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In 301 AD, Armenia became the first nation to officially adopt Christianity as its state religion, a momentous decision influenced by King Tiridates III's conversion under the guidance of St. Gregory the Illuminator. This article provides a concise overview of Armenian religion for those seeking quick insights. < Back Armenian Religion In 301 AD, Armenia became the first nation to officially adopt Christianity as its state religion, a momentous decision influenced by King Tiridates III's conversion under the guidance of St. Gregory the Illuminator. This article provides a concise overview of Armenian religion for those seeking quick insights. Armenia boasts a rich history, culture, and identity, with religion serving as a pivotal aspect. Let's delve into the main features of religion in Armenia, its historical context, and its societal role. The vast majority of Armenians, approximately 97%, adhere to Christianity, particularly the Armenian Apostolic Church—one of the world's oldest Christian denominations. Established in the 1st century AD by apostles Bartholomew and Thaddeus, who introduced Christianity to Armenia, it aligns with the Oriental Orthodox communion. This means it does not accept the Council of Chalcedon (451), which defined the doctrine of two natures in one person in Christ. Instead, the Armenian Apostolic Church adheres to miaphysitism, affirming that Christ possesses one divine and one human nature. Geghard or The Holy Lance, also known as the Lance of Longinus (Roman soldier who stabbed the crucified Christ in the side with a lance to check whether he was dead. Since Christ had already died, water and blood came out of his wound (John 19:34)), the Spear of Destiny, or the Holy Spear, is the lance that is alleged to have pierced the side of Jesus as he hung on the cross during his crucifixion. Since that day, the weapon of death, (Armenian: Գեղարդ - Geghard) has become a sacred relic for Christians. According to the tradition of the Armenian Church, Geghard was brought to Armenia by the apostle Thaddeus in the year 33, and it was kept in Christian communities for a long time. In 301, when Christianity was declared the state religion in Armenia, Geghard became the property of the Armenian Apostolic Church. There are memories, according to which, in Armenia or neighboring countries, Geghard was used to bless the country and the people, to free them from war and disasters. Now it is displayed in the Echmiadzin treasury. His Holiness Karekin II, Supreme Patriarch and Catholicos of All Armenians and Pope Francis, the Pope of the Roman Catholic Church, accompanied by their delegations visiting popular pilgrimage site Khor Virap (2016).The notability of Khor Virap as a monastery and pilgrimage site is attributed to the fact that Gregory the Illuminator was initially imprisoned here for 13 years by King Tiridates III of Armenia. Saint Gregory subsequently became the king's religious mentor, and together, they led proselytizing activities in the country. Image credits: wdacna.com Armenia officially adopted Christianity as its state religion in the year 301 AD, making it the first country to do so. This significant event took place under the rule of King Tiridates III, who converted to Christianity with the influence of St. Gregory the Illuminator. The spiritual center of the Armenian Apostolic Church is the Etchmiadzin Cathedral, where the Catholicos, Garegin II, currently resides. The mother church of the Armenian Apostolic Church - Etchmiadzin Cathedral The church boasts a rich and diverse liturgy, culture, and history. It utilizes an ancient alphabet devised by Mesrop Mashtots in the 5th century AD and features numerous translations of scriptures into Armenian from various languages. Statues of Mesrop Mashtots and his student Koryun in front of Matenadaran The Armenian Apostolic Church observes a vibrant calendar of festivals and holidays, reflecting its profound history, traditions, and unwavering faith. Some noteworthy celebrations include: Christmas (January 6): Commemorated with Nativity liturgies, candlelit processions, and familial gatherings. Easter (Variable Date): A joyous celebration involving church services, traditional meals, and festive egg painting. Transfiguration of Jesus (Variable Date): Celebrated with the Vardavar Water Festival, characterized by joyful water-splashing and communal gatherings. Assumption of the Holy Mother of God (August 15): Marked with grape blessing ceremonies and special feasts. Feast of St. Sargis (February 14): Observed as Lovers' Day, featuring romantic traditions and special church services. Trndez (February 21): A bonfire festival symbolizing purification, with young people leaping over flames. Feast of St. Gregory the Illuminator (September 30): Honors the Armenian Church's founder, celebrated with special liturgies and festivities. Feast of the Holy Translators (October 1): Commemorates Bible translators into Armenian, accompanied by church services and cultural events. Gallery You May Also Like Guide in Armenia Modernist architecture in the Soviet Union A Visit to the Mikhail Khergiani Museum The Tallest Stalin Statue Ever Erected A Hike to the Chalaadi Glacier The Real Story Behind the Movie The Lost City of Z Khash – One of the Most Unusual Armenian Dishes Hiking Guide to Climbing Mount Azhdahak

The Northern Bus Station, located on the outskirts of Yerevan towards Abovyan, is a masterpiece of regional modernism designed by Armen Aghalyan and Vardan Avetisyan. Despite its damaged roof and half-empty state, this 1988 architectural gem continues to attract architecture and photography enthusiasts. Discover its unique blend of historical and modern design. < Back A Visit to the Northern Bus Station The Northern Bus Station, located on the outskirts of Yerevan towards Abovyan, is a masterpiece of regional modernism designed by Armen Aghalyan and Vardan Avetisyan. Despite its damaged roof and half-empty state, this 1988 architectural gem continues to attract architecture and photography enthusiasts. Discover its unique blend of historical and modern design. The Northern Bus Station is located on the outskirts of Yerevan, towards Abovyan. Minivans depart from here to Sevan, Dilijan, Ijevan, and Noyemberyan. Tickets are sold at the station's ticket office. The station was designed by Armenian architects Armen Aghalyan and Vardan Avetisyan in the style of regional modernism. It opened in 1988, but the subsequent earthquake, the collapse of the Soviet Union, and the war in Karabakh diminished the building's charm and importance. The facade of the building Today, despite the damaged roof, which leaks water, and the half-empty building, it still attracts those interested in architecture and photography. The façade features a prominent tower that immediately catches the eye and has become a characteristic feature of the building, reminiscent of ancient Armenian fortresses. This is a beautiful example of combining historical architecture with modernism. I fell in love with the interior design The most beautiful part of the building is, of course, the interior. Large windows allow natural light to flood in, giving the building a modern design. The well-designed stairs add extra charm to the structure. Join my urban explorer tours to uncover the hidden marvels of Armenia! For a personalized itinerary, please contact me. Project Gallery You May Also Like Inside Levon’s Divine Underground The Soviet “Raketa” boats of Lake Sevan Top Railway Stations to See in Armenia The Soviet-Era Sanatorium in Armenia Built by German Prisoners of War A Soviet-era sanatorium with forgotten masterpieces The ZTA-2.6 Telescope at Byurakan Observatory Inside a Soviet-Era Crystal Growth Lab Exploring a Soviet-era abandoned driving school in Armenia Previous Next

Rossia Cinema commissioned in Yerevan in 1974, is considered one of the most remarkable Soviet-era modernist structures in the city. The architects, Artur Tarkhanyan, Spartak Khachikyan, and Hrachya Poghosyan, were awarded the prize of the Council of Ministers of the USSR for this project in 1979. The cinema was privatized in 2004, and in 2006, part of the structure was transformed into the trade and cultural center "Rossia," which currently functions primarily as a commercial space. < Back Modernist Architectural Masterpiece - Rossia Cinema in Yerevan Rossia Cinema commissioned in Yerevan in 1974, is considered one of the most remarkable Soviet-era modernist structures in the city. The architects, Artur Tarkhanyan, Spartak Khachikyan, and Hrachya Poghosyan, were awarded the prize of the Council of Ministers of the USSR for this project in 1979. The cinema was privatized in 2004, and in 2006, part of the structure was transformed into the trade and cultural center "Rossia," which currently functions primarily as a commercial space. The project for the cinema, designed by Arthur Tarkhanyan, Spartak Khachikyan, and Hrachya Poghosyan, was submitted to the Union of Architects in 1970-1971 and subsequently approved by the City Council of Yerevan. The "Haypet Project" Institute was tasked with implementing the project. Construction began in the early 1970s on the site of one of Yerevan's oldest markets, the "Black Market." The project was challenging due to its modernist and unconventional design, prompting the architects to prepare a large model to facilitate the builders' work. A scale model of the Rossia Cinema. Image source: "Arthur Tarkhanyan Center" Facebook page The Rossia Cinema officially opened in December 1974 during a plenary session of the CPC Central Committee, chaired by Karen Demirchyan, the first secretary of the Central Committee of the CPC. The cinema was a multifunctional complex consisting of three main parts. two halls of different sizes, but with the same shape, with 1,600 and 1,000 seats, an open area under the halls where exhibition halls, a cafe, a bar, and ticket offices are located. You could also pass through this area on the street without entering the cinema. This connection between outside and inside is considered one of the building's ingenious solutions. Sculptures by Hmayak Bdeyan, in the form of masks, adorned the partition wall The lobby and bar were separated by a transparent partition that could be opened and closed, measuring 10 meters wide and 3.5 meters high. Sculptures by Hmayak Bdeyan, in the form of masks, adorned the partition wall, while other halls featured sculptures by Yervand Gojabashyan, Henry Elibekyan, Ohan Petrosyan, and others. The cinema's modern circular bar and the teahouse, furnished in a Russian style with kettles on the tables and freshly made cakes, were noteworthy features. The suspended ceiling of the "Rossia" cinema, called "вантовое перекрытие (cable-stayed ceiling)” was the first of its kind in Armenia. The cinema's roof, facing Tigran Mets Street, spans 40 meters wide and 60 meters long, hanging without any support. Arthur Tarkhanyan and other architects standing near the scale model of the Rossia Cinema. Image source: "Arthur Tarkhanyan Center" Facebook page Initially intended to be named "Ayrarat" or "Noyan Tapan," the cinema was ultimately named "Rossia." After Armenia's independence, it was briefly renamed "Ayrarat." In 2004, the "Rossia" cinema was privatized, and the "Narek" company, part of the "Sil Concern," became the owner. In 2006, the center was once again renamed "Rossia." On November 11, 2006, the first building of the "Rossia" commercial and cultural center was turned into a cafe and shopping halls. Unfortunately, the sculptures and paintings by Yervand Gojabashyan, Henry Elibekyan, Ohan Petrosyan, and Hmayak Bdeyan were later removed and up to this day their fate is unknown. Rossia Cinema today However even today, the Rossia Cinema stands as a testament to the innovative spirit of its architects and the modernist architectural movement in Yerevan. Despite changes and challenges over the years, it remains a significant cultural and architectural landmark in Armenia's capital. Gallery You May Also Like Guide in Armenia Modernist architecture in the Soviet Union A Visit to the Mikhail Khergiani Museum The Tallest Stalin Statue Ever Erected A Hike to the Chalaadi Glacier The Real Story Behind the Movie The Lost City of Z Khash – One of the Most Unusual Armenian Dishes Hiking Guide to Climbing Mount Azhdahak

Vesna Vulović's incredible tale unfolds on January 26, 1972, when a Yugoslav Airlines flight tragically exploded mid-air. As the sole survivor of the highest fall without a parachute, Vulović's journey of resilience captivates the world. Despite severe injuries, her remarkable recovery defied medical predictions. Recognized by Guinness World Records, her legacy continues to inspire, emphasizing the unwavering strength of the human spirit. Vulović's story stands as a testament to survival against all odds and the enduring power of hope. < Back Vesna Vulovic – she survived the highest fall without a parachute Vesna Vulović's incredible tale unfolds on January 26, 1972, when a Yugoslav Airlines flight tragically exploded mid-air. As the sole survivor of the highest fall without a parachute, Vulović's journey of resilience captivates the world. Despite severe injuries, her remarkable recovery defied medical predictions. Recognized by Guinness World Records, her legacy continues to inspire, emphasizing the unwavering strength of the human spirit. Vulović's story stands as a testament to survival against all odds and the enduring power of hope. On January 26, 1972, a Yugoslav Airlines Douglas DC-9 aircraft carrying 28 passengers and crew members embarked on a seemingly routine flight from Zagreb, Croatia, to Belgrade, Serbia. However, tragedy struck near Srbská Kamenice, Czechoslovakia, when a bomb ripped through the fuselage, tearing the plane apart at 33,000 feet (10km). Miraculously, amidst the debris and despair, one life defied the odds: Vesna Vulović, a 23-year-old flight attendant, survived a fall that would forever etch her name in aviation history. A JAT Airways McDonnell Douglas DC-9 like the one destroyed by the explosion Vulović's exact position during the explosion remains unclear, but she is believed to have been strapped into her jump seat in the tail section, which remained relatively intact after the fuselage disintegrated. This, combined with the fortuitous landing in a snow-covered forest, cushioned the impact, absorbing some of the devastating force. However, her injuries were horrific: a fractured skull, broken legs and vertebrae, and internal bleeding. Vesna Vulovic in hospital Local villager Bruno Honke, a former World War II medic, discovered Vulović still breathing amidst the wreckage. Despite the remoteness and harsh conditions, he administered crucial first aid, paving the way for her eventual rescue. She spent 27 days in a coma, defying medical predictions of her inevitable demise. When she finally awakened, she had no memory of the accident or the month that followed. According to Vesna Vulovich herself, the first thing she asked, when she regained consciousness, was to smoke. Paul McCartney and Vesna Vulovic The treatment took 16 months, of which during 10 months the girl was paralyzed in the lower part of the body (from the waist to the legs). Vulović's remarkable recovery surprised both medical professionals and the world. Though she sustained permanent injuries, including partial paralysis and limited mobility, she eventually relearned to walk. Her story captured international attention, becoming a symbol of human resilience and defying the perceived limits of survival. The cause of the explosion remains officially undetermined, leaving room for speculation and conspiracy theories. Nevertheless, Vulović's survival stands as a testament to the extraordinary tenacity of human life and the unpredictable twists of fate. Vesna Vulović's story continues to inspire awe and curiosity. Despite shying away from the limelight, she embraced her unique place in history. She went on to work for JAT Yugoslav Airlines for another 27 years, eventually retiring as a supervisor. In 2009, she was officially recognized by the Guinness World Records as the person who survived the highest fall without a parachute. While Vulović passed away in 2016 at the age of 66, her story serves as a poignant reminder of the human spirit's capacity to overcome seemingly insurmountable odds. It is a testament to the power of chance, the importance of timely intervention, and the sheer strength of the will to live. Vesna Vulović's miracle serves as a beacon of hope, reminding us that even in the face of immense adversity, survival can sometimes defy all expectations. Gallery You May Also Like Guide in Armenia Modernist architecture in the Soviet Union A Visit to the Mikhail Khergiani Museum The Tallest Stalin Statue Ever Erected A Hike to the Chalaadi Glacier The Real Story Behind the Movie The Lost City of Z Khash – One of the Most Unusual Armenian Dishes Hiking Guide to Climbing Mount Azhdahak

Armenian carpets, celebrated for their intricate designs and cultural significance, are timeless masterpieces that encapsulate centuries of craftsmanship and artistic expression. With distinctive features woven using the Armenian double knot and vibrant red filaments derived from Armenian cochineal (Vordan Karmir), these carpets serve as cultural symbols and storytellers. < Back Armenian Carpet - A Tapestry of Culture and Tradition Armenian carpets, celebrated for their intricate designs and cultural significance, are timeless masterpieces that encapsulate centuries of craftsmanship and artistic expression. With distinctive features woven using the Armenian double knot and vibrant red filaments derived from Armenian cochineal (Vordan Karmir), these carpets serve as cultural symbols and storytellers. In Armenian, carpets are referred to as "karpet" (Armenian: կարպետ) or "gorg" (Armenian: գորգ). While both terms are synonymous, "karpet" is commonly used for non-pile rugs, and "gorg" denotes a pile carpet. The Armenian word "gorg" is first mentioned in written sources in the 13th century. An Armenian woman is weaving a carpet! You can meet them during a working process when visiting Sardarapet Memorial Complex The art of Armenian carpet and rug weaving traces its roots to ancient times. Unfortunately, due to the fragile nature of carpets, very few examples have survived. Marco Polo, in his accounts of Armenia, praised the rich traditions of Armenian carpet weaving, stating, "The best and handsomest carpets in the world are wrought here, and also silks of crimson and other rich colours." These rugs were woven using the Armenian double knot, and the red color resulted from Armenian cochineal (Vordan Karmir), a dye made from beetles native to Armenia. However, the technology for obtaining an everlasting red color from Vordan Karmir has been lost over the centuries. Armenian carpets for sale in Yerevan Vernissage Market Armenian rugs boast a bold color palette derived from nature—rich reds, blues, greens, ochres, and nuanced variations. Historically, carpet weaving was a major traditional profession for Armenian women, and in Karabakh, prominent carpet weavers included men. The oldest extant Armenian carpet, dating to the early 13th century, hails from the village of Banants near Gandzak. The first time that the Armenian word for carpet, gorg, was used in historical sources was in a 1242-1243 Armenian inscription on the wall of the Kaptavan Church in Artsakh. The Pazyryk Carpet Excavations in Armenia have revealed rug fragments dating back to the 7th century BC or earlier. However, complete rugs from this period are scarce. The oldest surviving knotted carpet is the Pazyryk carpet, discovered in a frozen tomb in Siberia, dating from the 5th to the 3rd century BC. It is currently housed in the Hermitage Museum in St. Petersburg. Despite being claimed by various cultures, many experts consider this square tufted carpet, nearly perfectly intact, to be of Armenian origin. By the Middle Ages, Armenia emerged as a significant carpet exporter, reaching distant places like China. In many medieval Chinese artworks, Armenian carpet designs were prominently featured, often depicting clear Christian crosses. During the Genocide, numerous expert carpet weavers perished, precious carpets were stolen and thousands of Armenian children were orphaned. Some of these orphans ended up in northern Beirut, where Dr. Jacob Kuenzler, a Swiss missionary, established a rug factory. This facility aimed to teach young orphans, mainly girls, the art of rug weaving, providing them with skills for a sustainable future. Consequently, "orphan-rugs" were created for a brief period in this factory. The most famous among them, known as the Armenian Orphan rug, was presented to the White House in 1925 as a gesture of gratitude and goodwill toward the American people. Depicting a Biblical Garden of Eden with various animals and symbols, this rug measures 12 feet by 18 feet and boasts an impressive 4 million knots. It is said to have been crafted by 400 orphans over 18 months from 1924-1925. The 30th president of the United States Calvin Coolidge inspecting the Armenian Orphan Rug President Coolidge graciously accepted the offering, expressing in a letter of appreciation that the rug would hold a place of honor in the White House as a daily symbol of goodwill on earth. The gift garnered nationwide media coverage at the time. After Armenia came under Soviet rule, carpet making in the Caucasus and Central Asia underwent a transformation. The Soviet Union took a commercial approach, sponsoring production and shifting carpet making from a primarily home craft to a commercial enterprise. While rural areas maintained some family traditions, commercial carpet makers faced restrictions on religious themes. Armenian rug designs evolved during this period, with some portraying Communist leaders in "Soviet carpets." Following the Soviet Union's collapse, carpet making persisted in Armenia and Nagorno-Karabakh. Private companies and home workshops saw a revival. Some weavers embraced the traditional approach, incorporating rug motifs from Armenian churches, manuscript art, and cross-stones. After the first Nagorno-Karabakh War, workshops were established to aid displaced Armenians in finding employment. Today, weavers in Armenia and Nagorno-Karabakh uphold the ancient methods, techniques, and designs, showcasing the resilience of Armenian carpet-making traditions despite the nation's tumultuous history. In conclusion, Armenian rugs stand as a unique and beautiful expression of culture and tradition. Rug weaving is integral to Armenian households, adorning walls, beds, tables, and floors. They highlight the skill and creativity of Armenian artisans, reflecting the country's rich cultural heritage. For those seeking a beautiful and sustainable addition to their homes, an Armenian rug is an excellent choice. Gallery You May Also Like Guide in Armenia Modernist architecture in the Soviet Union A Visit to the Mikhail Khergiani Museum The Tallest Stalin Statue Ever Erected A Hike to the Chalaadi Glacier The Real Story Behind the Movie The Lost City of Z Khash – One of the Most Unusual Armenian Dishes Hiking Guide to Climbing Mount Azhdahak

Aragats Gravity Hill is a fascinating phenomenon encountered on the route to Lake Kari or Amberd fotress. This unique anomaly, referred to as the Aragats anomaly, is a popular point of interest in Armenia, drawing both locals and tourists alike. < Back Aragats Gravity Hill Aragats Gravity Hill is a fascinating phenomenon encountered on the route to Lake Kari or Amberd fotress. This unique anomaly, referred to as the Aragats anomaly, is a popular point of interest in Armenia, drawing both locals and tourists alike. Hundreds of gravity hills are known worldwide (Australia, Argentina, Brazil, Canada, China, Chile, France, India, Greece etc.) and the one in Armenia is among the popular ones. Many of these sites have no specific name and are just called "Magnetic Hill", “Magnetic Road”, "Magic Road", “Gravity Hill”. In this video, you can see how a bottle rolls up the gravity hill! However, the reality is that it's all an optical illusion created by the surrounding landscape, making it appear as though the road is sloping upwards when, in fact, it's sloping downwards. A car left in neutral gear also appears to go up the hill The science behind Gravity Hill is intriguing. It's essentially an optical illusion created by the surrounding landscape's layout. This illusion causes a slight downhill slope to appear as an uphill slope. Consequently, when a car is left out of gear, it appears to roll uphill against the force of gravity. This effect is akin to what one might experience in an Ames room, where objects seem to defy gravity due to the room's distorted perspective. You can find the coordinates of Aragats Gravity Hill on my Telegram channel. https://t.me/armenianexplorer_ru/30 Gallery You May Also Like Guide in Armenia Modernist architecture in the Soviet Union A Visit to the Mikhail Khergiani Museum The Tallest Stalin Statue Ever Erected A Hike to the Chalaadi Glacier The Real Story Behind the Movie The Lost City of Z Khash – One of the Most Unusual Armenian Dishes Hiking Guide to Climbing Mount Azhdahak

Armenian culture is rich with history, traditions, and a profound love for language and expression. Armenian proverbs, quotes, and sayings offer deep insights into the values, wisdom, and worldview of the Armenian people. < Back Famous Armenian Quotes and Sayings Armenian culture is rich with history, traditions, and a profound love for language and expression. Armenian proverbs, quotes, and sayings offer deep insights into the values, wisdom, and worldview of the Armenian people. Here, we explore some of the most famous Armenian quotes and sayings that have stood the test of time and continue to resonate with people around the world. 1. Ամեն մարդ իր սարը թող մագլցի Translation: "Every man must climb his own mountain." Meaning: This saying emphasizes personal responsibility and the journey of overcoming one’s own challenges. It suggests that each person has their own path to navigate and obstacles to overcome. 2. Ձեռքը ձեռք է լվանում, երկու ձեռքը՝ երես Translation: " A hand washes a hand, both hands wash a face." Meaning: This proverb highlights the importance and benefits of mutual cooperation and assistance. It suggests that when individuals help each other, they can achieve greater outcomes together than they could alone. 3. Երկաթը կպաղի, մարդը՝ չի մոռանա Translation: "Iron cools down, but man does not forget." Meaning: This proverb illustrates the enduring nature of human memory and emotions. Unlike objects that can change state or cool down, human experiences, especially painful ones, are not easily forgotten. 4. Խոսքը արծաթ է, լռելը՝ ոսկի Translation: "Speech is silver, silence is gold." Meaning: While speaking and communication are highly valued, knowing when to remain silent is even more crucial. This saying values the wisdom of speech, especially the importance of keeping silent. 5. Ամեն ծառ իր պտուղն է տալիս Translation: "Every tree gives its fruit." Meaning: This proverb suggests that every person or thing has one thing to offer. It is naive to expect more. 6. Մարդն իր ծովը կունենա - Translation: "A man should have his own sea." - Meaning: This saying expresses the idea that everyone will find their place or domain. It implies that everyone should eventually have their own space or environment where they belong. 7. Յոթ անգամ չափիր, մեկ անգամ կտրիր Translation: " Measure seven times, cut once." Meaning: The proverb emphasizes the importance of careful planning and thorough preparation before taking action. It suggests that one should double-check and be absolutely certain of their decisions and measurements before making a final move, such as cutting. In essence, it advocates for patience, precision, and diligence to ensure a successful outcome. 8. Մի ձեռքը ծափ չի տա Translation: "One hand cannot clap." Meaning: This saying emphasizes the importance of cooperation and teamwork, indicating that success often requires the efforts of more than one person. 9. Թխելիս քացախ մի լցրու Translation: "Don't pour vinegar while baking." Meaning: This proverb advises against spoiling something good by introducing negativity or inappropriate actions. 10. Ճանապարհին գտած գդալը կերակուր չի դառնա Translation: "A spoon found on the road won't turn into food." Meaning: This proverb implies that relying solely on luck won't get you anywhere. 11. Մի ծաղկով գարուն չի գա Translation: " Spring will not come with one flower." Meaning: The proverb means that a single positive sign or effort is not enough to bring about a significant change or result. Just as one flower alone cannot signify the arrival of spring, one small action or occurrence cannot bring about a major transformation. This saying underscores the need for collective efforts and contributions to achieve a meaningful or noticeable impact. 12. Գետը լցված է կաթով Translation: "The river is filled with milk." Meaning: This saying conveys a sense of abundance and prosperity, implying that there are plenty of good things available. 13. Ավելի լավ է մի անգամ տեսնել, քան հարյուր անգամ լսել Translation: "It is better to see once than to hear a hundred times." Meaning: This proverb values firsthand experience over hearsay, emphasizing the importance of direct observation. 14. Արագ ձիու ոտքը քարի է կպչում Translation: "The fast horse’s foot hits the stone." Meaning: This proverb implies that haste often leads to mistakes or accidents, advocating for a more cautious approach. 15. Մի գլուխը լավ է, երկուսն ավելի լավ Translation: "One head is good, two is better Meaning: This proverb emphasizes the value of collaboration and collective thinking. It suggests that while one person's ideas and decisions can be effective, involving another person can lead to even better outcomes. 16. Պտուղը ծառից հեռու չի ընկնում Translation: "The fruit doesn't fall far from the tree” Meaning: This means that children often resemble their parents in behavior, characteristics, or abilities. Just as fruit from a tree typically lands nearby, children tend to inherit and exhibit traits and habits similar to those of their parents. This saying is often used to highlight familial similarities and the influence of upbringing and genetics. Gallery You May Also Like Guide in Armenia Modernist architecture in the Soviet Union A Visit to the Mikhail Khergiani Museum The Tallest Stalin Statue Ever Erected A Hike to the Chalaadi Glacier The Real Story Behind the Movie The Lost City of Z Khash – One of the Most Unusual Armenian Dishes Hiking Guide to Climbing Mount Azhdahak

Discover the rich history and vibrant culture of Armenian wine, from the ancient winery in Areni 1 cave to modern vineyards producing world-class wines. Learn about traditional winemaking, diverse wine types, popular brands, and the annual Areni Wine Festival that attracts wine enthusiasts from around the globe. < Back Ultimate Guide to Armenian Wine Discover the rich history and vibrant culture of Armenian wine, from the ancient winery in Areni 1 cave to modern vineyards producing world-class wines. Learn about traditional winemaking, diverse wine types, popular brands, and the annual Areni Wine Festival that attracts wine enthusiasts from around the globe. Armenia, a country rich in history and culture, is also home to one of the oldest winemaking traditions in the world. The discovery of an ancient winery in the Areni 1 cave has solidified Armenia's place on the global wine map, highlighting the deep roots and enduring legacy of Armenian viticulture. This article delves into the fascinating history, diverse wine types, and the vibrant wine culture that continues to thrive in Armenia today. Ready to taste Armenian wine? Ancient Winemaking in Areni 1 Cave In 2007, archaeologists uncovered an astonishing find in the Areni 1 cave in the Vayots Dzor region of Armenia: the world's oldest known winery, dating back over 6,100 years. This ancient facility included a wine press, fermentation vats, storage jars, and even drinking cups. The discovery provided concrete evidence that Armenians have been producing wine for millennia, making wine an integral part of their heritage and culture. Winemaking Tradition in Armenia Armenian winemaking tradition is deeply intertwined with the country's history and religion. Wine has been produced in the region since the times of Noah, who, according to legend, planted the first vineyard on the slopes of Mount Ararat. Throughout centuries, wine has played a vital role in religious ceremonies, social gatherings, and everyday life. Armenian winemakers have honed their craft over generations, combining ancient techniques with modern innovations. The result is a unique blend of tradition and modernity that produces some of the world's most distinctive wines. Types of Armenian Wine Armenia is home to a variety of wine types, each with its unique characteristics and flavors. The most famous is the Areni Noir, a red wine grape indigenous to Armenia, known for its deep, rich flavors and excellent aging potential. Other notable grape varieties include Voskehat, a white wine grape with a fruity and floral profile, and Kangun, used to produce both dry and sweet wines. In addition to grape wine, Armenians also produce wine from other fruits. Pomegranate wine is particularly popular, offering a unique taste that reflects the country's rich agricultural heritage. Apricot and cherry wines are also enjoyed, each bringing a distinct flavor and aroma to the Armenian wine landscape. Wine aging takes place in clay vessels The Wine Aging Process Aging is a crucial part of the winemaking process that significantly influences the flavor, aroma, and overall quality of the wine. In Armenia, traditional and modern methods are employed to age wines to perfection. Oak Barrels: Many Armenian winemakers use oak barrels to age their wines. The oak imparts unique flavors and aromas, such as vanilla, spice, and caramel, while also allowing for slow oxygenation, which helps to soften tannins and enhance the wine's complexity. Karas: Some winemakers still use traditional clay vessels known as karas for aging wine. This ancient method, which dates back thousands of years, allows the wine to breathe while retaining a more natural and earthy character. Stainless Steel Tanks: For certain types of wine, particularly whites and rosés, stainless steel tanks are used to preserve the fresh, fruity flavors and prevent oxidation. Oak barrels filled with wine Armenian Wine Festival One of the highlights of Armenia's wine culture is the annual Areni Wine Festival. Held in the picturesque village of Areni, this festival attracts wine enthusiasts from around the world. Visitors have the opportunity to taste a wide variety of wines, enjoy traditional Armenian music and dance, and participate in grape stomping—a fun and interactive way to experience the winemaking process. The festival not only showcases the best of Armenian wines but also promotes local tourism and cultural exchange. It has become a must-visit event for anyone interested in exploring the rich traditions and flavors of Armenian wine. Popular Armenian Wine Brands Armenia's winemaking tradition has produced several renowned brands that have gained both national and international acclaim. Here are some of the most famous Armenian wine brands: Armenia Wine Company: Known for its innovative approach and high-quality wines, Armenia Wine Company produces a wide range of wines, including the popular Karas and Takar labels. Their wines are known for their rich flavors and consistent quality, making them a favorite among wine enthusiasts. Zorah Wines: This boutique winery has received international acclaim for its Zorah Karasi Areni Noir, a wine praised for its depth, complexity, and adherence to traditional winemaking methods. Zorah Wines focuses on producing wines that reflect the unique terroir of Armenia. Voskevaz Winery: With a history dating back to 1932, Voskevaz Winery combines ancient traditions with modern technology to produce award-winning wines. Notable labels include Voskevaz Karasi Collection and Voskevaz Heritage, both of which showcase the rich flavors and heritage of Armenian wine. Trinity Canyon Vineyards: Founded by three friends with a passion for winemaking, Trinity Canyon Vineyards produces organic wines that reflect the unique terroir of the Armenian highlands. Their wines, such as the Trinity Eh Areni Noir, have gained a loyal following among wine enthusiasts for their distinct and expressive flavors. Tushpa Wine Cellar: Located in the historic winemaking region of Vayots Dzor, Tushpa Wine Cellar produces a variety of wines, including their signature Tushpa Areni Noir. This family-owned winery emphasizes traditional winemaking techniques and the unique characteristics of local grape varieties. Old Bridge Winery: Situated in the Ararat Valley, Old Bridge Winery is known for its diverse range of wines, including both red and white varieties. Their Old Bridge Areni Noir is particularly popular, showcasing the robust flavors of this indigenous grape. Kataro Winery: Initially based in Artsakh (Nagorno-Karabakh), the winery relocated to Armenia after the 2020 Karabakh War, during which its original facility was captured by Azerbaijani forces. Kataro Winery specializes in producing high-quality wines from the indigenous Khndoghni grape. Kataro Reserve and Kataro Estate are among their well-known labels, offering a unique taste of this lesser-known wine region. Hin Areni: A relatively new but rapidly growing winery, Hin Areni focuses on producing premium wines from the Areni and Voskehat grape varieties. Their wines are noted for their elegance and balance, making them a popular choice among wine connoisseurs. These brands represent the best of Armenian winemaking, combining traditional methods with modern techniques to produce wines that are both unique and of exceptional quality. Their growing popularity among both locals and foreigners is a testament to the rich heritage and bright future of Armenian wine. Popularity Among Foreigners Armenian wines have been gaining popularity among foreigners, thanks in part to the country's growing reputation as a travel destination. Tourists who visit Armenia are often delighted to discover the country's rich winemaking heritage and the quality of its wines. The unique flavors and stories behind Armenian wines resonate with wine lovers worldwide, leading to increased interest and demand. Additionally, international wine competitions and expos have provided a platform for Armenian wines to shine, earning accolades and recognition from wine experts and critics. This exposure has helped to elevate Armenia's profile in the global wine market, attracting new fans and customers from around the world. Conclusion Armenian wine is more than just a beverage; it is a testament to the country's ancient heritage, cultural richness, and enduring traditions. From the ancient winery in Areni 1 cave to the modern vineyards producing world-class wines, Armenia's winemaking story is one of passion, resilience, and innovation. Whether you are a seasoned wine connoisseur or a curious traveler, exploring Armenian wine offers a journey through history, tradition, and the unique flavors of this remarkable land. Gallery You May Also Like Guide in Armenia Modernist architecture in the Soviet Union A Visit to the Mikhail Khergiani Museum The Tallest Stalin Statue Ever Erected A Hike to the Chalaadi Glacier The Real Story Behind the Movie The Lost City of Z Khash – One of the Most Unusual Armenian Dishes Hiking Guide to Climbing Mount Azhdahak

The Molokan community in Armenia is composed of descendants of Russian settlers who have preserved their unique faith, traditions, and language. This article explores the history of Molokanism, the distinctive lifestyle of its followers, and provides up-to-date information about Molokan settlements in Armenia, such as the village of Violetovo, which has become a popular tourist destination. Discover the culture, agricultural practices, religious beliefs, and the community's approach to the outside world. < Back Molokans in Armenia The Molokan community in Armenia is composed of descendants of Russian settlers who have preserved their unique faith, traditions, and language. This article explores the history of Molokanism, the distinctive lifestyle of its followers, and provides up-to-date information about Molokan settlements in Armenia, such as the village of Violetovo, which has become a popular tourist destination. Discover the culture, agricultural practices, religious beliefs, and the community's approach to the outside world. Origins and Beliefs of the Molokans The Molokans (from the Russian word moloko, meaning "milk," or "dairy-eaters") are a Russian spiritual-Christian sect that emerged from Eastern Orthodoxy in the Eastern Slavic lands. Their customs, including the consumption of dairy products during Christian fasts, differed from those of the Russian Orthodox Church, leading them to be labeled as heretics or sectarians. The term "Molokan" is an exonym used by neighboring Orthodox communities. The Molokans themselves typically refer to themselves as "spiritual Christians." Molokanism began to gain followers in the 18th century in the regions of Tambov, Saratov, Voronezh, and Astrakhan. Various Russian rulers took steps to relocate the Molokans, primarily to control religious movements and settle new territories. Under Catherine the Great (1762–1796), persecution of the Molokans began, including their exile to remote regions. However, the policy shifted, and later in her reign, Catherine encouraged voluntary resettlement, offering seeds and livestock to help populate new lands. Under Alexander I (1801–1825), Molokans petitioned for freedom of worship. Alexander I issued a decree granting them certain religious freedoms, which allowed them to migrate to southern regions, including the Caucasus. Under Nicholas I (1825–1855), this relocation policy continued, with Molokans being granted exemption from military service for fifty years if they moved to the Caucasus. Natalya Maksimovna has just poured us tea from the samovar. Several years ago, Mikhail and Natalia Rudometkin opened a guesthouse that offers visitors a unique opportunity to experience Molokan culture and way of life. By the early 19th century, Molokanism was declared by the imperial authorities as a "particularly harmful heresy," which justified their exile from central Russia to the southern regions and newly acquired lands in the Caucasus. The authorities' goal was to eliminate religious dissent in the central provinces while using the Molokans to colonize and Russify the new territories. Molokan Settlements in Armenia In Soviet times, there were about 30 Molokan villages in Armenia. Notable Molokan settlements include Yelenovka (Sevan) founded in 1835, Nikitino (Fioletovo) in 1842, Vorontsovka (Tashir) in 1846, and Voskresenka (Lermontovo) in 1847. Today, Fioletovo is fully populated by Molokans, while Lermontovo remains partially settled. There are also communities in Yerevan and Dilijan. Fioletovo is one of the largest Molokan settlements in Armenia. Mixed marriages are discouraged here, and the Molokans have managed to create a small "Russia" within Armenia, preserving their faith, language, and traditions. Today, Fioletovo is a popular tourist destination, largely due to the Rudometkin guesthouse. Managed by Mikhail and Natalia Rudometkin, the guesthouse offers visitors a unique opportunity to experience Molokan culture and way of life. Services include culinary workshops where visitors can learn to cook traditional Molokan dishes, as well as bed and breakfast accommodations, allowing guests to enjoy a comfortable stay while immersing themselves in Molokan culture. With Ross in Molokan village Fioletovo, he just bought varenye and looks very happy Distinctive Features of the Molokan Community Molokans, as they are referred to by locals, base their beliefs on words from the second chapter of Peter's Epistle, where the consumption of pure milk is permitted as a form of spiritual sustenance. This principle became the foundation of their faith. In Russian, the expression "verbal milk" also refers to spiritual nourishment. Molokans were long persecuted in Russia as schismatics and heretics. They do not venerate saints, do not worship crosses or icons, and do not make the sign of the cross. They reject the ecclesiastical hierarchy. Their observance of Christian holidays is also distinctive: they celebrate Easter but do not recognize Christmas. Their interpretation of fasting allows the consumption of milk, which, according to one theory, explains the origin of their name. Pork and alcohol are strictly prohibited. The Molokan community is characterized by its strict separation from the outside world. Members of the community rarely interact with non-Molokans, and marriages are only allowed within the community. This isolation has allowed the Armenian Molokans to preserve their Slavic ethnic identity and Russian language, albeit with some regional variations. Molokans are known for their hardworking and conscientious nature, viewing labor as an essential aspect of a dignified life. Smoking and drunkenness are condemned, and alcohol is strictly forbidden. They prefer to drink compote and tea, the latter served in the traditional Russian manner using a samovar and special towels to wipe away sweat. Molokans primarily engage in agriculture (growing vegetables, particularly cabbage) and livestock farming (cattle and sheep). There are no kindergartens in their villages. Families are typically large, with 7-8 children. Divorce and abortion are not permitted. The only holiday they observe is Easter, while schoolchildren celebrate the New Year, though without the same festive atmosphere found in Russia. A book about Molokans written by Ruben Mangasaryan and Mark Grigoryan Molokan Lifestyle and Culture The appearance of Molokans has changed little since the 19th century: men still wear shirts untucked with long beards, while women wear headscarves and long skirts, donning embroidered garments on holidays. In the Molokan community, divorce is considered unacceptable and equated with adultery, leading to the excommunication of divorced individuals. The spiritual leader of the community is the presbyter, whose approval is necessary for making any significant decisions. Instead of churches, the Molokans gather in prayer houses, where prayers and hymns are read and sung on Saturdays and Sundays. Entertainment is deemed inappropriate as it leads to moral degradation. Secular literature is not encouraged, unlike spiritual texts such as the Old and New Testaments, or works by Maxim Rudometkin, a 19th-century spiritual leader of the Molokans. 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In this article, I’ve collected notable examples of Soviet Modernist architecture from across the former Soviet Union countries. These iconic structures embody the era's distinctive style, merging functionality with bold, innovative designs. From towering buildings to communal spaces, Soviet Modernism left a lasting imprint on the architectural landscape. < Back Modernist architecture in the Soviet Union In this article, I’ve collected notable examples of Soviet Modernist architecture from across the former Soviet Union countries. These iconic structures embody the era's distinctive style, merging functionality with bold, innovative designs. From towering buildings to communal spaces, Soviet Modernism left a lasting imprint on the architectural landscape. Modernist architecture emerged in the early 20th century as a bold departure from tradition, emphasizing function, simplicity, and the expressive potential of new materials like concrete, glass, and steel. In the Soviet Union, this movement took on a unique character, evolving significantly after the ornate excesses of Stalinist neoclassicism in the 1930s and 1940s. By the mid-1950s, under Nikita Khrushchev’s push for mass housing and utilitarian design, Soviet architects embraced modernism to meet the needs of a rapidly industrializing society. This shift birthed a distinct architectural language—often called Soviet modernism—marked by geometric forms, experimental structures, and a blend of local cultural influences with the ideological drive for progress. Across the vast expanse of the USSR, from the Baltic states to Central Asia, modernist buildings became symbols of a forward-looking socialist utopia, though their legacy today is a mix of admiration, neglect, and rediscovery. Armenia Earlier, I wrote about Soviet modernist buildings in Armenia —you can check out the link for more details. In this article, I will highlight three of my favorite examples, one of which has unfortunately been demolished. Zvartnots Airport Zvartnots Airport, Terminal 1 in Soviet times Zvartnots Airport, particularly Terminal 1—now known as the Old Terminal—stands as one of the most prestigious architectural achievements of the Soviet era. Its futuristic design, reminiscent of a monolithic space city from science fiction, remains a testament to the bold vision of its creators. In 1970, an open competition for architectural proposals was held, awarding first prize to a team of architects, including Artur Tarkhanyan, Spartak Khachikyan, Zhorzh Shkhiyan, Sergey Baghdasaryan, and Levon Cherkezyan. The project was later refined with contributions from A. Tigranyan and A. Meschyan. Constructed in an impressively short timeframe, the airport was officially inaugurated on February 10, 1982, with great ceremony. Recognized for its innovative architectural design, the team behind Zvartnots was honored with the Armenian SSR State Prize in 1985. The establishment of the airport marked a major milestone for Armenia, transforming it into a key transportation hub. Its runways, meeting international standards, placed Zvartnots among the most advanced airports in the Soviet Union—comparable only to those in Moscow and Kyiv. The terminal’s design was groundbreaking: a circular structure with a truncated cone shape, spanning a 200-meter diameter. At its center, a mushroom-shaped tower housed a panoramic restaurant. Surrounding the main terminal were seven mini-terminals, each capable of handling 300 passengers per hour, along with 14 aircraft stands designed for TU-154 aircraft, or 7 stands for larger Airbus IL-82 planes. In 2004, construction began on a new terminal, a $100 million project covering 19,200 m², designed to accommodate 2 million passengers annually. Under a new airport administration contract, the arrivals hall opened on September 14, 2006, followed by the international departures hall on June 1, 2007. With the completion of the new terminal, Terminal 1 ceased operations in 2011. Youth Palace: A Lost Architectural Icon of Yerevan The Youth Palace in Yerevan. Photo: Vladimir Vyatkin The Youth Palace, colloquially known as "Kukuruznik" due to its resemblance to an ear of corn, was a landmark hotel and cultural complex in Yerevan. As part of the 50th anniversary celebrations of the USSR's founding, Soviet authorities initiated the construction of Youth Palaces in the capitals of all Soviet republics. In Yerevan, the site was strategically chosen on Kanaker Heights, at the northern end of Abovyan Street, where Alexander Tamanyan’s master plan for the city concluded. The project was financed by Moscow with the aim of creating a space where young people from across the Soviet republics could gather, engage in cultural exchange, organize symposia and festivals, participate in sports, and reside in the palace’s on-site hotel. In the mid-1970s, the head of the Armenian Komsomol, Stepan Poghosyan, commissioned renowned architects Hrachya Poghosyan, Artur Tarkhanyan, and Spartak Khachikyan to design the structure. A notable feature of the Youth Palace was its 1,000-seat stage hall, which was completed later. The top floor housed a café with a rotating floor, offering visitors a 360-degree panoramic view of Yerevan. This made it the second rotating structure in the Soviet Union, following the Ostankino TV Tower in Moscow. The Youth Palace officially opened in 1979, operating as a state enterprise under the Intourist system. Adjacent to Abovyan Park, it became a key venue for cultural and social events. However, in 2005, under demolition permit No. 40 issued by the Yerevan Municipality, the structure was deemed unsafe based on assessments from Hayseismshin and KPAH, signed by Yerevan’s Chief Architect, Samvel Danielyan. Over the next two years, the building was completely demolished. Today, the former Youth Palace site has been transformed into a large active quarry, marking the loss of one of Yerevan’s most distinctive Soviet-era architectural landmarks. Sevan Writer's Rest House Perched on the Sevan Peninsula along the shores of Lake Sevan, the Sevan Writers' Rest House stands as a striking example of Soviet-era modernist architecture, continuing to attract visitors from around the world. Constructed primarily from concrete, the complex consists of two distinct structures: the Residence Hall and the Lounge Building , built at different stages of the Soviet period. Designed by architects Gevorg Kochar and Mikayel Mazmanyan, the Residence Hall was initially conceived in 1932 and completed in 1935. In 1963, Kochar was commissioned to renovate and expand the resort, adding an additional floor and a spacious terrace to the Residence Hall, refining its original aesthetic. As part of the expansion, Kochar also designed the new Lounge Building. While architecturally distinct from the Residence Hall, the two structures blend seamlessly with the surrounding landscape and the historic Sevan Monastery nearby. Together, they form an enduring testament to post-Stalinist Soviet modernism, embodying both innovation and harmony with their environment. Belarus Belexpo - The Pavilion of International Exhibitions The Pavilion of International Exhibitions, also known as "Belexpo," is a notable architectural structure in Minsk, Belarus. It was constructed in the 1980s, with its design credited to architects Leonard Moskalevich, Galina Laskavaya, and Viktor Kopylov. This building exemplifies Soviet-era architecture, characterized by its bold, monumental style and functional design, intended to host large-scale exhibitions and events. Located in the heart of Minsk, it remains a significant venue for trade shows and cultural gatherings, reflecting the city's history and its role as a hub of activity during the late Soviet period. Estonia Hotel Viru: Tallinn’s Soviet-Era Skyscraper and KGB Listening Post The Hotel Viru, an iconic establishment in Tallinn, Estonia, was designed by architects Henno Sepmann and Mart Port. The interior design was crafted by Vello Asi, Väino Tamm, and Loomet Raudsepp. Construction commenced in July 1969 under the Finnish company Repo Oy, but after a fire in December 1969, the project was completed by another Finnish firm, Haka Oy, and the hotel officially opened on May 5, 1972. While the hotel's official structure comprised 22 floors, a hidden 23rd floor housed a KGB radio center. The floor remained a secret until 1991, when, amidst the Soviet collapse, KGB operatives abandoned their posts overnight. Sixty rooms were bugged with hidden microphones in walls, telephones, ashtrays, and even flowerpots. Restaurant tables, saunas, and corridors were under constant surveillance. Guests, including journalists and Estonian exiles, were closely monitored. The unspoken rule: say aloud in your room that you need soap, and it would arrive instantly—proof someone was always listening. Despite its espionage legacy, Hotel Viru was a hub of Soviet nightlife, hosting celebrities like Elizabeth Taylor and Neil Armstrong. The lavish restaurant and exclusive “Currency Bar” catered to foreign guests, ensuring they never had to leave the KGB-controlled space. Today, the abandoned 23rd floor remains a chilling time capsule, preserved as the KGB Museum, where visitors can glimpse remnants of Cold War surveillance operations in the heart of Tallinn. Tallinn TV Tower The Tallinn TV Tower, standing at 314 meters, is the tallest building in Estonia and a prime example of Soviet Modernist architecture. Construction commenced on September 30, 1975, and the tower was officially inaugurated on July 11, 1980, in time for the 1980 Moscow Summer Olympics. Designed by architects David Baziladze and Juri Sinis, with engineers Vladimir Obydov and Yevgeny Ignatov, the tower was built to enhance telecommunication services for the Olympic regatta events held in Tallinn. The observation deck, located 170 meters above ground, offers panoramic views of the city and the Gulf of Finland. After renovations, the tower reopened to visitors on April 5, 2012, and now serves as a cultural and leisure center. Georgia Soviet modernism, particularly from the 1950s onwards, marked a shift from the ornate Stalinist architecture to more functional, minimalist designs. In Georgia, this period saw architects leveraging local materials and cultural motifs, creating buildings that stood out for their uniqueness. The country's hilly terrain and seismic activity also influenced designs, requiring innovative solutions that often resulted in striking, futuristic forms. In this article, I have excluded the Ministry of Highway Construction of the Georgian SSR and the Wedding Palace (Palace of Rituals) in Tbilisi, Georgia, as they are more accurately categorized under Brutalist architecture. For more information on these structures, please check out the following article, "Brutalist Architecture in the Soviet Union." Tbilisi Skybridge (Nutsubidze Skybridge) The Nutsubidze Skybridge, also known as the Tbilisi Skybridge, is a notable example of Soviet-era modernist architecture located in Tbilisi, Georgia. Designed by Georgian architects Otar 'Toni' Kalandarishvili and Gizo Potskhishvili, the complex was constructed between 1974 and 1976. It comprises three residential towers interconnected by elevated walkways, creating a distinctive silhouette against the city's landscape. The design incorporates elements of Brutalism, characterized by raw concrete structures, while also reflecting Georgian architectural motifs, such as horseshoe-shaped façade elements inspired by traditional Tbilisi balconies. These elevated bridges not only serve as physical connections between the buildings but also symbolize the ambitious urban planning ideals of the Soviet period. Tbilisi Chess Palace and Alpine Club (1973-1976) – Tbilisi The Tbilisi Chess Palace and Alpine Club, inaugurated in 1973, stands as a testament to late Soviet Modernist architecture in Georgia. Designed by architects Vladimir Aleksi-Meskhishvili and Germane Ghudushauri, the facility is nestled within Tbilisi's Vera Park (formerly Kirov Park). The establishment is dedicated to Nona Gaprindashvili, a five-time world chess champion, and mountaineer Alexandra Japaridze, reflecting its dual purpose of promoting both chess and alpine sports. Architecturally, the three-story building harmoniously integrates with the park's sloping terrain. The structure features an amphitheater-style main hall accommodating 520 spectators, with movable panels on the third floor allowing natural light to permeate the space. The use of local materials, such as beige Eklar stone and extensive glass elements, ensures a seamless blend with the surrounding landscape. In 2019, the Georgian government designated the Tbilisi Chess Palace and Alpine Club as a cultural heritage monument, underscoring its architectural and historical significance. Today, the building continues to serve its original functions, housing the Georgian Chess Federation on the second floor and the Alpine Club on the first floor, thereby remaining a vibrant center for both chess enthusiasts and mountaineers. Tbilisi State Philharmonic Hall: A Cultural Landmark of Georgia The Tbilisi State Philharmonic Hall is one of Georgia’s most prominent concert venues, located at 36/1 Merab Kostava Street in Tbilisi. Serving as a major cultural and architectural landmark, it has played a crucial role in the development of Georgian music and performing arts The Tbilisi Philharmonic Hall was constructed between 1971 and 1976 under the direction of architect Irakli Chkhankeli. Designed in the Soviet modernist style, the building features a distinctive circular structure with a spacious foyer that seamlessly integrates with the surrounding cityscape. The hall remains one of Tbilisi’s most remarkable architectural works from the late Soviet period. The venue boasts a main concert hall with a capacity of 2,500 seats and a smaller hall accommodating 750 guests. The spacious circular foyer enhances the building’s accessibility and connection with its urban surroundings. In front of the concert hall, a bronze sculpture titled "The Muse" by sculptor Merab Berdzenishvili and architect Irakli Chkhankeli serves as an artistic focal point. Today, the Tbilisi State Philharmonic Hall continues to be a leading venue for concerts, festivals, and cultural events, attracting both local and international performers. The hall's extensive renovation in the early 21st century has helped preserve its architectural integrity while modernizing its facilities. Kazakhstan Hotel Kazakhstan Built in 1977 with a capacity of 1,000 guests, the Kazakhstan Hotel is an architectural landmark. Designed by architects L. Ukhobotov, Yu. Ratushny, A. Anchugov, and V. Kashtanov, with structural engineers A. Deev and N. Matviets, engineer A. Tatygulov, and artists M. Kenbaev and N. Tsivchinsky, the building earned its creators the State Prize of the Kazakh SSR named after Chokan Valikhanov in 1980. Standing at 102 meters, it was the tallest building in Almaty from 1977 to 2008 and continues to host approximately 300,000 guests annually. For the first time in the Soviet Union, a 25-story building was constructed in a high-risk seismic zone (rated at nine on the seismic scale) without traditional scaffolding. Instead, a sliding formwork method was used, supported by hydraulic lifts. The reinforced concrete core of the building was set on a massive 40×60-meter foundation slab, 180 cm thick, with all floors effectively "threaded" onto this core. Shortly before completion, the structure underwent rigorous seismic testing. A special machine installed at the top of the building simulated earthquake tremors, while sensors on various floors recorded the vibrations. The building’s earthquake resistance was confirmed in 1979 when it withstood a magnitude 5 earthquake without damage. Arasan Bathhouse Complex Arasan (translated from Kazakh as "warm spring") is a wellness complex in Almaty. Built between 1979 and 1982 under the supervision of a team of architects and engineers (V. T. Khvan, M. K. Ospanov, V. V. Chechelev, K. R. Tulebaev, and others), it was constructed on the site of the 1935 bathhouses on Gogol Street. The Arasan complex includes Eastern, Russian, and Finnish baths, a hydrotherapy center, a shower pavilion, and a children's section. Located in the city's prestigious "Golden Square" district, Arasan was not built due to a "critical shortage of bathhouses" but rather in response to the opening of a magnificent bathhouse complex in Tashkent in 1977, designed by Moscow architect Andrey Kosinsky. However, compared to that facility, Arasan is reminiscent of the ancient Baths of Caracalla. It was the largest bathhouse in the USSR, covering an area of 19,000 square meters with a daily capacity of 3,200 visitors. Unlike the lavishly decorated Tashkent bathhouses, Arasan's architectural beauty lies in its form. The domes set the visual theme, causing the walls to flow in smooth curves. The interiors, however, are far more luxurious, particularly the "temples" of the pools, where nearly the entire floor is covered with water. The Eastern Hall, resembling an ancient tepidarium, stands out as the most striking and elegant space in the complex. The House of Services in Astana The House of Services in Astana, built in the 1970s in the style of Soviet modernism, remained a striking example of its era’s architecture for many years. In 2012, plans for its renovation were announced. The reconstruction, carried out in 2014–2015, radically transformed the building’s appearance, making it more modern but stripping it of its former uniqueness. Today, the building is hardly recognizable: its facade, now featuring tinted glass, only vaguely resembles the original vision of its creators. Kyrgyzstan National Historical and Archaeological Museum Complex Sulayman The National Historical and Archaeological Museum Complex Sulayman, located in Osh, Kyrgyzstan, is a notable example of Soviet-era architecture. Constructed in 1978 to mark the 3,000th anniversary of Osh, the National Historical and Archaeological Museum Complex Sulayman is seamlessly integrated into the iconic Sulayman Mountain. Its striking design, highlighted by a sophisticated glassed concrete arch at the entrance, exemplifies Soviet-era architectural innovation. In 2009, the site earned prestigious recognition as a UNESCO World Heritage Site, affirming its global cultural and historical significance. While some sources describe the museum's design as Brutalist, characterized by its bold use of concrete and geometric forms, others highlight its modernist elements. The integration of the structure into the mountain and the use of glass and concrete align with modernist architectural principles. Therefore, the museum can be seen as embodying both Brutalist and modernist architectural styles. Kyrgyz State Historical Museum The Kyrgyz State Historical Museum in Bishkek stands as a quintessential example of modernist architecture, completed in 1984 during the waning years of Soviet influence in Central Asia. Designed with a bold cubic form and unadorned surfaces, the building embodies the minimalist design principles of the modernist movement, prioritizing simplicity, functionality, and structural clarity. This aesthetic, characteristic of late Soviet architectural trends, reflects a deliberate shift toward rationalism and efficiency, hallmarks of the era’s urban development initiatives across the region. The museum’s design transcends mere utility, aligning seamlessly with modernist ideals by eschewing ornamental excess in favor of a stripped-down elegance that underscores its role as a premier cultural institution. Its clean lines and geometric precision create an unobtrusive backdrop, allowing the rich historical and ethnographic exhibits—spanning Kyrgyzstan’s ancient nomadic heritage to its Soviet past—to take center stage. Spanning approximately 8,000 square meters, the structure integrates open interior spaces that enhance visitor engagement, a testament to its thoughtful balance of form and purpose. Recognized as one of Bishkek’s architectural landmarks, the Kyrgyz State Historical Museum not only preserves the nation’s legacy but also serves as a enduring symbol of modernist innovation in the late 20th century. Latvia Dailes Theatre in Riga The Dailes Theatre in Riga, Latvia, stands as a prominent example of Soviet modernist architecture. In 1959, architect Marta Staņa won a competition to design a new building for the theatre. Construction commenced in 1966 and concluded in 1976, with the theatre officially opening its doors at Brīvības Street 75. Staņa's design is celebrated for its functionalism, characterized by clean lines and a minimalist aesthetic. The building features a glassed viewer's lobby stretching along Brīvības Street, contrasting dark brick elements with bright concrete and glass surfaces. A notable feature is the stylized flame relief adorning the upper facade, interpreted by sculptor Ojārs Feldbergs. The project involved architects M. Staņa, I. Jakobsons, H. Kanders, structural engineer A. Briedis, and sculptors O. Feldbergs and I. Muravskis. The interior design was created by architects M. Staņa and A. Vecsiliš, designer A. Ramats, and artist A. Vilbergs. In the final stages, Latvian architects V. Saviško and I. Akolov, as well as specialists from Moscow and Leningrad, joined the team. The theatre houses three halls: Large Hall: Accommodates up to 980 seats, suitable for a wide range of performances, including dramas, comedies, tragedies, musical performances, children's shows, and concerts. Small Hall: Seats up to 197 guests, often used for experimental productions and close-up psychological studies. Chamber Hall: Offers an intimate setting with up to 83 seats, ideal for experimental and avant-garde performances. In recent years, the theatre's square underwent refurbishment by MADE arhitekti, earning the Latvian Architecture Award 2023 Grand Prix. The project preserved the landscaping principles and materials characteristic of the original modernist design while enhancing accessibility and creating a welcoming environment for all visitors. World Trade Centre Riga The World Trade Center Riga, originally constructed in 1974, served as the headquarters for the Central Committee of the Communist Party of Latvia during the Soviet era. This building is a notable example of Soviet modernist architecture, reflecting the design principles prevalent in that period. The building was designed by a team of Latvian architects: J. Vilciņš, A. Ūdris, G. Asaris, and A. Staņislavskis. The structure embodies the functional and minimalist aesthetics typical of Soviet modernism, characterized by clean lines, geometric forms, and the use of materials such as concrete and glass. Following Latvia's independence, the building was repurposed as the World Trade Center Riga, aligning with the country's integration into global economic networks. This transition reflects a broader trend of adapting Soviet-era structures for new functions in the post-Soviet period. Press House (Riga) The Press House (Preses nams in Latvian) is one of the first high-rise buildings in Riga, the capital of Latvia. Originally constructed to house editorial offices of Latvian newspapers and magazines, it is located on Ķīpsala Island. Built between 1973 and 1978, the project cost approximately 20 million rubles. The building was constructed using a monolithic concrete frame and consists of 20 functional floors, with two additional technical floors at the top. Notably, it was the first building in Latvia to incorporate slipform construction, a technique that required specialized equipment and hydraulic jacks manufactured in Minsk. The core of the 26-story tower (from the basement to the technical floor) was erected at an unprecedented pace—in just 35 days. The project was led by Elena Ageevna Pozharskaya, head of SU-55 of the "RigaPromStroy" trust. The construction process included a reinforced concrete framework, with columns installed into sockets and rigid walls assembled. At peak efficiency, up to four floors were installed per day. However, the project faced delays of six years due to labor-intensive techniques such as bathtub welding and the casting of shock concrete panels, which required expensive custom equipment and significantly increased both time and cost. The Press House stands 75 meters tall. Adjacent to the high-rise was a large two-story printing facility, which covered a significant area despite its lower height. The building included a bomb shelter for 250 people. Its exterior finish featured concrete panels, natural marble, and granite, while the conference hall was adorned with wood paneling for a refined interior. Lithuania Lazdynai: A Visionary Approach to Soviet Urban Planning In the 1950s, the Baltic states faced rapid population growth and severe housing shortages. Soviet leader Nikita Khrushchev introduced a mass housing program relying on prefabricated panel buildings, known as Khrushchovkas. However, these uniform structures threatened the historic character of Vilnius, prompting a group of architects to resist their spread into the city center. As an alternative, the architects were assigned the task of designing a new residential district outside Vilnius. The chosen location was near the Polish village of Leszczyniaki, known in Lithuanian as Lazdynai. Instead of following Soviet architectural norms, the team drew inspiration from Finnish urban planning, focusing on harmonizing buildings with the natural landscape. This was a modernist approach to urban planning within the Soviet context. Unlike typical Soviet khrushchovkas, which followed a rigid and utilitarian layout, Lazdynai was inspired by Finnish modernist architecture, emphasizing: Terraced layouts that followed the natural landscape More open spaces and greenery compared to typical Soviet microdistricts Better integration with nature, avoiding the monotonous grid-like planning of standard panel housing Initially met with skepticism by Soviet authorities, the project was eventually embraced. In 1974, its leading architects—Vytautas Čekanauskas, Vytautas Brėdikis, Vytautas Balčiūnas, and Gediminas Valiuškis, along with engineers Algimantas Kleinotas and Vincentas Šileika—were honored with the Lenin Prize in Architecture for their innovative approach. Lithuanian National Opera and Ballet Theatre (Vilnius) The Lithuanian National Opera and Ballet Theatre (LNOBT) is one of the most significant cultural institutions in Lithuania, renowned for its world-class opera and ballet performances. Located in Vilnius, the theatre stands as a prime example of Soviet modernist architecture, blending monumental forms with functionality. The theatre, designed by renowned Lithuanian architect Elena Nijolė Bučiūtė and completed in 1974, is a striking example of late Soviet modernist architecture. Defined by clean geometric lines, a monumental façade, and an emphasis on verticality, the building embodies both elegance and functionality. Expansive glass panels create a sense of openness, while sculptural reliefs add depth and artistic refinement to its exterior. The main auditorium of the theatre is celebrated for its excellent acoustics and can accommodate over 1,000 spectators. The interior features wood, marble, and chandeliers, creating an elegant and sophisticated atmosphere. Additionally, the theatre features a smaller Chamber Hall with a capacity of 250 seats, used for more intimate performances or events. The theatre complex also includes rehearsal rooms, costume workshops, and technical facilities, making it a fully equipped performing arts center. Moldova Chisinau State Circus: A Monument of Soviet-Era Entertainment The Chisinau State Circus, an architectural and cultural landmark, was built in 1981 by architects Ala Kirichenko and Simion Shoyhet. At the time of its opening, it was one of the most advanced circus venues in the Soviet Union, featuring state-of-the-art equipment, dedicated rehearsal spaces, and facilities for animals and veterinary care. In 1988, the entrance was adorned with a sculptural ensemble by renowned artist Matvey Levinson, depicting two smiling acrobat-clowns, warmly welcoming visitors With a seating capacity of 1,900 and a 40-foot-wide performance ring, it was the largest auditorium in Moldova. The venue attracted world-class circus artists from Belarus, China, Finland, Germany, Russia, Ukraine, and beyond, establishing itself as a premier destination for live entertainment. At its peak, the Chisinau Circus was a record-breaking institution, hosting up to 57 performances per year, significantly surpassing other circuses in the Soviet bloc, which averaged around 14 shows annually. With a dedicated staff of about 60 people, it became a cultural hub for both local and international performers. Following the collapse of the Soviet Union, the circus experienced a decline in activity. By 2004, it ceased operations due to urgent renovation needs. In 2006, a decree by the Ministry of Culture and Tourism led to its listing on the stock market, marking a significant shift in its status. Despite its current inactivity, the Chisinau State Circus remains an iconic symbol of Moldova’s rich cultural and entertainment history, awaiting restoration to its former glory. The "Romanita" Collective Housing Tower (Chisinau) In the mid-1970s, to address growing housing needs, local authorities initiated the construction of a residential tower for small family units. Designed and built between 1978 and 1986 by architect O. Vronski and engineer A. Marian, in collaboration with O. Blogu, S. Crani, N. Rebenko, and P. Feldman, the project was a remarkable structural achievement of its time. The 16 residential floors were designed with cantilevered units, giving the building a distinctive slender appearance—an uncommon feature in that era. Standing approximately 77 meters tall, the "Romanita" tower was once the tallest building in Chisinau. It comprises two basement levels, a ground floor, and 22 above-ground stories. Designed as a collective housing complex, its circular form and vertical orientation were influenced by its proximity to Valea Trandafirilor Park. The structure includes four floors dedicated to utilities such as laundry, drying rooms, and other household facilities, while the two underground levels house technical areas. The tower's residential design followed the socialist-era model, where housing units were strictly standardized. Each unit consisted of two rooms for two occupants, along with a hall and a bathroom. Shared kitchens, recreation rooms, and technical spaces were available on each floor. The layout typically included eight two-room units per level, linked by a circular corridor with communal spaces illuminated by natural light. Modifications to living spaces required official approval, reflecting the rigid regulations of the period. Following privatization in the 1990s, the tower transitioned from social housing to private apartments. Residents, seeking to expand their limited living spaces, added makeshift balconies, significantly altering the building’s original design. Over time, these unauthorized modifications distorted its architectural integrity. Cosmos Hotel (Chișinău) The Cosmos Hotel was built between 1974 and 1983, designed by architects B. Banykin and Irina Kolbayeva. Located near Chișinău’s central railway and bus stations, and just 11 km from the international airport, it was one of the largest hotels in Moldova during the Soviet era. The 19-story structure was constructed using reinforced concrete and prefabricated elements, reflecting the architectural style of its time. During the 1980s, Moldova was a popular travel destination within the Soviet Union, and the hotel boasted an impressive 90% occupancy rate in summer, reaching 100% from September to November. However, after the political changes of 1990, tourism declined sharply, and the hotel’s business model had to adapt. To maximize its use, management began leasing rooms as office spaces and repurposed the lobby for commercial activities. Between 1997 and 2004, investments were made to improve economic performance and service quality, elevating the hotel’s status from two to three stars. However, today, the Cosmos Hotel operates at reduced capacity. Many rooms have deteriorated, with worn-out finishes, damaged tiles, and aging sanitary facilities, while public areas on the ground floor and mezzanine remain in better condition. Russia The Presidium of the Academy of Science or “Golden Brains” The Presidium of the Russian Academy of Sciences, often called the “Golden Brains,” is one of Moscow’s most striking architectural landmarks. Designed by Yuri Platonov, the construction of the Presidium of the Russian Academy of Sciences began in 1974. However, due to technical difficulties and delays, it was not completed until the early 1990s. The project was an ambitious attempt to create a high-tech structure beyond the technological limits of its time. The construction was initially delayed due to unstable ground conditions, prompting engineer Levenshtein to design deep underground volumes, the exact depth of which remains shrouded in mystery. The marble cladding was meticulously quartered by Sergey Kisselev, later a key post-Soviet architect. Most of the construction relied on Yugoslavian materials and labor, making later renovations challenging, as many of the original components are now unavailable. The structure combines precast concrete, steel, and ceramic cement panels clad in marble. Its golden-tinted glass and anodized aluminum elements shift hues depending on the light. The most recognizable feature is the intricate metal structures atop the building, designed by Mstislav Keldysh to echo Moscow’s golden domes while concealing rooftop utilities. The central golden clock, though decorative, adds to the futuristic aesthetic. Completed just as the Soviet Union collapsed, the building stands as a monument to an era of grand scientific ambition—and its abrupt decline. Tajikistan The Tajikistan Hotel, Dushanbe, 1977 The Tajikistan Hotel, designed by architect A. Onishchenko, featured 498 rooms, each equipped with contemporary furnishings, a radio, telephone, and television—luxuries of its time. The complex also included its own telephone exchange, radio station, and electrical substation. The name “Tajikistan” set high expectations, which is why the hotel’s artistic design involved renowned Tajik monumental artists and folk masters such as S. Nuriddinov (woodcarver), V. Sabzaliev (ceramicist), S. Sharipov, V. Odinaev, and D. Abdusamatov (tapestries). Turkmenistan Turkmen State Circus in Ashgabat The Turkmen State Circus (Turkmen: Türkmenistanyň Döwlet Sirki) is located on Magtymguly Avenue in Ashgabat. The circus hall has a seating capacity of 1,700. The building was constructed between 1979 and 1984, designed by architect Arif Zeynalov. What makes this structure unique is its column-free design and a scaly roof that can withstand earthquakes of up to 9 on the Richter scale. This innovative approach was developed by young Turkmen scientist Annageldi Bazarov, based on his PhD dissertation defended in 1975. The same design was later used for circuses in Bishkek (Kyrgyzstan) and Dushanbe (Tajikistan). Ukraine Hotel Salyut in Kyiv Hotel Salyut is a landmark of Soviet modernist architecture, standing out with its unique design. Built in 1984 based on the project by architect Avraam Miletsky, this seven-story hotel is located in the Pechersk district of Kyiv, on Slava Square, near a park and not far from the Kyiv Pechersk Lavra. The original plan envisioned an 18-story building, but after official approvals, the project was unexpectedly modified, reducing the height to eight floors, with only five being residential. The architectural concept is based on a central circular core that supports the suspended residential floors. The top section, resembling a "cap," was initially designed to house a summer restaurant with a panoramic view of the Dnipro River. The hotel has 100 rooms, including 90 single rooms and 10 two-room suites. As a three-star hotel, Salyut offers basic amenities for a comfortable stay. The construction of the hotel sparked controversy, especially among preservationists concerned about Kyiv’s historical skyline. Its proximity to the Kyiv Pechersk Lavra raised concerns about the impact on the monastery's visual integrity. However, over time, Salyut became an integral part of the cityscape and a prime example of late Soviet modernist architecture. Today, Hotel Salyut remains an important architectural landmark in Kyiv, attracting not only tourists but also enthusiasts of urban design. Lviv Bus Station Lviv Bus Station is a major terminal for intercity and international bus transportation in Lviv, Ukraine. It is located at 109 Stryiska Street and serves as an important gateway for travelers heading to various destinations, including the Carpathians and other regions via the city’s ring road. The station was built between 1976 and 1980, designed by architects V. Sagaidakovskyi and M. Stolyarov, with engineers V. Boikiv and A. Yefremov. It was planned as part of Lviv’s general urban development strategy, placing the bus station on the southern outskirts of the city to facilitate easy departures. The terminal is designed to handle up to 800 passengers per hour. Its spatial composition resembles a three-leaf structure, dividing the station into three functional zones: a forecourt facing the city’s highway, an arrival zone, and a departure zone for buses. Facing Stryiska Street, the building has three floors and features an extended, complexly designed canopy supported by reinforced concrete struts near the main entrance, adding to its distinctive modernist appearance. Today, Lviv Bus Station continues to be a key transportation hub, providing connectivity for both local and international travelers. Uzbekistan Tashkent TV Tower: The Tallest Observation Deck in Central Asia The Tashkent TV Tower is a prominent landmark in Uzbekistan’s capital, serving as a television and radio broadcasting hub. Standing at an impressive 375 meters, it is the tallest structure in Central Asia that features a publicly accessible observation deck. The tower ranks as the second tallest structure in the region, following the 420-meter chimney of the Ekibastuz GRES-2 power station. Construction of the tower began in 1978 and took six years to complete. On January 15, 1985, it officially commenced operations. The architectural vision behind this impressive structure was realized by Yuri Semashko and N. G. Terziev-Tsarkov, while engineers E. P. Morozov and M. D. Musheev handled the structural design. Its unique design ensures stability and durability, crucial for seismic activity common in the region. The tower’s framework consists of a combination of reinforced concrete and steel, contributing to its ability to withstand strong winds and earthquakes. One of the tower’s main attractions is its observation deck, which provides breathtaking panoramic views of Tashkent. Visitors can also enjoy a meal at the revolving restaurant located within the tower, offering a unique dining experience with ever-changing views of the city skyline. 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Geghard, the Spear of Destiny, also known as the Holy Lance or the Spear of Longinus, is a legendary relic with a history shrouded in myth and mystery. According to Christian tradition, the spear is said to be the weapon that allegedly pierced the side of Jesus as he hung on the cross during his crucifixion. Several relics are claimed to be fragments of the Holy Lance or the spearhead itself. Some of the most renowned locations housing these relics include Vienna, Austria, where the most famous relic is kept in the Hofburg Palace; Rome, Italy, where a significant relic is housed in the Vatican Museum; and Vagharshapat, Armenia, where a spearhead is displayed in the Museum of the Mother See of Holy Etchmiadzin. In this article, we will primarily focus on the relic housed in Vagharshapat, Armenia, which was preserved in the Ayrivank Monastery for 500 years. < Back Spear of Destiny - Geghard Geghard, the Spear of Destiny, also known as the Holy Lance or the Spear of Longinus, is a legendary relic with a history shrouded in myth and mystery. According to Christian tradition, the spear is said to be the weapon that allegedly pierced the side of Jesus as he hung on the cross during his crucifixion. Several relics are claimed to be fragments of the Holy Lance or the spearhead itself. Some of the most renowned locations housing these relics include Vienna, Austria, where the most famous relic is kept in the Hofburg Palace; Rome, Italy, where a significant relic is housed in the Vatican Museum; and Vagharshapat, Armenia, where a spearhead is displayed in the Museum of the Mother See of Holy Etchmiadzin. In this article, we will primarily focus on the relic housed in Vagharshapat, Armenia, which was preserved in the Ayrivank Monastery for 500 years. The crucifixion of Jesus is narrated in all four canonical gospels. After facing trials, Jesus carries his cross to Calvary, with the path traditionally referred to as the Via Dolorosa. At Calvary, a sponge soaked in a painkiller mixture is offered to Jesus, and according to Matthew and Mark, he declines it. The soldiers proceed to crucify Jesus and cast lots for his clothes. Pilate's inscription, "Jesus of Nazareth, the King of the Jews," is placed above Jesus' head on the cross, leading to mockery from soldiers and onlookers. Two convicted thieves are also crucified alongside Jesus. In Matthew and Mark, both thieves mock Jesus. In Luke, one of them rebukes Jesus, while the other defends him. Jesus responds to the latter, saying, "today you will be with me in Paradise." In John 19:33–34, Roman soldiers broke the legs of the two thieves to hasten their death, but they didn't do the same to Jesus, who was already dead. Instead, one soldier pierced Jesus' side with a lance, and blood and water flowed out. Fresco by Fra Angelico, located in the Dominican monastery at San Marco, Florence, depicting the scene when a Roman soldier pierces Jesus' side with a lance on the cross. Longinus is the name given to the unnamed Roman soldier who pierced Jesus' side with a lance, described in medieval and some modern Christian traditions as a convert to Christianity. His name first appeared in the apocryphal Gospel of Nicodemus. The lance is called the "Holy Lance" (lancea) in Christianity, and the story is related in the Gospel of John during the Crucifixion. This act is said to have created the last of the Five Holy Wounds of Christ. According to the tradition of the Armenian Church, the Holy Lance or Geghard was brought to Armenia by the apostle Thaddeus in the year 33, and it was kept in Christian communities for a long time. In 301, when Christianity was declared the state religion in Armenia, Geghard became the property of the Armenian Apostolic Church. Now it is displayed in the Echmiadzin treasury. Since that day, the weapon of death (Armenian: Գեղարդ - Geghard) has become a sacred relic for Christians. The spear's journey through history is both fascinating and enigmatic. Legends suggest that whoever possesses the Spear of Destiny holds a source of great power. In medieval times, the spear became a sought-after relic and was believed to grant its owner invincibility. Rulers like Charlemagne, Frederick I of the Holy Roman Empire, and others were said to have possessed or sought the spear. Its association with divine powers led to its use as a symbol of legitimacy and authority. During the Crusades, the Spear of Destiny gained further prominence, with many believing that its possession could influence the outcome of battles. The fascination with the spear continued through the ages, and it became the subject of various myths, legends, and conspiracy theories. On the door of Geghard Monastery is carved the representation of the Spear of Destiny, which for centuries was kept here! At least four major relics are claimed to be the Holy Lance or parts of it, located in Rome, Vienna, Armenia, and Antioch. In Mein Kampf, Adolf Hitler wrote that the Imperial Insignia "were still preserved in Vienna and appeared to act as magical relics rather than as the visible guarantee of an everlasting bond of union. In 1938, Nazi Germany annexed Austria, and Hitler visited the Hofburg Palace. Thirty years earlier, Hitler’s indelible conviction that he would one day claim the Spear of Destiny materialized from the moment he was free to remove the ancient weapon in the museum of the Hofburg Palace. One can imagine he held the talisman of power in his hands. Walter Stein comments that Hitler stood at the moment like a man in a trance, as if had cast some dreadful magic spell: “he was suffering almost a total eclipse of self-consciousness. He felt somehow renewed as a complete human being, a deep longing arose in his heart to discover the meaning of his individual destiny. It was a chastening experience.” Aerial view of Geghard Monastery As mentioned earlier one of the supposed Holy Lances is conserved in Armenia, in ancient city of Echmiadzin, the religious capital of Armenia. It was previously held in the monastery of Geghard. The first source that mentions it is a text called "Holy Relics of Our Lord Jesus Christ," in a thirteenth-century Armenian manuscript. According to this text, the spear that pierced Jesus was brought to Armenia by the Apostle Thaddeus. In 1655, the French traveler Jean-Baptiste Tavernier was the first Westerner to see this relic in Armenia. Every year during the commemoration of the apostles St. Thaddeus and St. Bartholomew, the relic is brought out for worship. The true nature and origin of the Spear of Destiny remain elusive, blending historical events with religious symbolism and legendary tales. While its mystical powers are a matter of belief, the spear's historical journey and its impact on the course of history make it a captivating relic that continues to capture the imagination of historians, archaeologists, and enthusiasts alike. 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During a conversation with G. Mattu, an expert in Soviet Armenian public and fine art, I asked him which monument was his favorite. He replied, "The unreachable one." He was referring to Mother Armenia, also known as Arevik (Sun), a striking statue located on the Armenia-Azerbaijan border within Armenian territory. < Back The Unreachable Mother Armenia During a conversation with G. Mattu, an expert in Soviet Armenian public and fine art, I asked him which monument was his favorite. He replied, "The unreachable one." He was referring to Mother Armenia, also known as Arevik (Sun), a striking statue located on the Armenia-Azerbaijan border within Armenian territory. In 1976, the 10-meter (some sources claim 17-meter) aluminum sculpture of Mother Armenia, also known as Arevik, was created by Adibek Grigoryan and placed near the Kayan district of Aygehovit village in Armenia's Tavush region, along the road connecting Azerbaijan and Armenia. This statue was an earlier version of the Arevik figure, originally intended for placement in one of the Central Asian republics. However, it was rejected for allegedly accentuating the female form too much. The statue was later revised and installed under the name Mother Armenia at the border. The scale model of Arevik, or Mother Armenia, along with sculptor Adibek Grigoryan! In this image, we can see the earlier design, where she holds a jar in her left arm The monument, depicting an Armenian woman with outstretched arms framed by sun-like rays, once symbolized Armenia’s welcoming spirit, greeting visitors from Russia, Georgia, and Azerbaijan. Today, the area where it stands is part of the village of Aygehovit in Tavush region. Unfortunately, on the night of September 28-29, 2014, a strong wind caused the edging frame, resembling the 'rays of the sun,' to fall from the statue, but Mother Armenia remains standing tall. Mother Armenia back in Soviet times Now situated within a minefield, the statue is impossible to approach, adding to its mystique and inaccessibility. While researching this monument, I came across an insightful article by Maya Khachatryan, published in Independent Reporting. Below is an excerpt from her interview with Aygehovit resident, former village head, and agriculturalist Henrik Hovsepyan: “Back in the Soviet years, Azerbaijanis installed a monument symbolizing the three countries of the region, which had an obvious political meaning. They portrayed themselves very big, as if they were dominating over Armenia and Georgia. In response, our regional leadership installed the 'Arevik' monument. The position of the monument was such that it could be seen from every house in that Azerbaijani settlement. Our 17-meter beauty became a mandatory stop for tourists visiting Armenia, where they would get out, take photos by the monument, and then continue their journey. Mother Armenia, as seen by Yulia Grigoryants after 2014, when the edging frame had already been damaged by the wind Approaching 'Arevik' is now prohibited; it can only be viewed from a distance, as the entire area is heavily mined. The monument is located directly across from Azerbaijani military positions, which is why nearly every shot fired has hit the statue. The area around 'Arevik' is under the control of our soldiers. During Soviet times, there was also a police outpost and a government reception house here, where South Caucasian leaders often shook hands. Aygehovit residents remember that during the times of Demirchyan and Kochinyan, many guests from neighboring republics were received here, including former Azerbaijani President Ayaz Mutallibov and former Georgian President Zviad Gamsakhurdia". Gallery You May Also Like Guide in Armenia Modernist architecture in the Soviet Union A Visit to the Mikhail Khergiani Museum The Tallest Stalin Statue Ever Erected A Hike to the Chalaadi Glacier The Real Story Behind the Movie The Lost City of Z Khash – One of the Most Unusual Armenian Dishes Hiking Guide to Climbing Mount Azhdahak