Pioneer of Urartology, orientalist K.F. Lehmann-Haupt (1861–1938) during his research of the Armenian Highlands and Northern Mesopotamia (1898–1899), among other ancient sites, also researched the probable region of Musasir, the religious center of the Kingdom of Van. Discussing the problems of the early period of the history of Van Kingdom (Urartu), the scientist considered as a special topic of a deep research the spread of the cult of the god Khaldi in the capital Tushpa and other areas out of the city. It is noteworthy, that in this context the researcher was the first to conduct a scientific discussion on the circumstances of the location of the bilingual inscription of Kelishin of Musasir region, its dates, about the scribe who recorded it, also the language of the inscriptions. According to K.F. Lehmann-Haupt, the city of Musasir was probably founded in the 9th century BCE and the cult of the god Khaldi was established there. The researcher believes that Menua’s brother, Sarduri was appointed viceroy in Musasir and there was a statue dedicated to him in the temple of Musasir the presence of which was evidenced in the description about the invasion of Urartu in 714 BCE by the Assyrian king Sargon II (721–705 BCE). Examining the road from Van to Musasir, K.F. Lehmann-Haupt considers it as a result of the Biainian engineering mind and notes that it was also built in accordance with the features of the transportation of the Biainian army.

KeywordsK.F. Lehmann-Haupt Assyria Biainili Tushpa Ardini-Musasir god Khaldi bilingual inscription

Sergei Parajanov once said that he was born not on January 9, 1924, as is generally accepted, but rather in November 1923. He said that his father, overjoyed to have finally had a son, spent several weeks partying and drinking before deciding to go and record the birth of his son at the civil registry office. Consequently, according to this true or invented story, Parajanov’s centenary coincides with the centenary of Armenian cinema, which was celebrated in Yerevan in November 2023, and to which this article was written. In the Western world, presenting Parajanov as an “Armenian filmmaker” is not always self-evident, since he is rather characterized as of Armenian “origin”, or Armenian “decent”, and even sometimes as a “Georgian”, “Russian”, or “Soviet” artist. Parajanov’s work can be comprehended within a global Paradox, which consists in freely and unexpectedly crossing the conventional borders and limits, including semantic definitions. This principle theoretically and visually focuses on Parajanov’s masterpiece The Color of Pomegranates, which is arguably the best film of the Armenfilm studio. It was also described by some critics as a “non-film”, since it disrupts the very essence of cinema: the movement. Thus, the terms “Armenian” and “filmmaker” are simultaneously exact and problematic. Hence, Parajanov’s paradox can be defined as his unique ability to stand on both sides of the borders (or the definitions) at the same time. The article investigates this fundamental paradox regarding Sergei Parajanov’s Armenian identity.

KeywordsParajanov cinema Armenian filmmaker paradox idiot Godard Pasolini

Yeghishe Charents came to the idea of God through the revolution, the efforts to save the homeland, and the literary-political struggle. He traversed this path, immersing himself in spiritual realms where Komitas was, where the figures of Armenian and world literature stood – Grigor Khlatetsi (Tserents) and Grigor Narekatsi, Shakespeare and Dante...

KeywordsYeghishe Charents Komitas Grigor Khlatetsi (Tserents) Grigor Narekatsi God Lord faith.