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Papers by Saak Tarontsi
ARURAT Academy of Armenian, Caucasian, Asia Minor, Anatolian and Near Eastern Studies, 2024
The following article titled “Hurrian Tree of Life as Historical-Originational Foundation for Mea... more The following article titled “Hurrian Tree of Life as Historical-Originational Foundation for Meaningful Symbol of Urartian Sacred Tree” is devoted to preliminary research efforts of finding the essential data concerning the overall role of sacred symbols in the continuity of ethnic-linguistical traditions of ancient entities after the fall of their statehoods. As the initial effort of identifying the major indicators of civilizational continuity of ancient ethnicities in conditions of changing their statehood formations, the search for special objects with ritual-worshipping importance is initiated. From the numerous choices of special objects, the particular type of sacred object with specially attached symbolical meaningfulness is chosen – the sacred symbol of Tree of Life or Sacred Tree. At the beginning of the article the observation of the particular geographical region of Asia Minor is conducted, with the underlining of importance of Anatolian civilizations and statehoods for the ancient world’s civilizational evolutionary development. The proposition of division of Anatolian entities into “worlds” or “domains” is presented, and, based on the civilizational identities and linguistic principle, the modeling of Anatolian civilization is asserted by the base of division on two parts – West Anatolia as Hatti/Hittite and East Anatolia as Hurrian-Urartian domains, with the note that such division is established based on certain chronological periods of historical events’ happenings, and, in no way doesn’t intend to exclude previous or later civilizations of the region from their historical roles. Maps of Asia Minor in such context are provided in the article. Then, two important innovative elements of archeological research are brought to attention of the readers; at first, it is a proposition of Archeohistory which is employing the general principle of recreating in details the mentality, psychology and behaviorism of ancient people, ethnicities, entities and societies, the first initial step of which will be the painstaking authentication of symbolic meaningfulness of their sacred values that will serve as reliable tool for reconstructing their worldviews, traditional thinkings, ritual-worshipping practices, religious concepts and mythological perceptions. For achieving such an ambitious research goal at its initial experimental stage, the Combinative method is proposed, that includes utilization of important and relevant archeological-historical data collecting, fact-finding and analyses of archeological, historical, linguistic, ethnographic, mythological, literary resources, trying to reconstruct all aspects of life of ancient societies by extensive usage of various recreational models of Arheohistorical method.
At the middle of the article main thematic focus is shifted on the particular symbol of Tree of life or Sacred Tree, and the source of its origin is examined. Particularly, the first picturing-writing system of the pre-civilized world – the pictograms (petroglyphs) of Armenian Highland brought to the attention of readers, with the amazing discoveries in the mountain slopes and tops of Armenia, where tens of thousands of pictographic images are found. Although, many authors dedicated their remarkable works on the classification of such pictograms (petroglyphs), the vast number of those objects yet not researched and their classificational models needs further updating. And, the overall symbolic meaningfulness and ritual-worshipping signification is absolutely unexplored, making the remarkable pro-civilizational pictograms (petroglyphs) writings system the predecessor of further early-civilizational systems, based on pictogram-symbols, hieroglyphic, cuneiform and later alphabetic writing systems. The remarkable photos of Tree of Life (Sacred Tree) from Armenian mountains are provided in the article, making the subject of that very first writing system of Asia Minor (Anatolia) not only relevant to our research, but also present the significant interest for further scientific studies. Also, some images bronze artifacts of animals with some elements of Tree of Life (Sacred) Tree on their horns are also provided.
Then the thematic research of the article continues with the search of various literary sources of Sumerian and Hurrian origin, where the subject of Tree of Life (Sacred Tree) is the part of the plot and the religious-mythological significance of that sacred object is revealed. The article establishes the Hurrian Tree of Life as the Historical and Genealogical Basis for the Meaningful Symbol of the Urartu Sacred Tree. It explores the diverse cultural religious and mythological motifs of this sacred symbol in the mythology, religion and literature of the ancient state of Arata, as well as among the Hurrians and other important significant civilizations and cultures of Asia Minor and Near East. First, the article establishes the main trends in the emergence and worship of this sacred symbol in both early Hurrian and later Uruatri/Urartu civilization. After this, the fundamental laws governing the transition of the Hurrian symbol to the Urartian one is examined, the classification principles and the typology of the iconographic variations of the Tree of Life (Sacred Tree) in Urartu are discussed. The paramount importance of the original Hurrian prototype of the meaningful symbol of the Tree of Life in the emergence of this symbol in the cultural and religious life of the ancient state of Urartu is emphasized. Overall, the topic of the article is fully devoted to various manifestations of the Tree of Life symbol (Sacred Tree) in ritual-worship and historical-mythological foundations of the most ancient civilizations of Hurrian domain – Arata, Hurri, Mitanni, and in other significant state formations of Asia Minor and Near East such as early Sumer and later Ashur (Assyria). The most ancient civilizational comprehension of the Tree of Life (Sacred Tree) is established in religious-philosophical concepts of monuments of historical literature and art. In this article, in the process of detailed scientific analytical research and concretization of the historical-evolutionary evidence base, the following was established: the Urartian symbol of the Tree of Life (the Sacred Tree) completely descended from Hurrian and was its evolutionary continuation. Later, in the era of the state of Urartu, it completely became Urartian in its religious-worshipping context, thematic content and traditional meaningfulness. The Urartian symbol of the Tree of Life (the Sacred Tree) had vital functions in the iconographic system of Urartian art and was of paramount importance in the symbolic hierarchy of Urartian iconographic elements. The article has some remarkable photos of various Hurrian, Urartian and Assyrian artifacts that contain elements of sacred tree, including seals, sculptures, objects of metalwork, etc.
At the end of the article the fundamental conclusions regarding the ancient belief-cult genesis origins of the sacred symbol of the Tree of Life (Sacred Tree) are given in six statements, and the mythological narratives synthesized in the various chronological and civilizational aspects and historical-developmental (evolutionary) conditions in broader terms of historical-archeological context are explained.
ԽԱՐԲԵՐԴԻ «ՎԻՇԱՊԱՅԻՆ ՔԱՐԸ» ԵՎ ԴՐԱ ՄՇԱԿՈՒԹԱԱՌԱՍՊԵԼԱԲԱՆԱԿԱՆ ՀԱՄԱՏԵՔՍՏԸ – (Հայերեն լեզվով) – THE “DRAGON STONE” OF KHARBERD AND ITS CULTURAL-MYTHOLOGICAL CONTEXT – (in Armenian language) , 2023
On the way from Harputa to Eliazig, two km east to the historical district of Kharberd in Western... more On the way from Harputa to Eliazig, two km east to the historical district of Kharberd in Western Armenia, a giant natural boulder is located on the edge of the road leading to the vineyard Gyolu, in the area rich in springs. This sprawling rock, half buried in the ground, resembles a serpentine sculpture of a mythical colossal animal with two identical smaller protrusions on both sides. Elderly locals call this rock formation in Turkish “'ejderha taşı” which means “dragon stone”. Analyzing the semantic cluster “stone - dragon – devouring / sacrifice – holy - petrification - source - water – girl / bride / pregnant woman – saint’s miraculous grave/cave” expressed in the legends of the “dragon stone” of Kharberd, it becomes obvious that we are dealing with the myth of dragon petrification, which is well known in Armenian folklore. At the same time, the characters present in those traditions preserved their typical archaic elements, although they underwent a formal (however not substantive) transformation by the Muslim population living in Kharberd and its environs. The source of these myths and the image of the dragon in general could be the Armenian-Muslim contacts in the Kharberd region before the Armenian Genocide, or the substratum of Armenian memory preserved in the current (converted) population of Kharberd. The presence of the dragon image in the Kharberd Valley and its archaic substrate indicates that the population of this region was essentially integrated into the general historical and cultural developments of the Armenian Highlands.
“Historical-Philological Journal” (in Armenian language) – «Պատմա-Բանասիրական Հանդես» (Հայերեն լեզվով), 2020
In 2015, on the northeastern slopes of Greater Masis, in the area between the city of Igdir and t... more In 2015, on the northeastern slopes of Greater Masis, in the area between the city of Igdir and the village of Aralik, in the mountainous alpine zone, lying in the ground in a half-inclined position, a “vishap” stela was discovered with a bull image, measuring approximately 380 x 1120 x 60 cm. From clusters of stones around the stela, it can be assumed that the monument is in its original place, probably on the platform/cromlech. In the area of Mount Masis “vishap” stelae have never been discovered before. The only data in this regard relates to writer Atrpet, who mentions them in the region “Mankasar-Kizil Ziaret (Voskisar sanctuary)”, in the highlands near the Sinak and Shishtapa/Zor mountains, actually not far from the recently discovered “vishap”. The “vishap” found on the slopes of Greater Masis, once again testifies to the system of ideas concerning this mountain by the Armenian and partially by the neighboring peoples, in which it serves as a kind of residence for vishap/dragonheroes, giants and peoples worshiping dragons, and where the Vardavar holidays were held. Archaeological data supplement the mentioned image. The fact of presence of the “vishap” on Masis is combined with the evidence towards giant tombs, tower structures and canals on the mountain, analogues of which are known also from other areas of the “vishap” distribution. The symbolic nature of Masis, restored through combination of archaeological, historical and oral data, is not accidental, since this mountain is the highest and the most attractive landmark of the Armenian Highland and the most important factor in creating of local identities.
ARURAT Scientific Academy of Near Eastern, Anatolian and Caucasian Studies, 2020
This article is dedicated to various types of ancient coinage of Antique World, with references t... more This article is dedicated to various types of ancient coinage of Antique World, with references to their denominations and values, as well as with quality illustration accompanied by explanatory numismatic data and typological analyses, including Denomination, Country of Origin, Region, City, Time of Issuance, Weight in Grams and Diameter in Centimetres. The observed coins are belonging to the Hellenistic period, qualifying as Archaic and Classical coins that played the significant role in the development of Ancient Coinage.
ARURAT Scientific Academy of Near Eastern, Anatolian and Caucasian Studies, 2019
This very article is dedicated to Pagan Armenian temple of Garni, one of the most unique and exce... more This very article is dedicated to Pagan Armenian temple of Garni, one of the most unique and exceptional surviving masterpieces of ancient Hellenistic architecture that was dedicated to Armenian Sun god Mihr and Hellenistic Sun god Mithra. Article extensively covers the history of the monument since prehistory, Urartian period through times of Paganism in Armenia, as well as painstakingly presents all related aspects of Mithraism in ancient Armenia, Asia Minor, Rome and elsewhere in the ancient world. Many remarkable historical events are brought to readers' attention, as well as numerous ingenious artifacts and examples of various artistic forms of Armenian Mithraic worship are shown in greater details. Article is quite informative in terms of unfolding the most interesting history of Garni as the unique monument complex of ancient Armenia, comprising from mighty fortress, royal summer residence palaces, baths decorated with rich mosaics and pagan temple of the Sun dedicated to god Mihr/Mithra. Photographic examples of writings in Urartian cuneiform, Greek and Armenian languages found in Garni and its immediate vicinities also shown to readers. Article is aimed to be as informative and useful as possible, with immediate scientific task of uncovering many interesting and intriguing aspects of ancient world’s Hellenistic Pagan Architecture and Mithraic Pagan Religion in ancient Armenia and many other parts of ancient world.
“History and Culture” Scientific Journal (in Armenian language) –«Պատմություն և Մշակույթ» Գիտական Ամսագիր (Հայերեն), 2018
The immediate theme of the article entitled "Animals and mythological images of lions and bulls i... more The immediate theme of the article entitled "Animals and mythological images of lions and bulls in the iconography of the Urartian bronze belts" is a detailed description of images of lions and bulls in the artistic thematics of the Urartian bronze belts, their peculiar functions in the system of artistic concepts of Urartian iconography, and then a specific symbolic meaningfulness that harmoniously represents the aesthetic-artistic specific features, pictorial-thematic reflections and semantic-ideological principles of these ornamental-ornamental and animal-symbolic elements. At the beginning of the article, the role and significance of images of lions and bulls as sacred animals in the subjects of the Urartian bronze belts and also their important composite components and components of design are presented. Then on the above examples of these iconographic elements, their specific symbolism is emphasized in the mythological context of the religious and ritual system of the Urartian religious worldview. In the beginning, we get acquainted with the images of lions and bulls as simple animals in the iconography of the Urartian bronze belts, and then represent more complex images of Urartian mythology, where sainted beings of a composite character are represented, consisting of elements of lions and bulls, as well as other animals and humans (for example, winged bulls and lions serving as pedestals for Urartian deities). Also here is shown a remarkable and diverse typology of images of lions and bulls on the basis of textual descriptions of real examples, images and illustrations of the Urartian bronze belts. The immediate topic of this article will be continued in a number of other articles in this series that will be presented later. We hope that this specific topic and the more extensive topics directly related to it will be disclosed in more detail and receive a positive current development of analytical studies of the presented scientific material.
AMISOS, 2018
The following article titled “Ritual-Worshipping Scenes and Architectural Images in the Iconograp... more The following article titled “Ritual-Worshipping Scenes and Architectural Images in the Iconography of Urartian Belts” is a continuation of articles in series of monographic writings wholesomely devoted to detailed research of iconographical content of Urartian bronze belts, including the fundamental creative-constructive components and indispensable composite parts, thematical content, narrative scenes, realistic traditional reflections and mythological symbolism of iconographical images. The main thematic focus of this article is the detailed research of Urartian Ritual-Worshipping Belts, especially in the context of determining their content according to the imagery of ritual-worshipping and ceremonial-religious scenes, and architectural landscapes. The task of research included the finding of main bibliographical sources containing relevant images, data and explanatory statements about Urartian ritual-worshipping belts; creating a database of this particular belt types according to sources of publications and places of safekeeping, whether big or small museums or private collections; identification of main themes, narratives and scenery contents; assessment of the overall design and ways of fastening of those belt types; assessing the overall geometrical proportions of those belt types and the implications of the “narrowness” that resulted in their conditional definition as of Narrow Belts; classification and typological assessment of their main and secondary iconographic elements, including various human characters, different sacral objects of individual or collective use; special sacral objects of worship such as single or multiple layered Moon-Crescents and Sun-Disks; diverse human activities and occupations; various scenes of architectural landscapes, castles, fortifications and their details; images of common animals found only in this belt type; images of only imaginary animal type (fish) of Urartian belts; images of mythological (composite) winged beasts made of animal and abstract parts; images of mythological (composite) creatures made of animal, abstract and human parts, as well as attributes of religious-mythological fashion; images of some other elements, not typical, but sometimes found in the iconography of ritual-worshipping belts, such as symbols of Sacred Tree and Winged Sun-Disk; images of musicians and dancers; images of various musical instruments; images of religious acts such as performing rituals ceremonies, libation, praying, worshipping and making wishes to souls of the deceased, spirits of real animal, mythological beasts and creatures, souls of divinities and gods. The key formula of the transfer of the urartian material culture into urartian spiritual culture is contended, affirmed on a base of the iconographical contexts and thematic narrative contents of the ritual-worshipped belts; as well as validated through law-governed principles of urartian traditional-religious approaches and major mythological-philosophical concepts that was a base of urartian mindset of symbolical meaningfulness. At the end of the article some hints about the possible nature of urartian artistic conceptuality is given in the context of the crucial role that the urartian culture played in the overall process of urartian nation’s formation. Finally, the overall significance of ritual-worshipping belts is assessed in the fundamental framework of Urartian bronze belts studies, and also the possible effects are predicted on how these newer, informatively significant implications of those scientific archeologic-historic inquiries could progressively and positively contribute to Urartological Studies or Urartology.
AMISOS, 2018
This particular article titled “The portrayals of horses, horse-related scenes and mythological c... more This particular article titled “The portrayals of horses, horse-related scenes and mythological creatures with elements of horse’s appearance in the artistic iconography of Urartian belts” is next one in series of monographic writings wholesomely devoted to animal personages appearing in the iconography of Urartian belts. Being entirely dedicated to horse as to the third most important animal in urartian society, the article continues series of studies aimed to uncover the roots behind the traditional, cultural and worshipping bonds of ancient urartians to their Sacred Animals, somewhat similar to what we recently went through on the most comprehensive investigation of iconographical images of lions and bulls in Urartian belts. Although this article dedicated to horse’s appearances in Urartian belts shares a lot in principle with previous ones, nevertheless, there are some principal and profound differences. From the archaeological point of view, we are entirely missing any evidence of material culture connected to lions and bulls, but, on the contrary, as it goes to the subject of horses, we have huge archeological material heritage from urartian past that makes the entire process of this investigative analyses peculiarly distinctive. That is a reason why we decided to deviate from traditional format of two previous animal personages’ study and included in the whole article the introductory mini-article part, wholly covering the archaeo-material implications of horse culture in Urartu. We called it – Part I – Archaeological material evidence of horse culture in Urartu (Pre-Article) and included in Part I the extraordinary and tangible evidence cases of horse’s utilization in urartian society during peaceful construction activities, throughout many wars and numerous military campaigns, providing some unique and most interesting samples of urartians’ distinctive horse culture. Urartian sources about horses other than Urartian belts include many factors: actual horse’s remains, writing sources about the role of horses, cavalry and war chariots in urartian wars and politics, archaeo-material and artifacts’ classification by material type and performing functions, list of horse-handling gear types, iconographical varieties of horse’s depiction in urartian artistic representations according to types of artifacts, weaponry types used from horses and chariots, typological implications of war chariots from engineering prospective, and, finally, included some brief summary of functional particularities of horses in ancient Urartian state. Part II – The Portrayals of horses, horse-related scenes and motives with mythological creatures with elements of horse’s appearance in the iconography of Urartian bronze belts (Core Article) got dedicated to Iconography of Urartian bronze belts - symbolical implications of horse culture, crafty artistic representations of allegorical topics and emblematic presentations of horses in imagery, motives and scenes in iconography of Urartian bronze belts. Depictions of horse in Urartian belts as a common (non-mythological) animal are shown, including in that horses as common animals portrayed separately, horses as draft animals for horse-riders, horse as draft animals for war chariots, with plentiful varieties of iconographical scenes: Hunt Scenes with horses–including hunt scenes with horses as draft animals and horse-riders, hunt scenes with horses as draft animals for war chariots, as well as mixed hunt scenes with the avail of both horsemen and war chariots shown in mixed panoramic view; Battle Scenes with horses – including battle scenes with horses as draft animals and horse-riders, battle scenes with horses as draft animals for war chariots, mixed battle scenes with the avail of both horsemen and war chariots. Then the description of horsemen portrayed with special artistic emphasis, out of ordinary standards and common clichés that portrays the horse-riders in parading outfit and festive mood concludes the overview of horse as common (non-mythological) animal in Urartian belts. After that follows the defining characterization of mythological (non-ordinary, composite) horse creatures, comprising from four main types: Winged Horses, Mythological horse creatures with human’s body and the head of the horse, Mythological horse creatures with horse’s body (partially or whole) and the head of the human, and, Horses as standing platforms for urartian gods and deities. The article is concluded with Conclusions part, where those studies are considered to be in continuum, i.e. not overwhelmed with finalization formulations and not finite in derivative conclusion points, yet, the rational core of the studies and analytical covering of above-presented data create some newer types of opportunities to continue those urartological studies with ostensible success and enrich the Urartology with essential elements of more deeper understanding of ancient urartian society’s core values and cherished principles of religious, sacral, mental and ideological nature.
AMISOS, 2017
In this article the fundamental aspects of the Urartian belt's mythological iconography are discu... more In this article the fundamental aspects of the Urartian belt's mythological iconography are discussed. The main purpose of the article is the detailed investigation of key figures, spiritual personages, sacred animals, fantastic creatures, as well as connected with them scenes, motives and decorations of Urartian belts. Those objects depicted many sacred symbols and images that were parts of religious beliefs and sacral values of ancient Urartians. Among excellently ornamented images of Sacred Tree, Winged Sun, holy plants, stars, planets, sacral signs, scenes of hunt, figures of horse riders, soldiers and priests, the most significant parts of presented iconography comprised the principally important key pictures of Sacred Animals and Fantastic Creatures. Their outlines and compositions with other main iconographic elements created the mythological content of Urartian belts, thus, making those objects sacred and having a special meaning and significance. As our investigation suggests, bronze belts were considered as sacred talismans or " mini-temples " serving the purpose of carrying Divine Forces and the images of Gods, Genies, Sacred Animals and Fantastic Creatures in one given amulet-object, that inspired Urartians in their war or piece activities, and, according to their beliefs, helped them to achieve the victory and success in all undertakings.
The article titled "THE WORSHIP OF SUN-DISK IN ORNAMENTAL MOTIVES OF URARTIAN BRONZE BELTS" conti... more The article titled "THE WORSHIP OF SUN-DISK IN ORNAMENTAL MOTIVES OF URARTIAN BRONZE BELTS" continues the series of articles especially dedicated to the elucidation of the problems and their particularities concerning the classification of Urartian bronze belts based on the meaningfulness and special significance of their ornamental motives. The depiction of Sun-Disk in Urartian bronze belts serves as a credible source of information and a reliable evidence about the fact that the ancient Urartians worshiped Sun not only as ordinary celestial body, but also as mythological embodiment of Divine Celestial Forces. One of the important key figures of such an embodiment was the depiction of Urartian god of Sun Shivini (one of the main deities of Urartian Triad consisting of Main Gods of Urartian religious pantheon - Haldi, Teisheba and Shivini) whose key figure was often depicted as part of ornamental motives of Urartian bronze belts. Numerous depictions of Winged Sun Disk of different varieties, shapes and forms, as well as their combinations with portraits of Urartian Sun God Shivini, often presented as combination details or even as the immediate part of the portrait itself witnesses about the special mythological significance of such depictions in ornamental motives of Urartian bronze belts. The great varieties of such depictions testifies that in the life of the ancient Urartians the particular objects of Urartian bronze belts were regarded as worshiped objects of special religious significance that were carrying in their ornamental motives sacred mythological values, serving, according to their believes, as reliable connection between the Earthly World of Men, Heavenly World of Gods and Divine Celestial Objects of Worship such as Sun.
Saak Tarontsi, About the problems of classification of Urartian bronze belts - In the article tit... more Saak Tarontsi, About the problems of classification of Urartian bronze belts - In the article titled «About the problems of classification of Urartian bronze belts», the main directions of study of Urartian bronze belts and their composite parts are discussed – the ways of differentiation and basics of classification. In the article are revealed those root definitions and unbreakably connected with them problematic situations, tasks, ways of their solving and those approaches, that allow in an effective way to compile Identification Needs and Clarification Ways of determining the properties of Urartian bronze belts and their composite parts. By realizing those effective researching principles that came to light, the ways of differentiation and basics of classification of Urartian belts, being able to underline newly appeared problems, urgent tasks and theoretical approaches, we are preparing by investigational means the basic constructional platform of theories on Urartian bronze belts as the specific group of artifacts belonging to Urartian civilization, such as the General Descriptional Theory of Urartian bronze belts, as well as the Comprehensive Theory of Universal General Law-Confirmed Rules and Component Elements of Urartian bronze belts; оне important achievement, that will significantly contribute to the study of that archeological objects' group, and, besides that, will be a step forward in Urartology.
Saak Tarontsi, Symbolic meaningfulness of ornamental-decorational motives of Urartian bronze belt... more Saak Tarontsi, Symbolic meaningfulness of ornamental-decorational motives of Urartian bronze belts – The immediate theme of the article titled “Symbolic meaningfulness of ornamental-decorational motives of Urartian bronze belts” is a detailed description of ornamental-decorational motives of Urartian bronze belts, their peculiar functions in the system of artistic concepts of urartian iconography, and that specific symbolic comprehension, which harmonically represents aesthetic and artistic features, figurative-thematic reflections and notional-ideological principles of those ornamental-decorational elements. At the beginning of the article the role and significance of ornamental-decorational motives of Urartian bronze belts are presented, as of their important composite components and constituent elements of design, as well as their specific symbolism in the mythological context of religious-ritual system of Urartian beliefs' world-view. Hereafter, one of the most important and vital signs-simbols of this specific system is presented – Winged Sun-Disk, and the direct connection of that sacred symbol with Sun-Sunny Circle and the worship of Sun god Shivini is revealed. The immediate theme of this article will continue in a number of other articles of these series, which will be presented later. We hope, that this concrete theme and immediately connected with it broader thematics will be disclosed in more detail and will get a positive current development of analytical studies of the presented scientific material.
Conference Presentations by Saak Tarontsi
ARURAT Scientific Academy of Near Eastern, Anatolian and Caucasian Studies, 2019
The following Presentation Article titled “Lake Sevan Underwater City – Pre-Neolithic (Telosolith... more The following Presentation Article titled “Lake Sevan Underwater City – Pre-Neolithic (Telosolithic) Mystery or Missing Link of Historical Past” is based on materials presented at 10-th international Symposium on Underwater Research “Black Sea Archaeology” held at Ondokuz Mayis University, Samsun, Turkey on December 16, 2016. It is dedicated to sensational underwater finding deep beneath the water surface of lake Sevan, one of the largest lakes of Asia Minor (Anatolia) and the biggest lake in the Republic of Armenia. The team of underwater archaeologists of “Ayas” maritime club led by Rafayel Mkrtchyan accidentally found an underwater city at the bottom of lake Sevan, the clear indication that the mysterious Proto-historic settlement existed long time ago, i.e. before the time of origination of lake Sevan due to cataclysmic flooding, as a result of “Eternal Ice” melting that covered the earthly surface during the Ice Age period. The article itself consists from three parts – 1. Part I (Pre-Article), 2. Part II (Core Article), and, Part III (Post-Article – Conclusion and Hypothesis). In Part I (Pre-Article) – Systematical Review of Various Historical-Archaeological, Ethnographical and Linguistical Data Sources for Making the Comprehensive Overview on the Subject of Research of Lake Sevan’s Historical Past, the basic introduction to lake Sevan area and general information about lake Sevan is given – the location of the lake, its overall altitude, size, surface area, length, widths and depth. The description of nearby tributary rivers and adjacent water basins is provided, along with the description of main mountain ranges surrounding the lake. The big importance of lake Sevan as precious sources of drinking water is emphasized, according to data of UNESCO organization. Then the essential information about fishes, flora and fauna of Sevan basin is furnished, along with important data about Sevan as one of the best touristic destinations for rest, recreational and cultural activities. Next segment of Pre-Article is elucidating the details about the beginning of lake Sevan origination, its formation in the Late Quaternary period, some 20,000 to 15,000 years ago, active stage of its forming at the time when the Pleistocene or Last Glacial Period ended around 11,700 years ago and final period of lake Sevan’s creation in the Holocene Period that happened around 9,700 BC. Then the lake Sevan area is reviewed in historical-archaeological context, and the survey of ancient archaeological sites and monuments is provided, along with historical-linguistical analyses of their names’ origination in distant historical past. The major significance of ancient Lchashen city as the ancient center of mysterious ZU/ZULUM/ZULAL mythological bird that created Mankind, World and Universe is described. The translation of various ancient written sources is cited, including Urartian cuneiform inscriptions about lake Sevan conquest and its kingdoms and cities. Then the history of lake Sevan is investigated in historical-etymological context of various historical periods, words, expressions and etymologies of Sumerian, Hittite, Hurrian, Urartian, Assyrian, Latin, Armenian and other linguistic origin are carefully examined. Then, based on an historical-linguistical analyses of settlements, sites, villages and cities around lake Sevan, studied one after another in counter-clockwise direction the intriguing and breathtaking mythological story of lake Sevan birth is restored and revealed. After that the folklore stories and fairy tales of Sevan are put in review, including the remarkable Tsamakaberd village folk story about Good and Evil forces that dwell since prehistoric times in waters of lake Sevan. The given research continues with mythological analyses of deities related to folk stories, as well as various ancient accounts and literary sources about Deluge are brought to light. The historical facts of lake Sevan’s origination as the Real Deluge Event is given, based on eyewitnesses of the past, various archeological, historical, linguistic, mythological data, actual facts and factual parallels. Various historical written sources since the beginning of civilization till our modernity are provided, testifying the Realness of Flood or Great Deluge and its direct connection with lake Sevan Origination and ZUL Pre-Neolithic or Telosolithic city’s drowning and destruction by tidal waves of flooding catastrophe. In Part II (Core Article) – The Discovery of underwater ZUL city of lake Sevan – circumstances, activities, analyses, methodologies, observations, photo materials and objects of research, the general information about “Ayas” maritime club is told, along with introduction to my close friend and colleague, captain of various ships, excellently skilled diver and experienced underwater archaeologist Rafayel Mkrtchyan. The remarkable story of finding of prehistoric Caucasian Bison’s remains, and the sensational and historically important discovery of Pre-Neolithic city that existed in Proto-Historical Times, before lake Sevan origination due to Deluge or Cataclysmic Flooding, i.e. before 12,000 year ago or 10,000 BC. The phenomenal proof of the existence of Proto-Historical societies with the evidence of extensive human activities in building very First Civilized forms of Existence is brought to light. Various stunning parallels of worshipped animals and creatures, artistic styles and mythological meanings with artifacts and architectural and artistic fragments of another Anatolian Proto-Historic settlement of Göbekli Tepe settlement are shown. The archeological-historical and religious-mythological affinities between Sevan underwater city and Göbekli Tepe civilizational traits, despite the significant distance of more than 1000 km, are serving as a scientific platform on newer approaches to the overall research of Earliest Civilizations’ Origin research. The detailed description of outstanding discovery of underwater city is revealed along with methodical explaining of the photographic material about the archaeological-historical ruins, erections, monuments, sculptural fragments, carvings, frescoes and pictures and their religious, worshipping, ritual, sacral and mythological context. Finally, in Part III (Post-Article – Conclusion and Hypothesis) – Great Flood or Deluge as the End of Proto-Civilization (Original Genesis of Civilization) and Beginning of Civilization, the fact that the very existence of territorially vast and culturally rich Anatolian Proto-Civilization is put at the center of research theme, with the major emphasis on the urgent need to focus archeological, historical, linguistical and mythological data research on thoughtful and meticulous elucidation of very interesting historical timeframe – the period between end of Last Stone Age or Telosolith (happened from 18,000 to 12,000 years ago or from 16,000 BC to 12,000 BC) and the beginning of Neolith – the first appropriation of civilized attributes, including the very beginning of metal usage by humans, beginning of wheel transportation, architecture and urban development, writing, art, mythology and religion. The definition of LIC (Land Isolate Communities) during Ice Age or Cold Age Periods as Sanctuary Places of Telosolithic Communities is given. The social, cultural and religious significance of Telosolithic Intellectual Revolutions is thoroughly explained, along with the various aspects of the life of Telosolithic people. Modernity. The historical components of ICE AGE or COLD AGE, GREAT FLOOD or DELUGE and POST-DELLUVIAL PERIOD are unfolded, with unconditional Timely Division of Mankind’s History on BEFORE and AFTER DELUGE. Mankind’s main four historical Time Span Definitions are given: 1. ICE AGE or COLD AGE Period; 2. PRE-NEOLITHIC or TELOSOLITHIC Period; 3. DELUGE or GREAT FLOOD Period; 4. POST-DELUGE or NEOLITHIC Period. The historical roles and significances of Telosolith versus Neolith is given – while, TELOSOLITH INAUGURATED A REVOLUTION IN HUMAN HISTORY, in its turn, NEOLITH MARKED THE BEGINNING OF EVOLUTION IN HUMAN HISTORY.
Appreciating the outstanding manifestations of Telosolithic Culture, Religion and Mythology, as well as the overwhelming significance of Telosolithic Revolutions, marking it as the DAWN OF MANKIND or PRE-ORIGINATION OF HUMAN CIVILIZATION provided. Also, name of PROTO-CIVILIZATION is provided, since Telosolithic Period provided all necessary Pre-Conditions before Conditions for certain Human Innovations, according to innovative principles of Revolutionary Innovativeness, as its preceded main law-governing principles of Evolutionary Development. Telosolith is the Measuring Time Span for Timescale of Evolutionary Development of Ingenious Human Inventions and Innovations, for each and every Human Invention and Innovation following to four Core Principles: 1. Discovery; 2. Initial Utilization; 3. Limited Use; 4. Widespread or Worldwide Usage. Telosolithic Civilization also can be remembered as CIVILIZATION OF PERMANENCE and PERMANENT SOCIAL-CULTURAL VALUES, NEVER CEASING TO EXIST FROM ITS VERY BEGINNING TO VERY END. Broad perspectives of further scientific investigation of lake Sevan’s ZUL underwater city are outlined, along with possibilities of exploring the Historical Period of Telosolith in Armenia, Asia Minor (Anatolia), Near East and Caucasus. The article is very illustrative with color photos of various relevant historical artifacts and wonderful findings of Sevan underwater city, something that will not only visually contribute to the unfolding of the story this most interesting and intriguing discovery, but also will spark the passionate scientific interest to the overall research of the most mysterious and unexplored period in the history of Mankind – the Dawn of Mankind, Appearance of Proto-Civilization and Birth of Global Civilization.
In this article the fundamental aspects of the Urartian belt’s mythological iconography are discu... more In this article the fundamental aspects of the Urartian belt’s mythological iconography are discussed. The main purpose of the article is the detailed investigation of key figures, spiritual personages, sacred animals, fantastic creatures, as well as connected with them scenes, motives and decorations of Urartian belts. Those objects depicted many sacred symbols and images that were parts of religious beliefs and sacral values of ancient Urartians. Among excellently ornamented images of Sacred Tree, Winged Sun, holy plants, stars, planets, sacral signs, scenes of hunt, figures of horse riders, soldiers and priests, the most significant parts of presented iconography comprised the principally important key pictures of Sacred Animals and Fantastic Creatures. Their outlines and compositions with other main iconographic elements created the mythological content of Urartian belts, thus, making those objects sacred and having a special meaning and significance. As our investigation suggests, bronze belts were considered as sacred talismans or “mini-temples” serving the purpose of carrying Divine Forces and the images of Gods, Genies, Sacred Animals and Fantastic Creatures in one given amulet-object, that inspired Urartians in their war or piece activities, and, according to their beliefs, helped them to achieve the victory and success in all undertakings.
ARURAT Academy of Armenian, Caucasian, Asia Minor, Anatolian and Near Eastern Studies, 2024
The following article titled “Hurrian Tree of Life as Historical-Originational Foundation for Mea... more The following article titled “Hurrian Tree of Life as Historical-Originational Foundation for Meaningful Symbol of Urartian Sacred Tree” is devoted to preliminary research efforts of finding the essential data concerning the overall role of sacred symbols in the continuity of ethnic-linguistical traditions of ancient entities after the fall of their statehoods. As the initial effort of identifying the major indicators of civilizational continuity of ancient ethnicities in conditions of changing their statehood formations, the search for special objects with ritual-worshipping importance is initiated. From the numerous choices of special objects, the particular type of sacred object with specially attached symbolical meaningfulness is chosen – the sacred symbol of Tree of Life or Sacred Tree. At the beginning of the article the observation of the particular geographical region of Asia Minor is conducted, with the underlining of importance of Anatolian civilizations and statehoods for the ancient world’s civilizational evolutionary development. The proposition of division of Anatolian entities into “worlds” or “domains” is presented, and, based on the civilizational identities and linguistic principle, the modeling of Anatolian civilization is asserted by the base of division on two parts – West Anatolia as Hatti/Hittite and East Anatolia as Hurrian-Urartian domains, with the note that such division is established based on certain chronological periods of historical events’ happenings, and, in no way doesn’t intend to exclude previous or later civilizations of the region from their historical roles. Maps of Asia Minor in such context are provided in the article. Then, two important innovative elements of archeological research are brought to attention of the readers; at first, it is a proposition of Archeohistory which is employing the general principle of recreating in details the mentality, psychology and behaviorism of ancient people, ethnicities, entities and societies, the first initial step of which will be the painstaking authentication of symbolic meaningfulness of their sacred values that will serve as reliable tool for reconstructing their worldviews, traditional thinkings, ritual-worshipping practices, religious concepts and mythological perceptions. For achieving such an ambitious research goal at its initial experimental stage, the Combinative method is proposed, that includes utilization of important and relevant archeological-historical data collecting, fact-finding and analyses of archeological, historical, linguistic, ethnographic, mythological, literary resources, trying to reconstruct all aspects of life of ancient societies by extensive usage of various recreational models of Arheohistorical method.
At the middle of the article main thematic focus is shifted on the particular symbol of Tree of life or Sacred Tree, and the source of its origin is examined. Particularly, the first picturing-writing system of the pre-civilized world – the pictograms (petroglyphs) of Armenian Highland brought to the attention of readers, with the amazing discoveries in the mountain slopes and tops of Armenia, where tens of thousands of pictographic images are found. Although, many authors dedicated their remarkable works on the classification of such pictograms (petroglyphs), the vast number of those objects yet not researched and their classificational models needs further updating. And, the overall symbolic meaningfulness and ritual-worshipping signification is absolutely unexplored, making the remarkable pro-civilizational pictograms (petroglyphs) writings system the predecessor of further early-civilizational systems, based on pictogram-symbols, hieroglyphic, cuneiform and later alphabetic writing systems. The remarkable photos of Tree of Life (Sacred Tree) from Armenian mountains are provided in the article, making the subject of that very first writing system of Asia Minor (Anatolia) not only relevant to our research, but also present the significant interest for further scientific studies. Also, some images bronze artifacts of animals with some elements of Tree of Life (Sacred) Tree on their horns are also provided.
Then the thematic research of the article continues with the search of various literary sources of Sumerian and Hurrian origin, where the subject of Tree of Life (Sacred Tree) is the part of the plot and the religious-mythological significance of that sacred object is revealed. The article establishes the Hurrian Tree of Life as the Historical and Genealogical Basis for the Meaningful Symbol of the Urartu Sacred Tree. It explores the diverse cultural religious and mythological motifs of this sacred symbol in the mythology, religion and literature of the ancient state of Arata, as well as among the Hurrians and other important significant civilizations and cultures of Asia Minor and Near East. First, the article establishes the main trends in the emergence and worship of this sacred symbol in both early Hurrian and later Uruatri/Urartu civilization. After this, the fundamental laws governing the transition of the Hurrian symbol to the Urartian one is examined, the classification principles and the typology of the iconographic variations of the Tree of Life (Sacred Tree) in Urartu are discussed. The paramount importance of the original Hurrian prototype of the meaningful symbol of the Tree of Life in the emergence of this symbol in the cultural and religious life of the ancient state of Urartu is emphasized. Overall, the topic of the article is fully devoted to various manifestations of the Tree of Life symbol (Sacred Tree) in ritual-worship and historical-mythological foundations of the most ancient civilizations of Hurrian domain – Arata, Hurri, Mitanni, and in other significant state formations of Asia Minor and Near East such as early Sumer and later Ashur (Assyria). The most ancient civilizational comprehension of the Tree of Life (Sacred Tree) is established in religious-philosophical concepts of monuments of historical literature and art. In this article, in the process of detailed scientific analytical research and concretization of the historical-evolutionary evidence base, the following was established: the Urartian symbol of the Tree of Life (the Sacred Tree) completely descended from Hurrian and was its evolutionary continuation. Later, in the era of the state of Urartu, it completely became Urartian in its religious-worshipping context, thematic content and traditional meaningfulness. The Urartian symbol of the Tree of Life (the Sacred Tree) had vital functions in the iconographic system of Urartian art and was of paramount importance in the symbolic hierarchy of Urartian iconographic elements. The article has some remarkable photos of various Hurrian, Urartian and Assyrian artifacts that contain elements of sacred tree, including seals, sculptures, objects of metalwork, etc.
At the end of the article the fundamental conclusions regarding the ancient belief-cult genesis origins of the sacred symbol of the Tree of Life (Sacred Tree) are given in six statements, and the mythological narratives synthesized in the various chronological and civilizational aspects and historical-developmental (evolutionary) conditions in broader terms of historical-archeological context are explained.
ԽԱՐԲԵՐԴԻ «ՎԻՇԱՊԱՅԻՆ ՔԱՐԸ» ԵՎ ԴՐԱ ՄՇԱԿՈՒԹԱԱՌԱՍՊԵԼԱԲԱՆԱԿԱՆ ՀԱՄԱՏԵՔՍՏԸ – (Հայերեն լեզվով) – THE “DRAGON STONE” OF KHARBERD AND ITS CULTURAL-MYTHOLOGICAL CONTEXT – (in Armenian language) , 2023
On the way from Harputa to Eliazig, two km east to the historical district of Kharberd in Western... more On the way from Harputa to Eliazig, two km east to the historical district of Kharberd in Western Armenia, a giant natural boulder is located on the edge of the road leading to the vineyard Gyolu, in the area rich in springs. This sprawling rock, half buried in the ground, resembles a serpentine sculpture of a mythical colossal animal with two identical smaller protrusions on both sides. Elderly locals call this rock formation in Turkish “'ejderha taşı” which means “dragon stone”. Analyzing the semantic cluster “stone - dragon – devouring / sacrifice – holy - petrification - source - water – girl / bride / pregnant woman – saint’s miraculous grave/cave” expressed in the legends of the “dragon stone” of Kharberd, it becomes obvious that we are dealing with the myth of dragon petrification, which is well known in Armenian folklore. At the same time, the characters present in those traditions preserved their typical archaic elements, although they underwent a formal (however not substantive) transformation by the Muslim population living in Kharberd and its environs. The source of these myths and the image of the dragon in general could be the Armenian-Muslim contacts in the Kharberd region before the Armenian Genocide, or the substratum of Armenian memory preserved in the current (converted) population of Kharberd. The presence of the dragon image in the Kharberd Valley and its archaic substrate indicates that the population of this region was essentially integrated into the general historical and cultural developments of the Armenian Highlands.
“Historical-Philological Journal” (in Armenian language) – «Պատմա-Բանասիրական Հանդես» (Հայերեն լեզվով), 2020
In 2015, on the northeastern slopes of Greater Masis, in the area between the city of Igdir and t... more In 2015, on the northeastern slopes of Greater Masis, in the area between the city of Igdir and the village of Aralik, in the mountainous alpine zone, lying in the ground in a half-inclined position, a “vishap” stela was discovered with a bull image, measuring approximately 380 x 1120 x 60 cm. From clusters of stones around the stela, it can be assumed that the monument is in its original place, probably on the platform/cromlech. In the area of Mount Masis “vishap” stelae have never been discovered before. The only data in this regard relates to writer Atrpet, who mentions them in the region “Mankasar-Kizil Ziaret (Voskisar sanctuary)”, in the highlands near the Sinak and Shishtapa/Zor mountains, actually not far from the recently discovered “vishap”. The “vishap” found on the slopes of Greater Masis, once again testifies to the system of ideas concerning this mountain by the Armenian and partially by the neighboring peoples, in which it serves as a kind of residence for vishap/dragonheroes, giants and peoples worshiping dragons, and where the Vardavar holidays were held. Archaeological data supplement the mentioned image. The fact of presence of the “vishap” on Masis is combined with the evidence towards giant tombs, tower structures and canals on the mountain, analogues of which are known also from other areas of the “vishap” distribution. The symbolic nature of Masis, restored through combination of archaeological, historical and oral data, is not accidental, since this mountain is the highest and the most attractive landmark of the Armenian Highland and the most important factor in creating of local identities.
ARURAT Scientific Academy of Near Eastern, Anatolian and Caucasian Studies, 2020
This article is dedicated to various types of ancient coinage of Antique World, with references t... more This article is dedicated to various types of ancient coinage of Antique World, with references to their denominations and values, as well as with quality illustration accompanied by explanatory numismatic data and typological analyses, including Denomination, Country of Origin, Region, City, Time of Issuance, Weight in Grams and Diameter in Centimetres. The observed coins are belonging to the Hellenistic period, qualifying as Archaic and Classical coins that played the significant role in the development of Ancient Coinage.
ARURAT Scientific Academy of Near Eastern, Anatolian and Caucasian Studies, 2019
This very article is dedicated to Pagan Armenian temple of Garni, one of the most unique and exce... more This very article is dedicated to Pagan Armenian temple of Garni, one of the most unique and exceptional surviving masterpieces of ancient Hellenistic architecture that was dedicated to Armenian Sun god Mihr and Hellenistic Sun god Mithra. Article extensively covers the history of the monument since prehistory, Urartian period through times of Paganism in Armenia, as well as painstakingly presents all related aspects of Mithraism in ancient Armenia, Asia Minor, Rome and elsewhere in the ancient world. Many remarkable historical events are brought to readers' attention, as well as numerous ingenious artifacts and examples of various artistic forms of Armenian Mithraic worship are shown in greater details. Article is quite informative in terms of unfolding the most interesting history of Garni as the unique monument complex of ancient Armenia, comprising from mighty fortress, royal summer residence palaces, baths decorated with rich mosaics and pagan temple of the Sun dedicated to god Mihr/Mithra. Photographic examples of writings in Urartian cuneiform, Greek and Armenian languages found in Garni and its immediate vicinities also shown to readers. Article is aimed to be as informative and useful as possible, with immediate scientific task of uncovering many interesting and intriguing aspects of ancient world’s Hellenistic Pagan Architecture and Mithraic Pagan Religion in ancient Armenia and many other parts of ancient world.
“History and Culture” Scientific Journal (in Armenian language) –«Պատմություն և Մշակույթ» Գիտական Ամսագիր (Հայերեն), 2018
The immediate theme of the article entitled "Animals and mythological images of lions and bulls i... more The immediate theme of the article entitled "Animals and mythological images of lions and bulls in the iconography of the Urartian bronze belts" is a detailed description of images of lions and bulls in the artistic thematics of the Urartian bronze belts, their peculiar functions in the system of artistic concepts of Urartian iconography, and then a specific symbolic meaningfulness that harmoniously represents the aesthetic-artistic specific features, pictorial-thematic reflections and semantic-ideological principles of these ornamental-ornamental and animal-symbolic elements. At the beginning of the article, the role and significance of images of lions and bulls as sacred animals in the subjects of the Urartian bronze belts and also their important composite components and components of design are presented. Then on the above examples of these iconographic elements, their specific symbolism is emphasized in the mythological context of the religious and ritual system of the Urartian religious worldview. In the beginning, we get acquainted with the images of lions and bulls as simple animals in the iconography of the Urartian bronze belts, and then represent more complex images of Urartian mythology, where sainted beings of a composite character are represented, consisting of elements of lions and bulls, as well as other animals and humans (for example, winged bulls and lions serving as pedestals for Urartian deities). Also here is shown a remarkable and diverse typology of images of lions and bulls on the basis of textual descriptions of real examples, images and illustrations of the Urartian bronze belts. The immediate topic of this article will be continued in a number of other articles in this series that will be presented later. We hope that this specific topic and the more extensive topics directly related to it will be disclosed in more detail and receive a positive current development of analytical studies of the presented scientific material.
AMISOS, 2018
The following article titled “Ritual-Worshipping Scenes and Architectural Images in the Iconograp... more The following article titled “Ritual-Worshipping Scenes and Architectural Images in the Iconography of Urartian Belts” is a continuation of articles in series of monographic writings wholesomely devoted to detailed research of iconographical content of Urartian bronze belts, including the fundamental creative-constructive components and indispensable composite parts, thematical content, narrative scenes, realistic traditional reflections and mythological symbolism of iconographical images. The main thematic focus of this article is the detailed research of Urartian Ritual-Worshipping Belts, especially in the context of determining their content according to the imagery of ritual-worshipping and ceremonial-religious scenes, and architectural landscapes. The task of research included the finding of main bibliographical sources containing relevant images, data and explanatory statements about Urartian ritual-worshipping belts; creating a database of this particular belt types according to sources of publications and places of safekeeping, whether big or small museums or private collections; identification of main themes, narratives and scenery contents; assessment of the overall design and ways of fastening of those belt types; assessing the overall geometrical proportions of those belt types and the implications of the “narrowness” that resulted in their conditional definition as of Narrow Belts; classification and typological assessment of their main and secondary iconographic elements, including various human characters, different sacral objects of individual or collective use; special sacral objects of worship such as single or multiple layered Moon-Crescents and Sun-Disks; diverse human activities and occupations; various scenes of architectural landscapes, castles, fortifications and their details; images of common animals found only in this belt type; images of only imaginary animal type (fish) of Urartian belts; images of mythological (composite) winged beasts made of animal and abstract parts; images of mythological (composite) creatures made of animal, abstract and human parts, as well as attributes of religious-mythological fashion; images of some other elements, not typical, but sometimes found in the iconography of ritual-worshipping belts, such as symbols of Sacred Tree and Winged Sun-Disk; images of musicians and dancers; images of various musical instruments; images of religious acts such as performing rituals ceremonies, libation, praying, worshipping and making wishes to souls of the deceased, spirits of real animal, mythological beasts and creatures, souls of divinities and gods. The key formula of the transfer of the urartian material culture into urartian spiritual culture is contended, affirmed on a base of the iconographical contexts and thematic narrative contents of the ritual-worshipped belts; as well as validated through law-governed principles of urartian traditional-religious approaches and major mythological-philosophical concepts that was a base of urartian mindset of symbolical meaningfulness. At the end of the article some hints about the possible nature of urartian artistic conceptuality is given in the context of the crucial role that the urartian culture played in the overall process of urartian nation’s formation. Finally, the overall significance of ritual-worshipping belts is assessed in the fundamental framework of Urartian bronze belts studies, and also the possible effects are predicted on how these newer, informatively significant implications of those scientific archeologic-historic inquiries could progressively and positively contribute to Urartological Studies or Urartology.
AMISOS, 2018
This particular article titled “The portrayals of horses, horse-related scenes and mythological c... more This particular article titled “The portrayals of horses, horse-related scenes and mythological creatures with elements of horse’s appearance in the artistic iconography of Urartian belts” is next one in series of monographic writings wholesomely devoted to animal personages appearing in the iconography of Urartian belts. Being entirely dedicated to horse as to the third most important animal in urartian society, the article continues series of studies aimed to uncover the roots behind the traditional, cultural and worshipping bonds of ancient urartians to their Sacred Animals, somewhat similar to what we recently went through on the most comprehensive investigation of iconographical images of lions and bulls in Urartian belts. Although this article dedicated to horse’s appearances in Urartian belts shares a lot in principle with previous ones, nevertheless, there are some principal and profound differences. From the archaeological point of view, we are entirely missing any evidence of material culture connected to lions and bulls, but, on the contrary, as it goes to the subject of horses, we have huge archeological material heritage from urartian past that makes the entire process of this investigative analyses peculiarly distinctive. That is a reason why we decided to deviate from traditional format of two previous animal personages’ study and included in the whole article the introductory mini-article part, wholly covering the archaeo-material implications of horse culture in Urartu. We called it – Part I – Archaeological material evidence of horse culture in Urartu (Pre-Article) and included in Part I the extraordinary and tangible evidence cases of horse’s utilization in urartian society during peaceful construction activities, throughout many wars and numerous military campaigns, providing some unique and most interesting samples of urartians’ distinctive horse culture. Urartian sources about horses other than Urartian belts include many factors: actual horse’s remains, writing sources about the role of horses, cavalry and war chariots in urartian wars and politics, archaeo-material and artifacts’ classification by material type and performing functions, list of horse-handling gear types, iconographical varieties of horse’s depiction in urartian artistic representations according to types of artifacts, weaponry types used from horses and chariots, typological implications of war chariots from engineering prospective, and, finally, included some brief summary of functional particularities of horses in ancient Urartian state. Part II – The Portrayals of horses, horse-related scenes and motives with mythological creatures with elements of horse’s appearance in the iconography of Urartian bronze belts (Core Article) got dedicated to Iconography of Urartian bronze belts - symbolical implications of horse culture, crafty artistic representations of allegorical topics and emblematic presentations of horses in imagery, motives and scenes in iconography of Urartian bronze belts. Depictions of horse in Urartian belts as a common (non-mythological) animal are shown, including in that horses as common animals portrayed separately, horses as draft animals for horse-riders, horse as draft animals for war chariots, with plentiful varieties of iconographical scenes: Hunt Scenes with horses–including hunt scenes with horses as draft animals and horse-riders, hunt scenes with horses as draft animals for war chariots, as well as mixed hunt scenes with the avail of both horsemen and war chariots shown in mixed panoramic view; Battle Scenes with horses – including battle scenes with horses as draft animals and horse-riders, battle scenes with horses as draft animals for war chariots, mixed battle scenes with the avail of both horsemen and war chariots. Then the description of horsemen portrayed with special artistic emphasis, out of ordinary standards and common clichés that portrays the horse-riders in parading outfit and festive mood concludes the overview of horse as common (non-mythological) animal in Urartian belts. After that follows the defining characterization of mythological (non-ordinary, composite) horse creatures, comprising from four main types: Winged Horses, Mythological horse creatures with human’s body and the head of the horse, Mythological horse creatures with horse’s body (partially or whole) and the head of the human, and, Horses as standing platforms for urartian gods and deities. The article is concluded with Conclusions part, where those studies are considered to be in continuum, i.e. not overwhelmed with finalization formulations and not finite in derivative conclusion points, yet, the rational core of the studies and analytical covering of above-presented data create some newer types of opportunities to continue those urartological studies with ostensible success and enrich the Urartology with essential elements of more deeper understanding of ancient urartian society’s core values and cherished principles of religious, sacral, mental and ideological nature.
AMISOS, 2017
In this article the fundamental aspects of the Urartian belt's mythological iconography are discu... more In this article the fundamental aspects of the Urartian belt's mythological iconography are discussed. The main purpose of the article is the detailed investigation of key figures, spiritual personages, sacred animals, fantastic creatures, as well as connected with them scenes, motives and decorations of Urartian belts. Those objects depicted many sacred symbols and images that were parts of religious beliefs and sacral values of ancient Urartians. Among excellently ornamented images of Sacred Tree, Winged Sun, holy plants, stars, planets, sacral signs, scenes of hunt, figures of horse riders, soldiers and priests, the most significant parts of presented iconography comprised the principally important key pictures of Sacred Animals and Fantastic Creatures. Their outlines and compositions with other main iconographic elements created the mythological content of Urartian belts, thus, making those objects sacred and having a special meaning and significance. As our investigation suggests, bronze belts were considered as sacred talismans or " mini-temples " serving the purpose of carrying Divine Forces and the images of Gods, Genies, Sacred Animals and Fantastic Creatures in one given amulet-object, that inspired Urartians in their war or piece activities, and, according to their beliefs, helped them to achieve the victory and success in all undertakings.
The article titled "THE WORSHIP OF SUN-DISK IN ORNAMENTAL MOTIVES OF URARTIAN BRONZE BELTS" conti... more The article titled "THE WORSHIP OF SUN-DISK IN ORNAMENTAL MOTIVES OF URARTIAN BRONZE BELTS" continues the series of articles especially dedicated to the elucidation of the problems and their particularities concerning the classification of Urartian bronze belts based on the meaningfulness and special significance of their ornamental motives. The depiction of Sun-Disk in Urartian bronze belts serves as a credible source of information and a reliable evidence about the fact that the ancient Urartians worshiped Sun not only as ordinary celestial body, but also as mythological embodiment of Divine Celestial Forces. One of the important key figures of such an embodiment was the depiction of Urartian god of Sun Shivini (one of the main deities of Urartian Triad consisting of Main Gods of Urartian religious pantheon - Haldi, Teisheba and Shivini) whose key figure was often depicted as part of ornamental motives of Urartian bronze belts. Numerous depictions of Winged Sun Disk of different varieties, shapes and forms, as well as their combinations with portraits of Urartian Sun God Shivini, often presented as combination details or even as the immediate part of the portrait itself witnesses about the special mythological significance of such depictions in ornamental motives of Urartian bronze belts. The great varieties of such depictions testifies that in the life of the ancient Urartians the particular objects of Urartian bronze belts were regarded as worshiped objects of special religious significance that were carrying in their ornamental motives sacred mythological values, serving, according to their believes, as reliable connection between the Earthly World of Men, Heavenly World of Gods and Divine Celestial Objects of Worship such as Sun.
Saak Tarontsi, About the problems of classification of Urartian bronze belts - In the article tit... more Saak Tarontsi, About the problems of classification of Urartian bronze belts - In the article titled «About the problems of classification of Urartian bronze belts», the main directions of study of Urartian bronze belts and their composite parts are discussed – the ways of differentiation and basics of classification. In the article are revealed those root definitions and unbreakably connected with them problematic situations, tasks, ways of their solving and those approaches, that allow in an effective way to compile Identification Needs and Clarification Ways of determining the properties of Urartian bronze belts and their composite parts. By realizing those effective researching principles that came to light, the ways of differentiation and basics of classification of Urartian belts, being able to underline newly appeared problems, urgent tasks and theoretical approaches, we are preparing by investigational means the basic constructional platform of theories on Urartian bronze belts as the specific group of artifacts belonging to Urartian civilization, such as the General Descriptional Theory of Urartian bronze belts, as well as the Comprehensive Theory of Universal General Law-Confirmed Rules and Component Elements of Urartian bronze belts; оне important achievement, that will significantly contribute to the study of that archeological objects' group, and, besides that, will be a step forward in Urartology.
Saak Tarontsi, Symbolic meaningfulness of ornamental-decorational motives of Urartian bronze belt... more Saak Tarontsi, Symbolic meaningfulness of ornamental-decorational motives of Urartian bronze belts – The immediate theme of the article titled “Symbolic meaningfulness of ornamental-decorational motives of Urartian bronze belts” is a detailed description of ornamental-decorational motives of Urartian bronze belts, their peculiar functions in the system of artistic concepts of urartian iconography, and that specific symbolic comprehension, which harmonically represents aesthetic and artistic features, figurative-thematic reflections and notional-ideological principles of those ornamental-decorational elements. At the beginning of the article the role and significance of ornamental-decorational motives of Urartian bronze belts are presented, as of their important composite components and constituent elements of design, as well as their specific symbolism in the mythological context of religious-ritual system of Urartian beliefs' world-view. Hereafter, one of the most important and vital signs-simbols of this specific system is presented – Winged Sun-Disk, and the direct connection of that sacred symbol with Sun-Sunny Circle and the worship of Sun god Shivini is revealed. The immediate theme of this article will continue in a number of other articles of these series, which will be presented later. We hope, that this concrete theme and immediately connected with it broader thematics will be disclosed in more detail and will get a positive current development of analytical studies of the presented scientific material.
ARURAT Scientific Academy of Near Eastern, Anatolian and Caucasian Studies, 2019
The following Presentation Article titled “Lake Sevan Underwater City – Pre-Neolithic (Telosolith... more The following Presentation Article titled “Lake Sevan Underwater City – Pre-Neolithic (Telosolithic) Mystery or Missing Link of Historical Past” is based on materials presented at 10-th international Symposium on Underwater Research “Black Sea Archaeology” held at Ondokuz Mayis University, Samsun, Turkey on December 16, 2016. It is dedicated to sensational underwater finding deep beneath the water surface of lake Sevan, one of the largest lakes of Asia Minor (Anatolia) and the biggest lake in the Republic of Armenia. The team of underwater archaeologists of “Ayas” maritime club led by Rafayel Mkrtchyan accidentally found an underwater city at the bottom of lake Sevan, the clear indication that the mysterious Proto-historic settlement existed long time ago, i.e. before the time of origination of lake Sevan due to cataclysmic flooding, as a result of “Eternal Ice” melting that covered the earthly surface during the Ice Age period. The article itself consists from three parts – 1. Part I (Pre-Article), 2. Part II (Core Article), and, Part III (Post-Article – Conclusion and Hypothesis). In Part I (Pre-Article) – Systematical Review of Various Historical-Archaeological, Ethnographical and Linguistical Data Sources for Making the Comprehensive Overview on the Subject of Research of Lake Sevan’s Historical Past, the basic introduction to lake Sevan area and general information about lake Sevan is given – the location of the lake, its overall altitude, size, surface area, length, widths and depth. The description of nearby tributary rivers and adjacent water basins is provided, along with the description of main mountain ranges surrounding the lake. The big importance of lake Sevan as precious sources of drinking water is emphasized, according to data of UNESCO organization. Then the essential information about fishes, flora and fauna of Sevan basin is furnished, along with important data about Sevan as one of the best touristic destinations for rest, recreational and cultural activities. Next segment of Pre-Article is elucidating the details about the beginning of lake Sevan origination, its formation in the Late Quaternary period, some 20,000 to 15,000 years ago, active stage of its forming at the time when the Pleistocene or Last Glacial Period ended around 11,700 years ago and final period of lake Sevan’s creation in the Holocene Period that happened around 9,700 BC. Then the lake Sevan area is reviewed in historical-archaeological context, and the survey of ancient archaeological sites and monuments is provided, along with historical-linguistical analyses of their names’ origination in distant historical past. The major significance of ancient Lchashen city as the ancient center of mysterious ZU/ZULUM/ZULAL mythological bird that created Mankind, World and Universe is described. The translation of various ancient written sources is cited, including Urartian cuneiform inscriptions about lake Sevan conquest and its kingdoms and cities. Then the history of lake Sevan is investigated in historical-etymological context of various historical periods, words, expressions and etymologies of Sumerian, Hittite, Hurrian, Urartian, Assyrian, Latin, Armenian and other linguistic origin are carefully examined. Then, based on an historical-linguistical analyses of settlements, sites, villages and cities around lake Sevan, studied one after another in counter-clockwise direction the intriguing and breathtaking mythological story of lake Sevan birth is restored and revealed. After that the folklore stories and fairy tales of Sevan are put in review, including the remarkable Tsamakaberd village folk story about Good and Evil forces that dwell since prehistoric times in waters of lake Sevan. The given research continues with mythological analyses of deities related to folk stories, as well as various ancient accounts and literary sources about Deluge are brought to light. The historical facts of lake Sevan’s origination as the Real Deluge Event is given, based on eyewitnesses of the past, various archeological, historical, linguistic, mythological data, actual facts and factual parallels. Various historical written sources since the beginning of civilization till our modernity are provided, testifying the Realness of Flood or Great Deluge and its direct connection with lake Sevan Origination and ZUL Pre-Neolithic or Telosolithic city’s drowning and destruction by tidal waves of flooding catastrophe. In Part II (Core Article) – The Discovery of underwater ZUL city of lake Sevan – circumstances, activities, analyses, methodologies, observations, photo materials and objects of research, the general information about “Ayas” maritime club is told, along with introduction to my close friend and colleague, captain of various ships, excellently skilled diver and experienced underwater archaeologist Rafayel Mkrtchyan. The remarkable story of finding of prehistoric Caucasian Bison’s remains, and the sensational and historically important discovery of Pre-Neolithic city that existed in Proto-Historical Times, before lake Sevan origination due to Deluge or Cataclysmic Flooding, i.e. before 12,000 year ago or 10,000 BC. The phenomenal proof of the existence of Proto-Historical societies with the evidence of extensive human activities in building very First Civilized forms of Existence is brought to light. Various stunning parallels of worshipped animals and creatures, artistic styles and mythological meanings with artifacts and architectural and artistic fragments of another Anatolian Proto-Historic settlement of Göbekli Tepe settlement are shown. The archeological-historical and religious-mythological affinities between Sevan underwater city and Göbekli Tepe civilizational traits, despite the significant distance of more than 1000 km, are serving as a scientific platform on newer approaches to the overall research of Earliest Civilizations’ Origin research. The detailed description of outstanding discovery of underwater city is revealed along with methodical explaining of the photographic material about the archaeological-historical ruins, erections, monuments, sculptural fragments, carvings, frescoes and pictures and their religious, worshipping, ritual, sacral and mythological context. Finally, in Part III (Post-Article – Conclusion and Hypothesis) – Great Flood or Deluge as the End of Proto-Civilization (Original Genesis of Civilization) and Beginning of Civilization, the fact that the very existence of territorially vast and culturally rich Anatolian Proto-Civilization is put at the center of research theme, with the major emphasis on the urgent need to focus archeological, historical, linguistical and mythological data research on thoughtful and meticulous elucidation of very interesting historical timeframe – the period between end of Last Stone Age or Telosolith (happened from 18,000 to 12,000 years ago or from 16,000 BC to 12,000 BC) and the beginning of Neolith – the first appropriation of civilized attributes, including the very beginning of metal usage by humans, beginning of wheel transportation, architecture and urban development, writing, art, mythology and religion. The definition of LIC (Land Isolate Communities) during Ice Age or Cold Age Periods as Sanctuary Places of Telosolithic Communities is given. The social, cultural and religious significance of Telosolithic Intellectual Revolutions is thoroughly explained, along with the various aspects of the life of Telosolithic people. Modernity. The historical components of ICE AGE or COLD AGE, GREAT FLOOD or DELUGE and POST-DELLUVIAL PERIOD are unfolded, with unconditional Timely Division of Mankind’s History on BEFORE and AFTER DELUGE. Mankind’s main four historical Time Span Definitions are given: 1. ICE AGE or COLD AGE Period; 2. PRE-NEOLITHIC or TELOSOLITHIC Period; 3. DELUGE or GREAT FLOOD Period; 4. POST-DELUGE or NEOLITHIC Period. The historical roles and significances of Telosolith versus Neolith is given – while, TELOSOLITH INAUGURATED A REVOLUTION IN HUMAN HISTORY, in its turn, NEOLITH MARKED THE BEGINNING OF EVOLUTION IN HUMAN HISTORY.
Appreciating the outstanding manifestations of Telosolithic Culture, Religion and Mythology, as well as the overwhelming significance of Telosolithic Revolutions, marking it as the DAWN OF MANKIND or PRE-ORIGINATION OF HUMAN CIVILIZATION provided. Also, name of PROTO-CIVILIZATION is provided, since Telosolithic Period provided all necessary Pre-Conditions before Conditions for certain Human Innovations, according to innovative principles of Revolutionary Innovativeness, as its preceded main law-governing principles of Evolutionary Development. Telosolith is the Measuring Time Span for Timescale of Evolutionary Development of Ingenious Human Inventions and Innovations, for each and every Human Invention and Innovation following to four Core Principles: 1. Discovery; 2. Initial Utilization; 3. Limited Use; 4. Widespread or Worldwide Usage. Telosolithic Civilization also can be remembered as CIVILIZATION OF PERMANENCE and PERMANENT SOCIAL-CULTURAL VALUES, NEVER CEASING TO EXIST FROM ITS VERY BEGINNING TO VERY END. Broad perspectives of further scientific investigation of lake Sevan’s ZUL underwater city are outlined, along with possibilities of exploring the Historical Period of Telosolith in Armenia, Asia Minor (Anatolia), Near East and Caucasus. The article is very illustrative with color photos of various relevant historical artifacts and wonderful findings of Sevan underwater city, something that will not only visually contribute to the unfolding of the story this most interesting and intriguing discovery, but also will spark the passionate scientific interest to the overall research of the most mysterious and unexplored period in the history of Mankind – the Dawn of Mankind, Appearance of Proto-Civilization and Birth of Global Civilization.
In this article the fundamental aspects of the Urartian belt’s mythological iconography are discu... more In this article the fundamental aspects of the Urartian belt’s mythological iconography are discussed. The main purpose of the article is the detailed investigation of key figures, spiritual personages, sacred animals, fantastic creatures, as well as connected with them scenes, motives and decorations of Urartian belts. Those objects depicted many sacred symbols and images that were parts of religious beliefs and sacral values of ancient Urartians. Among excellently ornamented images of Sacred Tree, Winged Sun, holy plants, stars, planets, sacral signs, scenes of hunt, figures of horse riders, soldiers and priests, the most significant parts of presented iconography comprised the principally important key pictures of Sacred Animals and Fantastic Creatures. Their outlines and compositions with other main iconographic elements created the mythological content of Urartian belts, thus, making those objects sacred and having a special meaning and significance. As our investigation suggests, bronze belts were considered as sacred talismans or “mini-temples” serving the purpose of carrying Divine Forces and the images of Gods, Genies, Sacred Animals and Fantastic Creatures in one given amulet-object, that inspired Urartians in their war or piece activities, and, according to their beliefs, helped them to achieve the victory and success in all undertakings.