what is Armenian literature?

I'm still working on it. Certainly, there is an Armenian intellectual tradition deeply rooted in the first centuries of Christianity. But later on, there is a mind-boggling experience of Armenian traders, such as those who brought the silk tissues from Isfahan to almost all the early-modern world. It is easy to predict that must have been an extensive literacy connected to such a collective experience. Yet I never put my hands on it. 

I have read

Deviation. Anthology of Contemporary Armenian Literature (2008)

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I have written

... nothing ...

Step 1: reading to go

21.07.2015
I can say that Armenia has come to make part of my academic life quite early and I can say that, however indirectly, I owe something to it: in 1998/99 I spent a year in Lisbon with a generous stipend of the Calouste Gulbenkian Foundation. But for the rest, I might have been inclined to believe that the most distinguished Armenian is Lando Calrissian, the ruler of a mining colony in Star Wars. 
This is how I decided to travel to Armenia in the summer 2015, making it a part of my Ibn Battuta Reactivation Project, the life-long grand tour, the travel in search of knowledge, divided, according to my strict schedules, into 6 episodes each year. And as always, I started by searching for something that might connect the new territory with the rest of my intellectual empire. 
Initially, the image I had was of course based on the legendary vision of Armenia as "the advanced post of civilization". Soon I realized this is indeed a part of our colonial structures of knowledge: Armenians are "the most civilized among the Orientals". I'm quite surprised that a glance at JSTORE made me realize that a great deal of texts on Armenian culture, history or literature, still occupying the highest ranks by relevance, had been written in the first half of the 20th century, and they build up and transmit the legend. On the other hand, the genocide is not a business of mine. I cannot study it, I'm unable to write on it. In spite of the consciousness that I step onto a ground soaked with blood, intellectual and artistic success stories are what I'm after. And this is where I found the first difficulty. 
As an early attempt, I searched through the contemporary world literature key. Is there any Armenian novel I could bring into a comparison, something that might exemplify the transcultural state of mind? A priori, I suppose the Armenians might be just the right kind of people to enter my perspective, but the text didn't jump immediately on the screen, and I'm still searching for it. Where is the great transcultural novel of the Armenians? The first feeling I've got as far is that I step, quite on the contrary, into fields of exasperated and ossified identity. 
In the meanwhile, there is something else: a historical work by Sebouh David Aslanian, From the Indian Ocean to the Mediterranean: the global trade networks of Armenian merchants from New Julfa. It's about silk trade in Isfahan, but there is something else that intrigues me: a society that operates without any state among the imperial powers. This is a kind of parallel history I'm after, and a glance on Armenia and Armenians beyond the colonial structures of knowledge.

Step 2: reading through stones

3.08.2015
Are Armenians the Christians of Persia? At the first glance into the Echmiadzin or Etchmiadzin (several variants of spelling seem to be admitted), the decoration derived doubtlessly from Muslim aesthetics strikes me. 
Yet this is not the only example. The Persian spirit can be read in tiny and apparently insignificant details, the forms of angels, the shape of arches, even the treatment of the lions and lion hunting. 
For the little I've seen, I've built up a great sympathy for the Armenian Church. In a striking contrast to the Georgian clergy, aggressive and defensive at the same time, the Armenian priests seem humble, reserved, and simply humane, far from any temptation of adopting Byzantine poses. Once again, all what I could read about it in English dates back from the pre-genocide period: in Yerevan I've bought a fresh reprint of the classic work The Church of Armenia by the Patriarch of Constantinople Maghakia Ormanian, published for the first time in 1910. Forming my opinion mainly upon this single book, that naturally reflects a parti pris, I've imagined the Armenian Church as close to the apostolic source of Christianity as it is possible to be. The naked stones of the churches I've seen, blackened with time (with the exception of Noravank monastery that must have been restored recently), the scent of incense, even the vegetation invading the roofs, everything contributes for the impression of antiquity, authenticity and unaltered tradition. 
The beauty of the Armenian mass, entirely sung, is yet another story. Again, what distinguishes the most distinctive traits of the Armenian music is their simple, genuine, primordial character. I think about this mass, sung by a naked human voice, so distant from Western instrumental tradition, and at the same time I think about duduk (or tsiranapogh), the simple flute made of apricot wood, listed as Intangible Heritage of Humanity in 2008.
Yet with all this weight of things primordial, the country appears to the visitor as a reality out of time, lost in its past, lacking any present. The corroded skeletons of Soviet factories haunt at the bottom of pristine mountain valleys. The cities, including the peripheral districts of Yerevan, built invariably of the local orange or dirty pink volcanic tuff, give the impression of yet another kind of ruins. And once again, the grandiosity of the Soviet architecture has something Persian in it, yet not like in Echmiadzin. Perhaps something Median. Everything seems to sink deeper and deeper in time under the glance. 

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Killing a lioness? A small bas-relief at Noravank.

Sanahin monastery

It has long been my dream to come here. The gavit of the Sanahin monastery may have been the visual reference that actually brought me to Armenia. And as it always happens, the reality runs short of the dream. The monastery, as I came, was being "animated" by a group of students distributing leaflets and trying to explain to the guests "the importance of this place for the Armenian identity". The adoption of the Western paradigms of how things should be in such a place is clear, even if those young people still find it considerably difficult to speak English. They make me think about the young Moroccans I once saw "animating" the Habous quarter in Casablanca, with their unavoidable opinion poll at the end of the visit. 
Yet the stones speak for themselves, by split moments of illumination, by sun beams on the capitals of the pilasters in gloomy halls darkened with age. Except for a few paraphernalia on the stone altars, the churches are empty, filled only with fine clouds of incense smoke suspended in the air, even in apparent absence of any cult activities. For the rest, the state of picturesque disrepair of this UNESCO monument, with its overgrowing vegetation, is striking. I suppose it will not last for long, and at any eventual second visit I won't find it any more. This is a space in transition, half suspended in time and evoking those primordial sources of Christianity, half modernized, losing its living spirituality to become a secular monument, a temple of art, or perhaps of this abstract and void "identity" the students were speaking about.

Noravank monastery

Noravank is already what I suppose Sanahin will be soon: a well preserved, carefully restored UNESCO site. The stones of the monastery, at least for the artistically crucial parts, shine with their original orange and pink coloration. Overgrowing weeds are nowhere to be found, and there is a tiny museum exposing a couple of manuscripts and a curious frottage work by a Japanese artist Kunito Nagaoka who produced a fine "print" of the textured surface of a khachkar on precious paper, rubbing it with charcoal.

Tatev monastery

Also Tatev is a site in expansion, mainly due to its modern "wings": a cableway connecting it with the village of Halidzor on the other side of a mountain valley. Yet inside the former spirit of monastic existence is still alive, with bee hives on the roof and a provision of wood for the winter in front of the main church. 

Sevanavank

Step 3: reading the earth

The Armenian way of existence is singularly de-territorialized. Already in the Middle Ages and ever since, the Armenian world moved around, to Cilicia, to Constantinople, to Isfahan. Perhaps this is the very reason why certain landmarks, such as mount Ararat (today in Turkish territory), acquire a particular importance. 
It is even hard to say when did this process of de-territorialization actually start. It seems to be anterior to the very crystallization of a territorialized Armenian state and nation. Armenians appear in Cilicia as early as the 1st century BC, in the foundational times of Tigranes the Great. The medieval Armenian Cilicia reappears as the population moves into the Byzantine Empire under the pressure of Seljuc invasions. This medieval kingdom existed for three centuries, establishing close contacts not only with the Crusaders, but also with the Italian cities interested in the Levantine trade. 
New Julfa is yet another story. It was officially established as the Armenian quarter of Isfahan in 1606, but probably reflected much older presence. Be as it may, it became an early epicenter of globalization producing one of the vastest commercial networks of a modern or even post-modern type: it flourished throughout the early colonial era unsupported by any political structure, a global emporium without the underlying tissue of an empire. 
Such a historical context makes the conflict in Karabah very hard to understand, specially in confrontation with apparently uninhabited vastness of these mountains. Yet fighting for land is perhaps to become one of the crucial paradoxes of the post-globalized era that these early globalizers anticipate. 

Zorats Karer / Carahunge

The prehistoric site of Zorats Karer, also called Carahunge, is believed to be a necropolis, as well as an astronomical observatory. The holes bored at different angles through the menhirs seem to point towards precise spots on the sky. As much as showing whatsoever, the holes produce whistling sounds on windy days. The whole area, where other findings such as petroglyphs are also located, is first of all a place of exquisite beauty, lost in the vastness of the southern Armenian landscape. The ancestral usage of burning the stubble is still very much alive, adding a primeval agrarian ritual to the timeless landmark. Yet also here the process of "becoming art" is going on. Next to the site, a blue board announces the existence of an "artlaboratory Epicenter", supposedly dedicated to land art experiments that are often taken for a mere touristic replica of the true menhirs.

Sanahin monastery

Grigor chapel

Saghmosavank, the "Monastery of the Psalms"

It is one of the lesser-known monastery complexes in Armenia, a less attended one, darkened with age, solitary, and neglected. It is located quite impressively near a gorge carved by the Kasagh river and it dates back to the 13th century when the main church was built by an Armenian prince, Vache Vachutyan.

Selim caravanserai, 1332

This caravanserai on the Selim pass was commissioned by Prince Chesar Orbelian in 1332 to help the thence international traders on the Dvin-Partav road.  It is a low three-nave hall with a domed chapel at the east end. Under the eastern wall, there is also a basalt watering trough for the beasts. The interior, despite offering such basic conditions, is decorated with some stalactite carvings. Also, the façade is decorated, featuring a fantastic winged animal and a bull.