Armenian medieval writers’ understanding of the spiritual symbol is reconstructed as a pan-Christian basis for allegorical thought across literature, miniatures, architecture, ritual, and festival arts.
Comparison with a 1932 Lviv exhibition report identifies a Jagiellonian University Museum coffin portrait as a seventeenth-century image of an unknown Polish Armenian man.
Interviews, Armenian newspaper articles, and observations of Plovdiv’s monuments, museum, and cemetery show how genocide remembrance is organized in Bulgaria. The paper attributes community cohesion and postmemory especially to AGBU anniversary programs, symbolic choices, and emotionally framed communications.
Rabiz is interpreted as urban musical folklore produced by Soviet Armenian industrialization, 1930s cultural policy, surviving pre-Soviet forms, and the social transformations of the 1960s and 1970s.
Through Komitas Vardapet’s writings, the article charts a move from locally shared Ottoman musical memory toward secularized, internationalized Armenian national traditions circulated through new media.
Nondestructive survey and a three-dimensional finite-element model test the medieval Armenian church at Famagusta under gravity and bidirectional earthquake loading. Pushover and time-history results indicate adequate structural safety and attribute observed damage patterns to seismic action.
Two Stepanakert memorial museums combine exhibition and funeral practices to historicize recent armed conflict, preserve creators’ direct memory, and consolidate hostility toward Azerbaijan within Artsakh’s political landscape.
The medieval Armenian Church of Famagusta is surveyed through its architecture, conservation history, and possible role in renewing the city’s historic centre. The case places a northwestern or Syrian-quarter building within the wider heritage of a medieval walled town.
Visual and semiotic readings cover memorials located in Armenia, France, and the United States alongside the marches, vigils, and ceremonies held around them. The author argues that recognition-centered commemoration can bind a transnational Armenian public while reinforcing an enduring victim identity.
The Msho Arakelots relief is read for a mace, cross-guarded sword, trumpet, shield, stirrups, and scabbard chape, then compared with Byzantine, Muslim, and Armenian evidence.
Inscription, embroidery, and iconographic details connect a nineteenth-century Armenian chalice veil in Kraków to donors near Moush and the monastery of Saint John the Baptist. Its later path through Wrocław, Etchmiadzin, and Moscow illuminates how sacred objects were dispersed after the monastery’s 1915 destruction.
The study traces Armenian weaving in Ukrainian colonies through silk, carpets, trade networks, and workshops, arguing that Armenians were both importers and manufacturers across Ukrainian and Ottoman settings.
The essay reconstructs early scholarship on medieval Armenian manuscripts and miniature painting across Russian, German, French, and Armenian intellectual circles from the mid-nineteenth century onward.
Cesare Brandi’s 1968 phrase about Armenian ‘crystal churches’ is examined through the Riegl and Worringer theories that preceded it and through Italian art criticism of the early twentieth century. The essay treats a metaphor as part of the reception history of Armenian architecture.
The Historia Imperii Mediterranei series published Armenian booklets in Italy before the Second World War, combining art, architecture, literature, and politics with the Armenian Committee’s advocacy. Its treatment of Strzygowski and Frasson also exposes fascist cultural strategy and racial theory.
El estudio reúne textiles precolombinos y manuscritos medievales armenios y bizantinos para mostrar cómo el análisis y la síntesis química revelan materiales, pigmentos y prácticas artísticas históricas.
Maybury and colleagues test hyperspectral imaging against Raman spectroscopy on ten folios from six Armenian illuminated manuscripts in the Bodleian Library. The comparison finds that rapid imaging can map pigments efficiently but works best when checked against a more specific analytical technique and suitable reference data.
Excavations at Arpa in Vayots Dzor place a medieval settlement within the Silk Road’s Caucasian junction between China and the Mediterranean. Architecture, ceramics, glass, and coins are presented as material evidence for movement and exchange during the twelfth through fifteenth centuries.
Analysis of temple reconstruction in the Nagorno-Karabakh Republic argues for restoration that preserves national architectural design, compositional integrity, coloration, and the lost historical appearance of church buildings.
From Ani archaeological campaigns to Durnovo, Der Nersessian, and Kotanjyan, the article reconstructs twentieth-century scholarship that established a coherent account of medieval Armenian fresco technique, programs, and iconography.
The paper models recurring formulae in Armenian manuscript colophons through lemmatization and finite automata, demonstrating how computational patterns can reveal schools and networks involved in book production and circulation.
Across thirteen articles, three bibliographies, and one book, the study reconstructs Sirarpie Der Nersessian’s three-part method: technical analysis, artistic assessment, and iconography. The Etchmiyadzin and Nicodemus Gospels and Smpad’s Armenian Chronicles show her integration of theology, history, and linguistics.
A film analysis argues that buildings, streets, and squares make Yerevan an active agent in Dovlatyan's 1972 Chronicle of Yerevan Days.
A biographical and performance study analyzes Khachaturian's 1936 Piano Concerto, relating its musical construction to his Armenian background and Transcaucasian influences.
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