კულტურა პლუს 2 (28) 2022

2 (28) 2022

saganmanaTleblo-sazogadoebrivi Jurnali

sarCevi / CONTENTS

menatreboda is Tbili urTierTobebi, rac mxolod aq gaqvs da sxvagan arsad... ukeTesi bedi ra unda mqondes?! koba gurulis namuSevrebis ferebi, siRrme da poezia guruli mxedrebis ambavi (dasasruli) serfitebi mxatvar varvara bubnovas „soxumuri saRamoebis~ eqo orientirebi daviT kldiaSvilis „bednieri Tvali~ ucnauri paralelebi

2 16 32 44 54 62 76 82

I WAS MISSING THE HEARTFELT RELATIONSHIPS THAT WE ONLY HAVE HERE AND NOWHERE ELSE...

WHAT BETTER FATE SHOULD I HAVE?! COLORS, DEPTH AND POETRY OF KOBA GURULI’S WORKS THE STORY OF GURIAN RIDERS (THE END) SEERFITS

ECHO OF THE ARTIST VARVARA BUBNOVA’S “SUKHUMI EVENINGS” LANDMARKS DAVIT KLDIASHVILI’S “HAPPY EYE” STRANGE PARALLELS

saredaqcio jgufi xaTuna kereseliZe ekaterine CulaSvili mariam TayaiSvili daviT calani revaz iukuriZe dizaineri nikoloz bagrationi

EDITORIAL STAFF

KHATUNA KERESELIDZE EKATERINE CHULASHVILI MARIAM TAKAISHVILI DAVIT TSALANI REVAZ IUKURIDZE DESIGNER NIKOLOZ BAGRATIONI

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

beWdva: favoriti stili / Print: Favorite style

gamodis kvartalSi erTxel

JurnalSi ganTavsebuli masalis gamoyeneba SeiZleba mxolod redaqciis TanxmobiT

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

2346-8165

23 aprils vankuverSi gamarTuli koncerti leqso ToraZisTvis ukanaskneli aRmoCnda. cudad iyo, magram mainc daukra stravinskis safortepiano koncerti vankuveris simfoniuri orkestris TanxlebiT... daukra ise, rogorc sCveoda, araordinaluri koncefciuri xaziT da maRali saSemsruleblo universalizmiT. am koncertis mere, msoflioSi cnobili qarTveli pianisti aSS-Si sul male gardaicvala, 69 wlis asakSi... es interviu, romelic leqso ToraZesTan 2014 wels Tbilisis konservatoriis did darbazSi gamarTuli koncertis Semdeg Sedga, CvenTvis dRes gansakuTrebiT Zvirfasia rogorc gaxseneba misi amerikuli cxovrebis rafsodiidan Tvisobrivad inteleqtualuri musikosis maradiul xsovnas rom eZRvneba.

The concert held in Vancouver on April 23 turned out to be the last for Lekso Toradze. Despite his health condition, he still played the Stravinsky Piano Concerto with the Vancouver Symphony Orchestra... he played as usual, with an extraordinary conceptualism and high performing universalism. After this concert, the world famous Georgian pianist died in the United States, at the age of 69...

This interview with Lekso Toradze, which took place after a concert held in the big hall of the Tbilisi Conservatory in 2014, is especially precious to us today as a reminder from the rhapsody of his American life and dedicated to the eternal memory of a genuinely intellectual musician.

portlandis centrSi, 1978 wels, 4 500 adgiliani Civic Auditorium fexze idga... legendarulma ela ficjeraldma, sanam darbazi `SturmiT~ aiRo, aplodismentebis mere publikas ase mimarTa: `dRevandeli dRe CemTvis kidev ufro Zvirfasia, radgan dRes oskar pitersonma da me gavicaniT uniWieresi axalgazrda pianisti, romelmac mogvajadova Tavisi SesrulebiT. igi axla am darbazSia da minda, rom Tqvenc icnobdeT! es gaxlavT leqso ToraZe! kargad daimaxsovreT misi saxeli, leqso ToraZe! xval mas am darbazSi koncerti aqvs. yvelas girCevT, rom moxvideT da mousminoT, damijereT, udides siamovnebas miiRebT! leqso, sad xar? _ amodi scenaze! amodi, gelodebiT!..~ da leqso darbazidan scenaze avida... leqso ukravs da rogorc amboben, es aris `damanokautebeli koncertebi~... rogorc romantikuli tradiciis saucxoo virtuozma pianistma, saerTaSoriso safortepiano saSemsruleblo memkvidreobas sakuTari araorTodoqsuli interpretacia, Rrma poeturi lirika da gansakuTrebuli emociuroba Semata. klasikas ukravs rogorc jazs, araerTxel uTqvams, rom Sesrulebis dros arc erT nots ar cvlis, magram jazuri midgoma niSnavs Tavisuflebas musikis ritmTan, emociebTan da improvizaciasTan... stravinskis leqsoseul gaazrebaze cnobili musikis kritikosi jozef horovici werda, rom `ToraZe stravinskis ar ukravs ise, rogorc stravinski ukravda, magram acocxlebs stravinskis musikas da masSi Tavisi suliereba Seaqvs. stravinski wminda neoklasikuri Sesrulebis maneras irCevs, civs, TiTqmis uemocios, amas Tu gnebavT daarqviT balaganuri baxi! da naklebi paTosi, naklebi gancda, naklebi ToraZiseuli zeimi...~ ToraZis `musikaluri sindromi~, romelic misive musikaluri impulsebisgan imarTeba, aravis ar hgavs... roca ukravs, Tvalebs xuWavs, roials guliT grZnobs, klasikaSi jazriTmze mTeli sxeuliT moZraobs, fexebiT daxtunavs, _ fexs ara marto pedals, aramed iataksac urtyams. Sesrulebis dros darbazs naxevrad aqcevs zurgs, diriJorisken brundeba da gaCvenebs, rom esec taqtiani dialogia orkestris musikosebTan...

msoflio pianistma, romelic rusuli klasikuri repertuaris saukeTeso Semsruleblad aris aRiarebuli, Philips Label-isTvis kirovis Teatris simfoniur orkestrTan erTad, prokofievis xuTive safortepiano koncerti Cawera. _ ToraZis mier dakruli yvela es koncerti etalonia! _ ambobdnen musikis kritikosebi, xolo prokofievis III safortepiano koncertis CD Jurnalma International Piano Quarterly _ 70-mde arsebul alboms Soris `saukeTeso istoriuli Canaweri~ uwoda. ToraZis varskvlavur albomebSia musorgskis, stravinskis, prokofievis, ravelis opusebi leiblisTvis Angel/EMI, Pan Classics-sTvis SostakoviCis ori safortepiano koncertis Canaweri frankfurtis radios simfoniur orkestrTan erTan paavo iarvis diriJorobiT.

In 1978, a 4,500-seat Civic Auditorium in downtown Portland was standing on its feet for applause... The legendary Ella Fitzgerald, before taking the hall by storm, addressed the audience after the applause: `Today is even more precious to me because Oscar Peterson and I met a young pianist who amazed us with his performance. He is in this hall now and I want you to know him! This is Lekso Toradze! Remember his name well, Lekso Toradze! Tomorrow he has a concert in this hall. I advise everyone to come and listen, believe me, you will get the greatest pleasure! Lekso, where are you? – Come to the stage! Come on, we are waiting for you!..” and so Lekso went up on stage from the hall...

Lekso plays and, as they say, these are “knocking concerts”... as an excellent virtuoso pianist of the romantic tradition, he added his own untraditional interpretation, deep poetic lyrics and special emotion to the legacy of the international piano performance. He plays the classics like jazz, he has repeatedly said that he does not change any notes during the performance, but the jazz approach means freedom with the rhythm, emotions and improvisation of the music... The famous music critic Jozeph Horvitz was writing about Lekso’s way of playing Stravinsky: “He is not playing just like Stravinsky played, but brings Stravinsky’s music to life and incorporates his spirituality into

kompozitor daviT ToraZis memkvidreze musikis geniosma van klibernma Tqva: `Brilliant! Cemma gaocebam yovelgvar molodins gadaaWarba!~ maSin leqso ToraZem Caikovskis #1 koncertiT moxibla amerikeli pianisti, soloTi `daimorCila~ msmeneli da marTa orkestri... mere ki The Dallas Morning-Si musikis kritikosi jon ardoini dawers: `darwmunebuli var, rom bolo 20 wlis ganmavlobaSi, rogorc rixterma Tavisi SesrulebiT `daipyro~ amerikis SeerTebuli Statebi, mas Semdeg leqso ToraZe pirveli pianistia...~ amerikamde, sadac daiwyo misi varskvlavuri karieris meore istoria, jer kidev sabWoTa kavSirSi, 1983 wlis agvistos bolos, sensaciuri ambavi gavrcelda _ leqso ToraZe gastrolidan `gauCinarda~ da amerikaSi gaiqca! _ rogor gabeda daviT ToraZis Svilma?! samSoblos uRalata! _ aseTi iyo sabWoTa reJimis ideologebis saerTo paTosi... wasvlis mizezi ki iyo is, rom moskovis radiosa da televiziis mTavarma diriJorma fedoseevma espaneTis koncertebidan moxsna, ar misca dakvris ufleba. leqsom es Seuracxyofa ver aitana da wavida amerikaSi, sadac arapolitikuri TavSesafari miiRo. `marTalia,

it. Stravinsky chooses a purely neoclassical manner of performance, cold, almost unemotional, if you call it Balagan Bach! And less pathos, less feeling, less celebration... Toradze “musical syndrome”, which is guided by his own musical impulses is unique... When he plays, he shuts his eyes, feels the piano with his heart, moves his body on the jazz rhythm while playing the classical piece, hits his feet not only the pedal but also the floor. During the performance, he turns to the conductor and shows that this is also a tactical dialogue with the musicians of the orchestra...

Recognized as the best performer of the Russian classical repertoire, the world pianist recorded all five of Prokofiev’s piano concertos for Philips Label with the Kirov Orchestra. – All these concerts performed by Toradze is extraordinary! – Music critics said, and Prokofiev’s III Piano Concerto was named the “Best Historical Record” among the 70 albums on the International Piano recording in the journal “International Piano Quarterly”. Toradze’s best recording albums include opus of Mussorgsky, Stravinsky, Prokofiev, Ravel of the Angel Records / EMI, Pan Classics Label; the recordings of two Shostakovich piano concertos with the Frankfurt Radio Symphony Orchestra conducted by Paavo Järvi.

On the successor of the composer David Toradze, music genius

leqso Cven dagvSorda, magram Tavis sayvarel saqmes dauaxlovdao~ _ uTqvams daviT ToraZes... ojaxma Svilis Sesaxeb araferi icoda, ramdenime TveSi ki leqsosgan werili miiRo, romelSic rusul enaze (КГБ-s kargad rom waekiTxa) ewera: `mivxvdi, rom arc am orkestrTan da arc fedoseevebTan erTad aRarasodes momiwevs scenaze gamosvla. es iyo erTaderTi orkestri, romelzec imeds vamyarebdiT me da Sen, mama. danarCenma `glavdirebma~ zurgi Semaqcies. warmoudgenelma Seuracxyofam mTeli wlis ganmavlobaSi maiZula mimeRo yvela CvenganisTvis moulodneli gadawyvetileba. im Rames erTi fiqri amekviata _ nebismieri gziT SevZlo Tvidan avicilo adamianuri, profesiuli da nacionaluri damcireba, romelic me ganvicade maTgan. sastumro `robledodan~, romelic qalaq xixonSi mdebareobs, 25 agvistos, dilis 8 saaTze gamovedi yavisferi xelCanTiT. mTeli am xnis ganmavlobaSi Tan mdevda azri, rom me ki ar wavedi, aramed Cemgan wavidnen. Cemi qveynidan wasvla erTaderTi gamosavali iqneboda. ras izam, maT sawadels miaRwies. axla korsakov-mamis TviTmkvlelobis Sesaxeb. Cemi varaudiT, man SvilTan erTad, ucxoeTSi wasvla gadawyvita. rogorc gaxsovT, moskovidan gafrenis dros sabaJoSi gulmodgined Cxrekdnen. korsakov Svils saidumlo jibeSi ramdenime aseuli aTasi dolari upoves. fedoseevis piradma Carevam gadaarCina is gastrolebidan gamoTiSvas. am incidentma is, savaraudod valSi Caagdo. es yvelaze ukeT icoda fedoseevma, romelic masTan dakavSirebuli iyo ara marto musikiT, aramed valdebulebiT daxmareboda. CamorTmeuli Tanxis asanazRaureblad fedoseevma korsakov-Svils Cemi koncertebi gadasca... siamovnebiT davuTmobdi honorars, oRond dakvris ufleba moecaT...

Van Cliburn said: “Brilliant! My surprise exceeded all expectations!” –Lekso Toradze fascinated the American pianist with Tchaikovsky 1st concerto, “won” the audience with his solo and directed the whole orchestra... Later, the music critic John Ardoin wrote in the “Dallas Morning News”: ‘Lekso Toradze is the first pianist since Richter, who “conquered” the United States with his performance…’.

Before America, where the second story of his career began, in 1983 still in the Soviet Union, a sensational story spread – Lekso Toradze “disappeared” from the tour and fled to America! – How David Toradze’s son dared to do this?! He betrayed the homeland! – Such was the common pathos of the ideologues of the Soviet regime... The reason for leaving was that Fedoseev, the chief conductor of the Moscow Radio and Television, removed him from the concerts in Spain and did not allow him to play. Lekso could not bear this insult and left for America, where he received a non-political asylum. “It is true that Lekso left us, but he got closer to his favorite job” said Davit Toradze... The family did not know anything about him, only it was several months after that they got the letter from Lekso, in Russian (so that KGB could read it well): “I realized that neither with this orchestra nor with the Fedoseev, I will ever have to perform on stage again. It was the only orchestra on which you and I, Father, had some hopes. The rest of the “Glavdirs” (general directors in Russian – Edt.) turned their backs on me. Unbearable insults throughout the year has forced me to make unexpected decisions for all of us. One thought came to me that night – I should use any means to avoid the human, professional and national disgrace I had felt from them. I left the Robledo Hotel in Gijón on August 25 at 8 am with a brown handbag. All this time I was thinking that it was not me who left, but it was them who left me. Leaving my country would be the only way. What

axla Cems dRevandelobaze da momavalze: deda, Sens dabadebis dRes, 6 dekembers, me raxmaninovis #2 safortepiano koncerts niu-iorkis `linkoln centrSi` `everi-fiSeris~ darbazSi davukrav. es yvelaze didi darbazia niu-iorkSi, `karnegi holzec~ ki. Seni adgili yovelTvis Tavisufali iqneba, deda! koncertidan Semosul anazRaurebas, Sens saxelze mTlianad Sevwirav niWier da perspeqtiul axalgazrdebs. mTavaria, magrad idge am gansakuTrebiT mZime saaTebSi. miuxedavad imisa, rom es yvelaferi me gamoviwvie, gaxsovdes, rom axla CemTvis gacilebiT Znelia, vidre TqvenTvis, me aq sruliad marto var! mama, moikribe mTeli energia da were musika, radgan musikam Cven orive unda gadagvarCinos... Tqven axla uCemod xarT, me ki _ uTqvenod, aman unda gagvakaJos da gaamZafros Cveni damokidebuleba maT mimarT, vinc am sabediswero nabijisken mibiZges. ar msurs myiddnen, mamcirebdnen da sulierad manadgurebdnen saministroebsa da `goskoncertSi~. me xom jer bolomde ar amixdenia Tqveni ocnebebi, arc _ Cemi!~

can I do, they got what they wanted. Now about Korsakov-father’s suicide. My guess is that he decided to go abroad with his son. As you remember, during the flight from Moscow, they thoroughly searched the customs. Korsakov’s son was found with several hundred thousand dollars in a secret pocket. Fedoseev’s personal intervention saved him from being expelled from touring. This incident probably put him in debt. This was best known to Fedoseev, who was associated with him not only with music but also with a commitment to help. Fedoseev gave my concerts to Korsakov’s son in return of the confiscated money ...I would gladly offer my compensation, at least to allow me to play …

As for my present and future: Mother, on your birthday, December 6, I will play Rachmaninoff # 2 Piano Concerto at the Avery-Fisher Hall in Lincoln Center, New York. It’s the largest concert hall in New York, even bigger than Carnegie Hall. Your place will always be free, Mom! I will donate the concert revenue to the talented and promising young people in your name. The most important is to stay strong during these particularly difficult hours. Even though I caused all of this, remember that now it’s a lot harder for me than for you, I’m

amerikaSi ocnebebi sruldeba... koncertebi van klibernis saerTaSoriso konkursis laureats ukve cxovrebis stilad eqca, icis, rom msoflio musikis centrebSi aplodismentebis qveS scenidan ase advilad ar gauSveben, amitomac xdeba xolme, rom `bisze~ meore koncerti iwyeba, anu erT koncertSi ori koncerti erTad.

`leqso ToraZe amerikul musikaSi unikaluri movlenaa. unikaluria ara mxolod imitom, rom igi aq Camovida da damkvidrda, rogorc amerikul Rirebulebebze gazrdili Semoqmedi, romelic komunistebis dros, Cumad usmenda amerikis xmis eTerSi jazis programas, roca jazi am TaobisTvis iyo Tavisuflebis simbolo, aramed adamiani, romlis Semoqmedeba da xelovneba jazis, rogorc amerikuli musikis ritmebiT, energiiTa da xasiaTiT aris gajerebuli...~ _ musikis kritikosis jozef horovicis recenziidan...

1991 wlidan leqso ToraZe indianas Statis qalaq South Bend universitetis profesoria, sadac 1995 wlidan The Toradze Piano Studio-s garSemo unikaluri saswavlo garemo Seqmna... sadac ar unda iyos, legendidan mosuli pianisti yvelgan ambobs, rom polifoniuri qveynis Svilia, mis xelebSi musikis Zala ki imas amtkicebs, rom didi virtuozebi patara qveynebSic ibadebian.

leqso ToraZe da diriJorebi _ es jansuR kaxiZe, vaxtang maWavariani, Esa-Pekka Salonen, Jukka-Pekka Saraste, Mikko Franck, Paavo and Christian Jarvi, Vladimir Jurowski, Gianandrea Noseda.

leqso ToraZe da saerTaSoriso musikis festivalebi _ es zalcburgis, edinburgis, roterdamis, Hollywood Bowl,

completely alone here! Father, gather all your energy and write music, because music should save us both... You are without me now, and I am without you, this should strengthen us and strengthen our attitude towards those who pushed me to this fateful step. I do not want to be sold, degraded and emotionally destroyed in the ministries and in the “Gosconcert” (Government Concerts. It controls the musical picture of the entire Soviet Union – Edt.). I have not fulfilled your dreams to the end, nor mine!”

Dreams come true in America... Concerts have already become a way of life for the winner of the Van Cliburn International Competition, he knows that applause in world music centers is not so easy to let go of the stage, that is why it often happens that the second concert starts at “Bis”, so there are two concerts in one concert.

`Lekso Toradze is a unique phenomenon in American music. He is unique not only because he came here and established himself as an artist of American values who, during the communist era, listened to the jazz program on the Voice of America when jazz was a symbol of freedom for this generation, but also a man whose creativity and art is saturated with the rhythms, energy and attitude of jazz as the American music... “– excerpt from the review of the music critic Joseph Horowitz...

In 1991 Lekso Toradze started teaching at Indiana University South Bend, where in 1995 he created the unique learning environment around ‘Toradze Piano Studio’... Wherever he goes, the pianist from legendary world says he is a son of a polyphonic country, the strength in his hands show that the great virtuosos are born in small countries as well.

londonis BBC Proms, Cikagos Ravinia, saragosasa da ravinis, peterburgis `TeTri Rameebia~...

leqso ToraZe da simfoniuri orkestrebi _ es niuiorkis filarmoniuli, metropoliten operis, bostonis, cincinatis, filadelfiis, los-anJelesis, san-franciskos, sietlis, minesotas, monrealis, baltimoris, vaSingtonis, berlinisa da milanis la skalas filarmoniuli, bavariis radios, safrangeTis erovnuli, birmingemisa da londonis simfoniuri, londonis filarmoniuli, israelis filarmoniuli, germaniis, ungreTis, niderlandebis, SvedeTis, fineTis, italiis, tokios simfoniuri da seulis filarmoniis orkestrebia...

_ NYC-is, Cikagos, bostonisa da LA-is Semdeg mSobliuri konservatoriis did darbazSi daukariT... rogori emociebi gaqvT? rTulia saqarTveloSi dakvra?

_ Zalian rTuli, damijereT. rodesac saxlSi ukrav, mainc gansakuTrebuli atmosferoa, yvelaze Znelia gamosvla, amitomac meti momzadeba gWirdeba. Zalian Tbili, ufro sworad, Zalian cxeli SegrZneba maqvs, Sevecade rom is Cemi energia da is musikaluri gageba, rac axlavs SostakoviCisa da prokofievis koncertebs, msmenelisTvis gameziarebina. iciT, me yovelTvis mzad var Camovide koncertebiT, magram datvirTuli sagastrolo

Lekso Toradze and conductors – these are the famous conductors Jansug Kakhidze, Vakhtang Machavariani, Esa-Pekka Salonen, ZhukkaPekka Saraste, Mikko Franck, Paavo Järvi and Kristjan Järvi, Vladimir Zhurowski, Gianandrea Noseda.

Lekso Toradze and International Music Festivals – These are the “White Nights” of Salzburg, Edinburgh, Rotterdam, Holiwood Bowl, London BBC Proms, Chicago Ravine, Zaragoza and Ravin, St. Petersburg...

Lekso Toradze and the Symphony Orchestras – These include the New York Philharmonic, Metropolitan Opera, Boston, Cincinnati, Philadelphia, Los Angeles, San Francisco, Seattle, Minnesota, Montreal, Baltimore, Washington D.C., Berlin and Milan La Scala Philarmonic, Bavaria Radio, French National, the National Birmingham and London Symphony, the London Philharmonic, the Israel Philharmonic, the German, Hungarian, Dutch, Swedish, Finnish, Italian, Tokyo Symphony and the Seoul Philharmonic Orchestras...

– After NY, Chicago, Boston and LA, you performed in the big hall of the Conservatory... What emotions do you have? Is it difficult to play in Georgia?

– Very difficult, believe me. When you play at home, there is still a special atmosphere, it is the hardest to get out in front of the audience, so you need more preparation. I have a very warm, or rather, very hot feelings, I tried to share my energy and the musical

grafiki maqvs, romelic 2 wliT adrea dagegmili. prokofievis #3 koncerts, aseve SostakoviCis #2 safortepiano koncerts didi xania vukrav evropasa da amerikaSi sxvadasxva diriJorebTan erTad. mixaria, rom es koncerti Sedga da msmenelma isiamovna, maT Soris mec!

_ rodesac prokofievis #3 safortepiano koncertis samnawilian formas ukravdiT, pirveli nawilis Semdeg auditoriisgan miiReT aplodismentebi. xom ar giSliT xolme xels musikis dramaturgiul xazSi msmenelisgan aseTi emociebi?

_ ara, piriqiT, CemTvis es sasiamovnoa. saerTod, am moments aqvs sxvadasxvagvari midgoma. XIX saukuneSi beThovenis simfoniebic ki ar ikvreboda mTlianad erT sunTqvaze, nawilebs Soris yofila antraqti. Caikovskis #6 simfoniis dros, romelsac 1893 wels kompozitori Tavadve diriJorobda, didi scherzo nawilis mere, sanam finals miuaxlovdebodnen, uzarmazari aplodismentebi hqonda da amitom es nawili gaimeores kidec. metsac getyviT, mocarti da haidni venis udidesi klasikosebi, pirveli nawilis dros Tu ar iyo iseTi aplodismentebi, rogoric maT surdaT, gadaakeTebdnen xolme nawarmoebs, rom msmenelis meti mRelvareba gamoewviaT. konservatorebi miiCneven, rom msmenelma ar unda daarRvios nawarmoebis cikluroba, Tumca arian msmenelebi, romlebic ar elodebian finals da ase pirdapir gamoxataven Tavis reaqcias. me vfiqrob, rom asec SeiZleba da isec...

_ giyvarT `bisze~ dakvra? _ Tqveni koncertebis `bisze~ meore koncerti iwyeba xolme...

_ (icinis), ki, ki... `bisze~ dakvra ar miyvars imitom, rom CemTvis koncertis formati sruliad sakmarisia imisTvis, rom gamovTqva Cemi musikaluri koncefcia. rodesac did simfoniur orkestrebTan erTad vukrav, msmeneli iTxovs xolme solo `biss~, magram aseT momentSi solo gamosvlaze uars vambob imitom, rom me did pativs vcem orkestris yvela musikoss da amitom mirCevnia isev maTTan erTad davukra xolme.

_ iseTi ZaliT, iseTi virtuozulobiT da ise srulyofilad imorCilebTY klaviaturas, rom TiTqos mwyobridan gamogyavT roiali...

_ es Zalian xSirad xdeba roca vukrav xolme evropaSi, imitom, rom roials vTxov momces Tavisi Zalebi da energetika. Zalian miyvars Steinwey, _ xeliT nakeTi, radgan mTeli XX saukunis musika am roialze daiwera, yoveli taqti misi JReradobidan movida...

_ amboben, rom pianistebs asaki uxdebaT, radgan bgera xdeba ufro soliduri, kidev ufro feradi, inteleqtualuri...

understanding that go with Shostakovich and Prokofiev’s concerts for the listener. You know, I’m always ready to come here with my concerts, but I have a busy tour schedule that is planned 2 years in advance. I have been playing Prokofiev # 3 Concerto, as well as Shostakovich # 2 Piano Concerto for a long time in Europe and America with various conductors. I’m glad this concert took place and the listener enjoyed it, including me!

– When playing the three-part form of Prokofiev’s # 3 Piano Concerto, you got the applausse from the audience after the first part. Do such emotions from the audience disturb the dramatic line of music?

– No, on the contrary, it is pleasant for me. Generally, this moment has a different approach. In the nineteenth century, even Beethoven’s symphonies were not played entirely in one part, there was an interplay between the parts. During Tchaikovsky’s Symphony # 6, conducted by the composer himself in 1893, he had a long applause after a large Scherzo part before approaching the finale, and so that part was even chanted. What’s more, Mozart and Haydn – the Vienna’s

asea?

_ diax, am bgerebs movla undaT...

_ Tqven wlebia TanamSromlobT msoflio maestroebTan _ Valery Gergiev, Esa-Pekka Salonen, Jukka-Pekka Saraste, Mikko Franck, Paavo and Christian Jarvi, Vladimir Jurowski, Gianandrea Noseda... da mainc, romel diriJors gamoarCevdiT?

_ valeri gergievTan vukrav Zalian xSirad, is aris Zalian mgrZnobiare musikosi, visTanac sul mixaria xolme Sexvedra. aseve mixaria estonel doriJor Paavo Jarvi-sTan dakvra, romelsac didi saxeli aqvs, didi warmateba... da, ra Tqma, vaxtang maWavarianTan, Cemi bavSvobis megobarTan. vato erTs rom amoisunTqavs, me ukve vici, sad unda davxvde, Semomxedavs da vici, ras meubneba. Cven wlebi gagvitarebia ansamblur muzicirebaSi, erTad dagvikravs rogorc kameruli musika, aseve jazic...

_ Tqveni Svilebi daviTi da aleqsandre ToraZeebi dadian xolme Tqvens koncertebze?

_ iSviaTad, magram dadian.

greatest classics – if in the first part were not the kind of applause they wanted, they would often remake the musical piece to make the listener more excited. Conservatives believe that the listener should not break the cycle of the work, however there are listeners who do not wait for the finale and so directly express their reaction. I think the both are acceptable...

– Do you like playing “Bis”? – The second concert starts after “Bis” of your concerts...

– (Laughing), yes, yes... I do not like playing “Bis” because the format of the concert is enough for me to express my musical concept. When I play with the symphony orchestras, the listener often asks for a solo “Bis”, but at such a moment I refuse to perform solo because I have the great respect for all the musicians in the orchestra and therefore, I prefer to play with them again and again.

– You play on the keyboard with such power, such virtuosity and so perfectly that it is as if the piano is out of order...

– It happens very often when I play in Europe, because I ask the piano to give me its strength and energy. I love Steinbeck very much, -handmade, because the whole music of the XX century was written on this piano, every beat came from its sound...

– It is said that pianists get better with years, because the sound becomes more solid, even more colorful, intellectual... right?

– Yes, these sounds are precious...

– You have been collaborating with the world maestros for years – Valeri Gergiev, Esa-Pekka Salonen, Zhukka-Pekka Saraste, Mikko Franck, Paavo Järvi and Kristjan Järvi, Vladimir Zhurowski, Gianandrea Noseda. And still, which one do you prefer?

– I play with Valeri Gergiev very often, he is a very sensitive musician, with whom I am always happy to meet. I am also happy to play with Estonian conductor Paavo Järvi, who has a great name, great success... and, of course, Vakhtang Machavariani, my childhood friend. When Vato exhales, I already know where to join him, he looks at me and I know what he is telling me. We have spent years in ensemble music, we have played chamber music and jazz together...

– Do your children Davit and Aleksandre Toradze often attend your concerts?

– Rarely, but they do.

– Famous American musicologist Joseph Horowitz, whose books are bestsellers about music and musicians, writes about you: `Lekso Toradze is a unique event in American music. It is unique not only because he came here and established himself as an artist of the American values, but also as a person whose work and art are saturated with the rhythms, energy and character of jazz as American music... Lekso has so many memories from the

_ cnobili amerikeli musikismcodne jozef horovici, romlis wignebic musikasa da musikosebze bestselerebia, Tqvenze wers: `leqso ToraZe amerikul musikaSi unikaluri movlenaa. unikaluria ara mxolod imitom, rom igi aq Camovida da damkvidrda, rogorc amerikul Rirebulebebze gazrdili Semoqmedi, aramed adamiani, romlis Semoqmedeba da xelovneba jazis, rogorc amerikuli musikis ritmebiT, energiiTa da xasiaTiT aris gajerebuli... leqsos imdeni rame mohyveba Tavisi turbulenturi da tragikuli movlenebiT savse cxovrebidan, rom rodesac is jdeba instrumentTan, misi yvela gancdili emocia am dros masTanaa da es aisaxeba mis musikaSi...~ eTanxmebiT aseT Sefasebas?

_ minda vTqva, rom sworia jefi. xandaxan es musikaluri impulsebi gamodis xolme sakmarisad fundamentaluri, mizani swored es aris, rom Seni ganvlili cxovrebis emociebi gauziaro Sens musikas, aqedan gamomdinare, Tu es gaxmovanda, ese igi, zustad esmiT Seni.

turbulent and tragic events in his life, that when he sits at the instrument, all his emotions are with him at that time and it is reflected in his music... Do you agree Horowitz?

– I want to say that Jeff is right. Sometimes these musical impulses come out quite fundamental enough, the purpose is precisely to share emotions of your past life with your music, hence if it was voiced, that’s it, you are understood exactly.

– How would you remember meeting jazz legends Oscar Peterson and Ella Fitzgerald?

– Wow, that was a miracle! I got acquainted with them at the rehearsal. I had a rehearsal and the concert manager took me to them – I met Oscar Peterson behind the scenes very warmly, we were talking and there the manager said to me: Come play! I was very interested in how Oscar Peterson played the piano, and I also played Bach, Liszt, Prokofiev... and suddenly, the manager says to me: Ella Fitzgerald wants to see you. I could not believe it! She heard

_ rogor gaixsenebT jazlegendebTan oskar pitersonTan da ela ficjeraldTan Sexvedras?

_ ui, es saswauli iyo! repeticiaze gavicani Zalian ubralod. repeticia mqonda da koncertebis menejerma mimiyvana maTTan, _ oskar pitersons kulisebSi Sevxvdi Zalian gulTbilad, vsaubrobdiT da iq menejerma miTxra: modi daukario! Zalian damainteresa rogor roialze ukravda oskar pitersoni, da, mec davukari baxi, listi, prokofievi... da ucbad, modis menejeri da meubneba: ela ficjeralds Seni naxva undao. ar mjeroda! man darbazSi SemTxveviT momismina, amitomac moindoma Turme Cemi gacnoba. mimiyvanes ela ficjeraldTan da, es iyo saocreba! ver aRgiwerT. es moxda maTi koncertis win. saRamos koncerti rom daiwyo, xalxs mouyva Cvens Sexvedraze, mere damiZaxa: sad xar? ver gxedav, amodi scenazeo! me meoTxe rigSi vijeqi...

_ axvediT scenaze?

_ ki, aba! es iyo saswauli Sexvedra!

_ da kidev ufro SegiyvardaT jazi?

_ jazi Zalian miyvars, rogor SeiZleba musikoss ar

my playing in the hall, so it turned out she wanted to meet me. I was taken to Ella Fitzgerald and, that was a miracle! I cannot describe. It happened before their concert. When the evening concert started, she told people about our meeting, then she called me: Where are you? Can’t see you, come to the stage! I was sitting in the fourth row...

– Did you get on stage?

– Yes, of course! It was amazing!

– And did you fall in love with jazz even more?

– I love jazz very much, how can a musician not love such a big musical event as jazz.

– Since 1991, you have been a professor at Indiana University South Bend, where there is a “Toradze Piano Studio or piano’. Together with the Artist Management Company (AMC), you are organizing a music marathon in Europe that has no analogues with its musical concept in world music centers. These are 7–8hour conceptual concerts attended by up to 10 thousand people. How do you keep a listener for so long?

– Our concerts are monothematic, so we dedicate our marathon concert, or a long concert, to one author. In London, where we played all of Prokofiev’s sonatas, the concert lasted 5 hours, here in Dusseldorf we gave an 8-hour concert, where we played Scriabin alone, in New York we played Bach – a 7-hour concert. This is how we created many authors: Rachmaninov, Stravinsky, Shostakovich, Ravel... So, we take the music of one composer and do it in such a way that we follow the compositions of the composer chronologically until the last opuses. At this time, the listener, together with the performer, has the opportunity to evaluate the creative evolution of the composer, as well as how the interpretation is read in hands of young pianists, individual understanding of these opuses, how they understand and how the philosophy of the composer changes. Interesting! From the very beginning, a group of strong pianists gathered in my class: Sasha Korsantia, Giorgi Vachnadze, Maxim Mogilevsky, Irma Svanadze, Vakhtang Kodanashvili, Edisher Savitsky, Maxim Mogolevsky, Svetlana Smolina... They are well known today, they have international recognition.

– What is your everyday American lifestyle? You have your own vine in Michigan, you grow grapes and you make wine in the traditional way, as is often the case in Georgia... and you play football with the musicians, moreover, the piano team of Toradze Piano Studio became the three-time champion of South Bend University in football.

– Yes, yes, (laughing)... We live as one family! I can’t tell you that I am the best at playing football, I would not be right, but I also played, in general, I’m rather give some tips (laughing)...

We created a small Georgia there, in a neighboring state, Michigan, we found an Adesa-like grape (Adesa – one of the species of Georgian wine – Edt.) called Concord Grapes, – such a variety, with a

uyvardes iseTi didi musikaluri movlena, rogoric jazia.

_ 1991 wlidan Tqven indianas Statis qalaq South Bend universitetis profesori xarT, sadac The Toradze Piano Studio, anu safortepiano klasi arsebobs. TqvenTan erTad The Toradze Piano Studio pianistebi Artists Management Company (AMC)-is organizebiT, evropaSi awyobT musikalur maraTonebs, romelsac Tavisi musikaluri koncefciiT msoflio musikalur centrebSi analogi ar aqvs. es aris 7-8 saaTiani Tematuri koncertebi, romelsac 10 aTasamde adamiani eswreba. ase didxans msmenels rogor aCerebT?

_ Cveni koncertebi aris monoTematuri, anu erT avtors vuZRvniT Cvens maraTonul koncerts, anu grZel koncerts. londonSi, sadac vukravdiT prokofievis yvela sonatas, koncerti gagrZelda 5 saaTi, ai, duseldorfSi miveciT 8 saaTiani koncerti, sadac

pleasant taste. From this grape, Davit Machavariani, who is our `chief winemaker’, we make very good table wine, we drink with pleasure... Before that, of course, we have a vintage, we often go to the farm in autumn and, this grape picking is great for me and it is such a special joy that... We are preparing and waiting for it for the whole year! In such way we ease the nostalgia that we, the Georgians have there... Vintage is more of a ritual, a mystery than ordinary labor. Then this family became so friendly with us that they even bought a piano. So, when we arrive in autumn, we have a lot of fun there.

– You came back to the homeland almost 10 years after leaving Soviet Georgia. What do you miss the most?

– I was missing Jvari Monastery, Racha, my friends and relatives, the heartfelt relations that you have only here and nowhere else. I was missing my Tbilisi house, where I grasp exactly that aura, that warmth, that calmness and coziness that I remember and that does not change... and here, this arrival filled that big loss, do you understand?

vukravdiT marto skriabins, niu-iorkSi davukariT baxi, _ 7 saaTiani koncerti. ase Cven bevri avtori SevqmeniT: raxmaninovi, stravinski, SostakoviCi, raveli... anu ra xdeba? Cven viRebT erTi kompozitoris musikas da vakeTebT ise, rom kompozitoris Semoqmedebas qronologiurad mivyvebiT bolo opusebamde. am dros msmenels, SemsrulebelTan erTad saSualeba eZleva ama Tu im kompozitoris SemoqmedebiTi evolucia Seafasos, amasTan erTad, Tu rogor ikiTxeba axalgazrda pianistebis xelSi interpretacia, am opusebis individualuri gaazreba, Tu rogor esmis da rogor icvleba kompozitoris filosofia... es xdeba rogorc SemsruleblisTvis, aseve auditoriisTvis saintereso! Cems klasSi Tavidanve Seikra Zlieri pianistebis gundi: saSa korsantia, giorgi vaCnaZe, maqsim mogilevski, irma svanaZe, vaxtang kodanaSvili, ediSer savicki, maqsim mogilevski, svetlana smolina... maT dRes kargad icnoben, aqvT saerTaSoriso aRiareba.

_ rogoria Tqveni yoveldRiuri amerikuli cxovrebis stili? miCiganis StatSi gaqvT Tqveni vazi, mogyavT yurZeni da tradiciuli wesiT ayenebT Rvinos, iseve, rogorc saqarTveloSi xdeba xolme... da, musikosebTan erTad TamaSobT fexburTs, metic, The Toradze Piano Studio-s pianistTa gundi South Bend universitetis samgzis Cempioni gaxda fexburTSi.

_ diax, diax, (icinis)... sainteresod vcxovrobT erTi ojaxiviT! rom giTxraT, moedanze yvelaze bevrs davrbodi da karSi yvelaze meti goli Sevagde meTqi, marTali ar viqnebi, magram mec vTamaSobdi, saerTod, rCevebs ufro viZlevi xolme (icinis)...

Cven iq patara saqarTvelo SevqmeniT, mezobel StatSi, miCiganSi vipoveT adesas magvari yurZeni, Concord Grapes, _ aseTi jiSia, magari aromatuli. am yurZnisgan daviT maWavariani, romelic Cveni `meRvineTuxucesia~, Zalian karg sufris Rvinos vayenebT, sasiamovno dasalevs... manamde, ra Tqma unda, gvaqvs rTveli, mivdivarT xolme Semodgomaze fermaSi da, es yurZnis krefa CemTvis imxela da iseTi gansakuTrebuli sixarulia, rom... amisTvis vemzadebiT, amas velodebiT mTeli weli! im nostalgias, rac gvaqvs Cven, iqaur qarTvelebs, am formiT vumsubuqebT erTmaneTs... rTveli ufro ritualia, misteria, vidre Cveulebrivi Sroma. mere es ojaxi ise Zalian dagvimegobrda, rom Cveni xaTriTYfortepianoc SeiZines. Semodgomaze rom CavdivarT xolme, iq gulianad vmxiarulobT.

_ Tqven sabWoTa saqarTvelodan wasvlis Semdeg TiTqmis 10 wlis Semdeg CamoxvediT samSobloSi. ra genatrebaT xolme saqarTvelodan?

_ menatreboda jvris monasteri, menatreboda raWa,

.. I grew up in the conservatory, of course, there I went in, I went back to my childhood. I tell you again, in my heart I have the need to come, which is more than desire. I want to come to hold the concerts again, but it is not easy to plan...

– Davit Toradze dedicated his piano concerto to you, which is often played in Europe. How do you perceive your father’s music?

– Sadly. This is a very precious concert for me! Father worked on this concert for a long time, and after he finished, the life turned out completely differently. My big dream is to play in Georgia and I have not been able to fulfill it for almost 30 years, I owe my father and the listeners who are waiting for this piano concert.

I have been writing music since I was a child, it made my father very happy, but then he told me that I could become a compose later, but if I did not practice a lot, I would not become a good pianist, so I took notebooks, pencils and erasers from me.

– Do you regret it?

– Yes, I do.

– Have you tried to return to the composition?

– To be honest, no, we have kept those old scores at home, somewhere...

This interview with Lekso Toradze was held in 2014 after his concert in the big concert hall of the Tbilisi Conservatory.

Interview by Mzekha Makharadze

menatreboda Cemi megobrebi da naTesaoba, is Tbili urTierTobebi, rac mxolod aq gaqvs da sxvagan arsad. menatreboda Cemi Tbilisis saxli, sadac mxvdeba zustad is aura, is siTbo, is simSvide da simyudrove, rac maxsovs da rac ar icvleba... da ai, am Camosvlam Semivso is didi danaklisi, xom gesmiT?.. konservatoriaSi gavizarde, rasakvirvelia, iq rom Sevedi, davubrundi bavSvobas. kidev geubnebiT, gulSi sul maqvs Camosvlis aucilebloba, romelic survilze metia. minda kidev Camovide koncertebiT, magram es ar aris advili gadasawyveti...

_ daviT ToraZem Tavis safortepiano koncerti Tqven mogiZRvnaT, romelsac evropaSi ukravT xolme. rogor aRiqvamT mamas musikas?

_ sevdianad. es CemTvis Zalian Zvirfasi koncertia! am koncertze mama didxans muSaobda, bolos da bolos,

daamTavra da amis Semdeg cxovreba datrialda sul sxvanairad. Cemi didi ocnebaa, rom saqarTveloSi davukra da TiTqmis 30 welia ver Sevasrule, valSi var mamasTan da im msmenelTan, romelic am safortepiano koncerts elodeba.

bavSvobidan mec vwerdi musikas, es mamas Zalian axarebda, magram mere amikrZala, kompozicia Tu ginda merec SeZlebo, fortepianoze Tu seriozulad ar imecadineb, verasdros ver gaxdebi didi pianistio, amitom wamarTva sanoto furclebic, fanqrebic da saSlelic.

_ nanobT?

_ ki, vnanob rom wamarTva.

_ gicdiaT kompoziciaSi dabruneba?

_ marTali giTxraT, ara, is Zveli partiturebi saxlSi gvaqvs Senaxuli, sadRac...

es interviu leqso ToraZesTan 2014 wels Tbilisis konservatoriis did darbazSi gamarTuli koncertis Semdeg Sedga.

esaubra mzexa amxaraZe

_ qalbatono nona, roca jer kidev zedapirulad vicodi Tqveni biografia, sul makvirvebda erTi ram: Tqveni cocxali, moZravi xasiaTi da moWadrakisTvis saWiro disciplina rogor Tavsdeboda erTmaneTTan?

_ piriqiT, es Zalian Tavsebadia. Cveni moWadrakeebi, rac wlebi gadis, ufro arastabilurebi xdebian. ratom? imitom, rom sportiT ar arian datvirTulebi. dRes Wadraks ori mimarTuleba aqvs: komerciuli da sportuli. amitom, axla moWadrakeebi klubebSic TamaSoben da seriozul turnirebSic monawileoben. magram amas sWirdeba didi energia, myari nervuli sistema, seriozuli fizikuri momzadeba. nuravin ityvis, rom moWadrakisTvis fizikuri datvirTva aucilebeli ar aris. me vfiqrob, yvelaze meti nervebi WadrakSi ixarjeba. imdeni etapia gasavleli, sanam saboloo Sedegs miaRwev da yvelaferi nervebs ukavSirdeba. fizikuri datvirTva saukeTeso gzaa dasasveneblad da nervuli sistemis aRsadgenad. me, magaliTad, moyvarulis doneze Zalian kargad vTamaSobdi biliards da magidis CogburTs. nervuli sistemac kargi mqonda.

_ rodesac 13 wlis asakSi zugdididan TbilisSi gadmoxvediT sacxovreblad da Wadrakis saTamaSod, warmomidgenia, rom Tqveni laRi cxovreba radikalurad Seicvala. ar gagiWirdaT cxovrebis axal yaidaze gadasvla, Tan sakmaod rTul _ gardatexis asakSi?

_ absoluturad ar gamWirvebia da getyviT, ratom. deidaCemTan vcxovrobdi. Cemi ufrosi Zma ukve TbilisSi iyo. male Cemma meore Zmamac umaRlesSi Caabara da sacxovreblad ZmebTan erTad gadavedi naqiraveb binaSi. pionerTa sasaxleSi rom daviwye siaruli Wadrakze, iqve `ping-pongis~ magida idga. weliwadnaxevris Semdeg, rodesac Wadrakis saTamaSod rkinigzelTa saxlSi gadavedi, iqac damxvda `ping-pongis~ magida. biliards vTamaSobdi, roca Sekrebaze viyavi sadme, karg sanatoriumSi. Wadrakis TamaSs rom movrCebodi, mere xalxSi gavdiodi, maTTan erTad vTamaSobdi yvelafers. amas kidev erTi dadebiTi Sedegi hqonda: adamianebSi rom gaerevi, maTTan kontaqts rom amyareb, maTTan erTad rom TamaSob an, ubralod, elaparakebi, ukve yvela Senia.

_ dRes, roca Wadrakis yvela mwvervali dapyrobili gaqvT da ambobT, rom Tqveni saxeli da gvari Wadrakis kuTxiT Sedga, gaqvT gancda, rom yvelaferi gaakeTeT, rac SegeZloT? rom Tqveni SesaZleblobebi srulad gamoavlineT?

_ rodesac maia CiburdaniZesTan matCi wavage, wesiT, im periodSi ar unda wamego. CemTvis zustad is wlebi iyo saukeTeso. kacebis turnirebSi Zalian kargi Sedegebi mqonda. maiasTan matCamde erTi wliT adre lonpainis turnirSi vmonawileobdi. araoficialuri Ria turniri iyo SeerTebul StatebSi. iq qali mxolod me viyavi.

– Ms Nona, before I learnt your biography profoundly, I was always wondering about one thing – how did your lively, moving character and the discipline needed for chess fit together?

– On the contrary, it is very compatible. As the years go by, our chess players become more unstable. Why? Because they are not busy with sports. Today chess has two directions: commercial and sporting. Therefore, now chess players also play in clubs and participate in serious tournaments. But it requires a lot of energy, a stable nervous system, serious physical training. No one will say that physical activity is not necessary for a chess player. I think most nerves are spent on chess. There are so many stages to go through before you reach the final result. And everything is connected to the nerves. Physical activity is the best way to relax and rebuild the nervous system. For instance, I was playing billiards and table tennis very well at the amateur level. I also had a good nervous system.

– When you moved from Zugdidi to Tbilisi at the age of 13 to live and play chess, I imagine that your pleasant life changed radically. Didn’t you find it difficult to move on to a new life at this difficult age?

– Absolutely not difficult and I will tell you why. I lived with my aunt. My older brother was already in Tbilisi. Soon my second brother was promoted, and I moved into a rented apartment with my brothers. When I started playing chess at the Pioneer Palace, there was a ping-pong table. A year and a half later, when I went to the Railway House (now National Musical Center of Georgia) to play chess, I also came across a ping-pong table. I used to play billiards when I was at a meeting somewhere, in a good health resort. If I used to play chess, then I would go out in people, I would play everything with them. This had another positive effect: if you mix with people, make contact with them, play with them or just talk to them, they are all yours.

– Today, when you have conquered all the heights in chess and you say that your name is well-known in terms of chess, do you have a feeling that you did everything you could? That you have fully revealed your abilities?

– When I lost the match with Maia Chiburdanidze, as a rule, I should not have lost in that period. For me those years were the best. I had very good results in men’s tournaments. I participated in the ‘Lone Pine’ tournament a year before the match with Maia. It was an unofficial open tournament in the United States and I was the only woman participant. The tournament was held according to the Swiss system and, among others, 18 grandmasters who were members of their country’s Olympic team were participating. I shared the first and fourth places and fulfilled the norm of a male grandmaster. The quality of my game was so high that sometimes when I look at the combinations I played and games I won, I find it unbelievable. I was asking myself where these thoughts were coming from. That was in 1977. In 1978, I lost the match. This loss was not preceded by anything indicative. But it happened so that the preparation period for the match with Maya was disrupted.

turniri Sveicariuli sistemiT tardeboda da, sxvebTan erTad, 18 didostati monawileobda, romlebic TavianTi qveynebis olimpiuri nakrebis wevrebi iyvnen. pirvelimeoTxe adgilebi gaviyavi da kacebis didostatis norma Sevasrule. Cemi TamaSis xarisxi imdenad maRali iyo, xandaxan rom davxedav, ra kombinaciebi maqvs Catarebuli da ra partiebi maqvs mogebuli, warmoudgenlad mimaCnia. Cems Tavs vusvamdi kiTxvas, saidan momdioda TavSi es azrebi. es iyo 1977 wels. 1978-Si ki matCi wavage. am wagebas araferi xifaTis mimaniSnebeli win ar uZRoda. magram ise moxda, rom maiasTan matCis mosamzadebeli periodi CameSala.

_ ratom?

_ me da Cemma mwvrTnelma aivar gipslisma movilaparakeT, rom mogvewvia boris nikitini, romelic momavali Cempionis, gari kasparovis mwvrTneli iyo. mas Zalian kargi repertuari hqonda. maSin kompiuteri ar arsebobda da saWadrako variantebis damuSaveba ar iyo advili saqme. amas specialistebis mowveva da Zalian didi energiis daxarjva sWirdeboda. nikitins ukve yvelaferi damuSavebuli hqonda. ase rom, am adamians movelaparakeT, Cemi mwvrTneli yofiliyo. daviTanxme, magram am droisTvis mas ukve gafuWebuli hqonda urTierToba karpovTan. raRac erTi sityva dawera, araferi iseTi _ raRac SeniSvnasaviT. magram karpovma es SeniSvna ar miiRo da, faqtobrivad, misi gafuWeba moindoma. nikitini saxelmwifo mwvrTneli iyo da iqidan gauSves. magram moWadrakeebi daudgnen gverdiT da mTlad bolomde ver gaafuWes. matCamde orTvenaxevriT adre unda wavsuliyavi gagraSi, meoTxe sammarTvelos sanatoriumSi da matCisTvis movmzadebuliyavi. erT kotejSi me unda mecxovra da meoreSi _ anatoli karpovs. isic im dros apirebda mosamzadeblad Camosvlas. karpovs saTamaSo hqonda politikuri matCi: misi mowinaaRmdege, viqtor korCnoi, sabWoTa kavSiridan gaqceuli iyo da ucxoeTSi cxovrobda. swored korCnoisTan matCisTvis emzadeboda karpovi gagraSi. nikitini meubneboda, federacias SeuTanxme, rom me viyo Seni mwvrTnelio. me ki vpasuxobdi, es Cemi gadasawyvetia da ra SuaSia federacia-meTqi. Wadrakis sakavSiro federaciaze iyo saubari. nikitins gagraSi is variantebi Camohqonda, rac me unda Semeswavla. mere kasparovTan unda meTamaSa, rom es variantebi praqtikaSi Sememowmebina da gameTavisebina. wasasvlelad ukve gamzadebuli rom viyavi, mTeli dRe ar gaCerebula telefonis zari. rekavda aleqsandre raSali, Jurnal „64“-is redaqtori, karpovTan da federaciasTan daaxloebuli piri. is mirekavda da mTxovda, rom uari meTqva nikitinze. mTavazobdnen, rom federacia TviTon momiZebnida Semcvlels. pirdapir miTxres: „ra girCevnia, federacia megobari iyos, Tu mteri?“ me Secdoma davuSvi da nikitini davTme. mainc ar unda dameTmo, magram

– Why?

– My coach Ivar Gipslis and I agreed to invite Boris Nikitin, who was the coach of the future champion, Garry Kasparov. He had a very good selection. Back then there was no computer and processing chess options was not an easy task. It required inviting specialists and spending a lot of energy. Nikitin had already managed everything. So we talked to this man to be my coach. I agreed, but by this time he had already ruined his relationship with Kaprov. He wrote something in one word, nothing like that –something like a note. But Karpov did not accept this remark and, in fact, wanted to spoil it. Nikitin was the state coach and he was fired. But the chess players stood by and could not completely spoil it. Two and a half months before the match I had to go to Gagra, to the sanatorium and prepare for the match. I had to live in one small house and Anatoly Karpov in another. He was also going to arrive at that time to prepare. Karpov was playing a political match: his opponent, Victor Korchnoi, had fled the Soviet Union and was living abroad. Karpov was preparing for the match with Korchnoi in Gagra. Nikitin was telling me to negotiate with the federation to appoint him as my coach. I even answered that it was my decision had nothing to do with the federation. I was about the Union Chess Federation. Nikitin brought the options to Gagra that I had to explore. Then I had to play with Kasparov to try and put these options into practice. As I was about to leave, the phone started ringing ceaselessly. Alexander Rashal, the editor of the magazine “64” was calling. He was close to Karpov and the federation. He called me and asked me to give up Nikitin. They offered that the federation would find me a replacement. I was directly told: “Do you want the federation to be your friend or an enemy?” I made a mistake and gave up Nikitin. At least I should not had done that, but Karpov categorically said, I cannot stand Nikitin here, I have to change the place of meeting. If his political match with Korchnoi had ended badly, maybe I would have been blamed for everything. Finally, from the proposed options, I chose Seryozha Makarichev, a very good, young, and strong grandmaster, but he knew little about the variants.

– Did not this person help you?

– He helped me, but on the whole it turned out that I went to the match with the old “baggage”. There was a second story there as well. I had a health problem, I needed a small operation. In this situation I started playing the match and in the first half Maya went ahead. But the second half went to my advantage. Unfortunately, I was not able to take advantage of this and, I must say, I was very dissatisfied with the work and behavior of my head coach – Gipslis. I had a postponed match with Maya and was seeing the idea of winning. Gipslis was fond of sports and told me that he would stay in his room to watch a hockey. I told him that he could stay but work on this postponed match. I told him my way of wining. When you give an idea to a grandmaster and he cannot route that idea, it’s unnatural, it’s a little different story.

karpovma kategoriulad Tqva, me aq nikitins ver avitan, Sekrebis adgili unda Sevcvaloo. misi politikuri matCi korCnoisTan cudad rom damTavrebuliyo, SeiZleba, me dambraleboda yvelaferi. bolos, SemoTavazebuli variantebidan amovirCie serioJa makariCevi, Zalian kargi axalgazrda, Zlieri didostati, magram variantebi naklebad icoda.

_ ar gamogadgaT es adamiani?

_ is ki gamomadga, magram mTlianobaSi ise gamovida, rom matCze Zveli „bagaJiT“ wavedi. mand meore ambavic iyo. janmrTelobis problema mqonda, patara operacia damWirda. am viTarebaSi daviwye matCis TamaSi da pirvel naxevarSi maia gavida win. magram meore naxevari Cemi upiratesobiT warimarTa. samwuxarod, ver gamoviyene es upiratesoba da, unda vTqva, rom Zalian ukmayofilo davrCi Cemi ZiriTadi mwvrTnelis _ gipslisis muSaobiT da qceviT. me mqonda gadadebuli partia maiasTan da mogebis ideas vxedavdi. gipsliss sporti uyvarda da miTxra, hokeis yureba minda da, Tu SeiZleba, nomerSi davrCebio. me vuTxari, darCi, magram es gadadebuli partia daamuSavemeTqi. vuTxari, mogebis rogor gegmas vxedavdi. roca didostats ideas miawodeb da is am ideas ver daamuSavebs, es arabunebrivia, es cota sxva ambavia.

_ Ralatis eWvi gaqvT?

_ ar minda, me Sevafaso. vambob imas, rac sinamdvileSi iyo. rom vaanalizeb, ra Tqma unda, am partiis armogebam Cemze imoqmeda da Semdeg kidev ramdenime Sansi ver gamoviyene. maia aucileblad gaxdeboda Cempioni Tavisi nervebiT, Tavisi TamaSis klasiT, magram im momentSi me araferi memuqreboda. kidev vambob, CemTvis is periodi saukeTeso iyo. am matCis Semdeg davcildiT gipslisi da me. rodesac 1978 wels marto davrCi, elizbar ubilava iyo axalgazrda moWadrake, romelic manamde nana ioselianTan muSaobda da im momentSi Sewyvites urTierToba. me vuTxari _ elizbar, Senc marto xar da mec mwvrTnels davcildi; modi, erTad viyoT-meTqi. elizbari damTanxmda da Cvens pirvel Sekrebaze, 1979 wels, moviwvieT nioma raSkovski, didostati. Zalian mxiaruli kaci iyo da Sekrebac mxiarulad gavatareT. magram bolos niomas vuTxari: pirvelad mqonda Sekreba, sadac mwvrTnelma Cvengan meti waiRo, vidre mogvca-meTqi. mokvda siciliT, magram miTxra: erT ideas mogawvdi da mTeli sicocxle madlobeli iqnebio _ moiwvie borisenkoo. giorgi nikolozis Ze borisenko ufro seriozuli mwvrTneli da mkvlevari iyo, vidre moWadrake. enciklopediuri Tavi hqonda. erT variants rom iReb (magaliTad, pirveli svla D2-D4), imas uamravi gagrZeleba aqvs. yvelanairi gagrZelebisTvis mzad unda iyo. me olimpiadebze rom mivdiodi, mwvrTnelebs CemTan Zalian cota muSaoba

– Do you suspect a betrayal?

– I don’t want to make an assessment. I say what it really was. When I start to analyze this match, of course this failure affected me and the following matches. Maya would definitely become a champion with her nerves, with her game class, but in that moment I was not exposed to anything. I say again, for me that period was the best. After this match, Gipslis and I split up. When I was left alone in 1978, Elizbar Ubilava was a young chess player who had previously worked with Nana Ioseliani and at that moment their relationship was ending. – Elizbar, you are alone and I left the coach; Let’s be together — I said. Elizbar agreed, and at our first meeting, in 1979, we invited Nyoma Rashkovsky, the Grand Master. He was a very cheerful man and our meeting went cheerfully. But in the end I said to Nioma: For the first time I had a meeting where the coach took more from us than he gave us. He could not help laughing, but told me: I give you an idea and you’ll be grateful for the rest of your life – invite Borisenko. Borisenko was a more serious coach and researcher than a chess player. He had an encyclopedic mind. If you take one option (for example, the first move D2-D4), it has many extensions. You should be read y for any extension. When I went to the Olympics, the coaches needed very little work with me at times. I had the options set up and if I had to make a choice, I would sit down and repeat the appropriate option. If I saw anything suspicious in my version, we would sit down with the coach and analyze it. This is preparation. Now all computers are switched on. Coaches sit in front of the computer with chess players from morning to evening. This is not professionalism. The relationship with Borisenko turned out to be very fruitful. If we went through the theory, then he would say, now let’s get out of here and find our ideas. Borisenko, Ubilava and I sat in three corners of the room and started looking for new ideas. You cannot imagine how we used work. We did not look at the clock at all. We could not feel the time. We came up with so many ideas there from the well-known classic versions… then Elizbar Ubilava was invited to Karpov’s group. Now when I’m going to tournaments, do you think I’m preparing? I play with my options that I know very well. Sometimes I review these variants in my head and in 10-15 minutes I can create a whole new position during the game. Opponents prepare with the computer, they come, they sit in front of me, but during the game I change the sequence of moves and I get what I want. I may lose sometimes, but again because of my mistake. It is the knowledge that is in the depths. When I explain this to young chess players, they are telling me that they have no time for that.

– How many times have you won the World Veterans Championship?

– Six, I think. I do not count myself, others count. Throughout my chess biography I have won so many successful matches not with variants, but by playing directly at the chessboard. That was my biggest advantage. So I am grateful to that Nioma Rashkovsky, because Borisenko completely changed my thinking. He was a true coach.

sWirdebodaT xolme. variantebi Camoyalibebuli mqonda da arCevans rom gavakeTebdi, davjdebodi da Sesabamis variants vimeorebdi. Tu Cems variantSi rame saeWvos vxedavdi, iq davsxdebodiT mwvrTnelTan erTad da gavarCevdiT. es aris momzadeba. axla yvela kompiuterzea gadarTuli. mwvrTnelebi dilidan saRamomde sxedan moWadrakeebTan kompiuteris win. es ar aris profesionalizmi. borisenkosTan urTierToba Zalian nayofieri gamodga. Teorias rom gavivlidiT, mere ityoda, axla aqedan gamovideT da Cveni ideebi movZebnoTo. oTaxis sam kuTxeSi vsxdebodiT borisenko, ubilava, me da viwyebdiT axali ideebis Ziebas. Tqven ver warmoidgenT, rogor vmuSaobdiT. saaTs saerTod ar vuyurebdiT. dros ver vgrZnobdiT. rac me iq idea movifiqre, rac elizbarma idea moifiqra, _ imdeni idea gvqonda cnobil klasikur variantebSi, rom Semdeg elizbar ubilava karpovis jgufSi miiwvies. axla turnirebze rom davdivar, ggoniaT, vemzadebi? Cems variantebs vTamaSob, romlebic Zalian kargad vici. xandaxan am variantebs gadavaxaliseb Cems

– In your book “The Essence of My Life” there is an episode: “Sometimes I think: it is not worth fighting for, why do I want all this; Why can’t I be the master of my own fate? ”Why did you feel that you were not the master of your own fate?

– These are a little bit exaggerated. I did not speak with such words. The book is written by the journalist Viktor Vasiliev. He insisted –so I was talking and he was taking notes. These words are clearly exaggerated.

– Have you ever had this feeling that you do not control your fate?

– What better fate should I have?! It was as if I had a green light on, everything I wanted came out, and what more could a person want?

– Was there anything that you had to give up because of chess and you regret?

– I have nothing to regret. How could I keep something in my heart? I was able to do everything – watching sports events, playing various sports, reading books, being in a good shape,

TavSi da 10-15 wuTSi SemiZlia, sruliad axali pozicia Sevqmna TamaSis dros. mowinaaRmdegeebi kompiuteriT emzadebian, modian, sxdebian Cem pirispir, magram TamaSis dros svlebis Tanmimdevrobas Sevcvli da viReb imas, rac minda. SeiZleba, zogjer wavago, magram isev Cemi Secdomis gamo. es is codnaa, romelic siRrmeSi jdeba. amas axalgazrda moWadrakeebs rom vuxsni, meubnebian, sad gvcalia magisTviso?

_ veteranebis msoflio Cempionati ramdenjer gaqvT mogebuli?

_ eqvsia, mgoni. me TviTon ar viTvli, sxvebi iTvlian. mTeli Cemi saWadrako biografiis manZilze ise mivaRwie warmatebebs, rom variantebiT ki ar, uSualod, dafasTan TamaSiT vigebdi. es iyo Cemi yvelaze didi plusi. ase rom, im nioma raSkovskis madlobeli var, radgan borisenkom mTlianad Secvala Cemi azrovneba. ai, es aris mwvrTneli.

_ Tqvens wignSi „arsi Cemi cxovrebisa“ aseT epizods vxvdebiT: „zogjer davfiqrdebi xolme: Citi brdRvnad ar Rirs, rad minda es yvelaferi-meTqi; ratom ar SemiZlia, viyo Cemi bedis patroni?“ ris gamo gagiCndaT gancda, rom Tqveni bedis patroni ar iyaviT?

_ es cota gaformebuli frazebia. aseTi sityvebiT me ar milaparakia. wigni Jurnalist viqtor vasilievis dawerilia. ar momeSva _ me vyvebodi da man gaaforma. es sityvebi aSkarad gadaWarbebulia.

_ ar gqoniaT es gancda, rom Cemi bedis patroni ar varo?

_ meti ukeTesi bedi ra unda mqondes?! TiTqos, mwvane Suqi mqonda anTebuli, yvelaferi gamomdioda, rac mindoda da meti ra unda inatros adamianma?

_ rame Tu iyo iseTi, razec Wadrakis gamo uaris Tqma mogixdaT da gulSi gaqvT CarCenili?

_ araferi maqvs aseTi. ranairad unda CamrCenoda gulSi rame? yvelafers vaxerxebdi _ sportuli RonisZiebebis yurebas, sportis sxvadasxva saxeobis TamaSs, wignebis kiTxvasac, reJimSi yofnasac, mogebasac. yvelgan kargad mxvdebodnen da araCveulebrivi urTierTobebi mqonda.

_ erT-erT satelevizio interviuSi ambobT: „sakamaTo situaciebSi arasdros mibrZolia, rom Cem sasargeblod gadawyvetiliyo sakiTxi. me vTvlidi, rom profesionali var da me TviTon unda vakontrolo yvelaferi. yovelTvis damiTmia sakamaTo situacia. mimaCnia, rom es Cemi Zlieri mxare iyo.“ aseTi mebrZoli xasiaTis mqone adamiani riTi xsniT sakamaTo situaciebis daTmobas?

_ es sityvebi erT SemTxvevas miesadageba. ala kuSnirTan sami matCi maqvs mogebuli msoflio pirvelobaze. magram aris erTaderTi turniri, sadac kuSnirma gamiswro

winning games. I was always welcome anywhere and had great relationships.

– In one of the TV interviews you say: “I have never fought in controversial situations to resolve the issue in my favor. I thought I was a professional and I had to control everything myself. I have always been in a controversial situation. I think that was my strong point.” How can a person with such a fighting spirit explain her concessions to controversial situations?

– These words are appropriate for one case. I have won three matches with Alla Kushnir at the World Cup. But it is the only tournament where Kushnir overtook and won. In black I met the Bulgarian chess player Evelina Troyanska, who defended herself well. I sacrificed queen in rook, bishop and pawn, which gave me a chance to win because there was no other figure left on the board. The game was postponed. With me, Alla Kushnir had three postponed games. We were equal with the lost points. Therefore, these postponed games had to decide the winner of the tournament. There was only one round of play left after their completion. Of the three deferred parties, Kushnir had a winning position in one and a certain chance of winning in two. But she defeated all three opponents so quickly that I was astonished. I kept an eye on Kushnir games and tried to realize my advantage. In general, Troyanska often fell in the zeitgeist, and so it was during this game. In case of postponed games, the following regulation works: 16-16 moves should be made in one hour. When a player with whites makes his last move but the arrow falls, it is no longer considered a move if the opposing referee detects an arrow falling. The young referee, with a notebook in his hand, controlled the moves. But as it turned out, he made a mistake in calculating the moves. Meanwhile, I was controlling the opponent’s arrow as the arrow was raised and prepared to fall. Troyanska made a move and the arrow also dropped. I fixed this in my mind, but I did not turn to the referee – I just forgot what I was looking at this watch for. By this time Alla Kushnir had completed all three games and was walking on stage. I made the move and agreed on a draw. Kushnir comes and says, why did not you catch the arrow falling? I paused, Troyanska is silent. The referee remained silent. He realized that he had recorded the moves incorrectly. The opponent also knew what happened, right? If I were in her place, I would say, that the arrow fell and this draw did not belong to me, but it was her, not me. Nothing was written in the regulations about such occasion. Such things usually do not happen.

– Or is such an occasion regulated only by conscience?

– Yes, and what should the referee do at this time? Does not know how to behave. I turn around and say, “It’s your fault, but I owe it to myself more because I am a professional. I do not object to what happened. I will fix the draw and everything is over. “ The next day the newspapers came out, interspersed with my praise and the referee’s revilement. The referee apologized to me so many times that in the end we became friends. My principle was that since nothing was

da gaimarjva. SavebiT vxvdebodi bulgarel moWadrake evelina troianskas, romelic Tavs kargad icavda. etlSi, kusa da paikSi lazieri Sevwire, rac mogebis Sanss maZlevda, radgan dafaze sxva figura ar rCeboda. partia gadaido. CemTan erTad, sami gadadebuli partia hqonda ala kuSnirs. dakarguli qulebiT Tanasworad mivdiodiT. amitom, am gadadebul partiebs unda gadaewyvita turniris gamarjvebuli. maTi dasrulebis Semdeg saTamaSo mxolod erTi turi rCeboda. sami gadadebuli partiidan kuSnirs erTSi sayaimo pozicia, orSi ki mogebis garkveuli Sansi hqonda. magram man ise swrafad daamarcxa samive metoqe, rom gaognebuli davrCi. Tvali kuSniris partiebisken gamirboda da Tan Cemi upiratesobis realizacias vcdilobdi. zogadad, troianska xSirad vardeboda caitnotSi da am partiis drosac ase iyo. gadadebuli partiebis SemTxvevaSi Semdegi reglamenti muSaobs: erT saaTSi 16-16 svla unda gakeTdes. roca TeTrebiT moTamaSe Tavis bolo svlas akeTebs, magram isari uvardeba, es aRar iTvleba gakeTebul svlad, Tuki mowinaaRmdege msajTan isris Camovardnas daafiqsirebs. axalgazrda msaji, bloknotiT xelSi, svlebs akontrolebda. magram, rogorc aRmoCnda, man svlebis aTvlaSi Secdoma dauSva. amasobaSi, me mowinaaRmdegis isars vakontrolebdi, vinaidan isari aweuli iyo da gamzadebuli Camosavardnad. troianskam svla gaakeTa da isaric Camovarda. me es davafiqsire Cems gonebaSi, magram msajs ar mivmarTe _ ubralod damaviwyda, risTvis vuyurebdi am saaTs. am dros ala kuSnirs samive partia dasrulebuli hqonda da scenaze daseirnobda. me svla gavakeTe da yaimze SevTanxmdiT. modis kuSniri da ambobs, ratom ar daafiqsireT isris Camovardnao? me gavSeSdi, troianska Cumad aris. gaSeSda msajic. mixvda, rom arasworad hqonda svlebi Cawerili. mowinaaRmdegem xom icis, rac moxda? me mis adgilze rom vyofiliyavi, vityodi, sworia, isari Camovarda da es yaimi ar mekuTvnis-meTqi. magram is adamiani me ar viyavi, sxva iyo. reglamentSi ki aseT SemTxvevaze araferi ewera. aseTi SemTxvevebi, rogorc wesi, ar xdeba.

_ anu aseT situacias mxolod sindisi aregulirebs?

_ diax, da msajma ra qnas am dros? ar icis, rogor moiqces. me mivubrundi da veubnebi: „Tqveni Secdoma ki aris, magram me Cems Tavs ufro metad vavaldebuleb, radgan profesionali var. ar vaprotesteb, rac moxda. yaims vafiqsireb da damTavrebulia yvelaferi“. meore dRes gamovida gazeTebi, aWrelebuli Cemi qebiT da msajis ginebiT. msajma imdeni bodiSi momixada, bolos, davmegobrdiT. Cemi principi iyo, rom radgan reglamentSi araferi ewera, kamaTi ar Rirda, miT umetes, me TviTon davuSvi Secdoma.

_ msoflio Cempions aleqsandre alioxins uTqvams,

written in the regulations, the argument was not worth it, especially since I made a mistake myself.

– World champion Alexander Aliokhin said, chess, first of all, will teach you to be objective. Why and how does chess teach objectivity?

– If you are objective and evaluate the situation correctly, knowledge will increase. Perhaps this is what Aliokhin is referring to. I know this in my head. There were moments, I will not name, when the coach “fell down” and evaluated the positions too optimistically. It does not matter if you win or lose. If you have the ability to evaluate objectively, you will approach the chessboard, analyze deeper and get the most out of any position. That is why chess teaches objectivity.

– Do you agree with the statement -”kindness of heart is little use in chess “? This expression belongs to Nicolas Chamfort, a French writer and thinker. I paid attention to this opinion because, in my opinion, it echoes one moment in your chess career.

– Sport does not like concessions. But if you give something to a person, you should have nerves to accept it. In 1957, a tournament was held in which I was the youngest participant. The top four players in the tournament advanced to the intercontinental tournament, the winner of which would qualify for the match against the World Champion. Therefore, it was a very important event. In the fourth round I met Flora Dmitrieva. She was a chess player from Leningrad and she was also young like me. In my debut, I sacrificed a figure in two picks and took a sharp, exciting position. After a few moves, Dmitrieva made a mistake: she grabbed queen and wanted to exchange it. But before I swapped queen, I was going to check pawn and leave an extra pawn, in a good position. Dmitrieva realized her own mistake, holding queen in one hand, with her other hand on her head and thinking. I felt that I did not want to win the party at the expense of the opponent’s gross mistake. I thought I had a strong position and offered to bring the figure back. Dmitrieva saved that queen. Slowly the situation calmed down and we got to the point where the game was going to be put off, in fact, into a losing position for me. Then for the first time I was convinced that sport does not like concessions. At that time, Gurfinkel, an international master from Rostov, an old, experienced chess player, came to our board. He saw the moment of return of the move. Came and said: Flora, I saw how you got back on track. You have no right to win this game and I am kindly telling you to offer a draw to the opponent. She did not react, but this conversation was overheard by a referee, a very respectable person who had a great deal of experience refereeing tournaments. When he heard what was going on, the man went crazy. I have not seen anything like that. What fool would do that? He called both of us and turned to Flora: I have been a referee for so long and I have not witnessed a similar situation. If you go back, I’m really telling you that I have to offer a draw. I sat in silence, not making a sound, because I

Wadraki, pirvel rigSi, imas gaswavlis, rom obieqturi unda iyoo. ratom da rogor aswavlis Wadraki obieqturobas?

_ Tu obieqturi xar da sworad afaseb situacias, codna gemateba. albaT, es aqvs mxedvelobaSi alioxins. me es Cems Tavze gamomicdia. iyo momentebi, gvars ar davasaxeleb, roca mwvrTneli „avardeboda“ da poziciebs zedmetad optimisturad afasebda. ageb Tu igeb, ar aqvs mniSvneloba. Tu obieqturad Sefasebis unari gaqvs, Wadrakis dafas miujdebi, ufro Rrmad Caswvdebi da maqsimums amoiReb nebismieri poziciidan. amitom aswavlis Wadraki obieqturobas.

_ Tu eTanxmebiT gamoTqmas, rom „keTili guli Wadraks ar sWirdeba“? es gamoTqma ekuTvnis nikola Samfors, frang mweralsa da moazrovnes. am mosazrebas imitom mivaqcie yuradReba, rom, Cemi azriT, Tqvens saWadrako karieraSi erT moments exmianeba.

was blaming myself for everything. Here happened something that was unexpected for everyone, and especially for me. Flora Dmitrieva said she had not returned the move. This really affected me and the games I played in the following days.

– She denied?

– She did! She denied and I stood up quietly. There is nothing to talk about here – I said and left. Without any argument. After this incident, every time Flora saw me, she would go to the other side of the street. A few years later there was a large gathering in Moscow, just outside the city. Dmitrieva was also there. She came and apologized to me. It was the worst tournament for me. After this game I was offered a draw in three consecutive games, I did not accept any of the offers and I gave up all three of them. Eventually I split the tenth to twelfth places and missed one and a half points to take the fourth place.

_ sports ar uyvars daTmobebi. magram Tuki adamians raRacas Cuqni, nervebi unda geyos, rom es gadaxarSo. 1957 wels tardeboda turniri, romlis monawileebs Soris yvelaze axalgazrda viyavi. turnirSi pirvel oTx adgilze gasuli moTamaSeebi sazonaTaSoriso turnirSi gadiodnen, romlis gamarjvebuli msoflio CempionTan matCis uflebas miiRebda. amitom, Zalian mniSvnelovani turniri iyo. meoTxe turSi flora dmitrievas vxvdebodi. leningradeli moWadrake iyo, isic axalgazrda. debiutSi figura Sevwire or paikSi da miviRe mwvave, saintereso pozicia. ramdenime svlis Semdeg dmitrievam dauSva Secdoma: xeli laziers mohkida da lazieris gacvla moindoma. magram sanam me laziers gavucvlidi, paikiT qiSiT viRebdi figuras da damrCeboda zedmeti paiki, kargi poziciiT. dmitrieva mixvda sakuTar Secdomas, erTi xeliT lazieri eWira, meore xeli Tavze hqonda Semodebuli da fiqrobda. me CavTvale, rom ar mindoda partiis mogeba mowinaaRmdegis uxeSi Secdomis xarjze. vfiqrobdi, rom Zlieri pozicia mqonda da SevTavaze, figura ukan daebrunebina. dmitrievam is lazieri gadaarCina. nel-nela situacia daabalansa da iqamde mivediT, rom partia unda gadagvedo, faqtobrivad, CemTvis wasageb poziciaSi. maSin pirvelad davrwmundi, rom sports ar uyvars daTmoba. am dros Cvens dafasTan movida gurfinkeli, saerTaSoriso ostati rostovidan, Zveli, gamocdili moWadrake. mas daunaxavs svlis dabrunebis momenti. movida da eubneba: flora, me davinaxe, rogor daibrune svla. Sen ar gaqvs am partiis mogebis ufleba da adamianurad geubnebi, mowinaaRmdeges yaimi SesTavazeo. mas reaqcia ar hqonda, magram am saubars yuri mohkra msajma, Zalian solidurma pirovnebam, romelsac turnirebis msajobis didi gamocdileba hqonda. rom gaigo, raSic iyo saqme, kaci gagiJda. msgavsi ram ar enaxa. romeli suleli gaakeTebda amas? orives Tavis oTaxSi dagviZaxa. miubrunda floras da eubneba: amdeni xania, msaji var da msgavsi situaciis momswre ar vyofilvar. Tu svla daabrune, marTla geubnebi, rom yaimi unda SesTavazoo. me Cumad vijeqi, xmas ar viRebdi, radgan Cems Tavs vabralebdi yvelafers. aq moxda is, rac yvelasTvis da, gansakuTrebiT CemTvis, moulodneli iyo. flora dmitrievam Tqva, rom svla ar daubrunebia. aman ki marTla imoqmeda Cemzec da im partiebzec, romlebic Semdgom dReebSi viTamaSe.

_ uaryo?

_ aba?! uaryo da me wynarad avdeqi. aq salaparako araferia-meTqi da gamovedi. yovelgvari Cxubis gareSe. imis Semdeg es flora rom daminaxavda, quCis meore mxares gadadioda. ramdenime wlis Semdeg didi Sekreba iyo moskovSi, qalaqgareT. dmitrievac moxvda am Sexvedraze. maSin movida da bodiSi momixada. es iyo yvelaze cudi

– I want to talk more about mistakes. You have said, I always sit to win and either understand myself or my opponent. What did you mean?

– I said this while participating in veterans’ tournaments. Sometimes I lose a game where the opponent has almost no move. Twice I lost such a game that my opponents apologized to me for winning. This is a unique case. I am asked – how do you play if you go to veterans’ tournaments? I play mindfully and choosing my selections with pleasure. If I spoil a party, I spoil it with my head. If I have a time to check my selection in mind, then everything is in order. When you lose concentration things go wrong. So for now, I’m playing because it’s fun and I cannot feel my age at all. I am in my world. No matter how I play, I get positive emotions. But I reason so well, so far, if I spoil something, again only by my mistake.

– You write in your book that sometimes you get tired of sitting at a chessboard and forcing yourself to overcome such shortcomings. Was it happening as a result of exhaustion?

– I am not sure I said such a thing at all. It was not in my character. If I had a boredom during playing chess, I would not have played it even now. I just enjoy playing.

– It was very interesting for me when I read that you required a lot of energy to lose in Georgia, because you had to convince your relatives and fans that everything would be fine. Have you always wanted to play in Georgia when it was possible?

– It is very rare in Georgia. I said this on the game with Kushnir for the title of world champion. At first our march was postponed for half a year. Botvinik and two grandmasters, apparently, were fighting to replace the president of the Chess Federation. But he was a normal man, I do not know why he was supposed to be replaced. They used our match and made Kushnir delay negotiating with me on the terms of the match as long as possible. By doing so, they wanted to show the FIDE the weakness of the Union Federation. Kushnir said that the match should be held in Russia. I said, I offer a neutral zone, I told Tallinn. If you still want Russia, then I will play only half of the match, because they will not understand in Georgia why should the world champion agree to play in Russia for the whole match; I cannot insult Georgia – I said. I also told him that it would be even better for me if we played the whole match in Russia. Why? – he asked me. I will get more fans than you, I won’t need anyone to help me calm down, so I’ll save my nerves and energy. – I replied. I also suggested that we played one half of the match in Sochi and the other half in Sokhumi. He was finally forced to agree to play in Tallinn. But when everything was ready, it suddenly turned out that the decision came from FIDE, the match was postponed. In case of postponement, the match could be held only after half a year. And I made a direct promise: we will play half of the match in Moscow, and the second half – in Tbilisi. And so it happened. I lost two games in Tbilisi and none in Moscow.

– You’ve mentioned many times that you did not need a

turniri CemTvis. am partiis Semdeg zedized sam partiaSi SemomTavazes yaimi, arcerTi SeTavazeba ar miviRe da samive partia davTme. sabolood meaTe-meTormete adgilebi gaviyavi da qulanaxevari damaklda imisTvis, rom gamsvleli meoTxe adgili ameRo.

_ SecdomebTan dakavSirebiT minda, kidev visaubroT. naTqvami gaqvT, me yovelTvis mosagebad vjdebi da an Cems Tavs vugeb, an mowinaaRmdegeso. ras gulisxmobdiT? _ es vTqvi veteranTa turnirebSi monawileobisas. xandaxan iseTi partia maqvs wagebuli, sadac mowinaaRmdeges TiTqmis svla ar hqonda. orjer iseTi partia wavage, rom mowinaaRmdegeebma bodiSi momixades mogebisTvis. es unikaluri SemTxvevaa. mekiTxebian _

psychologist because you were your own psychologist. I would like to ask you for a clarification in this regard. We had an interview with Nana Dzagnidze – the first chess player of Georgia today. As she told us, the famous psychologist Rudolf Zagainov worked with you. For his part, Zagainov’s biography states that in the 70s and 80s he was the chief psychologist of the Georgian Sports Committee. Isn’t it true that Rudolf Zagainov was helping you?

– Nana Dzagnidze does not know this story properly. Zagainov helped Nana Alexandria and Nana Ioseliani. When this man arrived in Tbilisi, the championship of the Soviet Union was being held. I won the tournament and became the champion. After each party he would meet me and offered me his help. How could he help me? He was telling me – I’ll help you to get relaxed. I was answering – I

veteranTa turnirebSi rom dadixar, rogor TamaSobo? azrovneba maqvs da gemrielad vTamaSob Cems variantebs. Tu partias vafuWeb, vafuWeb Cems TavTan. Tu dro maqvs da gadavamowme, maSin yvelaferi rigzea. roca koncentracias kargav, maSin aris, rom saqme fuWdeba. amitom, jerjerobiT, vTamaSob imitom, rom msiamovnebs da saerTod ver vgrZnob asaks. Cems samyaroSi var. rogorc unda viTamaSo, dadebiT emocias viReb. magram imdenad kargad vazrovneb, jerjerobiT, rom Tu rames vafuWeb, isev mxolod Cemi SecdomiT.

_ Tqvens wignSi ambobT, rom zogjer dagzarebiaT Wadrakis dafasTan dajdoma. Tavs vaiZulebdi, rom dameZlia mowyenis aseTi Semotevebio. es gadaRlis fonze xdeboda?

_ ar vici, saerTod Tu miTqvams aseTi ram. es Cems xasiaTSi ar iyo. me rom Wadrakis TamaSi damzareboda, axlac ki ar viTamaSebdi. TamaSiT mxolod siamovnebas viReb.

_ CemTvis Zalian saintereso iyo, roca wavikiTxe, rom bevr energias garTmevdaT saqarTveloSi wageba, radgan

can rest my own perfectly, what help do I need?! I could not get rid of him and then I conceded. Nana Alexandria thought that Zagainov was helping her really well. In the end, I said, all right, sir, let’s try. After that he came to my house twice. When he came for the first time, he asked me to lie down. I’m not sleeping – I said. He insisted and so I lied on the couch. He walked in and said some words. I could not help myself laughing. It could not get asleep and I wasn’t going to. There was no chance to make me do something, do you understand?! When he came the second time, he fell asleep while talking. Probably he was exhausted. Suddenly he started snoring. I said – you know what? leave me alone! I barely got rid of him. But later he published a book where he wrote as if he was helping me too. Probably this is why Nana Dzagnidze thinks that Zagainov was helping me.

– You were also saying that in the period when of your championship, Georgia had a great success in various fields of art, science and sports. You even said that Georgia was shining. What do you think caused such a rise?

– The reason was that we had a lot of professionals who were

axloblebis da gulSematkivrebis darwmuneba gixdebodaT, rom yvelaferi kargad iqneboda. yovelTvis gqondaT Tu ara survili, rom saqarTveloSi geTamaSaT, roca es SesaZlebeli iyo?

_ saqarTveloSi Zalian iSviaTad wamigia. es im SemTxvevaze vTqvi, roca msoflio Cempionis titulisTvis matCi mqonda kuSnirTan. Tavidan ise moxda, rom Cemi da kuSniris matCi naxevari wliT gadaido. botviniki da ori didostati, Turme, ibrZodnen, rom Wadrakis sakavSiro federaciis prezidenti SeecvalaT. arada, normaluri kaci iyo, ra pretenzia hqondaT, ar vici. gamoiyenes Cveni matCi da kuSniri daavaldebules, maqsimalurad gaeWianurebina CemTan molaparakeba matCis Catarebis pirobebze. amiT undodaT, fide-sTvis sakavSiro federaciis sisuste eCvenebinaT. kuSnirma Tqva, matCi ruseTSi CavataroTo. me vuTxari, neitralur zonas gTavazob, talins-meTqi. Tu maincdamainc ruseTi ginda, maSin mxolod matCis naxevars viTamaSeb, radgan saqarTveloSi ver gaigeben, me, msoflio Cempioni, mTeli matCis ruseTSi TamaSze ratom unda dagTanxmebodi; saqarTvelos Seuracxyofas ver mivayeneb-meTqi. isic vuTxari, rom CemTvis ukeTesic ki iqneboda, mTeli matCi ruseTSi rom gveTamaSa. ratomo? imitom, rom gulSematkivari mainc Senze meti meyoleba, Tan aravis damSvideba ar damWirdeba da nervebi da energia damezogeba-meTqi. isic SevTavaze, rom matCis erTi naxevari soWSi gveTamaSa, meore naxevari _ soxumSi. bolos iZulebuli gaxda, daTanxmebuliyo talinSi TamaSs. magram roca yvelaferi mzad iyo, uceb aRmoCnda, rom fidedan movida gadawyvetileba, matCi gadadebuliao. gadadebis SemTxvevaSi, mxolod naxevari wlis Semdeg SeiZleboda matCis Catareba. da me pirdapir davayene piroba: matCis naxevars viTamaSebT moskovSi, naxevars _ TbilisSi. asec moxda. TbilisSi ori partia wavage, moskovSi _ arcerTi.

_ araerTxel giTqvamT, rom fsiqologi ar gWirdebodaT, radgan Tqveni Tavis fsiqologi Tqven iyaviT. amasTan dakavSirebiT erTi ganmarteba minda gTxovoT. Cven gvqonda interviu nana ZagniZesTan, romelic dRes saqarTvelos pirveli moWadrakea. misi informaciiT, TqvenTan muSaobda cnobili fsiqologi rudolf zagainovi. Tavis mxriv, zagainovis biografiaSi weria, rom 70-80-ian wlebSi is saqarTvelos sportkomitetis mTavari fsiqologi iyo. araswori informaciaa, rom rudolf zagainovi Tqven gexmarebodaT?

_ nana ZagniZes ar aqvs wesierad garkveuli eg sakiTxi. zagainovi exmareboda nana aleqsandrias da nana ioselians. rodesac es adamiani TbilisSi Camovida, sabWoTa kavSiris Cempionati tardeboda. turniri movige da Cempioni gavxdi. yoveli partiis Semdeg mxvdeboda da meubneboda, dagexmarebio. raSi unda damxmareboda? dasvenebaSi dagexmarebio. veubnebi, CemTvis mSvenivrad visveneb, ra

very successful in their work. Among them were physicists, mathematicians, physiologists, the medicine and culture itself, our folklore was getting popular. We had brilliant athletes in various sports. There was stability. The country cared about education. There were free classes for the kids. If a person revealed himself, the country stood by him. Of course, there were also negative sides of it – bribery, “orders”, goods hidden in warehouses. Freedom of speech was restricted. But this did not directly affect the development of science. Thoughtful, talented and hardworking people were doing their job and Georgia was visible. When international exhibitions were held, Georgia was always the country that closed the exhibition. The Georgian delegations were making special impressions on guests. In 1967, a large exhibition was held in Montreal, in which all the republics of the Soviet Union participated. I was also a member of the delegation. Georgians arrived with our traditional food and wine. Our dancers and singers were there too. Many events were held. I will not forget what was happening there. Georgian folklore was always “cutting” (winning– Ed.) everywhere. As you know, Georgia was very warm in relations and many foreigners loved our country.

– But slowly our country sank into great trouble.

– This happened after the collapse of the Soviet Union. This disintegration also had its reasons. There were many restrictions. There was no freedom of speech and how many people were spoiled because of it. When we were going abroad from the sports committee, before we got our passport, we had to go to a room where a young man was sitting and he had to decide whether you were worthy or not for going abroad. But hell knows who he was. Personally, I have never been interviewed there, as every time I entered the room, anyone there would tell me – you are free. Everyone wishing to go abroad was carefully checked. I have been abroad many times, but I have not seen anyone’s shadow behind me. When we received the prizes, we gave half of the amount of money to the state. I went to Yugoslavia twice a year. Sometimes, I was attending sessions as a world champion and that was my extra source of income. There are much bigger prizes now than there used to be; It cannot even be compared.

– After such a happy life, along with others, you also had to go through a long difficult period. Do you have a feeling that you are actually on the front line of the fight?

– I do not want to assess the political situation either. I had my political views because I wanted my grandchildren and their peers to live in a normal, stable country. I knew everything that was going on around me and I could not bear it. That is why I was against Saakashvili’s government. I know what was going on in prisons. I know how people were arrested for participating in a demonstration: they took pre-made photos, then one man was attacked by three, put in a car and arrested. I attended three trials. Then I apologized and left. Watching those processes was unbearable. When a judge entered

daxmareba minda?! ver movicile da mere vTqvi, erTi vnaxo, ras akeTebs-meTqi. nana aleqsandria Tvlida, rom zagainovi namdvilad kargad exmareboda. bolos vuTxari, kargi, batono, modi, vcadoT-meTqi. amis Semdeg orjer movida CemTan saxlSi. pirvelad rom movida, meubneba, wamoweqio. me veubnebi, ar meZineba-meTqi. mainc wamoweqio. wamovweqi. dadioda da raRac sityvebs ambobda. Zalian Sevikave Tavi, rom xmamaRla ar gamcineboda. Cemi daZinebis varianti ar iyo _ arc vapirebdi daZinebas. Cemze zemoqmedebis variantic ar iyo, gamigeT?! meored rom movida, am laparakis dros TviTon CaeZina. etyoba, RamenaTevi iyo. uceb amouSva xvrinva. me vuTxari, ici, ra giTxra-meTqi? damanebe, ra, Tavi! Zlivs movicile. magram wigni gamoucia, sadac dawera, TiTqos, mec mexmareboda. albaT, nana ZagniZesac amitom hgonia, rom zagainovi CemTanac muSaobda.

_ Tqven ambobdiT, rom im periodSi, rodesac msoflio Cempioni iyaviT, saqarTvelos didi warmatebebi hqonda sxvadasxva mimarTulebiT _ xelovnebis, mecnierebis, sportis bevr dargSi. isic ki gaqvT naTqvami, saqarTvelo brwyinavdao. rogor fiqrobT riT iyo gamowveuli aseTi aRmavloba?

_ mizezi is iyo, rom Zalian bevri profesionali gvyavda, romelic Tavis saqmeSi did warmatebas aRwevda. maT Soris iyvnen fizikosebi, maTematikosebi, fiziologebi, mTlianad medicina, kultura TavisTavad, Cveni folklori. sportis sxvadasxva saxeobaSi bumberazi sportsmenebi gvyavda. stabiluroba iyo. qveyana ganaTlebaze zrunavda. Tavisufali wreebi iyo bavSvebisTvis. Tu adamiani Tavs gamoiCendi, qveyana gverdiT gedga. ra Tqma unda, uaryofiTi ambebic iyo _ meqrTameoba, „miwerebi“, sawyobebSi gadamaluli saqoneli. sityvis Tavisufleba SezRuduli iyo. magram es pirdapir ar moqmedebda mecnierebis ganviTarebaze. moazrovne, niWieri da Sromismoyvare xalxi Tavis saqmes akeTebda da saqarTvelo Canda. rodesac saerTaSoriso eqspoziciebi ewyoboda, saqarTvelo yovelTvis is qveyana iyo, romelic gamofenas xuravda. qarTul delegacias SeeZlo, stumrebze gansakuTrebuli STabeWdileba moexdina. 1967 wels monrealSi Catarda didi eqspozicia, romelSic sabWoTa kavSiris yvela respublika monawileobda. mec delegaciis wevri viyavi. qarTvelebi Cveni mzareulebiT da RviniT CavediT. Cveni mocekvaveebi da momRerlebic iq iyvnen. bevri RonisZieba Catarda. ar damaviwydeba, rac iq xdeboda. qarTuli folklori yovelTvis yvelgan „Wrida“. isedac, Tqvenc iciT, urTierTobebSi saqarTvelo iyo Zalian Tbili da bevr ucxoels uyvarda Cveni qveyana.

_ magram nel-nela es Cveni qveyana did ubedurebaSi CaiZira.

the courtroom, he did not raise his head. The minimum was four years for which anyone was sentenced.

– Why did you attend those trials?

– Our people were arrested, the people who were attending our protests. Very good, intelligent people. They were preferred over those who made noise and delivered speeches, the latter were less affected by the arrests. When that government changed, I was a bit relieved. I still do not like many things. In various talk shows, the microphone is held by people who, in my opinion, do not have the right to speak about their dignity, conscience and how people should behave. Their lies continue to this day. If you are in opposition, be a diligent and if you criticized the government for hundred times, at least once you should mention what is being done well.

– How did your life change after Saakashvili’s government changed?

– At the time when Bidzina Ivanishvili was actively involved in the struggle before the “Georgian Dream” won the elections, he offered me a seat in the Parliament, but I was not interested. Gia Burjanadze said the same – I have my profession and I am not going to change it. I was not interested in holding a post. I was offered the presidency of the Olympic Committee in 1989, they sent Emzar Zenaishvili for this offer. I thought I was a chess player and did not have the experience needed to preside the Olympic Committee. But Emzar and my husband won– they assured me to accept this offer. We went through a very difficult period, there was nothing, darkness, lack of finances, athletes moving to other countries ... but we managed to find sponsors. We established 24 scholarships and assisted 24 sportsmen nominated by the federations in their organizations. I must say that we did not miss any event, we quickly got to our feet. We participated everywhere and established relations with the Olympic Committees of other countries. Emzar Zenaishvili has been the Secretary General since that time. His qualities are precisely tailored to his position. When Badri Patarkatsishvili returned to Georgia, he was a great help to the Olympic Committee. But then, at the request of the sports world and the government, we agreed with Badri Patarkatsishvili to become president, and after that we finally breathed a sigh of relief, we achieved our goal – there was no problem that could not be solved. This person has done a lot for Georgian sports and Georgia in general. He loved this country.

– I cannot end the conversation without asking you this: in the past years, since the declaration of independence of Georgia, many people have suffered, including some– fatally. Your authority has never been violated by anyone. How do you explain this?

– I did not give grounds to say anything substantiated against me. However, on May 26, such a story happened to me that I barely

_ es moxda sabWoTa kavSiris daSlis Semdeg. am daSlasac Tavisi safuZveli hqonda. bevrnairi SezRudva iyo. sityvis Tavisufleba ar arsebobda da amis gamo ramdeni adamiani gaufuWebiaT. sportkomitetidan ucxoeTSi rom mivdiodiT, sanam pasports miviRebdiT, erT oTaxSi unda Segvevlo, sadac viRac axalgazrda ijda da mas unda gadaewyvita, Sen xar Tu ara Rirsi, sazRvargareT waxvide. arada, kacma ar icis, TviTon ras warmoadgenda. piradad me iq gasaubreba arasodes gamivlia. rogorc ki oTaxSi Sevidodi, vinc iq mxvdeboda, meubneboda, Tqven Tavisufali xarTo. yvela kargad hyavdaT Seswavlili. bevrjer vyofilvar ucxoeTSi, magram Cem ukan viRacis landi ar daminaxavs. prizebs rom viRebdiT, Tanxis naxevars saxelmwifos vabarebdiT. me weliwadSi orjer davdiodi iugoslaviaSi. xandaxan seansebs matarebinebdnen, rogorc msoflio Cempions da es Cemi damatebiTi Semosavali iyo. axla gacilebiT didi prizebia, vidre adre; Sedarebac ar SeiZleba.

_ aseTi bednieri cxovrebis Semdeg, sxvebTan erTad, Tqvenc xangrZlivi mZime periodis gadatana mogixdaT. gaqvT gancda, rom, faqtobrivad, brZolis wina xazze aRmoCndiT?

_ arc minda, rom politikuri viTareba Sevafaso. me mqonda Cemi politikuri Sexeduleba imitom, rom mindoda Cems SviliSvilebs da maT Tanatolebs normalur, dalagebul qveyanaSi ecxovraT. yvelaferi vicodi, irgvliv ra ubedurebac trialebda da amis atana ar SemeZlo. amitom viyavi saakaSvilis mTavrobis winaaRmdegi. vicodi, rac cixeebSi xdeboda. vicodi, demonstraciaSi monawileobisTvis xalxs rogor apatimrebdnen: winaswar fotoebs uRebdnen, mere erT kacs daesxmeboda sami, Casvamdnen manqanaSi da akavebdnen. sam sasamarTlo process daveswari. mere bodiSi movuxade Cvenebs da uari vuTxari. im procesebis yureba autaneli iyo. mosamarTle darbazSi rom Semodioda, Tavs maRla ar swevda. minimumi iyo oTxi weli, rasac usjidnen.

_ Tqven ratom eswrebodiT am sasamarTlo procesebs?

_ Cvens xalxs iWerdnen, im adamianebs, vinc Cvens aqciebze dadioda. Zalian kargi xalxi dadioda, inteligencia. aseTebs ufro erCodnen. vinc xmaurobda da sityviT gamodioda, imaT naklebad exebodnen. roca is xelisufleba Seicvala, cota suli moviTqvi. bevri ram axlac ar momwons. sxvadasxva toqSouSi mikrofoni sul im adamianebs uWiravT, romlebsac, Cemi azriT, ar aqvT ufleba, ilaparakon namusze, sindisze da imaze, xalxi rogor unda moiqces. dRemde grZeldeba maTi tyuilebi. Tu opoziciaSi xar, keTilsindisieri opozicioneri mainc iyavi. asjer gaakritike xelisufleba, magram erTxel mainc xma amoiRe imaze, rac kargi keTdeba.

_ imis Semdeg, rac saakaSvilis xelisufleba Seicvala, rogor Seicvala Tqveni cxovreba?

_ im dros, rodesac biZina ivaniSvili aqtiurad CaerTo brZolaSi, sanam „qarTuli ocneba“ arCevnebs moigebda, batonma biZinam parlamentaroba SemomTavaza, magram es ar mainteresebda. gia burjanaZemac igive Tqva _ Cemi profesia maqvs da ar vapireb mis gamocvlaso. Tanamdebobebi ar mainteresebda. roca olimpiuri komitetis prezidentoba SemomTavazes 1989 wels, emzar zenaiSvili gamomigzavnes. me vTvlidi, rom moWadrake var da ar maqvs olimpiuri komitetis prezidentobisTvis saWiro gamocdileba. magram orma adamianma majoba _ emzars Cemi meuRlec waexmara. damarwmunes, rom uari ar meTqva. Cven gaviareT Zalian rTuli gza, nulovani situacia, sibnele, usaxsroba, sportsmenebis sxva qveynebSi sacxovreblad wasvla... magram movaxerxeT sponsorebis moZebna. 24 stipendia davaweseT da federaciebis mier wardgenil am 24 sportsmens TavianT organizaciebSi exmarebodnen. unda vTqva, rom arcerTi RonisZieba ar Cagvigdia, Cqara davdeqiT fexze. yvelgan miviReT monawileoba, sxva qveynebis olimpiur komitetebTan urTierToba davamyareT. emzar zenaiSvili im droidan dRemde generaluri mdivania. zustad aris morgebuli misi Tvisebebi mis Tanamdebobas. rodesac badri patarkaciSvili saqarTveloSi dabrunda, is did daxmarebas uwevda olimpiur komitets. magram Semdeg, sportuli samyaros da xelisuflebis TxovniT, badri patarkaciSvili daviTanxmeT, rom prezidenti gamxdariyo da amis Semdeg sabolood amovisunTqeT, mivaRwieT Cvens mizans _ aRar iyo problema, romelic ar gvardeboda. am adamianma qarTul sports da, saerTod, saqarTvelos Zalian bevri ram gaukeTa. uyvarda es qveyana.

_ saubars ver davasruleb, es rom ar gkiTxoT: ganvlil wlebSi, saqarTvelos damoukideblobis gamocxadebidan dRemde, bevri adamiani dazaralda da, maT Soris, zogi _ sabediswerodac. Tqveni avtoriteti ki verasdros veravin Selaxa. amas riTi xsniT?

_ safuZveli ar mimicia, rom Cem winaaRmdeg rame dasabuTebuli eTqvaT. Tumca, 26 maiss iseTi ambavi SememTxva, rom cocxali Zlivs gadavrCi. rogor warmovidgendi, rom yvela gzas gadaketavdnen da xalxs alyaSi moaqcevdnen? ar gainteresebT, me rogor gamovedi iqidan? waviqeci da dRemde vimki im ambebs, sul mWirdeba, rom kiseri vavarjiSo. waqceulze Cemze xalxi gadadioda imitom, rom araferi ar Canda. erTi mosuli kaci iyo, Tavis droze soxumSi nabrZoli. mas gamocdileba hqonda, Torem arc iaraRi eWira xelSi da arc araferi. ubralod, Cem gverdiT unda mdgariyo. yvelam damkarga, vinc CemTan erTad iyo. kibidan vvardebodi jer da am kacma damiWira, es moaxerxa. mere xalxi mogvawva da gawyda kavSiri Cven

Soris. me waviqeci, Tan wvimda. waviqeci da am kacma moaxerxa Cemi wamoyeneba. rogor wamomayena, ar vici, Zala saerTod ar mqonda. kordonisken mimaTrevda, Tan iZaxda _ nona gafrindaSvili gamomyavs da ar esroloTo. sami kordoni iyo da samives Tavisi meTauri hyavda. sanam meTauri brZanebas gascemda, rom me gaveSviT, fari mqonda modebuli Sublze, gesmiT?! ase gaviareT yvela kordoni. mere viRacas gaaxsenda, rom am kacs gavyavdi. me gamiSves, magram imas staces xeli da waiyvanes. ai, am ambis Camdenebi kidev parlamentarebi arian da xalxs moZRvraven.

_ Zalian kargi periodebic gadaitaneT da Zalian cudic. mTlianobaSi rom gadaxedoT Tqvens cxovrebas, dRes vis mimarT gaqvT madlierebis gancda?

_ iciT, visi madlobeli var? piradad arc vicnob im pedagogebs, magram vici, fuli ar hqondaT, arc gadaadgilebis saSualeba hqondaT, magram bavSvTa wreebis mecadineoba ar CauSliaT. cekvis, simReris, sportis sxvadasxva saxeobis wreebi sul muSaobda. bavSvebic fexiT dahyavdaT, SeZlebisdagvarad. ai, aseTi xalxi gadaarCens qveyanas mZime situaciaSi. kidev, madlieri var yvela adamianis, vinc gverdiT daudga olimpiur komitets sportsmenebis gadasarCenad, nebismieris, visac, Tundac, asi dolari gauRia am saqmisTvis. madlobeli var yvela im adamianis, romelmac patara aguri dado qveynis gadasarCenad maSin, rodesac piradad masac Zalian uWirda. dRes ukeTesi pirobebi gvaqvs. propagandisti arasodes vyofilvar, magram usamarTlobas ver vitan. avRaneTSi daRupuli meomrebis ojaxebisTvis, anda, saqarTveloSi daRupuli meomrebis ojaxis wevrebisTvis 500 lari gaxda pensia pirvelive wels, roca xelisufleba Seicvala. meore wlidan ki aTas lars iReben. mcire sawarmoebic gaixsna. ramdeni sicocxlea gadarCenili?! umaduroba afuWebs yvelafers. me ra minda? me araferi minda imis garda, rom qveyana iyos mSvidobianad. mimaCnia, rom yvela erovneba Rirseulia. adamianebi ki nebismier erovnebaSi cudebic arian da kargebic. amitom, minda, iseT saxelmwifoSi icxovros Cvenma STamomavlobam, rom nebismieri sxva erovnebis adamianisTvis saamayo iyos aqauri pasportis miReba da aq cxovreba. ai, maSin iqneba qveyana fexze.

_ didi madloba saintereso saubrisTvis. intervius davasrulebT Tqveni komentariT cnobili adamianebis or gamonaTqvamze. pirveli citatis avtoria Zveli moWadrake da Wadrakis Teoretikosi aron nimcoviCi: „yvela jansaR sazogadoebaSi arsebobs gamsvleli paiki...“

_ saqarTveloSi iyo qarxana, romelic sunamoebs awarmoebda. am qarxanam gamouSva ori sunamo: „nona lazieri“ da „nana paiki“. nanam ikiTxa, ratom paikio? lazierSi gamsvleli paikiao, _ upasuxes (icinis). Wadrakis TamaSi igive cxovrebaa. rogorc cxovreba

survived. How could I imagine that all roads would be blocked and people would be besieged? Wondering how I got out of there?

I fell down and still suffering from that pain, I need to train my neck all the times. People jumped on me because I could not see anything. There was one man who came, he fought in Sukhumi in his time. He had experience, otherwise he would not have held a gun or anything. He just had to stand by me. I lost everyone who was with me. I was running down the stairs first and this man caught me, he managed it. Then people pushed us and the connection between us was cut off. I fell down, it was raining. I fell down and this man managed to raise me up. I do not know how he managed, as I did not have the strength at all. He was approaching the cordon and shouting – I am taking Nona Gaprindashvili out and not shoot. There were three cordons and all three had their own commander. Before the commander could order me to run, I had a shield spread over my forehead, you know?! That’s how we went through all the cordons. Then someone remembered that I was with this man. I was released, but he was handcuffed and taken away. The perpetrators of this are still parliamentarians and guide people.

– You endured very good periods and very bad ones. To look at your life as a whole, who do you feel grateful for today?

– Do you know whom I am grateful for? I personally do not know those teachers, but I know they did not have sufficient means to work, but they did not miss a lesson for their children at the circles of various kinds of dance, singing, and sports – they all worked. Children were also allowed to walk as much as possible. These people will save the country in a difficult situation. Again, I am grateful to all the people who stood by the Olympic Committee to save the athletes, to anyone who, at least, spent a hundred dollars for this cause. I am grateful to all the people who laid a little brick to save the country at a time when they were in trouble themselves. We have better conditions today. I have never been a propagandist, but I cannot bear injustice. Pensions for the families of soldiers killed in Afghanistan, or for the families of soldiers killed in Georgia, increased to 500 GEL in the first year when the government changed. From the second year they receive one thousand GEL. Small enterprises were also opened. How many lives are saved?! The voracity spoils everything. What do I want? I want nothing more than for the country to be peaceful. I believe that all nationalities are praiseworthy. People of any nationality are both bad and good. Therefore, I want our descendants to live in a state where people of any other nationality can be proud to get a passport and live here –then the country will be stonger.

– Thank you very much for the interesting conversation. We will end the interview with your comment on two statements made by famous people. The author of the first quote is Aron Nimzowitsch, the famous chess player and chess theorist (1886 –1935): “In every healthy society there is a passing pawn”.

ar gapatiebs daSvebul Secdomas _ imitom, rom erT Secdomas yovelTvis mohyveba meore _ asea Wadrakis dafazec. yovelTvis unda gvaxsovdes: paiks sxva figurebi exmarebian, rom boloSi gavides da lazieri gaxdes. magram TviTon paiksac didi Zala aqvs, TviTonac SeuZlia, sxva figurebs miexmaros. yvela xom lazieri ver iqneba?!

_ meore citata ekuTvnis poets, kompozitors da momRerals _ bulat okujavas: „roca Cemi Tavi genialuri mgonia, maSinve WurWlis gasarecxad mivdivar.“

_ adamianma Tavis Tavs genialuri ar unda uwodos, veTanxmebi bulats. magram sakuTar TavSi unda iyo darwmunebuli, sxvanairad mwvervalebs ver daipyrob. Tumca, obieqturobas ar unda ascde. zogi duSaSs gaagorebs da raRacas miaRwevs. SeiZleba, ar imsaxurebdes, magram gaagora duSaSi. roca adamiani daumsaxureblad raRacas miiRebs, yovelTvis TavSi uvardeba. SeiZleba, Tavis Tavs geniosic uwodos da sxvebs zevidanac gadaxedos. magram es droebiTia. nebismier miRwevas ganviTareba sWirdeba, sxva SemTxvevaSi, aucileblad yvelaferi daikargeba.

foto: irakli gedeniZe

– There was a factory in Georgia that produced perfumes. This factory produced two perfumes: “Nona Queen” and “Nana Pawn”. Nana asked, why pawn? Pawn is passing to Queen, – they answered (laughing). Playing chess is the same as life. Just as life does not forgive mistakes – because one mistake always leads to another – so it is on a chessboard. Always remember: pawn is helped by other figures to get to the end and become queen. But pawn himself has great power, it can help other figures. Not everyone can be queen, right?!

– The second quote belongs to the poet, composer and singer – Bulat Okujava (1924-1997): “When I think I am a genius, I immediately go to wash the dishes.”

– A person should not call himself a genius, I agree with Bulat. But you have to be confident in yourself, otherwise you cannot succeed. However, you should not go beyond objectivity. Some will roll the dice and achieve something. They don’t deserve this success, but they rolled the dice. When a person receives something undeservedly, he always falls back. He may even call himself a genius and look down on others. But this is temporary. Any achievement needs development, otherwise everything will definitely be lost.

by Irakli Gedenidze

Photo

koba gurulis namuSevrebis ferebi, siRrme da poezia

COLORS, DEPTH AND POETRY OF KOBA GURULI’S WORKS

koba guruli 1965 wels SemTxveviTobis wyalobiT gavicani e.w. „aramiancis~ saavadmyofoSi, sadac erT palataSi movxvdiT. ukeTilSobilesi adamiani iyo. erTxel SeamCnia, rom rveulSi raRacas vxatavdi, dainteresda da gamamxneva, ucabedad daxatul portretze miTxra, kargiao. amis Semdeg sakmaod mravalma welma Caiara da 1978 wels movxvdi mis saxelosnoSi. momnusxa misma namuSevrebma. Tvals ver vaSorebdi. man ki didi interesiT daaTvaliera

I got acquainted with Koba Guruli quite by chance in so-called “Aramyants” hospital, where we shared a ward. He was a noble man. Once he noticed that I was drawing something in a notebook, he became interested and trying to encourage me, suddenly told me about the painted portrait - it’s good.

Quite a few years passed after that and in 1978 I got into his art studio. I was inspired by his works. I could not take my eyes off them. And he looked with great interest at my pen drawings. By then he

Cemi patara zomis, flomasteriT Sesrulebuli naxatebi. maSin ukve gandegiliviT cxovrobda Tavis saxlSi Caketili. etyoboda, rom bevri ramis gadatana mouxda. im dros mec rTuli periodi mqonda. man Tavis saxelosnoSi gamofenis mowyoba SemomTavaza. aRar gavagrZeleb, yvela mixvdeba, ras niSnavda maSin es CemTvis, sruliad axalgazrda adamianisTvis.

bevri didi Semoqmedi Sva saqarTvelom, magram Cems suls yvelaze metad koba gurulis Semoqmedeba esalbuneba. amitom gadavwyvite damewera masze da mis farTo da yovlismomcvel Semoqmedebaze. koba guruli _ didi qarTveli mxatvari, samyaros mesaidumle, ugonieresi kaci, romelic odesme Semxvedria. masze udidesi wyaloba gaiRo Semoqmedma da daanaTla RvTiuri niWi, ganmtkicebuli didi SromiT, TavganwirviTa da SeupovrobiT, ramac gaxada igi sityvisa da samyaros kanonebis gulTamxilveli da goniT Semcnobi.

koba gurulze vfiqrob da uceb wamovida azrebi, xilvebi, saocari, metnaklebad zusti mignebebi mis Semoqmedebaze. amjerad axlidan maqvs yvelaferi

was already living solitary, locked in his house. It seemed like he went through hard times. I also had a difficult period in my life at that time. He offered me an exhibition in his studio. I will not go on, everyone will understand what it meant then to me, to a young person.

Many great artists were born in Georgia, but my soul loves the works of Koba Guruli the most. So, I decided to write about him and his extensive and comprehensive work. Koba Guruli - a great Georgian artist, the mystic of the world, the wisest man I have ever met. The Creator bestowed great mercy on him and enlightened him with divine talent, strengthened by hard work, self-sacrifice and perseverance, which made him an omniscient and a knower of the laws of the world.

I am thinking of Koba Guruli and suddenly came up with thoughts, visions, amazing, more or less accurate findings about his work. This time I have to remember everything from the very beginning. Everything that quickly faded and disappeared.

Let me pose a few questions!

1. What brought me to Koba Guruli? - I was attracted by his works with originality, depth, amazing findings ... I also noticed the closeness of my modest works with him ...

2. How do I feel when I look at his works? - Koba Guruli was living with constant discoveries: he was painting, sculpturing, writing.

gasaxsenebeli. yvelaferma uswrafesad gaielva da gaqra. modiT, ramdenime kiTxvas Camovayalibeb!

1. ram mimiyvana koba gurulTan? _ mimizida misma namuSevrebma originalobiT, siRrmiT, saocari mignebebiT... Cemi mokrZalebuli namuSevrebis siaxlovec SevamCnie masTan...

He was thoroughly acquainted with ancient mythology, the Bible, the origins of Georgian philosophy, Georgian culture, the cultural heritage of different countries. Thanks to his excellent logical thinking and strong intuition, he was able to reach amazing depths, the preGeorgian beginnings of world civilization.

3. How is it different from other artists? - For me, Koba Guruli is a

2. ra SegrZneba meufleba, roca mis namuSevrebs vuyureb? _ koba guruli mudmivi aRmoCenebiT cxovrobda: xatavda, aqandakebda, werda. zedmiwevniT icnobda Zvel miTologias, biblias, qarTuli filosofiis, qarTuli kulturis saTaveebs, sxvadasxva qveynis kulturul memkvidreobas. SesaniSnavi logikuri azrovnebisa da uZlieresi intuiciis wyalobiT swvdeboda saocar siRrmeebs, msoflio civilizaciis winare qarTul sawyisebs.

3. riT gansxvavdeba igi sxva Semoqmedebisagan? _ CemTvis koba guruli aris sulieri winamZRoli, romelmac Tavisi niWierebisa da Sromis Sedegad SeZlo gaWra kosmiuri sibrZnis wyarosken.

4. sad aris fesvebi misi Semoqmedebis? _ Soreul saukuneebSi, roca iberiul- kolxur samyaroSi fexi aidga liTonis damuSavebam... an ufro adrec...

5. ra aris misi mTavari Zala? _ meamboxe suli, uSreti

spiritual leader who, as a result of his talent and hard work, was able to cut to the source of cosmic wisdom.

4. Where are the roots of his creativity? - In the distant centuries, when metal processing was established in the Iberian-Colchian world ... or even earlier ...

5. What is its main strength? - Rebellious spirit, endless imagination, access to the world beyond centuries ...

6. Ancestors (surname “Guruli”). - As he told me, they left Meskheti for Guria, their last name was Kikvadze, and then they settled in Imereti, near Zestaponi, in Kvemo Sakara and become Imereti “Gurians”.

7. How did he start painting? I think it started in the environment where he grew up. His ancestors worked on stone, there he mastered stone processing, sculpture ...

8. What was his attitude towards art, in particular, painting, while studying at the Art Academy? If I am not mistaken, his teacher at the Academy of Fine Arts was a famous sculptor, Nikoloz Kandelaki. I am

fantazia, saukuneebis miRma samyaroSi wvdoma...

6. winaprebi (gvari `guruli~). _ rogorc miTxra, isini mesxeTidan arian wamosulebi guriaSi, maTi gvari iyo kikvaZe, Semdeg ki damkvidrdnen imereTSi, zestafonTan, qvemo saqaraSi, imereli „gurulebi~.

7. rogor daiwyo misi mxatvroba? me mgoni, daiwyo im garemoSi, sadac is gaizarda. misi winaprebi qvaze muSaobdnen, iq daeufla qvis damuSavebas, qandakebis Seqmnas...

8. rogori iyo misi damokidebuleba xelovnebisadmi, kerZod, mxatvrobisadmi, samxatvro akademiaSi swavlisas? Tu ar vcdebi, misi pedagogi samxatvro akademiaSi iyo cnobili moqandake, nikoloz kandelaki. darwmunebuli var, aseT moqandakesTan bevrs miaRwevda da bevrsac iswavlida.

9. ra aqvs saerTo uZveles qarTul mxatvrobasTan (freskebi, Weduroba, xuroTmoZRvreba, wignis mxatvroba (miniatura), koba gurulis Semoqmedebas? _ darwmunebuli var, koba guruli Zalian Rrmad icnobda qarTul xelovnebas.

10. rodis iwyeba saqarTveloSi liTonmqandakebloba? liTonze muSaoba uZvelesi droidan modis. ramdenadac vici, liTonmqandakeblobis bolo ostati iyo meunargia. misi aRorZineba axlidan daiwyo 50-ian wlebSi: irakli oCiauri, koba guruli, guram gabaSvili...

11. miTebi da miTologiuri personaJebi... koba guruli mTeli arsebiT maTTan iyo, ase mgonia.

12. qarTuli anbani, qarTuli sityva _ amisaTvis sakmarisia, gavecnoT koba gurulis nawarmoebebs...

13. sxivi naTeli, kosmosi, samyaro, RmerTTan kavSiri _ es yvelaferi Cans kobas SemoqmedebaSi.

14. gansxvaveba mecnierTa da did xelovanTa naazrevs Soris. amaze qvemoT maqvs dawerili oriod sityva.

14. gulwrfeloba, azris sicxade, pirovnuli Tavisufleba, fiqriT navardi kosmiur sivrceSi. _ koba amiTac gamoirCeva!

16. qarTuli fenomeni!

17. e.w. dekoratiul-gamoyenebiTi xelovneba sabWoTa epoqaSi da am safaris qveS xelovnebis umTavresi amocanebis gadawyveta. es Zalze mniSvnelovania. swored aman SeaZlebina koba guruls, ekeTebina warmoudgeneli namuSevrebi, ris nebasac dazguri ferweriT an grafikiT ar SeaZlebinebdnen.

18. novatori _ ferebi liTonmqandakeblobaSi, liTonis gacocxleba, uSreti fantazia, emocia, qarTuli ZarRvebi, adamiani da samyaro, sicocxlis saidumlo, ani da ini, xiluli da uxilavi, `Zaxili udabnoSi~, meamboxe suli, qarTuli hangebi: `Sen xar venaxi~; qarTuli wiaRi, samyaros pulsi, kvazari, alfa da omega, umaRlesi „realizmi~ da abstraqcia, portretebi: Tamari, SoTa, galaktioni, daviTi, erekle...

sure he would have achieved and learned a lot with such a sculptor.

9. What does the ancient Georgian painting (frescoes, stamping, architecture, book painting (miniature), and Koba Guruli’s work have in common? - I am sure that Koba Guruli knew Georgian art very deeply.

10. When does metal sculpture start in Georgia? Working on metal dates back to ancient times. As far as I know, the last master of metal carving was a farmer. Its revival started again in the 50s: Irakli Ochiauri, Koba Guruli, Guram Gabashvili ...

11. Myths and mythological characters ... Koba Guruli was with them with his whole being, I think.

12. Georgian alphabet, Georgian word - for this it is enough to get acquainted with the works of Koba Guruli ...

13. The ray of light, the cosmos, the universe, the connection with God - all this is seen in Koba’s creation.

14. The difference between the opinions of scientists and great artists. I have written a few words about this below.

14. Sincerity, clarity of thought, personal freedom, thinking in space. - Koba stands out with that too!

16. Georgian phenomenon!

19. mwerali _ „Cemi or-du wuTisofeli~, poezia. Cemi mizania, rac SeiZleba, obieqturad vwero. msurs, yvelam ukeT gaicnos didi qarTveli xelovani. amasTanave, ra Tqma unda, gaazrebuli maqvs, rom subieqturobas ver avcdebi bolomde. rTulia CemTvis wera. koba

17. The so-called decorative-applied art in the Soviet era and solving the main tasks of art under this cover. This is very important. This is what enabled Koba Guruli to create incredible works that would not have been possible with easel painting or graphics.

18. Innovator - colors in metal sculpture, metal revival, endless

gurulis biografia naTlad avlens, Tu ra mZime reJimis dros uxdeboda mas cxovreba da moRvaweoba; ra Zalisxmevisa da msxverplis fasad SeiZleboda yofiliyavi xelovani, mxatvari, Semoqmedi aseT pirobebSi. ramdeni daumsaxurebeli tkivili unda moeyenebinaT SenTvis. pirvel rigSi vgulisxmob sabWoTa Cinovnikebis xelovnebas mitmasnebul armias, romelTagan zogierTi, marTlac, SeiZleba iyo garkveuli mxatvruli niWiT dajildoebuli. jer isedac ra rTulia Semoqmedis bedi misi gansakuTrebulobis gamo; imis gamo, rom is erTdroulad cxovrobs warsulSi, awmyosa da momavalSi; imis gamo, rom igi uswrebs dros. ramdeni msxverpli unda gaiRon man da misma sayvarelma uaxloesma pirovnebebma, magram roca amas emateba autaneli reJimi SezRudvebiT, romelTa darRvevis SemTxvevaSi yovel wuTs gemuqreba sulieri Tu fizikuri wameba an ganadgureba, da roca Sen sakuTari nebiT iketebi sakuTar cixeSi, cxovrob gandegilis cxovrebiT da samagierod inarCuneb Sens namdvil saxes, saTnoebas, wvdebi udides siRrmeebsa da simaRleebs uflis wyalobiT, yovelgvari gazviadebis gareSe, iwvi da anaTeb da gascem uzomo sikeTes, roca nebismier msurvels uwiladeb sulier sazrdos da uwvdi daxmarebis xels, aCveneb gzas

imagination, emotion, Georgian veins, man and the world, the secret of life, Yin and Yang, visible and invisible, `cry in the desert`, rebellious spirit, Georgian tunes:` you are the vineyard`; Georgian entrails, pulse of the universe, quasar, alpha and omega, higher “realism” and abstraction, portraits: Tamar, Shota, Galaktioni, David, Erekle ... 19. Writer - “My two-two world”, poetry.

My goal is to write as objectively as possible. I want everyone to get to know the great Georgian artist better. At the same time, of course, I have realized that I cannot miss subjectivity to the end. It’s hard for me to write. Koba Guruli’s biography clearly reveals that he had to cope his life and work with difficult regime; At what cost of effort and sacrifice he could be as an artist, a creator in such conditions. How much undeserved pain they should have inflicted on him. First of all, I mean the army of people affiliated to the art of Soviet officials, some of which, indeed, may have been endowed with certain artistic talents. Yet how difficult is the fate of the artist because of his uniqueness; Because he lives simultaneously in the past, present, and future; Because he is ahead of his time. How many sacrifices he and his loved ones have to make, but when it is added to the unbearable regime with restrictions, the violation of which threatens you every

gadarCenisa; ase cxovreba erTeulebis xvedria an sulac erTaderTisa.

saocar simaRleze avida batoni koba. misTvis ar arsebobs `amouxsneli~ saidumlo. mas iseTi Zalis goneba aqvs, ise swvdeba aTasgvar saidumlos, rom ukvirs, rogor ver ugeben sxvebi imas, rasac is ase martivad xsnis.

aq namdvilad ar vapireb batoni kobas mignebebis gaanalizebas. erTi SemiZlia vTqva, me Sinaganad mas veTanxmebi, da mjera, rom qarTveli Semoqmedi, romelic gulwrfelia da wminda guliT muSaobs, Zalauneburad miva Tavisi qarTuli fenomenis saTaveebTan da igrZnobs, rom, marTlac, igavmiuwvdomel kosmiur sivrceebSi gasvlis saSualebas iZleva es ukanaskneli.

aseTi, intuiciaze dayrdnobili gancda, sxvebsac SeiZleba hqondeT, magram es sruliadac araa sakmarisi imisaTvis, rom ise axsna movlenebi, rogorc es baton kobas SeuZlia.

amouwuravia is simdidre, romelic koba gurulma STamomavlobas dautova. CemTvis koba guruli aris mxatvari, sulieri winamZRoli, romelmac Tavisi niWierebisa da Sromis Sedegad SeZlo gaWra kosmiuri sibrZnis wyarosken, mivida RmerTTan. is Tavisi fiqris

minute with spiritual or physical torture or destruction, and when you voluntarily lock yourself in prison, you live the life of a hermit and keep your true face, virtue, reach the greatest depths and heights by the grace of the Lord, without any exaggeration, burn and shine and give immense goodness, when you give to anyone who desires spiritual nourishment and help, show the way to salvation; Such life is occasional to only few or even one person.

Mr. Koba climbed to an amazing height. There is no “unexplained” secret for him. He has such a powerful mind that he is so immersed in a thousand secrets that he wonders how others cannot understand what he explains so easily.

I am not really going to analyze Mr. Koba’s findings here. One can be said - I internally agree with him, and believe that the Georgian artist, who is sincere and works with a pure heart, will mentally go to the origins of his Georgian phenomenon and feel that, indeed, allows him to go into unimaginable cosmic spaces.

Such a feeling, based on intuition, can be possessed by others as

sxivebiT kveTs uzarmazar sivrceebs, rogorc fizikurs, aseve suliers da Tavisuflad danavardobs am saocar samyaroSi.

e.w. praqtikosi mecnierebi, albaT, daeWvebiT Sexvdebian debulebebs, romliTac xsnis batoni koba sxvadasxva sakiTxs. mag. rogoricaa sityvebis etimologia, samyaros mowyoba da a.S. es zRvari maT Soris yovelTvis darCeba. magram darwmunebuli var, momavali Taobis mecnierebi ufro miuaxlovdebian kobas naazrevs da bevr rames swored mecnierul axsnasac mouZebnian. mainc raSia misi Semoqmedebis saidumlo? amas bolomde verasodes veravin amoicnobs da swored es aris yvelaze mimzidveli mis namuSevrebSi.

yvela didi xelovani qmnis Tavis samyaros da agebs mwyobr sistemas, romlis agebis principebic sxvisTvis bolomde miuwvdomelia. amasTanave, saocari gamWriaxobis

well, but it is not at all enough to explain events in the way that Mr. Koba can.

The wealth that Koba Guruli left to his descendants is inexhaustible. To me Koba Guruli is an artist, a spiritual leader who, through his talent and hard work was able to cut to the source of cosmic wisdom, came to God. He crosses vast spaces, both physical and spiritual with his rays of thought and falls freely into this wonderful world.

The so-called practicing scholars will probably be skeptical of the provisions by which Mr. Koba opens up various issues. For example, such as word etymology, world order, etc. This boundary between them will always remain.

But I’m sure the next generation of scientists will be closer to Koba’s thinking and will find many scientific explanations for many things. At least what is the secret of his creation? This can never be fully understood by anyone and that is what is most appealing about his work.

wyalobiT Tavisebur axsnas uZebnis uaxles fizikur aRmoCenebsac. is mxatvaria am sityvis umaRlesi mniSvnelobiT. mis namuSevrebSi Zalumad feTqavs qarTuli ZarRvi. es namuSevrebi Zveli qarTuli xelovnebis bunebriv gagrZelebad gvevlineba. amasTanave, is Zalze individualuria. sruliad gansxvavebulia misi xelwera. magram xelwera mxolod erTi aspeqtia. gansxvavebulia filosofiuri siRrme, Tematika; moulodnelia personaJTa rakursebi, kompozicia. misi namuSevrebi saocrad dinamikuria.

qarTulma liTonmqandakeblobam mniSvnelovani roli Seasrula XX saukunis 50-iani wlebis bolosa da 60iani wlebis dasawyisis qarTul saxviT xelovnebaSi ganxorcielebul revoluciur procesebSi. am TvalsazrisiT sruliad gansakuTrebuli adgili ukavia koba gurulis Semoqmedebas, radgan piradad CemTvis da, albaT, bevri sxvisTvisac is mimzidvelia ara marto xelovnebis gamorCeuli nimuSebisaTvis damaxasiaTebeli iseTi maxasiaTeblebiT, rogoricaa zusti kompozicia, monumenturoba, gamosaxvis saSualebaTa ostaturi floba (rac aZlevs saSualebas mxatvars, Tavisuflad

Every great artist creates his world and builds an orderly system, the principles of which are completely inaccessible to anyone else. In addition, thanks to his amazing insight, he seeks a peculiar explanation for the latest physical discoveries. He is an artist in the highest sense of the word. Georgian veins explode in his works. These works are a natural continuation of old Georgian art. In addition, he is very individual. His handwriting is completely different. But handwriting is only one aspect. Philosophical depth, themes are different; The angles of the characters, the composition, are unexpected. His work is remarkably dynamic.

Georgian metal sculpture played an important role in the

misdios azris dinebas, gamoiyenos srulyofilad liTonis feradovani SesaZleblobebi, is rom liTonis firfitis damuSavebisas is erTdroulad aris grafikosic, moqandakec da fermweric), aramed am namuSevrebis filosofiuri siRrme, Tu SeiZleba iTqvas, azriT datvirTuloba, kosmiuroba, mzianoba, cxovelmyofeloba; xelovnebis maradiuli Temebis axleburad gaazreba da warmodgena, saTqmelis lakoniurad gamoxatvis unari, gamosaxvis sisadave, formisa da Sinaarsis erTianoba, gansakuTrebuli emociuroba, zomierebis grZnoba, rodesac abstragirebis maRali donis SemTxvevaSic gamosaxuleba sicocxliT aris savse da arasodes iqceva formalur tvinismier TamaSad, an Tavsatex rebusad. mis namuSevrebSi bunebrivadaa Serwymuli erovnuli da zogadsakacobrio sawyisebi.

koba gurulis Semoqmedeba ganZia saqarTvelosi. Cvens axlos, sul aqve, es ganZi Zevs da Cvengan meti yuradRebaa saWiro.

revolutionary processes in Georgian fine arts in the late 1950s and early 1960s. Koba Guruli’s work has a very special place in this respect, because for me personally, and probably for many others, it is attractive not only for the characteristics of outstanding works of art, such as precise composition, monumentality, mastery of imagery (which allows the artist to think freely) , to make full use of the color possibilities of metal, the fact that in the processing of a metal plate he is at once a graphic artist, a sculptor, and a painter), but also the philosophical depth of these works, if one may say, in terms of its scale, universality, brightness, vividness; Re-understanding and presenting eternal themes of art, the ability to express concisely, the controversy of the image, the unity of form and content, the special emotion, the sense of moderation, when even with a high level of abstraction the image is full of life and never becomes a formal brain game or puzzle. His works naturally combine national and universal origins.

Koba Guruli’s work is a treasure of Georgia. Near us, right here, this treasure is being sought and more attention is needed from us.

MAKHARADZE

guruli mxedrebis ambavi THE STORY OF GURIAN RIDERS

wels Sesrulda 130 weli, rac guruli mojiriTeebi SeuerTdnen bafalo bilis ,,veluri dasavleTis“ Sous londonSi. isini, rogorc rusi kazakebi, TiTqmis 30 wlis ganmavlobaSi gamodiodnen sxvadasxva Souebsa da cirkebSi. dRes es usamarTloba aRmoifxvra da amerikis ramdenime muzeumSi maT fotoebs Seucvales warwera da kazakebis magivrad miTiTebulia, rom isini arian saqarTvelodan, guriidan.

a.w. 18-19 maiss Catarda am TariRisadmi miZRvnili ori RonisZieba, lanCxuTsa da ozurgeTSi, sadac kidev erTxel gaixsenes guruli mojiriTeebi, romelTac SeiZleba iTqvas, pirvelebma gaWres fanjara dasavleTSi.

This year marks the 130th anniversary of the Gurian Riders joining the Buffalo Bill “Wild West” show in London. They appeared in various shows and circuses in the name of Russian Cossacks for almost 30 years. Today this inequity has been corrected and in several American museums their photo annotations are changed and instead of Cossacks it is written that they are from Georgia, Guria.

Two events dedicated to this date were held on May 18-19, in Lanchkhuti and Ozurgeti, where the Gurian Riders were remembered once again, they can be said to be the first Georgians to cut a window to the West.

irakli maxaraZe

IRAKLI

mTavari mizezi gurulebis sazRvargareT wasvlisa, ekonomiuri siduxWire gaxldaT. `cnobis furceli” (21 dekemberi, 1897) werda, rom gurulebi: `Tviurad Rebulobdnen as-as maneTs (50 dolars _ i.m.) yovelive xarjs garda da Tan `qveyana naxes.~ es ki arc Tu ise cota iyo Raribi glexisaTvis.

SouSi uamravis sxvadasxva qveynis warmomadgeneli monawileobda. ,,avstralidan Cameiyvanen kacebi mTla Savebi niguzaliviT Tmebi aqven, racxa ucnauri sasrol xmaroben bumurangs uZaxian xisganaa gamonaTali mokavkuli da brtyeli rum geisvri mere TviTam ukan gibrundeba. asTe nadiroben. erTma Sovis kacma Txua masrolieo isrole mara frTxilaTo. kacma vaSkacura geisrola gafreniT qe gafrinda mara mobrunebuli veRar deiWira da moxTa saxeSi da muungria ypai ii abdala gadarCa mara ypa akruli deiareboda karqa xans,“ (stili daculia) _ werda ucnobi mojiriTe sakuTar dRiurSi. saintereso cnobas gurulebis gvawvdis `cnobis furceli~ (12 aprili, 1903): `inglis-burebis omis dros, cirkis patrons Wrilobisagan morCenili burebic

(THE END)

The main reason for the Gurians to go abroad was the poverty. ”Tsnobis Purtseli” (December 21, 1897) reported that the Gurians: “received a hundred manats ($ 50 - a month) per month except for all expenses and toured around.” This was not a small thing for a poor peasant.

The representatives of many different countries participated in the show. “Men are brought from Australia. They are all black and have hair like a coal. They use a strange shot, curved airfoil called boomerang, after throwing it turns back itself. This is how they hunt. One of the men asked them to try it, they gave it to him but warned him to be careful. The man threw the boomerang, but could not catch it back and it broke his jaw. The poor man survived, wrapped up his face for quite some time” – this was the note from the diary of one of the riders.

An interesting fact about Gurians in published in “Tsnobis Purtseli” (April 12, 1903): `During the Anglo-Boer War, the circus owner was also invited by the Boers who had recovered from their wounds; The Boers were very much loved by state democracy and therefore attracted a large audience to the circus. Before the Boers were in the Buffalo-Bill circus, they did not even contact with Englishmen, Americans, and Mexicans, but made friends only with Gurians, dined with them, but could not speak or understand a word.”

But fights and clashes also took place: “We arrived in Philadelphia for the second time, I made a lot of acquaintances. I got to know

miuwvevia; burebi Zlier uyvarda Statebis demokratias da amitom did-Zal mayurebels izidavdnen cirkSi. sanam burebi buffalo-bilis cirkSi yofilan, ingliselebsa, amerikelebsa da meqsikelebs, Turme, axloc ar ekerebodnen da marto Cven gurulebs dauaxlovdnen da dauZmobildnen; sadilsac sul amaTTan sWamdnen, Tumca ki burebi gurulebTan erTis sityvis Tqmasac ver axerxebdnen.~ magram Cxubsa da Sexla-Semoxlasac hqonda adgili: `filadelfiaSi CevediT meorejer movxTi iqine bevri nacnobebi damxTa. gavicani er gadabrawuli cicai merilu. me manikos vuZaxdi CveneburaT. gadmekida er italieli ai Cemi qaliao manikom uTxra damTavrda Cvens Soris yolisferi dameTxueo, maSvin mTla gaskta gulze ar dieTxua me gasum me gaWumo uCivis. ra biZia yrui xom ar xar ar undixar meTqi vuTxari racxa momaZaxa italiurad. ras prawav mag Tvalebs meTqi gameiwia momiqnia muSti da momxTa TvalSi egona davecemodi. cali Tvali damefso mara ucfaT vdRlize da vayrevine kpilebi gamoenTo misi afxanikebi bedad Sovis kacebi iyven ori meqsikeli da indieli Seiqna nametari bdRvnai Zlivs gagvaSores.~ (ucnobi guruli mojiriTes dRiuridan). adgili hqonda tragikul SemTxvevebsac: 1901 wlis 3 ivliss qalaq airon riverSi jiriTis dros founi bilis

the overwhelmed Tsitsai Merilu. I called her Maniko in our way. I was chased by an Italian, claiming that Maniko was her woman, but she denied and claimed it was over with him. The Italian did not concede, so I yelled at him to leave her alone, he punched me in my face, thinking I would fall, but I turned back and punched him back, chattered his teeth. Suddenly his Mexican and Indian friends joined him and we started fighting, others barely let us apart.” (From the diary of an unknown Gurian rider).

There were also tragic incidents: on July 3, 1901, an unknown Gurian rider participating in the Bill the Pony’s show was killed during a shooting in the town of Iron River. On October 28, 1907, in Amarillo, Texas, another unknown participant of Bill the Pony’s show was killed. In 1912, Irakli Tsintsadze fell off a horse and died. In 1914, Khalampri Pataraia was killed in Kentucky...

Interestingly, the famous anarchist Varlam Cherkezishvili, under the pseudonym of Londoner, describes the speech of the Gurian Riders: `Look, America has emptied the stage. Now our Gurian horsemen are coming out in Circassian costumes of different colors (by the way, the riders rarely came out in Gurian costumes - chakura and kabalakhi, which is clearly seen in the photos with one exception, it was probably a request of the show organizers as I know the Cossacks did not wear such clothes – I.M.); Everyone sits in their arms, first carrying themselves slowly around the helpless scene with a song of order. They stopped in the middle of the stage, got off from their

Sous monawile ucnobi guruli mxedari daiRupa. 1907 wlis 28 oqtombers amariloSi (texasis Stati) isev founi bilis Sous aseve ucnobi qarTveli monawile daiRupa, 1912-Si irakli cincaZe Camovarda cxenidan da daiRupa, 1914 wels kentukis StatSi mokles xalampri pataraia... sainteresod aRwers cnobili anarqisti varlam CerqeziSvili, londonelis fsevdonimiT, guruli mojiriTeebis gamosvlas: `ai, amerikam scena dascala. axla gamodian Cveni guruli cxenosnebi sxva-da-sxva feris GCerqezulis tanisamosiT (sxvaTaSoris, mxedrebi iSviaTad gamodiodnen guruli tanisamosiT _ CaquraTi da yabalaxebiT, rac naTlad Cans fotoebze TiTo-orola gamonaklisis garda, es albaT Sous organizatorebis moTxovna iyo, radgan kazakebi, rogorc viciT, aseT tansacmels ar atarebdnen _ i.m.); yvelani iaraRSi sxedan, jer tarebiT nel-nela mwyobris simReriT gars Semouares uSvelebel scenas. scenis SuagulSi gaCerdnen, cxenebidan Camohxdnen, irgvliv dadgnen,

horses, stood around, sang a song, applauded and started dancing Lekuri. The public is fascinated and applauding. They usually danced on a specially made wooden platform, I do not think the riders were professional dancers-singers, but as many Georgians would have a talent for it, and in the selection of riders, they probably paid attention to it.

Georgian dance was a new fruit for Westerners, it was a crazy stream of emotions and energy that could not be imagined by the “civilized” nation of the West, they often did not even understand it, a clear example of this is a reporter’s note: `... their dance is an idiotic jumping here and there” or “...they were singing a strange native song… ta-ra-rabu-boom-de-ay.” (Daily Graphic, 3 June, 1892). However, there was the different views as well, like: “... just as great is the fact that despite their long clothes, they can even dance. Their movements are exciting and penetrating. Sometimes they amaze us with their skillfulness and legerity, sometimes with their unspeakable grotesqueness of moving their legs and knees... “(City Press, June 22, 1892)

After the dance, there was a real performance - Chekhva, Tarchia, Kabakhi, filching handkerchiefs and galloping. Everyone was surprised by the Gurians’ “standing” on the saddled horses, “backward and upward Kabardian”, “one foot Kabardian”, “neck Kabardian”, “hanging Kabardian”, “back and forth Kabardian”

simRera SemosZaxes, taSi daukres da lekuri dauares. sazogadoeba aRtacebaSi modis da mravali aTasi kaci taSs ukravs mowonebis niSnad.~ (`cnobis furceli~, 12 aprili, 1903) gurulebis amdagvari gamosvla TiTqmis ar icvleboda wlebis manZilze, icvleboda mxolod adgili da scena. isini, rogorc wesi, cekvavdnen specialurad gakeTebul xis platformaze, ar mgonia, rom mxedrebi profesionali mocekvave-momRerlebi yofiliyvnen, magram rogorc bevr qarTvels amis niWi eqnebodaT, Tanac mojiriTeebis SerCevisas, albaT amasac aqcevdnen yuradRebas.

qarTuli cekva axali xili iyo dasavleTeli adamianisTvis, es iyo emociebisa da energiis Smagi niaRvris nakadi, romelic dasavleTis `civilizebuli~ eris warmosaxvaSi ver jdeboda, es maT xSirad arc esmodaT, amis naTeli magaliTia erTi reportioris replika: `...maTi cekva es aqeT-iqiT idioturi xtunvaa~ an kidev `...isini mRerodnen ucnaur mSobliur simReras... ta-ra-ra-bum-de-ei.~ (The Daily Craphic, 3 ivnisi, 1892) Tumca iyo sxvanairi Sefasebac: `...aranakleb gansacvifrebelia isic, rom miuxedavad maTi grZeli samosisa, isini cekvaven kidevac. maTi moZraobebi damuxtulia da mgrZnobiare. isini xan Tavisi qarbuqisebri siCauqiT da

“Handkerchief (stone, gun, hat) filching”, “jumping from Uzangi with one foot”, “hanging on one’s feet”, “Mkharkira” and many others (the names of these tricks were written by the first scholar of Gurian riders Amiran Tsamtsishvili). According to Alexander Mkheidze, a rider, the trick performed by Maro Kvitaishvili-Zakareishvili is wellknown, when during the riding process Maro untied the saddle horse, threw it on the ground, then picked the objects lying on the ground with the same speed (it is worth noting that this trick is not documented at all). The most important thing, in my opinion, is that all this was done not by, say, Gurians dressed in sportswear, but by Chokha-Akhalukh and sometimes armed horsemen, as evidenced by the surviving photos. This is also asserted by Frank Dean, the author of The Complete Book of Trick and Fancy Riding: “Remember that he (the Cossack – I.M.) did tricks in the military uniform of the king’s time, and often wielded a long sword with his teeth.” At the same time indicating that they could not snatch an unbroken horse as much as the American cowboys and Indians, hence they were often called acrobats rather than brilliant horsemen. Frida Mgaloblishvili told one reporter that “... cowboys are good horsemen, but give the Cossack an unbroken horse and he will be able to do the same on it as cowboys, even better and more that cowboys will not be able to do.” (The Washington Post, April 24,

mixvra-moxvriT gvacvifreben, xan fexebisa da muxlebis qnevis eniT aRuwereli groteskulobiT...~ (City Press, 22 ivnisi, 1892)

cekvis Semdeg iwyeboda naRdi warmodgena _ Cexva, TarCia, yabaxi, cxvirsaxocis warTmeva da jiriTi. yvelas akvirvebda gaWenebul cxenebze gurulebis `dgomi~, `piraRma da pirdaRma yabarduli~, `dayudeba~, `cali fexis yabarduli~, `kisris yabarduli~, `dakidebuli yabarduli~, `win da ukan gadarebuli yabarduli~, `cxvirsaxocis (qvis, iaraRis, qudis) ataci~, `uzangidan calfexgamoRebuli gadmoxtoma~, `fexebiT amokideba~, `mxaryira~ da mravali sxva (am triukebis saxelebi Tavad mxedrebisgan Cawerilia guruli mxedrebis istoriis pirveli mkvlevris amiran camciSvilis mier). mxedris aleqsandre mxeiZis monayoliT, cnobilia triuki, romelsac Turme maro kvitaiSvili-zaqareiSvili asrulebda, roca Wenebis procesSi maro daraxtul cxens xsnida akazmulobas, miwaze agdebda, Semdeg aseTive siCqariT miwaze dayril nivTebs Cauqrolebda, saTiTaod krefda da Tan cxens kazmavda (unda iTqvas, rom es triuki dokumenturad arsad ar aris aRwerili). yvelaze mniSvnelovani, Cemi azriT, is aris,

1893) It is also known that Luka Chkhartishvili untied a saddle from a horse and performed tricks on a bare horse, “as if he were standing on a saddle or even on the ground.” (The Sunday Starr, Washington DC, August 26, 1906)

The Gurian riders, many of whom had not even visited Tbilisi, were most impressed by the West, and most of all by America, the riders recalled the states with admiration. The rider Nikoloz Chkonia in his letter to family was writing: “We are greatly admired here. Cannot describe it all, but lastly I’ll tell you that they are so wealthy that we have a favus lavatories.” According to Kirile Khoperia, they were living in high store houses, with moving rooms, which surprised the Gurians. He was recalling the unusually clean and orderly streets. There are so many wires in the streets that when birds fly, they hit with the wires and fall down on the ground, - the rider Giorgi Chkhaidze was writing.

World War I put an end to the performance of Gurian riders in American shows and circuses. Due to the war the borders were closed, traveling to America, as well as Europe, became almost impossible. Those Gurians who stayed on the Ringling and Miller shows chose to live in Chicago, and some returned to their homeland only after the war was over. Many of the riders started a typical American family, got mixed with Americans, and lost

rom yvelaferi es keTdeboda ara vTqvaT, sportul tansacmelSi gamowyobili gurulebis mier, aramed Coxa-axaluxsa da xandaxan iaraRasxmuli mxedrebis mier da razec SemorCenili fotoebic metyveleben. amasve amtkicebs frenq dini, mojiriTeebis saxelmZRvanelos Trick and Fancy Riding avtori: `daimaxsovreT, rom is (kazaki _ i.m.) triukebs akeTebda mefis droindel samxedro tansacmelSi gamowyobili da xSirad kbilebiT grZeli xmali ekava.~ aRniSnavdnen ra, rom kazakebs yvelafris gakeTeba SeuZliaT cxenze, amave dros miuTiTebdnen rom maT ar SeuZliaT gauxednavi cxenze jiriTi ise rogorc amerikel qauboebs da indielebs, amitomac maT xSirad akrobatebs uwodebdnen, vidre brwyinvale cxenosnebs. amis Taobaze frida mgalobliSvili erT reportiors eubneboda, rom `... qauboebi kargi mxedrebi arian, magram mieciT kazaks gauxednavi cxeni da mas SeeZleba masze jiriTi iseve, rogorc qaubois, ukeTesadac ki da ufro metis keTeba, rasac qauboi ver SeZlebs~. ( The Washington Post , 24 aprili, 1893) cnobilia aseve, rom luka CxartiSvili cxens xsnida unagirs da triukebs ubelo cxenze asrulebda `ise TiTqos is unagirze an kidev miwaze idga~ ( The Sunday Star, Washington DC, 26 agvisto, 1906 ).

gurul mojiriTeebze, romelTagan bevri TbilisSic ki ar iyo namyofi, dasavleTma da yvelaze metad ki amerikam udidesi STabeWdileba moaxdina, mxedrebi aRtacebulebi ixsenebdnen Statebs. mojiriTe nikoloz Wyonia saxlSi gamogzavnil werilSi ityobineboda: `...

touch with their roots. During the war years, the Wild West Show and the Circus changed their appearance and transformed into three different performances: there was a big show, before it, in the middle or after, an additional show was played, mostly showing ugly people of different origins. There were also concert rooms where musicians played and small shows were performed, and it was here that the Gurians, who remained in America, found their place, entertaining the audience with knife-throwing, dancing, polo games, and roller skating. After the Bolshevik Revolution of 1917, whole groups of cash Cossacks fled Russia and were replaced by Georgians in a number of places. (The fact that Gurians greatly influenced on Russian Cossacks is evidenced in one photo published in the book called “Джигитовка Казаков по Белу Свету, Ф. И. Елисеев, ЗАО Центрополиграф, 2006). The photo shows three Russian Cossacks in Chokha-Akhalukh and Kabalakh with the annotation “Caucasian Cossacks D. Kravchun, F. Eliseev and A.Krikliv in ‘Gurian’ costumes.

The owners of some shows, in particular Millers, tried in vain to bring the Cossacks to the forefront, but they were no longer stars, the audience and the media no longer cared, many Georgian “Cossacks” grew old and their speeches lacked the previous energy and charm.

pativiscema nametani gvaqvs. Teli Cemgan ar eiwereba da ukanasknels getyvi marmarilos qvis CeCmebi gvaqvs, imodena simdidre yofila~. kirile xoferias TqmiT, isini cxovrobdnen maRalsarTulian saxlebSi, adiodnen moZravi oTaxebiT, ramac gurulebi gaaogna. igi igonebda quCebis araCveulebriv sisufTaves da wesrigs. quCaSi imdeni sadenia gaWimuli, Citebi rom dafrinaven ejaxebian sadenebs da mkvdrebi cvivian miwazeo, _ werda mojiriTe giorgi CxaiZe. pirvelma msoflio omma wertili dausva guruli mojiriTeebis moRvaweobas amerikul Souebsa da cirkebSi. omis gamo daiketa sazRvrebi, amerikaSi Casvla, iseve rogorc evropaSi mogzauroba, TiTqmis SeuZlebeli Seiqmna. im gurulebma, vinc darCnen ringligebisa da millerebis SouebSi, sacxovreblad airCies Cikago da zogierTi samSobloSi mxolod omis damTavrebis Semdeg dabrunda. bevrma mojiriTem Seqmna sufTa amerikuli yaidis ojaxi, aiTqvifa amerikelebSi da dakarga kavSiri Tavis fesvebTan. omis wlebSi uaild uesT Soum da cirkma saxe icvala da gardaiqmna

Later, the role of the Cossacks was already played by the Americans and the Russians themselves.

A good day did not come for the riders returning to their homeland. The Bolsheviks arrested or deported them assaulting as American spies (Ivane Baramidze was arrested at the railway station in 1937 and his fate is unknown). It is known that Ivane Makharadze had a blood-horse horse; When the Bolsheviks entered Georgia, they asked for a horse, but Ivane refused. Instead, one of his children was arrested and deported to Siberia. Ivane’s grandson was born in Siberia. Pavle Makharadze’s daughters recalled: “My father died in 1917. They were taking our family belongings brought from America, the last thing they took from our home was a comb and a clothes hanger, my mother fell ill out of fear. She was always waiting for the arrival of NKVD... To save the lives of themselves and their loved ones, the riders destroyed and burned pseudo-revealing materials with their own hands - photos, letters. There was a case when one of the riders, who was praising the American lifestyle, was arrested and signed a paper that he would never, under any circumstances, mentioned America. Many of them took away the

sam gansxvavebul warmodgenad: iyo didi Sou, mis win, SuaSi an Semdeg TamaSdeboda damatebiTi Sou, romelSic ZiriTadad aCvenebdnen sxvadasxva juris maxinj adamianebs. iyo agreTve sakoncerto nomrebi, sadac musikosebi ukravdnen da TamaSdeboda patarpatara warmodgenebi, zustad aq ipoves Tavisi adgili amerikaSi darCenilma gurulebma, isini auditorias arTobdnen danis sroliT, cekviT, polos TamaSiTa da gorgolaWebiT ciguraobiT. 1917 wlis bolSevikuri revoluciis Semdeg amerikas miawyda ruseTidan gaqceul naRd kazakTa mTeli jgufebi da rig adgilebSi maT Caanacvles qarTvelebi (is rom gurulebma didi gavlena iqonies rus kazakebze erTi sayuradRebo foto metyvelebs, romelic moyvanilia wignSi Джигитовка Казаков по Белу Свету (avtori Ф. И. Елисеев, ЗАО Центрополиграф, 2006). fotoze aRbeWdilia sami rusi kazaki Coxa-axaluxsa da yabalaxSi. fotos axlavs warwera `kavkasieli kazakebi d. kravCuni, f. eliseevi da a. kriklivi `gurul~ kostumebSi.~ zogierTi Sous mepatroneebi, kerZod millerebi, amaod cdilobdnen kazakebis wina planze wamowevas, magram isini ukve aRar iyvnen varskvlavebi, auditorias da masmedias isini aRar ainteresebdaT, bevri qarTveli `kazaki~ daberda da maT gamosvlebSi aRar iyo uwindeli energia da

valuables they bought or received as gifts while abroad. As a rule, these items were placed in the family of the party nomenclature of the time. Many could not stand such a situation - some riders fell ill, some died of stress...

The example of the relationship between Buffalo Bill and the Gurians is ancient in the history of Georgian-American relations. The Georgians, thanks to their amazing skills, made a name for themselves as the best riders and unintentionally left an indelible mark on the development of the American show business, of which Buffalo Bill is considered a pioneer.

P. S. In 2018, in Manhattan, on the wall of one of the public schools in West Village (800 square meters), the Brazilian wall artist Eduardo კobra painted the faces of five immigrants who came to America. By chance my daughter Salome took a picture of this wall art and sent it to me – Look, Dad! “chveneburi” (meaning ‘one of us’) is painted. In “chveneburi” I recognized the rider Batlome Mshvidobadze…

siCauqe. mogvianebiT, kazakebis rols ukve amerikelebi da Tavad rusebi asrulebdnen.

kargi dRe ar daadgaT samSobloSi dabrunebul mojiriTeebs. bolSevikebma bevri daapatimres, zogi gadaasaxles _ amerikis Spioni xaro (1937 wels ivane baramiZe rkinigzis sadgurze aiyvanes da misi Semdgomi bedi ucnobia). cnobilia, rom ivane maxaraZes jiSiani, kargad gawvrTnili cxeni hyavda; roca bolSevikebi saqarTveloSi Semovidnen, mas cxeni mosTxoves, razedac ivanem uari ganucxada. samagierod, misi erT-erTi Svili daapatimres da cimbirSi gadaasaxles. ivanes SviliSvili cimbirSi daibada. pavle maxaraZis qaliSvilebi ixsenebdnen: `mama 1917 wels gardaicvala. yvela maTganis ojaxidan mihqondaT amerikidan Camotanili nivTebi, Cveni ojaxidan bolos savarcxeli da tansacmlis sakidi joxic waiRes, dedaCemi gancdili SiSisagan loginad Cavarda. yovelTvis elodeboda `Sinsaxkomelebis~ mosvlas...~ mxedrebi Tavisi da axloblebis sicocxlis gadasarCenad Tavisive xeliT anadgurebdnen da swvavdnen fsevdomamxilebel masalebs _ fotoebs, werilebs. iyo SemTxveva, roca erTi mojiriTe, romelic aqebda amerikuli cxovrebis wess, gamoiZaxes sadac jer ars da daadebines xelwerili, rom igi arasodes, araviTar

SemTxvevaSi ar axsenebda amerikas. bevr maTgans waarTves is Zvirfasi nivTebi, romlebic maT SeiZines an saCuqrad miiRes sazRvargareT yofnisas. rogorc wesi, es nivTebi imdroindeli partiuli nomenklaturis ojaxSi idebda binas. aseT mdgomareobas bevri ver uZlebda _ zogierTi mxedari daavadmyofda, zogi nerviuli stresisagan gardaicvala...

bafalo bilisa da gurulebis urTierTobis magaliTi uZvelesia qarTul-amerikuli urTierTobis istoriaSi. qarTvelebma gasaocari teqnikis wyalobiT saukeTeso mxedrebis saxeli moixveWes da Tavisda uneburad waruSleli kvali daamCnies amerikuli Sou-biznesis ganviTarebis saqmes, romlis pionerad bafalo bili iTvleba.

P.S. 2018 wels brazilielma kedlis mxatvarma eduardo kobram manhetenze, uest vilijis erT-erTi sajaro skolis kedelze (800 kv metrze) amerikaSi Casuli xuTi imigrantis saxe daxata. SemTxveviT Cemi Svili salome gadaawyda am kedlis mxatvrobas da foto gamomigzavna _ naxe, mamiko Cveneburia daxatulio. CveneburSi mojiriTe baTlome mSvidobaZe amovicani...

serfitebi

pirveli qarTuli cifruli performansi

SEERFITS

THE FIRST GEORGIAN DIGITAL PERFORMANCE

pirveli qarTuli cifruli performansi „serfitebi~ Seerfits NFT proeqtzea dafuZnebuli, romlis morigi, axali da eqskluziuri istoria pandemiis periodSi Seqmnilma saTeatro platformam „piesebis onlain kiTxva/Plays online reading" warmogvidgina TbilisSi, holizeumis pavilionSi. audio-vizualurma performansma holizeumis mTeli saeqspozicio sivrce moicva. damTvalierebelsa da mayurebels sami saRamos ganmavlobaSi saSualeba hqonda Tval-yuri edevnebina moZravi cifruli eqspoziciisa da video performansisTvis, romelic Teatris, videoartisa da cifruli teqnologiebis hibrids qmnida. xelovnebis es axali saxeoba, romlis saxeli jer sabolood damkvidrebuli ar aris, pandemiis periodSi ganviTarebis axal safexurze avida.

cifrul samyaroSi Seqmnili personaJebi _ serfitebi holizeumis pavilionSi virtualur sivrceSi gacocxldnen. rogorc proeqtis avtorebi irwmunebian es aris NFT (Non-fungible token) personaJebis pirveli gacocxleba. swored aq, am proeqtSi Sexvda erTmaneTs NFT, videoarti, eleqtronuli musika da Teatri erTmaneTs. gamofenisa da performansis avtorebma ufro axlos gagvacnes serfitebis cxovreba, maTi grZnobebi da SesaZleblobebi. isini disidentebi arian da ukeTesi momavlisTvis ibrZvian, magram adamianebis msgavsad, maT rigebSic SeamCnev moRalates, sisustis mqonesa da angarebians.

CvenSi, audio-vizualuri da saSemsruleblo xelovnebis hibridis, rogorc xelovnebis axali saxeobis, romelic axal eras iwyebs zogadad xelovnebaSi naklebad icnoben. xelovnebis momavlis am axal gzas, jer kidev dramis sareJisoro specialobis studenti da ukve araerTi speqtaklis, performansis, Targmanisa Tu originaluri teqstis avtori (da Tanaavtori) qeTevan samxaraZe Tavis Tanamoazre artistebTan erTad kvalavs. performansi „serfitebi~, or etapad mimdinareobs. pirvel nawili es cifruli eqspoziciaa sagamofeno sivrceSi, sadac damTvalierebels saSualeba aqvs gaecnos

The first Georgian digital performance “SeerFits” is based on the NFT project, the next, new and exclusive history of which was created during the pandemic by the theater platform ‘Plays Online Reading’ in Holoseum of Tbilisi Digital Space. The audio-visual performance covered the entire exposition space. During three days the viewers and spectators had the opportunity to watch a moving digital exposition and video performance that created a mixture of theater, video art and digital technology. This new form of art, the name of which has not yet been finally established, has reached a new stage of development during the pandemic.

Characters created in the digital world - SeerFits came to life in a virtual space of Holoseum. According to the authors of the project, this is the first revival of NFT (Non-Fungible Token) characters. It was here, in this project, that NFT, video art, electronic music, and theater were mixed.

The authors of the exhibition and performance got a closer look at the life of SeerFits, their feelings and abilities. They are rebels and fighting for a better future, but like humans, they have human traits of weakness and selfishness.

In our country, this kind of audio-visual performance is a new kind of art, which is starting off now and is less known in art in general. Ketevan Samkharadze, still a student of drama directing and already the author (and co-author) of many plays, performances, translations

planeta samjuris samyaros, erTi mxriv, peizaJebs _ tyes, zRvas, udabnos, qalaqebs; meore mxriv, planetis macxovreblebs _ serfitebs da maT yoveldRiurobas, yofas. eqspozicia saSualebas iZleva damTvalierebelma naxos rogor erTobian, rogor uyvarT, ra acviaT, ras Wamen, rogori Sinauri cxovelebi hyavT miTur arsebebs _ serfitebs. eqspoziciis vizuali mxatvrebma Tamar samxaraZem da TaTia gociriZem, animatorma Tamar samxaraZem giorgi samxaraZesTan erTad, xolo cifruli gamofenis musikalur-xmovani rigi da audio Tanxleba kompozitorma noe kvirkveliam Seqmnes.

gamofenis cifruli mocemulobidan gamomdinare gamosaxuleba da vizuali virtualuri da metafizikuri samyaros Sesabamisia. mxatvari Tamar samxaraZe, animatori giorgi samxaraZe da kompozitori noe kvirkvelia mesame realobas qmnian. damTvalierebeli holizeumis sagamofeno sivrceSi Tvals adevnebs dinamikur cifrul gamofenas, romelsac Sesabamisi musikalur-xmovani rigi axlavs. sxvadasxva mxatvruli produqti, romelic sagamofeno sivrceSia ganfenili, mTlianobaSi erT cifrul audiovizualur sanaxaobas qmnis. sanaxaoba, romelsac damTvalierebeli ecnoba, atmosferos mistikurobiT, gamosaxulebis siWreliT, personaJTa stilizebulobiTa

or original texts, is following this new path of the future of art with her fellow artists.

The performance “SeerFits” takes place in two stages. The first part is this digital exposition in the exhibition space, where the viewer has the opportunity to get acquainted with the world of the planet Samjuri, the landscapes - the forest, the sea, the desert, the cities, and at the same time, the inhabitants of the planet - SeerFits and their daily life. The exposition allows the viewer to see how united they are, how they love each other, what they wear, what they eat, what kind of pets the mythical creatures have. Visual artists of the exposition were Tamar Samkharadze and Tatia Gotsiridze, together with the animator Giorgi Samkharadze, and the musical-audio series and audio accompaniment of the digital exhibition were created by composer Noe Kvirkvelia.

Based on the digital nature of the exhibition, the image and visual are relevant to the virtual and metaphysical world. Artist Tamar Samkharadze, animator Giorgi Samkharadze and composer Noe Kvirkvelia create the third reality. The viewer observes a dynamic digital exhibition in the exhibition space of Holoseum, accompanied by the applicable musical sequence. The various artistic products displayed in the exhibition space create a single digital audiovisual spectacle. The spectacle, which is familiar to the viewer, is characterized by the mystique of the atmosphere, the cut of the

da ferTa mravalferovnebiT gamoirCeva.

cifruli gamofenis meore nawili uSualod serfitebis ufro axlos gacnobas emsaxureba, romelic aseve cifruli saSualebiT waradgenen avtorebi mayureblis winaSe. samuzeumo sivrcis erT sibrtyeze mayurebeli Tvalyurs adevnebs audio-vizualuri artisa da saTeatro xelovnebis ucnaur simbiozs. xelovnebis es ori saxeoba erTmaneTs gamomsaxvelobiTi xerxebiTa da saSualebebiT amarageben.

„serfitebis~ anotaciaSi vkiTxulobT: „Ria zRvis Soreul galaqtikaSi, sadac yvelas jadoqrobis unari aqvs, arsebobs patara, magram lamazi planeta saxelad samjuri. samjurze mcxovreb hermafrodit, humanoid arsebebs serfitebs uwodeben. TiToeul serfits unikaluri unari aqvs, romelic momavlis an warsulis xedvas, teleportacias, telekinezs, formis Secvlasa da a.S. moicavs. sityva serfitis warmoSoba antikur dros ukavSirdeba, rodesac erT-erTma naTelmxilvelma qalma, jer kidev daudgeneli mizezis gamo, samjuri da misi mosaxleoba dawyevla. Tumca, vinaidan Savi magiis gamoyenebas SesaZloa gverdiTi movlenebic axldes, naTelmxilvels wyevlis warmoTqmis procesSi, sakuTari Zalebis daTmoba mouwia; misi magiuri Zala 3 000 nawilad daiyo da es nawilebi TiToeuli arsebis sulSi aRmoCnda; ase rom, yvela samjurelSi aris erTi mxilvelis (Seer) erTi nawili, swored amitom isini sakuTar Tavs serfitebs uwodeben. naTelmxilveli qalis wyevlis

image, the stylization of the characters and the variety of colors. The second part of the digital exhibition is directly related to getting familiar with the SeerFits, which is also presented digitally by the authors to the audience. On one plane of the museum space, the viewer watches the strange symbiosis of audio-visual and theatrical art. These two kinds of art supply each other with expressive ways and means.

In the description of SeerFits, we read: “Far in the galaxy, where everyone can master magic, there is a tiny but beautiful planet named Samjur, land of the hermaphrodite humanoid creatures –SEERFITS. Each SeerFit has a unique ability to see the future or the

Semdeg serfitebma magiuri unarebi SeiZines, Tumca maT sisusteebic gaaCniaT; marTalia serfitebs zebunebrivi Zalebi aqvT da TavianT planetaze harmoniuli cxovrebis mowyobas cdiloben, magram yvela serfiti ar miiCnevs, rom wyevla saCuqaria; isini fiqroben, rom sakuTari Zalebis da sisusteebis tyveebi arian da Tavisufleba surT~.

teqstis avtori da reJisori qeTevan samxaraZe (teqnikuri reJisori Tamar gociriZe) TanamoazreebTan erTad, qmnis animaciur suraTs siuJetiT, eleqtronuli musikisa da msaxiobis xelovnebis komponentebis (am SemTxvevaSi, msaxiobebi personaJebs mxolod gaxmovanebiT qmnian) gamoyenebiT. msaxiobebi: Tea alfaiZe, luka axalaZe, anka didmaniZe, aniko SurRaia, nikoloz jafariZe da zuka cuxiSvili axmovaneben usqeso, irealur, magram mainc adamianis msgavs arsebebs. amitomac maTi Sinagani samyaro adamianisas hgavs, ise rogorc maTi xma, romelic neitraluri ki ar aris, aramed gamijnulia sqesis mixedviT, aseve intonacia, personaJTa metyvelebis dros _ is ar gansxvavdeba adamianis saubris manerisgan. zogierT SemTxvevaSi gamosaxuleba da gaxmovaneba asinqronulia, rac ikiTxeba rogorc xerxi, romelic erTia droSi, magram ara sivrceSi. es uwonadoba, garkveuli kanonzomierebis rRveva, TiTqos logikurad ikiTxeba. mayureblisTvis Seqmnili es pirobiTi diskomforti, SesaZloa, tradiciuli Teatris refleqsiaa, romelic mainc did gavlenas axdens jer kidev tradiciul mayurebelze. mayurebels msaxiobTa mxolod xma esmiT, maT gaxmovanebaSi intonaciurad ioli amosacnobia personaJTa

past, teleportation, telekinesis, reshaping, and so on. The origin of the word SeerFit is related to ancient times, when one of the clairvoyant women, for an as yet unknown reason, cursed Samjuri and its inhabitants. However, since the use of black magic may have side effects, the clairvoyant had to give up her power in the process of uttering the curse; Her magical power was divided into 3,000 parts, and these parts appeared in the soul of each creature; So, in each of Samjurians, there is a part of a spectator - SEER, this is why they call themselves SeerFits. After the curse of the clairvoyant, the SeerFits acquired magical abilities, though they also have weaknesses; It is true that SeerFits have supernatural powers and try to arrange a harmonious life on their planet, but not all SeerFits consider curse a gift; They think they are captives of their own strengths and weaknesses and want freedom”.

The author and director of the text, Ketevan Samkharadze (technical director Tamar Gotsiridze), together with her colleagues, creates an animated picture with a story, using electronic music and acting components (in this case, the actors create the characters only

ganwyoba da xasiaTi, imavdroulad vxedavT animacias, romelic mimikis gareSe metyvelebs. amitom msaxiobis mier intonaciurad sworad warmoTqmul TiToeuli frazis sizustes gadamwyveti roli eniWeba.

gamosaxuleba, romelsac mayurebeli xedavs erTdroulad statikuricaa da dinamikuric, es samyaro dedamiwis zedapirs hgavs, magram aq, planeta samjurze dedamiwisgan gansxvavebiT sxva ferebia, sxva mocemuloba... kontrapunqtulia noe kvirkvelias musikaluri Temebic, romelic epizodebis mixedviT icvleba, xolo TiToeul epizodSi erTi treki dasrulebuli musikaluri nomris asociacias badebs, romelsac Tavisi Sinagani dinamika da dramaturgia gaaCnia.

serfitebi adamianebs hgvanan. isini erTmaneTisgan gansxvavebulebi arian. maT aqvT erTdroulad SezRuduli da SeuzRudavi SesaZleblobebi, grZnobebi da vnebebi, magram rac yvelaze mTavaria _ isinic TavisuflebisTvis ibrZvian, radgan maTac SesaniSnavad ician Tavisuflebis fasi.

„serfitebi~ ramdenime epizodad aris dayofili. pirveli epizodi „gamoRviZeba~ mistikuri, araamqveyniuri yviriliT

with sound). Actors: Tea Alfaidze, Luka Akhaladze, Anka Didmanidze, Aniko Shurgaia, Nikoloz Japaridze and Zuka Tsukhishvili. They all voice androgynous, unreal, but still human-like creatures. That is why their inner world resembles that of a human being, just as their voice, which is not neutral, but is segregated by gender, as well as the intonation of the characters’ speech - it does not differ from the manner of human speech. In some cases, the image and sound are asynchronous, which is read as a method that is one in time but not in space. This imbalance, a violation of a certain regularity, seems to be read logically. This conditional discomfort created for the audience may be a reflection of the traditional theater, which still has a great impact on the traditional audience.

The viewer understands only the voice of the actors, in their sound intonation it is easy to recognize the mood and character of the characters, at the same time we see the animation, which speaks without facial expressions. Therefore, the accuracy of each phrase uttered correctly by the actor is crucial.

The image that the viewer sees is both static and dynamic, this world looks like the surface of the earth, but here, on the planet Samjur, there are different colors from the earth, different reality... It evokes an association that has its own internal dynamics and drama.

iwyeba, romelic Soridan ismis. erT sivrceSi Caketili arsebebi erTmaneTs ecnobian da erTmaneTs sakuTar gamocdilebas uziareben. xolo, bolo, me-5 epizodi eZRvneba ambavs sadac is, vinc Zalebs Trgunavs, ewireba mas, vinc yvelgan da arsadaa erTdroulad... ambavi aq ar mTavrdeba da mas gagrZeleba eqneba... axalgazrduli gundis mier Seqmnili mxatvruli produqti internetsivrceSi male xelmisawvdomi gaxdeba. farTo auditoria ixilavs hibridul nawarmoebs, sadac ambavi galaqtikis msgavs uwonado sivrceSi viTardeba da mas (ideaSi) dasasruli ar aqvs.

P.S. gansakuTrebiT mniSvnelovania, xelovnebis momavlis jer kidev gaukvalav gzaze damdgari artistebis mxardaWera da maTi ideebis mxardaWera, romelic garkveul riskebs Seicavs. proeqts mxari dauWires: Holoseum - AudioVisual Museum; saqarTvelos kulturis, sportisa da axalgazrdobis saministrom; piesebis onlain kiTxva/Plays Online Reading; saerTaSoriso asociacia „arsianma~; SoTa rusTavelis Teatrisa da kinos saxelmwifo universitetma; „feniqsma“.

SeerFits look like people. They are different from each other. They have limited and unlimited abilities, feelings and passions at the same time, but most importantly, they also fight for freedom, because they also know perfectly well the price of freedom.

“SeerFits” is divided into several episodes. The first episode of Awakening begins with a mystical, unearthly cry that is heard from afar. Creatures locked in one space get to know each other and share their experiences with each other. And, finally, the 5th episode is dedicated to the story where the one who suppresses the forces, sacrifices the one who is everywhere and nowhere at the same time... The story does not end here and it will continue...

An art product created by a youth team will soon be available on the internet. A wide audience will see the hybrid work where the story unfolds in a weightless space like a galaxy and it (ideally) has no end.

P. S. It is especially important to support artists who are still on the path to the future of art and to support their ideas, which carry certain risks. The project was supported by: Holoseum - Audio Visual Museum; Ministry of Culture, Sports and Youth of Georgia; Plays Online Reading; International Association “Arsian”; Shota Rustaveli State University of Theater and Film; The Phoenix.

qalaq soxumis centrSi, puSkinis quCaze dgas omisgan ferdSelewili kulturuli memkvidreobis Zeglad aRiarebuli erTi saxli, romelSic ukve wlebia, xelovani debis _ maria, varvara da ana bubnovebis _ saxl-muzeumis gaxsnas amaod cdiloben. faqtia, iaponiidan soxumSi gadmosaxlebuli debis STambeWdavi istoriisa da maTTan dakavSirebuli ambebis gareSe, gasuli saukunis 50-70-iani wlebis soxumis kulturul cxovrebas Zalian mkveTri ferebi daakldeboda.

In the center of Sukhumi, on Pushkin Street, stands a wartorn house, known as a cultural heritage site, in which the house-museum of the artist sisters - Maria, Varvara and Anna Bubnov - has been tried in vain for years. It is a fact that without the impressive history of the sisters who moved to Sokhumi from Japan and the stories related to them, the cultural life of Sokhumi in 50-70ies of the past century would have lacked very sharp colors.

soxumSi, alublis xis qveS samive da soxumSi, mixailovis sasaflaoze ganisvenebs. maT saflavebze, anderZisamebr, alublis xe (iaponuri sakura) xarobs.

gasuli saukunis 50-70-iani wlebis soxumSi mcxovrebi xelovani debis saxelebi afxazeTis mxatvarTa kavSiris yofili Tavmjdomaris, Wola kukulaZis iubilesTvis samzadisSi TavisTavad gamoikveTa. varvara Wola kukulaZis kolega da megobari, xolo ana Wolas vaJis _ nevrolog lado kukulaZis musikis pedagogi yofila. mogvianebiT, varvara bubnovas `saSinao akademias~ soxumeli mxatvari Saqro bokuCava erT-erT interviuSi gaixsenebs. mxatvari leri Wanturia ki, mxatvrobaSi Crdilis efeqtze saubrisas, varvara bubnovas saocar frazas mouxmobs: „iseTi Rrma Crdili, rogoric afxazeTSia, sxvagan arsadaao“.

im Taobis soxumelebs legendaruli jon lenonis qvriv ioko onosTvis gagzavnili werilebic axsovT, romelSic bubnovebis saxl-muzeumis mosawyobad daxmarebas sTxovdnen. rogorc amboben, 80 wels mitanebuli ioko ono dRemde gulTbilad igonebs Zvirfas ana bicolas. 2007 wels is bernovoSi, debi bubnovebis bavSvobis saxlSic ki

In Sukhumi, Under a Cherry Tree

All three sisters are buried in Sukhumi Mikhailov Cemetery, under a cherry tree (Japanese Sakura), planted upon their last will.

The names of the artistic sisters living in Sokhumi in 1950-1970ies were revealed in the preparation for the jubilee of the former chairman of the Abkhazian Artists’ Union, Tchola Kukuladze. Varvara was a colleague and friend of Tchola Kukuladze, whose son – the neurologist Lado Kukuladze took music lessons from Anna.

Later, Shakro Bokuchava, a Sukhumian artist, recalls Varvara Bubnova’s “Home Academy” in one of his interviews and the artist Leri Chanturia, while talking about the effect of shadow in painting, quotes Varvara Bubnova’s amazing phrase: “Such a deep shadow as in Abkhazia is nowhere else.”

The people of Sukhumi of that generation also remember the letters sent to the widow of the legendary John Lennon, Yoko Ono, asking her for help in arranging the house-museum of the Bubnovs. It is said that almost 80 years old Yoko Ono still fondly remembers her dear aunt Anna. In 2007, she even visited the Bubnovs’ childhood home in Bernovo. After this visit, Sokumians hoped Ono would visit Sokhumi to look after the sisters’ house-museum, but...

Her contemporaries write articles and books about avant-garde artist Varvara Bubnova and her works, make films, often remember

Casula. am vizitis Semdeg, soxumSic gasCeniaT imedi, egeb ono debis saxl-muzeumis misaxedad soxumsac swveoda, magram...

avangardist mxatvar varvara bubnovasa da mis Semoqmedebaze weren statiebs da wignebs, iReben filmebs, Tanamedroveni xSirad igoneben varvara bubnovas „soxumur skolasa~ da mis msmenelebs, mxatvris soxumel Tu arasoxumel nacnob-megobrebs, magram... samwuxarod, arsad axseneben mis qarTvel mowafeebs, megobrebs, mezoblebs... TiTqos maT Soris erTi qarTvelic ar yofila. metic, TiTqos im droindel soxumSi/afxazeTSi qarTvelebi saerTod ar cxovrobdnen (!)... (samagierod, iZebneba erTi uaryofiTi informacia, rogor cudad miiRo afxazeTis assr ministrTa sabWos qarTvelma Tavmjdomarem (saxelsa da gvars Segnebulad ar vasaxelebT) mxcovani mxatvari... pasuxad ki ganawyenebulma varvara bubnovam ukanve wamoiRo saCuqrad mitanili namuSevari da gzad Tanamgzavr afxaz mwerals aCuqa).

msgavsi publikaciebis avtorTa mizani advili misaxvedria: grZeldeba `uqarTvelebo afxazeTis~ istoriis Sekowiweba; SeTxzva imgvari istoriisa, romlis

Varvara Bubnova’s “Sukhumian School” and its listeners, the artist’s Sukhumian or non-Sukhumi acquaintances and friends, but... unfortunately never mention her Georgian pupils, friends and neighbors... as if not a single Georgian was among them or even Georgians never lived in Sukhumi / Abkhazia at that time (!)... (In turn, a negative information is sought about how badly the Georgian Chairman of the Council of Ministers of the Abkhaz ASSR (we don’t mention his name and surname deliberately) received the old artist ...The offended Varvara Bubnova took her painting back that she was going to give the chairman as a gift and gave it to a fellow Abkhaz writer on the way).

The purpose of the authors of such publications is easy to understand: the make-up of a history of “Abkhazia without Georgians” still goes on; Inventing such a history, in which no memory, episode, relationship, story... not a single Georgian will be mentioned, in order to gradually remove us from the history of Abkhazia, its cultural and socio-political life...

It is been a while that we, the Georgians from Abkhazia, have looked at the events with a different eye : we have re-evaluated many things, we remember with greatest pain and regret Abkhazians and others of different nationalities with whom we lived together. We are trying to build the future relationships on this reality and we also

arc erT mogonebaSi, epizodSi, urTierTobaSi, ambavSi... naxsenebic ar iqneba arc erTi qarTveli, raTa am taqtikiT TandaTan amogvSalon afxazeTis istoriidan, misi kulturuli da sazogadoebriv-politikuri cxovrebidan...

Cven, afxazeTis mkvidrma qarTvelebma, karga xania sxva TvaliT SevxedeT movlenebs: bevri ram gadavafaseT, gulistkiviliTa da sinanuliT vigonebT afxazebs da yvela im erovnebis adamians, vis gverdiTac iq vcxovrobdiT. am realobaze vcdilobT momavali urTierTobebis agebas da aseve pativs mivagebT warsuls, romelsac ar vZarcvavT da ar vaRaribebT...

rogorc Cans, es sakmarisi araa. aucilebelia konkretuli faqtebiT, epizodebiT, ambebiT, realuri pirovnebebiT savse afxazeTis namdvili istoriis Seqmna, istoriisa, saidanac veravin amogvSlis. deb bubnovebTan dakavSirebuli mogonebebic am namdvil istoriis nawilia...

respect the past, which we do not steal and deprive ...

It seems that this is not enough. It is necessary to create a real history of Abkhazia full of concrete facts, episodes, stories, real people, a history from which no one can take us out. The memories of the sister Bubnovs are also part of this true story ...

In Japan

“Black on white, like Bach fugues and no embellishment” ...

During her years of studying in St. Petersburg, Anna Bubnova linked her fate with the student Suniti Ono, the son of the president of the Industrial Bank of Japan. Their son, Santaro, was predicted to have a brilliant career as a violinist, but died suddenly at the age of 14. Anna would have no more children. Suniti-San married another woman, however, maintained a friendly relationship with Anna and left her on the first floor of his house. Later, Varvara, who was visiting her sister, also stayed there. Next to them lived the family of Suniti’s brother who had a daughter - Yoko Ono, the future wife of John Lennon. Anna and Varvara fell in love with Yoko as a child and taught her music and drawing.

Anna opened a children’s music studio at home. Later, as a professor at the Japanese Music Institute, she also published textbooks. She was named the “Mother of Japanese Violinists” and

iaponiaSi

„SaviT TeTrze, rogorc baxis fugebi da araviTari Selamazeba~... ana bubnovam, peterburgSi swavlisas, bedi student siuniti onos, iaponiis samrewvelo bankis prezidentis Svils daukavSira. maT vaJs, suntaros meviolinis brwyinvale karieras uwinaswarmetyvelebdnen, magram 14 wlis asakSi moulodnelad gardaicvala. anas meti Svili aRar gauCndeboda. siuniti-sanma sxva coli SeirTo, Tumca anasTan megobruli urTierToba SeinarCuna da is Tavisi saxlis pirvel sarTulze datova. mogvianebiT iqve dabinavda dasTan stumrad Casuli varvarac. maT gverdiT cxovrobda siunitis Zmis ojaxi, romelTac hyavdaT qaliSvili – ioko ono, jon lenonis momavali meuRle. anam da varvaram SviliviT Seiyvares ioko da mas musikas da xatvas aswavlidnen. anam saxlSi sabavSvo musikaluri studia gaxsna. SemdgomSi, rogorc iaponiis musikaluri institutebis profesorma saxelmZRvaneloebic gamosca. mas „iaponeli

was awarded the Japan State Prize: The Fourth Degree Order of Sacred Treasure. In Japan, there is still “Professor Anna Bubnova - Ono Music Society”, which holds concerts in her memory.

In 1982, the avant-garde artist, archaeologist, teacher and art critic Varvara Bubnova was awarded the Fourth Degree Order of the Japanese Crown for her contribution to the development of cultural relations between Japan and the Soviet Union. Varvara was a follower of Futurism, a member of the St. Petersburg artists’ society “Youth Union”. She also translated the “Manifesto of the Futurists” from French and participated in exhibitions together with Malevich, Berluk and Mayakovsky.

In 1922, the widowed Varvara with her mother left for her sister in Japan, where she remained for 35 years. She was greatly influenced by the country and its extraordinary art. Varvara continued her studies at the Tokyo Institute of Applied Arts. She thoroughly studied the peculiarities of color lithography and soon successfully created

meviolineebis deda~ uwodes da iaponiis saxelmwifo jildoTi: saRmrTo ganZis meoTxe xarisxis wminda ordeniT daajildoves. iaponiaSi dRemde arsebobs `profesor ana bubnova-onos musikaluri sazogadoeba~, romelic misi xsovnisadmi miZRvnil koncertebs marTavs.

1982 wels _ iaponiasa da sabWoTa kavSirs Soris kulturuli urTierTobebis ganviTarebaSi Setanili wvlilisTvis iaponiis Zvirfasi gvirgvinis meoTxe xarisxis ordeniT daajildoves avangardisti mxatvari, arqeologi, pedagogi da xelovnebaTmcodne varvara bubnovac. varvara futurizmis mimdevari, peterburgis mxatvarTa sazogadoeba `axalgazrduli kavSiris~ wevri iyo. frangulidan `futuristebis manifestic~ Targmna da k. maleviCTan, d. berlukTan, v. maiakovskisTan erTad gamofenebSi monawileobda.

daqvrivebuli varvara 1922 wels, dedasTan erTad, dasTan gaemgzavra iaponiaSi, sadac 35 weli darCa.

her first color and then black-and-white lithography. Japanese art critics noted that Varvara created “her own world in lithography” and that “her work was an example of protest against art and the crisis of humanity.”

Varvara Bubnova described Suibokuga’s landscapes with the words: “Japanese landscapes look like cosmos, as if you see small fragments of life and at the same time feel that it is a part of the vast universe ... black on white like Bach fugues and no embellishment.”

The main theme of Varvara Bubnova’s works in Japan was land and people. She held 6 personal exhibitions, was active in pedagogical activities. One of her students was later the world-famous artist Shiko Munakata. Varvara’s house, studio and works of many years were destroyed in the bombing of Tokyo by the US Air Force.

“I consider the years spent in Japan happy, if not thoughts about the homeland. Every sound of a ship or train I perceived as a calling from my homeland, and it was causing a deep sadness in me” – we read in writings of Varvara Bubnova.

masze udidesi gavlena moaxdina qveyanam da misma araCveulebrivma xelovnebam. swavla tokios gamoyenebiTi xelovnebis saswavlebelSi gaagrZela. safuZvlianad Seiswavla feradi liTografiis Taviseburebani da male Tavadac warmatebulad qmnida jer ferad, Semdeg ki Sav-TeTr liTografias. iaponeli xelovnebaTmcodneebi aRniSnavdnen, rom man Seqmna `sakuTari samyaro liTografiaSi~ da, rom `misi Semoqmedeba iyo magaliTi xelovnebisa da adamianurobis krizisisadmi protestisa“. varvara bubnova suibokugas peizaJebs sityviT ase xatavda: „iaponuri peizaJebi hgvanan kosmiurebs, TiTqos xedavT cxovrebis mcire fragmentebs da amave dros grZnobT, rom es aris ukidegano samyaros nawili... SaviT TeTrze, rogorc baxis fugebi da araviTari Selamazeba~.

iaponiaSi varvara bubnovas nawarmoebebis mTavari Tema miwa da adamiani iyo. man 6 personaluri gamofena gamarTa, aqtiur pedagogiur saqmianobas eweoda. misi erT-erTi mowafe SemdgomSi msoflioSi cnobili mxatvari Siko munakatac iyo. amerikis aviaciis mier tokios dabombvas emsxverpla varvaras saxli, saxelosno da mravali wlis namuSevrebi.

This “calling” was added by her elder sister Maria’s calling. She was already settled in Sokhumi and calling ver her sisters to Abkhazia ...

In Sokhumi

“Such a deep shadow as in Abkhazia is nowhere else” ...

Varvara Bubnova was often asked to return to her homeland before, but now this request from her sister had a different meaning, as she was left alone and brought to Abkhazia by the illness of her husband, one of the first Soviet pilots, Vladimir Orlov. Maria started working as a teacher at the Sokhumi Music School, teaching piano and working in opera. She was soon awarded the title of honored teacher of Abkhazia.

It was not easy for Varvara to part with her beloved students and friends, her common places. “I have roots in the ground and it is difficult to uproot them,” she would say. But, in 1958, 72-year-old Varvara Bubnova emigrated from Japan to Sukhumi. Two years later the sisters were joined by Anna. The sisters were given a three-room apartment by the local government. This is how a house was set up in Sokhumi, where the hosts greeted the guests in kimonos - colorful Japanese coats - and served sushi, rice and fish sandwiches, tea and

„iaponiaSi gatarebul wlebs me vuwodebdi bedniers, rom ara fiqrebi samSobloze. gemisa Tu matareblis yovel Sekivlebas ise aRviqvamdi, TiTqos samSoblo meZaxda, rac CemSi mZafr sevdas iwvevda~, _ werda varvara bubnova. am `Zaxils~ soxumSi damkvidrebuli ufrosi dis _ marias Zaxilic daerTo. is debs afxazeTSi uxmobda...

soxumSi

„iseTi Rrma Crdili, rogoric afxazeTSia, sxvagan arsadaa~...

varvara bubnovas samSoblodan adrec xSirad sTxovdnen dabrunebas, Tumca axla sul sxva Zala hqonda marto darCenili, ufrosi dis marias Txovnas, romelic afxazeTSi meuRlis, erT-erTi pirveli sabWoTa mfrinavis vladimer orlovis avadmyofobam Camoiyvana. mariam soxumis musikalur saswavlebelSi pedagogad daiwyo muSaoba, fortepianoze dakvras aswavlida da TviTSemoqmedebiT operas xelmZRvanelobda. male mas afxazeTis damsaxurebuli pedagogis wodeba mianiWes.

varvarasTvis advili ar iyo sayvarel mowafeebTan da megobrebTan, SeCveul adgilebTan ganSoreba. „fesvebi

sake. These Japanese gifts were brought to them by acquaintances and friends from Japan, along with medicines. The Sukhumi House of the Bubnovs gradually became a bright island in JapaneseAbkhazia relations, and Abkhazia, along with Japan, became the third homeland of the Bubnovs.

Anna and Maria’s Japanese students were writing letters to them for the rest of their lives and visiting them in Sokhumi. So many Japanese guests have not remembered in Sokhumi before.

Anna, together with Maria, started working as a teacher at the Sokhumi Music School. The years spent in Abkhazia turned out to be much more diverse and fruitful for Varvara. She liked the city and its people very much and related Abkhazia’s nature to that of Japan - “I like the people here very much, they are warmhearted and somehow childish ... and I’m glad to live here.” She used to repeat this phrase many times: “Such a deep shadow as in Abkhazia is nowhere else” ...

Scholars of Varvara Bubnova’s work divide her life into three stages: avant-garde adolescence (1886-1922), the age of Japanese maturity (1922-1958) and the age of Sukhumi wisdom (1958-1979). It is noteworthy that the avant-garde artist’s “age of wisdom” began in Abkhazia, which made a significant change in her works.

gavidgi miwaSi da maTi amogleja Zneliao~, _ ambobda. magram, 1958 wels 72 wlis varvara bubnova iaponiidan soxumSi gadmosaxlda. ori wlis Semdeg debs anac SemouerTda. debs adgilobrivma xelisuflebam samoTaxiani bina gadasca. ase gaCnda soxumSi saxli, sadac maspinZlebi stumrebs kimonoebiT _ feradCitebiani iaponuri xalaTebiT _ egebebodnen da suSiT, brinjisa da Tevzis buterbrotebiT, CaiTa da sakeTi umaspinZldebodnen. es mosakiTxi maTTvis wamlebTan erTad iaponiidan Camosul nacnob-megobrebs CamohqondaT. bubnovebis soxumuri saxli TandaTan iaponia/ afxazeTis urTierTobis naTel kunZulad, afxazeTi ki, iaponiasTan erTad, debi bubnovebis mesame samSoblod iqca. anasTan da marias iaponeli mowafeebi sicocxles bolomde werdnen siyvaruliT savse werilebs da sanaxavadac Camodiodnen. amdeni iaponeli stumari soxums dRemde ar axsovs.

The critics noted that Varvara Bubnova embraced the spirituality and simplicity of Japanese art. She became an artist in Japan, whose work found its own way in the bright colors of Abkhazia and became even more delightful. The scorching sun of Abkhazia, the blue sea and the light air brought relief to her and it seemed to be moving from black and white to a colorful world.

People in the then Soviet Union were attracted to Japanese art and poetry. The story of the Japanese artist’s settlement soon spread in Sokhumi as well, and writers, artists, statesmen, scientists, etc. came to get acquainted with it.

During her two decades of living in Sokhumi, Varvara Bubnova created numerous landscapes, sketches, and a wide gallery of portraits in Abkhazia. Watercolor, gouache, tempera, pastel, oil, pencil ... - there was a variety of materials with which she worked. Creative life, of course, was accompanied by Sukhumi stories ... It gradually became an integral part of the cultural life of Abkhazia. Just two years

anam, mariasTan erTad, soxumis musikalur saswavlebelSi daiwyo pedagogad muSaoba. bevrad ufro mravalferovani da nayofieri aRmoCnda afxazeTSi gatarebuli wlebi varvarasTvis. mas Zalian moewona soxumi da soxumelebi. afxazeTis bunebas iaponiisas amsgavsebda _ „Zalian momwons aqauri xalxi, Tbilebi da raRacnairad bavSvurebi arian... da mixaria, aq rom vcxovrobo~. Semdeg araerTxel gaimeorebs frazasac: „iseTi Rrma Crdili rogoric afxazeTSia, sxvagan arsadaao~... varvara bubnovas Semoqmedebis mkvlevrebi mis cxovrebas

after she moved to Georgia, in 1960 she held her first solo exhibition in Tbilisi, Georgia. More than 100 of the 120 works on exhibition were from Japanese age – autolithography works. The artist was worried - how would the Tbilisi society react? But the nervousness was in vain, as indicated by the response of the great Georgian artist Lado Gudiashvili - “Stunning Exhibition”, which was published in the newspaper “Soviet Abkhazia” on December 18, 1960. Lado Gudiashvili highly valued Varvara Bubnova’s works, her style and handwriting: “I did not know the artist. I saw her exhibition for the first time and got astonished: despite her age, her creations radiate a youthful spirit and

sam etapad yofen: avangarduli yrmoba (1886-1922), iaponuri simwifis xana (1922-1958) da soxumuri sibrZnis Jami (1958-1979). niSandoblivia, rom avangardist mxatvars „sibrZnis Jami~ swored afxazeTSi dasdgomoda, ramac mniSvnelovani gardatexa Seitana mis SemoqmedebaSic. aRniSnavdnen, rom varvara bubnovam iaponuri xelovnebisTvis damaxasiaTebeli suliereba da sifaqize gaiTavisa. iaponiaSi daostatda rogorc xelovani, romlis Semoqmedebamac afxazeTis kaSkaSa ferebSi TviTmyofadi gza pova, kidev ufro laRi gaxda. afxazeTis CaxCaxa mzes, lurj kamkama zRvasa da msubuq haers mohqonda Sveba. es hgavda Sav-TeTridan ferad samyaroSi gadmosaxlebas. maSindel sabWoeTSi adamianebs iaponuri xelovneba da poezia izidavdaT. soxumSic male gavrcelda iaponeli mxatvris dasaxlebis ambavi da mis gasacnobad modiodnen mwerlebi, xelovanebi, saxelmwifo moRvaweebi, mecnierebi da sxv. varvara bubnovam soxumSi cxovrebis ori aTeuli wlis ganmavlobaSi afxazeTis uamravi peizaJi, Canaxati,

a love of life. My dream is to overcome old age in art “...

From this on the great Georgian artists - Lado Gudiashvili, Elene Akhvlediani, Ketevan Magalashvili, Ucha Japaridze become not only acquaintances and colleagues, but also friends and admirers of her art. Soon Varvara Bubnova is awarded the title of Honored Artist of Georgia. Many contemporaries recall the special friendship between Bubnova and Elene Akhvlediani. Probably a proof of this is that in the house-museum of Elene Akhvlediani there are seven works donated by Varvara Bubnova with the inscription: “To dearest Elene Dmitrienva”; In 1986, an exhibition dedicated to the 100th anniversary of Varvara Bubnova was held in the exhibition hall of the Akhvlediani House-Museum.

The 80th and 90th anniversary exhibitions of the artist were held in Sokhumi. As the artist Leri Chanturia recalls, in 1976 Varvara asked him to arrange her 90th anniversary exhibition. She seemed to trust his taste. At that time, the chairman of the Artists’ Union of Abkhazia was Chola Kukuladze, who was friends with Varvara Bubnova and helped her solve her daily problems. These stories are recalled by

naturmorti da portretebis farTo galerea Seqmna. akvareli, guaSi, tempera, pasteli, zeTi, fanqari... _ mravalferovani iyo masalac, romliTac is muSaobda. SemoqmedebiT cxovrebas, cxadia, Tan sdevda soxumuri istoriebi... igi TandaTan afxazeTis kulturuli cxovrebis ganuyofel nawilad iqca. saqarTveloSi gadmosaxlebidan sul raRac or weliwadSi, 1960 wels, mas TbilisSi, saqarTveloSi pirveli personaluri gamofena mouwyves. aq gamofenili 120 namuSevridan 100-ze meti iaponiis droindel avtoliTografias warmoadgenda. mxatvari Relavda _ rogor miiRebda Tbilisis sazogadoeba? magram nerviuloba rom amao yofila, amaze mianiSnebs didi qarTveli mxatvris lado gudiaSvilis gamoxmaureba _ „gansacvifrebeli gamofena~, romelic 1960 wlis 18 dekembris gazeT „Советская Абхазия"-Si daibeWda. lado gudiaSvili Zalian maRal Sefasebas aZlevs varvara bubnovas namuSevrebs, mis stilsa da xelweras. is wers: „me ar vicnobdi mxatvars. am gamofenaze vnaxe pirvelad da gavocdi: miuxedavad imisa, rom sakmaod asakovania, misi Semoqmedeba axalgazrdul sulsa da sicocxlis siyvaruls asxivebs. Cemi ocneba ki xelovnebaSi siberis daZlevaa~...

amasobaSi didi qarTveli mxatvrebi _ lado gudiaSvili, elene axvlediani, qeTevan maRalaSvili, uCa jafariZe... amieridan varvara bubnovas ara mxolod nacnobi kolegebi, aramed megobrebi da misi xelovnebis gulSematkivrebi

the artist’s son, famous neurologist Lado Kukuladze. According to him, Chola Kukuladze accepted Varvara Bubnova as a member of the Abkhazian Artists’ Union and nominated her for the title of Honored Artist of Abkhazia. For a while, she was also the co-chair of the Young Artists section of the Abkhazian Artists’ Union. This is how the socalled “Sukhumi School” was created, which was attended by many artists of different nationalities. Art historians would later write that these artists were saved by Varvara Bubnova’s school from Soviet ideology and “strict style.”

“The students sent by God come to me,” the artist writes somewhere, “completely young or not so young who want to paint and think that I can teach them this work.” But I cannot stand teaching and especially the teaching of painting. We meet once a week, they bring their work and I strongly criticize it.” “Before you learn to paint, you must first learn to see, to study nature, to grasp its essence ... You must always know exactly what you want to do when you start working” ... this is how she treated her students, not bringing them under her influence, but helping them to present themselves in the best possible way. She would always express her sincere views at exhibitions, where she was always a pleasant guest.

xdebian. male varvara bubnovas saqarTvelos damsaxurebuli mxatvris wodebas aniWeben. TanamedroveTagan bevri igonebs, rom gansakuTrebiT damegobrdnen varvara bubnova da elene axvlediani. albaT amis dasturicaa, rom elene axvledianis saxl-muzeumSi inaxeba varvara bubnovas naCuqari Svidi namuSevari warweriT: „Zvirfas elene dimitris asuls~; 1986 wels ki elene axvledianis saxl-muzeumis saeqspozicio darbazSi varvara bubnovas dabadebidan asi wlisTavisadmi miZRvnili gamofena moewyo.

mxatvris 80 da 90-wlis saiubileo gamofenebi soxumSi gaimarTa. rogorc mxatvari leri Wanturia ixsenebs, 1976 wels 90 wlis saiubileo gamofenis eqspoziciis mowyoba varvaras misTvis uTxovia. rogorc Cans, is mis gemovnebas endoboda. am droisTvis afxazeTis mxatvarTa kavSiris Tavmjdomare Wola kukulaZe iyo, romelic varvara bubnovasTan megobrobda da mas yofiTi problemebis mogvarebaSic exmareboda. am ambebs mxatvris vaJi, cnobili nevrologi lado kukulaZe igonebs. misi gadmocemiT, Wola kukulaZem varvara bubnova afxazeTis mxatvarTa kavSiris wevrad miiRo da afxazeTis damsaxurebuli mxatvris wodebaze waradgina. igi erT xans afxazeTis mxatvarTa kavSiris axalgazrda mxatvarTa seqciis TanaTavmjdomarec iyo. ase Seiqmna egreTwodebuli „soxumuri skola~, romelic uamravma sxvadasxva erovnebis momavalma mxatvarma gaiara. mogvianebiT xelovnebaTmcodneebi daweren, rom

It is clear from various sources that Varvara traveled to the Caucasus and made sketches of old Georgian churches and monasteries. She often walked around Sukhumi, was interested in cultural monuments, archeological excavations. Unfortunately, among her works preserved in the museums of Tbilisi, the monuments of Georgian culture were not found. Probably they are kept in museums in Sokhumi or Russia ... Varvara’s elder sister Maria died in 1963 ... Varvara was still painting and participating in exhibitions. Anna continued to teach at the Sokhumi Music School. In 1977 Anna passed away. Left alone, Varvara returned to Leningrad, where she died in 1983. According to the will, she was buried in Sokhumi, next to her sisters - Maria and Anna.

Many people write on the Internet that Varvara Bubnova’s works are kept in museums and private collections in Japan, Russia and Abkhazia. Tbilisi, Georgia is not mentioned anywhere in this context either. However, some of her works have been found in museums and private collections in Tbilisi. These include landscapes of Abkhazia and portraits of the people of Sukhumi. It is a sad fact that some circles are diligently trying to erase the Georgian traces from the cultural-historical past of Abkhazia.

es mxatvrebi varvara bubnovas skolam ixsna sabWoTa ideologiisa da „mkacri stilisagan~.

„CemTan modian RvTisgan gamogzavnili mowafeebi, _ wers erTgan mxatvari, _ sruliad axalgazrdebi an arc ise axalgazrdebi, romelTac mxatvroba surT da miaCniaT, rom me SemiZlia vaswavlo maT es saqme. magram ver vitan swavlebas da miT umetes, ferweris swavlebas. Cven kviraSi erTxel vikribebiT, maT moaqvT TavianTi namuSevrebi da me mkacrad vakritikeb~. `sanam xatvas iswavlide, manam danaxva unda iswavlo, iswavlo buneba, raTa mis umTavres arss Caswvde... muSaobis dawyebisas yovelTvis zustad unda icode, risi gakeTeba ginda~... _ amasac mowafeebs urCevda, romelTac Tavisi gavlenis qveS ki ar aqcevda, aramed niWisa da sakuTari Tavis saukeTesod warmoCenaSi exmareboda. is gulwrfel Sexedulebebs gamoTqvamda gamofenebzec, sadac yovelTvis sasiamovno stumari iyo. sxvadasxva wyaroebidan irkveva, rom varvara kavkasiaSi mogzaurobda da Zveli qarTuli eklesia-monastrebis Canaxatebsac akeTebda. xSirad dadioda soxumis SemogarenSi, interesdeboda kulturis ZeglebiT,

arqeologiuri gaTxrebiT. samwuxarod, Tbilisis muzeumebSi dacul namuSevrebs Soris misi TvaliT danaxuli qarTuli kulturis Zeglebi ar aRmoCnda. SesaZloa, isini soxumis an ruseTis muzeumebSi inaxeba... 1963 wels ufrosi da maria gardaicvala... varvara isev xatavda da gamofenebSi monawileobda. ana ki soxumis musikalur saswavlebelSi pedagogobas ganagrZobda. 1977 wels anac gardaicvala. martod darCenili varvara leningrads daubrunda, sadac 1983 wels gardaicvala. is, anderZisamebr, soxumSi gadmoasvenes da debis _ mariasa da anas gverdiT dakrZales.

internetsivrceSi bevrs weren imaze, rom varvara bubnovas namuSevrebi inaxeba iaponiis, ruseTisa da afxazeTis muzeumebsa da kerZo koleqciebSi. Tbilisi/ saqarTvelo arc am konteqstSia sadme naxsenebi. arada, misi ramdenime aTeuli namuSevari aRmoCnda Tbilisis muzeumebsa da kerZo koleqciebSi. maT Sorisaa afxazeTis peizaJebi da soxumelTa portretebi. samwuxaro faqtia, rom garkveuli wreebi gulmodgined cdiloben waSalon qarTuli kvali afxazeTis kulturul-istoriuli warsulidan.

irine WeliZe IRINE

orientirebi

LANDMARKS

Tqveni ar vici da me orientirebs vkargav. ai iseTebs, romlebic samyaros aRqmaSi mexmarebodnen. romelsac CaeWidebi da usafrTxod xar, ici, rom saxlSi gelian da uyvarxar, rom xval isev iqneba dila, rom ezos SaSvi kvlav gagaRviZebs gariJraJze. axla ki Tavdayiraa yvelaferi. sinamdvile simulaciebiT nacvldeba da orientirebi xelidan misxlteba...

goga pipinaSvils rom vestumre, amaze msurda saubari. msaxiobTan simulaciur realobaze saubars ra sjobs, is xom Tavad qmnis axal realobebs. Tan gogaa, pipinaSvili. vinaa da saidan iwyebda, ra gaukeTebia magas xom ar vkiTxav, isedac viciT. viciT rom msaxiobia. didebuli msaxiobi. da adamiania, romelsac Zalian myari orientirebi aqvs da iqaa sadac aris da sxvanairad ar ZaluZs.

_ meCveneba rom samyaro damfrTxalia, ambobs is. teqnikuri progresi win gaiWra, adamiani ki ver daewia mas. mentalurad. axla awydeba aqeT-iqiT da am swraf teqnologiur ganviTarebaSi sakuTar adgils eZebs. maqvs SegrZneba, rom erT dResac Zireulad unda Seicvalos yvelaferi. amis niSnebi aris. Tumca dRes adamianma, adamianTan misasvleli gzebi dakarga. veRar vgrZnobT erTmaneTs. Cveni urTierToba simulaciiT nacvldeba.

_ Cems profesiaSic asea, agrZelebs goga mcire pauzis mere. gadaxede Teatrebis repertuarebs. arc erTi siRrmiseuli warmodgena ar aris. reJisorebi ar iazreben arss da mxolod formiT, Semoifarglebian. arada xelovneba xom arsebis Ziebaa. unda grZnobde saiTken midixar, ras eZeb. SeiZleba ver ipovo, magram mcdeloba unda anaxo. yvelaferi zedapirulia. msaxiobebis TamaSic, arada Cemi profesia Sreebis aRmoCenaa. adamianuri bunebis waxnagebis Zieba, povna da mayureblisTvis wardgena. gaixsene simon CaCava, kaxi kavsaZe, erosi manjgalaZe... Teatraluris studenti viyavi da erosis derefanSi rom davinaxavdi, vakvirdebodi, mindoda Semecno ra adamiania, vin aris da misi gardasaxvebis saidumlo amomexsna. msurda mis gverdiT vmdgariyavi scenaze da meswavla misgan. dRes vekiTxebi Cems mowafeebs, visTan erTad ginda scenaze

Don’t know about you but I am losing my focus, that helped me perceive the world. Whichever you cling to and you are safe, you know that someone is waiting for you at home and you love that tomorrow the sun will rise again, that the blackbird will wake you up again. And now everything is upside down. Reality is replaced by simulations and this focus is missing...

When I met Goga Pipinashvili, I wanted to talk exactly about this. It is better to talk to the actor about the simulated reality, as he creates new realities himself. This is Goga, Pipinashvili. We already know what he has done, I am not going to ask him these questions. He is a wellknown actor. A genius actor. And he is a person who has very clear focus and he is where he is and can’t do otherwise.

dgoma da ver mpasuxoben. ar ician. ar hyavT aseTebi. gogas samsaxiobo skola aqvs _ xelovnebis saymawvilo centri „art holi“. masTan mosulebs, aqvT SesaZlebloba adamianis xasiaTis da sulis Sreebis Seswavlas daeuflon. rac aris msaxioboba. magram marto es araa. gogasTan im orientirebis moZebna SegiZlia, romelsac mTeli cxovrebis manZilze CaeWidebi da ayiravebul samyaroSi fons gaxval, iqneba es Seni profesia mxolod Tu adamianoba mTlianobaSi.

_ bavSvebSi erTs veZeb _ naperwkals. Tu es SevamCnie, maqsimalurs vecdebi, Cavdeb da gzas davanaxeb. Tumca problemas vawydebi, rac dasawyisSi giTxari, erTmaneTis ar esmiT. Zalian Znelad gadian namdvil kontaqtze. arada amis gareSe Cveni profesia ar arsebobs. unda iyo Ria, gulgadaSlili. amis swavleba miwevs. siwrfelis. naRdi urTierTobis da simarTlis. tyuils ver davuSveb. urTierTobebSi tyuili aris is rasac kategoriulad ver viReb. kontaqtis ar arsebobis gamo axla konkretuli problema maqvs, romlis gadaWrasac vcdilob _ speqtakls

“It seems to me that the world is wary,” he says. Technical progress has been made, but man has not been able to catch up with it. Mentally. Now he clashes here and there and is looking for his place in this rapid technological development. I have a feeling that one day everything will have to change radically. There are signs of that. Today, however, man has lost the ways to one another. We can no longer feel each other. Our relationship is replaced by simulation.

– It is the same in my profession, Goga continues after a short pause. Take a look at the theater repertoires. You cannot find any in-depth play. Directors do not understand the essence and are limited only by the form. But art is the search for being. You have to feel where you are going, what you are looking for. You may not find it, but you should try to show it. Everything is superficial, including actors’ play, but my profession is to discover layers. Searching for surfaces of human nature, finding and presenting them to the audience. I’ll remind you of Simon Chachava, Kakhi Kavsadze, Erosi Manjgaladze... I was a student of the theater university and every time I saw Erosi in the hall, I was observing him to find out his true nature as a person and explain the secret of his transformations. I wanted

vdgamT da scenaze ver davaaxlove jer-jerobiT patara msaxiobebi. vmuSaob amaze da imedia daiZleva es siZnele. _ riT aris es gamowveuli, rogor fiqrob?

_ ukontaqtoba da zedapiruloba? sxvadasxva mizezebis rigSi, vfiqrob, mTavari ganaTlebis sistemaa. fundamenturi ganaTleba iZleoda samyaros suraTis srul xedvas. SeiZleba viRac cudad swavlobda fizikas da msgavs „Znel“ sagnebs, Tumca warmodgena yvelas gvqonda. es sistema moiSala, rac dainerga ar muSaobs, ar varga. dRevandelobisa da teqnologiuri progresis gaTvaliswinebiT ganaTlebis ra modelia Semosatani ar vici, Tumca faqtia, dRes rac gvaqvs, is ukiduresad araqmediTia. bavSvebi veRar aRiqvamen movlenebsa da sagnebs erTian konteqstSi. maTi samyaro danawevrebulia. Sesabamisad modis zedapiruloba. konteqstebis ucodinroba iwvevs undoblobas, hoda me am ndobis xidebis aRdgeniT var am wuTas dakavebuli. amasobaSi me maxsendeba, rom dRes saqarTveloSi erTerTi yvelaze „ufulo~ da uperspeqtivo profesia, swored rom msaxiobobaa.

to stand next to him on stage and learn from him. Today when I am asking my students who they want to stand on stage with, they cannot answer. they do not know. They do not have such role models.

Goga has an acting school – youth art center “Art Hall”. Here the young people have the opportunity to study the layers of human character and soul – which is acting. But not only acting. With Goga you can find the direction that you will hold for the rest of your life and find the way in this world of frustration, be it your profession alone or humaneness as a whole.

– I’m looking for one thing in children - a spark. If I notice this, I will try my best, put it down and show them the way. However, I face the problem of what you mentioned in the beginning, the problem

of understanding each other. It is very difficult for them to make a real contact. But without this contact our profession does not exist. They should be openhearted and honest. I have to teach this – the real relationship and truth. I cannot lie. Lying in a relationship is something I definitely cannot take for granted. Due to the lack of contact, I now have a specific problem that I am trying to solve - we are staging a play and I have not been able to bring small actors come together on stage yet. I am working on it and hopefully overcome this difficulty.

– What do you think is the cause of this?

– Non-contact and superficiality? Among the various reasons, I think, is the education system. Fundamental education gave a complete view of the picture of the world. Someone may have

_ ratom modian am profesiaSi bavSvebi _ vekiTxebi da Zalian mainteresebs pasuxi, imitom, rom zustad vici, iqneba simarTle.

_ ki, yvelaze daufasebeli da yvelaze nakleb anazRaurebadia. meTanxmeba.

_ albaT yuradRebis centrSi yofnis survili sZlevT. idge scenaze aris magia. Tumca aTidan cxra, mere midis sxva profesiaSi. dRes, Zalian niWierebic ki, iSviaTad pouloben scenaze Tavs. mocemulobaa aseTi. midian ufro moTxovnad, modur profesiebSi. visac umarTlebs serialebSi saqmdeba. viRac sazRvargareT midis da Tavis rigs Zalian didxans elodeba.

_ asea. merab niniZe pirveli rigis varskvlavTan TamaSis „Rirsi~ mxolod axla gaxda. arada ramdeni welia germaniaSia. uCaneiSvili ki daikarga... _ vwuxvar me.

_ vinc rCeba Zalian rTul gzas gadis. saqme „Seni~ rolis lodinSi ar aris. rom iyos es roli, sanam Zireulad daeuflebi profesias, cxovreba gava. ai me, TiTqos yvelaferi vici da yvela kari gaxsnili maqvs, Tumca ara. erT kars rom vxsni, imis iqiT meorea da ase usasrulod. dResac maqvs gancda rom Cems profesiaSi raRac kidev maqvs saswavli da es asec unda iyos. Tu gsurs am dargSi

studied physics and similar “difficult” subjects unwell, but we all had an idea. This system is abolished, and replaced by ineffective system that does not work. I do not know what model of education should be introduced in the light of today’s technological progress, but the fact is that what we have today is absolutely ineffective. Children can no longer perceive events and objects in a single context. Their world is fragmented and consequently there comes the superficiality. Ignorance of the contexts leads to mistrust, so I’m trying rebuilding the bridges of that trust right now.

In the meantime, I remember that one of the most “unpaid” and hopeless professions in Georgia today is acting.

– Why do children come to this profession – I ask and I am very interested in the answer, because I know for sure, it will be true.

– Yes, it is the most invaluable and the least paid. I agree.

– They probably want to be the center of attention. Standing on the stage is magic. However, nine out of ten chose another profession. Today, even the most talented rarely find themselves on stage. This is the reality. Some are going for more practical and needed professions. Those who are lucky enough are employed for TV series. Others are going abroad and waiting their turn for a very long time.

– That’s right. Merab Ninidze has just “deserved” to play with the stars. But how many years has he been in Germany. Uchaneishvili was

sakuTari Tavis aRmoCena, cxovreba unda Seswiro da mainc ukmayofilo iqnebi. sxvanairad Semoqmedi ver iqnebi. geqneba raRac forma, magram ar geqneba Sinaarsi. goga pipinaSvilis kabinetSi, romelic saxelovnebo studiaSia, xisa da sxvadasxva masalis SezavebiT Seqmnil nivTebs SeniSnavT. magida inkrustirebuli zRvis kenWebiT. xis da betonis SexamebiT Sesrulebuli saaTebi. sanaTebi. TiToeuli nivTi eqskluziuria da ostatis xelweras aCens. ostati ki Tavad gogaa.

_ ratom daiwye masalebiT eqsperimentebi?

_ msurda profesiis paralelurad Cemi Semoqmedebis Semavsebeli mepova. axlave agixsni ras vgulisxmob. TeatrebSi arsebuli situaciidan da dRevandelobidan gamomdinare, didi xania scenaze ar var. aqtiur monawileobas ar viReb Teatralur cxovrebaSi. calsaxad ar momwons procesebi da ar minda maTi monawile viyo. rodesac reJisors pasuxi ar aqvs Cems dasmul kiTxvaze Tu rogori personaJis xilva surs an iTxovs Cemgan imas, rasac ver miiRebs, me im reJisorTan ver vimuSaveb. amitom maqvs pauza. Sesabamisad Cems SemoqmedebiT energias Wirdeboda mimarTulebis micema, ase vTqvaT, sublimacia. didi xania gatacebuli var Tanamedrove tendenciiT

lost... – I am expressing my sorrow.

– Whoever stays goes through a very difficult path. It is not a matter of waiting for the role of “yours”. To be in that role, before you master the profession, life will go by. Here I am, as if I know everything and have all the doors open, but no... When I open one door, there is another behind it and so on endlessly. I still have the feeling that I there is something to learn in my profession and it should be so. If you want to discover yourself in this field, you have to sacrifice your life and still be unhappy. Otherwise, you cannot be an artist. You will have some form but no content.

In Goga Pipinashvili’s room, which is in the art studio, you will notice items created by mixing wood and different materials. Table with inlaid sea pebbles. Clocks made of a combination of wood and concrete. Lamps. Each item is exclusive and features a master’s signature. The master is Goga himself.

– Why did you start experimenting with materials?

– I wanted to find a complement to my creativity in addition to my profession. I will explain what I mean. Due to the situation in the theaters, I have not been on stage for a long time. I do not take an active part in theatrical life. I definitely do not like these processes and I do not want to be a part of them. When a director does not have the answer to my question of what kind of character he wants to see or

_ teqsturebis SezavebiTa da SexamebiT. ase mivedi am Temamde _ vqmni nivTebs, romlebSic Cems SemoqmedebiT xelweras veZeb da mgoni vipove. tan CemTvis Zalian saintereso procesia. rodesac vqmni nivTebs, vexebi faqturebs, paralelurad rolebs vTamaSob. rols xom ramdenime plani aqvs, aqac planebia, igive teqsturebi _ xes sxva xasiaTi aqvs, zRvis kenWebs da betons sxva. ramdeni masalacaa, imdeni plania, Sesabamisad, imden planiania Cemi roli. Sedegad ki iqmneba nivTebi. _ SemoqmedebiTi pauzis Sewyvetaze ar fiqrob?

_ ki. movlenebs win ar gavuswreb, Tumca igegmeba speqtakli. ori msaxiobis monawileobiT. erT-erTi personaJis roli me SemomTavazes. mainteresebs. vnaxoT. vfiqrob mono speqtaklzec, Tumca Sesabamisi jer araferi momisazrebia. zogadad molodinis reJimSi var, vnaxoT Cvens sferoSi saiTken wava da rogor ganviTardeba movlenebi.

vnaxoT. erTi ki cxadia, is bavSvebi, romlebic goga pipinaSvilis skolas gaivlian, Tundac ar darCnen scenaze, fundamenturi Rirebulebebis Sesaxeb iseT codnas SeiZenen, romelic erT sicocxled Rirs.

asks me what he cannot accept, I cannot work with such director. So, I have a pause. Consequently, my creative energy needed direction, so to speak, sublimation. I have long been fascinated by the modern trend - mixing and blending textures. That’s how I got to this - I create items in which I look for my creative handwriting and I think I find it. Meantime this is a very interesting process for me. When I create things, I touch the textures, I play roles. The role has several layers, there are layers here as well, the same textures - wood has a different texture, sea pebbles and concrete have a different one. The more material there is, the more layers there are and the more layers my role has. As a result, items are created.

– Don’t you plan to end this creative pause?

– Yes. I will not anticipate the events, although one play is arranged. With the participation of two actors. I was offered the role of one of the characters. I’m interested and let’s see. I think about the mono play as well, though I have not thought of anything relevant yet. I am generally in a state of anticipation to see where our field will go and how events will unfold.

Let’s see. One thing is clear, those children who attend Goga Pipinashvili’s school, even if they do not stay on stage, will acquire knowledge about fundamental values that is worth one life.

daviT kldiaSvilis „bednieri Tvali~ ucnauri paralelebi

DAVIT KLDIASHVILI’S “HAPPY EYE”

STRANGE PARALLELS

daviT kldiaSvils, romlis proza uxvad iyo gajerebuli cxovrebiseuli masaliT, geronti qiqoZe „sinamdvilis fanatikoss~ uwodebda.

sergo kldiaSvili, romelic ara marto saukeTeso mogonebaTa avtori iyo daviTze, aramed misi Semoqmedebis Cinebuli mkvlevaric, jer kidev mamis sicocxleSi gamocemul, axla bibliografiul iSviaTobad qceul wignakSi erTgvarad „amarTlebda~ da Taviseburad xsnida didi mwerlis mijaWvas yofaze: „yofa-cxovreba arc ise xelwamosakravi da abuCad asagdebia, aseTi Jesti uyvarT frantebs esTetizmidan. Tu yofa-cxovrebis masala moTxrobas ver aZlierebs da ver amarTlebs, amaSi xSirad TviTon avtorebi arian damnaSave. ase xdeba yovelTvis, roca yofa-cxovreba aRebulia rogorc mizani, mTavari masala. es fotografi-momTxrobebi iZlevian yofacxovrebis aRweras, suraTs da kmayofildebian amiT. imas ki, rac mTavaria masSi, rac dasanaxavia masSi, Zirebi, romelic mas asazrdoeben da aZleven sicocxles _ maTi Tvalis (mxatvruli Tvalisa da ara fotoaparatis obieqtivis), yuris da grZnobis gareSe rCeba. yofacxovreba mTeli msoflmxedvelobaa. amis gageba da danaxva mxolod xelovanis Tvals SeuZlia. da ai, swored es bednieri Tvali aqvs daviT kldiaSvils~ („daviT kldiaSvili, biografia“, 1930 weli, tfilisi).

Cemi azriT, es Rrmaazrovani dakvirveba met-naklebad TiTqmis yvela did mwerals exeba. iSviaTad aRmoCndeba ori iseTi Semoqmedi, romelTa Soris raime, Tundac naklebmniSvnelovani paraleli ar moiZebnos.

daviT kldiaSvilsa da Tomas mansac gana ra unda hqonodaT saerTo? rogorc germaneli, ise qarTveli mwerlis mxatvrul warmosaxvas, rogorc Cans, raRac

Davit Kldiashvili, whose prose was richly saturated with the existential themes was often called “the fanatic of reality” by Geronti Kikodze.

Sergo Kldiashvili, who was not only the author of the best memories of Davit, but also an excellent researcher of his works, still in his father’s life, and later in a bibliographic book, “justified” and somewhat explained the existential shackling of the great writer: “the lifestyle is not something that can be vulnerable or ignored, this kind of gesture is loved by frants from aesthetics. If the material of life cannot strengthen the story and justify it, the authors themselves are often guilty. This is always the case when life is taken as a goal, the main material. These photographerstorytellers give a description and picture of life and they are satisfied with it. However, what is the most essential, the roots that nurture and nourish life is left without their eyes (the artistic eyes and not the lens of the camera), ears and senses. Life is a philosophy. Only the artist can understand and see this. And this “happy eye” is what Davit Kldiashvili owns” (“Davit Kldiashvili, biography”, 1930, Tbilisi).

In my opinion, this profound observation is more or less refers to almost every great writer. There are rarely two writers, whose works don’t have some, even unimportant parallels.

What may Davit Kldiashvili and Thomas Mann have in common? The artistic imagination of both the German and Georgian writer seemed to have some external cause; Such an incentive was sometimes given to them by life and sometimes they were “searching and finding.”

Thomas Mann firmly insisted that great writers never “invent” anything, they don’t “vamp up”. They revive and transform something that is already existed, already happened and known. The same idea with the slightest differences is expressed by many thinkers,

garegani biZgic esaWiroeboda; amgvar stimuls yofa zogjer mzamzareulad awvdida maT, zogjer ki TviTon „eZiebdnen da hpovebdnen“.

Tomas mani dabejiTebiT amtkicebda, rom didi mwerlebi arasdros arafers ar „igoneben“, ar „Txzaven“. isini ukve momxdars, arsebuls, cnobils _ suls STaberven da gardasaxaven. amdagvari azri met-naklebi saxesxvaobiT gamoTqmuli aqvs bevr moazrovnes _ filosofoss, SemoqmedebiTi fsiqologiis mkvlevars, mwerals...

Tomas mani erTi im mweralTagania, romelic uxvad iyenebda avtobiografiulsa Tu sxva cxovrebiseul masalas. es misi mxatvruli mrwamsic iyo da SemoqmedebiTi individualurobis Taviseburebac. ra Tqma unda, es ar moaswavebda warmosaxvis, fantaziis Tu Sinagani sulieri cxovrebis simwires.

igive iTqmis daviT kldiaSvilzec. sergo kldiaSvili mogviTxrobs daviTis SemoqmedebiTi procesis erT Taviseburebaze: didi mwerali xSirad agulianebda, aqezebda meuRlesa da sxva axloblebs; momiyeviT nacnob-megobarTa ambavi, Tavgadasavali, aba he, damgeSeT, damgeSeTo!..

ra madlierni unda viyoT daviTis axloblebisa Tu Sinaurebisa, mezoblebisa Tu SemTxveviTi nacnobebisa, zogjer sruliad ubiri adamianebisa, romelTac marTlac „dageSes~ didi mwerali qarTuli prozis ukvdav

philosophers, researchers of creative psychology, writers...

Thomas Mann is one of the writers who often referred to autobiographical or other materials from life. This was both his writing ideology and the uniqueness of his creative individuality. Of course, this would not mean the lack of imagination, fantasy or inner spiritual life.

The same can be said about Davit Kldiashvili.

Sergo Kldiashvili remembers an interesting story about Davit’s creative process: the great writer often asked and encouraged his wife and relatives to tell him some stories of their friends, families and acquaintances - come on, tell me! Tell me!

How grateful should we be to Davit’s relatives, family, neighbors or random acquaintances, and sometimes complete strangers who indeed inspired the great writer to create the immortal works of Georgian prose.

“Davit was creating his works with this inspiration. He was filled with the great love of people, the life authenticity”- Sergo Kldiashvili (“Davit Kldiashvili, biography”, 1930, Tbilisi).

Now let’s go back to Thomas Mann again. Almost in the same years, when Davit Kldiashvili begged his relatives to inspire him with stories, the young Thomas Mann was writing a letter from Munich to the singer Hilda Distel who was in Dresden: “Please, write to me about the rumored and tragically ended romance in Dresden (the murder of a young musician by the noble woman who Distel knew personally) and all the details, but not more or less, with truly German correctness answer me to this seventeen (?!) questions: I can very well invent this myself, but I am looking for the original bits of the story that can be stimulating and when I use this story ever, it will be so transformed that you won’t even recognize it (letter to Hilda Distel, 1902).

This tragic story was used by Thomas Mann in “Dr. Faustus” (the murder of Rudi Schwerdtfeger by his lover Ines Institoris) after 45 years!

One of the reasons for such a “delay” was probably the fact that the author could not go to his hometown Lübeck, a town full of the prototypes of “Budenbrooks”. In the famous article, “Bilse and I” Thomas Mann sincerely noticed - I was shocked when I heard that Budenbrooks caused a sensation and anger in Lübeck.

Such a scandalous fame was made by the character of Mynheer Peeperkorn, who was considered as a travesty of Gerhardt Hauptmann (“The Magic Mountain”). Due to Adrian Leverkühn - the “author” of the dodecaphonic system, Thomas Mann could not avoid a conflict with the composer Shonberg (Dr. Faustus).

The writer cried in vain – there was a hole between reality and his imagination - including the difference in the confrontation between the real world and the world of art.

The stranger is the fact, that like the “Budenbrooks” of Thomas Mann, Kldiashvili’s “Samanishvili’s Stepmother” can be considered somewhat autobiographical. The widowed Bekina Samanishvili, the old man, decided to get married.

The widowed Samson Kldiashvili decided to get married in his 70ies.

nawarmoebTa Sesaqmnelad.

„yovel Tavis moTxrobas daviTi swored „dageSili~ swerda. is igeSeboda udidesi siyvaruliT adamianisadmi, igubeboda cxovrebis sinamdviliT, mxolod mis saTaveze iklavda wyurvils~ _ werda sergo kldiaSvili (ix. dasaxelebuli wignaki).

axla kvlav Tomas mans mivubrundeT. TiTqmis imave wlebSi, roca daviT kldiaSvili axloblebs evedreboda, „damgeSeTo“ (didi-didi, aTiode weli iyos sxvaoba), axalgazrda mwerali Tomas mani miunxenidan drezdenSi werda momReral qals hilda distels: momwereT drezdenSi gaxmaurebuli tragikulad dasrulebuli romanis (axalgazrda musikosis mkvleloba maRali wris qalbatonis mier; am ukanasknels hilda disteli piradad icnobda) yvela wvrilmanio da, arc meti da arc naklebi, WeSmaritad germanuli punqtualurobiT Cvidmet (?!) konkretul SekiTxvas usvamda adresats: yovelive es SesaZloa mSvenivrad gamovigono me TviTon, magram imedi maqvs cincxali detalebisa da faqtebis mastimulirebeli qmedebisao. ukeTu am istorias odesme gamoviyeneb, ise iqneba saxecvlili, albaT verc ki icnobTo (werili hilda distels, 1902).

es tragikuli istoria Tomas manma gamoiyena „doqtor faustusSi~ (inesa institorisis mier Tavisi sayvarlis rudi Sverdtfegeris mokvla) 45 wlis Semdeg!

aseTi „dayovnebis~ erT-erTi mizezi albaT isic iyo, rom „budenbrokebis~ gmirTa prototipebiT savse mSobliur liubekSi avtors erTxans ar Caesvleboda. cnobil statiaSi „bilze da me~ Tomas mani gulwrfelad SeniSnavda _ gavogndi, roca gavige, rom „budenbrokebma~ liubekSi sensacia da gaafTreba gamoiwviao.

aseTi skandaluri saxeli moixveWa agreTve minger peperkornis saxem, romelic gerhardt hauptmanis SarJad miiCnies („jadosnuri mTa~). adrian leverkiunis _ dodekafonuri sistemis „avtoris~ gamo _ Tomas manma Tavidan ver aicila uTanxmoeba kompozitor SonbergTan („doqtori faustusi~).

amaod RaRadebda mwerali _ sinamdvilesa da mis warmosaxvas Soris ufskrulia _ maT Soris sxvaoba TviT realur samyarosa da xelovnebis samyaros arsTa dapirispirebaSi Zevso.

ucnaurze ucnauria is faqti, rom Tomas manis „budenbrokebisa~ ar iyos, kldiaSvilis „samaniSvilis dedinacvali~ garkveulwilad avtobiografiul Txzulebad SeiZleba miviCnioT. daqvrivebulma bekina samaniSvilma, Warmagma moxucebulma, colis SerTva gadawyvita.

daqvrivebulma samson kldiaSvilma 70 wlis asakSi moiwadina colis SerTva da SeirTo kidec. platon samaniSvilma yovelive iRona, bekinasTvis colis SerTva rom gadaeTqmevinebina, magram amaod.

Platon Samanishvili did everything to change Bekina’s mind about marriage but in vain.

Davit Kldiashvili’s memoirs show his sincere love to his mother Kesaria Ghoghoberidze. Obviously, he would be deeply bothered by his old father’s desire and resist his decision. However, his attempts were without any result, likely to his character Platon Samanishvili. According to Sergo Kldiashvili, Davit was against it, asking him not to do it, and at the end of the day, Samson did not concede. After that, Davit disconnected with his father and for some time he would not event let the children go to the village at grandfather’s. (“Orpheus”, Tbilisi, 1969).

After the marriage, Bekina did not live longer, he passed away “in grief”.

Samson Kldiashvili died very old: according to Sergo Kldiashvili he was more than 80 years old, though Samson claimed that he was 104. His second wife had a different fate than Bekina’s wife Salome: “Samson’s second wife did not live for long. She probably spent only two weeks with her husband. Neighbors were joking: - The sorrow killed a desperate woman... how she could stand Samson’s stubborn nature” (Ibid.).

daviT kldiaSvilis memuarebidan Cans, Tu ra unazesi siyvaruliT uyvarda mas deda kesaria RoRoberiZe. cxadia, mas Zlier Seawuxebda moxucebuli mamis axirebuli survili da win aRudgeboda kidec mis gadawyvetilebas. magram, platon samaniSvilisa ar iyos, isic amaod daSvra. sergo kldiaSvilis gadmocemiT, daviTi winaaRmdegi iyo, sTxova, ar eqmna es, bolos kidevac gauwyra, samsonma Tavisi ar daiSala. amis Semdeg daviTma Tavis mamasTan urTierToba gawyvita da ramdenime xnis ganmavlobaSi sofelSi bavSvebic ar gauSva („orfeosi~, Tbilisi, 1969 weli).

bekinas colis SerTvis Semdeg didxans ar ucocxlia _ „javrma mokla~.

samson kldiaSvili ki Rrmad moxucebuli gardacvlila: sergo kldiaSvilis mowmobiT, 80 welze metis iqneboda, Tumca amtkicebda _ 104 wlisa varo. mis meore cols ki bekinas salomesagan didad gansxvavebuli xvedri eloda: isic, bekinasi ar iyos, Tu samsonis enakvimat mezoblebs daejereba _ „javrs mouklavs~. „didxans ar ucocxlia samsonis meore cols. mgoni, sul ori kvira dahyo qmarTan. mezoblebi xumrobdnen: _ javrma mokla sacodavi qali... SeuCveveli adamiani samsonis axirebul xasiaTs rafer gauZlebda~ (iqve).

bekinas qvriv-oboli, platonis mier Seviwroebuli, misi modave Seiqmna...

daviTs qonebis modaved ki mamamisi moevlina. 1918 wels, roca daviTi meuRliTurT sofelSi gadavida sacxovreblad, samsonma axlo ar gaikara isini, me Cems nebaze minda cxovreba: qalaqelebis wesebs ver avyvebio. ufro metic: saqarTvelos aneqsiis Semdeg, roca, cxadia, aznaur kldiaSvilebs mamuls CamoarTmevdnen, xelisuflebasTan uCivlia daviTisaTvis _ miwa wamarTvao...

„roca samsoni gardaicvala, mis qaRaldebSi vipoveT daviTis winaaRmdeg dawerili saCivari mimarTviT: „umaRles mTavrobas~. saCivari ase iwyeboda: „Svilman Cemman otstavnoi polkovnikma daviT kldiaSvilman~... samsoni Cioda, rom adgil-mamuli gauzomes da miwa CamoarTves Svilis mizeziT. ra SuaSi iyo aq daviTi? ukve sabWoTa xelisufleba iyo CvenSi, magram samsoni amas angariSs ar uwevda.

`mamam rom waikiTxa, gaiRima. _ ra mSvenivrad dauweria, _ moswonda daviTs _ sacodavi mamaCemi, niWieri kaci iyoo~, _ igonebda sergo kldiaSvili.

zemoTqmulis gaTvaliswinebiT, TiTqos eWvs ar unda iwvevdes „samaniSvilis dedinacvlis~ avtobiografiuli RerZi: bekinas prototipad samsonis miCneva. magram saqme is gaxlavT, rom daviT kldiaSvilis Sedevri XIX saukuneSi, saxeldobr, 1897 wels daiwera, xolo samson kldiaSvilma ki XX saukunis 10-iani wlebis dasawyisSi SeirTo meore coli!

saocari damTxvevaa: aki megobrebic eubnebodnen

Bekina’s widow-orphaned, oppressed by Plato, had become his complainant...

As Davit appeared to be opposed by his father to claim the property. In 1918, when Davit moved to the village with his wife, Samson did not let them share the house, he wanted to live on his own: I could not follow the urban rules – he said. Moreover, after the annexation of Georgia, when, of course, the lands of noble were supposed to be confiscated by the government, Samson sued his son Davit on the seizure of the land…

“When Samson died, we found a complaint against Davit in his papers with the title: “to the Highest Government”. The complaint began as follows: “My son former Colonel Davit Kldiashvili”... Samson complained that the land was measured and confiscated because of his son. What was Davit’s fault here? The Soviet government was already in power, but Samson did not take it into account.

“When father read this letter, he smiled and said - “How beautifully he wrote this letter, my desperate father, he was a talented man” –remembers Sergo Kldiashvili in his memoires.

In view of the above, the autobiographical path of “Samanishvili’s stepmother” should not be doubted: Bekina’s prototype was Samson. But the fact is that Davit Kldiashvili’s masterpiece was written in 1897 in the 19th century, and Samson Kldiashvili married his second wife in the early 10s of the 20th century!

The amazing coincidence: even friends were telling Davit that he predicted “Samanishvili’s Stepmother” as his own future.

Davit Kldiashvili made a special note in his memoirs about “Samanishvili’s stepmother” – the main theme of the novel is based on the story told by my father-in-law Pavle Machavariani, who would jokingly tell me: “You are not a good man. You should have written about this story that it was “The novel by Davit Kldiashvili and Pavle Machavariani” – he used to tell me, content with this novel”.

Many writers’ inventions later become true in their lives, including the author of “Samanishvili’s stepmother”.

Thomas Mann, from the Budenbrooks, has always had to “repel” the likely prototypes of his works. There is a great deal of material preserved on this.

Perhaps Davit’s works also offended many people: many of his villagers or friends found themselves in his writings.

Davit was contentiously remembering the adventures of working on his books. According to Sergo Kldiashvili, their Simonetian servant “Jesse’s story about the gelded cat was published by Davit in the novel “on the edge of hearth”. The author of this story is Jesse and I! –father would say jokingly.”

* * *

In two stories of Davit Kldiashvili - “Victims” and “Mikela” – there are characters “from afterworld”. According to the great writer, they had a real prototype - Simoneti peasant: “There was a man in our neighborhood, “being in afterworld”, a peasant Levana Sirbiladze - a noticeable person. The poor, not quite a hard worker, but a good fellow. ...He loved to speak as a real orator, he was

daviTs _ „samaniSvilis dedinacvali~ sakuTar Tavs uwinaswarmetyveleo.

daviT kldiaSvili „samaniSvilis dedinacvlis~ Taobaze sagangebod SeniSnavda Tavis memuarebSi _ kvanZi, ZarRvi moTxrobisa Cemi simamris pavle maWavarianis monaTxrobs efuZnebao: „– vera xar kargi kaci. am moTxrobazed unda migewera, „moTxroba daviT kldiaSvilis da pavle maWavarianis~, _ xumrobiT meubneboda moTxrobiT nasiamovnebi moxuci“.

bevr xelovans „axdomia~ mis mierve gamonagoni ambavi; maT ricxvs ekuTvnoda „samaniSvilis dedinacvlis~ avtoric.

Tomas mans, „budenbrokebidan~ moyolebuli, mudam uxdeboda Tavis nawarmoebTa savaraudo prototipebis „mogerieba“. amaze didZali masalaa Semonaxuli.

albaT daviTsac gaunawyenebia mavanni: bevr mis Tanasoflels Tu nacnob-megobars ucvnia Tavi mis TxzulebebSi.

daviTi didi siamovnebiT igonebda xolme Tavis moTxrobaTa Seqmnis peripetiebs. sergo kldiaSvilis gadmocemiT, maTi simoneTeli mojamagiris „ieses naambobia dadaRuli katis ambavi, romelic gamoqveynebuli aqvs daviTs moTxrobaSi „Suacecxlis piras“. _ am moTxrobis

the master of a word. He could remember many stories, an old peasant, he would often say - I have a long life, because I have visited the afterworld. This story of “afterworld” has been told by Levana many times, and I have written it almost word by word in my novel “Victim”.

The mystical side of Davit Kldiashvili’s artistic world - is completely unexplored and neglected. We can remember that the writer’s fandom and appreciator Titsian Tabidze would always emphasize –“there is nothing mystical in his work.”

Later, Geronti Kikodze expressed his views: “From Davit’s works, he does not seem to believe in any metaphysical world, or the issue of religious beliefs or unbelief. He thinks positively, and as an artist does not go away from the space of empirical events. “

The metaphysical plan may not have a worthy place in Davit’s legacy, and the mystical elements may only be here and there; But keep in mind that it is difficult to find a great writer who completely ignores the metaphysical sphere in his writings. In this respect, Davit Kldiashvili is no exception; Especially since the mystical is part of the universe, it is part of reality, and the writer has not missed this “small scroll” of reality.

Davit was interested in the manifestation of human existence, spirituality - including inexplicable, mysterious, incomprehensible phenomenon. As for the mystical or metaphysical literary trends,

avtori me da iese varT! _ xumrobiT ambobda xolme mama~. *

daviT kldiaSvilis or moTxrobaSi _ „msxverpli~ da „miqela~ _ gvxvdeba „saiqios namyofi“ gmirebi. didi mwerlis mowmobiT, maT realuri prototipi hyavda _ simoneTeli glexi: „Cvens axlos mezoblad cxovrobda „saiqios namyofi~ glexi _ levana sirbilaZe _ SesamCnevi pirovneba. Raribi, naklebi muSa, levana, rom ityvian, rixiani yazaxi iyo. ...uyvarda laparaki da laparakobda rogorc namdvili oratori, moxerxebuli sityvis patroni iyo. bevri ambebi icoda levanam. didad namyofi glexi iyo. xSirad ityoda _ didi xnis sicocxle maqvso, radgan saiqio maqvs monarebio. „saiqios yofnis~ ambavi araerTxel momiyolebia levanasaTvis da misi es naambobi TiTqmis sityva-sityviT Setanili maqvs Cems moTxroba „msxverplSi“.

daviT kldiaSvilis mxatvruli samyaros mistikuri mxare _ sruliad Seuswavlelia da ugulebelyofili. gavixsenoT, rom mwerlis Tayvanismcemeli da jerovnad damfasebeli tician tabiZe xazgasmiT SeniSnavda, _ mis SemoqmedebaSi araferia mistikurio.

mogvianebiT, geronti qiqoZe dawers: „daviTis nawarmoebebidan ara sCans, rom mas raime metafizikuri samyaros arseboba swamdes, an religiuri rwmenisa Tu urwmunoebis sakiTxi qenjnides. is pozitivisturad azrovnebs, xolo, rogorc mxatvari empiriul movlenaTa qveyanas ar Sordeba“.

SesaZloa, metafizikur plans daviTis memkvidreobaSi Rirssacnobi adgili ara aqvs daTmobili, SesaZloa, mistikuri elementebi mxolod aqa-iq aRmoCndes; magram isic gaviTvaliswinoT, rom Znelia moiZebnos didi mwerali, romelic Tavis nawerebSi sruliad ugulebelyofdes metafizikur sferos. am mxriv arc daviT kldiaSvilia gamonaklisi; miT umetes, rom mistikuric xom samyaros, sinamdvilis nawilia da mwerals ar gamorCenia realobis es „patara nagleji~.

daviTs ainteresebda adamianis yofis, arsebobis, sulierebis ragindara gamovlena _ maT Soris auxsneli, idumali, gaugebari. rac Seexeba mistikur Tu metafizikur literaturul mimdinareobebs, romelnic TavianTi Semoqmedebis masazrdoebel wyaros araempiriul, metafizikur samyaroSi eZiebdnen, _ daviTi Sors iyo maTgan; ufro metic: sinamdvilisagan gandgomas, „realuris iqiT Ziebas“ qarTuli viTarebisaTvis miuReblad miiCnevda. saintereso masalas gvawvdis am TvalsazrisiT daviTis erTi piradi werili petre umikaSvilisadmi, daTariRebuli 1900 wliT: „...sicocxliT aRvsili nawarmoebi cocxlad inaxeba xnovanebis miuxedavad, interesi ar akldeba. es sayuradReboa Cveni im kritikosebisaTvis, romelnic

which were seeking the source of their creativity in a non -empirical, metaphysical world - Davit was far from them; Moreover: he found the apostasy from reality, “searching for reality” unsuitable to Georgian reality.

Interesting material provides us in this regard by Davit’s personal letter to Peter Umikashvili, dated 1900: “This is noteworthy for our critics who are preaching some strange direction-”Search beyond real”, as Kita Abashidze says in the review of his last year’s wordcrafted literature” (“The Georgian Word-Crafted Literature of 1899”,” Moambe “, 1900. L. A.).

In the above letter, Kita Abashidze named the psychologicalphilosophical writers of the Georgian literature, particularly Dekanozishvili, Ekaladze and Zurabishvili.

In spite of all of the above, it can still be said that Davit Kldiashvili, the creator of the spirit, the sensitive writer - was himself a wonderer of the “secret beyond the real world”; However, the latter has never been a signature of his creativity.

Despite my deep respect of Geronti Kikodze, I still think that the great writer would have been in a search for the question of religious beliefs or atheism.

gviqadageben raRac ucnaur mimarTulebas _ „realurs iqiT Ziebas“, rogorc ambobs kita abaSiZe Tavis SarSandel sityva-kazmuli literaturis mimoxilvaSi“ (igulisxmeba „1899 wlis qarTuli sityva-kazmuli mwerloba“, „moambe“, 1900 w. _ l. a.).

zemoxsenebul werilSi kita abaSiZe qarTuli literaturis „tonis mimcemad~ fsiqologiurfilosofiuri mimarTulebis mwerlebs _ dekanoziSvils, ekalaZes, zurabiSvils Tvlida. yovelive zemoTqmulis miuxedavad, mainc SeiZleba dabejiTebiT iTqvas, rom daviT kldiaSvili, faqizi sulis, kamertoniviT mgrZnobiare Semoqmedi _ TviT gaxldaT „realuri qveynis iqiT damaluli saidumlos~ maZiebeli; Tumca es ukanaskneli arasodes gauxdia Tavisi Semoqmedebis niSansvetad.

geronti qiqoZisadmi Cemi uRrmesi Tayvaniscemis miuxedavad, mainc mgonia, rom did mwerals religiuri rwmenisa Tu urwmunoebis sakiTxi diaxac rom qenjnida. daviTis simoneTeli mezoblebi sruliadac ar faravdnen Tavs gadamxdar „ucnour~ (mwerlis sayvareli da amoCemebuli sityvaa) Tavgadasavlebs, maT Soris _ „saiqioSi yofnis~ wvrilmanebs. levan sirbilaZis

Davit’s neighbors in Simoneti were not hiding their “strange” adventures at all, including the story of “traveling in afterworld”. Levan Sirbiladze’s story was so fascinating for the “positivist” writer that he had heard this story many times.

Whereas the critics of different times and different ranks have mainly noted only Davit’s fights against superstition, ignorance, darkness, fear of wizards, etc.

Now let’s listen to great director Mikheil Tumanishvili: “I like it... which story is it? Yeah, “sacrifice”... when a man returns from afterworld... The angel tells him it’s too early to go back ..., I am not afraid of death anymore ... I have to make a way soon. ...and I like it very much ... it is the highest, the genius “... (Tina Chkheidze,” Victims of Being. Davit Kldiashvili’s world in the eyes of theater directors”, “Literature and others”, #1, 1999)

In scientific terms, “being in afterworld” is a clinical death of a person. The “idealist” thinker, unlike us, sought to study this phenomenon, both in religious and scientific context.

I got familiar with the testimonies of the above-mentioned persons for the first time in the late 60s. This material was banned during soviet times. I do not remember the author, but the narrative was very similar to Raymond Maude’s famous book - “Life after Death”. I discovered its Georgian translation in 1993 in the bookstore,

monaTxrobs ise Rrmad dauinteresebia „pozitivisti~ mwerali, rom ramdenjerme mousmenia misi naubari saiqios Sesaxeb.

sxvadasxva droisa da sxvadasxva rangis kritikosebi ki ZiriTadad mxolod imas aRniSnavdnen, rom daviTi ebrZvis crumorwmuneobas, soflad gamefebul umecrebas, sibneles, SiSs „kudianebis~ mimarT da a.S. axla ki did reJisors mixeil TumaniSvils movusminoT: „me momwons... romeli moTxrobaa? ho, „msxverpli~ ...saiqiodan rom brundeba kaci... angelozi rom eubneba, jer adrea, ukan gabrundio... rogor hyveba dabrunebuli, yvavilebia iqo, biliki midiso... Tqvenebi zeviT ariano, erTad... amas rom vkiTxulob, sikvdilis aRar meSinia... arada, male unda gavudge saiqeTo gzas. ...da saerTod, Zalian momwons... yvelaze maRlaa, geniosia~... (Tina CxeiZe, „yofierebis msxverplni. daviT kldiaSvilis samyaro Teatris reJisorTa TvaliT~, „literatura da sxva“, #1, 1999 w.).

mecnieruli gagebiT, „saiqios namyofi~ _ klinikuri sikvdilgamovlili pirovnebaa. „idealisturad~ moazrovne dasavleTi, Cvengan gansxvavebiT, cdilobda am fenomenis Seswavlas, rogorc religiur, ise mecnierul WrilSi.

pirvelad 60-iani wlebis bolos, ssrk-Si akrZaluli, e.w. „samizdatis“ meSveobiT gavecani zemoxsenebul pirovnebaTa Cvenebebis saintereso aRwerilobas. avtori ar maxsovs, Txroba ki Zlier waagavda raimond moudis cnobil wigns _ „cxovreba gardacvalebis Semdeg“, romlis qarTuli Targmani 1993 wels aRmovaCine wignebis daxlze, _ „tarzansa“ da „stalins“ Soris. 1978 wels „literaturnaia gazetam“, romelic, mkacri cenzuris miuxedavad, bevr tabudadebul informacias aparebda gazeTSi, _ mTeli gverdi dauTmo „saiqios namyofTa“ problemas _ „kontaqtebi sxva samyarosTan. mistika Tu mistifikacia?~ iqve, patara anotaciaSi mkacrad iyvnen gakritikebulni dasavleli fsiqologebi, romelTac „viTomcda gamokvleuli hqondaT sulis ukvdavebis damadasturebeli faqtebi“. magram umTavresi is gaxldaT, rom iqve daibeWda amerikeli Jurnalistis daniel goulmenis „idumalis zRurblze“; statiaSi mimoxiluli iyo zemoxsenebuli eqimis raimond moudis, parafsiqologebis _ karlis osisisa da erlander heraldsonis gamokvlevaTa sensaciuri Sedegebi _ sikvdil-sicocxlis mijnaze myof, gamojansaRebul pirTa mowmoba-Cvenebebi, romelTa umravlesoba marTlac sulis ukvdavebas adasturebda.

swored am publikaciasa da raimond moudis wigns veyrdnobi „msxverplis~ personaJis vasil karikaZisa da amerikeli swavlulebis cdis pirTa naambobis aSkara siaxlovis naTelsayofad.

gavixsenoT: vasil karikaZe xidan Camovarda, miuxedavad axloblebis mcdelobisa, ver gamoabrunes, _ suli

between the “Tarzan” and “Stalin”. In 1978, “Literature Gazette”, which, despite the harsh censorship, used a lot of taboo information in the newspaper - devoted the whole page to the problem of “afterworld” - “ the contacts with another world. Mysticism or mystification?”. The western psychologists were strongly criticized in the small annotation that they were “allegedly investigating the facts of the immortality of the soul.” But the most important thing was that there was also printed on the “The Edge of the Unknown” of American journalist Daniel Gulman; The article discussed the sensational results of the above-mentioned physician Raymond Moude, Parapsychologists-Carl Osis and Erlendur Haraldsson - the testimonies of the death-and-lived

ganuteva. misma sulma sxeuli datova da zecaSi (saiqioSi) moxvda. iq naxa gardacvlil TanasoflelTa sulebi da angelozi, romelmac dedamiwaze daabruna.

moudi: gamokiTxulTa umravlesobam klinikuri sikvdilis Semdeg „datova~ sxeuli, ucxo mayurebeliviT, Soridan dainaxa Tavisi Tavi da garSemo myofni da didi siCqariT ganSorda iqaurobas.

karikaZe: „erT dRes movmkvdarvar kidevac... Cems gasvenebaze deiwyes laparaki... amasobaSi me zecaSi davfrinav... Cemi suli, rasakvirvelia. qveynad marto Cemi leSi idva taxtzed... suli ki maRla-maRla mifrinavs... zevidan davCerebivar dedamiwas~... sxeulis datovebis Semdeg adamiani garemoculia gardacvlil axlobelTa sulebiT. karikaZec xvdeba gardacvlil Tanasoflelebs, emusaifeba maT. moudi: adamianis suli pirTamde savsea sixarulis, siyvarulis, simSvidis grZnobiT.

karikaZe: „uceb Cems Tvalwin gadaiSala Tvaluwvdeneli amwvanebuli mindori, imisTana, rom mis naxvas araferi jobia... moisma imisTana mSvenieri galoba, rom mTel

persons, most of whom really confirmed the immortality of the soul.

It is precisely this publication and Raymond Moude’s book that I base my presumptions on the resemblance of the character Vasil Karikadze from the novel “Sacrifice” with the stories told by experimental research of the American scholars.

Let us remember that Vasil Karikadze om “Sacrifice”: He falls down from the tree, despite the attempts of his relatives, he dies and his soul lefts the body, flying to heavens. From the sky he sees the souls of the deceased villagers and an angel makes him get back on earth.

In Maude’s book the most of the respondents confirmed that after the clinical death they “left” the body, like a stranger, from afar, saw themselves and others and left the place immediately.

Karikadze: “One day I died... they were talking about my funeral ... in the meantime I am flying in the sky ... my soul, of course. My body remains on earth, on the bed... but the soul flies high ... I stare at the earth from above “...

After leaving the body, the person is surrounded by the souls of the deceased loved ones. Karikadze also meets the deceased villagers and dialogues with them.

sicocxleSi misi mosmena rava moewyineba adamians!~

moudi: suli grZnobs an eubnebian, rom unda dabrundes, radgan misi sikvdilis dro ar damdgara.

„msxverpli“: karikaZes angelozi eubneba _ Seni aq mosvla adrea, isev dedamiwaze unda dabrundeo.

moudi: gamokiTxulTa azriT, maTi axloblebis locvas ZaluZda maTi dabruneba.

karikaZe: „simonam miTxra, rom mamaSenis locva Zalian wagdgomia, RmerTs Senze mowyaleba mouRia da nuRar agvianebo“.

moudi: zogi adamiani SeigrZnobs dabrunebis moments, zogi _ ara.

karikaZe: „Cemi suli swored im dros daubrunda Cems leSs, roca gasvenebas is iyo mipirebdnen“.

moudi: am adamianebma SeiZines ufro maxvili intuicia, gauCndaT sakuTari misiis SegrZneba.

karikaZe: „aseTi mowyaleba moiRo Cems Tavze Cemma gamCenma. ...is Zalac momaniWa, rom boroti adamianis gamobrunebac advili gaxada CemTvis“.

SeiZleba vivaraudoT, rom levana sirbilaZis Tavgadasavalic iseve daainteresebda moudis, rogorc sxva cdis pirTa monaTxrobi.

simoneTeli mezoblis naambobi daviT kldiaSvilma, misive TqmiT, „TiTqmis sityva-sityviT~ gadmoacemina vasil karikaZes. „msxverplis~ personaJis avyia da ujiaTi, magram ojaxis siwmindis damcveli fefenas mier „gakudianebuli~ rZlis, marines Tavgadasavali ki mwerlis fantaziis nayofi unda iyos. yovel SemTxvevaSi, memuarul literaturaSi an TviT mwerlis mogonebebSi ver moviZie raime miniSneba mis pirvelwyaroze. isic unda gavixsenoT, rom daviTi ara mxolod saukeTeso mTxrobeli, aramed saukeTeso msmenelic iyo: marines ambavs aSkarad etyoba uZvelesi xalxuri warmodgenebis kvali.

marines mSoblebi vasil karikaZis daxmarebiT cdiloben Svilis gadarCenas _ „gamotexvas“. uamravi mowmis _ TanasoflelTa _ winaSe ulmobel dakiTxvas gaumarTaven Ronemixdil, nebawarTmeul, Secbunebul qals.

aqve upriania gavixsenoT artur mileris „seilemis procesis~ inkvizitorebi.

Tumca marines szaravs karikaZis SekiTxvebi, didi yoymanis Semdeg, mainc simarTles ityvis; igi arafers Txzavs: ki ar „daasmens~ saZulvel dedamTils, Surs ki ar iZiebs masze, _ Seulamazeblad, didi vnebaTaRelviT, SiSiTa da ZrwoliT ambobs Tavis saTqmels: „marinem jer xma ar amoiRo, mere TiTqos ifiqra, rom mainc ar momeSvebiano, vidre dawvrilebiT ar vityvi Cems ambavso, da mohyva yvelafers“. am „yvelafers~ avtori gmiris fantaziis nayofad, SeTxzulad, tyuilad ar miiCnevs. amis aRniSvniT minda nawilobriv mainc gabaTildes im kritikosTa azri, romelnic „msxverplSi~ mxolod soflis sibnelisa da crurwmenaTa gakicxvas xedaven.

Maude: The human soul is full of joy, love and peace.

Karikadze: “Suddenly, there was a splendid green field in front of me, that I have never seen before… and a wonderful chanting that a man can listen to for his whole life!”

Maude: The soul feels or tells that it must return because it has not been time for his death.

“Victim”: Angel is telling Karikadze - it’s too early to come here, you have to go back to earth.

Maude: According to the respondents, the prayers of their loved ones could get them back.

Karikadze: “Simona told me that your father’s prayer is heard and the God has given mercy on you and don’t be late.”

Maude: Some people feel the moment of return, some do not.

Karikadze: “My soul returned to my body at the time of my funeral was about to start.”

Maude: These people acquired a sharper intuition and realized their own mission.

Karikadze: “The creator had such a mercy on me… even gave me the power to get a vicious man back on earth. “

It can be assumed that Levana Sirbiladze’s adventure was just as much interesting for Maude, as other stories of his experiment.

Even in Kldiashvili’s words, the story of a Simonetian neighbor was literally, word by word told by Karikadze. The ribald and stubborn, but the defender of family purity Pepena, the character of “Sacrifice” and the adventure of her daughter-in-law, Marine, who turned into a witch, must be the result of the writer’s imagination. Anyway, in memoir literature or in the memoir of the writer himself, I could not find any hint on his primary source for this charachters. It should also be remembered that Davit was not only the best narrator but also the best listener: Marine’s story has a clear trace of the ancient folk perceptions.

Marine’s parents, with the help of Vasil Karikadze, are trying to save their daughter - “break her up”. And start to interrogate the tired, exhausted woman in front of many witnesses - the villagers.

It is also important to recall the Inquisitors of Arthur Miller’s Salem trial.

Although Marine hates Karikadze’s questions, after great hesitation she still tells the truth; She does not make up anything: she is not denouncing or taking revenge on her mother-in-law, but she tells a real story, with great passion, fear, and frustration: “At first Marine did not say a word, then seemingly she thought they would make her speak anyway, so she said everything”. The author does not consider this “everything” as a fault, misleading or imaginary story. By pointing this, I would like to at least partially dispel the opinion of critics who only see the darkness and superstitions of the village in the novel “Sacrifice”.

I want the reader to be thoroughly deepened by Marine’s sincere story: “… I lied down under the mulberry tree…suddenly a something, huge and black hit me and woke me up, grabbed my hand and took me in the sky, so high that I felt giddy looking down... then UI lost my sight and mind…When I came to my mind,

mkiTxveli minda kargad CauRrmavdes marines gulwrfel monaTxrobs: „...davweqi bJolis ZirSi... mimZineboda... uecrad raRac Savi uSvelebeli dametaka, gamomaRviZa, wamavlo xeli da caSi amiyvana ise maRla, rom Tavbru damesxa, dabla rom gadmovixede... isev Tvalebze wamomefara raRaca. goneba damekarga... azrze rom movedi, isev im adgilas viwevi, sadac mimZineboda... nigozs vxalavdi... uecrad Tvalebze wamomefara Savad. reti damesxa. megona, gadmovardi es ari-Tqva... brWyalebi Camaso kabaSi... maRla, sul maRla amiyvana!~

axla ki erT namdvil ambavs gavecnoT, bulgarel naTelmxilvel vangas rom gardaxda Tavs bavSvobaSi: soflad saSineli, veeba Savi Rrubeli Camowva; Semzaravi qariSxali amovardnila. moulodnelad, raRac auxsnel Zalas, savaraudod _ qarborbalas _ Svidi wlis gogona maRla caSi autyorcnia. caSi atacebul bavSvs, gausaZlisi xmauriTa da zrialiT gaognebuls, Tavze xelisgulis Sexeba ugrZvnia da goneba daukargavs. roca gamofxizlebula, ukve miwaze iwva sruliad uvnebeli, mxolod Tavis is adgili stkioda, „viRaca~ rom Seexo (dimitri dimovi, „vanga~, „ogonioki“, 1989 , #1).

marTlac rom: „bevri ram hxdeba, horacio, zecad da qveynad, rac filosofosT sizmrad arc ki molandebiaT“.

vangas Tavgadasavali Zlier Camogavs marines monaTxrobs... siSave, Camobneleba, „Savi reti“, „Savi Rrubeli“, gonis dakargva; anda, „angelozebis muxaze“ mjdari vasil karikaZis Tvalebis wamobneleba, Savis Camofareba da sxva.

daviTi yofis siRrmeSi, movlenaTa arsSi Cagvaxedebs; „mSrali“ moralizebisa da Seufaravi tendenciurobis gareSe zogadsakacobrio faseulobebs, zogadadamianur vnebebs gvaziarebs, _ siyvarulsa da siZulvilze, keTilsa da borotze, sikvdil-sicocxleze _ saaqaosa da saiqioze Cagvafiqrebs. yovelive es ise sadad da Zaldautaneblad xorcieldeba, iseTi geniosuri ubraloebiT, rom Rrma humanizmi da mis moTxrobebSi daunjebuli didi cxovrebiseuli sibrZne TiTqos iCqmaleba. swored amitom, roca mixeil TumaniSvils hkiTxes, _ „riT aris geniosi, swored amas gTxovT, gviTxraTo!~ _ maestrom, daviT kldiaSvilis erT-erTma saukeTeso interpretatorma ganacxada: „ra vici me... geniosi kia da... arafers ar igonebs... kldiaSvilTan me Cems maxloblebs veZeb, mezoblebs... miyvars maTTan Sexvedra. ...Zalian maRali donea... rasac xedavda, imas werda, magram mTlad masec rom ar aris? faqtobrivad mTeli planetaa... daviT kldiaSvili SeiZleba Seadaro bunebas!~

Cemi gansakuTrebuli yuradReba miiqcia mixeil TumaniSvilis erTma frazam: „Sinaganad artistia. TviTonac ar icis, ise“.

„miqelas~ moCvenebiTi simartivec iluziaa. TiTqos ubralo ambavi sulisSemZvreli tragediiT mTavrdeba:

I was still lying in the place where I fell asleep ... I was roasting walnut when suddenly I lost my mind again, thought I fell again… and this black thing took me up again, higher and higher up in the sky!”

And now let’s get to know one real story, that happened to Bulgarian mystic Vanga in her childhood: a terrible, black cloud set in the village; A terrible storm fell out. Suddenly, some inexplicable power, presumably - a whirlwind threw a seven-year-old girl high up in the sky. The child, struck by the unbearable noise in the sky, felt a touch of a hand on her head and lost her mind. When she came to her mind, she was lying, completely safe, only the part of head was hurting her, where “someone” touched with hand (Dimitar Dimov, “Vanga”, “Ogoniok”, 1989, #1)

Indeed, “There are more things in heaven and Earth, Horatio, than are dreamt of in your philosophy”.

Vanga’s adventure is very much similar to Marine’s story ... darkness, obscurity, “black daze”, “black cloud”, loss of mind; Or, Vasil Karikadze’s loss of sight sitting on the oak of “angels”, etc.

Davit makes us go deep into the essence of events; Without “dry”

„saiqioSi namyof~ oci wlis spidonas ar gaumarTlebs, _ axlobelTa gulqvaobis msxverpli xdeba (moTxrobas daviTis mogvare, tuberkuloziT dasneulebuli ojaxis ambavi udevs safuZvlad).

spidonas uecarma avadmyofobam, kinaRam sikvdilis piras rom miiyvana biWi („SviliSvilma miqelas gamoucxada, rom saiqios viyavio, magram radgan Cemi iq wasvlis borji ar mosula, erTi wliT gamomabruneso ukan~), saso warukveTa miqelas da, ueWvelia, rom fsiqikac Seuryia.

xalxuri „maqciobis~ fenomeni Taviseburad warmoisaxa dadaRuli katis ambavSic („Suacecxlis piras“).

vasil karikaZis, marines Tu spidonas metafizikurma „gadaxrebma~ iqneb imitomac ver pova saTanado rezonansi, rom mweralma personaJTa araempiriul Tavgadasavlebsac sada elferi, yofiTi intonacia mianiWa; arc ki ucdia, xazi gaesva maTi gansakuTrebulobisaTvis.

* * *

jer kidev mecxramete saukunis dasasruls, kita abaSiZem daviT kldiaSvilis cremlnarevi sicili, misi nazi, lmobieri iumori dikensis iumors Seadara. es azri imTaviTve gaiziares sxva kritikosebmac, Tumca ufro gamowvlilviT am sakiTxs, vgoneb, aRaravin Sexebia. maTi iumoris msgavsebaze mec aras mogaxsenebT.

saerTod, ori sxvadasxva epoqisa da erovnebis mweralTa Soris paralelebis gamoCxreka erTob safrTxilo da saWoWmano saqmea. mainc msurs erT magaliTs movuxmo, erT ucnaur msgavsebaze mivuTiTo...

mkiTxvels minda Sevaxseno dikensis romanis „dombi da vaJiSvili~ _ erTi epizodi. misi fonia inglisuri maRali sazogadoebis kurorti lemingtoni: gaRaribebuli misis sqiutoni da misi axalgazrda qaliSvili, ulamazesi qvrivi edit greinjeri sagvareulo samkaulebiTa da didgvarovan naTesavTa wyalobiT gadian iolas; Tumca deda imeds ar hkargavs, rom sarfianad daaqorwinebs Svils da gancxromiT icxovrebs siZis xarjze. am mizniT _ mdidari sasiZos mosaZebnad _ sad ar yofila deda-Svili. bolos lemingtonSi gadaeyrebian Sesaferis kandidaturas, „komerciis koloss~ _ mdidar dombis.

edit greinjeri _ amayi mzeTunaxavi _ did sulier brZolas ganicdis, magram mainc dahyveba dedis nebas. dedamisi ki, rogorc kargi vaWari saqonels, ise aqebs qaliSvils, xels uwyobs misi talantis gamomzeurebas: aiZulebs mas imReros, daukras arfasa Tu roialze, daxatos da a.S.

dombis Sexvedramde deda-Svili aTi wlis (!) manZilze mogzaurobda inglisis kurortebze: „ar yofila tyve-qali, arc gasayidi cxeni bazrobaze, romlebsac Cemebr daatarebdnen, sTavazobdnen muStars, saqvynod gamoaWenebdnen da aTvalierebdnen am samarcxvino aTi wlis manZilzeo~ _ es edit greinjeris sityvebia.

moralization and unmistakable tendency, he shares universal values, human passions of love and hatred, good and evil, death and life, this world and afterworld. All of this is done with so much simplicity that deep humanism and the wisdom of life seem to be hidden away. That is why when Mikheil Tumanishvili was asked, “What a genius is he, please tell us!” – Maestro, the one of the best interpreters of Davit Kldiasvhili answered: “How can I know that? He is genius… does not invent anything… I resemble my relatives, neigbors with kldiashvili’s characters… I like to meet them. It is a very high level… He was writing what he was seeing, but there was something else, right? Actually, he is a whole planet… Kldiashvili can be compare it to nature!

My special attention was drawn to one of Mikheil Tumanishvili’s phrases: “Intrinsically he is an artist but unaware of it. “

The seeming simplicity of “Mikela” is also an illusion. It is as if a simple story ends with a spiritual tragedy: “already been in afterworld, the twenty-year-old Spidona is not lucky enough- he becomes a victim of the heartlessness of the loved ones (the story is based on the namesake of Kldiashvili, and his family suffering from tuberculosis).

Spidona’s sudden illness that led the boy on the verge of death (“the grandson told Mikela that he was in the afterworld, but as his time had not come yet, he was sent back for a year.”) made Mikela hopeless and losing his sanity.

The phenomenon of lycanthropy was also peculiarly presented by the story of a gelded cat was in the novel “on the edge of hearth”.

The metaphysical “deviations” of Vasil Karikadze, Marine, or Spidona may not find the proper resonance because the writer gave the characters’ non-empirical adventures the shade of simplicity and everydayness; He did not even try to emphasize their uniqueness.

* * *

At the end of the 19th century, Kita Abashidze compared Davit Kldiashvili’s tearful laughter, his gentle, loyal humor to that of Dickens. Other critics shared this opinion from the outset, but I think no one has deeply researched this comparison. So, I won’t do it either.

Generally, the finding comparisons between the two different eras and nationalities is a sensitive and thing to do. Still, I would like to give a one peculiar example of this similarity...

I would like to remind the reader of one of the episodes from the Dickens novel “Dombey and Son”. Its background is the English high society resort of Lemington: poor Mrs. Skewton and her young daughter, the beautiful widow Edith Granger make their living by their ancestral jewelry and noble relatives; However, the mother does not lose hope that she will wed her daughter and live at the expense of her son-in-law. For this purpose-to find a rich bridegroom-the mother and her daughter travel everywhere. Finally, in Lemington they meet a suitable candidate, a wealthy shipping merchant Mr. Dombey.

axla daviT kldiaSvilis „darispanis gasaWiri~ gavixsenoT.

misis sqiutonisa ar iyos, sasiZos ZiebaSi darispanic „wanwalma mokla“, „davaTrev am Cems qalbatons yovelgan _ naTesavebSi, keTilebSi, dReobebSi _ egeb vismes an moewonos, an vinmem sxvanair gunebaze Tvali gadaavlos da gamanTavisuflos misgan!.. sad ar vyofilvar, cis kide maqvs morebuli~... misis sqiutonisa ar iyos, darispanic „reklamas~ ukeTebs qaliSvils: „sadac ki fexi Cadges Cveni gvaris qalebma _ yvelgan sasaxelod uWiravT saqme!.. ...ojaxs gaanaTleben, iseTi qaliSvilebi myavs... ...TelaT ojaxi magis kiserzea, magaa Cemi amSenebeli... ...ucnauri marjvea...~ misis sqiutonisa ar iyos, darispanic aqezebs qaliSvils Tavi gamoiCinos: „ai, boSo, sxvas rom deinaxav, Tamamad iyavi, xma amoiRe, ena mucelSi nu Cagivardeba, daanaxve, rom munji ara xar...“ darispanic cdilobs „gamofinos“ qaliSvilis simarjve, dakvris, cekvis niWi: „boSo, qe rom ici... qec daukari, qec iTamaSe!“ sad inglisuri maRali sazogadoeba da sad imereTis Rataki „aznouSvilebi“, sad snobi qalbatoni misis sqiutoni da sad uiRblo darispani, sad albioneli amayi mzeTunaxavi editi da sad gulubryvilo soflis gogo _ „mSvenieri karoJna“ (galaktioni)... magram, didi sxvaobis miuxedavad, ueWvelia, rom dikensis romanis am epizodis fabula emTxveva daviT kldiaSvilis piesis RerZs: dikensTan deda-Svils sasiZos ZiebaSi inglisis rukaze moniSnuli yvela feSenebeluri kurorti aqvs movlili; daviT kldiaSvilTan, igive mizniT, darispani karoJnas TanxlebiT sul „gzaSia gakruli“... „darispanis gasaWiri~ 1903 wels aris dawerili, magram qaliSvilis kardakar „Trevis~ Canafiqri ufro adre unda gasCenoda daviT kldiaSvils; kerZod _ 1900 wels daweril „qamuSaZis gaWirvebaSi“. sardion qveliZisagan dawunebuli sasiZo, porfiri biaSvilisagan imedmocemuli, rom qalaqel qals SearTvevinebs, gunebaSi eqadneba sardions: „iare Seni mzeTunaxaviT kardakar da zile talaxi!“

kardakar siaruli arc platon samaniSvils dahklebia sadedinacvlos Zebnisas („samaniSvilis dedinacvali~).

kardakar siarulis motivi nairgvari „matrimonialuri~ miznebiT (gavixsenoT jorze amxedrebuli maWanklis soloman morbelaZis gauTavebeli „CaqCaqi~ soflidan sofelSi) saerTod organulia didi mwerlis TxzulebaTaTvis. amas imitom mogaxsenebT xazgasmiT, rom, didi siaxlovis miuxedavad, ar mgonia, qarTvel mwerals maincdamainc dikensis romanis xsenebuli epizodi „gadmoeqarTulebina“.

dalocvili klasikosebi! isini arasodes berdebian, maTi Semoqmedeba axal-axali waxnagebiT gamobrwyindeba xolme, kvlav gvizidavs da gvaocebs.

Edith Granger - a proud beauty - is experiencing a great spiritual struggle, but still follows her mother’s will. And her mother, like a good merchant praises her daughter, promotes her talent: forcing her to sing, play on piano, draw, etc.

Prior to meeting Dombey, they had traveled to English resorts for ten years (!): “There is no slave in a market: there is no horse in a fair: so shown and offered and examined and paraded, Mother, as I have been, for ten shameful years,” – these are the words of Edith Granger.

Now let us remember “The Trouble of Darispan” of Davit Kldiashvili. Similarly, as Mrs. Skewton, Darispani is “almost dead” with searching for a bridegroom, “I’m taking my daughter everywhere - in relatives, in happenings, in birthdays- to see someone who likes her, or looks at here with different eye and sets me free of her! Where else I have been, to the end of the world” ...

Likely to Mrs. Skewton, Darispan is selling his daughter: “The daughters of our family are proudly showing themselves everywhere, they are very well educated and reliable”.

Like Mrs. Skewton, Darispan is also makes her daughter to show herself: “Be bold, raise your voice, do not stick your tongue in your stomach, show that you are not dumb” ... Darispan also tries to “exhibit” his daughter’s playing, dancing talent.

How can one compare the English High Society to Imeretian poor “Aznavour” (the noble – Edt.), or the snobby Mrs. Skewton to unlucky Darispan, or the proud, beautiful Edith to where the naive village girl“Beautiful Karojna” (according to Galaktioni) ...

But despite the big difference, it is no doubt that the storyline of this episode of Dickens’s novel coincides with the script of Davit Kldiashvili’s play: in Dickens novel, the mother and her daughter visit all the wealthy resorts of England in search of a bridegroom; In Davit Kldiashvili’s novel, Darispan and his Karojna are all the times “on the road” for the same purpose...

“The Trouble of Darispan” was written in 1903, but the idea of this story must had been come to Kldiashvili’s mind a long before this; Specifically - in 1900 “Kamushadze’s Trouble”. A bridegroom rejected from Sardion Kvelidze, but encouraged from Porfiri Biashvili to marry Sardion’s daughter, curses him in mind: “Go and take your beautiful daughter, tread the mud door-to-door”.

The door-to-door walking was common for Platon Samanishvili as well, while searching for his stepmother (“Samanishvili’s Stepmother”).

The motive of the door-door walking with a variety of “matrimony” goals (recall the endless “jag-trot” from the village to the village) is a signature for Kldiashvili, thus I don’t think the great Georgian writer could copy this episode specifically from Dicken’s novel.

Blessed Classics! They never get old, their creations shine with renewed impressions, still attract and amaze the reader.