George Chubinashvili National Research Centre

for Georgian Art History and Heritage Preservation

Culture and Artistic Life

in the First Republic of Georgia
(1918 -1921)

Tbilisi 2018
 giorgi CubinaSvilis saxelobis qarTuli xelovnebis
istoriisa da ZeglTa dacvis erovnuli kvleviTi centri

kultura da mxatvruli cxovreba

saqarTvelos pirvel respublikaSi
(1918 -1921 wlebi)

Tbilisi 2018
ISBN 978-9941-8-0635-3

wignze muSaobisas gaweuli daxmarebisaTvis madlobas vuxdiT:

Tbilisis saxelmwifo samxatvro akademias, saqarTvelos erovnul arqivs, saqarTvelos
erovnul muzeums, saqarTvelos parlamentis erovnul biblioTekas, xelovnebis
interdisciplinuri kvlevis laboratorias, baadur qoblianiZes, maia ciciSvils.

Our Special thanks are due to:

Arts Interdisciplinary Research Lab, Georgian National Museum, National Archives of Georgia, National
Parliamentary Library of Georgia, Tbilisi State Academy of Art, Mr. Baadur Koblianidze, Dr. Maia
Tsitsishvili for their collaboration and provided materials.

gamocemis koordinatori Coordinator of the Publication

giorgi papaSvili Giorgi Papashvili

Targmani inglisurad Translation into English

marine yenia Marine Kenia

masalebis momzadeba Preparation of the Materials

naTia ebanoiZe Natia Ebanoidze

dizain-dakabadoneba Design and Layout

aza lobjaniZe Aza Lobjanidze

© giorgi CubinaSvilis saxelobis qarTuli xelovnebis istoriisa

da ZeglTa dacvis erovnuli kvleviTi centri, 2018

© George Chubinashvili National Research Centre for Georgian Art History

and Heritage Preservation, 2018
 sarCevi

winaTqma .............................................................................................. 7

vaxtang beriZe. kultura da xelovneba damoukidebel

saqarTveloSi (1918-1921 wlebi) ...................................................... 9

dimitri TumaniSvili. xuroTmoZRvreba da

mSenebloba 1917-1920 wlebis saqarTveloSi .................................. 59

anotaciebi ......................................................................................... 147

Contents
Foreword ............................................................................................. 7

Vakhtang Beridze. Culture and Art in

the Independent Georgia (1918-1921) ........................................................ 81

Dimitri Tumanishvili. Architecture and Construction

Activities in 1917-1920 Georgia ............................................................... 125

Annotations ........................................................................................... 159

1. d. kakabaZe, `Zveli Tbilisi~,1918-1919 (anot. 1)
D. Kakabadze, “Old Tbilisi”, 1918-1919 (annot. 1)
 kultura da mxatvruli cxovreba

winaTqma

akademikos vaxtang beriZis narkvevi, 1991 wels saqarTvelos

damoukideblobis aRdgenis cxel kvalze dawerili da 1992-Si
gamoqveynebuli, 1918 -1921 wlebis mravalferovani kulturuli
cxov­rebis erTianad warmodgenis pirveli cdaa. miuxedavad imi­
sa, rom mas aqeT naSromSi wamoWrili araerTi sakiTxi iqna gamo­­­
­
vleuli, igi kvlavac Seucvlelia, rogorc xsenebuli periodis
k­
Semoqmedebis mTlianobiTi, panoramuli suraTi.
damatebad warmodgenili dimitri TumaniSvilis werilic wina­ s­
waruli xasiaTisaa da, aseve 1990-ian wlebSi momzadebuli, miznad
isaxavs moiniSnos im, ZiriTadad mosamzadebeli, muSaobis ZiriTadi
mimarTulebani, rac saqarTvelos demokratiul respublikaSi ar­
qiteqturisa da mSeneblobis mimarTulebiT warmoebda.

Foreword

Essay by Prof. Vakhtang Beridze, written in 1991, immediately after

the restoration of Independence of Georgia and published in 1992, is the
first attempt at presenting versatile cultural life of Georgia in 1918-1921
in its entirety. Although, many issues touched upon in this work had since
been studied, it is still indispensible, giving complete, panoramic picture of
creativity at that period.
Article by Dimitri Tumanishvili, published as an appendix was also writ-
ten in 1990s and is rather a preliminary overview, aiming to highlight major
directions of mostly preparatory works, undertaken in the Democratic Re-
public of Georgia in the sphere of architecture and construction activities.

7
2. saqarTvelos damoukideblobis aqti (anot. 2)
Act of Independence of Georgia (Annot. 2)
 vaxtang beriZe

kultura da xelovneba damoukidebel

saqarTveloSi (1918 -1921 wlebi)

vaxtang beriZe

sul bolo dromde saqarTvelos damoukideblobis wlebis (1918

wlis maisidan 1921 wlis Tebervlamde) qarTul kulturas tabu hqonda
dadebuli. raki maSindeli social-demokratiuli (`menSevikuri~) mTav-
roba xalxis uborotes mtrad da moRalated iyo aRiarebuli (arsebi­
Tad, iseve rogorc yvelaferi arasabWoTa da arakomunisturi), meqani­
kurad amoSales Cveni istoriidan isic, rasac im wlebSi TviT xalxi
qmnida, xazi gadausves mis maSindel Semoqmedebas. is ori weliwadi da
ramdenime Tve TiTqos arc yofila. erTaderTi, risi ugulebelyo-
fac ver moxerxda, Cveni erovnuli universitetis daarseba iyo (rac
ramdeni­me TviT uswrebda damoukideblobis oficialur gamocxadebas).
sxva mniSvnelovan faqtebs an sul ar axsenebdnen, an _ calybad, gakvriT,
agdebulad da gaborotebiT.
namdvilad ki is wlebi didad nayofieri iyo swored sulieri, Semoq-
medebiTi TvalsazrisiT. kulturis yvela dargSi _ mecnierebaSi, ganaT-
lebaSi, literaturasa da xelovnebaSi _ drois im sul mcire monakveT-
Si, mZime ekonomikuri pirobebis miuxedavad, yoveli mxriT mtruli Za-
lebiT garSemortymulma saqarTvelom bevri ram axali da mniSvnelovani
Seqmna (erTaderTi dargi, im wlebs rom kvali ar dautovebia, xuroT-
moZRvrebaa). gasaocrad mravalmxrivi da intensiuri iyo SemoqmedebiTi
9
 kultura da xelovneba

cxovreba. aseTi aRtyineba mxolod erovnuli aRmavlobis drosaa SesaZ­

lebeli.
magram am wlebis meqanikuri gamoTiSva revoluciis wina wlebisgan,
mxolod 1918_21 wlebiT Semofargvla, ar SeiZleba. is, rac maSin Seiq­
mna, adreve mzaddeboda, es iyo organuli gagrZeleba im mizandasaxuli
SemoqmedebiTi saqmianobisa, romelic win uswrebda damoukideblobas
da _ es aris mTavari _ amzadebda am damoukideblobas sulieri cxovrebis
sferoSi. dRes, rodesac Cven kvlav damoukideblobis mijnaze varT,
misTvis viRwviT, swored droa gavixsenoT is wlebi da gaviazroT qar­
Tuli inteligenciis maSindeli moqmedeba. yvelani elodnen rusuli
samefo xelisuflebis damxobas, elodnen revolucias da, rogorc mis
umniSvnelovanes Sedegs, erovnul gaTavisuflebas. da yvela gamsWva­
luli iyo imis SegnebiT (es aris gansakuTrebiT xazgasasmeli da dasa-
maxsovrebeli), rom am damoukideblobas esaWiroeba ganaTlebuli,
maRalkvalificiuri adamianebi mecnierebis, teqnikis, Semoqmedebis yve-
la dargSi, rom damoukidebelma saqarTvelom unda SeZlos Tavisi kul-
turuli doniT Tvali gausworos evropas, Cadges civilizebul xalxTa
rigSi. sxvagvarad mas gariyva da maCanCaloba eloda da sxva araferi.1
ra viTarebaa saukunis dasawyisSi qarTuli kulturis sferoSi? gan-
vixiloT dargebis mixedviT (am mimoxilvas dawvrilebiTi gamokvlevis
pretenzia ara aqvs. es mxolod winaswari, mosamzadebeli cdaa, romel-
sac safuZvliani kvleva unda mohyves _ es uaxlesi istoriis speciali­stebma
unda ikisron).
qarTuli mecniereba XIX s-sa da XX s-is dasawyisSi humanitaruli
dargebiT, ZiriTadad, istoriiT, arqeologiiT, erovnul siZveleTa
Seswavla-SegrovebiT ifargleboda. Cveni saukunis dasawyisSi ukve ar-
sebobda dimitri baqraZis mcdelobiT daarsebuli saeklesio muzeumi,
qarTvelTa Soris wera-kiTxvis gamavrcelebeli sazogadoeba, romelic
mniSvnelovan saganmanaTleblo saqmianobas eweoda (man iarseba saqar­
TveloSi sabWoTa xelisuflebis damyarebamde, Semdeg ki igi gaauqmes,
raki saskolo da kultsaganmanaTleblo saqme saxelmwifos kompeten-
cias daeqvemdebara).

10
 vaxtang beriZe

1907 wels eqvTime TayaiSvili aarsebs saqarTvelos saistorio da

saeTnografio sazogadoebas.2 mas Tavidanve mravalmxrivi, didi masSta-
bis programa hqonda dasaxuli: Seswavla, Segroveba da Senaxva istori-
uli, arqeologiuri, anTropologiuri, literaturuli da eTnografi-
uli nimuSebisa _ saqarTvelosi da mTeli kavkasiisa; muzeumis daarseba,
romelSic unda yofiliyo nivTieri masala, xelnawerebi, kavkasiologi-
is dargis wignebi; arqeologiuri gaTxrebis warmoeba; leqciebisa da
gamofenebis mowyoba; xuroTmoZRvruli Zeglebis dacva. sul ramdenime
wlis manZilze sazogadoebam SeZlo gamoeca umniSvnelovanesi wigne-
bi: krebuli `Zveli saqarTvelo~ _ 1913-1914 wlamde gamoica 3 tomi,
romlebic Seicaven gamokvlevebs, saistorio da saleqsikono masalebs,
eTnografiul werilebs (maT Soris aris mose janaSvilis `saingilo~,
vaJa-fSavelas `fSaveli da misi wuTisofeli~, eqvTime TayaiSvilis `ar-
qeologiuri mogzaurobani~ da sxv.); krebulebis meore seria `saqarTve-
los siZveleni~, romelSic gamoqveynebulia mravali aseuli istoriuli

3. Tbilisis saxelmwifo universiteti

Tbilisi State University

11
 kultura da xelovneba

sabuTi. es uzarmazari tomebia: II tomSi 600 gverdia, III-Si _ 612.

didad nayofieri iyo sazogadoebis mier mowyobili eqspediciebi
qarTuli xelovnebis ZeglTa Seswavlis, fiqsaciisa da gadmoRebisaTvis,
gansakuTrebiT ori maTgani: a. 1916 wlisa sofel nabaxtevSi, romlis
eklesiis kedlebmac Semogvinaxa XV saukunis I naxevris freskebi sain-
tereso istoriuli portretebiT (qucna amirejibi, mefe aleqsandre I
da sxvani). am eqspediciaSi, romelic qarTvel xelovanTa sazogadoebas-
Tan erTad moewyo, monawileobdnen l. gudiaSvili, g. erisTavi, mose da
irakli ToiZeebi, dim. SevardnaZe, m. Wiaureli. maT gadmoiRes TiTqmis
yvela SemorCenili fragmentis pirebi (ufro gvian, 1935-Si, freskebis
mZime mdgomareobis gamo, fragmentebis nawili Camoxsnes da xelovnebis
saxelmwifo muzeumSi gadaitanes). eqspediciis mowyobis iniciatorebi
iyvnen eqvTime TayaiSvili da ivane javaxiSvili.
b. 1917 wlisa samxreT saqarTveloSi _ tao-klarjeTSi, e. TayaiSvi-
lis xelmZRvanelobiT. eqspediciaSi monawileobdnen mxatvrebi: dimitri
SevardnaZe, lado gudiaSvili, mixeil Wiaureli, poeti ilia zdaneviCi
(dediT qarTveli), xuroTmoZRvari anatoli kalgini, romelsac, saer-
Tod, didi Rvawli miuZRvis qarTuli xuroTmoZRvrebis ZeglTa azomvis
saqmeSi da, agreTve, rogorc Semoqmeds _ is aris ZiriTadi avtori qar-
Tuli saTavadaznauro bankis, amJamad erovnuli biblioTekis I korpusis
Senobisa. am eqspediciis monapovari (tao-klarjeTis umniSvnelovanesi
Zeglebis, maT Soris, oSkis, iSxnis, xaxulis kaTedralebis dokumenturi
anazomebi, e. TayaiSvilis gamokvleva am mogzaurobis Sesaxeb) dRemdis
Seadgens am mxaris umdidresi xuroTmoZRvruli memkvidreobis Sesaxeb
Cveni codnis safuZvels (saqarTvelos samxreTi raionebis siZveleTa
kvleva e. TayaiSvils adreve hqonda dawyebuli: 1902 wels man moawyo
eqspedicia axalcixisa da axalqalaqis mazrebSi da Cildir-artaanis
raionSi, 1907 wels _ yarsis olqSi. maSin es regioni jer kidev ruseTis
imperiis farglebSi iyo).3
Zalian arsebiTi roli Seasrula qarTvelologiis axal mecnierul
safexurze asayvanad peterburgis universitetis skolam, romelsac
meTaurobda akademikosi niko mari. gansakuTrebuli mniSvneloba hqon-

12
 vaxtang beriZe

da mis naSromebs qarTuli filologiis dargSi. imave dros, ukve XX

s-is pirvel wlebSive, iwyeba realuri zrunva da samzadisi qarTuli
universitetis daarsebisaTvis. 1907 wels iv. javaxiSvili _ maSin peter-
burgis universitetis privat-docenti _ qmnis am universitetTan qar-
Tul samecniero wres. 1915 wels gamovida am wris monawileTa Sromebis
krebuli iv. javaxiSvilis redaqciiT.
iv. javaxiSvili ukve im droidan iwyebs qarTvel studentTa da axal-
gazrda mecnierTa Soris erovnuli universitetis momavali pedagogebis
Ziebasa da SerCevas. qarTveli studentebi ki swavlobdnen rogorc ruse-
Tis imperiis sauniversiteto qalaqebSi (peterburgSi, moskovSi, kievSi,
tomskSi, xarkovSi, dorpatSi, odesaSi, varSavaSi, yazanSi), ise dasavleT
evropaSi _ germaniaSi (umetesad), avstriaSi, safrangeTSi, SveicariaSi.
iq miiRes ganaTleba imaT, vinc Semdeg Cvens universitetsa da, saerTod,
mecnierebas Caudga saTaveSi _ garda TviT ivane javaxiSvilisa, filipe
gogiCaiSvilma, korneli kekeliZem, akaki SaniZem, ioseb yifSiZem, giorgi
axvledianma, daviT yifSiZem, vukol beriZem, simon yauxCiSvilma (ruseT-
Si), dimitri uznaZem, giorgi CubinaSvilma, Salva nucubiZem, andria
razmaZem (ucxoeTSi), eqimebma: grigol muxaZem, aleqsandre naTiSvilma,
aleqsandre aladaSvilma, spiridon virsalaZem, svimon amirejibma, ivane
TikanaZem, nikoloz kaxianma, aleqsandre maWavarianma, gabriel Rambara­
S­­
vilma, metyeve-seleqcionerma solomon qurdianma, zooteqnikosma
ilia jandierma, konstantine amirejibma, agronomma iulon lomourma,
meRvineobis specialistma konstantine modebaZem da bevrma sxvam.
revoluciis wina wlebSi gamodis mniSvnelovani gamokvlevebi, ro-
melTa sagania saqarTvelos istoria (iv. javaxiSvilis klasikuri `qarT-
veli eris istoria~, T. Jordanias, e. TayaiSvilis, mose janiaSvilis, da-
viT kariWaSvilis, sergi gorgaZis, sargis kakabaZis wignebi da werilebi),
Zveli qarTuli mwerloba (niko mari, aleqsandre xaxanaSvili, korneli
kekeliZe, iustine abulaZe), ena, leqsikonebi (niko mari, akaki SaniZe,
ilia Wyonia, vukol beriZe); qarTul kulturas, kerZod, siZveleebs,
didi adgili eTmoba niko maris mier daarsebul JurnalSi `Христианский
Восток~ (TviT maris, ivane javaxiSvilis, eqvTime TayaiSvilis, niko ja-

13
 kultura da xelovneba

4. universitetis profesor-maswavleblebi (anot. 3)

Professors and Teachers of the University (annot. 3)

naSias, ioseb yifSiZis, korneli kekeliZis, g. CubinaSvilis, leon meliq­

seT-begis werilebi. isic unda gvaxsovdes, rom n. marma 1911 wels pir-
velad gamosca Zveli qarTuli mwerlobis erTi SedevrTagani _ “grigol
xanZTelis cxovreba” giorgi merCulesi, rusuli TargmaniTurT).
1916-17 wlebSi arsdeba, spiridon virsalaZis meTaurobiT, qarTvel
eqimTa da bunebismetyvelTa sazogadoeba, 1918 wlis 26 ianvars ki _ es
kargad aris cnobili _ gaixsna universiteti. misi daarseba cota xniT
uswrebs saqarTvelos damoukideblobis gamocxadebas, magram TviT faq-
ti qarTuli universitetis daarsebisa ganuyofelia im saerTo viTare-
bisagan, im sulieri atmosferosagan, romelSic SesaZlebeli gaxda da-
moukideblobis miRweva. da, ra Tqma unda, damoukideblobis wlebs ver
warmovidgenT universitetis gareSe _ man ukve pirvelsave wlebSi SeZlo
aqtiuri, mizandasaxuli samecniero (ara marto saswavlo) moRvaweobis
gaSla.
qarTuli presa dawvrilebiT aSuqebda erovnuli kulturis istori-

14
 vaxtang beriZe

is am umniSvnelovanes faqts. ai, erTi gancxadebaTagani, gamoqveynebu-

li gazeTSi: `qarTuli universiteti TbilisSi gaixsneba 1918 wlis ian-
vris Sua ricxvebSi. am TaviTve iqmneba sibrZnismetyvelebis humanur
mecnierebaTa ganyofileba. leqciebi iqmneba safilosofio, saistorio,
saliteraturo saenaTmecniero, sapedagogo da socialur mecnierebaTa
dargebidan~.4
25 ianvars gamoqveynda universitetis maswavlebelTa pirveli
Semadgenloba: reqtori damsaxurebuli profesori petre meliqiSvili,
sibrZnismetyvelebis fakultetis dekani profesori ivane javaxiSvili.
mdivani: profesori ioseb yifSiZe.
profesorebi: andria benaSvili, korneli kekeliZe, dimitri uznaZe,
filipe gogiCaiSvili.
profesoris moadgileebi: andria razmaZe, svimon avaliani, Salva
nucubiZe, giorgi axvlediani, akaki SaniZe.
mecnieri xelmZRvanelebi: eqvTime TayaiSvili, iustine abulaZe.
leqtorebi: elisabed orbeliani (franguli ena), artur laisti da
ilia yifSiZe (germanuli ena), vanda RambaSiZisa (inglisuri ena).5
daibeWda agreTve informacia universitetis gaxsnis ceremonialis
Sesaxeb, p. meliqiSvilisa da iv. javaxiSvilis portretebi da biografie-
bi. qarTul klubSi `qarTveli studentoba marTavs friad saintereso
mejliss qarTuli universitetis sasargeblod, monawileobas miiRe-
ben qarTvel msaxiobTa da momReralTa saukeTeso Zalebi~6, qveyndeba
didi werilebi universitetis Sesaxeb. presis mixedviTac igrZnoba, rom
universitetis gaxsna qarTulma sazogadoebam aRiqva, rogorc didi
erovnuli mniSvnelobis movlena.
imave wlis Semodgomidan universitets Seematnen axali Zalebi, maT
Soris giorgi CubinaSvili, romelic saTaveSi Caudga xelovnebis isto-
riis kaTedrasa da xelovnebis mecnierebis kabinets. am droidan iSleba
axali furceli qarTuli xelovnebis Seswavlis istoriaSi da safuZve-
li eyreba qarTuli xelovnebis istorias, rogorc damoukidebel, Tana-
medrove moTxovnilebaTa donis mecnierebas.
universitetis profesorTa pirveli Semadgenlobis mixedviT advi­

15
 kultura da xelovneba

lad davaskvniT, rom Cveni axlad daarsebuli umaRlesi saswavlebe-

li Tavisi doniT Tamamad gauswordeboda ukve Camoyalibebul, didi
tradiciebis mqone universitetebs. profesorTa Semadgenloba, mcire
gamonaklisiT, `axalgazrduli~ iyo _ ivane javaxiSvili 42 wlisa, kor-
neli kekeliZe _ 39-isa, a. SaniZe, d. uznaZe, g. axvlediani, Salva nucubi-
Ze, ioseb yifSiZe, g. CubinaSvili _ 30-isa an ori-sami wliT metisa, an-
dria razmaZe _ ocdarvisa (TviT eqvTime TayaiSvilic am dros mxolod
55-isa aris). gava sul cota xanic da yvelani, sul axalgazrdebic,
ufrosebze rom aRaraferi vTqvaT, warmogvidgebian rogorc evropuli
masStabis saxelmoxveWili mecnierebi _ mecnierebaTa dargebis meTaur-
ni da mecnierTa skolebis Semqmnelni. aseve, gava sul ramdenime weli
da universitetis wiaRSi aRmocendeba sxva qarTuli umaRlesi skole-
bi _ politeqnikuri, samedicino da sasoflo-sameurneo institutebi.
SeiZleba iTqvas, rom universitetis daarsebidan qarTuli kulturisa
da mecnierebis istoriaSi axali welTaRricxva iwyeba (1918 welsve, 3
seqtembers, universiteti, romelic Tavdapirvelad kerZod iTvlebo-
da, erovnulma sabWom saxelmwifod gamoacxada da finansuri daxmareba
gamouyo. 1918 wlis agvistodan mas qarTuli gimnaziis mTeli Senoba
daeTmo _ Tavidan mxolod 3 oTaxi hqonda).
1918-1920 wlebSi qarTuli samecniero literatura gamdidrda axali
mniSvnelovani gamokvlevebiT da sauniversiteto saxelmZRvaneloebiT,
upirveles yovlisa, humanitarul dargebSi. ai, magaliTebi: iv. ja­
vaxiSvilis `qalaqebi, saqalaqo wyobileba da cxovrebis viTareba
saqarTveloSi XVII-XVIII saukuneebSi~ (Jurnali `promeTe~, 1918, #1),
`qarTveli eris mokle istoria~, wigni meore _ I-XII saukuneebi (1918,
quTaisi), `damokidebuleba ruseTsa da saqarTvelos Soris XVIII
saukuneSi~ (1919, qarTuli klubis gamocema), `saqarTvelos sazRvrebi
istoriulad da Tanamedrove TvalsazrisiT ganxiluli~ (wera-kiTxvis
gamavrcelebeli sazogadoebis gamocema, 1919), `qarTuli samarTlis
istoria~, wigni I (1919, quTaisi. rogorc vxedavT, iv. javaxiSvili
marto Soreul warsuls ki ar uZRvnis naSromebs, aramed exmaureba
umwvaves Tanamedrove sakiTxebs); k. kekeliZis `kimeni~, t. I. qarTuli

16
 vaxtang beriZe

hagiografiuli Zeglebi (1918), `TargmanebaY eklesiastisaY mitrofane

zmKrnel mitropolitisY~ (1920); g. axvledianis `enaTmecnierebis Se­
s­
av­ali~. leqciebi. gamocema universitetis studentTa kavSiris gam­
geobisa. sami nakveTi (1918); rusuli enis gramatika umaRles dawyebiT
saswavlebelTaTvis. I fonetika. II morfologia (1919); sanskritis mo­ k­­
le gramatika da nawyvetebi klasikuri sanskritidan da rigvedadan
leqsikoniTurT (1920, universitetis gamocema).
1919 wels gamovida `tfilisis universitetis moambe: #1, 1 nakveTi,
sibrZnismetyvelebis fakulteti~, romelSic dabeWdilia ioseb yifSiZis,
Salva nucubiZis, korneli kekeliZis, dimitri uznaZis, akaki SaniZis,
svimon avalianisa da eqvTime TayaiSvilis narkvevebi (II tomi, 1921-1922
wlebisa, gamovida mxolod 1923-Si).
garda universitetisa, romelic sul male gadaiqca qarTuli
mecnieruli azris centrad, da saqarTvelos saistorio da saeTnogra-
fio sazogadoebisa, im xanebSi kidev arsebobda ramdenime samecniero
dawesebuleba da sazogadoeba, romelTac uSualo kavSiri hqondaT
saqar­Tvelos kulturis SeswavlasTan:
a. muzeumebi: kavkasiis muzeumi, romelic 1919 wels saqarTvelos
muzeumad gadaiqca _ dRevandeli s. janaSias saxelobis saqarTvelos
saxelmwifo muzeumi; dasawyisSi qarTuli Tematika iq naklebad iyo war-
modgenili; yof. saeklesio muzeumi; wera-kiTxvis gamavrcelebeli sazo­
gadoebis muzeumi; saistorio da saeTnografio sazogadoebis muzeumi;
Sinamrewvelobis muzeumi; am oTx muzeums, arsebiTad, eqspoziciebis
mowyobis saSualeba ar gaaCnda; maTi profili Zalian Wreli iyo, erTsa
da imave muzeumSi sruliad gansxvavebuli xasiaTis nivTebi iyrida Tavs,
da, imave dros, erTisa da imave dargis eqsponatebi sxvadasxva muzeumSi
iyo gafantuli. ra Tqma unda, aseTi viTareba normalurad ver CaiT­
vleboda, magram samuzeumo saqmis reorganizacia maSin ver moeswro da
mxolod TandaTan ganxorcielda ocian wlebSi;
b. sazogadoebebi: 1901 wels daarsebuli moskovis saarqeologio
sazogadoebis kavkasiis ganyofileba, romlis saqmianobaSi aramcire
adgili eWira qarTul Tematikas. igi uSvebda Tavis `izvestias~

17
 kultura da xelovneba

5. l. gudiaSvili, `merani~, 1918

L. Gudiashvili, “Merani”

_ V tomi gamovida 1919-Si, VI _ 1921-Si. Tavmjdomare iyo iberiul-

kavkasiur enaTa mkvlevari lev lopatanski, gamgeobis wevrebi _ leon
meliqseT-begi da dimitri dordeevi, sapatio wevrTa Soris iyvnen
eqvTime TayaiSvili, praskovia uvarova _ kavkasiisa da saqarTvelos
siZveleTa cnobili mkvlevari, oliver uordropi, namdvil wevrTa
Soris _ mose janaSvili, giorgi CubinaSvili, svimon avaliani, sargis
kakabaZe; ruseTis geografiuli sazogadoebis kavkasiis ganyofileba,
romelmac male Sewyvita moqmedeba; saqarTvelos teqnikuri sazogadoeba,
romelmac 1920 da 1921 wlebSi gamosca `teqnikuri terminologia~; am
terminologiis Seqmnis sainiciativo jgufSi Sediodnen (ukve 1919 wels)
giorgi da rusudan nikolaZeebi, ivane beriZe, vasil kakabaZe, giorgi
gedevaniSvili, mixeil SalamberiZe, d. berekaSvili, irakli mWedliSvili;

18
 vaxtang beriZe

amiT Caeyara safuZveli qarTuli mecnierebis ganviTarebisaTvis am

uaRresad mniSvnelovan saqmes, romelic momdevno aTeul wlebSi farTo
masStabiT gaiSala; eqimTa da bunebismetyvelTa sazogadoeba ukve
movixsenieT zemoT.
g. kavkasiis istoriul-arqeologiuri instituti ruseTis mecniere-
baTa akademiisa, daarsebuli 1917 wels niko maris TaosnobiT da xel­
mZRvanelobiT; namdvili wevrebi iyvnen eqvTime TayaiSvili da giorgi
CubinaSvili, adiunqtebi _ d. gordeevi da s. tigraniani. institutma
gamarTa eqspediciebi lazeTSi (ioseb yifSiZe), axalcixis mazraSi (niko
mari, d. gordeevi, taranuSenko), javaxeTSi (silibistro lomia, daviT
yifSiZe), qarTuli enis dialeqtebisa da lazuri enis, istoriisa da xe-
lovnebis ZeglTa Sesaswavlad; borjomis siZveleTa gasacnobad (g. Cu-
binaSvili); institutis krebulebSi sayuradRebo naSromebi iyo gamoq­
veynebuli.
1920 wels umniSvnelovanesi faqtia saqarTvelos saistorio da
saeTnografio sazogadoebis mier mowyobili gamofena Zveli qarTuli

6. Jurnali `Teatri da musika~

(anot. 4)
Journal “Theatre and Music”
(annot. 4)

19
 kultura da xelovneba

xuroTmoZRvrebisa, miT ufro mniSvnelovani, rom es am saxis pirveli

gamofena iyo. eqsponatebis umetesobas Seadgenda eq. TayaiSvilis eqs-
pediciebis mier mopovebuli anazomebi da foto-suraTebi, maT Soris,
samxreT saqarTvelos 1902, 1907 da 1917 wlebis eqspediciebisa, kaxeTis
1911, 1913 da 1914 wlebis eqspediciebisa, agreTve, arqiteqtorebis _
ebraliZis, kalginis, severovis, kalaSnikovis da sxvaTa mier gazomili
Zeglebi saqarTvelos sxvadasxva kuTxeSi, mravali foto-suraTi (er-
makovis koleqciidan, zanisisa, kiunesi, polevoisa). gamovida qarTu-
li da rusuli katalogebi, romlebic Seicaven cnobebs yoveli Zeglis
Sesaxeb. qarTulis avtori iyo TviT TayaiSvili da is nawili, rome­
lic tao-klarjeTis Zeglebs exeba, arsebiTad, pirveli mokle angariSia
misi eqspediciebisa (mTlianad ki ufro metic _ qarTuli xuroTmo­ Z­
Rvrebis istoriis mokle anotirebuli mimoxilva); rusulisa _ di­mit­ri
gordeevi, romelsac cnobebi miawodes e. TayaiSvilma, g. Cubi­naSvilma,
i. zdaneviCma, d. SevardnaZem da m. kalaSnikovma. gamofenaze naCvenebi
iyo CuqurTmiani qvebis fragmentebic, xis karebi, freskebisa da war-
werebis pirebi. katalogSi Sesulia 289 nomeri da bevri daunomravi
fotosuraTi.
mecnierebisa da umaRlesi skolis gverdiT unda movixsenioT, ro-
gorc agreTve didi monapovari _ saSualo skolis gaerovnuleba, rasac
damoukideblobis wlebSi Caeyara safuZveli da Semdeg sabolood ga­n­
mtkicda.
arsebobs aseTi statistikuri cnobebi: mefis drois ukanaskneli
statistikiT saqarTveloSi iricxeboda 864 skola, 80234 mowafiT. 1921
wlis dasawyisSi ki, e. i. damoukideblobis bolo xanebSi _ 1925 sko-
la, 162030 mowafiT. 1918 wlidanve ganaTlebis saministro (ministri
jer giorgi lasxiSvili iyo, Semdeg noe cincaZe) da erovnuli sabWos
swavla-ganaTlebis komisia iwyebs zrunvas skolis reorganizaciisaTvis.
Tavidanve daisva sakiTxi pedagogTa gadamzadebisa da gaixsna saTanado
kursebi. Tbilisis samaswavleblo instituti, xonis, gorisa da soxumis
samaswavleblo seminariebi saxelmwifod gamocxadda da gaqarTulda.
ganaTlebis sistemis xelmZRvaneli organoebi cdilobdnen ganaTlebis

20
 vaxtang beriZe

sistemaSi daenergaT evropis mowinave qveynebis praqtikuli gamoc-

dileba.7 gamomuSavebuli iqna axali saswavlo gegmebi _ am mizniT ganaT-
lebis saministrosTan daarsda sagangebo komiteti cnobil mecnierTa
da peda­gogTa monawileobiT. didi yuradReba mieqca agronomiulsa da
teqnikur dargebSi instruqtorebis momzadebas erobebisTvis (am saqme-
Si didi iyo universitetis daxmareba). gamoica saSualo skolisaTvis
qarTuli saxelmZRvaneloebi, magaliTad, aleqsandre janeliZis „fizika
saSualo saswavleblisaTvis“ (quTaisi, 1918), „dawyebiTi fizika, weliwa-
di pirveli“ (quTaisi, 1919);
sagangebo zrunvis sagnad iqca erovnul umciresobaTa skolebi (es
gansakuTrebiT xazgasasmelia!): gaixsna somxuri skola _ 81, rusuli _ 60,
TaTruli (unda vigulisxmoT, azerbaijanuli) _ 31, berZnuli _ 66 da
osuri 48.8
sazRvargareT ganaTlebis misaRebad gaigzavna 75 axalgazrda, Sem-
deg isini (visac dascalda) qarTuli mecnierebis moRvaweTa da umaR­
lesi skolebis pedagogTa rigSi Cadgnen.
skolis gaqarTuleba Tavisi mniSvnelobiT ar Camouvardeboda uni-
versitetis daarsebas.
Zalian aqtiuri da mravalferovani iyo literaturuli cxovreba.
ukve saukunis dasawyisidanve samwerlo asparezze gamodian prozaikose-
bi da poetebi, romelTac axali safexuri Seqmnes qarTul literatura­
Si, safexuri, romelic erTxel kidev mowmobda, XIX s-is ramdenime eta-
pis Semdeg, axali evropuli mxatvruli kulturis aTvisebas.
XIX saukune xom qarTuli mwerlobisa da sazogadoebrivi azris didi
epoqa iyo. magram es epoqa, erovnuli kulturis didi miRwevebiT aRniSnu-
li, damTavrda. didi korifeebi, TiTqmis yvelani, saukunis dasawyisSive
wavidnen. axalma drom axali amocanebi dasaxa da am amocanebis gauTva­
liswinebloba, maTTvis Tavis arideba qarTul literaturas epigonurad
gadaaqcevda. msoflio literaturas RirsSesaniSnavi monapovari hqonda
XIX s-is meore naxevarSi, Tundac franguli simbolizmi, romelic gansa-
kuTrebiT mimzidveli iyo qarTveli poetebis axali TaobisTvis. ruseT-
Si am dros moRvaweobdnen balmonti, briusovi, bloki da sxvani. sauku-

21
 kultura da xelovneba

neTa mijnaze da XX s-is dasawyisSi msoflio

xelovnebis duRilis xanaa _ axali mimdinare-
obebi Cndeboda mwerlobaSi, saxviT xelovne-
baSi, musikaSi, isini an Tanaarsebobdnen, an
swrafad cvlidnen erTmaneTs. saqarTveloSi
ukve momzadebuli aRmoCnda niadagi siaxleTa
SeTvisebisa da organuli „monelebisaTvis“.
sabednierod, iseve, rogorc mecnierebaSi,
mwerlobaSic mogvevlina didad niWier Semoq­
medTa mTeli Taoba (Taobebi!). sakmarisia
ramdenime saxelis gaxseneba: prozaikosebi:
niko lorTqifaniZe, grigol robaqiZe, mixeil
javaxiSvili, leo qiaCeli, konstantine gam-
saxurdia, poetebi: galaktion tabiZe, ioseb
griSaSvili, aleqsandre abaSeli, sandro San-
SiaSvili, siko faSaliSvili, giorgi leoniZe;
1915_1916 wlebis mijnaze quTaisSi iSva “cis-
feri yanwebi”, romlis SemadgenlobaSi iyvnen
sruliad axalgazrdebi paolo iaSvili, va-
lerian gafrindaSvili, tician tabiZe, Salva
afxaiZe, sandro cirekiZe, sergo kldiaSvi-
li da sxvani; asparezze gamovidnen axalgaz­
rda kritikosebi da literaturismcodneni
geronti qiqoZe, vaxtang kotetiSvili, ukve
moRvaweobda kita abaSiZe... bevri sxvac SeiZ­
7. 1918-1921 wlebSi
gamomavali Jurna­­­­- leboda dagvesaxelebina. zogi mwerali ma-
le­bi (anot.4) Sin pirvel nabijebs dgamda, zogma maSinve
Journals Published in moaswro Camoyalibeba da Tavisi mkafio in-
1918-1921 (annot. 4)
dividualobis gamovlena. bevri mwerali da
kritikosi wminda publicistur werilebsac
aqveynebda, umetesad erovnul sakiTxze, ro-
melic, bunebrivia, mwvaved ismoda, rogorc

22
 vaxtang beriZe

damoukideblobis wina xanebSi, ise damou-

kideblobis dros, raki damoukideblobis ga-
mocxadeba TavisTavad ar niSnavda arsebuli
urTulesi problemis sabolood amoxsnas
da, imave dros, ideur winaaRmdegobaTa da-
Zlevas.9
mwerlebi, bunebrivia, ganirCeodnen in-
dividualobiT, esTetikuri interesebiTa da
principebiT (niWze rom aRaraferi vTqvaT),
magram umetesobisTvis, rogorc vTqviT,
arsebiTi iyo axlis Zieba, Tu SeiZleba ase
iTqvas, „sworeba“ uaxles msoflio litera-
turaze, rac sruliad ar niSnavda erovnu-
li TavisTavadobis Ralats. erovnuli da
sayo­velTao _ es iyo mowinave qarTuli
kulturis _ ara marto mwerlobis, aramed
(rogorc qvemoT davinaxavT) agreTve mxat-
vrobis, musikisa da, cota mogvianod, Teat-
ris umTavresi arsi. damaxasiaTebelia gaz.
„saqarTvelos“ 1919 wlis 2 martis nomerSi
dabeWdili xelmouwereli werili „qarTuli
xelovnebisaTvis“, romlis avtoric, ueWve-
lia, gazeTis redaqtori geronti qiqoZea.
iq aris aseTi sityvebi: „axali gzebis Zieba
TiTqmis yovel dargSi etyoba qarTul xe-
lovnebas. is mimdinareoba, romelsac sagaze-
To Jargonze umarTebulod futurizms da
dekadanss uwodeben, namdvili revoluciuri
movlenaa, romelic tradiciul formebs ar-
Rvevs da elementebs qmnis axali esTetikuri
sinTezisaTvis, xelovnebaSi ki revoluciis
moxdena Zalian Znelia. amitom gansakuTre-

23
 vaxtang beriZe

biT dasafasebeli arian axalgazrda qarTveli poetebi, mxatvrebi da

memusikeebi, romelnic Tamamad ebrZvian gaugebrobasa da gaWirvebas,
rom ganaxlebul saqarTvelos ganaxlebuli xelovneba miscen“.
ras niSnavda „tradiciuli formebis rRveva?“ Tundac imas, rom
daisva sakiTxi damoukidebeli, avtonomiuri formis Ziebisa _ „xelovne-
ba xelovnebisaTvis“. qarTveli cisferyanwelebisaTvis axlobeli iyo
bodleris, malarmes, rembos Semoqmedeba _ maTs Txzulebebs Targmnid-
nen kidec; gavixsenoT tician tabiZis „besikis baRSi vrgav bodleris
borot yvavilebs“. sityvebi, romlebic garkveul programas migvaniS-
nebs; axlobeli iyo verlenis cnobili formula “De la musique avant
toute chose~ _ „musika upirveles yovlisa“. (maT xom Tavdapirvelad,
rodesac Zvelis „damamxoblebad“ gamodiodnen, aseTi debulebac hqon-
daT _ XIX saukunem Cveni mwerloba gazeTad gadaaqciao). maSindel mwer-
lobas garkveuli kvali daamCnia literaturulma impresionizmmac (n.
lorTqifaniZe, l. qiaCeli). franguli simbolizmisa da impresioniz-

8. n. firosmanaSvili, `uwindeli saqarTvelos qorwili~, 1916 (anot. 5)

N. Pirosmanashvili, “Wedding Party in Georgia of Past Times”, 1916 (annot. 5)

25
 kultura da xelovneba

misadmi gulgrili ar darCenila galaktion tabiZe, romelic XIX s-is

qarTuli poeziis tradiciebTan organulad iyo dakavSirebuli. rom
aRaraferi vTqvaT misi Semoqmedebis siRrmeze, did emociurobaze, man
xom virtuozuli brwyinvaleba SesZina qarTul leqss, mis formas, mis
teqnikas. mis interess franguli poeziisadmi, bevr sxva niSanTan erTad,
mowmobs Tundac franguli epigrafebi _ striqonebi bodleris, goties,
verlenis, anri de renies leqsebidan (leqsi „vin aris es qali“). axali
TaobisTvis arc evropuli eqspresionizmi iyo ucxo.
am sakiTxebs specialistebi ikvleven da me, cxadia, araviTari pre-
tenzia ara maqvs maTi dawvrilebiTi ganxilvisa. es Cems kompetencias
scildeba. magram zedmeti ar iqneba, Tu gavecnobiT am axali poeziis
oriode nimuSs, dRes naklebad cnobils, da SevadarebT maT XIX s-is
qarTuli poeziis memkvidreobas _ erTbaSad naTeli gaxdeba mkveTri
gansxvaveba:

tician tabiZe

„cxeni angelosiT“

„apokalipsis TeTri imedi,

gza Soreuli,
qimeria, qaldea, JRali kavkazi
saqarTvelos beds
mxolod cxeniT Tu daewevi,
morbixar TeTri _ marto imedi
cxeni angelosiT“.

26
 vaxtang beriZe

valerian gafrindaSvili

„jvaris dawera margalitze gotikur taZarSi“

„Cemi sacolo _ Zvirfasi qva _ modis amaliT

ara aqvs ricxvi qimeriul nair Saferebs;
daikargeba dRiurobis cru natamali,
ros margalitis movlineba Semasxvaferebs.
Zvirfasi qvebi niRabebiT dagveswrebian,
TvalCasmul sfinksebs Saferoba exalisebaT“, da sxv.

(orive leqsi gamoqveynebulia 1920 wels Jurnal `meocnebe nia-

morebSi~).

damoukideblobis wlebs miekuTvneba, an sul cota xniT uswrebs win

axali qarTuli mwerlobis ara erTi RirsSesaniSnavi nawarmoebi: galak-
tion tabiZis „artistuli yvavilebi“, vasil barnovis „trfoba wamebu-
li“, „gvelis zeimi“ (maSin gamovida misi Txzulebebis ortomeuli), niko
lorTqifaniZis „JamTa siave“ da bevri miniatura, ioseb griSaSvilis bev-
ri cnobili leqsi („trioletebi SeiTanbazarSi“, „aSpaSxanisken“ da sxv.),
valerian gafrindaSvilis leqsTa pirveli krebuli „daisebi“, (1919), leq­
sTa ciklebi, paolo iaSvilis da tician tabiZis leqsebi, grigol roba­
qiZis, konstantine gamsaxurdias, geronti qiqoZis, vaxtang kotetiSvi-
lis kritikuli da publicisturi werilebi, bevri sxvac.
am xanis kulturuli cxovrebis erTi yvelaze damaxasiaTebeli niSan-
Tagania presis aqtiuroba. gamodis uamravi literaturuli da saxelov-
no Jurnali da gazeTi _ yovelkvireuli da yovelTviuri (ra Tqma unda,
aq ar vgulisxmobT wminda politikur gazeTebs), zogi adreve daarsebu-
li (magaliTad, ioseb imedaSvilis friad popularuli, dasura­Tebuli
„Teatri da cxovreba“, iumoristuli „eSmakis maTraxi“, romelsac di-
dad niWierni nestor kalandaZe, igive „eSmaki“ da Salva SaraSiZe, igi­
ve „Taguna“, uZRvebodnen, 1916 wels daarsebuli „safironi“, romel-

27
 kultura da xelovneba

sac giorgi leoniZe redaqtorobda), bevri axalic. zogi maTgani maleve

wyvetda arsebobas, zogi ufro gamZle gamodga, magram yvela erTad
mravalferovans da saintereso suraTs qmnida.
ai, zogi maTgani: cisartyela _ yovelTviuri Jurnali, rkinigzis
muSa-mosamsaxureTa profkavSiris centralur gamgeobasTan arsebuli
`kultura-ganaTlebis komisiis~ gamocema. `poezia, beletristika, dra-
ma, kritika, bibliografia~. saredaqtoro kolegia: ivane gomarTeli,
saSa abaSeli (ase awerda xels), polio ireTeli, arCil ruxaZe, oboli
muSa (solomon TavaZe). gamodioda 1919 wlis dekembridan;
mSvildosani, cisferyanwelebis Jurnali. redaqtori sandro
cirekiZe. gamodioda 1920 wlis ianvridan; meocnebe niamorebi, maTive
yovelTviuri Jurnali. redaqtori valerian gafrindaSvili (ydaze _
lado gudiaSvilis naxatiT). gamodioda 1919 _ 1924 wlebSi; barrika­
di, agreTve cisferyanwelebis Jurnali, tician tabiZis redaqtorobiT.
gamodioda 1920 wlidan; buneba da xelovneba, 1920 weli: `yovelTviuri
samxatvro da saliteraturo Jurnali~; momavali, `saxelmwifo univer-
sitetis studentTa jgufis samecniero-saliteraturo da sapolitiko
Jurnali~. redaqtori andro SilakaZe; 1921 wlis ianvari; Ars, rusu-
li `yovelTviuri Jurnali xelovnebisa da literaturisa~, romelsac
redaqtorobda cnobili rusi poeti, am dros saqarTveloSi gadmox-
vewili, sergei gorodecki. 1918, #2_3-Si ibeWdeboda rusi poetebisa
da prozaikosebis (maT Soris, ana antonovskaias) Txzulebebi. JurnalSi
Zalian aqtiurad TanamSromlobdnen qarTveli mwerlebi; gamoqveynda
qarTvel klasikosTa da Tanamedrove poetebis, umetesad cisferyan-
welebis, Txzulebebis Targmanebi, gamokvlevebi qarTuli xelovnebisa
da kulturis Sesaxeb (maT Soris, eqvTime TayaiSvilis, d. gordeevis da
l. meliqseT-begis kritikuli narkvevebi; grigol robaqiZis narkvevebi
andrei belis Sesaxeb); iyo kidev boris korneevisa da vasil katanianis
araperioduli gazeTi (1919 w.) `iskustvo~.
sagangebod minda movixsenio naklebad cnobili, dRes ki savsebiT
daviwyebuli Jurnali `Teatri da musika~, romelic quTaisSi gamodi-
oda sazogado moRvawis, eqimis, sportsmenisa da literatoris ioseb

28
9. saqarTvelos gerbi (anot. 6)
National Coat of Arms of Georgia (annot. 6)
 kultura da xelovneba

aslaniSvilis redaqtorobiT. JurnalSi dabeWdilia werilebi Teatrsa

da musikaze, didad saintereso cnobebi maSindeli mxatvruli cxovre-
bis Sesaxeb, fotosuraTebi, naxatebi, karikaturebi (Salva qiqoZisa, al.
zalcmanisa, mixeil Wiaurelisa, romelic aqtiurad monawileobda qar-
Tul presaSi, rogorc mxatvari). aq dabeWdili jgufuri fotosuraTe-
bi istoriuli mniSvnelobis dokumentebia. Jurnalis pirveli nomris
yda (marti, 1919) Semkulia lado gudiaSvilis `meranis~ reproduqciiT.
rogorc am Jurnalis, ise zemoT CamoTvlili Jurnalebis umetesobis
mxatvruli gaformeba da maketi daxvewili gemovnebiTaa Sesrulebuli.
im drois kidev erTi didad damaxasiaTebeli niSania araCveuleb­
rivad intensiuri yoveldRiuri mxatvruli, Tu SeiZleba ase iTqvas,
poeturi cxovreba. arsebobda artistuli kafeebi xelovanTa Tavise-
buri klubebi, romlebSic namdvili SemoqmedebiTi atmosfero sufevda
da romlebic mxatvruli inteligenciis yofis organul nawilad iqca.
imarTeboda leqciebi, moxsenebebi, disputebi xelovnebisa da mwerlo-
bis sakiTxebze. aqtiurad monawileobdnen araqarTvelebic, ruseTidan
gadmoxvewili rusi poetebi, romelTac TbilisSi poves TavSesafari,
maT Soris, garda ukve naxsenebi gorodeckisa, osip mandelStami (SeiZ­
leba gavixsenoT misi leqsi `Мне Тифлис горбатый снится~, dawerili 1920
wels), futuristTa mTeli pleada _ kruConixi, igor terentievi, vasi-
li kamenski, ilia zdaneviCi, kolau Cerniavski, romelic TbilisSi darCa
sacxovreblad.10
am kafeebs Soris yvelaze popularuli iyo `Артистический кабачок~
rusTavelis prospeqtze #12-Si (sadac umetesad ikribebodnen rusi
futuristebi), da, gansakuTrebiT, `qimerioni~ (rusTavelis Teatris
sardafis sarTulSi), mwerlebis TaosnobiT Seqmnili da uniWieresi
mxat­ vrebis mier moxatuli (sabWoTa wlebSi moxatuloba, albaT, ro-
gorc ideurad Seuferebeli, Seleses, Tumca arafers `saSiSs~ igi ar
Seicavda, da mxolod cota xnis winaT aRadgines gadarCenili fragmen-
tebi).
1920 wlis gazeT `saqarTvelodan~ (RvinobisTvis 17, #124), gancxade-
ba: `qimerioni. yoveldRe gamovlen petrogradis, moskovis da adgilob­

30
 vaxtang beriZe

rivi saukeTeso Zalebi. yovel sam dReSi icvleba programa. orkestri

stupelis xelmZRvanelobiT. samzareulos gansakuTrebuli yuradReba
aqvs miqceuli. bufetSi moipoveba sazRvargareTisa da adgilobrivi sas-
melebi~. `kviras, RvinobisTvis 17-Si, gaimarTeba `nacionaluri parti-
is~ didi saRamo. monawileoben Tbilisis saukeTeso artistebi. magideb-
ze winaswar Cawera miiReba~. marto es ori gancxadebac mowmobs, rom
`qimerioni~ didad popularuli kulturuli centri iyo.
is wlebi, romlebic damoukideblobis gamocxadebas uswrebda win,
da TviT damoukideblobis wlebi sruli uflebiT SegviZlia miviCnioT
qarTuli erovnuli mxatvrobis istoriis mniSvnelovan furclad.
rogorc cnobilia, axal qarTul mxatvrobas safuZveli eyreba­_ XIX
saukunis pirveli aTeuli wlebis gardamavali periodis Semdeg _ gasu-
li saukunis dasasruls, roca asparezze gamovidnen evropuli mxat­
vruli ganaTlebis mqone axalgazrda qarTveli fermwerlebi _ jer
romanoz gvelesiani, aleqsandre beriZe, gigo gabaSvili, Semdeg daviT
guramiSvili, aleqsandre mrevliSvili, mose ToiZe, grafikosi anton
gogiaSvili (agreTve erTaderTi moqandake iakob nikolaZe).11 maTi isto-
riuli misia is iyo, rom qarTuli mxatvroba, romelic Cveni qveynis is-
toriuli xvedris wyalobiT, XIX saukunemde Sua saukuneebis artaxebSi
rCeboda, evropuli realisturi (renesansuli gagebiT) mxatvrobisTvis
eziarebinaT: e. i. Cven unda avsuliyaviT im safexurze, romelsac ukve
karga xania miaRwia evropam da, cota mogvianebiT, ruseTmac. es misia
maT savsebiT Rirseulad Seasrules. magram amasobaSi _ jer XIX s-is
meore naxevarSi, mere Cveni saukunis dasawyisSi _ msoflio mxatvrobam
uzarmazari nabiji gadadga win da gaiara axal-axali etapebi, jer im-
presionizmi da postimpresionizmi, mere fovizmi da bevri sxva mimdi­
nareoba, romlebic erTmaneTs didi siswrafiT enacvlebodnen. es ase
iyo ruseTSic.
swored am dros mouxda gamosvla asparezze qarTvel mxatvarTa
axal Taobas, romelsac Seadgendnen fermwerebi _ dimitri SevardnaZe,
valerian sidamon-erisTavi, aleqsandre cimakuriZe, mixeil Wiaureli,
daviT kakabaZe, lado gudiaSvili, Salva qiqoZe. SevardnaZes miunxenSi

31
 kultura da xelovneba

10. saqarTvelos droSis

eskizi (anot. 6)
Sketch of the National Flag
of Georgia (annot. 6)

hqonda ganaTleba miRebuli, gudiaSvils _ TbilisSi, sidamon erisTavs,

cimakuriZesa da kakabaZes _ ruseTSi. maTi damokidebuleba axali
mimdinareobebisadmi sxvadasxvanairi iyo _ zogis Semoqmedeba tradi-
ciulTan ufro axloa, nakleb `revoluciuria~, zogi _ upirveles
yovlisa, yvelaze mkveTri individualobis mqoneni daviT kakabaZe da
lado gudiaSvili _ axal sityvas ityvian. magram Tavisi wvlili ax-
ali qarTuli mxatvrobis dafuZnebaSi yvelam Seitana: dimitri Sevar­
dnaZem is wlebi (germaniidan 1916 wels dabrunda) umetesad moandoma
sazogadoebriv-saorganizacio saqmeebs, da, marTlac, fasdaudebeli
amagi dasdo erovnul xelovnebas, Semdeg ki bevri ram gaakeTa, ro-
gorc Teatrisa da kinos mxatvarma da grafikosma; cimakuriZe pir-
veli qarTveli mxatvari iyo, romelmac mTeli Tavisi Semoqmedeba
erT Janrs _ peizaJs miuZRvna. swored misi damsaxurebaa qarTul
ferweraSi am damoukidebeli Janris Camoyalibeba; sidamon-erisTavma
safuZveli Cauyara qarTul istoriul Janrs.
32
 vaxtang beriZe

11. saqarTvelos himni `dideba~

(anot. 7)
National Anthem of Georgia
“Glory” (annot. 7)

33
 kultura da xelovneba

am Taobis warmomadgenelTa Soris erTaderTi Teoretikosi da-

viT kakabaZe iyo. ara marto Teoretikosi, aramed Zveli qarTuli xe-
lovnebis mkvlevaric, gamomgonebelic (ufro gvian gamoigona stereoki-
no, romlis ganxorcielebasac xeli SeuSales moskovelma biurokrateb-
ma). igi aqveynebda werilebs, wignebs (roca safrangeTSi iyo) qarTulad
da frangulad Tanamedrove qarTuli xelovnebis gzebze. rogori unda
iyos XX saukunis qarTuli xelovneba, rom igi Tanamedrove moTxov-
nilebaTa doneze idges da, imave dros, inarCunebdes erovnulobas? sxva
sityvebiT rom vTqvaT _ Tanamedrove da erovnuli _ es aris kakaba-
Zis fiqrebisa da ZiebaTa mTavari sagani. da kidev erTi _ saxviTi xe-
lovnebis `avtonomiis~ sakiTxi, sakiTxi ostatobisa, mxatvruli gamosax-
vis specifikur saSualebaTa TavisTavadi, Sinaarsisagan damo­ukidebeli
Rirebulebisa (gavixsenoT, rac zemoT maSindel qarTul mwerlobaze
iTqva). ufrosi Taobis qarTveli mxatvrebis Sesaxeb rom werda, igi afa­
sebda maTi moRvaweobis did sazogadoebriv mniSvnelobas, magram miaCnda,
rom `sakuTriv xelovneba~ maTs namuSevrebSi saWiro doneze ar idga. d.­­ ka-
kabaZe Tvlida, rom swored misi Taobis movaleoba da daniSnuleba iyo
Segnebulad dasaxul mxatvrul amocanaTa amoxsna.
damoukideblobis wlebs miekuTvneba qarTuli mxatvrobis bevri
RirsSesaniSnavi namuSevari. gadauWarbeblad SegviZlia vTqvaT, rom da-
viT kakabaZe da lado gudiaSvili, romlebic male gaemgzavrebian parizs,
ukve maSin, iq wasvlamde, savsebiT Camoyalibebuli, mkafio, ganumeore-
beli individualobis mxatvrebi iyvnen. sakmarisia davasaxeloT daviT
kakabaZis Sedevrebi: `imereTi dedaCemi~ (1918), `imereTi. wiTeli gza`
(1918), `qimerionis~ moxatvis eskizebi (1919), Zveli Tbilisisadmi miZ-
Rvnili naxatebis seria (1918); 1920 wlidan (parizSi) _ axali Tavi misi
Semoqmedebisa, roca igi sruliad Segnebulad xdeba abstraqtuli mxat­
vrobis mimdevari (Tumca mas xeli ar auRia arc realistur gamosax-
vaze); lado gudiaSvils am dros aqvs Sesrulebuli `kintoebis seriis~
ramdenime suraTi, romlebic axali sityva iyo qarTul mxatvrobaSi:
`xaSi~ (1919), `kintoebis qeifi qalTan~ (1919), `sadRegrZelo gariJraJ­
ze~ (1920), `idilia~ (1920), `moqeifeni etlSi~ (1920), `Tevzi _ coc­xali~

34
 vaxtang beriZe

(1920), agreTve `nadiroba~, `mwyemsi mekameCe~; is, rasac is momdevno

wlebSi qmnida parizSi, uSualo gagrZeleba iyo TbilisSi Casaxulisa da
Camoyalibebulisa. amave xanas miekuTvneba v. sidamon-erisTavis `Tamar
mefe~ (1917) da `krwanisis brZola~, pirveli suraTebi, romelTa siu-
Jetebi saqarTvelos istoriidan iyo aRebuli.
saxviTi xelovnebis dargSi am wlebis qronika aseTia: 1916 wels mi-
unxenidan Camosuli dimitri SevardnaZe (1885_1937) aarsebs qarTvel
xelovanTa sazogadoebas, romlis Tavmjdomaredac irCeven cnobil
sazogado moRvawes giorgi Juruls. dimitri SevardnaZe misi moadgile
da sazogadoebis saqmianobis faqtobrivi warmmarTveli iyo. imave 1916
wels qarTulad da rusulad gamocemul wesdebaSi naTqvamia, rom `qar­
Tvel xelovanTa sazogadoeba arsdeba tfilisSi im azriT, rom xeli
Seuwyos: a. mxatvarTa, moqandakeTa, xuroTmoZRvarTa urTierTSoris
daaxloeba-SekavSirebas; b. qarTvelTa Soris xelovnebis naSTebis Seg-
rovebas, dacvas da Seswavlas~. am miznebis gansaxorcieleblad sazo-
gadoebas unda daefuZnebina samxatvro galerea da masTan biblioTeka,
gaemarTa gamofenebi (mudmivi, xandazmuli da moZravi), daeniSna pre-
miebi, daebeWda samxatvro Jurnali qarTulsa da sxva enebze, moewyo
samecniero eqspediciebi Zveli qarTuli xelovnebis Sesaswavlad, xeli
Seewyo qarTvel xalxSi mxatvrul saxelovnebo Sinamrewvelobis ganvi-
TarebisTvis, ezruna mxatvarTa da Zveli xelovnebis mkvlevarTa mate-
rialuri uzrunvelyofisTvis.
am programis gacnoba eWvs ar tovebs, rom igi navaraudevia mravali
wlisTvis, da rom misi Semdgenelni imasac gulisxmobdnen, rom mas Tavi-
sufal saqarTveloSi ganaxorcielebdnen. SeiZleba iTqvas, rom pirvel-
save 4-5 weliwadSi bevri ram Sesrulda kidec.
gasaocaria, rogori energiiT, ra gegmazomierad da mizandasaxulad
Seudga sazogadoeba muSaobas daarsebisTanave. ori eqspedicia _ 1916
wlisa nabaxtevSi da 1917 wlisa _ tao-klarjeTSi _ romelSic sazoga-
doebis wevrebi monawileobdnen, zemoT ukve vaxseneT.
gamgeobis sxdomaTa oqmebi gvacnobs sazogadoebis interesebis
mravalferovnebas; ai, zogi ganxiluli sakiTxi:

35
 kultura da xelovneba

12. v. sidamon-erisTavi, `krwanisis brZola~, 1919 (anot. 8)

V. Sidamon-Eristavi, “Krtsanisi Battle” (annot. 8)

1916. 15. V
_ moxseneba tfilisSi Zveli Senobebis gegmebis da suraTebis gadaRe-
bis Sesaxeb. saWirod iqna cnobili gegmebis gadideba. inJiner petre mam-
raZes da arqiteqtor simon kldiaSvils (universitetis Senobis avtors)
daevalaT `daaTvalieron qalaqSi aseTi Zveli Senobebi da gadaiRon su-
raTebi, sadac saWiro iqneba~.
_ `sakiTxi mxatvris n. firosmanaSvilis naxatebis gamoZebnis, SeZeni-
sa, misi binadrobis aRmoCenisa da biografiuli cnobebis Sekrebisa~.
`ganCineba. gamgeoba sayuradRebod scnobs n. firosmanaSvilis naxatebs
da aucilebel saWirod miaCnia maTi aRmoCena, SeZena. radganac sazo-

36
 kultura da xelovneba

gadoebas amJamad fuli ar moepoveba, amitom mimarTos saqarTvelos

saistorio da saeTnografio sazogadoebas SeiZinos es suraTebi, ro-
gorc saxalxo nawarmoebi. maT aRmoCena-SekrebaSi gamgeoba daxmare-
bas aRmouCens. gaimarTos n. firosmanaSvilis naxatebis koleqtiuri
gamofena. Seikribos cnobebi, Tu sad imyofeba n. firosmanaSvili, Tu
cocxalia, materialuri daxmareba aRmoeCinos, miRebul iqnas zomebi
misi cxovrebidan biografiuli cnobebis Sesakrebad. amis Sesruleba
daevalos komisias, romelSic Sedian l. gudiaSvili, i. gogolaSvili,­
­­d. SevardnaZe, m. ToiZe da zaziaSvili~ (rogorc cnobilia l. gudiaSvilisa
da sxvaTa mogonebebidan, maSin SeZles firosmanis moZebna, miiwvies igi
sazogadoebis krebaze, esaubrnen mas, mcire nivTieri daxmarebac gaiRes
_ sanacvlod nikom, am fuliT nayidi saRebavebiT, axali suraTi Seasru-
la da uZRvna sazogadoebas. marTalia, Semdeg niko kvlav miefara Tvals
da misi gadarCena aRar moxerxda, magram mis suraTebs ki gafacicebiT
eZebdnen da agrovebdnen ukve im wlebSi da am mxriv did warmatebasac
miaRwies).

1917. 22. X
_ `moxseneba komisiisa qarTvel moRvaweTa panTeonis gegmis Sesaxeb~.
gamgeobam `daadgina sTxovos qarTvel xelovanT miiRon monawileoba
savanis gegmis SedgenaSi~.
_ ramdenime sxdomaze ganixileboda sakiTxi qarTuli freskebis
pirebis gamofenis Sesaxeb. gamofenas awyobdnen saqarTvelos saisto-
rio da saeTnografio sazogadoebasTan erTad. igi gaixsna 8 ianvars
eqvTime TayaiSvilis moxsenebiT qarTuli freskebis Sesaxeb, daixura 19
Tebervals. inaxula 7000 kacze metma. sazogadoebis oqmis Sesabamisad,
`jariskacebi da Raribi mowafeebi ufasod iyvnen SeSvebulni~.
1918. xelovanTa sazogadoeba Suamdgomlobs mTavrobis winaSe
`didebis taZris~ misTvis gadacemis Sesaxeb.
1919
_ d. SevardnaZem Seitana mTavrobaSi suraTebis galereis gaxsnis
proeqti.

38
 vaxtang beriZe

_ `didebis taZari~ gadaeca xelovanTa sazogadoebas. gadacemis aqts

xels aweren samxedro-istoriuli arqivis direqtori generali b. eraZe
da d. SevardnaZe.
_ moixata `qimerioni~. moxates daviT kakabaZem, saqarTveloSi
dabadebulma polonelma mxatvarma sigizmund valiSevskim, lado gudia­
Svilma, kiril zdaneviCma, rusma mxatvarma s. sudeikinma.
_ xelovanTa sazogadoebis sabWom 20 da 22 ivnisis sxdomaze ganix-
ila sazRvargareT gasagzavni axalgazrda mxatvrebis SerCevis sakiTxi.
kandidatTa Soris iyvnen lado gudiaSvili, daviT kakabaZe, irakli
ToiZe, qeTo maRalaSvili, valerian sidamon-erisTavi, Salva qiqoZe,
mixeil Wia­ureli, elene axvlediani da sxvani. yvelaze meti xma miiRes
gudiaSvilma da kakabaZem, romelnic imave wels gaemgzavrnen kidec saf­
rangeTSi.
_ gaimarTa qarTvel mxatvarTa suraTebis pirveli gamofena. masSi
monawileobdnen yvela Taobis warmomadgenlebi: gigo gabaSvili, mose
ToiZe, iakob nikolaZe, al. mrevliSvili, val. sidamon-erisTavi, daviT
kakabaZe, lado gudiaSvili, Salva qiqoZe, Tamar bilaniSvili, elene ax­
vlediani, Tamar TavaZe, erekle ToiZe, salome nikolaZe, vasil jorjaZe,
pirvelad gamoifina niko firosmanis suraTebi: `qorwili kaxeTSi~, `aR-
dgomis batkani~, `qeifi rTvelis dros~, `dReoba~, `mogzauri~, `qeifi~,
`iremi~, `naturmorti~ (aqedan oriode suraTi ekuTvnoda xelovanTa
sazogadoebas. sxvebi d. SevardnaZes, n. Cerniavskis, Zmebs zdaneviCebs.
axla yvela xelovnebis saxelmwifo muzeumSia). yvelaze meti nawarmoebi
(ferwera da grafika) gamofines d. kakabaZem, l. gudiaSvilma, v. sida-
mon-erisTavma da moqandake i. nikolaZem. oriode gamonaklisis garda,
rogorc es kargad aris cnobili, aq moxseniebulma mxatvrebma Rrma
kvali daamCnies Tanamedrove qarTul xelovnebas. zogi maTgani maSin
pirvelad gamoCnda asparezze.
_ dekemberSi moewyo saqarTveloSi mcxovreb araqarTvel mxatvarTa
gamofena:
1920:
damfuZnebeli kreba amtkicebs erovnuli galereis gaxsnis proeqts.

39
 kultura da xelovneba

`dawesebuleba eqvemdebareba ganaTlebis saministros da inaxeba saxel-

mwifo xarjze~. galereas (gaixsna 20.III.1920) imTaviTve saTaveSi Caudga
dimitri SevardnaZe. mas mxarSi edga mxatvari giorgi naTiZe, romelic
Semdeg, gardacvalebamde, muSaobda xelovnebis saxelmwifo muzeumis
biblioTekaSi.12 Tavidanve gamofenili iyo XIX s-is Tbilisuri skolis
portretebi, sparsuli miniaturebi (Zalian mniSvnelovani nimuSebia) da
dasavleT-evropuli suraTebi da naxatebi (SedarebiT mcire raodeno-
biT). rogorc cnobilia, Semdeg erovnuli galereis koleqciebi safuZ-
vlad daedo saqarTvelos xelovnebis saxelmwifo muzeums.
aq CamoTvlili gamofenebis garda, 1918-20 wlebSi ewyoboda sxvebic,
calkeuli mxatvrebisa (gudiaSvilisa, TbilisSi mcxovrebi somexi a. baJ­
beuq-meliqovisa, moskoveli futuristebisa _ 1918 wlis 12-14 aprils
da sxva).
amas garda, saWiroa movixsenioT imdroindeli qarTuli periodikis
roli saJurnalgazeTo grafikis, upirveles yovlisa, karikaturis gan-
viTarebaSi. didi damsaxureba miuZRodaT Tbilisis mkvidrs germanel
oskar Smerlings, aleqsandr zalcmans, qarTvelTagan ki yvelaze metad
Candnen mix. Wiaureli, Salva qiqoZe (Chalico-s fsevdonimiT), sandro
SanSiaSvili.
vfiqrob, yvelaferi, rac zemoT iTqva, adasturebs TavSive ga-
moTqmul azrs, rom damoukideblobis wlebi Cveni axali erovnuli saxvi-
Ti xelovnebis istoriaSi mravalmxriv sayuradRebo furcelia, romlis
gaTvaliswinebis gareSec am istoriis suraTi ver daixateba. SeiZleba
davumatoT, rom am wlebis Tbilisis, saerTod, saqarTvelos mxatvruli
cxovreba dRes dasavleT evropel mkvlevarTa cxovel interess iwvevs.
amas mowmobs qarTuli xelovnebisadmi miZRvnil simpoziumze italiel-
Ta da germanelTa moxsenebebi, agreTve 1982 wels veneciaSi gamocemuli
tomi L’Avanguardia a Tiflis _ `avangardi TbilisSi~, romelSic sagangebo
adgili eTmobaT cisferyanwelebsa da TbilisSi imxanad moRvawe rus
futuristebs. dabeWdilia Zalian saintereso werilebi: `qarTuli avan-
gardis istoria da Teoria (1915-1924)~. l. magarotosi, `daviT kakabaZis
mosazrebebi xelovnebis Sesaxeb~ (g. buaCiZisa), `menSevikebis droin­deli

40
 vaxtang beriZe

futurizmi~ da sxvebi, agreTve sabuTebi, mogonebebi, fotodokumentebi.

XIX s-is bolo aTeul wlebSi, erovnuli moZraobis gaRvivebis xanaSi,
bunebrivi iyo interesis gaZliereba qveynis warsulisadmi, istoriuli
Zeglebisadmi. didad gaZlierda interesi agreTve erovnuli musikisad­
mi, _ zrunva xalxuri simRerebis gadarCenisa da Seswavlisadmi. 70-iani
wlebidan iwyeba xalxuri Semoqmedebis Sekreba-gamocema (maWavariani, a.
benaSvili, z. CxikvaZisa da ia kargareTelis krebulebi). 1882 wels ar­
sdeba meliton balanCivaZis gundi, 1885 wels _ lado aRniaSvilisa, ro-
melsac xelmZRvanelobda Cexi iozef ratili.
Cndebian profesionali musikis Semsruleblebi: pianisti aloiz
mizandari (rubinSteinis mowafe), violinisti da kompozitori andria
yaraSvili, diriJori ivane faliaSvili, operis momRerlebi filimon
qoriZe da kakabaZe.
ori saukunis mijnaze asparezze gamodian qarTuli profesiuli
musikis fuZemdeblebi da pionerebi meliton balanCivaZe, dimitri ara­
yiSvili, z. faliaSvili, n. sulxaniSvili, k. focxveraSvili. maT, garda
sulxaniSvilisa, ganaTleba ruseTis konservatoriebSi hqondaT miRe-
buli. ruseTSi cxovrebis dros ar wyvetdnen mWidro kavSirs saqarTve-
losTan, awyobdnen eqspediciebs saqarTvelos sxvadasxva kuTxeSi xal­
xuri simRerebis Casawerad, marTavdnen ruseTis qalaqebSi qarTuli sim-
Reris koncertebs, aqtiurad eweodnen qarTuli xalxuri Semoqmedebis
propagandas. meliton balanCivaZem, jer kidev warsuli saukunis dasas-
ruls daiwyo pirveli qarTuli operis `Tamar cbieris~ (Semdeg `dare-
jan cbieri~ daerqva) wera, faliaSvili ki 1912 wels Seudga Tavis `abe-
salom da eTeris~ Seqmnas. TbilisSi arsebobda qarTuli filarmoniuli
sazogadoebis samusiko saswavlebeli; 1917 wels ki daarsda Tbilisis
konservatoria. presis mixedviT Cans, rom 1918-21 wlebSi saqarTvelo-
Si, upirveles yovlisa, ra Tqma unda, TbilisSi, intensiuri musikaluri
cxovrebaa. arsebobs `qarTuli samusiko da saqvelmoqmedo sazogadoe-
ba~, `qarTvel musikos-momReralTa kavSiri~, romlis Tavmjdomaredac
1920 wels airCies parizidan Camosuli momRerali mixeil nanobaSvili
(miSel dariali), `qarTuli filarmoniuli sazogadoeba~, daarsebuli

41
 kultura da xelovneba

13. Tbilisis momReral-mgalobelTa gundi, 1912 (anot. 9)

Tbilisi Choir of Singers, 1912 (annot. 9)

1905 wels zaqaria CxikvaZis TaosnobiT, `qarTuli erovnuli gundi~,

mix. kavsaZis lotbarobiT, `dasavleT saqarTvelos xalxur momReral-
Ta gundi~, romelsac xelmZRvanelobs cnobili Zuku lolua; qarTuli
samxedro kavSiris qal-vaJTa gundi niko sulxaniSvilis xelmZRvanelo-
biT; 1919 wels kooperativTa kavSiris daxmarebiT qarTulma samusiko
sazogadoebam daaarsa kapela arayiSvilisa da danovskis xelmZRvane­
lobiT.13 kapelam imogzaura dasavleT saqarTveloSi, yvela kuTxeSi
gamarTa erovnuli koncerti~ (es `Teatrisa da cxovrebis~ 1920 wlis
pirveli nomridanaa, informacias darTuli aqvs SeniSvna: `saubedurod,
Semadgenloba kapelis, garda vaJebisa, TiTqmis ara erovnulia~, magram,
imedia, bolos miiRebs erovnul saxeso); 1918 wlis 10 ivniss xsenebuli
`qarTuli samxedro kavSiris qal-vaJTa gundi~ marTavs `pirvel qarTul
erovnul koncerts erovnul nawarmoebTagan Cvenis kompozitorebisa
42
 vaxtang beriZe

14. mixeil kavsaZe gundTan erTad (anot. 9)

Mikheil Kavsadze together with his Choir (annot. 9)

(d. arayiSvilis, m. balanCivaZis, n. sulxaniSvilis, z. faliaSvilis da i.

jabadaris). monawileoben i. sarajiSvili, o. kalandaZe da v. lorTqi-
faniZe. koncertis gamged daniSnulia Tavisufali xelovani da violi-
noze damkvreli iliko abaSiZe. koncertze mowveulia kaTalikos-patri-
arqi kirioni~.14 1918 w. ivnisSi moewyo dim. arayiSvilis nawarmoebebisad-
mi miZRvnili koncerti, romelsac aRfrTovanebuli recenzia uZRvna
zaqaria CxikvaZem _ gagviCndnen profesionali musikosebi, iRviZebs nam-
dvili interesi qarTuli musikisadmio.15 1919 wlis 16 maiss saxelmwifo
TeatrSi (e.i. operaSi) gaimarTa sasuliero koncerti, Sesrulebuli
iqna dimitri arayiSvilisave `axali liturgia~. imarTeboda bevri sxva
koncertic.16
1919 wels quTaisSi gaixsna samusiko saswavlebeli, romlis direqto-
radac meliton balanCivaZe dainiSna. 1920 wels daarsda q. siRnaRSi
43
 kultura da xelovneba

qarTuli samusiko sazogadoebis filialuri ganyofileba. `yvela dawe-

sebulebam _ qalaqis TviTmmarTvelobam, erobam, kooperativTa kavSir-
ma, gadasdo erTdroulad Tanxa samxedro orkestris instrumentebis
SesaZenad _ 200000 maneTi, Tviurad 8000 man. daeniSna kapelmeisters,
simRera-gundis da fortepianos maswavlebelT~.17
imdroindeli presa cxovlad da zogjer Zalian emociuradac ex-
maureboda qarTuli musikis, musikaluri ganaTlebisa da qarTuli ope-
ris sakiTxebs, maTs av-kargs.
1920 wels gaz. `saqarTvelos~ 25 agvistos nomerSi dabeWdilia vasil
karbelaSvilis kritikuli werili `qarTuli saeklesio galobis Seryv-
na~, romelSic friad mkvaxed afasebs maSindel galobas eklesiebSi. imave
wlis #17-Si (s. wereTeli, SeniSvnebi xelovnebaze) didi gulistkivilia
gamoTqmuli imis gamo, rom konservatoria garusebulia. aswavlian ru-
sul diqcias, qarTuls _ ara. `ratom ar unda iyos daarsebuli qarTuli
saopero studia erovnuli repertuariT, qarTuli sagundo klasebico~
(aseTi studiis daarsebis cda, rogorc Cans, iyo kidec jer kidev 1919
wels _ `Teatrsa da cxovrebaSi~, 1920, #1, aris cnoba, rom `koopera-
torTa kavSiris xarjiT Sedga qarTuli saopero studia stolermanis
xelmZRvanelobiT~; #6-Si dabeWdilia 18 portreti `saopero studiis
msaxiobebisa~. ra bedi ewia am studias? datova ki raime kvali?).
qarTuli operis sakiTxi gansakuTrebiT aRelvebda sazogadoebas.
damaxasiaTebelia `Teatrisa da cxovrebis~ werili (1918, #9, 16. VI),
romelSic naTqvamia: `dramis garda, saqarTvelos dedaqalaqs operac
esaWiroeba. unda Sedges saopero dasi da qarTuli operis saqmes sa-
Zirkveli Caeyaros, Cven saamisod repertuaric mogvepoveba da Zalebic
gvyavs. operebi `Tamar cbieri~, `vefxistyaosani~, `SoTa rusTaveli~,
`abesalom da eTeri~, `qristine~, `Ralati~, `kerpTa damxoba~ da sxva.
Sesaferi momReral-msaxiobebic gvyvanan aqa-iq gafantulni~. dasaxele-
bul operaTagan `Tamar cbieri~ maSin mTlianad damTavrebuli ar iyo da
mxolod 1926-Si daidga; k. focxveraSvilis `kerpTa damxoba~, rogorc
Cans, daumTavrebeli darCa, Tumca maSindel gazeTebSi ki iyo cnoba,
dasadgmelad mzaddebao; `vefxistyaosnis~ Sesaxeb araferi vici, `Ra-

44
 vaxtang beriZe

lati~ rusi kompozitoris ipolit-ivanovisaa (al. sumbaTaSvilis piesis

mixedviT), danarCenebi ki sul male gamoCndnen scenaze da swored maTi
dadgma iqca im xanis samusiko cxovrebis (da, saerTod, qarTuli kul-
turis) umniSvnelovanes movlenad.
pirveli mercxali iyo kompozitor gogniaSvilis opera `qristine~,
egnate ninoSvilis moTxrobisa da polio ireTelis piesis mixedviT.
es opera, dRes sruliad daviwyebuli, iseve, rogorc misi avtori,
pirvelad daidga 1918 wlis 21. V-s da momdevno dReebSi, sul xuTjer,
qarTul klubSi, `qarTvel momReral-musikosTa kavSiris~ TaosnobiT.
operas 3 moqmedeba da 4 suraTi hqonia. dadgmis xelmZRvaneli da di-
riJori nikoloz qarTveliSvili yofila. imave wels gogniaSvils daus-
rulebia meore operac _ `kudiani~, magram misi kvali ar Cans, albaT arc
dadgmula.18
1919 weli gansakuTrebiT RirsSesaniSnavia qarTuli operis isto-
riaSi: 5 Tebervals pirvelad daidga d. arayiSvilis opera `Tqmuleba
SoTa rusTavelze~ _ pirveli qarTuli opera Tbilisis saopero Teatr-
Si, romelic im dros TiTqmis 70 wlis istorias iTvlida. opera dad-
ga aleqsandre wuwunavam, yvelaze didma qarTvelma saopero reJisor-
ma, romelic 1918 wlidan operis Teatris mmarTvelad (komisrad) iyo
daniSnuli. mxatvari iyo aleqsandre zalcmani, Tbiliseli germaneli
(aqtiurad TanamSromlobda, rogorc karikaturisti, qarTul presaSi),
diriJori _ s. stolermani. rusTavelis rols asrulebda vano sara-
jiSvili, Tamarisas _ spitko. gamoica operisadmi miZRvnili broSura
iliko abaSiZis teqstiT.
21 Tebervals Sedga `abesalom da eTeris~ premiera. diriJorobda
avtori. eTeris rolSi iyo o. baxutaSvili-Sulgina, abesaloms mReroda
zalipski, murmans _ s. inaSvili, damdgmeli da mxatvari kvlav wuwuna-
va da zalcmani iyvnen (orive operis dekoraciebis eskizebis ramdenime
reproduqcia daibeWda Jurn. `Teatrsa da musikaSi~, 1919, #1). `operas
daeswro didZali sazogadoeba da maT Soris ucxo saxelmwifoTa warmo-
madgenlebic. saRamom waruSleli STabeWdileba datova sazogadoebaze
da sadResaswaulo xasiaTi miiRo~.19

45
 kultura da xelovneba

gaz. `saqarTveloSi~ 25 Tebervals daibeWda inenis didi recenzia

abesalomze: bevr rasme aRtacebiT aqebs, zogi ram zedmetad da Sesa-
mokleblad miaCnia (faliaSvilma, marTlac, Seamokla zogi ram). orive
operis Sesaxeb bevri sxva recenzia daibeWda. yvelani aRniSnavdnen, rom
es erovnuli kulturis istoriis didi movlenaa, Tumca SeniSvnebsac
gamoTqvamdnen. imave wlis 25 Tebervals `z. faliaSvilis 25 wlis uanga-
ro muSaobis aRsaniSnavad~ kvlav daidga misi opera. `avtors didi Tana-
grZnobiT Sexvda sazogadoeba da Sesaferi ovaciebiT daajildova igi. ope­
ras daeswrnen mTavrobis warmomadgenlebic. niSnad pativiscemisa, z
­­­­­­­­ . fa­
li­­aSvili mTavrobam daajildova aTiaTasi maneTiT da xelovnebis gan-
sakuTrebuli niSniT `qnarisa da saqarTvelos gerbis gamoxatulebiT~.20
ufro adre, `Tqmulebis~ premieraze, aseve iqna dajildoebuli di­
mitri arayiSvili.

15. Tbilisis konservatoria

Tbilisi Conservatoire

46
 vaxtang beriZe

imave 1919 wlis 11 dekembers pirvelad daidga viqtor doliZis

`qeTo da kote~, romelic, iseve, rogorc faliaSvilis `abesalomi~ da
`daisi~ dRemde ar Camosula scenidan da saqarTvelos gareTac daidga.
am operebis ganxilva didad scildeba rogorc am werilis amocanis
farglebs, ise Cems kompetenciasac. magram saWirod mimaCnia arayiSvi­
lisa da faliaSvilis sityvebis damowmeba maTive avtobiografiebidan.
es sityvebi arsebiTia maTi mxatvruli mrwamsis gasagebad.
d. arayiSvili: `me vcdilob gavaba uxilavi Zafebi saqarTvelos
da evropas Sua. vfiqrob, rom wminda nacionalur Semoqmedebas, ro-
melsac gadakravs eTnografiuli xasiaTi, eqneba mxolod adgilobrivi
mniSvneloba, rac rasakvirvelia, yuradsaRebia, magram rac amasTanave
ver gascildeba sazRvrebs swored imitom, rom igi Seferili iqneba
mxolod adgilobrivi ferebiT. amitom, raTa qarTul musikalur Semo-
qmedebas eqnes saerTo xasiaTi, unda gafarTovdes Semoqmedebis CarCoe-
bic. unda qmnide ara eTnografiul, adgilobriv stilze, aramed cod-
niT SeiaraRebuli, romelsac iZleva musikaluri teqnika da evropis
mecniereba, unda gamoiyeno es teqnika qarTuli musikis damuSavebaSi.
erTi sityviT, unda Seqmna iseTi musika erovnuli hangebidan, romelsac
erTgvarad aiTvisebs rogorc qarTveli, ise evropieli. aseT Sexedule-
bas viziareb me da vcdilob ganvaxorcielo igi Cems SemoqmedebaSic~.21
z. faliaSvili: `Cemi Tavi da Tavi mizani da miswrafeba yovel Cems
muSaobaSi yofila da mudamac iqneba, rom qarTuli hangebis `harmoni-
zatorma~, Tu SemTxzvelma arasgziT ar unda uRalatos im princips,
romelic Tavdapirvel ganZs warmoadgens. xalxuri hangebis damuSaveba
an SeTxzvaSi es principi gaxlavT, mTlianad da sufTad dacva qarTuli
koloritisa aRmocenebulis TviT xalxis gulidan. rasakvirvelia, es
yvelaferi evropul an ukeT rom vTqvaT, msoflio musikalur formebSi
Camoyalibebuli da misive musikalur kanonebze damyarebuli, teqniku-
rad SemuSavebuli unda iyos. me am principis momxre var da mudamac
viqnebi, radganac es erTaderTi gza aris, romelsac SeuZlia musikalu-
ri xelovneba CvenSi aayvavos da ganviTareba misces~.22
am or teqstSi sxvadasxva sityvebiT, arsebiTad, erTi da igive Ziri­

47
 kultura da xelovneba

Tadi azria gamoTqmuli, azri, romelic mokled aris formulirebu-

li arayiSvilis pirvelsave winadadebaSi: `me vcdilob gavaba uxilavi
Zafebi saqarTvelos da evropis Suao~. mniSvnelovania is, rom qarTvel
kompozitorTa pozicia, maTi `mimarTuleba~ principulad emTxveva qar­
Tvel mweralTa da uniWieres mxatvarTa mizandasaxulebas _ swored es
upasuxebda axali epoqis mier wamoWril moTxovnilebas.
Tbilisis saopero Teatris cxovrebaSi sxva sayuradRebo nabijebi
iyo ucxouri operebis qarTulad dadgma: iTargmna da daidga j. rosi­
nis `sevilieli dalaqi~ da a. rubinSteinis `demoni~. am iniciativam Sem-
deg wlebSi, samwuxarod, ver SeZlo damkvidreba, igi adreve Cakvda.
qarTuli Teatris istoriaSi damoukideblobis wlebi erTgvar gar-
damaval xanad Cans.
iseve, rogorc yvela sxva dargSi, aqac mwvaved ismis sakiTxi Zvelisa
da axlisa. 1919 wels akaki faRava werda: `Cven araerTgzis vambobdiT
da vwerdiT qarTuli dramis Sesaxeb. Zvelis sikvdili aucilebelia,
rom iSvas axali _ da axla cxadad vxedavT, rom Zveli Teatri, Tumca
damsaxurebuli da naamagevi, magram mainc kvdeba. eg nuravis ewyineba,
radgan sruliad bunebrivi movlenaa, vinaidan drosa da sivrcis gareSe
araferi xdeba. amitom Zvelma unda ganisvenos, rogorc dromoWmulma~.
avtori pativiscemiT ixseniebs Zveli Teatris bumberazebs _ mako safa-
rovas, vaso abaSiZes, nino CxeiZes, lado mesxiSvils da sxvaTa, magram
miaCnia, rom axal Teatrs axali amocanebi aqvs amosaxsneli. isic da
mixeil qorelic xazs usvamen msaxiobTa masis dabal profesionalizms,
Teatraluri kulturis saerTo dabal dones.23
did imedebs amyarebdnen parizidan axlad Camosul giorgi ja-
badaris mier (iq odeonis TeatrSi muSaobda) 1918 wels daarsebul
studiaze. qebiT ixseniebdnen studiis pirvel warmodgenas (bries piesas
`sarwmunoebas~), uxarodaT, rom `studiis garSemo Tavi moiyara sasceno
Sromis da Semoqmedebis mowyurebulma inteligentma axalgazrdobam~
(am studiidan gamovidnen veriko anjafariZe, mixeil gelovani, akaki
vasaZe, Salva RambaSiZe, uSangi CxeiZe, mix. Wiaureli). studiam dadga
rostanis, haiptmanis, sio WanturiSvilis piesebi. g. jabadari Zalian

48
 vaxtang beriZe

seriozulad ekideboda am saqmes. man moaswro qarTulad wignic gamoe-

ca `diqcia msaxiobebisa da oratorebisaTvis~. magram studias, etyoba,
bevri dabrkoleba gadaeRoba, 1920 igi daixura, jabadari ki safrangeTs
daubrunda.
1920 wels Jurn. `Teatri da cxovreba~ (#1), wina wlis viTarebis
mimoxilvisas, werda, `dramis saqme cudadaa. 1919 wlis sezoni daiwyo
saxelmwifo TeatrSi, magram administraciasTan konfliqtis gamo dasi
quCaSi darCa. TamaSoben qarTul klubSi~. mdgomareoba mkveTrad Seicva-
la, roca 1920 wels `Tbilisis qalaqis gamgeobam gadawyvita iZulebiT
CamoarTvas iuzbaSevs artistuli sazogadoebis Senoba~, da gadasca igi
qarTul dramas (es dRevandeli rusTavelis Teatris Senobaa).24
miuxedavad am kritikuli ganwyobilebisa, unda iTqvas, rom qarTul
Teatrs calkeuli warmatebac hqonda. aqtiurad muSaobda quTaisis Te-
atrSi mix. qorelisa da al. imedaSvilis meTaurobiT, Tumca finansurad
Zalian uWirda (quTaisSi Tavisi `dramatuli sazogadoeba~ hqondaT).
qar­
Tul TeatrSi im wlebSi iRvwodnen moskovis samxatvro Teatris
principebis mimdevarni (am TeatrSi namuSevarni an naswavlni): al. wu-
wunava, romelic gansakuTrebul yuradRebas uTmobda saopero Teatrs,
didad niWieri valerian SalikaSvili, romelic Zalian adre (1919 wels)
gardaicvala, akaki faRava, mix. qoreli, pirvel gabedul nabijebs dgam-
da aleqsandre axmeteli.
qarTuli dramatuli sazogadoeba garkveul aqtiurobas iCenda _
acxadebda miRebas axal studiaSi, niSnavda premiebs saukeTeso origi-
naluri piesisTvis.25 1918 wels `Teatrsa da cxovrebaSi~ (#6) aris aseTi
cnoba, romelic dRes, albaT, bevrs aRaravis axsovs. 7_12 marts Sedga
qarTvel msaxiobTa kavSiris wliuri kreba (sazogadoebis Tavmjdomared
Semdeg airCies Salva dadiani). daadgines reJisorad moiwvion `ganTqmu-
li kote marjaniSvilio~. maSin misi Camosvla ver moxerxda, is 1922 wli-
dan Caudga saTaveSi rusTavelis Teatrs, da, rogorc cnobilia, swored
mis saxelTanaa dakavSirebuli qarTuli Teatris ganaxleba.
im wlebis Teatraluri cxovrebidan kidev aRsaniSnavia, rom gaixsna
ramdenime muSaTa Teatri, imarTeboda cnobil msaxiobTa iubileebi,­­mag.

49
 kultura da xelovneba

16. Zuku loluas momReralTa gundi (anot. # 9)

Dzuku Lolua’s Choir of Singers (annot. 9)

viqtor gamyreliZisa 1918 wels,26 vaso abaSiZisa 1919 wels27. vaxt. gari­
kis angariSis mixedviT, es namdvili zeimi iyo; imarTeboda gastrolebi,
mag. aleqsandre imedaSvilisa (warmoadgines `otelo~).28 im wlebSi did­
xans TamaSobdnen TbilisSi moskovis samxatvro Teatris msaxiobebi (maT
Soris, vas. kaCalovi), rac ueWvelad mniSvnelovani movlena iyo Tbili-
sis kulturul cxovrebaSi (maSindel gazeTebSi ibeWdeboda anonsebi da
recenziebi).
ramdenadac vici, 1918_20 wlebSi gadaRebuli qarTuli mxatvruli
filmi ar darCenila da arc Cans. magram cnobilia, rom pirveli qarTu-
li mxatvruli suraTi `qristine~ (eg. ninoSvilis moTxrobis mixedviT)
gadaRebul iqna 1916 wels reJisor al. wuwunavas mier. operatori iyo
al. diRmelovi, igi Semdeg didxans moRvaweobda qarTul kinoSi, mxat-
vari _ dimitri SevardnaZe, romelic SegviZlia CavTvaloT am dargis

50
 vaxtang beriZe

pionerad erovnul kinematografiaSi. am saqmes saTaveSi edga qarTuli

kinos faqtobrivi damfuZnebeli da organizatori germane gogitiZe.
mTavar rols asrulebda aneta abeliSvili, monawileobdnen qarTuli
Teatris cnobili msaxiobebi _ vaso abaSiZe, vaso arabiZe, cecilia wu-
wunava, giorgi fronispireli, niko gvaraZe da sxvani.
Tu sxva imdroindeli mxatvruli suraTi ar gagvaCnia, dokumentu-
ri kino adreve Caisaxa da im drosac aqtiurad moqmedebda. vasil ama-
Sukelis mier 1912 wels gadaRebuli akaki wereTlis mogzauroba raWaSi
dRes sayovelTaod cnobilia (mas manamde ukve ramdenime suraTi hqonda
gadaRebuli). magram is, rac damoukideblobis wlebSi iqna gadaRebuli,
sul bolo dromde gadamaluli da miuwvdomeli iyo. aRmoCnda, rom bev-
ri ram saintereso gadauRiaT (aqac germane gogitiZe iyo mTavari), maga­
liTad, damfuZnebeli krebis gaxsna, saqarTvelos demokratiuli res-
publikis jarebis Sesvla baTumSi, 26 maisis paradi, ucxoeli stumrebis
(delegaciebis) Camosvla da aq yofna, Sevardenis sportsmenTa gamosvla.
samxedro saistorio arqivis gamgem s. esaZem gadaiRo 1918 wlis ivnisis
bolos mokluli kaTalikos-patriarqis kirion II-is dakrZalva (filmi
dakargulia).
aris cnobebi, rom evropis kinoekranebze uCvenebdnen dokumentur
filmebs saqarTvelos sxvadasxva kuTxisa da istoriuli Zeglebis Sesa­
xeb, kidev raRac filmebs qarTvel msaxiobTa monawileobiT, magram ro-
dis da vis mier aris gadaRebuli es suraTebi, ar aris cnobili. g ­ . go­
gitiZis cnobiT, `qristines~ gadaRebis Semdeg, mas gadauwyvetia, rom
marto TviTon siZnelis, maT Soris, finansur siZneleTa gamo, saqmes
ver gauZRveboda. `CemTvis aSkara gaxda, rom iseTi mniSvnelovani saqme,
rogorc kinomrewvelobaa, ueWvelad saxelmwifo an sazogadoebrivi
organizaciis xelSi unda yofiliyo. Cemi arCevani SeCerda kooperativ
`cekavSirze~. am organizaciam miiRo Cemi winadadeba da masTan erTad
kinosuraTi `qristine~. amave dawesebulebas gadaveci piradad Cemi sax-
srebiT gadaRebuli ramdenime kinoqronika~.29
rogorc cnobilia, qarTuli mxatvruli kinematografiis ganviTare-
ba momdevno aTeul wlebs miekuTvneba.

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 kultura da xelovneba

saqarTvelos damoukideblobis wlebSi qarTuli inteligenciis

cxovrebaSi TvalsaCino adgili eWira sportul sazogadoeba Sevar-
dens, romlis saTaveSic idgnen gamoCenili sportsmenebi da sazogado
moRvaweni _ giorgi egnataSvili, giorgi da Tamar nikolaZeebi, daTa
javriSvili, arCil baqraZe, gaioz berelaSvili, giorgi merkvilaZe da
sxvani. daarsebis iniciatori iyo giorgi nikolaZe, manamde petrogradis
erT-erTi `sokolis~ damaarsebeli da ufrosi, ukve mravali sportuli
jildos mflobeli. Sevardeni arsebobda 1918_1923 wlebSi (`Sevardens~
win uswrebda sazogadoeba `sokoli~). gansakuTrebuli yuradReba eqce-
oda tanvarjiSs, agreTve sportis sxva saxeebsac, `Sevardeni” awyobda
sajaro gamosvlebs, kerZod, monawileobda 26 maisobaSi _ vakeSi, sadac
axla parkia; arsebobis bolo xanebSi sazogadoeba uSvebda Jurnal `Se-
vardens~ (saqarTvelos SevardenTa kavSiris drogamoSvebiT organos),
romlis redaqtori iyo mravalmxrivi sazogado moRvawe, zemoT ukve
moxseniebuli eqimi soso aslaniSvili. saredaqcio kolegias ki Sead-
gendnen giorgi egnataSvili, Tamar nikolaZe, ivane maWavariani. Jur-
nalis pirveli nomris gamocema mxolod 1922 wlis ianvarSi moxerxda,
magram mTeli masala adrevea momzadebuli da wina wlebis moRvaweobas
asaxavs. Jurnali mowmobs, ra seriozulobiT ekidebodnen `Sevardenis~
mesveurni Tavis saqmes, romelic samarTlianad miaCndaT erovnuli mniS-
vnelobis mqoned. dabeWdili informacia gviCvenebs, rom sazogadoeba
aqtiurad eweoda sportis propagandas mTel saqarTveloSi, cdilob-
da ukve bavSvobis wlebidan miezidaT gogo-biWebi savarjiSod, qmnidnen
qar­
Tul sportul terminologias, mecadineobas qarTulad awarmoeb­
dnen, amzadebdnen saxelmZRvaneloebs (1921 wels gamovida g. merkvila-
Zis `qarTuli moZravi TamaSobani~), TviT JurnalSi dabeWdilia meTo-
duri xasiaTis werilebi.
g. merkvilaZis wignis winasityvaobaSi soso aslaniSvili werda: `Se-
vardeni, viT mZlavri Zala, SeiWra Cveni xalxis cxovrebaSi, erTgvari
aforiaqeba Seitana mis myudroebaSi, Sevida xalxSi xalxisave sasargeb­
lod, xalxisave siyvaruliT... Sevardeni xom xalxis Svilia, Sevardeni
uzrdis saqarTvelos jansaR respublikelebs, Sevardeni qmnis magar,

52
 vaxtang beriZe

17. galobis moyvarulTa gundi (anot. 9)

Choir of Lovers of Singing (annot. 9)

gakaJebul Taobas... Sevardens moaqvs silamaze, sisxarte. Sevardeni si-

lamazis simboloa. da swored es aris mTavari mizezi Sevardnuli ideis
ganviTarebisa saqarTvelos respublikis farglebSi aseTi simZlavriT~.
1923 wels Sevardeni gaauqmes, rogorc ideurad miuRebeli, raki igi da-
moukidebeli saqarTvelosdroindel tradiciebs ar Ralatobda.
dasasrul, saqarTvelos demokratiul respublikas hqonda saku-
Tari himni (`dideba~), sakuTari gerbi da droSa. himnis sityvebisa da
musikis avtori iyo kote focxveraSvili, gerbisa _ saqarTveloSi dam-
kvidrebuli cnobili mxatvari ioseb Sarlemani, droSisa _ moqandake
iakob nikolaZe.
dRes es himni, gerbi da droSa, samocdaaTi wlis ganmavlobaSi ukug-

53
 kultura da xelovneba

debuli da miviwyebuli, kvlav daubrunda saqarTvelos.30

amgvarad, Cven sruli ufleba gvaqvs vTqvaT, rom damoukidebe-
li saqarTvelos xanmokle arseboba da is wlebi, romlebic im xanas win
uZRoda, aris organuli nawili Cveni erovnuli kulturis istoriisa,
nawili, uromlisodac sruliad irRveva ganviTarebis bunebrivi sura-
Ti; ufro metic, es aris umniSvnelovanesi mijna, romelic aRniSnavs
qarTuli kulturis asvlas axal safexurze, gabeduli nabiji msoflio
mecnierebis, mwerlobisa da xelovnebis uaxles monapovarTa dasauf­
leblad.
qarTuli SemoqmedebiTi inteligencia Tavisi rolis sruli Seg-
nebiT da udidesi pasuxismgeblobiT moekida damoukidebeli erovnuli
kulturis safuZvlis Cayras. umokles xanaSi man SeZlo gamoemJRavne-
bina eris didi SemoqmedebiTi potenciali, eCvenebina, rom qarTveli
xalxi Rirsia sakuTari adgili daimkvidros Tanamedrove civilizebul
samyaroSi. da Tumca damoukideblobis dakargvis Semdeg saqarTvelos
rTuli da mZime gzis gavla mouxda, imas, rasac safuZveli Caeyara da-
moukideblobis dros, ukvalod ar Cauvlia. swored im wlebSia saZiebe-
li fesvebi bevri sasikeTo saqmisa (kulturis mTeli dargebisa!), ro-
melTa ganxorcieleba mainc moxerxda momdevno xanaSi. didi patriotu-
li SemarTebis, Tavdadebuli Sromisa da Tavganwirvis fasad.

1992 weli

54
 vaxtang beriZe

SeniSvnebi

1. damaxasiaTebeli (dRes sayovelTaod cnobili) faqtia, rom rodesac

XIX s-is miwurulSi TbilisSi daiwyes qarTuli gimnaziis Senobis ageba,
mSeneblobis meTauri, cnobili sazogado moRvawe nikoloz cxvedaZe, da
gimnaziisaTvis sxva mzrunvelni gulisxmobdnen, rom am SenobaSi male
dabinavdeboda, maSin jer kidev ararsebuli, qarTuli universiteti.
Senobis masStabic amas adasturebs. SemTxveviTi arc is yofila, rom
gimnaziis proeqtis Sesadgenad moiwvies ara romelime gamocdili da
saxelmoxveWili arqiteqtori, aramed jer kidev sruliad axalgazrda da
ucnobi simon kldiaSvili (1865_1920), specialuri evropuli ganaTlebis
mqone pirveli qarTveli xuroTmoZRvari.
2. am sazogadoebis Sesaxeb ix. r. metreveli, saqarTvelos saistorio
da saeTnografio sazogadoeba, Tb., 1982.
3. eqvT. TayaiSvilis am eqspediciebis Sesaxeb ix. Материалы по ар-
хеологии Кавказа, t. XII, moskovi, 1909; eq. TayaiSvili. arqeologiuri
eqspedicia kola-olTisSi da CanglSi 1907 wels, 1938; misive, 1917 wlis
arqeologiuri eqspedicia samxreT saqarTveloSi, Tb., 1960.
4. gaz.`saqarTvelo~, 1918, 11. I, #8.
5. gaz.`saqarTvelo~, 1918, 25. I, #20.
6. iqve, 1918, 18. I, #14.
7. b. ramiSvili, d. SveliZe. pirveli dadgenilebebi (ganaTlebis si­s­
tema sa­qarTvelos demokratiul respublikaSi), gaz. `gaenaTi~, ­­­­#1, 1991,
­­­­­2­8 ­ivn­i­si.
8. qarTveli xalxis samsjavroze, parizi, 1966, gv. 11.
9. niko lorTqifaniZe literaturul asparezze 1902 wels gamovida,
mixeil javaxiSvili _ 1903-Si, geronti qiqoZe _ 1905 wels, i. griSaSvili
da s. SanSiaSvili _ 1906-Si; galaktion tabiZe 1908 wels beWdavs pirvel
leqsebs, leo qiaCeli _ pirvel moTxrobas _ 1909 wels, tician tabiZe
da paolo iaSvili pirvel leqsebs _ 1911-Si, vaxt. kotetiSvili pirvel
werilebs _ 1912-Si, konst. gamsaxurdias pirveli leqsebi da kritikuli
werilebi gamoqveynda 1914-Si.

55
 kultura da xelovneba

10. rogorc Cans, aq futuristebi laRad grZnoben Tavs,

maT araCveulebrivad aqtiuri moRvaweoba gaaCaRes: aarsebdnen
organizaciebs, jgufebs (`futuristebis sindikati~, `Футурвсеучбище~,
jgufi `410~, romelic `sindikats~ gamoeyo), marTavdnen moxsenebebisa
da leqciebis ciklebs futurizmisa da futuristebis Sesaxeb, xSirad,
`maSokirebeli~ saTaurebiT _ es maTi gamocdili xerxi iyo (magaliTad:
`Любовное приключение Маяковского~, `О театре в тупике; Футу на подмостках,
о кинематографах и миниатюрах, о сценах Марионетти, Тарто, всякой всячине
и своих дра~, `Вечер интуитивной и безумной поезии~, da sxv.); marTavdnen
agreTve futuristi mxatvrebis gamofenebsac da sxv.
amas garda, TbilisSi arsebobda e.w. aristeriumi (jer kidev
damoukideblobis gamocxadebamde daarsebuli), romelic sistemurad
marTavda (rusulad) seriozul moxsenebebs poeziis da xelovnebis
Sesaxeb (xSirad kiTxulobda leqciebs grigol robaqiZe), awyobda
gamofenebs Tbiliseli da Camosuli mxatvrebisas. futurizmis
mTavari mqadagebeli iyo kruConixi, romelic 1916 wlidan 1918 wlis
dasasrulamde cxovrobda TbilisSi.
11. 1913 wels i. nikolaZis mier Sesrulebuli ilia WavWavaZis
saflavis Zeglis gaxsna iyo didi sazogadoebrivi mniSvnelobis faqti.
TviT nawarmoebi qarTuli qandakebis erTi RirsSesaniSnavi nimuSTagania.
12. qarTul xelovanTa sazogadoebis arqivi inaxeba xelovnebis
saxelmwifo muzeumSi.
13. yvela es `sazogadoeba~, `kavSiri~, `gundi~, maTi istoria
sagangebo Seswavlas imsaxurebs.
14. `Teatri da cxovreba~, 1918, 2, VI, #8.
15. gaz. `saxalxo saqme~, 1918, 4. VI, #248.
16. gaz. `saqarTvelo~, 1919, 13. I, #102.
17. iqve, 1920, 9. VI, # 95.
18. `Teatri da cxovreba~, 1918, #8 da #14.
19. Jurn. `Teatri da musika~, 1919, #1, gv. 65.
20. iqve.
56
 vaxtang beriZe

21. Jurn. `Teatri da musika~, 1919, #1, gv. 12-13.

22. iqve, gv. 25. amave avtobiografiidan: `Cvens mTavrobas, rogorc
Cans, gadauwyvetia ama Tu im sazogado moRvaweTa waxaliseba da
maTi materialuri mdgomareobis gaumjobeseba. zogierT qarTvel
kompozitors ukve dagviniSna erTdrouli daxmareba aTas-aTasi Tumani,
Cveni mTavrobis am metad Sesaqeb gadawyvetilebisaTvis yoveli Cvengani
muSaki pativiscemiT Tavs mouxris da did madlobas uZRvnis mas~.
23. ak. faRava. qarTuli sasceno xelovneba, Jurn. `Teatri da musika~,
1919, #1, gv. 6_7; mixeil qoreli, `Cveni scenis dRevandeli saWiroeba~,
Jurn. `Teatri da musika~, gv. 27-36.
24. `Teatri da cxovreba~, 1920, #6. 15. II.
25. gaz. `saxalxo saqme~, 1918, #153.
26. gaz. `saxalxo saqme~, 1918, #153.
27. gaz. `saqarTvelo~, 1919, #51.
28. gaz. `saxalxo saqme~, 1918. 5. IV. #213.
29. aleqsandre gvencaZe, epizodebi damoukidebeli saqarTvelos
kinematografiuli cxovrebidan, Jurn. `sinema~, 1991, #5, gv. 4-6.
30. 2004 wlidan SemoRebulia axali simbolika: gerbi wm. giorgis
gamosaxulebiT, xuTjvriani droSa da himni `Tavisufleba~ (mTargmn.).

57
18. d. kakabaZe, `Zveli Tbilisi~ 918-1919 (anot. 1)
D. Kakabadze, “Old Tbilisi” 1918-1919 (annot. 1)
 dimitri TumaniSvili

damateba

xuroTmoZRvreba da mSenebloba 1917-1920

wlebis saqarTveloSi

dimitri TumaniSvili

1917-1921 wlebi, ruseTis `didi revoluciisa~ da saqarTvelos

demokratiuli respublikis xana, Cveni arqiteqturis istoriaSi `TeTri
laqacaa~ da wyvetilic _ ise Cans, TiTqos mSenebloba, ase, 1915-1916
wlebSi SeCerda da 1921-1922-Si xelaxla daiwyoo... amis erTi mizezi
sabWouri `tradiciaa~, romelmac TviT tfilisis universitetis daarse-
ba bolSevikebs miaCema; meorec is, rom Cvens maSindel xuroTmoZRvre-
ba-mSeneblobaSi marTlac araferia imJamindeli mwerloba-poeziis, 1919
wlis qarTvel mxatvarTa gamofenis Tu imav 1919-isve didi saopero
premierebis Sesadari.
da mainc _ es sulac ar aris sicarielisa da unayofobis dro. amas
maSindeli presa aTvalsaCinoebs, romlis cnobaTa amonakrebi Seadgens
winamdebare narkvevis Sinaarss. suraTis obieqturobisTvis sxvadasxva
mimarTulebis gamocemebia moxmobili _ samTavrobo organo `saqarTve-
los respublika~, social-demokratebis, mmarTveli partiis (e.i. did-
wilad oficiozurive) `erToba~, socialist-federalistebis `saxalxo
saqme~ da erovnul-demokratiuli `saqarTvelo~; aseve _ kavkasiis qa-
laqTa kavSiris (igi sruliad ruseTis qalaqTa kavSirSi Sedioda), mere
ki saqarTvelos qalaqTa kavSiris `kavkasiis qalaqi~, romelic 1919 wlis
59
 xuroTmoZRvreba da mSenebloba

bolodan `kavSirisa~ da erobaTa kavSiris saerTo organod _ `eroba da

qalaqi~ iqca.
Zalian Sors wagviyvanda wminda sainJinro-keTilmowyobis
samuSaoebze saubari _ quCebis mokirwyvlaze, wyalsadenTa Senebaze,
gzebis gayvana-mowesrigebaze, eleqtrifikaciaze, safosto ganyofile-
bebis gamarTvaze, satelefono sadgurebis mowyobaze, mdinareebis (mag.,
rionis) napirebis gamagrebaze _ rac nel-nela da jaxir-jaxiriT, magram
keTdeboda xom mTels saqarTveloSi, qalaqadac da sofladac, adreve
wamowyebulis gagrZelebad.
vnaxoT mxolod, im wlebSi ra aSenda: 1917 wels, mag., Teatri
gurjaanSi (saxalxo saqme, 1917, #17) da samkiTxvelo kapanaSi (erToba,
1918, #156); 1919 wels _ sasamarTlo nojixevSi (saxalxo saqme, #686),
suramis Teatri (saxalxo saqme, #669; kavkasiis qalaqi, 1919, #13-15);
1920-Si naZaladevis muSaTa klubi TbilisSi (saxalxo saqme, #816), k­ . ka­
ut­skis sax. saxalxo gvardiis saxli (erToba, 1920, #281) skolebi Su­
xuTsa (erToba, 1920, #198) da RverkSi (saqarTvelos respublika, 1920,
#181), saxalxo saxli tobanierSi (erToba 1920, #240); Sendeboda, mag.,
_ skola imav tobanierSi (erToba, 1919, #113), skolave wyemSi (iqve, 1920,
#232) anda _ rac aTeizmis imxanad moZalebisas sakvirvelicaa, ­_ ek­lesia
WiaTuraSi (saqarTvelos respublika, 1920, #102). amas garda, safuZveli
Caeyara, magaliTebr, saxalxo saxls WanWeTSi (erToba, 1918, #248; 1920,
#178). an kidev e. ninoSvilis sax. sameurneo saswavlebels sof. CaCaneTSi
(erToba, 1919, #89).
ver ityvis kaci, es maincadamainc bevri iyos da sxvafrivac, al-
baT, es nagebobebi bevri veraferi iqneboda. sagulisxmoa, am mxriv, xaz-
gasma imisa, esa da es Senoba (igiv tobanieris skola anda saswavlebeli
onodiaSi _ erToba, 1918, #138) qvisa ariso. isedac, ufro adrindeli,
revoluciamdeli qarTvelTa Soris wera-kiTxvis gamavrcelebeli sazo-
gadoebis aSenebuli skolebis fotosuraTebis gaxsenebiTac naTelia,
`didi~ xuroTmoZRvreba aq mosalodneli rom ar unda iyos. amasTanave
ki: a. unda gaviTvaliswinoT, rom es yovelive, iseve rogorc manamde,
1890 Tu 1900-ian wlebSi marTlac adgilobrivi, sazogadoebis wiaRidan

60
 dimitri TumaniSvili

wamosuli Taosnoba iyo _ kerZo pirebis, sasoflo Temebis, qalaqebis

TviTmarTvelobebis _ mag., naZaladevis klubze sagangebodaa naTqva-
mi, muSebis saxsrebiT aSendao; Sesabamisad ki, I msoflio omiTa, revo-
luciiT da a.S. gamowveuli siduxWiris, mudmivi omianobis (osmaleTis,
somxeTis, gen. denikinis armiis da a.S. Semotevis), qveynis sxvadasxva
kuTxeSi (cxinvali, afxazeTi, duSeTi, imereTi, raWa...) bolSevikebis
mier provocirebuli ajanyebebis, adreve arsebuli arcTu saukeTeso
nivTieri pirobebis kvalobaze, amaze didi gasaqanis mSeneblobas arc
unda viTxovdeT.
b. zogierTi dasaxelebul nagebobaTagani SeiZleboda garkveu-
li Rirsebebis mqonec yofiliyo _ yovel SemTxvevaSi, ase afasebda maT
maSindeli sazogadoeba. ase, `saxalxo saqmis~ korespondents moswons _
`kopwia~ ariso, _ suramis sazafxulo Teatri (Cven misi damgegmarebelic
viciT _ i. k. riCgorski-saviCi /Рычгорский-Савич _ `kavkasiis qalaqi~,
1919, #13-15, gv.40). sagulisxmoa, rom sazogadoebrivi SenobebisTvis,
metadre `saxalxo saxlebisTvis~1 (maT, viTarca ganaTlebis kerebs, didi
mniSvneloba eniWeboda) sagangebo `gegmebs~ adgendnen _ mag., kiniis (Tu
kiwiis) saxalxo saxlisTvis is SeudgeniaT erobaTa kavSiris inJiner
vladimir peguSins da teqnikos kondrati sayvareliZes (saxalxo saqme,
1920, #887). niSandoblivia, agreTve, rom senakis saxalxo saxlis dasap-
roeqteblad gamocxadda _ da gaimarTa kidec! _ konkursi (gamofena
gaixsna 23.XI.1919. _ saxalxo saqme, 1919, #689). Sesrulebuli iyo ozur­
geTis saxalxo saxlis, vaJTa da qalTa gimnaziebis, qalaqis sabWosa da
saavadmyofos proeqtebi (kavkasiis qalaqi, 1919, #4, gv.70). didi ambiT
Sexvda sazogadoebrioba foTis muSaTa saxlis saZirkvlis Cayras (mag.,
erToba, 1920, #182) da isic windawin yofila moazrebul-mofiqrebuli:
`saxalxo saqmis~ korespondentis, `iqauri~-s, cnobiT (foTis av-kargi,
5.VIII.1920, #893) es unda yofiliyo aguris orsarTuliani Senoba saleq­
cio darbaziT, sasadiloTi, kantoriT, ambulatoriiT da a.S.
jerjerobiT, vicnobT mxolod erT proeqts, Sedgenils inJiner
niko TumaniSvilis mier _ sportsazogadoeba “Sevardeni”-s rionis pi-
ras asaSeneblad gamiznuli vrceli neo-klasicisturi arqiteqturuli

61
 xuroTmoZRvreba da mSenebloba

19. m. ToiZe, `glexis darbazi muxranSi~, 1919 (anot. 10)

M. Toidze, “Peasant’s Darbazi [vernacular dwelling] in Mukhrani”, 1919 (annot. 10)

62
 dimitri TumaniSvili

kopleqsisa. is, im drois sazogadoebriv gemovnebasa da avtoris maRal-

profesiul momzadebaze metyvelebs (“Sevardeni”, 1920б#1, 24-26).
CautarebiaT im dros sarekonstruqcio samuSaoebic _ mag.,
TelavSi somexTa saqvelmoqmedo sazogadoebam kinoTeatri e.w. `axal
Teatrad~ gadaakeTa (saxalxo saqme, 1919, #629), duSeTSi ki saxalxo
gvardiis iqaurma qveganayofma erT-erTi Zveli yazarma (sxva cnobiT _
samxedro klubi) gaafarTova da isic Teatrad gadaaqcia (is, marTalia,
usveo gamodga da imav 1920 wlis noemberSi daiwva _ Sdr. erToba, 1920,
##140 da 272). yvelaze sayuradRebo ki, albaT, quTaisis Teatris 1920
wels Catarebuli gadakeTeba iqneboda, romlis drosac misi samayure-
blo darbazic gazardes, scenaca da foiec (Sdr. erToba, 1920, ##181
da 231).
da kidev: aSkaraa fiqri da zrunva sazogadoebriv SenobaTa arqiteq­
turaze. 1919 wels s. robaqiZe, qalaqTa kavSiris ganaTlebis ganyo-
filebis gamge, aqveynebs werils `saSkolo aRmSenebloba~ (kavkasiis qa-
laqi, #2, gv. 20-26; #3, gv. 17-24; #4, gv.31-35), sadac wvriladaa gan­
xiluli skolisTvis saWiro sadgomTa raodenoba, gamosayofi adgilis
sasurveli Tvisebebi, Sida gamarTuloba (ganaTeba da misT). imav welsa
da imav kavSiris II yrilobaze s. robaqiZe ayenebs sakiTxs, rom kavSiris
ganyofilebas unda hyavdes inJiner-teqnikosi da sanitar-eqimi, rom-
lebic daamuSaveben da TviTmmarTvelobebs SeTavazeben saskolo nage-
bobebis tipebs (kavkasiis qalaqi, 1919, #5-6, gv.31). sakmaod qmediTi Cans
am kavSiris `satexniko ganyofileba~ _ zeviT dasaxelebuli proeqtebis
umravlesoba swored aqaa damuSavebuli (maTi umravlesoba mainc _
ozur­geTis, suramis _ ix. misi gamgis, p. zurabianis moxseneba kavSiris
amav yrilobaze _ kavkasiis qalaqi, 1919, #5-6, gv.70). aqve SeemuSave-
binaT saavadmyofoebis da abanoebis oTx-oTxi tipobrivi proeqtic (В.
Мнович, Земская и городская жизнь. eroba da qalaqi, 1920, #7, gv.43)
da sxv.
garkveuli muSaoba iqna gaweuli qalaqmSeneblobis mxrivac. jer
kidev 1918 wels, amave `satexniko ganyofilebas~ moumzadebia saqarTve-
los qalaqebis agegmvis proeqti (kavkasiis qalaqi, 1918, #13-14, gv.46).

63
 xuroTmoZRvreba da mSenebloba

momdevno wels qalaqTa kavSiris mTavarma aRmsrulebelma komitetma

saWirod miiCnia qalaqebis `gegmebis Sedgena~ da Seqmna kidec miwis­
mzomelTa jgufi inJiner n. sokolovis TavkacobiT. kidev ufro sayu­
radRebo, egeb, is iyos, ra mizani hqonda am samuSaoebs _ es ki gax­
ldaT qalaqebis `mowyoba~ da `gamSveneba~ (kavkasiis qalaqi, 1919, #11-
12, gv.17). `satexniko da warmoebaTa ganyofilebis moxsenebaSi (m. rusia)
asecaa naTqvami: `planebis~ gareSe SeuZlebeliao `axalgazrda qalaqebis
aSeneba da mowyoba~ (erToba, 1919, #64). ase rom, amocanad uTuod moma-
valSi garkveuli qalaqmSeneblobiTi RonisZiebebis ganxorcieleba iqne-
boda. zogi ram im wlebSic gakeTebula. magaliTebr, 1918 wlis agvisto-
Si `teqnikosma~ rCeuliSvilma (es, ueWveliv, prof. levan rCeuliSvilis
mama, dimitri (tito) rCeuliSvilia!) warmoadgina Telavis keTilmowyo-
bis proeqti, sadac gaTvaliswinebuli iyo ara marto wyalsadenis mSene-
bloba, quCebis mokirwylva, riyis gamagreba da masze xidis gadeba, ara­
med sadguris SekeTebaca da 50 `duqnis~ agebac (erToba, 1918, #166).
1919 wels WiaTuraSi unda gaeyvanaT ori axali quCa _ vagzlis ukan
da `leJavebis ubanSi~ (kavkasiis qalaqi, 1919, #18-19, gv.34). 1919-1920
wlebSi, misi `gaqalaqebis~ erTi wlis ganmavlobaSi, lanCxuTSi gaiyvanes,
korespondentis azriT, `mSvenieri da farTo quCebi~, aSenda abano, el­
eqtrosadguri... (meteori, q. lanCxuTi. erToba, 1920, #177). 19.II.1920.
Tbilisis qalaqis sabWom gadawyvita, gaaganivros 19 Tebervlis quCa,
Tan dRevandelobisTvis ramdenadme uCveulo xerxiT _ daZvelebuli
saxlebis axlebiT Secvlis kvaldakval (saqarTvelos respublika, 1920,
#212). amaTze aranakleb _ vgoneb, ufro metadac, _ sayuradReboa kidev
ori aseTi movlena: a. 1920 wels ozurgeTSi aikrZala gza-quCebis gay-
vana _ `Sesworeba~ (nebadarTulia martooden _ SekeTeba!), axali mSe­
nebloba da TviT `kapitaluri remontic~ ki, qalaqis `gegmis miRebamde~
(eroba da qalaqi, 1920, #7, gv.45) _ es, udaod, qalaqis `garegularebis~
ganzraxvis mowmobaa! es rom vieTTa axireba ki ara, sazogadoebis SigniT
gaCenili moTxovnilebis pasuxic iyo, Semdegi gvimowmebs: b. rkinigzis
sadguris irgvliv moSenebul-gazrdili dasaxlebis, wnoris-wylis, `me-
mamuleebis~ (e.i. miwis mesakuTreTa) erTma jgufma, Sewuxebulma, daba

64
 dimitri TumaniSvili

20. m. ToiZe, bagratis taZris nangrevebi, 1919 (anot. 10)

M. Toidze, Ruins of Bagrati Cathedral, 1919 (annot. 10)

65
 xuroTmoZRvreba da mSenebloba

`usistemod~, `ugegmod~ Sendebao, samazro erobas mosTxova _ `texniko-

si~ gamogvigzavneT da, Tu sxva gza ar iqneba, xarjebs Cven TviTon ga-
viRebTo (saxalxo saqme, 1920, #984). amdenad, maT, soflis macxovreb­
lebs, Tavad surT `swori~ gegmareba, regularuloba sayovelTao yo­
fiTi da esTetikuri moTxovnebis Sesabamisi gamxdara.
im xanebSive saqarTveloSi axali qalaqmSeneblobiTi ideebic
ikafavs gzas. 7.IV.1917. TbilisSi Seiqmna sazogadoeba `samosaxlo baR-
nari~ (rwmunebulebi: m. aruTiniani, v. roxlini, a. loskutova, g. elio-
zovi), romelsac, Cans, CvenSi `qalaqi-baRi~ unda daemkvidrebina (erToba,
1917, #214). es rom uniadago fantazia ki ara, savsebiT SesaZlebeli ram
iyo, gvidasturebs k. maWavarianis werili `qalaqi-baRi guriaSi~ (erTo-
ba, 1918, #49), sadac saubaria sergi anisimovis TaosnobiT grigoleTSi
qalaq-baRis gaSenebis Sesaxeb, rasac TviT damweric, etyoba, Tanaug­
rZnobs.2 aqve unda iTqvas, rom suramSi zemoxsenebuli Teatris agebac
esmodaT rogorc Semadgeneli qalaqis Tavis, Saqro xidirbegiSvilis
da misi Tanamoazreebis mecadineobisa, suramis `yovelmxriv Semkul da
kopwia saagarako adgilad gadasaqcevad~ (saxalxo saqme, 1919, #669) _
e.i. ki, aqac vxedavT garkveul mizandasaxulobas, Segnebul swrafvas,
romelic aucileblad garkveuli mxatvrul-xuroTmoZRvruli (Tundac
bundovani) warmodgena-idealis momcvelic iqneboda.
razec ki aqamde visaubreT, Tavs uyris goris aRdgena-aRSene­
bisTvis gaSlili muSaoba, rac 20.II.1920 wels missa da misi mimdgomi
soflebis sazareli miwisZvris Sedegad dangrevas mohyva. ubedure-
bidan daaxloebiT erT kviraSi Seiqmna goris `aSenebis~ komisia, romel-
sac inJineri grigol qurdiani uTaves (erToba, 28.II.1920, #47). kidev
erT kviraSi, `saxelovno centris~ (Tavmjd. kote mayaSvili) TxovniT,
noe Jordaniam am komisiaSi Seiyvana dimitri SevardnaZe, raTa axlave
`mieqces yuradReba qalaq gorisa da soflebis kulturulad da mxat­
vrulad dagegmvas~ (saxalxo saqme, 6.III.1920, #177). cota adre, 28 Te-
bervals `saqarTvelos satexniko sazogadoebis~ krebaze daaskvnes, rom
gamosarkvevia, sad unda aSendes Tu gori Tu dangreuli soflebi; Sesa­
muSavebelia `medgar~ SenobaTa tipebi da gaSenebac am tipebis, `axali

66
 dimitri TumaniSvili

gegmisa da texnikis ukanaskneli sityvis mixedviT~ unda moxdeso; sazo-

gadoebam saamisod sakuTari komisia gamoyo: mixeil yauxCiSvili (Tavmj.),
vasil kakabaZe, ivane avaliani (iqve). 9.III.1920 wlisa mTavrobis sagange-
bo komitetma mimarTa dangreuli saxlebis patronebs mowodebiT, jer-
jerobiT ar aaSenon saxlebi, radgan Sedgeniliao `seismomZle~ saxlis
proeqti da erT TveSi nimuSic gveqnebao (erToba, 1920, #55). 17.V. ga-
moqveynda pirvelad pirobebi `seismomZle~ saxlis tipobrivi proeqtis
konkursisa (ori nairsaxeobiT _ vake da daferdebuli adgilebisTvis;
komisiis wevrebi _ gr. qurdiani, gabriel ter-miqelovi, i. riCgor-
ski-saviCi) (saqarTvelos respublika, 1920, #84; gameorda ##85-87-
Si). konkursis Sedegebi 27.VI. daibeWda (erToba, 1920, #143). I `jildo~
ar gacemula, II mieca proeqts deviziT `Сакля; `SeZenil iqna~ agreTve
`Весы~-s proeqti. iqneb amis gamoc Sedga da ivlisis damdegs gamoqvey­
nda `savaldebulo dadgenilebebi~ mSeneblobisaTvis (cal-calke ali­
zis, xis, agurisa da qvis SenobebisTvis _ saqarTvelos respublika, 1920,
##149,184, 157, 160-161). aq gansazRvrulia, dRes rom ityvian, dasa­
Svebi parametrebi, romelTa darRveva _ amas dasaTaureba gveubneba, _
dauSveblad da SeuZleblad iqna miCneuli. agvistos damdegs cnobili
gaxda geologiuri komisiis azri, rom goris ganaxlebuli ubnebi winan-
del adgilze ki ara, dacilebiT, ufliscixisken mdebare gorebze unda
aSendes (erToba, 1920, #173) _ esec, rasakvirvelia, erTianad gaazre-
bul gadagegmarebas gulisxmobs. da kvlav _ adgilobrivi Taosnobis
Sesaxeb: ukve aprilis damdegs iqaurma erobam SeiZina nakveTi sakuTari
Senobebis asagebad (erToba, #90), xolo maisis bolosken Camoyalibda
`goris miwisZvrisgan dazaralebuli uZravi qonebis mepatroneTa kavSi-
ri~. ukanasknelma gaiCina sateqniko ganyofileba, romelsac evalebo-
da gegmebisa da xarjTaRricxvebis Sedgena, moTxovna-Suamdgomlobebis
momzadeba, Senobebis yidva-gayidva (erToba, 1920, #112). gamoiTqva go-
ris momavalze kerZo azric. qalaqis Tavis, badriaSvilis mxardaWeriT,
moskovelma (moskovs mcxovrebma? iqidan Camosulma?) inJinerma moseS­
vilma wamoayena mosazreba, is qalaq-baRad vaqcioTo. amjerad es saka­
maTod miiCnies _ yovel SemTxvevaSi gazeT `saqarTvelos~ koresponden-

67
 xuroTmoZRvreba da mSenebloba

ti, zaq. qitiaSvili mas guliswyromiT Sexvda,

radgan am ganzraxvis xorcSesasxmelad arse-
buli baRebi gasaCexi gaxdeboda, gadarCenili
nagebobebi ki _ dasangrevi (saqarTvelo, 1920,
#106). meore mxriv, es kidev erTi dasturia
am ideis sicxovlisa imdroindel saqarTve-
loSi.
marTebuli mgonia aqve `ZeglTa dacvis~
sakiTxebzec SevCerdeT, romlis araTu mogva-
rebas, TviT dayenebasac bolSevikuri xeli-
sufleba Tavis damsaxurebad Tvlida. masa-
lis gacnoba am mxrivac gansxvavebul suraTs
gvixatavs, Tumc arcTu martivsa da calsaxas.
viTarebas sagulisxmod warmogviCens `sanga-
niZis~ werili `goris cixe iRupeba~ (saxalxo
saqme, 1918, #265). is mogviTxrobs, rom goris
cixe adre rigianad napatronevi iyo general
ivane givis Ze amilaxvris mier (man misi ked­
lebic gaamagra, Sig baRic moaSena da wyalic
gamoiyvanao).3 marTaliao, ganagrZobs kores­
pondenti, 1905 wlis revoluciam moitana
warsulis siZulvili, magram bolo dromde
cixes daraji mainc hyavda _ axla ki aRarc
isaa, cixis eklesiac darbeul-wabilwulia da
a.S. yvelaze maxasiaTebeli ki aq moyvanili,
romeliRac mitingze vinme saxalxo gvardiis
21. 1918-1921 wlebSi
gamomavali Jurnalebi razmelis sityvebia _ gori lamazi qalaqia,
(anot. 4) Zveli cixe rom ar auSnovebdeso. warsulisad-
Journals Published mi aseTi damokidebuleba SemTxveviToba rom
in 1918-1921 (annot. 4)
ar aris, aseTi ambavic gvarwmunebs: 20.X.1919.
Tbilisis qalaqis sabWos sxdomaze cnobilma
social-demokratma benia CxikviSvilma Semoi-

68
 dimitri TumaniSvili

tana winadadeba Tbilisis erT-erT saswavle­

bels erekle II-is saxeli movaSoroT, radgan is
mefe iyoo (saxalxo saqme, #659). mas, cxadia,
ar daeTanxmnen erovnul-demokratebi da so-
cialist-federalistebi. gamoexmaura am mov-
lenas federalisti `sityva~ _ samson firc­
xalava da, sxvaTa Soris, rusuli da qarTuli
social-demokratiis saxelganTqmuli ora-
toris, irakli (kaki) wereTlis gamonaTqvam-
ic gaixsena: `warsuli mezizReba~-o (saxalxo
saqme, #663). sxva werilSi is sakuTar Sexe­
dulebasac ganmartavs _ erekle II mefed rom
daibada, es misi `ubedurebaa~, magram unda da­
u­fasdes, rac erisTvis sikeTe moutaniao (sa­
xalxo saqme, #669). aq Cinebulad Cans, raoden
orWofuli iyo maSin namyosadmi mimarTeba da
isic, masze Sexedulebebis ranairi ganfena
arsebula _ TiTqmis apologeturi erovnul-
demokratebTan, skepticizmiT gazavebuli pa-
tiviscema socialist-federalistebTan da
_ uaryofa social-demokratebTan. ra Tqma
unda, mdgomareoba egzom martivi ar yofila,
amnairi ganzogadeba mas metismetad aerTmniS-
vnelovnebs. qarTvel social-demokrat-`men-
SevikebSi~ (erTi-ori, TviT `bolSevikebs~
Sorisac _ daviT kandelaki, ivane qav­
TaraZe...) sakmarisad iyvnen ganaTlebuli
adamianebi, romelTac yvelafris fasi Sesa­
niSnavad uwyodnen (grigol lorTqifaniZe,
ivane gomarTeli, viqtor nozaZe...), ZiriTa­
di Sefardeba ki utyuarad aseTi iyo. ise,
erTi imaTTagani, vinc siZveleTa dacvis

69
 xuroTmoZRvreba da mSenebloba

aucileblobaze alaparakda aseve social-demokrati iyo _ daviT Tur-

dospireli (CxeiZe). 17.V. 1919. man `erTobaSi~ (#107) gamoaqveyna werili
`mivxedoT Zvel saqarTvelos~, romelSic am mosazrebas kveteris naci­
xaris magaliTiT asabuTebda.
nabijebi winandeli saqarTvelos danatovaris gadasarCenad jer
kidev saxelmwifoebriobis aRdgenamde gadaidga. 1918 wlis TebervalSi
erovnuli sabWos4 xelovnebis seqciis gancxadebaSi mesame muxlad swored
`istoriul naSTTa~ movlaa naxsenebi; seqcia Tavs idebs yvela maTganis
meurveobas da krZalavs mis gareSe maT gayidvasa Tu aRdgenasa da gaT­
xras (saqarTvelo, 1918, #42; erToba, 1918, #43). esaa, uTuod, CvenSi
pirveli ganacxadi siZveleTadmi saxelmwifoebrivi mzrunvelobisa. misi
saqmed gadaqceva im viTarebaSi, bunebrivia, maSinve ver mo­xerxdeboda.
amitomacaa, 1919 wels, Sehyurebs ra qarTlis axalqalaqSi gariyulas
`marSlianT~ sasaxles, vinme `vigindara~ natrulobs, netav, saxelmwifom
misi patronoba SeZloso (saxalxo saqme, #472), am, 1919 wlis­ve bolodan
Cven realur qmedebebsac vxedavT. kerZod, sakaTalikoso sabWos moT­
xovniT mTavrobam eklesiaTa aRsadgenad 50 000 man-is gamoyofa ganizraxa
(saxalxo saqme, #648), _ dekembris TveSi gaica gankarguleba garejis
uda­bnos savaneTa yaCaRobisgan dacvisa (erToba, 1919, #268; saqarTve-
lo, 1919, #237); 30. XII. 1919. samuzeumo nivTebis SesaZenad 1 000 000 man.
iqna gansazRvruli (saqarTvelos respublika, 1920, #13). ukanaskneli
Tanxa Zalian didi ar unda yofiliyo _ 25. XII. 1919. diplomatiuri kor-
pusis Sesanaxad `gadades~ 13 347 000 man. (saxalxo saqme, #713), magram,
isev da isev, mxedvelobaSia misaRebi imJamindeli ukiduresi gaWirveba,
ris pirobaze mcirec didadaa Casagdebi. upiratesi mniSvnelobisa ki
is aris, rom 1919 wlis oqtomberSi eqvTime TayaiSvilma damfuZnebel
krebas warudgina xelovnebis komisiis momzadebuli moxseneba `kul-
turis istoriul Zeglebis da naSTebis~ dacvis Taobaze da mas daevala
mis safuZvelze kanonproeqtis Sedgena (saxalxo saqme, 1919, #658). ni-
Sandobliv am kanonis Semdgomi bedi presas ar ausaxavs, magram Segneba
saxelmwifos pasuxismgeblobisa kulturuli memkvidreobis samomavlod
SenarCunebis gamo naTlad Cans. 1920 wlis maisSi Sinagan saqmeTa saminis-

70
 dimitri TumaniSvili

trom cirkulari daugzavna erobebsa da qalaqis TviTmmarTvelobebs,

riTac maT eTxovebaT miiRon `zomebi, raTa... raionSi arsebuli istori-
ul-arqeologiuri Senobebi~ (cixeebi, eklesia-monastrebi) `dacul iqnan
ngrevisagan da Tavis droze SekeTebuli, Tu ki isini amas moiTxoven~
da miawodon saministros cnobebi `arqeologiuri mniSvnelobis~ nivTTa
Sesaxeb (saqarTvelos respublika, 1920, #118). TiTqmis Tanadroulad
_ 20.V.1920. _ damfuZnebelma krebam miiRo dekreti _ umniSvnelovanesi!
_ saqarTvelodan `saistorio, saarqeologio, samxatvro da sakulto
nivTebis... gatanis akrZalvisa~ (erToba, 1920, ##117,119).
amasobaSi ki, `ZeglTa dacvis~ mowyobas rTulad gadaexlarTa
saxelmwifos eklesiasTan urTierTobis sakiTxi. socialistebis, e.i.
aTeistebis, xelisuflebis TvalSi maTi daSoriSoreba TavisTavad cxadi

22. n. firosmanaSvili, naturmorti, daaxl. 1910-1912

N. Pirosmanashvili, Still-life, ca. 1910-1912

71
 dimitri TumaniSvili

ram iyo da aman gaaCina kidec Tavsatexi _ eklesiis sakuTrebis prob-

lema, romlis gvariani nawili (CvenSi udidesic) sworedac Zveli taZ-
rebi da Zveleburi Zvirfasi nivTebi iyo. 1920 wlis ivlisis damdegs
Seiqmna `Zvirfasi arqeologiuri qonebis~ dacvis zomaTa SemmuSavebeli
komisia, iusticiisa da Sinagan saqmeTa saministroebisa da saeklesio
krebis warmomadgenelTagan Sedgenili (erToba, 7.VII. 1920, #151). erT
kviraSi ki `erTobam~ meTaurad dabeWda werili `Cven da eklesia~ (13.VII.;
#155), sadac gamocxadebulia, rom vinaidan eklesia aRaraa `gadaqso-
vili~ saxelmwifos, igi veRar daicavs `kulturul naSTebs~ da maTi
patroni saxelmwifo unda gaxdes, romelsac unda gadaeces yovelive,
`samlocvelo xatebis~ garda. es azri Semdegac meordeba _ am gazeTSic
da, ramdenadme nakleb rixianad,5 federalistebis `saxalxo gazeTSic~
(1920, ##875, 885). erTxel `erTobaSi~ (1920, #282, meTauri `demokra-
tiuli saxelmwifo da samRvdeloeba~) isic ki daiwera, Zveladac qoneba
eklesiisa saxelmwifosi iyo, radgan isini gamijnuli ar yofilan, axla
ki igi saxelmwifos unda darCeso. did logikasac ver daikvexnis es
msje­loba, amasTan ki, damwerma, Cans, arc is icis, rom saqarTveloSi
mainc samefo-saxazino, saufliswulo, saTavado da a.S. sakuTreba erTi
iyo, saeklesio ki _ sxva.
am wanamZRvrebze dafuZnebuli sakanonmdeblo dadgenilebebi
1920 wlis SemodgomiT damuSavda, manamde ki, 11.VIII.1920. damfuZnebelma
krebam `gadasdo~ `Zvel xuroTmoZRvrebis Zeglebis dasacavad da Sesa-
keTeblad~ 2 000 000 man. (am samuSaoebs ganaTlebis saministro da saqar­
Tvelos muzeumis sabWo unda gaZRolodnen) (erToba, 1920, ##177, 182-
183; saqarTvelos respublika, 1920, #188). Sesadareblad unda vTqvaT,
rom maSinve goris mazris miwisZvrisgan dangreuli skolebis aRsad-
genad 20 000 000 man. gamoyves. mogvianebiT es Tanxa, Cans, gaizarda. (in-
flaciis Tu devalvaciis gamo xom ara?), radgan dekembris TveSi mTav-
robam 10 000 000 maneTiani fondidan mRvimevis dasacavad 10 000 man.,
xolo gelaTisa _ 20 000 man. daniSna (erToba, 1920, #279; saqarTvelos
respublika, 1920, #278), manamde ki (20.XI.) calke Tanxa gamoinaxa goris
cixis aRdgenisTvisac (erToba, 1920, #273; saqarTvelo, 1920, #139).

73
 xuroTmoZRvreba da mSenebloba

rac Seexeba eklesiis qonebasTan dakavSirebul kanonproeqtebs:

jer saxelmwifo dawesebulebebsa da TviTmmarTvelobebs aekrZalaT
Tanxebi religiuri gaerTianebebisTvis daexarjaT, Tumca _ jarisa,
saavadmyofoebis da satusaRoebis samlocveloebTan erTad, _ gamo­
naklisia istoriul-mxatvruli Rirebulebis taZrebi (ix., mag., erToba,
1920, #241). Semdgom (erToba, 1920, #251) eklesiis sakuTreba religiur
sazogadoebebs argunes, mxolod istoriuli da mxatvruli mniSvnelo-
bis `qoneba~ ki _ saxelmwifo, kerZod, ganaTlebis saministros gamgeb­
lobaSi aRmoCnda. sagulisxmoa, rom oriod kviriT adre, (21.X.­- 4.XI.) ga-
naTlebis saministros daevala istoriuli da mxatvruli Rirebulebis
`qonebis nusxis Sedgena’’ (erToba, 1920, #233). es kanoni, rasakvirvelia,
bevrad jobia mogvianos, sabWours, romlis Tanaxmad eklesias mRvdel­
msaxurTa Sesamoslebic ki ar ekuTvnoda _ igi martooden moijarade
iyo. magram am kanonSic bevri sirTule ar gaeTvaliswinebinaT. saxel-
dobr, jer erTi, am `gasaxelmwifoebriebul~ `qonebaSi~ mravlad eria
mrevlis Senawirebi, romelTa CamorTmeva morwmuneTaTvis Seuracxmyo­
feli iqneboda da, rac mTavaria, siwmindeebi, mag., saswaulmoqmedi xate-
bi. aman sul male iCina Tavi, rodesac dekemberSi quTaisis miliciis
ufrosma i. axvledianma aRmoaCina viTomcda berebis mier gelaTidan
`moparuli~ nivTebi da, amis momizezebiT, monasters mTeli misi salaro
CamoarTva. aman gamoiwvia sakaTalikoso sabWos, piradad kaTalikos-pat­
riarqis leonides, quTaTeli mitropolitis nazaris (1924 wels mowa-
meobrivad aRsrulebulisa da aw wmindanad Seracxilis) winaaRmdegoba;
eklesias erovnul-demokratebi gamoeqomagnen, saxelmwifo moxeles _
social-demokratebi, romelTac arc lanZRva daiSures da arc _ Cven­
Tvis, vaglax, kargad cnobili, _ mSromelTa `koleqtiuri werilebi~ (ix.
erToba, 1920, ##279-280, 282-283, 287, 298; saqarTvelo, 1920, #169-171);
social-federalistebi _ petre mirianaSvilis weriliT, _ gakvriTRa gamo-
exmaurnen am samwuxaro movlenebs (saxalxo saqme, 1920, #1004). yvelaze
savalalo ki isaa, rom saqmis viTarebis gamorkveva Zneli sulac ar iyo
_ maSinve ganimarta: gelaTelma berebma, monastris krebulis SimSiliT
sikvdilisagan gadasarCenad, episkoposis nebadarTviT axlad Sewiruli,

74
 dimitri TumaniSvili

mxatvruli Tu istoriuli Rirsebis armqone axalive samkaulebi gai-

tanes gasayidad (saqarTvelo, 1920, ##169, 170). aranakleb usiamovno
da sakmaod gaugebaria ukve momdevno wlis, ase vTqvaT, `walenjixis
saqme~ _ `erTobaSi~ jer daiwera, samRvdeloebam nivTebi gadamalao,
mere ki daabrales _ moipareso (Sdr. 1921, ##18 da 35).
bunebrivia, ver vityviT, rogori iqneboda saboloo saxiT Zeg­lTa
dacvis kanonmdebloba, ragvar struqturebs warmoSobda igi da a.S.
aSkara kia, rom aseTi samsaxurebi aucileblad Seiqmneboda da arc isaa
saTuo, rom damoukidebel saqarTveloSi esmodaT erovnuli memkvidre-
obis Rirebulebani.
dasasrul, kidev erTi movlenac minda movixsenio, samomavlod _
araTu 1910-1920-iani wlebisTvis, Cveni mermisisTvisac, _ sayuradRebo:
saqarTvelos muzeumis Senobis damTavrebis saqme. mecnierebisTvis aqam­
de xelmisawvdomi masalebiT, misi mSenebloba, I msoflio omis dros
Se­­­­
Cerebuli, 1923 wels sagangebo konkursis gamocxadebiT ganaxlda.
Zv­­e­­­li gazeTebis monacemebiT ki, saqme ase iyo: jer kidev 1918 wlis ag­
vistoSi gaauqmes Zveli samSeneblo komisia da muzeumis mSeneblobis
warmarTva saqarTvelos saistorio-saeTnografio sazogadoebas dae­vala
(saqarTvelos respublika, 1918, #16). mogvianebiT, 1920 wlis ia­ nvarSi
ganaTlebis saministros mier dainiSna `qarTuli muzeumis da­ma­mTavrebeli
axali saaRmSeneblo komisia: giorgi Juruli (Tavmj­ domare), eqvTime
TayaiSvili, noe yifiani (muzeumis direqtori), inJi­ neri neprincevi da
anatoli kalgini~ (saqarTvelos respublika, 1920, #20; erToba, 1920, #21;
saqarTvelo, 1920, #20). 13.III.1920 komisiam sa­­xelovno centris, samxatvro
da sazogadoebrivi organizaciebis wa­rm­ omadgenlebTan erTad Camoayaliba
debuleba, romlis Tanaxmad: 1. muzeums unda gadaeces mTeli kvartali;
2. radgan _ am gansazRvrebebs yuradReba unda mivaqcioT! _ `sparsuli
stili~ _ `ar Seesabameba drosa da eris Rirsebas~, `moTxovnil iqnes
Tavisufali mxatvruli Semoqmedeba qarTul erovnul xuroTmoZRvrebaSi
asaxuli gzebis mixedviT~; 3. gamocxaddes konkursi arsebuli korpusis
fasadisa da danarCeni nawilis gegmisa (saqarTvelos respublika, 1920,
#61). Znelia, gadaWarbebuli ki ara, saTanado Sefaseba misce meore muxlis

75
 xuroTmoZRvreba da mSenebloba

23. poeziis dRis aRsaniSnavad Sekrebili qarTveli mwerlebi

quTaisSi, 1918 (anot. 11)
Georgian Writers Assembled in Kutaisi to Celebrate the Poetry Day (annot. 11)

mniSvnelobas, sadac SesaSuri Tval-naTliobiTaa danaxuli is `saSuvali~,

arc `Zvelis~ ukumgdebi da arc `axlis~ ugulebelmyofi gza, romliTac
unda evlo maSin Cvens arqiteqturas da, Cemis fiqriT, kargi iqneboda
dResac iaros qarTulma (da ara marto qarTulma!) _ xuroTmoZRvrebam.
metad sagulisxmoa, rom aq araa saubari `qarTul stilze~, ar Cans
es cneba, rasac Cveni saukeTeso moazreni iSveliebdnen. amis nacvlad
naTqvamia `erovnul xuroTmoZRvrebaSi asaxuli gza~-o, anu: xazi esmeva
ara garegnuli formebis mgvaneba-gadmoRebas (amas moiTxovs ara marto
`qarTuli~, aramed nebismieri `istoriuli~ Tu `istoristuli~ stilis _
`goTuris~, `bizantiuris~, `mavrulis~, `rusulis~ da a.S. iarliyi), aramed
arsebismieri gezis mignebasa da mas miyolas. uyoymanod SegveZlo gveTqva
_ ase imxanad CvenSi mxolod ori adamiani fiqrobda, daviT kakabaZe da

76
 dimitri TumaniSvili

giorgi CubinaSvili, amgvari sityvieri formiT misi warmoCena ki mxolod

meores SeeZlo. sabednierod, samkiTxao am jerze araferia _ gazeT
`saqarTveloSi~ (16.III.1920, #57) dabeWdilia 13 martis zemoxsenebuli
sxdomis angariSi. aqedan SegviZlia SevityoT, rom mTavari momxsenebeli
diaxac g. CubinaSvili yofila. misi amosavali isaa, pirvandeli gaazrebiT
Senobis damTavreba rom ar SeiZleba; XIX saukunis ekleqtikas evropaSi

24. v. sidamon-erisTavi, `daviT kldiaSvilis portreti~, 1920 (anot. 8)

V. Sidamon-Eristavi, “Portrait of Davit Kldiashvili”, 1920 (annot. 8)

77
 xuroTmoZRvreba da mSenebloba

mohyvao `diadi gardaqmna~, iq arqiteqtura `erovnul gzebs~ daadgao

da ase unda moxdes saqarTveloSic _ `Senoba unda gamoxatavdes Ta­
visufal SemoqmedebiT aTvisebul qarTvel eris suls. unda Seiqmnas
iseTi fasadi, romelic gamoxatavs qarTul xuroTmoZRvrebaSi aRniSnul
gzebis ganviTarebas~ _ ra Tqma unda, metad bevrismTqmelia, es, erTi
SexedviT, `CaxlarTuli~ mosazreba danarCenebmac rom gaiziares (maT
Tavisi saTqmelic hqondaT _ mTeli Senobis konkursis Catareba dimitri
SevardnaZis SeTavazeba yofila, samuzeumod kvartlis `gaTvaliswineba~
_ iakob nikolaZis da gabriel ter-miqelovis...). ase gamoikveTa Cvens
qveyanaSi 1920-iani wlebis erTi saukeTeso nagebobebis ideaca da,
rac mTavaria, arqiteqturis ganviTarebis SesaZlo gezic, sabWouri
xanis aTasnair, namdvilsa Tu tyuil winaaRmdegobaSi Cakarguli da
gamrudebuli...
ase da amgvarad, 1917-1920 wlebis saqarTveloSi arqiteqtura su-
lac ar `dumda~. gasageb mizezTa gamo is mokrZalebulad ki Cans, magram
rac keTdeba _ arsebrivia, isic, risi sabWour xanaSi gadmonarCuneba
moxerxda da isic, rasac 1921 wlis 25 Tebervlis mere gagrZeleba aRar
ewera. ZiriTadi ki SemoqmedebiTi Rvwis am mimarTulebis arseboba da
sicxovlea, erovnuli yofnis mTlianobaSi misi monawileoba.

2008 weli

SeniSvnebi

1. saxalxo saxli, rogorc wesi, moicavda biblioTeka-samkiTxvelos

da scenas moyvarulTa dasis Tu mowveul xelovanTa warmodgenebisa
da koncertebis, sxvadasxva RonisZiebebis _ mag., literaturuli dila,
Sexvedrebi da misTanani _ gasamarTad; igi naklebad SemZle fenebisTvis
iyo an iseTi dasaxlebebisTvis, sadac didi kulturuli dawesebulebani
ver iqneboda.

78
 dimitri TumaniSvili

2. qarTuli saarqiteqturo azris istoriisTvis, iqneb, umniSvne-

lo arc bevrad adre, 2.VI.1902-is `cnobis furclis~ #43 suraTebian
damatebaSi (gv. 4) dabeWdili erTi naxati iyos _ is gadmogvcems, rogor
xedavdnen tfilisis qalaqis saTaTbiros arCevnebSi monawile `meore da
mesame ubnis amomrCevlebi~ da, etyoba, gazeTis mesveurebic, Cveni mo-
mavali socialist-federalistebi, mTawmindis momavals _ es erTianad
gamwvanebuli ferdi unda yofiliyo, masze momcro kerZo saxlebiT _
esec `qalaq-baRs~ waagavs.
3. ucnauri kia monarqistobiTa da RvTismosaobiT _ amav dros,
Tumc, mamuliSvilobiTac, _ cnobili i. amilaxvris, ase Tu ise, me-
marcxene gazeTSi ase Tbilad moxsenieba. Yuristma giorgi TarxniSvilma
(1891-1985), swored federalistTa wreSi (varl. gelovani, ar. jorjaZe,
goglo yazaxaSvili da sxv.) davaJkacebulma, erTxel, 1980-ian wlebSi
ase daaxasiaTa igi S. megreliZis wignTan `Cveni saxelovani samxedro
winaprebi~ dakavSirebiT _ iqao ivan giviC-ze asea saubari, `is, TiTqosda
demokrati iyo, is ki iyo reaqcioneri da Steri~.
4. vfiqrob, bolomde araa dafasebuli am partiaTaSorisi dawese-
bulebis mniSvneloba, romlis arsebobam raRac zomaze mainc aqcia da-
moukideblobis Sesaxeb, 26.V.1918-is deklaracia _ sinamdviled.
5. aqac iCens Tavs socialist-federalistebis mxridan tradiciebi-
sadmi meti pativiscema, Tumca zog sakiTxSi _ mag., sakuTrebisa, _ isi-
ni imdenad radikalurni iyvnen, rom oqtombris revolYuciis pirvel
xanebSi Cvenebur `meumcirese~ _ `menSevikebze~ ufro lmobierni iyvnen
`bolSevikebis~ mimarT; esecaa, TviT `meumcireseni~, esao da `burJua-
zia~ da `feodalebi~ ar gavaxaroTo, sakmaod ikavebdnen Tavs da komu-
nistTa qmedebas `utaqtod~ Tu moixseniebdnen.

79
25. d. kakabaZe, `Zveli Tbilisi~ 1918-1919 (anot. 1)
D. Kakabadze, “Old Tbilisi”, 1918-1919 (annot. 1)
 Vakhtang Beridze

Culture and Art in the Independent Georgia

(1918-1921)

Vakhtang Beridze

Up to recently, Georgian culture of the period of Independence of Georgia (May

1918-February 1921) was tabooed. Since the contemporaneous Government of So-
cial-Democrats (“Mensheviks”) was declared the most evil enemy 80
of people and the traitors (actually, similar to everything non-Soviet and
non-Communist), everything that was created by the people at that time was mechan-
ically erased from our history, contemporaneous creative activity was crossed out. As
if those two years and several months never existed. The only thing, which could not
be ignored, was the foundation of our national University (which, for several months
preceded official declaration of the Independence). Other significant facts were either
never mentioned or – if ever mentioned, only reluctantly, in passing, sneeringly, re-
sentfully.
In reality, these years were most fruitful, specifically in terms of spiritual, creative
activities. In all spheres of culture – science, education, literature and art – over this
shortest spell, notwithstanding hard economic situation, Georgia, surrounded all over
by the enemies, has created much new and significant (architecture is the only branch,
which had left no traces in those years). Creative life was amazingly versatile and
intensive. Such an enthusiasm could only be possible during the national progress.
But one should not mechanically separate these years from the pre-revolutionary
81
 Culture and Art
period, should not limit oneself with 1918-21 only. Everything, created in those days
was being prepared earlier, it was an organic continuation of the purposeful creative
activity preceding the Independence and – what is essential – prepared this Indepen­
dence in the spiritual life. Today, when we are again on the edge of Independence and
direct all our activities towards it, it is the proper time to bring those years to mind
and comprehend the actions of the Georgian intellectuals at that time. All of them
awaited the fall of the Russian royal reign, awaited revolution and national freedom,
as its most significant result. and everyone fully understood (and this should specially
be emphasized and be kept in mind) that this independence needed educated, highly
qualified people in all branches of science, technology and creativity; that, due to the
level of its culture, Georgia should equal Europe, should join civilised nations. Other-
wise it was doomed to isolation and retardation and nothing else.1
What was the general situation in Georgian culture in early 20th c.? Let’s discuss it
according to separate branches (this overview makes no claims on the detailed study.
This is merely a preliminary, preparatory effort to be followed by a comprehensive
research – this should be undertaken by the experts of the Modern history).
Georgian science in the 19th-early 20th c. was limited to the humanities, mainly,
history, archaeology, study and collection of the national antiquities. In early 20th c.
already established were Ecclesiastic Museum, founded with the efforts of Dimitri
Bakradze, Society for Spreading Literacy among the Georgians, which carried out
significant educational activities (it existed till the establishment of the Soviet power
in Georgia, after that it was annulled, since schooling and cultural educational activi-
ties were subjected to the State).
In 1907, Ekvtime Takaishvili founded Historical and Ethnographic Society of
Georgia.2 From the very beginning it had a versatile, large-scale programme: study,
collection and preservation of the historical, archaeological, anthropological, literary
and ethnographic objects – of Georgia and of the entire Caucasus; foundation of the
Museum, which would house tangible material, manuscripts, books in Caucasiology;
undertaking archaeological excavations; organisation of lectures and exhibitions; pro-
tection of the architectural monuments. Over mere several years, the Society managed
to publish most significant books: recueil “Dzveli Sakartvelo” (Old Georgia) – up to
1913-14, three volumes were printed, containing studies, historical and lexicology

82
 Vakhtang Beridze
materials, ethnographic articles (including “Saingilo” by Mose Janashvili, “Pshavi da
Misi Ts’utisopeli” (Inhabitants of Pshavi and Their Worldview) by Vazha-Pshavela,
“Arkeologiuri Mogzaurobani” (Archaeological Voyages) by Ek. Takaishvili, etc.);
second series of the recueils “Sakartvelos Sidzveleni” (Georgian Antiquities), in
which hundreds of historic documents were published. These are enormous volumes:
volume II comprises 600 pages, volume III – 612 pages.
Highly fruitful were expeditions organised by the Society for the study, recording
and copying of the monuments of Georgian art, especially, two of them:
a. That of 1916, to the vill. Nabakhtevi; its church has preserved murals of the
first half of the 15th c., with the interesting historical portraits (Kutsna Amirejibi,
King Alexander I and others). This expedition, organised together with the Society
of Georgian Artists, was participated by L. Gudiashvili, G. Eristavi, Mose and Irakli
Toidzes, Dim. Shevardnadze, M. Chiaureli. They made copies of almost all preserved
fragments (later, in 1935, due to the most vulnerable state of frescoes, one part of the
fragments was removed from the walls and taken to the State Museum of Art). The
expedition was initiated by Ekvtime Takaishvili and Ivane Javakhishvili.
b. That of 1917, to the southern Georgia – Tao-Klarjeti – headed by Ek. Takai-
shvili. The expedition was participated by the painters: Dimitri Shevardnadze, Lado
Gudiashvili, Mikheil Chiaureli, poet Ilia Zdanevich (Georgian, from his mother’s
side), architect Anatoli Kalgin, who had greatly contributed to the graphical recording
of the monuments of Georgian architecture and, also as a creative architect – he is
the main author of the Georgian Nobility Bank building (present, Building I of the
National Library). The materials of this expedition (measured drawings of the most
significant monuments of Tao-Klarjeti, including Oshki, Ishkhani, Khakhuli cathe-
drals, E. Takaishvili’s study) up to now is the basis of our knowledge on the richest
architectural heritage of this region (E. Takaishvili has started his study of the antiq-
uities of southern Georgian provinces far earlier: in 1902, he organised an expedition
to Akhaltsikhe Mazras3 and Chirdir-Artaani district, in 1907 – to Kars region. At that
time, this region was still within the boundaries of the Russian Empire.4
Kartvelian studies had achieved higher scholarly level thanks to the school of
Kartvelology formed at the Petersburg University and headed by the academician
Niko Marr. Of special significance were his works on the Georgian philology. At the

83
 Culture and Art
same time, already in the first years of the 20th c., preparations for the foundation of
the Georgian University were undertaken. In 1907, Iv. Javakhishvili – then Privat-Do-
cent of the Petersburg University – organised Georgian Scientific Circle at this Uni-
versity. In 1915, collected works of the members of this Circle were published, edited
by Iv. Javakhishvili.
Already from that time, Iv. Javakhishvili started to look for and select peda-
gogues for the future National University, among the Georgian students and young
scholars. And Georgian scholars studied both in the university cities of the Russian
Empire (in Petersburg, Moscow, Kiev, Tomsk, Kharkov, Dorpat, Odessa, Warsaw,
Kazan) and in the West Europe – in Germany (mainly), Austria, France, Switzerland.
Here received their education those, who took the leadership of our University and,
science, in general – apart from Ivane Javakhishvili himself, Pilipe Gogichaishvili,
Korneli Kekelidze, Akaki Shanidze, Ioseb Kipshidze, Giorgi Akhvlediani, Davit Kip-
shidze, Vukol Beridze, Simon Kaukhchishvili (in Russia), Dimitri Uznadze, Giorgi
Chubinashvili, Aleksandre Natishvili, Aleksandre Aladashvili, Spiridon Virsaladze,
Svimon Amirejibi, Ivane Tikanadze, Nikoloz Kakhiani, Aleksandre Machavariani,
Gabriel Gambashidze, Solomon Kurdiani (forester-selectionist), Ilia Jandieri (live-
stock specialist), Konstantine Amirejibi, Yulon Lomouri (agronomist), Konstantine
Modebadze (wine-making specialist) and many others.
Before the revolution important studies were published, focused on the history
of Georgia (classical “Kartveli Eris Ist’oria” (History of the Georgian Nation) by
Iv. Javakhishvili, books and articles by T. Zhordania, Ek. Takaishvili, Mose Janiash-
vili, Davit Karichashvili, Sergi Gorgadze, Sargis Kakabadze), old Georgian litera-
ture (Niko Marr, Aleksandre Khakhanashvili, Korneli Kekelidze, Yustine Abuladze),
language dictionaries (Niko Marr, Akaki Shanidze, Ilia Chkonia, Vukol Beridze);
Georgian culture, namely, antiquities were given considerable place in “Khristianskiy
Vostok” (Christian Orient) – a journal founded by Niko Marr (articles by N. Marr him-
self, Iv. Javakhishvili, Ek. Takaishvili, Niko Janashia, Ioseb Kipshidze, K, Kekelidze,
Giorgi Chubinashvili, Leon Melikset-Begi. It should also be remembered that in 1911,
N. Marr published one of the masterpieces of the old Georgian literature – “Grigol
Khandztelis Tskhovreba” (Life of Grigol Khandzteli) by Giorgi Merchiule, with the
Russian translation).

84
 Vakhtang Beridze

26. l. gudiaSvili, `xaSi~ (megobrebis qeifi), 1919 (anot. 12)

L. Gudiashvili, “Khashi” (Party of Friends), 1919 (annot. 12)

85
 Culture and Art
In 1916-17, Society of Georgian Physicians and Natural Scientists, headed by
Spiridon Virsaladze, was founded and on 25 May, 1918 – this is well known – Univer-
sity was opened. Its foundation slightly precedes declaration of the Independence, but
the very fact of foundation of the Georgian University is indivisible from the general
situation, from the spiritual atmosphere, n which achievement of the Independence
became possible. And, certainly, years of Independence cannot be imagined without
the University – from the very first years, it managed to maintain active scholarly (and
not only educational) activities.
Georgian press gave detailed reports on this most significant fact in the history
of national culture. This is one of the announcements published in the newspaper:
“Georgian University in Tbilisi will be opened in mid January, 1918. Department of
the Humanitarian Philosophical Studies is being formed. Lectures will be in philoso-
phy, history, literature, linguistics, pedagogy and social sciences”.5
On 25 January, list of the first University teachers was published: Rector – Petre
Melikishvili, Professor Emeritus, Dean of the Philosophical Studies Faculty – Profes-
sor Ivane Javakhishvili.
Secretary – Professor Ioseb Kipshidze.
Professors – Andria Benashvili, Korneli Kekelidze, Dimitri Uznadze, Pilipe
Gogichaishvili.
Associated Professors – Andria Razmadze, Svimon Avaliani, Shalva Nutusbidze,
Giorgi Akhvlediani, Akaki Shanidze.
Academic Supervisors – Ekvtime Takaishvili, Yustine Abuladze.
Lecturers – Elisabed Orbeliani (French language), Arthur Leist and Ilia Kipshidze
(German language), Vanda Gambashidze (English language).6
Information concerning the University opening ceremony, portraits and biogra-
phies of P. Melikishvili and Iv. Javakhishvili were also published. In the Georgian
Club “Georgian students organise quite an interesting ball for the benefit of the Geor-
gian University. Best representatives of the Georgian actors and singers will partici-
pate”.7 Comprehensive articles about the University were published. The press also
shows that opening of the University was perceived by the wide public as an event of
the great national significance.
From the autumn of the same year, the University was joined by new members,

86
 Vakhtang Beridze

27. `cisferyanwelebi~-s ordeni (anot. 13)

“Tsisperq’ants’elebi” [Blue Wine-horns] Order (annot. 13)

including Giorgi Chubinashvili, who headed the Department of Art History and Cabi-
net of the History and Theory of Art. From this time, a new page in the history of study
of Georgian art was turned, foundation was laid to the history of Georgian art, as an
independent scholarly discipline, on the level of the modern requirements. Looking
back at the first “generation” of the University professors, it can easily be concluded
that, due to its level, our newly established University would definitely equal well-es-
tablished Universities with great traditions. The professors, with minor exception,
were young enough – Ivane Javakhhishvili was 42 years of age, Korneli Kekelidze
– 39, Akaki Shanidze, Dimitri Uznadze, Shalva Nutsubidze, Ioseb Kipshidze, Giorgi
Chubinashvili – 30 or 2-3 years older, Andria Razmadze – 28 (even Ekvtime Takaish-
vili was only 55). The shortest spell will pass and all of them, even the young ones, to
say nothing of the elders, will become famous scholars of the European scale – leaders
of the branches of science and founders of the scholarly schools. Likewise, merely
87
 Culture and Art

28. artistuli kafe `qimerioni~,

moixata 1919 wels (anot. 14)
Artistic Café “Chimerioni”,
painted in 1919 (annot. 14)

several years will pass and other Georgian higher education institutions will be given
birth within the University – Polytechnic, Medical and Agricultural Institutes. It can
be said that, with the foundation of the University, new era begins in the history of
Georgian culture and science (in the same 1918, on 3 September, the University, ini-
tially considered a private institution, was declared a State one and from August 1918,
it was given the entire building of the Georgian Gymnasium – initially, it availed of
only three rooms).
In 1918-1920, Georgian scholarly literature was enriched with new important
studies and University manuals, first and foremost, in humanities, e.g., Iv. Javakh-
ishvili: “Kalakebi, Sakalako Ts’q’obileba da Tskhovrebis Vitareba Sakartveloshi
XVII-XVIII Saukuneebshi” (Cities, Structure and Conditions of the Urban Life in
Georgia in the 17th-18th cc.) (journal “P’romete” [Prometheus], 1918, №1), “Kartveli
Eris Mok’le Ist’oria” (Concise History of the Georgian Nation), book 2 – 1st-12th cc.
(1918, Kutaisi), “Damok’idebuleba Sakartvelosa da Rusets shoris XVIII Saukuneshi”
(Relations between Russia and Georgia in the 18th c.) (1919, edition of the Georgian
Club), “Sakartvelos Sazghvrebi Ist’oriulad da Tanamedrove Tvalsazrisit Gankhiluli”
(Borders of Georgia Historically and Discussed form the Modern Viewpoint) (1919,
88
 Vakhtang Beridze
edition of the Society for Spreading Literacy among the Georgians), “Kartuli Samar-
tlis Ist’oria” (History of the Georgian Juridical System), book 1 (1919, Kutaisi. As
can be seen, Iv. Javakhishvili dedicated his works not only to the remote past, but also
responded to the most acute modern problems); K. Kekelidze: “K’imeni” (Keimena),
vol. 1, “Kartuli Hagiograpiuli Dzeglebi” (Monuments of the Georgian Hagiography)
(1918), “Targmanebay Ek’lesiast’isay Mit’ropane Zmürnel Mit’rop’olit’isay” (Com-
mentaries on Ecclesiastes by Metrophanes, Metropolitan of Smyrna) (1920); G. Akh-
vlediani: “Enatmetsnierebis Shesavali. Lektsiebi” (Introduction to Linguistics. Lec-
tures), edition of the Board of University Students’ Union, three parts (1918); “Rusuli
Enis Gramat’ik’a Umaghles Dats’q’ebit Sasts’avlebeltatvis” (Grammar of the Rus-
sian Language for the Colleges. I. Phonetics. II. Morphology) (1919), “Sansk’rit’is
Mok’le Gramat’ik’a da Nats’q’vet’ebi K’lasik’uri Sansk’rit’idan da Rigvedadan”
(Concise Grammar of Sanskrit and Excerpts from the Classical Sanskrit and Rigveda

29. d. kakabaZe, `Semoqmedi da muza~ (`qimerioni~), 1919 (anot. 14)

D. Kakabadze, “Artist and Muse” (“Chimerioni”), 1919 (annot. 14)

89
 Culture and Art
with the Vocabulary) (1920, edition of the University).
In 1919, “T’pilisis Universit’et’is Moambe” (Bulletin of Tpilisi University №1,
part 1, Faculty of Philosophical Studies) was published with the articles by Ioseb
Kipshidze, Shalva Nutsubidze, Korneli Kekelidze, Dimitri Uznadze, Akaki Shanidze,
Simon Avaliani and Ekvtime Takaishvili (volume II, 1921-1922, was published only
in 1923).
Apart from the University, which had very soon turned into the centre of the
Georgian science and scholarship, several scholarly institutions and organisations,
directly linked with the study of the Georgian culture, also existed at that period:
a. Museums: Caucasus Museum, which in 1919 was turned into the Museum
of Georgia – present S. Janashia State Museum of Georgia; at first Georgian materi-
al was insufficiently presented here; former Ecclesiastic Museum; Museum of the
Society for Spreading Literacy among the Georgians; Museum of the Historical
and Ethnographic Society; Museum of the Domestic Industry. These four muse-
ums, actually, had no possibility to display their collections; their profile was very
heterogeneous, objects of absolutely different character were collected in one and
the same Museum and, at the same time, exhibits of the same kind were scattered in
different Museums. Certainly, such a situation was not considered normal, but then
there was not enough time for the re-organisation of the museum management and it
was undertaken only gradually, in the second decade.
b. Societies: Caucasus Department of the Moscow Imperial Archaeological
Society (the latter was founded in 1901), in the activities of which Georgia occupied
far not insufficient place. It had its own periodical – “Izvestiya” (Proceedings) – vol.
V was published in 1919, vol. VI – in 1921. Lev Lopatanskiy, scholar of the Iberi-
an-Caucasian languages, was its Chairman, Board Members were Leon Melikset-Be-
gi and Dimitri Gordeev, among the honorary members were Ekvtime Takaishvili and
Praskovya Uvarova – a famous scholar of the Caucasian and Georgian antiquities,
Oliver Wardrop, among the members were Mose Janashvili, Giorgi Chubinashvili,
Svimon Avaliani, Sargis Kakabadze; Caucasus Department of the Russian Impe-
rial Geographic Society, which soon ceased to exist; Technical Society of Georgia,
which published “T’eknik’uri T’erminologia” (Technical Terminology) in 1920 and
1921; members of the initiative group for the elaboration of the terminology were

90
 Vakhtang Beridze
(already in 1919) Giorgi and Rusudan Nikoladzes, Ivane Beridze, Vasil Kakabadze,
Giorgi Gedevanishvili, Mikheil Shalamberidze, D. Berekashvili, Irakli Mchedlishvili;
this had laid a foundation to the most important activity for the development of the
Georgian science, which had achieved wide scale in the succeeding decades; Society
of the Physicians and Natural Scientists was already mentioned above.
c. Historical-Archaeological Institute of the Caucasus of the Academy of
Sciences of Russia, founded in 1917 by the initiative and leadership of Niko Marr;
its members were Ekvtime Takaishvili and Giorgi Chubinashvili, junior scientific as-
sistants – D. Gordeev and S. Tigranyan. The Institute organised expeditions to Lazeti
(Ioseb Kipshidze), Akhaltsikhe Mazra (Niko Marr, D. Gordeev, Taranushenko), Java-
kheti (Silibistro Lomaia, Davit Kipshidze), in order to study dialects of the Georgian
language and Laz language, history and monuments of art; to survey Borjomi an-
tiquities (G. Chubinashvili); remarkable works were published in the recueils of the
Institute.
In 1920, most significant fact is the exhibition of the old Georgian architecture,
organised by the Historical and Ethnographic Society of Georgia, all the more impor-
tant that it was the first exhibition of this kind. Majority of the exhibits was measured
drawings and photographs – outputs of the expeditions of Ek. Takaishvili, including
1902, 1907 and 1917 expeditions to southern Georgia, 1911, 1913 and 1914 expedi-
tions to Kakheti, as well as drawings of the monuments measured by the architects
– Ebralidze, Kalgin, Severov, Kalashnikov and others – in diverse regions of Geor-
gia, numerous photographs (from the collection of D. Ermakov, by Zanis, Kühne,
Polevoi). Georgian and Russian catalogues, containing information on each monu-
ment were published. Author of the Georgian catalogue was Ek. Takaishvili himself
and the part concerning Tao-Klarjeti monuments is, actually, the first concise report of
his expeditions (and in its entirety it was even more – concise annotated revue of the
history of Georgian architecture); author of the Russian catalogue was D. Gordeev,
who had received information from Ek. Takaishvili, G. Chubinashvili, I. Zdanevich,
D. Shevardnadze and M. Kalashnikov. On the exhibition presented were fragments
of the ornamented stones, wooden doors, copies of the frescoes and inscriptions. The
catalogue comprised 289 entries and many unnumbered photographs.
Next to the science and University, introduction of the Georgian language as

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 Culture and Art
a language of education in the secondary
school should be mentioned as equally
great achievement; its foundation was laid
in the years of Independence and the pro-
cess was finalised later on.
Following statistic data is available:
according to the last statistics of the Tsa-
rist period, 864 schools with 80 234 pupils
were registered in Georgia, while in 1921,
i.e., the last years of Independence – 1 925
schools with 162 030 pupils. From 1918,
Ministry of Education (at first, the Minister
was Giorgi Lashkhishvili and then – Noe
Tsintsadze) and Education Commission of
the National Council started to support the
re-organisation of schools. From the very
beginning, re-training of the teachers was
put on agenda and respective courses were
opened. Tbilisi Pedagogic Institute, Kho-
ni, Gori and Sokhumi Pedagogic Semi-
naries were declared state institutions and
Georgian was introduced as a language
of education there. Governmental bodies
of the education system tried to introduce
practical experience of the advanced Eu-
ropean countries into the education sys-
tem.8 New curriculums were elaborated
– for these reasons an Extraordinary Com-

30. s. sudeikini, `kafes stumrebi~ (`qimerioni~), 1919 (anot. 14)

S. Sudeykin, “Guests of the Café” (“Chimerioni”), 1919 (annot. 14)

92
 Vakhtang Beridze
mission with the participation of the famous scholars and teachers was formed at the
Ministry of Education. Great attention was paid to the training of the instructors in
agronomy and applied technical sciences for Erobas9 (in this respect great was assis-
tance from the University). Georgian textbooks for the secondary schools were pub-
lished, e.g., Aleksandre Janelidze: “Pizik’a Sashualo Sasts’avleblisatvis” (Physics for
the Secondary Schools) (Kutaisi, 1918), “Dats’q’ebiti Pizik’a. Ts’elits’adi P’irveli”
(Elementary Physics. Year First) (Kutaisi, 1919).
Schools of the ethnic minorities were turned into the subject of special care (this
should be especially underlined!); were opened Armenian schools – 81, Russian
schools – 60, Tatar (Azeri should be implied) schools – 31, Greek schools – 66 and
Ossetian schools – 48.10
75 young people were sent abroad to receive their education, later on they (who
were lucky enough to survive) joined the ranks of Georgian scholars and teachers.
Due to its significance, introduction of the Georgian as a language of education
into the schools was of no less importance than the foundation of the University.
Very active and diversified was the literary life. Already in early 20th c., creative
activity of a number of prosaists and poets had marked a new stage in the history of
the Georgian literature, once again confirming, after several stages of the 19th c. devel-
opment, adoption of the new European artistic culture.
19th c. was, indeed, the great epoch of the Georgian literature and public opinion.
But this epoch, marked by the great achievements of the national culture, ended. Great
coryphaei, almost all, had passed away in the beginning of the 20th c. New time had
put forward new tasks and ignoring of these tasks, avoiding them would have turned
Georgian literature into imitatory. World literature had wonderful achievements in
the second half of the 19th c., e.g., French Symbolism, which was especially fasci-
nating for the new generation of the Georgian poets. At the same period, Balmont,
Brusov, Blok and others were active in Russia. Turn of the centuries and early 20th
c. is the time of “boiling” of the world art – new trends were emerging in literature,
Fine Art, music; they were either co-existing or replacing one another. In Georgia,
the soil proved to be already prepared for the adoption and organic “digestion” of
innovations. Luckily, similar to the case in science, literature also availed of the entire
generation (generations!) of highly talented writers. It suffices to recollect several

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 Culture and Art
names: prosaists – Niko Lortkipanidze, Grigol Robakidze, Mikheil Javakhishvili, Leo
Kiacheli, Konstantine Gamsakhurdia; poets – Galaktion Tabidze, Ioseb Grishashvili,
Aleksandre Abasheli, Sandro Shanshiashvili, Siko Pashalishvili, Giorgi Leonidze; on
the turn of 1915 to 1916, in Kutaisi “Tsisperi Q’ants’ebi” (Blue Wine-horns) “were
born” – very young Paolo Iashvili, Valerian Gaprindashvili, Titsian Tabidze, Shalva
Apkhaidze, Sandro Tsirekidze, Sergo Kldiashvili and others; young critics and histo-
rians of literature Geronti Kikodze, Vakhtang Kotetishvili started their activities, Kita
Abashidze was already active . . . many others could also be named. Some writers
were then just beginners, some – immediately managed to achieve mastery and re-
veal their distinct individuality. Many writers and critics published purely publicistic
articles, mainly, on the national issue, which, naturally, sounded acute both in the
pre-Independence period and in the time of Independence, since declaration of the
Independence as such, did not mean solving of the most complex extant problem and,
at the same time, overcoming of the conceptual-ideological contradictions.11
Naturally, writers differed by their individuality, aesthetic interests and principles

31. qarTveli mxatvrebi parizSi, 1924

(anot. 15)
Georgian Artists in Paris, 1924 (annot. 15)

94
 Vakhtang Beridze

32. l. gudiaSvili, `stepkos duqani~ (`qimerioni~), 1919 (anot. 14)

L. Gudiashvili, “Stepko’s Tavern” (“Chimerioni”), 1919 (annot. 14)

(to say nothing of the talent), but, as already noted, for their major part essential was
striving for novelty, so to say, “matching” the newest world literature, which by no
means implied betrayal of the national identity. National and Universal – this was
the main essence of the progressive Georgian culture – not only of the literature,
but (as will be shown lower) also of the painting, music and, a bit later, of the thea-
tre. Characteristic is an anonymous article published in the newspaper “Sakartvelo”,
2.03.1919, “Kartuli Khelovnebisatvis” (On Georgian Art), undoubtedly written by
Geronti Kikodze, Editor of the newspaper. It says: “Striving for new ways is discer­
nible in almost all branches of Georgian art. The trend, unfairly called Futurism and
Decadent Movement on the journalist jargon, is a true revolutionary phenomenon,
which violates traditional forms and creates elements for the new aesthetic synthesis,
while to accomplish revolution in art is extremely hard. That is why, special appreci-
ation is due to young Georgian poets, painters, musicians, boldly fighting against the
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 Culture and Art
misunderstanding and hardship, to give renewed art to the renewed Georgia”.
What did “violation of the traditional forms” mean? To say the least, the fact
that striving for independent, autonomous form – “art for art’s sake” – was put on
agenda. For Georgian Tsiperq’ants’elebi12 congenial was creative activity of Baude-
laire, Mallarmé, Rimbaud – their works were even translated. Let’s recollect Titsian
Tabidze’s “I plant Baudelaire’s evil flowers in Besiki’s garden”, words implying cer-
tain programme; congenial was Verlaine’s famous formula “De la musique avant toute
chose” – “music first and foremost” (they, when acting as “over-throwers” of the old,
had such a statement – 19th c. had turned our literature into a newspaper). Literary
Impressionism (N. Lortkipanidze, L. Kiacheli) had also left certain traces in the lite­
rature of that period. Galaktion Tabidze was neither left indifferent towards the French
Symbolism and Impressionism; he, who was organically connected with the traditions
of the 19th c. Georgian poetry, to say nothing about the depth of his creative activity,
great emotionality, he has imparted masterly brilliance to the Georgian verse, its form,
its technique. Apart from many other traits, his interest towards the French poetry is
evidenced by the French epigraphs – lines from the verses by Baudelaire, Gautier,
Henri de Régnier (the verse “Vin Aris Es Kali” [Who is This Woman]). For the new
generation, European Expressionism was neither alien.
These issues are being studied by the specialists and I, certainly, make no claims
on their detailed discussion. It is beyond my competence, but it would not be out of
place to have a look at a couple of samples (line by line translations) of this new poet-
ry, less known at present, and compare them with the 19th c. Georgian poetic heritage
– drastic difference will immediately become obvious:

Titsian Tabidze

“Tskheni Angelosit” (Horse with the Angel)

“White hope of the Apocalypses,
Road far-off,
Chimerea, Khaldea, grey-haired Caucasus
The rider only can overtake
the fate of Georgia,
You come running, white – the hope only

96
 Vakhtang Beridze
Horse with the Angel”.
Valerian Gaprindashvili

“Jvaris Dats’era Margalit’ze Gotik’ur T’adzarshi”

(Wedding with the Perl in a Gothic Minster)
“My fiancé – the precious gem – comes with the retinue
Numberless are chimerical various bridegrooms;
False remnant of the dayness will be lost,
When the apparition of the Perl transforms me a bit.
Precious gems will be present with the masks,
Sphinxes with the gem-inlaid eyes enjoy being the bridegrooms”.

(both verses were published in 1920, in the journal “Meotsnebe Niamorebi” [Re-
vering Chamois]).

More than one remarkable work of the Modern Georgian literature belongs to
the years of Independence or slightly precedes it: Galaktion Tabidze – “Art’ist’uli
Q’vavilebi” (Artistic Flowers), Vasil Barnov – “T’rpoba Ts’amebuli” (Martyred
Love), “Gvelis Zeimi” (Snake Feast) (then two-volume collection of his works was
published), Niko Lortkipanidze – “Zhamta Siave” (Times of Hardship) and many
miniatures, many famous verses by Ioseb Grishashvili (“T’riolet’ebi Shaitanba-
zarshi” [Triolets in Shaitanbazar], “Akhpashkhanisk’en” [Towards Ashpashkhana]
and others), “Daisebi” (Sunsets) – first collection of poems by Valerian Gaprindash-
vili (1919), cycles of verses, verses by Paolo Iashvili and Titsian Tabidze, critical pub-
licistic articles by Grigol Robakidze, Konstantine Gamsakhurdia, Geronti Kikodze,
Vakhtang Kotetishvili and many others.
Activeness of the press is one of the most characteristic traits of the cultural life
at that period. Numerous literary and artistic journals and newspapers – weekly and
monthly – were being published (certainly, purely political newspapers are not im-
plied here). Some of them were founded earlier (e.g., Ioseb Imedashvili’s most pop-
ular, illustrated “Teat’ri da Tskhovreba” [Theatre and Life], humorous “Eshmak’is
Matrakhi” [Devil’s Whip], managed by highly talented Nestor Kalandadze, the same

97
33. m. ToiZe, peizaJi, 1918 (anot. 10)
. M. Toidze, Landscape, 1918 (annot. 10)
 Vakhtang Beridze
“Eshmak’i” [Devil] and Shalva Sharashidze, the same “Taguna” [Mousy], “Sapi­
roni” [Sapphire], founded in 1916, Editor – Giorgi Leonidze), some were new. Some
of them soon ceased their existence, others proved to be more lasting, but all together,
they formed a varied and interesting general picture.
To quote some of them: Tsisart’q’ela (Rainbow) – monthly journal, edition of
the “Culture and Education Commission” at the Central Board of the Trade Union of
the Railway Workers. “Poetry, belles-lettres, drama, critics, bibliography”. Editorial
Board: Ivane Gomarteli, Sasha Abasheli (such was his signature), Polio Ireteli, Arch-
il Rukhadze, Orphan Worker (Solomon Tavadze). It was published from December
1919.
Mshvildosani (Archer) – journal of Tsisperq’ants’elebi, Editor – Sandro Tsire-
kidze; it was published from January 1920; Meotsnebe Niamorebi – monthly journal
of Tsisperq’ants’elebi, Editor – Valerian Gaprindashvili (with a sketch by Lado Gudi-
ashvili on the cover); it was published in 1919-1924; Barrik’adi (Barricade) – one
more journal of Tsisperq’ants’elebi, Editor – Titsian Tabidze; it was published from
1920; Buneba da Khelovneba (Nature and Art) – 1920; “monthly literary and artistic
journal”; Momavali (Future) – “scientific-literary and political journal of a group of
State University students, Editor – Andro Shilakadze, January 1921; Ars – Russian
“monthly journal of art and literature”, edited by Sergey Gorodetskiy, famous Rus-
sian poet, at that time migrant to Georgia; works by the Russian poets and prosaists
(including Anna Antonovskaya) were published in №№2-3, 1918. Georgian writers
collaborated with this journal very actively; published were translations of the works
by Georgian classic authors and modern poets, mainly, Tsisperq’ants’elebi, studies in
Georgian art and culture (including critical articles by Ekvtime Takaishvili, D. Gor-
deev and L. Melikset-Begi; critical articles by Grigol Robakidze concerning Andrei
Beli); Iskusstvo (Art) – non-political newspaper of Boris Korneev and Vasil Katanyan
(1919).
Special mention should be made of the less-known and nowadays completely
forgotten journal T’eat’ri da Musika, published in Kutaisi and edited by Ioseb Aslan-
ishvili, public figure, physician, sportsman and man of letters. The journal published
articles on theatre and music, most interesting information on the contemporaneous
artistic life, photographs, sketches, caricatures (by Shalva Kikodze, Al. Salzmann,

99
 Culture and Art
Mikheil Chaiureli – he actively collaborated with the Georgian press as a painter).
Group photographs published here are documents of the historical significance. Cover
of the first issue (March 1919) was adorned with the reproduction of “Merani” by
Lado Gudiashvili. Artistic design and layout of this journal, as well as of the majority
of above mentioned journals, is executed with the refined taste.
Amazingly intensive daily artistic, so to say, poetic life is one more, most charac-
teristic traits of that period. There were artistic cafés – a kind of artistic clubs with tru-
ly creative atmosphere – which had turned into an inseparable part of the everyday life
of the artistic intelligentsia. Here lectures, presentations, disputes on various topics of
art and literature were held; these were also actively participated by non-Georgians,
Russian poets, migrants from Russia, who had found shelter in Tbilisi, including, apart
from already mentioned Gorodetskiy, Osip Mandelstam (one can recollect his verse
“Mne Tiflis Gorbatỵy Snitsya” (I See Humpbacked Tiflis in My Dreams), written in
1920), a whole pleiad of Futurists – Kruchonikh, Igor Terentyev, Vasiliy Kamenskiy,
Ilia Zdanevich, Kolau Chernyavskiy (he stayed in Tbilisi forever).13
Among these cafés most popular were “Artisticheskiy Kabachok” (Artistic Ta­
vern), 12, Rustaveli avenue (in which, mainly, Russian Futurists gathered) and, espe-
cially, “Chimerioni” (in the basement storey of the Rustaveli Theatre), established
with the initiative of the writers and decorated by the most talented painters (in the
Soviet times, the murals, possibly, as ideologically improper, were plastered, although
they contained nothing “hazardous” and only recently survived fragments were re-
stored).
Announcement from the newspaper “Sakartvelo” (1920, 17 October, №124):
“Chimerioni. Every day best actors from Petrograd, Moscow and locals will perform.
Every three days the programme changes. Orchestra conducted by Stupelli. Cuisine is
paid special attention to. Buffet avails of the foreign and local drinks”. “On Sunday,
17 October, big party of the “National Party” will be held. Best artists of Tbilisi are
participating. Preliminary booking of tables is accepted”. Merely these two announce-
ments bear sufficient evidence that Chimerioni was highly popular cultural centre.
Years preceding the declaration of Independence and years of Independence
proper can righteously be considered a significant stage in the history of the Georgian
national painting.

100
 Vakhtang Beridze
As is known, foundation to the Modern Georgian painting is laid – after the tran-
sitional period of the first decades of the 19th c. – in late 19th c., when young Georgian
painters with the European artistic education began to work – firstly, Romanoz Gvele-
siani, Aleksandre Beridze, Gigo Gabashvili, later on, Davit Guramishvili, Aleksandre
Mrevlishvili, Mose Toidze, graphic artist Anton Gogichaishvili (as well as the only
sculptor Iakob Nikoladze).14 Their historical mission was to enrich Georgian painting,
which, due to the historic destiny of our country, still remained within the medieval
“bandages” up to the 19th c., with the Post-Renaissance realistic European painting:
i.e., we were to reach the stage of development, which was long enough achieved
by Europe and, somewhat later, by Russia as well. They had fulfilled their mission
quite well; but meantime – first, in the second half of the 19th c., and later on, in early
20th c. – world painting had taken enormous step forward, passing several new stag-
es: Impressionism and Post-Impressionism, later on, Fauvism and many other trends,

34. Jurnali `eSmakis maTxraxi~

(anot. 16)
Journal “Eshmak’is Matrakhi”
[Devil’s Whip] (annot. 16)

101
 Culture and Art
rapidly replacing one another. The same was the case in Russia.
It was at this time proper that the new generation of the Georgian artists had
started their creative activities; these were painters – Dimitri Shevardnadze, Valerian
Si­damon-Eristavi, Aleksandre Tsimakuridze, Mikheil Chiaureli, Davit Kakabadze,
Lado Gudiashvili, Shalva Kikodze. Shevardnadze had received his education in Mu-
nich, Gudiashvili – in Tbilisi, Sidamon-Eristavi, Tsimakuridze and Kakabadze – in
Russia. Their attitude towards the new trends was not the same – creative activity of
some is closer to the traditional, is less “revolutionary”, some – first of all, Davit Ka­
kabadze and Lado Gudiashvili, those with the most distinct individuality – will say a
new word. But all had made their own contribution to the establishment of the Modern
Georgian painting: Dimitri Shevardnadze had mainly spent those years (he returned
from Germany in 1916) on public and organisational affairs and his contribution to
the national art is truly invaluable; later he had achieved much as a scenographer, a ci­
nema artist and a graphic artist; Tsimakuridze was the first Georgian painter, who had
dedicated his entire creative activity to one genre – landscape. It is him, who should
be credited with the establishment of this independent genre in Georgian painting;
Sidamon-Eristavi has laid foundation to the Georgian historical genre.
Davit Kakabadze was the only theorist among the representatives of this genera-
tion. He was not only a theorist, but also a scholar of the old Georgian art and an inven-
tor (later he invented three dimensional stereoscopic cinema, realisation of which was
blocked by the Russian bureaucrats). He published articles, books (when in France) in
Georgian and French on the ways of Modern Georgian art. What kind should the 20th
c. Georgian art be to answer modern requirements and, at the same time, to retain its
national character? To put it otherwise – modern and national – this is the main sub-
ject of Davit Kakabadze’s thoughts and strivings. And one more thing – the problem
of “autonomy” of art, problem of mastery, of autonomous value of the specific modes
of artistic expression, independent of the contents (remember, what was said earlier
about the Georgian literature of that period). Writing about the representatives of the
elder generation of Georgian painters, he appreciated high public significance of their
activity, but he argued that the “art proper” was not on the proper level in their works.
D. Kakabadze thought that it was the duty and mission of specifically his generation
to find solutions to the artistic tasks put forward internationally.

102
 Vakhtang Beridze
Many remarkable works of the Georgian painting are ascribable to the years of
Independence. Without any exaggeration, it can be said that Davit Kakabadze and
Lado Gudiashvili, who were soon to leave for Paris, already then, before going there,
were well-formed painters with distinct, unique individuality. Mere mention of Davit
Kakabadze’s masterpieces is sufficient: “Imeruli Nat’urmort’i” (Imereti Still-life)
(1918), “Imereti – Dedachemi” (Imereti – My Mother) (1918), “Imereti. Ts’iteli Gza”
(Imereti. Red Road) (1918), sketches for the murals of Chimerioni (1919), series of
sketches dedicated to old Tbilisi (1918); from 1920 (in Paris) – new “chapter” of his
creative activity begins, when he, absolutely intentionally, turns into a follower of
abstract painting (however, he has neither rejected realistic art); at that period Lado
Gudiashvili had already created several pictures of the “K’int’o15 series”, which were
a new word in the Georgian painting: “Khashi”16 (1919), “K’int’oebis Keipi Kaltan”
(K’int’os’ Carousal with the Woman) (1919), “Sadghegrdzelo Garizhrazhze” (Toast
on the Daybreak) (1920), “Idilia” (Idyll) (1920), “Mokeipeni Etlshi” (Carousal Par-
ty in the Carriage) (1920), “Tevzi – Tsotskhali” (Fish – Tsotskhali) (1920), as well
as “Nadiroba” (Hunting), “Mts’q’emsi Mek’ameche” (Herdsman); what he created
later, in Paris, was a direct continuation of what was conceived and formed in Tbilisi.
To the same period belong “Tamar Mepe” (King Tamar) (1917) and “K’rts’anisis
Brdzola” (Krtsanisi Battle) by V. Sidamon-Eristavi – first pictures, subjects of which
were taken from the history of Georgia.
Such is the chronicle of events in the sphere of Fine Art in these years: in 1916,
Dimitri Shevardnadze (1885-1937), having returned from Munich, founded Society
of Georgian Artists and Giorgi Zhuruli, famous public figure, was elected its Chair-
man. Dimitri Shevardnadze was his Deputy and actual leader of the Society activities.
Society Statute, published in the same year, 1916, in Georgian and Russian, states that
“Society of the Georgian Artists is being founded in Tpilisi, with the aim to support:
a) connection-union of painters, sculptors and architects; b) collection, protection and
study of the remnants of art among the Georgians”. In order to fulfil these aims, the
Society was to establish an Art Gallery and a Library at it, to organise expeditions to
study old Georgian art, to support development of the artistic craftsmanship among
the Georgians, to care for the material well-being of the painters and scholars of the
old art.

103
 Culture and Art

35. m. Wiaureli, `abesalom da eTeri~ (`eSmakis maTraxi~) (anot. 16)

M. Chiaureli, “Abesalom and Eteri” (“Eshmak’is Matrakhi”) (annot. 16)

This programme leaves no doubt that it was foreseen for many years and its au-
thors intended to implement it in the free Georgia. It can be said that during the first
4-5 years a lot was made.
It is amazing, how energetically, systematically and purposefully the Society
started its activities from its very foundation. Two expeditions – that of 1916 to Na­
bakhtevi and that of 1917 to Tao-Klarjeti – participated by the members of the Society,
were already discussed above.
Minutes of the Society Board meetings bear evidence of the diversity of the So-
ciety interests; here are some of the discussed issues:

1916.15.05.
– Presentation, concerning drafting plans and taking photographs of old buildings
in Tpilisi. Drafting plans was considered necessary. Engineer Petre Mamradze and ar-
chitect Simon Kldiashvili (author of the University building) were charged to examine
such old houses in the city and take photographs, where necessary.
104
 Vakhtang Beridze

36. scena speqtaklidan `darejan cbieri~

Scene from the Performance “Darejan Tsbieri” [Darejan the Insidious]

– “Issue of finding and purchase of works by the painter N. Pirosmanashvili, dis-

covering of his residence and collection of his biographical data”. “Resolution. The
Board recognises N. Pirosmanashvili’s pictures as remarkable and considers their dis-
covery and purchase necessary. Since, at present, the Society avails of no money, His-
torical and Ethnographic Society of Georgia should be appealed to with the request
to purchase these pictures as folk works. The Board will assist in their discovery and
collection. Collective exhibition of N. Pirosmanashvili’s works should be organised.
Information concerning his whereabouts should be collected, if N. Pirosmanashvili
is alive, material assistance should be granted to him, measures should be taken to
collect biographical data of his life. This should be undertaken by the Commission
consisting of L. Gudiashvili, I. Grigolashvili, D. Shevardnadze, M. Toidze and Za-
ziashvili” (as is known from the memoires of L. Gudiashvili and others, the Commis-
sion managed to find Pirosmani, to invite him to a meeting of the Society, had a talk
with him, provided minor material assistance to him – in return, with this money, Niko
bought paints and painted new pictures and donated them to the Society. Although,
105
 Culture and Art
later Niko disappeared again and they could not save him, his works were carefully
looked for and collected already in those years and had achieved great success).
1917.22.10.
– “Presentation of the Commission, concerning the plan of the Pantheon of Geor-
gian public figures”. The Board “resolved to appeal to the Georgian artists to take part
in the elaboration of the plan for this final abode”.
– On several meetings the issue of the exhibition of copies of the Georgian fres-
coes was discussed. The exhibition was to be organised together with the Historical
and Ethnographic Society of Georgia. It was opened on 8 January with Ek. Takaishvi-
li’s presentation on Georgian frescoes and was closed on 19 February. The exhibition
was visited by more than 7 000 persons. According to the minutes of the Society,
“soldiers and poor pupils were admitted free of charge”.
1918
Society of Georgian Artists petitions the Government for handing them over the
“Didebis Tadzari” (Temple of Glory).
1919
– D. Shevardnadze submitted a proposal on opening the Picture Gallery to the
Government.
– “Didebis Tadzari” was handed over to the Society of Georgian Artists. Hand
over Act is signed by the General B. Eradze, Director of the Military-Historical Ar-
chive and D. Shevardnadze.
– “Chimerioni” was adorned with murals by Sigizmund Valishevski, Polish paint-
er born in Georgia, Lado Gudiashvili, Kiril Zdanevich, Russian painter S. Sudeikin.
– On its meetings of 20 and 22 June, Council of the Artists’ Society discussed
the issue of selecting young painters to be sent abroad. Among the candidates were
Lado Gudiashvili, Davit Kakabadze, Irakli Toidze, Keto Magalashvili, Valerian Sid-
amon-Eristavi, Shalva Kikodze, Mikheil Chiaureli, Elene Akhvlediani and others.
Most votes were received by Gudiashvili and Kakabadze, who left for France the
same year.
– First exhibition of Georgian painters was held. It was participated by the rep-
resentatives of all generations: Gigo Gabashvili, Mose Toidze, Iakob Nikoladze, Al.
Mrevlishvili, Val. Sidamon-Eristavi, Davit Kakabadze, Lado Gudiashvili, Shalva

106
 Vakhtang Beridze
Kikodze, Tamar Bilanishvili, Elene Akhvlediani, Tamar Tavadze, Erekle Toidze, Sa-
lome Nikoladze, Vasil Jorjadze. For the first time exhibited were Pirosmani’s works
“Korts’ili K’akhetshi” (Wedding Feast in Kakheti), “Aghdgomis Bat’k’ani” (Easter
Lamb), “Keipi Rtvelis Dros” (Carousal during the Vintage), “Dgheoba” (Ecclesiastic
Feast), “Mogzauri” (Traveller), “Keipi” (Carousal), “Iremi” (Deer), “Nat’urmort’i”
(Still-life) (from these, a couple of pictures belonged to the Society of Artists, others
– to D. Shevardnadze, N. Chernyavskiy, Zdanevich brothers. At present, all these are
kept at the State Museum of Art). Greatest number of works (painting and graphic art)
was exhibited by D. Kakabadze, L. Gudiashvili, V. Sidamon-Eristavi and sculptor I.
Nikoladze. With a couple of exceptions, as is well known, above mentioned painters
had left a deep mark in the Modern Georgian art. Some of them were at the very be-
ginning of their creative activity at that time.
– In December, exhibition of non-Georgian painters living in Georgia was orga­
nised.
1920
Constituent Assembly approved the proposal for opening National Gallery. “The
institution is subjected to the Ministry of Education and is subsidised by the State”.
From the very beginning, the Gallery (opened on 20.03.1920) was headed by Dimitri
Shevardnadze, he was assisted by the painter Giorgi Natidze, who, later on, till his
death, worked at the library of the State Museum of Art.17 At the very beginning, ex-
hibited were portraits of the 19th c. Tbilisi School, Persian miniatures (very important
samples) and Western European pictures and drawings (relatively smaller number).
As is known, collection of the National Gallery formed basis for the State Museum
of Art.
Apart from the above mentioned exhibitions, other exhibitions were also orga­
nised in 1918-1920, those of the individual painters (Gudiashvili, A. Bazhbeuk-Me-
likov, Armenian by birth, residing in Tbilisi, of Moscow Futurists – on 12-14 April
1918, etc.).
Besides, the role of the contemporaneous Georgian periodicals in the development
of the graphics, first and foremost of caricature, should, necessarily, be touched upon.
Great was contribution of Oskar Schmerling, German, living in Tbilisi and ­A. ­­Salzmann,
from Georgians most active were Mikh. Chiaureli, Shalva Kikodze (with the pseudonym

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 Culture and Art
Shaliko), Sandro Shanshiashvili.
I think that all above said confirms the viewpoint expressed at the beginning
that the years of Independence mark the stage in the history of Modern national art,
remarkable in many respects, without which the general picture of this history can-
not be drawn. It can be added that at present, artistic life in Tbilisi and in Georgia, in
general, in those years, attracts vivid interest of the Western European scholars. This
is evidenced by the presentations of Italian and German art historians on the Sympo-
sium on Georgian Art, as well as a volume “L’Avanguardia a Tiflis” – “Avant-garde
in Tbilisi”, published in 1982, in which special place is given to Tsisperq’ants’elebi
and Russian Futurists, active in Tbilisi in those years. Published are very interesting
articles: “History and Theory of the Georgian Avant-garde (1915-1924)” by L. Maga-
rotto, “David Kakabadze’s Consideration on Art” by G. Buachidze, “Futurism of the
Menshevik Period” and others.

In the last decade of the 19th c., in the epoch of awakening of the national move-
ment, increased interest towards the history of the country, historic monuments was
quite natural. Likewise, the interest towards the national music – care for the pro-
tection and collection of the folk songs – was also greatly increased. From 1870s,
collection and publication of the folk songs was begun (recueils by Machavariani,
A. Benashvili, Z. Chkhikvadze and Ia Kargareteli). In 1882, choir of Meliton Ba­
lanchivadze was formed, in 1885 – that of Lado Agniashvili, conducted by the Czech
Joseph Ratil.
Professional music performers appear: pianist Aloiz Mizandari (pupil of Rubin-
stein), violinist and composer Andria Karashvili, conductor Ivane Paliashvili, opera
singers Pilimon Koridze and Kakabadze.
On the turn of the centuries, founders and pioneers of the professional Geor-
gian music – Meliton Balanchivadze, Dimitri Arakishvili, Zakaria Paliashvili, N. Sul­
khanishvili, K. Potskhverashvili. They, excluding Sulkhanishvili, had received their
education in the conservatoires of Russia. During their stay in Russia, they had ne­ver
ceased their contacts with Georgia, organising expeditions to various regions of Geor-
gia to record folk songs and concerts of Georgian songs in the cities of Russia, actively
promoting Georgian folklore. As early as the end of the 19th c., Meliton Ba­lanchivadze

108
 Vakhtang Beridze
began writing first Georgian opera “Tamar Tsbieri” (Tamar the Insidious) (later it was
named “Darejan Tsbieri” (Darejan the Insidious) and Paliashvili started composing
his “Abesalom da Eteri” in 1912. In Tbilisi there was a musical school of the Geor-
gian Philharmonic Society and in 1917, Tbilisi Conservatoire was founded. As evi-
denced by the press, in 1918-21, musical life was very intensive in Georgia, first and
foremost, certainly, in Tbilisi. Active were: “Georgian Musical and Charity Society”,
“Union of the Georgian Musicians-Singers” (in 1920, Mikheil Nanobashvili (Michel
Dariali), singer returned from Paris and was elected its Chairman), “Georgian Philhar-
monic Society”, founded in 1905 by the initiative of Zakaria Chkhikvadze, “Georgian
National Choir”, choirmaster was Mikh. Kavsadze, “Choir of Western Georgian Folk
Singers” under the supervision of famous Dzuku Lolua; mixed choir of the Georgian
Military Union, under the supervision of Niko Sulkhanishvili; in 1919, with the as-
sistance of the Cooperatives’ Union, Georgian Musical Society founded the Choir
under the supervision of Arakishvili and Danovskiy.18 The Choir travelled to western
Georgia, “gave national concerts in every region” (this is a quotation from “Teat’ri da
Tskhovreba”, 1920, №1, information is supplemented with the note: “regretfully, staff
of the Choir, excluding men, is almost non-national”, but, hopefully, ultimately, it will
become national; on 10 June, 1918, above mentioned Choir of the Georgian Military
Union gave “first Georgian national concert of the national works by our composers
(D. Arakishvili, M. Balanchivadze, N. Sulkhanishvili, Z. Paliashvili and I. Jabadari).
Participants are I. Sarajishvili, O. Kalandadze, V. Kalandadze, Iliko Abashidze, free
artiste and performer on the violin, is appointed co-ordinator of the concert. Catholi-
cos-Patriarch Kirion is invited to the concert”.19 In June, 1918, a concert dedicated to
the works by Dim. Arakishvili was organised, which received enthusiastic comments
from Zakaria Chkhikvadze – we have professional musicians, true interest towards
the Georgian music is being awaken, he said.20 On 16 May, 1919, in the State Theatre
(i.e., Opera House), concert of the wind instruments was given, “Akhali Lit’urgia”
(New Liturgy) by Dimitri Arakishvili was performed. Many other concerts were also
organised.21
In 1919, musical school was opened in Kutaisi and Meliton Balanchivadze was
appointed its Director. In 1920, branch department of the Georgian Musical Society
was established in Signagi. Every institution – City self-governance, Eroba, Coop-

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 Culture and Art
eratives’ Union, simultaneously “put aside”
funds to purchase instruments for the military
orchestra – 20 000 roubles, monthly 8 000
roubles were allocated for the Kapellmeister,
teachers of choral singing and piano.22
Contemporary press lively and, some-
times, very emotionally responded to the
issues of Georgian music, musical educa-
tion and Georgian opera, their problems. On
25.08.1920, newspaper “Sakartvelo” pub-
lished a critical article “Kartuli Saeklesio
Galobis Sherq’vna” (Profanation of the Geor-
gian Ecclesiastic Chants) by Vasil Karbelash-
vili, in which he gives quite a severe evalu­
ation to the contemporaneous chanting in the
churches. In the issue 17 of the same year (S.
Tsereteli, Shenishvnebi Khelovnebaze [Notes
on Art]) considerable concern is expressed
with the fact that the Conservatoire is Rus-
sified, that Russian diction is taught and not
Georgian. “Why should not Georgian Opera
Studio with the national repertoire be founded,
as well as Georgian choral classes” (it seems
likely that attempts to found such studio were
undertaken already in 1919 – “Teat’ri da Tsk-
hovreba”, 1920, №1 contains information that
“with the funding of the Cooperatives’ Union,
37. Jurnali `Teatri da Georgian Opera Studio was established under
cxovreba~ (anot. 17)
the supervision of Stollermann”; in №6, 18
Journal “Theatre and Life”
(annot. 17) portraits of the “Opera Studio singers” were
published. What happened to this Studio? Had
it left any traces?)

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 Vakhtang Beridze
The issue of the Georgian opera was very acute for the public. Characteristic is an
article in Teat’ri da Kalaki (Theatre and City) (1918.16.06., №9), which states: “Apart
from drama, capital of Georgia also needs opera. Opera troupe should be formed and
foundation laid to the future of the Georgian opera, we avail of both, repertoire and
performers. Operas “Tamar Tsbieri”, “Vepkhist’q’aosani” (Knight in the Panther’s
Skin), “Shota Rustaveli”, “Abesalom da Eteri”, “Krist’ine”, “Ghalat’i” (Treason),
“K’erp’ta Damkhoba” (Demolition of Idols) and others. We have singer-actors, scat-
tered here and there”. From the mentioned operas, “Tamar Tsbieri” was not fully
completed by that time and was staged only in 1926; it seems likely that “K’erp’ta
Damkhoba” by K. Potskhverashvili, was left unfinished; I know nothing about “Vep-
khist’q’aosani”; “Ghalat’i” belongs to the Russian composer Ipolitov-Ivanov (after
the play by Al. Sumbatashvili), while others very soon appeared on the stage and their
staging proper had turned into the most significant event in the contemporaneous mu-
sical life (and Georgian culture, in general).
Revaz Gogniashvili’s opera “Krist’ine”, after Egnate Ninoshvili’s story and Po-
lio Ireteli’s play was the very first among the Georgian operas.
This opera, absolutely forgotten today, as well as its author, was first staged on
21.05.1918 and succeeding days, five times in total, in the Georgian Club, with the
initiative of the “Georgian Singer-Musicians’ Union”. The opera consisted of 3 acts
and 4 scenes; performance was directed and conducted by Nikoloz Kartvelishvili. The
same year, Gogniashvili had completed his second opera – “K’udiani” (Witch), but
no traces of it are discernible, maybe it was never staged.23
1919 was especially remarkable for the history of the Georgian opera: on 5 Feb-
ruary, D. Arakishvili’s opera “Tkmuleba Shota Rustavelze” (Shota Rustaveli Story)
was first staged – this was the first Georgian opera on the stage of Tbilisi Opera House,
which, by that time, already had 70 year-old history. The opera was staged by Alek-
sandre Tsutsunava, greatest Georgian opera director, who from 1918 was appointed
manager (commissar) of the Opera House. Scenographer was Al. Salzmann, German
painter residing in Tbilisi (as a caricaturist, he actively collaborated with the Georgian
press), conductor – S. Stollermann. Role of Rustaveli was performed by Vano Sara-
jishvili, that of Tamar – by Spitko. A booklet dedicated to the opera, with the text by
Iliko Abashidze, was published.

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 Culture and Art
On 21 February, “Abesalom da Eteri” was premiered. The author was conduct-
ing. Role of Eteri was performed by O. Khakhutashvili-Shulgina, that of Abesalom
– by Zalipskiy, that of Murman – by S. Inashvili; director and scenographer were
again Tsutsunava and Salzmann, respectively (several reproductions of the decora-
tions sketches were published in the journal “Teat’ri da Tskhovreba”, 1919, №1).
“Opera was attended by very many people, including representatives of the foreign
states. The evening had left inerasable impression on the public and had acquired
festive character”.24
On 25 February, newspaper “Sakartvelo” published comprehensive review by
Inen on “Abesalom”: he praised many things with enthusiasm, he considered certain
things unnecessary and to be taken out (in fact, Paliashvili took out certain passages).
Many other reviews were also written on both operas. All stated that this was a great
event in the history of the national culture, but made some critical comments as well.
On 25 February of the same year, “as a mark of Z. Paliahsvili’s gratuitous work”,
his opera was staged again. “Public greeted the author with great sympathy and ap-
plauded him with proper ovations. Representatives of the Government also attended
the opera. As a sign of respect, the Government awarded ten thousand roubles to Z.
Paliashvili and a special badge depicting a lyre and the coat of arms of Georgia”.25
Earlier, on the premiere of the “Tkmuleba”, Dimitri Arakishvili was also awarded.
On 11 December, 1919, for the first time staged was Viktor Dolidze’s “Keto da
K’ot’e”, which, similar to Paliashvili’s “Abesalom” is up to now on the stage and was
also performed beyond the boundaries of Georgia.
Discussion of these operas far exceeds both, the limits of aims of this article
and my competence. But I think it necessary to quote the words of D. Arakishvili
and ­­Z. Paliashvili from their autobiographies. These words are essential for the un-
derstanding of their artistic credo.
D. Arakishvili: “I try to stretch invisible threads between Georgia and Europe.
I think that purely national creativity, with a tint of ethnographic character, will be
of merely local significance, which is, certainly, noteworthy, but which, at the same
time, will not exceed the boundaries, exactly because it would be coloured with the
local paints only. That is why, to give Georgian musical creativity general character,
boundaries of the creative activity should also be widened. One should create not in

112
 Vakhtang Beridze
the ethnographic, local style, but equipped with the knowledge provided by the musi-
cal technique and European theory, one should use this technique in the formation of
the Georgian music. To put it shortly, one should create such music from the national
melodies, which will be similarly received both by the Georgians and the Europeans.
This is the opinion I share and try to realise in my creative activity”.26
Z. Paliashvili: “My foremost aim and striving, in every my work, was and will
always be that “harmoniser” or author of the Georgian melodies should not betray
the principle, which is the primary treasure. In the treatment or creation of the folk
melodies, this principle implies complete and pure preservation of the Georgian “co­
louring”, born from the heart of the people. Certainly, this should be shaped in Euro-
pean, or rather, world musical forms and based on its musical canons and technically
elaborated. I am, and will always be, supporter of this principle, since this is the only
way, which can contribute to the efflorescence of our musical art and develop it”.27
These two texts, actually, express one and the same general idea in different
words, which is shortly formulated in the very first sentence of D. Arakishvili: “I try
to stretch invisible threads between Georgia and Europe”. It is significant that the
position of Georgian composers, their “direction” principally coincides with the aims
of Georgian writers and most talented painters – it was exactly what would answer
requirements of the new epoch.
Other remarkable steps in the life of the Tbilisi Opera House were performance
of foreign operas in Georgian: translated and staged were “The Barber of Seville” by
G. Rossini and “Demon” by A. Rubinstein. This initiative was, regretfully, not main-
tained in the succeeding years, ceased quite soon.
Years of Independence seem to be a kind of transitional period in the history of
Georgian theatre.
Similar to the case of other branches of culture, here the problem of the old and
new was also very acute. In 1919, Akaki Pagava wrote: “we repeatedly spoke and
wrote about the Georgian drama. Old should necessarily die, to give birth to the new
– and now we clearly see that the old theatre, although distinguished and deservedly
celebrated, is, nonetheless, dying. No one should feel hurt at this, since it is absolutely
natural, because nothing happens without the time and space. That is why, the old
should pass away as an outdated”. The author mentions great figures of the old theatre

113
38. d. kakabaZe, `imeruli naturmorti~, 1918
D. Kakabadze, “Imeretian Still-life“, 1918
 Culture and Art
– Mako Saparova, Vaso Abashidze, Nino Chkheidze, Lado Meskhishvili and others
with respect, but he thinks that the new theatre has new tasks to solve. He and, simi-
larly, Mikheil Koreli underline low professionalism of the actors, general low level of
the theatrical culture.28
Great hopes were anchored on the Studio founded in 1918 by Giorgi Jandieri,
newly returned from France (there he worked in Odeon Theatre). First performance of
the Studio (Brieux’ play “Religion”) was mentioned with praise, were glad that “intel-
lectual young generation, enthusiasts of the work on stage and creative activity, flocks
around the Studio” (members of the Studio were Veriko Anjaparidze, Mikheil Ge-
lovani, Akaki Vasadze, Shalva Gambashidze, Ushangi Chkheidze, Mikheil Chiaureli).
The Studio has staged plays by Rostane, Hauptmann, Sio Chanturishvili. G. Jabadari
took his job very seriously. He even had enough time to publish a book in Georgian
“Diktsia Msakhiobebis da Orat’orebisatvis” (Diction for Actors and Orators). But the
Studio seems likely to have been hindered by numerous obstacles, in 1920 it was
closed and Jandieri returned to France.
In 1920, the journal “Teat’ri da Tskhovreba” (№1), over-viewing the situation
of the previous year, wrote: “Drama is in a bad state. 1919 season started in the State
Theatre, but, due to the conflict with the administration, the troupe was left in the
street. Now they perform at the Georgian Club”. The situation changed drastically,
when in 1920, “Tbilisi City Board decided to forcefully take away Artistic Society
building from Yuzbashev” and handed it over to the Georgian drama (this is present
Rustaveli Theatre building).29
Notwithstanding such a critical attitude, it should be stated that Georgian theatre
also had certain success. Kutaisi Theatre, headed by Mikh. Chiaureli and Al. Imedash-
vili, worked very actively, although it had serious financial problems (Kutaisi availed
of its own “Dramatic Society”). In those years, in Georgian theatre active were fol-
lowers of the Moscow Arts Theatre (those, who had worked at that Theatre, or those,
who had received their education there): Al. Tsutsunava, who paid particular attention
to the opera theatre, highly talented Valerian Shalikashvili, who had passed away very
early (in 1919), Akaki Pagava, Mikh. Koreli, Aleksandre Akhmeteli just started with
his first bold artistic experiments.
Georgian Dramatic Society showed certain activity – announced enrolment to

116
 Vakhtang Beridze
the new Studio, nominated awards for the best original play.30 In 1918, “Teat’ri da
Tskhovreba” (№6) published information, maybe, forgotten by many, nowadays – on
7-12 March annual meeting of the Georgian Artists’ Union was held (Shalva Dadiani
was elected Chairman of the Society). It was resolved to invite “famous Kote Marjan-
ishvili” as a director. At that time, he could not manage to come, he headed Rustaveli
Theatre only from 1922 and, as is known, revival of the Georgian theatre is connected
with his name proper.
From the theatrical life of those years, also noteworthy is the fact that several
workers’ theatres were opened, jubilees of famous actors were organised, e.g., that of
Viktor Gamkrelidze in 191831, of Vaso Abashidze in 191932. According to the report of
Vakht. Garrice, it was a true fete; tours were organised, e.g., of Aleksandre Imedash-
vili (“Othello” was performed)33; in those years, actors of the Moscow Arts Theatre
(Vas. Kachalov, among them) performed in Tbilisi for quite a long time, which, doubt-
less, was an important event in the cultural life of Tbilisi (announcements and reviews
were published in the contemporaneous newspapers).
As far as I am concerned, Georgian feature film created in 1918-20 is not pre-
served and is neither mentioned anywhere. But it is known that the first Georgian
feature film “Kristine” (after E. Ninoshvili’s story) was shot in 1916, by the director
Al. Tsutsunava, camera-man was Al. Digmelov, later on he was long enough active in
Georgian cinematograph, painter was Dim. Shevardnadze, who can be considered a
pioneer in this sphere of national cinematograph, producer was Germane Gogitidze,
actual founder and organiser of the Georgian cinematograph. Main role was played
by Aneta Abolishvili, co-starring were famous actors of the Georgian theatre – Vaso
Abashidze, Vaso Arabidze, Tsetsilia Tsutsunava, Giorgi Pronispireli, Niko Gvaradze
and others.
If we avail of no other contemporary feature film, documentary films were pro-
duced quite early and this sphere was quite active at that time. Akaki Tsereteli’s voy-
age to Racha, filmed in 1912 by Vasil Amashukeli is widely known at present (before
that, he had already shot several films), but everything that was filmed during the
years of Independence, was hidden and inaccessible up to recently. It appeared that
much interesting was filmed (here again, Germ. Gogitidze was the leader), e.g., open-
ing of the Constituent Assembly, entry of the army of Democratic Republic of Georgia

117
 Culture and Art
into Batumi, parade of 26 May, arrival of the foreign guests (delegations) and their
stay in Tbilisi, show of the Shevardeni (Falcon) sportsmen. S. Esadze, Director of
the Military-Historical Archive, had filmed funeral of Catholicos-Patriarch Kirion II,
assassinated in late June 1918 (the film is now lost).
There is information that in Europe documentary films on various monuments of
Georgia were being shown, as well as films with the participation of Georgian actors,
but it is unknown, when or by whom were these films shot. According to G. Gogitidze,
after having filmed “Kristine”, he decided that, due to the difficulties, including fi-
nancial problems, he would be unable to manage everything alone. “It became clear
to me that such an important business, as film industry, should, doubtlessly, be in the
hands of the State or a public organisation. My choice stopped on the cooperative
“Tsekavshiri”34. This organisation accepted my offer and the movie film “Kristine”,
together with it. To the same institution I handed over several newsreels filmed with
my own expenses”.35
As is known, development of the Georgian feature cinematograph belongs to the
succeeding decades.
During the years of Independence of Georgia, remarkable place in the life of
the Georgian intelligentsia was occupied by the sport. Society Shevardeni, head-
ed by the famous sportsmen and public figures – Giorgi Egnatashvili, Giorgi and
Tamar Nikoladzes, Data Javrishvili, Archil Bakradze, Gaioz Berelashvili, Giorgi
Merkviladze and others. Foundation of the Society was initiated by Giorgi Nikoladze,
before that founder and Head of one of the “Sokol”s (Falcon) in Petrograd, winner
of many sport awards. Shevardeni existed in 1918-1923 (Shevardeni was preceded
by the Society “Sok’oli”). Special attention was paid to the gymnastics, as well as
other sports. Shevardeni organised public shows, namely, participated in the 26 May
celebrations – in Vake Quarter, where there is a park at present – during the last years
of its existence, the Society published a journal “Shevardeni” (non-permanent organ
of the Union of Georgian Shevardnebi [Falcons]), Editor of the journal was above
mentioned physician Soso Aslanishvili, versatile public figure; members of the Edi­
torial Board were: Giorgi Egnatashvili, Tamar Nikoladze, Ivane Machavariani. The
Society managed to publish the first issue of the journal only in January 1922, but the
entire material was prepared earlier and reflected activities of the previous years. The

118
 Vakhtang Beridze
journal shows, how seriously Shevardeni leaders looked at their mission, righteously
considering it of national significance. Published material makes it clear that the Soci-
ety actively promoted sports all over Georgia, tried to attract boys and girls from the
childhood, elaborated Georgian sport terminology, held trainings in Georgian, drafted
manuals (in 1921, “Kartuli Modzravi Tamashobebi” [Georgian Outdoor Games] by
G. Merkviladze was published), in the journal methodological articles were published.
In the preface of G. Merkviladze’s book, Soso Aslanishvili wrote: “Shevardeni as
a vigorous power rushed into the life of our people, bringing certain turbulence into its
tranquillity and cosiness, went into the people for their own benefit, with the love for
them . . . Shevardeni is the child of the people, Shevardeni curbs sound republicans for
Georgia, Shevardeni forms strong, hardened generation . . . Shevardeni brings beauty,
swiftness, Shevardeni is the symbol of beauty. And this is the main reason of such a
successful development of the Shevardeni idea in Georgia”. In 1923, Shevardeni was
annulled as ideologically inacceptable, since it did not betray traditions of the period
of Independent Georgia.

39. g. gabaSvili, avtoportreti,

daaxl. 1922-1925 (anot. 18)
G. Gabashvili, Self-portrait,
ca. 1922-1925 (annot. 18)

119
 Culture and Art

Finally, Democratic Republic of Georgia had its own national anthem “Dideba”
(Glory), its own coat of arms and flag. Author of the anthem words and music was
Kote Potskhverashvili, of the coat of arms – famous painter Joseph Charlemagne,
residing in Georgia, of the flag – sculptor Iakob Nikoladze.
At present, this anthem, coat of arms and flag, denied and forgotten for 70 years,
again returned to Georgia.36
Thus, we can definitely say that short existence of the Independent Georgia and
those years that preceded it, is an organic part of the history of our national culture, a
part, without which natural picture of development is absolutely disfigured; moreover,
this is the most significant landmark, which marks higher level reached by the Geor-
gian culture, a bold step towards managing latest achievements of the world science,
literature and art.
Georgian artistic intelligentsia fully comprehending their mission, with the great-
est responsibility started to lay the foundation to the independent national culture.
Over the shortest spell, they managed to reveal great creative potential of the na-
tion, to show that Georgian people is worth finding its own place within the modern
civilised world. And, although, having lost Independence, Georgia had to follow a
complex and hard way, all that was laid foundation to, had not vanished without any
traces. It is in those years that roots for many positive endeavours (of entire branches
of culture) should be sought, which were accomplished in the succeeding period on
the expense of great patriotic zeal, diligent work and self-sacrifice.

1992

120
 Vakhtang Beridze

Notes
1. It is quite a characteristic (widely known, at present) fact that, when, in late
19th c., construction of the Georgian Gymnasium building started in Tbilisi, Nikoloz
Tskhvedadze, supervisor of the construction activities, well-known public figure and
other trustees of the Gymnasium, envisaged that this building would soon house then
non-existent Georgian University. This is also confirmed by the large-scale of the
building. It was neither casual that for the elaboration of the Gymnasium design pro-
posal they invited not any famous and experienced architect, but as yet unknown and
young Simon Kldiashvili (1865-1920), the first Georgian architect, who had received
his professional education in accordance with the European standards.
2. Concerning this Society see: R. Metreveli, Sakartvelos Saistorio da Saet-
nograpio Sazogadoeba (Historical and Ethnographic Society of Georgia), Tb., 1982.
3. Mazra - uyezd – lowest administrative division in Russian Empire (translator).
4. For these expeditions of Ek. Takaishvili, see: Materialỵ po Arkheologii Kavka-
za (Materials on the Archaeology of the Caucasus), vol. XII, Moscow, 1901; ­Ek. Taq’aish-
vili, Arkeologiuri Eksp’editsia K’ola-Oltisshi da Changlshi 1907 Ts’els (Archaeolo­
gical Expedition to Kola-Oltisi and Changli in 1907), Paris, 1938; Idem, 1917 Ts’lis
Arkeologiuri Eksp’editsia Samkhret Sakartveloshi (1917 Archaeological Expedition
to Southern Georgia), Tb., 1960.
5. Newspaper “Sakartvelo” (Georgia), 1918.11.01., №8.
6. Newspaper “Sakartvelo” (Georgia), 1918.25.01., №20.
7. Ibid., 1918.18.01., №14.
8. B. Ramishvili, D. Shvelidze, P’irveli Dadgenilebebi (Ganatlebis Sist’ema
Sakartvelos Demok’rat’iul Resp’ublik’ashi) (First Decrees [Education System in the
Democratic Republic of Georgia]), newspaper “Gaenati”, №1, 1991.28.06.
9. Eroba - zemstvo – local rural self-governance body, elective district council in
Russian Empire (translator).
10. Kartveli Khalkhis Samsjavroze (For the Discussion of the Georgian Nation),
Paris, 1966, p. 11.
11. Niko Lortkipanidze started his literary activity in 1902, Mikheil Javakhi­sh­

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 Culture and Art
vili – in 1903, Geronti Kikodze – in 1905, I. Grishashvili and S. Shansiashvili – in
1906; Galaktion Tabidze published his first verses in 1908, Leo Kiacheli, his first
story – in 1909, Titsian Tabidze and Paolo Iashvili, their first verses – in 1911, Vakht.
Kotetishvili, his first articles – in 1912, first verses and critical articles by Konst.
Gamsakhurdia were published in 1914.
12. Tsisperq’ants’elebi – members of the group Tsisperi Q’ants’ebi (Blue Wine-
horns) (translator).
13. It seems likely that Futurists felt themselves quite free here, they were incre­
dibly active: they founded organisations, formed groups (“Put’urist’ebis Sindik’at’i”
[Syndicate of Futurists], group “410”, which broke away from the “Syndicate”), or-
ganised cycles of presentations and lectures on Futurism and Futurists, often with
“shocking” titles – this was their well-tried mode (e.g., “Lyubovnoe Priklyuchenie
Mayakovskogo” [Love Adventure of Mayakovski], “O Teatre v Tupike [On the The-
atre in a Deadlock]; Futu na Podmostkakh, o Kinematografakh i Miniatyurakh, o
Stsenakh Marionetti, Tarto, Vsyakoy Vsyachine i Svoikh Dra” [Futu on the Stage, on
Cinematographs and Miniatures, on the Scenes of Marionetti, Tarto, Odds and Ends
and Their Own Dra]; “Vecher Intuitivnoy i Bezumnoy Poezii” [Evening of the Intui-
tive and Crazy Poetry], etc.), organised exhibitions of the Futurist painters, etc.
Besides, there was the so called Aristerium in Tbilisi (already founded before the
declaration of Independence), which systematically organised serious presentations
(in Russian) on poetry and art (lectures were often delivered by Grigol Robakidze),
exhibitions of Tbilisian and visiting painters. Kruchonikh, who resided in Tbilisi in
1916-late 1918, was the main protagonist of Futurism.
14. In 1913, opening of Ilia Chavchavadze’s tomb, with the figure of Mourning
Georgia by I. Nikoladze, was a fact of great public significance, while the monument
proper is one of the remarkable samples of the Georgian sculpture.
15. K’int’o – a kind of hawker in Old Tbilisi (translator).
16. Khashi – a kind of soup made of boiled offal (translator).
17. Archive of the Society of Georgian Artists is kept at the State Museum of Art.
18. All these “Societies”, “Unions” and “Choirs”, their history, deserve a special study.
19. “Teat’ri da Tskhovreba”, 1918, 2.06., №8.
20. Newspaper “Sakhalkho Sakme” (Public Matter), 1918, 4.06., №248.

122
 Vakhtang Beridze
21. Newspaper “Sakartvelo”, 1919, 13.01., №102.
22. Ibid., 1920, 9.06., №95.
23. “Teat’ri da Tskhovreba”, 1918, №№8 and 14.
24. Journal “Teat’ri da Musik’a” (Theatre and Music), 1919, №1, p. 65.
25. Ibid.
26. Journal “Teat’ri da Musik’a”, 1919, №1, pp. 12-13.
27. Ibid., p. 25. From the same autobiography: “Our Government seems likely to
wish to encourage certain public figures and improve their material situation. Some
Georgian composers, including me, were awarded one-time assistance of thousand
tumani (10 roubles) each; for this most praise-worthy decision of our Government, all
of us express our great respect and deep gratitude to it”.
28. Ak. Pagava, Kartuli Sastseno Khelovneba (Georgian Theatrical Art), journ.
“Teat’ri da Musik’a”, 1919, №1, pp. 6-7; Mikh. Koreli, Chveni Stsenis Dghevandeli
Sach’iroeba (Present-day Needs of Our Theatre), journ. “Teat’ri da Musik’a”,­­­ ­­­­pp. 27-36.
29. “Teat’ri da Tskhovreba”, 1920, №6, 15.02.
30. Newspaper “Sakhalkho Sakme”, 1918, №253.
31. Newspaper “Sakhalkho Sakme”, 1918, №253.
32. Newspaper “Sakartvelo”, 1919, №51.
33. Newspaper “Sakhalkho Sakme”, 1918, 5.04., №213.
34. Tsekavshiri – Central Union of Cooperatives (translator).
35. Aleksandre Gventsadze, Ep’izodebi Damouk’idebeli Sakartvelos K’ine-
mat’ograpiuli Tskhovrebidan (Episodes from the Cinematographic Life of the Inde-
pendent Georgia), journal “Cinema”, 1991, №5, pp. 4-6.
36. In 2004, new national symbols were adopted: coat of arms with the image of
St. George, flag with five crosses and anthem “Freedom” (translator).

123
40. d. kakabaZe, “Zveli Tbilisi”, 1918-1919 (anot. 1)
D. Kakabadze, “Old Tbilisi”, 1918-1919 (annot. 1)
 Dimitri Tumanishvili
Appendix
Architecture and Construction Activities
in 1917-1920 in Georgia

Dimitri Tumanishvili

1917-1921, the time of the “Great Russian Revolution” and Democratic Republic
of Georgia, is both, the “white spot” and the gap in the history of our architecture – it
seems as if construction activities stopped in 1915-1916 and restarted in 1921-1922.
One of the reasons of this is the Soviet “tradition”, which had given credit to
Bolsheviks even for the foundation of Tpilisi University; second – that nothing in the
architecture and construction activities of that period can be comparable with the con-
temporary poetry and prose, neither with the 1919 exhibition of the Georgian painters,
nor with the great opera premieres of the same 1919.
And still – this is far not the time of emptiness and fruitlessness. This is evi-
denced by the contemporary press, excerpts of which constitute the contents of the
present article. For the sake of objectiveness, periodicals of diverse political parties
are referred to – governmental organ “Sakartvelos Resp’ublik’a” (Republic of Geor-
gia), that of the Social-Democrats, the ruling party (i.e., official, for the greatest part)
“Ertoba” (Unity), that of the Socialist-Federalists “Sakhalho Sakme” (Public Matter),
that of the National-Democrats “Sakartvelo” (Georgia); besides – “Kavkasiis Kalaki”
(City of the Caucasus), a newspaper of the Caucasian Cities Union (it formed part of
the All-Russian Cities Union), later, of the Georgian Cities Union and from 1919 had
turned into “Eroba da Kalaki” (Eroba and City), a joint organ of the “Cities Union”

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 Architecture and Construction Activities
and Union of Erobas.
Discussion of purely engineering and infrastructure projects, such as paving of
the streets, construction of the water pipelines, paying and repair of roads, electrifica-
tion, establishment of the postal service units, arrangement of the telephone stations,
reinforcement of the rivers banks (e.g., river Rioni), would take us too far; but all this
was implemented in those years, slowly and with difficulties, but still, all over Geor-
gia, both in the cities and in the countryside, as a continuation of what was initiated
earlier.
Let us just have a look on what was built at that period, e.g.: in 1917 – a theatre
in Gurjaani (Sakhalho Sakme, 1917, №17) and a reading room in Kapana (Ertoba,
1918, №156); in 1919 – a courthouse in Najikhevi (Sakhalho Sakme, №686), a theatre
in Surami (Sakhalho Sakme, №669; Kavkasiis Kalaki, 1919, №№13-15); in 1920 –
Nadzaladevi workers’ club in Tbilisi (Sakhalho Sakme, №816), K. Kautski House of
the People’s Guard (Ertoba, 1920, №281); schools in Shukhuti (Ertoba, 1920, №198)
and Gverki (Sakartvelos Resp’ublik’a, 1920, №181), people’s house1 in Tobanieri
(Ertoba, 1920, №240); and what was under construction, e.g.: schools in Tobanieri
(Ertoba, 1919, №113) and in Tskemi (Ertoba, 1920, №232) or – quite surprising
at that epoch, when atheism was gaining strength – a church in Chiatura (Sakart-
velos Resp’ublik’a, 1920, №102); besides, foundation was laid, e.g.: for the people’s
house in Chancheti (Ertoba, 1918, №248; 1920, №178), or E. Ninoshvili Agricultural
School in Chanceti (Ertoba, 1919, №89).
One cannot say, this is too much and, on the other hand, these buildings would,
likely, have been of quite mediocre architectural merits. Noteworthy is, in this re-
spect, accentuation of the fact that certain buildings (e.g., above mentioned school
in Tobanieri, or a college in Onodia [Ertoba, 1918, №138]) were built of stone. All
the more, bringing to mind photographs of the schools constructed by the Society for
Spreading Literacy among Georgians before the Revolution, it is obvious that “great”
architecture was unlikely to be expected. At the same time:
a. It should be taken into account that all this, similar to the previous period –
1890s and 1900s – was, actually, a local, grass-root initiative: that of the private per-
sons, rural communities, urban self-governance bodies – e.g., referring to the workers’
club in Nadzaladevi, it is underlined that the construction was financed by the workers

126
 Dimitri Tumanishvili

41. d. SevardnaZe, avtoportreti, 1910

D. Shevardnadze, Self-portrait, 1910

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 Architecture and Construction Activities

42. erovnuli samxatvro galereis aRmosavleTis darbazi

Oriental Room of the National Gallery of Art

themselves. Accordingly, under the contemporary conditions – hardship caused by

the World War I, Revolution, etc; permanent wars (attacks of the Ottoman Empire,
Armenia, army of the General Denikin, etc.); revolts provoked by the Bolsheviks in
diverse regions (Tskhinvali, Apkhazeti, Dusheti, Imereti, Racha . . .) of the country;
unfavourable economic situation inherited from the past – one can hardly expect a
larger-scale construction activities.
b. Some of the above mentioned buildings might have been of certain value – at
least, they were appreciated as such by the contemporaries. Thus, a correspondent
of “Sakhalkho Sakme” likes summer theatre in Surami – “it is neat”, he notes (from
another source we know the name of its author – I. K. Richgorski-Savich; K’avk’asiis
Kalaki, 1919, №13-15, p. 40). It is noteworthy that special “plans” were drafted for
the public buildings, especially for the so called “people’s houses”2 (as enlightenment
centres they were given great significance to) – e.g., plan for the “people’s house” in
Kinia (or Kitsia) was drafted by Vladimir Pegushin, engineer of the Union of Erobas
and Kondrati Sakvarelidze, technician (Sakhalkho Sakme, 1920, №887). Likewise re-
128
 Dimitri Tumanishvili

43. sagazafxulo gamofenis darbazis xedi, 1919

View of the Spring Exhibition, 1919

markable is that a contest for the design proposals of the “people’s house” in Sen­ak­ i was
launched and, actually, held! (the exhibition was opened on 23.11.1919 – Sakhalkho
Sakme, 1919, №689). Design proposals were elaborated for several public buildings
in Ozurgeti, namely, “people’s house”, gymnasiums for boys and girls, City Council
building and the hospital (K’avk’asiis Kalaki, 1919, №4, p. 70). Laying of the foun-
dation for the Poti port workers’ house was welcomed with great enthusiasm by the
wide public (e.g., Ertoba, 1920, №182); this building was also thoroughly planned:
according to the information of the “Sakhalkho Sakme” correspondent, signed by his
pseudonym “Ikauri” (local inhabitant), it was designed as a two-storey brick structure
with the lecture hall, dining room, office, ambulatory care clinic, etc.).
As yet, only one project proposal is know, elaborated by the engineer Niko
Tumanishvili – a vast Neo-Classicist architectural complex to be built on the
bank of river Rioni for the sport society “Shevardeni”. It reflects contempora-
neus public taste and indicates high professionalism of its author (“Shevardeni,”
1920, №1, 24-26).
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 Architecture and Construction Activities
Alteration and transformation works were also undertaken at that period – e.g., in
Telavi, movie theatre was transformed into the so called “new theatre” by the Arme-
nian Charity Society (Sakhalkho Sakme, 1919, №629); in Dusheti, local sub-division
of the People’s Guard enlarged one of the old barracks (according to another evidence
– military club) and transformed it into a theatre (the latter proved quite “unlucky” and
vanished in fire in November of the same 1920 – cf., Ertoba, 1920, №140 and №272).
However, most interesting seem to be transformation works carried out in 1920, in

44. S. qiqoZe, `sami mxatvari~ 1920 (anot. 19)

Sh. Kikodze, “Three Painters”, 1920 (annot. 19)

130
 Dimitri Tumanishvili
Kutaisi theatre building, during which its audience hall, stage and foyer were, all,
enlarged (cf., Ertoba, 1920, №№181 and 231).
Moreover: deliberation and care for the architecture of the public buildings is
quite obvious. In 1919, S. Robakidze, Head of the Education Unit of the Cities Union,
published an article “Construction of Schools” (K’avk’asis Kalaki, №2, pp. 20-26;
№3, pp. 17-24; №4, pp. 31-35), in which he detailed number of rooms necessary for
the school, desirable capacities of the site to be allotted, interior fixtures and fittings
(lighting, etc.). The same year, on the II Convention of the same Union, S. Robakidze
put forward the issue of the necessity to staff the Union Unit by an engineer-techni-
cian and a paramedic-physician, who would elaborate project proposals for the diverse
school building typologies and submit them to the self-governance bodies (K’avk’asi-
is Kalaki, 1919, №5-6, p. 31). “Technical Unit” of this Union seems to have been
quite effective – majority of the above mentioned projects (at least, those for Ozurgeti,
Surami) were drafted by this particular Unit (see presentation of Z. Zurabyan, Head
of the Unit on the same Convention of the Union – K’avk’asiis Kalaki, 1919, №5-
6, p. 70). This Unit had also elaborated typical design projects for the hospitals and
bath-houses (four, for each typology – V. Mnovich, Zemskaya i Gorodskaya Zhisn’
[Zemstvo and Urban Life], Eroba da Kalaki, 1920, №7, p. 43), etc.
Certain urban development activities were also undertaken. As early as 1918, the
same “Technical Unit” had prepared urban planning project proposal for the cities
of Georgia (K’avk’asiis Kalaki, 1918, №13-14, p. 46). Next year, Main Executive
Committee of the Cities Union considered “elaboration of the City Plans” necessary
and even formed a group of land-surveyors, headed by the engineer N. Sokolov. But
even more remarkable might be the aims of these works – and these were “putting in
order” and “embellishment” of the cities (K’avk’asiis Kalaki, 1919, №11-12, p. 17).
Report of the “Technical and Production Unit” (M. Rusia) states that without plans it
is impossible “to build and put in order the young cities” (Ertoba, 1919, №64). Thus,
the goal, would, doubtlessly, have been implementation of certain urban development
actions in the future. Some of them were, actually, undertaken in those years, e.g., in
August 1918, “technician” Rcheulishvili (this is, surely, Dimitri (Tito) Rcheulishvili,
father of Prof. Levan Rcheulishili3) presented the project proposal for the improve-
ments in Telavi, which envisaged not only construction of the water supply system,

131
paving of the streets, reinforcement of the stone-bank
and arrangement of a bridge over it, but also repair
of the railway station and building of fifty “taverns”
(Ertoba, 1918, №166). In 1919, two new streets were
to be laid in Chiatura – one, behind the railway sta-
tion and one, in the “Lezhavas Quarter” (K’avk’siis
Kalaki, 1919, №18-19, p. 34). In 1919-1920, during
one year of “turning Lanchkhuti into a town”, ac-
cording to the correspondent, “fine and wide streets
were arranged in Lanchkhuti; a bath-house and an
electric station were built . . . (Meteor, Lanchkhuti
Town, Ertoba, 1920, №177). On 19.02.1920, Tbilisi
City Council made a decision to widen 19 February
street, applying the mode, quite unusual for present
– simultaneously replacing old houses with the new
ones (Sakartvelos Resp’ublik’a, 1920, №212).
Of no less – I rather think, of greater – interest
are two more things:
a. In 1920, in Ozurgeti, not only laying and “cor-
rection” of roads and streets was prohibited (only re-
pair was allowed!), but also new construction activ-
ities and even “major repairs”, before the City “Plan
was approved” (Eroba da Kalaki, 1920, №7, p. 45)
– this is a doubtless evidence of an intention “to make
the city more regular”! That this was not a private
whim, but a response to the demand of the wide pub-
lic, is confirmed by the following:
b. A group of land owners of Tsnori-Tskali, a
settlement developed around the railway station,
concerned with the fact that the settlement was being
built “without a system”, “without a plan”, demanded
from the Mazra Eroba to send them a “technician”
 Dimitri Tumanishvili
and if there was no other way, they were ready to cover all the costs (Sakhalkho
Sakme, 1920, №984). Thus, they, village inhabitants, wished to have “correct” plan-
ning, regularity had become adequate to the general daily and aesthetic requirements.
At the same period, new urban development ideas also begin to find their way
in Georgia. On 07.04.1917 a Society “Settlement Garden” (the Trustees: M. Aruti-
nyan, V. Rokhlin, A. Loskutova, G. Eliozov) was founded in Tbilisi; it seems, the
Society was aimed at establishing “Town-Garden” in Georgia (Ertoba, 1917, №214).
That this was far not a groundless fantasy, but quite a possible thing, is confirmed by
K. Machavariani’s article “Garden-City in Guria” (Ertoba, 1918, №49), in which he
speaks about building of a garden-city in Grigoleti, initiated by Sergi Anisimov and
the author, seems likely to sympathise with the endeavour4. It should also be noted
that construction of the above mentioned theatre in Surami was perceived, as a com-
ponent part of the efforts undertaken by Shakro Khidirbegishvili, Mayor of the town,
and his associates “to turn Surami into fully adorned and neat resort site” (Sakhalkho
Sakme, 1919, №669) – i.e., here again, certain purposefulness, intentional striving
is discernible, which would, necessarily, comprise certain artistic and architectural
(even vague) idea-ideal.
All activities discussed above were undertaken during the works for the rehabili­
tation-rebuilding of Gori, in response to the devastating earthquake of 20.02.1920,
which had ruined Gori and its neighbouring villages. Approximately in a week af-

45. sportsazogadoeba `Sevardeni~, 26 maisi, 1919

Sport Society “Shevardeni”, 26 of May, 1919

133
 Architecture and Construction Activities
ter the disaster, Gori “Rebuilding” Commission was formed, headed by the engineer
Grigol Kurdiani (Ertoba, 28.02.1920, №47). In one more week, further to the request
of the “Artistic Centre” (headed by Kote Makashvili), Noe Zhordania included Di­
mitri Shevardnadze into the Commission5, so that “immediately attention is paid to the
cultural and artistic planning of Gori and the villages” (Sakhalkho Sakme, 06.03.1920,
№177). A bit earlier, on 28 February, on a meeting of the “Georgian Technicians
Society”, it was concluded that the place, where Gori and the ruined villages should
be built, was to be identified; types of the “firm” houses were to be elaborated and devel-
opment should be undertaken in accordance with these types, “new plans” and the last
word of technology; for these purposes, the Society formed its own task group: Mi­
kheil Kaukhchishvili (Head), Vasil Kakabadze, Ivane Avaliani (ibid). On 09.03.1920,
Extraordinary Governmental Commission appealed to the owners of the ruined hous-
es, requesting to suspend construction of the houses, since the proposal of the “seis-
mic proof” house was already drafted and in a month’s time the model would be
available (Ertoba, 1920, №55). On 17 May, initial terms and conditions of the contest
for the typical project of the “seismic proof” house (with two options – for the lowland
and for the sloping areas) were published (members of the contest commission were:
Gr. Kurdiani, Gabriel Ter-Melikov, I. Richgorski-Savich; Sakartvelos Resp’ublik’a,
1920, №84; reprinted in №№85-87). Results of the contest were published on 27
June (Ertoba, 1920, №143). First “prize” was not given, second – was awarded to the
proposal with the motto “Saklya” (highlanders’ dwelling); proposal “Vesyi” (scales)
“was also purchased”. It seems likely that, due to this, “obligatory resolutions” for the
construction works (separately for the clay, wooden, brick and stone buildings) were
elaborated and in early july published (Sakartvelos Resp’ublik’a, 1920, №№149-184,
157, 160-161). They define, what we now call, acceptable parameters, violation of
which – as evidenced by the title – was considered inacceptable and impossible. In
the beginning of August, opinion of the Geological Commission became known –
rebuilt Gori was to be developed at a certain distance from its initial location, on the
hills closer to Uplistsikhe (Ertoba, 1920, №173) – this, certainly, is indicative of a
comprehensively thought off planning.
And again – as far as the local initiative is concerned: already in the beginning
of April, local Eroba had purchased a land plot for the construction of private houses

134
 Dimitri Tumanishvili
(Ertoba, №90) and by the end of May “Union of the Immovable Property Owners –
Victims of the Earthquake” was founded. The latter availed of the Technical Unit,
responsible for drafting of plans and cost estimations, preparation of requests and
petitions, purchase and selling of buildings (Ertoba, 1920, №122). Private opinion
concerning the future of Gori was also expressed. Supported by Badriashvili, Mayor
of the City, a certain Moseshvili, Moscovite engineer (residing in Moscow? arrived
from Moscow?) proposed to turn Gori into a garden-city. This time, the proposal was
considered disputable – at least, Zak. Kitiashvili, correspondent of the newspaper
“Sakartvelo” strongly objected to it, since its implementation would require felling
of the extant gardens and demolition of the survived buildings (Sakartvelo, 1920,
№106). On the other hand, this is one more proof that the idea of the “garden-city”
was quite stirring at that period in Georgia.
I think it righteous to touch upon the “monuments protection” issues, since the
Bolshevik government credited itself for not only solving the problems, but even for
putting them forward. In this respect as well, available material shows somewhat dif-
ferent picture, although, far not simple and straightforward. The situation is quite
remarkably revealed by the article “Gori Fortress Is Vanishing” by “Sanganidze”
(Sakhalkho Sakme, 1918, №265). He states that, in the past, Gori Fortress was well
patronized by the General Ivane Givi Amilakhvari (he had stabilized its walls, planted
a garden within and installed a water supply system).6 Although, continues the corre-
spondent, 1905 Revolution has brought the hatred towards the past, but up to recently,
the Fortress was, at least, guarded – and now, there is no guard, the Fortress church
is ravaged and desecrated, etc. However, most characteristic are words of a certain
People’s Guard member, said on one of the mass-meetings – “Gori is a beautiful city,
if not disfigured by an old fortress” – quoted in the article. That such an attitude was
not casual, is confirmed by the following: on 20.10.1919, on a meeting of the Tbilisi
City Council, Benia Chkhikvishvili, a well-known Social-Democrat, proposed to re-
move the name of Erekle II from one of the schools, since he was a king (Sakhalkho
Sakme, №659). He was, certainly, opposed by the National-Democrats and Social-
ist-Federalists. Responding to this, Federalist “Sitkva” (word) (pseudonym of Samson
Pirtskhalava) among others, quoted words of Irakli (Kako) Trsereteli, famous orator
of Russian and Georgian Social-Democracy – “I abhor the past” (Sakhalkho Sakme,

135
 Architecture and Construction Activities
№663). In his another article, “Sitkva” explained his own viewpoint, stating that it
was his “misfortune” that Erekle II was born as a king, but he must be given credit
for all the good he had brought to the nation (Sakhalkho Sakme, №669). Here one
can clearly see, to what an extent dubious was an attitude towards the past at that
period and how it ranged – almost apologetic in National-Democrats, respect mixed
with the skepticism in Socialist-Federalists and denial in Social-Democrats. It is quite
obvious that the general situation was not that simple, such a generalization makes it
too “single-dimensional”. There was sufficient number of educated persons among
Georgian Social-Democrat-”Mensheviks” (a few even among “Bolsheviks” – Davit
Kandelaki, Ivane Kavtaradze . . .), who had a good understanding of all values (Grigol
Lortkipanidze, Ivane Gomarteli, Viktor Nozadze . . .), while the general ratio was,
doubtlessly, such. At the same time, one of those, who spoke about the necessity of
protecting antiquities, was also Social-Democrat – Davit Turdospireli (Chkheidze).
On 17.05.1919, he published an article “Let’s Take Care of Old Georgia” in “Ertoba”
(№107), justifying his viewpoint based on the “case study” of Kvetera fortress-site.
Steps to safeguard the heritage of old Georgia were already undertaken before
the restoration of statehood. In February 1918, article 3 of the Statement of the Art
Section of the National Council,7 specifically mentions protection of the “historic
remnants”; the Section takes responsibility for the guardianship of them all and pro-
hibits their selling, restoration or excavation without the permission of the Section
(Sakartvelo, 1918, №42; Ertoba, 1918, №43). This is, doubtlessly, the first statement
of the State care for the antiquities in Georgia. In the current situation, it could not,
naturally, have been immediately realized. That was why, in 1919, looking at the
Garikula “Marshliant”8 Palace in Akhalkalaki in Kartli, a certain “Vigindara” (jerk)
wished, the State could take care of it (Sakhalkho Sakme, №472). By the end of the
same 1919, actual actions were also undertaken; namely, further to the request of the
Catholicosate Council, the Government intended to allocate 50 000 roubles for the
restoration of the churches (Sakhalkho Sakme, №648) – in December an Order was
issued to safeguard Gareji desert monasteries from the robbery (Ertoba, 1919, №268;
Sakartvelo, 1919, №237); on 30.12.1919, 1 000 000 roubles were earmarked for the
purchase of the museum objects (Sakartvelos Resp’ublik’a, 1920, №13). The latter
funding seems unlikely to be considerable – on 25.12.1919, 13 347 000 roubles were

136
 Dimitri Tumanishvili

46. quTaisis `Sevardeni~-s klubis eskizi da gegma, daaxl. 1920

Sketch and plan of the Kutaisi “Shevardeni” Club, ca. 1920

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 Architecture and Construction Activities

47. Jurnali `Sevardeni~ (anot. 4)

Journal “Shevardeni” (annot. 4)

“put aside” for the maintenance of the diplomatic corps; however, once again, taking
into account contemporary hardship, even little should be considered much. But of the
uppermost significance is the fact that in October 1919, Ekvtime Takaishvili present-
ed to the Constituent Assembly a report on the protection of the “historic monuments
and remnants of culture”, prepared by the Commission of Art; based on this report,
he was authorised to prepare a draft law (Sakhalkho Sakme, 1919, №658). Future
fate of this particular law is not reflected in the press, but understanding of the State
responsibility for the preservation of the cultural heritage for the future is distinctly
discernible. In May 1920, Ministry of Internal Affairs sent a Circular to the rural and
urban self-governance bodies, requesting from them “to take measures, so that . . .
historic-archaeological buildings” (fortresses, churches, monasteries) “extant in the
region are safeguarded from the destruction and are timely repaired, if needed” and
to inform the Ministry about the objects of “archaeological significance” (Sakartvelos
Resp’ublik’a, 1920, №118). Almost simultaneously, on 20.05.1920, Constituent As-
sembly issued a Decree – of utmost importance! – “prohibiting export of . . . historic,
138
 Dimitri Tumanishvili
archaeological, artistic and cult objects” from Georgia (Ertoba, 1920, №№117, 119).
At the same time, arrangement of the “monuments protection” became interwo-
ven with the problem of relations between the State and the Church. In the vision of
Socialists, i.e., atheists, their alienation was absolutely obvious and this had given
rise to a dilemma – the problem of the Church property, considerable (in our reality –
greatest) part of which was formed by the old churches and antique precious objects.
In the beginning of July 1920, a Commission for the elaboration of the protection
measures for the “valuable archaeological property” was established; the Commis-
sion was formed of the representatives of the Ministry of Justice, Ministry of Internal
Affairs and Ecclesiastic Council (Ertoba, 07.07.1920, №151). In a week, “ Ertoba “
published an article “The Church and Us” as its editorial, in which it was stated that,
since the Church was no more “interwoven” with the State, it would be unable to
protect “cultural remnants” and the State should become their owner and everything,
excluding “icons for prayer” should be handed over to it. The same was also repeated
further on – in this newspaper and with a somewhat lesser boldness9 in the Federalists’
“Sakhalkho Gazeti” (1920, №№875, 885). Once, “Ertoba” (1920, №282, editorial
“Democratic State and the Clergy”) even wrote that in the past, property of the Church
belonged to the State, since they were indivisible, but now, this property should be
given to the State. Firstly, there is no great logic in these words and, secondly, their
author seems to be unaware that, in Georgia, at least, the property of the royal treas-
ury, of princes, nobility, etc. was one thing and the property of the Church – another.
Based on these prerequisites, legislative resolutions were elaborated in the au-
tumn of 1920 and before that, on 11.08.1920, Constituent Assembly “put aside” 2
000 000 roubles “for the protection and repairs of the monuments of old architecture”
(these works were to be supervised by the Ministry of Education and the Council of
the Museum of Georgia) (Ertoba, 1920, №№177, 182-183; Sakartvelos Resp’ublik’a,
1920, №188). For the sake of comparison, it should be noted that, simultaneously, 20
000 000 roubles were allocated for the rehabilitation of the schools destroyed by the
earthquake in Gori Mazra. Later on, funds for the heritage protection were, most like-
ly, increased (due to the inflation or devaluation?), since in December, from 10 000
000 roubles fund, 10 000 roubles were earmarked by the Government for the protec-
tion of Mgvimevi and 20 000 roubles – for Gelati (Ertoba, 1920, №279; Sakartvelos

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 Architecture and Construction Activities
Resp’ublik’a, 1920, №278), and before that (20.11.), separate funding was “found”
for the restoration of Gori Fortress (Ertoba, 1920, №273; Sakartvelo, 1920, №139).
As for the draft laws connected with the Church property, at first, state institu-
tions and self-governance bodies were prohibited to spend money on the religious
associations, but – apart from the chapels in the army garrisons, hospitals and prisons
– churches of the historic and artistic value were exceptions (see, e.g., Ertoba, 1920,
№241); later on (Ertoba, 1920, №251), Church property was handed over to the reli-
gious societies and only the “property” of historical and artistic significance was left
to the State, namely, under the management of the Ministry of Education. It is note-
worthy that, couple of weeks before this (21.10-04.11), Ministry of Education was
authorised “to compile a list of properties” of historic and artistic value (Ertoba, 1920,
№233). This law is, certainly, far better than the Soviet one, of later date, according to
which, even the clergymen’s vestments no longer belonged to the Church – the latter
was merely a tenant. But still, there were many difficulties, non-tackled by the Law,
namely, this “property”, which “went to the State ownership”, comprised a consi­
derable number of donations from the congregation, confiscation of which would be
offensive for the faithful and, what is important, sacred objects, e.g., miracle-working
icons were also included.
The difficulties soon began, when in December, I. Akhvlediani, Chief of Kutaisi
militia, discovered objects supposedly “stolen” by the monks from Gelati monastery
and, under this pretext, confiscated entire treasury of the monastery. This caused oppo-
sition of the Catholicosate Council, personally of Catholicos-Patriarch Leonide and
Nazar, Metropolitan of Kutaisi (in 1924 he was martyred and is now canonised); the
Church was defended by National-Democrats and the state officer – by Social-Demo-
crats, who spared neither abuses, nor “collective letters” of the workers – alas, so well
known to us (see, Ertoba, 1920, №№279-280; 282-283; 287; 289; Sakartvelo, 1920,
№№169-171); Socialist-Federalists only slightly reacted to these regretful events with
an article by Petre Mirianashvili (Sakhalkho Sakme, 1920, №1004). Most deplorable
is the fact that the situation was easily clarified – explanation was immediately pro-
vided: monks from Gelati, to save the congregation from starving, put on sale recently
donated contemporary jewellery, deprived of any artistic or historical value, with the
permission of the bishop (Sakartvelo, 1920, №№169, 170). No less unpleasant and

140
 Dimitri Tumanishvili
hardly understandable is, so to say, the “Tsalenjikha case” of 1921 – at first, “Ertoba”
informed that the clergy had hidden the objects, but later on, accused them of robbery
(cf., 1921, №№18 and 35).
Naturally, it is hard to say, what heritage protection legislation would ultimately
have been, or which units would it have formed, etc. However, it is quite obvious that
such units would have, necessarily, been established and neither doubtless is the fact
that national heritage values were well appreciated in the independent Georgia.
Finally, I would like to mention one more event, remarkable for the future –
not only for 1910-1920s, but also for our own – completion of the building for the
Museum of Georgia. Based on the material available for the scholars, its construc-
tion, suspended during the World War I, was renewed with the extraordinary contest
launched in 1923. While the data of old periodicals show the following state of things:
as early as August 1918, old Construction Commission was annulled and Histori-
cal-Ethnographic Society was authorised to manage the construction of the Museum
(Sakartvelos Resp’ublik’a, 1918, №16). Later on, in January 1920, Ministry of Edu-
cation appointed “new Construction Commission for the completion of the Georgian
Museum”: Giorgi Zhuruli (Head), Ekvtime Takaishvili, Noe Kipiani (Director of the
Museum), engineer Neprintsev and Anatoli Kalgin (Sakartvelos Resp’ublik’a, 1920,
№20; Ertoba, 1920, №21; Sakartvelo, 1920, №20). On 13.03.1920, Commission, to-
gether with the representatives of the Artistic Centre, artistic and public organisations,
elaborated guidelines, according to which: 1. an entire Quarter was to be allotted to
the Museum; 2. since – these definitions should be paid attention to! – “Persian style”
does not correspond to the epoch and national dignity”, “free artistic creativity in con-
cert with the trends reflected in the Georgian national architecture should be request-
ed”; 3. a contest for the design of the facades of the extant building and the layout of
the other part should be launched (Sakartvelos Resp’ublik’a, 1920, №61).
It is hard not only to overvalue, but to adequately highly evaluate significance of
the point 2, which gives an amazingly clear vision of the “medial” way – neither deny-
ing the “old”, nor ignoring the “new” – which our architecture was to follow in those
days and, I think, would rather do so today (and not only Georgian architecture!).
Most remarkable is that here, nothing is said about the “Georgian style”, the notion,
our best scholars referred to. Instead it says: “trends reflected in the Georgian national

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 Architecture and Construction Activities

48. 142
S. qiqoZe, `guria~, 1921 (anot. 20)
Sh. Kikodze, “Guria” 1921 (annot. 20)
 Dimitri Tumanishvili
architecture”, i.e.: not to imitate the outward forms (this is demanded not only by
the “Georgian”, but by any “historic” or “historicist” style – “Gothic”, “Byzantine”,
“Moorish”, “Russian”, etc.), but to discover the essential trend and follow it. Without
any hesitation, one could have said that at that period, only two persons thought so
in Georgia – Davit Kakabadze and Giorgi Chubinashvili, while only the latter could
formulate the idea in this way. Luckily, there is no need in drawing any assumptions
– newspaper “Sakartvelo” (16.02.1920, №57) had published the minutes of the above
mentioned meeting held on 13 March. Based on this, we know that Giorgi Chubinash-
vili was the main speaker on the meeting. He proceeded from the statement that the
building could not be completed in accordance with the initial concept; that in Europe,
19th c. Eclecticism was followed by a “great transformation”, there, architecture had
proceeded along the “national ways” and the same should happen in Georgia – “the
building should be an expression of the soul of Georgian nation, realised through the
free creativity. Such a façade should be created, which would reflect development of
the trends manifested in the Georgian architecture” – certainly, it is most eloquent
that these, seemingly “intricate” ideas were shared by the others (they had their own
opinions to express – Dimitri Shevardnadze proposed to launch a contest for the entire
building, Iakob Nikoladze and Gabriel Ter-Melikov offered to allot entire Quarter to
the Museum . . .). It was thus that the concept of one of the best buildings in Georgia
in 1920s was worked out and, what is important, a possible direction of the develop-
ment of the Georgian architecture was outlined, the direction, forsaken and distorted
in numerous, true or false obstacles appearing in the Soviet times.
So, in 1917-1920, architecture in Georgia was far not “silent”. Due to quite
understandable reasons, it seems quite modest, but everything that was done – was
essential, equally, all that managed to survive in the Soviet epoch and all that was
destined never to find any continuation after 25 February, 1921; but of utmost signifi-
cance is the existence of this form of creativity and its vivacity, its participation in the
completeness of the national life.

2008

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 Architecture and Construction Activities

Notes
1. People’s house – a kind of community centre (translator).
2. “People’s house”, as a rule, comprised a library-reading room and a stage for the
performances of amateurs or invited professionals and concerts, as well as for diverse
events – e.g., literary mornings, meetings and the like; they were designed for the less
wealthy social layers or the settlements, where large cultural institutions could not be
present.
3. Prof. Levan Rcheulishvili – prominent art historian, one of the founders of the
Institute of History of Georgian Art, main centre of the art historical studies in Georgia,
Professor of Art History at A. Kutateladze Tbilisi State Academy of Art (translator).
4. A sketch published far earlier, in the illustrated appendix (p. 4) to the Tsnobis
Purtseli (Information Leaflet), 02.06.1902, №43, might be non-deprived of importance
for the history of the Georgian architectural thought – the sketch visualises, how the
“electorate of the Second and Third Quarters”, participants of the elections of the Tpilisi
City Council, and, most likely, the editors of the newspaper, our future Socialist-Fede­
ralists, saw the future of Mtstsminda – its slope was to be planted all over with trees and
bushes, with small private houses scattered among them – this also looks quite like a
“garden-city”.
5. Kote Makashvili – poet, first Chairman of the Writers’ Union of Georgia; Noe
Zhordania – first President of Georgia (translator).
6. It is quite strange that I. Amilakhvari, known for his monarchism, piety and
patriotism, was so warmly mentioned in more or less leftist newspaper. Once, in 1980s,
Giorgi Tarkhnishvili, lawyer (1891-1985), whose youth was closely connected with the
Federalists (Varl. Gelovani, Ar. Jorjadze, Goglo Kazakhashvili and others), characte­
rised the General, in connection with the book by Sh. Megrelidze “Our Famous Military
Ancestors” as follows – there “Ivan Givich is referred to as a democrat, but he was a
reactionary and a fool”.
7. I think that the significance of this inter-party institution is not fully recognised;
its existence has – to a certain extent, at least – turned 26.05.1918 Declaration of Inde-
pendence into reality.

144
 Dimitri Tumanishvili
8. Marshal – here, Head of the Mazra nobility (translator).
9. Here again, greater respect of the traditions by the Socialist-Federalists is defi-
nitely discernible. However, concerning certain issues – e.g., that of the property –
they were radicals to such an extent that in the first years of the October Revolution,
they were more loyal towards “Bolsheviks” than Georgian “Mensheviks”; on the other
hand, “Mensheviks” themselves, fearing to give pleasure to the “bourgeoisie” and
“feudals”, quite controlled themselves and referred to the actions of the Bolsheviks
merely as “tactless”.

145
49. d. kakabaZe, `Zveli Tbilisi~, 1918-1919 (anot. 1)
D. Kakabadze, “Old Tbilisi”, 1918-1919 (annot. 1)
 kultura da mxatvruli cxovreba

anotaciebi

1. d. kakabaZe, `Zveli Tbilisi~, 1918-1919 (il. 1, 18, 25, 40, 49, 50)
1918-1919 wlebSi daviT kakabaZem Zveli Tbilisis grafikuli seria
Seqmna da am Temas igi mogvianebiTac daubrunda. mxatvris maxvili
TvaliT danaxulma da marjved Caxatulma qalaqis quCabandebma sad­
Reisod ukve erTi saukunis winandeli qalaqi Semogvinaxa, romlis
siZvelis dasacav Rirebulebas, ukve maSin gansakuTrebuli simwvaviT
grZnobnen da afasebdnen im drois sxvadasxva dargis moRvaweebi. da­­­­­­­­­­­­
v­
iT­­­
ma specialuri werili `Zveli tfilisi~ (Jurn. `Svidi mnaTobi~,
1918) uZRvna am sakiTxebs da is, rac Cvens winaSea, Teoriuli da
ZeglTa-dacviTi naazrevis, SeiZleba iTqvas, mxatvruli dokumentia.
CanaxatebSi, romlebic Zaldautaneblad da amave dros, zedmiwevniT
asaxavs Senoba-nagebobebsa Tu quCebs, ukve igrZnoba im kubistur-
kostruqtivistuli mignebebis safuZvlebi, romelTac d. kakabaZem
Semdeg wlebSi Seas­­­­xa frTebi.

2. saqarTvelos damoukideblobis aqti (il. 2)

saqarTvelos damoukideblobis aqti, miRebuli 1918 wlis 26 maiss
saqarTvelos erovnuli sabWos sxdomaze da dadasturebuli saqarTve-
los damfuZnebeli krebis mier 1919 wlis 12 marts.
aqtis Sesavali paragrafi gvamcnobs: `saqarTvelos damfuZnebeli
kreba, _ rCeuli pirdapiri, Tanaswori, sayovelTao, faruli da propor-
cionaluri saarCevno sistemiT orive sqesis moqalaqeTa mier, _ Tavis
pirvelsave sxdomaze, 1919 w. martis 12-s, qveynisa da istoriis winaSe
aRiarebs, rom is savsebiT iRebs da adasturebs saqarTvelos erovnuli
sabWos mier 1918 w. maisis 26-s naSuadRevis 5 s. da 10 w. TbilisSi ga-
mocxadebuls saqarTvelos damoukideblobis Semdeg aqts~.

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 Culture and Artistic Life
3. universitetis profesor-maswavleblebi (il. 4)
pirvel rigSi _ mixeil koniaSvili, grigol naTaZe, ivane javaxiSvi-
li (reqtori), mixeil zandukeli, aleqsandre didebuliZe, mixeil Taq-
TaqiSvili; meore rigSi _ andria benaSvili, niko CigogiZe; mesame rigSi:
niko mgelaZe, sergo gorgaZe, iason moseSvili, vasil kakabaZe, solomon
qurdiani, giorgi axvlediani, giorgi koniaSvili, korneli kekeliZe, ev-
geni WoRoSvili.

4. 1918-1921 wlebSi gamomavali Jurnalebi (il. 6, 7, 21, 47)

1918-1921 wlebSi saqarTveloSi socialur-politikuri Tu samxat­
vro-kulturuli Sinaarsis mravalricxovani Jurnalebi gamodioda. maT-
gan nawili XIX saukuneSi daarsda qarTvel mweralTa da sazogado moR-
vaweTa ZalisxmeviT da ukve tradiciad qceul gzas mihyveboda, xolo
mniSvnelovan nawils swored damoukideblobis xanaSi Caeyara safuZveli
da rogorc erovnul, ise dasavlur Rirebulebebs nergavda sazogadoe-
baSi. Jurnalebis absoluturi umravlesoba gasabWoebis Semdgom aikrZa-
la, rogorc nacionalisturi, burJuaziuli, dekadenturi `gadmonaSTe-
bi~, xolo maTi gamomcemlebi represiebis msxverplni Seiqmnen.

5. n. firosmanaSvili, `uwindeli saqarTvelos qorwili~, 1916 (il. 8)

qarTveli TviTnaswavli mxatvris, niko firosmanaSvilis (1862-
1918), TandaTanobiTi `aRmoCena~da Tbilissa Tu mTels saqarTveloSi
gabneul mis nawarmoebTa Segroveba 1910-iani wlebis ganmavlobaSi
mimdinareobda. sabolood, 1916 wels mxatvari kolegebisave miwveviT
`qarTvel xelovanTa sazogadoebis~krebaze warsdga, xolo suraTebis
didma nawilma axladSeqmnil erovnul galereaSi swored 1918-1921
wlebSi daido bina. sazogadoeba maSin miusafar mxatvars finansuradac
daexmara, xolo man sul mokle xanSi Seqmna didi tilo `uwindeli
saqarTvelos qorwili~, romelic keTilismyofelebs madlierebis
niSnad gadasca.
148
 kultura da mxatvruli cxovreba

6. saqarTvelos gerbi da droSa (il. 9, 10)

saqarTvelos saxelmwifo gerbis programa, Sedgenili ivane java­
xiSvilis mier, 1918 wels moismina da daamtkica erovnuli sabWos xe-
lovnebis seqciam, rac gulisxmobda TeTr giorgis da Svid mnaTobs mis
garSemo cis kabadonze. amis safuZvelze gamocxadda konkursi, sadac
ioseb Sarlemanma (1880-1957) gaimarjva. droSis gegma ki moqandake i­ akob
nikolaZem (1876-1951) SeimuSava, romelic, aseve xelovnebis seqciis
wardginebiT, Svindisfer-Sav-TeTri saxiT daamtkica erovnulma krebam.

7. saqarTvelos himni `dideba~ (il. 11)

Tavdapirvelad, saqarTvelos I respublikis himni `dideba~kompozi-
tor kote focxveraSvilis (1880-1959) mier `droebiT~iqna Seqmnili, sa-
nam sxva, ukeTesi nawarmoebi daiwereboda. gavrcelebuli mosazrebiT,
is melodiurad, iseve, rogorc Svindisfer-Sav-TeTri droSa grafiku-
lad, germanul saxelmwifo simbolikas, kerZod ki himn `doiClandlid~-s
(avtori _ iozef haidni) daefuZna, rac iyo kidevac kritikisa da sazo-
gadoebis garkveuli nawilisaTvis misi miuReblobis mizezi.
erT-erT versiad niko sulxaniSvilis `vefxistyaosnis~ teq­ stze
dafuZnebuli `RmerTo, RmerTo~ ganixileboda, romelic komisiam kon­
kursze wardgenilTagan saukeTesod miiCnia, magram arc is CaTvala mi-
zanSewonilad. amgvarad, mTavrobis mier oficialurad miRebuli `dide-
ba~ xanmokle damoukideblobis bolomde saqarTvelos saxelmwifo himns
warmoadgenda.

8. v. sidamon-erisTavi (il. 12, 24)

valerian sidamon-erisTavi (1889-1943), Tumca qronologiurad
pirveli Taobis modernist mxatvrebs miekuTvneba, gansxvavebuli
mimarTulebis Semoqmedia, romelic Riad arasodes dainteresebula
evropuli tendenciebiT. is, samxatvro ganaTlebis moskovSi miRebis
Semdeg TelavSi dasaxlda da aqtiurad muSaobda dazgur da Teatralur
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 Culture and Artistic Life
mxatvrobaSi, TanamSromlobda JurnalebTan. sidamon-erisTavis Semoq­
medeba dazgur xelovnebaSi ZiriTadad ori mimarTulebiT warimarTa
_ esaa istoriuli Janri, romlis erT-erT pirveldamwyebad gvevlineba
saqarTveloSi da portreti. winamdebare wignSi warmodgenili `krwanisis
brZola~ virtuozulad Sesrulebuli bataluri suraTis nimuSia; xolo
mweral daviT kldiaSvilis portreti, romelic bevrad gansxvavdeba sxva
mxatvrebis mier Seqmnili, met-naklebad paraduli portretebisagan,
ma­s­­Tan gansakuTrebul fsiqologiur siRrmes aRwevs.

9. momReral-mgalobelTa gundebi saqarTveloSi (il. 13, 14, 16, 17)

saqarTveloSi manamde arsebuli da erovnuli suliskveTebis
momZlavrebis Jams axladdaarsebuli momReral-mgalobelTa gundebi
gansakuTrebiT 1918-1921 wlebSi gaaqtiurdnen. aleqsandre (1874-1939)
da mixeil (1880-1951) kavsaZeebis aRmosavleT-qarTuli, Zuku loluas
(1877-1924) dasavleT saqarTvelos, Tbilisis momReral-mgalobelTa,
galobis moyvarulTa, debi TarxniSvilebisa da sxva gundebi erovnuli
musikis did mravalferovnebas qmnidnen. gundebi aqtiurad euflebodnen
xanSiSesul xalxur momReralTa Semoqmedebas, TanamSromlobdnen
profesional qarTvel kompozitorebTan, romelnic, Tavis mxriv, xalxuri
nimuSebis Cawerisa da erovnuli motivebis saavtoro gadamuSavebisaTvis
iRvwodnen. mniSvnelovani mxardaWeriT sargeblobdnen gundebi
x­
sa­ e­
lmwifos mxridanac, romelic mudmivad xels umarTavda maT, uz­
ru­n­­­
velhyofda satransporto Tu sxva saSualebebiT, raTa sxvadasxva
kuTxeebSi moewyoT gastrolebi, sagangebod atarebinebda koncertebs
sajariso SenaerTebisaTvis.

10. m. ToiZe (il. 19, 20, 33)

mose ToiZe (1871-1953) erT-erTia Zveli Taobis im mxatvarTa
Soris, romelTac bedma xanmokle damoukideblobisas (iuridiulad
ki 1922 wels, gasabWoebis Semdgom) daarsebuli samxatvro akademiis

150
 kultura da mxatvruli cxovreba

pedagogoba arguna da Semdgomac, mravali weli muSaobda ideologiuri

wnexis pirobebSi. miuxedavad imisa, rom ToiZe pirobiTad `realisti~
mxatvari iyo, misi suraTebi mniSvnelovnadaa gajerebuli Tamami impre­
sionistuli da post-impresionistuli ZiebebiT, risi TvalnaTeli ma­ga­
liTia suraTi `tyis simRera~ (1918), xolo erovnuli materialuri kul­
turisa da eTnografiisadmi interesis gamomxatvelia `glexis darbazi
muxranSi~ (1919).

11. poeziis dRis aRsaniSnavad Sekrebili

qarTveli mwerlebi quTaisSi, 1918 (il. 23)
poeziis dRis aRsaniSnavad Sekrebili qarTveli mwerlebi quTaisSi.
pirvel rigSi sxedan: vasil wereTeli, Teofile xuskivaZe, iakob
fancxava, daviT kldiaSvili, ilia Wyonia, aleqsandre garsevaniSvili
da isidore kvicariZe. meore rigSi dganan: domenti oyroSiZe, sergi
gersamia, iason gabelaia, karpez beriZe, mixeil gavaSeli, Salva dadiani,
niko lorTqifaniZe, valerian gafrindaSvili, kolau nadiraZe, sergo
kldiaSvili, sandro cirekiZe, aleqsandre WiraqaZe da daviT CxeiZe.

12. l. gudiaSvili, `xaSi~ (megobrebis qeifi), 1919 (il. 26)

lado gudiaSvili, daviT kakabaZesTan erTad pirveli iyo, vinc
damoukidebeli saqarTvelos xelisuflebam dasavleT evropaSi sam­
x­
atvro ganaTlebis gasaRrmaveblad saxelmwifo stipendiiT miavlina.
is, daviTis msgavsad, parizis skolis samxatvro sazogadoebis winaSe
ukve Camoyalibebuli, sruliad originaluri mxatvruli da Tematuri
maxasiaTeblebiT warsdga. l. gudiaSvilis 1910-1920-iani wlebis mxatvro­
ba, romelic Zvel Tbiliss asaxavs, xelovanisTvis kargad nacnobi, mis
mier mZafrad gancdili da mxatvrulad transformirebul mSobliu­ r
qalaqs asaxavs. mniSvnelovania, Tbilisisadmi am damokidebulebisa da
mxatvruli midgomis formirebisaTvis, aseve TviTnaswavli mxatv­ ri­s,
niko firosmanaSvilis (firosmanis) faqtori, romlis erT-erTi pirve­li

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damfasebel-aRmomCenTagani swored lado iyo. siuJeturad, SeuZ­le­be­lia
ar gagvaxsendes firosmanaSvilis mravalricxovani `nadimebis~ scenebi,
Tumca Zveli, `aRmosavluri~ qalaqis Semswre da motrfiale gudiaSvili
sul sxvagvar, qalaqis mcxovrebTa erTdroulad dramatizmiTa da
bohemiT savse saxeebs gvTavazobs.

13. `cisferyanwelebi~-s ordeni (il. 27)

Jurnal `cisferi yanwebi~-s garSemo Semokrebil axalgazrda qar­
Tvel literatorTa dajgufeba, romelic 1915-1916 wlebSi quTaisSi
Camoyalibda. simbolizmisadmi da zogadad evropuli tendenciebisadmi
maTi gacxadebuli interesi Tu mimdevroba momavalSi, sabWoTa mmarT-
velobis pirobebSi, poeturi ordenis wevrTa umravlesobis fizikuri
ganadgurebisa da ukiduresi wnexis mizezi gaxda.
fotosuraTSi: pirvel rigSi marcxnidan: nikolo miwiSvili, Ta­
mar iaSvili, sandro SanSiaSvili, maro SanSiaSvili (sandro SanSiaSvi-
lis meuRle). meore rigSi marcxnidan: valerian gafrindaSvili, efemia
leoniZe (giorgi leoniZis meuRle), geronti qiqoZe, paolo iaSvili,
nino tabiZe (tician tabiZis meuRle), ali arseniSvili. mesame rigSi
marcxnidan: raJden gvetaZe, Salva afxaiZe, tician tabiZe, leli ja-
fariZe, giorgi leoniZe.

14. artistuli kafe `qimerioni~, moixata 1919 wels (il. 28-30, 32)
xanmokle damoukideblobis periodSi saqarTvelo da kerZod, Tbi­
lisi, parizis, berlinis, niu-iorkis da ramdenime sxva qalaqis msgavsad
xel­
ovnebis erT-erT meqad gadaiqca, sadac, mraval politikur-
ekonomikur sirTuleTa miuxedavad, mxatvruli cxovreba namdvilad
`duRda~. aq Tavs iyridnen adgilobrivi mxatvrebi, mwerlebi da
kritikosebi, qu­ Taisidan TbilisSi gadmosuli `cisferyanwelebi~,
ruseTis revolucias gamoqceuli xelovanebi. im dros TbilisSi
arsebul mraval artistul kafeTa da gaerTianebaTa Soris ki, udavod,

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 kultura da mxatvruli cxovreba

yvelaze didi da Tan yo­velmxiv gamorCeulia `qimerioni~ (amJamad SoTa

rusTavelis saxelo­b­is dramatuli Teatris qveda foie), romelic 1919
wels daarsda da imave wels moixata ZiriTadad lado gudiaSvilis, daviT
kakabaZisa da sergei sudeikinis mier. mxatvroba XX saukunis dasawyisis
Tbilisuri da evropuli yofis, erovnuli da klasikuri miTologiis
Tanamedrove gadamuSavebaTa sinTezia, romelic srulad gamoxatavs im
or sawyiss, rac imxanad CvenSi modernizms asuldgmulebda _ erovnulsa
da in­ter­nacionalurs Tavis saxviT, enobriv Tu zogadkulturul ga­
mo­v­linebebSi.

15. qarTveli mxatvrebi parizSi, 1924 (il. 31)

saqarTvelos mTavroba, miuxedavad qveynis winaSe mdgari ekonomiu­
ri sirTuleebisa, mraval sxva dargTa Soris, did yuradRebas uTmob-
da samxatvro ganaTlebasac, risTvisac dasavleT evropis sxvadasxva
wam­
yvan saganmanaTleblo centrebSi agzavnida saxelmwifo stipendiiT
axal­gazrdebs.
parizSi gadaRebul fotoze gamosaxulni arian SemdgomSi cnobili
qarTveli mxatvrebi: marcxnidan: elene axvlediani, tatiana kakabaZe-fi-
raliSvili, lado gudiaSvili da daviT kakabaZe.

16. Jurnali `eSmakis maTraxi~ (il. 34, 35)

satiruli Jurnali `eSmakis maTraxi~ wyvetilad gamodioda ruseTis
revoluciuri qartexilebis dros _ 1907-1908, 1915-1917 wlebSi, saqa­r­
Tvelos xanmokle damoukideblobis ganmavlobaSi _ 1918-1921 wlebSi da
mas gansakuTrebuli socialur-politikuri datvirTva hqonda. gamocemas
redaqtorobda T. bolqvaZe, xolo wamyvani avtorebi iyvnen: Taguna ­­(S. Sa­
ra­
SiZe), eSmaki (n. kalandaZe), morieli (l. aleqsiSvili). butuna ­
(s. orag­
­

veliZe). xSirad, agreTve fsevdonimebiT, Zneladgamosacnobi, anda sulac

gamonagoni inicialebiT aqveynebdnen sakuTar karikaturebs mxa­ t­
vrebi: ­o. Smer­lingi, S. qiqoZe, m. Wiaureli da sxvebi. ramdenimewliani

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 Culture and Artistic Life
arsebobis periodSi Jurnals mxedvelobidan ar gamorCenia saqarTvelos
Tu saerTaSoriso arcerTi mniSvnelovani movlena da politikosi,
erovnuli Tu regionuli sakiTxi, xelisuflebisa Tu opoziciaSi myofi
partiebis arcerTi qmedeba, rasac mudam mwvave kritikisa da moswrebuli
iumoris daundobel gamoxmaurebas agebebda.

17. Jurnali `Teatri da cxovreba~ (il. 37)

1910 wels ioseb imedaSvilis (1876-1952) TaosnobiT daarsebuli da
misi redaqtorobiT gamomavali `Teatri da cxovreba~ uZvelesia qar­
Tulenovan saxelovnebo JurnalTa Soris. is, garda sakuTriv Teat­risa,
xelovnebis yvela dargsa da kulturis sakiTxebs aSuqebda, exmaureboda
erisa da qveynisaTvis saWirboroto sxvadasxva movlenas. JurnalTan
mravali publicisti, sazogado da xelovnebis dargis moRvawe Tanam­
Sromlobda. 1918 wlis 1 ianvars ki is mkiTxvels lado gudiaSvilis
na­xatiT miesalma, romelsac Tan axlda warwera: `gaumarjos Tavisufal
xelovnebas Tavisufal saqarTveloSi!~

18. g. gabaSvili, avtoportreti, daaxl. 1922-1925 (il. 39)

giorgi (gigo) gabaSvili (1862-1936) saqarTveloSi evropuli rigis
profesiuli mxatvrobis pirveli warmomadgeneli da misi damaarsebe-
lia. is sanqt-peterburgisa da miunxenis akademiebSi swavlobda da faq-
tobrivad, iq eziara akademiuri xelovnebis yvela princips, romelic
evropis am or gamorCeul skolaSi im droisaTvis arsebobda. amis gamo,
g. gabaSvili, didxans, Tavadac akademizmis adeptad iTvleboda, ras-
ac, sabWoTa istoriografiulma tradiciamac Seuwyo xeli da mxatvari,
erTgvarad, `socrealizmis mamad~ miCneul ilia repins gauigiva. es
kliSe mxolod ukanasknel xans gamomzeurebulma simbolisturma mxatv-
robam da fotografiam daarRvia, romelic, savaraudod, miunxenSi swav-
lis da uaxlesi dasavluri tendenciebis gacnobis Semdgom, XIX sauku-
nis miwurulidan unda iyos Seqmnili. g. gabaSvili, rogorc im drois

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 kultura da mxatvruli cxovreba

uxu­
ces da yvelaze warCinebul mxatvarTagani, xanmokle damoukideb­
lobis bolosTvis Semzadebuli da oficialurad, ukve bolSevikuri
reJimis dros (1922 wels) dafuZnebuli samxatvro akademiis pirvel
pedagogTagani iyo. gardacvalebamde, gabaSvilsac mouwia xarkis gaReba
oficiozuri xelovnebisadmi, ramac tragizmiT aRbeWda, rogorc misi
Semoq­medebiTi biografia, ise sakuTriv mxatvruli xelwera da winamde-
bare avtoportretic am winaaRmdegobriobas asaxavs.

19. S. qiqoZe, `sami mxatvari~, 1920 (il. 44)

Salva qiqoZis (1894-1921) suraTi `sami mxatvari~, albaT,
erTaderTia, romelic pirveli Taobis modernist mxatvarTa saxes
erToblivad, mxatvrulad transformirebuls warmogviCens. mxatvari
Tavis Tavsac da megobrebsac zedmiwevniT axasiaTebs: daviT kakabaZes,
pirveli ganaTlebiT bunebismetyvels _ CitiT xelSi gamosaxavs, ro­
me­­
lic sakuTar samecniero ZiebebSi CaRrmavebula (leonardos ana­
l­o­giiT, Citis frenis kanonebs Tu swavlobs!); lado gudiaSvils,
mosavleTis Tayvanismcemelsa da islamuri Tu islamizebuli mi­
aR­­ n­
i­
aturebis modernistulad gadamamuSavebels _ lotosis pozaSi, zma­ne­­
baSi CaZiruls, xolo sakuTar Tavs _ saxeze homerosuli sicilis ga­
momxatveli mimikiTa da TiTqosda, sruli udardelobiT. simboluria,
evropul kostumebSi gamowyobili megobrebis win qalTa _ muzaTa Tu
naturaTa SiSveli gamosaxulebani da maTi sufra _ Rvinisa da Sampanuris
boTlebi, yurZeni, banani da forToxali, firosmanis suraTebidan
nasesxebi bolokis kona da Tevzi `cocxali~, rogorc nivTier samyaroSi
aRmosavleTisa da dasavleTis kidev erTi Sexvedra. es suraTi, yvela
niSniT, im droisaTvis ukve mZimed daavadebuli da maleve udrood
gardacvlili niWieri mxatvris erT-erTi gamorCeuli da zogadad,
qarTuli mxatvrobis epoqaluri nawarmoebia.

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 Culture and Artistic Life
20. S. qiqoZe, `guria~, 1921 (il. 48)
qarTvel modernistTa Semoqmedebis Tanadrouli dasavluri mo­
dernizmis wamyvani tendenciisagan ganmasxvavebeli erT-erTi niSani,
er­ovnuli Ziebaa. es imdenadaa mniSvnelovani, ramdenadac modernizmis
Zireuli mxatvruli mimarTuleba, rogorc wesi, formis universalobis
princips efuZneboda da garkveulwilad, TiTqmis uarhyofda kidec
xelovnebis erovnul raobas. cxadia, evropel Tu mogvianebiT, amerikel
modernistTa ZiebebSi mniSvnelovan adgils ikavebs aborigen xalxTa
materialuri kulturis nimuSebisadmi cxoveli interesi, xalxuri
mo­tivebis gadamuSaveba yofili ruseTis imperiis erebSi; xolo qar­ T­
veli avtorebi da kerZod, S. qiqoZe, warsulis erovnul xelovnebas
_ kedlis mxatvrobas, safasado reliefs, Wedurobasa da miniaturas
daefuZnen, romelsac sakuTari modernistuli identobis Ziebis
kvalad axal dazgur suraTSi Tanamedrove sametyvelo ena da axali
konteqsti SesZines. suraTi `guria~ Salva qiqoZis erovnuli Tematikis
nawarmoebebs Soris erT-erTia, romelic swored am, erovnuli da
msofliuri Rirebulebebis erToblivad matarebelia.

21. d. kakabaZe, `imereTi _ dedaCemi~, 1918 (il. 51)

suraTi `imereTi _ dedaCemi~, qarTvel modernist mxatvarTa
pirveli Taobis winamZRolis, daviT kakabaZis (1889-1951) erT-erTi,
Tu ara yvelaze gamorCeuli nawarmoebia. is moicavs Tavad mxatvris
mier Teoriulad Camoyalibebul SemoqmedebiT `kredo~-sa da `suraTis
principi~-s ­ ar msoflmxedvelobriv debulebebs. amasTan, nawarmoebi
my­­
aerTianebs­­ ­­d. ka­kabaZis mcire, magram dasamasxovrebeli portretuli
galereis (ra­m­­denime avtoportreti da ojaxis wevrTa portretebi) da
imereTis mTa-goriani peizaJis vrceli seriis suliskveTebas. aq, erTis
mxriv, sakuTari dedis idealizebuli saxisa da meores mxriv, mSobliuri
mxaris _ imereTis gansulierebuli bunebis SerwymiT, daviT kakabaZe
zogadad mSobliurobis mxatvrul simbolos qmnis.

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 kultura da mxatvruli cxovreba

22. iv. javaxiSvilis milocva mTavrobas (il. 52)

Tbilisis universitetis reqtoris, ivane javaxiSvilis (1876-1940)
mier 1921 wlis 5 TebervliT daTariRebuli, respublikis mTavrobisad-
mi gagzavnili es milocvis werili mxolod aTi dRiT uswrebda win 15
Tebervlidan sabWoTa ruseTis mier saqarTvelos dapyrobisaTvis war-
moebul samxedro operaciebs da mokle, magram sisxlismRvrel oms.
ivane javaxiSvilma moaxlovebul safrTxesTan dakavSirebiT stu-
dentebs mimarTa: `Svilebo! Cemi movaleobaa Tqven wignisa da kalmisken
mogiwodoT, magram eris cxovrebaSi aris iseTi momentebi, roca saWiroa
yvelaferi ganze gadasdo da iaraRiT xelSi mters miegebo. da ai, mec
Tqven dRes iaraRisken mogiwodebT.~

anotaciebi Seadgina giorgi papaSvilma

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50. d. kakabaZe, `Zveli Tbilisi~, 1918-1919 (anot.1)
D.Kakabadze, “Old Tbilisi”, 1918-1919 (annot. 1)
 kultura da mxatvruli cxovreba

Annotations

1. D. Kakabadze, “Old Tbilisi”, 1918-1919 (ill. 1, 18, 25, 40, 49, 50)
In 1918-1919, Davit Kakabadze made a graphical series of Old Tbilisi, returning
to this theme later. Streets and alleyways of the city, caught by the keen eye of the
painter and sketched by his masterly hand, have preserved an image the city had already
a century ago; values of its oldness, which were to be protected, were already then
acutely felt and appreciated by the representatives of diverse circles of society. Davit
had dedicated a special article “Old Tiflis” (journ. “Shvidi Mnatobi” [Seven Heavenly
Bodies], 1918) to these topics and what we see is, so to say, an artistic document of his
theoretical and heritage preservation concept. Sketches, effortlessly and, at the same
time, scrupulously representing streets and buildings, are indicative of those fundamen-
tals for Cubistic-Constructivist “findings”, which D. Kakabadze had developed in the
succeeding years.

2. Act of Independence of Georgia (ill. 2)

Act of Independence of Georgia, adopted on 26 May, 1918 by the Georgian Na-
tional Council and ratified by the Constituent Assembly of Georgia on 12 March, 1919.
Preamble of the Act states: “Constituent Assembly of Georgia – elected in accor­
dance with the direct, free, general, secret ballot and proportional election system by
the citizens of both sexes – on its very first meeting, on 12 March, 1919, in the face of
the country and the history, recognises that it fully accepts and ratifies following Act of
Independence of Georgia, adopted by the Georgian National Council on 26 May, 1918,
5.10 PM, in Tbilisi”.

3. Professors and Teachers of the University (ill. 4)

In the first row – Mikheil Koniashvili, Grigol Natadze, Ivane Javakhishvili (Rec-
tor), Mikheil Zandukeli, Aleksandre Didebulidze, Mikheil Taktakishvili; in the second
row – Andria Benashvili, Niko Chigogidze; in the third row – Niko Mgeladze, Sergo
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 Culture and Artistic Life
Gorgadze, Iason Moseshvili, Vasil Kakabadze, Solomon Kurdiani, Giorgi Akhvlediani,
Giorgi Koniashvili, Korneli Kekelidze, Evgeni Chogoshvili.

4. Journals Published in 1918-1921 (ill. 6, 7, 21, 47)

In 1918-1921, numerous journals of social-political and artistic-cultural content
were published in Georgia. One part of these was founded in the 19th c., with the efforts
of the Georgian writers and public figures and followed their traditional direction, while
a considerable part of these journals was founded in the years of Independence, promo­
ting both national and Western European values. Absolute majority of the journals was
banned after the Sovietisation of the country, as nationalistic, bourgeois and decadent
“remnants” and their publishers fell victim to repressions.

5. N. Pirosmanashvili, “Wedding Party in Georgia of Past Times”, 1916 (ill. 8)

Gradual “discovery” of Niko Pirosmanashvili (1862-1918), Georgian self-taught
painter, and collection of his works scattered in Tbilisi and all over Georgia, was un-
dertaken during 1910s. Finally, in 1916, the painter, invited by his colleagues, attended
the meeting of the “Society of Georgian Artists”, while the great part of his works was
housed in the newly established National Gallery in 1918-1921 proper. The Society fi-
nancially assisted homeless and helpless painter, who, shortly after, painted a big picture
“Wedding Party in Georgia of Past Times” and gifted it to his benefactors as a sign of
his gratitude.

6. National Coat of Arms and National Flag of Georgia (ill. 9, 10)

Programme of the national coat of arms of Georgia, elaborated by Ivane Javakhish-
vili, was discussed and approved in 1918, by the Art Section of the Georgian National
Council; it implied “white” George and seven heavenly bodies around him on the sky.
Based on the programme a contest was launched which was won by Joseph Charle-
magne (1880-1957), while the design of the national flag was elaborated by the sculptor
Iakob Nikoladze (1876-1951); by the nomination of the same Art Section, the purple-

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 kultura da mxatvruli cxovreba

black-white flag was approved by the Georgian National Council.

7. National Anthem of Georgia “Glory” (ill. 11)

Initially, “Glory”, national anthem of the First Republic of Georgia, by the com-
poser Kote Potskhvershvili (1880-1959), was approved “temporarily”, before anything
better was created. As generally thought, in terms of its melody, as well as purple-black-
white flag, in terms of its graphics, were based on the German state symbolism, namely,
the national anthem “Deutschlandlied” (author – Joseph Haydne), which was the reason
of criticism and its non-acceptance by a certain part of the wide public.
“O Lord, Lord” by Niko Sulkhanishvili, on the text of “The Knight in the Panther’s
Skin”, which was judged by the commission as the best among the works presented on
the contest, was considered as one of the versions of the national anthem; however, it
was neither found appropriate and “Glory” approved by the Government, remained na-
tional anthem during entire short-lived Independence of Georgia.

8. V. Sidamon-Eristavi (ill. 12, 24)

Valerian Sidamon-Eristavi (1889-1943), although, in terms of chronology, belongs
to the first generation of the Modernist painters, is an artist of different trend, who had
never openly shown any interest towards the European tendencies. Having received his
artistic education in Moscow, he settled in Telavi, actively working in the easel painting
and scenography, and collaborating with the journals. Creative activity of Sidamon-­
Eristavi in easel painting, mainly, followed two directions – historical genre (he was one
of the first to introduce it in Georgia) and portrait. “Krtsanisi Battle” reproduced in the
present book, is a sample of masterly painted battle-piece; while the portrait of Davit
Kldiashvili, which greatly differs from more or less solemn portraits created by other
painters, and achieves particular psychological depth.

9. Choirs of Singers in Georgia (ill. 13, 14, 16, 17)

Choirs of singers already existing in Georgia, as well as those, established dur-

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ing the period of strengthened national ethos became especially active in 1918-1921.
­Aleksandre (1874-1939) and Mikheil (1880-1951) Kavsadzes’ eastern-Georgian Choir,
Dzuku Lolua’s (1877-1924) western-Georgian Choir, Choir of Tbilisi Singers, Choir
of Lovers of Singing, Choir of Sisters Tarkhnishvili and others contributed to the great
diversity of the national music. Choirs actively studied creative activity of the elderly
folk singers, collaborated with the professional Georgian composers, who, in their own
turn, worked on the recording of folklore samples and author transformation of the na-
tional motifs. The Choirs received a significant support from the State, which regularly
assisted them, provided transport, etc. for them, helped them to organise concert tours in
various provinces of Georgia, and special concerts in the army divisions.

10. M. Toidze (ill. 19, 20, 33)

Mose Toidze (1871-1953) is one of the old generation painters, who were destined
to teach at the Academy of Art founded during the short-lived Independence (juridically,
in 1922, after the Sovietisation) and further on worked under the ideological pressure
for many years. Although, Toidze was conventionally a “Realist” painter, his works are
considerably “saturated” with bold Impressionistic and Post-Impressionistic strivings,
vividly manifested in his “Forest Song” (1918), while “Peasant’s Darbazi in Mukhrani”
(1919) reflects his interest towards the national tangible heritage and ethnography.

11. Georgian Writers Assembled in Kutaisi To Celebrate the Poetry Day (ill. 23)
Georgian writers assembled in Kutaisi to celebrate the Poetry Day. First row, seat-
ed: Vasil Tsereteli, Teopile Khuskivadze, Iakob Pantskhava, Davit Kldiashvili, Ilia
Chkonia, Aleksandre Garsevanishvili and Isidore Kvitsadze; second row, standing: Do-
menti Okroshidze, Sergi Gersamia, Iason Gabelaia, Karpez Beridze, Mikheil Gavasheli,
Shalva Dadiani, Niko Lortkipanidze, Valerian Gaprindashvili, Kolau Nadiradze, Sergo
Kldiashvili, Sandro Tsirekidze, Aleksandre Chirakadze and Davit Chkheidze.

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 kultura da mxatvruli cxovreba

12. L. Gudiashvili, “Khashi” (Party of Friends)”, 1919 (ill. 26)

Lado Gudiashvili, together with Davit Kakabadze, was the first to be sent to West-
ern Europe by the Government of the Independent Georgia to deepen their artistic edu­
cation, supporting them with the state scholarship. Similar to Davit, he faced artistic
community of the Paris school with already established, absolutely original artistic and
thematic traits. 1910-1920s painting of Lado Gudiashvili, representing Old Tbilisi, de-
picts the image of the painter’s native city so well known, deeply felt and artistically
transformed by him. For such an attitude towards Tbilisi and formation of this artistic
approach, of certain significance is the facto of Niko Pirosmanashvili (Pirosmani), a
self-taught painter, whose one of the first appreciators and discoverers was Lado Gudi-
ashvili. As far as the subject matter is concerned, one cannot but call to mind numerous
“feasts” by Pirosmanashvili; however, Gudiashvili, beholder and admirer of old “Orien-
tal” city, presents absolutely different images of the citizens, at the same time filled with
the dramatic and the bohemian.

13. “Tsisperq’ants’elebi” Order (ill. 27)

A group of young Georgian men of letters, united around the journal “Tsisperi
Q’ants’ebi”, established in Kutaisi in 1915-1916. Their declared interest towards Sym-
bolism and European tendencies in general, as well as the fact that they never ceased to
follow them in the future, under the conditions of the Soviet rule, had caused physical
extermination of, and extreme pressure on, the majority of the poetical order members.
On the photograph, first row, from the left: Nikolo Mitsishvili, Tamar Iashvili,
Sand­ro Shanshiashvili, Maro Shanshiashvili (Sandro Shanshiashvili’s wife); second
row, from the left: Valerian Gaprindashvili, Epemia Leonidze (Giorgi Leonidze’s wife),
Geronti Kikodze, Paolo Iashvili, Nino Tabidze (Titsian Tabidze’s wife), Ali Arsenishvi-
li; third row, from the left: Razhden Gvetadze, Shalva Apkhaidze, Titsian Tabidze, Leli
Japaridze, Giorgi Leonidze.

14. Artistic Café “Chimerioni”, painted in 1919 (ill. 28-30, 32 )

During the period of its short-lived Independence, Georgia and Tbilisi in particular,

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 Culture and Artistic Life
similar to Paris, Berlin, New York and several other cities, had turned into one of the
“Meccas” of art, in which, despite numerous political and economical problems, artistic
life was truly “seething”. It was the gathering place for local painters, writers, critics,
“Tsisperq’ants’elebi”, who had moved from Kutaisi to Tbilisi, artists, who had fled Rus-
sian Revolution. Among numerous artistic cafes and organisations extant in Tbilisi in
those days, “Chimerioni” (present lower foyer of Shota Rustaveli Drama Theatre) is,
undoubtedly, the biggest and distinguished in many respects; it was founded in 1919
and painted in the same year, mainly, by Lado Gudiashvili, Davit Kakabadze, Sergei
Sudeykin. The painting is a synthesis of the early 20th c. Tbilisian and European way of
life, modern rethinking of the national and classical mythology, fully representing those
two elements, which nourished Modernism in our country at that time – national and
international, in its artistic, linguistic and cultural manifestations.

15. Georgian Artists in Paris, 1924 (ill. 31)

Government of Georgia, despite economic problems facing the country, among oth-
er branches, paid great attention to the artistic education; this was the reason for sending
young students to various leading Western European educational centres with the sup-
port of the state scholarship.
On the photograph taken in Paris represented are famous-to be Georgian painters:
from the left, Elene Akhvlediani, Tatyana Kakabadze-Piralishvili, Lado Gudiashvili,
and Davit Kakabadze.

16. Journal “Eshmak’is Matrakhi” (ill. 34, 35)

Satirical journal “Eshmak’is Matrakhi” (Devil’s Whip) was irregularly published
during the Russian revolutionary calamities – in 1907-1908, 1915-1917, short-lived
Independence of Georgia – in 1918-1921 and it was of special socio-political signi­
ficance. Its editor was T. Bolkvadze and leading authors were: Taguna [Mousy] (Sh.
Sharashidze), Eshmak’i [Devil] (N. Kalandadze), Morieli [Scorpion] (L. Aleksishvili),
But’una (S. Oragvelidze). Often painters – O. Schmerling, Sh. Kikodze, M. Chiaureli
and others – published their caricatures under pseudonyms, hardly identifiable or even

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fictive initials. In the course of its several-year long existence, the journal never failed
to keep an eye on any event or politician of importance for Georgia or international
community, any topic of national or regional significance, any action of the authorities
or oppositional parties, always mercilessly reacting on them with severe criticism and
witty humour.

17. Journal “Teat’ri da Tskhovreba” (Theatre and Life) (ill. 37)

“Teat’ri da Tskhovreba” (Theatre and Life), founded in 1910, with the initiative
of Ioseb Imedashvili and his editorship, is the oldest among the Georgian art journals.
Apart from the theatre, it highlighted topics of all branches of art and culture, reacted
on diverse troublesome events in the life of the nation and the country. Many publicists,
public figures and artists collaborated with the journal. On 1 January, 1918, it greeted
the readers with the drawing by Lado Gudiashvili, supplied with the legend: “Long live
free art in free Georgia!”

18. G. Gabashvili, Self-portrait, ca. 1922-1925 (ill. 39)

Giorgi (Gigo) Gabashvili (1862-1936) is the first representative and founder of the
professional painting in Georgia. He studied in Saint Petersburg and Munich Acade-
mies, actually, mastering all principles of the Academic art, being taught at that time
in these two distinguished schools. Due to this, G. Gabashvili himself was quite long
considered to be an adept of Academism, which was also supported by the tradition of
the Soviet historiography and the painter was, to a certain extent, identified with Ilia Re-
pin, “Father of the Socialist Realism”. This cliché was broken by the Symbolist painting
and photography, brought to light only recently; these works were, most likely, created
during his studies in Munich, when he familiarised himself with the newest tendencies
of the Western European art, from the late 19th c. onwards. G. Gabashvili, as one of the
eldest and most famous painters, was one of the first teachers at the Academy of Art,
foundation of which was already prepared by the end of the short-lived Independence
and officially opened in the times of the Soviet regime (1922). Before he passed away,
Gabashvili had also to pay tribute to the official art, which had left a tragic imprint on

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both, his creative biography and his artistic manner. Present self-portrait well reflects
these contradictions.

19. Sh. Kikodze, “Three Painters”, 1920 (ill. 44)

Shalva Kikodze’s (1894-1921) “Three Painters” is, probably, the only picture rep-
resenting artistically transformed group image of the first generation Modernist painters.
The painter gives precise characteristics of himself and his friends: he depicts Davit
Kakabadze, who initially studied natural science, with a bird in his hand, absorbed in
his own scientific strivings (maybe, similar to Leonardo, studying the canons of the bird
flight!); Lado Gudiashvili, admirer of the Orient, transformer of the Islamic or Islamised
miniatures in a Modernist way, is shown in the lotus posture, sunk in reveries, and his
own self – with the Homeric laugh mimics on his face and, seemingly, absolutely care-
less. Symbolic are nude figures of women – Muses and models – in front of the friends
clad in European attire, as well as their party table with the bottles of wine and cham-
pagne, grapes, banana and orange, a bunch of radishes and fish “tsotskhali” “lent” from
Pirosmani’s picture, as one more meeting of the East and the West in the material world.
Due to all its traits, this picture is one of the distinguished works of the talented painter,
already seriously ill by that time, who had soon after, untimely passed away, as well as
an epoch-making work of the Georgian painting in general.

20. Sh. Kikodze, “Guria”, 1921 (ill. 48)

Striving for the national is one of the traits distinguishing creative activity of the
Georgian Modernists from the leading tendencies of the contemporaneous Western Eu-
ropean Modernism. This is significant insomuch as the leading artistic trend of Moder­
nism was, as a rule, based on the principle of the universal form and, to a certain extent,
even denied national essence of art. Undoubtedly, acute interest towards the samples of
the tangible culture of the aboriginal peoples, transformation of the folk motifs in the
nations of the former Russian empire occupied a significant place in the strivings of the
European and, later on, American Modernists; Georgian authors, namely, Sh. Kikod­
ze, had rooted on the national art of the past – mural painting, architectural sculpture,

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repoussé work and miniature painting – imparting it modern artistic “language” and
new context in the new easel painting, alongside efforts to find their Modernist identity.
“Guria” is one of Shalva Kikodze’s works on national theme, sharing both, national and
universal values.

21. D. Kakabadze, “Imereti – My Mother”, 1918 (ill. 51)

“Imereti – My Mother” is one of the remarkable, if not the most distinguished, works
by Davit Kakabadze (1889-1951), leader of the first generation of the Georgian Moder­
nist painters. It reflects creative “credo” theoretically formulated by the painter himself
and firm Weltanschauhung statements of the “picture principle”. At the same time, this
work unites the ethos of small, but memorable portrait gallery (several self-portraits
and portraits of his family members) and of the vast series of Imereti hilly landscapes.
Mer­ging idealised image of his mother with the spiritualised nature of his homeland –
Imereti, Davit Kakabadze creates an artistic symbol of the kindred in general.

22. Iv. Javakhishvili’s Congratulations to the Government (ill. 52)

This congratulation letter dated 5 February 1921, to the Government of the Repub-
lic, by Ivane Javakhishvili (1876-1940), Rector of the Tbilisi University, was sent only
ten days earlier, before the Soviet Russia started its military operations and a short-term,
but bloody war for the conquest of Georgia on 15 February.
In the face of the imminent danger, Ivane Javakhishvili addressed the students:
“My children! My duty is to call you to the books and pens, but in the life of the nation,
there are moments, when everything should be put aside to meet the enemy with the
arms in one’s hands. And so, today, I call you to arms”.

Annotations were compiled by Giorgi Papashvili

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51. d. kakabaZe, `imereTi _ dedaCemi~, 1918 (anot. 21)

D. Kakabadze, “Imereti _ My Mother”, 1918 (annot. 21)

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52. iv. javaxiSvilis milocva

mTavrobas (anot. 22)
Iv. Javakhishvili’s Congratulations to the
Government (annot. 22)

5/II 1921
№131
To the Head of the Government
Council of the Professors of Tiflis State University on its first meeting after the de
jure recognition of the Independence of Georgia sends its fervent congratulations to
the Government of the Republic with the brilliant accomplishment of the precious and
long-desired undertaking and expresses its readiness to be on guard of the progress of
the intellectual life of Georgia with doubled energy and indefatigable work. Long live
Georgian nation Government of the Republic, Georgian nation and its cultural future!
Rector, Professor
Ivane Javakhishvili

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ilustraciebis wyaroebi:

g. CubinaSvilis saxelobis qarTuli xelovnebis istoriisa da

ZeglTa dacvis erovnuli kvleviTi centri _ s. qobulaZis saxelobis
xelovnebis ZeglTa fiqsaciis laboratoria: 8, 22, 24, 26, 29, 32, 50
Tbilisis ap. quTaTelaZis saxelobis saxelmwifo samxatvro akademiis
muzeumi: 39
TsU erovnuli samecniero biblioTeka _ i. griSaSvilis
biblioTeka-muzeumi: 6, 7, 21, 37
saqarTvelos erovnuli arqivi: 9-11, 51
saqarTvelos parlamentis erovnuli biblioTeka _ cifruli
biblioTeka `iverieli~: 2, 3, 13-17, 23, 27, 34-36, 45-47
saqarTvelos erovnuli muzeumi _ S. amiranaSvilis saxelobis
xelovnebis muzeumi: 1, 5, 12, 18-20, 25, 33, 38, 40-43, 48, 49
xelovnebis interdiciplinuri kvlevis laboratoria: 28-32
goga demetraSvili: 44
irine qvliviZe: saiubileo logo
baadur qoblianiZis kerZo koleqcia: 4

ilustraciebad warmodgenili artefaqtebi daculia Semdeg

saxelmwifo dawesebulebebSi:
saqarTvelos erovnuli muzeumi _ S. amiranaSvilis saxelobis
xelovnebis muzeumi: 1, 5, 8, 18-20, 22, 24-26, 32, 33, 38, 40, 41, 44,
48-50, 51
Tbilisis ap. quTaTelaZis saxelobis saxelmwifo samxatvro akademiis
muzeumi: 39
saqarTvelos erovnuli arqivi: 2, 9, 10, 11, 52

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Illustration credits:
George Chubinashvili National Research Centre for Georgian Art History and Heritage
Preservation – Sergo Kobuladze Monuments Photo Recording Laboratory: 8, 22, 24,
26, 29, 32, 50
Apolon Kutateladze Tbilisi State Academy of Art Museum: 39
TSU National Scientific Library – Ioseb Grishashvili Library-Museum: 6, 7, 21, 37
National Archives of Georgia: 9-11, 51
National Parliamentary Library of Georgia – Digital Library “Iverieli”: 2, 3, 13-17,
23, 27, 34-36, 45-47
Georgian National Museum – Shalva Amiranashvili Museum of Fine Arts: 1, 5, 12,
18-20, 25, 33, 38, 40-43, 48, 49
Arts Interdiscilpinary Research Lab: 28-32
Goga Demetrashvili: 44
Irine Kvlividze: Anniversary Logo
Baadur Koblianidze Private Collection: 4

Artefacts presented in the illustrations are kept an the following state institutions:
Georgian National Museum – Shalva Amiranashvili Museum of Fine Arts: 1, 5, 8,
18-20, 22, 24-26, 32, 33, 38, 40, 41, 44, 48-50, 51
Apolon Kutateladze Tbilisi State Academy of Art Museum: 39
National Archives of Georgia: 2, 9, 10, 11, 52

171