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TIGRANES GREAT THE
Under the auspices of Tigran Sargsyan, Prime Minister of the Republic of Armenia, Exhibition of one work Dedicated to the 2150th Anniversary of Tigranes the Great
Union of the World Armenian Painters Yerevan 2010 ISBN 978-99941-2-471-8
With the blessing of His Eminence Archbishop Navasard Ktchoyan, Vicar of the Araratian Patriarchal Diocese With the sponsorship of Igor Klimko, Executive Director of "ARMENTEL" - "BEELINE"
¶ð²ÜØºÌ Ð³Û³ëï³ÝÇ Ð³Ýñ³å»ïáõû³Ý í³ñã³å»ï îÇ·ñ³Ý ê³ñ·ë»³ÝÇ µ³ñÓñ Ñáí³Ýáõ Ý»ñùáÛ Ù¿Ï ³ß˳ï³ÝùÇ óáõó³Ñ³Ý¹¿ë` ÝáõÇñáõ³Í îÇ·ñ³Ý Ø»ÍÇ ÍÝݹ»³Ý 2150-³Ù»³ÏÇÝ úñÑÝáõû³Ùµ ²ñ³ñ³ï»³Ý гÛñ³å»ï³Ï³Ý ûÙÇ ³é³çÝáñ¹³Ï³Ý ÷á˳Ýáñ¹ î¿ñ ܳõ³ë³ñ¹ ²ñù»åÇëÏáåáë Î×áÛ»³ÝÇ ´³ñ»ñ³ñáõû³Ùµ §²ðغÜîºÈ¦ - "BEELINE"-Ç ¶áñͳ¹Çñ ïÝûñ¿Ý Æ·áñ ÎÉÇÙÏáÛÇ
î. ܲì²ê²ð¸ ²ðøºäÆêÎàäàê ÎÖàÚ²Ü ARCHBISHOP NAVASARD KTCHOYAN
INTRODUCTORY SPEECH
09.11.2010
N.250
"What is more pleasant for me than writing down praises and histories about Tigranes?" St. Moses of Khoronk (Chapter A, 24)
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he name and heroic deeds of Tigranes the Great accompany us during the centuries filling us with pride and confidence of self-appreciation. The present book published by the "Union of World Armenian Painters" within the frames of cultural projects, is dedicated to the 2150th anniversary of birth of Tigranes the Great, the most prominent political and state figure in centuries-old history of the Armenian nation. The Armenian nation, being a nation keeping to the traditions, has been educated by the previous stages of its history and has always mixed the new with the old and renovated the new by means of the old. Adopting the previous positive, the Armenian nation has made its steps sure on its traditional solid land and has created the axis of its stable worldview. The roots of Christianity, proclaimed the state religion of Armenia in 301, go back to the depth of centuries, derive from the history of the past becoming mentality and spiritual values characteristic to the Armenian nation. This book commands us to renew the past, to enrich the present and to move forward. Tigranes the Great, who has become a national symbol for the future generations, teaches us always to preserve our national sacred values motherland, faith and language. "Among mighty, famous and winning emperors" St. Moses of Khoronk mentions the name of Tigranes the Great saying that "he was the most powerful, the wisest and the bravest among all our kings." Then he adds that each person should be filled with the sober-mindedness of his Arian behavior and should strive to resemble him. Centripetal struggle of Tigranes is crowned with success, and he manages to create a powerful state with vast frontiers and prosperous life. This book properly reevaluates the period of time of Tigranes, comprehensively elucidates the king's image and turns his human traits into a landmark for each of us. The activity of Tigranes the Great inspires us the feelings of pride and self-assertion and gives us impetus for living and creating for the sake of strengthening of our newly independent statehood, supremacy of state interests. With blessing, ARCHBISHOP NAVASARD KTCHOYAN
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TIGRANES THE GREAT
îƶð²Ü غÌ
7
INTRODUCTORY SPEECH
SPEECH OF TIGRAN SARGSYAN, PRIME MINISTER OF THE REPUBLIC OF ARMENIA, DEDICATED TO THE 2150TH ANNIVERSARY OF BIRTH OF THE ARMENIAN KING TIGRANES THE GREAT
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his year we celebrate the 2150th anniversary of birth of one of most famous figures in the history of our nation - king of kings Tigranes the Great. In our centuries-old history there are few kings, state and religion figures whom our nation has granted the honorable title "Great". And the fact that even after more that two millennia we celebrate the anniversary of birth of the Armenian king, contains a great mystery. There are few nations who can be proud of such rich history as our history is. And more few are those nations in whose chronology there are figures like the king Tigranes the Great. The image of Tigranes the Great has been a source of inspiration for many talented people. History and historiography have comprehensively depicted the "king of kings" as talented captain, clever state figure and diplomatist, as well as a person for whose deeds each Armenian is grateful even today. On one occasion I have mentioned that history is written on the basis of the past as each of us evaluates the realities of the past in the context of his time and environment. From that point of view have the Greek, Roman and Armenian chronologists and historians, many contemporary armenologists and specialists of the history of the Armenian nation reviewed the activity of Tigranes the Great. Respect towards the Armenian king unites their works and studies both of critical and praising nature. In the context of present-day reality importance is accorded to the history as it gives chance to take lessons from the past. I wish that we should unitedly ponder over the most urgent lessons given by the most powerful in our history monarch. In my opinion those lessons are the following three. Firstly, the king Tigranes gifted as a great dream. That dream is not restricted by territorial invasions. That dream has never been based on brutal force or violence. Even sparse evidences state that the Armenian king was not an eastern monarch, but he was individuality who strived for finding a new format of 8
TIGRANES THE GREAT
ÐÐ ì²ðâ²äºî îƶð²Ü ê²ð¶êº²ÜÆ ÊúêøÀ вÚàò îƶð²Ü ØºÌ ²ðø²ÚÆÜ ÜàôÆðàô²Ì 2150 ²Øº²ÎÆÜ
²Ûë ï³ñÇ Éñ³ÝáõÙ ¿ Ù»ñ å³ïÙáõû³Ý ³Ù»Ý³Ý߳ݳõáñ ¹¿Ùù»ñÇó Ù¿ÏǪ ²ñù³ÛÇó ³ñù³Û îÇ·ñ³Ý Ø»ÍÇ 2150 ³Ù»³ÏÁ: Ø»ñ µ³½Ù³¹³ñ»³Ý å³ïÙáõû³Ý Ù¿ç ß³ï ã»Ý ³ÛÝ ³ñù³Ý»ñÁ, å»ï³Ï³Ý »õ Ñá·»õáñ ·áñÍÇãÝ»ñÁ, áñáÝó Ù»ñ ÅáÕáíáõñ¹Á ßÝáñÑ»É ¿ Ø»Í å³ïáõáÛ ïÇïÕáëÁ: ºõ ³ÛÝ, áñ Ù»Ýù ³õ»ÉÇ ù³Ý »ñÏáõ ѳ½³ñ³Ù»³Ï ³Ýó ¿É ÝßáõÙ »Ýù ѳÛáó ³ß˳ñÑ³Ï³É ³ñù³ÛÇ ÍÝݹ»³Ý ï³ñ»¹³ñÓÝ, Çñ Ù¿ç Ù»Í ËáñÑáõñ¹ áõÝÇ: ²Û¹ ËáñÑáõñ¹Ý Çñ Ù»Íáõû³Ý Ù¿ç å³ñ½ ¿: º½³ÏÇ »Ý ³ÛÝ ÅáÕáíáõñ¹Ý»ñÁ, áíù»ñ ϳñáÕ »Ý Ñå³ñï³Ý³É ³ÛÝåÇëÇ Ñ³ñáõëï å³ïÙáõû³Ùµ, áñ áõÝ»Ýù Ù»Ýùª ѳۻñë: ÆëÏ ³é³õ»É ùÇã »Ý Ýñ³Ýù, áñáÝó ï³ñ»·ñáõÃÇõÝáõÙ Ï³Ý îÇ·ñ³Ý »ñÏñáñ¹ ³ñù³ÛÇ ÝÙ³Ý ¹¿Ùù»ñ: Ø»ÍÝ îÇ·ñ³ÝÇ Ï»ñå³ñÁ á·»ßÝãÙ³Ý ³ÕµÇõñ ¿ ѳݹÇë³ó»É µ³½Ù³ÃÇõ ï³Õ³Ý¹³õáñ Ù³ñ¹Ï³Ýó ѳٳñ, Çñ Ñ»ñÃÇÝ å³ïÙáõÃÇõÝÝ áõ å³ïÙ³·ñáõÃÇõÝÁ ѳٳÏáÕÙ³ÝÇ Ý»ñϳ۳óÝ»É ¿ ²é³ç³õáñ ²ëdzÛÇ §²ñù³ÛÇó ³ñù³ÛÇݦ, áñå¿ë ï³Õ³Ý¹³õáñ ½ûñ³í³ñÇ, ßñç³Ñ³Û»³ó å»ï³Ï³Ý ³ÛñÇ áõ ¹Çõ³Ý³·¿ïÇ, ÇÝãå¿ë ݳ»õ Ù³ñ¹áõ, áõ٠ϳï³ñ³Í ·áñÍ»ñÇ Ñ³Ù³ñ ³Ûëûñ ¿É »ñ³Ëï³å³ñï ¿ Çõñ³ù³ÝãÇõñ ѳÛ: ØÇ ³éÇÃáí »ë Ýᯐ »Ù, áñ å³ïÙáõÃÇõÝÁ ·ñõáõÙ ¿ ³å³·³ÛÇó, ù³Ý½Ç ³Ýó»³ÉÇ ÇñáÕáõÃÇõÝÝ»ñÁ Ù»½ÝÇó Çõñ³ù³ÝãÇõñÁ ·Ý³Ñ³ïáõÙ ¿ Çñ ųٳݳÏÇ »õ ÙÇç³í³ÛñÇ Ñ³Ù³ï»ùëïáõÙ: ²Û¹ ¹Çï³Ï¿ïÇó »Ý îÇ·ñ³Ý Ø»ÍÇ ·áñÍ»ñÁ ùÝÝ»É ÛáÛÝ, ÑéáÙ¿³óÇ »õ Ñ³Û Å³Ù³Ý³Ï³·ÇñÝ»ñÝ áõ å³ïÙÇãÝ»ñÁ, ³ñ¹Ç ѳ۳·Çïáõû³Ý áõ ѳÛáó å³ïÙáõû³Ý µ³½Ù³ÃÇõ Ù³ëݳ·¿ïÝ»ñÁ: Üñ³Ýó »ñϳëÇñáõÃÇõÝÝ»ñÁ, ³Ù»Ý³ùÝݳϳÝÝ»ñÇó ÙÇÝã»õ ³Ù»Ý³¹ñáõ³ï³Ï³ÝÝ»ñÁ ÙdzõáñõáõÙ ¿ Û³ñ·³ÝùÁ гÛáó Ù»Í ³ñù³ÛÇ Ýϳïٳٵ: ²ñ¹Ç³Ï³Ýáõû³Ý ѳٳï»ùëïáõÙ å³ïÙáõÃÇõÝÁ ϳñ»õáñõáõÙ ¿ Ýñ³Ýáí, áñ Ñݳñ³õáñáõÃÇõÝ ¿ ï³ÉÇë ³Ýó»³ÉÇó ¹³ë»ñ ù³Õ»É: ºë ó³ÝϳÝáõÙ »Ù, áñ Ù»Ýù Ùdzëݳµ³ñ Ùïáñ»Ýù Ù»ñ å³ïÙáõû³Ý ³Ù»Ý³Ñ½ûñ Ùdzå»ïÇ ÃáÕ³Í ³Ù»Ý³³ñ¹Ç³Ï³Ý ¹³ë»ñÇ ßáõñç: Æ٠ѳÙá½Ù³Ùµ, ¹ñ³Ýù »ñ»ù »Ý. ²é³çÇݪ îÇ·ñ³Ý Ø»ÍÁ Ù»½ ÝáõÇñ»ó Ù»Í »ñ³½³Ýù: ²Û¹ »ñ³½³ÝùÁ ³Ù÷á÷áõ³Í ã¿ ï³ñ³Íù³ÛÇÝ Ýáõ³×áõÙÝ»ñÇ Ù¿ç: ²Û¹ »ñ³½³ÝùÁ »ñµ»ù ÑÇÙÝáõ³Í ãÇ »Õ»É µÇñï áõÅÇ Ï³Ù µéÝáõû³Ý íñ³Û: ÎóÏïáõñ íϳÛáõÃÇõÝÝ»ñÝ ³Ý·³Ù ÷³ëïáõÙ »Ý, áñ ѳÛáó ³ñù³Ý áã ÿ ³ñ»õ»É»³Ý µéݳå»ï ¿ñ, ³ÛÉ ³Ýѳï³Ï³ÝáõÃÇõÝ, áñ Ó·ïáõÙ ¿ñ Çñ ϳÛëñáõÃÇõÝáõ٠ѳٳϻóáõû³Ý Ýáñ Ó»õ³ã³÷ ·ïÝ»É: ܳ ϳñáÕ³ó³õ ëï»ÕÍ»É ³ÛÝ ³ß˳ñÑÝ, áñ îƶð²Ü غÌ
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INTRODUCTORY SPEECH
society in his empire. He managed to create such a world which was Armenian by its nature, but by its content it united many cultures thus developing into a peculiar civilization. Even that one episode of our history has left deep trace in our collective memory. It would not be exaggeration to mention that the life and activity of the king Tigranes is one of the important links of the chain of our eternity. Secondly, if people do not live with what they have they lose everything. We must be able to evaluate our achievements, our history and culture, our language and faith. Today the inheritance of Tigranes the Great becomes tangible by means of Tigranakert of Artsakh. Presently, thanks to the heroism of our soldiers we have the chance to be communicated with more than two thousand-year-old miracle of Tigranakert. Now it is the turn of our archaeologists and historians who should manage to turn the inheritance of Tigranes into one of our cultural visit-cards of our reality, a part of our civilization portrait. Thirdly, the biography of Tigranes the Great teaches us to appreciate the notions "alliance" and "ally." It is not a secret that each nation and state has probable antagonists and rivals. In reality it is not so important who they are, but much more is important who supports the nation and the state in the struggle of overcoming the problems of various nature. And this concerns both internal and external challenges, each sphere of life beginning from the struggle for overcoming poverty to extermination of corruption, armed antagonisms. In external political field our country has many good friends, our relations with other states are based on mutual respect, canons adopted in the international family of nations and obligations which our country has undertaken. But we ourselves are our best allies for settlement of both internal and external problems, and we must elaborate mechanisms of social uniting and must shape environment of social solidarity. I am sure that Tigranes the Great is the symbol of national pride for each Armenian and a bright example of courage, broad-mindedness and patriotism. These values are everlasting, we should preserve them and transfer them to the sons of our nations, to each new generation.
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TIGRANES THE GREAT
Çñ µÝáÛÃáí ѳÛÏ³Ï³Ý ¿ñ, ÇëÏ µáí³Ý¹³Ïáõû³Ùµª ÙdzõáñáõÙ ¿ñ µ³½Ù³ÃÇõ Ùß³ÏáÛÃÝ»ñª í»ñ³×»Éáí Çõñ³ï»ë³Ï ù³Õ³ù³ÏñÃáõû³Ý: Ø»ñ å³ïÙáõû³Ý ³Û¹ Ù¿Ï ¹ñáõ³·Ý ³Ý·³Ù Ëáñ Ñ»ïù ¿ ÃáÕ»É µáÉáñÇë ѳõ³ù³Ï³Ý ÛÇßáÕáõû³Ý Ù¿ç: â³÷³½³ÝóáõÃÇõÝ ãÇ ÉÇÝÇ Ýß»ÉÁ, áñ îÇ·ñ³Ý ³ñù³ÛÇ Ï»³ÝùÝ áõ ·áñÍÁ Ù»ñ Û³ñ³ï»õáõû³Ý ßÕóÛÇ Ï³ñ»õáñ ûÕ³ÏÝ»ñÇó ¿: ºñÏñáñ¹, »Ã¿
Ù³ñ¹ÇÏ ã»Ý ³åñáõÙ Ýñ³Ýáí ÇÝã áõÝ»Ý, ³å³ ÏáñóÝáõÙ »Ý
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îƶð²Ü غÌ
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INTRODUCTORY SPEECH
IGOR KLIMKO Executive Director of "ARMENTEL" - "BEELINE"
Dear Friends, As a representative of Russia, I would like to express my deepest respect towards a great history of ancient Armenian nation. Armenian Nation carries memories of its glorious past through the centuries and millenniums and it glances at its future with confidence. Personality of Tigran the Great, a national pride of Armenians, excites the imagination of anyone who imparts knowledge of his life. Tigran the Great is a national pride of Armenian, symbol of trust into one's abilities and symbol of victory. Great Armenia as it was at the times of Tigran reign left a deep trace not only in Armenian but also in the World History, together with other ancient empires - Rome and Parphia. As Armentel director I feel happy for the fact that due to our support this unprecedented publication became possible. It contains all the best works of talented representatives of Armenian scientific community and is dedicated to the 2150-th anniversary of Tigran the Great. I hope that this book shall become one more step towards consolidation of Armenian national scientific and cultural idea both here in Armenia and abroad and shall contribute to the Renaissance of Armenian Nation. Tigran consolidated Armenians and his inheritors must do the same in today's world, strengthening and developing Armenian state for the future generations.
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TIGRANES THE GREAT
IGOR KLIMKO Executive Director of "ARMENTEL" - "BEELINE"
Äîðîãèå äðóçüÿ, Êàê ïðåäñòàâèòåëü ðóññêîãî íàðîäà õî÷ó âûðàçèòü ñâîå ãëóáîêîå óâàæåíèå âåëè÷àéøåé èñòîðèè äðåâíåé àðìÿíñêîé íàöèè, íàöèè ïðîíåñøåé ïàìÿòü î ñëàâíîì ïðîøëîì ÷åðåç âåêà è òûñÿ÷åëåòèÿ è óâåðåííî ñìîòðÿùåé â áóäóùåå. Ôèãóðà Òèãðàíà Âåëèêîãî – íàöèîíàëüíîé ãîðäîñòè àðìÿíñêîãî íàðîäà äî ñèõ ïîð áóäîðàæèò âîîáðàæåíèå ëþáîãî, êòî ïðèêàñàåòñÿ ê ïàìÿòè îá ýòîì ñëàâíîì ñûíå Àðìåíèè. Òèãðàí Âåëèêèé ñòàë íàöèîíàëüíîé ãîðäîñòüþ àðìÿíñêîãî íàðîäà, ñèìâîëîì ïîáåäû è âåðû â ñîáñòâåííûå ñèëû. Âåëèêàÿ Àðìåíèÿ ýïîõè Òèãðàíà Âåëèêîãî îñòàâèëà ãëóáîêèé ñëåä íå òîëüêî â èñòîðèè àðìÿíñêîãî íàðîäà, íî è â ìèðîâîé èñòîðèè è ñòîèò íàðÿäó ñ âåëèêèìè äåðæàâàìè òîãî âðåìåíè Ðèìîì è Ïàðôèåé. Êîìïàíèÿ Àðìåíòåë è ÿ, êàê åå ðóêîâîäèòåëü èñïûòûâàåì îãðîìíóþ ãîðäîñòü îò ôàêòà , ÷òî áëàãîäàðÿ íàøåé ïîääåðæêå ñòàëà âîçìîæíî ïóáëèêàöèÿ äàííîãî, íå ïîáîþñü ýòîãî ñëîâà áåñïðåöåäåíòíîãî òðóäà âûäàþùèõñÿ ïðåäñòàâèòåëåé àðìÿíñêîé èíòåëëèãåíöèè ïîñâÿùåííîãî 2150 –ëåòèþ ñî äíÿ ðîæäåíèÿ Òèãðàíà Âåëèêîãî. ß íàäåþñü, ÷òî ýòà êíèãà ñòàíåò åùå îäíèì êèðïè÷èêîì â äåëå êîíñîëèäàöèè êîëîññàëüíîãî ïîòåíöèàëà Àðìÿíñêîé íàöèîíàëüíîé íàó÷íîé è õóäîæåñòâåííîé ìûñëè, êàê íà ðîäèíå, òàê è íà ìåæäóíàðîäíîì óðîâíå, ñòàíåò åùå îäíèì øàãîì â äåëå âîçðîæäåíèÿ âåëè÷èÿ àðìÿíñêîé íàöèè. Òèãðàí ñóìåë êîíñîëèäèðîâàòü ïîòåíöèàë àðìÿíñêîé íàöèè, è åãî ïîòîìêè äîëæíû ñäåëàòü òî æå – óêðåïëÿÿ è ðàçâèâàÿ àðìÿíñêóþ ãîñóäàðñòâåííîñòü íà áëàãî áóäóùèõ ïîêîëåíèé.
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13
INTRODUCTORY SPEECH
ARMEN GASPARYAN Art Critic, Head of the Department of Armenian Painting of the National Gallery of Armenia
SPEECH ON THE OCCASION OF THE EXHIBITION DEDICATED TO THE 2150TH ANNIVERSARY OF BIRTH OF TIGRANES THE GREAT
The Armenian nation is one of the old nations of the world. It means that it is one of the builders of the world. There are many testimonies of it and of course there is no need of proofs. The Armenians exist and create since the period of pre-historical petroglyphs (or rock engravings), the stones of Zorats Karer also referred to as Karahunj or Carahunge. During many centuries there are periods of heroic battles and declines in the pages of the rich history of the Armenian nation. As fate had willed it, today only fragments of one-time vastness and plenty have reached us, fragments of one-time splendor which still exist and remain imitable and irrefutable treasures. Those are the treasures of the Armenian Home which have remained and which we must preserve and cherish. The Armenian Home has been powerful, even super-powerful. That power and strength have been recognized by all, all nations have realized it. Our past also has been so glorious in the course of centuries-old history. Past, which is irrefutable, which we bear in ourselves and really with pride use the phrase "from sea to sea Armenia," which has become the symbol of pride and nation's power. It is the reality which has stricken roots in each Armenian's genetic memory and the logic of unceasing continuousness. Also it is the lofty sensation of power which is each Armenian's unshaken faith in the future. Each nation has its heroes. But there are heroes who are above of only national belonging and they become universal values. Their names have become the object of everybody's admiration and respect. Such a person was Tigranes from Artashesyan royal dynasty. He was the king Tigranes II, who later was renamed Tigranes the Great. He was really great and he was emperor. In the Old World his name was as glorious and horrific as the name of Cyrus the Great, Alexander of Macedonia. The king of kings of the East was struggling, militant, but also wise, strict, kind and generous. All neighbors of Armenia admired and worshipped him, during the period of his reign the state became super-powerful, it was turned into an empire, reached Egypt, Mediterranean 14
TIGRANES THE GREAT
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÷ßñ³ÝùÝ»ñ »Ý ѳë»É: ºñµ»ÙÝÇ ßù»Õáõû³Ý ÷ßñ³ÝùÝ»ñ, áñáÝù ¹³ñÓ»³É Ï³Ý »õ ÙÝáõÙ »Ý áñå¿ë ³ÝÏñÏÝ»ÉÇ »õ ³ÝÙ»ñÅ»ÉÇ ·áѳñÝ»ñ: ¸ñ³Ýù гÛáó î³Ý ·áѳñÝ»ñÝ »Ý, áñ Ùݳó»É »Ý »õ å³ñï »Ýù ¹ñ³Ýù å³Ñå³Ý»É »õ ·áõñ·áõñ»É: ÆëÏ Ð³Ûáó îáõÝÁ ѽûñ ¿ »Õ»É: ºÕ»É ¿ ·»ñѽûñ: ²Û¹ ѽûñáõÃÇõÝÝ áõ áõÅÁ ÁݹáõÝáõ³Í »Ý »Õ»É µáÉáñÇ ÏáÕÙÇó, µáÉáñ ³½·»ñÝ áõ ÅáÕáíáõñ¹Ý»ñÝ »Ý ¹³ ·Çï³Ïó»É: ´³½Ù³¹³ñ»³Ý å³ïÙáõû³Ý ÁÝóóùáõ٠ݳ»õ ³Û¹å¿ë ÷³é³Ñ»Õ ¿ »Õ»É Ù»ñ ³Ýó»³ÉÁ: ²ó»³ÉÁ, áñÁ ³ÝÙ»ñÅ»ÉÇ ¿, áñÁ ÷á˳Ýóáõ³Í ÏñáõÙ »Ýù Ù»ñ Ù¿ç »õ ÛÇñ³õÇ Ñå³ñïáõû³Ùµ »Ýù ³ñͳñÍáõÙ ÍáíÇó-Íáí г۳ëï³Ý Ëûëù»ñÁ, áñÁ ¹³ñÓ»É ¿ Ñå³ñïáõû³Ý »õ ³½·Ç áõÅÇ ËáñÑñ¹³ÝÇß: ¸ñ³Ýù Çõñ³ù³ÝãÇõñ ѳÛáñ¹áõ ·»Ý»ïÇÏ³Ï³Ý ÛÇßáÕáõû³Ý Ù¿ç ³ñÙ³ï³Ï³É³Í ÇñáÕáõÃÇõÝÝ ¿ »õ ³ÝÁݹѳï ß³ñáõݳϳϳÝáõû³Ý ïñ³Ù³µ³ÝáõÃÇõÝÁ: ܳ»õ ѽûñáõû³Ý íë»Ù³ßáõù ½·³óáõÙÁ, áñÁ ³å³·³ÛÇ Ýϳïٳٵ Çõñ³ù³ÝãÇõñÇë ³Ý»ñ»ñ ѳõ³ïÝ ¿: ²Ù¿Ý ÙÇ ÅáÕáíáõñ¹ áõÝÇ Çñ Ñ»ñáëÝ»ñÁ: ´³Ûó Ï³Ý Ñ»ñáëÝ»ñ, áñáÝù ¹áõñë »Ý ·³ÉÇë ÉáÏ ³½·³ÛÇÝ å³ïϳݻÉÇáõÃÇõÝÇó »õ ¹³éÝáõÙ »Ý ѳٳٳñ¹Ï³ÛÇÝ ³ñÅ¿ù: Üñ³Ýó ³ÝáõÝÁ ë³õ³éÝáõÙ ¿ ë»÷³Ï³Ý ³ß˳ñѳ·ñáõÃÇõÝÇó ¹áõñë Áݹ³ñÓ³Ï ï³ñ³ÍùÝ»ñáõÙ »õ ¹³ñÓ»É »Ý ³ÛÉ»õë µáÉáñÇ ÛÇß³ï³ÏÇ, ÑdzóÙáõÝùÇ »õ ٻͳñÙ³Ý Ïǽ³Ï¿ï: ²Û¹åÇëÇÝ»ñÇó ¿ Ñ³Ûáó ²ñï³ß¿ë»³Ý ³ñù³Û³ïáÑÙÇ îÇ·ñ³ÝÁ, áñÁ îÇ·ñ³Ý 2-ñ¹Ý ¿ñ, áí ¹³ñÓ³õ îÇ·ñ³Ý Ø»Í: ÚÇñ³õÇ Ù»Í ¿ñ »õ ³ß˳ñѳϳÉ: ÐÇÝ ³ß˳ñÑáõÙ Ýñ³ ³ÝáõÝÁ ÝáÛÝù³Ý ÷³é³õáñ ¿ñ »õ ³Ñ³½¹áõ áñù³Ý ÎÇõñáë Ø»ÍÇÝÁ, سϻ¹áݳóáõÝÁ ... ²ñ»õ»ÉùÇ Í³Ûñ³·áÛÝ ïÇïÕáë³ÏÇñÁª ³ñù³ÛÇó-³ñù³Ý, Ù³ñÝãáÕ ¿ñ, µ³Û ݳ»õ ÇÙ³ëïáõÝ ¿ñ, ËÇëï ¿ñ »õ µ³ñÇ áõ ٻͳÑá·Çª ½ï³ñÇõÝ Ñ³Û ¿ñ: Üñ³Ý Ëáݳñáõ»óÇÝ Ð³ÛùÇ ãáñë ÏáÕÙ»ñÇ Ñ³ñ»õ³ÝÝ»ñÁ, å»ïáõÃÇõÝÁ ¹³ñÓ³õ ·»ñѽûñ, ¹³ñÓ³õ ³ß˳ñÑ³Ï³É ï¿ñáõÃÇõÝ »õ ѳë³õ º·Çåïáë, ØÇç»ñÏñ³Ï³Ý, ѳë³õ å³ñûõÝ»ñÇ ³ñ»õ»É»³Ý ë³ÑÙ³ÝÝ»ñÁ: ²ñ»õ»ÉùÇ Ñ½ûñ³·áÛÝÁ µéÝ³Ï³É ã¿ñ: ²ÝïÇáùÇ ·³ÑÇÝ µ³½Ù»ó ˳ճÕáõÃÛ³Ùµ »õ ÇÙ³ëïáõÝ Ï³é³í³ñ»ó: ÆÙ³ëïáõÝ ïÇ»½»ñ³Ï³ÉÇó ë³ñë³÷áõÙ ¿ñ ݳ»õ ·áéá½ ÐéáÙÁ: Üñ³ ³ñùáõÝÇùÇÝ ËáݳñõáõÙ ¿ÇÝ ß³ï ó·³õáñÝ»ñ »õ ³é³çÝáñ¹Ý»ñ: Üñ³ µ³ñ»Ï³ÙáõÃÇõÝÁ ó³ÝϳÉÇ ¿ñ µáÉáñÇÝ, äáÝïáëÝ ¿ñ Ñå³ñï³ÝáõÙ Ýñ³ Ñ»ï ¹³ßÇÝùáí: ØÇÑñîƶð²Ü غÌ
15
INTRODUCTORY SPEECH
Sea and the eastern frontiers of the Parthian state. The most powerful emperor of the East was not a tyrant. He ascended on the throne peacefully and governed wisely. Arrogant Rome also was horrified of the wise emperor. Many kings and leaders admired and worshipped and obeyed his royal court. Friendship with him was desirable for all. Pontus was proud of the alliance with Rome. Only pretty Cleopatra, the daughter of Mithridates deserved the honorable title "Lady of Armenian ladies." The country prospered, flourished and expanded. In various parts of the state towns called Tigranakert were built, and the main one was Tigranakert of Aghdznik. Today also new and new discoveries are made in those towns. This dear we celebrate 2150th anniversary of birth of the most powerful Armenian king. He governed in the 1st century BC, and however, he had his peculiar continuation also in our days by means of exhibition of one work dedicated to that anniversary. Each person participating in that exhibition is the heir of Tigranes, continuer of his work representing to the world the art created by Armenian artist. Artists, whose works are included in this exhibition, are representatives of various generations, creating in various artistic directions and styles. This exhibition can be considered a unique mosaic of modern Armenian painting providing us an idea of the development of national art of the 20th-21st centuries. Certainly, the predominant part of this exhibition is painting, and however, sculptures and works of decorative and applied arts are also represented. Human being as a particle of the nature is inimitable. And the creative type of human being creates the miracle called art. And each one in his inimitableness creates his own, inimitable world, gives shape and life to his ideas and thoughts by means of colors, lines, various materials and compositions. Therefore this exhibition is a diversity of mentalities and performance. Martin Petrosyan is an artist whose manner of creation has long ago become his own style and is distinguished from the others. Only by means of details characteristic to him, spirals of lines and mild color Martin Petrosyan achieves mysteriousness and invites the viewer to talk. Elibekyans' artistic family is a registered fact in our national painting. Robert Elibekyan has long ago taken his specific place by means of his original art. His skillful brush is mild in this exhibition, but it is also bright, crimson. Images of women are charming in their lively motion and actions, their posture is tender and delicate. Melodic atmosphere is convincing not only by means of depicting musician women but also their artistic interpretations. Noteworthy are the faces of those women, the motion caused in the direction of their glances summarized by multicolor and multi-person composition. Honored art figure Paravon Mirzoyan also is individuality in the national painting. His works are full of inner content, inner tension under the veil of outward calmness. All artistic means which he has used serve the content under discussion. Concretely in this work by means of accurate compositional divisions, colors used generalized and melodic forms Paravon Mirzoyan penetrates into the layers of sensual and touches upon delicate theme. This is a most valuable work expressing philosophical and personal-emotional thoughts. In the work of Ararat Khanzadyan Tigranes the Great is depicted in his
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TIGRANES THE GREAT
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²Ûë óáõó³Ñ³Ý¹¿ëÇÝ Ý»ñϳ۳óíáõ³Í »Ý Ù»ñ ÏáÕùÇÝ ³åñáÕ »õ ëï»Õͳ·áñÍáÕ ³ñáõ»ëï³·¿ïÝ»ñÇ ·áñÍ»ñÁ: Üñ³Ýù ï³ñµ»ñ ë»ñáõݹݻñÇ Ý»ñϳ۳óáõóÇãÝ»ñ »Ý, ï³ñµ»ñ ·»Õ³ñáõ»ëï³Ï³Ý áõÕÕáõÃÇõÝÝ»ñ »õ á×»ñ áñ¹»·ñ³Í ëï»Õͳ·áñÍáÕÝ»ñ »Ý: ²Ûë óáõó³Ñ³Ý¹¿ëÁ ϳñ»ÉÇ ¿ ѳٳñ»É ³ÛÅÙ»³Ý ѳÛÏ³Ï³Ý Ï»ñå³ñáõ»ëïÇ ÙÇ ÇÝùݳïÇå Ë׳Ýϳñ, áñÁ Ù»½ å³ïÏ»ñ³óáõÙ ¿ ï³ÉÇë 20-21-ñ¹ ¹³ñ»ñÇ ³½·³ÛÇÝ ³ñáõ»ëïÇ ½³ñ·³óÙ³Ý Ù³ëÇÝ: ÆѳñÏ¿, óáõó³Ñ³Ý¹¿ëáõÙ ·»ñ³ÏßéáÕ Ù³ëÁ ·»Õ³ÝϳñãáõÃÇõÝÝ ¿, µ³Ûó Ý»ñϳ۳óáõ³Í »Ý ݳ»õ ù³Ý¹³ÏÝ áõ ¹»Ïáñ³ïÇõ- ÏÇñ³é³Ï³Ý ³ñáõ»ëïÁ: سñ¹Ý ³ÝÏñÏÝ»ÉÇ ¿ áñå¿ë µÝáõû³Ý Ù³ëÝÇÏ: ÆëÏ Ù³ñ¹áõ ëï»Õͳ·áñÍ ï»ë³ÏÁ ³ñ³ñáõÙ ¿ ³ÛÝ Ññ³ßùÁ, áñÝ ³Ýáõ³ÝáõÙ »Ýù ³ñáõ»ëï: ºõ Çõñ³ù³ÝãÇõñÝ Çñ ³ÝÏñÏÝ»ÉÇáõû³Ùµ ëï»ÕÍáõÙ ¿ Çñ ³ÝÏñÏÝ»ÉÇ ³ß˳ñÁ, ³ß˳ñÑÇÝ ³ëáõÙ ¿ Çñ ë»÷³Ï³Ý ËûëùÁ, Çñ å³ïÏ»ñ³óáõÙÝ»ñÇÝ »õ Ùïù»ñÇÝ ¿ Ó»õ »õ ·áÛ ï³ÉÇë ·áÛÝÇ, ·ÍÇ, ï³ñµ»ñ ÝÇõûñÇ »õ ÏáÙåá½ÇódzݻñÇ ÙÇçáóáí: àõëïÇ ³Ûë óáõó³Ñ³Ý¹¿ëÝ Çñ»ÝÇó Ý»ñϳ۳óÝáõÙ ¿ Ùï³Í»É³Ï»ñå»ñÇ »õ ϳï³ñáճϳÝÇ µ³½Ù³½³ÝáõÃÇõÝ: سñïÇÝ ä»ïñá뻳ÝÁ ³ÛÝ ³ñáõ»ëï³·¿ïÝ ¿ áñÇ ëï»Õͳ·áñÍ³Ï³Ý Ó»é³·ÇñÁ í³Õáõó ¹³ñÓ»É ¿ Ýñ³ ë»÷³Ï³Ý á×Á »õ ÇÝùÝáõñáõݳµ³ñ ³é³ÝÓݳÝáõÙ ¿ ÙÇõëÝ»ñÇó: ØdzÛÝ Çñ»Ý µÝáñáß Ù³Ýñ³ÙëÝ»ñÇ ³Ý¹ñ³¹³ñÓÝ»ñáí, ·Í³å³ñáÛñÝ»ñáí »õ ѳݹ³ñï ·áÛÝáí سñïÇÝ ä»ïñá뻳ÝÁ Çñ ëï»Õͳ·áñÍáõÃÇõÝáõ٠ѳëÝáõÙ ¿ ËáñÑñ¹³õáñáõû³Ý »õ ¹ÇïáÕÇÝ ½ñáÛóÇ ¿ Ññ³õÇñáõÙ: Ø»ñ ³½·³ÛÇÝ Ï»ñå³ñáõ»ëïáõÙ ³ñӳݳ·ñáõ³Í ÷³ëï ¿ ¾Éǵ»Ï»³ÝÝ»ñÇ ·»Õ³ñáõ»ëï³Ï³Ý ÁÝï³ÝÇùÁ: èáµ»ñï ¾Éǵ»Ï»³ÝÝ Çñ ³é³ÝÓݳ۳ïáõÏ ³ñáõ»ëïáí, Çñ ë»÷³Ï³Ý ³ë»ÉÇùáí í³Õáõó ·ñ³õ»É ¿ Çñ áõñáÛÝ ï»ÕÁ: Üñ³ í³ñå»ï íñÓÇÝÝ ³Ûë óáõó³Ñ³Ý¹¿»ëáõÙ Ù»ÕÙÇÏ ¿, µ³Ûó ݳ»õ Ññ³í³é ¿: êï»Õͳ·áñÍáõÃÇõÝáõ٠ϻݹ³ÝÇ ß³ñÅÇ »õ ·áñÍáÕáõÃÇõÝÝ»ñÇ Ù¿ç ϳݳÝó Ï»ñå³ñÝ»ñÁ ݳ½³ÝÇ »Ý, Ýñ³Ýó Ï»óáõ³ÍùÁ, ß³ñÅÁ ϳݳóÇ ¿: ػջ¹³ÛÇÝ ÙÃÝáÉáñïÁ Çñ ѳÙá½ã³Ï³Ýáõû³ÝÝ ¿ ѳë»É áã ÙdzÛÝ ÏáÝÏñ»ï »ñ³ÅÇßï ϳݳÝó å³ïÏ»ñٳٵ, ³ÛÉ»õ Ýñ³Ýó ·»Õ³ñáõ»ëï³Ï³Ý Ù»Ïݳµ³ÝáõÃÇõÝÝ»ñáí: àõß³·ñ³õ »Ý ³Û¹ ϳݳÝó ¹¿Ùù»ñÁ, Ýñ³Ýó ѳۻ³óùÝ»ñÇ áõÕÕáõÃÇõÝÝ»ñÇ ³é³ç³óñ³Í ß³ñÅÁ, ÇÝãÁ ³Ù÷á÷áõÙ ¿ »õ »½ñ³Û³Ý·áõÙ µ³½Ù³·áÛÝ »õ µ³½Ù³Ù³ñ¹ ÏáÙåá½ÇódzÝ: ²½·³ÛÇÝ ·áõݳÝϳñãáõû³Ý Ù¿ç ³Ýѳï³Ï³ÝáõÃÇõÝ ¿ ³ñáõ»ëïÇ í³ëï³Ï³õáñ ·áñÍÇã ö³ñ³õáÝ ØÇñ½áÛ»³ÝÁ: Üñ³ íñÓݳÍ
ëï»Õͳ·áñÍáõÃÇõÝÝ»ñÁ ÉÇ
»Ý Ý»ñùÇÝ ³ë»ÉÇùáí, ³ñï³ùÇÝ Ñ³Ý¹³ñïáõû³Ý ßÕ³ñßÇ ï³Ï Ý»ñùÇÝ åñÏáõÙáí: ú·ï³·áñÍáõ³Í µáÉáñ ·»Õ³ñáõ»ëï³Ï³Ý ÙÇçáóÝ»ñÁ ͳé³ÛáõÙ »Ý ùÝݳñÏáõáÕ µáí³Ý¹³Ïáõû³ÝÁ: ÎáÝÏñ»ï ³Ûë ³ß˳ï³ÝùáõÙ ÏáÏÇÏ ÏáÙåá½ÇóÇáÝ µ³Å³ÝáõÙÝ»ñÁ, û·ï³·áñÍáõ³Í ·áÛÝ»ñÁ, ÁݹѳÝñ³óáõ³Í »õ Ù»Éá¹ÇÏ ýáñٳݻñáí ö³ñ³õáÝ ØÇñ½áÛ»³ÝÁ Ëáñ³ÝáõÙ ¿ ½·³Û³Ï³ÝÇ ß»ñï»ñáõÙ »õ ³ñͳñÍáõÙ ¿ ÝñµÇÝ Ã»Ù³Û: Êáѳ÷ÇÉÇëá÷³Û³Ï³ÝÇó ÙÇÝã»õ ³ÝÓݳϳÝ-½·³óÙáõÝù³ÛÇÝÇÝ Ñ³ëÝáÕ Ùïù»ñáí µ³ñÓñ³ñÅ¿ù ëï»Õͳ·áñÍáõÃÇõÝ: îƶð²Ü غÌ
17
INTRODUCTORY SPEECH
royal magnificence, with the crown on his head, wearing princely garments and sitting on the throne. Existence of the right color - vordan karmir, accords the work solemn nature and symbolizes authority. Royal interior, general atmosphere and the image of the Assyrian deity Shedu create impressive environment. The work of Vilik Zakaryan has become a collective story of nation's struggle for the sake of existence and power. Various episodes of the work directly or indirectly represent symbols having their allegorical and concrete meanings: Davit of Sasoun, kneeling gray-haired old man in white clothes, rows of soldiers, Mount Ararat and the church. Each of those historical, informative and artistic symbolic divisions can be considered a separate theme and even a separate scene. The artist has managed to show all these in ideological and structural unity. One of the few authors representing the genre of portrait in this exhibition is Robert Ayvazyan. Portrait depicts the woman in action, at the moment of movement. It shows moment and content, the moment and essence of what is depicted, also the moment and the concrete environment. Grace of the woman and depicted nearby decorative flowers are harmoniums in their mildness, as if they express the same tenderness and love. Ayvazyan's color plasticity is the result of his independent mentality thanks to which we witness his system of values. Mkrtich Papoyan's painting is based on realistic art, but he creates sincerely paying tribute to his own dreams and emotional states. In his work Papoyan has created a dreamy but also a real scene. It can be equally classified simultaneously to everyday, still life and portrait genres. But what is important is that the atmosphere created by the artist is absorbed with mildness and kindness. Colors' harmonious distribution, proper and convincing use of light, corresponding position of figure and objects have accorded special charm to the full value of composition. The portrait of woman is distinguished in the picture. Shahen Aslanyan displays completely other approach to the emotional state and what he wishes to say. The artist makes interpretations using scarce means, inviting the viewer to his inner world. Surface and semicircle. Thanks to author's interference interruptedness of the flat surface arouses reflections and thoughts. Inclined to not material mentality artist carefully approaches the palpi of sensual world by means of the round section's deformation. He strives to preserve compositional sense and thus the idea by means of abstraction, and it hints the ways of approaching to what he wishes to say. Among the works of still life genre the painting of Samvel Petrosyan is noteworthy. Color balance is very important in that painting as red, blue, white and other colors are neighboring decorative details and the background depicted in abundance of deep colors. Philip Hakobyan's work is absorbed with solemnity. By means of symmetric compositional structure the author accentuates on Tigranes. In the center of the circle Tigranes is depicted in light, in princely attributes and in obedience of people surrounding him. Certainly, direct and indirect symbols are abundant: the map of Armenia, comet of Halley, etc.
18
TIGRANES THE GREAT
ÆëÏ ²ñ³ñ³ï ʳݽ³¹»³ÝÇ ³ß˳ï³ÝùáõÙ ¹³ñÓ»³É ÏáÝÏñ»ï îÇ·ñ³Ý Ø»ÍÝ ¿ª ³ñù³Û³Ï³Ý áÕç ßáõùáí, ó·áí, ÇßË³Ý³Ï³Ý Ñ³Ý¹»ñÓÝ»ñáí ·³Ñ³õáñ³ÏÇÝ µ³½Ù³Í: γñÙñÇ É³ñáÕ ³éϳÛáõÃÇõÝÁ ѳݹÇë³õáñáõÃÇõÝ ¿ ѳÕáñ¹áõÙ »õ Çß˳ÝáõÃÇõÝ ¿ ËáñÑñ¹³ÝßáõÙ
(áñ¹³Ý ϳñÙÇñ): ä³É³ï³Ï³Ý ÇÝï»ñÇ»ñÁ, Áݹ-
ѳÝáõñ ÙÇç³í³ÛñÁ, ß»¹áõÇ å³ïÏ»ñÁ ïå³õáñÇã ÙÃÝáÉáñï »Ý ëï»ÕÍáõÙ: ìÇÉÇÏ ¼³ù³ñ»³ÝÇ ·áñÍÁ ³½·Ç ·áÛ³Ù³ñïÇ »õ áõÅÇ Ñ³õ³ù³Ï³Ý å³ïÙáõÃÇõÝ ¿ ¹³ñÓ»É: ä³ïÏ»ñáõÙ ï»Õ ·ï³Í ï³ñµ»ñ ¹ñáõ³·Ý»ñ áõÕÕ³ÏÇûñ¿Ý »õ ϳ٠Ûáõß»Éáí Ý»ñϳ۳óÝáõÙ »Ý ËáñÑñ¹³ÝÇßÝ»ñ Çñ»Ýó ³Ûɳµ³Ý³Ï³Ý »õ ÏáÝÏñ»ï ³ë»ÉÇùÝ»ñáí. ê³ëáõÝóÇ ¸³õÇÃÁ, ëåÇï³Ïáí ³É»Ñ»ñ ÍÝÏ³Í Í»ñáõÝÇÝ, ½ÇÝáõáñÝ»ñÇ ß³ñùÁ, ²ñ³ñ³ïÁ »õ »Ï»Õ»óÇÝ: ä³ïٳϳÝ-ï»Õ»Ï³ïáõ³Ï³Ý-·»Õ³ñáõ»ëï³Ï³Ý ëÇÙíáÉÇÏ ³Ûë µ³Å³ÝáõÙÝ»ñÇó Çõñ³ù³ÝãÇõñÁ ϳñ»ÉÇ ¿ ѳٳñ»É ³é³ÝÓÇÝ Ã»Ù³Û »õ ÝáÛÝÇëÏ ³é³ÝÓÇÝ å³ïÏ»ñ: ÜϳñãÇÝ Û³çáÕáõí»É ¿ ³Ûë ³ÙµáÕçÁ óáõó³¹ñ»É ·³Õ³÷³ñ³Ï³Ý »õ ϳéáõóáõ³Íù³ÛÇÝ ÙdzëÝáõû³Ùµ: òáõó³Ñ³Ý¹¿ëáõÙ ¹ÇÙ³ÝϳñÇ Å³ÝñÇÝ í»ñ³µ»ñáÕ ùÇã ³ß˳ï³ÝùÝ»ñÇó Ù¿ÏÇ Ñ»ÕÇݳÏÝ ¿ èáµ»ñï ²Ûí³½»³ÝÁ: ¸ÇÙ³Ýϳñ, áñÁ ¹ÇÙáñ¹ÇÝ å³ïÏ»ñáõÙ ¿ ·áñÍáÕáõû³Ý Ù¿ç, ß³ñÅÙ³Ý å³ÑÇÝ: ä³Ñ »õ µáí³Ý¹³ÏáõÃÇõÝ, å³ÑÁ »õ å³ïÏ»ñáõ³ÍÇ ¿áõÃÇõÝÁ, ݳ»õ å³ÑÁ »õ ÏáÝÏ»õ»ï ÙÇç³í³ÛñÁ: λñå³ñÇ ·ñ³óÇ³Ý »õ Ýñ³ ѳñ»õ³Ýáõû³Ùµ å³ïÏ»ñáõ³Í ¹»Ïáñ³ïÇí ͳÕÇÏÝ»ñÝ Çñ»Ýó Ù»ÕÙáõû³Ùµ ѳٳÑáõÝã »Ý: γñÍ»ë ÝáÛÝ ùÝùß³ÝùÝ áõ ë¿ñÝ »Ý ³ñï³Û³ÛïáõÙ: ²Ûí³½»³ÝÇ ·áõݳåɳëïÇÏ³Ï³Ý ÇÝùÝáõñáÛÝ Ùï³ÍáÕáõû³Ý ³ñ¹ÇõÝù ¿, ÇÝãÇ ßÝáñÑÇõ ³Ï³Ý³ï»ë »Ýù ÉÇÝáõÙ Ýñ³ áñ¹»·ñ³Í ³ñŻѳٳϳñ·ÇÝ: ØÏñïÇã ä³åáÛ»³ÝÇ
ÝϳñãáõÃÇõÝÁ Û»Ýáõ³Í ¿ Çñ³å³ßï³Ï³Ý ³ñáõ»ëïÇ
íñ³Û, ë³Ï³ÛÝ Ý³ ³ñ³ñáõÙ ¿ ë»÷³Ï³Ý »ñ³½³ÝùÝ»ñÇÝ »õ Ñá·»íÇ׳ÏÝ»ñÇ ³ÝÏ»ÕÍûñ¿Ý ïáõñù ï³Éáí: êï»Õͳ·áñÍáõÃÇõÝáõÙ ä³åáÛ»³ÝÁ »ñ³½Ïáï, µ³Ûó »õ Çñ³Ï³Ý ï»ë³ñ³Ý ¿ ϳéáõó»É: ²ÛÝ Ñ³õ³ë³ñ³å¿ë ϳñ»ÉÇ ¿ ¹³ë»É ÙÇ³Å³Ù³Ý³Ï »õ Ï»Ýó³Õ³ÛÇÝ, »õ ݳïÇõñÙáñïÇ, »õ ¹ÇÙ³ÝϳñÇ Å³Ýñ»ñÇÝ: ê³Ï³ÛÝ Ï³ñ»õáñÝ ³ÛÝ ¿, áñ ÝϳñãÇ ëï»ÕÍ³Í ÙÇç³í³ÛñÁ Ý»ñÍÍáõ³Í ¿ Ù»ÕÙáõÃÛ³Ùµ »õ µ³ñáõû³Ùµ: ¶áÛÝ»ñÇ Ý»ñ¹³ßÝ³Ï µ³ßËáõÙÁ, ÉáÛëÇ ×Çßï »õ ѳÙá½Çã û·ï³·áñÍáõÙÁ, ýÇ·áõñÇ »õ ³é³ñϳݻñÇ Ñ³Ù³å³ï³ëË³Ý ¹Çñù³õáñٳٵ ÏáÙåá½ÇódzÛÇ ÉdzñÅ¿ùáõû³ÝÁ ³é³ÝÓݳÏÇ ÑÙ³Ûù »Ý ѳÕáñ¹»É: ºõ ³Û¹ ³ÙµáÕçáõÙ ³é³ÝÓݳÝáõÙ ¿ ÏÝáç Ï»ñå³ñÁ: Ðá·»íÇ׳ÏÇ »õ ë»÷³Ï³Ý ³ë»ÉÇùÇ µáÉáñáíÇÝ ³ÛÉ Ùûï»óáõÙ ¿ óáõó³µ»ñáõÙ Þ³Ñ¿Ý ²ëɳݻ³ÝÁ: ¶»Õ³ñáõ»ëï³Ï³Ý ùã³Ëûëáõû³Ý Ù¿ç, ½áõëå ÙÇçáóÝ»ñáí ³ñáõ»ëï³·¿ïÁ Ù»Ïݳµ³ÝáõÃÇõÝÝ»ñ ¿ ³ÝáõÙ , Ññ³õÇñ»Éáí Çñ Ñá·áõ ³ß˳ñÑ: سϻñ»ëÇ »õ ÏÇë³ßñç³Ý: лÕÇݳÏÇ ÙÇç³Ùïáõû³Ùµ ѳñà ٳϻñ»ëÇ Áݹѳïáõ³ÍáõÃÇõÝÁ ³é³ç³óÝáõÙ ¿ ËáÑ»ñ »õ Ùïù»ñ: àã ³é³ñÏ³Û³Ï³Ý Ùï³ÍáÕáõû³ÝÁ ÙÇïáõ³Í ÝϳñÇãÁ ÏÉáñ ѳïáõ³ÍÇ ¹»ýáñÙ³ódzÛáí, ½·áõßáõû³Ùµ Ùûï»ÝáõÙ ¿ ½·³Û³Ï³Ý ³ß˳ñÑÇ ßûß³÷áõÏÝ»ñÇÝ: ì»ñ³ó³ñÏ³Ù³Ý Ù¿ç ݳ Ó·ïáõÙ ¿ å³Ñå³Ý»É ÏáÙåá½ÇóÇáÝ ÇÙ³ëïÁ, ¹ñ³Ýáíª ·³Õ³÷³ñÁ, ÇÝãÝ ¿É ÛáõßáõÙ ¿ ³ë»ÉÇùÇÝ Ùûï»Ý³Éáõ Ýñ³ áõÕÇÝ»ñÁ: Òáõó³Ñ³Ý¹¿ëÇ Ý»ñϳ۳óáõ³Í ݳïÇõñÙáñïÝ»ñÇó áõß³·ñ³õ ¿ ê³Ùáõ¿É ä»ïñá뻳ÝÇ ³ß˳ï³ÝùÁ: ²Ûë ·áñÍáõ٠ϳñ»õáñ Ý߳ݳÏáõÃÇõÝ áõÝÇ ·áõݳÛÇÝ Ñ³õ³ë³ñ³ÏßéáõÃÇõÝÁ, »ñµ ϳñÙñÇ, ϳåáÛïÇ, ëåÇï³ÏÇ »õ ³ÛÉ ·áÛÝ»ñÇ óáõó³¹ñáõÙÁ ѳñ»õ³ÝáõÙ ¿ ¹»Ïáñ³ïÇõ Ù³Ýñ³Ù³ëÝ»ñÇ »õ óÝÓñ ·áõݳé³ïáõû³Ùµ ýáÝÇÝ: ÊÇëï ѳݹÇë³õáñáõû³Ùµ ¿ Ý»ñÍÍáõ³Í üÇÉÇå Ú³Ïáµ»³ÝÇ ·áñÍÁ: êÇÙ»ïñÇÏ ÏáÙåá½ÇóÇáÝ Ï³éáõóáõ³Íùáí Ñ»ÕÇݳÏÁ ß»ßï³¹ñáõÙ ¿ îÇ·ñ³ÝÇÝ: Þñç³Ý³·Í³ÛÇÝÇ Ï»ÝïñáÝáõÙ Éáõë³õáñáõ³Í ³ñù³Ý ¿ª Çñ ÇßË³Ý³Ï³Ý ³ïñǵáõïÝ»ñáí »õ ßñç³å³ïáÕ Ù³ñ¹Ï³Ýó Ñݳ½³Ý¹áõû³Ùµ: ÆѳñÏ¿, ëÇÙíáÉÝ»ñÁ áõÕÕ³ÏÇ »õ îƶð²Ü غÌ
19
INTRODUCTORY SPEECH
Gagik Abrahamyan's work is distinguished by the tension of the painting's inner essence. It is a landscape but its inner content is more. Reproduction of the nature, identity of reality and the necessity of merely depicting the real do not satisfy the artist. By means of synthesis of optical reality and truth of the sensual Gagik Abrahamyan in this work refers the depth and the main sense. Many points left by the brush accord to the scene dynamism which is continued by the crimson mountainous mass and the tree depicted cold colors. Color particles reminding mosaic, their relations hint to the landscape's inner strong power and the state of readiness for outburst. Martin Mikaelyan is the searching, thinking, always pondering type of human being, the proof of which is his work. From first sight his work is simple but by the depth of content it is rich. There are color lines and layers, a group of people without faces, but sensation is reached to even character. Accentuation of the most important in the simple: to this extent is serious and meaningful what Martin Mikaelyan whishes to touch upon in his work. Hrayr Grigoryan's work is a real monument despite its easel sizes. By means of the artist's brush active paint is turned into ringing color thanks to which the viewer comprehends the inner tension of the work's content. Frontiers of color meetings, their general state acquire full value by means of irrefutable importance of each element. Beginning from the coins minted by the king of kings up to present-day samples depicting him a symbol is periodically repeated - the symbol of sunstar. Tigranes started his external campaign in 87 BC. The fatal moment had come. The Armenian army faced powerful Parthia. It was August month when Tigranes was going to invade Ekbatan, the capital town of Parthia. Comet of Halley appeared in the sky. It became decisive and accompanying. The star predominating victories accompanied Tigranes during all his life. The work of Ghazar/Lazar Mirzoyan depicts just that universal and fatal phenomenon. His work is the reflection of active blue, spreading red-ochre veins and various colors flowing out of the center. It is also our faith in the present, faith in future power. This exhibition is at the same time the word of the Armenian having the glorious past and the memory of Tigranes the Great. It is a specific bridge between that past and our present. The work of Harutyun Harutyunyan is created just by such approach. Our contemporaries who have started on a journey by cart are depicted in the work. Atmosphere is seized with mysteriousness. Women with children are depicted in the painting; their faces are generalized and remind icons. The angel ascending the steps has stretched its hand to the image of Tigranes reminding the round disc of the moon and light is coming from his image. In the work of Volodya Sahakyan we see the collective image of more concrete motherland. Three full-face figures are depicted in the interpretation of abundance, solemnity and peace. And the Church of St. Hripsime and the columns of Zvartnots depicted in the distance symbolize the values of creative nation. Atmosphere of the work "Bridling" by Hrant Tadevosyan is strained. The author has expressed it by means of red and yellow colors and their shade transitions. Bursting force and suppression is felt in the work. 20
TIGRANES THE GREAT
³ÝáõÕÕ³ÏÇ ³é³ï »Ý ª гÛáó ï¿ñáõû³Ý ù³ñ�Á, гÉÉ¿Ç ·Çë³ëïÕÁ »õ ³ÛÉÝ: ä³ïÏ»ñÇ Ý»ñùÇÝ ¿áõû³Ý åñÏáõÝ ½·³Û³Ï³Ýáí ³é³ÝÓݳÝáõÙ ¿ ¶³·ÇÏ ²µñ³Ñ³Ù»³ÝÇ ³ß˳ï³ÝùÁ: ²ÛÝ µÝ³Ýϳñ ¿, µ³Ûó Ý»ñùÇÝ µáí³Ý¹³Ïáõû³Ùµ ³õ»ÉÇÝ ¿: ´Ýáõû³Ý í»ñ³ñï³¹ñáõÙ, Çñ³Ï³Ýáõû³Ý ÝáÛÝáõÃÇõÝ »õ Çñ³Ï³ÝÇ ½áõï å³ïÏ»ñÙ³Ý ³Ýѳñ³Å»ßïáõÃÇõÝÁ ãÇ µ³õ³ñ³ñáõÙ ÝϳñãÇÝ: úåïÇÏ³Ï³Ý ÇñáÕáõû³Ý »õ ½·³Û³Ï³ÝÇ ×ßÙ³ñïáõû³Ý ëÇÝû½ ³Ûë ·áñÍáõÙ ²µñ³Ñ³Ù»³ÝÁ ³Ý¹ñ³¹³éÝáõÙ ¿ ËáñùÇÝ »õ ÑÇٳݳÛÇÝ ÇÙ³ëïÇÝ: ´³½Ù³ÃÇõ íñÓݳϿï»ñÁ ï»ë³ñ³ÝÇÝ ¹ÇݳÙǽ٠»Ý ѳÕáñ¹áõÙ: ¸³ ß³ñáõݳÏõáõÙ ¿ Ññ³ß¿Ï É»éݳÛÇÝ ½³Ý·áõ³ÍÇ »õ ë³éÁ ͳéÇ Ñ³ñ»õ³Ýáõû³Ùµ: Ê׳Ýϳñ ÛÇß»óÝáÕ ·áõݳٳëÝÇÏÝ»ñÁ, ¹ñ³Ýó Û³ñ³µ»ñáõÃÇõÝÝ»ñÁ ÛáõßáõÙ »Ý µÝ³å³ïÏ»ñÇ Ý»ñùÇÝ Ñ½ûñ áõÅÇ »õ åáéÃϳٳÝÁ å³ïñ³ëï íÇ׳ÏÇ Ù³ëÇÝ: Øï³ÍáÕ, åñåïáÕ, ѳñó»ñ µ³Ý³Éáõ Ó·ïáõÙáí, ß³ñáõÝ³Ï ËáñÑáÕ, Ù³ñ¹ ³ñ³ñ³ÍÇ ³Ûë ï»ë³ÏÝ ¿ سñïÇÝ ØÇù³Û¿É»³ÝÁ: ²å³óáÛóÝ ¿ Ýñ³ Ý»ñϳ۳óñ³Í ·áñÍÁ: ²é³çÇÝ Ñ³Û»³óùÇó å³ñ½, µ³Ûó µáí³Ý¹³Ï³ÛÇÝ Ëáñáõû³Ùµ ѳñáõëï ¿ ³Ûë ³ß˳ï³ÝùÁ: ¶áõݳ·Í»ñ »õ ·áõݳ߻ñï»ñ: ²Ý¹¿Ù Ù³ñ¹Ï³Ýó ËáõÙµ, µ³Ûó ÝáÛÝÇëÏ µÝ³õáñáõû³Ý ѳëóáõ³Í ½·³óáÕáõÃÇõÝ: ä³ñ½Ç Ù¿ç ϳñ»õáñ³·áÛÝÇ ß»ßï³¹ñáõÙÁª ³Ñ³, ÿ áñù³Ý ËáñÇÙ³ëï ¿ Çñ ѳñó³¹ñٳٵ سñïÇÝ ØÇù³Û¿É»³ÝÇ ³ñͳñͳÍÁ: ÆëÏ Ðñ³Ûñ ¶ñÇ·áñ»³ÝÇ ëï»Õͳ·áñÍáõÃÇõÝÁ ÇëÏ³Ï³Ý ÙáÝáõÙ»Ýï ¿, ãÝ³Û³Í Çñ ѳëïáó³ÛÇÝ ã³÷ë»ñÇÝ: ²Ûë ³ñáõ»ëï³·¿ïÇ íñÓÝáí ³ÏïÇõ Ý»ñÏÁ ¹³éÝáõÙ ¿ ½ñÝ·áõÝ ·áÛÝ, áñáí ·áñÍÇ µáí³Ý¹³ÏáõÃÇõÝÁ Çñ Ý»ñùÇÝ É³ñáõ³Íáõû³Ùµ ¹³éÝáõÙ ¿ ¹ÇïáÕÇÝ Ñ³ëáõ: ¶áõݳѳݹÇåáõÙÝ»ñÇ ë³ÑÙ³ÝÝ»ñÁ, Ýñ³Ýó ÁݹѳÝáõñ íÇ׳ÏÁ Ó»éù »Ý µ»ñáõÙ ³Ù÷á÷ ÉdzñÅ¿ùáõÃÇõÝ, Çõñ³ù³ÝãÇõñ ª Çõñ³ù³ÝãÇõñ ï³ññÇ ³ÝÙ»ñÅ»ÉÇ Ï³ñ»õáñáõû³Ùµ: êÏë³Í ³ñù³ÛÇó-³ñù³ÛÇ Ñ³ï³Í ¹ñ³ÙÝ»ñÇó ÙÇÝã»õ Ýñ³Ý å³ïÏ»ñáÕ ³Ûëûñáõ³Û ÝÙáõßÝ»ñáõÙ å³ñµ»ñ³µ³ñ ÏñÏÝõáõÙ ¿ ÙÇ ëÇÙíáÉ: ¸³ ³ñ»õ-³ëïÕÝ ¿: îÇ·ñ³Ý ³ñù³Ý Çñ ³ñï³ùÇÝ ³ñß³õ³ÝùÝ»ñÁ ëÏë»ó ù.³. 87Ã.: ºÏ»É ¿ñ ׳ϳﳷñ³Ï³Ý å³ÑÁ: гÛáó ½ûñùÇ ³é³ç Ï³Ý·Ý³Í ¿ñ ѽûñ ä³ñûõëï³ÝÁ: ú·áëïáëÝ ¿ñ »ñµ îÇ·ñ³ÝÝ ³ñß³õ»Éáõ ¿ñ å³ñûõÝ»ñÇ ¾Ïµ³ï³Ý Ù³Ûñ³ù³Õ³ùÇ íñ³Û: ºñÏݳϳٳñáõÙ »ñ»õ³ó гÉÉ¿Ç ·Çë³ëïÕÁ: ´³Ëïáñáß ¹³ñÓ³õ ³ÛÝ »õ áõÕ»ÏóáÕ: Ú³ÕóݳÏÝ»ñ ϳÝËáñáßáÕ ³ëïÕÁ áõÕ»Ïó»ó Ýñ³Ý áÕç Ï»³ÝùáõÙ: Ô³½³ñ ØÇñ½áÛ»³ÝÇ ³ß˳ï³ÝùÁ Ñ¿Ýó ³Û¹ ïÇ»½»ñ³Ï³Ý »õ ׳ϳﳷñ³Ï³Ý ý»ÝáÙ»ÝÝ ¿ å³ïÏ»ñáõÙ: ²ÏïÇõ ϳåáÛïÇ, ï³ñ³ÍáõáÕ Ï³ñÙñ³ûËñ³õáõÝ »ñ³ÏÝ»ñáí »õ ï³ñµ»ñ ·áÛÝ»ñáí óáÉù ¿ ³ÛÝ ª µË³Í Ï»ÝïñáÝÇó: àõÅÇ,
Û³ÕóݳÏÇ Ýϳïٳٵ ³Ý»ñ»ñ
ѳõ³ïùÇ ËáñÑñ¹³Ýß³Ï³Ý É»½áõáí Ô³½³ñ ØÇñ½áÛ»³ÝÁ ³Ý¹ñ³¹³éÝáõÙ ¿ å³ïÙ³Ï³Ý ³Ýó»³ÉÇÝ: ê³ Ý³»õ ³Ûëûñáõ³Û, Ù»ñ Ý»ñϳÛÇ Ñ³õ³ïÝ ¿, ³å³·³ÛÇ Ñ½ûñáõû³Ý ѳõ³ïÁ: ²Ûë óáõó³Ñ³Ý¹¿ëÁ ÙÇ»õÝáÛÝ Å³Ù³Ý³Ï Ñ³ÛÇ ËûëùÝ ¿, ³ÛÝ Ñ³ÛÇ, áñÝ áõÝÇ îÇ·ñ³Ý Ø»ÍÇ ÷³é³õáñ ³Ýó»³ÉÝ áõ ÛÇß³ï³ÏÁ: ²ÛÝ Çõñ³Û³ïáõÏ Ó»õáí ϳÙáõñç ¿ ³Û¹ ³ÝóÛ³ÉÇ »õ Ù»ñ Ý»ñϳÛÇ Ñ³Ù³ñ: пÝó ÝÙ³Ý Ùûï»óٳٵ ¿ ϳéáõóáõ³Í Ú³ñáõÃÇõÝ Ú³ñáõÃÇõÝ»³ÝÇ ³ß˳ï³ÝùÁ: ê³ÛÉáí ׳ݳå³ñÑ »É³Í Ù»ñ ųٳݳϳÏÇóÝ»ñÝ »Ý: àÕç ÙÃÝáÉáñïÝ ¿ å³ïáõ³Í ËáñÑñ¹³õáñáõû³Ùµ: سÝϳÝó Ñ»ï ϳݳÛù, Ýñ³Ýó ¹¿Ùù»ñÁ, áñ ÁݹѳÝñ³óáõ³Í »Ý »õ ëñµ³å³ïÏ»ñÝ»ñ »Ý ÛÇß»óÝáõÙ Çñ»Ýó Ùßáõßáï Ééáõû³Ùµ: ²ëïÇ׳ÝÝ»ñáí µ³ñÓñ³óáÕÁ Ó»éùÁ Ù»ÏÝ»É ¿ ÉáõëÝÇ ëϳõ³é³Ï
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²õ»ÉÇ ÏáÝÏñ»ï ѳÛñ»ÝÇùÇ Ñ³õ³ù³Ï³Ý Ï»ñå³ñ »Ýù ï»ëÝáõÙ ê³Ñ³Ï»³Ý ìáÉá¹Ç³ÛÇ ·áñÍáõÙ: ¸Çٳѳۻ³ó »ñ»ù ýÇ·áõñÝ»ñÁ ÉÇáõû³Ý, ѳݹÇë³õáñáõû³Ý »õ ˳ճÕáõû³Ý Ù»Ïݳµ³Ýáõû³Ùµ »Ý å³ïÏ»ñáõ³Í: ÆëÏ Ñ»éõáõÙ å³ïÏ»îƶð²Ü غÌ
21
INTRODUCTORY SPEECH
There are many historical data concerning the emperor Tigranes. Even foreign authors have devoted him literary and musical works. But as concrete prototype of his image can serve the pictures on the royal coins minted in 9555 BC. Those pictures and the contemporary authors' own ideas are united when we look at the paintings and sculptures concretely depicting the king of kings. Those works depict the Armenian emperor who wins, rules, who is wise and respectable. Sculptor Vahe Tokmadjyan has referred concretely the image of Tigranes of Artashesyan dynasty. This representative of sculptors' family has created the sculpture of the king. The work is at the same time of allegoric nature and is concrete image, representation. The mighty and grandiose image can allegorically symbolize the motherland's power and eternity. Despite the small sizes of the work it is a monumental one. Existence of royal attributes and volumetrical elaborations make convincing the spirit and powerful nature of Tigranes which have stricken roots in the souls of Armenians. Vahe Tokmadjyan's work arouses feelings of pride and dignity. Artist Markos Akoghlyan's work is thematic one. Crimson used in the painting, which is typical to royal (princely) color, and compositional solution venerate Tigranes the Great. His figure is large in comparison with the other components of the work. The emperor is sitting with his feet spread, he is thoughtful, the world is under his feet. In this case the author has referred not only the king's image, but also the idea of his power and wisdom and the difficulty of combining those traits. Ashot Avagyan' work takes the viewer to prehistorical period of time by means of its general aura. By means of its bas-relief sphericity this composition reminds petroglyphs. Even bleak yellowish color used as background, figures' not volumetrical depictings, the scene of battle and hunt help to create a special atmosphere in which the roots of mankind, the beginning of worldview development are. Sculptor Harutyun Karapetyan's work has more laconic artistic interpretation. It is again the symbol of power and authority. In the work the meeting of lion and man is depicted, the work arouses allegorical thoughts. This method makes the painting's idea and structure more interesting and compact. Volumes' more stressing and however, laconism in elaborations are compact from both visual viewpoint and in ideological sense. Spatial traditional trimeter representation does not satisfy Gevorg Javrushyan. He passes to decorative flat composition with psychological saturation. Compounds of the painting are concentrated. As if the whole scene is composed of three layers - the Yellow mountains (Ararat), the scarlet sky and the mass of stones reminding mosaic which is as if a way. Active colors arouse great tension. Again expressiveness, again active movement but this time from the genre of battle painting. It is Ashot Vardanyan's work. Dynamics of colors' and figures' distribution in this multifigure composition represent really heroic battle. Twisting lines and bright colors are saturated. And certainly, king Tigranes is depicted fighting and in heroic state. In his work "Small happiness" Rafael Melikyan has really depicted a
22
TIGRANES THE GREAT
ñáõ³Í ï³×³ñÝ»ñÁ
(ÐéÇ÷ëÇÙ¿, ¼áõ³ñÃÝáóÇ ëÇõÝ»ñ) ËáñÑñ¹³ÝßáõÙ »Ý ëï»Õͳ-
·áñÍ »õ ³ñ³ñáÕ ³½·Ç áñ¹»·ñ³õ ³ñÅ¿ùÝ»ñÁ: ȳñáõ³Í ÙÃÝáÉáñï ¿ Ðñ³Ýï ³¹»õá뻳ÝÇ §ê³ÝӳѳñáõÙ¦ Ïï³õáõÙ: лÕÇݳÏÁ ¹ñ³Ý ѳë»É ¿ ϳñÙñÇ »õ ¹»ÕÇÝÇ, ¹ñ³Ýó »ñ³Ý·³ÛÇÝ ³ÝóáõÙÝ»ñÇ Ñ³ñ»õ³Ýáõû³Ùµ: äáéÃÏáõÝ áõÅ »õ ½ëåáõÙ... îÇ»½»ñ³Ï³É îÇ·ñ³ÝÇ Ù³ëÇÝ å³ïÙ³Ï³Ý ï»Õ»ÏáõÃÇõÝÝ»ñÁ µ³½Ù³ÃÇõ »Ý: Üñ³Ý ÝáõÇñáõ³Í ³Ý·³Ù ³Ûɳ½·ÇÝ»ñÁ »ñÏ»ñ »õ »ñ³Åßï³Ï³Ý ·áñÍ»ñ »Ý ÓûÝ»É: ´³Ûó ÏáÝÏñ»ï Ýñ³ Ï»ñå³ñÇ Ï»ñïÙ³Ý Ñ³Ù³ñ ݳ˳ïÇå ϳñáÕ »Ý ѳݹÇë³Ý³É ø.³. 95-55 Ãáõ³Ï³ÝÝ»ñÇÝ Ñ³ïáõ³Í ³ñù³Û³Ï³Ý ¹ñ³ÙÝ»ñÇ íñ³ÛÇ å³ïÏ»ñÝ»ñÁ: êñ³Ýù »õ ³Ûëûñáõ³Û Ñ»ÕÇݳÏÝ»ñÇ ë»÷³Ï³Ý å³ïÏ»ñ³óáõÙÝ»ñÁ ÙdzÓáõÉáõ³Í »Ý, »ñµ ݳÛáõÙ »Ýù ÏáÝÏñ»ï ³ñù³ÛÇó-³ñù³ÛÇÝ å³ïÏ»ñáÕ ·»Õ³Ýϳñã³Ï³Ý »õ ù³Ý¹³Ï ·áñÍ»ñÁ: êñ³ÝóáõÙ ³ß˳ñÑ³Ï³É Ñ³ÛÝ ¿, ѳÕÃáÕÁ, ïÇñáÕÁ »õ ÇÙ³ëïáõÝÁ ª ³ñųݳå³ïÇõ ѳÛÁ: ÎáÝÏñ»ï îÇ·ñ³Ý ²ñï³ß¿ë»³ÝÇ Ï»ñå³ñÇÝ ¿ ³Ý¹ñ³¹³ñÓ»É Ð³ÛÏ Âáùٳ绳ÝÁ: ø³Ý¹³Ï³·áñÍÝ»ñÇ ÁÝï³ÝÇùÇ ³Ûë Ý»ñϳ۳óáõóÇãÁ ëï»ÕÍ»É ¿ ³ñù³ÛÇ µáÉáñ³ù³Ý¹³ÏÁ: êï»Õͳ·áñÍáõÃÇõÝÁ ÙÇ»õÝáÛÝ Å³Ù³Ý³Ï »õ ËáñÑñ¹³Ýß³Ï³Ý ¿, »õ ÏáÝÏñ»ï Ï»ñå³õáñٳٵ: îÇ·ñ³ÝÇ ËñáËï Ï»ñå³ñÁ ³Ûɳµ³Ýûñ¿Ý ϳñ»ÉÇ ¿ ѳٳñ»É ѳÛñ»ÝÇùÇ áõÅÁ »õ Û³õ»ñÅáõÃÇõÝÁ ËáñÑñ¹³ÝßáÕ: âÝ³Û³Í ³Ûë ·áñÍÇ áã Ù»Í ã³÷ë»ñÇÝ, ³ÛÝ ÙáÝáõÙ»Ýï³É ÑÝãáÕáõÃÇõÝ áõÝÇ: ²ñù³Û³Ï³Ý ³ïñǵáõïÝ»ñÇ ³éϳÛáõÃÇõÝÁ »õ ͳõ³É³ÛÇÝ Ùß³ÏáõÙÝ»ñÁ ѳÙá½Çã »Ý ¹³ñÓÝáõ٠ѳÛáó Ù¿ç ³ñÙ³ï³ó³Í îÇ·ñ³ÝÇ á·ÇÝ »õ ѽûñ ¿áõÃÇõÝÁ: Ðå³ñïáõû³Ý »õ ³ñųݳå³ïáõáõû³Ý ½·³óáõÙÝ»ñ ¿ ³é³ç³óÝáõ٠гÛÏ Âáùٳ绳ÝÇ ³Ûë ëï»Õͳ·áñÍáõÃÇõÝÁ: »ٳïÇÏ ·áñÍ ¿ ·»Õ³ÝϳñÇã سñÏáëÇ - سñïÇÝ §îÇ·ñ³Ý ػͦ ÝϳñÁ: ú·ï³·áñÍáõ³Í Ññ³ß¿ÏÁ, áñ Û³ïáõÏ ¿ ³ñù³Û³Ï³Ý (Çß˳ݳϳÝ) ·áÛÝÇÝ »õ ÏáÙåá½ÇóÇáÝ ÉáõÍáõÙÁ ٻͳñáõÙ »Ý îû·ñ³Ý Ø»ÍÇÝ: Üñ³ ýÇ·áõñÁ Ù»Í ¿ ѳٻٳï ÛûñÇÝáõ³ÍùÇ ÙÇõë µ³ÕϳóáõóÇãÝ»ñÇ Ñ»ï: àïݳï³ñ³Í Ýëï³Í ¿ ïÇ»½»ñ³Ï³ÉÁ, ݳ Ùï³ëáÛ½ ¿, ÇëÏ áïù»ñÇ ï³Ï ³ß˳ñÑÝ ¿ ï³ñ³Íáõ³Í: ²Ûë ¹¿åùáõÙ áã ³ÛÝù³Ý ÏáÝÏñ»ï, áñù³Ý áõÅÇ »õ
ÇÙ³ëïáõû³Ý áõ ¹ñ³Ýó ¹Åáõ³ñáõû³Ý ÁݹѳÝ-
ñ³óáõ³Í Ï»ñå³ñÝ ¿ ßûß³÷»É Ñ»ÕÇݳÏÁ: ²ßáï ²õ³·»³ÝÇ Ý»ñϳ۳óñ³Í ·áñÍÝ Çñ ÁݹѳÝáõñ ³áõñ³Ûáí ¹ÇïáÕÇÝ ï»Õ³÷áËáõÙ ¿ ݳ˳å³ïÙ³Ï³Ý Å³Ù³Ý³Ï³ßñç³Ý: ijÛé³å³ïÏ»ñÝ»ñ ÛÇß»óÝáÕ ³Ûë ÏáÙåá½ÇóÇ³Ý Çñ ѳñóå³ïÏ»ñ³ÛÇÝ ëý»ñÇÏáõû³Ùµ ÛÇß»óÝáõÙ ¿ ëϽµÝ³Ï³Ý ³ÏáõÝùÝ»ñÁ: ÜáÛÝÇëÏ áñå¿ë ýáÝ û·ï³·áñÍáõ³Í Ùßáõßáï ¹»ÕݳõáõÝÁ, ýÇ·áõñÝ»ñÇ áã ͳõ³É³ÛÇÝ å³ïÏ»ñáõÙÝ»ñÁ, Ù³ñïÇ »õ áñëÇ ï»ë³ñ³ÝÁ, åïáÛï ϳ½ÙáÕ ³ÝÁݹ³ï³Ï³Ýáõû³Ùµ û·ÝáõÙ »Ý ëï»ÕÍ»É Û³ïáõÏ ÙÃÝáÉáñï, áñï»Õ Ù³ñ¹Ïáõû³Ý ³ñÙ³ïÝ»ñÝ »Ý, ³ß˳ñÑÁÙµéÝÙ³Ý ½³ñ·³óÙ³Ý ëÏǽµÁ: ø³Ý¹³Ï³·áñÍ Ú³ñáõÃÇõÝ Î³ñ³å»ï»³ÝÇ ·áñÍÝ ³õ»ÉÇ É³ÏáÝÇÏ ·»Õ³ñáõ»ëï³Ï³Ý Ù»Ïݳµ³Ýáõû³Ùµ ¿: ²ÛÝ Çñ»ÝÇó Ý»ñϳ۳óÝáõÙ ¿ ¹³ñÓ»³É áõÅÇ »õ Çß˳Ýáõû³Ý ËáñÑñ¹³ÝÇß: ²Ûɳµ³Ý³Ï³Ý ËáÑ»ñ ³é³ç³óÝáÕ ³Ûë ³ß˳ï³ÝùáõÙ ³éÇõÍÇ »õ Ù³ñ¹áõ ѳݹÇå³Ï³Ý å³ïÏ»ñáõÙÝ ¿: ²Ûë ÙÇçáóÝ ³õ»ÉÇ Ñ»ï³ùñùÇñ »õ Ùï³ÛÇÝ áõ ³Ù÷á÷ ¿ ¹³ñÓÝáõÙ ·áñÍÇ ·³Õ³÷³ñÝ áõ ϳï³ñáõ³ÍÇ Ï³éáõóáõ³ÍùÁ: ̳õ³ÉÝ»ñÇ ³é³õ»É ÁÝ·ÍáõÙÁ, ³Û¹áõѳݹ»ñÓ Ùß³ÏáõÙÝ»ñáõ٠ɳÏáÝǽÙÁ ³Ù÷á÷ ï»ëùáí »Ý Û³éÝáõÙ »õ íǽáõ³É ï»ë³Ï¿ïÇó, »õ ·³Õ³÷³ñ³Ï³Ý ÇÙ³ëïáí: î³ñ³Í³Ï³Ý ³õ³Ý¹³Ï³Ý »é³ã³÷ Ï»ñå³õáñáõÙÁ ãÇ µ³õ³ñ³ñáõÙ ¶»õáñ· æ³õñáõß»³ÝÇÝ: ܳ ³ÝóÝáõÙ ¿ ¹»Ïáñ³ïÇõ
ѳñóÛÇÝ ÏáÙåá½Ç³ÛÇݪ Ñá·»µ³Ý³-
Ï³Ý Ñ³ñáõëï Û³·»óáõ³Íáõû³Ùµ: ä³ïÏ»ñ³ï³ñ³ÍùÇ µ³ÕϳóáõóÇãÝ»ñÁ Ï»ÝïñáݳóõáõÙ »Ý, ãݳ۳Í: γñÍ»ë Ñá·»µ³Ý³Ï³Ý »é³ß»ñïÇó µ³Õϳó³Í ÉÇÝÇ ³ÙµáÕç ï»ë³ñ³ÝÁª
¸»ÕÇÝ É»éÝ»ñÁ
(²ñ³ñ³ï), ³É ϳñÙÇñ »ñÏݳϳٳñÁ, Ë׳Ýϳñ
îƶð²Ü غÌ
23
INTRODUCTORY SPEECH
small miracle. The whole composition is astonishingly compact despite the great number and the diversity of its components. Each element is united to the general and thus the general has become a firm, solid entity. Besides figures' and buildings' tectonic balance the painting is charming by its color abundance, tints' bold and pleasant for eye transitions. They are the reflection of color miracle and shine by the touches of the artist's brush. Various color areas have really made up a compact miracle. One more thing: Rafael does not idealize the happiness which he has depicted. It is simple, convincing and fascinating. Artist Mary Mun has depicted a heart-rending scene. This work of decorative nature is extremely expressive and has much to say. The author has depicted leaves in optical "magnification" and in combination of green and brown colors. Dispersing light on the scene is especially impressive as it accords the scene not only special mood but also character. If we consider this work still life it can be reviewed as a psychological still life according to its energy and impression. This year the Armenian nation celebrates 2150th anniversary of birth of Tigranes the Great. In the near past, during the soviet period only the brave and the courageous dreamed of it. This exhibition is a tribute of respect to the Great Armenian figure's memory. It is also the proof of the fact that Armenians live creating and always venerating the worthy. By means of participating in this exhibition artists' works we saw that various artistic tendencies, ways of thinking and forms of expression presently existing in our national painting were represented together, as well as representatives of various generations were united thanks to this exhibition. Certainly, this was one more occasion to enliven our country's cultural life, to inspire artists with enthusiasm and an appreciable example of acting unitedly. It is thanks to the efforts of the "Union of the Armenian Painters of the World" and especially its CoChairwoman Anahit Mkhitaryan that this unique exhibition was organized in the National Gallery of Armenia - the mother museum of art of our country.
24
TIGRANES THE GREAT
ÛÇß»óÝáÕ ù³ñ³½³Ý·áõ³ÍÁ, áñ ϳñÍ»ë ׳ݳå³ñÑ ÉÇÝÇ:
²ÏïÇõ ·áÛÝ»ñÁ ÑÝã»Õ
ɳñáõÙ »Ý ³é³ç³óÝáõÙ: ¸³ñÓ»³É ¿ùëåñ»ëdz, ¹³ñÓ»³É ³ÏïÇõ ß³ñÅ, µ³Ûó ³Ûë ³Ý·³Ù Ù³ñï³Ýϳñãáõû³Ý ųÝñÇó: ¸³ ²ßáï ì³ñ¹³Ý»³ÝÇ §îÇ·ñ³Ý ػͦ ·áñÍÝ ¿: ¶áÛÝ»ñÇ »õ ýÇ·áõñÝ»ñÇ ¹³ë³õáñáõ³Íáõû³Ý ¹ÇݳÙÇÏ³Ý µ³½Ù³ýÇ·áõñ ³Ûë ÏáÙåá½ÇódzÛáõÙ Ý»ñϳ۳óÝáõÙ »Ý ÇëÏ³Ï³Ý Ñ»ñáë³Ù³ñï: àÉáñ³·Í»ñÇ »õ ·áÛÝ»ñÇ ³ßËáÛÅ Ó³ÛÝÝ ¿ ѳëóáõ³Í Çñ Û³·»óáõ³Íáõû³ÝÁ: ºõ, ÇѳñÏ¿, îÇ·ñ³Ý ³ñù³Ý ¿ Ù³ñïãáÕÝ ¿ Çñ Ñ»ñáë³Ï³Ý ëɳóùÇ Ù¿ç: è³ý³Û¿É Ø»ÉÇù»³Ý, §öáùñÇÏ »ñç³ÝÏáõÃÇõݦ: ÚÇñ³õÇ ÙÇ ÷áùñÇÏ Ññ³ßù ¿ ϳéáõó»É Ñ»ÕÇݳÏÁ: àÕç ÏáÙåá½ÇóÇ³Ý ½³ñٳݳÉÇûñ¿Ý ѳõ³ù ¿ »õ Ïáõé, ãÝ³Û³Í µ³ÕϳóáõóÇã ï³ññ»ñÇ µ³½Ù³Ãáõáõû³ÝÝ áõ µ³½Ù³½³Ýáõû³ÝÁ: Úáõñ³ù³ÝãÇõñ ï³ññ ÙdzÓáÛÉ ¿ ÁݹѳÝáõñÇÝ, ³ÛëåÇëáí ѳÙÁݹѳÝáõñÁ ¹³ñÓ»É ¿ ³Ùáõñ ³ÙµáÕçáõÃÇõÝ: ´³óÇ ýÇ·áõñÝ»ñÇ »õ ßÇÝáõÃÇõÝÝ»ñÇ ï»ÏïáÝÇÏ Ñ³õ³ë³ñ³ÏßéáõÃÇõÝÇó, ÝϳñÁ ݳ»õ ÑÙ³ÛÇã ¿ Çñ ·áõݳÛÇÝ ³é³ïáõû³Ùµ, Ýñµ»ñ³Ý·Ý»ñÇ Ñ³Ù³ñÓ³Ï »õ ³Ïݳѳ×áÛ ³ÝóáõÙÝ»ñáí: ¸ñ³Ýù ·áõݳÑñ³ßùÇ ÝÙ³Ý ³éϳÛÍáõÙ »Ý »õ ÝϳñãÇ íñÓݳùëáõ³Íùáí óáÉóÉáõÙ »Ý: î³ñµ»ñ
·áõݳï³ñ³ÍùÝ»ñÁ Çëϳå¿ë
ÙÇ ³Ù÷á÷ Ññ³ßù »Ý ϳ½Ù»É: ØÇ µ³Ý »õëª è³ý³Û¿ÉÁ ãÇ Ç¹¿³É³Ï³Ý³óÝáõÙ Çñ å³ïÏ»ñ³Í »ñç³ÝÏáõÃÇõÝÁ: ²ÛÝ å³ñ½ ¿, ѳÙá½Çã »õ ¹ÇõÃÇã: Ðá·»óáõÝó ï»ë³ñ³Ý ¿ å³ïÏ»ñ»É »ñÇï³ë³ñ¹ ÝϳñãáõÑÇ Ø»ñÇ ØáõÝÁ: ¸»Ïáñ³ïÇõ ÑÝãáÕáõÃÇõÝ áõÝ»óáÕ ³Ûë ·áñÍÁ ã³÷³½³Ýó ËûëáõÝ ¿ »õ ß³ï ³Ý·³Ù ³ë»ÉÇù å³ñáõݳÏáÕ: гٳñÓ³Ï ¹Çñùáñáßٳٵ Ñ»ÕÇݳÏÁ ï»ñ»õÝ»ñÁ å³ïÏ»ñ»É ¿ ûåïÇÏ³Ï³Ý §Ëáßáñ³óٳٵ¦ »õ ϳݳãÇ áõ ß³·³Ý³Ï³·áÛÝÇ ½áõ·áñ¹Ù³Ùµ: ²é³ÝÓݳÏÇ ïå³õáñÇã ¿ ÉáÛëÇ ë÷éáõÙÁ ï»ë³ñ³ÝÇÝ, áñÁ Ýñ³Ý áã ÙdzÛÝ Û³ïáõÏ ïñ³Ù³¹ñáõÃÇõÝ, ³ÛÉ Ý³»õ µÝ³õáñáõÃÇõÝ ¿ ѳÕáñ¹áõÙ: ºÃ¿ ³Ûë ·áñÍÁ ѳٳñ»Ýù ½áõï ݳïÇõñÙáñï ³ß˳ï³Ýù, ³å³ ³ÛÝ Ï³ñ»ÉÇ ¿ ¹Çï³ñÏ»É áñå¿ë Ñá·»µ³Ý³Ï³Ý ݳïÇõñÙáñïª Áëï Ýñ³ ¿Ý»ñ·Ç³ÛÇ »õ ïå³õáñáõû³Ý: гÛáõÃÇõÝÁ ÝßáõÙ ¿ îÇ·ñ³Ý Ø»ÍÇ 2150-³Ù»³ÏÁ: àã áõß ³Ýó»³ÉáõÙ, ËáñÑñ¹³ÛÇÝ Å³Ù³Ý³Ï³ßñç³ÝáõÙ ³Ûë Ù³ëÇÝ ÙdzÛÝ Ñ³Ù³ñÓ³ÏÝ»ñÝ ¿ÇÝ »ñ³½áõÙ: ²Ûë óáõó³Ñ³Ý¹¿ëÁ ïáõñù ¿ Ù»Í Ñ³ÛÇ ÛÇß³ï³ÏÇÝ: ²ÛÝ Ý³»õ ³å³óáÛó ¿, áñ ѳÛÝ ³åñáõÙ ¿ ëï»Õͳ·áñÍ»Éáí »õ ³ñųÝÇÝ ÙÇßï ٻͳñ»Éáí: سëݳÏÇó ³ñáõ»ëï³·¿ïÝ»ñÇ ·áñÍ»ñáí ³Ï³Ý³ï»ë »Õ³Ýù Ý»ñϳÛáõÙë ³½·³ÛÇÝ Ï»ñå³ñáõ»ëïáõÙ ·áÛáõÃÇõÝ áõÝ»óáÕ ·»Õ³ñáõ»ëï³Ï³Ý ï³ñµ»ñ ï»Ý¹»ÝóÝ»ñÇÝ, ï³ñµ»ñ Ùï³Í»É³Ó»õ»ñÝ áõ ³ñï³Û³Ûïã³Ó»õ»ñÁ ÙdzëÇÝ Ý»ñϳ۳óáõ»óÇÝ, ÇÝãå¿ë ݳ»õ ï³ñµ»ñ ë»ñáõݹݻñÁ ÙdzëÇÝ Ñ³Ý¹¿ë »Ï³Ý: ²Ýßáõßï ë³ »õë Ù¿Ï ³Ý·³Ù ³éÇà ¿ñ ³ßËáõųóÝ»Éáõ »ñÏñÇ Ùß³ÏáõóÛÇÝ Ï»³ÝùÁ, ËóݻÉáõ ³ñáõ»ëï³·¿ïÝ»ñÇÝ »õ ÙdzëÝ³Ï³Ý Ñ³Ý¹¿ë ·³Éáõ ·Ý³Ñ³ï»ÉÇ ûñÇÝ³Ï ¿: ²ß˳ñÑÇ Ñ³Û ÝϳñÇãÝ»ñÇ ÙÇáõÃÇõÝÁ »õ Û³ïϳå¿ë Ýñ³ ѳٳݳ˳·³Ñ ²Ý³ÑÇï ØËÇóñ»³ÝÇ ç³Ýù»ñáí Çñ³Ï³Ý³ó³Í ³Ûë ÇõñûñÇÝ³Ï óáõó³Ñ³Ý¹¿ëÁ Ù»ñ »ñÏñÇ ¶»Õ³ñáõ»ëïÇ Ù³Ûñ óݷ³ñ³ÝáõÙª г۳ëï³ÝÇ ³½·³ÛÇÝ å³ïÏ»ñ³ëñ³ÑáõÙ:
îƶð²Ü غÌ
25
Ú³Ïáµ Ú³Ïáµ»³Ý 1923
Hakob Hakobyan
ܳïÇõñÙáñï ٳݻϻÝáí
Still life with mannequin 26
TIGRANES THE GREAT
¶¿áñ·Ç º³ñ³É»³Ý 1927
Georgi Yaralyan
ø³ç ܳ½³ñ
Nazar the Brave îƶð²Ü غÌ
27
سñÇ Úáí¿É»³Ý - Ú³Ïáµ»³Ý 1929
Mary Hovelyan-Hakobyan
гÙμ»ñ¹Ç »Ï»Õ»óÇÝ
Church of Hamberd 28
TIGRANES THE GREAT
ìáÉá¹»³ ê³Ñ³Ï»³Ý 1932
Volodya Sahakyan
ì³ñ¹³í³éÁ ¼áõ³ñÃÝáóáõÙ
Transfiguration in Zvartnots îƶð²Ü غÌ
29
سñïÇÝ ä»ïñáë»³Ý 1933
Martin Petrosyan
ÜéÝ»ÝÇÝ áõ ³ÕçÇÏÁ
Pomegranate tree and the girl 30
TIGRANES THE GREAT
È»õáÝ ÂáùÙ³ç»³Ý 1937
Levon Tokmadjyan
²ñù³Ý
The King îƶð²Ü غÌ
31
Ðñ³Ýï ³¹»õáë»³Ý 1940
Hrant Tadevisyan
ê³ÝӳѳñáõÙ
Bridling 32
TIGRANES THE GREAT
Ðñ³Ûñ ¶ñÇ·áñ»³Ý 1940
Hrayr Grigoryan
´³ùáë
Bacchus îƶð²Ü غÌ
33
¶»õáñ· ê³Û»³¹»³Ý 1941
Gevorg Sayadyan
§¸³çáõ³ÍùÝ»ñ ù³ñÇݦ ß³ñùÇó` ²ñÍÇõÁ
“The eagle” from the series: Stampings on the stone 34
TIGRANES THE GREAT
²ñ³ ÞÇñ³½ 1941
Ara Shiraz
ØdzÛÝ³Ï ×³Ù÷áñ¹` ì³Ñ³Ý î¿ñ»³Ý
Lonely traveler Vahan Teryan îƶð²Ü غÌ
35
èáµ»ñï ¾Éǵ»Ï»³Ý 1941
Robert Elibekyan
êÇñáÛ å³ñ�Á
Garden of love 36
TIGRANES THE GREAT
ê³Ùáõ¿É ä»ïñáë»³Ý 1941
Samvel Petrosyan
ܳïÇõñÙáñï í³ÛñÇ Í³ÕÇÏÝ»ñáí
Still life with wild flowers îƶð²Ü غÌ
37
سñïÇÝ ØÇù³Û¿É»³Ý 1943
Martin Mikayelyan
Ø»ñ ׳ݳå³ñÑÁ
Our way 38
TIGRANES THE GREAT
²Ý³ÑÇï ¼³ñ¹³ñ»³Ý 1945
Anahit zardaryan
سݻϻÝÝ»ñ
Mannequins îƶð²Ü غÌ
39
èáµ»ñï ²Ûí³½»³Ý 1945
Robert Ayvazyan
î³Ã»õÇÏ ºë³Û»³ÝÇ ¹ÇÙ³ÝϳñÁ
Portrait of Tatevik Esayan 40
TIGRANES THE GREAT
²ñ³ñ³ï ʳݽ³¹»³Ý 1946
Ararat Khanzadyan
îÇ·ñ³Ý Ø»Í
Tigranes the Great îƶð²Ü غÌ
41
¾¹ÇÏ ì³ñ¹³Ý»³Ý 1946
Edik Vardanyan
γñûï
Nostalgia 42
TIGRANES THE GREAT
È¿áݳñ¹ ¼³ù³ñ»³Ý, ÈÔÐ 1947
Leonard Zaqaryan, NKR
¸³¹Çí³Ýù
Monastery of Dadivank îƶð²Ü غÌ
43
´áñÇë Ú³Ïáµ»³Ý 1947
Boris Hakobyan
úç³ËÁ í³é
Hearth buring 44
TIGRANES THE GREAT
Ú³ñáõÃÇõÝ Ú³ñáõÃÇõÝ»³Ý 1948
Harutyun Harutyunyan
ºñϳñ ׳ݳå³ñÑÇ Éáõë³ïáõÝ
Luminary of the long way îƶð²Ü غÌ
45
Þ³Ñ¿Ý ²ëɳݻ³Ý 1948
Shahen Aslanyan
ì»ñ³ÍÝáõݹ
Renaissance 46
TIGRANES THE GREAT
¶ñÇ·áñ Âáñáë»³Ý 1948
Grigor Torosyan
ø³ñáÝÇ Ý³õ³ÏÁ »ñÏñáõÙ
Qaron’s boat in a country îƶð²Ü غÌ
47
ì³ñ¹áõÑÇ ø¿áýï¿»³Ý 1948
Varduhi Queofteyan
ÜϳñãáõÑÇ
The artist 48
TIGRANES THE GREAT
ö³ñ³õáÝ ØÇñ½áÛ»³Ý 1949
Paravon Mirzoyan
æñѻջÕÇó ³é³ç
Before the flood îƶð²Ü غÌ
49
¶³·ÇÏ ²µñ³Ñ³Ù»³Ý 1950
Gagik Abrahamyan
ÒÙ»é
Winter 50
TIGRANES THE GREAT
Ðñ³ã гÛñ³å»ï»³Ý 1951
Hrach Hayrapetyan
¸³ßï³ÛÇÝ Ï³Ï³ãÝ»ñ
Field poppies îƶð²Ü غÌ
51
¾¹ÇÏ Ú³Ïáµ»³Ý 1952
Edik Hakobyan
ÎáÙåá½Çódz
Composition 52
TIGRANES THE GREAT
ìÇÉÇÏ ¼³ù³ñ»³Ý 1952
Vilik Zaqaryan
ê³ëÝ³Û ÍáõéÁ
David of Sasoun îƶð²Ü غÌ
53
ì»ñÅÇÝ¿ ê»ÙÇñç»³Ý 1954
Verzhine Semirjyan
γ˳ñ¹³Ï³Ý çáõóÏ
Magic violin 54
TIGRANES THE GREAT
ê»ñ·¿Û سÉó»õ 1955
Sergey Maltsev
ÐÇÝ ºñ»õ³Ý
Old Yerevan îƶð²Ü غÌ
55
²Ûí³½ ²õáÛ»³Ý 1955
Ayvaz Avoyan
à±í »Ýù Ù»Ýù, áñï»ÕDZó »Ýù ·³ÉÇë »õ á±õñ »Ýù ·ÝáõÙ
Who we are, where we come from and where do we go? 56
TIGRANES THE GREAT
È»áí³ î»åÇÏ»³Ý 1956
Lyova Tepikyan
²Ù³é³ÛÇÝ μݳÝϳñ
Summer landscape îƶð²Ü غÌ
57
ØÏñïÇã ä³åáÛ»³Ý 1956
Mkrtich Papoyan
²ñáõ»ëï³ÝáóáõÙ
In the studio 58
TIGRANES THE GREAT
ÄÇñ³Ûñ سñïÇñáë»³Ý 1957
Zhirayr Martirosyan
Ú³õ»ñÅáõû³Ý Ùáé³óáõ³Í ϳÝãÁ
The forgotten call of eternity îƶð²Ü غÌ
59
Ü»ñë¿ë Ø»ÉÇù»³Ý 1957
Nerses Melikyan
ì»ñ³ÍÝáõݹ
Renaissance 60
TIGRANES THE GREAT
²ÉÇݳ Øݳó³Ï³Ý»³Ý, Þí¿ó³ñdz 1958
Alina Mnatsakanyan, Switzerland
²Ýí»ñݳ·Çñ
Untitled îƶð²Ü غÌ
61
²Éµ»ñï Ú³Ïáµ»³Ý 1958
Albert Hakobyan
ÚûñÇÝáõ³Íù
Invention 62
TIGRANES THE GREAT
²ßáï ²õ³·»³Ý 1958
Ashot Avagyan
êáíáñ³Ï³Ý å³ïÙáõÃÇõÝ N3. Úáõß»ñ ݳËÏÇÝ Ï»³ÝùÇó
Casual story N3. Memorioes from previous life îƶð²Ü غÌ
63
سñÏáë ²ÏáÕÉ»³Ý 1958
Markos Akoghlyan
îÇ·ñ³Ý Ø»Í
Tigranes the Great 64
TIGRANES THE GREAT
²Ý¹ñ¿Û Þáõ·³ñáí 1958
Andrey Shugarov
ø³ÙÇ
Wind îƶð²Ü غÌ
65
¶»õáñ· æ³õñáõß»³Ý 1958
Gevorg Javrushyan
à'í гÛáó ³ß˳ñÑ
Oh, land of Armenia! 66
TIGRANES THE GREAT
üÇÉÇå Ú³Ïáµ»³Ý, ²ØÜ 1959
Phillip Hakobyan, USA
îÇ·ñ³Ý Ø»Í
Tigranes the Great îƶð²Ü غÌ
67
¶»õáñ· ¶»³ñ³ù»³Ý 1960
Gevorq Gyarakyan
ö³Ëáõëï ºõñáå³ÛÇó
Escape from Europe 68
TIGRANES THE GREAT
¶³·ÇÏ Ô³½³Ýã»³Ý 1960
Gagik Ghazanchyan
ÜϳñÇãÁ
The artist îƶð²Ü غÌ
69
êáõñ¿Ý àëϳݻ³Ý 1960
Suren Voskanyan
²ÕçÇÏÁ ºñáõë³Õ¿ÙÇó
The girl from Jerjusalem 70
TIGRANES THE GREAT
Þáó àëϳݻ³Ý 1960
Shota Voskanan
³÷³é³Ï³Ý »ñ³ÅÇßïÝ»ñ
Wandering musicians îƶð²Ü غÌ
71
¸³õÇà ¸³õû³Ý 1961
Davit Davtyan
سѻñ·
Funeral march 72
TIGRANES THE GREAT
Ô³½³ñ ØÇñ½áÛ»³Ý 1961
Ghazar / Lazar Mirzoyan
îÇ·ñ³Ý Ø»ÍÇ ·Çß»ñ³ÛÇÝ ÑÇõñÁ. û·áëïáë 6, 87Ã. Ù.Ã.³.
Night guest of Tigranes the Great. October 6, 87 BC îƶð²Ü غÌ
73
ÚáíÇÏ ¶³ëå³ñ»³Ý, ÈÔÐ 1961
Hovik Gasparyan, NKR
àÑÙ³Ï
Crowd 74
TIGRANES THE GREAT
²ñÙ¿Ý êï»÷³Ý»³Ý 1962
Armen Stepanyan
ÌÝáõݹ
Birth îƶð²Ü غÌ
75
Ðñ³Ýï ØÇñ½áÛ»³Ý 1962
Hrant Mirzoyan
¶Çß»ñ³ÛÇÝ ½μûë³Ýù
Night walk 76
TIGRANES THE GREAT
Ú³ñáõÃÇõÝ Ú³Ïáµ»³Ý 1962
Harutyun Hakobyan
ÎáÝó»ëëÇû
Concessio îƶð²Ü غÌ
77
ØÏñïÇã Úáíë¿÷»³Ý 1965
Mkrtich Hovsepyan
ڻﳹ³ñÓ Ñ³Û»³óù
Retrospecvtibve look 78
TIGRANES THE GREAT
ì³Ñ¿ ÂáùÙ³ç»³Ý 1966
Vahe Tokmadjyan
îÇ·é³Ý Ø»Í
Tigranes the Great îƶð²Ü غÌ
79
êñ³åÇáÝ ¸³ÝÇ¿É»³Ý 1967
Srapion Danielyan
Øáß í³×³éáÕ Í»ñáõÝÇÝ
The old man selling blackberries 80
TIGRANES THE GREAT
¶ñÇ·áñ ¶ñÇ·áñ»³Ý 1968
Grigor Grigoryan
ØïáñáõÙ
Meditation îƶð²Ü غÌ
81
¶»õáñ· ´³µ³Ë³Ý»³Ý 1968
Gevorg Babakhanyan
öáùñÇÏ Ý³õ³å»ïÁ
Small captain 82
TIGRANES THE GREAT
îÇ·ñ³Ý ²ë³ïñ»³Ý 1968
Tigran Asatryan
êå³ëáõÙ
Waiting îƶð²Ü غÌ
83
ÈÇÉÇà êáÕáÙáÝ»³Ý 1969
Lilit Soghomomyan
Øáõë³Ý»ñ
Muses 84
TIGRANES THE GREAT
γñåÇë º³õñ»³Ý 1969
Karpis Yavryan
è»ùíÇ»Ù
Requiem îƶð²Ü غÌ
85
¶»õáñ· ê³ñ·ë»³Ý, ÈÔÐ 1970
Gevorg Sargsyan, NKR
¶³ÝÓ³ë³ñ
Monastery of Gandzasar 86
TIGRANES THE GREAT
гÛÏ ÂáùÙ³ç»³Ý 1971
Hayk Tokmadjyan
ä³ïÙáõû³Ý ³ÝÇõÁ
Wheel of history îƶð²Ü غÌ
87
²ñÃáõñ Þ³ñ³ý»³Ý 1972
Artur Sharafyan
²ßݳݳÛÇÝ Ù»Õ»¹
Autumn melody 88
TIGRANES THE GREAT
îÇ·ñ³Ý ´³ñË³Ý³ç»³Ý 1974
Tigran Barkhanajyan
ܳïÇõñÙáñï ųٳóáÛóáí
Still life with clock îƶð²Ü غÌ
89
ì³Ý³Ý¹ ÞÇñ³½ 1976
Vanand Shiraz
´Ý³Ýϳñ
Landscape 90
TIGRANES THE GREAT
ì³Ñ³·Ý ¶³Éëï»³Ý 1976
Vahagn Galstyan
¶Çß»ñ
Night îƶð²Ü غÌ
91
Ú³ñáõÃÇõÝ ²õ³·»³Ý 1976
Hautyun Avagyan
ÒÇ»ñÇ »ñ³Ù³ÏÁ
The drove of horses 92
TIGRANES THE GREAT
Ø»ñÇ ØáõÝ 1977
Mary Mun
î»ñ»õÝ»ñ
Leaves îƶð²Ü غÌ
93
Ú³ñáõÃÇõÝ Î³ñ³å»ï»³Ý 1978
Harutyun Karapetyan
²éÇõÍ ØÑ»ñ
Lion Mher 94
TIGRANES THE GREAT
ì³Ñ³·Ý ³¹»õáë»³Ý 1978
Vahagn Tadevosyan
Ö»ñٳϳ½·»ëï ³ñù³Û³½Ý
Prince in white îƶð²Ü غÌ
95
È»õáÝ ²µñ³Ñ³Ù»³Ý 1979
Levon Abrahamyan
ijÛé»ñ
Scales 96
TIGRANES THE GREAT
²õ»ïÇë ʳã³ïñ»³Ý 1979
Avetis Khachatryan
ܳ½³ñÝ»ñ
Nazars îƶð²Ü غÌ
97
سñáõ뻳 ê³ñ·ë»³Ý 1981
Marusya Sargsyan
ì³ÛñÇ Í³ÕÇÏÝ»ñ
Wild flowers 98
TIGRANES THE GREAT
²ßáï ì³ñ¹³Ý»³Ý 1982
Ashot Vardanyan
îÇ·ñ³Ý Ø»Í
Tigranes the Great îƶð²Ü غÌ
99
ì³ñ¹³Ý î»åÇÏ»³Ý 1982
Vardan Tepikyan
¼ÇÝáõáñÇ ÏÇñù
Soldier’s passion 100
TIGRANES THE GREAT
èÇÙ³ ²½³ï»³Ý 1982
Rima Azatyan
ê»õ ¹³ßï
Black field îƶð²Ü غÌ
101
è³ý³Û¿É Ø»ÉÇù»³Ý 1983
Rafael Melikyan
öáùñÇÏ »ñç³ÝÏáõÃÇõÝ Small happiness 102
TIGRANES THE GREAT
êáõñ¿Ý ê³ý³ñ»³Ý 1983
Suren Safaryan
Ú³ñ³μ»ñáõÃÇõÝ
Relation îƶð²Ü غÌ
103
¸³õÇà ܻñϳñ³ñ»³Ý 1984
Davit Nerkararyan
Ø»Í ë¿ñ
Great love 104
TIGRANES THE GREAT
´³·ñ³ï ´³É³µ¿Ï»³Ý 1985
Bagrat Balabekyan
´³Ýμ»ñÁ
The herald îƶð²Ü غÌ
105
²ñÙ¿Ý ²é³ù»É»³Ý 1987
Armen Arakelyan
î³ñ»ñù
Ecstasy 106
TIGRANES THE GREAT
ܳÇñ³ ³ݷ³Ù»³Ý 1989
Naira Tangamyan
ÈáÛëÇ ×³Ý³å³ñÑ
Way of light îƶð²Ü غÌ
107
²Ýݳ äûÕáë»³Ý 1991
Anna Poghosyan
²Ýí»ñݳ·Çñ
Untitled 108
TIGRANES THE GREAT
èáõµ¿Ý ²ñáõïã»³Ý 1947
Ruben Arutchyan
²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïÁ
The battle of Aratsani îƶð²Ü غÌ
109
êμ. Øáíë»ë Êáñ»Ý³óáõ §Ð³Ûáó å³ïÙáõÃÛáõݦ ·ñùÇ` îÇ·ñ³Ý Ø»ÍÇÝ ÝíÇñí³Í ¿çÁ The page dedicated to Tigranes the Great of the book “History of the Armenian Nation” by St. Moses of Khorenk 110
TIGRANES THE GREAT
îƶð²Ü غÌ
111
TIGRANES THE GREAT AS STATE FIGURE
ARTAK MOVSISYAN
TIGRAN II THE GREAT
"THE GREATEST OF ALL KINGS" Tigran II the Great is one of the most remarkable kings in the Armenian history. Thanks to his activities the Armenian kingdom became an empire and played a role of worldly importance. The activities of this Armenian ruler had a vast resonance in the works of numerous Armenian and foreign authors either of his time or of future epochs. His activities are arousing great interest even now. Especially, one can learn a lot studying his methods of preparing the realization of great projects, how perspicaciously he chose the moment of the decisive blow and how he managed to create a powerful empire in a very short period of time. And, at last, it is extremely important to understand why he renounced to his conquests in 66 B.C. Let us try to make a historical visit to the Tigran's epoch, spending some time in the most significant episodes. Tigran the Great was born in about 140 B.C. In 118-117 B.C. the war between the Parthian Empire and Greater Armenia ended unsuccessfully for Greater Armenia which nevertheless continued to remain powerful. Fearing that Armenians could begin soon a revenge war, Parthians demanded a hostage. So, the royal prince Tigran, who was then 22 or 23 years old, was given as hostage to the Parthian court. In 95 B.C., after the death of the Armenian king, Tigran went back to Armenia. He let the Parthians have the territory of "Seventy valleys" (which some scientists consider to be a region called so, but others believe to be seventy river valleys at the Armenian-Parthian border). According to an opinion he let them have the territory which was once conquered by his grand-father Artashes I from Parthians and added to Greater Armenia. Returning back to Armenia prince Tigran was ruling in a place which was neither the capital town of the country nor its religious center, or a special throne place. Such a behavior remained not understandable for many people for about two decades. It was at first necessary to unite the kingdom of Greater Armenia, which Artashes I didn't manage to do, as the kingdom of Tsopk was remaining independent. Tigran II defeated its ruler Artanes Ervandid and joined Tsopk to Greater Armenia.
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îƶð²Ü غÌ
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THE ARMENIAN-PONTIAN ALLIANCE AND THE CAPPADOCIAN CONQUESTS The logical continuation of the all Armenian territories reunion in one kingdom should be the adjoining of Lesser Armenia to it, which, however, wasn't possible at that time. The reason was that Antipatros Ervandid, king of Lesser Armenia, not having an heir, had bequeathed Lesser Armenia Mithridates VI Eupator, king of Pontus. The later began to bearing the title of "King of Pontus and Armenia" (i.e. "King of Pontus and Lesser Armenia"). Creating a great puissance in the basin of the Black Sea, Mithridates Eupator had the goal of driving out Romans from Asia Minor and Greece. That meant that his projects were connected with the Western world in which Tigran the Great hadn't any political interest. His projects of creating an empire were connected with the territories in the south-western, western and eastern borders of Armenia, which didn't bother Mithridates Eupator. On the contrary, both the countries had to assure the security in their back, especially when they should be confronted, while realizing their projects, with such two great nations of the time as the Roman and the Parthian empires. It was in such geo-historical conditions that Tigran II and Mithridates of Pontus concluded an alliance in 94 B.C., which was consolidated by the marriage of Tigran II, who was forty-six years old, and Cleopatra, the seventeen years old daughter of Mithridates Eupator. The first practical consequence of the concluded alliance was the conquest of Cappadocia by Armenian and Pontian armies in 93 B.C. Cappadocia was a kingdom under the political influence of Rome. So, the Roman army hastily tried to restore the previous state of Cappadocia. In 92 B.C. Romans and Parthians concluded an alliance on the bank of the Euphrates against Greater Armenia and Pontus. In 91 B.C. Armenian army began a campaign against Cappadocia and invaded its territory. It must be mentioned than during both the conquests the territory of Cappadocia was given to Pontus while all the trophies (armaments and captives) belonged to the Armenian kingdom. At the first glance
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Ð²Ú - äàÜî²Î²Ü ¸²ÞÆÜøÀ ºô β䲸àìÎÆ²Î²Ü Üàô²ÖàôØܺðÀ гÛÏ³Ï³Ý µáÉáñ ÑáÕ»ñÁ Ù¿Ï ÙdzëÝ³Ï³Ý å»ïáõû³Ý Ù¿ç ÙdzõáñÙ³Ý ·áñÍÁÝóóÇ ïñ³Ù³µ³Ý³Ï³Ý ß³ñáõݳÏáõÃÇõÝÁ å¿ïù ¿ ÉÇÝ¿ñ öáùñ гÛùÇ ÙdzõáñáõÙÁ, ÇÝãÝ ³Ûë ųٳݳϳßñç³ÝáõÙ Ñݳñ³õáñ ã»Õ³õ£ ´³ÝÝ ³ÛÝ ¿, áñ ø.³. 112Ã. öáùñ гÛùÇ ³ñù³Û ²ÝïÇå³ïñáë ºñáõ³Ý¹áõÝÇÝ, ÉÇÝ»Éáí ³Ýųé³Ý·, Ïï³Ï»É ¿ñ öáùñ гÛùÁ äáÝïáëÇ ³ñù³Û ØÇÑñ¹³ï ¼ ºõå³ïáñÇÝ, áñÁ ëÏë»É ¿ñ Ïñ»É §ù³·³õáñ äáÝïáëÇ »õ гÛáó¦ (ÇÙ³` §Â³·³õáñ äáÝïáëÇ »õ öáùñ гÛùǦ) ïÇïÕáëÁ£ ê»õ ÍáíÇ ³õ³½³ÝáõÙ ëï»ÕÍ»Éáí ·¿ñï¿ñáõÃÇõÝ` ØÇÑñ¹³ï ºõå³ïáñÁ Ýå³ï³Ï áõÝ¿ñ ÐéáÙÇÝ ¹áõñë ÙÕ»Éáõ öáùñ ²ëdzÛÇó »õ Úáõݳëï³ÝÇó: ²ÛëÇÝùÝ` Ýñ³ Íñ³·ñ»ñÁ ϳåõáõÙ ¿ÇÝ ³ñ»õÙï»³Ý ³ß˳ñÑÇ Ñ»ï, áñï»Õ îÇ·ñ³Ý Ø»ÍÝ ³é³ÝÓݳÏÇ ù³Õ³ù³Ï³Ý Ñ»ï³ùñùñáõÃÇõÝÝ»ñ ãáõÝ¿ñ: Üñ³ ³ß˳ñÑ³Ï³É³Ï³Ý Íñ³·ñ»ñÁ ϳåõáõÙ ¿ÇÝ Ð³Û³ëï³ÝÇó ѳñ³õ-³ñ»õÙáõïù, ѳñ³õ »õ ³ñ»õ»Éù ÁÝÏ³Í ï³ñ³ÍùÝ»ñÇ Ñ»ï, ÇÝãÁ ã¿ñ ˳ݷ³ñáõÙ ØÇÑñ¹³ï ºõå³ïáñÇÝ: öá˳ñ¿ÝÁ, »ñÏáõ »ñÏñÝ»ñÇÝ ¿É å¿ïù ¿ñ ³å³Ñáí³·ñ»É Çñ»Ýó ÃÇÏáõÝùÁ, ٳݳõ³Ý¹, áñ Çñ»Ýó Íñ³·ñ»ñÇ Çñ³Ï³Ý³óÙ³Ý ×³Ý³å³ñÑÇÝ Ýñ³Ýù µ³Ëáõ»Éáõ ¿ÇÝ ³ÛÝåÇëÇ ·¿ñï¿ñáõÃÇõÝÝ»ñÇ Ñ»ï, ÇÝãåÇëÇù ¿ÇÝ ÐéáÙÝ áõ ä³ñûõëï³ÝÁ: ²ÛëåÇëÇ ³ß˳ñѳù³Õ³ù³Ï³Ý å³ÛÙ³ÝÝ»ñáõÙ îÇ·ñ³Ý ´-Ý áõ ØÇÑñ¹³ï äáÝï³óÇÝ ø.³. 94 Ã. ÏÝùáõÙ »Ý ¹³ßÇÝù, áñÝ ³Ùñ³åݹõáõÙ ¿ 46-³Ù»³Û îÇ·ñ³Ý ´-Ç »õ ØÇÑñ¹³ï ºõå³ïáñÇ Ùûï 17-³Ù»³Û ¹áõëïñ ÎÉ¿áå³ïñ³ÛÇ ³ÙáõëÝáõû³Ùµ£ ÎÝùáõ³Í ¹³ßÇÝùÇ ³é³çÇÝ ·áñÍÝ³Ï³Ý ¹ñë»õáñáõÙÁ »Õ³õ ø.³. 93 Ã. ѳÛåáÝï³Ï³Ý ½ûñù»ñÇ ÏáÕÙÇó γ峹áí-ÏdzÛÇ Ýáõ³×áõÙÁ£ ì»ñçÇÝë ÐéáÙÇ ù³Õ³ù³Ï³Ý ³½¹»óáõû³Ý ï³Ï ·ïÝáõáÕ Ã³·³õáñáõÃÇõÝ ¿ñ, áõëïÇ ÑéáÙ¿³Ï³Ý µ³Ý³ÏÝ»ñÁ ßï³å»óÇÝ í»ñ³Ï³Ý·Ý»É γ峹áíÏdzÛáõ٠ݳËÏÇÝ ¹ñáõÃÇõÝÁ: ø.³. 92 Ã. º÷ñ³ïÇ ³÷ÇÝ ÏÝùáõ»ó ÑéáÙ¿³-å³ñÃ³Ï³Ý ¹³ßÇÝù, áñÝ áõÕÕáõ³Í ¿ñ Áݹ¹¿Ù Ø»Í Ð³ÛùÇ áõ äáÝïáëÇ: ø.³. 91 Ã. ѳÛÏ³Ï³Ý ½ûñù»ñÇ »ñÏñáñ¹ ³Ý·³Ù »Ý ³ñß³õáõ٠γ峹áíÏdz »õ 鳽ٳϳÉáõÙ ³ÛÝ£ лï³ùñùÇñ ¿, áñ »ñÏáõ ³ñß³õ³ÝùÝ»ñÇ Å³Ù³Ý³Ï ¿É, Áëï å³Ûٳݳõáñáõ³Íáõû³Ý, γ峹áíÏdzÛÇ ï³ñ³ÍùÝ ³ÝóÝáõÙ ¿ñ äáÝïáëÇÝ, ÇëÏ áÕç ß³ñÅ³Ï³Ý ·áÛùÁ (ÑëÏ³Û³Ï³Ý é³½Ù³õ³ñ »õ ·»ñÇÝ»ñ) ³ÝóÝáõÙ ¿ñ гÛáó ó·³õáñáõû³ÝÁ: ²é³çÇÝ Ñ³Û»³óùÇó ³ÝѳëϳݳÉÇ ¿ ÃáõáõÙ îÇ·ñ³Ý Ø»ÍÇ ÝÙ³Ý Ùûï»óáõÙÁ. ÙDZÿ Ýñ³Ý å¿ïù ã¿ñ γ峹áíÏdzÛÇ ÝÙ³Ý Ï³ñ»õáñ ëïñ³ï»·Ç³Ï³Ý ¹Çñù áõÝ»óáÕ Ñ³ñáõëï »ñÏÇñÁ: ڻﳷ³Û Çñ³¹³ñÓáõÃÇõÝÝ»ñÁ, ë³Ï³ÛÝ, ÃáÛÉ »Ý ï³ÉÇë Ù»½ ѳëϳݳÉáõ, áñ ³Ûëï»Õ »õë Ù»Í ïÇñ³Ï³ÉÁ Ñ»é³Ñ³ñ Ù»Í Ñ³ßáõ³ñÏ áõÝ¿ñ: γ峹áíÏÇ³Ý Çñ Çß˳Ýáõû³Ý ï³Ï í»ñóÝ»ÉÁ ϵ»ñ¿ñ ÐéáÙÇ Ñ»ï ѳϳٳñïáõû³Ý, áñÝ ³Ù»Ý»õÇÝ å¿ïù ã¿ñ îÇ·ñ³Ý Ø»ÍÇÝ: öá˳ñ¿ÝÁ ݳ ݳ˳å³ïñ³ëïõáõÙ ¿ñ ä³ñûõëï³ÝÇ ¹¿Ù Ù»Í å³ï»ñ³½ÙÇ, áñÇó ³é³ç å¿ïù ¿ñ å»ïáõÃÇõÝÝ ³å³Ñáí»É ïÝï»ë³Ï³Ý »õ Ù³ñ¹Ï³ÛÇÝ é»ëáõñëÝ»ñáí: ²Û¹ ÇëÏ å³ï׳éáí ϳ峹áíÏÇ³Ï³Ý ³ñß³õ³ÝùÝ»ñÇó ݳ г۳ëï³Ý µ»ñ»ó Ù»Í Ãáõáí µÝ³ÏãáõÃÇõÝ, ³Ý³ëáõÝÝ»ñ áõ ÑëÏ³Û³Ï³Ý Ñ³ñëïáõÃÇõÝ...
ä²ðºô²Î²Ü ²ðÞ²ô²ÜøÀ. îƶð²Üº²Ü ²ÞʲðвβÈàôº²Ü êîºÔÌàôØÀ ø.³. 87Ã. ٳѳó³õ ä³ñÃëï³ÝÇ ³ñù³Û ØÇÑñ¹³ï ´-Ý, áñÇÝ Å³Ù³Ý³ÏÇÝ îÇ·ñ³Ý ´-Ý ÏÝáõû³Ý ¿ñ ïáõ»É Çñ ¹áõëïñ ²ñdz½³ï³-²õïáÙ³ÛÇÝ, ÇÝãÇ Ñ³Ù³ñ ¿É ݳ Ó»éÝå³Ñ ¿ñ ÙÝáõÙ ä³ñûõëï³ÝÇ ¹¿Ù »ñ»õ¿ Éáõñç ·áñÍáÕáõÃÇõÝ Ï³ï³ñ»îƶð²Ü غÌ
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this approach of Tigran the Great seems hardly understandable. Why shouldn't he be interested in such a rich country like Cappadocia with its important strategic situation? Further events, however, allow us to understand that also here the great king had foreseeing calculations. Taking Cappadocia under his power would bring confrontation with Rome, which was of no use at all to Tigran the Great. Instead of it he was getting ready for a big war against Parthians, before which it was necessary to provide economical and human resources to the country. For this very reason he brought from Cappadocia a great deal of population, animals and goods...
THE PARTHIAN CAMPAIGN, THE CREATION OF TIGRAN'S EMPIRE In 87 B.C. the king of the Parthian Empire Mithridates II passed away. He had married the daughter of Tigran II Ariazata-Automa, which was the reason why Tigran didn't begin any serious action against him. In the last years of Mithridates' life internal political struggle had noticeably weakened the Parthian Empire. The main candidate to the throne was the "satrap of satraps" Godardz who had tried to take the Parthian throne. The moment was favorable and precisely in 87 B.C. Tigran the Great attacked Parthians. At first he brought back the Armenian "Seventy valleys"; then the Armenian army continued its victorious campaign. Tigran the Great defeated the Parthian army in Nineveh and Arbela. He conquered Adiabena, then went forward to the east and, conquering Atropatena and Media, he laid siege to Ecbatana, the summer capital town of Parthians. Getting into panic, the Parthian court let Tigran II have not only the conquered territories, but also the title of 'King of kings", thus accepting his domination. The fact that Parthians accepted 116
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Tigran the Great's domination is obviously set out in the communication of Pompeius Trogos who mentions among the kings of the Parthian Empire after Mithridates II the name of Tigran the Great "who was called God"... In fact, the war of 87-86 B.C. against Parthians allowed Tigran the Great creating his empire, after which he was also divinized. Before the Parthian war his domination was probably accepted by Georgia and Caucasian Albania, too; and afterwards by some Central Asian tribes which furnished troops to the Armenian king during wars. In 85-84 B.C. Armenian Mesopotamia, Corduk, Osroena and Migdonia joined the Armenian kingdom, too.
TIGRAN THE GREAT ON THE THRONE OF SELEUCIDS The empire of Tigran was neighboring the kingdom of Seleucids which was for a long while torn by interior dissensions and extremely weakened. At last the Seleucid elders decided to save the country by inviting some foreign ruler. Numerous candidatures were discussed and at last the choice fell upon the Armenian king.
Historical document "The reciprocal hate of brothers and then the enmity inherited by their sons were the reason of incessant wars which brought Syria and its kings to extreme weakness. At last, the people sought the help of foreigners and began to look for a foreign ruler. Some thought that it would be better to invite Mithridates of Pontus, others were thinking about Ptolemy of Egypt. ... Everybody agreed to the candidature of Armenian king Tigran who not only had his own military forces, but was also the Parthian kingdom's ally and the relative of Mithridates. So, being invited to occupy the throne of Syria, he peacefully ruled for seventeen years, not bothering anybody by wars and nobody did bother him"... Pompeius Trogos, "Philippian Histories" In 83 B.C. Tigran the Great acceded in Antioch to the Seleucids' throne and reigned in the Seleucid kingdom for seventeen subsequent years. In 8381 B.C. Commagena, the plain of Cilicia and Phoenicia were adjoined to Tigran's empire. Some time later, while Tigran was yet in Phoenicia, the queen of Judah sent her ambassadors to him declaring that Judah was ready to accept the domination of the Armenian ruler. Before that, in 93 and 91 B.C., Armenian army twice entered Cappadocia and transported from there to Armenia, as war trophies, all the moveable goods and about one hundred thousand inhabitants. If during these displacements the Armenian king had allowed any barbarian behavior he wouldn't have the authority which incited Seleucids themselves to voluntary invite him to rule their country or Judah's queen to voluntary accept Tigran the Great's domination. That is to say that Armenian army never allowed cruel behavior even towards war prisoners.
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ø.³. 83 Ã. îÇ·ñ³Ý Ø»ÍÝ ²ÝïÇáùáõÙ µ³½Ù»ó ê»É»õÏ»³ÝÝ»ñÇ ·³ÑÇÝ »õ ïÇñ»ó ê»É»õÏ»³Ý ï¿ñáõû³ÝÁ 17 ï³ñÇ ß³ñáõݳϣ ø.³. 83-81 ÃÃ. îÇ·ñ³Ý»³Ý ï¿ñáõû³ÝÝ »Ý ÙdzÝáõÙ ÎáÙÙ³·»Ý¿Ý, ¸³ßï³ÛÇÝ ÎÇÉÇÏÇ³Ý »õ öÇõÝÇÏdzݣ àñáß Å³Ù³Ý³Ï ³Ýó, »ñµ îÇ·ñ³Ý Ø»ÍÁ ·ïÝõáõÙ ¿ñ ¹»é»õë öÇõÝÇÏdzÛáõÙ, Ðñ¿³ëï³ÝÇ Ã³·áõÑÇÝ Ý³Ë³å¿ë áõÕ³ñÏ»ó Çñ ¹»ëå³ÝÝ»ñÇÝ` Û³ÛïÝ»Éáõ Ðñ¿³ëï³ÝÇ ÏáÕÙÇó ѳÛáó ïÇñ³Ï³ÉÇ ·»ñÇß˳Ýáõû³Ý ׳ݳãáõÙÁ: ØÇÝã ³Û¹ ø.³. 93-91 Ãáõ³Ï³ÝÝ»ñÇÝ Ñ³ÛÏ³Ï³Ý ½ûñù»ñÁ »ñÏáõ ³Ý·³Ù Ùï³Ý γ峹áíÏdz »õ ³ÛÝï»ÕÇó, áñå¿ë é³½Ù³õ³ñ, г۳ëï³Ý ï»Õ³÷áË»óÇÝ ³ÙµáÕç ß³ñÅ³Ï³Ý ·áÛùÁ` ßáõñç ѳñÇõñ ѳ½³ñ µÝ³Ïãáõû³Ý Ñ»ï ÙdzëÇÝ: ºÃ¿ ³Û¹ ÁÝóóùáõ٠ϳï³ñáõ³Í ÉÇÝ¿ÇÝ µ³ñµ³ñáë³Ï³Ý ³ñ³ñùÝ»ñ, ѳÛáó ïÇñ³Ï³ÉÁ ã¿ñ áõÝ»Ý³Û ³ÛÝåÇëÇ Ñ»ÕÇݳÏáõÃÇõÝ, áñ Çñ»Ýù` ê»É»õÏ»³ÝÝ»ñÁ Ýñ³Ý ϳÙáíÇÝ Ññ³õÇñ¿ÇÝ ÇßË»Éáõ Çñ»Ýó »ñÏñÇÝ, ϳ٠Ðñ¿³ëï³ÝÁ ϳÙáíÇÝ ×³Ý³ã¿ñ îÇ·ñ³Ý Ø»ÍÇ ·»ñÇß˳ÝáõÃÇõÝÁ: ²ÛëÇÝùÝ` é³½Ù³·»ñÇÝ»ñÇ Ýϳïٳٵ ³Ý·³Ù ѳÛáó ½ûñù»ñÁ ÃáÛÉ ã»Ý ïñáõ»É µ³ñµ³ñáë³Ï³Ý ù³ÛÉ»ñ...
îƶð²Üº²Ü ²ÞʲðвβÈàôÂÆôÜÀ ø.². 82 - 70 Âàô²Î²ÜܺðÆÜ ÚáÛÝ å³ïÙÇã êïñ³µáÝÁ ï»Õ»Ï³óÝáõÙ ¿, áñ îÇ·ñ³Ý Ø»ÍÁ å³ñûõ³Ï³Ý å³ï»ñ³½ÙÇ ÁÝóóùáõÙ Ýáõ³×»ó Ý³Ë ØÇç³·»ïùÇ ÑÇõëÇëÁ, ÇëÏ Û»ï³·³ÛáõÙ` Ùݳó³Í áÕç ØÇç³·»ïùÁ: ²Û¹ ѳÕáñ¹Ù³Ý ѳëï³ïáõ٠ϳñ»ÉÇ ¿ ѳٳñ»É ´³µ»ÉáÝÇó ͳ·áÕ ³ëïÕ³µ³ßË³Ï³Ý ë»å³·Çñ ÙÇ ³ñӳݳ·ñáõÃÇõÝ, Áëï áñÇ ø.³. 82 Ã. ѳÛÏ³Ï³Ý ½ûñùÝ ³ñß³õ»É ¿ ¹¿åÇ îÇ·ñÇëÇ íñ³Û ·ïÝáõáÕ ê»É»õÏdz ù³Õ³ùÁ: гõ³Ý³µ³ñ, ¹ñ³ÝÇó Û»ïáÛ »Ý îÇ·ñ³Ý Ø»ÍÇ ·»ñÇß˳ÝáõÃÇõÝÝ ÁݹáõÝ»É ä³ñëÇó ÍáóÇ Ù»ñÓ³÷Ý»³Û ³ñ³µ³Ï³Ý ó»Õ»ñÁ, áñáÝù »õë å³ï»ñ³½ÙÝ»ñÇ Å³Ù³Ý³Ï ½ûñù ¿ÇÝ ïñ³Ù³¹ñáõ٠гÛáó ïÇñ³Ï³ÉÇÝ (»Ã¿ ¹³ ï»ÕÇ ã¿ñ áõÝ»ó»É å³ñûõ³Ï³Ý å³ï»ñ³½ÙÇó Û»ïáÛ): öÇõÝÇÏ»³Ý ù³Õ³ùÝ»ñÇ ·ñ³õáõÙÇó Û»ïáÛ Ñ³Ûáó ïÇñ³Ï³ÉÁ ø.³. 81 Ã. ¹ñ³Ýó ßÝáñÑ»ó §³½³ïáõÃÇõÝÝ»ñ¦, ÇÝãÁ Ù»ñûñ»³Û ѳëϳóáõû³Ùµ` ɳÛÝ ÇÝùݳí³ñáõû³Ý Çñ³õáõÝùÝ ¿: Æ Ýß³Ý »ñ³Ëï³·Çïáõû³Ý »õ Ç Ý߳ݳõáñáõÙÝ ³Û¹ Çñ³¹³ñÓáõû³Ý` ù³Õ³ùÝ»ñÁ (áñáÝó Ù¿ç ¿ÇÝ ´»ñÇÃÁ` Ý»ñϳÛÇë Èǵ³Ý³ÝÇ Ù³Ûñ³ù³Õ³ù ´¿ÛñáõÃÁ, ȳá¹ÇÏ¿Ý »õ ³ÛÉÝ) Çñ»Ýó ù³Õ³ù³ÛÇÝ ïáÙ³ñÁ ëÏë»óÇÝ Ñ³ßáõ»É ³Û¹ Ãáõ³Ï³ÝÇó »õ Ýáñ ѳï³Í ù³Õ³ù³ÛÇÝ ¹ñ³ÙÝ»ñÁ Ãáõ³·ñ»É ³Û¹ ïáÙ³ñáí: гÛáó ïÇñ³Ï³ÉÝ Çñ Ýáõ³×áõÙÝ»ñáõÙ ³Ý·³Ù ³½³ï³ñ³ñ ¿ñ ... ø.³. 74 Ã. ѳÛÏ³Ï³Ý ½ûñù»ñÁ »ññáñ¹ ³Ý·³Ù ³ñß³õ»óÇÝ Î³å³¹áíÏdz »õ Ýáõ³×»óÇÝ ³ÛÝ£ ø.³. 72 Ã. µáõéÝ å³Ûù³ñ å³Ûù³ñ ͳõ³Éáõ»ó ØÇç»ñÏñ³Íáí»³Ý ³ñ»õ»É»³Ý ³õ³½³ÝÇ Ñ³ñ³õ³ÛÇÝ Ï¿ëÇ Ñ³Ù³ñ: ¶É˳õáñ ³ËáÛ»³ÝÁ ܳµ³Ã¿³Ï³Ý ó·³õáñáõÃÇõÝÝ ¿ñ: ÜáÛÝ Ãáõ³Ï³ÝÇÝ ¸³Ù³ëÏáëÇ Ùûï ï»ÕÇ áõÝ»ó³Í ׳ϳï³Ù³ñïáõÙ îÇ·ñ³Ý Ø»ÍÁ Û³ÕóݳÏáí ³õ³ñï»ó ܳµ³Ã¿³Ï³Ý å»ïáõû³Ý ¹¿Ù å³ï»ñ³½ÙÁ: ø.³. 72-69 ÃÃ. ¸³Ù³ëÏáëáõÙ ÃáÕ³ñÏáõ³Í îÇ·ñ³Ý Ø»ÍÇ ¹ñ³ÙÝ»ñÁ ³Û¹ Û³ÕóݳÏÇ ³ÝáõÕÕ³ÏÇ íϳݻñÝ »Ý: ܳµ³Ã¿³Ï³Ý ó·³õáñáõÃÇõÝÁ »õë ÁݹáõÝ»ó îÇ·ñ³Ý Ø»ÍÇ ·»ñÇß˳ÝáõÃÇõÝÁ: гÛÏ³Ï³Ý ³ß˳ñѳϳÉáõû³Ý ѳñ³õ³ñ»õÙï»³Ý ë³ÑÙ³ÝÁ ѳë³õ º·Çåïáë, áñÇ ³ñù³Û äïÕáÙ¿áë XII-Á ø.³. 80 Ã. ѳÛñ³Ï³Ý ·³Ñ ¿ñ µ³ñÓñ³ó»É îÇ·ñ³Ý Ø»ÍÇ û·Ýáõû³Ý ßÝáñÑÇõ£ ì»ñç»ñë ϳï³ñáõ³Í áõëáõÙݳëÇñáõÃÇõÝÝ»ñÁ (è. سݳë»ñ»³Ý) óáÛó »Ý ï³ÉÇë, áñ ø.³. 72-71 ÃÃ. ë³Ñٳݳ·ÍÇÝ îÇ·ñ³Ý Ø»ÍÁ ÙÇ Ñ»Í»É³½ûñ ¿ û·Ýáõîƶð²Ü غÌ
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TIGRAN'S EMPIRE IN 82-70 B.C. Greek historian Strabo communicates that during the Parthian war Tigran the Great conquered first the northern part of Mesopotamia, then the remaining whole Mesopotamia. This communication is confirmed by an astronomical Babylonian cuneiform inscription, according to which in 82 B.C. the Armenian troops attacked the town of Seleucia on the Tigris. It was probably after this event that Arabic tribes of the Persian Gulf shore accepted the domination of Tigran the Great, as they also sent troops to Armenian king (of course, if it hadn't happen already after the Parthian war). After conquering Phoenician cities in 81 B.C. the Armenian king granted them some "privileges" which means in modern language the right of vast autonomy. As a mark of gratitude and in celebration of this event, these cities (among which were Berit, now the capital town of Lebanon Beirut, Laodice and others) decided to start their cities' calendar from that year and put it on the new minted coins of their cities. The Armenian king was a liberator even is his conquests.... In 72 B.C. a harsh struggle occurred for the southern half of the eastern basin of the Mediterranean Sea. The main adversary was the Nabatean kingdom. The same year Tigran the Great victoriously finished the battle against the Nabatean kingdom near the city of Damascus. The coins minted in 72-69 B.C. in Damascus by Tigran the Great are the indirect evidence of this victory. The Nabatean kingdom accepted the domination of Tigran the Great, too. The south-western border of the Armenian empire reached Egypt, which pharaoh Ptolemy XII acceded to his father's throne in 80 B.C. thanks to the help of Tigran the Great. Recent investigations (by R. Manaseryan) show that at the border of 7271 B.C. Tigran the Great sent a cavalry company to Italy in order to help the insurrection of Spartacus. This company played a decisive role in an important episode, but was entirely exterminated during the insurrection repression. In its turn Rome tried to set against Tigran the Great the Seleucian cities of the eastern shore of the Mediterranean Sea. Such an attempt was definitively repressed in 71 B.C. in Ptolemais; the queen Selena-Cleopatra, who was at the revolt head and a representative of the Seleucids dynasty, was made prisoner and then condemned to death.
THE BORDERS OF TIGRAN'S EMPIRE In a quarter century, from 95 to 70 B.C. Tigran the Great created a powerful empire which borders and sphere of political influence expanded from Egypt and the Mediterranean Sea to the Caucasian mountains and the Caspian Sea, from the Black Sea to the Persian Gulf. In the east the borders and influence sphere of Tigran's empire reached the valleys of the Indus and the Amur. His domination was accepted by the tribes of Central Asia (Sakaraoks for instance). More than fifteen languages were spoken in Tigran's empire. Countries being under the Armenian empire domination or in the sphere of its political influence covered a territory of about three millions square kilometers. 120
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TIGRANES THE GREAT AS STATE FIGURE
NEW LOCALITIES FOUNDED IN HONOR OF TIGRAN THE GREAT In the newly created empire the capital town of Greater Armenia Artashat was left in the northern periphery. In 80 B.C. it became necessary to found a new capital town for the empire. Of course Tigran the Great could proclaim one of the capitals or the biggest cities of his conquered countries as his new capital town. Nevertheless it wasn't the decision he made, because he was convinced that the king's main seat must be in his fatherland. So, he founded his new capital town Tigranakert in a place which was in Armenian land and had a relatively central situation in the empire. That was the place where prince Tigran was crowned after his coming back from the Parthian court where he was living as hostage. In fact, he had elaborated his project of empire building while he was yet a hostage; he had its plan in his mind and chose to be crowned in the place of his future capital town. That decision of him, which seemed then a breach to the custom, was understood only two decades later. Tigran the Great elaborated projects and realized them during decades.
Historical document "Tigranakert, the town which, as I have already said, the king built in his honor in that place ... is surrounded by a rampart of 50 kanguns height, and in the thickness of which there are numerous stables. In the suburb of the city he built a palace with vast gardens, hunting grounds and lakes. In proximity he erected a powerful fortress, too". Apian, "Roman History" 122
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The city was surrounded by a rampart having 50 kanguns, i.e. 25 meters, height. It had an inaccessible citadel. It is interesting to mention that a palace was also built outside the city with gardens and hunting grounds. Tigranakert was one of the famous cities of the East, an important center of handicrafts, trade and culture. It had its theatre. A big and splendid city was built in a short period of time. It's significant to notice how diligently and rapidly Armenians built their new capital town and made it flourish; in modern terminology the town may be called a megapolis, one of the greatest cities of the Ancient world. By the way, it's also significant that, according to the evidence given by a foreign historian, Armenians were doing that because of the respect they had for their king.
Historical document "There were in Tigranakert abundant treasures and precious gifts brought to the gods, as ordinary inhabitants and worthies were concurring with each other in the extension and development of the city because of the respect they had for the king". Plutarch, "Parallel Biographies" The Armenian king built the Royal Avenue which had a vital importance for the country as it was connecting Tigranakert with the former capital town of Artashat. Besides the capital Tigranakert, Tigran the Great founded also some localities and called them after his name. Towns called Tigranakert were founded in northern Mesopotamia, in the north of Syria (near Zeugma), in the provinces of Utik and Artsakh, and also two localities called Tigranavan in Goghtn and Media.
THE ARMENIAN-ROMAN WAR In 71 B.C. Mithridates VI Eupator was defeated in the Third Mithridatic war against Rome and, taking flight, he sought shelter in Armenia. Lucullus, who was following him, didn't dare to pass the border, but sent delegates to Tigran demanding to be given the sworn enemy of Rome. Tigran the Great refused to give to Romans his ally and relative king Mithridates. In 69 B.C. Lucullus attacked Armenia and this war, despite the success of Romans in the beginning, ended by the complete crush of the Romans in autumn 68 B.C. and their getting out from Armenia. Mithridates Eupator liberated Pontus with the Armenian army's help and put Romans out of there. Tigran the Great and Mithridates had the project of beginning a great campaign against Rome in 67 B.C., but it failed because of the insurrection initiated by Armenian prince Tigran the Younger. At the end of 67 and the beginning of 66 B.C. a Roman-Parthian alliance was concluded against the Armenian-Pontian one. Confrontations took place between the two parties. The Roman army commanded by Pompeius defeated Mithridates the Pontian, while the Parthian army was shamefully crushed in Armenia and took flight. One country out of two of each alliance was victorious and the other defeated. 124
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THE TREATY OF ARTASHAT. THE MYSTERY OF TIGRAN'S CONCESSIONS In 66 B.C a treaty of reconciliation between the two victorious countries: Armenia and Rome was signed by Tigran the Great and Pompeius. Armenia renounced in favor of Rome of her conquered territories in the west of the Euphrates and the Parthian kingdom restored its former borders. The Greater Armenia was recognized as the "ally and friend" of Rome, which supposed mutual military support. Tigran the Younger would be the king of Tsopk and Kordouk, and, after the death of his father, of all the Greater Armenia, which didn't take place, as he was arrested and exiled to Rome. Why did Tigran the Great make such concessions? We know that he defeated Romans in 69-68 B.C. during the war with Lucullus; he hadn't any confrontation with Pompeius and had crushed the Parthian army once again and for the last time in 66 B.C. At the first sight this solution can seem hardly understandable, but it must be explained by the patriotism of Tigran the Great. He was really a winner, but Pontus, the ally of Armenia, had been defeated and was out of the arena. In case of continuing the war Armenia could remain alone against Rome and the Parthian kingdom, that is to say "alone against the entire world". He could continue the war in the name of the king's honor, but it would expose to a risk his country's future. Throwing into the scale his honor of king and the future of his fatherland, the choice of Tigran the Great was in favor of his country... ** * Tigran the Great passed away in 55 B.C., he was 85 years old. Cicero, one of the most remarkable figures of Rome, in his speeches in the Senate used to qualify Tigran the Great by the term "vehemens", which was the highest appreciation given in Rome to a political figure. Velleos Paterculos, a Roman writer who lived a little later, called Tigran the Great "the most powerful king of his time" and the "greatest of the kings"; Pompeius Trogos communicated that he was venerated as "God"... Sources - Strabo, Yerevan, 1940 (in Armenian). Plutarch, Biographies, Yerevan, 2001 (in Armenian). Movses Khorenatsi, History of Armenia, Yerevan, 1981 (in Armenian). Miscellany of Armenian People History, vol. 1, Yerevan, 2007 (in Armenian). Bibliography - Chamchian M., History of Armenia, Venice 1784 (Yerevan, 1981) (in Armenian). Asturian H., Political Connections between Armenia and Rome from 190 B.C. to 428 A.D., Venice 1912 (in Armenian). Manandian H., Tigran II and Rome, Yerevan, 1940 (reprinted in Yerevan, 1972), (in Armenian); Works, vol. 1 Yerevan, 1977 (in Armenian); Russian translation, Yerevan, 1943; French translation, Lisbon, 1963. Hrant K. Armen, Tigran the Great, Cairo, 1957 (in Armenian). Sarkisian G., Tigranakert, Moscow 1960 (in Russian). History of the Armenian People (Academic Edition), vol. 1 Yerevan, 1971 (in Armenian). Manaseryan R. Tigran the Great. The Struggle of Armenia Against Rome and the Parthian Kingdom, Yerevan, 1987 (vol II, Yerevan, 2007) (in Armenian). Hacobyan H.P., Tigran the Great, Yerevan, 2005 (in Armenian).
Translated from Armenian by Aida Charkhchyan Extract from the book Ten prominent Armenian Kings (Yerevan, Printing House "Zangak-97", 2010, p. 34-35) 126
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²ðî²Þ²îÆ ä²Úزܲ¶ÆðÀ: îƶð²Üº²Ü ¼ÆæàôØܺðÆ ÊàðÐàôð¸À ø.³. 66 Ã. ²ñï³ß³ïáõÙ »ñÏáõ Û³ÕÃáÕ »ñÏñÝ»ñÇ` г۳ëï³ÝÇ »õ ÐéáÙÇ ÙÇç»õ îÇ·ñ³Ý Ø»ÍÇ »õ äáÙå¿áëÇ ÏáÕÙÇó ëïáñ³·ñáõ»ó ѳßïáõû³Ý å³Ûٳݳ·Çñ, áñáí г۳ëï³ÝÁ Ûû·áõï ÐéáÙÇ Ññ³Å³ñáõ»ó º÷ñ³ïÇó ³ñ»õÙáõïù ÁÝÏ³Í Çñ Ýáõ³×áõÙÝ»ñÇó, ä³ñûõëï³ÝÇÝ í»ñ³¹³ñÓñ»ó ݳËÏÇÝ ë³ÑÙ³ÝÝ»ñÁ: Ø»Í Ð³ÛùÁ ׳ݳãáõ»ó ÐéáÙÇ §¹³ßݳÏÇó »õ µ³ñ»Ï³Ù¦, ÇÝãÁ »Ýó¹ñáõÙ ¿ñ é³½Ù³Ï³Ý ÷áËû·ÝáõÃÇõÝ: îÇ·ñ³Ý Îñïë»ñÁ å¿ïù ¿ ó·³õáñ ׳ݳãáõ¿ñ Ìá÷ùáõÙ »õ Îáñ¹áõùáõÙ, ÇëÏ Ñûñ Ù³ÑÇó Û»ïáÛ` ³ÙµáÕç Ø»Í Ð³ÛùáõÙ, ÇÝãÁ ãÇñ³Ï³Ý³ó³Í, ù³ÝÇ áñ ݳ Ó»ñµ³Ï³Éáõ»ó »õ ³ùëáñáõ»ó ÐéáÙ: ÆÝãá±õ îÇ·ñ³Ý Ø»ÍÁ ·Ý³ó ÝÙ³Ý ½ÇçáõÙÝ»ñÇ: ⿱ áñ ݳ Û³ÕÃ»É ¿ñ ÑéáÙ¿³óÇÝ»ñÇÝ ø.³. 69-68 ÃÃ. ÉáõÏáõÉÉáë»³Ý å³ï»ñ³½ÙáõÙ, äáÙå¿áëÇ Ñ»ï áã ÙÇ µ³ËáõÙ ã¿ñ áõÝ»ó»É, ÇëÏ ä³ñûõëï³ÝÇ ½ûñù»ñÇÝ Ñ»ñÃ³Ï³Ý áõ í»ñçÇÝ ç³ñ¹Á ïáõ»É ¿ñ Ñ¿Ýó ø.³. 66 Ãáõ³Ï³ÝÇÝ: ²é³çÇÝ Ñ³Û»³óùÇó ³ÝѳëϳݳÉÇ Ãáõ³óáÕ ³Ûë ÉáõÍáõÙÁ µ³ó³ïñõáõÙ ¿ ÙdzÛÝ îÇ·ñ³Ý Ø»ÍÇ Ñ³Ûñ»Ý³å³ßïáõû³Ùµ: ܳ Çëϳå¿ë Û³ÕóݳÏáÕ ¿ñ, ë³Ï³ÛÝ å³ñïáõ»É »õ, ÷³ëïûñ¿Ý, ³ëå³ñ¿½Çó ¹áõñë ¿ñ ÙÕáõ»É г۳ëï³ÝÇ ¹³ßݳÏÇó äáÝïáëÁ: ºõ г۳ëï³ÝÁ å³ï»ñ³½ÙÁ ß³ñáõݳϻÉáõ ¹¿åùáõ٠ϳñáÕ ¿ñ ÙÝ³É ÙdzÛÝ³Ï Áݹ¹¿Ù ÐéáÙÇ »õ ä³ñûõëï³ÝÇ, ³ÛÉ Ï»ñå ³ë³Í` §ÙdzÛݳÏ` Áݹ¹¿Ù ³ÙµáÕç ³ß˳ñÑǦ: ܳ ϳñáÕ ¿ñ ß³ñáõÝ³Ï»É å³ï»ñ³½ÙÁ Û³ÝáõÝ ïÇñ³Ï³ÉÇ Çñ ÷³éùÇ, µ³Ûó ¹ñ³Ýáí Ïíï³Ý·¿ñ Çñ ѳÛñ»ÝÇùÇ ³å³·³Ý: ºñµ Ïß»éùÇ ÝųñÝ»ñÇÝ ¹ñáõ³Í ¿ÇÝ ïÇñ³Ï³ÉÇ Çñ ÷³éùÝ áõ ѳÛñ»ÝÇùÇ ³å³·³Ý, Ø»ÍÝ îÇ·ñ³ÝÝ ÁÝïñáõÃÇõÝ Ï³ï³ñ»ó Û³ÝáõÝ Ñ³Ûñ»ÝÇùÇ... * * * îÇ·ñ³Ý Ø»ÍÁ ٳѳó³õ ø.³. 55 Ã. 85 ï³ñ»Ï³Ý ѳë³ÏáõÙ£ ÐéáÙÇ ³Ù»Ý³³Ï³Ý³õáñ ¹¿Ùù»ñÇó Ù¿ÏÁ` òÇó»ñáÝÁ, ê»Ý³ïáõÙ ³ñï³ë³Ý³Í Çñ ׳é»ñáõÙ îÇ·ñ³Ý Ø»ÍÇÝ µÝáñáßáõÙ ¿ñ “vehemens” ï»ñÙÇÝáí, áñÁ ÐéáÙáõÙ ù³Õ³ù³Ï³Ý ·áñÍãÇÝ ïñáõáÕ µ³ñÓñ³·áÛÝ ·Ý³Ñ³ï³Ï³ÝÝ ¿ñ: Üñ³ÝÇó ùÇã áõß ³åñ³Í ÝáÛÝå¿ë ÑéáÙ¿³óÇ Ù³ï»Ý³·Çñ ì»ÉÉ¿áë ä³ï»ñÏáõÉáëÁ îÇ·ñ³Ý Ø»ÍÇÝ ÏáãáõÙ ¿ §Çñ ųٳݳÏÇ Ñ½ûñ³·áÛÝ Ã³·³õáñ¦ »õ §Ã³·³õáñÝ»ñÇó ٻͳ·áÛݦ, ÇëÏ äáÙå¿áë îñá·áëÁ ï»Õ»Ï³óÝáõÙ ¿, áñ Ýñ³Ý ٻͳñáõÙ ¿ÇÝ` §²ëïáõ³Í¦ Ïáã»Éáí... ²ÕµÇõñÝ»ñ - êïñ³µáÝ, º., 1940: äÉáõï³ñùáë, λÝë³·ñáõÃÇõÝÝ»ñ, º., 2001: Øáíë¿ë Êáñ»Ý³óÇ, гÛáó å³ïÙáõÃÇõÝ, º., 1981: Ð³Û ÅáÕáíñ¹Ç å³ïÙáõû³Ý ùñ»ëïáÙ³ïdz, Ñ. 1, º., 1981: Ð³Û ÅáÕáíñ¹Ç å³ïÙáõû³Ý ùñ»ëïáÙ³ïdz, Ñ. 1, º., 2007: ¶ñ³Ï³ÝáõÃÇõÝ - â³Ù㻳Ýó Ø., гÛáó å³ïÙáõÃÇõÝ, Ñ. ², ì»Ý»ïÇÏ, 1784 (º., 1985): ²ëïáõñ»³Ý Ú., ø³Õ³ù³Ï³Ý í»ñ³µ»ñáõÃÇõÝÝ»ñ Áݹٿç г۳ëï³ÝÇ »õ ÐéáíÙ³Û 190-»Ý Ý.ø. ÙÇÝã»õ 428 Ñ.ø., ì»Ý»ïÇÏ, 1912£ سݳݹ»³Ý Ú., îÇ·ñ³Ý ºñÏñáñ¹Á »õ ÐéáÙÁ, º., 1940 (í»ñ³Ññ³ï³ñ³ÏáõÃÇõÝÁ` º., 1972; ºñÏ»ñ, Ñ. ², º., 1977; éáõë»ñ¿Ý óñ·Ù³ÝáõÃÇõÝÁ` º., 1943; ýñ³Ýë»ñ¿ÝÁ` ÈÇë³µáÝ, 1963): Ðñ³Ý¹ ø. ²ñÙ¿Ý, Ø»ÍÝ îÇ·ñ³Ý, ¶³ÑÇñ¿, 1957: Ñàðêèñÿí Ã., Òèãðàíàêåðò, Ì., 1960: Ð³Û ÅáÕáíñ¹Ç å³ïÙáõÃÇõÝ (¶² Ññ³ï.), Ñ. I, º., 1971: سݳë»ñ»³Ý è.È., îÇ·ñ³Ý Ø»Í. г۳ëï³ÝÇ å³Ûù³ñÁ ÐéáÙÇ »õ ä³ñûõëï³ÝÇ ¹¿Ù, º., 1987 (»ñÏñáñ¹ Ññ³ï.` º., 2007): Ú³Ïáµ»³Ý Ð.ä., îÇ·ñ³Ý Ø»Í, º., 2005:
гïáõ³Í §10 ³Ï³Ý³õáñ Ñ³Û ³ñù³Ý»ñ¦ ·ñùÇó (º., 2010, §¼³Ý·³Ï 97¦ Ññ³ï, ¿ç 34-45)
îƶð²Ü غÌ
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YERVAND MARGARYAN Assistant Professor, Candidate of Historical Sciences
FROM THE HISTORY OF ELABOARATION OF THE DOCTRINE OF ORGANIZATION OF PERFECT COEXISTENCE BY TIGRANES THE GRAET
QUASI-UTOPIAN MENTALITY IS A PURELY WESTERN PHENOMENON The history of western philosophy and legal-politic mind is characterized by continuous searches of various forms of public existence from time to time giving preference to this or that form. Comparing the East and the West, A. Kobzev, investigator of Chinese utopia, writes that Confucian thinker has not had the critical attitude towards the reality which is typical to European culture. In the opinion of Kobzev Chinese wise men have rarely referred to the problems of transcendent existence, cognition of high and independent origin. That is why in his opinion no complete utopian theory has been created in the East which were able to oppose to the ruling mercenary ideology, no alternative example of public structure such Cosmopolis, Heavenly Kingdom, Sunpolis, etc. And although utopia is not synonymous to ideology, moreover, as a rule mythological in it is form, nevertheless often there is some ideological load in it, but in separate phases of public history it may become an instrument shattering the basis of ruling ideology and meanwhile creating new forms of human coexistence. So, utopian mentality is a purely western phenomenon which always appears on certain stages of public development. Formation of basis and form of utopia can not take place in socially neutral atmosphere. Utopian structures shaped in the depth of public consciousness are always filled with lively content and take flesh and blood during the time. Quasi-utopia often is the product of individual consciousness and only later appears within the frames of political ambitions of wide masses. Whatever today is utopia may become reality tomorrow : “Les utopies ne sont souvent que des verites prematures�. One of the manifestations of the ideology proper to the new age and inclined to the harmonic co-existential structure is the pre-utopian structure of Hellenism. Its eloquent example is the historical-philosophical work "Cyropadia" written by Xenophon, in which the public structure of newly arising Hellenist age is represented prophetically, although in idealized manner. 128
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ºðàô²Ü¸ زð¶²ðº²Ü ä³ïÙ³·Çïáõû³Ý ûÏݳÍáõ, ¹áó»Ýï
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In the basis of the work is a solid system of logically correlated ideas. Like many of his contemporaries, seeing the crisis of polis republic and its flimsiness in the given period of time, basing on his own experience and latest philosophical theories, Xenophon elaborated a new politological theory in deliberately concealed utopian forms. The disciple of Socrates, refusing from purely republican formula of authority, instead gives preference to the mixed way of authority, which combines categories considered incompatible in the past - aristocratic rationalistic republic, democracy and autocracy. Thus Xeneophon strived not only to reconcile bright individuality and republic values, but also to make individualized person to serve the republic, to turn him into of republican institutions' defender instead of grave-digger. In Xenophon's opinion it is possible to shape person combining republican virtues and unlimited mind and will by means of education which became the main idea of his work entitled "Cyropadia" ("Education of Cyrus"). Xenophon's quasi-utopian theories arose vivid interest not only among his contemporaries, but also many figures of Hellenism. Armenia also was not exception, where the rulers and philosophers tried to put into practice theoretical structures of the philosopher from Athens. Today, when politilogical mind is again in searches for co-exitential forms and structures, paradigms of antic philosophers, as well the experience of Armenian theoreticians and practitioners of Hellenistic period regain contemporary sonority and may play the role of unique prompter in the settlement of present-day painful social and moral problems. Among them probably the most urgent one continues to remain compatibility with individualized person's ambitious strivings. The latter, being disappointed in the republican system of values, is either closed in ivory tower or strives for unlimited power.
SYNOIKISM AS THE MAIN INSTRUMENT OF HELLENIZATION According to the antique authors while creating his Hellenistic state Tigranes faced not only his external enemies' opposition but also spontaneous reaction of inner opposition. Noble aldermen from different regions formed the main opposition to the steps of the king inside the state. Hellenistic king's becoming powerful should inevitably bring to the decrease of the role of aldermen and limiting of their authority. Antique authors mention that Tigranes had to take drastic measures in order to suppress the opposition of noble aldermen. In separate cases that opposition was more dangerous for Tigranes than external challenges. Noble aldermen especially persistently opposed to Tigranes' efforts of hellenization of the country, turning it into civil poli. That is why he initiated synoikism. Tigranakert's synoikism was realized in two ways: on the one hand - forced transmigration of foreign urban population on the Armenian land, on the other hand - forced resettlement of noble aldermen together with their families and servants in the new capital city. In that way Tigranes tried to cut the noble aldermen from their roots - their small motherland, having the goal of throwing them into the cauldron of Hellenistic megapolis and "assimilating" in its cultural fire. Thanks to that process, accord130
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»ñÏÁ, áñáõÙ Ù³ñ·³ñ¿³µ³ñ, ÿ»õ ǹ¿³É³Ï³Ý³óáõ³Í Ó»õáí, Ý»ñϳ۳óáõ³Í ¿ Ýáñ ÍÝáõáÕ Ñ»ÉÉ»ÝÇëï³Ï³Ý ¹³ñ³ßñç³ÝÇ Ñ³ë³ñ³Ï³Ï³Ý ϳéáõóáõ³ÍùÁ: ºñÏÇ ÑÇÙùáõÙ ¹ñáõ³Í ¿ ïñ³Ù³µ³Ýûñ¿Ý ÷áËϳå³Ïóáõ³Í ·³Õ³÷³ñÝ»ñÇ ÙÇ Ïáõé ѳٳϳñ·: ijٳݳϳÏÇóÝ»ñÇó ß³ï»ñÇ ÝÙ³Ý, ï»ëÝ»Éáí åáÉÇë³ÛÇÝ Ñ³Ýñ³å»ïáõû³Ý ׷ݳųÙÁ »õ ïáõ»³É ųٳݳϳѳïáõ³ÍáõÙ í»ñçÇÝÇë ãϳ۳ó³ÍáõÃÇõÝÁ, øë»Ýá÷áÝÁ, »ÉÝ»Éáí ³ÝÓÝ³Ï³Ý ÷áñÓÇó áõ Û»Ýáõ»Éáí Ýáñ³·áÛÝ ÇÙ³ëï³ëÇñ³Ï³Ý áõëÙáõÝùÝ»ñÇ íñ³Û, Ùß³ÏáõÙ ¿ Ýáñ ù³Õ³ù³·Çï³Ï³Ý áõëÙáõÝù` ÙÇïáõÙݳõáñ ùûÕ³ñÏáõ³Í áõïáåÇ³Ï³Ý Ó»õ»ñáí: êáÏñ³ï¿ëÇ ³ß³Ï»ñïÁ, Ññ³Å³ñáõ»Éáí ½áõï ѳÝñ³å»ï³Ï³Ý Çß˳Ýáõû³Ý µ³Ý³Ó»õÇó, ÷á˳ñ¿ÝÁ ݳ˳å³ïáõáõÃÇõÝ ¿ ï³ÉÇë Çß˳Ýáõû³Ý ˳éÁ Ó»õÇÝ, áñÁ ѳٳï»ÕáõÙ ¿ ݳËÏÇÝáõÙ ³Ýѳٳï»Õ»ÉÇ Ñ³Ù³ñáõáÕ Ï³ï»·áñdzݻñÁ` ³½Ýáõ³å»ï³Ï³Ý é³óÇáݳÉÇëï³Ï³Ý ѳÝñ³å»ïáõÃÇõÝÁ, ÅáÕáíñ¹³í³ñáõÃÇõÝÁ »õ ÇÝùݳϳÉáõÃÇõÝÁ: ²ÛëåÇëáí, øë»Ýá÷áÝÁ Ó·ïáõÙ ¿ñ áã ÙdzÛÝ Ñ³ßï»óÝ»É í³é ³Ýѳï³Ï³ÝáõÃÇõÝÁ »õ ѳÝñ³å»ï³Ï³Ý ³ñÅ¿ùÝ»ñÁ, ³ÛÉ»õ ³Ýѳï³Ï³Ý³óáõ³Í ³ÝÓݳõáñáõû³ÝÁ ͳé³Û»óÝ»É Ñ³Ýñ³å»ïáõû³ÝÁ, ¹³ñÓÝ»É Ýñ³Ý ѳÝñ³å»ï³Ï³Ý ѳëï³ïáõÃÇõÝÝ»ñÇ å³ßïå³ÝÁ, ³ÛÉ áã ÿ ·»ñ»½Ù³Ý³÷áñÁ: øë»Ýá÷áÝÇ Ñ³Ùá½Ù³Ùµ` ѳÝñ³å»ï³Ï³Ý ³é³ùÇÝáõÃÇõÝÝ»ñÁ »õ ³Ýë³Ñٳݳ÷³Ï Ë»ÉùÝ áõ ϳÙùÁ ѳٳï»ÕáÕ ³ÝÓݳõáñáõû³Ý Ó»õ³õáñÙ³ÝÁ ϳñ»ÉÇ ¿ ѳëÝ»É å³Û¹¿³ÛÇ ÙÇçáóáí, áñÝ ¿É ¹³ñÓ³õ §ÎÇõñá廹dzÛǦ (§ÎÇõñáëÇ í³ñÅ»óáõÙÁ¦) ÑÇÙݳ·³Õ³÷³ñÁ: øë»Ýá÷áÝÇ Ï»ÕÍ áõïáåÇ³Ï³Ý áõëÙáõÝùÝ»ñÝ ³ßËáÛÅ Ñ»ï³ùñùñáõÃÇõÝ ¿ÇÝ ³é³ç³óÝáõÙ áã ÙdzÛÝ Å³Ù³Ý³Ï³ÏÇóÝ»ñÇ, ³ÛÉ»õ Ñ»ÉÉ»ÝǽÙÇ µ³½áõÙ ·áñÍÇãÝ»ñÇ ßñç³ÝáõÙ: ´³ó³éáõÃÇõÝ ãϳ½Ù»ó ݳ»õ г۳ëï³ÝÁ, áñï»Õ ÇßËáÕÝ»ñÝ áõ ÇÙ³ëï³ë¿ñÝ»ñÁ ÷áñÓáõÙ ¿ÇÝ Ï»Ýë³·áñÍ»É ³Ã¿Ý³Ï³Ý ÷ÇÉÇëá÷³ÛÇ ï»ë³Ï³Ý ϳéáÛóÝ»ñÁ: ²Ûëûñ, »ñµ ù³Õ³ù³·Çï³Ï³Ý ÙÇïùÁ ¹³ñÓ»³É ·ïÝõáõÙ ¿ ѳٳϻó³Ï³Ý Ó»õ»ñÇ »õ ϳéáÛóÝ»ñÇ ÷ÝïñïáõùÝ»ñÇ Ù¿ç, ³ÝïÇÏ ÷ÇÉÇëá÷³Ý»ñÇ å³ñ³¹Ç·ÙÝ»ñÁ, ÇÝãå¿ë »õ Ñ»ÉÉ»ÝÇëï³Ï³Ý ßñç³ÝÇ Ñ³Û ï»ë³µ³ÝÝ»ñÇ áõ åñ³ÏïÇÏÝ»ñÇ ÷áñÓ³éáõÃÇõÝÁ ÏñÏÇÝ ëï³ÝáõÙ ¿ ³ñ¹Ç³Ï³Ý ÑÝã»ÕáõÃÇõÝ »õ ϳñáÕ ¿ ÇõñûñÇÝ³Ï Ûáõß³ñ³ñÇ ¹»ñ Ë³Õ³É Ù»ñ ųٳݳÏÝ»ñÇ ó³õáï ëáóÇ³É³Ï³Ý »õ µ³ñáÛ³·Çï³Ï³Ý ѳñó»ñÇ ÉáõÍÙ³Ý ·áñÍáõÙ: Üñ³Ýó Ù¿ç, ûñ»õë, ³Ù»Ý³³ñ¹Ç³Ï³ÝÁ ß³ñáõݳÏáõÙ ¿ ÙÝ³É Ñ³Ù³ï»Õ»ÉÇáõÃÇõÝÁ ³Ýѳï³Ï³Ý³óáõ³Í ³ÝÓÇ ÷³é³ëÇñ³Ï³Ý ÝÏñïáõÙÝ»ñÇ Ñ»ï: ì»ñçÇÝë, Ñdzëó÷áõ³Í ѳÝñ³å»ï³Ï³Ý ³ñÅ¿ù³µ³Ý³Ï³Ý ѳٳϳ·Çó, ϳ’Ù ÷³ÏõáõÙ ¿ ÷ÕáëÏñ¿ ³ßï³ñ³ÏáõÙ, ϳ’Ù Ó·ïáõÙ ¿ ³Ýë³Ñٳݳ÷³Ï Çß˳Ýáõû³Ý:
êÆÜàÚÎƼØÀ` àðä¾ê кÈȺܲòØ²Ü ¶Èʲôàð ¶àðÌÆø ²ÝïÇÏ Ñ»ÕÇݳÏÝ»ñÇ íϳÛáõû³Ùµ` Çñ Ñ»ÉÉ»ÝÇëï³Ï³Ý ï¿ñáõû³Ý ßÇÝáõ³ÍùÁ ϳéáõó»ÉÇë` îÇ·ñ³ÝÁ µ³Ëáõ»ó áã ÙdzÛÝ ³ñï³ùÇÝ ÃßݳÙÇÝ»ñÇ ¹ÇÙ³¹ñáõû³ÝÁ, ³ÛÉ»õ Ý»ñùÇÝ Áݹ¹ÇÙáõû³Ý ï³ñ»ñ³ÛÇÝ Ñ³Ï³½¹»óáõû³ÝÁ: ºñÏñÇ Ý»ñëáõÙ ³ñù³ÛÇ ÙÇçáó³éáõÙÝ»ñÇ ÑÇÙÝ³Ï³Ý Áݹ¹ÇÙáõÃÇõÝÁ ¹³ñÓ³õ ï³ñµ»ñ »ñÏñ³Ù³ë»ñÇ ïáÑÙÇÏ ³õ³·³ÝÇÝ: лÉÉ»ÝÇëï³Ï³Ý Ùdzå»ïÇ Ñ½ûñ³óáõÙÝ ³ÝËáõë³÷»ÉÇûñ¿Ý å¿ïù ¿ ۳ݷ»óÝ¿ñ »ñÏñÇ Ý»ñëáõÙ ³õ³·³Ýáõ ¹»ñÇ ³ÝÏÙ³ÝÁ »õ Ýñ³Ýó Çß˳Ýáõû³Ý ë³Ñٳݳ÷³ÏÙ³ÝÁ: ²ÝïÇÏ Ñ»ÕÇݳÏÝ»ñÝ áõÕÕ³ÏÇûñ¿Ý ÝßáõÙ »Ý, áñ îÇ·ñ³ÝÁ ëïÇåáõ³Í ¿ñ ·áñͳ¹ñ»É Ïáßï ÙÇçáóÝ»ñ ïáÑÙÇÏ ³õ³·³Ýáõ Áݹ¹ÇÙáõÃÇõÝÁ ×Ýß»Éáõ ѳٳñ: ²Û¹ ¹ÇٳϳÛáõÃÇõÝÝ ³é³ÝÓÇÝ ¹¿åù»ñáõÙ îÇ·ñ³ÝÇ Ñ³Ù³ñ ³õ»ÉÇ íï³Ý·³õáñ ¿ñ, ù³Ý ³ñï³ùÇÝ Ù³ñï³Ññ³õ¿ñÝ»ñÁ: Ú³ïϳå¿ë Û³Ù³éûñ¿Ý ïáÑÙÇÏ ³õ³·³ÝÇÝ ¹ÇÙ³¹ñáõÙ ¿ñ îÇ·ñ³ÝÇ` »ñÏÇñÁ Ñ»ÉɻݳϳݳóÝ»Éáõ, ³ÛÝ civil poli ¹³ñÓÝ»Éáõ ÷áñÓ»ñÇÝ: пÝó ³Û¹ Ýå³ï³Ïáí ݳ Ó»éݳñÏ»ó ëÇÝáÛÏǽÙ: îÇ·ñ³Ý³Ï»ñïÇ ëÇÝáÛÏǽÙÁ ϳï³ñõáõÙ ¿ñ »ñÏáõ »Õ³Ý³Ïáí. ÙÇ ÏáÕÙÇó` ѳîƶð²Ü غÌ
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ing to Tigranes' initiative, the local autocratic noblemen should be turned into king's subjects and citizens of Hellenistic polis. In antique Greece synoikism was perceived from just that viewpoint. Thus, the Greek authors considered synoikism of Theseus the beginning of Attica's unification and start of the history of Athens. Investigators' majority is convinced that synoikism of Theseus should be accompanied with forced resettlement of some part of Attica's population (most probably - noblemen) in Athens. Thus, synoikism was perceived by the Greeks as universe-creating, creative drive, start of the history of city-state and new age. Romans perceived synoikism in the same way, considering it the start of their native city's history. Ideologists of Tigranes also presented synoikism as a sacred and renewing the universe deed.
EDUCATION OF ARMENIAN NEW GENERATION One of the steps directed to the country's hellenization was forced removal of Armenian noble aldermen's offspring from their environment with the goal of educating them in boarding schools of Yassenian type where the young people were educated by such teacher-philosophers invited from the East as Amphicrates of Athens, Metrodorus of Scepsis and others. Education of the Armenian princes also was their responsibility. Thus, by the efforts of Tigranes, a special school like "Tsarskoe Selo" ("Royal Village"). perhaps attached to the royal residence was opened. A new generation of young noblemen having new ideology and conception of the world was prepared there educated in the spirit of politesse and used to various aspects of Hellenistic polis without which that electorate could no more imagine his life. One of the remaining typical instruments of spreading politesse was the royal hall of the Armenian queen Cleopatra. The queen had rallied around herself Greek philosophers, dramatists and young noblemen. The distinguished quests of the queen's hall were the above mentioned Amphicrates of Athens and Metrodorus of Scepsis. Plutarch testifies for that reality telling in his work entitled "Parallel Lives" about the knavish intrigues and schemes the victims of which were those two Greek philosophers. Plutarch writes: "Orator Amphicrates found his death in the royal palace of Tigranes and if Amphicrates is worth to mentioning it is only for his Athenian origin. As it is told, he arrived to Seleucia of Tigris as an exile and when he was asked to give lessons of oratory he arrogantly and ironically answered: "Dolphin can not be settled in a tub." Then he went to the royal palace of Cleopatra who was the wife of Tigranes and Mihrdat's daughter, but soon he was slandered, after which he was forbidden of any contact with Greeks, and that is why he condemned himself to starving. He also was buried with honors by the queen Cleopatra, and his tomb is nearby to Sapa (which is the name of a place in that country)" (XXII). It is noteworthy that the philosopher from Athens considered beneath his dignity to live and to teach in Seleucia of Tigris - in reality the greatest city of Parthian kingdom, which was almost in the direct neighborhood of Tizbon. Instead he preferred to settle down in the Armenian queen's palace where prob132
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Ûáó ÑáÕÇ íñ³Û ûï³ñ»ñÏñ»³Û ù³Õ³ù³ÛÇÝ µÝ³Ïãáõû³Ý µéݳ·³ÕûóÙ³Ý ×³Ý³å³ñÑáí »õ ÙÇõë ÏáÕÙÇó` »ñÏñÇ ï³ñµ»ñ Ù³ë»ñÇó Ýáñ Ù³Ûñ³ù³Õ³ù ÁÝï³ÝÇùÝ»ñáí »õ ëå³ë³õáñÝ»ñáí ïáÑÙÇÏ ³õ³·³Ýáõ µéÝÇ í»ñ³µÝ³Ï»óٳٵ: ²ÛëåÇëáí, îÇ·ñ³ÝÁ Ó·ïáõÙ ¿ñ ïáÑÙÇÏ ³õ³·³ÝáõÝ Ïïñ»É ³ñÙ³ïÝ»ñÇó, ÇÙ³` ÷áùñ ѳÛñ»ÝÇùÇó, Ñ»ÉÉ»ÝÇëï³Ï³Ý Ù»·³åáÉÇëÇ Ï³Ãë³ÛÇ Ù¿ç Ý»ï»Éáõ »õ ¹ñ³ Ùß³ÏáõóÛÇÝ µáíÇ Ù¿ç §ÓáõÉ»Éáõ¦ Ýå³ï³Ïáí: ¸ñ³ ßÝáñÑÇõ, îÇ·ñ³ÝÇ Ùï³ÛÕ³óٳٵ, ï»Õ³Ï³Ý ÇÝùÝÇßË³Ý ³½Ýáõ³Ï³ÝÝ»ñÁ å¿ïù ¿ í»ñ³Íáõ¿ÇÝ Ï³Ûë»ñ³Ñå³ï³ÏÝ»ñÇ »õ Ñ»ÉÉ»ÝÇëï³Ï³Ý åáÉÇëÇ ù³Õ³ù³óÇÝ»ñÇ: ²ÝïÇÏ Úáõݳëï³ÝáõÙ ëÇÝáÛÏǽÙÝ ÁÝϳÉõáõÙ ¿ñ Ñ¿Ýó ³Û¹ ï»ë³ÝÏÇõÝÇó: ²Ûëå¿ë, ÛáÛÝ Ñ»ÕÇݳÏÝ»ñÝ ²ïïÇϳÛÇ ÙdzõáñÙ³Ý ëÏǽµÁ »õ ²Ã¿ÝùÇ å³ïÙáõû³Ý Ù»ÏݳñÏÁ ѳٳñáõÙ ¿ÇÝ Â»ë»õëÇ ëÇÝáÛÏǽÙÁ: лﳽûïáÕÝ»ñÇ Ù»Í³Ù³ëÝáõÃÇõÝÁ ѳÙá½áõ³Í ¿, áñ »ë»õëÇ ëÇÝáÛÏǽÙÁ å¿ïù ¿ áõÕ»Ïóáõ¿ñ ²ïïÇϳÛÇ µÝ³Ïãáõû³Ý áñáß Ù³ëÇ (³Ù»Ý³ÛÝ Ñ³õ³Ý³Ï³Ýáõû³Ùµ` ³ñÇëïáÏñ³ïdzÛÇ) ²Ã¿ÝùáõÙ µéÝÇ í»ñ³µÝ³Ï»óٳٵ: ²ÛëåÇëáí, ëÇÝáÛÏǽÙÁ ÛáÛÝ»ñÇ ÏáÕÙÇó ÁÝϳÉõáõÙ ¿ñ ǵñ»õ ïÇ»½»ñ³ëï»ÕÍ, ³ñ³ñã³Ï³Ý ÙÕáõÙ, ù³Õ³ù-å»ïáõû³Ý »õ Ýáñ ¹³ñ³ßñç³ÝÇ å³ïÙáõû³Ý ëÏǽµ: ÜáÛÝ Ï»ñå ¿ÇÝ ëÇÝáÛÏǽÙÝ ÁÝϳÉáõÙ ÑéáÙ¿³óÇÝ»ñÁ` ³ÛÝ Ñ³Ù³ñ»Éáí Çñ»Ýó ѳÛñ»ÝÇ ù³Õ³ùÇ å³ïÙáõû³Ý ëÏǽµÁ: Ƶñ»õ ëñµ³½³Ý »õ ïÇ»½»ñ³Ýáñá· ³ñ³ñù` ëÇÝáÛÏǽÙÁ Ý»ñϳ»³óõáõÙ ¿ñ ݳ»õ îÇ·ñ³ÝÇ ·³Õ³÷³ñ³ËûëÝ»ñÇ ÏáÕÙÇó:
Ð²Ú Üàð êºðÜ¸Æ ¸²êîƲð²ÎàôÂÆôÜ ºñÏñÇ Ñ»ÉɻݳϳݳóÙ³ÝÝ áõÕÕáõ³Í ÙÇõë ³ñÙ³ï³Ï³Ý ù³ÛÉ»ñÇó ¿ñ Ñ³Û ïáÑÙÇÏ ³õ³·³Ýáõ ½³õ³ÏÝ»ñÇÝ Çñ»Ýó ÙÇç³í³ÛñÇó µéÝÇ áõÅáí Ïïñ»ÉÁ »³ë»Ý³Ï³Ý ïÇåÇ ·Çß»ñûÃÇÏ í³ñųñ³ÝÝ»ñáõÙ ¹³ëïdzñ³Ï»Éáõ Ýå³ï³Ïáí: ²Ûëï»Õ å³ï³ÝÇÝ»ñÁ ÏñÃáõÃÇõÝ ¿ÇÝ ëï³ÝáõÙ ³ñ»õÙáõïùÇó Ññ³õÇñáõ³Í ³ÛÝåÇëÇ áõëáõóÇã-÷ÇÉÇëá÷³Ý»ñÇó, ÇÝãåÇëÇù ¿ÇÝ ²Ù÷ÇÏñ³ï¿ë ²Ã¿Ý³óÇÝ, Ø»ïñá¹áñáë êÏ»åë³óÇÝ »õ ³ÛÉù: Üñ³Ýó íñ³Û ¿ñ ¹ñáõ³Í ݳ»õ ѳÛáó ³ñù³Û³½Ý»ñÇ ¹³ëïdzñ³Ïáõû³Ý å³ï³ë˳ݳïáõáõÃÇõÝÁ: ²Ûëå¿ë, îÇ·ñ³ÝÇ ç³Ýù»ñáí îÇ·ñ³Ý³Ï»ñïáõÙ, Áëï »ñ»õáÛÃÇÝ, ó·³õáñ³Ï³Ý Ýëï³í³ÛñÇÝ ³éÁÝûñ, ëï»ÕÍáõ»É ¿ñ ÇõñûñÇÝ³Ï í³ñųñ³Ý, ò³ñëÏáÛ¿ ë»ÉáÛÇ ÝÙ³Ý: ²Ûë Ýáñ ³ß˳ñÑÁÝϳÉÙ³Ý ¹³ñµÝáóáõÙ ÏéáõÙ ¿ÇÝ »ñÇï³ë³ñ¹ ³ñÇëïáÏñ³ïÝ»ñÇ Ýáñ ë»ñáõݹ` ¹³ëïdzñ³Ïáõ³Í politesse-Ç á·áí »õ ÁÝï»É³óáõ³Í Ñ»ÉÉ»ÝÇëï³Ï³Ý åáÉÇëÇ ï³ñµ»ñ Û³ñ³ÝÇßÝ»ñÇÝ, ³é³Ýó áñáÝó ³Û¹ ÁÝïñ³Ë³õÝ ³ÛÉ»õë ã¿ñ ϳñáÕ å³ïÏ»ñ³óÝ»É Çñ Ï»³ÝùÁ: Politesse-Ç ï³ñ³ÍÙ³Ý ÙÇõë µÝáñáß ·áñÍÇùÝ»ñÇó ¿ñ ѳÛáó ó·áõÑÇ ÎÉ¿áå³ïñ³ÛÇ ³ñùáõÝ³Ï³Ý ëñ³ÑÁ: îÇÏݳÝó ïÇÏÇÝÝ Çñ ßáõñçÁ ѳõ³ù»É ¿ñ ÛáÛÝ ÷ÇÉÇëá÷³Ý»ñÇÝ, óï»ñ·áõÝ»ñÇÝ »õ »ñÇï³ë³ñ¹ ³ñÇëïáÏñ³ïÝ»ñÇÝ: ³·áõÑáõ ëñ³ÑÇ ½³ñ¹Ý ¿ÇÝ í»ñáÛÇß»³É Ø»ïñá¹áñáë êÏ»åë³óÇÝ »õ ²Ù÷ÇÏñ³ï¿ë ²Ã¿Ý³óÇÝ: ²Û¹ ¿ íϳÛáõÙ äÉáõï³ñùáëÁ, áñÝ Çñ §¼áõ·³ÏßÇéùáõÙ¦ å³ïÙáõÙ ¿ ݻݷ Ù»ù»Ý³ÛáõÃÇõÝÝ»ñÇ »õ µ³Ýë³ñÏáõÃÇõÝÝ»ñÇ ½áÑ ¹³ñÓ³Í ³Û¹ »ñÏáõ ÛáÛÝ ÷ÇÉÇëá÷³Ý»ñÇ Ù³ëÇÝ. §îÇ·ñ³ÝÇ ³ñùáõÝÇùáõÙ Çñ í»ñçÁ ·ï³õ Ñé»ïáñ ²Ù÷ÇÏñ³ï¿ëÁ, - ·ñáõÙ ¿ ÛáÛÝ å³ïÙÇãÁ, - áñÇÝ »Ã¿ ³ñÅ¿ ÛÇß³ï³Ï»É, ³å³ ÙdzÛÝ Ýñ³ ³Ã¿Ý³Ï³Ý ͳ·Ù³Ý ѳٳñ: ÆÝãå¿ë å³ïÙáõÙ »Ý, ݳ ǵñ»õ íï³ñ³Ý¹Ç ųٳݻó îÇ·ñÇëÇ ê»É»õÏdz, »õ »ñµ Ýñ³Ý Ëݹñ»óÇÝ ×³ñï³ñ³Ëûëáõû³Ý ¹³ë»ñ ï³É, ٻͳÙïûñ¿Ý »õ Ñ»·Ý³µ³ñ å³ï³ë˳ݻó. §î³ßï³ÏÇ Ù¿ç ¹»ÉýÇÝÁ ãÇ ï»Õ³õáñáõǦ: ²ÛÝáõÑ»ï»õ ݳ ·Ý³ó îÇ·ñ³ÝÇ ÏÇÝ »õ ØÇÑñ¹³ïÇ ¹áõëïñ ÎÉ¿áå³ïñ³ÛÇ ³ñùáõÝÇù, µ³Ûó ßáõïáí ½ñå³ñïáõ»ó. Ýñ³Ý ³ñ·»É»óÇÝ ³Ù¿Ý ï»ë³ÏÇ ß÷áõÙ ÛáÛÝ»ñÇ Ñ»ï, »õ ݳ ÇÝùÝ Çñ»Ý ëáí³Ù³Ñ ³ñ»ó: ܳ ÝáÛÝå¿ë å³ïáõáí óÕáõ»ó ÎÉ¿áå³ïñ³ÛÇ ÏáÕÙÇó, »õ Ýñ³ ·»ñ»½Ù³ÝÁ ·ïÝõáõÙ ¿ ê³÷³ÛÇ Ùûï (ÙÇ ÇÝã-áñ ï»ÕÇ ³ÝáõÝ ³Û¹ »ñÏñáõÙ)¦ (XXII): îƶð²Ü غÌ
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ably the level of politesse was rather high, higher than in the royal palace of Mihrdat of Pontos, of where came the queen. Otherwise, Metrodorus would not prefer the Armenian royal palace from the palace of the Pontian king, and Amphicrates would leave his disliked Seleucia not for Armenia, but for the same Pontos. Plutarch testifies also for the fierce customs, morals and manners existing on the Pontian royal palace. Plutarch with compassion describes the sufferings of the noble Athenian lady Monime of Milet. Getting married to Mihrdat. according to Plutarch Monime became not the wife but the captive of the king: "She spent her days in mourning, damning her beauty which gave her master instead of husband and barbarous dungeon instead of marriage and family. She had to live far from Greece only dreaming about the happiness for the sake of which she exchanged the merits of true Hellenic life" (XXIII). There was different situation in the Armenian royal palace. Encouraging aristocratic saloons and enrooting politesse mode of life Tigranes wished not only to civilize his country but also to rally noble elite around the ideas of illuminated monarchy. According to some investigators courteous rites developed and practiced on a large scale in Europe in the late middle ages served the same goal. It was more strikingly expressed in the life in the royal life of educated monarchs of the new age. In investigators' conviction courteous life, more efficiently than anything else, rallied young noblemen around their signors, and in that matter special role was given to the lady of the hall. That is why it was among the responsibilities of the Armenian queen to involve in her palace as many young noblemen as possible in order to remove them from their environment and to polish their customs, morals and manners. In difference to their fathers and grandfathers, that generation of noblemen was admired by the emperor and was loyal to him in soul and body. From that smart and dedicated set the king intended later to form the main mass of country's high-ranking officials and ministers. It is noteworthy that when in 69 BC Lucullus laid siege to Tigranakert and in the presence of everybody defeated the army of Tigranes, the residents of the city and garrison without long hesitations agreed with the Roman captain's suggestion of giving up. And only a group of young noblemen, locking themselves up in the citadel, did not yield and struggled till the end and met tragic death in the unequal struggle against experienced legionnaires. It is noteworthy that revealing special cruelty towards those young people Lucullus did not harm the residents of the city who returned to those cities and towns where they had lived before synoikism. Killing at one stroke a whole generation of aristocrats so carefully educated by Tigranes, Lucullus strived first of all to eradicate in Armenia the sprouts of new royal worldview sown by Tigranes. As the result of it few of the bearers of that ideology remained in Armenia. Perhaps only the members of the royal family and among them - prince Artavazd, who replaced his father in 55 BC.
PREHELLENISM. PROTOTYPE OF IDEAL STATE STRYCTURE In this relation we should like to more thoroughly refer the measure taken by Tigranes directed to the ideological substantiation of his empire. For that goal he had created a specific ideological center where the main direc134
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tions of the new political theory were elaborated. In investigators' opinion ideologists of Tigranes' empire became the above mentioned Greek philosophers, especially Metrodorus of Scepsis. Although the works of Metrodorus have not reached us, nevertheless basing on indirect data it is possible to suppose the nature of that ideology. Fundamental tenets of new ideology or according to Nietsche's eloquent expression "ideals' production" mechanisms he has picked up from antique authors' works. In our conviction while elaborating his theory Metrodorus should first of all make use of the ideas of two authors - democratic government Isocrates and Xenophon. In spite of many antique thinkers, who realizing the crisis of the forms of democratic government and previous civilization values, continued to search the ways out of it within the frames of traditional polis, Isocrates and Xenophon suggested new ways. Especially being convinced that polis states are unable to overcome independently the phenomena of chaos and stagnation, which after Peloponnesian war became the inseparable part of Greek life, they saw the development of antique civilization in homonomy - fusion of traditional polis and monarchical forms. Hear we would like to stop on Xenophon's ideas which are more strikingly reflected in his programmatic and as a matter of fact concise work "Cyropadia" ("Education of Cyrus"). Xenophon's historical novel is an ode to perfect monarchical rule, in which monarchy is described not in the form of eastern usurpatory state but as fusion of traditional polis and empire. In it three forms of government - democratic, aristocratic and monarchical - are represented equally. Certainly, the image created by Xenophon is utopian. The head of the state here is the king who is meanwhile the high priest and the leader of national assembly, besides he realizes the supreme military government. Although king's authority is hereditary, Xenophon repeatedly stresses that the king rules not as a dictator, but is guided by laws established by gods and sober mind (Nomos). In "Cyropadia" Persian patriarchal state is described as a polis structure joining the traits typical to ancestral-tribal and civil organiztions. Being free, Persians are divided into citizens enjoying full rights - homotimoi, and people deprived of civil rights. To the privileged class of homotimoi might belong only those who had received proper education and training in special schools under the state's control. Young generation's education there was realized in special age groups: boys (up to the age of 16-17), epheboi (the next 10 years) and men (the next 25 years). For passing from one class to the other students had to overcome rather difficult temptations the goal of was proving the physical trim and readiness (for boys), having civil virtues (for epheboi) and wisdom (for men). Only those who had physical trim and readiness and civil virtues could become men-homotimoi enjoying full rights. Those homotimoi who had always realized their duties in the course of time might be included in the highest class - aldermen council. According to Xenophon the school preparing homotimoi was open to all Persians, but as a matter of fact it was reachable only to rich citizens' offspring because only they could allow themselves not to make children to work since early age and to be engaged in self-improvement under the teachers' control. Elite consisting of homtimoi should become state's main support. The result of such system should be appearing of corporative
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ܲʲкÈȺÜƼØ. Ƹ¾²È²Î²Ü äºî²Î²Ü βèàôòàô²ÌøÆ Ü²Ê²îÆäÀ ²Û¹ ϳå³Ïóáõû³Ùµ Ïáõ½¿ÇÝù ³õ»ÉÇ Ñ³Ý·³Ù³Ýûñ¿Ý ³Ý¹ñ³¹³éÝ³É îÇ·ñ³ÝÇ Ó»éݳñÏ³Í ÙÇçáó³éáõÙÝ»ñÇÝ` áõÕÕáõ³Í Çñ ϳÛëñáõû³Ý ·³Õ³÷³ñ³µ³Ý³Ï³Ý ÑÇÙݳõáñÙ³ÝÁ: ²Û¹ Ýå³ï³ÏÇ Ñ³Ù³ñ ݳ ëï»ÕÍ»É ¿ ÙÇ ÇõñûñÇÝ³Ï ·³Õ³÷³ñ³Ëûë³Ï³Ý Ï»ÝïñáÝ, áñáõÙ Ùß³ÏõáõÙ ¿ÇÝ Ýáñ ù³Õ³ù³Ï³Ý áõëÙáõÝùÇ ÑÇÙݳ¹ñáÛÃÝ»ñÁ: лﳽûïáÕÝ»ñÇ Ï³ñÍÇùáí` îÇ·ñ³ÝÇ Ï³Ûëñáõû³Ý ·³Õ³÷³ñ³ËûëÝ»ñÁ ¹³ñÓ³Ý í»ñáÛÇß»³É ÛáÛÝ ÷ÇÉÇëá÷³Ý»ñÁ` Û³ïϳå¿ë Ø»ïñá¹áñáë êÏ»åë³óÇÝ: ¿»õ Ø»ïñá¹áñáëÇ ³ß˳ïáõÃÇõÝÝ»ñÁ Ù»½ ã»Ý ѳë»É, ³ÛÝáõ³Ù»Ý³ÛÝÇõ ³ÝáõÕÕ³ÏÇ ïáõ»³ÉÝ»ñÇ ÑÇÙ³Ý íñ³Û ϳñ»ÉÇ ¿ áñáß »Ýó¹ñáõÃÇõÝÝ»ñ ³Ý»É ³Û¹ ·³Õ³÷³ñ³µ³Ýáõû³Ý µÝáÛÃÇ Ù³ëÇÝ: Üáñ ·³Õ³÷³ñ³µ³Ýáõû³Ý ÑÇÙÝ³Ï³Ý ¹ñáÛÃÝ»ñÁ ϳ٠ÜÇóß¿Ç å³ïÏ»ñ³õáñ ³ñï³Û³Ûïáõû³Ùµ` §Ç¹¿³ÉÝ»ñÇ ³ñï³¹ñٳݦ. ٻ˳ÝǽÙÝ»ñÁ ݳ ù³Õ»É ¿ áõß ³ÝïÇÏ Ñ»ÕÇݳÏÝ»ñÇ »ñÏ»ñÇó: Ø»ñ ѳÙá½Ù³Ùµ` Çñ áõëÙáõÝùÁ Ù߳ϻÉÇë Ø»ïñá¹áñáëÝ ³é³çÇÝ Ñ»ñÃÇÝ å¿ïù ¿ û·ïáõ¿ñ »ñÏáõ Ñ»ÕÇݳÏÝ»ñÇ` ÆëáÏñ³ï¿ëÇ »õ øë»Ýá÷áÝÇ ·³Õ³÷³ñÝ»ñÇó: гϳé³Ï ß³ï ³ÝïÇÏ Ùï³ÍáÕÝ»ñÇ, áñáÝù, ·Çï³Ïó»Éáí ¹»ÙáÏñ³ï³Ï³Ý ϳé³í³ñÙ³Ý Ó»õ»ñÇ »õ ݳËÏÇÝ ù³Õ³ù³ÏñÃ³Ï³Ý ³ñÅ¿ùÝ»ñÇ ×·Ý³Å³ÙÁ, ¹ñ³ Û³ÕóѳñÙ³Ý ×³Ý³å³ñÑÝ»ñÁ ß³ñáõݳÏáõÙ ¿ÇÝ áñáÝ»É ³õ³Ý¹³Ï³Ý åáÉÇëÇ ßñç³Ý³ÏÝ»ñáõÙ, ÆëáÏñ³ï¿ëÝ áõ øë»Ýá÷áÝÝ ³é³ç³ñÏáõÙ ¿ÇÝ Ýáñ áõÕÇÝ»ñ: Ú³ïϳå¿ë ѳÙá½áõ»Éáí, áñ åáÉÇë³ÛÇÝ å»ïáõÃÇõÝÝ»ñÝ Ç íÇ׳ÏÇ ã»Ý ÇÝùÝáõñáÛݳµ³ñ Û³Õóѳñ»É ù³áëÇ áõ É׳óÙ³Ý »ñ»õáÛÃÝ»ñÁ, áñáÝù ä»ÉáåáÝ¿ë»³Ý å³ï»ñ³½ÙÇó Û»ïáÛ ¹³ñÓ³Ý ÛáõÝ³Ï³Ý ù³Õ³ù³Ï³Ý Ï»³ÝùÇ ³Ýµ³Å³Ý»ÉÇ Ù³ëÁ, Ýñ³Ýù ³ÝïÇÏ ù³Õ³ù³ÏñÃáõû³Ý ½³ñ·³óáõÙÁ ï»ëÝáõÙ ¿ÇÝ ÑáÙáÝáÙdzÛÇ` ³õ³Ý¹³Ï³Ý åáÉÇë³ÛÇÝ »õ Ùdzå»ï³Ï³Ý Ó»õ»ñÇ Ñ³Ù³ÓáõÉÙ³Ý Ù¿ç: ²Ûëï»Õ Ïáõ½¿ÇÝù Û³ïáõÏ Ï³Ý· ³éÝ»É øë»Ýá÷áÝÇ ·³Õ³÷³ñÝ»ñÇ íñ³Û, áñáÝù ³é³õ»É ó³ÛïáõÝ ³ñï³óáÉáõÙ »Ý ·ï»É í»ñçÇÝÇë Íñ³·ñ³ÛÇÝ »õ, Áëï ¿áõû³Ý, ³Ù÷á÷Çã ³ß˳ïáõû³Ý` §ÎÇõñá廹dzÛǦ Ù¿ç: øë»Ýá÷áÝÇ å³ïÙ³í¿åÁ ϳï³ñ»³É Ùdzå»ï³Ï³Ý Çß˳Ýáõû³Ý Ý»ñµáÕ ¿, áñáõÙ, ë³Ï³ÛÝ, Ùdzå»ïáõÃÇõÝÁ å³ïÏ»ñáõ³Í ¿ áã ÿ ³ñ»õ»É»³Ý µéݳå»ïáõû³Ý ï»ëùáí, ³ÛÉ Çµñ»õ ³ÝïÇÏ åáÉÇëÇ »õ ϳÛëñáõû³Ý ѳٳÓáõÉáõÙ: ¸ñ³Ýáõ٠ѳõ³ë³ñ³ã³÷ Ý»ñϳ۳óáõ³Í »Ý Çß˳Ýáõû³Ý »ñ»ù Ó»õ»ñÁ` ¹»ÙáÏñ³ï³Ï³Ý, ³ñÇëïáÏñ³ï³Ï³Ý »õ Ùdzå»ï³Ï³Ý: ²Ýßáõßï, øë»Ýá÷áÝÇ ëï»ÕÍ³Í å³ïÏ»ñÁ áõïáåÇ³Ï³Ý ¿: ä»ïáõû³Ý ·ÉáõËÝ ³Ûëï»Õ ³ñù³Ý ¿, áñÁ ÙÇ³Å³Ù³Ý³Ï ùñÙ³å»ï ¿ »õ ÅáÕáíñ¹³Ï³Ý ÅáÕáíÇ ³é³çÝáñ¹, µ³óÇ ³Û¹, ݳ Çñ³Ï³Ý³óÝáõÙ ¿ µ³ñÓñ³·áÛÝ é³½Ù³Ï³Ý Çß˳ÝáõÃÇõÝÁ: ¿»õ ó·³õáñÇ Çß˳ÝáõÃÇõÝÁ ųé³Ý·³Ï³Ý ¿, øë»Ýá÷áÝÁ µ³½ÙÇóë Áݹ·ÍáõÙ ¿, áñ ³ñù³Ý ÇßËáõÙ ¿ áã ÿ ǵñ»õ µéݳϳÉ, ³ÛÉ ³é³çÝáñ¹õáõÙ ³ëïáõ³ÍÝ»ñÇ ë³ÑÙ³Ý³Í »õ áÕç³ÙÇï µ³Ý³Ï³Ýáõû³Ý ûñ¿ÝùÝ»ñáí (Nomos): ä³ñëÏ³Ï³Ý Ý³Ñ³å»ï³Ï³Ý å»ïáõÃÇõÝÁ §ÎÇõñá廹dzÛáõÙ¦ å³ïÏ»ñáõ³Í ¿ ǵñ»õ åáÉÇë³ÛÇÝ Ï³éáÛó, áñÁ ѳٳï»ÕáõÙ ¿ ïáÑÙ³ó»Õ³ÛÇÝ »õ ù³Õ³ù³óÇ³Ï³Ý Ï³½Ù³Ï»ñåáõÃÇõÝÝ»ñÇÝ µÝáñáß ·Í»ñÁ: ÈÇÝ»Éáí ³½³ï` å³ñëÇÏÝ»ñÁ µ³Å³ÝõáõÙ »Ý ÉÇÇñ³õ ù³Õ³ù³óÇÝ»ñÇ` ÑáÙáïÇÙáëÝ»ñÇ »õ Ùݳó³Í, Çñ³õ³½áõñÏ ½³Ý·áõ³ÍÇ` ëáíáñ³Ï³Ý ÅáÕáíñ¹Ç: ÐáÙáïÇÙáëÝ»ñÇ ³ñïûÝ»³É ¹³ëÇÝ Ï³ñáÕ »Ý å³ïÏ³Ý»É ÙdzÛÝ Ýñ³Ýù, áíù»ñ Û³ïáõÏ í³ñųñ³ÝÝ»ñáõÙ, å»ï³Ï³Ý ÑëÏáÕáõû³Ý Ý»ñùáÛ, ëï³ó»É »Ý ×Çßï ¹³ëïdzñ³ÏáõÃÇõÝ: ºñÇï³ë³ñ¹ ë»ñÝ¹Ç ¹³ëïdzñ³ÏáõÃÇõÝÝ ³Ûëï»Õ Çñ³Ï³Ý³óõáõÙ ¿ Û³ïáõÏ ï³ñÇù³ÛÇÝ ËÙµ»ñÇ ßñç³Ý³ÏÝ»ñáõÙ` ïճݻñ (ÙÇÝã»õ 16-17 ï³ñ»Ï³Ý), ¿ý»µáëÝ»ñ (Û³çáñ¹ 10 ï³ñÇÝ) »õ ³Ûñ»ñ (Û³çáñ¹ 25 ï³ñÇÝ): ¸³ëÇó ¹³ë ³ÝóÝ»Éáõ ѳٳñ ë³Ý»ñÇÝ ³ÝÑñ³Å»ßï ¿ñ Û³Õó-
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civil society, in the basis of which were the ideas of aristocratic rationalism which considered correlation of three types of state government - democratic, aristocratic and monarchical, necessary conditions for ideal state structure proportionate. In ideal state special importance was accorded to the ideal ruler who was granted various virtues which combined everything good and kind that could be adopted from all three types of state structure. It is characteristic that Xenophon placed his imaginary perfect state not in the West, in his favorite Sparta, for instance, or like his opponent Plato on the other side of Hercules columns - in Atlanta, but in the East where really soon should be created the first Hellenistic monarchy - the empire of Alexander the Great, and later - many of its successors. Perhaps Xenophon, Isocrates, as well as many other contemporaries realized that shaping of the new kind of civilization is impossible on the territory of the Greece stereotyped with antique polis values. Xenophon should understand it more clearly than another one as he had well studied the life of both the East and the West. As the result of it he came to the conviction that future syncretic state of Hellenistic (later also Byzantine) type could be shaped only in the East, and its founder should be bright individuality deserving the title "Great." That is why in "Cyropadia" Cyrus the Great, the founder of that state, is depicted on the background of Media, Persia and Armenia. Moreover, semantic axis of one of Xenophon's work's chapters (3, I) is the agon (contest, competition) between the young King Cyrus and his friend of youth - Armenian prince Tigranes Yervandian. Those two prominent figures had been educated together at a school educating homotimoi and had civil highest virtues and knowledge. Thus, Tigranes is a deserving citizen who, despite his young age, has also sophistic knowledge, he perfectly masters the art of philosophical oratory making the basis of polis life. As a matter of fact the Armenian prince is a new type of ruler, who succeeds to save his intimates and all country thanks to his knowledge and also philosophical skills. Meanwhile his father - the Armenian king, is depicted in "Cyropadia" as profane, in corresponding typical position. In separate cases he makes simply miserable impression and Xenophon even does not mention his name. In the work the Armenian king is depicted as the bearer of traditional patriarchal customs, morals and manners which have already had their days. Although those customs, morals and manners are anachronic, however they continue their struggle for existence. It is not casual that the king orders to kill the Greek teacher who has educated his son who embodies the new ideology and conception of the world. Whereas the main motive of the work is just that Greek sophist who being the bearer of the idea of "Striving" Stoa has educated prince Tigranes according to the lofty ideas of that philosophical trend. At the moment of occurring of the events described in the work he was not alive because deserving the archetype fate of prophet-philosopher he had been condemned to death. That is why inspired with the ideas of Stoa and already at the young age wise Tigranes started to call the sophist "father" and "adviser." Moreover, he disputed his father's decision dictated not according to the voice of reason but feelings and passions. Finding out under whose influence it takes place, the
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ѳñ»É µ³õ³Ï³Ý µ³ñ¹ ÝáõÇñ³µ»ñ³Ï³Ý ÷áñÓáõÃÇõÝÝ»ñ, áñáÝó Ýå³ï³ÏÝ ¿ñ ³å³óáõó»É ýǽÇÏ³Ï³Ý å³ïñ³ëïáõ³ÍáõÃÇõÝÁ (ïճݻñÇ Ñ³Ù³ñ), ù³Õ³ù³óÇ³Ï³Ý ³é³ùÇÝáõÃÇõÝÝ»ñÇ (¿ý»µáëÝ»ñÇ Ñ³Ù³ñ) »õ ³å³ ÇÙ³ëïÝáõû³Ùµ ûÅïáõ³ÍáõÃÇõÝÁ (³Ûñ»ñÇ Ñ³Ù³ñ): ØdzÛÝ Ýñ³Ýù, áíù»ñ ³Ýó»É »Ý Ù³ñÙÝ³Ï³Ý å³ïñ³ëïáõ³Íáõû³Ý »õ ù³Õ³ù³óÇ³Ï³Ý ³é³ùÇÝáõû³Ý ¹åñáó, ϳñáÕ ¿ÇÝ ¹³éÝ³É ÉÇÇñ³õ ³Ûñ»ñ-ÑáÙáïÇÙáëÝ»ñ: ²ÛÝ ÑáÙáïÇÙáëÝ»ñÁ, áñáÝù ÙÇßï ³Ýß»Õûñ¿Ý ϳï³ñ»É »Ý Çñ»Ýó ù³Õ³ù³óÇ³Ï³Ý å³ñïùÁ, ųٳݳÏÇ ÁÝóóùáõ٠ϳñáÕ ¿ÇÝ ³ÝóÝ»É ³Ù»Ý³µ³ñÓñ ¹³ëÇ ß³ñù»ñÁ` ³õ³·³Ýáõ ËáñÑñ¹Ç Ù¿ç: Àëï øë»Ýá÷áÝÇ` ÑáÙáïÇÙáëÝ»ñ å³ïñ³ëïáÕ í³ñųñ³ÝÁ µ³ó ¿ µáÉáñ å³ñëÇÏÝ»ñÇ Ñ³Ù³ñ, ë³Ï³ÛÝ, Áëï ¿áõû³Ý, ѳë³Ý»ÉÇ ¿ ÙdzÛÝ áõÝ»õáñ ù³Õ³ù³óÇÝ»ñÇ »ñ»Ë³Ý»ñÇÝ, áñáíÑ»ï»õ ÙdzÛÝ Ýñ³Ýù ϳñáÕ »Ý å³Ñ»É »ñ»Ë³Ý»ñÇÝ` ãëïÇå»Éáí í³Õ ï³ñÇùÇó ³ß˳ï»É »õ áõëáõóÇãÝ»ñÇ ÑëÏáÕáõû³Ùµ ½µ³Õáõ»É ÇÝùݳϳï³ñ»É³·áñÍٳٵ: ÐáÙáïÇÙáëÝ»ñÇó ϳ½Ùáõ³Í ÁÝïñ³Ë³õÁ å¿ïù ¿ ¹³éݳñ Ýáñ å»ïáõû³Ý ·É˳õáñ ۻݳñ³ÝÁ: ÜÙ³Ý Ñ³Ù³Ï³ñ·Ç ³ñ¹ÇõÝùÁ å¿ïù ¿ ÉÇÝ¿ñ Ïáñåáñ³ïÇõ ù³Õ³ù³óÇ³Ï³Ý Ñ³ë³ñ³Ïáõû³Ý Ç Û³Ûï ·³ÉÁ, áñÇ ÑÇÙùáõÙ ¹ñáõ³Í ¿ÇÝ ³ñÇëïáÏñ³ï³Ï³Ý é³óÇáݳÉǽÙÇ ·³Õ³÷³ñÝ»ñÁ, áñáÝù ǹ¿³É³Ï³Ý å»ï³Ï³Ý ϳéáõóáõ³ÍùÇ ³ÝÑñ³Å»ßï å³ÛÙ³Ý »Ý ѳٳñáõÙ å»ï³Ï³Ý ϳé³í³ñÙ³Ý »ñ»ù ï»ë³ÏÝ»ñÇ Ñ³Ù³ã³÷ Û³ñ³µ»ñ³ÏóáõÃÇõÝÁ. ¹»ÙáÏñ³ï³Ï³Ý, ³ñÇëïáÏñ³ï³Ï³Ý »õ Ùdzå»ï³Ï³Ý: ƹ¿³É³Ï³Ý å»ïáõû³Ý ëï»ÕÍÙ³Ý Ù¿ç Û³ïáõÏ ï»Õ ¿ñ Û³ïϳóõáõ٠ǹ¿³É³Ï³Ý ïÇñ³Ï³ÉÇÝ, áñÝ ûÅïáõ³Í ¿ñ ï³ñµ»ñ µ³ñ»Ù³ëÝáõÃÇõÝÝ»ñáí, áñáÝù Çñ»Ýó Ù¿ç ѳٳÏóáõÙ »Ý ³ÛÝ ³Ù¿Ý ɳõÁ, áñ ϳñ»ÉÇ ¿ ÷áË ³éÝ»É å»ï³Ï³Ý ϳéáõóáõ³ÍùÇ µáÉáñ »ñ»ù ï»ë³ÏÝ»ñÇó: Ú³ïϳÝß³Ï³Ý ¿, áñ Çñ »ñ»õ³Ï³Û³Ï³Ý ϳï³ñ»³É å»ïáõÃÇõÝÁ øë»Ýá÷áÝÁ ï»Õ³¹ñáõÙ ¿ñ áã ÿ ²ñ»õÙáõïùáõÙ, ûñÇݳÏ` Çñ ëÇñ»ÉÇ êå³ñï³Ûáõ٠ϳ٠Çñ ѳϳËáÑ äɳïáÝÇ å¿ë` лñÏáõÉ»ë»³Ý ëÇõÝ»ñÇó ³ÛÝ ÏáÕÙ` ²ïɳÝïǹ³ÛáõÙ, ³ÛÉ ²ñ»õ»ÉùáõÙ, áñï»Õ ßáõïáí Çëϳå¿ë å¿ïù ¿ ëï»ÕÍáõ¿ñ ³é³çÇÝ Ñ»ÉÉ»ÝÇëï³Ï³Ý Ùdzå»ïáõÃÇõÝÁ` ²É»ùë³Ý¹ñ Ø»ÍÇ ï¿ñáõÃÇõÝÁ, »õ ³å³ Ýñ³ µ³½Ù³ÃÇõ Û³çáñ¹Ý»ñÁ: Àëï »ñ»õáÛÃÇÝ` øë»Ýá÷áÝÁ, ÆëáÏñ³ï¿ëÁ, ÇÝãå¿ë »õ Ýñ³Ýó ß³ï ³ÛÉ Å³Ù³Ý³Ï³ÏÇóÝ»ñ ·Çï³ÏóáõÙ ¿ÇÝ, áñ Ýáñ ïÇåÇ ù³Õ³ù³ÏñÃáõû³Ý Ó»õ³õáñáõÙÝ ³ÝÑݳñÇÝ ¿ ³ÝïÇÏ åáÉÇë³ÛÇÝ ³ñÅ¿ùÝ»ñáí ϳճå³ñáõ³Í Úáõݳëï³ÝÇ ÑáÕÇ íñ³Û: øë»Ýá÷áÝÁ ¹³ å¿ïù ¿ ·Çï³Ïó¿ñ ³é³õ»É å³ñ½, ù³Ý áñ»õ¿ Ù¿ÏÁ, ù³ÝÇ áñ ɳõ ¿ñ áõëáõÙݳëÇñ»É ÿª ²ñ»õ»ÉùÇ, ÿª ²ñ»õÙáõïùÇ Ï»³ÝùÁ: ²ñ¹ÇõÝùáõÙ` ݳ »Ï³õ ³ÛÝ Ñ³Ùá½Ù³Ý, áñ ³å³·³Û Ñ»ÉÉ»ÝÇëï³Ï³Ý (ۻﳷ³Ûáõ٠ݳ»õ ´Çõ½³Ý¹³Ï³Ý) ïÇåÇ ëÇÝÏñ»ïÇÏ å»ïáõÃÇõÝ Ï³ñáÕ ¿ Ó»õ³õáñáõ»É ÙdzÛÝ ²ñ»õ»ÉùáõÙ »õ ¹ñ³ ëï»ÕÍáÕÁ å¿ïù ¿ ÉÇÝÇ í³é ³Ýѳï³Ï³ÝáõÃÇõÝ` Ø»Í ïÇïÕáëÇ ³ñųÝÇ: ²Ñ³ ÿ ÇÝãáõ §ÎÇõñá廹dzÛáõÙ¦ ³Û¹ å»ïáõÃÇõÝÝ ëï»ÕÍáÕÁ` ÎÇõñáë Ø»ÍÁ, å³ïÏ»ñáõ³Í ¿ سñ³ëï³ÝÇ, ä³ñëϳëï³ÝÇ »õ г۳ëï³ÝÇ Ëáñ³å³ïÏ»ñÇ íñ³Û: ²õ»ÉÇÝ, øë»Ýá÷áÝÇ ëï»Õͳ·áñÍáõû³Ý ·ÉáõËÝ»ñÇó Ù¿ÏÇ (3, I) ÇÙ³ëï³ÛÇÝ ³é³ÝóùÁ ϳ½ÙáõÙ ¿ »ñÇï³ë³ñ¹ ³ñù³Û ÎÇõñáëÇ »õ Çñ å³ï³Ý»Ïáõû³Ý ÁÝÏ»ñ ѳÛáó ó·³Å³é³Ý· îÇ·ñ³Ý ºñáõ³Ý¹»³ÝÇ ³·áÝÁ (Ùñó³í¿×): ²Û¹ »ñÏáõ Ý߳ݳõáñ ·áñÍÇãÝ»ñÁ ÙdzëÇÝ ¹³ëïdzñ³Ïáõ»É »Ý ÑáÙáïÇÙáëÝ»ñ ÏñÃáÕ í³ñųñ³ÝáõÙ »õ ûÅïáõ³Í »Ý ù³Õ³ù³óÇ³Ï³Ý µ³ñÓñ³·áÛÝ ³é³ùÇÝáõÃÇõÝÝ»ñáí áõ ÇÙ³óáõû³Ùµ: ²Ûëå¿ë, îÇ·ñ³ÝÁ Ý»ñϳ۳ÝáõÙ ¿ ǵñ»õ ³ñųݳõáñ ù³Õ³ù³óÇ, áñÁ, ãÝ³Û³Í Çñ »ñÇï³ë³ñ¹ ï³ñÇùÇÝ, ѳݹ¿ë ¿ ·³ÉÇë ǵñ»õ ëá÷»ëï³Ï³Ý ·Çï»ÉÇùÝ»ñÇ ÏñáÕ. ݳ ϳï³ñ»É³å¿ë ïÇñ³å»ïáõÙ ¿ åáÉÇë³ÛÇÝ Ï»³ÝùÇ ÑÇÙùÁ ϳ½ÙáÕ ÷ÇÉÇëá÷³Û³Ï³Ý Ñé»ïáñáõû³Ý ³ñáõ»ëïÇÝ: Àëï ¿áõû³Ý, ѳÛáó ó·³Å³é³Ý·Á Ýáñ ïÇåÇ ïÇñ³Ï³É ¿, áñÇÝ Çñ ÇÙ³óáõû³Ý, »õ ÇÝãáõ ã¿` ÇÙ³ëï³ëÇñ³Ï³Ý ÑÙïáõû³Ý ßÝáñÑÇõ Û³çáÕõáõÙ ¿ ÷ñÏ»É îƶð²Ü غÌ
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Armenian king ordered to kill the philosopher who foreseeing the course of events, accepted the news of upcoming death quietly and thus more admired his disciple. However, after the physical death of philosopher his ideas continued to live and to change the world. The killed philosopher continued to live in the person of prince Tigranes whereas the king condemning him to death was dead for a long time. Another typical detail is that another philosopher Metrodorus, bright representative of "Striving" Stoa, teacher and educator of prince Artavazd, also has deserved similar archetype death already in real life (although sometimes it is difficult to understand where the novel ends and the real life starts). Thus, it is evident that Tigran the Great and his retinue were purposefully elaborating an entirely new, and not proper to traditional society, criteria of social behavior. Thanks to their efforts, the appearance in Armenia of a new type of human being and individual became possible, the brilliant example of which was Artavazd. The later was the personification of the ideal ruler, a philosopher on the throne, in such a great and important country as was ancient Armenia. Following the precepts of his master Metrodoros he became the fulfiller of ideas aspiring to stoicism. In fact, Metrodoros managed to do what Seneca never could: to educate a new type of ruler in whom philosophical contemplation (vita contemplativa) and vital activity (vita activa) were harmonically coexisting. Thus, by synolkismum (cohabitation) and the creation of new social elite Tigran was trying to assure a homonymy of the three forms of power: democracy, aristocracy and monarchy, just as the ideal society is depicted in the Cyropaedia by Xenophon. Translated from Armenian into English by L. Navasardyan
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Ù»ñÓ³õáñÝ»ñÇÝ »õ áÕç »ñÏÇñÁ: ØÇ»õÝáÛÝ Å³Ù³Ý³Ï Ýñ³ ѳÛñÁ` ѳÛáó ³ñù³Ý, §ÎÇõñá廹dzÛáõÙ¦ Ý»ñϳ۳óõáõÙ ¿ ǵñ»õ åñáý³Ý` ѳٳå³ï³ëË³Ý µÝáñáß Ï»óáõ³Íùáí: ²é³ÝÓÇÝ ¹¿åù»ñáõ٠ݳ ÃáÕÝáõÙ ¿ áõÕÕ³ÏÇ ËÕ×áõÏ ïå³õáñáõÃÇõÝ, »õ øë»Ýá÷áÝÝ ³Ý·³Ù ãÇ ÝßáõÙ Ýñ³ ³ÝáõÝÁ: гÛáó ³ñù³Ý ³Ûëï»Õ Ç Û³Ûï ¿ ·³ÉÇë ǵñ»õ ¹³ñÝ ³åñ³Í ³õ³Ý¹³Ï³Ý ݳѳå»ï³Ï³Ý µ³ñù»ñÇ ÏñáÕ: ²Û¹ µ³ñù»ñÁ ÿå¿ï ųٳݳϳíñ¿å »Ý, µ³Ûó ß³ñáõݳÏáõÙ »Ý å³Ûù³ñÝ Çñ»Ýó ·áÛáõû³Ý ѳٳñ. å³ï³Ñ³Ï³Ý ã¿, áñ ³ñù³Ý Ññ³Ù³ÛáõÙ ¿ ëå³Ý»É Ýáñ ³ß˳ñÑÁÝϳÉáõÙÁ Ù³ñÙݳõáñáÕ Çñ ½³õ³ÏÇÝ ÏñÃ³Í ÛáÛÝ áõëáõóãÇÝ: ØÇÝã¹»é »ñÏÇ ÑÇÙÝ³Ï³Ý ß³ñÅÇã áõÅÁ Ñ¿Ýó ³Û¹ ÛáÛÝ ëá÷»ëïÝ ¿, áñÁ, ÉÇÝ»Éáí §Ò·ïáÕ¦ êïáÛ»³ÛÇ ·³Õ³÷³ñÝ»ñÇ ÏñáÕ` ³ñù³Û³½Ý îÇ·ñ³ÝÇÝ í³ñÅ»óñ»É ¿ ³Û¹ ÷ÇÉÇëá÷³Û³Ï³Ý áõÕÕáõû³Ý µ³ñÓñ ·³Õ³÷³ñÝ»ñáí: ºñÏñáõÙ Ýϳñ³·ñáõ³Í ³Ýóù»ñÇ Í³õ³ÉÙ³Ý å³ÑÇÝ ÇÝùÝ ³ÛÉ»õë áÕç ã¿ñ. ³ñųݳݳÉáí Ù³ñ·³ñ¿-ÇÙ³ëï³ë¿ñÇ ³ñù»ïÇå³ÛÇÝ ×³Ï³ï³·ñÇ` ݳ Ù³Ñå³ïÅÇ ¿ñ »ÝóñÏáõ»É: ¸ñ³ å³ï׳éÝ ³ÛÝ ¿ñ, áñ ëïáÛ»³ÛÇ ·³Õ³÷³ñÝ»ñáí ïá·áñáõ³Í »õ ³ñ¹¿Ý »ñÇï³ë³ñ¹ ï³ñÇùáõÙ ÇÙ³ëïݳó³Í îÇ·ñ³ÝÁ ëÏëáõÙ ¿ ëá÷»ëïÇÝ ³Ýáõ³Ý»É §Ñ³Ûñ¦ »õ §Ëñ³ï³ïáõ¦: ²õ»ÉÇÝ, ݳ íÇ׳ñÏáõÙ ¿ Ñûñ áñáßáõÙÝ»ñÁ, ûɳ¹ñáõ³Í áã ÿ µ³Ý³Ï³Ýáõû³Ý Ó³ÛÝáí, ³ÛÉ ½·³óÙáõÝùÝ»ñáí »õ Ïñù»ñáí: ä³ñ½»Éáí, ÿ áõÙ ³½¹»óáõû³Ùµ ¿ ¹³ ³ñõáõÙ, ѳÛáó ³ñù³Ý Ññ³Ù³ÛáõÙ ¿ ëå³Ý»É ÷ÇÉÇëá÷³ÛÇÝ, áñÁ, ϳÝ˳ï»ë»Éáí ¹¿åù»ñÇ ÁÝóóùÁ, ѳݷÇëï ÁݹáõÝáõÙ ¿ Ùûï³Ï³Û Ù³Ñáõ³Ý ÉáõñÁ, áñáí ³õ»ÉÇ Ù»Í ÑdzóÙáõÝù ¿ ³é³ç³óÝáõÙ ³ß³Ï»ñïÇ Ù¿ç: ê³Ï³ÛÝ ÷ÇÉÇëá÷³ÛÇ ýǽÇÏ³Ï³Ý Ù³ÑÇó Û»ïáÛ Ýñ³ ·³Õ³÷³ñÝ»ñÁ ß³ñáõݳÏáõÙ »Ý ³åñ»É` ÷áË»Éáí ³ß˳ñÑÁ: Æ ¹¿Ùë ³ñù³Û³½Ý îÇ·ñ³ÝÇ` ëå³Ýáõ³Í ÷ÇÉÇëá÷³Ý ß³ñáõݳÏáõÙ ¿ Ï»³ÝùÁ, ÙÇÝã¹»é Çñ»Ý ٳѳå³ïÅÇ »ÝóñÏ³Í Ã³·³õáñÁ í³Õáõó Ù»é³Í ¿: ºõë ÙÇ µÝáñáß Ù³Ýñ³Ù³ëÝ. ÝáÛݳÝÙ³Ý ³ñù»ïÇå³ÛÇÝ Ù³Ñáõ³Ý, ë³Ï³ÛÝ ³ñ¹¿Ý Çñ³Ï³Ý Ï»³ÝùáõÙ (ÿå¿ï »ñµ»ÙÝ ¹Åáõ³ñ ¿ ѳëϳݳÉ` áñï»Õ ¿ ³õ³ñïõáõÙ í¿åÁ »õ ëÏëõáõÙ Çñ³Ï³Ý Ï»³ÝùÁ), ³ñųݳó»É ¿ Ù¿Ï ³ÛÉ ÷ÇÉÇëá÷³Û` ³ñù³Û³½Ý ²ñï³õ³½¹Ç áõëáõóÇã »õ ¹³ëïdzñ³Ï Ø»ïñá¹áñáëÁ` §Ò·ïáÕ¦ êïáÛ»³ÛÇ í³é Ý»ñϳ۳óáõóÇãÁ: ²ÛëåÇëáí ³ÏÝ»ñ»õ ¿ ¹³éÝáõÙ, áñ îÇ·ñ³ÝÁ »õ Çñ Ù»ñÓ³õáñÝ»ñÁ Ýå³ï³Ï³áõÕÕáõ³Í Ùß³ÏáõÙ ¿ÇÝ ëáóÇ³É³Ï³Ý í³ñù³Ó»õÇ µáÉáñáíÇÝ Ýáñ ã³÷³ÝÇßÝ»ñÇ, áã µÝáñáß ³õ³Ý¹³Ï³Ý ѳë³ñ³Ïáõû³ÝÁ: Üñ³Ýó ç³Ýù»ñÇ ßÝáñÑÇõ г۳ëï³ÝáõÙ Ñݳñ³õáñ ¹³ñÓ³õ Ýáñ ïÇåÇ Ù³ñ¹áõ, ³Ýѳï³Ï³Ýáõû³Ý, ·áÛ³óáõÙ, áñÇ í³é ûñÇݳÏÁ ²ñï³õ³½¹Ý ¿: ì»ñçÇÝë ¹³ñÓ³õ ǹ¿³É³Ï³Ý ïÇñ³Ï³ÉÇ Ù³ñÙݳõáñáõÙ, ÷ÇÉÇëá÷³Û ·³ÑÇ íñ³Û, ³ÛÝ ¿É ³ÛÝåÇëÇ Ù»Í »õ Ý߳ݳϳÉÇó »ñÏñáõÙ, ÇÝãåÇëÇÝ ÑÇÝ Ð³Û³ëï³ÝÝ ¿ñ: лï»õ»Éáí Çñ áõëáõóÇã Ø»ïñá¹áñáëÇÝ Ý³ ¹³ñÓ³õ Ó·ïáÕ ëïáÛ»³ÛÇ ·³Õ³÷³ñÝ»ñÇ Çñ³·áñÍáÕ: Àëï ¿áõû³Ý, Ø»ïñá¹áñáëÇÝ Û³çáÕáõ»ó ³ÛÝ ÇÝã ãÛ³çáÕí»ó ê»Ý»Ï³ÛÇݪ ¹³ëïdzñ³Ï»É Ýáñ ïÇåÇ ïÇñ³Ï³ÉÇ, áñÇ Ù¿ç Ý»ñ¹³ßݳÏõáõÙ »Ý ÇÙ³ëï³ëÇñ³Ï³Ý ѳۻóáÕáõÃÇõÝÁ (vita conteplativa) »õ Ï»Ýë³Ï³Ý ³ÏïÇõáõÃÇõÝ (vita activa): ²ÛëåÇëáí ëÇÝáÛÏdzÛÇ »õ Ýáñ ïÇåÇ ÁÝïñ³Ë³õÇ ëï»ÕÍٳٵ îÇ·ñ³ÝÝ Çñ Ù³Ûñ³ù³Õ³ùáõÙ Ó·ïáõÙ ¿ñ ³å³Ñáí»É Çß˳Ýáõû³Ý µáÉáñ »ñ»ù Ó»õñǪ ¹»ÙáÏñ³ï³Ï³ÛÇ, ³ñÇëïáÏñ³ï³ÛÇ »õ Ùdzå»ï³áõû³Ý ÑáÙáÝáÙdz, ×Çßï ³ÛÝå¿ë, ÇÝãå¿ë §ÎÇõñá廹dzÛáõÙ¦ å³ïÏ»ñ³óáõ³Í ¿ øë»Ýá÷áÝÇ Ç¹¿³É³Ï³Ý å»ïáõÃÇõÝÁ:
îƶð²Ü غÌ
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SUREN MARTIKYAN
TIGRAN II THE GREAT, THE POWER SUMMIT OF GREATER ARMENIA
The
reign of Tigran II the Great (95-55 B.C.), when Greater Armenia reached the summit of its power, is one of the most important stages of the Armenian military art history. Then the Armenian army adopted the attack strategy and the kingdom expanded, including enormous territories from Egypt to the Caucasus and from Media to Pontus. But it was not only for his exterior military successes that Tigran was called "the Great". All the initiatives of the Armenian king keep astonishing even today by their large scale, extraordinary for the time, the preciseness of their purposes, their circumspection and the foresight of the conducted policy. The reign of Tigran the Great was unique in the history of the Armenian people less for the achieved conquests than for its special influence on the formation of self-consciousness in the mind of future generations. Movses Khorenatsi considers that the main result of the acquired power was the peace established after the conquests. The poem We are not numerous, but we are Armenian by Paruyr Sevak is another manifestation of this approach. "Simply in our centuries-long life When we were numerous And were powerful, Never have we oppressed another nation, And nobody has suffered from our blows; If we captured someone It was only by books; It we dominated someone It was only by our talents..." Capturing by books and dominating by talents are facts absolutely normal for one of the oldest civilized nations of the world, but it may be hardly understandable at first sight to dominate or to conquer other nations without oppressing them or without harming anybody by our blows. History knows kings who showed humanism during their conquests, but we don't know any example of their remaining in human memory as humanists first of all. Which is the reason of this unusual trace left in the memory of our people from that period of conquests?
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êàôð¾Ü زðîÆκ²Ü
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гÛáó é³½Ù³ñáõ»ëïÇ å³ïÙáõû³Ý ϳñ»õáñ³·áÛÝ ÷áõÉ»ñÇó ¿ Ø»Í Ð³ÛùÇ Ñ½ûñáõû³Ý ·³·³ÃݳϿïǪ îÇ·ñ³Ý ´-Ç ·³Ñ³Ï³ÉÙ³Ý Å³Ù³Ý³Ï³ßñç³ÝÁ (ø.³. 95-55ÃÃ.), »ñµ ѳÛáó µ³Ý³ÏÝ ³Ýó³õ Û³ñÓ³ÏáÕ³Ï³Ý é³½Ù³í³ñáõû³Ý »õ ó·³õáñáõÃÇõÝÝ Áݹ³ñÓ³Ïáõ»óª Áݹ·ñÏ»Éáí º·ÇåïáëÇó ÙÇÝã»õ Îáíϳë áõ سñ³ëï³ÝÇó ÙÇÝã»õ äáÝïáë ÁÝÏ³Í ÑëÏ³Û³Ï³Ý ï³ñ³ÍùÝ»ñ: ê³Ï³ÛÝ îÇ·ñ³Ý ´-Ý ÙdzÛÝ ³ñï³ùÇÝ é³½Ù³Ï³Ý Û³çáÕáõÃÇõÝÝ»ñÇ Ñ³Ù³ñ ã¿, áñ ÏñáõÙ ¿ §Ø»Í¦ å³ïáõ³ÝáõÝÁ: гÛáó ³ñù³ÛÇ µáÉáñ Ó»éݳñÏáõÙÝ»ñÝ ³Ûëûñ ¿É ½³ñÙ³óÝáõÙ »Ý Çñ»Ýó ¹³ñ³ßñç³ÝÇ Ñ³Ù³ñ ³ñï³Ï³ñ· Ù»Í Áݹ·ñÏáõÙáí, ³é³ç³¹ñáõáÕ ËݹÇñÝ»ñÇ Ûëï³Ïáõû³Ùµ, ѳßáõ»Ýϳïáõû³Ùµ áõ í³ñáõáÕ ù³Õ³ù³Ï³Ýáõû³Ý Ñ»é³ï»ëáõû³Ùµ: îÇ·ñ³Ý Ø»ÍÇ ·³Ñ³Ï³Éáõû³Ý ï³ñÇÝ»ñÁ ѳÛáó å³ïÙáõû³Ý Ù¿ç »½³ÏÇ ¿ÇÝ áã ³ÛÝù³Ý Ýáõ³×áõÙÝ»ñáí, áñù³Ý ۻﳷ³Û ë»ñáõݹݻñÇ ÇÝùݳ·Çï³Ïóáõû³Ý Ó»õ³õáñÙ³Ý ·áñÍáõÙ áõÝ»ó³Í Çõñ³Û³ïáõÏ ³½¹»óáõû³Ùµ: Øáíë¿ë Êáñ»Ý³óÇÝ »ñÏñÇ Ñ½ûñ³óÙ³Ý ·É˳õáñ ³ñ¹ÇõÝù ¿ ѳٳñáõÙ Ýáõ³×áõÙÝ»ñÇ Ñ»ï»õ³Ýùáí ѳëï³ïáõ³Í ˳ճÕáõÃÇõÝÁ: ÜáÛÝ í»ñ³µ»ñÙáõÝùÇ Ù¿Ï ³ÛÉ ¹ñë»õáñÙ³Ý Ù³ëÇÝ »Ý ä³ñáÛñ ê»õ³ÏÇ §øÇã »Ýù, µ³Ûó Ñ³Û »Ýù¦ µ³Ý³ëï»ÕÍáõû³Ý ïáÕ»ñÁ. §ä³ñ½³å¿ë Ù»Ýù Ù»ñ ¹³ñ³õáñ Ï»³ÝùáõÙ, ºñµ »Õ»É »Ýù ß³ï àõ »Õ»É ϳݷáõÝ, ¸³ñÓ»³°É ã»Ýù ×Ýß»É Ù¿Ï áõñÇß ³½·Ç, à°ã áù ãÇ ïáõÅ»É ½³ñÏÇó Ù»ñ µ³½ÏÇ: ºÃ¿ ·»ñ»É »Ýùª ÈáÏ Ù»ñ ·ñù»ñáí. ºÃ¿ ïÇñ»É »Ýùª ÈáÏ Ù»ñ ÓÇñù»ñáí...¦: ¶ñù»ñáí ·»ñ»ÉÝ áõ ÓÇñù»ñáí ïÇñ»ÉÁ Ùß³Ïáõóëï»ÕÍ Ñݳ·áÛÝ ³½·»ñÇó Ù¿ÏÇ Ñ³Ù³ñ Ùdzݷ³Ù³ÛÝ ûñÇݳã³÷ ¿, ë³Ï³ÛÝ ³é³çÇÝ Ñ³Û»³óùÇó ³ÝѳëϳݳÉÇ Ï³ñáÕ ¿ ÉÇÝ»É ³é³Ýó ×Ýß»Éáõ áõñÇß ³½·»ñÇÝ ïÇñ»ÉÁ ϳ٠Ýáõ³×»ÉÁ, áñÇ Å³Ù³Ý³Ï áã áù Ù»ñ µ³½ÏÇ ½³ñÏÇó ãÇ ïáõÅáõÙ: ä³ïÙáõÃÇõÝÇó Û³ÛïÝÇ »Ý ó·³õáñÝ»ñ, áñáÝó Ýáõ³×áõÙÝ»ñÇ ÁÝóóùáõÙ Ù³ñ¹³ëÇñáõû³Ý ¹ñë»õáñáõÙÝ»ñ »Õ»É »Ý, ë³Ï³ÛÝ Û³ÛïÝÇ ã¿ Ù¿Ï ³ÛÉ ûñÇݳÏ, »ñµ Ýñ³Ýù ë»ñáõݹݻñÇ ÛÇßáÕáõû³Ý Ù¿ç ³é³çÇÝ Ñ»ñÃÇÝ Ù³ñ¹³ëÇñáõû³Ùµ Ùݳó³Í ÉÇÝ»Ý: à±ñÝ ¿ Ù»ñ ÅáÕáíñ¹Ç ÛÇßáÕáõû³Ý Ù¿ç Ýáõ³×áõÙÝ»ñÇ Å³Ù³Ý³Ï³ßñç³ÝÇ ÃáÕ³Í ³Ûë ³Ýëáíáñ Ñ»ïùÇ å³ï׳éÁ: îƶð²Ü غÌ
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THE ARMENIAN ARMY AND MILITARY ART UNDER TIGRAN II (MILITARY REFORMS) At the period preceding the reign of Tigran II the country had become economically powerful. The Armenian king adjoined military power to the economical one, which made unavoidable the confrontation with the Parthian kingdom, the major power of the region. done at the beginning of his reign, in result of which the Armenian army underwent essential modifications. Intermediary subdivisions composed from three to six hundreds soldiers and bearing the same accoutrements were created between the light and heavy infantry. These units reminding of the cohorts of the Roman army may be compared to the battalions of our times. Detachment armed by pole-axes and subdivisions for taking care of battering rams and catapults were created as well. Tigran created a heavily armored cavalry which became the main shock troops of the army. The cavalry was armed by long lances, bows and swords; the heavy cavalry was also protected by armor and high helmets. Horses were covered with armor, too. Even a short analysis of the organization structure of the Armenian army shows that all the conditions were created to undertake large-scale attacking operations. And war occurred as the result of a meticulously prepared and weighed policy. Information about the Armenian army having chosen the strategy of attacking is quite insufficient. The studies of available information show that the tactics of the Armenian army as a whole was like the one of other Eastern armies, especially the Parthian tactics. The essential difference was that even if great importance was given to the cavalry, like the Parthian army did, the infantry was not disregarded, as it was irreplaceable on mountainous uneven grounds. The available documents allow restoring roughly the tactical system of the Armenian army at that time. The light infantry (archers, spearmen, slingers) began the battle. Then the heavy infantry joined them and repulsed the main attacking forces of the enemy. The cavalry was introduced in the battle at the same time as the heavy infantry. To maximally use the rapidity of the cavalry during the battle the cavalrymen were armed with two kinds of arms: swords or lances for close combat, bows and arrows for distant combat. Coming close to their adversaries cavalrymen throw arrows at them and then began in-fighting. In case of necessity cavalrymen retreated, then regrouped and attacked the enemy once again. According to the tactical situation the commandant decided of the decisive moment of the battle and after the next regrouping he sent his warriors to break through the formation of the enemies. To reinforce the last attack all the available forces joined each other, but the breaking of the formation was achieved by the heavily armored cavalry.
THE ARMENIAN-PARTHIAN WAR (87-86 B.C.) (THE FIRST STAGE OF CONQUESTS) The preparation to the war against Parthians was a huge system of meticulously organized preparatory measures, the components of which were of 144
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вÚàò ´²Ü²ÎÀ ºô 貼زðàôºêîÀ îƶð²Ü ´-Æ úðúø (è²¼Ø²Î²Ü ´²ðºöàÊàôØܺðÀ) îÇ·ñ³Ý ´-Ç ·³Ñ³Ï³ÉÙ³ÝÁ ݳËáñ¹³Í ßñç³ÝáõÙ »ñÏÇñÁ ïÝï»ë³å¿ë ѽûñ³ó»É ¿ñ: гÛáó ³ñù³Ý ïÝï»ë³Ï³Ý ѽûñ³óÙ³ÝÁ Û³õ»ÉáõÙ ¿ 鳽ٳϳÝÁ, áñáí ³ÝËáõë³÷»ÉÇ ¿ ¹³éÝáõÙ ï³ñ³Í³ßñç³ÝÇ ·»ñï¿ñáõû³Ýª ä³ñûõëï³ÝÇ Ñ»ï ³é׳ϳïáõÙÁ: ²Û¹ µ³ËÙ³ÝÁ îÇ·ñ³ÝÁ ݳ˳å³ïñ³ëïõáõÙ ¿ñ Çñ ·³Ñ³Ï³ÉÙ³Ý ëϽµáõÙ Ó»éݳñÏáõ³Í é³½Ù³Ï³Ý µ³ñ»÷áËáõÙÝ»ñáí, áñáÝó ³ñ¹ÇõÝùáõ٠ѳÛáó µ³Ý³ÏÇ Ï³éáõóáõ³ÍùÝ ¿³Ï³Ý ÷á÷áËáõÃÇõÝÝ»ñ ¿ ÏñáõÙ: лï»õ³ÏÇ Ã»Ã»õ³½¿Ý »õ ͳÝñ³½¿Ý ·Ý¹»ñÇ Ù¿ç ³é³ÝÓݳóõáõÙ »Ý Ùdzï»ë³Ï ½ÇÝáõ³Í áõ ÝáÛÝ å³ßïå³Ý³Ï³Ý ѳݹ»ñÓ³Ýùáí »ñ»ùÇó í»ó ѳñÇõñ»³ÏÝ»ñÇó µ³Õϳó³Í ÙÇç³ÝÏ»³É ëïáñ³µ³Å³ÝáõÙÝ»ñ: ÐéáÙ¿³Ï³Ý µ³Ý³ÏÝ»ñÇ ÏáÑáñï³Ý»ñÁ ÛÇß»óÝáÕ ³Ûë ÙdzõáñÝ»ñÁ ϳñ»ÉÇ ¿ ѳٻٳï»É Ù»ñ ųٳݳÏÝ»ñÇ ·áõÙ³ñï³ÏÝ»ñÇ Ñ»ï: ػͳóõáõÙ »Ý ë³Ïñ³õáñÝ»ñÇ çáϳïÝ»ñÁ, ËáÛ»ñÝ áõ µ³µ³ÝÝ»ñÁ ëå³ë³ñÏáÕ ëïáñ³µ³Å³ÝáõÙÝ»ñÁ: îÇ·ñ³ÝÁ ëï»ÕÍáõÙ ¿ ͳÝñ³½¿Ý ½ñ³Ñ³õáñ ѻͻɳ½ûñ, áñÁ ¹³éÝáõÙ ¿ µ³Ý³ÏÇ ·É˳õáñ ѳñáõ³Í³ÛÇÝ áõÅÁ: лͻɳ½ûñÁ ½ÇÝõáõÙ ¿ »ñϳñ Ýǽ³ÏÝ»ñáí, ³Õ»ÕÝ»ñáí, ëñ»ñáí, ÇëÏ Í³Ýñ³½¿ÝÁ, µ³óÇ ³Û¹, å³ßïå³ÝõáõÙ ½ñ³Ñáí áõ »ñϳñ³óáõ³Í ë³Õ³õ³ñïáí: ¼ñ³Ñ³å³ïõáõÙ »Ý ݳ»õ ÓÇ»ñÁ: гÛáó µ³Ý³ÏÇ Ï³½Ù³Ï»ñå³Ï³Ý ϳéáõóáõ³ÍùÇ Ã¿Ïáõ½ ѳٳéûï í»ñÉáõÍáõÃÇõÝÁ íϳÛáõÙ ¿, áñ ٻͳٳëßï³µ Û³ñÓ³ÏáÕ³Ï³Ý ·áñÍáÕáõÃÇõÝÝ»ñÇ Í³õ³ÉÙ³Ý Ñ³Ù³ñ µáÉáñ ݳ˳å³ÛÙ³ÝÝ»ñÁ ëï»ÕÍáõ»É ¿ÇÝ, ÇëÏ å³ï»ñ³½ÙÁ Ù³Ýñ³ÏñÏÇï Ï»ñåáí ݳ˳å³ïñ³ëïáõ³Í áõ ϳ½Ù³Ï»ñåáõ³Í ù³Õ³ù³Ï³Ýáõû³Ý ³ñ¹ÇõÝù ¿ñ: Ú³ñÓ³ÏáÕ³Ï³Ý é³½Ù³í³ñáõÃÇõÝ áñ¹»·ñ³Í ѳÛáó µ³Ý³ÏÇ é³½Ù³ñáõ»ëïÇ Ù³ëÇÝ ï»Õ»ÏáõÃÇõÝÝ»ñÝ ³Ýµ³õ³ñ³ñ »Ý: ºÕ³Í ï»Õ»ÏáõÃÇõÝÝ»ñÇ áõëáõÙݳëÇñáõÃÇõÝÝ»ñÁ óáÛó »Ý ï³ÉÇë, áñ ѳÛáó µ³Ý³ÏÇ Ù³ñï³í³ñáõÃÇõÝÝ ÁݹѳÝáõñ ·Í»ñáí ÝÙ³Ý ¿ñ ³ñ»õ»É»³Ý µ³Ý³ÏÝ»ñÇ, Ù³ëݳõáñ³å¿ë, å³ñûõ³Ï³ÝÇ Ù³ñï³í³ñáõÃÛ³ÝÁ: ¾³Ï³Ý ï³ñµ»ñáõÃÇõÝÝ ³ÛÝ ¿ñ, áñ ÿ»õ å³ñûõÝ»ñÇ å¿ë Ù»Í ï»Õ ¿ñ Û³ïϳóõáõ٠ѻͻɳ½ûñÇÝ, ë³Ï³ÛÝ ³ãù³ÃáÕ ã¿ñ ³ñõáõÙ Ñ»ï»õ³ÏÁ, áñÝ ³Ý÷á˳ñÇÝ»ÉÇ ¿ñ É»éݳÛÇÝ Ïïñïáõ³Í ï»Õ³ÝùáõÙ: Ò»éùÇ ï³Ï »Õ³Í ÝÇõÃÁ Ñݳñ³õáñáõÃÇõÝ ¿ ï³ÉÇë ÁݹѳÝáõñ ·Í»ñáí í»ñ³Ï³Ý·Ý»É ³Ûë ßñç³ÝÇ Ñ³Ûáó µ³Ý³ÏÇ Ù³ñï³í³ñ³Ï³Ý ѳٳϳñ·Á: سñïÁ ëÏëáõÙ ¿ñ ûûõ³½¿Ý Ñ»ï»õ³ÏÁ (Ý»ï³ÓÇ·Ý»ñ, ï»·³ÓÇ·Ý»ñ, å³ñë³ïÇϳõáñÝ»ñ): ²å³ Ù³ñïÇ ¿ñ Ùïóõáõ٠ͳÝñ³½¿Ý Ñ»ï»õ³ÏÁ, áñÝ ³Ý¹ñ³¹³ñÓÝáõÙ ¿ñ ѳϳé³Ïáñ¹Ç ·É˳õáñ áõÅ»ñÇ ·ñáÑÁ: лͻɳѽûñÁ Ù³ñïÇ ¿ñ Ùïóõáõ٠ͳÝñ³½¿Ý Ñ»ï»õ³ÏÇ Ñ»ï ÙdzųٳݳÏ: سñïÇ ÁÝóóùáõ٠ѻͻɳѽûñÇ ³ñ³·³ß³ñÅáõÃÇõÝÝ ³é³õ»É³·áÛÝë û·ï³·áñÍ»Éáõ ѳٳñ ѻͻ³ÉÝ»ñÝ áõÝ»ÝáõÙ ¿ÇÝ »ñÏáõ ïÇåÇ Û³ñÓ³ÏáÕ³Ï³Ý ½¿Ýùª Ù»ñÓ³Ù³ñïÇ Ñ³Ù³ñª ëáõñ ϳ٠Ýǽ³Ï »õ Ñ»é³Ù³ñïÇ Ñ³Ù³ñª ³Õ»Õ: гϳé³Ïáñ¹ÇÝ Ùûï»Ý³ÉÇë ѻͻ³ÉÝ»ñÁ Ý»ï³Ñ³ñáõÙ ¿ÇÝ Ýñ³Ý, ³å³ ³ÝóÝáõÙ Ù»ñÓ³Ù³ñïÇ: ²ÝÑñ³Å»ßïáõû³Ý ¹¿åùáõ٠ѻͻɳ½ûñÁ Ý»ï³Ñ³ñ»Éáí Û»ï ¿ñ ù³ßõáõÙ »õ í»ñ³ËÙµ³õáñáõ»Éáíª ÏñÏÇÝ ·ñáÑáõ٠ѳϳé³Ïáñ¹Ç íñ³Û: سñï³í³ñ³Ï³Ý Çñ³íÇ׳ÏÇó »ÉÝ»Éáíª Ù³ñïÁ í³ñáÕ ½ûñ³í³ñÁ áñáßáõÙ ¿ñ ׳ϳï³Ù³ñïÇ í×é³Ï³Ý ·ñáÑÁ ëÏë»Éáõ å³ÑÝ áõ, Ñ»ñÃ³Ï³Ý í»ñ³ËÙµ³õáñáõÙÇó Û»ïáÛ, ѳϳé³Ïáñ¹Ç Ù³ñï³Ï³ñ·Á ×»Õù»Éáõ ËݹÇñ ¹ÝáõÙ ½ûñù»ñÇ ³éç»õ: ì»ñçÇÝ ·ñáÑÇ Ã³÷Ý ³õ»É³óÝ»Éáõ Ýå³ï³Ïáí Ý»ñ·ñ³õõáõÙ ¿ÇÝ µáÉáñ Ñݳñ³õáñ áõÅ»ñÁ, ë³Ï³ÛÝ Ù³ñï³Ï³ñ·Ç ×»ÕùÙ³Ý ËݹÇñÁ ϳï³ñáõÙ ¿ñ ͳÝñ³½¿Ý ½ñ³Ñ³õáñ ѻͻɳѽûñÁ:
îƶð²Ü غÌ
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diverse nature and scale. Their aim was to prevent any kind of possible surprises during the war. Beside the military reforms, the preparation to the war included the operation of adjoining Tsopk to Greater Armenia (94 B.C.), the alliance concluded with Pontus (94 B.C.), the struggle initiated for Cappadocia with allied armies (93, 92-91 B.C.), as well as neutralization of other probable threats (including the subjection of Georgia and Caucasian Albania). It must be noticed that already in this stage the Armenian army became the most efficient military force of the region. According to the alliance concluded with Pontus enormous human groups were moved to Armenia. Such measures could be taken in a short period of time only with the help of the army. This fact testifies about the good organization of the Armenian army and its capacity of solving different kinds of problems. By the way, it must be stressed that already during these operations humane treatment of the pacific population was the main difference between the Armenian armed forces and the other armies of the region. The best proof is that Roman historians never spoke about any cruel treatment during the move of the Cappadocian population, in spite of their very negative attitude towards Tigran who tried to bring together eastern countries against the aggressive policy of the Roman Empire. Such comportment can even seem unusual for the 1st century B.C. So, the preparation of the war started with military reforms and active foreign policy. To win his struggle for priority in the region, before concentrating his attention on the military operations to be undertaken in the south, Tigran neutralized all the threats which could possibly appear in the northern, western and eastern directions. His consistent and well thought over policy is also testified by the fact that the war started at a moment when the Parthian Empire was unprepared to resist any attempt of calling in question its priority in the region. The fact was that the Parthian Empire was weakened by intestine wars and was not ready to struggle to keep under its domination Northern Mesopotamia and northern parts of the Iranian Plateau, even if its human and material resources were far more important. The course of military operations shows that the choice of attack direction was also paid much attention to. The Armenian army entered the Parthian territory through the shortest and the most unexpected direction: the territory called "seventy valleys" between the Lakes of Van and Urmia, which Tigran had to leave as ransom to the Parthian king to get free from his state of hostage. This border zone was considered as the most inaccessible because of its impassable mountains and its fortifications. Subsequently, the factor of unexpectedness was used either in the matter of attack time or direction. Thus, the Armenian army took the initiative in the war and decided its outcome during the first battles. Breaking the resistance of Parthian military units defending the border, the Armenian army moved forward to the south and defeated the main forces of the Parthian army in the surroundings of Nineveh, the former capital town of Assyria. As great and important that could be the military operations displayed in Mesopotamia, they were only a part of the grandiose strategic projects of 146
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вÚ-ä²ðºô²Î²Ü ä²îºð²¼ØÀ (ø.². 87-86ÂÂ.) (Üàô²ÖàôØܺðÆ ²è²æÆÜ öàôÈÀ) ä³ñûõëï³ÝÇ ¹¿Ù å³ï»ñ³½ÙÇ Ý³Ë³å³ïñ³ëïáõÙÁ Ù³Ýñ³½ÝÇÝ Ý³Ë³å³ïñ³ëïáõ³Í ÙÇçáó³éáõÙÝ»ñÇ ÑëÏ³Û³Ï³Ý Ñ³Ù³Ï³ñ· ¿ñ, áñÇ µ³ÕϳóáõóÇãÝ»ñÁ ï³ñµ»ñõáõÙ ¿ÇÝ µÝáÛÃáí »õ Áݹ·ñÏٳٵ: ¸ñ³ Ýå³ï³ÏÝ ¿ñ å³ï»ñ³½ÙÇ Å³Ù³Ý³Ï Ëáõë³÷»É Ñݳñ³õáñ ³Ý³ÏÝϳÉÝ»ñÇó: ä³ï»ñ³½ÙÇ Ý³Ë³å³ïñ³ëïáõÙÁ, é³½Ù³Ï³Ý µ³ñ»÷áËáõÙÝ»ñÇó µ³óÇ, Áݹ·ñÏáõÙ ¿ñ ݳ»õ Ìá÷ùÁ Ø»Í Ð³ÛùÇÝ ÙdzóÝ»Éáõ ·áñÍáÕáõÃÇõÝÁ (ø.³. 94Ã.), äáÝïáëÇ Ñ»ï ÏÝùáõ³Í ¹³ßÇÝùÁ (ø.³. 94Ã.), ¹³ßݳÏÇó ½ûñù»ñÇ ÏáÕÙÇó γ峹áíÏdzÛÇ Ñ³Ù³ñ ͳõ³Éáõ³Í å³Ûù³ñÁ (ø.³. 93, 92-91ÃÃ.), ³ÛÉ áõÕÕáõÃÇõÝÇó ѳõ³Ý³Ï³Ý ëå³éݳÉÇùÝ»ñÇ ã¿½áù³óáõÙÁ (³Û¹ ÃáõáõÙª ìÇñùÇ »õ ²Õáõ³ÝùÇ Ñå³ï³Ï»óáõÙÁ): Ú³ïϳÝß³Ï³Ý ¿, áñ ³ñ¹¿Ý ³Ûë ÷áõÉáõ٠ѳÛáó µ³Ý³ÏÁ ¹³ñÓ³õ ï³ñ³Í³ßñç³ÝÇ ³Ù»Ý³Ù³ñïáõÝ³Ï áõÅÁ: äáÝïáëÇ Ñ»ï ÏÝùáõ³Í ¹³ßÇÝùÇ Ñ³Ù³Ó³ÛÝ` γ峹áíÏdzÛÇó Ù³ñ¹Ï³ÛÇÝ ÑëÏ³Û³Ï³Ý ½³Ý·áõ³ÍÝ»ñ »Ý ï»Õ³÷áËõáõ٠г۳ëï³Ý: γñ× Å³Ù³Ý³ÏáõÙ ³Û¹ ϳñ·Ç ÙÇçáó³éáõÙÁ ϳñ»ÉÇ ¿ñ Çñ³Ï³Ý³óÝ»É ÙdzÛÝ µ³Ý³ÏÇ Ù³ëݳÏóáõû³Ùµ: ¸³ íϳÛáõÙ ¿ ѳÛáó µ³Ý³ÏÇ Ï³½Ù³Ï»ñåáõ³Íáõû³Ý »õ ³Ù»Ý³ï³ñµ»ñ ËݹÇñÝ»ñ ÉáõÍ»Éáõ ϳñáÕáõû³Ý Ù³ëÇÝ: Àݹ áñáõÙ, ß»ßï»Ýù, áñ ³ñ¹¿Ý ³Ûë ·áñÍáÕáõÃÇõÝÝ»ñÇ ÁÝóóùáõÙ ï³ñ³Í³ßñç³ÝÇ ÙÇõë µ³Ý³ÏÝ»ñÇó ѳÛáó ½ÇÝáõ³Í áõÅ»ñÇ ·É˳õáñ ï³ñµ»ñáõÃÇõÝÝ»ñÇó ¿ ¹³éÝáõÙ Ë³Õ³Õ µÝ³Ïãáõû³Ý Ýϳïٳٵ óáõó³µ»ñáõáÕ Ù³ñ¹³ëÇñáõÃÇõÝÁ: ¸ñ³ ³Ù»Ý³í³é ³å³óáÛóÝ ¿, áñ ÐéáÙÇ Ýáõ³×áÕ³Ï³Ý ù³Õ³ù³Ï³Ýáõû³ÝÁ ¹ÇٳϳۻÉáõ ѳٳñ ²ñ»õ»ÉùÁ Ùdzõáñ»É ÷áñÓáÕ îÇ·ñ³Ý ´Ç Ýϳïٳٵ Áݹ·Íáõ³Í µ³ó³ë³Ï³Ý í»ñ³µ»ñÙáõÝù áõÝ»óáÕ ÑéáÙ¿³Ï³Ý å³ïÙÇãÝ»ñÇ Ùûï γ峹áíÏdzÛÇ µÝ³Ïãáõû³Ý ï»Õ³Ñ³Ýáõû³Ý Ýϳñ³·ñáõÃÇõÝÝ»ñáõÙ ·áñÍáõ³Í ¹³Å³ÝáõÃÇõÝÝ»ñÇ Ù³ëÇÝ áã ÙÇ ³ÏݳñÏ ãϳÛ: ø.³. 1-ÇÝ ¹³ñáõÙ ³Û¹åÇëÇ í³ñù³·ÇÍÝ ³é³çÇÝ Ñ³Û»³óùÇó ϳñáÕ ¿ ÝáÛÝÇëÏ ³ñï³ëáíáñ Ãáõ³É: ²ÛëåÇëáí, å³ï»ñ³½ÙÇ Ý³Ë³å³ïñ³ëïáõÙÁ ëÏëõáõÙ ¿ é³½Ù³Ï³Ý µ³ñ»÷áËáõÙÝ»ñáí »õ ³ÏïÇõ ³ñï³ùÇÝ ù³Õ³ù³Ï³Ýáõû³Ùµ: î³ñ³Í³ßñç³ÝáõÙ ·»ñÇß˳Ýáõû³Ý ѳٳñ ÙÕáõáÕ å³Ûù³ñáõÙ áõß³¹ñáõÃÇõÝÁ ѳñ³õáõÙ í³ñáõ»ÉÇù é³½Ù³Ï³Ý ·áñÍáÕáõÃÇõÝÝ»ñÇ íñ³Û Ï»ÝïñáݳóÝ»Éáõó ³é³ç îÇ·ñ³ÝÁ 㿽áù³óÝáõÙ ¿ ÑÇõëÇë³ÛÇÝ, ³ñ»õÙïÛ³Ý »õ ³ñ»õ»É»³Ý áõÕÕáõÃÇõÝÝ»ñÇó ѳõ³Ý³Ï³Ý ѳٳñáõáÕ ëå³éݳÉÇùÝ»ñÁ: лï»õáÕ³Ï³Ý »õ Ïßé³¹³ïáõ³Í é³½Ù³í³ñáõû³Ý íϳÛáõÃÇõÝÝ ¿ ݳ»õ, áñ å³ï»ñ³½ÙÁ ëÏëõáõÙ ¿ ³ÛÝ Å³Ù³Ý³Ï, »ñµ ä³ñûõëï³ÝÝ ³Ýå³ïñ³ëï ¿ñ ¹ÇٳϳۻÉáõ ï³ñ³Í³ßñç³ÝáõÙ Çñ ³é³çÝáõÃÇõÝÁ íÇ׳ñÏ»Éáõ ÷áñÓ»ñÇÝ: гñóÝ ³ÛÝ ¿, áñ ä³ñûõëï³ÝÁ ÑÇõÍáõ»É ¿ñ »ñÏå³é³Ïïã³Ï³Ý å³ï»ñ³½ÙÝ»ñÇó »õ ³ÝÑ³Ù»Ù³ï ³õ»ÉÇ Ù»Í Ù³ñ¹Ï³ÛÇÝ áõ ÝÇõÃ³Ï³Ý é»ëáõñëÝ»ñ áõݻݳÉáí ѳݹ»ñÓª Çñ ïÇñ³å»ïáõû³Ý ï³Ï ·ïÝáõáÕ ÐÇõëÇë³ÛÇÝ ØÇç³·»ïùÇ »õ Æñ³Ý³Ï³Ý µ³ñÓñ³í³Ý¹³ÏÇ ÑÇõëÇë³ñ»õÙï»³Ý ßñç³ÝÝ»ñÇ Ñ³Ù³ñ ͳõ³Éáõ»ÉÇù å³Ûù³ñÇÝ å³ïñ³ëï ã¿ñ: è³½Ù³Ï³Ý ·áñÍáÕáõÃÇõÝÝ»ñÇ ÁÝóóùÁ óáÛó ¿ ï³ÉÇë, áñ Ù»Í Ý߳ݳÏáõÃÇõÝ ¿ ïñáõ»É ݳ»õ Û³ñÓ³ÏÙ³Ý áõÕÕáõû³Ý ÁÝïñáõû³ÝÁ: гÛÏ³Ï³Ý µ³Ý³ÏÁ å³ñûõÝ»ñÇ ïÇñáÛÃÝ»ñ ¿ ÙïÝáõÙ ³Ù»Ý³Ï³ñ× áõ ³Ýëå³ë»ÉÇ áõÕÕáõû³Ùµª ì³Ý³Û »õ àõñÙdz É×»ñÇ ÙÇç»õ ·ïÝáõáÕ ³ÛÝ §»ûóݳëáõÝ ÑáíÇïÝ»ñ¦ ÏáãáõáÕ ï³ñ³Íùáí, áñÁ îÇ·ñ³ÝÁ ½Çç»É ¿ñ å³ñûõÝ»ñÇÝ å³ï³Ý¹áõÃÇõÝÇó ³½³ïáõ»Éáõ ѳٳñ: ²ÝÙ³ïã»ÉÇ É»éÝ»ñáí áõ µ³½Ù³ÃÇõ ³Ùñ³ßÇÝ³Ï³Ý Ï³éáÛóÝ»ñáí å³ßïå³Ýáõ³Í ë³ÑٳݳÛÇÝ ³Ûë ·ûïÇÝ ³é³õ»É ³ÝÛ³Õóѳñ»ÉÇ ¿ñ ѳٳñõáõÙ: лï»õ³µ³ñ, Û³ÝϳñͳÏÇáõû³Ý ·áñÍáÝÝ û·ï³·áñÍõáõÙ ¿ áã ÙdzÛÝ Û³ñÓ³ÏÙ³Ý å³ÑÇ, ³ÛÉ»õ áõÕÕáõû³Ý ÁÝïñáõû³Ý ËݹñáõÙ: ¸ñ³Ýáí ѳÛÏ³Ï³Ý µ³Ý³ÏÁ ݳ˳ӻéÝáõÃÇõÝ ¿ ëï³ÝáõÙ å³ï»ñ³½ÙáõÙ »õ ³é³çÇÝ ÇëÏ Ù³ñï»ñáõÙ í×éáõÙ å³ï»ñ³½ÙÇ »ÉùÁ: îƶð²Ü غÌ
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Tigran. The Armenian king had no intention to satisfy himself with his achievements and continued to develop his successes brilliantly. The description of this period of war shows that preparing the confrontation Tigran had taken into consideration all the details. Especially, giving chase to the Parthian army from the border regions, the Armenian army moved towards the south and imposed military operations to the enemy in Mesopotamia where the newly created heavy cavalry had much more possibilities to operate freely than it would have on the Iranian Plateau, if the attack had been started from the south-east of Greater Armenia. During the second war period attacks were directed towards the east. This was meant to cut off the connection path between the Parthian Empire and its vassal kingdom of Atropatena. It was obvious that, deprived of the Parthian military help, Atropatena would not be able to resist to the enormous Armenian military machine which had defeated in such a short time such a powerful enemy as the Parthian Empire. Atropatena was constrained to recognize the priority of Tigran. Breaking the resistance of Atropatena by the threat of cutting off its connection path with the Parthian Empire was an example of a strategy of indirect actions in a period of time when such operations were very rare in the whole world. . Assuring his rear from the side of Atropatena, Tigran II moved his army towards the capital town of Ecbatana, and the Parthian royal court, besieged in the town, had to accept all his conditions. Parthian Arsacids not only gave up all the territories conquered by the Armenian army, but also let him have the title of "King of Kings of the East".
THE STRATEGY OF "SOFT STRENGTH" (THIRD STAGE OF CONQUESTS) After its victory against the Parthian Empire the Kingdom of Greater Armenia started a new stage in its foreign policy. It was qualitatively different from the previous one and went on until the invasion of Armenia by the Roman army in 70 B.C. Our information about this stage is richer and allows examining many issues of the Armenian military art history and newly interpreting the events of the first ten years of Tigran the Great's reign. The powerfulness of the Armenian kingdom coincided with the period of Romans' ambition of world domination. It became progressively obvious that the entire region was the target of Rome's aggressive policy. By the way, the Roman domination was not different in its principle from the Macedonian or the Parthian ones. Meanwhile, the Armenian domination in the region after the Armenian-Parthian war was essentially new. Very soon this became also obvious either to the nations of the empire created by Tigran II the Great or the neighboring people. A mighty movement of uniting forces against all kind of challenges (including the Roman threat) started in the entire region. Evidently, forces should unite around the most powerful empire, that of Greater Armenia. The Armenian kingdom's victories of 84-70 B.C. should possibly be explained in the frame of this political strategy. The interior dissensions, as the result of wars frequently arising between neighboring states, were
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ê³ÑٳݳÛÇÝ ßñç³ÝÝ»ñáõÙ ï»Õ³Ï³Ûáõ³Í å³ñûõ³Ï³Ý ½ûñ³Ù³ë»ñÇ ¹ÇÙ³¹ñáõÃÇõÝÁ Û³Õóѳñ»Éáí` ѳÛÏ³Ï³Ý µ³Ý³ÏÁ ß³ñÅõáõÙ ¿ ¹¿åÇ Ñ³ñ³õ »õ ²ëáñ»ëï³ÝÇ »ñµ»ÙÝÇ Ù³Ûñ³ù³Õ³ù ÜÇÝáõ¿Ç ßñç³Ï³ÛùáõÙ ç³Ëç³ËáõÙ å³ñûõ³Ï³Ý µ³Ý³ÏÇ ·É˳õáñ áõÅ»ñÇÝ: ØÇç³·»ïùáõ٠ͳõ³Éáõ³Í é³½Ù³Ï³Ý ·áñÍáÕáõÃÇõÝÝ»ñáõÙ ï³ñ³Í Û³ÕóݳÏÝ»ñÁ áñù³Ý ¿É Ù»Í áõ Ý߳ݳϳÉÇó ÉÇÝ¿Çݪ îÇ·ñ³ÝÇ ÑëÏ³Û³Ï³Ý é³½Ù³í³ñ³Ï³Ý åɳÝÇ ÙdzÛÝ ÙÇ Ù³ëÝ ¿ÇÝ Ï³½ÙáõÙ: гÛáó ³ñù³Ý Ùï³¹Çñ ã¿ñ µ³õ³ñ³ñáõ»É Ó»éù µ»ñ³Íáí »õ ß³ñáõݳÏáõÙ ¿ ÷³ÛÉáõÝ Ï»ñåáí ½³ñ·³óÝ»É ³é³çÇÝ Û³çáÕáõÃÇõÝÁ: ²Ûë å³ï»ñ³½Ù³ßñç³ÝÇ Ýϳñ³·ñáõÃÇõÝÁ óáÛó ¿ ï³ÉÇë, áñ ѳϳٳñïáõû³ÝÁ ݳ˳å³ïñ³ëïáõ»ÉÇë îÇ·ñ³ÝÁ ѳßáõÇ ¿ñ ³é»É µáÉáñ Ù³ÝñáõùÝ»ñÁ: سëݳõáñ³å¿ë, å³ñûõÝ»ñÇÝ ë³ÑٳݳÛÇÝ ßñç³ÝÝ»ñÇó ¹áõñë ÙÕ»Éáíª Ñ³ÛÏ³Ï³Ý µ³Ý³ÏÁ ß³ñÅõáõÙ ¿ ¹¿åÇ Ñ³ñ³õ »õ ѳϳé³Ïáñ¹ÇÝ Ù³ñï³Ï³Ý ·áñÍáÕáõÃÇõÝÝ»ñ ѳñϳ¹ñáõÙ ØÇç³·»ïùáõÙ, áñï»Õ Ýáñ³ëï»ÕÍ ½ñ³Ñ³õáñ ѻͻɳ½ûñÝ ³½³ï ·áñÍ»Éáõ ß³ï ³õ»ÉÇ Ù»Í Ñݳñ³õáñáõÃÇõÝ áõÝ¿ñ, ù³Ý Ïáõݻݳñ Æñ³Ý³Ï³Ý µ³ñÓñ³í³Ý¹³ÏáõÙ, »Ã¿ Û³ñÓ³ÏáõÙÁ ëÏëáõ¿ñ Ø»Í Ð³ÛùÇ Ñ³ñ³õ-³ñ»õ»ÉùÇó: ºñÏñáñ¹ å³ï»ñ³½Ù³ßñç³ÝáõÙ Û³ñÓ³ÏáõÙÝ áõÕÕõáõÙ ¿ ¹¿åÇ ³ñ»õ»Éù: ¸ñ³Ýáí ÏïñõáõÙ »Ý ä³ñûõ³Ï³Ý ï¿ñáõû³Ý áõ Ýñ³ÝÇó ϳ˻³É ²ïñå³ï³Ï³ÝÇ Ã³·³õáñáõû³Ý ѳÕáñ¹³Ïóáõû³Ý áõÕÇÝ»ñÁ: ²ÏÝÛ³Ûï ¿, áñ ä³ñûõëï³ÝÇ é³½Ù³Ï³Ý ³ç³ÏóáõÃÇõÝÇó ½ñÏáõ³Í ²ïñå³ï³Ï³ÝÁ ÙdzÛÝ³Ï ã¿ñ ϳñáÕ³Ý³Û å³Ûù³ñ»É ϳñ× Å³Ù³Ý³ÏáõÙ å³ñûõÝ»ñÇ å¿ë ѽûñ ³ËáÛ»³ÝÇÝ ç³Ëç³Ë³Í ѳÛáó ÑëÏ³Û³Ï³Ý é³½Ù³Ï³Ý Ù»ù»Ý³ÛÇ ¹¿Ù: ²Û¹ ·Çï³Ïó»Éáíª ²ïñå³ï³Ï³ÝÁ ѳñϳ¹ñáõ³Í ׳ݳãáõÙ ¿ îÇ·ñ³ÝÇ ·»ñÇß˳ÝáõÃÇõÝÁ: ä³ñûõëï³ÝÇ »õ ²ïñå³ï³Ï³ÝÇ Ñ³Õáñ¹³Ïó³ÛÇÝ áõÕÇÝ»ñÁ Ïïñ»Éáõ ëå³éݳÉÇùÇ ëï»ÕÍٳٵ í»ñçÇÝÇë ¹ÇÙ³¹ñáõÃÇõÝÁ ¹³¹³ñ»óÝ»É ëïÇå»ÉÝ ³ÝáõÕÕ³ÏÇ ·áñÍáÕáõÃÇõÝÝ»ñÇ é³½Ù³í³ñáõû³Ý ÏÇñ³éÙ³Ý ûñÇÝ³Ï ¿ ÙÇ ³ÛÝåÇëÇ ¹³ñ³ßñç³ÝáõÙ, »ñµ ³Ûë ϳñ·Ç ·áñÍáÕáõÃÇõÝÝ»ñÝ ³éѳë³ñ³Ï ³ÙµáÕç ³ß˳ñÑáõÙ »½³ÏÇ ¿ÇÝ: ²ïñå³ï³Ï³ÝÇ ÏáÕÙÇó »õë ÃÇÏáõÝùÝ ³å³Ñáí»Éáíª îÇ·ñ³Ý ´-Ý µ³Ý³ÏÁ ß³ñÅáõÙ ¿ ¹¿åÇ ¾Ïµ³ï³Ý ³ñù³Û³ÝÇëï ù³Õ³ùÁ, áñï»Õ å³ß³ñáõ³Í å³ñûõ³Ï³Ý ³ñùáõÝÇùÁ ëïÇåáõ³Í ¿ ÉÇÝáõÙ ÁݹáõÝ»É Ýñ³ ³é³ç³¹ñ³Í å³Ñ³ÝçÝ»ñÁ: ²ñß³ÏáõÝÇÝ»ñÁ áã ÙdzÛÝ Ññ³Å³ñõáõÙ »Ý ѳÛáó µ³Ý³ÏÇ ·ñ³õ³Í ï³ñ³ÍùÝ»ñÇó, ³ÛÉ»õ Ø»Í Ð³ÛùÇ Ã³·³õáñÇÝ ½ÇçáõÙ §²ñ»õ»ÉùÇ ³ñù³ÛÇó ³ñù³Û¦ ïÇïÕáëÁ:
§ö²öàôÎ àôÄƦ 貼زì²ðàôÂÆôÜÀ (Üàô²ÖàôØܺðÆ ºðÎðàð¸ öàôÈÀ) ä³ñûõëï³ÝÇ ¹¿Ù å³ï»ñ³½ÙáõÙ ï³ñ³Í Û³ÕóݳÏÇó Û»ïáÛ Ø»Í Ð³ÛùÇ Ã³·³õáñáõû³Ý ³ñï³ùÇÝ ù³Õ³ù³Ï³Ýáõû³Ý Ýáñ ÷áõÉ ¿ ëÏëõáõÙ: ²ÛÝ áñ³Ï³å¿ë ï³ñµ»ñõáõÙ ¿ñ ݳËÏÇÝÇó »õ ß³ñáõݳÏõáõÙ ¿ ÙÇÝã»õ ø.³. 70Ã.ª ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ Ý»ñËáõÅáõÙÁ г۳ëï³Ý: ²Ûë ÷áõÉÇ Ù³ëÇÝ Ù»ñ áõÝ»ó³Í ï»Õ»ÏáõÃÇõÝÝ»ñÝ ³õ»ÉÇ Ñ³ñáõëï »Ý, Ñݳñ³õáñáõÃÇõÝ »Ý ï³ÉÇë í»ñ Ñ³Ý»É Ñ³Ûáó é³½Ù³ñáõ»ëïÇ å³ïÙáõû³Ý µ³½Ù³ÃÇõ ѳñó»ñ »õ ÝáñáíÇ ÁÝÏ³É»É îÇ·ñ³Ý Ø»ÍÇ ·³Ñ³Ï³ÉÙ³Ý ³é³çÇÝ ï³ëÁ ï³ñÇÝ»ñÇ Çñ³¹³ñÓáõÃÇõÝÝ»ñÁ: гÛÏ³Ï³Ý å»ïáõû³Ý ѽûñ³óáõÙÁ ѳÙÁÝÏÝáõÙ ¿ ÐéáÙÇ ³ß˳ñѳϳÉáõû³Ý ëï»ÕÍÙ³Ý Å³Ù³Ý³Ï³ßñç³ÝÇÝ: ²ëïÇ׳ݳµ³ñ å³ñ½ ¿ ¹³éÝáõÙ, áñ ³ÙµáÕç ï³ñ³Í³ßñç³ÝÝ ¿ ÐéáÙÇ Ýáõ³×áÕ³Ï³Ý ù³Õ³ù³Ï³Ýáõû³Ý ÃÇñ³ËÁ: Àݹ áñáõÙ, ÑéáÙ¿³Ï³Ý ïÇñ³å»ïáõÃÇõÝÁ ÑÇÙݳϳÝáõÙ ã¿ñ ï³ñµ»ñõáõ٠ٳϻ¹áݳϳÝÇó áõ å³ñûõ³Ï³ÝÇó: ØÇÝã¹»é гÛ-å³ñûõ³Ï³Ý å³ï»ñ³½ÙÇó Û»ïáÛ ï³ñ³Í³ßñç³Ýáõ٠ѳëï³ïáõ³Í ѳÛÏ³Ï³Ý ·»ñÇß˳ÝáõÃÇõÝÝ ¿³å¿ë Ýáñ ¿ñ: Þ³ï ßáõïáí ¹³ îƶð²Ü غÌ
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the main obstacle of the uniting process, but the desire of resisting the danger was so great that these dissensions were repelled to the background. The rulers of the Seleucid kingdom (Syria and Phoenicia) were in the avant-garde of this uniting movement. Tigran the Great was invited to reign in Antioch. At the eve of this invitation (84 B.C.) the Seleucid kingdom was going through its agony. This formerly powerful state was torn by long interior dissensions. The incapacity of Seleucids to assure the entireness of the state had discredited them. People were eager to have such a candidate to the throne who would bring to an end the long and exhausting fratricide war. In this sense it was not fortuitous that the movement started there and the domination of Tigran the Great didn't meet any serious resistance. It must be stressed that he was invited to accede to the throne at a moment when Greater Armenia did not have any aggressive project against its neighbor and, subsequently, there was no need of some preventive measures to "avoid" the threat of destructions. Moreover, the candidature of the Armenian king was accepted, because nobody could more quickly than him restore the exhausted economy of Syria and assure its future peaceful development. The process of Tigran's acceding to the Seleucids' throne really testifies about the great international authority of the Armenian state and the Armenian army which had achieved enormous conquests. But was the international authority of a state ever been sufficient for voluntary replacing independence by foreign domination? In this case a question may be asked: which was the reason that made Tigran's domination more acceptable for the Seleucid rulers rather than that of another Asian leader? It seems that the Armenian king couldn't pretend to the role of "savior of the Seleucid throne", especially when he had no ethnic community neither with the majority of the local population nor with the rulers. Subsequently the real reason of this choice might be more profound and must be searched for in the events of the first ten years of Tigran's reign. Syrians couldn't ignore that the conquest of Cappadocia was followed by the displacement of enormous human masses which were installed in Armenia. This could be organized only with the participation of the army. If the comportment of Armenian soldiers with the people displaced from Cappadocia had been disrespectful, it would have been a decisive argument in the hands of the group which refused the candidature of Tigran, especially when they were struggling for the state's independence against foreign domination. The Armenian army had entered countries being vassals of the Parthian kingdom taking advantage of favorable conditions, but judging by the fact that Tigran's authority grew after the war (he began to be considered as a convenient candidature to replace the Seleucids), one can state that the Armenian army hadn't been perfidious. The Armenian troops victoriously passed through several countries of the region. In Syrian towns, which had become important centers of transit trading, people should be well aware, at least through the merchants, of the Armenian army tactics and the comportment of Armenian soldiers in the conquered countries. Especially if there is no allusion in the sources about trade
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å³ñ½ ¿ ¹³éÝáõ٠ݳ»õ îÇ·ñ³Ý ´ Ø»ÍÇ ëï»ÕÍ³Í ï¿ñáõû³Ý µáÉáñ ÅáÕáíáõñ¹Ý»ñÇÝ, ÇÝãå¿ë ݳ»õ ѳñ»õ³ÝÝ»ñÇÝ: î³ñ³Í³ßñç³ÝáõÙ ëÏëõáõÙ ¿ Ù³ñï³Ññ³õ¿ñÝ»ñÇ (³Û¹ ÃõáõÙ` ݳ»õ ÑéáÙ¿³Ï³Ý ëå³éݳÉÇùÇ) ¹¿Ù áõÅ»ñÁ Ùdzõáñ»Éáõ ÑáõÅÏáõ ß³ñÅáõÙ: ²ÏÝÛ³Ûï ¿, áñ áõÅ»ñÇ ÙdzõáñáõÙÁ å¿ïù ¿ ÁÝóݳñ ³Ù»Ý³Ñ½ûñǪ Ø»Í Ð³ÛùÇ ßáõñçÁ: ²Ûë ù³Õ³ù³Ï³Ý é³½Ù³í³ñáõû³Ý ßñç³Ý³ÏÝ»ñáõÙ Ñݳñ³õáñ ¿ Ù»Ïݳµ³Ý»É ø.³ 84-70ÃÃ. гÛÏ³Ï³Ý ï¿ñáõû³Ý Û³ÕóݳÏÝ»ñÁ: гñ»õ³Ý å»ïáõÃÇõÝÝ»ñÇ ÙÇç»õ ۳׳˳ÏÇ Í³·áÕ å³ï»ñ³½ÙÝ»ñÇ Ñ»ï»õ³Ýùáí ï³ñ³Í³ßñç³ÝÇ Ý»ñùÇÝ Ù³ëݳïáõ³ÍáõÃÇõÝÁ ÙdzõáñÙ³Ý ·áñÍÁÝóóÇ ·É˳õáñ ËáãÁݹáïÝ ¿ñ, ë³Ï³ÛÝ íï³Ý·Ç ¹ÇٳϳۻÉáõ Ó·ïáõÙÝ ³ÛÝù³Ý Ù»Í ¿ñ, áñ ¹³ »õë »ñÏñáñ¹³Ï³Ý åÉ³Ý ¿ ÙÕõáõÙ: ØdzõáñÙ³Ý ß³ñÅÙ³Ý ³é³ç³Ù³ñïÇÏÝ ¿ ¹³éÝáõÙ ê»É»õÏ»³Ý å»ïáõû³Ý (²ëáñÇù (êÇñdz) »õ öÇõÝÇÏdz) ù³Õ³ù³Ï³Ý í»ñݳ˳õÁ: îÇ·ñ³Ý Ø»ÍÁ Ññ³õÇñõáõÙ ¿ ÇßË»Éáõ ²ÝïÇáùáõÙ: Ðñ³õ¿ñÇ Ý³Ëûñ»³ÏÇÝ (ø.³. 84Ã.) ê»É»õÏ»³Ý å»ïáõÃÇõÝÁ Ñá·»í³ñù ¿ñ ³åñáõÙ: ºñµ¹»ÙÝÇ Ñ½ûñ ï¿ñáõÃÇõÝÁ Ý»ñùÇÝ »ñϳñ³ï»õ »ñÏå³é³ÏáõÃÇõÝÝ»ñÇ Ù¿ç ¿ñ: ä»ïáõÃÛ³Ý ³ÙµáÕç³Ï³ÝáõÃÇõÝÝ ³å³Ñáí»Éáõ ê»É»õÏ»³ÝÝ»ñÇ ³ÝϳñáÕáõÃÇõÝÁ í³ñϳµ»Ï»É ¿ñ Ýñ³Ýó: ²Ûëï»Õ »ñϳñ Å³Ù³Ý³Ï Ó·ïáõÙ ¿ÇÝ ·³ÑÇ ³ÛÝåÇëÇ Ã»ÏݳÍáõ áõݻݳÉ, áñÝ Ç íÇ׳ÏÇ ÉÇÝ¿ñ í»ñç ¹Ý»É ÑÇõÍÇã »Õµ³Ûñ³ëå³Ý å³ï»ñ³½ÙÇÝ: ²Ûë ³éáõÙáí å³ï³Ñ³Ï³Ý ã¿, áñ ß³ñÅáõÙÝ ³Ûëï»ÕÇó ¿ ëÏëõáõÙ, áõ îÇ·ñ³Ý Ø»ÍÇ Çß˳ÝáõÃÇõÝÁ ãÇ Ñ³Ý¹ÇåáõÙ Éáõñç ¹ÇÙ³¹ñáõû³Ý: Ú³ïáõÏ ß»ßï»Ýù, áñ ݳ ê»É»õÏ»³ÝÝ»ñÇ ·³ÑÇÝ µ³½Ù»Éáõ Ññ³õÇñáõ»ó, »ñµ Ø»Í Ð³ÛùÁ ѳñ»õ³ÝÇÝ ã¿ñ ëå³éÝáõÙ Ý»ñËáõÅáõÙáí »õ ²ëáñÇùáõÙ Ýáñ³Ýáñ ³õ»ñ³ÍáõÃÇõÝÝ»ñÇ ëå³éݳÉÇù, »õ, Ñ»ï»õ³µ³ñ, ¹ñ³ÝóÇó Ëáõë³÷»Éáõ ѳٳñ §Ï³ÝËáÕ¦ ÙÇçáó³éáõÙÝ»ñÇ Çñ³Ï³Ý³óÙ³Ý Ï³ñÇù ãϳñ: ²õ»ÉÇÝ, ѳÛáó ³ñù³ÛÇ Ã»ÏݳÍáõû³ÝÁ ѳõ³ÝáõÃÇõÝ ïñáõ»ó, ù³ÝÇ áñ áã áù ã¿ñ ϳñáÕ Ýñ³ÝÇó ³õ»ÉÇ ³ñ³· í»ñ³Ï³Ý·Ý»É ²ëáñÇùÇ ù³Ûù³Ûáõ³Í ïÝï»ëáõÃÇõÝÝ áõ ³å³Ñáí»É ۻﳷ³Û Ë³Õ³Õ ½³ñ·³óáõÙÁ: ê»É»õÏ»³ÝÝ»ñÇ ·³ÑÇÝ îÇ·ñ³ÝÇ Ñ³ëï³ïáõ»Éáõ ÁÝóóùÁ ËûëáõÝ Ï»ñåáí íϳÛáõÙ ¿ ѳÛáó å»ï³Ï³Ýáõû³Ý »õ Ñëϳ۳ͳõ³É Ýáõ³×áõÙÝ»ñ Çñ³Ï³Ý³óñ³Í ѳÛáó µ³Ý³ÏÇ ÙÇç³½·³ÛÇÝ µ³ñÓñ Ñ»ÕÇݳÏáõû³Ý Ù³ëÇÝ: ´³Ûó 㿱 áñ å»ïáõû³Ý ÙÇç³½·³ÛÇÝ Ñ»ÕÇݳÏáõÃÇõÝÁ ѳñ»õ³ÝÝ»ñÇ Ñ³Ù³ñ »ñµ»ÙÝ µ³õ³ñ³ñ ãÇ »Õ»É ϳÙáíÇÝ ³ÝϳËáõÃÇõÝÝ ûï³ñÇ Çß˳Ýáõû³Ùµ ÷á˳ñÇÝ»Éáõ ѳٳñ: ²Û¹ ¹¿åùáõ٠ϳñáÕ ¿ ѳñó ͳ·»É. DZÝãÝ ¿ñ ê»É»õÏ»³Ý å»ïáõû³Ý ù³Õ³ù³Ï³Ý í»ñݳ˳õÇ Ñ³Ù³ñ îÇ·ñ³ÝÇÝ ²ëdzÛÇ ÙÇõë ïÇñ³Ï³ÉÝ»ñÇó ³õ»ÉÇ Ý³ËÁÝïñ»ÉÇ ¹³ñÓÝáõÙ: ÂõáõÙ ¿, ÿ ѳÛáó ³ñù³Ý ã¿ñ ϳñáÕ Û³õ³ÏÝ»É §ê»É»õÏ»³ÝÝ»ñÇ ·³ÑÇ ÷ñÏãǦ ¹»ñÇÝ, ٳݳõ³Ý¹ áñ ݳ ï»ÕÇ µÝ³Ïãáõû³Ý ÑÇÙÝ³Ï³Ý Ù³ëÇ »õ ϳé³í³ñáÕ í»ñݳ˳õÇ Ñ»ï ¿ÃÝÇÏ ÁݹѳÝñáõÃÇõÝÝ»ñ ãáõÝ¿ñ: лï»õ³µ³ñ, ÁÝïñáõû³Ý Çñ³Ï³Ý å³ï׳éÝ»ñÝ ³õ»ÉÇ Ëáñù³ÛÇÝ ¿ÇÝ, »õ ¹ñ³Ýù å¿ïù ¿ áñáÝ»É îÇ·ñ³ÝÇ ·³Ñ³Ï³ÉÙ³Ý ³é³çÇÝ ï³ëݳٻ³ÏÇ Çñ³¹³ñÓáõÃÇõÝÝ»ñáõÙ: ²ëáñÇùáõÙ ã¿ÇÝ Ï³ñáÕ ãÇٳݳÉ, áñ γ峹áíÏdzÛÇ Ýáõ³×Ù³ÝÁ Û³çáñ¹»É »Ý Ù³ñ¹Ï³ÛÇÝ ÑëÏ³Û³Ï³Ý ½³Ý·áõ³ÍÝ»ñÇ ï»Õ³Ñ³ÝáõÙÁ »õ г۳ëï³ÝáõÙ µÝ³Ï»óáõÙÁ: ¸³ ϳñ»ÉÇ ¿ñ ϳ½Ù³Ï»ñå»É ÙdzÛÝ µ³Ý³ÏÇ Ù³ëݳÏóáõû³Ùµ: ºÃ¿ γ峹áíÏdzÛÇó ·³Õûóáõ³Í µÝ³Ïãáõû³Ý Ýϳïٳٵ Ñ³Û ½ÇÝáõáñÝ»ñÇ í»ñ³µ»ñÙáõÝùÝ ³ÝÛ³ñ·³ÉÇó ÉÇÝ¿ñ, ¹³ áõÕÕ³ÏÇ ç³Ëç³ËÇã ѳϳ÷³ëï³ñÏ Ï¹³éݳñ îÇ·ñ³ÝÇ Ã»ÏݳÍáõÃÇõÝÁ Ù»ñÅáÕ ËÙµ³õáñÙ³Ý Ó»éùÇÝ, ٳݳõ³Ý¹ áñ í»ñçÇÝë ѳݹ¿ë ¿ñ ·³ÉÇë å»ïáõû³Ý ³ÝϳËáõû³Ý å³Ñå³ÝÙ³Ý ¹Çñù»ñÇó` ûï³ñ ïÇñ³å»ïáõû³Ý ¹¿Ù: îƶð²Ü غÌ
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limitation during the period of time between conquering Northern Mesopotamia and Syria (86-84 B.C.). Any fact of oppression by Armenian authorities or army in the conquered region would also have a negative influence on the international reputation of Greater Armenia. The Armenia-Parthian war was already over and people in Syria must have an approximate notion about the political behavior of Tigran after his victory, too. In this occasion one mustn't go to extremes and pointlessly idealize Tigran II. One can think that the demands to the Parthian court were subjective and done from the force position. The victory of his army gave this right to the Armenian king. But it's obvious that these demands were not excessive from the viewpoint of international right of the 1st century B.C. and they didn't become an obstacle to the candidature of Tigran who was pretending to the Syrian throne. Thus, the Armenian king acquired the reputation of a monarch leading a weighed policy. As a result of military reforms the tactics of the Armenian army also underwent some changes. Working out tactical methods for the newly created armored cavalry, as well as adopting an attack strategy, led to the formation of a new military art, qualitatively different from the previous. Demands to the warriors should have changed, too, as the Armenian army wasn't used to stay for long in conquered territories. Naturally, this lack of experience must have been compensated by the traditional right of the previous period of great conquests (the last one was in the 8th century B.C.). Otherwise they couldn't avoid transgressions to the law by a commandant or a warrior who didn't know how to behave. Syrians knew that there were numerous restrictions for the warriors' operations in the Armenian military art and that the establishment of Armenian domination in the region was realized with their strict observation. Subsequently, there was no need for superfluous prudence. The movement of uniting with Greater Armenia by accepting the Armenian domination continued among the political elite of the region countries during the following years, too. This is mentioned with certitude by Josephus Flavius while describing the events of the end of the 70-es B.C. According to him Judah went through complicated military and political situation. The enormous Armenian army came near to the Judaic bound from the north and laid siege to Ptolemais, while Egyptians were menacing from the south. It must be stressed that even if the Armenian army's military operations should seem dangerous near the Judaic border, in fact the Armenian army wasn't threatening Judah, but only suppressing the revolt movement appeared in the south of Phoenicia. From this point of view, the subjection of Judah can be considered as a new link of the uniting political strategy. The fact that queen Alexandra of Judah sent an army against the Egyptian troops, while she sent only ambassadors to negotiate with the Armenian king, is most significant for the appreciation of the Armenian king and troops' comportment. The Judah court, taking a sensible view of the situation, accepted the domination of the northern neighbor, which made secure the southern direction, too. Tigran met the wishes of the ambassadors and took Judah under
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гÛáó µ³Ý³ÏÁ ä³ñûõëï³ÝÇÝ »ÝÃ³Ï³Û »ñÏñÝ»ñ ¿ñ Ý»ñËáõÅ»É` û·ï³·áñÍ»Éáí Û³ñÓ³ÏÙ³Ý Ñ³Ù³ñ Ýå³ëï³õáñ å³ÛÙ³ÝÝ»ñÁ, ë³Ï³ÛÝ ¹³ï»Éáí ³ÛÝ ÷³ëïÇó, áñ å³ï»ñ³½ÙÇó Û»ïáÛ îÇ·ñ³ÝÇ Ñ»ÕÇݳÏáõÃÇõÝÝ ¿É ³õ»ÉÇ ¿ µ³ñÓñ³ÝáõÙ (²ëáñÇùáõ٠ݳ ëÏëáõÙ ¿ ѳٳñáõ»É ê»É»õÏ»³ÝÝ»ñÇÝ ÷á˳ñÇÝ»Éáõ ѳٳñ Û³ñÙ³ñ ûÏݳÍáõ), ϳñáÕ »Ýù ³ñӳݳ·ñ»É, áñ ѳÛáó µ³Ý³ÏÝ áõËï³¹ñÅáõÃÇõÝÇó Ó»éÝå³Ñ ¿ñ Ùݳó»É: гÛáó µ³Ý³ÏÁ Û³ÕóϳÝûñ¿Ý ³Ýó»É ¿ñ ï³ñ³Í³ßñç³ÝÇ ÙÇ ù³ÝÇ »ñÏñÝ»ñáí: î³ñ³ÝóÇÏ ³é»õïñÇ Ëáßáñ³·áÛÝ Ï»ÝïñáÝÝ»ñÇ í»ñ³Íáõ³Í ²ëáñÇùÇ ù³Õ³ùÝ»ñáõÙ, ÿÏáõ½ ÙdzÛÝ ³é»õïñ³Ï³ÝÝ»ñÇ ÙÇçáóáí, å¿ïù ¿ ï»Õ»Ï³óáõ³Í ÉÇÝ¿ÇÝ ·ñ³õáõ³Í »ñÏñÝ»ñáõ٠ѳÛáó µ³Ý³ÏÇ Ù³ñï³í³ñáõû³Ý »õ ½ÇÝáõáñÝ»ñÇ í³ñùÇ Ù³ëÇÝ: سݳõ³Ý¹ áñ ÐÇõëÇë³ÛÇÝ ØÇç³·»ïùÇ »õ ²ëáñÇùÇ ·ñ³õÙ³Ý ÙÇç»õ ÁÝÏ³Í Å³Ù³Ý³Ï³Ñ³ïáõ³ÍáõÙ (ø.³. 86-84ÃÃ.) ³é»õïñ³ßñç³Ý³éáõû³Ý ë³Ñٳݳ÷³ÏÙ³Ý Ù³ëÇÝ ³ÏݳñÏ ³Ý·³Ù ãϳÛ: Üáõ³×áõ³Í ï³ñ³ÍùÝ»ñáõ٠ѳÛÏ³Ï³Ý Çß˳ÝáõÃÇõÝÝ»ñÇ Ï³Ù µ³Ý³ÏÇ Çñ³Ï³Ý³óñ³Í µéݳ×ÝßáõÙÝ»ñÇ ÷³ëï»ñÁ »õë µ³ó³ë³µ³ñ ϳݹñ³¹³éݳÛÇÝ Ø»Í Ð³ÛùÇ ÙÇç³½·³ÛÇÝ Ñ»ÕÇݳÏáõû³Ý íñ³Û: ²ñ¹¿Ý ³õ³ñïáõ»É ¿ñ гÛ-å³ñûõ³Ï³Ý å³ï»ñ³½ÙÁ, »õ ²ëáñÇùáõÙ Ùûï³õáñ å³ïÏ»ñ³óáõÙ å¿ïù ¿ áõݻݳÛÇÝ Ý³»õ Û³ÕóݳÏÇó Û»ïáÛ îÇ·ñ³ÝÇ óáõó³µ»ñ³Í ù³Õ³ù³Ï³Ý í³ñù³·ÍÇ Ù³ëÇÝ: ²Ûë ³éÃÇõ ã³ñÅ¿ ÁÝÏÝ»É ÙÇõë ͳÛñ³Û»Õáõû³Ý Ù¿ç »õ ³ÝѳñÏÇ Ç¹¿³É³Ï³Ý³óÝ»É îÇ·ñ³Ý ´-ÇÝ: ä¿ïù ¿ ϳñÍ»É, áñ å³ñûõ³Ï³Ý ³ñùáõÝÇùÇÝ Ý»ñϳ۳óáõ³Í å³Ñ³ÝçÝ»ñÁ ÙdzÏáÕÙ³ÝÇ ¿Çݪ áõÅÇ ¹Çñù»ñÇó: ´³Ý³ÏÇ Û³ÕóݳÏÝ»ñÁ ѳÛáó ³ñù³ÛÇÝ ³Û¹ Çñ³õáõÝùÁ ï³ÉÇë ¿ÇÝ: ê³Ï³ÛÝ ³ÏÝÛ³Ûï ¿, áñ å³ñûõÝ»ñÇÝ ³é³ç³¹ñáõ³Í å³Ñ³ÝçÝ»ñÁ ø.³. I ¹³ñáõÙ ·áñÍáÕ ÙÇç³½·³ÛÇÝ Çñ³õáõÝùÇ ï»ë³ÝÏÇõÝÇó ã³÷³½³Ýó Ù»Í ã¿ÇÝ, áõ ¹ñ³Ýù ÑÇÙù ã»Ý ¹³éÝáõÙ ²ëáñÇùÇ ·³ÑÇÝ Û³õ³ÏÝáÕ îÇ·ñ³ÝÇ Ã»ÏݳÍáõÃÇõÝÁ íÇ׳ñÏ»Éáõ ѳٳñ: гÛáó ³ñù³Ý ¹ñ³Ýáí ѳõ³ë³ñ³Ïßéáõ³Í ù³Õ³ù³Ï³ÝáõÃÇõÝ í³ñáÕ ïÇñ³Ï³ÉÇ Ñ³Ù³ñáõÙ ¿ Ó»éù µ»ñáõÙ: è³½Ù³Ï³Ý µ³ñ»÷áËáõÙÝ»ñÇ ³ñ¹ÇõÝùáõÙ ÷á÷áËáõÃÇõÝ ¿ñ Ïñ»É ѳÛáó µ³Ý³ÏÇ Ù³ñï³í³ñáõÃÇõÝÁ: Üáñ³ëï»ÕÍ ½ñ³Ñ³õáñ ѻͻɳ½ûñÇ Ñ³Ù³ñ Ù³ñï³í³ñ³Ï³Ý ÑݳñùÝ»ñÇ Ùß³ÏáõÙÁ, ÇÝãå¿ë ݳ»õ Û³ñÓ³ÏáÕ³Ï³Ý é³½Ù³í³ñáõû³ÝÝ ³ÝóÝ»ÉÁ ۳ݷ»óñ»É ¿ñ ݳËÏÇÝÇó áñ³Ï³å¿ë ï³ñµ»ñáõáÕ é³½Ù³ñáõ»ëïÇ Ó»õ³õáñÙ³ÝÁ: ä¿ïù ¿ ÷á÷áËáõ³Í ÉÇÝ¿ÇÝ Ý³»õ ½ÇÝáõáñÝ»ñÇÝ ³é³ç³¹ñáõáÕ áñáß å³Ñ³ÝçÝ»ñ, ٳݳõ³Ý¹ áñ ѳÛáó µ³Ý³ÏÁ ·ñ³õ»³É ï³ñ³ÍùÝ»ñáõÙ »ñϳñ ųٳݳÏáí ÙݳÉáõ ÷áñÓ ãáõÝ¿ñ: ´Ý³Ï³Ý³µ³ñ, ÷áñÓÇ å³Ï³ëÁ Éñ³óáõ»Éáõ ¿ñ ٻͳٳëßï³µ Ýáõ³×áõÙÝ»ñÇ Ý³ËÏÇÝ ¹³ñ³ßñç³ÝÝ»ñÇ (í»ñçÇÝÁ »Õ»É ¿ñ ø.³. VIII ¹³ñáõÙ) ³õ³Ý¹áõóÛÇÝ Çñ³õáõÝùÇ §å³ß³ñÇó¦: ²ÛÉ Ï»ñå Ñݳñ³õáñ ã¿ñ ÉÇÝÇ Ëáõë³÷»É Çñ ³Ý»ÉÇùÁ ãÇÙ³óáÕ Ññ³Ù³Ý³ï³ñÇ Ï³Ù ½ÇÝáõáñÇ ÏáÕÙÇó ÃáÛÉ ïñáõáÕ Çñ³õ³Ë³ËïáõÙÝ»ñÇó: ²ëáñÇùáõÙ ·Çï¿ÇÝ, áñ ѳÛáó é³½Ù³ñáõ»ëïáõÙ Ù³ñïÇÏÇ ·áñÍáÕáõÃÇõÝÝ»ñÁ ϳÝáݳϳñ·áÕ µ³½Ù³ÃÇõ ë³Ñٳݳ÷³ÏáõÙÝ»ñ Ï³Ý »õ ï³ñ³Í³ßñç³Ýáõ٠ѳÛÏ³Ï³Ý ïÇñ³å»ïáõû³Ý ѳëï³ïáõÙÝ ÁÝóÝáõÙ ¿ ¹ñ³Ýó ËëïÇõ å³Ñå³ÝáõÙáí: лï»õ³µ³ñ, ³õ»Éáñ¹ ½·áõß³õáñáõû³Ý ϳñÇù ãϳñ: î³ñ³Í³ßñç³ÝÇ »ñÏñÝ»ñÇ ù³Õ³ù³Ï³Ý í»ñݳ˳õÇ ÏáÕÙÇó ѳÛÏ³Ï³Ý ïÇñ³å»ïáõÃÇõÝÝ ÁݹáõÝ»Éáõ ÙÇçáóáí Ø»Í Ð³ÛùÇ ßáõñçÁ ѳٳËÙµáõ»Éáõ ß³ñÅáõÙÁ ß³ñáõݳÏõáõÙ ¿ ݳ»õ ۻﳷ³Û ï³ñÇÝ»ñÇÝ: ²Ûë Ù³ëÇÝ Ùdzݷ³Ù³ÛÝ áñáß³ÏÇ ÝßáõÙ ¿ Úáíë¿åáë öɳõÇáëÁ ø.³. 70-³Ï³Ý ÃÃ. í»ñç»ñÇ Çñ³¹³ñÓáõÃÇõÝÝ»ñÇ Ýϳñ³·ñáõû³Ý ÁÝóóùáõÙ: Àëï Ýñ³, Ðñ¿³ëï³ÝÁ µ³ñ¹ é³½Ù³ù³Õ³ù³Ï³Ý Çñ³¹ñáõû³Ý Ù¿ç ¿ñ Û³ÛïÝáõ»É: ÐÇõëÇëÇó Ùûï»ó»É »õ Ðñ¿³ëï³ÝÇ ë³ÑٳݳÛÇÝ ßñç³ÝÝ»ñÇ Ùûï äïÕáÙ³ÛÇëÝ ¿ñ å³ß³ñ»É ѳÛáó ÑëÏ³Û³Ï³Ý µ³Ý³ÏÁ, ÇëÏ Ñ³ñ³õÇó ëå³éÝáõÙ ¿ÇÝ »·Çåï³óÇÝ»ñÁ: Þ»ßï»Ýù, áñ ÿ»õ Ðñ¿³ëï³ÝáõÙ ¹¿åÇ Ñ³ñ³õ ³ñß³õáÕ îƶð²Ü غÌ
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his domination. Thus, the policy of Egypt could be considered as a threat for the uniting strategy. It must be mentioned that Alexandra's reckoning proved to be correct as the Armenian king showed his whish to avoid destructive campaigns which turned to be an end in itself. This testifies once again that more than one decade after the formation of the empire main part the "Eastern King of Kings" had the reputation of a humane ruler. Subsequently we can notice that many details of the eastern movement of uniting with a generous king remain unknown because of our lack of information. The subjective character of the information given by Greek and Roman historians is also important to notice, as their attitude was conditioned by their desire of discrediting as far as possible the powerful king of Greater Armenia, who dared to resist the aggressive eastern policy of Rome. Thus, the analysis of the foreign policy conducted by Tigran II the Great in 84-70 B.C. testifies about the existence of a functioning humane right system, quite unusual for its time. In this complicated period of political ups and downs the behavior of the Greater Armenia rulers was exemplary according to the criteria of international right adopted in our region (as well as in the Greek-Roman world) if not in the 21st century, at least in the 1st century B.C. If there have been essential transgressions, the acceding to the Seleucid throne wouldn't have been so easy, the active supporting of Tigran by the proArmenian political group of Syria would have been excluded, while the Jewish court would have been constrained to locate a part of its troops on the Armenian-Jewish border and to wait for further events.
THE ARMENIAN-ROMAN WAR (70 - 68 B.C.) (THE PHENOMENON OF DEFEATING STRATEGY BY TACTICS) In the 80-70-es B.C. Tigran II the Great was observing neutrality in the Mithridatic wars (89-63 B.C) between his father-in-law Mithridates VI Eupator (111-63 B.C), king of Pontus, and Rome, but it was not enough to avoid confrontation with the Roman Empire which initiated enormous conquests in the East. The beginning of the war was promising for the Romans. The moment was propitious to invade Armenia, as the Armenian army was located in proximity of the empire southern border (in Phoenicia) and had laid siege to Ptolemais, the seat of queen Selena who was pretending to the throne of Seleucids on behalf of her sons. Tigran II got the news of the Romans' aggression against Armenia immediately after conquering Ptolemais. To avoid the advance of the Roman warriors Mehruzhan, the governor of Tsopk, attacked them with a battalion of two or three thousands cavalrymen. Thinking that the cavalry of the governor was the avant-garde of the Armenian army, Lucullus ranged all his troops in battle order. In fact, all the Roman army was participating in repulsing the attack. Numerous Armenian soldiers, including prince Mehruzhan, fell dead accomplishing their duty, but this little battalion caused great damage to the enemy. Tigran, with his royal cavalry of six thousands warriors, quickly came back to Armenia, running a march of one thousand kilometers. 154
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(ë³ÑٳݳÛÇÝ ßñç³ÝÝ»ñÇÝ Ùûï»óáÕ) ѳÛáó µ³Ý³ÏÇ Í³õ³É³Í Ù³ñï³Ï³Ý ·áñÍáÕáõÃÇõÝÝ»ñÁ íï³Ý·Ç ϳÝ˳½·³óáõÙ ¿ÇÝ ³é³ç µ»ñ»É, ë³Ï³ÛÝ Ñ³Ûáó µ³Ý³ÏÁ ã¿ñ ëå³éÝáõÙ Ðñ¿³ëï³ÝÇÝ, ³ÛÉ Áݹ³Ù¿ÝÁ ½µ³Õáõ³Í ¿ñ öÇõÝÇÏdzÛÇ Ñ³ñ³õáõ٠ͳ·³Í ³åëï³ÙµáõÃÇõÝÁ ×Ýß»Éáí: ²Ûë ³éáõÙáí Ðñ¿³ëï³ÝÇ Ñå³ï³Ï»óáõÙÁ »õë å¿ïù ¿ ÙdzõáñÙ³Ý ù³Õ³ù³Ï³Ý é³½Ù³í³ñáõû³Ý Ñ»ñÃ³Ï³Ý ûÕ³Ï Ñ³Ù³ñ»É: гÛáó ó·³õáñÇ, ÇÝãå¿ë ݳ»õ ѳÛáó µ³Ý³ÏÇ í³ñù³·ÍÇ ·Ý³Ñ³ïÙ³Ý Ñ³Ù³ñ óáõó³¹ñ³Ï³Ý ¿, áñ Ðñ¿³ëï³ÝÇ ²É¿ùë³Ý¹ñ³ ó·áõÑÇÝ »·Çåï³Ï³Ý ½ûñù»ñÇ ¹¿Ù µ³Ý³Ï ¿ áõÕ³ñÏáõÙ, ÇëÏ Ð³Ûáó ³ñù³ÛÇ Ñ»ï µ³Ý³ÏóáõÃÇõÝÝ»ñ í³ñ»Éáõ ѳٳñª ¹»ëå³ÝÝ»ñ: Ðñ¿³Ï³Ý ³ñùáõÝÇùÁ, Çñ³¹ñáõÃÇõÝÁ ëó÷ ·Ý³Ñ³ï»Éáí, Çñ Ñå³ï³ÏáõÃÇõÝÝ ¿ Û³ÛïÝáõÙ ÑÇõëÇë³ÛÇÝ Ñ½ûñ ѳñ»õ³ÝÇݪ ¹ñ³Ýáí ³Ýíï³Ý· ¹³ñÓÝáõ٠ݳ»õ ѳñ³õ³ÛÇÝ áõÕÕáõÃÇõÝÁ: îÇ·ñ³ÝÝ Áݹ³é³çáõÙ ¿ ¹»ëå³ÝÝ»ñÇ Ëݹñ³ÝùÇÝ »õ Ðñ¿³ëï³ÝÝ ³éÝáõÙ Çñ Çß˳Ýáõû³Ý ï³Ï: ²ÛëåÇëáí, ÙdzõáñÙ³Ý é³½Ù³í³ñáõÃÛ³Ý Ñ³Ù³ñ ѳõ³Ý³Ï³Ý ëå³éݳÉÇù ¿ ѳٳñõáõ٠ݳ»õ º·ÇåïáëÇ í³ñ³Í ù³Õ³ù³Ï³ÝáõÃÇõÝÁ: Ú³ïϳÝß³Ï³Ý ¿, áñ ²É¿ùë³Ý¹ñ³ÛÇ Ñ³ßáõ³ñÏÝ»ñÁ »õë ³ñ¹³ñ³ÝáõÙ »Ý, áõ ѳÛáó ³ñù³Ý óáÛó ¿ ï³ÉÇë ÇÝùݳÝå³ï³Ï ³õ»ñÇã ³ñß³õ³ÝùÝ»ñÇó ½»ñÍ ÙݳÉáõ Çñ ѳëï³ï³Ï³ÙáõÃÇõÝÁ: ê³ Éñ³óáõóÇ㠳ݷ³Ù íϳÛáõÙ ¿, áñ ï¿ñáõû³Ý ÑÇÙÝ³Ï³Ý Ù³ëÇ Ï³½Ù³õáñáõÙÇó ³õ»ÉÇ ù³Ý Ù¿Ï ï³ëݳٻ³Ï ³Ýó §²ñ»õ»ÉùÇ ³ñù³ÛÇó ³ñù³Ý¦ Ù³ñ¹³ë¿ñ ïÇñ³Ï³ÉÇ Ñéã³Ï ¿ñ í³Û»ÉáõÙ: лï»õ³µ³ñ, ϳñáÕ »Ýù Ýß»É, áñ ٻͳÑá·Ç ³ñù³ÛÇ ßáõñçÁ ²ñ»õ»ÉùÇ ÙdzõáñÙ³Ý Ñ³Ù³ñ ëÏëáõ³Í ß³ñÅÙ³Ý µ³½Ù³ÃÇõ Ù³Ýñ³Ù³ëÝ»ñ Û³ÛïÝÇ ã»Ý Ù»½ ѳë³Í ï»Õ»ÏáõÃÇõÝÝ»ñÇ ë³Ï³õáõû³Ý å³ï׳éáí: ä³Ï³ë ϳñ»õáñ 㿠ݳ»õ ÛáõݳÑéáÙ¿³Ï³Ý å³ïÙÇãÝ»ñÇ ÏáÕÙÇó ѳÕáñ¹áõáÕ ï»Õ»ÏáõÃÇõÝÝ»ñÇ ÏáÕÙݳϳÉáõÃÇõÝÁ, áñÁ å³Ûٳݳõáñáõ³Í ¿ ²ñ»õ»ÉùÁ ÐéáÙÇ Ýáõ³×áÕ³Ï³Ý ù³Õ³ù³Ï³Ýáõû³ÝÁ ¹ÇÙ³Ï³Û³Í Ø»Í Ð³ÛùÇ Ñ½ûñ ïÇñ³Ï³ÉÇÝ ³Ù¿Ý Ï»ñå í³ñϳµ»Ï»Éáõ Ó·ïáõÙáí: ²ÛëåÇëáí, ø.³. 84-70ÃÃ. îÇ·ñ³Ý ´ Ø»ÍÇ í³ñ³Í ³ñï³ùÇÝ ù³Õ³ù³Ï³Ýáõû³Ý í»ñÉáõÍáõÃÇõÝÁ íϳÛáõÙ ¿ Çñ ¹³ñ³ßñç³ÝÇ Ñ³Ù³ñ ³Ýëáíáñ Ù³ñ¹³ëÇñ³Ï³Ý Çñ³õáõÝùÇ ·áñÍáÕ Ñ³Ù³Ï³ñ·Ç ·áÛáõû³Ý Ù³ëÇÝ: ø³Õ³ù³Ï³Ý í³ÛñÇí»ñáõÙÝ»ñÇ ³Ûë µ³ñ¹ ųٳݳϳѳïáõ³ÍáõÙ Ø»Í Ð³ÛùÇ Çß˳ÝáõÃÇõÝÝ»ñÇ í³ñù³·ÇÍÁ, »Ã¿ áã XXI ¹., ³å³, ³éÝáõ³½Ý, ø.³. I ¹. Ù»ñ ï³ñ³Í³ßñç³ÝáõÙ (ݳ»õª Ûáõݳ-ÑéáÙ¿³Ï³Ý ³ß˳ñÑáõÙ) ·áñÍáÕ ÙÇç³½·³ÛÇÝ Çñ³õáõÝùÇ ÁݹáõÝáõ³Í ã³÷³ÝÇßÝ»ñáí ûñÇݳϻÉÇ ¿ »Õ»É: ºÃ¿ ¿³Ï³Ý ß»ÕáõÙÝ»ñ »Õ³Í ÉÇÝ¿ÇÝ, ³å³ ê»É»õÏ»³ÝÝ»ñÇ ·³ÑÇÝ Ñ³ëï³ïáõ»ÉÝ ³Û¹ù³Ý ¹ÇõñÇÝ ã¿ñ ÉÇÝÇ, µ³ó³éáõ³Í ÏÉÇÝ¿ñ ²ëáñÇùÇ Ñ³Û³Ù¿ï ù³Õ³ù³Ï³Ý ËÙµ³õáñÙ³Ý ÏáÕÙÇó îÇ·ñ³ÝÇÝ óáõó³µ»ñáõ³Í ·áñÍáõÝ ³ç³ÏóáõÃÇõÝÁ, ÇëÏ Ññ¿³Ï³Ý ³ñùáõÝÇùÁ ëïÇåáõ³Í ÏÉÇÝ¿ñ ½ûñù»ñÇ ÙÇ Ù³ëÁ ï»Õ³Ï³Û»É ѳÛ-Ññ¿³Ï³Ý ë³ÑÙ³ÝÇÝ »õ ëå³ë»É Çñ³¹³ñÓáõÃÇõÝÝ»ñÇ Û»ï³·³Û ½³ñ·³óÙ³ÝÁ:
Ð²Ú - Ðèàؾ²Î²Ü ä²îºð²¼ØÀ (ø.². 70 - 68 ÂÂ.) (貼زì²ðàôº²Ø´ زðî²ì²ðàôº²ÜÀ Ú²ÔºÈàô üºÜàغÜÀ) ø.³. 80-70-³Ï³Ý ÃÃ. îÇ·ñ³Ý Ø»ÍÁ 㿽áùáõÃÇõÝ ¿ñ å³Ñå³ÝáõÙ Çñ ³Ý»ñáçª äáÝïáëÇ Ã³·³õáñ ØÇÑñ¹³ï ¼ ºõå³ïáñÇ (ø.³. 111-63ÃÃ.) áõ ÐéáÙÇ ÙÇç»õ ØÇÑñ¹³ï»³Ý å³ï»ñ³½ÙÝ»ñáõÙ (ø.³. 89-63ÃÃ.), ë³Ï³ÛÝ ¹³ µ³õ³ñ³ñ ãÇ ÉÇÝáõÙ ²ñ»õ»ÉùáõÙ Ñëϳ۳ͳõ³É Ýáõ³×áõÙÝ»ñ Ó»éݳñÏ³Í ÐéáÙÇ Ñ»ï ³é׳ϳïáõÙÇó Ëáõë³÷»Éáõ ѳٳñ: îƶð²Ü غÌ
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Even if the royal battalion arrived to Armenia after the siege of Tigranakert was laid, it did not remain idle. To take out of the besieged capital the royal treasury and women it broke audaciously the circle of Roman soldiers' siege, entered Tigranakert and, getting out of it in the same manner, it brilliantly accomplished its mission. This courageous operation of the cavalry had another result, too. Learning that the Armenian cavalry had taken out the most valuable treasures kept in the city, the Roman soldiers did not continue the siege with their former enthusiasm. It made possible for the little detachment remaining in the city and commanded by captain Mankayos (Mamik) to repulse Roman attacks during six months. To avoid new "surprises" of the Armenian cavalry, Romans encircled the city with walls having four meters height. Around the walls they dug a moat of four meters width and as much depth, which deprived the besieged people from any communication with the outside. But these operations did not have essential results. The enormous Roman army couldn't achieve the conquest of the inaccessible city of Tigranakert surrounded by ramparts of 25 meters height and it was condemned to inactivity for several months. Thus, the Armenian army found the possibility of straightening out the unfavorable situation created by the unexpected invasion of the enemy. Even if Tigran II had his traditional Armenian program of war conducting, which had justified itself in all previous wars, he didn't neglect to discuss the war strategy with Mithridates VI who was living in Armenia already for one year and a half. Taking into consideration the advantages of Roman legions in close combat, Mithridates advised to avoid a decisive battle, but to put obstacle to their advance by unexpected attacks of the cavalry. In case of realizing the proposed strategy the fall of Tigranakert would be unavoidable, as the newly built capital town hadn't necessary reserves of weapons and food. It was obvious that the heroically struggling city wouldn't resist for long. Of course, Tigran well understood that the troops returning from Phoenicia to Armenia after exhausting battles should have time to rest and recover, but the besieged people should be helped as soon as possible. Infantry detachments were put at the disposal of Mithridates to develop military operation at the rear of Romans, while Tigran II, gathering the troops of the kings of Atropatena, Adiabena, Caucasian Albania and Georgia, as well as subjected nomad Arabs (70-80 thousands soldiers), gave battle to Romans near Tigranakert on October 69 B.C. Taking advantage of the circumstance that the Armenian army commandment hadn't time enough to investigate in details all the forces of the Roman army before the battle, Lucullus unexpectedly attacked Tigran with the legions lying in ambush (15.000 soldiers). By the way, the first blow was directed towards the forces defending the food supply unit. Not to allow the fighting order of the Armenian infantry to be broken because of the mess started in the rear, the Armenian king commanded to retreat. So, the fall of Tigranakert became unavoidable, but it was the only way to save the army from a definitive crush. This method adopted by Tigran II to save troops from the crush by retiring them from under the blow, was a real turning-point. It definitively proved
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ä³ï»ñ³½ÙÇ ëÏǽµÁ ËáëïáõÙݳÉÇó ¿ñ ÑéáÙ¿³óÇÝ»ñÇ Ñ³Ù³ñ: г۳ëï³Ý Ý»ñËáõÅ»Éáõ å³ÑÁ Û³ñÙ³ñ ¿ñ, ù³ÝÇ áñ ѳÛáó µ³Ý³ÏÁ ·ïÝõáõÙ ¿ñ ï¿ñáõû³Ý ѳñ³õ³ÛÇÝ ë³ÑٳݳٻñÓ ßñç³ÝÝ»ñáõÙ (öÇõÝÇÏdzÛáõÙ), áñï»Õ å³ß³ñ»É ¿ñ Çñ áñ¹ÇÝ»ñÇ ³ÝáõÝÇó ê»É»õÏ»³Ý ·³ÑÇÝ Û³õ³ÏÝáÕ ê»É»Ý¿ ó·áõÑáõ Ýëï³í³Ûñ äïÕáÙ³ÛÇëÁ: ÐéáÙ¿³Ï³Ý µ³Ý³ÏÇ Ð³Û³ëï³Ý Ý»ñËáõÅ»Éáõ ÉáõñÁ îÇ·ñ³Ý ´-Ý ëï³ÝáõÙ ¿ äïÕáÙ³ÛÇëÁ ·ñ³õ»Éáõó ³ÝÙÇç³å¿ë Û»ïáÛ: ÐéáÙ¿³Ï³Ý µ³Ý³ÏÇ ³é³ç˳ճóÙ³ÝÁ ËáãÁݹáï»Éáõ ѳٳñ 2-3000-³Ýáó ѻͻ³É ½ûñ³Ù³ëáí Ýñ³Ýó íñ³Û ¿ ·ñáÑáõÙ Ìá÷ùÇ µ¹»ßË Ø»ÑñáõųÝÁ: γñÍ»Éáí, ÿ µ¹»ßËÇ Ñ»Í»É³·áõݹÁ ѳÛáó µ³Ý³ÏÇ ³é³ç³å³Ñ áõÅ»ñÝ »Ý, ÈáõÏáõÉÉáëÝ ³ÙµáÕç µ³Ý³ÏÁ ß³ñáõÙ ¿ Ù³ñï³Ï³ñ·áí: ö³ëïûñ¿Ý ·ñáÑÇ ³Ý¹ñ³¹³ñÓÙ³ÝÁ Ù³ëݳÏóáõÙ ¿ ³ÙµáÕç ÑéáÙ¿³Ï³Ý µ³Ý³ÏÁ: Æñ»Ýó å³ñïùÁ ϳï³ñ»Éáí` Ù³ñïáõÙ ½áÑõáõÙ »Ý µ³½Ù³ÃÇõ ù³ç ѳÛáñ¹ÇÝ»ñ, ³Û¹ Ãõáõ٠ݳ»õ Ø»ÑñáõÅ³Ý Çß˳ÝÁ, µ³Ûó ÷áùñ ½ûñ³Ù³ëÁ ½·³ÉÇ íÝ³ë ¿ ѳëóÝáõ٠ѳϳé³Ïáñ¹ÇÝ: îÇ·ñ³ÝÝ ³ñù³Û³Ï³Ý 6000 Ñá·³Ýáó ÃÇÏݳå³Ñ (¹ñ³ÝÇÏ) ѻͻɳ½ûñÇ Ñ»ï ÙdzëÇÝ, ³õ»ÉÇ ù³Ý ѳ½³ñ ÏÇÉáÙ»ïñ³Ýáó é³½Ù»ñà ϳï³ñ»Éáí, ßï³å í»ñ³¹³éÝáõÙ ¿ г۳ëï³Ý: ¿»õ ¹ñ³ÝÇÏ ·áõݹÁ г۳ëï³Ý ¿ ѳëÝáõÙ îÇ·ñ³Ý³Ï»ñïÇ å³ß³ñáõÙÇó Û»ïáÛ, ë³Ï³ÛÝ ³Ý·áñÍ ãÇ ÙÝáõÙ: ä³ß³ñáõ³Í Ù³Ûñ³ù³Õ³ùÇó ó·³õáñ³Ï³Ý ·³ÝÓ»ñÝ áõ ϳݳÝáóÁ ¹áõñë µ»ñ»Éáõ ѳٳñ ۳ݹáõ·Ý ·ñáÑáí ½ûñ³Ù³ëÁ ×»ÕùáõÙ ¿ ÑéáÙ¿³Ï³Ý ½ûñù»ñÇ å³ß³ñÙ³Ý ûÕ³ÏÁ, ÙïÝáõÙ îÇ·ñ³Ý³Ï»ñï áõ ÝáÛÝ Ï³ñ·áí ¹áõñë ·³Éáíª ÷³ÛÉáõÝ Ï»ñåáí ϳï³ñáõÙ ³é³ç³¹ñ³ÝùÁ: лͻɳ½ûñÇ Ñ³Ù³ñÓ³Ï ·áñÍáÕáõÃÇõÝÁ »õë Ù¿Ï Ñ»ï»õ³Ýù ¿ áõÝ»ÝáõÙ: î»Õ»Ï³Ý³Éáí, áñ ѳÛÏ³Ï³Ý Ñ»Í»³É ½ûñ³Ù³ëÝ Çñ Ñ»ï ï³ñ»É ¿ ù³Õ³ùáõÙ å³ÑáõáÕ ³Ù»Ý³³ñÅ¿ù³õáñ ·³ÝÓ»ñÁ, ÑéáÙ¿³Ï³Ý ½ÇÝáõáñÝ»ñÁ ݳËÏÇÝ á·»õáñáõû³Ùµ ã»Ý ß³ñáõݳÏáõÙ å³ß³ñáõÙÁ: ¸³ سÝϳÛáë (سÙÇÏ) ½ûñ³í³ñÇ ·É˳õáñáõÃÛ³Ùµ ù³Õ³ùáõÙ Ùݳó³Í ÷áùñ³ÃÇõ ½ûñ³Ù³ëÇÝ Ñݳñ³õáñáõÃÇõÝ ¿ ï³ÉÇë í»ó ³ÙÇë ß³ñáõÝ³Ï Û»ï ÙÕ»É ÑéáÙ¿³óÇÝ»ñÇ ·ñáÑÝ»ñÁ: гÛáó ³ÛñáõÓÇÇ Ýáñ³Ýáñ §³Ý³ÏÝϳÉÝ»ñÇó¦ Ëáõë³÷»Éáõ ѳٳñ ÑéáÙ¿³óÇÝ»ñÁ µáõÝ ù³Õ³ùÁ ßñç³å³ïáõÙ »Ý ³õ»ÉÇ ù³Ý ãáñë Ù»ïñ µ³ñÓñáõû³Ùµ å³ïÝ¿ßáí: ä³ïÝ¿ßÇ ßáõñçÁ ÷áñõáõÙ ¿ ³õ»ÉÇ ù³Ý ãáñë Ù»ïñ Ëáñáõû³Ùµ áõ ÝáÛÝù³Ý ¿É ɳÛÝáõû³Ùµ Ëñ³Ù, áñáí å³ß³ñáõ³ÍÝ»ñÁ ½ñÏõáõÙ »Ý ¹ñëÇ Ñ»ï ѳÕáñ¹³Ïóáõ»Éáõ Ñݳñ³õáñáõÃÇõÝÇó, ë³Ï³ÛÝ ³Ûë ÙÇçáó³éáõÙÝ»ñÝ ¿³Ï³Ý ³ñ¹ÇõÝù ã»Ý ï³ÉÇë: ÐéáÙ¿³Ï³Ý ÑëÏ³Û³Ï³Ý µ³Ý³ÏÁ, ãϳñáճݳÉáí ·ñ³õ»É ³Ý³éÇÏ (25 Ù»ïñ³Ýáó å³ñÇëåáí å³ßïå³Ýáõ³Í) îÇ·ñ³Ý³Ï»ñïÁ, ³ÙÇëÝ»ñ ß³ñáõÝ³Ï ÷³ëï³óÇ ³Ý·áñÍáõû³Ý ¿ Ù³ïÝõáõÙ: ¸ñ³Ýáí ѳÛÏ³Ï³Ý ÏáÕÙÁ Å³Ù³Ý³Ï ¿ ëï³ÝáõÙª ѳϳé³Ïáñ¹Ç Û³ÝϳñͳÏÇ Ý»ñËáõÅáõÙáí å³Ûٳݳõáñáõ³Í ³Ýµ³ñ»Ýå³ëï Çñ³íÇ׳ÏÁ ßïÏ»Éáõ ѳٳñ: ¿»õ îÇ·ñ³Ý ´-Ý áõÝ¿ñ å³ï»ñ³½ÙÇ í³ñÙ³Ý Ñ³Ûáó ³õ³Ý¹³Ï³Ý Íñ³·ÇñÁ, áñÝ ³ñ¹³ñ³óñ»É ¿ñ ݳËÏÇÝáõÙ í³ñ³Í µ³½Ù³ÃÇõ å³ï»ñ³½ÙÝ»ñáõÙ, ë³Ï³ÛÝ å³ï»ñ³½ÙÇ é³½Ù³í³ñ³Ï³Ý Íñ³·ñÇ Ùß³ÏÙ³Ý Å³Ù³Ý³Ï ³õ»Éáñ¹ ãÇ Ñ³Ù³ñáõÙ ï»ë³Ïó»É ßáõñç Ù¿ÏáõÏ¿ë ï³ñÇ Ð³Û³ëï³ÝáõÙ ³åñáÕ ØÇÑñ¹³ï ¼-Ç Ñ»ï: Ø»ñÓ³Ù³ñïáõÙ É»·¿áÝÝ»ñÇ ³é³õ»ÉáõÃÇõÝÝ»ñÁ ÝϳïÇ áõݻݳÉáíª ØÇÑñ¹³ïÁ ËáñÑáõñ¹ ¿ ï³ÉÇë Ëáõë³÷»É í×é³Ï³Ý ׳ϳï³Ù³ñïÇó »õ ѻͻɳ½ûñÇ Û³ÝϳñͳÏÇ Û³ñÓ³ÏáõÙÝ»ñáí ËáãÁݹáï»É Ýñ³Ýó ³é³ç˳ճóÙ³ÝÁ: ²é³ç³ñÏáõáÕ é³½Ù³í³ñáõû³Ý ÏÇñ³éÙ³Ý ¹¿åùáõÙ îÇ·ñ³Ý³Ï»ñïÇ ³ÝÏáõÙÝ ³ÝËáõë³÷»ÉÇ ¿ñ ÉÇÝ»Éáõ, ù³ÝÇ áñ Ýáñ³Ï³éáÛó Ù³Ûñ³ù³Õ³ùáõÙ ½¿ÝùÇ »õ ëÝÝ¹Ç ³ÝÑñ³Å»ßï å³ß³ñÝ»ñ ãϳÛÇÝ: ä³ñ½ ¿ñ, áñ Ñ»ñáëáõû³Ý ³ÝÏñÏÝ»ÉÇ ûñÇݳÏÝ»ñ óáÛó ïáõáÕ ù³Õ³ùÁ ã¿ñ ϳñáÕ³Ý³Û »ñϳñ ¹ÇÙ³¹ñ»É: îÇ·ñ³ÝÝ, ³Ýßáõßï, ·Çï³ÏóáõÙ ¿ñ, áñ »ñϳñ³ï»õ ÑÇõÍÇã é³½Ù»ñÃÇó Û»ïáÛ öÇõÝÇÏdzÛÇó г۳ëï³Ý í»ñ³¹³ñÓáÕ ½ûñ³Ù³ë»ñÝ áõÅ»ñÇ í»îƶð²Ü غÌ
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the priority of tactics upon strategy. By the means of the Roman army, defeated by the Armenian king, this fact was recognized in the international military art. To better understand the real scale of Tigran's indisputable military talent, it's enough to notice that in Europe the Russian army's general M. Kutuzov dared to apply this strategy in 1812 in the war against Napoleon. After the battle of Borodino he decided to render Moscow to Frenchmen without fighting. Even in the 19th century numerous were those who couldn't estimate at their true worth the operations of the famous Russian general and considered that the war was lost. While carrying out this strategy Kutuzov met an opposition movement headed by the court "generals" of Emperor Alexander I. By the way, entering Moscow Emperor Napoleon also considered his task achieved and waited for Russian capitulation. Only the partisan guerilla suggested to Napoleon that he should have gone ahead, but precious time was already lost. The quick and organized retreat of the Armenian army was a surprise to the Romans, and not being able to correctly appreciate the situation, Lucullus didn't dare to pursue the retreating Armenian army at a long distance. As one can have expected the Roman army entered Tigranakert, terribly looted it and went to Cordova for wintering there. If the winter of 69/68 B.C. was a period of rest for the Roman army, Armenian soldiers used it to summon up new energy. Recruiting to supplement his forces with new contingent, Tigran managed to restore the losses of the previous war period. In a short period of time he created a numerous and efficient army (composed for 2/3 from infantry and 1/3 from cavalry). Taking into account the lessons of the war, he trained the army to fight against the Roman legions in new order. To make the training more efficient, it was done with the participation of a Pontian general, who had great experience of fighting against the Roman army. Decision was made to avoid decisive battle, but to exhaust the enemy forces by sudden attacks; this was an audacious decision which shows the high caliber and strong will of the Armenian king as military chief. Very soon this bold tactics showed the expected result. In the spring of 68 B.C. the Roman army moved towards Artashat, the conquest of which should have been a tactical success. The Roman army moved ahead ravaging the neighboring localities. Lucullus was hoping that the Armenian army would start a decisive battle in order to defend Artashat and avoid further ravaging of the country. At this disastrous moment Tigran II took a new audacious initiative, which turned to be another successful experience in reforming the military art of that epoch. Instead of uniting the army in retreat and to concentrated forces, Tigran divided the army into two parts. The king himself commanded the cavalry, while Mithridates headed the rearguard. The cavalry bravely attacked the Roman army, but avoided in-fighting (decisive battle). Appearing from the most unexpected sides, it almost unceasingly kept under blow the Roman army's marching order by attacking on the flanks, while it was passing through the mountains of the Armenian Taurus. These rapid attacks not only impeded the Roman army advance, but
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drove to despair the Roman soldiers. Instead of 20-25 kilometers a day, in fact Romans could go ahead with the average speed of 3-4 kilometers. Meanwhile Mithridates with his rearguard managed to stand in the way of the Roman army's food supplying. Thanks to all this, the Eastern King of Kings not only succeeded in neutralizing definitively the results of Roman's unexpected attack, but to deprived them from initiative. The military operations were displayed in uneven mountainous grounds, where Lucullus was constrained to stop frequently the advance of soldiers to gather necessary reconnaissance data. One of these stops turned to be fatal for the Romans. Reaching the river Aratzani, for four days Lucullus didn't dare to give the command of crossing it and the main reason of it was not the difficulty of the operation, but the gathering of reconnaissance data about the Armenian army which was disorienting the adversary with its incessant moves. The fears of Lucullus weren't unfounded, as Romans met difficulties while overcoming every obstacle of the grounds. Precisely at the moment of crossing the river Aratzani the Armenian cavalry attacked them and imposed the battle, remaining at the distance of arrow throwing. At the beginning of the battle the cavalry detachments of Mardaites (archers) and Iberians (lance bearers), who have begun the attack, retreated in diverse directions and broke the battle order of Romans which was already ranged in haste. Retreating they opened the battlefield for the operations of the heavy cavalry (sword bearers) of Greater Armenia and Atropatena. To make the operations more efficient and to put psychological pressure on the Roman soldiers, the light Armenian cavalry used poisoned arrows and claw bearing ones (probably with three wings). At the end of a short battle the Armenian cavalry successfully retreated. Astounded by this audacious attack, the Roman general didn't even dare to pursue the "retreating" Armenian cavalry. Again the battlefield remained in the hands of Romans, but this battle was essentially different from that of Tigranakert. The situation of the Roman army was so distressing that some days after crossing the Aratzani soldiers began to mutiny. Disobeying to the commands of Lucullus, who promised them great treasures and glory after reaching Artashat, they refused to continue the way. That was the victorious strategy of Tigran II the Great. The Roman army, even if it was not defeated in a decisive battle, started to retreat, which meant that it had lost the war. The Roman army was retreating so fast that Tigran hadn't time enough to join the cavalry to the rearguard and to reach with united forces the demoralized enemy army and to crush it completely. After the failure of the famous Carthaginian general Hannibal in the second Phoenician war, in different countries they were searching for efficient methods to struggle against the Roman legions which were considered as invincible. Vain attempts had created an atmosphere of despair among generals. The importance of the Armenian-Roman war in the military art of 7068 B.C. was that the victory of Tigran II put an end to this despair. In fact, it proved that all the strategic advantages of the Roman army could be neutralized in certain conditions by tactical advantages.
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ݳÏÇ Ñ»ï å³ï»ñ³½Ù»Éáõ Ù»Í ÷áñÓ áõÝ»óáÕ åáÝï³Ï³Ý ½ûñ³Ññ³Ù³Ý³ï³ñÝ»ñÁ: àñáßõáõÙ ¿ Ëáõë³÷»É í×é³Ï³Ý ׳ϳï³Ù³ñïÇó »õ ³Ýëå³ë»ÉÇ Ñ³ñáõ³ÍÝ»ñáí ÑÇõÍ»É Ñ³Ï³é³Ïáñ¹Ç áõÅ»ñÁ, áñÁ ѳٳñÓ³Ï ù³ÛÉ ¿ áõ íϳÛáõÙ ¿ ѳÛáó ³ñù³ÛÇ ½ûñ³í³ñ³Ï³Ý-ϳٳÛÇÝ µ³ñÓñ áñ³ÏÝ»ñÇ Ù³ëÇÝ: Þ³ï ßáõïáí ³Ûë ѳٳñÓ³Ï Ù³ñï³í³ñáõÃÇõÝÁ ï³ÉÇë ¿ ëå³ëáõ³Í ³ñ¹ÇõÝùÁ: ø.³. 68Ã. ·³ñݳÝÁ ÑéáÙ¿³Ï³Ý µ³Ý³ÏÁ ß³ñÅõáõÙ ¿ ¹¿åÇ ²ñï³ß³ï, áñÇ ·ñ³õáõÙÁ é³½Ù³í³ñ³Ï³Ý Û³çáÕáõÃÇõÝ ÏÉÇÝ¿ñ: ÐéáÙ¿³Ï³Ý µ³Ý³ÏÝ ³é³ç ¿ñ ß³ñÅõáõÙª ³õ»ñ»Éáí ßñç³Ï³Û µÝ³Ï³í³Ûñ»ñÁ: ÈáõÏáõÉÉáëÁ ÛáÛë áõÝ¿ñ, áñ »ñÏÇñÁ ۻﳷ³Û ³õ»ñ³ÍáõÃÇõÝÝ»ñÇó ½»ñÍ å³Ñ»Éáõ »õ ²ñï³ß³ïÁ å³ßïå³Ý»Éáõ ѳٳñ ѳÛáó µ³Ý³ÏÁ í×é³Ï³Ý ׳ϳï³Ù³ñïÇ ¹áõñë Ï·³Û: ²Û¹ ûñѳë³Ï³Ý å³ÑÇÝ îÇ·ñ³Ý ´-Ý Ýáñ ѳٳñÓ³Ï ù³ÛÉÇ ¿ ¹ÇÙáõÙ, áñÝ ³Û¹ ¹³ñ³ßñç³ÝÇ é³½Ù³ñáõ»ëïÁ µ³ñ»÷áË»Éáõ Ñ»ñÃ³Ï³Ý Û³çáÕ ÷áñÓÝ ¿ñ. ݳѳÝçáÕ áõÅ»ñÁ Ùdzõáñ»Éáõ »õ Ù¿Ï µéáõÝóù ¹³ñÓÝ»Éáõ ÷á˳ñ¿Ý µ³Ý³ÏÁ µ³Å³ÝõáõÙ ¿ »ñÏáõ Ù³ëÇ: гÛáó ³ñù³Ý ·É˳õáñáõÙ ¿ ³ÛñáõÓÇÝ, ÇëÏ ØÇÑñ¹³ïÁª Ñ»ï»õ³½ûñÁ: лͻɳ½ûñÁ ѳٳñÓ³Ï Û³ñÓ³ÏáõÙÝ»ñ ¿ ·áñÍáõÙ ÑéáÙ¿³Ï³Ý ½ûñùÇ íñ³Û, ë³Ï³ÛÝ Ëáõë³÷áõÙ Ù»ñÓ³Ù³ñïÇ (í×é³Ï³Ý ׳ϳï³Ù³ñïÇ) Ý»ñù³ßáõ»Éáõó: Ú³ÛïÝáõ»Éáí ³Ù»Ý³³Ýëå³ë»ÉÇ ÏáÕÙ»ñÇóª ³ÛÝ ·ñ»Ã¿ ³ÝÁݹѳï ѳñáõ³ÍÝ»ñÇ ï³Ï ¿ñ å³Ñáõ٠гÛÏ³Ï³Ý î³õñáëÇ É»éÝ»ñÝ ³ÝóÝáÕ ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ »ñóÛÇÝ ¹³ë³õáñáõû³Ý ûõ»ñÁ: êñÁÝóó ·ñáÑÝ»ñÁ áã ÙdzÛÝ ¿³å¿ë ËáãÁݹáïáõÙ ¿ÇÝ ÑéáÙ¿³óÇÝ»ñÇ ³é³ç˳ճóÙ³ÝÁ, ³ÛÉ»õ Ûáõë³ÉùáõÙ ÑéáÙ¿³óÇ ½ÇÝáõáñÝ»ñÇÝ: úñ³Ï³Ý 20-25 ÏÙ-Ç ÷á˳ñ¿Ý ÑéáÙ¿³óÇÝ»ñÁ ϳñáÕ³ÝáõÙ ¿ÇÝ ³é³ç ß³ñÅáõ»É 3-4 ÏÙ ÙÇçÇÝ ³ñ³·áõû³Ùµ: ²Û¹ ÁÝóóùáõÙ ØÇÑñ¹³ïÁ Ñ»ï»õ³½ûñÇ áõÅ»ñáí ϳñáÕ³ÝáõÙ ¿ ˳÷³Ý»É ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ Ù³ï³Ï³ñ³ñáõÙÁ: ²Ûë ³Ù»ÝÇ ßÝáñÑÇõ ²ñ»õ»ÉùÇ ïÇñ³Ï³ÉÁ áã ÙdzÛÝ í»ñçݳϳݳå¿ë 㿽áù³óÝáõÙ ¿ ÑéáÙ¿³óÇÝ»ñÇ Û³ÝϳñͳÏÇ Û³ñÓ³ÏÙ³Ý Ñ»ï»õ³ÝùÝ»ñÁ, ³ÛÉ»õ Ýñ³ÝóÇó ËÉáõ٠ݳ˳ӻéÝáõÃÇõÝÁ: è³½Ù³Ï³Ý ·áñÍáÕáõÃÇõÝÝ»ñÝ ÁÝóÝáõÙ ¿ÇÝ É»éݳÛÇÝ Ïïñïáõ³Í ï»Õ³ÝùáõÙ, áñï»Õ ³ÝÑñ³Å»ßï Ñ»ï³Ëáõ½³Ï³Ý ïáõ»³ÉÝ»ñÁ ëï³Ý³Éáõ ѳٳñ ÈáõÏáõÉÉáëÁ Û³×³Ë ¹³¹³ñ»óÝáõÙ ¿ñ ³é³ç˳ճóáõÙÁ: ²ÛëåÇëÇ ¹³¹³ñÝ»ñÇó Ù¿ÏÝ ¿É ׳ϳﳷñ³Ï³Ý ¿ ÉÇÝáõÙ ÑéáÙ¿³óÇÝ»ñÇ Ñ³Ù³ñ: ²ñ³Í³ÝÇ ·»ïÇÝ Ñ³ëÝ»Éáí` ÈáõÏáõÉÉáëÁ ãáñë ûñ ãÇ Ñ³Ù³ñÓ³ÏõáõÙ ·»ï³ÝóÙ³Ý Ññ³Ù³Ý ³ñӳϻÉ, »õ ¹ñ³ Çñ³Ï³Ý å³ï׳éÁ áã ÿ ·»ïÝ ³ÝóÝ»Éáõ ¹Åáõ³ñáõÃÇõÝÝ ¿ñ, ³ÛÉ ³ÝÁÝ¹Ñ³ï ½ûñ³ß³ñÅ»ñáí ѳϳé³Ïáñ¹ÇÝ ³å³ÏáÕÙÝáñáß³Í Ñ³Ûáó µ³Ý³ÏÇ Ù³ëÇÝ Ñ»ï³Ëáõ½³Ï³Ý ïáõ»³ÉÝ»ñÇ µ³ó³Ï³ÛáõÃÇõÝÁ: ÈáõÏáõÉÉáëÇ Ùï³í³ËáõÃÇõÝÝ ³ÝÑÇÙÝ ã¿ñ, ù³ÝÇ áñ ï»Õ³ÝùÇ ·ñ»Ã¿ µáÉáñ ³ñ·»ÉùÝ»ñÁ Û³Õóѳñ»ÉÇë ÑéáÙ¿³óÇÝ»ñÁ ¹Åáõ³ñáõÃÇõÝÝ»ñÇ ¿ÇÝ Ñ³Ý¹ÇåáõÙ: пÝó ²ñ³Í³ÝÇÇ ·»ï³ÝóÙ³Ý Å³Ù³Ý³Ï ¿É ѳÛáó ³ÛñáõÓÇÝ ·ñáÑáõÙ ¿ Ýñ³Ýó íñ³Û, Ù³ñï å³ñï³¹ñáõÙª ÙݳÉáí Ý»ï³Ó·áõû³Ý Ñ»é³õáñáõû³Ý íñ³Û: سñïÇ ëϽµáõÙ ·ñáÑÁ ëÏë³Í Ù³ñ¹»ñÇ (Ý»ï³ÓÇ·) »õ ǵ»ñÝ»ñÇ (Ýǽ³Ï³ÏÇñ) ѻͻɳ·Ý¹»ñÁ ݳѳÝçáõÙ »Ý ï³ñµ»ñ áõÕÕáõÃÇõÝÝ»ñáí »õ ˳µáõëÇÏ ½ûñ³ß³ñÅáí µ»ÏáõÙ ÑéáÙ¿³óÇÝ»ñǪ ³é³Ýó ³ÛÝ ¿É ѳå×»åûñ¿Ý ß³ñáõ³Í Ù³ñï³Ï³ñ·Á: ܳѳÝç»Éáíª Ýñ³Ýù Ù³ñï³¹³ßïÁ µ³óáõÙ »Ý Ø»Í Ð³ÛùÇ áõ ²ïñå³ï³Ï³ÝÇ Í³Ýñ³½¿Ý (ëáõë»ñ³ÏÇñ) ѻͻɳ½ûñÇ ·áñÍáÕáõÃÇõÝÝ»ñÇ Ñ³Ù³ñ, áñáÝù Ýáñ ·ñáÑ »Ý Ó»éݳñÏáõÙ Ù³ñï³Ï³ñ·Á ˳Ëï³Í ÑéáÙ¿³óÇÝ»ñÇ íñ³Û: ¶áñÍáÕáõÃÇõÝÝ»ñÇ ³ñ¹Çõݳõ¿ïáõÃÇõÝÁ µ³ñÓñ³óÝ»Éáõ, ÇÝãå¿ë ݳ»õ ÑéáÙ¿³óÇ ½ÇÝáõáñÝ»ñÇ íñ³Û Ñá·»µ³Ý³Ï³Ý ×ÝßáõÙ ·áñͳ¹ñ»Éáõ ѳٳñ ѳÛáó ûûõ³½¿Ý ѻͻɳ½ûñÝ û·ï³·áñÍáõÙ ¿ Ãáõݳõáñ áõ ׳Ýϳõáñ (ѳõ³Ý³µ³ñ` ݳ»õ »é³Ã»õ) Ý»ï»ñ: àã »ñϳñ³ï»õ Ù³ñïÇ í»ñçáõ٠ѳÛáó ѻͻɳ½ûñÁ ÝáÛÝ Û³çáÕáõû³Ùµ ¿É ݳѳÝçáõÙ ¿: гٳñÓ³Ï ·ñáîƶð²Ü غÌ
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TIGRANES AS MILITARY FIGURE
In 53 B.C. the Roman army commanded by Marcus Crassus entered the territory of the Parthian empire and conquered the desert regions of Mesopotamia belonging to it. Retreating, Parthians not only didn't allow the enemy to reach any noticeable results, but in created favorite conditions they managed to crush him by powerful attacks. The Parthian commandant Suren cut the head of the Roman general and sent it to Artashat where King of Kings of the East Artavazd II (55-34 B.C.) was receiving the Parthian king Orodes. Only one year after the inglorious campaign of Crass (in 52 B.C.) the same strategy was applied against another Roman general Julius Caesar by Gauls conducted by Vercingetorix, who adjoined night battles to these methods. By the way, even the army of 50,000 Gaul warriors coming to help Vercingetorix, who has settled in Alesia defending it and avoiding by all means a battle against Romans, didn't dare battling against the enemy, even if they tried twice (at night) to broke the siege circle. So, the tactics successfully used by Tigran the Great in the ArmenianRoman war against the Roman Empire in 70-68 B.C. was recognized so universally useful that it was applied again at least two times in two decades; afterwards it became the obligatory war conception of almost all nations struggling against Rome. Translated from Armenian by Aida Charkhchyan
162
TIGRANES THE GREAT
ÑÇó ³å߳ѳñ »Õ³Í ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ Ññ³Ù³Ý³ï³ñÁ ãÇ Ñ³Ù³ñÓ³ÏõáõÙ Ñ»ï³åݹ»É §Ý³Ñ³ÝçáÕ¦ ѳÛáó ѻͻɳ½ûñÇÝ: ÎñÏÇÝ Ù³ñï³¹³ßïÁ ÙÝáõÙ ¿ ÑéáÙ¿³óÇÝ»ñÇÝ, µ³Ûó ³Ûë Ù³ñïÝ ¿³å¿ë ï³ñµ»ñõáõÙ ¿ îÇ·ñ³Ý³Ï»ñïÇ ×³Ï³ï³Ù³ñïÇó: ÐéáÙ¿³Ï³Ý µ³Ý³ÏÝ ³ÛÝù³Ý ͳÝñ ¹ñáõû³Ý Ù¿ç ¿ ÁÝÏÝáõÙ, áñ ²ñ³Í³ÝÇÝ ³ÝóÝ»Éáõó ÙÇ ù³ÝÇ ûñ ³Ýó ½ÇÝáõáñÝ»ñÁ ËéáíáõÃÇõÝ »Ý µ³ñÓñ³óÝáõÙ: ²ñï³ß³ïáõÙ ÑëÏ³Û³Ï³Ý ·³ÝÓ»ñ áõ ÷³éù Ëáëï³óáÕ ÈáõÏáõÉÉáëÇ Ññ³Ù³ÝÝ»ñÇÝ ã»ÝóñÏáõ»Éáíª Ýñ³Ýù Ññ³Å³ñõáõÙ »Ý ß³ñáõÝ³Ï»É ×³Ý³å³ñÑÁ: ¸³ îÇ·ñ³Ý ´ Ø»ÍÇ ÏÇñ³é³Í é³½Ù³í³ñáõû³Ý Û³ÕóݳÏÝ ¿ñ: ì×é³Ï³Ý ׳ϳï³Ù³ñïáõÙ å³ñïáõÃÇõÝ ãÏñ³Í ÑéáÙ¿³Ï³Ý µ³Ý³ÏÁ, Ýå³ï³ÏÇÝ ãѳëÝ»Éáí, ëÏëáõÙ ¿ ݳѳÝç»É, ³ÛëÇÝùÝ` å³ñïáõÃÇõÝ ¿ ÏñáõÙ å³ï»ñ³½ÙáõÙ: ÐéáÙ¿³Ï³Ý µ³Ý³ÏÝ ³ÛÝù³Ý ³ñ³· ¿ñ ݳѳÝçáõÙ, áñ îÇ·ñ³ÝÁ ãÇ Ñ³ëóÝáõ٠ѻͻɳ½ûñÁ Ùdzõáñ»É Ñ»ï»õ³½ûñÇÝ »õ ÙdzëÝ³Ï³Ý µ³Ý³Ïáí ѳëÝ»É áõ í»ñçݳϳݳå¿ë ç³Ëç³Ë»É ѳϳé³Ïáñ¹Ç µ³ñáÛ³Éùáõ³Í µ³Ý³ÏÁ: ºñÏñáñ¹ äáõÝÇÏ»³Ý å³ï»ñ³½Ùáõ٠ϳñó·»ÝóÇ ï³Õ³Ý¹³õáñ ½ûñ³í³ñ гÝÝǵ³ÉÇ ³ÝÛ³çáÕáõÃÇõÝÇó Û»ïáÛ ï³ñµ»ñ »ñÏñÝ»ñáõÙ áõÕÇÝ»ñ ¿ÇÝ áñáÝáõÙ ³Ýå³ñï»ÉÇ Ñ³Ù³ñáõáÕ ÑéáÙ¿³Ï³Ý É»·¿áÝÝ»ñÇ ¹¿Ù å³Ûù³ñÇ ³ñ¹Çõݳõ¿ï »Õ³Ý³ÏÝ»ñ ·ïÝ»Éáõ ѳٳñ: ²å³ñ¹ÇõÝ ÷áñÓ»ñÁ ½ûñ³í³ñÝ»ñÇ ßñç³ÝáõÙ Ûáõë³Ñ³ïáõû³Ý ÙÃÝáÉáñïÇ Ó»õ³õáñÙ³Ý å³ï×³é ¿ÇÝ ¹³ñÓ»É: гٳß˳ñѳÛÇÝ é³½Ù³ñáõ»ëïáõÙ ø.³. 70-68ÃÃ. гÛ-ÑéáÙ¿³Ï³Ý å³ï»ñ³½ÙÇ Ý߳ݳÏáõÃÇõÝÝ ³ÛÝ ¿, áñ îÇ·ñ³Ý ´-Ç Û³ÕÃ³Ï³Ý å³ï»ñ³½ÙÁ í»ñç ïáõ»ó Ûáõë³Ñ³ïáõû³ÝÁ: ¶áñÍݳϳÝáõÙ ³å³óáõóáõ»ó, áñ áñáß³ÏÇ å³ÛÙ³ÝÝ»ñáõÙ ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ µáÉáñ Ù³ñï³í³ñ³Ï³Ý ³é³õ»ÉáõÃÇõÝÝ»ñÁ ϳñáÕ »Ý 㿽áù³óáõ»É é³½Ù³í³ñ³Ï³Ý ³é³õ»ÉáõÃÇõÝÝ»ñáí: ø.³. 53Ã. ÑéáÙ¿³óÇ ½ûñ³í³ñ سñÏáë Îñ³ëáëÇ ·É˳õáñ³Í ÑéáÙ¿³Ï³Ý µ³Ý³ÏÁ Ý»ñËáõÅáõÙ ¿ ä³ñûõ³Ï³Ý ï¿ñáõû³Ý ï³ñ³ÍùÁ »õ ·ñ³õáõÙ Ýñ³Ý å³ïϳÝáÕ ØÇç³·»ïùÇ ³Ý³å³ï³ÛÇÝ ßñç³ÝÝ»ñÁ: ܳѳÝç»Éáíª å³ñûõÝ»ñÁ áã ÙdzÛÝ Ñ³Ï³é³Ïáñ¹ÇÝ ã»Ý ÃáÕÝáõ٠ѳëÝ»É ¿³Ï³Ý ³ñ¹ÇõÝùÝ»ñÇ, ³ÛÉ»õ ëï»ÕÍáõ³Í µ³ñ»Ýå³ëï å³ÛÙ³ÝÝ»ñáõÙ Ñݳñ³õáñáõÃÇõÝ »Ý ëï³Ýáõ٠ѽûñ Û³ñÓ³ÏáõÙáí ç³Ëç³Ë»É Ýñ³Ýó: ä³ñûõ³Ï³Ý ½ûñ³í³ñ êáõñ¿ÝÁ, ׳ϳï³Ù³ñïáõÙ ½áÑáõ³Í ÑéáÙ¿³Ï³Ý ½ûñ³í³ñÇ ·ÉáõËÁ Ïïñ»Éáí, ³ÛÝ áõÕ³ñÏáõÙ ¿ ²ñï³ß³ï, áñï»Õ ²ñ»õ»ÉùÇ ³ñù³ÛÇó ³ñù³Û ²ñï³õ³½¹ ´-Ç (ø.³. 55-34ÃÃ.) Ùûï ÑÇõñÁÝϳÉáõ»É ¿ñ ä³ñûõëï³ÝÇ úñṿë ó·³õáñÁ: Îñ³ëáëÇ ³Ý÷³éáõÝ³Ï ³ñß³õ³ÝùÇó Áݹ³Ù¿ÝÁ Ù¿Ï ï³ñÇ ³Ýó (ø.³. 52Ã.) ÑéáÙ¿³Ï³Ý Ù¿Ï ³ÛÉ ½ûñ³í³ñ ÚáõÉÇáë λë³ñÇ ¹¿Ù ѳٳÝÙ³Ý é³½Ù³í³ñáõÃÇõÝ »Ý ÏÇñ³éáõÙ ì»ñóÇÝ·»ïáñÇÏÇ ·É˳õáñáõû³Ùµ å³Ûù³ñÇ »É³Í ·³ÉÉ»ñÁ, áñáÝù ³Ûë ÑݳñùÝ»ñÁ ɳÛÝûñ¿Ý ѳٳï»ÕáõÙ ¿ÇÝ ·Çß»ñ³ÛÇÝ Ù³ñï»ñÇ Ñ»ï: Æ ¹¿å, ²É»½Ç³ÛáõÙ ËáõÉ å³ßïå³Ýáõû³Ý ³Ýó³Í áõ µ³ó ¹³ßïáõÙ ÑéáÙ¿³óÇÝ»ñÇ ¹¿Ù ׳ϳï³Ù³ñïÇó ³Ù¿Ý Ï»ñå Ëáõë³÷áÕ ì»ñóÇÝ·»ïáñÇÏÇÝ û·Ýáõû³Ý ßï³åáÕ ·³ÉÉ³Ï³Ý 50 ѳ½³ñ³Ýáó µ³Ý³ÏÁ »õë ãÇ Ñ³Ù³ñÓ³Ïõáõ٠׳ϳï³Ù³ñï ï³É ѳϳé³Ïáñ¹ÇÝ, ÿ»õ »ñÏáõ ³Ý·³Ù (»ñÏáõëÝ ¿É` ·Çß»ñÁ) ÷áñÓáõÙ ¿ ×»Õù»É å³ß³ñÙ³Ý ûÕ³ÏÁ: ²ÛëåÇëáí, ³ß˳ñÑ³Ï³É ÐéáÙÇ ¹¿Ù ø.³. 70-68ÃÃ. гÛ-ÑéáÙ¿³Ï³Ý å³ï»ñ³½ÙáõÙ Û³çáÕáõû³Ùµ ÏÇñ³éáõ³Í ïÇ·ñ³Ý»³Ý é³½Ù³í³ñáõÃÇõÝÝ ³ÛÝ ³ëïÇ×³Ý Ñ³Ù³åÇï³ÝÇ ¿ñ, áñ Áݹ³Ù¿ÝÁ »ñÏáõ ï³ëݳٻ³ÏáõÙ ³éÝáõ³½Ý »ñÏáõ ³Ý·³Ù ÁݹûñÇݳÏáõ»ó, ÇëÏ Û»ï³·³ÛáõÙ ÐéáÙÇ ¹¿Ù å³ï»ñ³½ÙáÕ ·ñ»Ã¿ µáÉáñ ÅáÕáíáõñ¹Ý»ñÇ å³Ûù³ñÇ å³ñï³¹Çñ ѳۻó³Ï³ñ·Ç í»ñ³Íáõ»ó:
îƶð²Ü غÌ
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TIGRANES AS MILITARY FIGURE
ARA GEVORGIAN
THE BATTLE OF ARATZANI
In
the middle of September 68 B.C. the second of the four main battles [3] of the Armenian-Roman war of 69-66 B.C. took place on the bank of the river Aratzani (Greek and Rom. Arsanias), about which our unique sources th st are the evidence given by Plutarch and Cassius Dio [8, 10]. In the 19 - 21 centuries many historians have studied the course of the battle of Aratzani; the most prominent among them are K. Eckhardt, H. Manandian, S. Sargsian, R. Manaserian and A. Gevorgian [1-7, 9], whose opinions are important for restoring the real course of the battle of Aratzani. The description by Plutarch is insufficient and if one should admit it as the definitive picture of the battle, it is improbable. The main part of the researchers of the last years had accepted the description by Plutarch, but such a prominent specialist of military history as Hans Delbruck is speaking with irony about those who believe such legendary descriptions [12, 13]. In the same time it must be noticed that without the information given by Plutarch our attempts of restoring the battle course would be very insufficient. To our opinion, the descriptions of the battle given by Cassius Dio and Plutarch are drawn from one source; by the way, each of these historians has taken the details which interested him. Cassius Dio clearly tells about the attack of the Roman's cavalry, then about their coming under the blow of Armenian cavalry lying in ambush. The Roman infantry rescued the remnants of the crushed cavalry; Armenians didn't fight with the infantry, but retreated, throwing arrows on the legionnaires and causing great damages to them. The Armenian cavalry didn't undergo any damage and quitted the battlefield, leaving it to the Romans, who began to understand the greatness of their losses. This is a sufficiently objective description without any exaggeration, and it clearly shows the course and the outcome of the battle. If we add to all this the battle order of the Roman army described by Plutarch, the picture of the battle will be definitively completed. The battle descriptions given by the abovementioned unknown source are clear, written in a military language, but they come down to us narrated anew by Plutarch and Cassius Dio. In the battle of Aratzani the Armenian monarch and commander opposed to the masterly and weighed operations of the Roman general an absolutely different tactics than that of the Tigranakert battle. In the battle of Aratzani Tigran wasn't at all like the Tigran of the Tigranakert battle. Not only tactics styles were different, but also the general strategy of the war. 164
TIGRANES THE GREAT
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68 Ã. Ù.Ã.³., ë»åï»Ùµ»ñÇ Ï¿ëÇÝ, ²ñ³Í³ÝÇÇ ³÷ÇÝ ï»ÕÇ áõÝ»ó³õ 69-66 ÃÃ. ѳÛ-ÑéáÙ¿³Ï³Ý å³ï»ñ³½ÙÇ ãáñë ·É˳õáñ ׳ϳï³Ù³ñï»ñÇó`[3] »ñÏñáñ¹Á, áñÇ Ù³ëÇÝ Ù»ñ ÙÇ³Ï ³ÕµÇõñÝ»ñÁ äÉáõï³ñùáëÇ »õ ¸ÇáÝ Î³ëëÇáëÇ íϳÛáõÃÇõÝÝ»ñÝ »Ý [8, 10]: XIX - XXI ¹¹.-áõÙ ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïÇ ÁÝóóùÝ »Ý áõëáõÙݳëÇñ»É ÙÇ ß³ñù å³ïÙ³µ³ÝÝ»ñ, áñáÝóÇó ϳñ»õáñ³·áÛÝÝ »Ý Î. ¾ùѳñïÁ, Ð. سݳݹ»³ÝÁ, ê. ê³ñ·ë»³ÝÁ, è. سݳë»ñ»³ÝÁ, Ð. Ú³Ïáµ»³ÝÁ »õ ². ¶»õáñ·»³ÝÁ [1-7, 9], áñáÝó ³ñï³Û³Ûï³Í ϳñÍÇùÝ»ñÁ ϳñ»õáñ »Ý ׳ϳï³Ù³ñïÇ Çñ³Ï³Ý ÁÝóóùÁ í»ñ³Ï³Ý·Ý»Éáõ ѳٳñ: äÉáõï³ñùáëÇ Ýϳñ³·ñáõÃÇõÝÁ ûñÇ ¿ »õ »Ã¿ ÁݹáõÝáõÇ áñå¿ë ׳ϳï³Ù³ñïÇ í»ñçÝ³Ï³Ý å³ïÏ»ñ` ³Ýѳõ³Ý³Ï³Ý: ì»ñçÇÝ »ñÏáõ ¹³ñÇ Ñ»ï³½ûïáÕÝ»ñÇ Ù»Í Ù³ëÁ ÁݹáõÝ»É ¿ äÉáõï³ñùáëÇ ïáõ³Í Ýϳñ³·ñáõÃÇõÝÁ, ë³Ï³ÛÝ é³½Ù³Ï³Ý å³ïÙáõû³Ý ³ÛÝåÇëÇ ³Ïݳéáõ ·áñÍÇã, ÇÝãåÇëÇÝ Ð³Ýë ¸»ÉµñÇõÏÝ ¿ñ, Ñ»·Ý³Ýùáí ¿ñ ËûëáõÙ ³ÛëåÇëÇ ³é³ëå»É³Ï³Ý Ýϳñ³·ñáõÃÇõÝÝ»ñÇÝ Ñ³õ³ï³óáÕÝ»ñÇ Ù³ëÇÝ [12, 13]: ¸ñ³ Ñ»ï Ù¿Ïï»Õ ³ÝÑñ³Å»ßï ¿ Ýß»É, áñ ³é³Ýó äÉáõï³ñùáëÇ Û³ÛïÝ³Í ï»Õ»ÏáõÃÇõÝÝ»ñÇ, ׳ϳï³Ù³ñïÇ Ù»ñ í»ñ³Ï³Ý·ÝÙ³Ý ÷áñÓÁ ÏÉÇÝ¿ñ ËÇëï ûñÇ: Ø»ñ ϳñÍÇùáí, ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïÇ Ýϳñ³·ñáõÃÇõÝÝ»ñÁ ¸ÇáÝ Î³ëëÇáëÇ »õ äÉáõï³ñùáëÇ Ùûï ϳï³ñáõ³Í »Ý Ù¿Ï ³ÕµÇõñÇó, Áݹ áñáõÙ å³ïÙÇãÝ»ñÇó ³Ù¿Ý Ù¿ÏÁ ׳ϳï³Ù³ñïÇ Ýϳñ³·ñáõÃÇõÝÇó í»ñóñ»É ¿ Çñ»Ý Ñ»ï³ùñùñáÕ Ù³Ýñ³Ù³ëÝ»ñÁ: ¸ÇáÝ Î³ëëÇáëÁ Ûëï³Ï å³ïÙáõÙ ¿ ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÇ ·ñáÑÇ, ³å³ ¹³ñ³Ý³Ï³É³Í ѳÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ Ñ³ñáõ³ÍÇ ï³Ï ÁÝÏÝ»Éáõ Ù³ëÇÝ: æ³Ëç³Ëáõ³Í ѻͻɳ½ûñÇ Ùݳóáñ¹Ý»ñÁ ÷ñÏáõÙ ¿ ÑéáÙ¿³Ï³Ý Ñ»ï»õ³ÏÁ, áñÇ Ñ»ï ѳۻñÁ Ó»éݳٳñïÇ ã»Ý µéÝõáõÙ »õ ݳѳÝç»ÉÇë Ý»ï³Ñ³ñáõÙ »Ý É»·¿áÝ»ñÝ»ñÇÝ` Ù»Í ÏáñáõëïÝ»ñ å³ï׳é»Éáí Ýñ³Ýó: гÛÏ³Ï³Ý Ñ»Í»É³½ûñÁ áñ»õÇó¿ íݳë ãÏñ»Éáí Ñ»é³ÝáõÙ ¿, Ù³ñï³¹³ßïÁ ÃáÕÝ»Éáí ÑéáÙ¿³óÇÝ»ñÇÝ, áñáÝù ëÏëáõÙ »Ý ·Çï³Ïó»É Çñ»Ýó ÏáñáõëïÝ»ñÇ Í³ÝñáõÃÇõÝÁ: ²Ûë µ³õ³Ï³ÝÇÝ ûµÛ»ÏïÇõ Ýϳñ³·ñáõû³Ý Ù¿ç ãÏ³Û áñ»õÇó¿ ã³÷³½³ÝóáõÃÇõÝ »õ Ûëï³Ï ß³ñ³¹ñáõ³Í ¿ ׳ϳï³Ù³ñïÇ ÁÝóóùÁ »õ »ÉùÁ: ºÃ¿ ³Ûë ³Ù»ÝÇÝ ·áõÙ³ñ»Ýù ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ äÉáõï³ñùáëÇ Ý»ñϳ۳óáõ³Í Ù³ñï³Ï³ñ·Á, ׳ϳï³Ù³ñïÇ å³ïÏ»ñÁ í»ñçݳϳݳå¿ë ³ÙµáÕç³ÝáõÙ ¿: ²Ûë ³ÝÛ³Ûï ³ÕµÇõñÇ ÏáÕÙÇó µ»ñáõáÕ å³ï»ñ³½Ù³Ï³Ý Ýϳñ³·ñáõÃÇõÝÝ»ñÁ Ûëï³Ï »Ý, ·ñáõ³Í ½ÇÝáõáñ³Ï³ÝÇ É»½áõáí, ë³Ï³ÛÝ Ù»½ »Ý ѳë»É äÉáõï³ñùáëÇ »õ ¸ÇáÝ Î³ëëÇáëÇ í»ñ³å³ïÙ³Íáí: ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïáõÙ ÑéáÙ¿³Ï³Ý ½ûñ³í³ñÇ ·ñ³·¿ï »õ Ùï³Íáõ³Í ·áñÍáÕáõÃÇõÝÝ»ñÇÝ Ñ³Û Ùdzå»ï-½ûñ³í³ñÁ ѳϳ¹ñáõÙ ¿ Ùdzݷ³Ù³ÛÝ ³ÛÉ
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TIGRANES AS MILITARY FIGURE
1.
The Lucullus' Projects and the Battle Order of the Roman Army
Seeing near the Aratzani crossing place the Tigran's cavalry getting ready to the battle, Lucullus understood that he reached at last his goal to impose a decisive battle to Tigran. Even in the 1st century B.C., a period rich in talented generals, Lucullus was known for his extraordinary capacities and his rare talent of operating nearly without faults. He was well aware that he could defeat the mobile army of Tigran only by common operations of the cavalry and the infantry. The relatively small Roman cavalry could resist and win the Armenian one only with the active help of his heavily armed infantry. So the army companies should be ordered in a way to give the Roman infantry the possibility to help the cavalry at any moment it would need it. Setting the battle order the general should take into consideration that the heavily armed infantry of Roman's allies Galatians and Bithynians, unlike the Roman one, was more used to passive resistance or to attack only in one direction, and that while attacking it would probably break its ranks. The allied infantry couldn't do any serious move of forces during the battle. So, Lucullus should choose such an order, in which the ally infantry would secure the Roman one from the rear when the latter would start the attack. And the last: during the battle the Roman army could be attacked from all sides, so the Roman battle order should actively defend itself from the Armenian cavalry in all directions, protecting the food supply transport, too. In case of great necessity the Roman cavalry would be able to get a secure shelter inside the enormous square formed by the Roman army. Plutarch is the only one who gives an important detail about the battle order chosen by Lucullus: twelve cohorts in the first rank, and the cavalry on the flanks, which, taking into consideration our knowledge about the Roman army structure and battle order (the place of the allies' cohorts or phalanges in the battle order, the dislocation of the lightly armed warriors), is enough to restore the possible battle order of the Roman army. The Roman battle order was perfect either for attacking or for defending itself. If we add to all we have said a considerable advantage in number, Lucullus should have been sure of a rapid victory. In the frame of all the tactical methods he knew Lucullus had insured himself with the best. We cannot accuse Lucullus of having despised the military talent of Tigran or the battling capacities of the Armenian army. Lucullus' actions testify that he had done everything to stop the powerful attack of the Armenian cavalry, to repulse it and then destruct its main part. The tactical method used by Tigran in the battle of Aratzani was not only unknown to Lucullus, but it was realized so rapidly and masterly that one cannot accuse of any fault the great Roman general.
2.
The Tigran's Projects and the Battle Order of the Armenian Army
The moment of sudden advance of Lucullus was unexpected for Tigran, but it doesn't mean that the King of Kings could exclude this possibility. The 166
TIGRANES THE GREAT
Ù³ñï³í³ñáõÃÇõÝ, ù³Ý îÇ·ñ³Ý³Ï»ñïÇ ×³Ï³ï³Ù³ñïáõÙ: ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïáõÙ îÇ·ñ³ÝÁ áã ÙÇ µ³Ýáí ãÇ ÝÙ³ÝõáõÙ ïÇ·ñ³Ý³Ï»ñï»³Ý ×³Ï³ï³Ù³ñïÇ îÇ·ñ³ÝÇÝ: î³ñµ»ñ »Ý áã ÙdzÛÝ Ù³ñï³í³ñ³Ï³Ý á×»ñÁ, ³ÛÉ»õ å³ï»ñ³½ÙÇ ÁݹѳÝáõñ é³½Ù³í³ñáõÃÇõÝÁ:
1.
ÈáõÏáõÉÉáëÇ Íñ³·ñ»ñÁ »õ ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ ½ûñ³¹³ë³õáñáõÙÁ
ÈáõÏáõÉÉáëÁ ²ñ³Í³ÝÇÇ ·»ï³ÝóÇ Ùûï ï»ëÝ»Éáí Ù³ñïÇÝ å³ïñ³ëïáõáÕ îÇ·ñ³ÝÇ Ñ»Í»É³µ³Ý³ÏÁ, ѳëϳó³õ, áñ í»ñç³å¿ë ѳë»É ¿ Çñ Ýå³ï³ÏÇÝ »õ ·É˳õáñ ׳ϳï³Ù³ñïÇ ¿ ѳñϳ¹ñ»É îÇ·ñ³ÝÇÝ: ÈáõÏáõÉÉáëÁ, ÝáÛÝÇëÏ Ù.Ã.³. I ¹³ñÇ ï³Õ³Ý¹³ß³ï ½ûñ³í³ñÝ»ñáí ѳñáõëï ųٳݳϳßñç³ÝáõÙ, ³ãùÇ ¿ñ ÁÝÏÝáõÙ Çñ ³ñï³Ï³ñ· ÁݹáõݳÏáõÃÇõÝÝ»ñáí »õ ·ñ»Ã¿ ³ÝëË³É ·áñÍ»Éáõ ѳ½áõ³¹¿å ûÅïáõ³Íáõû³Ùµ: ܳ ù³ç ·Çï³ÏóáõÙ ¿ñ, áñ îÇ·ñ³ÝÇ ß³ñÅáõÝ µ³Ý³ÏÁ Ñݳñ³õáñ ¿ Û³ÕÃ»É ÙdzÛÝ Çñ ѻͻɳ½ûñÇ »õ Ñ»ï»õ³ÏÇ Ñ³Ù³ï»Õ ·áñÍáÕáõÃÇõÝÝ»ñáí: гٻٳﳵ³ñ ÷áùñ³ÃÇõ ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÁ ϳñáÕ ¿ñ ¹ÇÙ³Ï³Û»É »õ Û³ÕÃ»É Ñ³ÛϳϳÝÇÝ ÙdzÛÝ Çñ ͳÝñ³½»Ý Ñ»ï»õ³ÏÇ ·áñÍáõÝ û·Ýáõû³Ùµ: àõëïÇ µ³Ý³ÏÇ ½ûñ³ÙdzõáñáõÙÝ»ñÁ å¿ïù ¿ ¹³ë³õáñáõ»ÇÝ ³ÛÝå¿ë, áñ ÑéáÙ¿³Ï³Ý Ñ»ï»õ³ÏÁ Ù³ñïÇ ó³Ýϳó³Í å³ÑÇ Ï³ñáճݳñ û·Ýáõû³Ý ѳëÝ»É Ý»ÕÝ ÁÝÏ³Í ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÇÝ: سñï³Ï³Ý ¹³ë³õáñáõû³Ý Ù¿ç ³ÝÑñ³Å»ßï ¿ñ ѳßáõÇ ³éÝ»É Ý³»õ ³ÛÝ, áñ ÑéáÙ¿³óÇÝ»ñÇ ¹³ßݳÏÇó ·³É³ï³Ï³Ý »õ µÇõóÝÇ³Ï³Ý Í³Ýñ³½¿Ý Ñ»ï»õ³ÏÁ, Ç ï³ñµ»ñáõÃÇõÝ µáõÝ ÑéáÙ¿³Ï³ÝÇ, ³õ»ÉÇ ÁݹáõÝ³Ï ¿ñ å³ëÇõ ¹ÇÙ³¹ñáõû³Ý, Ï³Ù Ù¿Ï áõÕÕáõÃÇõÝáí` ·ñáÑÇ, »õ ·ñáÑ»Éáõ å³ÑÇÝ Ñ³õ³Ý³Ï³Ýûñ¿Ý ˳Ëï»Éáõ ¿ñ Çñ ß³ñù»ñÁ: àñ»õÇó¿ Éáõñç ½ûñ³ß³ñÅ Ù³ñïÇ ÁÝóóùáõÙ ¹³ßݳÏó³ÛÇÝ Ñ»ï»õ³ÏÁ ϳï³ñ»É ã¿ñ ϳñáÕ: ²Û¹ å³ï׳éáí ÈáõÏáõÉÉáëÁ å¿ïù ¿ ÁÝïñ¿ñ ³ÛÝåÇëÇ Ù³ñï³Ï³ñ·, áñ ¹³ßݳÏó³ÛÇÝ Ñ»ï»õ³ÏÁ ³å³Ñáí¿ñ ÑéáÙ¿³Ï³Ý Ñ»ï»õ³ÏÇÝ ÃÇÏáõÝùÇó, í»ñçÇÝÇë ·ñáÑÇ ³ÝóÝ»Éáõ å³ÑÇÝ: ì»ñçÇÝÁ` ÑéáÙ¿³Ï³Ý µ³Ý³ÏÁ ׳ϳï³Ù³ñïÇ ÁÝóóùáõ٠ϳñáÕ ¿ñ Û³ñÓ³ÏÙ³Ý »ÝóñÏáõ»É µáÉáñ ÏáÕÙ»ñÇó, áõëïÇ ÑéáÙ¿³Ï³Ý Ù³ñï³Ï³ñ·Á å¿ïù ¿ ѳÛÏ³Ï³Ý Ñ»Í»É³½ûñÇó µáÉáñ áõÕÕáõÃÇõÝÝ»ñáí ³å³Ñáí¿ñ ³ÏïÇõ å³ßïå³ÝáõÃÇõÝ, å³ßïå³Ý»Éáí ݳ»õ ·áõÙ³ÏÁ: ÐéáÙ¿³Ï³Ý ѻͻɳ½ûñÁ ͳÛñ³Û»Õ ³ÝÑñ³Å»ßïáõû³Ý ¹¿åùáõÙ ÝáÛÝå¿ë ϳñáÕ ¿ñ å³ïëå³ñáõ»É ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ ëï»ÕÍ³Í ÑëÏ³Û³Ï³Ý Ï³ññ¿Ç Ý»ñëáõÙ: äÉáõï³ñùáëÁ ÙdzÏÝ ¿, áñ ï³ÉÇë ¿ ÈáõÏáõÉÉáëÇ ÁÝïñ³Í Ù³ñï³Ï³ñ·Ç ϳñ»õáñ³·áÛÝ Ù³Ýñ³Ù³ëÝáõÃÇõÝÁ` ³é³çÇÝ ·ÍáõÙ 12 ÏáÑáñï »õ ûõ»ñÇÝ` ѻͻɳ½ûñ, áñÁ, ѳßáõÇ ³éÝ»Éáí Ù»ñ ³éÏ³Û ·Çï»ÉÇùÝ»ñÁ ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ Ï³éáõóáõ³ÍùÇ »õ Ù³ñï³Ï³ñ·Ç Ù³ëÇÝ (¹³ßݳÏÇóÝ»ñÇ ÏáÑáñïÝ»ñÇ Ï³Ù ÷³Õ³Ý·Ç ï»ÕÁ Ù³ñï³Ï³ñ·áõÙ, ûûõ³½¿ÝÝ»ñÇ ï»Õ³µ³ßËáõÙÁ), µ³õ³ñ³ñ ¿ ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ Ñݳñ³õáñ Ù³ñï³Ï³ñ·Á í»ñ³Ï³Ý·Ý»Éáõ ѳٳñ: ÐéáÙ¿³Ï³Ý Ù³ñï³Ï³ñ·Á ³ÝûñÇ ¿ñ ÿ’ Û³ñÓ³ÏÙ³Ý, ÿ’ å³ßïå³Ýáõû³Ý ѳٳñ: ºÃ¿ ¹ñ³Ý ·áõÙ³ñ»Ýù ݳ»õ ½·³ÉÇ ù³Ý³Ï³ÛÇÝ ·»ñ³½³ÝóáõÃÇõÝÁ, ÈáõÏáõÉÉáëÁ å¿ïù ¿ íëï³Ñ ÉÇÝ¿ñ Çñ Ùûï³Éáõï Û³ÕóݳÏÇÝ: ÈáõÏáõÉÉáëÇÝ Û³ÛïÝÇ µáÉáñ Ù³ñï³í³ñ³Ï³Ý ÑݳñùÝ»ñÇ ë³ÑÙ³ÝÝ»ñáõ٠ݳ Ñá·³ó»É ¿ñ ³é³õ»É³·áÛÝÁ: Ø»Ýù ã»Ýù ϳñáÕ Ù»Õ³¹ñ»É ÈáõÏáõÉÉáëÇÝ Ýñ³ÝáõÙ, áñ ݳ ³ñѳٳñѳÝùáí ¿ñ í»ñ³µ»ñáõÙ îÇ·ñ³ÝÇ ½ûñ³í³ñ³Ï³Ý ï³Õ³Ý¹ÇÝ, ϳ٠ѳÛÏ³Ï³Ý µ³Ý³ÏÇ Ù³ñï³Ï³Ý ÁݹáõݳÏáõÃÇõÝÝ»ñÇÝ: ÈáõÏáõÉÉáëÇ ·áñÍáÕáõÃÇõÝÝ»ñÁ íϳÛáõÙ »Ý ³ÛÝ Ù³ëÇÝ, áñ ³ñáõ»É ¿ñ ³Ù¿Ý ÇÝã ѽûñ ѳÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ
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167
TIGRANES AS MILITARY FIGURE
cavalry of Tigran followed Lucullus, while the infantry commanded by Mithridates did a quick march to follow them, too. Tigran knew that it would be possible to stop or to slow down the Roman army's march only by giving a battle. It was necessary to choose a suitable tactics. Frontal in-fighting with the Roman army would almost unavoidably end by the victory of Romans. Tigran chose the traditional Parthian-Sarmatian cavalry's tactics, which was many times successfully used by Parthians against Seleucids and sometimes against Artaxiads, too. Tigran mastered this tactics perfectly and his victories in the general battles of Arbela and Nineveh during the Armenian-Parthian war of 86-84 B.C., the crush of the Nabateans' army in the general battle near Damascus, as well as other battles, were the best evidence of this. Living as hostage at the Parthian court for sixteen long years he had learned well this tactics. Tigran had decided to divide the Roman cavalry from its infantry during the battle and to crush it with a powerful blow before the Roman infantry could come to help it. To realize this decision he needed well trained cavalrymen and clever cavalry officers. Tigran had either the first or the second, and he had already chosen the convenient place for the battle. Tigran's goal was to crush or to destruct the Roman cavalry, avoiding in-fighting with the Roman heavy infantry and, especially, with the legionnaires. Nevertheless, Roman legionnaires also must undergo a blow from the Armenian cavalry, as the arrows thrown from a far distance by the cavalry running away from in-fighting would cause great damages to the legionnaires. Such a battle could be given after crushing the Roman cavalry, so the success of the first stage of the battle would decide the outcome of the second stage, i.e. throwing arrows from far, and the victory of Armenians in the battle. According to our restoration of the battle course, the day of the battle Armenian troops were standing on the right bank of the Aratzani at a distance of two or three asparez (one asparez = 1/8 league or 125 feet), divided into three cavalry corps: the right, the middle and the left ones. Each of the three corps had 5,000 cavalrymen and was ranged in two lines: three companies of Mardaites and three companies of Iberians on the first line of the flanks and, behind them, the second line was formed by two companies of the Armenian light cavalry. The first line of the center was formed by three companies of cataphracts from Atropatene, commanded by Mithridates the Median, while the second line was formed by two companies of Median light cavalry. Eight companies of Armenian cataphracts lay in ambush at a distance of nearly 10 asparez and their front was turned to the place to which the Roman cavalry should be dragged. On each flank one company of Armenian light cavalry formed the wings of the Armenian armored dragon of cataphracts lying in ambush. Thus, the number of Armenian cavalry lying in ambush reached 10,000 warriors. This corps was commanded by the Armenian King of Kings himself. At the rear of the Roman army a few, three or four, Armenian light cavalry companies, which, showing themselves from far away, should permanently keep Romans in strain. Mardaites and Iberians have to start the attack and begin to fight with the Roman cavalry, which must be helped, as it had happened more than once, 168
TIGRANES THE GREAT
·ñáÑÁ ϳݷݻóÝ»Éáõ, Ñ»ï ÙÕ»Éáõ, ³å³ ѳÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ Ñݳñ³õáñ Ù»Í Ù³ëÁ áãÝã³óÝ»Éáõ ѳٳñ: ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïáõÙ îÇ·ñ³ÝÇ û·ï³·áñÍ³Í Ù³ñï³í³ñ³Ï³Ý ÑݳñùÁ áã ÙdzÛÝ ³ÝͳÝûà ¿ñ ÈáõÏáõÉÉáëÇÝ, ³ÛÉ Ý³»õ ϳï³ñáõ»ó ³ÛÝåÇëÇ ³ñ³·áõû³Ùµ áõ í³ñå»ïáõû³Ùµ, áñ Ù»Ýù ã»Ýù ϳñáÕ Ã»ñ³Ý³Éáõ Ù¿ç Ù»Õ³¹ñ»É Ù»Í ÑéáÙ¿³óÇ ½ûñ³í³ñÇÝ:
2.
îÇ·ñ³ÝÇ Íñ³·ñ»ñÁ »õ ѳÛÏ³Ï³Ý µ³Ý³ÏÇ ½ûñ³¹³ë³õáñáõÙÁ
ÈáõÏáõÉÉáëÇ Û³ÝϳñͳÏÇ ³é³ç Ý»ïáõ»Éáõ å³ÑÁ ³Ýëå³ë»ÉÇ ¿ñ îÇ·ñ³ÝÇ Ñ³Ù³ñ, ë³Ï³ÛÝ ¹³ ãÇ Ý߳ݳÏáõÙ, áñ ³ñù³ÛÇó ³ñù³Ý µ³ó³éáõÙ ¿ñ ³Û¹ Ñݳñ³õáñáõÃÇõÝÁ: îÇ·ñ³ÝÇ Ñ»Í»³É µ³Ý³ÏÁ Ý»ïáõ»ó ÈáõÏáõÉÉáëÇ Ñ»ï»õÇó, ÇëÏ ØÇÑñ¹³ïÇ Õ»Ï³í³ñ³Í Ñ»ï»õ³Ï³ÛÇÝ µ³Ý³ÏÁ ÝáÛÝå¿ë ³ñ³·³ó³Í »ñÃáí ß³ñÅáõ»ó ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ Ñ»ï»õÇó: îÇ·ñ³ÝÁ ·Çï¿ñ, áñ ϳݷݻóÝ»É Ï³Ù ½·³ÉÇûñ¿Ý ¹³Ý¹³Õ»óÝ»É ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ ÁÝóóùÝ ³ÛÉ»õë ϳñ»ÉÇ ¿ ÙdzÛÝ ×³Ï³ï³Ù³ñï ï³Éáí: ²ÝÑñ³Å»ßï ¿ñ ×Çßï ÁÝïñ»É Ù³ñï³í³ñáõÃÇõÝÁ. ׳ϳï³ÛÇÝ Ó»éݳٳñïÁ ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ Ñ»ï ·ñ»Ã¿ ³ÝËáõë³÷»ÉÇ Ïí»ñç³Ý³ñ ÑéáÙ¿³óÇÝ»ñÇ Û³ÕóݳÏáí: îÇ·ñ³ÝÝ ÁÝïñáõÙ ¿ å³ñûõ³-ë³ñÙ³ï³Ï³Ý ³õ³Ý¹³Ï³Ý ѻͻɳ½ûñ³ÛÇÝ Ù³ñï³í³ñáõÃÇõÝÁ, áñÁ å³ñûõÝ»ñÁ µ³½ÙÇóë Û³çáÕáõû³Ùµ û·ï³·áñÍ»É ¿ÇÝ ê»É»õÏ»³ÝÝ»ñÇ, »ñµ»ÙÝ ¿É ²ñï³ß¿ë»³ÝÝ»ñÇ ¹¿Ù: ²Ûë Ù³ñï³í³ñáõû³ÝÁ îÇ·ñ³ÝÁ ïÇñ³å»ïáõÙ ¿ñ ϳï³ñ»³É` íϳÛáõÃÇõÝÁ 86-84 ÃÃ. ѳÛ-å³ñûõ³Ï³Ý å³ï»ñ³½ÙáõÙ ²ñµ»É³ÛÇ »õ ÜÇÝáõ¿Ç ·É˳õáñ ׳ϳï³Ù³ñï»ñáõÙ ï³ñ³Í Û³ÕóݳÏÝ»ñÝ ¿ÇÝ, ݳµ³Ã¿³Ï³Ý µ³Ý³ÏÇ ç³Ëç³ËáõÙÁ ¸³Ù³ëÏáëÇ Ùûï ϳ۳ó³Í ·É˳õáñ ׳ϳï³Ù³ñïáõÙ »õ ³ÛÉ ×³Ï³ï³Ù³ñï»ñ: ²åñ»Éáí áñå¿ë å³ï³Ý¹ ä³ñûõëï³ÝáõÙ »ñϳñ áõ ÓÇ· 16 ï³ñÇ, ݳ ɳõ ¿ñ Çõñ³óñ»É ³Ûë Ù³ñï³í³ñáõÃÇõÝÁ: îÇ·ñ³ÝÁ áñáᯐ ¿ñ ׳ϳï³Ù³ñïáõÙ µ³Å³Ý»É ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÁ Çñ Ñ»ï»õ³ÏÇó »õ ÙÇ áõÅ»Õ, ß»ßï³ÏÇ Ñ³ñáõ³Íáí áãÝã³óÝ»É ³ÛÝ, ÙÇÝã»õ íñ³Û ÏѳëÝÇ ÑéáÙ¿³Ï³Ý Ñ»ï»õ³ÏÁ: ²Ûë áñáßáõÙÁ Çñ³Ï³Ý³óÝ»Éáõ ѳٳñ å³Ñ³ÝçõáõÙ ¿ñ ɳõ í³ñÅáõ³Í, ÷áñÓáõ³Í ³ÛñáõÓÇ »õ ÑÙáõï ѻͻɳ½ûñ³ÛÇÝ ëå³Ý»ñ: ºõ° ³é³çÇÝÁ, »õ° »ñÏñáñ¹Á îÇ·ñ³ÝÝ áõÝ¿ñ, ÇëÏ Ñ³Ù³å³ï³ëË³Ý ï»ÕÁ ׳ϳï³Ù³ñïÇ Ñ³Ù³ñ ÇÝùÝ ³ñ¹¿Ý ÁÝïñ»É ¿ñ: îÇ·ñ³ÝÇ Ýå³ï³ÏÝ ¿ñ áãÝã³óÝ»É Ï³Ù ·ÉËáíÇÝ ç³Ëç³Ë»É ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÁ, Ëáõë³÷»Éáí ÑéáÙ¿³Ï³Ý ͳÝñ³½¿Ý Ñ»ï»õ³ÏÇ, Û³ïϳå¿ë É»·¿áÝÝ»ñÇ Ñ»ï Ó»éݳٳñïÇó: ê³Ï³ÛÝ ÑéáÙ¿³Ï³Ý É»·¿áÝÝ»ñÁ ÝáÛÝå¿ë å¿ïù ¿ ѳÛáó ѻͻɳ½ûñÇ Ñ³ñáõ³ÍÇó µ³ÅÇÝ ëï³Ý³ÛÇÝ` Ó»éݳٳñïÇó ÷³ËãáÕ Ñ»Í»É³½ûñÇ ÏáÕÙÇó Ñ»é³Ñ³ñ Ý»ï³Ñ³ñáõÙÁ Ù»Í ÏáñáõëïÝ»ñ Ïå³ï׳é¿ñ É»·¿áÝ»ñÝ»ñÇÝ: ²ÛëåÇëÇ Ñ»Í»É³Ù³ñï Ñݳñ³õáñ ¿ñ Çñ³Ï³Ý³óÝ»É ÙdzÛÝ ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÁ ß³ñùÇó ѳݻÉáõó Û»ïáÛ, áõëïÇ ×³Ï³ï³Ù³ñïÇ ³é³çÇÝ ÷áõÉÇ Û³çáÕáõÃÇõÝÁ å³ÛٳݳõáñáõÙ ¿ñ »ñÏñáñ¹ ÷áõÉÇ` Ñ»é³Ñ³ñ Ý»ï³Ñ³ñÙ³Ý Ñݳñ³õáñáõÃÇõÝÁ »õ ѳۻñÇ Ñ³Ù³ñ ׳ϳï³Ù³ñïÇ µ³ñ»Ýå³ëï` Û³ÕÃ³Ï³Ý »ÉùÁ: Àëï ׳ϳï³Ù³ñïÇ ÁÝóóùÇ ÇÙ í»ñ³Ï³Ý·Ù³Ý, ׳ϳï³Ù³ñïÇ ûñÁ ѳÛÏ³Ï³Ý ½ûñù»ñÁ Ï³Ý·Ý³Í ¿ÇÝ ²ñ³Í³ÝÇÇ ³ç³÷Ý»³ÏÇÝ` ·»ïÇó 2-3 ³ëå³ñ¿½ Ñ»é³õáñáõû³Ý íñ³Û »ñ»ù ѻͻ³É ½ûñ³µ³Ý³Ïáí` ³ç, Ï»ÝïñáÝ³Ï³Ý »õ Ó³Ë: ºñ»ù ½ûñ³µ³Ý³ÏÝ ¿É áõÝ¿ÇÝ 5.000-³Ï³Ý ѻͻ³É »õ ß³ñáõ³Í ¿ÇÝ »ñÏáõ ·Íáí` ûõ³ÛÇÝ ½ûñ³µ³Ý³ÏÝ»ñÇ ³é³çÇÝ ·ÍáõÙ ¿ÇÝ Ù³ñ¹»ñÇ áõ ǵ»ñÝ»ñÇ »ñ»ù³Ï³Ý ·áõݹ, áñáÝó Ñ»ï»õÇó »ñÏñáñ¹ ·ÇÍ ¿ÇÝ Ï³½Ùáõ٠ѳÛÏ³Ï³Ý Ã»Ã»õ ѻͻɳ½ûñÇ »ñÏáõ³Ï³Ý ·áõݹ: λÝïñáÝáõÙ ³é³çÇÝ ·ÇÍÁ ϳ½ÙáõÙ ¿ÇÝ ³ïñå³ï³Ï³Ý»³Ý ϳï³ýñ³ÏïáëÝ»ñÇ »ñ»ù ·Ý¹»ñÁ, áñáÝó ³é³çÝáñ¹áõÙ ¿ñ ØÇÑñ¹³ï Ø»-
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TIGRANES AS MILITARY FIGURE
by the Roman cohorts and lightly armed infantry. Of course Mardaites and Iberians wouldn't be able to resist such pressure and would have run away. The direction of the flight was already decided and, besides, the Armenian cavalry companies of the second line behind them had to retreat, too, but regulating the way of the Iberians' and Mardaites' flight. The cavalry company of Atropatene, commanded by Mithridates the Median, should also begin to flee, showing by all means that they were a fearful crowd of Barbarians running away from Romans. These three companies should take "flight" in a manner to let the "winning" enthusiastic Roman cavalry pursuing the "defeated Barbarians", go far away from the Roman infantry and break its ranks. The second operation should be the blow of the Armenian armored cavalry against the Roman one, during which the "retreating" cavalry companies of Armenia and Atropatene would return towards the adversary. This stage should last enough to give the Roman infantry time to arrive. The goal of the Armenian cavalry was to try in such a short time to completely crush the Roman one or to put it in the situation of being unable to continue the battle. The third operation foreseen by Tigran was not to accept in-fighting with the Roman infantry, but to retreat throwing arrows to them; by the way, he had planned to do this not only once, but permanently. After the retreat the Armenian cavalry companies should go far away and restore their battling order, take a new provision of arrows and rapidly go back to meet Romans. The new Armenian armor-piercing arrows were able to make holes in armors and their first head remained in the body of the wounded warrior. So Tigran was hoping to cause considerable damage to Romans. Further on Tigran planned to make so difficult the Romans' food supply and moves that they would be condemned to starve. The defeated remnants of the Roman cavalry wouldn't be able to oppose any serious resistance to the Armenian one. The situation would become even more distressing if the slowed down Roman army had be reached by the Armenian infantry which was hurrying towards the Lucullus' army. Mithridates of Pontus was quite determined to have his contribution in the definitive crush of Romans.
3.
The Course of the Aratzani Battle
It is convenient to divide the course of the battle into the respective position of each party and the main four stages of the battle itself. 0. The dislocation of each party before the battle 1. The attack of the Armenian cavalry and the counterattack of Romans: the battle between Armenian and Roman cavalries, 2.
The assault of the Roman cohorts and the false retreat of the Armenian cavalry,
3. The attack of the Armenian against the Roman cavalry,
heavy
cavalry
4. The "Scythian" battle of the Armenian cavalry against legionaries. 170
TIGRANES THE GREAT
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171
TIGRANES AS MILITARY FIGURE
Now we have to elucidate the front length and depth of the Roman army order. In the first half of the 1st century B.C. the battle order of the Roman legions was formed of three lines and, as a rule, four cohorts in the first line, three cohorts in each of the second and the third lines. But the cohort structure of the legions allowed Roman generals changing the battle order if necessary. We can learn from antique authors that the legion could have one, two or four linear ranging; sometimes it could be reinforced by cohorts taken from other legions. In that case Lucullus reinforced the Murena (?) legion of the first line by two cohorts and, according to our reconstruction, he used these cohorts to organize a fourth line [3]. We shall try to substantiate our supposition. If Lucullus had used these cohorts to lengthen the front of the legion battle order, he would have placed one cohort in the first line and the second supplementary cohort in the second line. In this case the legion front would have lengthened from 350 meters to 400 and even a little more. But if Lucullus would have added a fourth line to his heavy infantry, at the moment of the Armenian cavalry's assault he could have not the ordinary battle order of seven cohorts in the first line and three in the second one, but already five cohorts in the second line, which would be enough to create a phalange of double depth, with which he had the intention of stopping the Armenian cavalry, if the latter would have tried to break the Roman battle order by a frontal attack. At the moment of the Roman infantry counterattack the two supplementary cohorts would allow having an uninterrupted battle line in the rear of the first line of attacking cohorts. As a rule a cohort could have a depth of six to ten rows of legionaries (six or even four rows were rarer). Taking into consideration that at the bank of Aratzani Lucullus could have to stand the possible attack of the Armenian cavalry, the depth of the lines couldn't be less than ten lines. One legion occupied a space of 0.9-1.0 m length and 1.2-2 m depth, so the front of one cohort of ten lines was approximately equal to 45-50 meters, while seven cohorts would form a front of 320-350 meters, and counting with the necessity of some intervals between the cohorts: 330-360 m, i.e. an average length of 350 meters (in almost all the cohorts of Roman legions participating to the battle of Aratzani the number of legionaries wasn't exceeding 500, especially in the Fimbrian legions. Nevertheless, even a cohort having 400 legionaries ranged in eight lines could assure a number of fifty legionaries in the first line). The depth of a cohort in case of ten lines was fifteen meters. The four lines of the cohorts together formed sixty meters and we must add to this the distance between their lines. This distance was variable; often it was equal to the cohort depth, fifteen meters in our case. We think that it could be less in reality, nearly ten meters, also taking into consideration that Romans would have to fight against a numerous cavalry and, in case of necessity, to close their ranks and form one big phalange. Thus, the most probable is that the twelve cohorts occupied a space of 350 x 90 meters [3]. The battle order we have presented shows that the Roman flanks attacking in the first line were protected by the heavy infantry of the allies; by the way, the allies' cohorts formed a phalange standing side by side in two lines. If we consider that the rows of the allies' cohorts should have been not less
172
TIGRANES THE GREAT
3.
²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïÇ ÁÝóóùÁ
ֳϳï³Ù³ñïÇ ÁÝóóùÁ Ýå³ï³Ï³Û³ñÙ³ñ ¿ µ³Å³Ý»É ÏáÕÙ»ñÇ Ý³ËÝ³Ï³Ý ¹ÇñùÇ »õ µáõÝ ×³Ï³ï³Ù³ñïÇ ãáñë ÷áõÉ»ñÇ. 0. ÏáÕÙ»ñÇ ¹³ë³õáñáõÃÇõÝÁ ׳ϳï³Ù³ñïÇó ³é³ç 1. ѳÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ ·ñáÑÁ »õ ÑéáÙ¿³óÇÝ»ñÇ Ñ³Ï³·ñáÑÁ` ѳÛÏ³Ï³Ý »õ ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÝ»ñÇ Ù³ñïÁ, 2. ÑéáÙ¿³Ï³Ý ÏáÑáñïÝ»ñÇ ·ñáÑÁ »õ ѳÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ Ï»ÕÍ ÷³ËáõëïÁ, 3. ѳÛÏ³Ï³Ý Í³Ýñ ѻͻɳ½ûñÇ ·ñáÑÁ ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÇ ¹¿Ù, 4. ѳÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ §ëÏÇõóϳݦ Ù³ñïÁ É»·¿áÝÝ»ñÇ ¹¿Ù: ²ÛÅÙ å³ñ½»Ýù ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ ¹³ë³õáñáõû³Ý ׳ϳï³ÛÇÝ »ñϳñáõÃÇõÝÁ »õ ËáñáõÃÇõÝÁ: Ø.Ã.³. I ¹³ñÇ ³é³çÇÝ Ï¿ëÇÝ ÑéáÙ¿³Ï³Ý É»·¿áÝÇ Ù³ñï³Ï³ñ·Á µ³Õϳó³Í ¿ñ »ñ»ù ·ÍÇó, áñå¿ë ûñ»Ýù` ³é³çÇÝáõÙ 4 ÏáÑáñï, »ñÏñáñ¹áõÙ »õ »ññáñ¹áõÙ` »ñ»ù³Ï³Ý: ê³Ï³ÛÝ É»·¿áÝÇ ÏáÑáñï³ÛÇÝ Ï³éáõóáõ³ÍùÁ ÃáÛÉ ¿ñ ï³ÉÇë ÑéáÙ¿³Ï³Ý ½ûñ³í³ñÝ»ñÇÝ ÷áË»É ÑéáÙ¿³Ï³Ý Ù³ñï³Ï³ñ·Ç ¹³ë³õáñáõÃÇõÝÁ Áëï ³ÝÑñ³Å»ßïáõû³Ý: ²ÝïÇÏ Ñ»ÕÇݳÏÝ»ñÇó Ù»Ýù ·Çï»Ýù, áñ É»·¿áÝÁ ϳñáÕ ¿ñ áõÝ»Ý³É Ù¿Ï, »ñÏáõ, ãáñë ·Í³ÛÇÝ ß³ñáõ³Íù, »ñµ»ÙÝ ¿É áõŻճóáõ»É áõñÇß É»·¿áÝÝ»ñÇó í»ñóáõ³Í ÏáÑáñïÝ»ñáí: îáõ»³É ¹¿åùáõÙ ÈáõÏáõÉÉáëÝ áõŻճóÝáõÙ ¿ ³é³çÇÝ ·ÍáõÙ ·ïÝáõáÕ Øáõñ»Ý³ÛÇ (?) É»·¿áÝÁ »ñÏáõ ÏáÑáñïáí »õ Áëï Ù»ñ é»ÏáÝëïñáõÏódzÛÇ ³Ûë ÏáÑáñïÝ»ñÁ û·ï³·áñÍáõÙ ¿ ãáññáñ¹ ·ÇÍ Ï³½Ù³Ï»ñå»Éáõ ѳٳñ [3]: öáñÓ»Ù ÑÇÙݳõáñ»É ÇÙ »Ýó¹ñáõÃÇõÝÁ: ºÃ¿ ÈáõÏáõÉÉáëÁ ³Ûë ÏáÑáñïÝ»ñÁ û·ï³·áñÍ¿ñ É»·¿áÝÇ Ù³ñï³Ï³ñ·Ç ׳ϳïÁ »ñϳñ³óÝ»Éáõ ѳٳñ, ³å³ Ù¿Ï ÏáÑáñïÁ å¿ïù ¿ ï»Õ³¹ñ¿ñ ³é³çÇÝ, »õ »ñÏñáñ¹ Û³õ»É»³É ÏáÑáñïÁ` »ñÏñáñ¹ ·ÇÍ: ²ñ¹ÇõÝùáõÙ, É»·¿áÝÇ ×³Ï³ïÁ 350 Ù»ïñÇó Ϲ³éݳñ 400 Ù ÙÇ ÷áùñ ³õ»ÉÇ: ²Ûë ï³ñµ»ñáõû³Ý Ù³ñï³í³ñ³Ï³Ý ÇÙ³ëïÁ ѳëϳݳÉÇ ã¿: ê³Ï³ÛÝ »Ã¿ ÈáõÏáõÉÉáëÁ ëï»ÕÍáõÙ ¿ñ ͳÝñ Ñ»ï»õ³ÏÇ ãáññáñ¹ ·ÇÍÁ, ³å³ ѳÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ ·ñáÑÇ Å³Ù³Ý³Ï Ï³ñáÕ ¿ñ µ³ËáõÙÇ Å³Ù³Ý³Ï áõÝ»Ý³É áã ÿ ëáíáñ³Ï³Ý Ù³ñï³Ï³Ý ¹³ë³õáñáõÃÇõÝ` ³é³çÇÝ ß³ñù` 7 ÏáÑáñï, »ñÏñáñ¹Á 3, ³ÛÉ »ñÏñáñ¹ ·ÍáõÙ áõÝ»Ý³É ³ñ¹¿Ý 5 ÏáÑáñï, áñÁ µ³õ³ñ³ñ ¿ñ ÏñÏݳÏÇ Ëáñáõû³Ý ÷³Õ³Ý· ëï»ÕÍ»Éáõ ѳٳñ, áñáí »õ Ùï³¹Çñ ¿ñ ϳݷݻóÝ»É Ñ³ÛÏ³Ï³Ý Ñ»Í»É³½ûñÇÝ, »Ã¿ ݳ ÷áñÓ¿ñ ׳ϳï³ÛÇÝ ·ñáÑáí ×»Õù»É ÑéáÙ¿³Ï³Ý Ù³ñï³Ï³Ý ¹³ë³õáñáõÃÇõÝÁ: ÐéáÙ¿³Ï³Ý Ñ»ï»õ³ÏÇ Ñ³Ï³Û³ñÓ³ÏÙ³Ý Å³Ù³Ý³Ï »ñÏáõ Û³õ»É»³É ÏáÑáñïÝ»ñÁ ÃáÛÉ ¿ÇÝ ï³ÉÇë ³é³çÇÝ ·ÍÇ Û³ñÓ³ÏáõáÕ ÏáÑáñïÝ»ñÇ ÃÇÏáõÝùáõÙ áõÝ»Ý³É ³ÝÁݹѳï³Ï³Ý Ù³ñï³Ï³Ý ·ÇÍ: ÎáÑáñïÁ áñå¿ë ûñ»Ýù ϳñáÕ ¿ñ áõÝ»Ý³É É»·¿áÝ»ñÝ»ñÇ 6-Çó 10 ß³ñù ËáñáõÃÇõÝ (6-Á ϳ٠ÝáÛÝÇëÏ 4-Á, ³õ»ÉÇ Ñ³½áõ³¹¿å ¿ñ): гßáõÇ ³éÝ»Éáí, áñ ²ñ³Í³ÝÇáõ٠ݳ å¿ïù ¿ ¹Çٳϳۿñ ѳÛáó ѻͻɳ½ûñÇ Ñݳñ³õáñ ·ñáÑÁ, ß³ñù»ñÇ ËáñáõÃÇõÝÁ ã¿ñ ϳñáÕ ³õ»ÉÇ ùÇã ÉÇÝ»É, ù³Ý 10-Á: Ø¿Ï É»·¿áÝ»ñÁ ½µ³Õ»óÝáõÙ ¿ñ Ùûï 0,9 - 1,0 Ù »ñϳÛÝùáí áõ 1,2 - 2 Ù Ëáñáõû³Ùµ ï³ñ³ÍáõÃÇõÝ, áõëïÇ Ù¿Ï ÏáÑáñïÇ ×³Ï³ïÁ 10 ß³ñùÇ ¹¿åùáõ٠ѳõ³ë³ñ ¿ñ Ùûï³õáñ³å¿ë 45 - 50 Ù, ÇëÏ 7 ÏáÑáñïÝ»ñÁÁ Ͻµ³Õ»óÝ¿ÇÝ 320 - 350 ٠ֳϳï, ѳßáõÇ ³éÝ»Éáí ÏáÑáñïÝ»ñÇ ÙÇç»õ áñáß ÇÝï»ñáõ³ÉÝ»ñÇ ³ÝÑñ³Å»ßïáõÃÇõÝÁ? 330 - 360 Ù, ÙÇçÇÝÁ` Ùûï 350 Ù (²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïÇÝ Ù³ëݳÏóáÕ ÑéáÙ¿³Ï³Ý É»·¿áÝÝ»ñÇ ·ñ»Ã¿ µáÉáñ ÏáÑáñïÝ»ñáõÙ 500 É»·¿áÝ»ñÇó ùÇã ¿ñ Ùݳó»É, Û³ïϳå¿ë ÷ÇÙµñÇ³Ï³Ý É»·¿áÝÝ»-
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than ten, while the heavy armored warriors were standing more thickly in the rows (to resist the assault of the Armenian cavalry), so the mass of about 4,500 warriors would have a front length of 200 m and two lines with ten soldiers in each one: 12 m x 2 = 24 m, with about 6 m between the two lines, which makes 30 m. Thus, we can think that the allies were standing in the two wings of the legion in phalange order, each wing occupying a space of 200x30 m. So the frontal length of the Roman infantry's battle order was 350 + 200 + 200 = 750 m, to which we shall add the small intervals between the legion and the phalanges, which were necessary for the light infantry's battle moves: a total of about 770 m [3]. All the Roman cavalry, about 7,000 warriors, was standing at the flanks of the Roman infantry's first line. If we consider that they were ranged in five rows, as it was the method in use in the Roman turma (a group of 30 cavalrymen), and that there were two such lines, that is a depth of ten cavalrymen, we can count that the general depth of 3,500 cavalrymen's battle order would be 15-20 m x 2 = 30-40 m, with intervals of 10-20 m between the first and second lines of the cavalry, which makes 40-60 m, or an average distance of 50 m. The frontal length must be counted 1.5 m for each one of the 350 cavalrymen, which makes 525 m, and we shall add at least 75 m to have some intervals between the alae (groups of 300 cavalrymen). Thus, two cavalry companies were standing at the flanks of the infantry, each one of them occupying a distance of 600 x 50 m. So, the frontal length of the Roman army was 770 + 600 + 600 = 1970 m, and counting some intervals between the cavalry and the infantry, about 2,000 m. Now, let's calculate the depth of the square formed by the Roman army. From both sides the square sides were formed by a Fimbrian legion, in the cohorts of which there were standing in fact not more than eight rows. Eight rows of veterans were as strong as ten rows in other legions. Thus, the length of the ranks was 350 m and their width about 70 m; so, each Fimbrian legion occupied a space of 350 x 70 m. The legion of Sextilius (?), the fourth of the Lucullus' army, was standing in the last line of the square; eight cohorts remained in it and they could be standing in three lines and occupy a space of 250 x 70 m. The allies' cohorts were placed in the flanks of the legion standing in the square last line, in phalange order, as well as the phalange of Syrian and Greek mercenaries. When calculating the first line of the square we obtained the dimension of the allies' dislocation: 200 x 30 m. As there was no contact with the adversary foreseen, they could walk a little less close to each other: 200 x 40 m. Let's calculate the length of the square last line: 250 + 200 + 200 = 650 m. The length of the first line was about 770-800 m, so the difference is 120150 m. To our opinion this was the place occupied by the phalange of mercenary hoplites: 20 rows in two lines, 150 warriors in the front: 140 x 40 m. Thus the army of Lucullus had formed an enormous square: 800 x 550
174
TIGRANES THE GREAT
ñáõÙ: ê³Ï³ÛÝ ÝáÛÝÇëÏ 400 É»·¿áÝ»ñ áõÝ»óáÕ ÏáÑáñïÁ ϳñáÕ ¿ñ ³å³Ñáí»É 50 É»·¿áÝ»ñ ³é³çÇÝ ß³ñùáõÙ, ß³ñáõ»Éáí 8 ß³ñùáí): ÎáÑáñïÇ ËáñáõÃÇõÝÁ 10 ß³ñùÇ ¹¿åùáõ٠ϳ½ÙáõÙ ¿ñ Ùûï 15 Ù: ÎáÑáñïÝ»ñÇ ãáñë ·Í»ñÁ ÙdzëÇÝ Ï³½ÙáõÙ ¿ÇÝ 60 Ù, áñáÝó ³ÝÑñ³Å»ßï ¿ ·áõÙ³ñ»É ÏáÑáñïÝ»ñÇ ·Í»ñÇ ÙÇç»õ »Õ³Í ï³ñ³ÍáõÃÇõÝÁ: ²Ûë ï³ñ³ÍáõÃÇõÝÁ ÷á÷áË³Ï³Ý ¿ñ, Û³×³Ë Ñ³õ³ë³ñ ¿ñ ÏáÑáñïÇ Ëáñáõû³ÝÁ, Ù»ñ ¹¿åùáõÙ` 15 Ù: ºë ϳñÍáõÙ »Ù, áñ Çñ³Ï³ÝáõÙ ³ÛÝ Ï³ñáÕ ¿ñ ÉÇÝ»É ³õ»ÉÇ ùÇã` Ùûï 10 Ù, ѳßáõÇ ³éÝ»Éáí, áñ ÑéáÙ¿³óÇÝ»ñÁ å¿ïù ¿ Ù³ñïÝã¿ÇÝ Ù»Í³ÃÇõ ѻͻɳ½ûñÇ ¹¿Ù »õ, ³ÝÑñ³Å»ßïáõû³Ý ¹¿åùáõÙ, ß³ñù»ñÁ ÙdzóÝ»Éáí, ϳ½Ù¿ÇÝ Ù¿Ï Ù»Í ÷³Õ³Ý·: ²ÛëåÇëáí, ³Ù¿Ý³Ñ³õ³Ý³Ï³ÝÝ ¿, áñ 12 ÏáÑáñïÝ»ñÁ ½µ³Õ»óÝáõÙ ¿ÇÝ 350 x 90 Ù ï³ñ³ÍáõÃÇõÝ [3]: Ø»ñ Ý»ñϳ۳óñ³Í Ù³ñï³Ï³ñ·Çó »ñ»õáõÙ ¿, áñ ³é³çÇÝ ·Íáí ·ñáÑáÕ ÑéáÙ¿³Ï³Ý ûõ»ñÁ å³ßïå³Ýáõ³Í ¿ÇÝ ¹³ßݳÏÇóÝ»ñÇ Í³Ýñ Ñ»ï»õ³Ïáí, Áݹ áñáõÙ ¹³ßݳÏó³ÛÇÝ ÏáÑáñïÝ»ñÁ ϳ½ÙáõÙ ¿ÇÝ Çñ³ñ Ùûï »ñÏáõ ·Íáí Ï³Ý·Ý³Í ÷³Õ³Ý·: ºÃ¿ ѳßáõ»Ýù, áñ ¹³ßݳÏó³ÛÇÝ ÏáÑáñïÝ»ñÇ ß³ñù»ñÁ å¿ïù ¿ ÉÇÝ¿ÇÝ 10-Çó áã å³Ï³ë, ÇëÏ ß³ñù»ñáõÙ Ï³Ý·Ý³Í Í³Ýñ³½¿ÝÝ»ñÁ Ï³Ý·Ý³Í ¿ÇÝ ³õ»ÉÇ ËÇï (áñå¿ë½Ç ¹ÇÙ³Ï³Û»Ý Ñ³ÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ ·ñáÑÇÝ), ³å³ Ùûï³õáñ³å¿ë 4.500 Ù³ñïÇÏÇó µ³Õϳó³Í ½³Ý·áõ³ÍÁ Ïáõݻݳñ Ùûï 200 ٠׳ϳï³ÛÇÝ »ñϳñáõÃÇõÝ »õ »ñÏáõ ·ÇÍ` 10-³Ï³Ý ½ÇÝáõáñáí` 12 Ù »ñÏáõ ³Ý·³Ù` 24 Ù »õ Ùûï 6 Ù »ñÏáõ ·Í»ñÇ ÙÇç»õ` 30 Ù: ²Û¹åÇëáí ϳñáÕ »Ýù ѳٳñ»É, áñ É»·¿áÝÇ »ñÏáõ ûõ»ñÇÝ ÷³Õ³Ý·Ç Ù³ñï³Ï³ñ·áí Ï³Ý·Ý³Í ¿ÇÝ ¹³ßݳÏÇóÝ»ñÁ` ³Ù¿Ý ûõÇÝ ½µ³Õ»óÝ»Éáí 200x30 Ù ï³ñ³ÍáõÃÇõÝ: ²ÛëåÇëáí, ÑéáÙ¿³Ï³Ý Ñ»ï»õ³ÏÇ Ù³ñï³Ï³ñ·Ç ׳ϳï³ÛÇÝ »ñϳñáõÃÇõÝÁ ϳ½ÙáõÙ ¿ñ 350 + 200 + 200 = 750 Ù, áñÇÝ ·áõÙ³ñáõÙ »Ýù É»·¿áÝÇ »õ ÷³Õ³Ý·Ý»ñÇ ÙÇç»õ ÁÝÏ³Í ÷áùñ ï³ñ³ÍáõÃÇõÝÁ, áñÝ ³ÝÑñ³Å»ßï ¿ ûûõ Ñ»ï»õ³ÏÇ Ù³ñï³Ï³Ý ½ûñ³ß³ñÅÇ Ñ³Ù³ñ, Áݹ³Ù¿ÝÁ` Ùûï 770 Ù [3]: ÐéáÙ¿³Ï³Ý µ³Ý³ÏÇ ³é³çÇÝ ·ÍÇ Ñ»ï»õ³ÏÇ Ã»õ»ñÇÝ Ï³Ý·Ý³Í ¿ ÑéáÙ¿³Ï³Ý áÕç ѻͻɳ½ûñÁ` Ùûï 7.000 ѻͻ³É: ºÃ¿ ѳٳñ»Ýù, áñ Ýñ³Ýù ¹³ë³õáñáõ³Í »Ý ÑéáÙ¿³Ï³Ý ïáõñÙ³ÛáõÙ ÁݹáõÝáõ³Í 5 ß³ñùáí »õ áõÝ»Ý ³ÛÝåÇëÇ »ñÏáõ ·ÇÍ, ³ÛëÇÝùÝ 10 ѻͻ³ÉÝ»ñÇó µ³Õϳó³Í ¹³ë³õáñáõû³Ý ËáñáõÃÇõÝ, ³å³ ϳñáÕ »Ýù ѳßáõ»É, áñ 3.500 ѻͻ³ÉÝ»ñÇ Ù³ñï³Ï³ñ·Ç ÁݹѳÝáõñ ËáñáõÃÇõÝÁ ÏÉÇÝ¿ñ »ñÏáõ ³Ý·³Ù 15-20 Ù, 30-40 Ù »õ 10-20 Ù ÇÝï»ñáõ³É ѻͻɳ½ûñÇ ³é³çÇÝ »õ »ñÏñáñ¹ ·ÍÇ Ù¿ç` 40-60, ÙÇçÇÝÁ` 50 Ù: ֳϳï³ÛÇÝ »ñϳñáõÃÇõÝÁ ѳßõáõÙ »Ýù 350 ѻͻ³ÉÝ»ñÇó ³Ù¿Ý Ù¿ÏÇÝ Ýáõ³½³·áÛÝÁ 1,5 ٠ѳßáõ³ñÏáí, áñÇó ëï³ÝáõÙ »Ýù 525 Ù »õ ³éÝáõ³½Ý 75 Ù ·áõÙ³ñáõÙ ³É³Ý»ñÇ Ù¿ç áñáß ÇÝï»ñáõ³É áõݻݳÉáõ ѳٳñ: ²ÛëåÇëáí, Ñ»ï»õ³ÏÇ Ã»õ»ñÇÝ Ï³Ý·Ý³Í ¿ñ »ñÏáõ ѻͻ³É ½ûñ³·áõݹ, áñáÝóÇó Çõñ³ù³ÝãÇõñÁ ½µ³Õ»óÝáõÙ ¿ñ 600x50 Ù ï³ñ³ÍáõÃÇõÝ: ²ÛëåÇëáí, ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ ×³Ï³ïÇ »ñϳñáõÃÇõÝÁ ϳ½ÙáõÙ ¿ñ 770 + 600 + 600 = 1970 Ù, ѳßáõÇ ³éÝ»Éáí áñáß ³ÝÑñ³Å»ßï ÇÝï»ñáõ³ÉÁ ѻͻɳ½ûñÇ »õ Ñ»ï»õ³ÏÇ ÙÇç»õ` 2.000 Ù: ²ÛÅÙ å³ñ½»Ýù ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ Ï³½Ù³Í ϳññ¿Ç ËáñáõÃÇõÝÁ: ºñÏáõ ÏáÕÙÇó ϳññ¿Ç ÏáÕÙ»ñÁ ϳ½ÙáõÙ »Ý Ù¿Ï³Ï³Ý ÷ÇÙµñÇ³Ï³Ý É»·¿áÝ, áñáÝó ÏáÑáñïÝ»ñáõÙ 8 ß³ñùÇó ³õ»ÉÇ, Áëï »ñ»õáÛÃÇÝ, ã¿ÇÝ Ï³Ý·ÝáõÙ` í»ï»ñ³ÝÝ»ñÁ 8 ß³ñùáí ÝáÛÝù³Ý ϳÛáõÝ ¿ÇÝ, áñù³Ý Ùݳó³Í É»·¿áÝ»ñÝ»ñÁ 10-áõÙ: ²Û¹ å³ï׳éáí ß³ñ³ëÇõÝ»ñÇ »ñϳñáõÃÇõÝÁ ϳ½ÙáõÙ ¿ñ 350, ÇëÏ É³ÛÝáõÃÇõÝÁ` Ùûï 70 Ù, ³Ù¿Ý ÙÇ ÷ÇÙµñÇ³Ï³Ý É»·¿áÝÁ ½µ³Õ»óÝáõÙ ¿ñ 350x70 Ù ï³ñ³ÍáõÃÇõÝ: γññ¿Ç í»ñçÇÝ ·ÍáõÙ Ï³Ý·Ý³Í ¿ñ ÈáõÏáõÉÉáëÇ µ³Ý³ÏÇ ãáññáñ¹` ê»ùëïÇ-
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m. The food supply was inside the square. The lightly armed warriors, about eight cohorts were placed in the intermediary space between cohorts and in the intervals between legions and phalanges. Usually, when fighting against a powerful cavalry, Romans preferred to have in their rear or on the flanks a hill occupied by their lightly armed warriors. Nevertheless, there is no information about this in the battle description, which testifies that there hasn't been such a possibility [12, 14]. Thus, the length of the Roman army front was about two kilometers, the depth of the battle order 550 m. The possible inexactness of our calculation can be 100-200 m. The order of the Armenian cavalry can be restored according to the preserved information about the usual order of Armenian army and the necessity of ruling such a great number of cavalrymen. The front length of the Armenian army wasn't less than that of the Romans' one: about 2,000-2,200 m. The Armenian army was divided into center and flanks, each having 5,000 cavalrymen, 3,000 of which were standing in the first line. If we consider conventionally that the depth of each line was ten rows, so the company would have 600 m in the front and 100 m depth. The frontal length of three companies would have been 1,800 m, and with intervals between them: 2,000 m. Some companies of light cavalry were accompanying from different sides the Roman square at a far distance. Romans didn't see the Armenian cavalry laying in ambush. The space occupied by this cavalry should be approximately 500 x 400 m (one company of cataphracts: 50 cavalrymen in 20 rows, i.e. 200 x 80 m, four companies in the first line and two in the second, which makes a space of 500 x 400 m). To obtain the dimensions of the necessary battlefield one must calculate the space needed for the maneuvers described by Plutarch and Cassius Dio. According to the course of the battle, after the collision of the Armenian and Roman light cavalries, the false retreat of the Armenians considerably took away the Romans from their infantry and threw them under the blow of the Armenian heavy cavalry. It should be about 3.5-5 km, as even the trained legionaries couldn't come running to save their cavalry. At the same time, it should have been enough distance for Armenian light and armored cavalries to retreat and restore their battle order, i.e. 5 km at least. So the described battle required inevitably a field of at least 10-15 km length and 3.5-5 km width on the right bank of the Aratzani. Such a field could be that of Bagrevand.
3.1. The Attack of the Armenian Cavalry and the Counterattack of the Romans: the Battle between Armenian and Roman Cavalries The two flanks of the Armenian cavalry, in the first row of which were the companies of Mardaites and Iberians, began the attack. The companies of Armenian light cavalry followed at some distance the companies of Mardaites and Iberians rushing in the first rows. Their maneuver encouraged Mardaites and Iberians, but during the attack these Armenian cavalry companies didn't approach the first line and didn't participate to the fight. 176
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ÉÇáëÇ (?) É»·¿áÝÁ, áñÇÝ Ùݳó»É ¿ñ 8 ÏáÑáñï Ýñ³Ýù ϳñáÕ ¿ÇÝ Ï³Ý·Ý³Í ÉÇÝ»É »õë »ñ»ù ·Íáí »õ ½µ³Õ»óÝ»É 250x70 Ù ï³ñ³ÍáõÃÇõÝ: γññ¿Ç í»ñçÇÝ ·ÍáõÙ Ï³Ý·Ý³Í É»·¿áÝÇ Ã»õ»ñÇÝ ï»Õ³õáñáõ³Í ¿ÇÝ ¹³ßݳÏÇóÝ»ñÇ ÏáÑáñïÝ»ñÁ, ¹³ë³õáñáõ³Í ÷³Õ³Ý·Ç Ó»õáí, »õ ëÇñdzóÇ ÛáÛÝ í³ñÓϳÝÝ»ñÇ ÷³Õ³Ý·Á: γññ¿Ç ³é³çÇÝ ·ÍÇ Ñ³ßáõ³ñÏÇ Å³Ù³Ý³Ï Ù»Ýù ëï³ó³Ýù ¹³ßݳÏÇóÝ»ñÇ ¹³ë³õáñáõû³Ý ã³÷ëÁ` 200x30 Ù: гßáõÇ ³éÝ»Éáí, áñ ѳϳé³Ïáñ¹Ç Ñ»ï ³ÝÙÇç³Ï³Ý ß÷áõÙ ã¿ñ ݳ˳ï»ëõáõÙ, Ýñ³Ýù ϳñáÕ ¿ÇÝ ù³ÛÉ»É ÙÇ ÷áùñ ³õ»ÉÇ Ýáëñ` 200x40 Ù: гßáõ³ñÏ»Ýù ϳññ¿Ç í»ñçÇÝ ·ÍÇ »ñϳñáõÃÇõÝÁ` 250 + 200 + 200 = 650 Ù: γññ¿Ç ³é³çÇÝ ·ÍÇ »ñϳñáõÃÇõÝÁ Ùûï 770 - 800 Ù ¿, áõñ»ÙÝ ï³ñµ»ñáõÃÇõÝÁ ϳ½ÙáõÙ ¿ 120 - 150 Ù: Æ٠ϳñÍÇùáí, Ñ¿Ýó ³Ûë ѳïáõ³ÍÁ ½µ³Õ»óÝáõÙ ¿ñ í³ñÓÏ³Ý ÑáåÉÇïÝ»ñÇ ÷³Õ³Ý·Á` 20 ß³ñù »ñÏáõ ·Íáí, 150 Ù³ñïÇÏ ×³Ï³ïáí` 140x40 Ù: ²Û¹åÇëáí, ÈáõÏáõÉÉáëÇ µ³Ý³ÏÁ ϳ½Ù»É ¿ñ Ñëϳ۳ϳÝ` 800 x 550 ٠ϳññ¿: êï»ÕÍáõ³Í ϳññ¿Ç Ý»ñëáõÙ ¿ñ ·ïÝõáõÙ ·áõÙ³ÏÁ: »ûõ³½¿ÝÝ»ñÁ? Ùûï 8 ÏáÑáñï, ï»Õ³Ï³Ûáõ³Í ¿ÇÝ ÏáÑáñïÝ»ñÇ ÙÇç³ÝÏ»³É ï³ñ³ÍùÝ»ñáõÙ »õ É»·¿áÝÝ»ñÇ »õ ÷³Õ³Ý·Ý»ñÇ ÇÝï»ñáõ³ÉÝ»ñáõÙ [3]: ÐéáÙ¿³óÇÝ»ñÁ, Û³ïϳå¿ë áõÅ»Õ Ñ»Í»É³½ûñÇ ¹¿Ù Ù³ñïÝã»ÉÇë, ݳËÁÝïñáõÙ ¿ÇÝ ÃÇÏáõÝùáõ٠ϳ٠ûõ»ñáõÙ áõÝ»Ý³É Çñ»Ýó ûûõ³½¿ÝÝ»ñáí ½µ³Õ»óáõ³Í áñ»õÇó¿ µÉáõñ: ê³Ï³ÛÝ ×³Ï³ï³Ù³ñïÇ Ýϳñ³·ñáõÃÇõÝáõÙ ³Û¹åÇëÇ ÝßáõÙ ãϳÛ, ÇÝãÁ íϳÛáõÙ ¿, áñ ׳ϳï³Ù³ñïÇ ¹³ßïáõÙ ³Û¹åÇëÇ Ñݳñ³õáñáõÃÇõÝ ãϳñ [12, 14]: ²ÛëåÇëáí, ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ ×³Ï³ïÇ »ñϳñáõÃÇõÝÁ Ùûï 2 ÏÙ ¿ñ, Ù³ñï³Ï³ñ·Ç ËáñáõÃÇõÝÁ` 550 Ù: Ø»ñ ѳßáõ³ñÏÇ Ñݳñ³õáñ ³Ý×ßïáõÃÇõÝÁ 100 - 200 Ù ¿: гÛÏ³Ï³Ý Ñ»Í»É³µ³Ý³ÏÇ ¹³ë³õáñáõÃÇõÝÁ í»ñ³Ï³Ý·ÝõáõÙ ¿ »ÉÝ»Éáí ѳÛÏ³Ï³Ý µ³Ý³ÏÇ ¹³ë³õáñáõû³Ý Ù³ëÇÝ Ù»½ ѳë³Í ï»Õ»ÏáõÃÇõÝÝ»ñÇó »õ ٻͳù³Ý³Ï ѻͻ³ÉÝ»ñÇÝ Ï³é³í³ñ»Éáõ ³ÝÑñ³Å»ßïáõÃÇõÝÇó: гÛÏ³Ï³Ý µ³Ý³ÏÇ ×³Ï³ïÇ »ñϳñáõÃÇõÝÁ ÑéáÙ¿³Ï³ÝÇó å³Ï³ë ã¿ñ, Ùûï 2-2.200 Ù: гÛÏ³Ï³Ý µ³Ý³ÏÁ µ³Å³ÝõáõÙ ¿ñ Ï»ÝïñáÝÇ »õ ûõ»ñÇ, Çõñ³ù³ÝãÇõñÁ` 5.000 ѻͻ³É, áñÇó 3.000-Á Ï³Ý·Ý³Í ¿ñ ³é³çÇÝ ·ÍáõÙ: ºÃ¿ ³Ù¿Ý ·ÍÇ ËáñáõÃÇõÝÁ å³ÛÙ³Ý³Ï³Ý Ñ³Ù³ñ»Ýù 10 ß³ñù, ³å³ ½ûñ³·áõݹÁ ÏáõÝ»Ý³Û Ùûï 600 Ù ×³Ï³ï »õ 100 Ù ËáñáõÃÇõÝ: ºñ»ù ½ûñ³·Ý¹Ç ׳ϳï³ÛÇÝ »ñϳñáõÃÇõÝÁ` 1.800, ÇÝï»ñáõ³ÉÝ»ñáí ½ûñ³·Ý¹»ñÇ Ù¿ç` 2.000 Ù: ØÇ ù³ÝÇ Ã»Ã»õ³½¿Ý ѻͻɳ·Ý¹»ñ ï³ñµ»ñ ÏáÕÙ»ñÇó` å³ïϳé»ÉÇ Ñ»é³õáñáõû³Ý íñ³Û áõÕ»ÏóáõÙ »Ý ÑéáÙ¿³Ï³Ý ϳññ¿Ý: ¸³ñ³Ý³Ï³É³Í ѳÛÏ³Ï³Ý Ñ»Í»É³µ³Ý³ÏÇÝ ÑéáÙ¿³óÇÝ»ñÁ ã»Ý ï»ëÝáõÙ: ²Û¹ µ³Ý³ÏÇ ½µ³Õ»óñ³Í ï³ñ³ÍáõÃÇõÝÁ å¿ïù ¿ Ùûï³õáñ³å¿ë ÉÇÝ¿ñ 500x400 Ù (Ù¿Ï Ï³ï³ýñ³ÏïáëÝ»ñÇ ·áõݹÁ` 50 ѻͻ³ÉÇó 20 ß³ñùáí` 100x80 Ù, 4 ·áõݹ ³é³çÇÝ ·ÍáõÙ, 4` »ñÏñáñ¹ »õ 2` »ññáñ¹` ÏÉÇÝÇ 500x400 Ù ï³ñ³ÍáõÃÇõÝ): ֳϳï³Ù³ñïÇ Ñ³Ù³ñ ³ÝÑñ³Å»ßï ¹³ßïÇ Ù»ÍáõÃÇõÝÁ áñáß»Éáõ ѳٳñ ³ÝÑñ³Å»ßï ¿ ѳßáõ³ñÏ»É, ÿ ÇÝã ï³ñ³ÍáõÃÇõÝ ¿ñ ³ÝÑñ³Å»ßï äÉáõï³ñùáëÇ »õ ¸ÇáÝ Î³ëëÇáëÇ Ýϳñ³·ñáõ³Í ½ûñ³ß³ñÅ»ñÇ Ñ³Ù³ñ: Àëï ׳ϳï³Ù³ñïÇ ÁÝóóùÇ, ÑéáÙ¿³Ï³Ý »õ ѳÛÏ³Ï³Ý Ã»Ã»õ ѻͻɳ½ûñÇ µ³ËáõÙÇó Û»ïáÛ Ñ³ÛϳϳÝÁ Ï»ÕÍ ÷³Ëáõëïáí ÑéáÙ¿³Ï³ÝÇÝ ½·³ÉÇûñ¿Ý Ñ»é³óÝáõÙ ¿ ÑéáÙ¿³Ï³Ý Ñ»ï»õ³ÏÇó »õ ·óáõ٠ͳÝñ ѳÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ Ñ³ñáõ³ÍÇ ï³Ï: ¸³ Ùûï 3,5 - 5 ÏÙ å¿ïù ¿ ÉÇÝÇ, áñå¿ë½Ç ÝáÛÝÇëÏ í³ñÅáõ³Í É»·¿áÝ»ñÝ»ñÁ í³½ùáí ãϳñáÕ³Ý³Ý ³ñ³· ѳëÝ»É »õ å³ñïáõÃÇõÝÇó ÷ñÏ»É Çñ»Ýó ѻͻɳ½ûñÁ: ØÇ³Å³Ù³Ý³Ï å¿ïù ¿ ÉÇÝÇ ³ÛÝù³Ý ï³ñ³ÍáõÃÇõÝ, áñ ѳÛÏ³Ï³Ý Ã»-
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At the Lucullus' order the whole Roman and allies' cavalry rush to counterattack. 6,000 Mardaite and Iberian cavalrymen fanatically fought against the 7,000 cavalrymen of Lucullus. The outcome of the collision was uncertain yet. Some time after the battle's start Lucullus ordered to send the cohorts of the first line legion to help the Roman cavalry. The cohorts approached rapidly the battlefield and attacked from the flank the cavalries of Mardaites and Iberians, who, being under double pressure weren't able to resist the legionaries' blow and began to retreat. The second stage of the battle started.
3.2. The Assault of the Roman Cohorts and the False Retreat of the Armenian Cavalry Some part of the cohorts of the first line reinforced legion attacked from both flanks the cavalries of Mardaites and Iberians. The latter didn't fight against the Roman infantry and began "to flee". The entire Roman cavalry, which got "heated" in the fight and excited by the Armenians "retreat", threw itself after the Armenians and started the pursuit of the "defeated" Armenian cavalry. At that moment the first line cohorts of the Roman avant-garde legion approached the companies of heavy cavalry and archers of Mithridates the Median, which were standing in the center. The latter, "unable to stand" the fighting shouts of legionaries started a "shameful retreat". Everything was done so naturally that Romans didn't even suspect that they were driven into ambush. Seeing the splendid garments and royal honor insignia, Romans were somehow astonished. It seemed them that it was king Mithridates Eupator of Pontus who "didn't stand the fighting shouts" of Romans [8]. How easy it is to believe a seeming thing when one is eager to believe it. Nevertheless, that was not Mithridates of Pontus, who even didn't participate to this battle, but king Mithridates the Median of Atropatene who was the common general of Armenian, Median, Iberian and Mardaitian cavalries meant for the frontal attack. All the hypotheses proposed from antique times to our days about the participation of Mithridates Eupator to this battle [3, 4, 6, 7, 9] seem absolutely improbable to us and the great Greek author Plutarch is evidently mistaken. During the battle of Aratzani king Mithridates Eupator and his infantry were rapidly moving towards the armies of Lucullus and Tigran. Lucullus was exulting, as the expected hard confrontation was all of a sudden transformed in an easily got "glorious victory". The enthusiastic Roman cavalrymen were pursuing the Armenians and got considerably far from the infantry running after them. Lucullus wasn't pleased to see that his cavalry was cut off from the infantry, but, as it is testified by the wars' history, it is very difficult to stop a cavalry wildly happy with its victory and pursuing the enemy. Lucullus with his infantry had only to follow the "victorious" cavalry. At that moment Lucullus noticed that the Roman cavalry was attacked by the enormous mass of Armenian heavy cavalry commanded by King of Kings Tigran the Great himself, and he was "frightened" [8]. The third and decisive stage of the battle started. 178
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ûõ áõ ½ñ³Ñ³å³ï ѻͻɳ½ûñÝ»ñÁ ѳëóÝ»Ý Ý³Ñ³Ýç»É »õ í»ñ³¹³ë³õáñáõ»É? »õë ³éÝáõ³½Ý 5 ÏÙ: ²ÛëåÇëáí, Ýϳñ³·ñáõ³Í ׳ϳï³Ù³ñïÁ ³ÝÑñ³Å»ßïûñ¿Ý å³Ñ³ÝçáõÙ ¿ñ ³éÝáõ³½Ý 10-15 ÏÙ »ñϳñáõû³Ùµ »õ 3,5-5 Ï٠ɳÛÝáõû³Ùµ ¹³ßï ²ñ³Í³ÝÇÇ ³ç³÷Ý»³ÏáõÙ: ²Û¹åÇëÇÝ Ï³ñáÕ ¿ñ ÉÇÝ»É ´³·ñ»õ³Ý¹Ç ¹³ßïÁ:
3.1. гÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ ·ñáÑÁ »õ ÑéáÙ¿³óÇÝ»ñÇ Ñ³Ï³·ñáÑÁ` ѳÛÏ³Ï³Ý »õ ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÝ»ñÇ Ù³ñïÁ гÛÏ³Ï³Ý Ñ»Í»É³µ³Ý³ÏÇ »ñÏáõ ûõ»ñÁ, áñáÝó ³é³çÇÝ ß³ñùáõÙ ¿ÇÝ ·ïÝõáõÙ Ù³ñ¹»ñÇ »õ ǵ»ñÝ»ñÇ ·Ý¹»ñÁ, ³ÝóÝáõÙ »Ý ·ñáÑÇ: ²é³çÇÝ ß³ñù»ñáõÙ ëɳóáÕ Ù³ñ¹»ñÇó »õ ǵ»ñÝ»ñÇó áñáß ï³ñ³Íáõû³Ý íñ³Û ß³ñÅõáõÙ »Ý ѳÛÏ³Ï³Ý Ã»Ã»õ ѻͻɳ·Ý¹»ñÁ: Üñ³Ýó ½ûñ³ß³ñÅÁ á·»õáñáõÙ ¿ Ù³ñ¹»ñÇÝ »õ ǵ»ñÝ»ñÇÝ, ë³Ï³ÛÝ ³Ûë ѳÛÏ³Ï³Ý Ñ»Í»É³·Ý¹»ñÁ ·ñáÑÇ Å³Ù³Ý³Ï ³é³çÇÝ ·ÍÇÝ ã»Ý Ùûï»ÝáõÙ »õ Ù³ñïÇ Ù¿ç ã»Ý ÙïÝáõÙ: ÈáõÏáõÉÉáëÇ Ññ³Ù³Ýáí, áÕç µáõÝ ÑéáÙ¿³Ï³Ý »õ ¹³ßݳÏÇóÝ»ñÇ Ñ»Í»É³½ûñÁ Ý»ïõáõÙ ¿ ѳϳ·ñáÑÇ: êÏëõáõÙ ¿ ϳñ׳ï»õ ûŠѻͻɳٳñï: سñ¹ »õ ǵ»ñ 6.000 ѻͻ³ÉÝ»ñÁ ϳï³ÕÇ ÏéõáõÙ »Ý ÈáõÏáõÉÉáëÇ 7.000 ѻͻ³ÉÝ»ñÇ ¹¿Ù. ÁݹѳñÙ³Ý »ÉùÝ ¿É ¹»é ³Ýáñáß ¿ñ: лͻɳٳñïÇ ëÏëáõ»Éáõ å³ÑÇó ÙÇ ³é Å³Ù³Ý³Ï Û»ïáÛ, ÈáõÏáõÉÉáëÁ Ññ³Ù³ÛáõÙ ¿ ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÇÝ û·Ýáõû³Ý áõÕ³ñÏ»É ³é³çÇÝ ·ÍÇ É»·¿áÝÇ ÏáÑáñïÝ»ñÁ: ì»ñçÇÝÝ»ñë ³ñ³·³ó³Í »ñÃáí Ùûï»ÝáõÙ »Ý ѻͻɳٳñïÇ ¹³ßïÇÝ »õ ûõÇó ·ñáÑáõÙ »Ý Ù³ñ¹³Ï³Ý áõ ǵ»ñ³Ï³Ý ѻͻɳ½ûñÝ»ñÇÝ: ì»ñçÇÝÝ»ñë, »ÝóñÏáõ»Éáí »ñÏÏáÕÙ³ÝÇ ×ÝßÙ³ÝÁ, ã»Ý ¹ÇÙ³ÝáõÙ É»·¿áÝ»ñÝ»ñÇ Ñ³ñáõ³ÍÇÝ »õ ëÏëáõÙ »Ý ݳѳÝç»É: êÏëõáõÙ ¿ ׳ϳï³Ù³ñïÇ »ñÏñáñ¹ ÷áõÉÁ:
3.2. ÐéáÙ¿³Ï³Ý ÏáÑáñïÝ»ñÇ ·ñáÑÁ »õ ѳÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ Ï»ÕÍ ÷³ËáõëïÁ ²é³çÇÝ ·ÍáõÙ ·ïÝáõáÕ áõŻճóáõ³Í É»·¿áÝÇ ÏáÑáñïÝ»ñÇ ÙÇ Ù³ëÁ »ñÏáõ ûõáõÙ ¿É ·ñáÑáõÙ ¿ñ ǵ»ñ³Ï³Ý »õ Ù³ñ¹³Ï³Ý ѻͻɳ·Ý¹»ñÇ íñ³Û: ì»ñçÇÝÝ»ñë ÑéáÙ¿³Ï³Ý Ñ»ï»õ³ÏÇ Ñ»ï Ù³ñïÇ ·ñ»Ã¿ ã»Ý µéÝõáõÙ »õ ¹ÇÙáõÙ »Ý §÷³ËáõëïǦ: лͻɳٳñïáõÙ §ï³ù³ó³Í¦ »õ ѳۻñÇ §÷³Ëáõëïáí¦ á·»õáñáõ³Í ³ÙµáÕç ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÁ Ý»ïõáõÙ ¿ ѳÛϳϳÝÇ »ï»õÇó: êÏëõáõÙ ¿ §å³ñïáõ³Í¦ ѳÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ Ñ»ï³åݹáõÙÁ: ²Û¹ å³ÑÇÝ ÑéáÙ¿³Ï³Ý ³é³ç³å³Ñ É»·¿áÝÇ ³é³çÇÝ ·ÍÇ ÏáÑáñïÝ»ñÁ Ùûï»ÝáõÙ »Ý Ï»ÝïñáÝáõÙ Ï³Ý·Ý³Í ØÇÑñ¹³ï Ø»¹³óáõ ϳï³ýñ³ÏïáëÝ»ñÇ »õ Ý»ï³ÓÇ·Ý»ñÇ Ñ»Í»É³·Ý¹»ñÇÝ: ì»ñçÇÝÝ»ñë, §ã¹ÇٳݳÉáí¦ É»·¿áÝ»ñÝ»ñÇ Ù³ñï³Ï³Ý ³Õ³Õ³ÏÝ»ñÇÝ, ¹ÇÙáõÙ »Ý §³ÙûóÉÇ ÷³ËáõëïǦ: ²Ù¿Ý ÇÝã ³ñõáõÙ ¿ ³ÛÝù³Ý µÝ³Ï³Ý, áñ ÑéáÙ¿³óÇÝ»ñÁ ã»Ý ¿É ϳëϳÍáõÙ, áñ Çñ»Ýó Ý»ñù³ßáõÙ »Ý ÍáõÕ³ÏÇ Ù¿ç: î»ëÝ»Éáí ßù»Õ ½·»ëïÝ»ñÁ »õ ³ñù³Û³Ï³Ý å³ïáõ³Ýß³ÝÝ»ñÁ, ÑéáÙ¿³óÇÝ»ñÝ ÁÝÏÝáõÙ »Ý ÙáÉáñáõû³Ý Ù¿ç: Üñ³Ýó ÃõáõÙ ¿, áñ ¹³ äáÝïáëÇ Ã³·³õáñ ØÇÑñ¹³ï ºõå³ïáñÝ ¿, áñÁ §ãÇ ¹ÇÙ³ó»É ³Ý·³Ù ÑéáÙ¿³óÇÝ»ñÇ Ù³ñï³Ï³Ý ³Õ³Õ³ÏÝ»ñÇݦ [8]. ÆÝãù³±Ý Ñ»ßï ¿ ѳõ³ï³É ϳñÍ»ó»³ÉÇÝ, »Ã¿ ¹³ ù»½ ó³ÝϳÉÇ ¿: ê³Ï³ÛÝ, ¹³ áã ÿ ØÇÑñ¹³ï äáÝï³óÇÝ ¿ñ, áí ÁݹѳÝñ³å¿ë ãÇ Ù³ëݳÏó»É ³Ûë ׳ϳï³Ù³ñïÇÝ, ³ÛÉ ²ïñå³ï³Ï³ÝÇ Ã³·³õáñ ØÇÑñ¹³ï Ø»¹³óÇÝ,
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3.3. The Assault of the Armenian Heavy Cavalry against the Roman one Lucullus' panic wasn't out of place. He noticed that the Armenian light cavalry was slowing down its false retreat, thus lessening the rapidity of the Roman cavalry's pursuit movement. The almost immobilized Roman cavalry was then attacked by the Armenian cataphracts and their blow was crushing for Romans. Blocked between Armenian light and heavy cavalries, the Roman cavalry was saved from definitive crush by the Roman heavy infantry arrived in time. The remnants of the Roman cavalry run away towards the ranks of their infantry and hide themselves between them. They were no longer able to continue fighting. The remnants of the Roman cavalry, dispersed throughout the battlefield, tried to escape the blows of the Armenian cavalry and when they succeeded to avoid death or captivity, they hid inside the huge Roman square. The fourth and final stage of the battle began; that was the fight of the just arrived Roman infantry against the Armenian cavalry, the organizing system of which was quite unexpected for Romans.
3.4. The Eastern Fight of the Armenian Cavalry against Legions The Armenian cavalrymen avoided fighting against the Roman heavy infantry, but retreating, they started to throw arrows towards Roman legionaries. It was then that Romans found out that Armenians were using new arrows with heavy heads which were better piercing armors and shields (later on it would be also found out that they were even more dangerous, as their third head was fastened relatively less strongly and remained in the body of the wounded warrior keeling him). After throwing arrows the Armenian cavalry companies went away, but they were followed by a new wave of cavalrymen. During this interval of time the cavalrymen of the first group put order in their ranks in order to reiterate their assault. There were mainly lightly armored cavalrymen who threw arrows to Romans while retreating, but some cataphracts' companies continue to throw arrows, too. It is possible that the Armenian cavalry companies also tried to throw arrows towards Roman other legions and their allies' cohorts standing in the square, as some part of them could try to attack the Armenian cavalry. After some vain attempts made by the cohorts to attack the Armenian cavalry, when the greater rapidity of the latter became obvious and their avoiding of in-fighting with Roman legionaries turned to be successful, Lucullus, worried by the losses caused by Armenian arrows, had to stop the battle. The battlefield remained in Romans' hands and they hurried to declare their "victory". Armenian cavalry companies went away, letting in the vision field of Romans some number of cavalrymen to keep in strain the exhausted enemy. The battle of Aratzani was over.
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TIGRANES THE GREAT
áí ׳ϳï³ÛÇÝ ·ñáÑÇ Ñ³Ù³ñ ݳ˳ï»ëáõ³Í ѳÛϳϳÝ, Ù»¹³Ï³Ý, ǵ»ñ³Ï³Ý »õ Ù³ñ¹³Ï³Ý ѻͻɳ½ûñÝ»ñÇ ÁݹѳÝáõñ Ññ³Ù³Ý³ï³ñÝ ¿ñ: ²Ûë ׳ϳï³Ù³ñïÇÝ ØÇÑñ¹³ï ºõå³ïáñÇ Ù³ëݳÏóáõû³Ý Ù³ëÇÝ ³ÝïÇÏ Å³Ù³Ý³ÏÝ»ñÇó ÙÇÝã»õ ³Ûëûñ ³é³ç³ñÏáõ³Í µáÉáñ í³ñϳÍÝ»ñÁ [3, 4, 6, 7, 9] ÇÝÓ µ³ó³ñÓ³Ï ³Ýѳõ³Ý³Ï³Ý »Ý ÃõáõÙ` Ù»Í ÛáÛÝÁ (äÉáõï³ñùáëÁ) ³Ûëï»Õ ³ÏÝÛ³Ûïûñ¿Ý ë˳ÉõáõÙ ¿ñ: ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïÇ Å³Ù³Ý³Ï ØÇÑñ¹³ï ºõå³ïáñÁ Çñ Ñ»ï»õ³Ï³ÛÇÝ µ³Ý³Ïáí ³ñ³·³ó³Í »ñûñáí ß³ñÅõáõÙ ¿ñ ¹¿åÇ ÈáõÏáõÉÉáëÇ »õ îÇ·ñ³ÝÇ µ³Ý³ÏÝ»ñÁ: ÈáõÏáõÉÉáëÁ óÝÍáõÙ ¿, ëå³ëáõáÕ Í³Ýñ ѳϳٳñïáõÃÇõÝÁ ³Ýëå³ë»ÉÇûñ¿Ý í»ñ³ÍõáõÙ ¿ñ ûûõ Ó»éù µ»ñáõ³Í §÷³é³Ñ»Õ Û³ÕóݳÏǦ: à·»õáñáõ³Í ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÁ Ñ»ï³åݹáõÙ ¿ñ ѳÛϳϳÝÇÝ »õ ½·³ÉÇûñ¿Ý Ñ»é³ÝáõÙ Û»ï»õÇó í³½áÕ Ñ»ï»õ³ÏÇó: ÈáõÏáõÉÉáëÇÝ ¹áõñ ãÇ ·³ÉÇë, áñ Çñ ѻͻɳ½ûñÁ Ïïñáõ»É ¿ñ Ñ»ï»õ³ÏÇó, ë³Ï³ÛÝ ÇÝãå¿ë íϳÛáõÙ ¿ å³ï»ñ³½ÙÝ»ñÇ å³ïÙáõÃÇõÝÁ` ß³ï ¹Åáõ³ñ ¿ ϳݷݻóÝ»É Çñ Û³ÕóݳÏáí ³ñµ»ó³Í, ѳϳé³Ïáñ¹ÇÝ Ñ»ï³åݹáÕ, ѻͻɳ½ûñÇÝ: ÈáõÏáõÉÉáëÇÝ ÙÝáõÙ ¿ Çñ Ñ»ï»õ³Ïáí Ñ»ï»õ»É §Û³Õóݳϳͦ ѻͻɳ½ûñÇ Û»ï»õÇó: ²Û¹ å³ÑÇÝ ÈáõÏáõÉÉáëÁ ÝϳïáõÙ ¿ ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÇ íñ³Û ·ñáÑáÕ Ñ³ÛÏ³Ï³Ý Í³Ýñ ѻͻɳ½ûñÇ ÑëÏ³Û³Ï³Ý ½³Ý·áõ³ÍÁ, áñÝ ³é³çÝáñ¹áõÙ ¿ñ ÇÝùÁ` îÇ·ñ³Ý Ø»Í ³ñù³ÛÇó ³ñù³Ý »õ, §í³Ë»ÝáõÙ¦ ¿ [8]: êÏëõáõÙ ¿ ׳ϳï³Ù³ñïÇ í×é³Ï³Ý` »ññáñ¹ ÷áõÉÁ:
3.3. гÛÏ³Ï³Ý Í³Ýñ ѻͻɳ½ûñÇ ·ñáÑÁ ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÇ íñ³Û ÈáõÏáõÉÉáëÇ ï³·Ý³åÁ ï»ÕÇÝ ¿ñ` ݳ ÝϳïáõÙ ¿, ÿ ÇÝãå¿ë ѳÛÏ³Ï³Ý Ã»Ã»õ ѻͻɳ½ûñÁ ¹³¹³ñ»óÝáõÙ ¿ Çñ Ï»ÕÍ Ý³Ñ³ÝçÇ ÁÝóóùÁ »õ ¹ñ³Ýáí ÇëÏ ÃáõɳóÝáõÙ Ñ»ï³åݹáÕ ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÇ ß³ñÅÙ³Ý ³ñ³·áõÃÇõÝÁ: ¶ñ»Ã¿ ³Ýß³ñųó³Í ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÇ íñ³Û ·ñáÑáõÙ ¿ ѳÛÏ³Ï³Ý Í³Ýñ ³ÛñáõÓÇÝ, áñÇ Ñ³ñáõ³ÍÁ ÑéáÙ¿³óÇÝ»ñÇ Ñ³Ù³ñ ÏáñͳÝÇã ¿: гÛÏ³Ï³Ý Ã»Ã»õ »õ ͳÝñ ѻͻɳ½ûñÝ»ñÇ Ù¿ç ë»ÕÙáõ³Í ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÇÝ Çëå³é Ïáïáñáõ»Éáõó ÷ñÏáõÙ ¿ íñ³Û ѳë³Í ÑéáÙ¿³Ï³Ý ͳÝñ Ñ»ï»õ³ÏÁ: ÐéáÙ¿³Ï³Ý ѻͻɳ½ûñÇ Ùݳóáñ¹Ý»ñÁ ÷³ËãáõÙ »Ý ¹¿åÇ íñ³Û ѳëÝáÕ ÑéáÙ¿³Ï³Ý Ñ»ï»õ³ÏÇ ß³ñù»ñÁ »õ å³ïëå³ñõáõÙ Ýñ³Ýó ÏáÕùÇÝ: سñïÁ ß³ñáõݳϻÉáõ ѳٳñ Ýñ³Ýù ³ñ¹¿Ý åÇï³ÝÇ ã»Ý: ¸³ßïáí Ù¿Ï óñáõ³Í ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÇ Ùݳóáñ¹Ý»ñÁ ÷áñÓáõÙ »Ý ËáÛë ï³É ѳÛÏ³Ï³Ý Ñ»Í»É³·Ý¹»ñÇ Ñ³ñáõ³ÍÝ»ñÇó »õ, »Ã¿ Û³çáÕõáõÙ ¿ Ëáõë³÷»É áãÝã³óáõÙÇó ϳ٠·»ñáõÃÇõÝÇó, å³ïëå³ñõáõÙ »Ý ÑëÏ³Û³Ï³Ý ÑéáÙ¿³Ï³Ý ϳññ¿áõÙ: êÏëõáõÙ ¿ ׳ϳï³Ù³ñïÇ í»ñçݳϳÝ` ãáññáñ¹ ÷áõÉÁ, íñ³Û ѳë³Í ÑéáÙ¿³Ï³Ý Ñ»ï»õ³ÏÇ Ù³ñïÁ ѳÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ Ñ»ï, áñÇ ³ÝóϳóÙ³Ý »Õ³Ý³ÏÁ ÑéáÙ¿³óÇÝ»ñÇ Ñ³Ù³ñ ËÇëï ³Ýëå³ë»ÉÇ ¿ñ:
3.4. гÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ ³ñ»õ»É»³Ý ѻͻɳٳñïÁ É»·¿áÝÝ»ñÇ ¹¿Ù гÛÏ³Ï³Ý Ñ»Í»É³½ûñÁ Ëáõë³÷áõÙ ¿ Ù³ñïÇ µéÝáõ»É ÑéáÙ¿³Ï³Ý ͳÝñ Ñ»ï»õ³ÏÇ Ñ»ï, ë³Ï³ÛÝ »ï¹³ñÓÇÝ ëÏëáõÙ ¿ Ý»ï³Ñ³ñ»É ÑéáÙ¿³óÇ É»·¿áÝ»ñÝ»ñÇÝ: Ü»ï³Ñ³ñáõû³Ý Å³Ù³Ý³Ï å³ñ½õáõÙ ¿, áñ ѳۻñÝ û·ï³·áñÍáõÙ »Ý Ýáñ, ͳÝñ ͳÛñáí Ý»ï»ñ, áñáÝù ³õ»ÉÇ É³õ »Ý ËáóáõÙ ½ñ³ÑÝ»ñÁ »õ í³Ñ³ÝÝ»ñÁ (ۻﳷ³ÛáõÙ Ïå³ñ½áõÇ, áñ Ýñ³Ýù ß³ï íï³Ý·³õáñ »Ý ݳ»õ ³ÛÝ å³ï׳éáí, áñ ͳÛñ»-
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4.
The Consequences of the Battle of Aratzani, its Importance and the Parties' Losses
Lucullus proclaimed his victory, but that was a strange one indeed. If the "winning party" was the Romans' army, the only proof of its victory was the battlefield which remained in its hands. But this battlefield was mainly covered by Romans' numerous cadavers, in some parts by some hundred Mardaites' and Iberians' corpses or some dozens or hundreds of Armenian dead cataphracts. Side by side with them there were laying thousands and thousands of dead Romans and their allies. Tigran had applied a battle style absolutely unknown to Lucullus and his cavalry army had retreated not because of failing, but because of having completely accomplished its fighting mission. Anyway, Lucullus evaluated the scale of his defeat only the following day when it wasn't possible to extract one of the Armenian arrows' heads from the body of wounded soldiers; that became the reason of terrible pain and, for many of them, death. Romans were astonished and their combative spirit absolutely crushed. Cassius Dio brilliantly described the atmosphere of despair and demoralization which reigned in the entire Roman army. It would be naĂŻve to think that such a change of mood of Romans was simply conditioned only by the unsuccessful outcome of the battle. The Roman army consisted from numerous courageous and obstinate warriors, as well as excellent officers. They couldn't be so stressed by a simple defeat on the battlefield. The history of Antique Rome is full of examples when, after one or two terrible defeats, the same Roman soldiers attacked their settled down enemies and snatched out the victory of their hands. The military operations in the valley of the Aratzani lasted two months and demanded a great tension from the fighting parties. Romans excellently realized maneuvers and gave numerous small battles. Fighting against such a powerful and obstinate adversary as Armenians, they hoped to crush them in a great battle and then seize their capital town. In a single blow the Aratzani battle put an end to the Romans' expectations, and not only officers, but also simple soldiers understood the impossibility of a victory. The fighting spirit of the Romans huge military machine was broken. It was yet able to strike and even deadly, but it wouldn't ever play a decisive role in the destiny of the Armenian kingdom. A fragile balance was settled during the battle, but it lasted only for three days. The Armenian infantry commanded by Mithridates Eupator arrived at the end of the third day and the military advantage of the Armenians became undisputable. Lucullus had to take the route of retreat. Sources hadn't kept exact data about the losses of the Aratzani battle. Plutarch mentions that Armenians had fewer losses than during the battle of Tigranakert, but more aristocrats were killed. This statement is evidently propagandistic and has nothing to do with the course of the battle. The description of the battle by Cassius Dio allows making some suppositions about the possible losses. In the Armenian cavalry the Mardaitian and the Iberian light cavalry companies had the greatest losses, as they underwent the main blow of the
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ñÇó Ù¿ÏÁ ѳٻٳﳵ³ñ ÃáÛÉ ¿ Ùdzóáõ³Í »õ ÙÝáõÙ ¿ Ù³ñÙÝÇ Ù¿ç, ëå³Ý»Éáí íÇñ³õáñÇÝ): Ü»ï³Ñ³ñáõÙÇó Û»ïáÛ Ñ³ÛÏ³Ï³Ý Ñ»Í»É³·Ý¹»ñÁ Ñ»é³ÝáõÙ »Ý, ë³Ï³ÛÝ Ýñ³Ýó Û³çáñ¹áõÙ ¿ ѻͻ³ÉÝ»ñÇ Û³çáñ¹ ³ÉÇùÁ: ²Û¹ ųٳݳϳѳïáõ³ÍáõÙ ³é³çÇÝ ³ÉÇùÇ Ñ»Í»É³·Ý¹»ñÁ ϳñ·Ç »Ý µ»ñáõÙ Çñ»Ýó ß³ñù»ñÁ` ·ñáÑÁ ÏñÏÝ»Éáõ ѳٳñ: ÐéáÙ¿³óÇÝ»ñÇÝ Û»ï³¹³ñÓ Ý»ï³Ñ³ñáõÙ »Ý ÑÇÙݳϳÝáõ٠ûûõ³½¿Ý ѻͻɳ·Ý¹»ñÁ, ë³Ï³ÛÝ áñáß Ï³ï³ýñ³ÏïáëÝ»ñÇ ·Ý¹»ñ »õë ß³ñáõݳÏáõÙ »Ý Ý»ï³Ñ³ñáõÙÁ: Ðݳñ³õáñ ¿, áñ ѳÛÏ³Ï³Ý Ñ»Í»É³·Ý¹»ñÁ ÷áñÓáõÙ »Ý Ý»ï³Ñ³ñ»É ݳ»õ ϳññ¿áí ß³ñáõ³Í ÑéáÙ¿³Ï³Ý ³ÛÉ É»·¿áÝÝ»ñÁ »õ ¹³ßݳÏó³ÛÇÝ ÏáÑáñïÝ»ñÁ, áñáÝó ÙÇ Ù³ëÁ ÝáÛÝå¿ë ϳñáÕ ¿ñ ÷áñÓ»É ·ñáÑ»É Ñ³ÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ íñ³Û: гÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ íñ³Û ÏáÑáñïÝ»ñáí ·ñáÑ»Éáõ ÙÇ ù³ÝÇ ³å³ñ¹ÇõÝ ÷áñÓ»ñÇó Û»ïáÛ, »ñµ å³ñ½õáõÙ ¿, áñ ѳÛÏ³Ï³Ý Ñ»Í»É³·Ý¹»ñÇ ³ÝÑ³Ù»Ù³ï ³õ»ÉÇ Ù»Í ³ñ³·³ß³ñÅáõÃÇõÝÁ ϳëϳÍÇó í»ñ ¿ »õ ÑéáÙ¿³Ï³Ý É»·¿áÝ»ñÝ»ñÇ Ñ»ï Ó»éݳٳñïÇó Ëáõë³÷»Éáõ Ýñ³Ýó Ù³ñï³í³ñáõÃÇõÝÝ ¿É` ³ñ¹Çõݳõ¿ï, ÈáõÏáõÉÉáëÁ, ѳÛÏ³Ï³Ý Ý»ï³Ó·áõû³Ý Ñ»ï»õ³Ýùáí ³é³ç³ó³Í ÏáñáõëïÝ»ñÇó Ùï³Ñá·áõ³Í, ѳñϳ¹ñáõ³Í ϳݷݻóÝáõÙ ¿ Ù³ñïÁ: سñïÇ ¹³ßïÁ Ùݳó»É ¿ ÑéáÙ¿³óÇÝ»ñÇ Ó»éùÇÝ »õ Ýñ³Ýù ã»Ý Û³å³ÕáõÙ Û³Ûï³ñ³ñ»É Çñ»Ýó §Û³ÕóݳÏÁ¦: гÛÏ³Ï³Ý Ñ»Í»É³·Ý¹»ñÁ Ñ»é³ÝáõÙ »Ý, ÑéáÙ¿³óÇÝ»ñÇ ï»ë³Ý»ÉÇáõû³Ý ¹³ßïáõÙ ÃáÕÝ»Éáí áñáß ù³Ý³Ïáõû³Ùµ ѻͻɳ½ûñ, áñå¿ë½Ç ɳñáõ³Í å³Ñ»Ý Ûá·Ý³Í ÃßݳÙáõÝ: ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïÝ ³õ³ñïõáõÙ ¿:
4.
²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïÇ Ñ»ï»õ³ÝùÝ»ñÁ, Ý߳ݳÏáõÃÇõÝÁ »õ ÏáÕÙ»ñÇ ÏáñáõëïÝ»ñÁ
ÈáõÏáõÉÉáëÁ Û³Ûï³ñ³ñáõÙ ¿ Çñ Û³ÕóݳÏÁ, ë³Ï³ÛÝ ¹³ ï³ñûñÇÝ³Ï Û³ÕÃ³Ý³Ï ¿ñ: ºÃ¿ §Û³ÕÃáÕ ÏáÕÙÁ¦ ÑéáÙ¿³óÇÝ»ñÝ ¿ÇÝ, ³å³ Ýñ³Ýó Û³ÕóݳÏÇ ÙÇ³Ï ³å³óáÛóÁ å¿ïù ¿ ѳݹÇë³Ý³ñ Çñ»Ýó Ùݳó³Í Ù³ñïÇ ¹³ßïÁ: ê³Ï³ÛÝ, ³Û¹ Ù³ñï³¹³ßïÁ ÑÇÙݳϳÝáõ٠ͳÍÏáõ³Í ¿ñ ÑéáÙ¿³óÇÝ»ñÇ µ³½Ù³ÃÇõ ¹Ç³ÏÝ»ñáí, áñáß Ñ»Í»É³Ù³ñï»ñÇ í³Ûñ»ñáõÙ ÙÇ ù³ÝÇ Ñ³ñÇõñ Ù³ñ¹»ñáí »õ ǵ»ñÝ»ñáí, ÙÇ ù³ÝÇ ï³ëÝ»³Ï ϳ٠ѳñÇõñ Ñ³Û Ï³ï³ýñ³ÏïáëÝ»ñáí: Üñ³Ýó ÏáÕùÇÝ ÁÝÏ³Í ¿ÇÝ Ñ³½³ñ³õáñ ½áÑáõ³Í ÑéáÙ¿³óÇÝ»ñ »õ ÐéáÙÇ ¹³ßݳÏÇóÝ»ñ: îÇ·ñ³ÝÁ ÏÇñ³é»É ¿ñ Ýáñ, ÈáõÏáõÉÉáëÇÝ ³ÝͳÝûà ٳñï³á× »õ îÇ·ñ³ÝÇ Ñ»Í»É³µ³Ý³ÏÁ ݳѳÝç»É ¿ñ áã ÿ å³ñïáõû³Ý, ³ÛÉ Ù³ñï³Ï³Ý ³é³ç³¹ñ³ÝùÁ ÉñÇõ ϳï³ñ»Éáõ å³ï׳éáí: ê³Ï³ÛÝ ÈáõÏáõÉÉáëÝ Çñ å³ñïáõû³Ý ͳõ³ÉÁ ·Ý³Ñ³ï»ó ÙdzÛÝ Û³çáñ¹ ûñÁ, »ñµ µ³½Ù³ÃÇõ íÇñ³õáñáõ³Í ½ÇÝáõáñÝ»ñÇ Ùûï ѳÛÏ³Ï³Ý Ý»ï»ñÇ Í³Ûñ»ñÇó Ù¿ÏÁ Ñݳñ³õáñ ã»Õ³õ Ñ³Ý»É íÇñ³õáñáõ³ÍÝ»ñÇ Ù³ñÙÝÇó, »õ ¹³ ¹³ñÓ³õ ͳÝñ ï³é³å³ÝùÝ»ñÇ, áÙ³Ýó ѳٳñ ¿É` Ù³Ñáõ³Ý å³ï׳éÁ: ÐéáÙ¿³óÇÝ»ñÁ óÝóáõ³Í ¿ÇÝ, Ýñ³Ýó Ù³ñï³Ï³Ý á·ÇÝ` ù³Ûù³Ûáõ³Í: ¸ÇáÝ Î³ëëÇáëÁ ÷³ÛÉáõÝ ¿ Ýϳñ³·ñáõÙ ³ÙµáÕç ÑéáÙ¿³Ï³Ý µ³Ý³ÏÁ Ñ³Ù³Ï³Í Ûáõë³Ñ³ïáõû³Ý áõ µ³ñáÛ³Éùáõû³Ý ÙÃÝáÉáñïÁ: ØdzÙïáõÃÇõÝ ÏÉÇÝ¿ñ Ùï³Í»É, áñ ÑéáÙ¿³óÇÝ»ñÇ Ñ³Ù³ñ ïñ³Ù³¹ñáõû³Ý ÝÙ³Ý ÷á÷áËáõÃÇõÝÁ ÙdzÛÝ Ñ³ë³ñ³Ï Ù³ñï³Ï³Ý ³ÝÛ³çáÕáõû³Ý Ñ»ï»õ³Ýù ¿ñ: ÐéáÙ¿³Ï³Ý µ³Ý³ÏÁ µ³Õϳó³Í ¿ñ ß³ï ù³ç »õ Û³Ù³é Ù³ñïÇÏÝ»ñÇó »õ ·»ñ³½³Ýó å³ïñ³ëïáõ³Í ëå³Ý»ñÇó: Üñ³Ýó ã¿ñ ϳñáÕ ³Û¹ù³Ý ÁÝÏ×»É ÝáÛÝÇëÏ ëáíáñ³Ï³Ý å³ñïáõÃÇõÝÁ ׳ϳï³Ù³ñïáõÙ: ÐÇÝ ÐéáÙÇ é³½Ù³Ï³Ý å³ïÙáõÃÇõÝÁ ÉÇ ¿ ûñÇݳÏÝ»ñáí, ÿ ÇÝãå¿ë Ù¿Ï-»ñÏáõ µ³õ³Ï³Ý ͳÝñ å³ñïáõÃÇõÝÇó Û»ïáÛ ÝáÛÝ ÑéáÙ¿³óÇÝ»ñÁ ·ñáÑáõÙ ¿ÇÝ Ñ³Ý·ëï³ó³Í ³ËáÛ»³ÝÇ íñ³Û, Ýñ³ÝóÇó ËÉ»Éáí ÷³÷³·³Í Û³ÕóݳÏÁ:
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Roman cavalry. Their main losses occurred during the false retreat. The remaining cavalry companies almost didn't participate to the fight and their losses could be only by accident. The general losses of the Armenian light cavalry could reach a maximum of one thousand cavalrymen, the main part of which were the abovementioned Iberians and Mardaites. Now let's estimate the losses of Armenian and Atropatenian cataphracts. The battle course: the blow on the broken ranks of the enemy's cavalry, the great number advantage, the strategy of avoiding in-fighting with the Roman infantry and, at last, the habile commandment of Tigran the Great and his son-in-law Mithridates the Median allow to think that the losses of the heavy cavalry hadn't exceeded a few hundreds of warriors, which included also soldiers wounded from a far distance by the Roman light infantry. Here we can admit as the greatest, almost an improbable number of dead heavy cavalrymen: 200 to 300 (the extreme could be 500); so the general number of Armenian army's losses reached 1,200 to 1,500 soldiers. The data communicated by Plutarch about the great number of killed Armenian aristocrats is based on the garments of cataphracts, because of which the author attributed an aristocratic origin to these warriors. The losses of the Romans were much bigger. The Lucullus' cavalry had especially great losses, not less than its half: about 3,500 cavalrymen. Being squeezed between Armenian light and heavy cavalry, undergoing the deadly blow of Armenian and Atropatenian cataphracts, half blocked, they could have been entirely crushed if there hadn't been the quick operations of the first line legion's cohorts and light cavalry. Armenian cavalry didn't undergo the legions' attack, avoided in-fighting and retreated. During this retreat the Armenian cavalry resorted to reverse arrow throwing; this must cause enormous damages to the legionaries and especially to light cavalrymen deprived of armors. Even roughly calculated, the losses of the legionaries and the light cavalry were of one thousand warriors each, to which one must add at least 500 soldiers dead from wounds made by Armenian arrows. Thus, the general losses of the Roman army in the Aratzani battle reached 6,000 warriors, nearly 1,000 of which were legionaries. The number of wounded soldiers was great, too. One can think that a certain number of deserters could appear in the Roman army as a result of the unsuccessful battle, mainly in the auxiliary and food supply companies: about 500 persons. Cordovans and Micro-Asians were serving in these companies; they could easily become deserters only if they were assured of being well treated. Let's analyze the consequences of the battle for each party. Some days after the battle Lucullus began to retreat because of the soldiers' combative spirit dejection, the great number of wounded and the worsened food supply [3, 8, 10]. The main reason of the retreat isn't mentioned by any antique historian devoted to Romans. That was the arrival of the Armenian infantry commanded by Mithridates. The slowly moving Roman army couldn't avoid the repetition of the Aratzani valley's nightmare, but with one essential difference. This time Armenians were the powerful attacking force. Plutarch is excusing his hero's actions by the fear of an early winter, while any peasant of the villages on the Roman's way would have noticed that
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ºñÏáõ ³ÙÇë ²ñ³Í³ÝÇÇ ÑáíïáõÙ ï»õ³Í é³½Ù³Ï³Ý ·áñÍáÕáõÃÇõÝÝ»ñÁ Ù»Í É³ñáõÙ ¿ÇÝ å³Ñ³Ýçáõ٠ѳϳٳñïáÕ ÏáÕÙ»ñÇó: ÐéáÙ¿³óÇÝ»ñÁ ·»ñ³½³Ýó ³ÝóϳóñÇÝ ³ÝÃÇõ Ù³Ýñ ׳ϳï³Ù³ñï»ñÁ »õ ½ûñ³ß³ñÅ»ñÁ: Îéáõ»Éáí ѳۻñÇ ÝÙ³Ý áõÅ»Õ »õ Û³Ù³é ѳϳé³Ïáñ¹Ç ¹¿Ù, Ýñ³Ýù ÛáÛë áõÝ¿ÇÝ ç³Ëç³Ë»É Ýñ³Ýó Ëáßáñ ׳ϳï³Ù³ñïáõÙ, ÇëÏ Û»ïáÛ ·ñ³õ»É ѳÛáó Ù³Ûñ³ù³Õ³ùÁ: ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïÁ Ù¿Ï Ñ³ñáõ³Íáí í»ñç ¹ñ»ó ÑéáÙ¿³óÇÝ»ñÇ ëå³ëáõÙÝ»ñÇݪ áã ÙdzÛÝ ëå³Ý»ñÇÝ, ݳ»õ ѳë³ñ³Ï ½ÇÝáõáñÝ»ñÇÝ Ñ³ëϳݳÉÇ ¹³ñÓ³õ Û³ÕóݳÏÇ ³ÝÑݳñÇÝáõÃÇõÝÁ: ÐéáÙ¿³Ï³Ý é³½Ù³Ï³Ý ³Ñ»Õ Ù»ù»Ý³ÛÇ Ù³ñï³Ï³Ý á·ÇÝ Ïáïñáõ³Í ¿ñ: ܳ ¹»é ÁݹáõÝ³Ï ¿ñ ѽûñª ٳѳóáõ ѳñáõ³ÍÝ»ñ ѳëóÝ»É, ë³Ï³ÛÝ Ý³ ³ÛÉ»õë гÛÏ³Ï³Ý ï¿ñáõû³Ý ׳ϳﳷñáõÙ áñáßÇã ¹»ñ³Ï³ï³ñ ã¿ñ: ä³ï»ñ³½ÙÇ ÁÝóóùáõÙ ³é³ç³ó³õ ˳Ëáõï ѳõ³ë³ñ³ÏßéáõÃÇõÝ, áñÁ ï»õ»ó ÙdzÛÝ »ñ»ù ûñª »ññáñ¹ ûñáõ³Û í»ñçÇÝ íñ³Û ѳë³õ ØÇÑñ¹³ï ºõå³ïáñÇ Ññ³Ù³Ý³ï³ñáõû³Ý ï³Ï ·ïÝáõáÕ Ñ³ÛÏ³Ï³Ý Ñ»ï»õ³Ï³ÛÇÝ µ³Ý³ÏÁ: гÛáó é³½Ù³Ï³Ý ·»ñ³ÏßéáõÃÇõÝÁ ¹³ñÓ³õ ³ÝíÇ×»ÉÇ, »õ ÈáõÏáõÉÉáëÁ ëïÇåáõ³Í ¿ñ µéÝ»É Ý³Ñ³ÝçÇ ×³Ý³å³ñÑÁ: ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïáõÙ Ïñ³Í ÏáñáõëïÝ»ñÇ Ù³ëÇÝ ³ÕµÇõñÝ»ñáõÙ ÏáÝÏñ»ï Ãáõ»ñ ã»Ý å³Ñå³Ýáõ»É: äÉáõï³ñùáëÁ ÝßáõÙ ¿, ÿ ǵñ ѳۻñÁ ³õ»ÉÇ ùÇã Ïáñáõëï »Ý áõÝ»ó»É, ù³Ý îÇ·ñ³Ý³Ï»ñïÇ ×³Ï³ï³Ù³ñïáõÙ, ë³Ï³ÛÝ ½áÑáõ»É »Ý ³õ»ÉÇ ß³ï »ñ»õ»ÉÇÝ»ñ: ²Ûë åݹáõÙÝ ³ÏÝÛ³Ûïûñ¿Ý ù³ñá½ã³Ï³Ý µÝáÛÃÇ ¿ »õ ׳ϳï³Ù³ñïÇ ÁÝóóùÇ Ñ»ï áã ÙÇ Ï³å ãáõÝÇ: ¸ÇáÝ Î³ëëÇáëÇ ×³Ï³ï³Ù³ñïÇ Ýϳñ³·ñáõÃÇõÝÁ ÃáÛÉ ¿ ï³ÉÇë áñáß »Ýó¹ñáõÃÇõÝÝ»ñ ³Ý»É Ñݳñ³õáñ ÏáñáõëïÝ»ñÇ Ù³ëÇÝ: гÛÏ³Ï³Ý Ñ»Í»É³µ³Ý³ÏáõÙ ³Ù»Ý³ß³ï ÏáñáõëïÝ»ñ Ïñ»óÇÝ Ù³ñ¹»ñÇ »õ ǵ»ñÝ»ñÇ Ã»Ã»õ ѻͻɳ·Ý¹»ñÁ, áñáÝó íñ³Û ÁÝϳõ ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÇ ÑÇÙÝ³Ï³Ý Ñ³ñáõ³ÍÁ: Æñ»Ýó ÏáñáõëïÇ Ù»Í Ù³ëÁ Ýñ³Ýù áõÝ»ó³Ý Ï»ÕÍ Ý³Ñ³Ýç - ÷³ËáõëïÇ Å³Ù³Ý³Ï: Øݳó³Í ѻͻɳ·Ý¹»ñÁ Ù³ñïÇÝ ·ñ»Ã¿ ã¿ÇÝ Ù³ëݳÏó»É »õ ϳñáÕ ¿ÇÝ ÙdzÛÝ å³ï³Ñ³Ï³Ý ÏáñáõëïÝ»ñ áõݻݳÉ: гÛÏ³Ï³Ý Ã»Ã»õ ѻͻɳ½ûñÇ ÁݹѳÝáõñ ÏáñáõëïÝ»ñÝ ³é³õ»É³·áÛÝÁ ϳñáÕ ¿ÇÝ Ñ³ëÝ»É 1.000 ѻͻɳٳñïÇÏÇ, áñáÝó Ù»Í Ù³ëÁ í»ñÁ Ýßáõ³Í ǵ»ñÝ»ñÝ áõ Ù³ñ¹»ñÝ ¿ÇÝ: ²ÛÅÙ å³ñ½»Ýù ѳÛÏ³Ï³Ý »õ ³ïñå³ï³Ï³ÛÝ³Ý Ï³ï³ýñ³ÏïáëÝ»ñÇ ·Ý¹»ñÇ Ñݳñ³õáñ ÏáñáõëïÝ»ñÁ: سñïÇ ÁÝóóùÁ? ѳñáõ³ÍÁ ѳϳé³Ïáñ¹Ç ˳Ëïáõ³Í ѻͻɳ½ûñÇ íñ³Û, Ãáõ³ÛÇÝ Ù»Í ·»ñ³ÏßéáõÃÇõÝÁ, ÑéáÙ¿³Ï³Ý Ñ»ï»õ³ÏÇ Ñ»ï Ù³ñïÇ ãµéÝáõ»Éáõ é³½Ù³í³ñáõÃÇõÝÁ »õ, í»ñç³å¿ë, îÇ·ñ³Ý Ø»ÍÇ »õ Ýñ³ ÷»ë³Û` ØÇÑñ¹³ï Ø»¹³óáõ ÑÙáõï ջϳí³ñáõÃÇõÝÁ ÃáÛÉ ¿ ï³ÉÇë Ùï³Í»É, áñ ͳÝñ ѻͻɳ½ûñÇ ÏáñáõëïÝ»ñÁ ã»Ý ³Ýó»É ÙÇ ù³ÝÇ Ñ³ñÇõñÇó, áñÇ Ù¿ç Ý»ñ³éáõÙ »Ýù ݳ»õ ÑéáÙ¿³Ï³Ý ûûõ Ñ»ï»õ³ÏÇ ÏáÕÙÇó Ñ»éáõÇó Ëáóáõ³Í ½ÇÝáõáñÝ»ñÇÝ: ²Ûëï»Õ ÁݹáõÝáõÙ »Ýù ÏáñáõëïÝ»ñÇ Ñݳñ³õáñ Ù»Í, ·ñ»Ã¿ ³Ýѳõ³Ý³Ï³Ý ÃÇõÁª 200-300 ëå³Ýáõ³Í ϳï³ýñ³Ïïáë (ͳÛñ³Û»Õ ÃÇõÝ 500-Ý ¿), áñáí ѳÛÏ³Ï³Ý Ñ»Í»É³µ³Ý³ÏÇ ÁݹѳÝáõñ ÏáñáõëïÝ»ñÁ ѳëÝáõÙ »Ý 1.2-1.500 ½ÇÝáõáñÇ: äÉáõï³ñùáëÇ Ñ³Õáñ¹áõÙÁ ½áÑáõ³Í Ñ³Û Ù»Í³ù³Ý³Ï ³½Ýáõ³Ï³ÝÝ»ñÇ Ù³ëÇÝ ÑÇÙÝáõ³Í ¿ñ ϳï³ýñ³ÏïáëÝ»ñÇ Ñ³Ý¹»ñÓ³Ýùáí µáÉáñ ½áÑáõ³Í Ù³ñïÇÏÝ»ñÇÝ ³½Ýáõ³Ï³Ý ͳ·áõÙ í»ñ³·ñ»ÉáõÝ: ÐéáÙ¿³Ï³Ý µ³Ý³ÏÇ ÏáñáõëïÝ»ñÝ ³Ýѳٻٳï ͳÝñ ¿ÇÝ: ÐëÏ³Û³Ï³Ý ÏáñáõëïÝ»ñ ¿ñ Ïñ»É ÈáõÏáõÉÉáëÇ Ñ»Í»É³½ûñÁ, áã å³Ï³ë, ù³Ý Çñ ϳ½ÙÇ Ï¿ëÁª Ùûï 3.500 ѻͻɳٳñïÇÏ: ê»ÕÙáõ³Í ÉÇÝ»Éáí ѳÛÏ³Ï³Ý Ã»Ã»õ »õ ͳÝñ ѻͻɳ·Ý¹»ñÇ ÙÇç»õ, »ÝóñÏáõ»Éáí ѳÛÏ³Ï³Ý »õ ³ïñå³ï³Ï³Ý»³Ý ϳï³ýñ³ÏïáëÝ»ñÇ ÏáñͳÝÇã ѳñáõ³ÍÇÝ ÏÇë³ßñç³÷³Ïáõ³Í íÇ׳ÏáõÙ, Ýñ³Ýù ϳñáÕ ¿ÇÝ Çëå³é
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the snow on the mountain thorns in the half of September would inevitably melt. There is another important reason which is mentioned either by Plutarch or by Cassius Dio: the severe dejection of the Roman's combative spirit. Roman legionaries, whose professional qualities and courage could correct even the errors of their generals, got a terrible lesson, after which the discipline suffered (the analyses of the last years done by specialists of Antique world military history have been merciless even for Julius Caesar: if there hadn't been the extraordinary professionalism and bravery of the praised X legion's soldiers, in the battle of Zela in 47 B.C. Julius Caesar could have been badly defeated by Mithridates' son Pharnaces [17]). The heavily armored cavalrymen were the military force which allowed to Armenia and especially to Persia to always resist to Rome. Beginning with the battle of Aratzani the military initiative unconditionally passed to Tigran's hands. The situation of the Roman army considerably worsened and further on Lucullus mainly limited itself to defensive operations. One unsuccessful battle, in which Lucullus' soldiers only comfort could be the limited number of dead Armenian soldiers to burry, radically changed the course of the war. Romans hadn't been defeated in the battle itself, but in this battle Armenians had won by their style of fighting. In fact, Romans were defeated in the battle of Aratzani only a few days after the battle. On the bank of the Aratzani, in the bottom of Armenia, the Roman army faced the danger of definitive destruction. After the battle of Aratzani the Roman army was struggling not to win, but simply not to be crushed. Tigran restored his fame of great general. The army of the Armenian empire began the pursuit of the enemy. The battle of Aratzani is of great interest from the viewpoint of the military art development in the ancient world. Armenian cataphracts, the best cavalry in the world (the victorious battles against the Parthians in 86-84 B.C. allow to draw such a conclusion with certitude) with its special style [2, 3], were fighting against the best heavy infantry in the world: the veterans' legions of Lucullus [3, 12]. The Armenian armored cavalry was fighting in the style created in the Parthian-Sarmatian-Armenian Eastern milieu, i.e. the inverse arrow throwing at light and middle infantry (hoplites' phalanges, peltasts and Macedonian phalanges). This fighting style was developed and led to its supreme level first of all by Parthians. During his years of hostage at the Parthian court Tigran had studied it very well and, thanks to it, in 8684 B.C. the Armenian cavalry succeeded to win the war against Parthians. The second fighting method of cataphracts: lance blows and further in-fighting with sabers and swords didn't take place in the battle of Aratzani. It is not excluded that an imitation of such a fight was done to keep the Roman infantry in strain. During the Armenian-Roman war of 69-66 B.C., on September 68 B.C., on the bank of Aratzani, for the first time Tigran showed tactical decisive resistance to Lucullus, one of the best Roman generals. Further operations confirmed his evident strategic superiority towards Lucullus. Romans didn't learn a lesson from the battle of Aratzani. Fifteen years later the Parthian general Surena used the same fighting style to crush the army of 50,000 warriors of Crassus near Carrhae (Arm. Kh?r?n). Foreign specialists of military art history attribute to general Surena the discovery of this
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áãÝã³óáõ»É, »Ã¿ ãÉÇÝ¿ÇÝ ³é³çÇÝ ·ÍÇ É»·¿áÝÇ ÏáÑáñïÝ»ñÇ »õ ûûõ³½¿ÝÝ»ñÇ ëñÁÝóó ·áñÍáÕáõÃÇõÝÝ»ñÁ: гÛÏ³Ï³Ý Ñ»Í»³ÉÝ»ñÁ É»·¿áÝ»ñÝ»ñÇ ·ñáÑÁ »õ Ó»éݳٳñïÇ Ý»ïáõ»ÉÁ ãÁݹáõÝ»óÇÝ »õ ݳѳÝç»óÇÝ: ܳѳÝç»ÉÇë ѳÛÏ³Ï³Ý Ñ»Í»É³½ûñÁ ÏÇñ³é»ó »ï³¹³ñÓ Ý»ï³Ñ³ñáõÙÁ, ÇÝãÁ å¿ïù ¿ Ù»Í ÏáñáõëïÝ»ñ å³ï׳é¿ñ É»·¿áÝ»ñÝ»ñÇÝ »õ, Û³ïϳå¿ë, å³ßïå³Ý³Ï³Ý ½ñ³ÑÝ»ñÇó ½ñÏáõ³Í ûûõ³½¿ÝÝ»ñÇÝ: ²Ù»Ý³ÏáåÇï ѳßáõ³ñÏÝ»ñáí ϳñ»ÉÇ ¿ ѳٳñ»É, áñ É»·¿áÝ»ñÝ»ñÁ »õ ûûõ³½¿ÝÝ»ñÁ ÏáñóñÇÝ Ù¿Ï Ñ³½³ñ³Ï³Ý ½ÇÝáõáñ, áñáÝó ³ÝÑñ³Å»ßï ¿ ·áõÙ³ñ»É ѳÛÏ³Ï³Ý Ý»ï»ñÇó ëï³ó³Í í¿ñù»ñÇó ٳѳó³Í »õë ³éÝáõ³½Ý 500 ½ÇÝáõáñ: ²Û¹åÇëáí, ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ ÁݹѳÝáõñ ÏáñáõëïÁ ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïáõ٠ѳë³õ 6.000 ½ÇÝáõáñÇ, áñáÝóÇó ·ñ»Ã¿1.000` É»·¿áÝ»ñ: Ø»Í ¿ñ ݳ»õ íÇñ³õáñÝ»ñÇ ù³Ý³ÏÁ: γñÍáõÙ »Ù, áñ ³ÝÛ³çáÕ ×³Ï³ï³Ù³ñïÁ ϳñáÕ ¿ñ áñáß ù³Ý³Ïáõû³Ùµ ¹³ë³ÉÇùÝ»ñ ï³É ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇÝ, ÑÇÙݳϳÝáõÙ ûųݹ³Ï »õ ·áõٳϳÛÇÝ ½ûñ³Ù³ë»ñÇóª Ùûï 500 Ñá·Ç: ²Ûëï»Õ ͳé³ÛáõÙ ¿ÇÝ Ïáñ¹áõ³óÇù, ݳ»õ ÷áùñ³ëdzóÇÝ»ñ, áñáÝó Ñݳñ³õáñ ¿ñ ¹³ë³Éùáõû³Ý ÙÕ»É Ù»ÕÙ í»ñ³µ»ñÙáõÝùÇ ËáëïáõÙáí:øÝÝ»Ýù ׳ϳï³Ù³ñïÇ Ñ»ï»õ³ÝùÝ»ñÁ ÏáÕÙ»ñÇ Ñ³Ù³ñ: ֳϳï³Ù³ñïÇó ÙÇ ù³ÝÇ ûñ Û»ïáÛ, Ù³ñï³Ï³Ý á·áõ ³ÝÏÙ³Ý, ٻͳÃÇõ íÇñ³õáñÝ»ñÇ »õ å³ñ»Ý³õáñÙ³Ý í³ïóñ³óÙ³Ý å³ï׳éáí ÈáõÏáõÉÉáëÁ ݳѳÝçáõÙ ¿ [3, 8, 10]: ܳѳÝçÇ ·É˳õáñ å³ï׳éÁ ³ÝïÇÏ ÑéáÙ¿³ë¿ñ å³ïÙÇãÝ»ñÇó áã Ù¿ÏÁ ãÇ ³ÏݳñÏáõÙ. íñ³Û ¿ ѳëÝáõÙ ØÇÑñ¹³ïÇ Õ»Ï³í³ñ³Í ѳÛÏ³Ï³Ý Ñ»ï»õ³Ï³ÛÇÝ µ³Ý³ÏÁ: ÐéáÙ¿³Ï³Ý µ³Ý³ÏÇ ¹³Ý¹³Õ³Í »ñÃÁ Ýñ³Ýó ѳٳñ ³ÝËáõë³÷»ÉÇ ¿ñ ¹³ñÓÝáõÙ ²ñ³Í³ÝÇÇ ÑáíïÇ ÙÕÓ³õ³ÝçÇ ÏñÏÝáõÃÇõÝÁ, ÙÇ ¿³Ï³Ý ï³ñµ»ñáõû³Ùµ` ³ñ¹¿Ý áõÅ»Õ` Û³ñÓ³ÏáõáÕ ÏáÕÙÁ ѳۻñÝ ¿ÇÝ: äÉáõï³ñùáëÝ Çñ Ñ»ñáëÇ ³Û¹ ù³ÛÉÁ ³ñ¹³ñ³óÝáõÙ ¿ í³Õ íñ³Û ѳë³Í ÓÙé³Ý í³Ëáí, ³ÛÝ ¹¿åùáõÙ, »ñµ ÑéáÙ¿³óÇÝ»ñÇ ×³Ý³å³ñÑÇÝ Ñ³Ý¹Çå³Í ó³Ýϳó³Í ·ÇõÕ³óÇ Ïµ³ó³Û³Ûï¿ñ ë»åï»Ùµ»ñÇ Ï¿ë»ñÇÝ ë³ñ»ñÇ ÷»ß»ñÇÝ »ñ»õ³óáÕ Ó»³Ý ѳÉáõ»Éáõ ³ÝËáõë³÷»ÉÇáõÃÇõÝÁ: Î³Û »õë ÙÇ Ï³ñ»õáñ³·áÛÝ å³ï׳é, áñÁ ÝßáõÙ ¿ÇÝ Ã¿° äÉáõï³ñùáëÁ, ÿ° ¸ÇáÝ Î³ëëÇáëÁª ¹³ ÑéáÙ¿³óÇÝ»ñÇ Ù³ñï³Ï³Ý á·áõ ËÇëï ³ÝÏáõÙÝ ¿ñ: ÐéáÙ¿³Ï³Ý É»·¿áÝ»ñÝ»ñÁ, áñáÝù Çñ»Ýó åñáý»ëÇáݳÉǽÙáí »õ ³ñÇáõû³Ùµ ϳñáÕ ¿ÇÝ ëñµ³·ñ»É ÝáÛÝÇëÏ Çñ»Ýó ½ûñ³í³ñÝ»ñÇ ë˳ÉÝ»ñÁ (ÐÇÝ ³ß˳ñÑÇ é³½Ù³Ï³Ý å³ïÙáõû³Ý Ù³ëݳ·¿ïÝ»ñÇ í»ñçÇÝ ï³ñÇÝ»ñÇÝ ³Ýóϳóáõ³Í í»ñÉáõÍáõÃÇõÝÁ ³ÝáÕáù ¿ ÝáÛÝÇëÏ ÚáõÉÇáë λë³ñÇ Ýϳïٳٵ` »Ã¿ ãÉÇÝ¿ñ ÷³é³µ³Ýáõ³Í X É»·¿áÝÇ ½ÇÝáõáñÝ»ñÇ ³ñï³Ï³ñ· ³ñÑ»ëï³í³ñÅáõÃÇõÝÁ »õ ³ñÇáõÃÇõÝÁ, ³å³ Ù.Ã.³. 47 Ã. ¼»É³ÛÇ ×³Ï³ï³Ù³ñïáõ٠λë³ñÁ ϳñáÕ ¿ñ ØÇÑñ¹³ïÇ áñ¹Ç ö³éݳϿëÇó ͳÝñ å³ñïáõÃÇõÝ Ïñ»É [17]), ͳÝñ ¹³ë ëï³ó³Ý, áñÇ Ñ»ï»õ³Ýùáí ½·³ÉÇûñ¿Ý ÁÝϳõ ϳñ·³å³ÑáõÃÇõÝÁ: γï³ýñ³ÏïáëÝ»ñÁ ѳݹÇë³ó³Ý ³ÛÝ ½ûñ³ï»ë³ÏÁ, áñáÝù ѻﳷ³ÛáõÙ ÃáÛÉ ïáõ»óÇÝ Ð³Û³ëï³ÝÇÝ »õ, Û³ïϳå¿ë, Æñ³ÝÇÝ Ùßï³å¿ë ¹ÇÙ³Ï³Û»É ÐéáÙÇÝ: ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïÇó ëÏë³Í é³½Ù³í³ñ³Ï³Ý ݳ˳ӻéÝáõÃÇõÝÝ ³Ýí»ñ³å³Ñûñ¿Ý ³ÝóÝáõÙ ¿ îÇ·ñ³ÝÇ Ó»éùÁ: ÐéáÙ¿³Ï³Ý µ³Ý³ÏÇ íÇ׳ÏÁ ½·³ÉÇûñ¿Ý í³ï³ÝáõÙ ¿, »õ ÈáõÏáõÉÉáëÝ ³ÛëáõÑ»ï ÑÇÙݳϳÝáõÙ ë³Ñٳݳ÷³ÏõáõÙ ¿ å³ßïå³Ý³Ï³Ý ·áñÍáÕáõÃÇõÝÝ»ñáí: Ø¿Ï ³ÝÛ³çáÕ ×³Ï³ï³Ù³ñïÁ, áñï»Õ ÈáõÏáõÉÉáëÇ ½ÇÝáõáñÝ»ñÇ ÙÇ³Ï ÙËÇóñ³ÝùÁ ϳñáÕ ¿ñ ÉÇÝ»É ë³Ï³õ³ÃÇõ ½áÑáõ³Í Ñ³Û Ù³ñïÇÏÝ»ñÇ ¹Ç³Ï³åïáõÃÇõÝÁ, ³ñÙ³ï³å¿ë ÷áË»ó å³ï»ñ³½ÙÇ ÁÝóóùÁ: ÐéáÙ¿³óÇù ã¿ÇÝ å³ñïáõ»É µáõÝ ×³Ï³ï³Ù³ñïáõÙ, ë³Ï³ÛÝ ³Ûë ׳ϳï³Ù³ñïáõÙ Çñ»Ýó Ù³ñï³á×áí Û³ÕÃ»É ¿ÇÝ Ñ³Û»ñÁ: Àëï ¿áõû³Ý, ÑéáÙ¿³óÇÝ»ñÝ ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïáõÙ í»ñçݳϳݳå¿ë å³ñïáõ»óÇÝ ×³Ï³ï³Ù³ñïÇó ÙdzÛÝ
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style of struggle against Roman legions [11, 15, 16, 18]. But in fact it was another genial general who conceived and realized it. Surena the Parthian was only the second one [3, 7]. Khazanov is quite right when he writes that the cataphracts were the only kind of military companies which could successfully resist to legions, and not by chance, but every time. If the legion was the supreme attainment in infantry tactics of the antique military thought, the cataphracts were the same in the cavalry [3, 15, 16]. The Parthian-Armenian tactics won the Roman one: in the 2nd - 4th centuries Romans were constrained to organize a heavy cavalry of the same type [1-3, 15, 18]. The victorious beginning of this confrontation was the battle of Aratzani under the commandment of Tigran.
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2.
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Bogshchanin, A.G. "The Battle of Carrhae", Vestnik Drevnei Istorii, 1949, N 4, p. 41-50 (in Russian).
12.
Delbruck Hans. The History of Military Art in the Frame of Political History. Vol. 1. The Antique World. Transl. from German, Moscow, Gosvoenizdat, 1936, 464 pages (in Russian).
13.
Delbruck Hans. The History of Military Art in the Frame of Political History. Vol. 2. Germans. Transl. from German, Moscow, "Gosvoenizdat", 1937, 400 pages (in Russian).
14.
Frontinius, Sextus Julius. "Stratagems". Transl. from Latin. Vestnik Drevnei Istorii, 1946, N 1, p. 217-306 (in Russian).
188
TIGRANES THE GREAT
ÙÇ ù³ÝÇ ûñ Û»ïáÛ: ²ñ³Í³ÝÇÇ ³÷ÇÝ, г۳ëï³ÝÇ ËáñùáõÙ, ÑéáÙ¿³Ï³Ý µ³Ý³ÏÇ íñ³Û ϳËáõ»ó Çëå³é áãÝã³Ý³Éáõ íï³Ý·Á: ²ñ³Í³ÝÇÇó Û»ïáÛ ÑéáÙ¿³Ï³Ý µ³Ý³ÏÁ å³Ûù³ñ»ó ³ÛÉ»õë áã ÿ г۳ëï³ÝÇÝ ïÇñ³Ý³Éáõ, ³ÛÉ å³ñ½³å¿ë ãÏáñͳÝáõ»Éáõ ѳٳñ: îÇ·ñ³ÝÁ í»ñ³Ï³Ý·Ý»ó Ù»Í ½ûñ³í³ñÇ Çñ ÓÇñùÁ: гÛÏ³Ï³Ý Ï³Ûëñáõû³Ý µ³Ý³ÏÁ ³Ýó³õ ѳϳé³Ïáñ¹Ç Ñ»ï³åݹٳÝÁ: ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïÁ Ù»Í Ñ»ï³ùñùñáõÃÇõÝ ¿ Ý»ñϳ۳óÝáõÙ ÐÇÝ ³ß˳ñÑÇ é³½Ù³Ï³Ý ³ñáõ»ëïÇ ½³ñ·³óÙ³Ý ï»ë³ÝÏÇõÝÇó: ²ß˳ñÑÇ É³õ³·áÛÝ ½ñ³Ñ³å³ï ³ÛñáõÓÇÝ? ѳÛÏ³Ï³Ý Ï³ï³ýñ³ÏïáëÝ»ñÁ (86-84 ÃÃ. Û³ÕÃ³Ï³Ý Ù³ñï»ñÁ å³ñûõÝ»ñÇ Ñ»ï ÃáÛÉ »Ý ï³ÉÇë íëï³Ñ³µ³ñ ۳ݷ»É ³Û¹åÇëÇ »½ñ³Ï³óáõû³Ý) Çñ»Ýó áõñáÛÝ á×áí [2, 3] Ù³ñïÝãáõÙ »Ý ³ß˳ñÑÇ É³õ³·áÛÝ Í³Ýñ Ñ»ï»õ³ÏÇ? ÈáõÏáõÉÉáëÇ í»ï»ñ³ÝÝ»ñÇ É»·¿áÝÝ»ñÇ ¹¿Ù [3, 12]: гÛÏ³Ï³Ý ½ñ³Ñ³å³ï ³ÛñáõÓÇÝ ÏÇñ³éáõÙ ¿ ²ñ»õ»ÉùáõÙ` å³ñûõ³-ë³ñÙ³ï³-ѳÛÏ³Ï³Ý ÙÇç³í³ÛñáõÙ ÍÝáõ³Í ͳÝñ »õ ÙÇçÇÝ Ñ»ï»õ³ÏÇ (ÑáåÉÇïÝ»ñÇ ÷³Õ³Ý·Ý»ñ, å»Éï³ëïÝ»ñ, ٳϻ¹áÝ³Ï³Ý ÷³Õ³Ý·) ¹¿Ù ÁÝóóùÇó »ï³¹³ñÓ Ý»ï³Ñ³ñáõû³Ý Ñ»é³Ñ³ñ³ÛÇÝ Ù³ñï³á×Á: ²Ûë Ù³ñï³Ó»õÁ ½³ñ·³óñ»É »õ ³Ù»Ý³µ³ñÓñ ٳϳñ¹³ÏÇ ¿ÇÝ Ñ³ëóñ»É ³é³çÇÝ Ñ»ñÃÇÝ å³ñûõÝ»ñÁ: îÇ·ñ³ÝÁ å³ñûõ³Ï³Ý ³ñùáõÝÇùáõÙ å³ï³Ý¹ »Õ³Í Å³Ù³Ý³Ï ß³ï ɳõ ¿ñ áõëáõÙݳëÇñ»É ³ÛÝ, áñÇ ßÝáñÑÇõ 86-84 ÃÃ. ѳÛÏ³Ï³Ý ³ÛñáõÓÇáõÝ Û³çáÕáõ»ó ÁÝÏ×»É å³ñûõ³Ï³ÝÇÝ: γï³ýñ³ÏïáëÝ»ñÇ »ñÏñáñ¹ ÑݳñùÁ? Ýǽ³ÏÝ»ñáí ѳñáõ³Í »õ ۻﳷ³Û Ó»éݳٳñï` ëáõë»ñ³- ϳ٠Ãñ³Ù³ñï ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïáõÙ ãÇ ÏÇñ³éáõ»É: âÇ µ³ó³éõáõÙ, áñ ÑéáÙ¿³Ï³Ý Ñ»ï»õ³ÏÇÝ É³ñáõ³Íáõû³Ý Ù¿ç å³Ñ»Éáõ ѳٳñ ³Û¹åÇëÇ ·ñáÑÇ ÇÙÇï³ódz »õë ϳï³ñáõ»É ¿: 69-66 ÃÃ. ѳÛ-ÑéáÙ¿³Ï³Ý å³ï»ñ³½ÙÇ ÁÝóóùáõÙ, 68-Ç ë»åï»Ùµ»ñÇÝ` ²ñ³Í³ÝÇÇ ³÷ÇÝ, îÇ·ñ³ÝÁ ³é³çÇÝ ³Ý·³Ù í×é³Ï³Ýûñ¿Ý ¹Çٳϳۻó ÈáõÏáõÉÉáëÇÝ? ɳõ³·áÛÝ ÑéáÙ¿³Ï³Ý ½ûñ³í³ñÝ»ñÇó Ù¿ÏÇÝ, ï³ÏïÇϳå¿ë, ÇëÏ Û»ï³·³Û ·áñÍáÕáõÃÇõÝÝ»ñÁ ѳëï³ï»óÇÝ Ý³»õ ÈáõÏáõÉÉáëÇ Ñ³Ý¹¿å Ýñ³ ³ÏÝÛ³Ûï é³½Ù³í³ñ³Ï³Ý ·»ñ³½³ÝóáõÃÇõÝÁ: ÐéáÙ¿³óÇÝ»ñÁ ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïÇó ¹³ë ãù³Õ»óÇÝ: 15 ï³ñÇ Û»ïáÛ Ê³é³ÝÇ Ùûï ÝáÛÝ Ù³ñï³á×áí å³ñûõ ½ûñ³í³ñ êáõñ¿ÝÁ ·ÉËáíÇÝ Ïáñͳݻó Îñ³ëëáëÇ ³õ»ÉÇ ù³Ý 50.000-áó µ³Ý³ÏÁ: è³½Ù³Ï³Ý ³ñáõ»ëïÇ å³ïÙáõû³Ý ûï³ñ³½·Ç Ù³ëݳ·¿ïÝ»ñÁ å³ñûõ ½ûñ³í³ñ êáõñ¿ÝÇÝ »Ý í»ñ³·ñáõÙ ÑéáÙ¿³Ï³Ý É»·¿áÝÝ»ñÇ ¹¿Ù å³Ûù³ñÇ ³Ûë ·ÇõïÁ [11, 15, 16, 18]: ê³Ï³ÛÝ Çñ³Ï³ÝáõÙ Ù¿Ï áõñÇß Ñ³Ý׳ñ»Õ ¿ ³ÛÝ Ùï³ÛÕ³ó»É »õ Çñ³·áñÍ»É: êáõñ¿Ý å³ñûõÁ ÙdzÛÝ »ñÏñáñ¹Ý ¿ñ [3, 7]: ʳ½³ÝáíÁ [15] Çñ³õ³óÇûñ¿Ý ·ñáõÙ ¿, áñ ͳÝñ ѻͻɳ½ûñÁ` ϳï³ýñ³ÏïáëÝ»ñÁ, ½ûñù»ñÇ ³ÛÝ ÙÇ³Ï ï»ë³ÏÝ ¿ÇÝ, áñáÝù ϳñáÕ ¿ÇÝ ³ñ¹Çõݳõ¿ï ѳϳ¹ñáõ»É É»·¿áÝÇÝ, Áݹ áñáõÙ áã ÿ å³ï³Ñ³Ï³Ý, ³ÛÉ` Ùßï³Ï³Ý: ºÃ¿ É»·¿áÝÁ ³ÝïÇÏ é³½Ù³Ï³Ý ÙïùÇ µ³ñÓñ³·áÛÝ Ýáõ³×áõÙÝ ¿ñ Ñ»ï»õ³Ï³ÛÇÝ Ù³ñï³í³ñáõÃÇõÝáõÙ, ³å³ ϳï³ýñ³ÏïáëÝ»ñÁ ÝáÛÝÝ ¿ÇÝ Ñ»Í»É³½ûñ³ÛÇÝáõÙ [3, 15, 16]: ä³ñûõ³-ѳÛÏ³Ï³Ý é³½Ù³Ï³Ý Ù³ñï³í³ñáõÃÇõÝÁ Û³Õûó ÑéáÙ¿³Ï³ÝÇÝ` II - IV ¹³ñ»ñáõÙ ÑéáÙ¿³óÇÝ»ñÁ ѳñϳ¹ñáõ³Í »Õ³Ý ϳ½Ù³Ï»ñå»É ÝٳݳïÇå ͳÝñ ѻͻɳ½ûñ [1-3, 15, 18]: ²Û¹ ѳϳٳñïáõû³Ý Û³ÕÃ³Ï³Ý ëÏǽµÁ ¹ñáõ»ó îÇ·ñ³ÝÇ Ï»ñï³Í ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïáõÙ:
¶ð²Î²ÜàôÂÆôÜ. 1.
¶»õáñ·»³Ý, ²ñ³. ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïÇ Ý߳ݳÏáõÃÇõÝÁ é³½Ù³ñáõ»ëïÇ å³ïÙáõû³Ý Ù¿ç: îÇ·ñ³Ý Ø»Í. ¶³Ñ³Ï³Éáõû³Ý 2100-³Ù»³Ï. ØÇç³½·³ÛÇÝ ·Çï³ÅáÕáí: ¼»ÏáõóáõÙÝ»ñÇ ÑÇÙݳ¹ñáÛÃÝ»ñ: ²ßï³ñ³Ï, 2005, ¿ç 55-59:
îƶð²Ü غÌ
189
TIGRANES AS MILITARY FIGURE
15.
Khazanov, A.M. "Cataphracts and their Role in the History of Military Art", Vestnik Drevnei Istorii, 1968, N 1, p. 180-191 (in Russian).
16.
Shaban, V.A. "About the Invincibility of the Cataphracts", Almanac_Friedrich2: Slavic Military Almanac, December 2006, N 6. http://wars175xnarod.ru/f2/Html/6Fridrich6.html (in Russian).
17.
Shmalko, Andrei. "He came, saw and won" (the Battle of Zela on August 2, 47 B.C.). http://www.xlegio.ru (in Russian).
18.
Shahbazi, A.Sh. The Parthian Army. www.iranchamber.com/history/parthian/
Translated from Armenian by Aida Charkhchyan
190
¶Í³Ýϳñ 2. ÎáÕÙ»ñÇ ¹³ë³õáñáõÃÇõÝÁ ²ñ³Í³ÝÇÇ ×³Ï³-
¶Í³Ýϳñ 3. ²ñ³Í³ÝÇÇ ·É˳õáñ ׳ϳï³Ù³ñï. ³é³çÇÝ
ï³Ù³ñïÇó ³é³ç:
÷áõÉ` ѳÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ ·ñáÑÁ »õ ÑéáÙ¿³óÇÝ»ñÇ Ñ³-
Figure 2. The dislocation of parties before the battle of Aratzani.
ϳ·ñáÑÁ. ѳÛÏ³Ï³Ý »õ ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÝ»ñÇ Ù³ñïÁ:
TIGRANES THE GREAT
Figure 3. The general battle of Aratzani. First stage: the attack of the Armenian cavalry and the counterattack of the Romans. The fight of the Armenian and Roman cavalrymen.
2.
¶»õáñ·»³Ý, ²ñ³. îÇ·ñ³Ý Ø»ÍÇ µ³Ý³ÏÁ Ù.Ã.³. 95-55 ÃÃ. äñ³Ï I. ºñ. §²ñ»õ»Éù - ²ñ»õÙáõïù¦ ¶´Ð Ññ³ï., 2009. - 372 ¿ç:
3.
¶»õáñ·»³Ý, ²ñ³. îÇ·ñ³Ý Ø»ÍÇ µ³Ý³ÏÁ Ù.Ã.³. 95-55 ÃÃ. äñ³Ï II. һ鳷Çñ:
4.
¾ùѳñï, Îáõñï. îÇ·ñ³Ý ´ »õ ѳÛ-ÉáõÏáõÉÉ»³Ý å³ï»ñ³½ÙÝ»ñÁ: ³ñ·Ù. ·»ñÙ. ²ß˳ï³ëÇñ»ó Ð. ¶³ñ»·ÇÝ ¶³ñ³ÝýÇÉ»³Ý: ìÇ»Ýݳ, 1926, 291 ¿ç:
5.
Ú³Ïáµ»³Ý, гÛÏ. ÐéáÙ¿³-³ñ»õ»É»³Ý ³éÝãáõÃÇõÝÝ»ñÁ é³½Ù³Ï³Ý ï³ÏïÇϳÛÇ µÝ³·³õ³éáõÙ. ´³Ýµ»ñ ºñ»õ³ÝÇ Ñ³Ù³Éë³ñ³ÝÇ, 1983, 3 (51), ¿ç 49-70.
6.
سݳݹ»³Ý, Ú³Ïáµ. îÇ·ñ³Ý ºñÏñáñ¹Á »õ ÐéáÙÁ. Üáñ Éáõë³µ³Ýáõû³Ùµ Áëï ëϽµÝ³ÕµÇõñÝ»ñÇ: ì»ñ³Ññ³-ï³ñ³ÏáõÃÇõÝ 1940 Ã., ºñ»õ³Ý, 1972, 260 ¿ç:
7.
سݳë»ñ»³Ý, èáõµ¾Ý. îÇ·ñ³Ý Ø»Í. г۳ëï³ÝÇ å³Ûù³ñÁ ÐéáÙÇ »õ ä³ñûõëï³ÝÇ ¹¿Ù. Ø.Ã.³. 94 - 64 ÃÃ.: ºñÏñáñ¹, Éñ³óáõ³Í Ññ³ï³ñ³ÏáõÃÇõÝ: ºñ»õ³Ý, 2007, 258 ¿ç:
8.
äÉáõï³ñùáë. λÝë³·ñáõÃÇõÝÝ»ñ. ³ñ·Ù. ÑÇÝ ÛáõÝ. ê. ¶ñù³ß³ñ»³ÝÇ: ºñ., §ê³ñ·Çë ʳã»Ýó¦, 2001, 392 ¿ç:
¶Í³Ýϳñ 4. ²ñ³Í³ÝÇÇ ·É˳õáñ ׳ϳï³Ù³ñï. »ñÏñáñ¹
¶Í³Ýϳñ 5. ²ñ³Í³ÝÇÇ ·É˳õáñ ׳ϳï³Ù³ñï. »ñÏñáñ¹
÷áõÉ` ÑéáÙ¿³Ï³Ý ÏáÑáñïÝ»ñÇ ·ñáÑÁ »õ ѳÛÏ³Ï³Ý Ñ»Í»É³½û-
÷áõÉ` ÑéáÙ¿³Ï³Ý ѻͻɳ½ûñÁ Ñ»ï³åݹáõÙ ¿ «÷³ËãáÕ»
ñÇ Ï»ÕÍ ÷³ËáõëïÁ:
ѳÛÏ³Ï³Ý Ñ»Í»É³½ûñÇÝ:
Figure 4. The general battle of Aratzani. Second stage:
Figure 5. The general battle of Aratzani. Third stage:
the attack of the Roman cavalry and the false retreat
the Roman cavalry is pursuing the "running away"
of the Armenian cavalry.
Armenian cavalry.
îƶð²Ü غÌ
191
TIGRANES AS MILITARY FIGURE
192
¶Í³Ýϳñ 6. ²ñ³Í³ÝÇÇ ·É˳õáñ ׳ϳï³Ù³ñï. »ññáñ¹
¶Í³Ýϳñ 7. ²ñ³Í³ÝÇÇ ·É˳õáñ ׳ϳï³Ù³ñï. ãáññáñ¹
÷áõÉ` ѳÛÏ³Ï³Ý Í³Ýñ ѻͻɳ½ûñÇ ·ñáÑÁ ÑéáÙ¿³Ï³Ý ѻͻ-
÷áõÉ` ѳÛÏ³Ï³Ý Ñ»Í»É³½ûñÇ §ëÏÇõóϳݦ Ù³ñïÁ É»·¿áÝÝ»-
ɳ½ûñÇ íñ³Û:
ñÇ ¹¿Ù:
Figure 6. The general battle of Aratzani. Third stage:
Figure 7. The general battle of Aratzani. Fourth stage:
the Armenian heavy cavalry is attacking the Roman
the "Scythian" fight of the Armenian cavalry against
cavalry.
the legions.
TIGRANES THE GREAT
9.
ê³ñ·ë»³Ý, ê.ì. Ð³Û é³½Ù³Ï³Ý ³ñáõ»ëïÇ å³ïÙáõÃÇõÝÇó: ºñ., 1969, 220 ¿ç:
10.
Úáíë¿åáë öɳõÇáë, ¸ÇáÝ Î³ëëÇáë. гïáõ³Í³µ³ñ óñ·Ù³ÝáõÃÇõÝ ÑÇÝ ÛáõÝ. ê.Ø. ÎñÏ»³ß³ñ»³ÝÇ. (úï³ñ ³ÕµÇõñÝ»ñÁ г۳ëï³ÝÇ »õ ѳۻñÇ Ù³ëÇÝ. ÐÇÝ ÛáõÝ³Ï³Ý ³ÕµÇõñÝ»ñ ²): ºñ., ¶² Ññ³ï., 1976: - 268 ¿ç:
11.
Áîêùàíèí, À.Ã. Áèòâà ïðè Êàððàõ. //Âåñòíèê Äðåâíåé èñòîðèè, 1949, No 4, ñ. 41 - 50.
12.
Äåëüáðþê, Ãàíñ. Èñòîðèÿ âîåííîãî èñêóññòâà â ðàìêàõ ïîëèòè÷åñêîé èñòîðèè. Òîì 1. Àíòè÷íûé ìèð. Ïåð. ñ íåì. Ì.: Ãîñ.âîåí.èçä., 1936. - 464 ñ.
13.
Äåëüáðþê, Ãàíñ. Èñòîðèÿ âîåííîãî èñêóññòâà â ðàìêàõ ïîëèòè÷åñêîé èñòîðèè. Òîì 2. Ãåðìàíöû. Ïåð. ñ íåì. Ì.: Ãîñ.âîåí.èçä., 1937. - 400 ñ.
14.
Ôðîíòèí, Þëèé Ñåêñò. Ñòðàòåãåìû. //Âåñòíèê Äðåâíåé èñòîðèè, 1946, No 1, ñ. 217 306.
15.
Õàçàíîâ, À.Ì.. Êàòàôðàêòàðèè è èõ ðîëü â èñòîðèè âîåí-íîãî èñêóññòâà. //Âåñòíèê äðåâíåé èñòîðèè, 1968, No 1, ñ. 180-191.
16.
Øàáàí, Â.À. Î íåïîáåäèìîñòè êîííèöû êàòàôðàêòîâ. Àëüìàíàõ-Ôðiäðiõ2: ñëàâÿíñêèé ìèëèòàðèñòñêèé àëüìà-íàõ, äåêàáðü 2006, No 6. http://wars175xnarod.ru /f2/Html/6Fridrich6.html
17.
Øìàëüêî, Àíäðåé. «Ïðèøåë, óâèäåë, ïîáåäèë» (Áèòâà ïðè Çåëå 2 àâãóñòà 47 ã. Äî í.ý.). http://www.xlegio.ru
18.
Shahbazi, A.Sh. Parthian Army. www.iranchamber.com/ history/parthian/
THE MILITARY UNITS OF THE ARMENIAN ARMY - The honor suite of Tigran the Great - The company of Armenian cataphracts - The company of Armenian light cavalry - The company of Armenian light cavalry - The honor suite of Mithridates the Median - The company of cataphracts of Atropatene - The companies of Atropatenian, Mardaitian and Iberian light cavalry THE MILITARY UNITS OF THE ROMAN ARMY - The honor suite of Lucullus - A cohort of Roman legion - A cohort of Galatian and Bithynian allies heavy infantry - The phalange of Syrian Greek hoplites - Auxiliary cohort of light infantry - Alae: Roman, Galatian and Thracian cavalry group - Food supply of Roman army
Figure 1. Conventional signs of the figures
¶Í³Ýϳñ 1. ²ñ³Í³ÝÇÇ ×³Ï³ï³Ù³ñïÁ å³ïÏ»-
showing the battle of Aratzani.
ñáÕ ·Í³ÝϳñÝ»ñÇ å³ÛÙ³Ý³Ï³Ý Ýß³ÝÝ»ñÁ:
îƶð²Ü غÌ
193
TIGRANES THE GREAT AS TOWN BUILDER
SIMON KRKYASHARYAN Associate member of the National academy of Sciences
TIGRANES THE GREAT AS TOWN BUILDER
In the III-I centuries BC building and rapid development of towns was typical to Armenia. That phenomenon was conditioned on the one hand by the development of productive forces inside the country after gaining political independence and on the other hand after enlivening of political life noticed in the East after the invasions of Alexander of Macedonia. After the fall of Achaemenid rule favorable conditions for the further development of productive forces were created in the Armenian mountainous land. That is just what we consider the progressive for Armenia significance of the campaigns of Alexander of Macedonia. On the one hand after the final fall of Achaemenid rule Armenia gained political independence. On the other hand the vast state founded by Alexander of Macedonia, uniting the West and the East under one rule, opened wide chances for the development of international trade the main highways of which passed through the territory of Armenia. Paying tribute to that period we shall refer to one of the Armenian towns existing in the above-mentioned centuries - Tigranakert, built by Tigranes the Great. Invasions of Alexander of Macedonia in the East and the formation of the Seleucid state on that basis contributed to the development of crafts, as well as caravan trade between various regions of the East. But the rapid decay of the Seleucid state after the defeat of Antiochus III in the battle of Magnesia hindered trade relations. Tigranes the Great was one of those kings who strived for control of international trade. Taxes collected from trade made the considerable part of royal income. Therefore he cared for the development of improvement of the trade ways passing through Asia Minor and Advanced East. By that fact is to a considerable extent explained the expansionist policy of Tigranes the Great and the support to him by the merchants of Hellenistic towns, especially of Antioch, slave-holders, owners of workshops. Let us mention that V. Thaon in his work entitled: "Hellenistic civilization" writes that Tigranes was not popular among the population of the towns previously subject to Seleucians. Study of sources allows not agreeing with V. Thaon. It is enough to mention that Hebrew historian Joseph Flavius has depicted Tigranes as gentle and humane despite the fact that during his campaigns he had captivated and brought to Armenia many Jews. So, Hrand 194
TIGRANES THE GREAT
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Armen is right supposing that Tigranes easily obtained the property and estates of Seleucians, especially their capital town, thanks to the factor that interests of the slave-holding elite of Antioch - that greatest Hellenistic center, demanded the rule of such a powerful monarch who would be able to provide the safety of their trade. The first decades of the rule of Tigranes the Great were marked with active town building and unprecedented development of urban life. Among the toponyms of Old Armenia there a number of settlements bearing the name of Tigranes: towns named Tigranakert in Aghdznik, Utick, Artsakh, Goghtan regions. The greatest of them was Tigranakert of Aghdznik. Western European historians T. Momzen and T. Reinach have not correctly appreciated the process of formation of Armenian tows, especially Tigranakert, ascribing the building of the town exceptionally to the caprice of Tigranes. Probably the same social-economic conditions which in the end of the II century BC and in the beginning of the IV century BC brought to the move of Roman Empire's administrative-political center to the East - to Constantinople, forced Tigranes to build the new capital town already in the center of his spacious monarchy as in new conditions the old capital town Artashat remained far from the center, in the north-western edge of the country. The new capital town's location in almost the center of the country would give the chance to govern and to control conquered countries more easily. L. Astourian notes that Greek sources "have never called Tigranakert capital town. Artashat is still Armenian's capital town for them." Probably that is only because the kingdom of Tigranes on that territory did not last long and the king did not have the time to move his capital town there. Although H. Manandyan has strictly criticized T. Momzen's and T. Reinach's viewpoint, it seems that he in his turn to some extent idealizes Tigranes when he writes that "according to the plan of Tigranes Tigranakert was to be the luminary center of the new state and was gradually to overthrow and to renovate the patriarchal retarded life of his native state’ Tigranakert was to contribute to the development of trade and industry in Armenia and to support also the spreading of Hellenistic civilization, art and science." In another time speaking about forcedly resettled by Tigranes in Armenia population of Hellenistic towns of Cilicia and Cappadocia H. Manandyan correctly notices that immigrants were settled down "not only in Tigranakert" but also in Artashat and other towns and trade centers of Armenia and had predominating role in the trade and industry of the country. Therefore, let us add that it was not only Tigranakert that according to the plan of Tigranes was to become "the luminary center of his state." The question of Tigranakert's location has aroused divergence of investigators' opinions as the testimonies of sources concerning it differ. Ch. LehmanHaupt located Tigranakert in Aghdznik region, in the place of the present-day Farkin. H. Manandyan agrees with him. Hrand Armen objects to that viewpoint but also he does not suggest his own viewpoint leaving settlement of the issue to archeologists' spade. There are many testimonies by Strabo, Plutarch and Appian concerning foundation of Armenia's new capital town. According to those data T. Momzen
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and T. Reinach have supposed that Tigranakert has been a big town of eastern type, like Babylon, Nineveh. H. Manandyan mentions that the town of Tigranes had more modest sizes as Sextilius, one of commanderrs of Lucullus, succeeded to lay siege to the town by a not numerous army. Probably Tigranakert has been built in a deserted place where till then there had been a settlement, maybe a scared place as Appian testifies that the town "was built in the place where Tigranes put on the thrown of Armenia for the first time". T. Reinach supposes that Tigranakert has been founded in 77 BC after the expansionist campaigns of Tigranes. Strabo testifies in favor of Tigranes, writing: "Tigranes became so powerful that built a town near Oliberia’ where he gathered inhabitants of 12 Hellenistic towns which he had destroyed. In building new towns kings usually resettled there inhabitants of other towns subject to them. However, Tigranes did not and could not do the same because he was interested in not only preserving the old towns of his kingdom, but also in their further expansion and development. The Armenian king was really able to realize that intention as in the first period of his reign his vast invasions gave him wide chances of resettling inhabitants of the conquered towns in Armenia. There are reliable data concerning such removals mentioned by Greek historians. As it was mentioned, Strabo writes that Tigranes resettled in his town inhabitants of 12 Hellenistic towns he had conquered. Speaking about resettlement of inhabitants of the town Mazhack of Cappadocia, Strabo writes that "Armenian Tigranes badly treated inhabitants when he invaded Cappadocia. Removing all of them he brought them to Mesopotamia and settled Tigranakert by the majority of immigrants." Appian states the same saying that "captivating Cappadocia, Tigranes drew 30 thousand people from there and together with the others settled them in the place where he put on the thrown of Armenia for the first time." Plutarch notes that Tigranes resettled not only Cappadocians but also inhabitants of other countries, too. He writes that "many Greeks, Assyrians, Cordiens and Cappadocians lived in Tigranakert. The king destroyed their towns, brought inhabitants with him and made them to live there." He settled the majority of removed foreigners not only in Tigranakert but also in Artashat, Armavir, Yervandasaht and other towns. Hrand Armen is certainly mistaken supposing that Tigranes settled all the removed people in the new capital town as it was the goal of Tigranes to contribute the development of urban life by means of those immigrants. Prevailing majority of foreigners living in Armenian towns probably continued to be engaged in the craft which they had practiced in their native town. In a short period of time the town of Tigranes was turned from an insignificant settlement to such a big town that investigators compare it with Babylon and Nineveh. Rapid growth of Tigranakert testifies for the fact that the town had an active life and certainly it was not only thanks to foreign immigrants. Jointly with noblemen and state officials the king made significant investments in the building of the town. First of all he cared for the defense potential of the new residence. Town fences described by Appian turned
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out to be so strong that even after the victory of Lucullus nearby Tigranakert the town in siege resisted the enemy for a long time. Only foreign immigrants' rebellion and betrayal of hired army gave the enemy the chance to take the town. Usual people and nobility also have participated in the building of the town. Plutarch writes: "Each usual person and state official competed for expansion and improvement of the town." Appian gives the general description of Tigranakert. He writes: "Tigranes surrounded the city with a fence having the height of 50 cubits in the thickness of which horse barns were built. In the suburb of the town he built a palace with large parks, places for hunting and lakes." All the above mentioned was typical not only to the towns of the East, but also big towns of Armenia such as Armavir, Yervandashat, Artashat, even before building Tigranakert. From the telling of Appian follows that the king's palace was built outside the town fences and was not fortified. Plutarch tells that Tigranakert was a big, prospering town with beautiful buildings. Very little is known about the further fate of Tigranakert. Nevertheless, it is impossible to agree with Astouryan who says that after being destroyed Tigranakert was turned into a village. Although sources are scarce but it should be supposed that after being destroyed by Lucullus the town had been rebuilt and restored and was considered one of the big and fortified towns. When in 58 AD Roman Commander Corbullo destroyed Artashat and moved to Tigranakert, inhabitants of the town announced that "the fences of the town are open." Although in the sources of the next centuries Tigranakert is not mentioned, however, there is very important proof of the town's existence up to III-IV centuries AD. The speech is about the Greek record discovered in 1890 by Ch. Lehman-Haupt. Although there is divergence of opinions concerning the dating of that record, nevertheless, in all centuries it testifies for the fact that at that time also the town was well fortified and had seriously stood up the king. Unfortunately, fragmented state of the record does not allow defining the king's identity. Nevertheless, Pavstos and Moses of Khoronk testify that Shapuh had laid siege of Tigranakert during his destructive campaign in 363-367 during which the town was destroyed. The existing facts testify for rapid town building in Armenia beginning from the times of Yervandunies till the fall of the kingdom of Arshakunies. It states the development of trade, crafts and architecture, significant growth of country's productive forces, extension of social division of work inside the society. Ancient historians' reports give the chance to follow clearly the general process of town building in Hellenistic world and to distinguish 2 different phases of that process: 1. Phase of towns' spontaneous formation. 2. Phase of town building realized by the king or the ruler. Let us mention that the phase of towns' spontaneous formation in Armenia is expressed weakly. History of foundation of towns in Old Armenia shows that building towns was mainly reserved to the king. The only hint of
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free populations' participation in town building is the words of Plutarch: "Each usual person and state official, proceeding from respect towards the king, competed for expansion and improvement of the town." What goals pursued the Armenian kings in building new towns? 1. In building towns the king's main goal was rallying the ruling class which was the main support of the royal authority. 2. In that way kings wished to contribute to the development of trade and crafts in Armenia as trade brought huge profit to the royal treasury, and development of crafts contributed to the further development of trade. 3. Building towns, Artashessyan kings wished to inculcate Hellenistic culture in Armenia which in its turn should serve the cultural progress of the entire Armenian society and thus should become an ideological weapon for struggling against the expansion of Rome. Translated from Armenian into English by L. Navasardyan
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³Í 1890 Ã. Î. Ȼٳë-гáõåïÇ ÏáÕÙÇó: ¿»õ Ï³Ý ï³ñ³Ï³ñÍáõÃÇõÝÝ»ñ ³Û¹ ³ñӳݳ·ñáõû³Ý Ãáõ³·ñÙ³Ý Ñ³ñóáõÙ, ë³Ï³ÛÝ µáÉáñ ¹¿åù»ñáõÙ ¹³ íϳÛáõÙ ¿ ³ÛÝ Ù³ëÇÝ, áñ ù³Õ³ùÝ ³Û¹ Å³Ù³Ý³Ï »õë ɳõ ³Ùñ³óáõ³Í ¿ñ »õ Éáõñç ¹ÇÙ³¹ñáõÃÇõÝ ¿ñ óáÛó ïáõ»É ó·³õáñÇÝ: ò³õûù, ³ñӳݳ·ñáõû³Ý µ»Ïáñ³ÛÝáõÃÇõÝÁ Ñݳñ³õáñ ãÇ ¹³ñÓÝáõÙ áñáß»Éáõ ó·³õáñÇ ÇÝùÝáõÃÇõÝÁ: ²Û¹áõѳݹ»ñÓ, ö³õëïáëÁ »õ Êáñ»Ý³óÇÝ íϳÛáõÙ »Ý, áñ îÇ·ñ³Ý³Ï»ñïÁ å³ß³ñ»É ¿ñ Þ³åáõÑÁ 363-367 ÃÃ. Çñ ³õ»ñÇã ³ñß³õ³ÝùÝ»ñÇ ÁÝóóùáõÙ, áñÇ Å³Ù³Ý³Ï ¿É ù³Õ³ùÁ ÏáñͳÝáõ»ó: ²éÏ³Û ÷³ëï»ñÁ íϳÛáõÙ »Ý µáõéÝ ù³Õ³ù³ßÇÝáõû³Ý Ù³ëÇÝ Ð³Û³ëï³ÝáõÙ, ëÏ³Í ºñáõ³Ý¹áõÝÇÝ»ñÇ Å³Ù³Ý³ÏÇó ÙÇÝã»õ Ñ³Û ²ñß³ÏáõÝÇÝ»ñÇ Ã³·³õáñáõû³Ý ³ÝÏáõÙÁ: ¸³ ÷³ëïáõÙ ¿ ³é»õïñÇ, ³ñÑ»ëïÝ»ñÇ »õ ׳ñï³ñ³å»ïáõû³Ý ½³ñ·³óÙ³Ý, »ñÏñÇ ³ñï³¹ñáÕ³Ï³Ý áõÅ»ñÇ Ý߳ݳϳÉÇó ³×Ç, ѳë³ñ³Ïáõû³Ý Ý»ñëáõÙ ³ß˳ï³ÝùÇ Ñ³ë³ñ³Ï³Ï³Ý µ³Å³ÝÙ³Ý Ëáñ³óÙ³Ý Ù³ëÇÝ: ²ÝïÇÏ å³ïÙÇãÝ»ñÇ Ñ³Õáñ¹áõÙÝ»ñÁ Ñݳñ³õáñáõÃÇõÝ »Ý ï³ÉÇë å³ñ½áñáß Ï»ñåáí Ñ»ï»õ»Éáõ ù³Õ³ù³ßÇÝáõû³Ý ÁݹѳÝáõñ ·áñÍÁÝóóÇÝ Ñ»ÉÉ»ÝÇëï³Ï³Ý ³ß˳ñÑáõÙ »õ ³é³ÝÓݳóÝ»É ³Û¹ ·áñÍÁÝóóÇ »ñÏáõ ï³ñµ»ñ ÷áõÉ. 1. ø³Õ³ùÝ»ñÇ ï³ñ»ñ³ÛÇÝ ³é³ç³óÙ³Ý ÷áõÉ 2. ³·³õáñÇ Ï³Ù ïÇñ³Ï³ÉÇ ÏáÕÙÇó ÏÇñ³éáõáÕ ù³Õ³ù³ßÇÝáõû³Ý ÷áõÉ: Üß»Ýù, áñ г۳ëï³ÝáõÙ ù³Õ³ùÝ»ñÇ ï³ñ»ñ³ÛÇÝ ³é³ç³óÙ³Ý ÷áõÉÁ ÃáÛÉ ¿ ³ñï³Û³Ûïáõ³Í: ÐÇÝ Ð³Û³ëï³ÝáõÙ ù³Õ³ùÝ»ñÇ ÑÇÙݳ¹ñÙ³Ý å³ïÙáõÃÇõÝÁ óáÛó ¿ ï³ÉÇë, áñ ù³Õ³ù³ßÇÝáõû³Ý ·áñÍÁ Ù»Í ã³÷áí í»ñ³å³Ñáõ³Í ¿ñ ó·³õáñÇÝ: ø³Õ³ù³ßÇÝáõû³Ý ·áñÍáõ٠г۳ëï³ÝÇ ³½³ï µÝ³Ïãáõû³Ý Ù³ëݳÏóáõû³Ý Ù³ëÇÝ ÙÇ³Ï ³ÏݳñÏÁ äÉáõï³ñùáëÇ ËûëùÝ ¿ ³ÛÝ Ù³ëÇÝ, ÿ §³Ù¿Ý ÙÇ Ñ³ë³ñ³Ï Ù³ñ¹ »õ Çß˳ݳõáñ, ó·³õáñÇ Ñ³Ý¹¿å áõÝ»ó³Í Û³ñ·³ÝùÇó, Çñ³ñ Ñ»ï ÙñóáõÙ ¿ÇÝ ù³Õ³ùÇ Áݹ³ñÓ³ÏÙ³Ý áõ µ³ñ»Ï³ñ·Ù³Ý ѳٳñ¦: ƱÝã Ýå³ï³ÏÝ»ñ ¿ÇÝ Ñ»ï³åݹáõ٠ѳÛáó ³ñù³Ý»ñÁ Ýáñ ù³Õ³ùÝ»ñ ϳéáõó»Éáí: 1. ø³Õ³ùÝ»ñ ϳéáõó»ÉÇë ³ñù³ÛÇ, ·É˳õáñ Ýå³ï³ÏÝ ¿ñ ѳٳËÙµ»É ïÇñáÕ ¹³ë³Ï³ñ·Á, áñÁ ѳݹÇë³ÝáõÙ ¿ñ ó·³õáñ³Ï³Ý Çß˳Ýáõû³Ý ÑÇÙÝ³Ï³Ý Û»Ý³ñ³ÝÁ: 2. ³·³õáñÝ»ñÁ Ó·ïáõÙ ¿ÇÝ ¹ñ³Ýáí ½³ñÏ ï³É г۳ëï³ÝáõÙ ³é»õïñÇ »õ ³ñÑ»ëïÝ»ñÇ ½³ñ·³óÙ³ÝÁ, ù³ÝÇ áñ ³é»õïáõñÁ ÑëÏ³Û³Ï³Ý »Ï³Ùáõï ¿ñ µ»ñáõÙ ³ñùáõÝÇ ·³ÝÓ³ñ³ÝÇÝ, ÇëÏ ³ñÑ»ëïÝ»ñÇ ½³ñ·³óáõÙÁ ËóÝáõÙ ¿ñ ³é»õïñÇ Û»ï³·³Û ½³ñ·³óÙ³ÝÁ. 3. ø³Õ³ùÝ»ñ ϳéáõó»Éáí, ²ñï³ß¿ë»³Ý ó·³õáñÝ»ñÁ Ó·ïáõÙ ¿ÇÝ ³ñÙ³ï³õáñ»É г۳ëï³ÝáõÙ Ñ»ÉÉ»ÝÇëï³Ï³Ý Ùß³ÏáÛÃÁ, áñÝ Çñ Ñ»ñÃÇÝ å¿ïù ¿ ͳé³Û¿ñ ѳٳÛÝ Ñ³ÛÏ³Ï³Ý Ñ³ë³ñ³Ïáõû³Ý Ùß³ÏáõóÛÇÝ ³é³çÁÝóóÇÝ, ¹ñ³Ýáí ÇëÏ Ñ³Ý¹Çë³Ý³ñ ·³Õ³÷³ñ³Ï³Ý ½¿Ýù å³Ûù³ñ»Éáõ ÐéáÙÇ ¿ùëå³ÝëdzÛÇ ¹¿Ù:
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MURAD HASRATYAN Institute of Art of the National Academy of Sciences of the Republic of Armenia
ARCHITECTURE OF TIGRANAKERT
D
uring the 300-year old history of its statehood Armenia has had 12 capital towns many of which except playing an important role in the country's political, economic and cultural life, have made their contribution to the town building and development of architecture. One of them is, however, distinguished as it has been, although for a short period of time, the capital town of not the Armenian kingdom but the "Armenian empire," the fame of which spread throughout the entire Old world. The speech is about Tigranakert, the capital town of the country of Tigranes the Great, about which we unfortunately have only ancient historian's descriptions. At the end of the IV century BC, when Armenia was included in the sphere of Hellenistic development, the mixture of local and Greek cultures became extremely fruitful for all spheres of country's spiritual life including architecture and town building. Armenia culture developed since the beginning of the II century BC when Artashessyan dynasty was established in Armenia. Armenian Hellenistic culture, being characterized by rapid development of towns, reached to such a high level that Armenia became one of the developed countries of the Old world. Armenian also participated in the town building process being realized in the entire Hellenistic world. Towns were being built and populated by the central authority. Founder of towns was the king and as a rule towns received the king's name. Thus, for instance, the most remarkable representative of Artashessyan dynasty - Tigranes II the Great king, founded towns bearing his name - Tigranakert, in Aghdzink, Artsakh, Utick, Goghtan. According to historical data, during that period more than 20 towns appeared in Armenia among which Artashat and Tigranakert of Aghdzink, in turn becoming capital towns, are distinguished. It is necessary first of all to review the peculiarities of building of Artashat in order to find out architectural communities and differences of those two capital towns. King Artashes I the Kind, the founder of Artashessyan dynasty, ruling in 189-160 BC, uniting the territory of historical Armenia in one united state (which included all Armenian mountainous land), in 180s BC founded the new capital town of his state - Artashat, in the more fertile and abounding in water
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part of Araratian valley, in front of the Mount Ararat, on the bank of the river Araks, on the cross of international transit highways. According to ancient historian Plutarch, upon the order of the Armenian king the location of Artashat was chosen and the plan and the defense system was elaborated by Hannibal, the greatest Carthaginian military commander, the terrible enemy of Rome who had taken refuge in Armenia "being the consultant of Artashes by means of many useful deeds." Hannibal chose a most convenient and extremely pleasant place and just on the spot drew the plan of the town." Approving the choice of the site and the main plan of the town, Artashes I built "a very large and beautiful town, which received the king's name and was announced the capital town of Armenia." Another prominent historian of the Old world - Strabo, speaks about Artashat with praise, writing that "it is beautifully built and settled and is the country's royal residence. It is located on the corner making up river's peninsula, is surrounded by a fence along the river except the neck, and the neck is blocked by trench and barrier." Artashat was located on the hills surrounding the present-day monastery of Khor Virap. In the period of its flourishing it had territory of almost 60 hectares and almost 150 thousand inhabitants. Thousands of seals discovered in the archives testify for the town's wide trade relations and belong to many countries of the Old world beginning from India to Rome and Egypt. Also money was coined in Artashat. The first results of periodical excavations started since 1970 under the supervision of B. Arakelyan and Zh. Khachatryan provide an idea of the town's plan, defense constructions and dwelling buildings. The hills, the number of which is eight, are surrounded by fences of approximately triangular design. The town has a flexible defense system conditioned by the peculiarities of the site: fences have turning form, are built of local stone and are strengthened by towers. Neighboring hills have been connected with each other by means of narrow corridor-fences thanks to which in case of danger it was possible to reach to each of the hills for help. Probably, that unique defense system has been Hannibal's idea. Dwelling houses, workshops, garrison buildings are built attached to the fences making up inner yards, and the citadel together with the palace has been located on the highest hill having more usable surface. Artashes I has brought there the monuments of Armenian gods from Bagaran, has built the temples of Anahit-Artemis (Arthemide) (Moses of Khoronk). According to Plutarch theatrical performances have been realized in Artashat. In 53 BC, during the period of reign of Artavazd II, the tragedy "Bacchae" by Euripides was staged in the royal palace, and during the performance the head of Crassus, executioner of Spartak and his supporters, defeated by the joint Armenian-Parthian army, was brought into the hall and was thrown under the feet of the Armenian king and the Parthian king who together with Artavazd II was present at the performance. After the invasions of the emperor Tigranes the Great Artashat already was not the center of his spacious empire, and in 70s BC he founded the new capital town of Armenia - Tigranakert in Aghdznik region of Greater Hayk, on the valley of the Nikeporione, tributary of Western Tigris. For connecting
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Tigranakert with Artashat Tigranes the Great built the "Royal Avenue" passing through Manazkert and Zarehavan and having coach houses and stations which functioned till the late middle ages. Tigranakert was just in the center of the empire of Tigranes the Great, and the other main advantage of the chosen site was that the city was on the "Royal way" built in due time by the Persian king Dareh I, of Achaemenid dynasty, with the length of 2500 km and combining Elam, Media, Armenia, Cappadocia, Phrygia and Lygia. The choice of such location of Tigranakert was very auspicious for the development of transit ways. Tigranakert has not been archeologically studied and it is possible to have an idea of its town building, buildings' architecture, town improvement only from the brief data provided by ancient authors. Testimonies of Appian of Alexandria are comparatively detailed. In a short period of time Tigranakert was turned into one of the greatest towns of the East. With the goal of turning his capital town into a center of international trade and developed craftsmanship Tigranes the Great forcedly resettled there the population of the countries he had conquered. Strabo writes that Tigranes the Great "gathered in his capital town the citizens of 12 Hellenistic towns which he had destroyed." The specific weight of Cappadocians was especially prevailing in Tigranakert. Strabo writes that when "Tigranes the Great invaded Cappadocia, he forcedly displaced all people, brought them to Mesopotamia and resettled them mainly in Tigranakert." Appian also writes about it saying that "captivating Cappadocia, he drew 30 thousand people to Armenia." Tigranakert was a multinational town, and except Armenians, according to Plutarch, Greeks, Assyrians, Cordiens and Cappadocians lived there." Construction of the town was realized with the participation of all population. According to Plutarch "separate persons and noblemen, wishing to please the king, competed with each other for building and extension of the town." Factually the only description of building and architecture of Tigranakert, although very briefly, is provided by Appian. According to him, Tigranes the Great "surrounded the city with a fence having the height of 50 cubits in the thickness of which horse barns were built. Beside the town Tigranes built spacious parks, places for hunting and lakes. Nearby he built also a strong fortress." This description concerning the architectural image of the town is partially completed by the date of Plutarch who calls Tigranakert "a big town" where Tigranes the Great had built a "royal court", "chancellery" and mentions the riches, writing: "Tigranakert was full of treasures and precious gifts presented to the king." This latter datum testifies for the existence of temples in the town. Historians' not mentioning the existence of citadel in Tigranakert and the fact that a palace had been built outside the town, give ground to a number of scientists to express the viewpoint that the capital town and the royal palace have not had a citadel. However, ancient historians have not described the town in details; maybe they have not mentioned the existence of the citadel considering it something quite natural and clear. Nearby the town ( in some
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translations - suburbs) the palace together with parks, places for hunting and lakes has been a summer residence, "summer palace" built along with the main "winter palace" which has been located in the citadel. Tigranakert has had inaccessible defense system. Data of Appian are completed by the description of the Roman historian Tacitus composed on the occasion of siege of Tigranakert by the Roman army commanded by Corbulon in the I century AD. Tacitus writes: "Tigranakert was strong both because of the great number of defenders and the large size of fences. Meanwhile the river Nikeporione, having considerable length, surrounded a part of fences, and in those parts, which were not defended by the river, there was a huge trench." Tigranakert, which was defended by fences of 25 meter height and a groove full of water, was rather inaccessible, and the Roman commander Lucullus took the town after siege lasting five months only thanks to the betrayal of the town's foreign resettles. Fortress mentioned by Appian has been built as fortification defending the approaches of Tigranakert like the fortresses Tignis and Maghasberd defending the approaches of Ani which was the capital town of Armenia in the Middle Ages during the period of reign of Bagratuni dynasty. There are no other data concerning the architecture of Tigranakert. However, being a town of Hellenistic type, it is possible to judge about the principles of the town plan making basing on then examples of existing during that period of time towns of Asia Minor. Some of eastern historians, as well as some soviet historians consider that Tigranakert has had the plan typical to old towns of Assyria. But in comparison with the towns of the Old world, which were built during the centuries, Tigranakert has one essential difference, It was initiated and built during one construction phase which undoubtedly has conditioned rectangular, the so called "chess" planning adopted for the newly built Hellenistic towns. This progressive principle of geometrically regular net of parallel streets crossing each other at right angles was elaborated by Hippodam of Milet. Massive construction of big and small towns was realized according to the plan previously prepared according to that principle. And the choice of the future town's site was realized according to the choice of corresponding place. In providing the defense system of Tigranakert and building the town in general Tigrane4s the Great involved constructors experienced in similar works and specialists of the countries he had conquered. Strabo tells that "Cordians were considered remarkable architects and had experience and skills in siege work. That is why Tigranes used them in similar works." Tigranakert has been an important cultural center. Prominent figures of Hellenistic science, art, literature, among them - philosophers, writers, orators, historians, have lived and worked there. The fact of existence of theater with its constant troupe in the town is important. According to Plutarch it was built a little bit earlier the taking of the town by the Romans in 69 AD. The building of the theater has undoubtedly been of Hellenistic type - having amphitheater and columned pro-scene.
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Ù³ñ ÑÇÙù ¿ ͳé³Û»É ³ÛÝ ï»ë³Ï¿ïÁ Û³ÛïÝ»Éáõ, áñ Ù³Ûñ³ù³Õ³ùÁ ³ñùáõÝÇ å³É³ïáí ѳݹ»ñÓ ÙÇçݳµ»ñ¹ ãÇ áõÝ»ó»É: ê³Ï³ÛÝ ³ÝïÇÏ å³ïÙÇãÝ»ñÁ ù³Õ³ùÇ Ï³½ÙáõÃÇõÝÁ Ù³Ýñ³Ù³ëÁ ã»Ý ïáõ»É, ·áõó¿ »õ ã»Ý Ýᯐ ÙÇçݳµ»ñ¹Ç ³éϳÛáõÃÇõÝÁª áñå¿ë ÇÝùÝÁëïÇÝù»³Ý ѳëϳݳÉÇ ÙÇ µ³Ý: ø³Õ³ùÇ Ù»ñӳϳÛùáõÙ (áñáß Ã³ñ·Ù³ÝáõÃÇõÝÝ»ñáõÙª §³ñáõ³ñÓ³ÝáõÙ¦) ½µûë³Û·ÇÝ»ñáí, áñë³ï»ÕÇÝ»ñáí áõ É×»ñáí å³É³ïÁ ѳݹÇë³ó»É ¿ ³Ù³é³Ýáó, §³Ù³é³ÛÇÝ å³É³ï¦, ÑÇÙݳϳݪ §ÓÙ»é³ÛÇÝ å³É³ïǦª Ñ»ï ϳéáõóáõ³Í, áñÁ ·ïÝáõ»É ¿ ÙÇçݳµ»ñ¹áõÙ: îÇ·ñ³Ý³Ï»ñïÝ áõÝ»ó»É ¿ ³Ý³éÇÏ å³ßïå³Ý³Ï³Ý ѳٳϳñ·: ²åådzÝáëÇ ï»Õ»ÏáõÃÇõÝÝ»ñÁ Éñ³óõáõÙ »Ý Ù.Ã. I ¹³ñáõÙ, ÎáñµáõÉáÝÇ ³é³çÝáñ¹áõû³Ùµ ÑéáÙ¿³Ï³Ý ½ûñù»ñÇ ÏáÕÙÇó îÇ·ñ³Ý³Ï»ñïÇ å³ß³ñÙ³Ý ³éÃÇõ ÑéáÙ¿³óÇ å³ïÙÇã î³ÏÇïáëÇ Ýϳñ³·ñáõû³Ùµª §îÇ·ñ³Ý³Ï»ñï ù³Õ³ùÝ áõÅ»Õ ¿ñ ÿ° å³ßïå³ÝÝ»ñÇ ß³ïáõÃÛ³Ùµ »õ ÿ° å³ñÇëåÝ»ñÇ Ù»Íáõû³Ùµ: ÀݹëÙÇÝ áã ³ñѳٳñÑ»ÉÇ É³ÛÝáõÃÇõÝ áõÝ»óáÕ ÜÇÏ»ýáñáõÙ ·»ïÁ ßñç³å³ïáõÙ ¿ñ å³ñÇëåÝ»ñÇ ÙÇ Ù³ëÁ, ÇëÏ ³ÛÝï»Õ, áñï»Õ ·»ïáí ã¿ñ å³ßïå³Ýáõ³Í, ³Ýó ¿ñ ϳóñ³Í ÑëÏ³Û ÙÇ Ëñ³Ù¦: 25 Ù»ïñ µ³ñÓñáõû³Ùµ, íÇÃ˳ñÇ É³ÛÝáõû³Ùµ å³ñÇëåÝ»ñáí »õ çñáí ÉÇ Ë³Ý¹³Ïáí å³ßïå³Ýáõ³Í îÇ·ñ³Ý³Ï»ñïÁ µ³õ³Ï³Ý ³Ý³éÇÏ ¿ñ, »õ ÑéáÙ¿³óÇ ½ûñ³í³ñ ÈáõÏáõÉÉáëÁ, ÑÇÝ·³Ùë»³Û å³ß³ñáõÙÇó Û»ïáÛ, Ù.Ã.³. 69 Ã. ·ñ³õ»ó ù³Õ³ùÁª ûï³ñ³½·Ç í»ñ³µÝ³ÏÇãÝ»ñÇ ¹³õ³×³Ýáõû³Ý ßÝáñÑÇõ ÙdzÛÝ: ²åådzÝáëÇ Ý߳ͪ ù³Õ³ùÇ Ùûï ϳéáõóáõ³Í ³ÙñáóÁ »Õ»É ¿ îÇ·ñ³Ý³Ï»ñïÇ Ù³ïáÛóÝ»ñÁ å³ßïå³ÝáÕ ³ÙñáõÃÇõÝ, ³ÛÝå¿ë, ÇÝãå¿ë ÙÇçݳ¹³ñáõÙ ´³·ñ³ïáõÝ»³ó г۳ëï³ÝÇ Ù³Ûñ³ù³Õ³ù ²ÝÇÇ Ù³ïáÛóÝ»ñÁ ÑëÏáõÙ ¿ÇÝ îÇ·ÝÇë »õ سճ뵻ñ¹ ³ÙñáóÝ»ñÁ: îÇ·ñ³Ý³Ï»ñïÇ ×³ñï³ñ³å»ïáõû³Ý Ù³ëÇÝ ³ÛÉ ï»Õ»ÏáõÃÇõÝÝ»ñ ãϳÝ: ê³Ï³ÛÝ, ÉÇÝ»Éáí Ñ»ÉÉ»ÝÇëï³Ï³Ý ïÇåÇ ù³Õ³ù, îÇ·ñ³Ý³Ï»ñïÇ ã³ï³Ï³·Í³ÛÇÝ Ï³½Ùáõ÷³Ý ëϽµáõÝùÇ Ù³ëÇÝ Ï³ñ»ÉÇ ¿ ¹³ï»É ÝáÛÝ Å³Ù³Ý³Ï³ßñç³ÝÇ öáùñ ²ëdzÛÇ ù³Õ³ùÝ»ñÇ ûñÇݳÏáí: ²ñ»õÙï»³Ý å³ïÙ³µ³ÝÝ»ñÇó áÙ³Ýù, ÇÝãå¿ë ݳ»õ áñáß ËáñÑñ¹³ÛÇÝ ·ÇïݳϳÝÝ»ñ ѳٳñáõÙ »Ý, áñ îÇ·ñ³Ý³Ï»ñïÝ áõÝ»ó»É ¿ ²ëáñÇùÇ ÑÇÝ ù³Õ³ùÝ»ñÇÝ µÝáñáß Û³ï³Ï³·Í³ÛÇÝ Ï³½ÙáõÃÇõÝ: ê³Ï³ÛÝ ¹³ñ»ñÇ ÁÝóóùáõ٠ϳéáõó³å³ïáõ³Íª ÐÇÝ ³ß˳ñÑÇ ù³Õ³ùÝ»ñÇ Ñ³Ù»Ù³ï îÇ·ñ³Ý³Ï»ñïÝ áõÝÇ ÙÇ ¿³Ï³Ý ï³ñµ»ñáõÃÇõݪ Ùï³ÛÕ³óáõ»É »õ ϳéáõóáõ»É ¿ Ù¿Ï ßÇݳñ³ñ³Ï³Ý ÷áõÉáõÙ, áñÁ, ³ÝϳëϳÍ, å³Ûٳݳõáñ»É ¿ñ Ýáñ³ëï»ÕÍ Ñ»ÉÉ»ÝÇëï³Ï³Ý ù³Õ³ùÝ»ñÇ Ñ³Ù³ñ ÁݹáõÝáõ³Í áõÕÕ³ÝÏÇõÝ, ³Ûëå¿ë ³ë³Íª §ß³ËÙ³ï³ÛÇݦ Û³ï³Ï³·ÍáõÙÁ: ²Ûë ³é³ç³¹ÇÙ³Ï³Ý ëϽµáõÝùÁ (»ñÏñ³ã³÷ûñ¿Ý ϳÝáݳõáñª ½áõ·³Ñ»é »õ áõÕÇÕ ³ÝÏ»³Ý ï³Ï ÙÇÙ»³Ýó ѳïáÕ ÷áÕáóÝ»ñÇ ó³Ýóáí) ³ñ¹¿Ý V ¹. Ùß³Ï»É ¿ñ ÐÇååá¹³Ù ØÇɻóóÇÝ: ²É»ùë³Ý¹ñ سϻ¹áݳóáõ »õ Ýñ³ Ñ»ïÝáñ¹Ý»ñÇ ÏáÕÙÇó Çñ³Ï³Ý³óáõáÕª Ù»Í »õ ÷áùñ ù³Õ³ùÝ»ñÇ ½³Ý·áõ³Í³ÛÇÝ ßÇݳñ³ñáõÃÇõÝÝ ÁÝóÝáõÙ ¿ñ ³Û¹ ëϽµáõÝùáí ݳ˳å¿ë Ùß³Ï³Í Û³ï³Ï³·Í»ñáí: ºõ ³å³·³Û ù³Õ³ùÇ ï»ÕÇ ÁÝïñáõÃÇõÝÁ ϳï³ñõáõÙ ¿ñ ݳ»õ ¹ñ³Ý ѳٳå³ï³ëË³Ý ï»Õ³ÝùÇ ÁÝïñáõû³Ùµ: îÇ·ñ³Ý³Ï»ñïÇ å³ßïå³Ý³Ï³Ý ѳٳϳñ·Ç »õ, ÁݹѳÝñ³å¿ë, ù³Õ³ùÇ Ï³éáõóÙ³Ý ·áñÍáõÙ îÇ·ñ³Ý Ø»ÍÁ û·ï³·áñÍáõÙ ¿ñ ÝÙ³Ý ³ß˳ï³ÝùÝ»ñÇ Ù»Í ÷áñÓ áõÝ»óáÕ, Çñ Ýáõ³×³Í »ñÏñÝ»ñÇ ßÇݳñ³ñÝ»ñÇÝ: êïñ³µáÝÁ Û³ÛïÝáõÙ ¿, áñ §Ïáñ¹Ç³óÇÝ»ñÁ ѳٳñõáõÙ ¿ÇÝ ³ãùÇ ÁÝÏÝáÕ ×³ñï³ñ³å»ïÝ»ñ »õ å³ß³ñáÕ³Ï³Ý ·áñÍ»ñÇ Ù¿ç ÷áñÓ³éáõ: ¸ñ³ ѳٳñ ¿É îÇ·ñ³ÝÁ Ýñ³Ýó û·ï³·áñÍáõÙ ¿ñ ÝÙ³Ý ³ß˳ï³ÝùÝ»ñáõÙ¦:
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TIGRANES THE GREAT AS TOWN BUILDER
After the death of Tigranes in 55 BC Tigranakert stopped to be capital town, however, remaining a big and developed town. During the reign of Artashessyan dynasty it was the center of Aghdzuik. Inaccessible defense system of Tigranakert was preserved still up to the IV century. Moses of Khoronk writes that when Persian king Shapuh II made the first attempt of taking the town, he was defeated. The historian mentions that later Shapuh managed to take Tigranakert only with the help of Greeks and special equipment use for destroying fences. Persian destroyed Tigranakert and captivated the population after which the town became deserted and was not restored any more. Let us hope that Tigranakert's archeological study will be realized in the future revealing the structure of town building and architectural image of the prominent capital town of the empire of Tigranes the Great. Translated from Armenian into English by L. Navasardyan
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îÇ·ñ³Ý³Ï»ñïÁ »Õ»É ¿ Ùß³ÏáõóÛÇÝ Ëáßáñ Ï»ÝïñáÝ: ²Ûëï»Õ ³åñ»É »õ ·áñÍ»É »Ý Ñ»ÉÉ»ÝÇëï³Ï³Ý ·Çïáõû³Ý, ³ñáõ»ëïÇ, ·ñ³Ï³Ýáõû³Ý Ëáßáñ ·áñÍÇãÝ»ñª ÷ÇÉÇëá÷³Ý»ñ, ·ñáÕÝ»ñ, Ñé»ïáñÝ»ñ, å³ïÙÇãÝ»ñ »õ ³ÛÉÝ: γñ»õáñ ¿ ù³Õ³ùáõÙ Çñ ¹»ñ³ë³Ý³Ï³Ý Ùßï³Ï³Ý ËáõÙµÝ áõÝ»óáÕ Ã³ïñáÝÇ ·áÛáõû³Ý ÷³ëïÁ: ²ÛÝ, Áëï äÉáõï³ñùáëÇ, ϳéáõóáõ»É ¿ñ ÑéáÙ¿³óÇÝ»ñÇ ÏáÕÙÇó Ù.Ã.³. 69 Ã. ù³Õ³ùÁ ·ñ³õ»Éáõó ùÇã ³é³ç: ³ïñáÝÇ ß¿ÝùÁ, ³ÝϳëϳÍ, »Õ»É ¿ Ñ»ÉÉ»ÝÇëï³Ï³Ý ïÇåǪ ³ÙýÇóïñáÝ, ëÇõݳ½³ñ¹ åñáëó»Ý³Ûáí: îÇ·ñ³Ý Ø»ÍÇ Ù³ÑÇó Û»ïáÛ (Ù.Ã.³. 55 Ã.) îÇ·ñ³Ý³Ï»ñïÁ ¹³¹³ñ»ó г۳ëï³ÝÇ Ù³Ûñ³ù³Õ³ù ÉÇÝ»Éáõó, ÙݳÉáí, ë³Ï³ÛÝ, áñå»ë Ëáßáñ »õ ½³ñ·³ó³Í ù³Õ³ù: ²ñß³ÏáõÝ»³ó ѳñëïáõû³Ý ûñûù ³ÛÝ ²ÕÓÝÇùÇ µ¹»ßËáõû³Ý Ï»ÝïñáÝÝ ¿ñ: ¸»é»õë Ù.Ã. IV ¹. å³Ñå³Ýáõ»É ¿ñ îÇ·ñ³Ý³Ï»ñïÇ ³Ý³éÇÏ å³ßïå³Ý³Ï³Ý ѳٳϳñ·Á: Øáíë¿ë Êáñ»Ý³óÇÝ ·ñáõÙ ¿, áñ ä³ñëÇó Þ³åáõÑ ´ ³ñù³Ý, »ñµ ù³Õ³ùÁ ·ñ³õ»Éáõ ³é³çÇÝ ÷áñÓÝ ³ñ»ó, ³å³ ã³ñ³ã³ñ å³ñïáõÃÇõÝ Ïñ»ó: ä³ïÙÇãÁ ÝßáõÙ ¿, áñ Þ³åáõÑÁ ۻﳷ³Ûáõ٠ϳñáÕ³ó³õ îÇ·ñ³Ý³Ï»ñïÁ ·ñ³õ»É ÛáÛÝ»ñÇ »õ Ýñ³Ýó å³ñÇëåÁ ÏáñͳÝáÕ Ù»ù»Ý³Ý»ñÇ û·Ýáõû³Ùµ ÙdzÛÝ: ä³ñëÇÏÝ»ñÁ îÇ·ñ³Ý³Ï»ñïÁ ³õ»ñ»óÇÝ »õ ·»ñ»í³ñ»óÇÝ µÝ³Ïãáõû³ÝÁ, áñÇó Û»ïáÛ ù³Õ³ùÝ ³Ù³Û³ó³õ »õ ³ÛÉ»õë ãí»ñ³Ï³Ý·Ýáõ»ó: ä¿ïù ¿ Ûáõë³É, áñ ³å³·³ÛáõÙ ÏÇñ³Ï³Ý³óáõÇ îÇ·ñ³Ý³Ï»ñïÇ Ñݳ·Çï³Ï³Ý áõëáõÙݳëÇñáõÃÇõÝÁ, áñÁ ϵ³ó³Û³ÛïÇ ³ß˳ñÑ³Ï³É îÇ·ñ³Ý Ø»ÍÇ ï¿ñáõû³Ý Ñéã³Ï³õáñ Ù³Ûñ³ù³Õ³ùÇ ù³Õ³ù³ßÇÝ³Ï³Ý Ï³½ÙáõÃÇõÝÁ »õ ׳ñï³ñ³å»ï³Ï³Ý Ï»ñå³ñÁ:
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HELLENISTIC ART IN THE EPOCH OF TIGRANES THE GREAT
HENRIK HOVHANNISYAN Institute of Art of the National Academy of Sciences of the Republic of Armenia
TIGRANES THE SECOND AND HELLENISTIC THEATER
One
sentence cited in the chapter 29 of the book entitled "Parallel Lives" by Plutarch, concerning the building of the theater built in Tigranakert in 69 BC, needs interpretation. That testimony should be reviewed in the context of the history of antique and Hellenistic culture, the history of theater, in particular, and proceeding from that context should be defined the significance and sense of that phenomenon in the history of the Armenian culture.
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1.
Antique theater has been established in Armenia nearly 200 years before the construction of the building of the theater in Tigranakert. The testimony of that fact is the record discovered and read in Armavir in 1911, which according to H. Manandyan is dated back to II-II centuries BC. There is one line from Euripides and one line from Menandros in that record. It is one of the testimonies of the spreading of the Greek classical theater towards the East.
2.
Construction of the building of the theater in Tigranakert concerns the late Hellenistic period when only memories of classical theater had remained in the Attic world and the last cries of political tragedy (pretextata) fainted away. Social-public bases of Attic drama were destroyed, and it seems that the Armenian king pursued the goal of restoration of a historically removed event in Armenia. It was a period when actors wandered in the countries of the Middle East, from Ecbatan to Bactria, and Tigranes captivated a group of actors and brought them to Armenia.
3.
Second testimony of Plutarch (chapter 33) gives grounds to suppose that Tigranes had managed to restore the classical theatrical tradition in the royal atmosphere. Its partial testimony is the performance of the tragedy "The Bacchae" (The Bacchantes) by Euripides in Artashat, in the hall of royal feasts, in 53 BC. The hint of Plutarch concerning tragedies, the author of which was Artavazd the Second, the son of Tigranes, is more significant. It is
TIGRANES THE GREAT
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äÉáõï³ñùáëÇ §Î»Ýë³·ñáõÃÇõÝÝ»ñǦ 29-ñ¹ ·ÉËáõÙ µ»ñáõ³Í Ù¿Ï Ý³Ë³¹³ëáõÃÇõÝÁ îÇ·ñ³Ý³Ï»ñïáõÙ 69Ã. (ø.³.) ϳéáõóáõ³Í óïñáÝ³Ï³Ý ß¿ÝùÇ Ù³ëÇÝ, ϳñÇù áõÝÇ Ù»ÏÝáõû³Ý: ²Û¹ íϳÛáõÃÇõÝÁ ѳñÏ ¿ ¹Çï»É ³ÝïÇÏ »õ Ñ»ÉÉ»ÝÇëï³Ï³Ý Ùß³ÏáÛÃÇ, Ù³ëݳõáñ³å¿ë óïñáÝÇ å³ïÙáõû³Ý ÁݹѳÝáõñ ѳٳï»ùëïáõÙ »õ Áëï ³Û¹Ù áñáᯐ »ñ»õáÛÃÇ ÇÙ³ëïÁ Ñ³Û Ùß³ÏáÛÃÇ å³ïÙáõû³Ý Ù¿ç: 1.
²ÝïÇÏ Ã³ïñáÝÁ г۳ëï³Ý ¿ Ùï»É îÇ·ñ³Ý³Ï»ñïÇ ß¿ÝùÇ Ï³éáõóáõÙÇó Ùûï »ñÏáõ ѳñÇõñ ï³ñÇ ³é³ç: ¸ñ³ íϳÛáõÃÇõÝÁ ²ñÙ³õÇñÇ 1911Ã. ·ïÝáõ³Í áõ ÁÝûñóáõ³Í ³ñӳݳ·ñáõÃÇõÝÝ ¿ (Áëï سݳݹ»³ÝÇ` 3-2-ñ¹ ¹¹.), áõñ Ù¿Ï ïáÕ Ï³Û ºõñÇåǹ¿ëÇó »õ Ù¿Ï ïáÕ` ػݳݹñáëÇó: ê³ ÛáÛÝ ¹³ë³Ï³Ý óïñáÝÇ ¹¿åÇ ²ñ»õ»Éù ï³ñ³Íáõ»Éáõ íϳÛáõÃÇõÝÝ»ñÇó Ù¿ÏÝ ¿:
2.
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3.
äÉáõï³ñùáëÇ »ñÏñáñ¹ íϳÛáõÃÇõÝÁ (33-ñ¹ ·ÉáõË) ÑÇÙù ¿ ï³ÉÇë »½ñ³Ï³óÝ»Éáõ, áñ îÇ·ñ³ÝÇÝ Û³çáÕáõ»É ¿ í»ñ³Ï³Ý·Ý»É ¹³ë³Ï³Ý óï»ñ³Ï³Ý ³õ³Ý¹áõÃÇõÝÁ å³É³ï³Ï³Ý ÙÇç³í³ÛñáõÙ: ºõñÇåǹ»ëÇ §´³ùáëáõÑÇÝ»ñǦ Ý»ñϳ۳óáõÙÝ ²ñï³ß³ïÇ å³É³ï³Ï³Ý ËÝçáÛùÇ ëñ³ÑáõÙ, 53Ã. (ø. ³.) ¹ñ³ Ù³ëݳÏÇ íϳÛáõÃÇõÝÝ ¿: ²é³õ»É Ý߳ݳϳÉÇó ¿ äÉáõï³ñùáëÇ ³ÏݳñÏÁ îÇ·ñ³ÝÇ áñ¹áõ` ²ñï³õ³½¹ II-Ç Ñ»ÕÇÝ³Ï³Í áÕµ»ñ·áõÃÇõÝÝ»ñÇ Ù³ëÇÝ: ê³ ß³ñáõݳÏáõÃÇõÝÝ ¿ îÇ·ñ³ÝÇ Ñ»ÉÉ»ÝÇëï³Ï³Ý Ùß³ÏáõóÛÇÝ ù³Õ³ù³Ï³Ýáõû³Ý, áñ Ý߳ݳÏáõÙ ¿, ÿ Ýñ³ ÑÇÙÝ³Í Ã³ïñáÝÁ ·áñÍ»É ¿ Çñ»ÝÇó Û»ïáÛ »õ ïáõ»É Çñ ·ñ³Ï³Ý ³Ý¹ñ³¹³ñÓÁ:
4.
Àëï äÉáõï³ñùáëÇ, ²ñï³õ³½¹Ç ·ñ³Ï³Ý »ñÏ»ñÁ, ³Û¹ ÃáõáõÙ áÕµ»ñ-
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HELLENISTIC ART IN THE EPOCH OF TIGRANES THE GREAT
the continuation of the Hellenistic cultural policy of Tigranes which means that the theater, which Tigranes had founded, continued functioning also after the period of reign of Tigranes and has had its literary reflection. 4.
According to Plutarch, literary works of Artavazd, including tragedies, have been preserved in the I-II centuries AD, when the classical type of theater did not exist any more and theatralicity was subject-matter for rhetorical readings. We become aware of it from the paragraph 13 of the work "In Favor of Architectural Education" by Theon of Alexandria, the Armenian translation of which made in the V century is preserved. If the Greek historian has been acquainted with the theatrical works of a "barbarian," it means that they have had certain value in the educational-cultural atmosphere of the given period of time.
Investigators of the epoch of Hellenism, beginning from Johann Droyzen (1836) who put the word "Hellenism" in scientific circulation, conclude the period of Hellenism, as a historical-political phenomenon, in the first century AD. However, history of culture should be distinguished from the political history. Hellenistic cultural tradition, which started in Armenia before Tigranes, developed during the period of his reign, has continued later and created basis for Greekology in the early Middle Ages. Translated from Armenian into English by L. Navasardyan
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HELLENISTIC ART IN THE EPOCH OF TIGRANES THE GREAT
RUBEN VARDAN, VAHE CURZADYAN
HALLEY'S COMET OF 87 BC ON THE COINS OF ARMENIAN KING TIGRANES?
Coins
of Armenian king Tigranes the Great clearly reveal a star with j tail on the royal tiara which may he associated with the Halley's pasage of 87 BC. Tigranes II the Great (95-55 BC) had made Armenia one of the most powerful kingdoms in Western Asia, extending from the Caucasus to the eastern Mediterranean, [economic needs associated with the expansion of the empire resulted in diverse silver and copper-bronze coinage. Although the chronological and mint problems of these abundant emissions of Tigranes's coins have been discussed by scholars, many questions remain.
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On many coins, notably the tetradrachms struck in Antioch in Syria, as well as the silver and bronze coins struck in Artaxata or Tigranocerta, Tigranes wears a tiara decorated with a sun/star symbol between two eagles. On the tetradraechms and copper-bronze coins struck in Damascus, the king's tiara is adorned with a big sun/star symbol on the left side along with an eagle-like symbol to the right. On a rare series of tetradrachms and drachms and on wore numerous copper coins (figure 1) depicting the goddesses Tyche and Nike, with a cypress tree, palm branch and tripod on their reverse, Tigranes's tiara is decorated with a single star, which has one of the righthand side rays elongated and curved, which can be interpreted as a comet (Bedoukian 1978, Nercessian 2000a and b). The king also looks younger on these coins. 218
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HELLENISTIC ART IN THE EPOCH OF TIGRANES THE GREAT
18215-6
18981-4
This latter series is the most mysterious of the Tigranes coins regarding its. dating and piece of minting, as well as for the interpretation of the comet symbol. All Tigranes's silver coins (except for the Damascus series and a large group of bronze coins) have on their reverse a goddess sifting on a rock, wearing a turreted crown, holding a palm branch and having the swimming nude figure of a river-god at her feet. Scholars have no doubts that this represents the bronze statue of the city goddess Tyche, created by Eutychides, the disciple of Lissipe, and erected in Antioch at the time of Seleucus I (312-280 BC). Tigranes conquered this city in 83 BC. This fact is commonly agreed, as it is based on a passage from Appian, as well as on the coins struck until this year in Antioch by the Seleucid king Antiochus X. Hence, the series with the comet must have been struck after 83 BC Among the astronomical records of the period corresponding to the reign of Tigranes is the appearance of Halley's comet. According to the chronicles and modern backwards orbit computations. Haley passed the perihelion on 6 .August 87 BC, being discovered in July and was last seen on 24 August (Kronk 1999). Chinese chronicles of Han. Shu (see Kronk 1999) mention also a comet in 84 BC and three astronomical events in 69 BC: "a sparkling star" seen during 27 January - 24 February 69 BC (probably a nova), a guest star observed on 22 July, and another guest star discovered rat 20 August and last seen on 27 August. Another sparkling star is noted in 61 BC. If the image on Tigranes's tiara is a comet, and it has to be attributed to a specific comet, then the appearance ot Halley within his reign has to be the most significant event. If so, this is another case when astronomical events can also be useful for historical problems (Gasche et al 1998, Gurzadyn 2000). In addition, this would be a far earlier record of I Halley in Armenia than was previously known from eororueles (Gurzadyan 1988a, b) and also one of the earliest known images of Halley's comet. V G Curzadyan, Yerevan Physics institute, Armenia, arid University "La Sapienza", Rome, Italy (gurzadya@ira.it); R Vardanyan. History Museum, Yerevan, Armenia. We shank Philippe Amram for information and Aram Gurzadyan for processing the images.
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TIGRANES THE GREAT
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228
TIGRANES THE GREAT
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229
HELLENISTIC ART IN THE EPOCH OF TIGRANES THE GREAT
HAYKANUSH MESROPYAN Assistant Professor, Candidate of Philological Sciences
STUDY OF THE RELIGIOUS ECCLESIASTICAL LEXICON OF TIGRANAKERT
Center
of the dialect-group of Mush-Tigranakert Western grouping was
Tigranakert which is known in the history also as Martyrapolis, Martyrs' town, Nprkert, Mufarghin, Silvan and by other names. Leaving to historians to decide whether the towns Amid-Diarbekir-Tigranakert of historical Aghdznik are identical or non-identical, let us mention that the mentioned territory was successively under the rule of Assyrians, Armenians, Romans, Persians, Greeks, Arabs, Seljuks, ottoman Turks. Since ancient times the town had multinational population. In the beginning of the XX century Armenians, Turks, Kurds, Greeks, Assyrians, Jews and other nations lived in the town, and their linguistic contacts have left trace on the dialect of Tigranakert. In 1915 nearby the Armenian Churches of St. Sarkis and St. Kirakos of Tigranakert lived about 45000 Armenians who were subjected to exile and partially also to slaughter. Inhabitants of Tigranakert who survived genocide settled down in Syria, Kamishli in particular, in Istanbul, In the USA, New Jersey in particular, in Egypt and in other countries. Presently Turkish-speaking Armenians in whose speech only few words from their native dialect are preserved, live in Tigranakert. In the Armenian Church of Armenian Church functioning under the auspices of the Armenian Patriarchate of Constantinople the priest has to deliver sermon on each Sunday in Turkish. In 1933 famous writer, public figure Mkrtich Markosyan from Tigranakert, together with his brother, Artashes, founded in Constantinople the publishing-house "Aras," which except large-scale book-publication, became also assembly-place for inhabitants of Tigranakert, center for preservation of their culture and dialect. The publishing-house has its Internet website "Aras yayincilik" which periodically provides various literature published mainly in Armenian, Turkish and English, as well ass information concerning public and cultural activity of inhabitants of Tigranakert. I have had the favorable chance of being personally acquainted and having contact with the brothers from Tigranakert, and Silva Guyumjyan, the wife of
Artashes,
and
received
sufficient
information
concerning
the
dialect
of
Tigranakert and inhabitants of Tigranakert in general. Frontiers of the dialect of Tigranakert belonging to the southern-central dialect-group of Western grouping are not finally defined. Hr. Ajaryan has includ-
230
TIGRANES THE GREAT
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231
HELLENISTIC ART IN THE EPOCH OF TIGRANES THE GREAT
ed Edessia and Hazzo within the frontier of spreading of the dialect of Tigranakert. According to the data of modern dialectology Edessia is considered a separate dialect, and the population of Hazzo was the bearer of the dialect of Sassoon. According to the present-day data known to dialectology the frontier of spreading of the dialect of Tigranakert includes mainly Diarbekir-Tigranakert and attached to it several Armenian-populated villages. Hr. Ajaryan very seldom speaks about that dialect mainly giving only its general description. The prominent dialectologist notes that by its phonetic, morphological and other traits it adjoins to the dialects of the dialect-group of Mush, Van, Edessia and Antioch. Dialectologist
A. Haneyan in his work "The Dialect of Tigranakert"
(Yerevan, 1978) studies the phonetic system of the dialect, accent-change, general historical and interactional sound interchanges, peculiarities of nominal, pronominal, verbal systems and other issues. In the appendix of the book there are dialect samples (proverbs, sayings, riddles, blessings, curses, etc.), Old Armenian-dialect vocabulary and dictionary of dialectal words. A. Haneyan notes that "the speech of inhabitants of Tigranakert is very lively, witty, embellished with proverbs, sayings, modal words, apt jokes sometimes reaching vulgarism, swearings, the use of which was natural and usual" (A. Haneyan, p. 156). The dialect of Tigranakert is a dialect of Ă?Ă branch of western grouping. It has two-stage consonant system deprived of voiceless consonants. In order to have a notion of the lexicon of the dialect of Tigranakert we have reviewed some words, phrases, idioms and expressions of descriptive nature. In general, folklore creations - folk songs and comic and joke songs, legends accompanying Christian feasts celebrated with special preparations, have become means of use of religious words and preservation and enrichment of religious-ecclesiastical lexicon. We have picked the dialectal material related to our report from the "Provincial Dictionary" by Hr. Ajaryan, "Dialectal Dictionary of the Armenian Language" published by the Institute of Language of the National Academy of Sciences of the Republic of Armenia, the above-mentioned work of A. Haneyan, dialectal vocabularies, inhabitants of Tigranakert. As it is seen, gathered dialectal material is picked up from written sources and bears the stamp of written speech. The general observation shows that lexical coincidences are words mainly derived from Old Armenian which have been subjected to sound interchange typical to the dialect of Tigranakert. Shortage of lively, common examples is especially noticeable which testifies for the dialect of Tigranakert being a dead dialect. Although E. Aghayan in his article "About the Issue of Origin of New Armenian Dialects" ("HistoricalPhilological Journal" 1958, 2) dates back the start of death of Armenian dialects, also the dialect of Tigranakert to the I century BC, however, linguistic facts show that that it was viable even in the beginning of the XX century. On that point Ed. Aghayan writes: "I-IV centuries BC was the period of end of formation of the Armenian nation and the period of unity of the Armenian nation. Creation of strong, central state, unification of various segments of the Armenian nation in one centralized state especially during the period of reign of Tigranes necessarily contributed to the death of old Armenian dialects which was one of the inevitable conditions of formation of nationwide Armenian Language." 232
TIGRANES THE GREAT
ã»Ý, ÙÇÝã¹»é ÝáÛÝ µ³éÁ ¹¿ñ µOµ §ù³Ñ³Ý³Û¦ µ³Õ³¹ñ»³É ϳ½Ùáõû³Ý Ù¿ç ùÙ³ÛݳóáõÙáí ¿: Ò³ÛݳõáñÝ»ñÇ ÑÝãÇõݳ÷áËáõû³Ý ÙÇõë ÑÇÙÝ³Ï³Ý Ó»õ»ñÝ »Ý. 1) ³ > ¿ª íOñÿíOñª §í³ñ¹³í³é¦, 2) ³ > Áª ²þí¹ÁñOݪ §²õ»ï³ñ³Ý¦, 3) ³ > 0ª OÕíÁÝÇùª §³Õ³õÝǦ, 4) » > Ç, » > ¿ª ¿ñÃáõÙª §»ñ¹áõÙ¦, ÂO¹Oë¹OÝÇÝ ëÇí¿ñÇë ¿ÕÝOëª §¸³ï³ëï³ÝÇÝ ë»õ»ñ»ë ÉÇÝ»ë¦, 5) » > Áª ÑÁñÁßïO·ª §Ññ»ßï³Ï¦,
²ë¹í³Ó ùÇ Ç¹O, ãÇÝ ÑOñóÁÝÇ, íû±ñ ¹ÁÕO-
Ý¿ª §ºñµ ²ëïáõ³Í ï³ÉÇë ¿, ã»Ý ѳñóÝǪ áñï»ÕÇó ¿¦, 6) Ç > ¿ª ·ÇñO·¿ª §ÏÇñ³ÏǦ, 7) Ç > Áª ÇñÁó·ÇÝ §ÇñÇóÏÇݦ, 8) á > áõª ÓáõÙª
§ÍáÙ¦, ëOÕÙáõëª §ë³ÕÙáë¦, Ù¿éáõݪ §Ù»éáݦ, ÙáõÙª §ÙáÙ¦,
ÁùÝ íáõñª §ÏÝù³õáñ¦, O
9) á > Áª Ëûë¹ÁíOÝÇÉ §Ëáëïáí³Ý»É¦, 10) á > ûª ûÕûñÙǪ §áÕáñÙǦ, 11) ·¿Ý¹OÝù ¿ª
áõ > Áª ÚÁÕ ¿ÕOí ÇëO, ÁÙÙÁÝ ûñ ÷Oñ-
§ÆõÕ áñ ÉÇÝÇ, ³Ù¿Ý ûñ µ³ñÇϻݹ³Ý ÏÉÇÝǦ
»õ ³ÛÉÝ:
´³é³í»ñçáõÙ áñáß»³É Á Ûû¹ÇÝ Ñ³Ù³å³ï³ë˳ÝáõÙ ¿ ¿ Ó³Ûݳõáñ, ûñÇݳϪ ¸¿ñ¹¿ñ¿ Ù¿· ùÇÝO ÇëO, ÇñÇó·ÇÝ¿ª ¿ñ·áõùª §î¿ñï¿ñÁ Ù¿Ï ·ÇïÇ, ÇñÇóÏÇÝÁª »ñÏáõ¦, ¸¿ñ¹¿ñ¿ ÇãÇñ ¿ Ñáõñ¿, Ùûñáõù¿ ÷áõëÇñ ¿ ÷áõñ¿ª §î¿ñï¿ñÁ Çç»É ¿ ÑáñÁ, ÙáñáõùÇÝ µáõë»É ¿ ß³Õ·³Ù¦ »õ ³ÛÉÝ: ´³Õ³Ó³ÛÝÝ»ñÇ »õ Ó³ÛݳõáñÝ»ñÇ Ùdzųٳݳϻ³Û ÑÝãÇõݳ÷áËáõû³Ý ³ñ¹ÇõÝùáõÙ »ñµ»ÙÝ µ³ñµ³é³ÛÇÝ ½áõ·³µ³ÝáõÃÇõÝÝ»ñÁ ³ÛÝù³Ý »Ý Ñ»é³ÝáõÙ µ³éÇ ·ñ³Ï³Ý Ó»õÇó, áñ ³ÝѳëϳݳÉÇ »Ý ¹³éÝáõÙ ³ÛÉ µ³ñµ³é³ÏÇñÝ»ñÇ »õ ·ñ³Ï³Ý ѳۻñ¿Ýáí ËûëáÕÝ»ñÇ Ñ³Ù³ñ: úñÇݳϪ
ÉÉ¿Ûíáõ· (=³Ý³ÉÇ)ª §³Ýѳ٦, ÃÁÅñáõ·
O
(=¹Åí³ñáõÏ)ª §Í³Ýñ¦,
ÓÁÓÕáõ·¿ñÇë (=ÍÇͳջñ»ë)ª §áõñ³Ë¦, ·Á¹ÁñçO· (=ÏïñÇ-
׳Ï)ª §ù³ç¦, µÁÛáõÝÇ
(= å³ÑáõÝÇ)ª §Ù³ùáõñ å³Ñ³Í »õ ïûÝ³Ï³Ý ûñ»ñÇÝ ÙdzÛÝ
·áñͳͻÉáõ¦ »õ ³ÛÉÝ: Îñûݳ»Ï»Õ»ó³Ï³Ý µ³é»ñÁ, ÇÝãå¿ë ·ñ³Ï³Ý É»½õáõÙ, îÇ·ñ³Ý³Ï»ñïÇ µ³ñµ³éáõÙ »õë ѳݹ¿ë »Ý ·³ÉÇë ѳۻñ¿ÝÇ µ³é³Ï³½Ùáõû³ÝÁ µÝáñáß Ï³Õ³å³ñÝ»ñáí£ ³)
²Í³Ýó³õáñ ϳ½ÙáõÃÇõÝÝ»ñ. ÑOÙ÷OñóáõÙ
(ѳ٠+ µ³ñÓ + áõÙ),
Ù»Ó-
íáñ (Ù»Í + ³õáñ)ª §»ñ»ó¦, Ù¿Õ íáõñ (Ù»Õ + ³õáñ), íûÕûñÙáõÃÇÝ (áÕáñÙ O
+ áõÃÇõÝ), ÃOùOíáõñ (ó· + ³õáñ), OݵÁ¹áõÕª §³Ùáõɦ, OݹOߪ §ï·»Õ¦, Ù»Óíáñª §»ñ¿ó¦, ù¿ñ·Ç· (·»ñ+áõÏ+ÇÏ)ª §ÃÙµÉÇϦ, ËÁÕçáõ·ª §Ãßáõ³é¦, ÙãÁ·áõ¹ª §Ñ»½, ËáݳñѦ, ·ÁÝÍÇϪ §ÏÉáñ¦, ëÁñ÷áõÃÇÝ, (ëáõñµ + áõ-
O
ÃÇõÝ),
ëÁµÁñÏÇÏ
(=ëáõñµ // ëáõµñ > ëÁµÁñ + ÇÏ +ÇÏ)
»õ ³ÛÉÝ£
êáõñµ µ³éÇ ÇÙ³ëï³ÛÇÝ Ñ³Ù³ñÅ¿ùÝ»ñÝ »Ý ³Ý³ñ³¹ ÑáÙ³ÝÇßÁ »õ ëÁµÁñÏÇÏ ³Í³Ýó³õáñ ϳ½ÙáõÃÇõÝÁ£ êáõñµ ³Í³Ï³Ýáí ¿ ϳ½Ùáõ³Í
ëÁ÷Áñ·áõÝ µ³éÁ, áñÁ
µ³½ÙÇÙ³ëï ¿ »õ §ëáõñµ¦ ÇÙ³ëïÇó µ³óÇ, áõÝÇ Ý³»õ §Ù³ùñ³ë¿ñ¦ ÇÙ³ëïÁ (ï»°ë Ø. Øáõñ³¹»³Ý, ØÇçÇÝ Ñ³Û»ñ¿ÝÇ µ³é³·ÇïáõÃÇõÝ)£ ²Í³Ýó³õáñ ϳ½ÙáõÃÇõÝÝ»ñ »Ý ѳٳñíáõÙ Û³ñ³Ï³ï³ñ ¹»ñµ³ÛÇ áõ· í»ñç³õáñáõû³Ùµ Ó»õ»ñÁ, áñáÝù, ãÝ³Û³Í ã»Ý ³éÝãõáõÙ ÏñûÝ³Ï³Ý µ³é³ß»ñïÇÝ, ë³Ï³ÛÝ ³ñÅ¿ù³íáñ »Ý µ³é³å³ß³ñÇ Ù³ëÇÝ ÁݹѳÝáõñ ·³Õ³÷³ñ ϳ½Ù»Éáõ ѳٳñ£ ¸ñ³ÝóÇó »Ýª ³Ñéáõ· (³Ýáñáß ¹»ñµ³ÛÁª ³Ñé»É)ª ÃǦ,
§³Ù»ÑǦ, ùOÕóáõϪ §³Ýû-
ÕÉáõ·, ·³ÛÝáõ· ª §³ñÃáõݦ, ËÁççáõ·ª §Ë»Õצ, ÷ÁÉËáõ·ª §×³å³Õ¦ (ûñÇ-
O
ݳϪ ÷ÁÉËáõ· ùÇÝÃ), ·Á¹Áñ¹áõ·ª §ÑÇݦ, ¹Oñáõ·ª §ÛÇÙ³ñ¦, ·ÁÕµáõ· (·ÁÕµÇÉ)ª §÷³Ï¦ »õ ³ÛÉÝ: îƶð²Ü غÌ
233
HELLENISTIC ART IN THE EPOCH OF TIGRANES THE GREAT
Proceeding from the examples which are at our disposal it turns out that words of religious-ecclesiastical sphere differ from corresponding literary forms by vowel and consonant sound interchange typical to the dialect of Tigranakert. Thus, before consonants in the beginning, in the middle and in the end of the word there is spirant voiceless sound. In the dialect of Tigranakert before voiceless explosives and semi-fricatives there are voiced sounds not only in the beginning of the word but also in the middle and in the end. A number of religious-ecclesiastical words as literary borrowings preserve their literary form or have sound versions close to literary pronunciation which are used parallel to sound interchange versions typical to the dialect of Tigranakert. Being in the literary environment of various nations the dialect of Tigranakert has included a number of barbarisms. Mentioned examples very often have dialect versions borrowed from Turkish, Arabian, Persian and other languages. In general, there are not many barbarisms in the dialectal lexicon. Small number of borrowings also testifies for small number of bearers of the given dialect and the fact that the dialect is not viable. If a number of dialects of the Armenian Language are still viable and already today speakers of dialects enrich dialects by means of many words, expressions and borrowings, the dialect of Tigranakert does not have that chance. According to existing dialectological material the following main ways of sound interchange are typical to the dialect: a) Sounds' addition b) Consonants' repetition c) Sounds' loss d) Consonant ñ instead of é of literary Armenian. As A. Haneyan notes, "by means of sound interchange of vowels the dialect in the Mush Tigranakert dialect-group has closer correlation to the dialect of Sassoon than the dialect of Mush, from which it diverges by the presence of especially the palatal phoneme° and great frequency of usage (A. Haneyan, p. 41). Not only consonants but also vowels are interchanged. The main regularity of the vowel interchange of the dialect is palatalization of the vowel ³. As the result of simultaneous interchange of consonants and vowels sometimes dialectal coincidences are removed form the word's literary form so much that become incomprehensible for the bearers of other dialects and speakers of literary Armenian. As in literary language as well as in the dialect of Tigranakert religious-ecclesiastical words are formed according to the patterns typical to the word-building of the Armenian language: a) derivative forms b) complex words c) formations made up by repetition of root and juxtapositional formations of other nature. Except the mentioned formations there are also phrases and other forms expressed by descriptive manner. There is no denying that peculiarities of the
234
TIGRANES THE GREAT
ê³Ï³õ³¹¿å »Ý
Û³ñ³Ï³ï³ñ ¹»ñµ³ÛÇ ³Í í»ñç³õáñáõÃÛ³Ùµ Ó»õ»ñÁ, ÇÝã-
å¿ëª ùÁËó Óª §³ÝûÃǦ, ËÁéý³Óª §Ë»Ýæ, Ù³ëݳõáñ³µ³ñª §Ë»É³å³Ï³ë Í»ñáõO
ÝǦ »õ ³ÛÉÝ: µ)
´³Õ³¹ñ»³É µ³é»ñ. ³ë¹í³Ó³ÓÇÝ // ³ëí³Ó³ÓÇÝ, ï¿ñ³ÏÇÝ, ÇñÁó·ÇÝ // ÇñÇó·ÇÝ // ÇñÇëÏÇÝ // ÇñÇó·Çݪ §»ñ»óÏÇݦ, ßáõñã³é, OñÕOÙOݪ §ËÝϳٳÝ, áñ ǵñ»õ Ûáõß³Ýáõ¿ñ µ»ñáõÙ »Ý ºñáõë³Õ¿ÙÇó í»ñ³¹³ñÓáÕ áõËï³õáñÝ»ñÁ¦, ÊOÝãO÷O· (˳㳵³Ï±)ª §îÇ·ñ³Ý³Ï»ñï ù³Õ³ùÇ Ã³Õ³Ù³ë»ñÇó Ù¿ÏÁ¦, ëáõñ÷ëÁ·Çݪ ÑÇ
ÏáñͳÝáõ»ÉÁ,
§ëáõñµ ëÏÇѦ, ³ß˳ñ³ÝóáõÙª §³ß˳ñ-
³õ³ñïÁ¦,
í¿ñÝO¹áõݪ
§í»ñݳïáõݦ,
ÃOÃÝ¿ñÇë
(óÃ+»ñ»ë), à ùÝ¿ñÇë (óùáõÝ+»ñ»ë)ª §µ³ñ»å³ßï, ËáݳñѦ »õ ³ÛÉÝ. O
·)
²ñÙ³ïÇ ÏñÏÝáõû³Ùµ »õ ³ÛÉ µÝáÛÃÇ Û³ñ³¹Çñ ϳ½ÙáõÃÇõÝÝ»ñ. ½O¹·ÁíO-½O¹Ç·ª
§½³ïÏÇó
½³ïÇϦ,
ýOñ-óOýOñª
÷Áժɳݪª §·áéὦ, ÝÃáõÝ- ÝÃÁÙÙáõݪ O
O
ßï³å¦ (ÙÇ µ³Ý ³Ý»É),
§Ë»Ýæ,
O
ÃÁժɳÝ-
§ß³ï¦, ùÉ¿-÷ ùÉ¿ª O
O
§ßï³å-
µÁëëáõÝ-µÁéÁ˹áõݪ §ß³ï Ù³ùáõñ¦, ÛOçáõñ-
ÙOçáõñª §ÍáõéáõÙáõé¦ (Û³ïϳå¿ëª
í³ñáõÝ·) »õ ³ÛÉÝ:
Üßáõ³Í ϳ½ÙáõÃÇõÝÝ»ñÇó µ³óÇ, ѳݹÇåáõÙ »Ý ݳ»õ µ³é³Ï³å³ÏóáõÃÇõÝÝ»ñ
»õ Ýϳñ³·ñ³Ï³Ý »Õ³Ý³Ïáí ³ñï³Û³Ûïáõ³Í Ó»õ»ñª ÁÝÏáõÏ µ»ñ³Ýª §³Õ-
ù³ï¦, OÝÑOÙ, OÝÅáõñ íOñÃOµÇ¹ §³ÝÑ»ï³ùñùÇñ ËûëáÕ¦, OË¿Ý-óOË¿Ý ËûëáÕª §ß³Õ³Ïñ³ï¦, ãáñë ÃÕÃÇ µ»ñáÕª §Ë³ñ¹³Ë¦, ÁéÁß¿ß ¿ÝÇɪ §í³ñ¹³í³éÇÝ çáõñ ÉóÝ»É ÙÇÙ»³Ýó íñ³Û¦, Ù³ï³Õ ³Ý»É // Ëáõñµ³Ý ·Á¹ñÇɪ §²ëïÍáõÝ ½áÑ Ù³ïáõó»É¦ »õ ³ÛÉÝ: î»Õ³ÝáõÝÝ»ñÁ »õ ëñµ»ñÇ ³ÝÓݳÝáõÝÝ»ñÁ ûùõáõÙ »Ý ³ ÛáÉáíÇãáí, ûñÇݳϪ ²ë¹í³Ó³Óݳ // ²ëí³Ó³Óݳ (=²ëïí³Í³ÍÝÇ)
»õ ³ÛÉÝ:
§Î³Õ³Ý¹¦, §³Ù³Ýáñ¦ µ³é»ñÇÝ áñå¿ë ÑáÙ³ÝÇß îÇ·ñ³Ý³Ï»ñïÇ µ³ñµ³éÝ áõÝÇ ÉûÉ¿ Ó»õÁ, áñÇ ÙÇ ï³ñµ»ñ³ÏÝ ¿ г½½áÛÇ ¹ûÉÙûÉÇ ³Ý³µ³ñ ͳ·áõÙ »Ý ɳïÇÝ»ñ¿Ý
µ³é³ÝáõÝÁ, áñáÝù ѳõ-
caloª §Ïáã»É¦ µ³ÛÇó:
¶áñͳÍáõû³Ý ۳׳˳ϳÝáõû³Ùµ ³é³ÝÓݳÝáõÙ ¿ ë³¹³Ý³ª §ë³ï³Ý³Û¦ µ³éÁ, áñÇ ÑáÙ³ÝÇßÝ ¿ Ã¿í ’Á£ ²Û¹ µ³éáí ¿ ϳ½Ùáõ³Í ÂáõñëÁ ù³Ñ³Ý³, Ý»ñëÁª ë³¹³Ý³
³ë³óáõ³ÍùÁ£
Ðá·»õáñ³Ï³ÝÇ ³ñï³Ñ³·áõëï ¿ Ý߳ݳÏáõÙ
Õ³µ³ // Õª³µ³
µ³éÁ, áñÇ
µ³ó³ïñáõÃÇõÝÝ ²×³é»³ÝÇ §²ñÙ³ï³Ï³ÝáõÙ¦ µáÉáñáíÇÝ ³ÛÉ ¿: Îñûݳ»Ï»Õ»ó»Ï³Ý µ³é³å³ß³ñÇ µ³Û»ñÝ áõÝ»Ý Ç, ³ // O, µ³Û³Ï³Ý ÉÍáñ¹áõÃÇõÝÝ»ñ. ÇÝãå¿ëª ËOãO·ÁÝùÇÉ, áñÇÝ ÑáÙ³ÝÇß ¿ ˳ã Ñ³Ý»É Û³ñ³¹ñáõÃÇõÝÁ, ¹Áí ÝÇÉ // Ëûë¹Áí³ÝÇɪ §Ëáëïáí³Ý»É¦, ·ÁÝùÇɪ §ÏÝù»É¦, O
çÁùÝÇɪ §×·Ý»É¦, ï»É¦,
ûÕûñÙÇɪ §áÕáñٻɦ,
áõñOÝOɪ §áõñ³Ý³É¦,
Ëûë-
í¹ÁÝ Éª §Ñ³õ³ï³É¦,
O
O
íOËçOÝÇɪ §í³Ë׳Ýáõ»É¦, áõ˹Çɪ §áõË-
ûÓ¿É // ûÓÇɪ §ûͻɦ,
ûñÝ¿É // ûñßÝÇɪ §ûñÑݻɦ,
µOß-
¹Çɪ §å³ßï»É¦ »õ ³ÛÉÝ£ ì»ñçÇÝ µ³ÛÁ ·áñͳÍõáõÙ ¿ ÙdzÛÝ ÏñûÝ³Ï³Ý ÇÙ³ëïáí£ Üßáõ³Í Û³ïϳÝÇßÝ»ñáí, ÇÝã Ëûëù, ã»Ý ë³Ñٳݳ÷³ÏõáõÙ îÇ·ñ³Ý³Ï»ñïÇ µ³ñµ³é³ÛÇÝ µ³é³å³ß³ñÇ ³é³ÝÓݳ۳ïÏáõÃÇõÝÝ»ñÁ: ì»ñÁ Ýßáõ³Í ÙÇ ù³ÝÇ Ï³ñ»õáñ ·Í»ñÁ
ËûëáõÙ »Ý µ³ñµ³éÇ ÇõñûñÇݳÏáõû³Ý Ù³ëÇÝ »õ µ³ó³Û³Ûïáõ٠ѳ-
Ûáó É»½áõÇ µ³ñµ³é³ÛÇÝ
ѳñáõëï µ³é³å³ß³ñÇ ÙÇ ß»ñïÁ ÙdzÛÝ:
îÇ·ñ³Ý³Ï»ñïÇ µ³ñµ³éÇ Ù³ëÇÝ ÁݹѳÝáõñ å³ïÏ»ñ³óáõ٠ϳ½Ù»ÉáõÝ Ïû·Ý»Ý ݳ»õ Ñ»ï»õ»³É µ³ñµ³é³ÛÇÝ ÝÙáõßÝ»ñÁ, áñáÝó ϳ½ÙáõÙ Ï³Ý ÏñûÝ³Ï³Ý ÇÙ³ëï ³ñï³Û³ÛïáÕ µ³é»ñ: ²ë¹ÁÓáõ µÇÛOÓ¿ ù¿É¿ ãÇ ¹OÝÇ (²ëïÍáõ å³Ñ³ÍÁ ·³ÛÉÁ ãÇ ï³ÝÇ): Ê¿ñ ¿ñ¿, ãáõñ¿ ÃOµÉ¿, óáõ·¿ ãÁ¹Áëݳ, ²ë¹í³Ó ·Á¹ÁëÝO (´³ñáõÃÇõÝ ³ñ³, çáõñÁ ·óÇñ, ÓáõÏÁ ãï»ëÝÇ, ²ëïáõ³Í Ïï»ëÝÇ):
îƶð²Ü غÌ
235
HELLENISTIC ART IN THE EPOCH OF TIGRANES THE GREAT
dialect of Tigranakert are not restricted by the above-described traits. Above mentioned several traits show the originality of the dialect and reveal only one layer of the rich dialect al lexicon of the Armenian language. Literature used: 1. Aghayan E. B. "General and Armenian Lexicology," Yerevan 1984, p. 372. 2. Aghayan E. B. "About the Issue of Origin of New Armenian Dialects" ("Historical-Philological Journal" 1958, 2). 3. Ajaryan Hr. "Armenian Provincial Dictionary," Tiflis, 1913. 4. Gurjinyan D. S. "Study of Religious-Ecclesiastical Linguistic Units," Holy Etchmiadzin, 2002. 5. "Dialectal Dictionary of the Armenian Language." Institute of Language of the National Academy of Sciences of the Republic of Armenia, vol. ²-Ÿ, Yerevan, 2001-2010. 6. Haneyan A. N. "The Dialect of Tigranakert," Yerevan, 1978. 7. Ghanalanyan A. "Collection of Armenian Proverbs," Yerevan, 1951. 8. Muradyan M. H. "Lexicology of Middle Armenian," Yerevan, 1972. 9. Petrosyan H. Z. "Armenological Dictionary," Yerevan, 1987. 10. Jahukyan G. B. "Introduction to the Armenian Lexicology," Yerevan, 1972, p. 348.
Translated from Armenian into English by L. Navasardyan
236
TIGRANES THE GREAT
¸¿ñ¹¿ñ Ç·O ëÁñ¹ûí, ¹¿ñ¹¿ñ Ç·O É¿½íûí, ¹¿ñ¹¿ñ É¿ Ç·O ÉOÿñûí Çñ ùûñÓ¿ ·Á¹Áëݳ (î¿ñï¿ñ Ï³Û ëñïáí, ï¿ñï¿ñ Ï³Û É»½áõáí, ï¿ñï¿ñ ¿É Ï³Û Ñ³·áõëïáí ¿ Çñ ·áñÍÁ ϳï³ñáõÙ): ¾Ý Ë¿ÉùûíÇà ¹OñÇÝ ¿ñ·áõ ÅáõÙ ½O¹Ç· ·¿ÝÇë (²Û¹ Ë»Éùáí¹ ï³ñÇÝ »ñÏáõ ³Ý·³Ù ½³ïÇÏ »ë ³ÝáõÙ): ÊáõÝ·¿ ¹áõÝ, ãOÙOÝ¿ª ÅOÙ (ѳݻÉáõϪ ÊáõÝÏÇó ïáõÝ, ã³Ù³ÝÇóª ųÙ): ØÇñ ÅOÙ¿ ÙþÇOùO, ùáõ ËáõÝ·ÇÃ, ÙáõÙÇà ùÁ½Ç ÃûÕ ÙÁÝO (¿Õݳ) (Ø»ñ »Ï»Õ»óÇÝ ÙÇ ·³, ùá ËáõÝÏÁ, ÙáÙ¹ ÃáÕ ù»½ ÙݳÛ): ²ë¹í³Ó Ùáõñ³¹Çà ǹO
(²ëïáõ³Í Ýå³ï³Ï¹ ϳï³ñÇ):
¸¿ñ¿ µÁÛ¿, ¹¿ñ¹¿ñ¿ µÁëë ·¿ (î¿ñÁ å³ÑÇ, ï¿ñï¿ñÁ åë³ÏÇ): O
²ÝÓ³· ÙOñùÁñǹ,
ÝûÉûñ ÿñó³Ý, ²ë¹í³Ó ·ÁßOñ¿, ÙOñÿ ·ÁùO·¿ (Ýáõé)
O
(ѳݻÉáõϪ ²é³Ýó ³ÝóùÇ Ù³ñ·³ñÇï, ãáÉáñáõ³Í ¹»ñÓ³Ý, ²ëïáõ³Í ß³ñáõÙ ¿, Ù³ñ¹Áª ù³Ý¹áõÙ): ²ëí³Ó í¿ñ¿Ý Çã¿óáõó, ÁÙÙÁÝáõÝ ·Áµóáõó (³ÝáõÝ) (ѳݻÉáõϪ ²ëïáõ³Í í»ñ»õÇó Çç»óñ»ó, µáÉáñÇÝ Ïåóñ»ó): ¾ñ·³Ý ¹¿ñ¹¿ñ, ßáõù ãáõÝÇ (·»ï) (ѳݻÉáõϪ ºñϳñ ï¿ñï¿ñ, ëïáõ»ñ ãáõÝÇ): öOÙ ÙÇ Ç·O, Û¿ë ·Á¹ÁëݳÙ, ÃáõÝ ·Á¹Áëݳë, ²ëí³Ó ãÇ ¹¿ëݳ (»ñ³½) (ѳݻÉáõϪ ØÇ µ³Ý ϳÛ,
»ë ï»ëÝáõÙ »Ù, ¹áõ ï»ëÝáõÙ »ë, ²ëïáõ³Í ãÇ ï»ëÝáõÙ):
ú·ï³·áñÍáõ³Í ·ñ³Ï³ÝáõÃÇõÝ 1.
²Õ³Û»³Ý ¾.´., ÀݹѳÝáõñ »õ ѳÛÏ³Ï³Ý µ³é³·ÇïáõÃÇõÝ, ºñ»õ³Ý, 1984,372 ¿ç£
2.
²Õ³Û»³Ý ¾.´., Üáñ ѳۻñ¿Ý µ³ñµ³éÝ»ñÇ ³é³ç³óÙ³Ý Ñ³ñóÇ ßáõñç, ä³ïÙ³-µ³Ý³ëÇ-
3.
²×³é»³Ý Ð.Ú., гۻñ¿Ý ·³õ³é³Ï³Ý µ³é³ñ³Ý, ÂÇýÉÇë, 1913£
4.
¶ÇõñçÇÝ»³Ý ¸. ê., Îñûݳ»Ï»Õ»ó³Ï³Ý É»½áõ³Ï³Ý ÙdzõáñÝ»ñÇ ùÝÝáõÃÇõÝ, ê. ¾çÙdzÍÇÝ,
ñ³Ï³Ý ѳݹ¿ë, 1958, N 2:
2002£ 5.
гÛáó É»½áõÇ µ³ñµ³é³ÛÇÝ µ³é³ñ³Ý, ÐÐ ¶²² É»½áõÇ ÇÝëïÇïáõï, ÑÑ. ²-¼, ºñ»õ³Ý,
6.
гݻۻ³Ý ².Ü., îÇ·ñ³Ý³Ï»ñïÇ µ³ñµ³éÁ, ºñ»õ³Ý, 1978£
7.
Գݳɳݻ³Ý ²., гÛÏ³Ï³Ý ³é³Í³ÝÇ, ºñ»õ³Ý, 1951£
8.
Øáõñ³¹»³Ý Ø. Ð., ØÇçÇÝ Ñ³Û»ñ¿ÝÇ µ³é³·ÇïáõÃÇõÝ, ºñ»õ³Ý, 1972£
9.
ä»ïñáë»³Ý Ð. ¼., гۻñ¿Ý³·Çï³Ï³Ý µ³é³ñ³Ý, ºñ»õ³Ý, 1987£
10.
æ³ÑáõÏ»³Ý ¶. ´., Ð³Û µ³ñµ³é³·Çïáõû³Ý Ý»ñ³ÍáõÃÇõÝ, ºñ»õ³Ý, 1972£
2001-2010£
îƶð²Ü غÌ
237
HELLENISTIC ART IN THE EPOCH OF TIGRANES THE GREAT
2
3
2.
MEDALLION WITH THE HIGH-RELIEF OF A GODDESS Second half of the 1st century BC, Sissian, “Princely” tomb Silver, gilt, diam. 8.0 cm History Museum of Armenia Inv. ¹ 2618-13
3.
MEDALLION WITH THE RELIEF OF AN EAGLE Second half of the 1st century BC, Sissian, “Princely” tomb Silver, gilt, diam. 8.2 cm History Museum of Armenia Inv. ¹ 2618-15
1
1.
238
STATUETTE OF A WOMAN (APHRODITE) nd st Late 2 century BC - early 1 century, Artashat Marble, 58x21x15 cm History Museum of Armenia Inv. ¹ 2706-37
TIGRANES THE GREAT
1. ÎÜàæ ²ðÒ²Ü §²üðà¸Æ ø.³. II ¹.í»ñç I ¹. ëÏǽµ, ²ñï³ß³ï Ù³ñÙ³ñ, 58x21x15 ë٠г۳ëï³ÝÇ å³ïÙáõû³Ý óݷ³ñ³Ý ÇÝí. ¹ 2706-37 2. غ¸²ÈÆàÜ ²êîàô²ÌàôÐàô ´²ðÒð²ø²Ü¸²Îàì ø.³. I ¹. »ñÏñáñ¹ Ï¿ë, êÇëdzÝ, §Æß˳ݳϳݦ ¹³Ùµ³ñ³Ý ³ñͳÃ` áëÏ»½ûÍ, ïñ.8,0 ë٠г۳ëï³ÝÇ å³ïÙáõû³Ý óݷ³ñ³Ý ÇÝí. ¹ 2618-13 3. غ¸²ÈÆàÜ ²ðÌàôÆ Ð²ð²ø²Ü¸²Îàì ø.³. I ¹. »ñÏñáñ¹ Ï¿ë, êÇëdzÝ, §Æß˳ݳϳݦ ¹³Ùµ³ñ³Ý ³ñͳÃ` áëÏ»½ûÍ, ïñ. 8,2 ë٠г۳ëï³ÝÇ å³ïÙáõû³Ý óݷ³ñ³Ý ÇÝí. ¹ 2618-15 4
5
6 îƶð²Ü غÌ
239
HELLENISTIC ART IN THE EPOCH OF TIGRANES THE GREAT
7
8
4.
TRAY nd st 2 - 1 centuries BC, Armavir Clay, 34.5x6 cm History Museum of Armenia Inv. ¹ 2256-7
8.
5.
FLASK rd nd 3 -2 centuries BC, Oshakan Clay, 28x29x22 cm History Museum of Armenia Inv. ¹ 2580-84
9. TETRADRACHM OF TIGRAN THE GREAT (95-55 BC) Silver, diam. 2.82, weight: 15.33 g History Museum of Armenia Inv. ¹ 18981-4
5.
PITCHER WITH THE PORTRAIT OF CARACALLA rd 3 century, Tigranakert Glass, 17.5x11.2 cm History Museum of Armenia Inv. ¹ 2709-4
10. TETRADRACHM OF TIGRAN THE GREAT (95-55 BC) Silver, diam. 2.9, weight: 16.42 g History Museum of Armenia Inv. ¹ 18215-6
7.
PHIAL 1st century, Lchashen Glass, 6.5x5 cm History Museum of Armenia, Inv. N 1306
240
TIGRANES THE GREAT
PHIAL WITH WOMEN’S PORTRAITS nd 2 century, Garni Glass, 10.3x6.6 cm History Museum of Armenia Inv. ¹ 1965-29
9
10
4. êÎàôîºÔ
8. êðàô²Î βܲòÆ ¸Æزø²Ü¸²Îܺðàì
ø.³. II - I ¹¹., ²ñÙ³õÇñ
II ¹³ñ, ¶³éÝÇ
ϳõ 34,5x6 ëÙ
³å³ÏÇ, 10,3x6,6 ëÙ
г۳ëï³ÝÇ å³ïÙáõû³Ý óݷ³ñ³Ý, ÇÝí. ¹ 2256-7
г۳ëï³ÝÇ å³ïÙáõû³Ý óݷ³ñ³Ý, ÇÝí. ¹ 1965-29
5. î²ö²ÞÆÞ ø.³. III - II ¹¹., ú߳ϳÝ
9. îºîð²¸ð²ÊزÚ
ϳõ, 28x29x22
îÇ·ñ³Ý Ø»Í (ø.³. 95 - 55)
г۳ëï³ÝÇ å³ïÙáõû³Ý óݷ³ñ³Ý
³ñͳÃ, îñ. 2,82, ù³ßÁ` 15,33 ·ñ
ÇÝí. ¹ 2580-84
г۳ëï³ÝÇ å³ïÙáõû³Ý óݷ³ñ³Ý, ÇÝí. ¹ 18981-4
6. ê³÷áñ γñ³Ï³É³ÛÇ ¹ÇÙ³ù³Ý¹³Ïáí III ¹., îÇ·ñ³Ý³Ï»ñï
10. îºîð²¸ð²ÊزÚ
³å³ÏÇ, 17,5x11,2 ëÙ
îÇ·ñ³Ý Ø»Í (ø.³. 95 - 55)
г۳ëï³ÝÇ å³ïÙáõû³Ý óݷ³ñ³Ý,
³ñͳÃ, ïñ. 2,9, ù³ßÁ` 16,42 ·ñ
ÇÝí. ¹ 2709-4
г۳ëï³ÝÇ å³ïÙáõû³Ý óݷ³ñ³Ý ÇÝí. ¹ 18215-6
7. êðàô²Î I ¹., È×³ß¿Ý ³å³ÏÇ, 6,5x5 ë٠г۳ëï³ÝÇ å³ïÙáõû³Ý óݷ³ñ³Ý, ÇÝí. ¹ 1306 îƶð²Ü غÌ
241
HELLENISTIC ART IN THE EPOCH OF TIGRANES THE GREAT
11
12
11. DRACHM OF TIGRAN THE GREAT (95-55 BC) Silver, diam. 1.9, weight: 4.05 g History Museum of Armenia Inv. ¹ 17431-3
11. ¸ð²ÊزÚ
12. DRACHM OF ARTAVAZD II (55-34 BC) Silver, diam. 1.83, weight: 4.04 g History Museum of Armenia Inv. ¹ 17824-54
12. ¸ð²ÊزÚ
242
îÇ·ñ³Ý Ø»Í (ø.³ 95-55) ³ñͳÃ, ïñ.1,9, ù³ßÁ` 4,05 ·ñ г۳ëï³ÝÇ å³ïÙáõû³Ý óݷ³ñ³Ý ÇÝí. ¹ 17431-3
²ñï³õ³½¹ ´
(ø.³ 55-34)
³ñͳÃ, ïñ. 1,83á ù³ßÁ` 4,04 ·ñ г۳ëï³ÝÇ å³ïÙáõû³Ý óݷ³ñ³Ý ÇÝí. ¹ 17824-54 TIGRANES THE GREAT
ÜÆÎàÈ²Ú ÚàìвÜÜÆ꺲Ü
îƶð²Ü غÌÀ ºô вÚÎ²Î²Ü Î²ÚêðàôÂÆôÜÀ ²ð²´²Î²Ü IJزܲβÎÆò ä²îز¶Æîàôº²Ü ؾæ
²ñ³µ³·Çïáõû³Ý
Ù³ñ½áõÙ Ù»ñ ßáõñç Ï¿ë¹³ñ»³Û áõëáõÙݳëÇñáõÃÇõÝÝ»-
ñÁ µ³ó³Û³Ûï»É »Ý ÙÇ Ï³ñ»õáñ ûñÇݳã³÷áõÃÇõÝ: Ð³Û ÅáÕáíñ¹Ç å³ïÙáõû³Ý ÷áõÉ»ñÁ, áñáÝù` ¹³ñ³Ï³½ÙÇÏ Ï³Ù ßñç³¹³ñÓ³ÛÇÝ Ý߳ݳÏáõÃÇõÝ »Ý áõÝ»ó»É, ³Ûë ϳ٠³ÛÝ ã³÷áí Çñ»Ýó ³ñï³óáÉáõÙÝ »Ý ·ï»É ³ñ³µ³Ï³Ý å³ïÙ³·Çïáõû³Ý Ù¿ç: ²Ýßáõßï, ¹³ áõÝÇ Çñ ¹ñ¹³å³ï׳éÝ»ñÁ »õ å³Ûٳݳõáñáõ³Í ¿ ÙÇ ß³ñù ѳݷ³Ù³ÝùÝ»ñáí, áñáÝóÇó ³Ûëï»Õ Ïó³ÝϳݳÛÇÝù ³é³ÝÓݳóÝ»É »ñÏáõëÁ, áñáÝù, Ù»ñ ϳñÍÇùáí, áõÝ»Ý ³é³Ýóù³ÛÇÝ Ý߳ݳÏáõÃÇõÝ: ²é³çÇÝÁ` »ñÏáõ ÅáÕáíáõñ¹Ý»ñÇ Ñ³ñ»õ³Ý ÉÇÝ»Éáõ ѳݷ³Ù³ÝùÝ ¿: г۳ëï³ÝÁ »õ ³ñ³µ³Ï³Ý »ñÏñÝ»ñÁ ³ß˳ñѳ·ñ³Ï³Ýûñ¿Ý å³ïϳÝáõÙ »Ý ÙÇ»õÝáÛÝ ï³ñ³Í³ßñç³ÝÇÝ, áñÁ å³ïÙáõû³Ý Ù¿ç Û³ÛïÝÇ ¿ ²é³ç³õáñ ²ëdz, ÇëÏ Ù»ñ ûñ»ñáõÙ ³õ»ÉÇ ß³ï Ø»ñÓ³õáñ ²ñ»õ»Éù ³Ýáõ³Ùµ: î³ñ³Í³ßñç³Ý, áñÁ ÑÝáõó Ç í»ñ »Õ»É áõ ß³ñáõݳÏáõÙ ¿ ÙÝ³É Ñ³Ù³ß˳ñѳÛÇÝ ù³Õ³ù³Ï³Ýáõû³Ý »õ å³ïÙ³Ï³Ý Ï³ñ»õáñ ½³ñ·³óáõÙÝ»ñÇ Ï»ÝÏñûÝ, ÅáÕáíáõñ¹Ý»ñÇ, ÏñûÝÝ»ñÇ, ï³ñ³µÝáÛà ׷ݳųÙÝ»ñÇ, Çñ³¹³ñÓáõÃÇõÝÝ»ñÇ áõ ¹¿åù»ñÇ ÙÇ µ³ó³éÇÏ Ë³éݳñ³Ý: ²Û¹ï»Õ ¿É §»÷áõ»É¦ ¿ ï³ñ³Í³ßñç³ÝÇ µáÉáñ ÅáÕáíáõñ¹Ý»ñÇ å³ïÙáõÃÇõÝÁ, ÅáÕáíáõñ¹Ý»ñ, áñáÝó ÙÇ Ù³ëÁ í³Õáõó »õ ³Ýí»ñ³¹³ñÓûñ¿Ý ³ÝÑ»ï³ó»É ¿ å³ïÙáõû³Ý óï»ñ³µ»ÙÇó, ÇÝãå¿ë ßáõÙ»ñÝ»ñÁ, ³ëáñ»ëï³ÝóÇÝ»ññ, ³ù³¹Ý»ñÁ, ˻ûñÁ, ËáõñÇÝ»ñÁ »õ ³ÛÉÝ, ÇëÏ ÙÇõë Ù³ëÁ ß³ñáõݳÏáõÙ ¿ Çñ å³ïÙ³Ï³Ý »ñÃÁ: ²Ûë í»ñçÇÝÝ»ñÇ ß³ñùÇÝ »Ý å³ïϳÝáõÙ ³ñ³µÝ»ñÁ »õ ѳۻñÁ, áñáÝó å³ïÙáõÃÇõÝÁ ¹³ñ»ñÇ ÁÝóóùáõÙ µ³½ÙÇóë ˳ã³Ó»õáõ»É ¿: Üñ³Ýù »ñµ»ÙÝ Û³ÛïÝáõ»É »Ý ѳÛÏ³Ï³Ý å»ïáõû³Ý ϳ½ÙáõÙ, ÇÝãå¿ë Ù.Ã.³. I ¹³ñáõÙ` îÇ·ñ³Ý Ø»ÍÇ Ï³Ûëñáõû³Ý ßñç³ÝáõÙ, »ñµ»ÙÝ ³ñ³µ³Ï³Ý å»ïáõû³Ý ϳ½ÙáõÙ` VII-IX ¹³ñ»ñáõÙ (ÝϳïÇ áõÝ»Ýù ²ñ³µ³Ï³Ý ˳ÉÇý³ÛáõÃÇõÝÁ), ³å³ ÙdzëÇÝ` XVI-XVII ¹³ñ»ñÇó ÙÇÝã»õ 1918Ã.` úëٳݻ³Ý ϳÛëñáõû³Ý Ù³ëÝ »Ý ϳ½Ù»É: ì»ñáß³ñ³¹ñ»³ÉÁ Ëáñ Ñ»ïù ¿ ÃáÕ»É »ñÏáõ ÅáÕáíáõñ¹Ý»ñÇ å³ïÙ³Ï³Ý ÛÇßáÕáõû³Ý Ù¿ç, Ýñ³Ýó ·ñ³õáñ ³ÕµÇõñÝ»ñáõÙ »õ ÝÇõÃ³Ï³Ý Ùß³ÏáÛÃÇ Ûáõß³ñÓ³ÝÝ»ñáõÙ: ºñÏñáñ¹Á` ѳۻñÇ »õ г۳ëï³ÝÇ ³é³ç³õáñ³ëÇ³Ï³Ý Ï³Ù Ù»ñÓ³õáñ³ñ»õ»É»³Ý ï³ñ³Í³ßñç³Ý³ÛÇÝ ·áñÍûÝ ÉÇÝ»ÉÝ ¿, áñÁ, ³é³Ýó ã³÷³½³Ýóáõû³Ý, Çñ áñáß³ÏÇ ¹»ñ³Ï³ï³ñáõÙÝ ¿ áõÝ»ó»É å³ïÙ³Ï³Ý µáÉáñ ¹³ñ³ßñç³ÝÝ»ñáõÙ: ¸³ ÙÇ ·áñÍûÝ ¿ »Õ»É, áñÁ Ñݳñ³õáñ ã¿ñ ³Ýï»ë»É: ¸ñ³ Ñ»ï ѳßáõÇ »Ý Ýëï»É ųٳݳÏÇ Ñ³Ù³ñ»³ µáÉáñ ·»ñï¿ñáõÃÇõÝÝ»ñÁ, ÇÝãå¿ë` ÐéáÙ¿³Ï³Ý ϳÛëñáõÃÇõÝÁ,
îƶð²Ü غÌ
243
IMAGE OF TIGRANES THE GREAT IN ARMENOLOGY
NIKOLAI HOVHANISYAN
TIGRAN THE GREAT AND THE ARMENIAN EMPIRE IN MODERN ARABIC HISTORIOGRAPHY
Our fifty years long investigations in the field of Arabic studies allowed us establishing an important fact. All the stages of the Armenian people history which were significant or meant a turning point were reflected in some way or other in the Arabic historiography. Of course, this fact has its reasons and is motivated by a series of circumstances, out of which we would like to mention here only two which have, on our opinion, primordial importance. The first one is the neighborhood of the two people. Armenia and Arabic countries are geographically belonging to the same region known in the history as Asia Anterior, but now as the Near East. This region has always been and remains a center of world policy and historical important developments, an exceptional mixing place of nations, religions, diverse crises, events and situations. The history of all the region nations was mixed up here; some of these nations, as Sumerians, Assyrians, Akkadians, Hittites, Hurrians and so on, have long ago quitted the historical arena, while others continue their historical course. Among the latter one can cite Armenians and Arabs whose history has many times intersected during centuries. They were sometimes part of an Armenian state, as it was at the epoch of Tigran the Great in the 1st century B.C., sometimes part of an Arabic state in the 7th - 9th centuries (we mean the Arab Caliphate), or together parts of the Ottoman Empire from the 16th -17th centuries until 1918. The abovementioned has left a deep trace in the historical memory of both nations, as well as in their written sources and monuments of material culture. The second one is that Armenia and Armenians have been a factor in the Micro-Asiatic or Near-Eastern region, a factor which, without any exaggeration, had its specific role in all historical epochs. That was a factor which could not be ignored. It was taken into account by nearly all the great states of the time, as the Roman and the Parthian Empires, the Arab Caliphate and the Byzantine Empire. Thus, Arabic historiography periodically mentioned Armenians, Armenia and, in general, Armenian events in the periods of time in which the political and military significance of Armenia wasn't exclusively limited by Armenian frames, but had a regional role. The interest of Arabic historiography towards Armenia and Armenian reality seriously increased for the first time in the 9th century, when Arabic 244
TIGRANES THE GREAT
ä³ñûõëï³ÝÁ, ²ñ³µ³Ï³Ý ˳ÉÇý³ÛáõÃÇõÝÁ »õ ´Çõ½³Ý¹³Ï³Ý ϳÛëñáõÃÇõÝÁ: àõëïÇ, ³ñ³µ³Ï³Ý å³ïÙ³·ñáõÃÇõÝÁ å³ñµ»ñ³µ³ñ ³Ý¹ñ³¹³ñÓ»É ¿ ѳۻñÇÝ, г۳ëï³ÝÇÝ »õ, ÁݹѳÝñ³å¿ë, ѳÛÏ³Ï³Ý ÝÇõÃÇÝ, áñÁ í»ñ³µ»ñáõÙ ¿ å³ïÙ³Ï³Ý ³ÛÝ Å³Ù³Ý³Ï³Ñ³ïáõ³ÍÝ»ñÇÝ, »ñµ г۳ëï³ÝÇ é³½Ù³ù³Õ³ù³Ï³Ý Ý߳ݳÏáõÃÇõÝÁ ãÇ ë³Ñٳݳ÷³Ïáõ»É ½áõï ѳÛÏ³Ï³Ý ßñç³Ý³ÏÝ»ñáí, ³ÛÉ áõÝ»ó»É ¿ ï³ñ³Í³ßñç³Ý³ÛÇÝ ¹»ñ³Ï³ï³ñáõÙ: г۳ëï³ÝÇ »õ ѳÛÏ³Ï³Ý ÇñáÕáõÃÇõÝÝ»ñÇ Ýϳïٳٵ ³ñ³µ³Ï³Ý å³ïÙ³·Çï³Ï³Ý Ñ»ï³ùñùñáõû³Ý ³é³çÇÝ Éáõñç µéÝÏáõÙÁ ï»ÕÇ áõÝ»ó³õ IX ¹³ñáõÙ, »ñµ Ó»õ³õáñáõ»ó ³ñ³µ³Ï³Ý ¹³ë³Ï³Ý å³ïÙ³·ÇïáõÃÇõÝÁ, »õ Ýñ³Ý Û³çáñ¹³Í ¹³ñ»ñáõÙ: ²ñ³µ å³ïÙÇãÝ»ñÁ »õ ³ß˳ñѳ·ñ³·¿ïÝ»ñÁ ãë³Ñٳݳ÷³Ïáõ»óÇÝ ëáëÏ ë»÷³Ï³Ý å³ïÙáõû³Ý ѳñó»ñÇ áõëáõÙݳëÇñáõû³Ùµ áõ Éáõë³µ³Ýáõû³Ùµ, ³ÛÉ»õ Çñ»Ýó ѳۻ³óùÁ Ý»ï»óÇÝ Çñ»Ýó ßñç³å³ïáÕ »ñÏñÝ»ñÇ áõ ÅáÕáíáõñ¹Ý»ñÇ ³Ýó»³É »õ ųٳݳϳÏÇó å³ïÙáõû³Ý íñ³Û, Ó·ï»Éáí ³õ»ÉÇ ËáñÁ ѳëÏ³Ý³É ë»÷³Ï³Ý å³ïÙáõÃÇõÝÁ` ß³Õϳåáõ³Í ³ÝÙÇç³Ï³Ý, Ù»ñÓ³õáñ áõ Ñ»é³õáñ ѳñ»õ³ÝÝ»ñÇ å³ïÙáõû³Ý Ñ»ï: Üñ³Ýó ï»ë³¹³ßïáõÙ ³ÝÙÇç³å¿ë Û³ÛïÝáõ»ó г۳ëï³ÝÁ: سݳõ³Ý¹ áñ IX ¹³ñÁ, Ù³ëݳõáñ³å¿ë Ýñ³ »ñÏñáñ¹ Ï¿ëÁ, ßñç³¹³ñÓ³ÛÇÝ å³Ñ »Õ³õ г۳ëï³ÝÇ å³ïÙáõû³Ý Ù¿ç, »ñµ í»ñçÇÝë ϳñáÕ³ó³õ ¹áõñë ·³É ²µµ³ë»³Ý ˳ÉÇý³Ûáõû³Ý ϳ½ÙÇó »õ í»ñ³Ï³Ý·Ý»É Çñ å»ï³Ï³ÝáõÃÇõÝÝ áõ ³ÝϳËáõÃÇõÝÁ: ´³Õ¹³¹Á ׳ݳã»ó ´³·ñ³ïáõÝ»³ó г۳ëï³ÝÇ ³ÝϳËáõÃÇõÝÁ »õ ˳ÉÇý³Û ØáõóÙǹÁ ³ñù³Û³Ï³Ý ó· áõÕ³ñÏ»ó ѳÛáó ³ñù³Û ²ßáï I ´³·ñ³ïáõÝáõÝ: г۳ëï³ÝÇ »õ ѳۻñÇ, Ýñ³Ýó å³ïÙáõû³Ý, ³ß˳ñѳ·ñáõû³Ý, ïÝï»ëáõû³Ý, ù³Õ³ùÝ»ñÇ áõ µÝ³Ï³í³Ûñ»ñÇ, Ï»Ýó³ÕÇ áõ ëáíáñáÛÃÝ»ñÇ Ù³ëÇÝ Çñ»Ýó »ñϳëÇñáõÃÇõÝÝ»ñáõÙ »õ áõÕ»·ñáõÃÇõÝÝ»ñáõÙ Ù»Í ï»Õ »Ý Û³ïϳóñ»É ÙÇçݳ¹³ñ»³Ý ³ñ³µ å³ïÙÇãÝ»ñ ´³É³½áõñÇÝ, ³µ³ñÇÝ, ÆµÝ ³É-²ëÇñÁ, سëáõ¹ÇÝ, سùñǽÇÝ, ÆµÝ Þ³¹³¹Á, ²µáõÉ üǹ³Ý, ³É- ¸Çݳõ³ñÇÝ, ³ß˳ñѳ·ñ³·¿ïÝ»ñ` º³Ïáõï ³É- гٳõÇÝ, ƵÝ- ´³ïáõï³Ý, ÆµÝ Êáñ¹³¹µ»ÑÁ, ÆµÝ ³É-ü³ÏÇÑÁ, ÆµÝ Ð³õù³ÉÁ, ÆëóËñÇÝ »õ ß³ï áõñÇßÝ»ñ: Üñ³Ýó ÃáÕ³Í ·ñ³Ï³Ý ųé³Ý·áõû³Ý ÙÇ Ù³ëÝ áõëáõÙݳëÇñ»É »õ ³ñ³µ»ñ¿ÝÇó ѳۻñ¿Ý »Ý óñ·Ù³Ý»É ³Ï³¹»ÙÇÏáë Ð. 1
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². î¿ñ-Ô»õáݹ»³ÝÁ »õ ³ÛÉù: ÜÙ³Ý »ñ»õáÛÃÝ»ñ Ýϳïáõ»É »Ý ݳ»õ ۻﳷ³Û ¹³ñ»ñáõÙ, Ù³ëݳõáñ³å¿ë, XIX ¹. Ï¿ë»ñÇÝ, XX ¹. ëϽµÝ»ñÇÝ »õ ³ÛÉÝ: ê³1. ƵÝ-Ç ´³ïáõï³. ù³Õ»ó »õ óñ·Ù³Ý»ó Ð. ²×³é»³ÝÁ. ºñ»õ³Ý 1940: 2. ÆåÝ Ê³ÉÉÇù³Ý. ì»ý¿ ³Ã ¿É ²³»³Ý (²ÝÑ»ï³ó³Í »ñ»õ»ÉÇÝ»ñ), óñ·Ù. ¶. ØÁëÁñÉ»³Ý, γÑÇñ¿ 1935: 3. ²ñ³µ³Ï³Ý ³ÕµÇõñÝ»ñÁ г۳ëï³ÝÇ »õ ѳñ»õ³Ý »ñÏñÝ»ñÇ Ù³ëÇÝ, º³Ïáõï ³É- гٳõÇ, ²µáõÉ-üǹ³, ÆµÝ Þ³¹³¹, ϳ½Ù»ó Ð. Â. ܳɵ³Ý¹»³ÝÁ, ºñ»õ³Ý 1965: 4. ². î¿ñ- Ô»õáݹ»³Ý. ÆµÝ ³É-²ëÇñ, ºñ»õ³Ý.1981, ÝáÛÝÇ` ²ñ³µ³Ï³Ý ³ÕµÇõñÝ»ñ. ¶. ²ñ³µ Ù³ï»Ý³·ÇñÝ»ñ, Â-Ä ¹³ñ»ñ. Ü»ñ³ÍáõÃÇõÝÁ »õ µÝ³·ñ»ñÇó óñ·Ù³ÝáõÃÇõÝÝ»ñÁ å³ïÙ³Ï³Ý ·ÇïáõÃÇõÝÝ»ñÇ ¹áÏïáñ, åñáý»ëáñ ². î¿ñ- Ô»õáݹ»³ÝÇ, ºñ»õ³Ý.2005: ²Û¹ í»ñçÇÝ ³ß˳ïáõÃÇõÝÁ å³ñáõݳÏáõÙ ¿ ѳïáõ³ÍÝ»ñ ³ñ³µ 8 å³ïÙÇãÝ»ñÇ »õ 11 ³ß˳ñѳ·ñ³·¿ïÝ»ñÇ ³ß˳ïáõÃÇõÝÝ»ñÇó: 5. î»ë` Ü. ÚáíѳÝÝÇ뻳ÝÇ . гÛáó ó»Õ³ëå³ÝáõÃÇõÝÁ ³ñ³µ³Ï³Ý å³ïÙ³·Çïáõû³Ý ùÝÝ³Ï³Ý ÉáÛëÇ Ý»ñùáÛ, ºñ»õ³Ý 2004. N. Hovhannisyan. Arab Historigraphy on the Armenian Genocide. Yerevan, 2005
ϳÛÝ ³Û¹ µÝ³·³õ³éáõÙ Ýáñ ¿ç µ³óáõ»ó XX ¹. Ï¿ë»ñÇÝ, »ñµ Èǵ³Ý³ÝáõÙ, êÇñdzÛáõÙ, º·ÇåïáëáõÙ, Æñ³ùáõÙ áõ ä³Õ»ëïÇÝáõÙ Ù¿ÏÁ ÙÇõëÇ Û»ï»õÇó ëÏë»óÇÝ ÉáÛë ï»ëÝ»É ³ñ³µ Ñ»ÕÇݳÏÝ»ñÇ Ù»Ý³·ñ³Ï³Ý áõëáõÙݳëÇñáõÃÇõÝÝ»ñÁ »õ Ûû¹áõ³ÍÝ»ñÁ` ÝáõÇñáõ³Í Ñ³Û ÅáÕáíñ¹Ç å³ïÙáõû³ÝÝ áõ ѳÛ-³ñ³µ³Ï³Ý ù³Õ³ù³Ï³Ý áõ å³ïÙ³Ùß³ÏáõóÛÇÝ Û³ñ³µ»ñáõÃÇõÝÝ»ñÇÝ: ì»ñçÇÝ ÙÇ ù³ÝÇ ï³ëݳٻ³ÏÝ»ñÇ ÁÝóóùáõÙ ³ñ³µ Ñ»ÕÇݳÏÝ»ñÇ µáõéÝ Ñ»ï³ùñùñáõÃÇõÝÁ Ñ³Û ÅáÕáíñ¹Ç å³ïÙáõû³Ý Ýϳïٳٵ Ù»½ ÑÇÙù ¿ ïáõ»É »½ñ³Ï³óÝ»Éáõ, áñ ³Ûëûñ Ù»ñ ³ãùÇ ³éç»õ Ó»õ³õáñõáõÙ ¿ ³ñ³µ³Ï³Ý ѳ۳·ÇïáõÃÇõÝÁ: ²ñ³µ å³ïÙ³µ³ÝÝ»ñÝ Çñ»Ýó ٻݳ·ñ³Ï³Ý áõëáõÙݳëÇñáõÃÇõÝÝ»ñáõÙ »õ Ûû¹áõ³ÍÝ»ñáõÙ ³Ý¹ñ³¹³éÝáõÙ »Ý ÇÝãå¿ë Ñ³Û ÅáÕáíñ¹Ç å³ïÙáõû³ÝÝ ³ÙµáÕçáõû³Ùµ, ³ÛÝå¿ë ¿É Ýñ³ å³ïÙ³Ï³Ý ³é³ÝÓÇÝ Å³Ù³Ý³Ï³ßñç³ÝÝ»ñÇÝ Ï³Ù ¹ñáõ³·Ý»ñÇÝ: ²Û¹ ³éáõÙáí Ïó³ÝϳݳÛÇÝù Û³ïáõÏ Ýᯐ ³ñ³µ Ñ»ÕÇݳÏÝ»ñÇ Ý»ñ¹ñáõ5
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²Ñ³ ³Ûë ÝáÛÝ Ùûï»óáõÙÝ»ñÇ Ñ³Ù³ï»ùëïáõÙ å¿ïù ¿ ¹Çï³ñÏ»É áõ ùÝݳñÏ»É Ý³»õ ųٳݳϳÏÇó ³ñ³µ å³ïÙ³µ³ÝÝ»ñÇ ³Ý¹ñ³¹³ñÓÁ ѳÛáó ³ñù³ÛÇó ³ñù³Û îÇ·ñ³Ý Ø»ÍÇ ·áñÍáõÝ¿áõû³ÝÁ »õ Ýñ³ ÑÇÙÝ³Í Ñ³ÛÏ³Ï³Ý Ï³Ûëñáõû³Ý îƶð²Ü غÌ
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IMAGE OF TIGRANES THE GREAT IN ARMENOLOGY
classic historiography was formed, and in the following centuries. Arab historians and geographers didn't limit themselves to the study and narration of the issues of their own history, but paid attention to the past and present history of neighboring countries and people, whishing to better understand their own history in its connections with the history of their immediate, near and far neighbors. It was then that their attention focused on Armenia, even more in the 9th century and especially in its second half, as a turning point occurred in the Armenian history and Armenia managed to liberate herself from the Abbasids' Caliphate yoke and restore her independence and sovereignty. Baghdad recognized the Bagratid Kingdom's independence and Caliph Mutamid sent a royal crown to Armenian king Ashot I Bagratid. Medieval Arab historians Balazuri, Tabari, Ibn al-Asir, Masudi, Maqrizi, Ibn Shaddad, Abul Fida and al-Dinawari, as well as geographers Yakut alHamawi, Ibn Battuta, Ibn Khordadbeh, Ibn al-Faqih, Ibn Hawkal, Istakhri and many others devoted numerous pages of their works to Armenia and Armenians, their history, geography, economy, towns and population, as well as their way of life and customs. A part of their literary inheritance was stud1 2 ied and translated into Armenian by academician H. Ajarian , G. Msrlian , H. 3 4 Nalbandian , A. Ter-Ghevondian and others. Such interest was noticed in the following centuries, too, especially in the middle of the 19th century and the beginning of the 20th. Nevertheless a new page was opened in this field in the middle of the 20th century when monographic studies and articles of Arab authors, devoted to the history of Armenian people and Armenian-Arabic political, historical and cultural relations, were published one after another in Lebanon, Syria, Egypt, Iraq and Palestine. The high interest of Arab authors towards the history of Armenian people during the recent decades allows concluding that right now Armenian studies are being developed in Arabic countries. In their monographic investigations and articles Arab authors study either Armenian history as a whole or diverse epochs or episodes of it. In this regard we should like to mention the 5 contribution of Arab authors to the study of the Armenian genocide of 1915 . The retrospective look of Arab modern historians on the activities of Armenian King of kings Tigran the Great and the role of the empire founded by him in the geopolitical region of the Near East must be studied and discussed precisely in this context. In this respect attention must be paid espe6 7 cially to the works by Fuad Hassan Hafiz , Marwan al-Mudawar , Samir 8 9 10 11 Arbash , Usman al-Turk , Salih Zahr al-Din , Umar al-Daqaq and others. They mention nearly all the aspects of Tigran the Great's activities. There isn't any more or less important issue connected with the internal or foreign policy of the Armenian king which escapes their attention. Modern Arab historians pay much attention to the periodicity of Armenian history. Tigran the Great is the main criteria for them while discussing the periodicity of Armenians' Antic epoch issues. Egyptian historian Fuad Hassan Hafiz and Syrian historian Marwan al-Mudawar especially mention this in their works and pay special attention to it. They begin the study of Tigran the Great's epoch by enlightening this very issue. In his voluminous work The History of the Armenian People from the Beginning to our Days (576 pages), Fuad Hassan Hafiz divides the Antic history of the Armenian peo246
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1. Ibn-i Battuta, selected and translated by H. Ajarian, Yerevan, 1940. 2. Ibn Khalliqan, Vefeyat el Aayean (Disappeared Worthies), translated by G. Msrlian, Cairo, 1935. 3. Arabic Sources Speaking about Armenia and Neighboring Countries, Yakut al-Hamawi, AbulFida, Ibn Shaddad, compiled by H.T. Nalbandian, Yerevan, 1965. 4. Ter-Ghevondian, Ibn al-Asir, Yerevan, 1981; Item, Arabic Sources: III Arabic Authors of the 9th 10th Centuries; Introduction and translation from the original by Professor A. Ter-Ghevondian. Ph.D., Yerevan, 2005. The last work contains extracts from the works of eight Arab historians and eleven geographers. 5. See N. Hovhannisyan, Arab Historiography on the Armenian Genocide, Yerevan, 2004 (in Armenian); N. Hovhannisyan, Arab Historiography on the Armenian Genocide, Yerevan, 2005. 6. Fuad Hassan Hafiz, Tarikh al-chaabi al-Armani munzi badayati hatta al-yaum (in Arabic). The History of the Armenian People from the Beginning to our Days, Cairo, 1986. 7. Marwan al-Mudawar, Al-arman abra al-tarikh (in Arabic). Armenians in the Course of History, Beirut, 1982. 8. Samir Arbash, Arminiya, art va chaab (in Arabic). Armenia, the Land and the People, Beirut, 1999. 9. Usman al-Turk, Safahat min tarikhi al-umma alarmaniya (in Arabic). Pages from the Armenian Nation's History, Aleppo, 1960. 10. Salih Zahr al-Din, Al-Arman chaab va kadiya (in Arabic). The Armenian People and Problem, Beirut, 1988. 11. Umar al-Daqaq, Tarikh Arminiya, Al-Arman fi dariati al-maarif al-islamiya, (in Arabic). Armenians in the Islamic Encyclopedia, IV, Cairo, 1969.
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û³Ý Ù¿ç ³é³çÇÝ ³Ý·³Ù ÛÇß³ï³ÏõáõÙ ¿ ³É-²ñÙÇÝÇ»³Ý¦ : ²ñ³µ å³ïÙ³µ³ÝÁ, Û»Ýáõ»Éáí Øáíë¿ë Êáñ»Ý³óáõ íñ³Û, áñÇÝ Ý³ ѳٳñáõÙ ¿ §Ð³ÛÏ³Ï³Ý Ð»ñá6. üáõ³¹ гë³Ý гýǽ. ³ñÇË ³É- ã³³µÇ ³É- ³ñÙ³ÝÇ ÙáõÝ½Ç µ³¹³Û»³ÃÇ Ñ³Ãó ³É-»³áõÙ (³ñ³µ»ñ¿Ý), Ð³Û ÅáÕáíñ¹Ç å³ïÙáõÃÇõÝÁ ëϽµÇó ÙÇÝã»õ Ù»ñ ûñ»ñÁ, γÑÇñ¿ 1986: 7. سÑáõ³Ý ³É-Øáõ¹³õ³ñ, ²É-³ñÙ³Ý ³µñ³ ³ÉóñÇË (³ñ³µ»ñ¿Ý). гۻñÁ å³ïÙáõû³Ý ÁÝóóùáõÙ, ´¿ÛñáõÃ,1982: 8. ê³ÙÇñ ²ñµ³ß, ²ñÙÇÝÇ»³. ³ñï í³ ã³³µ (³ñ³µ»ñ¿Ý), г۳ëï³Ý. Ñáõ »õ ÅáÕáíáõñ¹, ´¿ÛñáõÃ, 1991: 9. àõëÙ³Ý ³É-Âáõñù. ê³ý³Ñ³Ã ÙÇÝ Ã³ñÇËÇ ³ÉáõÙÙ³ ³É-³ñÙ³ÝÇ»³ (³ñ³µ»ñ¿Ý), ¾ç»ñ Ñ³Û ³½·Ç å³ïÙáõÃÇõÝÇó, гɻµ, 1960: 10. ê³ÉÇÑ ¼³Ññ ³É- ¸ÇÝ ²É-²ñÙ³Ý ã³³µ í³ Ï³¹Ç»³ (³ñ³µ»ñ¿Ý), г۳ëï³Ý ÅáÕáíáõñ¹ »õ åñáµÉ»Ù, ´¿ÛñáõÃ, 1988: 11. àõÙ³ñ ³É-¸³Ï³Ï. ³ñÇË ²ñÙÇÝÇ»³- ²É-²ñÙ³Ý ýÇ ¹³ñdzÃÇ ³É-Ù³³ñÇý ³É-ÇëɳÙÇ»³ÃÇ (³ñ³µ»ñ¿Ý), г۳ëï³ÝÇ å³ïÙáõÃÇõÝÁ-гۻñÁ ÆëÉ³Ù³Ï³Ý Ñ³Ýñ³·Çï³ñ³ÝáõÙ, IV,γÑÇñ¿ 1969: 12. üáõ³¹ гë³Ý гýǽ. Ýßáõ³Í ³ßË., ¿ç 21-29 13. ÜáÛÝ ï»ÕáõÙ, ¿ç 22: гýÇ½Ý ³Û¹ ÝáÛÝ ï»ÕáõÙ Ù³ïݳÝßáõÙ ¿, áñ §Ü³ÇñÇÝ Ñ³Û»ñÇ Ñ³Ù³ñ ÏáãõáõÙ ¿ñ г۳ëï³Ý¦ 14. ÜáÛÝ ï»ÕáõÙ, ¿ç 23: 15. ÜáÛÝ ï»ÕáõÙ, ¿ç 30-37: 16. ÜáÛÝ ï»ÕáõÙ, ¿ç 38-44:
¹áïáë¦, ѳÏÇñ× ï³ÉÇë ¿ гÛÏÇ å³ïÙáõÃÇõÝÁ, Ýñ³ å³ï»ñ³½ÙÁ ´»ÉÇ (´³³É) ¹¿Ù, ï³ñ³Í Û³ÕóݳÏÁ »õ ³ÛÉÝ: ´³ÅÇÝÝ ³õ³ñïõáõÙ ¿ ²É»ùë³Ý¹ñ سϻ¹áݳóáõÝ »õ ê»É»õÏ»³ÝÝ»ñÇÝ í»ñ³µ»ñáõáÕ å³ïÙáõû³Ùµ, Ù.Ã.³.190Ã. г۳ëï³ÝÇ ³ÝϳËáõû³Ý í»ñ³Ï³Ý·ÝáõÙáí, ²ñï³ßÇë»³Ý ¹ÇݳëïdzÛÇ Ñ³ëï³ïáõÙáí »õ ²ñï³ß»ë I-Ç áõ Ýñ³Ý Û³çáñ¹³Í Ñ³Û Ã³·³õáñÝ»ñÇ ·áñÍáõÝ¿áõû³Ý Éáõë³µ³Ýáõû³Ùµ` ÙÇÝã»õ îÇ·ñ³Ý ºñÏñáñ¹Á: г۳ëï³ÝÇ ³ÝïÇÏ å³ïÙáõû³Ý »ñÏñáñ¹ ßñç³ÝÁ üáõ³¹ гë³Ý гýǽÁ í»ñݳ·ñ»É ¿ §Ð³Û³ëï³ÝÁ îÇ·ñ³Ý Ø»Í Ã³·³õáñÇ ¹³ñ³ßñç³ÝáõÙ (Ù.Ã.³. 15
95-55 ÃÃ.)¦ : ²ñ³µ å³ïÙ³µ³ÝÁ ѳÛáó ³ñù³ÛÇ ·áñÍáõÝ¿áõÃÇõÝÁ ѳٳñ»É ¿ í»ñÇÝ ³ëïÇ׳ÝÇ Ï³ñ»õáñ г۳ëï³ÝÇ µ³½Ù³¹³ñ»³Ý å³ïÙáõû³Ý Ù¿ç, ÝáÛÝÇëÏ ³é³Ýóù³ÛÇÝ, »õ ³ÝÑñ³Å»ßï ·ï»É Ýñ³ ·³Ñ³Ï³Éáõû³Ý 45 ï³ñÇÝ»ñÝ ³é³ÝÓݳóÝ»É áõ ¹Çï³ñÏ»É áñå¿ë ÇÝùÝáõñáÛÝ, Û³ïáõÏ ¹³ñ³ßñç³Ý: ºõ ݳ ¹ñ³ Çñ³õáõÝùÝ áõÝ¿ñ: ºõ, í»ñç³å¿ë, üáõ³¹ гë³Ý гýǽÁ г۳ëï³ÝÇ ³ÝïÇÏ ßñç³ÝÇ å³ïÙáõû³Ý »ññáñ¹ ßñç³ÝÁ, ¹³ñÓ»³É ϳå»Éáí îÇ·ñ³Ý Ø»ÍÇ ³Ýáõ³Ý »õ ·áñÍáõÝ¿áõû³Ý Ñ»ï, ³Ýáõ³Ý»É ¿ §Ð³Û³ëï³ÝÁ ²ñï³ßÇë»³Ý å»ïáõû³Ý ¹³ñ³ßñç³16
ÝáõÙ` îÇ·ñ³Ý Ø»Í Ã³·³õáñÇó Û»ïáÛ (Ù.Ã.³. 55à - Ù.Ã. 15Ã.)¦ : ²Ûëï»Õ ݳ ùÝÝáõÙ ¿ г۳ëï³ÝÇ ÙÇç³½·³ÛÇÝ ¹ñáõÃÇõÝÁ, Û³ñ³µ»ñáõÃÇõÝÝ»ñÁ ѳñ»õ³Ý å»ïáõÃÇõÝÝ»ñÇ »õ ÐéáÙ¿³Ï³Ý ϳÛëñáõû³Ý Ñ»ï, Ý»ñù³Õ³ù³Ï³Ý Çñ³¹ñáõÃÇõÝÁ »õ îƶð²Ü غÌ
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ple into three periods and narrates in details the contents of each period in separate chapters. He entitles the first period Antic Armenia before the Period of King Tigran the Great (880-95 B.C.). He establishes the year 880 B.C. as the beginning of Urartian king Aram's (or Arame) reign which lasted until 12 844 B.C. In this part he speaks about Urartu and its kings, its relations and wars with Assyria, the fall of Urartu, about Nairi or, as Fuad Hassan Hafiz says: "Nairi or Armenia Around the Lake of Van" ("Nairi au Arminiya 13 havla bukayra Van") , he mentions the Parthian empire and the ArmenianParthian connections, the inscription of Behistun of 516 B.C., noticing that 14 "Al-Arminiya is mentioned for the first time in this inscription" . Basing himself on the work by Movses Khorenatsi, whom he considers to be the "Armenian Herodotus", the Arab historian narrates the history of Hayk, his war against Bel (Baal), his victory and so on. This part ends by the history of Alexander of Macedonia and Seleucids, the restoration of Armenian independence on 190 B.C., the accession to the throne of Artashes (Artaxias) I and the Artaxiads dynasty, and by the setting out of all they deeds until Tigran II. Fuad Hassan Hafiz entitles the second period of Armenian Antic histo15 ry Armenia at the Epoch of King Tigran the Great (95-55) . The Arab historian considers the deeds of the Armenian king as extremely important in the centuries-old history of Armenian people, even crucial. He finds it necessary to isolate the 45 years of his reign and to consider them as a special epoch of national identity. And he is right. Finally, Fuad Hassan Hafiz entitles the third period of Armenian Antic history Armenia at the Epoch of Artaxiads after Tigran the Great (55-15 16 B.C.) . Here, he discusses the international situation of Armenia, her relations with neighboring states and the Roman Empire, the internal political situation, the fall of Artaxiads dynasty and the loss of Armenia's independence. Thus, the Arab researcher relates the two centuries-long history of Antic Armenia with the name and deeds of Armenian king Tigran the Great, rightly considering him as the central figure of Artaxiads Armenia and an exceptional statesman. At the same time it must be mentioned that Fuad Hassan Hafiz doesn't try at all to abase the other kings of Artaxiads dynasty. On the contrary, he underlines the role and significance of each of them in the field of Armenian state evolution, puissance and independence preservation, especially mentioning Artashes I. On this background the greatness of Tigran II is even more accentuated. Marwan al-Mudawar especially discusses the issue of Armenian history periodicity in his interesting and voluminous work Armenians in the Course of History (716 pages). However, unlike Fuad Hassan Hafiz, he accentuates the periodicity of the very reign of Tigran the Great in the frame of the Artaxiads' kingdom, which the Syrian historian considers to be the second 17 Armenian kingdom after the first kingdom of Ervandids (Orontids) . By the way, let us notice that not only Marwan al-Mudawar, but also all the other Arab historians, who have studied the Antic period of Armenian history, consider the kingdom of Ervandids as the first Armenian kingdom and the Artaxiads kingdom as the second one. Marwan al-Mudawar enumerates all the Armenian kings of Artaxiads 248
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12. Fuad Hassan Hafiz, op. cit., p. 21-29. 13. Ibidem, p. 22. In the same place Hafiz says that "Nairi is called Armenia by Armenians". 14. Ibidem, p. 23. 15. Ibidem, p. 30-37. 16. Ibidem, p. 38-34. 17. Marwan al-Mudawar, op. cit., p. 146-161.
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ñÇ ³é³çÇÝ Ã³·³õáñáõÃÇõÝÇó Û»ïáÛ : Æ ¹¿å, Ýß»Ýù, áñ áã ÙdzÛÝ Ø³Ñáõ³Ý ³ÉØáõ¹³õ³ñÁ, ³ÛÉ»õ Ùݳó³Í µáÉáñ ³ñ³µ Ñ»ÕÇݳÏÝ»ñÁ, áñáÝù ³Ý¹ñ³¹³ñÓ»É »Ý г۳ëï³ÝÇ å³ïÙáõû³Ý ³ÝïÇÏ ßñç³ÝÇÝ, ѳÛÏ³Ï³Ý ³é³çÇÝ Ã³·³õáñáõÃÇõÝÁ ѳٳñáõÙ »Ý ºñáõ³Ý¹áõÝÇÝ»ñÇ, ÇëÏ »ñÏñáñ¹Á` ²ñï³ßÇë»³Ý Ã³·³õáñáõÃÇõÝÁ: ²É-Øáõ¹³õ³ñÁ Ãáõ³ñÏáõÙ ¿ ²ñï³ßÇë»³Ý ¹ÇݳëïdzÛÇ µáÉáñ Ñ³Û Ã³·³õáñÝ»ñÇÝ (§ØáõÉáõù ³É-²ñÙ³Ý ÙÇÝ ³É-áõëñ³ÃÇ ³É-²ñï³ßÇëÇ»³¦), ÝßáõÙ Ýñ³Ýó ó·³õáñáõû³Ý Ãáõ³Ï³ÝÝ»ñÁ »õ ѳÏÇñ× Éáõë³µ³ÝáõÙ Ýñ³ÝóÇó Çõñ³ù³ÝãÇõñÇ ·áñÍáõÝ¿áõÃÇõÝÁ: ²Û¹ ³Ù»ÝÇó Û»ïáÛ, áñÁ Çõñ³ï»ë³Ï ݳ˳µ³ÝÇ µÝáÛà ¿ ÏñáõÙ, ݳ ѳݷ³Ù³Ýûñ¿Ý ³Ý¹ñ³¹³éÝáõÙ ¿ îÇ·ñ³Ý Ø»ÍÇÝ »õ Ýñ³ ¹³ñ³ßñç³ÝÇÝ, áñÁ ݳ í»ñݳ·ñ»É ¿ §Ð³ÛÏ³Ï³Ý Ï³ÛëñáõÃÇõÝÁ »õ Ø»ÍÝ îÇ·ñ³Ý ºñÏñáñ¹Á. Ù.Ã.³. 9455ÃÃ.¦ (§²É-ÆÙµñ³ïáõñÇ»³ ³É-²ñÙ³ÝÇ»³ í³ îÇ·ñ³Ý ³É-³ÝÇ ³É-ø³µÇñ. 9418
55 ϳµÉ³ ÙÇɳ¹Ç¦) : ²ñ³µ å³ïÙ³µ³ÝÁ, »ÉÝ»Éáí ù³Õ³ù³Ï³Ý, é³½Ù³Ï³Ý »õ ïÝï»ë³Ï³Ý ÇñáÕáõÃÇõÝÝ»ñÇó, îÇ·ñ³Ý Ø»ÍÇ Ï³é³í³ñÙ³Ý ï³ñÇÝ»ñÁ µ³Å³ÝáõÙ ¿ »ñÏáõ ßñç³ÝÇ` §ý³Ãñ³Ã³Ûݦ: ²é³çÇÝÁ ݳ ѳٳñáõÙ ¿ §Ð³ÛÏ³Ï³Ý Ã³·³õá19
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áñáõû³Ý Çñ ëáíáñ³Ï³Ý ë³ÑÙ³ÝÝ»ñÇÝ í»ñ³¹³ñÓÇ ¹³ñ³ßñç³Ý Ù.Ã.³. 69-55¦:
²É-Øáõ¹³õ³ñÁ, Ëûë»Éáí ³é³çÇÝ ßñç³ÝÇ Ù³ëÇÝ, áñÁ ѳٳñáõÙ ¿ ϳÛëñáõ17. سÑáõ³Ý ³É-Øáõ¹³õ³ñ. Ýßáõ³Í ³ßË. ¿ç 146161: 18. лÕÇݳÏÁ ·ñùÇ Ã¿° í»ñݳ·ñáõÙ, »õ ÿ° ï»ùëïáõÙ îÇ·ñ³Ý ºñÏñáñ¹Ç ·³Ñ³Ï³ÉÙ³Ý ëÏǽµÝ ³é³Ýó áñ»õ¿ µ³ó³ïñáõû³Ý ÝßáõÙ ¿ Ù.Ã.³. 94Ãáõ³Ï³ÝÁ, ÿ»õ å³ïÙ³·ñáõû³Ý Ù¿ç ѳëï³ï³å¿ë ÁݹáõÝáõ³Í ¿, áñ ݳ ·³Ñ ¿ µ³ñÓñ³ó»É Ù.Ã.³. 95Ã:– 19. سÑáõ³Ý ³É-Øáõ¹³õ³ñ. Ýßáõ³Í ³ßË. ¿ç 149153: 20. ÜáÛÝ ï»ÕáõÙ, ¿ç 153-157: лÕÇݳÏÝ ³Ûëï»Õ û·ï³·áñÍáõÙ ¿ §³¹Ç¿³¦ µ³éÁ, áñÁ ³ñ³µ»ñ¿ÝáõÙ »ñÏáõ ÇÙ³ëï áõÝÇ` §ëáíáñ³Ï³Ý¦ »õ §Ýáñٳɦ: ì»ñá·ñ»³É ݳ˳¹³ëáõÃÇõÝÁ ϳñ»ÉÇ ¿ óñ·Ù³Ý»É ݳ»õ` §Ð³ÛÏ³Ï³Ý Ï³Ûëñáõû³Ý í»ñ³¹³ñÓÁ ѳÛÏ³Ï³Ý Ã³·³õáñáõû³Ý ÝáñÙ³É ë³ÑÙ³ÝÝ»ñÇݦ: 21. ÜáÛÝ ï»ÕáõÙ, ¿ç 151: 22. ÜáÛÝ ï»ÕáõÙ:
û³Ý ͳÕÏÙ³Ý ¹³ñ³ßñç³Ý, ³é³ÝÓݳóÝáõÙ ¿ »ñÏáõ ϳñ»õáñ ѳݷ³Ù³Ýù: ²é³çÇÝ` îÇ·ñ³Ý Ø»ÍÇÝ Û³çáÕáõ»ó Çñ³·áñÍ»É Ð³Û³ëï³ÝÇ ÙdzõáñáõÙÁ Ù¿Ï å»ïáõû³Ý Ù¿ç: ²Û¹ ³éáõÙáí ݳ ݳ˻õ³é³ç ÝßáõÙ ¿ öáùñ гÛùÇ ÙdzóáõÙÁ Ø»Í Ð³ÛùÇÝ: ²ÛÝáõÑ»ï»õ å³ïÙ³µ³ÝÝ ³Ý¹ñ³¹³éÝáõÙ ¿ ѳÛáó ³ñù³ÛÇ é³½Ù³Ï³Ý Û»ï³·³Û ·áñÍáÕáõÃÇõÝÝ»ñÇÝ »õ ÝßáõÙ, áñ îÇ·ñ³Ý Ø»ÍÁ Ù.Ã.³. 88-78ÃÃ. ä³ñëϳëï³ÝÇ ¹¿Ù Ó»éݳñÏ³Í é³½Ù³Ï³Ý ³ñß³õ³ÝùÝ»ñÇ ÁÝóóùáõÙ §·áñÍáÕáõû³Ý Ù¿ç ¹ñ»ó ÙÇ íÇÃ˳ñÇ, ɳõ ½ÇÝáõ³Í µ³Ý³Ï¦, ³é³ç ß³ñÅáõ»ó »õ ѳë³õ ÙÇÝã»õ ÜÇÝáõ¿ áõ ²ñµÇÉ §»õ ³½³ï»ó ²ïñå³ï³Ï³ÝÝ áõ гù³ñÇÝ å³ñëÇÏÝ»ñÇ ïÇñ³å»ïáõÃÇõÝÇó »õ í»ñ³¹³ñÓñ»ó г۳ëï³ÝÇÝ, áñÁ ݳËÏÇÝáõÙ ïÇñáõÙ ¿ñ 21
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ºõ гÛáó ³ñù³Ý, ÇÝãå¿ë Ý»ñϳ۳óáõ³Í ¿ 249
IMAGE OF TIGRANES THE GREAT IN ARMENOLOGY
dynasty (Muluk al-Arman min al-usrati al-Artashisiya), notes the dates of their reigns and briefly mentions the deeds of each of them. After all this enumeration, which has the character of an introduction, he narrates in details the history of Tigran the Great and its epoch which he entitles The Armenian Empire and Tigran II the Great, 94-55 B.C. (Al-Imbraturiya al-Armaniya va 18 Tigran al-Tani al-Kabir. 94-55 kabla miladi) . Basing himself on political, military and economical situation, the Arab historian divides the years of Tigran the Great's ruling into two periods ("fatratayn"). He entitles the first one: The 19 period of Armenian Kingdom Flourishing, Uniting and Empire Consolidating . According to him this period includes the years 94-69 B.C. The second period is called by Marwan al-Mudawar: The period of the Empire Weakening and 20 Fall, and the Return of the Kingdom to its Ordinary Borders, 69-55 B.C. . Speaking about the first period, which al-Mudawar considers being the period of empire flourishing, he stresses two important circumstances. The first one is that Tigran managed to unify Armenia in one state. In this respect he especially notices the joining of Lesser Armenia to Greater Armenia. Then the historian mentions further military deeds of the Armenian king and notices that during his military operations against Persia in 88-78 B.C. Tigran the Great "put in action a huge and well armed army"; he went forward and reached Nineveh and Arbela, "and liberated Atropatena and Hakari from Persian domination and returned them to Armenia, as they were previously in 21 her domination; and so he entirely achieved the unification of Armenia" . Secondly, al-Mudawar mentions that the period of Armenian consolidating began after it and, on the opinion of the Arab historian, it imposed to Tigran 22 the Great "to extend his conquests" . The Armenian king, as it is said in the study of al-Mudawar, firstly conquered Mesopotamia, then established his domination on some small countries which were under Persian domination, and signed with them reconciliation treaties. Afterwards he conquered Northern Syria and went forward with his army to Lebanon, entering the cities of Sayda and Sur, as well as the remaining territories of Syria and Lebanon. All these territories were under the dom23 ination of the Persian Empire . Tigran II conquered Cappadocia, too, and 24 became "one of the most powerful rulers of the Near East" . Marwan alMudawar presents also the borders of the Armenian state at the period of its flourishing, mentioning that "the Empire of Tigran the Great stretched from the Caspian Sea in the east to the Mediterranean Sea in the west, from Caucasus in the north to Palestine and Cilicia in the south and the south25 west" . As to the second period of Tigran the Great's reign, i.e. the weakening and the fall of the state, the Arab historian connects them with the geopolitical changes which occurred in the region, especially with the aggressive policy of the Roman Empire, the interests of which were in contradiction with those of the Armenian Empire, with military fails of the Armenian king, as well as the internal political situation of Armenia, especially the treason of 26 prince Tigran, his son and heir . The issue of the periodicity of Armenian Antic history was paid attention to in the work Armenia, the Land and the People by Samir Arbash. By the way, his periodicity is closer to that of Marwan al-Mudawar than to Fuad Hassan Hafiz. It becomes obvious while reading the second part of his work 250
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18. Either in the title or in the text of this author 94 B.C. is mentioned as the beginning of Tigran the Great's reign, without any explanation, while it is certainly established in historiography that he acceded to the throne in 95 B. C.. 19. Marwan al-Mudawar, op. cit., p. 149-153. 20. Ibidem, p. 153-157. Here the author uses the word adiya which has two meaning in Arabic: "ordinary" and "normal". The abovementioned sentence can be also translated as "the return of the Armenian empire to the Armenian kingdom normal borders". 21. Ibidem, p.151. 22. Ibidem. 23. Ibidem, p. 52. 24. Ibidem. 25. Ibidem. 26. Ibidem, p. 153-157.
³É-Øáõ¹³õ³ñÇ áõëáõÙݳëÇñáõû³Ý Ù¿ç, Ý³Ë Ýáõ³×áõÙ ¿ êÇç³·»ïùÁ, ³å³ Çñ ïÇñ³å»ïáõÃÇõÝÁ ѳëï³ïáõÙ ÙÇ ß³ñù ÷áùñ »ñÏñÝ»ñÇ íñ³Û, áñáÝù ·ïÝõáõÙ ¿ÇÝ å³ñëÇÏÝ»ñÇ »ÝóϳÛáõû³Ý ï³Ï, »õ Ýñ³Ýó Ñ»ï ëïáñ³·ñáõ٠ѳßïáõû³Ý å³Ûٳݳ·ñ»ñ: ²ÛÝáõÑ»ï»õ ݳ ·ñ³õáõÙ ¿ ÑÇõëÇë³ÛÇÝ êÇñÇ³Ý »õ Çñ ½ûñù»ñÁ ß³ñÅáõÙ ¹¿åÇ Èǵ³Ý³Ý, ·ñ³õáõÙ ê³Û¹³ »õ êáõñ ù³Õ³ùÝ»ñÝ áõ Èǵ³Ý³ÝÇ »õ êÇñdzÛÇ Ùݳó³Í ï³ñ³ÍùÝ»ñÁ: ²Û¹ µáÉáñ ï³ñ³ÍùÝ»ñÁ »ÝÃ³Ï³Û ¿ÇÝ ä³ñëÏ³Ï³Ý Ï³Ûë23
ñáõû³ÝÁ: îÇ·ñ³Ý ºñÏñáñ¹Á ·ñ³õáõÙ ¿ ݳ»õ γ峹áíÏdzÝ, áõ ¹³éÝáõÙ §Ø»ñ24
Ó³õáñ ²ñ»õ»ÉùÇ ³Ù»Ý³Ï³ñ»õáñ ïÇñ³Ï³ÉÝ»ñÇó Ù¿ÏÁ¦:
سÑáõ³Ý ³É-Øáõ¹³õ³ñÁ
Ý»ñϳ۳óñ»É ¿ ݳ»õ ѳÛÏ³Ï³Ý å»ïáõû³Ý ë³ÑÙ³ÝÝ»ñÁ ¹ñ³ ͳÕÏÙ³Ý ßñç³ÝáõÙ, Ýß»Éáí, áñ îÇ·ñ³Ý Ø»ÍÇ §Ï³ÛëñáõÃÇõÝÁ ï³ñ³ÍõáõÙ ¿ñ ³ñ»õ»ÉùáõÙ` γëåÇó ÍáíÇó ÙÇÝã»õ ØÇç»ñÏñ³Ï³Ý ÍáíÁ` ³ñ»õÙáõïùáõÙ, »õ ÐÇõëÇëÇë` ÎáíϳëÇó 25
ÙÇÝã»õ ä³Õ»ëïÇÝ »õ ÎÇÉÇÏdz` ѳñ³õ »õ ѳñ³õ-³ñ»õÙáõïùáõÙ¦:
ÆÝã í»ñ³µ»ñáõÙ
¿ îÇ·ñ³Ý Ø»ÍÇ Ã³·³õáñáõû³Ý »ñÏñáñ¹ ßñç³ÝÇÝ` ϳÛëñáõû³Ý ÃáõɳóÙ³ÝÝ »õ ³ÝÏÙ³ÝÁ, ³å³ ³ñ³µ å³ïÙ³µ³ÝÁ ¹ñ³Ýù ϳåáõÙ ¿ ï³ñ³Í³ßñç³ÝáõÙ ï»ÕÇ áõÝ»ó³Í ³ß˳ñѳù³Õ³ù³Ï³Ý ÷á÷áËáõÃÇõÝÝ»ñÇ, Ù³ëݳõáñ³å¿ë, ÐéáÙ¿³Ï³Ý ϳÛëñáõû³Ý Ýáõ³×áÕ³Ï³Ý ³ÏïÇõ ù³Õ³ù³Ï³Ýáõû³Ý Ñ»ï, áñÇ ß³Ñ»ñÁ ѳϳëáõÙ ¿ÇÝ Ñ³ÛÏ³Ï³Ý Ï³Ûëñáõû³Ý ߳ѻñÇÝ, ѳÛáó ³ñù³ÛÇ é³½Ù³Ï³Ý ³ÝÛ³çáÕáõÃÇõÝÝ»ñÇ, г۳ëï³ÝÇ Ý»ñù³Õ³ù³Ï³Ý Çñ³¹ñáõû³Ý, ³é³çÇÝ Ñ»ñÃÇÝ Ýñ³ áñ26
¹áõ` ó·³Å³é³Ý· îÇ·ñ³ÝÇ ¹³õ³×³Ý³Ï³Ý ·áñÍáÕáõÃÇõÝÝ»ñÇ Ñ»ï »õ ³ÛÉÝ: . г۳ëï³ÝÇ ³ÝïÇÏ ßñç³ÝÇ å³ïÙáõû³Ý å³ñµ»ñ³óÙ³Ý Ñ³ñóÁ ï»Õ ¿ ·ï»É ݳ»õ ê³ÙÇñ ²ñµ³ãÇ §Ð³Û³ëï³Ý. ÑáÕ »õ ÅáÕáíáõñ¹¦ ·ñùáõÙ: Àݹ áñáõÙ, Ýñ³ ϳï³ñ³Í å³ñµ»ñ³óáõÙÝ ³õ»ÉÇ Ùûï ¿ سÑáõ³Ý ³É-Øáõ¹³õ³ñÇ, ù³Ý üáõ³¹ гë³Ý гýÇ½Ç å³ñµ»ñ³óÙ³ÝÁ: ¸ñ³ÝáõÙ ¹Åáõ³ñ 㿠ѳÙá½áõ»É, ͳÝûóݳÉáí Ýñ³ ³ß˳ïáõû³Ý »ñÏñáñ¹ µ³ÅÝÇÝ, áñÁ í»ñݳ·ñáõ³Í ¿ §²ñÙÇÝÇ»³ ÙÇÝ 95 ϳµÉ³ ÙÇɳ¹Ç Çɳ 15 ÙÇɳ¹Ç¦` §Ð³Û³ëï³ÝÁ Ù. Ã. ³. 95 Ãáõ³Ï³ÝÇó ÙÇÝ27
ã»õ Ù. Ã. 15 Ãáõ³Ï³ÝÁ¦:
²ñ³µ å³ïÙ³µ³ÝÝ»ñÁ, Éáõë³µ³Ý»Éáí îÇ·ñ³Ý Ø»ÍÇ ¹³ñ³ßñç³ÝÁ »õ Ýñ³ é³½Ù³Ï³Ý áõ å»ï³Ï³Ý-ù³Õ³ù³Ï³Ý ·áñÍáõÝ¿áõÃÇõÝÁ, ùÝݳñÏáõÙ »Ý ݳ»õ Ñ»ï»õ»³É ϳñ»õáñ ѳñóÁ` ÿ áñáÝù ¿ÇÝ Ð³Ûáó ³ñù³Û îÇ·ñ³Ý ºñÏñáñ¹Ç г۳ëï³ÝÝ Áݹ³ñӳϻÉáõ, Ýñ³ §Í³õ³É³å³ßï³Ï³Ý (óõ³ë³³) ù³Õ³ù³Ï³Ýáõû³Ý¦ å³ï׳éÝ»ñÁ »õ Ýå³ï³ÏÁ: Üñ³Ýó å³ï³ë˳ÝÁ áñáß ÇÙ³ëïáí µ³õ³Ï³Ý ³Ýëå³ë»ÉÇ ¿, ù³ÝÇ áñ ³Û¹ ù³Õ³ù³Ï³Ýáõû³Ý ³ñÙ³ïÝ»ñÁ Ýñ³Ýù ÷ÝïñáõÙ »õ ·ïÝáõÙ »Ý г۳ëï³ÝÁ ûï³ñ ³½¹»óáõÃÇõÝÇó Ó»ñµ³½³ï»Éáõ »õ ÉñÇõ ³ÝÏ³Ë å»ïáõû³Ý í»ñ³Í»Éáõ ѳÛáó ³ñù³ÛÇ Ó·ïáõÙÝ»ñÇ Ù¿ç: ²Û¹ ï»ë³Ï¿ïÁ ß³ï Ûëï³Ï ³ñï³Û³Ûïáõ³Í ¿ ê³ÙÇñ ²ñµ³ßÇ ³ß˳ïáõû³Ý Ù¿ç, áñï»Õ ³ëõáõÙ ¿. §îÇ·ñ³Ý ºñÏñáñ¹ Ï³Ù Ø»Í ³ñù³Ý ·³Ñ³Ï³ÉÙ³Ý Ñ¿Ýó ëϽµÇó ·áñͳ¹ñ»ó Çñ µáÉáñ ç³Ýù»ñÁ ѳÛÏ³Ï³Ý Ã³·³õáñáõÃÇõÝÝ Áݹ³ñӳϻÉáõ »õ í»ñç ï³Éáõ ѳñ»õ³Ý »ñÏáõ Ù»Í å»ïáõÃÇõÝÝ»ñÇ ³½¹»óáõû³ÝÁ, áñåÇëÇù ¿ÇÝ ê»É»õÏ»³Ý »õ å³ñëÏ³Ï³Ý 28
å»ïáõÃÇõÝÝ»ñÁ¦:
²Ûë ÝáÛÝ ï»ë³Ï¿ïÝ »Ýù ·ïÝáõ٠ݳ»õ üáõ³¹ гë³Ý гýÇ-
½Ç, سÑáõ³Ý ³É-Øáõ¹³õ³ñÇ »õ ³ñ³µ ³ÛÉ Ñ»ï³½ûïáÕÝ»ñÇ Ùûï: ì»ñçÇÝÝ»ñë ¹³ ѳٳñáõÙ »Ý ÙÇ ³ÝÑñ³Å»ßï ù³ÛÉ, áñÇ ßÝáñÑÇõ г۳ëï³ÝÁ ÷áùñ å»ïáõÃÇõÝÇó ³ëïÇ׳ݳµ³ñ í»ñ³ÍõáõÙ ¿ñ Ù»Í ÏßÇé »õ ³½¹»óáõÃÇõÝ áõÝ»óáÕ ³ÝÏ³Ë »ñÏñÇ: ²Û¹ ï»ë³ÝÏÇõÝÇó »Ý å³ïÙ³µ³ÝÝ»ñÁ ·Ý³Ñ³ïáõ٠ݳ»õ îÇ·ñ³Ý Ø»ÍÇ Û»ï³·³Û 23. ÜáÛÝ ï»ÕáõÙ, ¿ç 152 24. ÜáÛÝ ï»ÕáõÙ, 25. ÜáÛÝ ï»ÕáõÙ, 26. ÜáÛÝ ï»ÕáõÙ, 153-157 27. ê³ÙÇñ ²ñµ³ß. Ýßáõ³Í ³ßË. ¿ç 25-27: 28. ÜáÛÝ ï»ÕáõÙ, ¿ç 25 29. ÜáÛÝ ï»ÕáõÙ:
µáÉáñ ù³ÛÉ»ñÁ, Ù³ëݳõáñ³å¿ë, ¹³ßݳÏó»ÉÁ äáÝïáëÇ Ã³·³õáñáõû³ÝÁ »õ ³ÙáõëÝáõÃÇõÝÁ äáÝïáëÇ Ã³·³õáñ ØÇÑñ¹³ïÇ VI-Ç ¹ëï»ñ` ÎÉ¿áå³ïñ³ÛÇ Ñ»ï, ÙÕ³Í Û³ÕÃ³Ï³Ý ÙÇ ß³ñù å³ï»ñ³½ÙÝ»ñÁ, áñáÝù §Ðݳñ³õáñ ¹³ñÓñÇÝ Áݹ³ñ29
Ó³Ïáõ»ÉÁ (г۳ëï³ÝÇ - Ü. Ú.) ¹¿åÇ ³ñ»õ»Éù »õ ѳñ³õ¦ , å³Ûù³ñÁ ÐéáÙ¿³Ï³Ý ϳÛëñáõû³Ý Ñ»ï »õ ³ÛÉÝ: îƶð²Ü غÌ
251
IMAGE OF TIGRANES THE GREAT IN ARMENOLOGY
entitled Armenia from 95 B.C. to 15 A.D. (Arminiya min 95 kabla miladi ila 27 15 miladi) . Speaking about the epoch of Tigran the Great and his military deeds and state policy, Arab historians are also discussing the following important issue: which were the reasons and the goal of king Tigran II in extending Armenia, of his "policy of territories extension" (tavasaa)? Their answer is quite unexpected, as they search for the reasons of the Armenian king's policy and find them in the goal of liberating Armenia from foreign influence and to make it a perfectly independent state. This viewpoint is very clearly expressed in the work of Samir Arbash who says: "From the very beginning of his reign Tigran II or the Great bended every effort to extend the Armenian Kingdom and put an end to the influence of the two neighboring great states, the 28 Seleucid Kingdom and the Persian Empire" . We find the same opinion in the works by Fuad Hassan Hafiz, Marwan al-Mudawar and other Arab researchers. The latter consider it to have been a necessary step, thanks to which Armenia turned from a small state into a huge and independent country with great influence. All Arab historians appreciate from this point of view the further deeds of Tigran the Great, especially his alliance with Mithridates VI, king of Pontus, and his marriage with the latter's daughter Cleopatra, his series of victorious wars, "which made it possible to extend (Armenia - N.H.) towards 29 the east and the south" , the struggle against the Roman Empire, and so on. Arab historians pay special attention to some aspects of the internal policy of Tigran the Great in connection with the economical development, administrative division of Armenia, its governmental system reform, army consolidation. They mention that the extraction of gold, silver, iron and other metals increased at the epoch of Tigran the Great. The home policy of the Armenian king privileged the development of agriculture, trade and industries. His attention was focused on the country administrative ruling. As Samir Arbash mentions, Tigran II divided his kingdom into twenty vilayets in order to facilitate 30 and ameliorate its administration . The Arab author includes in the administrative reforms and new divisions of the Armenian king "The foundation of a 31 new capital town worthy of a great king and called Tigranakert" . Arab authors consider that one of the reforms of Tigran the Great was the reorganization of the army, on which he permanently concentrated his attention. The exigency of his foreign and military active policy was to have a huge army. So, according to Arab historians' data, the number of his sol32 diers reached 100 thousands , which was a great number for his time and for Armenia. The army had an infantry, which main part was completed by 33 autochthon soldiers coming from mountainous regions, and a cavalry . Discussing the fact of including new territories in his kingdom by Tigran II, Arab historians don't pass over the conquest of Arabic countries by the Armenian king. Almost all of them, especially Fuad Hassan Hafiz, Marwan alMudawar, Samir Arbash, Usman al-Turk and others enlighten more or less this historical reality important for them. We spoke above about Marwan alMudawar who mentions the conquest of Arabic countries Syria, Lebanon, Palestine and Mesopotamia as an important stage on the way of turning the 34 kingdom of Tigran the Great into an empire . By the way, the author finds it necessary to mention that in the circumstance of Syria the situation was 252
TIGRANES THE GREAT
27. Samir Arbash, op. cit., p. 25-27. 28. Ibidem, p. 25. 29. Ibidem. 30. Ibidem, p. 25-26. 31. Ibidem, p.26. 32. Ibidem, p. 25. 33. Ibidem, p.25-26.
²ñ³µ å³ïÙ³µ³ÝÝ»ñÁ Û³ïáõÏ áõß³¹ñáõÃÇõÝ »Ý ¹³ñÓñ»É îÇ·ñ³Ý Ø»ÍÇ Ý»ñùÇÝ ù³Õ³ù³Ï³Ýáõû³Ý ÙÇ ß³ñù ÏáÕÙ»ñÇ Éáõë³µ³ÝÙ³ÝÁ` ϳåáõ³Í г۳ëï³ÝÇ ïÝï»ë³Ï³Ý ½³ñ·³óÙ³Ý, í³ñã³Ï³Ý µ³Å³ÝÙ³Ý, »ñÏñÇ Ï³é³í³ñÙ³Ý Ñ³Ù³Ï³ñ·Ç µ³ñ»É³õÙ³Ý, µ³Ý³ÏÇ ³Ùñ³åÝ¹Ù³Ý Ñ»ï »õ ³ÛÉÝ: Üñ³Ýù ÝßáõÙ »Ý, áñ îÇ·ñ³Ý Ø»ÍÇ Ã³·³õáñáõû³Ý ßñç³ÝáõÙ ³õ»É³ó³Í áëÏáõ, ³ñͳÃÇ, »ñϳÃÇ »õ ³ÛÉ Ù»ï³ÕÝ»ñÇ ³ñ¹ÇõݳѳÝáõÙÁ: гÛáó ³ñù³Ý Çñ ù³Õ³ù³Ï³Ýáõû³Ùµ ٻͳå¿ë Ýå³ëïáõÙ ¿ñ ·ÇõÕ³ïÝï»ëáõû³Ý, ³é»õïñÇ »õ ³ñ¹Çõݳµ»ñáõû³Ý ½³ñ·³óÙ³ÝÁ: Üñ³ áõß³¹ñáõû³Ý Ï»ÝïñáÝáõÙ ¿ÇÝ ·ïÝõáõÙ »ñÏñÇ í³ñã³Ï³Ý ϳé³í³ñÙ³Ý ËݹÇñÝ»ñÁ: ÆÝãå¿ë ÝßáõÙ ¿ ê³ÙÇñ ²ñµ³ãÁ, îÇ·ñ³Ý ºñÏñáñ¹Ý Çñ ó·³õáñáõÃÇõÝÁ µ³Å³Ý»ó 20 íÇɳ»³ÃÝ»ñÇ` Ù³ñ½»ñÇ »õ »ñÏñÇ í³ñã³Ï³Ý ϳé³í³ñáõÙÁ Ñ»ßï³ó30
Ý»Éáõ áõ µ³ñ»É³õ»Éáõ Ýå³ï³Ïáí:
²ñ³µ Ñ»ÕÇݳÏÁ гÛáó ó·³õáñÇ í³ñã³Ï³Ý
µ³ñ»É³õáõÙÝ»ñÇ »õ í»ñ³Ï³éáõóáõÙÝ»ñÇ Ù¿ç ¿ Ý»ñ³éáõÙ §Ø»Í ó·³õáñáõû³ÝÝ 31
³ñųÝÇ Ýáñ Ù³Ûñ³ù³Õ³ùÇ ÑÇÙÝáõÙÁ, áñÁ ³Ýáõ³Ýáõ»ó îÇ·ñ³Ý³Ï»ñï¦:
²ñ³µ Ñ»ÕÇݳÏÝ»ñÁ îÇ·ñ³Ý Ø»ÍÇ µ³ñ»÷áËáõÙÝ»ñÇó »Ý ѳٳñáõ٠ݳ»õ µ³Ý³ÏÇ Ï³½Ù³Ï»ñåáõÙÁ, áñÇÝ Ùßï³å¿ë Ù»Í áõß³¹ñáõÃÇõÝ ¿ ¹³ñÓñ»É: Üñ³ ³ñï³ùÇÝ »õ é³½Ù³Ï³Ý ³ÏïÇõ ù³Õ³ù³Ï³ÝáõÃÇõÝÁ å³Ñ³ÝçáõÙ ¿ñ áõÝ»Ý³É Ù»Í³ÃÇõ µ³Ý³Ï: àõëïÇ, îÇ·ñ³Ý Ø»ÍÝ Çñ µ³Ý³ÏÇ ÃÇõÁ, Áëï ³ñ³µ å³ïÙ³µ³ÝÝ»ñÇ 32
ïáõ»³ÉÝ»ñÇ, ѳëóÝáõÙ ¿ Ùûï 100 ѳ½³ñÇ , áñÁ ÷áùñ ÃÇõ ã¿ñ Çñ ųٳݳÏÇ, ³Û¹ ÃõáõÙ »õ г۳ëï³ÝÇ Ñ³Ù³ñ: ´³Ý³ÏÁ ϳ½Ùáõ³Í ¿ñ Ñ»ï»õ³ÏÇó, áñÇ Û»Ý³ñ³ÝÁ ϳ٠ÏáñǽÁ ·É˳õáñ³å¿ë ï»ÕÇ É»éÝóÇ Ñ³Û ½ÇÝáõáñÝ»ñÝ ¿ÇÝ, »õ ѻͻɳ33
½ûñÇó:
øÝݳñÏ»Éáí îÇ·ñ³Ý ºñÏñáñ¹Ç` Çñ ó·³õáñáõû³Ý ϳ½ÙÇ Ù¿ç Ýáñ ï³ñ³ÍùÝ»ñ ÙïóÝ»Éáõ ѳñóÁ, ³ñ³µ å³ïÙ³µ³ÝÝ»ñÁ ã»Ý ßñç³Ýó»É ݳ»õ гÛáó ³ñù³ÛÇ ÏáÕÙÇó ³ñ³µ³Ï³Ý »ñÏñÝ»ñÁ ·ñ³õ»Éáõ ÇñáÕáõÃÇõÝÁ: Üñ³Ýù` ѳٳñ»³ µáÉáñÁ, Ù³ëݳõáñ³å¿ë üáõ³¹ гë³Ý гýǽÁ, سÑáõ³Ý ³É-Øáõ¹³õ³ñÁ, ê³ÙÇñ ²ñµ³ßÁ, àõëÙ³Ý ³É-ÂáõñùÁ »õ áõñÇßÝ»ñ, ³Ûë ϳ٠³ÛÝ ã³÷áí, Éáõë³µ³ÝáõÙ »Ý Çñ»Ýó ѳٳñ ϳñ»õáñ å³ïÙ³Ï³Ý ³Û¹ ÇñáÕáõÃÇõÝÁ: ì»ñÁ Ù»Ýù Ëûë»É »Ýù سÑáõ³Ý ³É-Øáõ¹³õ³ñÇ Ù³ëÇÝ, áñÁ ÝßáõÙ ¿ ³ñ³µ³Ï³Ý »ñÏñÝ»ñÇ` êÇñdzÛÇ, Èǵ³Ý³ÝÇ, ä³Õ»ëïÇÝÇ »õ ØÇç³·»ïùÇ ·ñ³õáõÙÁ áñå¿ë ϳñ»õáñ ѳݷñáõ³Ý îÇ·ñ³Ý 34
Ø»ÍÇ Ã³·³õáñáõÃÇõÝÁ ϳÛëñáõû³Ý í»ñ³Íáõ»Éáõ ׳ݳå³ñÑÇÝ:
Àݹ áñáõÙ, Ñ»-
ÕÇݳÏÁ ѳñÏ ¿ ѳٳñ»É Ýß»É, áñ êÇñdzÛÇ å³ñ³·³ÛáõÙ ÇñáÕáõÃÇõÝÁ Çõñ³Û³ïáõÏ ¿ñ: ܳ, Û»Ýáõ»Éáí ÙÇçݳ¹³ñ»³Ý å³ïÙÇãÝ»ñÇ ï»Õ»ÏáõÃÇõÝÝ»ñÇ íñ³Û ·ñáõÙ ¿, áñ êÇñÇ³Ý å³é³Ïïáõ³Í ¿ñ »õ Ëéáí³ÛáÛ½, ù³ÝÇ áñ ·³ÑÇ Ñ³Ù³ñ áõÅ»Õ å³Ûù³ñ ¿ñ ·ÝáõÙ ëÇñÇ³Ï³Ý Ã³·áõÑáõ »õ Çß˳ÝÝ»ñÇ ÙÇç»õ: êÇñdzóÇÝ»ñÁ ëï»ÕÍáõÙ »Ý §Ð³Ûñ»Ý³ëÇñ³Ï³Ý Ïáõë³ÏóáõÃÇõݦ, áñÁ áñáßáõÙ ¿ ¹ÇÙ»É ûï³ñ áñ»õ¿ å»ïáõû³Ý ÙÇç³Ùïáõû³Ý` ¹áõñë ·³Éáõ ѳٳñ ëï»ÕÍáõ³Í ׷ݳųٳÛÇÝ Çñ³¹ñáõÃÇõÝÇó. §ºõ ݳ, áí Çñ³Ï³Ý³óñ»ó ³Û¹, ÇÝùÁ ³ñù³ÛÇó ³ñù³Û îÇ·ñ³ÝÝ ¿ñ, áñÁ êÇ35
ñdz Ùï³õ Ù.Ã.³. 83æ:
²ÛëåÇëáí, ³É-Øáõ¹³õ³ñÝ ÁݹáõÝáõÙ ¿, áñ ѳÛáó ³ñ-
ù³ÛÇ ÙáõïùÁ êÇñdz áñáß ÇÙ³ëïáí »Õ»É ¿ ëÇñÇ³Ï³Ý Ñ³Ûñ»Ý³ëÇñ³Ï³Ý áõÅ»ñÇ Ññ³õ¿ñÇ Ï³Ù Ëݹñ³ÝùÇ ³ñ·³ëÇùÝ, áñÁ, ³Ýßáõßï, ѳÙÁÝÏ»É ¿ îÇ·ñ³Ý »ñÏñáñ¹Ç ù³Õ³ù³Ï³Ý Ó·ïáõÙÝ»ñÇ Ñ»ï: ²ñ³µ³Ï³Ý »ñÏñÝ»ñÁ îÇ·ñ³Ý Ø»ÍÇ Ï³Ûëñáõû³Ý ϳ½ÙÇ Ù¿ç ÙïóÝ»Éáõ 30. ÜáÛÝ ï»ÕáõÙ, ¿ç 25-26 31. ÜáÛÝ ï»ÕáõÙ, ¿ç 26 32. ÜáÛÝ ï»ÕáõÙ, ¿ç 25 33. ÜáÛÝ ï»ÕáõÙ, ¿ç 25-26 34. î»°ë سÑáõ³Ý ³É- Øáõ¹³õ³ñÇ Ýßáõ³Í ³ßË. ¿ç 151: 35. ÜáÛÝ ï»ÕáõÙ,
ѳñóÇÝ ³é³õ»É ѳݷ³Ù³Ýûñ¿Ý ³Ý¹ñ³¹³ñÓ»É ¿ àõëÙ³Ý ³É-ÂáõñùÝ Çñ §¿ç»ñ Ñ³Û ³½·Ç å³ïÙáõÃÇõÝÇó¦ ³ß˳ïáõû³Ý Ù¿ç, ÙÇ³Å³Ù³Ý³Ï Ý»ñϳ۳óÝ»Éáí Ñ»ï³ùñùÇñ ÙÇ ß³ñù Ù³Ýñ³Ù³ëÝáõÃÇõÝÝ»ñ: ²Û¹ ѳñóÁ ݳ ùÝݳñÏáõÙ ¿ ųٳݳÏÇ ÙÇç³½·³ÛÇÝ Û³ñ³µ»ñáõÃÇõÝÝ»ñÇ »õ ³ñ³µ³Ï³Ý »ñÏñÝ»ñáõÙ ïÇñáÕ Çñ³¹ñáõû³Ý Ñ»ÝùÇ íñ³Û, áñÁ Ñݳñ³õáñáõÃÇõÝ ¿ ï³ÉÇë ³é³õ»É Ûëï³Ï å³ïÏ»ñ³óáõ٠ϳ½îƶð²Ü غÌ
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special. Basing himself on the information given by medieval historians, he writes that Syria was split and in great trouble, as the Syrian queen and princes were violently struggling for the throne. Syrians had founded a "Patriotic Party" and decided to ask the intervention of a foreign state in order to overcome this crisis. "And the one who managed to realize it was the King 35 of kings Tigran who entered Syria in 83 B.C." . Thus, Marwan al-Mudawar admits that the entering of the Armenian king in Syria was at some extend the result of an invitation or a request of the patriotic forces which, of course, coincided with the political will of Tigran the Great. The including of Arabic countries in the Empire of Tigran the Great is discussed in details by Usman al-Turk in his work Pages from the Armenian Nation's History, in which he narrates a series of interesting details. He discusses this issue on the background of the international relations of the time and the situation reigning in Arabic countries, which gives a clear notion of the reasons of Armenian military successes. The Arab author mentions two reasons. Firstly, Armenia became a powerful state having a huge army and a clever ruler. The latter had already a great experience and ability in victorious wars, and was able to profit with talent from favorable conditions. Secondly, the Persian Empire, the Kingdom of Pontus and other small and weak states of the region were unable to resist to Tigran the Great and stop his victorious campaigns. The only state able to do it was the Roman Empire which, however, was busy with other problems and couldn't pay the necessary attention and concentrate itself on the eastern problem. The Armenian king brilliantly profited from these favorable conditions and joined to his kingdom some Arabic countries. Narrating the history of conquering Syria, Lebanon, Mesopotamia and Palestine by the Armenian army and joining them to the Armenian Empire, Usman al-Turk mentions its borders which mainly coincide with those mentioned by Marwan al-Mudawar, with some little precisions. He writes that the Armenian Empire "reached the shore on the Caspian Sea in the north, Cappadocia in the west, Iraq in the east, and in the south its domination included the Jews' country after the conquest of Phoenicia and Syria" 36 (by Tigran the Great - N.H.) . Usman al-Turk is the only Arab historian known to us who devotes two parts of his work to the presence of Tigran the Great in Syria: King Tigran 37 the Great in Damascus (Al-Malik Tigran al-kabir fi Dimashk) and King Tigran 38 the Great in Aleppo (Al-Malik Tigran al-kabir fi Halib) . Noting that Tigran 39 the Great "established then his domination on the city of Damascus" , the historian writes that when Tigran the Great entered Damascus the name of the city was Dimitrias in honor of Dimitrias III who reigned in 95-88 B.C. Under 40 the domination of Tigran the Great the city was called Damascus . Speaking about the presence of Tigran the Great in Damascus and Aleppo, Usman alTurk especially mentions that bronze coins were minted in his name. He describes these coins which were bearing the effigy of Tigran II, his royal crown and other royal symbols. The Arab author finds it necessary to reproduce in 41 his book the photographs of two coins minted in Dimitrias-Damascus . Arab authors show a specific approach toward the fact of including Arab countries into the Armenian Empire. Studying this issue we didn't meet any critical or, even more, disapproving evaluation. One must say that they don't 254
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34. Marwan al-Mudawar, op. cit., p. 151. 35. Ibidem. 36. Usman al-Turk, op. cit., p. 56. 37. Ibidem, p.56-57. 38. Ibidem, p.57. 39. Ibidem, p.56. 40. Ibidem, p. 56-57. 41. Ibidem, between p.56 and p.57.
Ù»É Ñ³Ûáó ³ñù³ÛÇ é³½Ù³Ï³Ý Û³çáÕáõÃÇõÝÝ»ñÇ å³ï׳éÝ»ñÇ Ù³ëÇÝ: ²ñ³µ Ñ»ÕÇݳÏÁ »ñÏáõ å³ï×³é ¿ ÝßáõÙ: ²é³çÇÝ` г۳ëï³ÝÁ ¹³ñÓ»É ¿ñ ѽûñ å»ïáõÃÇõÝ, áñÝ áõÝ¿ñ ѽûñ µ³Ý³Ï, ˻ɳóÇ Õ»Ï³í³ñ, í»ñçÇÝë Ïáõï³Ï»É ¿ñ Û³ÕÃ³Ï³Ý å³ï»ñ³½Ù í³ñ»Éáõ ÑëÏ³Û³Ï³Ý ÷áñÓ áõ ÑÙïáõÃÇõÝ »õ ûÅïáõ³Í ¿ñ µ³ñ»Ýå³ëï å³ÛÙ³ÝÝ»ñÇó û·ïáõ»Éáõ Ù»Í ï³Õ³Ý¹áí: ºñÏñáñ¹` ä³ñëϳëï³ÝÁ, äáÝï³Ï³Ý ó·³õáñáõÃÇõÝÁ »õ ï³ñ³Í³ßñç³ÝÇ ÙÇõë Ù³Ýñ áõ ÃáÛÉ å»ïáõÃÇõÝÝ»ñÝ Ç íÇ׳ÏÇ ã¿ÇÝ ¹ÇÙ³·ñ³õ»Éáõ îÇ·ñ³Ý Ø»ÍÇÝ »õ ϳÝË»Éáõ Ýñ³ Û³Õóñß³õÁ: ØÇ³Ï å»ïáõÃÇõÝÁ, áñÁ ϳñáÕ ¿ñ ¹³ ³Ý»É ÑéáÙ¿³Ï³Ý ϳÛëñáõÃÇõÝÝ ¿ñ, áñÁ, ë³Ï³ÛÝ, ½µ³Õáõ³Í ¿ñ ³ÛÉ Ñ³ñó»ñáí »õ Ç íÇ׳ÏÇ ã¿ñ ³ÝÑñ³Å»ßï áõß³¹ñáõÃÇõÝ ¹³ñÓÝ»É áõ Ï»ÝïñáÝ³Ý³É ³ñ»õ»É»³Ý ËݹÇñÝ»ñÇ íñ³Û: ºõ ѳÛáó ó·³õáñÁ ÷³ÛÉáõÝ û·ïáõ»ó å³ïÙ³Ï³Ý ³Û¹ µ³ñ»Ýå³ëï Ñݳñ³õáñáõÃÇõÝÇó »õ Çñ å»ïáõû³ÝÁ Ùdzóñ»ó ³ñ³µ³Ï³Ý ÙÇ ß³ñù »ñÏñÝ»ñ: àõëÙ³Ý ³É-ÂáõñùÁ, ³Ý¹ñ³¹³éݳÉáí ѳÛÏ³Ï³Ý µ³Ý³ÏÇ ÏáÕÙÇó êÇñdzÝ, Èǵ³Ý³ÝÁ, ØÇç³·»ïùÁ »õ ä³Õ»ëïÇÝÁ ·ñ³õ»Éáõ áõ ѳÛÏ³Ï³Ý Ï³Ûëñáõû³Ý Ù¿ç ÙïóÝ»Éáõ å³ïÙáõû³ÝÁ, ÝßáõÙ ¿ Ýñ³ ë³ÑÙ³ÝÝ»ñÁ, áñÁ ÑÇÙݳϳÝáõ٠ѳÙÁÝÏÝáõÙ ¿ سÑáõ³Ý ³É-Øáõ¹³õ³ñÇ Ýß³Í ë³ÑÙ³ÝÝ»ñÇÝ ÷áùñ ×ß·ñïáõÙÝ»ñáí: ܳ ·ñáõÙ ¿, áñ ѳÛÏ³Ï³Ý Ï³ÛëñáõÃÇõÝÁ §ÑÇõëÇëáõ٠ѳëÝáõÙ ¿ñ ÙÇÝã»õ γëåÇó ÍáíÇ ³÷»ñÁ, ³ñ»õÙáõïùáõÙ ÙÇÝã»õ γ峹áíÏdz, ³ñ»õ»ÉùáõÙ ÙÇÝã»õ Æñ³ù »õ ѳñ³õáõÙ Ýñ³ ³½¹»óáõÃÇõÝÁ ѳëÝáõÙ ¿ñ ÙÇÝã»õ Ññ¿³Ý»ñÇ »ñÏÇñÁ` ³ÛÝ µ³ÝÇó Û»ïáÛ, »ñµ ·ñ³õ»ó (îÇ·ñ³Ý Ø»ÍÁ-Ü. Ú.) öÇõÝÇ36
ÏÇ³Ý »õ êÇñdzݦ : àõëÙ³Ý ³É-ÂáõñùÁ Ù»½ Û³ÛïÝÇ ³ñ³µ Ñ»ÕÇݳÏÝ»ñÇó ÙdzÏÝ ¿, áñ »ñÏáõ »Ýóµ³ÅÇÝ ¿ Û³ïϳóñ»É îÇ·ñ³Ý Ø»ÍÇ êÇñdzÛáõÙ ·ïÝáõ»Éáõ ѳñóÇÝ §îÇ·ñ³Ý 37
Ø»Í ³ñù³Ý ¸³Ù³ëÏáëáõÙ¦ (§²É-سÉÇù îÇ·ñ³Ý ³É-ù³µÇñ ýÇ ¸ÇÙ³ãϦ)
»õ 38
§îÇ·ñ³Ý Ø»Í ³ñù³Ý гɻµáõÙ¦ (§²É-سÉÇù îÇ·ñ³Ý ³É-ø³µÇñ ýÇ Ð³Éǵ¦) : Üß»Éáí, áñ îÇ·ñ³Ý Ø»ÍÁ §³Û¹ Å³Ù³Ý³Ï Çñ ïÇñ³å»ïáõû³ÝÁ »ÝóñÏ»ó ¸³39
Ù³ëÏáë ù³Õ³ùÁ¦ , å³ïÙ³µ³ÝÁ, ³ÛÝáõÑ»ï»õ, ·ñáõÙ ¿, áñ »ñµ îÇ·ñ³Ý Ø»ÍÁ Ùï³õ ¸³Ù³ëÏáë, ù³Õ³ùÇ ³ÝáõÝÁ ¸ÇÙÇïñ¿³ë ¿ñ` Ç ÛÇß³ï³Ï ¸ÇÙÇïñ¿³ë ºññáñ¹Ç, áñÁ ϳé³í³ñ»É ¿ Ù.Ã.³. 95-88 ÃÃ: ºõ, ³Ñ³, îÇ·ñ³Ý Ø»ÍÇ ïÇñ³å»ïáõ40
û³Ý ûñûù ù³Õ³ùÁ ëÏë»É ¿ Ïñ»É ¸³Ù³ëÏáë ³ÝáõÝÁ : ²Ý¹ñ³¹³éݳÉáí îÇ·ñ³Ý Ø»ÍÇ` ¸³Ù³ëÏáëáõÙ »õ гɻåáõÙ ·ïÝáõ»ÉáõÝ, àõëÙ³Ý ³É-ÂáõñùÁ, Û³ïϳå¿ë Áݹ·ÍáõÙ ¿ ³ñù³ÛÇ ³ÝáõÝáí µñáݽ¿ ¹ñ³ÙÝ»ñ ѳï»Éáõ ѳݷ³Ù³ÝùÁ: ܳ Ýϳñ³·ñáõÙ ¿ ݳ»õ ³Û¹ ¹ñ³ÙÝ»ñÁ, áñáÝù Ïñ»É »Ý îÇ·ñ³Ý ºñÏñáñ¹Ç å³ïÏ»ñÁ, ³ñù³Û³Ï³Ý ó·Á »õ ó·³õáñ³Ï³Ý ³ÛÉ ËáñÑñ¹³ÝÇß»ñ: ²ñ³µ Ñ»ÕÇݳÏÁ ѳñÏ ¿ ѳٳñ»É Çñ ·ñùáõÙ ½»ï»Õ»É îÇ·ñ³Ý ºñÏñáñ¹Ç ¹ñ³ÙÝ»ñÇó »ñÏáõëÇ Éáõë³Ýϳñ41
Ý»ñÁ, áñáÝù ѳïáõ»É »Ý ¸ÇÙÇïñ¿³ë-¸³Ù³ëÏáëáõÙ : ²ñ³µ Ñ»ÕÇݳÏÝ»ñÁ Çõñ³ï»ë³Ï Ùûï»óáõÙ »Ý óáõó³µ»ñ»É ³ñ³µ³Ï³Ý »ñÏñÝ»ñÁ гÛÏ³Ï³Ý Ï³Ûëñáõû³Ý Ù¿ç Ý»ñ³é»Éáõ ·Ý³Ñ³ï³Ï³ÝÇ Ñ³ñóáõÙ: àõëáõÙݳëÇñ»Éáí ³Û¹ ËݹÇñÁ Ù»Ýù ³Û¹å¿ë ¿É ãѳݹÇå»óÇÝù ùÝݳ¹³ï³Ï³Ý, ³é³õ»É »õë ¹³ï³å³ñïáÕ áñ»õ¿ ·Ý³Ñ³ï³Ï³ÝÇ: γñ»ÉÇ ¿ ³ë»É, áñ Ýñ³Ýù ѳñóÇ Éáõë³µ³ÝáõÙÁ ã»Ý ù³Õ³ù³Ï³Ý³óñ»É, ³é³õ»É »õë ã»Ý ÷áñÓ»É ³Ûëûñáõ³Û ³ãù»ñáí ¹Çï³ñÏ»É »õ ¹ñ³Ý ѳٳå³ï³ëË³Ý µ³ó³ë³Ï³Ý ·Ý³Ñ³ï³Ï³ÝÝ»ñ ï³É: ÊݹñÇÝ Ýñ³Ýù Ùûï»ó»É »Ý áñå¿ë å³ïÙ³Ï³Ý ÇñáÕáõÃÇõÝ, áñå¿ë ϳ۳ó³Í ÷³ëï: ¸»é ³õ»ÉÇÝ îÇ·ñ³Ý Ø»ÍÇ ÏáÕÙÇó ³ñ³µ³Ï³Ý »ñÏñÝ»ñÁ ·ñ³õ»Éáõ ѳݷ³Ù³ÝùÁ ãÇ Ë³Ý·³ñ»É ųٳݳϳÏÇó ³ñ³µ å³ïÙ³µ³ÝÝ»ñÇÝ µ³ñÓñ ·Ý³Ñ³ï»Éáõ Ýñ³ 36. àõëÙ³Ý ³É-Âáõñù. Ýßáõ³Í ³ßË., ¿ç 56: 37. ÜáÛÝ ï»ÕáõÙ, ¿ç 56-57: 38. ÜáÛÝ ï»ÕáõÙ, ¿ç 57: 39. ÜáÛÝ ï»ÕáõÙ, ¿ç 56: 40. ÜáÛÝ ï»ÕáõÙ, ¿ç 56-57: 41. ÜáÛÝ ï»ÕáõÙ, ¿ç 56-Ç-57-Ç ÙÇç»õ:
³ñï³ùÇÝ ù³Õ³ù³Ï³ÝáõÃÇõÝÁ, ³Û¹ ÃõáõÙ »õ é³½Ù³Ï³Ý ·áñÍáÕáõÃÇõÝÝ»ñÁ: üáõ³¹ гë³Ý гýǽÁ »õ ê³ÙÇñ ²ñµ³ãÁ, ÇÝãå¿ë Ýã»É »Ýù, îÇ·ñ³Ý ºñÏñáñ¹Ç ͳõ³É³å³ßï³Ï³Ý ù³Õ³ù³Ï³ÝáõÃÇõÝÁ ѳٳñáõÙ »Ý ³ÝÑñ³Å»ßïáõÃÇõÝ ê»É»õÏ»³Ý áõ ä³ñëÇó å»ïáõû³Ý ³½¹»óáõÃÇõÝÇó г۳ëï³ÝÝ ³½³ï³·ñ»Éáõ »õ ³ÛÝ áõÅ»Õ îƶð²Ü غÌ
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politicize the enlightening of the issue and don't try to look at it from today's viewpoint, or give it any negative appraisal. They consider the problem as a historical event, a fact of the past. Moreover, the conquest of Arabic countries by Tigran the Great doesn't prevent modern Arab historians of giving high appreciation to his foreign policy, including his military deeds. As it was said, Fuad Hassan Hafiz and Samir Arbash consider that his policy of land extension was necessary to liberate Armenia from the influence of Seleucid and 42 Persian states and made it a powerful state . Their appraisal is very similar to the opinion of Usman al-Turk, too. The latter affirms that "Armenians 43 waged bloody wars in order to defend their freedom and independence" . We find analogous opinions in the investigations of Salih Zahr al-Din, Marwan alMudawar and other Arab historians. Marwan al-Mudawar and Usman al-Turk try to establish the dimensions of the Armenian Empire. According to Marwan al-Mudawar in the epoch of Tigran the Great "The territory of the Armenian state, which turned into an immense empire tanks to numerous conquests, reached 700,000 square kilome44 ters" , while Usman al-Turk, not mentioning a concrete date, but implying the same period, writes that "the territory of Armenia was approximately equal to 45 the territory of France" . This difference is probably the result of the fact that even if both historians mention the same historical epoch, they mean different periods of it. Let us examine also the issues of titling Tigran II and his kingdom in modern Arabic historiography. The title issue had been one of the most important in all historical periods, either from the viewpoint of a concrete figure or state unit, or of international law. Often cases occur in history when deliberate or accidental errors in titling can provoke enmity or tension. Examining the problem from this point of view we observe that the approach of Arab historians is objective towards this delicate issue. They clearly distinguish two stages in titling Armenian king and kingdom. In the first period Tigran II, the fourth king of the Artaxiads dynasty, is the legitimate king of Armenia, with the title of malik, while the state is called Armenian Kingdom (Mamlakat al-Armaniya). That was the title status of Armenia and king Tigran II before the latter had extended the territory of his kingdom. In this respect Marwan al-Mudawar writes that "Thanks to conquests the Armenian state became the Armenian 46 Empire" ("Al-Imbraturiya al-Armaniya") . Thus, the second period of Armenian state begins, the Empire period. The same opinion is expressed by all Arab authors who speak about this subject. However, the point wasn't only in the fact of new conquests, even if that was a very important aspect of it. The following circumstance wasn't less important. Tigran II won great wars against Persians, after which, as says 47 Samir Arbash, "In 83 B.C. he proclaimed himself "King of kings" . The same circumstance is mentioned by Marwan al-Mudawar, who writes that Tigran II established his domination on small ruler, i.e. kings, which were previously under the domination of Persian kings, he concluded with them reconciliation treaties and "won the title of "King of kings", which only Persian kings were 48 bearing" . He won this right with his sword and numerous victories. Precisely 256
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42. Fuad Hassan Hafiz, op. cit., p. 30, Samir Arbash, op. cit., p. 25. 43. Usman al-Turk, op. cit., p. 46. 44. Marwan al-Mudawar, op. cit., p. 149. 45. Usman al-Turk, op. cit., p. 31. 46. Marwan al-Mudawar, op. cit., p. 149. 47. Samir Arbash, op. cit., p. 25.
42
ï¿ñáõû³Ý í»ñ³Í»Éáõ ï»ë³ÝÏÇõÝÇó : Üñ³Ýó ·Ý³Ñ³ï³Ï³ÝÇÝ ß³ï Ùûï ¿ ݳ»õ àõëÙ³Ý ³É-ÂáõùÇ ï»ë³Ï¿ïÁ ì»ñçÇÝë áõÕÕ³ÏÇ Ñ³ëï³ïáõÙ ¿, áñ §²ñÇõݳÉÇ å³ï»ñ³½ÙÝ»ñÁ ѳۻñÁ ÙÕ»É »Ý Çñ»Ýó ³½³ïáõÃÇõÝÁ »õ ³ÝϳËáõÃÇõÝÁ å³ßï43
å³Ý»Éáõ¦ ѳٳñ : гٳÝÙ³Ý ï»ë³Ï¿ïÝ»ñ »Ýù ·ïÝáõ٠ݳ»õ ê³ÉÇÑ ¼³Ññ ³É¸ÇÝÇ, سÑáõ³Ý ³É-Øáõ¹³õ³ñÇ »õ ³ñ³µ ³ÛÉ å³ïÙ³µ³ÝÝ»ñÇ áõëáõÙݳëÇñáõÃÇõÝÝ»ñáõÙ: سÑáõ³Ý ³É - Øáõ¹³õ³ñÁ »õ àõëÙ³Ý ³É-ÂáõñùÁ ÷áñÓ»É »Ý áñáß»É, ÿ ÇÝãù³Ý ¿ ϳ½Ù»É гÛÏ³Ï³Ý Ï³Ûëñáõû³Ý ï³ñ³ÍùÁ: Àëï ³É-Øáõ¹³õ³ñÇ, îÇ·ñ³Ý Ø»ÍÇ Å³Ù³Ý³Ï §Üáõ³×áõÙÝ»ñÇ ÙÇçáóáí ³ÝͳÛñ³ÍÇñ ϳÛëñáõû³Ý í»ñ³Íáõ³Í 44
ѳÛÏ³Ï³Ý å»ïáõû³Ý ï³ñ³ÍùÁ ѳë»É ¿ 700.000 ù³é³ÏáõëÇ ÏÇÉáÙ»ïñǦ : ÆëÏ àõëÙ³Ý ³É-ÂáõñùÁ, ÏáÝÏñ»ï ãÝß»Éáí ï³ñ»ÃÇõÁ, ë³Ï³ÛÝ ÝϳïÇ áõݻݳÉáí å³ïÙ³Ï³Ý ÝáÛÝ ¹³ñ³ßñç³ÝÁ, ·ñáõÙ ¿, áñ г۳ëï³ÝÇ §ï³ñ³ÍùÁ Ùûï³õáñ³å¿ë 4
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from this time Tigran II bore the title "the Great": "Armenian king Tigran the Great" in parallel with the title "King of kings". So, as Arab authors rightly observed, the turning of Armenian Kingdom into Armenian Empire was the result of territorial conquests and of the title of "King of kings" won by Armenian king Tigran II. Only the unity of these two facts allows speaking about the organization and existence of the Armenian Empire. If we shall admit the year 83 B.C., mentioned by Samir Arbash, as the date of titling Tigran II as "King of kings", so the turning of Armenian Kingdom into Armenian Empire should be admitted from 83 B.C., too. The same is indirectly confirmed by Marwan al-Mudawar, as he writes that in 83 B.C. the Armenian King of kings Tigran the Great entered Syria which means that at the time he was accepted as King of kings and emperor. The abovementioned is also confirmed by Usman al-Turk who entitles one of the chapters of his work The Empire of Tigran II the Great who bears the Title of King of Kings and Great King of Asia. (Imbraturiya Tigran al-Tani al-Kabir 49 al-mulakib malik al-muluk va malik Asiya al-azim) . Now let us speak about the title "Great king of Asia". The historical evidence on which Arab authors are basing themselves confirms that Tigran the Great bore not only the title of "King of kings", but also that of "Great king of Asia". It is difficult to say when he was granted this title. Marwan alMudawar mentions in this respect the famous orator, jurist and Roman consul Cicerone: "Roman consul Cicerone called Tigran II the "Great king of Asia" 50 ("Malik Asiya al-azim") . He is called the "Great King of Asia" by Fuad Hassan Hafiz, Samir Arbash, Umar al-Daqaq and other Arab authors. As to Marwan al-Mudawar, following Cicerone, he calls Tigran II "The greatest of all 51 Armenian kings" ("A'zam muluk Armani") . In fact, Tigran II is given the same appraisal in the Islamic Encyclopedia in which we read: "At the period of Tigranus II the Great Armenia was a country with great authority and influ52 ence in Central Asia" . Probably the reader has noticed that while speaking of Tigran II as Armenian king and ruler of the Armenian Empire, Arab authors use the term kabir: "Malik Tigran al-Tani al-Kabir", i.e. "The king Tigran II the Great". But while speaking about him as an Asian ruler the tern azim is used: "Malik Asiya al-azim". In Arabic both those terms, which are here parts of the title, are translated as great. But in fact there is in them a meaning nuance which cannot be rendered in Armenian, while it is possible to differentiate them in Russian, English and some other language. In Russian kabir is translated as áîëüøîé, while azim is âåëèêèé which is employed in the same meaning in Arabic and also English: big and great. So, when Cicerone and Arab modern authors call Tigran II "Malik Asiya al-azim", it must be translated into Russian by "Òèãðàí âåëèêèé öàðü Àçèè". All the abovementioned is once again giving evidence and confirming the historical undeniable reality that Armenian king Tigran II was one of the greatest figures of his time in the world; the ruler who challenged his two most dangerous adversaries and managed to create the Armenian Empire in front of them, to bear the most honorable titles about which many rulers of the Antic world dreamed, but few were worthy of. Among these few was Tigran
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48. Marwan al-Mudawar, op. cit., p. 151. 49. Usman al-Turk, op. cit., p. 47. 50. Marwan al-Mudawar, op. cit., p. 149. 51. Ibidem. It must be said that a'zam is the superlative degree of azim. 52. Al-Arman fi dairati al-maarif al-islamiya- Daira al-Maarif al-Islamiya. Al-Nasakha al-arabiya, I'dad va tahrir Ibrahim Zaki Khurchid, Ahmad al-Santanavi, Abd al-Hamid Yunus, Al-mujalad al-salis, IV, (in Arabic). Armenians in the Islamic Encyclopedia, Arabic copy, compilation and edition by Ibrahim Zaki Khurchid, Ahmad alSantanavi, Abd al-Hamid Yunus, Third Vol., IV, 1992, p. 38. It must be said, too, that "Central Asia" here mustn't be confused with the "Central Asia" used in Soviet works. In this case "Central Asia" means all the central territory of the Asian continent: Near and Middle East, Asia Minor, Central Asia and neighboring countries.
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гõ³Ý³µ³ñ, ÁÝûñóáÕÁ Ýϳï»ó, áñ »ñµ ËûëõáõÙ ¿ îÇ·ñ³Ý ºñÏñáñ¹Ç` áñå¿ë гÛáó ó·³õáñÇ »õ гÛÏ³Ï³Ý Ï³Ûëñáõû³Ý ïÇñ³Ï³ÉÇ Ù³ëÇÝ, ³ñ³µ Ñ»ÕÇݳÏÝ»ñÝ û·ï³·áñÍáõÙ »Ý ù³µÇñ µ³éÁ` §Ø³ÉÇù îÇ·ñ³Ý ³É-³ÝÇ ³É-ø³µÇñ¦, ³ÛëÇÝùÝ` §îÇ·ñ³Ý ºñÏñáñ¹ Ø»Í ³ñù³Û¦: ê³Ï³ÛÝ, »ñµ ËûëùÁ Ýñ³ ²ëdzÛÇ ïÇñ³Ï³É ÉÇÝ»Éáõ Ù³ëÇÝ ¿, û·ï³·áñÍõáõÙ ¿ ³½ÇÙ »½ñÁ` §Ø³ÉÇù ²ëÇ»³ ³É³½ÇÙ¦: ²ñ³µ»ñ¿Ý »ñÏáõ µ³é»ñÝ ¿É, áñáÝù ïáõ»³É ¹¿åùáõÙ ïÇïÕáë³Ï³½Ù Ý߳ݳÏáõÃÇõÝ áõÝ»Ý, óñ·Ù³ÝõáõÙ »Ý áñå¿ë Ù»Í: ê³Ï³ÛÝ, Çñ³Ï³ÝáõÙ, ¹ñ³Ýù áõÝ»Ý »ñ³Ý·³ÛÇÝ ï³ñµ»ñáõÃÇõÝÝ»ñ, áñÁ ѳۻñ¿ÝáõÙ Çñ ѳٳñÅ¿ùÁ ãáõÝÇ, ÙÇÝã¹»é ³ñ³µ»ñ¿ÝáõÙ, éáõë»ñ¿ÝáõÙ, ³Ý·É»ñ¿ÝáõÙ »õ ÙÇ ß³ñù ³ÛÉ É»½áõÝ»ñáõÙ Ï³Û ¹ñ³Ýó ï³ñµ»ñ³ÏÙ³Ý Ñݳñ³õáñáõÃÇõÝÁ: èáõë»ñ¿ÝáõÙ ù³µÇñÇ Ñ³Ù³ñÅ¿ùÁ áîëüøîé µ³éÝ ¿, áñÇ Ñ³ÛÏ³Ï³Ý Ñ³Ù³ñÅ¿ùÁ Ù»ÍÝ ¿: ø³µÇñ µ³éÝ ³Û¹ ÝáÛÝ` Ù»Í, ÇÙ³ëïáí ¿ û·ï³·áñÍõáõ٠ݳ»õ ³ñ³µ»ñ¿ÝáõÙ: ÆëÏ ÇÝã í»ñ³µ»ñáõÙ ¿ ³½ÇÙ µ³éÇÝ, ³å³ Ýñ³ éáõë»ñ¿Ý ѳٳñÅ¿ùÁ âåëèêèé µ³éÝ ¿, áñÁ ÝáÛÝ ÇÙ³ëïáí ¿ û·ï³·áñÍõáõ٠ݳ»õ ³ñ³µ»ñ¿ÝáõÙ, ÇÝãå¿ë ݳ»õ ³Ý·É»ñ¿ÝáõÙ` big »õ great, ë³Ï³ÛÝ, ó³õûù, µ³ó³Ï³ÛáõÙ ¿ ѳۻñ¿ÝáõÙ: лï»õ³µ³ñ, »ñµ òÇó»ñáÝÁ »õ Ýñ³ ûñÇݳÏáí ³ñ³µ ųٳݳϳÏÇó Ñ»ÕÇݳÏÝ»ñÁ îÇ·ñ³Ý ºñÏñáñ¹ÇÝ ÏáãáõÙ »Ý §Ø³ÉÇù ²ëÇ»³ ³É³îƶð²Ü غÌ
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II, the fourth king of the Artaxiads dynasty, the same Armenian king Tigran the Great and the same "Òèãðàí âåëèêèé öàðü Àçèè". Writing this article our goal was very modest: to inform readers that the historiography of our friend the Arab people, in eighteen independent states with more then 300 millions of inhabitants, has expressed its competent, everlasting, respectful and scientific opinion about Armenian king Tigran the Great and the Armenian Empire founded by him. The results of the modern Arabic historical investigations are now put at the disposal of Armenian scientists for the first time. We hope that they will enrich the studies of Armenian Antic history and will contribute to complete the image of the Armenian King of kings, a statesman and political figure of which Armenian people will be always proud. We have now to end this article by the following words of Marwan alMudawar which contain a bitter truth: "The Empire created by Tigran the Great "was the first and the last Empire in the history of the Armenian peo53 ple" . Who can ever know?
Translated from Armenian by Aida Charkhchyan
53. Marwan al-Mudawar, op. cit., p. 149.
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½ÇÙ¦, ³å³ Ýñ³ ×ß·ñÇï éáõë»ñ¿Ý óñ·Ù³ÝáõÃÇõÝÁ ÏÉÇÝÇ` “Òèãðàí âåëèêèé
öàðü Àçèè”. ì»ñá·ñ»³ÉÁ ·³ÉÇë ¿ ÙÇ ³õ»Éáñ¹ ³Ý·³Ù íϳۻÉáõ »õ ѳëï³ï»Éáõ ³ÛÝ å³ïÙ³Ï³Ý ³ÝÑ»ñù»ÉÇ ÇñáÕáõÃÇõÝÁ, áñ гÛáó ³ñù³Û îÇ·ñ³Ý ºñÏñáñ¹Á »Õ»É ¿ Çñ ¹³ñ³ßñç³ÝÇ Ñ³Ù³ß˳ñѳÛÇÝ ³Ù»Ý³³Ï³Ý³õáñ Ù»ÍáõÃÇõÝÝ»ñÇó Ù¿ÏÁ, áñÁ Ó»éÝáó ¿ Ý»ï»É Çñ »ñÏáõ ³Ù»Ý³íï³Ý·³õáñ ³ËáÛ»³ÝÝ»ñÇÝ, »õ Ýñ³Ýó ·áÛáõû³Ý å³ÛÙ³ÝÝ»ñáõÙ, ëñáí áõ Ë»Éùáí, ϳñáÕ³ó»É ¿ ëï»ÕÍ»É Ð³ÛÏ³Ï³Ý Ï³ÛëñáõÃÇõÝ »õ Ïñ»É ³Ù»Ý³µ³ñÓñ ïÇïÕáëÝ»ñÁ, áñÇ Ù³ëÇÝ ³ÝïÇÏ ßñç³ÝáõÙ ß³ï ïÇñ³Ï³ÉÝ»ñ »Ý »ñ³½»É, µ³Ûó áñÇÝ ß³ï ùã»ñÝ »Ý ³ñųݳó»É:. ²Û¹ ùã»ñÇ Ù¿ç ³é³çÇÝÝ»ñÇó ¿ ²ñï³ßÇë»³Ý ¹ÇݳëïdzÛÇ ãáññáñ¹ ³ñù³Û îÇ·ñ³Ý ºñÏñáñ¹Á, ÝáÛÝ ÇÝùÁ` гÛáó ³ñù³Û îÇ·ñ³Ý Ø»ÍÁ »õ ÝáÛÝ ÇÝùÁ` “Òèãðàí âåëèêèé öàðü Àçèè”. ²Ûë Ûû¹áõ³ÍÁ å³ïñ³ëï»ÉÇë Ù»ñ ³éç»õ ß³ï ѳٻëï ËݹÇñ ¿ÇÝù ¹ñ»É` ï»Õ»³Ï å³Ñ»É Ñ³Û ÁÝûñóáÕÇÝ, áñ 18 ³ÝÏ³Ë å»ïáõÃÇõÝ »õ 300 ÙÇÉÇáÝÇó ³õ»ÉÇ µÝ³ÏãáõÃÇõÝ áõÝ»óáÕ Ù»ñ µ³ñ»Ï³Ù ³ñ³µ ÅáÕáíñ¹Ç å³ïÙ³·ÇïáõÃÇõÝÝ Çñ ͳÝñ³ÏßÇé, ÙݳÛáõÝ, Û³ñ·³ÉÇó »õ ·Çï³Ï³Ýûñ¿Ý ³é³ñÏ³Û³Ï³Ý ËûëùÝ ¿ ³ë»É гÛáó ³ñù³Û îÇ·ñ³Ý Ø»ÍÇ »õ Ýñ³ ëï»ÕÍ³Í Ð³ÛÏ³Ï³Ý Ï³Ûëñáõû³Ý Ù³ëÇÝ: ²ñ³µ³Ï³Ý ųٳݳϳÏÇó å³ïÙ³·Çïáõû³Ý áõëáõÙݳëÇñáõû³Ý ³ñ¹ÇõÝùÝ»ñÝ ³é³çÇÝ ³Ý·³Ù »Ý ·Çï³Ï³Ý ßñç³Ý³éáõû³Ý Ù¿ç ¹ñõáõÙ, áñÁ, ÇÝãå¿ë ÛáÛë áõÝ»Ýù, Ïѳñëï³óÝÇ Ð³Û³ëï³ÝÇ ÑÇÝ ßñç³ÝÇ å³ïÙáõû³Ý ³ÕµÇõñ³·Çï³Ï³Ý Ñ»ÝùÁ »õ ÏÝå³ëïÇ Ñ³Û ÅáÕáíñ¹Ç ³Ý³Ýó Ñå³ñïáõÃÇõÝÁ ϳ½ÙáÕ ³ñù³ÛÇó ³ñù³ÛÇ å»ï³Ï³Ý-ù³Õ³ù³Ï³Ý ÑÙ³ÛÇã ¹ÇÙ³å³ïÏ»ñÇ ³ÙµáÕç³óÙ³ÝÁ: Ø»½ ÙÝáõÙ ¿ ëáÛÝ Ûû¹áõ³ÍÝ ³õ³ñï»É سÑáõ³Ý ³É-Øáõ·³õ³ñÇ` ¹³éÁ ×ßÙ³ñïáõÃÇõÝ å³ñáõݳÏáÕ Ñ»ï»õ»³É Ëûëù»ñáí. îÇ·ñ³Ý Ø»ÍÇ ëï»ÕÍ³Í Ï³Ûë53
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PETROS HOVHANNISYAN Assistant Professor, Candidate if Historical Sciences Honored Teacher of the Republic of Armenia
NEWLY BROUGHT TO LIGHT STUDIES OF NICHOLAS ADONTS CONCERNING TIGRANES THE SECOND
Tigranes
the Great is one of prominent figures of world history, king and military leader, diplomatist and reformer, patron of culture and illuminator. This figure, who has left indelible trace in various spheres of history of the ancient world, has naturally attracted the attention of historians, writers, composers, artists who have devoted him many creations. In the XIX century, when the study of the history of ancient Rome gathered new speed, European historiography turned manifestations of the Eastern policy of Rome, particularly the activity of Sulla, Pompeus, Lucullus, Julius Caesar and others realizing expansionist policy, into a special object of investigation. Representing them as advocates of civilization, European historians naturally have condemned and criticized all those eastern figures who have opposed expansion of Rome into the East. Naturally, first of all Tigranes II became the target of criticism as he has strongly opposed intrusion of that Roman "civilization." It is on that occasion that prominent historians T. Reinach, T. Momzen, K. Eckhart, Ferrero and others have turned the role of Tigranes II in those events into an object of discussion. Basing on the corresponding testimonies, full of discrepancies and tendentiousness, reported in the studies of Greek and Roman historians of ancient period, the above-mentioned historians have distorted the events, perverted and misinterpreted the image of Tigranes II. Armenian historiography has strangely very lately touched upon the topic of participation of Armenia in the events of that historical period and the activity of Tigranes II. It is strange, and however, it is fact that the first Armenian monographic studies dedicated to Tigranes II have been published only in 1940. By strange coincidence in that same 1940 year three Armenian historians, independent on one another, published the following monograms dedicated to Tigranes: "Tigranes the Great" by American Armenian historian Hrant Armen, "Tigranes II and Rome" by H. Manandyan (Yerevan, 1940). In 1940 prominent Armenian historian Nicholas (Nikoghayos) Adonts (1871-1942) finished his reflections on Tigranes II composed in French.
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îƶð²Ü غÌ
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If studies of the first two the historians concerning Tigranes II became widely recognized and played an important role in specification of events and appreciation of the role of Tigranes, the same can not be said in relation to the study of Nicholas Adonts. Unfortunately his work remained unknown and was not published. Firstly his death in January, 1942, and secondly loss of archives made impossible publications of the materials dedicated to Tigranes. In general, even in case of lively imagination it was impossible to suppose that Nicholas Adonts, word-wide celebrated specialist of Byzantine and Armenian Studies, has ever studied the period of time of Tigranes II and the activity of the "Terrible Ruler of the East" (N. Adonts). Only many years later it turned out that archives of N. Adonts have been fortunately saved and preserved in the book depository of Beirut's Hamazkayin (short for "Hamazkayin Armenian Educational and Cultural Society"). Among other materials studies of N. Adonts dedicated to Tigranes the Great, which interest us, have been preserved in the archives. They are works written in French entitled: "Mithridates Eupator," "Tigranes the Great" and "Armenia from the IV century BC till 66 AD." The first two works are notes (sketches) which the historian had written perhaps for one of his reports. The second work consisting of about 150 pages was the second part of the 4-volume work entitled "Study of the Armenian History" which the historian had planned to write. Although all the above-mentioned works are rough copies and need final elaboration and editing for publication, however, even in that state they are considered to be among the best pages ever dedicated to Tigranes II. In those works N. Adonts has depicted the true image of the Armenian prominent state, political figure, military leader and diplomatist without needless make-up, coloring and ironical qualifications which were so dear to the ancient historians and modern European historians, It is typical that studying the data reported by those same old historians, revealing discrepancies existing in their works and pointing out falsifications, N. Adonts has come to the conclusion that Tigranes II should take his worthy place among the rulers who have ever ruled in the East beginning from Sargon of Akkad to the Parthian king Mithridates II the Great and the King of Pontus Mithridates IV Eupator. On that occasion Adonts strictly criticized ancient historians and modern historians for slavishly following and them who according to the words of Adonts "loved their Plato more than Truth." N. Adonts has also referred the problem of relationship of Mithridates IV Eupator and Tigranes II the Great. Basing on detailed study of original sources Adonts shows that adventurous and risky policy of Mithridates IV Eupator and his indiscreet steps leading Rome to the East destroyed his own country - Pontus, whereas Tigranes II managed to restrain the expansionist zeal of Rome thanks to his diplomatic flexible, delicately calculated steps and to preserve Armenian statehood as the guarantee of the Armenian nation's existence and survival. That is why history has deserved him the honorary title "Great" - "title, which history seldom grants to its selected sons" (N. Adonts). The prominent historian perfectly mastered historical geography. Perfect knowledge of the regional sites helped him to reveal Plutarch's, Appian's and
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´ »õ ÐéáÙÁ¦ (ºñ»õ³Ý, 1940) ٻݳ·ñáõÃÇõÝÝ»ñÁ: 1940Ã. ´ñÇõë»ÉáõÙ Ñ³Û ³Ï³Ý³õáñ å³ïÙ³µ³Ý ÜÇÏáÕ³Ûáë ²¹áÝóÁ (1871-1942) ³õ³ñïáõÙ ¿ ýñ³Ýë»ñ¿Ýáí ß³ñ³¹ñáõ³Í Çñ ÙïáñáõÙÝ»ñÁ îÇ·ñ³Ý II-Ç Ù³ëÇÝ: ºÃ¿ ³é³çÇÝ »ñÏáõ å³ïÙ³µ³ÝÝ»ñÇ áõëáõÙݳëÇñáõÃÇõÝÝ»ñÁ îÇ·ñ³Ý II-Ç Ù³ëÇÝ É³ÛÝ ×³Ý³ãáõÙ áõÝ»ó³Ý »õ ϳñ»õáñ ¹»ñ³Ï³ï³ñáõÙ Çñ³¹³ñÓáõÃÇõÝÝ»ñÇ ×ßï·ñïÙ³Ý áõ îÇ·ñ³ÝÇ ¹»ñÇ ·Ý³Ñ³ïÙ³Ý ·áñÍáõÙ, ³å³ ÝáÛÝÁ ã»Ýù ϳñáÕ ³ë»É Ü. ²¹áÝóÇ áõëáõÙݳëÇñáõû³Ý Ù³ëÇÝ: ò³õûù, ³ÛÝ Ùݳó ³ÝÛ³Ûï »õ ãÑñ³å³ñ³Ïáõ»ó: Ü³Ë Ù³ÑÁ` (ÛáõÝáõ³ñ 1942), ³ÛÝáõÑ»ï»õ ³ñËÇõÇ ÏáñáõëïÁ, ³ÝÑݳñÇÝ ¹³ñÓñÇÝ îÇ·ñ³ÝÇÝ ÝáõÇñáõ³Í ³Û¹ ÝÇõûñÇ Ññ³å³ñ³ÏáõÙÁ: ÀݹѳÝñ³å¿ë, ³Ý·³Ù í³é »ñ»õ³Ï³Ûáõû³Ý ¹¿åùáõÙ ¿É Ñݳñ³õáñ ã¿ñ »Ýó¹ñ»É, ÿ ѳٳß˳ñѳÛÇÝ É³ÛÝ ×³Ý³ãáõÙ áõÝ»óáÕ µÇõ½³Ý¹³·¿ï ÜÇÏáÕ³Ûáë ²¹áÝóÁ »ñµ»õÇó¿ ½µ³Õáõ»É ¿ ݳ»õ îÇ·ñ³Ý II-Ç ¹³ñ³ßñç³ÝÇ áõëáõÙݳëÇñáõû³Ùµ »õ ³Ý¹ñ³¹³ñÓ»É §²ñ»õ»ÉùÇ ³Ù»ÑÇ ïÇñ³Ï³ÉǦ (Ü. ²¹áÝó) ·áñÍáõÝ¿áõû³ÝÁ: ØdzÛÝ ß³ï ï³ñÇÝ»ñ ³Ýó Û³ÛïÝÇ ¹³ñÓ³õ, áñ Ü. ²¹áÝóÇ ³ñËÇõÁ µ³ñ»µ³Ëï³µ³ñ ÷ñÏáõ»É ¿ »õ ѳݷñáõ³Ý»É гٳ½·³ÛÇÝÇ ´¿ÛñáõÃÇ ·ñ³Ï³Ý å³ÑáóáõÙ: ²Ñ³, Ç ß³ñë ³ÛÉ ÝÇõûñÇ, ³Û¹ ³ñËÇõáõÙ å³Ñå³Ýáõ»É »Ý ݳ»õ Ü. ²¹áÝóÇ` Ù»½ Ñ»ï³ùñùñáÕ` îÇ·ñ³Ý Ø»ÍÇÝ ÝáõÇñáõ³Í áõëáõÙݳëÇñáõÃÇõÝÝ»ñÁ: ¸ñ³Ýù ýñ³Ýë»ñ¿Ýáí ß³ñ³¹ñáõ³Í §ØÇÑñ¹³ï ºõå³ïáñ¦, §îÇ·ñ³Ý ػͦ »õ §Ð³Û³ëï³ÝÁ ø.³ IV ¹³ñÇ Ï¿ë»ñÇó ÙÇÝã»õ ø.³ 66 Ãáõ³Ï³ÝÁ¦ áõëáõÙݳëÇñáõÃÇõÝÝ»ñÝ »Ý: ²é³çÇÝ »ñÏáõëÁ Ýûûñ (¿ïÇõ¹Ý»ñ) »Ý, áñ å³ïÙ³µ³ÝÁ ѳõ³Ý³µ³ñ ·ñ»É ¿ñ áñ»õ¿ ½»ÏáõóÙ³Ý Ñ³Ù³ñ: ºñÏñáñ¹Á ` Çñ Íñ³·ñ³Í ù³é³Ñ³ïáñ §øÝÝ³Ï³Ý Ð³Ûáó å³ïÙáõû³Ý¦ 2-ñ¹ ѳïáñÇ
ѳٳå³ï³ëË³Ý µ³ÅÇÝÝ ¿ñ (ßáõñç 150 ¿ç): ¿»õ µáÉáñÝ ¿É ë»õ³·Çñ »Ý
»õ ïå³·ñáõû³Ý ѳٳñ í»ñçÝ³Ï³Ý Ùß³ÏÙ³Ý Ï³ñûï, ë³Ï³ÛÝ ³Ûë íÇ׳ÏáõÙ ¿É ¹ñ³Ýù ѳٳñõáõÙ »Ý îÇ·ñ³Ý II-ÇÝ »ñµ»õÇó¿ ÝáõÇñáõ³Í ɳõ³·áÛÝ ¿ç»ñÇó: êñ³ÝóáõÙ Ü. ²¹áÝóÁ í»ñ ¿ Ñ³Ý»É Ñ³Û ³Ï³Ý³õáñ å»ï³Ï³Ý, ù³Õ³ù³Ï³Ý, 鳽ٳϳÝ, ¹Çõ³Ý³·Çï³Ï³Ý ·áñÍãÇ Çñ³Ï³Ý Ýϳñ³·ÇñÁ` ³é³Ýó ³õ»Éáñ¹ ßå³ñÇ, ·áõݳ½³ñ¹áõÙÝ»ñÇ »õ ͳÕñ³Ï³Ý áñ³ÏáõÙÝ»ñÇ, áñáÝù ³ÛÝù³Ý ѳñ³½³ï ¿ÇÝ ÑÇÝ å³ïÙÇãÝ»ñÇÝ »õ Ýáñûñ»³Û »õñáå³óÇ å³ïÙ³µ³ÝÝ»ñÇÝ: Ú³ïϳÝß³Ï³Ý ¿, áñ ùÝÝ»Éáí Ñ¿Ýó ÝáÛÝ ³Û¹ ÑÇÝ å³ïÙÇãÝ»ñÇ Ñ³Õáñ¹³Í ï»Õ»ÏáõÃÇõÝÝ»ñÁ, í»ñ ѳݻÉáí ¹ñ³Ýó ѳϳëáõÃÇõÝÝ»ñÝ áõ Ù³ïݳóáÛó ³Ý»Éáí Ï»ÕÍÇùÝ»ñÁ` Ü. ²¹áÝóÁ ·³ÉÇë ¿ ³ÛÝ »½ñ³Ï³óáõû³Ý, áñ îÇ·ñ³Ý II-Á å¿ïù ¿ ³ñųݳí³Û»É ï»Õ ½µ³Õ»óÝÇ ²ñ»õ»ÉùáõÙ »ñµ»õ¿ Çß˳Í
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Ð³Û ÅáÕáíñ¹Ç ·áÛ³ï»õÙ³Ý
ѽûñ »ñ³ßËÇù: ²Ñ³ ÿ ÇÝãáõ ¿ å³ïÙáõÃÇõÝÁ Ýñ³Ý ³ñųݳóñ»É §Ø»Í¦ å³ïáõ³ïÇïÕáëÇ, §ïÇïÕáë, áñ å³ïÙáõÃÇõÝÁ ѳ½áõ³¹¿å ¿ ßÝáñÑáõÙ Çñ ÁÝïñ»³É ½³õ³ÏÝ»ñÇݦ (Ü. ²¹áÝó): ²Ï³Ý³õáñ å³ïÙ³µ³ÝÁ ݳ»õ ÑdzݳÉÇ ·Çï¿ñ å³ïÙ³Ï³Ý ³ß˳ñѳ·ñáõÃÇõÝÁ:
î³ñ³Í³ßñç³ÝÇ ï»Õ³ÝùÇ ·»ñ³½³Ýó ÇÙ³óáõÃÇõÝÁ Ýñ³Ý û·Ý»É ¿ å³ñîƶð²Ü غÌ
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other historians' perfect unawareness of the arena of those events about which they have reported. Their data and information concerning military leaders' routes and battles as a matter of fact do not correspond to the realty. And if historian is unaware of the details of precise steps taken by his beloved hero and obviously falsifies, he falsifies in many other cases, too. Therefore, all data reported by ancient historians concerning Tigranes II are mainly falsifications, false facts. They really love their Plato more. If the mentioned three works of Adonts dedicated to Tigranes II the Great were known to Armenian historians and were published in due time, we are sure that Armenian historiography would have recorded much more results in the sphere than it has today. Extremely much news is provided by those new works of Adonts which can be favorably used while writing down the events of the Armenian nation's history of the given period of time. Translated from Armenian into English by L. Navasardyan
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½»Éáõ äÉáõï³ñùáëÇ, ²åådzÝáëÇ »õ ³ÛÉ å³ïÙÇãÝ»ñÇ Ï³ï³ñ»³É ³Ýï»Õ»³ÏáõÃÇõÝÁ ³ÛÝ Çñ³¹³ñÓáõÃÇõÝÝ»ñÇ Ã³ï»ñ³µ»ÙÇ í»ñ³µ»ñ»³É, áñ Ýñ³Ýù ѳÕáñ¹áõÙ »Ý: Üñ³Ýó ï»Õ»ÏáõÃÇõÝÝ»ñÁ ÑéáÙ¿³Ï³Ý ½ûñ³í³ñÝ»ñÇ »ñÃáõÕÇÝ»ñÇ, ׳ϳï³Ù³ñï»ñÇ í³Ûñ»ñÇ í»ñ³µ»ñ»³É, Áëï ¿áõû³Ý, ã»Ý ѳٳå³ï³ë˳ÝáõÙ Çñ³Ï³Ýáõû³ÝÁ: ÆëÏ »Ã¿ å³ïÙ³·ÇñÁ ï»Õ»³Ï ã¿ Çñ ëÇñ³Í Ñ»ñáëÇ ×ß·ñÇï ù³ÛÉ»ñÇ Ù³Ýñ³Ù³ëÝ»ñÇÝ »õ µ³ó³Û³Ûïûñ¿Ý Ï»ÕÍáõÙ ¿, ³å³ Ï»ÕÍáõÙ ¿ ݳ»õ ÙÇõë µ³½áõÙ ¹¿åù»ñáõÙ: лï»õ³µ³ñ, µáÉáñ ï»Õ»ÏáõÃÇõÝÝ»ñÁ, áñ Ù»½ ÷á˳ÝóáõÙ »Ý ÑÇÝ å³ïÙÇãÝ»ñÁ îÇ·ñ³Ý II-Ç í»ñ³µ»ñ»³É, ÑÇÙݳϳÝáõÙ Ï»ÕÍÇù »Ý, ³ñÑ»ëï³Ï³Ý, ßÇÝÍáõ ϳéáÛóÝ»ñ: Üñ³Ýù Çñûù áñ ³õ»ÉÇ »Ý ëÇñáõÙ Çñ»Ýó äɳïáÝÇÝ: ºÃ¿ îÇ·ñ³Ý II Ø»ÍÇÝ ÝáõÇñáõ³Í ²¹áÝó»³Ý ³Ûë »ñ»ù ÝÇõûñÁ Û³ÛïÝÇ ÉÇÝ¿ÇÝ Ñ³Û å³ïÙ³µ³ÝÝ»ñÇÝ »õ ïå³·ñáõ³Í ÉÇÝ¿ÇÝ Å³Ù³Ý³ÏÇÝ, ³å³ ѳÙá½áõ³Í »Ýù, áñ Ñ³Û å³ïÙ³·ñ³Ï³Ý ÙÇïùÝ ³Ûëûñ ß³ï ³õ»ÉÇ ³ñ¹ÇõÝùÝ»ñ ϳñӳݳ·ñ¿ñ ³Ûë µÝ³·³õ³éáõÙ ù³Ý áõÝÇ ³Ûëûñ: â³÷³½³Ýó ß³ï »Ý ³ÛÝ ÝáñáõÃÇõÝÝ»ñÁ, áñ Ù»½ »Ý ïñ³Ù³¹ñáõÙ ³¹áÝó»³Ý ³Ûë Ýáñ Ññ³å³ñ³ÏáõÙÝ»ñÁ, ÝáñáõÃÇõÝÝ»ñ, áñáÝù ³ÛÅ٠ϳñáÕ »Ý Ç ß³Ñ û·ï³·áñÍáõ»É гÛáó å³ïÙáõû³Ý ³Û¹ ųٳݳϳßñç³ÝÇ Çñ³¹³ñÓáõÃÇõÝÝ»ñÁ ÑÇõë»ÉÇë:
îƶð²Ü غÌ
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TIGRANES THE GREAT
1. Øáíë¿ë Êáñ»Ý³óÇ, гÛáó å³ïÙáõÃÇõÝ, ºñ. 1981, ¿ç 85:
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ϳÉáí áõ îÇ·ñ³Ý Ø»Íáí, سßïáóáí áõ Êáñ»Ý³óÇáí, ܳñ»Ï³óÇáí áõ ²µáí»³Ýáí, ²Ý¹ñ³ÝÇÏáí áõ Âáõٳݻ³Ýáí: ä³ï³Ñ³Ï³Ý ã¿ñ, áñ Ýñ³ ï³Ý ÝÝç³ñ³Ý ³ß˳ï³ë»Ý»³ÏÇ å³ï»ñÁ ½³ñ¹³ñáõ³Í ¿ÇÝ å³ïÙ³Ï³Ý Ð³Û³ëï³ÝÇ ï³ñ³ï»ë³Ï ù³ñ�ݻñáí. Ï»ÝïñáÝáõÙ, ÇѳñÏ¿, §Ð³Û³ëï³ÝÁ îÇ·ñ³Ý Ø»ÍÇ Å³Ù³Ý³Ï¦ ù³ñï¿½Ý ¿ñª »½»ñáõ³Í ³½·³ÛÇÝ ÛÇß»³É ëñµáõÃÇõÝÝ»ñÇ ÝϳñÝ»ñáí: Æñ ³Ûë åá¿ÙÁ ·ñ»ÉÇë Ú. ÞÇñ³½Á ãÇ µ³õ³ñ³ñáõ»É ÙdzÛÝ Ï³Ý »ñ»õ³Ï³Ûáõû³Ùµ.
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ãáõÝ¿ñ: ܳ Çñ³·áñÍáõÙ ¿ñ ·³Õ³÷³ñ³·»Õ³·Çï³Ï³Ý áõÛáÛÝ Íñ³·Çñ, áõëïÇ ÁÝïñáõû³Ùµ åÇïÇ ·áñͳͿñ ÇÙ³ó³Í µ³½Ù³ÃÇõ ÷³ëï»ñÇó ÙdzÛÝ Ýñ³Ýù, áñáÝù Ñݳñ³õáñáõÃÇõÝ Ïï³ÛÇÝ Çñ»Ýª Çñ³·áñÍ»Éáõ Çñ Ýå³ï³Ï³¹ñáõÙÁ: ²Ñ³ ÇÝãáõ ݳ ê. ޳ѳ½Ç½Ç ÝÙ³Ý ãÇ û·ï³·áñÍ»É äáÙå¿áëÇ, ÈáõÏáõÉÉáëÇ, Îñ³ëáëÇ, ´³½ñ³÷³ÝÇ
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TIGRANES THE GREAT
2. ÐáíÑ. ÞÇñ³½Ý ³é³ÝÓݳÏÇ Ï³ñ»õáñáõÃÇõÝ ¿ñ ï³ÉÇë Çñ ³Ûë åá¿ÙÇÝ: ºñÏ»ñÇ »ñÏñáñ¹ ѳïáñÇ` Ù»½ ÝáõÇñ³Í ûñÇݳÏáõ٠ݳ, áñå¿ë ѳõ³Ýáõû³Ý Ýß³Ý, ÃéãÝÇÏÝ»ñ ¿ ¹ñ»É ³ÛÝ åá¿ÙÝ»ñÇ íñ³Û, áñáÝù åÇïÇ ÁÝûñóáõ¿ÇÝ ³é³ÝÓݳ۳ïáõÏ áõß³¹ñáõû³Ùµ: ²Ûë åá¿ÙÇ ³é³çÇÝ ¿çÇ í»ñݳٳëáõÙ ÃéãÝÇÏÇ ï³Ï ݳ»õ »ñÏáõ ·ÇÍ ¿ ¹ñ»É. ÃéãÝÇÏÝ»ñ ¿ ¹ñ»É ݳ»õ Çñ ѳõ³Ý³Í ÙÇ ß³ñù ïáÕ»ñÇ áõ å³ïÏ»ñÝ»ñÇ íñ³Û, áñáÝù ϳ½ÙáõÙ »Ý åá¿ÙÇ ·³Õ³÷³ñ³·»Õ³ñáõ»ëï³Ï³Ý Ñ»ÝùÁ: äá¿ÙÝ»ñ å³ñáõݳÏáÕ ³Û¹ ѳïáñÇ ³Ýáõ³Ý³Ã»ñÃÇÝ ¿É ·ñ»É ¿ Ñ»ï»õ»³É ÁÝͳ۳ϳÝÁ. §Øáõñ³¹ ·¿ïÇ å¿ë ³Ýó³Ù³ù»ÉÇ Ùݳë, ê³Ùáõ¿É Øáõñ³¹»³Ý: êÇñ»ÉÇ - ÇëÏÁ ѳÛñ»Ý³ë¿ñ á·»ÉÇó ÁÝÏ»ñÇë` ê³Ùáõ¿ÉÇÝ, ÇÙ ëï»Õͳ·áñÍáõû³Ý ·Çï³ÏÇÝ, ³½ÝÇõ, µ³ÝǵáõÝ Ñ³ÛÇÝ: Ú. ÞÇñ³½ ¦ - ê. Ø.:
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ÒÇ»ñÝ »Ý ¹³éÝáõ٠ѳñ»õ³Ý ³ÛÉáó... ÆÝÓ Ë³ÛÃáõÙ` §à±õÙ ÑáÕÝ á±õÙ ¿Çñ ï³ÉÇë¦, àõ ¹»é ٳѳßáõñà ÇÝÓ »Ý ³Ûå³ÝáõÙ, â»Ý Ùdzµ³ÝíáõÙ, Ë»ÉùÇ ã»Ý ·³ÉÇë, гÛáó ݳ˳ÝÓÝ ¿ ѳÛáóÝ ëå³ÝáõÙ, ²½·Ç ³ãùÝ Ñ³ÝáõÙ...¦: àõ Ùïùáõ٠ɳÉÇë, гÛáó ÃÝçáõÏÇó ·ÉáõË ã¿ñ ѳÝáõ٠гÛáó ³å³µ³Ëï, µ³Ûó ³ÝѳÕà ³ñù³Ý,²Ñ³ û ÇÝãáõ ËÙáõÙ ¿ñ ³ÛÝù³Ý: 2. ... ºí ËÙáõÙ ¿ÇÝ, »ñµ áñ ³ÙñáóÇó àõñ³Ë Éáõñ µ»ñ»ó ÙÇ ÃáõË ëáõñѳݹ³Ï. - î»°ñ ³ñù³, ·áÕÃ³Ý ùá í³ñ¹³ÝáóÇó øá ·ÇñÏÝ »Ý Ãé»É »ñ»ù Ýáñ ëá˳Ï` ºñ»ù »ñ·ÇãÝ»ñ »õ Ïáõ½»Ý³ÛÇÝ Î»Ý³óÝ ³ñù³Ûǹ` ½³ñ¹³ñ»É »ñ·áí. àõ ·áíù ËÝÏ»Éáí ùá Ýáñ³·³ÑÇÝ` ²ß˳ñÑÁ ÉóÝ»É ³ñù³Ûǹ ÷³éùáí¦: ²ñù³Ý Ùï³ËáÑ Ý³Û»ó µ³Å³ÏÇÝ ºí ëáõñѳݹ³ÏÇÝ ßßÝç³ó ѳݹ³ñï. - ÂáÕ ·³Ý, ÇÙ ëÇñïÝ ¿É ͳñ³í ¿ »ñ·Ç, ºñ·Ý ¿É ÙÇ ÑáõÛë ¿, »ñµ ïËáõñ ¿ Ù³ñ¹... ÊÙ»°Ýù, Çß˳ÝÝ°»ñ, ¹»é ɳóáÕ ·ÇÝÇÝ, ¶ÇÝáí áõ »ñ·áí ëÇñïÝ ¿ ³Ý˳ñ¹³Ë¦: ºí Éé»ó ³ñù³Ý: ¶Ý³ó å³ï³ÝÇÝ, ´³Å³ÏÝ»ñÝ ¿ÉÇ ½Ý·³óÇÝ áõñ³Ë: ºí ѳÛïÝí»óÇÝ »ñ·ÇãÝ»ñÝ ³Ñ³,ºñ»ùÇó Ù»ÏÁ ѳÛñÝ ¿ñ »ñÏáõëÇ: ³÷³éÇÏ »õ ÏáõÛñ ÙÇ ·áõë³Ý ¿ñ ݳ` гÝó ѳ½³ñ»ññáñ¹ ÃáéÝ ÐáÙ»ñáëÇ. ºñÏáõëÁ` ÏáõÛñ Ñáñ ãáñë ³ãù»ñÝ ¿ÇÝ, àõ ݳ` å³ï³Ý¹í³Í سëÇëÇ íßïáí, ºñ·Ç µáõñí³éáí Çñ ³ëïí³Í³ÛÇÝ, ¶»ñÇ ·áÕóÝÇ, ÎáÕµÇ Ï³ñáïáí` ÐáõÛë ¿ñ µáõñí³éáõÙ ³ÙñáóÇó ³Ùñáó, àñ ãÙáé³Ý³Ý ³ÛÝ ÑáÕ»ñÝ Ñ³Ûáó... ºí ³ñù³Ý ³Ñ³ Ó³ÛÝ ïí»ó Ýñ³Ýó. - ºñ·»ó»ù ³ÛÝå»ë, áñ ·»ïÁ ϳݷÝÇ, ²ÛÝå»ë, áñ í³Ûñ³· í³·ñÁ ϳï³Õ³Í` γݷÝÇ Ï»ë ׳Ù÷ÇÝ áõ ³Ï³Ýç ¹ÝÇ, ´³Ûó åÇïÇ »ñ·»ù ³é³Ýó µ³é»ñÇ` ²é³Ýó µ³é»ñÇ, ѳëϳÝáõ±Ù »ù ÇÝÓ, ²é³Ýó µ³é»ñÇ, ÇÝãå»ë ³ãù»ñÇó г۳óùÝ ¿ Ëáëáõ٠óùáõÝ ËáÑ»ñÇ ...¦: îƶð²Ü غÌ
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» Ùdzµ³Ýí»Ýù ÇÙ ·³ÑÇ ßáõñçÁ` ØéáõÝã Ϲ³éݳ ѳÛáó ÙñÙáõÝçÁ, гÛáó ³Õ³íÝÇÝ í»ñ ϳñÍÁí³Ý³, ²ÛÝų٠ϳ½³ï»Ýù Íáí³ÏÝ ¿É ì³Ý³¦: ºí ËáõÉ Ñ³é³ã»ó Ý»ÕÝ ÁÝÏ³Í ³ñù³Ý. - ²ñ³½Ý ¿É ³ÛÅÙ, Ãáõñ ¿... å³ñëϳϳÝ, àñ г۳ëï³Ýë ÏÇëáõÙ ¿, ݳۻ° ù,Êá° ñ ݳۻù... áã û ÇÙ íñ³ í³Û»ù... ÆÙ ³½³ïÝ»ñ, гñ³½³ïÝ»ñ, ´³í ¿ Ùݳù òñí³Í, Ù³ïÝ»ñ, سïÝ»ñ` Çñ³ñ ³ãù»ñ ѳÝáÕ, ´éáõÝóù ¿ å»ïù` í³ïÇÝ í³ÝáÕ, âÏ³Ý Ù³ïÝ»ñÝ Ñ³Û áëï³ÝÇ` γ µéáõÝóùí»ÉÝ Ð³Û³ëï³ÝÇ: سïÝ»ñÝ Ç ÙÇ` µéáõÝóùÁ ϳ, » ÙݳÝù çáÏ-çáÏ` ä³ñëÇÏÁ Ï·³, ÎçÝç» çáÏ-çáÏ, ¶ÉáõËë íϳ: Æñ ïñ»Ë ó·Á ¶ÉËÇë ϹÝÇ, àÕç ѳÛáó ³½·ÇÝ Ïå³ñëϳóÁÝÇ, Ü³Ë Ãñáí, Ñ»ïá ³Ýáõß-Ù»Õáõßáí, гٵáõÛñáí ѳÛïÝÇ, µ³Ûó ·³ÕïÝÇ áõÅáí, ºÕµáñ ßáÛ³Ýùáí, ùñáç ùÝùß³Ýùáí, ʳµáí- ˳µËµáí Çñ »Õµ³ÛñÝ»ñÇ` ÎáõÉ Ïï³ í»ñçÝ ¿É ÑáÕÝ Ð³Û³ëï³ÝÇ, àõ Ù»Ï ¿É ï»ë³ñ` å³ñëϳù³áëáõÙ ØÇ Ñ³Û ¿É ѳÛáó É»½íáí ãÇ ËáëáõÙ... ²Ûë ¿ ·³ÕïÝÇùÁ ųÝï ³ïñáõß³ÝÇ, ÎÓáõÉí»Ýù ×»ñÙ³Ï ç³ñ¹áí ùÝùß»ÝÇ, » ûï³ñ ½áñùÁ ÙïÝÇ Ð³Û³ëï³Ý, ¾É áã ÙÇ êÛáõÝÇù, ¿É áã ÙÇ àëï³Ý¦: ²Ûë áñ Éë»óÇÝ` ïËñ»óÇÝ Ñ³ÝϳñÍ àÕç Çß˳ÝÝ»ñÁ, µ³Ûó ³ñù³Ý ³ë³ó. - г۳ëï³ÝÝ ³é³Ýó Ï»Ýïñáݳ·³ÑÇ` ²é³Ýó ÇÝÓ áõ Ó»½` ׳ÝÏáõÙ ¿ Ù³ÑÇ: Ø»ñ ÑáÕÝ ²ñ³½Ý ¿É ÏÇëáõÙ ¿, ݳۻù, ºñµ ųÙÁ ѳëÝÇ, Ãáõñ ÙÇ Ëݳۻù, ÎѳëÝÇ... ù³Ý½Ç Ù»ñ í³ÕÁ ï»ë³ ºë ³Ûë ï»ë³ÝáÕ »ñ·Ç Ù»ç ³ÝÑáÕ,Ø»½ ¿ñ ³Õ»ñëáõÙ »ñÏÇñÝ Ð³Û³ë³` Æñ ÛáóݳëáõÝÛáÃÁ µ»ñ³Ýáí, àõ ¹áõù... ËÙµí»ó»ù ÑáõÛëÇë Ù»ñ³Ýáí, àñ µáõÅ»Ýù ѳÛáó ³Ûë í»ñùÝ ³½·³óÇñ,
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ÚáóݳëáõÝÛáà ÑáíÇïÝ»ñÝ Ñ³Ûáó, ²½³ï»É áÕçÁ ßÕóÛÇó í³Ûáó, àñ سëÇëÝ ¿ÉÇ Çñ ó·Á ¹ÝÇ` ²½³ï áõ ³ÝÏ³Ë Ã³·Ý г۳ëï³ÝÇ... - γ½³ï»¯Ýù,- ·áã»ó ³ñù³Ý áõ »ñ¹í»ó, ¸³éݳÉáí Ù»ñ³Ý Ùdzµ³ÝáõÃÛ³Ý. - ²Ûë ¿ñ ³Ûë »ñ·Ç ɳóÝ áõ ·áãÁ Ù»Í, ²Ûë ¿ñ ³Ûë ·»ÕçϳÝó áõ½³ÍÝ Ñ³íÇïÛ³Ý, γ½³ï»Ýù, ûÏáõ½ Ù»ñ Ù³Ñáí ÉÇÝÇ...¦: àõ ˳ã³ÏÝù»ó Çñ ëñÇ íñ³,- ¿É DZÝã ³½·, »ñµ ÉáÏ ÙÇ µáõé ÑáÕ áõÝÇ... ºñµ ·»ñÇ »Ý Íáí ÑáÕ»ñÁ Ýñ³... γ½³ï»Ýù... ºñ¹í»¯Ýù ÇÙ ëñÇ íñ³...¦: ºí ù³é³ëáõÝ Ãáõñ ˳ã³÷³éí»óÇÝ` ²ñù³ÛÇ ëñÇ íñ³ »ñ¹í»óÇÝ` Ø»Í Ð³Û³ëï³ÝÇ »ñ³½áí ·»ñí³Í,Âí³ó û` Çñ»Ýó ³éç»õ ã³÷³éí³Í лéíáõÙ ¿É ųÛé» Ø³ëÇëÝ ¿É Ñáõ½í»ó, ÒÛáõÝÝ` ǵñ»õ ×»ñÙ³Ï Ã³ßÏÇݳÏ` å³ñ½»ó... ÎáõÛñ ·áõë³ÝÝ ³Ý·³Ù í»ñ Ãé³í ï»ÕÇó,- » »ë ³ëï Ù»éÝ»Ù` µ»ñ»ù ³ÛÝ ÑáÕÇó` Þ³Õ»ù ÇÙ í»ñ³, »ñµ Ïïñ»ù ßÕóÝ,ºí ÏáõÛñ ³ãù»ñÇó ÉáõÛë µË»ó.§¶áÕó°Ý, îÇ·ñ³Ý³ Ãñáí ϳ½³ïí»ë ¹áõ ¿É...¦,²ë³ó Í»ñ ·áõë³ÝÝ áõ ³ë»ë áõ½»ó ²ñù³ÛÇ Ï³ñÙÇñ Ùáõ׳ÏÝ Ñ³Ùµáõñ»É (ø³Ý½Ç ÷ñÏáõÃÛ³Ý Ññ»ßï³ÏÝ Ñ³ë³í), ²ñù³Ý ãÃáÕ»ó... àõ ·áõë³ÝÝ ³ë³í. - ²°Ë, û µ³½áõÏë ¹»é ¹³É³ñ ÉÇÝ»ñ... ø»½ Ù³ï³Õ, ³ñù³°, ³Ûë ÇÙ ÃáéÝ»ñÁ` êá˳ÏÇ Ó³ÛÝáí ³Ûá ÇÙ ·³éÝ»ñÁ,²Ûë ÇÙ ·³éÝ»ñÝ ¿É Ù³ï³Õ ³ÛÝ ÑáÕÇÝ, »»õ ëñ³Ýù »Ý ÙÇ³Ï ³ãù»ñë: î³°ñ, áñ ãÃáÕÝ»Ýù ÑáÕÁ áëáËÇÝ, Æ°ÝÓ ¿É ï³ñ... ½ÇÝíáñ ¹³ñÓñáõ »ñ·»¯ñë, ØdzÛÝ Ã» سëÇëÝ Çñ ½áñùÝ áõݻݳ` Çñ ó·Á ¹ÝÇ ²½³ï áõ ³ÝÏ³Ë Ã³·Ý г۳ëï³ÝÇ...¦: ²ñù³Ý Çñ ·ÇÝÇÝ ïí»ó ·áõë³ÝÇÝ, ºí ÇÝùÁ Éóñ»ó óë»ñÝ Çß˳ݳó, - Ø»½ ³ñÛáõÝ å»ïù ã¿, ù³ÝÇ Ï³ ·ÇÝÇÝ, ø³ÝÇ Ï³ ³ñÛáõÝÝ ³Ýѳßï ÃßݳÙÛ³ó... 6. ...àõ ËÙµÁí»óÇÝ` Ç ë»ñ ³ÛÝ ÑáÕÇ, ²Ù»Ý ÙÇ ÇßË³Ý Çñ ½áñùÁ µ»ñ»ó` Ødzµ³Ýí»óÇÝ Áݹ¹»Ù áëáËÇ,îƶð²Ü غÌ
293
Ødzµ³Ýí»óÇÝ, »õ ÃáõñÝ Ñ³Ùµáõñ»ó` Ø ³ëÇëÇ ÙÇ³Ï ÑáõÛëÁ ËáɳϳÝ, ØdzÏÁ` ÃáõñÁ ѳٵáõñ»ó ³ñù³Ý, ºí Ååï³ó ³ñù³Ý, áñ Ë»ÉùÇ »Ï³Ý, êáõñµ Ë»ÉùÇ »Ï³Ý Çß˳ÝÝ»ñÝ Ñ³Ûáó, ºÏ³í Çß˳ÝÝ ¿É ïÙ³ñ¹Ç î³Ûáó, ºÏ³í ·³Ñ³Ù»ñÅÝ Çñ ½áñùáí î³ÛùÇ, ºÏ³Ý ½áñù»ñÁ` ³Ñ»Õ ·áéáóáí ³Õ»Õíáñ гÛÏÇ, ºÏ³Ý Ñáõë³µ»ñ Ùdzµ³Ýí»Éáí, ѳÛáó ѳñ³Û¯áí, ºÏ³í ÞÇñ³ÏÁ ½áñùáí ÞÇñ³ÏÇ, ÇßË³Ý Þ³ñ³Ûáí, ºÏ³í êÉÏáõÝÛ³ó ÇßË³Ý êɳùÁ, ½áñùáí ëÉÏáõÝÛ³ó, Ø»Í Ë»ÉùÇ ·³Éáí »Ï³í êÛáõÝÇùÁ ½áñùáí Çñ ëÛáõÝÛ³ó, ºÏ³í î³ñáÝÁ ÇßË³Ý Øáõß»Õáí, ½áñùáí î³ñáÝÇ, ºÏ³Ý ·»ï ³é ·»ï, »Ï³Ý Íáí³ó³Ý` Áݹ¹»Ù ù³ñáÝÇ: ºÏ³í ÜϳÝÁ, ì³ëåáõñ³Ï³ÝÁ, »Ï³Ý ³Õ»Õí³Í, ºÏ³í ÒÛáõݳϳÝÝ áõ ´Ûáõñ³Ï³ÝÁ, »Ï³Ý ѻջÕí³Í, ºÏ³í ¶áõ·³ñùÁ` ½áñùáí ¶áõ·³ñùÇ, î³ñáÝÁ ½ÇÝí»ó, ºÏ³í Âáõ˳ñùÁ` ½áñùáí Âáõ˳ñùÇ, í»ñùÝ ëå»Õ³Ýí»ó: ºÏ³í ê³ëáõÝÁ` ½áñùáí ê³ëáõÝÇ, Çß˳Ýáí ê³ëÝÇÏ, ºí ³ñù³Ý ϳÝã»ó` §²é³¯ç, ÁÝÏ»ñáí Ù³ÑÝ ¿ ѳñë³ÝÇù...¦: ºÏ³Ý ½áñù»ñÁ سÙÇÏáÝ»Çó »õ ´³·ñ³ïáõÝÛ³ó. - à±õñ »ë, ѳÛñ»ÝÇù, »Ï³Ýù` ϳ½³ï»Ýù, ÍáíÝ ¿É ´½ÝáõÝÛ³ó... ºÏ³í ì³Ý³Ý¹Á ÇßË³Ý ì³Ññ³Ùáí, ½áñùáí ì³Ý³Ý¹Ç, ºÏ³Ý, áñ ·Ý³Ý, áñ ÷ßñ»Ý ßÕóÛù Ñ³Û ²ñ³ñ³ïÇ... ºÏ³Ý ·áõݹ ³é ·áõݹ` ËáÉ µ³Ý³Ïí»óÇÝ Ù³Ûñ ·³ÑÇ ßáõñçÁ, Ò³·»ñÁ ËÉí³Í ³éÛáõÍÇ ÙéáõÝã ¹³é³í ÙñÙáõÝçÁ. - ´³°í ¿ óùóÝ»ù Ù³Ûñ г۳ëï³ÝÁ ùáõÛñ г۳ëï³ÝÇó... ºí ³ñù³Ý »É³í Çñ ³ÝÑáõëáõÃÛ³Ý ³Ý»É ½Ý¹³ÝÇó, ²Ûëå»ë ËÙµ»Éáí ³ÛÝ Çñ³ñ³Ù»ñÅ Çß˳ݳóÝ Çñ³, ¸áõñë ù³ß»ó ³ñ¹³ñ ëáõñÁ å³ïÛ³ÝÇó, Âé³í Ññ³Ñ»ñ ÝÅáõÛ·Ç íñ³, γÝã»ó »ñÏñáí Ù»Ï, ËáÉ Ïáãݳѳñ»ó, ÂáõË ÓÇ»ñ ѳݻó ÛáÃÁ µÛáõñ ѳ½³ñ ÚáÃÁ µÛáõñ ѳ½³ñ Ýǽ³Ïíáñ ѳݻó, ²É ÓÇ»ñ ѳݻó ÛáÃÁ µÛáõñ ѳ½³ñ, ÚáÃÁ µÛáõñ ѳ½³ñ ³Õ»Õíáñ ѳݻó, ´³Ý³ÏÝ»ñ ѳݻó ÛáÃÁ µÛáõñ ѳ½³ñ, ÚáÃÝ Ñ³½³ñ ÛáÃÁ ¹ñáß Í³Í³Ý»ó, Ð³Û µ³½Ù³óñÇí ½áñù»ñÁ »Ï³Ý` ¸³ñÓ³Ý ½áñù ó½µ»Ý Çñ ³ñù³Û³Ï³Ý, ¸³ñÓ³Ý ë÷á÷³ÝùÝ Çñ ó³íáï ëñïÇ, àõ Ñáñ¹»ó, »É³í ½áñùÁ ËáɳϳÝ, Ðáñ¹»ó ÑáõÛëÇ å»ë Ñ»· ²ñ³ñ³ïÇ, Ðáñ¹»ó, ٻͳó³í, Íáí³ó³í ³ÛÝù³Ý, àñ óÝͳó ³ñù³Ý... àõ ϳÝã»ó §Ð³å-û¯û¯û¯Ý¦,-
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TIGRANES THE GREAT
àõ ½áñ³í³ñ»ó ¹»åÇ ì³Ý, ¹»åÇ Çñ سëÇëÝ ³ÛÝå»ë ì³ÃëáõÝ µÛáõñ ѳ½³ñÝ ³Ûë ѻջճÍÇÝ, àñ Ýǽ³Ï³íáñ í³ßï»ñáí, ϳñÍ»ë, êáëÛ³ó ³Ýï³éÝ»ñÝ Çñ Ñ»ï ·Ý³óÇÝ... Ødzµ³Ýí»Éáí ³ÛÝå»ë ³Ñ³·Ý³Í, àÕç »ñÏÇñÝ, ³ë»ë, ï»Õ³Ñ³Ý` ·Ý³ó, ²·é³íÝ»ñÝ ³Ý·³Ù Ýñ³Ýó Ñ»ï Ãé³Ý` ÀÝÏÝáÕ áëáËÇ ³ãù»ñÝ Ñ³Ý»Éáõ, ²Õ³íÝÇÝ»ñÁ ·Ý³óÇÝ` ÙdzÛÝ, ØdzÛÝ Ñ³ÕÃáõÃÛ³Ý ÉáõñÁ µ»ñ»Éáõ... 7. ...àõ ½áñùÇ Ù»ç ¿ñ ·áõë³ÝÝ ¿É ³ÛÝ ÏáõÛñ, Æñ ½áõÛ· ÃáéÝ»ñÇ` Çñ ³ãù»ñÇ Ñ»ï, î³ÝáõÙ ¿ñ, áñå»ë Ù³ï³ÕÝ»ñ Ù³ùáõñ` Æ ë»ñ ³ÛÝ ËÉí³Í ÑáÕÇ µÛáõñ³µ»ñ¹: ¶Ý³óÇÝ` »ñ·Á ¹ñáß ¹³ñÓÁñ³Í, ºñ·áí ßáõÝã ï³Éáí ½áñù»ñÇÝ Ñáñ¹³Í... àõ ù³ÝÇ ·Ý³ó` ³ÛÝù³Ý ³ÙµáËí»ó ²Õ»Õíáñ ³ñù³Ý Çñ ËáÉ µ³Ý³Ïáí, гÛáó áëáËÇÝ ëñ³ñß³í µ³Ëí»ó, Æñ ÓÇÝ Ãéóñ»ó µ»ñ¹»ñÇ ·ÉËáí: ²Ñ»Õ³ï»ëÇÉ Ý³í»ñáí ͳÍÏ»ó ÍáíÝ Çñ γåáõï³Ý, ÌáíÇ ³Ý¹áõݹÁ ëáõ½»ó å³ñûõ³ó ݳí»ñÁ` ÙÃÝáõÙ... ºí ÙéÝãáõÙ ¿ñ` §Âñáí ËɳÍÁ ÃñÇÝ »ï Ïï³Ý. Îáñóñ³Í ÑáÕÁ Ãñ»ñÇ ³ñÝáÕ ³ãùáí »Ý ·ïÝáõÙ¦: ØéÝã³ó îÇ·ñ³Ý Ø»ÍÝ ³ñß³í»Éáí` àõ û Ù»Õù áõÝ»ñ` Ù»ÕùÁ ù³í»Éáí. - ²é³¯ç, ù³ç ѳۻñ, ÑáÕÁ ã»Ý ï³ÉÇë, ²éÝáõÙ »Ý ÑáÕÁ, ϳéÝ»Ýù - Ïï³Ù Ó»½...¦: (²Ñ³ û ÇÝã »Ýù Ùdzµ³Ýí»ÉÇë...): ºí ѳÛáó ѳñÛáõñ ѳ½³ñáí, ³Ûëå»ë` ²½³ï»ó µ³ÝïÇó ÍáíÝ ¿É γåáõï³Ý, àñ ¿É àõñÙdz ³ÝáõÝÁ ãï³Ý: γÝã»ó` §º°ï ïí»ù ¹³ßï»ñÝ ¿É »ñÏñÇë, ÆÙ áñ¹áõÝ å³ï³Ý¹ Ïï³Ù, »ñµ Íݳí¦, ¶áã»ó` §Ð³Û ÑáÕÝ ¿ Ñ³Û Ó»éùÇ Í³ñ³í¦,гٵáõñ»ó, ³Ýó³í º÷ñ³ï áõ îÇ·ñÇë, ¼³ñÏ»ó` Çñ ì³Ý³ Íáí³ÏÝ ¿É ³Ýó³í, γÝã»ó` §Ð³Û ÑáÕÝ ¿ Ñ³Û Ëá÷ÇÝ Ï³ñáï, º°ï ïí»ù µáÉáñ ÇÙ ³ñïÝ áõ ³ñáï, îí»ù ÑáíÇïÝ»ñÝ ÇÙ ÛáóݳëáõÝ, ÆÙ ÑáÕÝ ÇÝÓ ïí»ù, ³ñÛáõÝ ã»Ù áõ½áõÙ: â»Ù ÏïñÇ ·ÉáõËÝ ³Ý·³Ù ÙÇ Í³ÕÏÇ, » ˳Ãñáí ãï³ù, Ïï³ù ÇÙ ½áéáí...¦: àõ ËáõÅ»ó ¹³ßï»ñÝ Çñ ѳÛñ»ÝÇùÇ. -ÆÙ ³½·Ý ÇÝÓ³ÝÇó ãÇ Ùݳ Ëéáí... γ½³ï»Ù` ·áÕïÇÏ ³ß˳ñÑÝ ¿É î³Ûáó¦: îƶð²Ü غÌ
295
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ößñ»ó ³ñÛáõÝáï ųÝÇùÝ Æñ³ÝÇ, ºï ËÉ»ó ì³Ý³ Ññ³ß³ï»ëÇÉ ÍáíÝ ¿É ÍÇñ³ÝÇ, ºï ËÉ»ó ѳÛáó ÍáíÝ ¿É ܳ½áõϳ, ØéÝã³ó` §â³ñÇ í»ñçÝ ¿É ¹»é Ïáõ·³...¦: àõ ÛáóݳëáõÝÛáÃÝ ûñ áõ ·Çß»ñ ²ñß³í»ó ³Ûëå»ë, ºï ËÉ»ó ѳÛáó ÑáíÇïÝ ¿É гñù³ ºí ÇÝùÁ ¹³ñÓ³í ³ñù³ÛÇó ³ñù³` ÊÉ»Éáí ó·Ý ¿É ·áéá½ ØÇÑñ¹³ïÇ,²½³ï»ó ·»ñí³Í ó·Ý ²ñ³ñ³ïÇ: 8. ºí Ùdzµ³Ýí³Í ³Ûëå»ë ÙdzϳÙ` ºï ËÉ»ó ËÉí³Í í»ñçÇÝ ÃÇ½Ý ³Ý·³Ù, ºï ËÉ»ó سëÇëÝ ³ñÙ»ÝÝ ÇÙ³ëïáõÝ, ºï ËÉ»ó, ïí»ó ³ëïÍáõÝÁ` ³ëïÍáõÝ, سÛñ г۳ëï³ÝÁ` ùáõÛñ г۳ëï³ÝÇÝ,²ñóáõÝùÇó ½³ï»ó Ù»ñ ѳóÝ áõ ·ÇÝÇÝ: Ð³Û Çß˳ÝÝ»ñÇ ÛáÃݳ·áõÛÝ Ãñ»ñÝ ³ÛÝå»ë ··í»ó³Ý, àñ Ñ³Û ³ñóáõÝùÇ ³ÙåÁ Ñ³Û Ãñáí ϳå»ó ÍdzͳÝ: ºí »ñµ ͳÛñ»Í³Ûñ áÕç г۳ëï³ÝÁ ³Ûëå»ë ³½³ï»ó` îÇ·ñ³ÝÇ ï»ÝãÁ º÷ñ³ïÇ ÝÙ³Ý »ñÏñÇó ¹áõñë Ñáñ¹»ó. - ²Ûëù³Ý Ù»Í ·ÉËÇÝ ³Ûëù³Ý ÷á±ùñ ó·...,ºí ËáÉ ³ñß³í»ó »õ ³ß˳ñÑÝ ³é³í Çñ ·áé ó·Ç ï³Ï: Ü³Ë ÃñÇ, ³å³` ó·Ç ï³Ï ³é³í ³ñ»õ»Éù, ѳñ³í, ²ÛÝ Çñ³ñ³Ù»ñÅ Ñ³Û Çß˳ÝÝ»ñÇÝ Ýáñ ÏéíÇ ï³ñ³í, Ð³Û Çß˳ÝÝ»ñÇÝ ³ñù³Û³óñ»ó ûï³ñ ·³Ñ»ñÇÝ, Æñ ÓÇáõÝ å³Ûï³é ¹³ñÓñ»ó ·áéá½ ß³ÑÝ߳ѻñÇÝ,²ÛÝ ë»õ ߳ѻñÇÝ, áñ ËÉ»É ¿ÇÝ ÑáÕ»ñÝ Çñ ѳÛáó, ²ÛÝ ß³ÑÝ߳ѻñÝ ³ÛÅÙ ÑáÕ ¹³é³Ý, áõ ¹³é³Ý í³Ûáó... ÈáÏ µ³Ý³ÏÝ»ñÇ Áݹ¹»Ù ËáÛ³ó³í »õ áã û Ù³ÝϳÝó, ʳí³ñ áõ ù³ÕóÇÝ Ï»ë ³ß˳ñÑáí Ù»Ï ÉáõÛë ï³ñ³í »õ ѳó... ´³µ»ÉáÝÝ ³é³í, Ãñáí ϳÙñç»ó ·»ï»ñÝ Æñ³ÝÇ, àñ ÍáíÇ ÝÙ³Ý ·³É, ͳÍÏ»É Ïáõ½»ñ ÑáÕÝ Ð³Û³ëï³ÝÇ,´³Ûó îÇ·ñ³ÝÝ ÇÝùÁ Íáí³ó³í, ͳÍÏ»ó Ï»ë ³ß˳ñÑÝ Ñëϳ, ²é³í ²ëáñÇùÝ áõ سñ³ëï³ÝÁ, ѳë³í öÛáõÝÇÏdz, ÐÇݹ áõ øáõßÝ ³é³í, Çñ ×áñïÁ ¹³é³í ²ñ³µëï³ÝÁ,(´³Ûó ѳÛáó ÑáÕáõÙ îÇ·ñ³Ý³Ï»ñï»ó Çñ Ù³Ûñ áëï³ÝÁ...) г½³ñ³É»½áõ áÕç ³ñ»õ»ÉùÁ ÃñÇ ï³Ï ³é³í, ²ÛÝå»ë, áñ ϳñÍ»ë »ñÏÇÝùÝ Ñ³Û ½áñùÇ íñ³ÝÁ Õ³é³í: ºñÏݳϳٳñÁ îÇ·ñ³ÝÇ Ó»éùÇÝ Ï»ë ¹³ñ ³Õ»Õí»ó, ²ëáõå ³ëïÕ»ñÁ Ý»ï»ñÁ ¹³é³Ý, ÐéáÙñ ¹³Õí»ó... ºí îÇ·ñ³ÝÝ ûÍí»ó ³ñù³ÛÇó ³ñù³, »õ ÝáõÛÝÇëÏ` ³ëïí³Í: ²ÛÝù³Ý ËáÛ³ó³í, áñ ³ñ»õÝ ³Ý·³Ù Çñ ó·Á Ãí³ó: ...ºí ³Ûëå»ë ³Ýí»ñç ݳ ÏéíÇ »É³í, ³é³í Íáí»Íáí, γÙñç»ó Íáí»ñÝ Çñ ³ß˳ñÑ³Ï³É ÃñÇ ½Ý·áóáí:
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²ÛÉáó É»½áõÝ»ñ ÓáõÉ»Éáõ ï»Õ³Ï` ݳ ÓáõÉ»ó áëÏÇ, Æñ ³ñÍÁí»ÝÇ å³ïÏ»ñáí Ïïñ»ó` ÓáõÉ»ó ÷áÕÝ ³½·Ç: - Ødzµ³Ýí»óÇÝù, áñ ³Ýϳ˳ݳÝù, ¾É áã ÙÇ ³½·Ç ëïñáõÏ ãÙݳÝù...¦: ºÉ³í Ù»ñ µáÉáñ áñë³ë³ñ»ñÁ ѳÛñ»Ý³áñëÇ` - سñ¹áõ ³ñÛ³Ý ï»Õ ÃáÕ Ñ»Ã³ÝáëíáÕ ³ñÛáõÝÁ ÑáëÇ, ÂáÕ »ÕÝÇÏÝ»ñÁ, »Õç»ñáõÝ»ñÁ ÇÙ ÷³éùÇÝ ½áÑí»Ý, àã û áõÉ»ñÁ, ÃáÕ ³ëïí³ÍÝ»ñÇë óáõÉ»ñÁ ÙáñÃí»Ý:Úáà ѳ½³ñ ×»ñÙ³Ï »ñÇÝçÝ»ñ Ù³ïÕ»ó سëÇëÇ ³é³ç, àñå»ë Çñ ÙÇ³Ï ï³×³ñÇ ³é³ç áõ »ñ¹í»ó ³Ý˳ã, àñ ê»õ³Ý³ ÉÇ×Ý Çñ ì³Ý³ ÍáíÇÝ ãÙݳ ͳñ³í, ºí ѳٵáõñ»Éáí ³ëïí³Í³å³ñ·»õ ÑáÕÁ سëÇëÇ Ð³Û ³ñù³Ý»ñÇÝ Ýáñ ÏéíÇ ï³ñ³í... àõ ³ëïí³Í³óí»ó... ÐéáÙÇ ³ÑÝ ¿É ÃñÇ ï³Ï ³é³í. Æñ ó·Á ÓáõÉ»ó áëÏáõó ¿É ³Ý·ÇÝ Ø³ëÇëÇ ÓÛáõÝÇó: àõ ÕáÕ³ó Ñ»éíáõÙ ÐéáÙÁ å³é³í, ¸áÕ³ó, ë³ë³Ý»ó ѳÛáó ³ÝáõÝÇó, лéíÇó Ñ»éáõ ¿É ûÍ»ó îÇ·ñ³ÝÇÝ ³ñù³ÛÇó ³ñù³, àõ îÇ·ñ³ÝÝ ³Ñ»Õ Æñ³Ý - Âáõñ³ÝÇó ÊÉ»Éáí ËÉí³Í Çñ ó·Ý ¿É áëÏÛ³` àÕç г۳ëï³ÝÁ ÷ñϳÍ` »ï »Ï³í, ²ÛÝ Çß˳ÝÝ»ñÇÝ, áñ ÏéíÇ ï³ñ³í, ܳ ó·³¹ñ»ó Ï»ë ó·³íáñÝ»ñ... ØÇ áïùÝ Ñ³Ûñ»ÝÇ Çñ ÑáÕÇÝ ¹ñ³í, ØÇ áïùáí` ³Ûëå»ë ¹»é ³ß˳ñÑ³Ï³É ³ñß³íÇ Ï»ÉÝ»ñ... ºí ÛáóݳëáõÝ ³½· áõ ó»Õ»ñÇ ³ñù³Ý»ñ »Ï³Ý Ø»ñ ÛáóݳëáõÝ ÑáíÇïÝ»ñÇ Ñ»ï Çñ áïù»ñÝ ÁÝϳÝ, ºí ³ñ»õ»ÉùÇ ãáñë ó·³íáñÝ»ñ ¸³ñÓ³Ý ãáñë áïù»ñÝ ³ñù³ÛÇ ÓÇáõ, ºí ãáñëÝ ¿É îÇ·ñ³Ý ³ñù³ÛÇÝ ÑÉáõ, Æñ ÝÅáõÛ·Ç ãáñë áïù»ñÇ ÝÙ³Ý Èáõé í³½áõÙ ¿ÇÝ` áõñ Ãéã»ñ ³ñù³Ý... Æñ Ï»ë ¹³ñÝ ³Ýó³í ÝÅáõÛ·Ç íñ³, ²ß˳ñÑ³Ï³É»ó µ³áõÏÁ Ýñ³, ºí ³Ûëå»ë Ó³ÛÝ»ó ê»õ³ÝÇó ѳë³Í Çñ ì³Ý³ ÍáíÇÝ. - ²Ñ³ û ÇÝã ¿ Ùdzµ³Ýí»ÉÁ, ³ÛÝ ¿É ³½·áíÇÝ, ²Ñ³ ÇÝã Ãáõñ ¿ Ùdzµ³ÝáõÃÛáõÝÝ, ÇßË³Ý ÇÙ ëÛáõÝÛ³ó, ø»½ »Ù å³ñ·»õáõÙ ùá êÛáõÝÇùÇ Ñ»ï ÍáíÝ ¿É ´½ÝáõÝÛ³ó, ÜáÛ³Ý Çç»õ³Ý ³ÛÝ ÇÙ µ³ñ»µ»ñ ܳËÇç»õ³ÝÝ ¿É ù»½, ØdzÛÝ Ã» ó·Çë ùá ½áñù áõ Ãñáí ÙÇßï ³¹³Ù³Ý¹í»ë: ²Ñ³ û ÇÝãÝ ¿, áñ ѳÛÇÝ Ñ³Û ¿ å³Ñ»Éáõ ѳí»ï, Îå³ÑÇ` ù³ÝÇ Ù³ïÝ»ñÇë ÝÙ³Ý µéáõÝóùí»ù ÇÝÓ Ñ»ï: ºí Ññ³Ù³Û»ó îÇ·ñ³Ý Ø»ÍÁ Ù»Í, ³ñù³ÛÇó ³ñù³Ý, àñ ·»ñÇÝ»ñÝ ¿É Ñ³Û »ñÏñáõÙ Ù³ñ¹ »Ý ³ÝËïÇñ ³ÛÝù³Ý, àñù³Ý ѳÛÝ ÇÝùÁ` ×áñï, û` í»ñݳϳÝ... úñ»ÝùÇó ¹áõñë »Ý Ñ³Û Çß˳ÝÝ ³Ý·³Ù, Ñ³Û Çß˳ÝáõÑÇÝ` àíù»ñ ãËáë»Ý ѳÛáó Ù³Ûñ É»½íáí, - ųݷ »Ý ÇÙ ·³ÑÇÝ:
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È»½áõÝ ¿ ³½·Ç áÕݳ߳ñÁ í»Ñ »õ ÍáõÍÁ Ýñ³, ÐáÕÁ ëïÇÝùÝ ¿ Çñ áÕݳ߳ñÇ, Çñ ÏñÍùÇ íñ³, È»½áõÝ ¿ ÃáõñÁ, áñáí »ï ËÉí»ó ÚáÃݳÑáÕÁ Ù»ñ, áñ ÝáñÇó ѳÛí»ó...¦: ...àõ Ï»ë ¹³ñÝ ³Ýó³í ÝÅáõÛ·Ç íñ³, »å»ï ¹Åµ³Ëïí»ó ³ÝÓݳÏÛ³ÝùÝ Çñ³.. ...´³Ûó óÙ³Ñ áã û ÙÇ ²ñ³Í³ÝÇ, àõ áã û ûÏáõ½ ÙÇ ³í»ñ ²ÝÇ, àã û ÙÇ î³ñáÝ, áã û ÙÇ ì³Ý³Ý¹, àã û ì³Ý³ Íáí ÙÇ Ñ³Ûñ»Ý³í³Ý¹, àã û ѳÛáó áÕç »ñÏÇñ ܳÇñÇÝ, àã û ÙÇ Ê³ñµ»ñ¹, áã û ÙÇ Î³ñÇÝ, àã û ÙÇ ¶áõ·³ñù, áã û ÙÇ Âáõ˳ñù, àã û ÙÇ º÷ñ³ï, áã û ÙÇ îÇ·ñÇë, àã û ÙÇ ßÇÃÝ ¿É Íáí ѳÛñ»ÝÇùÇë, àã û ÙÇ ê³ëáõÝ. ºÕÛ³ÉÝ »ë ³ëáõÙ` àã û ÙÇ Ø³ëÇë, àã û ·»Ã ÙÇ êÇë, ²ÛÉ ïáõñ ãïí»ó ÑáÕÇ áã ÙÇ Ãǽ, ¶³Ñ»Éáí Ï»ë ¹³ñ ³ß˳ñÑÝ »ñ³½³Í, ²ß˳ñѳϳɳÍ` ׳ËñáõÙ ¿ñ ½ÇÝí³Í...
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... àõ »ñµ áñ¹áó ¹³íÝ Çñ ÍáõÝÏÁ ͳɻó, ØÇßï Ù»Í ÙݳÉáí îÇ·ñ³Ý Ø»ÍÝ ³Ý»ÕÍ, ì»ñ »É³í سëÇë É»éÁ µ³ñÓñ³µ»ñÓ` Æñ ³½·Ç å³ïÏ»ñ È»éÝ ³ëïí³Í³Ù»ñÓ, Æñ ·ÉËÇó ѳÛáó Çñ ó·Á ѳݻó àõ ó·³¹ñ»ó É»éÇÝ Ñdzóùáí, гÛñ»ÝÇ É»é³Ý ·ÉáõËÝ` Çñ ó·áí, سëÇëÝ` Çñ ó·áí í»ñ ó·³¹ñ»ó, гí»ñÅÁ ·»ñ»ó ÏÛ³Ýùáí Çñ í³ÛñÏÛ³Ý, àõ ɳÝçÇÝ Ñ³Éí»ó, ÷á˳ñÏí»ó ÑáÕÇ` öá˳ñÏí»ó ÓÛáõÝÇÝ ³ÛÝ Ñ³í»ñųϳÝ, öá˳ñÏí»ó ÑáÕÇ, ÷á˳ñÏí»ó óáÕÇ` ²Ý³ÝóÇÝ ÃáÕ³Í ÷³éùÝ ³Ýó³ÝáÕÇ:
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ì»ñç³µ³Ý ºë ѳÕûóÇ Ñáݳó ß³ÑÇÝ, ºë ѳÕûóÇ Çñ³Ý³óáó, ºë µ³½Ù»óÇ ÑáõÝ³ó ·³ÑÇÝ, ºë ѳÕûóÇ Ãáõñ³Ý³óáó, ºë ѳÕûóÇ µÛáõ½³Ý¹³Ï³Ý àõ ˳ɹ³Ï³Ý ß³ÑÝß³ÑÇÝ, ºë µ³½Ù»óÇ ³ëáñ³Ï³Ý г½³ñ³ÏÝÛ³ ѽáñ ·³ÑÇÝ, ºë ѳÕûóÇ ³Ù»Ý í³ÛñÏÛ³Ý, âѳÕûóÇ ÙdzÛÝ... Ù³ÑÇÝ, ÐÇÙ³ ãϳ ·»Ã ·»ñ»½Ù³Ý ²ß˳ñÑ³Ï³É ÇÙ ½ñ³ÑÇÝ: 2. ºñµ ݳÛáõÙ »Ù É»éݳå³ñÇÝ, ê»· ë³ñ»ñÇÝ Ù»ñ ѳÛϳϳÝ` ÂíáõÙ ¿, û îÇ·ñ³Ý Ø»ÍÇ ìñ³ÝÝ»ñÝ »Ý ѳí»ñųϳÝ:
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²ß˳ñѳóáõÝó ÏéíÇó »Ï»É` ²ëï ¿ ѳí»ñŠݳ µ³Ý³Ï»É, ¸³ñ»ñ ³Ýó³Ý, µ³Ûó áã ÙÇ ÑáÕÙ àã ÙÇ íñ³Ý ¹»é ãÇ åáÏ»É: ¸»é ãÇ åáÏ»É áõ ãÇ åáÏÇ àõ ê»õ³ÝÁ ÃíáõÙ ¿, û ÈáõÛë í³Ñ³ÝÝ ¿ ѳÕóݳÏÇ, îÇ·ñ³Ý Ø»ÍÇ í³Ñ³ÝÝ ¿ í»Ñ: ºí Ðñ³½¹³ÝÝ ³ñͳó÷³ÛÉ êáõñÝ ¿ ³ÝÙ³Ñ ½áñ³í³ñÇ, àñ Ù»ñϳó³Í ¹áõñë ¿ ó³ÛïáõÙ Øáí å³ïÛ³ÝÇó É»éݳå³ñÇ: ºí سëÇëÝ ¿ ·ÉËÇÝ å³ÑáõÙ àëÏ» ó·Á îÇ·ñ³Ý Ù»ÍÇ, àñ ßáÕáõÙ ¿ ÇÝãå»ë å³ÑÇÝ ²ß˳ñÑ³Ï³É í»ñ³¹³ñÓÇ:
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IMAGE OF TIGRANES THE GREAT IN ARMENIAN AND WORLD LITERATURE AND ART
ÂÀËÅÐÈ ÁÐÞÑÎÂ
ÒÈÃÐÀÍ ÂÅËÈÊÈÉ
95 - 56 ãã. äî ð. X.
 òîðæåñòâåííîì, ëó÷èñòîì ñâåòå, ×òî áëåùåò ñêâîçü ãóñòîé òóìàí Îòøåäøèõ âäàëü òûñÿ÷åëåòèé,— Ïîäîáåí îãíåííîé êîìåòå, Íàä ìèðîì òû ãîðèøü, Òèãðàí! Òû ïîíÿë ïîìûñëîì êðûëàòûì Ñâîé âåê. òû âçâåñèë ìîùü ïëåìåí, È çíàìÿ áðàíè íàä Åâôðàòîì Âîçíåñ, â ñîþçå ñ Ìèòðèäàòîì, Íî íå â áåçóìèè, êàê îí. Òû ñòàâèë áîåâîãî ñòàíà Øàòðû íà âñåõ êîíöàõ çåìíûõ:  ãîðàõ Êàâêàçà è Ëèâàíà, Ó ñòðóé Êóðû, ó Èîðäàíà,  âèäó ñòîëèö, â ñòåïÿõ íàãèõ. È ãðîçåí áûë òâîé çîâ âîåííûé, Êàê ãðîì ñïàäàâøèé íà âðàãîâ: Äðîæàë, çàñëûøà, ïàðô íàäìåííûé, È ãíåâíî, âëàñòåëèí âñåëåííîé, Ðèì îòâå÷àë ñ ñåìè õîëìîâ. Íî, âîèí, òû óìåë Ýëëàäû Ãàðìîíèþ è ÷àðó ÷òèòü,  ñòèõàõ Ãîìåðà çíàë óñëàäû, È îáðàç Ìóäðîñòè — Ïàëëàäû Ñ Íàíý õîòåë îòîæåñòâèòü! Òû âèäåë â íåì íå ìåðòâûé èäîë ; Ñâîþ çàâåòíóþ ìå÷òó, Ââîäÿ Îëèìï â ñâîé õðàì, òû âûäàë: Íàâåê — ê àðìÿíñêîé ìîùè ïðèäàë Òû ýëëèíñêóþ êðàñîòó! 302
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È, âçîðîì âäàëü ñìîòðÿ îðëèíûì, Òû âèäåë ñâîé íàðîä, â âåêàõ, Ñòîÿùèì ãîðäî èñïîëèíîì: Òû ê ñâåòëûì âåë åãî ãîäèíàì ×ðåç âîéíû, ÷ðåç òîñêó è ñòðàõ... Êîãäà æ âîåííàÿ íåâçãîäà Ñìåëà íàìå÷åííûé óçîð,— Òû ïîìíèë áëàãî ëèøü íàðîäà, Íå ÷åñòü ñâîþ, íå ãîðäîñòü ðîäà,— Êàê êóáîê ÿäà, ïèë ïîçîð. Òèãðàí! Ìû ÷òèì òâîé âîçíåñåííûé È ëàâðàìè âåí÷àííûé ëèê! Íî òû, èçìåíîé óãíåòåííûé, Òû, ïðåä Ïîìïååì ïðåêëîíåííûé Âî èìÿ ðîäèíû,— âåëèê! 11 äåêàáðÿ, 1916
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êØ´²î ޲в¼Æ¼
ØÆæÆÜ îƶð²Ü
I îÇ·ñ³°Ý, ÷³é³Ñ»Õ ѳÛáó ó·³íáñ ºí ³ß˳ñÑ³Ï³É ³ÝÃÇí ³½·»ñÇ, à±õñ ¿ ϳÉí³ÍùÁ ùá ѳݹÇë³íáñ, à±õñ ¿ å»ïáõÃÛáõÝ ùá Ññ³ß³ÉÇ: à±õñ îÇ·ñ³Ý³Ï»ñï, Ù»½ å³ï³ë˳ÝÇ°ñ,²Û¹ ×áË ù³Õ³ùÁ, ³éÉó³Í ·³ÝÓáí, àñ ѳ÷ßï³Ï»ó µ³½áõϹ ѳÕóÏÇñ ºí
ÙÇ Ñ³½í³·Ûáõï ½³ñ¹³ñ»ó Ññ³ßùáí,
àõ¯ñ ·Ý³ó, ³ë³°, ùá ϳñáÕáõÃÛáõÝÁ: ¸áõ í»°ñ ϳó, ϳݷÝÇ°ñ,- DZÝã »ù ï»ë³ÝáõÙ²Ûëï»Õ ÷ɳï³Ï, ³ÛÝï»Õ åÕÍáõÃÛáõÝ, ØdzÛÝ µáõ»ñÇ Ó³¯ÛÝ »Ýù Ù»Ýù ÉëáõÙ:
II à±õñ ³ñ»Ý³ñµáõ ϳñáÕ ùá ëáõë»ñ, àñáí ×Ýßí»ó³Ý öáùÁñ ²ëdzÝ, Ø»Ýù ã»Ýù ·ï³ÝáõÙ ³Ý·³Ù ÇÝã ëïí»ñ, ´³Ûó û ³í»ñ³Ï ïÁí³Í ÏáñëïÛ³Ý: ºí ¹á°õù, ÷³é³ë»ñ áñ¹Çù ÐéáÙ³, ¸á°õù, á°í ÈáõÏáõÉÉáë, Îé³ë, äáÙå»áë, à±õñ Ó»ñ ù³çáõÃÛ³Ý åë³ÏÁ ¹³÷ÝÛ³, àñáí å×ÝáõÙ ¿ñ ÐéáÙÁ ·áéá½: ¸áõù ËñáËï³Éáí ó÷»óÇù ³ñÛáõÝ, ̳ÍÏ»ó»ù ¹³ßï»ñÝ ÷ßñ³Í ½»Ýù»ñáí, àñ ³Ûëûñ ÙÇ Í³Ýñ ¨ ѳí»ñÅ ùáõÝ ²Ù÷á÷» Ó»ñ ÷³éù,
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¹³·³ÕÇ ÷ßñáí:
TIGRANES THE GREAT
III ²Ñ³ Ó»ñ ½»ÝùÇ Ù»Í Ñ³Ý¹Çë³ñ³Ý, àõñ Å»Õáí»Éáí í³é É»·ÇáÝÝ»ñ, γٻÇù Ýí³×»É ½áñ³íáñ îÇ·ñ³Ý ºí Ýáñ³ í»ñ³ ï³ñ³Í»É ëïí»ñ: ²Ûëï»Õ ØÇÑñ¹³ï Ëáñï³Ïí³Í ÃáõÛÝáí, ²ÛÝï»Õ ´³½³÷ñ³Ý ѳÕÃáõÃÛ³Ý ÷áÕáí, ²Ûëï»Õ ¹áõù ÇßË³Ý »õ Ññ³Ù³ÛáÕ.´³Ûó ³ÛÅÙ ï»ë»°ù... µÉáõñÝ»ñ µ³ñÓñ³ó³Í: ÞÇñÇÙÝ»ñ ×Ýßí³Í... ³Ûëï»Õ »õ ѳÕÃáÕ, ºí ï»ñ, »í Í³é³ ÙÇ ÑáÕáí ͳÍÏí³Í, ºí г۰Ý, »õ ä³ñû°õ, »õ Ðéá°Ù³Û³óÇÝ Üá¯ÛÝ ³Ý³ñ· ÏáñáõëïÁ ÁݹáõÝ»óÇÝ:
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TIGRANES THE GREAT
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²ð²ð ²è²æÆÜ ä³ïÏ»ñ ³á³çÇÝ
²ÔÒÜÆø ÆÞÊ²Ü ¶àÆð²êÆ ²ØðàòÆ ²è²æ (¶³ÉÇë »Ý ²ñ»õß³ï ²ßïÇß³ïóÇÝ »õ سÙÇÏÁ): ²ðºìÞ²î ö³éù ²ñ³Ù³½¹ÇÝ, ²Ûëûñ îǽµáÝÇó Ù»ñ ï»ñÝ ¿ ·³ÉÇë: زØÆÎ ¶³ÉÇë ¿ ѳÛáó Ýáñ ó·³íáñÁ: ²ðºìÞ²î ºí ·Çï»±ë ù³ÝÇ ÑáíÇï »Ý ïí»É, áñ ÷ñÏ»Ý Ýñ³Ý: زØÆÎ ø³ÝDZëÝ »Ý ïí»É: ²ðºìÞ²î ÚáóݳëáõÝ Ù»Í çñ³µ»ñ ÑáíÇï: سÛñ ²ñï³ß³ïÇó ó·³íáñ³Ï³Ý ßáñ»ñ »Ý ï³ñ»É, ÌÇñ³ÝÇ µ³×ÏáÝ, ϳñÙÇñ ÏáßÇÏÝ»ñ: زØÆÎ ºñ³ÝÇ ßáõï ·³: ¾É DZÝã »Ý ï³ñ»É: ²ðºìÞ²î ²Ï³ÝçÇ ûÕ»ñ »õ Ù»çùÇ ·áïÇ: زØÆÎ à±í ¿ ·Ý³ó»É Ýñ³Ý µ»ñ»Éáõ: ²ðºìÞ²î øñÙ³å»ï سųÝÁ, ²ÕÓÝÇùÇ ï»ñ ÇßË³Ý ¶áõñ³ëÁ ºí î³ñáÝÇ ï»ñ êɳù êÉÏáõÝÇÝ: ¶³½å³ Ï»ñ»±É »ë: زØÆÎ Þ³¯ï:
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TIGRANES THE GREAT
²ðºìÞ²î γñá±Õ »ë ³ë»É` DZÝã ϳ ³ß˳ñÑáõÙ ·³½å³ÛÇó ù³Õóñ: زØÆÎ Ø»Õñ: ²ðºìÞ²î ÆëÏ Ù»ÕñDZó ù³Õóñ: زØÆÎ àã ÙÇ µ³Ý ãϳ: ²ðºìÞ²î ²Û¹ ѳݻÉáõÏÁ ÉáõÍ»Éáõ ѳٳñ ºë ù»½ ï³ÉÇë »Ù ùë³ÝÑÇÝ· ï³ñÇ: ÐÇÙ³ ÙÇ áõñÇß Ñ³Ý»ÉáõÏ ³ë»Ù: زØÆÎ ²ë³°: ²ðºìÞ²î ¾Ý Ç±Ýã ¿, µ³Å³ÝíáõÙ ¿ ï³ëÝ»ñÏáõëÇ, ²Ù»Ý Ù»ÏÁ »ñ»ù ï³ëÇ, ÐÇÝ· ¿ ÙÝáõÙ ³é³Ýó Ù³ëÇ: زØÆÎ ¶ï³, ¹³ ѳÛáó ÏÉáñ ï³ñÇÝ ¿, àñ µ³Å³ÝíáõÙ ¿ ï³ëÝ»ñÏáõ ³ÙëÇ, ²Ù»Ý ³ÙÇëÁ »ñ»ëáõÝ ûñ áõÝÇ: ²í»É³ÝáõÙ ¿ ï³ñí³ Ù»ç ÑÇÝ· ûñ, ¾Ý ¿É ÏáãíáõÙ ¿ ²í»ÉÛ³ó ³ÙÇë: ²ðºìÞ²î ²åñ»±ë: àõñ»ÙÝ, Ýáñ ó·³íáñÁ ·³ÉÇë ¿ ³Ûëûñ, ²í»ÉÛ³ó ³ÙëÇ ³é³çÇÝ ûñÁ, ÆëÏ ãáñë ûñ Ñ»ïá Ù»Í Ü³í³ë³ñ¹Ý ¿; زØÆÎ ºí ì³ñ¹³í³éÁ: ²ðºìÞ²î ´³Ûó Ù»ñ å³ÛÙ³ÝÁ å³ÛÙ³Ý ¿, سÙÇÏ: ÐÇßÇñ ËáëïáõÙ¹ ê³ÉÝá ÓáñÇ å³Õ ³ÕµÛáõñÇ íñ³: Æ٠سٳ·áÝÁ ³ñ¹»Ý ù³ÛÉáõÙ ¿: زØÆÎ ÎÇÝë ãµ»ñ ¿, ³ÕçÇÏ ãÇ ÉÇÝáõÙ:
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²ðºìÞ²î ¾¯ µ³Ý ³ë³óÇñ, ³Ùáà ¿, سÙÇÏ, ²ÕçÇÏ áõÝ»óÇñ, áñ ²ßïÇß³ïáõ٠ѳñë³ÝÇù ³Ý»Ýù: Ø»Ýù ê³ÉÝá ÓáñáõÙ å³ÛÙ³Ý »Ýù ϳå»É: ¸áõ ÇÝÓ Ëáëï³ó³ñ, áñ »ñµ îǽµáÝÇó ó·³íáñÁ ·³, гñëݳËáëáõÃÛ³Ý Ï·³ë ²ßïÇß³ï: àõËï¹ ÙÇ° ˳ËïÇñ, ²Ûëûñ ·³ÉÇë ¿ Ù»ñ ó·³íáñÁ. §ÎÇÝë ãµ»¯ñ ¿¦. ³Ùáà ¿, سÙÇÏ, ãµ»ñ ÏÇÝ ãϳ, îÕ³ë å³ïñ³ëï ¿, ³ÕçÇÏ Ñ³ëóñáõ: زØÆÎ ²ñ»õë íϳ, ³ÕçÇÏ ãÇ ÉÇÝáõÙ: ²ðºìÞ²î ¸ÇÙÇñ ²ëïÕϳÝ: زØÆÎ ²ëïÕϳÝ, ÇÝãá±õ: ²ðºìÞ²î ø»½ ³ÕçÇÏ Ïï³: ²ë³, ï»ë»±É »ë Ù»ñ ì³ñ¹³Ù³ïÇÝ: زØÆÎ â¿°, ¹»é ã»Ù ï»ë»É, ÇëÏ ¹áõ ï»ë»±É »ë: ²ðºìÞ²î àã ÙdzÛÝ ï»ë»É, ³ÛÉ»õ ëÇñ»É »Ù... ºë Ýñ³Ý ï»ë³, »ñµ ·»ïÁ Ùï³í: Ø»ñ ³ëïí³ÍáõÑÇÝ ³ÛÝù³Ý ëÇñáõÝ ¿, àñ Çñ Ù³ñÙÇÝÁ ÷ñ÷áõñÇ ÙÇçÇó ÉáõÛë ¿ ³ñÓ³ÏáõÙ: زØÆΠܳ Ù³ñÙÇÝ áõÝDZ: ²ðºìÞ²î ´³ ³é³Ýó Ù³ñÙÝÇ ³ëïí³Í ÏÉÇÝDZ: ²ëïÕÇÏÇÝ ï»ë³ »ë ÉáճݳÉÇë: زØÆÎ ºí ï»ë³±ñ Ýñ³Ý ÷ñ÷áõñÝ»ñÇ Ù»ç: ²ðºìÞ²î ²ñ³Í³Ýáõ å³Õ ÷ñ÷áõñÝ»ñÇ Ù»ç:
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TIGRANES THE GREAT
زØÆÎ ÆëÏ Ç±Ýãå»ë ï»ë³ñ: ²ðºìÞ²î ÆÝÓ Ñ»ï »Ï, سÙÇÏ: ²Ûë ì³ñ¹³í³éÇÝ ³ñÇ ù»½ ï³Ý»Ù, óáõÛó ï³Ù ²ëïÕϳÝ: ÈëÇñ, µ³Ý å³ïÙ»Ù: زØÆÎ ä³ïÙÇ°ñ, ²ñ»õß³ï: ²ðºìÞ²î ²ñ³Í³Ýáõ Ùáï î³Õáݳó ÏáãíáÕ ÙÇ ëÇñáõÝ ë³ñ ϳ. ²Ù»Ý ·Çß»ñáí, »ñµ áñ ²ëïÕÇÏÁ ÙïÝáõÙ ¿ çáõñÁ. êÇñ³Ñ³ñÝ»ñÁ ³Û¹ ë³ñÇ íñ³ Ïñ³Ï »Ý í³éáõÙ. àñ Ýñ³ ëÇñáõÝ Ù³ñÙÇÝÁ ï»ëÝ»Ý: ´³Ûó ³ëïí³ÍáõÑÇÝ Çñ ßáõñçÁ µ³ñ³Ï Ùßáõß ¿ ù³ßáõÙ, àñ Çñ»Ý ͳÍÏÇ ³Ýѳٻëï ³ãùÇó: زØÆÎ ºñ³¯½ »ë å³ïÙáõÙ: ²ðºìÞ²î ºñ³½ ã¿, سÙÇÏ: ²ñÇ ù»½ ï³Ý»Ù, óáõÛó ï³Ù ¶áõñ·áõé³Ý` ³ÛÝ ÉáÕ³ñ³ÝÁ. àñÇ ³ñͳû ³ÉÇùÝ»ñÇ Ù»ç ÈáÕáõÙ ¿ ãùÝ³Õ Ù»ñ ³ëïí³ÍáõÑÇÝ: Îñ³Ï ¿ÇÝù í³é»É гóÛ³ó ³Ýï³éáõÙ àõ Ù»Ï ¿É, ѳÝϳñÍ, ³ãù»ñÇë ³é³ç ܳ Ý»ïí»ó ·»ïÁ: êáõ½í»ó, µ³ñÓñ³ó³í, ÜáñÇó µ³ñÓñ³ó³í áõ ÝáñÇó ëáõ½í»ó: ʳÕáõÙ ¿ñ ϳñÍ»ë ³ÉÇùÝ»ñÇ Ñ»ï: ºë ßáõÝãë å³Ñ³Í Ñ»ï»õáõÙ ¿Ç: ²ñ»õ³Í³·ÇÝ, »ñµ ݳ Ýϳï»ó, àñ óùëïáóÇó ¹ÇïáõÙ »Ýù Çñ»Ý, Ø»ñ ³ãù»ñÇ ¹»Ù ÙßáõßÝ»ñ ϳå»ó áõ ³ÝÑ»ï³ó³í. Ø»Ýù ѳé³ã³Ýùáí Ïñ³ÏÁ ѳݷóñÇÝù áõ í»ñ³¹³ñÓ³Ýù: زØÆÎ àñï»±Õ ¿ ³åñáõÙ: ²ðºìÞ²î ²ëïÕÇÏÝ ³åñáõÙ ¿ ²ßïÇß³ïÇ Ù»ç: Üñ³ ï³×³ñÁ ßÇÝí³Í ¿ ëåÇï³Ï Ù³ñÙ³ñ» ù³ñÇó, ÎáõéùÁ ¹ñí³Í ¿ ï³×³ñÇ ³éç»õ` µ³·ÇÝÇ íñ³: ÆëÏ ³ÛÝ ë»ÝÛ³ÏÁ, áõñ ³åñáõÙ ¿ ݳ, ÎáãíáõÙ ¿ ݳ»õ ì³Ñ³·ÝÇ ë»ÝÛ³Ï, îƶð²Ü غÌ
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²ÛÝï»Õ »Ý Ýñ³Ýù Çñ³ñ ѳݹÇåáõÙ: î³Õáݳó ë³ñÇ ·»Õ»óÇÏ É³ÝçÇÝ ºë ¿É ÙÇ ·Çß»ñ Ïñ³Ï »Ù í³é»É, ÆëÏ ²ßïÇß³ïáõÙ, ܳí³ë³ñ¹ ³ÙëÇÝ ¶Çï»ë û ÇÝãù³¯Ý í³ñ¹ »Ù ß³Õ ïí»É »ë Ýñ³ ÏáõéùÇÝ, àñù³¯Ý ëåÇï³Ï ³Õ³íÝÇÝ»ñ »Ù Âéóñ»É ¹»åÇ å³ßï»ÉÇ ²ëïÕÇÏ, àñù³¯Ý çáõñ ó³Ý»É... 0¯, »ñ³Ý»Éǯ ³ÛÝ Å³Ù³Ý³ÏÝ»ñ: º°Ï, »°Ï ²ßïÇß³ï: ²ñÇ, ê»õ ë³ñáí ù»½ ï³Ý»Ù î³ñµ³Ý` Ø»ñ ³ë³í³ÍÝ»ñÇ µÝ³Ï³ï»ÕÇÝ, àõñ Ù³ñ¹ÇÏ ³åñáõÙ »õ Í»ñ³ÝáõÙ »Ý ³ëïí³ÍÝ»ñÇ Ñ»ï: ²ñÇ Ù»ñ ëÇñáõÝ ³ß˳ñÑÁ óáõÛó ï³Ù, àõñ Ù»ÕñÇ ÝÙ³Ý ÇçÝáõÙ ¾ ·³½å³Ý, º°Ï ÇÝÓ Ñ»ï, ·Ý³Ýù î³Õáݳó ë³ñÁ, º°Ï í³ñ¹»ñ ß³Õ ï³Ýù ²ëïÕϳ ÏáõéùÇÝ, ÒÛáõÝÇ å»ë ëåÇï³Ï ³Õ³íÝÇ ÃéóÝ»Ýù Ýñ³ ɳÝçÝ Ç í»ñ... زØÆΠη³¯Ù, ²ñ»õß³ï: ²ðºìÞ²î ´³Ûó Ù»ñ å³ÛÙ³ÝÁ å³ÛÙ³Ý ¿, سÙÇÏ, ²é³Ýó ³Õçϳ ²ßïÇß³ï ã·³ë: ê³ÉÝá ÓáñÝ ÑÇßÇñ... زØÆÎ ØÇ°ßï åÇïÇ ÑÇß»Ù: ²ðºìÞ²î ö³éÝ³Ï ³ëïí³ÍÁ ·Ý³ó ùÝ»Éáõ: زØÆÎ î³íñáõëÁ ϳñÙñ»ó ³ñ»õÇ ÉáõÛëáí: ²ðºìÞ²î ³·³Å³é³Ý·Ý ¿ ·³ÉÇë îǽµáÝÇó: زØÆÎ 0¯, »ñç³ÝÇÏ Å³Ù: ²ðºìÞ²î ܳÛÇñ, ³ÙñáóÇ å³ï»ñÇ íñ³ ÆÝãù³¯Ý Ù³ñ¹ÇÏ »Ý ëå³ëáõÙ Ýñ³Ý: زØÆÎ ²ñ³çÇÝÁ Ù»Ýù` ßÇݳϳÝÝ»ñë »Ýù ßï³å»É ³Ûëï»Õ.
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î»°ë, ó·Ý »Ý µ»ñáõÙ. á±õñ ¿ ÇÙ ·³íÁ: (¶ÝáõÙ »Ýù Áݹ³é³ç: ¶³ÉÇë »Ý Çß˳ÝÝ»ñ ´³·³ñ³ïÁ, سÝϳÛáëÁ, ´³·áõñÁ, Ø»ñáõųÝÁ »õ ÙÛáõëÝ»ñÁ` µ»ñ»Éáí ó·Á): ´²¶ð²ð²î Ø»çï»ÕáõÙ ÇÝùÝ ¿: غðàôÄ²Ü Ò³ËÇó ·³ÉÇë ¾ êɳù êÉÏáõÝÇÝ, ³çÇó` ¶áõñ³ëÁ: زÜβÚàê ²éç»õÇó ùñÙ³å»ï سųÝÝ ¿ ù³ÛÉáõÙ: ´²¶²ð²î ÒÇ»ñÇó Çç³Ý: (¶³ÉÇë îÇ·ñ³ÝÁ Çñ ßù³ËÙµáí): ¶àôð²ê ê³ ²ÕÓÝÇùÝ ¿: Ø²Ä²Ü ²ÛÝï»Õ îÇ·ñÇëÝ ¿: êÈÎàÆÜÆ º÷ñ³ïÁ ݳ ¿: ´²¶²ð²î Øáï µ»ñ»ù ó·Á: Æ ÷ñÏáõÃÛáõÝ ù»½, áí ³ñ»·Ý³÷³ÛÉ Ù»ñ ó·³Å³é³Ý·, سÛñ ²ñï³ß³ïÁ îǽµáÝÇÝ ïí»ó Æñ ÛáóݳëáõÝ Ø»Í ÐáíÇïÝ»ñÁ ºí ³é³ç³ñÏ»ó ó·³¹ñ»É ù»½ ²ÛÝ í³ÛñáõÙ, áñï»Õ ¹áõ áïù Ϲݻë ѳÛñ»ÝÇ ÑáÕÇÝ: ²ñ¹ Ï³Ý·Ý³Í »ë ¹áõ î³íñáëÇ Ñ³Ý¹»å, ÆßË³Ý ¶áõñ³ëÇ ³ÙñáóÇ ³é³ç: ê³ ³ÛÝ áëÏ»Ñáõé ó·Ý ¿ ëñµ³½³Ý, àñÁ Ïñ»É ¿ Ù»Í ²ñï³ß»ëÁ` ÐÇÙݳ¹ÇñÁ Ù»ñ ³½·Ç å³ïÙáõÃÛ³Ý: Üñ³ Ïï³ÏÁ Çñ ó·Ç Ù»çÝ ¿: (³·Ç ÙÇçÇó Ïï³ÏÁ ѳݻÉáí` ϳñ¹áõÙ ¿): §à°í Ýáñ ó·³íáñ, ø»½ Ñ»ï µ³ñµ³éÇ ²ñï³ß»ë ³ñù³Ý` Ø»Í Ð³ÛùÇ ï»ñÁ: ÆÙ »ñÏÇñÝ ³ÛÝ ¿, áñÇ Ù»çï»ÕÁ سëÇë µ³ñÓñ³Ý³, ºí ÍáõË »É³Ý» ˳ճÕáõÃÛ³Ùµ í»ñ: ºñµ ó·Ý ³Ûë ϳå»ë, ³°é »ñ»ù ËáñÑáõñ¹. ä³ÑÇñ Ø»Í Ð³ÛùÁ ³ãùǹ ÉáõÛëÇ å»ë, ϳëϳÍáí ݳÛÇñ Ìá÷³ó Çß˳ÝÇÝ, îƶð²Ü غÌ
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ºí ËáñÑáõñ¹ í»ñçÇÝ` Ø»ñ ܳí³ë³ñ¹Á ¹áõ ãÙáé³Ý³ë, ÆÙ í»ñçÇÝ ßÝãáõÙ áãÇÝã ã»Ù ÑÇßáõÙ µ³óÇ ¹ñ³ÝÇó: ²Ù»Ý ÇÝã ³Ýó³í, »õ° é³½ÙÇ ß»÷áñ, º° í ÓÇáõ ËñËÇÝç, »õ ëñ»ñÇ ÷³ÛÉ: ²í³Õ, á±í Ïï³ Í˳ÝÇ ÍáõËÝ ÇÝÓ, ºí ³é³íáïÁ Ù»ñ ܳí³ë³ñ¹Ç, º½Ý»ñÇ í³½ùÁ »õ »ÕÝÇÏÝ»ñÇ ÃéÇãùÝ ³ÝÝÙ³Ý: Ø»Ýù ÷áÕ Ñ³ñϳݻÇÝù »õ ÃÙµáõÏ Í»Í»ÇÝù` ³·³íáñ³Ï³Ý ϳñ·Ç ѳٳӳÛݦ: ²Ûë ¿ Ïï³ÏÁ: ²ÛÅÙ ÃáõÛÉ ïáõñ ÇÝÓ ³Ûë ßù»Õ å³ÑÇÝ, ºñµ ³ñ»õ µË» »õ ÉáõÛë ͳ·Í³·» ²ÕÓÝÇùÇ Ù»ç, ²ñùáõÝÇ Ã³·Á ϳå»Ù ùá ·ÉËÇÝ: (³·Á ϳåáõÙ ¿ îÇ·ñ³ÝÇ ·ÉËÇÝ): ÆÞʲÜܺð λóó»° îÇ·ñ³ÝÁ, ó·³íáñÝ Ð³ÛùÇ: ÞÆܲβÜܺð ö³¯éù ó·³íáñÇÝ: (ºñ·áõÙ »Ý): ̳·»ñ, ³ñ»õ ͳ·»ñ, ¶ÉËÇÝ áëÏ» ó· ¿ñ, Æñ ßáÕ»ñáí µáó-µáó` Èóí»ñ »ñÏÇñÝ Ñ³Ûáó: îƶð²Ü (ܳۻÉáí ¹»åÇ Ð³Ûáó µ³ñÓñ³í³Ý¹³ÏÁ). ÐáÕ àõñ¹³ÑÇÝÇ, »ñÏÇñ г۳ëÇ »õ ÏáÕÙ ´Ç³Ý³, ²ñ³Ù³½¹Ç ·³Ñ, µ³·ÇÝ ²ëïÕÇÏÇ »õ ²Ý³ÑÇïÇ, ²Ûë ó·Á ·ÉËÇë »ë ÍáõÝñ »Ù ÇçÝáõÙ ëáõñµ ÑáÕǹ íñ³: ºñ¹íáõÙ »Ù ¹»Ù¹, ³ÙåñáåÝ»ñÇ ïáõÝ, г½³ñ³ÏݳÝÇ ÇÙ Ù»Í Ñ³Ûñ»ÝÇù, øá ¹»Ù` ÞáÕ³ÝÇ Éáõë»Õ»Ý ÑáíÇï »õ Ù»ñ ²ÏÝÇ ÏÇñ×, Ø»ñ ²ñ³ÛÇ É»é »õ Ù»ñ Ù»Í Ø ³ëÇë: Ò»ñ ¹»Ù` Ñáñ¹³Ñáë º÷ñ³ï áõ îÇ·ñÇë »õ ²ñ³Í³ÝÇ: γݻ° Ù Ïï³Ï¹, ϳݻ° Ù, ²ñï³ß»ë: (àïùÇ Ï³Ý·Ý»Éáí). øñÙ³å»ï سųÝ, Ðñ³Ù³ÛáõÙ »Ù ܳí³ë³ñ¹ ³ÙëÇ ³é³çÇÝ ûñÁ` Ð³Û ³ß˳ñÑ³Ï³É ï³Ýáõï»ñÝ»ñÇÝ 314
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àõËïÇ Ñ³í³ù»É ²ñï³ß³ïÇ Ù»ç: ²ÛÝ á±õÙ ³ÙñáóÝ ¿ Ñ»éíÇó »ñ»õáõÙ: Ø²Ä²Ü Ìá÷³ó Æß˳ÝÇ ³ÙñáóÝ ¿, ï»ñ ÇÙ: îƶð²Ü êÏë»ù ³Û¹ï»ÕÇó: Ø²Ä²Ü ÈëáõÙ »Ù, ³ñù³: î³ñáÝÇ Çß˳Ý, ׳ݳå³ñÑ ÁÝÏÇñ` ܳѳå»ïÝ»ñÇÝ áõËïÇ Ï³Ýã»Éáõ: êÈÎàÆÜÆ ÈëáõÙ »Ù гÛáó Ù»Í ùñÙ³å»ïÇÝ: îƶð²Ü ³·³Ï³å ³ëå»ï: ²Ñ³ µÛáõñ³ëù³Ýã ³Ûë ÉÛ³éÁ ÉáõëÝÇ` Ù»ñ ѳÛñ»ÝÇùÁ àñå»ë ù³ñ³Å³Ûé »ñÏÇÝù ë³í³éݳÍ, º° Ï, í»ñ µ³ñÓñ³Ý³Ýù ³Û¹ É»éݳå³ñÁ. ºë` ó·Á ·ÉËÇë, ÆëÏ ¹áõù` ѳÏÇÝÃÛ³ Ó»ñ åë³ÏÝ»ñáí »õ Ó»ñ ëñ»ñáí: ´²¶²ð²î ºÉÝ»° Ýù, Ù»Í ³ñù³: îƶð²Ü ºÉÝ»° Ýù, ùñÙ³å»ï: زØÆÎ (²é³ç ·³Éáí). ¶Ý³Éáõó ³é³ù ËÙÇñ, ó·³íáñ, ²Ûë ÷³ñãáí ϳÃÁ Ìá÷³ó ÑáíÇíÝ ¾ ÏÃ»É ù»½ ѳٳñ: îƶð²Ü (ÊÙáõÙ ¿): ÞÝáñÑ³Ï³É »Ù µ³ñ»ëÇñï ÑáíÇí, ϳù ³Ýáõß ¿ñ: زØÆÎ ²Ýáõßáí Ùݳë: (лé³ÝáõÙ ¿):
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îƶð²Ü гí»ï Ññ³Å»ßï ù»½, ³Ñ»Õ îǽµáÝ` ÇÙ ³ùëáñ³í³Ûñ: ºÉÝ»° Ýù, Çß˳ÝÝ»ñ: ÆÞʲÜܺð ºÉÝ»° Ýù, Ù»Í ³ñù³: ´²¶²ð²î ì³ÛñÇ ë³ñ»ñ »Ý. ÙÇ é³ÙÇÏ ¾ å»ïù, àñ Ù»½ ³Ûëï»ÕÇó ²ßïÇß³ï ï³ÝÇ: ²ðºìÞ²î ºë Ïï³Ý»Ù, ï»ñ ÇÙ, ֳݳå³ñÑÝ»ñÇÝ »ë ù³ç ͳÝáà »Ù: ê³ÉÝá ÓáñÇ Ù»ç ÙÇ å³Õ ³ÕµÛáõñ ϳ, ²Û¹ ÓáñÇ ÙÇçáí »ë Ó»½ Ïï³Ý»Ù ¹»åÇ ²ßïÇß³ï: îƶð²Ü ¸»°, ³é³çÝáñ¹Çñ: (öáÕ»ñ, ó÷áñÁ ß³ñÅíáõÙ ¿) ²ðºìÞ²î ¶ÝáõÙ »Ù, سÙÇÏ, ó·³íáñÝ »Ï³í, ²ßïÇß³ïÇ Ù»ç »ë ù»½ Ïëå³ë»Ù: îáõÝë ·ïÝíáõÙ ¿ ·ÛáõÕÇ ×³Ù÷Ç Ùáï, »ï»õÁ ųÛé ¿, ¸é³Ýë ßáõÝ Ï³ ϳݳ㠵³ñ¹áõ ï³Ï, ÆëÏ µ³ñ¹áõ ·ÉËÇÝ` ³ñ³·ÇÉÇ µáõÛÝ: ºñ¹ÇÏÇó ϳåáõÛï ÍáõË ¿ µ³ñÓñ³ÝáõÙ: ÐÇßÇñ Ù»ñ áõËïÁ ê³ÉÝá ÓáñÇ Ù»ç, îÕ³ë ù³ÛÉáõÙ ¿, ³ÕçÇÏ Ñ³ëóñáõ: زØÆÎ (лéíÇó). η³Ù, ²ñ»õß³ï, ¿Ý ѳݻÉáõÏÁ Ù»Ï ¿É ÏñÏÝÇñ: ²ðºìÞ²î ÆÙ³óÇñ` ǯÝã ϳ ·³½å³ÛÇó ù³Õóñ »õ Ù»ÕñÇó ³Ýáõß: ¸»°, »ë ·Ý³óÇ: زØÆÎ ´³ñÇ ×³Ý³å³ñÑ: Ø»ñ ó·³íáñÇÝ ßáõï ²ñï³ß³ï ï³ñ: (¸»åÇ ³ç ¹³éݳÉáí). ÆëÏ »ë ³Ûë ׳Ù÷áí ϵ³ñÓñ³Ý³Ù Ìá÷: (гٵáõñáõÙ ¿ Çñ ÏáõÅÁ »õ ·ÝáõÙ ¿ »ñ·»Éáí): 316
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²ñ»õ Éóí»ó ë³ñ áõ Óáñ, ºÏ³í ѳÛáó ó·³íáñ: ºÉݻ٠ٻñ ·ÛáõÕ` Ø»Í ´³·ÇÝ, ²ÕáÃù ³Ý»Ù ²ëïÕÇÏÇÝ: ÆÝÓ ³ÕçÇÏ ïáõñ, ì³ñ¹³Ù³ï, àñ »ë ·Ý³Ù ²ßïÇß³ï, ²ñ»õß³ïÇ Ñ»ï å³ñ»Ù, ÆÙ ÑÇÝ áõËïÁ ϳï³ñ»Ù:
ä³ïÏ»ñ »ñÏñáñ¹ Ìàö ÆÞÊ²Ü ²ðî²ÜºêÆ ²ØðàòÀ, ØÆ êð²Ð ²ØðàòàôØ ²ð޲غê (²ÙñáóÇó ¹áõñë ݳۻÉáí). î³ñáÝÇ Çß˳°Ý: ޲غê Èëá°õÙ »Ù, ë»åáõÑ: ²ð޲غê ë, ½áñùÝ ¿ ß³ñÅíáõÙ, Ð³Û ½ÇÝíáñÝ»ñÝ »Ý ³ÝóÝáõÙ ·áõݹ³·áõݹ: Þ²Øºê ²ñ¹»Ý ·Ý³óDZÝ: ²ð޲غê ܳÛǯñ, »ÉÝáõÙ »Ý ³é³å³ñáí í»ñ: Èëáõ±Ù »ë` ÇÝãå»ë É»éݳÛÇÝ ËáïÁ: ̳ÉíáõÙ ¿ Ýñ³Ýó ÏñáõÝÏÝ»ñÇ ï³Ï: ì³ÕÁ ÏÉÇÝ»Ý Î³å³¹áíÏdzÛáõÙ: ޲غê ø³ÝDZ Ñá·Ç »Ý: ²ð޲غê Úáà ѳ½³ñ ½ÇÝíáñ: Þ²Øºê ²ñÇáµ³ñ½³ÝÁ á±ñù³Ý ¿ ïí»É: .................................................
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²ð޲Π²¼²ðÚ²Ü
îƶð²Ü ØºÌ ²Ýó »Ý Ï»ÝáõÙ ë»ñ áõ ËݹáõÙ, ¶»Õ»óÏáõÃÛáõÝ, ·³ÝÓ áõ ·³Ñ, سÑÁ Ù»ñÝ ¿, Ù»Ýù` Ù³ÑÇÝÁ, سñ¹áõ ·áñÍÝ ¿ ÙÇßï ³ÝÙ³Ñ: Ð. ÂáõÙ³ÝÛ³Ý
¸áõ ûõ³ï³ñ³Í Ñáí³ÝÇ ³ñÍÇí àõ Ù»Í µ³ñ»Ï³Ù ×Ýßí³ÍÝ»ñÇ, γéáõóáÕ µ»ñ¹ áõ ù³Õ³ùÝ»ñ ³ÝÃÇí... ²ç¹ ¿ñ ÑåíáõÙ »ñ»ù Íáí»ñÇ: ÐéáÙÝÇ Ñ³Ý¹»å ³Ý½ÇçáõÙ å³Ûù³ñ, àñ ÙÇßï ëÇñáõÙ ¿ñ ³Ýí»ñç ïÇñ³Ý³É, ¸»Ù áõ ¹»Ù ϳݷݳÍ?áñå»ë ѳí³ë³ñ, ²Ýá`õÝ ÷³é³å³ÝÍ? ½áñ³í³°ñ îÇ·ñ³Ý: гÛáó »ñÏñÇÝ ¹áõ é³½ÙÇ ³ëïí³Í, àñ ½áñ³óñ»É ¿ñ ²ñï³ß»ë ³ñù³Ý, àñ å³ßï³ÙáõÝù ¿ñ áõ ³ÛÝù³Ý ëÇñí³Í... øá ÙïùÇ ½³ñÏÇó ͳí³ÉíáÕ ë³ÑÙ³Ý: ºñÏÇñ¹ ³åñáõÙ ¿ñ áëÏ»¹³ñ »ñÏáõÝù... ´áõñ·»ñÇó ÐéáÙ?¹³í³¹Çñ ˳ջñ, àñ Ñ»ïá ÉÇÝ»ñ åÕïáñí³Í ³ÏáõÝù... ²Ûëå»ë ¿ »Õ»É ¹³ñ»ñ áõ ¹³ñ»ñ: Àݹ¹»Ù ½áñ»ÕÇ ³Õ»Õ »Ý ɳñ»É ºí áñá·³ÛÃÝ»ñ ѳÕûÉáõ ѳٳñ, Þ³ï»ñÇ ÉáõÛëÝ ¿ ³Ûë ׳Ù÷ÇÝ Ù³ñ»É... ö³éù ϳ, áñ ѳí»ñÅ ÙÝáõÙ ¿ ³ÝÙ³ñ: øá ÷³éùÇ ×³Ù÷áí »Ï³ñ áõ ³Ýó³ñ. Øáõà ¿ç»ñÇ Ù»ç ³Ýí»ñÍ ³é»ÕÍí³Í, ¸áõ ½Çݳñí»ëïÇ áõñáõÛÝ ÙÇ Ñ³Ý׳ñ, ä³ïÙáõÃÛ³Ý ¹»ÙùÇÝ áëÏ»ï³é ¹³çí³Í:
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øá ÷³éùÇ ¹³÷ÝÇÝ Ñ³ñ å»ïù ¿ óáɳ, ¸³ñ»ñÇ »ñÃÁ ãÇ Ï³ñáÕ Ë³Ùñ»É. гí»ñÅ ³Ý³í³ñï »ñ· ¿ ÙݳÉáõ... ²ÛÝ ùã»ñÇó »ëª ϳñáÕ »Ýù ѳÙñ»É: гٳٳñ¹Ï³ÛÇÝ ¹áõ å³ÛÍ³é ³ÝáõÝ àõ Ù»Í ½áñ³Ï³Ý ٻͻñÇ ß³ñùáõÙ, ºñµ»ù ã»ë ½Çç»É ³Ñ»Õ ÃßݳÙáõÝ... гÛáó ³ñ»õÁ å³ÛÍ³ï ¿ñ ͳ·áõÙ: ijٳݳÏÝ áõÝÇ í»ñ»Éù áõ í³Ûñ¿çù. ÜųñÁ ãÇ Ï³ñáÕ ÙÝ³É ³Ý÷á÷áË, ²½·³ë»ñ ·áñÍÁ ³åñáõÙ ¿ ³Ýß»ç. Ðáõß ¿, áñ »ñµ»ù ãÇ ÉÇÝáõ٠ѳݷãáÕ: ºë áñáÝáõÙ »Ù Ù³ëáõÝù¹ Ýß˳ñ, »Ïáõ½ ÙÇ µ»Ïáñ ùá Ñáõß³ù³ñÇó... ²Ýí³Ý¹ ï³éÁ ù³ñÇÝ ¿ Ù³ñÙ³ñ... ²ñù³Û³Ã³·¹ áñï»±Õ ¿ å³Ñí³Í: ¸áõ ÁÙµáëï ÍáéÝÇÏ Ù»ñ ݳѳå»ïÇ, ê»ñí³Í ùá ¹³ñÇ å³ïÙáõÃÛ³Ý ÙáíÇó, ¸»·»ñáÕ á·Ç¹ ϳÝãáí ѳÛñ»ÝÇ ÐáõÛëáí »Ù ÙÇ ûñ ÏѳéÝÇ ÝáñÇó: àñ å»ïù ¿ ÷ßñÇ Å³ÝÇùÁ ¹ÅÝÇ, àñ Ù³ÕÓ ¿ ÍáñáõÙ ³½·³ÛÇÝ á·áõÝ, àñ ßù»ñÃÝ ³ÝóÝÇ »ñµ»ÙÝÇ ÷³éùÇ... ºñµ áñ ѳÛñ»ÝÇÝ ·ïÝÇ Çñ áñ¹áõÝ: øá ²ëïÕÁ ÝáñÇó å»ïù ¿ ßáÕßáÕ³ гÛáó ϳåáõï³Ï »ñÏݳϳٳñáõÙ àõ ѳÛñ»Ý³Ñ³Õà ¹ñáß ÷áÕ÷áÕ³ ´ÇµÉdzϳÝÇ Ýáñ áëÏ» ¹³ñáõÙ:
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²ðÂàôð Þ²Ðܲ¼²ðÚ²Ü
øðØàôÐÆܺðÆ ºð¶À
ì. زðàôøÚ²Ü
ºÏ, »Ï Ù»½ Áݹ³é³ç ºÏ, »Ï Ù»½ Áݹ³é³ç, àëϻѻñ µ³Ýµ»ñ ³ñ»õ ³ñù³ÛÇ, ²ñß³ÉáÛë µ³ñÇ, ²ñß³ÉáÛë µ³ñÇ, îáõñ Ù»½, ïáõñ Ù»½ ùá λݳó ÉáÛëÇ óûÕÝ ûñÑݳµ³Ýáõ³Í, ³÷Çñ, ó÷Çñ ßÇà ³é ßÇÃ, ³÷Çñ ßÇà ³é ßÇÃ, ʳõ³ñ ·Çß»ñÇ Ë³õ³ñáí Éóáõ³Í ëñï»ñÇ íñ³Û, ºõ ûÍÇñ ÉáÛëáí, »õ ûÍÇñ ÉáÛëáí, »õ ûÍÇñ ÉáÛëáí:
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IMAGE OF TIGRANES THE GREAT IN ARMENIAN AND WORLD LITERATURE AND ART
MHER NAVOYAN Ph.D.
A FRAGMENT DEDICATED TO TIGRAN FROM THE TAGH KAJOLORAKI
The
Armenian medieval professional musical poetic art, at least until the advanced Middle Ages, was mainly an art of vocal sacred music. The tagh (ï³Õ) dedicated to Tigran, the so-called kajoloraki (ù³çáÉáñ³ÏÇ), a little fragment of which has came down to us, and only in the form of a poetic relic, is one of the rare exceptions. Talking about the intonation of some genres in the chapter of Decipherment, vertcanutyun (Ú³Õ³·ë í»ñͳÝáõû³Ý) of his commentary to the work The Art of Grammar by Dionysius Thrax, the Anonymous Commentator mentions also the tagh kajoloraki and cites the abovementioned part as the "work of David" and a didactic sample of genre commentary. That is: §ºõ ³ñ¹ Ý»ñ·áñÍáÕÿÇ ÙÇïë »ñ»õÇõñ ³é ËáñÑáõñ¹ë ÷áÕ³ñÇÝ Ø»Í³·áÛ îÇ·ñ³Ý³Ûÿ·»Õ³ÝÇ îÇ·ñ³ÝáõÑÇ 1
Æõñ Ý»ñ³Í»³É ÏáÕ³µ³ñ ݳ»õ áÕç³ÙÇï ³ß˳ñѳÍáõÑǦ .
We must mention that the fragment has been studied and published many times and often with a series of modifications, which we shall not exam2 ine here . Besides, the fragment has also been interpreted in diverse ways from the viewpoint of genre. Some of the authors having studied this poetic piece 3 have attributed it to David the Invincible (5th - 6th centuries) . Even if the preserved relic has little connections and can be considered as mainly incomprehensible, the restoration of its contents has been started long ago on the basis of the work by Movses Khorenatsi (5th century). The fact is that narrating the story of Tigran, the Father of Armenian Historiography mentions that he had read "four rhapsodies by an eloquent and wise man, 4 indeed the wisest of wise men", which resume all the history of Tigran . M. 5 6 Abeghian and S. Malkhasiants have paid attention to this circumstance, too. The latter directly cites the episode which interests us as a fragment of the works used as source by Movses Khorenatsi in his narration about Tigran in his History of Armenia. Thus, it is obvious that our little fragment of the tagh kajoloraki is directly connected to the story of Tigran and Azhdahak, narrated by Movses 7 Khorenatsi, and that the mentioned Tigran is Tigran II the Great . The terms rhapsody, hagnergutyun (ѳ·Ý»ñ·áõÃÇõÝ), vep (í»å), and, of course, the 8 expression "tagh kajoloraki" are used as genre indication for this episode . By
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1. Anonymous Commentator, Commentary on Grammar, Н. Адонц, Дионисий Фракийский и армянские толкователи, Петроград, 1915, p. 128-129 (N. Adontz, Dionysius Thrax and Armenian Commentators, Petrograd, 1915, p. 128-129). It must be mentioned that in the cited text by N. Adontz the words Ç ÙÇïë »ñ»õÇõñ ³é ËáñÑáõñ¹ë ÷áÕ³ñÇÝ Ø»Í³·áÛ îÇ·ñ³Ý³Û are missing. 2. We have examined these details and the whole problem in our work dedicated to the genre of canticle and the issues of musical mentality. See: M. Navoyan, The Origin of the Genre of Tagh and the Free Melodic Thought in the Armenian Medieval Professional Song Art, Yerevan, 2001, p. 79-95 (in Armenian). 3. See Movses Khorenatsi, History of Armenia, Yerevan, 1961, p. 370, note 48 (in Armenian). We use this publication of the work by the Father of Armenian Historiography, as its Introduction and notes were written by S. Malkhasiants, whose approach is especially important for our study. 4. Ibidem, p. 121. 5. M. Abeghian, Works, Vol. III, Yerevan, 1968, p. 301-302 (in Armenian). 6. Introduction to the abovementioned publication of the History of Armenia by Movses Khorenatsi, p. 29 (in Armenian). 7. The fact that Movses Khorenatsi confused some historical figures, including Tigran the Great and Tigran Orontid, was already noticed by Gelzer, Abeghian and Manandian. See the Introduction to the abovementioned publication, p.34-35. 8. See other interpretations of the episode genre in our abovementioned work, p. 80-81.
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IMAGE OF TIGRANES THE GREAT IN ARMENIAN AND WORLD LITERATURE AND ART
the way, the term hagnergutyun, as a genre indication has many meanings, 9 including tagh, narration and epos . It must be mentioned that the terms hagnergutyun or to tell hagnergutyun are not only connected with poetic texts. They may equally be connected with music, as the epos and other epic works were also sung. Speaking about the ways of tale bequeathing, M. Abeghian based himself on the information given by Movses Khorenatsi and noticed that "eposes" and "legends" 10 were either told or sung . But, more concretely, Abeghian mentions three ways of epical bequeath11 ing: declamation, "to tell by voice" (by the tune) and singing . We must notice that the explanation and number of these performance ways mentioned by Abeghian were corrected by the studies of several researchers. As for us, here the most important thing is that the mentioned ways are in fact three successive levels of passing from word to music, which are obligatory based on the contents of a literary or poetic text. That is to say that depending on the importance of the contents, each part of the narration could be presented by recitation or, in case of emotional strong accent necessity, be simply sung. Besides, any important word or important part of the text could be presented by a voice accent or shrill, some rhythm and tune, which is, according to 12 Abeghian, "to tell by voice" . It must be mentioned, too, that epical tale, as a way of narration, is based on the same principle: "... adapting the voice to 13 shrill exclamation, to be better understood by the listeners" . Thus, being a hagnergutyun and a tagh, the fragment which interests us is connected, as a genre, to the epic sphere and as such had the musical-poetic presentation form proper to this sphere. Subsequently, what could mean the indication of medieval grammarians to sing a tagh in a "kajoloraki" manner? The meanings of the term "kajolorak" are: "like kajolorak, accentuated, in expressive manner", or "with kajolorak and accentuated voice, in resonant 14 voice, with vivid and expressive sound, strongly" . But these interpretations only describe the manner of sounding, which is, of course, very proper to epic singing or epic art in general. On the other hand this word has another explanation which means the creative and performance method. Stepanos Siunetsi (8th century) explains kajoloraki in the following way: "And the tagh kajolora15 ki means to relate the discourse as decipherers do" . Decipherer meant read16 er, and the art of reading was called "Decipherment" . It had three parts: division (ïñáÑáõÃÇõÝ), pronunciation (³éá·³ÝáõÃÇõ) and commentation or adaptation (of the voice and movements to the contents, »Ýó¹³ïáõÃÇõÝ). Among these three parts division meant to divide the discourse into parts according to its contents; pronunciation was to regulate the accentuation of the thought expression by correct intonations, again according to contents and composition of the thought, while adaptation regulated the way of pronunciation (loud, tragic, optative); these parts could have other succession, too. Thus, "to perform the tagh by the tune" according to "Kajoloraki" or to "the habit of decipherer" meant dividing its text according to semantic components, giving it correct accentuation and intonation, as well as a tune corresponding to its contents, then giving it a convenient musical performance dictated by the reality of medieval musical poetic art on the basis of mentioned levels. That means that the performance principle of an epical tale was the 324
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9. New Dictionary of the Armenian Language, p.2 (in Armenian). 10. M. Abeghian, Works, Vol. I, Yerevan, 1966, p. 160 (in Armenian). 11. Op. cit., p. 482-484. 12. Op. cit., p. 483. 13. Movses Kertogh, About Grammar, Mashtots Matenadaran, Ms. 2382, f. 48 v (in ancient Armenian). 14. New Dictionary of the Armenian Language, Vol. 39, Yerevan, 1981, articles Kajolorak and Kajolorakeal (in Armenian). 15. Stepanos Siunetsi, Interpretation of Grammar, N. Adontz, op. cit, p. 193 (in ancient Armenian). 16. See the chapter About Decipherment in medieval interpretations of grammar.
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ûñó³Ýáõû³Ý ³ñáõ»ëïÁ : ²ÛÝ áõÝ»ó»É ¿ »ñ»ù µ³ÅÇÝ` ïñáÑáõÃÇõÝ, ³éá·³ÝáõÃÇõÝ, »Ýó¹³ïáõÃÇõÝ: êñ³ÝóÇó ïñáÑáõÃÇõÝÁ »Ýó¹ñáõÙ ¿ñ ËûëùÝ Áëï µáí³Ý10. Ø.²µ»Õ»³Ý, ºñÏ»ñ, Ñ. ², ºñ»õ³Ý, 1966, ¿ç 160: 11. ÜáÛÝ ³ßË., ¿ç 482-484: 12. ÜáÛÝ ³ßË., ¿ç 483: 13. Øáíë¿ë ø»ñÃáÕ, Ú³Õ³·ë ù»ñ³Ï³Ýáõû³Ý, سßïáóÇ ³Ýáõ³Ý سï»Ý³¹³ñ³Ý, ӻ鳷Çñ ÃÇõ 2382, »ñ»ë 48µ: 14. Üáñ µ³é·Çñù гÛϳ½»³Ý É»½áõÇ, Ð-ü, ºñ»õ³Ý, 1981, §ø³çáÉáñ³Ï¦ »õ §ù³çáÉáñ³Ï»³É¦ Ûû¹áõ³ÍÝ»ñ: 15. êï»÷³Ýáë êÇõÝ»óÇ, Ø»ÏÝáõÃÇõÝ ù»ñ³Ï³ÝÇÝ, Ü.²¹áÝó, Ýßáõ.³ßË., ¿ç 193: 16. ²Ûë Ù³ëÇÝ ï»ë ÙÇçݳ¹³ñ»³Ý ù»ñ³Ï³Ý³Ï³Ý Ù»ÏÝáõÃÇõÝÝ»ñÇ §Ú³Õ³·ë í»ñͳÝáõû³Ý¦ µ³ÅÝáõÙ:
¹³Ïáõû³Ý Ù³ë»ñÇ µ³Å³Ý»É, ³éá·³ÝáõÃÇõÝÁ` ¹³ñÓ»³É Áëï µáí³Ý¹³Ïáõû³Ý »õ ÙïùÇ Ï³½Ùáõû³Ý ×Çßï »É»õ¿çÝ»ñáí ÙÇïùÁ ѳÕáñ¹»ÉÝ ¿ñ ϳñ·³õáñáõÙ, ÇëÏ »Ýó¹³ïáõÃÇõÝÁ ϳÝáݳõáñáõÙ ¿ñ ³ñï³ë³Ýáõû³Ý »Õ³Ý³ÏÁ (ËñáËï, áÕµ»ñ·³Ï³Ý, ÁÕÓ³Ï³Ý »õ ³ÛÉÝ. ³Ûë µ³ÅÇÝÝ»ñÁ ϳñáÕ »Ý ѳݹ¿ë ·³É ݳ»õ ³ÛÉ Ñ»ñóϳÝáõû³Ùµ): ²ÛëåÇëáí, ï³ÕÁ »Õ³Ý³Ï³õáñ»É Áëï §ø³çáÉáñ³ÏǦ ϳ٠Áëï §í»ñͳÝáÕÝ»ñÇ ëáíáñáõû³Ý¦ ÏÝ߳ݳÏÇ Ýñ³ ï»ùëïÁ ïñáÑ»É Áëï ÇÙ³ëï³ÛÇÝ µ³Õ³¹ñÇãÝ»ñÇ, ϳ½Ù³Ï»ñå»É ×Çßï ³ñï³ë³Ý³Ï³Ý - »É»õ¿ç³ÛÇÝ Ù³ïáõóáõÙ »õ µáí³Ý¹³Ïáõû³ÝÁ
ѳٳå³ï³ëË³Ý »Õ³Ý³Ï, ³å³, ÙÇçݳ¹³ñ»³Ý »ñ³Åßï³µ³-
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same in the case of narration and epic art, as kajolorak in the case of tagh. The genetic connection between rhapsody and tagh is proved by different meanings of this notion and analogous ones, and numerous other relations as well. If we consider that the kajoloraki tagh attributed to David the Invincible and dedicated to Tigran the Great is a sample of medieval professional musical poetic art, that it has inherited a lot from the epical and minstrels art, including its creative and performance principle, then later on that principle became applicable, by an indication of Stepanos Siunetsi, one of the greatest spiritual authorities of the Middle Ages in Armenia, to the composition of Armenian sacred chants. The flourishing of the genre of taghs and of free melodic thinking in the 17 history of Armenian medieval hymnography was its artistic result . Translated from Armenian by Aida Charkhchyan
17. About it, see our abovementioned work.
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ݳëï»ÕÍ³Ï³Ý ³ñáõ»ëïÇ ÇñáÕáõÃÇõÝÝ»ñáí ûɳ¹ñáõ³Í, ÛÇß»³É ٳϳñ¹³ÏÝ»ñÇ ÑÇÙ³Ý íñ³Û ϳ½Ù³Ï»ñåõáõÙ ¿ñ ݳ»õ »ñ³Åßï³Ï³Ý Ù³ïáõóáõÙÁ: êï³óõáõÙ ¿, áñ ѳ·Ý»ñ·áõÃÇõÝÁ, áñå¿ë ëï»Õͳ·áñÍ³Ï³Ý - ϳï³ñáÕ³Ï³Ý ëϽµáõÝù ÝáÛÝ µ³ÝÝ ¿ñ Ý߳ݳÏáõÙ í¿åÇ »õ íÇå³Ï³Ý ³ñáõ»ëïÇ ¹¿åùáõÙ, ÇÝã ù³çáÉáñ³ÏÁ` ï³ÕÇ: ²Ûë »õ ÝÙ³Ý Ñ³ëϳóáõÃÇõÝÝ»ñÇ ï³ñµ»ñ Ý߳ݳÏáõÃÇõÝÝ»ñáí, µ³½Ù³ÃÇõ ³ÛÉ Ï³å»ñáí »õë ³å³óáõóõáõÙ ¿ í¿åÇ »õ ï³ÕÇ ·»Ý»ïÇÏ Ï³åÁ: ºÃ¿ ѳٳñ»Ýù, áñ ¸³õÇà ²ÝÛ³ÕÃÇÝ í»ñ³·ñáõáÕ »õ îÇ·ñ³Ý Ø»ÍÇÝ ÝáõÇñáõ³Í ù³çáÉáñ³ÏÇ ï³ÕÁ ÙÇçݳ¹³ñ»³Ý ³ß˳ñÑÇÏ »ñ³Åßï³µ³Ý³ëï»ÕÍ³Ï³Ý ³ñáõ»ëïÇ ÙÇ ÝÙáõß ¿, áñ íÇå³Ï³Ý - ·áõë³Ý³Ï³Ý ³ñáõ»ëïÇó ųé³Ý·»É ¿ ß³ï µ³Ý »õ ³Û¹ ÃõáõÙ ëï»Õͳ·áñÍ³Ï³Ý - ϳïñáÕ³Ï³Ý ëϽµáõÝù, ³å³ ۻﳷ³ÛáõÙ ÙÇçݳ¹³ñÇ Ñá·»õáñ ѽûñ Ñ»ÕÇݳÏáõÃÇõÝÝ»ñÇó Ù¿ÏÇ` êï»÷³Ýáë êÇõÝ»óáõ óáõóáõÙáí ³Û¹ ëϽµáõÝùÁ ÏÇñ³é»ÉÇ ¿ ¹³éÝáõ٠ݳ»õ Ñá·»õáñ »ñÏ»ñÇ ÛûñÇÝÙ³Ý Ñ³Ù³ñ: ¸ñ³ ·»Õ³ñáõ»ëï³Ï³Ý ³ñ¹ÇõÝùÁ ï³Õ»ñÇ Å³ÝñÇ áõ ³½³ï Ù»Õ»¹Ç³Ï³Ý Ùï³ÍáÕáõû³Ý ͳÕÏáõÙÁ »Õ³õ Ñ³Û ÙÇç³Ý³¹³ñ»³Ý ÑÇÙÝ»ñ·áõû³Ý å³ïÙáõû³Ý Ù¿ç:
17. ²Û¹ Ù³ëÇÝ ï»°ë, Ù»ñ Ýßáõ. ³ßË.: îƶð²Ü غÌ
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§ö²èø îƶð²ÜÆܦ βÜî²îÆò Üàô²¶²ÊØ´Æ, ºð¶â²ÊØ´Æ ºô êàÈÆêîܺðÆ (S, A, T, B) вزð Àêî â²ðºÜòÆ ºô ÎàØÆî²êÆ îºøêîºðÆ
FRAGMENTS FROM CANTATA
"GLORY TO TIGRANES" BY VARD MANUKYAN
FOR ORCHESTRA, CHOIR AND SOLISTS (S, A, T, B) ACCORDING TO THE TEXTS OF
ACCORDING TO THE TEXTS OF CHARENTS AND KOMITAS
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ANNA ASSATRYAN Deputy Director of the Institute of Art of the National Academy of Sciences of the Republic of Armenia, Candidate of Art Sciences
OPERA "IL TIGRANE" BY GLUCK
D
ear participants and quests of Conference, Taking this opportunity let me first of all congratulate organizers, participants and guests of two-day international representative conference dedicated to the 2100th anniversary of reign of Tigranes the Great and all of us on the occasion of convening scientific session and providing high level. History of world musical theater is rich of operas dedicated to kings of various countries created in various periods of time by composers of various nationalities. Images of great rulers have given birth to the following operas: "King Arthur or the British Worthy" by Henry Purcell (1691, London), "Almira, Königin von Castilien or Der in Krohnen erlangte Glückswechsel" (1705, Hamburg), "Giulio Cesare" (1724, London), "Alessandro" (1726, London), "Riccardo primo, re d'Inghilterra" (Richard the First, King of England) (1727, London) "Tolomeo, re d'Egitto" (Ptolemy, King of Egypt) (1728, London) and "Fernando, re d'Castilia" (Fernando, King of Castilia) (1732, London) by George Frideric Handel, "la Cleopatra" by Domenico Cimarosa (1789, Saint Petersburg) and "Jadwiga, Queen of Poland" (1814). Opera "Elisabetta, regina d'Inghilterra," (Elizabeth, Queen of England) by Gioachino Rossini was staged in Naples, in 1815, "Semiramide," composer's last opera written for Italy, was staged in Venice. Opera "Król ?okietek" (about W?adys?aw I the Elbow-high) by Josef Elsner was staged in Warsaw, in 1818, and opera "Pietro il Grande, zar di tutte le Russie or Il falegname di Livonia also known as Pietro, il grande, tsar delle Russie" by Gaetano Donizetti is staged a year later in Venice. Opera "Bank Ban" by Ferenc Erkel was staged in Pest, in 1861, "Boris Godunov" by Modest Musogorski was staged in Saint Petersburg in 1869, 1874... Already in the 20th century the first opera "Re Enzo" by Ottorino Respighi was staged in Bologna in 1905, "Król Roger" (King Roger) by Karol Szymanovski was staged in 1926, in Warsaw. Opera "Nerone" by Pietro Mascagni is staged in Milan, in La Scala, in 1935, and the only opera "Tsar Kaloyan" by Pancho Vladigerov was staged in Sofia, in 1936. Opera "Antony and Cleopatra" by Samuel Barber was staged in New York in 1966... 334
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§ä»ïñáë Ø»ÍÁ` éáõë³ó ³ñù³Û¦ ûå»ñ³Ý»ñÁ:
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ì³ñß³õ³ÛáõÙ, 1926-ÇÝ` γñáÉ
1930-³Ï³Ý Ãáõ³Ï³ÝÝ»ñÇÝ µ»Ù »Ý µ³ñÓñ³ÝáõÙ
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It is typical that in the center of the first Armenian opera - "Arshak the Second" by Tigran Chukhajyan is again the image of king. It is noteworthy the image of Tigranes the Great has always been in the focus of composers' interest. The greatest number of operas has been written just about the Armenian King Tigranes the Great. History of European opera music has preserved more that 20 operas dedicated to the Armenian king written in various periods of time, in various languages, including Italian, Deutsch, Spanish, etc. The first operas dedicated to Tigranes the Great have been created in Italy by Italian composers. Still in the end of 17th century, in 1697, opera "Il Tigrane, re d'Armenia" by Tomaso Albinoni was staged in Venice. 13 year later, on July 25, 1710, opera "Tigrane, re d'Armenia" by Antonio Maria Bononcini was staged in Vienna based on the libretto of Pietro Antonio Bernardoni, and in May 19, 1747 opera "Tigranes the Great" by Giovanni Batista Lampugnani was staged in Venice based on the libretto of Carlo Goldoni. In 1761 opera seria "Tigrane" by Niccolo Piccinni, representative of Naples operatic school, was staged in Teatro Regio, Turin, based again on the libretto of Carlo Goldoni. From Italian composers Giuseppe Antonio Paganelli (Venice 1833), Domenico Scarlatti, Antonio Vivaldi and others have referred the image of the Armenian king. Except Italians Christoph Wilibald Gluck, George Frideric Handel also have referred the image of Tigranes the Great. On November 4, 1729, opera seria "Tigrane" by Johann Adolf Hasse was staged in Naples, Teatro San Bartolomeo, The author of Spanish opera is Lapis Santos. In the XX century soviet composer Aleksey Artamonov has created the opera "Tigranes" which was staged for the first time in Moscow, in 1939. Data are preserved concerning the circumstance that T. Chukhajyan has written music for the drama "Tigranes the Great or initiating war of Armenians against Romans and occupation of Chalcedon" by Romanos Setefjyan staged in Constantinople on January 1, 1874. Unfortunately, neither the drama nor music has not been preserved. Many are the operas one of the main heroes of which is Tigranes the Great. 17 operas have been written about Mithridates VI Eupator, the king of Pontus, father-in-law of Tigranes, including the opera seria "Mitridate Eupatore" (Mithridates Eupator) by Alessandro Scarlatti (1707, Venice) and the first opera seria "Mithridates, King of Pontus" by 14-year-old Mozart staged in Milan, in 1770. It is noteworthy that the author of one of the operas written about Tigranes the Great is Christoph Willibald Gluck (1714-1787), remarkable representative of musical classicism, renounced operatic reformer, author of 107 operas, representative of Vienna school's senior generation, creator of operatic drama. Gluck opened a new era in operatic art, he was a musical playwright predetermining the future of musical theater, a marvelous phenomenon in the history of music with whose name is related one of the turning moments of development of musical culture. In 1737 Lombardi nobleman, prince Meltz listening to Gluck's playing and singing and foreseeing the young man's musical rich talent, became his
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Ú³ïÏáñáß ¿, áñ ѳÛáó ³Ý¹ñ³ÝÇÏ ûå»ñ³ÛÇ` î.âáõ˳׻³ÝÇ §²ñß³Ï ´¦-Ç Ï»ÝïñáÝáõÙ í»ñëïÇÝ ³ñù³ÛÇ Ï»ñå³ñÝ ¿: àõß³·ñ³õ ¿, áñ ëï»Õͳ·áñÍáÕÝ»ñÇ Ñ»ï³ùñùñáõû³Ý Ïǽ³Ï¿ïáõÙ ¿ Û³ñ³ï»õ ·ïÝáõ»É îÇ·ñ³Ý Ø»ÍÇ Ï»ñå³ñÁ. ³Ù»Ý³ß³ï Ãáõáí ûå»ñ³Ý»ñÝ ëï»ÕÍáõ»É »Ý Ñ¿Ýó ѳÛáó îÇ·ñ³Ý Ø»Í Ã³·³õáñÇ Ù³ëÇÝ: ºõñáå³Ï³Ý ûå»ñ³ÛÇÝ »ñ³Åßïáõû³Ý å³ïÙáõÃÇõÝÁ å³Ñå³Ý»É ¿ ѳÛáó ³ñù³ÛÇÝ ÝáõÇñáõ³Í ³õ»ÉÇ ù³Ý 20 ûå»ñ³` ·ñáõ³Í ï³ñµ»ñ ¹³ñ³ßñç³ÝÝ»ñáõÙ, ï³ñµ»ñ É»½áõÝ»ñáí` ³Û¹ ÃáõáõÙ` Çï³É»ñ¿Ý, ·»ñٳݻñ¿Ý, Çëå³Ý»ñ¿Ý... îÇ·ñ³Ý Ø»ÍÇÝ ÝáõÇñáõ³Í ³é³çÇÝ ûå»ñ³Ý»ñÝ ëï»ÕÍáõ»É »Ý Æï³ÉdzÛáõÙ, Çï³É³óÇÝ»ñÇ ÏáÕÙÇó: ¸»é»õë 17-ñ¹ ¹³ñ³í»ñçÇÝ, 1697-ÇÝ, ì»Ý»ïÇÏÇ ê³Ý γëdzÝû óïñáÝáõÙ µ»Ù³¹ñõáõÙ ¿
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patron and invited him to his chamber orchestra. In 1737 Gluck moved to Milan and lived there the next eight years. Pre-reformer, Italian period of his activity started which had decisive importance in the composer's creative life. From 1737 to 1741 Gluck took lessons of composition and music theory from Giovanni Battista Sammartini, Italian greatest master of instrumental music, author of early Italian symphonies, talented composer, organist and choirmaster. Under the guidance of his teacher - brave innovator, great master of symphonic and chamber music Gluck mastered all secrets of counterpoint style of music writing, although later, during one of Gluck's visits to London Handel, who was not particularly tolerant towards creative methods, noted ironically: "Gluck understands in counterpoint as much as my cook Valtz." Despite Handel's murderous expression, it is said that Handel's portrait was always hanged in Gluck's bedroom. On December 26, 1741, Gluck's first opera "Artaserse" was staged in Milan, "Regio Ducal" theater. Opera's librettist was Pietro Metastasio (16981782), famous Italian poet and musical playwright, according to the contemporaries' definition "Italian Sophocles", whose activity was a whole era in the history of musical theater. He created lyric tragedy foreseen with musical accompaniment, reached operatic libretto to perfection conducting the latter proportions of classic tragedy. Lasting creative cooperation of composer and librettist starts. The whole first period of Gluck's operatic activity proceeds in cooperation with Metastasio. 6 of Gluck's 8 operas written in Milanian period are created. Unfortunately, only 2 arias from the second act of "Artaserse" have been preserved. Debutant composer's opera becomes a great a success, and new orders follow it. A year later, in 1472, 2 new musical dramas based on Metastasio's librettos are staged. "Demetrio," from which 8 arias are preserved, is stage in Venice, S. Samuele Theater, and "Demofoonte," from which sinfonia, recitative and one aria are lost, is staged in Milan, "Regio Ducal" theater. Perfectly mastering the genre of opera seria, Gluck initiates the creation of his fourth opera, writes the musical drama of "Il Tigrane" which is for the first time staged in autumn 1743, in Crema. For creating his fourth opera - "Il Tigrane" Gluck refuses of cooperation with the librettist of his previous three operas. Librettist of the opera "Il Tigrane" becomes Carlo Goldoni (1707-1793), a prominent figure of Italian theater, Italian playwright, theater reformer, founder of national comedy. Italian new comedy created by Goldoni reflected contemporary reality in its development, tendencies and hopes. Libretto of "Il Tigrane" is based on Silvani's play "La virtĂš trionfante dell'amore." By the way, a year after the premiere of "Il Tigrane", in 1744, pasticcio "Imaginary slave" written by Gluck jointly with Maccari, Lampugnani and Vinci based on the libretto of Silvani is staged in Venice. Few of composers can get proud of the fact that author of their opera's libretto is a famous and talented playwright. It is noteworthy that Goldoni, being the author of almost 300 works including 155 comedies, 18 tragedies and tragicomedies, is also the author of 94 librettos for serious and comic operas. Let us mention only the opera "La Cecchina, ossia La buona figliuola"
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Ø»ÉóÇÝ, ·áõ߳ϻÉáí 22-³Ù»³Û »ñÇï³ë³ñ¹Ç »ñ³Åßï³Ï³Ý ѳñáõëï ï³Õ³Ý¹Á, ¹³éÝáõÙ ¿ Ýñ³ ٻϻݳëÝ áõ Ññ³õÇñáõÙ Çñ ϳٻñ³ÛÇÝ Ýáõ³·³ËáõÙµ. 1737-ÇÝ ¶ÉÇõÏÁ ï»Õ³÷áËõáõÙ ¿ ØÇɳÝ` ³ÛÝï»Õ ³ÝóϳóÝ»Éáí Û³çáñ¹ 8 ï³ñÇÝ»ñÁ: êÏëõáõÙ ¿ Ýñ³ ·áñÍáõÝ¿áõû³Ý ݳ˳é»ýáñÙ³ïáñ³Ï³Ý, Çï³É³Ï³Ý ßñç³ÝÁ, áñÁ í×éáñáß Ý߳ݳÏáõÃÇõÝ áõÝ»ó³õ ÏáÙåá½ÇïáñÇ ëï»Õͳ·áñÍ³Ï³Ý Ï»³ÝùáõÙ: ØÇɳÝáõÙ ¶ÉÇõÏÁ ãáñë ï³ñÇ ³ÝÁݹٿç` 1737-Çó ÙÇÝã»õ 1741-Á ÏáÙåá½ÇódzÛÇ »õ »ñ³Åßïáõû³Ý ï»ëáõû³Ý ¹³ë»ñ ¿ ³éÝáõÙ ·áñÍÇù³ÛÇÝ »ñ³Åßïáõû³Ý Çï³É³Ï³Ý Ëáßáñ³·áÛÝ í³ñå»ï, í³Õ Çï³É³Ï³Ý ëÇÙýáÝdzݻñÇ Ñ»ÕÇݳÏ, ï³Õ³Ý¹³õáñ ÏáÙåá½Çïáñ, »ñ·»Ñáݳѳñ »õ ¹ÇñÇÅáñ æáí³ÝÇ-´³ïÇëï³ ê³ÙÙ³ñïÇÝÇÇó (1701-1775): гٳñÓ³Ï Ýáñ³ñ³ñ, ·áñÍÇù³ÛÇÝ` ëÇÙýáÝÇÏ áõ ϳٻñ³ÛÇÝ »ñ³Åßïáõû³Ý Ëáßáñ í³ñå»ï Çñ áõëáõóãÇ Õ»Ï³í³ñáõû³Ùµ ¶ÉÇõÏÁ Çõñ³óÝáõÙ ¿ ÏáÝïñ³åáõÝÏï³ÛÇÝ ·ñ»É³á×Ç µáÉáñ ·³ÕïÝÇùÝ»ñÁ. ÿ»õ ۻﳷ³ÛáõÙ, ¶ÉÇõÏÇ ÉáݹáÝ»³Ý ³Ûó»ÉáõÃÇõÝÝ»ñÇó Ù¿ÏÇ Å³Ù³Ý³Ï Í»ñáõÏ Ð»Ý¹»ÉÁ, áñÝ ³é³ÝÓݳå¿ë ѳݹáõñÅáÕ
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Éû ¶áɹáÝÇÝ (1707-1793). Èáõë³õáñáõû³Ý ³ñß³ÉáÛëÇÝ Ýñ³ ëï»ÕÍ³Í Çï³É³Ï³Ý Ýáñ ϳï³Ï»ñ·áõÃÇõÝÁ ³ñï³óáÉ»ó ųٳݳϳÏÇó Çñ³Ï³ÝáõÃÇõÝÁ Çñ ½³ñ·³óٳٵ, ÙÇïáõÙÝ»ñáí »õ ÛáÛë»ñáí: §îÇ·ñ³ÝǦ Éǵñ»ïáÛÇ ÑÇÙùáõÙ êÇÉáõ³ÝÇÇ §²é³ùÇÝáõÃÇõÝÁ Û³ÕÃ³Ý³Ï ¿ ï³ÝáõÙ ëÇñáÛ »õ ³ï»Éáõû³Ý Ýϳïٳٵ¦ åÇ¿ëÝ ¿: Æ ¹¿å, §îÇ·ñ³ÝǦ åñ»ÙÇ¿ñ³ÛÇó Ù¿Ï ï³ñÇ ³Ýó, 1744-ÇÝ ì»Ý»ïÇÏáõÙ µ»Ù³¹ñõáõÙ îƶð²Ü غÌ
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(Cecchina, or The Good-Natured Girl)" by Niccolo Piccinni staged in Rome, in 1760, based on the libretto of Goldoni which signified the appearance of new lyric-sentimental tendency in opera buffa genre. Opera "Il Tigrane" became the Joint work of Gluck and Goldoni. By the way, still before Gluck's opera "Il Tigrane" based on the libretto of Goldoni opera seria "Tigrane" by Giuseppe Arena had been written and staged on November 18, 1741. In all probability the success of Gluck's "Il Tigrane" became an impetus for creation of 5 more operas later based on the libretto of Goldoni. Opera seria "Tigrane" by Daniel Dal Barba was staged in Verona, in 1744, drama per musica "Tigranes the Great" by Giovanni Batista Lampugnani was staged in 1747, and opera seria "Tigrane" by Giuseppe Carcani based on the libretto of Goldoni was staged in February, 1750, in Milan. Opera seria "Tigrane" by Niccolo Piccini based on the libretto of Goldoni (1761) and "Tigrane" by Antonio Tozzi staged in Venice, in May, 1762, are also based on the libretto of Goldoni. Unfortunately, Opera "Il Tigrane" by Gluck, as well as his 8 Milanian operas and pasticcios have not been completely preserved. Some of Milanian works were burnt during the fire of "La Scala" opera theater of Milan in 1776 when the library and the archives of that historical theater were burnt. Another part of works were lost during the war initiated by Napoleon Bonaparte against Austria, when in 1809 the French Army plundered the estate in Kalhsburg where Gluck's manuscripts were preserved. The remaining works of Gluck were lost in indifferent to the composer's valuable inheritance Austrian rich individuals' private archives. Unfortunately, only a small part of Gluck's rich inheritance of Milanian period activity, among them separate arias scattered in collections made up for voice and piano, have reached us. 11 arias and 1 duet are preserved from "Il Tigrane." Preserved parts testify that the opera, in which all peculiarities of Gluck's musical style - clarity of melodic line and rhythmical image, were reflected, was an important point on the way of shaping of the young composer's musical-dramatic mentality. The germs later bringing Gluck to the reform of musical theater are already seen in it. Thus, in his work dedicated to Gluck I. Sollertinski (19021944), expert of music, literature and theater, written still in 1937, mentions 1 that there are striking communities between the parts preserved from "Il Tigrane" and the heroic opera "Armide" written on the basis of the poem "Jerusalem Delivered" by Tasso and staged in Paris, in September 23, 1777. In the opera "Il Tigrane" traits typical to Gluck's musical language are already displayed. Thus, for expressing strong affect and excitement among ostinato rhythmical images the composer accords importance to syncopation. This symbolizes also introduction of the "second plan" of act, invites the listener's attention to the complete discrepancy of acting figure's words and inner state, and in another case, according to R. Gerber, a prominent expert of Gluck, who has published the complete collection of Gluck's works, reflects the life of the envi2 ronment surrounding the hero, the so called "sensation of nature" . Syncopation already from the third act of "Il Tigrane" is used in such context of Cleopatra's Es-dur aria. As S. Ritsarev, author of monograph about Gluck, has noted, later that stylistic peculiarity is displayed in B dur aria from the seventh scene of
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1. I. Solertinski. Gluck. Life and Activity. M.-L., 1937. 2. R. Gerber. Cristoph Willibald Ritter von Gluck. Potsdam, 1650. p. 73.
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¿ ¸³ÝÇ¿É ¸³É ´³ñµ³ÛÇ §îÇ·ñ³Ý¦ opera-seria-Ý, 1747-ÇÝ` æÇáí³ÝÇ ´³ïÇëï³ È³ÙåáõÝdzÝÇÇ §îÇ·ñ³ÝÁ¦ (drama per musica), 1750-Ç ÷»ïñáõ³ñÇÝ ØÇɳÝáõÙ` æáõ½»å¿ γñϳÝÇÇ §îÇ·ñ³Ý¦ opera-seria-Ý: ¶áɹáÝÇÇ Éǵñ»ïáÛÇ ÑÇÙ³Ý íñ³Û »Ý ·ñáõ»É ÜÇÏáÉû äÇããÇÝÇÇ §îÇ·ñ³ÝÁ¦ (1761) »õ ²ÝïáÝdz ÂáÓÓÇÇ §îÇ·ñ³ÝÁ¦, áñÁ µ»Ù³¹ñáõ»ó ì»Ý»ïÇÏáõÙ,
1762-Ç Ù³ÛÇëÇÝ:
ò³õûù, ¶ÉÇõÏÇ §îÇ·ñ³Ý¦ ûå»ñ³Ý, Ç ß³ñë ÏáÙåá½ÇïáñÇ ÙÇɳݻ³Ý ßñç³ÝÇ 8 ûå»ñ³Ý»ñÇ »õ pasticcio-Ý»ñÇ, ³ÙµáÕçáõû³Ùµ ãÇ å³Ñå³Ýáõ»É: ֳϳﳷñÇ ã³ñ ˳Õáí ÙÇɳݻ³Ý »ñÏ»ñÇ ÙÇ Ù³ëÁ ÑñÏǽáõ»ó
1776-ÇÝ` ØÇɳÝÇ ûå»ñ³-
ÛÇÝ Ã³ïñáÝÇ Ññ¹»ÑÇ Å³Ù³Ý³Ï, »ñµ Ïñ³ÏÁ ɳ÷»ó ³Û¹ å³ïÙ³Ï³Ý Ã³ïñáÝÇ áÕç ·ñ³¹³ñ³ÝÝ áõ ³ñËÇõÁ: ØÇõë Ù³ëÁ ïáõÅ»ó ÛÁÝóóë ܳåáÉ¿áÝ ´áݳå³ñïÇ ¹¿Ù ²õëïñdzÛÇ ÙÕ³Í å³ï»ñ³½ÙÇ, »ñµ 1809-ÇÝ ýñ³ÝëÇ³Ï³Ý ½ûñù»ñÁ óɳݻóÇÝ Î³ÉÑëåáõñ·áõÙ ·ïÝáõáÕ Ï³Éáõ³ÍùÁ, áñï»Õ å³Ñå³ÝõáõÙ ¿ÇÝ ¶ÉÇõÏÇ Ó»é³·ñ»ñÁ: Øݳó³õÝ ¿É Ïáñëáõ»ó ¶ÉÇõÏÇ µ³ñÓñ³ñÅ¿ù ųé³Ý·áõû³Ý å³Ñå³Ýáõû³Ý ѳݹ¿å ³Ýï³ñµ»ñ ³õëïÇ³Ï³Ý å³Ûͳé³÷³ÛÉ Ù»Í³Ñ³ñáõëïÝ»ñÇ Ù³ëݳõáñ ³ñËÇõÝ»ñáõÙ: ò³õûù, ¶ÉÇõÏÇ ·áñÍáõÝ¿áõû³Ý ÙÇɳݻ³Ý ßñç³ÝÇ ûå»ñ³ÛÇÝ Íáí³Í³õ³É ųé³Ý·áõÃÇõÝÇó Ù»½ ѳë»É »Ý ëáëÏ å³ï³éÇÏÝ»ñ, ³Û¹ ÃáõáõÙ` Ó³ÛÝÇ »õ ¹³ßݳÙáõñÇ Ñ³Ù³ñ ϳ½Ùáõ³Í ÅáÕáí³ÍáõÝ»ñáõÙ
ë÷éáõ³Í ³é³ÝÓÇÝ ³ñdzݻñ:
§îÇ·ñ³ÝÇó¦ å³Ñå³Ýáõ»É ¿ 11 ³ñdz »õ 1 ½áõ·»ñ·: ä³Ñå³Ýáõ³Í ÷ßñ³ÝùÝ»ñÁ íϳÛáõÙ »Ý, áñ ûå»ñ³Ý, áõñ ¹ñë»õáñáõ»óÇÝ ¶ÉÇõÏÇ »ñ³Åßï³Ï³Ý á×Ç ³é³ÝÓݳ۳ïÏáõÃÇõÝÝ»ñÁ` Ù»Õ»¹Ç³Ï³Ý ·ÍÇ å³ñ½áõÃÇõÝÁ, éÇÃÙ³Ï³Ý å³ïÏ»ñÇ Ûëï³ÏáõÃÇõÝÁ, ϳñ»õáñ ѳݷñáõ³Ý ¿ñ »ñÇï³ë³ñ¹ ÏáÙåá½ÇïáñÇ »ñ³Åßï³Ï³Ý¹ñ³Ù³ïÇÏ³Ï³Ý Ùï³ÍáÕáõû³Ý Ó»õ³õáñÙ³Ý ×³Ý³å³ñÑÇÝ: êñ³ÝáõÙ ³ñ¹¿Ý Ýϳï»ÉÇ »Ý ë³ÕÙ»ñÁ, áñáÝù ۻﳷ³Ûáõ٠۳ݷ»óñÇÝ ¶ÉÇõÏÇÝ` »ñ³Åßï³Ï³Ý óïñáÝÇ é»ýáñÙÇÝ: ²Ûëå¿ë, »ñ³Åßï³·¿ï, ·ñ³Ï³Ý³·¿ï, óï»ñ³·¿ï Æ.êáÉÉ»ñïÇÝëÏÇÝ (1902-1944) ¶ÉÇõÏÇÝ ÝáõÇñáõ³Í Çñ ѻﳽûïáõû³Ý Ù¿ç ¹»é»õë 1937ÇÝ ÝϳïáõÙ ¿, áñ §îÇ·ñ³ÝÇó¦ å³Ñå³Ýáõ³Í ѳïáõ³ÍÝ»ñÇ »õ î³ëëáÛÇ §²½³ï³·ñáõ³Í ºñáõë³Õ¿Ù¦ åá¿ÙÇ ÑÇÙ³Ý íñ³Û ·ñáõ³Í »õ 1777-Ç ë»åï»Ùµ»ñÇ 23-ÇÝ ö³ñǽáõÙ µ»Ù³¹ñáõ³Í §²ñÙǹ³¦ Ñ»ñáë³Ï³Ý ûå»ñ³ÛÇ ÙÇç»õ Ï³Ý óÝóáÕ Áݹ1
ѳÝñáõÃÇõÝÝ»ñ : §îÇ·ñ³ÝáõÙ¦ ³ñ¹¿Ý ¹ñë»õáñõáõÙ »Ý ¶ÉÇõÏÇ »ñ³Åßï³Ï³Ý É»½áõÇ µÝáñáß ·Í»ñÁ: ²Ûëå¿ë, ûëïÇݳï³ÛÇÝ éÇÃÙ³Ï³Ý å³ïÏ»ñÝ»ñÇ ß³ñùáõÙ áõÅ»Õ 1. Соллертинский И. Глюк: Жизнь и творчест# во. М.#Л., 1937.
³ý»ÏïÇ »õ Ûáõ½ÙáõÝùÇ ³ñï³Û³ÛïÙ³Ý Ñ³Ù³ñ ÏáÙåá½ÇïáñÁ Ù»Í ï»Õ ¿ Û³ïϳóÝáõÙ ëÇÝÏáå³ÛÇÝ: ê³ ËáñÑñ¹³ÝßáõÙ ¿ ݳ»õ ·áñÍáÕáõû³Ý §»ñÏñáñ¹ åɳÝǦ Ý»ñîƶð²Ü غÌ
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the second act of the musical drama "Alceste" staged in Vienna, in 1767, in Armide's e-moll aria from the second act of "Armide," in N 9 aria of Eliza from the second act of the opera seria "Il re pastore" staged In Vienna, on December 8, 1756, in the aria of Oreste (Orestes) from the second act of the tragedy "IphigĂŠnie en Tauride" (Iphigeneia in Tauris) staged in Paris, in 1779, 3 etc . Let us note that Gerber has discovered also "chain of seventh chord", as 4 well as other traits of typical romantic style in "Il Tigrane" . But the painful reality is that up to date Armenian listeners are not acquainted with Guck's opera "Il Tigrane" whereas few nations of the world can be proud of the fact that Cristoph Willibald Gluck, Maestro of genius, operatic great reformer, has written an opera about their king... Translated from Armenian into English by L. Navasardyan
3. S. Ritasarev. Cristoph Willibald Gluck. M., 1987, p. 104. 4. R. Gerber. Cristoph Willibald Ritter von Gluck. Potsdam, 1650. p. 59-61.
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ÙáõÍáõÙÁ, áõÝÏݹñÇ áõß³¹ñáõÃÇõÝÁ Ññ³õÇñáõÙ ·áñÍáÕ ³ÝÓÇ ³ñï³ë³Ý³Í µ³é»ñÇ »õ Ñá·»íÇ׳ÏÇ ³Ýѳٳå³ï³ë˳Ýáõû³Ý íñ³Û, ÇëÏ Ù¿Ï ³ÛÉ ¹¿åùáõÙ` Áëï Ëáßáñ³·áÛÝ ·ÉÇõϳ·¿ï, ¶ÉÇõÏÇ ºñÏ»ñÇ Édzϳï³ñ ÅáÕáí³ÍáõÇ Ññ³ï³ñ³ÏÙ³Ý ³ÏáõÝùÝ»ñáõÙ (1951) Ï³Ý·Ý³Í è.¶»ñµ»ñÇ, ³ñï³Û³ÛïáõÙ ¿ Ñ»ñáëÇÝ ßñç³å³ïáÕ 2
ÙÇç³í³ÛñÇ Ï»³ÝùÁ, ³Ûëå¿ë Ïáãáõ³Í §µÝáõû³Ý ½·³óáÕáõÃÇõÝÁ¦ : ÜÙ³Ý Ñ³Ù³ï»ùëïáõÙ ¿ ÏÇñ³éáõ³Í ëÇÝÏáå³Ý ³ñ¹¿Ý §îÇ·ñ³ÝǦ »ññáñ¹ ·áñÍáÕáõÃÇõÝÇó ÎÉ¿áå³ïñ³ÛÇ Es-dur ³ñdzÛáõÙ: ÆÝãå¿ë Ýϳï»É ¿ ¶ÉÇõÏÇ Ù³ëÇÝ Ù»Ý³·ñáõû³Ý Ñ»ÕÇÝ³Ï ê.èÇó³ñ»õÁ, ۻﳷ³ÛáõÙ á×³Ï³Ý ³Û¹ ³é³ÝÓݳ۳ïÏáõÃÇõÝÁ ѳݹ¿ë ¿ ·³ÉÇë 1767-ÇÝ ìÇ»ÝݳÛáõÙ µ»Ù³¹ñáõ³Í §²Éó»ëﳦ
»ñ³Åßï³Ï³Ý ¹ñ³Ù³ÛÇ
³é³çÇÝ ·áñÍáÕáõû³Ý »ûÿñáñ¹ å³ïÏ»ñÇó ²Éó»ëï³ÛÇ B dur ³ñdzÛáõÙ, §²ñÙǹ³ÛǦ
»ñÏñáñ¹ ·áñÍáÕáõÃÇõÝÇó ²ñÙǹ³ÛÇ e-moll
³ñdzÛáõÙ,
1756-Ç ¹»Ïï»Ù-
µ»ñÇ 8-ÇÝ ìÇ»ÝݳÛáõÙ Ý»ñϳ۳óáõ³Í §²ñù³-ÑáíÇõ¦ opera-seria-Ç »ñÏñáñ¹ ·áñÍáÕáõÃÇõÝÇó ¾Éǽ³ÛÇ N 9 ³ñdzÛáõÙ, 1779-ÇÝ ö³ñǽáõÙ µ»Ù µ³ñÓñ³ó³Í
§ÆýÇ·»-
ÝÇ³Ý î³õñǹáõÙ¦ áÕµ»ñ·áõû³Ý »ñÏñáñ¹ ·áñÍáÕáõÃÇõÝÇó úñ»ëÿëÇ ³ñdzÛáõÙ »õ 3
³ÛÉÝ :
Üϳï»Ýù, áñ ¶»ñµ»ñÁ §îÇ·ñ³ÝáõÙ¦ Û³Ûïݳµ»ñ»É ¿ ݳ»õ §ë»åï³Ïáñ¹4
Ý»ñÇ éáÙ³ÝïÇÏ ßÕóۦ, ݳ»õ` ïÇåÇÏ éáÙ³ÝïÇÏ³Ï³Ý á×Ç ³ÛÉ»õ³ÛÉ ·Í»ñ : ê³Ï³ÛÝ ó³õ³ÉÇ ÇñáÕáõÃÇõÝÝ ³ÛÝ ¿, áñ ó³ñ¹ Ñ³Û áõÝÏݹÇñÝ ³ÝͳÝûà ¿ ¶ÉÇõÏÇ §îÇ·ñ³Ý¦ ûå»ñ³ÛÇÝ. 㿱 áñ ³ß˳ñÑÇ ùÇã ÅáÕáíáõñ¹Ý»ñ ϳñáÕ »Ý å³ñÍ»Ý³É ³ÛÝ ÷³ëïáí, áñ Çñ»Ýó ³ñù³ÛÇ Ù³ëÇÝ ûå»ñ³ ¿ ·ñ»É ѳÝ׳ñ»Õ Maestro, ûå»ñ³ÛÇÝ Ù»Í é»ýáñÙ³ïáñ øñÇëïáý ìÇÉǵ³É¹ ¶ÉÇõÏÁ...
2. Gerber R. Christoph Willibald Ritter von Gluck. Potsdam, 1650, p. 73 3. Рыцарев С. Кристоф Виллибальд Глюк. М., 1987, с. . 104 4. î»°ë Gerber R. Christoph Willibald Ritter von Gluck. Potsdam, 1650, ¿ç 59-61: îƶð²Ü غÌ
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PROFESSOR KARINE JAGHATSPANYAN Doctor of Art Criticism Yerevan State Conservatoire named after Komitas
IMAGE OF TIGRANES AND MUSIC OF A. SCARLATTI
Y
erevan, 1991. Telephone call from the editorial office of the newspaper "Respublica Armenia" ("Republic of Armenia") took me by surprise. People calling me wished to know what kind of operas were those 24 operas about Tigranes the Great which Hayk Khachatryan mentioned in his book and how was the image of the Armenian king depicted in those operas. My attempts to transfer the task to those who were closer to that issue were not successful. I did not wish to avoid of such an interesting and responsible topic as the issue concerns our remote past, roots of our culture, centuries-old struggle of Armenians for the sake of survival, as that struggle is the pride and the pain of each Armenian. The article was abridged because of limited space in the heading and was printed in "Respublica Armenia" ("Republic of Armenia") and later - in Conservatoire's journal "Musical Armenia." Later, preparing for the conference dedicated to the jubilee anniversary of the reign of Tigranes the Great I expanded the article previously including in it those parts which were abridged. Really, at least 24 operas are written about Tigranes the Great. According to the version of French Armenian pianist and choirmaster A. Siranossyan their number is even 32 (see 1). In another article of M. Kharmandaryan entitled: "Opera "Tigrane" by Alessandro Scarlatti" (see 2) names of 22 composers are mentioned. A detailed list is attached to the historical novel "Tigranes the Great" by H. Khacahatryan. It is the list of 16 Italian composers including father and son Alessandro and Domenico Scarlatti. Later it turned out that Antonio Vivaldi also has written an opera of the same name. German composers, among them Ch. W. Gluck, G. F. Handel and others, have written 4 operas, as well as Spanish composer L. Santos and soviet composer A. Artamonov have dedicated operas to Tigranes the Great. Besides, 17 operas are dedicated to Mithridates of Pontus, the powerful rival of Rome, father-in-law of Tigranes. The youngest of the composers was Mozart who created the opera seria "Mitridate, re di Ponto" ("Mithridates, King of Pontus") at the age of 14. In the majority of those operas the role of Tigranes is one of the leading parts. In the Museum of Literature and Art named after Yeghishe Charents there are three partitures of operas about Tigranes. Those are the partiture 344
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ÊÀÐÈÍÅ ÄÆÀÃÀÖÏÀÍßÍ Äîêòîð èñêóññòâîâåäåíèÿ, ïðîôåññîð Åðåâàíñêîé Ãîñ. êîíñåðâàòîðèè èì. Êîìèòàñà
ÎÁÐÀÇ ÒÈÃÐÀÍÀ È ÌÓÇÛÊÀ À. ÑÊÀÐËÀÒÒÈ
Å
ðåâàí. 1991 ãîä. Òåëåôîííûé çâîíîê èç ðåäàêöèè ãàçåòû «Ðåñïóáëèêà Àðìåíèÿ» çàñòàë ìåíÿ âðàñïëîõ. Èíòåðåñîâàëèñü: ÷òî èç ñåáÿ ïðåäñòàâëÿþò 24 îïåðû î Òèãðàíå Âåëèêîì, î êîòîðîì óïîìèíàåò â ñâîåé êíèãå Ãàéê Õà÷àòðÿí, è êàê â íèõ ïðåäñòàåò îáðàç àðìÿíñêîãî öàðÿ. Ìîè ïîïûòêè ïåðåäàòü ïîðó÷åíèå òîìó, êòî áëèæå ñòîèò ê ýòîé ïðîáëåìå, íå óâåí÷àëèñü óñïåõîì. Îòìàõíóòüñÿ æå îò ñòîëü èíòåðåñíîé è îòâåòñòâåííîé òåìû íå õîòåëîñü. Âåäü âîïðîñ ýòîò çàäåâàåò íàøå äàëåêîå ïðîøëîå, êîðíè íàøåé êóëüòóðû, ìíîãîâåêîâóþ áîðüáó àðìÿí çà ñóùåñòâîâàíèå - ãîðäîñòü è áîëü êàæäîãî àðìÿíèíà. Ñòàòüÿ áûëà ñèëüíî ñîêðàùåíà èç-çà îãðàíè÷åííîñòè ìåñòà â ðóáðèêå è â òàêîì âèäå íàïå÷àòàíà â ãàçåòå «Ðåñïóáëèêà Àðìåíèÿ», çàòåì è â æóðíàëå êîíñåðâàòîðèè «ºñ³Åßï³Ï³Ý г۳ëï³Ý» («Ìóçûêàëüíàÿ Àðìåíèÿ», 2005).  äàëüíåéøåì, â ñâÿçè ñ ïîäãîòîâêîé ê êîíôåðåíöèè, ïîcâÿùåííîé þáèëåéíîé äàòå öàðñòâîâàíèÿ Òèãðàíà Âåëèêîãî, ñòàòüþ ÿ ðàñøèðèëà, ïðåäâàðèòåëüíî âêëþ÷èâ è òå ðàçäåëû, êîòîðûå áûëè ñîêðàùåíû. Î Òèãðàíå Âåëèêîì, äåéñòâèòåëüíî, íàïèñàíû ïî êðàéíåé ìåðå 24 îïåðû. À ïî âåðñèè ôðàíöóçñêîãî ïèàíèñòà è äèðèæåðà À. Ñèðàíîñÿíà - äàæå 32 (ñì. 1). Èìåíà 22 êîìïîçèòîðîâ óïîìèíàþòñÿ â ñòàòüå Ì.Õàðìàíäàðÿí «Îïåðà ,,Òèãðàí,, Àëåññàíäðî Ñêàðëàòòè» (ñì. 2). Ïîäðîáíûé ñïèñîê ïðèâåäåí è â ïðèëîæåíèè ê èñòîðè÷åñêîìó ðîìàíó Ã. Õà÷àòðÿíà «Òèãðàí Âåëèêèé» (ñì. 3). Ýòî 16 îïåð èòàëüÿíñêèõ êîìïîçèòîðîâ, â òîì ÷èñëå îòöà è ñûíà - Àëåññàíäðî è Äîìåíèêî Ñêàðëàòòè. Ïîçæå âûÿñíèëîñü, ÷òî ñóùåñòâóåò òàêæå îäíîèìåííàÿ îïåðà ó âåëèêîãî Àíòîíèî Âèâàëüäè. ×åòûðå îïåðû íàïèñàëè íåìåöêèå êîìïîçèòîðû - òàêèå âåëè÷èíû, êàê Õ.Â. Ãëþê è Ã.Ô.Ãåíäåëü, íà ýòó òåìó íàïèñàëè òàêæå îïåðû èñïàíåö Ë.Ñàíòîñ è ñîâåòñêèé êîìïîçèòîð À.Àðòàìîíîâ. Êðîìå òîãî, ãðîçíîìó ñîïåðíèêó Ðèìà Ìèòðèäàòó Ïîíòèéñêîìó (òåñòþ Òèãðàíà) ïîñâÿùåíî 17 îïåð. Ñàìûì ìîëîäûì àâòîðîì áûë âåëèêèé Ìîöàðò, ñî÷èíèâøèé îïåðó «Ìèòðèäàò, öàðü Ïîíòèéñêèé» â 14-ëåòíåì âîçðàñòå.  ïîäàâëÿþùåì áîëüøèíñòâå ðîëü Òèãðàíà â íèõ ÿâëÿåòñÿ îäíîé èç ãëàâíûõ.  Àðìåíèè, â ìóçåå ëèòåðàòóðû è èñêóññòâà èì.×àðåíöà íàõîäÿòñÿ òðè ïàðòèòóðû îïåð î Òèãðàíå. Ýòî ïàðòèòóðà À.Ñêàðëàòòè, ëèáðåòòî è ïàðòèòóðà À. Âèâàëüäè, êîòîðàÿ, êñòàòè, íàõîäèòñÿ â î÷åíü ïëîõîì îƶð²Ü غÌ
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of A. Scarlatti, the libretto and the partiture of A. Vivaldi which is in a very poor state because the photocopy is obliterated, there is no binding, and the microfilm of the opera "Tigrane, re d'Armenia" by A. M. Bononcini. It was impossible to be acquainted with the latter as there was no technical means for its deciphering. Factually, it was possible to watch only one of them - the opera "Tigrane" by Alessandro Scarlatti which according to the specialists is the best one among the operas on that topic. And although it is impossible to make conclusions about all versions of the image of Tigranes, nevertheless I would like to share some of my opinions and arising questions exhausting answers to which it was not always possible to receive because of the lack of complete information. Let us begin from questions. 1. Why did the image of Tigranes attract such close attention and especially in the XVIII century? 2. Why most of all Italians were interested in Tigranes and wrote significantly larger number of operas about Tigranes than any other prominent political figures if in addition the history of the Roman Empire is full of prominent political figures? Let us remember at least the names of Sulla, Lucullus, Cicero, Pompeus, Caesar and others. I decided to address the first question to the writer H. Khachatryan. He said: "To tell the truth I did not ponder over that question, but I shall try to answer you. I think the period of time coincided with the period of time when since the beginning of the epoch of Renaissance Italians were interested in their history. In that relation Tigranes the Great was accepted by the historians and playwrights of Italy first of all as a negative character. He was often called "Tyrant of the East" because he was a serious obstacle for the expansion of the domains of Rome in the East. Western Armenian composer Avetiss Messouments also wrote me about the predominance of negative interpretation of the character of Tiganes. He studied the texts of librettos of the majority of operas about Tigranes in which that version is confirmed. Although at the same time Messouments is surprised by the fact that always fine music accompanies Tigranes which does not at all correspond to the negative charachteristic of his image. However, I am not a musician and I can not judge about music." Words of H. Khachatryan made me to become thoughtful. Apparently foreigners' treatment towards the image of the Armenian king was not unequivocal. Let us remember the most typical historical facts from the life of Tigranes the Great. Tigranes the Great ruled in 95-56 BC. His main task was uniting the isolated lands of Armenia and securing it position what he really did successfully as both parts of the Greater Hayk were united again. In difference to the other rulers conducting mainly expansionist policy and as a rule being proud of it, the Armenian king, on the contrary, tried to remain within the frontiers of his lands which provided him and his people peaceful and safe existence. During just the first years of his reign Mithridates II Eupator, the 346
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ñîñòîÿíèè (ñòåðòûé êñåðîêñ, íåò ïåðåïëåòà) è ìèêðîïëåíêà îïåðû «Òèãðàí Âåëèêèé - öàðü Àðìåíèè» À.Ì. Áîíîí÷èíè. Ñ ïîñëåäíåé òàêæå íåâîçìîæíî áûëî îçíàêîìèòüñÿ, òàê êàê íå áûëî òåõíè÷åñêèõ óñòðîéñòâ äëÿ åå ðàñøèôðîâêè. Ôàêòè÷åñêè, óäàëîñü ïîëíîöåííî ðàññìîòðåòü ëèøü îäíó èç íèõ - îïåðó «Òèãðàí» À.Ñêàðëàòòè. Ïðàâäà, ïî ïðèçíàíèþ ñïåöèàëèñòîâ, ëó÷øóþ èç íàïèñàííûõ íà ýòó òåìó. È õîòÿ íåâîçìîæíî ñäåëàòü âûâîäû îáî âñåõ âåðñèÿõ îáðàçà Òèãðàíà, òåì íå ìåíåå õî÷ó ïîäåëèòüñÿ íåêîòîðûìè ñâîèìè ñîîáðàæåíèÿìè è âîçíèêøèìè âîïðîñàìè, èñ÷åðïûâàþùèå îòâåòû íà êîòîðûå íå âñåãäà âîçìîæíî áûëî ïîëó÷èòü, â ñèëó îòñóòñòâèÿ ïîëíîé èíôîðìàöèè. Íà÷íåì ñ âîïðîñîâ. 1. Ïî÷åìó îáðàç Òèãðàíà Âåëèêîãî ïðèâëåê ñòîëü ïðèñòàëüíîå âíèìàíèå è ãëàâíûì îáðàçîì â ÕVØ âåêå? 2. Ïî÷åìó ýòîé òåìîé áîëåå âñåãî çàèíòåðåñîâàëèñü èòàëüÿíöû è íàïèñàëè î Òèãðàíå â êîëè÷åñòâåííîì îòíîøåíèè çíà÷èòåëüíî áîëüøå îïåð, ÷åì î êàêîì-ëèáî ñâîåì âèäíîì ïîëèòè÷åñêîì äåÿòåëå? È ýòî ïðè òîì, ÷òî èñòîðèÿ Ðèìñêîé èìïåðèè äîñòàòî÷íî áîãàòà íà ýòîò ñ÷åò. Âñïîìíèì õîòÿ áû èìåíà Ñóëëû, Ëóêóëëû, Öèöåðîíà, Ïîìïåÿ, Öåçàðÿ è äð. Ñ ïåðâûì âîïðîñîì ÿ ðåøèëà îáðàòèòüñÿ ê ïèñàòåëþ Ã.Õà÷àòðÿíó: - Ïðèçíàòüñÿ, íå çàäóìûâàëñÿ íàä ýòèì âîïðîñîì, - ñêàçàë îí, - íî ïîïûòàþñü âñå æå Âàì îòâåòèòü. Äóìàþ, ÷òî âðåìÿ ýòî ñîâïàëî ñ ïåðèîäîì, êîãäà èòàëüÿíöû, íà÷èíàÿ ñ ýïîõè Âîçðîæäåíèÿ çàíîâî çàèíòåðåñîâàëèñü ñâîåé èñòîðèåé. È â ýòîì îòíîøåíèè Òèãðàí Âåëèêèé âîñïðèíèìàëñÿ èñòîðèêàìè è äðàìàòóðãàìè Èòàëèè ïðåæäå âñåãî, êàê îòðèöàòåëüíûé îáðàç. Åãî íåðåäêî íàçûâàëè «òèðàíîì Âîñòîêà», ïîòîìó ÷òî îí áûë ñåðüåçíûì ïðåïÿòñòâèåì â ðàñøèðåíèè âëàäåíèé Ðèìà â ñòîðîíó Âîñòîêà. Î ïðåîáëàäàíèè îòðèöàòåëüíîé èíòåðïðåòàöèè îáðàçà Òèãðàíà ïèñàë ìíå è çàïàäíîàðìÿíñêèé êîìïîçèòîð Àâåòèñ Ìåñóìåíö. Îí ïîñìîòðåë òåêñòû ëèáðåòòî áîëüøèíñòâà îïåð î Òèãðàíå, â êîòîðûõ ïîäòâåðäèëàñü ýòà âåðñèÿ. Õîòÿ â òî æå âðåìÿ Ìåñóìåíö óäèâëÿåòñÿ, ÷òî Òèãðàíà âñåãäà ñîïðîâîæäàåò áëàãîðîäíàÿ ìóçûêà, âîâñå íå ñîîòâåòñòâóþùàÿ îòðèöàòåëüíîé õàðàêòåðèñòèêå åãî îáðàçà. Íî ÿ íå ìóçûêàíò, - çàêëþ÷èë Ã.Õà÷àòðÿí, - è íå ìîãó ñóäèòü î ìóçûêå. Ñëîâà Ã.Õà÷àòðÿíà çàñòàâèëè ìåíÿ ïðèçàäóìàòüñÿ. Âèäèìî, íåîäíîçíà÷íûì áûëî îòíîøåíèå èíîñòðàíöåâ ê îáðàçó àðìÿíñêîãî öàðÿ. Âñïîìíèì íàèáîëåå õàðàêòåðíûå èñòîðè÷åñêèå ôàêòû èç æèçíè Òèãðàíà Âåëèêîãî. Ïðàâèë Òèãðàí â 95 - 56 ãã. äî í.ý. Îñíîâíàÿ çàäà÷à åãî çàêëþ÷àëàñü â îáúåäèíåíèè ðàçðîçíåííûõ çåìåëü Àðìåíèè è çàêðåïëåíèè åå ïîçèöèé, ÷òî åìó è óäàëîñü ñ óñïåõîì ïðîäåëàòü: îáå ÷àñòè Âåëèêîé Àðìåíèè âíîâü îáúåäèíèëèñü.  îòëè÷èå îò äðóãèõ ïðàâèòåëåé, âåäóùèõ â îñíîâíîì çàõâàòíè÷åñêóþ ïîëèòèêó è, êàê ïðàâèëî, ãîðäÿùèìèñÿ ýòèì (òàêîâû áûëè, óâû, òðàäèöèè äðåâíèõ ïðàâèòåëåé), àðìÿíñêèé öàðü, íàïðîòèâ, ñòàðàëñÿ óäåðæàòüñÿ â òåõ ãðàíèöàõ ñâîèõ âëàäåíèé, êîòîðûå áû åìó è åãî íàðîäó îáåñïå÷èëè áû ñïîêîéíîå è áåçîïàñíîå ñóùåñòâîâàíèå.  ïåðâûå æå ãîäû ïðàâëåíèÿ Òèãðàíó ïðåäëîæèë ñîþç öàðü ñîñåäîƶð²Ü غÌ
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king of neighboring kingdom of Pontus, the most terrible enemy of Rome after Hannibal, suggested Tigranes alliance. As it is known, that alliance was strengthened by marriage as Tigranes married the daughter Mithridates. Both kings made plans of struggle against Romans in order to prevent the Romans' striving for global domination. However, as V. Brusov mentions, then Armenian king "is not an adventurer and dreamer like Mithridates." Initially being under the influence of his younger and more enthusiastic ally, Tigranes just after the first successes "began apparently to strive for preserving his achievements whereas ambition of Mithridates was boundless." (See 4. p. 41). In that relation Tigranes is the typical representative of his nation. The best traits of his nature are typical to his nation on the whole. It is not in vain that the German author M. Nehman notes that Armenians "tried by all means only to preserve what they had, and not to expand aimlessly only for the sake of glory or the process of conquest" (see 5, p. 94). Image of Tigranes is vividly characterized also by another case of his life. In 73 BC Mithridates was defeated by the Romans and ran way to Armenia, to Tigranes. And although Tigranes did not support the policy of Mithridates, however, he did not betray his father-in-law and did not handle him over the enemy announcing that he was ready to answer in weapon. Actually that served as a reason for war against the Romans. And if not the betrayal of his son - Tigranes the junior (who unfortunately was so different from his father) the series of defensive triumphs of the Armenian king might be concluded by victory including also victory over Pompeus. However, Pompous appreciated the courage and diplomatic mind of Tigranes. After the appearing of Tigranes in the enemy's camp (comparing his chances in advance) with the intention of "peaceful negotiations" Pompeus preserved his Armenian lands and the title "king of kings" admitting him among the "friends and allies of the Roman people." Probably there have been many cases which might characterize Tigranes the Great not only as "strongest enemy," "powerful ruler" but also as an outstanding person sometimes arousing the secret sympathy of even the enemy. It seems that by that circumstance is explained the interest of Western playwrights, historians, poets and especially Italians towards the Armenian king, as Italians' ancestors had close relations with the people of ancient Armenia since the times of its brilliant representative - Tigranes the Great. Does not that secret sympathy towards the person of Tigranes explain the birth of the opera by A. Scarlatti, the great composer of the end of the XVII and the beginning of the XVIII century, the librettist of which was famous at that time Italian playwright Sebastiano Biancardi (pen-name: Domenico Lalli) who jointly created the image of wise and valiant Armenian king hiding under another plot? The opera "Tigrane" by A. Scarlatti is a heroic drama based on pseudohistorical plot full of many love intrigues and comedy episodes. Actions take place in the palace of imaginary Scythian queen Domiri commander of whose army is an Armenian prince. It is senseless to tell in details the plot of the opera the more so that it is far from real facts from the life of a person who according to the libretto is not even Armenian (that is the right of independ-
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íåãî ïîíòèéñêîãî öàðñòâà Ìèòðèäàò II Åâïàòîð - ñàìûé ñòðàøíûé ïîñëå Ãàííèáàëà âðàã Ðèìà. Ñîþç ýòîò, êàê èçâåñòíî, áûë çàêðåïëåí áðàêîì: Òèãðàí æåíèëñÿ íà äî÷åðè Ìèòðèäàòà. Îáà öàðÿ ñîñòàâèëè ïëàí áîðüáû ñ ðèìëÿíàìè, ÷òîáû ïðåäîòâðàòèòü ñòðåìëåíèå ïîñëåäíèõ ê ìèðîâîìó ãîñïîäñòâó. Îäíàêî, êàê îòìå÷àåò Â.Áðþñîâ, àðìÿíñêèé öàðü «íå àâàíòþðèñò è ìå÷òàòåëü, ïîäîáíî Ìèòðèäàòó». Ïîääàâøèñü ïåðâîíà÷àëüíî âëèÿíèþ ñâîåãî áîëåå ìîëîäîãî è áîëåå óâëåêàþùåãîñÿ ñîþçíèêà, ïîñëå ïåðâûõ æå óñïåõîâ Òèãðàí «ÿâíî ñòàë ñòðåìèòüñÿ òîëüêî ê òîìó, ÷òîáû óäåðæàòü çà ñîáîé ñâîè çàâîåâàíèÿ, òîãäà êàê ÷åñòîëþáèå Ìèòðèäàòà íå çíàëî ãðàíèö» (ñì. 4, 41).  ýòîì îòíîøåíèè Òèãðàí - òèïè÷íûé ïðåäñòàâèòåëü ñâîåãî íàðîäà. Ëó÷øèå ÷åðòû åãî õàðàêòåðà íàðîäíû, ïðèñóùè íàöèè â öåëîì. Íåäàðîì íåìåöêèé àâòîð Ì.Íåéìàí îòìå÷àåò, ÷òî àðìÿíå «âñÿ÷åñêè ñòàðàëèñü óäåðæàòü ëèøü òî, ÷òî èìåëè, à íå ðàñïðîñòðàíÿòüñÿ áåñöåëüíî, ðàäè îäíîé ñëàâû èëè ïðîöåññà çàâîåâàíèé» (ñì. 5, ñ. 94). Îáðàç Òèãðàíà ÿðêî õàðàêòåðèçóåò è äðóãîé ñëó÷àé èç åãî æèçíè.  73 ã. äî í.ý. Ìèòðèäàò ïîòåðïåë ïîðàæåíèå îò ðèìëÿí è áåæàë â Àðìåíèþ ê Òèãðàíó. È õîòÿ ïîñëåäíèé íå ïîääåðæèâàë ïîëèòèêó Ìèòðèäàòà, âñå æå ïðåäàòü åãî è âûäàòü ñâîåãî òåñòÿ âðàãàì íå ñîãëàñèëñÿ, îáúÿâèâ, ÷òî ãîòîâ îòâåòèòü îðóæèåì. Ôàêòè÷åñêè, ýòî ïîñëóæèëî ïîâîäîì ê âîéíå ñ ðèìëÿíàìè. È åñëè á íå èçìåíà ñûíà - Òèãðàíà Þíîãî (ñòîëü íå ïîõîæåãî, ê ñîæàëåíèþ, íà ñâîåãî îòöà), ñåðèÿ îáîðîíèòåëüíûõ ïîáåä àðìÿíñêîãî öàðÿ, âîçìîæíî, çàâåðøèëàñü áû ïîáåäîé, â òîì ÷èñëå è íàä ëåãåíäàðíûì Ïîìïååì. Îäíàêî Ïîìïåé ïî äîñòîèíñòâó îöåíèë ñìåëîñòü è äèïëîìàòè÷åñêèé óì Òèãðàíà. Ïîñëå òîãî, êàê òîò (ïðåäâàðèòåëüíî ñîèçìåðèâ ñâîè âîçìîæíîñòè) ÿâèëñÿ âî âðàæåñêèé ñòàí, âûðàæàÿñü ñîâðåìåííûì ÿçûêîì, ñ «ìèðíûìè ïåðåãîâîðàìè», Ïîìïåé ñîõðàíèë çà íèì åãî àðìÿíñêèå çåìëè è òèòóë «öàðÿ öàðåé», ïðèíÿâ åãî â ÷èñëî «äðóçåé è ñîþçíèêîâ ðèìñêîãî íàðîäà». Ñëó÷àåâ, êîòîðûå áû îõàðàêòåðèçîâàëè Òèãðàíà Âåëèêîãî íå òîëüêî êàê «ñèëüíåéøåãî âðàãà», «ìîãóùåñòâåííîãî ïðàâèòåëÿ», íî è êàê íåçàóðÿäíóþ ëè÷íîñòü, âûçûâàþùóþ ïîðîþ ê ñåáå òàéíûå ñèìïàòèè äàæå ó âðàãîâ, áûëî, âåðîÿòíî, íå ìàëî. Äóìàåòñÿ, ÷òî ýòèì îáúÿñíÿåòñÿ îñîáûé, íåîäíîçíà÷íûé èíòåðåñ çàïàäíûõ äðàìàòóðãîâ, èñòîðèêîâ è ïîýòîâ ê ïåðñîíå àðìÿíñêîãî öàðÿ è îñîáåííî èòàëüÿíöåâ, ïðåäêè êîòîðûõ òåñíåéøèì îáðàçîì ñîïðèêàñàëèñü ñ íàðîäîì äðåâíåé Àðìåíèè ñî âðåìåí åãî ÿðêîãî ïðåäñòàâèëÿ - Òèãðàíà Âåëèêîãî. Íå ýòîé ëè òàéíîé ñèìïàòèåé ê ëè÷íîñòè Òèãðàíà îáúÿñíÿåòñÿ è ïîÿâëåíèå îïåðû âûäàþùåãîñÿ èòàëüÿíñêîãî êîìïîçèòîðà êîíöà ÕVII íà÷àëà XVIII âåêà À.Ñêàðëàòòè, â êîòîðîì ëèáðåòòèñò - èçâåñòíûé èòàëüÿíñêèé äðàìàòóðã òîãî æå âðåìåíè Ñåáàñòèàíî Áèàíêàðäè (ïñåâäîíèì - Äîìåíèêî Ëàëëè) ñîâìåñòíî ñ êîìïîçèòîðîì ñîçäàëè îáðàç ìóäðîãî è äîáëåñòíîãî àðìÿíñêîãî öàðÿ, ñêðûâàÿñü äðóãèì ñþæåòîì. «Òèãðàí» À.Ñêàðëàòòè - ãåðîè÷åñêàÿ äðàìà íà ïñåâäîèñòîðè÷åñêèé ñþæåò, íàñûùåííàÿ ìíîãî÷èñëåííûìè ëþáîâíûìè èíòðèãàìè è êîìåäèéíûìè ýïèçîäàìè. Äåéñòâèå ïðîèñõîäèò ïðè äâîðå âûìûøëåííîé ñêèôñêîé öàðèöû Äîìèðè, ïðåäâîäèòåëåì âîéñê êîòîðîé è ÿâëÿåòñÿ àðìÿíñêèé êíÿçü. Íåò ñìûñëà ïîäðîáíî ïåðåñêàçûâàòü ñþæåò îïåðû, òåì îƶð²Ü غÌ
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ent imagination of each playwright) but is a Scythian prince, son of Domiri, adopted in Armenia at one time. According to M. Kharmandaryan relation to the Armenian history is expressed by the circumstance that Tigranes "was educated in Armenia as a brave soldier, in the spirit of high moral principles." "It testifies of highly positive attitude of European writers and playwrights towards the history of ancient Armenia, the human traditions of its brave nation" (see 2, p. 64). But let us return to the opera's libretto and see which traits of the nature of Tigranes are emphasized. Queen Domiri, one of whose sons was beheaded by the order of the Persian king Kir II, and the other son was kidnapped in childhood by pirates, triumphed over the very enemy - Kir II. According to the terms specified in advance after triumph over Kir Domiri was to marry one of the two kings - either the king of Damascus or the king of Lydia, who helped her in the battle against Ciro. In the presence of Tigranes, whom she sympathized very much, Domiri gave Tigranes royal ring and announced that she trusted only Tigranes the right of choice of her husband. Seeing the candidates' confusion, Tigranes generously announced that he would give them the chance to be subjected to his sword without a blush of shame. Whichever of the two kings could beat him in combat would win Domiri's hand. Candidates' indignation is contradictory: "What unprecedented insolence, and however, he is courageous!" During another meeting with Tigranes the same kings exclaim: "Incredible pride of Tigranes insults us!" Let us mention several descriptions of the image of Tigranes expressed by various characters of the opera: "Soldier of unusual valor whose noble appearance among Scythians immediately reveals great military leader," "Tigranes, whom so much delights friendship, duty, law and reason." In the end even the enemies of Tigranes - kings of Damascus and Lydia, admit his good nature and can not hide it, saying, "Combination of generosity and valor in you is striking." In the opera's libretto the delicate wit of Tigranes, his significant and expressive answers are often reflected. In the process of complicated plot tangles Tigranes is unfairly blamed in betraying the queen. Despite her indignation, Domiri nevertheless tries to save Tigranes and gives him the chance to run away. But Tigranes refuses to run away for the sake of preserving his dignity as he strives for justice and not for mercy. Apparently, the libretto the opera "Aida" by Verdi is written under the influence of the opera "Tigrane" by A. Scarlatti. Tigranes is the prototype of Radames. However, it seems to me that the power of influence of Radames is considerably weaker than that of Tigranes even despite the happy end of Scarlatti's drama. And one more thing. It seems to me that the above mentioned descriptions of the Armenian military leader extremely well reflect the image of that king - Tigranes the Great, in the way as our nation imagines him up to date, and it is not baseless. Some of those traits are reflected even in the above mentioned brief biographical information concerning the life of the king. So, it seems that the relation to the history of Armenia is felt not only in the signs of special education of Tigranes but also in his nature which is evidently rather close and corresponding to the nature of true Armenian king. Just in his
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áîëåå, ÷òî îí ñëèøêîì äàëåê îò ïîäëèííûõ ôàêòîâ èç æèçíè Òèãðàíà, êîòîðûé, ê òîìó æå, ïî ëèáðåòòî îïåðû îêàçûâàåòñÿ äàæå íå àðìÿíèíîì (ýòî ïðàâî ñâîáîäíîé ôàíòàçèè êàæäîãî äðàìàòóðãà), à ñêèôñêèì öàðåâè÷åì, ñûíîì Äîìèðè, óñûíîâëåííûì êîãäà-òî â Àðìåíèè. Ñâÿçü ñ îòãîëîñêàìè àðìÿíñêîé èñòîðèè, êàê îòìå÷àåò Ì.Õàðìàíäàðÿí, ïðîñëåæèâàåòñÿ â òîì, ÷òî Òèãðàí «áûë âîñïèòàí â Àðìåíèè êàê ìóæåñòâåííûé âîèí, â äóõå âûñîêèõ ìîðàëüíûõ óñòîåâ». «Ýòî ñâèäåòåëüñòâóåò, - ïèøåò äàëåå Ì.Õàðìàíäàðÿí, - î âåñüìà ïîëîæèòåëüíîì îòíîøåíèè åâðîïåéñêèõ ïèñàòåëåé è äðàìàòóðãîâ ê èñòîðèè äðåâíåé Àðìåíèè, ê ãóìàííûì òðàäèöèÿì åãî ìóæåñòâåííîãî íàðîäà» (ñì. 2, ñ.64). Îäíàêî âåðíåìñÿ ê ëèáðåòòî îïåðû è ïîñìîòðèì, êàêèå êà÷åñòâà õàðàêòåðà Òèãðàíà îñîáî â íåì ïîä÷åðêèâàþòñÿ. Öàðèöà Äîìèðè, ó êîòîðîé îäèí ñûí áûë îáåçãëàâëåí ïåðñèäñêèì öàðåì Êèðîì II, à äðóãîé ïîõèùåí â äåòñòâå ïèðàòàìè, òîðæåñòâóåò ïîáåäó íàä ñèëüíåéøèì âðàãîì - Êèðîì. Ïî óñëîâèþ, îãîâîðåííîìó çàðàíåå, Äîìèðè, ïîñëå ïîáåäû íàä Êèðîì, äîëæíà âçÿòü â ìóæüÿ îäíîãî èç äâóõ öàðåé - Äàìàñêà èëè Ëèäèè, ïðèøåäøèõ åé íà ïîìîùü âî âðåìÿ ñðàæåíèÿ ñ Êèðîì.  ïðèñóòñòâèè ñèëüíî ñèìïàòèçèðóåìîãî åþ Òèãðàíà, Äîìèðè âðó÷àåò ïîñëåäíåìó öàðñêèé ïåðñòåíü è îáúÿâëÿåò, ÷òî òîëüêî Òèãðàíó îíà äîâåðÿåò ïðàâî âûáîðà åé ìóæà. Òèãðàí æå, âèäÿ çàìåøàòåëüñòâî ïðåòåíäåíòîâ, âåëèêîäóøíî îáúÿâëÿåò, ÷òî äàñò èì âîçìîæíîñòü áåç êðàñêè ñòûäà ïîä÷èíèòüñÿ ñâîåìó ìå÷ó. Êòî ïîáåäèò åãî (Òèãðàíà), òîò è áóäåò äîñòîèí ðóêè Äîìèðè. Ïî-ñâîåìó ïðîòèâîðå÷èâî âîçìóùåíèå ïðåòåíäåíòîâ: «Êàêàÿ íåñëûõàííàÿ íàãëîñòü, îäíàêî âèäíà â íåì è õðàáðîñòü». Âî âðåìÿ äðóãîé âñòðå÷è ñ Òèãðàíîì òå æå öàðè âîñêëèöàþò: «Íåâåðîÿòíàÿ ãîðäîñòü Òèãðàíà íàíîñèò íàì îñêîðáëåíèå». Ïðèâåäó åùå íåñêîëüêî õàðàêòåðèñòèê îáðàçà Òèãðàíà, âûñêàçàííûõ óñòàìè ðàçíûõ ïåðñîíàæåé îïåðû: «âîèí íåîáûêíîâåííîé äîáëåñòè, áëàãîðîäíûé âèä êîòîðîãî ñðåäè ñêèôîâ ñðàçó îáëè÷àåò âåëèêîãî ïîëêîâîäöà»; «Òèãðàí, êîòîðîãî òàê âîñõèùàåò äðóæáà, äîëã, çàêîí, ðàçóì»; « íàäìåííûé ãåíèé». Ïîäêîíåö, äàæå íåïðèÿòåëè Òèãðàíà (öàðè Äàìàñêà è Ëèäèè) ïðèçíàþò â íåì áëàãîðîäíóþ äóøó è íå ìîãóò ñêðûòü ýòîãî: «Ïîðàæàåò â òåáå ñî÷åòàíèå âåëè÷èÿ äóõà è äîáëåñòè».  ëèáðåòòî îïåðû íå ðàç îòìå÷àåòñÿ òîíêàÿ èãðà óìà Òèãðàíà, åãî ìíîãîçíà÷èòåëüíûå îòâåòû è ïîñòóïêè.  ïðîöåññå ñëîæíûõ ñþæåòíûõ ïåðåïëåòåíèé, Òèãðàíà íåñïðàâåäëèâî îáâèíÿþò â èçìåíå öàðèöå. Äîìèðè, íåñìîòðÿ íà ñâîå âîçìóùåíèå, ïûòàåòñÿ, òåì íå ìåíåå, ñïàñòè åãî, äàåò âîçìîæíîñòü Òèãðàíó áåæàòü. Íî òîò îòêàçûâàåòñÿ âî èìÿ ñîõðàíåíèÿ ñâîåé ÷åñòè, òàê êàê ñòðåìèòñÿ ê ñïðàâåäëèâîñòè, à íå ê ìèëîñòè. Ïî-âèäèìîìó, ëèáðåòòî «Àèäû» Âåðäè íàïèñàíî ïîä âîçäåéñòâèåì «Òèãðàíà» À.Ñêàðëàòòè. Òèãðàí - êàê áû ïðîîáðàç Ðàäàìåñà. Ïîñëåäíèé, îäíàêî, ìíå êàæåòñÿ, ïî ñèëå âîçäåéñòâèÿ çíà÷èòåëüíî áîëåå ñëàáûé, ÷åì Òèãðàí, äàæå íåñìîòðÿ íà ñ÷àñòëèâûé êîíåö äðàìû À.Ñêàðëàòòè. È åùå. Ìíå ïîêàçàëîñü, ÷òî âûøåïðèâåäåííûå õàðàêòåðèñòèêè â îïåðå àðìÿíñêîãî ïîëêîâîäöà êàê íåëüçÿ òî÷íî îòðàæàþò îáðàç òîãî öàðÿ - Òèãðàíà Âåëèêîãî, êàêèì è ïî ñåé äåíü ïðåäñòàâëÿåò ñåáå íàø íàðîä. È íå áåç îñíîâàíèé. Íåêîòîðûå èç ýòèõ êà÷åñòâ îòðàæàþòñÿ äàæå â òåõ êðàòêèõ áèîãðàôè÷åñêèõ ñïðàâêàõ èç æèçíè öàðÿ, êîòîðûå áûëè îƶð²Ü غÌ
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thoughts, expressions and deeds I see another sign of authenticity of the image of Tigranes. And if we try to be more abstracted from the plot of the opera, there may be ideas portraying almost the fate of ancient Armenia, the complicated tasks facing its rulers. Let me cite the famous words of Tigranes: "I must be like the scale which despite the blows of winds from both sides remains motionless." And later he concludes, "But unchangeable and loyal heart will sustain that battle." And really, Tigranes honorably sustained the battle against bitter fate. The music of the opera is splendid. I wish to note at once that there are no eastern intonations here as before the musical creation of the XVIII century there was not yet the task of reproduction of the local atmosphere. The whole opera consists of a series of recitatives and arias. If arias are written in the style of music of old polyphonists and prepare the intonation language of classical composers - Haydn, Mozart, Beethoven, recitatives sound considerably modern. According to the diversity of types of intoning the live speech, flexibility of articulation and rendering the subtle curves of the heroes' emotional experience, A. Scarlatti's recitatives may be compared with the best samples of modern composers' opera recitation. The whole opera is penetrated with the intonations of Tigranes. Its music is of heroic-victorious, expressively affirmative nature. Thus, during the whole opera the image of brave, resolute person is created. However, the description of the main hero is not restricted by those traits. The image of Tigranes reaches the greatest dramatic effect and diversity especially in expressive recitatives. It seemed to me especially interesting penetrating into the typical melodic turns of speech of Tigranes in the intonation language of the other characters of the opera. It seems the composer wished in that way to emphasize the level of the involuntary influence of the Armenian commander's bright personality upon those who surrounded him. Thus, indisputability of positive description of the image of Tigranes in the libretto is supported also by a more large-scale interpretation of the main character by means of A. Scarlatti's splendid music. It is not in vain that the opera, staged for the first time in 1715, in Naples, Teatro San Bartolomeo, was recognized one of the best among 125 operas written by the composer and was staged in the theaters of Italy for a long time. Probably it is not casual that Domenico Scarlatti, son of Alessandro Scarlatti, referred the same topic. Only this time the composer based not on disguised but truly image of the Armenian king. At least the title of the opera - "Tigrane the Great or Pompeus in Armenia" leaves no doubts on that score. In conclusion I wish to note that during those difficult and extremely responsible for Armenia years referring the image of one of the ancient and bright representatives of the Armenian nation by means of various spheres, including also art, must help us to find out the secrets of charm of that strong political figure, as well as to understand the art of his diplomacy, wise and humane attitude towards the intimates, his unchangeable striving for justice and unshaken faith in it in order to face all vital situations as steadfastly and stably as Tigranes did during the 40-year period of his reign. And let his spirit, revealed on his following splendid words concluding the novel of H.
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ïðèâåäåíû âûøå. Òàê ÷òî îòãîëîñêè ñâÿçè ñ èñòîðèåé Àðìåíèè, äóìàåòñÿ, ïðîñëåæèâàþòñÿ íå òîëüêî â ïðèçíàêàõ îñîáîé âîñïèòàííîñòè Òèãðàíà, íî è â ñàìîì åãî õàðàêòåðå, ïî-âèäèìîìó, äîâîëüíî áëèçêîì è ñîîòâåòñòâóþùåì õàðàêòåðó ïîäëèííîãî àðìÿíñêîãî öàðÿ. Èìåííî â ýòîì - â ìûñëÿõ, âûñêàçûâàíèÿõ, ïîñòóïêàõ ìíå âèäèòñÿ åùå îäèí ïðèçíàê äîñòîâåðíîñòè îáðàçà Òèãðàíà. È åñëè ïîïûòàåìñÿ áîëåå àáñòðàãèðîâàòüñÿ îò êîíêðåòíîé ñþæåòíîé ëèíèè îïåðû, òî ìîæíî áóäåò óñëûøàòü ìûñëè, îëèöåòâîðÿþùèå ÷óòü ëè íå ñóäüáó äðåâíåé Àðìåíèè, ñëîæíûõ çàäà÷, ñòîÿùèõ ïåðåä åãî ïðàâèòåëÿìè. Ïðèâåäó íàèáîëåå çíàìåíàòåëüíûå ñëîâà Òèãðàíà: «ß äîëæåí áûòü ïîäîáåí ñêàëå, êîòîðàÿ ïîä óäàðàìè âåòðîâ ñ äâóõ ñòîðîí, ñòîèò íåïîäâèæíî». È äàëåå çàêëþ÷àåò: «Íî íåèçìåííîå è âåðíîå ñåðäöå âûäåðæèò ýòó áîðüáó». È Òèãðàí ñ ÷åñòüþ âûäåðæàë åäèíîáîðñòâî ñ æåñòîêîé ñóäüáîé. Âåëèêîëåïíà ìóçûêà îïåðû. Ñðàçó æå îòìå÷ó, ÷òî âîñòî÷íûõ èíòîíàöèé òóò íåò, òàê êàê ïåðåä ìóçûêàëüíûì òâîð÷åñòâîì XVIII âåêà åùå íå ñòîÿëà çàäà÷à âîñïðîèçâåäåíèÿ ëîêàëüíîãî êîëîðèòà. Âñÿ îïåðà ñîñòîèò èç ñåðèè ðå÷èòàòèâîâ è àðèé. Åñëè àðèè íàïèñàíû â ñòèëå ìóçûêè ñòàðûõ ïîëèôîíèñòîâ è ïîäãîòàâëèâàþò èíòîíàöèîííûé ÿçûê êîìïîçèòîðîâ-êëàññèêîâ (Ãàéäíà, Ìîöàðòà, Áåòõîâåíà), òî ðå÷èòàòèâû çâó÷àò óäèâèòåëüíî ñîâðåìåííî. Ïî ðàçíîîáðàçèþ âèäîâ èíòîíèðîâàíèÿ æèâîé ðå÷è, ãèáêîñòè àðòèêóëÿöèè è ïåðåäà÷å òîíêèõ èçãèáîâ äóøåâíûõ ïåðåæèâàíèé ãåðîåâ, ðå÷èòàòèâû À.Ñêàðëàòòè, ïîæàëóé, ìîãóò ñîðåâíîâàòüñÿ ñ ñàìûìè ëó÷øèìè îáðàçöàìè îïåðíîé ðå÷èòàöèè ñîâðåìåííûõ êîìïîçèòîðîâ. Âñÿ îïåðà ïðîíèçàíà èíòîíàöèÿìè Òèãðàíà. Ìóçûêà åãî - ãåðîèêîïîáåäîíîñíîãî, ÿðêî óòâåðäèòåëüíîãî õàðàêòåðà. Ïîñëåäîâàòåëüíî, â òå÷åíèå âñåé îïåðû âûðèñîâûâàåòñÿ îáðàç ñìåëîãî, ðåøèòåëüíîãî ÷åëîâåêà. Îäíàêî ýòèì íå îãðàíè÷èâàåòñÿ õàðàêòåðèñòèêà ãëàâíîãî ãåðîÿ. Íàèáîëüøåãî äðàìàòèçìà è ìíîãîîáðàçèÿ îáðàç Òèãðàíà äîñòèãàåò èìåííî â âûðàçèòåëüíûõ ðå÷èòàòèâàõ. Ìíå ïîêàçàëîñü îñîáåííî èíòåðåñíûì ïðîíèêíîâåíèå õàðàêòåðíûõ ìåëîäè÷åñêèõ îáîðîòîâ ðå÷è Òèãðàíà â èíòîíàöèîííûé ÿçûê äðóãèõ ïåðñîíàæåé. Òåì ñàìûì êîìïîçèòîð, êàçàëîñü, õîòåë ïîä÷åðêíóòü âûñîêóþ ñòåïåíü íåâîëüíîãî âëèÿíèÿ íà îêðóæàþùèõ ÿðêîé ëè÷íîñòè àðìÿíñêîãî ïîëêîâîäöà. Òàêèì îáðàçîì, íåîñïîðèìîñòü ïîëîæèòåëüíîé îáðèñîâêè â ëèáðåòòî îáðàçà Òèãðàíà ïîääåðæèâàåòñÿ åùå áîëåå ìàñøòàáíîé èíòåðïðåòàöèåé ãëàâíîãî ïåðñîíàæà ñðåäñòâàìè áëåñòÿùåé ìóçûêè À.Ñêàðëàòòè. Íåäàðîì îïåðà ýòà, âïåðâûå ïðîçâó÷àâ â 1715 ã. â Íåàïîëå â òåàòðå ÑàíÁàðòîëîìåî, áûëà ïðèçíàíà îäíîé èç ëó÷øèõ ñðåäè 125 îïåð êîìïîçèòîðà è äîëãî íå ñõîäèëà ñ òåàòðàëüíûõ ïîäìîñòêîâ Èòàëèè. Íå ñëó÷àéíî, âåðîÿòíî, òàêæå îáðàùåíèå ê òîé æå òåìàòèêå ñûíà À.Ñêàðëàòòè - Äîìåíèêî. Íà ýòîò ðàç êîìïîçèòîð îñíîâûâàëñÿ íå íà çàâóàëèðîâàííîì, à ïîäëèííîì îáðàçå àðìÿíñêîãî öàðÿ. Ïî êðàéíåé ìåðå íàçâàíèå îïåðû - «Òèãðàí Âåëèêèé èëè Ïîìïåé â Àðìåíèè» - íå äàåò íà ýòîò ñ÷åò íèêàêèõ ñîìíåíèé.  çàêëþ÷åíèå õî÷ó îòìåòèòü, ÷òî â ýòè òðóäíûå è ÷ðåçâû÷àéíî îòâåòñòâåííûå äëÿ Àðìåíèè ãîäû îáðàùåíèå ê îáðàçó îäíîãî èç äðåâíèõ è ÿðêèõ ïðåäñòàâèòåëåé àðìÿíñêîãî íàðîäà ÷åðåç ðàçíûå ñôåðû, â òîì îƶð²Ü غÌ
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Khachatryan, help us: "My spirit will keep awake and accompany Armenians wherever they are. I will break my heart to countless smallest pieces in order to be regenerated in each Armenian. I will tirelessly preserve the spirit of Armenians forever" (see 3). Translated from Russian into English by L. Navasardyan
1. V. Tovmassyan: "Opera "Il Tigrane" by A. Vivaldi" in Hungary. Collection of reports dedicated to 2100th anniversary of reign of Tigranes the Great. Ashtarak, 2005, p. 99 2. M. Kharmandaryan: "Opera "Tigrane" by Alessandro Scarlatti." In the journal "Bulletin of Social Sciences" of the Academy of Sciences of Armenian SSR, 1975, N.3. 3. H. Khachatryan: "Tigranes the Great." Yerevan, 1978. 4. V. Brusov: "Chronicle of the Armenian nation's historical fate." Yerevan, 1989. 5. M. Nehman: "Armenians." Yerevan, 1990.
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÷èñëå è ÷åðåç èñêóññòâî, äîëæíî ïîìî÷ü íàì ïîíÿòü òàéíû îáàÿíèÿ ýòîé ñèëüíîé ïîëèòè÷åñêîé ôèãóðû, íî è ïîñòè÷ü èñêóññòâî åãî äèïëîìàòèè, ìóäðîãî è ãóìàííîãî îòíîøåíèÿ ê áëèæíåìó, åãî íåèçìåííîãî ñòðåìëåíèÿ ê ñïðàâåäëèâîñòè è íåèñòðåáèìîé âåðû â íåå, äàáû óñòîÿòü ïåðåä âñåìè àðõèñëîæíûìè æèçíåííûìè ñèòóàöèÿìè òàê æå ñòîéêî è ñòàáèëüíî, êàê óñòîÿë Òèãðàí â òå÷åíèå âñåõ 40 ëåò ñâîåãî ïðàâëåíèÿ. È ïóñòü â ýòîì íàì ïîìîæåò äóõ åãî, âûðàæåííûé â çàìå÷àòåëüíûõ ñëîâàõ, êîòîðûìè çàâåðøàåòñÿ ðîìàí Ã.Õà÷àòðÿíà: « Ìîé äóõ áóäåò áîäðñòâîâàòü è ñîïðîâîæäàòü àðìÿí, ãäå áû îíè íè áûëè. Ñåðäöå ìîå ÿ ðàçäðîáëþ íà áåñ÷èñëåííîå ìíîæåñòâî ìåëü÷àéøèõ ÷àñòåé, ÷òîáû âîçðîäèòüñÿ â êàæäîì àðìÿíèíå. ß íåóñûïíî ñîõðàíþ äóõ àðìÿí âî âåêè âåêîâ» (ñì.3).
1. ÂáíÙ³ëÛ³Ý ì. ²ÝïáÝÇá ìÇí³É¹ÇÇ §îÇ·ñ³Ý¦ ûå»ñ³Ý ÐáõÝ·³ñdzÛáõÙ. - îÇ·ñ³Ý Ø»ÍÇ ·³Ñ³Ï³ÉáõÃÛ³Ý 2100 –³ÙÛ³ÏÇÝ ÝíÇñí³Í ½»ÏáõóáõÙÝ»ñÇ ÑÇÙݳ¹ñáõÛÃÝ»ñÇ ÅáÕáí³Íáõ, ²ßï³ñ³Ï, 2005, ¾ç 99: 2. Хармандарян М. «Опера ,,Тигран,, Алессандро Скарлатти». – В журнале «Вестник обще# ственных наук» АН Арм. ССР, 1975, N 3. 3. ʳã³ïñÛ³Ý Ð. îÇ·ñ³Ý Ø»Í. - ºñ»í³Ý, 1990. 4. Брюсов В. Летопись исторических судеб армянского народа. # Ереван, 1989. 5. Нейман М. Армяне. # Ереван, 1990. îƶð²Ü غÌ
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VALENTIN TOVMASSYAN Assistant Professor of Yerevan State Conservatoire named after Komitas Responsible editor of the journal "Musical Armenia" Member of Journalists' Union of the Republic of Armenia Musical interpreter, critic
OPERA "IL TIGRANE" BY ANTONIO VIVALDI
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heartily welcome and express my gratitude to the organizers for this chance of participation in the conference dedicated to the Armenian king Tigranes the Great. If the Armenian nation and its history started in the first century BC, that is - from Tigranes the Great and his wife, if not the terrible natural disasters and calamities, if not the invasions of Tatar-Mongolians, Arabians, TurkSeljuks and other wild tribes, presently the number of Armenians would exceed 60-65 million according to approximate calculations only on the Armenian land and not on the planet, where presently more that 10 million Armenians live. The Armenian nation, which according to Pariss Heroine has history of about 7 and half thousand years, has had contacts and economic, cultural literary and scientific relations with all ancient nations.
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²ñù³Û îÇ·ñ³Ý Ø»ÍÇÝ ÝáõÇñáõ³Í ·Çï³ÅáÕáíÇÝ Ù³ëݳÏóáõû³Ý Ñݳñ³õáñáõÃÇõÝÝ ÁÝÓ»é»Éáõ ѳٳñ: ÊáñÇÝ ßÝáñѳϳÉáõÃÇõÝ Ï³½Ù³Ï»ñåÇãÝ»ñÇÝ: ºÃ¿ Ñ³Û ó»ÕÁ »õ Ýñ³ å³ïÙáõÃÇõÝÝ ëÏǽµ ³éÝ¿ñ Ù. Ã. ³é³ç ³é³çÇÝ ¹³ñÇó, ³ë»É ¿ ÿ îÇ·ñ³Ý Ø»ÍÇó »õ Ýñ³ îÇÏÝáçÇó, »õ »Ã¿» ãÉÇÝ¿ÇÝ µÝáõû³Ý ë³ÑÙéÏ»óáõóÇã ³Õ¿ïÝ»ñÝ áõ ³ñѳõÇñùÝ»ñÁ, í³ÛñÇ ó»Õ»ñǪ óóñ-ÙáÝÕáÉÝ»ñÇ, ³ñ³µÝ»ñÇ, ë»ÉçáõÏ-Ãáõñù»ñÇ »õ ÇÝãáõ ã¿, ݳ»õ ÑéáÙ¿³óÇÝ»ñÇ ³ñß³õ³ÝùÝ»ñÝ áõ ³ëå³ï³ÏáõÃÇõÝÝ»ñÁ, ³å³ ³Ûëûñ, Ùûï³õáñ ѳßõáõÙÝ»ñáí ѳۻñÇë ÃÇõÁ ϳÝóÝ¿ñ 60-65 ÙÇÉÇáÝÇó: ¸³ ÙdzÛÝ Ñ³Ûáó ÑáÕÇ íñ³Û, ³ÛÉ áã ÿ »ñÏÇñ ÙáÉáñ³ÏÇ, áñÝ ³ÛÅÙ ·ñ»Ã¿ 10 ÙÇÉÇáÝÇó ³õ»ÉÇ Ñ³Ûáñ¹Ç ¿ ÏñáõÙ Çñ íñ³Û: Þáõñç »ûà áõ Ï¿ë ѳ½³ñ (Áëï ä³ñÇë лñáõÝáõ¤ ï³ñáõ³Û å³ïÙáõÃÇõÝ áõÝ»óáÕ Ñ³Û ÅáÕáíáõñ¹Á ß÷áõ»É áõ ïÝï»ë³Ï³Ý, Ùß³ÏáõóÛÇÝ, ·ñ³Ï³Ý áõ ·Çï³Ï³Ý Û³ñ³µ»ñáõÃÇõÝÝ»ñ ¿ áõÝ»ó»É Ñݳ·áÛÝ µáÉáñ ÅáÕáíáõñ¹Ý»ñÇ Ñ»ï: ØdzÛÝ »ñ»ù ÷³ëï. ¹»é»õë îÇ·ñ³Ý Ø»ÍÇ ûñûù ì³Ý »õ γåáõï³Ý (àÆñÙdz¤ É×»ñÇ ³÷³µÝ³ÏÝ»ñÁ ³ÕÇù¿ ɳñ»ñ »Ý å³ïñ³ëï»É áõ ݳ»õ ³ñï³Ñ³Ý»É, ÇëÏ Ñ³Ýñ³Û³Ûï àñÃ³Ý Ï³ñÙÇñÝ áõ ÌÇñ³ÝÇÝ Û³ÛïÝÇ ¿ÇÝ áã ÙdzÛÝ Ð³Û³ëï³ÝáõÙ, ³ÛÉ»õ Ù»ñÓ³Ï³Û áõ Ñ»é³õáñ ß³ï áõ ß³ï »ñÏñÝ»ñáõÙ: ºñÏñáñ¹Á. äñáý»ëáñ ¶. â³ÉáÛ»³ÝÁ ÝßáõÙ ¿, áñ г۳ëï³ÝáõÙ ì»ñ³ÍÝáõݹÁ ëÏëáõ»É ¿ áã ÿ 14-15-ñ¹ ¹³ñ»ñáõÙ, ÇÝãå¿ë ºõñáå³ÛáõÙ, ³ÛÉ»õ 11-12-ñ¹ ¹³ñ»ñáõÙ: ºõ í»ñçÇÝÁ, ÐéáÙÇ Ï³ÛëñáõÃÇõÝÝ ÁÝϳõ 475 ÃáõÇÝ »õ ѳÝñ³Û³Ûï ¿ ݳ»õ, áñ ÙÇÝã»õ øñÇëïáÝ¿áõû³Ý ÙáõïùÁ г۳ëï³Ý, ³ÛÝ ¿ 150-180-³Ï³Ý Ãáõ³Ï³ÝÝ»ñÇó ëÏë³Í ûñÇݳÏÁ ÎáéÝ»ÉÇ §äûÕÇÏïáë¦ (§äûÉÇõïïû¦¤ áÕµ»ñ·áõÃÇõÝÁ, áñÁ ÑÇÙù ÁݹáõÝ»Éáí, ¶³»ï³Ýû ¸áÝÇÓ»ïïÇÝ Ñ³Ù³ÝáõÝ ûå»ñ³ ¿ ·ñ»É: г۳ëï³ÝÁ ÐéáÙ¿³Ï³Ý ϳÛëñáõû³Ý ïÇñ³å»ïáõû³Ý ï³Ï ¿ñ »õ å³ñ½ ¿, áñ ¹³ñ³õáñ ß÷áõÙÁ ³Õ»ñë áõÝ¿ñ ݳ»õ Ùß³ÏáÛÃÝ»ñÇ ÷á˳½¹»óáõû³Ý Ñ»ï: ²Ñ³ ÿ áñï»ÕÇó ¿ ·³ÉÇë »õñáå³óÇ ³ñáõ»ëï³·¿ïÝ»ñÇ, »õ áã ÙdzÛÝ Ýñ³Ýó, Ñ»ï³ùñùñáõÃÇõÝÁ ÐÇÝ Ð³Û³ëï³ÝÇ (ϳ٠ÁݹѳÝñ³å¿ë г۳ëï³ÝǤ »õ Ýñ³ Ùß³ÏáÛÃÇ Ýϳïٳٵ: ä³ïÙáõû³ÝÁ »õ Ù³ëݳõáñ³å¿ë »ñ³Åßï³Ï³Ý å³ïÙáõû³ÝÁ, ß³ï ¹¿åù»ñ »Ý Û³ÛïÝÇ, »ñµ ÇÝã ÇÝã å³ï׳éÝ»ñáí Ïáñëï»³Ý Ù³ïÝáõ³Í Ùß³ÏáÛÃÇ µ³½Ù³ÃÇõ ϳÃáÕÝ»ñ Û³Ûïݳµ»ñáõ»É »õ í»ñ³¹³ñÓáõ»É »Ý Ù³ñ¹Ïáõû³ÝÁ: ¸ñ³ÝóÇó Ýß»Ýù ºáÑ³Ý ê»µ³ëïÇ³Ý ´³ËÇ ëï»Õͳ·áñÍáõÃÇõÝÝ»ñÁ, áñáÝù 100 ï³ñáõ³Û Ùáîƶð²Ü غÌ
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IMAGE OF TIGRANES THE GREAT IN ARMENIAN AND WORLD LITERATURE AND ART
Let us mention only three facts. Firstly, inhabitants of shores of the lakes Van and Kapoutan (Urmia) still during the period of reign of Tigranes the Great have prepared and exported wire made of intestine , and the famous paints Vordan karmir and Tsiranie were known not only in Armenia, but also in many other neighboring and far away countries. Secondly, Prof. Chaloyan notes that Renaissance in Armenia started not in the XIV-XV centuries as in Europe, but in the XI-XII centuries. And thirdly, the Roman Empire came to decline in 475, and it is well known that before the spreading of Christianity in Armenia, since 150-180s BC, Gaetano Donizetti has written the opera "Poliuto" (1838) on the basis of the drama "Polyeucte" (1642) by Corneille. Armenia was under the rule of the Roman Empire, and it is clear that centuries-old contact was related with interaction of cultures, too. So, that is why European art critics, and not only they, are interested in Old Armenia (and Armenia in general) and its culture. There are many cases in history and history of music in particular, when many masterpieces of culture lost for some reason or other have been discovered and returned to mankind. Let us mention among them the creations of Johann Sebastian Bach which, being forgotten for a hundred years, have been discovered by Felix Mendelssohn Bartholdy, and since then the ravishing music of the great German composer sounds throughout the whole world. Let us mention another fact which in our opinion is known to few people. Creation of Antonio Vivaldi has been saved from obscurity thanks to Angelo (Andranik) Efrikian, the founder of the first chamber band of Italy, just as Mendelssohn did in case of Johann Bach's music finding it after two 1 centuries, that is - in 1920-1930s. The chamber band "VIRTUOZI DE ROMA" directed by Renato Fazano, is known to the whole world. It was formed in 1947. Similar first chamber band of Italy has been formed by Angelo Efrikian. Still in the dawn of musical art having history of 400 years, when Claudio Monteverdi created opera genre in 1604 presenting to the public the first in history opera "L'Orfeo" and a century later Antonio Vivaldi (1678-1741), composer of genius, choirmaster, violinist, organist, teacher, started his productive activity. He has received initial musical education under the supervision of his father, Giovanni Batista Vivaldi under the arches of the church of St. Mark. It is possible that he has taken lessons of creation from Giovanni Legrenzi, composer, organist, teacher in whose creations for organ, harpsichord and violin quadripart structure of instrumental concert is already outlined. Already at the age of 26 Antonio Vivaldi was the director of the orphanage called "OSPEDALE DELLA PIETA" ("Devout Hospital of Mercy") of Venice. Antonio Vivaldi is the author of many spiritual and secular works, among them more that 40 operas among which it is necessary to mention "Nerone fatto Cesare" (1715), "La virtĂš trionfante dell'amore, e dell'odio, overo Il Tigrane" (1724), "L'Olimpiade" (1734), Oratorio "Juditha triumphans devicta Holofernis barbarie" ("Judith triumphant over the barbarians of Holofernes") and 550 concerts for different instruments and band, including the famous set of concerts for violin and band "Le quattro stagioni" ("The Four Seasons") which he has written during the years of work in "OSPEDALE DELLA PIETA" of Venice. 358
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1. This information is inserted in the explanatory text printed on the disc containing the performance of the chamber band directed by Renato Fazano.
é³óáõû³Ý ·ÇñÏÝ ³ÝóÝ»Éáõó Û»ïáÛ Û³Ûïݳµ»ñ»É ¿ ü»ÉÇùë ػݹ»ÉëáÝ ´³ñïáɹÇÝ »õ ³Û¹ ûñáõ³ÝÇó Ø»Í ·»ñٳݳóáõ Ñá·»½Ù³ÛÉ »ñ³ÅßïáõÃÇõÝÁ ÑÝãáõÙ ¿ ³ÙµáÕç ³ß˳ñÑáõÙ: ´»ñ»Ýù ÝÙ³Ý ÙÇ ÷³ëï »õë, áñÁ ϳñÍáõÙ »Ýù ùã»ñÇÝ ¿ Û³ÛïÝÇ. ²ÝïáÝÇû ìÇí³É¹ÇÇ ëï»Õͳ·áñÍáõÃÇõÝÁ ³ÝÛ³ÛïáõÃÇõÝÇó ÷ñÏ»É ¿ Æï³ÉdzÛáõ٠ϳٻñ³ÛÇÝ ³é³çÇÝ Ýáõ³·³ËÙÇ ÑÇÙݳ¹Çñ, ѳÛáñ¹Ç çáõóϳѳñ ²Ýç»Éû (²Ý¹ñ³ÝÇϤ ¾ý1
ñÇÏ»³ÝÁ , ÇÝãå¿ë ػݹ»ÉëáÝÁ ºáÑ³Ý ´³ËÇ »ñ³Åßïáõû³Ý ¹¿åùáõÙ, ³ÛÝ Ç Û³Ûï µ»ñ»Éáí »ñÏáõ ѳñÇõñ³ÙÛ³Ï Û»ïáÛ, ³ÛëÇÝùÝ 1920-1930-³Ï³Ý Ãáõ³Ï³ÝÝ»ñÇÝ ²ß˳ñÑÇÝ ¿ Û³ÛïÝÇ §ÐéáÙÇ ìÇñïáõá½Ý»ñ¦ ϳٻñ³ÛÇÝ Ýáõ³·³ËáõÙµÁ è»Ý³ïû ü³½³ÝáÛÇ Õ»Ï³í³ñáõû³Ùµ: ²ÛÝ ëï»ÕÍáõ»É ¿ 1947 ÃáõÇÝ: ÆëÏ Æï³ÉdzÛáõÙ, ÝٳݳïÇå ϳٻñ³ÛÇÝ ³é³çÇÝ Ýáõ³·³ËáõÙµÝ ëï»ÕÍ»É ¿ Ñ¿Ýó ÇÝùÁ, ѳÛáñ¹Ç, ²Ýç»Éû ¾ýñÇÏ»³ÝÁ: ¸»é»õë 400 ï³ñáõ³Û å³ïÙáõÃÇõÝ áõÝ»óáÕ »ñ³Åßï³Ï³Ý ³ñáõ»ëïÇ ³ñß³ÉáÛëÇÝ, »ñµ Îɳáõ¹Çû ØáÝï»õ»ñ¹ÇÝ ëï»ÕÍ»ó úå»ñ³ÛÇÝ Å³ÝñÁª 1604 ÃáõÇÝ, ѳÝñáõû³ÝÁ Ý»ñϳ۳óÝ»Éáí å³ïÙáõû³Ý Ù¿ç ³é³çÇݪ §úñ÷¿áë¦ úå»ñ³Ý, áñÇó Ù¿Ï ¹³ñ ³Ýó Çñ µ³½Ù³µ»ÕáõÝ ëï»Õͳ·áñÍ³Ï³Ý ·áñÍáõÝ¿áõÃÇõÝÝ ¿ ëÏë»É ѳÝ׳ñ»Õ ÏáÙåá½Çïáñ, ¹ÇñÇÅáñ, çáõóϳѳñ, »ñ·»Ñáݳѳñ, Ù³Ýϳí³ñŪ ²ÝïáÝÇû ìÇõ³É¹ÇÝ (1678-1741¤: ܳ »ñ³Åßï³Ï³Ý ëϽµÝ³Ï³Ý ÏñÃáõÃÇõÝÝ ëï³ó»É ¿ Ñûñª æáí³ÝÝÇ ´³ïÇëï³ ìÇí³É¹ÇÇ Õ»Ï³í³ñáõû³Ùµ, êáõñµ سñÏáë »Ï»Õ»óáõ ϳٳñÝ»ñÇ ï³Ï, Ñݳñ³õáñ ¿ ݳ»õ ëï»Õͳ·áñÍ»Éáõ ¹³ë»ñ ³é³Í ÉÇÝÇ ÏáÙåá½Çïáñ, »ñ·Ñáݳѳñ, Ù³Ýϳí³ñÅ æáí³ÝÝÇ È»·ñ»ÝóÇÇ Õ»Ï³í³ñáõÃÛ³Ùµ, áñÇ »ñ·»ÑáÝÇ, Ïɳõ»ëÇÝÇ, çáõóÏÇ ëï»Õͳ·áñÍáõÃÇõÝÝ»ñáõÙ ³ñ¹¿Ý ÇëÏ áõñáõ³·Íáõ»É ¿ ·áñÍÇù³ÛÇÝ ÏáÝó»ñïÇ ù³é³Ù³ë ϳéáõóáõ³ÍùÁ: ²ÝïáÝÇû ìÇí³É¹ÇÝ 26 ï³ñ»Ï³ÝÇÝ ³ñ¹¿Ý ÇëÏ Õ»Ï³í³ñáõÙ »ñ ì»Ý»ïÇÏÇ ãáñë ÏáÝë»ñáõ³ïáñdzݻñÇó Ù¿ÏÁª §OSPEDALE DELLA PIETA¦ ³ÕçÇÏÝ»ñÇ ÏáÝë»ñáõ³ïáñÇ³Ý (óñ·Ù³Ý³µ³ñ §¶ÃáõÃÇõݦ¤ ²ÝïáÝÇû ìÇí³É¹ÇÝ Ñá·»õáñ »õ ³ß˳ñÑÇÏ µ³½Ù³ÃÇõ ëï»Õͳ·áñÍáõÃÇõÝÝ»ñÇ Ñ»ÕÇÝ³Ï ¿, ³Û¹ ÃáõáõÙ 40-Çó ³õ»ÉÇ ûå»ñ³Ý»ñÇ, áñáÝóÇó Ýß»Ýù §Ü»ñáݦ-Á (1715¤, §úÉÇÙådz¹³ ¦Ý (1734¤, §îÇ·ñ³Ý¦-Á (1723¤, §ºáõ¹Çý¦ úñ³ïáñÇ³Ý »õ ï³ñµ»ñ ·áÍÇùÝ»ñÇ »õ Ýáõ³·³ËÙµÇ ³Ù»Ý³ï³ñµ»ñ ϳ½ÙÇ 550 ÏáÝó»ñï, ³Û¹ ÃáõáõÙ çáõóÏÇ »õ Ýáõ³·³ËÙµÇ Ñ³Ýñ³×³Ý³ã §î³ñáõ³Û ãáñë »Õ³Ý³ÏÝ»ñÁ¦ ÏáÝó»ñï³ß³ñÁ, áñÁ ·ñ»É ¿ ì»Ý»ïÇÏÇ ÏáÝë»ñáõ³ïáñdzÛáõÙ ³ß˳ï»Éáõ ï³ñÇÝ»ñÇÝ: ²ÛÅÙ ²ÝïáÝÇû ìÇí³É¹ÇÇ §îÇ·ñ³Ý¦ ûå»ñ³ÛÇ µáí³Ý¹³Ïáõû³Ý »õ µ»Ù³¹ñáõû³Ý Ù³ëÇÝ: ²ÝïáÝÇû ìÇí³É¹ÇÇ §îÇ·ñ³Ý¦ ûå»ñ³ÛÇ ÑÇÙùáõ٠гÛáó ²ñù³ÛÇó ²ñù³Û îÇ·ñ³Ý Ø»ÍÇ »õ äáÝïáëÇ Ã³·³õáñ ØÇÑñ¹³ï ºõå³ïáñÇ ¹ëï»ñª ÎÉ¿áå³ïñ³ÛÇ ëÇñáÛ å³ïÙáõÃÇõÝÝ ¿: ºÕ³Í å³ïÙ³Ï³Ý ïáõ»³ÉÝ»ñÇ Ñ³Ù³Ó³ÛÝ îÇ·ñ³ÝÁ »õ ØÇÑñ¹³ïÁ ¹³ßݳÏÇóÝ»ñ ¿ÇÝ »õ Ýñ³Ýó µ³ñ»Ï³ÙáõÃÇõÝÝ ³Ùñ³·ñáõ»É ¿ ËݳÙÇ³Ï³Ý Ï³å»ñáíª îÇ·ñ³ÝÝ, Çñûù, ³Ùáõëݳó»É ¿ ÎÉ¿áå³ïñ³ÛÇ Ñ»ï: ÊݳÙÇ Ã³·³õáñÝ»ñÝ ëϽµáõ٠ѳٳï»Õ å³Ûù³ñáõÙ ¿ÇÝ ÐéáÙÇ Ï³Ûëñáõû³Ý ¹¿Ù, ë³Ï³ÛÝ ².ìÇí³É¹ÇÇ ûå»ñ³ÛáõÙ µ³ñ»Ï³Ù ó·³õáñÝ»ñÁ ÃßݳÙÇÝ»ñ »Ý Ý»ñϳ۳óáõ³Í: îÇ·ñ³ÝÁ ëÇñ³Ñ³ñáõ³Í ØÇÑñ¹³ïÇ ¹ëï»ñÁª øÉ¿áå³ïñdzÛÇÝ »õ Ýñ³ ÷á˳¹³ñÓ 2. Øáõñ³¹»³Ý ì³½·¿Ý, (ÏáÙåá½Çïáñ ÍÝáõ»É ¿ ²ßï³ñ³ÏáõÙ, гٳß˳ñѳÛÇÝ ºñÏñáñ¹ ³ß˳ñѳٳñïáõÙ ·»ñ»í³ñáõÃÇõÝÇó ÷³Ëã»Éáí Û³ÛïÝáõ»É ¿ Æï³ÉdzÛáõÙ, ëáíáñ»É ì»Ý»ïÇÏÇ Øáõñ³¹ è³÷³Û¿É»³Ý í³ñųñ³ÝáõÙ »õ áñå¿ë ³½³ï ³ñáõ»ëï³·¿ï ï»Õ³÷áËáõ»É ²ØÜ, áõñ »õ µÝ³ÏõáõÙ ¿ ÙÇÝã»õ ûñë:
ëÇñáõÝ ³ñųݳݳÉáõ ѳٳñª ü³éݳë Íåï»³É Í³ÍϳÝáõÝáí ½ÇÝáõáñ³·ñáõ»É ¿ ØÇÑñ¹³ïÇ µ³Ý³ÏÇÝ »õ Û³ÕóݳÏÝ»ñ ï³ñ»É äáÝïáëÇ ÃßݳÙÇÝ»ñÇ Ñ»ï ϳ۳ó³Í ׳ϳï³Ù³ñï»ñáõÙ, ¹ñ³Ýáí ÇëÏ ß³Ñ»Éáí øÉ¿áå³ïñdzÛÇ ë¿ñÁ: îÇ·ñ³ÝÇÝ ëÇñ³Ñ³ñáõ³Í ¿ñ ݳ»õ êÇÝáåÇ úñáÝÿ Çß˳ÝÇ ùáÛñÁª ²÷³ÙdzÝ, áñÇÝ ÏÝáõû-
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IMAGE OF TIGRANES THE GREAT IN ARMENIAN AND WORLD LITERATURE AND ART
Now let us refer the content and staging of Antonio Vivaldi's opera "Il Tigrane" In the basis of Vivaldi's opera "Il Tigrane" is the love story of Tigranes the Great and Cleopatra, the daughter of Mithridates VI Eupator, the king of Pontus. It is known from the history that Tigranes and Mithridates were allies and their friendship was strengthened by in-law ties (Tigranes was really married to Cleopatra). Tigranes and Mithridates jointly struggled against Rome. However, in the opera Tigranes and Mithridates are presented as enemies. Tigranes was in love with Cleopatra and for achieving her love he entered the Army of Mithridates concealing himself under the name of Farnas. He celebrated victories against the enemies of Pontus. Apamia, sister of Oronte, knight of Sinop, was in love with Tigranes, whereas Mithridates wished to marry Apamia. Meanwhile Oronte, knight of Sinop, wished to marry Cleopatra. Remaining loyal to his feeling towards Cleopatra, Tigranes refused Apamia. Acts of the opera are developed within the frames of those events. 2 In autumn 2004 American Armenian composer Vazken Mouradian (from the USA, younger brother of Gevorg Emin) was in Yerevan on the occasion of his author concert. During one of our meetings he showed me an illustrated booklet in English and Majrarian. On the binding of the booklet there was a coin with the profile of the famous Armenian king Tigranes the Great and beneath the coin was the portrait of Antonio Vivaldi with the violin in his hands, and said, "You see, opera dedicated to our king is staged throughout the world, whereas no one in Armenia remembers him." I said, "Maestro Mouradian, You are not right, as the creative staff of the National Academic Opera and Ballet Theater directed by Karen Durgaryan has realized the concert staging of the great Italian composer's opera "Il Tigrane" in 2001, dedicating it to 1700th Anniversary of proclamation of the Christianity as the state religion of Armenia. I showed him the program of the performance of Antonio Vivaldi's opera "Il Tigrane." I also added that at that time we had the record of that opera performed by the brilliant singers, choir and band of La Scala Theater in the sound record library of the National Radio of Armenia and we often broadcasted the opera. In that way started our personal interest in the opera "Il Tigrane" by Antonio Vivaldi and we had the wish of searching data concerning the opera. First of all it should be mentioned that almost two decades ago Italian Armenian singer Marizza Sanossyan had arrived to Armenia and in the second part in her solo concert in State Musical Chamber Theater she sang several arias from the opera "Il Tigrane" by Antonio Vivaldi. Later she recorded them in the State Committee of Television and Radio of Armenia. Taking the opportunity we prepared and broadcasted one hour lasting musical program about the great Italian composer's opera dedicated to the Armenian king, about Antonio Vivaldi and also about Marizza Sanossyan. After that there was a new flash. We became aware of the fact that the Chamber Opera Theater of Budapest had staged the opera "Il Tigrane" by Antonio Vivaldi performed by "SAVARIA BAROQUE ENSEMBLE" and soloists. Choirmaster was Paul Nemeth, director was Domocos Moldovan.
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2. Vazken Mouradian was born in Ashtarak. Being taken captive during the World War II he appeared in Italy, studied at Moorat Raphael College of Venice and later moved to the USA as an independent art critic where he lives up to date.
³Ý ³éÝ»Éáõ ٻͳ·áÛÝ ó³ÝÏáõÃÇõÝ áõÝ¿ñ ØÇÑñ¹³ï ó·³õáñÁ: ØÇ»õÝáÛÝ Å³Ù³Ý³Ï øÉ¿áå³ïñdzÛÇ Ñ»ï ³ÙáõëݳݳÉáõ ó³ÝÏáõÃÇõÝ áõÝ¿ñ êÇÝáåÇ ÇßË³Ý úñáÝÿÝ: îÇ·ñ³ÝÁ, ³Ý¹³õ³×³Ý ÎÉ¿áå³ïñ³ÛÇ Ýϳïٳٵ áõÝ»ó³Í ëÇñáõÝ, Ù»ñÅáõÙ ¿ ²÷³ÙdzÛÇÝ: ²Ûë ßñç³åïáÛï áÉáñ³åïáÛïáõÙ ¿É ½³ñ·³ÝáõÙ »Ý ûå»ñ³ÛÇ ·áñÍáÕáõÃÇõÝÝ»ñÁ: 2004 Ãáõ³Ï³ÝÇ ³ßݳÝÁ ºñ»õ³ÝáõÙ ¿ñ ³Ù»ñÇϳµÝ³Ï ÏáÙåá½Çïáñ ì³½·¿Ý 2
Øáõñ³¹»³ÝÁ (²ØÜ, ¶»õáñ· ¾ÙÇÝÇ Ïñïë»ñ »Õµ³ÛñÁ¤ Çñ Ñ»ÕÇݳϳÛÇÝ Ñ³Ù»ñ·Ç ³éÇÃáí »õ Ù»ñ ѳݹÇåáõÙÝ»ñÇó Ù¿ÏÇ Å³Ù³Ý³Ï óáÛó ïáõ»ó ³Ý·É»ñ¿Ý »õ ٳ绳ñ»ñ¿Ý ·ñáõ³Í, Ýϳñ³½³ñ¹ ÙÇ ·ñùáÛÏ, áñÇ Ï³½ÙÇÝ Çõñ³ù³ÝãÇõñ ѳÛáñ¹áõ Û³ÛïÝÇ îÇ·ñ³Ý Ø»ÍÇ ÏÇë³¹ÇÙ³å³ïÏ»ñáí ¹ñáßÙáõ³Í Ù»ï³Õ³¹ñ³ÙÝ ¿ñ, Ýñ³ÝÇó ó³Í ²ÝïáÝÇû ìÇí³É¹ÇÝ çáõóÏÁ Ó»éùÇÝ »õ ³ë³ó. §î»ë, ³ß˳ñÑÝ»ñáõÙ Ù»ñ ²ñù³ÛÇó ²ñù³ÛÇÝ ÝáõÇñáõ³Í ûå»ñ³Ý »Ý µ»Ù³¹ñáõÙ, ÇëÏ Ð³Û³ëï³ÝáõÙ ã»Ý ¿É ÛÇßáõÙ¦: ²ë³óÇ. Ù³»ëïñû Øáõñ³¹»³Ý, ¸áõù Çñ³õ³óÇ ã¿ù, ù³ÝÇ áñ Ñ¿Ýó ³Û¹ Ø»Í Æï³É³óáõ §îÇ·ñ³Ý¦ ûå»ñ³ÛÇ µ»Ù³¹ñáõû³Ý ѳٻñ·³ÛÇÝ Ï³ï³ñáõÙÁ Ù»½ Ùûï Çñ³Ï³Ý³óñ»É ¿ г۳ëï³ÝÇ ³½·³ÛÇÝ ûå»ñ³ÛÇ »õ µ³É»ïÇ ³Ï³¹»ÙÇ³Ï³Ý Ã³ïñáÝÇ ëï»Õͳ·áñÍ³Ï³Ý Ï³½ÙÁª γñ¿Ý ¸áõñ·³ñ»³ÝÇ Õ»Ï³í³ñáõû³Ùµ, 2001 Ã-ÇÝ, ³ÛÝ ÝáõÇñ»Éáí г۳ëï³ÝáõÙ øñÇëïáÝ¿áõÃÇõÝÁ, áñå¿ë å»ï³Ï³Ý ÏñûÝ, ÁݹáõÝÙ³Ý 1700-³Ù»³Û Ûᵻɻ³Ý³Ï³Ý ÙÇçáó³éáõÙÝ»ñÇ ûñ»ñÇÝ áõ Ýñ³Ý óáÛó ïáõ»óÇ ²ÝïáÝÇû ìÇí³É¹ÇÇ §îÇ·ñ³Ý¦ ûå»ñ³ÛÇ ºñ»õ³Ýáõ٠ϳï³ñÙ³Ý Íñ³·ÇñÁ: ºõ ³õ»É³óñÇ Ý³»õ, áñ г۳ëï³ÝÇ ³ÛÝ Å³Ù³Ý³Ï ³½·³ÛÇÝ é³¹ÇáÛÇ Ó³Ûݳ¹³ñ³ÝáõÙ áõÝ¿ÇÝù ³Û¹ ûå»ñ³ÛÇ Ó³Ûݳ·ñáõÃÇõÝÁ §La Skala¦ óïñáÝÇ Ññ³ß³ÉÇ »ñ·ÇãÝ»ñÇ, »ñ·ã³ËÙµÇ »õ Ýáõ³·³ËÙµÇ Ï³ï³ñٳٵ »õ Û³×³Ë »Ã»ñ ¿ÇÝù Ñ»é³ñÓ³ÏáõÙ: ²Û¹å¿ë ëÏëáõ»ó ².ìÇí³É¹ÇÇ §IL TIGRANE¦ ûå»ñ³ÛÇ Ù³ëÇÝ Ù»ñ ³ÝÓÝ³Ï³Ý Ñ»ï³ùñùñáõÃÇõÝÝ áõ ï»Õ»ÏáõÃÇõÝÝ»ñ ѳõ³ù»Éáõ ó³ÝÏáõÃÇõÝ ÷ÝïñïáõùÁ: Ü³Ë Ýß»Ù, áñ ·ñ»Ã¿ »ñÏáõ ï³ëݳٻ³Ï ³é³ç ºñ»õ³Ý ¿ñ »Ï»É Çï³É³µÝ³Ï »ñ·ãáõÑÇ Ø³ñÇó³ ê³Ýá뻳ÝÁ »õ ϳٻñ³ÛÇÝ »ñ³Åßïáõû³Ý ï³ÝÁ ϳ۳ó³Í Çñ ٻݳѳٻñ·Ç »ñÏñáñ¹ µ³ÅÝáõÙ ÙÇ ù³ÝÇ Ù»Ý»ñ· ϳï³ñ»ó ².ìÇí³É¹ÇÇ §îÇ·ñ³Ý¦ ûå»ñ³ÛÇó, ³å³ »õ ¹ñ³Ýù Ó³Ûݳ·ñ»ó г۳ëï³ÝÇ Ñ»éáõëï³-é³¹ÇáÛÇ å»ï³Ï³Ý ÏáÙÇï¿áõÙ »õ Ù»Ýù ¿É ³éÇÃÝ û·ï³·áñÍ»Éáí, Ø»Í Çï³É³óáõ гÛáó ²ñù³ÛÇó ²ñù³ÛÇÝ ÝáõÇñáõ³Í ûå»ñ³ÛÇ, ².ìÇí³É¹ÇÇ »õ ݳ»õ Çñ Ù³ëÇÝ ¿É Ù¿Ï Å³Ù ï»õáÕáõû³Ý »ñ³Åßï³Ï³Ý ѳÕáñ¹áõÙ å³ïñ³ëï»óÇÝù áõ »Ã»ñ Ñ»é³ñӳϻóÇÝù: ¸ñ³ÝÇó Û»ïáÛ ÙÇ Ýáñ ϳÛÍ »õë ׳鳷»ó, ³ÛÝ, áñ ´áõ¹³å»ßïÇ Ï³Ù»ñ³ÛÇÝ ûå»ñ³ÛÇÝ Ã³ïñáÝÁ µ»Ù³¹ñ»É ¿ ².ìÇí³É¹ÇǪ §IL TIGRANE¦ ûå»ñ³Ý § SAVARIA BAROGUE ENSEMBLE¦Ç »õ ٻݻñ·ÇãÝ»ñÇ Ï³ï³ñٳٵ, ¹ÇñÇÅáñÝ ¿ñ ö³É ܻٻÃÁ, ÇëÏ ïÝûñ¿ÝÁ ¸áÙáÏáë Øáɹáí³ÝÁ:
* * * ²Ûë ³Ù»ÝÇ Ù³ëÇÝ ï»Õ»Ï³Ý³Éáõó Û»ïáÛ, ù³ç³ï»Õ»³Ï, áñ ´áõ¹³å»ßïáõÙ µÝ³ÏáõáÕ »õ Ñ³Û »ñ³Åßïáõû³Ý Ù»Í ç³ï³·áí ¹³ßݳϳѳñáõÑÇ ¶³Û»³Ý¿ æ³Õ³óå³Ý»³ÝÝ ³Ýï³ñµ»ñ ãÇ ³Ûë »ñ»õáÛÃÇ Ýϳïٳٵ, Ëݹñ»óÇ ³ñáõ»ëï³·Çïáõû³Ý ¹áÏïáñ, åñáý»ëáñ γñÇÝ¿ æ³Õ³óå³Ý»³ÝÇÝ, ùáÛñÇÏÇó ÝÇõûñ ëï³Ý³ÉáõÝ å¿ë ï»Õ»³Ï å³Ñ»Éáõ Ëݹñ³Ýùáí: ºõ ß³ï ã³Ýó³Í ëï³ó³Ýù ÝÇõûñÇ Ñ»ï ݳ»õ ûå»ñ³ÛÇ µáõ¹³å»ßï»³Ý Ï³ï³ñÙ³Ý É³½»ñ³ÛÇÝ Ó³Ûݳëϳõ³é³ÏÁ (CD-Çݤ »õ ³ÛÝ ³½¹³·ÇñÁ, áñáõÙ ûå»ñ³ÛÇ »õ µ»Ù³¹ñáõû³Ý Ù³ëÇÝ ï»Õ»ÏáõÃÇõÝÝ»ñ »Ý ½»ï»Õáõ³Í: ä³ñ½õáõÙ ¿, áñ ´áõ¹³å»ßïÇ Ï³Ù»ñ³ÛÇÝ ûå»ñ³ÛÇÝ Ã³ïñáÝáõÙ ².ìÇí³É¹ÇÇ §IL TIGRANE¦ (ϳ٠ëÇñáÛ »õ ³ï»Éáõû³Ý Ýϳïٳٵ ³ñųݳå³ïÇõ Û³Õîƶð²Ü غÌ
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* * * After being informed of that reality and being well aware of the fact that pianist Gayane Jaghatspanyan, living in Budapest and being a great advocate of Armenian music, would not remain indifferent towards that phenomenon, I asked Dr. Karine Jaghatspanyan, Doctor of Artistry, to let us know as soon as she received materials from her sister. And soon together with the materials we received also the CD of the performance of the opera "Il Tigrane" by Antonio Vivaldi and the play bill in which there was information concerning the opera and the staging. It turned out that only the second act of the opera "La virtĂš trionfante dell'amore, e dell'odio, overo Il Tigrane" by Antonio Vivaldi had been staged in the Chamber Opera Theater of Budapest, and the first and the third acts had not been found. In general one or several acts of some operas have been preserved, and so, 21 incomplete operas are preserved. Libretto is written by Francesco Silvani, premiere was in the theater of Federico Capranica, during the ball dedicated to the Eve of the Great Lent, in 1724. Initially the three acts of the opera "Il Tigrane" have been written by Benedetto Michele (first act), Antonio Vivaldi (second act) and Nicola Romaldi (third act). The music of only the second act has been preserved, the others are lost. Composers have dedicated their work to Duchess of Guadagnola Faustina Mattei Conti, niece of the Pope of Rome. Opera's libretto has been written by the monk Francesco Silvani, a course mate of Antonio Vivaldi as a proof of the fact that monks also may be engaged in secular activity. Surely, the king Tigranes and Cleopatra knew about the life and activity of Plutarch who is often mentioned in their parts. On one occasion Plutarch writes: "On the throne of Armenia is seated Tigranes, the "king of kings" whose army has thrown out the Parthians from Asia. He builds Greek towns in Medea and establishes his rule spreading it also in Syria and Palestine." Contemporaries of A. Vivaldi were aware of the story of love of Tigranes the Great towards Cleopatra, his heroic battles and achievements. Almost 60 European composers such as A. Bononcini, T. Albinoni, A. Scarlatti, F. Gasparini, A. Giacomelli, N. Piccinni, Ch. W. Gluck, G. F. Handel, D. Scarlatti, A. Hasse and others have written operas dedicated to Tigranes. According to the laws of that period of time women did not have the right to appear on the stage, that is why their parts were played by castrated male singers. The role of Cleopatra played Gioviani Ossi, the role of Apamia played Carlo Pera and the role of Tigranes played Paulo Mariani. The first performance of the first staging in Budapest was on September 15, 2003. Libretto was written by Eva Lax, musical consultant and playwright: Adrian Ksengeri, stage manager: Domocos Moldovan, actors: Tigranes the Great: Arthur Stefanovich, Mithridates: Timothy Bench, Cleopatra: Monica Gonzales, Apamia: Ildico Jakash, Oronte: Sholt Molnar, Clearte: Barnabas Hegyi, Arbante: Laslo Jekyll, the creative staff of Chamber Opera of Budapest to the accompaniment of SAVARIA BAROQUE ORCHESTRE (ENSEMBLE), conducted by Paul Nemeth. The opera was staged within the frames of the
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óݳϤ ûå»ñ³ÛÇ 2-ñ¹ ·áñÍáÕáõÃÇõÝÁ (1-ÇÝ »õ 3-ñ¹ ·áñÍáÕáõÃÇõÝÝ»ñÁ ã»Ý Û³Ûïݳµ»ñáõ»É¤, ÇëÏ ÁݹѳÝáõñ ³éٳٵ áñáß ûå»ñ³Ý»ñáõÙ å³Ñå³Ýáõ»É »Ý Ù¿Ï Ï³Ù ÙÇ ù³ÝÇ ·áñÍáÕáõÃÇõÝ, ³Û¹å¿ë 21 ³Ý³õ³ñï ûå»ñ³ ¿ å³Ñå³Ýáõ»É: Èǵñ»ïïáÝ ·ñ»É ¿ üñ³Ýã»ëÏû êÇÉí³ÝÇÝ, µ»Ù»ÉÁ` Federico Capranica óïñáÝáõÙ, µ³ñ»Ï»Ý¹³ÝÇÝ ÝáõÇñáõ³Í ÑéáÙ¿³Ï³Ý ¹Çٳϳѳݹ¿ëÇ Å³Ù³Ý³Ï, 1724 Ã-ÇÝ: ܳËÝ³Ï³Ý §IL TIGRANE¦ (ϳ٠ëÇñáÛ »õ ³ï»Éáõû³Ý Ýϳïٳٵ ³ñųݳå³ïÇõ Û³ÕóݳϤ ûå»ñ³ÛÇ »ñ»ù ·áñÍáÕáõÃÇõÝ Û³çáñ¹³µ³ñ ·ñ»É »Ýª ´»Ý»¹»ïïû ØÇß»ÉÁ (I ·áñÍ.¤, ²ÝïáÝÇû ìÇí³É¹ÇÝ (II ·áñÍ.¤ »õ ÜÇÏÏáɳ èáٳɹÇÝ (III ·áñÍ.¤, áñáÝóÇó å³Ñå³Ýáõ»É ¿ ÙdzÛÝ »ñÏñáñ¹ ·áñÍáÕáõû³Ý, ³ÛëÇÝùÝ ².ìÇí³É¹ÇÇ ·ñ³Í »ñ³ÅßïáõÃÇõÝÁ, ÇëÏ ÙÇõëÝ»ñÁ ã»Ý Û³Ûïݳµ»ñáõ»É: ÎáÙåá½ÇïáñÝ»ñÝ Çñ»Ýó ëï»Õͳ·áñÍáõÃÇõÝÁ ÝáõÇñ»É »Ý ÐéáÙÇ ³ÛÝ Å³Ù³Ý³Ï ·³Ñ³Ï³É ä³åÇ »Õµûñ ³Õçϳݪ ü³áõëïÇݳ سïï¿ ÎáÝïÇ ¶áõ³¹³·ÝáÉɳÛÇÝ: úå»ñ³ÛÇ Éǵñ»ïïáÝ ·ñ»É ¿ ².ìÇí³É¹ÇÇ Ñ³Ù³Ïáõñë»óÇ í³Ý³Ï³Ý üñ³Ýã»ëÏû êÇÉí³ÝÇÝ, ³å³óáÛó ³ÛÝ µ³ÝÇ, áñ ³ß˳ñÑÇÏ ·áñÍáõÝ¿áõû³Ùµ ϳñáÕ »Ý ½µ³Õáõ»É ݳ»õ í³Ý³Ï³ÝÝ»ñÁ: ²ÝϳëÏ³Í ²ñù³ÛÇó ²ñù³Û îÇ·ñ³ÝÇÝ »õ ûå»ñ³ÛÇ ·áñÍáÕ ³ÝÓ³Ýóª øÉ¿áå³ïñ³ äáÝïáë³óáõÝ, Û³ÛïÝÇ ¿ñ ÛáÛÝ ÷ÇÉÇëá÷³Û äÉáõï³ñùáëÇ Ï»³ÝùÝ áõ ·áñÍáõÝ¿áõÃÇõÝÁ, áñÇ Ù³ëÇÝ Û³×³Ë ÛÇß³ï³ÏáõÙ »Ý Çñ»Ýó ¹»ñ»ñ·»ñáõÙ: ØÇ ³éÇÃáí äÉáõï³ñùáëÁ ·ñ»É ¿. §Ð³Û³ëï³ÝÇ Ã³·³õáñáõû³Ý ·³ÑÇÝ Ýëï³Í ¿ îÇ·ñ³ÝÁ, §²ñù³Ý»ñÇ ²ñù³Ý¦, áñÇ µ³Ý³ÏÝ»ñÁ ä³ñûõÝ»ñÇÝ ¹áõñë »Ý ßåñï»É ²ëdzÛÇó, ݳ ÛáõÝ³Ï³Ý ù³Õ³ùÝ»ñ ¿ ϳéáõóáõÙ Ø»¹»³ÛáõÙ »õ Çñ Çß˳ÝáõÃÇõÝÝ ¿ ѳëï³ïáõÙ, ï³ñ³Í»Éáí ³ÛÝ êÇñdzÛÇ »õ ä³Õ»ëïÇÝÇ íñ³Û¦: øÉ¿áå³ïñ³ÛÇ Ýϳïٳٵ îÇ·ñ³ÝÇ ï³Í³Í ëÇñáÛ, Ýñ³ Ñ»ñáë³Ù³ñï»ñÇ »õ Ýáõ³×áõÙÝ»ñÇ å³ïÙáõÃÇõÝÁ Û³ÛïÝÇ ¿ÇÝ ².ìÇí³É¹ÇÇ Å³Ù³Ý³Ï³ÏÇóÝ»ñÇÝ »õ îÇ·ñ³ÝÇÝ ÝáõÇñáõ³Í ßáõñç 60 ûå»ñ³ »Ý ·ñ»É »õñáå³óÇ ÏáÙåá½ÇïáñÝ»ñÁ, ³ÛÝåÇëÇù, ÇÝãå¿ëª î.²ÉµÇÝáÝÇÝ, ².º.´áÝáÝãÇÝÇÝ, ².êϳéɳïïÇÝ, ü.¶³ëå³ñÇÝÇÝ, ².æ³ÏáÙ»ÉÉÇÝ, Ü.äÇããÇÝÇÝ, ø.ì.¶ÉáõùÁ, ¶.ü.лݹ»ÉÁ, ¸.êϳéɳïïÇÝ, ²¹áÉý гëëÁ, í»ñÁ Ýßáõ³Í ÏáÙåá½ÇïáñÝ»ñÁ »õ ³ÛÉáù: гٳӳÛÝ Å³Ù³Ý³ÏÇ ·áñÍáÕ ûñ¿ÝùÝ»ñÇ Ï³Ý³Ûù Çñ³õáõÝù ãáõÝ¿ÇÝ µ»Ù µ³ñÓñ³Ý³Éáõ, ³Û¹ å³ï׳éáí ¿É Ýñ³Ýó ¹»ñ»ñ·»ñÁ ϳï³ñáõÙ ¿ÇÝ ³ÙáñÓ³ïáõ³Í Çï³É³óÇ »ñ·ÇãÝ»ñÁ. øÉ¿áå³ïñ³ÛÇ ¹»ñ»ñ·Á ϳï³ñ»É ¿ æáí³ÝÝÇ ÆëëÇÝ, ²÷³ÙdzÛÇÝÁª γéÉû ä»ñ³Ý, ÇëÏ ²ñù³ÛÇó ²ñù³Û îÇ·ñ³Ý Ø»ÍÇ ¹»ñ»ñ·Á ϳï³ñ»É ¿ª ä³áÉû سñdzÝÇÝ: ´áõ¹³å»ßïáõÙ ûå»ñ³ÛÇ ³é³çÇÝ µ»Ù³¹ñáõû³Ý ³Ý¹ñ³ÝÇÏ Ý»ñϳ۳óáõÙÁ ï»ÕÇ ¿ áõÝ»ó»É 2003 ÃáõÇ ë»åï»Ùµ»ñÇ 15-ÇÝ, Éǵñ»ïïáÝ ·ñ»É ¿ ºõ³ ȳùëÁ, »ñ³Åßï³Ï³Ý ËáñÑñ¹³ïáõ »õ ¹ñ³Ù³ïáõñ·ª ²¹ñÇ³Ý øë»Ý·»ñÇ, ·É˳õáñ µ»Ù³¹ñÇ㪠¸áÙáÏáë Øáɹáí³ÝÁ, ¹»ñ³Ï³ï³ñÝ»ñÝ ¿ÇÝ, îƶð²Ü غ̪ ²ñÃáõñ êûý³ÝáíÇã, ØÇÑñ¹³ïª ÂÇÙá¹Ç ´»Ýã, øÉ¿áå³ïñ³ª ØáÝÇϳ ¶áݽ³É»ë, úñáÝÿª ÞáÉà ØáÉݳñ, ²÷³Ùdzª ÆɹÇÏû ijϳß, øÉ»³ñÿª ´³éݳµ³ë ÐÇ·³Û, ²ñµ³Ýÿª ȳëÉû º¿ùÉ,´áõ¹³å»ßïÇ Î³Ù»ñ³ÛÇÝ úå»ñ³ÛÇ ëï»Õͳ·áñÍ³Ï³Ý Ï³½ÙÁ, SAVARIA BAROGUE ENSEMBLEÇ Ýáõ³·³ÏóáõÃÛ³Ùµ, ¹ÇñÇÅáñ ö³É ܻٻÃÇ Õ»Ï³í³ñáõû³Ùµ, §Ðݳ·áÛÝ »õ Üáñ »ñ³Åßïáõû³Ý 6-ñ¹ ÷³é³ïûÝ¦Ç ßñç³Ý³ÏáõÙ, Kiselli Barokk Romtemplom »Ï»Õ»óáõÙ (´áõ¹³å»ßïÇ ³ñáõ³ñÓ³ÝÝ»ñÇó¤: ¸ÇñÇÅáñ ö³É ܻٻÃÁ, ݳ»õ ýÉ¿Ûï³Ñ³ñ ¿, ³õ³ñï»É ¿ ´áõ¹³å»ßïÇ ü»ñ»Ýó ÈÇëïÇ ³Ýáõ. »ñ³Åßï³Ï³Ý ³Ï³¹»ÙdzÝ: Ðݳ·áÛÝ »ñ³Åßïáõû³Ý ·Çï³Ï ¿: ܳ Çñ ³é³çݳÛÇÝ ËݹÇñÝ ¿ ѳٳñáõÙ Ñݳ·áÛÝ »ñ³Åßïáõû³Ý ³Ù»Ý³ï³ñµ»ñ ųÝñ»ñÇ ëï»Õͳ·áñÍáõÃÇõÝÝ»ñÇ Û³Ûïݳµ»ñáõÙÁ, Ùß³ÏáõÙÝ áõ ѳÝñáõû³ÝÁ Ý»ñϳ۳óÝ»ÉÁ: ÐÇÙÝ»É ¿ SAVARIA BAROGUE ENSEMBLEÁ (1991), Ýå³ï³Ï áõݻݳÉáí ϳï³ñ»Éáõ XVII-XVIII ¹³ñ»ñáõÙ ·ñáõ³Í »ñ³ÅßïáõÃÇõÝ: ²Ýë³ÙµÉÇ »ñϳîƶð²Ü غÌ
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"VI Festival of ancient and new music" in the Church of Kiselli Barokk Romtemplom, in one of the suburbs of Budapest. Conductor Paul Nemeth is also flautist, he has graduated from the Musical Academy named after Ferenz List. He is also an expert of ancient music. He considers his primary task discovering works of different genres of ancient music, their elaboration and presentation to the public. He has founded SAVARIA BAROQUE ORCHESTRE (ENSEMBLE) in 1991 having the goal to play music written in XVII-XVIII centuries. Repertoire of the Orchestra is diverse beginning from works of various genres - operas, instrumental and solo performance works of C. Monteverdi up to W. A. Mozart. Making use of the prominent composer's spiritual and secular works, Paul Nemeth has added operatic, musical pieces to A. Vivaldi's opera "Il Tigrane" ("La virtĂš trionfante dell'amore, e dell'odio, overo Il Tigrane") and has also elaborated the libretto written by Silvani. Elaborated variant of A. Vivaldi's opera "Il Tigrane" was for the first time performed and presented to the public on July 31, 2004, in the Chamber Opera of Budapest, and then on October 1, 2004, conducted by Domocos Moldovan. On October 29, 2004, the opera was performed in St. James's Church, Piccadilly, of London, and was a success. Domocos Moldovan, artistic director of the Chamber Opera of Budapest, has written: "We found the handwritten original manuscript of A. Vivaldi's opera "Il Tigrane" in the Archives "Giordano" of Turin in May, 2003. The first and the third acts were lacking from the paper-case. We thank the Hungarian consulate of Turin, Mrs. Eva Udud, "Maoriseglana" Library of Florence for giving us the copy of libretto, the director of Photo Depository Department of La Scala theater of Milan, and the Director of the Gallery "Civico Muzeo Bibliografical Muzicale", art critics responsible for the picture "Guardi" of the Muzeum "Ca' Rezonnico" of Venice, historians of the National Museum of Armenia, s wall as Alex Avanessyan. Special thanks to Francesco Fanna, director of "Vivaldi Archive of the Fondazione Cini," and Paul Nemeth for editing handwritten partitures and for realizing this staging." The Armenian king Tigranes II was well known in Europe as a powerful opponent of the Roman Empire's expansionist policy in the East, and later - as an ally of Rome. The state policy of Tigranes the Great, his life full of dramatic moments and his heroic image have been a source of inspiration not only for many foreign historians, but also for about 30 composers (according to the data reported by A. Siranossyan, choirmaster, composer, musical public figure) who have written operas devoted to the king. Marizza Sanossyan in her turn has found the partiture and the libretto, as later Domocos Moldovan did, in the island San Giorgio, where Antonio Vivaldi's manuscripts are kept. She managed to find the libretto of the opera, and in autumn, 1989 she found also the partiture of A. Vivaldi's opera "Il Tigrane" in manuscripts department of musical literature of the University of Torino (Turin). Opera "Tigrane" has been composed of three acts. Just in that format has the author presented his work for staging during the traditional regular ball taking place in Rome. However, the clergy were extremely pedantic over the creations of clergy authors. The theme of the opera is love, and in the 364
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opinion of the clergy it was improper of Vivaldi, who was a priest, to write about love, and so, upon the insistence of the Catholic clergy the first and the third acts of the opera are cut off. Two Roman composers are given the task to fill the cut off parts. The first act is written by Benedetto Michele, and the third act - by Nicola Romaldi. Notes of the music they have written are not preserved, only the libretto of Vivaldi's opera and the partiture of the second act are preserved. For the first time the opera was staged in 1724, in Rome, during the winter ball. Staging is realized in the theater of Federico Capranica. After the first staging the opera "Il Tigane" has not been staged. Till the staging in Yerevan and Budapest there has been only one staging. In the basis of Vivaldi's opera "Il Tigrane" is the love story of Tigranes the Great and Cleopatra, the daughter of Mithridates VI Eupator, the king of Pontus. It is known from the history that Apamia, sister of Oronte, knight of Sinop, was in love with Tigranes, whereas Mithridates wished to marry Apamia. Meanwhile Oronte, knight of Sinop, wished to marry Cleopatra. Remaining loyal to his feeling towards Cleopatra, Tigranes refused Apamia. It is interesting to know that the first act of the opera "Tigrane" had 13 scenes, the second act had 14 scenes and the third act had 9 scenes. Names of all actors are preserved. Women's roles were played by men as it was accepted at that time. The role of Tigranes played Paulo Mariani from Urbano, the role of Mithridates played Antonio Barbieri from Regio, the role of Cleopatra played Giaginto Fontana. Nearly three centuries later in the Chamber Opera Theater of Budapest the following actors have played the roles: Tigranes: Arthur Stefanovich (tenor), Mithridates: Timothy Bench (tenor), Cleopatra: Monica Gonzales (soprano), Clearte: Barnabas Hegyi (ountertenor) and Arbante: Laslo Jekyll (bas). Caricature of the composer Antonio Vivaldi by Pier Leone Ghezzi preserved in the Moscow Museum named after Pushkin is interesting. Now a few words about the singer Marizza Sanossyan. Marizza Sanossyan received musical education in her native country Iran. Later she left for Italy having to goal to continue education. She studied in the "Chigiana" Musical Academy of Siena under the supervision of the famous Maestro Giorgio Favaretto. After the study in Italy returning to her native country she was invited to the Opera theater of Tehran and played mainly the leading parts and had solo concerts in various cities and towns of Iran. After the Iranian (or Islamic) Revolution women were forbidden to have solo concerts and to appear on the stage, and Marizza Sanossyan moved to Italy for permanent residence and settled down in the small town Conegliano near Venice, later - in Rome. She had solo concerts throughout Italy and gave lessons of voice processing and singing both to Italian singers and singers of other nationalities. The famous singer has sung together with Tito Gobbi, Aldo Pratti, Sirandovi, Ferraro, and many other prominent singers and Conductors, She sang about 700 songs and arias in ten languages, including in her repertoire the works of such great composers as Berlioz, Bellini, Masne, Bizet, Rossini,
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Verdi, as well as Armenian composers as Sayat Nova, Makar Yekmalian., Komitas and others. On June 22, 1985 Marizza Sanossyan had a solo concert in the hall of Moorat Raphael College on the island of St. Lazarus in Venice and in the first part she sang arias from A. Vivaldi's opera "Il Tigrane" and was warmly welcomed by the people in attendance and was highly appreciated by the members of the Mekhitarist order and Italian musicians, in particular. Except the staging of A. Vivaldi's opera "Il Tigrane" Chamber Opera Theater of Budapest has parallelly staged the "Armenian Legend" by the scenario of Domocos Moldovan and Alex Avanessyan written basing on the works IV and V century Armenian historians Agathangelos and Moses of Khoronk, as well as the studies of Armenologist, Dr. Odon Schutz. Consultant of Armenian dances: Asatour Karapetian. Church hymns are presented by Hasmik Karapetyan, author of church hymns is Khosrovidoukht, the elder sister of the Armenian king Tiridates. Translated from Armenian into English by L. Navasardyan
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OPERA "TIGANES THE GREAT"
HISTORICAL REVIEW
Tigranes
II the Great, the emperor of Greater Hayk, was well known in Europe as a powerful opponent of the Roman Empire's expansionist policy in the East, and later a as an ally of Rome. His state activity, life full of dramatic moments and his heroic image have been a source of inspiration not only for many foreign historians, but also for about 19 prominent composers who are authors of operas written about Tigranes the Great (A. Scarlatti, T. Albioni, G. F. Handel, N. Piccini, C. W. Gluck, D. Scarlatti, and others. Italian composer of genius Antonio Vivaldi (1978-1741) also referred the image of Tigranes the Great writing the opera "Il Tigrane." In autumn, 1987, during the events organized on the occasion of the "Days of Armenia" in Veneto, Italy, it was the task of Dr. Vardan Grigoryan, Doctor of Historical sciences, to organize exhibitions "Armenians in Italy" and "Matenadaran's handwritten treasures." During the exhibitions opened in the Doge's Palace of Venice (Palazzo Ducale di Venezia) Dr. Grigoryan became acquainted with the Italian Armenian singer Marizza Sanossyan who informed him about Antonio Vivaldi's opera "Il Tigrane." Years ago Marizza Sanossyan had bought a collection of soprano arias picked up from the operas of Antonio Vivaldi, and two arias from the opera "Il Tigrane" were included in the collection. For a long time the singer had hesitated thinking whether speech is about the Armenian king Tigranes II or not? After consistent work she managed to find out that really the opera was about the Armenian famous king Tigranes the Great of Artashessyan dynasty as in the libretto the expression "King of Armenia" was repeated for several times. Later the singer found out opera's full title: "La virtĂš trionfante dell'amore, e dell'odio, overo Il Tigrane." Upon the exhortation of Dr. Grigoryan the singer started the searches of the partiture of the opera "Il Tigrane". M. Sanossyan searched for the composer's work in the island San Giorgio, where Antonio Vivaldi's manuscripts are kept. She managed to find the libretto of the opera, and in autumn, 1989 she found also the partiture of the opera "Il Tigrane" in manuscripts department of musical literature of the University of Torino (Turin). Opera "Tigrane" has been composed of three acts. Just in that format has the author presented his work for staging during the usual grandiose ball being organized in Rome. However, the clergy were extremely pedantic over the creations of clergy authors. The theme of the opera is love, and in the opinion of the clergy it was improper of Vivaldi, who was a priest, to write about love, and so, upon the insistence of the Catholic clergy the first and the
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third acts of the opera are cut off. Two Roman composers are given the task to fill the cut off parts. The first act is written by Benedetto Michele, and the third act - Nicola Romaldi. Notes of the music they have written are not preserved, only libretto of Vivaldi's opera and the partiture of the second act are preserved. For the first time the opera was staged in 1724, in Rome, during the grandiose winter ball. Staging is realized in the theater of Federico Capranica. On March 3, 1724, Pope of Rome Innocent XIII passes away and mourning is announced in Rome. All theaters, including the theater of Federico Capranica are closed. Since then the opera has not been staged any more. It has been staged only once. With the help of Giusto Traiana, Italian armenologist, professor of the University of Perugia, a notion of the libretto of the opera "Il Tigrane" is formed. It is published in Rome. Printed libretto's copies are sold in the bookshop of Pietro Leone located in Paschuino street of Rome. In the basis of Vivaldi's opera "Il Tigrane" is the love story of Tigranes the Great and Cleopatra, the daughter of Mithridates VI Eupator, the king of Pontus. It is known from the history that Tigranes and Mithridates were allies and their friendship was strengthened by in-law ties (Tigranes was really married to Cleopatra). Tigranes and Mithridates jointly struggled against Rome. However, in the opera Tigranes and Mithridates are presented as enemies. Tigranes was in love with Cleopatra and for achieving her love he entered the Army of Mithridates concealing himself under the name of Frances. He celebrated victories against the enemies of Pontus. Apamia, sister of Oronte, knight of Sinop, was in love with Tigranes, whereas Mithridates wished to marry Apamia. Meanwhile Oronte, knight of Sinop, wished to marry Cleopatra. Remaining loyal to his feeling towards Cleopatra, Tigranes refused Apamia. Acts of the opera are developed within the frames of those events. Opera is dedicated to Duchess of Guadagnola Faustina Mattei Conti, relative of the Pope of Rome. Further changes have not hindered the staging of the opera and it has been presented to the audience when on the occasion of grandiose ball Rome was full of tens of thousands of visitors arriving from various parts of the world. According to the libretto the first act of the opera "Il Tigrane" had 13 scenes, the second act had 14 scenes and the third act had 9 scenes. Names of all actors are preserved. Women's roles were played by men as it was accepted at that time. The role of Tigranes played Paulo Mariani from Urbano, the role of Mithridates played Antonio Barbieri from Regio, the role of Cleopatra played Giaginto Fontana (or Farfalino) from Perugia, the role of Oronte played Gioviani Ossi and the role of Apamia played Girolamo Bartoluzzi. The name of Alessandro Mauri from Venice is mentioned as engineer and performance artist, scene of battles is prepared by Filippo Benegali. At that time it was accepted to entertain the audience during intermissions. That work was realized by Pietro Mossi and Biogio Imini. Years later M. Sanossyan came to Armenia and handled the partiture and libretto to Dr. Grogoryan. In 1995, with the leave of Levon Ter-Petrossyan,
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President of the Republic of Armenia, they were handled to Hakob Movses, Minister of Culture. Years later it was found out that opera's partiture and libretto were handled to the Museum of Literature and Art named after Yeghishe Charents. Dr. Grogoryan told about the opera "Il Tigrane" to Moushegh Minassyan, author of the TV program "Rubicon+" broadcasted by the Public Television of Armenia. Moushegh Minassyan zealously and with enthusiasm initiated the realization of the concert program entitled "Tigranes," informed choirmaster Karen Durgaryan about the program, and together they suggested the project to the state commission of 1700th Anniversary of proclamation of the Christianity as the state religion of Armenia, and the project was accepted. Taking into consideration the value and the significance of Vivaldi's creation, the opera "Il Tigrane" was included in the state program of events dedicated to 1700th Anniversary of proclamation of the Christianity as the state religion of Armenia.
National Academic Opera and Ballet Theater named after Al. Spendiaryan Choirmaster - Karen Durgaryan Producer - Gegham Grogoryan Actors: Cleopatra Naira Ananaikyan, Marine Deinyan Oronte Nune Badalyan, Alla Avetiiyan Apamia Irina Zargaryam, Gayane Grigioryan Mithridates Ruben Nurijanyan, Suren Mkrtchyan Cleart Roza Hovsepyan, Gayane Geghamyan Teller Karen Mirzoyan
Translated from Armenian into English by L. Navasardyan
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àñå»ë ÇÝŻݻñ »õ µ»Ù³¹ñáõÃÛ³Ý ÝϳñÇã Ýßí³Í ¿ ²É»ë³Ý¹ñá سáõñÇÇ ³ÝáõÝÁ (ݳ ì»Ý»ïÇÏÇó ¿ñ), Ù³ñï»ñÇ ï»ë³ñ³ÝÁ å³ïñ³ëï»É ¿ üÇÉÇååá ´»Ý»·³ÉÇÝ: ÀݹÙÇçáõÙÝ»ñÇ Å³Ù³Ý³Ï ÁݹáõÝí³Í ¿ñ ½µ³Õ»óÝ»É Ñ³Ý¹Çë³Ï³ÝÝ»ñÇÝ: ²Û¹ ·áñÍÁ ϳï³ñ»É »Ý ëÇÝÛáñÝ»ñ äÇ»ïñá Øá½½ÇÝ »õ
´ÇáçÇá ÆÙÇÝÇÇÝ:
î³ñÇÝ»ñ ³Ýó Ø. ê³ÝáëÛ³ÝÁ ·³Éáí г۳ëï³Ý` ûå»ñ³ÛÇ »ñÏñáñ¹ ·áñÍáÕáõÃÛ³Ý å³ñïÇïáõñ³Ý »õ Éǵñ»ïïáÝ Ñ³ÝÓÝ»É ¿ ì³ñ¹³Ý ¶ñÇ·áñÛ³ÝÇÝ: 1995Ã. ÐРݳ˳·³Ñ È»õáÝ î»ñ-ä»ïïëÛ³ÝÇ ·ÇïáõÃÛ³Ùµ ¹ñ³Ýù ѳÝÓÝí»óÇÝ Øß³ÏáõÛÃÇ Ý³Ë³ñ³ñ гÏáµ Øáíë»ëÇÝ: î³ñÇÝ»ñ ³Ýó å³ñ½í»É ¿ñ, áñ ûå»ñ³ÛÇ å³ñïÇïáõñ³Ý »õ Éǵñ»ïïáÝ Ñ³ÝÓÝí»É ¿ ºÕ. â³ñ»ÝóÇ ³Ýí³Ý ·ñ³Ï³ÝáõÃÛ³Ý »õ ³ñí»ëïÇ Ã³Ý·³ñ³Ý: §îÇ·ñ³Ý¦ ûå»ñ³ÛÇ Ù³ëÇÝ ì.¶ñÇ·áñÛ³ÝÁ å³ïÙ»É ¿ñ гÝñ³ÛÇÝ
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лéáõëï³ï»ëáõÃÛ³Ý §èáõµÇÏáÝ+¦ ѳÕáñ¹³ß³ñÇ é»ÅÇëáñ Øáõß»Õ
ØÇݳëÛ³ÝÇÝ, áñÝ ¿É Ù»Í »é³Ý¹áí áõ á·»õáñáõÃÛ³Ùµ Ó»éݳÙáõË »Õ³í §îÇ·ñ³ÝǦ ѳٻñ·³ÛÇÝ Ï³ï³ñÙ³Ý Çñ³Ï³Ý³óÙ³ÝÁ: ì»ñçÇÝë ¿É ï»Õ»Ï³óÝáõÙ ¿ ¹ÇñÇÅáñ γñ»Ý ¸áõñ·³ñÛ³ÝÇÝ »õ ÙdzëÇÝ Íñ³·ÇñÝ ³é³ç³ñÏáõÙ »Ý г۳ëï³ÝáõÙ øñÇëïáÝ»áõÃÛ³Ý å»ï³Ï³Ý ÏñáÝ Ñéã³ÏÙ³Ý 1700-³ÙÛ³ÏÇ ïáݳϳï³ñáõÃÛ³Ý Ï³½Ù³Ï»ñåÙ³Ý å»ï³Ï³Ý ѳÝÓݳÅáÕáíÇÝ: Ìñ³·ÇñÝ ÁݹáõÝíáõÙ ¿: ²í»ÉÇÝ` ѳßíÇ ³éÝ»Éáí ìÇí³É¹ÇÇ ëï»Õͳ·áñÍáõÃÛ³Ý ³ñÅ»ùÝ áõ Ý߳ݳÏáõÃÛáõÝÁ ìÇí³É¹ÇÇ §îÇ·ñ³Ý¦ ûå»ñ³ÛÇÝ Ïí»ñ³å³ÑíÇ »½ñ³÷³Ï»É г۳ëï³ÝáõÙ øñÇëïáÝ»áõÃÛ³Ý å»ï³Ï³Ý ÏñáÝ Ñéã³ÏÙ³Ý 1700-³ÙÛ³ÏÇ ïáݳϳï³ñáõÃÛáõÝÝ»ñÇ å»ï³Ï³Ý Íñ³·ÇñÁ:
²É. êå»Ý¹³ñÛ³ÝÇ ³Ýí³Ý ûå»ñ³ÛÇ »õ µ³É»ïÇ ä»ï³Ï³Ý ²Ï³¹»ÙÇ³Ï³Ý Ã³ïñáÝ ¸ÆðÆÄàð` γñ»Ý ¸áõñ·³ñÛ³Ý èºÄÆêàð` ¶»Õ³Ù ¶ñÇ·áñÛ³Ý ¸ºð²Î²î²ðܺð` îÇ·ñ³Ý Ø»Í - ܳÇñ³ ²Ý³ÝÇÏÛ³Ý, øñÇëïÇÝ» ê³Ñ³ÏÛ³Ý ÎÉ»áå³ïñ³ - ¾ÙÙ³ ä³åÇÏÛ³Ý, سñÇÝ» ¸»ÇÝÛ³Ý úñáÝï»- ÜáõÝ» ´³¹³ÉÛ³Ý, ²Éɳ ²í»ïÇëÛ³Ý ²å³Ùdz - ÆñÇݳ ¼³ù³ñÛ³Ý, ¶³Û³Ý» ¶ñÇ·áñÛ³Ý ØÇÑñ¹³ï - èáõµ»Ý ÜáõñÇç³ÝÛ³Ý, êáõñ»Ý ØÏñïãÛ³Ý ÎÉ»³ñï - èá½³ Ðáíë»÷Û³Ý, ¶³Û³Ý» ¶»Õ³ÙÛ³Ý ä³ïÙÇã - γñ»Ý ØÇñ½áÛ³Ý
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ºñí³Ý¹ øáã³ñ. §îÇ·ñ³Ý ػͦ Yervand Kochar: “Tigranes the Great” îƶð²Ü غÌ
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ØÏñïÇã 껹ñ³ÏÛ³Ý. §îÇ·ñ³Ý ػͦ Mkrtich Sedrakyan: “Tigranes the Great” îƶð²Ü غÌ
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ARCHEOLOGICAL EXPEDITION OF ARTSAKH
TIGRANAKERT IN ARTSAKH
The
archeological investigation of Tigranakert is the most successful attempt of recent years for the discovery, research and propaganda of Armenian cultural inheritance, as well as making it a part of the present cultural process. This investigation is accompanied by vast excavations, supplementary cleaning of the monument, conservation of the natural sight and complete policy of its propaganda, i.e. publishing, creating of a web site, periodically organizing exhibitions, and, at last, foundation of the archeological museum of Tigranakert on the territory of the monument. As a result Tigranakert is now the most visited, the most vastly presented in details on the web and the best known archeological monument of Artsakh. Three documentaries were shot about Tigranakert during the last year. Another two are being shot. One must believe that Tigranakert in Artsakh is one of the elements of a cultural policy which is progressing day after day. The city of Tigranakert, founded in Artsakh by Armenian king Tigran II the Great (95-55 B.C.), was discovered in 2005 and until now archeological excavations are being done by the Artsakh expedition of the Institute of Archeology and Ethnography of the National Academy of Sciences of the Republic of Armenia. Tigranakert in Artsakh is the only one of the cities called after Tigran II the location of which is exactly established and archeological excavations are done there.
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²Ùñ³óáõ³Í óճٳëÇ ÑÇõëÇë³ÛÇÝ å³ñëå³å³ïÇ ÁݹѳÝáõñ ï»ëùÁ 2010Ã. å»ÕáõÙÝ»ñÇó Û»ïáÛ, Éáõë. гÙÉ»ï ä»ïñá뻳ÝÇ General sight of the Fortified quarter northern rampart after the excavations of 2010. Photo by Hamlet Petrosyan.
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²ñó³ËÇ Ñݳ·Çï³Ï³Ý ³ñß³õ³ËÙμÇ å»ÕáõÙÝ»ñÝ ³½³ï³·ñáõ³Í ï³ñ³ÍùÝ»ñáõÙ. ÞáõßÇ, гݹ³μ»ñ¹Ç í³Ýù, îÇ·ñ³Ý³Ï»ñï îÇ·ñ³Ý³Ï»ñïÇ Ñ³ÝáÛÃÁ. ϳñÙÇñ ßñç³ÝÝ»ñáí Ýßáõ³Í »Ý å»Õáõ³Í ѳïáõ³ÍÝ»ñÁ Excavations of the archeological expedition of Artsakh on the liberated territories. Shushi, The Monastery of Handaberd, Tigranakert, output of Tigranakert excavations. Red circles show the excavated parts.
îÇ·ñ³Ý³Ï»ñïÇ ²Ùñ³óáõ³Í óճٳëÇ »õ ØÇçݳμ»ñ¹Ç å»Õ³Í ѳïáõ³ÍÝ»ñÇ Û³ï³Ï³·ÇÍÁ, 2009Ã., ã³÷³·ñáõÃÇõÝÁ ÈÇõµ³ ÎÇñ³Ïá뻳ÝÇ Plan of the excavated parts of the Fortified quarter and the Citadel of Tigranakert, 2009, survey by Liuba Kirakosyan.
Researches in Tigranakert have been initiated and financed by the Union of public associations "Yerkir" for repatriation and settlement. In 2007 the excavations were partly and during 2008-2010 entirely financed by the 1 Government of the Republic of Mountainous Karabagh . The study of sources about Tigranakert in Artsakh (Sebeos, Movses Kaghankatvatsi) and topographic documents (Sarkis Jalaliants, Makar Barkhudariants) allowed considering it probable that the site ruins should be searched for in the lower valley of the river Khachenaguet, where the Artsakh mountain chain is abruptly going down and the plain begins. In ancient times this was approximately the border line going from north-west to south-east between Artsakh and Utik provinces of the Greater Armenia. In order to precisely localize the traces of Tigranakert in Artsakh and to begin archeological excavations there, an archeological group (J. Khachatryan, A. Piliposyan, and V. Safaryan) was organized in February 2005 by the Union of public associations "Yerkir" for repatriation and settlement. It was directed by H. Petrosyan, head of the archeological expedition working in Shushi and Handaberd. Beginning its investigations in March 2005, the group established as conventional center of them the point where the river Khachenaguet reaches the plain and studied the monuments on a vast territory within the radius of 10 km. The neighborhood of the springs called Shahbulagh (Royal Spring) was especially investigated in details, as the region was also called Tngrnakert, Tarnakert, Taraniurt or Tarnagiurt by the 19th century topographers. All these names are phonetically very close to the name Tkrakert used by Kaghankatvatsi and, finally, to Tigranakert. The results of this investigation can be considered as a true sensation, as it became possible to identify the traces of an Hellenistic city's vast fortifications on the Vankasar Mountain side, near the Royal Spring, as well as a Central quarter in the plain, a church with thick walls of stones and clay, and, more to the south, a Paleochristian necropolis with inhumations in stone coffins. And the most important is that in the fortifications sector we succeeded in finding numerous samples of polychrome ceramics of the 1st century B.C. 382
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1. The expedition's work is directed by Dr. Hamlet Petrosyan, Ph.D., Head of the Chair of Culturology of the Yerevan State University. Permanent members of the expedition: Liuba Kirakosyan, Ph.D., senior researcher of the Archeological laboratory of the Yerevan State University (2006-2010); Vardkes Safaryan, Ph.D., Head of the Chair of History of the State University of Artsakh (2005-2010); Aghavni Zhamkochyan, Ph.D., senior researcher of the Institute of Archeology and Ethnography (20072010); Ruben Vardanyan, Ph.D., senior researcher of the Institute of Archeology and Ethnography (2009-2010); Nora Yengibaryan, researcher of the Institute of Archeology and Ethnography (2007-2010).
². öÇÉÇåá뻳Ý, ì. ê³ý³ñ»³Ý), áñÁ ջϳí³ñáõÙ ¿ñ ÞáõßÇÇ »õ гݹ³µ»ñ¹Ç í³ÝùÇ å»ÕáõÙÝ»ñÝ Çñ³Ï³Ý³óÝáÕ ³ñß³õ³ËÙµÇ Õ»Ï³í³ñ Ð. ä»ïñá뻳ÝÁ: ÊáõÙµÁ ÝáõÛÝ Ãáõ³Ï³ÝÇ Ù³ñï ³ÙëÇÝ ëÏë»Éáí Çñ ÷ÝïñïáõùÝ»ñÁ` áñå¿ë å³ÛÙ³Ý³Ï³Ý Ï»ÝïñáÝ ÁݹáõÝ»ó ʳã¿Ý³·»ïÁ ѳñóí³Ûñ ¹áõñë ·³Éáõ Ï¿ïÁ, »õ áõëáõÙݳëÇñ»ó Ùûï 10 ÏÙ ß³é³õÕáí Áݹ³ñÓ³Ï ÙÇ ï³ñ³ÍùÇ Ûáõß³ñÓ³ÝÝ»ñÁ: Ú³ïϳå¿ë Ù³Ýñ³Ù³ëÝûñ¿Ý ѻﳽûïáõ»ó ޳ѵáõÉ³Õ (²ñù³Û³Ï³Ý ³ÕµÇõñ) ÏáãáõáÕ ³ÕµÇõñÝ»ñÇ ßñç³Ï³ÛùÁ, áñÁ 19-ñ¹ ¹. ï»Õ³·ÇñÝ»ñÇ Ùûï Û³ÛïÝÇ ¿ ݳ»õ ÂÝ·ñݳϻñï, ³éݳϻñï, ³é³ÝÇõñï ϳ٠³éݳ·Çõñï ³ÝáõÝÝ»ñáí` ÑÝãáÕáõû³Ùµ ß³ï Ùûï Øáíë¿ë γճÝϳïáõ³óáõ û·ï³·áñÍ³Í îÏé³Ï»ñïÇÝ »õ Ç í»ñçáÛ îÇ·ñ³Ý³Ï»ñïÇÝ: ²Ûë ѻﳽûïáõû³Ý ³ñ¹ÇõÝùÝ»ñÁ ϳñ»ÉÇ ¿ áõÕÕ³ÏÇ ë»Ýë³óÇáÝ Ñ³Ù³ñ»É, ù³ÝÇ áñ Ñݳñ³õáñ ¹³ñÓ³õ ²ñù³Û³Ï³Ý ³ÕµÇõñÝ»ñÇÝ ÏÇó ·ïÝáõáÕ ì³Ýù³ë³ñ É»é³Ý ɳÝçÇÝ í³õ»ñ³óÝ»É Ñ»ÉÉ»ÝÇëï³Ï³Ý µÝ³Ï³í³ÛñÇ Áݹ³ñÓ³Ï ³Ùñ³Ï³éáÛóÝ»ñÇ Ó·áõáÕ Ñ»ïù»ñÁ, ѳñóí³Ûñ³ÛÇÝ Ñ³ïáõ³ÍáõÙ` λÝïñáÝ³Ï³Ý Ã³Õ³Ù³ëÁ` »Ï»Õ»ó³Ï³Ý ßÇÝáõû³Ý ѳëï³Ñ»ÕáÛë ù³ñáõÏÇñ å³ï»ñáí, ³õ»ÉÇ Ñ³ñ³õ` ù³ñ³ñÏÕ³ÛÇÝ Ã³ÕáõÙÝ»ñáí ì³ÕùñÇëïáÝ¿³Ï³Ý ¹³Ùµ³ñ³Ý³¹³ßïÁ£ ºõ ÇÝãÁ áñ ³Ù»Ý³Ï³ñ»õáñÝ ¿, ³Ùñ³Ï³éáÛóÝ»ñÇ Ñ³ïáõ³ÍáõÙ Ñݳñ³õáñ »Õ³õ í³õ»ñ³óÝ»É Ù.Ã.³. ³é³çÇÝ ¹³ñÇ ·áõݳ½³ñ¹ Ë»ó»Õ¿ÝÇ µ³½Ù³ÃÇõ ÝÙáõßÝ»ñ: ²ñß³õ³ËÙµÇ ÏáÕÙÇó í³õ»ñ³óñ³Í Ñݳ·Çï³Ï³Ý ïáõ»³ÉÝ»ñÁ ÉÇáíÇÝ µ³õ³ñ³ñ ¿ÇÝ, áñå¿ë½Ç, Ù³ï»Ý³·ñ³Ï³Ý áõ ï»Õ³·ñ³Ï³Ý ïáõ»³ÉÝ»ñÇ Ñ³ßáõ³éٳٵ, ²ñó³ËÇ îÇ·ñ³Ý³Ï»ñïÁ ï»Õ³¹ñáõÇ Þ³ÑµáõɳÕÇ ³ÕµÇõñÝ»ñÇÝ ÏÇó ì³Ýù³ë³ñ É»é³Ý Ý»ñùݳٳëáõÙ »õ Ýñ³Ý ѳñ³õÇó ÏÇó ѳñÃáõÃÇõÝáõÙ: ²ñ¹¿Ý ÑÇÝ· ï³ñÇ ï»õáÕ å»ÕáõÙÝ»ñÇ ³ñ¹ÇõÝùáõÙ µ³óáõ»É »Ý ù³Õ³ùÇ ²Ù²Ùñ³óáõ³Í óճٳëÇ ÑÇõëÇë³ÛÇÝ å³ñëå³å³ïÁ ØÇçݳμ»ñ¹Ç ѳïáõ³ÍáõÙ, Éáõë. Ðñ³Ûñ ´³½¿Ç The northern rampart of the Fortified quarter in the sector of the Citadel. Photo by Hrayr Baze.
ñ³óáõ³Í óճٳëÇ Ñ³ñ³õ³ÛÇÝ å³ñÇëåÝ»ñÇ Ùûï 450Ù Ó·áõáÕ Å³Ûé³÷áñ ÑÇÙù»ñÁ »õ ÑÇõëÇë³ÛÇÝ å³ñÇëåÝ»ñÇ ÙÇÝã»õ 5Ù µ³ñÓñáõÃÇõÝ áõÝ»óáÕ »õ Ùûï 120Ù Ó·áõáÕ Ñ³ïáõ³ÍÁ, ²Ùñ³óáõ³Í óճٳëÇ í»ñݳٳëáõÙ ·ïÝáõáÕ ØÇçݳµ»ñ¹Ç ½·³ÉÇ Ù³ëÁ, ÝáÛÝ Ã³Õ³Ù³ëÇ ¹³ñ³õ³Ý¹Ý»ñÇó Ù¿ÏÇ Û»Ý³å³ïÁ, λÝïñáÝ³Ï³Ý Ã³Õ³Ù³ëÇ Ùdzݳõ µ³½ÇÉÇÏ »Ï»Õ»óÇÝ, λÝïñáÝ³Ï³Ý Ã³Õ³Ù³ëÇó Ùûï 200
îƶð²Ü غÌ
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IMAGE OF TIGRANES THE GREAT IN ARMENIAN AND WORLD LITERATURE AND ART
ÎÉáñ ³ßï³ñ³ÏÇ ÁݹѳÝáõñ ï»ëùÁ 2008 Ã. å»ÕáõÙÝ»ñÇó Û»ïáÛ, ï»ëùÝ ³ñ»õ»ÉùÇó, Éáõë. гÙÉ»ï ä»ïñá뻳ÝÇ
γñ³ë³ÛÇÝ Ã³ÕáõÙ, ²ÝïÇÏ ³ñ»õ»É»³Ý ¹³Ùμ³ñ³Ý³¹³ßï, Ù.Ã.³. ³é³çÇÝ ¹³ñÇ Ï¿ë»ñ, Éáõë. гÙÉ»ï ä»ïñá뻳ÝÇ
General sight of the round tower after the excavations of 2008, seen from the east. Photo by Hamlet Petrosyan.
Inhumation in karas (jar). Antique eastern necropolis, half of the 1st century B.C. Photo by Hamlet Petrosyan.
The archeological data established by the expedition are entirely sufficient, also taking in account the historical and topographical data, to locate Tigranakert in Artsakh near the springs of Shahbulagh, at the foot of the Vankasar Mountain and on the nearby plain. The five years excavations revealed about 450 meters long foundations curved in the rock of the city's Fortified quarter, a 120 meters long sector of the north rampart having 5 meters height, a considerable part of the Citadel in the Fortified quarter, the supporting wall of one of the terraces of the same quarter, the mono-nave basilica of the Central quarter, the Antic city at a distance of 200 meters in the south-west of the Central quarter, as well as the Eastern Antic necropolis of the city. Prospecting excavations were made in some parts of the Fortified and the Central quarters, and in the Paleochristian necropolis. The cult complex in caverns, the water canal curved in the rock running on its foot, as well as the early medieval fortress on the left bank of Khachenaguet were investigated, too. The revealed constructions give evidence that Tigranakert was built according to the principles of advanced Hellenistic urbanism (unique plan, triangle of buildings on the territory, adaptation of the ramparts to the territory by rectangular passages, building of strong round or square towers, fortifications supported exclusively by foundations curved in the rock, creation of artificial terraces) and advanced constructive art (rustically treated huge stone blocks with regular facets, "swallow tail" junctions, supplementary use of diverse mortars). All the buildings are erected with the local white clay stone, which gave the city a white look and made it seen from far away. Excavations give evidence that the city founded in the 1st century B.C. existed until the 14th century. The mono-nave basilica (5th - 6th centuries) excavated in the Central quarter is one of the biggest analogous constructions in Transcaucasus; it is built with
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¶áõݳ½³ñ¹ ï³÷³ßÇß, ²ÝïÇÏ ³ñ»õ»É»³Ý ¹³Ùμ³ñ³Ý³¹³ßï, Ù.Ã.³. ³é³çÇÝ - Ù.Ã. ³é³çÇÝ ¹³ñ»ñ, Éáõë. гÙÉ»ï ä»ïñá뻳ÝÇ Polychrome vessel, 1st century B.C. - 1st centuries A.D. Photo by Hamlet Petrosyan.
¶»ÙÙ³Û ³·³ÃÇó »õ Ýñ³ ÏÝù³¹ñáßÙÁ, Ù.Ã.³. ³é³çÇÝ - Ù.Ã. ³é³çÇÝ ¹³ñ»ñ ¹³ñ»ñ, Éáõë. èáõµ¿Ý ì³ñ¹³Ý»³ÝÇ Gem from agate and its prints, 1st century B.C. - 1st century A.D. Photo by Ruben Vardanyan.
²ñͳû³Û ¹ñ³ËÙ³Û Ï³ñ³ë³ÛÇÝ Ã³ÕáõÙÇó, ØÇÑñ¹³ï »ññáñ¹ (Ù.Ã.³. 57-54 ÃÃ.), ¹ÇÙ»ñ»ë Silver drachma from an inhumation in karas (jar), bearing the effigy of Mithridates III (57-54 B.C.), averse.
Ù¿Ïñ ѳñ³õ-³ñ»õÙáõïù ·ÝïáõáÕ ²ÝïÇÏ Ã³Õ³Ù³ëÁ, ù³Õ³ùÇ ²ñ»õ»É»³Ý ³ÝïÇÏ ¹³Ùµ³ñ³Ý³¹³ßïÁ: лï³Ëáõ½³Ï³Ý å»ÕáõÙÝ»ñ »Ý ϳï³ñáõ»É ²Ùñ³óáõ³Í óճٳëÇ áõ λÝïñáÝ³Ï³Ý Ã³Õ³Ù³ëÇ ÙÇ ù³ÝÇ Ñ³ïáõ³ÍÝ»ñáõÙ, ì³ÕùñÇëïáÝ¿³Ï³Ý ¹³Ùµ³ñ³Ý³¹³ßïáõÙ: лﳽûïáõ»É »Ý ݳ»õ ù³Õ³ùÇ Ù»ñӳϳÛùáõÙ ·ïÝáõáÕ å³ßï³ÙáõÝù³ÛÇÝ-ù³ñ³Ûñ³ÛÇÝ Ñ³Ù³ÉÇñÁ, Ýñ³ ëïáñáïáí ³ÝóÝáÕ Å³Ûé³÷áñ çñ³ÝóùÁ, ʳã¿Ý³·»ïÇ Ó³Ë ³÷ÇÝ ·ïÝáõáÕ í³ÕÙÇçݳ¹³ñ»³Ý ³ÙñáóÁ: гۻñ¿Ý ³ñӳݳ·ñáõÃÇõÝÝ»ñáí ϳõ¿ ëϳí³é³Ï »Ï»Õ»óáõ å»ÕáõÙÝ»ñÇó, 5-7-ñ¹ ¹³ñ»ñ, ¹ÇÙ»ñ»ëÁ, Éáõë. гÙÉ»ï ä»ïñá뻳ÝÇ Clay disc with Armenian inscription from the church excavations, 5th - 7th centuries, averse. Photo by Hamlet Petrosyan.
Ú³Ûïݳµ»ñáõ³Í ϳéáÛóÝ»ñÁ ѳõ³ëïáõÙ »Ý, áñ îÇ·ñ³Ý³Ï»ñïÁ ϳéáõó³å³ïáõ»É ¿ Ñ»ÉÉ»ÝÇëï³Ï³Ý ù³Õ³ù³ßÇÝ³Ï³Ý ³é³ç³¹¿Ù ëϽµáõÝùÝ»ñÇÝ Ñ³Ù³Ó³ÛÝ (ÙdzëÝ³Ï³Ý Û³ï³Ï³·ÍáõÙ, ï»Õ³ÝùÇ »é³ÝÏÇõÝ Ï³éáõó³å³ïáõÙ, å³ñÇëåÝ»ñÇ Ñ³ñù³Ûñ»óáõÙ ï»Õ³ÝùÇÝ áõÕÕ³ÝÏÇõÝ ³ÝóáõÙÝ»ñÇ û·Ýáõû³Ùµ, ù³é³ÝÏÇõÝ »õ ÏÉáñ ѽûñ ³ßï³ñ³ÏÝ»ñÇ û·ï³·áñÍáõÙ, ³ÙñáõÃÇõÝÝ»ñÇ ÑÇÙÝáõÙ µ³ó³é³å¿ë ųÛé³÷áñ ÑÇÙù»ñÇ íñ³Û, ³ñÑ»ëï³Ï³Ý ¹³ñ³õ³Ý¹Ý»ñÇ ëï»ÕÍáõÙ) »õ ³é³ç³¹»Ù ßÇݳñáõ»ëïáí (éáõëïÇÏ Ùß³ÏáõÙ »õ ϳÝáݳõáñ ý³ëϳݻñ áõÝ»óáÕ Ïáõ³¹ñ»ñÇ ãáñ ß³ñáõ³Íù, §ÍÇÍ»éݳϳåá㦠ϳå»ñ, ï³ñ³µÝáÛà Ïñ³ß³Õ³ËÝ»ñÇ Û³õ»É»³É û·ï³·áñÍáõÙ): ´áÉáñ ϳéáÛóÝ»ñÝ Çñ³Ï³Ý³óáõ»É »Ý ï»Õ³Ï³Ý ëåÇï³Ï Ïñ³ù³ñáí, ÇÝãÁ ù³Õ³ùÇÝ ïáõ»É ¿ ëåÇï³Ï ³ñï³ùÇÝ` ³ÛÝ ï»ë³Ý»ÉÇ ¹³ñÓÝ»Éáí Ñ»éáõÇó: ä»ÕáõÙÝ»ñÁ íϳÛáõÙ »Ý, áñ ù³Õ³ùÁ ÑÇÙݳ¹ñáõ»Éáí Ù.Ã.³. ³é³çÇÝ ¹³ñáõÙ Û³ñ³ï»õ»É ¿ ÙÇÝã»õ 14-ñ¹ ¹³ñÁ: ø³Õ³ùÇ Ï»ÝïñáÝ³Ï³Ý Ã³Õ³Ù³ëáõÙ å»Õáõ³Í í³ÕùñÇëïáÝ¿³Ï³Ý Ùdzݳõ µ³½ÇÉÇÏ ï³×³ñÝ (4-6-ñ¹ ¹¹.) ²Ý¹ñÏáíϳëÇ Ñ³Ù³ÝÙ³Ý ³Ù»Ý³Ëáßáñ ϳéáÛóÝ»ñÇó Ù¿ÏÝ ¿` Çñ³Ï³Ý³óáõ³Í ëñµ³ï³ß Ëáßáñ Ïáõ³¹ñ»ñáí áõ Ïñ³ß³Õ³Ë¿ ÙÇçáõÏáí: ²ÛÝ áõÝ»ó»É ¿ ³ï³Ùݳ߳ñ ùÇõ, ˳ã³ÛÇÝ áõ ³Û·³ÛÇÝ ÛûñÇÝáõ³ÍùÝ»ñáí å³ïáõ³Í ßù³Ùáõïù»ñ, ÏÕÙÇݹñ¿ ͳÍÏ: ä»Õ³ÍáÛ ÝÇõûñÇ Ù¿ç ³é³ÝÓݳÝáõÙ »Ý Ù.Ã.³. ³é³çÇÝ - Ù.Ã. ³é³çÇÝ ¹³ñ»ñÇ ·áõݳ½³ñ¹ Ë»ó»Õ¿ÝÇ Ï³ï³ñ»³É ûñÇݳÏÝ»ñÁ, óɳ·ÉáõË »Õç»ñ³·³õ³ÃÝ»ñÁ, ÏÝù³¹ñáßÙÝ»ñÝ áõ ·»ÙÙ³Ý, µ³½ÇÉÇÏ ï³×³ñÇó ·ïÝáõ³Í ѳۻñ¿Ý ³ñӳݳ·ñáõÃÇõÝÝ»ñáí ϳõ¿ ëϳõ³é³ÏÁ, í³ÕÙÇçݳ¹³ñ»³Ý ³å³ÏÇÝ áõ 9-11-ñ¹ ¹¹. çݳñ³Ï³å³ï Ë»ó»Õ¿ÝÁ: îÇ·ñ³Ý³Ï»ñïÇ ³ÝïÇÏ ¹³Ùµ³ñ³Ý³¹³ßïáõÙ å»Õáõ»É »Ý »ñÏáõ ϳñ³ë³ÛÇÝ Ã³ÕáõÙÝ»ñ, áñáÝóÇó Ù¿ÏáõÙ ·áõݳ½³ñ¹ ³ÙµáÕç³Ï³Ý Ë»ó³ÝûÃÝ»ñÇ, »ñϳÿ ³Ïݳ½³ñ¹ Ù³ï³ÝÇÝ»ñÇ, áëÏ»½ûÍ áõÉáõÝùÝ»ñÇ Ñ»ï ·ïÝáõ»É »Ý ݳ»õ ß³ï ɳõ å³Ñå³Ýáõ³Í å³ñûõ³Ï³Ý ³ñͳû³Û ¹ñ³Ëٳݻñ, áñáÝù å³ïϳÝáõÙ »Ý îƶð²Ü غÌ
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IMAGE OF TIGRANES THE GREAT IN ARMENIAN AND WORLD LITERATURE AND ART
´³½ÇÉÇÏ »Ï»Õ»óÇ, ßù³ÙáõïùÇ ËáÛ³Ï, 5-6-ñ¹ ¹¹., Éáõë. гÙÉ»ï ä»ïñá뻳ÝÇ Basilica, the capital of the portal, 5th - 6th centuries. Photo by Hamlet Petrosyan.
´³½ÇÉÇÏ »Ï»Õ»óÇ, 5-6-ñ¹ ¹¹., ÁݹѳÝáõñ ï»ëùÁ ѳñ³õ-³ñ»õÙáõïùÇó 2009 Ã. å»ÕáõÙÝ»ñÇó Û»ïáÛ, Éáõë. гÙÉ»ï ä»ïñá뻳ÝÇ Basilica, 5th - 6th centuries. General sight from the south-west after the excavations of 2009. Photo by Hamlet Petrosyan.
huge polished stones and clay mortar. It had a toothed cornice; its portals presented a décor of crosses and volutes and the roof was covered by tiles. The excavated material is peculiar for the discovered perfect samples of polychrome ceramics of the 1st century B.C., rhytons with bull head, seals, a gem, a clay disk with Armenian inscriptions discovered in the basilica, early medieval glass and enameled ceramics of the 9st - 11st centuries. Two inhumations in karasses (jars) were excavated in the antic necropolis of Tigranakert. In one of these tombs there were complete samples of polychrome ceramics, iron rings with stones, gilded beads, as well as very well preserved Parthian silver drachmas belonging to Mithridates III and Orond II (about the middle of the 1st century B.C.), which means that they go back to the first decades after the founding of Tigranakert. More important excavations of this necropolis will begin next year. They will be essential for the detailed identification and cultural image of Tigranakert, as Antic tombs are usually rich in intact objects, including coins. The discovery of coins of the Tigran's epoch and of drachmas coined by him is very probable. 2 The results of the Tigranakert excavations give evidence that the lower valley of the river Khachenaguet is a special cultural and natural territory which shows permanent Armenian ethno-cultural presence until our days. So the complex archeological investigations of either Tigranakert or all the lower valley of the river Khachenaguet are one of the primordial problems of Armenian studies.
Dr. Hamlet Petrosyan, Ph.D., Director of the Archeological expedition of Artsakh, Head of the Chair of Culturology of the Yerevan State University October 31, 2010, Yerevan
Translated from Armenian by Aida Charkhchyan 386
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2. For the course and the detailed results of excavations in Tigranakert, see: Hamlet Petrosyan, "La Tigranakert d'Artsakh"// Les douze capitales d'Arménie, Marseille, 2010, p. 105-109; H. Petrosyan, L. Kirakosyan, Cultural Investigations in Artsakh, Yerevan, 2009, p. 24-48 (in Armenian); H. Petrosyan, A. Zhamkochyan, "Disk with Armenian Inscriptions from Tigranakert in Artsakh"// Patma-Banasirakan Handes, Yerevan, 2009, N 1, p. 166-176 (in Armenian); H. Petrosyan, J. Khachatryan, A. Piliposyan, V. Safaryan, H. Hakobyan, L. Kirakosyan, "First Results of the Archeological Investigations of Tigranakert in Artsakh and its Neighborhood"// The Culture of Ancient Armenia, Yerevan, 209, N.14, p. 187-199 (in Armenian); Tigranakert in Artsakh, Yerevan, 2007; H. Petrosyan, "Tigranakert"// Les Dossiers d'Archéologie, N 321, Mai-Juin 2007, p. 80-83; H. Petrosyan, "Archeological Research in Tigranakert"// AIEA Newsletter, 2007, N 2, p. 31-38; H. Petrosyan, J. Khachatryan, A. Piliposyan, V. Safaryan, "Main Results of Archeological Investigations on the Supposed Territory and the Neighborhood of Tigranakert in Artsakh"// Proceedings of the International Symposium "The Past, the Present and the Future of the Republic of Mountainous Karabagh", Yerevan, 2007, p. 434-445 (in Armenian); H. Petrosyan, J. Khachatryan, A. Piliposyan, V. Safaryan, "Main Results of Archeological Investigations in the Supposed Territory and the Neighborhood of Tigranakert in Artsakh"// Liberated Territory of Armenia and the Problem of Artsakh, Yerevan, 2006, p. 361365 (in Armenian).
2. îÇ·ñ³Ý³Ï»ñïÇ Ñݳ·Çï³Ï³Ý ѻﳽáïáõû³Ý ÁÝóóùÝ áõ Ù³Ýñ³Ù³ëÝ ³ñ¹ÇõÝùÝ»ñÁ ï» ë Hamlet Petrosyan, La Tigranakert d Artsakh // Les douze capitales d Arménie, Marseille, 2010, pp. 105-109. ä»ïñáë»³Ý Ð., ÎÇñ³Ïáë»³Ý È., Øß³ÏáõóÛÇÝ Ñ»ï³½áïáõÃÇõÝÝ»ñÝ ²ñó³ËáõÙ, ºñ¨³Ý, 2009, ¿ç 24-48: ä»ïñáë»³Ý Ð., ijÙÏáã»³Ý ². гۻñ»Ý ³ñӳݳ·ñáõÃÇõÝÝ»ñáí ëϳõ³é³Ï ²ñó³ËÇ îÇ·ñ³Ý³Ï»ñïÇó // ä³ïÙ³-µ³Ý³ëÇñ³Ï³Ý ѳݹ»ë, 2009, ÃÇí 1, ¿ç 166-176: ä»ïñáë»³Ý Ð., ʳã³ïñ»³Ý Ä., öÇÉÇåáë»³Ý ²., ê³ý³ñ»³Ý ì., гÏáµ»³Ý Ð., ÎÇñ³Ïáë»³Ý È. ²ñó³ËÇ îÇ·ñ³Ý³Ï»ñïÇ ¨ ßñç³Ï³ÛùÇ Ñݳ·Çï³Ï³Ý ѻﳽáïáõû³Ý ³é³çÇÝ ³ñ¹ÇõÝùÝ»ñÁ // ÐÆÝ Ð³»³ëï³ÝÇ Ùß³ÏáõÛÃÁ, ÃÇí 14, ºñ¨³Ý, 2008, ¿ç 187-199: ²ñó³ËÇ îÇ·ñ³Ý³Ï»ñï, ºñ¨³Ý, 2007: Petrosyan H. Tigranakert // Les Dossiers d Aecheologie, N 321,
îÇ·ñ³Ý³Ï»ñïÇ Ù³ïáÛóÝ»ñáõÙ ·ïÝáõáÕ Å³Ûé³÷áñ ѳٳÉÇñÁ, ¹¿åÇ Å³Ûé³÷áñ »Ï»Õ»óÇÝ ³é³çÝáñ¹áÕ ³ëïÇ׳ÝÝ»ñÝ áõ 5-7-ñ¹ ¹³ñ»ñÇ ÷áñ³·Çñ ˳ã³ÛÇÝ ÛûñÇÝáõ³ÍùÁ, Éáõë. гÙÉ»ï ä»ïñá뻳ÝÇ Rock complex in the neighborhood of Tigranakert, scales leading to the rock church and carved cross composition of the 5th - 7th centuries. Photo by Hamlet Petrosyan.
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Rock canal in the neighborhood of Tigranakert, sight after the excavations of 2006. Photo by Hamlet Petrosyan. îƶð²Ü غÌ
387
Project organizers:
Araratian Patriarchal Diocese Ministry of Culture of Nagorn-Karabagh Republic Union of the World Armenian Painters National Gallery of Armenia Museum of History of Armenia Department of Tourism of Nagorn-Karabagh Republic Printing-house "Tigranes the Great" "ARMENTEL" - “BEELINE”
Main sponsor: Editorial staff:
388
Editor-in-chief: Scientific editor: Technical editor:
Ghazar (Lazar) Mirzoyan Yervand Margaryan Anahit Mkhitaryan
Photographers:
Artur Vardanyan Hrayr Baze
Dezigner:
Aram Urutyan
Translators:
Larisa Navasardyan Aida Charkhchyan
Texts changed into classical Armenian:
Haykanush Mesropyan
Printed in
Publishing House “Tigran Mets”
Ìñ³·ñÇ Ñ»ÕÇݳÏÝ»ñ` Project authors:
î. ܳõ³ë³ñ¹ ²ñù»åÇëÏáåáë Î×áÛ»³Ý Archbishop Navasard Ktchoyan
²Ý³ÑÇï ØËÇóñ»³Ý Anahit Mkhitaryan
Æ·áñ ÎÉÇÙÏû Igor Klimko
Ô³½³ñ ØÇñ½áÛ»³Ý Ghazar (Lazar) Mirzoyan Ìñ³·ñÇ Ï³½Ù³Ï»ñåÇãÝ»ñ`
²ñ³ñ³ï»³Ý гÛñ³å»ï³Ï³Ý û٠ÈÔÐ Øß³ÏáÛÃÇ Ý³Ë³ñ³ñáõÃÇõÝ ²ß˳ñÑÇ Ð³Û ÝϳñÇãÝ»ñÇ Ùdzõáñáõ٠г۳ëï³ÝÇ ²½·³ÛÇÝ å³ïÏ»ñ³ëñ³Ñ г۳ëï³ÝÇ å³ïÙáõû³Ý óݷ³ñ³Ý ÈÔÐ ïáõñǽÙÇ »õ ½µûë³ßñçáõû³Ý í³ñãáõÃÇõÝ §îÇ·ñ³Ý ػͦ Ññ³ï³ñ³ÏãáõÃÇõÝ ¶É˳õáñ Ñáí³Ý³õáñ`
§²ðغÜ - “BEELINE”
ÊÙµ³·ñ³Ï³½Ù.
¶É˳õáñ ËÙµ³·Çñ` ¶Çï³Ï³Ý ËÙµ³·Çñ` î»ËÝÇÏ³Ï³Ý ËÙµ³·Çñ`
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Thanks to
Hakob Hakobyan, Artist Vrezh Markosyan, Director of the Printing-house “Tigranes the Great” Lala Martirosyan-Kochar, Director of the Museum of Yervand Kochar Larisa Martirosyan, Director of the Central Library of Vagharshapat named after H. Hovhannisyan Eduard Atoyan, Collectioner Hamlet Petrosyan, Director of Archeological Expedition of Artsakh of the Institute of Archeology and Ethnography of the National Academy of Sciences of the Republic of Armenia Gor Vardanyan, Director of the Gallery "Academy"
390
TIGRANES THE GREAT
ÞÝáñѳϳÉáõÃÛáõÝ
¶»Õ³ÝϳñÇã Ú³Ïáµ Ú³Ïáµ»³Ý §îÇ·ñ³Ý ػͦ Ññ³ï³ñ³Ïãáõû³Ý ïÝûñ»Ý ìñ»Å سñÏá뻳ÝÇÝ ºñí³Ý¹ øáã³ñÇ Ã³Ý·³ñ³ÝÇ ïÝûñ»Ý ȳɳ سñïÇñáë»³Ý - øáã³ñÇÝ ì³Õ³ñß³å³ïÇ Ú. ÚáíѳÝÝÇ뻳ÝÇ ³Ýõ³Ý Ï»ÝïñáÝ³Ï³Ý ·ñ³¹³ñ³ÝÇ í³ñÇã ȳñÇë³ Ø³ñïÇñá뻳ÝÇÝ ÎáÉ»ÏóÇáÝ»ñ ¾áõ³ñ¹ ²ÃỳÝÇÝ ÐÐ ¶²² Ðݳ·Çïáõû³Ý »õ ²½·³·ñáõû³Ý ÇÝëïÇïáõïÇ ²ñó³ËÇ Ñݳ·Çï³Ï³Ý ³ñß³õ³ËÙµÇ Õ»Ï³õ³ñ гÙÉ»ï ä»ïñá뻳ÝÇÝ §²Ï³¹»Ùdz¦å³ïÏ»ñ³ëñ³ÑÇ ïÝûñ»Ý ¶áé ì³ñ¹³Ý»³ÝÇÝ
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391
Ðî¸08:7:941(479.25) ¶Ø¸ 9+85+63.3(2Ð) Ø 763
ÊÙµ.ª Ô. ØÇñ½áÛ³Ý ØÇñ½áÛ³Ý Ô³½³ñ Ø 763
îÇ·ñ³Ý Ø»Í: ¶Çï³Ñ³Ýñ³Ù³ïã»ÉÇ å³ïÏ»ñ³·Çñù/ Ô. ØÇñ½áÛ³Ý; ÊÙµ.ª Ô. ØÇñ½áÛ³Ý.- ºñ.: §²ß˳ñÑÇ Ñ³Û ÝϳñÇãÝ»ñÇ ÙdzíáñáõÙ¦ Ñ/Ï, 2010.- 400 ¿ç:
Ðî¸ 08:7:941(479.25) ¶Ø¸ 9+85+63.3 (2Ð)
ISBN 978-99941-2-471-8
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TIGRANES THE GREAT
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