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
Armenians in China (1880s-1950s)
Hundreds of Armenians journeyed eastward to China in the late 19th century in search of opportunity, anchoring themselves in major cities, as well as in Harbin, a town that rose to prominence with the construction of the Chinese Eastern Railway. Initially,
