdil toms Seadgens. ormoc welze metia, rac am wignze vmuSaob da mgoni davamTavreo, _ ambobs avtori. `isev galaktioni~, ase daasaTaureT erT-erTi bolo werili da axlac ver avuvliT gverds TqvenTvis Zalian mniSvnelovan adamiansa da yvelaze idumal poets. galaktioni iqca erTgvar aTvlis wertilad, sazomad qarTuli poeziis sididisa, misi pirovneba, misi cxovreba da poezia, albaT, amouwuravia, amis dasturia Tqveni wigni, `ucnobi~. dRemde agrZelebT masze muSaobas, avsebT axal-axali masaliT da axla ukve me-8 gamocemas amzadebT. me mgonia, rom erTgvari azarti gagiCndaT galaktionis Semoqmedebis dafaruli Sreebis aRmoCenisa da metad Secnobisa. Tan ganicdidiT, albaT, am yvelafers, xom? sxvanairad warmoudgenelia. galaktioni interess iwvevs Tavisi biografiiT, Tavisi didi poeziiT, Tavisi TviTmkvlelobiT, aTasi ramea, rac mxolod mas aqvs da sxvas aravis. galaktionis citireba ufro xSirad Segvxvdeba, vidre meoce saukunis romelime sxva poetisa. mTel im saukuneSi Cven ramdenime brwyinvale poeti gvyavda, magram galaktioni sruliad gansxvavebulia, amitomac iwvevs bevri mkvlevris aseT did interess. axalgazrdobaSi me mqonda saSualeba galaktionTan meti dro gametarebina, ufro didxans davyovnebuliyavi, meti melaparaka masTan, magram moridebuli viyavi, xom vacnobierebdi, is vin iyo da me _ vin. xom ar vicodi, rom galaktioni sul male Tavs moiklavda. TviTmkvlelobamde sakmao xani vmuSaobdi mis momaval wignze, dabeWdvas ki

Elegy The fusion of elegiac lyricism and postmodern elements, the mournful melodiousness of a requiem, and the virtuoso soundweaving of colorful ephemera. Elegy: Necklace is one great lament, and at times, it is difficult to discern whether it is a lyric, a poem, or something entirely new – a poetic genre of its own. The poet himself calls it a lyrical poem. Poems about one’s wife have been written before, but rarely with such raw intensity and profound emotion.

In Pshav-Khevsureti, Mtiuleti, and Tusheti, remarkable and rich folkloric examples of lamentation poetry – funerary poetry sung aloud – have been preserved. However, in the mountains, it was considered unacceptable for a woman to mourn her husband openly.

She could lament a child, a brother, a companion, or a close relative, but never a husband. Local custom forbade it; it was simply not the way of things. Elegy is extraordinary and unique for precisely this reason – it defies this tradition. This time, something unusual happened: a man mourned his wife, and he did so openly, for all to hear, revealing to others what had long been stirring and simmering within him. This poem is Vakhang Javakhadze’s message of love, a kind of confession, an opening of the heart, a revelation, a sharing, a surrender. Such immense grief, such sorrow, such anguish, such love – so deeply felt and tenderly expressed, with a sensitivity and emotion seldom associated with men, with a childlike sincerity and directness – struck readers as something rare and remarkable.

In the poem, the personal I – typically central to lyric poetry – is overshadowed, receding into the background, while you, yours, for you take precedence: “Only for you, and you, and you – I have no time for anyone else.” This second-person address creates an extraordinary intimacy, dissolving the boundaries between this world and the beyond, between past and present, as if the poet and his beloved were fated for one another, bound across time. Vakhang Javakhadze transforms seemingly prosaic, mundane details into poetry: the entire cell of their shared home is brought to life, every object and possession becomes animated, a silent participant in his grief, immersed in this invisible yet palpable dialogue – “the windows weep,” “but the necklace suffers most.” Memory permeates everything; it is all-encompassing. The passage of time and physical separation seem only to have drawn him closer to his beloved, sharpening his longing, bringing every frame of the past into sharper focus. It is as if he sees her more clearly now, understands her more fully, as if he has rediscovered her anew – until memory itself consumes him entirely.

The poem’s title immediately signals its elegiac and minor-key

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aprilSi movawere xeli, samwuxarod, mis sicocxleSi ver moeswro. am periodSi galaktioni xSirad Semoivlida xolme gamomcemlobaSi da meubneboda, damiCqare, biZiko, wigni, cota damiCqare da me vici, Seni pativiscema, rom gamovao. ra pativiscema mindoda? imis imedi mqonda, rom merec gavagrZelebdi urTierTobas, magram, samwuxarod, man iseTi nabiji gadadga moulodnelad... literatorebi Tanxmdebian, rom apolineris Semoqmedebam didwilad gansazRvra XX saukunis franguli poeziis gezi.

Tqven SegiZliaT imaves Tqma galaktionis Semoqmedebaze? Tu asea, rogoria misi gavlena qarTuli poeziis ganviTarebaze? giorgi leoniZem galaktionis gardacvalebis Semdeg dawera, rom mas hqonda iseTi TrTola da JrJola, arcerT Cvens poets rom ar hqoniao. riT aris galaktioni yvelaze maRali? misi Sedevrebi Cven damalobanas gveTamaSeba, iseTi qveteqstebia, iseTi auxsneli poeturi saxeebia, imdeni saidumloa maTSi dafaruli, swored am siRrmeebiT gvizidavs, leoniZec amas gulisxmobda. galaktionis poeziaSi jer marto imdenad mravalferovani musika da ritmia, TavisTavad, Tundac am mxriv didia misi gavlena, amas verc uarvyofT da verc gverds avuvliT. Tqven uamrav adamianTan gqondaT urTierToba, aseve bevri ramis momswre xarT, iyo dro, roca galaktions xvdebodiT quCaSi Tu veris xidze, axla `sxva xalxis

tone. Yet the tonality of this poetic requiem is not monotonous – it fluctuates, with moments of Vakhtangian lightness and joy emerging amidst the sorrow.

Who else has told the biography of their love with such trembling emotion, such unguarded sincerity, such meticulous devotion, and yet with such delicacy? Within these lines are countless stories and characters – the entire flow of a lifetime, the currents of a whole era.

And in the end, an unexpected twist – a conclusion unusual for an elegy: a pigeon-gray sky and a sky-blue pigeon.

“A writer = talent + toil + wife.” That is your formula. A poet is an unusual being, with a unique inner world, temperament, way of thinking, and character – surely, being married to one cannot be easy.

You said Elegy: Necklace took ten months to write, yet the poem unfolds an entire lifetime, woven with astonishing tenderness and depth of feeling, flowing with memories. When you placed the final punctuation mark, did you feel that this poem was something wholly new within poetry – perhaps even the first lament written by a man?

A poet’s wife can either save him or destroy him – but not just a poet, a president, or any other man as well. For instance, Murman Lebanidze was my dearest friend for half a century, my son’s godfather. Being his wife was no easy task – his spouse showed remarkable resilience. They were a brilliant partnership, a testament to how a woman can save a poet. And Murman knew Lena’s worth well – that’s why he wrote for her:

foto niko kecxovelisa

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ismis aq Jriamuli...“ Tqven Tvalwin Seicvala droeba, saqarTvelo damoukidebeli qveyana gaxda. ras fiqrobT, Seicvala rame Cvens azrovnebaSi? rac adre miuwvdomeli iyo, axla ufro advilad misawvdomia. bevri ram Seicvala Tundac literaturis sferoSi, axla yvelaferi iTargmneba originali enebidan, rasakvirvelia, meti Tavisuflebaa, aRar aris is Caketiloba, rac Zalian zRudavda adamianebs. aman ar SeiZleba, nayofi ar gamoiRos da Cvenze ukeTesi mwerlebi ar movidnen. Cvens TavebSi cenzori ijda, aseT qveyanaSi mogviwia cxovreba. zogadad ki amas vityvi: Tavisufal saqarTveloSi, Cemi fiqriT, gacilebiT meti siyvaruli unda gamogveCina erTmaneTisadmi. damoukideblobaSi meti ufleba gvaqvs, rom urTierTobisas ufro gulwrfelebi viyoT adamianebi. jer mxolod Tavisufal qveyanaSi cxovrebis gardamaval periodSi varT, albaT, jer damoukideblobas vswavlobT da veCveviT. 35 weli araa didi dro. elegia elegiuri lirizmisa da postmodernuli elementebis Serwyma, reqviemis naRvliani melodiuroba da feradi efemerebis virtuozuli bgerwera. `elegia: yelsabami~ erTi didi natiralia da zogjer Znelia garkveva, leqsia, poema Tu sruliad sxva, axali poeturi Janri, Tumca TviTon poeti lirikul poemas uwodebs. colze leqsi rogor ar dauweriaT, magram aseTi mZafri SegrZnebebiTa da gancdebiT namdvilad ar maxsendeba. fSav-xevsureTSi, mTiuleTsa da TuSeTSi xmiT natirlebis, igive samgloviaro poeziis SesaniSnavi da mdidari folkloruli nimuSebia Semonaxuli. oRond egaa, rom mTaSi qalisgan qmris datireba miuRebeli iyo, Svils daitirebda, Zmas, naZmobsac, axlobels, magram qmars ara, ar SeiZleboda, adgilobrivi adaTiT, es ar iyo wesi. `elegia~ amiTac aris gamorCeuli da gansakuTrebuli, rom amjerad cota ucnauri ram moxda _ kacma coli daitira, Tan xmamaRla, yvelas gasagonad, sxvebs gaumJRavna, rac mis gulSi didxans farulad duRda da trialebda. es leqsi aris vaxtang javaxaZis `siyvarulis mesiji~, erTgvari aRsarebacaa, gulis gadaSlac, gamxela, gaziareba, gandoba. amxela dardi, amxela tkivili, amxela wuxili, amxela siyvaruli, aseTi Rrma fiqri da grZnoba, gancda, monatreba, sinanuli, mamakacisgan aseTi sifaqiziTa da emociiT, aseTi bavSvuri uSualobiTa da gulwrfelobiT gamoxatuli, marTlac ucxo da uCveulo aRmoCnda mkiTxvelisTvis. leqsSi lirikisTvis, zogadad poeziisTvis damaxasiaTebeli `pirovnuli me~ daCrdilulia, ukana planzea gadaweuli da umTavresi xdeba `Sen, SenTvis, Seni~ _ `mxolod SenTvis da SenTvis da SenTvis _ aRaravisTvis aRar mcalia~. meore pirSi mimarTva,

garda imisa, rom saocar intims qmnis, TiTqos zRvars Slis am samyarosa da miRmiurs Soris, warsulsa da awmyos Soris, radgan maT (`me~ da `Sen~) `misjili” aqvT erTmaneTi. vaxtang javaxaZem erTi SexedviT prozauli da wvrilmani detalebi poeziad gardaqmna, leqsSi ojaxuri `saknis~ mTeli interieri, yvela nivTi da sagani gasulierebulia, poetis dardis Tanamonawilea da CarTulia am erTdroulad uxilav da xilul dialogSi, `icremlebian fanjrebi~, `yvelaze metad yelsabams uWirs~…xsovna da mogonebebi yvelaferSi nawildeba, yovlismomcvelia. ramdenime xnis distanciam da fizikurma daSorebam sulierad is TiTqos ufro miaaxlova da daaaxlova sayvarel adamianTan, ufro gaamZafra, ufro mkafio gaxada warsulis yoveli kadri; TiTqos ukeT dainaxa, ukeT Seicno, SeiZleba iTqvas, Tavidan aRmoaCina da mTlianad misma xsovnam Seipyro. leqsis saTauri Tavidanve migvaniSnebs da gasagebia, rom mTliani foni da ganwyoba elegiur-minorulia, Tumca am poeturi `reqviemis~ tonaloba ar aris erTferovani, cvalebadia da minors adgil-adgil enacvleba `vaxtanguri” silaRe da sixalise. sxva vin gviambobs Tavisi siyvarulis biografias ase mRelvared, ase gulwrfelad, ase saguldagulod da, imavdroulad, ase delikaturad? aqaa uamravi ambavi da personaJi, mTeli cxovrebis, mTeli Tanamedrove epoqis mdinareba da bolos elegiisTvis uCveulo finali moulodnelobis efeqtiT _ mtredisferi ca da cisferi mtredi-qedani. `mwerali = niWi + ofli + coli.~ es Tqveni formulaa. poeti Taviseburi adamiania Tavisi gansakuTrebuli Sinagani samyaroTi, ganwyobiT, azrovnebiT, xasiaTiT, amitom vfiqrob, rom advili ar unda iyos misi coloba. `elegia: yelsabami~ aTi Tve iwerebodao, _ ambobT, leqsSi TiTqmis mTeli cxovrebaa ganfenili grZnobebis saocari sinaziTa da siRrmiT, mogonebaTa nakadiT. roca bolo wertili dasviT, fiqrobdiT, rom es leqsi iyo poeziaSi mravalmxriv sruli siaxle, Tundac manamde ararsebuli mamakacis natirali? poeti SeiZleba colma gadaarCinos da SeiZleba daRupos kidec, marto poeti ki ara, prezidenti da nebismieri sxva adamianic. mag. murman lebaniZe iyo Cemi uaxloesi megobari naxevari saukunis ganmavlobaSi, Cemi Svilis naTlia, misi meuRleoba marTla ar iyo advili, Tundac janmrTelobis gamo xSirad gansakuTrebuli yuradReba sWirdeboda da lena WavWavaZem, misma colma Zalian didi gmiroba Caidina. saerTodac es iyo SesaniSnavi tandemi da magaliTi imisa, qalma rogor gadaarCina murmani, rogorc poeti. murmanma, rasakvirvelia, kargad icoda lenas fasi, amitomac dauwera `gazafxuli Semosula, len...“ rac Seexeba Cems meuRles, is yvelanair pirobas miqmnida,

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rom mSvidad memuSava, yovelTvis mexmareboda wignebis koreqturebis gasworebaSi. jer me gadavxedavdi da sabolood mas mivandobdi xolme. `elegia~ rom davwere, 83 wlisa viyavi, Cemi meuRle axali gardacvlili iyo. erTad yofnisas wvrilmanebs yuradRebas ar vaqcevdi, ar vukvirdebodi da me TviTon ar megona, rom gardacvalebis Semdeg yvelaferi, yvela misi nivTic ki aseTi sayuradRebo iqneboda. gasagebia am leqsis popularoba, gasagebia, Tu ratom Seiyvara mkiTxvelma, mamakacis mier gardacvlili qalisadmi interesi da siyvarulis gacxadeba iSviaTia. poezias isedac ar hyavs bevri mkiTxveli da vfiqrobdi: xuTasstriqonian leqss vin waikiTxavs-meTqi, magram piriqiT moxda. mTeli cxovreba vocnebobdi, rom sxvanairi leqsi (levan bregaZe) damewera da bolos da bolos 80 wels gadacilebulma davwere `sxvanairi leqsi“. `siyvaruli~ sauRleblad rTuli zmnaa, warsuli martivi araa, awmyo TxrobiTia da momavali _ pirobiTi“, _ es Jan koktos sityvebia da, cxadia, frangul enas gulisxmobs. qarTul enaSi ki `siyvaruls~ wyvetili e.i. dasrulebuli dro ar aqvs, awmyoSi subieqt-obieqti mWidrodaa erTmaneTSi gadaxlarTuli. miyvardi, miyvarxar, meyvarebi _ esaa sul da zustad Seesatyviseba vaxtang javaxaZis sulier mdgomareobas.

“Spring has arrived, Len…” As for my own wife, she created every condition for me to work in peace. She always helped me with proofreading my books – I would do the initial review, but in the end, I entrusted her with the final check.

When I wrote Elegy, I was 83 years old. My wife had only recently passed away. While she was alive, I never paid attention to the small things – I never observed them closely. I had never imagined that after her passing, everything, even the tiniest of her belongings, would become so significant.

It is no surprise that this poem resonated so deeply with readers. It is rare for a man to openly declare his love and sorrow for a deceased wife. Poetry already has few readers, and I wondered – who would read a five-hundred-line poem? But the opposite happened. All my life, I had dreamed of writing a different kind of poem (as Levan Bregadze put it). And finally, at over eighty years old, I did – I wrote a different kind of poem.

“The verb ‘to love’ is difficult to conjugate: its past is not simple, its present is only indicative and its future is always conditional.” Jean Cocteau said this, referring to the French language. But in Georgian, love has no perfective, no final, completed tense. In the present, subject and object are inseparably intertwined. I loved you, I love you, I will love you – this is all there is. And it perfectly reflects Vakhtang Javakhadze’s state of being.

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SOPHIKO KEBURIA

sofiko qeburia

mogvTa ferxuli THE MAGI'S DANCE “He who saw all, who was the foundation of the land, Who knew (everything), was wise in all matters.

Who saw all, who was the foundation of the land, Who knew (everything), was wise in all matters.”

igi iyo, romelman yoveli ixila qveynis sazRvramde, ganicada yoveli, iswavla yoveli, erTbaSad gansWvrita yoveli saidumlo, _ sarqveli sibrZnisa, romeli yovelsa dahfaravs. ase iwyeba `gilgameSiani~. aseTive dinji, auCqarebeli, brZnuli da yovlismomcveli saxe-xatebiT `gvesaubreba~ zaza berZeniSvili. mxatvari mediumiviT `iZaxebs~ Soreuli warsulidan Sumerul, aqadur Tu asurul kerpebs da suraTze aRmarTavs. diax, sworedac rom aRmarTavs, radgan misi gmirebi monoliTuri menhirebiviT dganan garindulni. mxatvari aCerebs dros. suraTi kosmiuri mexsierebis mcveli am ieratikuli arsebebis maradiuli saarsebo garemoa. isini ise mkacrad Semogvcqerian Tvalis ugugo upeebiT, TiTqos drom sadRac siRrmeSi, Sida SreebSi CaZira, daSrita maTi mzera. da mainc iseTi SegrZnebaa, TiTqos Cven ki ar vucqerT, aramed isini gvakvirdebian. oRond gvxedaven kia? ra viciT, maTi gadmosaxedidan qviSis marcvlebad movCanvarT albaT, wuTisoflis warmaval, droebiT stumrebad. aba, raa kerpisTvis maradisobasTan Sexebis surviliT mis win mdgomi erTi kerZo adamiani? dganan ase garindulni babilonis dRisa Tu Ramis mcvelebi, niSnebad qceulni, maTgvarive miTuri niSan-cxovelebis TanxlebiT. uZravad ki arian gaxevebulni, magram xelebi rom frTebs miugavT? ooo, egec ician! egec gamoucdiaT! TiTqos maTzea naTqvami: `igi iyo, romelman yoveli ixila qveynis sazRvramde, ganicada yoveli, iswavla yoveli, erTbaSad gansWvrita yoveli saidumloo...~ ra saidumlos inaxaven babilonis mcvelebi? ra ician iseTi, rac cirkis jambazebsac SeutyviaT? arc akrobatebs SerCeniaT miwieri mzera, aki aiqnies kidec frTebiviT xelebi, aki mowyda kidec erTi maTgani ferxuls da cad aiWra! mTvarec ki iseTsave ieroglifs daemsgavsa, babilonis Ramis guSags rom unaTebs zecas. ara, maT sxva ferxuli aqvT gamarTuli, sxva ganzomilebaSi. arena samyaros modelad qceula, mwvane niadagiTa da wiTlad mRviare zeciT. imaginaciuri cirkis msaxiobebi mistikur rituals atareben. oRond egaa, sevdac axlavs personaJebis moqmedebas da ritualisTvis gankuTvnili sagangebo koncentraciac. aramiwieri `anatomiiT~ nagebi,

This is how The Epic of Gilgamesh begins. With the same calm, unhurried, wise, and all-encompassing imagery, Zaza Berdzenishvili “speaks” to us. Like a medium, the artist “summons” Sumerian, Akkadian, and Assyrian idols from the distant past and raises them onto his canvas. Yes, raises, for his figures stand still and monolithic, like ancient menhirs. The artist halts time. The painting becomes the eternal dwelling of these hieratic beings, guardians of cosmic memory. They gaze at us sternly with their pupil-less eyes, as if time has sunk into the depths, dissolved their sight. And yet, one feels that it is not we who observe them, but they who scrutinize us. But do they truly see us? Who knows? From their perspective, we must appear as mere grains of sand – fleeting visitors in the passage of time. After all, what is a single individual, standing before an idol in a longing to touch eternity? And so they stand, frozen – the guardians of Babylon’s day and night, turned into signs, accompanied by their own mythical symbolic creatures. They remain motionless, rigid – but their hands resemble wings. Ah, they know that too! They have experienced it! As if the words were meant for them: "He who has seen everything to the ends of the world, who has endured all, learned all, and at once perceived every secret”.

What secrets do the guardians of Babylon hold? What do they know that even the circus clowns have learned? The acrobats have also lost their earthly gaze; they even waved their wing-like hands, and one even broke free from the circular dance and soared into the sky. The moon, which illuminates the sky for the nighttime guardian of Babylon, resembles such a hieroglyph. No, they have a different kind of dance, in another dimension. The arena has transformed into a model of the universe, with green soil and a sky gleaming red. The imaginary circus performers are performing a mystical ritual. However, the actions of the characters are accompanied by a special concentration intended for the ritual, as well as melancholy.

Built with an unearthly anatomy, the awkward movements of disproportionately shaped bodies characteristic of naive art remind us of prehistoric abstract figures. At the same time, with their hands raised high, they evoke the ancient type established in Christian iconography – the praying Orant. They are stripped of specific

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jambazi; qaRaldi, pasteli, 48X36 sm.

CLOWN; PASTEL ON PAPER, 48X36 CM

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cirki; qaRaldi, Sereuli teqnika; 40,5X45 sm. 2000 weli

naivurad uproporcio sxeulebis uxerxuli moZraobebi preistoriul abstragirebul figurebs gvagoneben. amavdroulad, maRla aRpyrobili xelebiT isini qristianul ikonografiaSi damkvidrebul uZveles tips, mlocvel orantas gvaxseneben. konkretuli TxrobiTi detalebisgan daclilebs, maT mxolod arsebiTi sazrisi SerCeniaT. es sazrisi ki uzenaesi sibrZnis TayvaniscemaSia. zaza berZeniSvilis bazilika gana alagia Tayvaniscemisa? ganmartoebiT mdgomi, is Tavadac adorants emsgavseba, mavedrebelsa da madidebels _ swored orantas

CIRCUS; MIXED MEDIA ON PAPER; 40.5X45 CM. 2000

narrative details, and now only an essential meaning remains.

This meaning lies in the worship of supreme wisdom. Is Zaza Berdzenishvili’s basilica a place of worship? Standing alone, it resembles an adorer itself, a supplicant and glorifier – exactly the epithets of the Orant: “Immovable Wall”, “Unshakeable Column”, “Indestructible Barrier” (the Akathist Hymn to the Virgin Mary, 12).

Zaza Berdzenishvili’s basilica occupies the entire picture, leaving no space other than that for worship. And however strange it may sound, this unbrokenness of the simple, plain altar is not in a material, solid, and clear objecthood, but rather, conversely, in its untouched, intangible, dreamlike, or metaphysical form.

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Jarji Balanchivadze once said that painting begins only when color is understood as the living light radiating from the spiritual. The color of Zaza Berdzenishvili is indeed luminous, radiant, and deep, with a texture that is soft, rich, multi-layered, enriched with contrasts and gradations. And although pastel belongs to graphics and most of the artist’s works are executed on paper or cardboard, they remain painterly!

Zaza Berdzenishvili plays with forms with heartfelt enthusiasm, as if he is stacking pieces of a construction on top of one another. These

epiTetebia: `urRvevi kedeli~, `Seuryeveli godoli~, `daurRveveli zRude~ (RvTismSoblis daujdomeli, ikosi 12). zaza berZeniSvilis bazilika mTels suraTs ikavebs, sxva sivrces ar tovebs, garda Tayvaniscemis sivrcisa. da rogor ucnauradac ar unda JRerdes, am ubralo, sada saydris gautexeloba ara materialur, mtkice da cxad sagnobriobaSi, aramed sworedac, rom sapirispirod _ mis xelSeuxebel, mouxelTebel, sizmriseul Tu metafizikur saxe-xatSia.

TamaSi mzeze; qaRaldi, pasteli; 31x35 sm. 2017 weli

PLAYING IN THE SUN; PASTEL ON PAPER, 31X35; 2017

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jarji balanCivaZes uTqvams _ ferwera iwyeba mxolod maSin, rodesac ferSi gagebulia sulieri naTlisagan gamosxivebuli cocxalio. zaza berZeniSvilis feri swored Suqmfenia, sxivosani da Rrma, faqtura _ rbili, msuye, mravalSriani, kontrastebiTa da gradaciiT gamdidrebuli. da Tumca pasteli grafikas miekuTvneba da mxatvris namuSevarTa umetesoba qaRaldze an muyaozea Sesrulebuli, mainc ferwerulia!

zamTari; tilo, zeTi; 55 X 60 sm; 2009 weli

figures, with the simultaneity of profile and full face, conditionality, and generalization, remind us of prehistoric Cypriot idols. At the same time, they strongly resemble a child’s toy, with colorful rings stacked on an axis. And so what if they are statically frozen – the image still lives and radiates joy. Here, vibration is achieved due to the sunny color and the greasy, rich, uneven texture of the pastel. The lower layer of color “supports the back” of the upper layer of another color, reveals its transparency, and gives depth to the object or background.

WINTER; OIL ON CANVAS, 55X60 CM; 2009

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saxlebi; qaRaldi, pasteli, 42X42 sm. 2023 weli

zaza berZeniSvili gulwrfeli gatacebiT TamaSobs formebiT, TiTqos erTmaneTze alagebdes konstruqciis nawilebs. es figurebi, profilisa da anfasis erTdroulobiT, pirobiTobiTa da ganzogadebiT winaistoriul kviprosul kerpebs mogvagoneben. amave

HOUSES; PASTEL ON PAPER, 42X42 CM. 2023

The objects in Zaza Berdzenishvili’s still lifes share the same principle – the layers of color in their bodies are transparent. A different color shines through from within. It’s as if beneath the “emerged” still life there’s another, identical in shape but different in color. The upper layer rests like mist or a veil over the lower one.

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dros, Zalian hgvanan bavSvis saTamaSosac, RerZze asxmuli feradi rgolebiT. da mere ra, rom statikurad ganabulan – suraTi mainc cocxlobs, sixaruls asxivebs. aq vibracia mziani ferisa da pastelis cximiani, msuye, araTanabari

babilonis Ramis mcveli; qaRaldi, pasteli, 53X50 sm. 2004 weli

Perhaps through this method, the artist hints at the ephemeral nature of the material world. Or perhaps it’s about the variability of the decisions made during the creative process. Either way, these colorful layers add an extra depth and mysterious aura to the objects. Their

NIGHT GUARD OF BABYLON; PASTEL ON PAPER, 53 X 50 CM. 2004

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lurji sufra da feradi WurWeli; tilo, zeTi; 46x46 sm. 2023 weli

faqturis wyalobiT miiRweva. feris qveda Sre `zurgs umagrebs~ sxva feris zeda fenas, mis gamWvirvalobas avlens da sagansa Tu fons siRrmes aniWebs. amave princips iziareben sagnebi zaza berZeniSvilis naturmortebze _ maTi sxeulebis feradovani fenebis wyeba gamWvirvalea. siRrmidan sxva feri sWvivis. TiTqos

BLUE TABLE AND COLORFUL DISHES; OIL ON CANVAS, 46 X 46 CM. 2023

significance is already emphasized by the exaggerated scale, as they fill the picture from “bottom to top.”

Zaza Berdzenishvili’s figures are so stylized that in the end, the composition takes on an abstract appearance. The contrast of light and dark transforms into energy. Zaza Berdzenishvili’s painting creates an emotional sense of depth and multi-layered vastness. His

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bazilika; tilo, zeTi; 59X59 sm. 2023

zedapirze `amosuli~ naturmortis qveS kidev erTi naturmortia, formiT identuri, feriT ki gansxvavebuli. zeda Sre burusiviT Tu vualiviT efineba qvedas.

SesaZloa, am xerxiT, mxatvari materialuri samyaros efemerulobas migvaniSnebs. an iqneb, SemoqmedebiT procesSi miRebul gadawyvetilebaTa cvalebadobaSia saqme? asea Tu ise, es feradovani Sreebi sagnebs damatebiT

BASILICA; OIL ON CANVAS; 59X59 CM. 2023

works combine sensory and conceptual aspects, allowing the viewer to perceive the image both intellectually and visually. In conveying mood and atmosphere, the feeling of mystery is intensified by the silence of the night. The moon is the confidante of the ritual or action being played out in the picture. Sometimes, an object is so charged by the moonlight that it competes with it and itself transforms into a source of light.

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gansakuTrebul siRrmes, idumal auras sZenen. maTi mniSvnelovaneba xom isedac xazgasmulia gazviadebuli zomiT, Ziridan `Weramde~ rom avsebs suraTs. zaza berZeniSvilis figurebi imdenadaa stilizebuli, rom sabolood, kompozicias abstragirebuli ieri eniWeba. naTelisa da bnelis kontrasti energiad gardaiqmneba. zaza berZeniSvilis mxatvroba qmnis siRrmisa da mravalSriani sivrcis emociur gancdas. misi namuSevrebi

naturmorti; tilo dakruli muyaoze, zeTi; 30X30 sm. 2008

The “White Horse” is located beyond any specific address or geographical coordinates. This is the artist’s imagined world. Zaza Berdzenishvili offers us a fusion of symbolic and emotional elements.

In many cultures, the horse is considered a symbolic boundary between the spiritual and earthly realms. The calmly standing horse in the mysterious landscape (usually representing strength, freedom, and grace) evokes a feeling of purity, transcendence, peace, solitude, and hope. The silence of the night may also point to a personal, inner

STILL-LIFE; OIL ON CANVAS MOUNTED ON CARDBOARD, 30X30 CM. 2008

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naturmorti xiliT; qaRaldi, pasteli, 49x49 sm. 2024 weli

aerTianebs mgrZnobelobiT da konceptualur aspeqtebs, rac mayurebels saSualebas aZlevs, erTdroulad gonebiTa da vizualurad aRiqvas suraTi. ganwyobisa da atmosferos gadmocemisas, idumalebis gancdas Ramis siCumec amZafrebs. mTvare mesaidumlea im ritualisa Tu qmedebis, rac suraTze TamaSdeba. zogjer sagani ise

STILL-LIFE WITH FRUITS; PASTEL ON PAPER; 49X49 CM. 2024

journey, not only a physical one but also a metaphysical or existential one, reflecting on the unconscious paths from consciousness to subconsciousness. The night environment further intensifies this dreamlike mood, yet the horse’s white, radiant color gives a sense of hope for a peaceful exit.

The generation of Georgian artists from the 70s-80s (Irakli

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imuxteba mTvaris SuqiT, rom masac ki uwyebs paeqrobas da Tavadac sinaTlis wyarod gardaiqmneba. `TeTri cxenis~ garemo yovelgvari konkretuli misamarTis, geografiuli koordinatebis miRma mdebareobs. es xelovanis warmosaxviTi samyaroa. zaza berZeniSvili aq simboluri da emociuri elementebis Serwymas gvTavazobs. bevr kulturaSi cxeni ganixileba, rogorc simboluri mesazRvre sulier da miwier samyaroTa Soris. idumal landSaftSi mSvidad mdgomi cxeni (Cveulebriv, simZlavris, Tavisuflebisa da graciozulobis gansaxiereba), siwmindis, transcendenturobis, mSvidobis, martoobisa da imedis gancdas gviqmnis. SesaZloa, Ramis siCume piradul, Sinagan mogzaurobazec miuTiTebdes, ara mxolod fizikur, aramed metafizikur an egzistencialur mogzaurobaze, refleqsiaze, cnobieridan qvecnobierisken gaukvalavi gzebiT svlaze. Ramis garemo am sizmriseul ganwyobas

TeTri cxeni; tilo dakruli muyaoze, zeTi, 30X40 sm 2008 weli

Parjiani, Irakli Sutidze, Anton Balanchivadze, Kako Topouria, Zaza Berdzenishvili, etc.) is characterized by working on the border between abstraction and figuration. Their art is technically distinguished by the exploration of space, color, and texture. They commonly present the artistic object in a somewhat naïve method, slightly deformed, exaggerated, enlarged, and shown frontally, imbuing it with dramatic – epic or mystical grandeur. More precisely, they highlight the inherent meaning already embedded in the object, emphasizing the idea. This view in our tradition can be traced back to medieval Georgian monumental painting or iconography. Later, it is linked through the creative beliefs of artists like Pirosmani and Vera Pagava, turning into a chain thanks to the works of these mentioned artists. This has become a tradition, “translated” into contemporary artistic language and enriched with broad, almost mythical allusions.

Zaza Berdzenishvili’s art has an amazingly clear, delicate, and tender expressive language, heartwarming and joyous. He is the same – humble, modest, carrying the dignity and wisdom.

HOUSE; OIL ON CANVAS MOUNTED ON CARDBOARD; 30X30 CM. 2008

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muSaoba. maTi ferwera, teqnikuri TvalsazrisiT, xasiaTdeba sivrcis, ferisa da faqturis kvleviT. maTTvis saerToa mxatvruli obieqtis naivuri meTodiT, ramdenadme deformirebulad, gazviadebulad, gamsxvilebuli formiT da frontalurad warmoCena, misTvis dramatuli _ epikuri Tu mistikuri sidiadis

kidev ufro amZafrebs, Tumca cxenis TeTri, Suqmfeni feri samSvidobos gasvlis imeds gisaxavs. qarTveli mxatvrebis 70-80-ianelTa Taobis erTi nawilisTvis (irakli farjiani, irakli suTiZe, anton balanCivaZe, kako Tofuria, zaza berZeniSvili...) damaxasiaTebelia abstraqciasa da figuraciis zRvarze

boTlebi da Wiqa tilo, zeTi, 60,5X60 sm. 2023 weli

HOUSE; OIL ON CANVAS MOUNTED ON CARDBOARD; 30X30 CM. 2008

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seriidan „boTli da Wiqa“; tilo dakruli muyaoze, zeTi, 30X30 sm. 2008 weli

miniWeba. ufro sworad, am obieqtSi isedac arsebuli, kodiviT Cadebuli TavisTavadi mniSvnelobis win wamoweva, ideis xazgasma. CvenSi msgavsi xedva saTaves Sua saukuneebis qarTuli monumenturi mxatvrobidan Tu xatweridan iRebs. SemdgomSi firosmanis, mogvianebiT ki vera faRavas SemoqmedebiT mrwamsze gamavali es xazi swored xsenebuli mxatvrebis Semoqmedebis wyalobiT

FROM THE SERIES “BOTTLE AND GLASS”; OIL ON CANVAS MOUNTED ON CARDBOARD, 30X30 CM. 2008

gardaiqmneba jaWvad. es ukve tradiciaa, Tanamedrove mxatvrul enaze `naTargmni~ da farTo, lamis miTuri aluziebiT gamdidrebuli. zaza berZeniSvilis mxatvrobas saocrad wrfeli, faqizi, saTuTi sametyvelo ena aqvs, gulSi Camwvdomi da sixarulis momgvreli. Tavadac aseTia, Tavmdabali, sada da moridebuli, mokrZalebuli Rirsebisa da sibrZnis matarebeli.

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NANA MELITSKAURI

nana meliwkauri

ara mowme, aramed monawile...

AN INSIDER, NOT AN OUTSIDER gasuli wlis dekembris miwuruls, Cemi Zmadnafici iura rosti iyo TbilisSi Camosuli moskovidan, baqos gavliT. saqarTvelos patriarqs, ilia meores, ocdarva wlis win misi aRsaydrebis dRes gadaRebuli foto Camoutana saCuqrad. saRamos aTi saaTisTvis migviwvia uwmindesma. rogorc yovelTvis saocari simSvidiT, sibrZniTa da raRac CvenTvis miuwvdomeli, gamoucnobi RvTiuri ZaliT iyo gasxivosnebuli saqarTvelos patriarqi. es madli Cvenzec gadmodioda. SuaRame axlovdeboda, uxmod davtoveT sapatriarqo da aseve uxmod CavsxediT manqanaSi. telefonma dareka. Wabua amirejibis meuRle _ Tamar javaxiSvili, SesaniSnavi qalbatoni, poeti da mTargmneli, saxlSi gvepatiJeboda. ramdenime wuTSi maTi mravalsarTuliani korpusis SesasvlelTan gavCndiT. liftis kari gaiRo da pirdapir Wabuas binaSi _ binaSi ki ara, wignebiT gamovsebul oTaxSi aRmovCndiT... savarZelSi ijda... lamazi, Zlieri... Seudarebeli... qveda tuCTan bavSvuri Rimilis msgavsi dasTamaSebda... gvirgvini aklda da nebismieri qveynis samefo taxts daamSvenebda. wamoimarTa, erTi boTli qinZmarauli gadmoiRo da magidaze dadga. stumarma, amdeni emociiT aRsavsem, mTeli boTli martom gamocala... sadRegrZeloebsac marto ambobda, aba, Cven samni ar vsvamdiT da... aRtacebuli, Cafiqrebuli vuyurebdi Wabuas _ es silamaze marto Cven ar gvekuTvnoda... is sxvasac unda enaxa da gaeziarebina, sanam istoriis nawilad iqceoda, raRac aucileblad unda momemoqmeda. ase aqedan wasvla ar SeiZleboda, amas naTlad vgrZnobdi... magram ra?.. telefoni TviTon Semomicurda xelSi. miuxedavad imisa, rom SuaRame karga xnis gadasuli iyo Cems ufros vaJs giorgis davureke da vTxove oTxive SviliSvili moeyvana. ai, is fotoc... rodesac saxlSi vbrundebodiT, iuram miTxra: Какой волшебный день! me Cavilaparake: ho, ori patriarqis naxva erT dRes metismetia... zmanebas ufro hgavs... gogi xarabaZe mwerali da sazogado moRvawe, daibada 1921 wels. misma…axalgazrdobam da yrmobam bolSevikebis teroris pirobebSi gaiara. 1937 wlis represiebma imsxverpla mSoblebi, uaxloesi naTesavebi... Tavadac represirebul

I recall late December last year. My blood brother Yuri Rost arrived in Tbilisi from Moscow via Baku. He was carrying a photo of His Holiness and Beatitude Ilia II on the day of his enthronement 28 years ago. The Catholicos Patriarch received us by 10.00 p.m. We felt an absolute calmness, wisdom and profoundly unfathomable divine force radiating from him and engulfing us too. At the stroke of midnight, we left the Patriarchate in silence and in silence got into the car. Then a telephone rang. It was Chabua Amirejibi’s wife – Tamar Javakhishvili, a remarkable lady, poet and translator inviting us to her home. A few minutes later we pulled up at the entrance of a multistorey building. The elevator doors parted and we stepped directly into Chabua’s flat – rather a room tightly packed with books…

He sat motionless in an armchair… elegant, forceful… unsurpassed… a childish sort of smile lingering on his lower lip…

It seemed he lacked only a crown to claim a royal throne. Then he rose, got a bottle of Kindzmarauli wine and put it on the table.

Overwhelmed by a full spectrum of emotions our guest emptied it alone. And toasts too he pronounced alone…

I gazed at Chabua worshipfully and reflectively – his elegance did not belong only to us, it was something others too had to see and admire. I felt I had to act on impulse to arrest this moment somehow and keep it from slipping into history. But what could I do? And then I remembered a telephone, rather, it found its way into my hand and though it was well after midnight I rang my elder son Giorgi and asked him to bring all four of my grandchildren. Here is a photo capturing those moments…

On our way back home Yuri uttered: What a miraculous day! In reply I told him that to meet two patriarchs within a short space of one day was indeed only something we could have seen in a vision, maybe…

Gogi Kharabadze

Writer and public figure, he was born in 1921. His youth and adulthood passed under the reign of Bolshevik terror. He lost his parents and close relatives to the 1937 political repressions. Later he himself fell victim to terror and was sentenced to twenty-five years imprisonment. He did sixteen years in prisons and camps… escaped three times… was twice sentenced to death by firing…

His flat is on the ninth floor… to get to know him better you must peer into his room jam-packed with books, memoirs, photos of his close friends – Irakli, Nodar Chkaidze, Guram Rcheulishvili, Rezi

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Tvaradze…The complete calmness in this room seems immune to the fuss of every-day life. Outwardly quiet, though, this room keeps a vivid memory of the gamut of emotions: love, sorrow, tears, and laughter…Even muses become calm and graceful in this room…

Thoughts land on paper and then, dressed up in words, take a short halt before reaching the reader.

Chabua Amirejibi always keeps himself busy. He believes that “action is the key to longevity”… Time seems to have lost its remorseless battle with his extraordinary charm…

A small board acts as a mediator between us – he scribbles on it, I read – it’s an unusual form of conversation and a very interesting one.

iqna _ ocdaxuTi wliT patimroba miesaja. cixeebsa da banakebSi gaatara Teqvsmeti weli... samgzis gaiqca... orjer daxvreta miusajes... misi bina mecxre sarTulzea... Tu ginda adamiani gaicno, aucileblad unda naxo misi oTaxi _ wignebiT, mogonebebiT da axloblebis fotoebiT savse _ irakli, nodar CxeiZe, guram rCeuliSvili, rezi TvaraZe... iseTi simSvidea, ifiqreb aq amqveyniuri oromtriali ver aRwevso, Tumca am oTaxs axsovs, siyvaruli, fiqri, dardi, cremli da sicili... aq muzebic ki mSvidi da feeriulia... fiqrebi qaRaldze eSvebian da striqonebad qceulni isveneben mkiTxvelTan misvlamde. batoni Wabua, rogorc yovelTvis, saqmianobs, radgan miaCnia, rom _ `saqme sicocxles axangrZlivebs~... mis gamorCeul Sarms drom marTlac veraferi daaklo.

Cveni Suamavali patara dafaa _ is wers, me vkiTxulob, _ uCveuloa da Tanac saintereso. winaprebi: `iseT ojaxSi da garemoSi gavizarde, sadac samSoblos winaSe valis moxdaze aravis uTqvams uari, ufro metic, Cemi naTesavebisa da ojaxis wevrebis umravlesoba swored samSoblos samsaxurs Seewira... mamaCemis Taoba hgavda gaqurdul, dediSobilad

Ancestors: “I was brought up in a family and milieu where no one could shrink from the duty to their own country. Furthermore, a large majority of my relatives and family members made the ultimate sacrifice of their lives for the cause of their homeland…

My father’s generation was like a burglar robbed and stripped naked and looping a rope round his own neck …When speaking about parents one risks going to extremes, but I’ll try to be impartial…What set my father apart from others is that he instilled in me a belief that I was not only my father’s and my mother’s son, rather, I descended from my forefathers and the whole nations. I was, therefore, beholden to go to every length to put all my talents to the use of my country and its welfare now and afterwards. Only thus can we repay our debt to our parents, forefathers and the nation as a whole. My grandma imparted the same wisdom to me, but she derived this wisdom from fairytales and the rules of conduct governing human relations.

My mother and father, both equipped with an excellent education, belonged to renowned families having left their lasting mark in history. But let me drop this serious tone for a while and tell you something about my parents’ truly significant deed: they named their first daughter after Alexander the Great’s mother, Natia Amirejibi, and though baby Natia died while she was nine months old, my parents did not hesitate to give their other daughter the same name, so all the credit for reviving Natia name in Georgia goes to my parents’.

Kinship: “We were a very close-knit family, tied with strong bonds of gentle love and tenderness. While my mother and I were serving our prison sentences, my sister Natia was cared for by my aunts. At that time my elder sister Rodam lived in Moscow. It is thanks to her and my aunt, the actress Tsatsa Amirejibi, that we managed to get ourselves out of the ordeal and survive. After our release from prison Aunt Tsatsa took us in before we could get back our confiscated homes. I can give another vivid example of this deep kinship: when Natia grew into adulthood and got a job at the cinema studio she sold two pieces of her coat fabrics and gave my aunt the money to supply me with food parcels in prison.

What else can I tell you? Rodam died as she turned eighty. Natia holds a doctorate of Arts. As for me, I have a severe knee problem that has turned me into a cripple. I can’t even drag my feet to the

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datovebul yaCaRs, romelsac sakuTari xeliT Sekrul yulfSi hqonda Tavi gayofili... _ mSoblebze saubarma, maTi Rirsebebis aRniSvnam ukiduresobaSi gadavardna icis, Sevecdebi miukerZoebeli viyo. isini ki, gansakuTrebiT mama, sxvebisgan imiT gamoirCeoda, rom bavSvobaSive Camagona, _ icode, Sen mxolodRa mamis da dedis Svili ara xar, Cven yvela Cveni winaprebis, mTeli qarTveli eris Svilebi varT da valad gvawevs Cveni yovelnairi SesaZleblobebi, uwinares yovlisa, samSoblos, qarTveli eris awmyosa da momavali keTildReobis saqmes movaxmaroT. mxolod ase movaxerxebT, vali gadavuxadoT mSoblebs, winaprebs da ers. imasve minergavda beboc, oRond zRaprebis Txrobis saSualebiTa da yoveldRiur cxovrebaSi, adamianebTan urTierTobebis wesis swavlebiT. dedac da mamac saqarTvelos istoriaSi Rvawldebul gvarebsa da modgmebs ekuTvnodnen, aRzrdac amis Sesabamisi hqondaT da mgonia, kmara amdeni seriozuloba, _ sxvaTa Soris vityvi, Cems mSoblebs erTi gansakuTrebuli damsaxurebac miuZRviT qarTveli eris winaSe _ saxeldobr is, rom Tavis pirvel Svils naTia _ aleqsandre didis dedis, naTia amirejibis saxeli daarqves. pirveli naTia cxra Tvisa gardaicvala, ar daiSales da nabolara Svilsac naTia daarqves. amiT qarTvel ers es saxeli SeunarCunes. da-Zmoba: `Zalian alali, mosiyvarule, moamage da-Zmoba gvqonda. me da dedaCemi cixe-banakebSi visxediT, naTia deida-mamidebTan izrdeboda. ufrosi da rodami moskovSi cxovrobda _ swored rodamma da mamidaCemma, msaxiobma caca amirejibma Segvinaxes yvela. araferi mogvklebia da Cveni gaTavisuflebis Semdeg cacam Segvikedla, sanam konfiskaciiT CamorTmeul binebs davibrunebdiT. rogori da-Zmoba gvqonda? kidev erTi magaliTi _ naTia wamoizarda, samsaxuri daiwyo kinostudiaSi. drapisa Tu koverkotis sapaltoe hqonda. gayida da fuli mamidaCems misca CemTvis amanaTebis gamosagzavnad. sxva ra mogaxsenoT, rodami oTxmocs mitanebuli gardaicvala. naTia xelovnebaTmcodneobis doqtoria. me maTgan, ZiriTadad, imiT ganvsxvavdebi, rom muxlma mimtyuna, veRar davdivar. verc rodamisa da dedaCemis samareze mivsulvar da verc naTiasTan `vizitad~. samagierod, naTia or-sam dReSi erTxel ueWvelad modis, mnaxulobs da mamxnevebs~. ojaxi... STamomavloba: `Cveni Semdgomi Taobisas getyviT, rom rodamis erTaderTi vaJi moskovSi moRvaweobs, kinoxelovnebis specialistia. naTias ori Svili _ irakli da ninia kakabaZeebi qarTveli sazogadoebisTvis cnobili moRvaweebi arian. Cemi Svilebi: _ ufrosi manana, filologia da mwerlobs kidec. momdevno, leila diplomatia, moskovSi saqarTvelos sakonsuloSi mrCevlad msaxurobs, ufrosi vaJiSvili, irakli afxazeTSi daiRupa, gorgaslis pirveli xarisxis ordenis kavaleria. misi

graves of my mother and Rodam or go on a “visit” to Natia. Natia comes to see me every two or three days and tries to spur me on…”

Family… posterity… “As for our posterity, Rodam’s only son works in Moscow as a cinema expert. Natia’s offspring, Irakli and Ninia Kakabadze are both prominent public figures. My elder daughter Manana is a philologist who’s got a knack for writing as well. The younger daughter Leila is a diplomat; she serves as a councilor at the Georgian Consulate in Moscow. My elder son Irakli is a cavalier of Vakhtang Gorgasali’s first-class order. He met his death in Abkhazia. Lasha is a sculptor but he is not very much concentrated on his career in this field of art. Kutsna is a film producer; he works hard and his persistence does pay off. My youngest son Shalva holds the position of Director-General of the Tbilaviamsheni Company. My wife, Tamar Javakhishvili is a poet and, were it not for her, I’d have long found myself disassociated from this world and associated with my ancestors, in the Life Hereafter…It is to her I owe my hold on life. My descendants include six grandchildren, ten great-grandchildren and three great-great-grandchildren. Is not that enough?”

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momdevno laSa moqandakea, magram am xelobas nakleb yuradRebas uTmobs. qucna kinoreJisoria, bevrs muSaobs da warmatebiTac. yvelaze umcrosi Salva `TbilaviamSenis~ generaluri direqtoris pirveli moadgilea. Cemi meuRle, Tamar javaxiSvili, poeti gaxlavT da is rom ar myavdes, didi xnis win mivakiTxavdi saiqioSi Cems winaprebs... am adamianiT midgas suli. Cemi Camomavlobaa _ eqvsi SviliSvili, aTi SvilTaSvili da sami badiSi _ sakmarisia?~ qali... siyvaruli: `ar meguleba mamakaci, Tavisi sicocxlis pirveli qali ar axsovdes. kacobriobis, saerTod, sicocxlisa da arsebobis sawyisad mdedri, qali mimaCnia da swors ambobT, qalisTvis RmerTis mier gamotanili ganaCenis gamo _ qals moaqvs ojaxis umZimesi tvirTi. mamakaci, rogorc cxovrebis pirvelsave naxevarSi virwmune, gamravlebis funqciis mxolodRa monaxevrea, magram mTlianad eris cxovrebis ZiriTadi mamoZravebeli Zala. ase, rom Zneli saTqmelia, vis ufro meti wvlili miuZRvis eris arsebobaSi. Cven, adamianebi, xSirad gatacebas siyvarulad miviCnevT. SeiZleba mogwondes gogona, gatacebuli iyo, magram siyvaruli, roca igi col-qmrobad iqceva da sikvdilamde

Woman…Love: “I can hardly think of a man not keeping the first woman of his life fresh in his memory. A woman is considered to be the originator of life, mankind and existence as a whole. God’s verdict is that a woman has to bear the heavy weight of family burden. A man, as I concluded already in the first half of my life, is just one of a pair involved in human reproduction. But a man is the driving force of all mankind. Whichever role is greater, a man’s or a woman’s, is impossibly difficult to determine.

We often mistake fascination for love. One may have a great fondness for a woman and be fascinated by her, but of far greater interest is the love that translates into marriage. It resembles very much a multi-storey skyscraper and is well worth the effort to reach and grasp every facet of it. Mankind has always been obsessed with trying to puzzle out the layers of meaning of love.

Love will forever remain an enigma. It is a source, a basis and a key to everything.

Civilization on our planet was born out of human love. Humans are driven to great deeds only by their love-saturated hearts. If you ask my opinion about sublime love, I’ll tell you it is something I feel for my wife, Tamar Javakhishvili. As for objects of love, I’ve had quite a lot of them: a starry sky, a blooming tree, a downtrodden man...”

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grZeldeba, uRrmes interess iwvevs, radgan caTambjeniviT uamrav sarTuls Seicavs, ganviTarebis safexurebisadmi daucxromeli interesis, kvlevisa da Cxibvis Rirsia. siyvaruli, rogorc Tema, kacobriobis ZiriTadi saazrovno ram iyo warsulSi, igivea dRes da iqneba momavalSic, radgan siyvarulia yovelives sawyisi, fuZe da saZirkveli. civilizacia Cvens planetaze adamianuri siyvarulis Sedegia. adamians siyvaruliT savse guli da goneba rom ar hqonoda _ verc raime Rirebulis Seqmnas SeZlebda.

Tu amaRlebul siyvaruls gulisxmobT, maSin es Cems amJamindel meuRleze Tamar javaxiSvilze vrceldeba. ise ki, siyvaruli bevri ramisa mqonia, maT Soris varskvlaviani cisa, msxmoiare xisa, daCagruli adamianisa da vin icis, kidev ramdeni ramisa~. mwerali... samSoblo... eri: `mwerlis adgili im navSia, romelic samSoblos keTildReobisken micuravs. upirveles yovlisa, moqalaqe var da mamuliSvili da mereRa mwerali. Rameebi arasodes miTenebia. vwer mxolod mas mere, roca dasaweri Zirfesvianad, yovelmxriv

Writer... Homeland... Nation: “A writer should take his place in a boat that sails towards a brighter future of his homeland. I am first of all a man and a son of my people. My status as a writer comes only next. I’ve never tried to stay up nights working. I commit my ideas to paper only after they seem to me well thought out and complete. My first endeavour in literature was a four-line verse that I wrote under the influence of the uproarious sea in Batumi. I was then just eight years old and dedicated it to my grandpa – Mikheil Nakashidze.

Let me recall a Georgian verse “Eagle”. The man who wrote it decidedly stands above all Georgians whether living in the past, present or future. He could have described his eagle swooping down on a flock of ravens, ripping up their feather and filling itself with triumph but he did not do that so as not to give an example of revenge and mercilessness. Reading this verse you feel moved by a sense of pity and sympathy for the eagle, take sides with it and develop a great degree of solidarity with the doomed and the downtrodden. The man who wrote “Eagle” had a God-given power to stir up all these feelings in us. Planting seeds of love in our hearts, the writer feels sure that whatever we do in our life will

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mofiqrebuli mgonia. pirvelad rva wlisam oTxpwkariani leqsi davwere baTumSi Savi zRvis Relvis STabeWdilebiT da Cems `babukas~, mixeil nakaSiZes vuZRveni. `arwivi~ rom aris qarTuli leqsi: misi damweri didi kacia Zalian, qarTvelebSi yvelaze didi iyo iqneba. am did kacs ratom ar mouvida azrad, netavi, misi arwivic wamofrenoda yvav-yornebs, bumbuli gaefanta maTi da Sveba miscemoda amiT? ratom da, ase rom eqna, gaborotebis da javris amoyris magaliTi unda mieca sxvisTvis. ar qna es. mesamed gaimeoreb SenTvis, Tu pirvelad waikiTxav _ arwivis sibraluli, TanagrZnoba gewveva kacs jer, mis mxareze dagayenebs, Ronemixdilsa da ganwiruls Segayvarebs leqsi. mag kacs gangebisgan aqvs madli dasxmuli saamisod, advilad SeuZlia es. Segayvara da, rom miaRwia amas, gendoba ukve. icis, rasac gaakeTeb siyvarulidan gamosuli iqneba... qarTul folklorSi borot gmirs ver ipoviT. devebic ki mxolod iumoris sagans warmoadgenen. qarTuli mwerloba mTeli Tavisi arsebobis manZilze sikeTis, axlis Ziebisa da Senebis qadagebaa, siZulvilsa da Sxams Cvens sityvakazmul mwerlobaSi versad SexvdebiT. yovelnairi niWi uzenaesis wyalobaa, yoveli niWieri

be derived from love... In a gallery of Georgian folk heroes, one can hardly find any negative character. Even giants are treated with humour. Georgian literature has always preached a sermon on kindness, reconstruction and the need to continue a quest for a new life. Hatred and bile have had no presence in Georgian literature.

All sorts of talents are God’s blessing. Each gifted man serving the welfare of mankind or a concrete nation is a helping hand extended

by God. A nation is oneness of the past, present and the future, it is a boundless eternity. Obedience, not resistance is what eats into the heart of each nation. When you are under somebody’s yoke your hands keep swinging an invisible sword. But when you are under somebody’s shelter – your only weapons are a pair of scales and a gauge. A small nation will never build its statehood without putting itself at the service of mankind or at least a part of it. Each nation needs an international function, a historical mission to entrench itself firmly among other nations. You can be strong only if your country is strong. Be aware that you were born to be an insider, not an outsider, to contribute your own share to the welfare of your country.

I have four sons; one is no longer alive… All four of them fought in the war for Abkhazia. All four of them believed it was their national duty to do so. If war breaks out again, I will not try to hold back my sons because, let me labour the point, our homeland calls for our sweat and blood. My innermost belief, though, is that there are far more effective ways to retrieve what has been taken away by force.

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kaci, uflis mier kacobriobisa da garkveuli erisTvis gamowvdili, sikeTiT damuxtuli xelia. eri namyo, awmyo da myobadia, maradisobaa. ers morCileba spobs da ara winaaRmdegoba. roca uReli gadevs, maSin xelSi uxilavi maxvili giWiravs. roca kalTa gafaria _ adli da sasworia Seni xvedri. mcire eri saxelmwifos ver Seqmnis, Tu amiT kacobriobis an misi erTi nawilis winaSe raime samsaxuri ar aRasrula. saxelmwifos arsebobas saerTaSoriso funqcia, istoriuli misia sWirdeba... maSin iqnebi Zlieri da mdgradi, Tu Seni samSoblo iqneba aseTi. icode, dabadebuli xar ara mowmed, aramed monawiled, Seni samSoblos keTildReobaSi wvlilis Sesatanad. oTxi biWi myavs. erTi aRar aris... oTxive ibrZoda afxazeTis omSi. oTxive Tvlida, rom es iyo maTi modgmis erovnuli movaleoba. kidev rom daiwyos omi da kidev wavidnen saomrad _ me ver davuSli, radgan, vimeoreb _ samSoblos sWirdeba ofli da sisxli... Tumca mimaCnia, rom warTmeulis dasabruneblad sxva, ufro Sedegiani

Those who advocate slaughter of people oppose themselves first to humanity and then to common sense. Violence is an evil that breeds another set of evils… “Love builds up what evil pulls down” – is an absolute and ultimate truth. Georgians, in common with other nations with a similar historical background, were born out of love and continue to feed on love. From love comes their ability to sacrifice, their selfless devotion and a great strength to gain back what has been lost and wasted.

Georgia’s geopolitical location is a destiny that I call a “flashpoint area” and Georgians – an “orphan nation”. It is our lot in life that has put us through the ordeal and agony over millennia.

The Georgian nation was preordained to be victorious and I believe it will win a victory – yet another victory in its history of over three thousand years. This history records moments when we could get the upper hand even when no one wanted us to rise from the dead and enemies prayed that Georgia would crumble to dust. Georgia will never come close to the brink of extinction; nor are we as spineless as not to be able to say our word or carry out our mission. We are resolute beyond doubt to hand down a very dignified country to the generation coming after us.”

Faith … religion: “What I used to and still feel towards God is awe, deep reverence and unquestioned recognition of His omnipotence. I believe in the inevitability of destiny, I believe my destiny was predetermined from the moment of my birth. There is no getting away from destiny and I’ve never tried to elude it. All these years I’ve lived in keeping with this credo: attain your goals

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gzebi arsebobs. xocva-Jletis gaRmerTeba jer adamianobas ewinaaRmdegeba, mere saR gonebas. Zalmomreoba borotebaa da Tavis mxriv axali boroteba moaqvs... `rac mtrobas daungrevia _ siyvaruls uSenebia~, _ WeSmaritebad mimaCnia! qarTvelebs da msgavsi istoriis mqone sxva erebs, cxovrebis fuZed, saZirkvlad siyvaruli hqoniaT. siyvarulidan modis is msxverplis gaReba, Tavganwirva da Zlevamosilebac, warTmeuls rom dagibrunebs. saqarTvelos geopolitikur mdebareobas Tavis droze `Sariani miwa-wyali~ vuwode, xolo TviT qarTvelebs _ `oboli eri~. es Cveni bediswera da xvedria. aTaswleulebs iTvlis Cveni gaZleba da siduxWireTa Zleva. qarTveli eri gamarjvebisTvis aris Seqmnili da gaimarjvebs kidec, rogorc es samiaTaswlovani istoriis manZilze yofila. gavixsenoT, vimarjvebdiT maSinac ki, roca Cveni mkvdreTiT aRdgeniTa da momavali keTildReobiT dainteresebuli aravin iyo da metic, Cveni aRgva pirisagan miwisa mraval mters surda. arc gadaSeneba gviweria da arc imdenad umweoni varT, rom Cveni saTqmeli ar vTqvaT, Cveni saqmeni ar aRvasruloT. STamomavlobas Rirseul saxelmwifos davutovebT, amaSi eWvi nuravis Seepareba~. rwmena... religia: `is, rasac RmerTis mimarT vgrZnobdi da vgrZnob, ufro ridi, mokrZaleba da misi yovlisSemZleobis aRiarebaa. mwams bediswera, mwams, rom dabadebiTve damyva is, rogorc vicxovre. bedisweras

versad gaeqcevi da arc vcdilvar. Cemi bedisweris ZiriTadi da upirvelesi motivi iyo, ecade miaRwio mizans, magram ise, rom sxvebs da samSoblos araferi avno... saerTod, morwmune, magram araeklesiuri piri var. albaT, imitom, rom mTeli sicocxle metismetad dakavebuli viyavi sxvadasxva saqmeebiT... sicocxlis manZilze Tu ki ram SevZeli, yvelaferi im SesaZleblobaTa sworad gamoyenebis Sedegad mimaCnia, rac gangebam, RmerTma dabadebidanve damayola... sarwmunoebam moiyvana dRemde saqarTvelo, mravali eri aRigava pirisagan miwisa, Cven ki davrCiT, rwmena unda ganvimtkicoT da misi wyalobiT gavZlierdebiT. xSirad mifiqria _ ufalo, nu momakleb gasaWirs, rom suli vwvarTo: _ es Cemi devizi iyo mudam da vfiqrob, rom Tu dRes cocxali var, mxolod am devizis wyalobiT. ukiduresi saSiSroebisas, sikvdiliT dasjis molodinSic ki ar amcruebia guli sicocxleze, meti ra mogaxsenoT... xelaxlad dabadeba rom margunos RmerTma, igive cxovrebis gamovlas visurvebdi, mcireodeni koreqtivebiT sakuTar saqcielSi~. momavalT: `zneoba umdgradesia _ sulier RirsebaTa Soris~ _ yvela viTarebaSi SeinarCunon qarTveloba, anu maRali zneoba. samSoblosTvis Tavdadeba, siyvaruli am mcnebis farTo gagebiT, zrdiloba, mokrZaleba winaprebisadmi, ufrosebis mimarT... da qarTuli sufra, rogorc zemoTqmulis deda. rac vici, saaqaos minda davtovo im sasoebiTa da ocnebiT, rom Cemi rTuli cxovrebiTa da nafiqriT miRebuli gamocdileba, vinZlo, rodisme vinmes rameSi gamoadges...~ P.S. aseT did adamianTan Sexvedra, miaxloeba udidesi bednierebaa... sixaruls da uamrav safiqrals gitovebs isedac safiqraliT savse wuTisofelSi... Tumca, adamianic xom fiqrisTvis da saqmisTvis Seuqmnia RmerTs _ `saqmisTvis, romelic sicocxles axangrZlivebs~...

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without doing harm to others, without doing harm to your own country…

I am a believer though not a churchgoer. It’s because I have been too engrossed in work in different walks of my life. Whatever I achieved in life is due to a correct use of the talents I was blessed with at birth. Unlike many nations that were driven to extinction, Georgians have endured and continue to survive thanks to their faith. Try to strengthen your faith and it will build up your strength. I have often prayed to God not to spare me suffering and thus help my soul toughen up. This is my slogan and it has saved me many times. I didn’t let my tenacious hold on life get loose even in times of extreme danger, when I was held on death row. If God gave me another life I’d retrace the same steps, only with small corrections in my behaviour.

To the next generation: “Moral righteousness is the most enduring of all virtues” – I urge them to remain Georgians, i.e. maintain a

high moral character in every situation, imbue their hearts with an unswerving loyalty to their country, love in the broadest possible meaning of this word, graciousness, deep reverence to their forefathers and the elderly and uphold the traditions of the Georgian table as a source of all virtues indicated above.

I want to take my leave of this world in the hope that the knowledge and experience gained along the tortuous path of my life as a result of my enquiring attitude may come as a helping hand to anyone…”

P.S. Happiness is an emotion that stems from meeting and getting close to a man as great as him… It leaves you with a sense of joy and a great number of mysteries to puzzle over in this world that is a mystery in itself… But man was created for thinking and acting, for ‘action is a key to longevity”.

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SOPHIKO KEBURIA

sofiko qeburia

babus babu

GRANDPA’S GRANDPA

ba-bu. orad ori marcvali, romelic itevs samyaros. da rac ufro sainteresoa babus naambobi istoriebi, rac meti Tavgadasavali gadagxdebaT erTad, miT ufro saTuTi xdeba am ori marcvlis warmoTqma. unda giamboT ambavi 88 wlis babusi da misi Svidkaciani ojaxisa, romlebic babus avantiuras ahyvnen, yvela saqme gadades da parizisken mimaval TviTmfrinavSi Casxdnen. mavani ityvis, gasagebia _ asaki, axlaxan Cadgmuli menjis implanti, dakarguli TvalisCini da a.S., magram Svidkaciani eskorti ra ambavia, kacs xelis mosakidebeli adgili aRar darCebodao! ara, batono, vin mogakidebina xeli?! babum rekorduli kilometraJi `dawera~ ise, rom uSreti energiiT migviZRoda win, gviambobda, gviCvenebda.

Ba-Bu (grandpa). Two simple syllables that hold an entire universe within them. And the more captivating grandpa’s stories become, the more adventures you share, the more delicate and precious those two syllables sound when spoken.

Let me tell you a story – one about an 88-year-old grandfather and his seven-member family, who, swept up by his adventurous spirit, dropped everything and boarded a plane to Paris. Some might raise an eyebrow: His age, the recently implanted hip, the fading eyesigh – fine, we get it. But why the seven-person escort? The man had no space left to land one’s hand! Oh, but who said he needed a hand to hold? grandpa set a new personal record for mileage, leading us forward with boundless energy. He guided, narrated, revealed. One travel companion would have been enough, but we all had a role to

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play in the glue that bound our family together.

The force that propelled this journey was once again grandpa. Not the same one, but grandpa’s grandpa, the student of legendary Louis Blériot, Georgia’s first aviator-engineer, the founder of civil aviation in our country. And so, Besarion Keburia’s grandson, Guguli Keburia, set off for Paris with his family. The mission? – To establish an aviation museum in Georgia, gather materials for a documentary film, and engage the French side in collaboration. The luggage? – A backpack filled with bilingual (Georgian-English) books, written by himself “Conquerors of Dreams” to be given as gifts. You see, Guguli Keburia is also an aviation historian.

Our first stop was the Musée de l’Air et de l’Espace in Le Bourget, near Paris. Established in 1919, it is the oldest aviation museum

megzurad erTic eyofoda, magram ojaxis duRabis zelvaSi Svidive dagvasaqma. ase iyo saWiro. am Seupovrobis mamoZravebeli isev babu iyo, oRond ara igive babu, aramed _ babus babu _ legendaruli lui blerios moswavle, pirveli qarTveli aviatorkonstruqtori, saqarTveloSi samoqalaqo aviaciis damfuZnebeli. da ai, besarion qeburias SviliSvilma, guguli qeburiam ojaxiT, parizisken gaswia. misia _ saqarTveloSi aviaciis muzeumis dasaarseblad da dokumenturi filmis gadasaRebad saWiro masalebis Segroveba da franguli mxaris TanamSromlobiT daintereseba. bargi _ zurgCanTaSi Calagebuli orenovani (qarTul-inglisuri) wignebi misive avtorobiT, „ocnebebis dampyrobni“. saCuqrebad. saqme isaa, rom guguli qeburia aviaciis istorikosicaa. pirvelad parizis maxloblad, la burJeSi mdebare, aviaciisa da haernaosnobis muzeums vewvieT. is 1919 wels daarsda da am sferoSi msoflios yvelaze Zvel muzeumad iTvleba. haernaosnobis gariJraJze frenis siaxlem Tu modam lamis yvela da yvelaferi moicva. es iyo namdvili bumi! iuvelirebi diriJablebis formis Zvirfas samkauls amzadebdnen, mxatvrebi WurWelze haerbuStebs xatavdnen, dekoratorebi avejze da Spalerebze aerostatebs qargavdnen! ikarosis miTiT, leonardos paraSutisa da ornitopteris naxazebiT, mono- Tu biplanebis modelebiT dawyebuli, boingebiTa da kosmosuri xomaldebiT damTavrebuli, muzeumi adamianis cad afrenis ocnebas eZRvneba. guguli qeburiasac aqvs qarTuli aviaciis muzeumisTvis saWiro masalebi, magram mainc xarbad aTvalierebs eqspozicias, akvirdeba, imaxsovrebs. darbazSi patara, pirdafCenili bavSvebi dabajbajeben, mwkrivad, xelixelCakidebulni. gidi uxsnis meqanizmebis muSaobis princips... babu ukmayofiloa _ ajobebs, uambos, rogor Casves Zmebma mongolfierebma sacdeli gafrenisas

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haerbuStSi cxvari, ixvi da mamalio. cxvars mamlisTvis fexi daubijebia. ganawyenebuli „mgzavri“, metad rom ar dazaralebuliyo, Sua frenis dros kalaTidan amofrenila. babum kidev bevri saxaliso istoria icis, magram jer _ saqme! muzeumis mediaTekaSi vxvdebiT Jan-emanuel teries, dokumentalists. batoni terie didi interesiT aTvalierebs babus naCuqar wigns. pirvelad xedavs mongolfierebis sensaciuri gafrenis Sesaxeb erekle meorisadmi 1788 wels gagzavnili werilis da naxatis fotos _ „haersa Sina mrokveli anu moronine“. xelnawerTa erovnul centrSi dacul am werilSi vinme daviTi mefe erekles sTavazobs, saqarTvelo mudam omSia da mTagoriani reliefis gamo aerostatebis gamoyeneba CvenTvis strategiulad mniSvnelovani iqnebodao. muzeumis gaxsnaSi daxmareba? filmisTvis interviu? _ ra Tqma unda, siamovnebiT! _ gvpirdeba batoni terie.

Semdegi misamarTi ukve parizis centrSi, triumfalur TaRsa da trokaderos Sorisaa, galileis quCaze.

in the world. The dawn of flight was a cultural explosion: jewelers crafted dirigible-shaped ornaments, painters adorned porcelain with hot air balloons, decorators embroidered aerostats onto furniture and wallpaper. From the myth of Icarus and Leonardo’s sketches of parachutes and ornithopters to monoplane and biplane models, the museum tells the story of humankind’s dream to conquer the sky. Guguli Keburia already has materials needed for the Georgian aviation museum, yet he eagerly examines the exhibition, observing and memorizing every detail. Around us, wide-eyed children toddled in neat rows, hand in hand, as their guide explained the workings of various mechanisms. But grandpa is unimpressed with the lecture – “surely, it would be far more exciting to tell them how the Montgolfier brothers, during their first test flight, placed a sheep, a duck, and a rooster inside a hot air balloon’s basket. How the sheep accidentally stepped on the rooster, who, in protest, leapt out mid-flight.” Grandpa had countless such stories, but first – business!

At the museum’s media library, we met Jean-Emmanuel Terrier, a documentalist. He leafed through grandpa’s book with great interest.

He had never seen a certain drawing before – one sent in 1788 to

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safrangeTis aeroklubi 1898 wels daarsda. sxvaTa Soris, erT-erTi Tanadamaarsebeli Jiul vernic yofila. me19 s-is istoriul SenobaSi dabinavebuli aeroklubi msoflioSi pirveli saaviacio dawesebulebaa, kacobriobis erT-erTi yvelaze romantikuli Tavgadasavlis mexsierebis sacavi. amjerad me davdivar pirdafCenili _ moCuqurTmebuli xis xveuli kibiT maRalWerian darbazSi avdivarT. kedlebze _ aviaciis pionerebis: blerios, farmanis, Zmebi vuazanebis, rolan garosis da sxva „SerekilTa~ fotoebia. bambukis „peplebSi~ sxedan, sruliad daucvelebi da mainc gabadrulebi! tyavis Cafxutebi uSvelidaT? magram aba, ra daakavebdaT, raxan caSi navards gauges gemo! raRa Sors wavideT, babus babu xis totebSic gaCxerila, zRvaSic Cavardnila, magram sakuTar Tavze metad Zravis gadarCena adardebda! aseTebze amboben mfrinavebi, gulis nacvlad Zrava udgas da ZarRvebSi benzini uCqefso. ras izam, Sic itur ad astra! _ „ase midian varskvlavebisken“! ase afrinda Rrublebisken patara biWi, Cxorowyudan foTSi megobar mwyemss da mis naxirs gayolili besarion qeburia, iq

King Erekle II of Georgia, alongside a photo of illustration titled “The Walking One in the Air.” The letter by some David to the King Erekle II, preserved at Georgian National Centre of Manuscript, proposed that, given the country’s mountainous terrain and constant state of war, aerostats could be of great strategic importance. “Aviation museum in Georgia? A documentary? Interviews? But of course, with pleasure!” – Mr. Terrier promised.

Our next destination lay in the heart of Paris, between the Arc de Triomphe and Trocadéro – on Rue Galilée. Here stands the Aéro-Club de France, founded in 1898. Among its co-founders was none other than Jules Verne. Housed in a building adorned with the grandeur of the 19th century, it is the world’s first aviation organization – a vault of memories for one of humanity’s most romantic adventures.

This time, it was my turn to stand wide-eyed. We climbed an elegant, spiral staircase of carved wood into a high-ceilinged hall. The walls were lined with portraits of aviation pioneers – Blériot , Farman, the Voisin brothers, Roland Garros, and other “Eccentrics” (allusion to Georgian film “The Eccentrics”) . They sat in their fragile bamboowinged contraptions, utterly exposed, yet beaming with exhilaration.

Did leather helmets truly offer them any protection? But what could

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rkinigzis mSeneblobiT moxibluli, inJiner slivickis Segirdad daudga, Semdeg peterburgSi, gzaTa mimosvlis institutis studenti gaxda, iq Seityo lui blerios mier la-manSze gadafrenis ambavi da ocnebam parizamde Caiyvana. aeroklubis prezidenti, qalbatoni katrin monuri babusgan igebs, rom Turme, besarion qeburias garda, lui blerios araerTi qarTveli aviatori gauzrdia: vladimer erisTavi, mixeil grigoraSvili, ioseb darCievi... besarion qeburiam 1919 wels msoflioSi #209-e pilotaviatoris diplomi miiRo. mis diplomze gvari rusul yaidazea gadakeTebuli, keburovad. ruseTis imperiidan ucxoeTSi sxvagvarad ver moxvdebodi. diplomis miRebis Semdeg is samSobloSi dabrunda, qarTuli gvari daibruna da samoqalaqo aviacias Cauyara safuZveli. saCvenebeli frenebidan Semosul Tanxas ki wera-kiTxvis gamavrcelebel sazogadoebas uricxavda. vladimer erisTavma 1911 wels lui blerios aviaskolis #324-e diplomi miiRo, xolo mixeil grigoraSvilma, imave wels, #577-e. SemdgomSi, maikl gregoris saxeliT, is jer amerikaSi muSaobda samxedro aviakonstruqtoris, aleqsandre qarTveliSvilis (mister qarTvelis) moadgiled, mogvianebiT ki kanadaSi saaviacio mrewvelobis

stop them? Once they had tasted flying… Even Grandpa’s grandpa hadn’t been spared – he had once crashed into treetops, fallen into the sea, but through it all, he worried more about saving his plane’s engine than himself. Pilots like him, they say, have an engine for a heart and fuel coursing through their veins. Sic itur ad astra – “Thus one journeys to the stars.” This is how a little boy from Chkhorotsku, who had once followed a shepherd friend with his herd to Poti, found his way to the skies. Fascinated by the construction of the railway, Besarion Keburia studied under the engineer Slivitsky, later becoming a student at the St. Petersburg Institute of Transport Engineers. It was there that he first heard of Louis Blériot’s historic flight across the English Channel. That dream of flying would lead him all the way to Paris.

The President of the Aéro-Club de France, Catherine Maunoury, listened intently as grandpa recounted the history of Georgian aviation, surprised to learn that Louis Blériot had trained not only Besarion Keburia but several other Georgian aviators – Vladimir Eristavi, Michael Gregor, Ioseb Darchiev… In 1919, Besarion Keburia became the 209th licensed aviator in the world. His name had been russified to “Kebouroff” there was no other way to obtain a foreign license under the Russian Empire. But upon his return home, he reclaimed his Georgian name and laid the foundation for Georgia’s civil aviation. He even donated the earnings from his demonstration flights to Society for the Spreading of Literacy among Georgians. Vladimir Eristavi

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damaarsebeli gaxda. 1922 wels aleqsandre qarTveliSvilic yofila lui blerios TanaSemwe. ioseb darCievma 1912 wels #1138-e diplomi aiRo. ase „ibartya~ blerios saqmem.

Tavis mxriv, qalbatoni monuri TanaSemwes sTxovs, moiZios am aviatorTa diplomebis aslebi, romelTa fotoebic babum saCuqrad gadasca (wignTan erTad). saqarTveloSi aviaciis muzeumis daarsebasa da dokumenturi filmis gadaRebaSi daxmarebasac gvpirdeba. wavixemseT iqve, patara kafeSi. Turme ana axmatova ixsenebda, erT aseT kafeSi, mis gverdiT blerio da viRac kavkasieli meqanikosi isxdneno. „namdvilad besarioni iqneboda!~ _ vambobT erTdroulad.

Semdegi punqti _ sastumro „brabantia~, mulen-ruJis maxloblad. aq cxovrobdnen blerios moswavleebi da sxva ucxoeli aviatorebi. kaci reklamisTvis mainc gamoiyenebda aseT warsuls, magram rogorc Cans, sastumros axlandelma mepatronem amis Sesaxeb araferi icis. iqneb babuSi ar gaumarTla? ai, Cven ki gagvimarTla _ eifelis koSki CvenTvis arc mxolod inJineriis Sedevria da arc ubralod turistuli magniti. is babus babus Tavgadasavlis adgilia. babu gviyveba, rogor avida besarion qeburia koSkis wverze, rogor gawva rkinis konstruqciaze da rogor eCveoda simaRlidan qvemoT cqeras, Semdeg biplanSi myofs,

obtained Blériot’s 324th diploma in 1911. That same year, Michael Gregor earned the 577th. Later, Grigorashvili, under the name Michael Gregor, first worked in America as the assistant to military aircraft designer Alexander Kartvelishvili. Later, he moved to Canada, where he became a pioneer of the country’s aviation industry. In 1922, Alexander Kartvelishvili himself had also been an assistant to Louis Blériot. As for Ioseb Darchiev, he received his aviation diploma in 1912, numbered #1138. Thus, Blériot’s legacy took flight.

In her turn, Madame Maunoury ordered her assistant to look up copies of these aviator diplomas, promising her support in the creation of Georgia’s aviation museum and documentary.

We lunched at a small café nearby. Akhmatova once recalled sitting in such a café, next to Blériot and a certain Caucasian mechanic. “It must have been Besarion!” – We said in unison.

Our next stop was Hotel Brabant, near the Moulin Rouge, once home to Blériot’s students and other foreign aviators. One would think such a history would be a great marketing asset, but it seems the hotel’s current owner knows nothing about it. Perhaps they just haven’t been lucky enough to have grandpa to tell them?

We, however, were lucky. The Eiffel Tower was neither just an engineering marvel nor a tourist magnet for us. It was a landmark of adventures of grandpa’s grandpa. He told us how Besarion Keburia had climbed to its very peak, laid down on the iron beams, and trained himself to look down from great height to overcome vertigo

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simaRlis SiSi rom ar gasCenoda. koSkze asvlamde besarions adrec hqonia Sexeba eifelis konstruqciebTan. swored man aawyo 1897 wels mixeil romanovis mier gustav eifelis saxelosnodan gamowerili sarkinigzo xidi. dRemde dadis „kukuSka~ matarebeli mdinare cemiswyalze babus babus mier gadebuli xidiT. sul ramdenime dRiT viyaviT parizSi da bevri ram ver movaswariT. verc internetma gviSvela _ versad mivageniT lui blerios SviliSvils. ise, ubralod, xelis CamosarTmevad da madlobis saTqmelad. arada, rogor veZebeT! rom migvegno, albaT versalSi SevxvdebodiT, saxelovani babuis saflavTan. am da sxva, veraxdenili gegmebis gamo babum Cvens mogzaurobas samiani dauwera. arauSavs. ojaxis duRabi xom mainc moizila?! ukana gzaze, TviTmfrinavSi, babu da xuTi wlis SviliSvili niko, Caxutebulebi, „fReRe Jaks~ mRerian da haerbuStis kalaTidan afrenil mamalze icinian. eh, blerios SviliSvilma ikiTxos, Torem CvenTvis, babus Svidkaciani eskortisTvis, samianis miReba namdvilad Rirda amad! aTianis droc mova. ai, gaixsnas saqarTveloSi aviaciis muzeumi!

before ever setting foot in a biplane.

Before climbing the tower, Besarion had already had contact with Eiffel’s constructions. It was he who built the railway bridge commissioned by Michael Romanov from Gustave Eiffel’s workshop in 1897. To this day, the train runs over the Tsemistskali River on the bridge built by grandpa’s grandpa.

We were in Paris for only a few days, and we didn’t manage to accomplish much. Even the internet didn’t help us – we couldn’t find Louis Blériot’s grandson anywhere. It was just for a handshake and to express our gratitude. But how we searched! If we had found him, we would probably have met him in Versailles, by the grave of his renowned grandfather. Because of this and other unfulfilled plans, grandpa gave our trip a three-out-of-ten rating.

It’s fine. At least he managed to stir the family’s spirit! On the return flight, grandpa and his five-year-old grandson Niko, holding each other tight, are singing Frère Jacques and laughing at a rooster taking off from the air balloon basket. Ah, if only Blériot’s grandson could see this! For us, with grandpa’s seven-person escort, getting a three was definitely worth it!

Time for a perfect ten will come too. When Georgia’s Aviation Museum finally opens its doors.

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ioseb WumburiZe

„ucnobi~ ana TiTqos, yvelaferi ukve naTqvamia. raRa unda Tqva axali anaze?! da Tu amas mainc moaxerxeb, es mxolod anas damsaxureba iqneba, radgan misi poezia imaze gacilebiT ufro Rrma da mravalferovania, vidre gvgonia. murman lebaniZis sityvebiT rom vTqvaT, „sadac CaRrmavdebi, yvelgan zodebia.~ unda vaRiaroT, rom bevri „zodi~ jerac misakvlevia da rac aRmoCenilia, imaT Sorisac bolomde gaazrebulad yvela ver CaiTvleba.

TviT sayovelTaod cnobili leqsic ki bevrs marTla TuTaze dawerili hgonia. aseT zerele aRqmebs efuZneboda mavanTa mosazreba, TiTqos, anas poezias vneba aklda.

TiTqos, ver xvdebodnen, rom mis leqsebSi vnebac iseTive wminda da amaRlebulia, rogorc yvela sxva grZnoba. davakvirdeT, rogori krZalviT gvaCvevs vnebis gamoxatvas. jer gvetyvis, lamis Tavze gadamisvas xelio, bolos ki: „lamis welze Semomxvios xeli“... es lirikuli Sedevri zviad gamsaxurdias Taniani mravlobiTiT xiblavda: „ra CurCuli esmiT CemTa yurTa“... „vefxistyaosnis~ mkvlevarsa da uitmenis leqsebis mTargmnels, cxadia, arc imis danaxva gauWirdeboda, riTac es CurCulia „damdagveli, mwveli“... *** jer _ imaze, rac aqamde Tqmula. mxolod ramdenime, yvelaze STambeWdavi nimuSiT. muxran maWavariani: „qarTuli enis sulzea morgebuli anas leqsi~. guram asaTianis azriT, anas dabadeba vaJa-fSavelam iwinaswarmetyvela. visac kritikosis am mosazrebis „Semowmeba~ surs, jer misi ese („ana“) unda waikiTxos, Semdeg ki _ vaJas balada: „anna-bulbuli“. cxadia, piriqiTac SeiZleba. ana kalandaZes xSirad adarebdnen ana axmatovas. nodar CxeiZem SesaSuri intuiciiT dainaxa maT Soris principuli gansxvaveba, rac mokled ase gadmoicema: `ana axmatovas leqsebSi aris TviTon axmatova, mTeli Tavisi biografiiT, ana kalandaZis leqsebSi ki aris zogadad qali, is, rac saukeTesoa qalSi~.

akaki gawereliam, visac mudam ukiJinebdnen, Tanamedrove avtorebs ar swyalobo, ana guluxvad Seaqo: „sulis meoxad Senis erTasi“, an: „da iagundi stiroda TmaSi“. _ es ana kalandaZea. ase sxva ar wers.“ didebuli Sefasebaa, magram Cemi mizani imis Cvenebaa, rom ana mxolod ase ar wers. *** anas gamoCenam geronti qiqoZes iseTi ram afiqrebina, ramac poetTa mefe ukiduresad gaabraza: vaJas Semdeg, pirveli didi poeti daibadao. vaxtang javaxaZes sjera, rom mefem es ar icoda, magram gana iyo raime, rac man ar icoda?! „galaktioni xedavs, galaktionma icis!“ „ana erTaderTia, vinc Tavi daaRwia galaktions“, _ ityvis murman jguburia. me ki, iqneb amiT gaTamamebuli, ufro Sors waval da davwer: „ase mgonia, anam saerTod gamotova galaktioni da pirdapir baraTaSvili gaagrZela“. amis Tqma, albaT, axalgazrdulma asakma gamabedvina, Tumca, dResac veTanxmebi Cems imdroindel siTamames. „usaxo qmnilxar, mSvenierebav, dideba Seni qarTagan Slila“. riT hgavs galaktions? baraTaSvilsac Tan hgavs, Tan _ ara... rac anasa da galaktions SeexebaT, faqti TavisTavad metyvelia: qarTuli poeziis mefem da dedofalma erT qalaqSi cameti weliwadi (1946-1959) ise gaatares, rom erTmaneTs ar Sexvedrian. es Cemi „aRmoCenaa“, mas Semdeg, erT-erT Sexvedraze, anas rom hkiTxes, galaktions Tu Sexvedrixaro da pasuxi aseTi iyo: „arasodes“. mTavari ki sul sxvaa: „dedao RvTisav, mzeo mariam, rogorc nawvimar silaSi vardi, Cemi cxovrebis gza sizmaria da Soreuli cis silaJvarde“ /galaktioni/

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„uzenaeso, Senia neba,

gamaxsenes, rogorc sensaciurobis nimuSi. arada, es

magram raisTvis ese kirTeba?

sruliad Cveulebrivi ramaa.

ram mogafiqra wisqvilis qvebis vardis rtoebze Camokideba?“

jer erTi, anas poezia, Tavisi arsiTaa disidenturi. gamoCenisTanave, SemTxveviT xom ar daesxnen Tavs

/ana/

sabWoTa kritikosebi _ RvTisadmi aRvlenili aseTi religiuri himnebi vis sWirdebao?!

sainteresoa, ra ufro mZime da mtanjvelia _ nawvimar

es braldeba dRes sanatrel qebad aRiqmeba, im dros ki

silaSi vardi, Tu vardis rtoebze wisqvilis qvebi?

Zalian saSiSi iyo.

romeli ufro Rrma gancdis gamomxatvelia? _ esec

anas poezia pirdapiri mniSvnelobiTac iyo disidenturi:

Zneli saTqmelia.

ori magaliTi:

vaxtang javaxaZem WyviSis saxl-muzeumSi miagno

erT leqsSi ana aprotestebs britanelTa rwmenas _

galaktionis dRiurs, sadac mas CauniSnavs anas striqoni: „TeTri nisli nislebs ixvevs, es xom lurja cxenebia“.

vidre taueris cixeSi yornebi iqnebian, Cveni imperiac

aSkarad gaxarebia _ anas leqsSi misi „lurja cxenebi~ rom

iarsebebso. vinme daijerebs, rom am leqsSi is sabWoTa imperiaze ar

iyo naxsenebi.

werda da sakuTar samSobloze ar dardobda?!

ana kalandaZis gamosaTxovar eseSi emzar kvitaiSvilma gaixsena, Tu rogori gancdiT ukiTxavda mas da mis

roca akademikosma andrei saxarovma saqarTvelos

Tanajgufelebs profesori ivane gigineiSvili anas

„patara imperia~ uwoda, anam leqsiT upasuxa. upasuxa

didebul leqss, romliTac qarTuli poeziis dedofali

arcTu Sefaruli ironiiT. es marTlac gansxvavebuli anaa.

poetTa mefes gamoemSvidoba.

gikvirs kidec, rom esec anaa. leqsi vrceli ar aris („grZel leqsebs~ arc werda) da

es faqti yovelgvar wyenasa da „gaugebrobas~ auqmebs.

mTlianad davimowmeb: ***

varT imperia! he, bizantiav,

klasikosebi, ra Tqma unda, erTmaneTs hgvanan _

mokakve TiTi, bebero lomo!

upirvelesad, TvalSeudgami zneobrivi simaRliT.

dideba Cveni dResac anTia,

vaJa:

„vbatonobT xalxebs“,

„bilwT ar Savekvri zaviTa“...

Zliero romo!

ana:

vibrwyinebT Tqvenebr,

„ar Sevel taZrad,

ar vkargavT imeds

uwminduri sadac Sevida“...

(marTlacda, raa cis qveS axali?),

kidev erTi ramiT hgvanan erTmaneTs klasikosebi:

oRond, es vkiTxoT

imiT, rac ilias erTi striqoniT gamoiTqmis:

baton saxarovs,

„ara marto tkbil xmebisTvis gamomgzavna qveynad cama“.

imperiebi... Tu ymobdnen vinmes?

ragind gasakviric iyos, es ana-bulbulzec vrceldeba.

advili ar iyo, im dros, pasuxi gageca andrei saxarovisTvis _ msoflioSi aRiarebuli mecnierisa

amaSi darwmundeba yvela, vinc ana kalandaZis TxzulebaTa ortomeulis meore, prozaul toms gaecnoba.

da nobelianti uflebadamcvelisTvis. arada, bedis

aq Tavmoyrilia sxvadasxva dros gamoqveynebuli statiebi,

ironiiT, „msoflio uflebadamcvelnic~ ki imperiulad

romlebSic poeti erisTvis mtkivneul TiTqmis yvela

azrovnebdnen da imperiulobas Cven gvabralebdnen. iseve, rogorc dResac ebrZvian saqarTvelos

sakiTxs mZafrad exmianeba; xolo erTi Tavi _ „kolxuri

demokratiis saxeliT dageSili svavebi.

koSkis binadrebTan“ _ memuaruli Janris iseTi qmnilebaa,

sxvaTa Soris, erT mware, magram gasaocrad imedian

daviT kldiaSvilic rom ver daiwunebda. samwuxarod, rTul droSi mcire tiraJiT gamocemuli es

leqsSi, anas aseTebic hyavs nagulisxmevi:

ortomeuli bevr mweralsa da literatorsac ar unaxavs.

Jini mTavarTa isev ar cxreba,

iq ki didwilad ucnobi ana imaleba.

wvrTnian, ustvenen, geSaven qorebs... magram... Zirs ki ar daenarcxeba, mzisken mifrinavs daWrili gnoli.

axlaxan, satelevizio gadacemaSi, gamaxsenes wlebis

esec anaa da esec gadaZaxilia _ klasikosisa

winaT gazeT „TbilisSi~ gamoqveynebuli Cemi statia, aseTi saTauriT: „ana _ disidenti“.

klasikosTan, daWrili arwivisa daWril gnolTan.

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axlaxan miTxres, rom anas, Turme, is Warmagi qori aqebs,

samxreT amerikeli yofiliyo,

wlebis winaT, ilia WavWavaZes _ aseT mwerals _ rom ar

nobelis premias mianiWebdnen.

icnobda da maincdamainc arc akakis poezia moswonda.

saamisod, talantic eyofoda da humanizmic:

albaT, anas qebiT, reputaciis gakeTilSobilebas

_ Tqvi, SavTvalav,

cdilobs.

arabi xar?

veWvob, rom TviT poeziis dedofalmac uSvelos.

_ iezidi...

etyoba, ar icis, rom anas aseTi leqsic aqvs:

ubralod, meti unda gvezruna evropul enebze misi

Tu... kacis suli

leqsebis maRalmxatvrulad TargmnisTvis.

yru da bnelia,

aq argumentad ar gamodgeba imis Tqma, rom „poezia

guli boroti

uTargmnelia.~

gonebas Trgunavs,

maSin rogor gvaqvs evropuli Tu amerikuli, iaponuri

saSiSi aris mis naswavloba:

Tu Cinuri, sparsuli Tu induri poeziis amdeni

samSoblov Cemo,

brwyinvale Targmani?!

miiReb unass

raRa maincdamainc qarTuli leqsia uTargmneli?!

da damangrevel

nuTu marTla Znelia anas am udavo Sedevris nebismier

vulkanis Zalas!!!

enaze Targmna, ise, rom arc poeturi forma daikargos da

saSiSiao,

arc azris siRrme?!

iliam brZana!

aise xanum mikiTxavs,

diax, esec anaa da esec:

mixsnis,

vicnob frTxiala

Tu ras gvauwyebs

am Wrel Ciorebs, _

yuranis sura:

frenen isini

„visac aq eZeb,

mravalTa karTan...

rasac aq eZeb,

am... usaSvelo

daxuWe Tvali,

fantaziorebs

SenSia sulac!“

riT vupasuxo

magram:

Rimilis garda?!

„mas nuRar vstiriT, rac dakargula“ _ ilia.

gulze xeli davidoT da vTqvaT: es leqsi rom „sadme

mTavari isaa, rom ana TviTon aris yvelaze didi

Segvxvedroda“, anasi gvegoneboda?

jildo da premia, uflisgan CvenTvis gamogzavnili, raTa mSobliuri cis siRrme dagvanaxos da eris ukvdavebis

***

rwmeniT agvavsos:

guram doCanaSvili mimarTavda, _ Sens poezias sqolio

samkvidro Sens qveS mtrad Semosulma

ara aqvs, mxolod biblias Tu davasaxelebTo. amiT, anas

veravin naxa...

erTaderTobas gamokveTda.

nurc enaxos!

aqve, erT Cemeul „aRmoCenasac~ daviCemeb, veravis rom ver davuTmob: Tu saxarebiseul Temebze sxvadasxva dros

***

daweril anas leqsebs qronologiurad davalagebT,

da mainc: ras efuZneboda anas es uryevi rwmena?

macxovris srul Tavgadasavals miviRebT. ase dalagebul

ras ki ara, vis:

leqsTa erTobas me „anas saxareba~ davarqvi. „anas saxareba~

„SemogrRvevia ros galavani,

namdvilad arsebobs.

gauyidixar iudas odes,

Tamaz Cxenkeli werda, anas poeziaze fiqrisas, safo,

xsna mogvlenia, _

anakreoni da gabriela mistrali melandebao. amis

moulodnelad

aRniSvniT, poetur qmnilebaTa ubadlo mTargmneli anas

mosula igi umwvanes rtoTi.

Semoqmedebis zogadsakacobrio masStabze miuTiTebda.

gadaiwurav nurc axla imeds,

Rrmad mjera:

arseba Seni RmerTma ineba:

ana kalandaZe rom frangi yofiliyo, ukvdavTa akademiaSi

is mova isev, mogeaxleba,

airCevdnen;

Sens bedkrul gzaze mogevlineba.

ana kalandaZe rom frangi, ingliseli, an Tundac

amin!..

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MANANA LILUASHVILI

manana liluaSvili

besarion niJaraZis roli svaneTSi ganaTlebisa da sabiblioTeko dargis ganviTarebaSi BESARION NIZHARADZE’S ROLE IN THE DEVELOPMENT OF EDUCATION AND THE LIBRARY FIELD IN SVANETI

svaneTis mkvidri qarTveli eTnologi, publicisti, folkloristi da sasuliero piri besarion niJaraZe, igive `Tavisufali svani~, 1852 wlis 21 noembers mestiis raionis sofel uSgulSi daibada. wels misi gardacvalebidan 125 weli Sesrulda, 1919 wels filtvebis anTebiT gardaicvala, dakrZalulia mSobliuri soflis, X saukuniT daTariRebul lagurkas eklesiis ezoSi. besarion niJaraZe 1866-1874 wlebSi quTaisis sasuliero saswavlebelSi swavlobda, romlis damTavrebis Semdgom swavla Tbilisis sasuliero seminariaSi gaagrZela. 1878-1883 wlebSi

svaneTis

saboqauloSi saqmismwarmoeblad muSaobda, xolo 1883 wlidan ki kvlav daubrunda quTaiss da didi madloba savadaznauro saswavlebelSi pedagogiur saqmianoba Seudga. besarion niJaraZe 1892 wels mRvdlad akurTxes da ifarisa da mestiis eklesiebSi daiwyo RvTis msaxureba. amave periodSi igi aqtiurad TanamSromlobda qarTul Jurnal-gazeTebSi, kerZod, „SromaSi~, „iveriasa~ da „droebaSi~. werilebsa da statiebSi igi exeboda im mwvave socialur problemebs, romelic imdroindel svaneTSi Zalian aqtualuri iyo. misi Txzulebebi Tavmoyrilia wignSi -”istoriul-eTnografiuli werilebi~, romelic Targmnilia rusul da germanul enebze. svaneTis burjma, rogorc mas akaki SaniZem uwoda, udidesi roli iTamaSa Tavis mSobliur kuTxeSi ganaTlebis gavrcelebis TvalsazrisiT. besarion niJaraZe erT-erTi TvalsaCino figuraa XIXXX saukunis im qarTvel sazogado moRvaweTa Soris, romelTa mTavari sazrunavi saqarTvelos axalgazrda Taobis aRzrda-ganaTleba iyo. besarion niJaraZe svaneTis im gamorCeul, WeSmarit mamuliSvilTa Sorisaa, romelTac bedma am ulamazesi

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kuTxis momavlisaTvis zrunva arguna. `Tavisufali svani~ Tavis narkvevebSi exeba istoriis, eTnografiis, arqeologiis, folkloris, geografiisa da enis sakiTxebs. mas ekuTvnis erTob saintereso gamokvlevebi: `svaneTis manuskriptebis~, `svaneTis xelnawerebisa~ da `svanuri gramatikis~ Sesaxeb, romlebic dResac ar kargavs Tavis aqtualurobas. besarion niJaraZe miuval mTebSi myofi Cveni saganZuris, qarTuli xelnawerebis, istoriuli Zeglebisa Tu zne-Cveulebebis gadarCenisTvis Tavdauzogavad ibrZoda. sxvaze rom araferi vTqvaT, sakmarisia davasaxeloT `adiSis oTxTavi~, romelic klarjeTSi, kerZod, SatberdSi 897 wels gadaweres. swored besarion niJaraZe iyo pirveli, romelmac yuradReba miaqcia am uZvirfases Zegls, romelic mogvianebiT eqvTime TayaiSvils gaacno. garda amisa, `Tavisufali svanis~ saxels ukavSirdeba X saukunis im qarTuli xelnawerebis gadarCena da movla-patronobas, romlebic adasturebs saqarTvelos ierusalimTan mWidro kulturul urTierTobas. besarion niJaraZe leCxumsa da svaneTSi samecniero mizniT Casuli eqvTime TayaiSvilis megzuri iyo. didma mecnierma swored `Tavisufali svanis~ saxlSi aRwera 15 xelnaweri, maT Soris `didi kanoni ierusalimis eklesiisa~, romlis 11 minaweri XIV-XV saukuneebiT TariRdeba. am or WeSmarit mamuliSvils Soris samecniero urTierToba momavalSic gagrZelda. eqvTime TayaiSvili mestiaSi daculi erT-erTi xatis Sesaxeb Tavis naSromSi werda: `marTalia es xati mestiaSi Cven ar gvinaxavs, magram TbilisSi, batonma niJaraZem patara vercxlis mooqruli firfita mogvitana, romelic eWvs gareSe Seadgenda zeda patara pirs patara saxarebis ydisas“ _ (eqvTime TayaiSvili, `arqeologiuri eqspedicia leCxum-svaneTSi~, gv. 282). svaneTis im periodis istoriisaTvis saWiro masalis simciris gamo `Tavisufali svanis~ mier mikvleulsa da gamoqveynebul minawerebs uaRresad didi mniSvneloba aqvs. igi marto Semkrebi ki ar aris uZvelesi qarTuli xelnawerebisa, aramed gvevlineba am saunjis niWier da mcodne mkvlevrad. korneli kekeliZe `Tavisufal svans~ miiCnevs svaneTis despanad. swored misi damsaxurebiT svaneTSi arqeologiuri da samecniero mizniT Casul mkvlevrebs qarTuli siZveleebis gacnobisa da Seswavlis SesaZlebloba eZleodaT. besarion niJaraZes kargad esmoda, rom ganaTleba qveynis materialuri da kulturuli ganviTarebis erTerT mTavar pirobas warmoadgenda. mas mxari unda aeba

Besarion Nizharadze, a native of Svaneti, was a Georgian ethnologist, publicist, folklorist, and clergyman, also known as the “Free Svan.” He was born on November 21, 1852, in the village of Ushguli in the Mestia district. This year marks the 125th anniversary of his death, as he passed away from pneumonia in 1919 and was buried in the yard of the church of Lagurka, dated to the 10th century, in his hometown.

Besarion Nizharadze attended the Religious Seminary in Kutaisi from 1866 to 1874, after which he continued his studies at the Tbilisi Theological Seminary. Between 1878 and 1883, he worked as a clerk in the Svaneti regional court. In 1883, he returned to Kutaisi and began his teaching career at a noble school.

In 1892, Besarion Nizharadze was ordained as a priest and started his service in the churches of Ifari and Mestia. During this time, he was also an active contributor to Georgian journals and newspapers, including Shroma, Iveria, and Droeba. In his writings and articles, he addressed the pressing social issues that were very relevant in Svaneti at the time. His works were collected in the book HistoricalEthnographic Letters, which has been translated into Russian and German.

As Akaki Shanidze called him, the “Abutment of Svaneti,” Besarion Nizharadze played a pivotal role in the spread of education in his native region of Svaneti. He is among the key Georgian public figures of the 19th and 20th centuries, whose primary concern was the education and upbringing of Georgia’s younger generations.

Besarion Nizharadze is among the distinguished, true patriots of Svaneti, those whom fate entrusted with the responsibility of caring for the future of this beautiful region. In his essays, the “Free Svan” addresses matters of history, ethnography, archaeology, folklore, geography, and language. His notable studies include “Manuscripts of Svaneti,” “Svaneti’s Handwritten Records,” and “Svanetian Grammar,” which remain relevant today.

Besarion Nizharadze tirelessly fought for the preservation of Georgia’s treasures – including Georgian manuscripts, historical monuments, and customs – located in the remote mountains. To name but one example, he was the first to bring attention to the invaluable “Adysh Gospels,” which were copied in 897 in Shatberdi, Klarjeti. He later introduced this manuscript to Ekvtime Takaishvili.

Additionally, Besarion Nizharadze is credited with the preservation and care of 10th-century Georgian manuscripts, which confirm the close cultural ties between Georgia and Jerusalem.

Besarion Nizharadze served as the guide for Ekvtime Takaishvili, who visited Lechkhumi and Svaneti for scientific purposes. It was in the house of the “Free Svan” that the great scholar described 15 manuscripts, including the “Great Law of the Jerusalem Church,” 11 annotations of which date back to the 14th-15th centuries. The scientific relationship between these two true patriots continued in the future. Ekvtime Taqaishvili wrote in his work about one of the icons preserved in Mestia: “Although we have not seen this icon in Mestia, Mr. Nizharadze brought us a small gilded silver plate in Tbilisi, which unmistakably fit the small cover of the Gospel.” (Ekvtime

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im didi saqveyno saqmisTvis, romelsac imdroindeli qarTuli sazogadoebis progresuli nawili eweoda ilia WavWavaZis meTaurobiT. zemo svaneTis mosaxleobis nawilma, samwuxarod, qarTuli ena ar icoda. amitomac besarion niJaraZis upirvelesi amocana iyo, gaexsna samrevlo skolebi, sadac bavSvebi miiRebdnen dawyebiT ganaTlebas, rac ase sWirdeboda qveyanas. svaneTSi mis pedagogiur saqmianobasTan dakavSirebuli araerTi dokumentia daculi saqarTvelos erovnuli arqivis fondebSi, romlebic naTels hfens `Tavisufali svanis~ amjerad, rogorc pedagogis, qarTvelTa Soris wera kiTxvis gamavrcelebel sazogadoebasTan urTierTobas. ai, ras vkiTxulobT sazogadoebis gamgeobisadmi miweril erT-erT werilSi: `am mimdinare 1898 wels samrevlo skolasTan, romelic arsebobs 1891 wlidan, me gavxseni Cems mrevlSi sakvirao skola calke vaJebisTvis, qalebisTvis calke. Tumca am skolas Semweoba eZleva qristianobis aRmdgenebeli sazogadoebisgan, Tanaxmad wardginebisa inspeqtoris baton maminaiSvilisa, magram miuxedavad amisa, skola mainc saWiroebs bevr rameebs, amisTvis vTxov gamgeobas, aRmouCinos Cem mier gaxsnil sakvirao skolas Semweoba da sxva saswavlo nivTebis, romelnic ki saWirod aRmoCndebian“ (saqarTvelos istoriis centraluri arqivi, fondi 481 anaweri 1, saqme 533, furceli 64). vis, Tu ara „Tavisufal svans“ kargad esmoda, rom ukiduresad mZime materialur mdgomareobaSi myof svanTa ojaxebs ar gaaCndaT saWiro Tanxebi Tavisi Svilebis saskolo inventaris SesaZenad. amisaTvis saWiro iyo daxmareba saqarTvelos wera-kiTxvis gamavrcelebeli sazogadoebis mxridan, risTvisac aRniSnul fondSi vawydebiT araerT Txovnas b. niJaraZisa, `rom ifaris samrevlo skolisTvis gamgeobam gamouyos: rveulebi 40 cali, 20 karandaSi da 20 kalmistari.“ aRniSnuli Txovna daakmayofila niko cxvedaZem _ (saqarTvelos istoriis centraluri arqivi, fondi 481 anaweri 1, saqme 349, furceli 92). iyo SemTxvevebic, rodesac gamgeoba am moTxovnebs ver uzrunvelyofda mZime finansuri mdgomareobis gamo.

Tumca, amas ar epueboda besarion niJaraZe da yvelafers akeTebda Tavisi aRsazrdelebisTvis: `wignebiTa da saswavlo nivTebiT Semweoba svaneTis skolebs ar miuRiaT, Tumca es Semweoba Cem mier iyo [TqvenTvis] naTxovni.“ (1902 wlis 12 ivnisi, saqarTvelos istoriis centraluri arqivi, fondi 481 anaweri 1, saqme 3843, furceli 41).

Taqaishvili, Archaeological Expedition to Lechkhumi-Svaneti, p. 282).

Given the scarcity of historical material for the period of Svaneti, the manuscripts found and published by the “Free Svan” are of tremendous importance. He was not merely a collector of ancient Georgian manuscripts, but also a skillful and knowledgeable researcher of this treasure.

Korneli Kekelidze considers the “Free Svan” to be the envoy of Svaneti. It was thanks to him that researchers who came to Svaneti for archaeological and scientific purposes were given the opportunity to learn about and study Georgian antiquities.

Besarion Nizharadze understood well that education was one of the main conditions for the country’s material and cultural development.

He supported the significant public endeavor led by the progressive part of Georgian society under the guidance of Ilia Chavchavadze.

Unfortunately, part of the population in Upper Svaneti did not know the Georgian language. Therefore, Besarion Nizharadze’s primary goal was to open parish schools where children could receive primary education, which was so necessary for the country. There are several documents related to his pedagogical activities preserved in the archives of the National Archive of Georgia, shedding light on the “Free Svan’s” role as a teacher and his relationship with the Society for the Spreading of Literacy among Georgians. Here is an excerpt from one of the letters written to the governing body: “In the current year, 1898, I opened a Sunday school for boys separately, and for girls separately, at the parish school, which has existed since 1891. Although this school receives assistance from the Christian Reformation Society, according to the report of Inspector Mr. Maminashvili, it still needs many things. Therefore, I request the government to provide the Sunday school I have opened with assistance and other educational materials that may be necessary.” (Central Historical Archive of Georgia, Fund 481, Case 533, p. 64).

Who, if not the “Free Svan,” understood well that the families of Svaneti, living in extremely difficult material conditions, did not have the necessary funds to purchase school supplies for their children?

To address this, help was needed from the Society for the Spreading of Literacy among Georgians and in the relevant archives, we find numerous requests from Mr. Nizharadze, “asking the government to allocate 40 notebooks, 20 pencils, and 20 pens for the parish school.”

This request was granted by Niko Tskhvedadze. (Central Historical Archive of Georgia, Fund 481, Case 1, File 349, p. 92). There were cases when the government could not meet these requests due to the difficult financial situation. However, Besarion Nizharadze did not give up and continued to do everything for his students: “The schools in Svaneti did not receive support with books and school supplies, but this support was requested by me [for you].” (June 12, 1902, Central Historical Archive of Georgia, Fund 481, Case 1, File 3843, p. 41).

Apart from his pedagogical work, Besarion Nizharadze actively fought to open libraries in the villages of Svaneti for educational purposes. Specifically, we read in the government’s official record: “Request from Besarion Nizharadze for the government to help him open libraries in Svaneti by providing his own publications and

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pedagogiuri saqmianobis garda, besarion niJaraZe saganmanaTleblo moRvaweobis mizniT, aqtiurad ibrZvis svaneTis soflebSi biblioTekebis gaxsnisTvis, kerZod, gamgeobis saoqmo CanawerSi vkiTxulobT: `Txovna besarion niJaraZisa, rom gamgeoba daexmaros mas svaneTSi biblioTekebis gaxsnaSi sakuTari gamocemebisa da sxvaTa wignebis SewevniT. gamgeobam, niko cxvedaZis mxardaWeriT, mas gamouyo 17 maneTis wignebi.“ _ (saqarTvelos istoriis centraluri arqivi, fondi 481 anaweri 1, saqme 3843, furceli 41.). gansakuTrebiT sayuradReboa mis mier daviT kariWaSvilisadmi gagzavnil werili, romelic 1893 wlis 14 ivnisiT TariRdeba. ai, ras vkiTxulobT: `Zmao daTiko! wignebi, jejilebi, Seni Sroma Tamar mefisa (ori wigni) da Seni baraTic miviRe. Zlier gmadlob yovelive amisTvis. jejilic momdis ama wlisa. mxolod esec aris mxolod axala miviRe III wigni da II ki sadRac dakargula. ubeduri zamTari iyo da ubeduri gzebi.

Tqveni gamogzavnili wignebi 13 aprils miviRe. manamde ki cageris fostaSi eyara ugzoobis gamo. arc furclebi da arc gazeTi `meurne~ ar momsvlia... mSvidobiT naxvamde. Seni Sors myofi amxanagi besarion niJaraZe.~ (saqarTvelos istoriis centraluri arqivi, fondi 481 anaweri 1, saqme 361, furceli 27-27a.). `svaneTis burjs~, Tavisi ganaTlebidan gamomdinare, Tamamad SeeZlo TbilisSi ecxovra, kariera Seeqmna da ukeTesi yofa hqonoda, magram igi erTguli darCa sakuTari qveynis, kuTxisa da ilia WavWavaZisTvis micemuli sityvisa: `besarion, Tu saqarTvelo odnav mainc giyvars, svaneTSi unda waxvide da iqidan unda amogvidge uRelSio~. (v. ZiZiguri, besarion niJaraZe („Tavisufali svani~), gazeTi `saxalxo saqme~, 1919 weli.

11 maisi, 253). besarion niJaraZe svaneTis regionSi ganaTlebis gavrcelebis erT-erTi pioneri iyo. misi moRvaweoba ar Semoifargleboda mxolod skolebis gaxsniT, igi im droisTvis kargad aanalizebda, rom skolebs saTanado inventari da biblioTeka sWirdeboda da yvelafers akeTebda am miznis misaRwevad. besarion niJaraZem ganuzomeli Rvawli miuZRvis svaneTisa da mTeli qarTveli eris winaSe.

other books. With the support of Niko Tskhvedadze, the government allocated 17 manats worth books.” (Central Historical Archive of Georgia, Fund 481, Case 1, File 3843, p. 41).

Particularly noteworthy is the letter he sent to Davit Karichashvili, dated June 14, 1893. Here is an excerpt: “Dear Datiko! I received the books, the wheatgrass, your work on King Tamar (two books), and your letter. I greatly thank you for everything. The wheatgrass is growing this year as well. Only now I have received the III book, but the II one has been lost somewhere. It was a terrible winter and a terrible road. The books you sent arrived on April 13. Before that, they had been delayed in the post office in Tsageri due to lack of proper roads. Neither the papers nor the Meurve newspaper arrived…

Until we meet again, goodbye. Yours, Besarion Nizharadze.” (Central Historical Archive of Georgia, Fund 481, Case 1, File 361, p. 27-27a).

Thanks to his education, Besarion Nizharadze could have easily lived in Tbilisi, built a career, and enjoyed a better economic situation, but he remained loyal to his country, his region, and the promise he made to Ilia Chavchavadze: “Besarion, if you love Georgia even a little, you must go to Svaneti and help it thrive.” (V. Dzidziguri, Besarion Nizharadze (“Free Svan”), Sakhlkho Saqme Newspaper, May 11, 1919, N253).

Besarion Nizharadze was one of the pioneers of spreading education in the Svaneti region. His work was not limited to just opening schools; he understood the need for proper school supplies and libraries and did everything he could to achieve this goal.

Besarion Nizharadze made an immeasurable contribution to Svaneti and the entire Georgian nation.

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nino jiSkariani

kavsaZis 4 - memorialuri saxli „icxovro imisTvis, rom mohyve~ _ ambobs markesi da.. quCaze, saxlebis numeracia 1880-ani wlebidan daiwyo ruseTis imperiaSi da... CvenTanac. saxlze, nomerTan erTad, xSirad mflobelis gvarsac awerdnen. dRes „saxeliani~ saxli ukve istoriaa da TavisTavad Cndeba interesi am sacxovrisis istoriis gagebis da an gaxsenebis...

Semdeg iyo sabWoTa periodi, Tavisi „aRmSeneblobiT~, romelsac ukavSirdeba saxlebi profesiuli niSniT _ kompozitorebis, mwerlebis, „medikebis“, mecnierebis, mxatvrebis, arqiteqtorebis, universitetis da a.S., iq gverdigverd cxovrobdnen erTi profesiis adamianebi, ojaxebiT. es saxlebic `saxeliani~ saxlebia Tav-TavianTi istoriebiT... erT-erTi aseTi gaxldaT „mxatvrebis saxli~ kavsaZis 4 nomerSi, didi ezoTi da bevri bavSviT. Cveni ojaxi, mama (oTar jiSkariani, saqarTvelos damsaxurebuli mxatvari da im xanad sabavSvo gamomcemlobis „nakaduli~ mTavari mxatvari), deda (eTer jiSkariani, damsaxurebuli Jurnalisti), Cemi daiko marina da me, dRes aseve mxatvrebi, vcxovrobdiT me-4 sarTulze, romlis

fanjrebic ezosken gadioda. maxsovs, rodesac mamam televizori SeiZina, saRamoobiT mezoblebi CvenTan ikribebodnen da „cisfer ekrans~ erTad ucqerdnen, gansakuTrebiT figurul srials, am sportis saxeobis msoflio Cempionatis dReebSi... bavSvebma yvela figuristis gvari zepirad vicodiT, vTamaSobdiT kidec maTi saxeliT. me xSirad gabi zaiferti viyavi, germaneli mocigurave... maxsovs, erTxel yuri movkari dedas saubars karis mezobel deida margosTan, vaso goZiaSvili cudad yofila da minda ninos scenaze daamaxsovrdes, bileTebi aviRe da dRes mimyavs „Zvel vodevilebzeo“, risTvisac dResac didi madlobeli var. axla rom vfiqrob, aqedan daiwyo Cemi Teatrisadmi siyvaruli da albaT, bavSvobaSi imitomac gvqonda kidev erTi TamaSi _ „Teatrobana“. erTerTi aseTi iyo scena speqtaklidan „WinWraqa“. davafendiT patara xaliCas, romelzec davdgebodi me _ baybay devi, damijdeboda fexebTan maia quTaTelaZe (araCveulebrivi fermweris guram (xita) quTaTelaZis ufrosi qaliSvili), dRes Tavadac mxatvari) _ qosiko da viwyebdiT simReras „maRla caSi amafrine“.., oRond qosiko meubneboda rom

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mfrinavi xaliCa ar iqoqeboda... damxmare msaxurebi iyvnen Cveni umcrosi debi, marina da Tea (wupa), dRes aseve mxatvrebi. rac mTavaria vcdilobdiT msaxiobebiviT gamovwyobiliyaviT da maTgvari grimic gamogveyenebina. ar vici, ramdenad sainteresoa vinmesTvis am TamaSebis gaxseneba, magram Tu gaviTvaliswinebT dRevandel bavSvebs gajetebiT da telefonebiT xelSi, iqneb Rirdes kidec. ar vici dro iyo aseTi, Tu bavSvobaa tkbilad gasaxsenebeli, yvela TiTqos erTad cxovrobda, kars aravin ketavda... diliT yavis suni maRviZebda _ karis mezoblebi, deida leila (moqandake roman davlianiZis meuRle da dRes ukve cnobili mxatvar qeTi davlianiZis bebia) da ulamazesi deida margo (fermwer giorgi (Jora) jaSis meuRle da imave dros msaxiob duduxana weroZis da) „penuarebSi“ gamowyobilebi CvenTan samzareuloSi yavis moxalviT, Semdeg xelis safqvaviT dafqviTa da moduRebiT iwyebdnen. sxvaTa Soris cota xnis win, baton Joras, samxatvro akademiis profesors, araCveulebriv fermwersa da portretists dabadebidan 110 weli Seusrulda.

Cems mexsierebaSi xSirad amotivtivdeba batoni Joras mier Sesrulebuli meuRlis portreti, romelsac gansakuTrebuli adgili ekava maT saxlSi, raRacnairi sinaTle modioda tilodan.

Tu vinmesTan raime dResaswauli iyo, aucileblad cxveboda sadResaswaulo torti, oRond rogorc wesi, deida tanias (saqarTvelos ssr saxalxo mxatvris, fermwer grigol(griSa) CirinaSvilis meuRle) spilenZis formaSi, romelic sul „mogzaurobda~ mezoblebSi. TviTon deida tania araCveulebrivad acxobda da xSirad exmareboda mas misi megobari nestani, gogla leoniZis qaliSvili. zafxulobiT roca bavSvebi ezoSi vwuwaobdiT, pirvel sarTulze merab berZeniSvilis (saqarTvelos damsaxurebuli moqandake) gverdiT mcxovrebi, Zalian sayvareli, uTbilesi, bavSvebis moyvaruli Zia leo (fermweri leopold ZaZamiZe) sul CarTuli iyo Cvens ancobaSi. Tavad ojaxi ar hyavda da patarebTan urTierToba uyvarda. samwuxarod, dedasTan, zugdidSi Casuli, sakmaod axalgazrda tragikulad daiRupa. mis bina/saxelosnoSi, sadac dRes aTasnairi sacxobia gaxsnili, wlebis mere grafikis dazgaze muSaobdnen mama da Tengiz (CubCika) mirzaSvili unikalur albomebze „svaneTi~ da „TuSeTi“, romelic mxolod dabeWdili ydiT gamovida, SigTavsi ki linograviurebi iyo.. maxsovs, Zalian mowesrigebuli, yovelTvis sagangebod gamopranWuli mia (moqandake Tengiz RviniaSvilis da ulamazesi deida TaTulis, babo dadianis qaliSvilis Svili), romelic ezoSi iSviaTad Camodioda da aucileblad gamorCeulad, „parizulad“ ecva _ TeTri „fuSfuSa“ kaba da Savi „lakis“ fexsacmelebi, didi bantebiT iseTi STambeWdavi iyo, meRimeba, magram dRemde maxsovs. deida TaTuli cxovrebis bolomde yovel

oTar jiSkariani - `xedi fanjridan~ (1963)

Sexvedraze ninos magivrad „mias dedas~ meZaxda, ise, rogorc mivmarTavdi bavSvobaSi... maxsovs erTxel, albaT xuTi wlis viyavi, deda produqtebze gavida cota xniT, patara daiko damitova, romelsac eZina. gamafrTxila _ gafuWebuli saketis gamo kars ar mivkarebodi... am dros saTamaSod amovida mamuka mamalaZe, moqandake ioram mamalaZis SviliSvili (mis Sesaxeb samwuxarod araferi vici, radgan 90-ianebSi mTeli ojaxiT germaniaSi gadavida sacxovreblad). Semovida, kari miajaxuna da CaviketeT... mTeli samezoblo kars iqiT mogrovda da eZebdnen gamosavals, roca moulodnelad aivnidan Semovida paata jaSi (Jora jaSis ufrosi Svili da dRes xelovnebaTmcodne), romelic yvelasgan

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rogor eZaxis ira deida maias... raRacnairad eZaxda saxels da ratomRac mominda gamojavreba. zustad ise davuZaxe mec, da gadavxede eSmakuri siciliT (isini meore sarTulze cxovrobdnen), megona vixumre... dRemde maxsovs is gamoxedva da mas mere arasodes, aravisTvis aRar... im mzeriT iseTi gakveTili miviRe. maxsovs meore sarTulis aivanze gadmomdgari axovani aRnagobis mamakaci mkacri gamoxedviT, grafikosi gogi nadiraZe, romelic sul Tvalyurs gvadevnebda rame ar dagveSavebina... ezoSi erTi aluCis xe idga da sulmouTqmelad velodebodiT mis damwifebas. batoni gogi aivnidan gvafrTxilebda _ jer mkvaxea, gawyenTo. mere movidoda skolidan misi biWi zuriko, romelic Cvenze bevrad ufrosi iyo, klaselebTan erTad, avidodnen am xeze da, mokled, es aluCa patarebs aRar gvxvdeboda... raRacas rom akeTebda da masala rCeboda, moiclida CvenTvis da saxlebs gviSenebda saTamaSod... zRapruli iyo Cveni ezo. periodulad fanjridan gaigebdi

giorgi (Jora) jaSi - margo weroZis portreti

uCumrad, saxuravidan uwvrilesi gazis milis saSualebiT moxvda CvenTan da karic gaiRo... am Zalian saxifaTo gadawyvetilebis gamo, paata saTanadod daisaja kidec, magram Cveni, bavSvebis TvalSi vaJkacobis da Tavdadebis simbolo gaxda. mamalaZeebis gverdiT cxovrobda maisaSvilebis ojaxi, saqarTvelos saxalxo mxatvari, fermweri, miniatiuristi, grafikosi severian maisaSvili, misi meuRle, usayvarlesi deida lena, romelic bavSvebisTvis TamaS-TamaSiT rusulis swavlas cdilobda da maTi vaJi, SemdgomSi Zalian saintereso mxatvari, daTo maisaSvili. severian maisaSvili pirveli qarTveli xelovania, romelmac tradiciebis gaTvaliswinebiT ganaviTara Tanamedrove qarTuli miniatiuruli xelovneba. misi eskizis mixedviT Seiqmna saqarTvelos ssr droSa 1951 wels. me, mamuka mamalaZe da maia quTaTelaZe mezoblobis garda klaselebic viyaviT. diliT Cavuvlidi mamukas, mere erTad CavivlidiT maiasTan, romelsac rogorc wesi agviandeboda (dedamisi, deida ira, romelic yvelaze „mkacri~ deda iyo ezoSi, ar uSvebda, sanam karaqian purs ar SeWamda bolomde) da ase mivdiodiT. erTxel (avad viyavi da ezoSi ar miSvebdnen), aivanze mdgoms mesmis

eTer jiSkariani, apolon quTaTelaZe, yaraman quTaTelaZe

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ezoSi: daTo da severian maisaSvilebi, gia da roman davlianiZeebi

Zaxils _ „maroJniee“, „eskimoo“, romlis gemoc dRemde maxsovs da CavrbodiT kibeebze sayidlad... dRes TiTqos meti gasarTobia da XXI saukunis bavSvs aRaraferi ukvirs, magram mgonia, rom Cven ufro laRi da xalasi bavSvoba gvqonda. saxli xuT sarTuliani iyo, ori sadarbazoTi, sadac 30-50-iani wlebis gamoCenili xelovanebi cxovrobdnen. ezos marcxena mxares idga orsarTuliani grZeli Senoba, romelSic ganTavsebuli iyo mxatvrebisa da moqandakeebis saxelosnoebi, romelTagan zogi iqve, „mxatvrebis saxlSi~ cxovrobda da zogsac mxolod saxelosno hqonda da samuSaod modioda. am saxelosnoebSi iyo erTi CvenTvis, bavSvebisTvis gamorCeuli saxelosno, saidanac gvian Ramemde gamodioda ucnauri xmebi, xan yvirilis, xan simReris. iseT interess iwvevda fanjris miRma mimdinare ambebi, rom mopirdapire Robeze vZvrebodiT da vcdilobdiT dagvenaxa ra xdeboda iq... am dros es iyo batoni Salva kvasxvaZis (xelovnebaTmcodne) saxelosno da misi qaliSvili nana (SemdgomSi reJisori) sadiplomo speqtaklze muSaobda momaval msaxiobebTan erTad... iyo kidev erTi gamorCeuli saxelosno, CirinaSvilebis,

romlis kari mudam Ria iyo da iqidan ismoda musikis hangebi, iseTi, romelsac sxvagan ver moismendi. baton griSasTan erTad saxelosnoSi muSaobda aranakleb niWieri

nana oCiauri, paata jaSi, Tina CirinaSvili

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hqonda namuSevars „Tamar mefe mxedrobiT~... dRes am saxlSi misi umcrosi Svili, aseve mxatvari yaraman quTaTelaZe cxovrobs, romelic Tavadac 2022 wlidan samxatvro akademiis reqtoria. quTaTelaZeebis saxlis Semdeg idga kidev ramdenime cnobili moqandakis saxelosno _ irakli oqropiriZis, roman davlianiZis, gulda kalaZis (erTaderTi vaJi poet karlo kalaZisa da moqandake Tamar abakeliasi) da vaxtang onianis. kavsaZis 4-is ezos Robis gaswvriv uzarmazari alvis xeebi idga da iqve araCveulebrivi xexilis baRCac gvqonda. am baRis SuaSi, aluCis xis qveS didi xis magida idga garSemo skamebiT, sadac xSirad ikribebodnen ezos mamakacebi da erTad atarebdnen saRamoebs azrTa gacvlagamocvlaSi. ezoSi vizrdebodiT bavSvebis oTxi Taoba, romelTagan umetesoba dRes cnobili mxatvrebi arian.

biZina avaliSvili

mxatvari, misi Svili Temur CirinaSvili, romelic iyo jazis moyvaruli da hqonda unikaluri firfitebis koleqcia. ezos boloSi marjvniv idga orsarTuliani saxli, romelSic cxovrobda saqarTvelos damsaxurebuli mxatvari, fermweri apolon quTaTelaZe (samxatvro akademiis reqtori) ojaxiT. pirveli STabeWdileba istoriuli Sinaarsis, monumenturi ferweruli tilosi swored aq miviRe, me-2 sarTulze batoni apolonis saxelosnoSi, sadac mis ar yofnaSi yaramanis meSveobiT viparebodiT xolme. mTeli erTi kedeli daTmobili

oTar jiSkariani

marina jiSkariani, SoTa cincaZe, Tea quTaTelaZe, irakli cincaZe

es iyo laRi bavSvoba da imave dros didi akademia. aseTi cnobili, saintereso, damsaxurebuli adamianebis gverdiT yofna, yoveldRiuri urTierToba, maTi yureba da mosmena kvals tovebs adamianis CamoyalibebaSi. albaT, am yvelaferma momca gambedaoba, rom gamekeTebina katalogi/ samwigneuli „qarTuli wignis xelovneba~ da gamexsenebina is xelovanebi, romelTac didi wvlili aqvT Setanili wignis gaformebis kulturaSi da mizezebis gamo zogis gvari samwuxarod miviwyebas mieca... vfiqrob, Zalian gamimarTla am saxlSi rom gavatare bavSvoba.

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ori SviliT, SoTikoTi da irakliT. bavSvebi ra Tqma unda maleve davmegobrdiT. SoTikoc da iraklic dRes mxatvrebi/xatmwerebi arian mravalSviliani ojaxebiT. rac Seexeba spartak cincaZes, CemTvis Zia spartaks, CemTvis Zalian axlobeli adamiani iyo, Tbili da moridebuli. mamas gardacvalebis Semdeg, misma da batoni gogi wereTlis adamianurma da kolegialurma Tanadgomam mniSvnelovani kvali datoves Cems cxovrebaSi. sicocxlis bolo wlebSic, ise rogorc mTeli cxovreba igi intensiurad muSaobda, personalur gamofenas vfiqrobo miTxra, damaTvalierebina ukve Casmuli namuSevrebi, iqneb albomic gamovceo... davpirdi alboms me gagikeTebTmeTqi. es saubari erT-erT bolo Sexvedraze Sedga masTan saxlSi, man ki gamomcemloba „meranis“ konvertiT patara STabeWdilebis werili gamomitana mamas saiubileo albomis daTvalierebis Semdeg dawerili, romelic manamde mivutane. es iyo erT-erTi yvelaze Zvirfasi saCuqari, romelic odesme mimiRia, gansakuTrebiT konverti „meranis~ logoTi. mama da batoni spartaki megobrebi iyvnen. „nakadulis~ Semdeg wlebis ganmavlobaSi mama gamomcemloba „meranis~ mTavari mxatvari iyo da rodesac gamomcemloba „xelovnebaSi“ gadavida, mis adgilze, mTavar

Salva mayaSvili

es „mxatvrebis~ saxli dResac dgas kavsaZeze mamas darguli da me-4 sarTulamde ayvanili vaziT, magram im ojaxebidan erTi Tu oriRa SemorCa iqaurobas... Tvalwin midgas Cveni me-4 sarTulis fanjridan kadri _ ezo, da iq, im didi adamianebis fusfusi... es iyo namdvili Tbilisuri ezo, savse xelovnebiTa da xelovanebiT. am ezos erT-erTi gansakuTrebuli mogonebaa gamorCeuli garegnobis Zalian simpaTiuri mamakaci, moqandake biZina avaliSvili, romelic saWreTliT xelSi xSirad muSaobda ezoSi marmarilos qandakebebze. erT ramed Rirda am procesis yureba. ezoSi gvyavda erTaderTi ZaRli, saxelad „mardi“, monadire. iseTi siswrafiT gamovardeboda sadarbazodan, xSirad damalvas ver vaswrebdiT. mardis patroni, mxatvari givi gulisaSvili romelsac Zalian uyvarda nadiroba da ZaRlebi, meore sadarbazos mexuTe sarTulze Salva kvasxvaZis gverdiT cxovrobda. batoni givis saxels ukavSirdeba mineraluri wylis, „borjomis~ cnobili etiketi da araerTi ferweruli tilo Tu sainteresod gaformebuli wigni. misi Svili vaxtangi da SviliSvili kaxac mxatvrebi iyvnen. samwuxarod maTi moxsenieba warsulSi miwevs... imave sadarbazoSi pirvel sarTulze mogvianebiT gadmovidnen cincaZeebi. saqarTvelos damsaxurebuli mxatvari, grafikosi spartak cincaZe meuRliT da

Sura banZelaZe

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`misis naTelas~ baRi: mia da daTo RviniaSvilebi, nani gelovani, zeinab jaSi, nino davlianiZe, rusudan banZelaZe

mxatvrad spartak cincaZe dainiSna. samwuxarod, batoni spartaki ver moeswro sakuTar personalur gamofenas, magram misi ocneba Sesrulda. Svilebma mSvenieri gamofena gaukeTes SarSan saiubileo 90-e wels saqarTvelos folkloris centrSi. mec Sevasrule danapirebi, oRond jer-jerobiT nawilobriv... gavakeTe albomi, oRond sxvadasxva mizezTa gamo beWdva ver moeswro iubilesTvis. vfiqrob, wels aucileblad davbeWdavT... axalgazrdebma aucileblad unda naxon misi dazguri da wignis grafika. minda gavixseno mayaSvilebi, romlebic cxovrobdnen imave sadarbazoSi meore sarTulze, saqarTvelos saxalxo mxatvris, satiruli plakatis erT-erTi fuZemdeblis saqarTveloSi, grafikosis, fermweris, Teatris mxatvris, Tss akademiis profesoris, samson nadareiSvilis gverdiT. batoni samsoni ukve asakSi iyo da Cems mexsierebas SemorCa mxolod Cvens ezoSi TamaSis dros fanjaraSi moRimari. rac Seexeba mayaSvilebs, dRes maro mayaSvili yvelam met-naklebad icis, magram maros da-Zmis, saqarTvelos xelovnebis damsaxurebuli moRvawis, fermweris, Salva mayaSvilisa da istorikos nugeSa mayaSvilis Sesaxeb naklebadaa cnobili.. Tu ki raime foto arsebobs kavsaZeze gadaRebuli, umetesoba Zia Salvasia, mas hqonda fotoaparati... mxatvrobis paralelurad igi iyo araCveulebrivi mTamsvleli da moTxilamure. ekaterine gabaSvilis SviliSvilsa da poet kote mayaSvilis vaJs,

legendadqceuli maro mayaSvilis Zmoba bevrs avalebda, amitom jer kidev Tbilisis saTavadaznauro gimnaziis mowafe _Salva mayaSvili samSoblos damoukideblobas 1921 wlis TebervalSi, frontze moxalised wasuli iaraRiT xelSi icavda da... Turme, dis dakrZalvis Semdeg, gorSi daewia leitenant lado qarumiZis saartilerio nawils, romelic baTumisken midioda sabrZolvelad. deida nugeSa da misi megobrebi marika lorTqifaniZe da ana kalandaZe megobrobis magaliTad darCnen CemTvis. miuxedavad asakisa, yovelTvis formaSi, mudam Rimiliani da Tavmdabali qalbatoni nugeSa, sakmaod aqtiur kulturul cxovrebas eweoda sicocxlis bolomde. sxva ambavia Cvens Tavze, me-5 sarTulze mcxovrebi banZelaZeebis ojaxi, romlebic saqarTvelos ssr-is xelovnebis damsaxurebuli moRvawe Salva cxadaZis karis mezoblebi iyvnen. batoni Salva im xanad da bevri wlis ganmavlobaSi Jurnal „dilas~ mTavari mxatvari iyo da Sesabamisad Jurnalis yvela nomeri gvqonda. is dedasTan erTad cxovrobda. xolo saqarTvelos damsaxurebuli mxatvari, saqarTvelos saxelmwifo premiis laureati aleqsandre (Sura) banZelaZe, cnobilia dResac da me mis Semoqmedebaze aq arafers davwer, magram minda movigono araCveulebrivi, Zalian saintereso qalbatoni, misi meuRle _ naTela (madona) abramiSvili (imave dros mxatvar merab abramiSvilis mamida), qali, romelic sul raRac axlis ZiebaSi iyo da yvelaferi gamosdioda. dRemde aRfrTovanebuli var. man, sakuTar binaSi gaxsna TbilisSi erT-erTi pirveli kerZo, inglisurenovani baRi, sadac TiTqmis mTeli ezos bavSvebi davdiodiT... skolaSi

ezoSi: maia gegeWkori, nino jiSkariani, qeTi kapanaZe

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CirinaSvilebis saxelosno

rom Sevedi, inglisurad ukve Tavisuflad vsaubrobdi. arasdros damaviwydeba mwvane „volga~, romliTac erT mSvenier dRes Cveni `misis naTela~ Semogrialda ezoSi (qali saWesTan manamde arasdros menaxa). mere es „volga~ mTelma samezoblom aRniSna im Cven naxseneb magidasTan, ezos mTel sigrZeze gaSlil sufrasTan... mere misi gataceba iyo liTonze muSaoba. iswavla da akeTebda vercxlis samkaulebs... mogvianebiT ki, igi specialurad wavida kaxeTSi „dedas puris~ Cakvris Sesaswavlad, imisTvis, rom gulrifSSi agarakze saxeldaxelod Cadgmul ToneSi puris cxoba SesZleboda... cxovrobdnen sxvanic... mxatvrebi _ JRentebi, torotaZeebi, oCiaurebi, xvitiebi, gelovanebi, TalakvaZeebi, magram bundovnad maxsovs vinaidan Sexeba naklebad mqonda... kavsaZidan ara, magram 1972 wels, rodesac gelovanebis da Cveni ojaxi gadavediT axal, sxva „mxatvrebis saxlSi~ pavlovis (Cixi) 4-Si _ iqidan daiwyo megobruli urTierToba, romelic dRemde grZeldeba. saqarTvelos ssr-is damsaxurebuli mxatvari guram gelovani, misi meuRle, araCveulebrivi grafikosi, uTbilesi lamara danelia da maTi qaliSvilebi nani, dRes xelovnebaTmcodne da

eka, araCveulebrivi fermweri. pavlovidan (axlandeli yazbegis gamziri), me da eka isev Zvel skolaSi, kino „yazbegTan~ diliT erTad mivdiodiT xolme da iqidan dawyebuli dRemde vmegobrobT... CvenTan erTad pavlovze gadmovidnen maisaSvilebi da mayaSvilebi, oRond es ukve sxva saxlis istoriaa... wlebis win, erT-erT leqciaze sityvam moitana da daviwye moyola sxvadasxva Sinauri ambebis am adamianebze, vaxsene eliCka (elene axvlediani), lado grigolia, apolon quTaTelaZe da SevamCnie, rom studentebi, romlebic apolon quTaTelaZis saxelobis akademiaSi swavloben da es maTTvis Zalian Soreuli ambavia, Tavidan interesiT, Semdeg ki nel-nela TvalebgafarToebulni, gaocebuli saxeebiT miyurebdnen... erT-erTi wamodga da mkiTxa, masw. ramdeni wlis xarT? gulianad gamecina... da kidev... statiisTvis foto masalis moZieba rom daviwye da „kavsaZelebs~ Sevexmiane, aRmoCnda, rom erTi filmis gadaRebas gegmavda, masalebic mouZiebia da raRacnairad bolomde ver gavedio, meorem sul vfiqrob am Temaze rame gavakeTo, iseTi saxli iyoo... ase, rom Turme marto ar vyofilvar da gamixarda...

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gulisa CxaiZe

umkacresi sasjeli al. yazbegis „xevisberi goCa~ im qmnilebaTa ricxvs ekuTvnis, romlebic arasodes gaZleven mosvenebas. mwerals iseTi tkiviliT moaqvs mkiTxvelamde Tavisi gmirebis Tavgadasavlebi, fiqrebi, gancdebi, rom SeuZlebelia maTi daviwyeba. danaSaulisa da sasjelis problema marad aqtualuri problemaa. „xevisberSi~ umwvavesad dgas es problema. rogorc didi vaJa gvetyvis: fSavSi damnaSavisTvis „sasjeli ornairi iyo: 1) fizikuri (Caqolva); 2) zneobrivi („mokveTa~, sazogadoebidam gaZeveba)~. asevea, rogorc Cans, xevSic. al. yazbegTan vxedavT amas („xevisberi goCa~, „moZRvari“). „Caqolvas gamoiwvevda xatisa da Temis moRalateoba, qalisa da kacis siyvaruli, rodesac am siyvarulis nayofi gamoCndeboda... sazogadoeba „moikveTda~ Tavis wevrs qurdobisTvis, xatis wesis daklebisTvis, Temis piris gatexisaTvis, anu upirobisTvis, mayvedrobisaTvis~ (vaJa fSavela, „fSavlebis Zveli samarTali da saojaxo wesebi~). ase rom, Temis moRalate fSavSi CaqolviT isjeboda, magram vaJas dramatul nawarmoebSi „mokveTili~ Cans, rom alternatiuli sasjelic arsebobda _ SeiZleboda ar CaeqolaT da moekveTaT. „mokveTilis~ erTi personaJi _ gulqani ambobs: „laSars srul Temni apiroben Seyras, mgonia, baxa unda moikveTon, Tu ar Caqoles~. baxam Tems uRalata, qistebi Semoiyvana sofelSi. al. yazbegis romanSi „xevisberi goCa~ Temis winaSe gansasjelad samni dganan _ moxeve gugua da ori osi. „SeiZleba iTqvas, rom samarTalSi yvelaze metad Cans adamianis kultura. yazbegis azriT, mefis ruseTis moxeleebma Semoitanes moraluri gaxrwna, riTac bevri dasneulda. maT xelSi adamiani geometriuli sxeuli iyo da arc undodaT da verc xedavdnen adamianis Sinagan qveyanas. sul sxva iyo Temi. aq sasoebaa, SiSia Secdomisa~ (vaxtang kotetiSvili, „rCeuli nawerebi~). „xevisberi goCas~ moqmedeba XVII saukuneSi viTardeba. rusebi jer ar Semosulan. Temi moralurad jansaRia. osebma Tems uRalates. Temma miiRo isini, radgan TavianT xalxSi aRar ecxovrebodaT, kaci SemohkvdomodaT. „xevma misca maT bina, auSena saxli, dauTmo saxnavebi, xevma iZmo da mosvenebuli cxovreba misca~. maT ki es sikeTe imiT gadauxades, rom mters mosavleli bilikebi

aCvenes, moxeveTa jars moulodnelad Tavze wamoayenes da TavianTi keTilismyofelni gaawyvetines. osebs Temma sasikvdilo ganaCeni gamoutana. bWobis Semdeg goCam gamoacxada: „orniv Caqvavdes!~ Temis moRalated Tvlian guguasac. is Tavs ver imarTlebs. magram guguas ar sjian sikvdiliT, radgan misi danaSaulis „guls ar sjera~, guguasgan Ralati moxeveebisTvis warmoudgeneli iyo. „RmerTo, mogviteve, Tu vcdebiT raSime!~ _ es sityvebi osebis gasamarTlebisas ar Tqmula, radgan maTi danaSauli aSkara iyo. isinic ar uaryofdnen. gugua ambobda, rom damnaSave ar iyo, magram Tavis udanaSaulobas ver amtkicebda. gugua daisaja Temidan mokveTiT, Tumca is moeloda, rom masac sikvdiliT dasjidnen: „damnaSave ara var, magram Tavs verafriT vimarTleb da unda davisajo, unda movkvde“. xevSi yofila realuri SemTxveva, roca Temis moRalate ar dausjiaT sikvdiliT. sergi makalaTias wignSi „xevi~ aseTi ram aris moTxrobili: „erT goriscixel (goriscixe _ sofeli xevSi, g.C.) aRulas lekebisTvis arSis cixis gza uswavlebia. lekebs arSisTvis vera daukliaT ra da ukanve gabrunebulan. aRulas es moRalateoba rodesac Temma gaigo, soflidan or-ori kaci samebis sabWeoSi Sekrebila da gadauwyvitavT aRulasa da misi Camomavlobis „gadaSoreba~, e.i. vinc imaT riTime „gaikvlevda~ an saqonelSi gairevda, an wisqvilSi daafqvevinebda, an Tu cecxli gauqreboda, cecxls miawodebda da agreTve, vinc maT gvars auZraxebda, isic ise unda garisxuliyo, rogorc aRulas Camomavloba. bWeebma Casves Turme „sarisxeulo samani~, dakles saklavi, romlis sisxli samanze daRvares da Turme xalxma ase daiwyevla: „risxva hqondes am samanisa, vinc aRulas STamomavlobas auZraxos da maTi sisxli ase daiRvaroso“. es sarisxeulo samani yvela xatSi CausvamT~. rogorc vxedavT, moRalates Temi sikvdiliT ar sjis, sjis „gadaSorebiT“, mokveTiT. guguas Ralatis ar sjeraT moxeveebs, aRulas Ralati ki aSkaraa, magram mainc ar gamoaqvT misTvis sasikvdilo ganaCeni. vaJa-fSavelas `mokveTilis~ personaJi baxa imis gamo, rom qistebi Semoiyvana sofelSi, raTa ConTas javri amoeyara, _ ConTam misi sacole moitaca da colad daisva, sikvdiliT ar dausjiaT, mokveTiT daisaja.

Tu visaubrebT „xevisberSi~ erTi da imave

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daviT (duda) gabaSvili. ilustacia aleqsandre yazbegis moTxrobisTvis `xevisberi goCa~

danaSaulisaTvis sxvadasxva sasjelis Sefardebis Sesaxeb, swored es SemTxveva unda Sefasdes amgvarad.

Temis moRalate osebi Caqoles, Temis moRalate gugua (aseTad aris is miCneuli) ki Temidan moikveTes. maTi danaSaulisaTvis sxvadasxva sasjeli iqna Sefardebuli _ Caqolva da Temidan mokveTa. ase rom, qarTvel mTielTa cxovrebis amsaxvel mxatvrul nawarmoebebSi erTi da imave danaSaulisaTvis sxvadasxva sasjelis Sefardebis SemTxvevebi gvxvdeba.

mokveTili Temma SeiZleba Semoirigos. „mokveTils kidec eZleoda saSualeba TemTan Serigebisa. Sesarigeblad imas unda mieyvana xari da cxvari xatSi, soflisTvis Seewira isini da Sehxvewnoda sofelsa, daedva piroba, fici _ SemdegisaTvis gafrTxilebuliyo da aRar Caedina samarcxvino saqme~ (vaJa fSavela, „fSavlebis Zveli samarTali da saojaxo wesebi~). aRula ara, magram misi STamomavalni ki SemourigebiaT. maT, mZime mdgomareobiT SewuxebulT, osebis SuakacobiT

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TemisaTvis Serigeba uTxoviaT. bolos Temi daTanxmebula da niSnad Serigebisa aRulas STamomavalT, sadac „sarisxeulo~ samani yofila Casmuli, yvelgan TiTo saklavi dauklavT da Semdeg samnebic amouRiaT. rac SeexebaT onisesa da guguas, maTi danaSauli erTi da igive ar yofila. gugua mtris jars mouZRoda win, onises ki mteri Semoepara. ra Tqma unda, gugua srulebiT udanaSaulo iyo, magram man Tavi ver imarTla, ufro sworad, ar imarTla, da mas asamarTleben, rogorc Temis moRalates. magram onises sxva bralic edeba. onises danaSauli ormxrivia: danaSaulia, rom ealerseba qals, romelic sxvisi colia da romlisTvisac, rogorc xelismomkides, Zmobis gaweva evaleboda; danaSaulia is, rom alersiT garTuls mteri Semoepareba da moZmeT sisxli daedeba kisrad. gonebas grZnoba SeebrZola da grZnobam daCagra goneba. „adamianis sicocxlis mTeli traRizmi da imave dros silamazec imaSi mdgomareobs, rom igi erTsa da imave dros orfexi cxovelic aris da sulieri TviTgamomrkvevi substanciac: igi sustic aris da ubeduric, magram diadi, radgan azrovneba aqvs da icis, rom itanjeba. masSi Zneli da mZime winaaRmdegobani RrRnian mudam mousvenar suls da am saSineli dramis mwarmoebeli gonebaa, romelic yovelTvis ver imarjvebs. al. yazbegi ki gonebis apologetia da yvelgan cdilobs, gviCvenos misi upiratesoba. al. yazbegma Zalian kargad icis, rom yovel adamianSi xdeba Seuxamebel survilTa mogroveba da dapirispireba, magram isic icis, rom adamiani sabolood zneobrivi kategoriaa da yovelTvis mtkiced unda icavdes sakuTari siwmindis Seuvalobas~ (vaxtang kotetiSvili, „rCeuli nawerebi“). magram ra Znelia brZola grZnobasTan iq, sadac am grZnobas „geologiuri Zala~ aqvs! (esec vaxtang kotetiSvilis sityvebia); sadac „siyvaruli raRac saSinelia, mozRvavebuli lavaa~ (iqve); sadac „gonebis pirdapir diqtatura sWirdebodaT simtkicisa da vaJkacobis Sesanaxad~ (iqve). onise gamotyda Tavis danaSaulSi: „gugua marTaliameTqi, tyuilad nu dasjiT... guguas da me mizezi gvaqvs erTmaneTis mosisxleni SevqniliyaviT... eg mTidgan rom modioda, bilikebze imad daeSva, rom me movekali... magram gzaSi mters Sexvda da moRalatobas tyuilad swamobT... moZmeT codo me mawevs kiserzeda, Cemi bralia maTi gawyveta... me davkarge goni, mteri me gamomepara!..~. goCa yvelafers mixvda, misTvis yvelaferi dResaviT naTelia. goCam icis, ra mizezi unda hqonoda guguas onises mokvlis ganzraxvisaTvis. ra Tqma unda, xvdeba imasac, vin unda yofiliyo is qali, vinc onises goni daakargvina. Temis Tavebic mixvdnen, rom aq saqme qals exeboda. guguas Cemi mokvla undodao, onise ambobs. mere

ambobs, rom goni dakarga da mteri Semoepara. es ori raRac erTmaneTTan ar iyo Zneli dasakavSirebeli. „ra sasjeli aris, rom Sen gadagiwyvitoT!.. gadaswyvite, Temo!“ _ amas ityvis goCa, roca Svilisgan Tavisi danaSaulis aRiarebas moismens. „karga mRelvarebisa da CoCqolis Semdeg Temis Tavni miuaxlovdnen goCas da wynarad warmosTqves: „goCav, Sens Svils xevi ar gauyidnia... mxolod ymawvilkacobas gautacnia da TavdaviwyebaSi Caugdia“. maT ymawvilkacoba da TavdaviwyebaSi Cavardna onises danaSaulis Semamsubuqebel garemoebad miiCnies, magram goCa, piriqiT, danaSaulis damamZimebel garemoebad miiCnevs: „miT ufro meti sabuTia, rom mkacrad gadaxdes... kacs ulvaSi namusisTvis gamouva“. swored ymawviluri codviani gatacebaa mTavari

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lado gudiaSvili. vaJa-fSavela da yazbegi

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danaSauli, esaa mizezi meore uneblie, magram umZimesi danaSaulisa, moZmeT Ralatisa. es ubedureba mohyva mamis darigebis argagonebas. „maS egre gaigone Cemi darigeba?“ _ romel darigebas gulisxmobs goCa? mas xom Svili araerTxel daurigebia! ar aris Zneli imis mixvedra, rom xevisberi guguasa da ZiZias qorwilis Rames ixsenebs, roca Tavgzaabneul Svils ase uTxra: „gaCumdi, balRo, Sen cxo rame gaqvs gulSi!~ _ es „cxo ramea~ mizezi moZmeT Ralatisa da es „cxo rame~ TavisTavadac imsaxurebs sasjels da imave sasjels, rasac imsaxurebs Temis Ralati. goCam Svili ase daariga: „ici, visi gorisa xar? ...vinZlo qveyana ar gaacino... Cems sityvebs nu daiviwyeb... gaxsovdes, visi gorisa xar da kaci ki tanjvisTvis aris gaCenili“. sul es iyo, magram onise Zalian kargad mixvda mamis saTqmels. goCamac icis, rom mis Svils xevi ar gauyidia, da mainc misTvis iTxovs imave ganaCens, rac osebs gamoutanes: „moZmeT moRalate sicocxlis Rirsi ar aris!“. gamoTqmulia Tvalsazrisi, rom msajulebma Tavi aarides mZime pasuxismgeblobas da uRalates TavianT movaleobas. goCam ki is gabeda, rac maT ver gabedes. (g. arganaSvili, „xevisberi goCa aiZules sakuTar Svili moekla~). e.i. onise unda dasjiliyo sikvdiliT, magram msajulebma ver gabedes swori ganaCeni gamoetanaT da isev mamas moakvlevines Svili? onises sikvdili Temis Tavebs ar surdaT. „scades moxucis Seyeneba“. msajulebi simarTles amboben: „goCav, Sens Svils Temi ar gauyidnia, ymawvilkacobas gautacnia da TavdaviwyebaSi Caugdia“. es niSnavs imas, rom msajulebma onise sruliad udanaSaulod cnes? sanam am sityvebs ityodnen, maT iTaTbires, iTaTbires da roca erT azrze Sejerdnen, mere Tqves es. ase ki Tqves, magram es ganaCeni ar aris, ganaCeni jer ar gamoutaniaT. aranairi gadawyvetileba maT ar miuRiaT. Temis Tavebma ganaCenis gamotanisagan Tavi Seikaves, Torem maT ar uTqvamT, rom onise udanaSauloa. meti dro sWirdebodaT msajulebs, ase naucbadevad umkacresi ganaCenis gamotana ar SeiZleboda. Tems eSinia Secdomisa. („RmerTo, mogviteve, Tu vcdebiT raSime“, amas ambobs goCa guguasTvis ganaCenis gamotanis dros da es marto misi saTqmeli ar aris). jer am eldas unda gaevlo. an is ra gasakviria, xevisberis avtoritets rom Tavi davaneboT, Tems onise, kai yma, mosaklavad ar emetebodes? an goCas undoda am saqmes CaRrmavebodnen da dawvrilebiT gamoeZiebinaT, masze emsjelaT? ara! onises Secodeba saZnelod saTqmeli Secodebaa. „aris zogi Secodeba, rom saTqmelad saZneloa, arc Sendoba uxerxdeba~ (akaki, „gamzrdeli“) da amitomac iTxovs, Temma saswrafod miiRos gadawyvetileba. onises sasamarTlo, SeiZleba iTqvas, arc Semdgara. guguas da osebis gasamarTlebis SemTxvevaSi ganaCeni rom gamoetanaT, bWeebma iTaTbires. onisesTvis ganaCenis gamotanis Taobaze ar uTaTbiriaT. goCam bWeebs

givi gulisaSvli, vladimer torotadze, aleqsandre yazbegis xevis beri goCa.

ubrZana: „gadaswyvite, Temo!“. gadawyvite saCqarodo... roca osebs asamarTlebdnen, „msajulni... Sejgufdnen goCasTan, cota xans raRaca arCies da isev Tav-TavianT adgilas dasxdnen“. ufro didxans bWobdnen guguas gasamarTlebisas: „xalxi gaCumebuli iyo da sulgakmendili eloda Temis moTaveTa gadawyvetilebas, romelnic goCas Semoxveodnen. karga xanma gaiara, vidre moTaveni rCevaSi iyvnen“. onises gasamarTleba ar momxdara „rCeviT“, anu TaTbiriT. goCam ar acala msajulebs, emsjelaT da ganaCeni gamoetanaT. mainc ra sasjeliT unda dasjiliyo onise Temis kanonebis mixedviT, Tu mis saqmes jerovnad ganixilavdnen? imgvari danaSaulisaTvis, rac onises edeboda bralad, Temma sasjelis mxolod ori saxe icoda _ Caqolva da mokveTa. „fSavlebis CveulebiTi samarTali ar aris mravalmuxlovani da rTuli. TviT cxovreba fSavlisa ar iyo rTuli, igi iyo mdabio, martivi, ris gamoc martivi samarTali unda dabadebuliyo~ (vaJa-fSavela, „fSavlebis Zveli samarTali da saojaxo wesebi“). igive SeiZleba

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iTqvas xevis samarTlis Sesaxebac. arc is aris rTuli da mravalmuxlovani. savaraudoa, rom onises mokveTiT dasjidnen. Temi, romelmac moRalated miCneuli gugua mokveTiT dasaja, imitom rom guls ar sjeroda misi danaSauli, imas, visac ar uRalatia TemisaTvis ganzraxulad, aramed mteri Semoepara, sikvdiliT ver dasjida. onises danaSaulis Semamsubuqebeli garemoebaa is, rom man Tavad aRiara Tavisi brali. sindisma ise mwared daqenjna, rom ver gaCumda. „adamiani sabolood zneobrivi kategoriaa da yovelTvis mtkiced unda icavdes sakuTari siwmindis Seuvalobas~ (vaxtang kotetiSvili, „rCeuli nawerebi“). am aRiarebiT onises sulieri ganwmenda moxda. ufro adre ki, moZmeTa daxocvis ambavi rom gaigo, is gaiWra gamarjvebuli mtris razmisaken im wadiliT Sepyrobili, rom momkvdariyo „ueWvelad im xeliT, romelmac misi amxanagebis sicocxle gaaqro, im maxviliT, romelic imisi mezoblebis ubralo sisxliT SeRebiliyo“. win gadaeRobnen, vinc gadarCeniliyo, da ar gauSves. onise emudareboda maT, moeklaT: „momkaliT, Rirsi var momkaliT!.. gindaT ase vewvalo?!.. egre ar iqnebis... onise qveynad aRar ivlis, mters ar gaacinebs!..“. imaT egonaT, megobrebis gawyvetas gaegiJebina ase. Tavis mokvlac cada, magram dambaCa waarTves, iaraRi ahyares da Sekres. roca nugzaris jarTan brZola ganaxlda, TavganwirviT ibrZoda: „am saerTo areulobaSi onise damTvralsaviT dadioda da visac ki Saeyreboda, mzisTvis didxans ar acqerinebda. is

eZebda gacxarebuls brZolas da sadac igi gaCndeboda, swrafad SuagulSi moeqceoda, Tumca sikvdili mZebneli mojadoebulsaviT yvelgan uvnebeli rCeboda“. ase cdilobda onise Tavisi danaSaulis gamosyidvas. mis aseT Tavganwirvas xedavda yvela da ganaCenis gamotanisas es yovelive uTuod iqneboda gaTvaliswinebuli. ra sasjeli arsebobda mTaSi iseTi zneobrivi danaSaulisaTvis, rogoricaa kacisa da qalis siyvaruli, romelic morals ewinaaRmdegeba? vaJa gveubneba: „Caqolvas gamoiwvevda... qalisa da kacis siyvaruli, rodesac am siyvarulis nayofi gamoCndeboda“. rasakvirvelia, saubaria akrZalul, zneobis sawinaaRmdego siyvarulze. yazbegTan ki amgvari danaSaulisTvisac mokveTiT isjebian. ase daisajnen onise da mayvala (al. yazbegi „moZRvari“). mkiTxvels SevaxsenebT: onises da mayvalas erTmaneTi uyvardaT. mayvala iZulebiT gaaTxoves sxvaze.

Seyvarebulebma erTmaneTi ver daiviwyes. mayvalas qmari uxeSad eqceoda, Seuracxyofda, scemda kidec. qali saxlidan gaiqca da Temis sabWos mimarTa. Temma „maTi ganSoreba gadawyvita, radganac aRmoCnda, rom mayvala Zalad gaeTxovebinaT“, magram gela ar daemorCila Temis gadawyvetilebas. im xanad Temoba irRveoda da axalma kanonma xelaxla daubruna coli qmars. erT dRes raRac saqmis gamo onises mouwia mayvalas qmris saxlSi misvla. Seyvarebulebma naxes erTmaneTi da maTi urTierToba ganaxlda. gelas (mayvalas qmris) Sin aryofniT sargeblobdnen da xvdebodnen erTmaneTs. onisem gadawyvita, qali waeyvana, da im Rames, roca wasayvanad mivida, Sin mobrunebulma gelam tyviiT daWra igi.

Temma ki ai aseTi ganaCeni gamoitana: „mayvala, rogorc mizezi yvela am ubedurebisa, moRalate qmrisa da movaleobisa, Semrcxveni Temobisa da saxlisa, gamwbilebeli ojaxobisa da naTesaobisa, _ Sekrul iqnas da gandevnil xevidgan. „onise, rogorc diacis gamwbilebeli da mezoblis ojaxobis Seuracxmyofeli, Semrcxveni qudosanTa sqesisa, damrRvevi Temis wesisa, gamtexi mezoblis saxlisa, _ Sekrul iqnas da gandevnil xevidgan. „gela, rogorc mezoblisa da moZmis sisxlis damRvreli, mizezi colis yofaqcevisa, damnaSave Temis mSvidobianobis darRveviT, gamtexi Temis pirisa (radgan Temis gadawyvetilebis winaaRmdeg coli Zalad daibruna, g.C.), _ Sekrul iqnas da gandevnili xevidgan~. raki onise da mayvala („moZRvari~) mokveTiT dasajes, „xevisberis~ personaJebsac _ onisesa da ZiZiasac mokveTiT dasjidnen... moikveTdnen da ar Caqolavdnen; ara imitom, rom onise goCas Svili iyo da amis gamo daindobdnen, misTvis gamonakliss dauSvebdnen, ara, gugua ar iyo goCas Svili, magram, radgan guls ar sjeroda misi Ralatis, sasikvdilo ganaCeni ar gamoutanes. mokveTa msubuqi sasjeli sulac ar aris, Zalian

lado grigolia. aleqsandre yazbegis portreti

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Tamar abkelia, `onisesa da ZiZias Sexvedra~, ilustravcia aleqsandre yazbegis moTxrobisTvis `xevisberi goCa“

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mZime sasjelia. „mokveTilSi~ baxaze ambobs erTi personaJi: „Cven Caqolvaze meti sasjeli gvaqvs misTvis gadawyvetili~. es sasjeli mokveTaa. mokveTilis mdgomareoba umZimesia. gavixsenoT mokveTilTa _ onisesa da mayvalas („moZRvari~) yofa. onise tye-RreSi daexeteba: „wveri da Tma gahburZgnoda, tanisamosi SemosZarcoda da nafleTebadRa ekida, (misi) gamxdari saxe gafiTrebuliyo da Savi, patara Tvalebi sadRac jurRmulSi Cahkargoda“. (mayvalas) „verc qalebSi areuls naxavdiT, verc romelsame farexSi, anu binaSi... tanisamosi SemosZarcvoda... mTvaris Suqzed mavne suliviT dafaTurebda mindvrad... isic ki aravin icoda, riTi scxovrebda, riT ikvebeboda da suls riT ibrunebda~... ara marto vaJas, aramed yazbegsac hyavs gmirebi, romlebic Temisadmi pativiscemas inarCuneben, magram mis gadawyvetilebas ar asruleben, anu Temis pirs texen. jaTias ebraleba mayvala da sazrdos awvdis mas. „jaTia TandaTan rwmundeboda, rom qristianis am dReSi Cagdeba RmerTis mosawoni ar unda yofiliyo, Tumca verc xalxs amtyunebda, romelic sastikis magaliTebiT namusis da pativis dacvas cdilobda... man ar icoda, hqonda Tu ara ufleba, rom xalxisgan ganwirulisTvis mowyale xeli mieSvira Tu ara, da amisTvis, rodesac ki mayvalasken gaemgzavreboda, yovelTvis pirjvars gadaiwerda da wynarad warmoTqvamda: _ ufalo, guli saSvelad merjis da Tu codos Cavdivar, Sen mapatie!~. aSkaraa, arc moZRvars moswons aseTi sisastike _ umweo qalis moSoreba. man ipova TovlSi Camarxuli qali, gons moiyvana, uaqima da Tavis qoxSi Seifara. mayvalas dakrZalvis Semdeg onofre „loculobda im xalxisTvisac, romelTa mkacrma gadawyvetilebam susti qmnileba am mdgomareobaSi Caagdo~. mokveTa aris kvdoma neli sikvdiliT, rogorc amas vxedavT „moZRvris~ gmirebis magaliTze. Tumca SeiZleba mokveTili sxva Temma Seifaros. aluda tovebs Tavis miwa-wyals da deda moTqvams: „vis ra wyal-Wala gvistumrebs, sad ra ra davileviTa?~ (vaJa-fSavela, „aluda qeTelauri“). mokveTili baxa da dedamisi qistebma miiRes. xevsurebs, fSavlebsa da moxeveebs Tavadac bevri mokveTili miuRiaT. ucxo adamianebis dasaxlebas mTaSi amanaTobas eZaxdnen. „amanaTis miReba soflis saxeli iyo. mfarvelobasac gauwevdnen da droebiT saxnavsaTibsac gamouyofdnen an jvris miwas miargebdnen, an saamanaTod datovebul saTibebs. Tumc, sofeli amanaTs gverdSi daudgeboda, igi maTTvis mainc ucxo iyo, morideba da mokrZaleba marTebda, rogorc Sevrdomilsa da Sefarebuls. _ aRar Wris amanaTis celi, / amanaToba moswyeniyo, / egreTve amanaTis colsa / dedaT feroba moswyeniyo. sofeli erideboda amanaTis samudamod iq damkvidrebas, radgan igi saxnav-saTibSic, saZovarSic da wyal-wisqvilSic wils Caidebda. isedac umiwawylobiT Sewuxebul xalxs

zedmeti komli aRar undoda~ (TinaTin oCiauri, „xevsureTi da xevsurebi“). ase rom, amanaToba ar aris mTlad saxarbielo mdgomareoba. onise aravis miadgeboda karze, SemixizneTo, sicocxle misTvis ukve Zalian mZime tvirTi iyo da misi SenarCunebisaTvis Tavs ar daimcirebda. mokveTa zog SemTxvevaSi samarcxvinoa, zog SemTxvevaSi ki pirovnebis Rirsebas srulebiT ver amcirebs, piriqiT. aluda qeTelauri mokveTilia, magram RirsebaSelaxuli ar aris. Sercxvenili ar aris. mas samarcxvino araferi Caudenia. onise ki RirsebaSelaxuli, Sercxvenilia. erTi wuTiT warmovidginoT, rom goCas mimarTvas: „gadaswyvite, Temo!“, Temis Tavebma upasuxes: Caqvavdes! yvelam daavlo qvas xeli da dauSines onises. ra unda eqna am dros goCas? Cveulebriv, es sasjeli koleqtiurad aResruleba, Temis yvela wevri iRebs monawileobas. goCasac xom unda esrola erTi qva! aki misi survili iyo, onise sikvdiliT dasjiliyo! Tu xanjliT mosaklavad gaimeta Svili, qvis srola ufro Znelad saqneli iyo? goCa xom mainc Svilis mkvleli iqneboda. an is, rom daJinebiT iTxovs, sikvdiliT dasajeTo, ar aris Svilis mkvleloba? onises Crdils ayenebs is, rom igi ar wuxs ZiZiasTan sasiyvarulo urTierTobis gamo, sanam is didi ubedureba ar datrialdeba. is Tavs damnaSaved ar grZnobs guguas winaSe, romelmac is iseT axloblad miiRo, rom endo da xelismomkided waiyvana. marxilSi rac moxda, iqneb SeiZleba iTqvas, rom uneblieT moxda, magram, rac fSavidan dabrunebulma Caidina, amaze aRar SeiZleba iTqvas, uneblieT moxdao. onisem ZiZia dainaxa da yvelaferi iRona, rom rogorme qals Sexvedroda, daimartoxela wyarosTan Camomjdari satrfo...am Sexvedram daarwmuna, rom ZiZias igi uyvarda. onise ubednieresia _ „ZiZias uyvarda. qveyana Tavisi egona“. viRas axsovs gugua da xelismomkidis movaleoba?! onise am saqcielis gamo sindisis qenjnas ar grZnobs. axla gavixsenoT „elgujas~ personaJi maTia nadibaiZe. masac Seuyvarda qali, romelic Zmadnaficis sacolea, mere coli xdeba. maTia ver axerxebs gulidan amoiglijos mzaRos siyvaruli, magram man icis, rom danaSaulia mzaRoze fiqri, sircxvilia. Tavi moeWreba, am grZnobas rom ver moerios: „ra piriT unda Sevxedo elgujas?“; „sityva?.. fici?“. onise fiqrobs: „ar iqnebis, ar moxerxdebis!“, anu ver gaxdeba ZiZia misi. onise Tavs ar kicxavs imis gamo, rac man ukve Caidina, Tavis Tavs codvad ar uTvlis ZiZiaze fiqrs. maTias elguja ar aviwydeba. onise ki erTxelac ar dafiqrebula, rogor Seuracxyofda guguas. is wuxs mxolod imis gamo, rom icis, SeuZlebelia, ZiZia misi gaxdes. gelasagan gansxvavebiT, guguas Zalad ar wauyvania ZiZia, arc onisesTvis waurTmevia igi. gela amcirebs mayvalas,

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Tamar abakelia, ilustracia aleqsandre yazbegis moTxrobisTvis `xevisberi goCa~

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Seuracxyofs, scems. guguas ki ZiZia uyvars da uyvars aranakleb, vidre onises, pativs scems qals, cdilobs, misi guli moigos. miuxedavad imisa, rom „moZRvris~ personaJebi onise da mayvala usamarTlobis msxverplni arian, maT Zalian mkacr ganaCens gamoutans Temi, orives moikveTen, radgan zneobriv damnaSaveebad cnoben. vaJas „mokveTilis~ personaJi ConTa, romelmac baxas sacole mostaca, dausjeli ar rCeba, magram mas bevrad ufro msubuqad sjian _ erTi xari unda miiyvanos laSaris jvarSi. yazbegis personaJebis _ erTi onises da meore onises _ danaSauli ConTas danaSaulze mZimea imiT, rom isini romans abamen qalebTan, romlebsac qmrebi hyavT. ase rom, onise ueWvelad unda dasjiliyo, Tuki onise arabuli daisaja; unda dasjiliyo ZiZiac, Tuki mayvala daisaja; daisjebodnen imave sasjeliT, ra sasjeliTac daisajnen „moZRvris~ personaJebi. davuSvaT, rom onise sasamarTlos ganaCeniT cocxali darCeniliyo, gugua, romelmac ciliswameba ver aitana („maggvaris ciliswamebis Semdeg aRar vicocxlebo~), Tavs

moiklavda, ZiZia arsad Canda da arc gamoCndeboda (didi albaTobiT man Tavi moikla), onise, misi mizeziT moZmeT daxocvis codvas Tu es codvebic daemateboda, Tavs icocxlebda?! ase rom, sasikvdilo ganaCeni niSnavda Caqolvas. amaze zemoT ukve visaubreT, magram davumatebT: Caqolva Zalze mtanjveli da imave dros Zalze damamcirebeli sasjelia. mokveTas ki mohyveboda TviTmkvleloba. am sasjelebTan SedarebiT mamisgan onises xanjliT mokvla, SeiZleba iTqvas, bevrad msubuqi sasjelia. yazbegma da misma gmirebma kargad ician, rom Tavis mokvla eSmakisTvis sulis micemaa. „qals moagonda mware da Znelad asatani wuTebi Zalad gaTxovebisa, moagonda cremliT gatarebuli Rameebi, rodesac Tavis mokvlas da eSmakisTvis sulis micemas mxolod saswauliT gadarCeniliyo~ (al. yazbegi, „moZRvari“). mamam onises aacila TviTmkvlelobis codva da sakuTari Tavi daisaja umkacresad. Svilis mkvlelobiT misTvisac yvelaferi damTavrda da damTavrda Zalian savalalod.

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vaxtang qanTaria

Tu moindomebs bavSvi...

Sokoladis mdinaresaviT moCuxCuxe derefani scenis jadosnur samyaroSi migviZRoda, sadac „basti-bubus~ saSobao melodiebi, msmenels, zRapars umReroda. megobarTan erTad, gangeb, ramdenime saaTiT adre mivedi kulisebis sanaxavad, sadac `basti-bubu~ gvelodeboda. patara fifqebi scenaze gasvlis win, erTmaneTs CurCuliT amxnevebdnen, iqve dagxvdnen wiTelqudiani baravandebi, Sobis mosaparad gamzadebulni, fostalioni iasamnisfer samosSi, mniSvnelovani, keTili gzavniliT da babilina. bavSvebi, patara mercxlebis gundiviT, frTxilad da moulodnelad Cagifrendnen xolme da yvelaferi feraddeboda umal. patara varskvlavebiviT cimcimebdnen da anaTebdnen. uecrad, zarmac Camohkra, Camobnelda, kulisebi dacarielda, mxolodRa mSoblebi darCnen. darbazSi gadavinacvleT, rigiT mayureblad... am dros gavacnobiere, rom scenasa da darbazs Soris gansxvaveba bavSvebis jadosnuri samosi iyo, romelic patarebs frTebs asxamda da TamaSis samyaroSi gadahyavda. iq ki, Cven ufrosebi, TiTqos yoveldRiurobis nacrisfer samosSi gaxveulni, am jadosnur samyaros mokrZalebulad

vucqerdiT. darbazSi msxdomi bavSvebi ovaciebs ar iSurebdnen. daaxloebiT 15 wuTSi, scena da darbazi erT mTlianobad iqca _ mSoblebi, axalgazrdebi da bavSvebi, yvela erTad mReroda da cekvavda. da am wams, Camesma xma, romelic samudamod CamrCa: aravis aqvs ufleba, bavSvebs bavSvoba waarTvas! es aris maTi feradi ocnebebis samyaro, romelic unda SevinarCunoT da davicvaT. koncertidan maleve Cavwere damoukidebeli interviuebi `basti-bubus~ damaarseblebTan, qalbatonebTan: maka aroSiZesTan da Tamar sxvitariZesTan... rogor Seiqmna `basti-bubu~? ra iyo is jadosnuri naperwkali, ramac STagagonaT? Tamar sxvitariZe: Cemi Taoba `jinsebis Taobaa~, romelmac gasuli saukunis 80-ianebSi daiwyo protesti. garSemo tragedia trialebda, gvainteresebda dasavleTis naxva, is samyaro, CvenTvis, Caketili iyo. Cum-Cumad Camotanil videokasetis firebze vuyurebdiT uolt disneis ferad multfilmebs; maSin Jurnalisti gaxldiT, qveyanaSi revoluciuri qaosi trialebda. paralelurad,

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bavSvTa fsiqologiiT viyavi gatacebuli, sabavSvo ganyofileba `ZilispirulSi~ daviwye muSaoba, `fiso da yurSa~ mzaddeboda iq. maleve SevTavaze scenari, romelic moiTxovda multfilms, grafikul xatvas, es maSin SeuZlebeli aRmoCnda, iq gavicani nino gogaZec, erT-erTi momavali TanadamfuZnebeli, damaTvalierebina pavilioni, maSinve gamiCnda idea gamekeTebina axali gadacema, romelic Cems Svilsac moewoneboda, Tanac televizia iyo saSualeba, Cveni bavSvebisTvis gveCvenebina axali samyaro. aravis gvsurda ssrk-s stilis multfilmebi gagvemeorebina, `fiso da yurSa” moskovis pirveli arxis gmirebis kopirebebi iyvnen, jer kidev `sabWoTa~ iyo maSin saqarTvelo. daviwye satelevizio Tojinebis Seswavla, da aRmovaCine, rom aq amas aravin akeTebda, mogvianebiT, italiaSi movxvdiT, sadac vnaxe Tojina `jijo~. mivxvdiT, rogor muSaobda is... da basti da bubuc gavakeTeT,

sruliad axali tipis Tojinebi, romlebic mwvane ekranze idgnen msaxiobebis daxmarebiT _ eqsperimenti daviwyeT. 1992 wlis 10 maiss, saqarTvelos televiziis eTerSi, zRapris kari gaiRo da pirvelad gamoCnda `basti-bubu~, patara wamyvanebiT, savse sicocxliT da energiiT, mogvianebiT ki, jadosnuri personaJebi, basti da bubu, SeuerTdnen am yovelTviur mogzaurobas _ bavSvebis samyaroSi... davaarseT Sps `basti-bubu~, romelsac televiziasTan ar hqonda kavSiri, megobrebis SemweobiT saSualebac gagviCnda. sastumro `metexis~ sardafSi samontaJo movawyveT, maSin saukeTeso kamerebiT daviwyeT muSaoba, pirveli gadacemac gadaviReT da dRedaRam ar amovdiodiT samontaJodan, gvainteresebda cifruli aparatura rogor muSaobda... _ efeqtebi, gadasvlebi; novatoruli gadacema gamovida, klipebiT datvirTuli, sityva `klipic~ ar iyo

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inola gardaicvala, dedaCemmac mianeba musikas Tavi. maTi moswavleebi haerSi darCnen da mTxoves iqneb Sen amecadinoo, da... meaTe klaselma aviyvane moswavleebi. rodis daibada TqvenSi simReris daweris survili? maka aroSiZe: arsebobda `xelovnebis muSakTa~ saxli, sadac imarTeboda saxelovnebo Sexvedrebi da premierebi. iq pirvelad vnaxe daTo evgeniZe, im dros ukve kompozitori _ asrulebda `nana Cemo baia~ Tu msgavss; maia jabua mReroda; guram jaianis _ `mziuris~ msmeneli viyavi. vifiqre, daTos melodia amewyo, xan ase vcade xan _ ise, did gaugebrobaSi aRmovCndi. ver vawyobdi melodias da SeveSvi, amasobaSi, sakuTari simRera Sevqmeni. mogvianebiT, rodesac Sevxvdi daTos, SevadareT erTmaneTis simRerebi, aranairi kavSiri ar hqonda, sabolood gamomivida simRera `varskvlavebs eZinebaT~, `basti-bubus~ pirveli `iavnana~. RmerTma aseTi niSa miboZa, sabavSvo musikis wera _ arasodes damiweria simRera didisTvis. mgoni ufalma momavlina sabavSvo sferos dasacavad da bavSvobis gasaxangrZliveblad. mec ase mgonia, piter peniviT var, maradiuli bavSvobis kunZulze mijaWvuli, sadac frTebi jer kidev msubuqad frialeben. sadac dro gaCerda da mxolod bavSvobis eqo ismis… maincdamainc gavrcelebuli, Tumca resursebis simciris gamo ver movaswariT Tojinebis awyoba... „basti-bubus~ teqnikur-novatoruli siaxleebis miRma, misi umTavresi mamoZravebeli Zala musika gaxda, xolo erT-erT mTavar kompozitorad maka aroSiZe iqca. sakmarisia gavixsenoT iseTi simRerebi, rogoricaa „xelebi patara xelebi“, „Tu Tu Tu“, „gzaze mirbis kurdReli“ da aRmovaCenT _ mxolod am sam simReras erTad 100 milionamde dakvra aqvs sxvadasxva cifrul platformaze. msmeneli ar eleva mas da yoveli Taoba axlidan iziarebs.

1992 wlis 10 maiss, saqarTvelos televiziis eTerSi pirvelad gaisma jadosnuri sityvebi _ `basti-bubu~. es iyo dasawyisi epoqisa, romelmac Taobebis bavSvoba gaaferada. eTerSi gamoCndnen personaJebi, romlebmac bavSvebis gulebSi samudamod daides bina.

Tamar sxvitariZe: maka aroSiZis SemoerTebis ambavi ase daiwyo: saerTo nacnobma gviTxra, Tqven erTnairi gemovneba gaqvTo... mec davukavSirdi mas da saxlSi mivakiTxe. bavSvebTan urTierTobis sakiTxSi erTmaneTs Zalian kargad gavugeT. maka, konkretuli bavSvis istoriaze dayrdnobiT werda simRerebs da misi midgoma sabWouri musikisgan Zalian gansxvavdeboda… maka aroSiZe: me gavizarde ojaxSi, sadac dedaCemi, giuli daraxveliZe, inola gurguliasTan erTad mReroda trioSi, isini repeticiebs Cvens saxlSi atarebdnen. inola gurgulia kompozitori gaxldaT, patara moswavleebi hyavda da momasinjebda xolme sabavSvo simRerebs, an Tu vinme daagvianebda triodan, me meZaxdnen, vmRerodi, CarTuli viyavi simReris weraSic. gaiara wlebma, musikalur skolaSi Cavabare, meaTe klasSi viyavi,

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Tamar sxvitariZe: bavSvis mTavari motivacia isaa, rom man Tavi didad unda igrZnos. pirveli gadacemis ideac eg iyo, iuristobas, eqimobas da televiziobanas TamaSobdnen. gadacema bombiviT gavarda, TiTqos saqarTvelo Semzadebuli eloda aseT produqts. reitingiT yvela politikur gadacemas ajoba. prodiuserebi mudmivad vamowmebdiT reitingebs. male koncertebic daviwyeT. bitlzis koncertze ar iyo iseTi gulis wasvlebi, rogorc basti da bubus gamoCenisas. bavSvobidanve, TiTqos zRapris faruli saidumlo, gulSi CamrCa kiTxva: vin arian _ basti da bubu? romeli jadosnuri samyarodan movidnen es arsebebi?

Tamar sxvitariZe: `guda guda Tovlis gundas~ animaciuri filmis mxatvari, irina baranova movZebne da mas ori gmiris Seqmna vTxove. mTavari moTxovna iyo, rom isini ar yofiliyvnen konkretuli cxovelebis identurni, rogorc es „fiso da yurSas“ SemTxvevaSi iyo. msurda, sayvareli da gamorCeuli personaJebi yofiliyvnen. irina baranovam SemogvTavaza basti, romelic Tagvs waagavda da bubu _

bus, Tumca sabolood, basti da bubu arc Tagvebi arian da arc buebi; isini bavSvebis sayvareli personaJebi arian...

1992 wlidan moyolebuli, „basti-bubus“ reitingi stabilurad izrdeboda, rac dRemde SenarCunda da sazogadoebrivi mniSvneloba SeiZina. „basti-bubu“ oficialurad cnobilia, rogorc Basti Bubu Broadcasting (BBB), romelsac YouTube-is platformaze 300 000-ze meti gamomweri, 1700-ze meti videoklipi da naxevar miliardze meti naxva aqvs. „basti-bubus“ mniSvnelobis zrda, mayurebelsa da msmenelSi gansakuTrebiT 2002 wels moxda, rodesac qarTuli estradis cnobilma warmomadgenlebma monawileoba miiRes koncertSi „basti-bubu da varskvlavebi“. maT Soris iyvnen: daTo gomarTeli, lela wurwumia, jgufi „quCis biWebi“, nato metoniZe, merab sefaSvili, roma rcxilaZe da sxv. koncerti, paralelurad, miznad isaxavda miviwyebuli sabavSvo simRerebis gacocxlebas.

Tamar sxvitariZe: 10 wlis rom gavxdiT, erT-erTi yvelaze warmatebuli proeqti SevqmeniT _ „basti-bubu

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da varskvlavebi“. estrada Zalian popularuli iyo, makam moiZia Zveli simRerebi da remiqsebi Seqmna. saukeTeso reJisorebic moviwvieT maSin, klipebi gvaCuqes, es iyo didi nabiji `basti-bubusTvis~. maka aroSiZe: ar aris swori, rodesac studia mxolod erTi kompozitoris simRerebzea damokidebuli da xelwera msgavsia. me var damxmare im kompozitorebisa, vinac arseboben _ meri daviTaSvilis, nunu gabuniasi, Tamar vaSakiZis Tu manana merabiSvilis. maT patara qronometraJis simRerebi hqondaT, orwuTiani da me maTi axali versiebi Sevqmeni, `arao arao mela matyuarao~ da sxv. am simRerebs ar hqondaT ufleba dakarguliyvnen. sabavSvo musikas xeli unda waavlo da es gaakeTa `bastibubum~. Cven davabruneT Zveli simRerebi, romlebic gadasarCeni iyo, Zalian dagvexmarnen momRerlebi, davuZaxeT maT, raTa prestiJuli gamxdariyo sabavSvo simRera, ufro saxalxoc. usasyidlod dagvexmarnen.

maka aroSiZis Semoqmedeba gamoirCeva minimalisturi, maJoruli, advilad asaTvisebeli melodiebiT, romlebic erTnairad xiblavs rogorc bavSvebs, ise zrdasrulebs. misi gansakuTrebuli niWia, msmenelis gulis gasaRebi ipovos melodiis gziT, musikaluri savarjiSoebi ki simRerebad gardaqmnas, rac bavSvebis musikalur ganviTarebas uwyobs xels. maka aroSiZe: rodesac didebi mRerian, isinic brundebian bavSvobaSi, bavSvoba xom pataraa... Zalian kargad axsovT bavSvoba xolme, imis miuxedavad, mZime hqondaT Tu kargi. stanislavski ambobda: `bavSvisTvis unda gaakeTo ise kargad, rogorc didisTvis, oRond orjerac da samjerac~ _ es aris sabavSvo musikis kulturis siyvarulic. simRerebi SvilebiviT arian, maT Soris gansxvaveba miWirs davinaxo, ar maqvs gancda, romelia ukeTesi an naklebi, rogorc Svilebze ver ityvi amas, asea aqac. RmerTma mapovnina is xalxi, vinc aris `basti-bubuSi~ da me miyvars im xalxTan muSaoba, oTxi kacis _ erTi ojaxis dgomiT,

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rom varT. rogorc arsebobs: fexi, xeli, guli, Tavi… ai, ise gvaqvs Cven Cveni rolebi _ xaTuna wulaias, nino gogaZes, Tamar sxvitariZes da me. amitom movediT am qariSxlian samyaroSi dRemde…

vuTxari, davsxdeT da davweroT simRera amaze, `sizmrad vnaxe gareT Tovda…~ (RiRinebs) me vaRiareb, yoveli simRera ibadeba Tavisi bediT, SeiZleba kargi simRera iyos da bedma ar gaumarTlos, piriqiTac, SeiZleba martivi iyos da is darCes xalxis gulSi. arseboben simRerebi romlebsac TviTon dauyveba Tavisi bedi, amaSi urevia zebunebrivi, romelic awerinebs kompozitors. simRera ibadeba rogorc bavSvi, sakuTari bed-iRbliT.

wlidan wlamde `basti-bubus~ formatis ganaxleba xdeba, 2007 wels mas dijei gogac emateba. gamoCndnen axali gmirebi, mwvane kaqtusi da fusfusa, xelsaqmis ostati. 2008 wlidan sazogadoebrivi mauwyeblis pirvel arxze gadis axal proeqti `sizmarvizia~, damatebiT, `basti-bubus~ studia da `babilinas sakvirao skolac~ Cndeba. sabavSvo istoriebs ki kidev ufro metad eniWeba gansakuTrebuli mniSvneloba.

magaliTad `TuTuTu~? maka aroSiZe: „TuTuTus“ Seqmnisas gansxvavebuli motivacia mamoZravebda. sami wlis gogona myavda, romelic helouinis niRbis danaxvisas SeSinda da ena Cauvarda. bavSvi, romelic manamde gamarTulad saubrobda, uceb dadumda. fsiqologebma miTxres: bavSvma ar unda igrZnos rom saubari uWirs, Tuki vkiTxavT: „vaSli ginda Tu msxali?“, is gvipasuxebs: „vaSli TuTuTu, msxali TuTuTu“. Cvenc unda avyveT da orjer an samjer gavimeoroT „TuTuTu“. es simRera im bavSvzea, romelsac

maka aroSiZe: iciT raSia saqme, arasdros xdeba ase _ davjeqi da gadavwyvite simReris dawera. SekveTasac ver davwer, imitom rom me am simReris werasTan kavSiri ar maqvs; ucnauria? aris xolme raRaca `maprovocirebeli~, romelic Tavisi sityvebiT da melodiiT mawerinebs… motivi? maka aroSiZe: ara, motivi ar mWirdeba. magaliTad, gogona romelic CemTan dadioda, brwyinvaled mReroda, anano erqva, ratomRac ar saubrobda, ar laparakobda, ubralod mReroda, erTxel kari gamoaRo da miambo sizmarze: `cidan kanfetebi cvioda, modiodnen Seyvarebuli wyvilebi da imdeni kanfeti hqondaT naWami, rom kbilebi hqondaT gaSavebuli~. radgan am bavSvma pirvelad amoiRo xma,

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problema aqvs da ar unda vagrZnobinoT es. droTa ganmavlobaSi ki problema TavisTavad gaqreba. me simReras rogorc saTamaSos isec vuyureb, bavSvma rom iTamaSos, sami noti aqvs bavSvs xmaSi? sam notian simReras davuwer, xuTi noti SeuZlia? xuTis davuwer, aTi? aTs… anu, rom ar hqondes imis SegrZneba, rom mas raRaca ar SeuZlia, es aris bavSvis im arealis msgavsi ganviTareba, rogorsac Zalian kargi inteleqtualuri saTamaSoebi axdenen. is swavlobs ara marto simReras, aramed musikalur azrovnebas… ra rCevas miscemdiT damwyeb kompozitorebs? visac sabavSvo simReras surs frTebi Seasxas da zRaprebi melodiad aqcios? maka aroSiZe: bavSvebTan unda hqondes kontaqti, unda icode bavSvi vin aris. xSirad modian kompozitorebi, sami oqtava aqvT xolme simReraSi gamoyenebuli, vin imRerebs egeTs? rTulia, normidan gadaxvevaa. `basti-bubu~ qmnis bavSvisTvis, da mSobels Tu ar moswons aq mTavaria bavSvs moswondes…

Tqven simRerebSi did upiratesobas aniWebT bavSvis gamocdilebas _ istorias? maka aroSiZe: CemTvis, simRera yovelTvis bavSvis istorias ukavSirdeba. Tuki odesme Cems notebs gamovaqveyneb, aucileblad davurTav im bavSvebis fotoebs, vinc Cemi STagoneba gaxdnen. aris aseTi simRera `xelebi, patara xelebi~, dafuZnebulia Wuberis gzaze gadmosul bavSvebze, saerTod ar mewereboda simRerebi im dros… magram RamiT xuTi melodia davwere, verc erTs xeli ver gavuSvi. erTi ram gavacnobiere, im adamianisTvis, vinc bavSvoba, saxli, kari da samSoblo dakarga, arafris Tqma ar SemiZlia, garda imisa rom moval da mogeferebi, bavSvebis piriT, me ra SemeZlo? maSin gadaviqeci bavSvad, Zalian imedismomcemi teqsti davuwere am simReras, magram yvela tiris, rom usmenen da amaze nervebi meSleba xolme. `basti-bubu~ ar aris mxolod adgili, sadac bavSvebi cekvasa da simReras euflebian. es aris inkluziuri sivrcec, klip `TuTuTu~-Si, lika qavJaraZesTan erTad monawileoben SSm pirebi, sxva bavSvebTan erTad, 1990-ian, 2000-ian wlebSi

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„basti-bubus“ samyaros sxva macxovreblebsac gavesaubreT: vaCe WiWinaZe _ 10 wlis dRes aq ras akeTebT? vaCe: dRes Cven varT baravandebi da viparavT Sobas, ai ase... (Tavi damikra) mere sad migaqvT Soba? vaCe: mhm… mere vabrunebT da rogori SegrZnebaa Sobis moparva? vaCe: eh, kargi ar aris! ara…(gaiqca) giorgi qaTamaZe, pedagogi: Cven aq yvelani Tanatolebi varT, bavSvebi ufrosebi… yvelaferi erTad varT, aseTi cxovreba… `basti-bubua~… barbare Ciqovani, pedagogi (koncertze fostalionis rolSi): arasdros vRelav scenaze gasvlas, radgan `bastibubu~ Cemi saxlia, aq gavizarde, sami wlis viyavi rom movedi da axla 22 wlis var ukve, dRes pedagogi var, Tan msaxiobi _ `basti-bubu~ niSnavs, rom xar adamiani, romelsac hqonda Zalian magari bavSvoba da es gagyveba mTeli cxovreba!

sakmaod tabu dadebuli iyo msgavsi bavSvebis sazogadoebaSi gamoCena da is dRemde gamowvevad rCeba. `basti-bubu~ aris sivrce, sadac bavSvebi swavloben megobrobas, urTierTobas, erTmaneTis mxardaWeras. es unarebi maTTvis saSviliSvilo monapovari xdeba. studia orientirebulia ara mxolod musikaze, aramed bavSvis mravalmxriv ganviTarebaze: qoreografiul, Teatralur da pirovnul zrdaze. aq bavSvebi aRmoaCenen da acnobiereben sakuTar mowodebas, gamoxataven sakuTar Tavs da pouloben TavianT adgils samyaroSi. Tqven, rom axla bavSvi iyoT, ufrosi maka, ras etyoda umcros makas? maka aroSiZe: me minda giTxraT Tqven, rom axla Tqven bavSvs xedavT, im bavSvs meaTe klasSi rom iyo…

Tamar sxvitariZe: Cven bavSvebis garda, gvyavs Zalian kargi mSoblebi, Cemi Svilis Taoba ukve 40 wlisaa, `bastibubus~ ukve `basti-bubus~ Taoba marTavs, is, vinc iq gaizarda, Seyvarebulia am saqmeze. mSoblebs undaT, rom SviliT iamayon, fotoebi gadaiRon, magram, rodesac zRaprebis Sinaars iazreben, isinic axlidan uyureben cxovrebas, amas zRapris Terapia hqvia. saSobao koncertis jadosnuri fardis miRma, kulisebSi, sadac scenis Suqebi patara varskvlavebis cimcims ereoda,

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patara fifqia, mari, 9 wlis. mari: dRes vcekvav, da Sobas vicav… rom ar moiparon ratom iparaven Sobas? mari: saxlSi, rom waiRon da Cven ar dagvitovon…

SeZleben? mari: vera! patarebis sadResaswaulo suliskveTebis Caqroba SeuZlebelia! bavSvebis gancxadebiT, Sobas maT veravin waarTmevs! me mainteresebs, ra aris is saidumloeba, rasac verasdros waarTmev `basti-bubus~?

Tamar sxvitariZe: es aris sami raRac _ didobis gancda, bavSvs unda, rom didi iyos, isini scenaze gamodian, rogorc varskvlavebi, msaxiobebi da muSaoben amisTvis. aqvT repeticia, ician, rom bileTebi gaiyida, xvdebian es TamaSi ar aris mxolod... baRis zeimi, aramed pasuxismgeblobacaa, bavSvuri da diduri, es aris pirveli saidumlo, bavSvebs didobis gancdas vaZlevT. meore _ Cven vaZlevT arCevanis saSualebas bavSvebs, zogjer ar mogwons ucxouri musika... ai, magaliTad `ganganstaili~, bavSvebisgan iyo SekveTa es simRera yofiliyo, basti

da bubu vacekveT masze. Cven ar vkarnaxobT bavSvs ra rogor unda, ai, sabWouri lozungebi rom iyo, keTili unda iyo, sindisi gqondes da msgavsi... Cven maTTan erTad vizrdebiT, vswavlobT, pirveli internetTamaSebic sul bavSvebis SekveTiT iyo da Tu sxva studiebSi mSoblebs dahyavT bavSvebi, `basti-bubu~ studiaa, sadac bavSvebs dahyavT mSoblebi da es aris meore didi saidumlo. da ai, mesame saidumlo _ bavSvi yovelTvis iRebs ganviTarebas, rom modian Tavidan, aqvT erTaderTi mizani _ televizorSi gamovidnen da lamazi kaba Caicvan, mere rodesac im zRaprebis Sinaars, simReris teqstebs igeben, gadian Zalian did ganviTarebas, maTi surviliT, amiT gansxvavdeba `basti-bubuc~, am sami mamoZravebeli energiiT. sevdiani kiTxvaa... bavSvoba rodis mTavrdeba? rodis qreba bavSvobis zRapruli naperwkali? maka aroSiZe: adamianzea damokidebuli, astrid lindgreni 80 wlis iyo da kidev bavSvi iyo, roulingis bavSvoba ggoniaT damTavrebulia? bavSvur samyaroSia isev. RmerTi amas an dagimTavrebs an ara, SeniT es

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ar unda qna… unda acalo bavSvobas. es Zalian didi bedniereba, bavSvurad uyuro yvelafers, isev bavSvurad rom gagikvirdes vinme rom daaSavebs _ ee, RmerTo es ra gaakeTa? bavSvoba aris adamianis Tavisuflebis frTebi, xom gikrZalavdnen bavSvobaSi raRacebs? magram mainc akeTebdi? es aris Tavisufleba da Tu es frTebi dagrCa isev Tavisufali iqnebi…

novacias saWiroebs. dResdReobiT, `basti-bubus~ saxeliT gamodis Tojinebi, maisurebi, karaoke-simRerebi, maTze cekvaven da mRerian. `basti-bubu~ aris organizacia, romelic meormoce welSi gadavida. weliwadSi ori didi koncertiT. flobs studiebs da dabadebis dRis filialebs, baTumSi, quTaissa da regionSi. `bastibubu~ moicavs uzarmazar foto, video, audio arqivs,

Tamar sxvitariZe: dRes `basti-bubuSi~ 120-mde kaci muSaobs, es aris evropuli orientaciis da xasiaTis studia, `basti-bubum~ gaarRvia CarCo, Sou biznesi gaakeTa, Cven gavakeTeT kerZo studia, gadaviReT klipebi, axali kostiumebiT, teqnologiebiT, gavxseniT pirveli dabadebis dRis centrebi, pirveli TamaSebi, veb-saiti. da ai, minda giTxraT, rom 30 wlis Tavze, televiziam daamTavra Tavisi Tavi, da Sedegis micema bavSvebisTvis… bavSvebi aRar uyureben televizors, gadavidnen internetze, me raRac, Cemdauneburad, funqcia veRar davinaxe sakuTari Tavis. `basti-bubus~ rCeba oqros video Tu audio fondi _ 30 wlis ganmavlobaSi, rac mogrovda televiziiT. axla ki internetis epoqa dadga, epoqa, romelic axali `basti-bubuelebis~ xedvas da

garderobs, dekoraciebs... da ai, Suagul zRvaSi, sadRac iq, mzian kunZulze, romelsac maradiuli bavSvobis kunZuli hqvia, basti da bubus samefoa, iq wvims kanfetebi da Sokoladis mdinareebi Cqefs… iq cxovrobs erTi ucnauri xalxi _ bavSvebi, mwerlebi, scenaristebi, qoreografebi da musikosebi, romlebsac TavianTi Tavebi maradiul bavSvebad miaCniaT. isini yoveldRe igoneben axal-axal zRaprebs, qmnian sasacilo simRerebs da awyoben cekvebs. romlebsac SeuZliaT bavSvis guli gaaxaron, xolo didebis gulSi bavSvi gaacocxlon. iq uamravi feradi Tojinaa, isini bavSvebis enaze saubroben. es aris adgili, sadac bavSvebis ocnebebi cocxldeba, es aris adgili, sadac bavSvoba _ arasodes mTavrdeba!

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lali avaliani

wera - bediswera „RmerTo, ra dagiSave, rom saerTod wera damawyebine. wera! Tqven ar iciT, es namdvili wyevlaa... o, zRvao, ramdeni saweri maqvs... da zRva Zala... siyvaruls ver vuZleb da viwvebi~... guram rCeuliSvili munji kinos kadrebiviT midgas Tvalwin mcire epizodi guram rCeuliSvilis cxovrebidan.

Sav-TeTri sizmariviT SemorCa Cems mexsierebas erTi mxedvelobiTi xati: zafxulia, iseTi Takara mze, asfalts rom adnobs; me-8 an me-9 klasSi viqnebodi, Cemi saxlidan, griboedovidan, kibiT daveSvi rusTavelze, iqve gadavWeri nacrisferi quCa, romelzec kantikuntad, zantad moZraobdnen manqanebi. rusTavelis mopirdapire mxares, sadac axla fostis Senobaa, idga orsarTuliani saxli, swored iq mivdiodi. maSin guram rCeuliSvils Soridan vicnobdi, rogorc Cemi mSoblebis bavSvobis megobris mariam niJaraZis Svils: mxolod is vicodi, rom gurami iyo Zalian niWieri, `amrevi~ da damrtymeli (mTawmindaze es umaRles epiTetad iTvleboda), meti araferi. vxedav, quCis kideze, trotuaris bordiurze, arxeinad Camomjdara gurami, ucnob, Zalian STambeWdav da `saSiSi~ garegnobis biWTan erTad. magari mTvralebi iyvnen, ecvaT Savi, Wipamde Caxsnili perangebi, `butilka~ Sarvlebi da mZime Savi baTinkebi; pirSi yalionebi hqondaT gaCrili da gamomwvevad afuilebdnen. gurami moridebiT SevaTvaliere (dedisgan Cagonebuli mqonda, rom adamians `TxasaviT~ ar unda mivCerebodi), misi ar SemSinebia, rac unda `demonuri~ poza mieRo, mainc naTeli garegnoba hqonda, mainc frTxilad avuare gverdi (netav ras veridebodi, Cemze 5 wliT ufrosi gurami CemisTana infantilur lawiraks zedac ar Sexedavda), gansakuTrebiT, misi amfsonis gamo. maSin ras vifiqrebdi, rom swored es ucnobi, vaJkacurad lamazi (spartak baRaSvils hgavda), magram calwarbaweuli da avadmomzirali biWi, SemdegSi mxatvari da mwerali, 70-iani wlebis andergraundis usaCinoesi warmomadgeneli Temo jafariZe, studentobisas Cemi uaxloesi daqalis qmari gaxdeboda, xolo CemTvis usayvarlesi Zmakaci. uSiSari da faTerakebis maZiebeli gurami arafers epueboda. centraluri gamziris kideze, dRisiT-mzisiT,

“God, what was my blame that you made me start to write. Writing!

You don’t know it’s a real curse! Oh, sea, how much I have to write… And sea of strength. I can’t resist love and I am getting burned”.

Guram Rcheulishvili I can recall a small episode from Guram Rcheulishvili’s life like a still from a silent movie. One visual icon remained in my memory like a black and white dream: Summer. The blazing sun melts the asphalt. I would have been in 8th or 9th grade. I went down the stairs from my house, Griboedov street to Rustaveli avenue and there I crossed a gray street, where cars were moving sluggishly here and there. Opposite to Rustaveli where a post building stands, used to be a two-story house, that’s where I was going.

At that time, I knew Guram Rcheulishvili from afar, as the son of Mariam Nizharadze, my parents’ childhood friend. I only knew that Guram was very talented, “a stirrer and hitter” (this was considered the highest epithet in Mtatsminda), nothing more. I see, on the edge of the street, on the curb of the sidewalk, Guram is sitting awkwardly with a stranger, very impressive and “dangerous” looking boy. They were very drunk, they wore black shirts unbuttoned to the navel, “bottle” pants and heavy black boots; They had pipes in their mouths and were puffing defiantly.

I glanced timidly at Guram (I was taught by my mother that I shouldn’t “stare at a person like a goat’’), I wasn’t scared of him, no matter how “demonic” he posed, he still had a bright appearance. I carefully avoided him (what was I avoiding anyway? Guram, who is 5 years older, wouldn’t even look at an infantile youngling like me), especially because of his comrade. How would I have thought then, that this stranger, handsome (he looked like Spartak Baghashvili) boy with intense gaze, later an artist and writer, the most prominent representative of the underground of the 70s, Temo Japaridze, would become the husband of my closest friend when I was a student, and then the dearest friend to me.

The fearless and danger-seeking Guram was not afraid of anything. On the edge of the central avenue, in broad daylight, sitting down in the pose of Vrubel’s “demon” (subtext – I spit in your face) was it possible for the Soviet police to miss it? Guram was not a stranger to such targeted outrage. His childhood friend and chronicler of his life-work, Nugzar Tsereteli, openly revealed the “difficult” relations between Guram and Militsiya (soviet police) at the first opportunity.

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vrubelis `demonis~ pozaSi Camojdoma (qveteqstiT _ mimifurTxebia TqvenTvis) sabWoTa milicias viTom gamorCeboda? aseTi gamiznuli epataJi guramisaTvis sruliadac ar iyo ucxo. guram rCeuliSvilis siyrmis megobarma da misi cxovreba-Semoqmedebis amagdarma mematianem nugzar wereTelma, pirveli SesaZleblobisTanave, Seufaravad gamoamzeura guramisa da miliciis `rTuli~ urTierTobani. biWuri Cxubi Tu `garCevebi~ gurams arafrad miaCnda: fizikurad Zliers da uSiSars, TviTonac bevri moxvedria da bevri sxvac daulilavebia; danisa Tu cecxlsasroli iaraRis gamoyeneba maSin did sircxvilad iTvleboda. mousvenari da daudgromeli, xSirad amoyofda Tavs miliciaSi, zogjer mxolod imisaTvis, rom cnobismoyvareobis dasakmayofileblad sxvaTa cema-tyepas `eswreboda~. guram introvertulic iyo da eqstravertulic; grZnobda Sinagan gaorebasac da wuxda amis gamo: `me, romelSic giJiviT ibrZvian suli da xorci da sakmarisia, erT-erTi iwyebdes Zlevas, meore warmoudgenel xmaursa texs. indomebs smas, sigiJes, Cxubs an, piriqiT, wignebs, marto yofnas, saubars patiosnebaze~... (amonaweri 1958 wlis dRiuridan).

Boyish fights or “discussions” were nothing to Guram: physically strong and fearless, he himself got hit a lot and bruised many others; Using a knife or a firearm was considered shamefull back then.

Restless and boisterous, he often found himself in the police station, sometimes just to satisfy his curiosity by being there during the beatings of others.

Guram was both an introvert and an extrovert; He also felt the inner split and was worried about it: “Me, in which soul and flesh are fighting like crazy, and it is enough for one of them to gain control, the other starts to make an incredible noise. It craves drinking, madness, fights or, on the contrary, books, being alone, talking about honesty...” (Excerpt from the 1958 diary).

Guram’s personal life, his very first published stories (“Tsiskari”, 1957) became an important point for young readers and novice writers: “In you, everyone saw themselves without shackles, and this undoubtedly attracted them! You personified the freedom that everyone craves consciously or unconsciously (Zviad Gamsakhurdia).

“He had an amazing talent and need to gather people around him. At first glance, he seemed egocentric to someone, but he needed egocentrism to unite his friends, and as soon as he reached his goal, that “ism” disappeared without a trace” (Temo Japaridze).

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guramis pirovnuli cxovreba, misi pirvelive gamoqveynebuli moTxrobebi (`ciskari~, 1957 w.) axalgazrda mkiTxvelisTvis Tu damwyebi mwerlebisTvis erTgvari niSansveti gaxda: `SenSi xedavda yvela Tavis Tavs borkilebis gareSe, da es uTuod izidavda maT! Sen asaxierebdi Tavisuflebas, romelsac yvela mieltvis cnobierad Tu aracnobierad~ (zviad gamsaxurdia). `Tavis garSemo adamianebis Semokrebis sakvirveli niWi da moTxovnileba hqonda. erTi SexedviT egeb egocentrulic mosCveneboda vinmes, magram egocentrizmi mas megobrebis gasaerTianeblad sWirdeboda da rogorc ki mizans miaRwevda, is `izmic~ ukvalod qreboda~ (Temo jafariZe). gurami naRdi Tbiliseli da Tbilisis `koloriti~ (dRevandeli provinciuli gagebiT) ki ar iyo, aramed WeSmariti qarTveli: feTqebadi, ambivalenturi bunebiT, misi asakisaTvis Seuferebeli tkiviliani fiqriTa da TviTrefleqsiiT, sibrZniTa da hedonisturi `gadaxrebiT~, agresiis SemotevebiTa da sindisis gamudmebuli qenjniT, adamianuri silboTi da mimteveblobiT... mas erTnairad uyvarda Tbilisi Tu Telavi, qalaqi Tu sofeli, mTa da zRva, xevsureTi Tu afxazeTi. 1958 wels moskovSi wasvlis win dRiurSi CauniSnavs: `mivdivar... mimyveba Cagubebuli brazi saqarTveloze, albaT, cota siyvarulic. ar SeiZleba mTlianad gZuldes uZluri~. megobars ki swers, netavi yvelas ise uyvardes saqarTvelo, rogorc Cven gviyvarso... mwerlis profesias gurami imTaviTve udidesi pasuxismgeblobiT, ukiduresi siwrfeliTa da am misiis Rrma gacnobierebiT ekideboda. dRiursa Tu ubis wignakis CanawerebSi bavSvurad gulubryvilod SiSobda, gauZlebs Tu ara is `weras~, romlisTvisac ar arsebobs `zRvari~, keTili da boroti...

Gurami was not only a true Tbilisi resident and a “personality” of the city (in today’s provincial sense), but also a true Georgian: with an explosive, ambivalent nature, with thoughts full of pain and self-reflection inappropriate for his age, wisdom and hedonistic “deviations”, attacks of aggression and constant pangs of conscience, human softness and forgiveness... He equally loved Tbilisi and Telavi, city and village, mountain and sea, Khevsureti and Abkhazia.

Before going to Moscow in 1958, he noted in his diary: “I’m going... I’m followed by a puddled anger towards Georgia, maybe a little bit love too. You can’t completely hate the weak.” And he wrote to his friend, “I wish everyone loved Georgia as much as we do...”

Guram approached the profession of a writer with great responsibility, extreme honesty and a deep understanding of this mission. As a child he naively feared in the notes of a diary and in the notebook, whether he would have been able to withstand writing, for which there is no limit, there is no good and evil...

Writing for him is the same as destiny; In order to write a tragedy, he prepares himself in order to put himself in the shoes of a tragic hero and, if necessary, even commit a sin.

From the notebook: “Even in the happiest moments... certain sin torments me, this sin makes me write, and writing refinorces me to figure out what’s in my head, the same kind of reinforcement that killing ten people would give me. I consider writing to be equal to, if not more than, the greatest murder. For me, this is a terrible torture... I don’t want this, my demons want this, they don’t give me a moment’s rest and it’s enough for me to become kind, good, they make me anxious, they tell me that I’m weak and that’s why I’m kind.”

It is thanks to such extreme honesty, intense passions and narrating passions with great intensity that Guram’s prose stood out and the author became the center of exceptional attention.

It is a paradox that the Georgian underground of the 50s and 60s, despite the censorship and the strictest ideological pressure, still managed to exist and print works “without ideas”, i.e. completely free from the dogmas of social realism (with restrictions, of course).

Guram Rcheulishvili, who seemed to be standing in the ring all the time (Guram Gegeshidze), would probably had to wait a very long time before his books were published (like his friends – Erlom Akhvlediani, Dato Javakhishvili, Vazha Gigashvili, Temo Japaridze, Guram Gegeshidze)...

The soul-stirring end of the 26-year-old writer full of life broke through the censorship barrier and his stories, which have now become a literary heritage, were first published in 1961, 1965 and 1974 as separate books.

At the cost of great efforts, Gurami’s younger sister, literary scholar Marine Rcheulishvili, corrected this obvious flaw, who, after many years of work, published the entire archive of the writer at the beginning of the 21st century (first in six, then in seven volumes.

“Saari” publishing).

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`wera~ misTvis igivea, rac `bediswera~; tragediis dasawerad sagangebod emzadeba, raTa tragikuli gmiris tyavSi moeqces da Tu saWiroa, codvac Caidinos. ubis wignakidan: `TviT yvelaze mxiarul drosac... raRac codva mawvalebs, es codva mawerinebs da wera maZlevs zurgs, rom Cems TavSi gaverkve, iseTive zurgs, rogorsac momcemda aTi kacis mokvla. me weras udidesi mkvlelobis tolad miviCnev Tu ufro metad ara. CemTvis es saSineli wamebaa... es me ar minda, es undaT Cems demonebs, romlebic ar masveneben erTi wamiT da sakmarisia keTili, kargi gavxde, maforiaqeben, meubnebian, rom me ususuri var da imitom var keTili~. swored aseTi ukiduresi gulaxdilobis, mZafri vnebebisa da vnebaTa didi simZafriT gadmocemis wyalobiT, guramis proza imTaviTve gamoirCa da avtoric gansakuTrebuli yuradRebis centrSi aRmoCnda. paradoqsia, rom 50-60-iani wlebis qarTuli andergraundi, cenzurisa da umkacresi ideologiuri wnexis miuxedavad, mainc axerxebda arsebobasac da `uideo~, anu socrealizmis dogmebisagan sruliad Tavisufali Txzulebebis beWdvasac (rasakvirvelia, SezRudvebiT). guram rCeuliSvils, romelic TiTqos sul ringze idga (guram gegeSiZe), rom dascloda, albaT, Zalian didxans mouwevda lodini, vidre wignebs gamoucemdnen (megobrebis _ erlom axvledianis, daTo javaxiSvilis, vaJa gigaSvilis, Temo jafariZis, guram gegeSiZis darad)...

26 wlis sicocxliT savse da savse sicocxlis mwyurvali mwerlis sulisSemZvrelma aRsasrulma gaarRvia cenzuris barieri da aw ukve literaturul memkvidreobad qceuli misi moTxrobebi pirvelad 1961, 1965 da 1974 wlebSi gamoica calke wignebad (samwuxarod _ kupiurebiT). es aSkara xarvezi udidesi Zalisxmevis fasad, gamoaswora guramis umcrosma dam _ literaturaTmcodne marine rCeuliSvilma, romelmac mravalwliani muSaobis Semdeg, XXI saukunis damdegs gamosca mwerlis mTliani arqivi (jer eqvs, Semdgom Svid tomad. gam. `saari~). `minda mkiTxvels mivawodo mwerlis maqsimalurad ucvleli avtografi, raTa mkiTxvelma SeZlos TviTon daamyaros pirdapiri kavSiri uSualod SemoqmedebiT procesSi dabadebul sityvasTan da Seeqmnas STabeWdileba, rom mis Tvalwin cocxldeba dedani da ara redaqtoris xelSi gamovlili, daxvewili (xSirad Tundac gaumjobesebuli) nawarmoebi~ (I tomis winasityvaobidan). cota utrirebulad Tu vityvi, guram rCeuliSvilis mTliani arqivis TiTqmis ucvlelad gamoqveyneba, biografiuli detalebis da TiToeuli nawarmoebis `Tavgadasavlis~ sinqronuli mTlianobis Cveneba, mwerlis SemoqmedebiTi laboratoriis TaviseburebaTa Tu literaturul SexedulebaTa gadmocema marine rCeuliSvilis mier, _ Zvirfasi `nedleulia~ literaturaTmcodneTaTvis; anda, igivea, TviTnabadi oqros zodi rom miuZRvna oqromWedels... amasTan,

“I want to provide the reader with the author’s autograph as unchanged as possible, so that they can make a direct connection with the word born in the creative process and get the impression that the original, and not the altered, refined (often even improved) work is coming to life before their eyes, rather than what was put out by the editor.” (From the preface to the first volume) If I may exaggerate, the almost unaltered publication of Guram Rcheulishvili’s entire archive, the display of biographical details and the synchronous integrity of the “adventure” of each work, the transmission of the features of the writer’s creative laboratory and literary views by Marine Rcheulishvili, are valuable “raw materials” for literary scholars; or, it is the same, to dedicate a raw gold to a goldsmith... At the same time, an excellent example of remarkable intuition and access to the work of her brother is the successfully crowned attempt to unify and “restore” the unfinished story – “Shasha’s revolution”. (“Shasha’s revolution or revolution in Ortachala, on Bambis Rigi”) “He worked intensively, non-stop (although he often blamed himself for laziness). He used to write everywhere: in Tbilisi, Telavi, Okrokana, North Caucasus, Moscow, Odessa, Carpathians, Bakuriani, Tianeti... at home, at a lecture, in a museum, in a hospital, at the post office...” (Marine Rcheulishvili).

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gansakuTrebuli intuiciisa da Zmis SemoqmedebaSi wvdomis Cinebuli nimuSia daumTavrebeli, `auwyobeli~ moTxrobis _ `SaSas revoluciis~ _ gamTlianebisa da erTgvari `restavraciis~ warmatebiT dagvirgvinebuli mcdeloba.

Txzuleba saocrad Rrma da winaswarmetyveluri aRmoCnda. `igi muSaobda intensiurad, gauCerebliv (Tumca xSirad sizarmaces swamebda sakuTar Tavs). werda yvelgan: TbilisSi, TelavSi, oqroyanaSi, Crdilo kavkasiaSi, moskovSi, odesaSi, karpatebSi, bakurianSi, TianeTSi... Sin, leqciaze, muzeumSi, saavadmyofoSi, fostaSi...~ (marine rCeuliSvili). guram rCeuliSvilma sicocxleSive moipova uCveulo, xmauriani popularoba; legendad is tragikuli daRupvis Semdeg iqca. Tumca mxolod cxra moTxroba hqonda gamoqveynebuli. dRevandeli Tvalsawieridan, guram rCeuliSvilis piradi cxovreba da SemoqmedebiTi mrwamsi aSkarad exmaureba da win uswrebs 60-iani wlebis damlevis evropul-amerikul axalgazrdul bunts, ramac didi kvali daaCnia Tanamedrove literaturasa da xelovnebas. *** `me Tolia var da qarTan erTad mlaSe talRebs veTamaSebi. qari qris TavisTvis zRvisTvisac sulerTia Toliis bedi...~ guram rCeuliSvilis daumTavrebeli da daumuSavebeli, savaraudod, _ ukanaskneli leqsis (usaTauro _ `deda! ar Camoxvide zRvaze~...) es fragmenti winaswarmetyveluri aRmoCnda: ramdenime dReSi igi zRvaSi daixrCo, ubeduri SemTxvevis Tu bedis mware dacinvis gamo: gurami _ uSiSari, Zlieri, mTamsvleli, uebro mojiriTe, mokrive, _ saukeTeso mocuravec iyo. es iyo gagraSi, 1960 wlis 23 agvistos; 26-Si igi TbilisSi dabrunebas apirebda... `zRvas~ guram rCeuliSvilis SemoqmedebaSi ZiriTadad iseTive datvirTva aqvs, rogoric `mTas~: esaa usicocxlo yoveldRiurobisgan, rutinisgan, siyalbisa da farisevlobisgan Tavdaxsnis, gaqcevis, guramisve sityvebiT, `gavardnis~ (`gvqonda gavardna bakurianSi~...) mcdeloba. asea mwerlis dRiurebSic: zRva daumorCilebeli stiqionia, xan sixarulisa da mSvenierebis mfeni, xanac mRelvare, boboqari, daundobeli, sastiki da sruliad gulgrili napirze Tu mis talRebSi mofuTfuTe adamianebisadmi... maSin erT-erTi aseTi `gavardna~ ucxoeTsac ukavSirdeboda; orma cnobilma Tbiliselma biWma, romelTa donkixoturi mcdeloba, curviT mieRwiaT TurqeTis romelime gemamde da TavSesafari eTxovaT, kinaRam Tavi daiRupa: maT sabWoTa cixis `siameni~ ki igemes, Tumca sabednierod, daxvretas gadaurCnen.

Cemi pirveli wasvla ucxoeTSi da iqidan `aJitirebuli~ dabrunebac, raRacnairad, guram rCeuliSvils daukavSirda...

Guram Rcheulishvili gained unusual, exeptional popularity during his lifetime; He became a legend after his tragic death. However, he had published only nine stories.

From today’s point of view, Guram Rcheulishvili’s personal life and creative beliefs clearly respond to and precede the EuropeanAmerican youth riot of the 60s, which left a great mark on modern literature and art. ** * “I am a seagull and I play with the wind on the salty waves.

The wind blows for itself Even for the sea, the fate of the seagull is insignificant...”

This fragment of Guram Rcheulishvili’s unfinished and unedited, presumably last poem (untitled – “Mother! Don’t come to the sea...”) turned out to be prophetic: in a few days he drowned in the sea, due to an accident or a bitter mockery of fate: Guram – fearless, strong, Mountaineer, free rider, boxer, the best swimmer too. It was in Gagra, on August 23, 1960; On the 26th, he was planning to return to Tbilisi...

In Guram Rcheulishvili’s work, the sea basically has the same meaning as the mountain: it is an attempt to break out from the lifeless everyday life, routine, falsehood and hypocrisy, to escape, in Guram’s own words, to “flee” (“We had a flee in Bakuriani”...). This is also the case in the writer’s diaries: the sea is an unruly element, sometimes spreading joy and beauty, sometimes turbulent, boisterous, merciless, cruel and completely indifferent to the people on the shore or in its waves...

At that time, one of these “flees” was related to abroad foreign country; Two well-known boys from Tbilisi, whose Don Quixotesque attempt to swim to a Turkish ship and ask for shelter, almost cost them their lives: although they tasted the “pleasure” of the Soviet prison, fortunately they avoided execution.

Even my first trip abroad and my “excited” return is somehow connected with Guram Rcheulishvili...

In August-September 1960, I ended up in Romania instead of my desired Poland. It is a beautiful country, comparable to Georgia, with southern warm people, a beautiful capital; We were in the mountains and at the sea. The youth group obviously had the best time.

As you know, Georgia did not have borders at that time: the Psou River only symbolically separated it from Russia, the “little child of the Great Soviet Union” (who would have thought that for the twentieth anniversary of Georgia’s independence, In the heart of Georgia, new borders with barbed wire would be set for us by the “eternal teacher” and “elder brother”, the neo-imperialist government of Russia...).

We were happily coming to the longed-for Georgia: how can I forget the impatience and excitement of the soul that almost all the members of the group felt. Clinging to the windows of the railway carriage, we anxiously waited to cross the Psou Bridge. The longawaited moment came and we started screaming, shouting and crying as we crossed the border of Georgia, as if we were not in the

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1960 wlis agvisto-seqtemberSi CemTvis sasurveli poloneTis magivrad, rumineTSi aRmovCndi. mSvenieri qveyanaa, saqarTvelos sadari, samxreTulad Tbili xalxiT, ulamazesi dedaqalaqiT; mTaSic viyaviT da zRvazec. axalgazrdulma jgufma, cxadia, saukeTesod gavatareT dro. mogexsenebaT, maSin saqarTvelos sazRvrebi ar gaaCnda: mas, `didi sabWoeTis patara Svils~, mdinare fsou mxolod simbolurad aSoriSorebda ruseTisgan (vin ifiqrebda, rom saqarTvelos damoukideblobis meoce wlisTavisTvis, saqarTvelos gulisgulSi, mavTulxlarTebian axal sazRvrebs dagviwesebda maradiuli Wkuis maswavlebeli da `ufrosi Zma~, ruseTis neoimperialisturi mTavroba...). sixaruliT moveSurebodiT monatrebul saqarTveloSi: ra damaviwyebs im mouTmenlobas da sulis foriaqs, jgufis uklebliv yvela wevrs rom dagveufla. vagonis fanjrebs Cafrenilebi, sulwasulad velodebodiT fsous xidze gadasvlas. dadga nanatri wuTic da iseTi Jivilxivili, wivil-kivili da zluquni avtexeT saqarTvelos sazRvris gadmolaxvisas, TiTqos oriode kvira kurTxeul rumineTSi ki ara, Soreuli cimbiris gadasaxlebaSi viyaviT. yovlismomcveli bednierebis imgvari SegrZneba mxolod ramdenjerme Tu ganmicdia cxovrebaSi. seqtembris pirveli dekada iyo. gagris sadgurSi Tbiliselebi amovidnen da... ase gavigeT guram rCeuliSvilis daRupvis ambavi. zRvisken gaxedvac ki aRar gvindoda: rogor, zRvam daaxrCo gurami, niWieri, saxeliani `levaki~ mwerali (maSin, mgoni, sityva `disidenti~ saerTod ar Sedioda Cvens leqsikonSi), sakulto hemingueis `mimdevari~; sportsmeni, SfoTisTavi, xifaTiani, gamomwvevi poziori; Cemi ulamazesi Tanaklaselis Seyvarebuli; yvelgan da yovelTvis pirvelobis mosurne; moskovSi, ocdaaTgradusian yinvaSi uqudod rom dadioda, iqve rom `taqsaobda~, TveobiT ikargeboda Tbilisidan... ramdeni ram, Wori da marTali amotivtivda gonebaSi. Svilis daRupvis Semdeg dedaCemi da mariam niJaraZis siyrmis megobrebi xSirad dadiodnen rCeuliSvilebTan samZimarze, swored maSin mogviTxro dedam im ukanasknel, TiTqosda providencialur werilze, guramma rom gamougzavna deida maros. es werili pirvelad gamoqveynda 2007 wels, eqvstomeulis VI tomSi. marine rCeuliSvilis komentarebidan: `mezobeli qalis, maro cirekiZis TqmiT, deda am werilis miRebis Semdeg cxare cremliT tiroda. misTvis uTqvams, werilis wakiTxvis Semdeg iseTi grZnoba dameufla, TiTqos gurami am weriliT memSvidobebodao~. am dros marine TelavSi iyo, guramis deda ki loginad Cavardnil mamas uvlida. rogorc mariam niJaraZis dRiuridan irkveva, misi sulis foriaqi da avi winaTgrZnoba 21 an 22 agvistos guramTan telefoniT saubarma nawilobriv mainc daacxro...

blessed Romania for a couple of weeks, but in exile in distant Siberia. I have experienced such a feeling of all-encompassing happiness only a few times in my life.

It was the first decade of September. The people of Tbilisi came to Gagra station and... that’s how we heard about the death of Guram Rcheulishvili. We didn’t even want to look at the sea anymore: how, the sea drowned Guram, a talented, “left-handed” writer (then, I think, the word “dissident” was not included in our vocabulary at all), a “follower” of the iconic Hemingway; athlete, troublemaker, danger-seeker, defiant poseur; My beautiful classmate’s boyfriend; everywhere and always wanting to be first; When he was walking in Moscow without a hat in the 30-degree frost, when he was “driving a taxi” there, when he went missing in Tbilisi for months... So many things, rumors and truths, popped up in mind.

After the death of her son, Mariam Nizharadze’s childhood friends including my mother often visited Rcheulishvili family to offer condolences, that’s when my mother told us about the last, as if providential, letter that Guram had sent to Aunt Maro.

This letter was first published in 2007, in volume VI of the sixvolume series. From Marine Rcheulishvili’s comments: “According to Maro Tsirekidze, a neighbor lady, mother cried bitter tears after

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deida maros gansakuTrebuli sulieri Zala da intuicia gaaCnda. amitom ar mikvirs, rom guramis TiTqosda `neitralur~ werils dedis iseT sulier xveulebSi SeeRwia, sxvisTvis miuwvdomeli rom iqneboda. arada, werili marTlac sruliad gansakuTrebulia, grZnobaTa gadmocemis simZafriT da sisavsiT, dasawyisSi ki dasamaxsovrebeli mxedvelobiTi xatiT: guramis ucnaur, TiTqosda kinematografiul gamoTqmas Tu gamoviyenebT, _ mzis amosvlis `Sebrunebuli procesiT~: `deda! ramdenime wuTis win Cavida mze; me vijeqi zRvis napiras da vuyurebdi; disks sanam Zala hqonda, aTasnairad ibriceboda, mere mrgvlad gaSeSda, roca

receiving this letter. She told her: “After reading it, I felt as if Guram was saying goodbye to me with this letter.”

At that time, Marine was in Telavi, while Guram’s mother was taking care of his bedridden father. As it turned according to Mariam Nizharadze’s diary, shattering of her soul and foreboding feeling were at least slightly soothed by the phone conversation with Guram on August 21 or 22.

Aunt Maro had special spiritual power and intuition. That’s why I’m not surprised that Guram’s supposedly “neutral” letter got into such spiritual coils of his mother that it would be inaccessible to anyone else.

However, the letter is really quite special, with its intensity and fullness of conveying feelings, and at the beginning with a memorable visual image: to use Guram’s strange, almost cinematic

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ufro miuaxlovda zRvas, uceb svetiviT CaeSva Sig, bolo dauwvrilda da sokos miemsgavsa. momagondi Sen da momagonda mTeli Cemi xangrZlivi bavSvobis periodi, romlis ganmavlobaSi SenTvis SedarebiT mosvenebul wuTebSi igonebdi xolme qcias, devanas, janRs da gansakuTrebiT mzis amosvlas cxrawyaroze, romlis Sebrunebuli procesic me ramdenime wuTis win vnaxe~... amgvari, ufro siurrealisturi, vidre realisturi suraTis Semdeg, gurami TiTqosda grZnobs, rom dedas gansacdeli moelis da Tavis gafrTxilebas sTxovs: `kargad iyavi... rogorme mouare nervebs aseT pirobebSi... isec imdeni maqvs garSemo sanerviulo, uxeSi, glexuri, rom roca aseTi faqizi dedis nerviuloba emateba zed, ukve aRar vici xolme saiT gaviqce da mgoni TviTmkvlelobazec ki viwyeb xolme fiqrs~... maSin mariam niJaraZes warmodgenac ki ar hqonda leqsze _ `deda! ar Camoxvide zRvaze~..., romelic gangaSis, SfoTvisa da uimedobis motivebiT, TiTqos zemoxsenebuli werilis gagrZelebaa: `deda! ar Camoxvide zRvaze / zRva SenTvis Zalian Relavs / SenTvis ar SeiZleba aq curaoba / zRva Zalian Relavs / Senc Zalian Relav / ar Camoxvide icode zRvaze / is tyuila Relavs / is qarisgan Relavs / Sen ki uTuod daixrCvebi Relvisgan zRvaSi / me Tolia var da qarTan erTad mlaSe talRebs veTamaSebi / qari qris TavisTvis / zRvisTvisac sulerTia Toliis bedi / Sen ki daixrCvebi Relvisgan zRvaSi... / Toliasac ara aqvs Tavis dardi / arc qarSi aqvs bina / arc zRvaSi / aqvs bina / arc xmeleTze / deda! / nu Camoxval... / aq yvelaferi isedac Relavs / da Sen uTuod daixrCvebi Relvisgan zRvaSi~. es upunqtuacio da aSkarad gaurandavi leqsi, romelic, marine rCeuliSvilis mosazrebiT, 1960 wlis 19-20 agvistosaa dawerili, _ gaaTkecebul tragikul datvirTvas iZens swored fataluri TariRis 23 agvistos gamo: 4 agvistos gurams 26 weli Seusrulda. marine rCeuliSvili: `deda mudmivad Relavda guramze, gurami mudmivad Relavda dedis Relvaze (mkiTxvels mivaqcevineb yuradRebas, rom sityva `Relva~ am patara leqsSi cxrajeraa naxmari)~. ra Tqma unda, guramis mier omonimebis aseTi gaTamaSeba gamiznuli xerxi unda iyos. zRvis ambivalenturoba (mSveniereba, simaxinje, silbo, sisastike, idiliuri, xanac gaSmagebuli stiqia...) guram rCeuliSvilis marinistul TxzulebaTa Tanamdevia: pastoraluri usaTauro moTxrobidan (`zRvis napiras, TavTxel wyalSi~..., 1956, 28 marti) vidre ironiul leqsamde (`win sulelo mezRvauro~, 1960, savaraudod, 17-22 agvisto). ase sabediswerod daukavSirdnen erTmaneTs gurami da zRva.

expression, the “reversed process” of the sunrise: “Mother!

The sun set a few minutes ago; I sat by the seashore and watched; As long as the disk had power, it flashed in a thousand ways, then it became round, when it got closer to the sea, suddenly it sank in like a pillar, the end became thin and resembled a mushroom. I remembered you, and I remembered the whole period of my long childhood, during which in those moments you were relatively relaxed, you sometimes imagined Ktsia, Devana, the fog, and especially the sunrise on Tskhrantskaro, the reverse process of which I saw a few minutes ago”...

After such more surreal than realistic picture, Guram seems to feel that his mother is about to face an ordeal and asks her to take care: “Be well... take care of your nerves in such conditions somehow... I have so many rough things to worry about – that when nervousness about such a gentle mother is added to it, I don’t know where to run anymore and I believe I even start thinking about suicide”...

At that time, Mariam Nizharadze had no idea about the poem – “Mother! Don’t come down to the sea”... which, with motives of alarm, anxiety and misery, seems to be a continuation of the letter mentioned above: “Mother!

Do not come to the sea / The sea is too worried for you / You can’t swim here / The sea is too worried / You are too worried / Do not come to the sea / It is worried without reason / It is worried because of the wind / And you will surely drown from worry in the sea / I am a seagull and I play with the wind on the salty waves./The wind blows for itself/ The fate of the seagull is insignificant for the sea / And you will drown from worry in the sea... / The seagull has no own worries / Neither has home in the wind / Nor in the sea / Nor on land / Mother! / Don’t come down... / Everything is already worried here / and you will surely drown from worry in the sea”.

This unpunctuated and clearly unprocessed poem, which, according to Marine Rcheulishvili, was written on August 19-20, 1960, acquires a tragic meaning precisely because of the fatal date of August 23: on August 4, Guram turned 26 years old.

Marine Rcheulishvili: “Mother was constantly worried about Guram, Guram was constantly worried about his mother’s worries (I draw the reader’s attention to the fact that the word “worry” is used nine times in this short poem)”.

Of course, Guram’s use of homonyms in this way must be a deliberate technique. The ambivalence of the sea (beauty, ugliness, gentleness, cruelty, idyllic, sometimes maddening nature...) is a continuation of Guram Rcheulishvili’s marinistic works: from the pastoral untitled story (“On the seashore, in the shallow water”..., 1956, March 28) to the ironic poem ( “Go forward foolish sailor”, 1960, probably August 17-22).

This is how Guram and the sea were connected to each other in a fateful way.

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Stefan kurela da saqarTvelo STEFAN KURELLA AND GEORGIA

mTaSi cxeniT jiriTi da bilikebze siaruli Cveulebrivi ambavia, cxenic SeCveulia da kacic. is dRe ki sabediswero aRmoCnda germaneli mwerlisa da publicistis, alfred kurelas ojaxisTvis. germaneli stumrebi xevsureTSi mogzaurobdnen da arxotisken adgnen gzas. kurelas meuRlis, elfrides cxens cicabo ferdobis pirze miwa mouwyda da bilikidan gadacurda, Semdeg uceb wamodga, magram aforiaqebulma cxovelma Tavi ver Seikava, qariviT moswyda adgils da ferdobis qva-RorRze karga xans aTria gadmovardnili qali. `mTebs Sua sikvdili iwva,

Riding a horse in the mountains and walking along the paths is a normal occurrence, both for the horse and for the rider. However, that day turned out to be fateful for the family of the German writer and publicist Alfred Kurella. The German guests were traveling in Khevsureti and were heading toward Arkhoti. Alfred Kurella’s wife, Elfriede, lost her footing when the earth under her horse gave way on the steep slope, and the horse slid off the path. She suddenly got up, but the panicked animal couldn’t keep its balance and, like the wind, it tore away from the spot and dragged the woman for quite a distance over the rocky slope. “Death lay in the mountains, still

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jer kidev sisxliani, axali.~ maSin arxotSi am ucnaur da uxmo sikvdils, sadRac gaurkvevlobidan mosuls, uceb Tavsdatexils, guram rCeuliSvilic Seeswro da mogvianebiT daiwera `sikvdili mTebSi“ _ `raRac iyo maTTvis sikvdilSi saocari da ukve momxdari, romelsac araferi eSveleboda. garSemo ki yvelaferi ucnobi iyo, saSiSi.~ iqiT dedis cxedarTan CaCoqili cameti wlis SeSinebuli Stefani da aqeT gaognebuli da dabneuli kurela, im adgilsa da dasisxlianebul qals fotoebs rom uRebda gaucnobiereblad; bavSvis cremlebi da alfredis cota ucnauri sityvebi: `amas vTvli me erT-erT bednier sikvdilad, Tu SeiZleba ase daerqvas sikvdils.~ (g. rCeuliSvili, `sikvdili mTebSi~). kaci, albaT, dards cotaTi iqarvebda ase. elfride arxotis kldis ZirSi daasaflaves. ase moisurva misma qmarma _ mTebi Zalian uyvardao. mogvianebiT gogi oCiaurma saflavis lodze waawera misi saxeli.

TiTqmis samocdaaTi wlis winandeli ambavi Stefan kurelas mogonebebsa da gancdebSi odnavadac ar gafermkrTalebula, piriqiT, ise gamZafrda da gaRrmavda, rom saqarTveloze, kerZod, xevsureTze wignic daawerina.

Stefans dRemde Zalian uyvars saqarTvelo, an ra gasakviria, dedis saflavi aq eguleba, amitom uxilavi da mudmivi kavSiric, TavisTavad, arsebobs. es Sexvedra ki cota moulodneli aRmoCnda. quTaisis akaki wereTlis saxelobis universitetis profesori, germanisti nugeSa gagniZe, Stefans berlinis centralur biblioTekaSi qarTuli sazogadoebis Sekrebaze Sexvda, axla igi ukve oTxmocs gadacilebulia da Zalian didi siyvaruliT laparakobs saqarTveloze. berlinSi qarTuli sazogadoebac misi daarsebulia. nugeSa gagniZem StefanTan saubari novelebad gardaqmna da arxotis ambavi TiTqos droSi gagrZelda: `berlinis qarTuli sazogadoebis wevrTa Soris asakovani germanelebi sWarbobdnen. umetesobas janmrTelobis iseTi problema hqonda, gasakviria, rogor movidnen biblioTekaSi Sexvedraze am TovaSi. sazogadoebis wevrTa Soris warmatebul qarTvelTa xilvam gansakuTrebiT gamaxara. sityviT gamomsvlelTa Soris, yuradReba erTma moxucma miiqcia, siaruli uWirda momcro aRnagobis simpaTiur moxucs, romelic odnav SesamCnevi rusuli aqcentiT warmoTqvamda zogierT sityvasa da bgeras. RonisZiebis Semdeg moxuci CvenTan erTad wamovida erT-erT gasaocar qarTul restoranSi da sufrasTan Cem gverdiT aRmoCnda. rogorc Sexvedris dros, aqac ganuwyvetliv laparakobda saqarTveloze, ixsenebda iq cxovrebis dReebs da yurSi nicSes CemTvis kargad nacnobi leqsic (Vereinsamt, „gamartosulebuli“) CamCurCula: ie Krähen schrei’n / Und ziehen schwirren Flugs zur Stadt: / Bald wird es schnei’n / − Wohl dem, der jetzt noch – Heimat hat. (yvavebi Cxavian, / eSurebian frTebis farTxuniT qalaqs. / male gaTovdeba. / netav mas, visac samSoblo kvlav aqvs.)

bloody, fresh.” That sudden, strange and silent death in Arkhoti was also witnessed by Guram Rcheulishvili, who later wrote “Death in the Mountains” – “There was something amazing and already occurred in that death, which could not be helped. Everything around was unfamiliar, dangerous.”

On one side, thirteen-year-old frightened Stefan knelt by his mother’s corpse, and on the other side, confused and bewildered, Kurella, who, unaware, was taking photographs of the bloodied woman at that spot; the child’s tears and Alfred’s slightly strange words: “I consider this one of the fortunate deaths, if death can be called that.” (G. Rcheulishvili, “Death in the Mountains”) Perhaps the man tried to alleviate his sorrow in this way.

Elfriede was buried at the foot of the Arkhoti cliff. That’s what her husband wanted – “She loved the mountains very much,” he said.

Later, Gogi Ochiauri wrote her name on the grave stone.

The event from almost seventy years ago has not faded even a little in Stefan Kurella’s memories and feelings. On the contrary, it has intensified and deepened so much that it led him to write a book about Georgia, specifically Khevsureti. Stefan still loves Georgia very much, and why wouldn’t he? His mother’s grave is here, so an invisible and permanent connection naturally exists. This encounter, however, was a bit unexpected. The professor at the Akaki Tsereteli University in Kutaisi, the Germanist Nugesha Gagnidze, met Stefan at a gathering of the Georgian community at the central library in Berlin. Now he is over eighty and speaks about Georgia with great love. The Georgian community in Berlin was also founded by him. Nugesha Gagnidze transformed her conversation with Stefan into novellas, and the story of Arkhoti seemed to continue in time: “Among the members of the Georgian community in Berlin, elderly Germans predominated.

Most of them had such health problems that it’s surprising how they managed to attend the meeting in the snow. I was particularly happy to see successful Georgians among the members. One of the elderly speakers drew my attention, a charming little old man who had difficulty walking and pronounced some words and sounds with a slightly noticeable Russian accent. After the event, the elderly man joined us at one of the wonderful Georgian restaurants and ended up sitting next to me at the table. As during the meeting, here too, he continuously talked about Georgia, recalled the days he spent there,

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gaocda, es leqsi da nicSes sxva leqsebic rom vicodi. mere daumata, „me sul meZaxis saqarTvelo, rogorc Cemi samSoblo. deda myavs xevsureTSi dasaflavebuli.“ meucnaura cota, magram am bolo dros ise SeveCvie ucnaur ambebs, Zalianac ar gamkvirvebia. gamomSvidobebisas telefonis nomeri gamomarTva da meore dilasve damireka: „Allo Nugescha, hier ist Stefan Kurella!“ cxadia, mecno gvari, magram goneba didad ar damiZabavs. man ki ganagrZo: „movixible guSin Tqveni gamosvliT. minda vaxSamze dagpatiJoT istoriul restoranSi. iciT _ Zum Nussbaum?, ar vicodi, magram misTvis ar miTqvams… _ mere isic daayola, „taqsiT modiT, me gadavixdio“. gameRima, cxadia, ar mivsulvar taqsiT, nikolai firtelSi fexiT unda iaro usasrulod, gansakuTrebiT Sobis wina dReebSi da bevri sikeTe unda SeisunTqo, didxans rom igrZno Tavi kargad. oTxs xuTi wuTi aklda, restornis kari rom SevaRe da Stefan kurela, saxeldaxelod gamowyobili, ukve mis mier dajavSnil magidasTan ijda. samosis ferebzec nafiqri hqonda. mis Ria yavisfer velvetis pijaks Zalian uxdeboda alublisferi Tbili puloveri. gverdiT meliis bewvis qudi edo, „uSanka“, swored iseTi, ruseTSi rom ixuraven Zlieri yinvebisas. magidaze wigni edo _ grigol abaSiZe, „laSarela“ (germanulad). saqarTvelos ambebis moyola, swored, Tamaris ZiT, laSa-giorgiT, daiwyo...” *** Stefan kurela detalurad ixsenebs xevsureTis mTebSi momxdar tragedias. TiTqos yoveli wami cocxldeba.

TiTqos axla mis Tvalwin miqris cxeni giJiviT. rogor tiroda cameti wlis cisferTvaleba bavSvi: `ra unda vqnaT Cven axla udedod?..~ ixsenebs mamas, romelmac araerTi qarTuli nawarmoebi Targmna germanul enaze, maT Soris, vaJa-fSavelas poemebi da colis sikvdilis merec ramdenjerme avida arxotSi. `me wigns vwer xevsureTze _ ganagrZo Stefanma, rogorc ki grigol abaSiZeze da mis „laSarelaze~ laparaks morCa. Zalian movxucdi, avad var, minda davasrulo, vidre am qveynidan waval! saqarTveloSi rogor moxvdiT? rodis CamoxvediT pirvelad da ratom? _ vkiTxe me. ver amexsna, saidan modioda Cemi samSoblosadmi misi aseTi mxurvale siyvaruli.

1945-48 wlebSi vcxovrobdiT saqarTveloSi, afxazeTSi. aris aseTi sofeli fsxu, Tqven ar gecodinebaT. _ fsxu vici, Tumca arasodes vyofilvar iq. vimedovneb, odesme vnaxav. davibrunebT, imedia, afxazeTs! _ mivuge sevdanarevi RimiliT. _ Zalian lamazia fsxu! _ monatreba da ocnebebi mZimed Camowva moxucis cisfer TvalebSi _ Cemi cxovrebis saukeTeso wlebi gavatare iq mSoblebTan erTad. saocari idilia sufevda. mTebi, sufTa haeri, mdinare. omgamovlili adamianebisTvis da bavSvisTvis, amaze

and whispered in my ear a poem by Nietzsche (Vereinsamt, “Lonely”) , which was familiar to me: “Die Krähen schrein/Und ziehen schwirren Flugs zur Stadt:/Bald wird es schnein. – /Wohl dem, der jetzt noch Heimat hat!” (The crows caw/ and go with zipping wings to the city:/ soon it will be snowing./ Happy is he who now yet has a homeland!)

He was astonished, as I knew this poem and other poems by Nietzsche as well. Then he added, “I am always called by Georgia, as my homeland. My mother is buried in Khevsureti.” I was a bit puzzled, but lately, I’ve become so used to strange stories that I wasn’t too surprised. When we parted, he took my phone number and called me the next morning: “Allo Nugescha, hier ist Stefan Kurella!” Of course, I recognized the surname, but I didn’t think much of it. He continued, “I was impressed by your speech yesterday. I would like to invite you to dinner at a historical restaurant. Do you know – Zum Nussbaum?” I didn’t know, but I didn’t mention that to him… Then he added, “Come by taxi, I’ll pay.” I smiled, of course, I didn’t go by taxi; in Nikolai Viertel, you must walk endlessly, especially during the days before Christmas, and you need to breathe in a lot of goodness so you can feel well for a long time. I arrived at the restaurant just minutes before four o’clock, and there, at the table he had reserved, sat Stefan Kurella, casually dressed. He had even thought about the colors of his clothes. His light brown velvet jacket looked perfect with his cherry-colored warm sweater. Beside him was a fox fur hat, “ushanka,” exactly the kind they wear in Russia during severe winters. There was a book on the table – Grigol Abashidze’s Lasharela (in German). The story about Georgia began, specifically Tamar’s son, Lasha-Giorgi… *** Stefan Kurella recalls in detail the tragedy that happened in the mountains of Khevsureti. It’s as if each second comes to life. It’s as if a horse is galloping wildly right in front of him. How the thirteen-yearold, blue-eyed child cried: “What are we going to do now without a mother?” He recalls his father, who translated numerous Georgian works into German, including the poems of Vazha-Pshavela, and how he went to Arkhoti several times even after his wife’s death. “I am writing a book about Khevsureti,” Stefan continued, as soon as he finished talking about Grigol Abashidze and his “Lasharela”. – “I’ve grown very old, I’m sick, I want to finish it before I leave this world!”

“How did you end up in Georgia? When did you first come, and why?”

I asked. I couldn’t explain where his passionate love for my homeland came from.

“We lived in Georgia from 1945 to 1948, in Abkhazia. There’s a village called Pskhu, you probably don’t know it.”

“I know Pskhu, though I’ve never been there. I hope one day I will visit. We will get back Abkhazia, I hope!” I answered with a wistful smile.

“Pskhu is very beautiful!” The old man’s blue eyes became heavy with longing and dreams. “I spent the best years of my life there with my parents. It was an incredible idyll. Mountains, fresh air, the river.

For someone who has survived war and for a child, what could have

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ukeTesi ra unda yofiliyo. Cems ocnebebSi xSirad var fsxuSi. mamaCemi ufro adrec, 20-ian wlebSi, imyofeboda saqarTveloSi, rasac bevri mizezi hqonda: pirveli msoflio omis Semdeg brZola arsebobisTvis yvelaze didi gamowveva iyo. garda amisa, interesi ucxo qveynebisadmi. mamaCems Zalian uyvarda mogzauroba. vin iyo mamaTqveni profesiiT? mamaCemi alfred kurela profesiiT grafikosi iyo, miunxenSi swavlobda. Semdeg werda da cnobilia, rogorc mwerali da mTargmneli. nel-nela vxvdebi, vin aris Stefani. gamaxsenda alfred kurelas mier germanul enaze Targmnili qarTvel mweralTa nawarmoebebi. magram, kargad dafiqrebis SesaZleblobas ar maZlevs Cemi maspinZeli. laparakobs uswrafesad da xmamaRla, unda yvelaferi miTxras rac gegmaSi aqvs, erTi Temidan meoreze gadadis, Tumca Txrobis magistralur xazs ar scdeba da ostaturad ukavSirebs ambebs erTmaneTs. Cvens magidaze modgmul meore magidasTan rom espaneli wyvili zis, izabel da roberto, SigadaSig gadmogvxedaven cnobismoyvare mzeriT. robertos ar esmis germanuli, magram sayvareli qali uTargmnis gzadagza, ras ambobs Stefani. Tan xandaxan Tvals Camikravs imis niSnad, rom magrZnobinos Tavisi keTilganwyoba, rom ar brazobs moxucze, romelic xels uSlis romantikuli vaxSmis dros. me ki mSia Zalian da ver vbedav meniuSi Caxedvas: me irakli abaSiZesac vicnobdi. irakli da grigoli naTesavebi iyvnen? axlo naTesavebi ara, mivuge uswrafesad da isev ojaxis Temas davubrundi: ratom aris dedaTqveni xevsureTSi dasaflavebuli? iq daiRupa, _ Tavi daxara Stefanma da Tvalidan mowyvetili erTi oboli cremli moiwminda. rogor?

Cemi mSoblebi da me xevsureTSi viyaviT. arxotSi dedaCemi cxenze Sejda. cxens bilikze lodi mouwyda da waiqca, mere wamodgoma undoda. dedam ki Camoxtoma scada, magram uzangidan cali fexi ver gamoiRo. cxeni dafrTxa da gaiqca. sakmao manZilze aTria dedaCemi. es ambavi guram rCeuliSvilma dawera. gamaxsenda „sikvdili mTebSi~ da fiqrebma wamiRo. ar mismenT? _ mkiTxa moulodnelad Stefanma. Tan gverdiT mjdom cnobismoyvare TvalebiT macqeral wyvils mimarTa: cudad araferi ifiqroT, es qali arc colia Cemi da arc sayvareli! qarTvelia da Cemze bevrad umcrosi! am ori winadadebiT Stefan kurelam yvelaferi gamoxata, rac saqarTvelosTan akavSirebda: Cemi samSoblosadmi uzomo siyvaruli, qalisadmi pativiscema da, rom Cveni Sexvedris mTavari Tema saqarTveloa Tavisi warsuliTa da kulturiT, Tavisi piradi gansacdeliT, romelic aCrdiliviT dahyveba cxovrebis gzaze. diax, 13 wlis viyavi. Cems Tvalwin daiRupa deda, ganagrZo Stefanma, romelsac „mTebs Sua Cawolili~ sikvdili isev

been better than that? I often dream of Pskhu. My father was also in Georgia earlier, in the 1920s, and there were many reasons for that: after World War I, the struggle for survival was the biggest challenge.

Moreover, he was interested in foreign countries. My father loved traveling very much.”

“Who was your father by profession?”

“My father, Alfred Kurella, was a graphic artist by profession, he studied in Munich. Later, he wrote and became known as a writer and translator.”

Slowly, I was beginning to understand who Stefan was. I recalled the works of Georgian writers translated into German by Alfred Kurella. However, my host didn’t give me much time to reflect. He spoke quickly and loudly, wanting to tell me everything he had planned. He moved from one topic to another, but never strayed from the main narrative line and skillfully connected the stories together.

At the table next to ours, an Spanish couple, Isabel and Roberto, occasionally glance at us with curious eyes. Roberto doesn’t understand German, but his beloved woman translates what Stefan is saying. Occasionally, she winks at me, signaling that she doesn’t mind the elderly man interrupting their romantic dinner. Meanwhile, I am very hungry and don’t dare to look at the menu.

“I also knew Irakli Abashidze. Were Irakli and Grigol relatives?” “Not close relatives,” – I answered quickly, then returned to the topic of family. “Why is your mother buried in Khevsureti?”

“She died there,” Stefan lowered his head, wiping away a single tear that had slipped from his eye.

“How?” I asked.

“We were in Khevsureti. My mother was riding a horse in Arkhoti.

The horse stumbled on a rock on the trail and fell. She tried to get up, but one of her legs got stuck in the stirrup. The horse got scared and ran away. It dragged her for quite a distance,” he continued. “This story was written by Guram Rcheulishvili.”

I remembered about “Death in the Mountains” and got lost in my thoughts.

“Are you not listening?” Stefan suddenly asked. Then, turning to the curious couple next to us, he added: “Don’t think badly, this woman is

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ise awuxebda, rogorc maSin, misi mSvenieri cisferTvaleba deda yvavilebiT moCiTul miwaze rom iwva TavgaxeTqili. alfred kurelam bednier sikvdilad CaTvala colis tragikulad daRupva maSin, magram SvilisTvis samudamo tkivilad iqca es tragedia. 83 wlis moxucis fiqrebi ganuwyvetlad xevsureTSi trialebs da radgan deda iq eguleba, darwmunebulia, rom misi samSoblo iqaa.

Tqvens meuRlesa da Svilebze miambeT? mindoda Stefanis yuradReba sxva Temaze gadametana. sami Svili myavs ori qorwinebidan. Cemi meuRle germaniaSi keramikis yvelaze cnobili specialistia, aRniSna amayad, Semdeg sasurveli kerZebi da ludi SeukveTa da ganagrZo: moskovSi vcxovrobdi, rusuli iq viswavle, germanulze aranakleb vlaparakob. qarTuli ver viswavle kargad, Tumca bevri sityva vici, leqsebic! Tavisi codnis dasadastureblad ramdenime winadadeba warmoTqva qarTulad, waiRiRina da bedniereba gamoasxiva Tvalebidan.

Semdeg zogierTi qarTuli sityvis etimologia da mniSvneloba mkiTxa _ Cemi wignisTvis mindao. gansakuTrebiT „uflis kalo~ ainteresebda. ratomRac ufiqria, rom „kalo~ da „qalo“ erTi da igivea da dedas ukavSirebda („uflis qali“). Cemi guldasmiT ganmartebis Semdeg, kmayofilma ganagrZo: TqvensaviT kargad ver warmovTqvam „k~-s. ra lamazi bgeraa. e.i. Cems wignSi cvlileba unda Sevitano. arasworad maqvs ganmartebuli „uflis kalo~... alfred kurelas sityvebi gamaxsenda guram rCeuliSvilis moTxrobidan: „Cven ase gavzardeT Svilebi: mokvda, ese igi mokvda“. axla rom vuyureb moxuc Stefans, tragediidan TiTqmis 70 wlis Semdeg, sulac araa saqme ase martivad. dedis sikvdilma imdenad didi kvali datova 13 wlis biWis sulier samyaroze, ra Temazec ar unda laparakobdes, ganuwyvetliv dedis ambavsa da xevsureTs ubrundeba da isev im wiwilas emsgavseba sveli da abuzuli TmebiT, rCeuliSvilma rom aRwera Tavis moTxrobaSi. restornidan erTad gamovediT, sakmao manZili fexiT gaviareT, gzad isev xevsureTs, iqaur megobrebs da mTaSi cxovrebas ixsenebda Stefani. cioda, berlinurad wvimda _ rom ggonia ar wvims da rom wvims, rom ggonia ar sveldebi da Tan sveldebi. Stefans meliis bewvis „uSanka~ da xelTaTmanebi xelSi eWira da aRelvebuli laparakobda isev: male unda davasrulo wigni xevsureTze. daixureT, Stefan, qudi! _ Sevbede moridebiT. damijera. uceb aRmoCnda, rom cali xelTaTmani sadRac daukargavs. restornidan sakmaod Sors viyaviT. SevTavaze, wavidodi mosaZebnad. ar gamiSva, siaruli uWirda da mZimed sunTqvda, arc dalodeba SeeZlo, rogorc Sevatyve. cdilobda CemTvis ar egrZnobinebina sakuTari fizikuri sisuste. ukve cxra saaTi sruldeboda da Stefan kurelas didi gza hqonda gasavleli `nikolaifirtelidan oranienburgamde~.

neither my wife nor my lover! She is Georgian and much younger than me!” With those two sentences, Stefan Kurella expressed everything that connected him to Georgia: his boundless love for my homeland, his respect for women, and that the main theme of our meeting was Georgia with its history, culture, and personal suffering, which, like a ghost, follows his path of life.

“Yes, I was 13 years old. My mother died in front of my eyes,” Stefan continued, whose “death in the mountains” still troubled him as much as it did when his beautiful blue-eyed mother laid with her head broken on the flower-covered earth. Alfred Kurella considered the tragic death of his wife a “blessed death” at the time, but for his son, this tragedy became an eternal wound. The 83-year-old man’s thoughts constantly circle around Khevsureti, and because his mother is there, he is sure that his homeland is there too.

“Tell me about your wife and children,” I asked, wanting to shift the conversation to another topic.

“I have three children from two marriages. My wife is the most famous ceramic specialist in Germany,” he said proudly, then ordered some desired dishes and beer, continuing, “I lived in Moscow, I learned Russian there, so I speak Russian as well as German. I couldn’t learn Georgian well, but I know many words, even poems!” To prove his knowledge, he said a few sentences in Georgian, hummed a little, and his eyes shone with happiness. Then he asked about the etymology and meaning of some Georgian words – “for my book,” he said. He was particularly interested in “Uflis Kalo.” For some reason, he thought “kalo” (a place for threshing grain) and “k’alo” (woman) were the same and was associated with mother (“Uflis K’ali”-“Woman of god”). After my detailed explanation, he continued contentedly, “I can’t pronounce the “K’” sound as well as you. What a beautiful sound! That means I have to make a change in my book. I have defined “Uflis Kalo” incorrectly…”

I remembered Alfred Kurella’s words from Guram Rcheulishvili’s story: “We raised our children like this: Died means died.” Now, when I look at the elderly Stefan, almost 70 years after the tragedy, it’s not so simple.

His mother’s death left such a deep mark on the 13-year-old boy’s soul that, no matter what topic he discusses, he constantly returns to the story of his mother and Khevsureti. He is still that drenched, shivering chick described by Rcheulishvili in his story. We left the restaurant together, walking quite a distance. On the way, Stefan again reminisced about Khevsureti, his friends there, and life in the mountains. It was cold, raining like it does in Berlin – when you think it’s not raining, but it is, and when you think you’re not getting wet, but you are. Stefan was holding a fox-fur “ushanka” hat and gloves in his hands, speaking agitatedly: “I must finish my book about Khevsureti soon.”

“Put on your hat, Stefan!” I dared to say gently. He listened to me.

Suddenly, he realized that he had lost one of his gloves somewhere.

We were quite far from the restaurant. I suggested I go look for it.

He didn’t let me. I could hardly walk and was breathing heavily. He couldn’t wait either, as I noticed. He was trying to hide his physical weakness. It was already 9 p.m., and Stefan Kurella had a long way to go from Nikolaiviertel to Oranienburg.

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