Monasteries of Haghpat and Sanahin
These two Byzantine monasteries in the Tumanian region from the period of prosperity during the Kiurikian dynasty (10th to 13th century) were important centers of learning. Sanahin was renowned for its school of illuminators and calligraphers. The two monastic complexes represent the highest flowering of Armenian religious architecture, whose unique style developed from a blending of elements of Byzantine ecclesiastical architecture and the traditional vernacular architecture of the Caucasian region.
Cathedral and Churches of Etchmiatzin and the Archaeological Site of Zvartnots
The cathedral and churches of Etchmiatzin and the archaeological remains at Zvartnots graphically illustrate the evolution and development of the Armenian central-domed cross-hall type of church, which exerted a profound influence on architectural and artistic development in the region.
Monastery of Geghard and the Upper Azat Valley
The monastery of Geghard contains a number of churches and tombs, most of them cut into the rock, which illustrate the very peak of Armenian medieval architecture. The complex of medieval building is set into a landscape of great natural beauty, surrounded by towering cliffs at the entrance to the Azat Valley.
Lavash, the preparation, meaning and appearance of traditional Armenian Bread as an Expression of Culture
Lavash bread is a traditional thin bread that forms an integral part of Armenian cuisine. Its preparation required great effort, coordination and special skills and strengthens family, community and social ties. Women work in groups to bake lavash, which is commonly served rolled around local chesses, greens or meats. It plays a ritual role in weddings, where it is placed on the shoulders of newlyweds to bring fertility and prosperity.
Med are also involved through making tools and building ovens.
Armenian traditional music instrument – Duduk
The duduk, the Armenian oboe, is a single or double reed wind instrument made of the wood of the apricot tree and has a warm, soft, slightly nasal timbre.
The roots of Armenian duduk music go back to the times of the Armenian king Tigran the Great (95-55 BC). The instrument is depicted in numerous Armenian manuscripts of the middle ages. The duduk accompanies popular Armenian traditional song and dance of the various regions and is played at social events, such as weddings and funerals.
There are four major types of duduk, varying in length from 28 to 40 cm and in sound, ranging from one to fourth or third octaves. Therefore, the sound of the duduk can express various moods depending on the content of the piece and the playing context. The 40-cm long duduk, for example, is regarded as most appropriate for love songs, whereas the smaller one usually accompanies dances. Today, duduk craftsmen continue to create and experiment with different forms of duduks. Many Armenians consider the duduk as the instrument that most eloquently expresses warmth, joy and the history of their community.