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Miniature Painting in the Armenian Kingdom of Cilicia from the Twelfth to the Fourteenth Century
Sirarpie Der Nersessian's scholarship has influenced the understanding of Armenian art and its Byzantine context. These two volumes are the culmination of six decades devoted to the exploration of Armenian art, and reflect a deep knowledge of the manuscripts and their creators.
Studies in Armenian Art
Nira Stone (1938-2013) contributed to the understanding of mediaeval Armenian art and painting. Her interest ranged over a millennium of artistic expression, and over such fields of creativity as manuscript painting, frescos, and mosaics. The volume contains her published papers and one made newly public.
The Art of Armenia
The Art of Armenia offers a sweeping survey of the arts of Armenia from antiquity to the eighteenth century C.E., addressing a range of media including architecture, sculpture, works in metal, wood, and ivory, manuscript illumination, and ceramic arts.
Armenian Painting
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The political aesthetics of the Armenian avant-garde
This book addresses late-Soviet and post-Soviet art in Armenia in the context of turbulent transformations from the late 1980s to 2004. It explores the emergence of 'contemporary art' in Armenia from within and in opposition to the practices, aesthetics and institutions of Socialist Realism and National Modernism. This historical study outlines the politics (liberal democracy), aesthetics (autonomous art secured by the gesture of the individual artist), and ethics (ideals of absolute freedom and radical individualism) of contemporary art in Armenia and points towards its limitations. Through the historical investigation, a theory of post-Soviet art historiography is developed, one that is based on a dialectic of rupture and continuity in relation to the Soviet past. As the first English-language study on contemporary art in Armenia, the book is of prime interest for artists, scholars, curators and critics interested in post-Soviet art and culture and in global art historiography.
Armenian Art Treasures of Jerusalem
One of the world's great art treasures is the collection of the Jerusalem Patriarchate of the Armenian Church, the richest and most important concentration of Armenian art in the world. Its wealth stems from the place held by Jerusalem in the minds and hearts of the Armenians throughout their existence as a Christian nation, since the fourth century A.D. Pilgrims brought to Jerusalem many of the outstanding creations of Armenian artists, which were deposited in the treasury and library of the Armenian Cathedral of St. James (S. Hakob). Here, for the first time, this collection has been photographed and described extensively. This volume unveils a dazzling variety of art objects--sumptuous medieval illuminated manuscripts, printed books, mosaic pavements, painted tiles and ritual objects. The book contains 194 illustrations, 131 in color. A full description of the collection and its background is provided, along with a detailed catalogue of the objects illustrated.--From publisher description.
Art of the Armenians
On the far edge of the Christian world, often isolated or overwhelmed by Muslim cultures, the Armenians have produced a distinctive artistic tradition unlike any other. The collection in this book opens with objects from the great medieval periods in Greater Armenia and the Kingdom of Cilicia and later centuries are represented by paintings and books. The artists, including Ghazar, Arak'el of Gegham, Yovanes Gharietsi, Markos "The Illuminator," and Nagash Hovnat'nan, demonstrate to us how they were able to enrich their works by taking the best elements of Persian, Turkish, Greek, and Western European art and absorb and fuse them into a particular Armenian art.
An Armenian Artist in Ottoman Egypt
Yuhanna al-Armani has long been known by historians of Coptic art as an eighteenth-century Armenian icon painter who lived and worked in Ottoman Cairo. Here for the first time is an account of his life that looks beyond his artistic production to place him firmly in the social, political, and economic milieu in which he moved and the confluence of interests that allowed him to flourish as a painter. Who was Yuhanna al-Armani? What was his network of relationships? How does this shed light on the contacts between Cairo's Coptic and Armenian communities in the eighteenth century? Why was there so much demand for his work at that particular time? And how did a member of Cairo's then relatively ...
Treasures from the Ark
Armenia was the first country to recognize Christianity as the official state religion in 301 AD, twelve years before Constantine's decree granting tolerance to Christianity within the Roman Empire. Ever since, Armenia has claimed the privilege of being the first Christian nation, and the wealth of Christian art produced in Armenia since then is testimony to the fundamental importance of the Christian faith to the Armenian people. This extensive new survey of Armenian Christian art, published to accompany a major exhibition at The British Library, celebrates the Christian art tradition in Armenia during the last 1700 years. The extraordinary quality and range of Armenian art which is documen...
