API tools faq
paste
Advertisement
jonstond2

Armenian Art (Medieval Studies)

jonstond2
Aug 13th, 2017
702
0
Never
Add comment
Not a member of Pastebin yet? Sign Up, it unlocks many cool features!
text 86.47 KB | None | 0 0
raw download clone embed print report
  1. Introduction
  2.  
  3. Armenian art, difficult to define in rigid terms as a category, is understood here as art and material culture in various media made for, by, or within communities self-identified as Armenian or Armenian-speaking. Armenian art, therefore, includes a few mosaic pavements produced in Jerusalem, churches constructed in the New Julfa district of Isfahan, and textiles embroidered in Constantinople, as well as the rich artistic and architectural tradition of the plateau of historical Armenia (encompassing eastern and southwestern parts of the present-day Turkish Republic, northern Iran, Azerbaijan, southern Georgia, and the present-day Republic of Armenia). The periodization of Armenian art generally spans from late antiquity to the 17th century, based on the continuity of religious, literary, technological, and artistic traditions during this time. Late antiquity witnessed the conversion of Armenia to Christianity and the emergence of Armenian literature, while the 17th century saw profound changes in the political and social landscape of Armenia—the division of the historic lands between Ottoman and Safavid empires, the emergence of large diasporas, the rise of a global merchant economy, the introduction of print, and new, sustained contact with Europe. Within this broad chronological and geographical frame, church architecture, stone sculpture (bas-reliefs and steles) and book arts have earned the most critical attention, but equally important are works in metal, wood, ceramic, and textiles, as studies are increasingly showing. Gaining attention, too, are studies of image worship and historiography. Alongside longstanding approaches such as iconography, social history and patronage have emerged as important interpretive tools for understanding Armenian art.
  4.  
  5. General Overviews
  6.  
  7. General introductions to Armenian art typically focus on artistic production between the 4th and 17th centuries CE. Der Nersessian 1978 and Thierry and Donabédian 1989 are both authoritative and handsomely illustrated. Der Nersessian 1978 is necessarily cursory but erudite, and considers the historical context of a large range of works and their stylistic and iconographic characteristics. Thierry and Donabédian 1989 is much more comprehensive, including substantial photographic documentation and a catalogue of the principal architectural sites. Kouymjian 1992, the authoritative Internet site on the subject, presents medieval manuscripts, architecture, metalwork, and bibliography with critical commentary. Abrahamian, et al. 2001 combines art-historical and anthropological perspectives, linking ancient and medieval art to modern practices and living traditions. Mutafian 2012 is a massive study of both Cilician Armenia and the historic Armenian homeland with discussion of medieval monuments and pictorial works.
  8.  
  9. Abrahamian, Levon, Nancy Sweezy, and Sam Sweezy. Armenian Folk Arts, Culture, and Identity. Bloomington: Indiana University Press, 2001.
  10. Save Citation »Export Citation »E-mail Citation »
  11. A large-format book, handsomely illustrated, considering Armenian material culture from antiquity to the present day. Thematic essays consider subjects such as the sacred landscape, the dwelling place, works in wood, metal, and clay, costume, and festivals.
  12. Find this resource:
  13. Der Nersessian, Sirarpie. Armenian Art. Translated by Sheila Bourne and Angela O’Shea. London: Thames and Hudson, 1978.
  14. Save Citation »Export Citation »E-mail Citation »
  15. English translation of L’art arménien, first published in 1977. A large-format, handsomely illustrated book concerning the periods between late antiquity and the 17th century, with special emphasis on architecture, manuscript painting, and stone sculpture. Includes useful footnotes.
  16. Find this resource:
  17. Kouymjian, Dickran. The Arts of Armenia (Accompanied by a Collection of 300 Slides in Color). Lisbon: Calouste Gulbenkian Foundation, 1992.
  18. Save Citation »Export Citation »E-mail Citation »
  19. Comprehensive website for the study of Armenian art and architecture. Includes explanatory thematic essays on a range of subjects from metalwork to music, a vocabulary of specialized terms, indices, and searchable databases (with illustrations) of manuscripts and monuments.
  20. Find this resource:
  21. Mutafian, Claude. L’Arménie du Levant (XIe-XIVe siècle). Paris: Belles-Lettres, 2012.
  22. Save Citation »Export Citation »E-mail Citation »
  23. Encyclopedic history of medieval Armenia (including both Cilicia and the Armenian plateau) accompanied by abundant genealogies, maps, inscriptions, and over two hundred excellent-quality illustrations of both celebrated and lesser-known works.
  24. Find this resource:
  25. Thierry, Jean-Michel, and Patrick Donabédian. Armenian Art. Translated by Célestine Dars. New York: H.N. Abrams, 1989.
  26. Save Citation »Export Citation »E-mail Citation »
  27. English translation of Les arts arméniens, first published in 1987. A massive (623 pp.) book accompanied by beautiful photographs considering Armenian art from late antiquity to the 17th century, with emphasis on architecture, manuscripts, and sculpture but also considering numismatics, ceramics, and textiles.
  28. Find this resource:
  29. Anthologies
  30.  
  31. Several anthologies of Armenian art and architecture offer essays on a range of artistic media. One of the most important and substantial is Der Nersessian 1973, which considers a wide variety of problems, including image worship and iconoclasm (see also Der Nersessian 1944–1945 and Der Nersessian 1946, both cited under Image Worship and Iconoclasm), Cilician manuscripts, an Armenian model-book, and reliquaries. Stone and Samuelian 1983 presents essays by a range of authors and includes discussion of early medieval sculpture, architecture, and carpets. Mathews 1995 includes several essays on Armenian architecture and manuscript illumination, demonstrating in some cases relations with Byzantium, in others, the emergence of local artistic traditions. L’Arménie et Byzance also features a wide range of topics, including not only manuscripts but early medieval sculpture, single-aisle churches, and wall painting. All these volumes are authoritative studies of high quality. They also demonstrate the seminal role of Der Nersessian in the early period of Anglophone and Francophone Armenian art history, and the growth of the field in her wake.
  32.  
  33. L’Arménie et Byzance: Histoire et culture. Paris: Publications de la Sorbonne, 1996.
  34. Save Citation »Export Citation »E-mail Citation »
  35. (Armenia and Byzantium: History and culture). Collected essays on Byzantine-Armenian relations, with several art-historical studies, concerning subjects including pre-Arab Armenian sculpture, single-aisled churches, Cilician and Byzantine manuscript illumination, a critical essay on the question of Byzantine influences in Armenian art, and a discussion of wall painting in Armenian kingdoms of the 9th to 11th centuries.
  36. Find this resource:
  37. Der Nersessian, Sirarpie. Byzantine and Armenian Studies/Études byzantines et arméniennes. 2 vols. Louvain, Belgium: Imprimerie orientaliste, 1973.
  38. Save Citation »Export Citation »E-mail Citation »
  39. A collection of Der Nersessian’s articles on Armenian and Byzantine art. In French and English. The third and fourth sections concern Armenian history and art, respectively.
  40. Find this resource:
  41. Mathews, Thomas. Art and Architecture in Byzantium and Armenia: Liturgical and Exegetical Approaches. Aldershot, UK: Variorum, 1995.
  42. Save Citation »Export Citation »E-mail Citation »
  43. Collected essays concerning the relation between the church of Hṛip‘simē and the Hagia Sophia, possible Armenian sources for the church of Panagia Kamariotissa on Heybeliada (Chalke), Istanbul; the early iconographic program of the Ējmiatsin Gospels; the Annunciation at the Well; and the Genesis frescoes of Aght‘amar.
  44. Find this resource:
  45. Stone, Michael, and Thomas J. Samuelian, eds. Mediaeval Armenian Culture. University of Pennsylvania Armenian Texts and Studies 6. Chico, CA: Scholars, 1983.
  46. Save Citation »Export Citation »E-mail Citation »
  47. Includes a range of essays on Armenian art, including early medieval sculpture, a medieval palace, Cilician painting, 11th-century manuscripts of Vaspurakan, rug making, representations of the Desert Fathers, and the iconography of the Annunciation at the Well.
  48. Find this resource:
  49. Periodicals and Book Series
  50.  
  51. Periodicals on Armenian art are generally limited to architecture; some of the most important were launched in the mid-20th century. The Documents of Armenian Architecture/Documenti di architettura armena is a bilingual Italian/English periodical focusing typically on a single monument or site (with the exception of Vol. 2, Khatchkar, concerning the cross-stone stele and Vol. 21, Nor-Djulfa, on the Armenian churches of New Julfa). The Ricerche di architetttura armena (RAA) is more varied in approach, considering issues such as historiography and cultural heritage; the focus is not on photographic documentation (images are few and black-and-white) but rather on textual commentary (in Italian) and archival research. RAA considers all aspects of Armenian architecture, including cultural heritage. Many of its issues are available online and/or translated into English. Broader in scope are the proceedings from the International Symposia on Armenian art (Ieni and Zekiyan 1978); this provides a sense of the field in the latter 20th century and records the convergence of scholars from Soviet Armenia, Anglophone contexts, and Europe at meetings in the 1970s and 1980s. The Revue des études arméniennes contains a regular section devoted to the arts of Armenia, including information from the latest archaeological excavations, newly discovered manuscripts and monuments, and interpretive essays. Byzantinische Zeitschrift offers a bibliographical series announcing the most recent publications on the art of the South Caucasus.
  52.  
  53. Byzantinische Zeitschrift. Supplementum Bibliographicum. Stuttgart: Teubner, 1994–.
  54. Save Citation »Export Citation »E-mail Citation »
  55. Bibliographical review of the latest academic literature on Byzantium and its frontiers; includes records of new publications concerning the art and archaeology of Armenia and Georgia.
  56. Find this resource:
  57. Documents of Armenian Architecture/Documenti di architettura armena. 23 vols. Milan: Ares, 1968–1998.
  58. Save Citation »Export Citation »E-mail Citation »
  59. A large-format series with high-quality images. Commentary, in English and Italian, is minimal; primacy is given to photographic documentation and drawings.
  60. Find this resource:
  61. Ieni, G., and B. L. Zekiyan, eds. Atti di primo simposio di arte armena, Bergamo, 28–30 giugno 1975. Venice: San Lazzaro, 1978.
  62. Save Citation »Export Citation »E-mail Citation »
  63. The Second International Symposium on Armenian Art. Erevan, 1978 (4 vols. Yerevan: Academy of Sciences, 1981); Atti di terzo simposio di arte armena, Venice 1981 (Venice: San Lazzaro, 1984); The Fourth International Symposium on Armenian Art. Erevan, 1985 (Yerevan: Academy of Sciences, 1985); Atti di quinto simposio di arte armena. Venice, 1988 (Venice: San Lazzaro, 1991). Illustrated proceedings from five international symposia. With contributions in English, Russian, French, Italian, German, and Armenian on a range of subjects pertaining to Armenian art and architecture.
  64. Find this resource:
  65. Research for Armenian Architecture (RAA). Yerevan, Armenia: Gitut‘yun, 1997–.
  66. Save Citation »Export Citation »E-mail Citation »
  67. Thirty-six-volume series on a range of subjects; emphasis on regional studies, including medieval monuments in villages and districts of the Armenian Republic and historical Armenian territories. Addresses cultural heritage issues and at-risk monuments. In Armenian and English.
  68. Find this resource:
  69. Revue des études arméniennes. Paris: Publications de la Sorbonne, Section des Sciences Historiques et Philologiques, old series nos. 1–11 (1920–1933), new series, 1964–.
  70. Save Citation »Export Citation »E-mail Citation »
  71. Annual journal of the Association internationale des études arméniennes (AIÉA). Devoted to Armenian studies generally, but often with special emphasis on the medieval period. With a regular section on Armenian art of all media and periods.
  72. Find this resource:
  73. Ricerche di architetttura armena. 25 vols. Milan: Polytechnic: Faculty of Architecture, 1969–1986.
  74. Save Citation »Export Citation »E-mail Citation »
  75. A series devoted to the documentation of a wide range of monuments and problems, including epigraphy (Vols. 8, 22), historiography (Vol. 4), single monuments (Vol. 6), and regional traditions (Vol. 1).
  76. Find this resource:
  77. Historiography
  78.  
  79. The study of Armenian art is generally thought to have begun in the 18th and 19th centuries, initiated by scholars, clerics, and travelers. The late 19th and early 20th century led to important archaeological excavations, as well as codicological and art-historical work. Three early-21st-century publications consider the construction of Armenian art history, with special focus on German-speaking scholars. Maranci 2001 explores the work of Austrian scholar Josef Strzygowski (b. 1862–d. 1941) and his contribution to the current marginalized position of Armenian architecture in broader art histories. Azadyan 2012 argues that Armenia played the role of sub-other in early histories of art. Niederl-Garber 2013 adds another dimension to the narrative, considering not only art historians but also German artists who traveled to Armenia.
  80.  
  81. Azadyan, Vardan. Arvestabanut‘yun ev Azgaynakanut‘yun: Mijnadaryan Hayastani ev Vrastani arvestnerǝ 19–20-rd dd. Germaniayum. Yerevan, Armenia: Aktual Arvest, 2012.
  82. Save Citation »Export Citation »E-mail Citation »
  83. (Art history and nationalism: Medieval Armenian and Georgian arts in 19th and early-20th-century Germany). With bibliography and English summary. Explores the methodologies of Germanophone art history of the 19th and early 20th century as they are used to address Armenian and Georgian art. Considers German-language literature, and particularly art history survey texts, of the 1840s onward.
  84. Find this resource:
  85. Maranci, Christina. Medieval Armenian Architecture: Constructions of Race and Nation. Louvain, Belgium: Peeters, 2001.
  86. Save Citation »Export Citation »E-mail Citation »
  87. Studies academic literature concerning medieval Armenian architecture from the early 19th century to the late 20th century. Explores how the racist and nationalist theories of Josef Strzygowski (b. 1862–d. 1941) have contributed to the marginalization of Armenian art and architecture in the history of art.
  88. Find this resource:
  89. Niederl-Garber, Claudia. “Wie Europa Armenien ‘entdeckte’: Das Bekanntwerden der Kunstgeschichte.” PhD diss, University of Vienna, 2013.
  90. Save Citation »Export Citation »E-mail Citation »
  91. (How Europe discovered Armenia: The emergence of art history). Dissertation on early scholarship and travel literature of Armenia, predominantly German-speaking. Part 1 considers travelers from the 17th to early 20th century; Part 2 concerns two German artists who traveled to Armenia. The third and fourth parts address, respectively, Josef Strzygowski and the concept of influence.
  92. Find this resource:
  93. Exhibition Catalogues and Collection-Specific Overviews
  94.  
  95. Several important exhibitions of Armenian art have occurred, particularly since the seventeen hundredth anniversary of Armenia’s conversion to Christianity (celebrated worldwide in 2001). Noteworthy for its broad scope is Durand, et al. 2007, which includes discussion of architecture and sculpture as well as manuscripts, textiles, and works in metal and wood. Equally broad, but with briefer and more dated chapters on architecture, is Khazaryan and Karaguezian 1984. This study’s great advantage is its photographic documentation of numerous objects in the monastery’s collections, including reliquaries, censers, chalices, candlesticks, crosiers, processional crosses, coins, ceramics, vestments, and book covers. Calzolari 2007 is a catalogue of medieval manuscripts accompanied by a collection of essays on Armenian culture, including philosophy, cosmology, music, medicine, and architecture. Azadian, et al. 2013 deals specifically with objects and manuscripts held in the Manoogian collection, including metalwork, textiles, and ceramics. Stone and Stone 2007 also focuses on a single collection and offers general essays on the Armenian people, territory, Christology, history, and literature. Evans 1997 offers an authoritative introductory essay, particularly appropriate for a single-lecture assignment on Armenian culture. Mutafian 2007 is a catalogue and essay collection concerning the art of the written word in Armenia, from the pre-Christian to the medieval periods.
  96.  
  97. Azadian, Edmund Y., Sylvie L. Merian, and Lucy Ardash, eds. A Legacy of Armenian Treasures: Testimony to a People. Taylor, MI: Alex and Marie Manoogian Museum, 2013.
  98. Save Citation »Export Citation »E-mail Citation »
  99. This publication reflects the wide-ranging character of the collection, which houses around fifteen hundred artifacts from the earliest material culture in Armenia to the present day. Divided thematically and by medium into a series of chapters written by a variety of experts. Provides useful tools for teaching Armenian art.
  100. Find this resource:
  101. Calzolari, Valentina, ed. Illuminations d’Arménie: Arts du livre et de la pierre dans l’Arménie ancienne et medieval. Geneva, Switzerland: Martin Bodmer, 2007.
  102. Save Citation »Export Citation »E-mail Citation »
  103. Exhibition catalogue featuring manuscripts on view in a 2007 exhibit in Switzerland. Includes discussion of medieval Armenian manuscript illumination, including nonreligious genres.
  104. Find this resource:
  105. Durand, Jannic, Ioanna Rapti, and Dorota Giovannoni, eds. Armenia Sacra: Mémoire chrétienne des Arméniens (IVe–XVIIIe siècles). Paris: Musée du Louvre, 2007.
  106. Save Citation »Export Citation »E-mail Citation »
  107. “Armenia Sacra: Christian memorials of the Armenians (4th–18th centuries).” An impressive and amply illustrated catalogue of Armenian art. Chapters are arranged chronologically, with an introductory essay in each section addressing history, followed by further essays and catalogued entries of relevant material culture. Updated bibliography and footnotes make this a very useful teaching tool.
  108. Find this resource:
  109. Evans, Helen C. “The Armenians.” In The Glory of Byzantium: Art and Culture of the Middle Byzantine Era A.D. 843–1261. Edited by Helen C. Evans and William D. Wixom, 350–363. New York: Metropolitan Museum of Art, 1997.
  110. Save Citation »Export Citation »E-mail Citation »
  111. Brief introduction to the geography, history, religion, culture, and art of the Armenians, with special emphasis on the relations between the Armenians and Byzantines. Followed by a catalogue of Armenian objects in the exhibit.
  112. Find this resource:
  113. Khazaryan, Mania, and Vartares Karaguezian, eds. Treasures of Etchmiadzin/Ējmiatsni Gandzer. Ējmiatsin: Holy See, 1984.
  114. Save Citation »Export Citation »E-mail Citation »
  115. A handsomely-illustrated survey of the extraordinary monuments and collections of the Holy See of Ējmiatsin. In Armenian, Russian, and English.
  116. Find this resource:
  117. Mutafian, Claude, ed. Arménie: La magie de l’écrit. Paris: Somogy, 2007.
  118. Save Citation »Export Citation »E-mail Citation »
  119. Catalogue of exhibition of Armenian art from Marseille in 2007 with special focus on the written word. Includes essays on subjects such as writing of pre-Christian Armenia (e.g., Urartian cuneiform, Greek), the invention of the Armenian alphabet, the manuscript tradition, inscribed objects, and translation.
  120. Find this resource:
  121. Narkiss, Bezalel, and Michael Stone, eds. Armenian Art Treasures of Jerusalem. New Rochelle, NY: Caratzas, 1979.
  122. Save Citation »Export Citation »E-mail Citation »
  123. Large illustrated survey of Armenian art with focus on the collections of the Armenian Cathedral of St. James in Jerusalem and the Armenian-inscribed mosaics of the Holy Land.
  124. Find this resource:
  125. Nersessian, Vrej. Treasures from the Ark: 1700 years of Armenian Christian Art. London: British Library, 2001.
  126. Save Citation »Export Citation »E-mail Citation »
  127. Exhibition catalogue and survey of art and architecture with special emphasis on the role of the Armenian church in the formation of visual culture. Four essays precede a catalogue of sculpture, metal, textiles, wood, ceramics, documents, and manuscripts.
  128. Find this resource:
  129. Stone, Michael, and Nira Stone, eds. The Armenians: Art, Culture and Religion. Dublin, Ireland: Chester Beatty Library, 2007.
  130. Save Citation »Export Citation »E-mail Citation »
  131. Introduction to medieval Armenian culture with special emphasis on the Armenian manuscripts in the Chester Beatty Library.
  132. Find this resource:
  133. The Arts of the Book: Overviews and Selected Catalogues
  134.  
  135. Armenian manuscript illumination has received the most critical attention by scholars of any media (with architecture forming a close second). Catalogues of library collections, exhibition catalogues, focused studies of artists, regional traditions, and specific iconographic problems are too numerous for the following section to be in any way comprehensive. Nevertheless, select publications offer a sense of the field as a whole and also an entry point for students and scholars. Mathews and Wieck 1994 provides an introduction to the history of medieval manuscript painting in Armenia, placing the tradition within a historical and religious context. Its intellectual approach, chronological and geographical scope, and readability make it useful both as a reference for medievalists and as a general introduction to the field for students and nonspecialists. Mathews and Wieck 1998, a volume of essays from a symposium connected to the Treasures in Heaven exhibition, offers a set of thematic studies covering a broad range of questions, including the relation of Armenian manuscript illustration to Islamic art, to Byzantine icons, and to European prints. Nersessian 2012 is a comprehensive catalogue of Armenian manuscripts in the United Kingdom, including English translations of the colophons. Durnovo 1967 and Kazaryan and Manukyan 1991 are both useful for their commentary on individual manuscripts but more so for their excellent photographs. Chanashean 1966, Buschhausen and Buschhausen 1976, and Der Nersessian 1973 are important catalogues of major collections with substantial critical commentary.
  136.  
  137. Buschhausen, H., and H. Buschhausen. Die Illuminierten Armenischen Handschriften der Mechitaristen-Congregation in Wien. Vienna: Mekhitarist Congregation, 1976.
  138. Save Citation »Export Citation »E-mail Citation »
  139. German, Armenian, and English editions. Catalogue of illuminated manuscripts held in the Mekhitarist monastery in Vienna. Text is divided chronologically beginning with the 10th–11th century. Each manuscript is accompanied by an essay, bibliography, and illustrations. With 250 color plates.
  140. Find this resource:
  141. Chanashean, Mesrob. Armenian Miniature Painting of the Monastic Library of San Lazzaro. 2 vols. Venice: Casa editrice armena, 1966.
  142. Save Citation »Export Citation »E-mail Citation »
  143. Volume 1 considers thirteen manuscripts dating from the 9th to the 13th century; Volume 2 (in Armenian) discusses the schools of Cilicia from the 12th to the 14th century. Massive work with excellent photographic documentation.
  144. Find this resource:
  145. Der Nersessian, Sirarpie. Armenian Manuscripts in the Walters Art Gallery. Baltimore: Trustees of the Walters Art Gallery, 1973.
  146. Save Citation »Export Citation »E-mail Citation »
  147. A large-format publication, including sustained individual studies of Armenian manuscripts housed in the Walters Art Gallery. Critical commentary draws useful parallels with manuscripts in other collections. Most of the manuscripts are now available online.
  148. Find this resource:
  149. Durnovo, Lydia. Miniatures arméniennes. Yerevan: Matenadaran, 1967.
  150. Save Citation »Export Citation »E-mail Citation »
  151. (Armenian miniatures). Handsomely illustrated survey from the Mesrop Mashtots‘ Institute of Ancient Manuscripts (the Matenadaran), with commentary by Durnovo and a preface by Sirarpie Der Nersessian. After a brief introduction to Armenian manuscript painting, proceeds chronologically from the 7th to the 17th century.
  152. Find this resource:
  153. Kazaryan, Vigen, and S. S. Manukyan. Matenadaran. The Treasures of the Book Art in the Soviet Book Collections. Vol. 1, Armenian Manuscripts of the VI-XIV Centuries. Moscow: Kniga, 1991.
  154. Save Citation »Export Citation »E-mail Citation »
  155. In Russian with English summary. Illustrated catalogue of illuminated manuscripts in the Mesrop Mashtots‘ Institute for Ancient Manuscripts (Matenadaran). Many color photographs, although images are of small size. Highlights the collection of Cilician manuscripts.
  156. Find this resource:
  157. Mathews, Thomas F., and Roger S. Wieck, eds. Treasures in Heaven: Armenian Illuminated Manuscripts. Princeton, NJ: Princeton University Press, 1994.
  158. Save Citation »Export Citation »E-mail Citation »
  159. Catalogue accompanied by a substantial introduction to the history of medieval manuscript painting in Armenia, placing the tradition within a historical and religious context with innovative contributions from the Islamic, Byzantine, and Western perspectives.
  160. Find this resource:
  161. Mathews, Thomas F., and Roger S. Wieck, eds. Treasures in Heaven: Armenian Art, Religion, and Society. New York: Pierpont Morgan Library, 1998.
  162. Save Citation »Export Citation »E-mail Citation »
  163. Collected papers from the symposium associated with the 1994 Treasures in Heaven exhibition.
  164. Find this resource:
  165. Nersessian, Vrej. A Catalogue of the Armenian Manuscripts in the British Library Acquired since the Year 1913 and of Collections in Other Libraries in the United Kingdom. 2 vols. London: British Library, 2012.
  166. Save Citation »Export Citation »E-mail Citation »
  167. Comprehensive catalogue. The first volume presents biblical manuscripts and service books; the second volume considers manuscripts of ecclesiastical law, patristic literature, scientific and magical texts, and other literary traditions. Includes detailed descriptions, colophons and their English translations, and many illustrations.
  168. Find this resource:
  169. Armenian Manuscript Studies: Iconography
  170.  
  171. The study of iconography forms one of the most important approaches to Armenian manuscript illumination of the past century. Scholarship on this subject can be divided into two types: in one case, scholars trace Armenian iconography to neighboring traditions (including Byzantium, the Islamic World, and Europe); in the other, they investigate ways in which Armenian iconography departs from those traditions, reflecting instead local practices and beliefs. All of the studies below look carefully at the problem; Mathews and Sanjian 1991 is a massive investigation of individual gospel scenes and their sources; Ghazarian offers a focused study of the self-portrait. Mathews 1982 addresses the famous final folios of the Ējmiatsin Gospels, tracing their iconography to Armenian and East Christian sources. Mathews and Daskalakis 1997 considers political motivations behind the representation of royal donors; Kouymjian 1993 observes both change and continuity in the development of Armenian Gospel illumination during the 9th to 11th centuries.
  172.  
  173. Ghazarian, Vigen. “Self-Portrait in Armenian Miniature.” In Atti di terzo simposio di arte armena: Milano, Vicenza, Castelfranco V., Piazzola sul Brenta, Venezia, 25 settembre-1 ottobre, 1981. Edited by G. Ieni and G. Uluhogian, 199–209. Venice: San Lazzaro, 1984.
  174. Save Citation »Export Citation »E-mail Citation »
  175. Discusses the tradition of self-portraiture in Armenian manuscripts. Offers specific examples, and considers why and how artists chose to represent themselves.
  176. Find this resource:
  177. Kouymjian, Dickran. “The Evolution of Armenian Gospel Illumination: The Formative Period (9th-11th centuries).” In Armenia and the Bible. Edited by Christopher Burchard, 125–142. Atlanta: Scholars, 1993.
  178. Save Citation »Export Citation »E-mail Citation »
  179. Identifies and traces the development of Armenian gospel illumination from the 7th to the 11th century, identifying the 9th to 11th centuries as a formative period. Shows diversity of approaches to decoration and design, and highlights the importance of formal analysis.
  180. Find this resource:
  181. Mathews, Thomas F. “The Early Armenian Iconographic Program of the Ēǰmiacin Gospel (Erevan, Matenadaran MS 2374, olim 229).” In East of Byzantium: Syria and Armenia in the Formative Period. Edited by Nina G. Garsoïan, Thomas F. Mathews, and Robert W. Thomson, 119–215. Washington, DC: Dumbarton Oaks, 1982.
  182. Save Citation »Export Citation »E-mail Citation »
  183. Demonstrates how the earliest examples of Armenian manuscript painting, generally dated to the early 7th century, can be understood within a specific Armenian and/or East Christian milieu.
  184. Find this resource:
  185. Mathews, Thomas F., and C. Daskalakis. “The Portrait of Princess Marem of Kars, Jerusalem 2556, fol.135b.” In From Byzantium to Iran: Armenian Studies in Honour of Nina G. Garsoïan. Edited by Jean-Pierre Mahé and Robert W. Thomson, 475–484. Atlanta: Scholars, 1997.
  186. Save Citation »Export Citation »E-mail Citation »
  187. Reinterpretation of the portrait page located in the Gospel of Gagik-Abas of Kars. (Jerusalem MS. 2556) Argues that this folio originally belonged to another, now-lost manuscript, and that the placement of Princess Marem at the center of portrait may be an indication of her intended inheritance of the throne.
  188. Find this resource:
  189. Mathews, Thomas, and Avedis K. Sanjian. Armenian Gospel Iconography: The Tradition of the Glajor Gospel. Washington, DC: Dumbarton Oaks, 1991.
  190. Save Citation »Export Citation »E-mail Citation »
  191. A study of the iconography of the Armenian gospel book focusing on the Gladzor Gospels. Close consideration of each image, and identification of iconographic, patristic, and theological sources, painterly hands, and pigment types. An appendix includes important discussion of the symbolism of the canon tables.
  192. Find this resource:
  193. Cilician Manuscript Painting
  194.  
  195. Cilician manuscript painting of Armenia has received the most critical attention of any of the Armenian book arts. Manuscripts from this area are plentiful, sumptuous, and preserve precious historical information. Scholars also celebrate Cilician illuminations for their artistic virtuosity and self-consciously refined and cosmopolitan style. Der Nersessian 1993 is a comprehensive study of the tradition and provides an overview of its development. Kouymjian 1986 considers the striking phenomenon of East Asian motifs in Cilician manuscripts. Rapti 2008 studies the liturgical context of the illumination of a celebrated royal Cilician manuscript. Evans 1997 addresses royal portraiture, focusing on the role of costume in identity politics. Chookaszian 1994–1995 also studies royal costume, focusing on a single portrait, while Chookaszian 2009 explores the relations between Armenian and French manuscript painting.
  196.  
  197. Chookaszian, Levon. “Remarks on the Portrait of Prince (Ms. Erevan 8321).” Revue des études arméniennes 25 (1994–1995): 299–335.
  198. DOI: 10.2143/REA.25.0.2003784Save Citation »Export Citation »E-mail Citation »
  199. Discussion of the portrait of Prince Lewon found in a Cilician manuscript (Matenadaran MS 8321). Special consideration of the garment worn by the prince and the possible heraldic meanings of the lion and sun motifs found thereon.
  200. Find this resource:
  201. Chookaszian, Levon. “L’art occidental, l’art français et la miniature arménienne.” In L’Église arménienne entre Grecs et Latins, fin XIe Iein XIeiXVe siin X. Edited by Isabelle Augé et Gérard Dédéyan, 107–132. Paris: Libraire Orientaliste P. Geuthner, 2009.
  202. Save Citation »Export Citation »E-mail Citation »
  203. Explores potential relations between medieval Armenian and French manuscript illumination, with focus on the 13th-century Cilician painter T‘oros Ṛoslin.
  204. Find this resource:
  205. Der Nersessian, Sirarpie. Miniature Painting in the Armenian Kingdom of Cilicia from the Twelfth to the Fourteenth Century. 2 vols. Dumbarton Oaks Studies 31. Washington, DC: Dumbarton Oaks Research Library and Collection, 1993.
  206. Save Citation »Export Citation »E-mail Citation »
  207. With an introduction by Annemarie Weyl Carr. Sustained study of the history of manuscript illumination in this region and the final publication of the scholar. Chapters cover the main periods of Cilician art, beginning with the 12th-century scriptoria, turning to the works of T‘oros Ṛoslin and Sargis Pitsak. Concludes with a brief study of royal portraiture.
  208. Find this resource:
  209. Evans, Helen. “Kings and Power Bases. Sources for Royal Portraits in Armenian Cilicia.” In From Byzantium to Iran. Edited by Jean-Pierre Mahé and Robert W. Thomson, 485–507. Atlanta: Scholars, 1997.
  210. Save Citation »Export Citation »E-mail Citation »
  211. Investigation of royal portraiture in Cilician manuscripts, with particular attention to pose and dress. Demonstrates the distinctive features of Cilician royal portraiture from those known from Greater Armenia.
  212. Find this resource:
  213. Kouymjian, Dickran. “Chinese Elements in Armenian Miniature Painting in the Mongol Period.” In Armenian Studies/Etudes arméniennes in memoriam Haïg Berbérian. Edited by Dickran Kouymjian, 415–468. Lisbon: Calouste Gulbenkian Foundation, 1986.
  214. Save Citation »Export Citation »E-mail Citation »
  215. This study identifies several East Asian motifs in manuscripts of Cilicia, and suggests why and how they appear. Close consideration of the historical, political, and diplomatic contexts of artistic exchange in 13th-century Cilicia.
  216. Find this resource:
  217. Rapti, Ioanna. “Image et liturgie à la cour de Cilicie: le lectionnaire du prince Het‘um (Matenadaran MS 979).” Monuments et Mémoires de la Fondation Eugene Piot 87 (2008): 105–142.
  218. DOI: 10.3406/piot.2008.1646Save Citation »Export Citation »E-mail Citation »
  219. Detailed study of a celebrated and sumptuous royal Cilician manuscript, focusing on the liturgical context of its illuminations. Argues that the lectionary presents a coherent pictorial program that follows the church calendar.
  220. Find this resource:
  221. Non-Biblical Manuscript Illustration
  222.  
  223. While biblical texts (and gospels most of all) are the most commonly illustrated of Armenian manuscripts, many other illustrated cycles also exist. The category of “non-biblical” is obviously clumsy, and one must acknowledge the problem of using terms such as “secular” in an era that most likely had no such conception. Nevertheless, it is important somehow to signal the many studies of illustrated scientific, magical, and literary texts. Macler 1928 is a pioneering work of this kind, considering a range of texts, including the illustrated Alexander Romance and the magical scroll (hmayil), and accompanied by critical commentary and many illustrations. Stone 2011 offers an updated survey of the problem, including recent research and broadening the field of study to include many more illustration cycles. Russell 2011 considers how to interpret the striking pictorial conventions of the magical scroll, highlighting its appropriateness within the modern conceptualization of Outsider Art. Galichian 2008 considers a rare 14th-century map with Armenian inscriptions. Maranci 2003 focuses on an illustrated Alexander Romance to highlight complex relations between texts and images.
  224.  
  225. Galichian, Rouben. “A Medieval Armenian T-O Map.” Imago Mundi 60.1 (2008): 86–92.
  226. Save Citation »Export Citation »E-mail Citation »
  227. Brief report on a rare orbis terrarium map with Armenian inscriptions. The author provides visual and textual analysis and suggests a date in the 14th century.
  228. Find this resource:
  229. Macler, Frédèric. L’enluminure profane arménienne (Armenian Profane Illumination). Paris: Libraire Orientaliste P. Geuthner, 1928.
  230. Save Citation »Export Citation »E-mail Citation »
  231. This study offers a rare and early glimpse at the secular manuscript traditions of Armenia, including the illustration of medical and astronomical texts, magical scrolls, and the Armenian Alexander Romance.
  232. Find this resource:
  233. Maranci, Christina. “Word and Image in the Armenian Alexander Romance.” Journal of the Society of Armenian Studies 11 (2003): 19–28.
  234. Save Citation »Export Citation »E-mail Citation »
  235. Draws attention to the multiple text-image relations of the illustrated Alexander Romance (Venice Mekhitarist MS 424), considering how captions, poetic verses, and framing devices inform the meaning of the imagery.
  236. Find this resource:
  237. Russell, James R. “The Armenian Magical Scroll and Outsider Art.” Iran & the Caucasus 15.1–2 (2011): 5–47.
  238. DOI: 10.1163/157338411X12870596615313Save Citation »Export Citation »E-mail Citation »
  239. Discussion of the imagery found in the Armenian magical scroll (or hmayil). Places it in the context of outsider art, the art of the insane, and the art of religious visionaries.
  240. Find this resource:
  241. Stone, Nira. “The Illumination of Non-Biblical Manuscripts.” Revue des études arméniennes 33 (2011): 251–281.
  242. Save Citation »Export Citation »E-mail Citation »
  243. A broad study of the subject with discussion of recent research on the topic; considers specific examples including the Alexander Romance, model-books, the Jewish Bride, hagiography, liturgical manuscripts, the Physiologus, historical works, amuletic texts and apotropaic writings, and scientific illustrations.
  244. Find this resource:
  245. Manuscript and Icon Painting of the 15th to 18th Centuries
  246.  
  247. A large body of manuscripts are preserved from the 15th to the 17th centuries; the early part of this era saw a particular flourishing in the region of Vaspurakan, the latter witnessed the emergence and development of manuscript production in various diaspora centers. Vardanyan 1998–2000 offers a catalogue of the 15th-century Vaspurakan painter Minas. Stone 1997 offers an opportunity to study the artistic production of Armenians in 15th-century Crimea; this study explores the historical and intellectual context of the manuscript, its codicology, and individual scenes and portraits. Greenwood and Vardanyan 2006 presents a rare English-language book-length study of a 16th-century Armenian artist. Taylor 1995 and Landau 2012 both explore the artistic production of Armenians in New Julfa (a suburb of Isfahan, Iran). Taylor 1995 looks at the relations between Armenian book arts in New Julfa and contemporary Persian art; Landau 2012 offers insight into the appropriation of European iconography in Armenian church decoration of New Julfa. Arakelyan 2013 presents a focused study on the celebrated New Julfan painter Mesrop of Xizan. Greenwood 2003 studies the neglected tradition of 17th-century Constantinopolitan illumination, introducing an unpublished manuscript and shedding light on a father-son artistic relationship. Jirjis 2008 broadens the discussion of diasporan Armenian art, considering an Armenian icon painter active in 18th-century Cairo.
  248.  
  249. Arakelyan, Mikayel. Mesrop of Xizan: An Armenian Master of the Seventeenth Century. London: Paul Holberton, 2013.
  250. Save Citation »Export Citation »E-mail Citation »
  251. A comprehensive monograph on Mesrop (c. 1590–1652), an important artist of the Armenian community of New Julfa (a suburb of Isfahan). Offers a close study of a lavishly illustrated gospel book and a catalogue of his works.
  252. Find this resource:
  253. Greenwood, Timothy. “An Unpublished Seventeenth-Century Armenian Psalter, a Constantinopolitan Scriptorium and Markos Patkerahan.” Revue des études arméniennes 29 (2003): 323–382.
  254. DOI: 10.2143/REA.29.0.2002628Save Citation »Export Citation »E-mail Citation »
  255. Presents a psalter Illustrated by the painter Markos Patkerahan (portrait-painter). Draws connection between the work of Markos and his son Gabriēl.
  256. Find this resource:
  257. Greenwood, Timothy, and Edda Vardanyan. Hakob’s Gospels: The Life and Work of an Armenian Artist of the Sixteenth Century. London: Sam Fogg, 2006.
  258. Save Citation »Export Citation »E-mail Citation »
  259. A rare book-length, English language study of 16th-century Armenian manuscript painting. Includes biography of Hakob Jughayets‘i (c. 1550–c. 1613), consideration of the tumultuous world in which he worked, his travels, and discussion of his striking paintings.
  260. Find this resource:
  261. Jirjis, Majdī. An Armenian artist in Ottoman Egypt: Yuhanna al-Armani and his Coptic Icons. Cairo and New York: American University in Cairo Press, 2008.
  262. Save Citation »Export Citation »E-mail Citation »
  263. Concerns the Armenian icon painter Yuhanna al-Armani and places him within the social, political, and economic context of Ottoman Cairo.
  264. Find this resource:
  265. Landau, Amy S. “European Religious Iconography in Safavid Iran: Decoration and Patronage of Meydani Bet’ghehem (Bethelehem of the Maydan).” In Iran and the World in the Safavid Age. Edited by Willem Floor and Edmund Herzig, 425–446. London: IB Tauris, 2012.
  266. Save Citation »Export Citation »E-mail Citation »
  267. Considers why and how European religious iconography was employed in the decoration of the New Julfan (a suburb of Isfahan) churches.
  268. Find this resource:
  269. Stone, Nira. The Lives of the Desert Fathers: A Study in Armenian Manuscript Illumination. Leuven, Belgium: Peeters, 1997.
  270. Save Citation »Export Citation »E-mail Citation »
  271. Monograph on a remarkable manuscript (Jerusalem 285) featuring depictions of the early Desert Fathers, made in Crimea (Kaffa) in 1430. Appendix A is a translation of the colophons; Appendix B is a list of Armenian manuscripts copied in the Crimea.
  272. Find this resource:
  273. Taylor, Alice. Book Arts of Isfahan: Diversity and Identity in Seventeenth-Century Persia. Malibu, CA: Getty Museum, 1995.
  274. Save Citation »Export Citation »E-mail Citation »
  275. Associated with the Getty exhibit by the same name. Includes discussion of Armenian manuscript illumination of New Julfa and Armenian printed books. Visual analysis is undertaken with close attention to social context and identity politics.
  276. Find this resource:
  277. Vardanyan, Edda. “Catalogue des manuscrits du peintre Minas (XVe s.)” Revue des études arméniennes 27 (1998–2000): 359–378.
  278. DOI: 10.2143/REA.27.0.563267Save Citation »Export Citation »E-mail Citation »
  279. “Catalogue of the manuscripts of the painter Minas (15th century).” Discussion of the 15th-century painter Minas of Vaspurakan (1432–1483) with a catalogue of his works.
  280. Find this resource:
  281. Paleography, Binding, and Early Printed Books
  282.  
  283. The writing and constructing of Armenian manuscripts have long been considered important aspects of Armenian book arts. Stone, et al. 2002 is an album of Armenian paleography, tracing the development of Armenian writing from its earliest manuscript and lapidary examples. Merian 2013 considers the objects attached to bindings and their possible function. Kouymjian 1995 presents a corpus of the Armenian-inscribed bindings of New Julfa (a suburb of Isfahan), and highlights their historical importance. Early printed books form a separate but equally important realm of study, and two publications (among many others) give a sense of this field. Kévorkian 1986 is massive work considering all aspects of the early printing, including the book trade, iconography, and social history. Nersessian 1980 is a more focused study, including a catalogue of printed books in British and Bodleian Libraries, and prefaced with useful introductory essays.
  284.  
  285. Kévorkian, Raymond. Catalogue des “Incunables” arméniens (1511/1695): Chronique de l’imprimerie arménienne. Cahier d’orientalisme 9. Geneva, Switzerland: P. Cramer, 1986.
  286. Save Citation »Export Citation »E-mail Citation »
  287. (Catalogue of Armenian “Incunabula” (1511/1695): The chronicle of Armenian printing). Catalogue of early Armenian printed books compiled from major libraries; essays on the book market, and the role of books in contemporary religion and culture preface the catalogue.
  288. Find this resource:
  289. Kouymjian, Dickran. “The New Julfa Style of Armenian Manuscript Bindings.” Journal of the Society of Armenian Studies 8 (1995): 11–34.
  290. Save Citation »Export Citation »E-mail Citation »
  291. Connects the tradition of inscribed and dated leather bindings to New Julfa book production. Outlines distinctive visual and structural features of New Julfa bindings and proposes possible historical and cultural context in which they were produced.
  292. Find this resource:
  293. Merian, Sylvie L. “Protection Against the Evil Eye?: Votive Offerings on Armenian Manuscript Bindings.” In Suave Mechanicals: Essays on the History of Bookbinding. Vol. 1. Edited by Julia Miller, 43–94. Ann Arbor, MI: Legacy Press, 2013.
  294. Save Citation »Export Citation »E-mail Citation »
  295. Concerns the tradition of attaching to bindings various precious-metal objects, including crosses, coins, and jewelry. Asks what meaning this practice held.
  296. Find this resource:
  297. Nersessian, Vrej. Catalogue of Early Armenian Books, 1512–1850. London: British Library Board, 1980.
  298. Save Citation »Export Citation »E-mail Citation »
  299. Prefaced with a general discussion of Armenian printing, 1512–1800. The catalogue is divided into sections: Armenian printed books in the British and Bodleian Libraries; 16th- and 17th-century European books with Armenian characters; and Armenian maps in the British Library.
  300. Find this resource:
  301. Stone, Michael E., Dickran Kouymjian, and Henning Lehmann. Album of Armenian Paleography. Aarhus, Denmark: Aarhus University Press, 2002.
  302. Save Citation »Export Citation »E-mail Citation »
  303. Massive work on the development of Armenian script from the 5th century. Discussion of manuscript hands as well as monumental and mosaic inscriptions. Includes extensive study of the thirty-eight letters, with tables showing their development over the centuries.
  304. Find this resource:
  305. Image Worship and Iconoclasm
  306.  
  307. A literary tradition in defense of holy images is known in Armenian sources from at least the 7th century. The foundational and most-often cited work is Der Nersessian 1944–1945, which includes a French translation of and commentary on “Against the Iconoclasts,” a treatise attributed to the early-7th-century theologian Vrt‘anēs K‘ert‘ogh. Der Nersessian 1944–1945 offers ample discussion of the theological, literary, and art-historical significance of the text. Der Nersessian 1946 is a much broader study demonstrating the long history of iconoclastic episodes, and image defense, in Armenia, from roughly the 7th to 13th centuries. Schmidt 1997 challenges the attribution of the defense to the early 7th century and to Vrt‘anēs. Rapti 2009 surveys both texts and images associated with the cult, highlighting Armenian images with pictorial relations to Byzantine icons. Mathews attributes text to Vrt‘anēs and puts the work in a broader theological and literary context, with comparisons to John of Damascus and Leontios of Neapolis. Kochakian 1995 also accepts the Vrt‘anēs attribution, and makes a close study of the theology of images in medieval Armenia, tracing the tradition up to present-day church practices. These works, although in some respects contradictory, show an increasing interest in image worship and iconoclasm in medieval Armenia, and the potential for dialogue with scholars of Byzantine iconoclasm.
  308.  
  309. Der Nersessian, Sirarpie. “Une apologie des images du septième siècle.” Byzantion 17 (1944–1945): 58–87.
  310. Save Citation »Export Citation »E-mail Citation »
  311. (An Apology of Images of the 7th Century). The often-cited French translation of the Armenian defense of images attributed to Vrt‘anēs K‘ert‘ogh, the earliest Christian defense of images known in its entirety. Reprinted in Revue byzantines et arméniennes. 380–403. Louvain, Belgium: Imprimerie Orientaliste, 1973.
  312. Find this resource:
  313. Der Nersessian, Sirarpie. “Image Worship in Armenia and its Opponents.” Armenian Quarterly 1 (1946): 67–81.
  314. Save Citation »Export Citation »E-mail Citation »
  315. A discussion of the substantial Armenian primary sources concerning the defense of images, and their destruction, from the early to late Middle Ages.
  316. Find this resource:
  317. Kochakian, Garabed. Art in the Armenian Church: Its Origins and Teaching. New York: St. Vartan’s, 1995.
  318. Save Citation »Export Citation »E-mail Citation »
  319. Study of Armenian attitudes toward sacred images. Considers holy images in the church, the problem of iconoclasm, and the theology of icons.
  320. Find this resource:
  321. Mathews, Thomas. “Vrt‘anēs K‘ert’oł and the Early Theology of Images.” Revue des études arméniennes 31 (2008–2009): 101–126.
  322. DOI: 10.2143/REA.31.0.2046938Save Citation »Export Citation »E-mail Citation »
  323. A discussion of the treatise on the defense of images attributed to Vrt‘anēs K‘ert‘ogh (early 7th century) and its relation to those of John of Damascus and Leontios of Neapolis.
  324. Find this resource:
  325. Rapti, Ioanna. “Le Statut des images dans l’art et le culte arméniens.” In Actes du colloque sur l’aniconisme a Byzance. Edited by Matteo Campagnolo, Paul Magdalino, Marielle Martiniani-Reber, and André-Louis Rey, 59–74. Geneva, Switzerland: La Pomme d’Or, 2009.
  326. Save Citation »Export Citation »E-mail Citation »
  327. (The status of images in Armenian worship). Survey of texts, sculptural reliefs, and manuscript images in medieval Armenia that relate to image worship. Features images with pictorial or iconographical relations to Byzantine icon types.
  328. Find this resource:
  329. Schmidt, Andrea B. “Gab es einen armenischen Ikonoklasmus? Rekonstruktion eines Dokuments der kaukasisch-albanischen Theologiegeschichte).” In Das Frankfurter Konzil von 794: Kristallisationspunkt karolingischer Kultur; Akten zweier Symposien (vom 23. bis 27. Februar und vom 13. bis 15. Oktober 1994) anlässlich der 1200-Jahrfeier der Stadt Frankfurt am Main. Vol. 2. Edited by Rainer Berndt, 947–964. Mainz: Gesellschaft für Mittelrheinische Kirchengeschichte, 1997.
  330. Save Citation »Export Citation »E-mail Citation »
  331. (Was there an Armenian iconoclasm? Reconstruction of a document of Caucasian-Albanian theological history). Challenges the date and authorship of the treatise previously attributed to Vrt‘anēs K‘ert‘ogh. Claims instead a late-7th-century date, at the earliest, and a context of composition in the Albanian Caucasian, rather than the Armenian church.
  332. Find this resource:
  333. The Stele and the Khachk‘ar (Cross-Stone)
  334.  
  335. Stone figured stelae are preserved in Armenia and neighboring Georgia from an early date, perhaps as early as the 4th and 5th centuries CE. They appear to have served commemorative functions of various sorts, and were erected in the open air. Their iconography varies but often features the Virgin and Child, saints, and Old Testament imagery such as Daniel in the Lion’s Den. Khatchadourian 2008, although concerned primarily with the Hellenistic era, is noteworthy for its consideration of pre-Christian steles that were transformed into Christian objects (by the inscribing of a cross on the stele surface), thus offer intriguing insight into cultural memory in medieval Armenia. Early steles have also prompted iconographic studies; both Russell 2001 and Compareti 2010 explore pre-Christian, and particularly Sasanian sources, for motifs found on the stelae. The khachk‘ar, or cross-stone, is known from the 9th century, and develops a fairly consistent iconography and design over the following centuries. Catalogues of khach‘kars with introductory essays are offered in Manoukian and Ieni 1982 and Acharyan 1978; Khatchadourian and Basmadjian 2014 presents a systematic catalogue of khachk‘ars from Isfahan and Jerusalem, with an effort toward precise description and classification. Pancaroğlu suggests the role of Armenian khachk‘ars (and their carvers) in the design of the celebrated complex at Divriği, thus placing khachk‘ars within an intriguing discussion of 13th-century cross-cultural relations in Anatolia.
  336.  
  337. Acharyan, Lewon. Armenian Khatchkars. Ējmiatsin, Armenia: Holy See, 1978.
  338. Save Citation »Export Citation »E-mail Citation »
  339. In Armenian, Russian, and English. A photographic survey of Armenian khachk‘ars (cross-stones) from the 9th to the 18th centuries. Prefaced with short introductory essays on the history and art of the khachk‘ar.
  340. Find this resource:
  341. Compareti, Matteo. “The Spread-Wings Motif on Armenian Steles: Its Meaning and Parallels in Sasanian Art.” Iran and the Caucasus 14.2 (2010): 201–232.
  342. DOI: 10.1163/157338410X12743419190106Save Citation »Export Citation »E-mail Citation »
  343. Study of the appropriation of the Sasanian “spread-wings” motif in Armenian sculpted stelae, where it is used as a base for the cross. Uses textual and visual analysis to suggest that this motif performed, in its Christian context, a parallel function in exalting and glorifying the cross.
  344. Find this resource:
  345. Khatchadourian, Lori. “Unforgettable Landscapes: Attachments to the Past in Hellenistic Armenia.” In Negotiating the Past in the Past: Identity, Memory, and Landscape in Archaeological Research. Edited by Norman Yoffee, 43–75. Tuscon: University of Arizona Press, 2008.
  346. Save Citation »Export Citation »E-mail Citation »
  347. Concerns Hellenistic-era Armenia, but holds implications for cultural memory during the medieval period. Presents a striking cross-inscribed Urartian stele to demonstrate the Christian appropriation of the remote past.
  348. Find this resource:
  349. Khatchadourian, Haroutioun, and Michel Basmadjian. L’art des khatchkars: Les pierres à croix arméniennes d’Ispahan et de Jérusalem. Paris: Librairie orientaliste Paul Geuthner, 2014.
  350. Save Citation »Export Citation »E-mail Citation »
  351. Catalogue of over 650 khachk‘ars (cross-stones) from New Julfa (a suburb of Isfahan) and the Holy Land, with careful consideration of sculpture and epigraphy.
  352. Find this resource:
  353. Manoukian, Armen, and Giulio Ieni. Khatchkar: Croix en pierre arméniennes: Catalogue de l’exposition. Marseille, France: Mekhitarists, 1982.
  354. Save Citation »Export Citation »E-mail Citation »
  355. (Armenian cross-stones: Catalogue of the exhibition). Brief study of the khachk‘ar (cross-stone). Includes introductory essays by the editors on the meaning and function of the khachk‘ar and its status as a holy image. With comparative images of stone crosses in Ireland.
  356. Find this resource:
  357. Pancaroğlu, Oya. “The Mosque-Hospital Complex in Divriği: A History of Relations and Transitions.” Anadolu ve Çevresinde Ortaçağ 3 (2009): 169–198.
  358. Save Citation »Export Citation »E-mail Citation »
  359. Explores the Seljuk mosque-hospital at Divriği and considers possible role of Armenian khachk‘ars (cross-stones) in the design of its remarkable facade. Discussion is set in larger context of artistic mobility across eastern Anatolia in the 13th century.
  360. Find this resource:
  361. Russell, James R. “The Scepter of Tiridates.” Le Muséon 114.1–2 (2001): 187–215.
  362. Save Citation »Export Citation »E-mail Citation »
  363. Analysis of a 5th- or 6th-century bas-relief found at K‘asagh (Armenian Republic). The imagery, which includes a boar-headed man holding a rod, is traced to pre-Christian concepts and images of rulership.
  364. Find this resource:
  365. Monumental Sculpture
  366.  
  367. Many Armenian monuments are adorned with relief sculpture, and one will find further discussion of this phenomenon under the architectural headings of this bibliography. Aṛak‘elyan 1949 is a foundational and comprehensive study of the early material. Donabédian 1990–1991 presents the great range of biblical subjects depicted in early Armenian bas-reliefs, offering an excellent point of departure for further iconographic study. Thierry 1997 offers an important reinterpretation of a bas-relief lintel at the 7th-century church of Mren, using visual analysis and drawing upon medieval chronicles. Hakobyan builds on this discussion, supporting Thierry’s identification with further sculptural images. Hakobyan 2006 offers a comprehensive study of the copious bas-reliefs of the 7th-century church of Zvart‘noc‘, focusing on iconography. Rapti 2015 takes a different approach, noting how textual inscriptions and imagery work together on a 13th-century portal. Carile 2014 considers 12th- and 13th-century sculpted portraits of donors holding building models, considering their political and theological dimensions. Zak‘aryan Lilit‘ 2007 concerns the 13th-century monastic complex of Aghjots‘, with special consideration of its striking architectural sculpture.
  368.  
  369. Aṛak‘elyan, Babken. Haykakan Patkerakantaknerə IV–VII Darerum. Yerevan: Haykakan SSH Gitut‘yunneri Akademiayi Hrataṛakch‘ut‘yun, 1949.
  370. Save Citation »Export Citation »E-mail Citation »
  371. (Armenian sculpted imagery from the 4th to 7th centuries). An early study of the sculpture of medieval Armenia, focusing on stelae and monumental sculpture. The photographs are often enhanced with overdrawing, but allow for consideration of the works before, in some cases, significant weathering and damage.
  372. Find this resource:
  373. Carile, Maria Cristina. “Buildings in their Patron’s Hands? The Multiform Function of Small Size Models between Byzantium and Transcaucasia.” Kunsttext.de 3 (2014): 1–14.
  374. Save Citation »Export Citation »E-mail Citation »
  375. Considers donor models in Armenia and Georgia with particular consideration of the 12th- and 13th-century examples. Includes general discussion of history of architectural models in the Caucasus. Shows relations of donor portraits and models with wider visual culture. Argues that the microarchitecture embodied both the physical and the heavenly church.
  376. Find this resource:
  377. Donabédian, Patrick. “Les thèmes bibliques dans la sculpture arménienne préarabe.” Revue des études arméniennes 22 (1990–1991): 253–314.
  378. DOI: 10.2143/REA.22.0.2017174Save Citation »Export Citation »E-mail Citation »
  379. (Biblical themes in pre-Arab Armenian sculpture). Iconographic study of Armenian sculpture of the 4th to 7th centuries. Examines a range of Old Testament and New Testament themes as expressed on early medieval Armenian sculpture.
  380. Find this resource:
  381. Hakobyan, Zaruhi. “Zvart‘nots‘i khorhrdabanakan kerparě” Ējmiacin 6 (2006): 76–85.
  382. Save Citation »Export Citation »E-mail Citation »
  383. (The iconography of Zvart’nots). A detailed iconographical study of the sculpture at Zvart‘nots‘, sometimes challenging existing interpretations. In Armenian.
  384. Find this resource:
  385. Hakobyan, Zaruhi. “The Restitution of the True Cross in the 10th-Century Armenian Sources and its Depiction in the Early Medieval Sculpture.” Revue des études arméniennes 35 (2013): 227–240.
  386. Save Citation »Export Citation »E-mail Citation »
  387. Discusses and reinterprets the north portal relief at Mren in relation to another 7th-century relief of similar composition.
  388. Find this resource:
  389. Rapti, Ioanna. “Displaying the Word: Words as Visual Signs in the Armenian Architectural Decoration of the Monastery of Noravank‘ (14th Century).” In Viewing Inscriptions in the Late Antique and Medieval World. Edited by Antony Eastmond, 187–204. Cambridge, UK, and New York: Cambridge University Press, 2015.
  390. DOI: 10.1017/CBO9781316136034.010Save Citation »Export Citation »E-mail Citation »
  391. An epigraphic and visual study of two unusual tympana at the monastery of Noravank‘. Highlights the aesthetic function of the content, layout, script, and visibility of the inscriptions, and their contribution to the meaning of the reliefs.
  392. Find this resource:
  393. Thierry, Nicole. “Héraclius et la vraie croix en Arménie.” In From Byzantium to Iran: Armenian Studies in Honour of Nina G. Garsoïan. Edited by Jean-Pierre Mahé and Robert W. Thomson, 165–186. Atlanta: Scholars, 1997.
  394. Save Citation »Export Citation »E-mail Citation »
  395. (Heraclius and the true cross in Armenia). Important reinterpretation of the north portal lintel at the church of Mren. Challenges prevailing opinion that it depicts a scene of the foundation ceremony of the church, and proposes instead that it depicts the triumphant return of the cross to Jerusalem by Heraclius.
  396. Find this resource:
  397. Zak‘aryan Lilit‘. Aghjots‘. Surb Step‘annos. Yerevan, Armenia: Yerevan State University, 2007.
  398. Save Citation »Export Citation »E-mail Citation »
  399. In French and Armenian. This monograph concerns an important but almost inaccessible 13th-century site. Offers a close study of the remarkable architectural sculpture and the inscriptions of the monastery.
  400. Find this resource:
  401. Overviews of Architecture
  402.  
  403. There are many general overviews of Armenian architecture. Strzygowski 1918 was the first European work on the subject, and relies heavily on the work of T‘oros T‘oramanyan. T‘oramanian 2013 is a posthumous collection of studies, preserving important critical commentary as well as archival photographs and plans. Both Hasratian 1985 and Harut‘yunyan 1992 (the latter much more in depth) cover the period from ancient to modern Armenia and present the phenomenon as an unbroken continuum. Cuneo 1988 is highly comprehensive study of medieval Armenian monuments, offering discussion and documentation of individual monuments, and detailed maps. Armenian Architectural Photographic Archive is a massive microfiche collection covering even obscure churches in historical regions of Armenia, accompanied by critical commentary, archival photographs, and bibliography.
  404.  
  405. Armenian Architectural Photographic Archive, Parts 1–6. Leiden, The Netherlands, 1980–1990.
  406. Save Citation »Export Citation »E-mail Citation »
  407. Massive, six-volume set of thousands of microfiche, with a special focus on the monuments in historical Armenia. Includes major and lesser-known monuments, and spans from the early medieval to the 19th century. Includes useful commentary by Lucy der Manuelian and Krikor Maksoudian. Organized by region. Currently being digitized.
  408. Find this resource:
  409. Cuneo, Paolo. Architettura armena dal quarto al diciannovesimo secolo. Vol. 2. Rome: De Luca, 1988.
  410. Save Citation »Export Citation »E-mail Citation »
  411. (Armenian architecture from the fourth to nineteenth century). A comprehensive study of Armenian architecture, with plans, photographs, and maps. In Italian.
  412. Find this resource:
  413. Harut‘yunyan, Varazdat. Haykakan Chartarapetut‘yan Patmut‘yun. Yerevan, Armenia: Luys, 1992.
  414. Save Citation »Export Citation »E-mail Citation »
  415. (The history of Armenian architecture). A three-hundred-page synthesis spanning from the Neolithic age to the 20th century. Attends to neglected areas such as the late medieval period (17th–18th centuries) and to the genre of secular architecture. In general, the author explains developments in Armenian architecture through autochthonous origins rather than culture contact.
  416. Find this resource:
  417. Hasratian, Mourad. Essai sur l’architecture arménienne. Moscow: Editions Sovietski Khoudojnik, 1985.
  418. Save Citation »Export Citation »E-mail Citation »
  419. (Essay on Armenian architecture). In Russian and French. Brief, well-illustrated survey of Armenian architecture from antiquity to the Soviet period, with focus on the medieval churches and monasteries. In double columns of Russian and French.
  420. Find this resource:
  421. Strzygowski, Josef. Die Baukunst der Armenier und Europa. 2 vols. Vienna: Schroll, 1918.
  422. Save Citation »Export Citation »E-mail Citation »
  423. (The architecture of the Armenians and Europe). A problematic, dated survey of Armenian architecture, but virtually unrivaled in scope. Stryzgowski considers Armenian architecture, sculpture, inscriptions, and history from the 4th to 14th centuries, arguing for the primacy of Armenian (and Aryan) creativity in the development of the architecture of Byzantium and medieval and Renaissance Europe.
  424. Find this resource:
  425. T‘oramanian, T‘oros. Materials for the History of Armenian Architecture. Yerevan, Armenia: Yerevan State University, 2013.
  426. Save Citation »Export Citation »E-mail Citation »
  427. In Armenian. Posthumous anthology, originally published in 1942–1946. Materials, some of which are not published elsewhere, include essays, field notes, and correspondence. Includes major contributions on the churches of Zvart‘nots‘ and Tekor, the cathedrals of Ējmiatsin and Ani, and many others. Contains photographs and drawings of great archival value in light of subsequent deterioration of monuments.
  428. Find this resource:
  429. Building Practices
  430.  
  431. Several recent studies have considered the problem of building practices in medieval Armenian architecture, a question that is made particularly interesting because of the evidence that pertains to the subject. Masons’ marks, primary sources, and the buildings themselves, which attest to a high level of professional skill, offer insight into problems of building design, the careers of architects, and operations at the building yard. Donabédian 2012 explores the possibility of deliberate anti-seismic construction in Armenian monuments. Maranci 2003 addresses the celebrated 11th-century architect Trdat, comparing his monuments at Ani and his repair of the Hagia Sophia. Ghazarian and Ousterhout 2001 presents the discovery of a muqarnas diagram engraved on a now-lost monastic building, suggesting how knowledge of the traditionally Islamic form was transferred to an Armenian context. Cuneo 1969 considers the plentiful stone architectural models of Armenia and Georgia, placing some of them into the (questionable) category of workshop maquettes.
  432.  
  433. Cuneo, Paolo. “Les modèles en pierre de l’architecture arménienne.” Revue des études arméniennes 6 (1969): 201–232.
  434. Save Citation »Export Citation »E-mail Citation »
  435. (The stone models of Armenian architecture). A survey of the remarkable corpus of stone models known from medieval Armenia. Also includes a small group from Georgia. The author divides the corpus into categories of “donor models,” “maquettes,” “acroteria,” and “reliquaries.”
  436. Find this resource:
  437. Donabédian, Patrick. “Les architectes de l’Arménie médiévale: usaient-ils de dispositifs parasismiques?” Revue des études arméniennes 34 (2012): 169–242.
  438. Save Citation »Export Citation »E-mail Citation »
  439. (The architects of medieval Armenia: Did they use anti-seismic devices?). Asks if and what sort of strengthening solutions were used by Armenian architects in the medieval period. An important critical study of a widely held but uninvestigated view.
  440. Find this resource:
  441. Ghazarian, Armen, and Robert Ousterhout. “A Muqarnas Drawing from Thirteenth-Century Armenia and the Use of Architectural Drawings During the Middle Ages.” Muqarnas 18 (2001): 141–154.
  442. Save Citation »Export Citation »E-mail Citation »
  443. Reports on a diagram of a muqarnas vault at a 13th-century Armenian monastery in the region of T‘alin.
  444. Find this resource:
  445. Maranci, Christina. “The Architect Trdat: Building Practices and Cross-Cultural Exchange in Byzantium and Armenia.” Journal for the Society of Architectural Historians 62.3 (2003): 294–305.
  446. DOI: 10.2307/3592516Save Citation »Export Citation »E-mail Citation »
  447. Comparative exploration of the architect Trdat’s building projects at the Hagia Sophia and in Armenia.
  448. Find this resource:
  449. Architecture from the 4th to 7th Century
  450.  
  451. The 4th to 7th centuries were a formative period in Armenian architecture, and witnessed the transition from the basilica to the centralized, domed form. The substantial scholarship on this subject presents a range of approaches, including catalogs and photographic documentation, typological classification, and historical interpretation. Bailet, et al. 2012 offers a rare sense of the physical context of an early Christian basilica and its continued use into the 13th century. Khatchatrian 1971 is an older but insightful discussion of the relations between Armenian architecture of the 4th to 6th century and Syrian traditions. Donabédian 2008 is a comprehensive study of the 7th-century domed monuments, setting them within their historical context and examining their painted and sculpted decoration. Plontke-Lüning 2007 is the broadest geographically and chronologically; it also challenges some hitherto accepted chronologies. Kazaryan 2012 is a massive study that introduces a new form of periodization, and is accompanied by a rich photographic documentation and plans. Maranci 2015 uses three churches to explore the social, political, and liturgical context in which they were produced and used. Garibian de Vartavan 2009 highlights the role of the Christian martyria of Jerusalem in the topography and architecture of holy sites in Armenia and Georgia.
  452.  
  453. Bailet, Paul, Patrick Donabédian, Andreas Hartmann-Virnich, Christophe Jorda, Georges Marchand, Damien Martinex, and Laurent Schneider. “Nouvelle recherches sur l’ensemble paléochrétien et médiévale d‘Ereruyk en Arménie.” Antiquité Tardive 20 (2012): 315–341.
  454. DOI: 10.1484/J.AT.1.103110Save Citation »Export Citation »E-mail Citation »
  455. (New research on the early Christian and medieval complex of Ereruyk‘in Armenia). Offers a rare sense of the immediate physical context of an early Armenian church. Excavation report describing a large precinct enclosed by walls, a necropolis south of the basilica, habitations (probably late medieval or modern), and a dam.
  456. Find this resource:
  457. Donabédian, Patrick. L’âge d’or de l’architecture arménienne: VIIe siècle (The Golden Age of Armenian Architecture: The 7th Century). Marseille, France: Parenthèses, 2008.
  458. Save Citation »Export Citation »E-mail Citation »
  459. Organized by chronology and building type, the study provides detailed individual treatments and complete bibliographies. Situates the monuments within their historical context, making use of the most recent textual scholarship. The book concludes with more than fifty pages on architectural sculpture and wall painting.
  460. Find this resource:
  461. Garibian de Vartavan, Nazénie. La Jérusalem nouvelle et les premiers sanctuaires chrétiens de l’Arménie. Yerevan, Armenia: Isis Pharia, 2009.
  462. Save Citation »Export Citation »E-mail Citation »
  463. (New Jerusalem and the first Christian sanctuaries of Armenia). Historical and archaeological investigation of the early Christian martyria of Jerusalem and their relations to Armenian monuments. Suggests that the layout of the churches in the holy cities of Vagharshapat (Ējmiatsin) and Mtskheta in Georgia is based on the topography of the principal holy sites in Jerusalem.
  464. Find this resource:
  465. Kazaryan, Armen. The Architecture of Seventh-Century Transcaucasian Countries: Formation and Development of the Tradition. 4 vols. Moscow: Locus Standi, 2012.
  466. Save Citation »Export Citation »E-mail Citation »
  467. In Russian with English summary. Catalog of more than 120 churches in Armenia, Georgia, and Caucasian Albania. Extensively documented and richly illustrated with photographs and graphic representations, most often the author’s own, the publication offers a closely argued architectural history of the era.
  468. Find this resource:
  469. Khatchatrian, Armen. L’architecture arménienne du IVe au VIIe siècle. Paris: Klincksieck, 1971.
  470. Save Citation »Export Citation »E-mail Citation »
  471. (Armenian architecture of the 4th to 7th centuries). Study of Armenian architecture of the pre-Arab period, considering the origins of the basilica and the earliest domed churches. Argues for particular influence of Syrian architecture and sculpture.
  472. Find this resource:
  473. Maranci, Christina. Vigilant Powers: Three Churches of Early Medieval Armenia. Turnhout, Belgium: Brepols, 2015.
  474. Save Citation »Export Citation »E-mail Citation »
  475. Close examination and contextualization of the 7th-century churches of Mren, Zvart‘nots‘and Ptghni, considering architecture, sculpture, and wall painting. Demonstrates that early medieval Armenian architecture was produced both by local conditions and in contact with Byzantine, Sasanian, and early Islamic cultures.
  476. Find this resource:
  477. Plontke-Lüning, Annegret. Frühchristliche Architektur in Kaukasien: Die Entwicklung des christlichen Sakralbaus in Lazika, Iberien, Armenien, Albanien und den Grenzregionen vom 4. bis zum 7. Jh. Vienna: Österreichischen Akademie der Wissenschaften, 2007.
  478. Save Citation »Export Citation »E-mail Citation »
  479. (The development of Christian religious structures in Lazika, Iberia, Armenia, Albania, and the border regions from the 4th to 7th centuries). Considers more than 250 monuments from 4th- to 7th-century Armenia, Georgia, Caucasian Albania, and the Pontus. Revises traditional chronological developments of the major building types.
  480. Find this resource:
  481. Regional Studies, Specific Architectural Types, and Individual Monuments
  482.  
  483. In the literature on Armenian architecture, several individual monuments, regions, and genres have received particular attention. Thierry 1993 is an excellent starting point for the study of monastic architecture, offering a hand-list of recorded sites. Monasteries also form the primary subject of Khalpakhchian 1980, which includes plans and photographs but fairly limited commentary. Edwards 1987 offers a robust sense of the military architecture of medieval Cilicia, demonstrating its distinctive features and typology, and offering ample documentation. Jones 2006 considers the celebrated church of Aght‘amar, and contextualizes the imagery of Armenian medieval rulership within the eastern Mediterranean world. Thierry 1989 is a catalogue of the monuments of the region of Vaspurakan, with plans, photographs, and historical documentation. The deserted medieval city of Ani (modern Kars region, eastern Turkey) is the subject of many works; among the most useful is VirtualANI, which offers a wealth of information on the city and its buildings. Watenpaugh 2014 represents a new wave of scholarship on Armenian architecture, focusing on the monuments of Ani as cultural heritage. Vardanyan 2015 considers the important (but difficult-to-access) monastery of Hoṛomos, and in so doing, significantly expands our knowledge of 10th- to 13th-century Armenian architecture, sculpture, and inscriptions.
  484.  
  485. Edwards, Robert W. The Fortifications of Armenian Cilicia. Washington, DC: Dumbarton Oaks, 1987.
  486. Save Citation »Export Citation »E-mail Citation »
  487. Argues for a typology of Armenian fortification architecture based on what the author refers to as the “Armenian paradigm” of fortification. Based on extensive fieldwork, and accompanied by plans and ample photographic documentation.
  488. Find this resource:
  489. Jones, Lynn. Between Byzantium and Islam: Aght‘amar and the Visual Construction of Medieval Armenian Rulership. London: Ashgate, 2006.
  490. Save Citation »Export Citation »E-mail Citation »
  491. A study of the formation of royal visual imagery in 10th- and 11th-century Armenia, with particular attention to the Artsruni chapel of Aght‘amar using an alternative approach from previous studies.
  492. Find this resource:
  493. Khalpakhchian, Ohannes. Architectural Ensembles of Armenia, 8th c. B.C.–19th c. A.D. Moscow: Iskusstvo, 1980.
  494. Save Citation »Export Citation »E-mail Citation »
  495. In Russian and English. A survey of structural complexes of Armenia from the antiquity to the 13th century. With numerous topographical drawings and plans of monasteries.
  496. Find this resource:
  497. Thierry, Jean Michel. Monuments arméniens du Vaspurakan. Paris: Librairie Orientaliste Paul Geuthner, 1989.
  498. Save Citation »Export Citation »E-mail Citation »
  499. Catalog of Armenian monuments in the region of Vaspurakan with plans, photographs, and condition descriptions. Includes discussion of chronology, epigraphy, and sculpture. Important evidence for some monuments that are now lost or further damaged.
  500. Find this resource:
  501. Thierry, Jean-Michel. Répertoire des monastères arméniens. Turnhout, Belgium: Brepols, 1993.
  502. Save Citation »Export Citation »E-mail Citation »
  503. Handlist of monasteries located in present-day Turkish, Armenian, and Georgian Republics, Karabagh, the autonomous Republic of Nakhchevan, Azerbaijan, Iran, Crimea and elsewhere. Entries include name (and if relevant modern name); date of foundation, condition, periods of activity, and bibliography.
  504. Find this resource:
  505. Vardanyan, Edda, ed. Hoṛomos Monastery: Art and History. Centre d’histoire et civilisation de Byzance Monographies 50. Paris, 2015.
  506. Save Citation »Export Citation »E-mail Citation »
  507. Edited volume on the monastery of Hoṛomos, located near the city of Ani. Includes sustained studies of its history, architecture, sculpture, and inscriptions (including transcriptions and translations). One of the first English-language publications on this important site.
  508. Find this resource:
  509. VirtualANI.
  510. Save Citation »Export Citation »E-mail Citation »
  511. Website featuring the city of Ani, its individual monuments, histories, archaeological records, and secondary literature. Includes photographic documentation (both archival and up-to-date) made by the website owner. Reports on condition of monuments; includes many sites outside Ani. Website is navigable through an interactive map of the city.
  512. Find this resource:
  513. Watenpaugh, Heghnar Zeitlian. “Preserving the Medieval City of Ani: Cultural Heritage between Contest and Reconciliation.” Journal of the Society of Architectural Historians 73.4 (2014): 528–555.
  514. DOI: 10.1525/jsah.2014.73.4.528Save Citation »Export Citation »E-mail Citation »
  515. Considers the problem of cultural heritage at Ani. Summarizes the history of the city and its archaeological excavations; focuses on present condition of the city and its monuments; assesses and interprets restoration projects at the site, and weighs possible role of intervention within the context of Armenian-Turkish relations.
  516. Find this resource:
  517. Monumental Painting and Mosaic
  518.  
  519. Evans 1982, Stone 2006, and Britt 2011 all address the Armenian-inscribed mosaic pavements of Jerusalem; of particular importance is the famous Armenian-inscribed Bird mosaic located near the Damascus Gate. Evans 1982 presents this mosaic in the context of Armenian literature and theology, suggesting that its exclusively avian imagery is best understood in relation to the plentiful bird symbolism of Armenian texts. Stone 2006 challenges early literature connecting the Bird Mosaic to a nearby monastic complex. Britt 2011 explores the results of salvage excavations of 1992 that revealed a building complex near the Damascus Gate with both Greek and Armenian mosaic inscriptions, using theories of identity politics. Monumental painted decoration is the subject of Kotandjian 1988, which provides a catalogue of Armenian frescoes from the early period. Maranci 2013–2014 augments the known corpus of early medieval wall painting to include the apsidal program at Mren. Thierry and Thierry 1993 offers an introduction to the remarkably substantial wall painting program at the 13th-century church of Tigran Honents‘ at Ani.
  520.  
  521. Britt, Karen C. “‘Identity Crisis?’ Armenian Monasticism in Early Byzantine Jerusalem.” Aramazd: Armenian Journal of Near Eastern Studies 6.1 (2011): 128–153.
  522. Save Citation »Export Citation »E-mail Citation »
  523. Discusses the presence of Armenian monastics in early Byzantine Jerusalem within the context of identity politics.
  524. Find this resource:
  525. Evans, Helen C. “Nonclassical Sources for the Armenian Mosaic near the Damascus Gate in Jerusalem.” In East of Byzantium: Syria and Armenia in the Formative Period. Edited by Nina G. Garsoïan, Thomas F. Mathews, and Robert W. Thomson, 217–222. Washington, DC: Dumbarton Oaks, 1982.
  526. Save Citation »Export Citation »E-mail Citation »
  527. Focuses on the celebrated, Armenian-inscribed “Bird Mosaic” pavement located near the Damascus gate in Jerusalem. Argues that the exclusive representation of birds on the mosaic may be understood to have held special meaning for those familiar with bird symbolism in Armenian literature and theology.
  528. Find this resource:
  529. Kotandjian, Nicolaï. “Fresques arméniennes du VIIe siècle d’après les monuments d’Arménie soviétique.” In Atti del quinto Simposio internazionale di arte armena: Venezia, Milano, Bologna, Firenze, 28 maggio–5 giugno 1988. Edited by Levon Zekiyan, 376–380. Venice: San Lazzaro, 1988.
  530. Save Citation »Export Citation »E-mail Citation »
  531. (Armenian frescoes of the 7th century, based on the monuments of Soviet Armenia). Study of the surviving wall paintings known from 7th-century monuments located in the Armenian Republic. General discussion of technique, composition, style, and (often deterioriated) condition. Includes discussion of individual monuments, including Kosh, Aruch, Lmbat, T‘alin, and Zoravor.
  532. Find this resource:
  533. Maranci, Christina. “New Observations on the Frescoes at Mren.” Revue des études arméniennes 35 (2013–2014): 203–225.
  534. Save Citation »Export Citation »E-mail Citation »
  535. Describes, and presents new photographic evidence for, the substantial wall painting program at the 7th-century church of Mren (c. 638). Demonstrates clear stylistic and iconographic relations with the church of Aruch, dated 660, thereby showing continuity of artistic traditions into the Umayyad period.
  536. Find this resource:
  537. Stone, M. E. “A Reassessment of the Bird and the Eustathius Mosaics.” In Apocrypha, Pseudepigrapha, and Armenian Studies: Collected Papers. Vol. 2. By M. E. Stone, 655–672. Louvain, Belgium: Peeters, 2006.
  538. Save Citation »Export Citation »E-mail Citation »
  539. Reexamines early reports concerning the famous Armenian-inscribed Bird and Eustathios mosaics in Jerusalem. Argues that the identification of the chapel containing the Bird Mosaic with the monastery of Polyeuctos, as mentioned in early literature, is “neither established nor likely.”
  540. Find this resource:
  541. Thierry, Jean-Michel, and Nicole Thierry. L’Église de Saint-Grégoire de Tigran Honenc‘a Ani (1215). Louvain, Belgium, and Paris: Peeters, 1993.
  542. Save Citation »Export Citation »E-mail Citation »
  543. Comprehensive study of the celebrated church of Tigran Honents‘. Includes a discussion of the historical context of the construction of the church, a thorough investigation of its architecture and sculpted decoration, and remarkable wall painting cycle. Chapters on epigraphy and annexed buildings close the main text.
  544. Find this resource:
  545. Metalwork, Woodwork, Ceramics, Coins, and Textiles
  546.  
  547. In addition to the arts of architecture, manuscripts, and stone sculpture, evidence attests to many other media known from medieval Armenia. Bedoukian 1979 focuses on coins of the Cilician Armenian kingdom (11th–14th centuries); Selected Numismatic Studies of Paul Z. Bedoukian deals mostly with coins of the Artaxiad and the Cilician periods, but also includes discussion of early modern medals. Carswell 1972 is a vast catalogue of the ceramics of St. James, including architectural tiles, vessels, lamps, and other objects. Ghazarian 1984 is devoted to wooden doors from the medieval period, investigating sources in stone khachk‘ar designs. Kévorkian and Achdjian 1991 is an important work on textiles with a discussion of the earliest evidence, and considers iconography, manufacturing techniques, social history, and a large corpus of Armenian-inscribed rugs. Marchese and Breu 2010 considers textiles and liturgical arts from the Armenian churches of Istanbul, with accompanying description, analysis of inscriptions, and excellent photographs. Nersessian 2011 is a close investigation of a single liturgical cope, which is traced to 18th-century New Julfa (a suburb of Isfahan). Der Manuelian and Eiland 1984 is devoted largely to 19th- and early-20th-century carpets but also discusses medieval precedents for motifs and iconography.
  548.  
  549. Bedoukian, Paul. The Coinage of the Armenian Kingdom of Cilicia. 2d rev. ed. New York, 1979.
  550. Save Citation »Export Citation »E-mail Citation »
  551. Detailed catalogue of the coins of Cilician Armenia, including those of the principate and the royal families (c. 1088–1374). Opens with an historical introduction, discussion of coin design and style, inscriptions, and forgeries.
  552. Find this resource:
  553. Carswell, John. Kütahya Titles and Pottery from the Armenian Cathedral of St. James, Jerusalem. 2 vols. Oxford: Clarendon, 1972.
  554. Save Citation »Export Citation »E-mail Citation »
  555. An amply-illustrated catalogue of the impressive collection of ceramics from the Armenian Cathedral of St. James. Reprinted as a single volume: Antelias: Armenian Catholicosate of Cilicia (2005).
  556. Find this resource:
  557. Der Manuelian, Lucy, and Murry L. Eiland. Weavers, Merchants and Kings: The Inscribed Rugs of Armenia. Edited by Emily J. Sano. Fort Worth, TX: Kimball Art Museum, 1984.
  558. Save Citation »Export Citation »E-mail Citation »
  559. Exhibition catalogue focused on 19th- and early-20th-century Armenian-inscribed rugs with discussion of early precedents. Includes discussion of inscriptions, a catalogue of sixty-eight objects, and many color illustrations.
  560. Find this resource:
  561. Ghazarian, Manya. “Decorative Carved Doors of Medieval Armenia and Their Maintenance in Soviet Armenia.” In Atti di terzo simposio di arte armena: Milano, Vicenza, Castelfranco V., Piazzola sul Brenta, Venezia, 25 settembre-1 ottobre, 1981. Edited by G. Ieni and G. Uluhogian, 187–197. Venice: San Lazzaro, 1984.
  562. Save Citation »Export Citation »E-mail Citation »
  563. Overview of carved medieval wooden doors with classification according to period and stylistic features. Concludes with short discussion on conservation problems.
  564. Find this resource:
  565. Kévorkian, H., and B. Achdjian, eds. Tapis et textiles arméniens. Marseilles, France: La Maison Arméenienne de la Jeunesse et de la Culture Marseille, 1991.
  566. Save Citation »Export Citation »E-mail Citation »
  567. Catalogue of carpets and textiles with two long essays. The essays consider the origins of Armenian carpets, the visual evidence for carpets in Armenian medieval manuscripts and sculpture, and carpet production in the Ottoman era and after the 1915 genocide.
  568. Find this resource:
  569. Marchese, Ronald T., and Marlene R. Breu. Splendor and Pageantry: Textile Treasures from the Armenian Churches of Istanbul. Istanbul, Turkey: Armenian Patriarchate, 2010.
  570. Save Citation »Export Citation »E-mail Citation »
  571. Detailed presentation of historic and sacred Armenian textiles located in treasuries of Armenian churches in Istanbul. Includes discussion of iconography, production techniques, and cultural context.
  572. Find this resource:
  573. Nersessian, Vrej. “The Marcy-Indjoudjian Cope.” Ars Orientalis 40 (2011): 204–241.
  574. Save Citation »Export Citation »E-mail Citation »
  575. Discusses the decorated silk vestment known as the Mary Injoudjian Cope located in the Victoria and Albert Museum. Careful study of object and its inscription establishes the place of production as New Julfa (a suburb of Isfahan), a date in the early 17th century, and its creator as a certain “Yakob.”
  576. Find this resource:
  577. Selected Numismatic Studies of Paul Z. Bedoukian. Special Publication No. 1. Los Angeles: Armenian Numismatics Society, 1981.
  578. Save Citation »Export Citation »E-mail Citation »
  579. A collection of articles by the coin-collector Paul Bedoukian in English and Armenian. The Armenian articles have brief English summaries. Essays on a range of problems in Armenian numismatics. Volume 1 concerns coins of the Artaxiad and Cilician traditions, as well as coin hoards, Armenian coins overstruck in Arabic, and 18th-century medals. Volume 2 is organized into ancient, medieval, and modern periods.
Advertisement
Add Comment
Please, Sign In to add comment
Advertisement
Public Pastes
Advertisement
We use cookies for various purposes including analytics. By continuing to use Pastebin, you agree to our use of cookies as described in the Cookies Policy.  OK, I Understand
Not a member of Pastebin yet?
Sign Up, it unlocks many cool features!