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s a g a n m a n a T l e b l o - s a z o g a d o e b r i v i
J u r n a l i
sarCevi / CONTENTS farajanovis angelozebi da demonebi...
2
PARAJANOV’S ANGELS AND DEMONS…
kuiriela, ele-melei, gamoixedei karSi
20
ar gamoixedav, wavalT sxva karSi...
sityva da feri
28
WORDS AND COLORS
im didebul siCumes miyuradebuli...
50
LISTENING TO THE GREAT SILENCE…
qarTuli karikaturis saTaveebTan
60
AT THE BEGINNINGS OF GEORGIAN CARICATURE
broweulis yvaviliviT lamazi - siyvaruli...
70
A LOVE AS BEAUTIFUL AS A POMEGRANATE FLOWER...
antonio salieri
78
ANTONIO SALIERI
vin aris kasteli?
91
WHO IS CASTELLI?
saredaqcio jgufi EDITORIAL STAFF revaz iukuriZe REVAZ IUKURIDZE xaTuna kereseliZe KHATUNA KERESELIDZE ekaterine CulaSvili EKATERINE CHULASHVILI aleqsandre ServaSiZe ALEKSANDRE SHERVASHIDZE mariam gabedava MARIAM GABEDAVA
dizaineri DESIGNER nikoloz bagrationi 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: sergo farajanovi _ Ria baraTi, `Tovlis papa sapyrobiledan~; Sereuli teqnika; 1975 weli. 14x10 sm; `mixakebi serJikasgan~ Cover: Sergo Parajanov – postcard, ‘Santa Claus from the Penitentiary’; mixed media; 1975. 14x10 cm; ‘Cloves from Sergo’
ISSN 2346-8165
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KOTE MIRIANASHVILI
kote mirianaSvili
farajanovis angelozebi da demonebi... PARAJANOV’S ANGELS AND DEMONS… msoflio kinoklasikoss, sergo farajanovs, 2024 wels 100 weli usruldeba. mis Semoqmedebas yvela kinoskolaSi aswavlian, mas moixsenieben rogorc did maestros, genioss, Cems cxovrebaSi ki Semovida rogorc `Zia sergo~, radgan didxans dedaCemis Zma megona, ZuZumte aRmoCnda. sergo am kavkasiur adaTs, rogorc naRdi Tbiliseli, sicocxlis bolomde icavda. misi boboqari, artistuli stumar-maspinZloba, moulodneli da originaluri saCuqrebi, lamazi da ucnauri filmebi, Cemi bavSvobis saukeTeso mogonebebia, romlebic qarTvel mkiTxvelsac gvinda gavuziaroT; miT umetes, rom zogi ambavi, foto da gansakuTrebiT, grafikuli namuSevrebi, eqskluzivia... pirvelad qveyndeba!
World-renowned filmmaker Sergo Parajanov would have been 100 years old in 2024. His works are studied in every film school, they refer to him as a maestro and a genius. He came into my life as “Uncle Sergo”, because for a long time, I thought he was my mother’s brother – he was in fact her foster sibling. As a real Tbilisian, Sergo observed this Caucasian time-honored custom until his death. His stormy, artistic hospitality, unexpected and strange presents, beautiful and peculiar, are my best childhood memories, and we want to share them with Georgian readers too – even more so because some stories, photographs, and most importantly, graphic works, are an exclusivity – they are being published for the first time!
sergo farajanovis mamas mTawmindaze samsarTuliani saxli hqonda. zeda sarTulze farajanovebi cxovrobdnen, meore sarTulze _ papaCemi kowo vaxvaxiSvili ojaxiT. dedaCemi, gogona vaxvaxiSvili dekemberSi daibada, sergo, sarqis ovsefis Ze farajaniani _ 9 ianvars. sergos dedas, siran beJanovas rZe ar hqonda, axalSobilebs nino vaxvaxiSvili aWmevda ZuZus. amitomac eZaxda sergo dedaCems das da bebias _ dedas. maTi da-Zmoba sicocxlis bolomde gagrZelda. maxsovs, film „miviwyebul winaparTa aCrdilebis~ Tbilisuri premieris Semdeg, sergom TiTqmis mTeli SemoqmedebiTi jgufi CvenTan, TelavSi Camoiyvana. iqve, spontanurad rituali dadga: yvelas muxli unda moeyara da xelze mTxveoda bebiaCems _ deda ninas, rogorc sergo eZaxda. aseTi improvizebuli scenebis dadgmaSi mas veravin Seecileboda da nebismieri damswre, misi zusti sareJisoro davalebis Semdeg, Sous monawile xdeboda. monospeqtaklebSi ki Tavad brwyinavda komikuri, sarkastuli samsaxiobo niWiT. magaliTad, hyveboda, rom konservatoriaSi vokalis misaReb gamocdaze, cnobilma momReralma vera davidovam, mas da ramaz CxikvaZes sTxova „imgeret „varskvlaviansa games~ (swored t, g da maxvili e-ze).
Sergo Parajanov’s father had a three-story house in Tbilisi’s Mtatsminda neighborhood. The Parajanovs lived on the second floor, while my grandfather, Kotso Vakhvakhishvili, and his family lived on the first floor. My mother, Gogona Vakhvakhishvili, was born in December, while Sergo, Sarkis Ovsepis Dze Parajanian was born on the 9th of January. Sergo’s mother, Siran Bezhanova, had a low milk supply, and Nino Vakhvakhishvili was the one breastfeeding the two new babies. That’s why Sergo used to call my mother “sister” and my grandmother – “mother”. Their friendship as siblings lasted until their deaths. I remember that after the Tbilisi premiere of ‘The Shadows of Our Forgotten Ancestors’, Sergo brought almost the whole film crew to our place in Telavi. A ritual was spontaneously created: everybody had to kneel and kiss the hand of my grandmother – “mother” Nina, as Sergo called her. Nobody could rival him in the establishment of such improvised scenes, and any onlooker, after receiving an exact instruction from the director, would become part of the show. In mono-spectacles, he would shine himself with his comical, sarcastic talent for acting. For instance, he told that at an exam to be received as a singer at the conservatoire, famous singer Vera Davidova asked him and Ramaz Chkhikvadze to sing ‘De sterrennacht’. In that sketch, Sergo was performing both his and Ramaz’s parts; he was imitating
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am sketCSi sergo asrulebda Tavisi da ramazis partias, asaxierebda vera davidovasac, akompaniatorsac da Tan roialzec ukravda. nomris Sesrulebisas giorgi Sengelaias isteriuli sicili auvarda, SeZvra Cveni taxtis qveS, sanam ar gaCumdeba, ar gamovalo, Tan iq kvdeboda siciliT. sergo ki wamowva taxtTan da iq umReroda. didi bavSvebi da megobrebi! erTi cnobili qarTveli kinomcodne werda, farajanovi imitom komikosobda, rom Tbilisur snobur sazogadoebaSi adgili daemkvidrebinao. sruli sisulelea! serJik farajanovs Tavisi adgili TbilisSi bavSvobidan hqonda, is uyvardaT, masTan megobrobdnen, afasebdnen mis niWs da, didi krizisis dros, swored Tbiliselma megobrebma gauwodes daxmarebis xeli. miuxedavad imisa, rom sergo skolaSi cudad swavlobda, oTx
Vera Davidova too, as well as the accompanist, and all the while, he was playing on the piano. When he was performing his show, Giorgi Shengelaia started laughing hysterically. He crawled under our couch and declared that he would not come out of it until Sergo would become silent. Sergo laid down near him and continued singing from there. They were old children and great friends! A famous Georgian film critic once wrote that Parajanov was fooling around in order to establish his place in the snobbish Tbilisian society. It is pure nonsense! Sergo Parajanov had his place in Tbilisi from his childhood; they loved him and were friends with him; they were appreciating his talent, and during crisis times, it was precisely his Tbilisian friends who offered him a helping hand. Despite the fact that Sergo didn’t have good grades at school, he still managed to enroll at four higher education institutions: the first one was the Tbilisi Railway Transport Engineer Institute (“If I had become an engineer,
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umaRles saswavlebelSi mainc moxvda: pirveli iyo Tbilisis rkinigzis transportis inJinerTa instituti (inJineri rom gamovsuliyavi, ramdeni katastrofa moxdeboda rkinigzazeo _ ambobda); Semdegi iyo Tbilisis konservatoriis vokalis fakulteti da imavdroulad operis TeatrTan arsebuli sabaleto saswavlebeli. omis damTavrebisTanave ki moskovis konservatoriaSi gadavida, cnobili pedagogis nina dorliakis klasSi. paralelurad Caabara kinematografiis sakavSiro saxelmwifo institutSi (`vgiki~) sareJisoro fakultetze. garegnulad sergo mxiaruli adamiani iyo, magram sinamdvileSi tragikuli cxovreba hqonda: studentobisas, moskovSi man colad SeirTo yazaneli TaTari gogona nigiar seraeva, romelic adaTis darRvevis anu „urjuloze~ gaTxovebis gamo Zmebma sikvdiliT dasajes _ matareblis qveS Caagdes sergos Tvalwin! axla amis Sesaxeb vikipediaSic amoikiTxavT, Tumc Tavad sergo, romelsac „pirze araferi adgeboda~, arasdros ixsenebda. Cven dedasgan „Cumad~ naTqvami vicodiT. imave dros gardaicvala sergos pedagogi, `vgikSi~ kino-reJisuris maswavlebeli ukraineli igor savCenko, romelsac didi profesiuli da adamianuri amagi hqonda sergoze: 1948 wels TbilisSi ardadegebze Camosuli sergo davidarabaSi gaeba. samgzis stalinuri premiis laureatma savCenkom sxva bevri gavleniani moskoveli xelovanic CarTo saqmeSi da sergo cixidan daixsna. savCenko studentebs kievis kinostudiaSi reJisor-asistentebad amuSavebda sakuTar filmebze, es xom reJisuris xelobis
how many catastrophes would have happened on the railway” – he said); then the faculty of vocals at the Tbilisi Conservatoire; and at the same time, at the Ballet Academy near the Opera Theater. As soon as the war ended, he moved to the Moscow Conservatoire under the famous pedagogue Nina Dorliak. In parallel to that, he enrolled at the All-Union State Institute of Cinematography in the faculty of film direction. About his appearance, Sergo was a joyful person, but in reality, he led a tragic life: during his student years in Moscow, he got married to Nigyar Kerimova, a Tatar girl from Kazan, who was killed by her brothers as a “punishment” for marrying an “infidel” – they threw her under a moving train before Sergo’s eyes! Today, one can even read about that on Wikipedia, but Sergo himself, who didn’t have his tongue in his pocket, would never talk about this. We heard it from our mother, who told it to us as a secret. At the same time, Sergo’s pedagogue at the All-Union State Institute of Cinematography, Ukrainian film direction professor Igor Shavchenko died. He had done many good deeds for Sergo’s professional and social life. In 1948, when Sergo was visiting Tbilisi on vacation, he got into trouble. Shavchenko, who was a three-time laureate of the Stalin award, involved many other influential artists from Moscow and got Sergo out of prison. Shavchenko would make students work on his own films at the Kiev Film Studio as assistant directors, as it is the only real way to learn the art of film direction. So Sergo practically learned how to direct in Kiev, and he filmed his diploma short film ‘Dumka’ (which is lost) there. After graduating from the All-Union State Institute of Cinematography, he continued to work there as a director. He loved Ukraine and Kiev and created a new family there; in 1956, he married Svetlana Sherbatiuk. This is the first fairy-tale-like memory I have of Svetlana: I am sitting, nestled between pillows on an ottoman bench in a large hall in Telavi, and I am looking, a bit nervously, at a beautiful girl, who is combing her golden hair and is telling me something in a language that I do not understand. And I am nervous, because I don’t know what she’s saying, and at the same time, I’m interested in this “colorful girl”. Svetlana was the only child of the Consul of Ukraine to Canada,
sergos mSoblebis „oqros qorwili~ / SERGO’S PARENTS’ GOLDEN WEDDING
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swavlis mgoni erTaderTi realuri xerxia, ase rom, sergom praqtikuli reJisurac kievSi Seiswavla da sadiplomo moklemetraJiani filmic „dumka~ (dakargulia) iq gadaiRo. `vgikis~ dasrulebis Semdeg iqve ganagrZo muSaoba damdgmel reJisorad. uyvarda ukraina da kievi: iq kvlav Seqmna ojaxi, 1956 wels colad SeirTo svetlana SCerbatiuki. svetlana Cems mexsierebaSi CabeWdili pirveli zRapruli mogonebaa: TelavSi, did darbazSi, taxtze vzivar muTaqebSi miyuJuli da cota SeSinebuli vuyureb lamaz gogos, romelic oqros Tmas ivarcxnis da CemTvis gaugebar enaze meJRurtuleba, me ki meSinia, radgan es ucxo ena ar mesmis da Tan mainteresebs „feradi gogo~. svetlana kanadaSi ukrainis konsulis erTaderTi Svili iyo, ukanaskneli modis tansacmeli ecva da sergos is „sxvaTa saCveneblad~ dahyavda nadikvarze. Cvens mezoblebs dResac axsovT oqrosTmiani gogo, romelsac cxvirsaxocic ki abreSumisa hqonda. svetlana marTla gogo iyo, 16 wlis axlad skoladamTavrebuli, romelic viRac gadareulma 15 wliT ufrosma kavkasielma, damwyebma reJisorma SeirTo colad, romelsac ara Tu sabWoTa kavSirSi, kievSic aravin icnobda da sul erTi filmi hqonda gadaRebuli. sergo vercxlis wyaliviT mousvenari, warmosaxvasTan mebrZoli kaci iyo, svetlana giJurad uyvarda da rogorc kino-models ise eqceoda: sxvadasxva ier-saxeebi, kostiumebi, uamravi fotogadaReba. gamoucdeli da nebiera gogosTvis, romelsac amasobaSi Svilic gauCnda, aseT boboqar kacTan cxovreba rTuli aRmoCnda. maTi qorwineba 1961 wels dasrulda, megobroba ki mTeli cxovrebis ganmavlobaSi gagrZelda. erTad zrunavdnen vaJiSvilze, romelsac sergom sureni, Tavisi megobris, SesaniSnavi operatorisa da pirovnebis suren Saxbazianis pativsacemad daarqva. mogvianebiT, svetlanam, CvenTvis moulodneli simtkice gamoiCina: sergos patimrobis dros, dadioda masTan cixeSi paemanze da sergos megobrebTan erTad mis janmrTelobaze zrunavda _ Sehqonda diabetis deficituri wamlebi, iqidan ki gamohqonda sergos namuSevrebi: scenarebi, kolaJebi, Tojinebi, naxatebi, Weduroba... sergos cixeSi meezoved amuSavebdnen, is ki nagvisgan qmnida Sedevrebs, romelic misma „mfarvelma angelozma~ svetlanam gadaarCina da axla es yvelaferi erevnis muzeumSia daculi. erT-erTi aseTi, rZis boTlis sqeli folgis saxuravze amotvifruli Weduri medalioni, tonino gueram da felinim brinjaoSi Camoasxmevines da maTive daarsebuli riminis kino-festivalis prizad aqcies. kievis kinostudiaSi sergom gadaiRo 6 filmi, meSvidem ki msoflio dideba moutana _ „miviwyebul winaparTa aCrdilebi“ karpatebis mTielebis, guculebis erTgvari „romeo da julietaa“, sadac miviwyebul aCrdilebSi
she was wearing clothes according to the latest trends, and Sergo would wander with her in Nadikvari park to “show her off”. To this day, our neighbors remember this blonde girl, whose handkerchief was made of silk. Svetlana really was a girl; she was 16 and had just finished school when a crazy, 15 years older Caucasian aspiring director married her. At the time, nobody knew him in Kiev, let alone in the Soviet Union, and he had only made one film. Sergo was a restless man, always somewhere in his imagination. He was crazy in love with Svetlana, and he behaved towards her as if she were a film model: various appearances, costumes, and many photo sessions. For the unexperienced and delicate girl, who in the meantime had given birth to a child, it turned out difficult to live with such a stormy man. Their marriage ended in 1961, though their friendship lasted for their whole lives. They looked after their son together, whom Sergo named Suren after his friend, the wonderful cameraman and individual Suren Shakhbazian. Later, Svetlana showed surprising strength: during Sergo’s imprisonment, she would visit him in prison and look after his health together with Sergo’s friends – she would bring in the
meuRle - svetlana, Svili - sureni / SPOUSE – SVETLANA, SON – SUREN
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svetlana SCerbatiuki / SVETLANA SHERBATIUK
sergos tragikuli siyvarulis ambavic ilandeba. filmi mTelma msofliom Sedevrad aRiara, man 21 qveynis saerTaSoriso kinofestivalze 28 prizi daimsaxura. farajanovs ulocavdnen gamarjvebas felini, miqelanjelo antonioni, pier paolo pazolini, Jan luk godari,
necessary medication in the prison and bring out Sergo’s artworks from it: scripts, collages, toys, drawings, iron works… They made Sergo work as a yardkeeper in prison, and he took that opportunity to create masterpieces from literally trash. These art pieces have been preserved by his “guardian angel” Svetlana, and they
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akira kurosava... „aCrdilebis~ Semdeg, msoflio kino farajanovs ukve am da sxva did reJisorTa gverdiT moixseniebs. gaixsna misi talanti da xasiaTis foriaqa Tvisebebic ufro mZafrad gamovlinda. me rom maxsovs, 53 wlis, magram cixisgan, sajaro damcirebisgan motexili sergoc ki sakmaod Znelad asatani iyo Cveulebriv yofa-cxovrebaSi da rogori iqneboda 60-anebis dasawyisSi, komunistur cenzuraSi gamomwyvdeuli, Tavisi xelweris maZiebeli reJisori?! albaT iseTi, ra saxeliTac monaTles megobrebma _ „SeSlili geniosi~. iqneb amitomac ver gauZlo mSvenierma svetlanam, Tumc asakSic ki emCneodaT _ maT uyvardaT erTmaneTi. rogorc Cans, svetlanasTan daSorebas sergo Zalian ganicdida, vfiqrob, es kargad Cans akrZaluli filmis „kievuri freskebis~ SemorCenil epizodebSic. filmi unda yofiliyo nafrontal mamakacze, romelic omgamovlil kievSi eZebs Tavis Tavs. farajanovma erT-erTi mTavari rolis Sesasruleblad qarTuli kinos axali varskvlavi, Tengiz arCvaZe miiwvia. mas unda Seesrulebina roli, romelsac erqva „Cilovik~ anu qmari,
are now kept at the Yerevan museum dedicated to Parajanov. One of them, a medallion made from the aluminum foil of a milk bottle, was cast in bronze by Tonino Guerra and Fellini, and it became the prize of the Rimini Film Festival they created. Sergo shot six films at the Kiev film studio, and his seventh brought him world recognition – ‘The Shadows of Our Forgotten Ancestors’ is a kind of ‘Romeo and Juliet’ set in the Carpathian Mountains in which Sergo’s tragic love story can also be noticed among the forgotten shadows. The film was recognized as a masterpiece by the whole world; it won 28 prizes at film festivals in 21 countries around the world. Fellini, Michelangelo Antonioni, Pier Paolo Pasolini, Jean-Luc Godard, Akira Kurosawa were among those who congratulated Parajanov… After ‘The Shadows of Our Forgotten Ancestors’, world cinema has placed Parajanov in the group of those and other great directors. His talent got free, and his restless qualities had come forth. The Sergo I remember, the one who was 53 years old, was already broken by the prison and by public humiliation, but he was still difficult to put up with in everyday life – I can’t even imagine what kind of energy he had in the beginning of the 1960s, blocked by soviet
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svetlana da sureni / SVETLANA AND SUREN
sxva variantSi mas kino-reJisoric erqva _ faqtobrivad, es farajanovis alter-ego iyo. sakuTari saxelebi personaJebs ar hqondaT. ar iyo dialogebi. kino ena mTlianad ferwerul kompoziciebs eyrdnoboda, montaJuri gadasvlebic ki uaRresad cota unda yofiliyo, kadrebi _ statikuri da mxolod plastikiT gadmocemuli kadrSida dinamika. scenariT gaTvaliswinebuli 13 „freskidan~ oTxis eskizuri variantis gadaReba moeswro. erT-erTSi Tengiz arCvaZis personaJis, colisgan uaryofili qmris, gancdebia gadmocemuli. aseTi arCvaZe arc manamde da arc mere ar gvinaxavs. Zalian „arasabWouria~ es gancdebi: seqsualuri, vnebiani, pirobiTi, metaforuli. arCvaZe plastikurad, emociurad da Tanamedroved (im da am droisTvisac) TamaSobs. maRalCinosnebs sinjebi ar moewonaT, ufro ki ver gaiges da dafrTxnen. kulturis ministrs anekdoturi pretenzia SiSveli naturis msuye formebTanac ki hqonda. filmi daxures. es ki warmoebis SeCerebasTan erTad, gadaRebuli masalis ganadgurebasac niSnavda. firi gadaarCina filmis debiutantma operatorma aleqsandr antipenkom, romelmac farajanovis firis kolofs Tavisi sadiplomos saTauri daawera. es is antipenkoa, romelic imave wels, farajanovis rekomendaciiT, gadaiRebs Tengiz abulaZis „vedrebas~, vaJa-fSavelas nawarmoebebis mixedviT dadgmul
censorship, and looking for his style?! I completely understand why his friends nicknamed him the “crazy genius”. Perhaps this is why the beautiful Svetlana couldn’t put up with him, although even in old age, it was clear that the two loved each other. It seems that Sergo was really affected by the separation from Svetlana, and I think that this can be seen in the episodes left from the censored film ‘Kyiv Frescoes’. The film was supposed to be about a man who had fought the war and was looking for himself in a war-stricken Kyiv. Parajanov invited one of the new stars of Georgian cinema, actor Tengiz Archvadze, to play one of the main roles. He had to perform a character whose name was ‘Chilovik’, or in other words, husband; in another version, he was also named ‘film director’ – it was practically Parajanov’s alter ego. The characters didn’t have actual names. There were no dialogues. The film’s language used only artistic compositions with minimal editing. The frames were static, and the only dynamic was that happening through motion in the frame itself. From the 13 ‘Frescoes’ that had a script, he managed to film four sketches. One of them depicts the emotions of Tengiz Archvadze’s character, a man abandoned by his wife. Neither before nor after this “fresco” did Archvadze play so well. These emotions are very “non-soviet”: sexual, passionate, conditional, and metaphorical. Archvadze plays with motion, emotion, and contemporaneity (both for that and our time). High-ranking officials didn’t like the rushes, or, to be more exact, they didn’t understand what they were seeing and got scared. The minister of culture even protested against the wholesome shapes of the nude person. They prohibited the film. Together with stopping the filming process, this also meant the destruction of filmed material. The film was saved by debutant cameraman Aleksandr Antipenko, who wrote the title of his own diploma film on Parajanov’s millimeter film. This is the same Antipenko who will, that same year and on Parajanov’s recommendation, film Tengiz Abuladze’s ‘Repentance’, based on Vazha-Pshavela’s works. As for Sergo Parajanov, he will film ‘Sayat Nova’ in ‘Armen Films’, which will also be ill-fated; they reedited it and renamed it ‘The Color of Pomegranates’. This masterpiece is based on the same cinematographic principles as the ones that Parajanov was planning to use in the ‘Kyiv Frescoes’. ‘Sayat Nova’ was screened very few times in small theaters, but despite that fact, it found worldwide recognition too. Since ‘The Shadows of Our Forgotten Ancestors’, Parajanov would invite Georgian actors to each of his masterpieces: Spartak Baghashvili in ‘The Shadows of Our Forgotten Ancestors’, Tengiz Archvadze in ‘Kyiv Frescoes’, Giorgi Gegechkori in ‘Sayat Nova’, Medea Japaridze, Spartak Baghashvili, and of course, Sopiko Chiaureli, together in six roles. As for the films shot in Georgia, they have a full gallery of Georgian artists. Film critics were looking for ways to describe Parajanov’s masterpiece; they were studying his filmic language: “Sayat Nova is a poetic film about a poet” – he said that this description was belittling to him as a director. ‘Cinematic art’, ‘metaphoric film’, ‘philosophical cinema-poetry’ – this is how films should be, he said. He very much liked Suren Shakhbazian’s ironic accolade, “the best antiquity
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kongenialur films. sergo farajanovi ki „armen-filmSi~ gadaiRebs „saiaTnovas“, romelsac aseve rTuli bedi hqonda _ gadaamontaJes da sxva saxeli daarqves, „broweulis feri“. es Sedevri imave kinematografiul principebzea agebuli, romlis gamoyenebasac farajanovi „kievur freskebSi~ apirebda. „saiaTnova~ SezRuduli tiraJiT, TiTqmis wamierad gamoCnda e.w. meore ekranze, anu mcire kinoTeatrebSi, magram miuxedavad amisa, masac msoflio aRiareba moyva. „miviwyebul winaparTa aCrdilebidan~ moyolebuli, farajanovi, yvela Tavis SedevrSi iwvevda qarTvel msaxiobebs: „aCrdilebSi“ spartak baRaSvili, „kievur freskebSi“ Tengiz arCvaZe, `saiaTnovaSi~ giorgi gegeWkori, medea jafariZe, spartak baRaSvili da, raRa Tqma unda, sofiko Wiaureli erTdroulad eqvs rolSi. saqarTveloSi gadaRebul filmebSi xom qarTveli artistebis mTeli galereaa. kinokritikosebi eZebdnen farajanovis SedevrisTvis Sesatyvis ganmartebas, swavlobdnen mis kino-enas: „saiaTnova~ aris poeturi filmi poetze~ _ es Cemi, rogorc reJisoris damcirebaao. „kino-ferwera~, „metaforuli kino~, „filosofiuri kino-poezia~ _ kino swored aseTi unda iyoso. ufro metad moswonda
commission”, and cinematographer Romanow’s words – “intellectual blackmail”. The man from Yerevan thought that a physician’s tribute, “Sayat Nova is art’s ideal formula”, was the most accurate. After ‘Sayat Nova’, which strengthened Parajanov’s “prohibition”, he wrote the script ‘David of Sasun’ for the Yerevan Film Studio. They sent an application to Moscow, from which they got a short answer: ‘So Yerevan’s studio still exists?’ (many say that this anecdote from Sergo was actually true…). They wouldn’t give permission to film in Ukraine for six years to a director who was almost acknowledged as a genius by the whole world! He wrote seven scripts. One of them, ‘Intermezzo’, got “luckier”. They summoned Parajanov to the Ukrainian CP’s first secretary, Shelest, who offered him to shoot a film about bread instead of ‘Intermezzo’. “Wheat is more important to us right now”, he said. They talked lengthily, Parajanov said they parted as friends, I think he started working on the film too, but… On December 1, 1971, Parajanov made a speech at the ‘Sayat Nova’ screening in Minsk. He had been invited by the highest ranks – Belarus’ Communist League’s Central Committee – and the reaction to his speech also came from the highest level: Andropov, who was the KGB chairman, sent a 23-page stenographic text of the speech to the Central Committee of the Soviet Union! There is no higher echelon in the Soviet Union; these organs determine everything that is happening in the country, and in the first place –
da-Zma ania, ruzana da sergo farajanovebi / SERGO WITH SISTERS ANYA AND RUZANA
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suren Saxbazianis ironiuli Sefaseba „antikvariatis saukeTeso sakomisio~ da kinofunqcioner romanovis _ „inteleqtualuri SantaJi“. erevneli fizikosis naTqvams, „saiaTnova~ xelovnebis saocnebo formulaa“, yvelaze zustad Tvlida. „saiaTnovas~ Semdeg, romelmac farajanovis „akrZalva~ gaamyara, man erevnis kino-studiisTvis dawera scenari „david sasunci~. gaagzavnes moskovSi ganacxadi. iqidan miiRes mokle pasuxi: „erevnis studia jer kidev arsebobs?~ (sergos am anekdotze bevri ambobda, simarTleao...) msoflioSi TiTqmis geniosad aRiarebul reJisors ukrainaSi 6 weli ar aZlevdnen filmis gadaRebis uflebas! Svidi scenari dawera. erT-erTs, „intermecos~, mgoni „bedi gaexsna“. farajanovi daibares ukrainis kompartiis centraluri komitetis pirvel mdivan SelestTan, romelmac SesTavaza „intermecos~ nacvlad gadaeRo filmi purze. xorbali axla CvenTvis ufro mniSvnelovaniao. bevri ulaparakiaT, TiTqmis megobrebad davSordiTo, mgoni muSaobac daiwyo, magram... 1971 wlis pirvel dekembers sergo farajanovi, minskSi „saiaTnovas~ sagangebo Cvenebaze sityviT gamovida. miwveva man umaRles doneze miiRo, belorusiis komkavSiris
kniaz levans gauWirda / PRINCE LEVAN WAS IN A HURRY
moskoveli „kinovredebi~ / FILM CLOWNS FROM MOSCOW
ideology, or in soviet terms, security. This meant that Parajanov had become the number one “threat” to the Soviet Union’s ideology! What did he actually say? Almost the whole truth about the soviet cinema of the time, censorship, new cinematic languages, and the torture of creating. He was critical of his own and others’ works. He harshly mocked the directors put forward by the official press, as well as the ministers of culture of Armenia and Ukraine. He lauded Georgian directors and glorified Sopiko Chiaureli. About Lenin, he said that they use him in films just like a regular card in a card game. He also mentioned Shelest: “I agreed on something, but I will film something else”. This speech of his, which leaves the impression of a stream of consciousness with its pathos, criticism, free thinking, sarcasm, and irony, is completely acceptable and understandable today, especially if we take into account the context of the time and the author’s spiritual condition, but back then, in a totalitarian state, Parajanov’s words, expressed publicly before the soviet youth, were considered such a serious threat by the KGB that the information even reached the Soviet Union’s red cardinal, Andropov, and the highest organ of power – the Central Committee of the Soviet Union. Their fear was justified – Sergo Parajanov’s words were those of a free person! And they were very scared of freedom in the Soviet Union.
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cekadan da reagirebac aseTive umaRlesi donis mohyva: sakavSiro kagebes Tavmjdomarem, andropovma gamosvlis 23 gverdiani stenogramuli teqsti gaugzavna sabWoTa kavSiris komunisturi partiis centralur komitets! amaze maRali done sabWoTa kavSirSi ar arsebobda, es organoebi xelmZRvanelobdnen qveyanaSi yvelafers, pirvel rigSi _ ideologias, anu sabWouri gagebiT, uSiSroebas. es niSnavda, rom farajanovi sabWoTa kavSiris ideologiis nomer pirveli „saSiSroeba~ gaxda! ra Tqva aseTi? TiTqmis mTeli simarTle imdroindel sabWoTa kinoze, cenzuraze, axal kino-enaze, Semoqmedis tanjvaze. kritikulad Seafasa sakuTari da sxvisi Semoqmedebac. mwared iSayira oficiozis mier aRiarebul reJisorebze da somxeTis da ukrainis kulturis ministrebze. Seaqo qarTveli reJisorebi. sofiko RvTaebad dasaxa. leninze Tqva, kinoSi ise iyeneben, rogorc ubralo karts banqoSio. Selestic moixsenia: ki davTanxmdi, magram sxva rames davdgamo. misi es teqsti, romelic aracnobieris nakadis STabeWdilebas tovebs, Tavisi paTosiT, kritikulobiT, azrovnebis Tavisufali stiliT, sarkastuli maneriT, ironiiT, sruliad misaRebi da gasagebia dRes, gansakuTrebiT
parizeli stumari / PARISIAN GUEST
As a punishment, they still, for the moment, considered that prohibiting him would be enough; he couldn’t film either ‘Intermezzo’, or ‘Bread’. As for his own bread, he was still eating it by selling things. As mother used to say, he was “often fooling around” – he would keep expressing his sarcastic-critical thoughts everywhere, though in a more unflashy manner. During an official meeting, he voiced his support for the dissident writers who had been recently imprisoned. All this and many other ideological accusations were written in the notes sent to the first secretary of Ukraine’s Central Committee, signed by the head of the KGB. Parajanov wrote a script according to Andersen’s story, ‘The Miracle of Odense’, together with soviet film and theater specialist Viktor Shklovski. The latter’s authority played some role, and soviet TV accepted the script for filming. But the miracle didn’t happen: when Sergo was about to travel to the shooting, he had to stay in Kyiv, as his son Suren got a typhus fever and was practically fighting for his life. When he returned home from the hospital on December 17, 1973, they arrested Sergo on homosexual violence charges. Everybody knew about Parajanov’s bisexual orientation; it was not something new, but now they were accusing him of sexual violence, homosexuality and bribery. The investigation was based solely on anonymous sources. Almost all witnesses were sent either by the police or the KGB. They say that parizeli gogona / PARISIAN GIRL
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Tuki winapirobas da avtoris sulier mdgomareobas gaviTvaliswinebT, magram maSin, totalitarul saxelmwifoSi, farajanovis naazrevi, sajarod warmoTqmuli sabWoTa axalgazrdebis winaSe, kagebem iseT seriozul safrTxed miiCnia, rom informaciam ssrk-s rux kardinalamde, andropovamde da mTavar partiul organomde _ cekamde miaRwia. swori iyo maTi SiSi _ sergo farajanovis sityva iyo Tavisufali adamianis sityva! Tavisuflebis ki sabWoTa kavSirSi Zalian eSinodaT. sasjelad jer-jerobiT isev akrZalva akmares: verc „intermeco~ gadaiRo da verc „puri~. yoveldRiur sazrdo purs ki isev vaWrobiT Wamda. rogorc deda ambobda, „bevrs ratratebda” _ yvelgan TavSeukaveblad gamoTqvamda Tavis sarkastul-kritikul azrebs. erT-erT oficialur Sekrebaze ki im dros dapatimrebul ukrainel disident mwerlebs mxardaWera gamoucxada. yvelaferi es da sxva mravali ideologiuri braldeba weria ukrainis cekas pirveli mdivnisTvis gagzavnil moxsenebiT baraTSi, xels awers kagebes Tavmjdomare. farajanovma, sabWoTa kino-dramaturgiis klasikosTan, viqtor SklovskisTan erTad dawera scenari andersenis zRapris mixedviT, „saswauli odensSi~. Sklovskis avtoritetma gaWra da sakavSiro televiziam miiRo scenari dasadgmelad. magram saswauli ar moxda: gadaRebaze gasamgzavrebeli sergo Seferxda kievSi, radgan misi vaJi, sureni tifiT daavadda da, faqtobrivad, sikvdils ebrZoda. saavadmyofodan Sin dabrunebuli sergo 1973 wlis 17 dekembers daapatimres homoseqsualuri Zaladobis braldebiT. farajanovis biseqsualuri orientaciis Sesaxeb yvelam icoda, ar iyo axali ambavi, magram mas amjerad seqsualuri Zaladoba, sxvaTa garyvna da qonebrivi danaSauli daabrales. faqtebis dadgenisas gamoZieba anonimur wyaroebs eyrdnoboda. TiTqmis yvela mowme miliciis da kagebes migzavnili agenti iyo. hyvebian, rom cixidan gamosvlis mere, ukrainaSi, erT-erTs moulodnelad saxlSi daadga. Tanmxleb megobrebs uTxra, axla Tqven raRac gansakuTrebuls naxavTo. yvela eloda gasayidi antikvariatiT gaZeZgil binas, magram amis nacvlad, kari simpaTiurma mamakacma gaaRo, muxlebze daeca da tirili daiwyo: mapatie, sergei, maiZuleso. sergom _ amis mosmena mindodao, Setrialda da kibeze mSvidad daeSva. manamde ki iyo xuTliani patimroba mkacri reJimis koloniaSi, damcireba, fizikuri wameba, avadmyofoba, koloniidan koloniaSi gadayvana. erT-erTSi daumtkica, rom marTla saxelganTqmuli reJisoria da patimrebis pativiscemac daimsaxura. am ambavsac komikur JanrSi hyveboda: radgan ukrainaSi ijda, Tavisi filmebidan „miviwyebul winaparTa aCrdilebi~ daasaxela. „paxanma~ kino-meqanikoss Sesabamisi kadris mitana daavala. amoWril kadrSi amoikiTxes „aCrdilebi SuaRamisas qrebian~ _ im dros popularuli serialis saTauri da
after coming out of prison, he unexpectedly visited one of them in Ukraine. He told the friends that were with him that they would see something special. Everybody was waiting for a dirty, disorderly apartment, but instead, a good-looking man opened the door, fell down to his knees, and started crying: “Forgive me, Sergei, they forced me”. Sergo answered: “This is all I wanted to hear”. He turned back and calmly went down the stairs. Before that, he was imprisoned for five years in a very strict penitentiary colony, humiliated, physically abused and tortured, ill, and moved from one colony to the next. In one of the latter, he proved to them that he was a world-renowned director, thereby getting respect from his fellow inmates. He was telling this story with a lot of humor too: because he was imprisoned in Ukraine, he cited ‘The Shadows of Our Forgotten Ancestors’ from his films. The criminal authority from the prison ordered a film mechanic to bring proof of this to the prison. He did, but it read “Shadows Disappear at Night” – the title of a popular show of the time, with the name of another director. Well, it wasn’t easy to find Sergo’s prohibited films for a penitentiary colony’s film mechanic at the time. A package from Sergo’s Kyivan friends arrived at the last minute, containing Sergo’s awards, prizes, pictures of his orders, as well as a frame with the film title and director’s name that the criminal authority had asked for.
kote mirianaSvilis portreti / KOTE MIRIANASHVILI’S PORTRAIT
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sxva reJisoris gvari. aba, sergos akrZalul films sad iSovida banakebis kino-meqanikosi. sulze miuswro sergos kieveli megobrebis amanaTma, sadac iyo sergos jildoebis, sigelebis fotoebi, „paxanis~ SekveTili kinos saTauris da reJisoris titris kadric. wignad gamoica misi cixidan gamogzavnili werilebi _ es aris didi Semoqmedis sulis da xorcis wamebis tragikuli dokumentebi. cremlis gareSe ver waikiTxavT. evropasa da amerikaSi xelovnebis moRvaweebma farajanovis gaTavisuflebisTvis zrunva daiwyes, oficialuri, sajaro protestebi Tu mimarTvebi mizans ver aRwevda. isev piradi, adamianuri urTierTobebiT moxda farajanovis daxsna jojoxeTidan: sergo megobrobda reJisor vasil katanianTan (sergos Sesaxeb saukeTeso wignis avtoria), romelic iyo lili brikis geri. briki sergos xelovnebis didi moyvaruli iyo, iseve, rogorc misi parizeli da, elza triole, cnobili frangi komunisti-poetis lui aragonis meuRle. 70-ian wlebSi sabWoTa kavSirma, nobelis sapirwoned, daawesa saerTaSoriso leninuri premia, romelic mianiWes lui aragons. man ki jildos gadacemisas piradad leonid breJnevs sTxova farajanovis gaTavisufleba. patimari farajanovi, axali wlis wina dReebSi, moulodnelad banakis ufrosTan gamoiZaxes da Seatyobines, rom is Seiwyales, gaTavisuflebulia erTi wliT adre da axla Tanmxlebi piri mas TbilisSi waiyvans, mSobliur saxlSi. ekrZaleba moskovSi, leningradSi, kievsa da erevanSi araTu cxovreba, Casvlac ki. rogorc sergo ambobda, arc moulodneli gaTavisufleba aRmoCnda naklebi stresio! ramdenime dReSi sergom daTovlil TbilisSi gaiRviZa da aivnis moajirze wiTeli broweulebi daxvda! misi saiaTnovas mTavari simbolo! ase Sexvda mas Tbilisi! mere didxans eZebda sergo am genialuri misalmebis avtors, ipova da uxvad daasaCuqra! is xom gamorCeuli somexi iyo _ uyvarda megobrebis da axladgacnobili adamianebis dasaCuqreba. usaxsrobiT Sewuxebulma mamis profesiac mSvenivrad gamoiyena da antikvariatiT vaWroba daiwyo, Tumc fuli arasdros ar uCerdeboda jibeSi, didad arc sisufTaveze zrunavda da arc Cacmaze. misi ZonZ-manZebiT aRSfoTebulma dedaCemma erTxel tansacmelic ki dauwva. sergo Tavs imarTlebda: maqvs Zalian kargi pijaki, verikom da sofikom maCuqes, miSa Wiaurelis naqonia, magram iseTi dacxrilulia misi mravalricxovani medlebiTa da ordenebiT, rom naxvretebidan miberavso. mezoblebi sadils yovelTvis uziarebdnen, arc TviTon rCeboda valSi: iseT dResaswaulebs awyobda, nebismier Teatrs jobda. Tan mTavar rolebSi vin iyvnen? marCelo mastroiani, marina vladi, vladimir visocki, tonino guera, maia pliseckaia, bela axmadulina, tagankis Teatris cnobili msaxiobebi... qarTveli varskvlavebi xom yoveldRe sergos aivanze
Jora da ania samsaxurSi midian / ZHIRA AND ANIA GO TO WORK
The letters he sent from prison were published as a book – these are tragic documents showing the spiritual and physical torture that the great artist was enduring. You cannot read them without shedding a tear. Artists from Europe and America started supporting Parajanov’s liberation, but even official, public protests didn’t work. Again, it is through human relations that Parajanov was taken out of his misery: Sergo was friends with director Vasil Katanian (who authored the best book about Sergo), who was Lilya Brik’s stepson. Brik greatly appreciated Sergo’s art, as did her Parisian sister Elsa Triolet, the wife of famous French communist poet Louis Aragon. In the 1970s, the Soviet Union introduced an international Lenin prize to counter the importance of the Nobel prize, and Aragon was the recipient of the prize. And he personally asked Leonid Brezhnev to free Parajanov when he received the prize. A few days before the new year, they suddenly summoned prisoner Parajanov into the office of the director of the prison, where they notified him that he was pardoned, that he would get free one year earlier compared to the time he had to serve, and that a person standing in the office would bring him to his home in Tbilisi. He was prohibited from not only living, but also simply visiting Moscow, Leningrad, Kyiv and Yerevan. As Sergo himself said, his unexpected liberation wasn’t less stressful than his condemnation! In a few
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iyvnen gamofenilni. sul raRacas dgamda _ ase ivsebda SemoqmedebiT SimSils. gaxalisda, Tbilisi da Tbiliselebi siTbosa da siyvaruls Cuqnidnen, cota miiviwya patimrobis tkivilebi da dedas danabarebi: yuradReba ar moakloTo, amowurulad CavTvale _ Cems saqmeebSi garTuli iSviaTad mivdiodi masTan. amitom, erTxel, kino-saxlSi, romeliRac premieraze, Soridan momaZaxa: kniaz, CemTan ratom aRar dadixar? axla Teatri mainteresebs-meTqi. visTan swavlobo? TumaniSvilTan! _ amayad vupasuxe. amodi, amodi CemTan. iseT Teatrs mogiwyob, miSas rom arc daesizmrebao! (erT skolaSi swavlobdnen, icnobdnen erTmaneTs). male mesamed daiWires _ miliciels qrTami SeaZliao. sasamarTlo xelovnebis muSakTa saxlSi imarTeboda. iqac sanaxaoba moawyo: badrags uTxra, gul-xeli daikrife, Tavi odnav dawie da warbebis qvemodan gamoixede. yoCaR, egre napoleons gavxaro. Turme isic sul ase idga. meores usayveduria, batono sarqis, magas roli mieciT
days, Sergo woke up in a snowy Tbilisi, and he was met with red pomegranates on the balustrade of his balcony! The main symbol of his ‘Sayat Nova’! This is how Tbilisi welcomed him! Sergo looked for the author of this genial welcome scene for a long time; he found him, and pampered him! He loved to give presents to his friends and to newly-met people. Having no money, he used his father’s profession and started trading antiquities, although money would never stay in his pocket for long. He was not interested in cleanliness or being welldressed. Shocked by his dirty clothes, my mother even burned them once. Sergo was justifying himself: “I have a very good jacket, it was given to me by Veriko and Sopiko, it used to be Misha Chiaureli’s, but it has so many holes from his numerous medals and orders, that I can feel the wind blowing through them.” Neighbors would always share their dinner with him, and he would not remain in debt either: he was staging celebrations that would make any theater jealous. And who were performing the main roles? Marcello Mastroianni, Marina Vlady, Vladimir Vissotsky, Tonino Guerra, Maia Plisetskaya, Bella Akhmadulina, famous actors from the Taganka Theater… As for Georgian stars,
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sergo farajanovi da kote mirianaSvili / SERGO PARAJANOV AND KOTE MIRIANASHVILI
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they were on Sergo’s balcony all day long. He would always stage something – this is how he was quenching his thirst for creation. He became buoyant; Tbilisi and Tbilisians were offering him their love, and he gradually started forgetting about his time in prison. I remember my mother telling me to be attentive to him, but I had a lot of things going on, and I would only rarely visit him. That is why, once, at some premiere at the Cinema House, he called me from some distance: “Kniaz, why aren’t you visiting me anymore?”. I told him that I was interested in theater, and when he asked me who was teaching me, I proudly answered that it was Tumanishvili. Then he told me: “Come, visit me. I’ll show you theater that Misha wouldn’t even dream about!” (They were in the same school and knew each other) They would soon imprison him for a third time, saying that he bribed a policeman. The trial took place in the Artists’ House. He staged a spectacle there too: he told the guard to cross his arms, to hold his head down, and to make a frown. “Bravo, now you look like Napoleon.” It turned out that he would always stand like that. Another complained that he didn’t have a role like the first guardian, and Sergo told him: “Tomorrow, you will bring a sheet and a kilogram of laurel branches – you’ll be Nero”. Once, after another trial, Napoleon
lili briki da sergo farajanovi / LILYA BRIK AND SERGO PARAJANOV
da me arao. Sen xval moitan zewars da erT kilo dafnis rtos, neroni iqnebio. erTxel ki, morigi sasamarTlo sxdomis Semdeg, napoleons da nerons sergos cixeSi dabruneba „daviwyebiaT~, samagierod megobrebs taqsiT abanoSi wauyvaniaT, swrafad movawesrigebTo. abano, qababi, meqise... megobrebi saubars Sehyvnen da patimris cixeSi miyvana SeagviandaT. ukan dabrunebuls ki Turme SigniT aRar uSvebdnen, farajanovi cixis karze abraxunebda _ SemomiSviT, davbrundi saxlSio! me ar Sevswrebivar. vinc Seeswro, ificeba, namdvilad ase iyoo. isic namdvili ambavia, rom qarTvelma reJisorebma sTxoves SevardnaZes: es kaci rom cixeSi moxvdes, mokvdeba. arc ase gaCereba SeiZleba, geniosia, misi saqme kinoa, usaqmod rom iyos, ufro mets „daaSavebs~ vidre kinos gadaRebiTo. SevardnaZemac daarRvia sakavSiro tabu da ase daiwyo sergo farajanovis meore sicocxle kinoSi, xanmokle, magram uaRresad nayofieri _ „suramis cixes“ ukrainul Sedevrze naklebi prizi ki ar auRia! tonino guera da lora guera / TONINO AND LAURA GUERRA
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sofiko Wiaureli, `saiaTnovas~ sinjebi / SOPIKO CHIAURELI, TESTS FOR THE FILM 'SAYAT NOVA'
me „qarTuli, tiflisuri Camosxmis somexi~ varo _ TviTon aqvs naTqvami. hoda, isev Tbilisma daubruna sicocxlis da Semoqmedebis xalisi. Tavisi multikulturuli SemoqmedebiTi bunebiT sergo farajanovi Zalian Tbilisuri movlenaa. Cveni qalaqi yovelTvis Wreli iyo da amaSi iyo misi individualobac da xiblic. mosaxleobis siWrelesac vgulisxmob da maT Seqmnil kulturasac, gind socialur, wes-CveulebaTa kulturas da gind sakuTriv xelovnebas. vfiqrob, amitomac dainteresda sergo farajanovi saiaTnovaTi. dRes xSirad gaigonebT: farajanovs ver vupatroneT, vawyenineT, wagvarTves... TiTqmis 14 wliani SemoqmedebiTi pauzis Semdeg, sergo farajanovma, saqarTveloSi gadaRebuli filmebiT triumfiT moiara bevri qveynis saerTaSoriso kinofestivali. is aq, TbilisSi daubrunda SemoqmedebiT sicocxles, magram samwuxarod aqve, TbilisSi daiwyo misi gza imqveyniuri cxovrebisaken _ 1988 wlis ivnisSi, sakuTar saxlSi, avtobiografiuli
and Nero “forgot” to take Sergo to prison, and instead, Sergo’s friends brought him to the hot baths, saying that they would quickly put him in order. Baths, kebabs, massages… The friends got carried away and brought him to prison late. Upon his return, it turned out that they wouldn’t let him in anymore, and Parajanov started loudly knocking on the door – “Let me in, I’m back home!”. I wasn’t there. But those who were there swear that this is how it happened. It is also true that Georgian directors told Shevardnadze: “If this man goes to prison, he will die. But you cannot leave him like this either, he’s a genius, his job is cinema, and if he stays without work, he will do more “harm” than by shooting films”. And Shevardnadze broke the soviet taboo, and this is how Sergo Parajanov’s second life in cinema started, a short, but utterly fertile – ‘The Legend of Suram Fortress’ didn’t get less awards than the Ukrainian masterpiece! I am an “Armenian cast in a Georgian, Tbilisian material”, he said himself. And it is in Tbilisi that he could recover the joy of living and creating. With his multi-cultural creative nature, Sergo Parajanov is a very Tbilisian phenomenon. Our city was always colorful, and this is
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TelavSi, sergo stumrad gogona vaxvaxiSvilisa da biZina mirianaSvilis ojaxSi/ SERGO AS A GUEST IN GOGONA VAKHVAKHISHVILI AND BIDZINA MIRIANASHVILI’S FAMILY IN TELAVI
filmis „aRsarebis“ gadaRebaze gaxda cudad, mas filtvis kibo daudgines. sabWoTa kavSiri, qveyana, sadac daibada da aseTi rTuli cxovreba gaiara reJisorma farajanovma, ingreoda. adamianebi, qalaqebi da qveynebi mxolod gadarCenaze fiqrobdnen. mware saTqmelia, magram sergosTvis „aRaravis ecala~: arc mis mfarvel angeloz svetlanas Soreul kievSi, arc mis vaJs (romelsac Tavad sWirdeboda patronoba), arc disSvils, arc me _ mama gardaicvala, dedas ki erTi-meoris miyolebiT emarTeboda infarqti da vumalavdiT sergos gardacvalebas. dakrZalvazec ki ver wavedi erevanSi, rasac dResac Zalian ganvicdi. saSineli, avi dro iyo! gamoCndnen adamianebi, romlebmac daxmareba aRuTqves, Seasrules kidec da dResac zrunaven mis saxelze. me vnaxe sergos bolo dReebis kadrebi: rogor mihyavT Tbilisis saxlidan xelkaviT. iq, erevanSi, mSenebare muzeumis ezoSi, zafxulis sicxeSi rogor zis paltoiani, SuSisTvalebiani umweo moxuci odnav ayiravebul skamze, operatori ki cdilobs msxvili xediT daafiqsiros momakvdavi adamianis saxe... xorcieli uZlureba yvelas bedia, da am dros vin ra gadawyvetilebas miviRebT, aravin uwyis. erTxel Zia sergom, besikis quCaze, erT-erTi saxlis sadarbazoSi berZnuli Tu romauli miTologiis qalRmerTis bareliefi maCvena, romelic Txeli samosis
precisely what gives it its individual character and charm. I also mean the diversity of its inhabitants and the culture they create, be it a social, everyday life culture, or a special field of arts. I think that this is also the reason why Sergo Parajanov got interested in Sayat Nova. Today, you can often hear: “We didn’t look after Parajanov, we offended him, they stole him from us…” After almost 14 years of creative inactivity, Sergo Parajanov toured the international film festivals of many countries with the films he shot in Georgia, and was met with great triumph. He returned to his creative ways here, in Tbilisi, but unfortunately, it is also in Tbilisi that his road to the other world started – he became ill in June of 1988, in his own home, while filming the autobiographic film ‘The Confession’, and was diagnosed with lung cancer. The Soviet Union, the country in which director Parajanov was born and spent such a difficult life, was crumbling. People, cities and countries were only thinking about survival. It is harsh to say, but “nobody had time” for Sergo anymore: neither his guardian angel Svetlana in the faraway Kyiv, nor his son (who needed assistance himself ), or his nephew, or me – my father died, while my mother had heart attacks repeatedly, and we hid Sergo’s death from her. I couldn’t even attend the funeral in Yerevan, which still makes me very sad to this day. It was a terrible time! People appeared who pledged to help and who are still looking after his good name today. I saw how they took Sergo from his Tbilisian house. There, in Yerevan, in the yard of the museum that’s being constructed, a weak old man
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frialiT, cekva-cekviT sadRac mifrinavda. _ axla raRacas getyvi, kargad daimaxsovre: es aris Cemi mfarveli angelozi! roca is gaqreba, mec movkvdebi. TiTqos miCveuli viyavi mis dadgmebs, fantasmagoriul, naxevrad marTal ambebs, magram saxis iseTi idumali gamometyvelebiT miTxra, rom davijere. leqciebis Semdeg, rogorc wesi, Teatraluridan avdiodi sergosTan _ iq meore universiteti meloda. Cvevad meqca: gzad im sadarbazoSi Sevivlidi da sergos „mfarveli angelozs~ movinaxulebdi xolme. erTxelac angelozi aRar damxvda. Zalian mewyina da SevSfoTdi, rom naxavs, guli gauskdebameTqi. _ ra cxvir-piri Camogtiris, kniaz? _ mkiTxa sergom masTan saxlSi Sesuls. _ Zia sergo, amoviare besikis quCaze da Seni mfarveli angelozi aRar aris adgilze. _ aa, eg? gavyide! _ mipasuxa udardelad. aseTi iyo _ cxovreba TamaSad miaCnda: „me Sevecade xelovneba amesaxa cxovrebaSi da ara cxovreba xelovnebaSi“. gayidul bareliefze ki albaT, siyvarulis qalRmerTi iyo gamosaxuli, radgan Sesabamisi kvali datova _ dRes im kedels viRacis mier miwerili aseTi warwera amSvenebs: „miyvarxar, miyvarxar Zlier!“
with glazed eyes is sitting on a slightly inclined chair, in an overcoat in the heat of the summer, while the cameraman is trying to catch a good view of the dying man’s face… Physical weakness is the fate of all, and nobody knows what decision we will make then. Once on Besiki Street, Sergo showed me the bas-relief of a Greek or Roman mythological goddess in the entrance hall of one of the houses. The goddess had a thin garment and seemed to be dancing and flying somewhere. “I’ll tell you something now, and don’t forget it: this is my guardian angel! When it disappears I will die. I thought I was used to his spectacles and phantasmagorical, half-true stories, but he told me that with such a serious face that I believed him. After my classes, I usually went to visit Sergo – he was my second university. And it became a habit: I would always pass through that entrance hall and greet Sergo’s “guardian angel”. One day, she wasn’t there anymore. I was very sad and surprised. I thought that he would have a heart attack when he saw that. Why such a face, Kniaz? – Sergo asked me when I entered his house. Uncle Sergo, I passed Besiki Street, and your guardian angel isn’t there anymore. Ah, that one? I sold it! – he answered lightheartedly. That’s how he was; life was a game for him: “I tried to describe art in life, and not life in art”. As for the bas-relief he sold, it might have depicted a goddess, as it has left a mark – today, there is someone’s inscription on the wall at that very place: “I love you, I love you dearly!”
sergo farajanovis xelovneba uTbilisod da piriqiT, Tbilisi usergood, warmoudgenelia. memorialuri dafa gavxseniT, quCas misi saxeli davarqviT, mSvenieri Zeglic davudgiT da axla, muzeumsac Tu movaxerxebT, alali iqneba. erTi nivTi, misgan nasaxsovrebi, feSqaSad, momaval muzeums Cveni ojaxisagan!
Sergo Parajanov’s art cannot be imagined without Tbilisi, and the same goes in the opposite way – there’s no Tbilisi without Sergo. We opened a memorial plate, named a street after him, arranged a nice sculpture of him, and if we manage to open a museum too, it would be fair. I already have one of the compositions he left us as a souvenir to hand to that museum from our family!
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4 (34) 2023
kuiriela, ele-melei, gamoixedei karSi, ar gamoixedav, wavalT sxva karSi...
zafxuli gaiWima. noembris miwuruls mze ise acxunebda, rom maRaziebis vitrinebSi gamowkepili ganaTebuli naZvis xeebi ucnaurad gamoiyureboda. arada saaxalwlo ganwyobas xom susxi unda. susxi, romelSic citrusis notebi gamoereva da larnakSi Cawyobil mandarinebs gagaxsenebs, romlebic bavSvobaSi axali wlis moaxloebis utyuari niSani iyo. CemTan am surnels gaprialebuli iatakebis cvilnarevi suni ereoda. amasTan, iatakebs bebia ise aprialebda, rom mere yvelani vireklebodiT. erTi TviT adre naZvis xis gawyoba ki cota mogvianebiT, okeanis gaRmidan Semovida CvenTan, romelsac raRa dagimaloT, dRemde ver veguebi. cxela xolme jer aseTi raRacisTvis. arada, rogorc ar unda SeewinaaRmdego, winasaaxalwlo foriaqi mainc gipyrobs. da isev Cndeba SegrZneba, rom win raRac axali, Seucnobeli da jadosnuria. okeanis gaRmuri tradiciebi yvelam viciT. naZvis xe, santa klausi, SuSis feradi saTamaSoebi, romlebic, sxvaTa Soris qarTvelis gamonagonia, Tumca amaze sxva dros. qarTul axal welze ki aqa iq gvsmenia, umTavresad gurul kalandaze, kalendris areulobaze, ZveliT da axliT dResaswaulebze... hoda am momnusxvel aurzaurSi gasarkvevad Tbilisis saxelmwifo universitetis asocirebul profesors, istoriis doqtors rozeta gujejians mivmarTeT.
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4 (34) 2023
_ ra viciT qarTul axal welze? rodis vzeimobdiT? ra erqva? _ axali wels saqarTvelos sxvadasxva mxareSi ramdenime saxeliT icnoben: „axali weli~, „welwadis Tavi~, „welwdobai“, „zomxa“, „kalanda“, „kanda“... „kalanda~ romauli sityvaa da Tvis pirvel 10 dRes niSnavs. aqedanaa kalendaric. saqarTveloSi, sxva Children’s Choir, and more dasxva epoqaSi, axal wels sxvadasxva dros aRniSnavdnen. rogorc viciT, warmarTobis Jams es dResaswauli agvistoSi dgeboda. qristianobis gavrcelebis Semdgom axali wlis dadgomas seqtemberSi aRniSnavdnen. mecxre saukuneSi axali wels martSi zeimobdnen, xolo meaTe saukuneSi sabolood ianvari damkvidrda. _ gamodis rom evropas jer kidev meaTe saukuneSi SevuerTdiT?
_ ki, iulianuri kalendari am dros damkvidrda. sxvaTa Soris aramarto amiT SevuerTdiT. Suasaukuneebis saaxalwlo rituali Zalian hgavs didi britaneTisas... _ magaliTad? _ jer kalendarze getyviT. cnobilia, rom meoce saukunis 20-ian wlebamde, kerZod ki 1918 wlamde saqarTvelos saero kalendari mihyveboda iuliusis (iulianur) sistemas, xolo am droidan saxelmwifo gadavida grigorianul kalendarze, rasac ewoda „axali stiliT~. Sesabamisad, iulianuri kalendari darCa e.w. „Zveli stiliT~. miuxedavad am kalendaruli reformisa, saqarTvelos mosaxleoba ganagrZobda iuliusis kalendriT cxovrebas da es damokidebuleba dResac SeiniSneba. Cven ubralod ver vTqviT uari tradiciaze. gansakuTrebiT sayuradReboa is garemoebac, rom saqarTvelosgan mowyvetili istoriuli qarTuli
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mxareebis mosaxleoba azerbaijanSic da TurqeTSic axal wels swored rom Zveli stiliT egebeba da mxolod mas miiCneven „axal wlad“. kalendaruli cvlileba ar Sexebia saqarTvelos marTlmadidebel samociqulo eklesias da igi erTguli darCa iuliusis kalendrisa, ris Sedegadac iuliusis kalendriT 1 ianvari aris grigorianuli kalendriT 14 ianvari. miuxedavad aseTi erTgvari gaorebisa, tradiciul qarTul yofaSi, umravles mxareSi, gansakuTrebiT, soflad, jer kidev ufro mniSvnelovani saritualo datvirTvis mqoned miCneulia ZveliT axali weli, swored mas aniWeben upiratesobas da is kvlav moiazreba „namdvil axal wlad~. _ madloba sicxadis SetanisTvis. axla saritualo msgavsebaze gviTxariT. _ es mecnierulad araa jer dasabuTebuli. ubralod am sakiTxs rom vikvlevdi TvalSi momxvda. mivyveT faqtebs. rodidan gvaqvs axali wlis ritualis amsaxveli saistorio cnobebi? saistorio wyaroTagan umniSvnelovanesia XIV saukunis Zeglis „xelmwifis karis garigebis~ cnoba. es wyaro asaxavs gaerTianebuli saqarTvelos samarTlebrivi mowyobis formas da masSi ixsenieba samefo karze damkvidrebuli ramdenime dResaswaulic, maT Soris, axali welic. wyaros cnobiT, axal wels Zvelad erqva „weliwadis Tavis dResaswauli~; wyaro aRwers samefo karis saaxalwlo tradiciebs: mefis Semosvis wess, ikveTeba monadireTuxucesis gansakuTrebuli roli saaxalwlo ritualSi. _ ratom? _ saaxalwlo ritualebSi, samefo karze, rogorc Cans wamyvani roli nadirobas eTmoboda. mefes an romelime didebuls saaxalwlo sufrisTvis gareuli taxi unda moenadirebina. arafers gagonebT? _ rogor ara. britanuli wesia saSobao nadiroba. _ diax. „samefo karis garigebaSi~ moTxrobilia samefo sufris Sesaxebac: „saRvineT win qve dasmen mefesa maRla-skamiTa, tablas win daudgmen da veluris taxis Tavs moxarSuls win daudgmen~. cnobili xdeba, rom saaxalwlod milocva, nadimi, nadiroba tradiciuli wesi yofila samefo karisaTvis. rogorc vxedavT, saSobaod da saaxalwlod sufrisaTvis taxis (Semdgom, Sinauri Roris) Tavis momzadeba Zveli qarTuli tradiciidan momdinare yofila. _ warmarTobidan iwyeba es tradicia? _ rogorc Cans, ki. winaqristianul kulturaSi, rodesac mzes vcemdiT Tayvans, mzis Sesawiri cxoveli gareuli
Rori yofila. aqedanaa Cvens saaxalwlo sufraze Semwvari goWi. _ saqarTveloSi bevri muslimi qarTvelia. maTi tradiciebi gansxvavdeba? _ metwilad ara. erTia. axali wlis dResaswauli saqarTvelos yvela mxareSi aRiniSneba, maT Soris, gamuslimebul qarTvelTa Sorisac, TviT istoriul taoklarjeTSic. dResaswaulis arsi da msvleloba saerTo qarTuli xasiaTisaa, Tumca, aris zogierTi lokaluri Taviseburebac ama Tu im mxareSi. _ da ra niSnebia tradiciuli qarTuli yofis axal welSi? _ jer saerTos getyviT da mere mxareebs mivyveT. axali wlis dResaswaulis zogadi niSnebia: upirvelesad es ojaxuri dResaswaulia. samzadisi ramdenime dRiT an kviriT adre iwyeboda da kulminacias 31 dekembers aRwevda. pirvel ianvars ki rituali sruldeboda. Cven gvqonda saritualo mcenareebi... _ naZvis xe Cveni araa, rogorc vici... _ ara, naZvi mere movida. sul axlaxan. Cveni saritualo mcenareebi iyo saritualo xeebi (saTari, xuli, gvergvi, CiCilaki, guizi, xvixvili, kalpi, bazgari). aseve gvqonda saritualo saWmeli _ purebi, tkbileuli, Rorze ukve mogaxseneT. gozinayi, samekvleo mosakiTxi. yovelTvis gvqonda mekvlis instituti _ adamiani, romelic axali wlis dadgomis mere Semovidoda ojaxSi da dailoceboda. iyvnen saSinao da sagareo mekvleebi. gvqonda 31-is da 1-is locvebis ritualebi. mTaSi adiodnen xatze. Sinaur saqonelTan uvlidnen saxls, gansakuTrebiT es miRebuli iyo svaneTSi. yvelgan sCveodaT ezo-karmidamos, baR-venaxisa da kalos, Sinauri frinvelebisa da saqonlis dalocva. mTianeTSi asrulebdnen umzraxad wyalze gasvlisa da iq mezoblebTan erTad saaxalwlo sixarulis gaziarebis rituals, wyaros wyals moapkurebdnen karmidamoSi da a.S. garda amisa, axali wlis cikli grZeldeboda momdevno dReebSic, am dReebSi icavdnen garkveul aRkveTebs. _ aRkveTebze gamaxsenda Cveni winasaaxalwlo SeZaxilebi „ar WamoT, sufrisTvisaa“... _ saaxalwlo sakvebze calke getyviT. zogadad, modiT, TiToeuli cal-calke ganvixiloT. _ siamovnebiT mogismenT. _ 31 dekembers TiTqmis yvelgan daklavdnen saaxalwlod nasuq Rors, cxvars, Sinaur frinvels, diasaxlisebi acxobdnen saritualo purebs, romlebsac sxvadasxva saxelebi erqva: „basilis kverebi“, „basilis puri“, „beria“,
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„beria/keria“, „keria“, „lemzirebi“ „ganatexebi“, „lobianganatexebi“, „tabla“, „bediskverebi“, „riku-raku“ da sxv. mzaddeboda saritualo tkbileuli (gozinayi, CurCxela, TafliT damtkbari fafebi...). saaxalwlo saritualo purebis/kverebis erT saxeobas „basilis~ saxeli erqva. amgvari saxeli sruliad bunebrivia, radgan saeklesio kalendriT axali wlis dRe wmida basili didis xsenebis dRea da saeklesio wirva swored am didi wmindanis xsenebas eZRvneba. wmida basilisadmi miZRvnili purebisa da kverebis didi
mravalferovneba gvaqvs: magaliTad, raWaSi „kac-basila~ da wmida basilis puri cxveboda, agreTve, sxva saxis saritualo puric: sami keria-beria//wlisTavi guriaSi icodnen „basilis puri“. imereTSi wmida basilis saxelze mrgval kvers acxobdnen. mas guls amoWridnen da diliT ojaxis wevrebs daurigebdnen, darCenil kvers ki beRlis TvlebSi debdnen da wm. basils evedrebodnen: mogveci simravle da mosavali gagvimravleo~. qarTlSi basilas kverebs jvars amoaWridnen, erT jvars dasaTesav TeslSi Cadebdnen, zogan _ comSic daurTavdnen, meores _
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saqonels aWmevdnen, mesames ki xvna-Tesvamde inaxavdnen da pirvel xnulSi debdnen. zogan adamianis gamosaxulebis formis basilas kvers debdnen xnulSi. aseve, mekvle „basilis purs~ daamtvrevda da TaflSi amovlebuls ojaxis yvela wevrs miarTmevda. aseTive wesi arsebobda, aRmosavleT saqarTvelos mTianeTSic, yvelgan cxveboda saritualo kverebi, rogorc ojaxis wevrebisaTvis, aseve, saqonlisaTvis. _ saqonels saritualo purs aWmevdnen? _ diax. saqoneli ojaxiviT iyo. masze iyo ojaxis keTildReoba damokidebuli. RamiT an gamTeniisas Tav-TavianT xatebSi midiodnen mekvleebi. sawiravi, qada, sanTeli, arayi ahqondaT. zogan sakvlelic _ saklavic ahyavdaT. loculobdnen. _ naZvis xis magivrobas ra gviwevda? _ saaxalwlod mcenareebis Sin mitana da maTTvis saritualo funqciis miniWeba saqarTvelosTvis damaxasiaTebelia. dReisaTvis tradiciul saSobaosaaxalwlo xed naZvia miCneuli. es wesi mecxramete saukunidan mkvidrdeba saqarTveloSi. manamde da mis paralelurad ki saaxalwlod mcenareebis Sin motanis da morTvis didi gamocdileba gvaqvs. am mcenareTagan, zogierTi erTgvar Taiguls hgavs, magaliTad, „guiz~ da „girgudar~ svaneTSi, „kvikvili“/„xvixvili“ samegreloSi, „CiCilaki“ guriaSi, imereTSi, samegrelosa da samurzayanoSi, lerwmis „gvergvi“ raWasa da leCxumSi da sxv. aseve gvxvdeba mTeli xis moWris, gaTlisa da moris saxiT Sin motanis tradiciac: „£ul~ svaneTSi, „saTari“, „bebera“ aRmosavleT saqarTveloSi... guriaSi mohqondaT axlad moWrili cxemlis SeSa, leCxumSi „bazgar Semovlebuli SeSa“ da sxv. aseve tyidan mohqonda maradmwvane ekliani da kurkiani mcenareebi, magaliTad, askilis rtoebi. _ axla ki Tavad ritualebi ganvixiloT. Tqven TqviT rom zogadi niSnebi saerToa, Tumca mxareebis mixedviT detalebi gansxvavdeba. SegviZlia dawvrilebiT aRvweroT es gansxvavebebi? _ ki, rogor ara. eTnografiuli masala iZleva amis saSualebas. raWiT daviwyoT. ratomRac yvelas kalanda axsovs, arada raWaSic iyo Taviseburebani. iq, saaxalwlod tyidan mohqondaT SeSiT savse marxili da maradmwvane ekliani da kurkiani mcenareebi (baZgari). saRamos ikvleboda saaxalwlo Rori, cxveboda ganatexebi _ erTgvari saritualo purebi. locvisas ixseniebdnen wmida basils. navaxSmevs amzadebdnen „samkloviaro“-s: akeTebdnen lerwmis gvergvs, acxobdnen did lobian-ganatexs, romelic ideboda gvergvze. iqve debdnen tkbileuls, vercxlis fuls, xils. aseve acxobdnen erT did ganatexs, romelzec jvars gamosaxavdnen.
leCxumSi diliT adre daklavdnen Rors. marxiliT mohqondaT „bazgar Semovlebuli SeSa~. am ekals Semoavlebdnen saxls, beRels, nalias. akeTebdnen „CiCilaks“, „gvergvs“. cxveboda didi saojaxo tabla (saweso puri), masze ideboda fuli da tkbileuli. yovelive es Tavsdeboda gvergvze. saRamos acxobdnen 6 saojaxo tablas da meSvide did salocav tablas~ da ufrosi qali keriasTan ojaxis mSvidobianobas SesTxovda ufals. navaxSmevs mekvle _ mkloviare gavidoda saxlidan damxmare saTavs nagebobaSi, raTa diliT mekvled Semosuliyo. _ axla mivxvdi rom tabla ara magida aramed saritualo puria. _ ase gamodis, ki. zemo svaneTSi saSobao-saaxalwlo sadResaswaulo cikli mraval sxvadasxva rituals moicavda. aq axal wels balszemoT „zomxa“, xolo balsqvemoT anu qvemo svaneTSi „kanda“ erqva. axalgazrdaTa jgufi sofels Semoivlida galobiT Sesabamisi eTnomusikaluri foniTa da sakarnavalo elementebiT... _ amerikis helouini gamaxsenda, sadac axalgazrdebi tkbileuls iTxoven kardakar. _ helouini av sulebsaa miZRvnili, aq ki Zvels acileben, mSvidobiT rom wavides da axals xalisiT egebebian, Tumca kardakar Semovla hgavs. aseTi Semovla da tkbileulobis agroveba CvenTan aliloze ician. svaneTSi ojaxebi mTeli dRe saaxalwlo samzadisSi iyvnen, gvian saRamosaTvis daikvleboda saaxalwlo Rori, mzaddeboda saritualo sakvebi, salocavad gankuTvnili purebi. sruldeboda saojaxo locva. locvis saSinao mekvle aiRebda saaxalwlo misaloc tablas da sabZelSi an romelime sxva damxmare sameurneo nagebobaSi iZinebda da diliT adre locviT Seabijebda ojaxSi da Sinaurebs axal wels miulocavda. amis mere mTeli ojaxi loculobda. locva miZRvnili iyo wlis Semcvleli Zalis _ RvTisa da basili didisadmi (basil zuRaS _ basili zRvisa), visi saeklesio xsenebis dRec iyo ZveliT 14 ianvari. amis Semdeg modioda gareTa mekvle da ojaxi masTan erTad sazeimo sufras miusxdeboda. keriaSi guzguzebda specialurad saaxalwlod motanili xis mori (xul), romelic ritualis nawili iyo: masze Sesvamdnen biWs, mors mxrebze gaidebdnen mamakacebi da simReriT Semoitandnen saxlSi, wriulad samjer gars Semouvlidnen keras, biWs gadmosvamdnen, xolo mors keriis cecxlSi SeukeTebdnen. svaneTSi saaxalwlod amzadebdnen Txilis rtoebisagan Sekrul Taigulis („guiz“) da wnelis rgolebisgan Sekrul „girgudar“-s. guriis ambebi ufro viciT. 14 ianvris kalanda araa daviwyebuli _ didi dResaswauli iyo da aris kidec. wina dRiT „cxemlis Wra~ iyo. axali wlis wina dRes ojaxis ufrosi kaci diliT tyeSi nedl cxemlas moWrida da
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saxlis karebTan daawyobda. ikvleboda Rori. cxveboda saweso puri da bokeli CiCilakisTvis, agreTve, 4 didi sabasilobo puri. saRamos mzaddeboda cxemlis Wris vaxSami. diasaxlisi acxobda cxemlis Wris xaWapurs, mamakaci daklavda „rogorc sakalando sabasilo mamluCas, aseve cxemlis Wris mamals, romelic im Rames unda eWamaT... axal wels diliT ojaxis ufrosi Semolocvis Semdeg gareT gavidoda da cxemlis xis sam mozrdil nawers Semoitanda, cecxls daanTebda, miulocavda da Tan iZaxda „xala, xala, xalao“. anTebul muguzals SeanZrevda ise, rom mas mravlad dascvenoda naperwklebi da Tan daiZaxebda: asi goWi, asi qaTami, asi Zroxa, asi indauri, asi nalia, asi beReli... amis Semdeg ojaxis yvela wevri gareT gavidoda da samjer TiTo Rer SeSas Semoitanda, xal, xalas ZaxiliT kerias samjer Semouvlida da cecxls SeukeTebda“. imereTSi saxlSi mohqondaT maradmwvane da kenkrovani mcenareebi. amzadebdnen saaxalwlo misalocs, am yvelafers, saSobaod dakluli Roris moxarSul TavTan erTad, debdnen gobze. acxobdnen saritualo kverebs, magaliTad, yurZnis mtevnis gamosaxulebians, romelic venaxSi gahqondaT da iq Camokidebdnen _ baraqis dabedebisTvis. imereTSi „Semolocvis~ dRes kopitis Wogrebisa da lurji Wyoris motana icodnen. amas ojaxis ufrosi yvela damxmare nagebobas miakravda. axali wlis wina Rames am WogrebiT cecxls daanTebda, xolo axali wlis dilas ojaxis ufrosi kopitis joxs Semoitanda da jirkvs miartyamda, rom bevri naperwkali hqonoda. _ CiCilaki romelma mxarem gvaCuqa? guriam? _ ufro samegrelom... zogadad CiCilaki dasavluria. samegrelo vaxsene da aqve getyviT, rom Zalian mravalferovnad aRiniSneboda. upirveles yovlisa mzaddeboda CiCilaki, surosa da Txilis lamazi Taiguli
_ „kvikvili“/„xvixvili“. acxobdnen Roris qonian mWadebs da „kiru-karu“-ebs: yurZnis mtevnis, vaSlis, msxlis, wiwilebis, xelsafqvavis da a.S. gamosaxulebebis mqone kverebs. saRamosTvis saaxalwlo gobs gaavsebdnen saritualo purebiT da simindis marcvlebiT. Sevidodnen maranSi, baR-venaxsac miukvlevdnen. am ulamazes dResaswauls Tedo saxokia aRwers Tavis naSromSi, romelic 1897 wliT TariRdeba. amitom vfiqrob vrceli citata gamogvadgeba: „kalandis gasaTeneblad samzadisi iwyeba dResaswaulis wina dRes. yoveli megrelis ojaxSi iwyeba didi dalageba. iqaurobas recxaven da asufTaveben... hbanen didpatarianad. imarageben sursaT-sanovages, SeSas apoben mTelis samis dRisaTvis. movaleebs ustumrdebian, Torem momavals wels valianoba daekvebebaT. klaven sakalando Rors, romelsac jer isev Sobis marxvidan asuqeben... zogis TqmiT, saaxalwlo Rors megrelebi klaven mosagoneblad wm. basilisa, ris Sesaxeb aseTi zepirgadmocemaa darCenili xalxSi. erT axal weliwads eklesia savse yofila xalxiT. wm. basili wirvaze mdgara. eSmaki Turme cdilobda mowiwebiT locvad mdgar da didi wmindanis sityvebis mosasmenad gamzadebul morwmuneTa azri da goneba sul sxva sagnisaTvis miepyro. swored wminda saxarebis kiTxvis dros eSmaks Sig _ sakurTxevelSi Seugdia Rori, romelic wmida mamis lajebSi SemZvrala. magram wmindani ar SeSfoTebula, cali fexi Roris kuds daaWira Turme, gaaCera da saxarebis kiTxva ganagrZo, TiTqos aq araferiao. xalxi amiT xsnis imas, rom Rors kudis bolo gaWyletiliviTa aqvs. saxlis ufrosi Roris gafufqvas, gamoSigvnasa da garecxvas rom morCeba, Seudgeba „CiCilaks~, romelic iTvleba ZRvnad da amasTanave simbolod kalandisa, romelic burbuSelian joxis saxiT evlineba megrelis ojaxs. CiCilaks akeTeben
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axlad moWrili gareuli Txilis joxisagan. sigrZe aqvs joxs erTidan or metramde. simsxo 4-5 santimetramde. joxi unda iyos swori... uroko. joxsa sWrian erTi-ori kviriT adre da wyalSi sdeben, rom darbildes da misi xvewa ufro gaadvildes. sanam joxis xvewas Seudgebodnen, dasdeben agizgizebul cecxlze da erTTavad atrialeben, rom yvela mxridan gacxeldes. cecxlisagan qerqi joxisa skdeba da TviTon joxi rbildeba... moaclian garujul qerqs.“ _ omebiT mudam aoxrebul qarTl-kaxeTSi albaT didad ar ecalaT... _ nu ityviT ase. iclidnen. qarTlSi, magaliTad, acxobdnen did purebs da patara kverebs, romlebsac biWebs mklavze Camoacvamdnen. es kverebi biWebs wyalkurTxevamde unda etarebinaT da im dRes eklesiidan mobrunebis Semdeg eWamaT. tablaze daawyobdnen moxarSul dedals, Roris Tavs, moxarSul kvercxebs, CurCxelebs, gozinays, saritualo purebs... iqve dadgamdnen Rvinos, jamiT wyals, Tafls. TaflSi puris natexebs Cayridnen. am tablas abramiani erqva. diliT tyidan mohqondaT SeSa da saritualo xe saTari. es xe muxisa unda yofiliyo. kaxeTSi ki tablaze daawyobdnen moxarSul dedals, Roris Tavs, moxarSul kvercxebs, CurCxelebs, gozinays, saritualo purebs... iqve dadgamdnen Rvinos, jamiT wyals, Tafls. TaflSi puris natexebs Cayridnen. am tablas sakvlevari erqva. Semonaxulia dalocvis teqsti: „Semovdgi fexi, gwyalobdeT RmerTi, fexi Cemi, kvali angelozisa!“ _ am dalocvas dRes mekvle ambobs? _ ki, kaxuri dalocva SemogvrCa dRevandel samekvleo ritualSi. mTiuleTSi tyidan mohqondaT didi xe, romelsac SeukeTebdnen SuacecxlSi da diasaxlisi masze acxobda bediskverebs. mohqondaT sxva xec _ bebera. masze mogrexili wneliT nekeri unda yofiliyo Sebmuli. mamakacebi xatSi midiodnen, sadac dekanozi locavda xalxs. gudamayarSi „bebera~ ifnis iyo. beberaze biWs gadasvamdnen. beberas cecxlSi SekeTebis win samgan jvaredinad Taflsa da erbos wascxebdnen. saRamos xatSi midiodnen. xevSi acxobdnen Saqris kvnitian sakvlels. tyidan motanili askilis rtoebiT rTavdnen mTel saxls. xevsureTSi samekvleo purs daaWrelebdnen saWrelebliT, romliTac gamoisaxeboda: jvari, xari, saxnisi... RamiT xatSi midiodnen, sadac erTmaneTs axal wels miulocavdnen. xalxs xucesi locavda. fSavSi samekvleos „goga~ erqva. is xatSi mihqondaT. xatSi xevisberi am goga-s daanawilebda, Taflian jamSi Cayrida da yvela mekvles TiTo lukmas miawvdida. amis Semdeg mekvleebi brundebodnen Tav-TavianT ojaxebSi da ojaxs axal wels miulocavdnen.
_ Tqven miTxariT rom gamahmadianebuli qarTvelebic da isinic vinc sxva saxelmwifoSi aRmoCndnen Cveneburad aRniSnaven axal wels dRemde. SegiZliaT mogviyveT rogor? _ rogorc ukve vTqvi, axali weli sazeimod aRiniSneboda TurqeTis respublikaSi moqceul qarTul istoriul mxareebSic. me araerTi welia vikvlev TurqeTis qarTvelTa tradiciul kulturas da gamaxara im faqtma, rom ZveliT axali wlis sazeimod aRniSvnis tradicia dadasturda mTel istoriul tao-klarjeTSi, sadac mosaxleoba dRemde qarTvelad miiCnevs Tavs: imerxevSi, zemo maWaxelaSi, nigalSi, agreTve, taos nawilSi _ parxliswylis xeobis qarTul soflebSi. faqtobrivad, yvelgan arTvinis regionSi. isini axal wels Zveli stiliT, 14 ianvars zeimobdnen da mkveTrad asxvaveben ZveliT axal wels Tanamedrove kalendris 1 ianvris axali wlisagan. pirvel ianvars Turqulad „ilbaS“-s uwodeben da komentarsac urTaven, „es Cveneburai ar aris, Turqulia“. axali wlisTvis saguldagulod amzadeben sadResaswaulosaritualo sakvebs da eZeben mekvles. sadResaswaulo cikli iwyeba 13 ianvris saRamos da 2-3 dRe grZeldeba. Cveni droisTvis ZveliT axali wlis Sexvedris aRniSvnis tradicia axsovT Suaxnis da xandazmul adamianebs. tao-klarjeTis zogierT mxareSi (murRulis xeoba, devsqelis xeoba, ebrikas Temi...) saaxalwlo ritualSi vlindeba unikaluri elementebi: alilosa da berikaobis fragmentebi, Tanmxlebi musikaluri foniTa (sagalobeli „guriela“/„kuiriela“ da sakarnavalo motivebiT, rogorc es aris aRmosavleT saqarTvelos mTianeTSi. zemo maWaxleli mTxrobelebis gadmocemiT, „13 ianvris RamiT TeTr xap SevwvavdiT, simind movxarSevdiT, RamiT karg dacdil mezobels duuZaxebdiT. imis ukanisve aSurai gavakeTebdiT. aSurai Svidi Tanea: simindi, qeri, loxoti, Wendime, puri, lobio, fetvi, CavyridiT, Saqar duumatebdiT, wyal davasxamT, movxarSavT, vanelias CavyriT, gemriel sun mivcemT. diliT biWi, umzraxad, duulaparakeblad, axors samjer gars Semouvlida, axorSi Sevdoda, saqonel, xarebs miulocevda. mere TeTr xaps weviRebdiT, Zroxas guugorebdiT, rome ar gagordes. dilas kargi mlocavi kac moviyvanT, ar daiZaxebda, marjvena fex Semoadgamda, RmerTma lamazad gamyofaT-o ityoda. is kai fexis gamogvidgeboda, imai Seqers mivcemdiT, Tafl, kakals mivarTmevdiT. axors Semouvlida, dalocvida“. mekvled mamakacs, bolo dros, biWsac iwvevdnen. istoriuli taos parxliswylis xeobis qarTvelTa saaxalwlo rituali Semdegi saxisa iyo: „axal wels movidodnen, erTad mevyrebodiT, ferxuli vicodiT. Cveni axali weli aT da xuT dRiT mere modioda, axla daikarqa. axla ilbaSia, arafers ar vakeTebT. Zuelad kargi iyo. gaRma-gamoRma qobai erTad viyaviT, me moveswari, yvela erTad iyo assamoci kvamli. Cemze uwin Zaan bevri iyvnes~
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_ dananebiT aRniSnavdenen mTxrobelebi. dReisaTvis aseTi ritualebi aRar sruldeba, vinaidan qobaiswylis xeobis sofelTa didi nawili zamTrobiT icleba mosaxleobisgan. darCenil nawilSi ki es tradicia ukve dakargulia. istoriul nigalSi mdinare Woroxis marjvena da marcxena napirze gaSenebuli qarTuli soflebsa da murRulSi 13 ianvris saRamos axalgazrda mamakacTa jgufi Seimoseboda sakarnavalo samosiT, Camoivlida sofels simReriT, romelsac ase ixseneben: „gurielas/ kuirielas~ viqmodiT“. Seagrovebdnen Sewirulebas. gaiTamaSebdnen qalis „motacebisa~ da Cxubis scenebs da sicil-xarxariT yvela ojaxs Semoivlidnen: „axalwel ferxuli vicodiT. Cveni axali weli en win iyo, axla daikarqa. axla ilbaSia, arafers ar vakeTebT. Zuelad bevrs visamebdiT, gaRma-gamoRma soflebi erTad
viyaviT, devsqel gevdodiT, isinic mevdodnen, erTad mevyrebodiT, vimRerebdiT...“; „axalwelsa vsaamobdiT, vmRerodiT, delixoromi, duzxoromi, rgvalad saamobdnen. deli xoroms axlagazrdebi isamebdnen, Cven kacebi _ duzxoroms. axali wel kacebi moiardnen saxlebs, kurielas iqmodnen. mur wiisvamen, Txis tyavidan quds geixdis, qalebis windidan Tvalebs amoWravs, ar micnano~. „saRamos mklavebi daviWirebdiT yvela erTad da mivdiodiT simReriT kardakar. saxlebSi CamovivlidiT, vimReravdiT, mogvcemdnen erbos: `kuiriela, ele-melei, gamoixedei karSi, / ar gamoixedav, wavalT sxva karSi...~ racxas mogvcemdnen: kvercxi, kakali, Txili, erbo, yveli. movkrebdiT. Rame 11-is mere gazis naTurebiT vanaTebdiT, kvarsac deiWirebdnen. deileoda saxlebi, erT saxlSi meviyrebodiT, imas vWamdiT~.
Zalian ucnauri xalxi varT. erTi muWa da erTi dResaswaulis uamravi sxvadasxva ritualiT. hoda wels, albaT, naZvis xis magivrad, saxlSi tyidan motanili askilis rtoebi meqneba... mravalferovnebisTvis. esaubra ira WeliZe
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KETEVAN KOKOZASVILI
qeTevan kokozaSvili
sityva da feri leqsiviT miwerili baraTi besik da levan xaranaulebs
naturmorti broweulebiT d pomidvriT, firficari, zeTi, 33x42 sm.
STILL LIFE WITH POMEGRANATES AND TOMATO; 33X42, OIL ON PLYWOOD
WORDS AND COLORS A NOTE WRITTEN AS A POEM TO BESIK AND LEVAN KHARANAULI
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avtoportreti, firficari, zeTi, 32x23 sm. 2019
SELF-PORTRAIT; 32X23, OIL ON PLYWOOD, 2019
Above Tianeti, six rivers flow from Borbalo, one of the Caucasus
TianeTs zemoT, kavkasionis erT-erTi mTidan, borbalodan, eqvsi mdinare iRebs saTaves, maT Soris sami
mountains. Three of these rivers descend into Georgia. They are
saqarTvelosken moedineba. es aris mistikis, zebunebriv
places of mysticism linked with supernatural forces, myths, a
ZalebTan idumali kavSiris, miTebis, zRaprulisa da
coexistence of fairytales and reality, and the hunting ground of
namdvilis Tanaarsebobis, kopalasa da iaxsaris, devebis
Kopala and Iakhsari, as well as that of the Devs. This is the starting
sanavardo sivrce. es aris aTvlis wertili erTiani,
point of a common, absolute cosmic world, the examination,
mTliani kosmosuri samyarosken, romlis Sesacnobad,
understanding and absorption of which require more than “one
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peizaJi naturmortiT, tilo, zeTi, 50x69 sm. 2018
LANDSCAPE WITH STILL LIFE; 50X69, OIL ON CANVAS, 2018
Casawvdomad, mosaxelTeblad `erTi dRe, erTi weliwadi, erTi cxovreba~ cota arian. iqneb amitomac, TiTqos borbaloze nadnobi Tovlis Rvarebisgan adidebula mdinareo da misi mozRvavebuli energia stiqiasaviT dastydomia iqve mTis ZirSi erTi soflis ubralo saxls. aq ferebi sityvebad iqcnen da sityvebi _ ferebad. aq besik xaranaulma poezia axlidan dawera da levan xaranaulma mxatvrobiT gagvimJRavna yvelaferi da yvela feri. es sulierebiT gajerebuli sufTa da Rrma samyaro amouwuravi fenomenia Tavisi uTvalavi saTqmeliTa da feriT da TiTqos mravalmxriv dakvirveba da mravalmxriv aRmoCena moisurvao, ver isakmarisa marto sityva an marto tiloze gamosaxva. aq aris maTTvis samyaros centri, samyaros sawyisi, azrovnebis, Seqmnis, Tavisuflebis, `poeturi znenisa da mxatvrobis znenis~ (b.x.) pirvelmizezi.
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day, one year, one life”. Perhaps this is the reason why the river seems to rise from the melted snow of the Borbalo, and its flooding energy strikes a simple home sitting at the foot of the mountain. Here, colors have become words, and words – colors. Here, Besik Kharanauli rewrote poetry, and Levan Kharanauli expressed everything and every color through his paintings. This pristine and deep world full of spirituality is an inexhaustible phenomenon with its countless stories and colors, and it feels like this place demands a varied way of being felt – words or colors alone wouldn’t have been enough. The center of their world is here, the origin of the world, of thought, creation, freedom, and the fundamental essence of “poetic nature and creative nature” (B. Kh).
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almasa, tilo, zeTi, 80x66 sm. 2008
ALMASA; 80X66, OIL ON CANVAS, 2008
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lelas portreti, tilo, zeTi, 90x65 sm. 1987
PORTRAIT OF LELA; 90X65, OIL ON PLYWOOD, 1987
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sanam deda makarons moxarSavdes, tilo, zeTi, 50x70 sm. 1999
xaranaulebi besik xaranauli, romelmac yvelaferSi poezia aRmoaCina... misi fiqriT, poetisTvis yvelgan aris poeturi sigiJis mizezi. am cxovrebis wesrigSi, yofis dialeqtikur svlaSi, am mizezebsa da SedegebSi, sadac yvelaferi ukve `dawinduli da dakavSirebulia~, man yovelive aurdauria da mere am qaosidan Tavisi sakuTari poeturi wesrigi Seqmna. mTeli misi Semoqmedeba erTi didi poeturi romania, personaJebi ki _ bavSvoba, yrmoba da mowifulobis xana, mogonebebi da sizmris xilvebi, siyvaruli da isev siyvaruli, rogorc samyaros pirvelsawyisi, cremli da sixaruli, gakvirveba sicocxliT da yoveli gaTenebiT da am yvelaferTan erTad `arsebobs kidev saxelSeurqmeveli SegrZnebebi“. levan xaranauli ki mTel Tavis saTqmels mxatvrobis, ferebis, funjis saSualebiT gamoxatavs. rac mis garSemoa, rac axlobelia, nagrZnobia, gancdili da TvaliT moxelTebulia, imas xatavs.
WHILE MOTHER IS PREPARING PASTA; 50X70, OIL ON CANVAS, 1999
The Kharanaulis Besik Kharanauli, who found poetry in everything... According to him, there’s a reason for poetic madness everywhere for a poet. In that order of things, in the dialectic perspective of existence, in the cycle of causes and effects in which everything is already “pretedetermined and connected”, he shuffled all of it and created his own poetic order from this chaos. His whole oeuvre is one big poetic novel, and the characters are childhood, youth, and maturity, memories and dream visions, love and love again, as the foundation of the world, tears and joy, wonder at existence and at every dawn, and together with all that – “there are also ineffable feelings”. As for Levan Kharanauli, he expresses all he has to say through art, colors, and the brush. Everything around him, everything he holds dear, everything he felt, experienced, and everything his eyes have grasped – he paints it. In his artistic realm, one feels a joy blended with light sorrow with an array of colors from yellow to black, from white to brown, with a gradation of various blue tones.
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mama, tilo, zeTi, 60x45 sm. 2010
FATHER; 60X45, OIL ON CANVAS, 2010
am ferwerul samyaroSi igrZnoba msubuqi sevdiT
Here, one can see that his art comprises, and, at the same time, can
Sezavebuli sixaruli ferebiT TamaSisa yviTlidan
exhibit its poetic reflexion, and there is a clear dialogue with poetry
Savisken, TeTridan yavisferisken, lurjis sxvadasxva
in Levan Kharanauli’s canvasses. This can be felt in every line, every
tonebis gardamavloba Ria cisferidan muq Seferilobamde.
stroke, in the harmony of shadows or light, in the soft, gradual or
aq Cans, rom mxatvrobas gaaCnia da, amasTanave, SeuZlia
harsh shifts in color, as “poetry is both full of words and wordless, it is
warmoaCinos Tavisi poeturi refleqsia da levan
also tactile... it is with everything it encompasses...”
xaranaulis tiloebze marTlac rom aSkara dialogia
I called Levan Kharanauli during one of his exhibitions. I wanted to
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TamaSi, muyao, zeTi, 100x70 sm. 1995
GAME; 100X70, OIL ON CARDBOARD, 1995
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akrobatebi, muyao, zeTi, 92x63 sm. 2018
poeziasTan. es igrZnoba yovel xazSi, StrixSi, Crdilisa Tu sinaTlis harmoniaSi, ferTa rbil, TandaTanobiT monacvleobasa Tu simkveTreSi, radgan `poezia sityviT aris da usitvodac, xeliTac aris... yvelafriT aris, sadac TviTonaa...~ levan xaranauls davureke gamofenis meramdeneRaca dRes, Sexvedra mindoda da cota xniT gasaubreba. axla Zalian daRlili var, mogvianebiT iyoso, _ miTxra da metad aRar Semiwuxebia, momerida. ramdeni xania, mamaCemic ar minaxavs, dResRa movaxerxeo, _ amas rom getyvis adamiani, modi da nu mogerideba. mainc Sevxvdi rusTavelze, cisfer galereaSi da aq yovel naxatSi gadavikveTeT, an ra unda Tqvas mxatvarma imaze meti, vidre misi namuSevrebi gviamboben. levan xaranaulis tiloebis Tematika moicavs portretebs, peizaJebs, naturmortebs, sxvadasxva garemosa da xasiaTs. gamofenaze gamorCeuli adgili mainc portretebs ukavia. mxatvris interesi am mxriv mravalferovania: ojaxis wevrebi da megobrebi,
ACROBATS; 92X63, OIL ON CARDBOARD, 2018
meet him and have a small conversation. He told me that he was very tired, and that we should do it another time. I didn’t bother him again, I didn’t want to insist. He said that he hadn’t seen his father for a very long time too before that day – when someone tells you this, you just can’t insist. But I did meet him on Rustaveli Avenue, in the Blue gallery, through his paintings – what more can a painter say than his paintings? The themes of Levan Kharanauli’s canvasses include portraits, landscapes, still lifes, various circumstances and character. At the exhibition, portraits hold a particularly important place. The painter’s interest in this field is manifold: family members and friends, and a whole series of self-portraits. “What isn’t outside is in a person’s soul”, and the portrait’s soul is to be found in the eyes. Perhaps this is why, as he puts it himself, he starts painting portraits with the eyes. It is precisely in the latter that each thought is expressed, the movements of a human’s heart, their psycho-emotional world. The eyes tell the whole story, everything that there is to say, they convey the whole inner fluctuations.
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kaba da fexsacmelebi, muyao, zeTi, 60x45 sm. 2007
DRESS AND SHOES; 60X45, OIL ON CARDBOARD, 2007
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deda, muyao, zeTi, 70x93 sm. 2016
avtoportretebis mTeli seria. `rac gareT araa, is kacis sulSia“, portretis suli ki TvalebSia. iqneb amitomac, rogorc TviTon ambobs, portretis xatvas TvalebiT iwyebs. swored maTSi yvelaze kargad da cxadad isaxeba adamianis fiqrTa yoveli gaelveba, adamianis gulis moZraoba, fsiqo-emociuri samyaro. Tvalebi yvebian mTel ambavs, mTel saTqmels, Sinagan gancdaTa mTel farul mixra-moxras asaxaven. bebo da deda `SerCeviT ver Sexval warsulSi~, radgan erTi mTlianobaa is, rasac mogonebebi inaxavs, ubralod, sxvadasxva kadrebadaa aRbeWdili mexsierebaSi. `gavaCine dedaCemi, beboCemi, Cemi Tavi, esenia Cemi warsuli...~ aq zogjer wami metia, vidre wuTi an weliwadi, radgan is wamieri kadri gacilebiT mravlisdamtevi da mravlismomcvelia. besik xaranaulma dedaSvilobis grZnoba poeturad sul sxva xarisxSi aiyvana, sruliad gansakuTrebul movlenad aqcia. ridi, krZalva, udidesi
MOTHER; 70X93, OIL ON CARDBOARD, 2016
Grandma and mother “You cannot choose where you go in the past”, because it is one whole where recollections are kept, it’s just that there are different frames imprinted in the memory. “I created my mother, my grandma, myself, this is my past...” Sometimes, a second here can last more than a minute or a year, because that one second frame encompasses and provides a lot more than others. Besik Kharanauli brought the motherchild connection to a whole new poetic level, transforming it into a completely distinguished phenomenon. Reserve, reverence, great love, the most human and authentic feelings, the most satisfying and absorbing memories appear in what one has to say to one’s mother or what one doesn’t tell her. There, in that sacred time and space, the wish to be together again appears, to gently rock in the sun and in the air again… At that moment, the poet becomes a child again, the limits of time disappear, and the past and present aren’t distinguishable anymore, they become intrinsic parts of one another. There is a particular feeling of intimacy when he uses the second person: “You remember the time, / When to please your heart, / I wrote poems / To the purple moon at our window…”
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bebo, muyao, zeTi, 85x60 sm. 1989
GRANDMA; 85X60, OIL ON CARDBOARD, 1989
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bebo, muyao, zeTi, 50x40 sm. 1991
GRANDMA; 50X40, OIL ON CARDBOARD, 1991
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aryis xda, firficari, zeTi, 100x160 sm. 2009
siyvaruli, yvelaze adamianuri da namdvili gancdebi, yvelaze sasiamovno da guliswamRebi mogonebebi dedisTvis saTqmelSi Tu uTqmelobaSi Cndeba. iq, im sakralur drosa da sivrceSi gakrTeba survili, rom isev erTad iyvnen, erTad ilivlivon mzeSi, haerSi... am dros poeti bavSvdeba, drois sazRvrebi irRveva da warsuli da awmyo aRar ganirCeva, ganuyofeli xdeba. gansakuTrebuli intimi Semoaqvs zogjer meore pirSi mimarTvas: `Sen is dro gaxsovs, / roca Seni gulis saamod / vuwerdi leqsebs / Cveni fanjris mewamul mTvares...~ xaranaulebis (mama-Svilis) bavSvobis mTeli sixaruli, siamovneba da siamtkbiloba Cans bebosTan urTierTobaSi. am SemTxvevaSi levanis portrets gamovyof. bebo iyo misi megobari da mesaidumle, yvelaze didi gulSematkivari da vgrZnobT, rogori didi siyvaruliTa da siTboTi ixateboda es portreti. moxuci, WaRara, naoWebiT daRaruli adamiani, romelic, avtoris TqmiT, am dros ukve SeuZlod yofila. portretze, rasakvirvelia, umTavresia saxe mTlianobaSi da misi TiToeuli nakvTi, magram Cems yuradRebas jer xelis mtevani iqcevs, gamxdari, galeuli, gamdnari grZeli TiTebi, moajiris saxelurze CaWidebuli, TiTqos sayrdens ebjinebao. es aris xeli qarTulis yofili maswavleblisa, romelsac soflis aTasgvari saqmec ar dahklebia. ginaxavT fSavlis dedakacebi? bostani Tu saqoneli, karaqis dRveba Tu mindvris saqme, qsova da saqsovi, vin icis, ramdeni uSromiaT am xelebs Tavis droze. es Zvladqceuli,
DISTILLATION; 100X160, OIL ON PLYWOOD, 2009
The whole childhood joy, pleasure and harmony of the Kharanaulis (father and son) can be seen in their relationship to their grandmas. In this case, I will single out Levan’s portrait. His grandma was his friend and confidant, his biggest supporter, and one can feel the amount of love and warmth that was put in painting this portrait. It depicts an old, grey-haired woman eroded with wrinkles, who, as the author said, was already indisposed at the time. On the portrait, naturally, the most important is the face as a whole and each of its details, but my attention was first drawn to her hands, her thin, weakened, melted long fingers gripping the handrail, as if she were leaning on it. This is the hand of a former Georgian language teacher, who also accomplished thousands of different tasks in the village. Have you seen Pshavian women? Vegetables, cattle, butter, agriculture, weaving – who knows how much these hands have worked. These bony, arched lines that couldn’t be stinged by nettle, and with their “magic fingers,”, would often reap in the Spring, and then, later, gather blackberries or peel quince to prepare a jam. The face is sad, it doesn’t contain any trace of happiness, but when her grandson was painting it, she was already weak, and perhaps she was happy inside, and who knows how frail she was in this joy. The eyes are very expressive, and depict ancient times, troubles and woes, the experience of a whole life, the difficult and harsh conditions of living in a mountain village, and “offence faded in beautiful eyes”. The lips are sealed, as if they didn’t have the strength to utter words anymore, or if something was left unsaid. “She cannot talk easily about the earth, life, winter or spring…”
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naturmorti avtoportreti, qaRaldi, zeTi, 70x50 sm. 2021 NATURAL SELF-PORTRAIT; 70X50, OIL ON PAPER, 2021
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naturmorti sarkis win, tilo, zeTi, 35x45 sm. 2021
morkaluli xazebi, WinWari rom ar susxavda da `Tavis grZneul TiTebiT~ xSirad krefda gazafxulze, mere ki, mogvianebiT, mayvals agrovebda an komSs Tlida samurabed. saxe sevdiania, sixarulis niSanwyalic ar etyoba, Tumca roca SviliSvili xatavda ukve dasustebuls, albaT, gulSi uxaroda kidec da vin icis, rogori ususuri iyo igi am sixarulSi. Tvalebi Zalian metyveli, adrindeli yofis, Wir-varamis, mTeli ganvlili cxovrebis amsaxveli, mTis soflis rTuli da mkacri cxovrebisa da `lamaz TvalebSi gamkrTali wyena“. tuCebi mokumuli, TiTqos raimes Tqmis Zalac aRar Seswevso, anda raRaca darCa uTqmeli. `ar SeuZlia mas ioli laparaki arc miwaze, arc cxovrebaze, arc zamTarze da arc gazafxulze...~ portretis personaJis naRvlian ganwyobas Seesabameba samosis da nakecebis Strixebic, mTliani garemo, sagnebi, taxti, xaliCa da maTi ferTa gama.
STILL LIFE IN FRONT OF THE MIRROR; 35X45, OIL ON CANVAS, 2021
The grieving appearance of the portrait is underlined by the strokes of her attire and folds, the whole environment, objects, ottoman, carpet, and the spectrum of colors. Getting to know oneself According to Besik Kharanaulis own words, people move to know themselves. Because of this or that, they move to the city, but they carry the embers, traditions and the magical folklore of their mythological ancestors, the language in which they grew up – their whole existence is encompassed in the Verb. They are not people, but wind, they can go wherever they want and come back; they are wind, the companions of the field, they wed the field. As for Levan Kharanauli, it is the contrary – he moved for several years in the village. Here, people see every living and non-living being differently. Here, reality, the real world is closer, it appears in all of its glory, and it naturally enters in the lives of humans, without any forcing. Here,
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navSi, tilo, zeTi, 200 X 270 sm. 1989 ON THE BOAT; 200X270, OIL ON CANVAS, 1989
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ditos portreti, tilo, zeTi, 50x40 sm. 2016
PORTRAIT OF DITO; 50X40, OIL ON CANVAS, 2016
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nino CitaiSvilis portreti, tilo, zeTi, 60x45 sm. 2001
Tavis Zieba besik xaranaulis TqmiT, Tavis saZebnelad dadis kaci. amisTvis Tu amis gamo is qalaqSi wavida, magram Tan gaiyola miTiuri winaprebis naRverdali, andrezebi da folkloris jadosnuri samyaro, ena, romelSic gaizarda, sityvaSia mTeli misi arseboba. kaci ki ara, qaria, sadac unda, wava da wamova; qaria, mindvris wawali, mindori mohyavs colad.
PORTRAIT OF NINO CHITAISHVILI; 60X45, OIL ON CANVAS, 2001
levan xaranauli ki piriqiT _ ramdenime wliT sofelSi gadasaxlda. aq mxatvari yovel suliersa da usulos sxva TvaliT xedavs. aq sinamdvile, realuri garemo ufro axlosaa, mTeli sicxadiT iCens Tavs da TavisTavad, Zaldautaneblad iWreba adamianis arsebaSi. aq ferebiT mwerals uamravi `TanamgrZnobi~ hyavs, aq aris Tavisuflebis, uSualobis, sisufTavis, bunebriobis, uRalatobis wminda ambebi. aq aris adgili fiqrisTvis,
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avtoportreti, firficari, zeTi. 49 X 38 sm. 2019 SELF-PORTRAIT; 49X38, OIL ON PLYWOOD, 2019
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zamTari, TianeTi, tilo, zeTi, 42x45 sm. 1988
refleqsiisTvis, sakuTar TavSi CaRrmavebisTvis. Tbilia mtveri soflis Saraze, mxatvari aq Tavis Tavsac qmnis da ferTa harmoniasac. dacla, avseba, es aris mTeli yofa Semoqmedisa da mTavari gamTamaSebeli ki sabolood mainc cxovreba aRmoCnda Tavisi mravalsaxovani da mravalferovani personaJebiT. foto: mirian kilaZe
WINTER, TIANETI; 42X45, OIL ON CANVAS, 1988
the painter has many “likeminded” beings, stories of freedom, sincerity, purity, nature, and loyalty. Here, there is space to think, to reflect, to get deeper into oneself. The dust on the road of the village is warm, and the painter recreates oneself and his harmony of colors there. Getting empty and refill – this is the whole essence of creation, and the main dice roller turned out to be life itself, with its manifold and variegated characters. Photo: Mirian Kiladze
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NATO KORSANTIA
nato korsantia
im didebul siCumes miyuradebuli... LISTENING TO THE GREAT SILENCE… gamorCeul reJisors, mweralsa da kinodokumentalists, saqarTvelos xelovnebis damsaxurebul moRvawes, rusTavelis premiis laureats rezo TabukaSvils 60 weli Sesruleboda. ucxoeTSi `dafantuli sulebis~ ZiebaSi SeumCnevlad gakrefiliyvnen wlebi. Rirseuli iubilarebisTvis Tavad pativis Rirseulad mimgebma, sakuTari iubilis aRniSnvaze uari Tqva da sanacvlod, Tavisi gulSematkivrebi filarmoniis did sakoncentro darbazSi axali dilogiis _ „naZarcvis kvaldakval~ da „SorielTa siaxlove~ _ premieraze miiwvia _ „me Cems iubiles am filmebiT mogilocavTo~... amjeradac aravis hgavda, sakuTari Tavis garda... ...mas, rogorc yovelTvis, ubraloeba amSvenebda. gansakuTrebulad sainteresod, raRacnairad momnusxvelad, mxolod misTvis damaxasiaTebeli idumalebiT saubrobda warmodgenil filmebsa da mis gmirebze. damswreTaTvis ki kidev erTxel gaxda TvalnaTeli am didbunebovani adamianis inteleqtis, oratorobis, keTilSobilebisa da Tavmdablobis Zala: dafantuli genisa da sulis, kulturis saZieblad ucxoeTSi moxetiale kaci Tu rogor, ra Tvisebebis meoxebiT aRwevda evropis udides, sxva tomTaTvis akrZalul arqivebSi da rogor xdeboda misTvis misawvdomi im taZrebSi gadaReba, sadac jer kinoaparats arasodes SeeRwia; ratom iReboda misTvis sxvaTaTvis daxuruli karebi da ratom ekrZalvoda mas yvela erovnebisa da rangis adamiani... Tumca am saRamomdec ramdenjer gvenaxa aforiaqebuli da aRelvebuli sruliad saqarTvelo, ferflwayrili mogonebebidan gadmosuli saxeebi, Cveni warsulis sulisSemZvreli epizodebi, romelTa miRmac rezo TabukaSvili idga, erT-erTi imgvari mamuliSvilTagani, romelTa cxovrebasa da moRvaweobasac Tavad ikvlevda da filmebSi acocxlebda... mixeil TamaraSvili, eqvTime TayaiSvili, petre xarisWiraSvili, fore mosuliSvili, kita Cxenkeli, dimitri amilaxvari, mixeil TarxniSvili, grigol feraZe, akaki da Tamar papavebi... isini bevrni iyvnen...
The exceptional director, writer, and documentary filmmaker Rezo Tabukashvili, an honored artist of Georgia and the recipient of the Rustaveli Prize, had reached his 60th birthday. He spent many years looking for “scattered Georgian souls” abroad. He refused to celebrate his own birthday, and instead, he invited his backers to the large Philharmonic Hall for the screening of the premiere of his new two-part documentary, ‘Nadazrtsvis Kvaldakval’ and ‘Shorielta Siakhlove’. “I congratulate you on my jubilee with these films,” he said… He didn’t look like anyone else at the time. …As always, he would stand out with his simplicity. He would talk in a particularly interesting, captivating way about films and their protagonists, with a mystery that was characteristic of him and him only. The qualities of his intellect, oratorial skills, kindness, and modesty have now become even more evident after seeing how, wandering in foreign countries in search of our scattered genes, soul, and culture, he managed to enter the greatest archives of Europe, which were forbidden to any foreigner; how the filming process was taking place in those temples where no other film equipment had entered; why doors that were closed to others were opened to him; and why people of every nation and status were captivated by him… We have seen several times the whole country of Georgia being moved by faces coming back to memory, by poignant episodes of our past, behind which Rezo Tabukashvili was standing, himself one of the patriots whose life and accomplishments he was researching and bringing back to life in his films… Mikheil Tamarashvili, Ekvtime Takaishvili, Petre Kharistsirashvili, Pore Mosulishvili, Kita Chkhenkeli, Dimitri Amilakhvari, Mikheil Tarkhnishvili, Grigol Peradze, Akaki, and Tamar Papava… They were many… Rezo Tabukashvili’s two-part documentaries have remained with particular strength in our memory: ‘Georgians in Italy’ (‘Kvali Nateli’ and ‘Alpuri Varskvlavi’), ‘High Mountains’ (‘Mikheil Khergiani’ and ‘Vittorio Sella’); the same goes for the documentary films: ‘In the beginning was the Word’, ‘Pages from a French Diary’, ‘The Treasurer of Georgia’, ‘The Closeness of the Distant’… Without which the history and culture of Georgia would seem impossible to imagine. Even Georgian literature can’t be imagined without Rezo Tabukashvili’s translation of Shakespeare’s sonnets. He was not only a wonderful translator of Shakespeare’s sonnets, but he could also read them masterfully and with an utterly interesting tone. It was something
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mexsierebas uCveulo sicxadiT SemorCa rezo TabukaSvilis dokumenturi kinodilogiebi: „qarTvelebi italiaSi“ („kvali naTeli“ da „alpuri varskvlavi“); „mTani maRalni“ („mixeil xergiani“ da „vitorio sela“); dokumenturi filmebi: „pirvelad iyo sityva“, „furclebi franguli dRiuridan“, „saqarTvelos meWurWleTuxucesi“, „SorielTa siaxlove“... romelTa gareSec axla saqarTvelos istoriisa da kulturis srulad warmosaxva SeuZlebelic ki geCveneba. verc qarTuli literatura warmogidgenia Seqspiris sonetebis rezo TabukaSviliseuli Targmanebis gareSe. is iyo aseve Seqspiris sonetebis ara mxolod SesaniSnavi mTargmneli, aramed saucxoo tembriT mkiTxvelic. sul sxva xibli hqonda rezo TabukaSvilis mier wakiTxul Seqspiris 66-e sonetis miseul Targmansac: „yvelafriT daRlils sanatrelad sikvdili damrCa, / radgan maTxovrad gadaiqca axla Rirseba, / radgan araram Seifera Zvirfasi farCa“...
different to listen to Rezo Tabukashvili read his own translation of Shakespeare’s 66th sonnet: “Tir’d with all these, for restful death I cry, / As, to behold desert a beggar born, / And needy nothing trimm’d in jollity.” It is difficult to single out separate episodes from Rezo Tabukashvili’s work. Each of them seems to be as valuable and important as others; everything complements the rest. Writer Akaki Bakradze writes: “Together with an inexhaustible energy, it is only through Rezo Tabukashvili’s individual charm that it was made possible that in the center of Rome, behind the Piazza Venezia, a memorial plate was inaugurated on the house number 17 of the Salita del Grillo, where there used to be a printing house that printed the ‘Georgian-Italian dictionary’ and ‘Georgian Alphabet with Prayers’ in 1629. It is not through being a writer or a director, even a talented one, that one can achieve this. It demands a different kind of heart, one that cares as much about the past as it does about the present. It is because of that approach that he dedicates his film to
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rezo TabukaSvilis moRvaweobidan Znelia calkeuli epizodebis gamoyofa. aq TiTqmis yvelaferi Tanabrad faseuli da mniSvnelovania, yvelaferi erTmaneTs avsebs da amTlianebs. mwerali akaki baqraZe wers: „dauSretel energiasTan erTad, mxolod rezo TabukaSvilis pirovnul xibls SeeZlo mieRwia imisaTvis, rom Sua romSi, veneciis moednis ukan, salito del grilos meCvidmete saxlze, sadac iyo stamba da 1629 wels daibeWda „qarTul-italiuri leqsikoni“ da „qarTuli anbani locvebiTurT“, miemagrebinaT memorialuri dafa, mauwyebeli qarTvelTaTvis mniSvnelovani faqtisa da igi sazeimod gaexsnaT, amisTvis ar kmara mwerloba da reJisoroba, Tundac niWieri. amas sxvanairi guli unda, guli, romelsac warsuli iseve stkiva, rogorc awmyo. am tkivilis gamo uZRvnis igi Tavis films im ucxoel moRvaweebs, „vinc saqarTvelos simciris miRma TvalnaTliv da uSurnod dainaxa misi sidiade~. „im ucxoeli moRvaweebis~ mier qarTvelebis Tanadgomisa da qarTuli saqmis mxardaWeris amsaxveli saocari
foreign figures: ‘To those who saw Georgia’s greatness beyond its small scale’.” In his films, the director also shows many wonderful examples of the support for Georgia shown by those foreign figures: monk Francesco Maria Maggo from Palermo writes and publishes the first Georgian grammar book in 1670 in Rome; Theatine missionary, writer, painter, physician, and specialist of the Georgian language Cristoforo De Castelli, who was also from Palermo, spent a quarter of a century in our country, and afterwards, in the 17th century, he leaves us an eight-tome book depicting Georgian life and including drawings, memories, and notes; Italian photographer and alpinist Vittorio Sella arranged expeditions in Racha and Svaneti in the 1880-90, recording the customs and everyday lives of the local populations, as well as of the flora and fauna, on photographs and scientifically studying them. In the scientific kartvelology journal ‘Chroniques de Kartli’, published from 1948, the doctor Bernard Outtier gathers all the materials that have ever been published about Georgia, Georgian people, and culture in Europe; an Italian man dug up hundreds of abandoned graves of Georgian soldiers and moved their remains himself into Turin’s common grave, which he called the “Campo della Gloria,” or
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magaliTebi ki reJisors Tavis filmebSi mravlad mohyavs: palermoeli beri franCesko-maria majo qarTuli enis pirvel gramatikas adgens da 1670 wels romSi gamoscems; TiaTineli misioneri palermodan, mwerali, mxatvari da eqimi, qarTuli enis SesaniSnavad mcodne qristoforo de kasteli saukunis meoTxeds Cvens qveyanaSi atarebs da mere, me-17 saukunis saqarTvelos yofa-cxovrebis amsaxveli Tavisi naxatebiT, mogonebebiTa da CanawerebiT savse rvatomeuls _ „SfoTiani epoqis umdidres matianes“ gvitovebs; italieli fotografi da mTamsvleli vitorio sela me-19 saukunis 80-90-ian wlebSi raWasa da svaneTSi eqspediciebs awyobs, adgilobrivi mosaxleobis zneCveulebebsa da yofa-cxovrebas, iqaur florasa da faunas fotoebze aRbeWdavs da mecnierulad mimoixilavs; parizSi 1948 wlidan gamomavali qarTvelologiuri samecniero Jurnal „bedi qarTlisas~ pasuxismgebeli mdivani, doqtori bernard utie solemis biblioTekaSi Tavs uyris yvelafers, rac ki saqarTveloze, qarTvel xalxsa da qarTul kulturaze evropaSi odesme dabeWdila; italielma nikola grozam asobiT qarTveli meomris upatrono saflavi gaTxara da maTi neSti sakuTari xeliT gadaasvena turinis saZmo sasaflaoze, romelsac „kampo dela gloria“ anu didebis veli ewoda; ucnobma italielma kornolatio kurciom mixeil TamaraSvilis saflavis safasuri 70 wliT gadaixada... ucxoelebs valSi arc qarTvelebi rCebian: qarTvelma partizanma fore mosuliSvilma italiis TavisuflebisTvis brZolas Seswira Tavi; polkovniki dimitri amilaxvari general Sarl de golis „Tavisufali safrangeTis“ armiis wevri, franguli winaaRmdegobis moZraobis erT-erTi umamacesi meTauri iyo; qarTvelma mecnierma da sazogado moRvawem mixeil TamaraSvilma, sakuTari sicocxlis fasad, italiis qalaq santa marinelaSi adgilobrivi muSa sikvdils gadaarCina... msgavsi magaliTebis moxmoba mravlad SeiZleba... rezo TabukaSvilis filmebSi Zalian bevri iseTi epizodia, romelic erovnuli siamayis grZnobas gansakuTrebulad amZafrebs. am epizodebis ukan dganan ucxoeTSi gadaxvewili Tu iq SemTxveviT moxvedrili, gamorCeulad saintereso qarTvelebi, romelTa nakvalevsac mweralma da reJisorma rezo TabukaSvilma mravalgan sdia, Znelad, magram mainc moiZia maT Tavs gadamxdari saocari ambebi da Tavgadasavlebi da mere Tavisi sityva Tqva maTi ukvdavebis gadasarCenad. zogierT maTgans SegaxsenebT: safrangeTSi gatanili saqarTvelos saganZuris uangaro mcvelis (1921-1945 ww), „saqarTvelos meWurWleTuxucesad~ saxeldebuli eqvTime TayaiSvilis wmindanuri cxovreba da Rvawli saqarTvelos winaSe; enaTmecnier kita Cxenkelis moRvaweoba ucxoeTSi da misi TavgamodebiT amerikuli firmis sabeWdi manqana „veritaiperi“ dedamiwaze arsebul
the field of glory; an Italian named Cornolatio Curcio has paid for the price of Mikheil Tamarashvili’s grave for 70 years. Georgians didn’t remain in debt towards foreigners either. Georgian partisan Pore Mosulishvili sacrificed himself for the freedom of Italy; colonel Dimitri Amilakhvari was a member of Charles de Gaulle’s ‘Free France’ army and one of the most valiant leaders of the French resistance; Georgian scientist and public figure Mikheil Tamarashvili saved a local worker from death by sacrificing his own life in the Italian city of Santa Marinella… There are many other such examples. Many episodes in Rezo Tabukashvili’s films particularly intensify the feeling of national pride. Behind these episodes, one can find extremely interesting Georgians who moved abroad by chance or found themselves there by chance, and whose trails Rezo Tabukashvili followed in many places. It was difficult, but he still managed to find the wonderful stories and adventures that they experienced, and then he said his own word to immortalize them. I will remind you of some of them: The sanctified life and accomplishments of Ekvtime Takaishvili, the selfless protector of the Georgian treasure brought to France during the years 1921-1945, nicknamed “Georgia’s treasurer”. The achievements of linguist Kita Chkhenkeli abroad and her part
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in the fact that, together with all other languages of the world, an American typewriter firm produced a machine to type in Georgian. Spiritual and public figure Petre Kharistsirashvili, who built a Georgian Catholic monastery in Istanbul. Tamar TsuladzeTarasashvili, who opened the exhibition space ‘Dariali’ in Paris with her own finances. The georgeous and head-turning Melita Cholokashvili and Meri Shervashidze, who remained beautiful women even in their old age. The ensemble ‘Rustavi’ and their tours in Paris always finishing in deafening ovations. Georgian cloisonné enamels are some of the most valuable exhibits at museums in America, Venice, Spain, and Finland, but nobody knew about their homeland… After Rezo Tabukashvili’s great efforts, these anonymous enamels have been accompanied by inscriptions denoting their Georgian origin. From now on, visitors from around the world will appreciate Georgia’s autonomous culture and past. Rezo Tabukashvili’s journey in Holland, on the island of Texel, his play and film script ‘Jvartsmuli Undzuli’, dedicated to the perished partisan Georgian heroes, a documentary film about the same subject, and the Georgian gate brought from Georgia to the fence of the Georgian soldiers’ cemetery. The invaluable historic relic – an altar tablecloth prepared by Queen Ketevan with golden and silver threads – stolen from the Sioni Church in the 19th century and returned to Georgia thanks to Rezo Tabukashvili’s efforts. Ancient Georgian manuscripts and important documents searched and found in libraries and archives around the world, and so on, and so on…
yvela enasTan erTad, qarTul enazec beWdavs; sasuliero da sazogado moRvawe petre xarisWiraSvili stambolSi qarTul kaTolikur monasters agebs; Tamar wulaZetarasaSvili parizSi sakuTari xarjiT sagamofeno darbazs „darials“ xsnis; parizSi mcxovrebi ulamazesi da mravalTaTvis saocnebo melita ColoyaSvili da meri ServaSiZe sibereSic umSvenieresi mandilosnebad rCebian; ansambl „rusTavis~ gastrolebi parizSi da Tavbrudamxvevi ovaciebi; qarTuli tixruli minanqrebi safrangeTisa da amerikis, veneciisa da espaneTis, fineTis muzeumebis uZvirfasesi eqsponatebia, magram maTi samSoblo aravin uwyis... rezo TabukaSvilis didi Zalisxmevis Semdeg ki qarTuli warmomavlobis aRmniSvneli warwerebi am usaxelo eqsponatebTanac Cndeba. amieridan aq msoflios sxvadasxva qveynidan Camosuli adamianebi saqarTvelos TviTmyofad kulturasa da diad warsulsac miageben pativs; rezo TabukaSvilis mogzauroba holandiaSi, kunZul teqselze daRupuli qarTveli gmiri partizanebisadmi miZRvnili piesa da scenari filmisa „jvarcmuli kunZuli“, amave Temaze Seqmnili dokumenturi
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filmi da qarTveli meomrebis sasaflaos galavanze Sebmuli saqarTvelodan Catanili qarTuli WiSkari; rezo TabukaSvilisave meoxebiT samSobloSi dabrunebuli sionis taZridan XIX saukuneSi moparuli uZvirfasesi istoriuli relikvia _ qeTevan dedoflis moqsovili, oqrosa da vercxlis mkediT naqargi sakurTxevlis gadasafarebeli; msoflios wignsacavebsa da arqivebSi moZiebuli uZvelesi qarTuli xelnawerebi da umniSvnelovanesi dokumentebi da a.S. da kidev... „italiaSi yofnisas mivakvlieT aqamde ucnob arqivebs da dRes pirvelad davasaxelebT iq daRupuli Cveni respublikis mkvidrTa 80 gvars“, _ ambobs avtori filmSi „alpuri varskvlavi“ (Stella alpine) da darbazi garinduli usmens: arqivebSi, italiel glexTa Tu yofil partizanTa ojaxebSi mikvleuli fotosuraTebi italiis miwaze daRupul qarTvel meomrebze gvawvdian cnobebs. ismis gvarebi da bevri iqve, darbazSi pirvelad igebs umisamarTod dakarguli axloblis dRemde ucnob adgilsamyofels. mravalTagan kidev erTi sikeTe: ugzo-ukvlod dakarguli Svili, mama, Tu Zma apovnino adamians, misi adgilsamyofeli amcno da masTan erTad gaiziaro maTi aRmoCenis sixarulic da tkivilic. rezo TabukaSvilis dokumenturi filmebis personaJebma
Yet again... “While in Italy, we found formerly unknown archives, and today, we will name 80 representatives of our republic who perished there”, says the author in the film ‘Alpuri Varskvlavi’ (Stella alpine), while the audience is listening in silence. In the archives, the photographs of Italian farmers or former partisan families provide information about the Georgian fighters who perished in Italy. We hear the names, and many, right there, hear the place where their lost close ones are buried for the first time. Another one of his many good deeds was that he reunited a child, father, and brother together, telling them their whereabouts and sharing the joy of their reunion. The characters of Rezo Tabukashvili’s documentary films have left a special mark not only on his works but his life too. But one circumstance outshined all that: To use Rezo Tabukashvili’s words (from the film ‘Kvali Nateli’): Mikheil Tamarashvili was “the first Georgian scientist who got Europe acquainted with the history of Georgia. To this day, foreign orientalists still consider Mikheil Tamarishvili, aka Mikheil Tamarati’s book, which has become a biblographic rarity, as one of utmost importance – he published a 710-page work called ‘History of the Georgian Church” in the French language in Rome”… In the archives and book funds of Trabzon and London, Constantinople and Palermo, Rome and Paris, Moscow and Florence, Mikheil Tamarashvili, who was almost starving, managed to find
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gansakuTrebuli kvali daamCnies ara mxolod mis Semoqmedebas, aramed cxovrebasac. Tumca yvelaferi erTma ambavma gadafara: rezo TabukaSvilis sityvebiT rom vTqvaT (filmidan „kvali naTeli“): mixeil TamaraSvili iyo „pirveli qarTveli mecnieri, romelmac evropas gaacno saqarTvelos istoria. ucxoeli orientalistebisTvis dResac umaRles wignad miiCneva bibliografiul iSviaTobad qceuli, mixeil TamaraSvilis, anu mixeil Tamaratis mier romSi frangulad gamoqveynebuli 710 gverdiani naSromi „saqarTvelos eklesiis istoria“... trapizonisa da londonis, konstantinopolisa da palermos, romisa da parizis, moskovisa da florenciis arqivebsa da wignsacavebSi mudam usaxsro, TiTqmis mSier-mwyurval mixeil TamaraSvils Tavisi qveynis siyvarulma da dauokebelma mecnierulma Jinma moaZebnina manamde miukvleveli masalebi, romelTa gareSe dRes warmoudgenelia qarTuli istoriografia. mixeil TamaraSvilis meore wigns „istoria kaTolikobisa qarTvelTa Soris“ ilia WavWavaZis „iveria“ meore „qarTlis cxovrebas“ uwodebda... akaki ki mecnieris sicocxleSive daJinebiT moiTxovda, daweriliyo fundamenturi monografia am didebul moRvaweze. mixeil TamaraSvilma italiis zRvispira daba santa marinelaSi dasaxrCobad ganwiruli italieli muSa gadaarCina da TviTon tragikulad daiRupa 53 wlisa~... miuxedavad imisa, rom maSin mixeil TamaraSvilis saqarTveloSi gadmosvenebis sagangebo komisia Sedga, maSin es ver moxerxda... wlebis Semdeg, rezo TabukaSvili sagangebod Cavida santa marinelaSi am miviwyebuli mamuliSvilis saflavze saqarTvelodan Catanili gvirgvinis dasadebad, magram saflavs ver miakvlia. warmoudgeneli kvleva-Ziebis Semdeg saflavi ara santa marinelaSi, aramed CivitavekiaSi aRmoCnda. Tumca aqve gacxadda is SemaSfoTebeli ambavi: `rom samudamo gansasvenebelic ar yofila samudamo~ da italiaSi arsebuli wesisamebr, saflavis safasuri 1911 wels 70 wliT gadauxdia madlian adamians, dRemde ucnobad darCenil kornolatio kurcios da or weliwadSi saflavs gauqmeba emuqreboda. mwvaved dadga neStis saqarTveloSi gadmosvenebis sakiTxi, rac rezo TabukaSvilma udidesi Zalisxmevis fasad, italiis umaRlesi saxelmwifoebrivi doneebisa da sabWoTa oficiozis TanxmobiT SeZlo... „dautirebeli Svilis dabrunebas mTeli saqarTvelo Sexvda, rogorc Wirisufali~. ...1978 wlis 26 noembris im uCveulo dRes ki aTi aTasobiT qarTveli _ moxuci Tu axalgazrda, qali Tu kaci rezo TabukaSvilis mier italiis qalaq Civitavekiadan samSobloSi saidumlod (!) gadmosvenebuli mamuliSvilis
formerly unknown materials, without which Georgian historiography wouldn’t be the same as it is today, thanks to his love for his country and his stubborn scientific passion. Ilia Chavchavadze’s ‘Iveria’ wrote that Mikheil Tamarashvili’s second book, ‘History of Catholicism among Georgians’ was a second ‘Chronicles of Kartli’… As for Akaki, he was repeatedly asking for a fundamental monograph about the great public figure Mikheil Tamarashvili while the latter was alive. Mikheil Tamarashvili saved a drowning Italian worker from death in the Italian seashore town of Santa Marinella, and tragically passed himself at the age of 53”… Despite the fact that, at the time, a special commission was set up to repatriate Mikheil Tamarashvili’s body to Georgia, it couldn’t be done… Years later, Rezo Tabukashvili specially traveled to Santa Marinella to put a crown he had brought from Georgia on the grave of this forgotten compatriot, but he couldn’t find the grave. After an unimaginable amount of research, he found the grave not in Santa Marinella but in Civitavecchia. But the following story unfolded: a generous person had paid price for the cemetery spot for 70 years
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_ mixeil TamaraSvilis neSts miagebda pativs. xelovnebis sasaxle ver itevda adamianebs, romlebic udides madlierebas gamoxatavdnen upirvelesi Wirisuflis rezo TabukaSvilisadmi, aseve krZalviT ukravdnen Tavs Soriaxlos mdgar, Cumi sevdiT kidev ufro damSvenebul legendarul medea jafariZes _ meuRlis mamuliSviluri saqmeebis upirveles gulSematkivarsa da Tanaganmcdels. ...mere ki didubis mweralTa da sazogado moRvaweTa panTeonSi ismoda RvTismSoblis eklesiis zarebis rekva da masTan Serwymuli mRelvare xma akaki wereTlisa: „dedaSvilobam, bevrs ar gTxov, Sens miwas mimabareo! ca-firuz, xmeleT-zurmuxto, Cemo samSoblo mxareo!~, romelic TiTqos am dRisTvis daewera mgosans da romlis aRmsrulebladac moevlinebina gangebas rezo TabukaSvili... amis uTqmelobac ar egebis: rezo TabukaSvilis filmebSi udidesi zemoqmedebis Zala aqvs iq gadmocemuli ambebis Tanmxleb teqstebs, romelTac Tavad avtori kiTxulobs. es aris xma, romelsac ganuzomeli siamaye da sevda filmSi moTxrobili istoriebis kiTxvisas ki ar dauflebia, aramed uSualod maTi moZiebisas. swored
in 1911, and it was about to be vacated in two years. The question of bringing back the remains to Georgia became topical again, and Rezo Tabukashvili managed to achieve that through much effort and by convincing both Italian and Soviet statesmen of that necessity… “The whole Georgia met the return of the unlamented son as a mourner”. …On the 26th of November, tens of thousands of Georgians – both old and young, female and male, would visit and pay their respects to the secretly (!) repatriated remains of their compatriot Mikheil Tamarashvili from the Italian town of Civitavecchia. The Art Palace couldn’t fit all the visitors, who were expressing much gratitude towards Rezo Tabukashvili, and were also politely nodding their heads to the sadly and silently standing, beautiful and legendary Medea Japaridze – the main supporter and confident of her husband’s patriotic work. …Then one could hear the nervous voice of Akaki Tsereteli among the church bells at the Pantheon of public figures: “I implore you, deliver me to your land! Tourquoise sky, emerald ground, my homeland!”, an imploration that seems to have been written specially for that day, and whose accomplisher was Rezo Tabukashvili… It wouldn’t be fair not to mention that in Rezo Tabukashvili’s films,
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es emociebi areklila mere mis xmaSi da amitomacaa ase sulisSemZvreli. aseve da ufro metad amayi iyo is xma filarmoniis did sakoncerto darbazSi rezo TabukaSvilis saiubileod naCveneb trilogiaSi _ „naZarcvis kvaldakval“. uyurebdi msoflios udides muzeumebSi mimofantuli qarTuli tixruli minanqris nimuSebs, sxvadasxva qveynis bukinistebTan mikvleul uZveles qarTul xelnawerebs, ucxoeTis did qalaqebSi damkvidrebul, nostalgiiT Sepyrobil qarTvelebs da wuTiTac ar gtovebda sityvebi, romelTac, trilogiis dasawyisSi, erTi qarTveli didebuli ambobs: esRa gvaklia, qarTvels ojaxSi mteri miuvardes da wasaRebi araferi daxvdeso... kidev erTi, oRond, amjerad, Tavad rezo TabukaSvilis mier iqve, filarmoniis darbazSi, premieris dasawyisSi, mayureblis misamarTiT naTqvami fraza ar gaviwydeba:
the texts accompanying the stories and being read by the author himself have a very strong power. This is a voice whose immeasurable pride and sorrow didn’t come when reading the stories of the films, but when researching them. It is precisely those emotions that are conveyed in his voice, and this is why it is so touching. That voice was just as proud, if not more, in the Philharmony’s concert hall during the screening of Rezo Tabukashvili’s trilogy, ‘Nadzartsvis Kvaldakval’. You were watching samples of Georgian cloisonne enamel scattered around the world’s leading museums, ancient Georgian manuscripts found at book shops in various countries, Georgians who had established themselves in large foreign cities and were full of nostalgy, and while watching all this, you always had in mind the words that a great Georgian said in the beginning of the trilogy: “Imagine that the enemy enters a Georgian household, and he cannot find anything to take away from it…”
gia daneliasTan / WITH GIA DANELIA
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marCelo mastroianisTan / WITH MARCELLO MASTROIANI
„me Tqvens siCumes mivugdeb yurs da im siCumis mixedviT aRviqvam Tqvens Sefasebasaco“... darbazic mravlismetyvelad garinduliyo. xumroba xom ar iyo, mis siCumes ugdebda yurs kaci, romelic wlebis ganmavlobaSi saukuneebs Soris Camdgar, amaRelvebeli ambebiTa da movlenebiT „amovsebul“ didebul siCumes iyo miyuradebuli da iqidan mowvdenil xmebsac yovelTvis ucTomlad grZnobda... mas mere ki, rac batoni rezo Tavadac „im didebul siCumes“ SeuerTda da didubis panTeonSi, mixeil TamaraSvilis saflavTan axlos, daido samudamo bina, xSirad minda mivmarTo mas: „batono rezo, Cven Tqvens siCumes mivugdebT yurs!“ radgan mgonia, aseTi adamianebi arasodes midian Cvengan da Tu mivayuradebT, isini yovelTvis mogvawvdenen imedisa da nugeSis xmas „im didebuli siCumidan“...
Another memorable sentence was the one Rezo Tabukashvili himself told the audience at the Philharmonic Hall before the premiere: “I will listen to your silence, and I will determine your appreciation according to this silence”… The audience’s silence said it all. Was it a joke? The man who was listening to the audience’s silence was for years paying attention to the great silence “full” of adventures and stories spanning between centuries, and he was always faultlessly understanding the voices coming from there… After Mr. Rezo Tabukashvili himself joined that “great silence” and established himself forever near Mikheil Tamarashvili at the Didube Pantheon, I often want to address him: “Mr. Rezo, we are listening to your silence!”. Because I think that this kind of person will never leave us, and if we listen to them, they will always reach us with a voice of hope and consolation from that “great silence”…
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gvanca abzianiZe
qarTuli karikaturis saTaveebTan GVANTSA ABZIANIDZE
AT THE BEGINNINGS OF GEORGIAN CARICATURE XIX saukunis bolo wlebidan, saqarTveloSi mimdinare revoluciur-demokratiulma moZraobam, progresuli presa da gamomcemlobebi aamoqmeda. am periodSi safuZveli eyreba vizualuri xelovnebis axal mediums _ karikaturas, romelmac satiruli formiT asaxa sazogadoebisTvis umniSvnelovanesi problemebi. qarTuli karikatura dReisaTvis metad mniSvnelovan vizualur dokuments warmoadgens XIX saukunis meore naxevris qarTuli sazogadoebrivi cxovrebis rekonstruqciisTvis. Jurnal-gazeTebis simravle da maTSi gamoqveynebuli satiruli Sinaarsis teqstebi da karikaturebi, romlebSic asaxuli iyo Cinovnikebis biurokratia da meqrTameoba, qarTuli aristokratiis udardeloba da sxva uamravi mwvave sakiTxi, gviCvenebs, rom presa Zliermoqmedi iaraRi gaxda im periodis sazogadoebriv cxovrebaSi. revoluciamdeli saxviTi satiris Semqmnel xelovanTa Soris iyvnen oskar Smerlingi, gigo zaziaSvili, sandro SanSiaSvili, Salva qiqoZe, mose ToiZe, iakob nikolaZe, mixeil Wiaureli, valerian sidamon-erisTavi, anton gogiaSvili, romlebmac itvirTes am rTuli da politikurad devnili xelovnebis Janris ganviTareba saqarTveloSi da safuZveli Cauyares qarTuli karikaturis, rogorc vizualuri mediumis, axal formas. qarTul presaSi karikatura pirvelad 1888 wels Jurnal `TeatrSi~ daibeWda. Jurnali `Teatri~, rogorc specialuri gamocema, ZiriTadad Tanamedrove Teatris cxovrebas asaxavda, Tumca aqve gvxvdeba satiruliumoristuli ilustraciebic. aRsaniSnavia, rom aq dabeWdili karikaturebis umetesoba xelmouwerelia. maTgan mxolod zogierTs aqvs xelmowera oqonelis saxeliT. am karikaturebis Sedarebisas cxadi xdeba, rom xelmouwereli karikaturebic am avtoris Sesrulebulia. rogorc aRmoCnda, fsevdonimi vaso oqoneli, warmoSobiT litvel mxatvars, vasil golovnias ekuTvnis. aqve unda aRiniSnos, rom qarTul sazogadoebas karikatura pirvelad mxolod am gamocemaSi ar uxilavs. ufro adre TbilisSi gamodioda rusuli karikaturebiani Jurnalebi `gusli~ (1880w) da `falanga~ (1881-1882ww), romelebic ZiriTadad rusuli karikaturis nimuSebs warmoadgenda. maT iliustrirebaSi ar miuRiaT
Since the end of the 19th century, the ongoing revolutionarydemocratic movement in Georgia has set progressive press and publishing houses in motion. A new medium of visual art was founded in that period – the caricature, which would represent the most topical problems of society in a satiric form. Today, Georgian caricatures represent an utterly significant visual document for the reconstruction of Georgian society’s life in the second half of the 19th century. The large number of newspapers and magazines and the satiric texts and caricatures they contain, which depict the bureaucracy and corruption common to officials of the time, the Georgian aristocracy’s insouciance, and many other relevant issues, show how strong of a weapon the press had become in the public life of the time. Among the artists drawing caricatures before the revolution, there were Oskar Schmerling, Gigo Zaziashvili, Sandro Shanshiashvili, Shalva Kikodze, Mose Toidze, Iakob Nikoladze, Mikheil Chiaureli, Valerian Sidamon-Eristavi, and Anton Gogiashvili, who took the responsibility to develop this difficult and politically repressed art genre in Georgia and laid the foundations of Georgian caricature as a visual medium and new form of expression. The first caricature to appear in the Georgian press was printed in 1888 in the magazine “Theater”. This magazine was a special issue, and was mostly focused on the description of contemporary Georgian theater, though it also contained satiric and humorous illustrations. It is worth noting that the majority of these printed caricatures are not signed. Only a few of them were signed by Okoneli. When comparing these caricatures, it becomes clear that even other caricatures were created by this artist. It turned out that Vaso Okoneli was the pseudonym of Vasil Golovnia, an artist of Lithuanian origin. We have to consider that this was not the first caricature that the Georgian public had seen. The Russian magazines “Gusli” (in 1880) and “Phalange” (in 1881-1882) were published in Tbilisi before that, and mainly contained Russian caricatures. Georgian artists did not participate in these illustrations, and the magazines themselves didn’t seem much interested in the events taking place in Georgia either. The lion’s share in the foundation of the genre of Georgian caricature itself goes to Georgian painter, graphic artist and illustrator of German origin, Oskar Schmerling, who was active between the end
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of the 19th century and the 1920s. His caricatures were published in the illustrated addition of the ‘Tsnobis Purtseli’ magazine in 1901, and can be considered independent graphic works. Schmerling was also collaborating with the newspapers ‘Demon’s Whip’ and ‘Tartarus’. During the Revolution period (1905), Schmerling was at the epicenter of the historic and political events taking place in Georgia, and was expressing his perspective regarding every important societal problem. The daily newspaper ‘Tsnobis Purtseli’ was published in Tbilisi from 1896 until 1906. The editors and publishers were Valerian Gunia (1896-99), Aleksandre Chkonia (1899-1900), Aleksandre Jabadari (1901-1906). The newspaper was printing informational notes, reports, resolutions from the government, news, and so on, but also correspondences, literary and critique articles, artistic works, articles about art, the history, ethnography, and archaeology of Georgia. The illustrated addition of the ‘Tsnobis Purtseli’ can be grouped according to caricature themes, which include subjects such as ethical
monawileoba qarTvel moRvaweebs da arc is Cans, rom Tavad Jurnalebi dainteresebuli iyvnen qarTuli realobis asaxviT. uSualod qarTuli karikaturis Janris CamoyalibebaSi yvelaze mniSvnelovani roli XIX saukunis bolosa da XX saukunis 10-20-ian wlebSi aq moRvawe, warmoSobiT germanel fermwers, grafikossa da wignis ilustrators, oskar Smerlings miuZRvis. misi karikaturebi `cnobis furcelis~ suraTebian damatebaSi 1901 wlidan ibeWdeba da damoukidebel grafikul nawarmoebebad gvevlineba. Smerlingi aseve TanamSromlobda JurnalebTan, `eSmakis maTraxi’’ da `tartarozi~. revoluciis periodSi (1905) Smerlingi saqarTveloSi mimdinare istoriul-politikuri movlenebis epicentrSi iyo da karikaturebiT gamoxatavda Tavis damokidebulebas sazogadoebrivi cxovrebis yvela mniSvnelovani problemisadmi. `cnobis furceli~, qarTuli yoveldRiuri gazeTi, gamodioda TbilisSi 1896 wlidan 1906 wlamde. redaqtorgamomcemlebi iyvnen: valerian gunia (1896-99 ww), aleqsandre Wyonia (1899-1900 ww), aleqsandre jabadari (1901-1906). gazeTSi ibeWdeboda sainformacio cnobebi, depeSebi, mTavrobis gankargulebebi, axali ambebi da sxv. aseve qveyndeboda korespondenciebi, literaturulkritikuli werilebi, mxatvruli nawarmoebebi, statiebi xelovnebis, saqarTvelos istoriis, eTnografiis, arqeologiis sakiTxebze.
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`cnobis furcelis~ suraTebiani damatebis masala karikaturebis Temebis mixedviT SeiZleba dajgufdes, maT Sorisaa iseTi sakiTxebi, rogorebicaa sazogadoebaSi damkvidrebuli eTikuri faseulobebi, ojaxi da iq ganviTarebuli tragikomikuri movlenebi. rac Seexeba sxvadasxva profesiebis adamianebs da maT damokidebulebas, midgomas TavianTi saqmisadmi, oskar Smerlingi xSirad exeba eqimebis Temas da rac sainteresoa, ZiriTadad uaryofiT konteqstSi. magaliTad, erT-erT suraTze vxedavT gamoketil karebTan mdgar, welSi moxril qalsa da mamakacs, karze ki moCans warwera _ `дома нытъ“. teqstidan irkveva, rom Raribebi ufaso rCevisTvis mimarTaven xolme eqims, romelic maT amgvarad `exmareba~. sainteresoa aseve suraTi, romelzec vxedavT axalgazrda eqimis figuras, romelsac kolbebi uWiravs xelSi, mis ukan ki ori asakovani adamiani zis. teqstis mixedviT vigebT, rom eqims ver gaurCevia glexisa da
values of society, family and its tragicomic stories. Regarding people of various professions and their perspectives and approaches towards their work, Oskar Schmerling often touches upon the subject of physicians, and interestingly, mostly in a negative context. For instance, in one of the illustrations, we see a hunchbacked woman and man in front of a locked door, on the latter of which one can read the inscription – “Whining place”. From the text, we can understand that poor people ask for free advice from physicians, who “help” them in this way. Another interesting illustration is that of the figure of a young physician, who is holding laboratory flasks in his hands, with two elderly people sitting behind him. The text explains that the physician couldn’t distinguish the blood of a peasant from that of an aristocrat, but he heard from some aristocrats that they had noble blood. The author’s approach is two-fold: readers have to decide for themselves if this is an honest question from the physician or if it was mockery directed at the aristocracy.
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Tavadis sisxli, Tumca Tavadebisgan smenia, rom maT ZarRvebSi keTilSobiluri sisxli Cqefs. avtoris damokidebuleba orazrovania: mnaxvelma unda gadawyvitos, es axalgazrda eqimis gulwrfeli gakvirvebaa Tu Tavadebis dacinva. Smerlingis karikaturebiT vigebT, rom im periodSi metad datvirTuli da mZime iyo maswavleblis mdgomareoba. mag. erT-erT ilustraciaze moxuc kacs akidebuli aqvs uamravi Sekvra, romelSic calkea kerZo gakveTilebi, gasasworebeli rveulebi, rCevebi da TiTqos suraTis saTauri misi saqmianobis diferenciacias axdens. amas garda, mis mklavebze gamosaxulia Tojinis msgavsi figurebi da aweriaT `семья~. SeiZleba es figurebi rogorc bavSvebi, ise yofiliyo gaazrebuli, magram zomebis mixedviT ver davamtkicebT, Tumca rodesac saqme karikaturasTan gvaqvs arc es faqtoria gamoricxuli. Smerlingis karikaturebi asuraTebs politikur sakiTxebsac. aq gvxvdeba im periodis e.w. qalaqis mmarTvelebis SarJebi. upasuxismgeblo da sakuTar keTildReobaze orientirebul politikosTa komikuri gamosaxulebebi, romlebsac xalxi mxolod arCevnebis win axsovs da sxv. aqve vxvdebiT qalaqis yofiT problemebs: oskar Smerlingi iumornarevi ostatobiT asaxavs mosaxleobis mdgomareobas wvimis Semdeg, qarSi, yinvaSi da antisanitariis pirobebSi. Tan am viTarebas ise TxrobiTad gadmoscems, TiTqos mayurebeli novelas kiTxulobs, sadac personaJebi, dramaturgiuli centri da siuJetis ganviTarebis logikuri xazia. sevdanarevi iumori axlavs SarJebs, romlebSic imdroindeli tfilisis quCebia asaxuli. dRes am yvelfers ukve istoriuli Rirebuleba aqvs. am suraTebze vxedavT gzebisa da Senobebis mouwyoblobas, mosaxleobis gausaZlis yofas amindis gauaresebis dros an Semdeg,
From Schmerling’s caricatures, we understand that at that time, the situation of being a teacher was much more difficult. For instance, in an illustration, an elderly man is carrying a myriad of packs, in which there are private lessons, notebooks to be corrected, advice notes… It seems the illustration’s title defines him as a teacher. Apart from that, one can notice some representations of doll figures on his arms, with “family” written next to them. Perhaps these figures were supposed to represent children, but because of their size, we cannot be sure, though when we are dealing with caricatures, we cannot exclude this solution either. Schmerling’s caricatures also depict political subjects. We can see the so-called city governors being mocked. Comical representations of irresponsible politicians concentrated on their own comfort, who only remember people when the election period approaches… He also drew about everyday city problems: Oskar Schmerling masterfully depicts the state of the inhabitants after a rain, in the wind, in freezing temperatures and unclean situations. And he conveys these circumstances with such good story-telling that it seems onlookers are reading a book in which characters, the dramatic subject and the development of the
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rodesac qalaqis macxovreblebs wvimis Semdeg quCebis curviT gadalaxva uwevT. erT-erTi aseTi SarJi, gamZafrebulia teqstiTac, saidanac vigebT, rom e.w. „muxranianT xidis~ aSenebas ukve ocdaaTi welia elodeba mosaxleoba, magram amaod (rogorc cnobilia, muxranis xidi mogvianebiT aSenda da dRes mas baraTaSvilis xidi ewodeba). SeiZleba iTqvas, rom oskar Smerlingis namuSevrebiT iwyeba qarTuli karikatura. misi memkvidreoba unikaluria ara mxolod mxatvruli TvalsazrisiT, aramed istoriuli sinamdvilis aRqmisa da gaazrebisTvisac. `cnobis furcelis~ suraTebiani damatebis Semdeg Jurnal ,,eSmakis maTraxis“ Tematika da karikaturebi ufro xisti xasiaTiT gamoirCeva. aq iseTi mwvave Temebia asaxuli, rogorebicaa arCevnebi, saqarTvelos avtokefaliis sakiTxi, ruseTSi mimdinare procesebi. maTSi politikuri figurebi gansakuTrebuli simwvaviT arian gaSarJebuli, mxilebulia samRvdeloebis naklovanebebi, aseve alegoriuladaa gadmocemuli saqarTvelos damoukideblobis aRdgenis procesebi. cnobili qarTveli kinoreJisoris, mixeil Wiaurelis, rogorc karikaturistis asparezi, meoce saukunis dasawyisis Tanadrouli presis furclebia: Jurnali `eSmakis maTraxi~, `saxalxo furceli“, ,,cnobis furcelis~ suraTebiani damateba. garda aqtualuri da mwvave sakiTxebisa, romlebic wamyvani Temebi iyo Jurnal-gazeTebSi, Wiaureli saxasiaTo personaJebis portretebsac qmnis, isini im periodis TbilisSi cxovrobdnen (Cixtikopiani mandilosnebi, kintoebi, mawvnis da sxva aTasi wvrilmanis gamyidvelebi). mxatvris erT-erT yvelaze komikur siuJets warmogvidgens qarTvel mweralTa panTeoni, romelzec vxedavT ramdenime figuras. maTgan ganirCeva SoTa rusTavelis, akaki wereTlis da ilia WavWavaZis
storyline follow one logical line. Some sad humor can also be felt in some illustrations, especially those representing the streets of Tbilisi at the time. Today, these illustrations have gained historic importance. In these pictures, we can see the disorganization regarding roads and buildings, the unbearable circumstances in which people had to live during or after bad weather conditions, when the citizens had to swim in order to cross the street after some rain. One of these caricatures is underlined by its text, from which we learn that the inhabitants of the city have been waiting for the building of the so-called “Mukhrani Bridge” for more than 30 years already, and in vain (it is well-known that the Mukhrani Bridge was later constructed; it is called the Baratashvili Bridge today). One could say that Oskar Schmerling has laid the foundations of Georgian caricature. His heritage is unique not only in terms of art, but also in terms of understanding and analyzing history. Compared to the illustrated edition of the ‘Tsnobis Purtseli’, those later found in the newspaper ‘Demon’s Whip’ stand out with their harsher character. They depict such topical themes as elections, the autocephaly of Georgia, and ongoing events in Russia. Political figures are mocked with particular severity in those, the shortages of religious figures are scorned too, and the processes behind the restoration of Georgian independence are conveyed in an allegorical manner. Caricature works by famous film director Mikheil Chiaureli can be found in the printed press of the beginning of the 20th century: ‘Demon’s Whip’, ‘Sakhalkho Purtseli’, ‘Tsnobis Purtseli’s’ illustrated addition. Apart from topical and burning subjects discussed in the journals as texts too, Chiaureli also created portraits of the characteristic personalities living at the time in Tbilisi (women with traditional headdresses, kintos, traders of yogurt or thousand other things).
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portretebi. akaki profilSia gamosaxuli da tradiciulad xeli nikapTan aqvs midebuli. ucnauria is, rom am figurebis win sxvadasxva cxoveli Tu frinvelia gamosaxuli: kurdReli, gveli, mtredi da kidev ramdenime ucnauri da Znelad gasarCevi cxoveli. suraTis garemoc uCveuloa da Zneli amosacnobia, Tu sad surda avtors `moeTavsebina~ naxatis personaJebi. amaze pasuxs gvaZlevs kompoziciis zeda kuTxeSi daxatuli fexis terfebi, romlis SemCnevis Semdeg yvelaferi naTeli xdeba: es samoTxea, sadac mxatvars saxelovani qarTvelebi gadaunawilebia. xolo fexis terfebis gamosaxviT ki mxatvarma TviT uzenaesis personificireba moaxdina. aseT „vizualur komentars~ amZafrebs kompoziciis marjvena kuTxeSi mokrZalebulad mdgomi Winka, romelsac xelSi furclismagvari nivTi uWiravs. 1907 wels, akaki wereTlis redaqtorobiT gamodis axali iumoristuli Jurnali `xumara,“ romelTanac mxatvar-karikaturistad TanamSromlobas iwyebs gigo zaziaSvili. skandaluri aRmoCnda gazeT `xumaras~
One of the most comical caricatures of the artist is the pantheon of Georgian writers, on which we see several figures. Shota Rustaveli, Akaki Tsereteli, and Ilia Chavchavadze’s portraits stand out. Akaki is seen from the side, and as usual, his chin is resting on his hand. The strange thing is that various animals or birds are represented before these figures: a rabbit, a snake, a pigeon and several other strange and hardly recognizable animals. It is difficult to determine where the author wanted to “put” his characters, but we get an answer to this question with the feet found at the upper corner of the composition. After noticing them, everything becomes clear: it is in heaven that the artist moved the famous Georgian authors. With the feet, the artist made a personification of God himself. This “visual comment” is underlined by the shyly standing little creature in the right corner of the composition, which is holding something like a piece of paper in his hands. In 1907, the new humoristic journal ‘Khumara’ (“joker”) is published under Akaki Tsereteli’s supervision, in which Gigo Zaziashvili starts working as an illustrator and caricaturist. The caricature printed on the cover of ‘Khumara’s’ very first edition turned out to create
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pirvelive nomris garekanze dabeWdili karikatura, romelsac gazeTis daxurva da akakis dapatimreba mohyva. mas gaxmaurebuli, realuri ambavi edo safuZvlad da exeboda Tbilisis gubernator rauS-fon-traubenbergsa da Tavad-aznaurTa marSal bagration-daviTaSvils Soris momxdar konfliqts (am ambavs mefisnacval voroncov-daSkovis yuramdec miuRwevia da gubernatori Tanamdebobidan gadauyenebia). cenzuris yvelaze didi reaqcia mohyva gubernatoris tansacmelSi gamowyobili viris figuras. kompoziciis meore mxares gamosaxulia marSlis figura, romelic niSaduris flakons lesavs. naxatis ukana planze ki kintoa, romlis figuram SeiZleba azartSi Sesuli, seiris mayurebeli kacis mdgomareoba gagvaxsenos. personaJebis moqmedeba srulad aris `moTxrobili~ orstrofian leqsSi: `did-yuraanT yroyinas Cvenebi ejavreba, / saidanac mosula, iqiT mieCqareba. / da niSadurs ulesavs gulmosuli marSali, / rom aq aRarsad darCes im viris gza da kvali, / kinto ki gaocebiT Sescqeria am ambavs / da xmamaRla iZaxis: _ amousviT ra uSav-s“. aseTi siTamame ar gamoepara cenzuris Tvals, romelmac mkacri pasuxi gasca gamomcemlebs: Jurnalis akrZalvasTan erTad misi moxuci redaqtoric daapatimres da metexis cixis gzas gauyenes. marTalia, poeti meore dResve gaaTavisufles, magram Jurnalis gamocema aRar ganaxlebula. zaziaSvili poetis dapatimrebasac gamoexmaura SarJiT: `akakis mogzauroba redaqciidan metexamdin“. zogadad gigo zaziaSvilis karikaturebis aRwerisas, xSirad SeimCneva, rom is konkretul siuJets iyenebs amosaval wertilad da bevrs fiqrobs imaze, Tu rogor gaamZafros vizualurad. Tu oskar SmerlingTan ramdenime konturis monaxaziT ukve aris forma, kompozicia da iseTi ganwyoba, romelic mnaxvels didxans axsovs, aq gansxvavebul midgomas vxedavT. magaliTisTvis, karikatura saxelwodebiT `Tavisufleba~ asaxavs TiTqos orad gayofil suraTs. marjvena mxares moCans sasaflao, uamravi jvrebiTa da caSi gabneuli yvavebiT. SemaRlebul adgilze miwolilia daRlil-daqanculi qali, romlis Tavze aRmarTulia jvari warweriT `Tavisufleba~, naxatis wina planze ki gamosaxuli arian muSa da glexi, romlebic dafiqrebulebi Sescqerian aseT `Tavisuflebas“. wina avtorebisgan gansxvavebiT, gigo zaziaSvili ukiduresad realisti mxatvaria. igi TiTqos aravis aSarJebs. `yveba~ ambavs da mxolod garkveuli alegoriuli detalebi gvarwmunebs imaSi, rom am SemTxvevaSic karikaturis JanrTan gvaqvs saqme. adrindeli presis masala gviCvenebs, rom XIX saukunis bolo meoTxedisa da XX saukunis dasawyisis qarTuli sinamdvile, romelic metad mravalxmrivi da saintereso iyo, yvelaze
a scandal, and was followed by the journal being shut down and Akaki Tsereteli being imprisoned. The caricature was founded on a famous real event, and had to do with the conflict that had taken place between Tbilisi’s governor, Rausch von Traubenberg, and the aristocrats’ marshal Bagration-Davitashvili (this story even reached the ears of viceroy Vorontsov-Dashkov, and the latter fired the governor from his office). The strongest reaction of censorship was expressed against the donkey figure dressed as a governor. On the other side of the composition, we see the figure of the marshal preparing a vial of ammonium. In the background of the composition, we can notice a Kinto, the figure of whom could be remindful of someone entertained, looking at some spectacle. The characters’ actions are fully explained in a two-stanza poem: “The large-eared braying one dislikes our people / He is hurrying to where he came from. / And the furious marshal is preparing ammoniac, / so there is no trace left of this donkey, / while the Kinto observes this scene in awe / and loudly shouts: “Rub it on him, what’s the matter?!”.” This boldness didn’t pass unnoticed in the censors’ eyes, who uncompromisingly answered the publishers: together with a ban on the journal, they imprisoned its old editor and headed him to the Metekhi prison. The poet was actually freed the next day, but the journal was never continued. Zaziashvili also mocked the imprisonment of the poet: “Akaki’s voyage from the editorial office to Metekhi”. In general, with Gigo Zaziashvili’s caricatures, one can notice that he takes a theme as a starting point, and then thinks a great deal about how to intensify it visually. If in Oskar Schmerling’s illustrations, shapes, compositions, and atmosphere are formed from a few contours and are memorable to onlookers, here we have a different approach. For instance, the caricature titled “freedom” seems to be split in two. On the right side, we see a cemetery with numerous crosses and crows scattered in the sky. An exhausted woman is lying on an elevated place, above the head of which there is a cross with the inscription “Freedom”. In the front, we see workers and peasants, who pensively observe this kind of “freedom”. Unlike other authors, Gigo Zaziashvili is an utterly realist painter. He almost never ridicules. He “narrates” a story, and it is only through allegoric details that he convinces us that we are looking at the caricature genre. Early press materials show us the Georgian reality of the last quarter of the 19th century and the beginning of the 20th century. This reality was very complex and interesting, and the periodical printed press and caricatures have managed to preserve and transmit it in the clearest and most unembellished way. This is normal, as during that epoch, illustrated editions were the most massive means of spreading information. Caricatures from the last quarter of the 19th century and the beginning of the 20th century make up an art genre that presents many known or unknown artists to the public, and gives us the opportunity to appreciate their standpoint and see one of our history’s most important periods from today’s perspective.
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TvalsaCinod da Seulamazeblad periodulma gamocemebma da karikaturebma Semogvinaxa. es bunebrivicaa, radgan im epoqaSi ilustrirebuli gamocemebi informaciis gavrcelebis yvelaze masiuri saSuleba iyo. XIX saukunis bolo meoTxedisa da XX saukunis dasawyisis
qarTuli karikatura xelovnebis is Janria, romelic sazoagadoebas bevr nacnob Tu ucnob artists acnobs da saSualebas gvaZlevs maTi TvaliT SevafasoT da dRevandeli perspeqtividan davinaxoT Cveni warsulis erTerTi umniSvnelovanesi periodi.
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NANA MELITSKAURI
nana meliwkauri
broweulis yvaviliviT lamazi - siyvaruli... A LOVE AS BEAUTIFUL AS A POMEGRANATE FLOWER...
I was told this story by Mr. Gogi Kharabadze, and I didn’t know anything about their love. Mr. Gogi had never told anyone about it, perhaps for me to write about it... For me to see the pomegranate tree growing out of a crack in the marble on the Mtatsminda pantheon… And to look at love straight in the eyes…
es istoria, batonma gogi xarabaZem miambo, me araferi vicodi maT siyvarulze. baton gogis gulSi hqonda Senaxuli, albaT imisTvis, rom damewera... menaxa mTawmindis panTeonSi gabzaruli marmarilodan amosuli broweulis gadafeTqili xe... da TvalebSi Camexeda siyvarulisTvis... dRemde myarad dgas dedamiwaze poeziiT daxunZluli, siyvarulis TvalSeudgami monumenti, romelic bevrisTvis Soreuli da Seucnobia saukunod... siyvaruli, tkivilis, sevdis da bednierebis wyaro... „adamiani cocxalia manamde, sanam is bednierebas eZebs, vidre mis gulSi kidev Rvivis aRTqmuli qveynis xilvis imedi... mxolod namdvili siyvarulis, mxolod didi tkivilis xarjiT SeiZleba bednierebis napirebTan miaxloeba...~ (guram asaTiani)
To this day, the immense monument of love is still standing strong, bowing its branches of poetry towards the Earth, although to many, it will remain distant and unfamiliar… Love, a source of suffering, sadness, and happiness... “Humans are alive until they are looking for happiness, until the hope of seeing the promised land still makes their hearts beat… It is only through real love, through great suffering that one can approach the shores of happiness…” (Guram Asatiani)
marika eliava da simon Ciqovani Tavisi siyvaruliT iyvnen gamorCeulni, isini Zalian axlos mividnen am napirTan... cotam Tu icis (axalgazrdebs vgulisxmob) mTawmindaze, gabzaruli saflavis qvidan amosuli broweulis istoria, romelic warmoudgenelia odesme dagaviwydes, iseve, rogorc serafita... maTi siyvaruli maSin ewvia dedamiwas, rodesac ukve uamravi ram iyo Tqmuli Tu dawerili siyvarulze... tkiviliani da sixaruliani siyvarulis magaliTic mravlad icodnen... rusTavelze momavali ori gogonas yuradReba axalgazrda kacis daJinebulma mzeram miiqcia... gangebis uxilavi nebiT Sexvdnen isini erTmaneTs... axalgazrda kaci gaognebuli Sescqeroda im orTagan erT-erTs, romelzec maSinve Tqva _ me am qals colad SevirTavo!.. Tumca am sityvebis Semdeg sul cota, Svidi weli mainc gaivlis... mZime, sevdiani, alag-alag sixarulianic... simon Ciqovani gamoucnobi, futuristuli poeziis adepti... qalbatoni marika eliava _ sicocxliT savse, siyvarulis SaravandiT mosili... maTi siyvaruli gauZlebs axloblebis winaaRmdegobas... veragi avadmyofobac ver gawyvets sulis xveulebSi Cawnul siyvarulis Zafebs... piriqiT _ qobuleTSi, marikas
Marika Eliava and Simon Chikovani stood out for their love for each other. They were very close to that shore... Few know (I am talking about the younger generation) about the story of the pomegranate tree growing from a crack in the marble on the Mtatsminda pantheon, a story that one can never forget… Their love visited Earth when there were already so many things said and written about love… We already had many examples of both miserable and joyful love… The insistent gaze of a young man snatched the attention of two girls walking on Rustaveli Avenue... They met each other through the invisible will of providence... The young man was looking at one of the girls, stupefied, and he said it right away: “This girl will become my wife!”... But after these words, at least seven years would pass... Difficult, sad years, with some joyful moments here and there... Simon Chikovani, a mysterious adept of futurist poetry... Mrs. Marika Eliava – full of life, crowned with a halo of love… Their love will endure conflict between their close ones... Even a perfidious illness won’t manage to cut the threads of love intertwined in the meanders of their souls… On the contrary – Simon would very often go and visit Marika by train from Tbilisi in Kobuleti, where the latter was in hospital. He didn’t need more than looking at her window… The sinister sentence “Out of sight, out of mind” now sounds funny… And a miracle is gradually entering their hearts – love… The sadness of parting and longing came along – the constant satellites
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saavadmyofoSi yofnisas, simoni Zalian xSirad Cava, matarebliT, Tbilisidan _ qobuleTSi, meti araferi unda, mis fanjrebs Sexedos mxolod... kvimati fraza _ Tvali Tvals rom moSordeba, gulic gadasxvaferdebao _ sasacilo gaxda... gulSi ki, nel-nela Rvivdeba saocreba _ siyvaruli... Cndeba ganSorebis sevda, monatreba _ siyvarulis mudmivi Tanamgzavri... TandaTan siyvaruliT ivseba suli, ezo, quCa, qalaqi... verc ki daijereb, rom es is saSineli, sabediswero wlebia... represiebi... gadasaxlebebi... daxvretebi... nel-
of love… Little by little, the soul, yard, street, and the city are getting filled with love… I cannot even believe that this was during these horrific, fateful years... Repressions... Exile... Executions... The city is slowly being emptied of its blood... Mostly the blood of good ones, which could only have been filled with this kind of love... This suffering didn’t spare them either. “Nestan’s feminine ardor didn’t lose its strength, but it was supplemented by a softness imbued with sadness, nuances of thoughtfulness, guardianship…” (Guram Asatiani) All this followed Marika until her very last days. Before that, they got married... Their happiness was shared with
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nela ecleba qalaqs sisxli... umetesad rCeulTa sisxli, romelic mxolod aseTi siyvaruliT SeiZleba Seivso, odnav mainc... arc am satkivars auvlia gverdi maTi satkivarisTvis. „nestanis qalur ndomas ar daukargavs Tavisi siZliere, magram mas Seemata sevdanarevi sinazis, zrunvis, meurveobis elferi...~ (guram asaTiani) es yvelaferi marikas sicocxlis ukanasknel dRemde gahyva. manamde ki iqorwines... maTi bedniereba axloblebmac gaiziares... iyo uamravi sixaruli, megobrebi, wveulebebi... xanmokle ganSorebebsa da Sexvedrebs Soris ki, siyvaruliTve savse striqonebi iwereboda...
close ones... There was a lot of joy, friends, events... The short periods between parting and reuniting, verses full of love would be written... “It appears I thought of you, of your body turned into a reed. These wagons are Mongolians, and who knows where they are bringing your beloved…” or “…I want to come and pamper you with love, maybe you are waiting for that feeling too, in silence. But what can I do? You are as heavy as my poem, and inaccessible as Tahiti…” When humans are happy, time flies… Their door was open to all who loved poetry, who loved, whom they loved... Generations were being spiritually nourished in this house, in which one wouldn’t be surprised to meet Pasternak, Sergo Zakariadze, Yevtushenko, Zdanevich...
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„momgonebixar, momgonebia lerwmad qceuli Seni sxeuli. es vagonebic mongolebia da sad mivyavar Seni rCeuli...~ an „...msurs, movide da siyvaruliT mogealerso, egeb am grZnobas siCumeSi Senac moeli. magram ra giyo, Sen mZime xar Cemi leqsiviT da amave dros taitiviT miuwvdomeli...~ roca adamiani bednieria, dro swrafad gadis... maTi ojaxis kari Ria iyo yvelasTvis, visac poezia uyvarda, visac uyvarda, vinc uyvardaT... Taobebi iRebdnen sulier sazrdos am saxlSi, sadac aravis ukvirda pasternakis, sergo zaqariaZis, evtuSenkos, zdaneviCis stumroba... pirvelad aq mohqondaT Tavisi nawerebi, leqsebi, guram asaTians, arCil sulakaurs, da sxvasa da sxvas. aq maT gulisxmieri ufrosi megobrebi elodnen _ qalbatoni marika da batoni simoni. droni imaze swrafad mihqrian, vidre adamians surs... araerTi amqveyniuri qariSxali gadaivlis maT ojaxze. Tumca, gverdiT yovelTvis eyolebaT megobrebi, romlebic sityviT da saqmiT umagrebdnen mxars... asakTan erTad qalbatoni marikas avadmyofoba gamwvavda... amiT gamowveuli dardi, baton simons, garTulebuli diabetis fonze, Tvalis Cins waarTmevs... am mZime gzazec erTad,
It was the first place where Guram Asatiani, Archil Sulakauri, and many others would bring their writings and poems. They were awaited by their sympathetic older friends – Mrs. Marika and Mr. Simon. Time passes faster than a human would wish... They would experience many earthly setbacks. But they would always have their friends at their side, who would support them both in words and actions... With age, Mrs. Marika’s illness got worse... The sorrow it produced in Mr. Simon, who had a bad case of diabetes, made him lose his sight... They walked this difficult road together, hand in hand... And they looked at the world through Mrs. Marika’s eyes... Excerpts from Mrs. Marika’s diaries. Last years: (7.03.1964) Simon returned from the hospital in the evening, at around 19:00. I was up. When he entered his house, he stopped in the corridor, and weakly and helplessly said: “I can’t see anything…”. It was horrible, we couldn’t hold our tears. Then he gradually rejoiced, some friends came over, Guram Asatiani was there too. (2.04.1964) Today we were walking together in the rooms, and nobody could have guessed who was helping the other. (4.04.1964) Today, he told me that a man with diabetes couldn’t live more than twenty years, and that his end was probably near. If he is so hopeless, then nothing will help. My whole body hurts too, but there’s not time for me to be ill, I try to stay on my feet; I cannot lie
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xelCakidebulebma iares... da qalbatoni marikas TvalebiT uyures samyaros... qalbatoni marikas dRiurebidan amonaridi. bolo wlebi: (7.03.1964 w.) „saRamos 7 saaTze dabrunda simoni saavadmyofodan. me davxvdi fexze. rom Semovida Tavis saxlSi, derefanSi gaCerda, umweod da sacodavad Tqva: „verafers vxedav...~ saSineleba iyo, cremlebi ver SevikaveT. Semdeg TandaTan gaerTo, Cvenebi movidnen, guram asaTianic iyo~. (2.04.1964w.) „dRes vseirnobdiT oTaxebSi erTad, romels romeli dagvyavs, ver mixvdeba kaci...~ (4.04.1964w.) „dRes miTxra oc welze mets diabetiT daavadebuli kaci ver icxovrebs da albaT Cemi boloc modiso. Tu aseTi uimedoba moicavs, maSin marTla araferi gviSvelis. mec yvelaferi mtkiva, ra dros Cemi avadmyofobaa, vcdilob ufro fexze viyo, ver vwvebi _ meSinia arafers daejaxos... vkiTxulobdiT blokis leqsebs, Tqva, „Sen warmoidgine, cota gaxunebuliao, zogierTi leqsi, veRar tovebso im STabeWdilebas uwin rom tovebdao“. mTxova pasternaki wamekiTxa...~ (20.04.1964w.) „dRes adre gaeRviZa, ugunebod aris, Tqva, rogor mimuxTlao bedma. vuTxari, morCebi da aTmagi
down – I am afraid that he will accidentally hit something… We were reading Blok’s poems, he said – “He’s a little discolored, some of his poems don’t leave the same impressions as they used to.” He asked me to read Pasternak… (20.04.1964) Today he woke up early; he’s in a bad mood and said that fate had tormented him. I told him that he would be better and work with a tenfold energy: “What work? I’m half-dead”. I tried to comfort him a lot, and I am convinced that he will see again. As for me, I have such an illness that any day that I steal from death is a great victory. I hope I will get a bit better, I could take better care of Simon… (27.04.1964) It’s my birthday today, and I am afraid to say how old I am. People started congratulating me in the morning, some by phone, some by coming to our house. Nika came around noon and brought me wonderful tulips. I never celebrated my birthday, and usually people don’t remember; this year they did, perhaps because I’m ill... God, I am not worthy of so much love. What would we do without love! (28.04.1964) I looked after Simon in the morning and made him eat his breakfast. Then he asked me to find ‘The Knight in the Panther’s Skin’ and to read ‘Nestan’s letter to her beloved’. I read it, he made me read it a second time, and he was “reading” it by heart himself...
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energiiT imuSaveb-meTqi, _ ras vimuSaveb naxevrad mkvdari varo. bevri vamSvide da marTlac darwmunebuli var, rom mxedveloba daubrundeba. me ki iseTi avadmyofoba maqvs, yoveli dRe, rasaca sikvdils wavarTmev, didi miRwevaa. iqneb cota damcaldes, simons movuaro, nika davaqorwino...~ (27.04.1964) „dRes Cemi dabadebis dRea, meSinia kidec Tqma, ise davberdi. dilidan zogi telefoniT, zogic modis da milocaven. nika movida SuadRisas da momitana SesaniSnavi titebi. arasodes dabadebis dRe ar aRminiSnavs da aravis axsovda, wels gaaxsendaT, albaT imitom, rom avad var... amdeni siyvarulis Rirsi, RmerTmani, ara var. ra gveSveleba, es rom aRar iyos!“ (28.04.1964) „dilidan movuare simons, vasauzme. mere mTxova, moZebne „vefxistyaosani~ da wamikiTxeo „nestanis werili sayvarelTan miwerili“. wavukiTxe, meored wamakiTxa da TviTonac zepirad kiTxulobda...“ (18.05.1964) „simoni saavadmyofoSia. xan imedianad aris, xan uimedod. pirveli xuTi dRe vcdilobdiT, aravis Seewuxebina. axla, TandaTan, isev vuSvebT xalxs. me TviTon Zalian cudad var, am dRiursac ver vwer. am drois ganmavlobaSi araferi gansakuTrebuli ar momxdara. var sruliad ufulod, vsesxulob“... (26-28.05.1964) dilis 12 saaTze nikam, elisom da saSam moiyvanes simoni, Tvalaxveuli. Zalian gamxdara da sustad aris... ufro wevs, vawveTebT Tvalis wamals. Saqari mainc bevri aqvs sisxlSi. ucxo xalxis naxvaze uars ambobs, etyoba, Sexvedris pirveli momentis eSinia. darekes moskovidan andronikaSvilebma, antokolskebma. me sicxe maqvs 39. Tavi ara maqvs arafris, am dRiursac ver vwer...“ sicocxlis bolo wlebi maTTvis ioli, Cveulebrivi ar yofila. magram siyvaruli iseTive Zlieri da srulyofili iyo, rogorc dasawyisSi... gamoTxovebac uCveulo hqondaT... isev leqsebiT... „wigns gitoveb, rogorc mziTevs, gulis xvavs da sulis iers. yvela leqsi Rames giTevs, scade, erTi amoxie da SeRebavs sisxli TiTebs...~ da `gzaze davtove Cemi amqrebi, sulSi CaWkneba mwvane ylortebi. nuTu nisliviT male gavqrebi? nuTu udrood ase gSordebi? saflavs Cems sxeuls TviTon SevurCev, binad avirCev mTaze ialaRs. mSvidobiT, Cemo leqsis saunjev, Cemo patara gulis fialav!...“ poetebi xSirad ararsebul muzas etrfian, simon Ciqovans namdvili, xorcSesxmuli muza hyavda; gogla leoniZe Turme xSirad exumreboda _ SeiZleba, mTeli cxovreba kacs erTi qali uyvardeso?!. es is gamonaklisi iyo swored... simon Ciqovanis gardacvalebidan 11 Tvis Semdeg, qalbatoni marika dRiurSi Cawers: (24.02.1967w.) „gardacvalebamde ramdenime dRiT adre simonma gaixsena Tomas manis „jadosnuri mTidan~ raRac
(18.05.1964) Simon is at the hospital. Sometimes he has hope, sometimes he doesn’t. The first five days, we didn’t want anybody to bother him. Now, we gradually allow people to visit him. I am in a very bad condition myself, it’s difficult to even write in this diary. Nothing special happened during this time. I have no money at all, I ask some friends for help... (26-28.05.1964) At noon, Nika, Eliso and Sasha brought Simon with a bandage over his eyes. He got very skinny... He is usually lying down, and we use some medication in the form of drops for his eyes. He still has a lot of sugar in his blood. He doesn’t want to see unknown people; it seems that he is afraid of the first moment when meeting someone. The Andronikashvilis and the Antokolskis called from Moscow. I have a fever of 39 degrees. I don’t have energy for anything, even to write in this diary... The last years of their lives were not easy or even average. But their love was as strong and complete as in the first years... Their requests for each other were special too… Again, in the form of poems… “I’m leaving you this book, like a dowry, a heap of hearts and a look into a soul. All poems whiten your nights; try to tear a page, and blood will paint your fingers…” and “I left my things on the road; green sprouts have withered within the soul. Will I disappear like the mist? Am I leaving you so soon? I will choose a grave for my body myself; I will pick meadows on a mountain as my home. Peace be upon you,
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adgili da miTxra, xom gaxsovso, me ar maxsovda. gamijavrda, rogor SeiZleba es ar gaxsovdeso, axlave gadmoiRe wigni da waikiTxeo. wigni ki gadmoviRe, magram wakiTxvis Tavi ar mqonda _ simoni cudad iyo... simonis gardacvalebidan ramdenime Tvis Semdeg daviwye isev kiTxva am romanis. ra saocrebaa! kinaRam gavgiJdi, ise saocrad aris aRwerili ioaximis sikvdili, TiTqos simonis sikvdilia aRwerili... TiTqmis ase iyo yvelaferi. Sen genacvale, rogor galamazdi da gaaxalgazrdavdi. Sen Semogevle, me yvelafer amas vuyure da davrCi cocxali...~ es xanmokle ganSoreba iyo... qalbatoni marika 1968 wlis 28 agvistos gardaicvala... misi anderZic iseTive uCveulo iyo, rogoric maTi siyvaruli... unda moexdinaT sxeulis kremacia da ferfli simon Ciqovanis saflavze mimoebniaT... da missa ferflsa (uneburad tatos leqsi gamaxsenda „SeviSrob cremlsa, WirT manelebels, gulsa daviwvav dasanacrebels, da missa ferflsa, viTa sakmevels Sevwirav satrfos, Cemsa salocavs!...“ pirvelad SevigrZeni am striqonTa realuroba...). bolo survili axloblebma Seusrules... sxeuli ferflad iqca, siyvaruli ki sulma Tvaluwvdenel sivrceebisken waiRo da isev SeaerTa isini zecad...
treasure of my poem, my little cup of a heart!...” The poets are often in love with an inexistent muse; Simon Chikovani had a real, incarnated muse; Gogla Leonidze often joked – “Can a man love the same woman his whole life?!” He was that precise exception… 11 months after Simon Chikovani’s death, Mrs. Marika wrote in her diary: (24.02.1967) “A few days before his death, Simon remembered a passage from Thomas Mann’s ‘Magic Mountain’, asking me if I remembered it too – I didn’t. He was surprised that I didn’t remember and asked me to take out the book right away and read the passage. I did take the book, but I didn’t have the energy to read – Simon was very ill... A few months after Simon’s death, I started to read this book again. What a marvel! I almost lost my mind; the death of Joachim is described so wonderfully, that it is almost a copy of Simon’s death... It seemed that everything happened in that exact manner. My dear, how beautiful and young you’ve become. My dear, I was watching all this and I remained alive…” This was a short parting... Mrs. Marika passed away on the 28th of August, 1868... Her will was as distinguished as their love... She asked for her body to be cremated and for its ashes to be spread on Simon Chikovani’s grave... And its ashes... (I was unexpectedly reminded of Tato’s poem: “I will dry my tears, the ones that slow down suffering, I will burn my heart, and its ashes, like sacrificing incense for my beloved, for my temple!...” It is the first time that I felt the reality of these verses…).
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P.S. wera davamTavre... siyvarulis wigni gadmoviRe da gadavikiTxe... guram asaTianis boloTqma rom wavikiTxe, gavocdi ise hgavda Cemi naweri misas... aman ufro metad damaaxlova baton guramTan, romelic qalbatoni marikasi da simonis axlo megobari iyo. amitom vamjobine misi sityvebiT damesrulebina es werili... „siyvaruli poeziis pirvelmizezia. kacobriobas is bavSvobidan, sizmrebidan mosdevs... yvelaferi Zveldeba miwisqveSeTSi, cvdeba, iferfleba, mtvrad da ferflad iqceva ubrundeba maradisobis wiaRs, aTasi gorozi gulis Zaxili Seeria did udabnoTa dausabamo mdumarebas... inavleba siyvarulic... magram erT mSvenier dRes, broweulis lorTqo fesvebi kadnierad gahkveTen qvian balavars da sarkofagis aTaswlovan sigrilidan kvlav amogizgizdeba „viT bazma gauqrobeli~ _ Cvili, umweo, samaradiso xma: „Zevax, sicocxleo Cemo!..~ fotomasalis mowodebisTvis madlobas vuxdiT giorgi leoniZis sax. literaturis muzeums
Her last wish was respected by her close ones… The body became ashes, as for their love, the wind has taken it to invisible places, where they reunited, in the heavens… P.S. I finsihed writing... I took ‘The Book of Love’ and read it... When I read Guram Asatiani’s afterword, I was astonished at how my words looked like his... This brought me closer to Mr. Guram, who was a close friend of Mrs. Marika and Mr. Simon. This is why I chose to finish this letter with his words... “Love is the fundamental reason for poetry. It has followed humanity since childhood, in dreams... Everything ages under the ground, turning to dust and ashes, and returns to the entrails of eternity. Thousands of screams from arrogant hearts have joined the silence of infinite deserts… Love too turns to ashes… But one day, the luscious roots of the pomegranate will suddenly cut through the stone wall, and from the thousand-year-old coolness of the sarcophagus, it will rise again, “like an inextinguishable fire” – it will have the eternal voice of a helpless infant: “Oh, my life!...””
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NINO GOGICHAISHVILI
nino gogiCaiSvili
antonio salieri ANTONIO SALIERI wlebis win, miunxenis germanul muzeumSi erTi posteri SeviZine - „THE GREAT COMPOSERS", sadac barokodan modernamde epoqebis yvelaze mniSvnelovani kompozitorebia gamosaxuli. portretis qvemoT ki, TiToeulis ramdenime nawarmoebia CamoTvlili. maTgan met-naklebad, TiTqmis yvela gavixsene. erTaderTi kompozitori, romlis nawarmoebebis nusxidan veraferi amovicani, iyo antonio salieri. musikis istoriaSi misi operebis mniSvnelobaze vicodi, magram, mainc moulodneli meCvena, rom aT umniSvnelovanes klasikoss Soris (1750-1820) salieric vixile. davfiqrdi, Tu riT iyo gamowveuli Cemi aseTi gaucxoeba mis mimarT da gavacnobiere, rom salierize pirvelad, bavSvobaSi, puSkinis poemidan „mocarti da salieri~ (1832) Sevityve. ufro mogvianebiT ki, miloS formanis cnobilma filmma „amadeusi~ (1984) ganmimtkica warmodgena „borot salierize~. mxedvelobaSi ar miviRe, rom erTic da meorec am oris urTierTobaze gavrcelebul miTs aviTarebda da samwuxarod, ase ganmimtkicda stereotipuli warmodgena salieris Sesaxeb, Cemi intervius respondentis, salieris eqspertisgan gansxvavebiT, romlisganac realurad gavecani salieris fenomens. es gaxlavT dr. timo iouko hermani (1978*), germaneli kompozitori, musikismcodne da diriJori. is avtoria ori cnobili wignisa antonio salierize da sanam masTan intervius SemogTavazebdiT, ramdenime mokle Strixi salieris biografiidan: antonio salieri daibada 1750 wels italiis qalaq leniagoSi. bavSvobaSi swavlobda violinosa da Cembaloze dakvras. 13 wlis asakSi daoblda da masze meurveoba ojaxis megobarma jovani moCenigom aiRo, romelmac patara salierisTvis musikis gakveTilebi vokalsa da kompoziciaSi uzrunvelyo. mogvianebiT kompoziciis pedagogma paCinim is venis kompozitor florian leopold gasmans gaacno, romelic ise moixibla salieris
Years ago, at the Deutsches Museum in Munich, I purchased a poster titled ‘The Great Composers’, in which the most important composers from the baroque to the modern epoch are depicted. Below the portraits, there is a list of a few of each composer’s works. I knew almost all of them. The only composer whose work I could not recognize was Antonio Salieri. I knew about the importance of his operas in the history of music, but it was still surprising to me to see him among the ten most important classic composers from 17501820. Thinking about the reasons behind my estrangement from him, I realized that I first heard about Salieri in my childhood in Pushkin’s poem ‘Mozart and Salieri’ (1832). Later, Milos Forman’s famous film ‘Amadeus’ (1984) strengthened my impression that Salieri was “evil”. Unfortunately, I didn’t take into account the fact that both works were simply restating the existing myth between the two composers. I got acquainted with more reliable facts about Antonio Salieri through the works of German composer, musicologist and conductor Timo Jouko Hermann (born in 1978), who authored two famous books about the Italian composer. A few short lines from Salieri’s biography: Antonio Salieri was born in 1750 in the Italian city of Legnago. During his childhood, he learned to play the violin and harpsichord. He became an orphan at age 13, and became the ward of family friend Giovanni Mocenigo, who made sure Salieri was taught music lessons in vocals and composition. Later, voice teacher Pacini got Salieri acquainted with Viennese composer Florian Leopold Gassmann, who was so impressed with Salieri’s talent that he took him to Vienna with him, practically taking him as a child, and attentively looked after the boy’s intensive musical education and development. Gassmann was himself a composer at the court of the Viennese palace. It was precisely through him that the musical high society of Vienna and emperor Joseph II himself got to know Salieri. From 1788, he became the Austrian imperial Kapellmeister and one of the central figures of music in Vienna… I had many questions to ask the author of Salieri’s biography, but it was naturally better to start from the beginning:
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niWierebiT, rom venaSi Tan waiyvana, praqtikulad Svilad miiRo da gulmodgined iRvwoda mis intensiur musikalur ganaTlebasa da ganviTarebaze. gasmani Tavad gaxldaT venis sasaxlis karis kompozitori da swored misi meSveobiT gaicno salieri venis maRalma musikalurma sazogadoebam da Tavad kaizerma iozef II-m. 1788 wlidan salieri xdeba samefo karis kapelmaisteri da erT-erTi centraluri figura venis musikalur samyaroSi... salierisTan dakavSirebiT misi Semoqmedebisa da biografiis avtorTan bevri SekiTxvebi mqonda, magram, sjobda Tavidan damewyo: dr. herman, ratom miiReT gadawyvetileba dageweraT ori wigni antonio salieris Semoqmedebasa da biografiaze? da ra iyo werisas Tqveni mTavari motivacia? jer kidev skolis moswavle viyavi, roca salieris figuram holivudis filmidan „amadeusi~ ise Semipyro, rom mindoda mis Semoqmedebas gavcnobodi. miT umetes, rom mis musikaze filmidan verafers Seityob. is marSis Temac ki, romelsac mocarti rogorc salierisas sasaxlis karis mesveurTa TandaswrebiT imeorebs da Semdeg improvizirebs, sinamdvileSi mas sulac ar ekuTvnis. aseTi Tema specialurad daiwera britaneli kompozitoris simon prestonis mier, raTa warmodgena salierize, rogorc niWier kompozitorze filmSi dakninebuliyo. jer audioCanawerebi da notebi moviZie. samwuxarod, verafers mivageni da Tavad daviwye kvleva: gavecani mis xelnawerebs, arqivSi SemorCenil werilebsa Tu sxva dokumentebs da aRmovaCine salieri, rogorc uaRresad saintereso kompozitori da saocrad mravalmxrivi pirovneba. amis Semdeg davwere disertacia, romelic wignad gamoica: „antonio salieri da misi germanulenovani nawarmoebebi musikaluri TeatrisTvis~ (2015). es wigni bevri musikosisTvis Zalian saintereso aRmoCnda. Cemi kolegebisa da maT Soris, salieris biografis, folkmer braunberensis (1941*) rCeviT gamoveci meore, salieris biografiuli wigni (2019) axali aRmoCenebiTa da mignebebiT, musikis moyvarulTa da mkiTxvelTa farTo wrisTvis. Cemi motivaciaa, sxvebs gavacno salieri da popularizacia gavuwio mis brwyinvale operebs. piradad me yovelTvis Zalian did warmatebas vaRwev, roca salieris musika Semaqvs Cems sakoncerto programaSi. vatyob, rom droTa ganmavlobaSi interesi mis mimarT sul ufro izrdeba. raSi mdgomareobs salieris, rogorc kompozitoris damsaxureba klasikuri musikis istoriaSi? pirvel rigSi is, rom salieri stabilurobisTvis zrunavda. Tavisi Tanamedroveebidan is erTaderTi kompozitori iyo, visTvisac vena 1766 wlidan sikvdilamde mTavar sacxovrebel adgilad darCa. venis klasikosebis epoqaSi SedarebiT bevri iwereboda
Dr. Hermann, why did you decide to write two books about Antonio Salieri’s works and biography? What was your main motivation when writing them? I was still a school pupil when Salieri’s character from the Hollywood film ‘Amadeus’ got me so absorbed that I really wanted to get to know his works. Even more so because you cannot get acquainted with his music at all from the film. Even the march theme that Mozart plays and on which he improvises before the court, in reality, doesn’t belong to Salieri at all. This theme was written by British composer Simon Preston with the specific aim of hindering the impression of Salieri as a talented composer in the film. I first looked for audio recordings and sores. Unfortunately, I couldn’t find anything interesting and started doing my own research. I got acquainted with his manuscripts, the letters kept in the archives, or other documents, and I discovered Salieri as an utterly interesting composer and astonishingly complex individual. After that, I wrote a PhD that was published as a book: ‘Antonio Salieri and his German language stage works’ (2015). This book turned out to be very interesting for many musicians. Following the advice of my colleagues, including Salieri’s biographer Volkmar Braunbehrens (born 1941), I published a second book, ‘Antonio Salieri – a biography’ (2019), with new findings, for a larger public of music enthusiasts and readers. My motivation is to make Salieri known to others and to popularize his wonderful operas. I personally feel that I have achieved great success each time I bring Salieri’s music into my concert program. I sense that interest in him is always growing with time. What are Salieri’s achievements as a composer in the history of classical music? Salieri was the only composer from his time for whom Vienna remained the main dwelling place from 1766 until his death. Many compositions were produced during the classic music period, and accordingly, the public was always expecting something new. Salieri is one of the firsts whose repertoire of works was established as a kind of canon, and was continually performed in concert programs in Europe, and partly in America. This information is based on literary sources. Namely, for instance, Heinrich Heine, Bettina von Arnim, and Balzac write about Salieri’s operas such as ‘Axur’, ‘Tarare’, or ‘Les Danaïdes’. They cite a large number of passages from them that readers could recognize even without annotations. It seems that these works by Salieri were firmly established in society’s subconscious, just as, for example, it is the case with Mozart’s ‘Eine Kleine Nachtmusik’ today. Salieri had a strong influence on his period’s cultural life and laid the foundations of a long-standing norm and beacon. Berlioz decided to become a musician after listening to ‘Les Danaïdes’. Even from the point of view of history, he played a great role, as, together with other achievements, he is also the co-founder of the Society for Friends of Music and the Vienna Conservatory. What would you say about him as a teacher?
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da msmenelic Sesabamisad mudam axlis molodinSi iyo. salieri erT-erTi pirvelTagania, romlis nawarmoebebisgan Semdgari repertuari erTgvar kanonad Camoyalibda da me-19 saukuneSic ki evropisa da nawilobriv, amerikis sakoncerto programebSi stabilurad sruldeboda. amas literaturul wyaroebze dayrdnobiT vambob. kerZod, mag. hainrix haine, beTina fon arnimi an balzaki TavianT teqstebSi ixsenieben salieris operebs, rogorebicaa „Axur", „Tarare" Tu „Les Danaïdes~. maTgan mTel rig amonaridebs citireben, romelTac mkiTxveli wyaros miTiTebis gareSec kargad icnobda. rogorc Cans, salieris es nawarmoebebi sazogadoebis qvecnobierSi myarad iyo fesvgadgmuli, rogorc dRes, magaliTad mocartis Ramis patara serenadaa. salieris realurad hqonda Zlieri gavlena Tavisi drois kulturul cxovrebaze, romlebic sxvebisTvis didi xnis ganmavlobaSi saorientacio normad da naTel svetad iqcnen. berliozma saerTod, „Les Danaïdes~ mosmenis Semdeg gadawyvita gamxdariyo musikosi. istoriuli TvalsazrisiT ki, mas sxva damsaxurebebTan erTad, rogorc musikis moyvarulTa sazogadoebisa da venis konservatoriis Tanadamaarsebels miuZRvis mniSvnelovani wvlili. ras ityodiT mis, rogorc pedagogis Rvawlze? salieris pedagogiuri Rvawli marTlac rom unikaluri SemTxvevaa musikis istoriaSi. mas hyavda moswavleebi kompoziciasa da vokalSi, romlebmac me-19 saukunis musikis ganviTarebis xazi gansazRvres. saubaria Subertze, beThovenze, listsa da meierberze, romlebic salieris uaRresad emadlierebodnen da mis azrs yovelTvis Zalian afasebdnen. maT gverdiT salieris mravali sxva moswavlec hyavda da arc maTTvis zogavda Tavs, amecadinebda uangarod, exmareboda aseve, rogorc sasaxlis karis kapelmaisteri, romelic Sanss aZlevda maT fexi moekidaT venis musikalur scenaze. dRevandeli terminologiiT SegviZlia vTqvaT, rom is iyo Talentscout-i _ hqonda saocari unari didi talantis amocnobisa, ris gansaviTarebladac mTel Tavis Zalisxmevas ar iSurebda. am TvalsazrisiT salieri Tavisi drois erT-erTi yvelaze didi pedagogia, riTac man musikis istoriaSi, SesaZloa, sakuTar kompoziciebze ufro Zlieri kvali datova. rogor imoqmeda salieris kompoziciebis Sesrulebam piradad Tqvenze? Tu Seicvala mas Semdeg raime TqvenTvis? misma nawarmoebebma yvelaze metad CemSi salieris Tanamedrove kompozitorebze Sexeduleba Secvales. misi pirveli germanuli opera „Der Rauchfangkehrer~ mocartis operamde „Die Entführung aus dem Serail~ zustad erTi wliT adre, vokalistTa igive personalisTvis daiwera. gasaocaria, Tu rogori siZlieriTaa mocarti Tavis am
Salieri’s merits as a teacher are really unique in the history of music. He had pupils in composition and vocals who went on to define the development of music in the 19th century. We are talking about Schubert, Beethoven, Liszt and Meyerbeer, who were all very grateful to Salieri and would always value his thoughts. Apart from them, Salieri had many other pupils and he was working just as diligently with them; he was teaching them for free, and helping them, as the Kapellmeister of the palace, get a chance to make it to Vienna’s musical scene. By today’s terminology, one could say that he was a talent scout. He was outstandingly skilled at detecting great talent, after which he would do everything to develop the latter. In this regard, Salieri was one of the greatest pedagogues of his time, possibly even making a stronger mark in history by teaching than with his own compositions. What did performing Salieri’s compositions bring you? Did anything change after that? The most important thing his works did was to change my perspective on the composers who were contemporary to Salieri. His first German opera, ‘Der Rauchfangkehrer’, was written for the same vocalists as Mozart’s opera ‘Die Entführung aus dem Serail’, only
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operaSi salieris partituraze orientirebuli. es aris is dro, 1781/1782 wlebi, roca mocarti venaSi axali Camosulia da yidulobs salieris operis Zalian Zvirad Rirebul partituras, raTa naxos, rogor wers venis yvelaze ganTqmuli operis kompozitori da salierisgan iRebs an modificirebuli saxiT iyenebs mis specifikur ideebs. es operaSi „Die Entführung aus dem Serail" Zalian TvalnaTelia. Cems disertaciaSi sanoto magaliTebiT kargad SemeZlo meCvenebina, Tu sad orientirebs mocarti salierize da axla, roca mocartis operas vismen, sruliad sxvagvarad mesmis da vigeb. aseTive paralelebi SeiZleba gavavloT salieris „Les Danaïdes~sa da mocartis „Don Giovanni~-is an „La grotta di Trofonio~-sa da „Così fan tutte~-is Soris. miuxedavad imisa, rom mocarti Tavisi genialobiT salieris ra Tqma unda yvelanairad aRemateba, manhaimel kompozitorebTan erTad mocartis SemoqmedebiTi ganviTarebisTvis gadamwyveti mniSvneloba salieris gavlenas hqonda. ara mxolod mocartTan, aramed sxvebTanac. mag. gvian beThovenTanac vakvirdebiT mis gavlenas. Subertis SemTxvevaSic kargad Cans, sad aris igi salierize orientirebuli da sad poulobs sakuTar gzas. ....da ra gavlena hqonda mocarts salierize? vfiqrob, rom mocartis gavlena salieris operebze 1788 wlidan didi iyo, radgan am periodidan mis musikaSi
exactly one year earlier. It is surprising to see to what degree Mozart was inspired by Salieri’s opera to compose his own. This is a period, the years 1781-82, in which Mozart had recently arrived in Vienna, and bought a very expensive opera score by Salieri to see how Vienna’s most renowned opera composer writes, and takes or uses, with some modifications, Salieri’s very specific ideas. This can be clearly seen in the opera ‘Die Entführung aus dem Serail’. I had the opportunity, in my PhD, to distinctly show what Mozart takes from Salieri, and today, when I listen to an opera by Mozart, I hear and appreciate something completely different than before. We can draw the same parallels between Salieri’s ‘Les Danaïdes’ and Mozart’s ‘Don Giovanni’, or between ‘La grotta di Trofonio’ and ‘Così fan tutte’. Despite the fact that Mozart, as a genius, is of course above Salieri in every aspect as a composer, Salieri’s influence has played a determining role in the development of Mozart’s works, together with that of Mannheim composers. And it was not only with Mozart. For instance, we can also detect his influence in Beethoven’s works. In Schubert too, one can clearly distinguish the period when he was impacted by Salieri from the one when he finds his own way. ...And what influence did Mozart have on Salieri? I think that Mozart’s influence on Salieri’s operas was very substantial starting in 1788, as it is from that period that a completely new melody enters his music. Unlike Mozart, Salieri was not a manifest melodist. To him, declamation and the vocals’ text were the
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Semodis sruliad sxva melodika. salieri mocartisgan gansxvavebiT ar iyo gamoxatuli melodisti. misTvis deklamacia, sametyvelo teqsti iyo amosavali wertili. mocarti ki, Tavad gaxldaT brwyinvale instrumentalisti da swored instrumenti warmoadgenda misi musikaluri azrovnebis sawyiss, romelic, cxadia vokalur partiebis xasiaTs arsebiTad gansazRvravda. sainteresoa, rom mocartis gardacvalebis Semdeg, salieris pirvel operaSi „Il mondo alla rovescia~ naTlad ismis mocartis operebze orientacia. pirvel rigSi es Seexeba operis melodiur gamomsaxvelobas, rac misi Semoqmedebis bolo periodSi naTlad SeigrZnoba. beThovenis gavlena ki, misi musikis struqturaze, an kidev motivebis gamoyenebasa Tu Tematur damuSavebaze aisaxa. ra gaxda imis mizezi, rom salieris nawarmoebebi, savaraudod didi xania iSviaTad sruldeba? salieris instrumentuli musikidan yvelaferia gamocemuli, magram isini ar warmoadgenen saxelovnebo nimuSebs. misi operebis partiturebis gamocemas ki Zalian didi xarjebi abrkolebs. gamomcemlebs hgoniaT, rom es operebi mxolod erTxel Sesruldeba. ucxo nawarmoebis kargi, damajerebeli SesrulebisTvis ki, instrumentalistebisa da vokalistebis Zalian maRali klasia saWiro. salieris hqonda aseTi fufuneba, eTanamSromla brwyinvale musikosebTan. dRes ki, es salieris operebis Sesasruleblad didi gamowvevaa. aris kidev salieris reputaciis problema, romelsac mudmivad vawydebi, roca sxvebs romelime axali nawarmoebis realizacias vTavazob. Tu SegviZlia visaubroT salieris musikis aqtualobaze XXI saukuneSi? salieris musikis aqtualobas pirvel rigSi gansazRvraven misi progresuli Sexedulebebi da politikurad Zalian civiluri pozicia. es is Temebia, romlebic dResac gvawuxebs; kerZod, socialuri, klasobrivi, genderuli da rasistuli uTanasworoba. misTvis yvela Tanasworia miuxedavad socialuri statusisa Tu kanis feris. sruliad gasaocaria iseTi mkafio ganacxadi Zalian maRali socialuri mdgomareobis pirisgan, rogoric samefo karis kapelmaisteria. is Tavis damokidebulebas operebSi musikaluri TvalsazrisiT yvela protagonistisTvis Tanabari mniSvnelobis miniWebiT ganamtkicebs, TiToeul maTgans Tanabari mniSvnelobiT axasiaTebs. am mxriv, mis operebs dResac bevris Tqma SeuZliaT. es iyo piradad CemTvis Zalian didi da sruliad moulodneli aRmoCena, Tu ramdenad SorsmWvretel xelovansa da moazrovnes mivageni salieris saxiT. me vityodi, rom Tavisi Tanamedroveebidan salieri erTaderTi musikosia aseTi progresuli da mkafio politikuri poziciiT.
starting point. As for Mozart, he was a brilliant instrumentalist himself, and it is the instrument that was the priority in his musical approach, largely determining the tenor of the vocal parts. Interestingly, in Salieri’s first opera after Mozart’s death, ‘Il mondo alla rovescia’, we can clearly hear the influence of Mozart’s operas. First of all, this concerns the melodic character of the opera, which can be seen in all the works of his late period. He was also influenced by Beethoven in terms of music structure, the use of motifs, or thematic works. What became the reason behind the fact that Salieri’s works have rarely been performed for a long time? Every instrumental work by Salieri has been published, but they don’t represent paragons of art. The publishing of his opera scores is hindered by the large budget they require. Publishers think that these operas will only be performed once. And for a good, convincing performance of a foreign work, a very high-class team of instrumentalists and vocalists is needed. Salieri had the privilege to work with brilliant musicians. Today, this is a great challenge for the staging of Salieri’s operas. There’s also the problem of Salieri’s reputation; I repeatedly stumble upon it, when I offer others to stage one of his works.
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salierisa da mocartis erToblivi kompozicia - `ofelias sixarulis simRera~ / ‘PER LA RICUPERATA SALUTE DI OFELIA’, COMPOSED JOINTLY BY SALIERI AND MOZART
Can we talk about the relevance of Salieri’s music in the 21st
dasamali araa, rom salieris saxes farTo sazogadoeba,
century?
SesaZloa puSkinis poemidan, magram albaT, metwilad, miloS formanis ukve naxsenebi filmidan icnobs, sadac
The relevance of Salieri’s music, in the first place, is determined by
salieri _ arasrulfasovnebis maniakuri kompleqsiT
his progressive views and his very civil political perspective. These are
Sepyrobili sasaxlis karis musikosi wamlavs RmerTis
themes that are very topical today too, namely, social, class, gender
rCeuls _ mocarts. Tqveni arqivSi xangrZlivi kvlevisas Tu
inequality, or racism. To him, everybody is equal, regardless of their
SegxvedriaT utyuari wyaro, rac adasturebs am faqts?
social status or skin color. It is amazing how, at the time, a court
me mxolod sapirispiro mtkicebulebebi Semxvedria,
Kapellmeister, someone with such a high social status, would make
rom salieri mocarts Zalian afasebda, rom uamrav mis
such a determined declaration. He doubles down on his stance in
nawarmoebs asrulebda... ra Tqma unda iqneboda maT Soris
terms of his opera music, in which he attributes the same importance
usiamovnebac, magram sxvanairad arc dResaa saopero
to every protagonist. In this regard, his operas can convey messages
TeatrebSi, roca saqme konkurencias exeba. miuxedavad
today too. This was a great and completely unexpected discovery
amisa, Tqven ver naxavT salieris mxridan verc erT
for me personally, to see how farsighted and thoughtful Salieri was. I
negatiur gamonaTqvams mocartze; piriqiT, is werda,
would say that, from his period, Salieri is the only musician with such
rom saukeTeso nawarmoebebi misTvis mocartis „Figaro~
a progressive and clear political position.
da rekviemia. rac Seexeba Tavad salieris figuras, Tu
It is well known that the public mainly knows Salieri through,
misi drois werilebs, maT Soris misi Tanamedroveebisgan
partly, Pushkin’s poem, but perhaps mostly through Milos Forman’s
gadaikiTxavT, aRmoaCenT salieris realur figuras,
abovementioned film, in which Salieri, a court musician suffering
romelic 100 %-iT gansxvavdeba imisgan, rogoric puSkins
from a maniacal inferiority complex, poisons the “chosen one”, Mozart. In your archives, did you ever stumble upon an undeniable
an miloS formans hyavT warmoCenili. amxela warmatebis, popularobisa da ndobis patrons verc
source that substantiates that?
srulfasovnebis kompleqsi eqneboda. filmSi salieris mudam
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I have only found proof for the opposite: that Salieri valued Mozart
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martosulsa da daRvremils vxedavT. sinamdvileSi ki, es iyo rva Svilis mama da bednieri meuRle, romelsac Zalian bevri afasebda. cnobilia, rom iyo iumoriT savse. iyo aseTi „uazroTa sazogadoeba~, romlis wevrebic ikribebodnen, xumrobdnen da icinodnen. maT Soris iyo salieric. Tavad mocartis ojaxi uaryofda salieris mimarT braleulobas: mocartis gardacvalebis Semdeg is mocartis meuRles exmareboda, mis umcros vaJs wlebis manZilze amecadinebda, romlis niWierebiT saocrad iyo aRfrTovanebuli. salierim moindoma 1819 wels, venis eklesia _ karlskirxes ezoSi mocartis Zeglic ki aRemarTaT. is Zalian bevrs diriJorobda mocartis nawarmoebebs da rogorc operis direqtors isev da isev Sehyavda sakoncerto programebSi. 2015 wels praRis CexeTis musikis biblioTekaSi Tavad aRmovaCine ofelias sixarulis simRera: „Per la ricuperata salute di Ofelia~, romelic salierim da mocartma erToblivad Seqmnes. es kidev erTi dasturia imisa, rom maT Soris mtroba simarTles ar Seesabameboda. da kidev gkiTxavT: ris safuZvelze gavrcelda salieris sicocxleSive xmebi mis am savaraudo kriminalze, ramac, rogorc cnobilia Tavad sicocxleSive daazarala? es dResac Zalian mwveli Temaa. aq gasaTvaliswinebelia ramdenime faqtori: xmebi imis Sesaxeb, TiTqos mas mocarti moeklas, Cndeba 1823 wels, maSin, roca salieri aris uimedod avad da ar SeuZlia Tavi daicvas. es kidev im dros emTxveva, roca beThovenis sakonversacio werilSi erTi ucnobi piri iuwyeba, TiTqos salieri apirebda Tavis mokvlas. misi moswavleebis werilebidan vityobT, rom salieri zogjer iyo melanqoliuri, xolo cxovrebis bolo wlebSi, roca mas qaliSvilebidan sami daeRupa, Zvirfasi meuRle da 23 wlis erTaderTi vaJi gardaecvala, hqonda depresiac. suicidis faqti ki arsad fiqsirdeba da arc arasdros yofila fsiqiatriul klinikaSi, rogorc es filmSia naCvenebi. warmoidgineT, mocartis gardacvalebis welia 1791 da Cven vsaubrobT 1823 welze, roca salieri iseT sasikvdilo mdgomareobaSia, rom anderZs tovebs. swored am dros, rogorc mowmendil caze mexis gavardna, Cndeba es Wori. manamde, mTeli am 32 wlis manZilze msgavsi ram rom yofiliyo, sasaxlis kari arafriT gaaCerebda salieris aseT did Tanamdebobaze. emociurad salierim es Wori, cxadia, Zalian mZimed miiRo da Tavis moswavles ignac moSeles danabarebi dautova, roca man maestro sikvdilamde cota xniT adre venis saerTo samedicino saavadmyofoSi moinaxula. iq Cans, rom salieri naTel gonebazea. man saavadmyofoSi sul ramdenime Tve dahyo, Semdeg is gadaiyvanes sakuTar saxlSi, sadac bolomde darCa ojaxis wevrebisa da axloblebis mzrunvelobis qveS.
immensely, and that he was performing many of his works… Of course, there must have been some bad feelings between the two, but it is the same in opera theaters today when there is competition. Despite that, you cannot find even one negative opinion expressed by Salieri about Mozart; on the contrary, he wrote that to him, the best music ever written were Mozart’s ‘Figaro’ and ‘Requiem’. As for Salieri’s figure itself, if you read the letters from his time, you’ll discover his real character, which is 100% different from the one portrayed by Pushkin and Milos Forman. Someone with such success, popularity and trust couldn’t have an inferiority complex. In the film, we always see Salieri alone and morose, while in reality, he was the father of eight children and a happy husband valued by his fellows. He was famously very funny too. There was a “society of fools” gathering every week to make jokes and laugh, of which Salieri was a member. Mozart’s family itself was denying any wrongdoing from Salieri’s side: after Mozart’s death, he was helping his widow, he taught Mozart’s youngest son for years and he was very impressed with the latter’s talent. It was also Salieri who spoke in favor of erecting a statue of Mozart in the Karlskirche church in Vienna. He was conducting many of Mozart’s works, and as an opera director, he would also include them repeatedly in concert programs. In 2015, in the Czech Museum of Music in Prague, I personally discovered ‘Per la ricuperata salute di Ofelia’, which was jointly created by Salieri and Mozart. This is another sign that their enmity isn’t founded. Then why did people think, including during Salieri’s life, that he had committed this crime, which actually also hampered his everyday life and career? It is still the subject of heated debates today. We have to take several factors into account. The version that he might have killed Mozart appears in 1823, when Salieri is very ill and cannot defend himself. It also coincides with the moment when an unknown person states that Salieri was planning to kill himself in a letter sent to Beethoven. From his students’ letters, we learn that Salieri was sometimes melancholic, and that at the end of his life, when three of his daughters died, he lost his dear wife and his only son, who was 23 years old, he had a depression. But there is nothing about a suicide, and he was never in a psychiatric ward, as shown in the film. Consider that Mozart died in 1791, and we are talking about 1823, when Salieri is terminally ill, so much so that he writes a will. This is precisely the time when this rumor appeared, like thunder in a blue sky. If something similar had happened before, during those 32 years, the palace would never have kept Salieri as a Kapellmeister. Naturally, this rumor deeply hit Salieri on an emotional level, and he entrusted his pupil Ignaz Moscheles with some last words when the latter visited the maestro before his death at the Vienna hospital (you will find an excerpt at the end of the interview – editor’s note). In them, we can see that Salieri is still in complete control of his mind. He spent a few months in the hospital, after which he was moved to
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warmoudgenelia, rogor swrafad moedo es Wori jer venas, Semdeg parizs yovelgvari winaswari gadamowmebis, kvlevisa Tu analizis gareSe. parizidan gavida inglisSi, inglisidan ruseTSi, Semdeg dabrunda ukan. mere puSkinma dawera Tavis poema, sadac salieri ara rogorc istoriuli, aramed rogorc literaturuli gmiria warmodgenili. im dros parizis presaSi wamoiWra cxare kamaTi _ isini, vinc salieris da mis xasiaTs kargad icnobdnen, icodnen, ra damokidebuleba hqonda mas mocartis ojaxTan, mohyavdaT mTeli rigi argumentebisa, ratom ar
his house, where he was looked after by his family members and close ones. The rumor spread in Vienna, and then Paris, like fire, without any due diligence, research, or analysis. It moved from Paris to England, from England to Russia, and then it came back. Then Pushkin wrote his poem, in which Salieri is portrayed not as a historical figure, but as a literary figure. A fierce debate began in the Parisian press of the time – those who knew Salieri and his character well, and who knew what kind of relationship he had with Mozart’s family, were bringing up many
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Seesabameboda es xmebi simarTles. Semdeg, praRaSi Cndeba erTi cnoba aseTi SinaarsiT, rom radgan mocartis sikvdili aseTi ucnauri da moulodneli iyo, gaCnda eWvi, TiTqos is 1791 wels mokles. am uwyebis Semdeg es miTqma-moTqma minelda. magram, ukve mere iwyeba salieris, rogorc istoriuli figuris transformacia art figurad, romelsac sinamdvilesTan kavSiri ar aqvs, magram faqtia, rom am figuram warmoudgeneli popularoba moipova. ratom gaakeTes es? aq me moviyvandi or aspeqts, romelTa gamoc, Cemi azriT, aitaces es ciliswameba. pirvel aspeqtad nacionalizms davasaxelebdi: salieri gardaicvala 1825 wels, roca evropaSi Zalian arastabiluri politikuri situaciaa, Cndeba nacionaluri saxelmwifoebis Camoyalibebisa da sakuTari nacionaluri identobis gamoxatvis didi survili. sworad am Ziebis procesSi xdeba mocarti sakuTari naciisTvis saidentifikacio figura. sakiTxavia, ratom manamde ar iqna mocartis genia ase aRiarebuli? manamde venaSi misi Zeglic ki ar dadgmula. axla ki, mas svamen kvarcxlbekze da aRiareben erovnul gmirad, rogorc es beThovenis SemTxvevaSi moxda. da pasuxi aseTia, rom manamde mas warmatebaSi salieri uSlida xels. salieri ki, realurad arc erT nacias er ekuTvnoda: italielebisTvis is gaucxovda, radgan 15 wlidan samSoblodan iyo wasuli, frangebisTvis is iyo germaneli, germaneli ki is realurad ar yofila. amdenad, nacionalizmis dros, salieri rogorc nacionaluri gmiri veravis gamoadgeboda da radgan is srulad arc erT ers ar ekuTvnoda, vfiqrob, rom swored es gaxda mTavari faqtori imisa, Tu ratom moikida fexi am ciliswamebam ase myarad. miuxedavad imisa, rom es ambavi dRemde mainc did saidumlod rCeba, me namdvilad mjera, rom aq nacionalizmma didi roli iTamaSa. yovel SemTxvevaSi, am ciliswamebis ganmtkicebaSi mainc. aseve, romantizmis xasiaTmac Seuwyo amas xeli. es ukve meore faqtoria. romantizmis epoqaSi gansakuTrebiT misaRebi iyo iseTi Temebi, rogoricaa xelovanTa Soris metoqeoba da mkvleloba. migaCniaT Tu ara salieri tragikul istoriul figurad? me vityodi, rom am gadmosaxedidan aris tragikuli. Tu gavixsenebT, istoriulad ramxela damsaxureba aqvs mas rogorc pedagogs, rogorc kompozitors an rogorc sazogado moRvawes Tavisi saocari progresulobiT da ramdeni izruna man, rogorc samefo karis kapelmaisterma venis kulturuli cxovrebis ganviTarebaze, rom vena darCeniliyo dasavluri musikaluri samyaros metropoliad da Tu gavixsenebT, rom misi kompoziciebiT aRfrTovanebulebi iyvnen goeTe, haidni, filip emanuel
arguments as to why these rumors didn’t fit with reality. Then, a note is published in Prague, according to which, because Mozart’s death was so strange and unexpected, he must have been killed around 1791… After this statement, the rumors slowed down a bit. A bit later, the transformation of Salieri from a historic figure to an art figure began – it doesn’t have anything to do with reality, but it is a fact that this figure found a great deal of popularity. Why did they do that? I would speak about two aspects behind the reason why I think this defamation became popular. The first one is nationalism: Salieri died in 1825, when there was a very unstable political situation in Europe, and national states were established, together with the wish of expressing one’s own national identity. And Mozart becomes a figure with whom his nation starts to identify precisely in that process and at that moment. Why wasn’t Mozart’s geniality recognized before that? They didn’t even put his statue in Vienna before that period. Today, he is put on a pedestal and acknowledged as a national hero, just as with Beethoven. Here is my answer: they made everyone believe that prior to that, Salieri was hindering Mozart’s success. And Salieri didn’t really belong to any one nation. He was considered a foreigner by Italians, as he left the country at 15 years of age; for the French, he was German, while he has never actually been German. Therefore, in a time of nationalisms, Salieri couldn’t be used by any country as a national hero, and because he didn’t fully belong to any of them, I think that this became the main factor behind the success of this defamation. Despite the fact that this story is veiled with a lot of secrecy even to this day, I really believe that nationalism has played an important role in this. In any case, it did play a role in the strengthening of the rumors. Romanticism also helped it spread. This is the second factor. In an epoch of romatism, themes such as enmity and murder between artists were very popular. Do you see Salieri as a tragic historical figure? I would say that from our perspective, he is tragic. If we remember his accomplishments as a teacher, a composer or a public figure, his astonishingly progressive views and how diligently he worked, as the court’s Kapellmeister, on the development of cultural life in Vienna, and for that city to remain the world’s musical metropole. If we remember that his works amazed Goethe, Haydn, Philipp Emanuel Bach… And today, all this has been forgotten. The man lived for 75 years, created so many things, enhanced cultural life, planted so many good seeds, but in the end, he is only associated with the ten years spanning from 1781 to 1791, when Mozart moved to Vienna. Salieri’s life is a long one, spanning from early classicism to early romanticism. If not for Salieri, we would have gotten a completely different musical landscape on the scale of Europe. There are enough primary sources to substantiate that. I think that Salieri’s achievements and his talent haven’t been properly appreciated yet. And this encourages me to work towards that goal. As an expert on Salieri, what discovery do you think awaits audiences who will get acquainted with Salieri’s works?
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baxi... dRes ki, es yvelaferi miviwyebulia. kacma 75 weli icxovra, amdeni Seqmna, ganaviTara, amdeni sikeTe daTesa da am dros salierisTan akavSireben mxolod im 10 wels, 1781-1791, roca mocarti saxldeba venaSi. salieris cxovreba ki moicavs xangrZliv periods, dawyebuli adreuli klasikidan damTavrebuli adreul romantikamde. rom ara salieri, miviRebdiT sul sxva musikalur landSafts mTeli evropis masStabiT. amaSi dasarwmuneblad dResac arsebobs sakmarisi pirvelwyaro. vfiqrob, rom salieris amdeni Rvawli da misi didi niWi jer kidev ar aris kargad gacnobierebuli. CemTvis ki es stimulia, raTa amisTvis vizruno. Tqveni, rogorc salieris eqspertis azriT, ra aRmoCena elis msmenels salieris nawarmoebebis gacnobisas? pirveli, rac gagaocebT, misi musikis maRali xarisxia: Zalian feradovani da mravalmxrivi; msmenels aseve aRafrTovanebs misi ostatoba musikis dramaturgiisa da instrumentirebis kuTxiT da aRmoaCenT, rom salierim, romelmac venis klasikosebTan erTad ganvlo xangrZlivi faza adreuli, maRali da gviani klasikis stadiebiT, Seqmna sakuTari stilistika da musika Tavisi individualuri xasiaTiT. salieri iyo Semoqmedi, romelic mudmivad ganviTarebasa da ganaxlebaze iyo orientirebuli. msmeneli asve dainaxavs, rom haidnis, mocartisa da beThovenis gverdiT iyo salieri da ara mxolod _ iyvnen im drois kidev sxva novatori kompozitorebi, romlebmac Seqmnes didi musika. raSi mdgomareobs antonio salieris musikis arsi, misi mTavari muxti? rTulia amis mokled Sejameba. piradad CemTvis misi musika aris Zalian gulwrfeli, xSirad emociuri da pozitiurad ganwyobili. salieris musika gamoxatavs avtoris xasiaTs, ganwyobas, gancdebs, mTel mis cxovreba da amaSia misi mimzidveloba. aq misi cxovrebis erT mniSvnelovan epizods gavixsenebdi, roca salieri 1809 wlis omis dros, roca vena ibombeboda, qalaqis sruliad apokalifsuri suraTis fonze, werda Agnus Dei-s Tavisi B-Dur mesisTvis. da Dona nobis pasem-is (ufalo mogvaniWe mSvidoba) weris dasrulebisas man kompozicias zusti TariRi, 11 maisi da eqvsi Zaxilis niSani miuwera. es xdeboda maSin, roca ar icoda, gadaurCeboda Tu ara saomar Tavdasxmas. roca am musikas vismen, is mTel Cems arsebas moicavs. aseT musikas dRevandeli kataklizmebisa da didi saSiSroebebis pirobebSi SeuZlia gvanugeSos da mogvces gadarCenis Zala. *** dr. hermans uRrmes madlobas movaxsenebT araCveulebrivi saubrisTvis, romelic imedia, didxans gagvyveba, dagvafiqrebs da rac mTavaria, salieris musikasTan dagvaaxloebs.
The first thing that will surprise you is the high quality of his music: it is very colorful and multi-faceted; listeners will also be amazed at his mastery in the dramaturgy and instrumentation of his music. Together with Vienna’s clacissists, Salieri went through long phases of the early, high, and late classical periods, he created his own style and music with his individual character. Salieri was a creator who was always oriented towards development and innovation. Listeners will also see that Salieri stood besides Haydn, Mozart and Beethoven, and not only them – there were other innovative composers who created great music at the time. What is the main essence of Antonio Salieri’s music? It’s difficult to summarize that. To me personally, his music is very sincere, often emotional and positive. Salieri’s music expresses the author’s character, approach, feelings, and whole life – and this is what makes it great. I would remember one important episode of his life here: in 1809, during the war, when Vienna was being bombed and in a completely apocalyptic atmosphere, Salieri was composing the ‘Agnus Dei’ of his mass in B flat. And when finishing the composition of ‘Dona Nobis Pacem’ (Give us Peace), he wrote the exact date on the score, the 11th of May, with six exclamation points. This was happening at a time when he didn’t know if he would survive the military attacks. When I listen to this music, it grips me wholeheartedly. In times of our current cataclysms and great peril, this kind of music can comfort us and give us the strength to survive.
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dr. timo iouko hermani / DR. TIMO JOUKO HERRMANN
antonio salieris Tu musikis RmerTebs Soris ver moviazrebT, rogorebicaa baxi, haidni, mocarti, beThoveni Tu Suberti, udavoa, rom is klasikuri epoqis erT-erTi umniSvnelovanesi kompozitoria. mas Tavis kompoziciebTan erTad rogorc pedagogs sazogado moRvawesa da kosmopolits klasikuri musikisa da Sesabamisad, kacobriobis winaSe Zalian didi damsaxureba miuZRvis. axla ki gTavazobT salieris Sepirebul citatas moSelesis sadRiuro Canawerebidan, romelmac maestro ukve sasikvdilo sarecelze myofi moinaxula: „miuxedavad imisa, rom es Cemi bolo avadmyofobaa, SemiZlia erTgulebasa da rwmenaze daficebiT garwmunoT, rom araferi WeSmariti am absurdul ciliswamebaSi ar aris. Tqven xom iciT, mocarti _ TiTqos me mocarti momewamlos. magram, ara, es borotebaa, sruli boroteba. uTxariT, sayvarelo moSeles samyaros, rom es Tqven giTxraT moxucma salierim, romelic male gardaicvleba.~
*** We would like to express our deep gratitude to Dr. Hermann for this wonderful conversation, which will hopefully make us think, and most importantly, bring us closer to Salieri’s music. If we don’t consider Antonio Salieri to be among the gods of music, such as Bach, Haydn, Mozart, Beethoven or Schubert, he is undoubtedly one of the most important composers of the classical period. Together with his compositions, he has achieved many accomplishments as a pedagogue, public figure, and cosmopolite in the fields of music, and therefore, for humanity. Here is the excerpt we mentioned above, from notes taken by Ignaz Moscheles, who visited the maestro on his deathbed: “Despite the fact that this is my last illness, I can swear on my honor and faith that there is not an ounce of truth in these absurd accusations. You know what I mean – the rumor that I would have poisoned Mozart. This is utter evil. Please tell the world, my dear Mosel, that an old, dying Salieri told you that.”
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MANANA NIKABADZE
manana niqabaZe
vin aris kasteli? Who is Castelli? Zveli msoflios biblioTekebidan, drois Tu adamianTa gamoisobiT, yvela ganadgurda _ aleqsandriis, Tebes, karTagenis... yvela, erTis garda _ vatikanis biblioTeka gadarCa! wignebis Segroveba wminda qalaqSi imaze bevrad adre daiwyes, vidre romis papma, nikolaus V, aq biblioTekis dafuZneba gadawyvita. Tumca, vatikanSi biblioTekis daarsebis TariRad, 1475 wlis 15 ivnisia miCneuli. es biblioTeka uamrav informacias, codnas da saidumlos inaxavs. amitomac aqaurobas `kacobriobis codnis sacavad~ moixsenieben. miuxedavad imisa, rom samecniero-kvleviTi saqmianobisTvis oficialurad Riaa, weliwadSi mxolod 150 mkvlevarisTvisaa is xelmisawvdomi. amieridan sxva qveynebis mkvlevarTa Soris qarTvelebic iqnebian, radgan moxda umniSvnelovanesi ambavi _ vatikanis biblioTekasa da saqarTvelos parlamentis erovnul biblioTekas Soris TanamSromlobis memorandumi gaformda. memorandumis Tanaxmad, qarTvel mkvlevarebsa da mecnierebs vatikanis biblioTekis fondebsa da sacavebSi, kvotirebis gareSe kvleviTi saqmianobis Catarebis ufleba miecaT. kvlevebis Sedegad aRmoCenili dokumentebi gacifruldeba da saqarTvelos saCuqrad gadmoecema. ra Tqma unda, ganixileba originalebis saqarTveloSi Camotana da gamofenac. memorandums xeli saqarTvelos erovnuli biblioTekis direqtorma giorgi kekeliZem da vatikanis samociqulo biblioTekis prefeqtma monsinior mauro mantovanim moaweres. aRsaniSnavia saqarTvelos sruluflebiani elCis, qeTevan bagrationis damsaxurebac, romlis mondomebiTac da romis papis franciskes keTili nebis wyalobiT movipoveT es didi ufleba. vatikanis biblioTeka (Bibliotheca Apostolica Vaticana) umdidresia Sua saukuneebisa da aRorZinebis epoqis xelnawerebiT. XV saukunidan moyolebuli, biblioTekis fondSi 1 600 000 beWdurma wignma, 150 000-ma manuskriptma, 8 300 -ma inkunabulam, 100 000-ze metma graviuram da geografiulma rukam, 300 000-ma monetam da medalma moiyara Tavi...
From the libraries of the old world, be it because of time or people, all were destroyed – Alexandria, Thebes, Cartagena… All, except one – the Vatican Library has survived! They started gathering books at the holy city much earlier than when Pope Nicholas V decided to found this library, but the creation date of the Vatican Library is considered to be the 15th of June 1475. This library preserves an exceptional amount of information, knowledge, and secrets, which is why it is also known as “humanity’s knowledge fund”. Despite the fact that it is officially open for scientific and research purposes, it is only accessible for 150 scholars per year. From now on, among researchers from other countries, there will
vatikanis biblioTekis siqstes darbazi XVII saukunisaa da, swored am periodis ambebze unda visaubriT don
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qristoforo de kastelisTan erTad! maS, ase! iyo XVII saukune, iyo evropa, iyo saqarTvelo, iyo qristianoba da... saqarTveloSi italiidan Camovida qristiani, misioneri beri. sruliad axalgazrda da niWieri, don qristoforo de kasteli... berma imogzaura, usazRvrod Seiyvara Cveni qveyana da, am mogzaurobis Sesaxeb saocari Canawerebi da naxatebi dagvitova. kastelma saqarTveloSi TiTqmis ocdaaTi weli icxovra da Tqva... mravali wlis ganmavlobaSi saqarTvelo Cemi satrfo iyo _ La Georgia fu sposa mia! kasteli, 1597 wels, italieli aristokratebis ojaxSi daibada. niWieri, ganswavluli biWi saxlidan gaiqca da moxetiale kaTolike TeatinelTa ordenis berebs SeuerTda. Teatinelebs saxeli Teateli arqiepiskoposis gamo daerqvaT. isini, sxva samisionero ordenebisgan imiT gansxvavdebodnen, rom TavadaznaurTa wridan gamosulni, ar iTxovdnen mowyalebas, sakuTari SromiT irCendnen Tavs, iyvnen ganaTlebulni, Cinebuli xelosnebi, oqromWedlebi, durglebi da mkurnalebi... misionerTa moRvaweoba saqarTveloSi jer kidev XIII saukunidan daiwyo (damTavrda 1845 wels, roca ruseTis
also be Georgians, as a very important thing happened recently – a collaboration memorandum was achieved between the National Parliamentary Library of Georgia and the Vatican Library. According to this memorandum, Georgian researchers, historians, and scientists were given the right to do research work in the funds and reserves of the Vatican Library without any additional laissez-passer. The documents discovered as a result of this research will be digitalized and sent to Georgia as a present. Naturally, there is also the possibility of bringing the originals to Georgia in order to exhibit them. The memorandum was signed by Giorgi Kekelidze, the director of the National Parliamentary Library of Georgia, and the Prefect of the Vatican’s Apostolic Library Reverend Mauro Mantovani. The efforts of Ketevan Bagrationi, the Georgian Ambassador to the Vatican, weren’t in vain, and we were given this great privilege by Pope Francis himself. The Vatican’s Library (Bibliotheca Apostolica Vaticana) is very rich in Middle Ages and Renaissance manuscripts. From the 15th century, 1 600 000 printed books, 150 000 manuscripts, 8 300 incunabula, more than 100 000 engravings and geographic maps, 300 000 coins and medals have been accumulated in the fund of the library… The Vatican Library’s Sistine Hall dates back to the XVIIth century, and it is precisely this period of time that we will discuss with Don Cristoforo de Castelli! So! It was the XVIIth century, Europe, Georgia, christianity... A missionary Italian monk from Italy visited Georgia. The very young and talented Don Cristoforo de Castelli... The monk traveled around Georgia, fell in love with our country, and left us wonderful writings and sketches about his journey. Castelli lived in Georgia for almost 30 years, after which he concluded that “for many years, Georgia has been my spouse” – La Georgia fu sposa mia! Castelli was born in 1597 in a family of Italian aristocrats. The educated and talented boy ran away from home and joined the order of the itinerant catholic Theatine monks. Their name comes from Theatine Archbishop Gian Pietro Carafa. They differed from other missionary orders by the fact that they were coming from aristocratic families, weren’t asking for charity, and were financing themselves with their own work. They were educated, magnificent artisans, goldsmiths, carpenters and physicians… The missionaries’ presence in Georgia started back in the 13th century (and ended in 1845, when on the orders of the Russian Empire’s highest instances, the missionaries were ousted from Georgia). From the 1220s until the end of the 16th century, there were Dominican and Francescan missionaries in Georgia. From the beginning of the 17th century, after the foundation of ‘Propaganda Fide’, a new era started in the history of catholicism – that of the Theatine missionaries... The greatest initiator of the summoning of a Theatine mission in Georgia was Italian explorer and education specialist Pietro Della Valle. During a visit in Isphahan and Shiraz, he befriended local Georgians, including Queen Ketevan herself. He married Tinatin de
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aristocrats, and public figures; 150 depcit the faces of women of various nationalities; 100 are yet other portraits; 20 drawings represent domestic or wild animals; 10 drawings are of a fantastic nature; 20 show examples of buildinges... Castelli has also drawn scenes of missionary activities, which are great examples of their agricultural work. Bezhan Giorgadze divided his works in subtitles: 1. The kingdom of Eastern Georgia and its present wars 2. The kingdom of Colchis and its situation 3. The ruler of Colchis and his progeny 4. The difficult works carried out by regular clergymen in ColchisIberia to spread the faith in Christ As we know, the activities of the missionaries have covered the whole territory of Georgia. They were particularly based in western Georgia. Castelli describes each region with great interest and detail. Researchers from any disciplines will be interested in his album: sociologists, ethnographers, archaeologists, linguists, art historians, zoologists, or physicians… Every little corner of Georgia, every kind of activity and every social category has been depicted by his pen or brush. Through Castel’s album, we get to know the artists, warriors,
imperiis umaRlesi xelisuflebis brZanebiT, misionerebi gandevnes saqarTvelodan). XIII saukunis ociani wlebidan XVI saukunis bolomde, saqarTveloSi dominikaneli da franCeskaneli misionerebi moRvaweobdnen. XVII saukunis dasawyisidan `propaganda fides~ daarsebis Semdeg, kaTolikobis istoriis axali xana daiwyo _ Teatinel misionerTa xana... TeatinelTa misiis saqarTveloSi gamogzavnis udidesi iniciatori, italieli mogzauri da saganmanaTleblo saqmianobiT cnobili pietro de la vale gaxldaT. is, ispahansa da SirazSi mogzaurobis dros, dauaxlovda iqaur qarTvelebs, maT Soris, Tavad qeTevan dedofals. colad moiyvana qarTveli qali TinaTin Ziba (romelsac `siyvaruliT mariuCas eZaxda~). romSi dabrunebulma pietro de la valem romis papis urban VIII-s karze moxseneba gaakeTa saqarTvelosTan religiuri, politikuri da ekonomikuri urTierTobebis aucileblobis Sesaxeb, ris Semdegac, papma da `propaganda fides~ krebam gadawyvita da daadgina _ saqarTveloSi kaTolike misionerebi, gaegzavnaT. misionerebs Tan
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unda wamoeRoT saqarTvelos mefe-mTavrebTan da mRvdelmTavrebTan gamogzavnili oficialuri werilebi. swored es misionerebi, qristoforo kastelisTan erTad, Sexvdnen gzad, mefe Teimurazis elCs evropaSi, nikifore irubaqiZe-ColoyaSvils (irbaxs) da konstantinopolSi im xanad moRvawe did mouravs, giorgi saakaZes. swored kastelis mieraa Sesrulebuli maTi portretebi. saqarTveloSi Camosulma misionerebma Teimuraz mefes papis werili gadasces, ris Semdegac xelisufalma maT sacxovrebeli saxli, eklesia da miwa uwyaloba... 1626 wels, isini jer qarTlSi, mogvianebiT ki samegreloSi dasaxldnen. misionerebma gulmodgined daiwyes qarTuli enis Seswavla da CaerTnen sazogadoebriv saqmianobaSi. amuSavebdnen miwas, mohyavdaT mosavali, hkurnavdnen da axlo urTierTobas amyarebdnen adgilobriv mosaxleobasTan. kastelic maTTan erTad cxovrobda, Sromobda da... xatavda. don qristoforo de kastelis naxatebi da Canawerebi
Ziba (whom he would affectionately call “Mariuccia”), a Georgian woman. Back in Rome, at the court of Urban VIII, Pietro Della Valle made the argument that it was absolutely necessary to create religious, political and economical relations with Georgia, resulting in the Pope and the ‘Propaganda Fide’ council deciding to send catholic missionaries in Georgia. The missionaries had to bring back official letters from the royals, aristocrats, and high religious figures of Georgia.. It is precisely these missionaries, together with our Cristoforo de Castelli, who met Nikoloz Irubakidze-Cholokashvili (also known as Nikiphore Irbakh), King Teimuraz’s ambassador in Europe, as well as Giorgi Saakadze, who was a regional in Constantinople at the time. It is Castelli who authored their portraits. The missionaries visiting Georgia transmitted a letter from the Pope to King Teimuraz, after which the King handed them a house, a church, and a piece of land… In 1626, they moved first to Kartli, and later to Samegrelo. The missionaries started diligently learning the Georgian language, and got involved in public matters. They were working on the land, taking
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mixeil TamaraSvilma aRmoaCina da gadaarCina. rogorc is aRniSnavda: `misi namuSevrebis mometebuli nawili male daiRupeboda saqarTvelosTvis, ukeTu axla ar mogveswro da ar gadmogveRo, radgan wignebi Zalian daZvelebulan da xelis Sexebis dros furclebi ixeva, ris gamoc iZulebuli gavxdi, bevr adgilas furclebi damewebebina. yvela naxati kalmiTaa moxazuli, rac aZnelebda maTi sisruliT gadmoRebas. amisTvis bevri viSrome da orgzis siciliaSi mogzaurobis garda, didi xarji Tavsvide, radgan kargad gadmoRebisaTvis saWiro gaxda daxelovnebuli fotografi mogvewvia da bevri gveSroma. garna yvelaferi didis siamovnebiT vitvirTe, raTa saqarTvelosTvis SegveZina es Zvirfasi ganZi Cvenis warsulisa...~ aqve unda aRiniSnos cnobili istorikosisa da mTargmnelis, beJan giorgaZis, damsaxureba. swored man imuSava did wignze `cnobebi da albomi saqarTvelos Sesaxeb~, romelic 1976 wels, sabWoTa saqarTveloSi daibeWda da jer-jerobiT erTaderTi samecniero namuSevaria am Temaze. beJan giorgaZis mixedviT, kastelis albomSi sul 570 naxatia, 100 gverdi ki teqsts ukavia. naxatebis dajgufeba am saxiT moxda: 150 suraTi sasoflosameurneo cxovrebas exeba; 100 suraTi qveynis mesveurTa, mefe-mTavarTa da cnobili pirebis portretebia; 150 suraTze sxvadasxva erovnebis qalTa saxeebia; 100 suraTi portretuli xasiaTisaa; 20 naxatSi gadmocemulia Sinaur Tu gareul cxovelTa gamosaxulebani; 10 suraTi fantastikuri xasiaTisaa; 20 suraTi nagebobaTa nimuSebia... kastelis dasuraTebuli aqvs samisionero moRvaweobis 10 scena, sadac cocxladaa asaxuli maTi sasoflo-sameurneo saqmianoba. beJan giorgaZem mTeli namuSevari qvesaTaurebad dayo: 1. aRmosavleT iberiis samefo da misi awindeli omebi; 2. kolxeTis samefo da misi adgilmdebareoba; 3. kolxeTis mTavari da misi STamomavloba; 4. regularuli wesis mRvdelTmsaxurTa mier qristes sarwmunoebis saqadageblad gadatanili gaWirveba iberiakolxeTSi. rogorc cnobilia, misionerTa moRvaweobam mTeli saqarTvelo moicva. gansakuTrebiT ki dasavleT saqarTveloSi moikida fexi. kasteli yvela kuTxes didi interesiTa da dawvrilebiT aRwers. mis alboms gverds ver auqcevs verc erTi dargis mkvlevari: sociologi Tu istorikosi, eTnografi Tu arqeologi, enaTmecnieri da xelovnebaTmcodne, zoologi da medikosi... saqarTvelos yvela kuTxe-kunWuli, yvelanairi saqmianoba da yvela socialuri fena misi kalmis Tu yalmis qveS eqceva. kastelis albomiT vecnobiT _ xelovan, mebrZol, meurne, vaWar da aristokratul sazogadoebas. maT mxiarul da sevdian istoriebs... ai, misi aRfrTovanebuli minaweri erT-erT Canaxatze: `mivedi ra qarTveli mefis sataxto qalaq quTaisSi,
care of crops, and got in a close relationship with the local population. Castelli too was living, working, and drawing with them... Cristoforo de Castelli’s drawings and writings were discovered and saved by Mikheil Tamarashvili. As he put it himself: “The majority of his works would have been lost quite soon if we hadn’t found and preserved them, as the books had gotten very old and their pages would tear apart when touched, because of which I had to glue them back together in many places. Every drawing is done with a pen, which made them even more dfficult to transpose. I have worked a great deal on all that, and apart from traveling twice to Sicily, my expenses grew because it became necessary to hire a specialist photographer and to work more than expected in order to be able to copy his works. But I have done all this with great pleasure, so that we could bring this precious treasure of our Georgia’s past to life...” We also have to mention the merits of famous historian and translator Bezhan Giorgadze. He is the one who worked on the great book ‘Notes and Album about Georgia’, which was printed in soviet Georgia in 1976 and is still the only scientific work on the subject. According to Bezhan Giorgadze, there are 570 drawings and 100 pages of text in Castelli’s album. The drawings were classified as such: 150 drawings concern agriculture; 100 are portraits of kings,
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cxeniT burTaoba maCvenes... Coganmomarjvebuli mxedrebi iseTis gatacebiTa da TavganwirviT TamaSobdnen, rom mayurebelnic ver ikavebdnen Tavs uaRresi daZabulobisagan... SexeT, am mxedris silamazesa da simkvircxles, ra SesaniSnavad ajiriTebs cxens...~ an `visac ki unaxavs qarTveli qalebis cxeniT jiriTi, ar gauWirdeba imis dajereba, rom eseni amazonelebi arian, radgan cxenze sxdebian da mamakaciviT daaWeneben~... kasteli xSirad aRniSnavs qarTveli qalis Seudarebel silamazes, razec qalTa portretebi metyveleben. kastelis namuSevrebiT SegviZlia imJamindeli saqarTvelos cxovrebaSi CavixedoT da davinaxoT: sagmiro ambebi, samefo intrigebi, kultura, arqiteqtura, medicina da garTobac ki. man saqarTvelos istoriis dRemde ucnobi faqtebi, arqiteqturuli Zeglebi da istoriuli pirovnebebi ganadgurebas da daviwyebas gadaarCina. amitomac vfiqrobT, rom yvelasTvis saintereso iqneba maSindel saqarTveloSi qristoforo kastelisTan erTad gaseirneba da misi STabeWdilebebis ufro dawvrilebiT aRwera...
farmers, merchants, and aristocrats of the time, as well as their joyful or sorrowful stories… Here is what he wrote in amazement next to one of his sketches: “As soon as I arrived in the city of Kutaisi, they brought me to a game of polo… armed with their rackets, the horsemen were playing with such passion and self-sacrifice that even the spectators couldn’t help but be utterly nervous… Look at the beauty and deftness of this horseman, how wonderfully he rides his horse…” or “Those who have seen how Georgian women ride horses will not find it difficult to believe that they are Amazons, because they sit and ride horses just like men”… Castelli often notes the incomparable beauty of Georgian women, which is corroborated by his portraits of women. One can delve into the life of Georgia at the time through Castelli’s works, and appreciate heroes’ tales, royal intrigues, culture, architecture, medicine, and even entertainment. He saved facts, architectural monuments and historic figures of Georgian history from destruction and oblivion. That is why I believe it will be interesting for everybody to wander in Georgia’s past next to Cristoforo Castelli, and to grasp his impressions in more detail...
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kultura plus / CULTURE PLUS 3 (33) 2023
kultura plus / CULTURE PLUS 3 (33) 2023
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