From the earliest times, Armenia has been one of the most important centers of metalworking in Asia Minor and the Transcaucasus. Evidence for that comes from the prehistoric smelters and slag remnants unearthed in the basins of Geghama, Bznunyatz and Kaputan lakes as well as from information preserved in cuneiform inscriptions.
Four thousand years ago historic Armenia was a metalworking center excelling in gold, silver, copper and iron. The metal objects obtained from the excavations at Lchashen, Armavir, Metzamor, Karmir Blur, Sissian, Dvin, and Ani are witnesses of a high standard of metalworking.
Vaspurakan - and specially Van - Cilicia, Sebastia, Caeseria, Karin, Shirak, Syunik, Artsakh, and the Plain of Ararat were centers for the artistic treatment of metal and the production of ornaments and utensils.
A variety of metals such as iron, copper, bronze, gold, and silver were used in Armenia for metal-working. In addition to smelting, engraving, and stamping metal-working methods included threading, meshing, granulation and burnishing. These have survived to our days.
The artistically worked metal objects at St. Etchmiadzin may be divided into three groups according to the nature of their usage:
a) Ritual utensils, such as incensers, chalices, cups, communion boxes, jugs, basins, and other objects used during religious ceremonies.
b) Ornaments worn during rituals, such as belts, vagases, crosses, staffs, crowns, rings, and others.
c) In this group are the ornaments of the altar, such as nimbuses, cymbals, chandeliers, candelabra, lamps, etc. One of the valuable metal objects of the St. Etchmiadzin monastery is the Khotakeratz St. Nshan. It was prepared in 1300, on commission from Prince Each! Proshian. The artistic ornamentation of its blinds as well as the clarity and delicacy of its engravings are proof of the mastery of Armenian goldsmiths.
For their manufacturing techniques, attention is focused also on the closet prepared in 1443 and the St. Nshan of Aragadz (17th c.), which have been created with a fine engraving technique. Included in the same group are the 1783 chandelier, a number of fans (17-19th c.), the 1780 Ark, the 1797 communion box, etc.
Prepared according to the mesh, granulation and double-thread techniques are the finely worked belts manufactured between the 17-19th c. in Vaspurakan, Karin, and Sebastia, which form an important part of the ritual vestments and are ornamented with fine buckles. The 1733 cross, the 18th c. chandelier, the 1765 mitre, and a number of staffs are prepared by the same methods.
Select samples of engraved metalworks are the 1656 paten (Wafer box), a number of communion boxes prepared in 1774-1881, a number of Gospel covers, and the copper bowls prepared by the workers of Caeseria and Tokat (Evdokia).
Of note among the smelted objects are the 12th c. cross, as well as a number of chalices.
A different metalworking method is used in the preparation of the Right Hands of saints which are predominantly made of silver and ornamented with various gems. Among these the most outstanding is the Right Hand of Gregory the Illuminator.
The patriarchal and priestly staffs were made of wood, ivory, or metal, while their crowns were made of finely worked metal. On most of these staffs the crowns consist of a spheric ball with across on it and the heads of dragons facing each other from opposite sides of the ball.
These metal objects of art preserved in St. Etchmiadzin are distinguished by their uniqueness and the delicacy of their decorative motifs. Of special note is the use of characteristic methods of Armenian metalworking such as granulation and geometric triangular ornaments.
Another characteristic of the metal objects in this collection are the thematic scenes and decorative devices engraved or stamped on them. The decorative motifs have botanical and geometric origin, as well as symbols representing prehistoric, pre-Christian, and Christian beliefs. A predominant position is held by animal decorative motifs. On the flat surfaces of the objects are scenes from the New Testament such as the Annunciation, Nativity, Adoration of the Magi, Baptism, Last Supper, Crucifixion, Wailing, Ascension, etc. Widely used themes are the Madonna with the infant Jesus and the twelve apostles. Also important are the visualizations of the Cathedral of Etchmiadzin and of the cross; the latter has numerous variants through the utilization of precious and semi-precious stones. ARMIK SAMYELIAN
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