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Erebuni Museum

Erebuni Museum (Armenian: Էրեբունի թանգարան, Ērebunu t'angaran) was established in 1968. The opening of the museum was timed to coincide with the 2750th anniversary of Yerevan. The Museum stands at the foot of the Arin Berd hill, on top of which the Urartian Fortress Erebouni has stood since 782 BCE. The city-fortress was excavated, some parts of the structure were reinforced and restored, and the fortress was turned into an outdoor museum. A cuneiform inscription testifies that the city was built by Argishti I the King of Urartu in 782 BCE. The majority of the fortress was built from raw bricks. The citadel was encircled by strong walls in some places built in three rows. The temple of God Khaldi occupied an important place in the fortress. The walls of the temple were decorated with numerous frescos. Archeologists have found giant karasses (pitches for storage of wine) buried in the ground. Ceramics, potter’s wheels and other articles used in everyday life were also unearthed during excavations. There is huge collection of artifacts, sups, jars, bronze bracelets, glass, agate beads and many other things that tell us about the life of the citadel, the tastes and habits of its inhabitants. The building of the Museum that houses 12,235 exhibits was constructed by architects Baghdasar Arzoumanian and Shmavon Azatian and sculptor A. Harutiunian. It has two branches in Shengavit and Karmir Blur with 5,288 and 1,620 exhibits respectively in stock. Gagik Gyurjyan has been the director of the museum since 2009.

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Erebuni Museum

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Erebuni Town-Fortress

Erebuni Fortress (Armenian: Էրեբունի) is an Urartian fortified city, located in Yerevan, Armenia. It is 1,017 metres (3,337 ft) above sea level. It was one of several fortresses built along the northern Urartian border and was one of the most important political, economic and cultural centers of the vast kingdom. The name Yerevan itself is derived from Erebuni. On an inscription found at Karmir Blur, the Urartian verb erebu-ni is used in the sense of "to seize, pillage, steal, or kidnap" followed by a changing direct object. Scholars have conjectured that the word, as an unchanging direct object, may also mean "to take" or "to capture" and thus believe that the Erebuni at the time of its founding meant "capture", "conquest", or "victory." Erebuni was founded by Urartian King Argishti I (r. ca. 785–753 BC) in 782 BC. It was built on top of a hill called Arin Berd overlooking the Aras River Valley to serve as a military stronghold to protect the kingdom's northern borders. It has been described as being "designed as a great administrative and religious centre, a fully royal capital." According to Margarit Israelyan, Argishti began the construction of Erebuni after conquering the territories north of Yerevan and west of Lake Sevan, roughly corresponding to where the town of Abovyan is currently located. Accordingly, the prisoners he captured in these campaigns, both men and women, were used to help build his town. In the autumn of 1950, an archaeological expedition led by Konstantine Hovhannisyan discovered an inscription at Arin Berd dedicated to the city's founding which was carved during Argishti's reign. Two other identical inscriptions have been found at the citadel of Erebuni. The inscription reads: By the greatness of the God Khaldi, Argishti, son of Menua, built this mighty stronghold and proclaimed it Erebuni for the glory of Biainili (Urartu) and to instill fear among the king's enemies. Argishti says: The land was a desert, before the great works I accomplished upon it. By the greatness of Khaldi, Argishti, son of Menua, is a mighty king, king of Biainili, and ruler of Tushpa." Argishti left a similar inscription at the Urartian capital of Tushpa (current-day Van) as well, stating that he brought 6,600 prisoners of war from Khate and Tsupani to populate his new city. Similar to other Urartian cities of the time, it was built on a triangular plan on top of a hill and ensconced by 10-to-12-metre (33 to 39 ft) high ramparts. Behind them, the buildings were separated by central and inner walls. The walls were built from a variety of materials, including basalt, tuff, wood and adobe. Argishti constructed a grand palace here and excavations conducted in the area have revealed that other notable buildings included a colonnaded royal assembly hall, a temple dedicated to Khaldi, a citadel, where the garrison resided, living quarters, dormitories and storerooms. The inner walls were richly decorated with murals and other wall paintings, displaying religious and secular scenes. Successive Urartian kings made Erebuni their place of residence during their military campaigns against northern invaders and continued construction work to build up the fortress defences. Kings Sarduri II and Rusa I also utilized Erebuni as a staging site for new campaigns of conquest directed towards the north. In the early sixth century the Urartian state, under constant foreign invasion, collapsed. The region soon fell under the control of the Achaemenian Empire. The strategic position that Erebuni occupied did not diminish, however, becoming an important center of the satrapy of Armenia. Despite numerous invasions by successive foreign powers, the city was never truly abandoned and was continually inhabited over the following centuries, eventually branching out to become the city of Yerevan. Erebuni's close affinity to Yerevan was celebrated in a splendid festival held in September 1968, commemorating Erebuni's 2,750th birthday. The site of Erebuni Fortress was atop the 65-metre (213 ft) tall hill of Arin Berd as a strategic position overlooking the Ararat plain and the main roads leading to the citadel.[16] It also overlooked cramped Urartian town made up of residences below at the foot of the hill. The main entrance to the fortress was located at the more gently sloped southeastern site of the hill. It led to the central yard of the citadel. Ceremonies held by the personal guards of Argishti I and guards of the fortress garrison were held here. In the southwest portion of the yard was a temple of the god Khaldi. The temple had a large oblong plan with a staircase that led to the roof of a ziggurat type tower and a side room on the lower floor. Surrounding the hall was a double-rowed twelve-column open portico with benches along the walls. An altar for sacrifices was located at the left wall. The walls were decorated with colorful frescoes depicting representations of human figures, gods, geometric and floral designs. One of the frescoes uncovered depicts the god Khaldi standing on a lion with a warder in his left hand and a horned crown upon his head. It is typical of other representations of Khaldi found at other sites. The floor of the temple contrasted greatly from the rest of the complex in that it had wood floors composed of small planks, compared to the clay-coated adobe floors that were faced with stone slabs found in the rest of the citadel's rooms. Early excavations began during the 19th century while more systematic excavations were carried out at Erebuni in 1952, under the joint sponsorship of the Armenian Academy of Sciences' Institute of Archaeology and Ethnography and the Pushkin Museum's Board for the Preservation and Restoration of Architectural Monuments. The team was led by Konstantine Hovhannisyan and Boris Piotrovsky, who served as an on-site adviser. In the course of the early stage of the excavations (1950–1968), Argishti's palace, the royal assembly hall, temples and over a hundred rooms were excavated. Dozens of Urartian and Achaemenian artifacts, such as pottery, earthenware, belt-buckles, bracelets, beads, drinking vessels, helmets, arrows and silver coins, were also uncovered. The fragments of murals that were uncovered were found to be decorated with important religious themes, including "processions of gods, sacred animals, and trees of life", as well as scenes of everyday life, displaying scenes of "hunting, cattle breeding, and agriculture." Storage areas for grain, oil, and wine were also uncovered. On the doors of the storage areas inscriptions were placed at the entry doors telling the who built the storage area and the quantity of the items placed in them. One such inscription reads: By the greatness of god Chaldis, Sarduri, son of Argistis, built this house, and he also created these granaries. In one of them there were 12,600 Kapis, another one had 11,500 Kapis; entirely 24,100 Kapis. Sarduri, son of Argistis, mighty king, king of the country Bianinili, ruler of the town of Tushpah. The enormous ceramic jars that held the wine and oil had markings upon them. Smaller ceramic vessels were also found in excavations and are known to have been used in brewing beer made from barley. Other much larger vessels were used for storing foods and wine. Small circular markings on the sides of these containers near the top indicated the amount that could be stored inside. The larger of the vessels were usually buried half-way into the soil which naturally kept the contents cool. Numerous cuneiform inscriptions carved on basalt have been found around the complex. Some of which are currently displayed in the museum, while others can still be found displayed on the walls. In 1968 the Erebuni Museum of History was established. Its opening was timed to coincide with the 2750th anniversary of Yerevan. The museum houses items uncovered during the excavations at Arin Berd and Karmir Blur and gives a history of the site.

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Erebuni Town-Fortress

2 3rd St

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Kuil Garni

The Temple of Garni (Armenian: Գառնիի տաճար, Gaṙnii tačar) is the only standing Greco-Roman colonnaded building in Armenia and the former Soviet Union. Built in the Ionic order, it is located in the village of Garni, in central Armenia. It is the best-known structure and symbol of pre-Christian Armenia. The structure was probably built by king Tiridates I in the first century AD as a temple to the sun god Mihr. After Armenia's conversion to Christianity in the early fourth century, it was converted into a royal summer house of Khosrovidukht, the sister of Tiridates III. According to some scholars it was not a temple but a tomb and thus survived the destruction of pagan structures. It collapsed in a 1679 earthquake. Renewed interest in the 19th century led to excavations at the site in early and mid-20th century, and its eventual reconstruction between 1969 and 1975, using the anastylosis method. It is one of the main tourist attractions in Armenia and the central shrine of Hetanism (Armenian neopaganism). Foundation date and function Edit The precise construction date of the temple is unknown and is subject to debate. In Armenian historiography, the dominant view is that it was built in 77 AD, during the reign of king Tiridates I of Armenia. This view has been accepted by some scholars. The date is calculated based on a Greek inscription,[d] discovered by the painter Martiros Saryan in July 1945 at the Garni cemetery, recently brought from a nearby water mill. It names Tiridates the Sun (Helios Tiridates) as the founder of the temple. Early medieval historian Movses Khorenatsi incorrectly attributed the inscription to Tiridates III. Most scholars now attribute the inscription to Tiridates I. The following includes an image of the inscription as it stands near the temple today, its textual reconstruction by Ashot G. Abrahamian, an English translation by James R. Russell, and an alternative reading and translation by Poghos Ananian, translated into English by Vrej Nersessian. The temple is at the edge of a triangular cliff which overlooks the ravine of the Azat River and the Gegham mountains. It is a part of the fortress of Garni, one of the oldest fortresses in Armenia, that was strategically significant for the defense of the major cities in the Ararat plain. It is mentioned as castellum Gorneas in the first-century Annals of Tacitus. The site is in the village of Garni, in Armenia's Kotayk Province and includes the temple, a Roman bath with a partly preserved mosaic floor with a Greek inscription, a royal summer palace, other "paraphernalia of the Greco-Roman world", the seventh century church of St. Sion and other objects (e.g., medieval khachkars). Considering that the inscription says the temple was built in the eleventh year of reign of Tiridates I, the temple is believed to have been completed in 77 AD. The date is primarily linked to Tiridates I's visit to Rome in 66 AD, where he was crowned by Roman emperor Nero.[f] To rebuild the city of Artaxata, destroyed by the Roman general Gnaeus Domitius Corbulo, Nero gave Tiridates 50 million drachmas and provided him with Roman craftsmen. Upon his return to Armenia Tiridates began a major project of reconstruction, which included rebuilding the fortified city of Garni. It is during this period that the temple is thought to have been built. In Armenian historiography, the temple is commonly believed to have been dedicated to Mihr, the sun god in the Zoroastrian-influenced Armenian mythology and the equivalent of Mithra. Tiridates, like other Armenian monarchs, considered Mihr their patron. Some scholars have argued that, given the historical context during which the temple was built, i.e. after returning from Rome as king, it would seem natural that Tiridates dedicated the temple to his patron god. Furthermore, white marble sculptures of bull hooves have been discovered some 20 metres (66 ft) from the temple which could possibly be the remains of a sculpture of the god Mihr, who was often portrayed in a fight with a bull. Vrej Nersessian argues that while the "design and ornament are typically Roman, the workmen were local, with experience of carving basalt." Mausoleum or tomb Not all scholars are convinced that the structure was a temple. Christina Maranci calls it an Ionic structure with an "unclear function." She writes that "while often identified as temple, it may have been a funerary monument, perhaps serving as a royal tomb." Arshak Fetvadjian described the temple as an "edifice of Roman style for the pantheistic idol cult fashionable in the days of the Arshakists." In 1950 Kamilla Trever reported that according to a different interpretation of the extant literature and the evidence provided by coinage, the erection of the temple started in 115 AD. The pretext for its construction would have been the declaration of Armenia as a Roman province and the temple would have housed the imperial effigy of Trajan. Richard D. Wilkinson (1982) suggests that the building is a tomb, probably constructed circa 175 AD. This theory is based on a comparison to Graeco-Roman buildings of western Asia Minor (e.g. Nereid Monument, Belevi Mausoleum, Mausoleum at Halicarnassus), the discovery of nearby graves that date to about that time, and the discovery of a few marble pieces of the Asiatic sarcophagus style. Wilkinson furthermore states that there is no direct evidence linking the structure to Mithras or Mihr, and that the Greek inscription attributed to Tiridates I probably refers to a former fortress at the Garni site and not to the colonnaded structure now called the Temple of Garni. He also notes that it is unlikely that a pagan temple would survive destruction during Armenia's 4th-century conversion to Christianity when all other such temples were destroyed. Wilkinson suggests that the structure may be a tomb erected in honor of one of the Romanized kings of Armenia of the late 2nd century. James R. Russell finds the view of the structure being a temple of Mihr baseless. He is also skeptical that the Greek inscription refers to the temple. He opines that the "splendid mausoleum" was erected by Romans living in Armenia. He writes that "Wilkinson convincingly argues [that it] was a tomb of the second century, possibly of one of the Romanized kings of Armenia," possibly Sohaemus, and that it is "unique for the country and testifies to a particularly strong Roman presence." Maranci notes that its entablature is similar to that of the temple of Antoninus Pius at Sagalassos in western Asia Minor and to the columns of Attalia and concludes that imperial Roman workmen may have been involved in its construction. Christian period In the early fourth century, when Armenian King Tiridates III adopted Christianity as a state religion, virtually all known pagan places of worship were destroyed. The Temple of Garni is the only pagan, Hellenistic, or Greco-Roman structure to have survived the widespread destruction. It remains unknown why it was exempted from destruction, but Tananyan argues that its status as a "masterpiece of art" possibly saved it from destruction. Robert H. Hewsen suggested that it was likely a tomb of a Roman-appointed king of Armenia, not a temple and in the seventh century a church was built immediately next to it and not in its place. An idealized image of Khosrovidukht from the early 20th century. According to Movses Khorenatsi a "cooling-off house" was built within the fortress of Garni for Khosrovidukht, the sister of Tiridates III. Some scholars believe the temple was thus turned into a royal summer house. As its purpose changed the temple underwent some changes. The sacrificial altars in the outside of the temple and the cult statue in the cella were removed. The opening in the roof for skylight was closed. The stone structures for removal of water from the roof were also removed, while the entrance of the temple was transformed and adjusted for residence. There is a series of Arabic graffiti on the walls of the temple, dated 9th-10th centuries. There is also an Armenian inscription on the entrance wall of the temple. Dated 1291, it was left by princess Khoshak of Garni, the granddaughter of Ivane Zakarian (commander of Georgian-Armenian forces earlier in the 13th century) and Khoshak's son, Amir Zakare. It tells about the release of the population of Garni from taxes in forms of wine, goats, and sheep. Simeon of Aparan, a poet and educator, made the last written record about the temple before its collapse in his 1593 poem titled "Lamentation on the throne of Trdat" («Ողբանք ի վերայ թախթին Տրդատայ թագաւորին»). Collapse and decline The entire colonnade of the temple collapsed in a devastating earthquake on June 4, 1679, the epicenter of which was located in the gorge of Garni. Most of the original building blocks remained scattered at the site, allowing the building to be reconstructed. As much as 80% of the original masonry and ornamental friezes were at the site by the late 1960s. European travelers mentioned the temple in their works as early as the 17th century. Jean Chardin (1673, who visited Armenia before the earthquake) and James Morier (1810s) both incorrectly described it through local informants since they never actually visited the site. Upon Robert Ker Porter's visit the fortress was called "Tackt-i-Tiridate" ("throne of Tiridates" in Persian) by the locals. Ker Porter described what he saw as follows: "a confused pile of beautiful fragments; columns, architraves, capitals, friezes, all mingled together in broken disorder." Another European to visit and document the ruins of the temple was DuBois de Montpereux, who referred to the fortress as "Takh Terdat". In his 1839 book he proposed a reconstruction plan. J. Buchan Telfer, Captain in the Royal Navy and Fellow of the Society of Antiquaries, visited the site in the 1870s and removed a fragment of the architrave bearing a lion head was removed and bequeathed it to the British Museum in 1907. Telfer described the site as follows: ...a large heap of hewn and sculpted grey porphyry piled in utter confusion [...] it is a temple rather than a palace that is indicated by these superb remains; and their Grecian style of architecture may have been due to a desire on the part of the monarch to introduce a taste for higher art among his people [...] portions of the entablature, of the pediment, of cornices, the bases, etc, lie tumbled in marvellous disorder. The archaeologist Aleksey Uvarov proposed putting de Montpereux's reconstruction plan into action at the fifth All-Russian Archaeological Congress in 1880. He proposed that the temple's stones be moved to Tiflis (in Georgia) and be reconstructed there according to de Montpereux's plan. Lori Khatchadourian suggests that the proposal "could be read as an attempt at co-opting Armenia's Roman past to the glory of Russia through the relocation of its most iconic monument to the nearest administrative center." The governor of Erivan, citing technical difficulties, did not implement the plan. In the subsequent decades scholars such as Nikoghayos Buniatian, Babken Arakelyan, and Nikolay Tokarsky studied the temple. In 1909–11, during an excavation led by Nicholas Marr, the temple ruins were uncovered. Buniatian sought to reconstruct the temple in the 1930s. In 1949 the Armenian Academy of Sciences began major excavations of the Garni fortress site led by Babken Arakelyan. Architectural historian Alexander Sahinian focused on the temple itself. It was not until almost twenty years later, on December 10, 1968, that the Soviet Armenian government approved the reconstruction plan of the temple. A group led by Sahinian began reconstruction works in January 1969. It was completed by 1975, almost 300 years after it was destroyed in an earthquake. The temple was almost entirely rebuilt using its original stones, except the missing pieces which were filled with blank (undecorated) stones. In 1978 a fountain-monument dedicated to Sahinian's reconstruction was erected near the temple. Overview The temple follows the general style of classical Ancient Greek architecture which originated in the seventh century BC. Scholars have variously described the structure as Greek, Roman or Greco-Roman and have usually linked it to Hellenistic art, often pointing out its distinct features and local Armenian influence. Some scholars have emphasized the Armenian influence on its architecture, calling it "Armenian-Hellenic" (Sahinian), while others have completely dismissed this view, calling it a "foreign structure on Armenian soil". Toros Toramanian, for instance, stressed the singularity of the temple as a Roman-style building on the Armenian Highlands and "remarked that the Garni construction essentially had no influence on contemporary or subsequent Armenian architecture." Sahinian, on the other hand, called it a "product of the architectural-constructional art of the Hellenistic period" that entirely resembles the 9th century BC Urartian Musasir temple. The temple is a peripteros built on an elevated podium. It is constructed of grey basalt quarried locally and without the use of mortar. The blocks are instead bound together by iron and bronze clamps. The temple is composed of a portico (pronaos) and a cella (naos). The temple is supported by a total of twenty-four 6.54-metre (21.5 ft) high columns of the Ionic order: six in the front and back and eight on the sides (the corner columns are listed twice). Based on a comparative analysis, Sahinian proposed that the design of the columns have their origins in Asia Minor. Exterior Edit The triangular pediment depicts sculptures of plants and geometrical figures. The staircase has nine unusually high steps—30 centimetres (12 in) high, about twice as high as the average height of stairs. Tananyan suggests that the unusually high stairs compel a person ascending the staircase to feel humbled and make physical effort to reach the altar. On both sides of the staircase there are roughly square pedestals. Atlas, the Greek mythological Titan who held up the earth, is sculpted on both pedestals in a way seemingly trying to hold the entire temple on its shoulders. It is assumed that, originally, pedestals held up altars (sacrificial tables). The exterior of the temple is richly decorated. The frieze depicts a continuous line of acanthus. Furthermore, there are ornaments on the capital, architrave, and soffit. The stones in the front cornice have projecting sculptures of lion heads. Cella The cella of the temple is 7.132 metres (23.40 ft) high, 7.98 metres (26.2 ft) long, and 5.05 metres (16.6 ft) wide. No more than 20 people can fit inside the cella. Due to the relatively small size of the cella, it has been proposed that a statue once stood inside and the ceremonies were held in the outside. The cella is lit from two sources: the disproportionately large entrance of 2.29 by 4.68 metres (7 ft 6 in by 15 ft 4 in) and the opening in the roof of 1.74 by 1.26 metres (5.7 by 4.1 ft). Current state and use The temple is widely considered the most important monument of ancient and pre-Christian Armenia. It is the sole standing Greco-Roman colonnaded building in Armenia and the former Soviet Union. Art historian Antony Eastmond describes it as the "easternmost building of the Graeco-Roman world." It became a tourist destination even before its reconstruction in the 1970s. Today, it is, along with the nearby medieval monastery of Geghard, one of the main tourist attraction sites in Armenia. Most people visit the two sites together. They are collectively known as Garni–Geghard (Գառնի-Գեղարդ). In 2013 some 200,000 people visited the temple. The number of visitors almost doubled by 2019, prior to the COVID-19 pandemic. Garni received almost 390,000 visitors, including 250,000 Armenians and 137,400 foreigners. Notable individuals who have visited the temple include presidents of Greece (Karolos Papoulias), Cyprus (Demetris Christofias), and Austria (Heinz Fischer), the Spanish opera singer Montserrat Caballé, American TV personalities Khloé and Kim Kardashian, and Conan O'Brien, Michaëlle Jean, Secretary-General of the Francophonie, Japan's Foreign Minister Taro Kono. Preservation The temple and the fortress are part of the Garni Historical and Cultural Museum Reserve («Գառնի» պատմա-մշակութային արգելոց-թանգարան), which occupies 3.5 hectares (8.6 acres) and is supervised by the Service for the Protection of Historical Environment and Cultural Museum Reservations, an agency attached to the Ministry of Culture of Armenia. The government-approved list of historical and cultural monuments includes 11 objects within the site. A neopagan ritual in front of the temple In a 2006 survey the state of conservation of Garni was rated by over three-quarters of the visitors as "good" or "very good". In 2011 UNESCO awarded the Museum-Reservation of Garni the Melina Mercouri International Prize for the Safeguarding and Management of Cultural Landscapes for "measures taken to preserve its cultural vestiges, and the emphasis placed on efforts to interpret and open the site for national and international visitors." Incidents Edit On September 25, 2014 a Russian tourist in his early 20s, defaced the temple by spray painting "В мире идол ничто" (literally translating to "In the world, idol is nothing"). The painting was cleaned days later. The Armenian state service for protection of historical and cultural reserves filed a civil lawsuit against Nikitenko in February 2015, in which the agency requested 839,390 AMD (~$1,760) to recover the damage resulting from vandalism. In an April 2015 decision the Kotayk Province court ruled to fine him the requested amount. On September 4, 2021 a sanctioned private wedding ceremony took place at the site causing much controversy. The site was closed for visitors that day. The local authorities of Garni said they had opposed it in a written statement to the Culture Ministry. The Culture Ministry said the agency responsible for the preservation of the site had acted independently in allowing the event to take place. Neopagan shrine Since 1990, the temple has been the central shrine of the small number of followers of Armenian neopaganism (close to Zoroastrianism) who hold annual ceremonies at the temple, especially on March 21—the pagan New Year. On that day, which coincides with Nowruz, the Iranian New Year, Armenian neopagans celebrate the birthday of the god of fire, Vahagn. Celebrations by neopagans are also held during the summer festival of Vardavar, which has pre-Christian (pagan) origins. Notable events The torch of the first Pan-Armenian Games was lit near the temple on August 28, 1999. The square in front of the temple has been occasionally used as a venue for concerts: A concert of classical music was held near the temple on July 2, 2004 by the National Chamber Orchestra of Armenia, conducted by Aram Gharabekian. The orchestra played the works of Aram Khachaturian, Komitas, Edvard Mirzoyan, Strauss, Mozart, and other composers. On May 6, 2019 Acid Pauli performed a live concert of electronic music in front of the temple. On July 14, 2019 Armenia's National Chamber Orchestra performed a concert in front of the temple dedicated to the 150th anniversaries of Komitas and Hovhannes Tumanyan. The ruins of the temple are depicted in the 1962 Soviet Armenian film Rings of Glory («Кольца славы»), featuring the Olympic gymnast Albert Azaryan. The pre-reconstructed temple is featured prominently in the second segment of the 1966 Soviet Armenian anthology film People of the Same City («Նույն քաղաքի մարդիկ») titled "Garni". In 1985 an episode of the Soviet televised music festival Pesnya goda ("Song of the Year") was recorded near the temple. It was noted for Alla Pugacheva's performance. Some scenes of the 1985 Polish film Podróże Pana Kleksa (Travels of Mr. Kleks) were shot at the temple. Garni features prominently in the 2007 Vigen Chaldranyan film The Priestess (Քրմուհին), where the priestess of the temple (portrayed by Ruzan Vit Mesropyan) commits adultery and is consequently expelled from it. American comedian Conan O'Brien, who visited the temple in October 2015 with his Armenian assistant Sona Movsesian, filmed an episode in Armenia which included dancing at the temple of Garni. The episode aired on his late-night talk show on November 17, 2015 and scored 1.3 million viewers. In episode 6 ("Let the Good Times Roll") of the American reality television show The Amazing Race 28, first aired on April 1, 2016, the contestants make a pit stop at the temple.

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Kuil Garni

Marzpetuni Street

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Biara Geghard

Geghard (Armenian: Գեղարդ, meaning "spear") is a medieval monastery in the Kotayk province of Armenia, being partially carved out of the adjacent mountain, surrounded by cliffs. It is listed as a UNESCO World Heritage Site with enhanced protection status.

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Biara Geghard

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Mother See of Holy Etchmiadzin

Etchmiadzin Cathedral (Armenian: Էջմիածնի մայր տաճար, romanized: Ēǰmiatsni mayr tačar) is the mother church of the Armenian Apostolic Church, located in the city of Vagharshapat (Etchmiadzin), Armenia. According to most scholars it was the first cathedral built in ancient Armenia, and is often considered the oldest cathedral in the world.

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Mother See of Holy Etchmiadzin

1 Araratyan Street

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Khor Virab

Khor Virap (Armenian: Խոր Վիրապ, lit. 'deep dungeon') is an Armenian monastery located in the Ararat Plain in Armenia, near the closed border with Turkey, about 8 kilometres (5.0 mi) south of Artashat, Ararat Province, within the territory of ancient Artaxata. The monastery was host to a theological seminary and was the residence of Armenian Catholicos.

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Khor Virab

H11

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Biara Noravank

Noravank (Armenian: Նորավանք, lit. 'new monastery') is a 13th-century Armenian monastery, located 122 km from Yerevan in a narrow gorge made by the Amaghu River, near the town of Yeghegnadzor in 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 Surb 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.

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Biara Noravank

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Zvartnots Temple

Zvartnots Cathedral (Armenian: Զուարթնոց (classical); Զվարթնոց (reformed); literally 'celestial angels cathedral') is a 7th-century centrally planned aisled tetraconch type Armenian cathedral built by the order of Catholicos Nerses the Builder from 643–652. Now in ruins, it is located at the edge of the city of Vagharshapat (Etchmiadzin) in Armavir Province of Armenia. Zvartnots Cathedral

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Zvartnots Temple

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Museums

Sergei Paradjanov Museum

The Sergei Parajanov Museum (Armenian: Սերգեյ Փարաջանովի թանգարան) is a tribute to Soviet Armenian director and artist Sergei Parajanov and is one of the most popular museums in Yerevan. It represents Parajanov's diverse artistic and literary heritage.

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Sergei Paradjanov Museum

Sergey Dzoragyugh 1st St

64 warga lokal merekomendasikannya

Matenadaran

135 warga lokal merekomendasikannya

Matenadaran

53 Mesrop Mashtoc pokhota

135 warga lokal merekomendasikannya

Masjid Biru (Masjid Persia)

The Blue Mosque is an 18th-century Shia mosque in Yerevan, Armenia. It was commissioned by Huseyn Ali Khan, the khan of the Iranian Erivan Khanate. It is one of the oldest extant structures in central Yerevan and the most significant structure from the city's Iranian period. It was the largest of the eight mosques of Yerevan in the 19th century and is today the only active mosque in Armenia.

23 warga lokal merekomendasikannya

Masjid Biru (Masjid Persia)

12 Mesrop Mashtoc pokhota

23 warga lokal merekomendasikannya

History Museum of Armenia

This is one of the most famous museums in Armenia simply for its location and incredible collection of artifacts. The museum introduces Armenia and Armenian history and is considered to be of the utmost importance to the capital city. The History Museum of Armenia houses the national collection of showpieces that are presented at exhibition halls of ethnography, archaeology, contemporary history, and numismatics. The complex housing the items creates an entire picture of Armenian culture and history, ranging from prehistoric times to the 15th-century. The cuneiform inscription states that Erebuni (Yerevan) city’s foundation began in 782BC as the world’s oldest shoe was discovered during excavation works in Areni Cave, as well as the uncommon, wooden ornamental door of Saint Arakelots Monastery. You can find both in the History Museum of Armenia… and much more!

70 warga lokal merekomendasikannya

History Museum of Armenia

70 warga lokal merekomendasikannya

National Gallery of Armenia

The National Gallery of Armenia is the world’s biggest museum containing Armenian fine art and has the second most pieces from Hovhannes Aivazovsky’s collection. The museum itself has around 40,000 items. Since 2008, the Gallery hosts interactive, educational programs inside. The museum has 12 branches in Yerevan and in other regions of Armenia. Inside of its Armenia, Russian, European, and Eastern thematic halls, you can admire the works of Martiros Sarian, Hovhannes Aivazovsky, Vardges Sureniants, Valentin Serov, Vasily Kandinsky, Donatello, August Rodin, Marc Chagall, and other prominent artists.

58 warga lokal merekomendasikannya

National Gallery of Armenia

1 Arami poghots

58 warga lokal merekomendasikannya

Museum Ararat

The Ararat Museum is situated inside the Yerevan Brandy Company’s factory which was acquired by industrialist Nikolay Shustov. This is where you can study the process of making cognac as well as trying Armenia’s famous brandy. To be honest, we really think that trying Ararat brandy is one of the essential things to do in Yerevan and that everyone should partake in the experience of doing so. Armenia has become symbolic for its brandy production and it is an important part of the history of the country. You can take a tour of the museum and learn a lot about the famous beverage.

23 warga lokal merekomendasikannya

Museum Ararat

2 Admiral Isakov Ave

23 warga lokal merekomendasikannya

Megerian Carpet Armenia

16 warga lokal merekomendasikannya

Megerian Carpet Armenia

16 warga lokal merekomendasikannya

Martiros Saryan House Museum

the Martiros Saryan Museum which celebrates the life and works of the famous Armenian artist. He is considered to be the founder of the Armenian School of Painting. He has more than 300 creative works that are chronologically introduced to visitors at the museum. His paintings allow us to realize that art is not just a reflection of reality but rather a way to develop imagination. The interesting fact is that the house museum was created during his lifetime as an artist. The museum sits on Yerevan’s renowned Saryan Street.

33 warga lokal merekomendasikannya

Martiros Saryan House Museum

3 Martiros Saryan St

33 warga lokal merekomendasikannya

Aram Khachaturian Museum

This museum was named after Aram Khachaturyan, a famous Armenian composer from the 20th-century. There are more than 18,000 valuable items inside that are dedicated to his life and his art. You will find photographs, letters, books, musical scores, music manuscripts, records, films posters, and personal documents inside of the Yerevan museum. Inside the showroom, you will get to see interactive displays of his life accompanied by his brilliant music. You can watch movies and listen to records from Khachaturyan. He was considered to be the mastermind behind the Armenian ballet, symphony, concert, and music scene. Some of his most famous works include ‘Sabre Dance’ or ‘Suserov Par’ from the ‘Gayane’ ballet performance… which gave him great fame later.

8 warga lokal merekomendasikannya

Aram Khachaturian Museum

3 Zarobyan St

8 warga lokal merekomendasikannya

Yerevan History Museum

The city of Yerevan is the 12th capital of Armenia. Founded in 782 BC by King Argishti and under the name ‘Erebuni’, the city of Yerevan is one of the oldest capitals in the world. The Yerevan History Museum details the entire history of old and new Yerevan. This is a great museum to hit up if you’re visiting Yerevan in winter. There are approximately 94,000 items that have been gathered during the city’s existence and it gives us a better understanding of ancient Yerevan as well as how things have transpired and made the city into what it is today. Among the pieces on show at this museum in Yerevan are archaeological, ethnographic, and numismatic collections of items, art, and photos.

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Yerevan History Museum

1/1 Argishti St

22 warga lokal merekomendasikannya

Ter-Ghazaryans' Micro Art Museum

Although Ter-Ghazaryan’s Micro-Art museum is one of the most recently opened museums of Yerevan, it has become very popular and famous within the city of Yerevan. The main exhibition of the museum includes the micro-works of grandfather and grandson Eduard Ter-Ghazaryans which have been placed on specially designed lighting pedestals. The micro-creations of the elder Eduard Ter-Ghazaryan really showcase the mastermind and genius abilities this grandfather and grandson had. If you’re looking for something a little different to do and want to still explore one of the newer museums in Yerevan, this is an excellent option.

Ter-Ghazaryans' Micro Art Museum