It is clear That the contemporary era and the historical events taking place in it have the greatest impact on Rustaveli, so any researcher behind a carefully covered artistic curtain has to identify the poet’s era. One such remarkable passage in the story of India in the murder of the bridegroom and the artistic contexts that developed after that murder, which, in turn, must be directly related to a well-known fact in Georgian historiography, the Orbeli uprising of 1178. We see Tariel locked up in his feudal city after the assassination of his son-in-law, and historical sources say that a direct descendant of the Bagrationi royal family – Demetre/demna the Prince – spent several months in Lore prison (present-day Armenia) with Amirspalar Orbeli. In short, there is such a parallel between the fictional text and his historical references – the city of the Panters and the Lorraine, unknown to us. In one place the prince is locked so that he can nor cross the border, ans in another. One of the heroes is Tariel and the other is Demna. They both need help. Probably, that is why the Indian knight warns and calla for help to his supporters, or as Rustaveli tells us “everyone’s army”. We think that on the Rustaveli canvas, one detail of the painful story of outsing of David the Builder, the son of David V, Demetre/demna the Prince, the usurpation of power by Giorgi III, or the painful destruction of Prince Demetre is also traced in the pains of Tariel locked up in an Indian city.