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Often used general sources

[edit]
  • Hewsen, Robert H. (2001). Armenia: A Historical Atlas. University of Chicago Press. ISBN 0-226-33228-4.
  • Nersessian, Vrej (2001). Treasures from the Ark: 1700 Years of Armenian Christian Art. Los Angeles: J. Paul Getty Museum. ISBN 9780892366392.
  • de Waal, Thomas (2003). Black Garden: Armenia and Azerbaijan Through Peace and War. New York: New York University Press. ISBN 978-0-8147-1945-9.
  • Herzig, Edmund; Kurkchiyan, Marina (2005). The Armenians: Past and Present in the Making of National Identity. Oxon, England: RoutledgeCurzon. ISBN 9780203004937.
  • Panossian, Razmik (2006). The Armenians: From Kings and Priests to Merchants and Commissars. New York: Columbia University Press. ISBN 9780231139267.
  • Bournoutian, George (2006). A Concise History of the Armenian People (5th ed.). Costa Mesa, California: Mazda Publishers.
  • Bardakjian, Kevork B., ed. (2000). A Reference Guide to Modern Armenian Literature, 1500-1920: With an Introductory History. Wayne State University Press. ISBN 9780814327470.



Maranci, Christina (2018). The Art of Armenia: An Introduction. Oxford University Press. ISBN 978-0190269005. https://pdfupload.io/docs/98da812f



Izmailova, Tatyana; Ayvazyan, Mariam (1962). Искусство Армении [The Art of Armenia] (in Russian). Moscow: Iskusstvo. pp. 249–250.


T. A. Sinclair, Eastern Turkey: An Architectural & Archaeological Survey, 1989, volumes

LAST, FIRST (2018). "CHAPTER". In Evans, Helen C. (ed.). Armenia: Art, Religion, and Trade in the Middle Ages. Metropolitan Museum of Art and Yale University Press. ISBN 9781588396600. OCLC 1028910888.


architecture sources

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  • Strzygowski, Josef (1918). Die Baukunst der Armenier und Europa [The Architecture of the Armenians and of Europe] Volume I (in German). Vienna: Kunstverlag Anton Schroll & Co. pp. 92–94.
https://archive.org/details/diebaukunstderar01strz/
https://archive.org/details/diebaukunstderar02strz/

https://digi.ub.uni-heidelberg.de/diglit/strzygowski1918ga 

https://digi.ub.uni-heidelberg.de/diglit/strzygowski1918bd1/0186/image,info
https://digi.ub.uni-heidelberg.de/diglit/strzygowski1918bd1/0187/image,info


Hovhannisyan, Konstantine (1978). Ճարտարապետական հուշարձանների վերանորոգումը Սովետական Հայաստանում [Restoration of Architectural Monuments in Soviet Armenia] (PDF) (in Armenian). Yerevan: Hayastan. (archived PDF)


Tokarsky, Nikolai M. [in Russian] (1946). Архитектура древней Армении [Architecture of Ancient Armenia] (in Russian). Yerevan: Armenian SSR Academy of Sciences. pp. 322–323.

Архитектура Армении IV-XVI вв. Токарский Н.М. 1961 https://archive.org/details/tokarsky-armenian-architecture-1961_202504


Памятники архитектуры в Советской Армении / [Альбом] / 1978 https://arar.sci.am/dlibra/publication/343446/edition/315978/content

Toramanian
1942 https://arar.sci.am/dlibra/publication/345522/edition/318240/content
1948 https://arar.sci.am/dlibra/publication/386024/edition/356500/content

hy:s:Էջ:The Architecture, Tom 1.djvu/135 



ԵՂԵՌՆ` ԵՂԵՌՆԻՑ ՀԵՏՈ 2015 [2] [3]
ԵՂԵՌՆ` ԵՂԵՌՆԻՑ ՀԵՏՈ (2) 2016 [4] [5]
ԵՂԵՌՆ` ԵՂԵՌՆԻՑ ՀԵՏՈ [Armenian only] [6] [7]
ANI 1050 / 2011 [8] [9]
ԱԴՐԲԵՋԱՆԸ ՔԱՂԱՔԱԿՐԹՈՒԹՅՈՒՆԻՑ ԴՈՒՐՍ [10] [11]

https://armenianarchitecture.org/en/monuments/6044

И. Орбели. Краткiй путеводитель по городищу Ани.
http://serials.flib.sci.am/Founders/Ani22/book/content.html
https://arar.sci.am/dlibra/publication/289924/edition/266208?language=en
http://www.rusbibliophile.ru/bookprint/?book=Marr_N_Ya__Ani_Knizhnaya_istor


T'oros T'oramanean, Haykakan Cartarapetut'twn, Collected Works 1 [Armenian Architecture, Collected Worksm Vol. I], (Erevan
1952[1942])
1 https://arar.sci.am/dlibra/docmetadata?showContent=true&id=318240
2 https://arar.sci.am/dlibra/publication/386024/edition/356500

Marr, Nikolai (1934). Ани: Книжная история города и раскопки на месте городища [Ani: The Book History of the City and Excavations at the Site of the Settlement] (PDF) (in Russian). Leningrad: State Socio-Economic Publishing House. pp. 56-57.

Развалины Ани : Альбом 

https://iverieli.nplg.gov.ge/handle/1234/461677
https://iverieli.nplg.gov.ge/bitstream/1234/461677/1/Razvalini_Ani.pdf
https://web.archive.org/web/20241002112801/https://iverieli.nplg.gov.ge/bitstream/1234/461677/1/Razvalini_Ani.pdf


Noravank historic photos

https://iverieli.nplg.gov.ge/handle/1234/254701 https://iverieli.nplg.gov.ge/handle/1234/254763 https://iverieli.nplg.gov.ge/handle/1234/254770 https://iverieli.nplg.gov.ge/handle/1234/254813 https://iverieli.nplg.gov.ge/handle/1234/254778 https://iverieli.nplg.gov.ge/handle/1234/254758 https://iverieli.nplg.gov.ge/handle/1234/254672

Sevan island https://iverieli.nplg.gov.ge/handle/1234/246914 Julfa https://iverieli.nplg.gov.ge/handle/1234/242767 Axtala https://iverieli.nplg.gov.ge/handle/1234/245208 Tiflis Vank https://iverieli.nplg.gov.ge/handle/1234/262240


Վերածնված ժողովրդի նորոգ ճարտարապետությունը

Լ. Բաբայան ; Վ. Մարտյան https://arar.sci.am/dlibra/publication/264931/edition/242649 https://arar.sci.am/Content/242649/file_0.pdf



[1]


Armenian Church, Singapore The Armenian Church, Singapore (1835), was designed by George Drumgoole Coleman (1795-1844) (p. 1250A). The circular nave with an apse is 11m (36ft) in diameter and has a conical roof and lantern within a Greek-cross plan; it is lit by top vents which also diffuse natural lighting. The plan may have been derived from James Gibbs's rejected circular plan for St Martin-in-the-Fields, possibly via S. Andrew’s, Madras octagonal steeple was added in 1858.[2]


Republican seats of Soviet power like the Armenian House of Government, Erevan (1928-40) (p. 1440A) by Alexander Tamanian (1878-1936), the Georgian House of Government, Tbilisi (1938-54), by Viktor Kokorin (1886-1959) and Georgy Lezhava (1903-77) or the Ukrainian Council of Ministers building, Kiev (1934-8) by Fomin and Pavel Abrosimov (1900-61), represented ‘critical assimilations’ of local architectural traditions at a new scale.[3]


"The Armenian plans, being based upon the dome, are entirely different from those of Syria. The earliest churches, as at Mastara, have the dome buttressed by the usual four apsidal projections but carried upon squinches of Sassanian character."[4] https://pdfupload.io/docs/b27615c2 This Armenian architecture may be described as westernized Sassanian. Persian brickwork had been replaced by good Greek masonry, while the tall domes were now constructed in rubble concrete. The arch rising from piers is ubiquitous; the classical column does not appear at all. The masonry technique and ornament strongly suggest that employed by the Syrian builders of the 6th century. There are, however, no basilicas; the plan of every church is ruled by its central dome. The Armenian dome is obviously Sassanian in origin.


Таманян

https://arar.sci.am/dlibra/publication/338116/edition/308960

Армяно-русские культурные отношения и их отражение в архитектуре - Халпахчьян - 1957

https://arar.sci.am/dlibra/publication/337602/edition/308351/content https://arar.sci.am/Content/308351/ARMYANO-RUSSKIE%20KULTURNIE....pdf

Noravank

https://arar.sci.am/Content/361231/41.pdf


Հուշարձան (տարեգիրք)

[edit]
hy:Հուշարձան (տարեգիրք) [12]
Ա. Գրիգորյան, Վաղարշապատ-Էջմիածնի քաղաքաշինական զարգացման ընթացքը [13]
Վ. Հարությունյան, Ժողովրդի ջանքերով [14]
Ջ. Քորսուել, Նոր Ջուղայի եկեղեցիների ճարտարապետությունը [15]
Արտակ Ղուլյան, Անիի Մայր տաճարի հազարամյա խորհուրդը (1001-2001 թթ.) [16]
 ՀԻՆ ԵՐԵՎԱՆԻ ՆՈՐՔ ԹԱՂԱՄԱՍԸ [17]
 «ԴԱԼՄԱՅԻ ԱՅԳԻՆԵՐ» ՊԱՏՄԱՀՆԱԳԻՏԱԿԱՆ ՎԱՅՐԸ [18]
ԱՐԴԻ ԺԱՄԱՆԱԿԱՇՐՋԱՆԻ ԵՐԵՎԱՆՅԱՆ ՃԱՐՏԱՐԱՊԵՏՈՒԹՅԱՆ ԶԱՐԳԱՑՈՒՄՆԵՐԸ [19]
АВТОР ГЕНЕРАЛЬНОГО ПЛАНА (1924 г.) ЕРЕВАНА Посвящается 140-летию Александра Таманяна [20]

Հայկական աղբյուրներ [21]

Архитекутра Советской Армении

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Architects Artsvin Grigoryan and Martin Tovmasyan


https://brill.com/display/title/68142?language=en Monuments and Identities in the Caucasus: Karabagh, Nakhichevan and Azerbaijan in Contemporary Geopolitical Conflict


Հայկական ճարտարապետության պատմություն (3)

[edit]
https://arar.sci.am/dlibra/publication/352326/edition/324646/content

https://arar.sci.am/dlibra/publication/346610/edition/319256/content

https://arar.sci.am/dlibra/publication/346606/edition/319254/content

https://archive.org/details/chartarapet_hator3_2004/mode/2up


Очерки 1978

[edit]
1978 / Очерки по истории архитектуры древней и средневековой Армении

https://web.archive.org/web/20240313105904/https://arar.sci.am/dlibra/publication/342426/edition/314583/content 

https://archive.org/details/1978_20250503
Архитектура с древнейших времен до VI в. до н. э. -- К. Л. Оганесян ... 14
Архитектура VI в. до н. 9.-III в. н. 9. -- А. А. Саинян ... 33
Архитектура -IV конца первой половины VI вв. -- A. А. Саинян ... 52
Архитектура второй половины VI-конца VII вв. -- C. X. Мнацаканян ... 86
Архитектура IX-XI вв. -- С. X. Мнацаканян ... 115
Архитектура XII-XVIII вв. -- К. Л. Оганесян ... 135

Strzygowski

[edit]
Josef Strzygowski
https://digi.ub.uni-heidelberg.de/diglit/strzygowski1918ga
https://digi.ub.uni-heidelberg.de/diglit/strzygowski1918bd1
https://digi.ub.uni-heidelberg.de/diglit/strzygowski1918bd2
https://archive.org/details/in.gov.ignca.35742

Հայ Ժող Պատմ

[edit]

Հայ Ժողովրդի Պատմություն, Հ. 1. 

http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.1/book/content.html
http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.1/book/Binder1.pdf

Ուրարտուի ճարտարապետությունը .. Բ. Բ. Պիոտրովսկի .. 398 Հելլենիստական դարաշրջանի ճարտարապետություն .. Ա. Ա. Սահինյան .. 849

Հայ ժողովրդի պատմություն, Հ. 2. Հայկական ճարտարապետությունը IV-V դարերում (Ա. Ա. Սահինյան) ... 559 / Հայկական ճարտարապետությունը VI-VII դարերում (Ս. Խ. Մնացականյան) ... 575 

http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.2/book/content.html
http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.2/book/Binder1.pdf

Հայ Ժողովրդի Պատմություն, Հ. 3. -- IX դ. կեսերից մինչև XIV դ. կեսերը -- Ճարտարապետություն -- էջեր 892-926 -- Varazdat Harutyunyan 

http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.3/book/content.html
http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.3/book/Binder1.pdf

Հայ Ժողովրդի Պատմություն, Հ. 4. -- XIV-XVIII դդ. -- Ճարտարապետություն -- էջեր 

http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.4/book/content.html
http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.4/book/Binder1.pdf


Maranci on Georgia

Lying just north of Armenia, and bordered on the west by the Black Sea, the architecture of Georgia offers the most striking similarities with that of Armenia. The small, centrally-planned structures of Georgian churches, their conical roofs, and sculptural decoration, all bear striking resemblance to those found in Armenia.[5] Furthermore, there is no doubt that master builders and masons traveled back and forth. An inscription, for example, at the church of Ateni in Georgia identifies the builder as an Armenian. The closeness of the two traditions, both in ecclesiastical architecture and in almost all other architectural genres, encourages the formulation of a Transcaucasian, rather than strictly Armenian study.[5] While certainly there are features distinct to each tradition, the abundance of commonalities discourages drawing an overly rigid line between them, as is common in much of the scholarship on the Transcaucasus. The problem thus remains of how to speak of "Armenian" and "Georgian" architecture, and how, when, and why to distinguish between them. I believe that there are instances when one should use the term "Transcaucasian" architecture.[5] The use of particular types of plans, such as the inscribed tetraconch with corner chambers, is a Transcaucasian scheme, which emerged simultaneously in both Armenia and Georgia in the seventh century. However, there are instances when one may distinguish between the two traditions. At the church of Mcxeta, for example, the apses of the inscribed tetraconch project slightly from the walls (fig. 4); while at Hrip'sime in Armenia, those same apses are fully contained within the wall, and are marked externally only by flanking triangular niches, and this distinction remains relatively consistent in the early monuments of each region.17[5]


Искусство стран и народов мира

[edit]

Искусство стран и народов мира : Архитектура. Живопись. Скульптура. Графика. Декоративное искусство : Краткая художественная энциклопедия : [В пяти томах] / Редколлегия: Б. В. Иогансон (главный редактор), В. М. Полевой (заместитель главного редактора) и др. — Москва : Государственное научное издательство «Советская энциклопедия», 1962—1981. — (Энциклопедии. Словари. Справочники). [Том] 1: Австралия — Египет. — 1962. — 696 с., 72 л. ил. : ил. [Том] 2: Замбия — Мозамбик. — 1965. — 656 с., 69 л. ил. : ил. [Том] 3: Молдавская Советская Социалистическая Республика — Российская Советская Федеративная Социалистическая Республика. — 1971. — 768 с., 60 л. ил. : ил. [Том] 4: Руанда и Бурунди — Филиппины. — 1978. — 668 с., 62 л. ил. : ил. [Том] 5: Финикия — Япония. — 1981. — 720 с., 53 л. ил. : ил.


https://vk.com/doc16716709_626333148

Авторы: 

О. Х. Халпахчьян (архитектура до советского времени, включая справки о средневековых архитектурных памятниках и архитекторах), 
Л. А. Дурново и Л. Р. Азарян (изобразительное искусство древнего периода и средних веков), 
Р. Г. Дрампян (изобразительное искусство 19 - начала 20 века), 
Л. М. Бабаян и К. М. Оганесян (архитектура советского времени, включая справки о современных городах и архитекторах), 
Н. С. Степанян (изобразительное искусство советского времени), 
М. М. Казарян (справки о художниках).


Всеобщая история архитектуры

[edit]

https://books.totalarch.com/general_history_architecture https://tehne.com/library/vseobshchaya-istoriya-arhitektury-v-12-tomah-leningrad-moskva-1966-1977 https://m.vk.com/wall-56611080_181541?lang=en

Всеобщая история архитектуры. Том 1. Архитектура Древнего мира. 1970 https://archive.org/details/tom-i-arkhitektura-drevnego-mira
Глава 6. Архитектура стран Закавказья.. 253
Древнейшие сооружения на территории Армении. О. X. Халпахчьян.. 253
Архитектура Урарту. К. Л. Оганесян.. 257
Архитектура Армении. О. X. Халпахчьян.. 273 https://east.totalarch.com/universal_history_of_architecture/armenia_ancient
Архитектура Грузии. В. В. Беридзе.. 283
Всеобщая история архитектуры. Том 3. Архитектура Восточной Европы. Средние века. 1966 https://archive.org/details/tom-iii-arkhitektura-vostochnoy-evropy-srednie-veka
Глава 3. АРХИТЕКТУРА АРМЕНИИ. О. X. Халпахчьян ... 197 https://east.totalarch.com/universal_history_of_architecture/armenia_medieval
Введение ... —
I. Архитектура IV—VII вв. ... 199 https://east.totalarch.com/universal_history_of_architecture/armenia_4_7_century
II. Архитектура IX—XI вв. ... 223 https://east.totalarch.com/universal_history_of_architecture/armenia_9_11_century
III. Архитектура XII—XIV вв. ... 245 https://east.totalarch.com/universal_history_of_architecture/armenia_12_14_century
IV. Архитектура Киликийской Армении (1080—1375 гг.) ... 273 https://east.totalarch.com/universal_history_of_architecture/armenia_cilicia
V. Архитектура XV—XIX вв. ... 284 https://east.totalarch.com/universal_history_of_architecture/armenia_15_19_century
Заключение ... 296


Всеобщая история архитектуры. Том 12. Книга 1. Архитектура СССР. 1975 https://archive.org/details/tom-xii-kniga-1-arkhitektura-sssr

[6]


Крупные общественные здания (Н. А. Пекарева) p. 388 

В эти же годы в столице Армянской ССР велось строительство своеобразного по на- значению общественного сооружения - хранилища древних рукописей Матенадара- на - одного из уникальных хранилищ мира (архит. М. Григорян, 1959 г.). Монументальный объем Матенадарана замыкает перспективу главной магистрали Еревана - проспекта Ленина. Расположен- ный по оси проспекта на склоне возвышен- ности, он хорошо вписывается в градостро- ительное окружение, являясь как бы про- межуточным звеном развитой пространст- венной композиции, завершенной стоящим на высоком гребне Канакерского плато мо-



Таманян А. 44, 48, 104, 183, 232, 236, 240, 248, 249, 252, 388, 490, 492, 502
Исраэлян Р. 368, 388, 389
Армянская ССР
Ахпат 441

ГЭС: Гюмюшская 362, Қанакерская 200 

Звартноц 149

села: Бамбакашат 426 

Двин 426
Санаин 442


Ереван бассейн «Лебединое озеро» 500, 503 Большой Разданский мост 496 гостиницы: «Ани» 504 «Армения» 490 Дома: 

культуры 490, 492
профсоюзов 490 / связи 490
жилые дома:
на ул. Абовяна 496, 504
на ул. Саят-Нова 504
на ул. Церетели 496
«шахматный» 96, 97
жилой комплекс (архитекторы. Г. Қачар, М. Мазманян) 56
жилой район Шаумянский 496
завод коньячных вин 361, 362, 365

здания: 

Армпромсовета (б. управление треста «Арарат») 388, 490
Наркомзема 104
ЦҚ ҚП Армянской ССР 400
Клуб строителей 110
крытый рынок 405, 411
Матенадаран (хранилище древних рукописей) 388, 389
мемориальный комплекс в честь Сардарабадской битвы 24
монумент Победы 389
памятник «Егерн» (жертвам геноцида) 500, 503

планировка 44, 48, 183, 490, 497, 501 

площадь Ленина 44, 490, 502
проспект Ленина 388
птицефабрика 706
театры: 183, 388,
им. Г. М. Сундукяна 496, 616, 622
школа на ул. Амиряна 380

История искусства народов СССР

[edit]
История искусства народов СССР Istoriya_iskusstva_narodov_SSSR_(v_9_tomah)/_IINSSSR.html [22]
Vol. Armenia
1 100 Urartu [Piortrovsky]
205 - Ancient Armenia [B. N. Arakelyan]
2 95 - ИСКУССТВО АРМЕНИИ.
А. А. Саинян (архитектура IV-VII вв.),
Б. Н. Аракелян (введение, скульптура, живопись, прикладное искусство IV-VII вв.),
C. X. Мнацаканян (архитектура VIII-XIII вв.),
xxxx xxxx 
История искусства народов СССР. Том 1(9): Искусство первобытного общества и древнейших государств на территории СССР. 1971 https://archive.org/details/iin-11971
История искусства народов СССР. Том 2(9): Искусство IV-XIII веков. 1973 https://archive.org/details/iin21973
История искусства народов СССР. Том 3(9). Искусство XIV-XVII веков. 1974 https://archive.org/details/iin31974
История искусства народов СССР. Том 4(9). Искусство конца XVII-XVIII веков. 1976 https://archive.org/details/iin31974
История искусства народов СССР. Том 5(9). Искусство первой половины XIX века. 1979 https://archive.org/details/iin51979
История искусства народов СССР. Том 6(9). Искусство второй половины XIX - начала XX века. 1981 https://archive.org/details/iin61981
История искусства народов СССР. Том 7(9). Искусство народов СССР от Великой Октябрьской социалистической революции до 1941 года. 1972 https://archive.org/details/i-7-1972
История искусства народов СССР. Том 8(9). Искусство народов СССР в период Великой Отечественной войны и до конца 1950-х годов. 1977 https://archive.org/details/i-8-1977
История искусства народов СССР. Том 9(9). Книга 1. Искусство народов СССР 1960-1977 годов. 1982 https://archive.org/details/9.1-1982
История искусства народов СССР. Том 9(9). Книга 2. Искусство народов СССР 1960-1977 годов. 1984 https://archive.org/details/9.2-1984


Sahinian[?]

Tekor, Ereruyk [23]

Mastara [24]

Hirpsime [25]

Согласно надписям на внутренней стене главной апсиды и снаружи западного фасада, а также по свидетельству армянского историка УП века Себеоса, храм Рипсиме был построен в 618 году при католикосе Комитасе '!3. Несмотря на перестройки отдельных частей здания (крыша, входы, ступенчатое основание}, храм сохранился почти полностью, лишь к западному фасаду пристроен притвор с колокольней. План храма имеет то же соотношение 3: 4, что и в Аване, но в отличие от круглых комнат Аванского храма угловые помещения в Рипсиме четырехугольные. Расположенные по обеим сторонам апсид трапецеидального сечения ниши, значительно уменьшая толщину стен, придают пространственно-объемной композиции более стройный вил. Ниши на восточном фасаде благодаря введению добавочных окон дают дополнительный источник света, чем подчеркивается ведущее значение алтаря. Переход подкупольного квадрата к круглому основанию многогранного барабана в Рипсиме, так же, как ив Аване, совершается при помощи тромпов. Большую эмоциональную силу воздействия имеет интерьер храма с его уходящими высоко вверх объемами апсид и завершающим его куполом. Архитектор усиливает это воздействие, используя контрасты низких входов и высокого зала. Взору посетителя, входящего через низкий вход в храм, открывается высоко парящий купол величественного зала, который благодаря этому контрасту кажется еще более высоким.

Внутренняя пространственная композиция храма составляет с внешними объемами органичное целое. Сдержанные, лаконично разработанные и тянущиеся вверх наружные фасады, завершаясь двускатными крышами, повторяют крестообразную структуру интерьера. Кристаллически ясная объемно-пространственная композиция храма представляет собой классический образец центральнокупольного сооружения.

According to inscriptions on the inner wall of the main apse and outside the western facade, as well as the testimony of the 7th-century Armenian historian Sebeos, the Hripsime Temple was built in 618 during the catholicosate of Komitas '!3. Despite reconstructions of individual parts of the building (roof, entrances, stepped foundation), the temple has been preserved almost entirely, with only a vestibule and bell tower added to the western facade. The temple's plan has the same 3:4 ratio as in Avan, but unlike the round rooms of the Avan Temple, the corner rooms in Hripsime are rectangular. The niches located on both sides of the trapezoidal cross-section apses, significantly reducing wall thickness, give the spatial-volumetric composition a more slender appearance. The niches on the eastern facade, thanks to the introduction of additional windows, provide an extra source of light, thereby emphasizing the leading significance of the altar. The transition from the dome-supporting square to the circular base of the multifaceted drum in Hripsime, as in Avan, is accomplished using tromps.

The temple's interior has great emotional impact with its apse volumes soaring high and the dome completing them. The architect enhances this effect by using contrasts between low entrances and the high hall. The visitor entering through a low entrance is greeted by a high-flying dome of a magnificent hall, which, due to this contrast, appears even higher.

The internal spatial composition forms an organic whole with the external volumes. The restrained, concisely developed, and upward-stretching external facades, ending in two-sided roofs, repeat the cruciform structure of the interior. The crystallinely clear spatial-volumetric composition of the temple represents a classic example of a central-domed structure.


Italian Documenti

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https://archive.org/details/daa-01-hakhpat-1967/page/10/mode/thumb

https://archive.org/details/daa-17-gandzasar-1987

https://archive.org/details/daa-14-noravank-1985

https://archive.org/details/daa-09-ererouk-1977

https://archive.org/details/daa-06-geghard-1973

https://archive.org/details/daa-02-khatchkar-1969

Corley 1996

[edit]

[7] [7]

https://www.tandfonline.com/doi/abs/10.1080/09637499608431724

https://www.tandfonline.com/doi/abs/10.1080/09637499608431748

https://biblicalstudies.org.uk/pdf/rss/24-1_009.pdf The Armenian Church Under the Soviet Regime, Part 1: the Leadership of Kevork

https://biblicalstudies.org.uk/pdf/rss/24-4_289.pdf The Armenian Church Under the Soviet Regime, Part 2: the Leadership of Vazgen

https://biblicalstudies.org.uk/pdf/rss/26-3-4_291.pdf The Armenian Church Under the Soviet and Independent Regimes, Part 3: The Leadership of Vazgen

Thierry 1989

[edit]

[8] [8]


https://archive.org/details/thierry-1989-armenian-art/page/62/mode/1up?view=theater&q=kurion 

This break-away was followed by that of the Georgian Church, lead by the Patriarch Kurion at the Synod of Duin (608), to which must be added moves toward independence from the Albanian Church, and even from the Metropolite of Siunia.

https://archive.org/details/thierry-1989-armenian-art/page/170/mode/1up?view=theater ART IN SATELLITE BAGRATID KINGDOMS: THE ART OF THE KINGDOM OF VASPURAKAN

https://archive.org/details/thierry-1989-armenian-art/page/351/mode/1up?view=theater&q=present+interest 

Present interest in Armenia springs from a number of things. Some architectural realizations have long been familiar to Orientalists, but most of these build- ings were unknown in the West, even by art historians. Illuminations, khatch- kars and other scholarly or popular works of art came to our knowledge less than fifty years ago. Numerous analogies between Armenian and western art favors comparative and critical studies. Also, a number of sites can now be visited, if not all of them. 
Moreover, any genuine interest in ancient buildings is here amply rewarded. Like Italy, Armenia has a wealth of early Christian buildings, and if Italy has more sumptuous churches, the Armenian ones are more numerous, and their typology is more varied.

https://archive.org/details/thierry-1989-armenian-art/page/352/mode/1up?view=theater 

Besides this ultimate incursion, foreign influences have only marked Armenian art in a superficial and circumstantial manner, and viceversa. J. Strzygows- ki's hypothesis concerning the would-be Armenian origins of Byzantine and western (Romanesque and Gothic) arts has never been scientifically confirmed. These suppositions were often amplified and distorted in articles or popular publications, and they have not helped in objectively appreciating the place and role of Armenian art in history. 
The influence of Armenian art over surrounding countries spread in the first instance in Transcaucasia during the paleo-Christian period. The Armenian religion was preponderant over Georgia and Caucasian Albania at this time, and Christian Caucasian art could justifiably be seen as essentially Armenian;

https://archive.org/details/thierry-1989-armenian-art/page/353/mode/1up?view=theater 

During the 12th and 13th centuries, Armenian influence over Seljukian art was probably not as strong as has been believed, and the Seljuk Turks did not arrive in Anatolia devoid of all artistic tradiitions. They had invaded Iran and had absorbed some of its culture, which was at the time flourishing under the Samanid and Bûyid dynasties. Seljukian art was introduced and developed in Anatolia almost at the same time as Armenian art of the feudal age. This is illustrated by the hospital at Divriği (((Divriği_Great_Mosque_and_Hospital))), which has obvious structural and decorative similarities with Armenian jamatouns, but it dates from 1228, and is almost their contemporary. Exchanges between the two styles were, however, frequent. We know indeed that Armenian craftsmen worked on some Seljukian buildings, mosques and medresses. This was repeated about two centuries later with Irano-Mongol art (14th-15th century). The Mongol style did spread over Armenian sculpture, illumination, and even fashion, but
Armenian khatchkars were certainly copied on Muslim tombstones at Ahlat (((The Tombstones of Ahlat the Urartian and Ottoman citadel))) in the basin of Van, and Armenian building methods were widely used, in the same area, for Mongolian türbs (mausoleums). This artistic counter-exchange perhaps led the Armenians to remember the türbs when they built some of their drums in Vaspurakan, in the late Middle Ages.


individual monuments

[edit]
in the second part of the book, Patrick Donabédian has written a series of clear and precise notes to accompany the illustrations of Armenian buildings

[8] [8]

Maranci

[edit]

https://web.archive.org/web/20241008081531/https://stnersess.edu/wp-content/uploads/2022/05/SNTR-VII.pdf St. Nersess Theological Review 7 (2002) Medieval Armenian Architecture: Review of a Recent Study Michael Daniel Findikyan


Jukić Buča, Vendi; Gwirtzman, Kristina; Maranci, Christina (1 September 2020). "Armenian Ecclesiastical Sites in the Kars Province (Turkey): Current State, Preservation and Revalorization". Heritage & Society. 13 (3): 165–197. doi:10.1080/2159032X.2021.1968220.

Building Churches in Armenia: Art at the Borders of Empire and the Edge of the Canon

Armenian Architecture as Aryan Architecture: The Role of Indo-European Studies in the Theories of Josef Strzygowski

Christina Maranci https://www.taylorfrancis.com/chapters/edit/10.4324/9781315262307-12/armenia-borders-medieval-art-christina-maranci Armenia and the Borders of Medieval Art in Approaches to Byzantine Architecture and its Decoration


https://www.persee.fr/doc/ccmed_0007-9731_2004_num_47_187_2889_t1_0319_0000_3


Review by: David Zakarian / The Art of Armenia: An Introduction Christina Maranci https://www.jstor.org/stable/27053064 

Christina Maranci has clearly succeeded in providing an admirably concise and clear overview of the material history and visual culture of the Armenian people.
Maranci’s book is an indispensable reference.
 a long-awaited propaedeutic resource for the study of Armenian art intended for students of art history and art enthusiasts who have no command of the Armenian language.

https://www.jstor.org/stable/27866880 

Reviewed Work: Between Islam and Byzantium: Aght'amar and the Visual Construction of Medieval Armenian Rulership by Lynn Jones Review by: Christina Maranci


Maranci: we know, [that Armenian domes] are generally spherical on the inside, surmounted by a conical roof.66[9]

Maranci on Lynch: Both the churches of T'ališ and T'alin (fig. 10) are cited as buildings of "great simplicity" and "much beauty of form". T'alin, according to Lynch, ranks among the most charming examples of the Armenian style and is the "most beautiful building I had yet seen in Armenia".44[10]

Maranci on Georgia

Close similarities between Armenian and Georgian architecture have led scholars to a range of different hypotheses on their relationship. As we saw in Chapter One, nineteenth-century European scholars did not draw a distinction between the two traditions, but considered both Armenian and Georgian architecture as a Transcaucasian branch of Byzantine architecture. Although we will consider some of the general problems of this issue in the conclusion, our present focus is on why Strzygowski chose to treat the architecture of Armenia separately from that of Georgia.[11] At the beginning of Die Baukunst, Strzygowski stresses that "a neat division between Armenian and Georgian art is necessary, although they are closely related and[11] often hardly separable." Strzygowski offers two reasons for his decision. The first involves the respective proximities of the lands to cultural centers. Unlike Armenia, "Georgia did not belong to the three powers and thus was more shut off from life…in architecture… the Georgians, insofar as they were not independent or under Syrian- Persian influence,… took over and spread Armenian forms."10[12] While there is substantial evidence for close contact between Georgia and Byzantium, particularly through their common Chalcedonian faith, Strzygowski stresses the insular location of the country in assessing its creative abilities. Thus Georgia's geographical situation north of Armenia, Strzygowski believed, prevented it from receiving the influence of the "three powers" (Byzantium, Persia, and probably Syria). In an uncharacteristically traditional vein, Strzygowski argues that Armenia was more important because of its contact with major cultural centers (particularly, one suspects, Persia).[12]

It follows that since Georgia could not generate its own artistic forms, it had to rely on Armenia for inspiration. To illustrate Georgians' creative impotence, Strzygowski points to an analogy in the inventions of each nation's alphabet: "As the creator of the Armenian alphabet also created that of the Georgians, so there also emerged in the realm of formative art a lively exchange, so that one would do well to give up the competition between them, yet still see them next to each other as individual streams."11 If one is to follow the implication of the first phrase, the lively exchange led mostly from Armenia to Georgia.12[13]

Strzygowski's belief in the Armenian origin and later date of the Georgian alphabet is shared by many scholars, past and present. The theory is further attested to in an early source-- the fifth-century Life of Maštoc', the creator of the Armenian script.13 However, debates continue, particularly between Armenian and Georgian scholars, over the relative chronologies of the two alphabets. More important for us, however, is that Strzygowski employed the alphabetic theory as an analogy. Although continually in his career he argued for the practice of art history as a self-contained discipline, Strzygowski reveals here, as elsewhere, the extent to which philological studies had actually influenced his work.[14]

This problem becomes particularly acute when we consider the architectural traditions of Georgia. Lying just north of Armenia, and bordered on the west by the Black Sea, the architecture of this region offers the most striking similarities with that of Armenia. The small, centrally-planned structures of Georgian churches, their conical roofs, and sculptural decoration, all bear striking resemblance to those found in Armenia. This similarity is most certainly a reflection of the continuous contact and interrelations between the two lands, and is most visible in the marchland areas of Tayk* and Tao, which have defied a precise identification of an Armeno-Georgian border, and where churches often feature bilingual inscriptions.16[5] Furthermore, there is no doubt that master builders and masons traveled back and forth. An inscription, for example, at the church of Ateni in Georgia identifies the builder as an Armenian. The closeness of the two traditions, both in ecclesiastical architecture and in almost all other architectural genres, encourages the formulation of a Transcaucasian, rather than strictly Armenian study. While certainly there are features distinct to each tradition, the abundance of commonalities discourages drawing an overly rigid line between them, as is common in much of the scholarship on the Transcaucasus. The problem thus remains of how to speak of "Armenian" and "Georgian" architecture, and how, when, and why to distinguish between them. I believe that there are instances when one should use the term "Transcaucasian" architecture. The use of particular types of plans, such as the inscribed tetraconch with corner chambers, is a Transcaucasian scheme, which emerged simultaneously in both Armenia and Georgia in the seventh century. However, there are instances when one may distinguish between the two traditions. At the church of Mcxeta, for example, the apses of the inscribed tetraconch project slightly from the walls (fig. 4); while at Hrip'sime in Armenia, those same apses are fully contained within the wall, and are marked externally only by flanking triangular niches, and this distinction remains relatively consistent in the early monuments of each region.17 Additional distinctive tendencies could also be noted, 18 but the isolation of characteristic features must, I think, be undertaken with great care. Such an exercise can easily translate into the definition of two discrete national traditions, which, given the much more striking affinities between them, has proven to be too rigid an approach.[5]


Buxton & Krautheimer

[edit]
Richard Krautheimer 1965[15]


and the impact from Asia Minor further increasing: at Eghvard (S74-603)- as at Tekor-the decorative details, including horseshoe arches, are so close to those of Cappadocian churches as to suggest the activity in Armenia of Cappadocian mason crews.47
At Tekor, dome and cross arms were similarly superimposed over nave and aisles of the existing hall-church.49



At Bagaran, dated, though insecurely, 63I, the corner bays.....[EJMIATSIN?]
traced back to Parthian and Sassanian architecture. The cross-in-square plan, for instance, is supposed to be rooted - whether directly or by way of buildings such as the audience hall of Al-Mundir at R'safah - in the design of Iranian Fire Temples.



The church type which more than any other has been called specifically Armenian appears in the seventh century at Avon and at St Hripsime at Vagharshapat (618) and continues nearly unchanged into the tenth century, when it is found at Aghtamar (Ahtamar) (915-21) and beyond...
and a good deal smaller than the Syrian "cathedrals', St Hripsime covers an area 17 by 21 m. (s6 by 69 ft), comparing in length and width with the cross church of Tomarza in Cappadocia, and covering just about one third the surface of the H. Sophia at Salonica. Armenian church building of the seventh century, then, in material, decoration, and size, continues traditions established in the inlands of the Near East by at least the fifth and sixth centuries, if not indeed since Roman times.
On the basis of our present knowledge we should much rather view these centrallyplanned churches in Armenia as the creation of a local school of architects. After all,central plans in Armenia came to the fore during the last years of the sixth century in innumerable variations, and cross-octagons such as St Hripsime are only the most complex among a plethora of central plans. All these churches evolve almost simultaneously and without manifest ancestry on Armenian soil. Obviously they originated within the complex mesh of political, religious, and cultural relationships in whichArmenia was involved.

Leonardo was certainly not in Armenia, nor were the Gothic architects of France acquainted with Armenian vaulting. 
But it would be foolish to deny that Armenian architecture could occasionally have exerted its impact on Western, and, above all, on Byzantine building. 
It is perhaps of lesser importance that Trdat, the architect of the cathedral of Ani, was called to Constantinople to rebuild the dome of the H. Sophia, badly damaged in 989 by an earthquake. He might have been summoned as a technician.
Yet it is undeniable that the plan of Skripu - a hall-church with inserted cross arms and dome, its design in solid masses and confined interior volumes, its sparse decoration, and its technique of heavy stone construction - is as customary in Armenia as it is exceptional in ninth-century Greece. Similarly, in the tenth and eleventh centuries the dome carried by corner squinches above a square bay may well have reached Greece - and, I would add, Constantinople - from Armenia, where it had been well established since the seventh century.55


David Roden Buxton 1934
This conical dome is as characteristic of Armenian and Georgian architecture as is the bulb of Russian; it is universal except in some of the earliest buildings.

At Ereruk in Armenia is the ruin of one of the finest  basilicas in the world; the architects seem to have expended their genius as liberally on that building as on the native domed churches whichwere their special province.



An astonishing variety of centralised plans occurs in Armenia, where Strzygowski has made a close study of them. A very early type is the apse-buttressed square", which has four principal axial buttresses,and sometimes four lesser ones in the corners (A, B, p. 83). Of this type are the Church of St Ripsima at Echmiadzin in Armenia, and the Djuari church on top of a steep hill opposite Mtskhet in Georgia. They date from the sixth and seventh centuries.

Most of the abundant remains of Armenian architecture are to be found among the many ancient monasteries which are scattered widely over the hills and valleys of this mountainous country. Mostly long since deserted, they are a sad relic of the once flourishing life and culture of the most unfortunate of peoples. Sometimes these monasteries lie high in the mountains, approachable only by rocky paths and inaccessible to traffic on wheels. Often the groups of monastic buildings, including several cone-roofed churches and chapels with their entrance halls and bell tower, all against a background of mighty hills, offer to the traveller a composition both striking and picturesque, and one highly characte istic of this interesting region.

One altogether exceptional building must, however, be mentioned-the church of Akhtamar on an island in Lake Van.

[Belltowers] A very striking tower distinctively Armenian in type stands at Haghpat.Here the corners of the tower are recessed below, and the transition to the square above is made by external squinches bridging each recess.

[Ani] a veritable museum of Armenian architecture, with much of the best work it has produced, is unapproachable.

The oldest churches built on Georgian soil-—those of Chubinashvili's“Early Christian" period--have been mentioned under the heading of Armenia, and may have been the work of Armenians.


Turkey churches

[edit]

User:Yerevantsi/sandbox/Derjan

to add

[edit]
Varagavank

https://www.collectif2015.org/en/100Monuments/Le-Monastere-du-Saint-Signe-ou-de-la-Sainte-Croix-de-Varak-/ https://web.archive.org/web/20250419205908/https://www.collectif2015.org/en/100Monuments/Le-Monastere-du-Saint-Signe-ou-de-la-Sainte-Croix-de-Varak-/

Buxton, Noel; Buxton, Rev. Harold (1914), Travel and Politics in Armenia, London: Macmillan Varagavank pics https://archive.org/details/travelpoliticsin00noel/page/n74/mode/1up?view=theater

Surb Karapet Monastery

Մշո Սուրբ Կարապետ եկեղեցու պաշտամունքային նախահիմքերը........................ 21 23-30 https://pdfupload.io/docs/ad9a096f https://arar.sci.am/dlibra/publication/406172/edition/375149/content https://web.archive.org/web/20250418153428/https://arar.sci.am/dlibra/publication/406172/edition/375149/content https://web.archive.org/web/20250418153425/https://arar.sci.am/Content/375149/Hayoc%20srber@%20ev%20srbavayrer@.pdf [16]

Narekavank

ܲðºÎ. í³ÝùÝ Çëå³é áãÝã³óí»É ¿ 1940-1950-³Ï³Ý ÃÃ.: ºÏ»Õ»óÇÝ»ñÇ ï»ÕáõÙ 1970-³Ï³Ý ÃÃ. ϳéáõóí»É ¿ Ù½ÏÇÃ, áñÇ ßáõñçÁ ϳéáõó³å³ïí»É ¿ μݳϻÉÇ ßÇÝáõÃÛáõÝÝ»ñáí ¥Éáõë.` ê³Ùí»É γñ³å»ïÛ³ÝÇ, 2004, 2007 ÃÃ.¤ NAREK. The monastery was totally levelled with the ground between the 1940s and 1950s. In the 1970s, a mosque was built in the site of the churches with houses erected around it ¥photos by Samvel Karapetian, 2004, 2007¤ https://raa-am.org/wp-content/uploads/2022/10/%D5%8E%D5%A1%D6%80%D5%B1%D6%84-N-2.pdf


In current state, there are seemingly no traces left from the complex. It was demolished with the command of Van governorship in 1951 and a mosque was built on its place (Figure 2.15). Even the village Nareg was known by the locals, during interviews any of the villagers didn’t mention about the old monastery.[17]

Narek https://www.collectif2015.org/en/100Monuments/Le-Desert-ou-le-Monastere-de-Nareg/

https://www.collectif2015.org/tr/100Monuments/Le-Desert-ou-le-Monastere-de-Nareg/

https://nisanyanyeradlari.com/?yer=33779&haritasi=yemi%C5%9Flik Yemişlik mahalle - Gevaş - Van 1928 📖: Narik E E: Nareg Նարեկ [ Ermenice ] ■ 20. yy başında Ermeni yerleşimi. ■ I. Gagik Ardzruni (ö. 921) zamanında kurulan, 1895’ten sonra terk edilen ve yapıları 1950’ye dek ayakta olan ünlü Narek manastırından geriye iz kalmamıştır. Şair Krikor Naregatsi (951-1003) bu manastırda yaşamıştı. SN


unsorted

[edit]

https://dergipark.org.tr/tr/download/article-file/36439

https://www.collectif2015.org/tr/Projects.aspx
Ashtishat https://www.collectif2015.org/en/100Monuments/Achdichad-ou-le-Tombeau-du-Catholicos-Saint-Sahag/?lang=en
Tovmas https://www.collectif2015.org/en/100Monuments/Le-Monastere-de-Saint-Thomas-de-Kantzag/
Soradir https://www.collectif2015.org/en/100Monuments/L-Eglise-de-la-Sainte-Croix-d-Aghpag-ou-de-Saint-Edchmiadzin-de-Sorader/
Bardughimeos https://www.collectif2015.org/en/100Monuments/Le-Monastere-de-Saint-Barthelemy/

1984 Kouymjian, D., "Destruction des monuments historiques arméniens, poursuite de la politique de génocide," Le Crime de Silence (Flammarion, Paris, 1984), pp. 295-310; English trans., "The Destruction of Armenian Historical Monuments as a Continuation of the Turkish Policy of Genocide," The Crime of Silence, Permanent Peoples' Tribunal (London: Zed, 1985), pp. 173-185. https://cah.fresnostate.edu/armenianstudies/documents/pdf/1984_ACrimeOfSilence.pdf

Jean-Michel Thierry and Nicole Thierry, "Notes sur des monuments arméniens en Turquie," Revue des Études Arméniennes 2 (1965)

https://www.collectif2015.org/tr/100Monuments/Le-Monastere-de-Saint-Barthelemy/ Surp Partuğimeos Manastırı

User:Yerevantsi/sandbox/Ktuc

Harold Buxton

Akhtamar https://archive.org/details/travelpoliticsin00noel/page/35/mode/1up?view=theater 

On the level space stands the famous monastery of Aktamar, which for many centuries has been the seat of a Catholicos. The church here is peculiar on account of the rich friezes which adorn its external walls and which give the suggestion of Assyrian or Egyptian architecture.

Seljuk (Ahlat / Divrigi)

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Tombstones of Ahlat
Divriği Great Mosque and Hospital
Mama Hatun
Erzurum citadel, kumbets


https://www.metmuseum.org/met-publications/armenia-art-religion-and-trade-in-the-middle-ages 

Maranci: Artistic Exchanges Between Armenia and the Islamic World


https://cdn.sanity.io/files/cctd4ker/production/1b596cd9fac3eb85c1868ce67c9b05ecf5f1207b.pdf p. 122

ARTISTIC EXCHANGES BETWEEN ARMENIA AND THE ISLAMIC WORLD
As the predominant international style at the time, Islamic features filtered into Armenian art and architecture. Notable examples include figures in Eastern garb among the high reliefs at the church of Aght‘amar (915–21; see fig. 7) in Lake Van, honeycomb stalactite muqarnas vaulting in the thirteenth-century church of the Holy Apostles in Ani, and geometric ornament on khachkars or church buildings, such as the fourteenthcentury monastery of Noravank‘, Siwnik‘ (fig. 41).1 Such innovations in Armenian art came about thanks to the skills of Armenian masons transferring Islamic designs into stone.
In Anatolia, masons from Ahlat, near Lake Van, played a pivotal role in translating Iranian Seljuk brick architecture into stone, this time for the new Muslim elite. The combination of different aesthetic idioms, such as Islamic geometry and the Armenian conical dome, reflect the mixed frontier society of artists and patrons, as seen, for example, on the Tercan Mama Khatun tomb (fig. 43).5


Ekrem Akurgal, The art and architecture of Turkey, 1980, p. 132 

In Ahlat, a traditional town, is another unique turbeh, also built for an Akkoyunlu prince: the Emir Bayındır Turbeh (1481-92?).30 More than half the cylindrical shaft is open like a gallery, which is composed of small, flat arches standing on squat columns. Here, perhaps, the Armenian influence must be considered.

Anatolian_Seljuk_architecture#Tombs 

Andrew Mango, Discovering Turkey, 1972, p. 255 "Armenian influence on Seljuk art - for example on the polygonal or round mausoleum, known as kümbet - is obvious"



also: Khachin-Darbatli Mausoleum
Divriği Great Mosque and Hospital

https://archive.org/details/thierry-1989-armenian-art/page/353/mode/1up?view=theater 

During the 12th and 13th centuries, Armenian influence over Seljukian art was probably not as strong as has been believed, and the Seljuk Turks did not arrive in Anatolia devoid of all artistic tradiitions. They had invaded Iran and had absorbed some of its culture, which was at the time flourishing under the Samanid and Bûyid dynasties. Seljukian art was introduced and developed in Anatolia almost at the same time as Armenian art of the feudal age. This is illustrated by the hospital at Divriği (((Divriği_Great_Mosque_and_Hospital))), which has obvious structural and decorative similarities with Armenian jamatouns, but it dates from 1228, and is almost their contemporary.

Rich artistic “interactions,” that is borrowings are typical for this time: The wonderful complex relief decoration and architecture of the mosque-hospital complex of Divriği (1228f.) draws heavily on Armenian decorative inventions and is one of the best testimonials of how Muslim patrons of that time admired Armenian architecture and relief arts and used Armenian craftmanship.37 [p. 97][18]

https://www.taylorfrancis.com/chapters/edit/10.4324/9781315589886-5/patterns-armeno-muslim-interchange-armenian-plateau-interstice-byzantine-ottoman-hegemony-peter-cowe Patterns of Armeno-Muslim Interchange on the Armenian Plateau in the Interstice between Byzantine and Ottoman Hegemony / By S. Peter Cowe 

Similarly, in view of the Armenian tradition of building in central Asia Minor under the patronage of indigenous monarchs and princes, it is highly plausible that their heirs continued the process now under Seljuq aegis. With that in mind, inscriptions and historical accounts inform us of a series of Armenian architects employed in Seljuq constructions, Galust at Divriği in 1229, T‘agvor, son of Step‘an, in Malatya, Kaloyan of Konya (arguably) in Sivas, Ashot at Zor, and Kalous (Galust) in Konya itself. 57 []
These objective data may afford a basis for discussing issues of form, style, and ornamentation and the degree of artistic interchange (as, for example the Seljuq türbe (kümbet) structures and Armenian ecclesiastical domes (gmbet), and grave steles and Armenian cross-stones (khach‘k‘ars). 58

The Rape of Anatolia Scott Redford 1 

34 Many works of medieval Christian and Islamic art from medieval Anatolia display evidence of different traditions. However, few of them transform divergent and different traditions into something new. I am thinking of buildings like the Great Mosque and Hospital complex at Divriği and the Church of the Hagia Sophia in Trabzon (Trebizond). For the former see, e.g. Oya Pancaroğlu, ‘The Mosque-Hospital Complex in Divriği: A History of Relations and Transitions’, Anadolu ve Çevresinde Ortaçağ 3 (2009): 169–98, and for the latter, Antony Eastmond, Art and Identity in Thirteenth Century Byzantium: Hagia Sophia and the Empire of Trebizond (Aldershot: Ashgate, 2004).


The Art of Armenia: An Introduction - Page 141 / Christina Maranci · 2018 

... Divrigi hospital and mosque

complex.33 This shared culture is also palpable in the monastery of


Ince Minaret Madrasa. The last diffusion occurred with the invasion of the Tatars in the thirteenth century. These invasions caused mass emigrations towards southwestern Asia Minor (Cilicia), where an independent kingdom existed until the fifteenth century. However, as Greater Armenia languished, the Armenian forms "found rebirth" in the "pure Armenian style" of Islamic monuments. T'oramanyan asserts that these structures were the direct work of Armenians and offers documentary proof: at the thirteenth-century madrasa of Injev Minareli, (1251), the inscription tells us that the architect is an Armenian convert by the name of "Galust".[19]

Çifte Minareli Medrese, Erzurum, tr:Üç Kümbetler. Yet if we compare elements from Seljuk and Armenian architecture we find some striking similarities. In the Seljuk tomb towers of the tenth and eleventh century, such as those, for example, in Erzerum, we see a single, square chamber capped by a dome on which sits a tall, conical roof-- a configuration which strongly, and almost exclusively, recalls the domes of centrally planned churches of Armenia and Georgia (fig. 5). The existence of Armenian inscriptions on Islamic buildings, as T'oramanyan pointed out, referring to ethnic converts to Islam in the twelfth and thirteenth centuries provides further proof of contact.21[20]

unsorted

[edit]
Հայ Ժողովրդի Պատմություն
http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.1/book/content.html
http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.2/book/content.html
http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.3/book/content.html
http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.4/book/content.html
http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.5/book/content.html
http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.6/book/content.html
http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.7/book/content.html
http://serials.flib.sci.am/openreader/Hay%20joxovrdi%20patmutyun_%20h.8/book/content.html

Карен Никитич Юзбашян. Армянские государства эпохи Багратидов и Византия IX–XI вв. (М.: Наука, 1988).

https://coollib.net/b/473828-karen-nikitich-yuzbashyan-armyanskie-gosudarstva-epohi-bagratidov-i-vizantiya-ix-xi-vv/read https://royallib.com/read/yuzbashyan_karen/armyanskie_gosudarstva_epohi_bagratidov_i_vizantiya_ixxi_vv.html

Monuments and Identities in the Caucasus: Karabagh, Nakhichevan and Azerbaijan in Contemporary Geopolitical Conflict https://brill.com/display/title/68142

"Everyday Cosmopolitanisms: Living the Silk Road in Medieval Armenia" Kate Franklin University of California Press 2021 https://library.oapen.org/handle/20.500.12657/50279

https://twitter.com/khalidsyossef/status/1739759690404266166 

Diaspora Tourism and Identity: Subversion and Consolation in Armenian Pilgrimages to Eastern Turkey

An Armenian Mediterranean, 2018 http://ndl.ethernet.edu.et/handle/123456789/70934 https://web.archive.org/web/20240112065900/http://ndl.ethernet.edu.et/bitstream/123456789/70934/1/134.pdf.pdf


https://hy.wikisource.org/wiki/%D4%BB%D5%B6%D5%A4%D5%A5%D6%84%D5%BD:Armenia_Encyclopedia.djvu

Melik-Bakhshyan, Stepan [in Armenian] (2009). Հայոց պաշտամունքային վայրեր [Armenian places of worship] (PDF) (in Armenian). Yerevan State University Publishing. pp. XXX. ISBN 978-5-8084-1068-8.

«Քրիստոնյա Հայաստան» հանրագիտարան archived




  • Hacikyan, Agop Jack; Basmajian, Gabriel; Franchuk, Edward S.; Ouzounian, Nourhan (2000). The Heritage of Armenian Literature: From the Oral Tradition to the Golden Age. Detroit: Wayne State University Press. ISBN 9780814328156.
  • Hacikyan, Agop Jack; Basmajian, Gabriel; Franchuk, Edward S.; Ouzounian, Nourhan (2002). The Heritage of Armenian Literature: From the sixth to the eighteenth century. Detroit: Wayne State University Press. ISBN 9780814330234.
  • Hacikyan, Agop Jack; Basmajian, Gabriel; Franchuk, Edward S.; Ouzounian, Nourhan (2005). The Heritage of Armenian Literature: From the eighteenth century to modern times. Detroit: Wayne State University Press. ISBN 9780814332214.

Shahinyan/Marietta Shaginyan 

Шагинян Мариэтта - Собрание сочинений

https://archive.org/details/3-1957/%D0%A8%D0%B0%D0%B3%D0%B8%D0%BD%D1%8F%D0%BD%20%D0%9C%D0%B0%D1%80%D0%B8%D1%8D%D1%82%D1%82%D0%B0%20-%20%D0%A1%D0%BE%D0%B1%D1%80%D0%B0%D0%BD%D0%B8%D0%B5%20%D1%81%D0%BE%D1%87%D0%B8%D0%BD%D0%B5%D0%BD%D0%B8%D0%B9%20-%20%D1%82%D0%BE%D0%BC%204%20-%201957/page/731/mode/2up?view=theater


statistical resources


User:Yerevanci/Stamps

1950 ARF history https://web.archive.org/web/20180110112907/http://www.armenews.com/IMG/Partie_1_Histoire_de_la_FRA_1950_tome_II.pdf https://web.archive.org/web/20180110150630/http://www.armenews.com/IMG/Partie_2_Histoire_de_la_FRA_1950_tome_II.pdf

Old Yerevan

useful maps

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Российские (до 1917 г.)
Europe
  • 1893-96, Armenian population Ottoman Empire population census
    1893-96, Armenian population Ottoman Empire population census
  • 1893-96, Armenian distribution. Petermanns Geographische Mitteilungen
    1893-96, Armenian distribution. Petermanns Geographische Mitteilungen
  • Armenians in Eastern Anatolia,1896
    Armenians in Eastern Anatolia,1896
  • Карта распределения армянского населения в Турецкой Армении и Курдистане, 1895
    Карта распределения армянского населения в Турецкой Армении и Курдистане, 1895
  • The Armenian reform package declared that the vilayets which Armenians living were to be under an inspectors general, (the map is an archive document of 1914 Census)
    The Armenian reform package declared that the vilayets which Armenians living were to be under an inspectors general, (the map is an archive document of 1914 Census)
  • The ottoman Armenians (yellow) in 1910, since Baldamus, Alfred; Koch, Julius; Schwabe, Ernst: "Historisches schulatlas", ed. Putzger, Leipzig 1910, p.28.
    The ottoman Armenians (yellow) in 1910, since Baldamus, Alfred; Koch, Julius; Schwabe, Ernst: "Historisches schulatlas", ed. Putzger, Leipzig 1910, p.28.
  • hayer kovkas 1887
    hayer kovkas 1887
  • Yerevan plan 1880s
    Yerevan plan 1880s
  • A 1896 calendar from Thessaloniki, Greece, is written in Ottoman Turkish, Armenian, Greek, Bulgarian, Ladino, and French.
    A 1896 calendar from Thessaloniki, Greece, is written in Ottoman Turkish, Armenian, Greek, Bulgarian, Ladino, and French.

Linguistic

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Լրաբեր հասարակական գիտությունների
Patma-Banasirakan Handes

Political science

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Diaspora

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US

Bios

[edit]
Sayat Nova
http://basss.asj-oa.am/
  1. ^ Harutyunyan, V. M.; Hovhannisyan, K. L. (1955). Архитектура Советской Армении. Краткий очерк [Architecture of Soviet Armenia. Brief Outline] (PDF) (in Russian). Yerevan: Armenian SSR Academy of Sciences. pp. 143–145.
  2. ^ Cruickshank, Dan, ed. (1996). Sir Banister Fletcher's A History of Architecture (20th ed.). Oxford: Architectural Press. p. 1251.
  3. ^ Cruickshank, Dan, ed. (1996). Sir Banister Fletcher's A History of Architecture (20th ed.). Oxford: Architectural Press. p. 1438.
  4. ^ Braun, Hugh (1959). Historical Architecture: The Development of Structure and Design. New York: Thomas Yoseloff. p. 122.
  5. ^ a b c d e f Maranci 1998, pp. 304–305. sfn error: multiple targets (2×): CITEREFMaranci1998 (help)
  6. ^ Pekareva, Niss Aleksandrovna (1975). "Крупные общественные здания [Large Public Buildings]". In Baranov, N. V. [in Russian] (ed.). Всеобщая история архитектуры в 12 томах. Том 12 (первая книга) : Архитектура СССР [Universal History of Architecture in 12 Volumes. Volume 12 (Book One): Architecture of the USSR] (in Russian). Moscow: Stroyizdat. pp. 388-9.
  7. ^ a b Corley 1996.
  8. ^ a b c d Thierry & Donabédian 1989.
  9. ^ Maranci 1998, p. 34. sfn error: multiple targets (2×): CITEREFMaranci1998 (help)
  10. ^ Maranci 1998, p. 25. sfn error: multiple targets (2×): CITEREFMaranci1998 (help)
  11. ^ a b Maranci 1998, p. 187. sfn error: multiple targets (2×): CITEREFMaranci1998 (help)
  12. ^ a b Maranci 1998, p. 188. sfn error: multiple targets (2×): CITEREFMaranci1998 (help)
  13. ^ Maranci 1998, pp. 188–189. sfn error: multiple targets (2×): CITEREFMaranci1998 (help)
  14. ^ Maranci 1998, p. 189. sfn error: multiple targets (2×): CITEREFMaranci1998 (help)
  15. ^ Krautheimer, Richard (1965). Early Christian and Byzantine Architecture. Penguin Books. p. 234.
  16. ^ Hmayakyan, Simon [in Armenian]; Sanamyan, Hovhannes (2001). "Ուրարտական պաշտամունքային կառույցների և քրիստոնեական սրբավայրերի առնչությունների շուրջ [On the Relationships Between Urartian Cultic Structures and Christian Sacred Sites]". Հայոց սրբերը և սրբավայրերը [Armenian Saints and Sanctuaries] (PDF) (in Armenian). Yerevan: Armenian Academy of Sciences. pp. 222-233.
  17. ^ Kurban, Özge (21 June 2019). "Rural Heritage in Excluded Geographies: From Ahkis to Çevrecik, a Village of Bitlis" (PDF). İzmir Institute of Technology. pp. 34–35. Archived from the original (Master's thesis) on 12 November 2023. Narek / Nareg Monastery
  18. ^ Esche-Ramshorn, Christiane (2022). East-West Artistic Transfer through Rome, Armenia and the Silk Road. London New York: Routledge, Taylor & Francis Group. p. XX. ISBN 9781032070230.
  19. ^ Maranci 1998, p. 74. sfn error: multiple targets (2×): CITEREFMaranci1998 (help)
  20. ^ Maranci 1998, pp. 307–308. sfn error: multiple targets (2×): CITEREFMaranci1998 (help)
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