Home Saint Manuscripts

Highlights from the collection at the Institute of Archaeology and Ethnography of the Republic of Armenia

Crucifix, Holy Mother and Child. Cover of a codex and Holy Mother and Child. Cover of a codexYerevan Biennial Art Foundation

Introduction
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Christianity has been adopted as the state religion at the beginning of the 4th c. After the invention of Armenian alphabet the Holy Bible has been translated. Many manuscripts have been created illuminated with thematic and marginal pictures.

In the exposed collection codices believed to make marvels and heal ill people are presented. They are discovered and digitized in the frame of fieldwork during 2019-2021 and represent Medieval Armenian miniature

Geometrical figure. HSM 1-1Yerevan Biennial Art Foundation

The most ancient illustrated manuscript found during the research (HSM №1) is dated to the 9-11th centuries and is one of the oldest samples of Armenian manuscript art.

Tempietto. HSM 1-5Yerevan Biennial Art Foundation

Most commonly the primary holy objects of the Home Saints are wonder-maker books. They are stored in special chapels, decorated corners or rooms in the houses. Some of those books are medieval codices that have not only religious but also artistic and historical value.

Holy Mother with Child. HSM 1-9Yerevan Biennial Art Foundation

Home Saints
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Entry into Jerusalem. HSM 2-5Yerevan Biennial Art Foundation

These manuscripts have trampled a lot of migratory routes. Some of the manuscripts in the collection have been considered sacred and have once had their chapels in Western Armenia. There are even some that have had the fame of being wonder-makers since the 19th century.

Entombement. HSM 2-9Yerevan Biennial Art Foundation

Entry into Jerusalem
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Sometimes the priests would hide the highly significant books under the soil to protect them from destruction by enemies or the books sank in water while clergymen were crossing wild rivers trying to rescue them. Later ordinary people found them through a miracle.

St. John the Evangelist and Prochorus. HSM 2-29Yerevan Biennial Art Foundation

It is not a surprise that most of these manuscripts have many pages burnt or damaged by water. Some people noticed a chest floating towards them while crossing the river Aras (Arax) on the way of the forceful migrations and preserved the book from inside it.

Baptism. HSM 6-14Yerevan Biennial Art Foundation

Khoran
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Others were able to hide and guard the books that literally flied out of the fires of Bolsheviks. Some found the manuscripts while renovating the newly-bought house. Several people learnt about the hidden codices from their dreams.

Second Coming. HSM 6-24Yerevan Biennial Art Foundation

The painter of HSM №6 is Zachariah of Avan, a miniaturist of the 16-17th centuries.  In addition to the unique style and colorful palette, his works are characterized by the wide use of Armenian folk mythical plots, due to which the content of Zachariah’s miniatures is also rich

Canon Table. HSM 6-29Yerevan Biennial Art Foundation

Gospel
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People believe that those books, as well as the holy sanctuaries where they are stored, are like churches and monasteries. Many of these books were indeed stored in functioning convents. Powerful gospels were placed in a separate place and attracted hundreds of pilgrims.

Descent into Hell. HSM 10-11Yerevan Biennial Art Foundation

In that case, the church can be given a second name, one of which is the name of the miraculous book. One such example is Holy Power Mother of God (Surb Zoravor Astvatsatsin) Church of Yerevan, where until the mid 19th century the Surb Zoravor Gospel was stored.

Descent of the Holy Spirit. HSM 10-14Yerevan Biennial Art Foundation

There are unique manuscripts among the illustrations of the wonder-making books. The name of the painter of the Gospel HSM №10 has been lost but we know that it was created in 1606 in Western Armenia. This ‘Pentecost’ breaks all the rules of that miniature type.

Last Judgment. HSM 10-16Yerevan Biennial Art Foundation

Mother of God
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In the scene of the Final Judgment Jesus sits on a Four-faced chair (The Throne in Heaven) surrounded by symbols of St. Evangelists. At the bottom of the picture good and evil deeds are weighed on scales. The miniaturist also added Holy Mother of God and St. John the Baptist.

A magic scroll (hmayil) is a collection of biblical texts and protective prayers written on a long strip of parchment or paper. Scrolls were written by order of an individual and had the aim of protecting that person from various misfortunes, diseases, and devils until the person's death. According to an old custom, they should not be opened or read except in extreme cases when the owner of the scroll was on the verge of death. Only then would the priest open and read the magic scroll.

St. George. HSM 15-11; Magic symbols. HSM 22-3; Angels. HSM 26-4Yerevan Biennial Art Foundation

St.George 2
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After this tradition was forgotten, ancient, especially handwritten and illuminated scrolls began to play the same role as the Holy Script manuscripts. They were stored in sanctuaries or in a special place inside the house and used for healing rituals.

A Saint. HSM 30-1; Tree of Life. HSM 32-6; St. George. HSM 32-7Yerevan Biennial Art Foundation

Worshipping holy scripts is still widespread among the Armenian people. People undertake pilgrimages to holy saries dedicated to sacred books where they find peace of mind, are cured of a number of diseases, find their protection and the solution to their problems.

Many oral tales have been preserved about the historical paths of holy books, and stories on miracles have arisen around the marvels performed by their personified saints.

St. George. HSM 32-7Yerevan Biennial Art Foundation

Conclusion
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Some of the miraculous books are valuable ancient manuscripts, and the illustrations found in them have undeniable artistic value. Since many of these manuscripts were written in monasteries or churches which are ruined, or extinguished and lost today, they are part of national memory and have great historical significance.

Credits: Story

HOME SAINT MANUSCRIPTS
 
Institute of Archaeology and Ethnography of NAS RA 
Calouste Gulbenkian Foundation
 
Text by Lilit Simonyan, Hayk Hakobyan, Karen Hovhannisyan
Music by Lilit Simonyan

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.

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