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THE VOLUNTEER

“To all our elite, who fell for the land of Armenia…”

During the First World War, thousands of Armenian volunteers from various parts of the world came together to bravely fight on all fronts. Many publications dedicated to their heroism remain unfamiliar to the wider public.

On February 12, 1919, a joint Memorandum of Armenian demands, signed by Avetis Aharonian and Boghos Nubar, was presented at the Paris Peace Conference. The document emphasized the role of the Armenian nation as a “belligerent party,” arguing for the re-establishment of an independent Armenian state. It delineated its territory, including the seven vilayets of Western Armenia (with Trabzon considered as it was the only significant outlet of the entirety of Greater Armenia to the Black Sea), uniting with the Republic of Armenia and Cilicia.

“Armenia has earned its right to independence through its direct and voluntary participation in the war on three fronts—Caucasus, Syria, and France,” the memorandum stated.

“The Volunteer” (Avetis Aharonian)

Dedicated to all our chosen ones who fell for the Armenian world…

1.
Who is the volunteer?
He is not merely a soldier; he is more than a soldier.
He is the iron will, clenching his powerful jaws against the curse of life.
He is neither born, nor does he die.
He is eternal—like suffering, and undying—like the flame erupting from the fiery forge of reason.

Prometheus was the first volunteer.
He, who pitied the miserable human race stumbling in darkness and cold, dared to face the wrath of the cruel gods and stole the heavenly fire to bless the soul of the world with light and warmth.
And later, bound to the rock by the gods’ fury, he offered his liver to the eagles to tear apart, without a single sigh.
The volunteer does not groan, for his will is the relentless effort of self-destruction—boundless and indestructible.

Do not defile the motherland’s soil with oppression.
Woe to you if her pain rises with her sweat from the depths and clouds the just rays of the sun.
Why has the tall plowman suddenly halted, thoughtful and brooding?
He gazes afar at the endless fields, and the wind lashes his gloomy brow.
The folksong has silenced; the yoked ox snorts in the furrow.
For whom is the plowing done?
Why has the blonde shepherd, lying along the green path, suddenly trembled and sat up?
Forgetting his flock, his dreamy gaze searches through the mist on the mountain slope.
He listens, his ear to the sound. Whom does he await?
Yesterday, three lambs were missing from his flock.
The calf is bellowing.
A lone traveler passes through the sad, dark valleys.
He opens his soul to the winds, like a flower bud at dawn, and gently speaks to his horse:
“Calm, my soul, soften your hoofbeats, the gorge is treacherous.”

In the midst of the meek and obedient silence of the bent-backed masses, a mysterious bell always rings with a harmonious and powerful rhythm.
The traveler, the shepherd, the plowman, and the sun listen closely.
Do not defile the motherland’s soil with oppression.
Woe to you, for in her womb, the pains of motherhood are already writhing.
It is the storm’s alarm.
Souls have drunk fire.

In the silence, a bell chimes, and beneath the distant cottage, the churn hanging from the ceiling moves back and forth. The old mother weeps softly.
She had a dream last night.
Who is threatening her sweet child?
Her tears drip onto the churn, falling drop by drop.
An eagle circles above the plowman’s head.
The shepherd raises his fist to the sky.
The lonely traveler searches the treacherous gorge.
Cry, mother, ah, your tears are for the world.
The lambs are gone, and in the fields, the calf cries, bereft.
The churn moves back and forth, and in the distant cottage, a mother weeps.
She had a bad dream last night.

The world-conquering army, the gray mass of humanity trained under the cold whip of law, is the curse of history.
The volunteer is the conscience of nations.
It is he who casts the veil of mythic fire over the savagery of battle, spreads love over the wounded fields, and embodies the spirit of the homeland’s mountains.
Standing against oppression, sword in hand, like an angel, he wrests the secret of death to hurl it into the storm of the ages.
He is the only master of freedom’s forge, and his craft is unique—to shatter chains beneath the victorious blows of his hammer, all chains.
He forges the life of a thousand generations by sacrificing his own to the all-encompassing, sovereign flame of the universe.
The volunteer is the conscience of nations.

The only just war is the one fought for the homeland and, more broadly, for human freedom.
All the great revolutions of nations are the work of volunteers.
All the grand legends, by which humanity is sustained and lifted toward its ideals, are crafted by volunteers. Like the spring flood that erodes mountains, they carve deep furrows in the pages of history.

Garibaldi and his thousand men are an eternal song, a gust of storm that will echo through the centuries, each time tyranny and evil weigh heavily upon the world.
Prometheus stole fire from the heavens…

2.
It was nearly forty years ago when I saw him—the first Armenian volunteer. He was a dark-skinned young man, with a strong physique, eyebrows like black clouds, and eyes burning like embers.
He came, opened my door, said “hello,” rested for one night like a bird searching for a nest, and at dawn, without a word, he set out toward the dark Bardoghian mountains, just as quietly as he had arrived.
Volunteers do not like to talk.
They are always silent, like the pale Nemesis.
He left and never returned.
Volunteers never return.
If they do come back, they will leave again, and again… until they fall beneath a stone…
And so the dark-skinned young man left.
It was Goloshean…
He fell in the gorge of Chukhur.

And after?
… After, the tormented conscience of a suffering nation thickened and erupted like a storm.
A mysterious bell tolled over the oppression reigning beyond the mountains—terrifying yet captivating.
And for thirty years, from this side of the border and beyond, our wounded land and our sweat gave birth to giants from its just depths—muscular, brave young men who marched one after another against the dragon entrenched in our mountains.
The sorrow-filled lullaby of our mothers stirred the souls of their sons.
The cradle’s weeping became the most powerful song of war.
The sobs heard from swaddling clothes under the oppressive hand of tyranny are the very anvil on which the volunteer’s armor is forged.
Thousands followed in the footsteps of these titans, they went, and never returned.
Beneath which stone, in which gorge, are they now dreaming the dream of the homeland?

And the courage of rebellion, accumulated for thirty years, rose like a dragon in the gorges of Gharakilisa, in the fields of Sardarabad, and in the battles of Arara, roaring in defiance:
“You shall not pass! Here, our spirit is a fortress of granite.”

What an assault, what bravery… In Gharakilisa, four thousand of the elite broke the arrogance of the Turkish hordes with their sacrifice.
And in Sardarabad, where thousands of years stared from the ripples of the Araxes, the Armenian volunteer brought the ancient enemy to its knees.
And in Arara, a handful of selfless Armenians astonished foreign and ungrateful nations.

Gharakilisa, Sardarabad, and Arara will remain as unbreakable monuments, where the wounded and forgotten Armenian people once again imprinted their ancient military valor on the great book of universal history.

The old mother has long since died. She dreams no more.
The empty churn moves back and forth, breathing with the winds.
The young widow, in a rage of mad grief, let her veil be torn to shreds by the winds, wiped her tears, and laid her soul upon her fertile womb, where her child trembles within.

The mighty oak forest has been devastated by a destructive storm, but the new shoots are rising towards the sun.
And from one end of Armenia to the other, in all the mountains, in all the valleys, in all the villages—whether prosperous or ruined—lives the powerful legend, the endless tale of those who have passed and those who are coming…

Who can strip from our soul our golden Legend—our free Homeland!

The ancient world’s wise saying “Know thyself” calls for self-awareness and is repeated to this day, urging us to explore and develop the untapped layers of human intellectual and physical potential, and to penetrate the world of Nature’s secrets…

Mithraism, with its esoteric philosophy and multi-symbolic rituals, guides its followers towards the revelation of Truth through self-improvement, perseverance, mindful diligence, and the study of natural laws…

Fearlessly advancing along a clear, systematic path toward perfection, the disciplined Mithraist, as a defender of the homeland, an invincible soldier, and a protector of peace, day by day equally strengthens both mind and body, adhering to the principle of “A sound mind in a sound body,” as well as the “Triple Precept” of “Good thoughts, good words, and good deeds.”

Valuing mental peace and clarity, the thoughtful Mithraist continually sharpens his skills with unshakable willpower, becoming a torchbearer of Light and Wisdom for others, enriching the world with his fertile and productive mind, his universal ideas, and his virtues, improving the world through noble actions.

According to ancient wisdom, “When the student is ready, the teacher appears…”

And the Priests of the Haykian Brotherhood, Priest Mihr Haykazuni and Priest Harut Arakelyan, remind us of some lines from the Book of Haykian Wisdom: “Perfection is a journey, not an innate quality. If you refuse to live the journey, perfection will never be.”

The noble defenders and steadfast guardians of Armenian national culture, the Haykazuni Arevordis (Sons of the Sun), continue to live by the value system inherited from their ancestors to this day. They celebrate the festivals and rituals in their true essence and in accordance with an accurate calendar aligned with Nature’s cycles, also placing importance on a special diet and meditation, keeping both body and mind as pure as possible.

Mithraism, a secret brotherhood founded on lofty ideals, guides the Mithraist towards the Light of Truth through its mysterious rituals, which reveal their deep meanings only to the members of the brotherhood, clarifying and explaining them step by step. This process leads to the gradual discovery of new realms of Knowledge.

“From ancient times, effective methods for wisely transmitting knowledge have been developed, skillfully applying various secret ideas hidden within meaningful symbols.

The Mithraist does not reveal the path leading to the Light of Knowledge all at once.

One must successfully overcome a series of trials, ascending the steps of knowledge and virtue with patience and unwavering will. With a deep sense of responsibility, the Mithraist cultivates his moral qualities, finding balanced solutions to any problem with a calm spirit even in difficult situations.

During his training, the Mithraist passes through specific phases, earning corresponding ranks, each of which holds its own meaning and symbol,” writes Priest Mihr Haykazuni.

Transformed and having attained Mithraic Consciousness, the Sons of the Sun, bearers of the powerful Haykian spirit, are the true heirs of Armenia’s Forefathers—its glorious Kings and Priests. Even today, they keep the eternal Torch of Wisdom, which has shone from the depths of millennia, alight.

“Mithraism ennobles and enlightens humanity, forging its unwavering path through resolute will and action, guiding its followers,” reminds Priest Mihr Haykazuni, adding,
“Nobility, justice, integrity, and discipline form the foundation of the Mithraist’s virtue.
Do not waste your time on trivial matters. Be purposeful and always prepared to face difficult challenges with wisdom and perseverance.”

“The fleeting and transient time granted to each person during their brief life must be given meaning through self-improvement, for the sake of productive, beneficial work and for the welfare of society. Therefore, embody lofty ideals, honing your skills and strengthening yourself by facing life’s trials with courage. Become that highest value which is the foundation of Mithraic virtue—noble, always striving toward Truth and Light,” urges Priest Mihr Haykazuni, welcoming the new members of the Mithraic Brotherhood. With great responsibility and readiness, they have consciously chosen the illuminated path of Knowledge and Self-awareness, continuing the rituals and traditions that have come from the depths of millennia…

Before being initiated into the brotherhood, the novice who seeks to uncover the mysteries of Mithraism is led to the “Chamber of Meditation,” where only a few symbolic objects are present.

In the dim light of a cave, illuminated solely by the flame of a candle, he must face his first trial alone, standing at the threshold of transformation.

Let’s continue the discussion from the previous post about the “Children of the Sun” by exploring the true teachings of the real Children of the Sun—according to the interpretation of the priests of the Haykian Brotherhood, who preserve the ancient solar culture of the Haykazuni lineage.

In Ghevond Alishan’s study “The Old Faith or the Pagan Religion of the Armenians,” we read: “It is more surprising and easier to believe that sun worship, more than other beliefs, has somehow deeply and lastingly taken root among our compatriots. And at various times, there have appeared ‘Children of the Sun,’ who perhaps still exist, though it is not clear to which people they belong. In the mid-11th century, Grigor Magistros mentions them by this name and considers them to be descendants of the Zandik magi. He says: ‘Some of them, having been enlightened, are sun-worshippers, whom they call the Arevordik (Children of the Sun). And many of them are found in this region (Mesopotamia), and Christians openly refer to them as such’…”

“…In the writings of authors from later centuries closer to our own, there are also mentions related to the Children of the Sun. Even today, in the regions of Mesopotamia, there are sectarians called ‘Shemsi’ (meaning ‘solar’), who follow a religion that blends elements of paganism, Christianity, and Islam.

The origin of their ethnicity is unknown, and they speak the local language.

In the very land of Armenia, in the regions near Kaghzvan, one can still hear the names of the ‘Arevordi’ or ‘Artsvordi’ mountains that rise between the rivers Aras and Aratsani. In recent times, Yezidis and sun-worshippers have been found there, or at least Arevordis, who are mentioned by local geographers, among them being Texier (Texier, Asie Mineure, I, 105, 123).”

In the early 17th century, during his travels through Mardin, Simeon of Poland (Simeon Lehatsi) testifies that the “Shemsis” had a gathering place (a “prayer place”) in Mardin. They spoke Armenian, but under the threat of forced conversion, they were scattered from there—some went to Persia, while others fled to Syria, Tokat, and Marsvan (Simeon of Poland, Travelogue, p. 208, Vienna, 1936).

In the travel diaries of the 1895 expedition, French archaeologist and anthropologist Ernest Chantre (1843-1924) writes about the unique aspects of the Yezidi religion, the influences it has absorbed from other beliefs, and their morning ritual of worshipping the sun. He concludes that Zoroastrian elements have been unconsciously preserved in their practices (p. 94). Certain excerpts (translated by me) confirm the lines of medieval chroniclers:

“Some consider them to be Muslims, others Nestorians or followers of Zoroaster’s teachings. …They worship the sun as a symbol of God’s justice, the life-giving principle for humanity.”

“Like the ancient Arevordik (Children of the Sun), they worship the bard, but in extreme contradiction, they believe that by doing so, they are venerating the tree from which the wood for Jesus’ cross was made.”

“When you ask a Yezidi what his religion is, he answers that he is ‘Isavi,’ meaning that he belongs to Jesus—in short, that he is a Christian. And since they are notorious thieves and robbers, they justify their actions by saying that Jesus permitted them to steal in remembrance of the thief crucified on his right side.”

Referring to the Arévordiner mentioned by Nerses Shnorhali, who rejected the new Christian faith during its spread and preserved their own teachings, Chanteur questions Yeghiazaryan’s suggestion that this sect was likely represented by the Yazidis. He also recalls Portugalyan’s etymology of the word ‘Yazidi,’ derived from the Persian city of Yazd, where Zoroastrianism persists to this day.

The “Children of the Sun”, who have survived to this day thanks to the descendants of the Haykazuni, are Armenians who, through a special ritual known as the “Sun’s Gaze”, carry the teachings of Hayk, as explained by Kurm Mihr Haykazuni.

The confusion and ambiguity among the authors mentioned stem from the fact that, after the spread of Christianity, nations with beliefs that included elements of nature worship were often generalized as being associated with “sun worship”. The medieval manuscripts that refer to the “Children of the Sun” give us insights into the nationality of these individuals through historical accounts concerning the populations of Mesopotamia over the centuries.

In his description of the fortified city of Mardin, located on a high, rocky mountain, and its fruitful surroundings, Ghukas Inchichian also speaks of the diverse local population: “The city’s inhabitants number about 1000, and they consist of Turks, Kurds, Arabs, Armenians, Assyrians (or Jacobites), Chaldeans, and also the Shamsiyya, which in Arabic means ‘People of the Sun,’ whom our ancestors referred to as the ‘Children of the Sun.’” (Gh. Inchichian, Geography of the Four Parts of the World: Asia, Europe, Africa, and America. Written by Father Ghukas Vardapet Inchichian of Constantinople. St. Lazarus Island, Venice, 1806, Part I, Asia, Vol. I, p. 353).

“People of the Sun, whom our ancestors called the Children of the Sun…”

“Sun worship represents the culture of Life’s Light, the quest for Wisdom and self-improvement.
The Children of the Sun are the carriers of this culture, spreading the Light and sowing Knowledge, Wisdom, and Goodness.
A Child of the Sun, in the Haykazuni worldview, is an Armenian raised with the Haykazuni philosophy, inheriting the wisdom passed down by their ancestors.
Naturally, tribes living by the lunar calendar could not be called ‘Children of the Sun,’ as noted by Kurm Mihr Haykazuni.”

Today, the priests of the Haykian Brotherhood offer precise knowledge about the ancient traditions of the Haykazuni Children of the Sun, Sun worship, and the teachings of Hayk, clarifying many questions that have remained uncertain over the centuries.

Here is a short interview with Kurm Mihr Haykazuni, providing some concise explanations.

From ancient times, nations have glorified their ancestors—Fathers, Forefathers, and their deeds—immortalizing their heroics through stories and myths passed down from generation to generation.

Many of these epic narratives, transmitted orally, have undergone changes over time, yet they have always preserved their spirit and essence, inspiring generations.

“The memory of great men is no less important to us than their living presence,” declared the wise of the ancient world.

In the Armenian calendar, during the Festival of the Sun, on the day of Aram in the month of Navasard, the mighty, wise, and caring Fathers of Armenia are honored. On the day of Mazdaz in the month of Tre (September 22), it is the Festival of the Wise Patriarchs, and on the day of Aram in the month of Arats (November 18), the day is dedicated to the righteous and just Kings who enriched and cultivated the land.

Referring to the devoted leaders of the Armenian nation, Khorenatsi eloquently testifies to the profound love that the Haykazuni dynasty held for their glorious ancestors.

“This man (Haykian Aram), being diligent and patriotic, as the same historian shows, considered it better to die for the homeland than to witness foreign peoples trample upon the borders of his country, and see strangers rule over his blood relatives.”

“This Aram, shortly before conquering the Assyrians of Ninos and Nineveh, having been oppressed by the neighboring nations, gathered a multitude of his brave, skilled archers and kin—about fifty thousand men. Among them were many strong young spearmen, well-trained, courageous, and skilled in warfare.

He encountered the warriors of the Medes near the borders of Armenia, led by a certain Nyukar Mades, a proud and war-loving man, as the same historian shows. Once, like the Kushans, they ravaged the borders of Armenia with their hooves, and Mades subjected Armenia to his rule for two years.”

Aram, launching a sudden attack before sunrise, slaughtered a large number of Nyukar’s troops. He captured Nyukar himself, also called Mades, and brought him to Armavir. There, he ordered that Nyukar be nailed to the wall at the top of a tower, driving an iron stake into his forehead, displaying him to passersby and all who came. Aram then subjugated Nyukar’s land up to the mountain called Zarasp, making it pay tribute until the reign of Ninos over Assyria and Nineveh.

Regarding Tigran Ervanduni, the same historian Khorenatsi writes: “But let us now proceed to write about Tigran and his deeds, for he was the mightiest and wisest of our kings, and the bravest of them all. He assisted Cyrus in overthrowing the Median rule and, for quite some time, subdued the Greeks, bringing them under his control. By expanding our borders, he extended them to the furthest reaches of our ancient territories.

He became the envy of all his contemporaries and, to us who came after, both he and his era remain highly esteemed. He rose as a leader among men, demonstrating bravery, elevating our nation, and turning us, who were once under the yoke, into those who placed the yoke on many others and demanded tribute.”

“This and many other such things were brought to our land by this fair-haired Tigran of the Yervanduni dynasty, with curly tips of his hair, a colorful face, a sweet gaze, strong calves, beautiful feet, well-built and broad-shouldered, temperate in food and drink, moderate in celebrations, wise and eloquent, and full of all the qualities that are fitting for a man.”

In Classical Armenian (Grabar): “These and many other such things were brought to our land by this fair-haired and curly-tipped Yervanduni Tigran, colorful of face and sweet-eyed, strong of body and broad-shouldered, upright in speech and graceful in form, temperate in food and drink, moderate in celebrations, of whom the ancients, who sang in praise, said that even in bodily desires, he was measured. He was wise and eloquent, and in all things that benefit mankind, he excelled.”

“For this reason, I love to call by valor these names—Hayk, Aram, Tigran. For it is the brave who are born of the brave. As for those in between, let them be called as each sees fit. But from a mythological perspective, our claim is also true.” (Khorenatsi, Book One, Section 51)

Studies on the initial stages of Christian community formation in Armenia and beyond offer a glimpse into that era.

“An ancient tradition of the Eastern Mediterranean, later formalized as doctrine, narrates the story of Christ-God, who took human form, suffered, and was crucified for the salvation of mankind. This doctrine provided a sense of comfort and solace. But when the apostles who were fishermen were succeeded by popes and patriarchs wielding both pastoral staff and royal scepter, faith turned into a nightmare.
These early Christians were, in fact, barbarians themselves: they first tortured their prophet, crucified him, and then knelt before his mutilated body. This faith was adopted by anonymous people, Jews of the diaspora, and Assyrians.
They were homeless and without a homeland. They lived in ports, under sacks of goods being unloaded, in the slums of Rome. Dirty and in tatters, they crowded the markets and public squares, eating rotten bananas and oranges, offering their services to passersby. Mary’s actions are dubious, Paul was a criminal, Magdalene a prostitute, and Judas shared the same table as the Son of God.
And the question remains: who was the greater barbarian, the Christian Alaric or Attila, who had no faith but still brought destruction to Rome alongside him?

Christianity is like the sacred river of Egypt, depositing mud along its banks. It overflowed, submerging an entire civilization under the mud it carried, creating fertile soil for new growth.”

“… The conversion began, and in the course of this conversion, an entire civilization was trampled.
Gregory the Parthian urges the king to demolish, destroy, and obliterate everything pagan, to eliminate any temptation so that no obstacles remain in the path…

… For the sake of common peace.
It was in this spirit that all massacres and the St. Bartholomew’s nights were born. The king complied with the Caesarian apostle’s request. He ordered that the old gods, once venerated by his ancestors and himself, be declared false gods and erased from memory.”

“… When faith merges with power, crime surfaces.
And it surfaced: in Artashat and later in Yeriza, the temples of the Great Anahit were torn down and burned.”

“And the apostle bearing the cross appeared” (…) “he rose, dismantled, and brought down all the temple structures.”

“The historian then adds, with satisfaction: ‘All this was carried out by the will of the merciful God through the hands of Gregory.’ And Gregory the Parthian, who destroyed ancient Armenian civilization by fire, was called ‘the Illuminator.’”

After the above excerpts from the book Mashtots by the distinguished linguist, historian, and doctor of philology Artashes Martirosyan, let us examine some passages from the article Assyrian Sources on the Armenian Church by Dr. Hayk Melkonyan:

“It has been determined that in these early Christian communities, representatives of various nations gathered, which meant that these organizations lacked a national character. Their unifying strength was this progressive ideology that called upon the oppressed, the despised, the abandoned, and the dissatisfied in society to unite.”

(…)

“Before addressing these traditions (later accounts, various ‘lives of saints,’ etc., K.A.), one should consult the work Jewish Antiquities by the 1st-century Jewish historian Flavius Josephus, which contains interesting information regarding the early Jewish preachers. According to this historian, around the mid-1st century AD, Jewish preachers Ananias and Eleazar of Galilee were spreading the Jewish religion in Charax-Spasini and Adiabene.”

(…)

“And when the question of Izates’ circumcision (son of Monobazus, king of Adiabene, K.A.) arose, Ananias believed that such a rite was unnecessary to become an adherent of the new religion.”

(…)

“We believe that this account from Josephus refers to Christianity, as in its early days, this new doctrine was known as the ‘Jewish religion’ outside of Judea. Furthermore, it is well documented that Mosaicism was a religion that strictly pertained to the Jewish nation and, by its principles, sought the salvation of the Jewish people alone, making it understandable that such a religion would not be preached among non-Jews.”

To disseminate a foreign religion, special schools were established in Armenia, where education was provided in three languages: Greek, Syriac, and Persian. Students were chosen from each province and region. According to Agathangelos, groups of children were forced to leave their native places to receive schooling.

The first educators in these schools were Greek and Syriac missionaries who had accompanied Gregory the Illuminator to Armenia. “He found many brothers, whom he convinced to join him to be ordained as priests in his country, gathering numerous groups, and he brought them with him,” Agathangelos recounts. “Later, the successors of the Illuminator emulated their ancestor. Armenia became crowded with foreign missionaries, who proved to be more of a burden than a boon,” writes Bishop Vahan Ter-Yan.

For many generations, the Haykazunis, as noble and honorable Children of the Sun, stood in defense of their ancestors against the unimaginable pressures and persecutions of outsiders, preserving and passing down the doctrine of Hayk, along with Armenian traditions and values, from generation to generation.

In the writings of various periods and in medieval literature, there are mentions of the Children of the Sun, often distorted by the circumstances of the time and by ignorance.

“A parchment manuscript mentions the ancient Children of the Sun who settled on the plateau on the left bank of the Arax River. This area was called Arévik” … (A. Bakunts)

“…I too wish to be called a Child of the Sun. Indeed, I am a Child of the Sun” … (M. Saryan)

More in the next article to come.

Details about ancient architecture and sculpture are revealed to us through archaeological excavations and the writings of historians…

Pliny the Elder, a Roman naturalist and general (circa 23-79 AD), who authored the encyclopedic Natural History in 37 volumes, also offers significant insights into the historical geography of Armenia and the unique veneration of Anahita, the mother goddess of the Armenians.

Within the Armenian context, during the Christianization process, Armenian literature features depictions that urge the demolition of luxurious and grandiose places of worship, including their ‘lofty fortified walls.’

In the temple of Anahita, situated in the Anahiti region of Upper Armenia (near Erzurum and Erzincan), he describes the statue made of gold as the first one fully cast in solid gold

“It is said that the first statue made of solid gold, without any hollow areas, even older than the solid bronze statues known as holosphyrates (hammered entirely by hand), was erected in the temple of the goddess Anaïtis (refer to Chapter V, section 20, to determine the region associated with this name). The inhabitants of the region held the statue in great reverence.”

“Cicero and Pliny also refer to Anahita of Eriza:
Their accounts suggest that the people attributed great significance to their goddess.
When Lucullus entered Armenia, the Armenian people were in great turmoil; more than anything, they were concerned about the temple of Anahita, where the goddess was honored with ‘an extremely grand and solemn worship,’ as Cicero explained,” wrote “Bazmavep” in 1914.

The esteemed Garegin Levonyan examined the ancient traditions of Armenian sculpture, with one of his articles, published in issue 5 of 1913 of the illustrated magazine “Guegharts” (special international issue, pages 153 to 159, Venice, Mechitarist printing house), presented below with some edits.

“… Especially because he was also taking some of the magi with him…”
Our previous article covered Trdat’s journey, accompanied by magi, from Armenia to Rome for his coronation, a journey that took 9 months. Below is the remarkable study on the group of horse sculptures that were gifted to Nero during this visit.

The Horses of Saint Mark and the Influence of Armenian Art

Under this rather unusual title, our readers will uncover a captivating tale that traditionally links to our pre-Christian art.
In Venice, the famous and unparalleled Saint Mark’s Basilica is made even more majestic and triumphant by the four magnificent gilded bronze horses, set on separate pedestals above the main portal of the façade.
These marvelous horses are mentioned even before one arrives in Venice. It is also said that Armenians might have some connection to these artistic masterpieces.

For us, such an interesting question could not naturally go unnoticed, and we are therefore in a position to share with the readers of ‘Guegharts’ both the result of our personal impressions and the information we have gathered from various sources, while finally adding our rather bold opinion.

The first thing a person does upon arriving in Venice for the first time is to head to Saint Mark’s Square (Piazza di San Marco), which feels more like a grand salon, surrounded by majestic columned palaces and the basilica, than an ordinary square. The initial impression is so overwhelming that the art lover doesn’t know where to fix their gaze: the palaces, the massive bell tower, the extraordinary clock, or the Basilica of Saint Mark, adorned with its four magnificent golden horses and its brilliant mosaics.

These noble horses…
They once adorned the triumphal arch of Nero, embodying all its glory, arrogance, and extravagance, twenty centuries ago.
After decorating Rome for more than four hundred years, they were transported to Byzantium by order of Emperor Constantine the Great, for the inauguration of the new capital on the shores of the Bosphorus (4th century). In the early 13th century (in 1206), one of the famous Venetian doges (Marino Zeno) brought them to Venice to further adorn a city already sumptuously decorated like a young bride.

At the zenith of imperial glory, just like Nero, Napoleon Bonaparte, upon seeing these horses in Venice, proclaimed, “Let them be mine!” and had them taken to Paris (1797). They were returned to Venice in 1815, where they have remained ever since.

Here is the brief history of the Horses of Saint Mark.

What a beautiful account of this journey, as narrated by the Italian poet of Armenian origin, Vittoria Aganoor, in her “Eternal Dialogue”.

Here they come upon the Bosphorus,
The majestic ones. On their masts wave
The crimson and gold banners, adorned
With freshly bloomed laurels…
Bronze horses, how many triumphs
Have you witnessed, how many epic, thundering dreams.

Vittoria Aganoor, «Eternal Dialogue»

These horses are splendid, and their history is intriguing, but what could their connection to the Armenians be, one might wonder. This is the question we will examine now.

Where did Nero acquire these horses? Experts assert they are not Roman creations. Notably, ancient Roman historians already recorded that they were a gift from “the Armenian king Tiridates”.

There are two prevailing views: one claims that Tiridates or Tiridates (Arshakuni) brought the horses to Nero, while the other suggests that Tiridates the Great delivered them to Constantine.

«One ancient document mentions these bronze horses in connection with Tiridates, as detailed by Victor Publius in his description of Rome’s E district. Another anonymous writer, contemporary with Emperor Honorius or G. Valentius in the mid-5th century, also refers to Tiridates: Equum Tiridatis Regis Armeniorum. It is worth noting that not only the horses in Venice but also those still in Rome bear a strong resemblance to those referred to as “the horses of Tiridates” on Monte Cavallo», writes H. Gh. Alishan in his work “Ayrarat.”

« When we mention the imperial, our thoughts inevitably turn to the royal », continues the author of Ayrarat, «and it is not enough to merely regard Tiridates’ gifts as elegant offerings, but also to consider what historians have left unmentioned. Yet the Italians have a tradition, and some local Venetian historians, in their writings, assert that the Armenian King Tiridates (whom Nero viewed as Parthian) gifted these four famous gilded bronze horses to the emperor, which frequently adorn the elevated façade of the unique Saint Mark’s Basilica, on the famed square of our Adriatic capital…»

It is not imperative for us to ascertain which of the two Tiridates brought these horses to Rome, whether it was Tiridates referred to as Tirith or Tiridates the Great; what truly matters is that they originated from Armenia. If it had been Tiridates the Great, our historians would certainly have noted this gift in their accounts of his journey to Rome with the Illuminator, as Agathangelos records. Agathangelos has recently faced significant criticism (Langlois, Gutschmid, Tashjian, Sargsyan), which has undermined his historical position and even displaced him from his role as “Tiridates’ secretary”. Consequently, it is highly probable that it was Tiridates Arsacid, known as Tirith, who traveled to Rome and was presented to Nero. Given that our historians typically do not mention Tirith, there was no expectation of this gift being documented. On the other hand, notable Roman historians such as Pliny, Tacitus, Cornelius, and others recount Tirith’s triumphant entry into Rome and Nero’s ceremonial reception. Based on these sources, M. V. Chamchian composed a splendid passage in the first volume of his “History” (page 324), which we present here with some edits for brevity.

Tirith, escorted by numerous Eastern attendants and three thousand Armenian and Persian horsemen, along with several Romans, made the journey overland. He refused to cross the sea by ship, as Pliny mentioned, because according to the Magi’s religion, it was forbidden to taint the sea with impurities or even to touch it. Additionally, he had some Magi with him. Traveling by land, Tirith took approximately nine months to arrive, incurring significant expenses, not only for himself but also for the Romans. Nero had decreed that in every city where Tirith passed, he should be welcomed with grand celebrations and sent off with honors. Everywhere, the streets and squares were decorated, and he was received with splendor and accompanied by the songs of artists. All his and his servants’ needs were generously provided for.

As Tirith neared the borders of Italy, Emperor Nero, informed of his approach, prepared opulent garments for him and sent chariots to greet him, for he had traveled on horseback to Italy. Tirith wore a golden helmet and was magnificently dressed, with a majestic bearing according to Dio, and an imposing demeanor, yet thoughtful and vigilant, which made him highly regarded by the Romans wherever he went.

When Tirith arrived in Naples, Emperor Nero himself came to greet him. In Nero’s presence, Tirith was asked to surrender the sword he carried at his waist, as this was not permitted before the emperor. But Tirith refused, for, according to Tacitus, he had received an order from Darius not to display submission to the Romans and to maintain the dignity and authority of the Arsacids. To avoid any suspicion from the Romans, Tirith nailed the sword to a pillar, as Dio recounts, and bowed to the emperor in greeting.

Impressed by this gesture, Nero received him with great courtesy and respect, and after extensive discussions, ordered wrestling matches and beast fights in his honor in the city of Puteoli. Tirith, seated next to the emperor at the beginning of the games, wishing to make the spectacles more engaging, requested a large bow. He shot an arrow from the podium at the beasts below, killing two strong bulls with a single shot, which evoked great admiration from the spectators.

Nero then escorted Tirith to the imperial city of Rome, which had been partially refurbished, with the desire to crown him there. According to Tacitus, the entire city gathered to greet the emperor and Tirith. Shortly after, Nero decided to organize Tirith’s coronation ceremony and ordered the grand square to be adorned with torches, lanterns, flowers, and garlands, where a large crowd had assembled. Part of the nobility, dressed in white and crowned with laurel wreaths, formed a circle in the center of the square, while soldiers in decorated armor stood on each side. Their weapons and banners shone under the dazzling lights.

Having arranged everything during the night, at dawn, Nero arrived with great fanfare, accompanied by the praetors and his personal guard. Nero wore a golden toga, the one he wore on triumphal days, and seated himself on the principal throne. Tirith then arrived with his companions, passing through the ranks of soldiers aligned on either side. Upon reaching the throne, he bowed and greeted the emperor with due respect, and the kings who accompanied him did the same. Then, the entire crowd in the square burst into cheers with a unified shout of joy, so much that Tirith was filled with wonder.

At that moment, Nero addressed him: “You have done well to come here before me, to benefit from my generous favor… Behold, I make you king of Greater Armenia.” With these words, Nero instructed Tirith to sit before him on the throne prepared for this purpose. And as he took his seat, Tirith was once more greeted by the loud cheers and celebrations of the crowd.

The historian then details the ceremonial presentation at the Theater of Pompey, “by order of Nero and the entire Senate in honor of Tirith,” where “Nero himself appeared on a chariot, dressed in an embroidered toga and green garments, driving the chariot himself and circling with grandiose splendor, accompanied by music and artistic songs.”

“Following the ceremony, King Tirith thanked Emperor Nero for his generosity… and, after receiving substantial gifts from him, HE RETURNED THE FAVOR WITH DIGNITY, before returning honorably to his kingdom in Greater Armenia.”

In the passage described above, drawn from Roman historians and transcribed by Chamchian, which is inherently fascinating to us and could serve as valuable material for contemporary historical drama, the most crucial aspect for our article is the final sentence, noting that after receiving gifts from Nero, Tirith reciprocated. This is where the issue concludes… as we have already mentioned earlier, citing the same Roman source, Nero’s horses were a gift from King Tiridates of Armenia — “Equum Tiridatis Regis Armeniorum.”

The original text by Tacitus on this matter was published by H. J. Avger in the first issue of this year’s “Bazmavep.”

We have pointed out that for our article, the critical point is not which of the two Tiridates brought these horses, but that they were brought from Armenia. Now, a new question emerges: where did they come from in Armenia? Were they imported from Greece, or are they Armenian works of art? No one dares to label these magnificent sculptures as Armenian creations, but it is believed that they are “war trophies brought back from Greece by our brave ancestors, Artaxias or Tigranes, works by the great Greek sculptors Praxiteles and Lysippus” (Alishan).

It is certainly plausible that the philologist’s opinion is accurate, but neither in the works of Lysippus nor Praxiteles, nor in the history of Greek sculpture as a whole, do we find specific statues of horses. However, Khorenatsi clearly mentions the statues that Artaxias and Tigranes brought back from Greece and how they positioned them, specifying that they were statues of gods.

“Artaxias brought back from Greece the statues of Zeus, Artemis (Diana), Athena (Pallas Athena), Apollo, and Aphrodite (Venus), and had them brought into Armenia…” (Khorenatsi, B. 12). “And after assembling the Armenian armies, he (Tigranes) went to face the Greek armies… The first thing he did was to build a temple… He set up the Olympian statue of Zeus in Ani, and that of Athena in Til, and that of Artemis in Eriza, and that of Apollo in Bagayaritch…” (Khorenatsi, B. 14).

Without refuting this view, we propose a bold new hypothesis: these bronze horses could also be creations of Armenian art, sculpted and cast within Armenia’s borders.

Let us now review the favorable evidence that supports our hypothesis:

A. Sculpture in Armenia.

We still regret that sculpture was overlooked in our article “Introduction to the History of Armenian Art,” and we feel the need to discuss this art here.

Sculpture has been the most unfortunate of the arts in Armenia compared to others. We use “unfortunate” not because it was lacking or impoverished, but because it was the most targeted during the early Christian period and was unable to pass down its ancient masterpieces to later centuries.

It remained unfortunate up to the present day, as it is the least discussed of Armenian arts, almost never mentioned, with the entrenched belief that “we had no sculpture.” And if we had nothing, there would naturally be no studies on it. Leaving the detailed results of our research on this topic for the next volume of “Art,” continuing the same article, we will briefly state this: According to the history of Armenian mythology or pagan religion (Emin, Alishan, Kostanian, Cheraz, Gelzer, H. B. Sargsian), it is well documented that pagan Armenia, in addition to imported gods, had its own unique Armenian gods, which are not mentioned in the mythologies of ancient peoples. We see these statues of gods and heroes set up in various parts of Armenia. The question then arises: where were these metal statues made and cast if not in Armenia? Where were Armenian coins with their reliefs minted, if not in the country itself and not abroad? “And he minted coins with his own portrait,” Khorenatsi writes about Artaxias I (B. 11).

If we accept that the art of sculpture existed in pre-Christian Armenia, why couldn’t we also accept that these four bronze horses originated from Armenia?

B. Sculpture Resources.

The materials essential for sculpture, like clay and metals, were readily available in ancient Armenia and were indeed utilized. There is solid evidence supporting this: The clay was so well-regarded that it was known by other nations as “Armenian clay”: “We are mentioned in certain medical texts that reference a substance called ‘Armenian earth’ by Galen, described as ‘clay’ or ‘earth’ in the original script, and also referred to as ‘Armenian stamped earth’ because it was part of the composition of the bolus armeniacus, a reddish clay known among the Turks as ‘kil ermeni’… (Injijian, ‘Antiquities, A., 181).

Mining is confirmed by brief mentions in our historical texts: “The king (Tiridates) ordered a festival of joy and released those who were imprisoned and those in the mines” (Zenob). Moreover: “He ventured to the mountain where iron and lead were mined” (Buzand).

Mines of silver, gold, and copper are explicitly mentioned by both Armenian and foreign writers.

C. Armenian Horses.

The horses of ancient Armenia were highly esteemed not only within their own borders but also far beyond: “A multitude of horses comes from this region (Armenia), unmatched by anything in Media,” reports Strabo.

The profusion of horses in Armenia is also proven by this historical fact: Armenian kings frequently paid their tribute to the Persian court in horses. Xenophon even described a plain in the Euphrates basin as a “Hippodrome,” highlighting the vast numbers of horses. Armenian historians often extol their cavalry, known as “ayrudzi.” This is also acknowledged by foreign authors. “Artavasdes showed Antony a force of six thousand cavalry, all well-armed and trained, which he led into battle against the Medes,” Strabo recounts (Injijian).

Let’s also remember Tirith, who traveled for nine months from Artashat to Rome with his “three thousand armed horsemen.” Special attention is given to the purebred or “wonder horses” owned by Armenian royalty and generals. “And Ervand, after riding through the arena on his horse, exited and went to his city” (Khorenatsi, B., 46).

“The two horses of Tiran II were faster than Pegasus himself, not just walkers on the ground, but runners in the air,” (Khorenatsi, B., 62).

“At that time, Moushegh (Mamikonian) had a horse. And when the Persian King Shapur drank wine in his pavilion… he would say: let the wine be given to the white horse,” (Buzand, E, 2). Moushegh was so well-known for his white horse that after his death, his image was carved on the horse. “Assyrian craftsmen carved the image of Moushegh on his white horse on a monument near the river, with the Huns at his feet, and the locals still call the place ‘The Gate of the Huns,’” (Mesrop of Yerznka 20), (Injijian).

Bardic songs also celebrate the “magnificent horse” of Artashes II and the hunting steed of his son, Artavazd.

The vast array of accounts about swift, light, flying, and aerial horses in Armenia serves as irrefutable evidence of the high regard for this noble animal in our past and the improvement of its breeds. (There was even a manual on horsemanship in Armenia: “On the Breeds and Lineages of Horses and the Raising of Foals.” Refer to “Bazmavep,” 1867, page 353.) As the most noble and valuable product of the country, horses were considered the most fitting gift for foreign courts, as well as for Armenian nobles, generals, and high officials. Even in pagan times, white horses were sacrificed to the gods.

“Tiridates’ father, Khosrov, in gratitude for his victory over the Persians, sacrificed white bulls, white rams, white horses, and white mules at the shrines of his homeland,” reports H. V. Hatsuni in the sacrifices section of his book “Feasts,” citing Agathangelos. Faustus of Byzantium mentions that Arshak II gave Bishop Khagh “many horses from the royal stables, equipped with royal harnesses and golden bridles.”

These favorable circumstances suggest that the horses of Saint Mark presented to Nero by Tirith were the most prized gift from Armenia, reflecting the nobility of Armenian horses and the wealth of the Arsacids with their bronze statues.

Perhaps our view is bold, perhaps we are enthusiastic, but let our hypothesis be expressed until future scholars provide new evidence to validate it. A decade ago, there was a completely different view on Armenian architecture. Today, the East is recognized as the source of enlightenment. We won’t progress with timidity.”

Ritual Practices among Armenians: Offerings

Continuing the examination of various forms of the ancient sacrificial offering ritual, here are some excerpts from Yervand Lalayan’s article titled “Ritual Practices among the Armenians”:

“…As a first offering, gifts of wheat, flour, oil, cheese, butter, olive oil, grapes, and wine were freely given to both friends and the church, including its clergy. Gradually, these offerings led to the establishment of the following church taxes:

PTGHI (First Fruits) – In favor of Etchmiadzin, wheat was collected throughout Russian Armenia during harvest time, approximately one pood (about 16 kg) per household, while in the jurisdiction of the Aghtamar Catholicosate, it was about half a pood per household for the benefit of Aghtamar’s Holy Cross Monastery. In this region, only those who owned a bed, i.e., married individuals, were required to pay this tax. They were exempt from it only when they were no longer in the ‘fruit-bearing’ stage, meaning they were no longer capable of having children. If someone refused to pay this tax, the collecting priest would curse them, saying, ‘May you not bear fruit.’

To collect this tax, vardapets (scholarly priests) and official priests would go around, preaching in the churches. As a gift, they too were given a few poods of wheat, which was called “gavazanaptugh”—literally, the fruit of the staff—referring to the staff held by the preaching priest or the one who holds authority.

During the same harvest period, the parish priest, along with the sexton, would bless the threshing floors of their parish and receive as a gift about one pood of wheat and half a pood of barley. This offering was called “kalaptugh” (the fruit of the threshing floor), while the sexton would receive approximately a quarter pood or a small basket of wheat.”

These passages offer insight into how offerings and taxes in Armenian religious tradition were intertwined with agricultural practices and social obligations, reflecting a deep connection between the spiritual and material aspects of life.

In cities and large towns, instead of collecting the wheat tax, sextons would go around every Saturday carrying a large basket on their backs, shouting, “Sexton’s bread, dear ladies of the house!” Each household would bring and give an entire loaf of bread.

This custom has also faded, but in some places, such as Old Nakhichevan, Kaghzvan, and Van, the same practice continued only during the seven weeks of Lent. Each household would voluntarily take a loaf of bread to the church weekly and give it to the sexton. If someone was reluctant, the sexton would go to their house and demand it. This offering was called “Yotnahats” (Seven-bread).

In Javakhk, an old tradition has also persisted: the godfather (of a child or marriage) was obliged to gift a pair of shoes to the village head, and in return, the head was required to donate his old shoes to the sexton.

Cheese – In spring, after the Feast of Ascension, agents would spread out to the villages, collect one day’s worth of milk from the sheep, make cheese, and send it to Etchmiadzin. The same was done in the jurisdiction of the Aghtamar Catholicosate.

Oil – In the fall, agents would again visit the villages and collect one or half a pound of oil from each household in favor of the Mother See. The same was done in the Aghtamar region, but in addition, they also collected a pair of socks from each house for the monks of Aghtamar.

Oil and Hemp – During Lent, in the Aghtamar Catholicosate, they collected oil, hemp, and cotton as a tax for the church. The oil and cotton were used for lamps, and the hemp was used to make ropes, both for hanging the lamps and for use on the monastery’s boats.

Wine – When a wine press owner first produced new wine, he would not only share it with his relatives, the priest, and the village elder, but also take a couple of pitchers to the church as “bazhki”—wine to be used for communion during the liturgy. Many old churches had buried clay jars next to them, where this wine was stored. In many places, when wine pressing began, the priest would come to bless the press, receiving grapes as a token of gratitude.

Flour – The first time new wheat was milled, some flour was sent to the church to be used for making the Eucharist bread.

Grapes (ԽԱՂՈՂ) – On the Feast of the Assumption of the Holy Mother of God, every vineyard owner brings 5-10 pounds of grapes to the church. A portion of the grapes is blessed and distributed to the congregants, while the rest is given to the priests and the church attendants.

Butter (ԿԱՐԱԳ) – On Holy Thursday, during the “Washing of the Feet” ceremony, each household brings a “khiar,” which means a butter shaped and sized like a cucumber, to the church and gives it to the priest. A small portion of it is blessed by the priest and distributed to the people, while the remainder is kept by the clergy.

Chickens (ՀԱՎ) – During the Catholicosate of Aghtamar, it was customary in the autumn to collect 1-2 young chickens from each household as a tax for the benefit of Aghtamar. According to common tradition during Easter and the Feast of the Holy Cross, people would bring gifts for the Catholicos of Aghtamar, such as lambs, eggs, baked goods, sugar, and roasted chickens. Many would also give offerings known as “ajhamboor” (a respectful kiss or blessing).

Soul Offering and Seizure (ՀՈԳԵԲԱԺԻՆ և ԿՈՂՈՊՈՒՏ) – In the past, each monastery would send one or two clergymen once or twice a year to the villages within its diocese to collect “soul offerings” from the relatives of those who had died that year. These offerings could include lambs, sheep, cattle, or money, and they would also take the deceased’s bedding and clothing as part of what was called a “seizure.” This no longer happens, but instead, on the anniversary of the deceased, a ruble or more is requested as a “soul offering” for the church’s benefit.

…”The firstborn calf of cows and buffaloes is customarily and continues to be donated to the church.”

Most of the current Christian liturgical ceremonies originate from ancient rituals, shaped over centuries as a result of their reinterpretation (for example, the daily morning prayer service at dawn, the “Aravakal Jamerkutyun” at the “Hour of Sunrise,” the Antasdan ceremony with blessings of the four corners of the world, traditional festivals like Palm Sunday, Vardavar, and others that have preserved ancient customs, the veneration of saints, martyrs as “heroes of faith,” the canonization and glorification of patriarchs mentioned in the Old Testament, various hymns and chants commemorating “Dedicated Persons,” the offerings, the solemn processions of clergy during various feasts with rose water sprinkling on the attendees, etc.).

We can observe a clear reflection of the ancient tradition of the “predecessors” (Karapet) associated with the worship of ancestors, evident in certain modern-day ceremonial rites, such as the heralds preceding the Royal procession. This aspect was addressed by the distinguished Armenian ethnographer, archaeologist, and folklorist Yervand Lalayan (1864-1931) in his study dedicated to the origins of “Ritual Orders,” a portion of which we present below.

The Armenian patriarchs and kings were worshiped by the Armenian people both during their lifetime and after their death. Cadmus, addressing Hayk, calls him the ‘Great Hero,’ who, after death, becomes the Orion constellation. Vahagn earned the fervent love of Armenian poets. The Arsacids were attributed divine origins, and their statues, which Vagharshak built in Armavir in the likeness of his ancestors and later brought to Bagaran and then Artashat, were shattered by Sasanian Ardashir (as recorded by Movses Khorenatsi, Book 2, Chapter 38).

Moreover, not only the high priests but also the Catholicoi were involved in organizing the rites of royal worship, as seen in the following words of Faustus of Byzantium: ‘And Nerses the Great established the customs of the kingship with the most virtuous religious observances, as he had seen from the ancient kings’ (Faustus of Byzantium, Book 5, Chapter 1).

The societal organizations that have yet to fully differentiate clearly show the continuity of the worship of both living and deceased rulers. Among primitive peoples, it was often the ruler himself who would proclaim his virtues and the deeds of his ancestors. Egyptian and Assyrian inscriptions show that this custom persisted for a long time. Later, when the ruler was not a good orator, he would entrust others to recount his deeds. Thus, it gradually became customary for heralds to precede rulers and princes, singing their praises—just as they did for dead, deified rulers.

That the same occurred among Armenians is evident from the following remnants. Agathangelos (in Chapter 92), mentioning the names of the princes whom Tiridates sent to bring the sons of Gregory the Illuminator, says that the third prince was “Dat by name, the royal karapet.” Therefore, it is clear that Armenian kings also had a karapet or karapets who went before them, announcing the king’s presence to the people.

Even to this day, a cleric holding a cross leads the Catholicos’s procession, and as he approaches the church, clerics and choirs go ahead of him, singing hymns and praising him. The same occurs during a religious procession when one person, holding the cross standard, leads the way, and a group of clergy, singing hymns, guides the image of the deity or a relic.

We also observe the same in wedding ceremonies. When the king (the groom, in this case) returns from the church to his home, a person called the “fox” runs ahead of him, announcing his arrival and praising him and the queen (the bride) (quoted from Y. Lalayan’s Ethnography, Ritual Orders, p. 177).

That is why, during the wedding ceremony, the “king,” the groom, was honored with “royal, majestic, and regal ceremonies.”

About King of Kings Tigran the Great, according to Plutarch:
“Many kings were in his presence, whom he had relegated to the position of servants, and he constantly kept four of them with him as companions or bodyguards…”

‘Long live the king!’ (or more accurately, ‘May the king live long…’) is a popular saying in Armenian.

This blessing formula has been accepted and well-known since ancient times.

Enduring through fairy tales, it has reached us.

Aside from fairy tales, similar blessings conclude many inscriptions of the ancient world, one of which holds particular significance for us, not so much for its content but for the letters used.

The intense resurgence of interest in studying the traces of past civilizations among researchers in the 19th century was combined with natural sciences and linguistics.

The study of the rich materials “erupted” from the earth’s depths was further complemented by the deciphering of inscriptions from that time.

The first scientific explorations raised many questions, which, along with their working reports, were presented by the scholars to the Academic Commission.

In 1847, French archaeologist, numismatist, and politician Félicien (Félix) de Saulcy (1807–1880), a member of the Académie des Inscriptions et Belles-Lettres, presented his deciphering of the inscriptions from Van.

Being a museum scholar, senator, and one of the founders of Biblical archaeology, this specialist, who had conducted archaeological excavations, attempted to meticulously, line by line, interpret the writing carved on the rock to the right of the Van Khorkhorian Gate.

Today, what was written with the alphabet used by others as a variant of Aramaic letters, he read without difficulty in Armenian, highlighting the use of the letter “E” both as a divine “Being” and as the singular third-person “is,” as well as the words “Gavar” (Province), “Zor” (Power), “Por” (Plain), and the endings “gn” and “gni.”

The laudatory text with glorious titles concludes with the aforementioned blessing:

“May the king live long” or more precisely, “Long live the king,” “Sun-life to the king” (“May the king have a long and bright life”)… (in later pronunciation, “Long live the king”) (in my own “deciphering” in Armenian)…

Both the Aramaic letters and the other variant derived from them were created by the same script, and logically, not by nomadic tribes (as some try to suggest)…

Interestingly, the “Danielian symbols” obtained from the search for pre-Mashtots scripts are in the same quantity as the aforementioned alphabet (let us recall that vowels were written (added) in Mashtots’ “vision” and, as is known, vowels are also missing in the mentioned alphabet. About the profound Mystery of the seven vowels of the ancient “Seven-script,” I will write in a separate note).

Another unnecessary reason for the eradication of pre-Mashtots literature…