Synonyms for sirarpie or Related words with sirarpie

tunkeler              totmacher              nersessian              blutharsch              wetsidee              brivele              rauchfangkehrer              kreidekreis              hovagimian              wiederentdecker              asthetik              yeghiayan              arbeyter              wondertooneel              kriminalist              zauberlehrling              bettelstudent              untertan              ohanessian              busant              pleier              mustazaf              spieghel              wahrheitsfreund              trihs              verteidigung              konterfei              herkunft              scharlachrote              lachende              sozialdemokrat              schadet              abriss              einzug              verlauf              fahnder              verwundete              abenteuerliche              menschfresser              theatermacher              forschungsreise              bloasbalg              zauberer              flohwalzer              vollkommene              nationalepos              heutigen              grundbegriffe              augenzeuge              feinschmecker             

Examples of "sirarpie"
The journal's former editors were Jacques Benveniste (nominally, 1964-1975, as Berbérian was responsible for much of the editing during this time), Georges Dumézil (1975-1980), and Sirarpie Der-Nersessian (1981-1989). Its current editor is Aram Mardirossian.
The study of Armenian art began in the early 20th century. Notable scholars of Armenian art were Catholicos Garegin Hovsepian and professor Sirarpie Der Nerséssian. More recently, Jean-Michel Thierry and Professor Dickran Kouymjian are prominent scholars of Armenian art.
Der Nersessian remained at Dumbarton Oaks until 1978, when she retired to France and lived with her sister in Paris. Upon retirement, she had her entire library shipped to the Matenadaran in Yerevan, so as to better help Armenian scholars in their studies. Shortly after her death in 1989, an endowment fund for prospective art history students in Armenia, Fonds Sirarpie Der Neressian at the Institut de Recherches sur les Miniatures Arméno-Byzantines, was created in her honor.
Sirarpie Der-Nersessian devoted the longest chapter in her posthumously published magnum opus "Miniature Painting in the Armenian Kingdom of Cilicia" to Toros Roslin whose work she had researched for years. In the chapter she underlines: "Roslin's ability to convey deep emotion without undue emphasis," and in describing one of Roslin's scenes she extols: "The compositional design, the delicate modeling of the individual figures, and the subtle color harmonies show Roslin’s work at its best, equaling in artistic quality some of the finest Byzantine miniatures."
Sirarpie Der Nersessian rejected the postulated "proto-Gothic" character of the ogival arches of the cathedral of Ani which, she argued, "do not serve the same function in supporting the vault." Although Adrian Stokes saw Ani Cathedral as holding "some balance between wall architecture and the linear Gothic to come," he did not find "the feeling for mass and space that transfixes him at Rimini or Luciano Laurana's Quattro Cento courtyard in the Palace of Urbino." The website Virtual Ani writes that there is "no evidence to indicate that there was a connection between Armenian architecture and the development of the Gothic style in Western Europe." Lucy Der Manuelian argues that there is a documented evidence of the presence of Armenians in Western Europe during the Middle Ages, who could have carried this information to the West.
The cathedral is defined as a domed and centrally-planned basilica. According to Richard Krautheimer it derives its plan from that of the 7th century cathedral of Talin, with only minor differences. The dome was supported on pendentives and stood atop the "intersection of four barrel vaults elevated to a cruciform design and topped with gabled roofs." In the interior, "freestanding piers divide the space into three aisles, the nave of which terminates in an eastern apse flanked by two story side chapels." Sirarpie Der Nersessian noted that its interior is imposing "through the harmony of the proportions." She added, "The blind arcade with slender columns and ornate arches, the delicate interlaces carved around the door and windows add to the beauty of the exterior."
The northern wall of the cathedral contains two reliefs which depict Paul the Apostle and Saint Thecla and a cross with all arms of equal length with Greek inscriptions. Paul and Thecla are represented in conversation, Paul is shown seated on cross-legged stool. These reliefs have been dated by various authors between the first and sixth centuries. Shahkhatunian and Ghevont Alishan suggested that these reliefs were created before the invention of the Armenian alphabet in 405. Art historian Sirarpie Der Nersessian believed that they are from the fifth or sixth century. In his 2012 analysis, Grigoryan wrote that "we can insist that the three reliefs of the Echmiadzin Cathedral were created from the very beginning, in 302–325." According to Hasratyan they are the earliest reliefs on the cathedral's walls and among the earliest items of Christian Armenian sculpture art.
Among Roslin's various miniatures on the theme of the Nativity, the Nativity scene of the Gospel of 1260 (MS No. 251) stands out the most. Mary and the Child are presented seated on the throne near a grotto combined with in the lower angle with the portrait of Matthew the Evangelist, in reverse proportional correlation. The combination of the two scenes was originally developed in Constantinople during the Comnenian era and reinterpreted by Roslin. Another unique attribute of this composition is seen in the top right corner where the bodyguards of the Magi, who are mentioned in apocryphal gospel accounts as soldiers who accompanied the Magi, are represented as Mongols. Art historian Sirarpie Der-Nersessian suggests that Roslin, "bearing in mind that the Magi came from the East, ...has represented the bodyguards with the facial type and costume of the Oriental peoples best known to him, namely the Mongols, the allies of king of Cilicia [Hethum I]."
Sirarpie Der Nersessian (5 September 18965 July 1989) was an Armenian art historian, who specialized in Armenian and Byzantine studies. Der Nersessian was a renowned academic and a pioneer in Armenian art history. She taught at several institutions in the United States, including Wellesley College in Massachusetts and as Henri Focillon Professor of Art and Archaeology at Harvard University. She was a senior fellow at Dumbarton Oaks, its deputy director from 1954–55 and 1961–62 and a member of its Board of Scholars. Der Nersessian was also a member of several international institutions such as the British Academy (1975), the Académie des Inscriptions et Belles-Lettres (1978) and the Armenian Academy of Sciences (1966).
Following the establishment of Soviet rule in Armenia, Zarian returned there and taught comparative literature at the Yerevan State University from 1922-1924. Thoroughly disappointed with the Soviet state, in 1924 he again went abroad where he conducted a nomadic existence, living in Paris (where he founded the short-lived French-language periodical "La tour de Babel"), Rome, Florence, the Greek island of Corfu, the Italian island of Ischia, and New York City. On August 31, 1934 he married his second wife, the American artist Frances Brooks. In New York he taught the history of Armenian culture at Columbia University and edited the English-language periodical "The Armenian Quarterly" (1946) which lasted only two issues, but was the first Armenian Studies journal in the United States and published the work of such scholars as Sirarpie Der Nersessian, Henri Grégoire, Giuliano Bonfante, and writers such as Marietta Shaginyan. From 1952–54 he taught history of art at the American University of Beirut (Lebanon). Following an interlude in Vienna and Rapallo, he taught at Berkeley.
The cathedral is widely considered a masterpiece of Armenian architecture. It is the largest and most impressive structure of Ani, and has been described by Armen Kazaryan as the most significant structure of the entire Bagratid period. The cathedral is known for its novel design features. Authors of "Global History of Architecture" wrote that it "deserves to be listed among the principal monuments of the time because of its pointed arches and clustered columns and piers." Josef Strzygowski argued that the cathedral is the most valuable achievement of Armenian architecture from the European viewpoint. David Marshall Lang wrote that the cathedral's building techniques are "far ahead of the contemporary Anglo-Saxon and Norman architecture of western Europe." H. F. B. Lynch wrote: "The impression which we take away from our survey of these various features is that we have been introduced to a monument of the highest artistic merit, denoting a standard of culture which was far in advance of the contemporary standards in the West." Sirarpie Der Nersessian wrote that it "deserves to be listed among the important examples of medieval architecture." The "New International Encyclopedia" characterized it as the "most interesting church of Armenia." David Roden Buxton suggested that the cathedral deserves far more fame than it actually has.