UNDERSTANDING RELIGIONS                                 Series Edited by Maximillien de Lafayette

Photo: Detail of the front Portico at Guyaneh Church.

Most certainly, a very. meager number of patrons of the arts and art explorers from Great Britain and France did visit old Armenian churches in Armenia and Anatolia to study and learn more about the Armenian frescoes. But, they were few and their efforts were limited. The Armenians determination to fight foreign occupation, to defend and preserve their faith, to protect and secure their traditions stimulated an ardent energy and a Herculean inner power to become artistically, philosophically, ethnically more creative, productive and defying. The character and the spirit of Armenians survived through their art and vice versa. This is one of the pre-dominant reasons that explains the survival of an ethnic Armenian identity in their way of life and the ever burning torch of humanities and arts. We will explore further this subject when we approach the subject of the Diaspora paintings and the effect of the Genocide on the mind, soul and arts of Armenians in the homeland and abroad.

EARLY FRESCOES OF THE EIGHTH AND SEVENTH CENTURIES B.C.

Armenian frescoes appeared throughout the centuries from the beginning of the eighth century B.C. The archaeological excavations of an  Urartian fortress in Arin Berd-Erebuni revealed  large fragmented parts of extensive frescoes and mural paintings. Walls and underground galleries  and chambers ceilings and entrances were covered with frescoes and wall paintings depicting  many aspects of the daily and religious lives of ancient Armenians including symbols, designs, patterns and illustrations of mythological figures, dignitaries, birds, various animals heads, musical instruments, dancers and scenes of a festive Armenian life. Another discovery at  the pagan temple of Garni uncovered mosaic frescoes circa 3^rd century to 2^nd century A.D. depicting mythological personages, goddesses and pagan pantheon figures. Some of the most impressive frescoes were discovered in Erebuni which was built in 782 B.C. by king Argishti. The excavations uncovered the ruins of spacious temple-royal palace housing several quarters, chambers and housing units with walls  painted with large murals and decorated with multi-colored frescoes characterized by vivid blue and yellow tones.

Photo: 17^th century frescoes at Guyaneh Church.

ANCIENT GRECO-ARMENIAN FRESCOES AND MOSAIC

The fall of the kingdom of Urartu did not seal the fate of Armenian frescoes. A renewed artistic  vigor was resurrected with Hellenism reign which cherished the arts. In fact, under the reign of Alexander the great, Armenian artists were extremely productive and creative. In addition to their vigor, they developed an interest in Greek sculpture, paintings, frescoes and mosaic. Consequently, they began to incorporate in their work various Greek motifs and patterns. Long before the Greco-Latino frescoes style came to life, Armenian artists and artisans were the first to combine Greek style with a non-Greek art. Consequently, the Greek-Armenian school of frescoes preceded the Greco-Latin counterpart. In many instances, it is quite difficult to distinguish between Greek and  ancient Armenian  bronze or marble statues. It is the same case when we look at certain Anatolian mosaics and frescoes from Armavir, Artashat and Ervanda-Shat. The mosaics and frescoes of the 1^st century were characterized to a certain degree by an Hellenic style rich in ornamental and decorative motifs and compositions and embellished with exquisite allegorical and mythological scenes. Many of those scenes and pantheon’s cortege of deities pre-dominantly appear in Greek and Armenian frescoes and mosaics. Some of the frescos and large mosaics depicted gods and goddesses which were commonly revered by the Greeks and the Armenians, even thought they had different names and distinctive ethnic characteristics. Greek and Armenian frescoes and mosaics depicted similar goddesses of fertility, fecundity, luck and gods of the sun and war.

Photos from L to R: #1. Mosaic with Greek inscriptions depicting Goddess Thetis at the Garni Temple.Circa 3^rd century to 4^th century B.C. Photo: Dickran Doumukjian. #2. Stone carving at The Temple of Garni.

The ancient cities of Armenia were famous for their temples, palaces and sanctuaries which were lavishly decorated  with marble and bronze statues as well as with splendid mosaics and frescoes. It is absolutely evident that Greek and Armenian artists, artisans, builders and architects collaborated jointly on many of the ancient temples and palaces in ancient Armenia. The physical  features and traits of the  head of the Armenian goddess of fertility, Anahit can be easily attributed to a Greek ethnic origin as well as to an Armenian ethnic background. The same argument applies to the architectural design and techniques of Garni temple.

The Garni temple. Photo by Robert Nikoghosian.

The frescoes-mosaic block discovered at Garni temple and extracted from the under floor of an ancient bath which probably was consecutively used  by Greeks, Armenians and Romans had a Roman style, a Greek technique with Greek inscriptions on it, and a pagan goddess Thetis which was honored  and worshiped by the Greeks and Romans as well. In addition, the mosaic block depicted mythologico-allegorical figures which had the traits and  characteristics of an Asia Minor  ethnic background. In other words, the figures and the traits were not Greek or Roman. One explanation comes to the rescue. They were of an Armenian origin, style and type, as simple as that. This is a solid evidence that, Armenian artists and artisans did collaborate and work  on Greek and Roman edifices, sanctuaries, palaces and artifacts, including murals, wall paintings and frescoes.  The stones used in the construction of the temple were gray basalt and not white marble. Traditionally, Greek temples were made out of white marble but, here at Garni, the stones were taken from a local Armenian plateau rich with gray basalt stones favorite of the Armenian sculptors, artisans and architects who knew very well how to cut the stones and use them in erecting temples and palaces.

Photo: Garni Temple: Keghart Interior. Photo by Nigol & Zabelle.

Tablets and records found in the ancient world of Mesopotamia and Asia Minor as well as in several parts of Anatolia, Phoenicia, Syria and Palestine, including historical accounts recorded by historians and rules from the empires of Assyria and the Hittites described the splendor and the beauty of the ancient Armenian palaces which were richly and extravagantly decorated with mosaics and frescoes. For instance, on the terra-cotta tablets and inscriptions of the ancient empire of the Hittites,  old Armenia was referred to as Hayasa, a country rich with waters (rivers), fertile prairies, gold, silver, metal and palaces decorated with golden statues and wall paintings.

MEDIEVAL ARMENIA

Medieval Armenia witnessed the glory and prosperity of the city of Ani, its capital which was the heart of arts and culture, particularly mosaic, frescoes and painting. Frequently referred to as the city of 1,001 churches.

Photos from L to R: #1. Greek Armenian Mosaic at Antakiyeh. (Antioch).  #2. The Annunciation sculpture bas-relief at Ani. Photo credits: Virtual Ani .

Photo: Ruins of a Georgian Church at Ani .

 The early Christian Armenian frescoes were very informative and educational, for they depicted the most important and essential passages of Christianity life, history and the work of the Apostles. They were the first original large scale documents and interpretation (s) of paramount events in the life of Jesus, his times, Apostles, saints, martyrs and the development of the Christian faith inside and outside Armenia as well. In short, early Armenian Christian frescoes were the first large silver screen of their time.

Contemporary  evaluation and study of curricula and collective learning and teaching  proved in many instances that collective and public teaching and educational guidance of illiterate populations are more fruitful, productive, resourceful and effective than private teaching. In that context, largely painted frescoes and publicly displayed frescoes had more impact and effect on newly converted Christians than sermons, small illustrations and drawings, manuscripts and similar media which were confined and or limited to small groups and regions of the homeland. In addition, those large frescoes had an immense visual and psychological impact on the mind of the early Armenian Christians. They were big, massive, powerful, evocative and dramatically depicted, even though the very early ones were of an inferior artistic quality. The frescoes by nature are  impressive. They contain and transmit  factual and imaginative powers.  Many Armenian devotees and worshipers believe in their healing powers. What’s left from those magnificent medieval frescoes now resting in Sisian Talin,  Eghvard, Guyeneh  and  Kosh are living witnesses to the infinite effect and signature they made on the history of Christianity and its development in Asia…thanks to the early Christian Armenian artists!!

Photo: Mosaic bearing  Armenian inscriptions from the 6^th century at the chapel of St. Polyeuctos, Musara Quarter, Damascus Gate, Jerusalem. Photo credits: Dickran Kouymjian

Photos from L to R: #1. Frescoes of  the Church of Saint. Gregory and King Trdat at Ani, 1,215. Photo credits: Ara Güler. #2. Remaining of frescoes at the Church of Saint Gregory, Ani.  Photo credits: Courtesy of Virtual Ani.