Relief Carving of Prince David Saharouni
Cathedral of Mrčn, Armenia, c.640AD
A larger image of this Relief Carving of Prince David Saharouni, Cathedral of Mrčn, Armenia
A relief carving of Prince David Saharouni, an Armenian ruler on the western portal of the Cathedral of Mrčn in Armenia. It was made around 640 at a time when Armenia was an autonomous, self-governing frontier province within the still-expanding Arab-Islamic empire. (Lucy Manuelian photograph)
Source: p.36, EH - 071 - The Great Islamic Conquests AD 632-750 by David Nicolle
Relief Carving on the West Portal, Cathedral of Mrčn, Armenia
On the lintel is a row of six male human figures rendered in bas-relief.
The proportions of the four central figures suggest that they are perhaps sitting, and their heads protrude into the upper frame of the lintel. Slightly off-centre is a figure that almost certainly represents Christ. He has a halo with a radiating cross, has a short beard, and has very long hair that flows over His shoulders. He appears to be holding a book in His left hand, and is likely making a gesture of benediction with His right hand (this section of the relief is heavily damaged). Flanking Christ are two figures that make the gesture of benediction with their right hands and hold a book in their left hands. They are thought to represent the Saints Peter and Paul: Saint Peter, on the right, is identified by the set of keys hanging from his waist (the symbolic keys of the kingdom of Heaven), and Saint Paul by his tonsure (shaved head). To the right of Saint Peter is a bearded figure without a halo. In his left hand he holds a book partially draped in a carrying cloth, and appears to be making a blessing with his right hand. This, together with his garments, suggests that he is a member of the clergy. The figure may represent Bishop Theophilos. Framing these four seated figures are two additional figures. They face outwards but stand in a three-quarters position and gesture inwards towards the central figures. They are the only ones whose feet are depicted, and their luxurious secular clothing is very different from the four other figures. They wear long cloaks fastened at the shoulders and with long sleeves that hang empty. The texture of the cloaks is suggestive of animal fur. This manner of wearing cloaks, which is also depicted in sculpture on the church of Jvari in present-day Georgia that may date from either 586-604 or 627-640s, and on other buildings, seems to have been a contemporary fashion amongst Transcaucasian nobility. The raised right hand of the far right figure appears to touch the left shoulder of the adjoining figure (Bishop Theophilos), perhaps suggesting kinship. These two secular figures may represent Dawit Sarahuni and Nerseh Kamsarakan. Since is likely that Theophilos would have been appointed by the local aristocracy (the Kamsarakans), if the overall identification is correct then this could indicate that the far right figure is Nerseh Kamsarakan. The far right figure is bearded and is wearing some sort of close-fitting segmented hat (perhaps a military helmet). The far left figure appears to be beardless and more youthful, is bareheaded, and has an elaborate Byzantine hairstyle - attributes that are more suggestive of a Byzantine curopalate. Also, in the ensemble he is assigned a greater visual primacy by being placed one body closer to Christ. However, most accounts say the opposite - that the far left figure is Nerseh Kamsarakan and the far right one is Dawit Sarahuni.
Relief Carving on the North Portal, Cathedral of Mrčn, Armenia
Source: VirtualANI
Referenced as figure 239 in The military technology of classical Islam by D Nicolle
239. Relief, Princes Nerseh Kamsekarand and David Saharouni, c.640 AD, Armenian, in situ Cathedral of Mren (Thi).
pp239-240, Vol. 2: Whereas the Imperial art of Constantinople generally illustrates élite guard units in a somewhat archaic fashion, early Armenian art might prove more reliable for the fighting cavalry of the frontier region (Fig. 239). The riders on the carving at Mren appear to wear long-sleeved scale hauberks, probably similar to the lorikions and zabas of Byzantine written sources. Note also the Iranian-style padded or quilted sleeves. Scale armour, being essentially less flexible than mail or lamellar, is rarely illustrated with long sleeves. The two princes on the Cathedral of Mren, however, wear hauberks in which this problem is apparently solved by leaving parts of the elbow area unscaled. Such long scale hauberks, opening down the front as they do, may correspond to the Arab dirʿ which, like the non-protective durrāʿah, was probably slit down the front.26 A saddle on this Armenian carving is also unique, having a distinctly raised pommel, but a flat unflared cantle. In general such illustrations suggest that Armenia and the Caucasus were, in military technology at least, under greater Iranian, and perhaps southern, influence than Byzantine influence.
26. Al Aqṣarā'ī, op, cit., pp. 17 and 321; J. G. Hava, Arabic-English Dictionary, (Beirut 1899).
