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Յովհաննէս Սարկաւագի գրական ժառանգութիւնը որպէս փիլիսոփայական-էսթետիկական մտքի աղբիւր
(1997) Կարլէն Միրումեան
Hovhannes Sarkavag (1045-1129), also known as Hovhannes Imastaser (the Philosopher) has bequited to posterity quite a number of prose and poetic writings. Of these one particular and lengthy poem (188 long lines), the Ban Imastoutian (Word of Philosophy) stands to be the most important of them all. In fact the poem is a dialogue going on between the poet and a blackbird, the Sarek, on the essence and component parts of art and esthetics.
The poet (Hovhannes Sarkavag the Philosopher) holds that art is nothing but the portrayal of nature and the endeavour of man to do so. Art is based on the natural and what is learned, that is, the talent man endowed with, and the time and work he spends in acquiring from nature the elements of beauty. Sarkavag underlines the fact that art is not just the act of copying nature as it stands though the latter is an immense source of wealth for it. Art is but a combination of cognizance of nature and personal creativity. This means that the artist has to delve deep into soul and spirit of nature and what it means.
In his analysis of the problem, the author, Karlen Miroumian, reaches to the conclusion that nature is the basis of all esthetic creativity, artistic ideal which artists aspire, and the object of artistic and esthetic cognizance, and creation and recreation, though the main stress has to be put on the relationship between man and nature, because of the mere fact that man is hut an indivisible part of the nature's system, while nature, in its turn, is imbued with human relationships, conditions and conditional ex-pressions. This means no less than the harmonization and balance of nature.
If all these are right and irrefutable, than art is but the combination and expression of nature and man's emotional existence. Accepting and holding this approach to the definition of the term, Sarkavag concludes that, hearing the essence of spirituality and rationality in him, man is apt to diverge from the rightful way of natural thing, go astray and be someone else. This act of his is sinning. For the medieval poet-philosopher to sin is nothing but to follow the easy and open road of rationalism; this is why man
(Spirit-Reason) and nature oppose each other without realizing the fact. It is at this point that God intervenes to put right the wrong committed. In art, Sarkavag finds that things are somewhat different; that is why he differentiates the expressions of art and the daily life of man; hence, he concludes, the divine revelation and the supernatural have nothing to do with art which belongs to a completely different category of things. Moreover, besides natural talent artistic and esthetic creation need hard purposeful activity. It is this incessant activity on the part of the artist that leads esthetic expressions to perfection and to the ideal. Yet whatever the means to art and esthetic expression, the medieval poet-philosopher sees art and the rest categorized; according to him art and its expression can be communicative, hedonistic, illuminative and educative.
Whatever the facts, man is the supreme and the most perfect being in the all-inclusive category of nature, yet he is an indivisible part of it. This means an inseparable concord of the two different categories man and nature thus bringing forth an impeccable unity. It is only the wrong use of the free will and reason man is endowed with which has put man and nature astray and has advanced contradiction between them.
In fact, the existence of this contradiction that has prepared the way to human and social diversity in real life has found expression in art. Being made up of the many, human society as such is divided, split up into its component parts and has been pulverized, and hence lost unity in one. This is due to the numerical greatness of man, while the small number of the birds, of which the blackbird is but a representative, has remained true to nature in its entity and free of internal and external contradictions. And hence united. Yet the opposition of oneness to diversity in nature is also prevalent in human society.
In the long run of things one finds that Hovhannes Sarkavag reaches to the conclusion that it is individualism which will at last be established in the society as in artistic and esthetic expression, and though human art is the reflection of the Divine, man will, in time, aspire to the godly thus approaching to the equality between him and God. This means no less than the mostly desired end of union in man and nature of which art is only an expression of the real in man and the godly given to him by nature.
The Sacraments in the Armenian Apostolic and Evangelical Churches
(1997) Vahan H. Tootikian
Հայ Առաքելական Եկեղեցին կ'ընդունի Քրիստոնէական եօթ խորհուրդներ՝ Մկրտութիւն, Դրոշմ, Ապաշխարութիւն, Հաղորդութիւն, Կարգ ձեռնադրութեան, Պսակ. Կարգ հիւանդաց/Վերջին օծում:
Մինչ Հայ Աւետարանական Եկեղեցին կ'ընդունի միայն երկու խորհուրդ` Մկրտութիւն եւ Հաղորդութիւն:
Դեռ աւելին, երկու եկեղեցիները կը տարբերին ընդունուած կամ չընդունուած խորհուրդներու բացատրութեամբ, մեկնաբանութեամբ եւ գնահատութեամբ:
Առկայ այս տարբերութիւններուն հետեւանքով եւս, տարբերութիւններ յառաջացած են նաեւ առընչեալ արարողութիւններուն միջեւ։
Սուրբ պատարագի սրբասացութիւնների մի քանի աստուածաբանական առանձնայատկութիւնները
(1997) Տ. Ներսէս Ա. քհն. Ներսէսեան
This is a comparative study of some aspects of the Divine Liturgy.
The author compares the Hagiologies found in the Divine Liturgy of the Armenian Apostolic church with the Greek, Latin and Hebrew texts,
In his task to find the origins of the Hagiologies of the Holy Trinity, the Trisagion and the Elevation, the author compares texts preserved in the Divine Liturgy of John Borphyrogenes, as well as in the Book of Isaiah, the Book of Revelations and in the New Testament.
The author has devoted great effort to revealing the evolution of these hagiologies, their poetic, pictorial and liturgical meanings.
Նիկողայոս Ադոնցը Հայոց եկեղեցու պատմութեան պատմաբան
(1997) Պետրոս Յովհաննիսեան
The renouned Armenian Byzantologist, Nikoghayos Adontz, is the author of more than a dozen of books and studies all dealing with the history of Armenia and Armenians. All through his life (1871-1942) he taught in various western universities and worked and published on a wide range of Armenian life and history past and present. Yet few of his readers realized how deeply he was involved in church history and what a formidable Armenian Church historian he was.
In spite of the fact that he published quite a large number of works, he left behind a considerable amount of unpublished manuscripts, which are now deposited in the archives of the Hamazgayin Cultural Association, Beirut, Lebanon. Even a scanty reading of this material will prove the existence of works which will open to light the various facts of the Armenian Church history, which, it seems, fell into the scope of the great historian's interests. Of these works mention must be made of the Tonatsouyts (Calendar of Religious Feasts, in Armenian, two different copies of 500 and 600 pages each), Tjashots (Lectionary, in Armenian, 150 pages), Grigor Anavarzetsou Tonatsouytse (The Calendar of Religious Feasts of Grigor of Anavarza, in Armenian, 50 pages), Patkeri Khendire Hayots Yekeghetsou Mech (The Question of Iconography in the Armenian Church, in Armenian, 65 pages), Asora-Parskakan Kristoneakan Yekeghetsou Astitjanakargoutoune (The Religious echeloning system in the Assyro-Persian Christian Church, in Russian, 20 pages), Kristonyaneri Halatzanknere Sasanian Parskastanoum V-VI Dareroum (The Persecution of the Christians in Sassanid Persia in the V-VI Centuries, in Russian, 30 pages), Mee Ech Katoghikosoutian Merdzavor Antsyalits (A Page of the Recent Past of the Armenian Catholicosate, in Armenian, 17 pages), and some 150 pages of studies all pertaining to the Armenian Tjashots. Besides this unpublished material, Adontz has published quite a large number of studies in Armenian, French and Russian and all dealing with the History of the Armenian Church.
Of all the unpublished material "A page of the recent past of the Armenian Catholicosate must be pinpointed not only as the most complete study among the various manuscripts, but rather because it sheds new light on one of the crucial problems the Armenian church ever laced. The Polojenye imposed by the Tsarist authorities on the Armenian Church and nation in 1836 was never accepted and appreciated willingly. It was rather considered a tool at the hands of the imperial authorities easily to rule the newly occupied and annexed Eastern Armenia and subdue to servility the Armenian people and their church. Since then the Polojenye has remained an unsolved question for all those who have tackled with it within the scope of the history of Eastern Armenia.
As many others, Nikoghayos Adontz too has probed the problem of the Polojenye and has reached to the conclusion that it not only clearly defined the rights and duties of the Armenian Church but also regulated the functioning of the church organs, the election of the Catholicos, the Supreme Head of the Armenian Church, it created a synod to help the Catholicos carry on his duties, organized a hierarchical system in the administration of the church itself, made room for the creation of educational centralized system and brought forth various councils all dependent on the ministry of education of the Russian Empire, according to Adontz, the new statute, instead of curtailing and curbing the traditions and rights of the Armenian Church and its head, rather filled the gaps in the organizational system. But, as he put it "This reforming of the Armenian Church did, indeed, give rise to complaints and grievances".
By publishing the manuscript of Adontz and by making use of an abundant annotation added to the article, Hovhannisian helps the reader to have a new approach and better understand the Polojenye, giving to it new dimensions and light, and, moreover, thus rescuing from definite oblivion one of the important studies of the Armenian historian, the "Mee Ech Katoghikosoutian Merdzavor Antsyalits"
Պաղտասար Դպիր. Կեանքը եւ գործը
(1997) Հենրիկ Բախչինեան
The article is the second and last section of an essay, dedicated to the literary, compilatory and editorial work of the XVIII century Armenian grammarian, educator, editor, compilor and poet, Paghtassar Depir, who lived in Constantinople, the capital of the Ottoman Empire, and wrote, compiled and published his own works as well as those of his predecessors. The first section of the article was published in the Hussisian Armenologied Review, vol. I, Beirut, 1993, pp. 54-63. In this second section the author, Henrik Bakhchinian, analyzes both the grammatical, poetical, historiographic and editorial work of Depir and concludes that he was one of the pioneers of the Armenian Renaissance of the XIX century. He was one of the forerunners who paved the road for the growth of the Armenian literary, cultural and intellectual self-expression which, in the long run meant no less than the assertion of Armenian nationalism. To achieve this end, besides publishing various grammar books of Armenian language and prepare compilations of sundry intellectual and philosophical writings both of classical Armenian and western origin, Paghtassar Depir edited and published various hitherto unpublished Armenian manuscripts of Cyril of Jerusalem, Cyril of Alexandria, Hovhan Voskeberan (St. John Chrisostom), Arakel of Suni, Zenob Glak, Grigor of Datev, Grigor of Narek, Simon of Julfa, Davit Anhaght (Davit the Invincible), Porphurus, Khosrov of Antzev, Ignatius of Sevler, Grigor the Illuminator, Grigor of Skevra, and Sargis Shnorhali (the Graceful). Besides these classical and medieval writers and church fathers, Depir published also the Harantz Vark (Patrologia), the Mashtorz (Book of Liturgy), the Jamagirk (Offcium), the Tjashotz (Book of Bible-reading and Prayers), and the Haysmavourk (Book of Saints and Hagiography) which were of prime importance if one wanted to keep intact the Armenian church traditions, hymns and chants, prayers, ceremonies and liturgy.
After examining and giving an account of Paghtassar Depir's intellectual and literary work which lasted for more than half a century and included the publication of more than thirty books, some of which were of more than one volume, Bakhchinian does rightfully conclude that it was due to this fruitful, devoted and dedicated life and work that Paghtassar Depir was respected both by his contemporaries and by those who followed them and justly was called "the mentor of the contemporary biblioghraphical publications" and a "well-versed intellectual".