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Bradenton Herald, FL
March 2 2007
Armenian art celebrated at Louvre
JENNY BARCHFIELD
Associated Press
PARIS - Mongolian dragons, Persian peacocks and radiating Arabic
stars are just some of the foreign motifs that embellish Armenia's
sacred Christian relics - showing how the oft-invaded nation has
drawn on outside influences to strengthen its own identity.
A new exhibition at the Louvre Museum in Paris showcases the
resilience of Armenian culture. "Armenia Sacra," which runs through
May 21, brings together more than 200 of the country's most
spectacular religious objects, many of which survived and flourished
during centuries of foreign domination.
Geographically, Armenia is at a crossroads, long tucked between the
rival Roman and Persian empires, and later dominated by Russia and
the Soviet Union.
"They're stuck right in the middle of things," said Ioanna Rapti, one
of the exhibit's curators. "They borrowed foreign tastes, motifs and
symbols, adapting them to fit their own culture."
Objects in the exhibition - which include dozens of manuscripts, a
national specialty - come from museums throughout Armenia and beyond.
Relatively small and portable, manuscripts were often taken abroad by
Armenians fleeing the recurring invasions.
Other times, they were removed from the country for more sinister
reasons.
"When hostile powers pillaged Armenia, they often took manuscripts
hostage," Rapti said. "Armenians had to pay large ransoms to get them
back."
Thank goodness they did. The exhibit's manuscripts, with their
intricate texts and hand-painted miniatures, are stunning. They are
also a remarkable record of Armenian thought, culture and history.
Widely considered to be the world's oldest Christian state, Armenia
adopted Christianity as its national faith in 301 A.D. A thick, 1569
volume tells the fable of the country's conversion: In a
color-drenched miniature, a monk appears to cast a spell over a boar
draped in the purple cloak of royalty.
The monk is Saint Gregory, who would become Armenia's patron; the
wild pig represents the country's fourth century king, Tiridate IV,
who according to legend became a boar after he persecuted early
Christians. He supposedly recovered his human form upon embracing
Christianity, which he made the state religion.
A miniature from a 1776 manuscript depicts a fifth century monk,
national hero Mesrop Mashtots, hunched over a desk, developing the
Armenian alphabet. Mashtots looks hard at work, though legend has it
that all he did was copy down the letters God revealed to him.
The alphabet is at the heart of Armenian identity. The rounded,
horseshoe-shaped letters emblazon not only the manuscripts, but also
more unlikely objects such as reliquaries, pulpits and carved doors.
Other objects testify to the imprint left by Mongolian, Ottoman and
Arab invaders.
Chinese dragons grimace from the yellowing page of a 13th century
manuscript. The dragon is thought to have entered Armenia on the
backs of Mongolian invaders, delicately embroidered on their silk
gowns. Arab-influenced stars radiate across a 12th century monastery
door, while exotic animals like elephants, peacocks and unicorns
march around its walnut frame.
The exhibit also features some 30 "khatchkars" - massive stone slabs
carved with lace-fine crosses - that dotted the Armenian plateau as
early as the fourth century. Some were tombstones.
One, the Djulfe Khatchkar, comes from a cemetery in Nakhichevan, an
enclave of neighboring Azerbaijan separated from the rest of the
country by Armenian territory. Armenia claims Azerbaijani soldiers
have systematically destroyed Armenian crosses there over the past
few years. The issue is sensitive, and last year, Azerbaijani
officials denied a report that the cemetery had vanished.
Rapti said the Djulfe Khatchkar is one of the cemetery's few
survivors.
The exhibition is part of the so-called year of Armenia in France, an
initiative promoting Armenian culture. French President Jacques
Chirac and his Armenian counterpart, President Robert Kocharian,
inaugurated the exhibit, which Chirac called "sublime."
It "shows the singularity of Armenian civilization, which throughout
its tumultuous history gave the world masterpieces," the French
leader said.
For curator Rapti, the show is helping to boost Armenian moral.
"It shows they are not alone, although they are a little country with
very little power," she said.
March 2 2007
Armenian art celebrated at Louvre
JENNY BARCHFIELD
Associated Press
PARIS - Mongolian dragons, Persian peacocks and radiating Arabic
stars are just some of the foreign motifs that embellish Armenia's
sacred Christian relics - showing how the oft-invaded nation has
drawn on outside influences to strengthen its own identity.
A new exhibition at the Louvre Museum in Paris showcases the
resilience of Armenian culture. "Armenia Sacra," which runs through
May 21, brings together more than 200 of the country's most
spectacular religious objects, many of which survived and flourished
during centuries of foreign domination.
Geographically, Armenia is at a crossroads, long tucked between the
rival Roman and Persian empires, and later dominated by Russia and
the Soviet Union.
"They're stuck right in the middle of things," said Ioanna Rapti, one
of the exhibit's curators. "They borrowed foreign tastes, motifs and
symbols, adapting them to fit their own culture."
Objects in the exhibition - which include dozens of manuscripts, a
national specialty - come from museums throughout Armenia and beyond.
Relatively small and portable, manuscripts were often taken abroad by
Armenians fleeing the recurring invasions.
Other times, they were removed from the country for more sinister
reasons.
"When hostile powers pillaged Armenia, they often took manuscripts
hostage," Rapti said. "Armenians had to pay large ransoms to get them
back."
Thank goodness they did. The exhibit's manuscripts, with their
intricate texts and hand-painted miniatures, are stunning. They are
also a remarkable record of Armenian thought, culture and history.
Widely considered to be the world's oldest Christian state, Armenia
adopted Christianity as its national faith in 301 A.D. A thick, 1569
volume tells the fable of the country's conversion: In a
color-drenched miniature, a monk appears to cast a spell over a boar
draped in the purple cloak of royalty.
The monk is Saint Gregory, who would become Armenia's patron; the
wild pig represents the country's fourth century king, Tiridate IV,
who according to legend became a boar after he persecuted early
Christians. He supposedly recovered his human form upon embracing
Christianity, which he made the state religion.
A miniature from a 1776 manuscript depicts a fifth century monk,
national hero Mesrop Mashtots, hunched over a desk, developing the
Armenian alphabet. Mashtots looks hard at work, though legend has it
that all he did was copy down the letters God revealed to him.
The alphabet is at the heart of Armenian identity. The rounded,
horseshoe-shaped letters emblazon not only the manuscripts, but also
more unlikely objects such as reliquaries, pulpits and carved doors.
Other objects testify to the imprint left by Mongolian, Ottoman and
Arab invaders.
Chinese dragons grimace from the yellowing page of a 13th century
manuscript. The dragon is thought to have entered Armenia on the
backs of Mongolian invaders, delicately embroidered on their silk
gowns. Arab-influenced stars radiate across a 12th century monastery
door, while exotic animals like elephants, peacocks and unicorns
march around its walnut frame.
The exhibit also features some 30 "khatchkars" - massive stone slabs
carved with lace-fine crosses - that dotted the Armenian plateau as
early as the fourth century. Some were tombstones.
One, the Djulfe Khatchkar, comes from a cemetery in Nakhichevan, an
enclave of neighboring Azerbaijan separated from the rest of the
country by Armenian territory. Armenia claims Azerbaijani soldiers
have systematically destroyed Armenian crosses there over the past
few years. The issue is sensitive, and last year, Azerbaijani
officials denied a report that the cemetery had vanished.
Rapti said the Djulfe Khatchkar is one of the cemetery's few
survivors.
The exhibition is part of the so-called year of Armenia in France, an
initiative promoting Armenian culture. French President Jacques
Chirac and his Armenian counterpart, President Robert Kocharian,
inaugurated the exhibit, which Chirac called "sublime."
It "shows the singularity of Armenian civilization, which throughout
its tumultuous history gave the world masterpieces," the French
leader said.
For curator Rapti, the show is helping to boost Armenian moral.
"It shows they are not alone, although they are a little country with
very little power," she said.