The article examines the symbolic systems of “triangle – fire – sun – father – God – blacksmith – head – hand – eye – wine – song – marriage” and of the names “Hovhannes John – Mkrtich the Baptist” in the novella The Triangle 1965 by the well‑known Armenian Soviet writer and screenwriter Aghasi Ayvazyan 1925–2007, as well as in the feature film of the same name 1967, directed by G. Malyan based on his script. These symbolic systems are analyzed in the light of the most ancient ritual‑mythological conceptions of the world, through comparative analysis and the combined application of myth‑critical and structural‑semiotic methods. This approach has made it possible to uncover certain encrypted semantic messages in Ayvazyan’s work, centered on the importance of fatherhood and heritage; the dialogue of generations and the preservation of national tradition in the face of new challenges; national unity and concord; and the strengthening of universal moral values. The choice of a new perspective and the use of contemporary methodology have revealed previously unexplored layers of Ayvazyan’s figurative‑symbolic system. The relevance of the article is determined by the universal problematic of Ayvazyan’s novella and by the interdisciplinary nature of the research approach, situated at the intersection of literary studies, folklore, ethnography, film studies, and art criticism.

Keywords“The Triangle” Ayvazyan blacksmith ritual‑mythological fire sun Hovhannes Mkrtich