VIDEO: Ancient Georgian traditional Qvevri wine-making method

UNESCO: Representative List of the Intangible Cultural Heritage of Humanity - 2013
URL: unesco.org/en/ancient georgian traditional qvevri wine making method

Description: Qvevri wine-making takes its name from the distinctive egg-shaped earthenware vessel -- the Qvevri -- in which wine is fermented and stored in villages and towns throughout Georgia. The tradition plays a vital role in everyday life and celebrations, and forms an inseparable part of the cultural identity of Georgian communities, with wine and vines frequently evoked in Georgian oral traditions and songs. Knowledge of this heritage is passed down by families, neighbours and friends, all of whom join in the communal harvesting and wine-making activities. Country(ies): Georgia

© Ministry of Culture and Monument Protection of Georgia, 2012

Duration: 00:09:59 - Support: DVD (0087000017)


+++


Inscribed in 2013 (8.COM) on the Representative List of the Intangible Cultural Heritage of Humanity


Qvevri wine-making is practised throughout Georgia, particularly in village communities where unique varieties of grapes are grown. The Qvevri is an egg-shaped earthenware vessel used for making, ageing and storing the wine. Knowledge and experience of Qvevri manufacture and wine-making are passed down by families, neighbours, friends and relatives, all of whom join in communal harvesting and wine-making activities. Children learn how to tend the vines, press grapes, ferment wine, collect clay and make and fire Qvevris through observing their elders. The wine-making process involves pressing the grapes and then pouring the juice, grape skins, stalks and pips into the Qvevri, which is sealed and buried in the ground so that the wine can ferment for five to six months before being drunk. Most farmers and city dwellers use this method of making wine. Wine plays a vital role in everyday life and in the celebration of secular and religious events and rituals. Wine cellars are still considered the holiest place in the family home. The tradition of Qvevri wine-making defines the lifestyle of local communities and forms an inseparable part of their cultural identity and inheritance, with wine and vines frequently evoked in Georgian oral traditions and songs.   

SCANDAL: Georgia Opts for Gold Mining at Protected Historical Site. By Paul Rimple (eurasianet.org)

(eurasianet.org) It turns out the choice between gold and historical preservation is an easy one to make for officials in Georgia: the government is going for gold.

EurasiaNet.org has learned the Georgian Ministry of Culture and Heritage Protection has given Russian-owned mining company RMG Gold the green light to excavate gold from Sakdrisi-Kachagiani, a nine-hectare site in southeastern Georgia that many archeologists claim contains the remnants of one of the world's oldest gold mines. In 2004, archeologists from the National Museum of Georgia and the German Mining Museum unearthed caves and mining tools at the site that are believed to date to the third millennium, BC.

It is uncertain when the company will begin mining the site. Approximately half of its workforce has been on strike since January 24, seeking higher wages. Some critics hint the company is using the archeological controversy as cover for questionable labor practices.

Opponents are also upset with the government’s evident willingness to allow the destruction of what may be a unique site. Officials have additionally brushed off a call by civil-society activists for an independent study into Sakdrisi the site’s archeological significance.

During a March 17 trip by a EurasiaNet.org correspondent to the area, accompanied by government representatives, two manned security vehicles sat outside the entrance to Sakdrisi-Kachagiani. The company continues to block entrance to the site, even to Ministry of Environment officials.  It cites the potential for damage by outsiders and lingering issues about the site’s status as the cause.

Caves and mining tools discovered at the site during a 2004 excavation by the National Museum of Georgia and the German Mining Museum are believed to date to the third millennium, BC.

But in its March 14 decision, the Culture Ministry cited a supposed lack of proof that Sakdrisi had ever functioned as a gold mine as a reason for lifting the site's protected status as a a "cultural monument." For the past eight years, Sakdrisi had enjoyed protection, a designation that prevented mining at the site, located near the village of Kazreti, where a vast copper mine owned by RMG Gold's sibling, RMG Copper, is located.

In a March 13 discussion with university students, Prime Minister Irakli Gharibashvili indicated that another factor played into the government’s decision to lift the site’s protected status. Noting the supposed lack of evidence for Sakdrisi's past, the prime minister stressed that RMG Gold has invested $300 million into the Georgian economy and employs 3,000 people. For a country with an official unemployment rate of 16 percent, an economic growth rate of under 2 percent such earnings and employment figures are not exactly trivial. In addition, the government experienced a drastic shortfall in tax revenues for 2013.

RMG Gold, an entity that evolved from Georgia’s former mega-mining company Madneuli, is believed to rank as one of the country's largest taxpayers. RMG Gold executives claim that to find fresh gold and maintain their operations, they need access to Sakdrisi-Kachagiani. With gold prices now at $43.67 per gram, it appears it wasn’t difficult for officials to buy into RMG Gold’s argument. In 2013, gold accounted for 2.9 percent ($35.52 million) of the country’s export earnings.

Gocha Aleksandria, vice-president of the Georgian Trade Union Confederation, is among RMG Gold’s critics who note that the company started complaining about the Sakdrisi ban’s adverse impact on earnings only after it was hit with a strike.  RMG Gold representatives have claimed that as long as they can’t mine the area, they cannot pay higher wages or keep on idle workers. On January 31, one week after the strike began, the company dismissed 184 workers allegedly for these reasons.

"We see it as retaliation for the strike,” Aleksandria said, speaking for the confederation's membership.

The government has appointed mediators to settle the strike, but Aleksandria says the process is moving slowly. Even with a full work force, Mikheil Kvaratskhelia, head of RMG Gold's Health, Safety and Environment Department, reckons it will be "a couple of years" before the Sakdrisi-Kachagiani site is blasted for mining.

Skirting Sakdrisi-Kachagiani, the last in a series of five ore pits, is not an option, the company says. Geologists claim that ore from the site, believed to be the richest in gold, must be blended with that from the four other pits to get a consistent grade of gold.  Preliminary exploration work has only just begun on the first pit, about two kilometers away.

Civil-society activists are bracing for a long fight. "The government has a responsibility to explain, to argue its position, not just ignore [opponents]," commented Kakha Bakhtadze, a representativer of the Caucasus Environmental NGO Network (CENN), one of the signers of a petition to Prime Minister Gharibashvili to preserve Sakdrisi's protected status.

The disregard that officials have exhibited toward those Georgians who want to protect Sakdrisi, "means that tomorrow the government can decide to destroy another cultural monument and do what it wants," Bakhtadze alleged.

The message the Culture Ministry is sending is mixed. In a March 14 statement, it called the claims about Sakdrisi's archeological value a "myth," yet it also announced intentions to invite independent international experts to monitor RMG Gold's mining at the site in case of "some scientific" discovery.

For Irakli Matcharashvili, program coordinator at Green Alternative, another of the Georgian NGOs opposing the ministry's decision, the plan makes no sense. "If this is a myth, why do they need a commission of experts? It's just words."

RMG Gold spokesperson Ekatarina Jojua has no information about a potential monitoring. "It's beyond our scope," Jojua said. "It's not clear who or how this will be done. It's up to the ministry."

Bakhtadze, the CENN representative,believes the government is suffering from short-sightedness. "The mine might be around for five or ten years. That's all. They will have destroyed the environment and [our] cultural heritage."

Editor's note: Paul Rimple is a freelance reporter based in Tbilisi.

FOOD & WINE: 2011 Shavi Jikhvi Saperavi Qvevri. Saperavi (Kachetien, Georgien). Eine Entdeckung von Arno Steguweit (sommelier-prive.de)

(sommelier-prive.de) Retro-Stil aus der Tonamphore: Das ist der fruchtbetonte Georgier aus 100 % heimischen Trauben. 

Am Gaumen wirkt er zunächst fruchtbetont und dicht, entwickelt aber mit der Zeit auch eine belebende Säure, welche die anderen Geschmackskomponenten sehr gut ergänzt. Die feinkörnigen Tannine bilden das Rückgrat des Saperavi. Für Weinliebhaber, die abseits der üblichen Pfade mal etwas Neues entdecken wollen, eine echte Bereicherung! Georgien, der schlafende Weinriese.

"Ein grandioser Tropfen, der jeden Weingenießer überzeugen wird. Klasse!" (Arno Steguweit)

Rebsorte Saperavi
Nase Kirsche, Johannisbeere, dezente Süßholz-Note
Geschmack fruchtbetont, dicht, belebende Säure, feinkörnige Tannine
Alkoholgehalt 13.5 %
Serviertemperatur 10°C bis 13°C
Lagerfähigkeit Jetzt bis 7 Jahre
Speiseempfehlung nicht verfügbar

Spitzenrotwein aus Georgien? Spitzenrotwein aus Georgien!

Von wegen alter Wein in neuen Schläuchen! Aus Georgien, der Heimat des Weinbaus kommt dieser extravagante Rotwein im Retro-Style. Er wird reinsortig aus Saperavi bereitet, dem Topstar der Kaukasusrepublik. Das Besondere daran? Er wird ganz traditionell in großen Tonamphoren ausgebaut – Originalität pur! Heraus kommt ein Rotwein mit sauberen Fruchtaromen, zarter Säure und edlen Tanninen – eben alles, was so dazugehört.

Wer hätte gedacht, dass die Wiege der Weinkultur eben nicht in Griechenland steht? Denn gut vier Jahrtausende bevor die Hellenen beim Dionysos-Kult ekstatisch um die Fässer tanzten, hatte man in Georgien bereits Erfahrung im gezielten Anbau des Rebsaftes gesammelt. Tatsächlich darf ich Euch sagen, dass die Funde von Traubenkernen mit Pressspuren und auch Überreste uralter Keltern von Archäologen ca. 8000 Jahre zurückdatiert wurden. Und der Schwarzmeeranrainer wartet gleich mit einem weiteren Superlativ auf: Etwa 500 der 4000 weltweit bekannten Rebsorten sind dort bis heute anzutreffen. Grund genug, sich einen Vertreter einmal etwas genauer anzuschauen… Speerspitze eines Trends: Der Rotwein aus der Tonamphore

Einer, der die Zeichen der Zeit erkannt hat, und mutig versucht, das Renommee des Weinbaulandes Georgien aufzupolieren, ist Shavi Jikhvi. In der Region Kachetien im äußersten Südosten Georgiens baut er Rotweine an, die ich als außergewöhnlich authentisch empfinde. Der Exot, den ich Euch vorstellen möchte, heißt 2011 Saperavi Qvevri. Saperavi ist der Name der qualitativ hochwertigsten Rebsorte des Landes – sozusagen der Nebbiolo des Kaukasus. Sie zeichnet sich durch eine wunderschöne kirschrote Farbe mit violetten Reflexen aus und bietet eine mittlere Viskosität. Qvevri heißt auf Georgisch „Tonamphore“- unser Wein ist also wie anno dazumal im Tongefäß ausgebaut. Was zunächst unvertraut klingt, liegt zunehmend im Trend: immer mehr Toperzeuger der sogenannten Alten Welt experimentieren mit dem antiken Gebinde. Heraus kommt ein äußerst interessanter Rotwein, der sauber nach Johannisbeere duftet, Anklänge an Kirsche hat und eine dezente Note von Süßholz mitbringt.

“Eine echte Bereicherung für Weinliebhaber, die abseits der üblichen Pfade etwas Neues entdecken wollen.“ 

Ich gehe davon aus, dass viele von Euch noch keinen Wein aus Georgien probiert haben. Denn trotz der langen Tradition haben sich die autochthonen Gewächse von dort bisher noch kaum Marktanteile sichern können. Man bedenke: Während der Glanzzeit der Sowjetunion standen immerhin 130.000 Hektar unter Reben – so viel, wie in Deutschland und der Schweiz zusammen. Doch dann kam unter Gorbatschow die Prohibition und die etablierte Weinkultur zerfiel. Die Lektion, wie immer: ein leckeres Genussmittel zu verbieten, das derart in der Gesellschaft und der Kultur verankert ist, ist nie eine gute Idee. Umso schöner, dass mutige Visionäre wie Shavi Jikhvi mit seinen Amphoren die Tradition des Weinbaulandes Georgien wiederbeleben.

Shavi Jikhvi
Ein Weingut in Georgien

So, wie wenige die „Wiege der Menschheit“ auf Anhieb in Mesopotamien vermuten würden, gibt es selbst unter Weintrinkern nur wenige, welche die „Wiege des Weins“ in Georgien verorten würden. Doch tatsächlich gibt es starke Hinweise, die nahelegen, dass in dem kleinen Land am Schwarzen Meer schon vor 8000 Jahren Vorformen von Weinbau betrieben wurden. So steht auch ein relativ großer Teil der Weinbaugebiete unter Weltkulturerbe. Es wird geschätzt, dass es weltweit etwa 4000 Rebsorten gibt, von denen 500 allein auf Georgien zurückzuführen sind. Der Schwerpunkt der Weinproduktion liegt in Kachetien, im Westen Georgiens. Experten vergleichen die klimatischen Bedingungen und sonstigen Terroir-Gegebenheiten mit denen des Bordeaux und des Burgund. Ein Weingut aus Kachetien, das in den letzten Jahren mit seinen Weinen für internationales Aufsehen gesorgt hat, ist Shavi Jikhvi. Beispielsweise wurde der 2007er Rotwein bei den Blind-Degustationen zum AWC vienna 2011 international wine challenge mit GOLD ausgezeichnet.

UNESCO-WORLDHERRITAGE: Ancient Georgian traditional Qvevri wine-making method (unesco.org)

Florian Mühlfried in facebook: Fantastic!! Georgian kvevri-winemaking declared as intangible cultural heritage! Now let's see what this does to the quality of the wine. And what kind of oportunities it offers to research projects.

(unesco.org) Qvevri wine-making takes its name from the distinctive egg-shaped earthenware vessel - the Qvevri - in which wine is fermented and stored in villages and towns throughout Georgia. The tradition plays a vital role in everyday life and celebrations, and forms an inseparable part of the cultural identity of Georgian communities, with wine and vines frequently evoked in Georgian oral traditions and songs. Knowledge of this heritage is passed down by families, neighbours and friends, all of whom join in the communal harvesting and wine-making activities.

Place/country: Georgia,
Series: 2013 inscriptions on the Representative List/Inscriptions 2013 sur la Liste représentative,
Type: Documentary
Duration: 00:09:59
Author/director: Mr. Merab Kokochashvili,
Publisher/producer: Ministry of Culture and Monument Protection of Georgia,
Published in: 2013

AZERBAIJAN: From Yurts To Kimchi, Protecting The World's 'Intangible' Cultures. By Daisy Sindelar (rferl.org)

Yurts, Polo, And Georgian Wine Vie For UNESCO Recognition

(rferl.org) Seventy-year-old Kakesh Jumabai-Kyzy has spent her entire life working with felt.

The mother of eight lives in the mountainous Kyrgyz area of At-Bashy, where many families still tend flocks of sheep that provide the warm, fluffy wool that Jumabai-Kyzy transforms into traditional Kyrgyz clothing and the colorful felt rugs called shyrdaks.

"I learned carpet-making from my mother, and after that I continued working by myself. I make yurts, shyrdaks, kementais (wool coats for men), and kalpaks (national wool hats)," Jumabai-Kyzy says. "Dozens of my items have been sold abroad. But only my younger daughter-in-law and one of my own daughters are continuing my craft. My other children didn't learn it."

Jumabai-Kyzy is one of a dwindling number of artisans skilled in making shyrdaks and alakiyiz, an appliqued felt carpet.

The rugs, which combine rich colors and striking graphic patterns, were traditionally used for warmth and decoration in Kyrgyz households.

But Nazgul Mekeshova, a historical-legacy specialist with the Kyrgyz Culture Ministry, says the appeal of shyrdaks and alakiyiz is dying out.

"Before, the craft was thriving in our country," Mekeshova says. "For example, when young girls got married, mothers typically gave them shyrdaks and alakiyiz as gifts. But now it's foreign carpets and rugs that are selling the most at local markets. The shyrdak and alakiyiz remain only as a form of historical art."

But last year, Kyrgyzstan's unique rug-making heritage got a boost when the shyrdak and alakiyiz were recognized by the United Nations' cultural agency, UNESCO, as a cultural element in need of urgent safeguarding. UNESCO has offered protection for cultural entities for decades, most notably through its World Heritage List, which includes 981 properties -- from India's Taj Mahal to Australia's Great Barrier Reef -- deemed as having outstanding universal value.

In 2003, UNESCO passed a special convention offering protections for living, non-physical elements of culture -- something the agency calls "intangible cultural heritage." Helena Drobna, a specialist in UNESCO's culture sector, explains:

"It has to be transmitted from generation to generation, it has to be created and constantly recreated by the communities, and it has to provide them with a sense of identity and continuity -- things like oral traditions or expressions, performing arts, traditional craftsmanship, social practices and rituals, and knowledge and practices concerning nature and the universe," Drobna says.

Since then, hundreds of so-called "intangible cultural heritage elements" have applied for special UNESCO status. These include everything from Korean tightrope walking to Sicilian puppet theater to falconry, a tradition nominated by a collective group of 13 different nations.

The process of applying for addition to the UNESCO list can be grueling. Countries must demonstrate that the cultural element is essential to the identity of a community, continues to develop as it is passed through generations, and represents no threat to human rights.

Applicant countries must also describe how they plan to independently support the cultural element. UNESCO provides no automatic funding to countries that make the cultural intangible list. But Drobna says the special UNESCO designation gives many crafts and rituals the attention and momentum they need to regain importance within their community:

"The benefit of it is that it's raising awareness in the community on the local level, regional level, national level, and internationally," Drobna says. "So the idea is that as it raises awareness, it may also raise funding, in order to safeguard these elements. The local or national governments may release some funding, and they may also apply for some international support from UNESCO."

Dozens of countries have applied this year to add their intangible cultural elements to the UNESCO list.

Shrimp Fishing On Horseback

Applicants include Mongolia, which has nominated its traditional making of gers, or yurts. Belgium is hoping to call attention to its regional tradition of shrimp fishing on horseback.

The Turkish coffee culture has also been nominated, as has the South Korean tradition of making and sharing the spicy cabbage dish known as kimchi.

These cases and others are due to be considered when UNESCO convenes an intergovernmental committee for the safeguarding of intangible cultural heritage in Baku on December 2-7.

The event is expected to receive considerable publicity in Azerbaijan, whose first lady, Mehriban Aliyeva, has served as a UNESCO goodwill ambassador since 2004.

Baku is also hoping to use the December meeting to secure urgent safeguarding status for its own intangible cultural element -- chovqan, a form of polo once popular among Azeri nomads riding sturdy, short-legged Karabakh horses.

Azerbaijan's application is not without controversy. Few in the country have heard of the sport, and neighboring Iran has protested, saying polo is an international game and should not be acknowledged as a sport indigenous to any one nation.

UNESCO says its list is meant to highlight the intangible cultural heritage of individual communities, not countries -- a step that is meant to emphasize the natural diversity of most countries around the world.

But Rahman Badalov, a Baku-based philosopher and art critic, says some countries may use special designations like the UNESCO list to fuel nationalist sentiment.

He recalls the bitter "dolma dispute" between Azerbaijan and its rival neighbor, Armenia, when both tried to informally claim the savory stuffed grape leaves as their national dish.

Efforts to promote chovqan as a signature Azerbaijani sport, Badalov says, are a waste of time and money.

"It's the latest example of the government misusing budget resources," Badalov says. "They have lots of money and are looking for a kind of entertainment. Ninety-nine percent of the government's cultural initiatives are ugly, useless things. It's only cosmetic, a mask, with no content. They want to gain political favor, to show a positive side of themselves."

RFE/RL correspondents Baktygul Chynybaeva and Arifa Kazimova contributed to this piece from Bishkek and Baku

AZERBAIJAN: UNESCO Adds Azerbaijani Horse Game To 'Intangible Heritage' List (rferl.org)

WATCH: The UN's cultural and educational organization, UNESCO, meets on December 2-7 to grant special designation to examples of intangible cultural heritage -- traditions, crafts, and rituals passed from generation to generation. Dozens of countries and communities are seeking recognition for their cultural traditions, ranging from the Azerbaijani horseback sport known as chovqan to the Korean spiced cabbage called kimchi. (Videos courtesy of UNESCO. Produced by RFE/RL's Daisy Sindelar and Margot Buff)

(rferl.org) BAKU -- The UN's cultural agency has named a traditional Azerbaijani horse-riding game a practice in need of urgent protection.

UNESCO, the United Nations Educational, Scientific, and Cultural Organization, decided to include the game of "chovqan" on its Intangible Cultural Heritage list at a meeting in the Azerbaijani capital, Baku, on December 3.

ALSO SEE: From Yurts To Kimchi, Protecting The World's 'Intangible' Cultures

The list comprises events from around the globe and is designed to "help demonstrate the diversity of this heritage and raise awareness about its importance."

Chovqan is a form of polo once popular among Azerbaijani nomads riding short-legged Karabakh horses.

The game is played by two competing teams of five riders and is accompanied by instrumental folk music called ''janghi.''

UNESCO said the practice and transmission of chovqan have weakened due to "socio-economic factors leading to a shortage of players, trainers, and Karabakh horses."

In 2003, UNESCO passed a special convention offering protections for living, non-physical elements of culture, what it calls "intangible cultural heritage."

FOOD & WINE: Georgia lobbies for inclusion of qvevri wine-making method in UNESCO's Intangible Heritage List (hvino.com)

(hvino.com) Georgia is working on inclusion of the country's traditional way of wine making into UNESCO's List of Intangible Cultural Heritage, the Georgian Foreign Minister Maia Panjikidze told journalists after the meeting with the Director General of UNESCO, Irina Bokova in Paris. Georgia's Foreign Minister took part in the work of the 37th session of UNESCO's General Conference.

"We want the tradition of making of the Georgian wine, which is called qvevri wine to be included into UNESCO's List of Intangible Cultural Heritage this year," Panjikidze said.The is sue of giving the status of "Intangible Cultural Heritage" to this method of wine-making was discussed in Tbilisi in February 2012 at the coordination meeting with participation of representatives from UNESCO's National Commission, Patriarchate of Georgia, different agencies, international and non-governmental organizations, as well as Georgian winemakers.

Georgia joined UNESCO Convention for the "Safeguarding of Intangible Cultural Heritage" in 2007. The Georgian folklore has already been included in the list of the world's intangible cultural heritages. Earlier, according to the Georgian president Mikheil Saakashvili's decree, the Georgian qvevri (clay jug for wine) wine was declared a monument of cultural heritage and was granted the category of national importance.

The Intangible Cultural Heritage programme was established in 2008, when the Convention for the Safeguarding of Intangible Cultural Heritage took effect. The UNESCO lists includes, for example, Armenian cross-stones khachkars and Argentinian tango.

WISSENSCHAFT: Forscher dokumentieren Felsmalerei in Armenien. Von Von Gregor Klaudius, dpa (suedkurier.de)

(suedkurier.de) Das Forschungsprojekt ist aufwendig und ungewöhnlich: Archäologen aus Sachsen-Anhalt haben es sich zur Aufgabe gemacht, weltweit einzigartigen Felsmalereien in Armenien zum Weltkulturerbe-Titel der Unesco zu verhelfen.

Die Wissenschaftler um den Direktor des Landesamtes für Archäologie, Harald Meller, dokumentierten bislang etwa 500 von tausenden aus der Bronzezeit stammende Felsmalereien. Erstmals zeigt das Landesamt Fotos der Forschungsergebnisse in einer Ausstellung in Berlin.

«Das Weltkulturerbe bekommt man schwer, aber die armenischen Felsmalereien haben gute Chancen», sagt Meller in Halle. Sein Team aus 15 Vermessungsingenieuren, Archäologen und Grabungstechnikern hatte im vergangenen Sommer die Felsbilder von Ughtasar im armenischen Hochland erstmals leibhaftig in Augenschein genommen. Auf Höhen von 2000 bis 3500 Metern erforschten die Wissenschaftler 40 Hektar einer erloschenen Vulkanlandschaft, die aus tausenden Basaltbrocken besteht. Auf vielen der dunklen Gesteinsbrocken fanden sie bronzezeitliche Felsmalereien etwa von Steinböcken, Leoparden, Kriegern, Bären oder Ziegen.

Was die Bilder so einzigartig macht, ist nicht nur ihre hohe Anzahl, die über mehrere Jahrhunderte entstanden sein muss. «Die Tiere und Menschen sind sehr eindeutig aufs Charakteristische beschränkt», erklärt Sachsen-Anhalts Chefarchäologe. Die 4000 Jahre alten Felsmalereien seien sowohl gestalterisch wie auch handwerklich gekonnt in Szene gesetzt und gut erhalten.

Mit einem ferngesteuerten Mini-Helikopter haben die Experten das Gebiet in vier Wochen vermessen und fotografiert. Die Fundstätte war zwar seit Jahrzehnten bekannt, doch den Armeniern fehlte die Technik für die Erforschung. Und die Bemühungen britischer Wissenschaftler der Universität Reading reichten nicht aus, um dem Ziel rasch näher zu kommen, zum Weltkulturerbe zu gehören.

Also vereinbarten Armenien und Sachsen-Anhalt ein gemeinsames Forschungsprojekt. Sachsen-Anhalt vertritt Deutschland seit dem Jahr 1996 bei der kulturellen Zusammenarbeit. Grundlage ist ein Kulturabkommen der Bundesrepublik mit der Republik Armenien. Laut Sachsen-Anhalts Kultusministerium kooperieren das Landesamt und die Wissenschaftliche Akademie Armeniens seit dem Jahr 2008 eng miteinander bei archäologischen und Denkmalschutzprojekten. Neben den Felsmalereien von Ughtasar gehören prähistorische Goldbergwerke und rätselhafte Steinanhäufungen zu den Projekten der deutschen Forscher in Armenien.

Wenn alles klappt, will Armenien mit Hilfe der Sachsen-Anhalter binnen der nächsten zehn Jahre den Weltkulturerbe-Titel beantragen. «Dazu müssen die zentralen Fragen beantwortet werden, was es alles für Motive gibt und wie sie zueinander stehen», sagt Meller. Bislang seien die Archäologen mit Deutungen der Motive noch sehr zurückhaltend, weil der Bestand zunächst weiter erforscht werden müsse. Meller schätzt, dass sein Team bei einem erneuten Projekt in diesem Sommer noch einmal mehr als 500 Felsmalereien dokumentieren wird.

Die Aussichten auf den Weltkulturerbe-Titel für das armenische Hochland an der Grenze zu Aserbaidschan bewertet Meller als «sehr gut, weil die Felsmalereien wissenschaftlich hoch bedeutsam» seien. Grundvoraussetzung für den Titel sei eine wissenschaftliche Dokumentation der Bilder. Die Unesco als Organisation der Vereinten Nationen verleiht den Titel Weltkulturerbe an Orte, die wegen ihrer Einzigartigkeit, Authentizität und Integrität als weltbedeutend gelten. Vorgeschlagen werden die Stätten von den Staaten, in denen sie liegen.

«Armenien hat sicher gute Chancen auf den Welterbetitel, weil es in dieser Region im Gegensatz zu Europa oder den USA noch nicht viele Welterbestätten gibt», sagt Doris Hartmann vom Lehrstuhl für Materielles und Immaterielles Kulturerbe der Universität Paderborn. Für einen Welterbe-Antrag sei allerdings viel Vorarbeit notwendig, um die Besonderheiten einer Stätte herauszustellen. Die Unesco fordere sehr umfangreiche Anträge. Es gebe bereits mehrere Welterbestätten mit Felsmalereien, beispielsweise in Frankreich oder Spanien. Dass nun die armenischen Felsbilder wissenschaftlich aufgearbeitet würden, sei ein gutes Anliegen, meint Hartmann.

In einer Ausstellung unter dem Titel «Bilder für die Ewigkeit - Petroglyphen im Hochland Armeniens» im Auswärtigen Amt, das die Projektkosten größtenteils trägt, sind nun erstmals Fotos von den Felsmalereien und Forschungsarbeiten zu sehen. Die prähistorische Felskunst in den Jahrtausende alten Bergsteppen sei ein wesentlicher Teil des kulturellen Erbes Armeniens, sagt eine Sprecherin des Auswärtigen Amtes in Berlin. Zudem sei diese Bilderwelt im Gegensatz zu vielen mitteleuropäischen Felsbildregionen, die seit Jahren zum Welterbe der Unesco zählten, bis heute nahezu unbekannt.

Austellung: Auswärtiges Amt, Lichthof, Werderscher Markt 1, 10117 Berlin
Die Ausstellung kann vom 21.05. bis zum 12.06.2013, wochentags von 10 bis 18 Uhr, besichtigt werden. Der Eintritt ist frei.

Mehr Links: 
Felsmalereien: Das geheimnisvolle Freilichtmuseum von Ughtasar (spiegel.de) 
Die einzigartigen Bilder von Ughtasar (n24.de)
Ughtasar Petroglyphs (armeniapedia.org)
Armenische Auszeichnung für Sachsen-Anhalts Landesarchäologen (hallespektrum.de)


 Mehr zu den Petroglyphen (wikipedia.org)
 

POLYPHONY: Infos zum Workshop "Mehrstimmige Lieder aus Georgien" 11.-13. Jan 2013

Der amerikanische Workshopleiter Frank Kane bietet vom 11.-13. Januar 2013 zum ersten Mal ein Singe-Wochenende „Mehrstimmige Georgische Gesänge“ in Leipzig an. Es gibt noch einige freie Plätze – fühlt euch herzlich zum Mitmachen eingeladen.

Wo/Wann: Haus Steinstraße in Leipzig-Südvorstadt (Steinstraße 18, 04275 Leipzig)

Fr. 11.01.1, 19:00 - 21:30

Sa. 12.01.13, 10:00 - 19:00

So. 13.01.13, 10:00 - 15:30

Sprache: Englisch mit deutscher Übersetzung

Preise: Noch bis zum 11.12. gibt es einen sehr lohnenswerten Frühbucher-Tarif.

EUR 120 (bei Anzahlung von 50 EUR bis 11.12.)

EUR 135 nach dem 11.12.

Zum Inhalt des Wochenendes

Wir werden bei diesem Seminar wunderschöne traditionelle mehrstimmige Lieder aus Georgien lernen und uns an deren Wirkung erfreuen.

Die polyphone Volksmusik aus Georgien, die von der UNESCO als ein "Meisterstück des kulturellen Erbes der Menschheit" beschrieben wurde, spielte in den letzten zwei Jahrtausenden eine entscheidende Rolle, das soziale und rituelle Leben des Landes zu gestalten, ganz besonders in Zeiten des Übergangs wie Geburt, Tod, Krankheit und Heirat.

Die Auswahl wird am Ort des Geschehens an die sängerische Vorerfahrung der Gruppe angepasst.

Über Frank Kane

Frank ist Amerikaner, lebt in Paris und studiert und praktiziert Georgischen Gesang seit 1980. Er spricht fließend georgisch und ist der Begründer des Kartuli Ensembles in New York, dem ersten Chor mit georgischer Musik außerhalb Georgiens. Er hat eine Reihe Workshops in England und USA gegeben und ist bekannt für seine gründliche Kenntnis der georgischen Vokaltechnik und seine Fähigkeit, diese an Menschen weiterzugeben, die georgische Lieder authentisch singen möchten. Seine lebendige und gleichzeitig sehr effektive Art, Menschen an das georgische Singen heranzuführen, wurde neben eigenen Studien der georgischen Singetechnik u.a. von einer Reihe anderer progressiver Stimmlehrer beeinflusst.

Die Website zum Workshop: www.georgische-Lieder.de

(dort geht’s auch zum Anmeldeformular)

OLD TBILISI: Urban Heritage Preservation: Identity and Spirit of Old Tbilisi. November 2010- September 2011 (facebook.com)

(facebook.com) The British Council, in consultation with co-organisers and local partners, has designed the project to address the gap between the EC norms and UNESCO requirements and the existing methods of dealing with the problem of protecting cultural heritage in Georgia generally and in Tbilisi specifically in order to successfully manage the cultural heritage preservation processes.
One of the aims of the present project is to support the trans-national mobility of people working in cultural heritage through the provision of 6 European experts to share knowledge and their experience of urban heritage and the ‘Spirit of Space’ within Georgia. The 6 winners of the competition will travel to Europe on a study tour to explore first hand how European cities have dealt with the dichotomy of urban architectural development and urban heritage.

This project also encourages intercultural dialogue through debates and awareness raising activities exploring the differences and similarities between European concepts of urban development and preservation and those in Georgia. The project works with architectural students, professional and government officials in Tbilisi thus encouraging dialogue at all levels.
The main aim of the project is to increase awareness of the cultural value of professional, effective and sustainable management of the urban heritage processes in Georgia based on European (Germany, Norway, UK) experience in order to save significant part of this unique cultural heritage for the future Georgian generations as well as for the international community. The aim of the project is also to develop an effective international network and deepen the understanding of public officials as well as general public in the management of the Urban Cultural Heritage processes.

With the student study tour, which will link Georgian students with European academic and cultural commentators, the project will provide a wider access for young European architectural students and professionals to engage in the debate around Georgian urban heritage and architectural preservation.

Based on the analysis and needs identified by ICOMOS Georgia and other independent experts (e.g. Prof. Maia Mania, Academy of Arts and G. Chubinashvili National Research Centre for Georgian Art History and Heritage Preservation) regarding the present situation in reference to the urban space, ‘identity’ and ‘branding’, it was identified that preserving of the urban heritage turned to be at risk from a lack of understanding of international norms, mismanagement practises, a lack of awareness within the Georgian public and low capacity within the professional architectural sector.

Tbilisi Historic District faces a considerable risk of losing its identity due to the push to give in to the demands of the investors on the one hand and the lack of understanding the economic and cultural benefits of preserving the identity of the city on the other. Interventions are often led by people who lack the appropriate knowledge and skills aiming for pure profit rather than revitalisation and improvement of communities with profit being achieved through appropriate renovation and conservation. Some archaeological remnants are dated back 5th century i.e. the date when the city was founded. Layers dated 17th and 18th centuries are widely represented as well. Medieval religious, fortification and residential buildings are also part of the Historic District. The majority of the buildings dated from 19th and 20th centuries are distinguished by inherent cultural values. They represent the spirit and daily activities of their inhabitants at the same time reflecting the merge of the Georgian and foreign traditions of architecture as well as craftsmanship. It is this very spirit of the place which needs to be explored and invested in so as to support the development of Old Tbilisi as a monument of culture.


The project would address these issues by:

• starting the policy dialogue in the area of urban heritage preservation, conservation and revitalization with participation of local players and European experts
• raising awareness of the existing problems in urban of conservation and creativity
• creating an urban development agenda for the re-use of the urban heritage in the historic centre of Old Tbilisi
• introducing the concept of The Preservation of the Spirit of Place
• bringing together people working in the cultural sector; conservationists and restoration professionals to promote inter-cultural dialogue and trans-national mobility thus building capacity and knowledge
• establishing a network through network events organised in each country during exchange visits
• gaining of deeper understanding though workshops organised with the participation of 4 countries
• increased levels of understanding developed amongst high level officials as well general public through awareness raising conference, workshops, exhibition, dissemination of the publications

Rationale

During the past decades, particularly after the country re-gained its independence in the late 80s of the past century, Georgia has experienced the process of transition to the free market economy. This has been a dynamic but painful process and it has had a direct effect on the development of the Old Tbilisi infrastructure and the formation of the cultural environment of the country in general.

In the given circumstances, with Georgia’s ambition for tourism development, increasing investment and contributing to the economic development of the country, it is crucial not only to preserve buildings but preserve the spirit of place through safeguarding the tangible and intangible local heritage. Georgia has little experience with regards to this innovative concept, a concept which supports sustainable developments throughout the world. European expertise will therefore contribute to this process and support the sustainable development of Old Tbilisi.

The components/activities of the project envisage clear stages to introduce and share European experience through a high profile conference and workshops, an exhibition and exchange visits. The competition will raise further awareness within the public and architectural student body and the legacy of the project, an exhibition publication, will help sustain the project after the capacity building element is completed. This will be an asset not only for the local populations but also for participating countries and will support the trans-national circulation of cultural and artistic works and products.

Throughout its history Tbilisi has served as a crossroads for representatives of diverse nations and cultures. These nations and cultures certainly influenced the architecture of the city joining with Georgian national traditions and interpretations resulting in a very specific urban settlement known as Old Tbilisi.

Being a multi-ethnic and multi cultural place Old Tbilisi’s specific residential buildings connected with balconies and courtyards also created links to different parts of the houses, thus contributing to the creation of an open, sociable type of neighbourhood which was in harmony with the requirements of its inhabitants. This has resulted in the development of the specific, unique spirit which differentiates Tbilisi from similar cities in other Caucasus or Persian cities. This specific spirit needs to be taken into account when new urban development is planned.

Future generations will only see the Tbilisi urban heritage if the present-day interventions are conscious and if they contribute to the sensible management and maintenance of the spirit of the space as well as the infrastructure. Contemporary needs should be integrated sensitively without causing damage to the existing spirit of the area.


Activities envisaged by the Project


I. Kick off meeting in Tbilisi Jan 2010
Aim: The aim of this meeting is for the Project Organisers and local partners to meet in Tbilisi for one day to ensure all partners fully understand and agree their roles and responsibilities within the project, familiarise each other with working styles, understand expectations and have a clear understanding of the local context and working environment. The meeting will also allow for updates within the project parameters from other stakeholders and main players within the sector.


II. Policy dialogue conference
Aim: The aim of the 3 day conference is to raise awareness with leading government officials and professionals of the current risks to the Old Tbilisi and explore European experience in the preservation of urban heritage and re-use of traditional spaces. The conference will introduce the concept of The Spirit of Place and will review the current situation in Old Tbilisi in light of UNESCO and EU norms.

Audience: attended by about 100 professionals in the area of architecture and cultural heritage from Georgia. Representatives of the Municipality and Ministry of Culture, MPs, professors, students of the Academy of Arts and Technical University as well as representatives from construction companies.
Conference content: It is envisaged that the following topics will be explored:
i. Urban development policies and preservation of historic sites in relation to educational/cultural tourism
ii. The design of urban environment and the re-use of architectural heritage
iii. The role of the ‘Spirit of the Place’
iv. Urban identity
v. Genius loci
Speakers: at least 2 speakers from each partner country. The Directorate for Cultural Heritage of Norway will explore issues related to the Spirit of Place area with the British Council and The Goethe Institute providing speakers concentrating on policy and re-use issues. ICOMOS Georgia to assist in preparation of the conference and identifying national speakers. CGA to help inviting the appropriate audience and identifying national speakers.
Evaluation: pre and post conference qualitative data will be collected. A target of 70% of attendees will report an increase in awareness and understanding of the main issues


III. Capacity building workshops and competition for Academy of Arts and Technical University Architecture Department students

Aim: The aim of the workshops and competition is to build capacity within the next generation of architects in Georgia through exposing them to European and Georgian expertise. The competition will provide content for the proposed exhibition and identify the candidates for the European study tour.

Audience: 30 students to be identified to participate from the Academy of Arts and Architecture Department of the Technical University.

Workshop: Led by 3 international and 3 national consultants, over a period of 5 days

Module 1: module 1 will consist of an introduction to the competition, seminars and field visits identifying different historic, architectural, cultural, social, economic, values of Historic Tbilisi.

Module 2:
i. Introduction to urban conservation methodology
i. International conventions, charters, guidelines and positive case studies
ii. Major threats identified by World Heritage Centre (UNESCO) for Tbilisi Historic District
iii. Review of the integrated conservation concept and relevant declarations eg Nara document on authenticity, Xi’an declaration on Setting, Quebec Declaration, Spirit of the place etc.
iv. Presentation of the Community Based Betlemi Quarter Revitalisation Case study


Competition:
The competition will be prepared with the local ICOMOS office.

The competition will make reference to the issues discussed during the workshop and will be focused on the rehabilitation of one particular area in Old Tbilisi – Betlemi Quarter.

It is envisaged that the competition will be for the most appropriate planning and design of a contemporary construction in an empty lot taking into consideration
i. The historical urban environment in the area – mixing the old and the new
ii. The functional, social and economic purpose of the building – educational tourism
iii. The rehabilitation of the historic area - issues of the city’s identity through the protection and reuse of heritage environment
iv. The spirit of the space

This local activity will be stimulated by the European experts during the workshop.

Participants will be given 5 further days to work on their project. They will be provided with the materials needed to make models and drawings. Participants will be acquainted and provided with all necessary studies and professional documentation on the operational area and during the competition process tutorials with lecturers and experts will be facilitated.

The competition will be judged by national and European consultants who facilitate the workshops above. The exhibits will be part of a wider photographic exhibition (see below). The 6 winning students will take part in the European study tour.

Speakers/Trainers
Professors from participating countries to conduct workshops specifically for students. The British Council, The Directorate for Cultural Heritage of Norway and The Goethe Institute to identify and provide identify speakers. ICOMOS Georgia to assist in preparation of the workshop and identifying local speakers. CGA to help inviting appropriate participants and identify the local speakers.

Evaluation: Qualitative and quantative data will be collected. A target of 80% of participants will report an increase in awareness and understanding of the main issues


IV. Website/Facebook site

Aim: Awareness raising, promotion of project and communication

The conference and workshop activities, concepts, presentations, results, etc will be placed on a micro web site with the possibility of the open discussions on the forum. This site will be linked to the organiser, co-organisers and partner websites.

NOTE: by the end of the project the content will be used as part of a hard copy publication for the distribution through the international universities and government institutions.

V. Exhibition

Aim: Awareness raising, showcasing creativity

Students from Academy of Arts and Technical University Architecture Department will be invited to take part in a photographic competition. Photographs, capturing the ‘Spirit of Old Tbilisi’ will be uploaded onto the micro site with up to 75 of the photos being curated for a 10 day exhibition to be held at the Goethe Institute in Tbilisi with the architectural drawings/models created during the workshops (activity III).

The best photos, selected by the UK, German and Norwegian experts, will be included in a publication (activity VII)

Audience: At least 250 people, including high level government and municipality representatives will attend the opening of the exhibition. The exhibition will be covered on Georgian TV, press and radio. Targeted promotion of the exhibition will attract apx 1000 students, young professionals and general public to the exhibition.

Evaluation: A target of 70% of visitors to the exhibition will report a greater understanding of Old Tbilisi, the challenges and successes in urban heritage


VI. Study Tour

Aim: to support the trans-national mobility of next generation heritage professionals and facilitate intercultural dialogue

Six students/young professionals engaged in the workshops and competition will be identified to participate in a study tour to Europe. The British Council, Goethe Institute and Directorate for Cultural Heritage of Norway will design and facilitate a 5 day visit to organisations involved in urban heritage preservation in their respective countries. Participants will have to commitment to establish close links with ICOMOS Georgia office, Academy of Arts and Technical University and other NGOs to lobby decisions impacting on Old Tbilisi at Tbilisi Municipality Old Tbilisi department.

Audience: Six students/young professionals from Georgia. Architectural professionals, urban heritage professionals and organisations in Europe

Evaluation: Qualitative data will be collected from the participants on return.

VII. Publication

Aim: to support intercultural dialogue and understanding of urban heritage issues in Georgia and Europe

A 100 page publication will be developed from the conference presentations, workshops, students reports from the visits, and comments from the website forum. The publication will be illustrated by photos and participants’ architectural designs. An e-version will be uploaded on the web page and hard copies will be disseminated at HE Institutions, Municipality and Ministry of Culture departments, Parliamentary Committee on Education and Culture of Georgia. Using the co-organisers global and European networks, hard copies and e-versions will be disseminated to relevant organisations and individuals working in the field of urban heritage in order to illustrate what difference European experience - sharing has brought to the third country in transition where the urban heritage problems complex. Approximately 1000 copies will be printed and circulated.

Audience: Relevant European and Georgian stakeholders in urban heritage.

more: facebook.com/OldTbilisi Identity and Spirit

GOURMET: Die Wiege des Weins liegt in Georgien. Von Andrzej Rybak (ftd.de)

(ftd.de) Kaukasische Rebsorten, Gärung in Tonamphoren: Georgien besinnt sich auf eine uralte Weinkultur, die Anwärter auf das Unesco-Welterbe ist. Unser Autor probiert auf dem Gut eines Deutschen ungeahnt gute Tropfen.  

Von Andrzej Rybak

photo: Lioba Schöneck

Ein steinerner Turm überragt die windschiefen Häuser von Kisiskhevi. Der Rest des Châteaus, das der Stolz des Dorfes ist, verbirgt sich hinter einer hohen Mauer: ein schmuckes Gebäudeensemble aus Natursteinen und Ziegeln, beschienen vom Goldlicht der Spätnachmittagssonne. Von der Terrasse huscht der Blick über ein breites Tal und bleibt an den mächtigen Schneegipfeln des Kaukasus hängen. "Irgendwo hier wurde vor fast 8000 Jahren das Geheimnis der Weinherstellung entdeckt", sagt der Hausherr Burkhard Schuchmann. "Georgien ist die Wiege des Weins, nicht Griechenland, wie viele glauben."

Das Land am Schwarzen Meer ist tief mit der Weinkultur verbunden. 

 

Archäologen datieren die ältesten Samen kultivierter georgischer Reben auf das sechste Jahrtausend vor Christus. Ebenso die älteste Amphora, in der sich Spuren von Wein fanden. In den Tälern des Südkaukasus wachsen bis heute über 500 heimische Rebsorten, die es sonst nirgends gibt. Linguisten führen das lateinische Wort vino auf das georgische gvino zurück. Und Wein darf bei keinem Festessen fehlen. Fast jede Familie auf dem Land stellt ihren eigenen Rebensaft her - wie in der Frühzeit in Tonamphoren.

Schuchmann suchte eigentlich nur ein Hobby

In den späten 90ern besannen sich auch Profiwinzer auf die bauchigen Gefäße. Besonders in der östlichen Provinz ­Kachetien, wo Kisiskhevi liegt, wird in den spitz ­zulaufenden Amphoren wieder Wein ausgebaut. Damit die Gärtemperatur konstant bleibt, stecken die Kwewris bis zum Hals in der Erde. Sie schränkt die Sauerstoffaufnahme durch die Tonwände ein und schenkt dem Wein einen leicht mineralischen ­Geschmack. Inzwischen hat sich die Methode so ­bewährt, dass sie für die Unesco-Welterbeliste nominiert ist. Die Entscheidung fällt im Herbst. "Wenn es klappt, dürften Kwewri-Weine bald bekannter sein", sagt Schuchmann. Und es wird klappen, glaubt er.

 

Der Westfale, vor seiner Pensionierung Vorstandschef beim Schienen- und Weichenhersteller Vossloh, wollte in Georgien eigentlich nur ein paar Reben­felder erwerben und die Trauben zu einer ­guten Kellerei bringen: Wein machen, ohne sich viel Verantwortung aufzuladen. Er bereiste das Land, nahm Bodenproben, fand Felder - und wurde bei Vinoterra in Kisiskhevi vorstellig. Doch die Kellerei war verschuldet und suchte einen Käufer, keine Aufträge. 2008 übernahm Schuchmann den kompletten Betrieb und vertraute einem der Anteilseigner, dem exzellenten Weinmacher Giorgi Dakishvili, die Produktion an. Seitdem hat der Deutsche 6,5 Mio. Euro investiert und den Betrieb zum Château aus­gebaut. Auch er stellt Weine in Tonamphoren her.

 

"Kwewri-Wein ist im Geschmack etwas ganz Besonderes", sagt der 70-Jährige zufrieden. 120 Hektar besitzt er in Kachetien, auf denen hauptsächlich die georgischen Rebsorten Saperawi, Rkaziteli und Mzwane wachsen. Zudem ein wenig Cabernet Sauvignon, Merlot, Chardonnay. Ein Teil der Ernte wandert in die Kwewris, ein anderer in moderne Edelstahltanks. 250 000 Flaschen exzellenten Weins entstehen so im Jahr.

"Ein Ritt auf Messers Schneide"

Drei Dutzend Amphoren sind in Schuchmanns Kellern eingegraben. In ihren dunklen Bäuchen ­gären 500 bis 3500 Liter Maische aus seinen besten Beeren. Für die Spontanfermentation sorgen reb­eigene Hefen. Dakishvili überwacht den Prozess. Da auch Schalen, Kerne und Stängel mitgären, ent­wickelt der Wein mehr Tannine und Polyphenole und wird sehr körperreich. Je nach Rebe und Machart bleibt er zwischen drei Wochen und zehn Monaten im Kwewri. "Ein Ritt auf Messers Schneide", sagt Dakishvili. "Wenn die Maische zu viele Stängel und Kerne enthält, kann der Wein bitter werden."

 

Doch der Kellermeister weiß genau, wie das Lesegut sortiert und zerdrückt werden muss und wie lange es gären darf. Den Saperawi zum Beispiel belässt er im Unterschied zu anderen Winzern nicht monatelang im Kwewri, sondern füllt ihn nach 16 bis 20 Tagen in Edelstahltanks um. Dort sinkt im Verlauf der sekundären Gärung der Säuregehalt, was für ein elegantes, harmonisches Geschmacksbild sorgt. Eine jahrtausendealte Tradition, gepaart mit modernem Know-how.

 

Trinkreif ist der Saperawi danach noch lange nicht. Erst wenn er zwei Jahre später aus den alten Eichenfässern, die Schuchmann aus Frankreich importiert hat, ungefiltert in Flaschen abgefüllt wird, erfährt man, was aus ihm geworden ist: ein dunkelroter Wein, der nach Kirsche, Zedernholz und Minze ­duftet, bevor er mit sattem Kirscharoma und zarter Pfeffernote über die Zunge rollt.

Südossetien-Konflikt veränderte auch die Weinherstellung

Der weiße Kisi ist noch ungewöhnlicher. Normalerweise wird Weißwein lediglich aus Traubenmost gewonnen, doch beim Kisi gärt die ganze Maische wie sonst nur bei Rotwein üblich. Nach der Gärung bleibt er weitere sechs Monate im Kwewri und wandert anschließend für ein Jahr ins Barrique. Goldgelb fließt er hinterher ins Glas mit einem Bouquet von reifem Pfirsich und leisen Kieferakzenten. 

 

Die Kunde vom georgischen Kwewri hat bereits Winzer in Österreich, Italien, Slowenien und den USA erreicht. Sie importierten Tongefäße und bauen nun Wein auf die uralte Weise aus. "Die Herkunft der Methode wird meist gar nicht erwähnt", sagt Nika Rurua, Kulturminister in Tbilisi. "Aber wenn die Unesco unser Menschheitserbe anerkennt, werden die Hersteller den Ursprung benennen müssen."

 

Von dem neuen Renommee würden auch die ­Töpfer profitieren. Ihr Kwewri-Handwerk war in der Sow­jetzeit fast ausgestorben, denn der Arbeiter- und Bauernstaat hatte seine georgischen Winzer auf Massenware aus Stahltanks eingeschworen. Erst als Russland 2006 im Zuge des Südossetien-Konflikts die Grenze zu Georgien schloss und die Weinwirtschaft über Nacht vor dem Nichts stand, war der Zeitpunkt für die Umkehr reif: Nur im qualitätsbewussten Westen konnte man neue Märkte erobern. Von dieser Erkenntnis bis zur Besinnung auf die Kwewri-Tradition war es nicht mehr weit. 

 

Jetzt muss nur noch die Nachfrage steigen. Dann könnte es bald wieder mehr als die verbliebenen zwei Töpfereien geben, in denen übermannshohe Amphoren entstehen, die so mit Bienenwachs ausgekleidet werden, dass der Ton nicht zu viel atmet und nicht zu wenig. Für Kwewri-Macher jedes Mal eine Herausforderung.

 

Auch die Winzer selbst arbeiten noch an der ­Wiedergeburt des georgischen Weins. Schuchmann bildet Nachwuchs aus und sponsert eine staatliche Weinschule. Mehrere Auszeichnungen haben seine Weine schon bekommen, darunter Gold beim Wettbewerb Mundus Vini 2010 und beim International Wine Award 2011. Sogar Georgiens Präsident Michail Saakaschwili hat das Château, zu dem ein feines Restaurant und ein kleines Hotel gehören, schon besucht. Er war erstaunt, dass Wein aus seiner Heimat so gut schmecken kann.

www.schuchmann-wines.com
erhältlich z. B. über Geovino, www.geovino.de

 

 

RESTORATION: Bagrati Cathedral – Copy or Original? By Author Irina Bagauri (en.tabula.ge)

(tabula.ge) "The authenticity of the Cathedral has been irreversibly destroyed. Bagrati Cathedral can no longer be said to contribute to the criterion for which the property was inscribed on the World Heritage List,” reads a preliminary “state of conservation” report prepared for the Thirty-Sixth Session of the UNESCO World Heritage Committee. The ancient Georgian monument is in serious jeopardy of losing its World Heritage status because of “irreversible interventions as part of major reconstruction of the structure of Bagrati Cathedral,” according to the preliminary assessment.

Specifically, the World Heritage Committee has expressed “extreme concern that a reconstruction of Bagrati Cathedral is already well advanced, largely in line with plans, rejected by the Committee at its 34th session, for a monumental re-building using reinforced concrete, including a cast concrete cupola, and installing stone facing that covers much of the original stonework.”

Nika Vacheishvili, the Director General of the National Agency for Cultural Heritage Preservation of Georgia, strongly disputes the preliminary conclusions drawn by UNESCO. He insists that the UNESCO assessment is based on incorrect information provided by experts who had not conducted a thorough study of the monument. Speaking with Tabula, Vacheishvili offered his own assessment of both the UNESCO preliminary opinion and the work completed at Bagrati Cathedral:

"That opinion, in my view, is very incompetent. Even though we tried to show every facet to an expert from the International Council on Monuments and Sites (ICOMOS) and to avoid superficial discussions regularly provided him with materials, the expert still arrived in Georgia unprepared and, therefore, the [UNESCO] document is riddled with mistakes. We have reacted to that, having sent a letter to the relevant entity. We expect that the one-sidedness that exists today will be balanced and the situation will be brought in line with the reality.

“Many things in the opinion have been regrettable lies. I do not know what turned that person blind. Those four hundred stones, which we had discovered during these recent years and found place for each of them, are not just abandoned but are being installed to the places they belonged originally. Openings in the dome, the width of the dome, the number and form of arches are documented with these very stones. It is therefore a pity that such competent organizations have drawn such incompetent conclusions. There have been instances, however, when UNESCO has disagreed with ICOMOS opinions and I hope that the case of Bagrati will be such an instance.

“Bagrati is a very complex project and, the closer the reconstruction comes to its completion, the more convinced I become that we have embarked on the correct path; that is, a balance between the old and the new. We have smaller modern inserts which reflect the Twenty-First Century, thus avoiding sham replication of the old. There, both old and modern are appreciated. And all that is combined in the fabric of the Cathedral.”

Modern inserts imply a glass lift. For some unknown reason, the existence of this object within the religious space has caused exaggerated concern among people interested in the fate of the Cathedral even though the UNESCO opinion itself says nothing extraordinary about the glass lift. Instead, the preliminary assessment is focused mainly on other more conspicuous interventions. In comments to media, architectural restorers and art critics alike have confirmed the fact that the glass lift is the least alarming problem among interventions endangering the authenticity of the Cathedral. In order to facilitate the movement of handicapped and elderly people, lifts, like wheelchair ramps, are considered desirable in buildings of any type or age. However, in the case of Bagrati Cathedral, questions have been raised about the engineering design which envisaged installation of the lift on the façade. Whether that design was prompted by the necessity to make lift access conspicuous or just to add yet another element of décor is a topic of separate discussion.

According to modern restoration theory formulated by Italian art historian Cesare Brandi, a ruin that is part of a monument of cultural heritage represents an independent work of art whereas the entire reconstruction of a building in ruins is merely a copy of an authentic building and is not justifiable either esthetically or historically.

The initiative to reconstruct Bagrati Cathedral originated with the Georgian Patriarchate. At the request of the Georgian Patriarch, discussions on the full reconstruction of Bagrati started in the 1990s. On 21 January 2008, Georgian President Mikheil Saakashvili chose Bagrati Cathedral as the site of his inauguration for a second term. There, the President addressed the nation after his swearing-in, declaring: “We are completing the ceremony and starting to rebuild Georgia. As a symbol of Georgia’s revival and strength, we pledge – with the blessing and supervision of the Patriarch as well as with the best specialists – to start restoration works on Bagrati in the forthcoming weeks.”

This year, President Saakashvili responded publicly to criticism that erupted following ongoing reconstruction work at the Cathedral. Speaking at the 26 May inauguration ceremony of the new Georgian Parliament building in Kutaisi, the President remarked: “Many people kept telling me that the reconstruction of the Bagrati Cathedral was barbarism, that no one reconstructed the Acropolis in Greece. I think, though, that Bagrati was built for people to pray there and now it must be restored for modern Georgians to pray there as well.”

Nika Vacheishvili, in his interview with Tabula, addressed the question of whether responsible people have to make a choice between the symbolism of the Cathedral and its authenticity:

“I want to specify that the entire authenticity is preserved. Anyone who will go to the Bagrati Cathedral will see that the main glory of the Cathedral comes from the Eleventh not the Twenty-First Century. That is that nuance which has been thoroughly observed in the project. UNESCO is a very respectable organization. But, when you are one-hundred percent sure that you meet all the criteria which is certified by national as well as by renowned international experts, I think you would agree with me that we could not stay inactive for the threat of hypothetical criticism, especially taking into account the reality that the Cathedral was on the verge of perishing. Bagrati is a national symbol of unity and it would be incorrect to preserve it in the form of ruins. Therefore, instead of just being on the UNESCO World Heritage List, it is better to make something innovative that would become an example for others. And I am sure that UNESCO will appreciate that risk. So far, it has maintained that cathedrals should not be touched but only preserved. This project, however, has shown that there is a solution between the preservation of antiquity, the restoration of a cathedral and the maintenance of it as a church.”

Tabula also contacted Andrea Bruno, the Italian architect in charge of restoration of Bagrati. In Bruno’s view, the plan of Bagrati rehabilitation – the largest part of which was drawn up by Georgian architect Ivane Gremelashvili – is “innovative” and in line with modern standards. As Bruno explained:

“The Bagrati Cathedral and the entire adjacent area, which have been distinguished for its construction stratigraphy for centuries, represent a synthesis of material and non-material values of certain importance. That treasury is acknowledged by international bodies and included in the World Heritage List. An innovative project which is being implemented on the left wing of the construction enables the reconstruction of a gallery which will house a museum in the future. Archeological items and photos of construction of the Cathedral displayed there will allow visitors to get acquainted with the history of Georgia from that angle.

“That project was presented from the very beginning as an innovative gesture in restoration, focused on identifying values of earlier structures and simplifying the reading of palimpsest of the Cathedral. I believe that after the completion of ongoing works, cultural and creative values of the Cathedral and its entire area will be shown more conspicuously.

“My creative plan, which I started to develop in January 2011 along with restoration interventions, involves the identification and study of values of the construction and that part which lies within the adjacent entire archeological area. I think that this is a necessary condition in order to fully meet the requirement of bodies in charge of preservation of cultural heritage, to increase the interest toward the monuments on the Cultural Heritage List and possibilities of determining their values. The work on these issues will start after the completion of the reconstruction process.”

The Cathedral of the Dormition, more commonly known as Bagrati Cathedral, is a monument of medieval Georgian architecture built during the reign of King Bagrat III in Kutaisi. Construction of the Cathedral started at the end of the Tenth Century and, according to the inscription discovered on the Northern façade of the Cathedral, was completed in the year 1003. The first serious damage to the Cathedral occurred during the invasion of the Ottomans in 1691, when the dome of the cathedral caved in as a result of an explosion of gunpowder. In 1770, under the order of General Gottlieb Totleben, Russian cannons fired at the Kutaisi fortress destroyed the upper part of the Cathedral. In the following centuries, the damage worsened.

In the 1950s, the restoration-conservation of the damaged monument started under the direction of Georgian architect Vakhtang Tsintsadze. The initial restoration work was divided into six stages and continued through 1994. That same year, UNESCO experts acknowledged the Bagrati Cathedral, along with the Gelati Monastery, as a World Heritage site and one of the distinguished monuments of Medieval-Age architecture.

The reconstruction work undertaken in the following years, however, has raised questions about the authenticity of the Bagrati and Gelati monuments. In 2010, both sites were demoted to the List of World Heritage in Danger. UNESCO has since repeatedly called on Georgia to halt the reconstruction. The UNESCO preliminary conservation opinion published on 1 June 2012 confirms the fears of experts that the monument may be removed from the List of World Heritage. Whether or not UNESCO will take that very drastic step should become clear during the Thirty-Sixth UNESCO session scheduled for 24 June through 6 July in Saint Petersburg. That will determine whether Georgia will preserve the reconstructed Bagrati as a historically authentic cathedral or a modern replica.

Editor’s Note: The UNESCO World Heritage Committee decided at its meeting in St. Petersburg to postpone any final resolution of the issue of Bagrati Cathedral until the year 2013. A group of international experts will arrive in Georgia in September 2012 to assess the status of the Georgian monuments on the UNESCO Cultural Heritage List.

This article first appeared in Tabula Georgian Issue # 106, published 25 June 2012.