Artsakh was an important cultural center of medieval Armenia, where literature, miniature painting, architecture, and sculpture flourished.The 13th–14th centuries marked a period of cultural renaissance in Artsakh, during which luxurious manuscripts were created, monastic complexes were constructed, and artistic thought thrived.Miniature painting in Artsakh developed as an independent school, simultaneously influenced by the traditions of the Cilician and Vaspurakan schools, while preserving a unique national character.Gandzasar, Dadivank, and other monasteries were not only religious centers but also cultural and scriptorium hubs where valuable manuscripts were produced.Testimonies of historians M. Kaghankatvatsi, K. Gandzaketsi confirm Artsakh’s powerful Armenian and cultural past, emphasizing its Christian and Armenian identity.The reliefs and carvings of Artsakh demonstrate stylistic uniqueness, a high level of artistry, and a harmonious combination of spiritual and secular themes.In modern times, the cultural heritage of Artsakh is under threat, requiring scientific reassessment as well as preservation and protection strategies. The aim of the article is to reinforce the understanding of Artsakh’s Armenian cultural affiliation, reject attempts at its alienation, and promote the preservation of historical memory.

KeywordsArtsakh Armenian medieval art architecture literature miniature historical memory spiritual values cultural heritage.

This article explores the thematic and stylistic parallels between contemporary Armenian poetry-particularly the works of Hovhannes Grigoryan and Vardan Hakobyan-and the French surrealist tradition. Through a comparative analysis, it highlights shared motifs such as love, memory, dreams, and linguistic freedom. Grigoryan’s poetry is marked by emotional rawness and the expressive power of silence, while Hakobyan’s texts transform love into a symbolic, dreamlike vision that blends reality with the subconscious. French surrealists like Éluard, Aragon, and Apollinaire treat love as a symbolic and ideological space, often shaped by collective memory and poetic experimentation. Although influenced by surrealism, Armenian poets reinterpret its principles through their own cultural and historical lens. The article concludes that Armenian contemporary poetry represents a unique avant-garde voice-speaking a universal language with distinctly national inflections.

KeywordsArmenian poetry French surrealism Hovhannes Grigoryan Vardan Hakobyan modern Armenian literature love memory dream freedom of language avant-garde poetic fusion

The article presents a comparative study of the works of Siamanto and Vahan Teryan from the perspective of national destiny, historical memory, spiritual homeland, and national identity. The similarities and differences between the artistic worlds of the two poets are examined, revealing their ideological affinity in interpreting national tragedy and spiritual resistance. The study demonstrates that Siamanto represents national destiny through a heroic and tragic vision emphasizing struggle, collective unity, and national revival, whereas Teryan explores the same issues through the inner world of the individual, memory, and spiritual experience. The research argues that in the works of both authors the homeland is transformed from a geographical reality into a spiritual and cultural space, while national tragedy acquires a universal human significance. 

KeywordsSiamanto Vahan Teryan Land of Nairi national destiny national identity historical homeland spiritual homeland historical memory resistance revival.

The article examines the symbolic system of Zahrat’s poetry, focusing on the symbolic functions of everyday objects, natural phenomena, animals, spatial images, and literary-cultural references. The analysis demonstrates that in Zahrat’s poetic world, earth, water, wall, house, mirror, sphere, light, sky, animals, and everyday objects transcend their literal meanings and become symbols conveying psychological, existential, national, and social meanings.Particular attention is paid to the principle of “small form–great meaning” characteristic of Zahrat’s poetic thinking, whereby short and seemingly simple texts acquire a high degree of semantic density. The article also explores the themes of identity, self-alienation, memory, life and death, national belonging, and social inequality.A significant place in the study is given to intertextuality. Zahrat’s creative dialogue with Mesrop Mashtots, Komitas, Petros Duryan, Hakob Paronyan, Paruyr Sevak, Hamo Sahyan, Sayat-Nova, and other authors is considered as a means of reinterpreting the literary tradition and ensuring its continuity in a contemporary context. As a result, Zahrat’s poetry is presented as a distinctive artistic system that moves from everyday reality toward philosophical, national, and universal human generalizations.

KeywordsZahrat Western Armenian poetry symbol symbolic system poetic imagery poetics intertextuality identity self-knowledge self-alienation earth water wall house mirror light symbolism of animals material world humor satire humanism national memory existential issues literary tradition intermediality.