Excavations at Kalavan 2 identify repeated short occupations between roughly sixty and forty-five millennia ago, using stratigraphy, faunal remains, and stone artifacts to interpret high-elevation hunting mobility.
The duduk’s sound image is examined in chamber-symphonic works by Terteryan and Altunyan, where a widely known folk instrument enters large conceptual compositions rather than remaining a folkloric reference.
Покровы Армянской Апостольской церкви исследуются через иерархию изображений: серафимы, херувимы и ангелы образуют значимую часть иконографии, связанную с религиозной символикой.
A typology of fourth- through seventh-century Armenian church portals follows transformations in lintel construction, showing how entrance decoration evolved into a unified structural-artistic element that became influential in later medieval architecture.
Hadrut's construction history is divided into formation, late-medieval, nineteenth-to-mid-twentieth-century, Soviet, and independence stages, then used to propose territorial directions for sustainable development while foregrounding preservation of Artsakh architecture.
The author follows the destruction and commemorative afterlife of Julfa’s khachkars, then relates that history to risks facing Armenian churches and monuments after the 2020 war.
A sword with a sleeve cross-guard in Aghtamar's 915–921 Massacre of the Innocents fresco is compared with Byzantine-type archaeological finds from Eastern Europe and the Near East.
Initial work around Lake Sevan’s Artanish Peninsula maps prehistoric settlement patterns alongside gold mining and a natural corridor used by wider communication and trade routes.
The Van study examines seven entrances of Yedikilise (Varagavank), relating six churches, a jamatun, and a bell tower to stone ornament and building phases dated from 981 to 1817.
Церковь Норашен рассматривается рядом с памятниками армянских школ Тайка и Гугарка X–XI веков; планировочные, объемно-пространственные и декоративные сопоставления дополнены параллелями с раннехристианским зодчеством.
Անիի Սբ Գրիգոր եկեղեցու արտաքին հարդարանքում ուսումնասիրվում են իրական ու երևակայական կենդանիների քսանվեց պատկերաքանդակները՝ պատկերագրական, ոճական և խորհրդաբանական հատկանիշներով, տեսակների նույնականացմամբ ու միջնադարյան հայ արվեստի զուգահեռներով։
Victoria Street in Nicosia’s Arabahmet neighbourhood is reconstructed through Byzantine, Lusignan, Ottoman, British, and Republic-era changes, including the Armenian Church and later neglect.
This architectural-history chapter calls for comparative study of Armenian, Georgian, Seljuk, and Mongol artistic exchange, identifying nationalism and weak scholarly communication as barriers.
Soviet scholarship on medieval Armenian monuments is presented as part of a larger history of historiography and nationhood in the southern Caucasus over the USSR’s seventy years.
Fieldwork and inventory diagnose visitor access at Armenia’s UNESCO church ensembles, including Echmiatsin, Zvartnots, Haghpat, Sanahin, and Geghard.
Venice’s Armenian-studies history runs from Mechitarist scientific publishing at San Lazzaro to the Ca’ Foscari chair and Alpago Novello’s documentation centre; the paper also frames his method as an ecology of art.
Blending architectural fieldwork with personal reflection, the essay considers medieval Armenian monuments near Ani as historical objects, lost-homeland traces, and emotionally charged landscapes for a descendant of genocide survivors.
Archival material from the Study and Documentation Centre traces Alpago Novello’s 1968 Milan exhibition from its curatorial choices to a journey through thirty cities on three continents, ending in Yerevan in 1996.
Systematic Armenian-art surveys by the Yerevan State University chair covered Romanian and Iranian collections from 2011 through 2019, including miniatures, icons, wall paintings, silverwork, and textiles.
Italian scholars began photographic study trips in 1966, documenting medieval Armenian churches and monasteries before the 1968 Rome exhibition broadened public knowledge and encouraged eastern Mediterranean research.
The V&A’s dealings with Krikor Minassian, Hagop Kevorkian, and Dikran Kelekian reveal how museum staff used suspicion, social control, and financial interest toward Armenian dealers.
Disrepair, neglect, and the genocide-linked absence of an Armenian community make architectural heritage in Turkey a contested subject; the abstract follows Turkish initiatives that have revived preservation and research attention.
The review essay reconsiders Tamta’s World through women’s history, family identity, and religious-cultural exchange across medieval Georgia, Armenia, and Anatolia, challenging an exclusively male account of agency.
Reading Tamanyan and Buniatyan's 1924 Yerevan plan against postwar upheaval, the article explains how garden-city principles survived political change and Armenian Assistance Committee support enabled implementation.
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