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La Cathedrale Saint-Gregoire L'illuminateur et Saint-Elie au fils des 65 ans
(2024) Pere Raffi Hovannessian
Պէյրութի կեդրոնական շրջանին մէջ գտնուող հայ կաթողիկէ Ս. Գրիգոր Լուսաւորիչ-Ս. Եղիա եկեղեցիին հիմնարկէքը կատարուած է 1956ին: Սակայն կառոյցին արմատները կՆրթան դար մը ետ' 1850ականներ, երբ նոյն վայրին մէջ կառուցուած էր հայ կաթողիկէ Ւսուքազ (Ղուկաս) մատուռը: 1950ականներուն Լիբանանի հայ կաթողիկէ համայնքին թիլին աճը, խորհրդարանին մէջ երեսփոխանական ներկայացուցիչի մը յառաջացումը, երկրին սրընթաց բարգաւաճումը անհրաժեշտութիւն դարձուցին նոր եկեղեցիի մը կառուցումը: Մատուռը նուիրաբերող հայ կաթողիկէ Ւսուքազ ընտանիքը պատրաստակամութիւն կը յայտնէ նուիրաբերելու մատուռին հողը' հայ կաթողիկէ պատրիարքութեան: Այնուհետեւ, կաթողիկոս-պատրիարք, կարտինալ Աղաճանեանի ջանքերով եւ այլոց գործակցութեամբ, Պէյրութի սրտին վրայ վեր կը խոյանայ հայկական ճարտարապետութեան իւրայատկութիւններով օժտուած այս հոյակապ տաճարը: Յօդուածը կ’ընէ պատումը եկեղեցիին եւ անոր անցած վերջին հարիւրամեայ ընթացքին: Յօդուածին կցուած են արխիւային երկու փաստաթուղթեր'նորակառոյց եկեղեցիին ճարտարապետական մանրամասնութիւններուն առնչուող:
Megerian Carpet ընկերութեան քայլերը՝ հայկական գորգի վերածնունդին ուղղութեամբ
(2024) Յասմիկ Սայադեան
The paper outlines the outstanding work the Megerian Carpet company has initiated in the Republic of Armenia. Originally from Chomaklu, the Megerians founded their company in 1917 in New York as an antique rug selling and repairing company. After the proclamation of independence of Armenia, the company established a branch in Armenia, with the intention of promoting the Armenian rug in the world market. In 2002 the company bought Haygorg, the old Soviet Armenian rug factory in Yerevan, and made it its Armenia headquarters. This step gave the company further impetus to restore old Armenian rug-weaving traditions like the usage of Armenian knots, the dying of the wool using natural materials including plants and other natural dyes, fixing the color of the dye on the wool, and matching the density of the knots to the number of knots in a square centimeter in ancient Armenian rugs. The company set up branches in different regions and towns of the Republic. These were to be further enlarged had there not been the Covid 19 setback and international market crises. Furthermore, the company produced copies of a number of renowned old Armenian rugs and designed and created new sets of Armenian rugs inspired by Armenian history. The company produced new versions of the oldest rug, the Pazyrik. The company toiled, strategized, promoted and marketed the Armenian rug on the world rug market with 21st century marketing methods, making it competitive and in demand. Moreover, the company has developed an extensive social outreach program, whereby it campaigns for philanthropic and humanitarian support from different circles of Armenian society as well as cultural centers through fundraisings and auctioning several of its new, original and unique rugs.
Զապէլ Եսայեանին ուղղուած յայտնի եւ անյայտ նամակներ (1907-1908 եւ 1922-1927)
(2024) Վարդան Մատթէոսեան
In 1972 Armand and Arsen Pushman, sons of the celebrated Armenian American painter Hovsep Pushman (1877–1966), donated his collection of letters to the Museum of Literature and Art “Yeghishe Charents” of Armenia. The donation was received by philologist Babken Chookas zian (1923–1997), then deputy director of the Matenadaran of Yerevan, who was visiting the United States. The collection included 129 letters addressed to various writers, artists, and public figures. Chookas zian, who published various samples of that collection in 1973, stated that the collection was numbered and paginated in alphabetical order, and that the last number was 240, but that the whereabouts of the remaining letters were unknown. In 2016 the author found a folder at a private residence in New York containing copies of various letters from that collection addressed to Pushman, to his wife Hulia Shaljian-Pushman (1874–1966), and to her friend Zabel Essayan (1878–1943), the celebrated writer, which belong to the Pushman collection. This article presents a lengthy and detailed introduction and commentary and publishes the 17 letters written to Essayan (1878–1943), along with her letter to Hulia Pushman, with extensive footnotes. The publication includes the six letters to Essayan and her letter to H. Pushman already published by Chookas zian in the modified orthography of Soviet Armenia, which are reprinted in their original text with more detailed footnotes. The originals of two of the copies, written by Yervant Chavoushian (1865–1915) and Karen Mikaelian (1885–1941), do not appear to have been sent to Armenia, and it is likely that those two copies are an indication of the 111 letters of the Pushman collection whose current location is unknown.
Անդրանիկ Ծառուկեանի նամակները Նիկողոս Սարաֆեանին (1947-1958)
(2024) Արթիւր Շէնեան
The collection presents fourteen letters from prominent Diaspora Armenian writer Antranig Dzarugian (1913–89) to French-Armenian poet Nigoghos Sarafian (1903–72), written between 1947 and 1958. The letters provide valuable insights into the literary landscape of the time, reflecting Dzarugian’s editorial approach and his unique perspectives on a range of literary phenomena. They also highlight his strong personal bond with Sarafian, marked by Dzarugian’s generous support for Sarafian’s work. The correspondence serves as a crucial resource for understanding the dynamics of Armenian literary circles in the mid-20th century Diaspora.
Մօրուս (Մարգար) Ստեփանի Հասրաթեանի գիտական ելոյթները Բէյրութի Հայկազեան համալսարանում (1965-66)
(2024) Վարուժան Պօղոսեան
Professor Morus Hasratian (1903–1979), a renowned philologist, archeologist and historian, was a prominent figure in Soviet Armenia. He was the director of the History Museum of Armenia for several years and held high-level administrative positions both in educational and academic institutes. In an unprecedented step in Lebanese Armenian history, professor Hasratian was invited to Haigazian University (College then) as a visiting professor to teach Armenian history, Armenian archeology, and Armenian art history. He taught both at Haigazian and the newly founded AGBU Yervant Hussian Armenological Center. Besides, he gave weekly evening lectures on Armenian history and culture. Dr. Hasratian was the first scholar to be invited to Lebanon for such a long period. It followed the Cold War meltdown and helped in reducing rivalry between the contesting Lebanese Armenian parties. Professor Hasratian was originally invited as a visiting professor for a year. However, due to the success he encountered, he was asked to extend his stay for a third semester. This was endorsed by the Soviet embassy in Beirut. The paper briefly outlines his biography and educational endeavors in Beirut. It includes as well two unpublished documents which Hasratian wrote, which have been preserved in the Armenian National Archive. One is a report he submitted to the Soviet authorities about his stay and cultural activities in Beirut. The other seems to be the introductory part of probably one of his first public lectures in Beirut, where he introduces himself and the reasons which made him undertake this educational mission to Haigazian and his feelings about and perceptions of Lebanon.
Հայաստանի Հանրապետութեան եւ Ծոցի արաբական երկրների միջեւ տնտեսական կապեր. ռիսկեր ու հնարաւորութիւններ
(2024) Վիլէն Մնացականեան
Cooperation between Armenia and the Arab world has deep historical roots, but nowadays a significant part of the potential of this relationship has not yet been realized. The research is aimed at finding out the current level of existing relations in terms of both trade turnover and investment attraction. First of all, the author emphasizes the high level of concentration in existing relationships: on the one hand, it is expressed by the significant dominant role of the United Arab Emirates in the relations, on the other hand, by the sale of one or two products in the commodity structure of the trade turnover. Summarizing, the author states that Armenia’s complex approach to cooperation with the GCC countries should include strategic product positioning, compliance with regulatory requirements, logistics optimization and investment attraction. By effectively addressing these issues, Armenia can strengthen its economic ties with the GCC, support its economic diversification goals, and achieve long-term growth in the region. This multifaceted strategy, based on advanced international experience and scientific principles, will allow Armenia to benefit from the opportunities provided by the GCC market and secure a prominent role in the economic landscape of the region.
Մահկանաբերդցի Սադուն Բ.ի Աթաբէկ, Ամիրսպասալար տիտղոսներն ըստ վիմական սկզբնաղբիւրների (1256-1284)
(2024) Ռուբէն Գասպարեան
Sadun II Artsruni Mahkanaberdtsi, a figure from the 13th century, stands out as one of the prominent individuals of the late Armenian authoritarian regime. He earned recognition and honors due to his remarkable victory over a giant Mongol wrestler in the presence of Ilkhan Hulavu and the entire Mongolian Council of Elders, likely in 1256/57. According to the historian Kirakos Gandzaketsu, the prince took part in the Assyrian campaign of 1258/60. In 1261/62, he was a “trial interlocutor” serving as a translator during the trial concerning the rebellion of Georgian king David E., whom he exonerated. By 1271/72, the prince ascended to the position of atabek, amirspasalar of the “Vilayet of Georgia”. Concurrently, he undertook the role of hejub-manager of the Avagyan feud, likely holding this position until his death in 1284, and was buried in the renowned monastery of Haghpat.
The Protestant Schools in Musa Dagh During the 1920s-1930s
(2024) Vahram L. Shemmassian
Հայ աւետարանականները առաջինն էին որ դպրոցներ բացին Մուսա Տաղի մէջ, 19րդ գարու կէսէն ետք: Ընդհանրապէս երկսեռ այս հաստատութիւններու աշակերտութեան մէկ երրորդը կը կազմէր իգական սեռը: Ա. համաշխարհային պատերազմին, շուրջ 4200 մուսատաղցիներ Ցեղասպանութեան դիմադրելէ ետք փրկուեցան ֆրանսական ռազմանաւերու միջոցով եւ փոխադրուեցան Եգիպտոս, ուր չորս տարի (1915-19) բնակեցան Փոր Սայիտի գաղթակայանին մէջ: Այնտեղ կատարուած կարգադրութիւններէն էր Սիսուան վարժարանին հաստատումը' փոքրերուն համար, առանց յարանուանական խտրութեան: 1919ին գաղթականները վերադարձան ծննդավայր, ուր ապրեցան քսան տարի՝ մինչեւ 1939: Աւետարանականները, միւս վերադարձողներուն նման, վերականգնեցին իրենց կրօնական եւ կրթական կեանքը՝ Պիթիասի եւ Եողուն Օլուքի մէջ: Վարժարանները, որոնք հիմնականին մէջ մանկապարտէզ-նախակրթարան էին, մնացին փոքր եւ համեստ միջոցներով: Ուսուցիչները կը պաշտօնակոչուէին դուրսէն, գլխաւորաբար Հալէպէն: Նկատի առնելով Մուսա Տաղի տնտեսական խեղճութիւնը, դպրոցի հոգաբարձութիւնները չէին կրնար հաւասարակշռել ամավարկը եւ մեծապէս կը յենէին Հալէպէն եւ Հայկական Բարեգործական Ընդհանուր Միութեան Դահիրէի կեդրոնատեղիէն գալիք նիւթական օժանդակութեան: Հակառակ դժուարութիւններուն եւ թերացումներուն, ձգտում ունեցող շարք մը շրջանաւարտներ, մասնաւորաբար Պիթիասէն, շարունակեցին իրենց ուսումը Նի- կոսիոյ Մելգոնեան կրթական հաստատութեան եւ Ալեփփօ քոլէճի մէջ, հասնելով ասպարէզային բարձր դիրքերու: Մուսա Տաղի վերջին տարին ճակատագրական եղաւ, երբ տնտեսական եւ քաղաքական վիճակը վատթարացաւ: Թուրք քննիչներ այցելեցին դպրոցները, քննելու թրքերէնի դասաւանդման վիճակը: Մինչ թրքական իշխանութիւնը հաստատուն փաստ մը դարձաւ, Մուսա Տաղի հայերը ձգեցին տարածքը եւ հաստատուեցան Այնճարի մէջ, Լիբանան, ուր վերականգնեցին իրենց փշրուած կեանքերը, նաեւ՝ կրթականը: Ուսումնասիրութիւնը հիմնուած է արխիւային նիւթերու եւ առաջնային աղբիւրներու (նամակներ եւ յուշեր) վրայ:
Պետականաշինութեան հիմնախնդիրները ՀՀ Գերագոյն խորհրդում 1990-1995ին
(2024) Լիլիթ Զաքարեան
Based on the archival materials of the Armenian parliament and the publications of a number of outstanding actors of the time, the paper focuses on a very dramatic period of the modern history of the Republic of Armenia. It was a time of transition from being a part of the Soviet Union to becoming an independent state, a very complicated process indeed that spanned from 1990 to 1995. The paper highlights the diverse approaches and perceptions of the MPs concerning a set of topics which were matters of principle during that time. Particularly, the framework for the crafting of the state in the Proclamation of Independence is highlighted; it included the contents of the proclamation, and its legitimisation, which eventually led to the referendum. The paper studies how legislative scope and range were shaped, in line with the shifts that were taking place in the political arena as new parties were coming to life and parliamentary blocks were being formed. These changes pluralized political life in Armenia, enabled the generation of novel ideas and the raising of national issues and their resolution. The paper explains the reasons for and causes of structural changes that took place, like the presidency and the constitutional power of both the presidential office and the parliament. The paper touches on the issues of state defense and security, as well as their place in the state structure.
Գոյականի առկայացման քերականական կարգը ժամանակակից հայերէնում. որոշեալութեան եւ անորոշութեան ենթակարգեր
(2024) Եուրի Աւետիսեան
The semantic aspects of the grammatical category of occurrence and the forms of grammatical expression have often undergone changes during the historical development of the Armenian language. That is why they have often become the subject of examination and discussion in Armenian grammars. The question was addressed more or less thoroughly by M. Abeg hyan, H. Acharyan, S. Abrahamyan, G. Jahukyan, M. Asatryan, H. Petrosyan, H. Cholakyan, A. Yeghiyayan and others. A large amount of work has been done, a very detailed and thorough examination has been made. However, we believe that certain classification points and principles need to be reviewed and reformulated today. This study is aimed at that goal. In the accepted or proposed infrastructural divisions of the grammatical category of determination, definiteness, on the one hand, and receptivity, enumerability, and addressability, on the other hand, are sometimes directly opposed to each other. Meanwhile, determination is specific to all aspects of the joint. All types of joints, placed on the corresponding words, show the differentiation of the subject. In other words, the grammatical meaning of definiteness is characteristic of all other types of articles, except for one indefinite article. That is to say, in the grammatical category of determination, on the one hand, uncertainty (absence of definition) and, on the other hand, certainty (existence of definition) with all its manifestations are in semantic opposition. According to this, two subcategories should be distinguished in the category under examination: the subcategory of definiteness, the form indicators of which are accusative (s, d, partly n/h), adverbial (s, d) and determinative articles (n/h), and the subcategory of uncertainty, whose formal indicators are zero form (general indefinite) and one indefinite article (partial indefinite). The grammatical category of occurrence is presented in this article with this approach. The description of the joints itself was carried out by comparative examination, combining the characteristics of Eastern Armenian and Western Armenian. Key words – grammatical category, grammatical meaning, grammatical form, determination, subcategory of definiteness, suborder of indefiniteness, articles, accusative, individual, demonstrative, Eastern Armenian, Western Armenian.
Օտար յատուկ անունների տառադարձութեան սկզբունքները Մասն ԺԱ.-վրացերէն
(2024) Արմէն Միքայէլեան
The article is the last in the series that deals with the transliteration (transcription) of foreign proper names into Armenian (the way to transcribe foreign names in Armenian characters). The references of the previous articles are: 1) The Principles of Transliterating Foreign Proper Names into Armenian, Part I – Middle Eastern Languages [in Armenian], Haigazian Armenological Review, 40:2020, pp. 341–64. 2) The Principles of Transliterating Foreign Proper Names into Armenian, Part II – Classical Languages (Ancient Greek and Latin) [in Armenian], Bazmavep, CLXXVIII(1–2):2020, pp. 304–36. 3) The Principles of Transliterating Foreign Proper Names into Armenian, Part III – French Language [in Armenian], Haigazian Armenological Review, 41:2021, pp. 443–66. 4) The Principles of Transliterating (Transcribing) Foreign Proper Names into Armenian, Part IV – English Language [in Armenian], Handes Amsorya, CXXXV:2021, pp. 197–246. 5) The Principles of Transliterating (Transcribing) Foreign Proper Names into Armenian, Part V – German Language [in Armenian], Bazmavep, CLXXX(1–2):2022, pp. 277–303. 6) The Principles of Transliterating (Transcribing) Foreign Proper Names into Armenian, Part VI – Italian and Spanish Languages [in Armenian], Bazmavep, CLXXX(3–4):2022, pp. 271–300. 7) The Principles of Transliterating (Transcribing) Foreign Proper Names into Armenian, Part VII – Russian (Compared to Other Slavic) Languages [in Armenian], Haigazian Armenological Review, 42/2022, pp. 169–98. 8) The Principles of Transliterating (Transcribing) Foreign Proper Names into Armenian, Part VIII – Chinese Language [in Armenian], Bazmavep, CLXXXI(1–2):2023, pp. 272–305. 9) The Principles of Transliterating (Transcribing) Foreign Proper Names into Armenian, Part IX – Japanese Language [in Armenian], Haigazian Armenological Review, 44/1:2024, pp. 85–106. 10) The Principles of Transliterating (Transcribing) Foreign Proper Names into Armenian, Part X – Hindi Language and the Indian Sub-Continent [in Armenian], Bazmavep, CLXXXII(1–2):2024, pp. 361–405. The present part of the series is devoted to the transliteration (transcription) of names from the Georgian language. The principle of transliteration is based (as in the whole series) on classical Armenian spelling, definitely ruling out the “Soviet” transliteration on one side and the “Cilician” one on the other. After a reminder of the phonological and orthographic principles of Armenian transliteration mentioned in the first articles of the series, the author scrutinizes the most problematic sounds and phonemes of the Georgian language and confirms or proposes (based on numerous examples) a coherent and principled transliteration for each of them.
Թադեւոս Տոնոյեան. Աշխարհ, որ ընդլայնում է գոյութեան սահմանները (Ա)
(2024) Վաչագան Գրիգորեան
Thadevos Donoyan is one of the unique figures of 1990–2000 Armenian literature. His poetry reflects the changes that have taken place in contemporary Armenian poetry. These changes include both the vector and the limits of what is being said. It is not interesting anymore to engulf the reader in “beautiful lies”. Indeed, poetry has cast out the naturalist picture and the traditional poetic perception of time and space. Traditional poetry used to generate its poetic world through external scenes, and by giving meanings to phenomena which lied outside the poet. Contemporary poetry has freed itself from these and has the inner world as its axis. Both time and space are reinvented exclusively in the individual feelings and contemplations of the poet. They are as unique as the uniqueness and the only-ness of a man. These new assessments, which are included in the inner spiritual and rational world of the poet, are of universal rather than of a daily nature. One can always feel in Donoyan’s poetry the drama of man, who is found between heaven and earth. Man is always inclined towards heaven, but the earth always keeps him imprisoned within its gravitational space. Both books, Sermasdgḥ (Star Sperm) and Mayreru Hreshdagner (Angels of Mothers) enlarge the limits of Armenian poetry. Besides, the interrelatedness of heaven and earth have always interested Donoyan. These complement each other and defend the balance in the universe. Donoyan’s other book, called Yergrits Hedo (After the Earth), mostly depicts social life with its inner contradictions. Moral losses lead humans to catastrophic results. Unlike Donoyan’s previous compilations, which were self-confessing, in Yergrits Hedo the poet registers time with its unending losses. Eventually, the poet recommends that the way out is through efforts to return to traditional values (responsibility, mutual help, careful treatment of humans and their milieu, etc.).
Հայ-սպանական մշակութային կապերու դրուագներ (ԺԹ. դար-1930ականներ)
(2024) Արծուի Բախչինեան
The article explores significant episodes of Armenian-Spanish cultural relations from the 19th century to the 1930s, divided into three main sections. The first section, “Literary Connections,” highlights Spanish themes in the works of Armenian authors and the initial translations of Spanish literature into Armenian. The section “Armenian Intellectuals and Artists in Spain” focuses on notable Armenian figures, including Vardges Surenyants, Vahram Papazyan, Kostan Zaryan, and Armen Ohanian, who traveled to Spain, drawing inspiration from its culture and integrating it into their work. The final section, “Cultural Relations in Soviet Armenia,” discusses particularly the period during the Spanish Civil War (1936–1939), when Soviet-Armenian publications featured extensive writings on Spain and its art. Armenian writers began to compose works about the Spanish people's struggle, and Spanish cultural events were organized in Yerevan. These accounts of Armenian-Spanish cultural connections demonstrate the mutual appreciation between two geographically distant nations with limited historical interaction, showcasing several notable episodes of cross-cultural recognition.
Ակնարկ հայկական արձանագրութեամբ կամ հայապատկան կնիք կրող պղնձեայ դգալներու եւ պատառաքաղներու
(2024) Անդրանիկ Տագէսեան
The study focuses on the diverse forms of copper forks and spoons, which have Armenian inscriptions or have Armenian names inscribed in Arabic or Latin letters. Unlike copper bath tasses, tasses used for clay, plates, or divits, the forks and spoons are molded rather than hammered and shaped by hand. And unlike the above-mentioned utensils, none of these have any dates or any data that hint at their provenance. The author notes that no knives with such inscriptions have been found yet, though surely the craftsmen produced knives as well. Basing his analysis on an extensive collection of forks and spoons that belong to three antique collectors, the author has been able to discern 29 different inscriptions, of which 21 are found on the spoons, 6 on the forks and 2 on rounded spoons (used by chemists for measurement). Certain inscriptions are found both on spoons and forks as well. Most of the inscriptions are in Arabic letters, a few are in Latin script and one is in Armenian. Most of the inscriptions bear only the first name of the craftsman, though some have the family name too. The author lists the names inscribed on these utensils: ADOUR, [H]AGOP, [H]Akob, [H]Akob Miryati, Artin, Badrik, BEDROS, Bedros Hadjian, Garabed, George, George D., GORG.K, Isken[ian], Isken[ian] Peniamin, Isken[ian] Sarkis, Jemberjian, JOZEP, Jozef, Kevork, Nazar, Sahag, Kenadjian Sarkis, Nazar, Nouri, Ohanian, Sarafian Sarkis, and a stamp with the initials S and Sh.
Յովհաննէս Թումանեանի «Անուշ» պոեմը եւ Կոմիտասի համանուն անաւարտ օպերան
(2024) Արփի Վարդումեան
The first version of the poem “Anush” by Tumanyan was published in 1892 in Moscow, in the second volume of his poems. As is wel known, in the early 1900s, the author completely revised al his poems, including “Anush”. This collection was published in Tbilisi in 1903, and after reading it, Komitas had the idea of creating an opera based on the poem “Anush”. Komitas had received a fundamental musical education in Berlin, where he became acquainted with the principles of musical theater, the opera genre and the laws of classical opera. He decided to write an opera based on the poem “Anush”, since this plot most closely corresponded to his plan to create a truly folk vocal and musical work. He intended to subordinate the laws of classical opera to the spirit of Armenian folk musical thinking; in the end a new type of musical work would result, which might be a synthesis of these two styles. Unfortunately, Komitas’s plan remained unfinished, although there are more than 20 arias, duets, choral and orchestral parts from this opera. Based on this material, in 1973, in connection with the 50th anniversary of Tumanyan’s death (March 23), the opera “Anush” by Komitas was staged in Yerevan by singers-students of the Komitas Conservatory and the Romanos Melikyan Colege of Music. The performance was a great success; it was repeated in the Armenian House of Artists -at the end of the Scientific Conference at the Institute of Art of the Armenian Academy of Sciences; it was even broadcast on television.
էջեր հայկական ռոքի պատմութիւնից Մաս Ա.- Հայերը ռոքում
(2024) Մանէ Խառատեան
In the context of Armenian reality, the origin and manifestations of rock music have not been studied at all in the academic field, while the presence of Armenians in world rock culture and the localization of rock in Armenia are very interesting and significant and are worth studying. This series of articles consists of three separate papers, the first of which is devoted to the Armenian presence in the rock music of different countries. Diaspora Armenians, using the mass nature of music, highlight issues like historical justice, freedom and other concepts in their lyrics. This gives them the opportunity to raise issues which seem intractable in the political sphere. Alongside the abovementioned historical and noble ideological issues they touch upon topics of human loneliness, love and brotherhood, etc.
Misattributions of Armenian Mafrashes and the Myth of the Shahsevan Pile Rug
(2024) Arto Tavukciyan
Յօդուածագիրը, ինչպէս իր նախորդ յօդուածին մէջ («Յամեցող սխալապաւոումներ 20րդ դարու արեւմտեան գորգագիտութեան մէջ», ՀՀՀ, ԽԳ(2):2023, էջ 439-48), այստեղ եւս կը ներկայացնէ արեւմտեան գորգագիտութեան մէջ տեղգտած այլ յատկանշական սխալ մը՝ Շահսեւան յորջորջուած գորգերու եւ նախշատեսակներու մասին: Հիմնուելով ամուր փաստերու եւ վկայութիւնն եր ու վրայ, հեղինակը կը վիճարկէ Փարուէզ Թանատլիին փաստարկները, որով վերջինս 18-19րդ գարուն հիւսուած կարգ մը գորգեր «Շահսեւան» կը համարէ: Թատւքճեան կը հաւաստէ, թէ գորգ կրնայ հիւսուիլ միայն նստակեաց ժողովուրդներու կողմէ, մինչ թափառական ցեղախումբեր կարճատեւ կը մնան որեւէ տարածքի վրայ, իսկ Շահսեւան ցեղախումբին բռնի նստակեացութիւն պարտադրուած է 1930ականներուն: Միաժամանակ, յօդուածագիրը 19րդ դարու հայկական գորգեր օրինակ բերելով ասպարէզ կը կարդայ Թանաւոլիի, որ ի յայտ բերէ գէթ մէկ հատիկ օրինակ' Շահսեւաններուն հիւսած 19րդ դարու այս գորգերէն: Այդուհանդերձ, հեղինակը կը բացատրէ նաեւ այս յորջորջումին տարածումին շուկայական պատճառը, ընդգծելով որ գնորդին կամ հաւաքորդին համար աւելի գրաւիչ կը հնչէ ունենալ գորգը ցեղախումբի մը, որուն կիները լեռնային արօտավայրերուն վրայ գորգ կը հիւսեն քիչ ատենով նստակեաց ըլլալով հանդերձ...:
Ցլի եւ օձավիշապի աստղային-եղանակային կոդերը հին հայոց աշխարհայեացքում
(2024) Գագիկ Մարտոյեան
Basing their work on Balto-Slavic Bilin epic tales, prominent Russian philologists V.V. Ivanov and V.VI. Toporov reconstructed the myth of the duel between the bull-shaped God of Thunder and the Serpent. In the battle the Serpent is defeated and disappears into underground waters. Ivanov and Toporov claim that in Middle Eastern versions of this myth, the winner may be the Serpent. Besides, the Sun may also prevail over the Serpent. Armenian beliefs have preserved two types of snake images. One of them is the horned Zagrosh, which is defeated by the bull Tavros. In the other version, the Snake fights the Ox and eats it. Armenian beliefs have two types of oxen: Black and Red. During the spring of the Palm Sunday holiday, in the Armenian tradition Black Ox is promised a rope around its neck that will choke it, while the Red Ox is promised a rope with a button. In the epic poem of Daredevils of Sasun, the White devil (symbol of winter), sits on the Black Ox and, moving around the world, ruins it. The Elder Mher (Mithra, the sun) kills them both, thereby driving away winter and bringing the spring and the New Year. At the same time, the Serpent also takes part in the victory over the ox. In the universe they are embodied in the constellations of the Taurus and the Serpent. In spring, when the Sun leaves Taurus, the latter disappears below the horizon. At the same time, the Snake appears on the horizon. Thus, while simultaneously “killing” Taurus, both the Sun and the Snake bring the long-awaited spring. During this period, the Snake is perceived as a good beginning, but during summer it is perceived as harmful. In the middle of summer, the snake is in its culminating position in the sky and blocks the paths of heavenly waters (rains), generating heat and drought. During autumn, when the Sun enters and leaves the constellation of the Serpent, the latter disappears below the horizon. One gets the impression that in the autumn both the Sun and Taurus simultaneously triumph over the Snake. Thus, Taurus and the Snake remain above the horizon in turn for 6 months, thereby becoming the harbingers of spring (Snake) and winter (Taurus). Popular beliefs considered large fish to be snakes, naming one of them Leviathan and the other Legeon. Legeon revolves around Mount Ghafar – Ghoja (the personification of the domed, mountain-like sky) for 6 months and brings with it spring and autumn showers and floods. This series of weather changes is depicted on the stone stellae (Vishap) which have a sacrificed bull carved on them. From its mouth spring waters flow strongly. Below the carving of the bull, sometimes silhouettes of spring birds, of storks and cranes, can be seen. They both symbolize the Gemini constellation, into which the Sun enters in the spring, after killing the Taurus and gaining the final victory over winter. In the mountains Vishaps also look like huge stone fish, which are derived from the image of the Serpent.
Սուրբ Ներսէս Շնորհալու Թուղթ ընդհանրական երկը
(2024) Արման Մալոյեան
The General Epistle (Encyclical letter) of Catholicos Nerses IV Shnorhali (1166-1173) occupies a unique place among the monuments of Armenian canonical (ecclesiastical) law. Spiritual and political figure of the 12th century, great thinker, teacher, poet and musician, Nerses Shnorhali is a prominent representative of Armenian culture. Shnorhali is the founder of a number of new directions in medieval Armenian lyricism and prose (story in verse, historical-patriotic mournful chant, historical poem, panegyric in verse, message and wish, children's poem, pedagogical and educational poem, riddle). The literary heritage of Nerses Shnorhali (sharakans, taghs, gandzs, meghedi, liturgies, as well as chants) is one of the peaks of Armenian spiritual literature; its significance goes beyond the scope of national monody art. It is not a surprise that already during his lifetime. Nerses Shnorhali was named the Sweet Singer (Ergetsokh). The prayer "I confess with faith" has a special place among the poetic works of Nerses Shnorhali, yet the pinnacle of his poetic legacy is the poem "Jesus the Son." The works of Nerses Shnorhali are also rich in deep philosophical judgements. The pinnacle of Shnorhali's prose is the work "Conciliar (General) Epistle", which is the first kontakion of the newly ordained Armenian Catholicos Nerses IV Pahlavuni (1166), which was addressed to the entire Armenian nation. The "General Epistle" ("Encyclical letter") consists of two main sections: the first is addressed of all classes and estates of Armenian society, Shnorhali pinpoints unhealthy relationships, arrogance, sins and vices manifested in public life, and warns about their harmful consequences. At the same time, deeply concerned with the restoration of society, Shnorhali, a prominent theologian, philanthropist and national figure gives recipes and ways to get rid of these evils. Shnorhali's exhortations are not abstract, they are not detached from life and reality, but are argued and supported by specific historical events, biblical references and everyday examples. Thus, by establishing norms of behavior and lifestyle for representatives of different estates and classes of society, Shnorhali tried to improve the health of Armenian society through prohibitions and exhortations. These also had practical significance and application. In accordance with this, the "General Epistle" is not only a valuable historical document and literary work, but also a moral work, a source of knowledge of law, which has not lost its relevance and value in our days.
Հայոց ազգագրութեան թանգարանի աղօթագորգերի հաւաքածուն
(2024) Անի Մխիթարեան
Due to their artistic decoration and particularly their design, prayer rugs are classified as alter rugs. They have a ritual significance. Today they are common in the Muslim world and are used during namaz prayers (Aghotagorg in Armenian). Aghotagorgs were widespread in Armenian carpet weaving culture and were made in large quantities. In fact, in addition to being used in churches, these were also used for commercial purposes. The Museum of Armenian Ethnography preserves about thirty Aghotagorgs (without columns) enriched with Armenian ornaments with symbolic significance. They differ in their types, variety of architectural arches and symbolic images. The paper divides the Aghotagorgs into two major groups: a) those having the interior design of an Armenian Church and b) those which have pillar designs. The paper focuses on the first group of Aghotagorgs and categorizes them according to their design.

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