4(56)2012 sarCevi // CONTENTS

sfe­ro ro­me­lic yo­vel­Tvis mi­zi­davs 4 I SIMPLY ENJOY THE TELECOMS SPACE

momavlis mxatvari 8 irakli CxaiZe THE ARTIST OF THE FUTURE IRAKLI CHKHAIDZE

mag­Ti­ko­mis sti­pen­dia sa­qar­Tve­los teq­ni­ku­ri uni­ver­si­te­tis stu­den­tebs 18 MAGTICOM SCHOLARSHIP FOR STUDENTS OF THE GEORGIAN TECHNICAL UNIVERSITY

cif­ru­li Ta­nam­gzav­ru­li 22 te­le­vi­zi­is upi­ra­te­so­be­bi ADVANTAGES OF DIGITAL SATELLITE TV

Cemi kumirebia Caplini da sturua 31 MY IDOLS IN ART ARE CHAPLIN AND STURUA

eliso virsalaZe 40 ELISO VIRSALADZE

mag­Ti­ko­mis vi­de­o­kon­kur­sis 44 ga­mar­jve­bu­le­bi MAGTICOM’S VIDEO CONTEST WINNERS

mgrZnobiare samkauli 46 SENSUAL ADORNMENT Printed in Bilnet Printing, Dudullu Organize Sanayi Bölgesi 1. Cadde No: 16 Ümraniye, 34696 İstanbul - TURKİYE

SuSis vaSlebi 50 GLASS APPLES mudmivi kavSiris samyaro

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Zvir­fa­so me­gob­re­bo!

2012 we­li mag­Ti­ko­mis­Tvis da sa­qar­Tve­los­Tvis gan­ sa­kon­cer­to dar­baz­Si mTe­li wlis gan­mav­lo­ba­Si tar­ sa­kuT­re­bu­li iyo. de ­bo­da `qar­Tu­li xe­lov­ne­bis sa­Ra­mo­e­bi~; ga­mo­i­ca 15 wlis win, 1997 wlis 22 seq­tembers,­ mag­Tiko­ ­mis cno ­bi­li qar­Tve­li mxat­vre­bis: jib­son xun­da­Zis, oTar qsel ­Si pir­veli­ mom­xma­re­be­li da­re­gis­trir­da da mag­ Cxar­tiS­vi­lis, Te­mo go­ca­Zis na­mu­Sev­re­bis al­bo­me­bi; Ti GSM-ma fun­qci­o­ni­re­ba da­iw­yo… sa­qar­Tve­los is­to­ri­is oT­xto­me­u­li; gi­or­gi le­o­ni­ dRes Cven 2 000 000-ze met abonents­ vem­sa­xu­re­biT. Zis sa­xe­lo­bis li­te­ra­tu­ris mu­zeum­ ­Tan er­Tad ga­mo­i­ca kom ­pa­ni­is sa­xe­liT mad­lo­bas vux­di Ti­To­e­ul maT­gans. mi ­xa­il la­ker­ba­is `ala­mi­si~, Te­do sa­xo­ki­as `cimbir­ ­Si~, am 15 wlis gan­mav­lo­ba­Si isi­ni yo­velTvis­ Cven gver­diT gri ­gol ro­ba­qi­Zis xuT­to­me­u­li, mi­xe­il ja­va­xiS­vi­lis id ­gnen da gvexma­ ­rebod­ ­nen sa­qar­Tve­los sa­u­ke­Te­so sa­ sa­ga­mo­Zi­e­bo saq­me, re­vaz Ta­bu­kaS­vi­lis kre­bu­li da sxv. te­leko­ ­muni­ ­ka­cio qse­lis mSe­neblo­ ba­ ­Si. vi­me­dov­nebT, rom mo­ma­va­li 2013 we­li war­ma­te­bis da 2012 wels mag­Ti­ko­mis cxov­re­ba­Si uam­ravi­ sa­in­te­re­ aR­mav­lo­bis we­li iq­ne­ba ro­gorc mag­Ti­ko­mis­Tvis, ise so mov­le­na mox­da. mTe ­li sa­qar­Tve­los­Tvis. mag­Tiko­ ­mi ki Ta­vis mxriv dRes Cvens abo­nen­tebs in­for­ma­cia da garTo­­ gpir­de­baT uam­rav si­ax­les, ro­me­lic Tqvens cxov­re­bas ba ko­mu­ni­ka­ci­a­ze nak­leb ro­di sWirde­ ­baT! ami­tom, ki ­dev uf­ro ga­am­ra­val­fe­rov­nebs da sain­ te­ ­re­sos gax­ 2012 wlis da­saw­yis­Si, eq­splu­a­taci­ ­aSi­ ga­vuS­viT mag­Ti­ dis. sa ­ti _ saqar­ ­Tve­lo­Si pir­ve­li ko­mer­ciu­ ­li Ta­nam­gzav­ me­a­ma­ye­ba, rom mag­Ti­ko­mis gun­dis wev­ri var. Cven ru ­li sate­ ­le­vizio­ mom­saxu­ ­re­ba. miu­ ­xeda­ ­vad sxva­das­ kvla ­vac did in­ves­ti­ci­ebs gan­va­xor­ci­e­lebT in­ter­ne­ xva dab­rko­le­bi­sa, mag­Tisa­ ­tis qsel­Si 30 000-ze me­ti tis in­fras­truq­tu­ra­Si da sa­qar­Tve­lo­Si im usaz­Rvro mom­xma­re­be­li Ca­erTo­ da mag­Ti­ko­mis axa­li bren­di, mag­ Se­saZ­leb­lo­bebs gan­va­vi­Ta­rebT, rom­leb­sac es teq­no­ Ti ­sa­ti, sa­qar­Tve­los sate­ ­le­vi­zio ba­zar­ze mniS­vne­ lo­gia gvTa­va­zobs. lo­van mo­Ta­ma­Sed dam­kvidrda.­ Cven da­u­Ra­la­vad vi­Ta­nam­Srom­lebT Cvens 2 000 000-ze dRes mag­Ti­ko­mi uk­ve mie­ ­kuT­vneba­ msof­lio kla­sis met abo­nen­tTan, ra­Ta mo­ma­val wels sa­qar­Tve­lo ki­dev kom­pa­ni­a­Ta im umaRles­ li­gas, sa­dac mom­xma­rebels­ mo­ uf­ro uke­Te­si qve­ya­na gax­des. bi ­lur, fiqsi­ ­re­bul, in­ter­net da sa­te­le­vi­zio, anu Cvens mkiT­xvels da mag­Ti­ko­mis yve­la mom­xma­re­bels oT­xmag mom­sa­xu­re­bas sTa­va­zo­ben. vu­lo­cavT dam­deg So­ba-axal wels da ki­dev er­Txel 2012 wels magTi­ ­komma­ kom­pa­nia Samsung­ -Tan stra­te­ did mad­lo­bas vux­diT er­Tgu­le­bis­Tvis. gpir­de­ gi ­u­li Ta­nam­Srom­lo­bis memo­ ­ran­du­mi ga­afor­ ­ma, rom­ biT, mag­Ti­ko­mi Za­lis­xme­vas ar da­i­Su­rebs da mo­ma­val lis far­gleb­Sic sru­li­ad axa­li tipis,­ da­sav­lur mo­ 2013 wel­sac, tra­di­ci­u­lad, sa­u­ke­Te­so xa­ris­xiT mo­ del­ze aw­yo­bi­li sa­kon­traq­to sis­tema­ da­ner­ga. gem­sa­xu­re­baT. wels mag­Ti­kom­ma sa­qar­Tvelos­ so­cia­ ­lur-kul­tu­ rul cxov­re­ba­Sic Sei­ ­ta­na wvli­li. mi­si da­finan­ ­se­biT mag­Ti­ko­mis pre­zi­den­ti da pat­ro­na­JiT gan­xor­ci­el­da uam­ra­vi pro­eq­ti _ did de­vid li

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MY DEAR FRIENDS,

2012 was an exciting milestone in MagtiCom’s history and in by the outstanding Georgian artists Jibson Khundadze, Otar Georgia’s history. Chkhartishvili and Temo Gotsadze. In conjunction with the Magti GSM began 15 years ago, on 22 September 1997, when Giorgi Leonidze State Museum of Georgia, MagtiCom published we welcomed our first customer. Since then MagtiCom has been “Alamis” by Mikhail Lakerbaia, “In Siberia” by Tedo Sakhokia, five providing clear, nationwide communications for all its customers. volumes of works by Grigol Robakidze, works concerning Mikheil We now serve over 2,000,000 customers and I would like to thank Javakhishvili, collections by Revaz Tabukashvili and four volumes each of them for their continued custom which has enabled us to become the foremost telecommunications network in Georgia. of Georgian history. 2012 has been marked by numerous significant developments I am confident that the New 2013 Year will be marked by further as MagtiCom continues to develop its activities: advances and onward progress for both Georgia and MagtiCom. Our customers now place the same value on information and Our customers can anticipate many more innovations from entertainment as they do on communications. That is why we MagtiCom which will make life more exciting and interesting for pioneered Georgia’s first TV satellite platform, our newest brand, us all. MagtiSat. Despite many obstacles and setbacks, MagtiSat now serves over 30,000 homes and is a major player in Georgia’s I am proud to be a member of MagtiCom’s team as we continue television market. to invest in Georgia’s infrastructure to enable all Georgians to MagtiCom is now in that exclusive league of world-class enjoy the limitless possibilities offered by the internet and new communication companies that are able to offer their customers technology wherever they live. We will continue to work in a package of four products: fixed telephony, mobile telephony, partnership with our customers to make Georgia a better place internet service and television. to live and work. This year MagtiCom also entered into a Strategic Cooperation On behalf of MagtiCom, I congratulate our readers and Memorandum with Samsung, allowing the company to bring in an absolutely new contract system based on the model used in customers on the New Year and thank them for their loyalty. As in the West. previous years, we will continue to offer you outstanding quality During 2012, MagtiCom made a tremendous contribution in all our services during 2013 and on into the future. to Georgia’s social and cultural life. The Company was the main sponsor of many major projects supporting Georgian arts. President of MagtiCom Throughout the year we supported the Georgian Art evenings hosted in Tbilisi Concert Hall and published catalogues of works DAVID LEE

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gTa­va­zobT in­ter­vi­us mag­Ti­ko­mis ge­ne­ra­lur di­req­tor­Tan, ba­ton lars pe­ter ra­i­Sel­tTan

_ ba­to­no ra­i­Selt, sad msaxu­­ rob ­diT saqar­ ­Tve­lo­Si Camob­ rZa­­ ne ­bamde,­ ras gvet­yviT Tqveni­ sa­ mu­Sao ga­moc­di­le­bis Se­sa­xeb?

_ mag­Ti­ko­mis ge­ne­ra­lu­ri di­req­ to ­ris Tanam­ ­de­bo­ba­ze da­niS­vnam­de sxva­dasxva­ xel­mZRva­neli­ po­zi­cia me ­ka­va msofli­ ­os ram­deni­ ­me qvey­ nis satelekomunikacio kom­pa­ni­aSi. ker ­Zod: sam­xreT afri­ ­ka­Si, io­ha­nes­ bur ­gSi, kom­pa­nia Cell C-is ge­ne­ra­ lu ­ri di­req­to­ri gax­ldiT; sa­u­dis ara­beT­Si, el-ri­ad­Si _ mo­bilu­ ­ri kom­pa­nia Zain­ -is ge­ne­ra­lu­ri direq­­ to ­ris mo­adgi­ lis­ mo­va­leo­ ­bis Sem­ sru­le­be­li ko­mu­ni­ka­ci­ebis­ dar­gSi;

GIVEN BELOW IS AN INTERVIEW WITH MAGTICOM’S DIRECTOR GENERAL LARS P. REICHELT I simply enjoy the telecoms space

– Mr. Reichelt, what can you tell us of CEO of Banglalink in Dhaka, Bangladesh, – Why have you agreed to take this your work experience before arriving CEO of Telefonica 3G Mobile in Zurich, position and what made you come to in Georgia? Switzerland, Head of Wireless for Georgia? Yahoo! Europe in London, UK, COO and – Prior to joining MagtiCom and – Georgia is a very competitive, assuming the CEO’s position, I have Managing Director of mobile operator technically very advanced and, quite held several positions as CEO of Cell C ONE in Vienna, Austria and many others. frankly, exciting market. From that in Johannesburg, South Africa, interim I simply enjoy the telecoms space. Always perspective it compares well to evolved CCO of Zain in Riyadh, Saudi Arabia, forward, never dull. markets in the rest of the world. Add

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ban­gla­deS­Si, da­ka­Si _ kom­pa­nia Ban­ ma ­ta _ is dRes mom­xma­re­bels mo­bi­ mag­Ti­komis­ Tvis­ mTa­va­ri abonen­­ glalink­ -is ge­ne­ra­lu­ri di­req­to­ri; lur da fiq­si­re­bul sa­te­le­fo­no te ­bis moT­xov­ne­bi da sur­vi­le­bia. Sve­i­ca­ria­ ­Si, ci­urix­ ­Si _ kom­pa­nia qsels, mo­na­cem­Ta ga­da­ce­mis (in­ vcdi­lobT gan­vsaz­RvroT, Tu ro­ Tele­ ­foni­ ­ca 3G Mobi­ ­le-is ge­ne­ra­lu­ri ter ­ne­ti) mom­sa­xu­re­bebs da Ta­nam­ me ­li ser­vi­se­bi ar aris Cvens ba­zar­ di­req­tori;­ ase­ve mi­mu­Sa­via lon­ gzav­rul te­le­vi­zi­as sTa­vazobs.­ ze, dav­ner­goT isi­ni da Sev­Ta­va­zoT don ­Si _ kom­pa­nia Ya­hoo!-s usa­de­no mom­xma­reb­lebs. da rac Zali­ ­an mniS­ Ca­mosvlam­ ­de saqar­ ­Tve­los kar­ kav­Sirgab­ mu­ lo­ bis­ teq­no­logi­ ­a­Ta vne­lo­va­nia _ vmu­Sa­obT ar­se­bu­li gad ar vicnob­ ­di. Se­miZ­lia si­xa­ ev ­ro­pis ganyo­ fi­ le­ ­bis xelmZRva­­ mom­sa­xu­re­be­bis ga­um­jo­be­se­ba­ze. ru ­liT aR­vniS­no, rom qar­Tve­le­bi ne ­lad; ve­naSi­ _ av­striis­ mo­bi­luri­ Za ­li­an gax­sni­li, ener­gi­u­li, prog­ mo­ma­val­Si gvsurs mona­ ­cem­Ta ga­ ope­ra­to­ris, ONE-is ge­ne­ra­lu­ri res ­ze ori­en­ti­re­bu­li xal­xia. da­ce­mis mom­sa­xu­re­be­bi gan­va­vi­ di­req­toris­ mo­ad­giled­ komu­ ­ni­ maT ­Tan ur­Ti­er­To­ba msi­a­mov­nebs. Ta ­roT. es saSu­ ­a­le­bas mog­vcems ka ­cie­ bis­ dar­gSi, ama­ve kompa­ ­ni­is gar ­da ami­sa, aR­mo­va­Ci­ne araC­ve­ mag­Ti­ko­mis qsel­ze moT­xov­na mniS­ mmar­Tvel di­req­to­rad da a.S. te­ u­leb­ri­vi qve­ya­na, war­mo­ud­ge­ne­ vne­lov­nad gav­zar­doT. msof­li­ le­ko­mu­nika­ ci­ ­e­bis sfero­ yo­vel­ li pe­i­za­Je­biT. zo­gi­er­Ti adgi­ ­li o ­Si smar­tfo­neb­ze (Android,­ Apple Tvis mi­zi­dav­da, is mu­dam viTar­ de­­ sam ­xreT af­ri­kas ma­go­nebs, zo­gi _ da sxv.) moT­xov­nis swra­fi zrdis ba da Senc ar gaZ­levs modu­ ­nebis­ Sve­i­ca­ri­as, zo­gi ki 100%-iT qar­ ten­den­ci­aa da maT­ze fa­se­bi Za­li­an sa­Su­a­lebas.­ Tu ­lia. ase rom, aq Tavs kar­gad swra ­fad ece­ma. es pro­ce­si sa­qar­ vgrZnob pro­fesi­ ­u­li Tval­saz­ri­ Tve ­lo­Si maT po­pu­la­ro­bas ga­mo­iw­ _ ra­tom da­Tan­xmdiT mag­Ti­ko­ si­Tac da Si­na­ga­na­dac. vevs. dRes SesaZ­ ­le­be­lia an­dro­id­ mis ge­nera­ ­lu­ri direq­ to­ ­ris Ta­ ze da­fuZ­ne­bu­li smar­tfo­ne­bi da nam­de­bo­bas da ram gada­ ­gaw­yveti­­ _ ras gvet­yviT kom­pa­nia magTi­­ plan­Se­te­bi 100 do­la­rad an uf­ro naT sa­qarTve­ lo­ ­Si Ca­mos­vla? kom ­ze da rogo­ ­ria mi­si gan­viTa­ ­re­ ia ­fad Se­vi­Zi­noT. es fasi­ Tan­da­ bis per­speq­ti­va? _ sa­qar­Tve­lo­Si te­le­komu­ ­ni­ka­ Tan ki­dev uf­ro da­i­wevs, rac imis sa­fuZ­vels Seq­mnis, rom moma­ ­va­li ci ­e­bi teqni­ ku­ ­rad kargad­ ganvi­ Ta­­ _ mag­Ti­koms te­le­komu­ ­ni­ka­ci­a­ 5 wlis ganmavlobaSi saqarTvelos re­bu­li, kon­kuren­ ­tuna­ ri­ a­ ­ni da, Si Za­li­an mniS­vne­lo­va­ni teq­ni­ku­ mosaxleobis um­rav­le­so­bas smar­ gu­lax­dilad­ rom vTqva, sa­inte­ ­re­ ri ba­za da sa­u­ke­Te­so, far­Te qse­ tfo ­ne­bi eq­ne­baT, sma­rtfo­nebs ki so da mim­zid­ve­lia. am ga­da­sa­xe­di­ li aqvs. is stabi­ ­lu­rad mi­i­wevs win. `smart~ qse­li sWir­de­ba. ai, ama­ze dan, is msof­li­os sxva gan­vi­Ta­re­ amis ma­ga­li­Tia mag­Ti­sati­ _ Cve­ni mu­Sa­obs mag­Ti­ko­mi. bul baz­rebs uTa­nab­rde­ba. amas sa­ Ta­nam­gzav­ru­li sa­te­le­vi­zio ma­uw­ qar­Tve­loSi­ mag­Tiko­ mis,­ ro­gorc yeb ­lo­ba, ro­me­lic momxma­ ­reb­lebs sxvag­varad­ rom vTqvaT, mag­ wam ­yvani­ moTa­ ­ma­Sis po­zi­ci­ac da­e­ wels Sev­Ta­va­zeT. Ti ­­koms surs iyos saqar­ ­Tve­lo­Si

to this the position of MagtiCom as the platform, an excellent and wide network down even further and almost guarantee leading player in the market offering fixed and is moving with poise beyond pure that within the next 5 years most line, mobile, data and satellite television telecoms with the launch of MagtiSat, our Georgians will have smartphones - and and you can see the attraction. television offer launched this year. smartphones need a smart network! That is what MagtiCom is working on. I did not quite know what to expect MagtiCom is focusing more and more of the country Georgia before arriving on our customers, their needs and desires. In other words, MagtiCom will strive and I can say with joy that I have found We try to identify which services are to be the innovation leader in Georgia Georgians to be very open, lively and not yet in the market and may be well in terms of technology, in terms of forward looking people. I enjoy their received and - very importantly - we are customer focus and in terms of products company. I have also found a wonderful working to improve our existing services. and services offered to all segments of I simply enjoy the telecoms space country with incredible landscapes – Georgia. The area of growth going forward will some parts remind me of South Africa, be data services and we can see how the others look like Switzerland and some are – What do you think of the Georgian traffic on MagtiCom’s network is growing 100% Georgian. So I not only feel good telecommunications market and would very rapidly. The global trend towards on a professional level, but on a personal you describe the environment as smartphones (Android, Apple and others) level. It is good to be here. competitive? is unstoppable and accelerating and – What can you tell us of MagtiCom the very rapid price declines will drive – Despite signs of a faltering economy, and what is your view of the adoption in Georgia as well. We can today the mobile market has kept on developing development strategy of the company? see Android powered smartphones for at a rapid pace in the country. MagtiCom less than USD 100 and tablets for about operates different brands in mobile, – MagtiCom has a very sound technical the same price. These prices will come fixed line telephony, wireless internet

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teq­nolo­ gi­ u­ ­ri ino­va­cie­ ­bis li­de­ sTa­va­zobs ma­Ra­li stan­dar­tis mo­ gar ­da ami­sa, damo­ ­uki­ ­de­beli­ sa­ ri. ami­tom is mom­xma­re­belzea­ ori­ bi ­lur da fiqsi­ ­re­bul sa­te­le­fo­no qar­Tve­los is­to­ri­aSi­ mag­Ti­ko­mi en­ti­re­bu­li da mis yvela­ seg­ments kav ­Sirs, mo­bi­lur in­ter­nets da Ta­ pir ­ve­li kom­pa­ni­aa, ro­mel­mac da­ uax ­les pro­duq­teb­sa da ser­vi­sebs nam­gzav­rul te­le­vi­zi­as. ar ­se­bis dRi­dan qvey­nis eko­no­mi­ka­Si sTa­va­zobs. ga­da­sa­xa­de­bis sa­xiT mi­li­ard lar­ am­gvarad­ sa­qarTve­ ­lo­Si Za­li­an ze me­ti Se­i­ta­na. _ ras fiq­robT qar­Tul te­le­ko­ kon­ku­ren­tu­li ga­remoa,­ ro­mel­sac mu­ni­ka­ci­is ba­zar­ze. ro­go­ri kon­ sar­ge­be­li mo­aqvs Cve­ni abo­nen­te­ Cven mo­ma­val­Sic miv­yve­biT so­cia­­ ku­rentu­ ­li gare­ ­mo dag­xvdaT aq? bi ­sa da, zo­ga­dad, qar­Tve­li mom­xma­ lu ­ri kor­po­ra­ti­u­li pasu­ ­xis­mgeb­ _ mi­u­xe­davad­ qve­yana­ Si­ aram­dgra­ reb­lis­Tvis. lo ­bis gan­vi­Ta­rebis­ gzas _ mag­Ti­ di eko­no­mi­kis niSne­ ­bi­sa, mo­bilu­ ­ri ko ­mi qar­Tu­li sa­zo­ga­do­e­bis aq­ti­ te­leko­ ­muni­ ­ka­ciis­ ba­za­ri swrafad­ _ saq­vel­moqme­ ­do saq­mi­a­nobas­ u­ri na­wi­lia. ga­nag­rZobs ganvi­ ­Ta­re­bas. dRes mag­ mag­Ti­ko­mi da­arse­ ­bis pir­ve­li­ve Ti ­koms mobi­ lu­ ­ri da fiq­si­rebu­ ­li dRi ­dan ewe­va. es tra­di­cia Tu gag­ _ ro­gor See­ ­gueT­ qarTul­ si­nam­ sa­tele­ ­fo­no, ukabe­ lo­ in­ter­ne­ rZel­de­ba? dvi­les... tis da Ta­nam­gzavru­ li­ te­le­vizi­ ­is bren­de­bi aqvs. am sxvadas­ xva­ sfe­ _ Cven qar­Tul saq­mes va­ke­TebT _ _ bed­ma msof­lios­ sxva­das­xva qve­ ro ­Si Cven bevri­ kon­ku­ren­ti gvyavs. wle ­bis gan­mav­lo­ba­Si mag­Tiko­ ­mis ya ­na­Si cxov­re­bi­sa da mu­Sa­o­bis sa­ vac­no­bi­e­rebT, rom kon­ku­ren­cia saq­mi­a­no­bis la­it­mo­ti­via. iseT kom­ Su ­a­le­ba mom­ca. Se­miZ­lia giTxraT,­ yu­rad­Re­bis mo­du­ne­bis sa­Su­a­lebas­ pa ­ni­as ro­go­ric Cve­nia, so­ci­a­lu­ri rom am qveynebs­ So­ris sa­qar­Tve­lo ar gvaZ­levs da am pro­ce­siT mo­ge­ da sa­zo­ga­do­eb­ri­vi pa­su­xis­mgeb­lo­ erT-er­Ti yve­la­ze mimzid­ ­ve­lia. un­ bu­li mom­xma­re­be­li rCe­ba. ba yo­vel­Tvis aqvs. es seri­ ­o­zu­li da va­Ri­a­ro, arc ise didi­ dro mqon­ ro ­li Cven Ta­vi­dan­ve vit­virTeT.­ da qve­ya­na­Si sa­mog­za­u­rod, mag­ram mag­Tikoms­ surs sau­ ­keTe­ ­so qar­ wle ­bis gan­mav­lo­ba­Si aq­ti­u­rad va­ rac aqam­de vnaxe,­ Za­li­an mom­wons. Tu ­li resur­ ­se­bis msoflio­ donis­ teq­nolo­ gi­ eb­ ­sa da ide­ebTan­ Se­je­ xor­ci­e­leb­diT mra­va­li pro­eq­tis di­de­bu­li bu­ne­ba, araC­ve­u­leb­ri­vi re ­biT swra­fi da adgi­ ­lob­ri­vi baz­ fi­nan­sur uzrun­ ­vel­yo­fas ganaT­­ sam­za­re­u­lo da Rvi­no, Za­lian­ sa­ ris ­Tvis mor­ge­bu­li ga­daw­yveti­­ le ­bis, li­te­ra­tu­ris, Te­at­ris, in ­te­re­so is­to­ria da kul­tu­ra da, le ­be­bi mi­i­Ros. dRes mag­Ti­ko­mi sa­ sax ­vi­Ti xe­lovne­ ­bis, spor­tis, jan­ rac mTa­va­ria, Se­sa­niS­na­vi xal­xi _ qar­Tvelo­ ­Si erTa­ ­der­Ti kompa­ ­niaa,­ mrTe­lo­bis dac­vis, so­ci­a­lu­ri ke­ gax­sni­li, mom­Ri­mari,­ mSro­me­li da ro ­me­lic 2 000 000-ze met abo­nents Til­dRe­o­bis sfe­roeb­ ­Si. win­svla­ze ori­en­ti­re­bu­li.

and satellite TV, so we have a long list of – MagtiCom has been carrying out We will keep on following and competitors in those different areas. And charity from the very first day of its developing along this path of corporate we have to recognize that they are doing foundation; will this tradition proceed? social responsibility – MagtiCom is an a good job, keeping us on our toes and active part of Georgian society. together with our competitors we have – MagtiCom’s slogan: We are making created a vibrant market place for the it for Georgia has been the leitmotif of – So how is life in Georgia for you? benefit of Georgian consumers. the Company’s activity throughout the years. A company like ours has a societal – I have had the good fortune to live in MagtiCom strives to mix the best of or civic responsibility as well and we many, many countries around the world Georgian resources with world-class have taken this very seriously right from and I can happily say that Georgia is one technology and ideas and the fact that the beginning. We have over the years of the nicest. I have to admit that I have our decision-making is fast and local. As actively provided financial support to not had that much time to travel around a result MagtiCom is the sole company numerous projects and events in the field the country, but what I have seen so in Georgia able to offer to more than far I like very much – great landscapes, 2 000 000 customers high-standard of education, literature, theatre and fine mobile, fixed-lined telephony as well as arts, sports, health care and social welfare. excellent food and wine, a very interesting mobile internet and satellite TV. and storied culture and, most importantly, Moreover, MagtiCom is the fifirst rst compa-compa- a great bunch of people, who are open, So yes, Georgia has a very competitive ny in the history of independent Georgia smiling, forward looking and hard market environment and it benefits our which has transferred, by way of tax pay- working. customers and Georgian consumers in ments alone, over GEL 1 000 000 000 (one general. billion) into the economy of the country.

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miwis metamorfoza. 1967. tilo, zeTi. 90X70 METAMORPHOSIS OF LAND. 1967. OIL ON CANVAS. 90X70 momavlis mxatvari THE ARTIST OF THE FUTURE

`iyo da ara iyo ra, RvTis uke­Te­si ra ­ “THERE WAS SOMETHING AND THERE WAS NOTHING iq­ne­bo­da~ _ ai, fa­bu­la da ko­di im ­ AT ALL, YET COULD THERE BE ANYTHING BETTER THAN fi­lo­so­fi­u­ri ax­sni­sa, ro­me­lic ­ GOD?” IS THE PLOT AND THE CODE OF THE PHILOSOPHIC sa­fuZ­vlad udevs da xazs us­vams `iyo­Si~ INTERPRETATION SHOWING THE BASIS AND ar­se­bad xil­vads, xo­lo `ara iyo­Si~ ki _ UNDERLINING THE VISIBLE IN THE “THERE WAS” AND uxi­lavs. igi mo­i­cavs tran­sce­den­tur ­ THE INVISIBLE IN THE “THERE WAS NOTHING AT ALL”. ire­a­lur­Si Se­u­xe­ba­dis ar­se­bo­ba­sac da ­ IT INVOLVES THE EXISTENCE OF THE UNATTAINABLE IN TRANSCENDENTAL UNREALITY AND AN EXPLANATION ma­ra­di­u­li si­coc­xlis ko­dis ax­sna­sac... OF THE CODE FOR ETERNAL LIFE.

jib­son xun­da­Ze, JIBSON KHUNDADZE `Ce­mi kon­cef­cia~ “MY CONCEPT”

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ibson Khundadze’s life path and works bear the distinctive Jimprint of tremendous political and historical upheavals and brutal changes. Changes, however, are always the source of the greatest inspiration - inspiration that con­ti­ nued to propel the painter all the way to produce paintings, which pour out the rawness of immense energy. He got the knack for painting from his father, Khariton Khundadze, who was himself a painter. From his mother, Elisabed Vashakidze, a housewife with a gift for composing poems, he inherited a passion for poetry. The Georgian modernist artists (Davit Kakabadze, Lado Gudiashvili, Elene Akhvlediani etc.), who returned from Europe in the 1930s came under intense criticism

ib­son xun­da­Zis bi­og­ra­fi­ as Tva­li rom gada­ ­vav­loT, jmiv­xvde­biT, ram­de­ni is­to­ ri­ul-poli­ ­ti­ku­ri ga­r­­daqmna­ da sir ­Tule­ ax­lda mis cxovre­ ­ba­sa da, Se­sa­ba­mi­sad, Se­moqme­ ­debas.­ Tum­ca cvli­le­bebi­ di­di in­spi­ra­ci­is wya­ roa xol­me. Zli­e­ri in­spi­ra­cia ki is aris, rac aras­dros ak­lda mxatvars­ imis ­Tvis, rom exa­ta _ exa­ta uzar­ma­ za­ri ener­gi­is na­war­mo­e­bebi.­ xat ­vis sur­vi­li ma­mam, xa­ri­ton xun ­da­Zem gauR­ ­vi­va, ro­me­lic Ta­va­ dac kar­gad xa­tav­da, po­e­zi­i­sadmi­ siy­va­ruli­ ki de­dam _ elisa­ ­bed va­ Sa ­ki­Zem, ro­me­lic di­asax­ ­liso­ ­bis gar­da leq­seb­sac wer­da. ga ­su­li sa­u­kunis­ 30-ian wleb­Si aq­tiu­ rad­ mimdi­ ­nare­ ­ob­da ev­ro­pi­ dan dab­ru­ne­buli­ qar­Tve­li mo­der­ nis ­te­bis _ daviT­ ka­ka­ba­Zis, la­do gu­diaS­ ­vi­lis, elene­ ax­vle­di­a­nis xed ­ve­bis da ide­e­bis Seviw­ ro­ ­ve­ba. swo ­red am dros daem­ ­Txva jib­son xun­da­Zis bav­Svo­ba da mo­wafe­ o­ ­bis wle­bi. sam­xat­vro sas­wav­leb­lis dam­Tav­ re ­bis Sem­deg man swavla­ sam­xatvro­ aka­de­mi­a­Si ga­nag­rZo. aq mas radi­ ­ka­ lu ­rad gan­sxva­ve­bu­li xel­we­ri­sa Tu su­lis­kve­Tebis­ mqo­ne mxatvre­ ­bi as­wavlid­ ­nen _ mose­ To­i­Ze, ioseb­ ga­ baS ­vili,­ va­sil Su­xa­e­vi, ser­go qo­ bu ­la­Ze, va­len­tin Ser­pi­lo­vi. gan­ sa­kuT­re­bu­li siy­va­ruliT­ jib­son

balerinebi. 1945. tilo, zeTi. 61X51 BALLET DANCERS. 1945. OIL ON CANVAS. 61X51 9 mudmivi kavSiris samyaro

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and ferocious persecution. Jibson Khundadze’s childhood and school years coincided with this turbulent period. On graduating from art school, he proceeded to the Academy of Art where he was taught by artists with radically different brushwork and aesthetics - Mose Toidze, Ioseb Gabashvili, Vasil Shukhaev, Sergo Kobuladze and Valentin Sherpilov. The latter holds a special place in Jibson Khundadze’s heart. His career as a painter and the formation of his character continued under the Soviet regime’s growing ideological pressures. However, his life became a powerful symbol of defiance… Jibson Khundadze: “I was a first-year student then. One day I happened to stay at the Academy to paint until late at night. Quite by chance, I found myself at an artists’ meeting where “red professors”, to put it mildly, censured Davit Kakabadze and Lado Gudiashvili. `kiroCni~, kirxes kuTxe. 1945. tilo, zeTi. 35X42 CORNER OF KIRCHE SQUARE IN TBILISI. 1945. OIL ON CANVAS. 35X42

xun­da­Ze swo­red va­len­tin Serpi­ ­lovs ixse­ ­nebs. pi­rovne­ bad­ da mxatvrad­ Ca­mo­ya­libe­ ­ba jib­son xun ­da­Zem sab­Wo­Ta re­Ji­mis mwva­ve da Zli­eri­ ide­ o­lo­gi­u­ri wne­xis dros da­iw­yo, Tumca­ is Ta­vi­si Ta­obis­ ­Tvis da­u­mor­Cileb­ ­lo­bis simbo­ ­lo gax­ da... jib ­son xun­daZe:­ `max­sovs, aka­de­mi­is pir­vel kur ­sze vswav­lob­di. sas­wav­lebel­ ­Si gvia­ no­ ­bam­ de vxa­tav­di da SemTxve­ ­viT mxatvar­ Ta­ Sek­re­ba­ ze aR­movCndi,­ ro­mel­zec `wi­Te­li profe­ su­ ra~­ da ­viT ka­ka­ba­Zi­sa da lado­ gu­di­aSvi­ ­lis Se­moq­me­ de ­bas, rbilad­ rom vTqva, ak­ri­tikeb­ ­dnen. ga­mom­ svle­lebs yu­rad­Re­biT vus­men­di da ro­ca er­Tma `wi ­Tel­ma aka­de­mi­kos­ma~ ka­ka­baZe­ da gu­diaS­ ­vi­li ara­erov­ nul­ mxat­vre­bad, epi­go­nebad­ mo­ix­se­nia, ve ­Rar mo­viTmi­ ne­ da mxat­vrebi­ ­Ta da stu­den­te­ biT ga­davse­ ­bul dar­baz­Si ga­momsvlels­ sit­yva Se­vaw­yve­ti­ne _ di­di qar­Tve­li mxat­vre­bi da­vi­ ca ­vi. dar­ba­zi ga­i­susa.­ Cem mas­wavle­ ­bels, va­len­ tin Ser­pi­lovs, fra­za _ jib­son ga­Cumdi­ _ Su­a­Si ga ­uwyda­ da kaTed­ ­ri­dan `wi­Teli­ aka­de­mi­kosis~­ mris ­xa­ne xma _ vin aris es Rlapi?!­ _ gais­ ma...­ me­o­ re dRes Cem peda­ ­gog Ser­pi­lovs da me samxat­ ­vro aka­de­mia er­Tad dagva­ ­to­ve­bi­nes~... gar­kveu­ ­li dro­is Semdeg­ akade­ ­mia­ Si­ aRad­ gi ­nes. Ta­nakur­ sel­ ­ma, so­mexma­ mxat­var­ma va­Rik xo­re­ni­an­ma uS­ve­la. urCia­ _ jib­son, Sen frangu­­ lad da ita­li­u­rad wer, `pe­redviJ­ ni­ ki~­ ve­ras­ dros gax­de­bi da ami­tom vieS­ ma­ ­koT, akade­ ­mi­a­Si Ce­mi eti­ude­ ­bi mi­i­ta­neo... ase `ieS­ma­kes~. cisanas portreti. 1958. tilo, zeTi. 90X70 PORTRAIT OF TSISANA. 1958. OIL ON CANVAS. 90X70 10 THE WORLD OF CONSTANT CONNECTION

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sakarcxuli. 1960-95. tilo, zeTi. 117X100 CHAIR. 1960-95. OIL ON CANVAS. 117X100 11 mudmivi kavSiris samyaro

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raWa, sofeli xeiTi. 1960. tilo, zeTi. 80X78 RACHA, KHEITI VILLAGE. 1960. OIL ON CANVAS. 80X78 I was all ears listening to them carefully, and when one of the “red academicians” referred to Kakabadze and Gudiashvili aka ­demi­ ­is dam­Tavre­ ­bis Sem­deg da­ sur ­vi­li gviC­nde­ba, oci­a­ni wle­bis as inferior epigones devoid of national u­morCi­ ­lebel­ Se­moq­meds ofi­cio­ ­zi mo­der­niz­mis Sem­deg, yve­la­ze di­di sentiments, my patience ran away with ar swya­lob­da. mi­si Ta­o­bis bev­ri en­Tu­zi­az­miT `ga­Ta­vi­suf­le­bu­li~ me and I spoke out in defence of the mxat­va­ri pro­fe­soris­ sa­varZelSi­ mxat­vre­bis Ta­o­bebs, sa­mo­ci­a­ne­ distinguished Georgian painters in the ij ­da, is ki, rigi­ ­Ti peda­ go­ ­gi, sam­ leb ­sa da samoc­ ­da­a­Ti­ane­ ­lebs vix­se­ hall jam-packed with dozens of artists xat ­vro skola­ ­Si as­wav­lida,­ da Tan, nebT. mo­du­ne­bu­li sis­te­mis fon­ze and students. The audience was struck da­ma­tebiT,­ sxva­dasxva­ qar­xa­na-fab­ maT sa­Su­a­le­ba mi­e­caT bevrad­ uf­ro dumb for a minute. I heard Valentin ri ­ka­Si oq­ros Car­Co­e­biT mo­va­raye­­ Ta ­mam­ni da da­sav­le­Ti­dan Se­da­re­ Sherpilov’s muffled groan: “stop it, bul sa­pa­tio da­febs afor­meb­da... biT io­lad Se­mo­su­li in­for­ma­ci­i­ Jibson”, immediately followed by the red dRes, ro­desac­ me­o­ce sa­u­ku­nis sad ­mi gax­snil­ni yo­fi­liy­vnen. mag­ academician’s roaring growl: “who’s this qar­Tu­li xe­lov­nebis­ mi­mo­xilvis­ ram am Ta­o­beb­Sic iy­vnen in­di­vi­de­bi, birdbrain?!.” The next day my teacher

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4/56/2012 rom­lebmac­ is sa­az­rov­no sa­fuZ­ Sherpilov and I were both expelled from The rebellious painter remained at ve ­li Seq­mnes, ra­zec Ta­na­med­ro­ the Academy of Art. odds with the authorities all the way after ve xe­lov­ne­bam ga­idga­ fes­ve­bi. maT After a period of time he applied for graduation from the Academy. Many So ­ris jib­son xunda­ ­Ze pir­ve­lia, reinstatement to the Academy. His friend artists of his age enjoyed blossoming vinc eta­pob­ri­vad ga­mo­i­a­ra ita­li­ from the Academy, Armenian painter careers and were elevated to the rank of u ­ri kla­si­ku­ri sko­li­sa da, gan­sa­ Vadik Khorenian, came to his help. professor. He, in the meantime, worked kuT­rebiT,­ XX sau­ ­ku­nis da­sawyi­ ­sis “Jibson, you adhere to French and Italian as a rank and file teacher at an art school fran­gu­li sko­lis yve­la Ziri­ ­Ta­di painting standards of content and style. and, in parallel, decorated gold-framed eta ­pi da Seq­mna ab­so­lutu­ rad­ in­di­ You’re never to become a member of the plaques of honour in many plants and vi­du­alu­ ri,­ uzar­ma­za­ri ener­gi­is Peredvizhniki. So let’s play a trick on them. factories. ma­ta­re­be­li ko­lo­ris­tuli­ kos­mi­ Take my sketches, instead of yours, to A look back at the Georgian artistic u ­ri sam­ya­ro, rom­lis gan­saz­Rvre­ the Academy”… thus, Jibson Khundadze tendencies of the 20th century brings to the ba arc erT ar­sebul­ mi­marTu­ le­ ­bas tricked his way into the Academy. fore, along with modernist movements of

diadi Rame. 1961. tilo, zeTi. 83X90 MAGNIFICENT NIGHT. 1961. OIL ON CANVAS. 83X90

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ar ekuT­vnis. mis sa­xel­de­bas Tavad­ the twenties, the “liberated” artists of the himself hopes that critics will possibly fit mxat ­va­ri mo­mavlis­ kri­ti­kosebs­ an­ sixties and the seventies - artists who, his paintings into some category in future. dobs... feeling the regime’s hold on them slacken, The subject of Jibson Khundadze’s jib ­son xun­da­Zis na­mu­Sev­re­bi were encouraged to experiment with pain­tings is hyperbolized cosmic land­ TiT ­­qos hiper­ ­boli­ ­zi­re­bu­li ko­ bold lines and become more receptive scapes. It is difficult to identify his mystic s ­­mi­uri­ pei­ ­za­Je­bia. Zne­lia erTi­ to the ideas that were coming in, already compositions with any piece of the real Se­xedviT­ mis­ti­ku­ri kom­pozi­ ­ci­ unhindered, from the west. Those were the scenery or any view of the countryside. e ­bi kon­kre­tul siv­rce­sa da lan­ artists who laid the mental groundwork, He uses a dynamic palette of saturated dSafts mi­vam­sgav­soT. aq­ti­u­ri fe­ on which modern art founds itself. Jibson colours and wild contrasts to create a ra ­dova­ ­ni la­qebis­ TiT­qmis ve­lu­ri Khundadze was the first to go through all generalized concept of the environment, di ­na­mi­ka _ ga­re­mos, lan­dSaf­tis, stages of the Italian school of classical art of the landscape and of the space. Apart siv ­rcis cne­be­bis gan­zoga­ ­de­bas em­ and, most importantly, the French school from being visually compelling canvasses, sa­xu­re­ba. jib­son xunda­ ­Zis namu­­ of the early 20th century. He created an Jibson Khundadze’s works convey con­ Sev ­rebi­ er­Tdro­u­lad STam­beW­da­vi absolutely unique cosmic world with a ceptually loaded content. The artist gives pa ­no­e­bi, di­di fe­ra­dova­ ­ni ti­loe­ ­bi highly-charged palette of intense colours, a philosophical analysis of his own works: da amav­dro­u­lad kon­cep­tu­alu­ ­rad which cannot be linked convincingly to Jibson Khundadze: “It will be enough for dat­virTu­ ­li ar­te­bia. mxat­vari­ ki any existing art movement. The artist a viewer standing in front of my picture to

mTebSi. 1968. tilo, zeTi. 88X103 IN MOUNTAINS. 1968. OIL ON CANVAS. 88X103

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xeobaSi. 1985. tilo, zeTi. 90X90 IN GORGE. 1985. OIL ON CANVAS. 90X90

sa ­ku­Ta­ri xe­lov­nebis­ filo­ ­so­fi­ur make a slight effort and trust the canvas deserted, the landscape trailed with his saw­yi­sebs ase gvix­snis: created with a profound love and a self- perspiration and toil and preserved in the `Tu SeZlebs­ Ce­mi sura­ ­Tis win sacrificing struggle to doubtlessly sense, metaphoric idea of the opening formula of mdgo mi­ ada­mi­a­ni, od­nav daZa­ ­bos go­ne­ how my paints were perishing in an Georgian tales “There was something and ba da endos­ im suraTs,­ ro­mel­sac ase unequal battle in the trenches and how I there was nothing at all”. di di­ siyva­ ­ru­li­Ta da Tav­dade­ ­buli­ burst into the fire again and again to rescue MagtiCom recently published a cata­ brZo liT­ vqmnidi,­ uTuod­ ig­rZnobs, those doomed to death. He will glance at logue of Jibson Khundadze’s works. The uTanas­ wo­ ­ro brZola­ ­Si, Tu ro­gor the roads and hills instilled in the cracks of presentation ceremony took place at mexo­ ­cebo­ ­da sa­Reba­ ve­ ­bi sangreb­ ­Si, soil, the plots of land treated by the furrow the Giorgi Leonidze State Museum of ro gor­ Sev­di­o­di cecxlSi­ yi­Ji­niT da of human life although abandoned and Georgian Literature, on the sidelines

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sicoc­ ­xles vu­narCu­ ­neb­di sik­vdili­­ lu ri­ gamo­ fe­ ­nis gax­sni­sas Sed­ga. al­ of the artist’s personal exhibition. The saT vis­ gan­wi­rulT. am idu­male­ ba­ Si­ bo mi­ sain­ te­ re­ ­so gamo­ ce­ ­maa maT­Tvis, catalogue is a valuable edition for anyone gamok­ rTe­ ba­ miwis­ nap­raleb­ ­Si CaR­ven­ vi sac­ jib­son xunda­ ­Zis xe­lov­nebis­ who is keen to gain valuable insights Ti li­ gzebi­ da bor­cvebi,­ adami­ a­ ­nis srulyo­ fi­ lad­ gac­no­ba surs. wina­­ into Jibson Khundadze’s art. Art critic sicoc­ ­xlis kva­liT da­mu­Sa­ve­buli,­ sityva­ o­ ba­ Si­ xe­lov­nebaT­ ­mcodne­ sam­ Samson Lezhava writes in his prologue mito­ ­ve­buli,­ ukac­rie­ ­li nakve­ ­Tebi,­ son leJa­ ­va wers: `XX-XXI sa­u­kune­ ­Ta of the catalogue: “We would be unable to mi si­ ofli­ Ta­ da SromiT­ kvalda­ ­Ra­ qar Tul­ xe­lov­ne­ba­ze srulfa­ ­sova­ ­ni properly understand Georgian art of the ru li­ landSaf­ ti­ `iyo da ara iyo ras~ warmod­ ­ge­na ver Seg­veqmne­ ­ba, Tuki­ ar 20th and the 21st centuries unless we get meta­ ­forul­ az­rSi Ca­unje­ bu­ ­li...~ gavec­ no­ biT­ Se­saniS­ ­navi­ mxatvris,­ ko­ acquainted with the painting of Jibson ax la­ ­xan kom­pa­nia magTi­ kom­ ­ma jib­ loris­ ­tikis­ di­dosta­ tis,­ saku­ ­Ta­ri Khundadze – a remarkable artist, a great son xunda­ Zis­ ka­ta­logi­ gamos­ ­ca. mi­si da friad­ ori­gi­nalu­ ­ri fer­we­ru­li colourist and a man who established his prezen­ ­ta­cia gior­ gi­ le­o­ni­Zis saxe­­ sis te­ ­mis Camo­ ma­ ­ya­li­be­be­lis _ jib­ own, utterly original painting system”. lo bis­ li­te­ratu­ ­ris muze­ u­ mis­ sa­ga­ son xunda­ Zis­ Se­moqme­ ­debas“.­ Jibson Khundadze is not a widely mo fe­ no­ dar­bazSi,­ mxatvris­ per­sona­­ jib son­ xun­daZe­ ar aris is mxat­va­ exhibited painter. He remains as elusive

riJraJi mTebSi. 1994-95. tilo, zeTi. 180X201 DAYBREAK IN MOUNTAINS. 1994-95. OIL ON CANVAS. 180X201

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qarCoxis gadasaxvevi. 1996. tilo, zeTi. 116X116 as ever, and his studio too is largely KARCHOKHI TURN. 1996. OIL ON CANVAS. 116X116 inaccessible to the public. However, his paintings hang in various private collections both in Georgia and abroad, including in the Georgian National ri, romel­ sac­ xSirad­ vxedavT­ saga­­ va dro, rode­ sac­ Tbilis­ ­Si ga­ixsne­ ­ba Museum. The time will come, maybe, mo fe­ no­ dar­ba­zebsa­ da jgufur­ ga­mo­ siv rce­ Cveni­ Tana­ ­medro­ ve­ xe­lovne­­ when art-viewing space will be set up in fe neb­ ze.­ am Tav­lsaz­risiT­ is Za­li­an bis warmo­ ­sa­Ce­nad da sa­dac jib­son rTu lad­ mi­saR­we­vi av­toria.­ rTu­lia Tbilisi to promote contemporary Georgian xun da­ ­Zis ferwe­ ­ra auci­ leb­ ­lad dai­­ artists, and Jibson Khundadze’s artwork aRmoC­ ­nde mis sa­xe­losno­ Sic.­ Tum­ca kavebs­ gansa­ ­kuTre­ ­bul adgils.­ will take centre stage there. mi si­ namu­ Sev­ ­rebi­ ara mxo­lod saqar­­ Tve lo­ ­sa da saz­Rvar­ga­reT kerZo­ ko­ SOPO KILASONIA leqci­ ­eb­Si ina­xeba,­ ara­med sa­qar­Tve­ so­fo ki­la­so­nia GIO ALEKSISHVILI los erovnul­ muze­ um­ ­Sic. al­baT, mo­ gio aleqsiSvili

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12 stu­­dents 300 la­ri­a­ni sti­pen­dia mag­Ti­komis­ stipen­ ­dia dag­ve­niS­na. ime­di maqvs magTi­ ­ko­mis am ­gva­ri pro­eq­te­bi mo­ma­val­Sic gag­ rZel­de­ba da yve­la stu­dents swav­ sa­qar­Tvelos­ teq­niku­ ri­ la, Sro­ma da­u­fas­de­ba. gi ­orgi­ fe­te­la­va, ener­ge­ti­ki­sa da te­le­ko­mu­ni­kaci­ ­is fa­kul­te­tis uni­ver­si­te­tis studen­ tebs­ IV kur­sis stu­den­ti _ po­li­teqni­­ kur uni­ver­si­tets wels vamTav­ ­reb. Ce ­mi `viw­ro~ spe­ci­a­lo­ba mo­bi­lu­ri mag­Ti­ko­mi wle­bis gan­mav­lo­ba­Si Ta­nam­Srom­lobs sa­qar­Tve­los kav ­Si­ris sis­teme­ ­bia. mag­Ti­kom­ma sa­ sxva­das­xva umaR­les sas­wav­le­bel­Tan. yo­vel­wli­u­rad kom­pa­nia si­a­mov­nod ga­ma­o­ca da swav­lis, Ce­mi sa­u­ke­Te­so kur­sdam­Tav­re­bu­le­bi­dan Se­sa­fe­ris kan­di­da­tebs spe­ci­a­lo­bis ukeT dauf­ ­le­bis me­ti sti ­mu­li mom­ca. di­di mad­lo­ba mag­ ar­Cevs da... asaq­mebs. 2012 wlis no­em­ber­Si teq­ni­ku­ri uni­ver­si­ Ti­koms Cve­ni wa­xa­li­se­bis­Tvis. te­tis 15 kur­sdam­Tav­re­bu­li spe­ci­a­lu­ri Ser­Ce­vis da tes­ti­re­ Ta ­mar Jvania­ , in­for­ma­ti­kis da bis sa­fuZ­vel­ze mag­Ti­ko­mis cxe­li xa­zis Ta­nam­Sro­me­li gax­da. mar ­Tvis sis­te­me­bis fa­kul­te­tis

ag­Tikom­ ­ma teq­niku­ ­ri uni­ver­ si ­te­tis ener­ge­ti­ki­sa da te­ mle­ko­muni­ ­kaci­ ­is da in­for­ma­ ti ­ki­sa da mar­Tvis sis­te­mebis­ fa­ kul­te­tebis­ me-2, me-3 da me-4 kur­ sis sa­uke­ Te­ ­so 12 studen­ ­tisTvis­ yo­vel­Tviu­ ­ri sti­pen­dia da­a­wesa.­ axal­gaz­rde­bi ma­Ra­li aka­demi­ u­ ­ri mos­wre­bi­sa da reqto­ ­ratis­ re­ko­ men­daci­ ­is sa­fuZ­velze­ Se­irCnen.­ pro­eq­ti mag­Ti­ko­mis sti­pen­dia sa­qar­Tve­los teq­ni­ku­ri uni­ver­si­ te ­tis sa­u­ke­Te­so stu­dente­ ­bis ga­ mov ­le­nis miz­niT ganxor­ ­ci­el­da da kor­po­rati­ ­uli­ so­ci­a­luri­ pasu­­ xis­mgeb­lo­bis fargleb­ ­Si Catar­ da.­ MagtiCom Scholarship for Students mag­Tiko­ mis­ sti­pen­dia­ ­tebis­ da­ jil­doe­ bis­ sa­ze­imo­ ce­re­mo­nia sa­ of the Georgian Technical University qar­Tvelos­ teq­ni­kur univer­ ­si­ tet ­Si 9 no­em­bers ga­i­mar­Ta. ener­ge­ ti ­ki­sa da te­le­komu­ ­ni­ka­ci­ebis­ da MagtiCom has for many years maintained close cooperation with different in­for­mati­ ­kisa­ da mar­Tvis siste­­ higher education institutes in Georgia. The Company selects graduates, who me ­bis fa­kul­te­te­bis war­Ci­ne­bu­li have exhibited the highest level of academic achievement, and… recruits stu­den­tebi­ _ me­ri go­gola­ Ze,­ mari­­ them each year. In November 2012, having successfully passed through a am mker­va­li, Ta­mar biwa­ ­Ze, san­dro rigorous selection process, 15 graduates of the Technical University signed up ma­i­su­ra­Ze, gi­or­gi fe­te­la­va, ana with MagtiCom’s hotline service. ka ­ka­ba­Ze, zvi­ad joba­ ­va, ia mum­la­Ze, qe ­Te­van co­ma­ia, daviT­ xaCa­ ­tu­ri­a­ni, MagtiCom has set up scholarships to support high achievers of the Georgian gi ­or­gi la­zaS­vi­li da Ta­mar Jva­ encourage second-, third- and fourth- Technical University. nia mag­Tiko­ ­mis­gan yo­velTvi­ ­u­rad year students of the faculties of power The MagtiCom scholarship award 300 la­ris ode­no­bis sti­pendi­ ­as mii­­ engineering and telecommunications, ceremony took place at the Georgian Re ­ben. mag­Ti­komis­ es gadaw­ ­yve­ti­le­ informatics and control systems of the Technical University, on 9 November. ba sti­pendi­ ­a­ti stu­den­te­bisTvis­ Georgian Technical University. Outstand- Mari Gogoladze, Mariam Mkervali, Tamar mo­u­lod­ne­li aRmoC­ nda...­ ing students will be awarded 300 lari per Bitsadze, Sandro Maisuradze, Giorgi Pe- ana ka­ka­ba­Ze, ener­ge­tiki­ ­sa da month based on academic achievement, telava, Ana Kakabadze, Zviad Jobava, Ia te­leko­ ­muni­ ­ka­ciis­ fakul­ ­te­tis and following the recommendation of Mumladze, Ketevan Tsomaia, David Kha- IV kur­sis stu­den­ti _ dRes magTi­­ the university administration. chaturian, Giorgi Lazishvili and Tamar kom ­ma Cems megob­ ­reb­sa da me mar­ Governed by the principles of Cor- Zhvania were announced as winners. Tlac si­ur­pri­zi dagvax­ ­ved­ra. porate Social Responsibility, the Magti- Each student will be offered 300 lari per am ori fa­kulte­ ­tis sa­u­ke­Te­so Com scholarship project is intended to month as a scholarship. MagtiCom’s de-

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I I kur­sis stu­den­ti _ Ce­mi kur­si­ da­mi­re­kes da miT­xres, rom mag­Ti­ rda ada­mi­a­nis­Tvis, stu­den­tis­Tvis dan ori sau­ ­keTe­ ­so bavSvi­ Seg­var­ ko ­mis sti­pen­di­a­zec war­mad­gi­nes. yo­vel­Tvi­u­ri 300 lari­ ­a­ni sti­pen­ Ci ­es. kur­sze, aka­demi­ ­u­ri mos­wre­bis am mo­u­lod­nel­ma zar­ma Za­li­an ga­ dia di­di sti­mu­lia. 98,7 qu­liT, me­o­re ad­gi­li mxvda ma ­xa­ra. ime­di maqvs mag­Ti­koms sa­ ar ­Cil fran­giSvi­ ­li, sa­qar­Tve­los wi ­lad da magTi­ ­ko­mis sti­pen­dia­ ­ze qar­Tve­lo­Si moR­va­we sxva kompa­ ni­ ­e­ teq­ni­ku­ri uni­ver­si­te­tis req­to­ war­mad­gi­nes. kom­pa­ni­is es nabi­ ­ji bic mih­ba­Za­ven. axal­gaz­rdebs ukeT ri _ dRes Cven­Tvis mniS­vne­lo­va­ni Cems me­gobreb­ ­sa da me ukeT swavlis,­ swav­lis­Tvis am­gvari­ Ta­nad­go­ma dRea. mag­Ti­ko­mis ga­daw­yve­ti­le­bam pro­fe­si­o­na­lad Ca­mo­yali­ ­bebis­ did gvWir­de­ba. _ teq­ni­ku­ri uni­ver­si­te­tis ener­ mo­ti­vaci­ ­as gvaZ­levs. gi ­or­gi la­zaSvi­ ­li, in­for­ma­ti­kis ge ­ti­ki­sa da te­le­ko­mu­ni­ka­ci­e­bis da qe ­Te­van co­ma­ia, in­for­ma­ti­kis da da mar­Tvis siste­ ­me­bis fa­kulte­ ­tis in­for­ma­ti­ki­sa da mar­Tvis sis­te­ mar ­Tvis siste­ ­me­bis fa­kul­te­tis I I kur­sis stu­den­ti _ swav­lasTan­ I I I kur­sis stu­den­ti _ Ce­mi spe­ci­a­ er ­Tad sam­So­bi­a­ro­Si IT me­ne­je­rad me ­bis fa­kul­te­te­bis 12 sau­ ­ke­Te­so lo ­ba sa­infor­ ­ma­cio teq­no­lo­gi­e­ vmu ­Sa­ob. swav­la da Sro­ma er­Tdro­ stu­dents da­u­niS­nos yo­vel­Tvi­u­ri bis me­nej­men­tia. sa­mo­mav­lod msurs u ­lad ar mi­Wirs, megob­ ­re­bi mex­ma­ 300 la­ri­a­ni sti­pen­dia _ studen­ ­te­ ma­gis­tratu­ ris­ kur­si saz­Rvar­ga­ re ­bi­an _ maw­vdi­an ma­sa­lebs da vme­ bis da req­to­ra­tis uzo­mo mad­li­e­ reT ga­vi­a­ro. me­sa­me we­li­wa­dia pre­ ca­di­ne­ob. mag­Ti­ko­mis sti­pen­di­is re ­ba ga­mo­iw­via. es proeq­ ­ti sa­gan­ma­ zi­dentis­ sti­pen­di­anti­ var. gu­Sin da ­we­se­bam Za­li­an ga­ma­xa­ra. axalgaz­­ naT­leb­lo da ma­Ral­teq­no­lo­gi­ur

cision came as a totally unexpected piece narrow specialization. MagtiCom gave me information technologies. Looking to the of news to the winners. a splendid stimulus to expand my knowl- future, I’m considering going abroad to Ana Kakabadze, a fourth-year student of edge. Thank You, MagtiCom, for your sup- earn my Master’s Degree. Yesterday I got the faculty of power engineering and tele- port and encouragement. a phone call saying that I won a nomina- communications: today my friends and Tamar Zhvania, a second-year student tion for a MagtiCom scholarship. I was I were honoured with a surprise award! of the faculty of informatics and control wild with joy. I hope other Georgian com- 12 students with strong academic perfor- system: two students were selected from panies too will follow the example set mance will receive a monthly scholarship among my course mates. With my second- by MagtiCom. Young people really need worth 300 lari. We hope MagtiCom will highest grade points of 98.7, I became such support for all their efforts in work- continue to reward students for their hard eligible for a MagtiCom scholarship. This ing towards a better education. work and dedication. award from MagtiCom spurs my friends Giorgi Lazishvili, a second-year student Giorgi Petelava, a fourth-year student of and me to greater achievements and con- of the faculty of informatics and control the faculty of power engineering and tele- tinued professional growth. system: In parallel with my studies I work communications: I’m currently studying in Ketevan Tsomaia, a third-year student as an IT manager at the maternity hospi- my final year at the Technical University, of the faculty of informatics and control tal. I have no trouble dividing my time be- mobile communication systems being my system: my specialty is management of tween work and classes, thanks to a large

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kom­pa­ni­as Soris­ gade­ ­bu­li xi­dia. extentto my friends who keep supplying ect serves as a bridge between the edu- mad ­loba­ mag­Ti­koms axal­gazrde­­ me with training materials. MagtiCom’s cational institute and the high-tech com- bis ase­Ti wa­xali­ ­se­bis­Tvis. scholarship up lifted my spirits. A monthly pany. Thank you, MagtiCom, for giving payment of 300 lari gives young people a ni ­no surgu­ ­la­Ze, mag­Ti­ko­mis sa­ our students such a powerful incentive to zo­ga­doe­ bas­ ­Tan ur­Ti­er­To­bis de­ great boost. excel academically. par­ta­men­tis di­req­to­ri _ pirve­ ­li Archil Prangishvili, the Rector of the Sem­Txve­va ar aris, rode­ ­sac magTi­­ Georgian Technical University: Today is Nino Surguladze, the Public Relations ko ­mi xels uw­yobs sa­u­ke­Te­so stu­ an important day for our university. We Director at MagtiCom: Students have den­te­bis wa­xa­li­se­bas, Tum­ca amas owe a big debt of gratitude to MagtiCom drawn a great deal of encouragement for its decision to hand out scholarships ase ­Ti masSta­ ­bu­ri sa­xe dRemde­ ar from MagtiCom many times before. The (300 lari per month) to 12 highest achiev- hqo ­nia. pro­eqti­ 1 wlis gan­mavlo­­ ing students from the faculties of power scale of the scholarship project is however ba ­Si gag­rZel­de­ba da ime­di gvaqvs, engineering and telecommunications, far more vast. The project is due to run for rom tra­dici­ ­ad dam­kvidrde­ ­ba. informatics and control systems. This proj- a year and, hopefully will start a tradition.

20

mudmivi kavSiris samyaro

4/56/2012 cif­ru­li Ta­nam­gzav­ru­li te­le­vi­zi­is upi­ra­te­so­be­bi

dRes te­le­vi­zi­is sam­ya­ro cvli­ ce ­ma­sac: igi ana­lo­gu­ri­dan cif­ saZ­leb­lo­bebs gvTa­va­zobs, rac ub­ le ­bebs ga­nicdis­ sig­na­lis ga­dace­­ rul re­Jim­Si ga­da­dis. ana­lo­gu­ri ra ­lod Se­uZ­le­be­li iyo ana­lo­gu­ri mis, ma­uw­yeb­lo­bis stan­dar­tebis­ te­le­vi­zi­is­gan gan­sxva­ve­biT, sa­dac te­le­vi­zi­is­Tvis. erT-er­Ti ase­Ti Tu aR­Wurvi­ ­lo­bis kuTxiT.­ Tav­da­ au ­dio da vi­de­o­sig­na­lis ga­da­sa­ce­ Se­saZ­leb­lo­ba­Ta­ga­ni ma­Ra­li gar­Ce­ pir­velad­ Sav-TeT­ri te­le­ek­ra­ne­bi mad mag­ni­tu­ri tal­Re­bi ga­mo­i­ye­ne­ va­do­bis te­le­vi­zi­aa (HDTV). fe ­rad­ma Sec­vala,­ ax­la ki Cvens sax­ ba, cif­ru­li sig­na­li in­for­ma­ci­ qve ­moT moy­va­ni­li in­fog­ra­fi­ke­ leb ­Si Se­da­re­biT Zve­le­bur te­le­ u ­li bi­te­bis meS­ve­o­biT ga­da­i­ce­ma. bi naT­lad asa­xa­ven Ta­nam­gzav­ris ek ­ra­nebs swra­fad enac­vle­ba plaz­ amis Se­de­gad mog­ve­wo­de­ba cif­ru­ rols cif­ru­li sig­na­lis ga­da­na­ mu ­ri da Txevad­ -kris­ta­lu­ri te­le­ li in­for­ma­cia, ro­me­lic uaR­re­sad wi ­le­ba­Si ise­ve, ro­gorc cifru­ ­li vi­zore­ bi,­ rac Cvens yofa­ -cxov­re­ mka ­fio ga­mo­sa­xu­le­bi­Ta da xmis sa­ Ta­nam­gzav­ru­li te­le­vi­zi­is upi­ra­ bas met kom­forts sZens. u ­ke­Te­so xa­ris­xiT ga­mo­ir­Ce­va. amas­ te­so­bebs mom­xma­re­bel­TaT­vis. cvli­le­ba See­ ­xo sig­na­lis ga­da­ Tan, cif­ru­li te­le­vi­zia iseT Se­ ADVANTAGES OF DIGITAL SATELLITE TV The world of television is changing on from analogue to digital mode. Unlike simply impossible for analogue TV, one of all levels – signal transmission, broadcast analogue television, where magnetic them being High Definition TV or HDTV. standards and equipment. At first, black waves are used in order to transmit audio The following infographics visually and white TV screens were replaced by and video signals, the digital signal is represent the role of satellite in the modernized color TV sets. Nowadays transmitted via data bytes. The result distribution of the digital signal and the plasmas and LCDs are rapidly replacing is digital information that has crystal advantages of Digital Satellite TV for older versions of TV sets in our homes, clear videos and superior sound quality. consumers. providing more convenience and comfort. In addition to this, the digitalization of Signal transmission is also changing TV brings new opportunities that were

Tanamgzavri wamyvani cifruli infrastruqturaa SATELLITE IS THE WORLD’S LARGEST DIGITAL INFRASTRUCTURE

IPTV 0.68 mln. (2,8%) IPTV 0.68 Mill. (2,8%)

Tanamgzavruli televizia 12.05 mln. (49,8%) Satellite TV 12.05 Mill. (49,8%) cifruli saeTero televizia 8.59 mln. (49,8%) Digital Terrestrial TV 8.59 Mill. (49,8%)

cifruli sakabelo televizia 2.88 mln. (11,9 %) Digital Cable TV 2.88 Mill. (11,9 %)

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cifruli signalis gadanawilebis procesSi Tanamgzavri ZiriTadi elementia SATELLITE IS A KEY SOURCE OF DIGITAL SIGNAL DISTRIBUTION

Tanamgzavruli televizia sakabelo televizia SATELLITE TV СABLE TV

xarjebi: xarjebi: • Tanamgzavruli • resiveri antena (an cifruli • resiveri televizori) (an cifruli televizori) • dayeneba • dayeneba • saabonento gadasaxadi • saabonento gadasaxadi CHARGES: CHARGES: • Digital receiver • Satellite antenna televizori+resiveri (or digital television) provaideri (an cifruli televizori) Service provider • Digital receiver (or digital television) • Installation televizori+resiveri TV + receiver (an cifruli televizori) • Installation (or digital television) • Licence fee • Licence fee TV + receiver (or digital television) miwiszeda cifruli televizia DIGITAL TERRESTRIAL TV IPTV

Tanamgzavruli antena xarjebi: xarjebi: Satellite antenna • resiveri • saabonento (an cifruli gadasaxadi televizori) (rogorc wesi, • dayeneba Sedis internetis kompiuteri an gadasaxadSi) provaideri cifruli televizori Service provider Computer or CHARGES: televizori+resiveri digital television • Digital receiver (an cifruli televizori) CHARGES: (or digital television) TV + receiver • Licence fee interneti+IPTV • Installation (or digital television) (usually included in the cost of Internet) Internet+IPTV

analoguri da cifruli televiziis Sefardeba msoflioSi ANALOGUE VS DIGITAL TV RATES COMPARISON Tanamgzavruli sakabelo miwiszeda televizia televizia televizia IPTV SATELLITE TV CABLE TV TERRESTRIAL TV mxolod analoguri 2.17 mln. (3%) mxolod analoguri cifruli mxolod 23.78 mln. cifruli 32.89 mln. analoguri (30%) 15.99 mln. cifruli (47%) 36.35 mln. cifruli (100%) 81.43 mln. (53%) 55.62 mln. (97%) (70%)

jamSi 83.60 mln. jamSi: 69.25 mln. jamSi: 79.40 mln. jamSi 15.99 mln. `Tanamgzavruli `sakabelo `miwiszeda `IPTV Sinameurneobebi~ Sinameurneobebi~ Sinameurneobebi~ Sinameurneobebi~

wyaro/Source: SES Satellite Monitor mudmivi kavSiris samyaro

4/56/2012

cifruli Tanamgzavruli televiziis upiratesobebi ADVANTAGES OF DIGITAL SATELLITE TV

arxebis raodenoba HDTV _ xarisxis axali done THE NUMBER OF CHANNELS HDTV – THE NEW STANDARD OF QUALITY analoguri signali cifruli mravalarxiani Cveulebrivi formati formati HDTV ANALOGUE SIGNAL signali STANDARD TV HDTV MULTICHANNEL DIGITAL SIGNAL

yvela tradiciul saeTero gamosaxulebis simkveTre mauwyeblobis formatebSi HDTV-is formatSi 5-jer gamosaxulebis gverdebis ufro maRalia, moZraobis proporciulobis koeficientia gadmocema xdeba mkveTrad 4:3, amitom Tanamedrove da Seuferxeblad, damaxasi- HD-televizorebze gamosax- aTebelia ufro gajerebuli ulebis proporciebi irRveva. ferebi, gamosaxulebis gamosaxuleba SD formatSi srulekraniani gawelili da aramkveTria. formatia 16:9.

All traditional terrestrial TV formats HDTV format: the resolution in have a picture aspect ratio 4:3, that’s HDTV is ve times higher, the why in modern HD televisions the movements are smooth and clear, original proportions will be lost of colours are saturated, the images. The picture in SD format is widescreen aspect ratio-16:9. stretched or fuzzy.

interaqtiuloba cifrul televizias interaqtiuli servisis funqciac aqvs. igi momxmarebels INTERACTIVITY saSualebas aZlevs cifruli distanciuri marTvis pultis meSveobiT marTos sxvadasxva arxi erTdroulad, miiRos detaluri informacia maT Sesaxeb, Tematurad airCios arxebi, saintereso gadacemis monakveTi ukan gadaaxvios da sayvarel gadacemas sasurvel dros uyuros.

Digital television is capable of providing interactive services. This is a totally new oer based on the premise of accessing an entire menu of these interactive services using the digital box remote control. The viewer is able to navigate between various programs, get detailed informa- tion about them, select channels by theme, go back and watch his/her favorite show any time he/she wants.

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sixSireebis gaTavisufleba THE LIBERATION OF FREQUENCIES

GPRS analoguri signali cifruliinterneti signali / /DIGITAL INTERNET SIGNAL ANALOGUE SIGNAL

sxva signalebi / OTHER SIGNALS

erTi da imave sixSirul zolSi ufro meti arxis gadacemis More channels can be provided in the same saSualebaa vidre analoguri mauwyeblobis dros. analoguridan frequency than in analogue TV broadcasting. cifrul televiziaze gadasvlisas Tavisufldeba sixSireebi, Transition from analogue to digital broadcast- romelTa gamoyeneba sxvadasxva mimarTulebiT SeiZleba. ing liberates frequency spectrum, that can be used to provide other services. This is called amas cifruli dividendi hqvia, misi gamoyeneba SesaZlebelia “digital dividend” and can be used to provide damatebiTi servisebisTvis, usadeno farTozolovani kavSirisT- additional services, such as Wi-Fi, navigator vis, navigaciuri sistemebisTvis da a.S. systems etc.

umaRlesi xarisxis signali nebismier landSaftze HIGH QUALITY SIGNAL IN ANY GEOGRAPHICAL AREA

mTian da borcvian adgilebSi Tanamgzavruli mauwyebloba gansakuTrebiT aqtualuria, radgan kabelis gayvana aseT reliefze Zalian rTulia. arsebobs adgilebi, sadac operatorebisTvis kabelis gayvana ararentabeluria _ saagarako adgilebi, moSorebuli dasaxlebebi, kotejebis qalaqebi. amitom Zalian xSirad Tanamgzavri xarisxiani signalis miRebis erTaderTi alternativaa.

In high mountainous places, satellite broadcasting is especially relevant. In the remotest parts of the country, like high mountainous villages, summer houses in the countryside and other distant territories, where cable solutions are neither economi- cally nor practically viable, satellite is the only alternative platform for receiving high quality signal.

THE WORLD OF CONSTANT CONNECTION

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irak­li kav­sa­Ze, `si­netik­ Te­at­ris~ wamyva­ ­ni msaxi­ ­o­bi, mag­Ti­ko­mis pirve­ ­li sa­rek­la­mo rgo­lis mTa­va­ri gmi­ria. `am klip­ma Cven­Si rekla­ ­mis mi­marT mid­go­ma amo­at­ri­a­la. mas Sem­deg Cem­Tvis rek­la­ma ma­Ra­li Se­moq­me­de­baa da vfiq­rob, kom­pa­ni­e­bis bed­sac wyvets. am pa­ta­ra na­mu­Se­var­ma di­di po­pu­la­ro­ba mo­mi­ta­na, ro­me­lic co­ta Se­ma­wu­xe­be­lic ki iyo. Tur­me, Ce­mi me­gob­ris be­bia kli­pis me­lo­di­is ga­ge­bis­Ta­na­ve te­le­vi­zor­Tan `mir­bo­da~. am sa­rek­la­mo rgols ne­os­tu­di­a­Si magTi­ ­kom­ze ga­da­Re­bu­li pa­ta­ra fil­mic moh­yva, ro­mel­sac dRe­sac si­a­mov­ne­biT vixse­ ­neb~ _ am­bobs irak­li kav­sa­Ze

IRAKLI KAVSADZE, the Synetic Theatre’s leading actor plays the main character in MagtiCom’s first commercial. “This commercial thoroughly changed my attitude towards advertising. Since then I consider advertising to be high art powerful enough to decide the fate of any company. This small commercial brought me overwhelming popularity, which was even embarrassing sometimes. I heard my friend’s grandmother used to rush to the TV set every time she heard the commercial’s music. The commercial was soon followed by a documentary on MagtiCom shot in NeoStudio, which still brings back warm memories to me”.

ჩემი კუმირებია ჩაპლინი და სტურუა

a­Sin­gto­nis qar­Tul Te­at­ rze sa­qar­Tve­lo­Si kar­ga xa­ vnia la­pa­ra­ko­ben. arc pa­a­ta ciquriSvilis sa­xe­lia ma­yu­reb­ MY IDOLS IN ART ARE lis­Tvis uc­xo. `si­ne­tik Te­at­ris~ speq­tak­ le ­­bis nax­vis sa­Sua­ ­leba­ mxolod­ CHAPLIN AND STURUA 2012 wlis no­em­ber­Si mog­veca,­ ro­ ashington’s Georgian theatre de ­sac rus­Ta­ve­lis Te­at­rSi `si­ is much spoken of in Georgia. ne ­ti­kis~ gastro­ ­le­bi Sed­ga. Tbi­ And PAATA TSIKURISHVILI li­se­lebis­ ­Tvis war­modge­ ­ni­li iyo W too is quite a familiar name in his erT-er­Ti pir­veli­ dad­gma _ vaJa­ - native country. fSa­ve­las `stu­mar-mas­pin­Zeli~­ da Georgian theatregoers had their first erT-erTi uax­le­si speqtak­ ­li _ Seq­ encounter with the Synetic Theatre spi ­ris `me­fe li­ri~, ro­mel­Sic li­ in November 2012, when the troupe ris rols irak­li kavsa­ ­Ze as­ru­lebs. arrived in Tbilisi to perform its first and ma­yu­reb­lis wi­na­Se wardga Ta­na­ latest productions of Vazha Pshavela’s med ­ro­ve Teat­ ­ra­luri­ da­si, msaxi­­ “Host and Guest” and Shakespeare’s ob-pro­fe­si­o­nal­Ta mra­va­leT­ni­ku­ “King Lear” on the stage of the ri Se­mad­gen­lo­bi­Ta da pos­tmo­der­ Rustaveli Theatre. Irakli Kavsadze was nis­tu­li xe­lov­nebis­ ­Tvis da­maxa­­ cast as King Lear. si­a­Te­be­li hib­ri­du­li mxat­vru­li The contemporary multi-ethnic xel­we­riT. Te­at­ri yve­la kul­tu­ com ­pany of actors and actresses rul da mxat­vrul for­mas iyenebs­ _ brought to the Georgian theatre eg­zo­ti­ku­ri Tu eT­ni­kuri­ saxe­ ­ebi­ ­Ta scene a unique performance style da rit­mebiT­ daw­ye­bu­li, ul­tra­ – a harmonious hybrid Ta­na­med­ro­ve ga­mom­sax­ve­lobi­ ­Ta da teq­ni­kiT dam­Tav­rebu­ ­li. ro­gorc sam­xat­vro xelmZRva­ nel­ ­ma pa­a­ta ci­ qu­riS­vilma­ gan­mar­ta, Teat­ ­ris sa­ xel­wode­ bac­ hib­ri­du­li war­mo­mav­ lo­bi­saa: _ sit­yva `si­ne­ti­ki~ me mo­vi­go­ne, es hib­ridu­ ­li termi­ ­nia, sityve­ ­bis `sin­Te­zisa~­ da `ki­ne­tikis~­ naer­ ­Ti, aso­ci­aci­ u­ ­rad mog­va­go­nebs si­ne­ma­

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tik ­sac _ ki­ne­matog­ ­rafs. SeiZ­ le­ ­ba tra­dici­ ­uli­ Te­at­ris yve­la ka­noni­ Vazha-Pshavela and others. He creates da­var­Rvie, mag­ram va­ke­Teb imas, ri­ Synetic’s signature blend of acting, sic mje­ra da ra­sac vgrZnob. dance, gesticulation, pantomime, and es `ka­non­dam­rRvevi~­ Te­at­ri uaR­ music. The artistic director, however, re ­sad war­ma­te­bu­li da kon­kuren­­ admits that all the lustre of his highly tu­na­ri­a­ni aR­moC­nda da 10 wlis stylized choreography would be lost gan­mav­loba­ Si­ Ta­vi­se­bu­ri re­kordi­ were it not for the extraordinary artistic da ­am­ya­ra: 94-jer iyo nomi­ ­ni­re­bu­li spirit lying underneath each movement da 27-jer ga­da­e­ca sxva­das­xva Te­ on the stage. at­ra­lu­ri jil­do. re­per­tuar­ ­Si, According to Paata Tsikurishvili, the Zi­ri­Ta­dad, msoflio­ dra­ma­turgi­­ Synetic Theatre is a typically American i ­sa da lite­ ­ra­tu­ris kla­si­kaa war­ brand; however, its base is Georgian. mod­ge­ni­li. pa­a­ta ci­qu­riS­vil­ma You need to get your message across to 60 speq­tak­li dad­ga _ aris­to­fanes,­ the culturally diverse American audience ovi­di­u­sis, dan­tes, Seq­spi­ris, ser­ and gain a good insight into their percep- van ­te­sis, go­e­Tes, va­Ja-fSa­ve­las Tu tions, values and aspirations. Along with sxva ­Ta nawar­ ­mo­e­be­bi. speq­taklebs­ trying to achieve your artistic goals, you `si­ne­ti­ki~ sas­ce­no xe­lov­ne­bis yve­ should be certain that you have effective la for­miT _ dramiT,­ moZ­ra­obiT,­ management skills and can find work- cek ­viT, mi­mosi­ ­Ta da musi­ kiT­ qmnis. able marketing solutions. The American Tum ­ca, rogorc­ ciquriSvili am­ government’s approach is that if people bobs _ es qo­re­og­ra­fia artis­ ­tu­li need art they will bear its costs. It takes bu­ne­bis gare­ ­Se ara­fe­ri iq­ne­bo­da. painstaking work and accurate calcula- re­Ji­soris­ az­riT, `sine­ti­ki~ ti­ tions to spark public appeal and win the pi ­u­ri ame­ri­kuli­ Te­at­ria, Tumca­ audience’s acceptance. The narrative qar ­­Tul safuZ­ vleb­ ze­­ aR­mo­ce­ne­­bu­ structure of each play should be clear-cut li. and strictly linear in order to engage the audience’s attention. For two weeks prior to each premiere, I am busy breaking down the substance of the play and mak- combining multiple elements in the ing subtle shifts of emphasis throughout postmodern genre. The Synetic Theatre it, in order to trigger the right emotion in is known for a heavily diverse set of the audience and derive enhanced energy cultures and styles, starting with exotic from the people watching it. My produc- and ethnic themes and ending with tion of “Host and Guest” brought its mes- pulsating rhythms of modern life. The sage home to the American theatregoers, artistic director of the theatre, Paata Tsikurishvili, captures the hybrid nature of the word Synetic itself. It was me who coined the term “Synet- ic” by fusing syllables of two words: “syn- thesis” and “kinetics”, which rhyme with cinematics and capture the aesthetic of cinema. It is true, of course, that I went against all laws believed to underpin the traditional concept of theatre. But I tried _ un ­da ga­iT­va­lis­wi­no ame­ri­ku­li to follow the dictates of my own heart. sa­zo­ga­do­ebis­ multi­ ­kul­tu­ru­li This “law-breaking” theatre soon bu ­ne­ba, Seis­ wav­ ­lo Ri­re­bu­le­be­bi, gained a competitive advantage over xal ­xis ge­mov­ne­ba, mis­wra­fe­be­bi. its rivals and even set the record for mxat­vrul miz­neb­Tan er­Tad, efeq­ winning 94 nominations and 27 theatre tu ­ri mar­Tva un­da moa­ ­xerxo,­ mar­ awards over a relatively short period ke­tin­gu­li amo­ca­ne­bi ga­daW­ra. ame­ of 10 years. Its vast repertoire is large- ri ­ka­Si sa­xel­mwi­fos Teat­ ­risad­ mi­ ly made up of classic works of world ase ­Ti mid­go­ma aqvs: Tu xe­lov­neba­ drama and literature. Paata Tsikurish- sWir­de­ba xalxs, xal­xi Se­i­na­xavs vili is credited with directing 60 produc- xe­lov­nebas.­ xalxs rom moswon­ ­de, tions of plays by Aristophanes, Ovidius, Tav­da­u­zo­gavi­ Sro­ma da swo­ri gaT­ Dante, Shakespeare, Cervantes, Goethe, vlaa sa­Wiro.­ speq­tak­lis dra­ma­tu­

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li xa­zi suf­Ta da na­Teli­ un­da iyos, sxvag­varad­ mayu­ ­re­bels uWirs mi­si aRqma.­ pre­mi­eram­ ­de, bo ­lo ori kvi­ris man­Zilze,­ speq­ takls vkrav, iseT `mon­taJs~ va­ke­ Teb, rom swo­ri emo­ci­u­ri ganvi­ ­Ta­ re ­ba miv­ce, energe­ ­ti­ka ga­vaZ­li­e­ro. `stu­mar-maspin­ ­Ze­li~ ameri­ ­ka­Si yve­ lam mSve­nivrad­ gai­ go,­ imi­tom rom ener­gia, Te­ma mo­dis. pa ­a­ta ciquriSvili sa­qar­Tve­lo­ Si 17 we­li ar yo­fila.­ _ es Ce­mi aux­de­neli­ oc­ne­ba iyo _ Ca­mov­su­li­ya­vi da meC­ve­ne­bi­na Ce­ mi Te­at­ri. msa­xi­o­bebs Zali­ ­an eSi­ no ­daT, mag­ram ro­desac­ qarTve­ ­li ma­yu­reb­lis emo­cia ig­rZnes, ga­giJ­ dnen, ku­li­seb­Si ti­rod­nen. and disarmed them by the very weapon of rus­Ta­ve­lis Te­atri­ Cem­Tvis sim­ energy it radiates. bo ­lu­ri Te­at­ria da mTe­li cxov­ Paata Tsikurishvili had been absent re ­ba ase­Tad dar­Ce­ba. verc ki war­ from Georgia for 17 years. mo­vid­gen­diT, aq rom mov­xde­bo­diT. It was my long-cherished dream to return es go­gi mes­xiS­vi­lis damsa­ ­xure­ baa.­ to my country and let the Synetic Theatre is Cve­ni Te­at­ris bev­ri speqtak­ ­lis gain recognition in Georgia. Actors dreaded sce­nog­ra­fia, maT So­ris `stu­mar- their first encounter with the Georgian au- mas­pin­Ze­li­sa~ da `li­ris~. dience. However, the thundering applause sa­qar­Tve­lo­Ti da rus­Ta­ve­lis and approval overwhelmed them with a be- Te ­at­riT verc msa­xi­o­bebi­ ma­lav­ wildering array of emotions; they even wept dnen aR­frTo­vane­ ­bas. ra­i­an Ta­mol­ behind the scenes. Tim, bra­i­an se­lersma­ da heqtor­ The Rustaveli Theatre is a powerfully sym- ino ­som gviT­xres, rom aqa­u­robam­ bolic theatre for me and will remain as such maT yo­velgvar­ mo­lodins­ ga­da­a­ for all my life. We could not ever imagine War ­ba. isi­ni gan­sakuT­ ­re­biT qar­ ourselves performing on its stage. And we Tul ­ma Teat­ ­ra­lur­ma kul­tu­ram owe this honour to Gogi Meskhishvili, the aRaf­rTo­vana.­ rac See­ ­xe­ba `si­ne­ stage designer for many of my productions, tiks~, gviT­xra bra­i­an se­ler­sma, including “Host and Guest” and “King Lear”. is Cven­Tvis samsa­ ­xuri­ ki ara, oja­

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xi ­ao. `si­ne­ti­kis~ Seq­mnas win rTu­ li da xan­grZli­vi gza uZ­Rvo­da. dRe­van­de­li ga­dasa­ ­xe­di­dan, paa­ ta­ ciquriSvili Ta­vis cxovre­ ­ba­Si er­ Tgvar ka­non­zomi­ e­ ­re­bas xe­davs da Tvlis, rom Sem­Txve­viT ara­fe­ri mom­xda­ra. _ es iRba­ ­li iyo, rom dagaj­ ­de­ba ra ­Rac var­skvla­vi Sub­lze, TiT­qos yve­la­feri­ esec unda­ mom­xda­ri­yo. jer ki­dev bav­Svo­ba­Si voc­ne­bob­di ame ­ri­ka­Si mqo­no­da Teat­ ­ri. ame­ri­ka iyo Ce­mi oc­ne­bis qve­yana­ da rogorc­ ki sa­Sua­ ­leba­ mome­ ­ca, ar gavuS­ vi­ San­ si xe­li­dan da Tavi­ iq amov­ya­vi. Te­at­ric bav­Svo­bi­dan ita­ceb­da. 10 wli­sa pan­to­mi­mis sa­bav­Svo das­Si Se ­vi­da, Sem­deg Te­at­ra­lu­ri in­sti­ tu ­ti da­am­Tav­ra, ami­ran Sa­li­kaS­ vi ­lis pan­to­mimis­ kla­si. 1989 wels ki­nosa­ ­re­Ji­so­ro­ze Ca­a­bara,­ xo­lo 1991 wels, ro­de­sac sa­qar­Tvelo­­ Si `Te­atri­ ­saTvis­ aRa­ra­vis ecala~,­ Ta­na­kur­seleb­ ­Tan er­Tad ger­ma­ni­a­ Si mi­mod­ra­mis Te­atri­ Seq­mna. 1995 wlis Se­mod­go­ma­ze paa­ ­ta ciquriSvili uk­ve ame­ri­kaSia,­ Tum­ ca war­mosa­ ­xul sam­ya­ro­sa da re­a­ lo ­bas So­ris gansxva­ ­ve­ba mas­Si kul­ tu­rul Soks iwvevs.­ _ miv­xdi, rom Sori­ ­dan na­oc­ne­ba­ ri er­Tia, re­a­lo­ba ki sxva. mTava­ ­ri oc ­ne­bis praqti­ ­ka­Si ga­da­ta­naa. Cave­­ di da dav­rwmun­di, rom fuls xe­e­bi ar is­xavs, ara­vin dag­xvde­ba xe­leb­ gaS ­lili­ da lama­ zi­ Tva­lebis­ ga­ mo ara­fers ga­gi­ke­Tebs. yve­la­fers The actors were left with nothing but his tender years. At 10, he joined a sheer admiration for Georgia and the children’s pantomime troupe. He Rustaveli Theatre. Georgia surpassed attended Amiran Shalikashvili’s all expectations for Ryan Tumulty, Ryan pantomime classes at the Theatrical Sellers and Hector Reynoso. They took Institute. In 1989, he was enrolled at particular delight in Georgian theatrical the film production faculty and in 1991, culture. As for the Synetic Theatre, the when the theatre was the last thing actors feel at home there, rather than to care about in Georgia, he left for just at a workplace – Ryan Sellers told Germany, accompanied by his course us. The lead-up to the Synetic Theatre mates, and set up a drama theatre of was a lengthy process plagued with mime there. various problems. Looking back, Paata In the autumn of 1995 destiny Tsikurishvili thinks his life was entirely brought him to America where he logical pursuing an orderly line, and suffered a cultural shock at the extent nothing could have been either of the gap between fantasy and reality. accidental or random in it. It soon began to dawn on me that It seemed fated, part of a predeter- what we believe in or expect to happen mined destiny. As a child I had often is something totally different from what dreamed of having my own theatre in life may actually bring. The challenge is America. And I gravitated to this country to think up a way to translate fantasy where my hopes and dreams could be into reality. I was brought face to face realized. with the stark fact that money doesn’t Paata Tsikurishvili developed a grow on trees and nobody is going to roll consuming passion for theatre in out the red carpet for one’s beautiful eyes

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4/56/2012 nu ­li­dan iw­yeb. enac ar vi­co­di. ras na ­Wa­mi ker­ZiT, _ Wame,­ mSie­ ­ri iq­ne­ war­mo­vidgen­ ­di, rom Cems oc­nebas­ bio. gav­Sri, ena Ca­mi­var­da. bo­di­Si ax ­dena­ ewe­ra?! ameri­ ku­ ­li kultu­ ­ra mo­vu­xa­de. wa­mov­de­qi. ho­no­ra­ri ar Za ­li­an gan­sxvav­de­ba ev­ro­pu­lis­gan ami ­Ria, Cav­je­qi man­qa­na­Si da wamo­­ _ sxva menta­ li­ ­te­ti, sxva Rire­ bu­­ ve ­di sax­lSi. gza­Si vi­ti­re. miv­xvdi, le ­be­bi, sxva siste­ ­ma, struqtu­ ra,­ rom pan­to­mi­ma war­suls Ca­bar­da. sxva ga­ge­ba msaxi­ o­ ­bo­bis, re­Ji­su­ris, miv ­xvdi, rom Tu am CarCo­ ­e­bi­dan ar Te­at­ris... pir­ve­li ori we­liwa­ ­di ga­mo­vi­do­di, ve­ra­fers mi­vaR­wevdi.­ dep ­re­sia mqonda.­ mxo­lod me­re da­ Tum ­ca, ima­ve res­to­ran­Si er­Tma viw­ye Tva­lis ga­xe­la... pro­di­u­ser­ma mi­po­va da Ta­vis Te­ vi ­fiq­re, er­Ta­der­Ti rac gamaC­ nia,­ at ­rSi mi­mi­pa­ti­Ja. sa­bav­Svo Te­atrs es pan­tomi­ ­maa. mo­vam­za­de er­Tsaa­ Ti­­ xsnid­nen. im Te­atrs re­Ji­so­ri an­ a ­ni prog­ra­ma. Ca­vic­vi TeTri­ xel­ drei ma­la­ev-ba­be­li, isa­ak ba­be­lis TaT­ma­ne­bi, ga­vike­ ­Te TeT­ri grimi­ Svi­liS­vi­li, xel­mZRva­ne­lob­da. da `da­vima­ ­le~. al­baT, sa­ku­Tar Tavs msa­xi­o­bad mi­suls speq­tak­lis dad­

only. I had to start everything from scratch without even knowing a word of English. Never in my wildest fantasies did I think I could make my dream come true. American culture is light years away from its European counterpart – an absolutely different frame of mind, different set of values, different system and structure, different concept of theatre, different vision of what is under- stood by being a director or an actor … I slid into depression. And it took me two years to wake up to the world again… Pantomime seemed to me the only asset I could invest. I prepared a one-hour show and put on white gloves and white make-up in an attempt to hide behind a facial mask or, to be precise, to hide from myself. I felt ashamed of myself for performing in res- taurants and in clubs, and also on the street. In one of the restaurants in Baltimore, I was once playing an emigrant actor unable to find a suitable job and working as a clumsy waiter who was sacked again and again for ve­ma­le­bodi,­ mrcxveno­ ­da res­tor­ dropping plates and glasses - quite a tragic neb ­Si, klubeb­ ­Si, qu­Ca­Si ga­mosvla.­ scene. A man having his dinner in the res- er­Txel, bal­ti­mor­Si, erT-erT taurant signaled me to approach his table res­to­ranSi­ pata­ ­ra no­mers vasru­­ and asked me how I earned my living. I told leb ­di emig­rant msa­xi­ob­ze, ro­ him I was a mime artist. He asked what else me ­lic samu­ ­Saos­ ver po­u­lobs I did. He could not imagine a mime show da bar­Si mu­Sa­obs mim­ta­nad. being the only source of my income. Then me ­re Tef­Se­bi emtvre­ ­o­da da he pushed his plate with its half-eaten sam­saxu­ ­ridan­ agdeb­ ­dnen. meal over to me and said I could fin- mok ­led, tra­gi­ku­li am­ba­ ish it up as he thought I was hungry. vi iyo. iq­ve vi­Rac ka­ci I was struck dumb for a minute. sa­dilob­ ­da. da­mi­Za­xa, Then I apologized and stood up. mo ­dio. ras saq­mia­ ­no­ I didn’t even claim the payment bo. mi­mi var-meT­qi. ki­ for my performance but got into dev ras ake­Te­bo? ver the car and drove home. I re- xvde ­ba, rom mi­mi Se­iZ­ member I cried my eyes out on le ­ba iyo da amiT cxov­ my way home. I already knew rob ­de. ro­ca avux­se­ni, Ta­ my career in mime had stopped vi ­si TefSi­ mo­mi­wia, na­xev­rad dead in its tracks, and rightfully

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so – I would have hardly achieved my goal without breaking free of such a narrow frame. It was, however, in the same restaurant that I was spotted and invited as an actor to the Children’s Theatre, headed by the director Andrei Malaev-Babel, grandson of the great writer Isaac Babel. Though I signed up as an actor, I was soon entrusted to direct Chekhov’s “Kashtanka”. In 1998 Andrei, Irina and I teamed up to found the International Stanislavksy Theatre Studio. In 1998 we produced Pushkin’s “The Little Tragedies” followed by Dostoevsky’s “The Idiot” and other plays. Irina Tsikurishvili made her American acting debut in “Kashtanka” but before that Paata and Irina got caught up in a very funny situation. Paata was insistent that Irina continue her acting career: Irina is an exceptionally talented dra- matic actress. Broadly, she is full of artis- tic temperament. Besides, she was one of Chabukiani’s favourite dancers. I think, gmac Se­mik­ve­Tes. ase dav­dgi Cexo­ vis­ `kaS­tanka~.­ 1998 wels me, an­dre­im da iri ­nam va­Sin­gton­Si sta­nis­lav­skis in­ter­naci­ ­o­na­lu­ri Te­at­ri-stu­ dia da­va­fuZ­neT. 1998 wels dav­dgiT puS ­kinis­ `pata­ ­ra tra­ge­di­e­bi~, amas moh ­yva dos­toev­ skis­ `idi­o­ti~ da ram­de­ni­me sxva speqtak­ ­li... swo ­red `kaS­tan­ka­Si~ Sed­ga irina­ ciquriSvilis ame­ri­ku­li sam­saxi­ ­o­ bo de­bi­u­tic. amas win ku­ri­o­zu­li si ­tu­a­cia uZRvo­ ­da: pa­a­ta daJi­ ­nebiT­ iT ­xov­da, rom iri­nas sam­saxi­ ­o­bo ka­ ri­era­ ga­eg­rZe­le­bi­na. _ vgrZnob­di, rom ara­nor­ma­lu­ rad ni­Wi­eri­ dra­matu­ li­ msa­xi­o­bia. sa ­er­Tod Za­li­an ar­tis­tuli­ bu­neba­ aqvs. Wa­bu­ki­a­nis erT-erTi­ say­va­re­ li mo­wa­fe iyo, Tumca,­ mis bune­ ­bas­ Tan uf­ro ax­los saxa­ ­si­a­To cek­vaa, vid­re kla­si­ku­ri. ro­desac­ dav­qor­windiT,­ er­Tma­ teb ­sac ki vur­tyam ma­gi­das. uceb, however, that she is more exposed to con- neTs TiT­qmis Sevfi­ ­ceT, rom ame­ ka ­reb­ze ab­ra­xu­ne­ben. mi­ve­di, ga­va­ temporary dancing techniques, rather ri ­ka­Si Cvens Te­atrs Sev­qmni­diT. Re da... Se­mo­var­da po­li­cia, da­ma­ than to classical lines. es Cve­ni sa­erTo­ oc­neba­ iyo. roca­ des bor­ki­le­bi. iri­nas mic­viv­dnen, When we got married we swore an es oc­ne­ba re­alo­ ­bad iq­ca, `kaStan­­ ekiT­xe­bi­an _ ra­me xom ar dagi­ ­Sa­vao. oath to set up our own theatre in America. ka ­Si~ ro­li Sev­Ta­va­ze da... iu­ara.­ Cve ­ni Cxu­bis xma­ze po­li­cia me­zo­ It was our shared dream. And when this mSve­ni­e­ri sam­sa­xu­ri maq­vso. saba­­ bels ga­mo­u­Za­xe­bia. mok­led, yve­la­ dream began to spill into reality I offered le ­to stu­di­aSi­ aswav­ ­lida.­ ve­raf­ fe­ri rom ga­ir­kva, dag­vci­nes kidec.­ her a role in “Kashtanka”. She declined… riT da­vi­yo­lie. misi­ ua­ri usamar­­ erT kvi­ra­Si erT-er­Tma msa­xi­ob­ma, because she said she was happy with her Tlo ­bad meCve­ ­ne­bo­da. erT mSveni­ er­ fex­mZi­mo­bis ga­mo, speq­tak­lSi mo­na­ job as a teacher in a ballet studio. I did my dRes sax­lSi Cxubic­ ki mog­vivi­ ­da. wi­le­o­ba­ze ua­ri Tqva da irinas­ ma­ damnedest to persuade her, but all my un ­da iTa­ma­So-meTqi,­ cofebs­ vyri, inc mo­u­wia mis nac­vlad Ses­vla. mas urgings seemed to fall on deaf ears. Her ve ­ub­ne­bi, rom ma­ga­ri ar­tis­tia, Za­ me ­re aRarc Seuw­ ­yve­tia. vfiq­rob, refusal seemed to me totally unfair. One li ­an ni­Wie­ ­ri... azar­tSi Se­su­li muS­ qa ­lis yve­la sa­ocne­ ­bo ro­li va­Ta­

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4/56/2012 ma­Se _ medea,­ kleo­ ­pat­ra, kar­me­ni... mu ­Sa­o­bis pro­ces­Si pa­a­ta mix­vda, rom sa­Wi­roa Jan­rebis­ sin­Te­zi da rom wmin­da pan­to­mimas­ ame­ri­ka­ Si `re­puta­ cia~­ da per­speq­tiva­ ara aqvs: _ ga­dav­wyvi­te, Cems ga­mocdi­­ le ­bas davyrdno­ ­bo­di. im­den sxva­ das ­xva kul­tu­ras ga­ve­ca­ni, im­deni­ ga­vi­sis­xlxor­ce... Se­ve­ca­de sce­ na ­ze ki­ne­matog­ ­rafi­ ­u­li sin­Te­zi gad­mo­me­tana­ _ pan­to­mima,­ cek­va, moZ­rao­ ­ba, qo­re­og­ra­fia. es is sa­ Su­a­le­bebia,­ rom­le­bi­Tac SegiZ­ ­lia sit­yve­bis ga­re­Se moy­ve is­toria,­ vi­zu­a­lu­rad, sim­bo­lu­rad. am­gva­ ri ga­moc­di­le­ba ro­bert sturu­ ­as hqon ­da. is iyeneb­ ­da fizi­ ­kur Te­ atrs, qo­reog­ ra­ ­fi­as, klo­una­ ­das. sul Tval­yurs va­dev­neb­di stu­ru­ as speq­taklebs,­ Tvi­Ton ma­sac vak­ day we even got into a heated argument. I vir­de­bodi,­ maT So­ris ku­liseb­ Sic.­ trends, elements and contexts… so I made was beside myself with anger roaring that min ­do­da ga­me­go, ras fiqrobs,­ ro­ up my mind to carry them over to the stage she was a fearsomely gifted artist! I worked gor ga­daw­yvi­ta, rana­ ­irad­ Cai­ fiq­­ in a cinematographic blend of pantomime, myself up into such a fury that I even began ra. xe­lovne­ ba­ ­Si ori ku­mi­ri myavs _ dance motions and choreography - as a to bang my fists on the table. Suddenly we stu­rua da Cap­li­ni. means of wordless storytelling, with bodily heard a loud knock on the door. As I opened Tum ­ca, eq­spe­ri­men­tu­li Zi­e­be­bi movements and gestures only. Robert Stur- the door a group of cops rushed in and gaw­vrTnil msa­xi­obs sa­Wi­roeb­ da...­ ua had the experience of such sophisticated handcuffed me. Then they began to check _ ma­le­ve miv­xvdiT _ Tu kla­se­bi performances, which seemed to bridge the my wife for signs of violence. It soon turned da tre­i­nin­ge­bi ar gveqne­ ­ba, ara­fe­ gap between dance, physical theatre and out that the cops showed up at my door ri ga­mo­va. da­viw­yeT stu­diu­ ­ri mu­ clownery. I became an avid observer of his because of our neighbours, who had Sa ­o­ba, speq­tak­le­bis­Tvis or productions. I even watched him secretly in suspected domestic violence. When Se­mad­gen­lo­bas vwvrTni­diT. the greenroom trying to read his thoughts the matter was cleared up we were gvyav ­da mo­zar­debic,­ rom­ and tap into his creative solutions. My idols mocked. le ­bic sa­bav­Svo speq­tak­ in art are Robert Sturua and Charlie Chaplin. In a week or so, one of the leb­Si mo­na­wi­le­ob­dnen. But such creative quests called for actresses refused to play her part pir ­ve­li war­ma­te­ba dos­ masterful actors. on account of pregnancy. And to­evskis­ `idi­ots~ xvda Irina agreed to substitute her. Since wi ­lad. speq­taklSi­ pa­ata­ then she has not stepped off stage. da iri­nac Ta­ma­Sob­dnen. I made her appear in all the starring war­ma­tebe­ ­bis mi­u­ roles such as Medea, Cleopatra, xe­davad,­ `sta­nis­ Carmen… lav ­skis Te­atr-stu­ Through his own experience di ­a­Si~ Se­moq­me­de­bi­Ti Paata Tsikurishvili soon came xa­si­a­Tis kon­fliqti­ to know that there was a mom­wif­da. an­dre­i­sa da much brighter prospect for pa ­a­tas bo­lo er­Tob­li­ a synthesis of various styles vi speq­tak­li `fa­us­ti~ and genres. Pure pantomime, iyo, sa­dac pa­a­ta me­fis­ independent from any kind to ­fels Tama­ ­Sob­da. par­ of intermixtures and tni­o­re­bi Se­Tan­xmdnen, influences, continued to rom er­Tma­neTis­ ­gan be looked down on in da­mo­u­ki­deb­lad imu­ America. Sa­veb­dnen. I decided to draw on _ sta­nis­lav­skis my own experience. I Te­atr-stu­di­ had already navigated is qol­gis qveS through so many cul- `si­ne­ti­kis Te­ tures and had got to at ­ri~ da­va­fuZ­ne. the core of so many artistic pir­velad­ `stu­mar-

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We soon realized that our efforts would get us nowhere without providing train- ing classes to improve performance skills. We embarked on studio work. In parallel, we trained two troupes, including young performers for shows targeting children. Dostoevsky’s “The Idiot” was the first show to open for them a gateway to success. Paata and Irina both played their parts in it. Notwithstanding the brilliant success, rumblings of an artistic rift between Paata and Andrei soon became obvious. Goethe’s “Faust” featuring Paata as Mephistopheles proved to be their last joint project. The partners agreed to split up. I founded Synetic Theatre as a sub- group of the Stanislavksy Theatre Studio. mas­pin­Ze­li~ da `ham­le­ti~ davdgi.­ se ­zo­ni rom da­i­xu­ra, he­len he­iz­ma (or­ga­ni­za­cia vaSin­ ­gton­Si, rome­­ lic le­gen­da­ruli­ msa­xi­o­bis he­ len he­i­zis sa­xe­lo­bis jildo­ ­ebs gas ­cems) `si­ne­tik Te­atrs~ Svi­di no­mi­na­cia mog­vca _ sa­u­ke­Te­so re­ Ji ­su­ra, qo­re­og­ra­fia, speq­tak­li, mu ­sika,­ da­si da sxv. nam ­dvi­li bu­ mi iyo. did Te­at­rebs ar mi­u­Ri­aT am ­deni.­ `sine­ ­ti­ki~ se­zo­nis aR­mo­ Ce ­nad iq­ca. `ham­let­ma~ mo­i­go sa­ u ­ke­Teso­ re­Jisu­ ra,­ qo­re­ogra­ ­fia, speq­tak­li. amis Semdeg,­ zustad­ erT kvi­raSi,­ me da iri­nas mog­vdis we ­ri­li, rom ganTa­ ­vi­suf­le­bu­ li varT sta­nis­lav­skis Teat­ ­ri­ dan. gag­vag­des. iri­nas vuT­xari,­ Cav ­jdeT mata­ ­re­bel­Si da wa­vi­ deT niu-ior­kSi. jil­do­ebi­ uk­ve gvaqvs, uk­ve ra­Ra­cas war­mo­vad­ My career in this theatre was launched Milton, a member of the Stanislavsky genT. with my production of “Host and Guest” Theatre board of directors, who was ga­daw­yda, rom miv­di­varT. rom and “Hamlet”. The Synetic Theatre earned already hot on our trail. She overtook us ara ai­na mil­to­ni _ sta­nis­lav­ a record seven Helen Hayes Awards for right on the road and offered me a sum skis Te­at­ris direq­ ­tor­Ta sab­Wos outstanding direction, choreography, per- of 100 000 dollars for setting up my own wev ­ri, ro­mel­mac pirda­ pir­ qu­Ca­Si formance, music, troupe, etc. (awards were theatre. And why was Aina Milton driven mdia, va­Sin­gtons dav­to­veb­diT. presented by the organization named after to make this offer? Because she had seen ai ­nam miT­xra _ mogcem­ 100 000 do­ . the famed actress Helen Hayes) Synetic our staging of Dostoevsky’s “The Idiot”, lars da Se­ni Te­at­ri gaxse­ ­nio. became the biggest winner even among which led her to a decision to invest in us ro ­gor mo­vida­ ai­na Cven­Tan? dos­ large theatres. “Hamlet” won best direc- and become a member of the board. to ­evskis­ `idi­o­ti~ na­xa da mo­iT­ tion, choreography and performance. If The list of donors funding the Synetic xo ­va _ Semo­ ­wi­ru­lobas­ gava­ ­ke­Teb there was a discovery of the season, it was da bor­dis wev­ri gav­xde­bio. the Synetic Theatre indeed. But… a week Theatre’s activities include republicans dRes mis do­no­rebs So­ris res­ later Irina and I received a letter saying we and democrats, congressmen and sena- pub­li­ke­le­bi, de­mok­ra­te­bi, se­na­ were fired from the Stanislavksy Theatre. tors and last, but not least, renowned to ­re­bi, kon­gres­me­ne­bi da cno­bi­ I told Irina to take the train to New York lawyers. li ad­vo­kate­ ­bic ari­an. where our awards, I believed, would land That is how the Synetic Theatre set off ase da­iw­yo `si­ne­tik Te­at­ris~ us in a deserved position. on the big highway to success. da­mo­u­ki­de­be­li war­mate­ bu­ li­ is­ We hit the road, and would have left to­ria. Washington had it not been for Aina TAMAR BOKUCHAVA Ta­mar bo­ku­Ca­va

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di­di mad­lo­ba kom­pa­nia mag­Ti­koms da pi­ra­dad ba­ton gia jox­Ta­be­ri­Zes ase­Ti sa­Cuq­ris­Tvis. vi­ci, ra­o­den sa­in­te­re­so, mra­val­mxriv da sa­Wi­ro saq­mi­a­no­bas ewe­viT qar­Tu­li xe­lov­ne­bis po­pu­la­ri­za­ci­is­Tvis, rac fas­da­u­de­be­lia qar­Tu­li kul­tu­ris­Tvis. gi­sur­vebT xan­grZliv, war­ma­te­bul saq­mi­a­no­bas sa­qar­Tve­los sa­si­ke­Tod.

pa­ti­vis­ce­miT, eli­so vir­sa­la­Ze

MagtiCom and Gia I really appreciate the great job Jokhtaberidze did to get me such a wonderful gift, ven qar­Tul saq­mes va­ which makes me feel even greater responsibility... ke­TebT!~ am sxar­ti da I am well-informed about your concentrated, extensive te­va­di slo­ga­nis Tval­ and much-needed efforts that go into promoting Georgian sa­Ci­no da­das­tu­re­bas war­mo­ad­gens art and which are invaluable for our culture. kom`­pa­nia mag­Ti­ko­mis mxar­da­We­riT May all your plans find their way to success.Sincerely, ga­moC­ce­mu­li wig­ni-al­bo­mi `eli­so ELISO VIRSALADZE vir­sa­la­Ze~, ro­me­lic eZ­Rvne­ba am di­di qar­Tve­li pi­a­nis­ti­sa da pe­da­ go­gis SemoqmedebiTi moRvaweobis 50 wlis­Tavs. e are Serving the Georgian Cause” - the compelling and resonant slogan wig­nis Seq­mnis idea kla­si­ku­ri mu­ MagtiCom has again lived up to by sponsoring the book-album “Eliso si­kis dac­vis, gan­vi­Ta­re­bi­sa da po­ Virsaladze”, which was published to mark the 50-year career of the pu­la­ri­za­ci­is centrs (xel­mZRva­ “Woutstanding Georgian pianist and pedagogue.

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The idea for the book came from the Classical Music Preservation, Development and Promotion Centre (headed by Tamar Lortkipanidze), which is credited with organizing the Telavi International Music Festival founded by Eliso Virsaladze. The presentation of the book took place on the sidelines of the Festival, on 18 October 2012. It was the Centre that put forward to me, the author of these columns, an important proposal to create a book, which would be an attempt to explore Eliso Virsaladze’s illustrious and eventful career spanning over 50 years. The task before us was indeed challeng­ ing: to release a book that would do justice to Eliso Virsaladze’s unique talent and great personality, and to make the book internationally available in three languages (Georgian-English-Russian). We leave it up to the reader to decide whether we have met the challenge. From the very start I decided to avoid writing a pure panegyric eulogy. It was not an easy task given the scale and grandeur of Eliso Virsaladze’s talent that has been the object of widespread acclaim and admiration for many years. One can still catch sentimental notes in the book, but the overall message is something beyond that. I had a strong desire to create a lively, interesting, inspiring, meaningful and thought-provoking book that would usher readers into Eliso Virsaladze’s world and acquaint them with her standpoints, appreciations, criteria, aesthetic appro­aches and cherished moral values. In turning our desire into reality we were assisted by Eliso Virsaladze herself, though we had no contact with her in the process of our work – the book came as a sheer surprise to her. What we mean by being assisted are Eliso Virsaladze’s letters and interviews published at different times that made their way into our book, along with many other articles dedicated to the famous musician. I would say with pleasure, that Eliso Virsaladze is a musician with a gift for writing. All her letters and interviews make wonderful reading and reflect

ne ­li Ta­mar lorTqi­ ­fa­ni­Ze) ekuTvnis,­ ro ­me­lic war­ma­te­biT uZ­Rve­ba eli­so vir­sa­la­Zis mier­ daar­ ­se­bul Te­la­vis mu­si­ka­lur fes­ti­vals. wi­nan­dal­Si, fes­ti­va­lis dRe­eb­Si­ve Sed­ga am wig­ nis pre­zen­ta­ci­ac. swo ­red aR­niS­nu­li cen­tridan­ mi­vi­ Re fri­ad sa­pa­tio da sa­pa­su­xis­mgeb­ lo Se­moTa­ ­va­ze­ba me­muSa­ ­va wignze,­ ro ­me­lic mkiT­xvels gaac­ nob­ ­da eli­ so vir­sa­la­Zis da­Za­bu­li da mra­val­ fe­ro­va­ni Se­moqme­ ­debi­ ­Ti moR­va­we­o­ bis na­xe­var­sa­u­ku­no­van gzas. Ta­vi­danve­ ga­vac­no­bi­e­re amo­ca­nis sir­Tule:­ un­da Seq­mni­li­yo am udi­de­ si mu­si­ko­si­sa da pi­rov­ne­bis sa­kad­ri­ si wig­ni, ro­me­lic sam ena­ze (qar­Tu­l- in­gli­su­r-ru­su­li) gamo­ ­­ce­mu­li­yo da ga­su­li­yo sa­er­Ta­Sori­ ­so aspa­ ­rezze.­ mkiT­xvel­ma gan­sa­jos, Tu ram­de­nad mi­vaR­wie mi­zans.

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Ta­vi­danve­ mi­vi­Re gadaw­ ­yve­ti­le­ ba: es wig­ni Sors un­da mdga­riyo­ sa­ xot ­bo Jan­ris li­te­ratu­ ri­ sa­ ­gan, ri ­si miR­we­vac ar aris advi­ li,­ ro­ ca saq­me exeba­ ise­Ti ma­Ra­li doni­ sa­ da mas­Stabis­ ar­tists, ro­go­ri­caa eli ­so virsa­ la­ ­Ze, ro­melic­ aTe­u­li wle ­bis manZil­ ­ze war­mo­ad­gens sa­ yo­vel­Tao aR­ta­ce­bisa­ da aRfrTo­­ va ­ne­bis obieqts.­ ra Tqma un­da, wig­ nSic ig­rZno­ba es emo­cia, mag­ram es ar gan­saz­Rvravs mis pa­Toss. msur ­da Seq­mni­li­yo coc­xa­li, sa­ in­te­re­so, Si­naar­ ­si­a­ni, dama­ ­fiqre­­ be ­li da gar­kve­ul­wi­lad proble­ ­mu­ ri wig­ni, rome­ ­lic mkiT­xvels Se­iy­ van ­da eli­so vir­sa­la­Zis sam­ya­ro­Si, ga­ac­nob­da mis pi­rov­ne­bas _ Se­xe­du­ le ­bebs, Se­fase­ ­bebs, po­zi­cieb­ sa­ da kri­te­riu­ ­mebs, es­Te­ti­kur xed­va­sa da zne­ob­riv fa­se­u­lo­bebs. am amo­ca­nis gadaw­ ­yve­ta­Si damex­ ma ­ra TviT eli­so vir­sa­la­Ze, miu­ ­xe­ da ­vad imisa,­ rom mas­Tan aravi­ ­Ta­ri kav ­Si­ri ar mqo­nda mu­Sa­o­bis pro­ ces ­Si. mis­Tvis es wig­ni si­urpri­ ­zi iyo. dax­ma­re­ba ki gagvi­ wia­ sxva­das­ xva dros ga­moqvey­ ­nebul­ ma­ eli­so vir­sa­la­Zis we­rileb­ ­ma da inter­ ­vi­u­ eb ­ma, ro­me­lic wignSi­ Se­su­lia am sa­ xe ­lo­van xe­lo­van­ze ga­moq­vey­nebul­ pub­li­ka­cieb­ ­Tan er­Tad. si­amov­ ne­ ­biT minda­ aR­vniS­no, rom eli ­so vir­sa­laZe­ Se­sa­niSna­ ­vad wers. igi mwer­lu­ri ta­lanti­ Tac­ da­jil­ do ­e­bu­li mu­si­ko­sia. mi­si weri­ le­ ­bi­ dan da in­ter­vi­u­e­bi­dan TvalnaT­ ­liv Cans ma­Ra­li su­li­ere­ ­ba da in­teleq­­ ti, di­di ada­mi­a­nu­ri bu­ne­ba da mar­

Ta ­li, pi­ruT­vne­li xa­si­a­Ti. ama­Sia her spiritual insights and keen intellect, am wig­nis Rir­se­ba. benevolence of her character and the da­bo­los, didi­ mad­lo­ba min­da force of her personality that combine to mo­vax­se­no Cems par­tni­o­rebs: cno­ make the book worth the effort. bil di­za­i­ners be­sik dane­ ­li­as da And finally, I am very grateful to my pro­eq­tis me­ne­jers ni­no ax­vle­ partners – famous designer Besik Danelia di ­ans, rom­leb­mac mniS­vne­lo­va­ni and project manager Nino Akhvlediani wvli ­li Se­i­ta­nes am far­Tod ilus­ and sincerely appreciate their contribution tri­re­bu­li da ma­Ral po­lig­ra­fi­ and hard work that went into publishing ul do­ne­ze das­tam­bu­li wig­ni-al­ this high-quality and richly illustrated bo­mis ga­mo­ce­ma­Si. book-album.

ma­na­na ax­me­te­li MANANA AKHMETELI wig­nis Sem­dge­ne­li da re­daq­to­ri Book compiler and editor

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FA­CE­BO­OK-is Sem­qmnel­ma mag­Ti­ko­mis mark cu­ker­ber­gma ram­de­ ni­me Tvis win msof­li­os auw­ya, rom am so­ci­a­lu­ri vi­de­o­kon­kur­sis qse­lis mom­xma­re­bel­Ta ra­o­de­no­bam 1 000 000 ga­mar­jve­bu­le­bi 000 ga­da­a­War­ba. da­ex­ ma­ro mi­li­ar­dze met ada­mi­ans ur­Ti­er­To­bis dam­ya­re­ba­Si udi­de­si bed­ni­e­re­baa da amiT va­ ma­yob _ Tqva 27 wlis mi­ li­ar­der­ma. _ yo­vel­dRe mux­lCa­ux­re­lad vSro­ mob, ra­Ta FA­CE­BO­OK-i uf­ro me­tad da­ix­ve­wos, uke­Te­si gax­des da, ime­ di maqvs, dad­ge­ba dRe MAGTICOM’S VIDEO da Cven mTeli­ msof­lio Se­mog­vi­er­Tde­ba. CONTEST WINNERS

MARK ZUCKERBERG, THE FOUNDER OF FACEBOOK ANNOUNCED A FEW MONTHS AGO THAT THE NUMBER OF FB USERS EXCEEDED 1 000 000 Fa­cebo­ ­ok-is mag­Ti­ko­mis gver­debs 000. “HELPING A BILLION PEOPLE CONNECT IS AMAZING, AND BY FAR 164 000-ze meti­ mom­xma­re­be­li hyavs. THE THING I AM MOST PROUD OF IN MY LIFE” – SAID THE 27-YEAR-OLD isi ­ni aq si­ax­le­ebsa­ da aq­tua­ ­lur BILLIONAIRE - “I AM COMMITTED TO WORKING EVERY DAY TO MAKE in­for­ma­ci­as ec­no­bi­an, in­te­raq­ti­ FACEBOOK BETTER, AND HOPEFULLY TOGETHER ONE DAY WE WILL BE ul re­Jim­Si ur­Ti­er­To­ben kompa­ ­ni­is ABLE TO CONNECT THE REST OF THE WORLD TOO”. war­mo­mad­gen­leb­Tan da maT­Tvis sa­ in ­te­re­so kiTxveb­ ­ze pa­su­xebs iRe­ben. MagtiCom’s Facebook page has over gar ­da ami­sa Fa­cebo­ ­ok-is mag­Ti­ko­mis 164 000 users. They keep checking out the gver­deb­ze pe­ri­o­du­lad sxva­das­ FB page to get the latest and important xva sa­xis konkur­ ­se­bi da viq­to­ri­ne­bi updates. In addition, users with questions cxad­de­ba. can directly contact Company staff and 2012 wlis seq­tem­bris da­saw­yis­Si get answers from the best resource. Most Fa­cebo­ ­ok-is mag­Ti­fa­nis gver­dze vi­ importantly, MagtiCom’s Facebook page de­o­konkur­ ­si `Ce­mi ar­da­de­ge­bi~ ga­ regularly hosts a great variety of quizzes moc­xad­da. kon­kur­sSi mo­na­wi­leo­ ­bis and contests. mi ­Re­ba ne­bis­mi­er msur­vels Se­eZlo.­ The MagtiFun webpage on Facebook amis ­Tvis ki mas sa­Ta­na­do ap­lika­ ­cia­ ­Si launched a video contest “My Holidays” mi ­sive­ ga­da­Re­bu­li, kon­kur­sis Tema­­ ti ­kis Se­sa­ba­mi­si, vi­de­or­go­li un­da in early September 2012. Any interested aet­vir­Ta. person could enter the contest by vi­de­okon­ ­kur­sSi mona­ ­wi­le­o­ba 84-ma uploading a holiday season video for a msur­vel­ma mi­i­Ro. chance to win. Fa­cebo­ ­ok-is mag­Ti­fa­nis gver­dze ga­ The video contest attracted 84 con­ moc­xa­de­bu­li vi­de­o­kon­kur­sis gamar­­ testants. jve­bule­ ­bi 2012 wlis 17 oq­tom­bers Contest winners were invited to mag ­Ti klubSi­ mag­Ti­ko­mis pre­zi­den­ MagtiClub on 17 October 2012 and tma de­vid lim da­a­jil­do­va. awarded prizes by MagtiCom’s President Fa­cebo­ ­ok-is mag­Ti­fa­nis gver­dis David Lee. mom­xma­reble­ ­bis mi­er ga­mov­le­ni­ Zviad Jgarkava, 16, who attends Tbilisi li sa­u­ke­Te­so vi­de­or­go­lis avto­ ri­ school N122, took home a Samsung da Sam­sung GALAXY S III-is mflo­be­li GALAXY S III as the prize for the best video, Tbi­li­sis 122-e sa­ja­ro sko­lis mos­ based on votes from MagtiFun’s webpage wav ­le, 16 wlis zvi­ad jRar­ka­va gax­da, users. A Samsung GALAXY Note went to xo­lo Sam­sung GALAXY Note­ mag­Ti­ko­ Givi Magradze, a fourth-year student at mis Ta­nam­Sro­mel­Ta mi­er Ser­Ce­u­li the computer science faculty of the Tbilisi vi­de­or­golis­ avtors,­ `mag­Ti­ko­mis Ivane Javakhishvili State University, who sim­pa­Ti­as~, Tbi­li­sis iva­ne ja­va­xiS­ won MagtiCom’s Choice Award. vi ­lis sa­xe­lobis­ sa­xel­mwi­fo uni­ver­ si ­te­tis kompi­ ­ute­ ­ru­li mec­ni­e­re­bis fa­kul­te­tis IV kursis­ stu­dents givi­ maR­ra­Zes ga­da­e­ca.

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მგრძნობიარე სამკაული

Sensual Adornment

par­su­lad `bed­ni­e­ri qva~, ber­ amed “lucky stone” by the Znu` ­lad la­ma­zi qva~, ara­bu­ Persians, prized as “beautiful lad `ga­mar­jve­bis simbo­ ­lo~ Nstone” in Greece and meaning s “victory” in Arabic, turquoise is a Zvir ­fas qvas da sam­kauls­ _ firuzs­ niS ­navs. fi­ru­zi de­ko­ra­ti­uli­ qvaa. decorative stone, which originally made ev ­ro­pa­Si is jva­ros­nuli­ laSqro­­ its way to Europe during the crusades. be ­bis pe­ri­od­Si gax­da cnobi­ ­li. sa­ The gem derives its name from the Arabic word “Firouzeh”. Turquoise is a phosphate xel­wode­ ba­ ara­bu­li `fi­ru­za~-sgan mineral. It is formed through phosphoric war­mod­ge­ba, rac ga­mar­jvebuls­ niS­ acid decomposition. Turquoise gets its navs. fi­ruzs fos­fa­tis klass mi­a­ colour from the presence of copper in it. kuTv­neben.­ is fos­for­mJavas­ apa­ti­ Turquoise is opaque and has a waxy tis daS­liT war­mo­iq­mne­ba, spi­lenZi­ lustre. Its colour falls somewhere between ki mi­si mad­ne­bi­dan ga­mo­i­yo­fa. swo­ blue and green. It is essential to keep red am uka­nas­kne­lis Sem­cvelo­ ba­ turquoise away from fats, oils, cosmetics gan­saz­Rvravs mis fers. or soap as they can leave dark stains on fi­ru­zisfe­ri cis­fersa­ da mom­ the gem. wva ­nos So­ris va­ri­irebs. igi gaum­­ Turquoise is a capricious mineral. Its co- lour, as it advances in age, changes from Wvir­valea,­ brwyin­vale­ ­ba cvi­li­se­

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4/56/2012 bu ­ri aqvs, mas­ze ar ga­mo­i­ye­neba­ white to blue to green. White tur- gam­xsne­le­bi _ ze­Te­bi, cxi­mebi,­ quoise is a great booster of energy, kos­me­tika,­ sa­po­ni. ma­Ti ze­moq­me­ while blue turquoise has a soothing ef- de­biT fi­ru­zi Se­saZ­loa da­la­qav­ fect on emotions. des. Turquoise commonly occurs in sedimentary rocks in Egypt, China, fi­ru­zi kap­ri­zu­li qvaa. axal­gaz­ Kazakhstan, Turkmenistan, Uzbekistan, rda fi­ru­zi TeT­ria, Sem­deg _ cis­ Afghanistan, the United States, Australia, fe­ri, si­be­re­Si ki _ mwva­ne. TeTr Israel and Armenia. The world’s finest- fi ­ruzs di­di energe­ ­tiku­ ­li po­ten­ quality turquoise comes from the ci ­a­li aqvs. cis­fe­ri fi­ru­zi ki emo­ Khorasan Province of Iran. ci ­ebs awonas­ ­wo­rebs. sneul­ adami­ ­an­ Turquoise is a lucky talisman and a Tan Se­xe­bi­sas fi­ru­zi xSirad­ avad­ symbol of fidelity and constancy in love. de­ba, berde­ ba­ da kvde­ba. It helps people express their feelings, and can foster happy and harmonious rela- fi ­ru­zi war­mo­iq­mne­ba da­na­leq qa­ tionships between partners. neb ­Si. misi­ sa­ba­do­ebia­ egvip­ ­te­Si, Legend has it that lonely women Ci ­neT­Si, yaza­ ­xeT­Si, Tur­qme­neT­Si, used to sew small pieces of turquoise uz­be­keTSi,­ av­Ra­neT­Si, aSS-Si, av­ in the clothes of men, secretly, to win stra­li­a­Si, is­ra­el­Si, som­xeT­Si. their hearts... Turquoise is traditionally msof­lio­ ­Si erT-er­Ti cno­bi­li sa­ associated with the 18th anniversary of ba ­do iran­Sia _ xo­ra­sanSi.­ ira­nu­li marriage. fi­ru­zi gan­sakuT­ ­re­biT fa­sobs. The practice of carving human faces and animal figurines on turquoise fi ­ruzs Ti­lis­mad iye­ne­ben da er­ rings arose in ancient times. Turquoise Tgu ­li, uRa­la­to siy­va­rulis­ sim­ was sometimes made into cult figures bo ­lod mi­iC­ne­ven. iT­vleba,­ rom is intended to convey the presence of God ada­mi­a­nebs grZno­be­bis gamov­ ­le­na­Si for warriors. ex ­ma­re­ba, bed­ni­e­re­ba mo­aqvs da par­ Being a powerful symbol of love and tni­o­re­bis har­mo­ni­ul Ta­nac­xov­re­ fidelity, turquoise also serves as an early bas uw­yobs xels. pointer to disease. It fades and dies if gad­mo­ce­miT, Tu qals rCe­u­li ma­ worn by a sick person and regains its previous shine and colour with someone ma ­ka­cis yu­rad­Re­bis mip­yro­ba sur­ who is healthy. Turquoise is an excellent da, mis tan­sac­mel­Si, Se­um­Cnev­lad, enhancer of energy. It is a natural remedy

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for improving memory and restoring worn out nerves. Experts recommend pairing turquoise with gold, as silver inhibits its curative virtues. Looking at turquoise every morning offers an effective way to improve vision. Turquoise is the birthstone for the December-born, bless- ing them with success in whatever they do. Turquoise is held in high esteem in the as- trological fraternity as well. Seeing turquoise in a dream foretells that one’s desires will be happily realized. Dreaming of a woman pa- rading turquoise jewelry means that she will meet vexations and crosses in love. Turquoise used to be a popular jewelry choice for adorning icons, crosses, mitres and other church items in Georgia throughout the Middle Ages. Turquoise graces the Metropolitan Cross of Martvili, the Tabernacle, the Virgin Icon of Khobi (X-XI centuries), the folding golden Icon of the Saviour and the Cross of the Martyrs. A vast selection of jewelry belonging to Queen Mariam and to Erekle I’s consort was also inset with turquoise.

mci ­re zo­mis fi­ru­zis na­te­xi un­da Ca­e­ke­re­bi­na. qor­wi­ne­bis 18 wlis­Tavs firu­ ­zis qor­wils eZa­xi­an. Zve ­lad fi­ru­zis­Tvli­an beW­deb­ze ada ­mi­a­nis da cxo­ve­lebis­ ga­mosa­ ­xu­ le ­bas kveT­dnen. mis­gan Rmer­Tebis­ ga­mosa­ ­xu­le­biT pa­tara­ sa­kul­to fi­gu­reb­sac am­za­deb­dnen, romle­­ bic Zi­riTa­ ­dad, me­omre­ ­bis­Tvis iyo gan­kuT­vni­li. fi ­ru­zis qvas, erTgu­ le­ ­bi­sa da siy­va­rulis­ sim­bolos­ gar­da, jan­ mrTe­lo­bis in­di­ka­tor­sac uwo­de­ ben. avad­myo­fo­bis dros firu­ zis­­ Tvis da­ma­xa­si­a­Te­be­lia fe­ris Sec­ vla, ga­fer­mkrTale­ ­ba. ada­mia­ nis­ ga­mojan­ mrTe­ ­le­bis­Ta­na­ve firu­ zi­ ib ­runebs­ na­Tel da mkveTr fers, aZ­ li ­erebs­ pirov­ ­ne­bis Si­na­gan energi­­ as, ex­ma­re­ba mexsi­ e­ ­re­bis gan­viTa­ ­re­ ba­Si, mya­ri fsi­qi­kis Se­nar­Cu­ne­ba­Si. mec­ni­ere­ bi­ fi­ruzis­ oq­ros bu­ diT ta­re­bas gvirCe­ ­ven, rad­gan ver­ cxli mis samkur­ ­na­lo Tvi­se­bebs bo­ Wavs. spe­ci­a­lis­te­bi gan­marta­ ­ven, rom yo­vel di­liT fi­ru­zis cqe­ra mxed­ve­lo­bas aum­jo­be­sebs. am ­bo­ben, am qvis ta­re­ba de­kem­ber­ Si da­bade­ bul­ ­TaTvis­ gansa­ ­kuTre­­ biT sa­sar­geb­loa.

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fi ­ruzs mniS­vnelo­ ­bas as­tro­lo­ge­bic ani­We­ben. mi­iC­ne­va, rom siz­mar­Si fi­ru­zis xil­va sa­nuk­vari­ oc­nebis­ as­ru­le­ bis mo­mas­wa­ve­be­lia, xolo­ Tu sizmar­ ­Si qali­ fi­ru­zebi­ ­Taa mor­Tu­li, mas siy­va­rulSi­ imed­gacru­ ­e­ba an wi­na­aR­mde­go­ be­bi Sexvde­ ­ba. Sua sa­u­ku­ne­e­bis sa­qar­Tve­lo­Si fi­ru­zi erT-er­Ti gavr­ ce­lebu­ li­ Zvir­fa­si qva iyo. is TiTqmis­ yo­vel­Tvis ga­mo­i­ ye ­ne­boda­ sa­ekle­ ­sio in­ven­taris­ _ xate­ ­bis, jvrebis,­ mit­re­ bis Se­sam­ko­bad. X s. mar­tvi­lis samRvdelTmTavro jva­ri da oq­ros sa­ na ­wi­le fi­ru­zi­Taa Semku­ ­li. es qva amkobs­ xo­bis X-XI ss. RvTis­mSob­lis xats, macxov­ ­ris da­sakec­ oq­ros xats, mowa­­ me ­Ta sa­wi­nam­ZRvro jvars da a.S. cno­bilia,­ rom ma­ri­am de­ dof ­lis da erek­le pir­velis­ me­uR­lis samka­ ­u­le­bis di­di na­wi­li fi­ru­zis qve­biT iyo Sem­ku­li. jer­je­ro­biT uc­no­bia ra ad­gils dai­ ­kavebs­ fi­ru­zis sam­ martvili, ka ­u­li axali,­ 2013 wlis mo­dis tenden­ ­ci­eb­Si. Tum­ca, lon­ samRvdelTmTavro do ­nis mo­dis kvi­re­ul­ gulsakidi jvari. X s. ze Jean-Pi­ ­er­re Bra­gan­za-s Reliquary cross of 2013 wlis ga­zaf­xu­li/ Martvili. X c. zaf­xu­lis ko­leq­ci­is Cve­ne­bi­sas, eg­vip­tu­ri tra­di­ci­e­bis Te­mati­­ ka ­ze Seq­mnil yel­sa­ba­ meb ­ze fi­ru­zis Tvle­bi No one knows whether turquoise will become the height War­bob­da da mo­del­ of fashion in 2013. The fact, however, is that Jean-Pierre Ta ma­ki­a­Jic fi­ru­zis Braganza’s spring/summer 2013 collection at London Fash- fer ­Si iyo ga­daw­yveti­­ ion Week this season was packed with Egyptian-inspired li. pieces of turquoise jewelry. Bold shades of turquoise were incorporated into cosmetic makeup as well.

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ieibcieibc dfikt,bdfikt,b GLASS APPLES

vi ­liT gap­ri­a­lebu­ ­li ia­ta­kis frTxi­lad un­da dag­ve­ki­da. aki mo­ he scent of wax polish on the floor, su ­ni, er­Tma­neT­Si Se­zave­ ­buli­ gax­se­neT, mi­li­met­ri sis­qis Su­Sis the haunting blend of boiling honey, cmdu ­Ra­re Taflis,­ dari­ ­Cini­ ­sa bur­Te­bi, da­var­dna iqiT iyos, Ti­ Tcinnamon and vanilla, weeping da va­ni­lis aroma­ ­ti, gayi­ ­nuli­ fan­ Teb ­Si Se­mo­gef­Svne­bod­nen, co­ta windows and the impatience to unravel jre ­bis ti­ri­li da bne­li sakuW­ na­ os­ Zli­e­rad rom mo­ge­Wi­ra xe­li. the mystery resting on the uppermost shelf bo ­lo Ta­roze­ Se­mode­ ­buli­ ja­dos­ ax ­la yve­la­fe­ri ga­ci­le­biT iolia.­ in a dark pantry – that’s what I remember no ­bis gan­ja­doe­ ­bis mo­lodi­ ni­ _ es aram­sxvre­vadma­ sa­Ta­ma­So­eb­ma ukan about my first encounter with the New aris Ce­mi pirve­ li­ Se­xeba­ axali­ wlis Ca­mo­i­to­va sim­yi­fis xa­na da masTan­ Year. I can’t say exactly how old I was then, Ra­mes­Tan. ar max­sovs ram­de­ni wlis da­kav­Si­re­bu­li mo­wi­we­ba da aR­tace­­ but I can still hear the rustling of oilpaper vi ­ya­vi, magram­ zus­tad maxsovs­ per­ ba­Se­za­ve­bu­li sif­rTxi­lec. mas­Tan as my grandma tried to unwrap glass balls, ga­mentis­ Sra­Suni,­ ro­de­sac bebia,­ ki, pi­ra­dad Cem­Tvis, is bolom­ ­de ga­ which were as old as she was. Yes, the balls mi ­si bav­Svobis­ dro­in­del SuSis­ bur­ uc­no­bi­e­re­be­li gan­cda, rom zus­tad were made of flimsy and delicate glass Tebs iReb­da yu­Tidan.­ diax,­ Su­Sis, am msxvre­va­do­ba­Sia axa­li wlis ja­ with glowing crystals beginning to fade ro ­melic­ iyo myife­ da sifri­ ­fana­ da doq­ro­bis sa­i­dum­lo. and go out. An equally old snowman with aqa-iq SerCe­ ­ni­li krista­ ­le­biT bzi­ er ­Ti zan­za­la­ki da sa­mi­o­de gac­re­ a crippled arm had a sling applied by me so nav ­da. burTe­ ­bis asa­kis­ve iyo cali­ cil­sa­Re­ba­vi­ani­ bur­Ti kvlav Sena­­ he could still be hung to one side. xe ­liT in­va­li­di Tov­lis ba­bua, ro­ xu ­lia bo­lo Ta­ro­ze. oRond maT, we­ We had to be very careful when hanging mel ­sac is xeli­ „mar­liT“ gada­ ­vuxvie­ li ­wad­Si er­Txel, per­ga­ments Se­mo­ toys on a fir tree. We ran the risk of crushing da ki­serze­ Camov­ ­ki­de. vac ­liT, Sev­xe­davT... da isev yuTSi­ these millimeter-thin balls just by holding sa­Ta­maSo­ e­ bi­ naZ­vis xeze­ Za­lian­ Ca­vab­ru­nebT. ma­Ti epo­qa das­rul­da, them too hard or squeezing too tightly,

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Tum ­ca sa­in­te­re­soa, sa­i­dan da­iwyo­ not to mention dropping them. es yo­ve­live?­ Things are so much easier now. Toys ro ­gorc am sa­kiT­xis gan­do­bi­le­bi have long outgrown the era of fragility va­rau­ ­do­ben, da­sa­ba­mi preis­ ­to­riul­ and the associated attitude of awe and xa ­na­Si un­da ve­Zi­oT da is sam­ya­ros, amazement and, for me personally, the ro­gorc er­Ti­a­ni si­coc­xlis xis unexplained sense of untouchability – struq­tu­ri­re­ba­Si iRebs sa­Ta­ves. exactly what shrouds the New Year aqe ­dan war­mo­iq­mne­ba xee­ ­bis kulti,­ nights in mystery. rom ­lis niS­nebs srulad­ sxva­dasxva­ One hand-bell and three faded are ­alis­ niv­Tier­ kul­tu­reb­Si Seg­ balls are still gathering dust on viZ ­lia mivak­ ­vli­oT. ge­ogra­ fi­ ­uli­ the uppermost shelf. We reach da kli­matu­ ­ri pi­ro­be­bis mi­xedviT,­ for them only once a year, unwrap Tay­vanis­ ­cemis­ obi­eq­te­bi sxva­dasxva­ them, glance admiringly and then xe xde­ba. esenia­ muxa,­ fiW­vi, kvipa­ ­ro­ put them back into the box. Their si, ev­kalip­ ­ti da a.S. Zvel saber­ ­ZneT­ purpose has long been served. Si wmin­da xed iTvle­ bo­ da­ kvi­pa­ro­ But where do they come from? si, rom­Si Tayvans­ scem­dnen leRvis­ Experts say their origins can be xes da Svinds, ro­melic­ pa­lan­tinis­ traced back to the pre-historic era. More borcvs ux­vad farav­ ­da. sa­qarTve­­ concretely, they derive their roots from lo ­Si, rogorc­ vi­ciT, Ci­Cilaks,­ igi­ the Tree of Life so ever-present in sacred ve sa­kulto­ xes, Txi­lis­gan am­zadeb­­ traditions that it has become a symbol of dnen, sva­neTSi­ ki tiri­ fis­ totebs­ the world. Tree cults were invested in all Tlid­nen. cultures. Objects of worship, however, Tum ­ca gamo­ ­xa­tu­lad Cve­nam­de moR­ varied depending on geographical we ­u­li xe­Ta Tay­vanis­ ­ce­mis tradi­ ci­­ and climatic differences, and

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as dru­ideb­ Tan,­ kel­tebis­ RvTis­msa­ included oaks, pines, cypresses, eucalyptus xu­reb­Tan miv­ya­varT. keltebs­ swam­ trees and others. The cypress was the tree daT, rom xe­eb­Si su­le­bi coc­xloben­ most sacred to the ancient Greeks. The da maT beds gan­kar­gaven.­ amito­ ­mac Romans worshipped the fig tree and the sa ­Wi­roa ma­Ti ke­Til­ganwyo­ ­bis damsa­­ cornel tree that grew on the slope of the xu ­re­ba msxver­plSe­wir­vis gziT. mTa­ Palatine Hill. The nut tree (in the shape var „wmin­da xes“, rome­ ­lic, rogorc­ of Chichilaki) earned itself cult status in ir ­kve­va, vaS­lis xe iyo, rTav­dnen Georgia, and the willow tree - in Svaneti. da mis ir­gvliv ritu­ ­alur­ ze­ims The Celtic Druids were, however, the aw­yob­dnen. mog­vi­ane­ ­biT vaSlis­ xe first to embrace the practice of tree ma­rad­mwvane­ naZ­vma Sec­vala,­ sava­­ worship. They believed the interior ra ­u­dod im mi­ze­ziT, rom se­zo­nu­ of a tree was the abode of dead ri Wkno­ba mas ar exe­ba. swo­red souls mighty enough to control their es kel­turi­ tra­dicia­ da­edo­ destinies. The only way to win their favour sa­fuZvlad­ evro­ ­pa­Si sa­axal­ wlo­ was by offering sacrifices and performing ri­tu­a­luri­ xis zeims.­ rituals. The apple tree, considered the sa ­zei­ mo­ xis pir­ve­li mo­sarTa­ ve­­ holiest of all trees, was decorated amid bi Se­saW­me­lad iyo gan­kuT­vnili.­ es flamboyant ritual celebrations. Later the iyo vaS­le­bi, Txi­li, kver­cxi, kar­ apple tree was replaced by the evergreen to ­fili,­ sta­fi­lo, Saqris­ na­te­xe­bi, fir tree because of its ability to resist nam­cxvrebi.­ TviTo­ e­ uls­ sim­bolu­ ri­ seasonal changes. The Celtic veneration of dat­virTva­ qon­da. ase vaSli­ ux­vi mo­ trees laid the groundwork for the New Year sav ­lis sim­bolo­ iyo, kvercxi­ - ma­ tree traditions. ra­di­u­lad ganax­ ­leba­ ­di si­coc­xlis, The first Christmas trees in Europe Txi ­li RvTis gan­gebas­ asaxav­ ­da, nam­ were decorated with edible things such cxva ­ri _ RvTis kur­Txe­vas. vaS­lebi­ as apples, nuts, eggs, potatoes, carrots, fe ­radi­ sa­Reba­ ­vebiT­ iRe­be­boda,­ sxva candies, cakes… each ornament was mo­sar­Ta­vebs fe­rad Win­Web­Si axvev­­ loaded with symbolic significance. The dnen. axa­li wlis Ra­mes „sa­Ta­ma­So­ apple, for example, symbolized a bountiful ebs“ mi­irTmev­ dnen,­ xolo­ WinWe­ ­bi ki harvest, the egg - eternal life, the nut – eki ­da, vina­ i­ dan­ ase morTul­ naZvis­ war­mo­sad­ge­nia Tu ra mom­xib­vle­lad divine guidance, the cake – God’s blessing. xes qon­da boro­ ­ti su­le­bis gandev­­ ga­mo­i­yu­re­bo­da mu­qi mwva­ne naZvis­ Apples were painted in different colours, nis Za­la, xolo­ vaS­lebiT­ morTul­ to ­teb­ze yvi­Tel-wi­Te­li mkvrivi­ da other decorations - wrapped in colourful to ­tebs ki­debdnen­ Sesas­ ­vlel kareb­­ sur­ne­lo­va­ni xi­li. tinsels. All edible toys were eaten over ze, ase­ve avi Za­le­bis mo­sage­ ri­ ­eb­lad. le ­gen­da mogviT­ ­xrobs, rom 1513 the New Year night. Tinsels remained for gan­sakuT­ re­ ­biT aR­saniS­ na­ ­via, rom wlis dam­degs, ev­ro­pu­li ek­le­siis­ driving away evil spirits, as did branches vaS ­lebs wamyva­ ­ni ro­li eni­We­bo­daT re­for­ma­to­ri mar­tin lu­Te­ri Sin adorned with apples, which hang on naZ ­vis xis mor­Tvis ritu­ ­al­Si. Se­ brun­de­bo­da da uceb yin­va­Si aki­a­ entrance doors. mod­go­ma­ze, mo­sav­lis aRe­bis dros, fe ­bu­li var­skvla­ve­biT moxib­ lu­ ­li Apples were the highlight of fir tree ar­Cev­dnen yve­la­ze lamaz,­ lo­yawi­­ Sed ­ga. is did­xans ak­vir­de­bo­da cas decorations. Harvested in autumn, they Tel vaS­lebs, da zam­Tris dadgo­­ da me­re sax­lSi mi­sul­ma, tra­di­ were kept with utmost care specifically mam ­de saTu­ ­Tad inaxav­ dnen.­ ad­vi­li ci ­u­li sa­a­xal­wlo naZ­vis xe­ze san­ for winter. Wonderfully fragrant, shiny and yellowish-red in colour, they stood out beautifully against the green lushness of fir branches.

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Tle ­bi da­amag­ ­ra, xo­lo ken­we­roSi­ naZ ­vis xis xe­lov­nu­ri xi­liT Legend has it that in 1513 var­skvlavi­ dad­ga, ro­melic­ beT­ mor ­Tvis tra­di­ci­as da­udes­ Martin Luther, the great re- lem ­Si daba­ de­ ­bu­li qris­tes­ken gzis da­sa­ba­mi. fe­ra­di Su­Sis­gan former, while walking home gam­kvala­ vi­ varskvla­ ­vis simbo­ ­lod dam­za­de­bul­ma xil­ma through the woods paused iq ­ca. ase garda­ ­iq­mna ger­ma­nia­ Si­ war­ Za ­li­an di­di mowo­­ for a moment to gaze at mar ­Tu­li dRe­sas­wau­ ­li qris­tia­ nul­ ne ­ba da­im­sa­xu­ra the star-pricked sky in tra­dici­ ad.­ da lo­ta­rin­gi­is reverent meditation. Tum ­ca xe­e­bis mor­Tva xi­li­Ta da os­ta­teb­ma mTel Inspired by the sight, sxva­das­xva nugba­ ­riT ara­vis da­viwye­­ ev­ro­pa­Si gaiT­­ he came home to dec- bia da er­Txe­lac lo­ta­rin­gi­as umo­ qves sa­xe­li. zo­ orate his Christmas sav ­lo 1848 we­li da­ud­ga. vaS­le­bis gi ­erT qve­ya­na­Si tree with small can- ara ­Tu xeze­ Ca­moki­ de­ ba,­ ara­med suf­ brZa­ne­bac ki ga­ dles and a star atop, ra ­ze mi­tanac­ ki gaWir­ da­ da am TiT­ mo ­i­ca, rom­lis Ta­ which became the qos ­da ui­medo­ si­tua­ ­ci­idan­ ga­mosa­­ nax ­mad na­Z­vis xe­ebi­ symbol of the Star va ­li qa­laq la­u­Sis SuSis­ osta­ teb­ ­ma la ­uS­Si dam­za­de­bu­li from Heaven lead- ipo ­ves: maT Seqmnes­ kacob­ ri­ ­obis­ is­ oq­ros­fe­ri da ver­ ing the Wise Men to to ­ri­aSi­ pirve­ ­li Su­Sis „vaS­le­bi“ da cxlis­fe­ri bur­Te­biT worship Jesus in Bethle- hem. Thus, the pagan tradi- tion gradually gave way to a Christian ritual. Fruit and sweets re­ mained central motifs in Christmas tree decora- tions, and continued to do so until 1848, a time of poor harvests in the Lorraine re- gion of Germany, when the apple became highly sought- after even as a fruit. Craftsmen from Lauscha worked out a solution to this problem by creating the first-ever glass ap- ples in the history of mankind and starting a new trend of artificial decorations, which soon became wildly popular in Europe. The craftsmen rose to fame and fortune, and some governments even went so far as to issue decrees ordering that Christmas trees be embellished with Lauscha-made gold and silver balls, instead of fruit toys. With the passage of time, the craftsmen from Lauscha made glassblowing a fine art. Their ornaments came in a wide vari- ety of colours, shapes and sizes. Apprecia- tion of German Christmas toys heightened throughout the world. Baubels produced in Lauscha were outrageously expensive. Hence, they did not completely replace homemade toys and the tradition of offering sweets to tree deities. Bells too were the traditional centerpiece of the Christmas season. Their sound was believed to ward off evil spirits, purify the air and even eradicate the plague. Christmas in Europe of the Middle Ages was a time to indulge in creative decorations of dried flowers, which, due to their healing properties, were

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un ­da mo­erToT­ da ara ubra­ lo­ xi­ liT. dro­Ta gan­mavlo­ ba­ Si­ niWi­ er­ ma­ os­ta­tebma­ is­wav­les ara­mar­to bur­ Te ­bis ga­mo­berva,­ ara­med sxva­dasxva­ zo ­mis da for­mis sa­Ta­ma­So­ebis­ dam­ za ­de­bac, xo­lo ger­manul­ ma­ sa­axal­­ wlo sa­Tama­ So­ ­eb­ma mTel msofli­ ­o­Si ga­iT­qves sa­xeli.­ Tum ­ca mrava­ ­li wlis man­Zilze­ lo­ ta­rin­gi­el os­tat­Ta na­xe­lavs cec­ xlis fa­si hqon­da da co­tas Tu Se­ eZ ­lo ma­Ti yidva.­ amito­ ­mac sax­lSi sa­Ta­ma­So­ebis­ dam­zade­ ­bis tra­di­cia da ase­ve sxva­das­xva tkbi­le­uliT­ xis su ­le­bis moTaf­ lva­ arsad­ wasu­ la­ da da­kar­gu­la. bur­Te­bis gar­da gav­rcele­ bu­ li­ da po­pu­la­ru­li sa­Ta­maSo­ zanza­ la­­ ki iyo. warmar­ ­Tobi­ ­dan moyo­ ­le­buli,­ zan­za­laks avi sule­ bis­ ­gan dacvis­ sa­ u ­ke­Teso­ saSu­ ­a­lebad­ aRia­ reb­ dnen.­ wkri ­a­la xmiT is icav­da saxls da, zo­gier­ ­Tis az­riT, haer­ sac­ ki asuf­ Ta ­vebda­ ase saSi­ ­Si Savi­ Wiris­ vi­ru­ sis­gan. ase ­ve aR­sa­niS­navia­ naZ­vis xis yva­ vi ­lebiT­ mor­Tvis gvi­an­de­li Sua­­ sa­u­ku­nee­ ­bis evro­ ­puli­ tra­di­cia. yva­vi­le­bi, bu­neb­rivia,­ gam­xma­ri iyo, da vi­na­idan­ Sua sa­u­ku­ne­eb­Si maT sam­ kur­nalod­ iye­neb­dnen, maT xeze­ da­ mag ­rebas­ ase­ve avi sule­ bis­ gan­ dac­ da­ba­de­bis simbo­ ­loa da axa­li wlis thought to protect against evil spirits and vis da jan­mrTe­lo­bis mTe­li wliT dad­go­mas­Tan er­Tad axa­li Ja­mis to invite good health. uz­run­velyo­ fis­ datvir­ ­Tva hqon­da. dad­go­mas auw­yebs mor­wmune­ ­ebs. A wreath graced with red ribbons has qris­tia­ ­nul kults ekuT­vnis ev­ pir ­ve­li msof­lio omis dasru­­ proved to be an enduring Christian icon ro ­paSi­ da ame­ri­kis Seer­ ­Te­bul Sta­ le ­bis Sem­deg did­ma bri­ta­neT­ma in Europe and in the United States. It is teb ­Si gav­rcele­ ­bu­li wi­Te­li bafTe­­ da ame­ri­kis Seer­ ­Te­bul­ma Sta­ hung on the door as a powerful sym- biT mor­Tu­li gvir­gvi­nebi,­ rom­leb­ teb ­ma ger­ma­ni­as sa­a­xal­wlo bol of the Nativity, in sac ka­reb­ze kide­ ­ben. is mac­xovris­ sa­Ta­ma­So­e­bis dam­ joyful anticipation of za­de­bis pirve­­ the New Year and the lo ­ba Ca­mo­ar­Tves. advent of a new age. axa ­li teq­no­lo­ After the end of the gi ­e­bi­sa da ma­sa­le­ First World War, Great Brit- bis ga­mo­go­ne­bis Sem­deg, ain and the United States sa­Ta­ma­So­e­bis war­mo­e­ba took over from Germany as ma­sob­riv in­dus­tri­ad the leaders of the Christmas iq ­ca. tra­di­ci­u­li bur­ Te ­bi­sa da zan­za­la­ke­bis decoration industry. The de- gver­diT gaC­ndnen sxa­ velopment of new technolo- va­das­xva zRapre­ bis­ per­so­na­Je­bi, gies allowed the mass production of toys. frin­ve­le­bi, cxo­ve­le­bi, xe­lov­nu­ri Alongside time-honoured balls and bells, tkbi­le­u­lo­ba da mra­vali­ sxva mya­ri, shops today display a sprawling selection aram­sxvre­va­di da, ami­tom, mra­val­ of fairytale characters, birds, animals, artifi- je ­ra­di mox­ma­re­bis sa­Ta­ma­So, ro­me­ cial candies and many other solid and rug- lic xel­mi­sawvdo­ ­mia. Tum­ca, me Tu ged toys designed for long-term use. They mkiT­xavT, mok­lebu­ ­lia im mis­ti­ur are accessible to all but scarcely contain suls, ro­me­lic jer kidev­ aris Cemi­ the enigma, which is so keenly felt in yel- sax ­lis sa­kuW­na­os bo­lo Taro­ ­ze Se­ low glass apples wrapped in oilpaper and mo ­de­bul gay­viT­le­bul per­ga­mentSi­ left to gather dust on the uppermost shelf gax­ve­ul yvi­Te­li Su­Sis vaS­lebSi.­ in the dark pantry of my house.

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