Born into an intellectual family in 1874, she completed the schooling available to her in Tiflis and then worked for a time in Didi Jikhaishi as a Russian language teacher.

Together with other feminists, Tkeshelashvili continued to press for equal participation until Stalin's state policies abolished the Zhenotdel and neutralized their efforts.

From a young age, Tkeshelashvili enjoyed reading works from her father's library and was influenced by displaced revolutionaries who were frequent visitors in her parents' home.

[1] At the end of the 1905 Russian Revolution, Tsar Nicholas conceded to terms that created the Duma, which had legislative oversight, while protecting freedom of conscience, speech, and assembly for the citizenship.

Through her work with Demuria, Tkeshelashvili gained a wider circle of friends and met other women writers, like Ekaterine Gabashvili, who was involved in the feminist movement.

[8] Around 1912, Tkeshelashvili began publishing translations and original works in კვალი (Trace) and the children's magazine ჯეჯილი (Jejili, meaning "wheat shoots"), founded by Anastasia Tumanishvili-Tsereteli.

Tkeshelashvili also increased her literary output, writing for such journals as the Reference Sheet, The Rock, Theater and Life, and the Voice of Georgian Woman among others.

One of her articles from the period, ქალი რევოლუციონურ კულტურის ფრონტზე (A Woman at the Front of Revolutionary Culture), evaluated women's economic dependence on men and confinement by social roles which tied them to the family.

[1] Tkeshelashvili took courses at the Kutaisi Women's Gymnasium and between 1917 and 1918 was active in the Georgian independence movement, following the collapse of the Russian Empire at the end of the 1917 Revolution.

At one such meeting, Tkeshelashvili presented a story, მგალობელი ჩიტების ზეიმი (Mourning Birds Celebration) in which other women acted out the parts.

[1] In 1924, she wrote and participated in the public mock-trial, ქრისტინეს გასამართლება (Judging Christine)[4][7] in which she protested the remnants of capitalism that continued to victimize women.

[4] Her best works were ხუხულები (Hooks) and ასლამაზა (Alamosa) but other well-known pieces included სპილო და მტაცებლები (Elephant and Predators), მგალობელი ჩიტები (Mourning Birds), and ვირი (Donkey).

Her 1990 biography listed her as a writer but since the dissolution of the Soviet Union, Georgian feminists have been exploring their past and reclaiming the stories of early contributors like Tkeshelashvili.