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Home > > Antiochus I Theos of Commagene shaking hands with the deity Mihr

Antiochus I Theos of Commagene shaking hands with the deity Mihr

Admin Posted onMay 26, 2015May 26, 2015 Leave a Comment 3903 Views

Antiochus I Theos of Commagene shaking hands with the deity Mihr

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Fascinating new analyses shed light on the mysteri

Fascinating new analyses shed light on the mysterious megalithic lines of Hartashen. Read more at www.peopleofar.com.

#ArmenianHistory #Archaeology #Hartashen

It is time! 🙌

Across nearly three millennia, the square repeated

Across nearly three millennia, the square repeatedly appears in the sacred art of the Armenian Highlands—not with one fixed meaning, but as a form associated with authority, protection and order.

On Urartian bronzes, square panels mounted on poles appear in processions or before deities. Often identified as cult standards, some have been linked to the standard of Ḫaldi, Urartu’s principal god.

Elsewhere, concave-sided squares frame large rosettes between bulls, lions and winged chimeras, forming part of a religious and protective visual program whose exact meaning remains unknown.

Centuries later, Armenian Christianity gave the form a documented new expression in the konker (կոնքեռ): an embroidered square worn diamond-wise from the Catholicos’s belt. Recorded in a 1311 ordination manuscript, it signifies Catholicosal rank and remains visible in the crest of Holy Etchmiadzin.

This does not prove an unchanged symbol survived from Urartu. But it does suggest how a four-sided sacred form remained part of the region’s visual memory, repeatedly reinterpreted within Armenian culture.

#Urartu #ArmenianArt #HolyEtchmiadzin #VisualContinuity

The bird-headed figure of the ancient Urartian wor

The bird-headed figure of the ancient Urartian world did not disappear in the 6th century BCE. While its original religious meaning was lost, its visual language survived in the artistic traditions of #Armenia. Centuries later, Armenian manuscript illuminators, including the renowned 13th-century master #TorosRoslin, incorporated bird-headed human figures into the margins of their Gospel books.

In this new #Christian context, these hybrid beings no longer represented Urartian protective spirits but became part of a rich symbolic and decorative tradition.

Their continued presence illustrates the remarkable continuity of Armenian visual culture, where ancient pre-Christian motifs were reinterpreted and woven into Christian art, preserving echoes of Armenia’s distant past within some of its most celebrated medieval manuscripts.

#urartu #ancienthistory

The bird-headed figure of the ancient Urartian wor

The bird-headed figure of the ancient Urartian world did not disappear in the 6th century BCE. While its original religious meaning was lost, its visual language survived in the artistic traditions of #Armenia. Centuries later, Armenian manuscript illuminators, including the renowned 13th-century master #TorosRoslin, incorporated bird-headed human figures into the margins of their Gospel books.

In this new #Christian context, these hybrid beings no longer represented Urartian protective spirits but became part of a rich symbolic and decorative tradition.

Their continued presence illustrates the remarkable continuity of Armenian visual culture, where ancient pre-Christian motifs were reinterpreted and woven into Christian art, preserving echoes of Armenia’s distant past within some of its most celebrated medieval manuscripts.

#urartu #ancienthistory

A new study of over 100 royal Urartian inscribed b

A new study of over 100 royal Urartian inscribed bronze bowls has revealed several fascinating insights. The researchers found that the Urartian script evolved to better suit engraving on bronze, suggesting that the writing system was adapted to the medium itself.

The study also identified changes in royal iconography over time. Earlier dynasties used a convex square containing an eagle as a royal symbol, while later dynasties adopted a lion’s head alongside an image of a tower or temple, from which the sacred shining tree—possibly represented as a spear or leaf—emerges.

Interestingly, the bowls, each inscribed with the names of Urartian kings, were discovered together in a single location. This suggests they may have formed a royal archive, with each successive king adding new inscribed bowls to preserve the legacy of previous generations. In this way, royal inscriptions became mobile objects rather than being confined to monumental walls or stone monuments.

Source: https://www.cambridge.org/core/journals/antiquity/article/memory-of-the-kings-of-biaurartu-inscribed-royal-bowls-from-western-asia/CFAA1909E55E011AD1282BE1412A2486

#urartu #armenia #archaeology #ancienthistory

Royal bronze bowls were far more than luxury objec

Royal bronze bowls were far more than luxury objects—they were mobile monuments of kingship.

Key takeaways from a new study that analysed over 100 royal Urartian inscribed bowls:

• Royal authority went portable: inscribed bronze bowls carried the king’s name and ideology far beyond temples and rock inscriptions.

• Urartian cuneiform evolved into its own tradition, adapting over time from Neo-Assyrian models into distinctive letter forms designed for bronze.

• Writing itself was redesigned for metal, with compact wedges, new layouts, and innovative engraving techniques.

• Royal iconography developed alongside the inscriptions, culminating in the standardized lion and susi temple imagery of Argišti I.

• The Karmir Blur cache may have been a deliberate royal archive, preserving the memory of earlier kings during Urartu’s final decades.

• These inscriptions were as much craftsmanship as writing, revealing close collaboration between scribes and bronze workers.

Read the full open-access paper here:
https://www.cambridge.org/core/journals/antiquity/article/memory-of-the-kings-of-biaurartu-inscribed-royal-bowls-from-western-asia/CFAA1909E55E011AD1282BE1412A2486

#Archaeology #AncientHistory #Urartu #BronzeAge #IronAge

More and more archaeological evidence is challengi

More and more archaeological evidence is challenging long-held assumptions about the Kingdom of #Urartu and its place in Armenian history. The traditional narrative, which presents Urartu and #Etiuni as two distinct and opposing political entities, and portrays Urartu as a kingdom that emerged independently in the #ArmenianHighlands before disappearing entirely and being replaced by the Armenians, is increasingly being shown to be inaccurate.

Rather than representing a historical break, the evidence suggests significant continuity between the Kingdom of Urartu and the later development of statehood in the Armenian Highlands. Instead of a clean emergence followed by a complete disappearance, Urartu appears to have laid the foundations for a unified political tradition that continued to evolve long after the fall of its ruling dynasty.

In this video, archaeologist and scholar Dr. Walter Kuntner of the University of Innsbruck, Austria, explains why this long-standing narrative should be reconsidered in light of the latest archaeological evidence.

New #Urartian mural discovered at #Erebuni. A join

New #Urartian mural discovered at #Erebuni. A joint French-Armenian archaeological mission has discovered a rare fragment of an ancient mural at the Erebuni archaeological site, with its colours remaining exceptionally well preserved after more than 2,500 years.

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This blog is dedicated to Armenian culture, history and everything else Armenia related. PeopleOfAr is set on a journey of self education, sharing of knowledge and pursuit of hidden Armenian cultural "treasures", all in the spirit of academic integrity. Welcome to PeopleOfAr!

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