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0СОЦИАЛЬНО-ГУМАНИТАРНЫЕ НАУКИ ЭЛ ЕУМЕТТ1К-ГУМАН ИТАРЛЫК РЫЛЫ МДАР SOCIAL AND HUMAN SCIENCES
IRSTI 17.09.91
UDC 821.35 DOI:10.56032/2523-4684.2023.1.5.76
K. Kveliashvili1, N. Kutsia2 1Sokhumi State University (Tbilisi, Georgia)
PICTORIAL OVERTONES OF GEORGIAN POSTMODERNIST MINIATURE (ON THE EXAMPLE OF ROSTOM CHKHEIDZE'S MINIATURES)
Annotation
The article describes the pictorial overtones of georgian postmodernist miniature. The phenomenon of color is not explained in the dictionary of Sulkhan-Saba Orbeliani, only a list of individual colors is presented (white, red, black, violet, blue) [1, p.188].
Viktor Nozadze dedicated a monumental monograph to the color language of «The Knight in the Panther's Skin». Moses Gogiberidze especially discusses the music of Rustaveli's color in his monograph «Rustaveli, Petritsi, Preludes».
Maya Jaliashvili, while analyzing the miniatures of Sandro Tsirekidze (in the words of the critic, the sleep-walker of the word), notes that the music and painting seemed to be combined and revealed verbally [2, p.60].
In the miniatures of Rostom Chkheidze, we find the border between the real and the unreal, which is also found in Georgian modernism. As an example, we cite Marine Revishvili's quote about Basil Melikishvili (whose life and work monograph is edited by Rostom Chkheidze, as mentioned above): Cosmic understanding of events is an important step in Basil Melikishvili's worldview and stylistic searches, to tangibly outline the boundary between the real and the unreal, wrapped in the web of the unknown, the mysterious. The real and the unreal merge and make us feel the eternity of the world, the unity of life and death... A symbolic key should open the door to the bosom of the unknown [3, p.189]. We think that t understand the essence of Rostom Chkheidze's collection of miniatures - «Steps of the Sun», «Sparks of the Moon» and «Paths of the Stars», we may think of the excerpt quoted above as a kind of key.
Color is an important additional tone of the miniature. Eter Beriashvili writes about the miniatures of Olesia Tavadze, you read these small stories that are filled with sadness, and once again you
believe, together with the c o l o r s (the line is ours - K.K.), that we have gifted a word as an ordeal [4, p.8].
Rostom Chkheidze writes in the preface to the collection of Georgian miniature prose (we will use a conceptual phrase this time once again): A striking example of how philosophical thoughts grow out of sentiments, symbolic-metaphorical speech, painstakingly processed details and figurative images, are Vazha-Pshavela's miniatures (with heartache, he also adds that, as we mentioned above, Vazha's importance as a prose writer is still unexplored).
Key words: postmodernism, miniature, overtone, color, painting, iconography.
К. Квелиашвили1, Н. Куциа2 1 Сухумский государственный университет (Тбилиси, Грузия)
ЖИВОПИСНЫЙ ПОДТЕКСТ ГРУЗИНСКОЙ ПОСТМОДЕРНИСТСКОЙ МИНИАТЮРЫ (НА ПРИМЕРЕ МИНИАТЮР РОСТОМА ЧХЕИДЗЕ)
Аннотация
В статье описывается живописный подтекст грузинской постмодернистской миниатюры. Феномен цвета не объясняется в словаре Сулхан-Сабы Орбелиани, представлен только список отдельных цветов (белый, красный, черный, фиолетовый, синий) [1, с.188].
Виктор Нозадзе посвятил монументальную монографию цветовому языку «Рыцаря в шкуре пантеры». Моисей Гогиберидзе специально обсуждает музыку цвета Руставели в своей монографии «Руставели, Петрици, прелюдии».
Майя Джалиашвили, анализируя миниатюры Сандро Цирекидзе (по словам критика, «лунатика слова»), отмечает, что музыка и живопись, казалось, были объединены и раскрыты словесно [2, с.60].
В миниатюрах Ростома Чхеидзе мы находим границу между реальным и нереальным, которая также прослеживается в грузинском модернизме. В качестве примера мы приводим цитату Марины Ревишвили о Василии Меликишвили (монография о жизни и творчестве которого отредактирована Ростом Чхеидзе, как упоминалось выше): Космическое понимание событий - важный шаг в мировоззренческих и стилистических поисках Василия Меликишвили, позволяющий ощутимо очертить границу между реальным и нереальным, обернуть в паутине неизвестного, таинственного. Реальное и нереальное сливаются воедино и заставляют нас ощутить вечность мира, единство жизни и смерти... Символический ключ должен открыть дверь в лоно
неизвестного [3, с.189]. Мы думаем, что для понимания сути сборника миниатюр Ростома Чхеидзе - «Шаги солнца», «Искры Луны» и «Пути звезд», мы можем рассматривать процитированный выше отрывок как своего рода ключ.
Цвет - важный дополнительный тон миниатюры. Этер Бериашвили пишет о миниатюрах Олеси Тавадзе: «Читаешь эти маленькие рассказы, наполненные грустью, и в очередной раз веришь вместе сколоры (наша версия - К.К.), что мы одарили слово тяжелым испытанием» [4, с.8].
Ростом Чхеидзе пишет в предисловии к сборнику грузинской миниатюрной прозы (на этот раз мы снова воспользуемся концептуальной фразой): Ярким примером того, как философские мысли вырастают из сантиментов, символико-метафорической речи, тщательно обработанных деталей и образных образов, являются миниатюры Важа-Пшавелы (с болью в сердце, он также добавляет, что, как мы упоминали выше, значение Важи как прозаика до сих пор не изучено).
Ключевые слова: постмодернизм, миниатюра, обертон, цвет, живопись, иконография.
К. Квелиашвили1, Н. Куциа2 1Сухум мемлекетт1куниверситет (Тбилиси, Грузия)
ГРУЗИН ПОСТМОДЕРНД1К МИНИАТЮРАЛАРЫНДАРЫ КвРКЕМ С©З АСТАРЫНЫН СИПАТТАМАСЫ (РОСТОМ ЧХЕИДЗЕНЫЦ МИНИАТЮРАЛАРЫ МЫСАЛЫНДА)
Аппо1а11оп
Макалада грузин постмодернд1к миниатюрасынын кэркем астары сипатталFан. ТYс кубылысы Сулхан-Саба Орбелиани сэзд1пнде тYсiндiрiлмеген, тек жеке тYстердiн т1з1м1 бер1лген (ак, кызыл, кара, ку.лпн, кэк) [1, Б.188].
Виктор Нозадзе монументалды монографияны «Пантера терiсiндегi рыцарь» тYс тiлiне арнады. Муса Гогиберидзе эзiнiн «Руставели, Петрици, прелюдия» монографиясында Руставели тYстi музыканы арнайы талкылайды.
Майя Джалиашвили миниатюраларын талдай отырып Сандро Цирекидзе (сыншынын айтуы бойынша, «сэздiн уйкысы»), музыка мен кескiндеме бiрiктiрiлiп, ауызша ашылFандай болFанын атап этт'1 [2, б. 60].
Ростом Чхеидзенын миниатюраларында бiз грузин модернизмiнде де байкалатын накты жэне накты емес арасындаFы шекараны табамыз. Мысал ре^нде бiз Марина Ревишвилид'!н Василий Меликишвили туралы дэйексэзiн
келтiремiз (онын ем'1р'1 мен шь^армашыль^ы туралы монография жоFарыда айтылFандай Чхейдзен'!н есу'!мен енделген): окиFаларды Fарыштык тYсiну - Василий Меликишвилидiн ДYниетанымдык жэне стилистикалык iзденiсiндегi манызды кадам, Бул Накты мен шындыктын арасындаFы шекараны накты аныктауFа мYмкiндiк беред'1, белпаз, жумбакты торFа ораныз. Шынайы жэне шындыкка жанаспайды жэне б'1зд'1 бейбiтшiлiктiн мэнгiлiгiн, емiр мен елiмнiн б'1рл'1пн сезiнуге мэжбYP етед'!... Символдык клт белпаз адамнын теане еак ашуы керек [3, 6.189]. Бiздiн ойымызша, ростом Чхеидзенын миниатюралар жинаFынын мэнiн тYсiну Yшiн - н кадамдары», «ай ушкындары» жэне «жулдыздардын жолдары», бiз жоFарыда келлртген Yзiндiнi шлт ре^нде карастыра аламыз.
ТYс-миниатюранын манызды косымша ренктерi. Этер Бериашвили Олеся Тавадзенiн миниатюралары туралы былай деп жазады: «аз каЙFЫFа толы осы кiшкентай энгiмелердi окып, таFЫ да сене^з колоры (б'1зд'1н версия - К.К.), бiз бул сезд'! ауыр сынакка бердiк» [4, 6.8].
Ростом Чхеидзе грузин миниатюралык прозасынын жинаFЫнын алFЫсезiнде жазады (бул жолы бiз таFЫ да тужырымдамалык фразаны колданамыз): философиялык ойлардын сезiмдерден, символдык-метафоралык сейлеуден, мукият енделген белшектерден жэне бейнелi бейнелерден калай есетiндiгiнiн жаркын мысалы-Важа-Пшавеланын миниатюралары (жYрек ауруымен, ол сонымен катар жоFарыда айтканымыздай, проза жазушысы ре^нде маныздылы^ы элi зерттелмеген).
ТYЙ¡нд¡ сездер: постмодернизм, миниатюра, Овертон, тYс, кесшндеме, иконография.
Introduction. The titles of Rostom Chkheidze's miniatures specify the nuances of the color range - the color palette of «Steps of the Sun» is sunny, «Sparks of the Moon» - is calm, pastel, slowed down, «Paths of the Stars» - different - sometimes bright, sometimes -extinguished, phantasmagorical, which was reflected in the concept of the books' artists.
The artist of «Steps of the Sun» Irakli Chikovani will decide to paint the cover of the book in the warm golden and orange tones of the sun, Dali Mukhadze - in «Moon Sparkles» - chooses faded green and maroon mixed in steel-blue, and «In the Paths of the Stars» designer - Otar Chkheidze-junior - in cobalt color (in the so-called royal blue).
Rostom Chkheidze gives a kind of hint to the reader while talking periphrastically about the artistic fabric and content of the miniatures. «The never-ending gamut of stories was always radiant with arainbow for some reason» [5, p.10], we read in the miniature of «Steps of the Sun» «Thunder Stories». We perceive the quote to once again emphasize the countless colors of the world/Rustveli «country».
As the seven colors of the rainbow bind/unite the gradations of colors, the writer strives for the «unification» of the stories collected in the walnut shell [6, p.11] and weaves countless colors.
Critic Nana Kutsia especially highlights the overtone of color while emphasizing the above quote by Rostom Chkheidze and cites the biblical quote - «with the power of color» (Heb. 2, 4).
Literary expert Maya Jaliashvili emphasizes the calm, deep coloring nature of Rostom Chkheidze's miniatures - impressionistic records. It is highlighted the author's mastery of putting the symbolic-metaphorical, light, airy, sad garment of philosophical-religious thoughts into the poetic prose of the ecstasy of a distant moment [2, p.78].
While reading Maya Jaliashvili's assessment, we get acquainted with the lapidary list of the main characteristics of the artistic school of impressionism.
In the preface to the second collection, the writer-essayist Nino Sadghobelashvili refers to the surreality reflected on Rostom Chkheidze's artistic palette as surreal visions [7, p.3].
According to surrealist René Magritte, surreality is a reality that has not lost its connection with its mystery [8, p.341].
Nino Sadghobelashvili perceives Rostom Chkheidze's miniatures as a palimpsest of the author's soul, and the above-mentioned enigma-definition (palimpsest) emphasizes not the sharpness, but -precisely the haziness of the contours, the smoothness of the artistic fabric of the narrative, to which the pictorial overtones add a special charm.
Method. We used comparative, typological, hermeneutic as well as interdisciplinary methods in our research.
Literature Review. We have studied articles by Maya Jaliashvili, Marine Revishvili, Eter Beriashvili, Nino Sadghobelashvili.
Main discussion. What is the color palette of Rostom Chkheidze's postmodernist miniatures?
At the same time, it should be noted that the writer specifies the color less, follows the epithet less, and the starting point for him is not the definition of the subject, but the subject itself. Interestingly, Grigol Robakidze singled out the aspect as mentioned earlier as an essential feature of Georgian prose even in the era of modernism in his essay «For Georgian Prose (Project)» -«Head and head - structure, jewelry - only details» [9, p.3]. For Georgians, this is perceived as a proof of natural minimalism, high taste formed over centuries, eons, and special sentiments towards color (however, it must also be noted that Robakidze himself (in general, the entire Georgian modernism is distinguished by these sentiments). Perhaps the "snake shirt" example would be enough to mention the richest palette of colors.
Rostom Chkheidze leaves free space to the reader so that the latter can decide for himself what color to choose, which tone, and which nuance.
Rostom Chkheidze's miniature, in many cases, completely excludes color, it is perceived as a more graphic painting (obviously, the above is only a subjective impression, or - as a specific reader - perception). For example, the landscape of «Galobani Galobisani» - a cemetery, which is different from the lush cemetery of Ana Kalandadze or Goderdzi Chokheli (in the text of Goderdzi Chokheli, lilac blooms in the bones, and the writer notes that if he had asked the owner of these bones in his lifetime, he would not have imagined such a thing, and the writer himself would wish such).
The graveyard of Rostom Chkheidze, in our opinion, is more of a graphic than a pictorial one (it is emphasized in the miniature that Terenti Granel was not tired of the monotony of the graveyard - he flourished in the divers e streams of songs [5, p.25] - a complicated, complex artistic form.
The impression of a Japanese print or an ink painting is evoked by a graphic sketch - branches of the
wind that shake the moon [5, p.29] - in a miniature, the title of which is the paradigm itself - «Moon, petrified as the music of a moment».
«The branches of the wind» is an enigma of Galaktioni («March followed the branches of the wind» -K.K.), Rostom Chkheidze complicates the artistic look when the branches of the wind shake the moon.
With Rostom Chkheidze, the function of color is combined with the word itself - for instance, the writer does not paint the golden light of the sun with the expected palette (golden, yellow, orange, etc... and other warm tones), but - with nouns - flare up, excite, fervor... [5, p.19].
In contrast to the scorching sun of a day, the tonality of the setting luminary is calm - the faded light of the sun has fallen on the sky (the line is ours - K.K.) [5, p.46].
Revaz Inanishvili especially noted in his miniatures («from desk notebooks») the different brightness of the rising and setting sun.
Among the warm tones, the so-called «broken ray of the sun» color stands out, as well as the color of a pomegranate flower, but the color is not concrete this time either - the pomegranate flower, Giorgi Leonidze's paradigm, Marita's metaphor, in Rostom Chkheidze's miniature reflects Lika Kavzharadze's portrait parabolically. In the miniatures dedicated to Lika Kavzharadze («Broken Ray of the Sun», «Pomegranate Flower»), as we mentioned, warm tones are unnamed.
The impression evoked by the color of the pomegranate flower is also expressed by the noun - shine («somewhere the pomegranate flowers still shine» [5, p.81]).
From the cold colors, the color of the fresco of the coriander angel - lapis lazuli introduces us - here as well - to an unnamed miniature «A fairy tale over here, a fairy tale over there».
According to our observations, Rostom Chkheidze, metaphorically speaking, is more of an iconographer than a painter.
The line by Rostom Chkheidze (miniature «Bread fragrance») - the sun pouring into bunches of grapes [5, p.22] seems to resemble the Lado Gudiashvili frescoes in
the Kashueti church, but, as we have repeatedly mentioned, the color is not specified here either - the reader must imagine the color of the sun and The color of the bunch of the grapes himself.
The theological paradigm-oxymorons are presented without specifying the color - midnight bright and midday dark [5, p.28].
The color will not be specified even when describing the river understood as a paradigm of the world («a dream carried for the river»), nor when drawing the line of trees, the army of trees drawn up on the border of Shindi-Variani. Again, it is an allusion to the Galaktioni, just like the title of the miniature - «What was the rustling of the branch of the poplar» - If they were to be lit like candles in the fall, like prayers sent to heaven [5, p.38].
The function of color is placed in the quote by comparison - like a pillar candle, Rostom Chkheidze entrusts the reader with the representation of the crackling of the candle, as well as the quote of Rezo Cheishvili's Surrealist stroke resembling Salvador Dali -the sky full of stars in the warmth of the sun [5, p.44].
Incandescenting and scorching - the words themselves are colorful and fervent in Rostom Chkheidze's miniature.
Nor is the color of the autumn leaves concrete in the miniature «Sun Path, Paths of the Sun» (the sentence itself is incomparable, as plain and beautiful as a Japanese tanka: «Leaves and flakes were lost in the ground - this circular movement added an inimitable charm to the life of the path» [5, p.46].
We are reminded of the basic definition of the color of autumn leaves «in the bunch of the word» - «Khazali -the colorfulness of autumn forest leaves» [1, p.283]. In the same miniature, the most difficult, unforgettable metaphorical face is presented (if we also take into account the historical context) - sadness entering the August light, bathed in blood [5, p.46]. Even without naming a single color, the writer manages to present the most complex palette of colors to the reader, who realizes why Nino Sadghobelashvili compared Rostom Chkheidze's miniatures (and their palette) to surreal visions [7, p.3].
The writer does not specify either the color of the Abudelauri lakes bound with the blood of a giant [5, p.5] in the phantasmagorical vision - the lake of Zhinvali [5, p.54]. Interestingly, the writer refers to the mentioned vision as a phantasmagoric Hallucination at the same time, on the one hand, on the other hand, he clarifies -you are in the middle of naturalism, strict naturalism, if such a branch exists [5, p.55].
On Rostom Chkheidze's palette, the lands are also distinguished by darkness - the oak tree darkened so much that it became even darker on a gloomy night, suddenly the contours of a ghost were to emerge from the black and I touched it with my hand - it is truly a phantasmagoric vision.
A ghost calls to the author-protagonist at the door of the cellar, and the blinding brightness of the shining sun follows the ripples of waves from the open valve-dwinejarr [5, p.56].
Again, without naming the color, the miniaturist manages to create a full-fledged, unforgettable painting again - in a marked way - by replacing the color with the word «blinding brightness» is a color - superior to the color itself.
The pedaling of blindness reminds us of the gratitude fixed in Borges's miniatures for the blind meter of postmodernism - gratitude for the golden memory.
The writer also describes the colorfulness of mortality (cf. the inspiration of Moemi's «variegated tapestry» - Percy Bish Shelley's quote - Q. Q.) without naming the color - the existence of an abandoned village is represented by the village square, colored by carnival [5, p.60], others Even in the miniature, we can find the syntagm «Carnival of the world» («Life lost in the grass» [5, p.73] (This syntagm is so important in Rostom Chkheidze's worldview, Maya Jaliashvili highlights it, especially in the conclusion of the «steps of the sun» -discovering the paths of the sun will overcome the carnivalesque of the world [10, p.80].
The color shines in the construction - white-lit nights [5, p.65], also black - quoting Konstantine Gamsakhurdia - «Every person expects his black waterloo» [5, p.67], sea-colored - «your eyes are the color of the sea and You are
like the sea» [6, p.32], and purple - when referring to the chrestomathic syntagm of Galaktion - «purple snow» in the miniature «Stairway to Heaven» [5, p.68].
The writer refers to his own life as a faded spot (though he will also say that it was outlined somewhere I can't remember it anymore, I won't look for it anymore and I'm getting used to its presence on the faded spot...(«Life lost in the grass») [5, p.73].
At the same time, the vision of the Bakhtrioni castle is phantasmagoric and naturalistic, the color is not concrete here, and the energy of vision is also fixed here with the epithet (radiant) - «the castle, radiant with romantic saffron, really looks like a double image of a dream» («Kore») [5, p.86], and the vision itself, the whole picture is one unforgettable metaphor.
Conclusions. In the lapidary analysis of the pictorial overtones of Rostom Chkheidze's miniatures, we conclude that the writing does not use color and replaces the impression created by it with strokes of the words. Color becomes concrete only when citing other authors (for example, Konstantine Gamsakhurdia, Galaktion Tabidze, not paraphrasing, but - quoting), which, we think, marks an additional space in the research area of Georgian literary experts.
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