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Home > Art • Cinema • Literature > Dernière nuit – Short film

Art Cinema Literature

Dernière nuit – Short film

Admin Posted onNovember 18, 2013 Abel14 Studios, Armenian short film, art movie, Dernière nuit, Dessil Basmadjian Leave a Comment 2431 Views

Stunning short film, a visual poem, true form of cinematic art in my humble opinion. Directed by Dessil Basmadjian based on a poem of Garik Basmadjian.

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The star gates of Haldi The gates of #Haldi held

The star gates of Haldi

The gates of #Haldi held immense significance within the #Urartian kingdom, where religion played a central role. These open-air sanctuaries featured three-frame rock-cut doors, a common sight during the reign of #Urartu. People regarded these gates as divine and conducted ceremonies in their presence. Royal inscriptions prescribed the timing and specific animal sacrifices to be offered to each deity.

These ceremonies often occurred during the month dedicated to the sun god, likely in March or April, symbolizing the arrival of spring. Urartian texts dictated the sacrifices to various deities and their associated divine attributes at these sanctuaries. Urartian temples also possessed three-frame cut gates, suggesting that entering a sanctuary was akin to stepping into an alternate realm. The rock-cut tombs of Urartian royalty mirrored the journey of deities into other realms.

The gates are remembered in #Armenian folklore like the tale of #Mher, who fell into the depths of a "Raven's Rock" due to the earth's inability to contain his righteous nature. The famous gate of Haldi in Van is known in Armenian as "mheri dur," meaning the door of Mher. According to the saga, Mher and his fiery horse are destined to remain there until justice, honesty, and peace prevail worldwide. Once a year, Mher's door is opened, during the festival of Roses or the night of destinies.

Interestingly, the town of Ardini, the Urartian religious center dedicated to Haldi, was also known as the city of the raven. The third line of the inscription on the seal of Urzana refers to the city as "URU.Ú.NAGA MUŠEN," meaning the “city of the raven”.

The tradition of ascending mountains for religious ceremonies persisted in Armenia for an extended period. In the #Syunik region, people would venture to Khushtup mountain during spring to offer animal sacrifices and partake in ceremonial activities.

The influence of Urartian culture and its iconic three-frame gates extended far beyond the ancient kingdom’s existence. Even in present times, echoes of this architectural style can be found in Armenian #church architecture, showcasing a remarkable continuity of tradition.

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Stelae worship in #Urartu The worship of sacred

Stelae worship in #Urartu

The worship of sacred stelae has been a characteristic phenomenon in the early societies of the #ArmenianHighland, and it continues to this day. From the ancient dragon stones to the intricate #Khachkars, Armenians have maintained a tradition of creating sacred stones as a means of communication between the earthly and divine realms.

In the religion of the Armenian kingdom of Urartu, the worship of stone stelae was also prevalent. These monuments were known as "Pulusi" in the Urartian language.
Urartian cuneiform sources provide more than forty instances of stelae erection and the establishment of entire "shrines of stelae" in various parts of the Urartian empire. Archaeologically, over fifty stelae, both inscribed and uniconic, have been discovered. These stelae played a significant role in the Urartian religious system and were associated with the gods, representing the state pantheon.

The early discoveries have led to an association of Urartian stelae with funerary cults, inscriptions that mention the worship of Ḫaldi in front of stelae (pulusi) strongly suggest that stelae sanctuaries on the slopes of citadels were connected to the Ḫaldi cult. These sanctuaries were where susi and temple complexes were constructed in the citadels, all dedicated to Ḫaldi.

The worship of stelae among Armenians persisted during the #Christian era. Unlike any other culture, Armenians created intricately carved sacred stones, with imagery often including a solar disc at the bottom, from which the sacred cross and vegetation representing life emerged. The earliest khachkars, in particular, bear a striking resemblance to the Urartian pulusi.

The art of khachkar making has been recognized and inscribed as #UNESCO intangible cultural heritage of humanity, highlighting its importance and significance.

Cherkessogai: The Forgotten Armenians of North Cau

Cherkessogai: The Forgotten Armenians of North Caucasus

The #Cherkessogai were a group of #Armenians who settled in the Northwestern #Caucasus region, encompassing present-day Krasnodar Krai and the Republic of #Adygea.

The Armenians initially sought refuge among the #Circassians in the 7th century due to Arab invasions in Armenian lands. However, it was during the 15th century that significant numbers of Armenians migrated to Circassian territories from Crimea, where they had faced Ottoman attacks and the pressure to convert to Islam. The Circassians, who were predominantly Christian and pagan at the time, welcomed the Armenian settlers.

Described as knights and merchants, the Armenians brought their distinctive culture and skills to the region. Their arrival left an impression on the local Adigey people, who admired their warrior-like nature and military attire, including armor, chain mail, and steel helmets. Fedor Andreevich Sherbin, in his captivating book "History of Armavir and Cherkessogai," published in 1916, recounts the awe-inspiring arrival of these Armenians: "From the depths of Armenia, they emerged like formidable warriors, donned in complete armor, their heads protected by steel helmets."

Over time, the Armenians assimilated into the local culture, adopting the Adyghe language and gradually abandoning their own. However, they held onto their Christian faith and cherished their familial traditions.

Tensions arose between the Christian Armenians and the Circassians during the Russian-Circassian hostilities of the 18th and 19th centuries. Facing oppression, many Christian Armenians relocated to nearby areas controlled by the Russians, leading to the establishment of the city of Armavir in the Caucasus.

In contemporary times, the Cherkessogai recognize their Armenian ancestry. Some have made efforts to learn the Armenian language in order to reconnect with their ethnic identity. While some Cherkessogai consider themselves a distinct ethnic group stemming from a blend of Armenian and Circassian heritage, their historical significance lies in their enduring presence as Armenians who settled in the Northwestern Caucasus.

Vishap - the #Armenian #dragon Armenian #mytholo

Vishap - the #Armenian #dragon

Armenian #mythology is rich with captivating creatures, and the #Vishap (Վիշապ) stands out as a snake-like dragon associated with water and earthquakes. It is depicted as a large snake or a combination of animal elements. Mount #Ararat is its main home, and its volcanic nature and earthquakes contribute to the association. Vishap and its offspring would sometimes steal children, replacing them with evil spirits. Vishap was believed to cause earthquakes, floods, storms, and eclipses.

The legend of Vishap likely originated from observing celestial objects like comets, meteors and asteroids, travelling across the skies with their snake-like 'tails,' and the devastating effects like floods and earthquakes caused by the asteroidal impacts.

In Armenian culture, Vishap became a symbol of power. According to legends, the dragon fought the deity Vahagn the Dragon Slayer.

The Vishap had significance in Urartian warrior culture, where it is seen descending from the sky or earth on Urartian war helmets, causing thunders and explosions. Some helmets depict stylized versions, while others show detailed imagery of a snake-like dragon descending from the heavens towards the earth.

The association of dragons/snakes with water can also be observed from #Hurrian and #Sumerian mythology. In ancient Sumer ‘Abzu’ or ‘Apsu’ was a primordial fresh water source that existed before the creation of earth. Lakes, springs, rivers, wells, and other sources of fresh water were thought to draw their water from the abzu. Interestingly, “snake” in Hurrian is called ‘apši’. In Armenian mythology Andndayin ōj, "the Abyssal Serpent" also lived in the primordial waters surrounding the world tree. Such imagery can be seen on Urartian helmets where snake-like dragons surround the celestial tree of life.

Ancient astronomical events like asteroid impacts may have caused floods, which remained in folklore. The biblical story of the #deluge as #grahamhancock and @therandallcarlson suggest, could reflect an ancient asteroid impact that melted ice caps, causing a worldwide flood during the Younger Dryas some 12900 years ago.

#ArmenianMythology #Armenia #History

Tsovinar meaning "Nar of the Sea" was an #Armenian

Tsovinar meaning "Nar of the Sea" was an #Armenian spirit (later goddess) of waters, seas, oceans, lakes and rain. She was a fierce goddess, who forced the rain to fall from the heavens with her fury. Her ''anger'' was personified with floods and storms. It was widely believed that her anger was so great eons ago, that the deluge – so widely known of in most ancient cultures (which covered the earth with water), was a result of Tsovinar.

Her name, Tzovinar, derives from #Urartian and means spirit of the sea. Armenian word ‘tsov’ meaning sea related to an Urartian cognate 𒍮𒂊 (ṣu-e /ṣûə, ṣue/, “inland sea, large lake”) and ‘nar’ from Urartian ‘nara’ a spirit or a deity of the dead. The name ‘Nara’ was often used on Urartian curses that warn people not to change or destroy inscriptions but it’s true meaning has never been identified.

An #Armenian #Spirit of Time and Place: Švot. Th

An #Armenian #Spirit of Time and Place: Švot.

The Švot, or švod in Western Armenian, is a mythical creature of Armenian folk belief that lives during the colder months of the year in the walls of the house or the stable (gom). February is called “Švotsmonth”, Švotamis; and the rite of banishing the Švot, called “Švot-outing”, Švotahan, takes place the last night of February.

Švot (i) turs, Adar/Mart (i) ners! “Out with the Švot; in with Adar (March)!” cries the lady of the house, banging on the wall of home or stable with a broom, her under-drawers (vartik‘), or strips of leather. The Švot dislikes having to leave its cozy home for the warmer months of the year, and can be heard to complain. But it then dutifully, if perhaps grumpily, goes out into the family’s fields to work. Presumably it returns the following winter to its comfortable lair in the wall. According to beliefs recorded in various places, after being driven out of the house the Švot might try to sneak back in, in the form of a cat, or in the guise of a relative returning after a long absence. Then, in a mischievous or vindictive mood it might invite people out for a long walk, lead them astray, and abandon them.

As to its appearance, in Xarberd (Tk. Harput) the word švot was also used as a pejorative epithet for people with hideous (aylandak) faces; and in some places it was thought to be a demon or evil spirit as tall as a tree.

Source: Russell, James R. An Armenian Spirit of Time and Place: Švot. In Proceedings of the 2013 Harvard/AIEA/SAS Workshop on Armenian Folklore and Mythology, Belmont & Watertown, Massachusetts, USA, Aug 31 - Sept 1, 2013.

Urartian fire beacons: It is known that the #Iron

Urartian fire beacons:

It is known that the #IronAge inhabitants of the #ArmenianHighlands were skilled builders of fortresses, castles, canals and religious temples. An investigation into a network of structures around #LakeSevan has now revealed another interesting ancient defensive tactic used by the kingdom of #Urartu. A network of 42 towers with around 150 connections has been investigated around Lake Sevan in #Armenia revealing an elaborate network of fire beacon towers build as an early warning system that alerted the locals of approaching enemy forces.

Source: T. Earley-Spadoni (2015), Landscapes of warfare: Intervisibility analysis of Early Iron and Urartianﬁre beacon stations (Armenia).

It is often falsely claimed that Armenian and #Hur

It is often falsely claimed that Armenian and #HurroUrartian can’t be related because of their distinction morphology. But did you know that #Armenian much like Hurro-Urartian is actually mostly an agglutinative language with some ergativity found in grammer?

#urartu #hurrian

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