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Early Studies on Armenian Manuscripts

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Venezia ArtiVenezia e-ISSN 2385-2720 ISSN 0394-4298 28 Vol. 27 Edizioni 2018 Dicembre 2018 Ca’Foscari [online] ISSN 2385-2720 Venezia Arti [print] ISSN 0394-4298 Rivista diretta da Carmelo Alberti Edizioni Ca’ Foscari - Digital Publishing Università Ca’ Foscari Venezia Dorsoduro 3246 30123 Venezia URL http://edizionicafoscari.unive.it/it/edizioni/riviste/venezia-arti/ Venezia Arti Rivista annuale Direzione scientifica Carmelo Alberti (Università Ca’ Foscari Venezia, Italia) Michela Agazzi (Co-Direttore) (Università Ca’ Foscari Venezia, Italia) Comitato scientifico Michela Agazzi (Università Ca’ Foscari Venezia, Italia) Hans Aurenhammer (Universität Frankfurt am Main, Deutschland) Xavier Barral i Altet (Université de Renne 2, France) Gabriella Belli (Fondazione Musei Civici Veneziani, Venezia, Italia) Joe Farrell (Strathclyde University, Glasgow, UK) Fernando Mazzocca (Università degi Studi di Milano, Italia) Maria Grazia Messina (Università degli Studi di Firenze) José Sasportes (Universidade de Lisboa, Portugal) Luca Zoppelli (Universität Freiburg, Deutschland) Comitato di lettura Maria Ida Biggi (Università Ca’ Foscari Venezia, Italia) Fabrizio Borin (Università Ca’ Foscari Venezia, Italia) David Bry- ant (Università Ca’ Foscari Venezia, Italia) Roberta Dreon (Università Ca’ Foscari Venezia, Italia) Giovanni Maria Fara (Università Ca’ Foscari Venezia, Italia) Sergio Marinelli (Università Ca’ Foscari Venezia, Italia) Maria Chiara Piva (Università Ca’ Foscari Venezia, Italia) Paolo Puppa (Università Ca’ Foscari Venezia, Italia) Stefano Riccioni (Università Ca’ Foscari Venezia, Italia) Nico Stringa (Università Ca’ Foscari Venezia, Italia) Giordana Trovabene (Università Ca’ Foscari Venezia, Italia) Journal Manager Stefano Riccioni (Università Ca’ Foscari Venezia, Italia) Direttore responsabile Carmelo Alberti (Università Ca’ Foscari Venezia, Italia) Redazione | Head office Università Ca’ Foscari Venezia Dipartimento di Filosofia e Beni Culturali Dorsoduro 3484/D - 30123 Venezia, Italia [email protected] Editore Edizioni Ca’ Foscari - Digital Publishing | Dorsoduro 3859/A, 30123 Venezia, Italia | [email protected] Stampa Logo srl, Via Marco Polo 8, 35010, Borgoricco (PD) © 2018 Università Ca’ Foscari Venezia © 2018 Edizioni Ca’ Foscari - Digital Publishing per la presente edizione Quest’opera è distribuita con Licenza Creative Commons 4.0 Attribution alone Internazionale This work is licensed under a Creative Commons 4.0 Attribution alone International Certificazione scientifica delle Opere pubblicate da Edizioni Ca’ Foscari - Digital Publishing: tutti i articoli pubblicati hanno ottenuto il parere favorevole da parte di valutatori esperti della materia, attraverso un processo di revisione anonima sotto la responsabilità del Comitato scien- tifico della rivista. La valutazione è stata condotta in aderenza ai criteri scientifici ed editoriali di Edizioni Ca’ Foscari. Scientific certification of the works published by Edizioni Ca’ Foscari - Digital Publishing: all the articles published in this issue have received a favourable opinion by subject-matter experts, through an anonymous peer review process under the responsibility of the Scientific Committee of the journal. The evaluations were conducted in adherence to the scientific and editorial criteria established by Edizioni Ca’ Foscari. Venezia Arti [online] ISSN 2385-2720 Vol. 27 – Dicembre 2018 [print] ISSN 0394-4298 Sommario DISCOVERING THE ART OF MEDIEVAL CAUCASUS (1801-1945) edited by Ivan Foletti and Stefano Riccioni Inventing, Transforming and Discovering Krikor (Grigor) Balakian’s Ruins of Ani Southern Caucasus A Surprising Source for Armenian Architecture Some Introductory Observations Christina Maranci 67 Ivan Foletti, Stefano Riccioni 7 “The Heritage of Ancestors” From Russia with Love Early Studies on Armenian Manuscripts The First Russian Studies and Miniature Painting on the Art of Southern Caucasus Gohar Grigoryan Savary 81 Ivan Foletti, Pavel Rakitin 15 Illuminating an Armenian Set of Manuscripts For Beauty, Nation and God A forgotten treasure in the Layard Collection The Creation of the Georgian National Treasure Cecilia Riva 103 Alžběta Filipová 35 Armenian Art and Culture from the Pages La description archéologique of the Historia Imperii Mediterranei et éthnographique de la Grande Arménie Stefano Riccioni 119 par les Pères mékhitaristes de Venise entre hellénophile et arménophilie Una fortunata metafora di Cesare Brandi: Benedetta Contin 53 le «chiese di cristallo» degli Armeni Marco Ruffilli 131 URL http://edizionicafoscari.unive.it/it/edizioni/riviste/venezia-arti/2018/27/ DOI 10.30687/VA/2385-2720/2018/04 Discovering the Art of Medieval Caucasus (1801-1945) edited by Ivan Foletti and Stefano Riccioni Venezia Arti e-ISSN 2385-2720 Vol. 27 – Dicembre 2018 ISSN 0394-4298 Inventing, Transforming and Discovering Southern Caucasus Some Introductory Observations Ivan Foletti (Masaryk University, Brno, Czech Republic; Università Ca’ Foscari Venezia, Italia) Stefano Riccioni (Università Ca’ Foscari Venezia, Italia) The roots of Caucasus or the whole of north- the historical capital of medieval Armenia, Ani ern Georgia with its surrounding territories, (fig. 1), where many monasteries and isolated known under different names, are immensely churches can be found (Kevorkian 2001, cf. in important for historians and archaeologists. this volume Maranci’s essay with the associat- This importance was perpetuated in many ed bibliography). In a breath-taking landscape, monuments that have unfortunately been de- the monuments of medieval Armenia take form, prived of the necessary attention to this day in dialogue with the landscape, creating very and have not been studied accurately, and for picturesque conditions (Maranci 2009). A visitor the enlightened audience it is as though they to Ani, however, will be surprised at the monu- never existed. (Ioseliani 1844)1 ments’ dilapidated state. Those who are familiar with the city’s history – once the capital of the With these words, in 1844, Platon Ioseliani in- Armenian Kingdom – will be again surprised troduced an essay – one of his earliest written at an information panel describing a city that in Russian – dedicated to the churches of Tbilisi reached its peak in the years following the con- and its surroundings. In the reflections of Iose- quest of the Seljuk Turks (Sim 2004), and which liani, for centuries historical Georgia (the king- is utterly devoid of any mention of the Armenian dom of Kartli) were constantly in danger because presence. The monuments in ruin seem to have of its powerful neighbours, and for years its his- been compromised mostly by time. This situation torical and archaeological studies had very little changes dramatically, however, for monuments space for development. The premise implied by located just a few kilometres away, like Horo- Ioseliani, who was Georgian but a subject of the mos, Khtzkonk, or even Mren (Vardanyan 2015; tzar, was that the order guaranteed by Georgia’s Sin 1999; Maranci 2013). These marvellous ar- annexation to Russia would finally offer the re- chitectural works are literally collapsing under gion the ‘peace’ necessary for a real history of our eyes, vandalised with graffiti and damage the country to be written. hard to attribute to time alone. And if that were More than 170 years have passed since Iose- not enough, some tomb robbers were caught in liani wrote these lines and the world has changed Horomos. Today, no authority seems to deal with in many ways. The history of studies dedicated the safeguarding of these monuments, which is a to the artistic history of the South Caucasus, key to the history not only of the Caucasus, but however, has not always followed the linear path of all Mediterranean culture. Ioseliani hoped for. Furthermore, to this today, Looking at photographs from the early twen- in some parts of the region, the conditions for tieth century makes the situation even more the study of history (of art and in general) are alarming: the images show that Horomos and problematic. Just over a year ago, Foletti visited Khtzkonk were still active monasteries, and in the Kars region with his students, the site of an excellent state of conservation, in 1900 (figs. 1 This article was carried out as part of the project The Heritage of Nikodim P. Kondakov in the Experiences of André Grabar and the Seminarium Kondakovianum (GA18-20666S). DOI 10.30687/VA/2385-2720/2018/27/000 Submission 2018-11-30 | © 2018 | cb Creative Commons Attribution 4.0 International Public License 7 e-ISSN 2385-2720 Venezia Arti, 27, 2018, 7-14 ISSN 0394-4298 Figure 1. The Cathedral of Ani. 2017. © Center for Early Medieval Studies Brno 2-3). In the case of the Khtzkonk monastery, of international heritage, the Turkish state has from the 1920s to the present, four buildings started to take care of the region’s heritage, this have literally disappeared, while one bears trac- does not seem to be happening for monuments es of destruction that cannot have been caused outside the attention of international authorities by time. All the evidence seems to confirm that (UNESCO 2015). these buildings were intentionally destroyed This situation is obviously reflected in the with modern, probably military means (Fontana history of studies: it was made difficult for Ar- 2018). The desecrated tombs, with scattered menian scholars to visit monuments in Turkey, human bones, only serve to confirm this tragic while the Turkish viewpoint was influenced by situation. the country’s political situation, where speak-
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  • Spectroscopic Study of an Armenian Manuscript from Biblioteca Universitaria Di Bologna

    Spectroscopic Study of an Armenian Manuscript from Biblioteca Universitaria Di Bologna

    European Journal of Science and Theology, June 2016, Vol.12, No.3, 189-201 _______________________________________________________________________ SPECTROSCOPIC STUDY OF AN ARMENIAN MANUSCRIPT FROM BIBLIOTECA UNIVERSITARIA DI BOLOGNA Yeghis Keheyan1*, Pietro Baraldi2, Angelo Agostino3, Gaia Fenoglio3 and Maurizio Aceto4 1CNR, c/o Dipartimento di Chimica, piazzale Aldo Moro, 5 - Rome, Italy 2Università degli Studi di Modena e Reggio Emilia, Dipartimento di Scienze Chimiche e Geologiche, via Campi, 103 - 41105 Modena, Italy 3Università degli Studi di Torino, Dipartimento di Chimica, via P. Giuria, 7 – 10125 Torino, Italy 4Università degli Studi del Piemonte Orientale, Dipartimento di Scienze e Innovazione Tecnologica, viale T. Michel, 11 – 15121 Alessandria, Italy (Received 1 November 2015) Abstract The manuscript of Edessa or ms. 3290, a XVIII century Armenian manuscript kept at Biblioteca Universitaria di Bologna, has been thoroughly studied from the religious, artistic, historical and diagnostic point of view. Non-invasive measurements on the miniatures have been carried out in situ with portable instruments in order to evaluate the pictorial materials used to decorate this beautiful codex, lavishly illuminated with full- page miniatures. The results of the diagnostic study suggested that at least three different painters, each one with its own characteristic palette, contributed to the illumination of the manuscript. Precious colorants were employed for painting, among which of particular interest is the combined use of ultramarine blue and gold, considered the most valuable pictorial materials available to painters. Such a study could be a starting point for a larger research on the heritage of Armenian manuscripts held in Italian institutions. Keywords: Armenian manuscripts, spectroscopy, colorants, non-invasive analysis, Raman 1.
  • Armenian Press in Turin. 1915-18 Sona Haroutyunian Università Ca’ Foscari Venezia, Italia

    Armenian Press in Turin. 1915-18 Sona Haroutyunian Università Ca’ Foscari Venezia, Italia

    Armenia, Caucaso e Asia Centrale Ricerche 2020 a cura di Carlo Frappi e Paolo Sorbello Armenian Press in Turin. 1915-18 Sona Haroutyunian Università Ca’ Foscari Venezia, Italia Abstract 1915 marked the start of a bloodier phase of the Armenian tragedy. 1915 was also the year in which Italy interrupted its diplomatic presence in Anatolia and entered the war against the Ottoman Empire. For the few Armenians then resident in Italy this co- incidence of circumstances constituted a mobilising factor: being in many cases citizens of the Ottoman Empire, on the one hand, they had to demonstrate their diversity with respect to the Turks, and on the other hand, the assumption of active behaviour towards the host country aimed at enhancing their belonging and cultural prerogatives. With the aim to investigate how the Genocide was experienced by the Armenian community in Italy, the paper will focus on the magazine Armenia. Eco delle rivendicazioni armene (Armenia. Echo of Armenian Claims) born in Turin and published between 1915-18. Keywords Armenia Magazine Torino. Armenian-Italian Community. Armenian Geno- cide. Armenian Press. Italian Press. Summary 1 Introduction. – 2 Press Coverage of the Armenian Genocide. – 3 Concluding Remarks. 1 Introduction The Armenian population of Italy had a multilayered configuration over the centuries. Different sources testify the arrival of Armenians as pilgrims and merchants, priests or skilled financiers, students, literary men and artists.1 1 There is a large bibliography on the presence of Armenians in Italy. I shall note here only a few key works as a guide to further bibliography: Manoukian 2014; Comneno 2012; Zekiyan 1978, 1996, 2006; Zekiyan, Ferrari 2004; Hermet, Cogni Ratti di Desio 1993; Adalian 1992; Bardakjian 1976.
  • Buildings in Their Patrons' Hands? the Multiform Function of Small Size

    Buildings in Their Patrons' Hands? the Multiform Function of Small Size

    Transkulturelle Perspektiven 3/2014 - 1 - و Maria Cristina Carile Buildings in their patrons’ hands? The multiform function of small size models between Byzantium and Transcaucasia The representation of the church model in the hands order to understand the value of these models after of the church's patron or founder finds its roots in the the twelfth century – following the chronological frame arts of Late Antiquity. Since the sixth century, this mo- of this volume – it is important to determine their im- tif adorned church apses, as an image of offering to portance in Caucasian visual culture, first tracing the Christ or the Virgin. 1 Later, it became a strong iconic evolution of the donation image. This will help us to image conveying the role of the patron/founder in the evaluate the meaning of architectural models in the construction and his devotion, which was embodied changed historical context of the Transcaucasian in the model as well as in the building itself. As such, principalities between the late twelfth and the thir- the theme had particular fortune in medieval Rome teenth centuries, when architectural models on and spread to the East as far as the Caucasus. After church walls were enriched with new meanings. the Latin conquest of Constantinople during the fourth crusade (1204 AD), the motif was widely adopted in The first appearance of the motif in the Transcaucasi- the Balkans and in the territories in close contact with an area probably dates back to the sixth century. This Byzantium. 2 This paper will focus on church models is testified by a now-lost sculpted relief with the im- as a motif, reflecting on their spread and role in the age of a woman holding a church model, which may decoration of the external façades of the churches in have decorated the outer walls of the cathedral com- the Caucasus and, specifically, in the area of Trans- plex at Agarak (region of Ayrarat), formed by a fifth- or caucasia.
  • Reflections on Fieldwork in the Region of Ani Christina Maranci I Study the Medieval Armenian Monuments—Churche

    Reflections on Fieldwork in the Region of Ani Christina Maranci I Study the Medieval Armenian Monuments—Churche

    In the Traces: Reflections on Fieldwork in the Region of Ani Christina Maranci I study the medieval Armenian monuments—churches, monasteries, fortresses, palaces, and more—in what is now eastern Turkey (what many call western Arme- nia). For me, this region is at once the most beautiful, and most painful, place on earth. I am the grandchild of survivors of the Armenian Genocide of 1915–22, in which Armenians living in the Ottoman Empire suffered mass deportation and extermination: a crime that still goes unrecognized by the Turkish state.1 Scholars have characterized the Armenian monuments in Turkey as physical traces of their lost homeland.2 While my scholarship addresses these sites as historical and archi- tectural/artistic phenomena, that work does not often capture the moods and emotions I feel when I am there.3 I hope to offer here a sense of the more personal dimensions of firsthand work with the buildings and their landscapes. Many important medieval Armenian monuments stand on and around the closed international border between the Republics of Turkey and Armenia. Some of them are accessible to tourists, while others, like the church of Mren, remain forbidden, as they lie within or too close to the military zone. Dated to circa 638, and once part of the princely territory of the Kamsarakan family, Mren became the summer residence of the royal Armenian Bagratids in the tenth century.4 Once surrounded by a network of buildings, vineyards, and roads, now the church stands alone. Figure 1 illustrates the Armenian high plateau: deforested from antiquity, it is a rocky tableland lacerated by gorges and ringed with mountain chains.