From Tamanyan's national-classical Yerevan plan through the avant-garde and the later Armenian modernist thaw, the article follows competing searches for an indigenous architectural language.
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.
The study situates the Ardzgue Sk'ants'elegorgivank complex within Vaspurakan, describes its church and jamatun, dates it from manuscript evidence, and compares the plan, stonework, and ornament with medieval parallels.
Fieldwork and inventory diagnose visitor access at Armenia’s UNESCO church ensembles, including Echmiatsin, Zvartnots, Haghpat, Sanahin, and Geghard.
Esai Krymetsy’s fifteenth-century Armenian scientific legacy becomes the case for a philosophical shift from asking what time is to examining how temporality is cognitively constructed.
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.
The article pairs a biographical account of Komitas with a comparison to Bartok, emphasizing their ethnographic collecting, folk-music research, composition, and influence on later musicians.
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 study traces how Ani-school architects adapted the classical rotunda in late tenth- and early eleventh-century churches, emphasizing external massing, blind arcades, and divergence between facades and internal plans.
The Nakhichevan-on-Don colony’s Armenian self-government moved from Catherine II’s ethnic charter through administrative, police, and court reforms until the city Duma replaced the magistrate system in the 1860s.
The article describes the location, foundation, excavation, museum collection, and archaeological significance of Tigranakert in Artsakh, associated with King Tigranes the Great.
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.
A semiotic reading of Yerevan State University interprets sculptures, library reliefs, and medieval-to-Soviet visual markers as signs of social and cultural memory.
A study of Ousterhout’s book highlights Aghtamar’s Surb Khach, Ani Cathedral, Horomos’s zhamatun, and an Astvatsnkal vault drawing within medieval Armenian architecture.
An embodied video performance links meditation, pregnancy, a Mardin stone house, women’s genocide experience, and Armenian diaspora sonorities in France through chants, lullabies, testimony, and lament.
Royal inscriptions in tenth- and eleventh-century Armenia are read here beside monuments, landscape, and liturgy; the comparison distinguishes how two dynasties expressed political ambition and legitimacy.
At Lusakert Cave, heavy polycyclic aromatic hydrocarbons correlate with Middle Palaeolithic artifact density while light wildfire markers do not, supporting controlled hominin fire use independent of natural burns.
Visual and artistic texts by Armenian creators make Old Tiflis a multicultural space of music, carnival, ritual, and social contrast. Kintauri, baghdaduri, duduk, zurna, and paintings by Khojabekyan and Elibekyan connect Armenian, Georgian, and Caucasian urban memory.
Know published research that belongs here, or have scholarly work of your own? Suggest it and we'll review it for the repository.
Suggest or correct a record