კულტურა პლუს 4 (30) 2022

gilocavT Soba-axal wels

sarCevi / CONTENTS

anas mier gadmovlenil sixarulis wvimaSi Znelia CvenSi gaRiaron naTlis megzuri sviringebisTvis Cemi mebaRe vasil TamaraSvili mzisyana, kawalxevi da... givi mizandari

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IN THE RAIN OF HAPPINESS OF ANA’S SKIES IT IS DIFFICULT TO WIN RECOGNITION IN GEORGIA GUIDE TO ENLIGHTENMENT ON TATTOOS MY GARDENER VASIL TAMARASHVILI MZISKHANA, KATSALKHEVI AND... GIVI MIZANDARI

saredaqcio jgufi xaTuna kereseliZe ekaterine CulaSvili aleqsandre ServaSiZe daviT calani revaz iukuriZe dizaineri nikoloz bagrationi

EDITORIAL STAFF

KHATUNA KERESELIDZE EKATERINE CHULASHVILI ALEKSANDRE SHERVASHIDZE 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

garekanze: Temo jafariZe, `fardiani fanjara da gamvleli~, 2007, daWmuWnuli tilo, zeTi, 100X120 `piero _ hamleti fleitiT~, 1967, tilo, zeTi, 129X65

Cover: Temo japaridze, 'Window with curtain and passer by', rumpled canvas, oil, 100x120 'Pierrot - Hamlet with flute', Canvas, oil, 129x65

korsantia

KORSANTIA

`1946 wlis 25 maisi didi TariRia qarTuli literaturis cxovrebaSi. mweralTa sasaxleSi ocdaori wlis qaliSvilma ana kalandaZem Tavisi leqsebis rveuli wagvikiTxa msmenelebiT savse darbazSi. am dRidan iwyeba qarTuli lirikis aRorZineba... mas aqvs metad originaluri religiuri msoflSegrZneba, sruliad axali poeturi metyveleba. misi STagonebis wyaroebs qarTlis cxovreba, biblia, daviT guramiSvili da guriis folklori warmoadgens. gasaocaria erotikuli motivebis uqonloba. misi leqsebi ufro religiur himnebs hgavs, vidre pirad lirikul aRsarebas. momcro tanisaa, mSvenieri Tvalebi da mimzidveli saxe aqvs. Tavi ubralod uWiravs, magram Rirseulad. ra mSvenieria misi kiTxvis manera, ukeT vTqvaT, _ umankoeba. misi xmis musika axlac mesmis. Tu Cems asakSi an mdgomareobaSi kidev SeiZleba bednieri wuTebis gancda, me is guSin ganvicade.~

geronti qiqoZe

`da viyaviT bednierni, TiTqos uSoresi da uwmindesi warsulidan Semosuli iyo sixarulis wvima da kiskisiT gadagvdioda Tavze. mere im didi, arqauli kaklis qveS muxlmoyriT Seisva axalmosuli didi poetis sadRegrZelo. maRlidan `amins~ CamogvZaxebdnen molaRurebi. mas Semdeg kidev bevrjer vmdgarvar anas mier gardmovlenil sixarulis wvimaSi... am sixarulis wvimaSi moyola ki bediswerasaviTaa, vis uwyalobebs mas gangeba da vis kidev ara.

dRes, roca mTeli qveyana locavs Tavis sayvarel poets, mec am sityvebs SevuerTeb qveynis xmas: _ amin! amin! amin!~

rezo inaniSvili

“The 25th of May 1946 is an important date in the history of Georgian literature. 22-year-old Ana Kalandadze read her poetry in a crowded hall at the Writers’ House. That day marked the renaissance of Georgian lyricism… She has a very original religious worldview, and a completely new poetic expressiveness. Her sources of inspiration are the Georgian Chronicles, the Bible, Davit Guramishvili and Gurian folklore. It is surprising that we do not find erotic motives. Her poems look more like religious hymns than personal lyrical compositions. She is small-bodied, has beautiful eyes and an attractive face. She stands simply, but with dignity. Her manner of reading is a pleasure to hear – it is flawless. I can still hear the music of her voice. If one can still experience minutes of happiness at my age and condition, then I experienced them yesterday.”

Geronti Kikodze

“And we were happy, it was as if a rain of happiness was falling from an antique and pristine past and pouring down our heads. Then, below this large, archaic walnut tree, we drank a toast to this new great poet. Orioles were saying “amen” to our words from above. After that, I have stood many other times in the rain of happiness coming down from Ana’s skies… And to experience this rain of happiness is like a touch of fate – some are destined to it, others aren’t Today, while the whole country is giving its blessings to its beloved poet, I will add these words to my country’s voice: “Amen! Amen! Amen!”

Rezo Inanishvili

1946 wlis 25 maisidan uamravi gulwrfeli aRfrTovanebis werilebi daiwera anaze. maT Soris Tamaz WilaZec dawers: ana kalandaZe iswrafvis `...marTali sityvebiT adamianebisaTvis aagos imedisa da nugeSis saxli~... mere vin icis, yvelaze metad SeWirvebis Jams ramdeni adamiani Seafarebs Tavs anaseul `imedisa da nugeSis saxls~.

_ qalbatono ana, Tqveni mosvla qarTul poeziaSi didi samamulo omis damTavrebas daemTxva. omisgan daRlildaqanculi adamianebis suls sagaloblebis dari Tqveni leqsebi malamosaviT miesalbuna. hgavda Tu ara afxazeTis omis Semdgomi sinamdvile maSindels da ramdenad iazrebT sayvedurs, rom qarTvelma mkiTxvelma wigns zurgi Seaqcia?

_ miuxedavad yvelafrisa, Cvens mkiTxvels aranairi sayveduri ar eTqmis. wigni gaZvirda da gaWirda misi

Since the 25th of May 1946, countless letters of admiration were written about Ana, including one by Tamaz Chiladze: “Ana Kalandadze strives to build a home of hope and solace for humans through authentic words. And who knows, in the most difficult times, how many people will take shelter in Ana’s “home of hope and solace”.”

- Ms. Ana, your arrival in Georgian poetry coincided with the end of the great patriotic war. Your poems soothed the exhausted souls of people of the time like a balm, a breath of fresh air. Did the reality of the subsequent Abkhazian war resemble that of the time? And do you also feel that Georgian readers are to blame for abandoning books?

- Despite everything, our readers cannot be blamed. Books have become more expensive, and it is more difficult to get them (people often don’t even have money for bread). Regardless, Georgian readers, who went through unimaginable hardship, have remained faithful and loyal.

It isn’t right to blame Georgian readers for turning their backs to books. Since 1946 to this day, I haven’t felt their indifference for even one minute. Readers have remained the same. If someone can say

SeZenac (xSirad puris fulic ar moeZebnebaT). miuxedavad amisa, aTasWirgamovlili qarTveli mkiTxveli erTguli da uRalatoa.

ra tyvia gikravs qarTveli mkiTxvelisTvis da ra wignisTvis zurgis Seqceva dagibralebia. mas wignisTvis zurgi ar Seuqcevia, amis Tqma codvaa. 1946 wlidan moyolebuli dRemde me mkiTxvelis gulgriloba erTi wuTiTac ar migrZvnia. mkiTxveli igive darCa. Tu vinmes SeuZlia Tqvas, `me igive var marad da marad~, es mas SeuZlia. metsac getyviT, mikvirs rogor SerCa am mSiermwyurval, wamebul xalxs poeziis aseTi siyvaruli. me Tu mkiTxavT, es msoflios merve saocrebaa. axlobelma miambo, erT qals quCaSi wignebi gamoetana gasayidad. ase uTqvams: `im karg droSi~ or-or egzemplars vyidulobdi da axla, Cemsas ki ara, im meore egzemplarebs vyidio. quCaSi ojaxebidan gamotanil wignebs gverds vuqcev xolme, ver vyidulob, mecodeba mis patrons gulidan moglejili wigni axla me wavglijo? im wigns saxlSi ver Sevitan, misi danaxva yovelTvis amaforiaqebs. es auxsneli gancdaa. meore mxriv, iqneb, codvas Cavdivar, iqneb mis

“I am eternally the same”, then they can do it. What is more, I am surprised by how hungry, tortured people have kept their love for poetry. If you ask me, this is our planet’s eighth wonder. A close friend of mine told me that a woman took out her books on the sidewalk to sell them. She said: “Back in the “good” times, I would buy two copies, and now, I am selling the second copies.” I pass by the books they sell on the streets without paying attention, I could not buy such a book, I feel pity for their former owners, it would be like taking something from their hearts. I could not take this book home, seeing it would constantly trouble me. It is an unexplainable feeling. On the other hand, maybe it would be better to buy them, their owners must be in need of money, and need a helping hand.

- Ms. Ana, you once said: “I need a special state of mind in order to write a poem – I need to believe that everything around me is beautiful, pure and sublime”. Does that happen often?

- Let us remember these words from the bible: “What goes into a man’s mouth does not make him ‘unclean,’ but what comes out of his mouth, that is what makes him ‘unclean‘…”. Shota told us: “An evil man loves an evil word more than his soul or heart”. This is the kind of evil man I have in mind – “One who hits you with an unripe word aimed at you specially right when the strings of your heart languish for the sublime!”. I try to get in a special state of mind to work – I want to believe that everything is beautiful and full of kindness! When I write, I try to protect myself as much as I can from the poison that can sometimes be aimed at us at that special moment… But on the other hand, with this poison… “God reminds us of our thorny fate from time to time” – the heavy burden that is the fate of an artist?!

I will cite painter Ketevan Maghalashvili’s words: “While at the Hermitage Museum, myself and Sviatoslav Richter (a Soviet classical pianist – note of the author) passed by the canvas of a famous painter. Richter suddenly turned to me, as if he were bitten by a snake, and repeated several times, with his hands before his eyes: “I don’t want to remember it! I don’t want to remember it!”. What did you think, - Ms. Ketevan turned to me, - he was protecting himself from bad impressions – it hinders his work!”. Yes, art should try to protect itself from the “bad impressions” that hinder its creation!

Here, I am reminded of the words of famous film director Mikheil Kalatozishvili: “Relationships with other humans make us both happy and sad”. My nature demands that I create this “special state of mind” when I write (regardless of the theme!), it demands this kind of “armor”! (As you know, every individual has one’s own way of working)

– “I can remember almost no writer who is fond of archaic forms and whose linguistic position doesn’t provoke negative reactions. In this regard, the only exception is Ana Kalandadze… What could be the reason for that? Perhaps, the nights spent reading ancient Georgian manuscripts, and the tens of thousands of notes that linguist Ana Kalandadze has produced. During this work, poet Ana Kalandadze touched each word of the Georgian

patrons puris fulic ara aqvs da rogor Wirdeba xelis gamarTva.

_ qalbatono ana, Tqven erTgan ambobT: `sagangebo ganwyoba mWirdeba leqsis weris dros, _ aucileblad unda mjerodes, rom irgvliv yvelaferi mSvenieria, wminda da maRali~. nuTu ase xSirad gjeraT xolme `irgvliv yvelafris mSvenierebis~? _ gavixsenoT saxarebidan: `gamomavali piriT gulisagan gamovals da igi Seaginebs kacsa~... `avsa kacsa avis sityva urCevnia sulsa, gulsao~, gviTxra SoTam. ai, aseTi avkaci myavs mxedvelobaSi, _ `umwifar sityvas gamiznulad mogaxlis erTi im dros, rodesac gulis simni maRlisTvis kvnesen!~ vcdilob sagangebo ganwyoba Seviqmna muSaobisaTvis, _ minda mjerodes, rom yvelaferi mSvenieria da sikeTiT amaRlebuli! vcdilob `gamiznuli~ geslisgan met-naklebad davicva Tavi werisas... meore mxriv amiT xom... `drodadro Cvens gzas Segvaxsenebs eklians RmerTi~ _ Semoqmedi adamianis umZimes gzas?! mxatvar qeTevan maRalaSvilis naTqvams movigoneb: `ermitaJSi me da slava rixterma gverdiT gavuareT erTi cnobili mxatvris ferwerul tilos. rixteri gvelnakbeniviT Semomibrunda da Tvalebze xelebafarebulma ramdenjerme gaimeora: ar damamaxsovrdes! ar damamaxsovrdes! `Tqven ra ggoniaT, _ momibrunda qalbatoni qeTevani, _ is icavs Tavs cudi STabeWdilebebisgan, _ es xom mas muSaobaSi uSlis xelso!~ diax, Semoqmedma SeZlebisdagvarad unda daicvas Tavi muSaobaSi xelis SemSleli `cudi STabeWdilebebisagan~! aqve magondeba cnobili kinoreJisoris mixeil kalatoziSvilis naTqvamic: `adamianebTan urTierToba gvabednierebs da gvaubedurebs kideco~. Cemi buneba werisas iTxovs mxolod aseT `sagangebo ganwyobis Seqmnas~ (Temis miuxedavad!), mxolod aseT `javSans~! (mogexsenebaT, muSaobis wesi individualuria).

_ `TiTqmis ar meguleba arqauli formebis momxre arc erTi mwerali, vis enobriv poziciasac negatiuri reaqcia ar gamoewvios. am TvalsazrisiT erTaderTi gamonaklisi ana kalandaZea... mainc ra SeiZleba iyos amis mizezi? albaT, uZvelesi qarTuli manuskriptebis kiTxvaSi gatarebuli Rameebi da aTiaTasobiT baraTi, romelic Seudgenia lingvist ana kalandaZes. am Sromis Jams poeti ana kalandaZe TviTon Sexebia xeliT yovel qarTul sityvas _ Zvelsa da axals!~ _ wers tariel Wanturia.

pasuxi saocrad zustadaa moZebnili, magram iqneb, ufro konkretulad mogviTxroT Tqvens poeziasa da enaTmecnierul moRvaweobas Soris arsebul gardauval kavSirze?

`gadmovwereT oSkis biblia (X s.), es iyo Cemi ubednieresi dReebi. RmerTo, ar gaTavdebodes es teqsti-meTqi~, _ es Tqveneuli ganwyobaa.

language with her hand – both ancient and new!” – wrote Tarial Chanturia.

The answer was already written, but maybe you could tell us in a little bit more detail about the inevitable link between your poetry and your work as a linguist?

You wrote that when you copied the Oshki Bible (9th century), it was the happiest days of your life, and that you wanted this text to never finish.

Please tell us about these beautiful days, the emotions that you felt, and more generally, about working on ancient manuscripts –what surprised you, and which one was the most memorable?

– I switched to the department of Caucasian languages (which was founded by academician Arnold Chikobava) during my second year

mogviyeviT im lamaz dReebze, maSindel gancdebze da saerTodac, uZveles xelnawerebze muSaobisas yvelaze met moulodnelobebs sad waawydiT, romeli maTgani dagamaxsovrdaT gamorCeulad?

_ filologiis fakultetis meore kursidan gadavedi kavkasiur enaTa ganyofilebaze (kavkasiur enaTa kaTedra universitetSi daaarsa akad. arnold Ciqobavam). aq meti dro eTmoboda kavkasiuri enebis Seswavlas, gaZlierebulad iswavleboda Zveli qarTuli ena. universitetis damTavrebis Semdeg dRemde vmuSaob arnold Ciqobavas saxelobis enaTmecnierebis institutSi, leqsikologiis ganyofilebaSi. arnold Ciqobavas saerTo xelmZRvanelobiT am ganyofilebaSi momzadda da gamoica `qarTuli enis ganmartebiTi leqsikonis~ rvatomeuli. ase rom, qarTul sityvasTan kavSiri arasodes gamiwyvetia.

Zveli qarTuli enis leqsikuri fondis Sesavsebad 60ian wlebSi saWiro gaxda meaTe saukunis Zeglis _ oSkis bibliis nusxuriT naweri teqstis mxedruliT gadmoReba. leqsikologiis ganyofilebis TanamSromlebs xelT gvqonda oSkis bibliis nusxuriT naweri fotopirebi (cnobilia, rom oSkis biblia romelic dRes daculia

at the faculty of philology. There, we spent most of the time studying Caucasian languages, and ancient Georgian was studied thoroughly. After graduating from the university, I started working in the lexicology department of the Arnold Chikobava Language Institute, where I still work today. Under the direction of Arnold Chikobava himself, an eight-tome “Explanatory Dictionary of the Georgian Language” was published in this department. So I never had a pause in my relationship with the Georgian language.

In the 1960s, in order to complete the lexical stock of the Georgian language, it became necessary to transcribe the Oshki Bible (a manuscript from the 10th century), which was written in the Nuskhuri script, into today’s Mkhedruli script. We had the photographic films of the Oshki Bible’s Nuskhuri manuscript at the lexicology department (it is well known that the Oshki Bible, which is now preserved at the Monastery of Iviron, was produced in the Oshki Church (now on the territory of Turkey) for the Monastery of Iviron, on the orders of Tornike Eristavi). Every stage of working on this manuscript was interesting and distinct in its own way – full of very strong and blissful emotions: centuries-old wisdom was being passed down to us, as we were… we were reading the Bible, weren’t we…? And what is more, the manuscript of the Bible that the great Tornike Eristavi held in his

aTonis monasterSi, gadaiwera oSkis taZarSi (amJamad TurqeTis teritoriazea) aTonis monastrisTvis Tornike erisTavis dakveTiT). muSaobis yvela periodi erTnairad saintereso da gamorCeuli iyo, _ savse umZafresi da unetaresi STabeWdilebebiT: saukuneTa sibrZne da eriskacTa naTeli gadmodioda Cvenze _ Cven xom... biblias vkiTxulobdiT... Tanac bibliis im xelnawers, romelic did Tornike erisTavs eWira xelSi... da kidev, unatifesi nusxa-xucuriT gadaweril xelnawers _ Tanamedrove poligrafiul doneze Sesrulebuli gamocema rom gegoneboda! gana aq gangebis xeli ar urevia?!

qarTuli ena CemTvis (da, saerTod, mSobliuri enisadmi mwerlis damokidebuleba!), kvlav gavimeoreb, zesaidmloTa rigisaa, romelsac mxolod da mxolod araamqveyniuri Zala warmarTavs (Tu naTqvami pretenziuli ar gamomivida!): vfiqrob, igive magiuri Zala ganapirobebs Cvensa da enas Soris damokidebulebasac da Tu ra es `zegardmo~ Zala, ukvalod da uSedegod Caivlian `uZvelesi qarTuli manuskriptebis kiTxvaSi gatarebul RameebSi~.

_ qalbatono ana, Tqvens poeziaSi erT-erTi mniSvnelovani adgili fSav-xevsurul motivebze Seqmnil leqsebs ekuTvniT. ram ganapiroba amgvari miaxloeba fSav-xevsurul poeziasTan da ra mogonebebi gakavSirebT am kuTxesTan?

_ saleqsikono masalebis mosapoveblad leqsikologiis TanamSromlebs xSirad gvixdeboda saqarTvelos sxvadasxva kuTxeSi mogzauroba. amasTan isic minda aRvniSno, rom arnold Ciqobava, romlis piradi iniciativiTac ewyoboda samecniero mivlinebebi, cdilobda, rom `dasavlelebs~ mogvenaxulebina aRmosavluri raionebi (gavcnobodiT iqaur yofas, metyvelebis Taviseburebas) da, piriqiT, `aRmosavlelebs~ gaecnoT dasavleTi saqarTvelo.

ormocdaaTian wlebSi erTi aseTi mivlinebiT pirvelad viyavi fSavSi. am mivlinebiT Seiqmna Cemi fSauri leqsebis cikli. amdenad am kuTxesTan leqsebis es cikli da dRemde ganumeorebeli cocxali mogonebebi makavSireben.

_ `fSavSi, TxilianSi erTi moxuci vnaxe, gejura, mzes eficxeboda, Tbeboda, jami edga, erT lukmas TviTon SeWamda, meores katas SeaWmevda, erTs TviTon, meores _ katas... es leqsi gejuram rom miTxra, `ayvavebulxar, bostanT iao, Cem ezo-kari mogirTiao, Cems patara das gagadobileb, isic SensaviT lamaziao, amekviata da ise miyvars~... Tqvens monaTxrob epizods hyveba erTgan kritikosi jumber TiTmeria.

qalbatono ana, xom ar gifiqriaT, proziTac gadmogecaT Tqveni safiqral-satkivari?

_ aseTi ram arasodes mifiqria. Tu Tqven mxedvelobaSi axlaxan gamocemuli Cemi ortomeulis meore tomi gaqvT, romelSic Cvens safiqralsa da satkivarzea saubari, es

hand… And this manuscript, copied in the most refined way, seemed to have been published on a contemporary printing machine!

To me, the Georgian language (and more generally, the attitude of writers towards their mother tongue), I will repeat myself, is of a mysterious nature, which is only controlled by some otherworldly force (I hope this doesn’t sound pretentious): I think that the same magical force determines the relationship between individuals and language, and if not for this mysterious force, it is without any result that one would spend countless nights reading of ancient Georgian manuscripts.

– Ms. Ana, poems based on Pshav-Khevsurian motives holds an important place in your poetry. What brought you so close to Pshav-Khevsurian poetry, and what memories do you have of the place?

– In order to find lexicographic material, we often had to travel to various regions of Georgia. I would like to mention that Arnold Chikobava, who was personally at the source of such expeditions, was trying to make us “Westerners” visit the Eastern regions (to get to know their everyday lives, and the peculiarities of their language), and conversely, for “Easterners” to get to know Western Georgia.

In the 1950s, I traveled to Pshavi for the first time, in the context of such an expedition. It is during this expedition that my cycle

ufro sxvadasxva dros interviuebis saxiT gamoqveynebuli masalis gaerTianeba-Tavmoyraa memuarul-eseisturi werilebis saxiT (ortomeuli gamosca gamomcemloba `saqarTvelom~ 1995-1996 wlebSi. redaqtorebi: jansuR Rvinjilia da vaxtang javaxaZe).

_ `saSineli mowyena iseTive senia mwerlis zogierTi gmirisa, rogorc siRaribe an meZavoba~, _ es akaki gawerelias sityvebia dostoevskis gmirebze naTqvami.

aris raRac Zalian lamazi da idumali, TavisTavad amaRlebuli amgvar mowyenaSi. da kidev, msgavsi mowyena cxadia, met-naklebi doziT da simZafriT SeiZleba yvelas ewvios, didsac da patarasac, geniossac da Cveulebriv mokvdavsac da TavisTavad lamazi xdeba am dros yoveli maTgani.

qalbatono ana, albaT arc ise iSviaTad gwveviaT xolme amgvari mowyena da ra gSveliT am dros? nuTu, mxolod da mxolod tkivilis leqsad amoTqma?

_ arc yoveli mowyena `amoiTqmeba~ leqsad da arc yoveli tkivili. es yovelTvis rodi xerxdeba?! leqss Tavisi sakuTari, Seuvali kanonebi aqvs!..

_ `adamianis mexsierebas aqvs erTi Tviseba _ SerCevisa da uaryofis. igi iviwyebs SemTxveviTs, Seuferebels,

of Pshavian poems started. To this day, this cycle of poems and unforgettable memories connects me to this region.

– “In Pshavi, in Tkhiliani, I saw an old man, Gejura, he was offering himself to the sun, getting warm, he had a bowl next to him, he would take one mouthful for himself, and give the next one to the cat, one for himself, one for the cat… When Gejura told me this poem: “You have blossomed, garden violet, you have adorned my yard and home, I'll introduce you to my sister, she is beautiful, just like you, she came to me and I love her”… Critic Jumber Titmeria is recounting an episode you told.

Mrs. Ana, did you ever think of conveying your thoughts and feelings through prose too?

– I have never considered it. If what you have in mind is the second tome of my newly published two-tome book, it is more a sort of reunion and blend of memoire and essay letters that had been published in the form of interviews (the two-tome book was published by ‘Sakartvelo’ in 1995-1996; editors: Jansugh Ghvinjilia, Vakhtang Javakhadze).

– “To the characters of some writers, terrible boredom is an a plague comparable to poverty or adultery” – these are Akaki Gatserelia’s words about Dostoievski’s heroes.

There is something very beautiful and secretive, something

mtkivneuls, zogjer imasac risi daviwyebac ar SeiZleba. Taobis mexsiereba ufro daundobelia, igi sakuTari arsebobis mokle monakveTzec iviwyebs bevr rames!~ _ es sityvebi otia paWkorias ekuTvnis.

qalbatono ana, risi daviwyeba gaSfoTebT dRes yvelaze metad da ris daviwyebas ver apatiebdiT Tqvens Taobas, Cems Taobas?

_ gaucxoebis, uzneobisa da amoralurobis mqadagebeli ucxouri teleserialebis qarcecxlSi movxvdiT. maSinebs Cveni jansaRi, sanimuSo erovnuli tradiciebis dakargva, maSinebs da mafiqrebs mSobliuri enis siWrele da aRreuloba (rac dRes enis dacvisTvis keTdeba wveTia zRvaSi!), maRelvebs Cveni maRalzneobrivi erTiani da ganuyofeli sarwmunoebis burjebze aTasnairi seqtanturi mRvrie nakadebis miSveba (lukmapuri... meobis uaryofis sanacvlod?!) da bevri, bevri ram, aaRelvebs eris bediT dainteresebul yovel gonier qarTvel kacs.

gvaxsovdes afxazeTi, gvaxsovdes samaCablo da qvemo qarTli! gvaxsovdes, rom Cven erTiani da ganuyofeli saqarTvelos Svilebi viyaviT, varT da viqnebiT! am cnobierebis dabindvas veravis, _ verc Sinaurs da verc gareuls vapatieb!

_ `me miyvars simartove, rac axalgazrdobaSi wamebia, xolo xandazmulobaSi esoden Zvirfasi~, _ uTqvams ainStains...

da mainc, Tqveni azriT, rodis aris adamiani ufro marto, axalgazrdobaSi Tu xandazmulobisas?

_ Semoqmedi kacisaTvis martooba miswrebaa! gana dRedaRam imis natvraSi ar xar, rom dReSi ori saaTi mainc waglijo ulmobel qronoss da Sens Semoqmedebas moaxmaro? `martooba veras mizams, mcavs Tu cisa ZalTa dasio~, brZana didma rusTavelma. ise ki... is martooba, romelic yovel Cvengans afrTxobs da aSinebs, yvela asakisTvisaa damaxasiaTebeli met-naklebad. esec xom individualuria?!

egziuperis SeuniSnavs: yvelaze didi fufuneba _ esaa adamianTa saRi urTierTobao~. qalbatono ana, Tqven ras daumatebdiT?

_ ukeTesad ver ityvi. gavixsenebdi sokrates naTqvams _ `adamianebs bunebiT aqvT moniWebuli megobrobisadmi midrekileba... megobroba srulyofil adamianebs erTmaneTTan akavSirebso~. jansaRi, normaluri (Cveulebrivi) adamianuri urTierTobebi xom sicocxlis eleqsiria da misi gamaxangrZlivebeli?

siyvaruls cecxliviT unda kvebao, uTqvamT. aseve unda kveba Cvens Cveulebriv, yoveldRiur adamianur urTierTobebsac. sailustraciod bolo STabeWdilebebze mogaxsenebT. cnobil qarTvel mweralsa da sazogado moRvaweze _ Tedo saxokiaze daweril mogonebebSi

sublime in this kind of boredom. And what is more, naturally, such boredom can visit anyone to some degree, both old and young, genius and mere mortal, and all of them become beautiful at that moment.

Ms. Ana, you must have been visited by such ennui quite a few times, what rescues you during those times? Can it only be the expression of this pain as a poem?

– Neither each ennui nor each pain can be transcribed into poems. Poems have their own, impenetrable laws!..

– “Human memory has the ability to choose and neglect. It forgets what happens by chance, what isn’t harmonious, what gives pain, and sometimes even what it should not forget.

The memory of a generation is more ruthless, it can even forget many things during its short period of life!” – These words belong to Otia Pachkoria.

Ms. Ana, what subjects of forgetfulness most surprise you today, and what couldn’t you forgive your generation to have forgotten?

– We are in a whirlwind of estrangeness, dissoluteness and immorality spread by foreign TV shows. I am afraid that we could lose our healthy, exemplary national traditions, I am afraid and skeptic about the diversity and mix-up of our language (what is done today for the defense of our language is a drop of water in the ocean!). I am weary of letting all kinds of sectarian, troubled streams walk on the piers of our united and indivisible faith (a mouthful of bread… in exchange for neglecting the self?!) and many, many other things should make any sane Georgian mind that is interested in the fate of one’s country anxious about the future.

We should always remember Abkhazia, Samachablo and Kvemo Kartli! We should remember that we were, are, and will be the children of a united and indivisible Georgia! I will not forgive anyone, be they close friends of mine or unknown to me, for shrouding this consciousness!

– “I lived in that solitude which is painful in youth, but delicious in maturity”, said Einstein…

What do you think, when are people more alone, in youth or in maturity?

– For an artist, solitude is a life-saver! Aren’t we day and night in

misi SviliSvili, qalbatoni Suqia afridoniZe, wers: `adamianuri urTierTobebisa da kulturis yvelaze STambeWdavi gakveTilebi mainc papas megobrebTan saRamos vizitebis dros miviRe. ...maTTvis kviris TiTo dRe iyo gamoyofili: Svidive dRe dakavebuli gvqonda. ...me mimaCnia, rom stumar-maspinZlobis amgvari jansaRi tradiciebi, rogorc adamianTa urTierTobis uTvalsaCinoesi gakveTilebi, mxolod sikeTis momtania Cveni mozardi TaobisTvis da amgvari tradiciebi ueWvelad unda gagrZeldes, raTa es kultura ar daikargos.~ gvcalia ki dRes amgvari vizitebisTvis? gvemeteba ki `swrafwarmavali~ dro erTmaneTisTvis? SegviZlia, uaxloesi adamianebis ubralod, Tundac _ CaiT, gamaspinZleba? namdvilad dasanania am tradiciebis dakargva, tradiciebisa, romlebic urTierTobebis didze didi skolaa, romelSic bavSvi Tavidanve unda `swavlobdes~ urTierTobaTa RvTaebriv gakveTilebs!

didi madloba, qalbatono ana, saintereso saubrisTvis!

the longing for two hours that you would be able to grasp from the implacable Chronos, and use them for your creations? “Loneliness can matter naught if heavenly powers protect me”, said the great Rustaveli. But if we talk about the solitude that each of us dreads, it is characteristic of any age, more or less. This is also depending on the individual, isn’t it?!

Antoine de Saint-Exupéry remarked that there is only one true luxury, that of human relationships. What would you add to that?

– I couldn’t have put it better. I am reminded of Socrates’ words – “People are naturally inclined towards friendship… Friendship connects accomplished individuals with each other”. Aren’t healthy, normal (regular) human relations the elixir of life and its lengtheners?

It has been said that love needs to be nurtured, just like fire. The same goes for our regular, everyday human relations. As an illustration, I can speak about one of the last pieces that struck me. In memories written about famous Georgian poet and public figure

Tedo Sakhokia, his granddaughter, Ms. Shukia Apridonidze, wrote: “I received the most memorable lessons in human relations and culture when grandpa’s friends would visit in the evening… We had each day of the week dedicated to them: all seven days were taken… I think that such healthy hospitality traditions, as the most obvious lessons in human relations, can only bring good to our young generations, and such traditions should continue for our culture not to be lost.”

Do we still have time for such visits today? Can we spare some of this “fast-passing” time for each other anymore? Can we still receive our close friends, even if only with a simple tea?

It would really be a pity to lose these traditions, as they are the greatest institution to teach human relations, they are a “school” in which children should “study” human relations right from the start!

Thank you very much, Mrs. Ana, for this interesting conversation!

Znelia CvenSi gaRiaron

IT IS DIFFICULT TO WIN RECOGNITION IN GEORGIA

saqme saxelis moxveWaSi araa, firosmanic ki dRemde ar aris aRiarebuli.

mxatvar Temo jafariZis gamoCenas XX saukunis 60-ian wlebSi didi aJiotaJi mohyva _ is ar hgavda maT, vinc misaRebi iyo sabWoTa ideologiisTvis, xolo visac hgavda, isini mtrebad iyvnen gamocxadebulni. miuxedavad amisa, mxatvars gaumarTla _ Tundac 10 wliT adre rom gamoCeniliyo, savaraudod, gasresdnen, 60-iani wlebi ki ukve daTbobisken iyo wasuli da rogorc Tavad mxatvari ixsenebs, misi warmateba ganapiroba iman, rom xalxs moswyinda sicrueSi cxovreba da sinamdvile moundaT.

roca Temo jafariZeze saubrob, bunebrivad gaxsendeba sityvebi: `mravalmxrivoba~, `Zieba~, `Seurigebloba~... mis biografiaSi Tu CavixedavT, vnaxavT, rom saintereso periodi gaiara, vidre funjs mokidebda xels, rac dakavSirebuli iyo veris baRTan (romelsac mxatvarma `antisabWoTa klubi~ uwoda) da literaturasTan, romelic yvelaze aqtiurad irCeoda im baRSi.

megobrebis SerCevas Taviseburi biZgi misca iman, rom maSin veraze vcxovrobdi, erisTav-xoStarias quCaze, 19 nomerSi. Cems mezoblad cxovrobda anzor saluqvaZe, saocrad kargi adamiani, romelmac udidesi STabeWdileba moaxdina Cemze _ Cxubobda, leqsebs werda, Seyvarebuli iyo... masze 5 wliT umcrosi viyavi. SortebSi rom vTamaSobdi quCaSi fexburTs da literaturaze saerTod ar vfiqrobdi, gamomarCia, leqsebs mikiTxavda, mesaubreboda... da mec avivse im samyaroTi, riTac is cxovrobda – poeziiT.

anzorma gamacno veris baRis xalxi, aqedan ramdenime adamiani Zalian mniSvnelovani figura gaxda qarTul kulturaSi, Tundac SoTa CantlaZe. anzorma gamacno iqve guram rCeuliSvili. axla es yvelasTvis cnobili saxelia, maSin ki axalgazrda biWi iyo da gurammac, ratomRac, gamomarCia. Zalian male davmegobrdiT da iciT, rogori megobroba iyo, dRe da Rame erTad viyaviT. 3 wliT ufrosi iyo. zustad ver getyviT, Cemi pirovnebis Camoyalibeba maincdamainc romeli momentidan daiwyo, magram es periodi, rogorc zeimi, ise maxsovs. maSin

It is something more than just rising to fame. Even Pirosmani has not been duly recognized up to this day.

The emergence of Temo Japaridze caused a real stir in the 1960s. He was in every way unlike those, who embraced Soviet ideology. Those whom he resembled, though, were persecuted as enemies. The artist was, however, lucky not to have emerged 10 years earlier; if he had, he would have been simply crushed. But the political atmosphere in the 1960s had already begun to thaw. The artist recalls that he struck a chord with those people, who had become fed up with illusions and were eager to regain their grip on reality.

Three words that best describe Temo Japaridze are: versatile, enquiring, irreconcilable…

daviwye ukve sakuTari Tavisken siaruli. mqonda pirveli mcdeloba literaturaSi _ moTxrobebi, leqsebi, magram ar mibeWdavdnen. `ujris mwerali~ vxdebodi, magram bunebiT iseTi adamiani var, romelsac lavireba ar SeuZlia. xelovani imitom var, rom ar movityuo. marTali giTxraT, amiT movige Tu wavage, ar vici.

maSinve, 60-ian wlebSi, SigadaSig CemTvis vxatavdi xolme, arasdros mifiqria, mxatvari gavmxdariyavi. zogs moswonda es naxatebi da gadavwyvite, modi mivyvebimeTqi. daviwye intensiuri muSaoba. es universitetSi swavlis periodi iyo. Cemma megobarma, Tamaz oqruaSvilma, gadawyvita, gamofena momewyo. 1964 weli iyo. mere mivxvdi, universitetSi ratom daTanxmdnen am gamofenas. jer erTi, ar elodnen, moyvaruli mxatvari rame seriozuls Tu waradgenda, Tan RonisZiebad CaeTvlebodaT. magram rom gamovfine, aman didi aJiotaJi gamoiwvia ara marto universitetSi, mTel qalaqSi. meore mizezs ki, mogvianebiT mivxvdi: Tanxmoba misca universitetis partbiurom, partkomi iyo karanaZe. daniSnes

His life, just before he mastered the use of colour and brush strokes, revolved around the Vera Garden (which the artist dubbed as the “anti-Soviet club”) and literature, always very high on the agenda of this garden.

My choice of friends was conditioned by the neighbourhood I lived in: 19, Eristav-Khishtaria St., Vera. I was especially drawn to Anzor Salukvadze, my neighbour and a man of vibrant personality: quarrelsome, amorous and an ardent poet… I was five years his junior. However, he singled me out as a willing listener to his poems and discourse while I was still in my tender years dressed in shorts, playing football in the street and remotely interested in literature… Thus I started imbibing his set of beliefs – poetry.

Anzor introduced me to the Vera Garden community, of which some members, Shota Chantladze in particular, later figured prominently in Georgian culture. It was there that I came to know Guram Rcheulishvili. Today, he is a household name but in those days Guram was just an ordinary youngster, who, for some reason, picked me out as his friend. That was a lifelong bond between us. We became inseparably intertwined day and night. He was three years older than me. I don’t know exactly what cleared the way for the formation of my

Savi saxli da gamvleli. 1997. tilo zeTi. 66X102

BLACK HOUSE AND PASSERS BY. 1997. CANVAS, OIL. 66X102

gamofenis ganxilva, sadac mowveuli iyvnen akademiis xelovnebaTmcodneebi, socrealizmis mexotbeebi. Zalian mwvaved wavida Cemi naxatebis kritika. partbiuros mizanic swored es iyo. darbazi gadaivso, xalxi moSivebuli iyo raRac sxvas, namdvils rom Tavi davaneboT da Cems mxardaWeras gamoxatavdnen. erTma kritikosma aseTi ram Tqva: SexedeT am naxatebs, (maSin lirikul portretebs vxatavdi), es ususuri adamianebi SeZleben komunizmis aSenebaso? atyda sicili, xarxari, xalxi ukve azrze iyo mosuli, grZnobdnen, rom realobaSi ar cxovrobdnen. unda iTqvas, rom im dRes kritikam ver izeima, damicva iseTma adamianma, rogoric iyo Salva amiranaSvili. kritikosebi ambobdnen, rom es naxatebi anaqronizmi da burJuaziuli mxatvrobaao. amis pasuxad, amiranaSvilma Tqva: es

character. But I can look back on all those years as a celebration of life. It was then that I set out on a long path inwards.

My first attempt at fiction and poetry was cold-shouldered by publishers. I faced the gloomy prospect of becoming a “bottomdrawer writer”. But I could not descend to compromising my beliefs. I am an artist and therefore I couldn’t afford to lie. I don’t know yet whether it has worked to my advantage or disadvantage.

Painting in the 1960s was something I did from time to time just to my heart’s content. I never in fact intended to make it my profession. There were, however, people who were attracted to my works. So I engrossed myself in a world of painting. During my years at university, Tamaz Okruashvili, a friend of mine, decided to mount an exhibition of my works. The year was 1964. It dawned on me late why the

mrgvali eklesia. 1999. tilo, zeTi, mSrali pigmenti. 79X100 CIRCULAR CHURCH, CANVAS, OIL, DRY PIGMENT. 79X100

xveulTmiani kaci fardis fonze. 1973. ficari, cementi, zeTi. 87X57 CURLY MAN AGAINST CURTAIN. 1973. WOOD PLATE, CEMENT, OIL. 87X57

erovnul niadagze warmoSobili niWieri mxatvariao. am Sekrebas lado gudiaSvili ar eswreboda, mere movida, STabeWdilebebis wigni waiRo da am gamofenas vulkanis amofrqveva uwoda. cota gadaWarbebuli iyo, magram es aRiarebas niSnavda. aseTive pozicia hqondaT farna lapiaSvilsa da lali javaxiSvils, romlebic sityviT

university authorities had consented to my exhibition. Firstly, they took no serious view of an enthusiastic amateur like me. Besides, they could score a point for arranging an event. My exhibition did, however, stir up things, not only among the university community, but throughout the city as well. Secondly, my exhibition had won the ringing endorsement of the party bureau itself, Karanadze being

telemaqe da odisevsi. 1997. tilo, Sereuli teqnika. 120X100 TELEMACHUS AND ODYSSEUS, 1997, CANVAS, MIXED MEDIA. 120X100

ar gamosulan, magram amaze xmamaRla laparakobdnen. adamianis fsiqologia mogexsenebaT _ roca aseTi xmauria Sens gamoa atexili, es garkveul rwmenas ginergavs, fiqrob: e.i. sworad mivdivar. gavagrZele imave suliT muSaoba... da 1968 wels mweralma mzia baqraZem moindoma Cemi namuSevrebis

the chair of the party committee. My works came under a growing chorus of criticism by the Academy’s art critics and apologists of social realism attending the exhibition review, which played into the hands of the party bureau. The hall was packed tight with people craving for something out of the ordinary, not to mention something genuine, trying to drum up some support for me. “Look at these

maZiebeli. 2000. muyao, Sereuli teqnika. 52X52

SEEKER, 2000, CARDBOARD, MIXED MEDIA. 52X52

adamianTa SfoTi. 1967. muyao, pasteli. 104X73.5 HUMAN BUSTLE, 1967, CARDBOARD, CRAYON. 104X73.5

gamofena ucxoeTis qveynebTan kulturuli urTierTobis komitetSi gaekeTebina. pirvelmaisobis uqmeebs daemTxva da 5 dRe daeTmo. direqtori daeTanxma mzias, ver mixvda, ra gamofena unda yofiliyo aseTi. gavakeTeT eqspozicia, CamovkideT naxatebi. Semovida direqcia da gagiJda: acnobes suk-s, kulturis saministros. movardnen, magram ar meubnebian, Camoxsenio. am dros uamravi xalxi modis da aTvalierebs. saocreba iyo, bebiebs mohyavdaT SviliSvilebi, Svilebs _ dedebi, es unda naxoTo. gamofenis me-4 dRes direqtorma damiZaxa, saswrafod CamoxseniT, darbazi gvWirdebao. rogorc miTxres, gamofena suk-ma akrZala. kmayofili viyavi. maSin arc ise

paintings” – one of the critics exclaimed – “how can these feeble people be entrusted to build communism?” (I was then focused on lyrical portraits). The whole room erupted into laughter. People were no longer desensitized to reality. Critics failed to get the upper hand that day. To their arguments that my paintings contained elements of anachronism and bourgeois mentality, Shalva Amiranashvili responded by saying that I was a gifted painter deriving spiritual nourishment from the national groundwork. Lado Gudiashvili was not present at the meeting. But he later posted his reflections in a comments book describing my exhibition as an “volcanic eruption”. It might have been an exaggerated view but it amounted to recognition. Parna Lapiashvili and Lali Javakhishvili did not make

mZinare qalis Tavi. 1997. xis CarCo, baliSi, naxati tiloze. 40X50 HEAD OF SLEEPING WOMAN, 1997, FRAME, CUSION, PAINTING ON CANVAS. 40X50

vin ufro didxans uyurebs meores TvalebSi (civilizebuli kaci da veluri gogoebi). 1995.tilo, Sereuli teqnika. 93X69

STARING DOWN (CIVILIZED MAN AND WILD GIRLS). 1995, CANVAS, MIXED MEDIA. 93X69

xSiri iyo, roca individi mxatvari sabWoTa ideologias oficialur asparezze upirispirdeboda. aman Cemze dadebiTad imoqmeda da muSaoba gavagrZele.

udidesi fufuneba iyo Cemi mxridan, Tavs sakuTari poziciisa da principis SenarCunebis uflebas rom vaZlevdi. Tu sadme miWirda, es iyo ekonomika _ saRebavis fuli, tilo... ras aRar vakeTebdi (vnanob, Cemi yvela namuSevari tiloze rom ar aris Sesrulebuli, bevri muyaozea). vigonebdi sxvadasxva teqnikas, rom raRac gamekeTebina. ar vici, Rirda Tu ara, am mxatvrobam gaamarTla Tu ara Cemi Zalisxmeva. am Zalisxmevas Tan tkivili axlavs...

Zalian Zlieri pirovneba unda iyo, ukan rom ar daixio da araferi daTmo.

loud statements but they shared the same opinion. Experts of human psychology know that catapulting someone into sudden fame makes him believe that he is on the right track.

So my spirits remained high… In 1968 Mzia Bakradze, a writer, decided to put on an exhibition of my works at the committee of cultural relations with foreign countries. The exhibition coincided with the 1 May holidays and was scheduled to last for five days. The director of the committee gave the go-ahead for the exhibition not having the faintest idea of the consequences it could eventually have for him. We displayed the paintings, which came as a severe shock to the committee officials. The KGB and the Ministry of Culture were immediately put on alert. However, no instruction was given to remove the paintings. The exhibition attracted crowds of people. It made a rare spectacle: grandmothers bringing their grandchildren, kids talking their mothers into going and seeing the exhibition.

saxli samagrebiT, sololaki. 1987 HOUSE IN SOLOLAKI. 1987

faqturuli Ziebebis dros Cemi mTavari Tema mainc adamiani iyo. abstragirebuli formebiT daviwye Tavebis keTeba, aman ki didi namuSevrebis keTebis SesaZlebloba momca. Tamaz Cxenkelma bina damiTmo xilianis quCaze da iq gavakeTe pano `saidumlo seroba~ (5m.15sm.X2m.80sm.) msubuqi masalebiT, popartuli elementebiT _ magaliTad, magidad naturaluri ficari iyo miWedebuli. erTi weli vimuSave, Zalian Sromatevadi aRmoCnda. 1972 weli iyo. aseTi iyo Cemi pasuxi `kgb~-s mimarT, 1968 wlis gamofenis mere. mTeli quCa xedavda, rasac vakeTebdi. levan xaindravam gamafrTxila, Tqven garSemo `kgb~-s uamravi TanamSromeli trialebso _ liftSi, mezoblebSi, yvelgan SexvdebiTo, magram me ase CavTvale: CemTvis vmuSaob, quCaSi ar gamovdivar, ar vyviri da proklamaciebs ar vavrceleb, Tu CemTan rame saqme aqvT, damiZaxon, manamde ki ase udardelad,

As the exhibition entered its fourth day the director ordered the removal of my paintings saying that the hall was needed for something else. But in reality the exhibition had been censored by the KGB. I was quite content. It was one of those rare occasions when an individual artist made his stand against Soviet ideology. It spurred me on to further activity.

I could hardly allow myself the luxury of upholding my own position and principles. Shortage of money for paints and canvas increasingly hindered my efforts (I regret not all my paintings are executed on canvas. I also used cardboard as a painting surface). I had to develop and pioneer many new techniques. I don’t know whether I’ve been rewarded for my efforts or not. But those efforts were permeated with pain…

One’s got to have a very forceful personality not to shrink away from challenges or compromise one’s beliefs.

sakuTari adgilis Zieba samyaroSi. 2000. tilo, Sereuli teqnika. 79.5X98

SEEKING ONE'S PLACE IN THE UNIVERSE, 2000, CANVAS, MIXED MEDIA. 79.5X98

maZieblis (odisevsis) Casvla Sinagan samyaroSi. 2000. borbali, patara skulptura, ficari. 54.5X52X40

SEEKER (ODYSSEUS) DEEPENING INTO HIS INNER WORLD. 2000. WHEELS, SMALL SCULPTURE, WOOD PLATE. 54,5X52X40

odisevsi _ mawanwala. 2000. muyao, Sereuli teqnika. 51X61 ODYSSEUS

WANDERER, 2000, CARDBOARD, MIXED MEDIA.

At the centre of all my stylistic endeavours was still a human being. I employed a visual language of abstract forms, which allowed me to produce large-sized paintings. Tamaz Chkhenkeli let me in his house at Khiliani Street. My “Last Supper” (5m.15cm.X2m.80cm.) was created there, involving images of pop art: for example, I nailed a solid plank of wood onto the canvas to act as a table. It took me a year to bring the painting to painstaking perfection. That was 1972. The painting was in retaliation for the KGB’s banning of my exhibition in 1968.

All the residents across the street were aware of what I was doing. Levan Khaindrava warned me that I was virtually under siege of KGB

biWi da fexsacneli. 2004. tilo, kolaJi. 55X38 BOY AND SHOE. 2004. CANVAS, COLLAGE. 55X38

51X61

vaJi baliSiT. 1998. daWmuWnuli tilo, zeTi. 91X61 YOUTH WITH PILLOW, 1998, RUMPLED CANVAS, OIL. 91X61

ar iyo, am fanjridan Zvrebodnen xolme. oTar ioselians mohyavda frangebi, viRacam moiyvana germaneli qali pastori, Teologi. averincevsac fanjridan mouwia gadaZroma. amasobaSi, `perestroikis~ droc movida, sityvis sajarooba, xelovnebaSi Tavisufleba, rac Zalian kargi iyo. 1988 wels Temo gocaZem SemomTavaza, modi, `saidumlo seroba~ mxatvris saxlSi davdoTo da foieSi, im adgilas dades, sadac winaT leninis Tavi ido. mere didi gamofenac Sedga. amis Semdeg daiwyo areuloba saqarTveloSi. Tbilisis omis dros, mxatvris saxlTan erTad, `saidumlo serobac~ daiwva. goga xaindravas aqvs gadaRebuli firze es namuSevari, roca 9 aprilis ambebs iRebda rusTavelze, mxatvris saxlTan.

officers spying on me from everywhere, including the elevator or my neighbours’ places. But, given that I was not busy handing out any leaflets or proselytizing in the streets, I decided I could afford the luxury of holding my peace within the confines of my room and protecting myself against any unwelcome intrusion.

Another problem that arose was related to the relocation of the painting. The painting was lifted away by a crane and carried on a trailer to the studio of my friend – Temur Abramishvili, a restorer. “The Last Supper” remained there for a year. A growing number of visitors gravitated around it as if on a pilgrimage. The painting brought me great popular acclaim but caused considerable controversy as well. The studio was soon taken away from Temur. Another friend of mine suggested moving the painting to his

qali da gogona. 1992. zeTi. 69X50 WOMAN AND GIRL. 1992. OIL. 69X50

gansxvaveba dRevandelsa da sabWoTa sinamdviles Soris isaa, rom esTetika akrZaluli ar aris. rac unda, imas daxatavs mxatvari, magram dRes mas yuradRebas aravin aqcevs, geniosic rom iyos kulturis gadagdeba me-100 adgilze nihilistur garemos qmnis. mxatvari fiqrobs: ra saWiroa, mainc aravis unda, imaves ambobs mweralic. globaluri masStabiT, es swori pozicia ar aris, magram am droisTvis sworia, radgan rac ar unda dawero Tu daxato, araviTari gamoxmaureba ar mosdevs. rogor ewyoba gamofenebi? naTesavebsa da megobrebs dauZaxeb, iq gaimarTeba `patara Woraoba~ da eg aris. araviTari Sefaseba, ganxilva. nihilizmma warmoSva is, rom vinc xatavs, Tavi yvelas magari mxatvari hgonia.

garage. In any case, we had no option but to wrap “The Last Supper” in cellophane and house it there. Queues formed at the garage as well. There was a small shed next to the garage and when my friend was away, visitors climbed through the shed window to catch a glimpse of the painting. Otar Ioseliani would bring some French guests. Someone brought a German woman pastor - a theologian. Averintsev too had to break through the shed window.

(restructuring), publicity and relaxation of restrictions in art. In 1988 Temo Gotsadze offered to move “The Last Supper” to the Artists’ House. The painting was displayed in the foyer to replace Lenin’s bust. Then a grand exhibition followed. During the civil unrest that

kaci grZeli TmebiT. 2002. daWmuWnuli tilo, zeTi. 35X42 MAN WITH LONG HAIR. 2002. RUMPLED CANVAS, OIL. 35X42

mwoliare niu. 1967. tilo, zeTi. 80X120 NUDE LYING, 1967, CANVAS, OIL. 80X120

later swept through Tbilisi, the Artists’ House was burned. “The Last Supper” turned to ashes as well. The painting was captured by Goga Khaindrava while videotaping the 9 April protests near the Artists’ House on Rustaveli Avenue.

The main difference between the Soviet era and present-day reality is that artists have eased themselves away from all aesthetic restrictions and are now free to paint whatever they like. The highest concern, however, is that even an artist of undisputed genius tends to stay out of the limelight. Plunging culture deep into the relegation zone gives rise to nihilistic tendencies. Both painters and writers think their work is getting them nowhere. Broadly speaking, they are not correct to think so. However, their attitude inevitably mirrors the actual state of affairs: whatever we write or paint gets no feedback at all. Exhibitions are held for a number of friends and relatives to get together and catch up on the latest gossip, rather than share their views or offer some analysis. In the atmosphere of nihilism people tend to think that making some brushstrokes qualifies them as great painters.

It seems such a pity that a distinguished name like Van Gogh, who was least of all focused on making a fortune out of his paintings, should be commercialized in such a manner. His paintings are now valued in terms of the dollars they may yield. The same is true of Modigliani...

Hardship is a necessary element leading the artist to understanding. A wealthy, well-nourished man can hardly be imagined as a seeker of truth. However, when life becomes a struggle for subsistence and, hence, for survival, art has little prospect of thriving.

samwuxaroa, sabolood yvelaferi komerciamde rom midis. van gogic ki, romelic komerciaze saerTod ar fiqrobda, imiT damTavrda, rom misma naxatebma komerciaSi amoyo Tavi. am suraTebis Semxedvelni, dRes, imas fiqroben, ramden milionad gaiyideba. igive modiliani...

gaWirveba xelovanisTvis aucilebelia WeSmaritebis ZiebaSi. warmoidgineT mdidari, maZRari xelovani kaci, ra WeSmariteba unda moZebnos? raSi sWirdeba? magram roca arsebobisTvis ibrZvi imdenad, rom an mokvdebi an ar mokvdebi, xelovnebisTvis veRar icli, unda gadarCe.

Tavisufali monasmebiT erTianobis Zieba. 1968. Tunuqi, zeTi. 71X71

qali perangSi. 1997. tilo muyaoze, zeTi. 97X57.5

LOOKING FOR INTEGRITY WITH FREE STROKES. 1968. TIN, OIL. 71X71

WOAMN IN CHEMISE. 1997, CANVAS ON CARDBOARD, OIL. 97X57.5

arsebobs sazogadoebis interesi, cnobismoyvareoba da niWis pativiscema, rac yovelTvis mSurda ucxoelebis. Tumca es niWis pativiscema, evropaSi xSirad aRsavsea SecdomebiT _ viRac geniosi rom ggonia, aRmoCndeba, rom yvelafers akeTebs reklama, romelic drois Semdeg CaifuSeba. vinc marTla niWieria, SeiZleba daiCagros. galeristi eubneba, rom misi naxati arakomerciulia, ar gaiyideba. maT Cemi naxatebi rom SesTavazo, albaT, ityvian, arakomerciuliao.

I envy foreigners their interest, curiosity and respect for talent, although this respect may often be overestimated: a highly acclaimed genius sometimes turns out to be the product of an effectively thought out promotional campaign, who, after a while, disappears into thin air. Genuinely talented artists, in the meantime, are put in the shade. Galleries tell them that their paintings won’t sell. My paintings too may be tagged with the label “uncommercial”.

qvebi-adamianebi #2. 1992. muiyao, zeTi. 40X50 STONE HUMANS #2. 1992. CARDBOARD, OIL. 40X50

naTlis megzuri

iakob gogebaSvilis Rvawli

darCeba samaradisod Sengan gatkepnili gza da vinc am gzas ar gaivlis, is arc qarTvelad ar ixsenieba. akaki wereTeli

Cveni macxovari, ieso qriste, saxarebaSi orgzis moixsenieba „pedagogad“ _ is iyo, iqneba da aris kacobriobis yvelaze didi maswavlebeli. mis movlinebamde da mas Semdegac adamianTa aRmzrdelebs Sesaferis pativs miagebda yoveli dro da kulturuli eri. am azris klasikuri gamoxatulebaa aleqsandre makedonelis sityvebi: „mamam sicocxle maCuqa, xolo aristotelem is, rac am sicocxles azrs aniWebs“.

sayovelTao aRiarebiT, qarTvelTa upirvelesi maswavlebeli iakob gogebaSvilia _ am werilSi mis Rvawlze vilaparakebT. daviwyoT yvelaze zogadiT:

qarTvelebs oTxi umTavresi wigni gvaqvs: biblia, vefxistyaosani, qarTlis cxovreba da dedaena _ romlis avtori iakob gogebaSvilia;

TbilisSi dedaenis Zegli dgas _ msoflio ar icnobs mTeli xalxisgan saxelmZRvanelo wignis aRiarebis msgavs precedents; iakobs samSobloSi mxolod saxeliT moixsenieben, rac xalxis siyvarulis upirvelesi gamoxatulebaa; dabadebidan 100 wlisTavze,1940 wels, iakobi mTawmindaze, qarTvel moRvaweTa mTavar panTeonSi gadaasvenes _ aseTi pativi mxolod gansakuTrebiT gamorCeul adamianebs miegebaT; iakobi Tanamedrove qarTuli skolisa da ganaTlebis filosofiis fuZemdebelia Tavis qveyanaSi. man daamkvidra mecnieruli pedagogiuri kultura; am moRvawis ideali iyo evropuli saqarTvelo da axali qarTveli. man Seqmna qarTuli cnobierebis modeli axali droisTvis da skolas swored amgvari cnobierebis Camoyalibebisa da ganmtkicebis misia ganusazRvra da daakisra; iakobma axali da Zlieri impulsi misca qarTvelTa odindel ideas _ Tavisufleba saSualebaa da ara oden mizani. Tavisuflebas mxolod or sxva sityvasTan (gonierebasa da zneobasTan) erTad aqvs arseba da azri _ misi wignebi swored amgvari samebis maswavleblobaa!

GUIDE TO ENLIGHTENMENT

IAKOB GOGEBASHVILI’S CAUSE

The path trodden by you will survive intact and whoever strays from this path will never lay a claim to being a Georgian.

Akaki Tsereteli

Jesus Christ, our Saviour, is twice referred to as a teacher in the Gospel. Christ was the greatest rabbi ever to walk the face of the earth. Whether before or after the birth of Christ, all civilized nations revered and held teachers in high esteem. Alexander of Macedon once said “It was my father who gave me life. But it was Aristotle who taught me to live”.

There is a general recognition that Iakob Gogebashvili was Georgia’s foremost teacher. This article will revolve around his life and activities. Below are some facts that put him in a more generalized context:

iakob gogebaSvilze fiqri, TavisTavad, mogvaazrebinebs pasuxs kiTxvaze _ vin aris pedagogi da ras niSnavs, aswavlo adamians? konfucis sityvebia: „is, vinc warsulis xilvisas Wvrets momavals, Rirsia iwodebodes maswavleblad“. yvela tragedia drois danawevrebiTa da gaxleCiT iwyeba _ rodesac warsuli, awmyo da momavali Sordebian, adamianebi sulier sayrdenebs kargaven da erTmaneTs upirispirdebian. amitomac eniWeba gansakuTrebuli mniSvneloba maswavlebels, romelic drois gamamTlianebelia. swored misi funqciaa, Seicnos, Seinaxos da axal Taobas gadasces codna da zneoba. pedagogia is, vinc faqts, movlenasa Tu saqciels mniSvnelobasa da statuss sZens. SeiZleba viRacam gmiroba Caidinos, sxvam aRmouCeneli aRmoaCinos,mesamem raRac arsebiTad saWiro Seqmnas da es yvelasaTvis ucnobi an naklebad mniSvnelovani darCes. roca yvelafer amas saxels daarqmev, wignsa Tu mexsierebaSi Seitan da masobrivi cnobierebis kuTvnilebad aqcev, konkretuli faqti mxolod maSin gaxdeba Rirebuleba. iakobma bevri Rirebuleba dautova qarTvelebs.

araferi ise ar aerTianebs ersa da saxelmwifos, rogorc ena. iakob gogebaSvilis dedaena da misi sawyisi _ ai ia _ mSobeli dedisa da pirveli maswavleblis xmebTan erTad samudamod damkvidrda yoveli qarTvelis cnobierebaSi. es wigni iyo da aris saqarTvelos sxvadasxva kuTxis erTcnobier erTobad ganmtkicebis mniSvnelobadaukargveli faqtori. am TvalsazrisiT, iakobi didi qarTvelebis _ grigol xanZTelis, giorgi

- Georgians pride themselves on four paramount books: the Bible, Vepkhistkaosani (The Knight in the Panther’s Skin), Kartlis Tskhovreba (The Georgian Chronicles) and Deda Ena (The Mother Tongue) – written by Iakob Gogebashvili;

- There is a monument for the Mother Tongue in Tbilisi – history knows no other precedent of the nation giving the manual such an elevated status;

- Iakob is usually referred to by his first name in Georgia, which is the surest indication of people’s adoration for him;

- In 1940, on the one hundredth anniversary of his birth, Iakob’s remains were reburied at the Mtatsminda Pantheon of Writers and Public Figures – an honour reserved for only a limited number of illustrious names and characters;

- Iakob was the founder of the modern Georgian school and philosophy of education. He pioneered the pedagogial approach of scientific teaching in Georgia;

- His concept of an ideal Georgia was a European country inhabited by Georgians with an altered state of consciousness. He even developed a model of Georgian consciousness and set the school the task of following and strengthening this model;

aTonelisa da sulxan-saba orbelianis maRalsulieri saqmianobisa da Rvawlis Rirseuli gamgrZelebelia. ai ias warmoTqmas sul erTi wami unda. es aris wami, romelic yoveli qarTvelis cxovrebaSi dgeba da arasdros mTavrdeba _ saqarTveloSi SeiZleba yvelaferze dausruleblad ikamaTon da eWvqveS daayenon, magram dedaenis pirvel sityvebs es arasdros exeba. ratom aris ai ia genialuri migneba? ratom ver warmoudgeniaT qarTvelebs am ori martivi sityvis erTobis gareSe sakuTar SvilTa aRzrda? amis, sul cota, 10 mizezi arsebobs;

1. RvTaebrivi simetriis harmonia. simetria bavSvs Tavidanve aCvenebs da SeagrZnobinebs, rom samyaro wesrigia da is am harmoniaSi unda CaerTos.

2. sarkis principi. ai „xedavs“ ias _ TiTqos sarkeSi iyureba. es aris sakuTar TavSi samyaros danaxvis uZvelesi principi da kultura. saukuneebis win icodnen, rom sakuTari Tavis Semcnobi samyaros wesrigsac Seimecnebs. amitomac ewera delfosis

-

Iakob gave renewed impetus to the Georgians’ long-upheld idea that freedom is the means rather than the goal and that freedom can only take on its real meaning when matched with two other notions (reason and morality) – all his books offer a way to propagate this trinity.

Iakob Gogebashvili’s personality seems to hold the answer to who can be a pedagogue and what is implied in teaching. Confucius’ definition of the prerequisite for being a teacher is the ability to “review the past and recognize the new”. All tragedies originate from the fragmentation of time when the past, present and the future come apart; people lose their spiritual support and turn against one another. Teacher, in this context, takes on a particular role acting as a bridge between various dimensions of time. It is a teacher’s primary function to gain insight, treasure and impart knowledge and moral values to the younger generation. It is a teacher who gives a clue to the meaning of a fact, event or someone’s behaviour. Acts of heroism, unexpected discoveries or truly ingenious inventions are often shelved to gather dust without someone evaluating their importance, recording them either in books or in memory and thus making them part of collective consciousness. It is when a concrete fact is shaped into a value. Iakob bequeathed many such values to Georgia. Nothing unites a nation and a state so much as a language. Iakob Gogebashvili’s Deda Ena (Mother Tongue) and its opening words

taZris SesasvlelSi: „Seican Tavi Seni“.

3. wigni iwyeba azriT. ai ia _ winadadebaa. iakobi bavSvis ganaTlebas iwyebs ara asoTi an sityviT, aramed principulad _ winadadebiT, anu azriT. aq Zalian didi mniSvneloba aqvs imas, rom winadadeba moqmedebas, dinamikas moicavs. aq aris ara mxolod aRqma, aramed damokidebulebac (da _ araerTi!);

4. sawyisad gamokveTilia sagnis Secnoba. pirvelive winadadeba bavSvs afiqrebs samyaros konkretul gamoxatulebaze;

5. fiqris dasabams iZleva saxelis darqmeva _ es aris raRac, romelsac hqvia ia. saxelis darqmeva faqtisa Tu movlenis wiaRis dauflebas, mis arsebaSi SeRwevas niSnavs;

6. es aris Semecnebis dakavSireba mSvenierebasTan. aq realizebulia samyaros gonebiT (racio) da emociiT aRqmis sinTezis principi. es aris „Semecnebis esTetikis“ damkvidreba _ jer kidev rusTvelma axsena „gonieri guli“, rac nebismieri pedagogiuri sistemis saocnebo idealia;

7. aq kodirebulia aRmoCenis sixarulic _ ai, es aris is,

Ai Ia (Here’s a violet) have stamped themselves in all Georgians’ consciousness as indelibly as the voice of mother or teacher. This book has always been and still remains an all-important factor in cementing the complex tapestry of Georgian characters into a single identity. In this context, Iakob follows the trail blazed by Grigol Khandzteli, Giorgi Atoneli and Sulkhan Saba Orbeliani. It takes only a second to pronounce Ai Ia but this second comes for all Georgians and continues to reverberate throughout their lives. Georgians may doubt the truth of everything with the exception of Deda Ena’s opening words.

Why is Ai Ia thought to be a stroke of genius? Why do Georgians regard this combination of two simple words as a pillar of education for their children?

There are at least ten reasons for this:

1. Harmony of divine symmetry. Symmetry gives a child an early indication of the order of the universe and the need to live in peace with this harmony;

2. Mirror Principle. Ai “sees” Ia as its reflected duplication in the mirror. It is the oldest way to squeeze the world into one’s own self. The general belief many centuries ago was that the one who really knows himself also truly understands the world around him. An inscription at the entrance of the Delphos temple says the same:“Know yourself and you will know the Universe”;

rasac ia hqvia! Zalian mniSvnelovania, rodesac bavSvs, moswavles Tavidanve eubnebi, rom wignTan urTierToba ara mxolod Sroma, aramed sixarulic aris;

8. wigni dasawyisidanve gvaziarebs qarTuli metyvelebis musikas. winadadebaSi oTxi xmovnis msubuqi, haerovani harmonia SesaniSnav bgeriT xats qmnis;

9. aq vxedavT qarTuli damwerlobis grafikuli gamosaxulebis srulqmnilebasac _ rogorc „a“, ise „i“ srulyofil simrgvales _ wres ukavSirdeba da ganasaxierebs;

10. samyaros Seqmnis, arsebobisa da dasasrulis genialuri xati. bibliaSi weria, rom RmerTi aris ani da hoe _ samyaros dasawyisi da dasasruli _ samyaro „ganifineba“ da RvTisken „brundeba“. ai iaSi, am patara winadadebaSi, simbolurad samyaros istoriaa mocemuli (es winadadeba palindromia _ „waRma“ da „ukuRma“ erTnairad ikiTxeba da saxeobrivad ganfenaukuqcevas warmoaCens).

yovelive zemoTqmulisa (Tu verTqmulis) gamo, iakob gogebaSvili da misi dedaena (sxva wignebic) saqarTveloSi ganasaxiereben Tavad ideas ganaTlebisa. sityva „ganaTleba“ qarTulad mxolod informaciis miRebas ar niSnavs adamianSi RvTaebrivi naTlis Semosvlas ukavSirdeba. saxeli i a k o b i (simboluria, rom am saxelsac ia iwyebs!) mimyols, mimdevars niSnavs. bibliis kvalobaze, niSnavda tyupTagan meores, momdevnos, Semdeg ki RvTis mimyolis mniSvneloba SeiZina. ai ia RvTisken da saqarTvelosken savali erTi gamorCeuli gzaa qarTvelebisTvis. es aris yvelaze patara, magram, iqneb, qarTuli cnobierebis istoriaSi warmoCenili sxvaze Zalmosili Sedevric.

3. The book starts with an idea. Ai Ia is a phrase. Iakob uses a fully formulated idea rather than a letter or a word to usher a child into the world of education. The other important aspect of the phrase is that it involves action and is dynamic, indicating not only perception but also attitude (more than one attitude!);

4. Object perception as a main principle. With the very first sentence, a child attains awareness of a perceivable representation of the universe;

5. Identification of object by name provides food for thought. Ai Ia translates as “here’s something called a violet”. Identification is the capability to capture the essence of what the object or fact is all about;

6. Perception intertwines with beauty. Synthesis of reason and emotion translates into an experience of perceiving the world. It begets “perception aesthetics” - a concept of “wise heart” attributed to Rustaveli, which is an ideal aspect of any pedagogical system;

7. Joy of discovery coded. “Look what’s here! It’s a violet!” From the very beginning the book makes a child aware of the fact that reading requires efforts but these efforts are richly rewarded by the joy it brings;

8. The book awakens us to the music of Georgian speech. The perfect harmony of four vowels produces an incredibly impressive sound;

9. Outstanding graphic depiction of Georgian script. Both letters “A” and “I” consist of a perfectly curved line resembling a circle.

10. Vivid portrayal of the creation, evolution and the end of the universe. The Book of Revelation reads that God is the Alpha and Omega, the first and the last. The universe takes its origin from God and ends at the original beginning. Ai Ia symbolically crystallizes the history of the universe (this phrase is a palindrome yielding the same text when read forwards and backwards and symbolizes the eternal return when something begins anew as soon as it ends).

Based on the above-said (or not-said), Iakob Gogebashvili and his Mother Tongue (and other books too) convey the essence of education in Georgia. “Ganatleba” – the Georgian word for education does not just point to the process of obtaining knowledge. It is rather a way to achieve spiritual enlightenment. The name I a k o b (it is symbolically important that Ia figures in this name too) means a follower. Based on the Bible, Jacob was the second-born of twin sons. Later, Jacob came to indicate a disciple of the teachings of God.

Ai Ia is the Georgians’ chosen path to God and to Georgia. This masterpiece, so elegantly simple, figures perhaps most prominently in the history of Georgian consciousness.

sviringebisTvis

On Tattoos

erT arcTu patara, magram saucxoo qalaqSi droebiTi sviringebis mTeli Sekvra viyide, ieroglifebiT dawyebuli, qalTevzebiT dasrulebuli. mere im saucxoo qalaqidan ubralo, muSaTa qalaqSi movxvdi da meore Sekvrac SeviZine, isargayrili gulebiTa da mexdacemuli varskvlavebiT.

aqedan damabares da imitom, Torem sviringis sakiTxSi didi tradicionalisti var _ mxolod Ruzas vcnob. es ambavi imitom gamaxsenda, rom im dRes Zvel bloknotSi viqeqebodi da iqidan erTi droebiTi qalTevza gadmovarda. gadmovarda da raRas gaCerdebi? parizSi, erT autanel quCaze mesviringeTa saxelosnoSi Sevbodialdi, magram naxatebi Zalian ugemovno, lumpenproletaruli iyo.

ra aris SenTvis ucxo qalaqi?

albaT is, rac Tavisi gulkeTili nemsebiT gCxvlets. saerTod, mogzauroba am keTil naCxvletTa Segrovebaa, da Tu bevrs mogzaurob, sadRac SigniT, uxilav adgilas, erTi didi, feradi sviringi giCndeba. rac mets mogzaurob, sviringi miT ufro izrdeba da ar fermkrTaldeba.

namdvil sviringebs aTasi xerxiT ebrZvian xolme:

In a not very small, but marvellous city, I bought a whole package of temporary tattoos, ranging from hieroglyphs to mermaids. After leaving this beautiful city, I later happened in a working-class town where I bought another package with arrow-pierced hearts and thunder-struck stars.

I bought them because I was asked to. Otherwise, I am very conservative in my attitude to tattoos: I only recognize anchors.

I remembered this episode as I was browsing over an old notebook, from which one temporary mermaid suddenly fell out. Once it did, there was no stopping me. I dropped in at a tattoo shop in a run-down Parisian street, but the drawings I found there were too lumpenproletarian.

What is a foreign city to you?

Maybe it is what pierces you with its tender needles. In general, travelling is gathering of these tender piercings. And if you travel a lot, a big colourful tattoo appears inside you, in an invisible place, somewhere deep beneath you. The more you travel, the bigger this tattoo becomes, and it never begins to fade.

Real tattoos are destroyed in a myriad of ways: they are burnt or slashed with a knife, sometimes the skin is cut open and torn away. This is because tattooed old men are often irritated by the reminders of the passions of youth.

But the piercings of travel can never be rubbed out or burnt.

The magic of these tattoos is that they reveal themselves only to the sight of your eyes. As time passes by, their original shape

amoiwvaven, daniT daiseraven, kans iglejen. ase imitom xdeba, rom sviringian Ziakacebs axalgazrdobisdroindeli gatacebani aRizianebT. samogzauro naCxvletebs ki verafriT amoSli da amowvav. amgvar sviringTa jadosnoba imaSia, rom maT mxolod Sen xedav da rac dro gadis, maTi pirvandeli ieris amocnoba ufro da ufro Wirs, radgan nairgvari tyuil-marTali miemateba da es tyuil-marTali sul zRapruli kabebiT savse sakids gamoagorebs xolme garderobidan. amas winaT, marko polos wigni viyide, Zveli sadRac gamqraliyo da axalic mondomebiT CavaTvaliere. nu gaikvirvebT mis monaTxrobs saqarTvelos Sesaxeb. misi sviringic icvleboda. da, ai, xom gvarwmunebs es mouRleli mogzauri, qarTveli mefeebi beWze arwivgamoxatulni ibadebodneno. kvlav sviringi da kvlav jadosnuri Tvisebisa, raRacatom amozrdili sxeulis Signidan da erT gansazRvrul adgilas, vTqvaT, beWze damkvidrebuli. Cans, svirings bevri imgvari jado-Tviseba

increasingly defies recognition, for a mixture of truth and lies piles upon them, making the closet seem full of an array of majestic dresses.

The other day I bought a book by Marco Polo. My old one had disappeared somewhere and I shuffled through the new book with interest. Don’t be surprised by his narrative about Georgia. His tattoo too, kept altering. This tireless traveler assures us that the Georgian kings were born with an eagle encrusted on their shoulder. Again tattoos, and again of magic power, emerging from within and settling upon one definite place, say, the shoulder blades. Tattoos are a powerful inspiration for thought as they are so full of magic.

hqonia, rom amis gamo bevri unda ifiqro.

marko polosi ki Tundac imitom mjera, rom Tavad minaxavs jadosnuri sviringebi, romlebic adamians acocxlebda, ocnebas ucocxlebda da Rones matebda. es ar iyo arcerTi im or sviringTagani odesRac rom minaxavs ori taqsis mZRolis mklavebze. erTs ewera, `axalgazrdobav, veRar damibrundebi~, meores ki _ `ar endo qals~. es taqsis mZRolebi Warmagi, janiani Ziakacebi iyvnen da am warwerebSic iyo raRac ucnauri, komikuri da sevdianic, raxan bavSvobis Semdeg ar damaviwyda.

magram me sxvas mogaxsenebT, sviringebisas, romelic, marko polosi ar vici da, prosper merimesa da robert luiss stivensons ki aRafrTovanebda.

es gvariani xnis winaT iyo, maSin isic ki ar vicodi, rom dedamiwa mrgvalia. zafxulSi erT imerul sofelSi rom visvenebdiT me da deda, quTaisidan erTi naTesavi gvewvia, Tavisi Zveli `volgiT~, da quTaisSi wagviyvana ori dRiT. ar vicrueb da, romel ubanSi viyaviT, ar maxsovs. es aris, rom ezo iyo uZvelesi da daburuli, saxli ki ganumeoreblad grili da bevri bneli, zafxulSi ase moxdenili oTaxiT savse. am saxlis aivanze ijda moxuci, xmeli da meloti kaci, braziani ierisa, wvrili cisferi TvalebiTa da kexiani cxviriT, romelic samudamod damamaxsovrda. mas kolia biZia erqva da am Cveni naTesavis mama, anu Tavadac Cveni naTesavi iyo. sakvirveli is iyo,

La gloria di colui che tutto move per l'universo penetra, e risplende in una parte pi? e meno altrove. Nel ciel che pi? de la sua luce prende fu' io, e vidi cose che ridire n? sa n? pu? chi di l? s? discende; perch? appressando s? al suo disire, nostro intelletto si profonda tanto, che dietro la memoria non pu? ire. Veramente quant'io del regno santo ne la mia mente potei far tesoro, sar? ora materia del mio canto. O buono Appollo, a l'ultimo lavoro fammi del tuo valor s? fatto vaso, come dimandi a dar l'amato alloro. Infino a qui l'un giogo di Parnaso assai mi fu; ma or con amendue m'? uopo intrar ne l'aringo rimaso. Entra nel petto mio, e spira tue s? come quando Marsia traesti de la vagina de le membra sue.

the same time, and I have remembered them since I was a little boy.

But I will tell you of different tattoos, which Im not sure about Marco Polo, but to Prosper Merime and Robert Louis Stevenson would be a source of great excitement.

It happened a long while ago, when I didnt even know that the earth was round. In summer, during our holidays in a village in Imereti, my mother and I were visited by a relative from Kutaisi. He bundled us into his old Volga and rushed us to Kutaisi for two days. My recollection of the particular region is not quite distinct. I can only remember that the yard was very old and overshadowed, the house unusually cool, with a set of dim rooms that are so pleasant in the summer time. On the balcony of this house was seated an old, bony man with a bald-patch on his head. His features had an angry expression. His blue, narrow eyes and an aquiline profile got so firmly stuck in my mind that I can still remember him. He was called Uncle Kolia and was the father of our relative, or, he was our relative too. What came as a surprise to me was Uncle Kolias welcome, which was so atypical of Imereti: he rose unhurriedly, shook hands with my mother and then, as if petting me, gave me a bad smack on the side of the head. This made me sulky and a bit wary of him. Uncle Kolia

La bella VITA

rom kolia biZia imerulad sul ar Semogvgebebia, zantad wamodga, dedas xeli CamoarTva, me ki, viTomda moferebiT, TavSi iseTi wamomartya, rom mewyina kidec da cotaTi SeviZule. kolia biZias arc usadilia CvenTan erTad da baasic ar gaubams, es iyo, ufiltro sigareti mosrisa TiTebSi da asanTze gamagzavna. meore saRamos sofelSi davbrundiT, manamde ki, cxadia, dila iyo. suraTic diliT gadaiSala: sawoli oTaxidan rom gamovedi, kolia biZia aivanze ijda, imave, SeCveul adgilas, oRond ki tanT gaxunebuli perangi ki aRar ecva, aramed aranakleb gaxunebuli, umklavo maisura, cisferi, stalinis droindeli. uxeSi, damskdari da wiTeli xelis mtevnebi TeTri, galeuli mklavebiT ekida mxrebze da mTavari swored es mklavebi iyo! qarTuli da rusuli asoebi vicodi, magram iq raRac sxva asoebiT ewera raRaceebi. ewera bevri, okrobokrod da lamazad, mxrebidan majebamde, exata bevri, ucnauri niSnebi da simboloebi. me damamaxsovrda msuqani varskvlavi da qalis profili. etyoba ise avenTe, rom TiTic ki mivade varskvlavs da vkiTxe am pirquS kacs: _ es varskvlavia?

_ Stella, stella victoria, _ momkaliT da maxsovs es sityvebi, _ amas kide, babua, klara erqva... erqva ki ara, axlac qvia, albaT...

morCa da gaTavda. es jadosnuri mklavebi metad aRar minaxavs. am moxucis istoria ki bare oci wlisam Sevityve bebiaCemisgan. kolia biZia meore msoflio omSi tyved Cavardniliyo, CrdiloeT italiaSi erTi glexkacis fermaSi moxvedriliyo ubralo muSad da sam weliwads ecxovra iq. cxadia, glexis gogoc Sehyvareboda, magram omis Semdeg ver moeTmina, verc sabWoTa lagerSi savaraudo moxvedras SeeSinebina da col-Svils danatrebuli, aqeT wamosuliyo. lagers ascdenoda, xasiaTi ki aRarafriT gamosworebia. misi coli, kvimati imereli qali, waramara eoxunjeboda xolme, he, midi, dagvamadle Seni balkonze jdomao. kolia biZias ki amaze

didnt eat at the dinner with us, and with very little effort at striking up a conversation, he rubbed a filter-free cigarette in his fingers and sent me for matches. The following evening we returned to the village, but before then, of course, there was a morning.

As I came out of the bedroom, Uncle Kolia was sitting on the balcony in the same accustomed place. Instead of the discoloured shirt, he was now wearing a sleeveless vest. The vest was blue and no less shabby , he has probably possessed it since Stalins days. He had rough, cracked and red hands. His pale, lean-fleshed arms hung loosely from his shoulders. Most important were these  the arms. I could already make out Georgian and Russian letters, but those on his arms were different, a complex blend of signs and symbols lining the space from his shoulders down to his wrists. Most vividly I remember a fat star and a female profile. Overcome by a surge of excitement, I even poked a finger in that star and asked this sombre man: Is that a star?

Stella, stella victoria, I tell you, I remember these words, and this was grandma Clara Why was She is perhaps still called so.

I never saw those arms again. The story of the old man was told to me by Grandmother when I was already 20.

Uncle Kolia had been captured by the enemy during the Second World War. In Northern Italy, he had worked for three years on a peasants farm, where he had fallen in love with the peasants daughter. After the war, however, he felt irresistibly homesick. Even the gloomy prospect of the Soviet camps could not stop him from returning to his home and family. He escaped the camp, but failed to

erTi pasuxi hqonia, Tqveni gulisTvis sicocxle davTme da wamovedio...

magram me xom sadRac SigniT daCxvletil adgilebze giambobdiT. mgoni, isic mogaxseneT, rom amgvarma sviringma sxeulis zedapirze amoRweva icis. es jadosnuri sviringia da marko polosic mjera, iciT ratom?

kolia biZias cisfrad aWrelebuli mklavebi italiidan ar Camohyolia. erT mSvenier dRes, mgoni 1956 wels, ori nemsi asanTis Rers Seatyupa, Zafi Semoaxvia da lurji melniT savse SuSac moiZia, ijda da moTmeniT gamohyavda Tavis, maSin albaT Ronier, mklavebze italiuri leqsebi (leqsebi iyoo, bebia meubneboda), varskvlavi, sayvareli qalis profili da Turme manqanac, romliTac Tivas ezideboda fermaze da kidev, italiis droSa. marjvena mklavis mosviringebisas gansakuTrebiT datanjula, tkivili tkivilad da caciaTi xatva Zalian gasWirvebia.

saerTod, tkivilis amtani kaci iyo. aseTi ambavia da veravin damajerebs, rom sviringi mxolod sviringia da meti araferi. ra xdeba iq, SigniT? jadosnuri sviringebis arsebobas xom Tqvenc veRar uaryofT?

yvelaferi ki imitom, rom Zvel bloknots vfurclavdi da iqidan erT mSvenier qalaqSi nayidi droebiTi sviringi gadmovarda, zed qalTevza exata. ra dros qalTevzaa?

brighten up his sombre mood. His wife, a quick-witted woman from Imereti, often joked that he was begrudging them the importance of his sole presence on the balcony, to which Uncle Kolia replied that he had sacrificed his life for them and left for home.

But my narrative was of the piercings somewhere deep beneath you. I think I also told you of their ability to break through to the surface. These are magic tattoos and I believe Marco Polo.

And you know why?

Uncle Kolias blue-mottled arms werent inherited from Italy. One fine day, I believe in 1956, he put two needles together and a matchstick, rolled a thread over them, got a vial of blue ink and began to carve out on his then-brawny arms the Italian verses (that they were verses I know from Grandma), the star, the profile of the beloved woman and even the vehicle in which he carried bales of hay to the farm, and also, the flag of Italy.

The tattooing of the right arm proved especially daunting. Apart from the pain, he had gone through an agonizing ordeal when drawing with his left hand.

But he was a man who could withstand the pain.

Such is my story. And no one can convince me that tattoos are nothing more than just tattoos? What is there, underneath? You cannot deny that those magic tattoos do exist?

I recounted all this because of the old notebook, from which fell a temporary tattoo bought in one beautiful city. It was the tattoo of a mermaid.

But who cares about mermaids?

`...lili ioseliani mesizmra. axalgazrda, Zalian aqtiuri parterSi zis da viRacas raRacas uxsnis, raRacis miRweva surs msaxiobisgan, mowafisgan Tu ubralod, Cveulebrivi adamianisgan. gaSlili TmiT, anTebuli TvalebiT mas samkvdro-sasicocxlo brZola aqvs scenuri simarTlisTvis, scenuri cxovrebisTvis gamarTuli. mere TandaTan parteri qreba da yvelaferi sadRac zemoT mieqaneba. iq, zemoT, sadac Rrublebi da varskvlavebia. adamianebs hgoniaT, rom iq, amis garda, araferia. iq Cveni winaparTa sulebia. isini scenaze gadmovidnen da yvelaferma feri icvala. yvelaferma, rac scenaze xdeboda, gansakuTrebuli mniSvneloba SeiZina. da movidnen masTan mowafeni misni da mis winaSe muxli moidrikes, radgan irwmunes is, rac Zalze mniSvnelovania, samaradJamoa...“

mixeil

“I had a dream of Lili Ioseliani. She was sitting in theatre stalls, and was explaining something to someone, she wanted to achieve something from an actor, a student, or simply from an individual. Her hair was loose, she had passionate eyes, and is fighting to death for scenic authenticity, for scenic life. Then the stalls gradually disappear, and everything goes up. There, in the clouds and stars. People think that there is nothing else up there. But our ancestors’ souls are there. They come on the stage, and everything changes. Everything that was happening on the stage was instilled with particular significance. And her students came to her, and they kneeled before her, because they saw and believed in what is the most important, in what is eternal…”

Mikheil Tumanishvili

TumaniSvili

Cemi mebaRe

MY GARDENER

studentobis umZimes (am sityvaze yvela dameTanxmeba, visac masTan umuSavia, xolo visac studentoba gautarebia, xom dameTanxmeba da dameTanxmeba) wlebSi qalbatonma lilim icoda xolme _ gaiRimebda, Tvalebs moWutavda da odnavi niSnismogebiT, keTilganwyobisa da Seubraleblobis virtuozulad gazavebuli intonaciiT ityoda: „artistoba araa advili...~ da mTeli simZime da simware am frazisa Tavadve gvagema 4 wlis ganmavlobaSi, momTviniereblis simkacriTa da lmobierebiT...

pirveli jgufuri etiudi gvqonda „yvavilebis baRi“... anu, yvavilebs vTamaSobdiT, yvela sxvadasxvas... vibadebodiT, vifurCqnebodiT, mzes SevxarodiT, peplebs da futkrebs veTamaSebodiT, mere qari dauberavda... zogi gadarCeboda, zogi – ver... movidoda mebaRe, isev fexze dadgomaSi gvexmareboda, gvrwyavda, gvivlida... musika JRerda fonad _ „per giunti“... lamazi iyo es yvelaferi, siyvaruliT da sikeTiT savse... oRondac, am silamazis misaRwevad SromiT dagvRala da cotaTi gvawvala kidec... axla mgonia, rom is etiudi, TeatrSi Cveni cxovrebis gzis modeli iyo, TiTqos cxovrebis pirveli repeticia gagvatara da gzac dagviloca... „sagzlad~ ki pawawina

During her very heavy (anyone who has worked with her will agree with that adjective, and anyone who was her student will agree even more) student years, Ms. Lili used to smile, screw up her eyes, and with a hint of sarcasm, she would say, in an intonation that masterfully blended enthusiasm and mercilessness: “It is not easy to be an artist…”. And she made us feel the whole weight and bitterness of this sentence herself during four years, with both the strictness and compassion of a tamer…

Our first group exercise was a “flower garden”… In other words, each of us was playing a different flower… We were blooming, withering, enjoying the sun, playing with butterflies and bees, and then the wind would blow… Some would survive, others wouldn’t… The gardener would arrive, help us stand up, water us, take care of us… The music in the background was ‘Peer Gynt’… It was all very beautiful, full of love and kindness… But to achieve this beauty, she exhausted us… Now that I look at it, I think that this exercise was a model for our career in theater, it is as if she had made us pass our first rehearsal and blessed our path… We received small cards as souvenirs, made by her, with flowers and colorful beads drawn with make-up, and individual texts, according to what she though was relevant to each of us… On my card, it was written: “To the unopened

baraTebi gvergo, misive xeliT gamoWrili, zed grimiT daxatuli yvavilebiT da feradi mZivebiT Semkuli, sxvadasxva teqstiT, visTvisac ras Tvlida saWirod... Cems baraTze ewera: „Cveni baRis gazafxulis jer gauSlelo kvirto! jansaRad ixare, lamazad, uWknobad iyvavile, rom didxans hfende irgvliv surnelsa da mSvenierebas~ da minaweri: „Seni mebaRe _ lili ioseliani“.

pirveli speqtaklis win ki, dilidan rom „sisxli gagviSro~ da sul raRac 20 wuTiani Sesvenebis mere premiera gvaTamaSa, sagrimioro magidebze kvlav samaxsovro baraTebi dagvaxvedra. ai Cemi baraTis teqsti: „ginda Sen es Tu ara, es dRe samudamod darCeba Sens mexsierebaSi“.

raRa Tqma unda asec moxda, magram ara marto is dRe!.. Tavad qalbatoni lili darCa samudamod Cems gonebaSi, cxovrebaSi, sulSi... menaneba yvela, visac masTan urTierTobis bedniereba ar ganucdia, gansakuTrebiT axalgazrdebi... maT xom yvelaze metad sWirdebaT dRes zneobis, Rirsebis, profesionalizmis, Tavmdablobis, adamianis siyvarulis magaliTi! oRondac am magaliTs igi sakuTari qceviT gvaZlevs, sityvebiT _ arasodes! misi mkacri da gamWoli mzera saocar siTbos da siyvaruls itevs (rogor axerxebs!!!)

sityva ki.... oo, sityvis mimarT misi damokidebuleba sruliad gansakuTrebulia! is sityvis qalia, sityvis damcveli, sityvis patroni, sityvis saqmed gadamqceveli... mxolod mas SeuZlia msaxiobTan erTad saaTobiT ealersos (bevrs es „axirebuli kirkiti~ hgonia) TiToeul sityvas da iqidan, rogorc futkarma neqtari, amoiRos misi namdvili arsi, dafaruli grZnobebi, adamianis mTeli cxovreba... Tavadac, saubrisas didi sifrTxiliT arCevs sityvebs, eZebs, amowmebs, mere suls Cahberavs da rogorc musikosi, ise amoTqvams, faqizad, pativiscemiT... sul ramdenime „saqebari~ sityva maxsovs masTan urTierTobis 40 wlis manZilze, „Zunwad“ Tqmuli, magram iseTi Zala hqonda, rom erTma Cemma megobarma, romelic am „qebas“ Seeswro premieris Semdgom wveulebaze, arc acia, arc acxela da Sampanuri pirdapir Tavze gadamasxa _ „es fraza unda aRiniSnoso“... frazad moeCvena erTaderTi sityva!

gasaocaria misi mosmenis unari. saubriT arasodes dagRlis, Tavad ki arasodes daiRleba Seni mosmeniT... SegiZlia elaparako, mouyve yvelaferi... is TanagigrZnobs, gismens mTeli arsebiT, gulisyuriT da „yuris guliT~ (guls Tu aqvs yuri, yursac aqvs gulio, ambobda xolme xumrobiT), radganac adamiani misTvis yvelaze Zviri faseulobaa da adamianis samsaxuri misi upirvelesi movaleobaa cxovrebaSic da xelovnebaSic.

erTxel, leningradSi sagastrolo mogzaurobisas, giorgi tovstonogovs Sevxvdi _ mis maswavlebels, romelsac udides pativs scems da eTayvaneba. mokrZalebiT Sevbede _ lili ioselianis mowafe var-meTqi... uceb

bud of our garden’s spring! Bloom in health and beauty, see no wither, so you can spread your scent and beauty around you for long.” And it was signed: “Your gardener – Lili Ioseliani”.

Before our first performance, after she started exhausting us in the very morning and made us go on stage after a mere 20 minutes of breathing space, we found new cards on our make-up tables. This was my card’s text: “Whether you like it or not, this day will remain in your memory forever”.

Naturally, she was right, but it wasn’t only about that day!... Ms. Lili herself stayed in my memories forever, in my life, in my soul… I am sorry for anyone who didn’t experience the happiness of interacting with her, especially in their youth… Because today, they are the ones who need an example of morals, dignity, professionalism, modesty, and love! But this example was provided by her actions – and never with words! Her strict and penetrating gaze always had room for warmth and love (I never understood how she managed that!!!).

As for words… Well, her relationship with words was very significant! She was a woman of words, a defender of words, a caretaker of words, one who brought them to life… She was the only one who could fondle each word for hours with actors (though many think it was just a strange obstinacy), and from there, just like bees take out a flower’s nectar, take the essence of the word, its hidden meanings, a whole life out of it… She would also carefully choose each word she used, thinking of it, verifying its relevance, and then breathing life into it like a musician, in a refined, respectful way… I can only remember one praising word from her in the 40 years I have known her. She said it in a “stingy” manner, but it had such strength, that one of my friends, who witnessed this “praise” at a gathering after a premiere, simply poured champagne on my head –“We have to celebrate this sentence”… She thought this one word was a whole sentence!

She had amazing listening skills. She would never tire you with words, and she would never get tired of listening to you… You could pour your heart out, tell her everything… She would condole, listen to you fully, with her undivided attention, as people were her greatest wealth, and serving them was her foremost duty, both in life and in art.

Once, while we were traveling to Leningrad in the framework of a tour, I met Giorgi Tovstonogov – her teacher, whom she adored and deeply respected. I shyly murmured that I was Lili Ioseliani’s student… His eyes suddenly lit up, he turned to me, smiled, and took me in his arms… Then he looked at me and asked me, in Georgian, and in a tone that made me think we were in a conspiracy: “How is Lily, still the same? Never compromising?”. Yes, she never compromised and never gave up her principles! Her principle was to defend people, to find a seed of kindness in any of their actions, to never talk badly of them, even if they deserved it… This is how she behaved towards people, both real and fictional, and this is what she was preaching to her students.

When we were finishing the academy, she made us sit on the last day (we were only four who managed to “endure” her) and told us: “When the river of a clean mountain gets into the sea, the latter changes colors at that place… The purer and stronger the river’s water, the greater trail

Tvalebi gaunaTda, momibrunda, gamiRima da gulSi Camikra... mere aseve mixutebuls zemodan damxeda da SeTqmulebs rom aqvT, iseTi toniT, qarTulad mkiTxa: „rogor aris lili, ar icvleba? ar Tmobs principebs? `diax, ar Tmobs! misi principia _ gaamarTlos adamiani, eZebos mis nebismier saqcielSi sikeTis Tesli, arasodes Tqvas masze Zviri, Tundac ekuTvnodes... ase eqceva is adamianebs, realursac da personaJebsac, amas qadagebs mowafeebTan.

instituts rom vamTavrebdiT, bolo dRes dagvsxa (oTxniRa davrCiT, vinc „gavuZeliT~) da gviTxra: „rodesac sufTa mTis mdinare zRvaSi Caedineba, im adgilas fers icvlis zRva... rac ufro sufTa da Zlieria mdinaris wyali, miT did kvals tovebs, sanam bolomde Seereva... Tqven axla unda SecuroT saocar zRvaSi, rasac TeatrSi cxovreba hqvia. iq talRebia, qariSxalic, mzis bevri Casvla da amosvla... me curva gaswavleT, danarCeni Tqvenzea... gisurvebT, im sufTa mdinaresaviT, rac SeiZleba didxans aCndes zRvas Tqveni kvali.“

Tavidan, TeatrSi rom mivedi, jer kidev ucxo garemoSi Tavs uxerxulad vgrZnobdi. pirvel dRes, repeticiis mere qalbaton lilisTan mivirbine _ Zalian mominda menaxa, Tanac Zalian merideboda _ is xom Zalian „mkacri~ iyo... iq misuls sruliad sxva adamiani SemrCa xelSi, saocrad Tbili, mosiyvarule da „Sinauri“. Cumad mismenda da Tvalebi ucimcimebda... me vigrZeni rom daiwyo raRac axali Cvens urTierTobaSi _ Cven davmegobrdiT!

Turme tonino gueras uTqvams erTxel antonionize _ uaRresad daxvewili gemovnebis adamianma iseTi Cacma icoda, ver SeamCnevdi da Tu SeamCnevdi _ Tvals ver moswyvetdio. yvelaferi namdvili da daxvewili xom asea _ mSvidad arsebobs, Tavis saqmes Cumad akeTebs, da yuradRebas ar iqcevs. Tu RmerTma mogca Tvali da yuri _ dainaxav da Senve ivsebi...

aseTia qalbatoni lili, Cemi maswavlebeli, moZRvari, ganZi, Zlieri da sifrifana, Tavganwiruli da bevrjer gawiruli, mimtevebeli, „mosamarTle da mowyale“, „siyalbis miwad damaqceveli“, Cemi „patara antigone“ da Cemi „mebaRe“ _ lili ioseliani!

P.S. es werili qalbatoni lilis saiubileod davwere, maSin 90 weli usruldeboda... arasdros mifiqria, rom odesme SeiZleboda masze warsul droSi wera... megona sul iqneboda... Tumca, asec aris: is aris! is Cems sindisad iqca da „zrunavs~ Cemze... radgan „valdebulia izrunos masze, vinc „moaTviniera“...

it leaves, before completely blending into it… You now have to swim in a wonderful sea, one called theater life. There are waves there, storms too, many sunsets and many sunrises… I taught you how to swim, the rest is on you… I wish for your trail in the sea to be visible for as long as possible, like the water of a pure river.”

At first, when I arrived at the theater, I felt awkward in this new environment. On the first day, after the rehearsal, I ran to Ms. Lili – I really needed to see her though I was also embarrassed, as she was very “strict”… But when I arrived, I met a completely different person, a very warm, loving, and friendly one. She was listening to me in silence, and her eyes were twinkling… I felt that something new had just started in our relationship – we had become friends!

It turns out that Tonino Guerra once said about Antonioni that “This man of utterly refined taste would wear such clothes that you couldn’t notice them – and if you did, you couldn’t take your eyes off of them.” Isn’t everything authentic and refined like this? It exists calmly, does its work in silence, and doesn’t attract attention. If God gave you eyes and ears – you will see and feel it…

Ms. Lili was like that, my teacher, guide, treasure, strong and delicate, selfless, forgiving, “just and gracious”, my “little Antigone” and my “gardener” – Lili Ioseliani!

P.S. I wrote this text for Lili’s 90th Jubilee… I would never have thought that we would one day have to write about her in the past tense… I thought she would always be there… But, then again: she is here! She has become my conscience and is “looking after” me… Because she has “the duty to look after those she has “tamed””… 2014, Tbilisi

amonaridebi lili ioselianis dRiuridan

* * *

...xelSewyobis SemTxvevaSi (dasis mxridan), Tanadgomis pirobebSi, gavbedavdi mekisra aseTi umZimesi uReli _ Teatris `mSenebloba~, ufro sworad Teatris `rekonstruqcia~, Tundac SekeTeba mainc momexerxebina im esTetikur-eTikuri mrwamsisa, romlis ganxorcielebis saSualeba ar momeca da mudam sanukvar ocnebad vatarebdi. Tu amas uweria axdoma, RmerTis wyalobiTa da misi surviliT, xom kargi da Tu ara, RmerTis survils davemorCilebi. Cems axlandel viTarebaSi da saerTo mdgomareobis mixedviT, rac axla sufevs CvenSi, SeSlili Tu moindomebs Teatris moTaveobas an pirwavardnili karieristi... Tu CemSi erTic moqmedebs da meorec _

saSinelebaa. magram Tu uzomo siyvaruli da Sromis wyurvili gamabedvinebs, maSin TeatrTan erTad, Cemi sicocxlec gaxangrZlivdeba... gamovjanmrTeldebodi, radgan Cemi avadmyofobis mTavari mizezi uTeatrobaa... 15 welze meti uTeatrod darCenili, yoveldRiurad vispobi da vnadgurdebi. suliT xorcamde davardnils sicocxlisadmi interesi dakarguli maqvs. cxovreba umiznod miqreba, arsaidan sixaruli. Rone unayofod mecleba da xelmocarulobis mwvave gancda guls miwvavs da mTrgunavs.

1988 weli, 25 Tebervali

kviras 27 maiss Tu 26-Si... aRar maxsovs, Camovedi wverSi, ufro imisaTvis, rom martoobas aq SevCveodi da axla egeb aq mainc odnav Sevguebodi Cems xvedrs. rogorc wina zafxulobiT, erTi TviT mainc martodmarto, udedod da uded-mamaSvilod yofnas. SarSan, roca deda odnav gamomjobinda, fexze wamodgoma SeZlo, gavriske da Camoviyvane. dediko, pirvelad darCa wverSi, maincdamainc ar undoda aq, radgan sustad iyo da Zalze mouwyobelia aqauroba ukibod (kibe ki aqvs erT mxares, xis, magram saxeldaxelod muSebisTvis gankuTvnili, romelic gacvda da yanyalebs)... asvla-Casvlisas dedas eSinia. am `kibeze~ kisers moimtvrevo, magram haers mowyurebulma, aq, roca gamococxleba igrZno, winaaRmdegobas Tavi aneba da marTlac, TiTqos dReobaze midiso, ise safuZvlianad emzadeboda ezoSi Camosasvlelad. sanam yvelafers wesrigSi ar moiyvanda, arafriT fexs ar gamoadgamda. me ki... me, ubeduri, vaCqarebdi, meSinoda mze Rrubels rom miefareboda, qarma ar dauberos. meSinoda ar gamciveboda. netav Cemo dediko, yovelTvis, mudam ase vyofiliyavi SenTan ganuyrelad da ase momevlo, ufro metadac, ufro ukeT, Turme ra bednieri vyofilvar Sen rom myavdi. axla raRa meSveleba, aqac Seni landi Tan mdevs, ar maZlevs sxva rameze fiqris saSualebas. aq iweqi, am adgilas... es gexura, es gecva... es miTxari... amaze gamijavrdi... es mogewona... dedilo, deda, axla aq aRaravinaa, kvira saRamoa da yvelani gaikrifnen Tbilisisken Tav-TavianT ojaxebSi. RmerTi yvelas bednierebas nu moaklebs da Cemebr nu dasjis, ojaxebSi, SvilebTan, axloblebTan... mTels wverSi Cems meti, mgoni, ase Cans, aRaravinaa... ise gamiWirda dediko, SemeSinda Tavis mokvlis... ise ki minda deda, SenTan... dediko... Cem daikosTan... ZamikosTan... Cem mamikosTan... aq ra jandaba minda, ra vakeTo, visTvis viyo deda, Tavis mokvliT jabas Seuracxvyof, mis Rirsebas, amis gamoc xom gawvaldeba, imave mizeziT dedi, ra mizeziTac axla me vwvalob uSenod da rogor, rogor mivayeno aseTi satanjveli? masac xom bevri wameba gadaxda amqveynad...

1989 weli, ivnisi

magram amaT ar hgoniaT, rom yvelaferi ase mZimedaa Cems sulsa da sxeulSi... arc Cem rZalsa da Zmas hgonia, aseTi gasaWiri Tu madgas, yovelnairi... isini ufro ubralod uyureben Cems mdgomareobas, maT ar ician, ra tkivilebi RrRnis Cems suls da sxeuls, ra satanjveli _ autaneli. Tu yoveli wvrilmanic ki _ CemTvis ramxela problemaa!!! fiqroben vazviadeb da eWvic ara aqvT imisa, rom piriqiTaa... ufro rTuladaa Cemi mdgomareoba, vidre SeiZleba normalurma adamianma ifiqros da warmoidginos. SimSilma ki damasusta, magram ar momkla, arc tanjvam sulierma, arc Cemma ugvano moridebulobam, ara mxolod am droisTvis, yovel Jams miuRebeli xasiaTisa da aRzrdis gamo... dakompleqsebuli _ sakuTari arasrulfasovnebiT... paTologiuri morcxvobiT gamowveuli ugunuri qmedebebi, romelnic mxolod me, me mimwarebs cxovrebas, uamisodac ase gamwarebulsa da rTuls asgzis... roca yovelive ubralo, iolad mosagvarebelic ki _ CemTvis urTules problemas warmoadgens. Txovna mciredisac ki _ magaliTad, cudad var, anda wyali rom momawodos Cemze umcrosma, tanmrTelma _ miWirs Txovna... Sewuxeba... egeb arcaa misTvis es Sewuxeba... me ki ase mgonia... meores Cemze metad uWirs, rom iZulebuls gavxdi misTvis arasasurveli ram Cavadenino... mirCevnia me davZlio, gaviWirvo, moviTmino, uari vTqva aucilebel Cems saqmeze, oRond meores CemiT saqme ar Seuferxdes... vin cxovrobs ase?!! movindomeb xolme gadalaxvas, am Cemi umsgavsoebisas (moiTxove da mogecema), magram mere uares dReSi vvardebi... saqmes xom aravin movacdine... xom ar Sevawuxe... xom ar vaiZule... dideba Senda RmerTo Cveno... dideba Senda!!!

1990 weli 4 agvisto, dilis 5 saaTi

moskovidan niu iorkSi unda gavfrinde... utiam mowveva rom gamogvigzavna, vizis misaRebad, moskovSi, amerikis saelCoSi, Ramis Tevisgan, nerviulobisa da ganuwyveteli wvimisa da qaris gamo, haeris gaciveba rom gamoiwvia, anTeba damemarTa _ 40 sicxiT da sxva masTan dakavSirebuli xlaforTiT. rom ara qeTi xarSilaZe da rusiko bolqvaZe, am mdgomareobidan verc gamovidodi (kargic iqneboda, momeReboda bolo da mividodi CemebTan).

rezo TabukaSvili `aRaraa?!~ ukve ori dRea misi gardacvaleba niu iorkSi gavige. uecrad TvalT damibnelda, veRarafers vxedavdi... rezo gaTavda... rezo 9-Si daukrZalavT. 3-Si gardacvlila, 2-Si ki misi dabadebis dRe iyo. Tbilisidan wamosvla arc mindoda rezos mZime avadmyofobis gamo, araviTari ganwyoba mgzavrobisa ar mqonda... samwuxarod Cems ukan gamomgzavrebas azri aRar hqonda, ormocs Camovuswari mxolod. rezo Tu mTel msoflios saxelganTqmul adamianTa megobari ara, naxevris mainc iyo, uamravi megobari hyavda, imdeni da iseTi masStabisa, rom amis Taobaze sagangebo gaxsenebaa aucilebeli. msoflios gamoCenil pirovnebebTan megobar-nacnobobaze anekdotic ki SeTxzes: rezos eZebdnen, laSikos rom hkiTxes, rezo sadaao, upasuxa _ `pikaso babuasTanaa parizSio~. marTlac Znelad moiZebneboda qveynierebaze (italiaSi, safrangeTSi, amerikaSi, holandiaSi, indoeTSi, espaneTSi, ruseTze aRarafers vambob da kidev ra CamoTvlis) saxelganTqmuli pirovnebebi, romelTac rezos megobrad ar CaeTvaloT Tavi da ara mxolod gamoCenili adamianebi, yoveli kaci,

visTanac rezos raime Sexvedra an urTierToba hqonia _ maSinve mis megobrad Tvlida Tavs... mizezi amisa mxolod rezos araCveulebrivi momxibvleloba rodi iyo, aramed misi maRali Sinagani kultura, kacTmoyvareoba, adamianebTan urTierToba, kontaqturoba, niWiereba, araCveulebrivi sikeTe... is xom mudam gawonasworebuli iyo adamianebisadmi! saalersod momarTuli: `liliko~, `jabiko~... iseve JRerda mis mier warmoTqmuli, iseTi siTbo amoyolebuli, rogorc `mediko~, `laSiko~, `bombo~... amitom gvqonda rwmena, rom is Cveni axlobelia, megobaria, Zmaa... jaba dapatimrebuli rom iyo, TeatrSi me mis piesas `amxanagi giorgi~ vdgamdi, Teatridan gamovediT, gzaSi jabas erT-erTi amxanagi Segxvda, mogvesalma, gavSordiT. cremlmoreulma miTxra: `liliko, ar SemiZlia jabas amxanagebis danaxva, mSurs, isini gareT rom arian, Tavisuflad dadian, jaba ki patimaria~. gamaoca da SemZra misma am `aRsarebam~, radgan aseTi grZnoba me ara erTxel meufleboda jabas amxanagebis danaxvaze, magram me _ da var, da es rom memarTeboda gasakviri amiT araferi iyo, magram rezos naTqvamma guli amiCuya, ufro sworad, aseTi ram Seni sisxl-xorcis mimarT Tu dagebadeba.

Teatraluri institutis mesame kursis studentebi, 1942 weli

roca `amxanag giorgize~ (Semdeg `raikomis mdivani~ ewoda) vmuSaobdiT, gvian Ramemde maTTan (medeasTan da rezosTan) miwevda yofna, kirovis quCaze. aRar maxsovs, rasTan dakavSirebiT, magaliTis motana mindoda Tu raRac ambavs vyvebodi... mTavari saTqmelisTvis aucilebeli iyo pirovnebis dasaxeleba, swored orisami dRis Semdeg, colad unda gavyolodi meTqi... rezos ferma gadakra, `ui, es ranairad Tqvi _ guli gamiCerda... Tqvi, ise viTom aqac araferio, umniSvnelod `gaitane~, wailaparake `colad unda gavyolodio~, am walaparakebiT vigrZeni ra tkivils ganicdio. rezos am damkvirveblurma (niWieri kacis maxasiaTebelma) analizis unarma gamacnobierebina, rom asec xdeba xolme. namdvils, Rrmad gancdils, kaci xazgasmulad Cveulebrivad _ sasxvaTaSorisod warmoTqvams, tkivilis dasafarad. rezoSi Serwymuli iyo unari analizis (mecnieruli azrovnebisTvis maxasiaTebeli), gonivrulobisa da windaxedulobis sinTezisa (Semoqmedis, mxatvris maxasiaTebeli aRmafreniT); miuxedavad maRal emociuri bunebisa, artistizmisa, TiTqmis arasdros gadaudgams raime SemTxveviTi, stiqiuri, windauxedavi nabiji.

es iSviaTi movlenaa... rezo iyo gamorCeuli TvaltanadobiT (ra dedam gSobao ityoda misi mamzerali)... ymawvilobisas xom mTlad anaTebda. niWieri, sityva-pasuxi saocari, goneba _ maxvili... iumoris grZnobiT aRsavse... yvelaferi, rasac xels mohkidebda _ niWierebis daRs zed atyobda. masTan mimarTebaSi gamtyunebuli iyo rusuli andaza: "кто везде, тот нигде". rezo sadac gamoCndeboda, romel sazogadoebaSic, yvelgan yuradRebis centrad iqceoda. is uflis rCeuli, jer kidev dauWknobeli gamogvecala yvelas... yvelas... yvelas... axla am gaborotebis, SuRlis, mtrobis, urTierT daundoblobis, elementaruli kulturis, Tavazianobis dakargvisa da borotebis aRzevebisas rezo netav Tu moaxerxebda rames?! mas yvelaferi SeeZlo... biWvinTaSi, mis saxlSi, dilidan meore dRis gaTenebamde, mudam sufra iyo gaSlili, nacnob-ucnobisTvis ezos kari Ria iyo. rezo iyo maspinZelic, Tamadac, `oficiantic~, mzareulic... mikvirda, meSinoda misi aseTi `ureJimo~ cxovrebis... meore mxriv, vxedavdi _ es misi sicocxle iyo, cxovrebis wesi _ Seeqmna dResaswauli. xSirad kuriozamde misulic... biWvinTaSi dasasveneblad pirvelad `Camosulmyofni~,

3rd YEAR STUDENTS AT THEATRICAL INSTITUTE, 1942 YEAR

isini vinc maT saxls Cauvlida, iq sastumro egonaT. grZel aivanze, mudam gaSlili sufra afiqrebinebdaT, rom aq kerZo, patara restorani Tuao. Cemi iq yofnisas, col-qmari Semovida ruseTidan, magidasTan adgili daikaves, es ar gahkvirvebia rezos, me ki vifiqre _ nacnobebi Tu arian meTqi. mogvianebiT, `stumrebi~ mixvdnen, rom ojaxSi moxvdnen, maT gaocebas sazRvari ar hqonda. sruliad ucnob ojaxSi, maT ase moeqcnen?! Sexvdnen aseT adamianebs, aseT ojaxs, aseT pirovnebas _ amas isini odesme daiviwyeben?! miuxedavad rezosa da medeas mimarT, erTsulovani, sayovelTao siyvarulisa da pativiscemisa, mainc maTi urTierToba, pirovnuli, gamorCeuli, Suris grZnobasac iwvevda da gaRizianebasac; gansakuTrebiT, Cveni droisTvis da qveynisTvis uCveulod `ucnauris~ wesiT _ erTi SexedviT, garegnulad ase xelgaSlili cxovrebisa gamo. aRtacebis, siyvarulis, pativiscemis sazRaurad, adamianebi sapasuxo madlierebis niSnad, visac rogor SeeZlo, ra unarsac flobdnen _ sityviT, saqmiT, saCuqrebiT, TanadgomiT, yvela saSualebebiT gamoxatavdnen. es ki ase advili gasagebi ar iyo da araa, Cveni davanebul-daTrgunuli, SeSinebuli, gaRatakebuli cxovrebis pirobebSi myof sazogadoebis didi nawilisTvis... rodesac vkargavT, vigebT danakargis namdvil Rirebulebas. mis srul mniSvnelobas CvenTvis maSin vacnobierebT. is aRar monawileobs amqveyniuri cxovrebis yovelwuTier oromtrialSi, fusfusSi, aravis `konkurenti~ aRaraa, Sewyda brZolac da axla vicaniT Tu risTvis ibrZoda _ gaexada Cveni da sakuTari mZime cxovreba _ odnav asatani, ufro saintereso, sworad daenaxvebina, eCvenebina, rom es SesaZlebelia Tu giyvars samyaro... kaci...

1990 weli, 11 agvisto, niu-iorki

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aseT kacTmoyvare adamians, rom ityvian `WianWvelac rom ar gausresia, gauTelavs~, cotas Sevxvedrilvar... batoni saSa miqelaZe... roca misgan damalulad, (radgan is mudam winaaRmdegi iyo xolme `iubileebisa~ _ 80 weli rom Seusrulda _ vTxove kaTedris gamges, reqtorsa da mis moadgiles erTxel mainc aReniSnaT, am datanjuli adamianis Rvawli... uari ar uTqvamT... Tumca ki moimizezes, rom axla zedized gvigrovdeba TariRebi da albaT, am droisTvis ver moxerxdebao. me vecade damerwmunebina isini, rom jer batoni saSas dabadebis dRisTvis dagvemTxvia es saRamo, miT ufro mis cxovrebaSi aseTi ram, ar momxdara (devna-dapatimrebis meti), mere ki, sxvebs gadavuxadoT, romelTac ukve hqondaT iubileebi da RmerTma kidev bevri gadagvaxdevinos meTqi, Tanac SeiZleba batoni saSa arc dagvTanxmdes-Tqo. es ar esiamovnaT... vkiTxoT baton saSaso... me kategoriuli winaaRmdegi wavedi da baton saSas TviT ganucxade ganzraxva... ra Tqma unda, Sewuxda, uari miTxra... me Zalian vTxove, davajere, am saRamos gamarTvis aucileblobaSi da gavafrTxile, Sevemudare, reqtoratisTvis (Tu daibarebdnen SesakiTxad) uari ar ganecxadebina. asec moxda, batoni saSa daibares, ganucxades survili da mas `dasturs~ sTxovdnen. batonma saSam upasuxa: `mkvdars rodis ekiTxebian, dagmarxoTo?~

1991 weli * * *

wavida didi kinoxelovani, msoflio kinos aRiarebuli ostati Tengiz abulaZe... is Tegi ki, romelic CvenTan ojaxSi samegobrod dadioda, Cemi dis _ naTelas gardacvalebis Semdeg, Cveni ojaxis ubedurebebis Tanamdgomeli-TanamgrZnobeli gaxda. da arc moskovSi swavlisas davutovebivar uyuradRebod, bevri gaWirveba gagvivlia iqac da megobroba Cveni naTesaur siaxloveze maRla `aizida~. dRes Tengizi dagvemSvidoba...

1994 weli, 6 marti * * *

medea jafariZis gamosaTxovari... mediko aRar aris!!! mediko! Cemi mediko, Cemi uZvirfasesi... Cveni uZvirfasesi megobari... urezood mas sicocxle aRar surda, magram `eWideboda~ laSasTvis. masze fiqri, sasowarkveTilebaSi agdebda. sicocxlis moyvaruli, silamazis mTesveli, mfrqveveli, silamazis maZiebeli. didi moqalaqe, ilia WavWavaZiseuli mniSvnelobis deda-kaci! mamuliSvili! zedized wagvarTva ufalma Cveni megobrebi, uZvirfasesni Cvenni, am qveyniuri mware cxovrebis silamaziT

Semamkobeli, sikeTis mTesveli. ufarToesi niWierebiT momadlebuli, am qveynis margaliti, Cemi ojaxis manugeSebeli, Cveni ubedurebisgan, Cemi Zmis gamomxsnelmSveleli, damxmare da TanamgrZnobi da gana marto Cemi?! am qveynad silamazisTvis movlenili, am qveynidan am rwmeniT da imediT gamgzavrebuli... Cemo medea! ra didi ZalisxmeviT, mondomebiT iRvwodi Cveni usastikesi Jamis, galamazeba-gasamSveniereblad... es SeuZlebeli rom iqneboda cxadia kargad gesmoda, magram mainc sadac, rogorc, ra saxiTac SesaZlebeli iyo, Tundac SeuZlebeli, Zal-Ronis dauzogavad, axerxebdi Seni rezos TanadgomiT, TanamoazreobiT gangexorcielebina utopiuri survili `mikro~ samyaro, simSvenieris, guluxvi sikeTis, silamazis, kacTmoyvareobis dasavaneblad... arsebuli simaxinjis mZvinvarebis `dasapirispireblad~... mis dasaTrgunad, Tundac wuTiT mainc... vidre SenTan viyaviT, nacnob-megobrebi, axloblebi Tu gamvlelgamomvleli, Tqvens ojaxSi SemTxveviT moxvedrilni Tu sagangebod mowveuli saintereso adamianebi _

axerxebdiT adamianebis silamazisken moqcevas _ TviT urwmuno cinikosebisa da angarebaSi dabadebulebisac ki. Tqveni ojaxi arc warsulis `brwyinvale~ sazogadoebis aristokratTa salonebs hgavda, arc maTi mibaZva _ `restavracia~ iyo. es sul sxva ram iyo... silamazis, sulis amaRlebis, adamianSi sikeTis, kacTmoyvareobis gaRvivebis mcdeloba, stimulireba, sicocxlis azris, adamianTa Soris tolerantobis, sijansaRis, urTierTgagebis saxli _ samyofeli (rezos rogor undoda, ocnebobda axal saxlSi moewyo aseTi `mansarda~). adamianTa undoblobam uangarobisadmi, sulierebisadmi, CaSala am lamazi ocnebis axdenis SesaZlebloba, magram arc medikos da arc rezos ar SeeZloT silamazeze ocnebis daTmoba da simaxinjesTan Serigeba... amasTan, yovlis momcveli niWiT masSi, medeaSi ganxorcielebuli iyo qarTveli qalis yvela Rirseba, man ikisra da valad ido dacva, tareba qarTveli qalis sidiadis, gamoCenili qarTveli dedakacobis, Tamar mefidan moyolebuli, nino, ekaterine WavWavaZis, olRa guramiSvilis tradiciis memkvidreobiTi svla... `Sen

lili ioseliani, giorgi tovstonogovi, rezo TabukaSvili, medea jafariZe LILI IOSELIANI, GIORGI TOVSTONOGOV, REZO TABUKASHVILI, MEDEA JAPARIDZE

saqarTvelos dedofloba dagSvendeboda~... diax... misi Tandayolili inteleqti, giganturi kacTmoyvareoba, pirovnuli sidiade, siRrme da sifarTove mis RvTaebriv silamazesTan Serwymuli harmoniulad, amas imsaxurebda. igi saxelmwifosac gauZRveboda, amis yvela monacemi gaaCnda... cud dros daibada da icxovra. TinaTinis, nestan darejanis `prototipi~ iyo, Tu piriqiT, SoTa rusTavelis gmiri.

1994 weli, 31 marti

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RmerTo, vxedav saWirod migaCnia Cemi da Cemi winaprebis codvebisTvisac, gansacdelSi Cagdeba (Cemi da aseve Cemi Zmis)... ginda gamogvcado RirsebiT gavuZlebT am gansacdels Tu znes davkargavT?! da imas, gansacdelSi CavardniT gavamarTlebT?! Cvens uzneo saqciels kanonzomierad miviCnevT?! uzneobis gamarTleba Cadenil

codvaze ufro didi codvaa. ciliswamebaTa uTvalavi `zvavia~ jabas sawinaaRmdegod, misi Rirsebis gasaTelad. igive Zalebi, rac gamsaxurdias dros iyvnen amoqmedebulni da axla maT is partiebic miemata, romelTac arc maSin awyobdaT jaba, magram gamsaxurdias winaaRmdeg brZolisaTvis gamoiyenes da axlac gaugonar istoriebs Txzaven masze, kowiaze da Cemzedac!!! aseTi ciliswamebis serialebi TeatrSi muSaobisas me ukve Tavs gadamxda... ra ar damwames da Cems sadiskreditaciod maSinac jabaze Seqmnil `legendebs~ iyenebdnen. Cans, vidre am qveynad cxovreba miweria, amas veRar avcdebi. esaa risxva RvTisa Cvens codvil Tavebze. im adamianebidan, romelnic Cemi saxelis gatexiT, sakuTris gamtkicebas Tu lamobdnen, cocxalni cotaniRa darCnen. xolo isini vinc darCnen, kvlav agrZeleben TavianT mzakvrul arsebobas ormagi TamaSiT (pirSi laquc-maameblur, farisevluri qceviT da faruli mtrobiT; WorTa, ciliswamebaTa, gasavrcelebel saSualebaTa xelis SewyobiT). axla es (SesaZloa

yovelTvis) sicrue ufro sjeraT, vidre simarTle, radgan marTlisa tyuilSi garCeva axla ukve SeuZlebelia, imdeni gvatyues (marTali rom gvegona), imdeni umsgavso siyalbeebma gaiares Cvens Tvalwin, rom rogorc hamletis piriT Seqspiri gveubneba: `TviT saTnoebas ar ascdeba~-o ciliswameba (urCevs hamleti ofelias, amitom `monasterSi, monasterSi wadio) da mainc Zala aRar Semwevs (oh, RmerTo maRalo) yovelive amis gadatanis... ar msurs fsiqiatriul saavadmyofoSi dasruldes Cemi cxovreba...

1994 weli, dekemberi

gardaicvala miSa TumaniSvili... wavida Teatris udidesi `mSenebeli~... mxolod Cveni... saerTod, Teatris `mebaRe~ da konstruqtori. esRa meguleboda SemoqmedebiT Tanamoazred, TanamebrZolad, diletantizmisgan qarTuli Teatris mxsnelad, mis klanWebidan gamosadevnad. amJamad sasowarkveTils (momiteve ufalo), uZlursa da umoqmedos, Sin dagdebuls, misken meWira Tvali. mis sityvas metad ugdebdnen xolme yurs, saxelovanis, avtoritetianis, mas meti `uflebebi~ hqonda, amitomac zogi ram `gahqonda~... Tavad Tu ara, mis irgvliv SemokrebilT, praqtikulad metad gawvrTnil, fxizelTa daxmarebiT... aRaravin meguleba uyvardes Teatri... uTeatrod gaZleba Teatris momuSakes uWirs da tragediad miiCnevs, miSasTvis ki _ uTeatroba sikvdilis sinonimi iyo... da mainc is bednieria, rom nayofierebiT savse wavida, dafasebulic, warmatebulic da rac mTavaria _ `ganayofierebuli~, valmoxdili da ara xelmocaruli, ganadgurebuli. man Seqmna speqtaklebi, romelic ixila Cvenma Taobam, Cven Semdgommac, ucxoeTSic Rirseuli aRiareba moipova!.. misi garja ki misive saxelobis TeatriT dagvirgvinda. is bednieria... miSa TumaniSvili _ Semoqmedi, mecnieri, mkvlevari, maZiebeli sasceno xelovnebis saidumloebis... leonardoseuli xelovani, yvela maxasiaTebeli Tvisebis matarebeli. pirovneba Seucnobeli da amave dros gasagebic da naTelic... inteligenti... saTeatro esTetikis miseuli kanonmdebeli, xelobas dauflebuli, rogorc xumrobiT mimarTavdnen `maestros~... misi `pirmSos~ dabadebam ixsna igi sikvdilisgan, axla ki ineba ra ufalma, xorcieli misi gardacvaleba, samudamo sacxovrisSi _ mxolod xorcielad gangvaSora mas. tkivilmoyenebulT migvaniSna, rom misi `baRi~ uWknobi darCeba, arasodes `gaxmeba~ mis mier daxnul, dargul, daTesili da movlili nergebi, axal-axal ylortebs gamoisxams. Teatrs Tangayolili ocnebebis Taobaze amieridan sizmrebSi mogviTxrobs, warmosaxvaSi dagvanaxebs... male naxvamdis, megobaro, Tanamoazrev da dido Semoqmedo.

1996 weli, 11 maisi

* * *

baton akaki vasaZes yovelTvis vTvlidi msaxiobad dabadebul adamianad. Cveni uSualo SemoqmedebiTi Sexvedra ki, rusTavis TeatrSi Seqspiris `hamletis~ dadgmisas Sedga. am droisTvis igi ukve avad iyo da fermkrTalad gamoiyureboda. miuxedavad amisa, Tavs saocrad itvirTavda. paralelurad `daTa TuTaSxiaSic~ iRebdnen da mTel dros, ase, gzaSi atarebda, kinostudiidan _ Teatramde. amitomac SevTavaze mxolod repeticiis dReebSi mosvla. batonma akakim misayvedura: `magas ratom meubnebi, geSinia repeticias saTanadod ver gavivli, Tu fiqrob, Zala aRar Semwevs... nu geSinia~. me ki vupasuxe _ ki ar meSinia, ase dakavebulobis gamo, minda energia dazogoT-meTqi. batonma akakim momigo: `me rom kulisebidan sxvebis muSaobas vuyureb, bevr raRacas viReb CemTvis. mikvirs msaxiobebi TavianTi scenis gavlis Semdeg, partniorTa muSaobas rom ar uyureben. CemTvis es wvrTnaa

lili ioseliani, giorgi tovstonogovi, rezo TabukaSvili, medea jafariZe

LILI IOSELIANI, GIORGI TOVSTONOGOV, REZO TABUKASHVILI, MEDEA JAPARIDZE

da Sinagan teqnikas mivarjiSebs. msaxiobisTvis `trenaJi~ es aris _ ra scenebsac gadian, im gmirebTan erTad mec vTamaSob~. Sesvenebis drosac repeticiidan miRebul STabeWdilebaze melaparakeboda. Tu romelime msaxiobs scena ar gamouvidoda da cud xasiaTze vdgebodi, batoni akakis Tavdadebuli Sroma energias, STagonebas mmatebda, muSaobaSi mexmareboda da sxva msaxiobTa pasiurobis kompensacias axdenda. sxvadasxva skolisa da Taobis miuxedavad, iseTi STabeWdileba Semeqmna, TiTqos is Cemi Tanamoazre ufro iyo, vidre Cemi yofili studentebi. igi mudam ganaxlebadi energiis Semoqmedi iyo; igi Tavis Semoqmedebas mudam axali, Tanadrouli TvaliT uyurebda; yovel etapze cdilobda aqtioruli gamomsaxvelobiTi saSualebebis ganaxlebas, adre gamomuSavebuli manerisgan gaTavisuflebas, risTvisac araCveulebrivi bunebrioba, araCveulebrivi energia da gabeduleba sWirdeboda. es xom igive TviTuaryofaa _ adre mopovebulis Tu dauflebulis uaryofaa! amitomac adevnebda gafacicebiT Tvalyurs axalgazrdebis miswrafebebs da moTxovnilebebs. am periodisTvis mas mexsiereba daqveiTebuli hqonda, rac Zalian awuxebda, magram poloniusis teqsti imdenad organulad gaiTavisa da moqmedebaSic ise iyo CarTuli, rom sityvis uTqmeladac, moqmedebis iseTi saocari bunebriobiT amarTlebda, rom drodadro, teqstis warmoTqmis dayovnebis mizezs veravin SeamCnevda. igi araCveulebrivad iwyebda sityvis warmoTqmas da pauzis dros, grZnobdi, rom azri dasrulebuli ar iyo. mis scenur qcevaSi mudam mZlavrobda `azris perspeqtiva~. azris perspeqtivis es gasaocari grZnoba Tu unari, samwuxarod, dRevandel scenaze aRar aris. baton akakis ritmis araCveulebrivi grZnobac hqonda. Cems mowafeebs mudam movuwodebdi enaxaT misi TamaSi, romelic mkafio azrovnebisa da metyvelebis sworupovari magaliTi iyo. „hamletSi~ batoni akaki saukeTeso gaxldaT. man poloniusis saxe imgvarad gamokveTa da warmoaCina, rogorc es arcerT `hamletSi~ ar yofila, SeiZleba asec iTqvas, rom man poloniusisgan Seqmna erT-erTi mTavari saxe `hamletSi~. magondeba aseTi SemTxvevac, batoni akaki, Svilis gardacvalebis Semdeg, Teatralur institutSi leqciaze movida. damTavrebis Semdeg mkiTxa, saxlisken xom ar midixaro. me ki leqcia swored maSin mewyeboda, magram masTan saubars ver movwydi. batoni akaki imJamad TeatrSi naTamaSeb abesalom salamTaZis rolze melaparakeboda. saubrisas gmiris simReraze SeCerda da mTeli rixiT imRera kidec. miuxedavad imisa, rom ori dRis win dakrZala Svili, misTvis upirvelesi Semoqmedeba gaxldaT. saprofesoroSi SesulTaTvis es uCveulo viTareba gaugebari iyo da gakvirvebulni Sescqerodnen, xom ar gagiJdao. erTxel, televiziiT batoni akakis gamosvla vnaxe. pirvelad, megona, raRac cxovrebiseul ambavs hyveboda; Semdeg, mivxvdi, rom

`sabraldebo daskvnidan~ isidores monologs kiTxulobda. igi sruliad gaTavisuflebuli iyo manerulobisgan. amitomac meubneboda _ msaxiobi yoveli rolis Semdeg unda ganiwmindoso. bednieri var, rom am udides profesionalTan muSaobis saSualeba momeca. vinaidan igi iyo ara sakuTar TavSi, aramed Tavis saqmeSi TavdaviwyebiT Seyvarebuli Semoqmedi. 1996 weli

* * *

Cemo Zmao, uZvirfaseso da erTaderTo, tanjulo da wamebulo gemudarebi, moikrifo Zala, nebisyofa, mouxmo keTilgonierebas, Tavi ar misce mRelvarebiT, mraval gancdaTa Sedegad Zalauneburs ambiciebis gamZlavrebas, raTa SeZlo Rirsebis Sesaferad, sidinjiT da mxolod da mxolod im SemTxvevaSi gaec pasuxi, Tu ki aucilebeli saWiroeba moiTxovs da yovelgvari zedsarTavi saxelebis, kalambur-orazrovan gamonaTqvamebisa da metaforuli komentarebis gareSe, mxolod da mxolod faqtebis konstataciiT. magram momiteve, poloniusis dari, es Cemi `keTilgonieri~ darigeba. magram mxolod da mxolod ecade gancda-emociebi saqmis sazianod ar warmarTo, maSinebs es, yovel Sens gamosvlaSi wamoZaxebebs eZeben rom Taviseburi axsna miscen sainformacio saSualebebis komentarebSi, Jurnalistebi acxadeben, rom _ `ucenzuro, arakoreqtuli, bilwsityvaobiT, cinikur kalamburanekdotebiT surso j. ioselians samarTaldamcvelTa Rirsebis SelaxviT mosamarTlis, sasamarTlos dabneva. `mravalferovansa~ da auracxelad absurdul braldebebs amasac nuRar miamatebineb. nu miwyen am Cemi keTilgonivruli `darigebisaTvis~... Senze da SenTvis mlocveli lili, RmerTis imedad, egeb 1998 weli Cvenda sasixarulod dadges?! RmerTi giZRodes Zmao.

1997 w. 25 dekemberi * * *

Tbilisis Teatralur institutSi SoTa aRsabaZis jgufSi movxvdi, Tumca maleve pedagogi Segvicvales da CvenTan jgufSi, sruliad axalgazrda, giorgi tovstonogovi SemouSves. TiTqmis Tanatolebi viyaviT pedagogi da studentebi. man praqtikulad Tavidan Cagvitara misaRebi gamocda. biWebis mimarT ufro lmobieri iyo, Cems mimarT ki amas ver vityodi, radgan mas ar sjeroda `qali reJisuraSi~. amis gamo Cemi jgufeli lilia zvereva samsaxioboze gadaiyvana... me gamimarTla _ damtova sareJisoroze, Tumca msaxiobis ostatobas zustad iseve gavdiodi, rogorc samsaxiobo fakultetis studentebi. meore kursze roca gadavedi, misi samsaxiobo jgufi ukve sadiplomo speqtaklisTvis emzadeboda da me man maiZula medea Caxavas dubliorad memuSava kerolis rolze

speqtaklSi `dro da konveis ojaxi~. merec glumovis deda maTamaSa speqtaklSi `zogjer brZenic Secdeba~. rodesac meore kursze Cemi pirveli damoukidebeli sareJisoro namuSevari (anton Cexovis `daTvi~) naxa, mas Semdeg iseTi mkacri Cems mimarT aRar iyo. pirvelad roca eqsplikacia anu sareJisoro gegma davwere (henrik ibsenis `moCvenebani~) Semaqo kidec da mkiTxa: `lili Tqven Zalian patara xarT da ase kargad cxovrebas rogor icnobTo...~ unda gamogitydeT, rom me TviTonac ar vici, rogor gaverkvie dedis (fru alvingi) fsiqologiur SreebSi... albaT, zedmiwevniT sworad amovikiTxe ibsenis teqstSi qveteqsti. Tavdapirvelad misi Zalian meSinoda, droTa ganmavlobaSi ki, Cven ise davmegobrdiT, rom me misi mesaidumlec ki gavxdi. iseT raRacebs mimxelda, razec sakuTar dedasTan Tu dasTanac ki ar saubrobda. familiarobas ver itanda. aseT gamovlinebebs aravis apatiebda, ise gacecxldeboda, rom meSinoda cudad ar gamxdariyo. mere momibrundeboda da metyoda xolme: `lili, Tqven metismetad lmobieri xarT, TeatrSi muSaoba Zalian gagiWirdebaT. Teatri xom pativmoyvareTa lazareTia...~ uyvarda anton Cexovis am frazis citireba. Cveni urTierToba da megobroba misi saqarTvelodan wasvlis Semdegac gagrZelda. ra damaviwyebs im periods roca Cemi Zma daapatimres da man maiZula praqtikulad masTan gadavsuliyavi leningradSi. rogor mivlidnen batoni giorgi da misi araCveulebrivi da _ dodo. maxsovs maSin suvorovis gamzirze cxovrobdnen,

Teatri gastrolebze mihyavda da sakuTari bina mTeli TviT me damiTmo, raTa Cem ZmasTan axlos vyofiliyavi da misi, imJamindeli mZime mdgomareoba odnav mainc, Tundac fsiqologiurad Sememsubuqebina. wlebis gadmosaxedidan sul vfiqrob, raSi mdgomareobda giorgi tovstonogovis gansakuTrebuli pedagogiuri alRo da niWi? albaT imaSi, rom yoveli axali studentiT is TavdaviwyebiT iyo gatacebuli, masSi eZebda niWs da Tu, Tund patara marcvals aRmoaCenda masSi, ise aenTeboda, iseTi gadamdebi xdeboda, rom mis yurebas araferi sjobda. amasTanave Zalian principuli iyo, mkacri da momTxovni. masSi araCveulebrivad iyo Serwymuli inteleqti da niWiereba, temperamenti da SemoqmedebiTi Tavisufleba. is movlena iyo rogorc reJisuraSi, ise pedagogikaSi. me Tu dRes pedagogi var, mxolod misi damsaxurebiT. institutis dasrulebamde amiyvana sakuTar asistentad, Tavad students samsaxiobo fakultetis studentebTan damoukidebel muSaobas mandobda. rodesac saqarTvelodan midioda, institutis saswavlo nawilis gamgesTan Sevida da Cemze sTxova, pedagogad aveyvaneT. mas Semdeg vaswavli, xSirad gamagonebdnen xolme _ `tovstonogovSinas~ nergavso... es kargi iyo Tu cudi ar vici, Tumca Cemi cxovrebis yvela etapze vamayobdi, rom bedma masTan Sexvedris SesaZlebloba momca.

levan mizandari

Feci quod potui faciant meliora potentes

vasil TamaraSvili

VASIL TAMARASHVILI

qarTuli xalxuri sakravebis modernizaciis idea jer kidev gasuli saukunis 30-ian wlebSi daebada musikosgamomgonebel vasil TamaraSvils. romelmac mTeli rigi saintereso kvleva-Zieba da praqtikuli samuSaoebi Caatara. sabolood ki Seqmna xalxuri sakravebis orkestri da notebis sabeWdi manqanac gamoigona. `aucilebel saWiroebas warmoadgens iseTi musikaluri instrumentebis Seqmna, romlis xma swvdebodes ara cxvirwin mjdar erT-or msmenels, aramed farTo masas“, werda igi. es problema dResac aqtualuria, instrumentebis sxvadasxva meTodiT gaTanamedroveobis procesi axlac grZeldeba. Tu ra rogor daiwyo, swored amas eZRvneba Cveni statia.

`bavSvobidanve me rgvali xeli mqonda da notebis beWduri wera mexerxeboda. musikalur saswavleblis ukan sasamarTlos quCaze im xanobiT 1906 w. patara litografia iyo mowyobili; kargaT ar maxsovs patronis gvari, mxolod xsovnaSi damrCa saSualo tanis kaci, mxreb aweuli, kuziani. erTxel igi CvenTan, musikis saswavlebelSi movida da iq myofT gviTxra, rom mas esaWiroeba notis weris kargi xelis mqone. erTklaselebma Cemze miuTiTes da patara axsna-ganmartebis Semdeg mec wavyevi samuSaos gasacnobad da saerTod litografiis dasaTvaliereblad. misvlisTanave man momca winadadeba gadmomewera „kalkaze“ tuSiT xeliT naweridan patara musikaluri nawarmi, radgan me winaTac mqonda nacadi tuSiT wera qaRaldze. aman ufro gamabedvina Tanxmobis micema. pirvelad cota gamiWirda, meore dRes tuSi gavaTxele da aman momca saSualeba cotaTi gameadvilebina wera, Tumca litografiis patroni amis winaaRmdegi iyo... me Sevasrule davaleba. mas moewona naweri da gadamixada danapiri; amasTanave mTxova kidev mivsuliyavi. ase, dro gamoSvebiT vasrulebdi mocemul samuSaos. bolos gamiWirda da mombezrda kidec, zafxulSi Zlieri sicxis gamo tuSi

The idea of modernizing Georgian folk music instruments came to Vasil Tamarashvili back in the 1930s. He conducted numerous interesting studies and researches, as well as practical works. In the end, he created a folk instruments’ orchestra and invented a machine for printing musical notes. “It is an absolute necessity to create music instruments that can produce sounds that do not only reach one or two listeners sitting in front of the performer, but a larger audience”, he wrote. This problem still exists, and the modernization of musical instruments is continuing through various methods. But our article will deal with how it all started.

“From childhood, I had a round hand, and it made it easier to type music notes on a printing machine. In 1906, there was a small lithography studio set up behind the music academy on the court street. I don’t remember the name of the owner, but I remember he was of normal height, with elevated shoulders, and hunchbacked. Once, he came to us at the music academy, and he told us that he needed someone who was good at writing notes. My classmates pointed at me, and after some discussion, I followed him to see what I would have to do, and to get acquainted with lithography in general.

As soon as we arrived, he suggested I copy a small handwritten music sheet with ink on tracing paper, as I had already written with ink on paper before. This made me more confident, and I accepted. At first, it was a bit difficult, but the next day, I thinned down the ink, and this allowed me to ease my writing to some degree, though the lithography owner was against it… I did my task. He liked the result, and paid me what he had promised. He also asked me to come back sometime. This is how I started working there from time to time. In the end, it became hard, and I got bored – because of the summer heat, the ink would dry fast, and I couldn’t manage to write in time, so I stopped going to the lithography place, even if the owner was begging me to return and write notes. It is during all this begging and refusing that I came up with the idea to make the writing of music notes easier, be it with a special machine or anything else…

I became obsessed with this idea. In the end, after a long process

Cqara Sreboda da me ver vaswrebdi weras, ris gamo iq aRar daviarebodi, litografiis gamge ki mexveweboda mivsuliyavi notebis sawerad. am xvewna-winaaRmdegobaSi TandaTan damebada azri, rom rogorme gameadvilebina notis wera, raRacis saSualebiT _ sagangebo manqana iqneboda _ is Tu sxva ram...

es azri aRar masvenebda dRe-Ram. bolos bevri kiTxvaZiebis Semdeg gamarkvies da damajeres, rom aseTi manqana jer-jerobiT arsad ar iyo cxovrebaSi SemoRebuli da yovelgan xeliT werden, xataven notebs...

bevri fiqris Semdeg, bolos Cveulebriv sawer manqanis konstruqciaze gavCerdi, ris ZiriTad gacnobasac didi mondomebiT Sevudeqi, magram ar damcalda Semesrulebina Cemi ocneba, karze momdgari Savi Wiris _ reaqciis gamo: Cemi patara 15 kaciani orkestrisaTvis saWiro xdeboda revoluciuri simRerebis Sesruleba: `marselieza“, „varSavianka“, „smelo tovariSCi vnogu“ da sxv. es simRerebi me mqonda safosto „Ria baraTebze“ _ zeqtografis saSualebiT dabeWdili, romelTac rkinigzis mTavar saxelosTan, deposTan, „avWalkisa“ da „getcelis“ sastumrosTan arsebul saxalxo TeatrebSi gamarTul warmodgenebis dros mayurebelTa Soris, farulad vavrcelebdi. 1906 wels, miwurulSi, viyavi Jandarmebis

of research, people convinced me that this kind of machine didn’t exist anywhere at the time, and that people were writing and drawing notes by hand everywhere… After a lot of thinking, I decided to assemble a simple typing machine, for which I studied the latter with diligence, but I couldn’t make my dream a reality, because of the black plague that was knocking on our doors – the reaction: it became necessary for my small 15-persons orchestra to perform revolutionary songs: I had printed the ‘Marseillaise’, the ‘Whirlwinds of Danger’, ‘Comrades, let’s bravely march’, and other songs on open postcards with a hectograph, and I would surreptitiously spread them between spectators during performances held at the peoples’ theaters near the ‘Avchalka’ and ‘Getseli’ hotels, next to the railway’s main service post. Towards the end of 1906, I was arrested by the police and I did some time in prison together with Sego Alliluyev [Stalin’s father in law –note of the author].

There, I was struggling to convey fixed ideas through sketches on paper… Comrade Sergo Alliluyev, who saw how worried I was, would tell me: “Think, think deeper – this will be of good use for our Republic…”. After some time, we got separated from each other, and they sent a group of us to the north, including Sergo Alliluyev. I was supposed to go there too, but they changed my route at the last moment, and I found myself in Akhaltsikhe – for the spreading of revolutionary literature and rebellious propaganda.

notebis sabeWd manqanaze dabeWdili a. gedikes „sarabanda~ SCORE OF A. GOEDICKE'S 'SARABAND' PRINTED ON A NOTE PRINTING MACHINE

vasil TamaraSvilis mier rekonstruirebuli qarTuli xalxuri musikaluri instrumentebi

GEORGIAN FOLK MUSICAL INSTRUMENTS RECONSTRUCTED BY VASIL TAMARASHVILI

mier datusaRebuli, cixeSi sxvasTan erTad sergo aliluevTan (stalinis simamri. avt.) movxvdi. iq yofnis dros vwvalobdi akviatebuli azris qaRaldze naxazebSi gamoyvanas.. amx. sergo aliluevi, rom xedavda amas, rogor vnerviulobdi, metyoda xolme: „Думай, думай глубже _ это хорошее дело оно пригодится для нащей Республики...“, ramdenime xnis Semdeg Cven davSordiT erTmaneTs, CvenTan myofni erTi wyeba CrdiloeTisken gadaasaxles sergo aliluevTan erTad. mec iqiTken gamzadebuli bolos gezi Semicvales da axalcixeSi amomayofines Tavi _ revoluciuri literaturis gavrcelebisa da kramolur propagandisaTvis.

axalcixe CemTvis iseTive ucxo iyo, rogorc Soreuli cimbiri. iq policiis meTvalyureobis qveS viyavi da pirvel xanobiT mdgomareoba Zalian gamiWirda. ramdenime xnis Semdeg movewye adgilobriv samoqalaqo skolaSi musikis da galobis maswavleblad. iq yofnis dros, sxva gadmosaxlebul maswavleblebTan erTad vRebulobdiT adgilobriv klubSi, ufaso

Akhaltsikhe was as new to me as faraway Siberia. I was under the supervision of the police, and it was very difficult for me in the beginning. After some time, I got to teach music and chanting at a local school.

While I was there, together with other deported teachers, I would take part in voluntary performances, lectures and concerts for prisoners. But my main activity was to assiduously spread ideas among the students against some customs existing at schools at the time, namely the organization of a common prayer every morning, and the music “parade” of schoolchildren at every celebration for the emperor.

I remember that in May of 1909, some musicians of the upper classes did not participate in that “parade” thanks to my propaganda, resulting in an overall cancellation of the whole “parade”. This was followed by some of these “indocile” students being refused permission to pass their exams, and even their imprisonment, but in return, they set fire to the stairs of the school. The story ended with me being thrown out of there, as someone unreliable. Back in Tbilisi in 1909, I returned to the Music Academy. To support myself, I also gave

vasil TamaraSvilis mier gamogonili notebis sabeWdi manqana (samwuxarod dRes dakargulia)

NOTE PRINTING MACHINE INVENTED BY VASIL TAMARASHVILI (UNFORTUNATELY, IT IS NOW LOST)

monawileobas tusaRebisaTvis sasargeblod gamarTul warmodgenebSi da leqcia-koncertebSi. umTavresad ki veweodi daucxromel propagandas, gansakuTrebuli jgufis mowafeTa Soris, im CveulebaTa sawinaaRmdegoT, romelic arsebobda maSin skolaSi: yovel dilaobiT saerTo locvis gamarTva da xelmwifis yovel dResaswaulze „paradze“ moswavleebis mwyobrad, musikiT gamoyvana. maxsovs 1909 wels, maisSi am propagandis Sedegad ufrosi klaseli memusikeebi ar gamocxadnen aseT „paradze“, ris gamo mowafeebis mwyobrad _ musikiT wayvana „paradze“ CaiSala. amas moyva Semdeg zogierT „urC“ mowafeebis ar daSveba gamocdebze da bolos maTi dapatimrebac, samagierod maT cecxli waukides skolis xis kibes. damTavrda es ambavi miT, rom mec iqidan gamomaZeves, rogorc arasaimedo pirovneba. TbilisSi Camosvlisas 1909 w. Tavi mivaSure isev musikalur saswavlebels. dRiur sarCod ki Tavs virCendi patara gakveTilebidan da orkestrSi monawileobis miRebiT. Semdeg musikalur swavlis gaTavebisas 1911 wels, orkestris xelmZRvanelis saxeliT movewye jarSi, qalaq sarakamiSSi. iq muSaobis dros ar SemeZlo ar mimeqcia yuradReba zogierTi jariskacTa crumorwmuneobaze. yovelive Rones vxmarobdi, aseTebis gaTviTcnobierebaze. maTTan sxvadasxva xasiaTis musaifis SerCevis dros, vuxsnidi patar-patara moTxrobebiT bunebis movlenas, mis gaCenas da rac umTavresi iyo maTTvis, saerTod dedamiwaze sicocxlis warmoSobas, pirvelyofili adamianis gaCenasa da dRevandel pirobebSi maT klasTa brZolas, sabolood dasmenili viyavi polkis ufrosTan aseTi propagandisaTvis jariskacTa Soris da didis vai-vaglaxiT iqidan Cemi Tavis daRweva aucilebeli Seiqmna. iq daWeras gadavrCi da gamoveSure isev Tbilisisaken. daviwye isev orkestrebSi mecadineoba da patar-patara gakveTilebiT Tavs virCendi.

small private lessons and played in an orchestra. After finishing my studies in music in 1911, I went to serve in the army as the orchestra conductor, in the city of Sarikamish.

While working there, I could not fail to pay attention to the superstitions of some soldiers. I was trying to use all my wits to make such people more aware. During various of our chats, I would explain to them, through small tales, the phenomena of nature, its creation, and the thing that was most important to them, the origin of life on earth, the appearance of primitive humans and the class conflict of our time. In the end, I got interrogated by our superior for the spreading of such propaganda among soldiers, and it became necessary for me to flee that place as soon as I could. I escaped, and headed back to Tbilisi. I continued to study orchestras, and I was sustaining myself by giving some lessons.

While working in theaters, I dove into Georgian national music instruments, of which I had known the chonguri and panduri since childhood through our neighbors. I had thought many times about improving them and creating a Georgian orchestra. I had discussed the execution of this idea many times with dramaturge Tripon Ramishvili, and sometimes also with Irodion Evdoshvili, and both were thrilled by it. Then, in the years 1913-1914, Kita Abashidze expressed the wish to make it a reality at Chiatura’s “Black School Society”, for which we even started to prepare some instruments, but the beginning of the first world war ended our endeavor…

I was left with my unrealized ideas, and in the end, I started working in the office of a hospital for wounded soldiers, mainly so they wouldn’t call me to the army. I stayed there until the end of the war.

In the following years, I worked in agricultural institutions. During all that time, I had not forgotten about creating my note-printing machine, and its components were becoming clearer and clearer to me.

When the Mensheviks were in charge, those whom I asked to help me create a note-printing machine and arrange an orchestra of Georgian instruments did nothing but give me promises. When Georgia was annexed as a part of the Soviet Union in 1921, I had already finalized the construction of my printing machine in my mind, and I presented the blueprints at the Supreme Soviet of the National Economy of Georgia, from which I received a certificate.

In 1936, after a lot of work, I made the first model of this noteprinting machine, which was well received in Moscow. It was sent to a mechanical factory for massive production, but it got destroyed along with everything else there, in the city of Ligovo. In 1941, after the patriotic war…

In 1956, I recreated the same note-printing machine with the support of the Georgian Ministry of Culture, and it is now being examined.”

This is how Vasil Tamarashvili’s autobiographical note finishes. He died in April 1957.

As a sign of respect, they transported his corpse by hand from

qarTuli Cangi - gaumjobesebuli vasil TamaraSvilis mier GEORGIAN СHANGI - IMPROVED BY VASIL TAMARASHVILI

TeatrebSi muSaobis dros ar SemeZlo yuradReba ar mimeqcia qarTuli erovnuli musikaluri sakravebisaTvis, romelTaganac Congurs da fandurs me vicnobdi Cveni mezoblebis meSveobiT. maT gaumjobesebasa da qarTuli orkestris Seqmnaze bevrjer RrmaT Cavfiqrebulvar. am sakiTxis gansaxorcieleblad mravaljer mqonia kerZoT msjeloba dramaturg trifon ramiSvilTan, nawilobriv irodion evdoSvilTan, oriveni aRtacebulni iyvnen aseTi ideiT. Semdeg, gvian 1913 _ 1914 ww. kita abaSiZem moisurva TavianT, WiaTuris „Savi qvis sazogadoebis“ skolaSi am ideis gamxorcieleba, risTvisac sakravebis damzadebasac nawilobrivad SeudeqiT, magram dawyebulma pirvelma msoflio omma xeli SegviSala...

davrCi-ra Cemi ganuxorcielebeli azrebis amara, sabolood Tavi mivaSure daWrili meomrebis lazareTs da daviwye iq muSaoba kantoris moxeled, jarSi ar gawvevis mizniT, sadac davrCi omis gaTavebamde.

Tabukashvili Street to the old Institute of Agriculture (currently the Hospital #9), and he was buried in the Vake cemetery’s old pantheon.

Vasil Tamarashvili (Tamarishvili), son of Solomon, was born on the 21st of January 1883 in Tbilisi, into a catholic Georgian family.

In the years 1906-1911, he graduated from the special music theory course of the Tbilisi Music Academy, specializing in military orchestra conducting – he became a “Kapellmeister”. It was Zakaria Paliashvili himself who taught him music theory: “Diligent, assiduous, a good specialist of his field” – this is how he described his student.

Vasili, known for his vivid imagination, began studying Georgian folk music instruments in the 1910s.

It is interesting to explore the 1936-1937 meeting minutes of the Administration of Art Affairs, in which one can understand the general attitude of Georgian musicians towards the reconstruction of folk instruments.

v. TamaraSvilis mier rekonstruirebuli instrumentebi

INSTRUMENTS RECONSTRUCTED BY VASIL TAMARASHVILI

Semdeg wlebSi vmuSaobdi sameurneo dawesebulebebSi. am droebis ganmavlobaSi Cemi notis saweri manqanis awyobaze me fiqri ar damitovebia da TandaTan yalibdeboda misi saxe.

menSevikebis batonobis dros visac mivmarTe dasaxmareblad notis saweri manqanis gakeTebaze da qarTul sakravebisagan orkestris Seyenebaze, araferi gaukeTebia arcerTs, sityvieri dapirebis meti. 1921 w. saqarTvelos gasabWoebisas me ukve mqonda konstruqciulad damuSavebuli Cemi notis saweri manqana da es naxazebi warvadgine saqarTvelos umaRles saxalxo sameurneo BCHX dawesebulebaSi, saidanac momces mfarvelobiTi mowmoba.

1936 wels bevri wvalebis Semdeg gavakeTe am notis saweri manqanis erTi nimuSi, romelsac moskovSi kargi Sefaseba misces. igi gadacemuli iyo erT-erT meqanikur qarxanaSi, masiurad dasamzadeblad, magram igi iq, q. ligovo daiRupa mTel qarxanasTan erTad. 1941 wels, samamulo omis Semdeg...

1956 wels iseTive gavakeTe erTi saCvenebeli notis saweri manqana saqarTvelos kulturis saministros xelis SewyobiT, romelic amJamad gamocdis periodSia~.

Vasil Tamarashvili:

“It goes without a doubt that Georgian folk music, both in Eastern and Western Georgia, was more about singing than about instruments. In their original form, Georgian folk music instruments are the carriers of a centuries-old culture. In past centuries, these kinds of instruments might have been practical, but today, when we have hundreds and thousands of spectators, it becomes absolutely necessary to create instruments that carry sound not only to a few listeners sitting in front of them, but to a much larger audience.

One can often meet young people looking for a notes manual in Georgian, and most often, they are looking for manuals for their national instruments; when they don’t find them, they buy the foreign music instrument the seller offers them: guitar, mandolin, accordion, balalaika, and take them to their village and play on them; and their national instruments, still in their primitive forms: chonguri, panduri, gudastviri, changi, chianuri, and others have not satisfied current musical demands. Today, there are more guitars, accordions, mandolins, and balalaikas in villages than native Georgian music instruments. Couldn’t we, at least momentarily, stop the development of instrumental

already

musical cultures that have

transcended the level of primitivity and achieved status as European music?

vasil TamaraSvilis orkestri asrulebda rogorc qarTul xalxur, ise qarTvel da dasavleT evropis kompozitorTa nawarmoebebs. v. TamaraSvilis mier Tavisi orkestrisTvis aranJirebuli nawarmoebebis partiturebi daculia saqarTvelos folkloris saxelmwifo centrSi.

VASIL TAMARASHVILI'S ORCHESTRA PERFORMED BOTH GEORGIAN FOLK MUSIC AND PIECES BY GEORGIAN AND WESTERN EUROPEAN COMPOSERS. SCORES ARRANGED BY VASIL TAMARASHVILI FOR HIS ORCHESTRA ARE PRESERVED AT THE NATIONAL CENTER OF FOLKLORE OF GEORGIA.

aq mTavrdeba vasil TamaraSvilis avtobiografiuli Canaweri. is 1957 wlis aprilSi gardaicvala. pativiscemis niSnad, misi cxedari TabukaSvilis quCidan Zvel sasoflo-sameurneo institutamde (axlandeli #9 saavadmyofo) xeliT waasvenes da vakis sasaflaoze, Zvel panTeonSi dakrZales.

vasil solomonis Ze TamaraSvili (TamariSvili) daibada 1883 wlis 21 ianvars TbilisSi, qarTvel kaTolikeTa ojaxSi.

1906-1911 wlebSi man gaiara Tbilisis musikaluri saswavleblis musikis Teoriis specialuri kursi, samxedro orkestris diriJoris _ „kapelmeisteris“ ganxriT. musikaluri Teoriis kurss TviT zaqaria faliaSvili aswavlida: „bejiTi, muyaiTi, Tavisi dargis kargi specialisti“ _ ase axasiaTebda is Tavis mowafes.

mdidari fantaziiT gamorCeuli vasili XX saukunis 10-iani wlebidan Seudga qarTuli xalxuri musikaluri instrumentebis Seswavlas.

sainteresoa xelovnebis saqmeTa sammarTvelos 1936-1937

Among Georgian folk instruments, there are some that could be used in an orchestra after some improvements, for instance: the chonguri, found in the regions of Guria and Samegrelo, the panduri, from KartlKakheti, the chianuri and changi from Svaneti, the gudastviri from Racha and Achara, and the salamuri, duduki and doli, found in all regions.

Because this is the first attempt at creating a Georgian folk instrumental orchestra, naturally, it will take a long time and lots of resources to achieve it, to improve and produce instruments, to create a repertoire, and to prepare musicians. But above all, it needs attention and to be constantly looked after by the state.”

Vano Gokieli: One advantage that this orchestra would have is that it would be composed of chromatic instruments, which is a big plus for us in the field of instruments.

Avksenti Megrelidze: Comrades! We salute the idea of transforming folk instruments, but in my opinion, the so-called chonguri presented among these instruments is not the real chonguri, it doesn’t satisfy me visually. It reminds me of a man wearing a chokha but with a Russian hat on his head. Others like our chonguri even more than us, for instance, a famous American cymbalist has expressed his

wlebis krebis oqmebi, sadac Cans Tu ra damokidebuleba hqondaT qarTvel musikosebs xalxuri sakravebis rekonstruqciis mimarT.

vasil TamaraSvili: `udavo sakiTxia, rom qarTuli xalxuri musika, rogorc aRmosavleT, ise dasavleT saqarTveloSi, umTavresad iyo sasimRero da ara instrumentaluri.

qarTuli xalxuri musikaluri instrumentebi Tavis pirvelyofili saxiT aris warsul mraval saukuneTa kulturis matarebeli. aseTi musikaluri instrumentebi wina saukuneebSi SeiZleboda dasaSvebi yofiliyo xmarebaSi, dRes ki asobiT da aTasobiT msmeneli rom gvyavs auditoriaSi, aucilebel saWiroebas warmoadgens iseTi musikaluri instrumentebis Seqmna, romlis xma swvdebodes ara cxvirwin mjdar erT-or msmenels, aramed farTo masas. bazarSi xSirad SexvdebiT axalgazrdas, romelic daeZebs notebis TviTmaswavlebels qarTulad da umTavresad Tavis mSobliur musikalur sakravebs; rodesac igi aseTs ver Soulobs, yidulobs noqris mier SeTavazebul ucxo musikalur instruments: gitaras, mandolinas, garmons, balalaikas da Zalauneburad miaqvs igi soflad da aCxarunebs masze; amasTanave Tavis mSobliurma isev primitivSi myofma: Congurma, fandurma, gudastvirma, Cangma, Wianurma da sxv. ver daakmayofila dRevandeli misi musikaluri moTxovnileba. dRes soflad ufro metia gitara, garmoni, mandolina, balalaika, vidre qarTuli mSobliuri musikaluri instrumentebi.

gana SeiZleba SeCereba im xalxis instrumentaluri musikaluri kulturis ganviTarebisa, romelTa musikaluri kultura ukve didi xania primitivs gascda da eTviseba evropul musikas?

qarTul xalxur musikalur instrumentebs Soris moipoveba iseTi musikaluri instrumentebi, romlebic maTi gaumjobesebis Semdeg, saorkestrodac gamodgeba, magaliTad: guria-samegreloSi xmarebaSi myofi `Conguri~, qarTl-kaxeTSi `fanduri~, svaneTSi _ `Wianuri~ da `Cangi~, raWa-aWaraSi _ `gudastviri” da sayovelTaod miRebuli `salamuri~, `duduki~ da `doli~.

vinaidan qarTuli xalxuri instrumentaluri orkestris Seqmna _ es pirveli cdaa, rasakvirvelia, am amocanis Sesruleba, instrumentebis SemuSaveba-gakeTeba, repertuaris Seqmna da kadrebis momzadeba moiTxovs did dros da Tanxebs, da rac mTavaria, xelisuflebis mier yuradRebasa da mudmiv mzrunvelobas~.

vano gokieli: erTi upiratesoba, romelic Seadgens am orkestris Rirsebas is aris, rom Seqmnilia qromatiuli instrumentebi, rac didi plusia Cveni musikaluri instrumentariis dargSi.

avqsenti megreliZe: amxanagebo! Cven vesalmebiT xalxuri

great enthusiasm for our chonguri and showered it with praise. The temperament of the reconstructed chonguri is completely different. It sounds nothing like the traditional chonguri. Georgia has immortal three-voiced songs, which were accompanied by fitting music instruments in the past, including the chonguri.

I'm not opposed to resurrecting our folk instruments, but what I heard today did not satisfy me.I applaud the idea of reconstruction as long as it does not result in a change in the timbre of our traditional instruments, such as the chonguri. In this orchestra, we cannot hear the soft timber of the chonguri. You can put some more strings on it, but it shouldn’t lose its timbre. It seems that the work is not finished yet, and we have to be careful not to make Georgian instruments lose their faces.

Kirile Vashakidze: We heard reconstructed Georgian folk instruments that have lost their timbre. This is due to the fact that the instruments are not prepared with the materials used to make folk instruments, and the shapes of the instruments have not been respected. As a result, we now have an orchestra with the sound of dombras and balalaikas. It was a mistake to try and make the chonguri the lead instrument of the orchestra. This role should be given to the chuniri.

Aleksi Machavariani: We are faced with the question of creating a Georgian folk music orchestra. Naturally, there are still lots of things to do to create an orchestra, but what we have listened to today is a real achievement. We have to support this endeavor, and give them the opportunity and time to further their work.

Kote Potskhverashvili: We have historic material showing that they used to play several Georgian folk instruments together. So this idea already existed. This needs to be ameliorated, a reconstruction should not disfigure Georgian folk instruments. They need to retain their timbre, and it should be possible to perform complicated scores with them. We have to attempt this. The orchestra has to be given the possibility to work, and if we achieve more than we have today, then we can start discussing reconstructed Georgian instruments.

Grigol Kokeladze: "Comrade Tamarashvili cannot achieve this alone, he needs to go through many processes for that. It goes without a doubt that the reconstruction of instruments will lead to a change in timbre, but on the other hand, the Georgian orchestra will have the ability to perform complex classical pieces, and this would be a great achievement in the field of music.”

On the order of the Ministry of Culture of the USSR, Vasil Tamarashvili prepared 11 models of improved music instruments, which were handed over in 1937 to Moscow’s Krupskaya Soviet Art House. They were then exhibited in the Saint Petersburg Music Instruments Museum, where they are still preserved today.

The reconstruction works on folk instruments started by Vasil Tamarashvili have been worthily continued and fulfilled by Iliko Kurkhulma, Kirile Vashakidze, and Kapiton Tsanava.

instrumentebis gardaqmnis ideas, magram Cemis azriT, am instrumentebSi warmodgenili egreT wodebuli Conguri namdvilad Conguri ar aris, garegnulad me is mainc ar makmayofilebs. is ufro magonebs kacs, romelsac Coxa acvia, xolo rusuli qudi axuravs. Cveni xalxuri Conguri Cvenze ufro sxvas moswons, magaliTad amerikel cnobil cimbalistma didi aRtaceba gamosTqva da xotba Seasxa am Cven Congurs. rekonstruirebuli Conguris temperacia sul sxva aris. is srulebiT ar waagavs xalxur Congurs. saqarTvelos samxmiani ukvdavi simRerebi aqvs, mas saTanado musikaluri instrumentebi hqonda warsulSi Congurisa da sxva saxiT.

me ara var winaaRmdegi, rom Cveni xalxuri instrumentebis rekonstruqcia moxdes, magram rac dRes movismineT me ar makmayofilebs. me mivesalmebi rekonstruqciis ideas im SemTxvevaSi, Tu es ar gamoiwvevs Cveni xalxuri instrumentis, mag. Conguris tembris Secvlas. am orkestrSi Conguris nazi tembri ar moismis. SeiZleba mas gaukeToT ladebi, magram amiT mas ar unda daekargos misi tembri. muSaoba, rogorc sCans ar aris damTavrebuli da saWiroa metis sifrTxiliT movekidoT am saqmes, rom qarTulma instrumentma Tavisi saxe ar dahkargos.

kirile vaSakiZe: Cven movismineT rekonstruirebuli qarTuli xalxuri instrumentebi, romelic dakarguli aqvT tembri. es gamowveulia imiT, rom instrumentebi ar aris damzadebuli im masalisagan, romliTaganac keTdeba xalxuri instrumentebi, ar aris daculi xalxuri sakravebis forma, sargebloben mediatorebs. amis Sedegad Cven miviReT dombrebisa da balalaikebis tembrTa orkestri. sruliad Semcdari cdaa is, rom Congurebi wamyvani instrumentebia orkestrSi. es roli unda mieniWos umTavresad Wunirs.

aleqsi maWavariani: Cvens winaSe dgas sakiTxi qarTul xalxur sakravTa orkestris Seqmnis Sesaxeb. rasakvirvelia jer kidev bevria gasakeTebeli orkestris Sesaqmnelad, magram rac dRes movismineT udao miRwevaa. Cven xeli unda SevuwyoT mas da mivceT saSualeba da dro muSaobis gaSlisaTvis.

kote focxveraSvili: Cven gvaqvs istoriuli masalebi, imisa rom qarTul xalxur sakravebs erTad ukravdnen. ase rom es idea arsebobda. es unda gamoswordes, rekonstruqciam ar unda daamaxinjos qarTuli xalxuri sakravebi. man unda SeinarCunos Tavisi saxe da tembri da masTan unda SesZlos rTuli nawarmoebebis Sesruleba. es cda unda vawarmooT. unda mieces orkestrs saSualeba imuSaos da Tu Cven gveqneba meti miRwevebi, vidre dResa gvaqvs Cven SegveZleba maSin

garkveuli azris gamotana rekonstruirebul qarTul sakravTa Sesaxeb.

grigol kokelaZe: marto amx. TamaraSvili am saqmes ver daZlevs, mas sWirdeba mTeli rigi RonisZiebebis gatareba. udaoa, rom sakravebis rekonstruqcia gamoiwvevs tembris Secvlas, magram samagierod qarTul orkestrs saSualeba eqneba Seasrulos rTuli klasikuri nawarmoebi, es ki iqneba Cveni didi miRweva musikalur frontze.“

ssrk kulturis saministros dakveTiT v. TamaraSvilma daamzada mis mier gaumjobesebuli instrumentebis 11 sxvadasxva saxeoba, romelic 1937 wels gadaeca moskovis krupskaias saxelobis sakavSiro xalxuri Semoqmedebis saxls, SemdegSi es instrumentebi gamoifina da dResac daculia sankt-peterburgis musikaluri instrumentebis muzeumSi.

vasil TamaraSvilis wamowyebuli xalxuri instrumentebis rekonstruqciis saqme Rirseulad ganagrZes da srulyves iliko qurxulma, kirile vaSakiZem da kapiton canavam.

batono vaJa, kawalxevSi daibadeT, Tu mzisyanas?

_ mzisyanas, mere CamovediT kawalxevs...

daibada mzisyanas, fSavis ulamazes sofelSi, saxlSi, rogorc maSin xdeboda xolme... da fundukidan Tu mzisyanis goridan Semovida masSi mTeli samyaro: mTebiTa da nislebiT, saTibebiTa da nakadulebiT, Zobanze dawyobili xaWos kverebiT, enamoqarguli fSavlebiT, dedis, mamis, da-Zmebis siTboTi... da es samyaro asazrdoebs dResac 74 wlisas.

poeturi sulis mqone mSoblebi da saocari buneba misi niWis ganviTarebis xelSemwyobi aRmoCnda da pirveli leqsebic adreul asakSi aqvs Seqmnili. rodesac profesias irCevda, bevri arc ufiqria da Sesabamisad, filologiis fakulteti airCia. 1973 wels daamTavra Tbilisis ivane javaxiSvilis saxelmwifo universiteti. misi leqsebis pirveli krebuli „ca gazafxulis totebSi~ 1978 wels gamoica. sxvadasxva dros muSaobda gamomcemloba „meranSi~, Jurnal „ciskarsa~ da gazeT „literaturuli saqarTvelos~ redaqciaSi. gamocemuli aqvs wignebi: „jer napiramde Soria~, „dagcade aTasferada~, „wyaro muxis CeroSi~, „guls mudam axsovxar~, „saswaulebi isev grZeldeba“, „roca ca giaxlovdeba“, „mwvane kunZulis wyaroebi“ da sxv.

misi Tavmdabali bunebidan gamomdinare arasodes cdilobs yuradRebis centrSi yofnas, miuxedavad Zalian bevri gamocemuli krebulisa, romelTa umetesi nawilic Targmnilia ukrainul, somxur, rusul da ruminul enebze.

vaJa xornauli mokrZalebuli, tkbilad mosaubre poeti fSavis ulamazesi xeobidan, zogadsakacobrio sakiTxebsa da Rirebulebebze rom gvafiqrebs da, ubralod, qarTuli sityvis ganumeorebel xibls gvaziarebs.

_ batono vaJa, rogorc viciT, pirveli leqsi maswavleblis TxovniT, 1961 wels, vaJa-fSavelas saiubileo saRamosTvis dawereT. gaixseneT, ra Secvala am dRem Tqvens cxovrebaSi?

_ qarTuli enisa da literaturis maswavlebeli, bunebiT poeturi adamiani, berdia arabuli myavda, man mTxova leqsis dawera. sakmaod patara viyavi, meeqvse klaseli biWisTvis am gamorCeul RonisZiebaSi monawileoba gansakuTrebuli iyo, ar damaviwydeba is emociebi. Semdeg es leqsi duSeTis raionul gazeTSi daibeWda. gazeTis mesame gverdze Cemi leqsi rom vnaxe, mere ki _ Cemi gvarsaxeli, im Rames Zalian gvian da tkbilad CameZina: es iyo 1961 wlis zafxuli, mTeli saqarTvelo vaJa-fSavelas asi wlis iubiles zeimobda. bevri ram Secvala am dRem, mas Semdeg mivuyvebi poeziis usasrulo bilikebs.

***

zogisTvis dardi xar, zogisTvis_sixaruli, xolo RmerTisaTvis _ orive.

You are happiness for some, For others you are sorrow. For God you are both - happiness and sorrow.

***

sadac Sen gamoCndebi, iqaa biliki, sivrceSi asasvleli

The places Where you appear Sprout a path toward the spaces. *** warsulSi ki ara, zecaSi midian siyvarulis dReebi.

The days of love dwell in the skies Not in the past. ***

mzesa da Rrubels Soris mavTuli, romelsac naskvebiviT mouCans Citebi

Birds on the wireBetween the sun and the cloudLook like knots.

mxolod erTi didi xnis winaT gamoketili saxlis kari TavisiT gaiRo. Crdilebi (nacnobi Tu ucnobi) gauCinardnen sxvadasxva mxares. mxolod erTi _ yvelaze fermkrTalidedis Crdili Senken wamovida da gamogeRviZa am dros.

_ adgili da garemo, sadac bavSvobis wlebs atarebs adamiani, ramdenad gansazRvravs mis momavals, an mis pirovnebad Camoyalibebaze Tu axdens gavlenas?

_ naTqvami maqvs, rom sakuTar arsebaSi bavSvis gadarCena udidesi bednierebaa. Cemi sofeli, kawalxevi unda gavixseno; mTebiT _ saorbiT, jeWvelT goriT, exTaviT garSemortymuli, mdinareebiT: saorbulaTi, ukentburaTi da kawalxeuraTi. saxelic amitom hqvia aseTi, rom kargi wyali da xevia iq. erT xevsurs uTqvams: „ka wyalxev as~ da daerqva kidec kawalxevi. swored am soflis TavSi, romelic dRes, samwuxarod, TiTqmis daclilia, mzisyanis goris misadgomebTan, patara, budesaviT ubralo saxlia, Cemi saxli. iq vizrdebodi. deda, saocari mSromeli, miuxedavad amdeni jafisa,mainc axerxebda da usazRvro siTbosa da sinazes uxvad gvinawilebda Svilebs. dedisadmi, marTlac, bevri leqsi maqvs miZRvnili, 2009 wels rCeulic gamoveci, romelSic yvela leqsi dedas eZRvneba, am krebuls „pirvelad~ davarqvi, Cemi erT-erTi leqsis saTauri. mamaCemi poeturi bunebis kaci iyo, TviTonac werda leqsebs.misi leqsebis wigni gamosacemad mzad maqvs karga xania. vaJa man damarqva vaJafSavelas siyvaruliT. zepirad icoda vaJas Semoqmedeba. TavdaviwyebiT uyvarda kiTxva, wigni sul Tan dahqonda. wvimas „damasvenes~ eZaxda. saTibze Tu gagviwvimdeboda, „damasvene movidao~,- ityoda, SevefarebodiT xes, CamovsxdebodiT mis fesvebze da vkiTxulobdiT...

The Only One

The door of the houseLocked long beforeOpened on its own. Shadows (known and unknown ones) Disappeared in all directions. Only one of them The palest soulA shadow of motherHeaded to you. It was a moment you woke. *** isev gigalobs guli _ tarigi isev namiviT wmindaa fici rogor miyvarxar Sen ver gaigeb _ es RmerTma icis… aq sxva gzebia da sxva tarosi da Sens TvalebSi siTboa sivrcis rogor miyvarxar am samyaroSi es mxolod RmerTma icis.

mSoblebmac da garemomac, sadac vizrdebodi, namdvilad didi gavlena moaxdina Cems cxovrebasa da Semoqmedebazec.

_ isaubreT im poetebsa da mwerlebze, romelTac gansakuTrebuli roli iTamaSes Tqvens cxovrebaSi.

_ Zalian bevri poetisa da mwerlis CamoTvla SemiZlia, Tumca, SoTa rusTaveli da vaJa- fSavela gansakuTrebulia CemTvis, aseve qarTuli poeziis Svidi varskvlavi. TbilisSi rom Camovedi, bevri mwerlis madliani sityva da Tanadgoma damexmara, rogorc cxovrebaSi, ise SemoqmedebaSi. ar damaviwydeba nodar dumbaZis, ioseb noneSvilis, SoTa niSnianiZis, medea kaxiZis mxardaWera. sabednierod, es CamonaTvali usasrulod SeiZleba gagrZeldes....

_ poeziis Tqveneuli ganmarteba.

_ eg SekiTxva bevrjer dausvamT CemTvis. pasuxic daaxloebiT aseTia, rom poezia maradiuli saswaulia. is rom ar iyos, samyaro Zalian gaRaribdeboda. WeSmariti poezia yovelTvis axloa RmerTTan. yovelTvis Tanamedrovea, misi xibli alamazebs cxovrebas. rogorc erTma poetma Tqva: poezia abrunebs casa da dedamiwas. poezia erT taZarSi mlocveli sicocxlisa da sikvdilis sevdaa,iqaa, sadac didi siyvarulia, idumali xma da siCumea.

_ minimalisturi poezia Tqveni Semoqmedebis ganuyofeli nawilia, gaixseneT, rodis da rogor daiwyeT im droisaTvis uCveulo leqsebis wera?

_ minimalisturi poeziis nimuSi Cems leqsebSi daaxloebiT 2000 wlidan gamoCnda. moxda ise, rom gaurkveveli Zala ar masvenebda, mominda Cemi leqsebis gadaxedva. xSirad yofila, rom gadavxedavdi leqsebs, Semdeg bevrs vxevdi an vwvavdi. amjerad, SevamCnie, rom uzarmazar leqsebSi sadRac, raRac patara nawili iyo kargi, aseTi leqsebi gamovyavi, gamovarCie da ase daibada minimalisturi poezia, romelic Cakarguli iyo Cveulebriv striqonebSi. mere ase TavisTavad gagrZelda. minimalisturi poezia ar aris martivi, Zalian rTulia, zogs hgonia, ori sami striqonia da ra unda magis daweras, Tu biWi xar, midi da dawere. minimalistur poeziaSi yvela striqoni unda iyos zusti, zusti da zusti. pirveli minimalisturi krebuli 2005 wels gamoveci aseTi saTauriT: “samoTxis wyalSi oqros Tevzi rom gaielvebs~, amas mohyva kidev ramdenime, gasul wels ki gamoica Cemi minimalisturi leqsebis rCeuli _ „roca ca giaxlovdeba“

_ rogor fiqrobT, axalgazrdebs ratom aRar ainteresebT poezia, ise rogorc es ramdenime aTeuli wlis win iyo?

_ adre poeziis bumi iyo, gamovidoda Tu ara wigni, oriaTasiani an samiaTasiani tiraJiT, or dReSi iyideboda.

My heart – your captive is still singing foryou, Our vows stay fleckless like a morning dew. You cannot imagine what I feel about you Only God knows. Here the roads are different. Weather looks different too. Your eyes – always full of warmth of the width. What I feel about you in this universe Only God knows.

zmaneba cxens cisken mivaqrolebdi qveyana dabla rCeboda ismoda feTqva mTebisa nalisgan sipi skdeboda qari mayrida yvavilebs guli sivrcisgan Tbeboda xandaxan Crdilsa vkargavdi mainc CemTana Cndeboda Sors, maRla, koSki moCanda dilis mzes egebeboda ismoda tkbili galoba ca _ miwas efineboda. Sen geZaxodi Zaxilze mwvervalebs eRimebodaT.

pirvelad mowyenas misas rodesac grZnoben iqufrebian Tvalebi nisliT Tu gavamsxvrie gangebis Robe pirvelad dedis WaRaras vixsni. fiqrebi Rlian isedac daRlils samreklosaviT fermkrTals da xniers Tu dekemberSic aenTo baRi pirvelad dedas davukref iebs. dedis mandilSi aprili galobs viT dafioni fxoveTis mTebSi Tu ukvdavebis vipove wyaro pirvelad dedas mivutan peSviT. naninas nami akvanze elavs rogorc rtoebze Rimili fesvTa Tu sivrceebSi SevZeli frena pirvelad dedas aviyvan mzesTan.

xalxs uyvarda poezia. axla, poezia daCagrulia, axalgazrdoba waleka civilizaciam, Tanamedrove teqnologiebma, televiziam da aseTi cxovrebis stilma isini daaSora wigns, umetesobas aRarc leqsebi ainteresebs. Tqven rom gamosceT poeturi krebuli, ar gaiyideba, ara imitom, rom kargi poeti ar xarT, aramed interesia dakarguli. poetebi erTmaneTs Cuqnian wignebs.

_ rogor SeiZleba adamiani poezias daubrundes, es ramdenad saWiro da aucilebelia?

_ Tu mova Zalian niWieri Taoba poetebisa, mjera, Tavisken Semoabrunebs mkiTxvels. xom aris gamoTqma _ zRvis miqceva da moqceva, asea, iyo poeziis bumi da axla aRar aris, magram SeiZleba Semotrialdes, Rirebulebebi Seicvalos, saswauli moxdes.

_ dabolos, ras usurvebdiT poetebsa da maT mkiTxvelebs?

_ poeziis maradiul da erTgul msaxurebas, axali simaRleebisa da napirebis aRmoCenas.

***

erTxel Senc gnaxe sikvdilo CagZineboda mTazeda vifiqre gavuswordebi xelic gavikar xmalzeda magram ver gadmogiqnie mze dagfenoda tanzeda. davixare da gakoce nammokidebul Tmazeda.

***

amqveynad yvela aRmarTze RmerTis imediT viare xan zvavma gadamiara xan zvavze gadaviare Seni xma menatreboda /is momirCenda iarebs/ magram ver SevxvdiT erTmaneTs guli ver gagiziare...

Sen wamiT adre wasulxar me wamiT davagviane.

*** sinaTlem nami akrifa ufro movida ferzeda mTibavma xorblisferama sxivebs aaswro serzeda cas swydeba mwvane balaxi wveba gamzrdelis mkerdzeda ifiqreb: „amomavali mze ar SeeWras celzeda.“ ager arwivic - aisis oqro ubrwyinavs frTebzeda viT macne qvesknelebisa Crdili micuravs mTebzeda.

naTeba RmerTis sibrZnisamSveneba cis da miwisa genaperwkleba Zvlebzeda.

Translated into English by Manana Matiashvili

givi mizandari

_ me rom vaJi myoloda, aucileblad givis davarqmevdi. es saxeli miyvars da Tan arc ise gavrcelebulia, mimarTa iakob nikolaZem Tavis moswavle valerian mizandars. _ me ki visurvebdi Tqveni vaJi mxatvari gamosuliyos, madliani niWiT dajildoebuli, ganacxada evgeni lanserem ase daloces da `monaTles` momavali mxatvari didma mxatvrebma.

Givi Mizandari

- If I had had a son, I would undoubtedly have named him Givi. I love this name, and it isn’t that widespread, said Iakob Nikoladze to his student Valerian Mizandari.

- And I would wish for your son to become an artist, endowed with virtuous talent, said Eugene Lanceray. This is how great artists have blessed and “baptized” a future one.

Professor Givi Mizandari (1932-2008), acclaimed Georgian artist and sculptor and recipient of the Order of Honor, would have turned 90 this year. The path of his life and work was a rather diverse one. He was the first artist from the Soviet Union to be invited from the Soviet Union as a pedagogue in the 1960s and 1970s, in order to create a faculty of sculpture, first at the Hanoi Art Institute in Vietnam, and then at the Royal Art University of Cambodia. From 1970 until his death, he was the dean of the Fine Arts Faculty at Tbilisi’s Academy of Arts, the head of the academy’s sports club, one of the initiators of the revival of rafting in Georgia, a representative of the Red Cross mission, and a war veteran from the Abkhazia war.

wels, dabadebidan 90 weli Seusruldeboda saqarTvelos damsaxurebul mxatvars, moqandakes, Rirsebis ordenis kavalers, profesor givi mizandars (1932-2008), romlis cxovrebisa da moRvaweobis gza Zalzed mravalferovani iyo. is gaxldaT pirveli mxatvari sabWoeTidan, romelic 60_70_ian wlebSi pedagogad da qandakebis kaTedris Sesaqmnelad miavlines vietnamSi, hanois samxatvro institutSi, Semdgom ki kampuCiis samefo xelovnebis universitetSi. 1970 wlidan, gardacvalebamde iyo Tbilisis samxatvro akademiis saxviTi xelovnebis fakultetis dekani, akademiis sportuli klubis xelmZRvaneli, saqarTveloSi jomardobis aRorZinebis erT-erTi moTave, wiTeli jvris misiis warmomadgeneli, afxazeTis omis monawile.

axalgazrdobaSi popularuli mokrive, 75 wlis asakSi nucubiZis platodan samxatvro akademiaSi velosipediT dadioda.

misi namuSevrebi daculia saqarTvelos, poloneTis, ungreTis, vietnamis, kambojis, aSS-is, yofil sabWoTa respublikebis muzeumebsa da qalaqebSi.

winamdebare statiaSi gaerTianebulia givi mizandaris Canawerebi wignebidan, interviuebi gazeTebidan, Jurnalebidan...

`davibade 1932 wels quTaisSi. bavSvoba TbilisSi, mTawmindaze gavatare, vcxovrobdiT mTawmindis quCis boloSi. mamadaviTis mimdebare teritoria am ubnis bavSvebis samflobelo iyo.

omis dros patarebic ki dasaqmebuli viyaviT, marto ojaxisaTvis dasalevi da saWmlis mosamzadebeli wylis motanas ramdeni jafa sWirdeboda! wyali erisTavebis saxlis ezoSi modioda, videqiT wylis rigSi da didxans SevcqerodiT onkans, saidanac `ukvdavebis~ wyali morakrakebda.

patarebi vuvlidiT umcros debsa da Zmebs, zogierTebi ki seriozuli saqmiTac viyaviT dakavebuli _ vmuSaobdiT. me WavWavaZis quCaze mdebare me-13 poliklinikis kurieri viyavi da muSis puris wignakiT cota met purs maZlevdnen.

kviraobiT an sxva Tavisufal dRes yiJiniT SeveseodiT mTawmindas, gaviyofodiT or nawilad da mTeli TavganwirviT vibrZodiT _ maSin xom yvelaze popularuli TamaSi omobana iyo. garSemo mTis ferdobebi, yvela biliki zepirad vicodiT. TamaSis dros xSirad vikvebebodiT tyis xiliT, mniSvneloba ar hqonda, xili mwife iyo Tu ara, araferi gvwyenda. Cvenma Taobam mZime bavSvoba gamoiara, mudam gvSioda, magram SimSilsac miCveuli viyaviT... omobanas Semdeg mamadaviTis eklesiis ezoSi vikribebodiT. panTeonis kari CvenTvis yovelTvis Ria iyo, vinaidan Cveni erTi `mebrZolis~ _ Saqros mama, mweralTa panTeonis

daraji iyo da kargad xedavda, yovel wvimis Semdeg rogori gulmodginebiT vasufTavebdiT panTeonis ezos miwa-RorRisgan. Sebindebisas SemovsxdebodiT gogo-biWebi ezos win Camwkrivebuli xeebis savarZlebiviT erTmaneTis pirdapir ganlagebul qveda totebze da saubars gavabamdiT.

saubris Tema ki nacistur germaniasTan omis axali ambebiT iwyeboda.

miuxedavad imisa, rom jarebi pirvel xanebSi zedized tovebdnen qalaqebs da ukan ixevdnen, TiTqos saqmeSi Cauxedavi patarebi Rrmad darwmunebuli viyaviT Cveni jarebis gamarjvebaSi.

rodesac leninis moedanze gakrul veeberTela sademonstracio rukaze frontis xazze ganlagebuli patara wiTeli droSebi win iwevdnen, maSin ubnis bavSvebi

A popular boxer in his youth, he would ride his bicycle from the Nutsubidze plateau to the Academy of Arts until he was 75.

His works can be found in museums and cities throughout Georgia, Poland, Hungary, Vietnam, Cambodia, the United States, and former Soviet republics.

The following article is a collection of notes gathered from Givi Mizandari’s books, interviews with newspapers and magazines…

“I was born in 1932 in Kutaisi. I spent my childhood in Tbilisi, in the Mtatsminda neighborhood, we used to live in the farthest part of Mtatsminda Street. The territory surrounding the Mamadaviti church was the domain of the neighborhood kids.

During wartime, we children had to work too, just bringing drinking water and the water needed to prepare food was a serious task! There was water in the yard of the Eristavis’ home, we were standing in line waiting for our turn, and looking lengthily at the glugging faucet.

As children, we had to take care of our younger sisters and brothers, and some of us were also achieving more serious tasks – we were working. I was a courier for the polyclinic #13 on Chavchavadze Street, and they would give me some bread with worker ration tickets.

On Sundays or other free days, we would run whooping to Mtatsminda, spread out in two groups, and battle with all our energy – at that time, playing war was the most popular game. We knew the slopes of the Mtatsminda mountain and its pathways by heart. While playing, we would often eat the fruits we found, be they ripe or green, nothing would harm us. Our generation had a difficult childhood, we were always hungry, but we were used to hunger too… After playing war, we would meet in the yard of the Mamadaviti church. The doors of the pantheon were always open to us, as the father of Shakro, one of our “soldiers”, was the security guard at the writers’ pantheon, and he had seen how diligently we would clean the pantheon’s yard from stone and rubble after each rain. We boys and girls would sit on the lower branches of the trees lined up in front of the yard at sunset and have long conversations.

The first subject was always news about the war against Nazi Germany.

Despite the fact that in the start, soviet armies were leaving cities and retreating, it seemed us naïve children were deeply convinced in the victory of our troops.

When the little red flags arranged on the frontlines of the giant map on Lenin Square were advancing, then us neighborhood kids would celebrate our army’s success with particular enthusiasm, we were provided with some unbelievable vigor.

We would often speak about the future, about who would choose which profession and where we would go. Understandably, most of us wanted to travel. I said that when I would get older, I would go to China – I was obsessed with that idea. Perhaps this was because, at the time,

sadiplomo namuSevari `osvencimi ar ganmeordeba~ poloneTi, osvencimis muzeumi GRADUATION WORK 'AUSCHWITZ WILL NOT HAPPEN AGAIN" POLAND, AUSCHWITZ MUSEUM

gansakuTrebiT vdResaswaulobdiT Cveni jarebis warmatebas da raRac araCveulebrivi simxneve gvemateboda. xSirad momavalze vsaubrobdiT, Tu vin ra profesias airCevda da sad wavidoda. gasagebia, rom umetesobas mogzauroba undoda. me aCemebuli mqonda, roca gavizrdebi, aucileblad waval CineTSi-Tqo. es, albaT, imitom, rom maSin CineTi zRaprul qveynad mesaxeboda. albaT, imitom, rom Cvens saxlSi cxovrobda moxuci kaci, romelic bevr saintereso ambebs hyveboda da mezoblebi yovelTvis guldasmiT usmendnen. maSin televizori ar iyo da mosaubre kacs didi `fasi~ hqonda. erTxel man Zalian saintereso ambebi mogviyva CineTze, Cinur xelovnebaze, agvixsna, rom Cinuri keramika da Cinuri faifuri msoflioSi saukeTesoa imitom, rom maT hyavT kargi ostatebi da Tixis kargi damzadeba ician, rom kargi ostati gadazelil Tixas aTeuli wlebis ganmavlobaSi inaxavs ormoSi, raTa Semdeg misma Svilma da SviliSvilma gaagrZelos am TixiT WurWlis gamoCarxva, gamoSroba, gamowva, moxatva da isev gamowva...

wamovizarde da sacxovreblad quTaisSi gadavediT. jer kidev skolis moswavles, qvis ostatis maRali Tanrigi mqonda. sakmaod bevri mimuSavia samSeneblo obieqtebze, rogorc qvismTlels, CuqurTmis xelosans. quTaisis Teatris fasadze qvis kapiteli gamovTale, qvaSive gamovTale Teatris moajirebi, CuqurTmebi Sesasvlel karze da sxva adgilebSi. Zalian mizidavda sportic da albaT, misi wyalobiT iyo, rom sakmao energia mqonda. daaxloebiT oTxi weli vimuSave am Teatris mSeneblobaze. iyo SemTxveva, maswavleblebic mosulan Cemi namuSevrebis Tu muSaobis procesis sanaxavad, rac CemSi did siamayesa da sixaruls iwvevda.

iq muSaobis gamo xSirad vacdendi skolis gakveTilebs. albaT, amitomac iyo, rom quTaisis TiTqmis yvela skola moviare. iyo SemTxveva, roca mamaCemi misula skolaSi Cemi ambis gasagebad da uTqvamT, Tqveni vaJi aq aRar swavlobso.

zafxulis periodSi me da Cemi megobrebi Tavisufal dros mdinare rionze vatarebdiT. Tu gvindoda Tavi vinmesTvis mogvewonebina, im SemTxvevaSi avidodiT TeTr xidze, SevdgebodiT xidis moajirze, aqeT_iqiT daveyrdnobodiT gamvlelebs, romlebic aucileblad Cerdebodnen sportuli sanaxaobis sayureblad da yuradRebiT gaTamamebulni, sakmaod didi simaRlidan mdinareSi veSvebodiT. napirze amosulebi, odnav Seciebulni, gavrbodiT da CavekonebodiT mzisgan gaxurebul TeTri daTvebiviT veeberTela qvebs. Tu vinmes motanili hqonda saintereso wigni, vkiTxulobdiT, Tu arada saintereso ambebs vyvebodiT.

nacizmis msxverpli VICTIM OF NAZISM

tyis qaTmebis sezoni rom daiwyeboda, mamaCemi da kolau nadiraZe sagangebod emzadebodnen da sanadirod midiodnen kopitnarSi. ase, meeqvse_meSvide klasSi viqnebodi, daTqves, kolaus unda gamoevlo CvenTan da mamasTan erTad wasuliyo sanadirod. arada, sruliad moulodnelad, mamaCemi raRac aucilebel saqmeze wasasvleli aRmoCnda da miTxra, kolaus marto ver gavuSveb, xval diliT Sen unda gahyve sanadirodo. Zalian gamixarda.

erTaderTi meZebari ZaRli gvyavda, qaTams rom aafrenda, orive vesrodiT. pirvelad rom Camovarda frinveli, maxsovs, maSinve davwvdi nanadirevs. kolaum SemaCera da amixsna, aseT SemTxvevaSi, saerTod, frinvels saidanac meti tyvia aqvs moxvedrili, im monadirisaao. davaTvaliereT da qaTams kolaus mxridan hqonda meti tyvia moxvedrili, ase rom, TavisTvis gadado. Semdeg jerze Cemi mxridan aRmoaCnda meti tyvia moxvedrili.

China seemed like a land of dreams to me. Probably because an old man lived at our place, who used to tell many interesting stories, and the neighbors would always listen with much attention. At the time, there was no television, and a person telling stories was “precious”. Once, he told us very interesting stories about China and Chinese art, he explained to us that Chinese ceramics and Chinese porcelain were the best in the world, because they had good masters and understood how to prepare good clay, that good masters would keep kneaded clay in the soil for decades so their children and grandchildren could continue to turn crockery from this clay, to dry it, bake it, adorn it and bake it again…

When I grew older, we moved to Kutaisi. As a school pupil, I was already in a high category as a sculptor. I had worked quite a lot on construction sites as a stonemason and an ornament carver. I did the stone capital on the façade of the Kutaisi theater, as well as its stone balustrade, and the ornaments on the entrance door and in other places. I was very much attracted to sports too, and it is probably

xo Si minis biustze muSaobisas WORKING ON HO CHI MINH'S BUST

Zia kolau TanatoliviT meqceoda. nadirobis mere iqve saxeldaxelo sufra gavSaleT, erTi boTli Rvino mec mqonda abgaSi, yveli, mwvanili, puri... mSvenivrad waviqeifeT. im dRes Zalian bednieri viyavi... meore dRes skolaSi rom wavedi, Cemi da kolaus nadirobis ambavi megobrebsac movuyevi. ucnaurad ki daemTxva: qarTulis maswavlebeli cisferyanwelTa Semoqmedebaze gvesaubra. me avdeqi da vuTxari, iciT, maswavlebelo, guSin me da kolau nadiraZem erTad vinadireT-Tqo. dajeqi, nu maimunobo, Tavidan ki Semomwyra, magram mere, roca darwmunda, ar vcruobdi, es mSvenieri ambavi momayola. da, etyoba, es iyo mizezi, rom mere sul karg niSans miwerda.

maSin davinteresdi kriviT, mkacri da Zneli sportia, magram Zalian vaJkacuri. mamaCemisTvis rom gekiTxaT, krivi SesaniSnavi saSualeba iyo saimisod, rom Cemze gabrazebuls guli moefxana. erTxel ZmakacisTvis uTqvams, roca givi gamabrazebs, veubnebi, wadi, erTi_ ori raundi iTamaSe da... isic dalilavebuli modiso. mamaCemis azriT, arcTu urigo mokrive viyavi. ambobda, givis Sexvedrebi sportul SejibrTan erTad, lamazi, maRalteqnikuri, gaazrebuli sanaxaobac iyoo.

mogvianebiT, mimoweriT davukavSirdi saxelganTqmul mokrive laslo paps.... man fotosuraTebi gamomigzavna, romlis mixedviT Sevqmeni misi skulpturuli portreti. am namuSevris originali saxsovrad aqvs laslos.

arc erTi saqme ar keTdeba, rasac kaci ugulod moekideba. Tu ginda kargad gaakeTo, oflis Rvrasac unda mieCvio. Cemi azriT, imden Sromas, Ziebas da, rac mTavaria, nebisyofas, sxva profesias rom ar Sevexo, xelovnebis arc erTi dargi ar iTxovs, ramdensac qandakeba. me bavSvobidanve yovelTvis, yvelaferSi miznisaken Znelad saval gzas virCevdi. adreve davrwmundi qandakebis sirTulesa da silamazeSi da albaT, amanac ganapiroba Cemi profesiis arCevani. mamas bevr raimeSi vumadli, TiTqmis mTel Tavisufal dros mis saxelosnoSi vatarebdi. mamaCemi ixsenebda, adreve Sevatyve am saqmisadmi interesi, rogor gamixarda mis naWylet TixaSi pirvelad raRac cxoveli rom Sevicani, maSin eqvsi wlisac ar iqnebodao...

erTxel, mamaCemis saxelosnoSi movida qali, romelsac patara biWi axlda, maspinZeli ikiTxa, mamaCemis megobarma, moqandake gogilo nikolaZem, mosvlis mizezi hkiTxa. qalma upasuxa, mizandaroba minda vaswavloo. am dros valikoc dabrunda, rom moismina qalis sityvebi, gaecina da SeekiTxa, ras uZaxi mizandarobaso? qalma qandakebaze miuTiTa, ai, es minda rom iswavloso.

imdenad iyo valiko mizandaris xelovnebis nayofi xalxSi gavrcelebuli, misi gvaric profesia egonaT.

thanks to that that I had enough energy for that. I worked for about four years on the construction of that theater. There were times when professors would come see the process of my work or its results, and this would fill me with pride and joy.

Because I worked there, I was often ditching school. This is probably why I went to almost every school in Kutaisi. On one occasion, my father went to the school to ask about me, and they told him that I was not studying there anymore.

In summer, my friends and myself would spend our free time at the Rioni river. If we wanted to impress someone, we would get on the White Bridge, stand on the balustrade by climbing with the support of some passersby, who would always stop to see this sportive feat, and getting confidence from all the attention, we would jump in the river from this rather elevated height. Back on the shore, a bit cold, we would run and spread our bodies on the many stones lying there, heated by the Sun, looking like white bears. If someone brought an interesting book, we

BUST OF HO CHI MINH

xo Si minis biusti

skolisa da TbilisSi samxatvro teqnikumis damTavrebis Semdeg asrulda Cemi ocneba, gavxdi Tbilisis samxatvro akademiis studenti, Cemi pedagogebi iyvnen: ioseb gabaSvili, vasil Suxaevi, konstantine merabiSvili. davamTavre samxatvro akademia da muSaoba daviwye Tbilisis mose ToiZis saxelobis samxatvro saswavlebelSi. viyavi rogorc pedagogi, aseve saswavlo ostati. saswavlebelma da misma koleqtivma, miuxedavad iq mcire xniT yofnisa, Zalze didi da sasargeblo gamocdileba da codna SemZina. swored am saswavleblidan gavemgzavre 1960 wlis dekemberSi samuSaod vietnamSi. ra ucnauria! gamaxsenda Cemi bavSvoba, Cemi danaqadi, aucileblad waval CineTSi-Tqo. bavSvobis ocneba nawilobriv amisrulda, vinaidan me mivemgzavrebi indoCineTSi, kerZod, vietnamSi, xolo CineTSi axla gavliT vimyofebi (Tumca iq Semdegac vyofilvar).

vietnami CemTvis jer kidev TbilisSi, biblioTekis

would read it. If not, we would tell each other interesting stories.

When the woodcock season would start, my father and Kolau Nadiradze were making serious preparations and going hunting in Kopitnari. Once, when I was in sixth or seventh grade, they had planned for Kolau to come pick up my father to go hunting, but unexpectedly, my father had to go somewhere else, and he told me he couldn’t let Kolau go alone, and that I would have to accompany him in the morning. I was very happy to oblige.

We had only one hound dog, and when he would make woodcocks fly, we would both shoot. I remember the first bird we shot, I went straight to it. Kolau stopped me and explained that in those cases, in general, the bird goes to the hunter from which more bullets hit. We examined it, and the bird had received more bullets from Kolau’s side, so he took it for himself. The next one had more bullets from my side.

Uncle Kolau was behaving towards me as towards someone of his age. After the hunting, we arranged a hasty picnic, I had a bottle of wine in my bag, some cheese, greens, bread… We had a good feast. I was very happy that day… The next day at school, I told that I had hunted with Kolau to my friends. It was a strange coincidence, but my Georgian teacher started teaching us the ‘Blue Horns’ (Tsisperkantselebi). I stood up and told the teacher that I had hunted

BUST OF A MONGOL GIRL

monRoli gogos biusti

GIVI MIZANDARI'S ATELIER IN HANOI

hanoi, givi mizandari saxelosnoSi

darbazSi daiwyo, turistis megzurebi da TviT enciklopediebic, verasodes gadmoscems imas, rac Sen yvelaze metad gainteresebs _ qveynis suls. es maSin vigrZeni, roca matarebelma vietnamis sazRvari gadakveTa. vijeqi sarkmelTan da mojadoebuli gavyurebdi am saocar bunebas. TandaTan meufleba mousvenroba. kacma rom Tqvas, safiqrebeli marTla mqonda. jer erTi, am Soreul qveyanaSi me metad seriozuli da sapasuxismgeblo misia unda Semesrulebina. maxsendeboda megobrebis sityvebi: `Sen pirveli sabWoTa mxatvari xar, romelsac Cveni mTavroba sazRvargareT agzavnis rogorc pedagogs umaRles saswavlebelSi. ecade, ar Seircxvino Tavi, Seni gvjera, aba Sen ici!“

vietnamis samxedro muzeumSi erTi ganyofileba omebis monawile mxatvrebis namuSevrebs aqvs daTmobili. namuSevrebs Soris yvelaze gasaocari da RirsSesaniSnavia sakmaod didi Canaxati, romelzec gamosaxulia momakvdavi partizani. Canaxati ostaturad da damajereblad aris Sesrulebuli.

ramdenime dRis Semdeg SesaZlebloba momeca `momakvdavi partizanis~ avtors Sevxvedrodi. Cven davmegobrdiT da ra Tqma unda, naxatzec Camovugde sityva. igi gaCumda, wvrili Tvalebi kidev ufro mowkura, moiRvenTa.

_ saintereso istoriaa? _ vkiTxe.

_ Zalze mZime, _ mipasuxa zip min wiaum, SetakebaSi sasikvdilod daiWra Cveni razmis umamacesi meomari. mindoda meSvela, magram uZluri aRmovCndi. momakvdavma mTxova: `wiau, Tu Cemi megobari xar, damxate, damxate axlave~. es, ra Tqma unda, Cem Zalas aRemateboda. adamiani sisxlisagan icleba, me ki daxmarebis magivrad unda mexata. meomrebma Semomxedes, mivxvdi, daWrili aRar gadarCeboda, ra gza mqonda, gavSale Cemi saxatavi mowyobiloba, magram daWrilma isev SemaCera `ara, Tu Zma xar, damxate Cemi sisxliT. me vkvdebi, vici, rom vkvdebi da minda Cemi sisxliT damxato, nu SegezizReba. es xom Cemi ukanaskneli Txovnaa~. es mudara ki ara, ufro brZaneba iyo. ra meqna? Cemi megobris mkerdidan gamoJonili sisxliT gavakeTe simboluri Canaxati.

am SesaniSnav da unikalur naxatSi marTlac bevria simboluri. ase sisxliTa da cremliT aris Seqmnili Tanamedrove vietnamis mTeli saxviTi xelovneba.

erTxel vietnamis kulturis ministrs le lems Sevxvdi, vTxove, iqneb damexmaroT da momeces saSualeba xo Si minis portreti gavakeTo naturidan_meTqi. ministrma amaze Zalian mokrZalebulad da mokled mipasuxa: arc ise didi xnis winaT aseTi TxovniT mogvmarTa germanelma moqandakem, razedac prezidentma uari ganacxadao.

da mainc, Cemi survili gadauciaT prezidentisaTvis, romelic daTanxmebula. wamiyvanes prezidentis sasaxleSi

with Kolau Nadiradze the day before. “Sit down, stop aping”, the teacher said at first, but after she got convinced that I was not lying, she made me tell the story. I think this was the reason she always gave me good grades after that.

This was the time I got interested in boxing, it’s a strict and hard sport, but a very valiant one. If you asked my father, he would tell you that me doing boxing was a great way for him to relax. He once told my friend that “When Givi makes me angry, I tell him to go box a few rounds… and he comes back with black eyes.” According to my father, I was not that bad of a boxer. He would say that apart from being a sports competition, my matches were beautiful, highly technical, and thoughtful performances.

Later, I wrote to famous boxer László Papp… He sent me pictures, from which I made a sculptural portrait of him. László has the original of this work.

Nothing done without heart will get done. If you want to do something right, you have to get used to sweat too. In my opinion, no other profession demands more work, research, and most importantly, power of will, than sculpting, at least in the field of arts.

BUST OF MIKHEIL JAVAKHISHVILI IN MARNEULI

mixeil javaxiSvilis biusti marneulSi

samuSao adgilis amosarCevad, da ai, 1961 wlis 29 ivliss, dilis 7 saaTze ukve prezidentis rezidenciaSi vimyofebodi. mTeli gulisyuri sasaxlisaken mqonda, magram xo Si minis mosvla mainc gamomepara. xeli CamomarTva, gulianad gamiRima da miTxra: gavige, qarTveli yofilxar. saqarTvelo Zalian kargi qveyanaa. bevri kargi xalxi SesZina Tqvenma qveyanam kacobriobaso. mere iqve, xis ZirSi gawyobil sufrasTan migviwvia. patara WiqaSi Rvino Camoasxa da mogvmarTa: axla dilaa, cota daleva yvelas mogvixdeba, Zalas Segvmatebs. meorec, Cven xom pirvelad vxvdebiT erTmaneTs da esec unda aRvniSnoTo. prezidentis portretze oTxi dRe vimuSave, dReSi orori saaTi, saerTo jamSi yoveldRe xo Si minTan erTad vatarebdi albaT, 2 saaTsa da 40 wuTs. muSaobis dros visvenebdiT, vmusaifobdiT. erT dros mec vxatavdio, gamimxila prezidentma, mere gaicina da daumata _ parizSi fotografTan retuSorad vmuSaobdio. xo Si mins arc erTxel Seuxedavs portretisaTvis. is ijda TavisTvis, ufro mets kiTxulobda, da Tu rames CainiSnavda, cdilobda Tavi ar daexara, raTa xeli ar

From my childhood, I was always choosing the hardest path towards my objectives. I got convinced in the complexity and beauty of sculpture since childhood, and this is also a reason why I chose this profession. I am grateful to my father for many things, I used to spend almost all my free time in his atelier. My father mentioned that he remembered how he noticed my interest towards this profession very early, and how he was happy to discern a small animal in some clay I worked on, I was not even six years old back then…

Once, a woman came to my father’s atelier with a small boy, she asked for my father, and Gogilo Nikoladze, my father’s friend, asked her the reason of her visit. The woman said that she wanted to teach her son “to Mizandari”. My father Valiko entered the room at that time, he smiled at her words, and asked her what she meant by “to Mizandari”. The woman pointed to a sculpture and said that this was what she wanted him to learn.

Valiko Mizandari’s artworks were so widespread among people that they thought his last name was a profession.

After finishing school and then the technical college in Tbilisi, my dream came true and I became a student at the Academy of Arts of Tbilisi. My professors were: Ioseb Gabashvili, Vasil Shukhaev, and Konstantine Merabishvili. I finished the Academy of Arts and started working at the Mose Toidze Institute in Tbilisi. I was both a professor and a master foreman there.

The institute and its collective, despite my short time there, brought me great and valuable experience and knowledge. It is precisely from this institute that I moved to work in Vietnam in December 1960. What a coincidence! I remembered the words from my childhood, that I would go to China someday. My childhood dream was partially realized when I traveled to Indochina.

My relationship with Vietnam had begun in Tbilisi, in a library, but tourist guides and even encyclopedias can never convey what you are most interested in—the soul of a nation. I could only feel it when the train crossed the Vietnamese border. I was sitting at the window and was amazed by the wonderful nature. I felt gradually more agitated. One could say I had things to think about. First of all, I had to carry out a very serious and important mission in this faraway country. I remembered a friend’s words: “You are the first soviet artist who is sent by our government as a professor in a foreign country’s postsecondary institution. Do your best, we believe in you!”

In Vietnam’s military museum, one department is dedicated to the works of artists who have participated in war. The most impressive and remarkable work was a large canvas presenting a sketch of a dying partisan. The sketch is done masterfully and convincingly. After a few days, I was given the opportunity to meet the author of the “dying partisan”. We became friends, and naturally, I told him a few words about his work. He was silent, he screwed up his slanted eyes, and tightened up.

- Is there an interesting story behind it? – I asked.

GIVI MIZANDARI, HO CHI MINH

givi mizandari, xo Si mini

SegvSloda muSaobis dros. rodesac gasrulda daTqmuli dro, igi mivida qandakebasTan, didxans aTvaliera, Semdeg momibrunda da miTxra: Tavi rom moubruneT, amiT qandakebas meti Zala mieciT, xolo wverebi ki Zalian gagisqelebiaT, me xom sakmaod Txeli wveri maqvso. _ Tan gulianad gaicina.

Semdeg ioseb noneSvilma miTxra, xo Si minma Sens aq muSaobas kargi Sefaseba miscao. gaxarebuli mexveoda da madlobas mixdida.

1962 wlis 8 maiss hanoiSi vietnamis kulturis saministrom da mxatvarTa kavSirma gamimarTes personaluri gamofena. am gamofenaze warmodgenili iyo iq gakeTebuli yvela namuSevari, portretebi Tu patara kompoziciebi. Cemda sasixarulod, gamofenis gaxsnas eswrebodnen vietnamSi momuSave qarTvelebic.

saRamo xans, iqve mdebare erT provinciaSi gaviareT, romelic qoqosis palmebSia CaZiruli da Zalze lamazia. am provinciaSi ramdenime patara sofeli Sedis. yvela sofels saukeTesod mokirwyluli da mopirkeTebuli gza da quCebi aqvs, ramac, bunebrivia, Cemi yuradReba miipyro.

Cemma Tanamgzavrebma amixsnes: CvenSi aseTi wesia, gasaTxovari qali da sacolo vaJi manam ver miiReben daqorwinebis uflebas, vidre qviT an aguriT xuT mtkavel gzas ar gaiyvaneno.

_ didebuli wesia, _ vTqvi me, _ magram, Tu yvela gza mopirkeTebulia, maSin?

- A very heavy one, Zip Minh Tiao answered, the bravest combatant of our unit got fatally wounded in an exchange. I wanted to save him, but I couldn’t do anything. The dying soldier told me: “Tiao, if you are my friend, draw me, draw me right now”. Naturally, it was too hard for me to do. The person was losing his blood, and I had to draw him instead of helping him. The others looked at me, and I understood that he wouldn’t survive, I had no other choice, I took my drawing kit out, but the wounded soldier stopped me once again: “No, if you are my brother, draw me with my own blood. I am dying, I know that I am dying, and I want you to draw me with my blood, don’t be disgusted by it. This is my final wish.” This was more an order than a plea. What could I have done? I

SPIRITUAL LEADER beladi

STATUE OF JUMBER LEZHAVA

jumber leJavas Zegli

_ es SeuZlebelia. gasakeTebeli usaTuod gamoCndeba. am provinciis erT-erT ubanze SevxvdiT kidec axalgazrdebs, romlebic gzas agebdnen. aseT gzebs isini siyvarulis gzebs eZaxian da didi erTgulebiTa da guldadebiT akeTeben.

sakmarisi dro gavida vietnamSi Cemi Camosvlidan. zogierTi Cemi studenti ukve sadiplomo naSromze muSaobda.

institutis xelmZRvanelobam da saukeTeso ostatebma sadiplomo namuSevrebis Sefasebisas aRniSnes, rom aq mTavari is ki ar aris, rom maT maRali Sefaseba miiRes, aramed mTavaria is, rom isini pirvelebi arian. vietnamis mTavrobam Sromis ordeniT damajildova.

haifonSi dgas TiTqmis legendadqceuli qandakeba `Tavisufali Sromis gmiri“. omis dros, amerikeli mfrinavebi Turme erTmaneTs ejibrebodnen mis gadmogdebaSi. qandakeba gadarCa, Tumca Ziri gamoeTxara da gverdzea gadaxrili.

_ es qandakeba Cveni qalaqis, Cveni mSromelebis gmiruli brZolis simboloa, im periodis muSebma am qandakebasTan TavianTi axalgazrduli sicocxle daunaneblad daasrules, _ vismendi Cemi da Cemi yofili studentebis mravali wlis winandeli namuSevris qebas. iseTi grZnoba dameufla, rom qandakeba am mravlismetyvel formaSi unda darCeniliyo, xeli ar unda xleboda, ar unda SekeTebuliyo, amgvarad unda gadascemoda Taobebs.

did a symbolic drawing with the blood coming out of my friend’s chest.

There is indeed a lot of symbolism in this wonderful and unique drawing, as many Vietnamese fine art works were created like that, with blood and tears.

Once, I met Vietnam’s minister of culture, and I asked him if he could help me and give me the possibility of creating a sculptural portrait of Ho Chi Minh. The minister answered me very humbly and promptly: “Not so long ago, a German sculptor asked us the same thing, and the president refused”.

But somehow, they still transmitted my request to the president, who accepted. They brought me to the president’s palace to choose a working place, and I was at the palace on the 29th of July 1961, at seven in the morning. All my attention was turned to the palace, but I still couldn’t notice the arrival of the president. He shook my hand, gave me a warm smile, and told me: “I heard that you are Georgian. Georgia is a great country. Your country gave many great people to the world.” Then, he invited us to sit at a table arranged below a tree not far from there. He poured wine in a small glass and told us: “It is the morning now, drinking a bit will do us all good, it will give us strength. And apart from that, this is the first time we meet, and we should celebrate this.” I worked for four days on the president’s portrait, two hours per day, and all in all, I spent about 2 hours and 40 minutes each day with Ho Chi Minh.

We would rest and converse while working. The president told me that he used to draw too, then he laughed and added – “I used to work as a retoucher for a photographer in Paris”.

Ho Chi Minh never looked once at the portrait. He was sitting by himself, mostly reading, and if he wanted to write something down, he was trying to not nod his head, so it wouldn’t hinder my work. When the deadline came, he went to the statue, observed it for a long time, then turned to me, and told me: “The fact that you turned the head gave more strength to the statue, as for the beard, you have made it very thick – I have a rather thin beard” – and he burst in a genuine laugh.

Afterwards, Ioseb Noneshvili told me that Ho Chi Minh had given a positive assessment of my work in Vietnam. He was hugging me in happiness and expressing his gratitude.

On the 8th of May 1962, the Ministry of Culture and the Artists’ Union of Vietnam organized my personal exhibition in Hanoi. All the works I had made there were exhibited, both portraits and small compositions. To my delight, Georgians working in Vietnam also attended the exhibition.

In the evening, we went to visit a province close by, which is full of coconut trees and is particularly beautiful. This province only counts a few small villages. Each of the latter had well-paved roads and very well-kept streets, which got my attention.

My travel companions explained me: “There is a rule here, according to which a marriageable girl or boy do not have the right to marry before they build at least some inches of road with stone or brick.”

- “That’s a great rule, I said, but if every road is paved, what do they do?”

BUST OF ALEKSANDRE CHAVCHAVADZE, TSINANDALI YARD

aleqsandre WavWavaZis biusti, winandlis baRi

erT dRes miviRe mowveva kampuCiis dedoflisagan, wylis dResaswaulze mepatiJeboda. dResaswauli eZRvneboda mdinare mekongs.

dResaswaulis dRes mekongi ukan brundebao, ase amixsnes, zRvis didi moqcevis gamo mdinare veRar Cadis zRvaSi da bunebrivia, wylis didi nawili ukan brundeba. dabrunebuli mdinare ki avsebs yvela wyalsacavs da tonlesapis tbasac, saidanac iRebs saTaves mekongi da sxva patara mdinareebi. tonlesapi sakmaod didi tbaa. tbis garSemo xalxi cxovrobs, romelTa saqmianoba Tevzis Weraa.

rodesac tonlesapi daklebulia, maSin Zalian ucnaurad da sainteresod gamoiyureba meTevzeebis oCofexebze Semdgari saxl-kari. miwaSi CarWobil xuTi_eqvsi metris xeebs zevidan patara qoxebi adgas, asasvleli ki iseTia, Tu cota jambazobis unari ar gagaCnia, SeiZleba wyalSi aRmoCnde. Tu moaxerxe da axvedi, ise Tbilad migiReben da gagimaspinZldebian, Tavi saqarTveloSi gegoneba. swored am adgilebs avsebs wyliT ukan dabrunebuli mekongi da misi mcxovreblebi saxlebSi pirdapir navebidan gadadian.

zeimis organizatorebi didi mowiwebiT wamiZRvnen da rbil savarZelSi Camsves wina rigebTan axlos. male mobrZanda kampuCiis dedofali, mas Tan axldnen: vaJiSvili norodom sianuki, rZali, ulamazesi monika da qaliSvili, mocekvave devi bobxa. ceremoniam, albaT, oTxi_xuTi saukuniT ukan damabruna. es iyo ulamazesi speqtakli, romelSic mec vmonawileobdi. daiwyo dResaswauli. friad sainteresod morTuli navebi da aTasgvari niRbebiani, ucnaurad gamowyobili naosnebi erTmaneTs ejibrebian _ vin ukeT gaivlis mdinaris sxvadasxva monakveTs, iwyeba sportuli paeqroba, yvela qalaqsa Tu provincias Tavisi gundi hyavs gamoyvanili.

am erovnulma da naxevrad religiurma dResaswaulma lamazad da kargad Caiara. zeims indoCineTis budizmis qurumi juna hatic eswreboda.

wylis dResaswaulisa ar iyos, sawylosno turizmiT qarTveli mxatvrebi jer kidev 40 wlis winaT iyvnen gatacebuli. gana SeiZleba bunebriv silamazes rame Seedaros, rodesac Cqar mdinares naviT dauyvebi?

vin ar yofila ama Tu im mdinaris napiras da ar damtkbara misi bunebrivi mSvenierebiT, magram sul sxvaa, rodesac mdinares Camouyvebi da mis silamazes mTlianad aRiqvam. Cveni sawylosno turizmi TandaTan gadaizarda maRal, urTules sportis saxeobad.

Tbilisis samxatvro akademiaSi, rogorc profesor_ maswavleblebs, aseve studentebs Soris bevria am ulamazesi sportis moyvaruli, eqspediciebs ZiriTadad zamTrobiT vawyobT, rac ufro mZafrs da sainteresos xdis mogzaurobas.

Cven, mxatvrebs, bevri saintereso sportuli laSqroba

- “That’s impossible. There will always be something to do. We even passed some young people who were paving the road in this region. They call these roads the roads of love, and they take particularly good care of them.”

Enough time had passed since I had arrived in Vietnam. Some of my students were already working on their graduation works.

When assessing the graduation works, the directorate of the institute and renowned Vietnamese artists told the students that the most important wasn’t for them to get good grades, but that they were the first ones in the field. The Vietnamese government made me the recipient of the Labor Order.

In Haiphong, there is an almost legendary statue, “Free Labor Hero”. During the war, American fighter jets were competing in which one could take it down. The statue survived, though the ground below it was taken out, and it is now tilting to the side.

- “This statue is a symbol of our city, of the heroic battle of our workers, the workers of that time have sacrificed their lives without blinking next to this statue” – I listened to this praise of this work, which preceded my works and those of my students by many years. The idea came to me that the statue should stay in this significant position, that it shouldn’t be touched, rearranged, that it should reach the future generations in this condition.

Once, I received an invitation from the Queen of Cambodia, she was inviting me at the water festival, which is dedicated to the Mekong river.

They explained me that on the day of the festival, the Mekong river flows back, that because of a very large tide from the sea, the river cannot get in the sea anymore, and that it naturally flows back. When going back, it fills many water reservoirs as well as the Tonlé Sap lake,

GIVI MIZANDARI IN VIETNAM givi mizandari vietnamSi

TBILISI Tbilisi

Cagvitarebia, maT Soris aRsaniSnavia marSruti mdinare rionis saTavidan quTaisamde. xSirad veSvebiT mdinare alazanze, Rameebs alaznis napiras, tyeSi vaTevT, aqve vakeTebT Canaxatebs, araerTi saintereso suraTi Seqmnila am laSqrobebis dros.

vcdilob, xSirad gogonebis jgufi waviyvano. qarTveli gogonebi Zalian amtanebi da vaJkacurebi arian mogzaurobasa da SejibrebebSi. raftingi qals damoukideblobisa da winaaRmdegobis gadalaxvis unars umuSavebs, Sinaganad awrTobs. swored es aris mTavari. Tu sulieri siZliere ar gaqvs, verafers gaxdebi fizikurad. yvelaferi sulidan iwyeba.

upiratesobas `acvenil~ studentebs vaniWebdi. isini sportul laSqrobidan uaRresad keTili survilebiT SeboWilebi brundebodnen. diax, sportuli cxovreba akeTilSobilebs adamians.

Cveni RonisZiebebi, xom bunebis wiaRSi xdeba da araferi ar moqmedebs ise dadebiTad adamianze, rogorc bunebaSi yofna, urTierTdamokidebuleba, adamianebSi keTili Tvisebebis aRmoCena.

rom gaigebdnen, am zamTarSi mivdiodiT mdinareze da

from which the Mekong river and other small rivers find their source. The Tonlé Sap is a quite large lake. People live around it, and their main occupation is fishing.

When the Tonlé Sap is low, then the houses built on stilts look very strange and interesting. Five to six meter branches are standing in the water, and on them, there are small cabins; the way up requires some acrobatic skills, or you might find yourself in the water. If you manage to climb, you will be received with such hospitality that you will think you are in Georgia.

These are precisely the places that the water fills when coming back from the Mekong, and the inhabitants go to each other’s houses by boat.

The organizers of the festival have treated me with much care, and they made me sit in a soft armchair near the front rows. Soon after, the Queen of Cambodia arrived, together with her son Norodom Sihanouk, her daughter-in-law, the beautiful Monique, and her daughter, dancer Buppha Devi. The festival brought me about four or five centuries back in time. It was a wonderful performance in which I was taking part too. The festival started. Beautifully decorated boats and navigators wearing all kinds of masks and strange attires were competing in passing various parts of the river – a contest started,

Tavqve unda davSvebuliyaviT, Rameebi tyeSi _ karvebSi gagveTia, gaognebuli rCebodnen.

rogorc Cans, Znelia zomierebis warmodgenaSi adamiani da buneba erTad. ara da es xom mainc Cveni winaprebis Soreuli warsulia da amave dros didi silamaze.

1986 wels akademiaSi miviReT axalgazrda amerikeli mxatvrebis naSromebi, romlebic gamoifina akademiis studentTa naSromebTan erTad. bunebrivia am gamofenam didi mowoneba daimsaxura, jer erTi imitom, rom naSromebi karg profesiul doneze idga, da, rac mTavaria, pirveli Sexvedra iyo amerikeli da qarTveli studenturi `paeqrobisa~.

amerikidan me mravaljer miviRe mowveva, undodaT Cemi naSromebis gamocemac da CvenTan urTierToba. gadavwyvite, wavsuliyavi da gamosafenad Tan wameRo samxatvro akademiis studentebis naSromebi.

SeerTebul StatebSi jer kidev 1972 wels vimogzaure. maSin movinaxule am qveynis TiTqmis yvela didi qalaqi, rogorc atlantis okeanis mxares, aseve wynari okeanis sanapirosTan. Sevxvdi jorj balanCins, samwuxarod Cveni Sexvedra firze ver avsaxeT...

every city or province had brought its team.

This national and half-religious festival went beautifully. The leading Buddhist priest of Indochina, Juna Hatha, was also attending the event.

Regarding water, Georgian artists were practicing nautical tourism 40 years ago already. Can anything be more beautiful than the nature that you experience when you are going down a fast river on a boat?

Who has been at the edge of a river and wasn’t delighted by its natural beauty, but it’s completely different when you follow the river’s flow, and you feel its beauty in its entirety. Our nautical tourism gradually transformed into a very complicated sport.

In Tbilisi’s Academy of Arts, there are many amateurs of that sports, both among professors and students. We mainly organize expeditions in the winter, which makes it more difficult and interesting.

Us artists have organized many sporting expedition, including a route from the source of the Rioni river to Kutaisi. We often go down the Alazani river, we spend the night in the forest on the bank of the Alazani, and we draw some sketches too – many interesting works have been created during those expeditions.

I try to bring groups of girls too. Georgian girls have great endurance and are very brave during travel and in competitions. Rafting teaches independence to girls, as well as to surpass obstacles, it hardens them from the inside. This is the most important thing. If you don’t have spiritual strength, you cannot become anything physically. Everything starts from the soul.

I was paying more attention to “neglectful” students: they would come back from sporting expeditions with renewed enthusiasm. Yes, sport makes people better.

Our events were taking place at the very heart of nature, and nothing works better on humans than being in nature, being dependent on each other, and finding good qualities in people.

When they were hearing that we were going down the river in the winter, and that we would spend the nights in tents in the forest, they were always amazed.

It seems that it has become difficult to imagine humans and nature in harmony nowadays, while this was our ancestors’ beautiful reality.

In 1986, we received the works of young American artists at the Academy of Arts, and they were exhibited together with the works of our students. Naturally, this exhibition was very successful, firstly because the works were of a professional level, but most importantly, because it was the first such interaction between American and Georgian students.

I had been invited many times in the USA, they wanted to publish my works and to collaborate with us. I decided to go and to take the works of students of the Academy to exhibit them.

I traveled to the USA back in 1972. I visited almost every large city of that country, both on the side of the Atlantic and that of the Pacific Ocean. I met George Balanchine, but unfortunately, we couldn’t immortalize this meeting on a picture…

At the time, our visit had a very official character, which is understandable if we remember the political situation of the time.

PORTRAIT portreti

maSin Cvens jgufs Zalian oficialuri saxe hqonda da gasagebicaa, Tu gavixsenebT imdroindel politikur daZabulobas.

amJamad Cemi mogzauroba marTla oficialuri iyo, magram iseT gulTbil garemoSi movxvdi, rom Zalian axlo megobrebic ki gaviCine.

amerikis SeerTebuli Statebi yvelas aocebs Tavisi grandiozulobiT da masStabebiT. yvelgan yvelaferia, rasac adamiani moisurvebs, Tu mas fuli da qoneba aqvs. dRevandeli amerikeli xalxi uaRresad keTilia, stumarTmoyvare, cxovrebis pirobebi did umravlesobas kargi aqvs. amerikelebma Tavi mouyares msoflios mravali qveynis simdidres, yvelafer saukeTesos. am simdidres amerikeli xalxi uaRresad did SromisunarianobiT, gonivrulad marTavs.

Cven xSirad presisa Tu televiziis saSualebiT vigebT amerikel umuSevarTa, RatakTa, ubinaoTa Sesaxeb, rom gavrkveuliyavi `msxverpli gaviRe~ da erTi Rame niuiorkis quCaSi uZilod gavatare amerikel gaWirvebulebTan erTad da davrwmundi, rom am qveyanaSi jer bevri ram mouwesrigebelia.

This time, my travel was also official, but I was met with such warmth that I even managed to make some very close friends.

The USA impresses everyone with its grandiosity and scale. They have everything that one could want available everywhere – provided you have the money for it.

Today’s Americans are utterly kind, hospitable, most of them have good living conditions. Americans have gathered the artworks of many countries around the world, they took the best from where they could. Americans preserve this treasure with great work ethic and care.

We often hear about American unemployed, destitute, homeless people, and to check for myself, I spent a sleepless night in a street of New York together with poverty-stricken Americans, and I got convinced that many things still in disorder in that country.

Many things will amaze you in America, and this is normal. But the thing that struck me the most was the American citizens’ inner culture, their hospitality, their politeness. We can only find such people in villages in Georgia, where the inner national realm of the Georgian nation remains alive…

Many people attended the opening of our students’ exhibition.

Every speaker has praised the works of our students, some even mentioned that seeing contemporary works of such level is very rare, especially coming from students.

I came back from the United States with utterly interesting impressions, but my homecoming coincided with the fateful April that brought all of us to the ground, as our nation had never experienced such torment…

Spurred by the “great whale”, Abkhaz separatists pulled us in a terrible war, they got us spilling blood and destroying a relationship that has taken years to build and consolidate.

During the end of 1993, the so-called “Afghan Battalion” of Georgian artists returned to Tbilisi, or to be more precise, they were called back, and I came back with them. This battalion was fighting on the frontline in each critical moment, they would break through the blockades and advance. Then there was a peace agreement, and soldiers seemed to return to their deployment locations. But the sly plan of the Abkhaz separatists is still on, and blood is spilled again, the nation is in distress. On the 24th of September 1993, when Sokhumi was deserted, the boys from the special “Afghan Battalion” flew to Sokhumi, they led heavy battles for the tower, and then the unfortunate 27th of September arrived, when they brought the battalion into the building of the ministers; the boys fought selflessly, until they were out of ammo. These 25 warriors were lost, never to be found.

I knew each member of the Afghan Battalion very well, I was friends with all of them, we were always together, in good and bad times. But there were no good times there, we used to call them good times, but it was simply drinking a glass or two while remembering days spent in Tbilisi, our homes, Sokhumi, or Gagra.

The Russian Empire annexed Georgia 200 years ago. During the 1920s, it

SECOND WORLD WAR meore msoflio omi

amerikaSi bevri ram gaocebs da es bunebrivicaa. magram me gansakuTrebiT momxibla amerikel moqalaqeTa Sinaganma kulturam, maTma Sexvedram, Tavazianobam. aseTs CvenSi jer kidev SexvdebiT mxolod qarTul soflebSi, iq sadac SemorCenilia qarTveli eris Sinagani erovnuli samyaro...

Cveni studentebis gamofenis gaxsnas didZali xalxi daeswro.

yvela gamomsvlelma aqo Cveni axalgazrdebis naSromebi, zogierTma isic ki aRniSna, rom aseTi maRali donis Tanamedrove namuSevrebis xilva Zalian iSviaTiao, miT umetes saocaria, rom isini studentebs ekuTvniso.

uaRresad saintereso STabeWdilebebiT datvirTuli davbrundi Statebidan, magram Cemi Camosvla daemTxva im avbediT aprils, romelmac TiToeuli Cvengani Zalian didi xniT gagvTiSa, rameTu erisaTvis arasdros arsebula ufro didi iara...

`didi veSapis“ mier waqezebulma afxazma separatistebma Semazrzen omSi CagviTries, Tavs mogvaxvies sisxlisRvra da wlobiT naSrom-naamagaris ngreva-ganadgureba.

1993 wels, Tebervlis bolo ricxvebSi qarTveli mxatvrebis e.w. `avRanelTa batalioni“ TbilisSi dabrunda, ufro sworad, gamoiZaxes, mec maTTan erTad davbrundi. yvela kritikul momentSi batalioni cecxlis wina xazze ibrZoda, alyas gaarRvevda da win miiwevda. Semdeg samSvidobo SeTanxmeba daido, TiTqos mebrZolebi dislokaciis adgilebs ubrundebodnen. da ai, afxaz separatistTa mzakvruli Canafiqri kvlav ZalaSia, isev iRvreba sisxli, uWirs samSoblos. 1993 wlis 24 seqtembers, roca soxumi dacarielda, `avRanelTa specbatalionis~ biWebi soxumSi Cafrindnen, mZime brZolebi gadaitanes anZaze, Semdeg ki is avadsaxsenebeli 27 seqtemberi gaTenda, roca batalioni ministrTa sabWos SenobaSi Seiyvanes, biWebi TavgamodebiT ibrZodnen, vidre tyvia-wamali ar gauTavdaT. mas Semdeg 25 mebrZoli ugzo_ ukvlod daikarga.

avRanelTa batalionis yvela wevrs kargad vicnobdi, yvelasTan megobroba makavSirebda, sul erTad viyaviT Wirsa da lxinSi. Tumca lxini iq ar iyo, lxins veZaxdiT, Torem ra lxini iyo: `kruSkebs~ fskers movufaravdiT da am ori ylupi sasmeliT vixsenebdiT Tbiliss, saxls, soxumsa da gagraSi gatarebul dReebs.

ruseTi imperiam jer kidev 200 wlis winaT SeierTa saqarTvelo. Cveni saukunis ocian wlebSi ki misi xelaxali mitaceba moaxerxa, Tanac ise magrad SeiduRaba sxeulze, rom Cveni samSoblos gamoyofa misTvis dResac Zalzed Zneli da mtkivneulia. arada aqeT gvayvedridnen, rom Tavisi frTis qveS Segvinaxes, rom gvicavdnen da gvpatronobdnen, Tumca es Senaxva da patronoba Zalian Zvirad daujda qarTvel xalxs.

managed to snap it again, and what is more, it managed to glue it to itself so strongly, that to this day, it is difficult to separate our homeland from it. They were accusing us of being ungrateful for them taking us under their wings, that they were protecting and helping us, but this “help” and “protection” came at a very big cost for Georgian people.

Today, for our homeland, in this most difficult of times, when we found ourselves in a complicated political situation, as well as an economical one, when enemies from the inside and from the outside compete to hinder our goals, when part of Georgia has lost sight to the point of not caring about oneself or one’s country anymore, during this most difficult of times, we have to manage to gather all our strength and talent, to work and act in a way that will make our whole inner potential come to the fore.

We have to remember that democracy doesn’t come by itself, we are the ones who have to create it. It has to become part of us, democracy is a precondition for our small country’s great future, we all have to believe in this and consciously accept it. The time has come when each of us has to become active for the sake of our common, national interests, to put aside any individual interest, and take care of those of the country.

Everything depends on the courage, valor, work, reason, fairness, and mutual understanding of and between each of us.

May God not keep us from achieving that, otherwise, our beloved country could fade to nothing.”

Levan Mizandari

bagratis taZari BAGRATI CATHEDRAL

dRes Cveni samSoblosTvis, am urTules periodSi, roca esoden mZime mdgomareobaSi aRmovCndiT politikuradac, ekonomikuradac, roca Sinauri Tu gareuli mtrebi erTmaneTs ecilebian CvenTvis zianis miyenebaSi, roca qarTvelTa erT nawils ise daebinda goneba, rom mas aRarc sakuTari xvalindeli dRe anaRvlebs da aRarc saqarTvelo, am urTules periodSi Cven unda SevZloT movikriboT mTeli Cveni Zala da unari, raTa ise viSromoT da viRvawoT rom avamoqmedoT mTeli Sinagani potenciali.

unda gvaxsovdes, rom demokratia TavisiT ar mogviva, demokratia Tavadve unda SevqmnaT. is unda gaxdes Cveni sisxli da xorci, demokratiam unda warmoqmnas Cveni

patara qveynis didi momavali, es Cven yvelam unda viwamoT da Rrmad gavacnobieroT. dadga dro, rodesac yoveli Cvengani unda gaxdes saerTo-saqveyno saqmis erTguli, am mizniT yvela piradi interesi gverdze gadados, raTa erovnuls mouaros. yvelaferi TiToeuli Cvenganis SemarTebaze, brZolaze, Sromaze, gonierebaze, samarTlianobaze, urTierTgatanazea damokidebuli. amis niWi RmerTma nu mogviSalos, Torem Sagrenis tyaviviT Semogveleva saqarTvelo.“ levan mizandari

MEETING AMERICA

Sexvedra amerikasTan