Grape-harvest imagery is compared across late antique, early Christian, Armenian, and Sasanian art to trace changing Dionysian, Eucharistic, and paradisal meanings.
Two Armenian biblical manuscripts associated with Grigor Tatevatsi and Syunik are examined through 28 miniatures, dating evidence, workshop attribution, and proposed influences from Arabic miniature painting.
Lake Van is presented as a central Armenian cultural landscape from Urartian rule through Vaspurakan and the rupture of the 1915 genocide.
The essay describes rediscovering Armenian memory places in Turkey and Azerbaijan after systematic historical falsification, destruction, and neglect of cultural monuments.
Using the idea of an accident that repeatedly reappears, the essay follows present-day encounters with Ottoman Armenian persecution through human remains, landscapes, buildings, rivers, and geological fractures across Turkey.
Metalwork, khachkars, and textiles illustrate how Ottoman Armenians reproduced identity within the millet system while cultural exchange and collaboration complicated a conflict-only account of imperial life.
A catalogue of Kayseri’s Armenian churches and monasteries reconstructs religious architecture from the mid-nineteenth century through 1915 and records destruction, neglect, and transformation after the Ottoman period. Demographic evidence places the buildings within the city’s changing Armenian presence.
Panos Terlemezian's career from 1885 to 1915 is reconstructed across revolutionary activity, prison, exile, Ottoman repression, genocide, and artistic training to position him within both late Ottoman and modern Armenian painting.
The study records more than twenty Latin- and Armenian-rite Catholic churches and chapels built or restored in Georgia, chiefly between 1860 and 1910.
Three restoration cases—Aghtamar’s Holy Cross, Sourp Guiragos in Diyarbakır, and Havav’s fountains—anchor this assessment of Armenian heritage in Turkey. The article places preservation initiatives within changing Kemalist and neo-Ottoman state narratives and maps actors working in Anatolia and Istanbul.
The study catalogs anthropomorphic masks in Armenian church sculpture from the fifth through eleventh centuries, locating them on sacral architectural zones and relating their iconography to antique and eastern Christian traditions.
The study maps folk-song, dance, lament, ritual, and natural imagery in Tumanian's Anush onto Tigranian's completed opera and Komitas's surviving score fragments.
The study separates Bor Armenian Church on the ground level from the later Cığızlar House above it, documenting two construction phases and proposing restoration as an urban museum or art center.
Barge and colleagues compare large stone kite structures at Mount Aragats with examples in Jordan and Kazakhstan through inventories, landscape analysis, dating evidence, satellite imagery, and fieldwork.
Nineteen dental non-metric traits are used to estimate biological distance among ancient plateau communities, Georgian groups, and comparative samples spanning Eastern Europe and Central Asia.
Paleopathological comparison of 213 late-antique individuals from six Shirak Valley burial series documents trauma, dental disease, activity markers, and artificial cranial deformation.
Y-chromosomal patterns in six Armenian populations indicate that early farming expansions crossed the Armenian Highland along separate Mediterranean-westward and North-Caucasus routes.
This archaeological study documents stone-tool assemblages from Azokh Cave in Nagorno Karabakh and relates their materials and technology to regional prehistoric contexts. It distinguishes occupational layers and evaluates the evidence for changing tool-production practices across the sequence.
The article compares Armenian Genocide and Jewish Holocaust memory policies by examining why museums and monuments occupy different roles in public remembrance.
The article surveys Ottoman relations with Armenian subjects and argues that Armenian theater professionals, including work associated with Bosco and Naum venues, helped introduce and develop opera terminology and practice in the empire.
Horomos's 1038 sixteen-column zhamatun is analyzed as a probable royal mausoleum whose plan helped establish a new Armenian fore-church type copied in later centuries.
Three claimed musical renaissances—Christianization, medieval repertory formation, and modern Westernization—are analyzed as historiographic devices that construct Armenian authenticity and national identity.
The paper compares placement, form, masonry, and ornament of external niches on medieval Armenian churches, finding an early structural role in simplifying roofs and walls that gradually converged toward façade decoration after the seventh century.
This article revisits Raphael Lemkin's concept of cultural destruction through Armenian Genocide evidence and his papers. It considers attacks on monuments, intellectual life, religious symbols, and conversion alongside their long-term effects on Armenian communities.
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