The image of a woman takes a special place in the work of the Tiflis Armenian artist, representative of the academic school of painting Hmayak Hakobyan (1871–1939). Through female images, the artist expressed his feelings, thoughts, and his state of mind. The portraits and sketches he created represent a generalized, collective image of a woman of his era. Realism and lyricism are characteristic of the master's work. The theme of aesthetics of the naked body is widely represented in the artist's paintings and graphics.

KeywordsHmayak Hakobyan female images (graphics) naked woman woman as a driving force woman as a source of inspiration female images (painting).

In the multi-genre art of the famous painter of the late 19th and the first quarter of the 20th century, Hmayak Hakobyan (1871–1939), who made an invaluable contribution to the development of the Armenian realistic portrait genre, male portraits (painting and graphics) occupy a special place. His portraits reflect both human types and the era in which he lived and created his canvases. The characters of the portraits are people of different nationalities and cultures. These psychological portraits reveal the layers of the human soul.

Keywords Hmayak Hakobyan portrait genre graphic and picturesque portraits realistic approaches male image psychological portrait.

Among the Armenian texts of the “Apocalypse of Pseudo-Methodius, there exists a very “apocryphal” version. This text, as shown by philosophical analysis, is a separate work of an apocalyptic/eschatological nature. The existence of references to the events of the Byzantine history of the period from 1130 to 1210 and many common motives with Byzantine apocrypha of Daniel, “Oracles of Leo the Wise” and “History” of Choniates, point to the Byzantine origin of this text. On the other hand, the “pro-Latin” position of the author, more characteristic of the Armenian book writing of the XII-XIII centuries, indicates to the connection of the text to the Armenians of Byzantium.

KeywordsArmenian eschatology Byzantine eschatology Komnenoi Armenian-Byzantine written tradition Vision of Daniel Pseudo-Methodius Armenians in Byzantium The Fourth Crusade Niketas Choniates The Image of the Other.

Creative heritage of Hovhannes Tumanyan occupies the most important place in the Armenian literature and in the entire spiritual culture. The poet's creative works has become the best embodiment of the past and present of Armenia, its spiritual power and artistic traditions.

KeywordsTumanyan image world analytical philosophy structuralism picture of motives associations mythological character collective archetype theory of expression.

Sacred trees had different meanings and therefore different purposes. It was important not only to preserve them in reality but also to ensure their existence and growth by supernatural means. Trees were thought to have magical properties: people made pilgrimages, offered sacrifices, made offerings, prayed for healing, for having descendants, and begged for help and protection from harmful natural phenomena, and so on, through various rituals. Supernatural power was attributed to the objects made of wood of sacred trees and even to the pieces of those trees, which protected people from all evil and brought success acting as amulets.

Keywordssacred trees pilgrimage prohibition healing fortune telling feast ritual symbol images.