Lake Van and the Great Flood
Lake Van, located in eastern Historical Armenia, has long been a subject of fascination and speculation. Historical references, including the ninth edition […]
All About Armenia
All About Armenia
All About Armenia
Lake Van, located in eastern Historical Armenia, has long been a subject of fascination and speculation. Historical references, including the ninth edition […]
Not far from the southeastern part of the Van Sea lies a half-ruined fortress called Hayka-berd and the still-existing village of Astvatsashen […]
The Armenian rock painting from the Geghama Mountains is believed to be a unique observatory—a map for forecasting and recording the chronology of natural disasters, space and earthly catastrophes. This ancient artwork includes symbols representing earthquakes, volcanoes, avalanches (depicted as snakes), solar eclipses (signs of the sun), comet impacts (cross with a tail), and loss of life (crosses). The “Stone Chronicle of Knowledge” The final deciphering and interpretation of this “stone chronicle of knowledge” awaits its discoverers. It is hoped that they will be able to calculate dates and adjust astronomers’ forecast data about the onset of future disasters, potentially predicting events like the “end of the world.” Historical Accounts and Catastrophes The father of history, Herodotus, during his visit to Egypt, recounted his conversation with the Egyptian priests: “Four times during this time (so they told me) the Sun rose contrary to its custom; twice it rose where it now sets, and twice it set where it now rises.” This suggests a significant change in the Earth’s axis of rotation, causing the seas and oceans to inundate the continents, sweeping away everything in their path. This global disaster was accompanied by a huge tidal wave, caused by the attraction of a neutron star. In Babylonian cuneiform texts, the year when the flood occurred was called the “year of the roaring dragon.” Legends about the Great Flood have been preserved by almost all the peoples of the planet. An ancient cuneiform Mesopotamian text narrates the devastating catastrophe caused by Typhon: “His weapon is the flood; God, whose weapon brings death to sinners, who, like the Sun, crosses these domains. The Sun, his god, he plunges into fear.” The Aftermath of the Flood The terrible catastrophe in the form of a flood affected almost the entire population of our planet, leaving a lasting impact on humanity. For example, a quote from the manuscript of Avila and Molina describes the event: “As soon as they (the Indians) reached there, the water, overflowing the banks, after a terrible shaking, began to rise above the shore of the Pacific Ocean. But as the sea rose, flooding the valleys and plains around, Mount Ancasmarca also rose, like a ship on the waves. For five days, while the catastrophe lasted, the sun did not appear, and the earth was in darkness.” After the flood, Typhon began to move away from our planet, but the disasters did not end there. Volcanic eruptions, fires, hurricanes, and a huge amount of volcanic ash, soot, smoke, dust, and water vapor formed, hiding the Sun for many years. This period is described in the Mexican codices as follows: “An immense night reigned over the entire American continent, of which all traditions speak unanimously: the sun seemed not to exist for this destroyed world, which was illuminated at times only by ominous fires, revealing to the few human beings who survived these disasters the full horror of their situation.” After the destruction of the fourth sun, the world was plunged into darkness for twenty-five years. The Armenian rock painting from the Geghama Mountains stands as a testament to the ancient knowledge and understanding of natural disasters, offering a unique perspective on how early civilizations recorded and predicted catastrophic events. Artatsolum Based on the research of V. Vahanyan: Unique rock […]
The Armenian Tiara (Armenian: Հայկական խույր) or Artashesian Tiara (Armenian: Արտաշեսյանների խույր) is a distinctive headdress that symbolized the monarchical power of the rulers of the Artashesian dynasty in Ancient Armenia. This unique hat, shaped like a truncated cone or cylinder, features four or five pointed teeth on top. Around the tiara, a royal diadem is entwined, adorned with two eagles looking in opposite directions on both sides of an 8 pointed star, which served as the family symbol of the Artashesians. Historical Significance The Armenian Tiara is not just a piece of headgear; it is a symbol of the rich history and cultural heritage of Armenia. The Artashesian dynasty, which ruled from 189 BC to 52 AD, was a branch of the Yervanduni dynasty, originating from the seed of the Haykazuni. The tiara represents the authority and legacy of this influential dynasty. Major Pan-Armenian Royal Dynasties Armenian, Hittite, Assyro-Babylonian, Persian, and Greek sources testify to the reign of seven major pan-Armenian royal dynasties in Armenia: In addition to these dynasties, there were five Armenian states, and at different times, local kingdoms and ruling dynasties such as Vaspurakan, Syunik, and Vanand also existed. However, the representatives of the above-mentioned dynasties bore the titles of “King of Armenia” or similar titles of pan-Armenian monarchs. The Armenian Tiara, with its intricate design and symbolic elements, stands as a testament to the enduring legacy of the Artashesian dynasty and the rich cultural heritage of Armenia. It is a powerful symbol of the monarchical power and the historical significance of the Armenian royal dynasties. Artatsolum
In Armenia, four types of ancient hieroglyphic writing are known: Etsagirs (goat writing, 10th – 5th millennium BC), Metsamor hieroglyphs (19th century BC), hieroglyphs from Matenadaran manuscripts (first half of the 2nd millennium BC and earlier), and Hyksos hieroglyphs (17th century BC). Most of the Hyksos alphabet signs are found among Armenian rock carvings, which are akin to stone tablets (comparable to the stone tablets of Yahweh). Hieroglyphic writing systems served as the basis for creating the first alphabetic writing (the Hyksos alphabet). Hieroglyphic writings in their original form were first discovered in Armenia at Metsamor in 1963. These are pictograms carved on the smooth surface of tuff, remarkably similar to those preserved in medieval Armenian manuscripts. The Armenian hieroglyphic system shares several features with the Hittite and Egyptian systems but stands as an independent system. Like Egyptian hieroglyphs, it includes the cartouche line—an oval surrounding the names of gods and kings. However, at Metsamor, the cartouche appears in both oval and rectangular forms. Metsamor hieroglyphs were deciphered by comparing them with hieroglyphs from medieval Armenian manuscripts, where the meanings of the signs were preserved. The Armenian cuneiform code was similar to the cuneiform of the Assyro-Babylonians but had several distinctive features, the most important being the principle of alphabeticity: a group of cuneiform signs in Armenian more often expressed a single sound rather than a syllable. Cuneiform was first discovered in Armenia in 1862, and since then, several hundred inscriptions have been found. The texts are mainly carved on basalt or tuff monoliths in neat lines or stamped on copper and bronze shields, helmets, and vessels. In 1959, S. Ayvazyan restored the true pronunciation of Armenian cuneiform signs using phonetic correspondences and showed that the entire root composition of cuneiform texts has Indo-European origins and that they are all written in the language of archaic Grabar. Investigating the origin of letter signs of ancient alphabets, S. Babayan identified the common principles of their creation. The common and fundamental aspect for the Armenian, ancient Greek, and ancient Indian (Brahmi) alphabets is the worldview aspect. The world’s first alphabet was created through the synthesis and analysis of ancient concepts of the soul and the system of interconnection between the macrocosm and microcosm. It reflects the role and place of humans in the cosmos. S. Babayan demonstrated that the Hyksos alphabet (ancient Sinai script) was formed from 12 zodiac signs, sensory signs (taste – mouth, touch – palm, hearing – wave, sight – eye), and three signs symbolizing eternal divine concepts—Mind, Breath, Time. The ancient Greek and ancient Indian (Brahmi) alphabets incorporated primary elements instead of zodiac signs, while the modern Armenian alphabet includes generalized epistemological concepts—categories (instead of sensations). All this reflects the worldview of the eras that produced them. The last three signs—Mind, Breath, Time—represent the foundation upon which all existence rests. Ancient thinkers attributed special significance to breath, considering it one of the essential properties of the living soul. Many cultures believed that the soul is eternal and that without breath, there is no life (comparable to the system of yoga breathing exercises, in Armenian, the word for soul (Ñá·Ç) is related to yoga). The symbols for angle and seeds represent thinking and growth. According to ancient philosophy, the inner world of a person (microcosm) is a mirror reflection of the outer world (macrocosm), and there is a connection between them. In the Hyksos alphabet, this connection is evident: the signs of the zodiac (macrocosm), the signs of sensations, thinking, and growth (microcosm) in the coordinate system of “mind, breath, time.” It is no coincidence that the ancients linked music with the cosmic system. According to S. Babayan, the alphabet represents a system for modeling the soul (its model). The main properties of the soul, as ancient philosophers believed, were movement, sensation, thinking, and growth. Movement is characterized by the signs of the zodiac. The other signs represent sensation, thinking, and growth. The Hyksos reformed the Egyptian calendar system during their rule. One rotation of the outer circle gives a year, one rotation of the inner circle gives a week. The celestial bodies ruled over the days of the week. They also corresponded to various metals known to the ancients. The week began with the day of the Moon and ended with the day of the Sun. The number 3, like the head of a bull, symbolically represents the Moon (N. Hentze). In the mythology of ancient peoples, thinking was associated with the Moon, and time with the Sun. The Hyksos alphabet begins with the sign of the bull (symbol of the Moon) and ends with the cross (symbol of the Sun among the ancient Armenians), i.e., these two signs symbolize the pair (unity) of opposites – night and day (as well as good and evil, fire and water, etc.). If the signs are written from right to left, the alphabet begins with the cross (symbol of the Sun) and ends with the sign of the bull (symbol of the Moon). S. Babayan divides the alphabet signs into triplets, which, in his opinion, symbolize the days of the week (and accordingly reflect the overall properties of celestial bodies). Seven triplets (sides) represent the model of the week. Rotating, they form a month (one zodiac sign), then the second, and so on until the full calendar circle. All this continuously affects growth, sensation, and thinking (taking into account mind, breath, and time). The biblical words “In the beginning was the Word, and the Word was with God, and the Word was God…” are reinterpreted, gaining concreteness in time and space. V. Ivanov notes that the ancients created not only material elements; for them, the “word” was created, and further “creation was accompanied and guided by the word, expressing a semblance of divine order to comprehend the created elements.” According to the ancients, words came from the heart (soul, in everyday use, we still say “a word from the heart, soul, or from the bottom of the heart, with all one’s heart”), therefore, sounds, with the help of symbols (letters) representing them, also represent models of the soul, cosmos (cf. the works of N. Aroyan on the deciphering of ancient Armenian khazes). Plato once expressed the idea of the close intertwining of astronomy with music. “Perhaps, as our eyes are directed to astronomy, so our ears are directed to the movement of harmonious sounds: these two sciences are like sisters.” Aristotle notes: “Why does everyone rejoice in rhythm, singing, and generally in harmonious sounds? Because we naturally rejoice in movements corresponding to nature.” Considering the above, it can be added that the three sciences – astronomy, writing, and music – are like sisters. M. Khorenatsi, in his account of the activities and campaigns of the glorious and mighty ancestor Aram, indicates that he “instructed the inhabitants of the country (Proto-Armenia) to learn the Armenian speech and language.” The residence (dastakert) built and named after Aram’s governor Mshak was called Caesarea. The native inhabitants of this country, unable to pronounce it correctly, called the residence “Majak” instead of Mshak. Therefore, the sounds of speech they used at that time were insufficient to accurately express the sounds pronounced in Armenian speech. M. Khorenatsi further writes in the section “On Daniel’s Writing” that there lived a certain Bishop Daniel in Mesopotamia, who had writings (letters inscribed in ancient times, arranged in the order of the Greek alphabet). Mesrop Mashtots and Saint Sahak the Great came to the conclusion that “this writing, with its letters received as a gift, was insufficient to accurately express the sounds pronounced in Armenian speech.” They were so ancient that they lagged behind in their development from speech. The letters, arranged in the order of the Greek alphabet and inscribed in ancient times, could have been the source of the Greek or ancient Sinai alphabet. Then Mesrop went to Edessa to Plato (a pagan, the head of the archive). The latter had knowledge of Armenian (through his former teacher Epiphanius, who, having taken the works of the sages from the Edessa archive and retired, converted to Christianity). Plato, recognizing his impotence, turned to Mashtots. “Find him, and your desire will be fulfilled.” Mashtots found Khropanos, a disciple of the deceased Epiphanius, but also achieved nothing. Then he turned to prayers. “And he saw not a night dream nor a vision in reality, but in his beating heart, the right hand revealed to the eyes of the soul, writing on the stone. The stone, like snow, retained the traces of the inscriptions.” And it not only seemed to him, but in all details, it was imprinted in Mesrop’s mind, as if in some vessel. And, rising from prayers, he created the letters, giving them the final form together with Khropanos, by adjusting the Armenian signs in accordance with the complexity of the Greek alphabet. “And when (God) ceased speaking with Moses on Mount Sinai, He gave him two tablets of testimony, stone tablets, on which was written by the finger of God” (Exodus 20:1-18, 31:18). “And Moses turned and went down from the mountain, with the two tablets of testimony (stone) in his hand, on which was written on both sides; on one side and on the other side it was written; the tablets were the work of God, and the writing engraved on the tablets was the writing of God” (Exodus 32:1-7, 15-19). When Moses saw the people worshiping the idol of the calf and dancing, he became angry and threw the tablets from his hands and broke them at the foot of the mountain. “And the Lord said to Moses: Hew for yourself two stone tablets like the first ones (and come up to Me on the mountain) and I will write on these tablets the words that were on the first tablets which you broke; and be ready in the morning…” (Exodus 34:1-8, 28-32). Does this description not suggest that Moses, having ascended the mountain, used rock carvings drawn by the Lord? M. Khorenatsi’s account is an artistic description of the structure and method of the creative process of the inventor, who not only managed to discover and recreate the oldest alphabet (the worldview system of the ancients) but also improved it considering the level of speech development, adding new signs, including vowels. Following the biblical story of Moses, he climbs the mountain and supplements the ancient writings, giving them the final form in accordance with the complexity of the Greek alphabet (actually the Hyksos alphabet, see The Invention of the Languages by M. Khorenatsi & N. Marr, The Invention of the Alphabet). Moses led the people to Palestine when the Hyksos and their cultural monuments were mostly destroyed. The tablets were “given” on the mountain, where the writings of the Hyksos were preserved in the form of ideograms. Moses’ merit lies in the fact that he managed to restore the oldest writings—the Hyksos alphabet, carrying out a reform to make the alphabet acceptable for the culture of the Semitic peoples. The alphabet was named the ancient Sinai alphabet. S. Babayan managed to reveal the principle of the construction of Mesrop’s letters, which is that all 36 letters are formed by combining two dissimilar elements, where the first type (main) belongs to one of eight homogeneous groups symbolizing Aristotle’s philosophical categories, and the second type (secondary) to a group symbolizing philosophical elements: earth, water, air, fire, and ether. The quantitative ratios between the homogeneous groups of the main elements are 1:2:3:4:5:6:7:8, and between the secondary elements are the proportions written about by the famous Plato. Mashtots could not take an arbitrary number of elements, as in his era, the concept of beauty and harmony, which are associated with symmetry and proportion, prevailed (cf. with the method of decoding khazes proposed by N. Aroyan). A similar model is found in the ancient Greek and ancient Indian alphabets, only the concept in the latter corresponds to ancient Indian philosophy. The Hyksos worldview served as the basis for creating the world’s first alphabet. Based on it as a prototype, the Phoenician, ancient Sinai, and Greek alphabets were created. The Hyksos alphabet was used by the inhabitants of Proto-Armenia to teach the Armenian speech and language to the inhabitants of other countries. With the destruction of the Hyksos dominion and culture, the writings were destroyed. […]
Portasar, one of the oldest archaeological sites in the world, dates back to the era when Plato’s Atlantean civilization is said to have vanished due to the Great Flood. This site, located in a historical area of Ancient Armenia, has been hailed by David Lewis Williams, a professor of archaeology in Johannesburg, as “the most important archaeological site in the world.” The Urfa Statue and Obsidian Connections Portasar is renowned for the discovery of the “Urfa” statue, notable for its obsidian stones set in the eye sockets. Interestingly, the richest deposits of obsidian are found in the areas of Lake Van and Mount Arteni in Armenia, while other significant deposits are located in Central and South America. This connection is intriguing, as it suggests a possible link between these distant regions. Obsidian in Ancient Civilizations The ancient Peruvian Inca and Mayan empires, known for their advanced civilizations, did not use iron or metals for tools or weapons. Instead, they utilized obsidian glass or stone for jewelry and weapons, which were as effective, if not more so, than sharp swords. This use of obsidian highlights the material’s importance across different cultures and continents. Mount Arteni: A Stone Age Weapons Factory In 2015, National Geographic published an article stating that scientists had dubbed Mount Arteni in Armenia a “Stone Age weapons factory.” This site was a central component in what appears to be a far-reaching Paleolithic industry, further emphasizing Armenia’s historical significance in early human development. Artistic Similarities There are striking similarities between the Mesoamerican reptile sculptures of the Middle Ages and the Armenian reptile carvings found at the bridge at Khachigyugh and the lost churches in the forests. These carvings also resemble the animal figurines discovered at Portasar, suggesting a shared artistic or symbolic motif across these ancient cultures. Artatsolum Image source: Ancient Armenoids
In his 2001 book, “The Armenoids in Prehistory,” Boris Moishison, a Jewish professor at Columbia University, delves into the profound influence of Armenians in the ancient world and their impact on early civilizations. Moishison’s research highlights the significant contributions of Armenians to various aspects of early human development. Pioneers in Agriculture and Temple Building According to Moishison, Armenians were among the first to introduce and develop the culture of agriculture and temple building. Their expertise in these fields laid the foundation for the growth and sustainability of early civilizations. The Old Testament even refers to a branch of the Armenians, underscoring their historical significance. Masters of Metallurgy and Trade In addition to their agricultural and architectural achievements, Armenians were also experts in metallurgy and trade. Their advanced skills in these areas facilitated the exchange of goods and ideas, contributing to the economic and cultural development of the region. Unique Presence in the Holy Land One of the most remarkable aspects of Armenian history is their unique presence in the Holy Land of Jerusalem. Unlike Christians, Muslims, and Jews who share their quarters, Armenians have their own distinct territory and quarter in Jerusalem. The Tower of David is also located within the Armenian quarter, further emphasizing their historical and cultural significance. Recognition by Renowned Archaeologists The influence of Armenians on early civilizations has been acknowledged by some of the greatest archaeologists of the 20th century, including Flinders Petrie, Talbot Rice, and Elliot Smith. Their excavations have uncovered numerous ancient Armenian burial sites and temples, providing tangible evidence of the Armenians’ advanced civilization. Professor Moishison’s work sheds light on the pivotal role that Armenians played in shaping early human history. Their contributions to agriculture, architecture, metallurgy, and trade, along with their unique cultural presence in Jerusalem, underscore the enduring legacy of this ancient civilization. Artatsolum Image source: Ancient Armenoids
In 1720, German engraver Christopher Weigel created a detailed map of the Caucasus region, depicting the territory of Armenia as the land between the Black and Caspian Seas. This map is a significant historical artifact, providing a glimpse into the geographical understanding of the region during the early 18th century. Armenia’s Cultural Flourishing During this period, Armenia was experiencing a cultural renaissance, marked by the emergence of a new generation of artists, songwriters, and lyricists. Leading this cultural movement was the legendary Armenian poet and musician Sayat-Nova, also known as the “Master of Songs.” His contributions to Armenian music and poetry have left an indelible mark on the nation’s cultural heritage. The Enduring Christian Faith In his book “Armenia: The Survival of a Nation,” British historian and author Christopher Walker highlights the strong Christian faith of the Armenian people. He writes, “Almost without exception, the Armenians are Christians, though often this is social rather than religious. Their devotion to their ancient Church as the main embodiment of their traditions and as the only institution that remained alive when their country was enveloped in the dark power of foreign empires is extremely strong.” This devotion to their ancient Church has been a cornerstone of Armenian identity, providing a sense of continuity and resilience through centuries of foreign domination and cultural challenges. The map by Christopher Weigel, along with the cultural and religious insights provided by historians like Christopher Walker, offers a rich tapestry of Armenia’s historical and cultural landscape during the early 18th century. Artatsolum
A fascinating film showcases a selection of coins from Ancient Armenia, highlighting their significance in the modern history of the country. Much like maps, these coins serve as indisputable proof of Armenia’s ancient history, standing as a testament to its rich cultural heritage. The Significance of Coins in Armenian History In the context of Armenian history, coins hold the same importance as maps. They are tangible evidence of the country’s past, offering insights into the reigns of various kings and the dynasties they belonged to. These artifacts challenge the narratives of neighboring regions and underscore the depth of Armenia’s historical legacy. The Challenge of Historical Knowledge Despite the wealth of information these coins provide, they also reveal how little we know about the history of Armenia. Watching the film, viewers are encouraged to identify the kings depicted on the coins, their dynasties, and significant events during their reigns. This task is not easy, as many of the kings and their policies remain unfamiliar to most people. The Effort Behind the Film Creating such a film requires painstaking work, often undertaken by dedicated individuals. One notable resource contributing to this effort is PeopleofAr, a platform that delves into the rich history of Armenia through various artifacts, including coins. Their work helps to shed light on the lesser-known aspects of Armenian history, making it accessible to a broader audience. Ancient Armenian coins are more than just currency; they are a window into the past, offering a glimpse into the lives and reigns of Armenia’s kings. Through the efforts of passionate historians and platforms like PeopleofAr, the rich tapestry of Armenia’s history continues to be unraveled and appreciated. Artatsolum
Bird images have long been a significant part of Armenian historical artistic culture. From pottery and sacred writings to the numerous flags of Armenian dynasties, bird motifs are ubiquitous in ancient Armenia. This article delves into an archaeological study of ancient birds in Armenia, highlighting their prominence in Armenian art and culture. The Popularity of Bird Images in Armenian Art Bird images are the most popular theme in Armenian art. Bowls and jugs from the 11th-13th centuries BC feature images of eagles, storks, doves, peacocks, wild ducks, and other bird species. Despite their stylistic form, these images are brief in their expression and are believed to serve as prototypes for the bronze figurines of waterfowl characteristic of the Late Bronze Age. The Lchashen Settlement and Faunal Diversity For thousands of years, the figurines of the Lchashen settlement have preserved their faunal diversity. However, direct or indirect human impact poses a threat to many bird species that need urgent attention. Birds are truly wonderful creatures, admired for their ability to fly, rare beauty, and the rich coloring of their plumage. Evidence of this admiration can be found in the drawings of birds on rocks, painted pottery, bronze belts, stamps, coins, and mosaic art. Archaeological Evidence and Analysis The identification of the diversity of bird species and evidence of how people specifically used birds in the prehistoric past are possible only from archaeological remains. Among the early references devoted primarily to the analysis of bird remains, the work of DAL (1952), based on archaeological materials from one-year excavations in the medieval city of Dvin, is especially important. Various archaeological publications report numerous bird figures originating from rock paintings in the mountains of Gegham, Syunik, and Vardenis, as well as other extensive ridges in prehistoric sediments, temples, decorative-cultural or ritual-totemic ceramics, bronze ceramics, and other objects from archaeological excavations. Vishaps: Prehistoric Stone Sculptures Many hundreds of years ago, before the rise of Christian Armenia, the prehistoric (Middle Bronze Age, 19-15 BC) people who inhabited this area worshiped stone sculptures commonly known as vishaps. These vishaps are huge steles, 5.06 meters high and 0.6 meters wide, fish-shaped or rectangular monuments with carved images of birds resembling cranes, along with designs of bull or sheep heads and skins. Bird images in Armenian art are a testament to the enduring fascination and reverence for these creatures. Their presence in various forms of art and archaeological remains highlights their significance in Armenian culture and history. Artatsolum
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