Panther Skin Research Articles

ეთნოეკონომიკის ზოგიერთი საკითხი

In the paper, based on a complex analysis of ethnographic materials, interesting issues of ethno-economics are discussed. In particular: The reasons for the beginning of the process of emptying rural settlements, which is still ongoing, but originates from the last quarter of the 19th century; the consequences of rejecting the willing rule of standing next to each other in labor-activity; Integrating modern means of ennobling personal economic and social status ("living affordably") into everyday life. The following are the reasons for the emptying of the countryside and the abolition of traditional farming: 1. neglecting traditional, time-tested approaches to "people's life", farm management; 2. Abolition of traditional local community governance, for example, replacement of the "Makhvshi" institution with "trickster-savvy, salaried" administrators; 3. The gradual replacement of unity, work for each other with the approach "to be mine". We mean that on the way to economic security, the "rule of unselfishness help" was forgotten. 4. "legally recognized" binding relationships that did not take into account human capacity. Replacing the faith-boosting "begar" with "an inappropriate natural tax imposed on you by law"; 5. Forgetting the habit of asking God for "provided happiness". It is revealed that before the government launched various economic programs to raise social welfare, the individual and the community themselves were oriented to get a better life and distribute the "benefit" to their family and external needs. On the basis of complex research, the historical meaning of the terms: "Scream", "Bad Monday", "Letting go" and "Peace", "Begara" is revealed; Also, the name of a better economic condition obtained by "faithful and calculated work" - "comparatively better being". It is worth noting the fact that ethnographic materials once again confirmed the opinions of Georgian economists that physiocratic views were always predominant for the Georgian space, until the consciousness of our population was formed on the basis of national-Georgian morality. This was reflected not only in various types of legislation, but also in literature. Only "The knight in the panther skin" and "Wisdom of Lies" are enough to prove this. However, after the disruption of the Georgian statehood by Tsarist Russia and, later, the Sovietization, the thinking of the citizens of Georgia changed and adapted to the new reality, which should be perceived as an adequate response to the change in environmental conditions. However, historical experience shows that this process had a negative impact on the current situation and future prospects of our country. Before the state took over social and economic functions, the community itself was responsible for the well-being of its members. We may think that in the conditions of the so-called “collective responsibility”, the area of individual responsibility is lost, however, in the case of the community, it was the concern for the well-being of another; by being willing to share the risks associated with the life of a “neighbor” without benefit, a community member insured himself and his family's well-being. As a result, all this, “relatively better living” obtained by “faith and commited work” can be called the “communit’s economy”. Although it was subject to general economic laws, but the moral and social characteristics of local society were highlighted in it, in the formation of which a decisive role ws played by religion and historically formed traditions. The ethno-economy is what we used to describe this situation.

The Hagiographic Ideals and Characters of "The Knight in the Panther's Skin"

The Hagiographic Ideals and Characters of "The Knight in the Panther's Skin"

Merit of Iona Meunargia in translation and popularization of “The Knight in the Panther's Skin”

Merit of Iona Meunargia in translation and popularization of “The Knight in the Panther's Skin”

Merit of Iona Meunargia in translation and popularization of “The Knight in the Panther's Skin”

 Scientific novelty of the work is the view in which it sees the merit of Iona Meunargia in translation and popularization of “The Knight in the Panther's Skin” seen from the first interest of a student to the end. Steps in this man’s life are presented chronologically: showing interest in Georgian archives of Paris national library; getting to know Victor Hugo and getting close to him; 1880 – creation of a commission responsible for clarification of the text of “The Knight in the Panther's Skin”; becoming the head of the commission; working with Zutners on perfecting French translation of The Knight in the Panther's Skin” from December 1884 to January-February of 1885; meanwhile, working on German translation of the poem; translation and publication of the poem’s short version in Russian in 1888 and 1890. Corresponding material have been found and analyzed using the method of analytic research. Iona Meunargia translated “The Knight in the Panther's Skin” in French language first of all for Hungarian painter Mihály Zichy so that he could read it and create illustrations for the poem. Iona was an active member of a commission determining the text of “The Knight in the Panther's Skin” since 1880. Handwritten texts of “The Knight in the Panther's Skin” were all being gathered with him and then they were comparing different texts to each other, studying them and combining into a final version. I. Meunargia was printing protocols of work of the commission and people were reading about how they were deciding what would be the real version of Shota Rustaveli’s poem. When it was time to publish, they took care of illustrations. Austrian writers, Arthur and Bertha Suttners, were working in house of Iona Meunargia during 3 months (from December 1884 to February 1885). They were helping their host in refining of the translation. The text was being translated into German at the same time but it is unknown whether the work was finished or not. Iona Meunargia gifted the second translation to the emperor Alexander II and his wife and sent the third translation to a Russian symbolist poet K. Balmont. This translation is considered lost as of today. It could be located in Balmont’s archive, in vaults of hermitage or in archives of Zichy. If it is found, it will be possible to find out whether it was translated in free verse poem (white poem in Georgian), as speculated by G. Sharadze or were the single line translations conveyed in prose. As it turns out, Iona has also published a short version of “The Knight in the Panther's Skin” into Russian, first written in Georgian and then translated. The translation was printed twice, first in 1888 and later in 1890.

The Hagiographic Ideals and Characters of "The Knight in the Panther's Skin"

 The article discuses the cultural ideal of human being that was formed by Georgian Leterature of the middle ages. The scientific novelty of the article is to find similarities between the Saints of Hagiographic and Rustaveli's characters using comparative method which was not noted by researchers before. The article also reveals the identity of fundamental principles and ideas, for example mimesis, Eucharist, regret. In the article we also read some additional lines which proves that the Renaissance immensely enriched the expressive means and opportunities (an ways) while Rustaveli's poem totally based on the ethic ideals and Anthropological paradigms that was formed by Georgian spiritual literature.

Centrality of winemaking in Georgia: from prehistoric age to present-day globalization

ABSTRACT Spending on feasting and wine is better than hoarding our substance. That which we give makes us richer, that which is hoarded is lost. 1 These verses from the twelth-century Shota Rustaveli's epic, The Knight in the Panther's Skin, represent a quintessentially Georgian culture of hospitality and generosity—praising the custom of giving as honorable and self-rewarding while featuring wine prominently in this custom. In Georgia – a mountainous country between the Black and Caspian Seas, where Europe meets Asia – wine has been made and celebrated continuously for the last 8000 years. 2 Wine is not only a product for Georgia. It is a symbol of deep-seated historical traditions, a unique national culture of cordiality and service, global aspirations, and institutional progress to translate the ambitions into success. The Georgian law defines winemaking as a “priority sector of the country's economy.” 3 Wine is a key driver of branding Georgia as its cradle—promoted by both officials and academics. 4 Despite the constraints and challenges, Georgia's wine industry and wine tourism can persevere and stimulate other sectors of the national economy. Georgia's image as a Wine Country is also vital for the global awareness of the country and its international recognition.

"The Knight of the Panter's Skin" - Some Issues of the Turkish Translation

Translation theory has gone some way towards becoming an independent discipline. The communicative direction of translation shows the importance of " fidelity " to the original texts and it is also essential to consider its cultural aspect. There is only a single completed Turkish translation of "The Knight in the Panther's Skin", which was translated by Dr Bylal Dindar and Dr Zeynelabidin Makas. In 1990, Dr Byblal Dindar was invited to Georgia for the scientific congress. It was then that he went to the Tbilisi State University where he discovered the different world language translations of "The Knit of the Panter's Skin". He became wistful when he could not find the Turkish translation. He thus decided to translate the poem into Turkish.In the translation process, Dr. Bylal Dindar utilized the French and Azeri translations of "The Knight in the Panther's Skin" translated by Sergi Tsuladze (French) and Ahmet Jevat (Azeri). The two translations are different, which is due to the differences between Christian and Muslim cultures, as well as different language systems and historical memory.The research discusses a topic of the Turkish translation of "The Knight in the Panther's Skin", in particular, the occasions of the word absences. Translation misses and does not translate the important Georgian realis (Changi, Molizghari, Tskluli, Mufarexi), The translation is missing and does not translate the important Georgian realis (Changi, Molizghari, Tskluli, Mupharexi), unless some of these realis have a Turkish equivalent (çeng, yara, ilaç), but the translator does not provide a translation. Similarly, the word omitting is confirmed in the synonyms and in the translation of the comparatives (Krdzalvit and Ridit, Qushad and Daghrejit, Ukadri), beneath which the author of "The Knight in the Panther's Skin" introduces another dynamism into the poem. This is why the Turkish translation has lost its dynamism while these synonyms and comparatives are not translated at all, thus simplifying the image of the dynamism of the text. Therefore, the Turkish translation does not have the same influence as the original text and is obscured to retell.

Fictive Protrait of the King Vakhtang VI

From the medieval past we can single out several kings-poets, kings-scientists and scholars, education reformers, of whom Vakhtang VI deserves great respect.Versatile and varied turned out to be his genius and spectacle as well. King Vakhtang's intellect was accessible to completely different fields of science, such as history, jurisprudence, philosophy, astronomy-astrology, chemistry, medicine, grammar, textology, pedagogy. Not to mention the writing, where he said a decent word. Despite the difficult political situation, King Vakhtang VI still managed to create a prosperous cultural and educational environment in the country. With his initiative and support, the first printing house was established in Georgia in 1709. With the revival of the printed word, writing opened up vital space, giving more thought to thinking.By printing "The Knight in the Panther's Skin" the foundation was laid for the scientific study of the text of the poem - the work of restoration, the foundation was given to the most important field - Rustvelology.The literature of the Renaissance period is characterized by a number of novelties associated to the name of the King Vakhtang VI. The King, endowed with creative talent, contributed in every way to the development of new fields of science, the introduction of new themes and genres in literature. Understanding the national problem, trying to establish it and turning it into a spiritual need is the niche of Vakhtang's creativity.The only spiritual refuge of the king tired of life was the Christian faith. "The elaboration of religious themes, the cry to God, in addition to bringing spiritual peace to the deeply believing poet, at the same time he promoted the ideas of Christianity among the people and strengthened the religious faith.King Vakhtang VI not only enriched the Georgian literature with his original works, but also greatly contributed to his translation activities. His role in the development of lexicography was also great.The genius of Vakhtang VI can be discussed endlessly. It means a lot even to the fact that the history has survived in the name of the "lawgiver" king.

Arabic-Persian Motifs of ʿUd̲h̲rī Love in the Georgian Romantic Poem of "The Man in the Panther's Skin"

"The Man in the Panther's Skin" is the masterpiece of Shota Rustaveli (c. 1160—after c. 1220), the greatest Georgian Christian poet, who has been translated into nearly 45 languages in the world so far. In this article we are going to study the Motifs of ʿUd̲h̲rī Love (AR: al-ḥubb al-ʿud̲h̲rī) in Rustaveli's book. The Ghazal (ode) of Ud̲h̲rī is a literary product of the Islamic-Arab community in which love derives its principles from religion of Islam and the like. In fact, during the era of the Umayyad caliphate (661-750 BCE) was born ʿUd̲h̲rī as a new kind of ode in the Arabic poetry in the Arabian Peninsula and has made its way into other lands, including Iran, and this kind of love poem penetrated through Iran into Rustavli's poetry.ʿUd̲h̲rī poem was narration of true, intense and chaste love between lover and a beloved far from sensuality, debauchery and lechery. Therefore, their lifestyles were very similar to mystic. The main purpose of this study is to find out the extent to which Rustaveli was influenced by ʿUd̲h̲rī poem. The research method in this article is to compare the specific and objective features which inferred from the Arabic-PersianʿUd̲h̲rī literature with the narrative in the Rustaveli's work. This does not mean, of course, that we will examine all the ʿUd̲h̲rī poetry works written before Rustaveli's book in the world; rather, we mean matching the specific Motifs of Arabic-Farsi works with the Rustaveli's poem. The results of this study show that there is a complete similarity between the motifs in the poems of Rustaveli's work and the motifs of the ʿUd̲h̲rī poets in all its components. This study also confirms that if we omit some details of the story in Rustaveli's book, we will find that Rustaveli was thoroughly familiar with Islamic ʿUd̲h̲rī literature and implemented it in his book "The Man in the Panther's Skin".

По следам контекстов грузинской поэмы Возрождения (Шота Руставели в Иерусалиме)

In world literature, Shota Rustaveli is known as a poet of the Renaissance. He brilliantly portrayed free-thinking, spiritually and physically perfect epic characters in the poem "The Knight in the Panther's Skin". An original artistic look, a broad outlook, surprise with the breadth of scale: "The Knight in the Panther's Skin" expresses the new humanistic ideals of the great period. As a Georgian literary monument of verbal art, Rustaveli's poem precedes the works of the European Renaissance. These creative processes, different in time of writing and from different geographic regions, developed independently of each other.

SHOTA RUSTAVELI’S IDEOLOGY AND CULTURAL PARADIGMS OF GLOBALIZATION

According to the poem by shota Rustaveli the human is the basic idea, a human has changed, changes and will change for different period of time. A human is always in search of something, this has caused aesthetics of thinking,this thinking leads us to world culture. That is why religious,political, ethical, philosophical ideas ultimately form the cultural integrity. such a clear example is shota Rustaveli'spoem “The Knight in the Panther's Skin”. The core of the "Knight in the Panther's skin" is a culture in which the diversity of cultural life is revealed. The concept of the poet's thinking comes from the cultural paradigm that underlies the world culture.

Rear Cover: Courtly Love in the Caucasus: Rustaveli’s Georgian Epic, The Knight in the Panther Skin

The Knight in the Panther Skin by Shota Rustaveli is the great medieval (ca. 1200) epic of Georgia, and its most distinctive feature is courtly or romantic love, which is its basic motivating force. This article seeks to establish in which respects The Knight in the Panther Skin resembles Western courtly love, and what the explanation for this resemblance might be. In this endeavor I have had to challenge a common (mis-) conception that Western courtly love was essentially illicit loveOne can easily demonstrate that the literary roots of The Knight in the Panther Skin lie in Persian literature rather than in direct contact with Western courtly love, but the reason for the resemblance to Western courtly love is more problematic. Various possibilities are entertained: namely, (1) that Arab love poetry gave rise to it in Georgia (and possibly also in the West, as has been held); (2) that Neoplatonism produced or constituted a philosophic underpinning for courtly love and that it was transmitted to Georgia and/or Western Europe (a) by Arab Neoplatonists; (b) by Western Christian Neoplatonists or (c) by Byzantine Neoplatonists. A third possibility is (3) that it arose due to social and political conditions. And what were the social and political circumstances in Georgia and in Western Europe which, at the same historical period, produced and elaborated a culture so deferential to the ladies? And which, being absent in the Islamic world, did not produce courtly love there? In Georgia a sovereign queen presided in the era of Georgia’s greatest power, wealth and extent. Feudal servitors crowded the court, eager to gain honors and riches for themselves through preferment by the queen, virtually guaranteeing a cult of adoration of the queen. It is Sovereign Queen Tamar to whom Rustaveli dedicates his poem, and to her that he declares his undying love. In Provence, where there were many feudal heiresses, a similar incentive to “please the ladies” prevailed. No direct influence from the troubadours and minnesaenger of Southwestern Europe can be found. The evidence does not support Arab love poetry as a source of or conduit for courtly love, nor can Arab Neoplatonism have played a role. Byzantine Neoplatonism, however, was prominent in the courtly culture of Rustaveli’s time, and the social and political conditions in Georgia likewise were favorable to the rise of a culture of courtly love. Thus both intellectual and socio-political conditions favored the blooming of courtly love in twelfth-century Georgia.

Courtly Love in the Caucasus: Rustaveli’s Georgian Epic, The Knight in the Panther Skin

The Knight in the Panther Skin by Shota Rustaveli is the great medieval (ca. 1200) epic of Georgia, and its most distinctive feature is courtly or romantic love, which is its basic motivating force. This article seeks to establish in which respects The Knight in the Panther Skin resembles Western courtly love, and what the explanation for this resemblance might be. In this endeavor I have had to challenge a common (mis-) conception that Western courtly love was essentially illicit love One can easily demonstrate that the literary roots of The Knight in the Panther Skin lie in Persian literature rather than in direct contact with Western courtly love, but the reason for the resemblance to Western courtly love is more problematic. Various possibilities are entertained: namely, (1) that Arab love poetry gave rise to it in Georgia (and possibly also in the West, as has been held); (2) that Neoplatonism produced or constituted a philosophic underpinning for courtly love and that it was transmitted to Georgia and/or Western Europe (a) by Arab Neoplatonists; (b) by Western Christian Neoplatonists or (c) by Byzantine Neoplatonists. A third possibility is (3) that it arose due to social and political conditions. And what were the social and political circumstances in Georgia and in Western Europe which, at the same historical period, produced and elaborated a culture so deferential to the ladies? And which, being absent in the Islamic world, did not produce courtly love there? In Georgia a sovereign queen presided in the era of Georgia’s greatest power, wealth and extent. Feudal servitors crowded the court, eager to gain honors and riches for themselves through preferment by the queen, virtually guaranteeing a cult of adoration of the queen. It is Sovereign Queen Tamar to whom Rustaveli dedicates his poem, and to her that he declares his undying love. In Provence, where there were many feudal heiresses, a similar incentive to “please the ladies” prevailed. No direct influence from the troubadours and minnesaenger of Southwestern Europe can be found. The evidence does not support Arab love poetry as a source of or conduit for courtly love, nor can Arab Neoplatonism have played a role. Byzantine Neoplatonism, however, was prominent in the courtly culture of Rustaveli’s time, and the social and political conditions in Georgia likewise were favorable to the rise of a culture of courtly love. Thus both intellectual and socio-political conditions favored the blooming of courtly love in twelfth-century Georgia.

Courtly Love in the Caucasus: Rustaveli’s Georgian Epic, The Knight in the Panther Skin

The Knight in the Panther Skin by Shota Rustaveli is the great medieval (ca. 1200) epic of Georgia, and its most distinctive feature is courtly or romantic love, which is its basic motivating force. This article seeks to establish in which respects The Knight in the Panther Skin resembles Western courtly love, and what the explanation for this resemblance might be. In this endeavor I have had to challenge a common (mis-) conception that Western courtly love was essentially illicit love One can easily demonstrate that the literary roots of The Knight in the Panther Skin lie in Persian literature rather than in direct contact with Western courtly love, but the reason for the resemblance to Western courtly love is more problematic. Various possibilities are entertained: namely, (1) that Arab love poetry gave rise to it in Georgia (and possibly also in the West, as has been held); (2) that Neoplatonism produced or constituted a philosophic underpinning for courtly love and that it was transmitted to Georgia and/or Western Europe (a) by Arab Neoplatonists; (b) by Western Christian Neoplatonists or (c) by Byzantine Neoplatonists. A third possibility is (3) that it arose due to social and political conditions. And what were the social and political circumstances in Georgia and in Western Europe which, at the same historical period, produced and elaborated a culture so deferential to the ladies? And which, being absent in the Islamic world, did not produce courtly love there? In Georgia a sovereign queen presided in the era of Georgia’s greatest power, wealth and extent. Feudal servitors crowded the court, eager to gain honors and riches for themselves through preferment by the queen, virtually guaranteeing a cult of adoration of the queen. It is Sovereign Queen Tamar to whom Rustaveli dedicates his poem, and to her that he declares his undying love. In Provence, where there were many feudal heiresses, a similar incentive to “please the ladies” prevailed. No direct influence from the troubadours and minnesaenger of Southwestern Europe can be found. The evidence does not support Arab love poetry as a source of or conduit for courtly love, nor can Arab Neoplatonism have played a role. Byzantine Neoplatonism, however, was prominent in the courtly culture of Rustaveli’s time, and the social and political conditions in Georgia likewise were favorable to the rise of a culture of courtly love. Thus both intellectual and socio-political conditions favored the blooming of courtly love in twelfth-century Georgia.

SHOTA RUSTAVELI: The man in the panther's skin. (Translated from the Georgian by Marjory Wardrop). (Oriental Translation Fund XXI.) xviii, 273 pp. Richmond, Surrey: Curzon, 2001. (First published 1912 by the Royal Asiatic Society of Great Britain.) £12.99.

SHOTA RUSTAVELI: The man in the panther's skin. (Translated from the Georgian by Marjory Wardrop). (Oriental Translation Fund XXI.) xviii, 273 pp. Richmond, Surrey: Curzon, 2001. (First published 1912 by the Royal Asiatic Society of Great Britain.) £12.99. - Volume 65 Issue 1

Shota Rustaveli: The Lord of the panther-skin: A Georgian romance of chivalry. Translated by R. H. Stevenson. (UNESCO Collection of Representative Works. Series of Translations from the Literatures of the Union of Soviet Socialist Republics.) pp. xxix, 240. Albany, State University of New York Press, 1977. $15. - Shota Rustaveli: The knight in panther skin. A free translation in prose

Shota Rustaveli: The Lord of the panther-skin: A Georgian romance of chivalry. Translated by R. H. Stevenson. (UNESCO Collection of Representative Works. Series of Translations from the Literatures of the Union of Soviet Socialist Republics.) pp. xxix, 240. Albany, State University of New York Press, 1977. $15. - Shota Rustaveli: The knight in panther skin. A free translation in prose by Katharine Vivian, pp. 207, 8 pl., map. London, The Folio Society, 1977. £5.90. - Volume 111 Issue 1

Oscar Antonssons rekonstruktion av Praxiteles’ Hermes

Summary Dr. Oscar Antonsson's Reconstruction of Praxiteles’ Hermes. By Professor Gregor Paulsson. In this paper the author examines the suggestion made by Oscar Antonsson in his work “The Praxiteles Group in Olympia” Stockholm 1937, for a reconstruction of Praxiteles’ Hermes with the Infant Dionysus. The theory propounded by Antonsson is that the group originally represented Pan, and he bases his argument, inter alia, on the shape of the right ear, which, he believes, was originally pointed but was subsequently refashioned, on the existence of an animal's paw on the back of the tree trunk and a panther skin on the inside of the trunk. Finally, the author declares that the figure has held a curved shepherd's crook in the left hand, not, as is commonly assumed, a herald's staff. It is shown in the present paper that the reproduction of the ear on which Antonsson bases his suggestion is not derived from the original but from a plaster cast, which is either itself misshapen or else has become so in the photog...

Two Reliefs in the Ashmolean Museum

Among the recent acquisitions of the Ashmolean Museum are the two reliefs which form the subject of the present paper, and which I am permitted to publish by the courtesy of the Keeper, Mr. E. T. Leeds. The Museum already possessed a fragment of a Nymph relief of the ordinary type (three draped female figures moving in procession within a grotto (Chandler, Pars I, Tab. L. No. CXXIV = Michaelis, Anc. Marb., No. 133) so that the two new reliefs materially enrich that group in the Collection.I. Dance of Pan and Nymphs (Pl. XIVa).—Pan occupies the centre of the composition; he moves quickly to his left, leading three female figures in a dance round an altar-shaped stone. He is dressed in a panther skin, which covers his bent right arm; a long narrow mantle is thrown over his left shoulder, one end of which floats behind him, the other is twisted round his left arm, in which he holds a pedum; his head is turned back over his right shoulder towards the nymph who follows him (No. 1). His figure is in high relief (3 cmm.), his head, the floating ends of his scarf and his legs so much undercut as almost to seem detached from the background. The body of the first nymph is also in high relief (2½ cmm.), and is twisted round to present a three-quarters view; her right arm is thrown back to grasp ah end of her drapery, her left is raised to her shoulder.

(Pavlé Ingoroqva: Rusthveliana I. The date of “The Man in the Panther's Skin”. Who was Shot'ha Rust'hveli? 9½ × 6½ ins. 380 pp., with 4 illustrations—portraits and autographs. Tiflis, 1926.)

(Pavlé Ingoroqva: Rusthveliana I. The date of “The Man in the Panther's Skin”. Who was Shot'ha Rust'hveli? 9½ × 6½ ins. 380 pp., with 4 illustrations—portraits and autographs. Tiflis, 1926.)