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Papers by Armen Kazaryan

Sasanian Elements in Byzantine, Caucasian and Islamic Art and Culture, Neslihan Asutay-Effenberger, Falko Daim (Hrsg.), Byzanz zwischen Orient und Okzident, 15. Mainz, , 2019

A century ago, Josef Strzygowski considered that Armenian architecture played a transitional role... more A century ago, Josef Strzygowski considered that Armenian architecture played a transitional role between Iranian domed structures and Byzantine constructions of the Justinian epoch (6th century). Nowadays, some points of that almost forgotten theory require revision and further consideration. But several ideas of the famous scholar deserve our attention. In particular, it is important to deepen the study of the probable Sasanian origins of some decorative motives and relief images of medieval Armenian architecture taking into consideration their new meaning in the context of Christian culture. The purpose of this study is to understand the impact of the Sasanian elements in the decoration system of Armenian churches of the 7th and the 10th-11th centuries, the periods of the highest development of national architecture, when it revealed the closest relationships with the Byzantine tradition. At the same time Armenian architecture interpreted both the Graeco-Roman and several local architectural peculiarities. The decoration of the domes in the interior of the 7th-century Armenian churches and the order-like blind arcades of the facades of the monuments of the Late Antique and Bagratid periods reveal Sasanian iconographic origins. Also, some ornaments and a range of mythical creatures on the reliefs and other features, such as the carpet-like curved ceilings of the zhamatun (narthex) of the Hoṙomos monastery, reflect the artistic characteristics of the Sasanian and early Islamic Iranian architecture.

Proceedings of the 4th International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2022)

Proceedings of the 2019 International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2019), 2019

ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, 2020

Это вторая наша статья, освещающая итоги исследования церкви в Нижней крепости (Ахчкаберд) столиц... more Это вторая наша статья, освещающая итоги исследования церкви в Нижней крепости (Ахчкаберд) столицы средневековой Армении Ани, до сих пор должным образом не изучавшейся. В ней подробнее раскрываются особенности пространственной композиции и пластического декора фасадов храма, впервые обращено внимание на богатство пластики барабана, уточняется место этой постройки в развитии архитектуры и орнаментального искусства средневековой Армении. Обозначены истоки архитектурного типа крестообразных церквей с помещениями в четырех углах, легшего в основу композиции храма, и круг построек XII-XIII вв., в которых очевидна вариативность воплощений этого типа. При анализе пластики фасадов особое внимание уделено аркатуре на спаренных колонках на западном и южном фасадах церкви и оформлению окон. Замечено, что мастер Ахчкабердской церкви моделирует формы орнаментов с определенной живостью. В исполнении некоторых растительных мотивов он свободен от плоской поверхности, и резьба местами напоминает ску...

ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, 2020

Статья посвящена реконструкции и научной интерпретации форм купольной главы одного из ключевых па... more Статья посвящена реконструкции и научной интерпретации форм купольной главы одного из ключевых памятников архитектуры Армении рубежа XII-XIII вв. - церкви, построенной амирспасаларом и шахиншахом Закаре Мхаргрдзели из рода Закарянов во Внутренней крепости Ани, именуемой в народной традиции Ахчкабердом (Девичьей крепостью). Исследование является второй статьей о купольных главах Ани и в то же время продолжает серию публикаций об этой церкви, начатых в 2019 г. в соавторстве с Е. А. Лошкаревой. Предпринятое в мае 2019 г. новое обследование руины этой анийской церкви и обмеры ее фрагментов позволили реконструировать высокий 12-гранный барабан, украшенный рельефной аркатурой и фризом и увенчанный зигзагообразным широким карнизом, служившим основой складчатого зонтичного шатра. В статье выдвигаются предположения о рождении такой формы главы в результате творческого соединения двух архитектурных идей эпохи Багратидов: декорации барабана Анийского кафедрального собора конца X в. и складчато...

The 5th International Conference on Art Studies: Research, Experience, Education (ICASSEE 2021), 2021

Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018), 2018

Proceedings of the 2019 International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2019), 2019

Actual Problems of Theory and History of Art, 2019

Actual Problems of Theory and History of Art, 2017

The Church of the Holy Cross of Ałt‘amar, 2019

A Handbook to Classical Reception in Eastern and Central Europe, 2017

Muqarnas, 2001

How was architecture designed in the pre-modern world? Following contemporary conventions, we mig... more How was architecture designed in the pre-modern world? Following contemporary conventions, we might automatically assume that the process began with a drawing. The historical evidence suggests otherwise, however, for medieval Europe, for Byzantium, and ...

This is the first article of a projected series of reports concerning the architecture and conser... more This is the first article of a projected series of reports concerning the architecture and conservation of the Church of the Redeemer (Surb Prkich) in the medieval Armenian capital of Ani in the present-day Turkish province of Kars. Dated to 1035, this polyconch church stands as a beautiful example of the metropolitan school, which was especially dedicated to interpreting the architectural forms and principles of Classical antiquity. The church has survived both medieval reconstructions and a subsequent restoration in 1912, as well as remained extant within the ruins of Ani despite its western half preserved in poor condition. The authors, two Turkish architects and a Russian architectural historian have analyzed the historical data, historiography and architectural plan of Surb Prkich and present here the results of cleaning and archeological excavations at the site, as well as of the initiation of the monument's stabilization and conservation program, begun in 2012.

This article examines the stylistic development of church architecture in the town of Nakhichevan... more This article examines the stylistic development of church architecture in the town of Nakhichevan-on-Don, founded in 1779 by Armenians resettled from the Crimea by Catherine II. The study uncovers three main trends in the work of the Armenian church architects: At first, they operated within the context of late eighteenth-/ early nineteenth-century Russian Neoclassicism (Classicism in the terminology of Russian historiography). Then there was a period of conservatism in Armenian architecture in the heyday of Historicism in Russia in the third quarter of the nineteenth century. Thereafter, we witness attempts to revive the national style with methods borrowed from late nineteenth-century Russian architecture. The survey demonstrates how monumental architecture was related to state policy and the poly-ethnic context of the early modern empire. Thus it contributes to a better understanding of the cultural development of national communities in Russia.

Sasanian Elements in Byzantine, Caucasian and Islamic Art and Culture, Neslihan Asutay-Effenberger, Falko Daim (Hrsg.), Byzanz zwischen Orient und Okzident, 15. Mainz, , 2019

Proceedings of the 4th International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2022)

Proceedings of the 2019 International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2019), 2019

ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, 2020

The 5th International Conference on Art Studies: Research, Experience, Education (ICASSEE 2021), 2021

Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018), 2018

Proceedings of the 2019 International Conference on Architecture: Heritage, Traditions and Innovations (AHTI 2019), 2019

Actual Problems of Theory and History of Art, 2019

Actual Problems of Theory and History of Art, 2017

The Church of the Holy Cross of Ałt‘amar, 2019

A Handbook to Classical Reception in Eastern and Central Europe, 2017

Muqarnas, 2001

MTM 50, 2015

The monastery of Hoṙomos is situated on the right bank of the Axurean river, about 5 km as the cr... more The monastery of Hoṙomos is situated on the right bank of the Axurean river, about 5 km as the crow flies to the north-east of Ani, the Armenian “city of 1000 churches.” When the monastery was founded (c. 930), Ani was still little more than a fortress. Soon, however, Ani grew into a royal city (960) and the see of the Catholicos (992), while the humble monastic congregation became the “rest place of the Kings,” the chaplaincy of the capital, an important cultural centre and a showcase of Bagratid architecture. It continued to develop and prosper up to the end of the 13th century.
From the 19th century onwards, the site was visited by learned travellers, who described the monuments and transcribed their inscriptions. About 1910, the famous historian of Armenian arts, T‘oros T‘oramanean, drew complete plans and elevations of the extant buildings, with a detailed account of their decoration. In 1920, however, Turkey annexed the province of Kars and Hoṙomos was included in a military zone, inaccessible to archaeological research. Only in 2013 and 2014, were Armenian visitors able to penetrate the site again and to take new photographs of monuments and inscriptions.
The present volume, with contributions by six authors, takes a fresh look at the site, providing exhaustive updated information. A comprehensive study of the history of the monastic congregation from the 10th to the 20th century is followed by a general survey of the architecture, a detailed examination of a new kind of monastic structure, the žamatun, endowed with rich symbolic decoration, a decipherment of the crosses and xač‘k‘ars, a review of the manuscript output of the scriptorium, and finally, an epigraphic corpus providing both a photograph and a drawing for each extant inscription, thus ensuring a much more complete and reliable text than in all previous editions and translations.
This publication was made possible by a generous grant from the Dolores Zohrab Liebmann Fund. ISBN : 978-2-916716-57-2

Maria Lidova Abstract: Certain early medieval religious artifacts demonstrate the possibility of ... more Maria Lidova
Abstract:
Certain early medieval religious artifacts demonstrate the possibility of the simultaneous use of disparate religious imagery. The sixth-century Egyptian amulet from the British Museum analyzed in this paper is a good example of such practices. On one side, the oval surface of the metal plaque is covered with a detailed figurative cycle dedicated to Christ, fully in line with Constantinopolitan imagery. Yet, the other side bears representations that can hardly be read in Christian terms – a winged creature, flanked by magical signs, standing on two crocodiles and holding the tails of some scorpions. This figure derives from the image of Horus, an ancient Egyptian god. Such unprecedented combinations of religious imagery from distinct cultural contexts testify to the survival and integration of earlier beliefs in early Byzantium. They are demonstrative of various religious strategies that at times allowed the worshippers to reach out to several divine forces at once in search of protection and supernatural help.

Armen Kazaryan
Abstract:
Creating Transitions under the Dome: Byzantine and Iranian Shapes in the Works of 7th-Century Armenian Architects.
In the early 20th century, Josef Strzygowski suggested that the Armenian architecture played a transitional role between the Iranian domed structures and Byzantine Justinianic constructions (6th c.). Today, some points of that largely forgotten theory require revision and further consideration, especially since the majority of the Armenian central-domed churches are now attributed to the 7th century. In contrast to general abstract propositions on the meaning and nature of certain architectural forms, this study will focus on the origin of a specific shape of the under-dome squinch-pendentive transitions and their role in the space of Armenian churches. The scope of this paper will be to understand the impact of the Byzantine and Iranian artistic interactions on the creation of new architectural forms. In fact, the transitional element in question represents the most indicative evidence of the transformation and adaptation of the foreign motifs in Early Medieval architecture. The establishment of these connections is particularly important since the same kind of transition and architectural shape will continue to be used by Byzantine architects in the so-called cross-octagonal churches of the 10th-11th centuries.

The proposed panel session focuses on the material evidence that is reflective of cultural and ar... more The proposed panel session focuses on the material evidence that is reflective of cultural and artistic interaction between different religions and imperial powers in the Early Middle Ages (6th-8th century). The aim of the session is to demonstrate that art forms and imagery were constantly migrating. The visual and architectural language of the 'other' was often purposefully adopted in Byzantium or taken by 'others' from Byzantium, presupposing that non-Christian visual and architectural language could be used within a Christian environment and vice versa. The existing testimonies to this kind of transition and appropriation make a strong case for a certain transparency of the boundaries between different faiths and states at the time. The papers in this panel will focus on three artistic media (architecture, painting, and metalwork), introducing detailed and specific approaches to the overall problem in order to demonstrate the full diversity of interactive pathways. The ultimate goal of the session is to pose new questions and call for the re-evaluation of our assumptions regarding the political austerity and religious isolationism of Early Byzantium in light of existing material evidence.

by Cagla Parlak, Mesut Dinler, Ashot Haykazun Grigoryan, Elmon Hançer, Armen Kazaryan, Banu Pekol, Sebla Arın Ensarioğlu, Sasnuhi Musliyan, Burcu günay, ismail yavuz ozkaya, and Mert Hocaoğlu

Architectural Heritage of Anatolia, 2018

Having had hosted economic, social, religious, and artistic activities of different ethnic commun... more Having had hosted economic, social, religious, and artistic activities of different ethnic communities, in other words, civilizations, this geography possesses unrivalled cultural wealth. The creative processes that have existed over centuries provide us with the means to better understand the
cultural accumulation of our modern day society, shed light upon ethnological, geographic and economic structures. They also constitute reference points for the future. These patterns also play a key role in analyzing concepts related to the identity formation such as traditionality, change, diversity and westernization.
The monuments and artifacts created by the different peoples living in present day Turkey have greatly contributed to the creation of common esthetic values. They all generated added value to our cultural heritage. In this context, the architectural products of different ethnic groups throughout history on Anatolian and Thracian soil prove to be quite significant. It is important that these items of architectural heritage currently facing oblivion, unprotected and endangered by nature and by
human intervention be documented and protected, and that the future survival of these cultural products be ensured for shedding light upon historical development and architectural history. Thus, with the aim of protecting these artifacts and ensuring that they reach future generations, it is first and foremost necessary to raise the awareness of the people, draw the attention of local and national authorities to the matter, and create public awareness regarding the protection of cultural heritage.
This book presents the results of architectural heritage assessment visits carried out by Anadolu Kultur and the Association for the Protection of Cultural Heritage in a number of cities during 2015-2016. In light of the expertise and professional experience of the participants, the architectural
styles, plans, current state and location of these structures were assessed and comparative risk analyses were made during the field visits.
The main goals of this work are to emphasize the necessity of emergency interventions to historical structures at risk, facilitate decision-making processes for the authorities, and relay accurate information to the Ministry of Culture and Tourism. Just as different stakeholders may benefit from
these assessment reports, we hope the information and findings within them will provide guidance for current and future restoration projects along with preservation strategies.
We believe that current and future projects of documentation and assessment are significant contributions to the protection of cultural heritage. The cultural heritage of Anatolia, which reflects a synthesis -and at times a paradoxical combination- of different styles of expression belong
to humanity at large. As people currently living on this land, we believe that it is our common responsibility to safeguard for the future generations the monuments and artifacts left by those communities who are no longer living here.

REMIO (Religious Encounters between the Mediterranean and the Indian Ocean) is a series of five l... more REMIO (Religious Encounters between the Mediterranean and the Indian
Ocean) is a series of five lectures dedicated to various aspects of contact
between diverse religions in the specified geographical space.
The papers will discuss such various subjects as the encounter of Jews and Christians in Southern Caucasus, including myths about Jews in Armenian and Georgian sources, Syriac hagiography and its representation of Jews, the religious diversity and its expression in medieval Afghanistan, artistic exchanges under Seljuq rule in medieval Anatolia and the problems of valorising and protecting the multi-religious cultural heritage (Armenian,
Greek and Islamic) in today's Republic of Turkey.

Sasanian Elements in Byzantine, Caucasian and Islamic Art and Culture, F. Daim, N. Asutay-Effenberger (Eds.) (Byzanz zwischen Orient und Okzident, vol. 15), Propylaeum, Heidelberg, 2020

A century ago, Josef Strzygowski considered that Armenian architecture played a transitional role... more A century ago, Josef Strzygowski considered that Armenian architecture played a transitional role between Iranian domed structures and Byzantine constructions of the Justinian epoch (6th century). Nowadays, some points of that almost forgotten theory require revision and further consideration. But several ideas of the famous scholar deserve our attention. In particular, it is important to deepen the study of the probable Sasanian origins of some decorative motives and relief images of medieval Armenian architecture taking into consideration their new meaning in the context of Christian culture. The purpose of this study is to understand the impact of the Sasanian elements in the decoration system of Armenian churches of the 7th and the 10th-11th centuries, the periods of the highest development of national architecture, when it revealed the closest relationships with the Byzantine tradition. At the same time Armenian architecture interpreted both the Graeco-Roman and several local architectural peculiarities. The decoration of the domes in the interior of the 7th-century Armenian churches and the order-like blind arcades of the facades of the monuments of the Late Antique and Bagratid periods reveal Sasanian iconographic origins. Also, some ornaments and a range of mythical creatures on the reliefs and other features, such as the carpet-like curved ceilings of the zhamatun (narthex) of the Hoṙomos monastery, refect the artistic characteristics of the Sasanian and early Islamic Iranian architecture.

Ałt‘amar est devenu, pour la postérité, le monument le plus célèbre d’un royaume du Vaspurakan, q... more Ałt‘amar est devenu, pour la postérité, le monument le plus célèbre d’un royaume du Vaspurakan, qui a existé, au sud de l’Arménie, entre 908 et 1021. Le Vaspurakan est consacré comme une entité territoriale distincte par le traité de 591, quand les conquêtes de Maurice entraînent la division de la province du Turuberan, en Tarawn, à l’Ouest, sous contrôle byzantin, et en Vaspurakan, à l’Est, sous domination sassanide.

L’étymologie de Vaspurakan est heureusement assez transparente pour laisser entrevoir par quelle évolution un banal adjectif en -akan, a pu acquérir un sens toponymique localisé dans cette région. Il est clair en effet que le radical est composé de l’épithète vas- signifiant « précieux, de haute noblesse », et de – pur-, reposant sur un thème indo-iranien, qui désigne le « fils », comme c’est le cas par exemple dans le nom du fleuve Brahmapoutre. Le Vaspurakan est donc la terre qui appartient en propre aux « fils de haute noblesse ».

Qui sont ces mystérieux personnages ? Tout simplement, les frères cadets ou les cousins du roi. Bref, tous les princes du sang, qu’il vaut mieux tenir à l’écart de la cour pour éviter les intrigues de palais, et autres rivalités fratricides. Movsēs Xorenac‘i nous apprend qu’à l’époque arsacide ces princes étaient consignés au Nord du lac de Van, près des pêcheries royales d’Aṙberani, et qu’ils ne pouvaient quitter ce secteur sans se rendre coupables de haute trahison. C’est ainsi que leur domaine princier fut qualifié de vaspurakan et que, par une sorte de métonymie, cet adjectif fut transformé en nom propre pour désigner des territoires de plus en plus étendus : au VIe siècle, l’Est du Turuberan puis, dès le VIIe siècle, presque tout le Sud-Est arménien, si l’on en croit la Géographie d’Anania Širakac‘i.

ISBN: 9789004400382
Publisher: Brill