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Միջնադարեան Հայաստանի «Դուինի ջութակ» նուագարանի մասին
(2017) Զաւէն Կնեազեան
In 1953, a beautifully decorated bottle-shaped glass receptacle was excavated from the archaeological site of Dvin, ancient capital of Armenia, and dated from the late-10th-early-11th century. The finding was considered groundbreaking, since one of the decorative figures depicted on the receptacle was a musician sitting on the floor in a typically eastern position. Unlike traditional Oriental musicians, he held a violin-like instrument on his shoulder.
In 1961, a funerary monument (khachkar) was found in Harich, in the Artik district of present-day Armenia. It also depicted the figure of a musician with a proto-violin on his shoulder, sitting on the floor in an eastern position. The inscription on the monument includes the date 1245.
These instruments combine typical Western and Oriental elements:
* Both are bowed instruments with lateral pecks from the medieval violin family.
* Both musicians are not standing, but sitting on the ground in an eastern position.
* Both musicians hold their instruments in "a braccio" position, which was totally unknown in Armenia and in the Orient at that time.
* Both findings are very close chronologically, as the items belonged to the same historical period, roughly speaking.
The presence of these instruments in Armenia leads us to conclude that they were called jutak (ջութակ), an unknown string instrument mentioned by poet Grigor Narekatsi in the tenth century. The name is currently used to refer to the modern violin.
Աստուածամարտական երեւոյթ հայոց մէջ ԺԳ. դարում
(2017) Աշոտ Մանուչարեան
The canons from the councils held in Sis (in 1243) and in Dzagavan (in 1270) verify the existence of a heretical movement in the XIII century in Armenia. It is called a "theomachy movement" as the adherents expressed outrage against God, faith, angels, baptism, priests, graves, etc. This unprecedented phenomenon is explained by the hoplessness caused by the brutal and heavy rule of the Selcuks and the Mongol-Tartars.
The Armenian Church had no choice but to involve high ranking clerics and lay authorities to address and fight this issue.
The adherents, among whom were monks, were subjected to both physical and canonic punishment, such as cutting of the tongue or piercing it with wire and pulling them within the settlement for one day, fining them in favor of the poor, anathematizing them, depriving them of Communion and Baptism, denying them a Christian burial ceremony, etc.
The fight against this phenomenon proved successful as the trend was stopped in the XIII century.
Ֆրիկի «Գանգատ»ը
(2017) Հենրիկ Բախչինեան
In the 13th century, due to the rapid expansion of secular life, a new era started in Armenian poetry. Anthropocentric ideology was combined with the ever-absolutely-ruling Godcentrism, which to some extent had already started to emerge in the works of Grigor Narekatsi.
This new phase of Medieval Armenian poetry was started by Hovhannes Pluz Yerznkatsi, immediately followed by Frik. The latter, a very godly person and a glorifier of God, even dared to rebel against God, thus becoming the first theomachist poet in Armenian and perhaps in world literature.
Frik's rebellious spirit is expressed mainly in his complaint poems, where he castigated the injustice ruling in the world. Especially in his famous "Against Fate" poem. Frik whips world-possessing Fate for this injustice and calls him a "crooked judge." In the same poem Frik indirectly blames God as he is the conductor of Fate.
Frik's theomachist spirit is more deeply and sharply expressed in his famous masterpiece "Complaint." The poet addresses his words not to Fate, but directly to God, the supreme judge.
Frik's first complaint directed against God exposes the differences between nations, inequality, and their intolerance towards each other. The poet also complains that Christ left unpunished the executioners who crucified him. He was especially angry and disapproving that God ignored the Armenians, though they were Christians.
Frik also complains that the Creator has unjustly distributed life to men. The length of human life, the possibility of having children, external physical and health conditions, internal mental, moral and intellectual abilities are distributed unfairly. These inequalities generate social inequality, which Frick presented in an unprecedented manner, considering God, who stands on the side of the cruelly strong and unjust, as the defining figure of inequality.
Frik's theomachy, however, is not atheism at all. He was a devout believer in God and a glorifier of God. His rebellion, rather, stemmed from his kindness and warm patriotism. Therefore, at the center of the creativity of the very godly and theomachist, in his ambitions and thoughts the human being also appeared beside God the Creator, sometimes in the image of an Armenian person.
Հայերէնի բարբառների եղանակաժամանակային կառուցատիպերի պատմական զարգացումը
(2017) Գայիանէ Գէորգեան
The study of the evolution of tense and mood category forms in Armenian dialects from the viewpoint of integral formal and semantic description of the verbal system of the Armenian language is of central importance. This historical development underwent significantly diverse changes in the course of time and in various Armenian districts and dialects.
This analytical paper highlights how the number of tense and mood forms underwent significant changes. Certain temporal forms of Old Armenian dropped out of use giving way to new formations, and the structure of the verbal paradigm and the ways of expressing grammatical categories of the verb were modified.
Ջուրը հայոց հաւատալիքներում եւ կենցաղավարող ծէսերում
(2017) Վաչագան Աւագեան
Water is a natural, life-giving, and purifying nutrient. Due to these features water has been sanctified, and given a cult status since ancient times. More recently it has been connected with more developed religions and mentality. Water has been seen as a spiritual nutrient too,
The cult of water has had an essential role in Armenian mentality too. Water is mentioned a lot in Armenian beliefs and abundantly in Armenian folklore. It has a considerable role in various sacred ceremonies and rituals of the Armenian Church. Water was and is still commonly used, specifically in the sphere of Armenian domestic and household rituals.
In this article the author mainly highlights the rite of hand-washing which takes place after the burial ceremony and before heading to the place of mourning. The author argues that the rite of hand-washing may have a connection with Pilate's hand-washing during Christ's trial. According to the author, the phenomenon has undergone some changes but has maintained the essential idea that by washing their hands those in the burial procession proclaim their innocence in relation to the death of the defunct.