THE WORLD OF CONSTANT CONNECTION // 4(76)2017

ქართული თანამედროვე
მხატვრობის მარადიული ზაფხული
ma­le Tbi­lis­Si axa­li kul­tu­ru­li siv­rce _ qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ze­u­mi ­
ga­ix­sne­ba. sa­ga­mo­fe­no dar­ba­zeb­Si, sa­dac sul iv­ni­si, mzi­a­ni amin­di da 4 sa­a­Ti iq­ne­ba, ­
bo­lo 70 wlis qar­Tu­li mxat­vro­bis ni­mu­Se­bi ga­mo­i­fi­ne­ba. mu­ze­u­mis dam­fuZ­neb­lis, ­
gia jox­Ta­be­ri­Zis ko­leq­cia 80-mde mxat­vris 3 500 na­mu­Se­vars mo­i­cavs. mi­si TqmiT, ­
ko­leq­cia ki­dev Se­iv­se­ba da muzeumi mud­mi­vi eq­spo­zi­ci­is gar­da, sxva ga­mo­fe­neb­sac
umas­pin­Zlebs.

qarTuli saxviTi xelovnebis muzeumi

THE MUSEUM OF GEORGIAN FINE ARTS

The Eternal Summer of Modern Georgian Painting

A NEW CULTURAL SPACE, THE MUSEUM OF GEORGIAN FINE ARTS, IS ABOUT TO OPEN IN TBILISI. ITS EXHIBITION
HALLS, WHERE IT IS ALWAYS JUNE, ALWAYS SUNNY, ALWAYS 4 PM, WILL SHOWCASE EXAMPLES OF GEORGIAN
PAINTING FROM THE PAST 70 YEARS. THE COLLECTION OF THE MUSEUM’S FOUNDER, GIA JOKHTABERIDZE,
INCLUDES 3,500 WORKS BY ALMOST 80 GEORGIAN ARTISTS. ACCORDING TO HIM, THE COLLECTION WILL EXPAND
FURTHER AND, BESIDES A PERMANENT EXHIBITION, THE MUSEUM WILL ALSO HOST OTHER SIMILAR EVENTS.

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4(76)2017 \\ THE WORLD OF CONSTANT CONNECTION

_ ba­to­no gia, ra aris Zi­ri­Ta­di idea, ra­sac es Q: Mr. Jokhtaberidze, what is the main idea behind this
mas­Sta­bu­ri pro­eq­ti efuZ­ne­ba? far-reaching project?
_ qar­Tve­lo­ba! 70-ian wleb­Si me­gob­reb­Tan xSi­ A: Being Georgian! Back in the 1970s, my friends and I
rad vsa­ub­rob­di ima­ze, Tu ra­tom ar gvaqvs sax­vi­ often wondered why we had no fine arts museum. At
Ti xe­lov­ne­bis mu­ze­u­mi. ma­Sin mu­ze­u­mis aSe­ne­ba­ze that time, I did not consider establishing a museum and
ar mi­fiq­ria da verc vi­fiq­reb­di sab­Wo­Ta sis­te­ I could not have done it anyway under the Soviet system.
mis pi­ro­beb­Si. is Se­no­be­bi, sa­dac ga­mo­fe­ni­lia Many buildings housing today one collection or another
esa Tu is ko­leq­cia, Ta­vis dro­ze sxva da­niS­nu­ were initially built for different purposes and were only
le­biT aris age­bu­ later remodeled into
li da mu­ze­u­me­bad museums. The current
me­re ga­da­keT­da. Art Museum was built
dRe­van­de­li xe­ by Iakob Zubalashvili
lov­ne­bis mu­ze­u­mi in the 1930s. At some
XIX sa­u­ku­nis 30-ian point, this building
wleb­Si ia­kob zu­ served as a hotel.
ba­laS­vil­ma aa­Se­ Then it was converted
ne­bi­na, sa­dac erT into a theological
dros sas­tum­ro seminary and only
iyo gax­sni­li, me­re later, in the 1950s, it
sa­su­li­e­ro se­mi­na­ was handed to the
ri­ad ga­da­keT­da da Art Museum. Similarly,
xe­lov­ne­bis mu­ze­ the National Gallery
ums mog­vi­a­ne­biT, accommodated the
ga­su­li sa­u­ku­nis Military Museum of
50-ian wleb­Si ga­ Glory at some point
da­ec
­ a. erov­nul in history. Naturally,
ga­le­re­a­Sic Ta­vis these facilities are not
dro­ze sam­xed­ro designed to allow for
di­de­bis mu­ze­u­mi proper perception
iyo gan­Tav­se­bu­li. of artworks. The only
bu­neb­ri­via, es siv­ exhibition space
rce­e­bi ar iZ­le­va intended for this
sa­Su­al
­ e­bas, rom purpose, Pirosmani
na­mu­Sev­re­bi kar­ Museum in Mirzaani,
gad aRiq­va. er­Ta­ was built in the
der­Ti sa­ga­mo­fe­no 1970s. How well
siv­rce, ro­me­lic the architects and
70-ian wleb­Si da­ contractors observed
niS­n u­l e­b i­s a­m ebr the construction
aSen­da, mir­za­an­Si standards of the time
fi­ros­ma­nis mu­ze­ is a different story.
u­mia. sxva sa­kiT­xia,
ram­de­nad ga­iT­va­ It always bothered
lis­wi­nes ar­qi­teq­ me that the city did
to­reb­ma da mSe­neb­ not have a fine arts
leb­ma im pe­ri­o­dis museum of its own.
gia joxTaberiZe
sa­mu­ze­u­mo stan­dar­ After the 1970s, I sort of
GIA JOKHTABERIDZE put this matter on the
te­bi.
shelf. Later, in the 1990s,
qa­laqs sax­vi­Ti xe­lov­ne­bis mu­ze­u­mi rom ar hqon­ I learned about a certain deceased artist whose works were
da, es yo­vel­Tvis ma­wu­xeb­da. 70-ia­ni wle­bis Sem­deg about to be exported abroad. I realized that we would lose
es Te­ma TiT­qos mi­ma­viw­yda. mog­vi­an­ e­biT, 90-ian them forever unless I bought them. So I bought 13 of his
wleb­Si er­Ti gar­dac­vli­li mxat­vris na­mu­Sev­reb­ paintings, including a self-portrait. Then I heard the same
ze ga­vi­ge, rom saz­Rvar­ga­reT ga­di­o­da. vi­fiq­re _ thing about another artist’s works, and I acquired them

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Tu ar Se­vi­Zen­di, maT Cven sa­mu­da­mod dav­kar­gav­
diT. Se­vi­Zi­ne mi­si 13 na­xa­ti, maT So­ris av­to­por­
tre­ti. me­re sxva mxat­vris Se­moq­me­de­ba­zec igi­ve
miT­xres da mi­si fer­we­ru­li ti­lo­e­bic Se­vi­Zi­ne.
ase aR­moC­nda Cems ko­leq­ci­a­Si 150-ze me­ti su­ra­
Ti. vi­fiq­re, rom am su­ra­Tebs mu­ze­ums ga­dav­cem­di
sa­Cuq­rad.
_ Tum­ca mog­vi­a­ne­biT ga­da­i­fiq­reT. ra pi­ro­bebs
sTa­va­zobs qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ze­u­
mi qar­Tvel mxat­var­Ta eq­spo­zi­ci­as?
_ di­ax, ase iyo. 90-ian wleb­Si di­mit­ri Se­var­dna­
Zis ga­mo­fe­nis­Tvis vem­za­de­bo­diT da xe­lov­ne­bis
sa­xel­mwi­fo mu­ze­u­mis sar­daf­Si mo­mi­wia Cas­vla.
ma­Sin­ve miv­xvdi, rom Cems ko­leq­ci­as xe­lov­ne­bis
mu­ze­ums ver va­Cu­qeb­di. war­mo­id­gi­neT, sa­ca­veb­
Si wya­li id­ga, arc tem­pe­ra­tu­ru­li re­Ji­mi iyo
Se­sa­ba­mi­si. igi­ve mdgo­ma­re­o­ba iyo `cis­fer ga­le­
re­aS
­ ic~.
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THE WORLD OF CONSTANT CONNECTION // 4(76)2017
rusudan ruxaZe da gia joxTaberiZe
RUSUDAN RUKHADZE AND GIA JOKHTABERIDZE
too. This is how more than 150 paintings wound up in my
collection, which I decided to donate to the museum.
Q: You changed your mind later, though. What
conditions are ensured at the Museum of Georgian
Fine Arts for Georgian artists’ exhibitions?
A: Yes, I reconsidered later. In the 1990s, as we were
preparing for Dimitri Shevardnadze’s exhibition, I ended
up in the basement of the State Art Museum and it dawned
on me that there was no way I was donating my collection
to the Art Museum. Imagine water accumulating in the
repositories, with no adequate temperature control in
place. The same is true of the Blue Gallery, too.
This is why I decided to build the Museum of Georgian
Fine Arts offering conditions in line with international
standards. The idea is to put together works by Georgian
artists, but the ultimate goal is to preserve these treasures
for Georgia.
4(76)2017 \\ THE WORLD OF CONSTANT CONNECTION
ami­tom ga­dav­wyvi­te sax­vi­Ti xe­lov­ne­bis mu­ze­u­
mi ame­Se­ne­bi­na, sa­dac msof­lio stan­dar­te­bis Se­
sa­ba­mi­si pi­ro­be­bi iq­ne­bo­da. es gax­lavT qar­Tvel
mxat­var­Ta na­mu­Sev­re­bis Tav­moy­ris idea, mTa­va­ri
mi­za­ni ki am sa­gan­Zu­ris sa­qar­Tve­los­Tvis Se­nar­
Cu­ne­baa.
mu­ze­u­mis Se­no­ba, ro­me­lic rus­Ta­ve­lis gam­zir­ze
ai­go, se­is­mu­rad 9 bal­zea ++++-iT gaT­vli­li. rki­
na-be­to­ni yve­la­ze mdgra­di ma­sa­laa mSe­neb­lo­
bis­Tvis. mu­ze­u­mi mTli­a­nad qvi­Taa mo­pir­ke­Te­bu­
li da ga­re­dan arc erT mxa­res ar aris ga­le­si­li.
qva­sa da be­tons So­ris da­ta­ne­bu­lia izo­la­cia.
izo­la­ci­is Sem­deg ki xuT­san­ti­met­ri­a­ni siv­rcea,
sa­dac ha­e­ri moZ­ra­obs. es Se­no­bas ga­ci­e­bi­sa da ga­
xu­re­bis­gan icavs da ide­a­lur tem­pe­ra­tu­rul re­
Jims qmnis. ar vi­ci, mo­ma­val­Si ra iq­ne­ba, mag­ram mi­
si dan­gre­va arc ise ad­vi­lia. es Se­no­ba arc iw­vis
da arc in­gre­va. wle­bis Sem­deg, Se­saZ­loa, mxo­lod
res­tav­ra­cia das­Wir­des. ama­yad Se­miZ­lia vTqva,
rom sa­qar­Tve­lo­Si bo­lo 25 wlis gan­mav­lo­ba­Si
ase­Ti mya­ri ara­fe­ri aSe­ne­bu­la. rac Se­e­xe­ba pi­ro­
bebs, iq sul iv­ni­si, kar­gi amin­di da dRis 4 sa­aT ­ i
xedi jorjaZis quCidan
A VIEW FROM JORJADZE STREET
The museum’s building on Rustaveli Avenue is robust
enough to withstand a 9++++ magnitude earthquake.
Reinforced concrete is the most durable building material.
The museum is fully stone-clad, and none of its exterior
walls is plastered. Insulation materials are installed between
the stone and concrete, with a five-centimeter void next
to the insulation for air ventilation to protect the building
from overcooling and overheating and to maintain the
optimum temperature. I cannot say what may happen in
the future, but it will surely take a lot of work to demolish
it. This building does not burn or crumble. Many years from
now, it may require just a little renovation. I am proud to
say that nothing as robust as this structure has been built
in Georgia in the last 25 years. As for the conditions here,
it is always June, always nice weather, and always 4 pm.
Because of perfect lighting, this time is believed to be ideal
for painting and contemplating paintings.
Q: Has it ever occurred to you that it might have been
better for business to support the state in renovating
the Art Museum’s repositories instead of building a
new museum?
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 THE WORLD OF CONSTANT CONNECTION // 4(76)2017

arwivis qandakeba.­
moqandakeebi: eduard Sahnazarovi,­
daviT mindoraSvili
THE EAGLE STATUE.
SCULPTORS: EDUARD SHAHNAZAROV,
DAVID MINDORASHVILI

muzeumis foie
THE MUSEUM LOBBY
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4(76)2017 \\ THE WORLD OF CONSTANT CONNECTION
muzeumis foie
THE MUSEUM LOBBY
iq­ne­ba. sa­u­ke­Te­so ga­na­Te­bis ga­mo swo­red es mi­iC­
ne­va ide­al­ ur drod da­sa­xa­tad da na­xa­tis aR­saq­
me­lad.
_ ar gi­fiq­ri­aT, rom axa­li mu­ze­u­mis aSe­ne­bas
job­da biz­ne­si sa­xel­mwi­fos dax­ma­re­bo­da da xe­
lov­ne­bis mu­ze­um
­ is sa­ca­ve­bi Se­ke­Te­bu­li­yo?
_ kar­gad or­ga­ni­ze­bu­li biz­ne­si ise­dac ex­ma­re­ba
sa­xel­mwi­fos ga­da­sa­xa­de­biT. sa­xel­mwi­fo mu­ze­u­
me­bis mov­la ki, Ce­mi az­riT, sa­xel­mwi­fos saq­mea. me
rac Se­meZ­lo, is ga­va­ke­Te. Se­vi­Zi­ne mi­wa da mu­ze­u­
mi ava­Se­ne. Tan pro­tes­tis grZno­bac ga­miC­nda! xe­
lov­ne­bis mu­ze­um­Si bev­ri ni­Wi­e­ri mxat­vris na­mu­
Sev­re­bi sa­er­Tod ar iyo war­mod­ge­ni­li imis ga­mo,
rom ma­Ti Se­moq­me­de­ba sab­Wo­Ta ideo­lo­gi­is­Tvis
mi­u­Re­be­li iyo. ami­tom TiT­qos arc ar­se­bob­dnen.
maT sxva, al­ter­na­ti­u­li siv­rce sWir­de­bo­daT.
_ Tqven er­Txel brZa­neT, rom ar iyo mar­ti­
vi qar­Tvel mxat­vreb­Tan Ta­nam­Srom­lo­ba, mag­
ram isi­ni Tqven gen­dnen. ram­de­nad em­Txve­o­da
Tqve­ni da ma­Ti Se­xe­du­le­be­bi er­Tma­neTs, rom
A: Well-organized businesses do support the state by
paying taxes, and maintaining museums, in my opinion,
comes under the purview of the state. I did my best. I
bought a piece of land and built a museum. I also started
feeling rebellious!  The Art Museum would not display
works by many talented artists simply because they would
not go down well with Soviet ideology, which is why these
painters were ignored, almost nonexistent and in need of
a different, alternative space
Q: You mentioned once that working with Georgian
artists had been quite challenging. At the end of the
day, however, they came to trust you. How well did they
go along with your idea about their works preferably
staying in Georgia and “settling” in the museum
instead of being sold abroad?
A: An artist without an exhibition space is like a falling
leaf that drifts and tumbles to the ground. A painting
firmly grounded in ancestral soil will sell better abroad
and promote the country internationally. As for my
relationships with artists, it has not been easy at all. You
cannot ask five or even seven times the price for your work
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 THE WORLD OF CONSTANT CONNECTION // 4(76)2017

kibis ujredi da liftebi

STAIRCASE AND ELEVATORS

saz­Rvar­ga­reT ga­yid­vas, job­da

ma­Ti na­mu­Sev­re­bi sam­Sob­lo­Si
dar­Ce­ni­li­yo da mu­ze­um­Si „da­
bi­na­ve­bu­li­yo“?

_ Tu mxat­vars sa­ga­mo­fe­no siv­

rce ara aqvs, is xes mow­yve­ti­li
fo­To­li­viT da­i­kar­ge­ba. mSob­li­
u­ri fes­ve­bi­dan aR­mo­ce­ne­bu­li
mxat­vru­li ti­lo saz­Rvar­ga­re­
Tac uf­ro war­ma­te­bu­lad ga­va da
qve­ya­na­sac sa­xels ga­uT­qvams. rac
Se­e­xe­ba mxat­vreb­Tan ur­Ti­er­To­
bas, es nam­dvi­lad ar iyo mar­ti­vi
pro­ce­si. imis ga­mo, rom gia jox­
Ta­be­ri­Ze yi­du­lobs na­xats, ar Se­
iZ­le­ba xuT­jer da Svid­jer me­ti
fa­si da­a­do. war­mo­id­gi­neT, er­Ti
mxat­va­ri ima­sac ki am­bobs, rom
mi­si na­mu­Sev­re­bis ga­re­Se qar­Tu­
kibis ujredi da liftebi
li sax­vi­Ti xe­lov­ne­bis mu­ze­ums
STAIRCASE AND ELEVATORS

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4(76)2017 \\ THE WORLD OF CONSTANT CONNECTION
fa­si ar eq­ne­ba. TiT­qmis yve­la moq­med mxat­var­Tan
mi­vaR­wie Se­Tan­xme­bas. ai, mem­kvid­re­eb­Tan ki Wirs
mo­la­pa­ra­ke­ba, ara­re­al
­ u­rad aRiq­va­men da­na­to­
vars. ad­re, jgu­fur ga­mo­fe­na­ze er­Ti cno­bi­li
mxat­vris na­mu­Se­va­ri mo­me­wo­na da vTxo­ve, da­eT­
mo. Sen ver gaw­vde­bio, mi­pa­su­xa da as­tro­no­mi­u­li
fa­si da­mi­sa­xe­la. ver Sev­Tan­xmdiT. mog­vi­a­ne­biT
isev Se­mex­mi­a­na da oT­xjer me­ti fa­si Tqva, Cems
Svils ita­li­a­Si bu­ti­kis yid­va un­dao. ga­me­ci­na
da vu­pa­su­xe, ki­dev kar­gi, Tqven­ma Svil­ma xmel­Ta­
Sua zRva­Si ar ga­daw­yvi­ta kun­Zu­lis Se­Ze­na-meT­qi.
dRes Cven vme­gob­robT, mu­ze­um­Si mis na­mu­Sev­rebs
mTe­li dar­ba­zi da­eT­mo­ba.
ed­mond ka­lan­da­Zis­Tvis pi­ra­da­dac miT­qvams, van
gogs rom dRe­van­dlam­de exa­ta, iqam­de mi­vi­do­da,
ro­gorc da ra­sac ax­la Tqven xa­tavT-meT­qi. di­di
xnis du­mi­lis Sem­deg iciT ra mi­pa­su­xa? „vi­naa van
go­gi?!“ Se­iZ­le­ba, ed­mond ka­lan­da­Ze van gog­ze me­
tic ki aris, mag­ram ase­Ti Se­fa­se­bis­Tvis mu­Sa­o­baa
sa­Wi­ro. mxat­vris ni­Wis war­mo­sa­Ce­nad au­ci­le­be­
lia sa­mu­ze­u­mo siv­rce da pi­a­ri. ro­de­sac na­xa­ti
sa­mu­ze­u­mo eq­spo­na­tia, is ga­ci­le­biT pres­ti­Ju­
li, re­i­tin­gu­li xde­ba da ma­Ra­li kla­si­fi­ka­ci­ac
eni­We­ba. sa­sur­ve­lia, mxat­vreb­ma da maT­ma oja­xeb­
sagamofeno darbazebi
EXHIBITION HALLS
simply because the buyer is Gia Jokhtaberidze. One artist
even insists that the Museum of Georgian Fine Arts is not
worth a dime without his paintings. I have reached an
agreement with nearly all living artists. Negotiating with
painters’ descendants, on the other hand, is hard because
of their inadequate perception of their inheritance. Once,
I took a liking to a work by an acclaimed artist at a group
exposition, so I asked him to sell it to me. “You can’t afford
it,” he replied and put an astronomical price on it. We never
reached an agreement. He got in touch with me later to
offer four times the price, saying that his son wanted to
open a boutique in Italy. I laughed and replied, “Lucky me.
I’m glad he’s not buying an island in the Mediterranean.”
We are friends today. An entire hall will be allocated to
display his works.
I once told Edmond Kalandadze point-blank, “If Van Gogh
had lived long enough to continue working to this day,
he would be painting exactly what you are painting now
and exactly the way you are doing it.” After a long pause…
You know what he told me? He said, “Van Gogh who?”
Edmond Kalandadze may be greater than Van Gogh, but
still, it takes a lot of work to earn such appraisal. It takes an
exhibition space and PR to demonstrate an artist’s talent.
As a museum exhibit, a painting experiences a tremendous
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ma es re­al­ o­ba kar­gad ga­i­az­ron da swo­ri das­kvne­
bic ga­a­ke­Ton. van gog­ma si­coc­xle­Si mxo­lod er­
Ti na­xa­ti ga­yi­da. rom ara mi­si Zma Teo, van go­gis
mu­ze­u­mi al­baT ar iar­se­beb­da.
qar­Tu­li daz­gu­ri fer­we­ra mxo­lod 170 wli­saa.
Ce­mi az­riT, Si­na­ga­ni ar­tis­tiz­miT da ori­gi­na­lu­
ri xed­viT xSi­rad da­nar­Cen sam­ya­ro­sac ki win vus­
wrebT.
_ ro­me­li qar­Tve­li mxat­vre­bis na­mu­Sev­rebs
ixi­lavs dam­Tva­li­er­ e­be­li mu­ze­um­Si da Tu ari­
an ise­Te­bi, ro­mel­Ta Se­moq­me­de­bac gsur­daT am
siv­rcis na­wi­li yo­fi­li­yo, Tum­ca maT sxva gza
ar­Ci­es.
_ Cvens ko­leq­ci­a­Si 78 mxat­vris 3500 na­mu­Se­va­ria,
rom­lis na­wi­lic mu­ze­u­mis dar­ba­zeb­Si ga­mo­i­fi­
ne­ba, na­wi­li ki sa­cav­Si Se­i­na­xe­ba. iq maT­Tvis ide­
a­lu­ri pi­ro­be­bia. Te­mo ja­fa­ri­Zis, ed­mond ka­lan­
da­Zis, jib­son xun­da­Zis an irak­li far­ji­an­ is ase­u­
lo­biT na­mu­Se­vars er­Tba­Sad ver ga­mov­fenT. aq­vea
Sal­va ma­tu­aS­vi­li, irak­li su­Ti­Ze, zu­rab ni­Ja­ra­Ze
da mra­va­li sxva... ara­vin me­gu­le­ba sa­qar­Tve­lo­Si,
vi­sac Ta­na­med­ro­ve qar­Tve­li mxat­vre­bis na­mu­Sev­
re­bi am ra­o­de­no­biT hqon­des ker­Zo ko­leq­ci­a­Si.
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THE WORLD OF CONSTANT CONNECTION // 4(76)2017
increase in prestige, ranking and status. Artists and their
families should consider this reality and make adequate
decisions. Van Gogh sold only one picture in his lifetime.
It is very unlikely that the Van Gogh Museum would have
been established without his brother Theo.
Georgian panel painting is only 170 years old. Yet I believe
that, with our inherent artistry and uniqueness, we may be
ahead of the rest of the world.
Q: Which artists’ works are favored by the visitors of the
museum? Are there any artists whose works you would
love to see as part of this exhibition space if they did
not choose otherwise?
A: Our collection includes 3,500 works by 78 artists, with
some of them displayed in the museum’s exhibition halls
and some stored in our repository where perfect conditions
are maintained. We simply cannot showcase hundreds
of works by Temo Japaridze, Edmond Kalandadze, Jibson
Khundadze or Irakli Parjiani all at once. We also have
paintings by Shalva Matuashvili, Irakli Sutitdze, Zurab
Nizharadze and many others. I do not think anyone in
Georgia has so many works by modern Georgian artists in
one collection. Of course, I tip my hat to Pirosmani, Lado
Gudiashvili, Elene Akhvlediani and Davit Kakabadze but,
sagamofeno darbazebi
EXHIBITION HALLS
4(76)2017 \\ THE WORLD OF CONSTANT CONNECTION
muzeumis sacavi
THE MUSEUM REPOSITORY
uda­vod udi­des pa­tivs vcem fi­ros­mans, la­do gu­
di­aS­vils, ele­ne ax­vle­di­ans da da­viT ka­ka­ba­Zes,
mag­ram maT­Tvis xom uk­ve ar­se­bobs sxva sa­mu­ze­u­mo
siv­rce­eb
­ i. sax­vi­Ti xe­lov­ne­bis mu­ze­um­Si ki 1945
wli­dan dRem­de, anu bo­lo 70 wlis qar­Tu­li mxat­
vro­ba ga­mo­if­ i­ne­ba.
ram­de­ni­me mxat­vris Se­moq­me­de­ba­ze gan­sa­kuT­re­
biT mwyde­ba gu­li. zo­gi­er­TTan vme­gob­rob­di ki­
dec. Ta­vis dro­ze ma­Ti na­xa­te­bi me­ti ra­o­de­no­biT
rom Se­me­Zi­na, ax­la uf­ro di­di da srul­yo­fi­li
sa­xiT iq­ne­bod­nen war­mod­ge­nil­ni.
_ is, rac qa­la­qis mTa­var gam­zir­ze ai­go, ar aris
mxo­lod qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ze­u­mi.
es re­a­lu­rad mra­val­fun­qci­u­ri kom­pleq­sia.
iq­neb gag­viZ­RveT am siv­rce­Si, sa­nam mu­ze­u­mi da
mi­si „dam­xma­re obi­eq­te­bi“ ga­ix­sne­ba.
_ mu­ze­um­Si 31 dar­ba­zi da 3 ki­bis uj­re­dia su­ra­
Te­bis­Tvis. sa­ga­mo­fe­no siv­rce 7 000 kv.m.-s mo­i­
cavs, sa­ca­vi ki 6 000 kv.m. su­raTs da­i­tevs. mu­ze­
u­me­bis prob­le­maa, rom bi­le­Tis fa­si xSi­rad ar
with all due respect, they already have individual museum
spaces dedicated to them. The Museum of Georgian Fine
Arts, on the other hand, will exhibit works created since
1945, that is, in the past 70 years.
I feel regretful over the oeuvres of several artists, some of
whom are my friends. I should have bought more of their
paintings when I could. This way, they would have been
represented more fully and comprehensively.
Q: What has been built on the city’s main avenue is
not just a museum of Georgian fine arts. In fact, it is
a multifunctional complex. Can you guide us through
it before the museum and its supplementary facilities
open?
A: The museum incorporates 31 exhibition halls and
three stairwells to display photos. The exhibition area
and the repository cover 7,000 and 6,000 square meters,
respectively. The problem is that the ticket price is not
always adequate for contributing to museum maintenance
costs, and that is why we built this complex. At this point,
this project draws solely on capital injections. We have a
three-storey paid underground parking area for 155 cars,
www.magticom.ge 11

Se­e­sa­ba­me­ba mi­si Se­nax­vis xar­jebs. es kom­pleq­si
swo­red amis­Tvis aSen­da. jer­je­ro­biT es pro­eq­ti
mxo­lod fi­nan­su­ri ini­eq­ci­e­biT saz­rdo­obs. mi­wis
qveS gan­Tav­se­bu­lia sam­sar­Tu­li­a­ni fa­si­a­ni av­to­
fa­re­xi 155 man­qa­nis­Tvis. es qa­laq­sac da­ex­ma­re­ba
da mu­ze­um­sac wa­ad­ge­ba. kom­pleq­sSi Se­dis ram­de­
ni­me res­to­ra­ni, spor­tu­li dar­ba­zi, sa­cu­rao au­
zi, bu­ti­ke­bi rus­Ta­ve­lis gam­zi­ris mxa­res, ka­fe
rus­Ta­ve­lis gam­zi­ris da jor­ja­Zis qu­Cis kve­Ta­
ze. Tu yve­la­fe­ri es kar­gad amu­Sav­da, „dam­xma­re
obi­eq­te­bis“ Se­mo­sav­le­biT mu­ze­u­mi Tavs ir­Cens.
am obi­eq­te­bi­dan mi­Re­bu­li Se­mo­sa­va­li isev mu­ze­
u­mis Se­nax­vas da po­pu­la­ri­za­ci­as mox­mar­de­ba. sa­
res­tor­no biz­ne­si ara­so­des ma­in­te­re­seb­da, Cem­
Tvis mTa­va­ri mu­ze­u­mia.
fit­ne­si da au­zi uk­ve mu­Sa­obs. gax­ni­lia „bra­se­ri
bu­ve­ti“, ev­ro­pu­li do­nis res­to­ra­ni, ro­mel­mac
pir­ve­li dRe­e­bi­dan­ve da­i­ka­va Ta­vi­si ni­Sa. me­or
­ e
gax­lavT res­to­ra­ni „xar­Co“. ro­de­sac Je­ne­va­Si
res­to­ran „an­tri­kots“ vew­vie, ma­Sin vi­fiq­re _ ra
kar­gi iq­ne­bo­da, Cven­Ta­nac yo­fi­li­yo er­Ti ker­Zis
res­to­ra­ni, sa­xe­lad „xar­Co“. ras war­mo­vid­gen­di
12 www.magticom.ge
THE WORLD OF CONSTANT CONNECTION // 4(76)2017
`art hausi~
ART HOUSE
which will be beneficial for both the city and the museum.
The complex includes several restaurants, a fitness center,
a swimming pool, boutiques on the side facing Rustaveli
Avenue and a café at the crossroads of Rustaveli Avenue
and Jorjadze Street. If everything goes well, revenues from
our supplementary facilities will sustain the museum. The
museum’s incomes will be used to maintain and promote
the museum itself. I have never been into the restaurant
industry. The museum is what matters to me.
The fitness center and swimming pool are already
operating, and so is Brasserie Buvette, a European-level
restaurant that took over its niche pretty much the day
it opened. Our other restaurant is Kharcho. I once visited
the Entrecote restaurant in Geneva, and I realized how
wonderful it would be to have an establishment in Georgia
named after one particular dish, Kharcho, for example. I
would never have imagined that we would end up actually
doing it. The third restaurant is Publica which, I believe, will
make a nice gathering place for artists, creative people. In
a nutshell, this complex is a family space where people can
spend all day. Sports and dining facilities, museum touring
– everything, all sections in this center are connected
4(76)2017 \\ THE WORLD OF CONSTANT CONNECTION
ma­Sin, rom swo­red Cven mog­vi­wev­da amis ga­ke­Te­
ba. me­sa­me gax­lavT „pub­li­ka“, ro­me­lic, vfiq­rob,
xe­lo­va­ni ada­mi­a­ne­bis Tav­Sey­ris ad­gi­lad iq­ce­
va. er­Ti sit­yviT, es kom­pleq­si sa­o­ja­xo siv­rcea,
sa­dac mTe­li dRis ga­ta­re­ba Se­iZ­le­ba. mu­ze­u­mis
daT­va­li­e­re­ba, spor­ti, sa­di­li _ isea da­geg­mi­li
es cen­tri, rom ga­sas­vle­le­biT yve­la­fe­ri er­Tma­
neTs ukav­Sir­de­ba. mTa­va­ria, ise­Ti cik­li Sev­kraT,
ro­me­lic mu­ze­ums Se­i­na­xavs. Tu kar­gad amu­Sav­da
yve­la­fe­ri, mi­viC­nev, rom mi­za­ni miR­we­u­lia. mar­
Ta­lia, es Cem­Tvis biz­ne­si ar aris, Tum­ca isic
mniS­vne­lo­va­nia, rom kom­pleq­sSi 100-ze me­ti ada­
mi­an­ i da­saq­mde­ba. da­nam­dvi­le­biT Se­miZ­lia vTqva _
mu­ze­u­mi­dan arc er­Ti na­xa­ti ar ga­i­yi­de­ba.
_ pro­eq­tze mu­Sa­o­bi­sas iT­va­lis­wi­neb­diT Tu
ara mu­ze­u­mis Se­no­bis, fa­sa­dis Tu Si­da siv­rcis
mow­yo­bis uax­les ten­den­ci­ebs?
_ ar­qi­teq­tor ar­Cil qur­di­ans avux­se­ni, ro­go­ri
Se­no­ba da fa­sa­di min­do­da. mu­ze­u­mis de­ko­ri mis­ma
vaJ­ma, gi­or­gim Seq­mna, ro­me­lic ni­Wi­er ­ i ar­qi­teq­
to­ria. sa­xu­ra­vi mTli­a­nad Ce­mi mo­fiq­re­bu­lia. Si­
da siv­rce zus­tad ise­Tia, ro­go­ric war­mo­med­gi­na.
Se­no­bis geg­ma im­de­nad mar­ti­vi un­da yo­fi­li­yo, rom
`fit klubis~ auzi
THE FIT CLUB SWIMMING POOL
through halls. Most importantly, we have put together a
network that will sustain the museum. If everything works
as planned, I will consider my mission accomplished.
Although I do not see it as a business, still it is important
that the complex will employ more than 100 people. One
thing I can say for sure: the museum will not sell a single
painting.
Q: When working on the project, did you keep in mind
the latest design trends for the museum’s structure,
façade or interior?
A: I explained to architect Archil Kurdiani what kind of
edifice and façade I wanted. The interior was designed by
his son, Giorgi, a talented architect. The roof I designed
on my own. The interior is exactly how I imagined it. The
building was supposed to be planned simply, so that
visitors would not have to pass the same spot three times
before making it to their destination. As for the staircase,
my friend, the architect Gia Abuladze, gave me a photo of
a 19th century building with a cast iron interior staircase.
I modified the staircase’s configurations, directions and
material. Using glass in interior design was my idea. I
wanted the interior to be ultramodern, while making sure
the exterior harmonized with the context of Rustaveli
www.magticom.ge 13

dam­Tva­li­e­re­bels er­Tsa da ima­ve ad­gi­las sam­jer
ar ga­ev­lo. rac Se­e­xe­ba ki­bes, Cem­ma me­go­bar­ma, ar­
qi­teq­tor­ma gia abu­la­Zem ma­Cu­qa fo­to, sa­dac XIX
sa­u­ku­nis Se­no­baa ga­mo­sa­xu­li Si­da Tu­jis ki­biT.
am ki­bes Se­vuc­va­le kon­fi­gu­ra­cia, mi­mar­Tu­le­be­
bi da ma­sa­la. Si­da siv­rce­Si Su­Sis ga­mo­ye­ne­bac Ce­
mi ide­aa. min­do­da in­te­ri­e­ri ul­tra­Ta­na­med­ro­ve
yo­fi­li­yo, Se­no­ba ki rus­Ta­ve­lis gam­zi­ris kon­
teq­sti­dan ar amo­var­dni­li­yo. Su­Sis Se­no­ba gan­ye­
ne­bu­lad mu­ze­u­mis­Tvis sav­se­biT mi­sa­Re­bi iq­ne­bo­
da, mag­ram qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ze­ums,
ro­me­lic qa­la­qis mTa­var gam­zir­zea, vfiq­rob, ar
un­da da­eT­rgu­na qa­Su­e­Tis ek­le­sia, `cis­fe­ri ga­
le­re­is~, sas­tum­ro „ma­ri­o­ti­sa“ da par­la­men­tis
Se­no­be­bi.
fa­sad­ze bu­ta­fo­ri­u­li fan­jre­bic imi­tom ga­dav­
wyvi­teT, rom mu­ze­ums ar sWir­de­ba ori Su­qi. su­
ra­Tis mTe­li si­di­ad ­ iT aR­saq­me­lad, Si­da ga­na­Te­
bac sak­ma­ri­sia. Ce­mi az­riT, Se­no­ba, Ta­vi­si fe­riT
da qvis faq­tu­riT, or­ga­nu­lad Caj­da rus­Ta­ve­
lis gam­zi­ris kon­teq­stSi. Si­da siv­rce ki uax­le­si
teq­no­lo­gi­e­biT aris aR­Wur­vi­li. fa­sad­ze qvis da
Su­Sis er­Tob­li­o­ba swo­red Se­no­bis Ta­na­med­ro­ve­
14 www.magticom.ge
THE WORLD OF CONSTANT CONNECTION // 4(76)2017
`fit klubi~
FIT CLUB
Avenue. Using a glass building for a museum in general
is quite acceptable, but I do not think that a museum of
Georgian Fine Arts on the city’s main avenue should dwarf
the Kashveti Cathedral, the Blue Gallery, the Marriott Hotel
and the Parliament.
We opted for fake façade windows, because the museum
would not need two light sources. To take in a painting in all
its splendor, interior lighting is sufficient enough. I believe
that the building, with its color and stone texture, naturally
blends into the context of Rustaveli Avenue. Having both
stone and glass in the façade is indicative of the building’s
modernity. I personally enjoy so-called eclecticism.
Q: Will this space be open to young artists and
international projects?
A: The first floor of the museum is occupied by a 300m2
hall where any artist will be able to hold a week-long
exhibition. Hypothetically, the Museum of Georgian Fine
Arts can showcase 52 artists a year. Our space is open to
everyone; the rest is up to them. I cannot be in charge of it,
because I have a business of my own to run. The museum’s
halls feature state-of-the-art equipment, be it temperature
4(76)2017 \\ THE WORLD OF CONSTANT CONNECTION
o­ba­ze mi­a­niS­nebs. me pi­ra­dad, es e.w. ek­leq­ti­ka si­
a­mov­ne­bas ma­ni­Webs.
_ ram­de­nad Ria iq­ne­ba es siv­rce axal­gaz­rda
mxat­vre­bis­Tvis da sa­er­Ta­So­ri­so pro­eq­te­bis­
Tvis?
_ mu­ze­u­mis pir­vel sar­Tul­ze gan­Tav­se­bu­lia 300
kv.m. zo­mis dar­ba­zi, sa­dac ne­bis­mi­er mxat­vars eq­
ne­ba Se­saZ­leb­lo­ba mTe­li kvi­ris gan­mav­lo­ba­Si
mo­aw­yos ga­mo­fe­na. pi­ro­bi­Tad rom vTqvaT, qar­Tu­
li sax­vi­Ti xe­lov­ne­bis mu­ze­um­Si yo­vel­wli­u­rad
Se­iZ­le­ba 52 mxat­va­ri ga­mo­i­fi­nos. siv­rce, ro­me­
lic Se­iq­mna, yve­las­Tvis Ri­aa, da­nar­Ce­ni maT­zea
da­mo­ki­de­bu­li. mu­ze­u­mis Se­no­ba­Si sa­kon­fe­ren­
cio dar­ba­zi­caa, sa­dac sxva­das­xva Ro­nis­Zi­e­bis
mow­yo­baa Se­saZ­le­be­li. me amis mo­Ta­ve ver viq­ne­bi,
me Ce­mi biz­ne­siT var da­ka­ve­bu­li. mu­ze­u­mis dar­
ba­ze­bi msof­li­os uax­le­si miR­we­ve­bi­Taa aR­Wur­
vi­li, iq­ne­ba es tem­pe­ra­tu­ru­li re­Ji­mi, kon­di­ci­
re­ba Tu ga­na­Te­ba. Tu vin­mes es siv­rce ar ak­ma­yo­
fi­lebs, aa­Se­nos axa­li. Cve­ni mu­ze­u­mi ger­ma­ne­li
in­Jin­re­bis, kon­struq­to­re­bis dap­ro­eq­te­bu­lia
gaT­bo­ba-ven­ti­la­ci­is da ga­na­Te­bis sis­te­me­biT.
mo­ma­val­Si ra iq­ne­ba? sa­iT wa­va xe­lov­ne­ba? ar vi­
ci. am sa­u­ku­ne­Si da­xa­tu­li ab­straq­ci­is aR­qma XVIII
`fit klubis~ kafe. dizaini: nukri kekelia
THE FIT CLUB CAFE. DESIGNED BY NUKRI KEKELIA
control, air conditioning or lighting. Those who find the
building unsatisfactory can build a new one. Our museum’s
heating, ventilation and lighting systems were designed
by German engineers and constructors. What will happen
next? What direction will the arts take? I don’t know. Surely,
people in the 18th century would find it hard to understand
abstract paintings from our century. Digital technologies
have already penetrated contemporary arts. Over time,
progress will accelerate even further.
Q: What companies were engaged directly in the
process of planning and building?
A: I purchased land for the museum from GMT Group for
a considerable amount in 2012. It took twelve months to
transform my idea, which I had nurtured for years, into a
single plan in cooperation with architects and construction
engineers. Construction launched on February 5, 2013. The
building was supposed to be commissioned on December
25, 2015, yet it will not be finalized even this year. The delay
is not my fault. A whole chain of events is involved here. The
contractor may stick to the deadline, but the subcontractor
may very well breach the contract and compromise the
whole process. The architectural plan was designed by W+P,
a celebrated German company, and its subsidiary PLAN
FORWARD. In addition, their representatives would come
www.magticom.ge 15

sa­u­ku­nis ada­mi­ans nam­dvi­lad ga­u­Wir­de­bo­da. cif­
ru­li teq­no­lo­gi­e­bi dRes uk­ve Ta­na­med­ro­ve xe­
lov­ne­ba­Sic Se­iW­ra. rac uf­ro win wa­valT dro­Si,
prog­re­si ki­dev uf­ro aC­qar­de­ba.
_ war­gvid­gi­neT is kom­pa­ni­e­bi, vinc uSu­a­lod
iyo Car­Tu­li pro­eq­ti­re­bis da mSe­neb­lo­bis
pro­ces­Si.
_ mu­ze­u­mis­Tvis mi­wa 2012 wels GMT jgu­fis­gan
sak­ma­od so­li­dur fa­sad Se­vi­Zi­ne. er­Ti we­li­wa­di
das­Wir­da imas, rom wle­bis na­fiq­ri ar­qi­teq­to­
reb­Tan da kon­struq­to­reb­Tan er­Tad pro­eq­tad
gveq­cia. mSe­neb­lo­ba 2013 wlis 5 Te­ber­vals da­iw­
yo. 2015 wlis 25 de­kem­bers Se­no­ba un­da Ca­ba­re­bu­
li­yo, Tum­ca wel­sac ver das­rul­de­ba. Cem ga­mo es
pro­ce­si ar ga­Wi­a­nu­re­bu­la, aq mTe­li jaW­via. Se­
iZ­le­ba kon­traq­to­ri icav­des va­debs, mag­ram qve­
kon­traq­tor­ma da­ar­Rvi­os pi­ro­ba da mTe­li pro­
ce­si Se­fer­xdes. sam­Se­neb­lo pro­eq­ti cno­bil­ma
ger­ma­nul­ma kom­pa­ni­am W+P-m da mis­ma Svi­lo­bil­
ma kom­pa­ni­am PLAN FORWARD-ma Se­as­ru­les. gar­da
ami­sa, ma­Ti war­mo­mad­gen­le­bi or kvi­ra­Si er­Txel
16 www.magticom.ge
THE WORLD OF CONSTANT CONNECTION // 4(76)2017
to Georgia for biweekly quality assessment. The museum
was built by IMK+, a Georgian construction company with
which I have a record of successful cooperation.
Understandably, it is very hard to take criticism for your
inspiration and motivation to do something good. I
personally rejoice whenever I see something being built.
A few days ago, as I stood on the complex’s flat roof with
a view of the National Library, I remembered that a book
storage facility was added to the library in the 1970s. To
avoid damaging the nearby church, no crane was used in
construction. I also remembered that my friend and I, both
students at the Department of Automation Engineering
and Computation Technology, worked on construction
of the storage facility for 7.5 rubles a day. We carried
construction aggregates and concrete to make enough
money to cover our internship trip to Czechoslovakia the
following year. I could not imagine that, years later, I would
undertake to build a fine arts museum next to the National
Library.
Q: In conclusion, a few words about the eagle, the
museum’s symbol. How does a sculpture of an eagle
restorani `publika~. dizaini: nukri kekelia
RESTAURANT “PUBLICA”. DESIGNED BY NUKRI KEKELIA
4(76)2017 \\ THE WORLD OF CONSTANT CONNECTION
restorani `braseri buveti~. dizaini: qeTi Toloraia, nata janberiZe (ROOMS DESIGN)
RESTAURANT “BRASSERIE BUVETTE”. DESIGNED BY KETI TOLORAIA, NATA JANBERIDZE (ROOMS DESIGN)
Ca­mo­di­od­nen mSe­neb­lo­bis xa­ris­xis Se­sa­mow­meb­
lad. mu­ze­u­mi qar­Tul­ma sam­Se­neb­lo kom­pa­ni­am
„imk+“-ma aa­Se­na, ro­mel­Ta­nac Ta­nam­Srom­lo­bis
kar­gi ga­moc­di­le­ba ma­kav­Si­rebs.
ada­mi­an­ u­rad ga­mi­geT, ra rTu­lia, ro­de­sac Si­na­
ga­nad aen­Te­bi, gin­da kar­gi saq­me ga­a­ke­To da swo­
red amis ga­mo gak­ri­ti­ke­ben. pi­ra­dad me, ro­ca
ra­me Sen­de­ba, Za­li­an mi­xa­ria. ram­de­ni­me dRis win
Cve­ni kom­pleq­sis ban­ze ave­di, sa­i­da­nac erov­nu­li
bib­li­o­Te­ka Cans. ga­max­sen­da, rom 70-ian wleb­Si
bib­li­o­Te­kas wig­nsa­ca­vi mo­a­Se­nes. iq­vea ek­le­sia
da vib­ra­ci­as rom ar da­e­zi­a­ne­bi­na, mSe­neb­lo­bi­sas
am­we ar ga­mo­i­ye­nes. ga­max­sen­da isic, rom me da Ce­mi
me­go­ba­ri, teq­ni­ku­ri uni­ver­si­te­tis av­to­ma­ti­ki­
sa da ga­moT­vli­Ti teq­ni­kis fa­kul­te­tis stu­den­
te­bi, wig­nsa­ca­vis mSe­neb­lo­ba­ze dRe­Si 7.5 ma­ne­Tad
vmu­Sa­ob­diT. qvi­Sas da be­tons ve­zi­de­bo­diT, rom
mom­dev­no wlis­Tvis Ce­xos­lo­va­ki­a­Si praq­ti­ka­ze
ga­sam­gzav­re­be­li fu­li Seg­veg­ro­ve­bi­na. ras war­
mo­vid­gen­di, rom wle­bis Sem­deg erov­nu­li bib­li­
o­Te­ki­dan ram­de­ni­me met­rSi sax­vi­Ti xe­lov­ne­bis
mu­ze­u­mis aSe­ne­bas Se­ve­Wi­de­bo­di.
dated the 2nd-1st century BC relate to the Museum of
Georgian Fine Arts built in the 21st century?
A: This statuette of an eagle is from western Georgia.
During archeological digs in Vani, a cave was discovered
containing a miniature sculpture of an eagle (15-17
centimeters in height). There are three surviving eagle
figurines, seemingly similar and yet different in many
ways. What adorns the museum’s façade is a sculpture
of an eagle combining all three. We wanted to have an
ancient, historically important sculpture in our façade to
draw the attention of passersby. In this regard, our choice
was limited. Fifteen years before construction, Mr. Eduard
Shevardnadze was given an enlarged copy of one of the
eagle figurines. I borrowed it from him and had two more
copies made. Later I decided that I wanted that very eagle
to adorn the museum’s façade. In a way, Dato Mindorashvili
and Eduard Shakhnazarov created the museum’s symbol
based on the eagle discovered in Vani. Much has been said
about it, including rumors about Russia’s double-headed
eagle being placed on the façade. Those who say things
like this, what makes them think that they are better
Georgians than I am? One woman has even said, “He is
www.magticom.ge 17
 THE WORLD OF CONSTANT CONNECTION // 4(76)2017

restorani `xarCo~. dizaini: qeTi Toloraia, nata janberiZe

RESTAURANT “KHARCHO”. DESIGNED BY KETI TOLORAIA, NATA JANBERIDZE

_ da­bo­los ar­wi­vi, ro­me­lic uk­ve iq­ca mu­ze­u­mis installing Shevardnadze’s statue as a token of respect for
sim­bo­lod. ro­gor da­uk ­ av­Sir­da Zv.w. II-I sa­u­ku­ him.” I respect and love Mr. Shevardnadze, and he truly
ne­e­biT da­Ta­ri­Re­bu­li ar­wi­vi XXI sa­u­ku­ne­Si aSe­ deserves a statue, but in this case we drew on totally
ne­bul qar­Tu­li sax­vi­Ti xe­lov­ne­bis mu­ze­ums? different ideas!

_ es ar­wi­vi da­sav­leT sa­qar­Tve­lo­dan aris. ar­qe­o­

lo­gi­u­ri gaT­xre­bis Se­de­gad, van­Si aR­mo­aC­ i­nes qva­
bi, ro­mel­zec ar­wi­vis ram­de­ni­me mci­re skul­ptu­
ra iyo da­mag­re­bu­li, 15-17 sm. si­maR­lis. Cve­nam­de
moR­we­u­li sa­mi ar­wi­vi TiT­qos er­Tma­neTs hgavs,
mag­ram ama­ve dros gan­sxvav­de­ba ki­dec. is, rac mu­
ze­u­mis fa­sads am­Sve­nebs, am sa­mi fi­gu­ris mi­xed­viT
Seq­mni­li ar­wi­via. gvsur­da fa­sad­ze yo­fi­li­yo Zve­
li, is­to­ri­u­li mniS­vne­lo­bis qan­da­ke­ba, ro­me­lic
gam­vlel­Ta yu­rad­Re­bas mi­ip­yrob­da. am mxriv, ar­
Ce­va­ni di­di ar gvqon­da. mu­ze­u­mis mSe­neb­lo­bam­de
15 wliT ad­re, ba­ton edu­ard Se­var­dna­Zes aCu­qes
va­nis ar­wi­vis qan­da­ke­bis erT-er­Ti va­ri­an­tis ga­
di­de­bu­li as­li. viT­xo­ve mis­gan da 2 as­li da­vam­za­ arwivis qandakeba interierSi. moqandakeebi:
de­bi­ne. mog­vi­an­ e­biT ki ga­dav­wyvi­te, rom swo­red eduard Sahnazarovi, daviT mindoraSvili
es ar­wi­vi da­am­Sve­neb­da mu­ze­u­mis fa­sads. da­To THE EAGLE STATUE IN INTERIOR. SCULPTORS:
min­do­raS­vil­ma da edu­ard Sah­na­za­rov­ma, Se­iZ­le­ba EDUARD SHAHNAZAROV, DAVID MINDORASHVILI

18 www.magticom.ge
4(76)2017 \\ THE WORLD OF CONSTANT CONNECTION
simon janaSias saxelobis saqarTvelos muzeumi
THE SIMON JANASHIA MUSEUM OF GEORGIA
iT­qvas, van­Si aR­mo­Ce­ni­li ar­wi­vis mi­xed­viT Seq­
mnes mu­ze­u­mis sim­bo­lo. aTa­si ram iT­qva, maT So­
ris isic, rom TiT­qos ru­se­Tis or­Ta­vi­an­ i ar­wi­vi
un­da dad­gmu­li­yo fa­sad­ze. vinc amas am­bobs, ra­
tom fiq­robs, rom Cem­ze me­ti qar­Tve­lia?! er­Tma
qal­ba­ton­ma brZa­na, Se­var­dna­Zis pa­tiv­sa­ce­mad Se­
var­de­nis fi­gu­ras dgam­so. ba­ton edu­ards udi­des
arwivis qandakebebi vanis saganZuridan. Zv. w. II-I ss.
SCULPTURES OF EAGLES FROM VANI TREASURY. 2ND-1ST CENTURIES BC
This eagle statue, with its artistic merit, grandeur, and
attractiveness, is so typically Georgian in character that it
fits the context perfectly, I believe. After all, the Vani eagle
best illustrates our origin. And some oppose this treasure
instead of cherishing it? Towering over the entrance with
its wings spread, the eagle seems to welcome guests with
open arms, “Please come in.” Near the entrance we will put
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fasadis detalebi
THE DETAILS OF THE
FACADE

kolonada rusTavelis gamziris mxares

COLONNADE FROM THE SIDE OF RUSTAVELI AVENUE

20 www.magticom.ge
4(76)2017 \\ THE WORLD OF CONSTANT CONNECTION

muzeumis kuTxe rusTavelis gamziris da jorjaZis quCis kveTaze

A CORNER OF THE MUSEUM FROM THE JUNCTION OF
RUSTAVELI AVENUE AND JORJADZE STREET

pa­tivs vcem da miy­vars. Se­saZ­loa, mi­si pi­rov­ne­ba

Zeg­lsac im­sa­xu­rebs, mag­ram am Sem­Txve­va­Si xom
sul sxva idea gva­moZ­ra­veb­da!

es ar­wi­vi Ta­vi­si ar­tis­tiz­miT, me­di­du­ro­biT

da ke­Til­gan­wyo­biT im­de­nad qar­Tu­li na­tu­raa,
vfiq­rob, zus­tad jde­ba kon­teq­stSi. va­nis ar­wi­
vi xom yve­la­ze kar­gad war­mo­a­Cens, sa­i­dan mov­di­
varT. aseT sa­a­ma­yo sa­gan­Zurs veb­rZviT?! ar­wi­vi,
ro­me­lic mu­ze­u­mis Se­sas­vlel­Tan dgas gaS­li­li
frTe­biT, TiT­qos mo­wi­we­biT epa­ti­Je­ba stum­rebs
_ mob­rZan­diT, ba­to­no! Se­sas­vlel­Tan­ve au­ci­ xedi gudiaSvilis quCidan
leb­lad gan­Tav­sde­ba tra­fa­re­ti, sa­dac mu­ze­u­mis A VIEW FROM GUDIASHVILI STREET
stum­re­bi ar­wi­vis war­mo­So­bis is­to­ri­as amo­i­kiT­
xa­ven. min­do­da war­mo­Ce­na, rom Cve­ni kul­tu­ra da
xe­lov­ne­ba mxo­lod qar­Tu­li sax­vi­Ti xe­lov­ne­bis up a plaque relating the story of the eagle figurine. I wanted
mu­ze­um­Si ga­mo­fe­ni­li na­mu­Sev­re­bi ro­dia. is ga­ to emphasize that our culture and arts are not limited only
ci­le­biT di­di da mniS­vne­lo­va­nia, swo­red ise­Ti, to the exhibits showcased at the Museum of Georgian Fine
ro­go­ric es ar­wi­via. ar­wi­vi, ro­me­lic Cven, qar­ Arts. Our culture is much larger and greater, just like this
Tve­leb­ma 23 sa­u­ku­nis win Sev­qme­niT. eagle, a sculpture we Georgians created 23 centuries ago.

ru­su­dan ru­xa­Ze RUSUDAN RUKHADZE

foto: gia abdalaZe

PHOTOS: GIA ABDALADZE www.magticom.ge 21