An Armenian miniature reflecting the role of cradles in the Armenian collective memory
In one of the Armenian manuscripts created and illuminated in Crimea by GrigorSukiasiants in the year 1332 (Matenadaran N7664), in the particular scene of Nativity(Pic.) Jesus is not depicted in the manger, neither on the castle-like structure nor evenlying on
Chinese dragons and heavenly dogs in the Armenian medieval manuscript
The elements perceived as emanating from Chinese art, such as “heavenly dogs”, “phoenix” and“dragon” motifs, made their appearance in Armenian manuscript illuminations in the second half ofthe thirteenth century. The context was royal Armenian patronage in the kingdom of Cilician
The Armenian “blue-and-white” inspired by Chinese art
The V&A Museum, London, hosts an early-seventeenth-century blue-and-white pottery samplethat is considered a part of a rare, small group of wares commissioned by or for members of theArmenian community living in New Julfa/Jugha, outside Isfahan, Iran. Being created circa 1700,
The Chinese “Ming Bowl” found in Armenia
This bronze bowl was found by a farmer near the city of Gyumri, Armenia. It was created during thereign of the Chinese Xuande Emperor (1399-1435 CE, reigned from 1425 to 1435 CE) of MingDynasty (1368-1644 CE). The inscription in Chinese
The Chinese perception of the Armenian merchant image
In 1944, Mathias Komor, a New York dealer (1909 - 1984), sold a Tang-dynasty (8thcentury BCE) small-scaled figurine (overall: 33.5 x 16.3 x 16.3 cm) to the Museum of FineArts, Boston, for $850. The current artifact is described in the
Lavash as an art and in the art- from Minas Avetisyan to Kusama-influenced installation
By Ani Margaryan It’s noteworthy that lavash and its making process rarely come into sight as a focus forcontemporary art installations. We are fortunate to witness its employment as a basic material forgroundbreaking installation that occupies a whole room at 117
Chinese Guanyin made of lapis lazuli- a product of cultural exchanges and intersections
By Ani Margaryan Have you ever seen an artwork that is all about one single, intensive, capturing colour your eyescan’t get enough of? Yves Klein’s “Blue Venus” (1961) (Pic.1) is one of that kind: the deep-bluecolour has enveloped the entire figure
Chinese manuscripts donated to Matenadaran
Armina Manukyan has recently donated a collection of Chinese, precisely Cantonese (nowadaysGuangzhou province) miniature paintings of the late 19th century, as well as a valuable manuscriptto the the Mesrop Mashtots Institute of Ancient Manuscripts of Armenia, the world's largestrepository of
Hovsep Pushman’s Chinese still life paintings
Hovsep Pushman (1877-1966) was a well-known and demanded American artist of Armenian background. The most distinctive feature of his artistic style and unique signature was contemplative and aesthetic still life works, involving Oriental, mainly Chinese porcelain jars, vessels, manuscripts, statues and
17th – century engravings of the Armenian merchants
These engravings by the Western artists represent figures of the Armenian merchants in their traditional outfits. They were key figures and intermediaries in the East-West global trade. They were recognized by their peculiar turbans and garbs. According to historians, Armenian merchants
