The legend of the meeting of the King Tiridates III of Armenia, St. Gregory the Illuminator, Roman Emperor Constantine I, and Pope Sylvester I is an integral part of Armenian–Roman history. Over the centuries, it has been enriched with various details, sanctified, and completed during the Cilician period in the «Letter of Love and Concord». This event, often the subject of doubt and extensive studies, has also been depicted in various works of art, including miniatures, wall paintings, engravings, and icon paintings.

The views of the founder of the Eastern Armenian literary language Khachatur Abovyan about music are based on the ideas of Armenian national identity. Two of his articles, "Armenian Church and Folk Music", as well as an article addressed to the Imperial Russian Academy that has not been preserved to this day, pursued a specific and cognitive goal to identify the characteristic features of the identity of the Armenian people and introduce them to the outside world. In the history of Armenian music, these articles marked the beginning of the formation of a national worldview, the ideological foundations of which were formed under the influence of German Romanticism, and the culmination of which was the formation of the Armenian national school of composers.

Dancer, writer, actress and translator Armen Ohanian (Sofia Pirbudaghian, 1888, Shamakha –1976, Mexico City) lived in Paris from 1912–1931 and maintained a long-term professional relationship with Archag Tchobanian. Tchobanian’s archive in the State Museum of Literature and Art of Armenia contains 65 letters (18 in Armenian and 47 in French) addressed to him from Ohanian. They participated in pro-Armenian events in Paris. Tchobanian was actively interested in Ohanian’s artistic and literary work; he often introduced her to his Armenian and French friends to support her dance performances and publication of her literary works. Tchobanian translated one of Ohanian’s first works from French into Armenian, edited her French works, and wrote about her art in his writings.

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.

Panos Terlemezyan (1865−1941) is one of the most prominent representatives of the realistic direction in Armenian art of the XIX−XX centuries. The artist’s creative legacy includes landscapes, portraits, thematic works and still lifes, but landscape genre remains dominant in his oeuvre. He has a unique contribution in the development of Armenian realistic landscape painting. The artist’s difficult and challenging life was spent abroad and only in 1928, he returned to Armenia.

In the history of Armenian music, certain names endure forever. One of them is the Iranian-Armenian composer, pedagogue, and musical-public figure Nikol Galanderyan (1881–1944). His opera “Parvana”, whose libretto is written to Hovhannes Tumanyan’s legend of the same name, is a unique fusion of folk mysticism. Oriental lyricism and traditions of European classical opera. Galanderyan created the said opera in a historically complicated period (the first half of the XX century), while living and creating in Tehran. “Parvana” is the first and, perhaps, for now the only attempt to bring to the opera stage Tumanyan’s profound national, almost mystical text.

History, culture and literature of the Armenian people were subjects of comprehensive study conducted by Yuri Veselovsky (1872–1919), a famous Russian scientist, literary critic, philologist, translator and Armenologist. The great humanist believed it essential to acquaint the Russian society with the centuries-old history of the Armenian people, with its rich cultural heritage. The scientist's research in these fields is a valuable contribution to the development of Armenian studies in Russia.

One of the primary and most important objectives in the study of Armenian sacred chant is the comprehensive study of the Ut‘jayn system (the Armenian Eight-mode), including a detailed analysis of the modal structures of sharakans, their scales, functional degrees, characteristic melodic patterns, and the features of intonational development. A comprehensive study of this issue implies its examination within the framework of each chant tradition of Armenian sacred music, followed by comparative analysis. Such large-scale studies in the field of modal analysis may have considerable significance for the interpretation of khaz notation and are directed toward the development of methodological principles for the modal system of Ut‘jayn in Armenian sacred chant, based on the established theoretical tradition of Armenian musicology.

The French writer Arthur Adamov (Harutiun Adamyan, 1908–1970) was one of the founders of the Theatre of the Absurd, a major representative of postwar French theatre, an innovative playwright who created a new theatrical language. He was born in Kislovodsk (Russia) and lived in Europe from childhood, but despite this, Adamov was connected with the Armenian environment. As an ethnic Armenian, he was baptized in the Armenian Apostolic Church, his mother tongue was Armenian, his grandmother, Yekaterina Bahatur, was the first Armenian female playwright. In France, Adamov came into contact with the Armenians, showed his early literary attempts to the famous Armenian poet Avetik Isahakyan, and maintained contact with representatives of the Armenian intellectuals (Anna Budaghyan, Ruben Zaryan, Serovbe Mkhitaryan, Nubar Tildyan). The writer had a keen interest in events and realities of Armenian life.