xelovnebaTmcodneobiTi etiudebi STUDIES IN ART CRITICISM I

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Maia Chichileishvili One Aspect of the Ideological Resolution of Skhalta Painting (Interrelation between the Legacy of Abuserisdze Tbeli and Skhalta Painting) Summary According to the iconographic and artistic-stylistic features the painting of the Skhalta hall-type church is connected to the samples of the turn of the 14 th -15 th centuries. It provides interesting material for revealing the development and peculiarities of the Palaeologos art in Georgia. According to the historical data the decoration of the Skhalta monastery with frescos as well as its construction in the mid 13 th century is linked with the Adjarian nobility – the representatives of the Abuserisdze patrimony. Hence it becomes clear that while compiling the iconographic and theological program of the Skhalta painting architects regarded the opinions of their great ancestor – Abuserisdze Tbeli, the famous 13 th -century public figure and thinker. Together with the doctrines of the orthodox creed the Skhalta painting reveals the priority of the theophanic, eschatological and salvation ideas. It is the reflection of the dominant social outlook of the period (14 th -15 th cc). By highlighting the eschatological idea the Skhalta painting reveals not only the general aspiration characteristic of the Georgian painting of the given period but the opinions characteristic of the legacy of Abuserisdze Tbeli, the spiritual son of this region. The program of the Skhalta church painting is to a certain extent a visual picture of the introduction to the Tbeli’s work “Miracles of St George, the Martyr” (“New Miracles of St George”). The basis of the theological program of the Skhalta ensemble was determined by the general epochal aspiration, architects demands and the legacy of Abuserisdze Tbeli. 108
ati CiburdaniZe portretuli saxeebi vaxtang beselias mxatvrobaSi vaxtang beselia Tanamedrove qarTuli mxatvrobis erT-erTi TvalsaCino warmomadgenelia. SemoqmedebiTi moRvaweoba man 1970-iani wlebidan daiwyo, roca saxviT xelovnebaSi mimdinareobda mxatvruli formisa da sivrcis plastikuri interpretaciis, suraTis kompoziciuri struqturis, wminda ferweruli, koloristuli sawyisebis individualuri gaazrebis intensiuri procesi. v. beselias xelovneba inteleqtualuria, gamsWvalulia sulismieri sawyisebis aSkara primatiT. igi xasiaTdeba lakoniuri metyvelebiT, formisa da Sinaarsis harmoniiT, ferwerulobisa da plastikurobis erTianobiT, rac ostatis mxatvruli xedvisa da SesaZleblobebis mTlianobas adasturebs. niSandoblivia, rom v. beselias stilistur-esTetikuri mrwamsi TvalnaTliv mianiSnebs xelovanis kavSirs Sua saukuneebis qarTul monumentur mxatvrobasTan, rac, uwinares yovlisa, ganpirobebulia Semoqmedebis zogadi principebiT _ gamomsaxvelobiTi enis lakoniurobiT, suraTis naTlad gamovlenili arqiteqtonikiT Tu daxvewili, TavSekavebuli koloritiT. amasTan, aRsaniSnavia misi Sinagani siaxlove dasavleTevropul ferwerasTan, rasac amJRavnebs mxatvruli formis ganzogadeba, faqturulobis da sagnobriobis SegrZneba; XX saukunis klasikosTa memkvidreobis SemoqmedebiTi aTviseba xelovanis nawarmoebebs maRalmxatvrul dones da Tanamedrove xasiaTs aniWebs. vaxtang (beso) beselia daibada senakSi, 1945 wels. 1959-64 ww. swavlobda Tbilisis i. nikolaZis saxelobis samxatvro saswavlebelSi. 1964-70-iani wlebi samxatvro 109
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saqarTvelos ganaTlebisa a da mecnie
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Teatrmcodneoba vasil kiknaZe qarTul
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gudiaSvilma, d. kakabaZem da sxvebm
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aime gansakuTrebuli damsaxureba. am
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yvelaferi unda gavaanalizoT istoriz
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11 laSa CxartiSvili `mefe liris”
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piris Semoqmedeba ,,mudam Tanadroul
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ze, magram maSin (XIX saukunis 60-i
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i’’ sabenefisod araerTxel aurCe
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qarTul sasceno Seqspirianas momaval
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cxi iyo’’ (20; gv. 37). faqtia,
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periodebis politikur-socialur garem
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kinomcodneoba 25 lela oCiauri niSan
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yoveli niSani Tavis srulyofil mniSv
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da maT ekranul, vizualur, araerTgva
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(rac egviptur, Tu aRmosavlur litera
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mxatvrul azrovnebasTan da Tavad iyo
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warmoadgenda da aq ukve, didi xania
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marTla, mTeli gulwrfelobiT aisaxa i
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39 oliko JRenti revoluciis sakiTxis
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kuri). 1907 wlisEwiwamuris tragedia
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vizaciiT iRebda, rac uprecendento S
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ur-anarqiuli epoqis pirmSoa, mis cx
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TlobasTan, Sav-bnel da reaqciul Zal
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mouwodebda muSebs. mTavari gmiris _
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oca sabWoeTSi beladis diqtatura dam
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sofo TavaZe novatoruli Ziebebi 60-i
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els, bunebrivia, erTmaneTisagan gan
Page 57 and 58: amirejibi, arCil sulakauri, revaz i
Page 59 and 60: mxriv, cenzurisagan Tavdacvis saSua
Page 61 and 62: Sofo Tavadze Innovatory Searches in
Page 63 and 64: ,,ukeTesi RonisZieba kargi aRzrdisa
Page 65 and 66: uneba da adamiani, erTianoba bunebi
Page 67 and 68: erTferovan cxovrebaSi avis momaswav
Page 69 and 70: surs, rac SeiZleba meti gaigos adam
Page 71 and 72: inga xalvaSi kinematografze egziste
Page 73 and 74: arsebulma mdgomareobam noyieri niad
Page 75 and 76: iis winaSe, igi Tavs mitovebulad, u
Page 77 and 78: kurma da socialurma cvlilebebma, ro
Page 79 and 80: emociaTa am mZlavr nakads da sabolo
Page 81 and 82: Inga Khalvashi Influence of Existen
Page 83 and 84: Tobebisa da socialuri struqturis Se
Page 85 and 86: zungad. gzebi, romliTac es mizani m
Page 87 and 88: „bavSvuri metoqeoba axal gvineasa
Page 89 and 90: 11. Balikci, 1987 - Balikci A., The
Page 91 and 92: moebis substratad, mis materiad aqc
Page 93 and 94: mimavali manqanebis grZel rigs, raT
Page 95 and 96: daemorCilos akrZalvas, gacdes dadge
Page 97 and 98: saxiT e.w. `qarTuli kinos fenomenis
Page 99 and 100: Sua xanebSi, abuserisZeTa sagvareul
Page 101 and 102: kompoziciis msgavsad esqatologiur S
Page 103 and 104: taZris dasavleT nawilSi Tavmoyrili
Page 105 and 106: ideologebi“ da mas, pirvel rigSi,
Page 107: 11. abuserisZe tbeli, Txzulebani, n
Page 111 and 112: velobiT enas aq grafikuli sawyisebi
Page 113 and 114: aRsaniSnavia, rom am nawarmoebSi pe
Page 115 and 116: Rati Chiburdanidze Portraits in Vak
Page 117 and 118: ebSi Cvens erovnul kulturasa da cno
Page 119 and 120: III. qristianuli erovnuli cnobiereb
Page 121 and 122: da misi ena oTxi aTasi wlis ganmavl
Page 123 and 124: lurad xazi gausva arian-qarTlisa da
Page 125 and 126: `ra ar gadagvxdenia Tavs, ra mtrebi
Page 127 and 128: National thinking forming is a long
Page 129 and 130: Semotevebs, romelic dRiTidRe kravs
Page 131 and 132: suri ena msoflios globaluri enaa, e
Page 133 and 134: sxvadasxva xalxebis, qveynebis TviT
Page 135 and 136: musikaTmcodneoba qeTevan gogolaZe m
Page 137 and 138: moqmedebiT procesSi erTvebian da mo
Page 139 and 140: anobis) aRqmis specifika - geStalti
Page 141 and 142: 1. bavSvis mier musikaze reagireba;
Page 143 and 144: lur imanentur sivrceSi da miaRwevs
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Page 147 and 148: ana dumbaZe harmonia, rogorc musika
Page 149 and 150: antikur saberZneTSi harmonia musika
Page 151 and 152: organumSi ,,aliluia” yuradRebas i
Page 153 and 154: XVI saukunidan musikaluri xelovnebi
Page 155 and 156: adgan venis klasikosTa SemoqmedebaS
Page 157 and 158: A. Dumbadze Harmony as a form of ex
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arsebis kvlav mopovebisaTvis, anu u
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aRiniSnos XX saukunis pirvel naxeva
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SemoqmedisTvis, romlis Semoqmedeba
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pirvel msoflio omamde arsebobda, ma
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li CarxTagania. yovel eWvs gareSea,
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imdenad, ramdenadac floben specifiu
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We are interested in performing fre
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sistema mxatvrul nawarmoebSi mTavar
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montaJi da samsaxiobo Sesruleba - e
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Seicavs yvelafers, rac CamovTvaleT,
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qalaqis sasaflaoze siwynarea. Zveli
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TeTrlabadiani karsukan atuzula da s
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TeTrlabadiani mzeriT acilebs ucnaur
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am xnis manZilze veterani ganuwyvet
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manqanebi WiSkars gaivlian da Mmosa
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- ras akeTeb, Tu ici Sen! - yviris
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- vin mogca Cemi misamarTi - kiTxul
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isini erTxmad dasWeqaven, dasWyivle
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- Cveulebrivi. adamianuri. sikvdili
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ore bravia simonaZes uzarmazar sabe
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samwuxarod, misi gamoyeneba mxolod
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- ras eZaxiT Tqven oms - aReldeba s
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- es ra aris, Sen stalingradTan und
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- CamoasxiT! waraT waZe RviniT savs
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- xmas ra uWirs, CurCuliT iyos, ara
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- marTalia, marTalia... - xmas auwe
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stumrebi, ra Tqma unda, aRfrTovaneb
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cigeli oTaxSi SeiWreba, kars miketa
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- kargia. mSvenieria. ise Semawuxa,
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- kargi iqneboda! msuqani gogo fanj
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manqanis Suqebis anarekli jer erT k
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simona labadis sayelos aiwevs da gu
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itaceben, rac xelSi moxvdebaT. mere
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qali slukunebs, drodadro tkivilisga
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wamouqrolebs. rodis iyo xalxs ekiTx
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oRond me unda damijero... me!!! sxv
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- o, batono simon! ar gelodiT. sad
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- nu gikvirs, bore. Tofi yvelgan ar
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vels mTel sigrZeze sangrebi gasdevs
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- me - Tqven, Tqveni leqsebiT, ara
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- gveyofa amdeni cremlebi. amdeni S
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- im dRes, TaTbirzec giTxariT da ax
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- he, droze axla! - ambobs simonaZe
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wels zeviT SiSveli waraTi mxolod ax
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- amitomac geubnebiT me Tqven: moka
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- diax, asea! - gaubedavad ambobs T
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kudusunis ZvalTan mokle da mgZnobia
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- moica, qalo! - Riziandeba govardi
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... waraT waZe iaraRs xels SeuSvebs
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- didi madloba! simonaZe bers xels
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sarCevi/Contents Teatrmcodneoba vas
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ana dumbaZe - harmonia, rogorc musi
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xelovnebaTmcodneobiTi etiudebi STUDIES IN ART CRITICISM I

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