CULTURE

CULTURE, ARCHITECTURE AND CIVILIZATIONS

THE CILICIAN KINGDOM

Photo: One of the gates of Soback castle built in 1115 by the Crusaders in Jordan. The wide door with its curved architectural lines is typical of the early-Cilician-Crusaders architectural design.

The kingdom of Cilicia is considered by eminent historians, archaeologists and anthropologists as one of the greatest ancient empires of all time. It did not last very long in the history of human kind but, most certainly, it made an immense mark on the European civilization, its way of life, its trade and commerce, its arts and laws, its architecture and above all, it left an extra-ordinary impact on early Christianity edifices, castles, palaces, cathedrals and churches, as well as on the Crusaders who learned from the Armenians how to build circular- round-shaped castles and towers. Back then, the Crusaders in Europe knew only how to build square-shaped towers and castles. They did not know how to build fully circular towers and round castles until they learned the trade from their teachers the Armenian architects, and castles and towers builders in pre-medieval Armenia! Europe began to erect really fabulous castles in the 10^th century, while Armenia by the 9^th century has already demonstrated to the world its superior architecture mastery in building elegant and prestigious castles, palaces and fortresses, long long time before Europe!

Photo, below: Crusaders’ Shoback Castle in Jordan. Its architecture was influenced by the Cilician architecture. Its two front round shaped towers are clearly the product and direct influence of Armenian architecture.

One of the most predominant effects of Cicilian art and direct impact on Europe was obviously the Armenian architecture. More precisely, the architecture of churches, cathedrals, religious buildings and monasteries. The Cilician kingdom architects invented the church pentacle domes and the cross-shape lay-out of early European churches and cathedrals including those of Venice, Florence, Rome, Constantinople, Moscow, Leningrad, Nantes, Reims, Orleans, Paris, Maronite Lebanon, Coptic Egypt, Syriac-Aramaic Syria, Assyrian (Ashourian) Iraq, Orthodox Greece and Cyprus, Nestorian, Gnostic, Agnostic, Reformed, Orthodox and Medieval Christian Turkiye, the Near East, the Middle East and wherever there is a Christian church or an iron bell on the face of the earth. Among the greatest architects of ancient and medieval centuries, the world witnessed and recognized the Babylonians, Assyrians, Hittites, Egyptians, Ionians, Phoenicians, Greeks, Romans and Armenians. Cilician Armenia gained knowledge and experience in many human endeavors throughout many centuries beginning with the majestic reigns, epochs and times of the Armenian kingdoms of Mitanni and Ararat (2^nd millennium B.C), when Armenian architecture has already reached a level of almost perfection and was in those days considered as the most advanced architecture in the known world. The early Armenians of Ararat were already master-builders and accomplished architects. They were among the first architects of the nations of the ancient world to design and build multi-story edifices and buildings, including domestic houses, residences and centers of learning. Some of the Cilician palaces, temples, theistic and pre-theistic foundations were recently found in excavations and were acknowledged to be as the world’s first multi-story architecturally designed edifices.

ART OF A VANISHED MAJESTIC KINGDOM: CILICIA

The gigantic palaces and castles of enormous proportions of Ararat were the source of inspiration, data, collection of know-how and information for the forthcoming castles and buildings of Bagratouni (Bagratid), Arshakouni (Arsacid) Yervandouni, Artashesian (Artaxiad) and the Roubinian, Hetoumian and Lusignan periods. The Cilician architects and master-builders taught architects, fortresses and castles builders of ancient and medieval countries, the art, the science and the strategic lay-out, design and sites selection of castles , towers and fortresses. Many of the remaining ramparts, walls, towers, arcades and ruins of the Crusade castles in Syria, Palestine and Lebanon are living examples and witnesses of the Armenian ancient and medieval architectural genius and original creativity that shaped and influenced the architecture of the Crusaders, ancient and medieval Europe and the Middle East, including the Ottoman (Turkish) Sarails (Sarayat) , castles, sultanic palaces and cities fortresses.

Photo: Drawing/illustration of an early Armenian church with its noticeable altar dome. Armenian altars and domes style later were frequently copied, used and shaped after in European architecture for and in churches, cathedrals, royal palaces, universities, immense libraries and governmental edifices.

Photo, below: Cilician minted coins

Long before its established boundaries and kingdom perimeter as the Greater Armenia, Cicilian terrain in the region of Lake Van and Mount Ararat was the center of culture, art, science for the ancient Near East, Middle East, Indo-European countries, Anatolia, Syria, Palestine, Iraq and other regions, countries and inhabitants of Asia who interacted with the people of the kingdom of Urartu (Ararat or Armenia today) and the kingdom of Cecilica. The Cilicians were very hospitable, peace loving, and extremely friendly with their neighbors and the tribes that lived in their surrounding regions. Around the end of the 7^th century B.C., the kingdom of Urartu (Ararat) went into a deep sleep giving birth to a new nation called Armenia. It would take this new country several centuries before it would claim its independence from the Hellenics. Armenia became a free country, free from the Greek Seleucids and the influence of other foreign powers and cultures in the 2^nd century B.C. At that time, Armenia became very influential and its trade and commerce rapidly flourished thanks to its northern trade passage to Asia Minor, the Near and the Middle Eastern countries. Unfortunately, Armenian could not protect their territories and preserve their independence. In the 11th century, the Turkish Seljuk dominated Asia Minor including all the surrounding countries and neighboring nations. This lead to the absorbance of Urartu and the Armenian population into the mighty Ottoman empire. The Byzantines relocated the Armenians in Cilicia. Thus, the Armenians began to regroup and re-form a new national identity.

Photo: Map of Cilicia.

They regrouped and settled in the mountainous areas, prairies, hills and valleys of Cilicia where they established the last known autonomous Armenian state (Kingdom). The very first thing they did, was to build ramparts, high walls, fortresses and habitats for their families and volunteered soldiers. They succeeded in protecting their kingdom, possessions, castles, arts, heritage and way of life for almost three hundred years. Cicilia was the region of the lesser Armenia. Cilicia became a prosperous carrefour for trade and commerce and cultural exchange. Neighboring inhabitants and people from far lands including Europe had to pass through the land of Cilicia en route to Palestine and the regions of the Middle and Near East. This included, Asians, Europeans, Crusaders, Greeks, Muslims, and other ethnic nationals. Unfortunately, everything in life must come to an end and so did Cilicia in 1375 when it rendered its independence to the Mamelukes.

Photo: A Cilician treasure.

From the beginning of time, the Turks (Turkish, Ottoman, Seljuks, Mamelukes, etc.) had their eyes open on Armenia. Threatened by domestic political differences, weakened by wars and struggles with greedy neighbors, decimated by foreign invasions, humiliated and dominated by unmerciful conquerors, the great kingdom of Cilicia rendered its last breath and vanished from history in 1375, never again to rise up and equal the majesty and glory of its legendary Armenian kingdom (s). Thus, the Cilician identity was erased from history but not from the memory of its people and nations which witnessed its glorious past. Nevertheless, Cilicia ceased to exist and became a part of the Ottoman empire for centuries. C!ilicia became part of the Ottoman Empire in the 15th century. It was completely absorbed and dissolved in the immensity of the Ottoman empire which ruled over all the Middle East, the Near East, Asia Minor, and almost one quarter of Europe! Nobody, no nation, none of the mighty European powers could or would help the Cilician Armenians. The Ottoman empire seemed too powerful and invincible. European countries such as Spain, France, Italy and England would not interfere. The Outhmany (Ottoman) empire was a formidable power, at least on the surface. No wise man could tell or imagine that the Turkish empire would easily collapse during the first world war. It did! The Ottoman empire collapsed but it took with it the lives of millions of Armenians. Around 1920-1922, the French and the British tried to help the Armenians. But unfortunately, all their plans and wishful friendly assistance came to a halt. Once again, the Armenian people had to suffer the consequences. Armenians, young and old, families and communities were driven to other countries. Many of them relocated in Syrian cities like Aleppo, Kamishly, Antioch and a greater number of Armenians settled in Lebanese cities and towns like Anjar, Al Naher (a suburb of Beyrouth), Kaslik, Antileas and other areas. Armenians who live today in Syria and Lebanon and a few of them in Cyprus are the direct descendants of Cilician Armenia. Lord! What a great and an honorable lineage.

THE EXQUISITE ART OF THE CERAMICS AND POTTERY OF ASIA MINOR AND ANATOLIA

The Christian Anatolian art and mass production of ceramics saw the light for the first time in the 9^th century B.C. It was a rudimentary art that lacked refined motifs and ornamentation, nevertheless, the pre-historic Hyskos ceramics art offered an astonishing variety of products, objects and wares such as vases, bowls, urns, jars, dishes, jugs, plates and cups. But, in the 11^th century A.D. a refined style and a distinctive art of ceramics developed rapidly due to the travels and migration of several Armenians potters and artists, despite of the reign of the Seljuks which spread terror and fear over the Armenian territories. Many Christian Anatolian artists feared the Turks. Consequently, they regrouped in the concentrated area of Cotyaeum (Today, Kutahya in modern Turkey) which relatively in a short period of time was transformed into Asia’s most important ceramics, tiles and pottery production and industry center. Thus, Kutahya became the major competitor of Iznik, the famous and principal production source of most Islamic ceramics, vessels and tiles of the Ottoman empire. The early Anatolian and Asia Minor ceramics art flourished between the 11^th century and the 14^th century and was characterized by very distinctive patterns and designs borrowed from or influenced by the illuminated manuscripts paintings. In the 15^th century, the Turks gave support to Armenian artists, a sign of generosity and tolerance never given before by any Ottoman ruler. This new assistance and support through the patronage and the protection of the Turkish court were an enormous boost for the Armenian arts of ceramics and pottery. Yet, the Ottomans remained very suspicious of the Armenian artists and kept a vigilant “eye watch” over their whereabouts, travels and centers of ceramic production. Asia Minor/Anatolian ceramics from the 17th century.

Photo: A rare and old photo of an Asia Minor/Anatolian ceramic vase from the 17th century.

Armenian potters and ceramics artists were nicknamed “ infidel potters and ceramics makers” by the Turks. At that time, Armenian artists never felt secure under the Ottoman occupation nor among their Muslim neighbors who occupied the whole territories of Asia Minor, Anatolia and almost all the Middle and Near East countries. Consequently, they refrained themselves from decorating their objects with Christian patterns, designs and patterns. But, in the 17^th century, Armenian artists began to decorate their urns, jars, incense holders , oil and water containers with various Christian symbols, crosses and religious motifs. Many of the potters and ceramics makers began to incorporate Turkish and Greek motifs as well. This innovation helped them to broaden their market and to extend their business. Many mosques and Muslims centers of worship were among their customers. A great number of Masajeds and Jawamehs in Turkish cities such as Istanbul, Konya, Ankara, Adana and Kutahya were decorated with Armenian ceramics and tiles. The Armenian ceramics business became a very profitable enterprise. In the early 16^th century, Armenian ceramics were decorated in the traditional blue and white ware colors. In the 17^th century, a distinctive highly polychrome faience was produced with green, yellow and vibrant red colors. In the 17^th century, another center for Armenian ceramics production was also prosperous. It was New Julfa, an Armenian suburb of the marvelous city of Isfahan, founded in the early years of the 17^th century.

Photo: Kutahya ceramic incense burner, circa. 1726.

One of the most recognizable and popular shapes of ceramics originated in the kilns of Kutahya were the egg-shaped forms and were used as ornaments in churches and mosques inside and outside the Ottoman empire. Those ceramics hung on chains from which olive oil lamps were suspended. Export was encouraged and many cities in distant lands began to place large orders. Jerusalem, Damascus, Constantinople, Akar, Haifa, Alexandria, Karnak as well as cities and towns in Spain, Malta, Cyprus, Greece, Italy, Russia and France regularly requested large quantities of Armenian titles and pottery objects, for at that time in history, Armenian ceramics and pottery objects were considered as among the finest in the world. Kutahya has become the primordial and most prosperous center of ceramics and pottery industry in Asia for centuries, until, unfortunately it went out of business in the 20^th century when the Armenians were removed by force from their communities and exiled to foreign countries during world war one. Many Armenian ceramics artists and artisans settled with their families in Jerusalem, where they remained productive and continued to produce the polychrome Kutahya ceramics style until today.

Photo: The last supper on the left and holy women at Jesus tomb after his resurrection, on the right. Circa 1721, Kutahya.

The ceramics history in Jerusalem began in 1918 with the arrival of three Armenian ceramics and pottery artisans from Kutahya who were sent for by the Pro-Jerusalem Society in Palestine upon the recommendation of Dikran Aghajanian, (a wealthy Lebanese-Armenian merchant living in Beyrouth) to come to Jerusalem for one specific reason: to repair the damaged tiles on the Dome of the Rock which was richly ornamented with glazed tiles at the time it was built in 691 A.D. by Al Khalifa Abdel Malek.

THE EXQUISITE ART OF THE CERAMICS AND POTTERY OF ASIA MINOR AND ANATOLIA

Even though, the Armenians did not complete the work, they were welcome to stay with their families in Palestine. Later on, the three of them decided to go in the ceramics business and they did. One very particular missing “detail” in the early Armenian ceramics and pottery objects produced during the Ottoman occupation caught my attention while I was examining an exquisite set of Kutahya ceramics; the signature of the artist who designed and made the set. Evidently, the artist refrained himself from signing his work for obvious reasons. This reminded me of a strange and a bizarre story of a famous Muslim Persian rug weaver who offered the Shahinshah of Persia two sets of Isfahani carpets. Proud of his work, the weaver expected a handsome remuneration. Instead, the Persian monarch ordered the weaver’s hands to be cut off, because he dared to incorporate his signature in one of the corners of the rugs. The most beautiful set of Kutahya ceramics tiles is in the Armenian Cathedral of St. James in Jerusalem. It consists of a particular series of tiles with polychrome biblical scenes and passages from the Old and New Testament. The set was commissioned in the early 18^th century for the decoration of the Church of the Holy Sepulcher. Today, in Armenia, ceramics tiles and objects in the style of the historical Ani and Dvin are still in production in many villages throughout the homeland as well as in Jerusalem, Israel.

Photo: An 18^th century Anatolian rose water ewer made in the famous city of Kutahya

Photo: Anatolian rose water ewer featuring a Makara-headed spout elegantly influenced by the Arabesque style and characterized by the refined shape of the handle as a symbol or a suggestive representation of a flying deer. The interior of the ewer is made out of Iznik clay. The body is glazed with Mohammedan cobalt blue.