SAGHMOSAVANK | MUGNI CHURCH | ARMENIAN ALPHABET PARK - ARMENIA TRAVEL VLOG SERIES Part 6
Hey Guys!!! Here's Part 6 of Our Armenia Travel Vlog Series!
This time we get to tag you along the town of ASHTARAK in ARMENIA, famous for its numerous ancient churches:
SAINT GEVORK CHURCH of MUGNI - believed by Armenians to be the location of Saint George the Dragon Slayer's Tomb
SAGHMOSAVANK or the Church of Psalms - definitely one of Armenia's most scenic churches, constructed at the edge of a very deep gorge!
ARMENIAN ALPHABET PARK - to shows how important the Armenian Alphabet is to the history and culture of Armenia and its People, they have built a park to showcase all 39 letters of the Alphabet, all sculpted in heavy solid rock!
Hope YOU guys enjoy the video!
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Unknown Armenia: Sculptor
Film about Famous Sculptor Merkurov
ARMENIAN GENOCIDE - DECODING THE FORGOTTEN ARTIST
Khoren Der Harootian was born in Ashodavan, Armenia, in 1909. He came to the United States with his mother and sisters in 1921 after witnessing the tragic scenes of the Armenian Genocide. His father, a priest, and 22 relatives were massacred by the Turks.
He lived in Worcester, Massachusetts, and began to paint while he was still a high school student. After finishing his studies, he moved to Jamaica to paint, and become fascinated with sculpture, primarily carving in the islands native hardwoods. Der Harootian visited London in 1939 and had his work exhibited in group shows. He later returned to Jamaica and devoted the next four years to carving.
Der Harootian came back to the United States and had his first one-man show of paintings and sculpture at the Kraushaar Gallery, New York, in 1945. From then on, working in his New York Studio, he concentrated on sculpture in stone and marble. Since then, his work has been widely exhibited and acquired by museums and private collectors throughout the world, and he received several monumental commissions.
He spent 1962-1963 in Italy exploring new forms and realizing new conceptions for casting in bronze. These sculptures and drawings were exhibited in the Gallery of the United States Information Service in Florence, and a comprehensive one-man show of his bronzes, stone carvings, watercolors and drawings was held in 1964 and the Zwemmer Gallery, London. Der Harootian's sculpture was also represented in the Royal Academy Annual Exhibition in London, and from there went to the Royal Glasgow Annual Exhibition in Scotland.
In 1965, Der Harootian had a one-man exhibition of his bronzes, stone, and wood carvings, watercolors and pastels at the Armenian General Benevolent Union Gallery In New York. He had a one-man show of his work at the Contemporaries Gallery, New York, in 1967. He traveled to Paris in 1971 to be present for his one-man show of sculpture, watercolors and drawings held at the Bernheim Gallery.
While Der Harootian was still in Europe, he received an invitation from the Committee for Cultural Relations Abroad in Yerevan, Armenia, to exhibit his work at the Artists' House and Gallery.
He was commissioned by the Philadelphia Bicentennial Committee in 1974 and created a 22-foot bronze sculpture of Meher. His work stands in front of the Philadelphia Museum of Art and was unveiled during Armenian Americans' Thank You America commemoration.
In 1983 Der Harootian donated the majority of his work to his beloved Armenian people.
Khoren Der Harootian passed away February 1991 due to an unforseen car accident in New York.
This website derharootian.com was built on his 100th birthday in order to continue his legacy.
Amaghu Valley, Vayots Dzor Province, Armenia, Eurasia
Noravank is a 13th century Armenian monastery, located 122km from Yerevan in a narrow gorge made by the Amaghu river, near the city of Yeghegnadzor, Armenia. The gorge is known for its tall, sheer, brick-red cliffs, directly across from the monastery. The monastery is best known for its two-storey Surp Astvatsatsin (Holy Mother of God) church, which grants access to the second floor by way of a narrow stone-made staircase jutting out from the face of building. The monastery is sometimes called Noravank at Amaghu, with Amaghu being the name of a small and nowadays abandoned village above the canyon, in order to distinguish it from Bgheno-Noravank, near Goris. In the 13th--14th centuries the monastery became a residence of Syunik's bishops and, consequently. a major religious and, later, cultural center of Armenia closely connected with many of the local seats of learning, especially with Gladzor's famed university and library. Noravank was founded in 1205 by Bishop Hovhannes, a former abbot of Vahanavank near the present-day city of Kapan in Syunik. The monastic complex includes the church of S. Karapet, S. Grigor chapel with a vaulted hall, and the church of S. Astvatsatsin (Holy Mother of God). Ruins of various civil buildings and khachkars are found both inside and outside of the compound walls. Noravank was the residence of the Orbelian princes. The architect Siranes and the miniature painter and sculptor Momik worked here in the latter part of the thirteenth and early fourteenth century. The fortress walls surrounding the complex were built in the 17th--18th centuries. The grandest structure is Surb Astvatsatsin (Holy Mother of God), also called Burtelashen (Burtel's construction) in the honour of Prince Burtel Orbelian, its financier. It is situated to the south-east of the Surb Karapet church. Surb Astvatsatsin was completed in 1339, a masterpiece of the talented sculptor and miniaturist Momik, who designed it, and was also his last work. Near the church there is his tomb khachkar, small and modestly decorated, dated the same year. In recent times the fallen roof had been covered with a plain hipped roof. In 1997 the drum and its conical roof was rebuilt, with the form based on existing fragments. The ground floor contained elaborate tombs of Burtel and his family. Narrow steps projecting from the west façade lead to the entrance into the church/oratory. There is fine relief sculpture over the entrance, depicting Christ flanked by Peter and Paul. Burtelashen is a highly artistic monument reminiscent of the tower-like burial structures of the first years of Christianity in Armenia. It is a memorial church. Its ground floor, rectangular in plan, was a family burial vault; the floor above, cross-shaped in plan, was a memorial temple crowned with a multi-columned rotunda. Burtelashen is the dominant structure in Noravank. The original three-tier composition of the building is based on the increasing height of the tiers and the combination of the heavy bottom with the divided middle and the semi-open top. Accordingly, decoration is more modest at the bottom and richer at the top. Employed as decorative elements are columns, small arches, profiled braces forming crosses of various shapes, medallions, interlaced banding around windows and doors. The western portal is decorated with special splendour. An important role in its decoration is played by the cantilevered stairs that lead to the upper level, with profiled butts to the steps. The doorways are framed with broad rectangular plaitbands, with ledges in the upper part, with columns, fillets and strips of various, mostly geometrical, fine and intricate patterns. Between the outer plathand and the arched framing of the openings there are representations of doves and sirens with women's crowned heads. Such reliefs were widely used in fourteenth-century Armenian art and in earlier times in architecture, miniatures and works of applied art, on various vessels and bowls. The entrance tympanums are decorated with bas-reliefs showing, on the lower tympanium, the Holy Virgin with the Child and Archangels Gabriel and Michael at her sides, and, on the upper tympanium, a half-length representation of Christ and figures of the Apostles Peter and Paul. As distinct from the reliefs of Noravank's vestry, these ones are carved on a plain surface, which gives them greater independence. The figures are distinguished by their plasticity of form, softness of modeling, and accentuation of certain details of clothing. A group of the founders of Burtelashen is depicted on three columns of the western part of its rotunda. The picture consisted of relief figures of the Holy Virgin with the Child, sitting on a throne, and two standing men in rich attire, one of them holding a model of the temple.
Edvard Issabekian
1914 Born, Surmalu, Igdir
1927-1931 Attended Geghard college where he received his first professional
Education taught by practicing artists Sedrak Arakelyan, Vahram
Gayfedjian (painting), Gohar Fermanyan (graphic).
1935-41 Studies in the Art Academy of Tbilisi, Georgia
1967-87-Becomes the director of the National Gallery of Armenia
2001-Is awarded the Mesrop Mashtots medal by the Armenian Catholicos
2002- Becomes an honorable citizen of Yerevan
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Noravank Monastery, Amaghu Valley, Vayots Dzor Province, Armenia, Eurasia
Noravank is a 13th century Armenian monastery, located 122km from Yerevan in a narrow gorge made by the Amaghu river, near the city of Yeghegnadzor, Armenia. The gorge is known for its tall, sheer, brick-red cliffs, directly across from the monastery. The monastery is best known for its two-storey Surp Astvatsatsin (Holy Mother of God) church, which grants access to the second floor by way of a narrow stone-made staircase jutting out from the face of building. The monastery is sometimes called Noravank at Amaghu, with Amaghu being the name of a small and nowadays abandoned village above the canyon, in order to distinguish it from Bgheno-Noravank, near Goris. In the 13th-14th centuries the monastery became a residence of Syunik's bishops and, consequently. a major religious and, later, cultural center of Armenia closely connected with many of the local seats of learning, especially with Gladzor's famed university and library. Noravank was founded in 1205 by Bishop Hovhannes, a former abbot of Vahanavank near the present-day city of Kapan in Syunik. The monastic complex includes the church of S. Karapet, S. Grigor chapel with a vaulted hall, and the church of S. Astvatsatsin (Holy Mother of God). Ruins of various civil buildings and khachkars are found both inside and outside of the compound walls. Noravank was the residence of the Orbelian princes. The architect Siranes and the miniature painter and sculptor Momik worked here in the latter part of the thirteenth and early fourteenth century. The fortress walls surrounding the complex were built in the 17th--18th centuries. The grandest structure is Surb Astvatsatsin (Holy Mother of God), also called Burtelashen (Burtel's construction) in the honour of Prince Burtel Orbelian, its financier. It is situated to the south-east of the Surb Karapet church. Surb Astvatsatsin was completed in 1339, a masterpiece of the talented sculptor and miniaturist Momik, who designed it, and was also his last work. Near the church there is his tomb khachkar, small and modestly decorated, dated the same year. In recent times the fallen roof had been covered with a plain hipped roof. In 1997 the drum and its conical roof was rebuilt, with the form based on existing fragments. The ground floor contained elaborate tombs of Burtel and his family. Narrow steps projecting from the west façade lead to the entrance into the church/oratory. There is fine relief sculpture over the entrance, depicting Christ flanked by Peter and Paul. Burtelashen is a highly artistic monument reminiscent of the tower-like burial structures of the first years of Christianity in Armenia. It is a memorial church. Its ground floor, rectangular in plan, was a family burial vault; the floor above, cross-shaped in plan, was a memorial temple crowned with a multi-columned rotunda. Burtelashen is the dominant structure in Noravank. The original three-tier composition of the building is based on the increasing height of the tiers and the combination of the heavy bottom with the divided middle and the semi-open top. Accordingly, decoration is more modest at the bottom and richer at the top. Employed as decorative elements are columns, small arches, profiled braces forming crosses of various shapes, medallions, interlaced banding around windows and doors. The western portal is decorated with special splendour. An important role in its decoration is played by the cantilevered stairs that lead to the upper level, with profiled butts to the steps. The doorways are framed with broad rectangular plaitbands, with ledges in the upper part, with columns, fillets and strips of various, mostly geometrical, fine and intricate patterns. Between the outer plathand and the arched framing of the openings there are representations of doves and sirens with women's crowned heads. Such reliefs were widely used in fourteenth-century Armenian art and in earlier times in architecture, miniatures and works of applied art, on various vessels and bowls. The entrance tympanums are decorated with bas-reliefs showing, on the lower tympanium, the Holy Virgin with the Child and Archangels Gabriel and Michael at her sides, and, on the upper tympanium, a half-length representation of Christ and figures of the Apostles Peter and Paul. As distinct from the reliefs of Noravank's vestry, these ones are carved on a plain surface, which gives them greater independence. The figures are distinguished by their plasticity of form, softness of modeling, and accentuation of certain details of clothing. A group of the founders of Burtelashen is depicted on three columns of the western part of its rotunda. The picture consisted of relief figures of the Holy Virgin with the Child, sitting on a throne, and two standing men in rich attire, one of them holding a model of the temple.
Arshile Gorky - ethnically Armenian painter
for more famous painters go to mythragallery.com
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Gorky was born Vostanik Manuk Adoian on April 15, 1904, in the village of Khorgom, situated on the shores of Lake Van in the Ottoman Empire. In later years he was vague about his date of birth, changing it from year to year. In 1908 his father emigrated to America to avoid the draft, leaving his family behind in the town of Van. In 1915 Gorky fled Lake Van during the Armenian Genocide and escaped with his mother and his three sisters into Russian-controlled territory. In the aftermath of the genocide, Gorky’s mother died of starvation in Yerevan in 1919. Arriving in America in 1920, the 16-year old Gorky was reunited with his father, but they never grew close. In the process of reinventing his identity, he changed his name to “Arshile Gorky”, claiming to be a Georgian noble (taking the Georgian name Arshile/Archil), and even telling people he was a relative of the Russian writer Maxim Gorky.
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Contemporary art galleries are often established together in urban centers such as the Chelsea district of New York, widely considered to be the center of the American contemporary art world. Most large urban areas have several art galleries, and most towns will be home to at least one. However, they may also be found in small communities, and remote areas where artists congregate, e.g. the Taos art colony in New Mexico and St Ives, Cornwall; Hill End, Braidwood and Byron Bay in New South Wales Contemporary art galleries are usually free and open to the public, however some are semi-private, more exclusive, and by appointment only.
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others videos from Mythra Gallery
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Abstract Expressionism
American Figurative Expressionism
Bay Area Figurative Movement
Lyrical Abstraction
New York Figurative Expressionism
New York School
Abstract expressionism
American Figurative Expressionism
Abstract Imagists
Bay Area Figurative Movement
Color field
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Haghartsin monastery (Arménie/Armenia)
Haghartsin is a 13th century monastery located near the town of Dilijan, Armenia. It was built between the 10th and 14th century; much of it under the patronage of the Bagratuni Dynasty.
St. Astvatsatsin Church in Haghardzin (1281) is the largest building and the dominant artistic feature. The sixteen-faced dome is decorated with arches, the bases of whose columns are connected by triangular ledges and spheres, with a band around the drum's bottom. This adds to the optical height of the dome and creates the impression that its drum is weightless. The platband of the southern portal's architrave is framed with rows of trefoils.
The sculptural group of the church's eastern facade differs in composition from the similar bas-reliefs of Sanahin, Haghpat, and Harich. It shows two men in monks' attire who point with their hands at a church model and a picture of a dove with half-spread wings placed between them. The umbrella roofing of the model's dome shows the original look of the dome of Astvatsatsin church. The figures are shown wearing different dresses — the one standing right is dressed more richly than the one standing left. The faces, with their long whiskers, luxuriant combed beards and large almond shaped eyes, are also executed in different manners. These are probably the founders of the church, the Father Superior and his assistant.
St. Astvatsatsin Church Gavit
The gavit of St. Astvatsatsin Church is severely damaged. The ruins show clearly where it stood; however, the walls are almost completely destroyed.
St. Gregory Church
The oldest large structure of the complex, the St. Grigor Church, is accessible through its gavit.
St. Gregory Church Gavit
The twelfth-century gavit abutting St. Grigor Church is of the most common type of plan. It is a square building, with roofing supported by four internal abutments, and with squat octahedral tents above the central sections, somewhat similar to the Armenian peasant home of the glkhatun type. The gavit has ornamented corner sections. Decorated with rosettes, these sections contain sculptures of human figures in monks' attires, carrying crosses, staffs, and birds. The framing of the central window of Haghardzin's gavit is cross-shaped. Placed right above the portal of the main entrance, it emphasizes the central part of the facade.
One of the half-columns along the right hand wall towards the back has come forward, showing that it is hollow. According to legend, this was swung open and shut in the past and monastery riches were hidden inside at times of war and invasion.
St. Stepanos Church
The small St. Stepanos Church dates back to 1244.
Bagratuni sepulchre
The Bagratuni sepulchre is where some of the Bagratuni royalty are buried.
Like the Haghpat's refectory, the refectory of Haghardzin, built by the architect Minas in 1248, is divided by pillars into two square-plan parts roofed with intersecting arches.
The walls are lined with stone benches, and at the western butt wall, next to the door, there is a broad archway for the numerous pilgrims to navigate. Decoration is concentrated only in the central sections of the roofing, near the main lighting apertures. The transition from the rectangle of their base to the octagon of the top is decorated with tre- and quatrefoils. The low abutments determine the size of the upstretched arches. The proportionally diminishing architectural shapes create the impression of airiness and space.
Today this space has large wooden log tables and chairs, and is where receptions take place after marriages or baptisms at the monastery.
An ornamental carving of a thirteenth-century khachkar is placed next to the southern door of St. Astvatsatsin church in Haghardzin.
VALPARD FILMS
17.NOV.2011 GAGO Exhibition Movements in Nature
The Hamazkayin Lucy Tutunjian Art Gallery organized the opening of the exhibition of bronze sculptures by Armenian artist Gago (Gagig Gevorgian) on November 17, 2011 at 7:00 p.m.
Noravank Monastery, Amaghu Valley, Vayots Dzor Province, Armenia, Eurasia
Noravank is a 13th century Armenian monastery, located 122km from Yerevan in a narrow gorge made by the Amaghu river, near the city of Yeghegnadzor, Armenia. The gorge is known for its tall, sheer, brick-red cliffs, directly across from the monastery. The monastery is best known for its two-storey Surp Astvatsatsin (Holy Mother of God) church, which grants access to the second floor by way of a narrow stone-made staircase jutting out from the face of building. The monastery is sometimes called Noravank at Amaghu, with Amaghu being the name of a small and nowadays abandoned village above the canyon, in order to distinguish it from Bgheno-Noravank, near Goris. In the 13th-14th centuries the monastery became a residence of Syunik's bishops and, consequently. a major religious and, later, cultural center of Armenia closely connected with many of the local seats of learning, especially with Gladzor's famed university and library. Noravank was founded in 1205 by Bishop Hovhannes, a former abbot of Vahanavank near the present-day city of Kapan in Syunik. The monastic complex includes the church of S. Karapet, S. Grigor chapel with a vaulted hall, and the church of S. Astvatsatsin (Holy Mother of God). Ruins of various civil buildings and khachkars are found both inside and outside of the compound walls. Noravank was the residence of the Orbelian princes. The architect Siranes and the miniature painter and sculptor Momik worked here in the latter part of the thirteenth and early fourteenth century. The fortress walls surrounding the complex were built in the 17th--18th centuries. The grandest structure is Surb Astvatsatsin (Holy Mother of God), also called Burtelashen (Burtel's construction) in the honour of Prince Burtel Orbelian, its financier. It is situated to the south-east of the Surb Karapet church. Surb Astvatsatsin was completed in 1339, a masterpiece of the talented sculptor and miniaturist Momik, who designed it, and was also his last work. Near the church there is his tomb khachkar, small and modestly decorated, dated the same year. In recent times the fallen roof had been covered with a plain hipped roof. In 1997 the drum and its conical roof was rebuilt, with the form based on existing fragments. The ground floor contained elaborate tombs of Burtel and his family. Narrow steps projecting from the west façade lead to the entrance into the church/oratory. There is fine relief sculpture over the entrance, depicting Christ flanked by Peter and Paul. Burtelashen is a highly artistic monument reminiscent of the tower-like burial structures of the first years of Christianity in Armenia. It is a memorial church. Its ground floor, rectangular in plan, was a family burial vault; the floor above, cross-shaped in plan, was a memorial temple crowned with a multi-columned rotunda. Burtelashen is the dominant structure in Noravank. The original three-tier composition of the building is based on the increasing height of the tiers and the combination of the heavy bottom with the divided middle and the semi-open top. Accordingly, decoration is more modest at the bottom and richer at the top. Employed as decorative elements are columns, small arches, profiled braces forming crosses of various shapes, medallions, interlaced banding around windows and doors. The western portal is decorated with special splendour. An important role in its decoration is played by the cantilevered stairs that lead to the upper level, with profiled butts to the steps. The doorways are framed with broad rectangular plaitbands, with ledges in the upper part, with columns, fillets and strips of various, mostly geometrical, fine and intricate patterns. Between the outer plathand and the arched framing of the openings there are representations of doves and sirens with women's crowned heads. Such reliefs were widely used in fourteenth-century Armenian art and in earlier times in architecture, miniatures and works of applied art, on various vessels and bowls. The entrance tympanums are decorated with bas-reliefs showing, on the lower tympanium, the Holy Virgin with the Child and Archangels Gabriel and Michael at her sides, and, on the upper tympanium, a half-length representation of Christ and figures of the Apostles Peter and Paul. As distinct from the reliefs of Noravank's vestry, these ones are carved on a plain surface, which gives them greater independence. The figures are distinguished by their plasticity of form, softness of modeling, and accentuation of certain details of clothing. A group of the founders of Burtelashen is depicted on three columns of the western part of its rotunda. The picture consisted of relief figures of the Holy Virgin with the Child, sitting on a throne, and two standing men in rich attire, one of them holding a model of the temple.
3D stereoscopic installation in Tumanyan Museum
3D stereoscopic installation in Tumanyan Museum
VSP Group, my partner program. Get connected!
Ancient monastery carved into stone mountains
(25 Jul 2010)
AP Television
Goght village, Kotyak Province, Armenia - July 2, 2010
1. Mid of the exterior of the Geghard monastery buildings and church
2. Wide of the exterior of the Geghard monastery wall and the buildings behind it with tourists walking around
3. Wide of vendors selling sweet sujukh (armenian dried spiced sausage) in front of the monastery entrance
4. Close of sujukh and apricots halves
5. Mid of man trying snacks with the vendor talking to him
6. Close of a 'gata', a traditional pie with Armenian words written on them
7. Mid of woman selling 'gatas'
8. Wide of the interior of the Geghard monastery's entrance arch
9. Wide of the interior of the church dome with a tilt down to tourist groups entering
10. Mid of a holy icon on the wall
11. Mid of man crossing himself in front of candles and looking up at the icon
12. Wide of tourists entering monastery building carved in mountain
13. Mid of monastery carved in mountain
14. Bird's-eye-view of tourist group entering the mountain monastery
15. Wide of interior of dome in the mountain monastery
16. SOUNDBITE (Russian) Ruzanna Khachikyan, Historian:
There is no concrete detailed information about it (this construction). There is a small sign on the first floor which only names a master who was conducting these works. The only thing we know is that they (workers) started from a hole for light and then carved everything. And only then, at the final stage, an exit was carved or a connection with those churches which are downstairs, or just an exit like here.
17. Wide of interior of dome
18. Wide of people drinking water from monastery spring inside monastery
19. Mid of woman drinking water from spring
20. Wide of tourists group at burial vault
21. Mid of khachkars: plates with crosses on the wall
22. Close of one khachkar
23. SOUNDBITE (Russian) Ruzanna Khachikyan, Historian:
you have probably noticed that there are no icons in these medieval monasteries. People prayed to the cross which, in fact, was an icon. That's why anyone who could carve (monks) would carve a lasting memorial for themselves in the form of crosses.
AP Television
Yerevan, Armenia - July 2, 2010
24. Wide of Varazdat Ambartsumyan, khachkar master, working in his workroom
25. Mid of Ambartsumyan working
26. Close of Varazdat Ambartsumyan
27. Close of khachkar in progress
28. SOUNDBITE (Russian/Armenian) Varazdat Ambartsumyan, Khachkar master:
(in Russian) Khachkars, for me, are like (in Armenian) two thousand year old prayers which are passed on to us through stone.
29. Close of candle and paintbrushes
30. SOUNDBITE (Russian/Armenian) Varazdat Ambartsumyan, Khachkar master:
(in Russian) What God gives you is not only yours. He gives you something which you must share with others. (in Armenian) Some people create it (khachkar) and say it's them who made it. But that is not true. It's actually a God-given talent, and God passes on skills to mankind through specific men. Every person who creates them (khachkars) must understand that.
AP Television
Goght village, Kotyak Province, Armenia - July 2, 2010
31. Wide of Geghard monastery landscape
32. Close of khachkars on mountain wall
33. Wide of people walking through monastery grounds
34. SOUNDBITE (Russian) Armine Adamyan, Yerevan resident:
Well, I can't even describe what I'm feeling! It's a special feeling and there are no words to express it. It is something divine.
35. Wide of exterior of the church entrance, with a tilt up to the dome
36. Close up of a khachkar in front of the church entrance
LEAD IN
An ancient monastery in Armenia is attracting tourists from around the world with its unusual architecture.
STORYLINE:
It got this name from the relics it housed.
You can license this story through AP Archive:
Find out more about AP Archive:
???? 360° GoPro Omni VR: Tatik-Papik | Stepanakert, Nagorno-Karabakh ???????? ????????
A 360° GoPro VR video of the modern symbol of Nagorno-Karabakh: Tatik-Papik, a.k.a. Grandma and Grandpa, We Are Our Mountains, Մենք ենք մեր լեռները, տատիկ-պապիկ! The sculpture was completed in 1967 by Sargis Baghdasaryan, and is now widely regarded as a symbol of the Armenian heritage of Nagorno-Karabakh. The monument is made from volcanic tufa, and depicts an old man and woman hewn from rock, representing the mountain people of Karabakh! =]
The political status of the Nagorno-Karabakh region remains unresolved. Since 1991, it has been largely controlled by the self-proclaimed Republic of Artsakh, a de facto independent entity. The region, however, is internationally recognized as de jure part of Azerbaijan, although it has not exercised power over most of the region since 1991. Since the end of the Nagorno-Karabakh War in 1994, representatives of the governments of Armenia and Azerbaijan have been holding peace talks mediated by the OSCE Minsk Group on the region's disputed status.
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Camera: GoPro Omni
Thanks for watching!
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How to view the 360° video:
Desktop using Google Chrome:
Use your mouse or trackpad to change your view while the video plays.
YouTube app on mobile:
Move your device around to look at all angles while the video plays
Google Cardboard:
Load the video in the YouTube app and tap on the cardboard icon when the video starts to play. Insert your phone in cardboard and enjoy.
More info here: ???????? | ????????
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【K】Kazakhstan Travel-Almaty[카자흐스탄 여행-알마티]이식 박물관, 황금인간/Golden Man/Issyk Historical/Cultural/Museum
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[한국어 정보]
다음 날, 알마티로 가기 위해 기차역으로 향했다. 누르술탄에서 알마티까지는 기차로 장장 15시간을 가야한다. 긴 시간을 가야하는 여정이기 때문에 일반 좌석이 아닌 누워서 갈 수 있는 침대칸을 선택했다. 누르술탄에서 처음 맞이한 카자흐스탄의 3월, 아직 가시지 않은 겨울의 모습을 한 카자흐스탄 북부의 봄을 뒤로하고, 이번엔 카자흐스탄의 남동쪽, 푸른 초원을 기대하며 알마티로 향한다. 자유인이 사는 땅이란 의미를 가진 카자흐스탄. 초원을 지나는 변방사람들의 동서양 문화 교차로였고, 다양한 민족의 이동과 역사가 서려 있는 곳이다. 알마티에서 50km 떨어진 톈산산맥 경사면에, 크고 작은 일대 고분군들이 있다. 그 고분 안에서 이 지역에 거주한 황금문화를 꽃피운 유목민, 사카족의 수많은 금과 은. 청동 제품들이 발견됐다. 그 중 가장 귀중한 것은 16-18세 남자의 유해인, 황금인간이다. 1969년, 이미 도굴당해 황폐화된 고분의, 중앙이 아닌 바깥 묘실에서 무려 4천 여 장의 황금 조각 옷을 입은 건장한 청년의 유해가 발견돼 이를 ‘황금인간’이라 부르는데, 황금인간 부장품들의 모양은 신기하게도 신라의 황금유물과 유사하다고 한다. 과연 이곳에서 먼 신라까지 교류가 이뤄졌던 것일지 연구가 진행되고 있다.
[English: Google Translator]
The next day I headed to the train station to go to Almaty. It takes 15 hours by train from Nur Sultan to Almaty. Because it is a journey to go for a long time, I chose a sleeping compartment instead of a regular seat. In March of Kazakhstan, which is the first time in Nur Sultan, after the spring of northern Kazakhstan, which has not yet seen winter, this time heading to Almaty in anticipation of the green grassland in the southeast of Kazakhstan. Kazakhstan means the land where free people live. It is an east-west cultural crossroads of people who cross the plains, and is a place where the movement and history of various ethnic groups are standing. On the slopes of the Tianshan Mountains, 50 km from Almaty, there are large and small tombs. In this burial mound, many nomads of gold, silver and gold of the Saka people who flourished the golden culture that lived in this area. Bronze products were found. The most precious of these is the golden man, the remains of a 16-18 year old man. In 1969, the remains of a robust young man who was already stolen and devastated by the robbery of a devout man, dressed in over 4,000 pieces of gold sculptures in the outer mausoleum, not in the center, were found and called the 'Golden Man' It is said to be similar to the golden relics of Silla. Research is underway to see if exchanges have taken place from here to far Silla.
[Kazakhstan: Google Translator]
Келесі күні Алматыға баратын теміржол станциясына бардық. Нұр сұлтаннан Алматыға дейін 15 сағат кетеді. Өйткені бұл ұзақ уақытқа созылатын саяхат, мен тұрақты орынның орнына ұйықтау бөлігін таңдадым. Қазақстанның солтүстігінде, яғни солтүстік Қазақстандағы көктемде, әлі де қыста көрмеген Нұр Сұлтанға алғаш рет Қазақстанның оңтүстік-шығысындағы жасыл алқапты күтіп тұр. Қазақстан еркін адамдардың өмір сүретін жерін білдіреді. шығыс және батыс шашағы арқылы өтетін болды халқының мәдени қиылысында шалғындары, онда қозғалысы және түрлі этникалық seoryeo тарихы болып табылады. Алматыдан 50 шақырым жерде Тяньшань тауларының беткейлерінде үлкен және кіші мазар бар. Бұл қорғанның маңында осы аймақта өмір сүрген алтын мәдениетті дамытқан сақтардың көптеген алтын, күміс және алтын көшпелі халықтары бар. Қола өнімдері табылды. Олардың ең құндысы - алтын адам, 16-18 жастағы ер адамның қалдықтары. 1969, Мен өнер қазірдің өзінде тонап ойрандап қорғандардың айта, табыт тыс мың киім астам Бап 4 алтын дана доп киген мықты жас жігіттің қалдықтары орталығы бұл алтын адам салтанатты жерлеу пішіні жұмбақ болып, «Алтын адам» деп аталатын bureuneunde табылған жоқ Silla-ның алтын реликтері сияқты деп айтылады. Зерттеулер жүргізілуде, мұнда алмасу үшін алыс Силья дейін.
[Information]
■클립명: 아시아148-카자흐스탄01-13 이식 박물관, 황금인간
■여행, 촬영, 편집, 원고: 홍은희 PD (travel, filming, editing, writing: KBS TV Producer)
■촬영일자: 2019년 4월April
[Keywords]
박물관/전시관,museum,터미널,terminal,기차,탈것,,train,사람,man,아시아Asia중앙아시아카자흐스탄KazakhstanҚазақстанRepublic of Kazakhstan홍은희20194월알마티AlmatyАлматы알마아타April걸어서 세계속으로
Our South Korean Guests Enjoy Watermelons At Fruit Market 'Shouka' | HD
OUR SOUTH KOREAN GUESTS ENJOY WATERMELONS AT FRUIT MARKET 'SHOUKA' | HD
Yerevan fruit market 'Shouka' is a good place to chill after a day of touring, and of course, there's nothing better than eating a watermelon on a hot day. And our South Korean friends enjoyed every minute of it!
Shouka's in Armenia are fresh food markets, and you owe it to yourself to visit a shouka while here, if for nothing else than sampling the myriad smells of fresh produce. You will be greeted by vendors of all types asking you to sample their goods - from delicious homemade dried fruits stuffed with nuts, paper thin fruit lavash and grape sujukh (local walnuts threaded on string and dipped in grape molasses) - right through to fresh Lavash bread, the organic fruits, vegetables, spices, herbs, honey, wine, cheese, yogurt, freshly butchered meat, fish... just about everything you need!
Sellers offer anyone they think might buy, a free sample and you should feel free to taste before buying. There are no fixed prices at a shouka, so bargaining is required and often considered an essential part of the shopping experience.
Video credits: Phoenix Tour Armenia
Phoenix Tour invites you to explore the best destinations, journeys and experiences for Armenia, South Caucasus & Iran. For more information, please visit
A World Monument: Zvart'nots', Armenia, & the Wars of the Seventh Century
For the 20th annual Vardanants Day Armenian Lecture at the Library of Congress, Christina Maranci sets the construction of an iconic 7th century church within the context of its times.
Speaker Biography: Christina Maranci is professor of Armenian art and architectural history at Tufts University.
For transcript and more information, visit
Several Dozen People Hospitalized After Clashes In Yerevan
Armenian officials say 75 people were injured and more than 20 detained in clashes between riot police and protesters in the capital.
Originally published at -
The Armenian Genocide Legacy: A Book Talk with Alexis Demirdjian
Alexis Demirdjian, author and trial lawyer with the International Criminal Court, discussed law and the Armenian Genocide, including judicial explanations and legal remedies. Demirdjian discussed his recent book, The Armenian Genocide Legacy, which focuses on the impact of the Armenian Genocide. The talk was moderated by Harvard Law School Professor Alex Whiting and was sponsored by the Human Rights Program.
Satan Statue gets a Hand... ...almost.
Construction worker almost gives Satan an extra lift.