АРМЯНСКОЕ ЗОЛОТО

Armenian Money

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The dram (Armenian: Դրամ; sign: ; code: AMD) is the monetary unit of Armenia and the Nagorno-Karabakh Republic. It is subdivided into 100 luma (Armenian: լումա). The word "dram" translates into English as "money" and is cognate with the Greek drachma and the Arabic dirham. The Central Bank of Armenia has the exclusive right of issuing the national currency according to Armenian law.

100,000 AMD

History

The first instance of a dram currency in Armenia was in the period from 1199 to 1375, when silver coins called dram were issued.

On 21 September 1991 a national referendum proclaimed Armenia as an independent republic from the Soviet Union. The Central Bank of Armenia was adopted on 27 March 1993, under the governorship of Isahak Isahakyan. However the old Soviet banknotes were legal tender until November 1993. The modern dram came into effect on 22 November 1993, at a rate of 200 rubles = 1 dram (1 USD : 377 AMD). The dram is not pegged to any other currency.

Coins

In 1994, coins were introduced by the Central Bank of Armenia in denominations of 10, 20 and 50 luma, 1, 3, 5 and 10 dram. All were struck in aluminium. In 2003 and 2004, a new coinage consisting of 10, 20, 50, 100, 200 and 500 dram coins was introduced. The 10 dram is struck in aluminium, the 20 dram in copper-plated steel, the 50 dram in brass-plated steel, 100 dram in nickel-plated steel and 200 dram in brass. The 500 dram coin is bimetallic with a brass outer ring and cupronickel centre.

The Central Bank also produces commemorative coins.

Banknotes

In 1993, banknotes of 10, 25, 50, 100, 200 and 500 dram were issued. Notes for 1000 and 5000 dram were put into circulation on October 24, 1994 and September 1995, respectively. In 1999, a 20,000 dram note was issued, whilst a commemorative 50,000 dram note was issued in 2001 to observe the 1700th anniversary of the adoption of Christianity in Armenia. 10,000 dram notes were introduced in 2003.

Banknotes currently in circulation are

1000 dram
5000 dram
10,000 dram
20,000 dram
50,000 dram
100,000 dram

In addition, the following banknotes are no longer legal tender (since April 1, 2004) but may be exchanged at banks: 10, 25, 50 and 100 drams. The 1993 500-dram banknote has also ceased to be legal tender since September 1, 2005, but there is a 1999 500-dram banknote that is still in circulation.

Architecture

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Bright example of Armenian Architecture is Garni Temple. The structures of the fortress of Garni are in perfect harmony with the surrounding nature. The fortress is situated in a picturesque mountain locality and commands a broad panorama of orchards, fields and mountain slopes covered with motley carpets of varicoloured grasses, of the jagged and precipitous canyon of the Azat river.

Strategically, the place for building this fortress was very cleverly chosen. In very ancient times (the third millennium BC) a cyclopic fortress existed there. According to a cuneiform record found on the territory of Garni, the fortress was conquered by Argishti I, the king of Urartu, in the first half of the 8th century BC. In the epoch of the Armenian rulers of the Ervandids, Artashesids and Arshakids dynasties (since the 3rd century BC to the 4th century AD) Garni was a summer residence of the kings and the place where their troops were stationed,

Armenia, Garni

The fortress of Garni stands on a triangular cape which dominates the locality and juts into the river. A deep gorge and steep mountain slopes serve as a natural impregnable obstacle, and therefore the fortress wall was put up only on the side of the plain. It was put together of large square-shaped slabs of basalt placed flat on top of each other without mortar and fastened together with iron cramps sealed with lead. The evenly spaced rectangular towers and the concave shape of the middle of the most vulnerable northern wall, which increased the effectiveness of flank shooting, added much to the defense capacity of the fortress and, at the same time, enhanced its artistic merits.

The palace complex included several disconnected buildings: a temple, a presence chamber, a columned tall, a residential block. a bath-house. etc. They were situated around the vast main square of the fortress, in its southern part, away from the entranceway, where they formed all ensemble. In the northern part there probably were the premises of the service staff, the king’s guards and the garrison.

The summit of the cape was crowned with a temple which overlooked the square by its main northern façade. The temple, the artistic center of the complex, is on the central axis passing through the fortress gate.

The temple was built in the second half of the 1st century BC and dedicated to a heathen god, probably to Mithra (Mihr in Armenian), the god of the sun whose figure stood in the depth of the sanctuary (naos). After Christianity had been proclaimed the state religion in Armenia in 301, the temple was probably used as a summer residence of the kings. A chronicle describes it as ‘‘a house of coolness’.

In its style, the temple, a six-column periptere, resembles similar structures in Asia Minor (baths at Sagala and Pergamum), Syria (Baalbek) and Rome. Its architectural shapes are basically-Hellenistic but local traditions also show in it. It should be noted that a rectangle-based religious edifice with columns and a pediment was known on the territory of the Armenian upland back in the epoch of the Urartians; such, for instance, was the temple in Musasir (the 9th‑8th centuries BC), a representation of which can be seen on an ancient Assyrian bas-relief. Quite possibly, this type of architecture influenced the overall composition of Armenia's heathen temples in general, and that of Garni temple, especially the outlines of certain details and the interior decoration.

The temple stands on a high podium with a two-step base and is surrounded with 24 Ionic columns. A broad nine-step stairway leads up to the podium. The sides of the stairway are decorated with bas-relief, placed symmetrically relative to the main axis of the building, showing kneeling Atlantes with uplifted hands who seemed to support the torches which used to stand higher. This sculptural motif is flown from later monuments of East Roman provinces, such a Niha in Syria (the 1st century AD). In front of a rectangular stone-floored naos there is a shallow pronaos with antae and an entrance-way framed in a platband. The small size of the sanctuary shows that it contained only a statue of the deity, and that worship was performed in the pronaos.

The bases of the columns resemble those of Attic temples in their shapes, the shafts are smooth, the Ionic capitals are decorated with clean-cut moulded, rather than hewn, volutes and ovae and leaf ornaments which differ from column to column — a characteristic feature of Armenian monuments. The shape of the corner capitals is most interesting — on them as distinct from the inside columns, the volutes of the adjacent front sides are turned at a right angle, and the floral ornament of the lateral sides are more graceful in their composition.

The richly ornamented entablature is distinguished by the overhanging upper part of the architrave and frieze. This feature is also to be seen in the later monuments of Syria (2nd century) and Italy (4th century). As distinct from these works of Hellenistic art, however, the ornamentation of the entablature of Garni temple is more variegated. The frieze shows fronds of acanthus combined with flowers and rosettes of various shapes and outlines. Besides acanthus, it also features laurel and oak leaves, as well as grapes, pomegranate and other floral motives characteristic of the Orient.

The cornice is ornamented with dummy spillways shaped as lions’ heads with bared teeth. These, along with oxen, often occurred in Urartu murals, on arms and seals. Contrasting with the flat bas-relief leaf ornament of the cornice, they created the rhythm of the crowning details of lateral façades, connected with the columns.

The pediment was smooth. The soffits of the architrave, the ceilings of the portico and the wings of the temple were decorated with floral ornaments, octagon and diamond-shaped ornamented caissons. Carving on hard basalt, rather than on the soft marble characteristic of Roman architecture, is evidence of the fact that all structures in the cities of that epoch — Armavir, Yervandashat, Vagarshapat, etc. — were created by Armenian craftsmen. Their style shows in the variety of ornamental motifs, in the depiction of specimens of local flora in ornaments and flat carvings.

The temple’s proportions differ somewhat from the proportions of other antique structures. Its composition is based on the contrast between the horizontal divisions of the podium and the entablature and the vertical columns which rose sharply against the background of the sky. The temple makes an impressive sight from many remote and close observation points.

A two-storey palace situated to the west of the temple was another edifice distinguished for its artistic merits and size (about 15 by 40 m). Its southern part, a presence chamber 9.65 by 19.92 m, was an oblong premise, its ground floor roofing resting on eight square pillars arranged along the longitudinal axis. The walls were punctuated with pilasters, aligned with the pillars. There were niches between them.

A rectangular premise at the north-eastern fortress wall, dated the 3rd‑4th centuries, had a similar composition. Just as in the columned hall of Bagineti fortified town near Mtskheta, Georgia, its wooden roofing rested on the inner wooden pillars with stone basis and, possibly, with carved wooden capitals. It seems that the longitudinal side of this architecturally richly decorated premise had wide openings affording a view of the beautiful panorama of the green valley of the Azat river and the picturesque slopes of the far-off mountains.

The northern part of the palace was taken up by residential quarters. Judging by the fragments that have survived to this day, the composition of the façade of this part, which overlooked the square, had risalitas. The premises of the basement served auxiliary purposes. One of them was a winery, for instance. In one of the rooms one can see traces of dark-red plastering, which seems to indicate that the residential and presence chambers of the palace were richly ornamented.

The bath-house is situated in the northern part of the square. at an angle to the residential block. Built in the 3rd century, it comprised no less than five premises serving various purposes, four of which had apses at their end walls. The first apsidal room from the east was a dressing room, the second one, a cold water bathroom, the third and fourth ones, warm and hot water bathrooms respectively. The bathhouse had a water reservoir, with a heating room in the basement. The floors were faced with baked bricks covered with a layer of polished stucco. They rested on round pillars and were heated from below with hot air and smoke which came to the underfloor space from the heater.

A notion of the interior decoration can be obtained from the fragments of two-layer plasterwork which survived in several rooms — the white lower layer and the pink upper layer — as well as from the floors with remnants of stone mosaics of 15 hues. Of special interest is the soft-colour mosaic of the dressing room floor dating back to the 3rd‑4th centuries, an outstanding example of monumental painting in central Armenia. The theme of the mosaic decoration of the 2.91 by 3.14 m floor draws upon Greek mythology.

The bath-house of Garni. in its composition and in that it had rooms with various temperatures with the hypocaust heating system, has much in common with the antique bathhouses of Syria and Asia Minor, especially with the bathhouses in Mtskheta — Armazi (2nd‑3rd centuries) in Georgia, in Dura-Europos and in Antioch on the Orontes (3rd century).Against the light-green background, representing the sea, there are inlaid pictures of the gods of the Ocean and the Sea, framed with a "wattled" ornament, fishes, nereids and ichthyocentauri. A wide pink band runs the perimeter of the mosaic. The tonal transitions of the water surface create the impression of wave movement. Greek inscriptions name the deities and nereids which are skillfully executed by craftsmen who obviously had a good knowledge of anatomy. Human figures with faces of Oriental type are depicted in a most specific manner. A Greek inscription over the heads of the gods says: "Work and gain nothing."

On the fortress grounds archeologists found fragments of various works of art. Among them a marble torso of what looks like a man’s figure in anitique attire merits special attention. The torso is harmoniously proportioned. The folds of an engirdled tunic draped around a calmly standing figure are well rendered. The figure has much in common with a marble woman’s figurine found in Artashat and dating back to the end of the 2nd and the beginning of the 1st century BC.

Also well preserved is a great number of superbly executed fragments of column bases, plasters, window and door plathands, cornice stones, etc., which undoubtedly belonged to various monumental buildings. Judging by the remnants, one of these buildings was a four-apse Christian temple of the 7th century built in place of the ruins of the palace’s presence-chamber. Numerous structures on the territory of the settlement adjacent to the fortress as well as handicraft articles indicate a high level of Christian art which flourished there in the 4th to the 17th centuries.

The monuments of Garni show that although Armenia’s Hellenistic architecture was connected with the architecture of Hellenistic countries, it had distinguishing features all its own.

GARNI PLANS

pagan temple
seventh-century church
pillared hall
palace
bath-house
outer gate
curtain wall

Capitals

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Yervandashat – The ancient town sits upon an escarpment overlooking the junction of the Arax River and Akhurian River. According to Movses Kagankatvatsi, Orontes founded Yervandashat to replace Armavir as his capital after Armavir had been left dry by a shift of the Arax. The archaeological site has not been subject of major research, but preliminarily, the fortifications and some remains of palaces have been uncovered. Ancient Yervandashat was destroyed by the army of the Persian King Shapur II in the 360s.
Artashat – King Artashes I founded Artashat in 185 BC in the region of Vostan within the historical province of Ayrarat (Ararat), at the point where Araks river was joined by Metsamor river during that ancient eras, near the heights of Khor Virap. The story of the foundation is given by the Armenian historian Movses Khorenatsi of the 5th century: "Artashes traveled to the location of the confluence of the Yeraskh and Metsamor [rivers] and taking a liking to the position of the hills (adjacent to Mount Ararat), he chose it as the location of his new city, naming it after himself." According to the accounts given by Greek historians Plutarch and Strabo, Artashat is said to have been chosen and developed on the advice of the Carthaginian general Hannibal. The city's strategic position in Araks valley on the silk road soon made Artashat a centre of bustling economic activity and thriving international trade, linking Persia and Mesopotamia with theCaucasus and Asia Minor. Its economic wealth can be gauged in the numerous bathhouses, markets, workshops administrative buildings that sprang up during the reign of Artashes I. The city had its own treasury and customs. The amphitheatre of Artashat was built during the reign of king Artavazd II (55–34 BC). The remains of the huge walls surrounding the city built by King Artashes I could be found in the area. After losing its status as a capital to Vagharshapatand Dvin respectively, Artashat gradually lost its significance.
Tigranakert was founded by the Armenian emperor Tigranes the Great in the 1st century BC. Tigranakert was founded as the new capital of the Armenian Empire in order to be in a more central position within the boundaries of the expanding empire. Its population was 120,000 and it also had many temples and an amphitheater.
Vagharshapat – In the first half of the 1st century, during the reign of the Armenian Arshakuni king Vaghasrh I (117–144), the old town of Vardgesavan was renovated and renamed Vaghasrhapat (Վաղարշապատ), which still persists as the official appellation of the city. The original name, as preserved by Byzantine historian; Procopius ("Persian Wars"), was Valashabad—"Valash/Balash city" named after king Balash/Valash/Valarsh of Armenia. The name evolved into its later form by the shift in the medial L into a Gh, which is common in Armenian language. Khorenatsi mentions that the town of Vardges was totally rebuilt and fenced by Vagharsh I to become known as Noarakaghak (The New City) or Vagharshapat. The city served as a capital for the Ashakuni Kingdom of Armenia between 120–330 AD and remained the country's most important city until the end of the 4th century AD. When Christianity became the state religion of Armenia, Vagharshapat was time by time called Ejmiatsin after the name of the Mother Cathedral. Starting from 301, the city has become the spiritual centre of all the Armenian nation, being the home of the Armenian Catholicosate, one of the oldest religious organisations in the world. Vagharshapat was home to one of the oldest schools established by Saint Mashtots and the home of the first manuscripts library in Armenia founded in 480 AD. Starting from the 6th century, the city had lost its importance—especially after the transfer of the seat of the Catholicosate to Dvin in 452—until the foundation of the Bagratuni Kingdom of Armenia in 885. After the fall of the Bagratuni dynasty in 1045, the city gradually became an insignificant place until 1441 when the seat of the Armenian Catholicosate was transferred from the Cilician town of Sis back to Etchmiadzin.
Dvin – The ancient city of Dvin was built by Chosroes III of Armenia in 335 on a site of an ancient settlement and fortress from the third millennium BC. Since then the city had been used as the primary residence of the Armenian kings of the Arshakuni Dynasty. Dvin had a population of about 100,000 citizens who were in various professions including arts and crafts, trade, fishing, etc. After the fall of the Armenian Kingdom in 428, Dvin became the residence of Sassanid-appointed marzpans (governors), Byzantine kouropalates and later Umayyad and Abbasid-appointed ostikans (governors), all of whom were of senior nakharar stock. In 640 Dvin was the center of the emirate of Arminia.

Army

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Armenian foot soldiers wearing the traditional Mithraic caps.

Under Tigranes the Great

The army of Kingdom of Armenia was at peak under the reign of Tigranes the Great. According to the author of Judith, his army included chariots and 12,000 cavalrymen, probably indicating heavy cavalry or cataphracts, commonly used by Seleucids and Parthians. He also had 120,000 infantrymen and 12,000 mounted archers, which were also an important feature of the Parthian army. Like the Seleucids, the bulk of Tigranes' army were the foot soldiers. The Jewish historian Josephus talks of 500,000 men in total, including the camp followers. These latter were the camels, donkeys, and mules for the baggage; innumerable sheep, cattle, and goats for the food supply which was abundant for each man, and much gold and silver. As a result, the marching Armenian army was "a huge, irregular force, too many to count, like locusts or the dust of the earth". It was thus, not unlike the Eastern hordes. Regardless, the smaller Cappadocian, Graeco-Phoenician, and Nabatean armies were no match for the sheer number of soldiers. However, the organized Roman army with its legions posed a much greater challenge to the Armenians.

Note that the numbers given by Israelite historians of the time were probably exaggerated, considering the fact that the Hasmonean Jews lost the war against Tigranes.

Under the reign of King Pap in 370 AD Kingdom of Armenia army was 90,000. Some sources say, that 16,000 cavalrymen and 24,000 infantrymen were given to Crassus in 54 BC by Artavasdes II and an army of 13,000 was given to Mark Antony in 36 BC.

“

Plutarch wrote that the Armenian archers could kill from 200 meters with their deadly accurate arrows. The Romans admired and respected the bravery and the warrior spirit of the Armenian Cavalry -- the hardcore of Tigran's Army. The Roman historian Sallustius Crispus wrote that the Armenian [Ayrudzi - lit. horsemen] Cavalry was "remarkable by the beauty of their horses and armor" Horses in Armenia, since ancient times were considered as the most important part and pride of the warrior.

”

Ayrudzi

From the ancient times in Armenia exited "Azatavrear" cavalry which consisted from elite of Armenian tribes, later from elite of Armenian people. "Azatavrear" cavalry was the main part of Armenian kings court. Later, in medieval "Azatavrear" cavalry or Armenian heavy cavalry was collected from nobles (youngest sons of Armenian lords) and was known as AYRUDZI (man and horse, horseman). During peace time Armenian cavalry was divided into number of small groups which took the role of guarding King and his family as well as Armenian lords. Some part of Armenian cavalry was patrolling Armenian borders under the command of Armenian general (sparapet). The Group of Armenian cavalry whose main mission was the protection of Armenian king and his family in ancient period consisted from 6000 heavy armored horsemen, and in medieval period - from 3000 horsemen. In war time the number of Armenian cavalry reached from 10,000 up to 20,000 horsemen or even higher. Beside Armenian Heavy cavalry there was Armenian light cavalry, which mainly consisted from horsemen archers.

Legio I Armeniaca-Armenian First Legion

"Legio Armeniaca" translated from Latin as "Armenian Legion" and "prima" as "first". Armenian First. Legion was one of the later period Roman empire legions. This Legion is mentioned in the late-antique text known as Notitia Dignitatum. Most Likely that Armenian First Legion was formed in 2nd or 3rd centuries AD. in the Western part of Kingdom of Armenia and had mission to protect that Armenian lands from intrusion. It should first have been the garrison of Armenian lands which had been under the control of Roman Empire. Armenian First Legion took part in the ill-fated Persian campaign of the emperor Julianus Apostata in 363.

Legio II Armeniaca-Armenian Second Legion

"Legio Armeniaca" translated from Latin as "Armenian Legion" and "Secunda" as "Second". Armenian Second Legion like Armenian First legion was one of the later period Roman Empire legions. This legion also mentioned in the Notitia Dignitatum. Armenian Second Legion probably was created at the end of 3rd century or in the beginning of 4th century. Armenian Second legion had a permanent camp in one of the Northern provinces of the Orient. This legion built a camp in Satala. Armenian Second legion is furthermore mentioned in the year 360 as a part of the garrison of Bezabda (anciently called Phoencia) at the upper Tigris. In Bezabda Armenian Second Legion served together with Legions Parthica and II Flavia. In 390 Bezabda were taken by the Persians and a terrible bloodbath was held under the inhabitants and garrison. Nevertheless the legion seems to have survived this battle, because it appears in Notitia Dignitatum which have been written in 5th century.

Later on Armenian Second legion became a part of Byzantine army.

Maps

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World in 200 BC

World in 320 BC

Armenian Empire under Tigranes the Great

Arshakuni Armenia in 150 AD

Orontid Armenia

Byzantine Armenia

Persian Armenia