Armenian illuminated manuscripts

Armenian illuminated manuscripts form a separate tradition, related to other forms of Medieval Armenian art, but also to the Byzantine tradition. The earliest surviving examples date from the Golden Age of Armenian art and literature in the 5th century. Early Armenian Illuminated manuscripts are remarkable for their festive designs to the Armenian culture; they make one feel the power of art and the universality of its language. The greatest Armenian miniaturist, Toros Roslin, lived in the 13th century.

The Matenadaran Institute in Yerevan, has the largest collection of Armenian manuscripts, including the Mugni Gospels and Echmiadzin Gospels. The second largest collection of Armenian illuminated manuscripts is stored in the depository of St. James, in the Armenian Quarter of Jerusalem, of the Patriarchate of Jerusalem of Armenia's Holy Apostolic Church. Other collections exist in the British Library, Bibliothèque nationale de France, and other large collections at the Mechitarist establishments in Venice and Vienna, as well as in the United States. The University of California, Los Angeles (UCLA) keeps an Armenian illuminated manuscript dating back to the 14th century among its collection of Armenian manuscripts, which is one of the largest in the world. They also have the manuscript of the Gladzor Gospels.

Another form of an illuminated manuscript is a prayer roll, which traditionally included images from the Armenian iconography as well as Biblical passages or teachings but at a much smaller size was a more personal, and portable, religious treasure. Armenian prayer rolls could include iconography applicable to all Christian sects such as images of St. Mark, or St. Luke, or St. John as well as panels depicting important moments in the life of Jesus Christ. For the Armenians, however, the rolls would also include illustrations specific to the history of their country or church. These included St. Gregory the Illuminator credited with bringing Christianity to Armenian in the 4th century or St. Nerses IV important to the growth of Christianity in Armenia in the 12th century as well as establishing the theology of icon veneration within the Armenian Church. As in the case of other traditional Armenian manuscripts, prayer rolls were drawn and illustrated by hand on vellum. The scroll served as a personal talisman for the protection of its owner or for needs and prayer intentions of members of their family. Prayer rolls were narrow in width and included panels of religious illustration followed by religious text. The rolls were always quite long although exact measurements varied, depending on the number of panels it contained. The owner of this religious artifact could tightly roll the vellum and conceal it when carried. Concealment was crucial for protection of the prayer roll, since illuminated manuscripts and prayer rolls were highly valued and targeted by thieves. Devout Armenians held manuscripts and other works of art of the Church in high regard due to the fact the church and its teachings were an important part of daily life in medieval Armenia; the church fulfilled all spiritual, social, moral and cultural needs.

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