The Most Poweful & Stylish Site About Armenia and Armenians

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Imagine a time of great political and military struggle, a pagan kingdom ruled by a powerful royal family—this was once Armenia. The kingdom strongly clung to the inherited pagan practices until a strange man ventured to Armenia.

His name was Thaddeus. He was one of the twelve apostles of Jesus Christ. He preached in people’s homes, in hidden underground chambers, in marketplaces, and in the streets. The Holy Spirit spoke through Thaddeus, bringing the words of Christ to his followers. People listened intently, eager to hear; moved by the Good News, many converted.

Rumors of this unusual man reached a young girl named Sandukht, the daughter of Armenia’s king Sanatrouk. Sparked by curiosity, the princess disguised herself as an ordinary woman and followed her nurse to a Christian gathering.

St Taddeus in Armenia

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The Christian faith made such an impact on Sandukht’s life that she decided to convert. She declared her belief in Christ and was baptized, and a sign from heaven designated her as a holy virgin.

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But when the king’s spies reported the news to her father, Sanatrouk was enraged. In an attempt to dissuade his daughter, he promised to allow her to marry the man she loved—an exceptional horseman named Zareh—and to enjoy life in a comfortable palace, surrounded by endless riches.

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Sandukht was not tempted by the lure of this extravagant life. Infuriated by his daughter’s stubbornness, Sanatrouk sentenced the princess to jail. Even Zareh could not change Sandukht’s mind. He visited her in prison, begging her to return to him and to her old faith, but nothing could sway Sandukht.

Meanwhile, the news of Sandukht’s imprisonment spread throughout Armenia. Increasingly, people began to accept the Christian faith, and they prayed for Sandukht’s release.

Moved by his love for his daughter, Sanatrouk summoned the princess to his palace to give her one final chance to renounce her new faith. He asked his daughter to choose between the crown and the sword—either she would renounce Christianity and serve as a pagan princess or face death. Sandukht chose the sword, knowing that Christianity would soon blossom in Armenia. Sanatrouk pitied his daughter, but he could not bring himself to turn back on his word.

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The young princess was subjected to torture and ultimately ordered to be executed. During this difficult time, she drew strength from St. Thaddeus, who encouraged her to be firm, reminding her that she would soon be with her Savior. Shortly after Sandukht’s death, Thaddeus was also executed by the king.

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Zareh was among the many Armenians who were moved by Sandukht’s faith, and who also converted to Christianity. King Sanatrouk continued the orders for the executions of Christians, including Zareh. Their sacrifice planted the seeds of the Christian faith in Armenia—a faith that 300 years later would become the foundation on which Christian Armenia was to be built.

St Sandukht

Sanduxt

Ара

sun

Культ арийского бога ”ара” символизирует могущество солнца, соединил в себе черты силы природы, весны, позже черты божества войны. Данный культ в Армянском нагорье появился в 3-ем тысячелетии до н.э. (А. Терьян, 1995). Однако наскальные рисунки солнца и его символика датируется с еще раннего периода (5-3 тыс. до н.э., Г. Мартиросян, Г. Исраелян, 1971). Днем Ара считалось 21 марта – день весеннего равнодеденствия. С именем Ара связывается также древнеармянское название 6-го месяца года ”Арац” и имя культового армянского царя Ара Прекрасного в которого была безумна влюблена ассирийская царица Шамирам (Семирамида). Согласно многим исследованиям, культ Ара имел общеиндоевропейское распространение: Арес (греч.), Ахурамазд (перс.), Эртаг (герм.), Рам (инд.), Яр – Ярило (слав.) и др. (Г. Капанцян, 1944). По мнению академиков Т.Гамкрелидзе и В.Иванова (1990) общеиндоевропейский корень, значащий “огонь”, содержится в таких словах, как: Арев – душа, позже – Солнце, Арпи – небесное светило, Арарич – (Бог-создатель), Арарат – место Арара, то есть творения, Арян – арийский и других. М. Гавукчян, К. Сукиасян, А. Терьян и др. показывают наличие в словах “Армения”, “Арарат” и “Урарту” (а также в ряде основополагающих словах) общего индоевропейского корня “ар”. Государственное образование Мусасир в урартском тексте названо Ардини, что также, по мнению исследователей, было связано с почитанием древнейшего протоармяно-арийского солнечного божества Арда” (Тер Саркисянц А., 2005). В христианские века в Армении культ бога солнца Ар сохранился в народных сказаниях, архитектуре средневековой и современной Армении.

Nakhichevan

According to the Armenian language scholar, Heinrich Hubschmann, the city of Nakhichavan, which does mean “Place of First Descent” in Armenian, a Biblical reference to the descent of Noah’s Ark on the adjacent Mount Ararat, was not known by… that name in antiquity. Rather, he says the present-day name evolved to “Nakhichavan” from “Naxcavan”. The prefix “Naxc” was a name and “avan” is Armenian for “town”"

Modern historian Suren Yeremyan disputes this assertion, arguing that ancient Armenian tradition placed Nakhichevan’s founding to the year 3669 BC and, in ascribing its establishment to Noah, that it took its present name after the Armenian phrase “Nakhnakan Ichevan” (Նախնական Իջևան), or “first landing.”

“This Αποβατηριον , or Place of Descent, is the proper rendering of the Armenian name of this very city”.

Josephus, Antiquities of the Jews, Chapter 3

Josephus also tells about the ethnic composition of the region:

And after seven days he sent out a dove, to know the state of the ground; which came back to him covered with mud, and bringing an olive branch: hereby Noah learned that the earth was become clear of the flood. So after he had staid seven more days, he sent the living creatures out of the ark; and both he and his family went out, when he also sacrificed to God, and feasted with his companions. However, the Armenians call this place, ” The Place of Descent”; for the ark being saved in that place, its remains are shown there by the inhabitants to this day.

Josephus, Antiquities of the Jews, Chapter 3

Khachkar/Crosstone in Jugha,Naxcavan or Nakhnakan Ichevan

 
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It is obvious that the radical element Ar (or Ara) is a component
of Aratta (or Ararta ). It seems its composition is either Ara(t)ta or Ar-ar-ta, a reduplicated form, which can be compared with Horhoruni, Susuku, Haha, and other reduplicated names. It must have meant ‘Ar’s
place’ (Ara-ta) or ‘the city-land of the Ars’ (Ar-ar-ta). Compare it
with the land-name Baruata, mentioned in Urartian inscriptions,
which was called Bit-Barrua, ‘house of Barrua’, in Assyrian.
Hence the toponymic ending -ta of the form Barua-ta corresponds
to the component bit (‘house, city-land’, cf. Arabic beit,
‘house’) of Bit-Barrua. It seems, then, that Aratta (Ararta) meant
‘Ara’s house’ to which corresponded semantically the names
Ayrarat (‘Ara’s plain’) and Urartu/Ur-ardi (‘place of Ardi-Ara’).

M. Kavoukjian’s
Armenia, Subartu and Sumer

One of the symbols of ARmenia ARyuts (Eagle) also starts with sacred AR root

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“Son of Ara”

It is known that in pagan times each individual in a given tribe was considered to be the son of that tribe or the son of the principal god of that tribe.

As we have seen earlier, King David of the Hebrews, in order to indicate the nationality of the Armenian king Adrazar of Dzopk‘, calls him “son of Ara”, which corresponds exactly to the meaning of the word Armen (Ar-me[-ni]), ‘sons of Ar’ or ‘s…ons of Ara’.

M. Kavoukjian’s
Armenia, Subartu and Sumer

 
Photo by Rafik Studio
 
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Queen of Armenia, Parandzem

paSculptor Hayk Edilyan, “Queen Parandzem”

Daughter of Nakharar Andovk Siwni. One of the
most outstanding heroine queens in the millenia span of
Armenian history. As contemporary and later historians described her
as beautiful, proud, virtuous and patriotic with all her being.
An archetypical ideal symbol of a true caucasian Armenian lady.

She married prince Gnel of the Arsacid royal house
and after his death in a battle, became the wife of king
Arshak II – the Queen of Greater Armenia and Tiknants Tikin (lit. lady of Ladies)

After treacherous imprisonment of Arshak II in the Persian capital of
Tisbon by the Shapuh II in 368, Queen Parandzem became the
rallying symbol and leader of Armenian nobles and the people in
the fight to defend the nation. The focal point of the defence of the
kingdom became the castle of Artagers – where between
368-69 Queen Parandzem led heroic 14 month defence of the
stronghold only to be overrun by numerically overwhelming
forces of Shapuh.

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Painting by Vardges Surenyants

The beautiful queen fought alongside with the Armenian
warriors with a sword and shield to the very end telling her men
that surrender is not an option…

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She was wounded and captured as all of her bodyguard was wiped out as they fell while trying to protect her from the spears and swords of the enemy.

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Like a wounded lioness she was taken to the capital Tisbon in 369,
where the Persian shah told of his amazements of the level of her courage and dedication to her nation and her people.

girl-with-shield-2010Painting by Rubik Kocharian

Queen Parandzem was an important symbol of Armenia and as long as
she was alive she served as a beacon of light and freedom urging the
Armenian people to continue the fight of resistance against foreign tyranny.
Shapuh II albeit unwillingly ordered the execution
od his “beloved” captive lioness as the historians of the time
noted with great deal of  personal remorse and regret.

By Gevork Nazaryan

Solar Symbolism in Armenian Art.

Sun symbolism with slight variation in the number of rays has been included in the seals, frescoes and coat of arms of various Armenian kingdoms, sta…rting at least since the time of the kingdoms of Mitanni and Ararat (Urartu). The solar symbolism was continued by the succeeding dynasties (Orontids, Artaxiads, Arsacids etc.) that ruled the Kingdom of Greater Armenia.

Mitanni

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Erebuni/Yerevan, Fresco in Fortress-City.

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The Imperial Crown of the King of Kings Tigranes the Great features the Artaxiad Coat-of-Arms. Two eagles flanking the eight-pointed star symbolic of the Sun. The solar symbolism featured on the national Mithraic crown of the King of Kings goes back to the dawn of Armenian History and was also included in the royal insignia of the earlier Armenian kingdoms of Mitanni and Ararat (Urartu).

Artist Robert Hazarapetyan

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Written By Gevork Nazaryan, Historian,Armenologist.

For Armenians the pomegranate is one of the most recognizable symbols of the country. In Armenian mythology it symbolizes fertility and good fortune. It was a guardian against the evil eye. At weddings in Western Armenia, a bride would thr…ow a pomegranate and break it into pieces. Its scattered seeds ensured that the bride would bear children. In Van, Armenian women who wanted to have a son would eat bread made from dough mixed with pomegranate seeds. Its importance is attested in historical Armenian manuscripts and stone carvings where it was used as a popular ornament.Сeramic « Հայաստան » (Armenia) By Shahe Haroutunian

 
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One of the most iconic Armenian art movies is that of Sergey Paradjanov named “The Color of Pomegranates”. In the film, the red pomegranate on a table with its wrinkled skin and fresh pulp stands out as an embodiment of the invincible soul of Armenia.
 
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Until the very day pomegranate is a commonly used theme in Armenian art and culture including cuisine. In fact, it has turned into a national cliché. Go to any art exhibition, and you’re sure to see two or three (or more) paintings where the pomegranate is featured. Souvenir shops are filled with ceramic, metal, and textile pomegranates and pomegranate-shaped knick-knacks.Сeramic « Հայաստան » (Armenia) By Shahe Haroutunian

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During weddings in Yerevan a small dried pomegranate called taratosik is given by a bride to unmarried guests as a blessing. After the horrid events of the Armenian Genocide many Armenian artists have used pomegranates as a theme in their lyrics and poems to describe a wide range of emotions, from suffering to hope, rebirth and survival of a nation.Painting “Pomegranates and Khachkar” by Meruzhan Khachatryan

 
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“Hope” – Avetik Chitchian
 
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The pomegranate is one of the main fruits in Armenian culture, the others being the apricot and grapes. Pomegranate juice is famous with Armenians in food and heritage. The pomegranate is the symbol of Armenia and represents fertility, abundance and marriage.Painting by Rubik Kocharian

 
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The pomegranate is the only fruit that Armenians compare to the grape, and it appears in early writings with, or as a substitute for, the grape. Many Armenian fairy tales,epic tales and poems claim that pomegranate wine – especially seven year old wine – is superior to grape wine, and they emphasize that the nature of both fruits is sacred and magical.Painting by Rubik Kocharian.

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Anahit (Armenian: Անահիտ) was the goddess of fertility and healing, wisdom and water in Armenian mythology.Goddess Anahit ( and her fertility symbol Pomegranate, ) by Rubik Kocharyan

Painting by Rubik Kocharyan

 
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King Antiochus I Theos (86-36 BCE) of the Armenian Kingdom of Kamahk (Commagene in Greek)) wearing the traditional Armenian Mithraic solar crown (worn by the Ar…menian kings and queens of the Artaxiad and Orontid dynasties and those that preceded them) depicting the Sun, grapevines and pomegranates. The pyramidal rays on top of the crown (damaged and broken off) are depicting the Tree of Life..
 
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Hamshen dialect is considered to be the oldest Armenian dialect. Pay attention at the head cover of Armenian tribute bearer in Persepolis being the same as Hamshentsi Armenians’.

An Armenian man carries a present for the Darius the Great – a beautiful metal vessel with griffin (homa) handles.

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Hamshen Armenian family.

Look at the same headcover

Hamshentsi

Armenians used to worship the sun. As it’s known it’s ‘Arev’ (Aregak,Arpi) in Armenian. We have songs, poems and prayers dedicated to the Sun. Movses Khorenatsi and Agathangelos wrote about Armenian worship of the sun. Perhaps the oldest witness to this worship in Armenia is Xenophon, who notes that the Armenians sacrificed horses to the sun. Also Armenians prayed toward the rising sun, a tradition which the early Armenian Apostolic Church adopted, so that to this day the Armenian churches are built and the Armenian dead are buried toward the east, the west being the dwelling of evil spirits.

Painting by Hayk Sayadyan.

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MOSES of Chorene makes repeated allusions to the worship of the sun and moon in Armenia. In oaths the name of the sun was almost invariably invoked, and there were also altars and images of the sun and moon. Modern Armenians imagine the sun to be like the wheel of a water-mill. Agathangelos, in the letter of Diocletian to Tiridates, unconsciously bears witness to the Armenian veneration for the s…un, moon and stars. But the oldest witness is Xenophon, who notes that the Armenians sacrificed horses to the sun, perhaps with some reference to his need of them in his daily course through the skies. The eighth month of the Armenian year and, what is more significant, the first day of every month, were consecrated to the sun and bore its name, while the twenty-fourth day in the Armenian month was consecrated to the moon.As to the moon, Ohannes Mantaguni in the Fifth Century bears witness to the belief that the moon prospers or mars the plants, and Anania of Shirak says in his Demonstrations “The first fathers called her the nurse of the plants,” a quite widely spread idea which has its parallel, both in the west and in the short Mah-yasht of the Avesta, particularly in the statement that vegetation grows best in the time of the waxing moon. At certain of its phases the moon caused diseases, especially epilepsy, which was called the moon-disease, and Eznik tries to combat this superstition with the explanation that it is caused by demons whose activity is connected with the phases of the moon! The modem Armenians are still very much afraid of the baleful influence of the moon upon children and try to ward it off by magical ceremonies in the presence of the moon.

Armenian Mythology
by Mardiros H. Ananikian

Painting by Georgi Matevosyan
GEORGI~1

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