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.
Surveying Armenian magical miscellanies, the author distinguishes portable illuminated hmayil scrolls containing prayers and protective formulas from axtarq or Kiprianos codices combining astrology, Gospels, spells, tables, and demon imagery.
Haghpat's surviving murals are placed in three patronage moments: a Bagratid layer, Armenian-Chalcedonian work under Zakare before 1212, and an Artsrunid-sponsored renovation during the 1280s.
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.
Eastern Armenian periodicals document Artsakh's late-nineteenth- and early-twentieth-century church architecture, urban planning, renovated monasteries, schools, theaters, and printing houses, including Dadivank, Amaras, Gandzasar, and Shushi institutions.
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.
Armenian and South-Caucasian reliefs trace the dragon-serpent from a defeated demonic figure to an astral, apotropaic, and liminal motif on churches, towers, doors, and windows between the seventh and fourteenth centuries.
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.
The Belgium installment outlines Armenian settlement and community development, then catalogs local architecture and toponymy with supporting information on churches, education, media, and published sources.
This Mexico installment of a multi-volume atlas introduces the Armenian community’s development and settlement before cataloguing architecture and place names alongside churches, education, media, and bibliography.
This Netherlands atlas entry pairs an overview of Armenian settlement and community institutions with a tabular inventory of architecture, toponymy, churches, education, media, and relevant literature.
The Nordic atlas chapter combines Armenian community history with a table of architecture and place names in Denmark, Sweden, Finland, Norway, and Iceland, plus church, school, and media context.
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։
Musicological analysis treats Terteryan's Ring of Fire as a dialogic chamber opera, tracing European genre models, Armenian folklore, vocal characterization, and the impersonal aesthetics of epic theater.
Using a synoptic model, the article compares Alishan's Hrazdan and four translations, examining ethnocultural names, interjections, refrains, and divergent strategies across Russian, English, and French versions.
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.
Archival expedition photographs support a reconstruction of Varzahan's destroyed church complex, including its triconch, octagon, and gate church, alongside evidence for builders connected with Tao, Cappadocia, and Pontos.
This architectural-history chapter calls for comparative study of Armenian, Georgian, Seljuk, and Mongol artistic exchange, identifying nationalism and weak scholarly communication as barriers.
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