Armenian Virtual college launching ceremony in Aram Khachaturian Concert Hall, Yerevan, Armenia
Tags :AVC, launching

The $2.5 million reconstruction of the St. Giragos Church in Diyarbakir (Dikranagerd), Turkey is nearly complete. Restored by the Armenian Patriarchate in Istanbul, St. Giragos is the largest Armenian church in the Middle East and one of the most important works of Armenian architecture. Seriously damaged and in ruins for decades, the first church at this site was built in 1515-1518. It was then repaired in 1722 by Armenian Patriarch Bedros Vartabed. In 1729, it was rebuilt with an expanded plan by three Armenian architects Shahin, Sarukhan and Yarem. It was completely burnt down during the great fire of 1881 and reconstructed again in 1883 to its present plan, with seven 'khorans' and a huge footprint of more than 15000 square feet, to serve a large Armenian population in the region. Its 100 feet high bell tower, with a bell molded by the famed Zildjians and a large golden cross at the top, was bombarded and toppled by German/Ottoman cannon fire in 1915 because it was deemed to be higher than the mosque minarets in the region. After the founding of the Turkish Republic in 1923, it was used as a state warehouse for canvas and fabrics, and then, despite sporadic efforts by the dwindling Armenian community in Diyarbakir, it had been left to deteriorate and decay until 2009, when a few Armenians born in Diyarbakir but living in Istanbul, formed a Foundation Board under the auspices of the Armenian Istanbul Patriarchate, with the goal of reconstructing the church, as well as ...
Tags :Movie, 02, LUSINE, KIRAKOS, NYUT

Film by "Research on Armenian Architecture" The film shows history of Armenian city and cemetery of Julfa or Jugha, currently known as Old Jugha. The city had up to 10000 khachkar (cross-stones) cemetery, included in UNESCO World Cultural Heritage. Since 1921 Nakhichevan, where the city was located was included in newly founded Azerbaijan by Soviet official. Since late 1990s destruction of the cemetery started by Azerbaijan, ended in 2005, when the khachkar field was completely bulldozed. Up today UNESCO didn't make a single statement condemning Azerbaijan. Up today UNESCO officials usually visit Azerbaijan and granted prizes and medals from Azerbaijani official for building strong ties between UNESCO and Azerbaijan. The cemetery is still included in UNESCO World Cultural Heritage list.
Tags :Armenia, Azerbaijan, Christianity, Old Jugha, Julfa, UNESCO, Vandalism, Documentary, History, Nakhichevan, Nakchivan

While most scholars of Armenian architecture focus on life-size churches, few have paid attention to a tiny, but related tradition: the stone architectural models of the Caucasus. Produced in great number and in a variety of contexts, these diminutive churches form a unique tradition within the art of the Middle Ages, East or West. Held by donors in sculptural relief, mounted on church gables, and fixed to the interior portals of monasteries, the models assume the form of miniature domed churches. Considering medieval Armenian architectural and textual traditions, this talk will ask why they emerged and what they might have meant to the contemporary viewer. Did the models hold a ritual function? Increasing epigraphic, sculptural, and architectural evidence suggests that ceremonial movement occurred outside, as well as inside the church. This hypothesis may thus shed light on models such as that held by King Gagik at Agh'tamar. The models might also reflect a broader, self-referential trend in Armenian architecture of the tenth century and later. In considering the performative, iconographic, and practical roles of stone models in the Transcaucasus, Dr. Maranci will provide a new framework for understanding an understudied yet striking tradition of medieval art. This lecture was given in memory of Arshag Merguerian (1926-2005), architect and an active member and friend of NAASR for nearly fifty years.
Tags :maranci, tufts, armenian, byzantine, architecture

معماری مدرن تهران و پیشروان آن سه مهندس معمار ارمنی ایرانی گابریل کورکیان ، وارتان هوانسیان و پل آبکار در مصاحبه ای با مهندس آرمن میناسیان در آذرماه 1380-تهران
Tags :Iranian, Modern, Architecture

While most scholars of Armenian architecture focus on life-size churches, few have paid attention to a tiny, but related tradition: the stone architectural models of the Caucasus. Produced in great number and in a variety of contexts, these diminutive churches form a unique tradition within the art of the Middle Ages, East or West. Held by donors in sculptural relief, mounted on church gables, and fixed to the interior portals of monasteries, the models assume the form of miniature domed churches. Considering medieval Armenian architectural and textual traditions, this talk will ask why they emerged and what they might have meant to the contemporary viewer. Did the models hold a ritual function? Increasing epigraphic, sculptural, and architectural evidence suggests that ceremonial movement occurred outside, as well as inside the church. This hypothesis may thus shed light on models such as that held by King Gagik at Agh'tamar. The models might also reflect a broader, self-referential trend in Armenian architecture of the tenth century and later. In considering the performative, iconographic, and practical roles of stone models in the Transcaucasus, Dr. Maranci will provide a new framework for understanding an understudied yet striking tradition of medieval art. This lecture was given in memory of Arshag Merguerian (1926-2005), architect and an active member and friend of NAASR for nearly fifty years.
Tags :Maranci, Armenian, Architecture, Byzantine

While most scholars of Armenian architecture focus on life-size churches, few have paid attention to a tiny, but related tradition: the stone architectural models of the Caucasus. Produced in great number and in a variety of contexts, these diminutive churches form a unique tradition within the art of the Middle Ages, East or West. Held by donors in sculptural relief, mounted on church gables, and fixed to the interior portals of monasteries, the models assume the form of miniature domed churches. Considering medieval Armenian architectural and textual traditions, this talk will ask why they emerged and what they might have meant to the contemporary viewer. Did the models hold a ritual function? Increasing epigraphic, sculptural, and architectural evidence suggests that ceremonial movement occurred outside, as well as inside the church. This hypothesis may thus shed light on models such as that held by King Gagik at Agh'tamar. The models might also reflect a broader, self-referential trend in Armenian architecture of the tenth century and later. In considering the performative, iconographic, and practical roles of stone models in the Transcaucasus, Dr. Maranci will provide a new framework for understanding an understudied yet striking tradition of medieval art. This lecture was given in memory of Arshag Merguerian (1926-2005), architect and an active member and friend of NAASR for nearly fifty years.
Tags :maranci, june, 003

While most scholars of Armenian architecture focus on life-size churches, few have paid attention to a tiny, but related tradition: the stone architectural models of the Caucasus. Produced in great number and in a variety of contexts, these diminutive churches form a unique tradition within the art of the Middle Ages, East or West. Held by donors in sculptural relief, mounted on church gables, and fixed to the interior portals of monasteries, the models assume the form of miniature domed churches. Considering medieval Armenian architectural and textual traditions, this talk will ask why they emerged and what they might have meant to the contemporary viewer. Did the models hold a ritual function? Increasing epigraphic, sculptural, and architectural evidence suggests that ceremonial movement occurred outside, as well as inside the church. This hypothesis may thus shed light on models such as that held by King Gagik at Agh'tamar. The models might also reflect a broader, self-referential trend in Armenian architecture of the tenth century and later. In considering the performative, iconographic, and practical roles of stone models in the Transcaucasus, Dr. Maranci will provide a new framework for understanding an understudied yet striking tradition of medieval art. This lecture was given in memory of Arshag Merguerian (1926-2005), architect and an active member and friend of NAASR for nearly fifty years.
Tags :maranci, june, 004

While most scholars of Armenian architecture focus on life-size churches, few have paid attention to a tiny, but related tradition: the stone architectural models of the Caucasus. Produced in great number and in a variety of contexts, these diminutive churches form a unique tradition within the art of the Middle Ages, East or West. Held by donors in sculptural relief, mounted on church gables, and fixed to the interior portals of monasteries, the models assume the form of miniature domed churches. Considering medieval Armenian architectural and textual traditions, this talk will ask why they emerged and what they might have meant to the contemporary viewer. Did the models hold a ritual function? Increasing epigraphic, sculptural, and architectural evidence suggests that ceremonial movement occurred outside, as well as inside the church. This hypothesis may thus shed light on models such as that held by King Gagik at Agh'tamar. The models might also reflect a broader, self-referential trend in Armenian architecture of the tenth century and later. In considering the performative, iconographic, and practical roles of stone models in the Transcaucasus, Dr. Maranci will provide a new framework for understanding an understudied yet striking tradition of medieval art. This lecture was given in memory of Arshag Merguerian (1926-2005), architect and an active member and friend of NAASR for nearly fifty years.
Tags :Maranci, Armenian, architecture, Byzantine, Haghpat, Aghtamar, Mren

հեղինակ` Նելլի Խաչատրյան, ձայն ու օպերատոր` Արա Պետրոսյան, դերասանուհի` Հայկուշ Սահակյան Автор - Нелли Хачатрян, голос и оператор - Ара Петросян, актриса - Айкуш Саакян Author Nelly Khachatryan, Voice and cameraman - Ara Petrosyan, Actress - Haykush Sahakyan
Tags :հայկական, ճարտարապետություն, Հայաստան, Армянская, архитектура, Армения, Armenian, architecture, Armenia