ՈՒՇԱԳՐԱՎ ԹԱՂՈՒՄ ԲՈՎԵՐ ԴԱՄԲԱՐԱՆԱԴԱՇՏՈՒՄ

Bover cemetery is located in the middle of the villages of Shnogh and Teghut of the Lori region of the Republic of Armenia, to the west of the central part of Bover church, at an average altitude of 930 m above sea level. According to the results of excavations in 2012, it turned out that the tomb No. 45 is a cultburial tomb. A dog was buried in that partially damaged tomb (beginning of the 1st millennium BC). The contemporary archaeological material both from Armenia and the surrounding regions shows that such burials were typical of the mentioned period. The archaeological materials, are certainly linked to ethnographic narratives, which make it possible to draw up a general picture of this phenomenon.

ՀԱՆՐԱՅԻՆ ԿԱՌԱՎԱՐՄԱՆ ՔԱՂԱՔԱԿՐԹԱԿԱՆ ՈՒ ՔԱՂԱՔԱԳԻՏԱԿԱՆ ԿԱԶՄԱԿԵՐՊՄԱՆ ՀԻՄՆԱԽՆԴԻՐՆԵՐԸ

CIVILIZATION AND POLITOLOGICAL PROBLEMS OF THE ORGANIZATION OF PUBLIC ADMINISTRATION Logically, according to historical experience, the security of the statehood of each country (nation), the efficiency of public administration are conditioned by the degree of development of the political-state administrative thought and by the level of civilization achieved. If the former is inferior to the latter, then under the influence of that factor the efficiency of public administration is significantly reduced. The statehood, the fate of the people, the possibility of living safely in its homeland are endangered. Therefore, it is necessary to prioritize the increase of public administration efficiency, in particular, to introduce scientific principles in the system of state and local selfgovernment, to develop the political culture of the society and the level of analytical thinking, to attach essential importance to the training of personnel in the fields of political science, diplomacy, international law, to conduct scientific reasearch in those areas with the aim of using the results obtained in making strategic management decisions to clarify the distribution of powers between the branches of government, and to enshrine in the necessary restraint and counterbalance structure. The so-called deep state is a guarantee of state security, effective management in the conditions of generalization, a counterbalancing factor directing the activities of the civil society. In the Republic of Armenia such a role can claim the Armenian Apostolic Church, the intellectual-mature business elite, the high-ranking officers of the army and the National Security Service.

ՀԱՖԵԶԻ ԲԱՆԱՍՏԵՂԾԱԿԱՆ ԱՇԽԱՐՀԻ ԱՐՏԱՑՈԼՈՒՄՆ ԱՅԴԻՆ ԱՂԴԱՇԼՈՒԻ ՆԿԱՐՆԵՐՈՒՄ

Classical Persian poetry, when embodied in the oeuvre of the contemporary artists of Iran, was becoming for some a major source of artistic inspiration. The article analyzes the inner creative bond between classical Persian poets and present-day artists, exemplified by Hafez and the modern Iranian painter Aydin Aghdashloo, whose all canvases stem from poetry, and the best of them are considered among the most valued achievements of visual arts. Hafez’s verses were conducive to introducing surrealist style to Iranian portrait and miniature by the painter Aydin Aghdashloo, who has created thereby a new style of "crumpled miniature".

THE HERALD OF SPRING. IMAGE OF ARMENIAN HERO IN THE POEM OF AHMAD SHAMLU "VARTAN

THE HERALD OF SPRING. IMAGE OF ARMENIAN HERO IN THE POEM OF AHMAD SHAMLU "VARTAN" Ahmad Shamlou is one of the most prominent representatives of the Iranian literature of the 20th century, who stood at the roots of the anti-dictatorship struggle, carrying out creative and social activities. Shamlu's unbreakable revolutionary spirit, love for the homeland and a human being have found their vivid expression in his works. In the very first period of his career, Shamlu was persecuted and imprisoned many times as a dissident. Many of his works, including translations, literary works, were censored and burned in printing houses. Armenians have a special place in Shamlu's personal and creative life. The main heroine of Shamlu's inspiration was his wife Aida Sargsyan, to whom he dedicated the most beautiful poems of modern Iranian love poetry. Armenian revolutionary hero Vartan Salakhanyan's character was also immortalized by the poet in the famous poem "Vardan" or "Nazli's death". In this poem Ahmad Shamlu depicts the heroic feats of the Armenian hero in metaphorical language, calling him "The Herald of Spring".

Ս. ԴԱՎԻԹ ԱՆՈՒՆԸ ԿՐՈՂ ՍՐԲԱՎԱՅՐԵՐԸ ՊԱՏՄԱԿԱՆ ՀԱՅԱՍՏԱՆԻ ՏԱՐԱԾՔՈՒՄ

SANCTUARIES BEARING THE NAME OF ST. DAVID ON THE TERRITORY OF HISTORICAL ARMENIA A group of sanctuaries are known thus far bearing the name of St. David. There are about ten sanctuaries of the kind but often it is impossible to clear up who that St. David was, to whom the given sanctuary is devoted. The most prominent sanctuary of Western Armenia devoted to St. David (the monastery Apranits, XVII century, known as St. David of Dvin) was in the historical region Derjan, on the territory of which two well-known huge (5-6 m of height) khachkars were erected. Within the boundaries of the contemporary RA there are two most popular sanctuaries named St. David. One of them is situated in the vicinity of the village Getazat of Ararat region and is devoted to St. David of Dvin. This is one of the rare cases when it is certain who the saint of the sanctuary is. The second one is in the village Nor Armavir (Armavir region). That is a prominent pilgrimage site and is mentioned since the beginning of the XIX century. The both over mentioned sanctuaries are significant and beloved pilgrimage sites both for Armenians and for Assyrians of Armenia. The pilgrimage holiday for the both is the Sunday following Easter. In our days these sanctuaries maintain their mass pilgrimage in the frame of which versatile rites having special purposes are executed. A different case is the chapel Ardar (Righteous) David of the village Parpi, in the case of which it is not quite clear if it bears the name of the ogre described in legends. Nevertheless, in Parpi a different legend is told about the brave warrior Righteous David.

ՆՈՐԱՀԱՅՏ ՈԻՇՄԻՋՆԱԴԱՐՅԱՆ ԵԿԵՂԵՑԻ ԹԵՂՈՒՏՈՒՄ (2010 թ. պեղումների արդյունքները)

THE NEWFOUND CHAPEL OF THE LATE MEDIEVAL PERIOD IN TEGHUT (The Results of the Excavations in 2010) In 2010 in the results of the excavations carried out at the site of "Lands of Gharakotuk" in Teghut a cemetery chapel with almost a square floorplan (8.7x7.7 m2) was uncovered. The chapel has a rectangular apse highlighted from both inside and outside which is not common in Armenian architecture. The architectural plan of the chapel was distorted in the result of multiple and often incorrect reconstructions. The excavations revealed a variety of tombstones of the 14th17th centuries, including two grave markers with Georgian inscriptions (deciphering and commentaries by Temo Jojua), two complete and two dozen fragmentary khachkars (two of them dated 1513 and 1604), ceramic and metal artifacts. Based on the analysis of the found materials and the architectural structure, the chapel dates to the 16th-17th centuries. According to the environment ‒ sacred trees (Celtis caucasica) growing around the chapel and the cemetery, as well as a collection of specially hidden metal objects (human figurines, animal shoes, lock etc.) which had protective significance from the evil eye or various diseases, the chapel served also as a place for pilgrimage.

THE PHENOMENA OF CULTURAL MEMORY AND TIME IN THE COMPOSITION "UNDER THE FIR TREE: REFLECTIONS IN THE BOSOM OF DESERTED NATURE" BY GHEVOND ALISHAN

In the context of cultural memory and its transfer, the essay of Ghevond Alishan "Under the fir tree. Reflections in the bosom of a deserted nature" can be interpreted on the basis of considering the text as a cultural memory extended in time. In the space o time, Alishan creates his vision (image) of memory. Alishan connects cultural memory with the present, which is an endless cosmic time. Meantime, he notes the ontological precondition of memory, since it is its carrier. In that present, the time, which encompasses and accumulates the space-time dimensions of the past and future, is revealed. In this particular essay (of Ghevond Alishan), memory as a phenomenon is also considered in the context of intertextual and post-structuralism theories. Such interpenetration of memory plays a very constructive role in terms of further research on the time-text-memory triad. Therefore, the proposition that cultural memory is a non-passive creative reserve turns the information obtained from this into a "working" material for the modern researchers.

ՏՈՆԸ ԱՌԱԾԱՅԻՆ ԼԵԶՎՈՒՄ

In the Collection of Armenian proverbs by Aram Ghanalanyan the proverbs in which the Armenian traditional holidays are mentioned constitute a certain number. We suggest uniting in two groups the proverbs, which have holiday references, diffused in different thematic sections and chapters, as well as in the appendices of the collection of proverbs. These two groups include: sayingsproverbs, which are based on a) interrelation of the time and holiday, and b) one or another attribute of the holidays. In a part of sayings-proverbs, referring to time, the question is directly about the time in the semantic context, according to which everything has its time. In case of other proverbs, the question refers to the seasonal-climatic changes of the time. The latter are based on the folk ecological knowledge, preserved in the feast tradition. In this group of proverbs the holidays play a role of the real medium of time calculation. The following series of proverbs present primary associations, connected to the feast, specific descriptors of the holidays, which are, as a rule, more connected to their external, secular, rather than deep mythological aspect.

ՀԱՅ ԿԱՆԱՆՑ ԶԱՐԴԵՐԻ ԳՈՐԾԱՌՈՒՅԹՆԵՐԸ (XVIII-XX ԴԴ.)

THE FUNCTIONS OF ARMENIAN FEMALE ADORNMENTS (XVIII-XX CC.) Adornments as cherished keepsakes vary with their roles and significant meanings behind them. They have existed throughout history from ancient times to the present in particular ways to represent their positive and beneficial aspects as well as aesthetic value and beauty, belief and affiliation, custom and tradition to define social status within a community. Due to the provision of great amount of information about the adornments by early male and female wearers we come to know the wide spectrum of their performance indicating function and quantity, type and purpose, gender and age, time and circumstances. Articles of adornment progressed through ages in forms and in ways of wearing. One of the prized and popular purposes for jewelry is to signify valued relationships and bonding experiences to bring good luck to the person who possesses them. The symbolism often makes jewelry more meaningful and important carrying a positive connotation integrated into the design. They often serve as gifts. The form of donation (e.g. during the wedding rituals), oblation (e.g. to the church or a holy spring), getting and receiving adornments are very striking. On a larger scale studies on decorations of XVIII-XX cc. shed light on several benefits and several ideas of a strong positive message. The forms and the patterns of the decorations include symbols, often combination of symbols, associated with the sun, the moon, water (wavy lines), plants (bud, almond, flower, branches etc.), animals (snake, fish, frog, bee etc.), dragons and so on. From this point of view supernatural might of the metals, the precious stones and shells bring happiness and healing. The colours of artificial beads, wooden beads, made of the sacred trees wood and coins having apotropaic properties were considered to have a specific function as well. The rare inscriptions used as patterns are fairly notable too. There are fascinating materials in the Armenian folklore that add depth and a range of concepts to the context of the adornments which facilitate to recognize the character of the decorations profoundly and think about their prominent role within the Armenian culture.

ԿՈՒՐԱՐԱՔՍՅԱՆ ՄԻՋԱԳԵՏՔԻ ԲՐՈՆԶ-ԵՐԿԱԹԵԴԱՐՅԱՆ ՈՒՍԱԳՈՏԻՆԵՐԸ

An object type characterized as a shoulder strap was found in archaeological sites of the Armenian Highland and the South Caucasus. They served as a strap from which weapons (blade or sword) were mounted. Their purpose was to ensure quick accessibility to the weapon during combats. In ancient societies, shoulder straps symbolized the privileged status of the military aristocracy. The emergence and depiction of the straps on the inventory coincide with a transformation in the social landscape on the one hand and with the early state formation processes on the other hand. Social changes led to the formation of a militarized class of the privileged who, as part of their military uniform, possessed also the shoulder strap. This is evidenced by the multiple images of warrior-predecessors in the form of statuettes-standards and sculptures of the Bronze and Iron Age, as well as on bronze and clay vessels, which show the development of the form and function of the lash.