A Reflection on the Symbolism and Meaning of the Two New Icons of St. Vartan and St. Shushanik

Recently, two new icons have been added to the sanctuary of St. Vartan Cathedral, depicting the cathedral’s namesake and his martyred daughter, consecrated by Bishop Mesrop Parsamyan on the occasion of the Feast of Sts. Vartanantz on February 27th.

Armenian artist M. Hovanessian painted his subjects, Saints Vartan and Shushanik, with great skill, and in heroic scale: each canvass measures over eight feet in height.

But they were also painted in accordance with age-old Christian traditions governing how to portray saintly subjects, to make them suitable for veneration.

Below, Zohrab Center Director Dr. Jesse Arlen offers reflections on the two icons.

Unlike realist paintings or photographs, holy icons do not attempt to depict events as they happened in a single moment of historical time. Rather, icons invite those who behold them to contemplate the meaning of events from a heavenly, divine perspective.

One encounters little historical detail in the two new icons of St. Vartan and St. Shushanik that adorn the entrance of St. Vartan Cathedral in New York City. Absent from the icon of St. Vartan are scenes of battle and bloodshed, like we find in various medieval manuscript illuminations, or modern paintings depicting St. Vartan and the Battle of Avarayr.

Absent from the icon of St. Shushanik are the gruesome tortures inflicted on the holy woman’s saintly body, which fill the pages of the Armenian and Georgian martyrologies of the saint.

What are we beholding, then, when we gaze at the icons of these two saints? Icons are famously described as “windows into heaven” or “sacred windows.” But what does that mean?

Heaven signifies the meaning of things: it is the invisible realm of reality, and we gain access to that realm through symbols. The icon is a kind of tutor, telling us of the reality behind and beyond what our physical eye can see. Icons reveal the truth—but not historical truth. It is truth of another dimension: invisible, spiritual reality, not perceivable to our physical eyes. Hence, the need for the icon, which gives us a view into heavenly reality.

In earthly, historical time, Vartan Mamikonian died in battle with other Armenian nobles. In the icon, he stands victorious, holding not a spear but a processional cross, standing at the front of what one may imagine to be a long line of heroic saints behind him.

The icon of St. Vartan by artist M. Hovanessian

Sheathed is his sword; removed his helmet. For we see Vartan not as he stood on earth, but as he stands in Heaven—where, the prophet says, “Swords are beaten into plowshares, spears into pruning-hooks; nation shall not take up sword against nation, and no more shall they learn to wage war” (Isaiah 2:4).

The saint stands atop a high place, with more of the heavens visible behind him than the earth below his feet. His cloak and the plume of his helmet are red: the color associated, in memory and symbol, with the blood he shed as a witness to His Lord, in defense of the Christian faith.

Denying himself, Vartan took up the cross he holds high with his right hand, and followed after Christ. In so doing, for the sake of Christ, he lost his life and lost the world—but gained his soul and was rewarded with eternal life (Matthew 16:24–25).

In a similar place stands St. Shushanik, daughter of St. Vartan and descendant of St. Gregory the Illuminator. Around her are white lilies, the flower after which she is named: “I am a lily (shushan) of the valleys” (Song of Songs 2:1). Like the Illuminator before her, in historical time she endured years of physical torture, beatings, and imprisonment—not at the hands of enemies but by the hand and command of her own husband, Vazgen, the apostate margrave of Georgia.

The icon of St. Shushanik by artist M. Hovanessian

Yet in the icon, we behold not a disfigured, broken body, but the immaculate body of a saintly woman. We see Shushanik as she is in heaven, where God has healed her broken heart and bound up all her wounds (Psalm 146/147:3). Lying at her feet are the unbound iron shackles with which she was once fettered in an earthly prison. But God saved her from darkness and the shadow of death, and broke away her chains (Psalm 106/107:14).

In her hand, she holds a sacred book. As we read in the historian Ukhtanes, during her tortures, “she had with her a small book, with which she performed her devotions and psalmody.” Now she stands in heaven, holding in one hand the cross and in her other the sacred Gospel, for which she endured torture, after the pattern of her ancestor St. Gregory and her Lord Jesus Christ.

She stands regally in noble raiment, crowned with the imperishable crown (1 Cor. 9:25). Behind her silent visage, it is as if we can hear her speaking the words of the prophet silently to herself, that she “has been clothed in a garment of salvation and a cloak of joy. Like a bridegroom he put a crown on my head and like a bride he adorned me with jewels” (Isaiah 61:10).

In-Person Event with architect Ronald Altoon on March 30th after Badarak

The Zohrab Center cordially invites you to an in-person event jointly hosted by St. Vartan Cathedral after Badarak on Sunday, March 30th. Architect Ronald Altoon will be presenting his work on churches and monasteries of Armenia to be featured in a forthcoming book.

A former National President of The American Institute of Architects, Ronald Altoon (https://altoon.com/) is an internationally recognized architect with numerous awards for design excellence.  He has planned or implemented projects totaling over 225 million square feet constructed in the United States and in 46 foreign countries.  Besides serving on multiple university, civic, cultural, and philanthropic boards, he has taught at USC and UCLA and has lectured at many other prominent universities.  He is author of seven books on design as well as one currently in final editing, Monasteries and Churches of Ancient Armenia.

A third generation American Armenian, Altoon organized and led an American Institute of Architects Task Force to Armenia twice in 1989 following the horrific Spitak Earthquake to create a master plan to rebuild the epicenter city.  For his efforts there he was awarded the Memorial Medal from the Politburo of the Republic of Amenia, S.S.R.  He designed the technologically state-of-the-art academic Avedisian building for the American University of Armenia, and advised the AMAA on the design of the K-12 Avedisian High School & Community Center in Yerevan, acting as sustainable design champion achieving LEED Silver and LEED Earth certifications.

In-Person Lecture on Armenian Martyrs in Text and Image by Dr. Ani Shahinian on March 4th

We warmly invite you to our next in-person event on Tuesday, March 4th at 7:00pm in Guild Hall of the Diocesan Center in New York. Lecturing on Armenian Martyrs in Text and Image will be St. Nersess Armenian Seminary professor Dr. Ani Shahinian.

Dr. Ani Shahinian is the Assistant Professor in Armenian Christian Art and Culture, holder of the Grace and Paul Shahinian Lectureship, at the St. Nersess Armenian Seminary and St. Vladimir’s Orthodox Theological Seminary. She earned her doctorate in History and Theology at the University of Oxford. She holds an MA degree in Near Eastern and Languages and Cultures from University of California, Los Angeles (UCLA), and a diploma in Philosophy and Theology from the University of Oxford. She received her BA in Philosophy, Ethics, Public Policy, and Professional Writing from the University of California, Santa Barbara (UCSB). Shahinian’s doctoral research addresses the question of Christian martyrdom in the context of political, economic, and ecclesiastical history in Late Medieval Armenia. More broadly, Shahinian’s research interests address questions of what it means to be human in a technological age, focusing on virtue-ethics and the freedom of the human will.

Armenian State Symphony Orchestra at Carnegie Hall (June 27)

The Zohrab Information Center warmly invites you to the debut performance of the Armenian State Symphony Orchestra in New York, showcasing majestic music by Aram Khachaturian in a single concert at Carnegie Hall on June 27th.

Under the direction of Artistic Director and Principal Conductor Sergey Smbatyan, the concert features Khachaturian’s Violin Concerto, with soloist Sergey Khachatryan, as well as Spartacus and other iconic masterpieces, including the all-time favorite Sabre Dance.

For tickets, please visit: https://www.carnegiehall.org/calendar/2024/06/27/armenian-state-symphony-orchestra-0800pm

Obscured Geographies: an Art Exhibition by Meghan Arlen opening on January 18th

The Zohrab Center is pleased to invite you to Obscured Geographies, an art exhibition by Meghan Arlen (wife of Zohrab director Dr. Jesse Arlen), opening on January 18th, 6:00-8:00pm ET at the gallery of Atamian Hovsepian Curatorial Practice (227 E 24th St, New York, NY 10010). The exhibition will be on display from January 18–February 24, 2024.

The work that will be on exhibit (selections available to view here or scroll down) was born out of the artist’s curiosity about land use and the monumental changes observed in the span of just one or two generations. Arlen was struck by the new and often surreal aerial geographies created by landscape alterations brought about by modern industrial agricultural farming, natural gas extraction, and large-scale residential developments. These changes of course are now visible to all simply by using Google Earth, or from the seat of a passenger airplane flying overhead. Arlen’s uneasiness about the large-scale processes that have produced these unnatural landscapes were at odds with the awe she felt about the eerily beautiful curves, colors, and compositions they created.

This collection of work—textural explorations of obscured aerial landforms—plays with movement and tactility. Obscured Geographies is also an ode to the medium of Venetian plaster and Arlen’s desire to use this material in new and creative ways. To observe the interplay of plaster with other materials, she incorporates charcoal, liquid iron, copper paint, gauze, fabric and other found textured and corrugated media. The results are beautifully intricate and wholly original.

Based in Brooklyn, Meghan Arlen (https://www.megarlenstudio.com/) studied fine arts as an undergraduate but has in recent years focused her energy on learning skilled trades. These include Venetian wall plaster application techniques, high-end interior design, specialty installation and fabrication, and building sculptural wood furniture. Beginning in 2015, Arlen apprenticed for several years under Justino Guerrero, a Los Angeles master Venetian plasterer. She concurrently worked for LA-based designer Andrea Michaelson, a savant in innovative material design, including metal, wood, glass, plaster, plastic, stingray skin, leather, and fabric. In 2021 Arlen moved to New York, where she undertook training in carpentry, learning to build sculptural, solid wood furniture from milling to finishing. She approaches her art practice as an artisan, submitting to the sometimes physically strenuous efforts that her material demands. Her recent work conveys her love for the historically two-dimensional medium of painting and a desire to explore its capabilities and create works where the wall plaster steps off the wall or canvas and becomes more relief than flat.

MEGHAN ARLEN
Obscured Geographies
Opening reception: Thursday, January 18, 6-8pm
January 18-February 24, 2024
227 E 24th St, New York, NY 10010

The black crept in: somnambulance, 2021
Plaster and medium over gesso on raw canvas, 34″ x 42″
Unrealized Utopias, 2023
Gesso and liquid copper on unprimed upcycled canvas (reclaimed dowel frame)
30″ x 24″
Unearthed II, 2023
Plaster and Charcoal on canvas
36″ x 36″
Y-Y Dyptich, 2021
Gesso and liquid copper on unprimed upcycled canvas (reclaimed dowel frame)
30″ x 24″

Vava Sarkis Khachaturian photography collection available at the Zohrab Information Center

A collection of about one hundred photographs from Vava Sarkis Khachaturian has recently been processed and is now available for the interested public to view at the Zohrab Information Center. The collection was processed by Linda Smith, a graduate student at Simmons University, pursing a degree in Archives Management and undertaking field experience at the Zohrab Center under the supervision of Dr. Jesse S. Arlen.

The Armenian text on the back states that this photograph was taken in Constantinople and that it is the Mouradian family, which was Vava’s mother’s maiden name. The date on the back of the photograph is unclear, but it looks like 1897. Vava would have been two years old, and is thus one of the three children in the foreground of the photograph.

Vava Sarkis was born Vardanoush Sarian in Trabzon, Turkey on February 12, 1895. She spent most of her childhood in Batum, Georgia, living with her parents, five sisters, two brothers, and extended family. Vava later lived in Vienna and Paris, where she modeled for several artists including Henri Matisse. She met Sarkis Khachaturian while taking art lessons from him.

Sarkis was a prolific artist who helped create the Union of Armenian Artists. He studied painting and pedagogy extensively across Europe. He painted works depicting orphans and refugees from the Armenian genocide, as well as painting Armenian churches and religious feast days and themes. Sarkis is well known as the illustrator of Edward Fitzgerald’s Rubaiyat. From 1937 to 1941, Sarkis restored and made copies from temple frescoes in India, saving this art from decay.

Sarkis Khachaturian with members of the Mamoulian family
Sarkis Khachaturian with members of the Mamoulian family. Rouben Mamoulian (seated on floor) was a prominent theater and film director. He became known for his innovations in camera movement and sound in some of the first films that included audio technology, remakes of silent films, and musicals on the stage and screen.

The couple married in 1920. Vava and Sarkis made extended travels all over the world, and first settled in Tiflis (Tbilisi), Georgia in 1923, where Vava described the city as going through an “Armenian renaissance” in several art forms, including painting, art, singing, theater, and opera. Sarkis and Vava continued traveling for work and pleasure before settling in New York in 1941. That is also the year Vava began painting, with her first one-person exhibition opening in the city in the mid-1940s. The couple never had children; in an interview Vava gave as part of Columbia University’s Armenian oral history archive, she stated that “our children [are] our paintings” which she thought was better “because they are living…for eternity.” You can listen to the entire interview here.

Vava and Sarkis in Tiflis (present-day Tbilisi), Georgia, 1920.
Vava and Sarkis in Tiflis (Tbilisi), Georgia, 1920.
From left, Simon Vratzian, Gostan Zarian, Vava, and Arshavir Shiragian at an exhibition of Vava's work
From left, Simon Vratzian, Gostan Zarian, Vava, and Arshavir Shiragian at an exhibition of Vava’s work.
Vava and Sarkis in New York, 1946
Vava and Sarkis in New York, 1946.

Sarkis died in Paris in 1947 after complications from an appendectomy. Vava remained in New York for the rest of her life, and she continued to paint and attended exhibitions of both her art and Sarkis’ art. Vava died of cancer on February 25, 1984 at the age of 89. Vava’s and Sarkis’ artwork can be seen in the National Gallery of Armenia and private collections across the globe.

Vava with singers Zara Douloukhanova, Kay Armen (nee Armenuhi Manoogian), and Lily Chookasian, New York, 1959
Vava with singers Zara Douloukhanova, Kay Armen (nee Armenuhi Manoogian), and Lily Chookasian, New York, 1959.
Vava with Yussof Karsh and his second wife Estrellita Karsh (nee Nachbar), 1970
Vava with Yussof Karsh and his second wife Estrellita Karsh (nee Nachbar), 1970.

This collection provides a valuable picture of the personal life and contributions of two prolific painters and active members of the Armenian community of New York in the early 20th century, as well as other important Armenian figures they knew and loved. This collection of photographs is now available for researchers and visitors to admire and learn from in the Zohrab Information Center’s library. A finding aid of the collection is available to view here.

Vava posing beside her artwork, undated
The last folder of materials contains the only color photographs in the collection, in which Vava is showcasing her artwork while striking poses. The photographs are undated.
Vava posing beside her artwork, undated
Vava posing beside her artwork, undated.

To see a short blog post about Vava with two photographs of her art and a painting that Sarkis did of her, click here.

The National Gallery of Armenia holds much of Sarkis’ and Vava’s artwork. Click here to see entries of two paintings of Vava by Sarkis.

The Metropolitan Museum of Art received a donation from Mr. and Mrs. Nicholas William D’Elia in memory of Sarkis Katchadourian in 1949. Click here to view Sarkis’ “Seated man in European Clothes Holding a Bottle.”

Lily E. Jelalian Summer Internship Program Concludes Successfully

(Left to Right) Aren Yegoryan, Armen Karakashian, Arthur Ipek, Dr. Jesse Arlen, Luiza Ghazaryan, Tessa Weber

The Zohrab Center’s 2023 Lily E. Jelalian summer internship program came to a successful conclusion on Thursday, July 27th. Two high school and two college interns assisted with coordinating donations to the library and processing and cataloging Armenian-related books and periodicals in Armenian, English, Turkish, Russian, Spanish, and Italian, as well as organizing the library’s space and its holdings to make it more functional. All together, over 500 new items were processed and added to the collection, where they are now searchable via the library’s online catalog.

Working under the guidance of director, Dr. Jesse S. Arlen, and special projects coordinator and cataloger, Arthur Ipek, each intern also had a special project they pursued, meant to give them an opportunity to foster and develop their own interests in Armenian culture, history, language, and literature.

Armen Karakashian, a Mathematics major at Rutgers University, where he is also taking classes in Western Armenian, translated the beginning of a novella by Matteos Mamurean and developed a prototype for an AI-based software to assist in the cataloging of books.

Luiza Ghazaryan, a Neuroscience major at NYU, who is also pursuing minors in Creative Writing and Chemistry, translated Eastern Armenian poetry and short stories to English. Three of her translations were published on the Armenian Poetry Project‘s website: My Serene Evenfall by Vahan Teryan; Vernal Equinox by Hovhannes Shiraz; You Are Everything by Hovhannes Shiraz.

Tessa Dadourian Weber, a high school student at Poly Prep in Brooklyn, learned the Armenian alphabet and researched the Kütahya/Jerusalem Ottoman Armenian ceramics and pottery tradition, which she plans to apply in her own ceramics practice.

Aren Yegoryan, a high school student at Saint Demetrios Prep in Queens, researched the history of modern Armenian photography.

Over the course of the internship program, the interns also visited and received private tours at the Atamian Hovsepian Art Gallery and Cultural Space and The Morgan Library and Museum, and also met by Zoom with Dean V. Shahinian, who generously funded the Lily E. Jelalian summer internship program in loving memory of his aunt.

Each of the interns had an opportunity to reflect on their own experience working at the Zohrab Center.

Armen Karakashian translating an Armenian novella

Armen Karakashian: “I am incredibly grateful for my internship at the Zohrab Center. The internship provided me with the opportunity to continue learning the Armenian language in new and challenging ways, such as interpreting Armenian texts for cataloguing purposes and being introduced to the Eastern Armenian dialect. In addition to cataloguing books, I also practiced translating chapters from the novella Ամիս մը Ծովուն Վրայ by Մատթէոս Մամուրեան (A Month on the Sea by Matteos Mamurean) and programmed a prototype AI-based software to assist in the cataloguing of books. I was also exposed to many Armenians throughout the cathedral and the center who speak the language fluently, which greatly assisted in my own learning of the language.”

Luiza Ghazaryan cataloging books

Luiza Ghazaryan: “Interning at the Zohrab Information Center gave me the opportunity to be closer to the treasures of Armenian literature, history, and art. During my time as an intern, my mentors and peers inspired me to explore the beauty of my roots, strengthen my skills in Creative Writing, and publish translations of Armenian poems in The Armenian Poetry Project. I spent most of my time cataloging the donated books and in this very captivating process, I encountered new writing styles and forms of art, and learned more about talented Armenians.”

Tessa Weber cataloging the AGBU periodical “Hoosharar”

Tessa Dadourian Weber: “During my time spent at the Zohrab Center this summer, I completed various projects and tasks. One reason I became interested in working and researching at the center was to expand my knowledge on Armenian pottery. Next year I plan to engage in an independent study at my school on Armenian pottery. Having the opportunity and access to the Zohrab Center has allowed me to gain a basis of understanding on how these vessels were created and the history behind them. I plan to take what I have learned to my study where I aim to use the same techniques as used in the Ottoman Armenian tradition from Kütahya and Jerusalem. In addition to my research, I spent time at the center helping organize the periodicals, some dating back to the mid-nineteenth century. Sorting through different series of periodicals, for example Hoosharar, broadened my prior knowledge on different subjects, for instance the history of AGBU. Lastly, I spent time studying the Armenian alphabet so I would have the ability to read titles of books and periodicals located in the center.”

Aren Yegoryan shelving books

Aren Yegoryan: “During my time at the Zohrab Center, I assisted in processing, cataloging, and organizing Armenian books. It was a pleasant experience to participate in as a summer job. It provided a sense of responsibility and gave me my first work experience, which I’m sure will help me with my future endeavors. Being exposed to many different books, people, and information, the environment was great to work in, and I’d certainly do it again.”

The Zohrab Center’s 2023 Lily E. Jelalian summer internship program lasted for six weeks, from June 19th to July 27th, with the interns coming to work in person at the Center three days per week.

(Left to Right) Armen Karakashian, Aren Yegoryan, Arthur Ipek, Dr. Jesse Arlen, Luiza Ghazaryan, Tessa Weber

A VISUAL AND POETIC JOURNEY THROUGH MONUMENTS OF ARMENIA AND ARTSAKH

On Pentecost Sunday, May 28th, St. Vartan Cathedral and the Krikor and Clara Zohrab Information Center will host a book presentation by author David Karamian with a piano performance and poetry recital after Badarak in Kavookjian Hall. All are welcome to attend!

In his book, Armenia – The Lone Stone, David Karamian brings a deeply personal and spiritual perspective to his Armenian heritage through breathtaking color and black-and-white photographs of the most spectacular monasteries and monuments in Armenia and Artsakh, taken over nearly two decades. While The Lone Stone can be experienced merely on a visual level, it has a multi-themed focus and is complimented by Armenia’s rugged and magnificent geography, architectural innovations, and aesthetic achievements in art, poetry, music, and literature, selections from which it contains within its pages. Armenia – The Lone Stone is a passionate love letter to Armenians everywhere, as well as an intelligent and emotionally compelling introduction to this extraordinary country, aimed at Armenians and non-Armenians alike.

David Karamian has worked and consulted for five Fortune 20 companies (United Technologies, Ford, GM, HP, and Microsoft) and has visited over 25 countries on five continents. In the mid-2000s, he was the founder and CEO of two technology firms (Siamanto and PACE). He is a part-time artist and photographer who loves history and architecture, especially in Armenia. His abstract photos have been published in the magazine Black and White Photography, and his book Armenia – The Lone Stone has been featured in Armenian Weekly, the Armenian Museum of Fresno, and the Armenian Museum of Moscow. He is the founder and CEO of NorArtGallery Publishing and is working on the second volume of The Lone Stone, as well as a book of his abstract photographs.

First Volume in a New Publication Series: An Early-Eighteenth-Century Hmayil (Armenian Prayer Scroll)

The Krikor and Clara Zohrab Information Center is pleased to announce the release of the first volume in a new publication series, entitled Sources from the Armenian Christian Tradition, which provides the Krapar text and English translation of Armenian Christian sources in an attractive digital e-book format.

The inaugural volume in this series is: An Early-Eighteenth-Century Hmayil (Armenian Prayer Scroll): Introduction, Facsimile, Transcription and Annotated Translation by Matthew J. Sarkisian, edited and with a foreword by Jesse S. Arlen (New York, NY: Krikor and Clara Zohrab Information Center, 2022).

Over a year and a half in the making, this volume brings to life a fascinating artifact from the early modern period: a talismanic prayer scroll known as a hmayil, which was a popular and widespread medium in use among Armenians from the fifteenth to nineteenth centuries.

This new e-book offers the reader the opportunity to digitally “unroll” this mesmerizing prayer scroll from beginning to end, thereby discovering a rich panoply of prayers, Scriptural passages, incantations, and illuminations.

Tolle lege! Ա՛ռ ընթերցի՛ր։

Sources from the Armenian Christian Tradition